2012 Portfolio
Process Throughout these pages, brackets serve to illustrate the process and formation of an idea.
selected process models
To d w e l l i n - b e t w e e n e x p e c t a t i o n a n d answer requires a postponement of the full measure of intent;
Contents Savannah Civic Center C.A.R.A Boathouse Goodman Fashion House Industrial Arts Center Architecture and the Absurd Selected Artworks Curriculum Vitae
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it is a process that accommodates the unknown in order to re-negotiate my understandings....
MATTER OF MAN acrylic on mylar, charcoal, wood, steel, cable 16 X 16 inches 2011
SAVANNAH C IVIC C ENTER a n a r c h i t e c t u r e o f f l e x i b i l i t y. . .
Program: Theatre/Civic Center Size: 40,000 sq. ft. Location: Savannah, GA Architecture Studio I Professor Matthew Dudzik Fall 2011
Each project begins with a communicative art piece like the one at left that drives the intent of the project throughout the process. 5
conceptual model
The process began by abstracting an object, the Spirograph, with the goal of translating this object into architecture. This process model was a tool to explore how a rigid structure could be made flexible. The mediums explored later informed the creation of the section model.
spirograph and translation 6
section model
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program diagram
present Elbert square
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revitalized Elbert square
site plan highlighting Savannah’s remaining squares
This project’s objective is to re-activate the rigid formalism of Savannah’s most unique urban design feature, the public park, or “square,” that is central to every ward unit. Elbert Square was lost with the construction of US 17 and the current civic center in the 1930’s.
To revive Elbert Square in a contemporary manner that encourages interactivity and flexible programming will be a means to reengage the otherwise inflexible urban fabric in Savannah.
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VIEW FROM ELBERT SQUARE watercolor and ink 11x17 inches 2011
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Moving building components in building allow for flexible programatic uses and a variety of configurations to take place within the same rigid structure.
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Embedded technology within the ground of the square and building facade allow user interaction with the environment. Weight sensors that detect activity in the plaza will light up corresponding panels on the theatre’s facade.
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1. Black box theater 2. Revitalized Elbert Square 3. Pedestrian corridor 4. Practice facilities 5. Box office 6. Adaptive rehearsal/event space 7. Restaurant
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east elevation
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This image is created by combining CAD line work with watercolor, drawn entourage, and photos of the model. 14
longitudinal section
open-close movement 15
GENIUS LOCI fluid acrylic on mylar, transfer, photocopy, acetate, charcoal 20 x 26 inches 2012
C H AT H A M A R E A R O W I N G A S S O C I AT I O N B OAT H O U S E a n a r c h i t e c t u r e o f “ i n - b e t w e e n ”. . .
Program: Rowing Facility Size: 25,000 sq. ft. Location: Savannah, GA Architecture Studio II Professor Algar Thagne Winter 2012
This communicative art piece layers abstract aerial views with actual views of the site from a human perspective, capturing the “in-between” quality of the site. 17
Wilmington River ecosystem
site analysis 18
building site with design solutions 19
The methods explored in building this site model using layered cut acrylic sheets, welded steel, and transparent paint led to the creation of these conceptual models which utilized similar techniques and materiality in a way that further explores their potential as communicative mediums.
site model
conceptual models 21
This process model informed the creation of this sculpture using similar methods and materials.
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TO BE BETWEEN wood, steel, plexiglas, acrylic, string 1x3x3 ft 2012
parti diagram
program diagram
The unique qualities of this salt marsh ecosystem with twice a day tides up to ten feet means the site is in a constant state of fluctuation. This characteristic, coupled with panoramic views of the horizon line, attribute to a feeling of “betweeness.� To be in-between there must be a separation, a division of anteriority and interiority. The goal was to consider how the user could have an exageratted and prolonged awareness of this threshold in all aspects of design.
site plan
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rowing facility visit
program and adjacency diagram 24
interior perspective of boat storage
“Everything exists as between the visible and the ar ticulate...� - P e t e r
Eisenman
early elevation and sections 25
construction detail
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ROWERS PERSPECTIVE watercolor 11 x 17 inches 2012
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ground floor plan
south elevation
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second floor plan
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boat storage storage closet washing area repair area ramp floating dock head coach’s office assistant coach’s office coach’s bathroom meeting room mens rest room womens rest room plumbing closet gymnasium lounge running track mens locker room womens locker room mechanical storage transition zone
east elevation
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C.A.R.A. BOATHOUSE MODEL cherry, steel, pulp board, wire, hardware 2012 30
IN-BETWEEN watercolor 11 x 17 inches 2012
My direct observations of the site and handson explorations of conceptual modeling and communicative art preceded a solution which enhanced the meaning of place. In order to allow the result to grow unexpectedly, a process which postponed the full measure of intention was
required. In this way, the solution is informed by every act taken in this process, which may or may not be an act of consciousness. The final result is a synthesis of what I saw and what I knew; somewhere between the abstract and the real.
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DISINTEGRATION collage, graphite on mylar 12x18 inches 2012
THE ERIN GOODMAN FASHION HOUSE an architec ture of disintegration...
Program: Luxury Retail/Design Studio Size: 26,000 sq. ft. Location: SoHo, New York City Architecture Studio III Professor Laraine Papa Montgomery Spring 2012
This communicative art piece represents the human struggle with disease, specifically cancer, and begins to describe the language used in the architecture. 33
left to right: designer Erin Goodman, spring 2012 collection, construction flats
The parallels between Fashion and Architecture present an opportunity for a unique collaborative experience as the boundary between disciplines have become increasingly blurred. As forms are becoming increasingly expressive in contemporary architecture, fashion is a tool for the architect that is more useful than ever. This project arises during a critical shift from experiential retail shopping to the technological world of online shopping, and is an effort to revive the authenticity, storytelling, and innovation needed to create an emotional connection to a luxury fashion store located in the SoHo district of New York City. Created for Fashion Designer Erin Goodman, the store is designed with the concept of disease and cancer present in her Spring 2012 collection. The question became: 34
How to present the grotesque notion of disease in an objective and beautiful m a n n e r?
The exploration began by collaborating on a furniture design with Fashion Designer Erin Goodman. Built from cardboard at a 1:1 scale, the design is a translation of Erin’s fashion collection. The resulting furniture relates to cancerous notions of decay, mutation, cells, and division.
cardboard furniture design
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conceptual models
Architect Peter Eisenmann suggests in his essay En Terror Firma; In Trails of Grotextes, “Architecture must displace the former ways of conceptualizing itself.� This meant that in order to re-engage the luxury shopper the traditional store must be subverted; the experience must embrace the uncertain and the unnatural, all within a framework that is familiar and certain. 36
section “x-ray”
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superimposed data
ROOM OF DIS-EASE watercolor, rendering, and digital collage 18 x 24 inches 2012
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This image is created by combining digital renderings, scanned watercolor, hand drawings, and photoshopped entourage. 39
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site plan
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SKIN AND BONES MODEL cherry, poplar, walnut, purple heart, cedar, plexiglass 12 x 6 x 8 inches 2012 41
program diagram
model exterior
section model 42
transverse section B
longitudinal section A 43
ERIN GOODMAN FASHION HOUSE watercolor 11 x 17 inches 2012
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rational “body”: elevators, egress, bathrooms, offices, storage, work space irrational “disease”: design workshop, retail store, dressing rooms, event space, light wells plans
exploded axonometric of structure 45
“A r c h i t e c t u r e r e q u i r e s a m o r e complex form of the beautiful, o n e w h i c h c o n t ai n s t h e u g l y, o r a rationality that contains the irrational.� - P e t e r
Spring Street elevation 46
Eisenman
The solution is an aggressive architecture that disintegrates program and structure of the building much like cancer does to the human body. The language of the building relates to deconstructionist ideas of “trace,” “twoness,” “betweenness,” and “interiority/anteriority” to create a sublime experience for the user. Two structural typologies represent the conflict of cancer within the building. In the instance of their intersection, the structure of the rational outer body is compromised and replaced by the irrational disease. In this way, the two systems are successfully integrated and reliant on one another for structural wholeness. The disease infiltrates from within and demands control, ultimately killing itself.
Greene Street elevation 47
MAKING IS LIVING collage, photocopy, acrylic on mylar, graphite 11 x 17 inches 2012
LIVE-MAKE INDUSTRIAL ARTS C E N T E R C I N C I N N AT I
Program: Housing/Workshop/Studio Size: 60,000 sq. ft. Location: Cincinnati, Ohio Architecture Studio IV Professor Brian Wishne Fall 2012 An Architecture design competition presented by the Cincinnati AIAS chapter in partnership with the Over-the-Rhine Brewery District community urban redevelopment corporation
This collage recorded my impressions of the site. As a result, the idea that the way one lives should reflect the way one works and vice versa became evident. The notion of reciprocity guided the design process and formation of this project. 49
building site
Bellevue Park exploded site diagram
Philippus United Church
Existing structure on site
site section
view of site from site visit
The Over-the-Rhine Neighborhood is situated between two main commercial districts of Cincinnati, Ohio. Once famous for its Italianate architecture and beer brewing, the neighborhood fell into decay and suffers from blight and crime. The potential of this site to become a community magnet and production center for revitalization of the district drive the competition. The site for the Industrial Arts Center lies in the Brewery district and contains an existing structure built in 1900. The main objective is a solution that engages the site’s historic fabric and restores some of the original living and making characteristics of the community. 52
design solutions from site analysis
early section perspective sketches 53
early massing model
parti diagram models
site plan 54
early massing exploration
section slices and sectional model 56
A “hybridized� approach was developed in the architectural exploration that accommodates an oscillation between computerized technology and the more intuitive acts of physical making. This was in response to a critical issue in current architecture debate: how do we reconcile advance technological methods with the significance of intuitive methods in the more traditional role of architect as maker? A more thoughtful hybridized approach can be a way to assure that intuition and creativity are allowed expression in design. It is a process that explores the opportunistic intersections within this supposed split, and can be a way to allow for the unknown to shape an idea.
section model in topography 57
RAINY DAY PERSPECTIVE watercolor, rendering, and digital collage 18 x 14 inches 2012
building form translation 59
view from public promenade
site axonometric 60
view from beer garden view from community garden plots view from Findlay Market
view from sculpture terrace
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housing
studios
public landscape main circulation
digital fabrication lab wood and metal workshop
existing structure
exploded axonometric 62
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building north 20 60 plans
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lobby member storage light industrial unit storefront + reception bathroom storage metal shop mechanical
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finishing room wood shop egress + freight elevator studio digital fabrication lab computer lab conference room fab lab storefront
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tools storefront office shipping + receiving housing sculpture terrace public landscape 63
sleep eat relax
work alone
play work together section perspective detail 64
east elevation
south elevation 65
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woodshop perspective
“LIFT HERE” SECTION MODEL red oak, acrylic on mylar, magnets 18 x 11 x 3 inches 2012 67
OVER-THE-RHINE MODEL poplar, pine, paint, nails 2 x 4 feet 2012
detail
Creation of this site model incorporated digital fabrication techniques such as CNC routing and laser cutting with hands on assembly and labor. 69
The Cincinnati Industrial Arts Center explores the potential of a historically significant but neglected context to reconcile old and new, revive a neighborhood and create a haven for artists and designers to come live, work and play. Beyond bringing new life to a key area for future redevelopment for Cincinnati, this project examines the relationship of a living and working community in close proximity. A healthy relationship of living and working means the way one lives reflects the way one works and vice versa.
extended section model
This idea of reciprocity was examined through form and program, using the topography of the hillside as a form giver and natural divide between living and working zones. Envisioned as a playful “artificial” landscape, this public space is an urban gesture that extends all the way from Findlay Market up the hill to Bellevue park. In effect, the Industrial Arts Center bridges the physical and perceptual divide between Cincinnati’s neighborhoods, while reconsidering the relationship of living and working in day to day life.
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S E L EC T I O N S FRO M “A RC H I T EC T U R E AND THE ABSURD”
A solo exhibition presented at Moon RIver Gallery in Savannah, GA, April 2012.
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THE SKYFORT ink and graphite on mylar 12 x 12 inches 2012
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THE CONSTRUCTIONIST ink and graphite on mylar 12 x 12 inches 2012
THE NOMAD ink and graphite on mylar 12 x 12 inches 2012
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THOUGHTS ON HUMAN PROJECTION acrylic, graphite, and charcoal on mylar 18 x 24 inches 2010 THOUGHTS ON HUMAN ABSORPTION acrylic and graphite on mylar 18 x 24 inches 2010
LANDSCAPE OF DESIRE oil on canvas 3 x 5 feet 2010
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opposite page: THE SURREALIST’S BEDROOM collage 30 x 40 inches 2012 this page: THE (DE)CONSTRUCTING HOUSE collage 30 x 40 inches 2012
The notion of Absurdity is born in man when he no longer takes his routine mechanical life for granted and begins to question, why? The fundamental position of architecture in our everyday experiences is a particularly profound vantage point from which to question our reality. For the Absurdist, whose humanism derives from questioning of ones own existence, dream worlds are often more real than the real world. It is through our deepest desires
that we find the motivation that forms and informs our built environment; before functionalism and before formalism, architecture encodes the desires of man. Thus, in subversion of the notion of architecture as the embodiment of order and functionality, architecture becomes a mechanism of delirium through which the point of Absurdity can be reached.
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EYE TO THE HORIZON mixed media on mylar 18 x 24 inches each, dimensions variable 2010
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opposite left: HARMONIC ARC I padauk, steel, cable and hardware 6 x 12 x 24 inches 2011 opposite right: THE CONSEQUENCE OF GRAVITY padauk, poplar, steel, cable and hardware 1.5 x 2 x 4 feet 2011
details 83
SHIFT luan plywood, steel, cedar 8 x 8 x 24 inches 2012
The fairest thing we can experience is the mysterious. It is the fundamental emotion which stands at the cradle of true art and true science.
BLUEPRINT NO. 1 oil and laser etching on wood 18 x 18 inches 2012
BLUEPRINT NO. 2 oil and laser etching on wood 18 x 18 inches 2012
- Alber t Einstein
BLUEPRINT NO. 3 oil and laser etching on wood 18 x 18 inches 2012 85
This project was commissioned as part of an initiative to develop and enliven the Bloomington Entertainment and Arts District (BEAD). The public art installation was completed over the course of one year and features nine profiles of actual community members. The installation creates an dialogue with the community art center it faces across the street. 86
FACELIFT public art commissioned by City of Bloomington, IN 2010
Time Portals is a public art project that evokes memory, interaction, and interpretation. The response is a interpretive narrative joining past and present with the notion of progress at the brand new SCAD Museum of Art. Translucent volumes contain historic slave-constructed masonry remnants which are otherwise unusable in the reconstruction. I have recontextualized these pieces of rubble and re-presented them in a way that honors and evokes their story.
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The form takes cues from the architecture of the site by extruding the old masonry portals and mimicking the new glass jewel box encasements, fusing new and old while commenting on the notion of progress. As the viewer, one activates the space by literally walking through layers of history. The portals make no statement about the integrity of the site as it too will rust and decay over time, rather, the viewer is invited to form their own interpretation.
TIME PORTALS public art proposed project for the SCAD Museum of Art 2011 89
Wherever I travel, I document my observations by sketching. This assists in creating vivid memories not only of sights, but of the people and cultures. The act of drawing often begins dialogue with locals who would otherwise dismiss a tourist. For me, this is the most enriching experience of travel. 90
opposite, clockwise from top: Taj Mahal, Agra, India Jaisalmer, India Istanbul, Turkey right, clockwise from upper right: Brugge, Belgium Koh Tao, Thailand Marrakech, Morocco Barcelona, Spain Lacoste France
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E D U C AT I O N
WORK EXPERIENCE
AWA R D S AND ACHIE VEMENT
O R G A N I Z AT I O N S AND LE ADERSHIP
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Savannah College of Art and Design - Savannah, GA Bachelor of Fine Arts in Architecture, Minor - Painting Current GPA: 3.94. Deans List, 2008 to Present
Expected June 2013
Bloomington High School North - Bloomington, IN Academic Honors Diploma, Principal’s Scholar
Graduated June 2008
Daniel Reed Hospitality - Savannah, GA Server at Local 11ten and The Public Kitchen and Bar Serving customers with demanding fine dining and upscale dining expectation
September 2011-Present
Savannah Pedicab - Savannah, GA Biker Guided Savannah architecture history tours
January 2011-December 2011
Utrecht Art Supply - Savannah, GA Sales Associate Extensive product knowledge in all art disciplines
September 2010-January 2011
William Armstrong Painting Studio - Savannah, GA Studio Assistant Volunteered various studio assistance to a local painter in a professional studio
Fall 2010-January 2011
2012 SCAD, John Lebey Scholarship for Art in Architecture 2010 SCAD, John Lebey Scholarship for Art in Architecture 2009 SCAD, Betty Anderson Endowed Scholarship 2008 Bloomington High School North, Artist of the Year SCAD, Combined Honors Scholarship Scholastic Art and Writing Awards, Regional Portfolio Gold Key American Institute of Architecture Students (AIAS), Member, 2011-Present Sculpture Forum, Treasurer, 2011-Present National Art Honor Society, Vice President, 2007-2008 BHSN Student Council, Student Body President, 2007-2008 Habitat for Humanity, Volunteer and Publicity Coordinator, 2006-2008
SELEC TED EXHIBITIONS
SELEC TED COMMISSIONS
T R AV E L
2012 Architecture and the Absurd (solo) Sculpture Forum Showcase (group) 2011 Boundary Hall Exhibition (group) Sculpture Forum Showcase (group) 2010 Vernissage Exhibition (group) Small Works 2010 (juried) Fresh Paint 2010 (juried) 2009 National Society of Arts and Letters Emerging Artist Exhibition (juried) Boundary Hall Exhibition (juried) Fresh Paint 2009 (juried) Small Works 2009 (juried)
Moon River Gallery, Savannah, GA Desoto Row Gallery, Savannah, GA SCAD, Savannah, GA DeSoto Row Gallery, Savannah, GA Lacoste, France Gutstein Gallery, Savannah, GA SCAD, Savannah, GA Bloomington , IN SCAD, Savannah, GA SCAD, Savannah, GA Gutstein Gallery, Savannah, GA
2010 City of Bloomington, GarageART • Commissioned Public Art project in developing downtown art and design district. • Project involved proposal, design, fabrication, and installation of large scale work. • Budget: $10,000 2009 Bloomington Area Arts Council and City of Bloomington, Traffic Box •Public Art commission to paint downtown traffic box, winning proposal. 2007 and Prior St. Paul’s Catholic Church, Fall Mural •Designed and directed the painting of a 30 ft. tall hanging mural Provence, France, study abroad, 3 months, 2010 England, Belgium, Netherlands, Spain, Morocco, Greece, Turkey, backpacking trip, 6 weeks, 2010 Thailand and India, backpacking trip, 6 weeks, 2011
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