M A D ISO N GR E E N S P R I NG 2 0 1 9
ed u cation
EXHIBITIONS
univ. O F P enns y lvania s c hool O F design Fa ll 2018 - Present - Phil a d el phia , Pen n sy l va n ia Master of Architecture with expected graduation May 2021
c ham b er exhi b ition at the P E N N M U S E U M Fal l 2 0 1 8 - Ph i l ad e l p h i a, Pe n n s yl van i a
T exas A & M univ. College of A rc hite c ture Fa ll 2014 - Spring 2018 - C ol l ege St a t ion , Tex a s Bachelors of Environmental Design - Cum Laude Barc elona A rc hite c ture Center Sp r i ng 2017 - Barcelona , Spa in Apart of the Study Abroad program at Texas A&M
E xperience graduate assistant for daniel markie w i c z Fall 2019 - Philadelphia, Pen n sy l va n ia I ntern AT Overlay O ffi c e Su mm e r 2019 - Brook lyn , Ne w York ext E R N AT S K I D M O R E , OW I N G S , A N D M E R R I L L Wi nter 2019 - Chicago, Il l in ois Worked on schematic design for the extension of Altair’s headquarters in Detroit intern At mark foster gage arc hite c ts Su mm e r 2016 - Manhatt a n , Ne w York Worked on two international design competitions and aesthetic research S tudio assistant for G a b riel E S Q U I V E L Fall 2017 - College Station , Tex a s S tudio assistant for R ene graham Fall 2016 - College Station , Tex a s
I N V O LV E M E N T b a b b le magazine E D I TO R I A L T E A M Fa ll 2018 - Present Student run publication at PennDesign that released it’s first issue in Spring 2019 WO M E N I N A RC H I T E C T U R E AT P E N N D E S I G N Fa ll 2018 - Present D eep V ista Conferen c e M arketing Committee Fa ll 2017 - Spring 2018 Aided production and marketing for the symposium held at Texas A&M A meri c an I nstitute of arc hite c ture students Fa ll 2015 - Spring 2018
“ s w eeps ” exhi b ited at V I Z A G O G O Sp r i n g 2 0 1 6 - Br yan , Te xas
Awards H O K D E S I G N F U T U R E S c O M P. - 3 R D P L A C E Sp r i n g 2 0 1 8 Completed “Rear Window” with Paul McCoy for a mixed use development s c ien c e island c omp. - honora b le mention Su m m e r 2 0 1 6 Completed at Mark Foster Gage Architects for a science and innovation center t E X A S a & m F R E S H M A N A B ROA D P RO G R A M Su m m e r 2 0 1 5 - So l ti s C e n t e r, C o s ta Ri c a Selected for Study Abroad program at Texas A&M’s College of Architecture
P u blications U r b an deli c a c ies Sp r i n g 2 0 1 9 Nominated for Pressing Matters 8 A rc hive A ddition Fal l 2 0 1 8 Nominated for Pressing Matters 8 Cham b er for A rtifa c ts Fal l 2 0 1 8 Nominated for Pressing Matters 8 M ali M useum & S c ien c e I sland Fal l 2 0 1 8 Mark Foster Gage: Projects and Provocations I nterlo c k Fal l 2 0 1 8 Axiom Magazine Su m m e r 2 0 1 8 Texas Architects Magazine s w eeps Fal l 2 0 1 9 SuckerPUNCH Daily
S k ills S oft ware Rhinoceros, Zbrush, Maya, AutoCAD, Revit, RecCap, Agisoft, SketchUp, Grasshopper, 3DS Max, Cinema 4D, Meshmixer, Geomagic, Keyshot, V-Ray, Photoshop, Illustrator, InDesign, Lightroom, Microsoft Office making Laser Cutting, 3D Printing, Analog and Digital Fabrication, Hand Drawing
M D S N G R N . C O M - M D S N G R N @ L I V E . C O M - 940 - 736 - 8671
U RB A N DE L I CACIE S
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S P R IN G 2 0 1 9
RE A R W I N DO W
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S P R IN G 2 0 1 9
A RC H I V E A DD ITIO N
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FA LL 2 0 1 8
C H A M B E R F OR ARTIFACTS
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FA LL 2 0 1 8
I N T E RLO C K
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s UM M E R 2 0 1 8
L A N G F O RD I N FIL L
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FA LL 2 0 1 7
S W E E PS
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S P R IN G 2 0 1 6
S C I E N C E I S L AND S UM M E R 2 0 1 6
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U RB A N DE L ICAC IE S spring 2 0 1 9
Andrew Saunders 502 Studio at PennDesign
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Urban Delicacies is a market for the sale, production, and research of fermented goods that interrogates a dull, regressive, or decayed notion of the aging process. Locally sourced urban artifacts compose the formal massing, and are ordered according to their inherent geometric qualities rather than an overarching orthogonal system, allowing a more deliberate and varied promenade that muddles the object and frame binary. Fermentation is one of the oldest and most widespread methods of food preservation and production, and offers the most compelling avenues for innovation in the culinary industry today, for developing unseen flavor profiles, and hybridizing microorganisms and climate, complicating previous definitions of authenticity. Overgrowth is used as a material translation of the fermentation process to the scale of a building, as biotic factors affecting the way in which a substance ages. Vegetation embodies sensory qualities of fermentation techniques, and is further estranged through color and growth pattern to oscillate between natural and synthetic. The market asks for an inversion to a perception of aging, as an agent responsible for the most valued delicacies we know today, that crosses cultural boundaries and exemplifies the growth, progress, and complexity accumulated over time.
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ur b an deli cac ies - S P R I NG 2 0 1 9 7
Long View & Vignettes indicating the relationship between color and material, and the potential for human interaction with these volumetric conditions
UR B A N D E L I CAC I E S - S P R I NG 2 0 1 8 8
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Extended View & Vignettes indicating the relationship between color and material, and the potential for human interaction with these volumetric conditions
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RE AR WINDO W spring 2 0 1 9 - t wo DAY S
3rd Place Entry for the HOK Design Futures Competition with Paul Germaine McCoy
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Rear Window is a market and housing development that
celebrates the idea of public space not as a grand urban gesture, but rather as an experience that is small, intimate, and personal. The exterior facade is a reflection of individuality while the interior is an expression of a collective whole. Via an extension of the historic market, this new communal alley provides an experience that perforates into the local’s backyard and gives the visitor a glimpse into the neighborhood’s rear window.
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Floor Plan & Parti Diagrams expressing the development of a dynamic relationship between public and private space
A R C HI V E ADDI T I O N 16
FAL L 2 0 1 8 17
A R C HI V E ADDI T I O N 18
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A RC H IVE ADDITIO N FA L L 2 0 1 8 - 6 w eek s
Daniel Markiewicz 501 Studio at PennDesign
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Archive Addition, itself and artifact concealed from public
engagement, must be rediscovered, excavated from the restricted access passages it resides to display the forgotten objects it contains, and to reveal the invisible intricacies of its function to the public. The project uses experiential games of reveal and conceal as the primary driver for this liberation. Reinterpreting the restricted access hallway, the maze like offsets that organize the archive in plan are always curved, obscuring a full legibility of space from a viewer’s single vantage point. It instead offers an invitation to meander, resisting a flattened climactic image in favor of oscillating moments only activated by the movement through.
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Worms Eye Isometric & Vignettes illustrating an implication of space beyond the frame of view
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C H A M B E R FO R ARTIFACTS FA L L 2 0 1 8 - 3 w eek s
Daniel Markiewicz 501 Studio at PennDesign - Exhibited at the Penn Museum with Hayden Wu and Abdullah Alhasafi
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Chamber for Artifacts is a preliminary physical exercise in rethinking the
way artifacts are traditionally displayed and engaged with. The project is composed of a series of frames, whose form negotiates between the 5 foot wide and 3 foot tall volume of a Cairo tile, the arcs present in the vessels geometry, rotational mechanics, and several composed views around and throughout the project. The exterior frames are static and surround the two nested cores that rotate independently, offering a constantly changing set of experiences from every vantage point. Three 3D printed vessels are placed in different positions, two stationary in an interior frame and an exterior frame, and one dynamically in the innermost rotating core. String is used to clad the frames with a variable density and serves to confound the spatial definition of the chamber, sometimes aligning to the volume of each frame and at other moments jumping across these boundaries to form another spatial definition that operates outside the logic and composition of the original frame.
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Photographs framing several stationary and mobile conditions the chamber composes
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Details of rotating volumes in two different orientations
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FAL L 2 0 1 8 31
I N T E RLO CK T4 T L AB S P R I NG 2 0 1 8
Nate Hume and Gabriel Esquivel - T4T Lab at Texas A&M University with Finn Rotana, Ray Gonzalez, and Lauren Miller
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Interlock is a new soil analysis and crop hybridization facility that
investigates the use of interlock as an estrangement technique, that when implemented across ground, material, surface, line, and volume, seeks to operate outside digital tropes and confound the boundaries between these conditions. We use implied geometric articulations of separate parts to suggest an unfixed disposition, that at some points match seamlessly and at other moments are misfit to create a difficult interlocked whole. A similar logic is applied to materiality, subtlety distorting familiar textures so the overlap of these two systems of interlock creates a hybridized materiality, where textures at times smear across an implied division of parts. At the site scale ground serves to displace inside and outside conditions by enhancing the interiority of non centralized points of the site, and enhancing the exterior qualities of the center most point of the building.
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Site Plan analyzing the variable boundary between as vegetation and infrastructure as a method for articulating texture and materiality
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Oblique Elevation & Section through an excavated pit int erlo c k t 4 t lab 36
Stitched Perspective from an excavated pit S P R I NG 2 0 1 8 37
Transverse Section & Perspective Views indicating public potential for spaces intended for crop and soil research
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LANGF O R D I NF I L L 40
FAL L 2 0 1 7 41
L A N G FO R D INFIL L fAL L 2 0 1 7
Michael O’Brien Integrated Studio at Texas A&M University with Sydney Farris
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Langford Infill occupies the space between the buildings of the Langford
Architecture Complex on Texas A&M’s campus. The proposal seeks to address overcrowding issues in the college that resulted in the closing of the Technical Reference Center via an urban infill intervention, providing new space for studios, review spaces, offices, an auditorium, a gallery, and a new TRC. The building resists the traditional parti in favor of a nonlinear and non-sequential set of objectives, including contextuality in its use of concrete and brutal spatial organization, monumentality to define entrances, an intricate promenade, and a variety of open air spaces in the compact lot. The building uses a concrete one way system and a steel truss to support the cantilevering auditorium.
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langf o r d infill 44
Entry Floor Plans showing several entry points from the ground floor and first floor
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Floor Plans, corresponding Framing Plans, & Wall Section langf o r d infill 46
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Interior Views
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Sections
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SWE E P S S U MME R 2 0 1 6
Adam Fure & Gabriel Esquivel T4T Lab at Texas A&M University with Ricardo Gonzalez, Abby Stock, and Julia Peńa
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Sweeps is apart of the T4T Lab with guest professor Adam Fure and in
collaboration with Ricardo Gonzalez, Abby Stock, and Julia Pena into the nature of figure and mundanaity. Figures are derived from baroque floorplans and aluminum window profiles, diminishing the figure’s symbolic importance and resulting in its ontological flattening. The exhaustion of a mundane opperation like the orthographic filleted sweep creates a surface condition of paradoxical complexity making the origin of the figure difficult to track. The figures only become recognizable when the objects are cut orthographically via plan or section, capturing a moment of the figure in flux, leading to a redefining of the sweep as a digital brushstroke that diagrams the digital existence of the figure.
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Physical Models & Isometric Views
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Speculative Slices revealing interior spatial qualities, and display the original profiles used to generate the masses
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Exploded Diagram of parts to a loose primitive
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S C I E NC E ISL AND S U MME R 2 0 1 6
Competition Entry by Mark Foster Gage Architects - Honorable Mention with Mark Foster Gage, Ryan Wilson, Zach Beale, James Bradley, Arif Javed, and Nathan Garcia
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Science Island is a project designed as a picturesque cluster of rectangular
volumes connected by an equally irregular ground condition. Each volume is articulated by manipulating fractal meshes produced in part using mri software. It pioneers the use of new technology in architectural design and the potential for the authoritative application of near infinite levels of articulation with 3D fractals in architecture. My contributions are most felt in the modeling of the two entry facades, design of several other masses, and development of the extended hallway as the primary entry sequence to the main atrium. The competition entry was awarded one of five honorable mentions, and was the only team recognized from the United States.
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SC I E NC E I S L AND 58
S U MME R 2 0 1 6 59
Floor Plans & Interior Atrium Views looking at the spatial implications of fractal meshes
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