SAMUEL OSOSANYA CORNELL UNIVERSITY SELECTED WORKS 2012-2017
CONTENTS
RÉSUMÉ
5
ACADEMIC SHENZHEN GARDEN CITY
7
museum of ancient texts, scrolls + manuscripts
CENTRE D’EDUCATION INCLUSIF
15
elementary school + community center
WITHIN THE WALLS
25
gastronomy society + museum + municipal office
TRANSPARENT PROCEEDINGS
35
courthouse + civic center
BOOKEND
43
community + performing arts center
A LIVING MEMORY
51
phytomining facility + phytoremediation park
LE THEATRE
63
structural analysis model
PROFESSIONAL HKS
71
summer internship
BENNETT BENNER PARTNERS
75
summer internship
PERSONAL PHOTOGRAPHY
79
what I see
3
RÉSUMÉ
SAMUEL OSOSANYA EDUCATION
CORNELL UNIVERSITY
2800 Bissonet Dr Denton, TX 76210
soo8@cornell.edu samuelososanya.com
Ithaca, New York
College of Architecture, Art & Planning (AAP) Bachelor of Architecture (May 2017)
CORNELL IN ROME
August 2014 - December 2014
Rome, Italy
• Took classes in Renaissance and Baroque Rome, photography, analytical drawing and a studio sited in Rome • Traveled extensively throughout Italy visiting key architectural sites and monuments
RELEVANT EXPERIENCE
June 2016 - August 2016 HKS URBAN DESIGN STUDIO New York City, New York Summer Architectural Intern • Assisted production team in the delivery of project proposals across the country • Researched 27 different types of sustainability metrics relevant to architectural design in 16 cities in the country • Laid initial foundations for information to be placed into an accessible and searchable digital catalog for the office
August 2015 DOWNTOWN DALLAS 360 Dallas, Texas Workshop Facilitator (Volunteer) • Facilitated community outreach sessions with residents of Downtown Dallas area to learn and document their ...current needs and concerns; information was used to shape Downtown Dallas 360 vision plan update June 2015 - August 2015 HKS Dallas, Texas Summer Architectural Intern - Education Project Team • Drew interior floor finish sheets for several elementary and middle schools which were included in final drawing set • Delivered final digital renderings for clients which were used in promoting the schools to the community • Attended client meetings and visited sites of current projects along with project team • Participated in numerous intern lunch-and-learn sessions about HKS and the architectural profession at large May 2014 - August 2014 BENNETT BENNER PARTNERS Fort Worth, Texas Summer Architectural Intern • Provided as-built digital renderings for the Lena Pope New Campus and WestBend projects • Attended client meetings, visited sites of current projects, and participated in design charrettes December 2013 - January 2014 RPGA DESIGN GROUP Fort Worth, Texas June 2013 - August 2013 Summer Architectural Intern • Drafted interior and exterior elevation renovation details for multifamily residences • Prepared site usage and schematic design proposals for the Fort Worth South Central Community Center (core ...ideas of proposal were used in the final design)
ADDITIONAL EXPERIENCE
CORNELL AAP AMBASSADORS
May 2016 - Present (Advisor) February 2015 - May 2016 (President) March 2013 - February 2015 (Member) • Currently the student advisor to E-Board, assisting with general management and long-term strategic planning • As President, was the primary liaison between E-Board, general members and AAP Admissions staff; oversaw all ...actions and.responsibilities of E-Board and general members; worked to improve on-campus experience for visiting ...prospective students through strategic planning with Admissions staff • As a member, gave prospective students tours of college, answered their questions, and shared enthusiasm for AAP Ithaca, New York
Executive Board Advisor
January 2015 - Present CORNELL ANNUAL FUND Ithaca, New York September 2012 - November 2013 University Representative II • Awarded “Caller of the Week” for outstanding performance and commitment to the program • Established relations directly with alumni on the phone and converting them into financial gifts for the University • Responsible for bringing in over $28,000 in gifts to Cornell University through the program
CORNELL UNIVERSITY
Ithaca, New York
August 2013
Orientation Leader
• Led a group of ten incoming freshmen in orientation activities around campus, introducing them to Cornell and ...assisting them in their transition into college from high school
SKILLS
Rhino 5 • 3DS Max • ArcGIS • QGIS • Grasshopper • Illustrator • Photoshop • InDesign • Lightroom • SketchUp • Revit • AutoCad • Laser Cutting • 3D Printing • Woodshop/Metalwork • Hand-drafting • Photography (Analog & Digital) 5
ACADEMIC
Shenzhen, China
Shenzhen Garden City
museum of ancient texts, scrolls + manuscripts
Visiting Critic David Moon • Dan Preston (Project Partner)
Shenzhen Book City (the orginal name of the site) is a complex site that holds intricate layers of circulation - vehicular, pedestrian, public and private. Breaking the normative hierarchy of urban circulation, the pedestrian causeway on-top of the self-proclaimed “largest bookstore in the world” becomes celebrated as the iconic landmark of Shenzhen’s cultural hub, a long extension to the out-of-scale Civic Center. In the West, in a museum, the artwork takes precedence. Any other experience is typically secondary. In China, the roles are reversed. From our site visit, it was clear to us what attracts the Chinese into museums is something new, different, that responds to their needs. For that reason, the functions of the museum (the galleries, the exhibitions), were secondary, to crafting the complementary experience of the garden within the city. The site is connected to the rest of Shenzhen Architecture Design Studio VII
geographically by reintroducing vegetation to this part of the city. The project creates the anchor art institution on the site, a destination along the rapidly expanding metro network, of which this site will be a key node. One of the defining characteristics of Shenzhen is its special economic status, commonly referred to worldwide as a Special Economic Zone. This special status has caused the proliferation of institutions referred to as ‘Cities’, with complexes being named after their respective function (Book City, for instance). Shenzhen Garden City is a place to learn, to reconnect with the natural environment, to escape from the noise and chaos of the city. To go back in time to the roots of a culturally rich society. A museum that redefines the relationship that the garden in the city plays between the arts, landscape and people.
fall 2015
7
8
Shenzhen Garden City
site aerial
fall 2015
9
The site holds two museums, a library, and a concert hall, all within an eight block grid, currently connected by a desolate grid of inconsequential trees. Our proposal takes that grid and begins to strategically sink it, reintroducing dense, indigenous Chinese vegetation and a network of indoor and outdoor spaces for reading, exhibition halls, workshop rooms, lecture halls, restaurants and shopping. The museum is designed to showcase the world of ancient Chinese printing, whether its scrolls, books or other types of texts. This isn’t limited to the end product, but it’s production as well. Visitors can participate in workshops on making paper and calligraphy, or purchase pieces from artists working on-site. They can relax within the forest in small enclosed reading pavilions or outside, under a tree. The pavilions were designed to be minimal and light, using walls adapted from Chinese screens. Connecting the museum to Book City are large ‘towers’, pavilions stacked high, which peak out from the forest and provide a vertical experience of walking through the forest. 10
site plan, city aerial perspective
1 2 3 4
Ginkgo biloba Cunninghamia Pyrus pyrifolia Cercidiphyllum
5 6 7 8
Magnolia denudata Prunus serrulata Betula pendula Pistacia chinensis Shenzhen Garden City
1
2
3
4
pavilion walkway, reading room interior, gallery interior, tree species, cross section
5
6
7
8
fall 2015
11
5
3
1
2
4
12
below ground level plan, ground level plan
Shenzhen Garden City
1 2 3 4 5
Large Gallery Small Gallery Artist Housing Cafe Restroom
site aerial zoom, longitudinal section
fall 2015
13
Petit-Goâve, Port-au-Prince, Haiti
Centre d’Education Inclusif
elementary school + community center
Professor George Hascup • Alex Zink (Project Partner)
On January 12th in 2010, a 7.0 magnitude earthquake brought devastating damage to the country of Haiti, particularly the capital, Port-au-Prince. This studio, in collaboration with Cornell University’s Sustainable Design (CUSD) group, was conceived to address the overwhelming numbers of children that were handicapped as a result of the earthquake. Our project emphasizes the playful and fun environment of education through the usage of circular, double-height classroom units. The circular geometries are inspired by the surrounding forest. They also serve an essential structural purpose, providing the stability needed to survive a seismic event. A series of ramps connect the classrooms together. Ramps are the primary means of circulation, minimizing the presence of staircases. These ramps celebrate the fun nature of circles and does not separate the students Architecture Design Studio IV
based on their physical abilities but allows all students to come together to learn. The composition of the classrooms promotes greater interaction with the outdoors while allowing natural light to penetrate into the spaces. The complex features all the key components of a school – classrooms, a library, kitchen, play areas and an administration building. To further maximize the potential of the site, community needs were integrated into the project. The administrative building has a clinic for medical treatment not limited to the students. The large outdoor pavilion at the far end of the site is a multi-purpose space that can be used as a playground during the daytime or a gathering space at night for town halls. Despite being called a schoolhouse, the project seeks to go beyond that and serve a community in need.
spring 2014
15
16
Centre d’Education Inclusif
site aerial
spring 2014
17
18
roof garden, second level classroom interior, play pavilion
Centre d’Education Inclusif
1
2
3 4
7
5 6 1 2 3 4 5 6 7
ground level plan
Entrance Administration Classroom Learning Gardens Restrooms Play Pavilion Kitchen
spring 2014
19
20
solar capacity diagram, construction section, column detail
Centre d’Education Inclusif
The structural concrete doubles as interactive objects in the form of benches and shelves, allowing students to rest both indoors and outdoors. Steel columns tie into the pods to support the lightweight roof. A steel grid structure supports the second story floor plate, while lighter, truss-like steel members support the roof membrane. Water is captured in this membrane through roof drains that channel the water into one of two large, underground cisterns. A solar voltaic membrane which adheres directly to an opaque fiberglass roof allows light to enter the upper story classrooms while generating electricity for the school’s daily use. Clerestory gaps in the concrete walls below the steel grid that supports the second story floors allow light and air to enter the ground level classrooms.
air circulation diagram, pavilion section, longitudinal section
spring 2014
21
22
half-inch scale model
Centre d’Education Inclusif
half-inch scale model
spring 2014
23
Getaria, Spain
Within The Walls
gastronomy society + museum + municipal office
Visiting Professor Rubén Alcolea • Design IX • Fall 2016
Getaria is a small town on the northern coast of Spain known for its white wine and fish. The town, as part of the Basque Country, is also known for its gastronomical societies, or eating clubs, as they are known in other parts of the world. The premise for this studio was to design a new gastronomical society in the heart of the town, on the site of the Palacio Zarauz, an abandoned 16th century building that stands adjacent to the Church of San Salvador. The final proposal utilizes the abandoned walls of the site as the anchors for the volume of the various programs, which included a museum for the display of the artifacts found on the site, a municipal office and dining spaces for several gastronomical societies. The project also proposes using ‘light portals’ that would be covered on the inside surface with a mirrored material that would bring in not only light, but Architectural Design Studio IX
would also reflect the city into the interior. This gap, between the existing site walls and the new building, would be open to the elements, allowing museum visitors a unique experience when exploring the ruins of the former Palace.
fall 2016
25
26
Within The Walls
looking up between the walls
fall 2016
27
1 2 3 4
5 6 7 8
Gastronomical Society Light Portal Museum Ruins Museum Gallery
Museum Shop Gastronomy Entrance Public Entrance Municipal Office
5 3 4
+0.3m 28
Getaria satellite, site photos, plans of levels 1 - 2
+3.2m Within The Walls
A
1
B 2
+9.2m
7
1 8 6
+6.2m plans of levels 3 - 5
+12.2m fall 2016
29
5
1
6
A 1 2 3 4 5 6
Lounge Roof Terrace Patio Light Portal Gastronomical Society Museum Ruins
2 4 3 5
6
B 30
sections A - B
Within The Walls
exploded axonometric
fall 2016
31
32
1:100m model
Within The Walls
1:100m model
fall 2016
33
Merida, Spain
Transparent Proceedings
courthouse + civic center
Professor Andrea Simitch
Architects have longed looked to those whose architecture, like their equally influential theories of government and representation, have withstood the changing winds of time. The courthouse endures as a symbol of justice and equality anywhere in the world, easily recognizable by its classical architecture. The site, the Roman Temple of Diana in Merida, Spain, serves as an appropriate home for a courthouse. The project allowed for the opportunity to design a courthouse that builds upon the historical ideas associated with courts of law while meeting the rigorous programs of a modern courthouse. The parti draws from the object-building relationship the Temple of Diana has with the surrounding building block. The courtroom is a ‘glass box’ surrounded by the various support programs of a courthouse, an enclosed atrium separating the two volumes. Architectural Design Studio III
The extensive use of glass throughout the project allows transparency into a building whose practices are still at times clouded in mystery and in the era of social media, constantly questioned. The glass is complemented with stone and concrete, representative of the strength and resilience of the law. The final composition reestablishes the block as a city center by revitalizing the piazza and clearly ordering the procession of public spaces towards the Temple.
fall 2013
35
36
Transparent Proceedings
courtroom interior
fall 2013
37
5
6
8
1
10
4 9
2
12
3 11
C
7 B A
38
ground level
Transparent Proceedings
A
B
At the center of every courthouse’s purpose is the courtroom. Here, the needs of the proceedings inside the courtroom dictate the roles of the auxiliary spaces surrounding it. That importance, and the relation the courtroom plays with the Temple of Diana, is revealed in the cross section. The Temple of Diana serves as a backdrop for all the activities in the courtroom. For all those inside, there is no hiding from the symbolism of the Temple. The offices replicate this openness, featuring glass walls that allow views from the street through the offices and into the atrium. The central atrium reappears in a smaller form within the library, while a skylight system floods the jury chambers with light. Transparency runs throughout the entire building, inviting citizens to use the public facilities and learn more about the justice system. sections A - C
C
1 2 3 4 5 6
Courtroom Public Atrium Library Street Level Terrace Temple of Diana Reflection Pool
7 8 9 10 11 12
Street Level Entrance Jury/Defendant Stairwell Judge Stairwell Defendant Holding Lawyer Offices Evidence Storage fall 2013
39
40
Transparent Proceedings
public atrium
fall 2013
41
East Harlem, New York City
Bookend
community + performing arts center
Professor Henry Richardson
Over the years, Morningside Park has been at the center of numerous controversies, a physical barrier between the community of East Harlem and Columbia University because of the intense topography of the Manhattan Schist on the western side of the park. Racial tensions have exploded at times in the past, resulting in the near-abandoned state of the park. Within the shifting social climate and growing needs of both groups, this project seeks to unify the two interests which have often been at odds against each other. The project brief calls for shared programmatic spaces for the two groups: a community center for East Harlem and a new performing arts center for Columbia University. The scheme takes these needs and locates the project at the southwest corner of the park. A large public plaza lives above two levels of shops and conference spaces, and beneath Architecture Design Studio VI
a two-level public library. The public plaza will be a site for community gatherings, Saturday morning markets, winter concerts, and any other function that will further unify the two communities. The elevated library rises above the hustle and bustle of the city, offering unseen views into midtown and forming a direct relation with the buildings on the Columbia side which tower above East Harlem. The two components are connected by a ‘rotunda tower’ that anchors the project and is visible from the adjacent Central Park. The tower serves as a beacon, welcoming citizens and students alike. The performance halls and galleries are located below ground, while a large outdoor amphitheater faces an inner courtyard. The programs of the two sides intertwine throughout the project, ensuring future collaboration for years to come.
spring 2015
43
44
Bookend
seventh floor interior
spring 2015
45
46
site aerial, inner courtyard, circulation core
Bookend
site plan, exploded axon, section A
spring 2015
47
1
B
4
3
A
2 5
1 2 3 4
48
ground level plan
Auditorium Entrance Lobby Gallery Cafeteria
5 6 7 8
5
Community Center Offices Library Ground Entrance Studios Lecture + Conference Rooms
Bookend
7
8
6
second level plan, section B
spring 2015
49
Carajás, Brazil
A Living Memory
phytomining facility + phytoremediation park
Visiting Professor Tao DuFour • Visiting Critic Paulo Tavares
The Carajás Mine in the Carajás Mountains of Brazil is the largest iron ore mine in the world and is operated by Vale, a powerful multinational mining company. The process of open pit mining is one of the most strenuous actions humans can place onto the land. This, along with complex socio-political and economic actors, all of whom have critical stakes in the mining industry, has placed the Carajás Mine at the center of humanitarian, industrial and environmental issues. As the largest iron ore mine in the world, what happens here has a huge influence on other mining and heavy industrialized sites around the world. This potential for influence led to the proposal for the site, after it has closed, to venture into the emerging fields of phytomining and phytoremediation on an unprecedented scale. This project, seen as an extension of the current operations of Vale, will be Architectural Design Studio VIII
a transition into a new phase operated by a local government owned agency, in lieu of “unimpactful” civic contributions by Vale. Phyto-mining will provide a new local economy, in hopes of mitigating the guaranteed demise of the town when the mine is no longer in operation. The architecture of phyto-processes will create a botanical park that will serve to preserve the memory of the industry of extraction, while improving the technology needed to minimize human impact on the world from mining and restoring the land to its former ecological state before human interference.
spring 2016
51
52
A Living Memory
satellite image of Carajรกs mine
spring 2016
53
5 10
1
4
2
3
6
10 7 9
8
1 2 3 4 5 6
Carajás Mine Town of Carajás City of Parauapebas IUCN Protection Area Boundary Site Boundary Carajás Airport
7 8 9 10
Fault Line/Shear Zone Mining Operation Carajás Railroad Highways
11 12 13 14
Tucuruí Dam Reservoir Power Lines Waste Pile Ponta da Madeira Port Terminal, São Luís, Brazil
54
14
11 12 10
9
13 1
satellite images of region, site context, site geology, overview of mining process
2
3
A Living Memory
PHYTOMINING Potential Areas of Exploration Metalliferous Soils Sub or Low Grade Ores Tailing Ponds Processing Planting Harvesting Drying
A
Sintering Products Bio-ore Electricity A B C
Site Typical Mine Closure Proposed Mine Closure
waste pile mining pit waste material
B
C phytomining process, mine closure diagrams, plant growth, plant metal absorption
spring 2016
55
56
site plan (2016)
A Living Memory
proposal diagrams - preserved mines, circulation, park zones, phytomining zones
spring 2016
57
58
proposal: site plan of 2050
A Living Memory
Acacia podalyriifolia
Phytolacca dioica
proposed phytoremediation plants
Guadua superba
Ipomoea tricolor
Astrocaryum murumuru
Acacia simplex
Eucalyptus hybrida
Phytolacca icosandra
spring 2016
59
60
proposal: projected satellite collage of 2050
A Living Memory
Designing with nature, more so than any other material, requires not only thinking in three-dimensions but more importantly, thinking about and understanding the role time plays in the final state of the project. Each of the plants chosen will help to achieve this, with some species reaching full phytomining potential after two years. This will allow for a continual process that can be maintained for decades and hopefully longer, mimicking what happens naturally. These ideas are at the heart of this project – remembering the past by keeping the form of the mine while it was in operation, and looking towards a future where humans can rectify the harmful actions they have taken towards the environment.
conceptual park perspectives
spring 2016
61
La Rive Domain, Bordeaux, France
Le Theatre For La Rive Domain
structural analysis model
Professor Mark Cruvellier • Sagar Karnavat (Partner)
For any architectural endeavor, no matter how eloquent the design or how innovative the parti may be, a careful consideration of the structure is always necessary. Structural Systems II is a course that recognizes that importance. The class revolves around the meticulous recreation of a built project, ranging in size from a pavilion to a performing arts center. The goal of the resulting model was not only to represent the form of the chosen project, but that focuses on an accurate replication of the forces at work within the structure. Careful research led us to choose the Le Theatre project in the La Rive Domain region of Bordeaux, France. The wooden, circular theater was designed by the Paris based architects Nadau Lavergne. Despite the small size of the building, it featured a variety of structural elements: shear walls, trusses, arches, hangers, x-bracing and Structural Systems
cantilevers. By choosing a project that had such a wide array of structural systems, we were able to gain a greater understanding of almost every major type of supporting systems that exist. The valuable experiences gained during this endeavor will be instrumental in informing our approach to integrating structure in our architectural careers.
fall 2013
63
64
Le Theatre For La Rive Domain
dome from above
fall 2013
65
The process began with an extended research period for a project that employed not only a diverse range of structural systems for the assignment, but implemented those systems in a way that was unique and deeply integrated with the overall design. For us, we wanted a building that displayed this integration clearly and immediately, leading us to decide to focus on Le Theatre. The theater was constructed as part of a complex on a campsite in Bordeaux, France that included a restaurant and other facilities. We contacted the architects Nadau Lavergne who graciously gave us digital copies of the plans and sections of the building, as well as some photographs. This, along with our research, allowed us to create a comprehensive structural analysis report on the entire building. From there, we built a Rhino model that was critical in our ability to reconstruct the project at such a small scale. After the digital model was complete, modifications were made to account for the reduction in scale. We approached the model in two phases: the first phase dealt with the construction of the dome, while the second phase focused on the mezzanine and other supporting systems. This division in advance anticipated the difficulties we eventually faced in making the dome. The connections within the dome were particularly challenging, despite our extensive digital modelling and planning. We initially decided to use basswood for the joints, instead of steel (the material used in Le Theatre) due to the high costs and challenging process of using steel at such a small scale. Numerous trials, however, deemed basswood also unworkable at this scale, so we began to experiment with Plexiglas. Plexiglas proved much more durable and through laser cutting iterations, we decided this would be the best option. We then modified the design of the intermediary beams at their end conditions to accommodate the change in materials, simplifying the connection between the beams and Plexiglas joints. The delays from this change forced us to increase our precicion in later steps.
4’
4’ 6�
66
model dimensions, construction process
Le Theatre For La Rive Domain
The intermediary beams were located in one of eighteen segments of the dome. Glulam rib arches were made by gluing six individual pieces of basswood together and placing them in a jig where they were compressed for over twenty-four hours. They were then placed into a mold of the dome which was milled out of insulation board. We then used the foam mold to assemble the dome. The second phase focused on the rest of the supporting structures, particularly the mezzanine floor. Milled into the walnut base were all the insertion points for the trussed and I-columns. Replicating the connection between the trussed columns and the ground, we used solid steel, carefully carving out the insides for the basswood trussed columns to slot into. These were then fit into appropriate base openings. Unlike the dome connections, the connections used for the mezzanine were the originally planned basswood. I designed several different variations of these to accommodate the different types of connections we needed. These joints were different from those used on the project in Bordeaux, due to the scale. The connections allowed us to use very small screws (over 700 of them in the model) to attached the supporting beams to the columns. For the final step, the rib arcs of the dome slotted into the inner side of the I-columns, resting on pegs to keep them from sliding down. The last structural system was the addition of steel wires, drilled into the rib arcs, to support the cantilevered inner mezzanine walkway. In the end, we were both satisfied with the results and the relative strength of the model.
construction process
fall 2013
67
68
model photos
Le Theatre For La Rive Domain
model photos
fall 2013
69
PROFESSIONAL
Dallas, Texas
HKS
summer internship
Leonardo Gonzalez Sangri (Design Lead, Education Studio)
During my time as a summer architectural intern at HKS, I was given the opportunity to work on half a dozen different projects, each at different stages in the design process. As a member of the education team, one of my primary tasks was completing interior finish details such as floor patterns and final paint colors. These drawings were completed through references to past projects and in response client needs. I also created several renderings for clients to use in promoting the schools to parents and their respective communities. These images were produced using Autodesk 3DS Max.
Summer Internship
summer 2015
71
72
HKS
Bluff Springs Academy & College Preparatory
summer 2015
73
Fort Worth, Texas
Bennett Benner Partners
summer internship
Bruce Benner (Principal), Amanda Schulte (Senior Associate)
As a summer architectural intern at Bennett Benner Partners (BBP), I was able to work on a variety of projects. I assisted in updating CAD drawings and contributed to preliminary design charrettes of a small chapel at The Gatehouse project. The majority of my time was spent on completing renderings for the Lena Pope Home Early Learning Center (LPHELC) and the Westbend mixed use project. The images for the LPHELC were completed in Revit as iterations to inform final layout and material choice decisions. The other large project I completed was the Westbend final project rendering. I taught myself how to use Autodesk 3DS Max and was still able to meet the deadline for the image. The final rendering was used for promotional purposes by the client.
Summer Internship
summer 2014
75
76
Bennett Benner Partners
WestBend
summer 2014
77
PERSONAL
Photography
what i see
I take photos so I can remember. I take photos to remind myself I was there. Human memory is fallible, not for its ability to forget, but for its selectivity. While I might not forget a memory, I can easily forget a moment, an opportunity, an achievement. A photograph however does not forget. Even if the photograph is objectively bad, it is subjectively beautiful, triggering other memories I would be pressed to recall otherwise. As I have experimented with photography more, I see it not only as a tool for documentation but as another way for me to express myself. Projects such as ‘The Absence of Me’ are a step towards projecting my own emotions and experiences day-to-day visually. I hope to continue this evolution as I grow as a person.
fall 2014 - fall 2016
79
80
Rome, Italy
August 2014 - December 2015
Shenzhen, China
September 2015
81
82
Adirondack Mountains, Upstate New York
October 2015
SantarĂŠm, Brazil
March 2016
83
84
Berlin, Germany
October 2014
San Francisco, California
April 2016
85
86
The Absence of Me
8 x 10� 35mm, Kodak Tri-X 400, rc paper print
Ithaca, New York
September - October 2016
87
88
Untitled
8 x 10� 35mm, Kodak Tri-X 400, rc paper print
Ithaca, New York
fall 2016
89
SO