gabby coleman architecture portfolio
gabby coleman master of architecture kansas state univeristy anticipated graduation: may 2019 email: gkc@ksu.edu phone: 210.896.3308 linkedin: “gabriellecoleman�
THE TY CHOSEN TO COM THROUG TENT OF TENDED SAMET SHOW ATED D SCHOW IN TERM AN IMPO
YPICAL USE OF PORTFO N PROFESSION OF ARC MMUNICATE DESIGN IDE GH DESIGNED SPACES. W F THE PORTFOLIO VAR D AUDIENCE, THE USE R THIS PORTFOLIO WAS C WCASE THE BEST WORK DURING MY TIME IN AR WHILE WE NEVER EXPR MS OF PRIDE, I BELIEVE ORTANT VALUE TO CON
gabby coleman architecture portfolio
perspectives
GABBY COLEMAN DESIGN I’ve wanted to be an artist for as long as I can remember. It wasn’t until I began my college search that friends and family suggested design engineering or architecture, and I began my first day of architecture school with a new goal – I aimed to figure out how I could blend my love for art with this new path. After four years of design school, I have realized that I am very interested in the power architecture has to influence change and create better lives for people. Service activities have helped me see that I seek an architecture career connects me to people. Moreover, I want to see and interact with the people I am designing for. I want to make change with my architecture degree. PERFORMANCE I firmly believe that all people deserve to be surrounded by good design – design that strives to create a positive and lasting impact on one’s life. We often have good intentions as we move through the design process, but the impact is greater than one person’s vision. I want to positively contribute to craft an improved experience for users with varying physical abilities and social backgrounds. PRIDE The typical use of portfolios in my chosen profession of architecture is to communicate design ideas realized through designed spaces. While the intent of the portfolio varies by the intended audience, the use remains the same. This portfolio was crafted to showcase the best work I have created during my time in architecture school. While we never express design in terms of pride, I believe that this is an important value to consider when thinking about good design. Being proud of one’s work is a leading value of a human creative.
PUBLIC ART INSTALLATION IN MANHATTAN, KS page 12 concept: “more than a color” competencies: site analysis, color, storytelling
ORIGIN EAST GREENHOUSE + COMMUNITY CENTER page 28 concept: “greenhouse greets community” competencies: schematic design, design development, architectural detailing
gabby coleman architecture portfolio
GRAPHIC T-SHIRT FOR A LOCAL NON-PROFIT page 64
VOLUNTEER FIRESTATION IN WAMEGO, KANSAS page 54 URBAN INTERVENTION IN ORVIETO, ITALY page 44 concept: “reflect modern culture” competencies: investigation, documentation, and intervention in a historical context
concept: “spatial adjacency” competencies: history, culture, and context
concept: “worldy woman” competencies: producing a graphic that conveys a message while remaining visually appealing to people of all indentities
more than a color a public art installation
This design aims to host a conversation about skin color by choreographing chance encounters between people and art. The term 'social justice' is realized headshots and personal testimonies. A rendered graphic projects the social dynamic of skin color through a sign-like panel.
Photography: Desmund Weathers Videography: Bailey Nobrega Models: Laken Horton, Tyler Burns, Francisco Cardoza, Bailey Porter, Michael Leverett, Xavier Deguzman, Paloma Roman, Darrell Reese, Tayyeba Muhammad Khan, Tristan Davis, Ayanna Phillips, Mario Garcia, Trihn Tran, Adam Carr, Evelyn Lucio, Grant Thompson, Jordan Kiehl, and Ryan Kelly Creative director: Gabby Coleman Artist & site designer: Gabby Coleman
gabby coleman architecture portfolio
gabby coleman architecture portfolio
site analysis
I was interested in disclosing something about social justice in the most signfigant intersection on campus, Bosco Plaza. It's the host to overlapping actions like student and community group events and major pedestrian flows in and out of the Student Union. Bosco Plaza is an edge for adminastrative change (Anderson Hall) and student opinion (Student Union).
(above) Ssite plan and diagramming: Bosco Plaza has a unique pattern of pedestrian traffic during peak class changes. It is most appropriate to passively disrupt people by placing the art should be installed at the intersections of paths.
gabby coleman architecture portfolio
a concept
more than
image story panel
a color
(below) vision meets panel Social justice is a structure that acknowledges the inequalities present in a community based on perceived & factual identities, adocating for equality. Physical appearance is used as a basis to seperate people through assessed differences. The stories of campus leaders were provoked by the following questions: What does social justice mean to you? How does your physical appearance impact your K-State story? How are you more than your skin color? A series of students' stories were shared in reference to their physical appearance. Using no more than 16 colors, these faces are rendered using a variety of intersecting layers that reveal their perceived differences while unifying their respective experiences. (right) final panel The panels are hosted by a steel frame. The steel frames have four steel plates that wrap the frame, like fingers holding a protest sign, to hide the bolted connections.
gabby coleman architecture portfolio
"I always try to go into situations knowing the color of my skin dictates how people see me, but I try to let my personality outshine the color of my skin. My skin color doesn’t necessarily determine what I am and what I’m not. MY PERSONALITY AND SPIRIT ARE WHO I AM, AND MY SKIN COLOR IS A BONUS." - Laken Horton
"Being mixed, in a lot of ways, it made things easier than that of a darker-skinned black person. SOMETIMES, YOU FEEL LIKE YOU ARE A REPRESENTATIVE OF THE WHOLE BLACK RACE. Playing football for three years stereotypes that I knew people had about black football players. In my head, I must make sure I’m being better than the stereotype. I’m always thinking about that."
THE STORIES
- Tyler Burns
gabby coleman architecture portfolio
"Skin color - that’s like the first thing you see right? There’s so much more to me. That’s like judging a book by its cover. It’s a cliché, but it’s the truth. THERE’S SO MUCH MORE TO PEOPLE THAT WHAT’S ON THE OUTSIDE. You shouldn’t worry about it – the outside. We should worry about character and value." - Francisco Cardoza
"I have very light skin, so a lot of people didn’t realize it or think that I was Asian. I never really confronted them about that either, I just kind of lived my life. I’M STILL NOT SOMEBODY WHO IDENTIFIES A LOT WITH THEIR SKIN COLOR as much, but I’m more receptive to how people perceive me and also the privilege that I have being more light-skinned than other people of color." - Bailey Porter
"Even though my skin color affects how I move around the world, I AM MORE THAN WHAT OTHERS MAY SEE IN ME. People automatically have assumptions based on what we look like and it may not be my skin color - it could be the shape of my head, how I walk or how I talk – it’s but especially my skin tone." - Michael Leverett
"I’m half Filipino and half Mexican, so I WHEN I DO SIT IN THE CLASSROOM AND LOOK LEFT AND RIGHT, THERE ARE NOT MANY PEOPLE WHO LOOK LIKE ME. That’s made me have to adapt and get comfortable with the uncomfortable. It’s made me who I am." - Xavier 'X' Deguzman
"I THINK THE UNIVERSITY CAN USE YOU AS THE TOKEN IMAGE OF A CERTAIN REPRESENTATION. I get to be one of the individuals that paves a path for my community. Although I try to use my platform for the better, it can be tiring. " - Paloma Roman
"I DIDN’T REALLY START COMING INTO MYSELF, MY SKIN COLOR, AND MY BLACKNESS UNTIL I GOT TO K-STATE – THE FIRST PLACE WHERE I FELT MARGINALIZED AND THE REAL EFFECTS OF RACISM, harsh remarks and microaggressions. I saw it face-to-face. It happened to me." - Darrell Reese
"When I was in Pakistan, my physical appearance was normal – the way I look and the way I speak. When I came here, I felt like a single piece. I WANT PEOPLE TO UNDERSTAND THAT I AM STILL A NORMAL PERSON." - Tayyeba Muhammad Khan
gabby coleman architecture portfolio
"I REPRESENT THE MISCONSTRUED IMAGE OF A BLACK MAN, AND I’M OFTEN PERCEIVED AS A THREAT. That’s just surface level - you must get to know me to understand who I am. - Tristan Davis
THE STORIES
"YOU ARE MORE THAN YOUR COLOR WHEN YOU USE YOUR COLOR TO DEFY STEREOTYPES, STEP OUT OF YOUR OWN BOUNDARIES AND CREATE EXPERIENCES FOR YOURSELF AND FOR OTHER PEOPLE. It’s being an example for other people." - Ayanna Phillips
"Great leadership opportunities have come my way during my five years at K-State, but BEING A PERSON OF A MULTICULTURAL BACKGROUND, I FELT AN OBLIGATION TO BE, IF ANYTHING, A GOOD ROLE MODEL FOR FUTURE STUDENTS." - Mario Garcia
"Being a minority, I UNDERSTAND THAT I SHOULDN’T COMPARE MYSELF WITH OTHER GROUPS. MY SUCCESSES ARE MY OWN STORIES, and whatever work I put in are my responsibilities. " - Trinh Tran
"It’s something that has been defined for you, when people see your color, they have created the definition of who you are from it. I am more than that in every sense. I CREATE THE STORIES THAT MY IDENTITIES HOLD, AND I GIVE THEM MEANING AND I GIVE THEM POWER, I CAN’T ALLOW OTHERS TO DO THAT, and so I think that, in that moment, I am more than my color."
THE STORIES
- Adam Carr
gabby coleman architecture portfolio
"People throw around stereotypes like 'you're not brown enough or you're the light-skinned Mexican'. WHEN PEOPLE SEE ME SPEAKING SPANISH, THEY ASSUME THAT I AM MIXED. AT FIRST, I WAS EMBARRESSED TO SPEAK SPANISH BECAUSE I DIDN'T WANT TO DEAL WITH THOSE COMMENTS. Now, I'm just like, hey, I'm Mexican - we all come in different shapes and colors. People have an idea of what Mexicans should look like, and I'm glad I can represent a different side of that." - Evelyn Lucio
"Being a white man on K-State's campus has probably helped me in ways I don't even realize. BEYOND SKIN COLOR, BEING A GAY MAN ON THIS CAMPUS PLAYS INTO MY APPEARANCE AS WELL - the way I dress, the way I act, and the way I move. I've definitely had to adjust how I see myself becuase of how people see me." - Grant Thompson
"I have a lot of privilege in this world. For me, SOCIAL JUSTICE IS USING MY PRIVILEGE TO ADVOCATE FOR OTHERS. When we talk about skin color or race, that’s not enough to understand where they come from and how that’s shaped their experience at K-State." - Jordan Kiehl
"Am I being too white for the black people? Am I being too black for the white people? I FIND MYSELF IN THIS CONSTANT TUG OF WAR, AND IT HAS PRESENTED CHALLENGES NOT ONLY IN THE WAY I VIEW MY IDENTITY BUT ALSO IN THE WAY I APPROACH LEADERSHIP." - Ryan Kelly
multicultural student center a new building type Multiculturalism is the co-existence of diverse cultures, where culture includes racial, religious, or cultural groups and is manifested in customary behaviors, cultural assumptions and values, patterns of thinking, and communicative styles. Building a space that nurtures diverse social contact should be centered around the celebration of food because eating affords us a social experience. We have a history of gathering around the preparation and consumption of food. Our first human interaction as is a human is about food, and every culture and religion use food as a part of their celebration. This thesis project insists that a multicultural student center on K-State’s campus should emerge from its context as a really good place to break bread.
gabby coleman architecture portfolio
Adapted from Eating Architecture
site development
The history of K-State’s campus landscape presents a unique precedent of our school’s character, specifically the opportunity to establish a structure that will personify a commitment to inclusion. Kansas State University, formerly Bluemont College, was founded in 1858. In 1863, the institution became a land grant college whose primary purpose was to research and determine which plants could be cultivated and grown in the Kansas Prairie landscape and to provide the information to the general public. This thesis program considers not only the use of the land that Holtz Hall currently occupies but a contemporary intervention of the historic building itself. Holtz Hall nests within a landscape of academic and administrative buildings whose services support the need for a multicultural student center. This site emerges from its context as a host to interaction and possesses a unique independence from its context. (below) SITE PARTIS (right) SITE CONTEXT, HISTORIC CORE CAMPUS
gabby coleman architecture portfolio
Hale Library
Regnier Hall Holton Hall Eisenhower Hall
Holtz Hall
Seaton Hall
Anderson Hall
K-State Student Union
Kedzie Hall
origin east
a greenhouse + community center The context of the historic Heim Brewery site is a blend of dominant industrial spaces and sparse green spaces. This design aims to create a new typology by lifting greenspaces and interlocking community spaces. The mass of this design emulates the strong forces creating by existing circulation paths and is separated into programmatic zones. The first floor volume bridges the gap between two railway systems that define the site’s natural edges. A simple twist in the form allows community spaces to greet patrons upon arrival. As a result of these two forms stacking, the community can visually engage with greenspaces upon entry.
gabby coleman architecture portfolio
site development
Originally shut down during prohibition, the remaining buildings of the Heim Brewery are now leased to different industrial entities. Site B rests in a parking lot and greets car traffic on both Chestnut Trafficway and Guinotte Avenue. Overlapping forms respond to the three contextual circulation paths, providing zones for program.
(top) THE ESSENSE OF EAST BOTTOMS: The East Bottoms district features industry, food, and interlocking transits systems. East Bottoms is known for its mix of local flavor and nodes of history. (left) SITE INFLUENCES: The context of the historic Heim Brewery site is a blend of dominant industrial spaces and sparse green spaces. This design aims to create a new typology by lifting greenspaces and interlocking community spaces.
gabby coleman architecture portfolio
RESIDENTIAL
INDUSTRY
EAT + DRINK
GREENSPACE
RIVER
URBAN CONTEXT east bottoms, kansas city, missouri
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key: entry flex dining kitchen fish tanks mechanical storage loading dock exterior gather exterior pond exterior gardens sculptures parking admin co-working courtyard hanging planters community garden
greenhouse
community
grow
gather formal evolution: Site B allowed the opportunity to create a new edge or front door at Origin East in the midst of a historical and industrial context. I found an interest in the connectin between growth and gathering. This scheme demonstrates the community supporting the greenhouse through placing public meeting spaces on the first floor and lifting spaces that celebrate the growing process on the second - creating a social and spatial transformation. The term “intersectionality� is used to describe this relationship. Intersectionality favors creating relationships across mutiple dimensions and modules.
front elevation: the facade you are met with upon first approach reveals the public activity that occurs within the building - an invitiation to enter
gabby coleman architecture portfolio
longitutinal section: double height spaces and an open, public stair reveal a visual link between the public zones and the greenspaces on the second level. spaces that encourage community can be seen in both the horizontal and vertical axis.
gabby coleman architecture portfolio
developing east bottoms: Redevelopment is beginning to occur at within a 2 block radius just west of the proposed site. The building’s facade is intended to engage with users from afar and draw them closer.
approaching the site: This site is unique because it is presents an conntection to vehicle traffic passingby on an adjacent elevated highway. Pedrestrians also engage with this bridge as it restricts some views to the site, acting as a new front door.
gabby coleman architecture portfolio
gabby coleman architecture portfolio
“a new front door”: Passing through the “new front door” unveils billowing exterior softscape, community gardens, and exterior dining spaces.
approaching the site: The form emulates the strong forces created by excising circulation paths and is separated into programmatic zones. The second floor is dedicated to bright, engaging spaces that host two different zones of greenhouse programs. The greenhouse is supported by the community meeting, gathering, and administrative spaces that are most accessible to the public as they enter Origin East.
gabby coleman architecture portfolio
gabby coleman architecture portfolio
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hypothetical graphic art instillation defining orvieto’s modern culture
Graffiti is a complex art form that aims to capture a story. I am interested in producing a set of street art graphics to be displayed along the streets of Orvieto that would reflect the modern culture of the city. This hypothetical intervention is intended to be a powerful statement regarding the current lack of modern art appreciation present in Orvieto. Through the development of this design proposal, I hope to solidify my artistic values while expressing my cultural appreciation of Orvieto.
gabby coleman architecture portfolio
gabby coleman architecture portfolio
perspectives
why graffiti GRAFFITI Art has the ability to preserve a culture in a way that history is unable to. It transcends space and time, develops opinions, and translates experiences. By analyzing our past through the images of its people, we are able to communicate ideas. We have been leaving our creative mark on vertical structures for thousands of years, and what began as primitive etchings or cave paintings has evolved into a world-known phenomenon most commonly referred to as graffiti. It is no longer just an illicit activity that produces writings or drawings scribbled on a surface in a public place. STORYTELLING Graffiti is a complex art form that aims to capture a story. I am interested in producing a set of street art graphics to be displayed along the streets of Orvieto that would reflect the modern culture of the city. This hypothetical intervention is intended to be a powerful statement regarding the current lack of modern art appreciation present in Orvieto. Through the development of this design proposal, I hope to solidify my artistic values while expressing my cultural appreciation of Orvieto. CONTEXT By introducing graffiti throughout the streets, specifically in the most active zones of the city, I believe that the lives of the inhabitants and visitors would be positively impacted. I have developed a series of representations that represent Orvieto’s essence in two scales: non-invasive wayfinding graphics that encourage use of a currently abandoned space and an overall composition implemented into an existing park that captures the essence of my experience this semester. A series of mockups and iterations alongside a master plan of ideal locations communicates the project. Through feedback and critiques, I have refined these compositions through a hybrid process of sketch, watercolor and digital reproduction. My final output reflects the cyclical design process I used to develop graphics that suit their context as well as the spatial implications these hypothetical art instillations will have on the streets of Orvieto.
graphic methodolgy
Graffiti can be found on vertical structures throughtout Italy, and it is beginning to make an appearance in Orvieto. I aim to begin the integration of graffiti with my graphics with the understanding that my sketches represent a moment in time and will be covered by future art. Through a cyclical graphic method, I aim to produce graphics that represent key memories and loose personifications of our experiences. The result of this process is my intervention.
WHERE COLOR + SKETCHES MEET: The colors used in the final renderings of these sketches are in response to the context of the site, colors that occur in Orvieto’s enviroment. These colors were applied as an underlay to my sketches in Illustrator after the sketches were scanned and converted to vector images.
gabby coleman architecture portfolio
place BAR MONTANUCCI: Bar Montanucci was a local coffee shop a couple steps from our studio along the major trafficway of upper Orvieto. This place was a gem in the eyes of locals and tourists alike - a coffee shop by day and a bar by night. This image is a personification of Bar Montanucci seen through a sketch of my friend, Slovik, paired with renderings of coffee and creme croissants.
memory CECELIA + CODY: No one personifies our field trips better than our program director’s daughter, Cecelia. She made a friend in all of us when she passed out her Ritz crackers to anyone willing to make a new friend in her. Here you can see Cecelia’s best friend, Cody, giving her personification a piggy back ride after a long day exploring the Italian countryside.
people MORGAN & JAYE: A few of my sketches are graphic representations of the people I studied abroad and the things I learned about them. One of my favorites is this one of my friends, Morgan and Jaye. We spent a lot of time together, and if you easedropped on our conversations, the majority of them were about food. Morgan and Jaye are rendered wearing an abstraction their favorite Italian beer and American snacks.
gabby coleman architecture portfolio
gabby coleman architecture portfolio
reimagining dead zones: I am interested in how different roles of clients pertain to certain aspects of programming. I hope that each profile of user feels there is a route totake (specifically designed for them), promoting the level of community present in this proposed collaboration. The site requires the proposed wellness center to an urban infill as it will rest between two existing forms. The initial proposed form features angular pulls towards and away from the context to bring attention to its program and allow light into lower floorplates. This study showcases my thought process as I integrated my findings with the sites unique spatial restrictions and the programmatic zones.
wamego firestation “fire + flint�
The Wamego Fire Station aims to create a strong sense of adjacency in relation to its’ small-town community context. By pulling the form towards keys places in the community as well as arranging the three programmatic zones independently next to one another, this design iteration achieves a strong relationship with the street facades and a inviting visual connection to community members alike.
gabby coleman architecture portfolio
conceptual art pieces: The conceptual phase of this projecy began with a self-refection, readings, and preparing art pieces for a concept pitch. The skeches above are reproductions of my original conceptual models, and each represents an ideal I believe a firestation should posess. From left to right: adjacency, transparency (model two and three), beacon, transition, and warmth
site influences
A firestation is a landmark in its community, so it should present itself as approachable. This site sits on a corner site with spacial connections with a public park to the north, and the downtown coridor exists just one block to the west.
celebrating context: Wamego is a small-town with old Hollywood influences. This hypothetical project’s site would require a relationship with the adjacent downtown corridor, a source of tourism and rich history. The formal typeology of this design considers a firestations role in the community as well as the the role Wamego’s residents will play in the interior community spaces required by this project’s program.
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gabby coleman architecture portfolio
GREENSPACE
SITE
DOWNTOWN
RIVER
RESIDENTIAL
URBAN CONTEXT wamego, kansas
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gabby coleman architecture portfolio
seperating programmatic zones: The building’s form pushes and pulls toward key places in community creating avisual and formal connection. In the interior, three programmatic zones were considered and divided for optimal operational efficiency. The yellow zone represents public spaces where spaces like the public meeting room exist on the corner with views to the park. The pink zone protrays the private living quarters for the on-duty firefighters, placed adjacent to the apparatus room and supported by the administrative core of the building.This strategy promotes a natural order which is conveyed in multiple dimensions like building entry. seperating programmatic zones: Building entry is divided into two seperate experiences depending on use.
(left) building entry: A compressive ceiling plane in the entry challenges user to evaluate purpose upon entry. The firestations most public zones are pushed towards the street corner to ease user access which creates a dividing access between comunity spaces and support spaces. Specifically, the decontamination spaces (service) and administrative spaces (public) are separated by the implied vertical divide of the apparatus room, demonstrating a clear adjacency of roles. (right) form study Small sketch studies were completed during the conceptual stage of this design in order to complete an analysis of form options.
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gabby coleman architecture portfolio
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key: lobby community gathering space administrative support apparatus support apparatus meeting space restrooms exercise room
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graphic t-shirts stand up for your sister Stand Up For Your Sister is an active community working to empower young adult women facing mental illness, loss, abuse, eating disorders, assault, and other taboo topics and aims to support those who believe they are alone in these battles. Stand Up supports women through financial assistance and engaging presentations while educating all individuals in leading the movement of breaking down stigmas and educating others around them nationwide.
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gabby coleman architecture portfolio
MAKE A CHANGE. “1 OUT OF EVERY 4 COLLEGE STUDENTS SUFFERS FROM SOME FORM OF MENTAL ILLNESS” “19 PERCENT OF YOUNG PEOPLE IN THE U.S. EITHER CONTEMPLATE OR ATTEMPT SUICIDE EVERY YEAR” “75 PERCENT OF COLLEGE STUDENTS DO NOT SEEK HELP FOR MENTAL HEALTH PROBLEMS” These are not just numbers thrown on some webpage. Each number is an individual life: a real, unique story filled with both triumphs and struggles, laughter and sorrow. Together we can change these numbers, break down the stigmas surrounding such issues, and create a world of bold women ready to live authentically and love unconditionally. Statistics provided by www.healthline.com
design development v.1
I worked with the SUFYS founder, Staci Gann, to produce a hand-drawn, computer-rendered t-shirt graphic which was later screen printed onto t-shirts through a local print shop and sold to over 300 college students and allies across the Midwest. I produced three initial concepts that were ultimately voted on by our general body members. Once the concept was chosen, I refined the design through three iterations wirh imput of the organization's founder and our printing company. All proceeds went to the SUFYS program.
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gabby coleman architecture portfolio
(top) FINAL MOCKUP: The design scope also includes the brand of t-shirt, color shceme, and print production. (left) DESIGN INFLUENCES: Hand sketch iterations were produced in a reflective, cyclical proess. I was heavily influenced by the mission statement of SUFYS, specifically the “worldy woman” aspect. Three personifications of this phrase were created and voted on by the leadership team. The rendered mountain scene to the far left was the final design and can be seen on the back of the t-shirt.
design development v.2
I worked with the SUFYS founder, Staci Gann, to produce a hand-drawn, computer-rendered t-shirt graphic which was later screen printed onto t-shirts through a local print shop and sold to over 300 college students and allies across the Midwest. I produced three initial concepts that were ultimately voted on by our general body members. Once the concept was chosen, I refined the design through three iterations wirh imput of the organization's founder and our printing company. All proceeds went to the SUFYS program.
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gabby coleman architecture portfolio
(top) FINAL MOCKUP: The design scope also includes the brand of t-shirt, color shceme, and print production. (left) DESIGN INFLUENCES: Hand sketch iterations were produced in a reflective, cyclical proess. I was heavily influenced vintage feminism graphics. Four personifications of this phrase were created and voted on by the leadership team. The oval floral to the far left was the final design and can be seen on the back of the t-shirt.
education
Kansas State University Manhattan, KS
Master of Architecture Leadership Studies Minor Aug 2014 - May 2019
APDesign Italian Studies Orvieto, Italy 14 credit hour education abroad program Jan 2018 - May 2018
honors and affiliations Women in Design Vice president Design organization focused on celebrating and encouraging the interdisciplinary success & leadership of women
software + addit. skills
National residence hall honorary Vice president Revit 2017 Rhinoceros 5 InDesign CC 2017 Illustrator CC 2017 Photoshop CC 2017 Wordpress Bluehost
Creative collaboration Schematic synthesis Content creation Watercolor media Acrylic media Graphic media Digital graphics
professional experience Architectural intern STG Design, Nashville May 2018-Aug 2018 Prepared schematic design presentations for two multi-use commercial highrise buildings in Downtown Nashville Implimented design changes for a series of small-scale healthcare facilities to meet strict client deadlines Collaborated on schematic concepts with interior design professionals Architectural intern BRR Architecture, Kansas City May 2017-Aug 2017 Produced construction document sets for 20 small-scale retail projects while learning professional practice skills in a collaborative, team-based environment Participated in a series of six architectural focus sessions aimed at educating students and incoming designers about the business of architecture Resident assistant Kansas State University Haymaker Hall, Aug 2018 - present Goodnow Hall, Aug 2016 - May 2017 Putnam Hall, May 2015 - Aug 2015 Assisted in administrative responsibilities such as writing reports, confronting conduct violations, responding to resident issues, and hosting prospective students
Administrative assistant Kansas State University Aug - Dec 2017 Sep 2014 - May 2016 Provided clerical and administrative support to residence life professionals and student staff Graphic designer, team leader Stand Up for Your Sister Jan 2017 - present Designed a hand-drawn, computerrendered t-shirt graphic for a non-profit organization that provides an empowering community to young adult women facing mental illness, loss, abuse, eating disorders, assault and other taboo topics
Leadership-based honorary comprised of exemplary residence hall students who value recognition, service and recognizing the ‘invisible leader’ LEAD 212 class leader Teaching assistant Facilitated small group discussions, lead active-learning exercises, created a learning community with students, and performed administrative duties Mortar Board Senior Honorary Class of 2018 member National honor society that recognizes college seniors for their achievements in scholarship, leadership and service, promotes service to colleges and universities and encourages lifelong contributions to the global community APDPro Profesional Development 5 yr member Active participant in workshops, lectures, seminars, professional mentoring and leadership activities
College ambassador College of Architecture, Planning, and Design Jan 2016 - present Representative, tour guide, and host of K-State’s College of Architecture, Planning, and Design’s environmental design and undergraduate program Homecoming committee KSU Alumni Association Mar 2017 - Nov 2017 Planned Paint the ‘Ville, an event that partners with the local businesses in Aggieville to host KSU Greek life, living communities, and student organizations in a creative decorating competition
GABBY COLEMAN
gkc@ksu.edu 210 896 3308 blog: www.gabbykirsten.com
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thanks! let's chat soon!