SELECTED WORKS
THIS IS A COLLECTION OF MY CURATED WORKS THROUGH MY UNDERGRADUATE DEGREE AT THE UNIVERSITY OF TEXAS A&M. WHERE YOU WILL FIND A FOCUS ON MY EXPLORATIONS IN STUDIO-DRIVEN PROJECTS. MY ASPIRATIONS ARE TO UNRAVEL MY ARCHITECTURAL AGENDA BY DELVING INTO DIFFERENT PLATFORMS AND MEDIA THROUGH DESIGN, THEORY, PHOTOGRAPHY, MIX-MEDIA, AND WHILST PRIORITIZING SUSTAINABILITY AND EQUITY IN OUR PROFESSION TO BE ABLE TO ARTICULATE DIFFERENT VISIONS.
.WORKS.SELECTED
ALEJANDRA.VALDOVINOS.UNDERGRAD.
FILES.THINGS.STUFF.ARCHIVE.DOCS.CATALOG.RECORDS.
001 MENIL GREY COLLECTIONS 002 FRAGMENTED CRYSTALYZATION 003 DUMP VESTIGE 004 INDEXICALITY PROJECT 005 OBJECT STUDY 006 PRESERVATION 007 TEXAS A&M ROWING FACILITY 008 VG STUDIO LLC 009 RESHAPE 010 CSPACE
MENIL.GREY.COLLECTIONS. 001 STUDIO WITH JONATHAN LOUI STUDIO ARCH 406 Through surfaces, systems, and structure, the object acts as a unification of the familiar with the unfamiliar. It preserves the artistic memory of The Menil Grey through certain Menil Grey influences that are seen in our catalogues and collages. These influences dictate the culture of Menil Grey through an enablement of layers. Our building is separated by performance which is then reflected through the building’s program and physical split form. Enforcing a new spatial division by blurring the boundary between what can be considered private and public. The building itself is a physical representation of the geometries such as the shapes, trims and roofs collected through our research of the surrounding Menil campus. By using familiar geometry found within the surrounding environment we are able to develop a new relationship between the bungalows and Menil Institute. Creating a summary of existing elements in the nearby buildings and the new ones developed in our building’s design. The grid work on the building shows physically how the texture is being upheld, by defining where the panels of texture piece together the building’s surface. This texture binds itself together with the building not only through its panels being structurally embedded in the walls, but the way it merges with the wooden mullions and sometimes on itself. Above we have the physical representation of said grid work, that is made of CLT connected at the joint with cross steel connections. This grid towers over the rooftop greenhouse and terrace mimicking a sense of privacy, keeping those enclosed within the building’s space yet at the same time involved with the public in the plaza. Due to the openness of the grid, a balance of having privacy while being out in the public can be achieved.
MENIL.GREY.COLLECTIONS.
Ground Level Alejandra Valdovinos Megan Lopez
Level 2 Alejandra Valdovinos Megan Lopez
Site Plan Alejandra Valdovinos Megan Lopez
MENIL.GREY.COLLECTIONS.
3. Recyclable Materials Steel trusses working as structural framework. Connected to concrete walls and supporting glass.
Lightweight concrete.
Truss to concrete connection.
FRAGMENTED.CRYSTALIZATION. 002 BARCELONA STUDY ABROAD STUDIO WITH MIGUEL R. COLLABORATION WITH MARIE CHAPA STUDIO CARC 301 The project is focused on the longitudinal axis of the site created by the street Passeig Picasso. A new entrance was proposed with the intention of breaking the axis and drawing the circulation from the street, through the Mineralogy building and into the Ciutadella Park. The disruption of the original organization of the site was done with a subtle change in topography consisting of a slight slope. This removed the need of the stair-steps, allowing the subject to experience a delicate movement as they are led up to an organic geometrical form that resembles the fragmentation of mineral crystallization. We define the concept of fragmented crystallization, as the division of a whole into modules, allowing the design to ‘atomize’ in both program and structure. Each serving for its own independent purpose, ranging in size and function, from the biggest pavilion dedicated for the library and auditorium to the most private structure, consisting of offices and conference rooms. A contrast of “the old and the new” is present in organization and materials. The decision was made to remove the Mineralogy Museum, making possible the reuse materials and space, which is sustainable and economical. The structures contain additional sustainable solutions. One of them is the use of ETFE, a plastic-like material incorporated into windows that allows light into the structures, while working as shading and insulation. Another adaptation is the metal framework of the structure, which will serve multiple functions, including using solar heat as thermal energy to heat water and use as electricity for the building. Adapting this into the structure will be an investment that will increase the initial cost, but will significantly reduce the expenses of the building, which will save money over time.
r: 120
80 m
40 m
r: 25 m
40 m
70 m
40 m
95 m
85 m
COMPOSITE REGULATING LINES
85 m
120 m
120 m
FRAGMENTED.CRYSTALIZATION.DESIGN.DEVELOPMENT.
DESIGN INTERVENTION 01
DESIGN INTE
r: 120
FRAGMENTED.CRYSTALIZATION.FLOOR.PLANS.
REPLANTEO | 00
LEVEL | 01
ERVENTION 02
DESIGN INTERVENTION 03
80 m
40 m
r: 25 m
LEVEL | 02
L E V E40Lm | 0 3
70 m
FRAGMENTED.CRYSTALIZATION.DETIAL.SECTION.
FRAGMENTED.CRYSTALIZATION.AERIAL.VIEW.
b. gorno composition: bismuth (Bi) : 45% carbon (C) : 15% oxygen (O) : 19% nitrogen (N) : 10% hydrogen (H) : 2% iron (Fe) : 9%
baise - moi
ichi
#b6468
#b9973
concus
fester
blood syster
cannib
#b7505
#b4146
#b4290
#b0157
d. mocquo composition: astatine (At) : 44% nitrogen (N) : 31% carbon (C) : 10% phosphorus (P) : 9% molybdenum (Mo) : 6%
kalua #d8833
gaji #d1107
miua
osir
#d6741
#d5282
hilo #d3075
sition| ase 20| i. year 2020| dump composition| dump human composition| life status| human life status| human lifephase status|ii. year 2030| phase ii. year 2030| phase ii.II.year dump 2030| composition| dump composition| dumphuman composition| life status| human life status| human life status| phase iii. year 2040| iii. year phase 2040|iii. |year dump2040| composition| dump composition| dump human composition| life stat PHASE YEAR 2030 | PHASE I. YEAR 2020 | PHASE phase III. YEAR 2040 ally man ctiongenerated trash collection artificial 0% synthetically trash 0%generated 80% synthetically sustained artificial generated trash artificial80% trashsustained 80% sustained human trash collection + data human extraction trash collection human trash + 0% data collection synthetically extraction + data generated extraction artificial synthetically trash 0%generated 60% synthetically sustained artificial generated trash artificial60% trashsustained 60%trash sustained human collection + data human extraction trash collection human trash + data 20% collection extraction synthetically + datagenerated extraction artificial 20% synthetically trash 20%generated 40% synthetically sustained artific HUMAN TRASH COLLECTION +0% DATA EXTRACTION HUMAN TRASH COLLECTION HUMAN trash TRASH COLLECTION + DATA EXTRACTION onal human input 100% traditional100% human traditional input human input machine learning for synthetic machine trash manufacturing learning machine for synthetic learning 100%trash traditional for synthetic manufacturing human trashinput manufacturing 100% traditional100% human traditional input human input machine learning for synthetic machine manufacturing learning machine for synthetic learning 80%trash traditional for synthetic manufacturing human trashinput manufacturing 80% traditional 80% human traditional input hu MACHINE LEARNING FOR SYNTHETIC TRASH MACHINE LEARNING FOR SYNTHETIC TRASH machine begines generating synthetic machine trash beginesmachine generating begines synthetic generating trash synthetic trashMANUFACTURING
DUMP COMPOSITION | 0% SYNTHETICALLY GENERATED ARTIFICIAL TRASH 100% TRADITIONAL HUMAN INPUT HUMAN LIFE STATUS | 80% SUSTAINED
MANUFACTURING
MACHINE BEGINES GENERATING SYNTHETIC TRASH
DUMP COMPOSITION | 0% SYNTHETICALLY GENERATED ARTIFICIAL TRASH 100% TRADITIONAL HUMAN INPUT
DUMP COMPOSITION | 20% SYNTHETICALLY GENERATED ARTIFICIAL TRASH 80% TRADITIONAL HUMAN INPUT
HUMAN LIFE STATUS | 60% SUSTAINED
HUMAN LIFE STATUS | 40% SUSTAINED
DUMP.VESTIGE. 003 TECHNOLOGY FOR THEORY STUDIO WITH GABRIEL ESQUIVEL AND JORIS PUTTINERS COLLABORATION WITH EMILY MAJORS, CYNTHIA CASTRO, AND JEANELLE FERNANDEZ STUDIO ARCH 206 This machine uses big data collected from digital waste and physical waste in order to optimize dump emissions with the intent of sustaining both the earth and the ecology of the rubbish dump, privileging the dumps’ agenda to preserve itself in the case of human extinction through a process of machine learning and synthetic trash manufacturing. Occupying the territory of the dump, the self-generating structure operates cyclically, fluctuating, expanding, and contracting over time as more garbage accumulates and system optimization occurs. The cycle begins with the insertion of an algorithmic primitive that collects, learns, and expands until it begins phases of consolidation and optimization. The cycle begins again as the machine updates and refines its understanding of the dump. The machine determines the desired composition and form for optimized trash based on a gained understanding of the chemical composition of trash required for a positive impact on the ecosystem. It combines on-site collection and observation techniques with its access to digital waste found in the cloud to better process garbage input. The machine is not pushing any aesthetic agenda. The machine derives its aesthetic regime from its own assimilation of how the machine becomes a part of its ecology, acquires big data, and produces as needed.
year dump 2050| dump| composition| PHASE IV.composition| YEAR 2050 iv. year 2050| phase iv. human life status| synthetic trash manufacturing 60% synthetically trash ic trash manufacturing 60% synthetically artificial trashgenerated 20%artificial sustained SYNTHETIC TRASHgenerated MANUFACTURING machine learning40% for traditional optimizationhuman 40% e learning for optimization input traditional human input
human life status| 20% sustained
MACHINE LEARNING FOR OPTIMIZATION
DUMP COMPOSITION | 60% SYNTHETICALLY GENERATED ARTIFICIAL TRASH 40% TRADITIONAL HUMAN INPUT HUMAN LIFE STATUS | 20% SUSTAINED
phase v.| year dump composition| human life status| PHASE YEAR 2020| dump composition| phase v.V.year 2060|2060 dump2060| composition| human life phase status| i. year PHASE VI. YEAR 2090 | synthetic trash manufacturing 100% synthetically artificialhuman trash trash0%collection sustained 0% synthetically generated artificial synthetic trashTRASH manufacturing 100% synthetically generated artificial trashgenerated 0% sustained SYNTHETIC MANUFACTURING HUMAN TRASH COLLECTION 0% traditional human input 100% traditional human input system fully optimized system fully0%optimized traditional human input SYSTEM FULLY OPTIMIZED SYSTEM FULLY OPTIMIZED
DUMP COMPOSITION | 100% SYNTHETICALLY GENERATED ARTIFICIAL TRASH 0% TRADITIONAL HUMAN INPUT HUMAN LIFE STATUS | 0% SUSTAINED
trash
human life status| 80% sustained
DUMP COMPOSITION | 0% SYNTHETICALLY GENERATED ARTIFICIAL TRASH 100% TRADITIONAL HUMAN INPUT HUMAN LIFE STATUS | 0% SUSTAINED
DUMP.VESTIGE.
OBJ CUT | 01
OBJ CUT | 03
OBJ CUT | 02
OBJ CUT | 04
INDEXICALITY.PROJECT. 004
INDEXICALITY STUDIO WITH GABRIEL ESQUIVEL STUDIO 205
The project here shows Case study house, The Bailey House by Richard Neutra. The original organization is through a series of vertical bars. The thematics of my new organization are to connect the terrain with the orthogonal pieces of my original floor plan translating the new ‘figure’. By following the regulating lines, I did a series of shifts that fragmented my plan, reinforcing the inner poche where my reverberation occurs, defining the “figural edge” which produced the new organization of my figure. from my final diagram, the most relevant subject that I wanted to translate was the figural edge. suggesting the interconnection of the curves, it reflects them becoming topological surfaces. By expanding the nurb surfaces all around my analog model, it creates an attitude in the figure where moments of crossing [overlapping] wrap around the surface, reinforcing the inner poche, where my reverberation occurs. While encapsulating the model within itself to show the direct consequence from 2 dimensional to 3 dimensional. My ground becomes receptacle and indexes completely onto my figure cradling the entire object, reinforcing the concept of my exterior figure connecting with the new organization of my figure.
SECTION| EDWIN LUT YENS
E L E VAT I O N | E D W I N L U T Y E N S
S P L I T T I N G | G O R D O N M AT TA C L A R K
D AY ’ S E N D | G O R D O N M AT TA C L A R K
INDEXICALITY.PROJECT.
GROUND FLOOR PLAN| BAILEY HOUSE
TRANSGESSED PLAN| BAILEY HOUSE
INDEXICALITY.PROJECT.AERIAL.VIEW.
DOMESTICITY.JOINTS. OBJECT STUDY
005
INDEXICALITY STUDIO WITH GABRIEL ESQUIVEL STUDIO 205
The thematics of my digital project reflect an interconnection of a low-fidelity generic house to a high- fidelity tenacity house of a well-recognized architect, Edwin Lutyens. Through the Gordon Matta Clark project ‘Days End’ which uses the idea of perforating holes through a surface and transgresses our understanding of privacy, with a section with booleans and splits. In correlation with my Edwin Lutyens Cockington house, I analyzed the sections of the generic house. The house lays on a curved terrain and the figure was used to cut through the house and then follow through a series of shifts, reorganizing the cuts to form an affinity to the Lutyens house. In addition, I did a series of boolean cuts of the continuous bars in the Lutyens house that disclose in the generic house. Creating a sectional study allowed the reveal of the new figure and poche thickness, allowing the volume to be shown.
PRESERVATION. 006 URBAN PLANNING STUDIO WITH TYRENE CALVESBERT COLLABORATION WITH: VIVIAN GUTIEREZ AND ISABELLA ESPARZA STUDIO ARCH 305 The project became a chain of experiments creating new fragments through a low-fidelity generic house resulting in domesticity joints enhancing a more accessible way on the parts coming together through plan and section. I advanced the idea of my building sitting on an undulated ground as it articulates the wavy object, while it exposes the interstitial crawl spaces by unraveling and seeing through them. As the building is detached from the ground, enlightening the crawl spaces underneath, I approached the aesthetic materiality to contrast the culture of the Houston architectural expression. Elaborating in the manifestation of the materials in which they contribute to the aesthetic differences. Achieving this architectural expression was done by creating moments of tension between the mass of flatness versus the pieces of intense relief that show the materiality of wood and brick. At the same time, it portrays the relief on the flatness and intricate edges, exaggerating the appeal and creating something that cultivated the final design.
PRESERVATION.SITE.ANALYSIS.
PRESERVATION.PLANS.TRANSVERS.SECTION.
TEXAS.A&M.ROWING.FACILITY. 007 INTEGRATED STUDIO WITH MICHAEL O’BRIEN COLLABORATION WITH REBECCA ROMERO
The Texas A&M Crew values consist of a group of athletes working together to achieve harmony, rhythm, balance, and speed. The teams biggest desire was to have a place to house their boats so as to keep them from getting damaged by the elements. The dream crew facility would enhance one’s personal fitness, endurance, and technical skill. The team also works out frequently and usually has to travel between the lake and Texas A&M Recreational Center so having a facility that can house all of their training areas under one roof would be the most convenient.
LEVEL | 01
LEVEL | 02
LEVEL | 03
TEXAS.A&M.ROWING.FACILITY.
BRIDGE TOP +5.00
NEW HOTEL
WATER LEVEL -3.45
SIDEWALK +0.00
VG.STUDIO.LLC. 008 SUMMER INTERNSHIP AT VG STUDIO WITH LEAD ARCHITECT VICTORIA GOLDSTEIN IN HOUSTON TEXAS COLLABORATION WITH JASPER GREGORY AND JULIA VASILYEV MASTERPLAN// The primary project, was a collaborative of VG Studio with an international team in China, drafting building plans for residential, and commercial projects. Project architects work with drafting software like AutoCAD, Rhino, and Grasshopper to design projects and then present these plans to clients and construction crews. We proposed the designing of a new hotel, bridge and public seating.
EL STEP +1.50
STREET LEVEL +3.50
SIDEWALK +0.00
ZA SECTION 4
N
CENTRAL PLAZA SECTION 4
STEP +1.50
STREET LEVEL +3.50
N
BRIDGE
BRIDGE TOP +5.00
SIDEWALK +1.00
WATER LEVEL -3.45
ENTRANCE PLAZA SECTION 1
E TOP +5.00
STREET +3.50
STAGE TOP +0.60
STEP +1.50
WATER LEVEL -3.45
BRIDGE TOP +5.00
3d printed N heat transfer conceled ins path
heat sensors
BODY HEAT HARVESTING
3d printe heat tran conceled
path
heat sen
RESHAPE.COMPETITION. SUMMER INTERNSHIP AT VG STUDIO LLC
009
LEAD WITH PRINCIPAL ARCHITECT VICTORIA GOLDSTEIN IN HOUSTON TEXAS COLLABORATION WITH JASPER GREGORY AND JULIA VASILYEV
Blush Hoody is an invitation to reflect on the quality of the air that directly surrounds our body. We are the start of a generation to carry this amount of technology around our environment and modifying our air, yet the results have already been felt. But what exactly is polluting our air that we are not aware of already? Electro Smog Exposure to technology everywhere is leaving our bodies vulnerable to free radicals that discharge toxic chemicals and microwaves to the body. We envision blush-hoody as the intention of protecting our body with this second layer that generates negative ions around our personal air space by using the heat our body generates and trace metals in pink salt that get activated. Generating negative ions cleanses our air of hazardous airborne particles, bacteria and viruses. The hoody is self-regulating, so it has the capacity of producing extra heat when needed. Comfort meets detox. The prototype is a combination of technologies, from extremely analog and tailor-made fabric molding to achieve a desirable outfit to a network of a 3d printed mesh that holds and distributes both the salt pockets along the fabric and the heat conductors. of cleaner air, meanwhile harvesting our own body heat. This mesh is printed with the latest 3d printing capabilities used for orthopedic technology, using a polyamide (nylon) material that is tensile, impact resistant and can insulate the conductors within them. The Himalayan salt pockets are made of stretchy fabric to allocate more or less salt granules where needed. The granule’s own weight shapes the hoody’s “spikes”, that we’ve used generative techniques to simulate the density and movement of these aggregations. Blush hoody seeks to generalize wellbeing, a preventive measure, as a generous spreading.
GENERATES NEGATIVE IONS
USES BODY HEAT TO ACTIVATE METAL TRACES IN SALT
A STATE OF PHYSICAL WELL BEING GENERATED BY THE AIR AROUND YOU
CSPACE.ACCESSORIES.
POD MODULE
STRESS SENSORS
The Cspace device can be attached to the inside of the pods for q quieter, more private workspace. These can be ordered for your home and will also be located in public spaces for rental. The pod allows for a more immersive workspace with aromatherapy, changeable chair, surround sound, etc.
Sensors can detect when you are stressed and will start a relaxing routine according to your preferences(this may include aromatherapy, color therapy, white noise, etc.) Products: watch sensor, diffuser, cardiac band
CSPACE. 010 CORGAN VIRTUAL INTERNSHIP COLLABORATION WITH CATHERINE HARRISON, ISABELLA CAPALBO, AND ALENA NAGORNAIA HUGO DESIGN SPRINT COMPETITION We have developed a device that is compact and efficient. The body of the device will be made from aluminum to create a lightweight device that is comfortable to wear throughout the day. It’s dynamic features allow a rotating earbud to allow the change in-ear use. Users will be able to choose from three different sizes of comfortable, flexible silicone tips for the best fit for a variety of users. This customized fit allows for active noise cancellation, canceling out distractions such as lawnmowers, roommates, or pets when working from home. A sleek tap touch screen located along the body of the device activates the augmented reality elements. Users can scroll along the screen to adjust the volume and the brightness of the holographic elements. The camera’s depth perception recognizes when the user interacts with the augmented reality landscape. Some interactions include scrolling through emails or writing on a whiteboard. The device will come with a wireless charging case so that users can work anywhere and anytime. The device is designed to have a battery life of eight hours to be compatible with a typical workday. As an accessory to the device, CPod was developed. This device can be found in public spaces such as airports and public parks, or it can be purchased for personal use. Users of CSpace can access these pods by placing CSpace into the CPod compartment. The pod will be able to read the information regarding the user’s preferences to create a fully immersive experience catered to the end-user. CPod was designed to create private, secluded workspaces for users while also allowing them to be alert with their surroundings. CPod will allow for an even more custom workspace by incorporating aromatherapy, surround sound, and chair customization.
SURVEY.RESULTS. 126 responses female
58.7%
41.3%
male
gender working professionals
64.3%
35.7%
students
current role/position
not sure
no
9.5%
maybe 20.6%
65.9%
yes
do you think you would work better in an environment that was customizable?
yes, I have one at yes, but I don don’t no, I prefer group hav ave e one at home home settings 4% 21.4% 68.3%
it depends 6.3%
does having your own workspace increase your productivity?
no
depends
yes
when working from home, it is difficult to separate your work life from your home life?
roommates parents siblings children pets
28 34 5 18 49
spouses
40 4
neighbor no
2 15
01
02
03
04
05
do you have people who can defer your attention from your work?
06
0
3-4 hours
5-6 hours
46.8% 11.9%
7+ hours < 1 hour 38.1%
1-2 hours
how long to you spend working straight without breaks 5 minutes 10 minutes 15 minutes 20 minutes 25 minutes 30+ minutes no breaks
break length no maybe
yes
do you think that being able to meet your work peers in person would increase your productivity?
depends no 31% 12.7% never tried
53.2%
yes
do you think that being rewarded for completing a goal/work would increase your productivity?
126 responses 80 60 40 20 0
1
2
34
5
how important is it for you to see the outdoors in your workspace 126 responses 40 30 20 10 0
1
0%
2
0.8%
34
7.9%
4.8%
56
5.6%
11.1%
78
22.2%
25.4%
how would you rate your productivity at home?
91
12.7%
0
9.5%
ALE JAN D R A V A LD O V IN OS EDUCATION T E X A S A& M U N I V E R S I T Y , C O L L E G E S T A T I O N , T E X A S
MA Y 20 21
BACHELOR OF ENVIRONMENTAL DESIGN, MINOR IN SUSTAINABLE ARCHITECTURE AND PLANNING
G P R: 3 . 6 8
B A R C E L O N A A R C H I T E C T U R E C E N T E R, B A R C E L O N A, S P A I N ,
2 01 9
FALL SEMESTER STUDY ABROAD LONE STAR COLLEGE, HOUSTON, TEXAS
A UG 2 01 5 - D E C 2 0 1 8
ASSOCIATE OF SCI ENCE
PROFESSIONAL VG STUDIO, HOUSTON, TEXAS ARCHITECTURAL DESIGNER -CONDUCTS PERIODIC ON-SITE OBSERVATION OF WORK DURING CONSTRUCTION TO MONITOR COMPLIANCE WITH DETAILED DESIGN DOCUMENTS -UTILIZES COMPUTER-ASSISTED DESIGN SOFTWARE AND EQUIPMENT TO PREPARE PROJECT DESIGNS AND PLANS -CREATE THREE-DIMENSIONAL BUILDING INFORMATION MODELING AND TWO-DIMENSIONAL CONSTRUCTION DOCUMENTS USING VARIOUS SOFTWARE
MA Y 2 01 9 - P R E S E N T
P N P C Y C L E S, H O U S T O N , T E X A S ADMINASTRATIVE ASSISTANT -INPUT DATA TO BE TRANSMITTED ELECTRONICALLY -TITLE TRANSFER SUPERVISOR
MA Y 20 21 - P R E S E N T
C O R G A N , D A L L A S, T E X A S ARCHITECTURE INTERNSHIP, DATA CENTERS - BLUE -FOUR WEEK VIRTUAL INTERNSHIP DUE TO COVID-19 -COLLABORATED WITH THREE ARCHITECTURE INTERNS IN A HUGO DESIGN SPRINT THAT FOCUSED ON HOW AGILE ARCHITECTURAL SOLUTIONS SHAPE THE BUILT ENVIRONMENT AND HUMAN BEHAVIOR SHIFTS AS A RESULT OF EMERGING TECHNOLOGIES
J UL Y 20 20
D I V E R S I T Y C O U N C I L, T E X A S A& M C O L L E G E O F A R C H I T E C T U R E ST UD ENT ASSISTANT
A UG 20 18 - MA Y 2 0 2 1
FINANCIAL AID OFFICE, LONE STAR COLLEGE ST UD ENT ASSISTANT
S E P T 2 01 5 - D E C 2 0 1 7
ALVALDOVINOS@AGGIENETWORK.COM | 832-592-3061
ACADEMIC LEADERSHIP AMERICAN INSTITUTE OF ARCHITECTURE STUDENTS
2 01 8 - MA Y 2 0 2 1
-SOCIAL CHAIR -FREEDOM BY DESIGN SENIOR DESIGNER -MENTORSHIP PROGRAM AND MEMBER NATIONAL ORGANIZATION OF MINORITY ARCHITECTS
2 02 0 - MA Y 2 0 2 1
-COFOUNDER OF FIRST CHAPTER AT TEXAS A&M -VICE PRESIDENT OF NOMAS
T E X A S A& M I N T E R D I C P I L A N A R Y C H A R R E T T E F O R U N D E R G R A D S
-PLACED SECOND PLACE DURING SPRING OF 2018
SKILLS -FLUENT IN ENGLISH AND SPANISH -EXCELLENT COMMUNICATION SKILLS WITH CLIENTS -ABILITY TO ORGANIZE FUNCTIONS TO ENSURE COMPLIANCE WITH DUE DATES/DEADLINES AND REGULATORY REQUIREMENTS -CRITICAL THINKING -GRAPHIC DESIGNER -ABILITY TO NEGOTIATE
SOFTWARE -RHINOCEROS -AUTOCAD -REVIT -PHOTOSHOP -ILLUSTRATOR -INDESIGN -KEYSHOT -ZBRUSH -3D PRINTING -QGIS
REFERENCES UPON REQUEST
THANK YOU.