Katelyn Dimopoulos | Portfolio 2022 by Katelyn.Dimopoulos

Ka t el yn Di mopoulos Portfolio 2022

4-5

RESUME

SCHOOL PROJECTS

TAB LE OF C ONTENTS

6-15

IMPERFECT HARMONY | site study, cultural impact, equity

16-21

URBAN CULTURE FACTORY | form making, materials, modularity

22-25

MATHEMATICAL SURFACE ART | parametric design, expression

26-33

INTERPLAY HOVER STATION | interative design, play, structure

34-37

LANGUAGE OF LINE | photography, drawing, sculpture

38-43

RESILIENT RECONSTRUCTION | story telling, diagraming, research

44-49

RUBBLE TO RENEWAL | materials, recycling, structure

50-51

ARTWORK | drawing, collage, painting

RESEARCH

PERSONAL

SECOND F

digital journal stage 3

FIRST FLO

katelyn dimopoulos

2017

Emergency Preparedness Planning`

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Power to the Petals The Enneper surface is now taken to its most round composition. The pow set to [3,3,3] and the output surface is duplicated and rotated 90, 180, and degrees. The isocurves and data points are also displayed to emphasize central core of the art piece. 37

CIRCULAT

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14 , S o 00 0 la r S Sol tre ar et Lam Li gh ps ts

Home Repairs & Rebuilds

Solar Panels

Solar Don ations

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BELOW GR

Solar Lighting

Self- Sufficency

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EDUCATION

WORK EXPERIENCE

MASTER OF ARCHITECTURE, 4.0

RESEARCH FELLOW

Georgia Institute of Technology Aug. 2019 - May 2022

BACHELOR OF SCIENCE IN MECHANICAL ENGINEERING, 3.5 Mercer University Aug. 2013 - May 2017

Hart Howerton, San Francisco, CA May 2021- Aug. 2021 Studied resilient reconstruction in reponse to climate change and natural disasters Travelled to Puerto Rico for 3 weeks to support this reserach Currently writing and designing a 150 page book with my research findings to share with industry professionals

GRADUATE TEACHING ASSISTANT (GTA)

AWARDS Hart Howerton Research Fellowship May 2021

Alberta Arts Gradaute Scholarship Mar. 2021

GaTech Advanced I Studio Portfolio Competition Winner

KATELYN DIMOPOULOS

Dec. 2020

GaTech School of Architecture Collections: Selected Best Work Dec. 2020

AIA Georgia 2020 EarthShare Fellowship Recipient May. 2020

Core I Studio: Selected Best Work Dec. 2019

ATHLETIC ACHIEVEMENT

Georgia Institute of Technology, Atlanta, GA Jan. 2020 - May 2022

Program and safely run the machines in the Digital Fabrication Lab.

CIVIL/STRUCTURAL DESIGN ENGINEER, EIT KCI Technologies, Atlanta, GA Oct. 2017 - Jun. 2019

Designed and developed bridge, roadway, and drainage construction documents for local and state municipalities.

UNITED NATIONS ENGINEERING INTERN

United Nations Humanitarian Response Depot, Brindisi, Italy Jun. 2017 - Aug. 2017 Designed and tested modular humanitarian relief products to improve the response time and effectiveness during world emergency situations.

STUDENT LEADERSHIP School of Architecture Chair Selection Committee (Spring 22) Large Firm Round Table Dean’s Forum: Slected Georgia Tech Student to Attend Founder and President of ECO at GaTech Graduate Ambassador for the School of Architecture Vice President of Graduates for Equity in Architecture (EQiA) Core I, II & III Graduate Student Advisory Committee Representative (2019-20) Justice, Equity, Diversity, and Inclusion Architecture Student Task Force Leader

NCAA DIVISION I SOCCER Mercer University Aug. 2013 - May. 2017

2016 Pre-Season All-Conference 2015 2nd Team All-Conference Mercer Soccer Offensive Player of the Year 2015 season All-Conference Academic 2013-17

VOLUNTEER WORK DESIGN AND DISASTER RESPONSE & NEW STORY CHARITY Jun. 2020 - Present

Collaborative group of architects, urban designers, non-profit leaders, engineers and students alike that research emergency housing solutions and their application.

MUSEUM OF DESIGN ATLANTA (MODA)

DESIGN SKILLS Rhino Grasshopper Revit Cove.Tool InDesign Illustrator Photoshop Digital Fabrication

Oct. 2017 - Present

Help with professional design lectures and interactive learning events with children.

GREENBUILD CONFERENCE VOLUNTEER Oct. 2019

MERCER ON MISSION MADAGASCAR May. 2015 - Jul. 2015

Worked with local governments and pump manufacturers to improve sanitation and water resiliency in rural communities.

478.718.0888 kate.dimopoulos@gatech.edu Atlanta, GA

IMPERFECT HARMONY 6

Imperfect Harmony symbolizes the role that architecture can have on the fight against systemic racism in America, and the vital role that the people play in this fight. Located at infamous Paschals Motor Hotel in Vine City, Atlanta, the site is a historic site for civil rights and democracy. Taking that into account, the proposed building is attached to the historic hotel, pulling from its embodied energy, and explodes out to the neighborhood and city through sound and architecture. The building is meant to be shell for which progressive action, large and small, are taken toward justice. In order to do so, it takes part in activism through the 3 core design principles of “YELL”, “TALK”, and “HUM” - each meaning different levels of engagement by the people.

The City | Atlanta

The Site | Paschal’s

Site Analysis | The last effects of racism in Atlanta from 1960-

Physical Model |Sound Studies Sound Studies Projection, Reflection and Col Sound is projected up and out

Sound remains in the tunnel

Sound is redirected towards people

Sound Studies | Projection, Reflection and Collection Sound is projected up and out

Sound remains in the tunnel

Sound is redirected Site Diagrams | |Where are the People Site Site Diagrams Diagrams Where | Where are are the the People People towards people

Site Views

Walking Paths

Site Views Site Site Views Views Parking Parking Parking Parking ParkingParking Bus

SITE SITE Shops Shops Shops ShopsShops Shops

Bus

SITE SITE SITE SITE Shops Shops Shops

Walking Paths Walking Walking Paths Paths Parking Parking Parking Parking ParkingParking Parking ParkingParking Bus Bus Bus

Bus

Bus Bus

SITE SITE

JEDI JEDI

SITE

BusyBusy Bee Bee Busy Bee CafeCafe Cafe

JEDI

Parking ParkingParking Parking Parking Parking

Parking ParkingParking

Bus

Busy Bee Bee BusyBusy Bee Bee Busy Busy Bee Busy Bee CafeCafe Cafe Cafe Cafe Cafe

JEDI JEDI JEDI JEDI JEDI

Protest Routes

Protest Paths Protest Protest Paths Paths

Parking ParkingParking

BUILDING AS PROTEST | activate Activate the unpredictable, imperfect heartbeat of the people for simultaneous actions, big and small, that foster collective change.

YELL | Street of Action

YELL | Inside the Street of Action 9

Protest Route Options

Protest Paths

LL | Assemble

TALK | Gather, Listen, take action TALK | Gather, Listen, Take Action Talk is where the everyday action happens. In these spaces, people can gather in classrooms, educational conferences, or simply just meet with a friend to discuss their goals and needs. These spaces peak through to the yell and hum areas for encouragement.

YELL | Assemble The auditorium, located on the second floor, allows a place for people inside the building to take part in assembly, but also project their message back into the existing Paschals Hotel, which is attached behind. This interlocking of space helps amplify this voice.

HUM| “Gentle Activism” How do introverts participate in protest? Taking from my mini installation at GaTech, voices can be heard through writing or art, and attached to the walls of the building.

HUM | Observ HUM| Observe, Collect, Reflect The auditorium, located on the seasdfasMoloris coriasped quis prae porenimpel inus. Imus mosam sequam, simusante nos quam, quaectatur rerum estionseque corent eatecul luptatus sa evelenis ut expliqui te quamus sima cum re comnihit, tem. Itamust eatiuntibus

ve, Collect, Reflect

URBAN C UL TURE FACTORY 16

At the Urban Culture Factory, located in Edgewood Atlanta, spaces are curated to encourage public immersion in art, Atlanta culture and social interaction. Playing with the relationships of mass, void, and frame, this project takes a standardized dimensions and manipulates its possibilities. Using steel cage to build around existing trees, void as windows and transparency and mass as the important areas of program and circulation, the Urban Culture Factory takes on a metabolist feel. Upon my own research, I learned the site also has a large homeless population. Therefore, in addition to the prescribed programs, I added a non-profit suite to the first floor for those experiencing homelessness to have access to bathrooms, laundry and computers. This addition was made on the basis that the Urban Culture Factory is a space for the entire neighborhood to connect, therefore, it requires equal access from all who live there.

GALLERY

BATH

ELEVATOR

ROBOT ROOM

ELEVATOR

LOADING DOCK/GARAGE

OFFICE

STORE

RESTURANT

KITCHEN

COMPUTERS BATH

Form Finding | Brick laying while saving trees

BATH

STORE

OFFICE

PRIVATE LAB

KITCHEN

COMPUTERS BATH

OFFICE

NON-PROFIT OFFICE LAUNDRY STORE

OFFICE

NON-PROFIT OFFICE LAUNDRY STORE

OFFICE

CHAMBERLAIN ST

HAMBERLAIN ST

CHAMBERLAIN ST 1ST FLOOR SCALE 1/16 = 1’-0”

UNDERGROUND SCALE 1/16 = 1’-0”

1ST FLOOR SCALE 1/16 = 1’-0”

EDGEWOOD AVE

GEWOOD AVE

EDGEWOOD AVE A

E VARD S

ELEPHANT ROOM

E VARD S

BOULE

RESTURANT/BAR

E VARD S

OUTDOOR BALCONY

RESTURANT/BAR

E VARD S

BOULE

OUTDOOR BALCONY

BOULE

OUTDOOR BALCONY

LOUNGE

LIGHT BOX

ELEVATOR

OUTDOOR BALCONY ELEVATOR

ELEVATOR

OUTDOOR BALCONY

ART STUDIO

ARCADE

OUTDOOR BALCONY

DOOR CONY

ART STUDIO

LOUNGE AREA

ART STUDIO

LOUNGE AREA

ART STUDIO

HAMBERLAIN ST

CHAMBERLAIN ST

CHAMBERLAIN ST CHAMBERLAIN ST

3RD FLOOR SCALE 1/16 = 1’-0”

4TH FLOOR SCALE 1/16 = 1’-0”

3RD FLOOR SCALE 1/16 = 1’-0”

4TH FLOOR SCALE 1/16 = 1’-0”

Organization| Modular Space LOUNGE

ELEPHANT ROOM

The “brick laying” technique was done with a 26’x13’x10’ module block, following a “metabolist” organizational thinking. This layout allows spaces to be interlocked, overlayed, and create a variety of configurations.

LOUNGE

ELEPHANT ROOM

ART STUDIOS ART STUDIOS

OFFICES OFFICES

RESTURANT KITCHEN

STORE

ROBOT ROOM ROBOT ROOM

SECTION A-A SCALE 1/16 = 1’-0”

SECTION B-B SCALE 1/16 = 1’-0”

EDGEWOOD AVE

ELEVATOR

ROBOT ROOM

CAFE

STREET ART GALLERY

OUTDOOR AMPHITHEATER

ELEVATOR

LOADING DOCK/GARAGE

E VARD S

OFFICE

OUTDOOR SEATING

BOULE

OUTDOOR AMPHITHEATER

CAFE OUTDOOR AMPHITHEATER

E VARD S

LABORATORY

BOULE

E E VARD S VARD S BOULE BOULE

OUTDOOR AMPHITHEATER

RESTURANT

OUTDOOR SEATING

LABORATORY

BATH OFFICE

STORE KITCHEN

COMPUTERS

STREET ART GALLERY

BATH

OFFICE OFFICE

ELEVATOR

ROBOT ROOM

ELEVATOR

LOADING DOCK/GARAGE

RESTURANT

PRIVATE LAB

BATH

STORE

NON-PROFIT OFFICE LAUNDRY

OFFICE OFFICE

KITCHEN

COMPUTERS

STORE

BATH OFFICE

PRIVATE LAB

NON-PROFIT OFFICE LAUNDRY

CHAMBERLAIN ST OFFICE

STORE

CHAMBERLAIN ST

Basement

Ground Floor 1ST FLOOR SCALE 1/16 = 1’-0”

UNDERGROUND SCALE 1/16 = 1’-0”

CHAMBERLAIN ST EDGEWOOD AVE

CHAMBERLAIN ST EDGEWOOD AVE A

1ST FLOOR SCALE 1/16 = 1’-0”

UNDERGROUND SCALE 1/16 = 1’-0”

EDGEWOOD AVE

EDGEWOOD AVE A

OUTDOOR BALCONY LIGHT BOX

ELEVATOR

RESTURANT/BAR

ELEVATOR OUTDOOR BALCONY

ELEPHANT ROOM

ART STUDIO OUTDOOR BALCONY

LIGHT BOX

ARCADE ELEVATOR

ELEVATOR

OUTDOOR BALCONY

ART STUDIO ART STUDIO

ART STUDIO

OUTDOOR BALCONY

LOUNGE AREA

ARCADE

ART STUDIO A

CHAMBERLAIN ST

LOUNGE AREA

CHAMBERLAIN ST ART STUDIO

3RD FLOOR SCALE 1/16 = 1’-0”

4TH FLOOR SCALE 1/16 = 1’-0”

CHAMBERLAIN ST

3RD FLOOR SCALE 1/16 = 1’-0”

4TH FLOOR SCALE 1/16 = 1’-0”

3rd Floor ELEPHANT ROOM

4th Floor LOUNGE

E VARD S

OUTDOOR BALCONY

ELEPHANT ROOM

BOULE

OUTDOOR BALCONY

BOULE

LOUNGE

RESTURANT/BAR

E VARD S

OUTDOOR BALCONY

BOULE

OUTDOOR BALCONY

LOUNGE

Roof

4th Floor

3rd Floor

2nd Floor

Ground Floor

Circulation

Basement

CORNER OF BOULEVARD SE AND CHAMBERLAIN ST

CIRCULATION VERTICALVERTICAL FLOW FLOW

Internal Core| Views to all levels

ELEVATOR

CIRCULATION CIRCULATION ELEVATOR

The main area of circulation is glass

ELEVATOR

CENTRAL ATRIUM

The primary source The primary source of elevator off of theof internal courtyard, allowing for views into every floor. vertical circulation is the vertical circulation is the areelevator. glass floor panels and walls centralThere glass central glass elevator. interweaved within the building so the occupant always has a feeling for what else is in the cultural center.

Upper floorsUpper have floors addedhave added GROUND LEVEL circulation on the edges circulation onofthe edges of the buildingthe to encourage building to encourage secondary movement. secondary movement.

GROUND LEVEL

Street View| Integrate landscape and building 21 EDGEWOOD AVE

EDGEWOOD AVE

MATH EMATICAL SURFACE AR T

Math and Art: the architects dream! This composition takes complex mathematical surface formulas and inputs them into workable surfaces using grasshopper. Each column shows a different parametric exploration. The first being attractor fields and the variability of the hexagonal shape. The second is taking mathematical surface equations and changing their multipliers to get obscure but mathematically correct shapes. From there, these shapes are overlapped and edited in Photoshop to create an artistic form. Lastly, the third column plays with the grasshopper function of morphed tilings onto a surface. Taking from the hexagon and mathematical shapes of the first two columns, this third section morphs these shapes onto an existing surface, creating potential

architectural facade ideas. Hex Exchange

Exploding Art

Assignment 2: Mathematical Surfaces

Compl-hex

Assignment 2: Mathematical Surfaces

Compl-hex Compl-Hex Assignment 2: Mathematical Surfaces

Exploding Art Exploding Art Assignment 2: Mathematical Surfaces Assignment 2: Mathematical Surfaces

Exploding Art

Assignment 3: Morphing Morphing IdeasTilings Katelyn Dimopoulos Assignment 3: Morphing Tilings Katelyn Dimopoulos Morphing Ideas Assignment 3: Morphing Tilings Katelyn Dimopoulos

Morphing Ideas

Compl-hex

Assignment 2: Mathematical Surfaces

Hex Expansion and Contraction

001 | Hex Expansion and Contraction

Within a set hexagonal grid, the inside motif’s dance around the set attractor field. As the points get closer to the attractor curve, they become a 6-sided shape, the hexagon. As Hexget Expansion and Contraction they further away from the same curves, both their size and number of sides reduce in Within a to seta hexagonal grid,finally the inside motif’s dance around the set attractor field. As the number, pentagon and a 4-sided diamond. points get closer to the attractor curve, they become a 6-sided shape, the hexagon. As Hex Expansion and Contraction they get further away from the same curves, both their size and number of sides reduce in Within a set hexagonal grid, the inside motif’s dance around the set attractor field. As the number, to a pentagon and finally a 4-sided diamond. points get closer to the attractor curve, they become a 6-sided shape, the hexagon. As they get further away from the same curves, both their size and number of sides reduce in number, to a pentagon and finally a 4-sided diamond.

Flock of a Feather Using the Enneper Surface, this mathematical art is created by editing the order of Flock of a Feather the mathematical equation to [2,2,2]. The surface and its respective isocurves are Flockrotated of aEnneper Feather Using the this to mathematical art is created by editing the order of then 90 andSurface, 45 degrees create this output. Using the Enneperequation Surface,tothis mathematical art is created by editing the orderare of the mathematical [2,2,2]. The surface and its respective isocurves the mathematical equation to [2,2,2]. The this surface and its respective isocurves are then rotated 90 and 45 degrees to create output. then rotated 90 and 45 degrees to create this output.

Morph Me The curvature of the surface created is depicted by the color change in the projected Morph Me grid.curvature As the curves morecreated aggressive, the gradient moves into in thethe pink/purple The of the get surface is depicted by the color change projected range. As the curves flatten, surface becomes moremoves blue. into the pink/purple grid. AsMe the curves get morethe aggressive, the gradient Morph range. As the curves flatten, the surface becomes more blue. The curvature of the surface created is depicted by the color change in the projected grid. As the curves get more aggressive, the gradient moves into the pink/purple range. As the curves flatten, the surface becomes more blue.

Butterfly Effects This composition is created through editing the Enneper surface to the order of Butterfly Effects [2,3,4], with a new twist was added. Two of the output surfaces are elongated in Butterfly Thisy composition created through editingdimensions. the Enneper surface to isthe of the axis Effects while theis 3rd is kept in the same This surface notorder shown Thisinstead composition istwist created editing the output Enneper surfaceare to elongated the order of [2,3,4], withthe a new was added. Two the surfaces in but isocurves arethrough displayed in of a dotted line to emphasize expansion. [2,3,4], with a new Two ofdimensions. the output surfaces are is elongated in the y axis while the twist 3rd iswas keptadded. in the same This surface not shown the instead y axis while the 3rd is are keptdisplayed in the same surface is not shown but the isocurves in adimensions. dotted line toThis emphasize expansion. but instead the isocurves are displayed in a dotted line to emphasize expansion.

Motif Morphing This morphed surface takes the hexagonal motif from the first assignment and Motif Morphing re-imagines it in 3D. The hexagon motif was motif extruded then morphed This morphed surface takes the hexagonal fromand the edited, first assignment and into the first surface (Morph Me). re-imagines it in Motif Morphing 3D. The hexagon motif was extruded and edited, then morphed into first surface (Morph Thisthe morphed surface takesMe). the hexagonal motif from the first assignment and re-imagines it in 3D. The hexagon motif was extruded and edited, then morphed into the first surface (Morph Me).

004 | Flock of a Feather

007 | Morph Me

Hex Exchange

Keeping with the trend that the motif changes in both size and number of sides as it goes further or closer to the attractor curves, this composition takes that to the next level. Both the outside motifs and inside motifs change in size and shapes as they pass the attractor curves. When they meet HextheExchange in the middle, at the medium sets up with each as other thenfurther take off Keeping with the trend that thesized motifpentagons, changes inthe bothtwo size andline number of sides it goes or again size curves, and form. closerexchanging to the attractor this composition takes that to the next level. Both the outside motifs Hex Exchange and the inside motifs change in size and shapes as they pass the attractor curves. When they meet Keeping with the trend that thesized motifpentagons, changes in the bothtwo sizesets andline number of sides it goes or in the middle, at the medium up with each as other thenfurther take off closer to the attractor this composition takes that to the next level. Both the outside motifs again exchanging sizecurves, and form. and the inside motifs change in size and shapes as they pass the attractor curves. When they meet in the middle, at the medium sized pentagons, the two sets line up with each other then take off again exchanging size and form.

002 | Hex Exchange

005 | Butterfly Effects

008 | Motif Morphing

Single Hex Symmetry

This final composition takes on an exploration of the hexagonal shape. The attractor curve is a single hexagon, set in the middle of the composition. From there, the hexagonal motifs Single Hex Symmetry are set to shrink as they get closer to the attractor hexagon, or expand until their sides This final composition takesaway. on an exploration of the hexagonal shape. The attractor curve touch as they move farther is a single hexagon, set in the middle of the composition. From there, the hexagonal motifs Single Hex Symmetry are set to shrink as they get closer to the attractor hexagon, or expand until their sides This final composition takes on an exploration of the hexagonal shape. The attractor curve touch as they move farther away. is a single hexagon, set in the middle of the composition. From there, the hexagonal motifs are set to shrink as they get closer to the attractor hexagon, or expand until their sides touch as they move farther away.

003 | Single Hex Symmetry

Power to the Petals The Enneper surface is now taken to its most round composition. The power is Power to the and Petals set to [3,3,3] the output surface is duplicated and rotated 90, 180, and 270 Power to The the surface Petals The Enneper is now to its most rounddisplayed composition. The powerthe is degrees. isocurves and taken data points are also to emphasize ThetoEnneper surface is now surface taken toisitsduplicated most round The power is set [3,3,3] output andcomposition. rotated 90, 180, and 270 central core ofand the the art piece. set to [3,3,3] the output is duplicated rotated to 90,emphasize 180, and 270 degrees. Theand isocurves and surface data points are alsoand displayed the degrees. The and data points are also displayed to emphasize the central core of isocurves the art piece. central core of the art piece.

006 | Power to the Petals

009 | Mathematical Morphing

Mathematical Morphing The final morphed surface takes the base mathematical surface explored in the Mathematical Morphing 2nd assignment, thesurface Enneper’s surface, andmathematical merges it intosurface the firstexplored surface of The final morphed takes the base in Asthe signment 3 (Morph 2nd assignment, theMe). Enneper’s surface, and merges it into the first surface of AsMathematical Morphing signment 3 (Morph Me). The final morphed surface takes the base mathematical surface explored in the 2nd assignment, the Enneper’s surface, and merges it into the first surface of As-

Flock of a Feather Using the Enneper Surface, this mathemat the mathematical equation to [2,2,2]. The then rotated 90 and 45 degrees to create t

Power to the Petals The Enneper surface is now taken to its most round composition. The power is set to [3,3,3] and the output surface is duplicated and rotated 90, 180, and 270 degrees. The isocurves and data points are also displayed to emphasize the central core of the art piece.

Butterfly Effects This composition is created through editin [2,3,4], with a new twist was added. Two the y axis while the 3rd is kept in the same

tical art is created by editing the order of surface and its respective isocurves are this output.

Exploding Art

Assignment 2: Mathematical Surfaces

ng the Enneper surface to the order of of the output surfaces are elongated in e dimensions. This surface is not shown

INTERPLAY HOVER STATION 26

This Hover Station is meant to be playful, cheerful and exuberant, just like its intended users: kids! First, I experimented with variable grasshopper forms to create a inner and outer shell architectural structure. These variations of pushing and pulling geometries led me to a playful form. The core structure of the Hover Station is created from an interlocking waffle structure that can be climbed on and attached to for play! The outer shell is made of semi transparent material for visibility and to create a fun flow in the nightfall. The intention is for kids to have a place where nothing is off limits. Climb, push, run, swing all around the structure.

Form Experimentation

Play of Inner and Outer Shell | Inhabit the inbetween

Waffle Structure| Closed and Open The outer shell was interated into a waffle structure, that acts to hold up the inner shell within it. To create a more interactive space, parts of the waffle structures outter semitransparent blue shell is left open in sreas for more sunlight and to create open air spaces.

Closed

Final The inbetween| Garden Hallways

Final

Open

Betwee the outter and inner shell are graden hallways, allowing kids the space to roam every inch,

Interactive Space| Read & Play The inner wall has light up bricks, that can be played with by pushing them in and out of the wall. Participants on the other side of the wall can do the same. The reading pods are individual capsules for kids to relax and learn to focus.

Play Everywhere| Inside and out The waffle structure can be climbed on and swung from, all while also serving to hold up the inner building.

HOVER | float around The hover stations waffle structure can be easily assembled and disassembled, to activate any open space where kids are in need of play. 32

LANGUAGE OF LINE 34

Studying the endless possibilities of the “line”, this project expressed that many ways of interpreting lines and how one can create and the illusion of infinity through shadow and form. The various languages of line, from uniform, to curved, to oblivion, were first explored through photography. These photos gave inspiration to a hand drawings, that was then translated into its sculptural form. As this drawing has transformed from 2D to 3D it plays with expansion, shadow, and alignment.

Photo | These photos emphasize the different languages of Line.

Photo to Drawing| Depth One photo was selected to translate into a drawing that embodies the expression of the photo. The drawing pulls from the photo’s play on depth and orientation.

Drawing to Sculpture| Expansion Taking from the expanding lines of the drawing, the following sculpture was born. The sculpture uses form and shadow to create various levels of expression and movement.

RESILIENT R ECONSTRUCTION 38

For the summer of 2021, I was awarded the Hart Howerton Travel Fellowship. This posistion was an 11 week program, with 3 weeks of funded travel in support of the research. My research interest was in the recovery efforts taking place in Puerto Rico following the 2017 hurricanes and the recent earthquakes and covid. My studies were investigaed through the eye of resilience in solar, water, and construction during the rebuilding efforts. To do this, I interviewed, called, and met with all parties involved in the recovery process, from non-profits to governmental leaders, to architects and their collective response. From my travel, my initial research asusmptions were challenged and I pivoted to learn that resilient recovery comes from equal parts techinical solutions and social engagement. From there, I am currently writing a 150 page graphic book with the stories and actions of everyone I met with, and final documentation about ways in which communities can build for resilience.

RESEARCH RESEARCH RESEARCH QUESTIONS QUESTIONS QUESTIONS

Research Intent| Strategies of Resilience

Hurricane Irma

Energy| Reliability

TO RICO? The Energy main area of circulation is glass Energy Energy

elevator off of the internal courtyard,

Water| Scalability

Aug. 2017

Construction| Technique

Hurricane Maria Sept. 2017

The main area of circulation is glass The main area of circulation is glass Water Water Water Construction Construction Construction elevator off of the internal courtyard,

elevator off of the internal courtyard,

waysWhat ways can reconstruction ways can reconstruction canfor reconstruction How How do communities How do communities doviews communities ofinto different of different offloor. sizes different sizes sizes What What strategies What strategies strategies are for implemented are implemented areinto implemented to floor. to What to What allowing for every allowing views every allowing views into every floor. Earthquakes efforts efforts incorporate efforts incorporate incorporate resilient resilient building resilient building building and conditions and conditions and conditions implement implement implement renewable renewable renewable ensure ensure safe ensure access safe access safe to clean access to clean water to clean water water There are glass floor panels and walls There are glass floor panels and walls There are glass floor panels and walls IRMA MARIA strategies. strategies. strategies. What What approach What approach approach yields yields the yields theso energy energy into energy their into their daily into their daily lives daily lives and lives and and Jan. 2020 before before and before after and after a and disaster? after a disaster? a How disaster? How do How do do interweaved within the building so interweaved within the building so interweaved within the the building most most resilient most resilient result resilient result when result when comparing when comparing comparing disaster disaster response disaster response strategy? response strategy? strategy? communities communities communities implement implement implement strategies strategies the occupant always with has a feeling the occupant always hasstrategies a feeling the occupant always has a feeling Island Sub Islands emergency emergency emergency temporary temporary temporary structures, structures, new new center. new for managing for flooding water andcultural water and water for what else is in the cultural center. for managing formanaging whatflooding else and isflooding in the center. for what elsestructures, is in the cultural builds builds andbuilds retrofit and retrofit and construction? retrofit construction? construction? damage? damage? damage? COVID-19 Mar. 2020

Tropical Climate & Rain Forest IRMA IRMA IRMA IRMA

MARIA MARIA MARIAMARIA

Hurricanes (2017)

Earthquakes and COVID-19 (2020)

Puerto Rico

Puerto Rico| A Case Study

Coast

Puerto Rico has experience 4 disasters in the last 5 years and has been on the road to recovery since. The island also has a diverse landscape or mountains, coastline, sub-islands and tropical forrest, making it a replicable case study.

Mountains

The Journey| 3 levels of experience Proyecto ENLACE: Caño Martín Peña

Architecture Firm Projects Governmental Organizations Community Based Organizations , Non-profits

ENLACE Resiliente Habitat for Humanity Puerto Rico

ACUTAS

Renaissance Square Resilient Power Puerto Rico

Toa Baja

Voluntariado de Ingenieros y Profesionales de Puerto Rico

P.E.C.E.S Ponce Reconstruction Office

ACACIA Resilient Home Prototype ARECMA

Casa Pueblo

Emerald Vista

The Story| How to convey a complex story into a single graphic

ity mun Leade om

Emergency Preparedness Planning`

Tow no fP

PECES =

2017

go ntia Sa ta n u

14 , So 000 la r S Sol tre ar et Lam Li gh ps ts

Home Repairs & Rebuilds

Solar Panels

Solar Don ations

s sse ne

Small B us i

Main Cam CES pu PE s

Solar Lighting

Self- Sufficency

Pu er t

eastern Mu outh nic ’s S ipa co i lit R ie

Case Studies| the Islands Architects taking collective action

New Jobs & Training

Puerto R ica

A Resilient Hom ACI eP AC ro to t

e yp

2017

Marvel Architects & ACACIA Network

Self- Sufﬁcency

Emergency Preparedness Planning`

Research Findings| Resilience Redefined

1. Self-Sufficiency

2. Solar Power

3. Off-Grid Water

4. Food Access

5. Risk Mapping

6. Green Building

7. Skill Building

8. Education

9. Modularity/Growth

10. Financial Literacy

11. Economic Investment

12. Social Infrastructure

RUBBLE TO R ENEWAL 44

This investigation looks into how the waste and debris from post-demolition or natural disasters can be repurposed into a new building material. The final design is a combination of a frame system that can be infilled with rubble of all types. The frame is easy to construct, made from easy to obtain 2x4 timber and L-brackets, and extremely light weight. One assembled, the a mesh is placed on the back to hold the mortar and material, as well as, give the inside walls a smooth finish. The outside of the walls are textured with rubble, held into the frame with mortar and gravity of its own components.

The Issue| Disaster and C&D Debris Taking from my experience with the Design and Disaster Response Volunteer group (see my resume), I found an area of disaster response that could use some attention: Debris! It turns out C&D debris can take up to 2 years to be cleaned up after a natural disaster. To me, this seems like an oppurtunity for material to be reused and repurposed, instead of the highly intensive process to get debris removed, transported, processed and recycled properly.

Recycling Process| Site Visits To understand where the most energy intesive step of the concrete and wood recycling process lies, I toured and studied the Metro Green Recycling plant. Here, I discovered that most recycled concrete is ground to rubble and wood to mulch, taking alot of energy through the process. Can we use this material in its larger, less processed state in a new way?

l Prototypes

Iteration 1| Sticks and Stones

To understand where the most energy intesive step of the concrete and wood recycling process lies, I toured and studied the Metro Green Recycling plant. Here, I discovered that most recycled concrete is ground to rubble and wood to Step 2: mulch, taking alot of energy through the process. Can we use this material es at every other piece and arranging in its larger, less processed state in a l members to hold structure the horizontals. The triangle new way?

can then be loaded standing up or laying flat with any type of rubble.

Iteration 2| Gabian Module To understand where the most energy intesive step of the concrete and wood recycling process lies, I toured and studied the Metro Green Recycling plant. Here, I discovered that most recycled concrete is ground to rubble and wood to mulch, taking alot of energy through the process. Can we use this material in its larger, less processed state in a new way?

Double Channel Unit Step 1:

Using 2 pieces of 1.5inx1.5in wood pieces, we cut the ends at an angle of 30 degree a flat surface on the top and bottom to connect to. Step 2: Along the top of the triangle and the bottom are continuous boards in order to make each layer able to stack on the next.

Final Output:

The channels allow for the concrete rubble to have a area to wedge into to keep them as we did before, we places the concrete inside until the pressure of those around th secure them all in place.

asan weangle did before, placesin the concrete inside until the pressure o Using 2 pieces of 1.5inx1.5in wood pieces, we cut the ends at of 30we degrees order to have secure them all in place. a flat surface on the top and bottom to connect to.

Iteration 3| Gravity Wedge Step 2:

To understand where the most Along the top energy intesive step of the concrete of the triangle and wood recycling process lies, I e wooden structure with loose and bottom and studied thethe Metro Green The rubble can be toured of different are continuous Recycling plant. Here, I discovered es, as it is enclosed with the boards in order to that most h mesh. The steel joints wererecycled concrete is make each ground to rubble and wood tolayer nd could be replicated for a new to stack on mulch, taking alot able of energy through theuse next. the process. Can we this material in its larger, less processed state in a new way?

Final Output: The channels allow for the concrete rubble to have a area to wedge into to keep them secure. Just as we did before, we places the concrete inside until the pressure of those around them helped to secure them all in place.

Final Design | Gabian Follows Gravity Combining all tested strategies into one, the design is a simple steel bracket assembled wood joint system, with a wire mesh back that mortar is sent through to adhere and hold the debris in place.

Simplicity | cross lap joints Cross lap joines are used to create the diamond shape, and small steel l-brackets join the butted wood members.

006_Debris Wall Final Design The final design is a combination of a frame system that can be infilled with rubble of all types. The frame is easy to construct, made from easy to obtain 2x4 timber and L-brackets, and extremely light weight. One assembled, the a mesh is placed on the back to hold the mortar and material, as well as, give the inside walls a smooth finish. The outside of the walls are textured with rubble, held into the frame with mortar and gravity of its own components.

Wall Final Design

a frame system that can be infilled with rubble of all types. The m easy to obtain 2x4 timber and L-brackets, and extremely light s placed on the back to hold the mortar and material, as well as, The outside of the walls are textured with rubble, held into the wn components.

e ht as, e

ARTWORK

acrylic on cork

Bernese

on scratchboard

T ha n k Y o u Portfolio 2022