Reide/Remi McClain

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CompiledWorks Reide/Remi McClain



reide/remi After months of contemplation, my mother named me Reide. A name with no clear gender, and for her, a name that would help me succeed. They’ll expect a boy to walk through that door, my mother would explain in confidence. Alongside Reide was always Remi. It’s her initials with an added “i” for intelligence, my father would explain to everybody. And so I go by either, Reide and/or Remi.



inside content Studio Works 1— the pressured in-between 2— a neon pink urbanfarm 3— deep house: the tale of 2 twins 4— climate conservatories 5— steven+sarphatistraat > shaw

09-19 21-29 31-37 39-43 45-51

Design Works a— gray area

55-59

Fabrication Analogue

60-61 62-63

And/Also/Etc.

experience connect

64-65 66-67



studio works


1


studio works

the pressured in-between

fall 2016

Black Box. Mute Icon

VC Professor: Georgina Huljich, P-A-T-T-E-R-N-S, Los Angeles

400 Level Visiting Critic Studio

design collaboration w/ Samuel Dye images cited accordingly


the pressured in-between Brief: The design project consists of a new building for Royce Hall at UCLA in Los Angeles. The new university building includes the University Auditorium, the Center for the Art of Performance at UCLA, and the Royce Hall Terrace. Students focused on the autonomous object with the purpose of generating a hyper articulated interior void that is prototypical rather than specifically building oriented; beginning with artist research as the primary means of object making. In the disconnection between interior and exterior, the studio will seek new and maybe unconventional solutions to the problem of the icon. From classical notions of “Poche,” to ideas about “Crowded Intricacies,” “Sectional Object,” etc. the studio will involve advanced techniques of solid projection.

Monumentality is enabled through the tension between black box and plinth, creating an experiential in-between space, enveloped by two disparate elements that are peculiarly, yet undeniably, related. By stripping the black box from its current condition of dense poche, the black box is immediately perceived from endless points of observation. This dissolves any hierarchy in side-ness, instituting fuzziness as a means of assertion and impact. The plinth extends its grain into the context, behaving as both building mass and landmass, a pedestal for the pressured in-between space; which shifts our understanding of a typical campus building’s interior public space, or even primarily enveloped outdoor central courtyard. “When whole systems of geometric description and organization break down, seemingly unnatural connections between disparate elements emerge. The introduction into architecture of forms that are proto-geometric, or without exact measure, presents such an opportunity.”

-Greg Lynn: Folds, Bodies & Blobs


Research Catalog I.B

Analysis of selected UCLA Royce Hall of Performing Arts dancer, Warby, as a means of initial design concept and form-making. profiles determinedRos by dance positions

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time, minutes 32:00 28:00 22:00 20:00

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16:00 12:00

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08:00 04:00 00:00

position, elevation

position flow, elevation

span, elevation

span flow, elevation scale of position

Sam Dye and Remi McClain 10.08.2016 26:00 Phase A2 #02: Research

Black Box. Mute Icon / Syracuse University School of Architecture / ARC 407-609

position, plan

position flow, plan

27:00

position flow, perspective

28:00

2’

29:00

Visiting Critic Studio / Fall 2016 / PATTERNS Georgina Huljich

span, plan

31:00

position, camera perspective

2’

32:00

span, camera perspective

11—

span flow, plan

33:00

span flow, camera perspective

34:00

30:00


the pressured

Sectional Oblique, operating between abstraction and realism, the encouraged technique for this studio challenges fixed aesthetic notions of beauty and architectural representation and visualization. The conflict between opposing grains and the relationship between interior void and exterior void, is most fully [produced with Rhino, V-Ray Base Rendering, Photoshop, Illustrator | original image size 72� x 72�] understood in the use of sectional oblique.


in-between

Exterior + Unfolded Underbelly, the campus colonnade typology dissolves into the underbelly as a field of inconceivable structure - where the figure of the black box is dropping elements as a means of introducing fuzziness. [produced with Rhino V-Ray Base Rendering, Photoshop, Illustrator | original image size 72” x 72”]

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the pressured


in-between

15’

Program ProgramScale ScaleStudies Studies Main MainProgram ProgramtotoBasic BasicForm Form

Formal Progression

Main Auditorium 190,000 SF (?)

Ahmanson Terrace 500 SF

15’ 15’

West Lobby 5,000 SF

Main Auditorium 190,000 SF (?)

15’ 15’

Royce Lounge Program Paradigms 2,000 SF Figure Ground Program Potential

Ahmanson Terrace 500 SF

Program Scaling,

West Lobby 5,000 SF

Using Jean Nouvel’s DR Concert Hall as precedence for our desired theater typology

Royce Lounge 2,000 SF

Program Paradigms Figure Ground Program Potential

Main Auditorium 190,000 SF (?)

Ahmanson Terrace 500 SF

West Lobby 5,000 SF

Roy 2,0

DR Section Reference

Main Auditorium 190,000 SF (?)

Ahmanson Terrace 500 SF

West Lobby 5,000 SF

Royce Lounge 2,000 SF

Sam Dye and Remi McClain 10.08.2016 Phase A3 #01: Internal Program

Black Box. Mute Icon / Syracuse University School of Architecture / ARC 407-609

Main MainAuditorium Auditorium 190,000 190,000SF SF(?) (?)

Ahmanson AhmansonTerrace Terrace 500 500SF SF

West WestLobby Lobby 5,000 5,000SF SF

Royce RoyceLounge Lounge 2,000 2,000SF SF

Program Paradigms

Visiting Critic Studio / Fall 2016 / PATTERNS Georgina Huljich

Reworking Royce Hall’s iconic meeting spaces DR Section Reference within the overall theater footprint. Stripping the theater from its thick poche as S means of asserting its presence in a non-directional P Program ProgramParadigms Paradigms manner, eliminating any sort Figure FigureGround GroundProgram ProgramPotential Potential of sideness and therefore SamDye Dye and and/Remi RemiMcClain McClain Black Box. Sam Mute Icon Syracuse University Sc instigating fuzziness 10.08.2016 10.08.2016

DR DRSection SectionReference Reference

Program Program Paradigms Paradigms

Phase PhaseA3 A3#01: #01:Internal InternalProgram Program

Figure FigureGround GroundProgram ProgramPotential Potential

Main Main Auditorium Auditorium Ahmanson Ahmanson Terrace West West Lobby Lobby Ro R Black BlackBox. Box.Mute MuteIcon Icon/ /Syracuse Syracuse University UniversitySchool School ofofTerrace Architecture Architecture / /ARC ARC 407-609 407-609 Visitin Visit 190,000 190,000SF SF(?) (?) 500 500SF SF 5,000 5,000SF SF 2,2

Main MainAuditorium Auditorium 190,000 190,000SF SF(?) (?)

Ahmanson AhmansonTerrace Terrace 500 500SF SF

West WestLobby Lobby 5,000 5,000SF SF

Royce RoyceLounge Lounge 2,000 2,000SF SF

Program Scale Studies Main Program to Basic Form 15’

15’

SamProgram Dye and Remi McClain Scale Studies 10.08.2016 Main Program to Basic Form Phase A3 #01: Internal Program 15’

15’

Black Box. Mute Icon / Syracuse University School of Architecture / ARC 407-609

Visiting Critic Studio / Fall 2016 / PATTERNS Georgina Huljich

Sam Dye and Remi McClain 10.08.2016 Phase A3 #01: Internal Program

Black Box. Mute Icon / Syracuse University School of Architecture / ARC 407-609

Visiting Critic Studio / Fall 2016 / PATTERNS Georgina Huljich

Formal Progression, From single icon to curated collection with varying moments of congestion and shifting scales, which is determined by both program requirements and the fundamental principals of Ros Warby’s dance coreography and performance techniques

15— Main Auditorium 190,000 SF (?)

Ahmanson Terrace 500 SF

West Lobby 5,000 SF

Royce Lounge 2,000 SF

Main Auditorium 190,000 SF (?)

Ahmanson Terrace 500 SF

West Lobby 5,000 SF

Royce Lounge 2,000 SF

Sam Sam Dye Dye and and Remi Remi McClain McClain 10.08.2016 10.08.2016 Phase PhaseA3 A3 #01: #01: Internal Internal Program Program


the pressured

UP

UP

Auditorium Plan

Theater Plan, there is an incessant conflict between a primary and secondary grain which intends to blur the distinction between black box, above, and plinth,

below. The hierarchical give and take between the two grains allows for a continuous shift in perception, while the intersections grant fleeting moments of clarity

[collaborated production with Samuel Dye; produced with Rhino, V-Ray Base Rendering, Illustrator |


in-between

Site Allignments, as one ascends UCLA’s Janss Steps towards Dickson Court the underbelly expands and envelopes. The most linear “face” of the black box asserts Powell Library, while its complexities open as one rotates around the site. [diagrams produced by Samuel Dye]

Plinth Below Ground Plan [produced by Samuel Dye]

Plinth Above Ground Plan [produced by Samuel Dye]


the pressured

section showing tiered seating

dual grain as means of circulation and seating organization, roof chasm behaves as skylight section showing stage

using geometric elements inherent to the object as stage framing and space organizing


in-between

alternate object orientation

where geometric elements are more obvious than in sections referenced on previous page final site plan (left)

relationship between site, plinth and black box is more complicated than process plan (right)


2


studio works

a neon pink urban farm

fall 2015

Convergence: The Singularity and the Anthropocene

Adjunct Professor: Joe Sisko, Locus, Syracuse, NY 300 Level Studio

1 mo. research, 3 weeks design


a neon pink urban farm Urbanism, and the growing desire for more livable cities, is pushing architecture to question the boundaries of context through a more global framework. This studio focuses on architecturalizing collected research and broader design concepts through hyper-impactful diagramming techniques and visual representations. Through this one month comprehensive research assignment, I was able to astutely compare the inputs and outputs of various farming techniques in order to assess how each technique can impact a city environment. The design is a result of this intensive research in hopes of increasing awareness of food production through the integration of urban farming typologies into a more typical urban food program like restaurant or market place. By strategically alligning forms of production with outlets of consumption, anyone who occupies the space is inherently influenced by the entire cycle of food. A soaring tower of vertical LED farming projects from the housing block as a billboard for purpose. The restaurant latches onto the front corner of this LED tower, so that dining guests can experience its production both inside and outside. Adjacent to the outdoor restaurant sits the greenhouse + roof farm, which conviently supplies the market below. All programs are tied together, to instigate the extension of public interaction with food beyond merely consuming it, elevating food production comprehension.


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a neon pink


urban farm


a neon pink

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Site Conditions

The site exists within a major pocket of vacancy in Downtown Brooklyn, a dead zone that became paralyzed due to the rift between housing typologies caused by major highway circulation. A food center could introduce a sense of liveliness to the site, providing much needed food services, housing and income opportunities - while acting as a central hub to unify the residents of varying income levels in attempt to mitigate nyc’s everpresent gentrification.

I. Unproductive “greenspace” available II. Food Programs, restaurants + markets organic, locally grown/sourced food market restaurant - bar, dine in restaurant - cafe, take out III. Housing Typologies mid-high income mixed income affordable housing hotels IV. Site scope of Influence


urban farm

62,022 acres in Brooklyn x 27,000 lbs of lettuce an acre =

1,600,000,000 lbs of lettuce = 645 lbs/person, per yield

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62,022 acres in Brooklyn x 1,825,000 lbs of lettuce an acre =

452,761,000,000 lbs of lettuce = 174,676 lbs/person, per yield

>>>

Produce

Food production is integrated into the project’s urban fabric. From the street, one can begin to perceive the sheer scale of productivity enabled by vertical LED farming. Adjacent to the street is illuminated retail space. The tower acts as a buffer or transitional element from the urban public space to the Production Factory and Processing Facilities. [Rhino V-Ray base render, photoshop overlay]

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a neon pink

Consume

Food is intrinsic to culture. It has the potential to fundamentally impact people of every income level, and is associated with multiple industries. This render scene depicts the indoor restaurant space, it exists between LED growing tower and outdoor space, to encourage multiple understandings of and interactions with food production. In the back of the image, the greenhouse and roof farm are evident. To the left of these spaces is an outdoor bar and seating area. [Rhino V-Ray base render, photoshop overlay]


urban farm

Interact

Entering the main market space, one can view the production and processing facilites as well as an overlook where CSA programs take place. This entrance lies on a center point of consumption, production and public space. To the left, a ramp carries pedestrians up and around the facade of the market place towards the CSA. There is a sense of phenomenal transparency between programs and their respective locations. [Rhino V-Ray base render, photoshop overlay]


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studio works

deep house: the tale of 2 twins

spring 2016

A House for Twin Collectors

Asstistant Professor: Luca Ponsi Studio Ponsi Architettura e Design Florence, Italy 300 Level Studio Abroad


deep house: a tale of 2 twins This house is about connecting two towers for twin collectors, the extroverted DJ and the introverted manager. The pair collects turntables, old and new. The site is situated along the River Arno in Florence, Italy - imbedded in a beautiful, yet stubbornly antiquated urban fabric. These towers relate to the pre-existing tower typology present in Florence, as a means of contextual continuity. While consciously in sync with its physical context, the project attempts to introduce architectural elements that broaden its language, linking their collection with the origin of turntable production, which is primarily Asian based, like Pioneer in Japan. The towers interact through the attachment of shared wooden galleries which are familiar to Florence through their prominent frame of wooden ribs, the medieval language of framing. However, a more delicate wooden screen is inlaid, which is in reference to Asian architectural typologies. This inlay is punctured by rhythmic glass boxes that hold their collection of turntables in both an active and static state.


wooden gallery section introvert tower section

extrovert tower section

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deep house:

The DJ’s tower sinks into the ground, immersing himself further into the public realm. His piston driven performance platform simultaneously grants him access to his secluded, soundproof underground recording studio - and even deeper to his dance club.


a tale of 2 twins

SQ(1) 1:00-4:00

P(+3)

SQ(2) 5:30-10:00

P(+1)

SQ(3) 9:00-12:00

SQ(4) 10:30-2:00

P(0)

P(-1)

SQ(5) 13:00-17:00

SQ(6) 2:30-5:00

The manager’s tower rises above the ground, escaping the public realm while simultaneously granting him oversight power upon the activities below. By lifting up from the ground, the public realm is able to flow from the courtyard across the street, through the building and to the river, where the DJ can perform to the public in an block party forum.


deep house:

SQ.1

SQ.2

SQ.3

SQ.4

SQ.5

SQ.6

sequence series

diagrammatic axon


a tale of 2 twins

street facade

facade materialization study series, street and river both night and day

river facade

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4


studio works

climate conservatories

spring 2015

Doomsday Vault

Assistant Professor: Julie Larsen, APTUM Architecture, Syracuse, NY 200 Level Studio

design collaboration w/ Jacob Schulman


climate conservatories In a recent article on Doomsday Architecture, Kriston Capps, writer for CityLab, defends that, “the weird future is no longer a thing that’s out there, in space or under the sea. For a lot of climates, it’s on the horizon.” Scientific research indicates that sea levels worldwide have been rising at a rate of 0.14 inches per year since the early 1990s. This trend has the potential to cripple coastal cities worldwide. As the 35th largest city in the world, Rio de Janeiro, Brazil situates itself on an Atlantic Ocean inlet, more specifically the plains of the west shore of Guanabara Bay. At sea level, the city is most susceptible to potential consequences caused by the floods, mudslides, and landslides of southern Brazil. The vault serves to protect and conserve the five climate zones of Brazil, and their respective flora, fauna and geology. As global climate adjusts, the zones that epitomize Brazilian culture will be undeniably affected. Through structure that behaves as active water transport, our vault will enable the preservation of these climate zones, establishing them as active monumental experiences, despite potential destruction from the global climate at large. There is an incessant processional quality en route to the historic Fiscal Island. From the city, one must advance to a larger Naval Island and from this island one can then progress along a narrow land bridge, our intended site, to the final destination of the Ilha Fiscal. The vault highlights the climates in a similar processional quality, from least humid to most humid and then back to least, with support in the elevation. The vault mediates the tension between nodal qualities of conservatories and necessary structure of our water modules, especially in regard to the narrow site. These conservatories are also in tension with the built in redundancies of the X module, and the structural modules respond to the pull of the conservatories to support them, as they break free from the confining path.


Section through the corner conservatory, concrete structure as reactionary force to conservatory form

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climate

STRUCTURAL WATER MOVEMENT

rain water collection cells transportation water cells conservatory water cells

collected rain water transported usable water conservatory water conservatory waste water

1/8” = 1’-0”


conservatories

Render from underneath a conservatory, it’s underbelly revealing the wonders it contains to people passing by.

Render from a hypothetical cruise ship, looking out towards the Vault, glowing through the gloom.


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studio works steven + sarphatistraat >>> shaw

fall 2014

Facade Study, Sarphatistraat Shaw Hall Dormitory Addition

Professor: Randall Korman Syracuse, NY 200 Level Studio


me

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r sp

ong

e, p

rec

ede

nce

for

Hol

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steven + sarphatistraat > shaw Through an analysis of Steven Holl’s Sarphatistraat, I was able to extend its design principles forward to form a 30’ bay of a common language. The bay exists from both an iterative model series and then a drawing depth study. The models helped with linework, color fields, material suggestion and shadow application. It was most challenging to develop a facade that epitomizes Sarphatistraat’s initially seemingly random formal impact, while still being extremely logistical. A well worked iterative process results in a facade that supports program potential at an urban and residential scale. Phase II applies the gathered understanding from Sarphatistraat’s facade, and introduces David Chipperfield’s EMV School Housing as precedence to mediate the redundancy that often comes with necessary and equal fenestration for dormitories. The project occupies the South end of an existing dormitory and dining hall, with specific program requirements. At the street level, the underpass compliments the existing condition’s geometries, allowing continous flow to and from old and new.


initial bay development (L to R) study models translated into drawing representations

initial facade study, derived from a manipulation of the bay drawing series

study model, applying techniques from the bay series to the full extent of site’s facade

47—


steven + sarphatistraat

elevation W

53’ 53’--0”0”

53’ - 0”

44’ 44’--6”6”

44’ - 6”

36’ 36’--0”0”

36’ - 0”

27’ 27’--6”6”

27’ - 6”

19’ 19’--0”0”

19’ - 0”

10’ 10’--0”0”

10’ - 0”


>>> shaw

section C

section B

elevation S

section A


steven + sarphatistraat

UP

UP

UP

C

B UP


>>> shaw

UP

UP

plan [typical residential]

UP

UP

plan [street entrance level] (L to R) library+study lounge, cafe, laundry



design works


a


design works

gray area

fall 2016

Gray Area: On Flickering, Erosian, Collapse and other uncertain Figures

Assistant Professor: Maya Alam, Boghosian Fellow 2016-17, Syracuse, NY 500 Level Professional Elective


gray area This series seeks to create inconceivable depth and materiality through the dependency of association between fields, which maintains a flickering figure/ground through the kinetic presence of densities, planes and shifting voids that congest in a central moment of disturbance, granting the viewer fleeting moments of clarity, that are immediately stolen back by the disturbance. In the original image, the viewer’s understanding of foreground and background is palpably adjusted through the ultimate splitting of both components to create the illusion of four distinct, yet highly dependent and related, aspects. The composition’s background is easily identified as one entity, yet through this series, it becomes evident how the two components, left and right, have distinct readings in the image. The central foreground is divided through stark contrast; the presentation of such polarities creates ‘one’ disturbing moment in the center, which gets distorted and pulled away from the center, emphasizing the separate readings of the left and right side of the background due to their adjacency to either edge of the contrast.

Barthes and Krauss position qualities in From the Neutral, “A structural, paradigmatic game is thus set between qualities; that’s to say, two opposed qualities + one quality that combines them, reconciles them: it’s the A and B of the A/B paradigm: complex term.”1 I would argue that in this composition, one reconciling moment is actually behaving as a separator, or a disturbance that allows the viewer to understand background left or right as truly background A and background B, not a


singular entity. This foreground disturbance is in itself two opposed qualities, which allows the reading of A and B to shift based on their allegiance and positioning with the foreground disturbance. Through the analysis of the foreground disturbance, there is an understanding of balance between the two distinguished parts, as the borderline of contrast creates relatively even amounts of light and dark – a mirror effect of the two. In “The Mirror Stage,” Lacan argues for a subliminal understanding of the composition, suggesting that the viewer is always adjusting their perception of the composition – and one composition cannot universally be understood.2 Therefore, the reading of background left and right is adjusted based on the viewer, and their ability to process the composition through the foreground disturbance. The ‘aspects’ of microtemporal image-processing are comprised of motion, color or orientation; which all exist autonomously as cogs in our microtemporal processing machines. Images can “speak directly to our brains”3 through hyper direct contact with these microconscious cogs. This direct conversation between images and our microtemporal image-processing components poses subjective complications when our microconscious does not wait for each autonomous cog to complete its processings; Instead, the brain executes “binding,” which Hansen explains in From Fixed to Fluid. “The brain does not wait for each area to complete its processings; rather it simply binds what has been processed and reached a perceptual level. This in turn suggests strongly that binding is a post-consciousness phenomenon.”4 Due to the composition’s density in the foreground, the brain normally perceives this matter first – and then binds the left and right background accordingly. Because we have no conscious control of this procedure, image-processing will always intrinsically be subjective due to the nature of our microtemporal subconscious behavior. “[Cezanne] was the first to develop color areas which produce both distinct and indistinct endings – areas connected and unconnected – areas with and without boundaries – as means of plastic organization.”5 The Image is a “temporal process” rather than a “spatial/visual” figure.6 In other words, a “fluid image” that can hold its own in relation to today’s “social media networks, ubiquitous computational environments, and wireless digital devices” that are in the “process of generating [this] new kind of image that operates through direct transduction with the microtemporal operations of human cognition and imaging.”7 This composition, initially organized through a simple relationship of background and disruptive foreground, becomes attractively complex through the dynamism of color properties and association. Through the overlay of composition properties and the introduction of chasm like voids that gravitate towards the center, the initial simplistic hierarchy of center, immediate adjacency and peripheral adjacency becomes more complex and fluid. As one shifts their position in relationship to the model, these voids flex and shift while the saturated gray palette jumps across the adjacent planes 1 2 3 4 5 6 7

Roland Barthes and Rosalind Krauss, “From The Neutral Session of March 11, 1978,” October, Volume 112 (MIT Press, 2005) 15. Jacques Lacan, “The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytical Experience,” 504. Hansen, 93. Hansen, From Fixed to Fluid, 88. Josef Albers, Interaction of Colors Hansen, 104. Hansen, 111.

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gray

Entire Final Series 2D

color palette linework initial blur image process blur images concept image


area

Entire Final Series 2.5D to 3D

bitmap image, textured pressured planes real vs. conceived gaps digital model realized model


fabrication



analogue



and/also/etc.

experience

64—


education Syracuse Architecture

bachelor of architecture

Syracuse, NY | May 2018

GPA: 3.71, Dean’s Lists, National Society of Collegiate Scholars

Ridgefield High School

GPA: 3.8, AP Scholar, Honor Roll; Philanthropic Youth Council - President, Vice President, VP Publicity; National Charity League - President, VP

Ridgefield, CT | 2013

experience AvroKO, Design + Concept

New York, NY Summer 2016

architectural + design intern Expedited workload completion for 3 design teams; Rendered design concept images for partner and client review; Amended redlined design development drawings; Collaborated with vendors and manufacturers for samples and ordering; Developed market research booklet - diagrams, research, precedence - in collaboration with Brand Bureau

Brooks & Falotico

architectural + design intern

New Canaan, CT Summer 2015

Expedited workload completetion for 4 design teams; Amended redlined construction documents and design development drawings; Produced electrical and power drawings; Collaborated with vendors and manufacturers for ordering; Documented existing site conditions

Doyle Coffin

architectural intern

Ridgefield, CT Summer 2014

Participated in site meetings, recorded client/contractor notes; Organized office space and redesigned material library; Amended redlined construction documents and design development drawings; Documented existing site conditions

G.Lewis, Writer Philanthropist

assistant

Ridgefield, CT 2012 - 2015 Olley Court Interiors + Retail

Ridgefield, CT 2011 - 2013

Managed appraisal of personal art collection; Collaborated with designer on bathroom and kitchen renovation; Assited with philanthropy task and scheduling commitments; Organized office space and library

sales associate + design assistant Helped with design services and sales, general store management; Worked with inventory companies for design services and retail objects; Trained new employees; Managed store operations; Opened and closed retail space

affiliations ASCA Conference

Syracuse, NY Fall 2015

between the autonomous and contingent object Staff Member | Helped with conference publicity and preparing the venue each day; Designed and assisted with production of 3D printed objects as gifts for debate participants; Organized publicity and student involvement with debate seminars

J. Larsen + R. Hubeli

thinness pavilion exposition, cemex collaboration

Syracuse, NY Fall 2015

Assisted CEMEX with pavilion construction - silicon molds, concrete mixing/pouring, inverse mold wax prep and finished build; Organized venue, assembled displays, mounted drawings and samples

Student Mentor Squad

student mentor ambassador

Syracuse, NY Fall 2016 - Present

One of 3 Class Ambassadors for SMS, we organize informational events to help students in all grades feel more prepared for big experiences in the SOA.

Syracuse, NY Fall 2013 - 2015

Mentor for new architecture students as they adjust to college life and the demanding nature of architecture education

Student Ambassador

technique

peer advisor, for class of 2019

AutoCAD; Rhinoceros; V-Ray Rendering; Revit; DIVA; Climate Consultant; Sketchup; Photoshop; Illustrator; InDesign; AfterEffects


and/also/etc.

connect

66—


mail

Reide/Remi McClain

868 Ostrom Alley Syracuse, NY 13210 remcclai@syr.edu

call search glance affiliate

203-448-9345

remcclain.com

remcclain_

Syracuse University

School of Architecture 18’




R 2017—


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