BEGINNINGS
DAVID S. SCHNEIDER
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PREFACE
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P O S T- PA N A M A X L I M I N A L
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A MUSEUM WITHOUT WALLS
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POETICS OF BUILDING
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WOOD DESIGN
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HOSTEL FOR [UN]CONSCIOUSNESS
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AUSTIN ZEN CENTER
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THOSE ABSENT AMONG US
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TEACHING
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RÉSUMÉ|CV
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I would like to write this preface with the resolute certainty of someone who knows exactly what architecture is and the place that their work has in the morphological clouds that roll in and out in the storms of architectural history. I have no such clarity. The residue that I hope somehow becomes a presence in the following pages is evidence of a search, or perhaps better a struggle, to find some importance of architecture hidden amongst the folds in the curtains of style. These thoughts on the essence of things necessarily entangle themselves with the notion of beginnings, and where, if anywhere, one can locate the primary substance of architecture. In our modern mythos of historiography there is a tendency in architectural thought to focus on beginning as origin, and in turn to rediscover the primordial hut or the archetypal house as the basic unit of architecture and to attempt to measure modern problems against it. And so the hut and the house are chopped up, skewed, and disemboweled to provide some fertile ground for meaning. The assumption here being that closeness to substance hinges upon the depth of time; that authenticity is directly proportional to distance in epoch. It is my hope that the works presented here at least wonder if there is another version of architectural substance, that perhaps there is a way to write beginnings distinct from a notion of origins. This version of beginning finds its cosmogony in the joint, the wall, the window, the edge between darkness and light, the birth of color. The story of time then unfolds and is rendered apparent as a product of space. A sense of beginning which finds roots in the Germanic biginnan meaning to open or open up. In beginning, things open us up to becoming, and at the edges of becoming lies the room where we can dwell in the substance of things, and the beauty of their fullness. D.S.
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POST-PANAMAX LIMINAL
CRITIC: CISCO GOMES | LOCATION: HOUSTON, TX | SPRING 2013
What can we call place in an expanding world of the placeless? What does meaning mean when the vertical geometry of a port in Houston, and the depth of its coastline, finds reason for becoming from the height of a bridge in Panama, and the depth of a channelized passage cutting through its diverse landscapes? Post-Panamax Liminal investigates this struggle between the oceans of globalized space and the archipelagos of place found within them, finding its muse in the site of a historic cemetery wholly subsumed within the concrete surfaces of the Port of Houston. The studio was tasked with the creation of a chapel for the cemetery, celebrating the meaningfulness and tangibility of mortality, as well as a port administration facility, giving evolutionary rights to the seemingly immortal mechanisms of industrialization. The design manifested itself through the basic contention that the strange situation of the cemetery and port is a fundamentally beautiful collaboration. In their contrasting identities, the port and cemetery give presence to one another. The rumbling machines of the port lend beauty to the simple song of a bird with the bounds of the cemetery. While the trees of the cemetery present the gift of times passage to the port, giving autumn, and spring, and evening meaning within its temporally democratizing mechanisms. Architecture, then, finds its purpose in acting as a bridge that serves to define the banks it unites. A wall gathers the chapel inside the cemetery, while a set of beams give presence to the port administrative building beneath. The bridges gathering finds articulation through a hierarchy of time, with the fundamental unit of the bridge acting as that which will ultimately exist as the ruin of the architecture—a monument to the beauty of the paradoxical situation of port and cemetery—with each successive layer of the envelope wrapping itself around this projective ruin.
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P O S T- PA N A M A X L I M I N A L
EXPLODED AXON
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P O S T- PA N A M A X L I M I N A L
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I-FLOOR PLAN | II-CHAPEL BUILDING SECTION | II-CHAPEL AND PORT ADMIN BUILDING SECTION | IV-SOUTH ELEVATION
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PORT ADMINISTRATION ENTRY PERSPECTIVE
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“The bridge swings over the stream, ‘with ease and power.’ It does not just connect banks that are already there. The banks emerge as banks only as the bridge crosses the stream. The bridge expressly causes them to lie across from each other. One side is set off against the other by the bridge. The bridge gathers the earth as landscape around the stream.”
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P O S T- PA N A M A X L I M I N A L
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I-CHAPEL ENTRY PERSPECTIVE | II-PORT ADMIN WALL SECTION | III-CHAPEL EXTERIOR ELEVATION
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“Both astronomers and historians collect ancient signals into compelling theories about distance and composition. The astronomer’s position is the historian’s date; his velocity is our sequence; orbits are like durations; perturbations are analogous to causality.”
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P O S T- PA N A M A X L I M I N A L
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I - P O R T A D M I N I S T R AT I O N P E R S P E C T I V E S | I I - L I G H T- W E L L D E TA I L S E C T I O N | I I I - P O R T A D M I N I S T R AT I O N B U I L D I N G S E C T I O N
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CHAPEL INTERIOR PERSPECTIVE
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MUSEUM WITHOUT WALLS CRITIC: KEVIN ALTER | LOCATION: AUSTIN, TX | SPRING 2014
The history of the art museum, one might argue, parallels the history of the frame that holds the work of art. When observing a work of art contained within a frame, the building only serves to double its presence: framing the experience of the framed piece. With the advent of frame-less art that was a hallmark of modernism, suddenly the museum was cast in the role of singular frame. The newfound role for architecture opened new conversations of framing ranging from the austere to the rococo, ultimately leaving the museum twisted into knots of form and style in an attempt to deal with its direct responsibility to the canvas and the sculpture. The proposition of the Museum Without Walls celebrates this disillusion of the frame and carries it further into the expanded field, where the walls of the buildings vacate their responsibility as resolute frames and instead embrace the earth and sky as the proper bearing conditions for the gravity of the art piece. However, this location of art brings architecture into a state of paradox: lusting after absence yet unable to vacate the necessity of presence. How can one make a frame-less frame? The solution presented to this paradoxical condition hinges upon materiality, and specifically the transient, and in many ways paradoxical material of glass. The myth of transparency is retold in the form of a facade composed entirely of two-way mirror glass. The subtext to this parable of the facade is animated by the galleries themselves. The traditional galleries of the museum are located interior to body of the architecture, giving presence to the museum as a traditional mode of collection, and causing the facade to fall away in the absence of reflectivity. The galleries holding contemporary installations are imagined as a turn of the facade into the interior of the museum, a flower jar of the exterior put on display for those inside, and in opening the facade to the sky they cause reflectivity to drop away, giving presence to the architecture as well as the art within.
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I-GROUND FLOOR PLAN| | DETAIL MODEL LIGHT STUDY
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EXTERIOR PERSPECTIVE
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1-BASEMENT FLOOR PLAN |11- SECTION A | III SECTION B | IV SECTION C
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II-BUILDING SECTION
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ONE WALL, MOVED CRITIC: COLEMAN COKER | LOCATION: CORPUS CHRISTI | FALL 2013 GROUP DESIGN BUILD
This project hinged on a seemingly simple question: what is the poetics of building? Certainly a powerful turn of phrase within the tides of the discourse, and one the calls forth the phantom presences of mystical thinkers from Heidegger to Bachelard, Illich to Van den Berg. Yet each of these authors seems only to speak about what is round about or inside the term, casting tangents around the aura of the poetic in attempt to lasso its meaning, but seldom declaring how architecture can be made as a petrification of this vague field of meaning. What seems to abide within this web of connected thought is that the poetic is not a provocation of architects to formalism, it is not asking architecture to be about something. It is making a window frame out of wood, and honoring both the wood and the act of framing. Extracting the hierarchies of thought contained within the interior structure of a threshold. This studio was an attempt to drive a stake through the ephemeral ghost of the poetic; an interrogation of what the made thing is and how its being-inthe-world affects and alters our own presence in that world. The focus here was not on the intelligibility of architecture as an ideological construct, but rather on how things thing; on how architecture can act to reveal that which is present but otherwise unseen. This process of examining the efficacy of things culminated in the creation of a pavilion in the Corpus Christi botanical gardens. The design focused upon giving presence to the ecological change that occurred between a riparian meadow and a wetland that surrounded a creek running through the site: taking shape as a wall and platform descending a hill. This descent down the platform framed a view to another piece of this wall, cut and moved from the first to complete the walls of an outdoor room, all of which served to carve out a quiet space for a bench to overlook a creek.
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POETICS OF BUILDING
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I-HISTORY OF THE DESIGN | II-INITIAL INDIVIDUAL DESIGN PROPOSAL
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POETICS OF BUILDING
WETLAND
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I-SITE PLAN | II-SITE SECTION | III-PHOTOGRAPHS OF BUILT WORK
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1 - C O N S T R U C T I O N D O C U M E N TS | I I -ASS E M B LY D I AG R A M | I I I - C O N S T R U C T I O N P H OTO G R A P H
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PHOTOGRAPHS
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NIGHT PHOTOGRAPH
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WOOD DESIGN CRITIC: MARK MACEK | CHERRY + PECAN | SUMMER 2012
What is a table? We register it in our imagination quite easily as a singularly flat surface whose virtue is contingent upon its abiding level-ness. Yet this simplicity does not speak to the depth of the table. Our table is a place that we have meals, a site of work, a sound block for the gavel of fists put down in exasperation and rage, a home for deals, meetings, drawings and screens. The table as a proposition engages our capacity to inhabit space, with the flat plane acting out its role as an intimate friend close at hand. The table might be viewed as symmetrical to a bowl placed on a counter, it exists with a self assured gravity, collecting the articles of our life and organizing them, however haphazardly, into a constellation of dwelling. This table, or perhaps this desk to put a finer point on the naming, examines the task of the surface as both a formal and phenomenal proposition, finding delight in elevating a simple, singular surface and bringing it into conversation with the human hand while also debating the presumption that the best desk is the one that maximizes available area. In the turning of the plane of pecan through the filter of structure in the form of a cherry frame the desk carves a room out of surface—for what I am not sure—but a space that is not available to easy access, a void that casts its presence across the remaining surface as an emanation of atmosphere, a cloud of gas born from the realm of the useless.
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I-CONSTRUCTION DOCUMENTS | II-PHOTOGRAPHS OF FINAL PIECE
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HOSTEL FOR [UN]CONSCIOUSNESS CRITIC: XU PING | LOCATION: COSTA RICA | FALL 2009
Located in the Parque Nacional Manuel Antonio in Costa Rica overlooking the North Pacific Ocean, the essential purpose of Hostel for Unconsciousness is to provide a place for 15 travelers to sleep and enjoy the view out towards the ocean. Ideologically speaking this work investigates the potential for architecture to provide a space within which the unconscious mind of the dreamer can dwell. This project attempts to undercut the paradigmatic view that architecture only affects our conscious experience, and asks whether dreaming is a spatial phenomena. Is is possible that a nightmare is caused by the placement of a cup on a bedside table rather than an unconscious process of the mind connecting to some deeper space of our psyche? This project interrogates the possibility for architecture to embrace the unconscious as a fertile plateau for meaningful design. Not as a promulgation toward surrealism, but as a making room for the dreamer and the place of sleep.
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HOSTEL FOR [UN]CONSCIOUSNESS
“A stately pleasure-dome decree: Where Alph, the sacred river, ran Through caverns measureless to man. Down to a sunless sea.”
-Samuel Taylor Coleridge
MODEL PHOTOGRAPH
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AUSTIN ZEN CENTER
CRITIC: MICHAEL BENEDIKT | LOCATION: AUSTIN, TX | SPRING 2012
In his monograph Air Mass, James Turrell offers a potent meditation on the desire for the other in western society, writing, “We’re very physical. When we want to go into the universe, we can’t look at a rock, like the Japanese, we have to actually go to the moon. We’re so literal.” The question that this excites is whether the Austin Zen Center, a new location for Austin’s Buddhist community within the Lady Bird Johnson Wildflower Center, rests on equal footing to NASA’s Space Center in Houston, Texas. Both are space exploration agencies, one using rocket fuel, the other meditation. If we adopt this perspective, that meditation is a method of exploration, then the obligation of architecture is to detail the mechanisms of this bodily interaction. This project gains its specific leverage by focusing on the different states of the body, and the way that embodiement relates to this state of meditation. If enlightenment is understood as a plateau in which every action and every moment of the day is one of meditation, then the fundamental states of the body play an important role in the cadence of this enlightened movement. The project, then, hinges on dividing the building into the three fundamental states of the body: laying, sitting, and standing, with the programmatic elements nesting around this essential division. Dividing these partitions of the program are two concrete walls that undercut the modernist ethos of efficiency in circulation. These walls carve a circuitous path into the landscape allowing time for contemplation, and preparing the body for movement into another posture. The roof of the building serves to further emphasize the power of the walls in allowing the ephemeral flow of water to give life to the stoic sentinels.
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EXTERIOR PERSPECTIVE
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I-BUILDING SECTIONS | II-DIAGRAMS
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EXTERIOR PERSPECTIVE
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THOSE ABSENT AMONG US
WWI MEMORIAL COMPETITION | LOCATION: PERSHING PARK, WASHINGTON D.C.
The historical and contemporary paradox of memorializing WWI is that the ground of the war exists as absence, as a land distinct from our own, and because of this, the monument cannot exist as both marker and map of history. However, this condition of absence extends beyond just the realm of the ground: there is the absence of those lost serving valiantly for their country, and there is the absence of memory, as those who served in the war are no longer alive to retell its stories. The desire to give presence to this condition of absence traces the fundamental aim of our design. A roof hovering above two walls reconstitutes the distant ground of the war, bringing soil from the nations involved in the conflict to give tangibility to the vacant ground. 116 light-wells representing those lost in the war are buried in the soils of these nations, so that in its turn light can give presence to the memory of those lost in the war, embodied as a texture of shade and shadow in the light garden beneath. Light then acts a bridge between these two distant grounds, providing a place within the soil of this country for us to remember the echoes of the past, so that while the direct memory of the war and those who fought in it may be absent, the meaningfulness of their sacrifice exists not as distant in time or distinct in place, but rather in constant communion with the present.
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existing park and monument
recessed garden and walls
garden capped and concealed
light through absence
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DIAGRAMS | SECTION PERSPECTIVE | BUILDING SECTIONS + ELEVATIONS
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MONUMENT INTERIOR PERSPECTIVE
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TEACHING UNIVERSITY OF NEW MEXICO 2015-2016
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We all live our lives in architecture of one kind or another. We sing in the shower; cry in the hallway; read by a window; open a door to let in a cool breeze; make meals; store secrets; place decorations; arrange rugs; dust shelves, or clean counter tops. These walls and floors that surround us are not made of inert matter—a certain amount of concrete and steel, so many 2x4s and pieces of drywall, glass and plastic—arranged just so. Our surroundings are constant companions. Resolute and silent, they give measure to the ebbs and flows of our existence. Architecture as a study is something we all know intimately. As a teacher, I try to create a platform that gives students license to navigate the depths of their own experience of architecture, experiences we all have in and about space. In doing so, I aim to give students room to think through and with the architectural artifacts that surround them, rather than thinking about them as objects that fit into a specific historical style, or era, or decorate the glossy pages of architectural magazines. This latter conceptualization of things knocks at the door of a paradox in architectural pedagogy. Often as instructors we have to review the cannon of great buildings, old and new, through the mediation of slide projections, images and drawings of these buildings that exist far away, unable to be experienced through our delicate lens of sensation. Seeing a slide of the influential Cistercian monastery of Le Thoronet in the south of France is very different from standing in its nave, feeling the coolness of its stones against an outstretched hand, watching as the changing light choreographs a dance of color and warmth across its floors polished by centuries of footsteps. The focus of architectural pedagogy on the image as artifact can affect a certain detachment from architecture itself. It pushes the conversation of architecture away from a discussion of the dignity of matter, in all of its enigmatic complexity. This makes it far easier for students to swoon over images on Pinterest than to unpack the immense richness and wonder to be found in something as mundane as window sill or the pull of a door handle. It is in deputizing the subtleties of experience as a conduit for understanding that I find both my presence and enthusiasm in the classroom. In lectures, discussions, and critiques I try to wrap the material of the courses I teach around phenomena that are close at hand. This most often centers around the classroom that we are sitting in: placing the content of a lecture or discussion in its windows, doors, and walls, or those close by, so that the room and building become the site of knowledge and debate. Giving this authority over to the classroom as a willing participant in the conversation of meaning allows students the symmetrical freedom to dig into their own memories of spaces and horizons of experience, and to also feel confident to wrap those places around the loom of theoretical speculation that makes up the intellectual content of these courses. Students feel liberty to author a critique of Gaston Bachelard based on the fact that they moved thirteen times during the course of their childhood, and that this experience leaves them with a difficulty in comprehending the warmth and intimacy of his conversation on nests and shells. Or, to ask whether the fort in their basement made of blankets and old pillows represents Martin Heidegger’s fourfold as a coordinate system for triangulating place. Or, to relate a campsite they built backpacking at the Grand Canyon to a reading of Peter Sloterdijk and his discussion of architecture as a spiritual air conditioning system and active immunology. All of these experiences are important and meaningful. My role in the classroom is to allow the students’ collective force to give the necessary clarity to the difficult concepts contained within the words
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TEACHING PHILOSOPHY STATEMENT
of these philosophers, and to be digested through the lens of the world that we find ourselves in constant contact with. The assignments that I craft for the students mark out a similar attempt to reinforce this profundity of experience in the student’s work outside of the classroom. I ask them, for example, to author weekly reflections on readings as an act of making rather than writing. In my seminar Tracing the Poetic, I asked students to craft a vessel with the simple constraint that one thing hold another. In this series of reflections, the students looked closely at the relationship between the holding thing and held thing, the materials they were made of, and the hierarchy of connections that existed between the two. This depth of consideration was the tool through which students authored an understanding of the content of the readings for the week. In doing so, they connected the sensuous properties of the materials that they are working with to written philosophies. Similarly, in my summer studio for incoming graduate students, I tasked the students with the design of a small tea house by first asking them to document the act of making a cup of tea in their own kitchen, looking at how their body moves from fridge to sink, sink to stove, stove to table, and to then unpack the symphony of sensation that moves along with their bodies in that space. This exercise allows them to viscerally consider the rumble of the kettle, the smell of the tea, and the laughter or conversation had over the process before designing a space for these experiences. Using experience as a method of teaching also highlights the necessity of getting outside of the classroom in order to allow students to gain knowledge through the places that surround them. In a recent field trip to Chaco Canyon with my Architecture of Elsewhere seminar, I encouraged students to rest in and relish silence while spending two hours watching the sun set over the walls of Pueblo Bonito. Louis Kahn, a central figure in 20th century architecture, writes that, “light is the giver of all presences.” While this statement could be unpacked and explained in so many words and slides showing his buildings, these words can just as easily be witnessed, and all the more powerfully rehearsed, in watching the light fade along the surfaces of these centuries’ old ruins. All of my teaching methodologies reinforce in the students’ own experience what I could only attempt to preach poorly in a lecture: that the building as a material artifact is not dissimilar from the academic essay, but importantly, the building is peer-reviewed by the sun and wind, and the way in which this choreography affects our bodies in its myriad spaces. These are the spaces that we all know; they are the ones in which we live. By orienting my teaching to reveal for students the inherent richness and poetic potential of the world of matter around them, they can enter the profession of architecture giving dignity to the people and things that will live out their lives in the spaces that they design. This dignity does not have to be wrought through formal complexity, or expensive materials; it can be given in something as simple as a nice room to drink a cup of peppermint tea, all the while watching the sun set through a window that holds your gaze.
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SITING SECRETS
A R C H 4 0 1 | FA L L 2 0 1 5 | I N D E P E N D E N T LY D E V E LO P E D A N D TAU G H T
Within the fabric of the city there have always been secret threads, residual pockets of irrational space residing in the modernist facade of rationality. From the speak easy of the Prohibition Era to 109 E. Palace in Santa Fe, these secret sites question the necessity of a sympathetic relationship between interior and exterior experience and the role that architecture plays as arbiter of this division. The fundamental aim of this studio was to investigate this blurred edge of architecture and the role it can/should play in mediating the desire for secrecy set against the perceived necessity of transparency and clarity. The recent cultural awakening to the spying practices of the National Security Agency [NSA] has located the question of the secrecy and transparency at the forefront of political debate within this country, but precious little attention has been given to the architectural condition presiding over this revelatory moment. In the case of the NSA there is no public ground that can locate the site of protest upon the site of offense because as an entity, the NSA exists within/upon a set of classified landscapes, terrains of control that fall outside of the prying eyes of democratic process. But in this context distance is the mechanism of control; sited in deserted landscapes it is the impossibility of seeing that creates the site of secrecy. However, if this distance is vacated and collapsed into the urban fabric then architecture becomes the protagonist in this play of privacy, where walls, doors and windows act out roles as the keepers or tellers of secrets. The primary problem, then, that students were asked to author in this studio, was to locate a center for surveillance, data collection, and offices for the NSA adjacent to Civic Plaza in downtown Albuquerque.
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NICK GARCIA | DEVICE FOR DISAPPEARING
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ARCH 401 | FRANK FENG | WINNER 2015 KOSANOVICH PRIZE FOR DESIGN EXCELLENCE
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ARCH 401 | NICK DI DONATO | THIRD PLACE 2015 KOSANOVICH PRIZE FOR DESIGN EXCELLENCE
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ARCH 401 | LAM NGUYEN
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ARCH 401 | VINCENT DI BERNARDO
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TRACING THE POETIC
A R C H 4 6 2 . 6 6 2 | FA L L 2 0 1 5 | I N D E P E N D E N T LY D E V E LO P E D S E M I N A R
Thinkers from Aristotle to Stravinsky, from Heidegger to Zumthor, have endeavored to capture and contain some understanding of the poetic, but these words of analysis seemingly run tangent to the task, always coming close, only to touch a point here or there but never fully encompassing the poetic. This course will attempt to draw a clear line of thought through this array of tangents with a diverse set of readings—beginning from the poetics of vessels, thresholds, and corners, and moving up in scale to the poetics of art, landscape, and ultimately, building—authoring a clear understanding of the poetic meaning inherent in the made thing, and endeavoring to understand what Bachelard means in his assertion that, “The poet speaks on the threshold of being.” Of equal importance to this task of understanding the poetic will be the exploration of a practice or methodology for encountering the poetic, for translating the phenomenological into the actionable. This course will not find contentment in simply apprehending poetic meaning in an abstract manner, but more importantly will ask how you as a designer can better develop the poetic as a measure in and of your own work, and in and of the work of others. To reveal this methodology, the intellectual work of the class will be drawn through the act of making (poesis), where the made thing will act as the primary point of reflection, analysis and insight. SEMESTER ASSIGNMENT In the circle of architecture, the discussion of the poetic is often held within the realm of thinking and ideation, sequestered to the seminar room but seldom finding expression in the more difficult realm of design and making. As architects we often think about things, but hesitate to think through things. The singular aim of this semester endeavors to undermine this relationship between the poetic and the practical by asking students to generate weekly reflections based upon thinking-through-making rather than thinkingthrough-writing. Each week students will be asked to craft a vessel as a method of reflection, with a specific thing held by the vessel, and a particular material doing the holding. In this way the primary work of the semester will interrogate the way in which the holding of the vessel takes place, and the poetics inherent in the action of the thing.
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ADAM LE BLANC | TAGUA VESSELS
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NICK DI DONATO | SOAPSTONE VESSELS
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“In its countless alveoli space contains compressed time. That is what space is for.� -Gaston Bachelard
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D A V I D S . S C H N E I D E R 303.596.3882 dstephens.schneider@gmail.com EDUCATION University of Texas at Austin Master of Architecture University of Colorado at Boulder B.A. [Philosophy], B.ENVD [Architecture] EMPLOYMENT University of New Mexico School of Architecture and Planning Visiting Assistant Professor | Architecture Teaching Fellow 01.2015-Present Macek Furniture Company Contract work 10.2014- 12.2014 Assistant Editor Center for American Architecture and Design Fall 2013, Spring 2014, Summer 2014 Director: Michael Benedikt; Associate Director: Kevin Alter; Managing Editor: Leora Visotzky University of Colorado Libraries Staff Librarian 01.2007-02.2011 Research Assistant Douglas Darden Archive 02.2011-07.2011 TEACHING EXPERIENCE University of New Mexico, Visiting Assistant Professor Design Courses taught: ARCH 302: Design Studio III [Third Year Undergraduate Studio] ARCH 401: Design Studio IV [Fourth Year Undergraduate Studio] ARCH 503: Graduate Design Studio [First Year Graduate Studio] ARCH 402/602: Vertical Studio [Fourth Year Undergraduate | Second Year Graduate Studio] Seminar Courses taught: ARCH 544/442: Politics, Culture and Architecture [Required undergraduate course | Co-teacher: Michaele Pride] ARCH 462/662: Tracing the Poetic [Graduate + Undergraduate Seminar] ARCH 662/462: The Architecture of Elsewhere [Graduate + Undergraduate Seminar] Summer Academy in Architecture, Instructor University of Texas School of Architecture: 06.2014-07.2014 Teaching Assistant Design II: Summer 2013 Professor: Michael Benedikt Teaching Assistant Architecture and Society: Fall 2012, Spring 2013 Professor: Larry Speck
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RÉSUMÉ | CV
HONORS 2015-2016 Lecturer or Affiliated Teacher of the Year University of New Mexico University wide award recognizing teaching excellence. Winner: 2014 Oglesby Prize University of Texas School of Architecture Prize given to one graduating student based on merit in design. Honor Society Member Tau Sigma Delta Honor society membership based on academic merit. Dean’s Ambassador University of Texas School of Architecture Student leaders nominated by professors. Nominee: Design Excellence University of Texas School of Architecture Fall 2012 PUBLICATIONS Trace 01: A Journal for Archtiecture at the University of New Mexico Editor, 2016 Center 18: Music in Architecture, Architecture in Music Center for American Architecture and Design, 2014 Assistant Editor Center 19: Curtains Center for American Architecture and Design, 2014 Assistant Editor Center 20: Latitudes, Architecture in the Americas Center for American Architecture and Design, 2014 Assistant Editor ISSUE 009 UTSOA Student Publication Poetics of Building ISSUE 010 UTSOA Student Publication Post-Panamax Liminal SKILLS Digital Hand
Revit, Rhino, Autocad, Sketchup, Adobe Creative Suite Hand Drafting, Model Making
RÉSUMÉ | CV
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