P O R T F O L I O
M A C K E N Z I E S H I N N I C K
G E O R G I A I N S T I T U T E OF TECHNOLOGY F A L L 2 0 2 1
MACKENZIE
SHINNICK 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
PROFESSIONAL
EXPERIENCE
INTERNATIONAL TECHNICAL ARCHITECTURE INTERN
Sin Luz Ingenieria y Arquitecture SLP Barcelona, Spain Summer 2019
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
HONORS
+
HARRISON CHAIR FELLOWSHIP
Georgia Institute of Technology 2021 -2023 TOP 10 - TWO-YEAR CUMMULATIVE FACULTY REVIEW
University of Florida Spring 2019
ACTIVITIES
AIAS GAINESVILLE SCHOLARSHIP
INTEGRATED BUILDING SYSTEMS CLUB
Univeristy of Florida Fall 2019
AIAS - AMERICAN INSTITUTE OF ARCHITECTURE STUDENTS
SKILLS
Georgia Insitute of Technology Fall 2021
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
AWARDS
2D
Illustrator InDesign Photoshop Hand Drafting 3D
Rhino 3D Vray for Rhino Lumion Model Making Basic Woodwork
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R E C O R D E R [06] [08] [10] [12-15] [16] [18] [22]
Intro Collection Infinity Drawing Kernform + Kunstform Site Program Materiality + Lighting
O2.
J O I N T
O3.
DIGITAL
+
S U R F A C E
[24] Intro [26] Form Derivation [28] Joint + Surface Derivation
S I T E S
[30] Intro [32] Variations
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01. adv design I prof. michael gamble
R E C O R D E R 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.
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01.
RECORDER COLLECTION 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.
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R I T U A L O F COLLECTING
GEOMETRIC
O R D E R
A geometric order is derived from patterns found in nature. Cell clusters from a Sarracenia "Pitcher" plant are extracted from the elevation of the plant, geometrically refined, and interpreted into a structural framing system.
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ARCHIVES
GALLERIES
ARCHIVES
GALLERIES
COLLECTION GARDEN SEVIHCRA
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.
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COLLECTION GARDEN
ARCHIVES
LIVING GARDEN
GALLERIES
LIVING GARDEN
COLLECTION GARDEN
SEIRELLAG
ARCHIVE
NOITCELLOC NEDRAG
LIBRARY + COLLECTION READING GARDEN LIBRARY + GARDEN GALLERY
READING GARDEN
PRESSING + DRYING GARDEN
GNIVIL NEDRAG
PRESSING +
LIVING GARDEN
CHIVES
LERIES
ECTION GARDEN
LIVING GARDEN
ARCHIVES
BRARY + GALLERIES GARDEN ARCHIVES
GALLERIES
SING GARDEN + GARDEN COLLECTION
COLLECTION GARDEN
LIVING GARDEN
LIBRARY + READING GARDEN
LIVING GARDEN
LIBRARY
PRESSING + DRYING
LIBRARY + READING GARDEN
PRESSING + DRYING GARDEN
PRESSING + DRYING GARDEN
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KERNFORM [Core Form]
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.
EXTRUDE
LIFT
ROTATE
REFINE
TECTONIC STRUCTURE STUDY
3D PRINTED
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INTERSECT
INVERT
EXPLODED ELEVATIONS
45 LAYERS
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KUNSTFORM [Symbolic Form]
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. Lightcolored 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.
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SITE [Il Campo Marzio, Rome (1762) Giovanni Battista Piranesi]
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.
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FRAMING
PIRANESI
This form intervenes in Piranesi's drawings as a means of not only holding a collection but also acting as a frame to view Piranesi's drawings from within.
P R O G R A M Herbarium 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.
ARCHIVES
01.
PRESSED + DRIED PLANTS
02.
PLASTER IMPRINTED PLANTS
03.
LIVING HERBARIUM
04.
ARRIVAL GARDEN
05.
COLLECTION GARDEN
06.
PRESSING + DRYING GARDEN
07.
EMILY DICKINSON'S PRIVATE POETRY
GARDENS
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01.
02. 19
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03.
04.
05.
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MATERIALITY Travertine stone is one of the main construction materials of the Roman ruins and will be the material used for carving into. The stone is porous but lacks planes of weakness, thus making it lightweight for its strength. It is commonly used as building material for its durability, variegated color and pattern pallet, and heat and pressure resistance. This material also has the structural advantage of being easy to cut into, thus this material has the specific structural advantages for the stereotomic techniques.
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LIGHTING
SYSTEM
This project utilizes the natural light in the gardens and archive spaces. However, since the archive spaces could suffer damage from direct UV light, UVray-filtered glass will be installed in all of the apertures. The dried plant archives, pressing garden and drying garden are either buried underground or tucked away to eliminate exposure to direct natural light when the collection is most vulnerable to damage.
O2. g IIIprof. tzu-chieh kurt hong colleagues: elizabeth gooch nicole barrow miguel jimenez
J O I N T + S U R F A C E This project focuses on experimenting with digital form finding methods in Grasshopper. The catalyst for the design stems from the goal of developing a digital language between tectonic systems and enclosure. Assembly logistics interpret this language as the interplay between joints and surface. The introduction of site and program brings a real-world application to the virtual world of design.
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02.
J O I N T + SURFACE
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.
POPULATE 3D
MOVE POINTS IN Z DIRECTION
PROXIMITY
PIPE
DALAUNAY MESH
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JOINT DERIVATION
GRASSHOPPER COMMANDS 01. PROXIMITY 3D 02. PIPE 03. SPHERE 04. SCALE 05. SOLID INTERSECTION 06. BREP CONTAINER
PROXIMITY 3D
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Generate linear connections from points. Pipe connections by .05. Create spherical surface on connection points. Scale sphere and pipe, create BREP. Perform a solid intersection on the scaled sphere and pipes. Combine smaller sphere and the result of the intersection in a brep container.
PIPE
SPHERE
SCALE
SOLID INTERSECTION
BREP CONTAINER
SURFACE DERIVATION
GRASSHOPPER COMMANDS 01. DELAUNAY MESH 02. FACE NORMALS 03. DISTANCE 04. SMALLER THAN 05. GATE OR . 06. 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.
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O3. media + modeling III prof. tzu-chieh kurt hong
D I G I T A L
S I T E S
This project focuses on the implementation of a site in a digital context. It highlights the skillsets of creating a playable geometry that reacts systematically to a given surface condition. In this case, the orientation and position of a cylindrical form dictates the rotation and scale of a motif in a vertical datum. The result is a spine-like structure that twists parametrically to form various iterations of spiraling towers.
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03.
DIGITAL SITES
ORIGINAL VARIATION Original surface orientation Original rotation Original scale
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VARIATION O1 Rotate surface 90 degrees Move surface down in the z direction
VARIATION O2
VARIATION O3
Increase scale of translated geometry by 3
Increase scale of translated geometry by 5
Move translated geometry in the x direction
Rotate surface 90 degrees Move surface down in the z direction
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