BREADTH: A Cummulative Architecture Portfolio

OF ARCHITECTURAL WORK

BREADTH

A

UNIVERSITY OF FLORIDA SoA

MACKENZIE M. SHINNICK

GEORGIA INSTITUTE OF TECHNOLOGY SoA

mshinnick3@gatech.edu 850.240.3630

EDUCATION

MASTER OF ARCHITECTURE II

Georgia Institute of Technology College of Design 2021-2023

BACHELOR OF DESIGN IN ARCHITECTURE

University of Florida College of Design, Construction + Planning 2017-2021

MINOR IN SUSTAINABILITY AND THE BUILT ENVIRONMENT

University of Florida College of Design, Construction + Planning 2017-2021

ACADEMIC

EXPERIENCE

SEMESTER STUDY ABROAD - ARCHITECTURE Vicenza, Italy University of Florida Spring 2021

HEAD OF RESEARCH FOR COMMUNITY BUILD INSTALLATION

University of Florida Florida League of Architectural Things [F.L.o.A.T.] Plaza de Americas, Gainesville, FL Fall 2019

SECOND-YEAR STUDIO TEACHING ASSISTANT University of Florida Fall 2019

CO-CURRICULAR ACTIVITIES

MENTORSHIP PROGRAM

Georgia Institute of Technology Mentor: Yasser El Masri Spring 2022

INTEGRATED BUILDING SYSTEMS CLUB

Georgia Insitute of Technology Fall 2021 - Spring 2022

AIAS - AMERICAN INSTITUTE OF ARCHITECTURE STUDENTS

University of Florida

Chapter President [2019-2020] Chapter Treasurer [2018-2019] Active Memeber [2017-2020]

ARCHITECTURE BUILDING GROUP

University of Florida Fall 2020

STUDENT BODY REPRESENTATIVE FOR COMPUTATIONAL DESIGN FACULTY SEARCH

University of Florida Fall 2020

PROFESSIONAL EXPERIENCE

INTERN

Guy Nordenson + Associates New York, NY Summer 2022

INTERN Sin Luz Ingenieria y Arquitectura SLP Barcelona, Spain Summer 2019

HONORS AWARDS +

PORTMAN PRIZE - FIRST PLACE Georgia Institute of Technology Spring 2022

NILES BOLTON + ASSOCIATES CHAIR FELLOWSHIP Georgia Institute of Technology 2021 -2023

NOMINATION FOR KPF TRAVELING FELLOWSHIP Georgia Institute of Technology 2022

PORTFOLIO COMPETITION - WINNER Georgia Institute of Technology Fall 2022

WORK SELECTED FOR ADV. STUDIO I SoA ARCHIVES Georgia Institute of Technology Fall 2021

WORK SELECTED FOR MEDIA + MODELING III SoA ARCHIVES Georgia Institute of Technology Fall 2021

WORK SELECTED FOR INTEGRATED BUILDING SYSTEMS I SoA ARCHIVES Georgia Institute of Technology Fall 2021

TOP 10 - TWO-YEAR CUMMULATIVE FACULTY REVIEW University of Florida Spring 2019

AIAS GAINESVILLE SCHOLARSHIP Univeristy of Florida Fall 2019

SKILLS

2D/3D Rhino 3D Grasshopper Revit (some experience) Illustrator InDesign Hand Drafting

RENDERING Lumion KeyShot Photoshop Premiere Pro

FABRICATION

3D Printing Laser Cutting Rebar Bending Welding Soldering Woodwork Architectural Modeling

SHADOW STRUCTURES theory II fall 2022 mark cottle m.arch.II

CYPRESS

The Mississippi Delta is a charming but threatened place. It is threatened by the persistent forces of nature that mold its landscape; precipitation, intense sun, and heat, but most notably the fluctuating flood levels of a pluvial flood plain. Currently, the community of Mayersville’s flood mitigation strategies involves either fight (using personal pumps and sandbagging flood-prone areas) or flight (evacuating) procedures. This proposal seeks to provide an alternative, more resilient solution to the community of Mayersville and other communities along the Delta to live with the water as opposed to resisting it.

Water fills 10’ x 10’ tanks underneath elevated boardwalks

The weight of water pushes down a pressure plate

That force displaces an incompressible liquid (water or oil) through underground pipes

This force is multiplied creating an upward force on the pistonlike central core of the house, thus lifting the houses above the water line

TREE CROSS SECTION

HEARTWOOD [Support system]

SAPWOOD [Transport and storage of water and nutrients]

OUTER BARK [Insulates and protects inner tissue]

PISTON CROSS SECTION

REINFORCED CONCRETE COLUMN [Primary structure]

UTILITIES CAVITY [Transport of water, sewage, and electricity]

SPIRAL STAIR [Transport of residents]

EXTERIOR WALL [Wood cladding, insulation and secondary structure]

The southern vernacular housing typology of the ‘porch’ is reimagined in both the house and community center. The mosquito netting mesh provides a delicate layer of enclosure and transparency that form spaces that bleed the boundaries between interior and exterior. Thus, offering places of pause for meditating on the Mississippi landscape. Simultaneously, it protects the interior from direct sunlight and mosquitos. A tensile cable system stabilizes the structure by transferring loads from the top of the piston, to the spanning floors, and back to the center piston.

OBSERVATORY

BEACON OF THE DELTA

The community center acts as a threshold between the proposed community and the existing community of Mayersville. It is a beacon - a lighthouse - that brings new residents and visitors. Curious eco-tourists have the potential to make this town a destination and positively influence the economy of Mayersville.

The terraced platforms serve both as community park space in the dry season and adapt to become a parking deck for cars and boats that the new community uses in times of minor and major flood events.

design + research studio I prof. michael murphy fall 2022 drew, mississippi

In Memory of Emmett Till’s Life and Legacy

On August 28th, 1955 a 14-year-old black boy was kidnapped from his great uncle’s home, brutally tortured, and murdered between the four walls of a Barn in Drew, Mississippi. His body was pulled out of the Little Tallahatchie River three days later, so deeply mutilated that only a ring and the eyes of his mother, Mamie Till, were able to identify him. His name was Emmett Till. Mamie’s brave efforts to host an open casket funeral and forge a public trial that ended in an acquittal of his murderers were catalysts for the Civil Right Movement. A memorial to commemorate his life and legacy is long overdue. This project intends to create, not just a memorial, but a landscape of memory that brings awareness to Emmett’s story and its relevance to our current society. A society that continues to threaten the lives and liberty of African Americans.

The Barn, as it stands today, resides on a plot of manicured land that has been sewed, planted, and harvested for decades. Its continuous change in ownership has created a veneer of a new landscape that has been tilled over and over covering years of occupied history. However, what the land does not outrightly display are the footprints of slaves who once cultivated the land, the blood of Emmett soaked up by cotton seeds, the tears, the cries, the torture, and the truth. It is the only piece of Emmett Till’s story that remains unmarked - intentionally written out of the narrative and passively forgotten.

AUGUST 24, 1955

AUGUST 28, 1955

AUGUST 28, 1955

AUGUST 28, 1955

AUGUST 31, 1955

SITE: MILAM SEED BARN

The landscape is a stark reflection of the way the South notoriously deals with its dark past. They cover it up, bury it, and neglect to acknowledge its importance in our history. The brutal torture of a 14-yearold black boy named Emmett Till is a wound that has scarred over with time, but without proper acknowledgment has never fully healed. The only way to properly heal a wound is to open it up, cleanse it, and expose it to air. This memorial intends to unearth these truths by reopening the wound that scarred this ground. The journey is choreographed through these methods of opening, cleansing, and healing.

OPENING CLEANSING HEALING

The journey through this memorial begins by entering into the earth, through the layers. A covered bridge leads the visitor to view an aperture in the earth that slowly pulls the ground apart. This is the wound. The visitor is guided to wander through a series of galleries that gradually unfold the story of Emmett Till - from his early years in Argo with his mother, Mamie, to his journey to Mississippi with his great uncle Mose Write, and Wheeler Parker, to the store, to the kidnapping, to the barn, and the trial. As the visitor dives deeper into the details of Emmett’s story, they themselves are opening this wound. Releasing the truth from within the earth.

“In Missississippi, there were certain things black people were denied by white people. The freedom of movement. The luxury of choice.”

- Mamie Till-Mobley

THE WOUND

CLEANSING

An underground hallway leads the visitor into the “Cleansing” space. The sound of water rushing pulls them into the location of the well that once existed on the property. The same well that Willie Reed confronted J.W. Milam when he heard the piercing screams of Emmett from the Barn. Water-stained red with tinted lighting continuously pours into the ground below. This space is inspired by the quote from Mississippi 1955 by Langston Hughs “Tears and blood should mix like rain.” This space memorializes those lives that continue to face brutality and injustice. It undeniably connects us to the present moment and state of our society today and the perspective of the infinite. It is a space of collective grief. Cleansing a wound is not peaceful - it stings like pouring alcohol on a cut. Here, the broader scope of Emmett’s story is understood. Its impact becomes more present and urgent. Emmett cannot be put to rest until the blood and the tears stop. 34

There is healing through the recognition of oneself in another. That we are each made of the same material. In seeing our reflection in a pool of water, in the source of blood and tears, we come to realize that we are each equally the inflictor as the inflicted. I think Mamie said it best herself, “What happens to one of us is the business of all of us.” The physical representation of the hill rising from the ground shows the earth beginning to heal, but is not yet mended. Although Emmett’s story is one that catalyzed dramatic racial change, the visitor leaves with a sense that there is still work to be done. The visitor comes with the intention to learn about the story of a 14-year-old boy but leaves learning more about themselves. Now is the time to speak out and stand up to make a difference. We all have the power to heal these wounds.

LEGACY

On August 28th of each year, a light will shine from the wound into the sky, in remembrance of his last breath on this site. In remembrance that Through Mamie, through other activists like Rosa Parks, Martin Luther King Jr., Fanny Lou Hamer, and many more, Emmett’s legacy lives on. Through each of us, there can be change.

design studio 7 prof. martin gold fall 2020

ba. of design univ. of florida colleague: sukanya mukherjee

upper west side manhattan, NY

URBAN

Urban farming is part of a wave of urban design that has been heavily discussed and pursued for over a century now. The threat of climate change, increasingly heightened demands on farmland, and the build up of contaminating pollutants endangers our ability to produce enough food to sustain rapidly growing populations. In order to create a meaningful change, we must understand the need to reorganize our cities to be more self-sustainable. A community centered around the ritual of farming nurtures a new culture of living that is more ecologically sustainable, social, focused on the well-being of residents, and relieves the pressures of food demand on the city.

IDENTITY + CONNECTIVITY

The Upper West Side of Manhattan is characterized by high-end commercial and residential districts that have layered over a historical working class culture. The site is currently occupied by a deteriorating public housing complex which lacks identity of place and connectivity to the dense urban fabric surrounding it. As a microcosm of Manhattan, this intervention seeks a duality in a new mixed-use housing programto reconceptualize a rich working class culture through the ritual of farming and act as an intermediary threshold connecting Lincoln Center and the Hudson River. By reimagining agricultural landscapes as vessels of dialogue between class lines, the proposal finds balance in the needs of the community for growth and the needs of the people themselves.

UPPER WEST SIDE, MANHATTAN, NY

PARK

BREAKING THE GRIDANALYSIS OF CITY DENSITY AROUND PARKS

ST

MARCUS GARVEY PARK

BRYANT PARK

CENTRAL PARK

NO PARKS

RITUAL OF FARMING

Agricultural typologies in the form of rooftop green-houses, vertical residential farming, and sunken cultivation spaces connect humans back to the earth. Growing, harvesting, cooking, and eating form the ritual of farming that facilitates community engagement through farmto-table dining experiences and openair produce markets hosted on the site.

GROW HARVEST COOK SLEEP

EAT kWh/m2+ 1172.11< 1054.90 937.69 820.48 703.27 586.05 468.84 351.63 234.42 117.21 <0.00

RADIATION ANALYSIS

This radiation analysis reveals the annual sun exposure on the surfaces of the housing and farming bars. The rooftop greenhouses and vertical farming volumes recieve sufficient daylighting throughout the year to sustain a culture of farming. The housing bars recieve significantly less sun exposure which reduces the loads on HVAC systems.

HOW DO WE MERGE ARCHITECTURE, LANDSCAPE, AND FARMING?

VIEW FROM RESIDENTIAL HOUSING BARS

VIEW FROM ROOF-TOP GREENHOUSES 45

WESTENDAVE 64THSTREET 61STSTREET

The site hosts three types of housing - subsidized, affordable, and marketrate. The layers of housing typologies correspond to a 25/50/25 ratio respectively. These programs are differentiated by plan and amount of livable space as opposed to being segregated throughout the project. The housing bars consist of subsidized and affordable living. The slight undulation of the bars allows the rows of housing to breath - shaping larger social realms for residents to meet and coexist.

In order to make residential gardening more accessible and efficient, this small-scale design can be integrated into the largescale urban form of towers.

Articulating “farm” as vertical volumes that break through each floor provides access to the urban dweller occupying each level, thus,

TYPOLOGIES FARMING

[VERTICAL FARMING]

Vertical volumes that organize the towers are pushed to the south facade of the tower to maximize access to sunlight for year-round growth. Verticality as a reinterpretation of farm provides access to each residential level - fostering smallscale agricultural villages.

[HORIZONTAL FARMING]

The roof plane of the housing bars hold occupiable green spaces that shift the horizon line above the ground. These spaces are ideal for light and land dependent crops. Residents are each designated a plot for their own personal cultivation.

[SUNKEN FARMING]

Underground farming anchors the project back to the ground. Lightwells funnel light through the residential bars and into the sunken spaces below. Mushrooms and low-light crops are harvested to supply the farm-to-table restaurants.

BRIDGE FROM LINCOLN CENTER

Better control of rain flow and prevention of stormwater runoff prevents flooding on property.

Trees and foliage provide shade and remove heat from the air, thus mitigating heat island effect and reducing energy costs.

Reduced membrane wear increases the lifespan of the roof.

Planting Soil Drainage Board

Roof Membrane Foil-Faced XPS Insulation Greenroof Substrate

AEROPONIC FARMING

Passive solar design ensures that crops recieve sufficient daylighting.

Soilless system increases crop yeild and decreases dead load on structure.

LED grow light systems compensate for areas that do not recieve sufficient natural light from the light wells.

Exposed roots absorb more oxygen from nutrient enriched solution - reduces water demand

Passive water supply system collects groundwater and utilizes gravity to pump into hydroponic tanks.

OPEN-AIR

An open-air produce market lies in the pocket created between the residential housing bars. This space links the highly dense urban centers of Lincoln Center and the Hudson River. This space is set aside for local small businesses and residents to sell produce harvested on or off-site. The bottom floor of the bars is reserved for commercial businesses that that separate public and private entities.

adv. studio I prof. michael gamble fall 2021

MArch II georgia tech

RECORDER

The purpose of this project is to create a "Curiosity Cabinet" to house an established curated collection. "Infinity Drawings" are created out of the cabinet and collection as generative stepping stones for form and programatic ideas. The introduction of the site grounds the project and contextualizes its purpose. Ultimately, the "Curiosity Cabinet" reveals itself as a series of archival and garden spaces tailored to the program of the collection.

COLLECTION RITUAL OF

This collection arises from the need to record our natural history through the careful gathering, categorization, and preservation of plant life. A series of studies were conducted to explore different methods of preservation - the preservation of the organism itself [living and dried] and the preservation of form [plaster imprinting]. The result is a collection of plates that record the biodiversity, climate, and atmosphere of a geological location. What emerges is an elegy of time and place.

geometrically refined, and interpreted into a structural framing system.

INFINITY DRAWING

The infinity drawing is a boundless, generative model for spatial and programmatic ideas. The drawing is constructed through the manipulation of naturally born geometries subjected to a series of 2D and 3D digital operations such as mirror, scale, move, boolean difference, rotate, and invert.

The kernform focuses on the techniques and structural framework of an architecture. This project generates space by employing a system of stereotomic components subjected to manipulated extrusions and spatial inversions. The geometries are extracted from patterns found in nature and then isolated to perform a series of carving operations - extrude, scale, rotate, intersect, and invert. The resulting interior cavities are carved from travertine stone using an industrial sized CNC water-jet mill. These extrusions can be oriented in a finite but extensive number of ways to craft various languages of space that are adaptable based on programmatic function.

KUNSTFORM

The kunstform focuses on the representational aspects of the construction, such as its materiality and enclosure. This project explores materiality in testing the structural and aesthetic capabilities of travertine stone. The form is intended to display the characteristics of weightlessness, lightness and delicateness of stone that sharply contrasts with the heavy representation of the same material seen in the backdrop of Roman construction. Light-colored travertine stone catches light and shadow to emphasize the surface textures and details. The interior cavities diffuse light that is preferred for archival spaces. Additionally, the representational aspect of construction stems from the organic geometries. Similar to cells functioning as the building blocks of the living world, these carved components are the building blocks of inhabitable space.

The etchings of Giovanni Battista Piranesi record a unique image of Rome. In his synthesis of his Campo Marzio dell'Antica Rome (1762), Piranesi interrogates the soft, malleable city. He explores the inhabitation of Rome's past and present by addressing the old (ruin) and new monuments within the same plate. It is suggestive in that the historical city is reinvented and selectively restructured into fragments. These fragments endure material transformations and a fictional order that proposes a site for the advent of "other forms." I seek to intervene with an "other form" - a form that respects the same materiality and steromtomic nature of construction, but employs evolved technologies of carving that introduce a new formal system and contradict the order of architecture established by Piranesi. The program of a herbarium will reinvent the use of the site just as the restructuring of the fragments of Rome calls for new ways of inhabiting space.

In addition to holding a collection, This “other form” acts as a lens from which Piranesi’s drawings can be viewed from within.

FRAMING PIRANESI

[Il Campo Marzio, Rome (1762) Giovanni Battista Piranesi]

Herbarium PROGRAM

The Herbarium is a vessel for the gathering, classification, pressing, drying, and preserving of precious plants and plant specimens. The Herbarium is composed of three Archives, and five Gardens. The archive spaces are dedicated to the careful storage and preservation of a variety of preserved plants and plant parts. They are separated by the way in which they are preserved [dried, imprinted, living] and then further organized by their geographic region in which they were collected. The Gardens are spaces designed to instill wonder and create moments of pause. The herbarium's most important poetic function is to connect humanity back to nature. A living herbarium rests within the ground and below the floating cabinet of archive spaces. It serves as a point of growth and collection as well as a poetic opportunity to display the life cycle of these specimens.

LIVING HERBARIUM

ARCHIVES PRESSED + DRIED PLANTS PLASTER IMPRINTED PLANTS

ARRIVAL

media + modeling III prof. tzu-chieh k. hong fall 2021 colleagues: elizabeth gooch nicole barrow miguel jimenez

NEXUS PAVILION

The Nexus Pavilion is a prefabricated tent-like structure that can be built and then deconstructed as a temporary instalation for any public space. The catalyst of the project was an interest in developing a digital language between tectonic systems and enclosure. Assembly logistics interpret this language as the interplay between joints, connections, and surfaces. Experimentation with the domains and bounds of these elements allows for numerous possible variations in the structures design based on program and site.

FORMAL DERIVATION

Starting from an initial design goal, our team performed a set of operations in Grasshopper to develop a formal study that can be applied to multiple sites. The resulting tectonic structure is transformed by adjusting the number of points, the density of points, and the movement of points in the z direction. Four anchor points form their own data set that is not manipulated in order to preserve points of connection to a site. Applying a Delaunay mesh to the frame introduces the idea of surface.

PIPE

DALAUNAY MESH

SURFACE DERIVATION

DELAUNAY MESH FACE NORMALS DISTANCE SMALLER THAN GATE OR . CULL FACES

Create mesh from triangulation of points.

Locate the centers of each face.

Find distances between cloud points and centers of faces. Determine specified points.

Join the list of elements.

Construct mesh from specified points.

SURFACE

theory II - left hand of darkness prof. mark cottle fall 2022

SHADOW STRUCTURES

This course was a study on the power of light and shadow. Neither can be truly understood without the presence of the other. The shadow itself is not merely a physical phenomenon but holds materiality, form, and vision. It is a part of a basic set of metaphors that structure our values and organize our understanding of the world. Through the medium of charcoal, drawings were produced with the catalyst of single-word prompts The prompts encouraged a seeking and studying of phenomena in our everyday environments. The work is a collection of moments described in light and shadow using a variety of techniques to convey a simple idea.