Education
Texas A&M University College Station, Texas Bachelor of Environmental Design, 2012-2016 GPA: 3.8
Work Experience
TEEX Product Development Center College Station, Texas January 2016-Present Lead Designer Blurred Bodies Installation: Studio Roland Snooks Austin, Texas November 2015 Fabrication Team Express Clothing Store College Station, Texas October 2013 - December 2013 Bonnie Cokinos School of Dance Beaumont, Texas Summer 2011 Muralist
Publications
Featured Freshmen work Axiom Magazine 2012 Deformative Reconformity Axiom Magazine 2016 Drawing Without Paper Texas Architect: Raw and Synthetic: March 2015 Suckerpunchdaily.com: Poro-Eco-Logies Estranged Transgression Archstudentshub.com: June 2015 3nta.com: June 2015
Skills
Maya, ZBrush, AutoCAD, Rhino, Revit, Grasshopper, Adobe Creative Cloud, Maxwell, Octane, Unity, Geomagic, Keyshot, Microsoft Word, 3D Printing, iMovie
Contents I. Estranged Transgression II. Drawing Without Paper III. Deformative Reconformity IV. Object Obscuration V. Figural Fragmentation VI. Reticulate VII. Shift VIII. I-12
Estranged Transgression Study Abroad Italy Studio, Spring 2015. Instructor: Paulo Bulletti, Dr. Elton Abbott
I. Estranged Transgression
In collaboration with Carolina
Study Abroad Italy, Spring 2015. Instructors: Paolo Bulletti, Elton Abbott
In collaboration with Carolina Berkheimer, Carolyn Hoeffner, Christian Roose
Dual Materiality Corner from the City Sketch
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Section
his project serves as a new identity for Castiglione Fiorentino, Italy. The intent of the design is to connect the old city with the new city by studying the distinct patterns of the area such as, corner conditions that show bi-materiality, framed views, and piazzas. Gardens provide opportunities for visitors to have direct contact with plants and learn agricultural techniques. In Estranged Transgression, different objects are frozen in time and are mixed to create a field of different time periods based into one location. The modern, deconstructivism, and the postdigital are all present. Through investigations and comprehension of Bricolage in Levi Bryant’s
Concept Sketch
book, The Democracy of Objects, we created an object that attempts to forge heterogeneous matter into a consistent object. This structure may seem alien to the existing site, but has the same elements present in the city with a different way of enhancing the same architectural language. In order to consider mnemonic recollection of the past as something that does not simply mean historicist recollection of past motifs, instead, it is an evolutive transformation and enlargement of the axiomatic principles of organizing systems with the capacity to engender new configurations of formal arrangements.
Physical Model Photo A
Physical Model Photo B (Above)
Physical Model Photo C (Right)
Isometric Exploded Floor Plans
Piazza Exterior Render
II. Drawing Without Paper Poro-Eco-Logies, T4T Lab Spring 2014. Instructors: Bruno Juricic and Gabriel Esquivel. In collaboration with Drew Busmire, Kathleen Sobzak, Adam wells
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rawing without Paper began with the desire to remove anthropocentrism in architecture by means of the Eisenmanian challenge of scale. The progression of the project led to the distinction of the Proto-Synthetic (raw) and Synthetic. From this, we then frame the discussion around these two categories in terms of Eisenman’s argument of Arrows, Eros and other Errors which discusses recursivity, discontinuity and self-similarity. As a result of the actualization of the proto-synthetic to synthetic, we produced the scientific image and the estranged object of desire.
Section
Massing
Multi-Scalar Superimposed View
CNC Model Interior 01
CNC Model Interior 02
3D Printed Chunks
The project relies on a variety of different mediums including text, image, drawing and video that are dependent on each other in order to form the true object of desire. When we look at the top image on the previous page, it is not one singular image, but a collective of many digitally manipulated images layered and collaged. This image eliminates any trace of the origin. The studio is framed in these terms “raw and synthetic�. Through this project we view the raw as a direction rather than a destination. When looking at the 3D printed section, we instead view them as 3D drawings, since they are a collection of 2D liens that have been layered on top of one another. These 3D drawings move towards the raw but never reach a pure raw state, ending at what we call proto-synthetic. The CNC model works in a different manner. The origin of the model is a single block of foam, and through a series of steps that corrode this object, the creation becomes a proto-synthetic representation of its former state. From this we understand that proto-synthetic was self-manifested and omnipresent from the synthetic.
Concept Sketch of Hyperloop Ticketing, Security, Luggage Drop-off System
1. Block with Hyperloop Transport Tubes
3. Insert Boolean Object
2. Block carved out from Highway Geometry
4. Boolean + Original Merged
III. Deformative Reconformity Junior Studio, Fall 2015. Instructor: Brian Gibbs. In collaboration with Bobby Nolen, Christian Stiles
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yperloop is an idea presented by Elon Musk that allows travelers to travel from Los Angeles to San Francisco in 30 minutes. This hyperloop can travel up to speeds of 750 mph. Our task is to design a station in pursuit of understanding the quick succession from passengers purchasing tickets, going through the security scan, placing luggage at their proper luggage compartment, and departure. Other programmatic sections include a ground level hub where all pedestrians enter, retail stores, coffee shops, and restaurants. Along with the understanding of the hyperloop concourse, there is a pod station that performs maintenance on all pods. Deformative Reconformity is a proposed Hyperloop station that is sited in Burbank, California. In our project we introduced the notion of deformation through different agents: agents that over-time, deform the original object to a point of exhaustion.
Interior Render of Passenger Station
Physical Model
Section
We began by exploring the ideas presented in Eisenman’s book, “Ten Canonical Buildings”, as part of the chapter covering Daniel Libeskind’s Jewish Museum in Berlin. In this museum, according to Eisenman, the idea present is the deconstruction of the axis. The orthogonal axis that is contested through the zig-zag form that discontinues the linear inaccessible void throughout the whole object. The museum is also an example of indexicality, in which there are a series of indexes that act as signs that later can be understood as an imprint and trace. From there, the Boolean object is introduced. This object is the pure presence of the tubes, in which the form of the object is directly referential to the geometry of the Long Elevation
tubes. In the initial iteration of our project, this object was used as a subtractive object by the way it created voids going through the exterior surface of the building. The Boolean object was placed and taken away leaving a trace of what was once present on the massing object. The Boolean object was reinserted into its original position that created a nesting effect on the overall object. Therefore the Boolean becomes a trace that left an imprint (voids) on the massing object when it was a subtractive form, and is an additive form that created a re-imprint of the object with the trace (exterior irregular voids).
Automobile Transportation Station
Ticketing - Luggage System
Hyperloop Pod Maintenance
Passenger Station
IV. Object Obscuration Object Redux, T4T Lab Spring 2016. Instructors: Adam Fure, Gabriel Esquivel In collaboration with Maria Fuentes, Tung Nguyen, Eline Verhoeven
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ithin the realm of representation, a resolution occurs during the transition between mediums: creating the possibility of emulating new objects. Through the initial process of photogrammetry, we rediscovered the idea of flattening. The camera was a marker between physical to digital; a loss in information created formal and textural discrepancies. Reproduction of these objects in the digital form can be controlled through the amount of photos used. The categories of objects in our mereology consisted of: physical natural rock, physical synthetic rock, and rock-like object. The post processed objects share unequivocal qualities that dissolve into the same field to a point of obscured qualities between the three categories. The notion of flattening serves both as a product of photogrammetry and the pure digital, pure physical, translation between physical to digital. The project contains two autonomous forms that create the illusion of a dichotomy rather than a visual articulation of cohesion. In a trivial notion, this illusion represents these flat planes as a form of disruption through the splitting of these objects, but what these planes are argued to do, is create a plane in which the objects have a relationship with the ground. This contains the idea of figure and ground and that all of the objects are on the same field of different degrees of flattened representations.
Mereology of Objects
Low Polygon Mesh Count ~ 10,000 Polygons
Medium Polygon Mesh Count ~ 450,000 Polygons
High Polygon Mesh Count ~1,000,000 Polygons
V. Figural Fragmentation Indexicality, Fall 2014. Instructor: Gabriel Esquivel.
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ituated in Houston, Texas, Figural Fragmentation is a Jean Paul Gaultier Designer store and showroom. The Designer Store proposal investigates the architectural precedent of Case Study 20B, The Bass House by Buff, Straub and Hensmen. Through different misreadings of the initial floor plan, the analysis transgressed with the notion of a didactic system between figural and orthogonal form to the figure as an index to fragment the orthogonal forms. The diagram was then translated to the analog model in which the line-work was introduced to further index the importance of the figure. In this sense, reverberation of lines coming from the figure have a higher frequency and through proximity, the lines dissipate; this dissipation of lines does not follow the geometrical form logic. The showroom was directly modelled after a dress from Designer Jean Paul Gaultier. The linework of this dress, in contrast, has a direct relationship with the form of the object.
1. Regulating Lines
2. Misreading Oddities
Original Floor Plan
3. Final Scheme Overlay
Roof Plan + Section
Study Model North View
Study Model South View
Study Model Top View
The studio examines the focal shift in architecture from a subject-centered to an objectoriented design. The objects are differentiated in which one is a study of a canonical building from the case study houses, while the other is the development of various couture forms to computationally adjust spatial characteristics such as pleating and folding. By this set of processes, we begin to understand the autonomy of architecture in which the two objects form a new relationship.
VI. Reticulate Digital Fabrication Lab, Fall 2014. Instructor: Gabriel Esquivel In collaboration with Ricardo Gonzales, Christian Stiles, Adam Wells, Matt West
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eticulate is a digital fabrication project that focuses on the interaction between various networks of lines distinguishing the surfaces of two faceted objects. These linear networks all have different objectives and once they are layered or super imposed on the object, each system informs or is informed by a separate system. These lines inevitably create a hierarchy that highlights the form of the object over everything, but still allows for the other linear organizations to fight for the attention of the viewer. This surface forces the viewer to acknowledge the individual characteristics of each network while still viewing the objects as a whole. The light and shadow also play a role, as the light streams through the large gashes in the object and casts shadows that begin to distort or emphasize certain lines.
1. Origin
2. Up Shift
3. Side Shift
4. Duplicate + Rotate + Expand
5. Duplicate + Expand + Shift
VII. Shift Summer 2016, Personal Project.
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he design process began on the observation of contemporary suburban house typologies. Despite the fact that modernism, post modernism, and any era in succession, middle-class traditional homes did not witness this paradigm shift. Why did many architectural ideas not trickle down to the lower classes? Is the relationship defined as visible change is commensurate to the amount of money put into the design? If that were the case, any lay person would never know what architecture can have the potential to be, let alone how important design is, if they are surrounded by the quotidian. Maybe the same relationship can be analogous to, the less money there is in the budget, the slower (longer time) it takes for there to be any noticeable nuances. Shift house is designed to slowly introduce a different design while still having the presence of a middle class home. Sometimes in order for there to be change, there has to be minute metamorphosis first before the birth of the new suburban house typology.
Oblique Floor Plan
VIII. I-12 Integrated Studio, Fall 2016. Instructor: John Craig Babe. In collaboration with Jo Kim.
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ontextualized in Houston, Texas, on the corner of Montrose and Westheimer, I-12 is a design proposition for the new Contemporary Art Museum. The project deals with how natural light is imbedded into the galleries and understanding the importance of structure. The idea of expressing structure either formal or informal was investigated through Cecil Balmond’s book, informal. The Art Gallery will house contemporary art from a range of local to international artists. In the beginning, the idea was to have a void that brings in light to the galleries, but instead, after the 12th iteration (hence the name I-12), the light is filtered in through a solid with a frosted glass materiality. The use of these lightfiltering objects establishes the heirarchy of spaces. Every space that is affected by the placement of these objects assimilate to the light object’s axis. The project stresses the importance of the section and plan through implications of the promenade.
Nolli Plan
Study Structure Models
Light-filtering Objects
Perforated Steel Panels
HSS Tube Frame Wide-Flanged Steel Girder: 21� depth Grade Beam
HSS Tube Supports
HSS Column
Supporting Pier
Exploded Axonometric Structure
Exterior Render
Floor 01 Plan
Floor 02 Plan
Floor 01 Framing Plan
Basement Floor Plan
Double Glazing Unit Extruded Aluminum Transom w/ Toggle Fixing
Floor 02 Framing Plan
6” Concrete Floor Slab w/ 2” Steel Decking
Column to Beam Connection
12” x 12” HSS Column
Capping Profile for Steel Glazing System Crossing Floor
Roof Framing Plan
Light Filtering Object Connection Detail
Insulation
21” Wide Flange Girder
21” Beam
Tension Cable Lighting System
Double Glazing Unit Roof to Facade Detail
12” x 12” HSS Column
Single Pane Window
Mullion Detail
Perforated Steel Panel
2” Metal Decking
Floor Connection Detail
Facade Detail
Main Staircase Inside Light Object Render
Physical Model View from Westheimer
2nd Floor Gallery Interior Render
Physical Model View from Montrose
Contact justinzumel@tamu.edu 409-225-4229 502 Southwest Parkway Apt 703 College Station, Texas 77840