PORTFOLIO|SANDRA MARTIN 2010 -2014
PORTFOLIO|CONTENT SYSTEMATIC DESIGN 4 - 15
Resort Aquatic Center | VANUATU
16 - 27 Plug-In Module Library | MELBOURNE 28 - 33
Network Hotel Tower | BARCELONA
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Layering Fabric Cultural Center | ROME
DIGITAL DESIGN APPLICATIONS 42 - 47
Biomimetic Light Modulator | GAINESVILLE
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Semperian Anthropological Pavilion | NEW YORK
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Gallery for Digital Art | MELBOURNE
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“The Meeting” Mural Staircase | MELBOURNE
ABOUT ME 90
Photography
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Curriculum Vitae
RESORT AQUATIC CENTER The resort located in the island of Efate caters to athletes as well as tourists interested in a holiday destination with athletic facilities. The funding for the resort comes from Pacific Sports Development Grants from the Australian Government as well as from entrepreneur athletes, such as Ian Thorpe, Pat Rafter, and Adam Scott who would take advantage of Vanuatu’s tax haven status to save money in undeclared income taxes which can be used to fund the facilities. The workforce of the resort will be predominantly the killing time youth which will gain employment as well as a chance to participate in sports as a form of productively killing time. The initial attractor for development will be a 6,300 sq.m. aquatic facilities and resort reception building. Thesis | Second Semester 2014 Critics |Kristin Green, Zvi Bellling
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As the modern industrialized world appropriates more areas steeped in cultural significance, the local way of life gets more and more diluted. In Vanuatu, where globalization is slowly making its way through the local Kastom, we can attempt to stall the complete dilution of the local culture as it begins. In Port Villa, we can already see the issues that arise by this dilution such as the killing time youth that turn to crime as a way of life and forsake Kastom. We must be sensitive to the local essence of place and the customs of its people. For the Ni-Vanuatu, their perception of time can become a powerful tool in dealing with change and adapting to it. They value the present over the past and the future, as evident by their usage of the same words for both the days after tomorrow and the days before yesterday, Neis. It is through this emphasis in the now that lets them adapt to modernity while keeping various aspects of Kastom alive. 6
Their geography, culture, and perception of time is also shaped by the sea. Their relationship to the water as a way of life is sharply contrasted by their lack of swimming skills. Transportation is mainly by water, and the isolation of the island by the sea creates a static “island time.� This emphasis on the environment as well as time can be further explored through the legacy that it leaves, whether it is environmental change or cultural change through time. In this regard, architecture can be a key factor in the reciprocal relationship between environmental change and the passage of time. So how can Architecture challenge the legacy of time?
TENSILE CANOPY
STEEL STRUCTURE
RESORT ENTRANCE
AQUATIC CENTER
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Ball lenses in the panel structure capture solar rays to convert sunlight to energy which runs the amenities
Division of program which allows for the bottom level to flood if necessary
Porous canopy allows the south east winds to pass through the structure
HOW CAN ARCHITECTURE CHALLENGE A LEGACY? BUILDING THAT ADAPTS TO THE ENVIRONMENT The design of the building is heavily influenced by the environment in order to withstand the climate of Vanuatu. The program is divided into two layers in order to cater to possible flooding if the tide rises higher than the usual 1 meter at high tide. The lower floor holds the amenities and pools that would not be harmed by flooding. The canopy is fragmented in different levels for high wind resistance. Also, the fragmented canopy diffuses the sun light throughout the building. The canopy structure holds ball lenses at the center of the panel structure which focuses the diffused sunlight into photo-voltaic cells that run the amenities of the building. 10
Materiality is also taken into account when designing the form of the building. The observations of Vanuatu weather making by the shamans are taken as the translation of the materials in the building. The pools and floors are more solid and grounded thus made out of concrete, while the canopy takes after the leaves thus using textiles for layering. Wood louvers are introduced as well to represent the leaves.
HOW CAN ARCHITECTURE CHALLENGE A LEGACY? BUILDING THAT ADAPTS TO PEOPLE The design of the building is heavily influenced by the use of the Ni-Vanuatu people as well as the resort guests. The program is divided into two layers, the resort entrance layer on top and the aquatic center layer at the bottom yet the building has a general open access to both layers. The restroom amenities in the lower floor also serve the top layers and the food areas of the top floor cater to the lower layer. This mixing of program and circulation allows for equality between both types of users.
The aquatic center gives back to the local community through lessons for the young kids as well as creating a place for gathering of the older kids to learn a sport and improve their lives through athletic training. Since Vanuatu’s land ownership laws allows for the original land owners to reclaim their lands after 75 year leases, the resort portion would adapt in time to become a promenade and pier for local use.
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PLUG-IN MODULE LIBRARY The future of libraries is evolving as digital systems make book repositories obsolete. Static libraries no longer fulfill the role of information centers in our mobile lives. The revitalization of these libraries by creating a new program for thinking and participation within the city is essential to their survival. These libraries can be renovated into factories of modules which in turn can be deployed to areas of the city in need of development. The modules serve as a source of information about place as well as centers of learning and interaction. The mobility of this system allows the insertion of these modules throughout the city in order to create flexible learning centers which engage with the users as well as the city. The first step in the systems development is the renovation of the State of Victoria Library’s 7,000 sq. m. facilities into a new space for thinking and participation. Studio Sibling| First Semester 2014 Critic |Nicholas Braun
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2050
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2070 UNDERUTILIZED SPACES DEPLOYMENT OF MODULES AREAS NEEDING REDEVELOPMENT LIBRARIES
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State Library gets adapted, to factory program; module fabrication begins servicing the inner city area.
As demand for more flexible modules increases the area covered by the State Library Factory grows to include other neighborhoods,
As the modules age, upkeep and maintenance are essential. Smaller libraries start getting adapted into maintenance areas for panels and structural elements. State Library continues as the fabrication hub for the Melbourne area of modules. Cycle continues of creation of larger institution and upkeep and maintenance by local institutions.
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SITE
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ELEVATION FROM EXISTING BUILDING
ACCESS TO SITE
OPTIMAL SUN EXPOSURE
GLASS FACADE/ ROOF SYSTEM
FIFTH FLOOR
FOURTH FLOOR RAMP
SECOND FLOOR
THIRD FLOOR
HERITAGE FACADE
GROUND FLOOR
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GROUND PLAN 1.Administration Offices 2.Shipping/Receiving Area 3.Power/Utilities Area 4.Employee Area -Lockers -Break room -Kitchen -Lounge -Medical Services
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SECOND FLOOR 1. Finishing/Packaging Area 2. Offices 3. Quality Control 4. Work Stations 5. Cafe/Lounge
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THIRD FLOOR 5
1. Control Room 2. Assembly Line/Module Parts 3. Inventory Area 4. Information Panel Offices 5. Shops 6. Logistics Offices
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FOURTH FLOOR 1. Distribution Area for Storage 2. Interactive Showroom/ Various Configurations
FIFTH FLOOR 1. Study Modules 2. Forum Modules
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DETAIL | MODULE PANELS FITTING INTO LIBRARY FACADE FOR STORAGE
GLASS FACADE PANELS METAL FACADE STRUCTURE METAL MODULE FRAME
The module panels can be assembled and disassembled to fit into the outside facade of the building as a storage measure. The atrium space is also used as an interactive area for the modules to be featured in order to constantly evolve the system to cater to all residents of the city. By making some panels translucent and others opaque a random design is created as the facade is used as storage space. The contrast of the old dome of the library and the new faceted prism showcases the enhanced jewel of Melbourne as the library has been affectionately called without destroying its heritage facade.
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METAL MODULE PANELS
The materiality of the modules serves both indoor and outdoor functions as well as being part of the new library facade. The modules feature seating areas as well as interactive panels of information about the different locations where they are placed. They are also wifi hot spots as well as digital device chargers through their photo-voltaic panels which collect energy for the public to use.
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NETWORK HOTEL TOWER By researching social systems within Barcelona, a new program is embedded into the hotel tower. The prevalence for social networking and a constant connection to the digital world is used as a catalyst for the redesign. The new tower is divided into a horizontal and vertical segment that intersect at the entrance to the hotel. Throughout the towers, media lounges are placed so that the visitors and residents can connect to social networking sites as well as friends and families. The media lounges can also be used to broadcast videos to show others throughout the tower as well as to pedestrians on the street. The media lounges also connect the residents and visitors to the city through the viewing platforms at different altitudes. Design 7| Fall Semester 2010 Group|Christopher Perrodin Critics |Alfonso Perez-Mendez
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Steel Structure
Modular Screens
Scale Signifiers
From the analysis of Barcelona, the tower gains insight into three different conditions in relation to the site. The first comes from looking at different spatial conditions in the urban fabric, which reveals the dominance of the large open-ended public areas in the immediate vicinity of the intervention. From the public space study, the project takes on the open ended public quality of its adjacent areas and inserts it into the vertical intervention. The second relates to the main arrival points to the site—car, tram, subway, train, and boat—in order to orient the tower. Exploring further the idea of arrival and view of the tower, the third layer shows the height of buildings around the site, to better get an understanding of how well a person can see the project in its context. 30
Rain Guard
Viewing Screen
The orthogonal vertical tower is dedicated to programmatic functions that a visitor would use, such as dwelling, while the horizontal tower is dedicated to programmatic functions that a resident of the city would require such as commerce, dinning, and lounge areas. The angled tower serves as a connection between the other towers, incorporating both programs and creating spaces where both residents and visitors can inhabit. Media is used as a connection network that ties in all the programmatic functions within the towers.
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LAYERING FABRIC CULTURAL CENTER The city Rome runs in two opposing directions when facing urban density and new development. While the spatial density of Rome carries the cramped similar to that of a heavily populated metropolis, its population density is lower than Paris, Berlin, or Barcelona. To further exacerbate the issue, new development within the historic district has difficulty gaining popular support, leading to urban sprawl and an unnecessary tension between the development and historic fabrics. To counter this issue, the project proposes to increase the density of its housing units through inversing the urban condition, increasing the living density while decreasing the spatial density. Through the construction, the project also gives to the city an open air public space for city inhabitants and housing residents. Design 7| Fall Semester 2010 Group|Christopher Perrodin Critic |Alfonso Perez-Mendez
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In order to further increase the validity of the project, commercial shops are inserted on the ground floor and a condensed institution for performance based art is placed on the top levels. A large auditorium anchors the project to the site on the south east side. Through the construction and consideration of these programs, the city block becomes more activated in the physical collision of separate functions. The residential portion takes its form from the traditional roman housing block typology. By creating a courtyard area the residents have a larger interaction with the city as well as the arts center.
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DISTANCES TO SITES OF EXISTING ROMAN ART CENTERS
ROMAN LIVING MODULE MODULE CUT SEPARATION OF SECTIONS UNWRAPPING FORM MOLDING TO CONTEXT
BLOCK MASSING
STREET DIVISION OF INSTITUTION
COMMERCIAL LEVEL CUT
COMBINATION OF PROGRAMMATIC FORMS
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RAIN SCREEN
CONNECTING FORMS
MEASURED PATTERN
FLOOR SIGNIFIERS
DIAPHRAGM
The form reacts both to the layered nature of Rome’s physical earth, under which still contains Roman ruins, and the layered natured of the Roman urban fabric. Affected by medieval development, Catholic intervention, and Fascist reconstruction, the urban pattern contains strong and distinctive features defined by a distinctive attitude towards stacking and musicality. Having perceived both architectural principles as the unifying tissue across the different epochs, the project pushes them further, creating an architectural construction with a strong desire to demonstrate these issues in a clear and interesting manner.
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STRUCTURE
GROUND
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BIOMIMETIC LIGHT MODULATOR Calligraphy, light and making were the starting issues to consider for this project. By using the quartz as a generator, the light reflection properties as well as the mineral structure of the quartz could be utilized as a baseboard for the biomimetic tectonic light modulator. The convergence of the different diagrids as well as other calligraphy created the different elements of the light modulator. The diagrids were organized by the use of a regular grid. The integration of a regular grid solidified the structure as well as organized the musicality created by the different materials. The vertical elements act as a regulator and connection along with the horizontal elements, thus allowing the diagrids to become the form that regulates the light passage. By utilizing different materials the light was able to be utilized in different ways. The lighter sections became the marker that organized the other sections. Design 8| Spring Semester 2011 Critic |Alfonso Perez-Mendez
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The light modulator was designed on rhino then each piece was carefully constructed in order to fit together with minimal use of glue. The pieces were laser cut from cardboard, Plexiglas, and frosted acetate. Connectors were designed in order to attach each layer to the previous part. The finished model closely resembles the digital design and through the application of precise laser cutting design the pieces were able to fit in place.
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Calligraphy
Musicality
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SEMPERIAN ANTHROPOLOGICAL PAVILION The Semperian anthropological container was adapted to fit the site in Queens looking at Manhattan, shadowed by a poplar grove and bathed by the East river. The issue of hearth was further explored by introducing a program to the pavilion, an installation for Noguchi Akari light sculptures. The lights were used to enhance the interaction of the glass pavilion with the water creating a procession to the water highlighted by the Akari light sculptures. The sculptures were given architectural properties by visually creating columns of light that regulate the facade. The hearth was interpreted as a visual focus that the pavilion placed on the reflection of the lights on the water. The same calligraphy was used to create the site conditions that would anchor the pavilion to the site. The location of the pavilion along the edge of the site allows the installation to be viewed from Manhattan. Design 8| Spring Semester 2011 Critic |Alfonso Perez-Mendez
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The main principles of the exercise were the exploration of the semperian pavilion and its components. The analysis of each part; the roof/structure, the skin, the base, and the hearth, allowed for the differentiation of the elements that make up the container. The generator for the calligraphy was an exploration of the triangular form and how it can be manipulated to create different spatial conditions. By focusing on the space created by the roof, skin, diaphragm, and base the form was created. The human scale was introduced through measure and scale exploring Le Corbusier’s modulor. The construction of a prototype of the container allowed for the further research of the connections as well as fabrication. The first exercise disregarded site, focusing more on the container being a prototype easily adaptable to any site; while the second exercise was focused on a site in New York.
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Calligraphy
Plan showing Musicality
Le Corbusier’s Modulor applied to elevation
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Model of a corner section of the Semperian Pavilion. Laser cut pieces then assembled to test the stability and buildability of the design. Materials| wood, acetate, Plexiglas, card board, paper
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GALLERY FOR DIGITAL ART The gallery design started out as a series of experimentations with scripting, work flows and changing parameters. These processes were narrowed down to a single design through various iterations and by testing through fabrication for a desired effect. An initial prototype was created as a chandelier in order to test out these concepts at a smaller scale. After the testing process, We investigates agent based systems and researched the behavioral patterns that arise from their interactions. Although the chandelier was not as successful at portraying the interaction the final design for the gallery proved to embody the digital interaction we were seeking through the use of textile surfaces as spatial dividers. Populating this surface with characterful Nemos which respond to the gallery patrons creates a user-authored environment and engenders a sense of play, encouraging engagement with the exhibits. Studio Systems Culture|First Semester 2013 Group|Richard Maddock, Jack Pu Critic|Finnian Warnock
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BEHAVIOR
BUNDLING
Low macro Attraction
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Low stiffness
Small spawn area
Large spawn area
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The site chosen for the location of the chandelier was Tattersall’s Lane, near Lonsdale St, in Melbourne’s CBD. This is a very public, albeit narrow, lane way with a heady mix of establishments nearby such as noodle restaurants and bars. By specifying the respawn sites for the agents (as well as the percentage chance of respawing at a particular location) to respond to site conditions, we could control the direction and quantity of light from the chandelier to different parts of Tattersall’s Lane. For example making the laneway entrance itself brighter, and reducing the light cast onto the external balcony of Ferdydurke.
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Agents not only flock in swarms, but also when three or more agents are in a flock - as specified by the variable parent.nodeThreshold - then a node is created at their centroid. The size of the node is proportional to how many agents are associated with that node. Agents are attracted to not only other agents, but also to nodes (opposite, in blue). Final script for the chandelier. Being able to specify the agent respawn sites gave us control over their paths and lifetimes, and allowed us to create shapes with more agent paths in particular areas. These paths would in turn be translated into areas of more light within the chandelier. We were thus able to shape the chandelier to fit its surroundings. 61
The dynamism of the process needed to translate to the product and by taking a frozen frame from the process and piping it, we lost so much information that the original agent trails provided. By considering the basic characteristics of a chandelier which are providing light, projecting shadows/light distortions, and creating a specific spatial effect, we can improve the design process. Discarding the making process and using a method of projecting the real time output of the agents allows us to portray the dynamic characteristics of the system. These agents are given characteristics which to differentiate them from each other thus making them nemos.
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Nemos retain memory of their trails and can interact with the trails as well as with the patrons of the gallery. The nemos can flock or repel in reference to the trails.
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By using fabric and projecting onto the reverse side we can close the gap between viewer and the virtual. With this three-dimensional, tactile, fabric surface we can define an immersive space. Because we are using fabric and string and digital means of production we can easily create many permutations in order to curate the gallery spaces as required, catering for sculpture, wall hangings and projections. 72
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“THE MEETING” MURAL STAIRCASE The new design for the University of Melbourne’s architecture building references the old building’s ideas of international collaboration and integration by keeping the Japanese room and garden. The juxtaposition of old and new are also carried through with the use of the Old Commerce building facade and the Napier Waller mural in the library. Yet the preservation of the Japanese room was not complete with the dismissal of the mural, “The Meeting”, in the staircase leading to the Japanese room created by designer Fumiko Yura. Taking inspiration from the original black and white tile mural and the abstract geometric pattern the concept for the staircase is to incorporate the rhythm and interest of the pattern in an atmospheric way that integrates the wooden hanging studio. Studio DDA| Second Semester 2013 Critic |Louis Gadd
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The mural named “The Meeting� by its designer, Fumiko Yura, was completed in mid 1964. She was the wife of the architect of the Design School building where the mural is found. When construction began on the new Design School building, there was a call to preserve aspects of the old building such as the Japanese Room and gardens yet the mural was not considered significant enough. The black and white terracotta tiles form a linear pattern which steps down relative to the stairs which led to the Japanese Room.
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PARAMETRIC DIAGRAM
Massing Volume
Step, Balustrade Addition
Pattern Projection
Heliotrope Angle Addition
Surface Cutting
Ecotec Panel Modification
WORK FLOW DIAGRAM | PROGRAM USE WORK FLOW OPTIMIZATION STRATEGY
STRUCTURAL ANALYSIS
VISUAL DEVELOPMENT
FABRICATION
DESIGN CONCEPT
FINAL PRODUCT
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DESIGN CONCEPT | INSOLATION VALUES
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The stairs are created as a sculptural mass that snakes up the space, yet keeping a minimalist approach to make a bold and formal statement. The linear pattern steps down relative to the stairs yet each pattern segment encompasses two flights of stairs. The pattern is cut through the staircase balustrades in order to let the light cast shadows of the mural pattern throughout the space. The cutouts in the balustrade walls play with the light and shadow giving an atmospheric quality through the lighting in the space. The minimalism of the movement of the staircase highlights the effect of the shadows and light.
The use of digital programs to measure the insulation values of the atrium where the stairs would be placed as well as to calculate the structural design of the new stairs allows for better design decisions as well as accurate calculations at each step of the design process. The values of the insulation of the atrium were then used to create a pattern within the tile configuration accounting for maximum light exposure into the atrium.
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The staircase is designed to optimize the natural lighting conditions of the atrium. By analyzing the lighting conditions, the cutout pattern is altered to maximize the shadows cast in the atrium floor and walls. The angles of the cutouts are changed according to the optimal light angle, creating the best shadows through most of the day. The facades are further optimized through the incorporation of insulation studies into the subdivision and arrangement of the wooden tiles that make up the balustrade wall.
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The fabrication of the staircase takes inspiration from traditional Japanese wood working. CNC fabrication has been chosen for its relationship with the material itself, much like in traditional wood work. It also was evaluated for its economical material usage against laser cutting. The efficient fabrication of 144 panels versus the 432 layers that laser cutting would generate without accounting for assembly outweighs the approximation issues that come with the CNC fabrication. The joints of the stair steps to the balustrade as well as to the structure is carefully design to fit together seamlessly through CNC routing, as well as the joints from panel to panel. The reciprocity of the interaction between the physical panels and the digital fabrication through CNC technologies allows the design to gain creative design potential as well as material qualities that would are acquired through the process. 87
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ABOUT ME
Capturing the moment | images from travels
Š 2014 Sandra Martin, All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form, or by means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of the publisher. Printed in Orlando, Florida 90
SANDRA MARTIN website http://www.sandracmartin.com email smartin1002@yahoo.com phone 321-947-2448
EDUCATION
Masters of Architecture 2014 The University of Melbourne Bachelors of Design 2011 The University of Florida International Baccalaureate Diploma 2007 Seminole High School
In memorable experience of architecture, space, matter and time fuse into one singular dimension, into basic substance of being, that penetrates our consciousness. We identify ourselves with this space, this moment, and these dimensions become ingredients of our very existence. - Juhani Pallasmaa
AWARDS
Masters Exhibition Award The University of Melbourne 2014 Deans Honors Award The University of Florida 2011
EXPERIENCE STUDY ABROAD
UF Vicenza Institute of Architecture Fall 2010 UF Paris Research Center Summer 2009
Freelance Graphic Design Local Projects 2012 Design 2 Summer Tutor The University of Florida 2009
LANGUAGES SOFTWARE SKILLS
2D and 3D Rhinoceros, AutoCAD, Revit, Vray Parametric Grasshopper, Ecotec, Karamba, Python
Presentation InDesign, Illustrator, Photoshop, Microsoft Office Fabrication CNC, Laser Cutting
English| Native Spanish| Fluent level French| Conversational level Italian| Beginning level
TRAVELS
Iceland, Germany, Denmark, Netherlands|2015 Australia|2012- 2014 Colombia|2011 Italy, France, Spain, Switzerland, Germany|2010 France, Germany, Spain|2009 91