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SYDNEY FARRIS
ARCHITECTURE + DESIGN
SYDNEY FARRIS CONTACT 972-822-6283 sydfarris@gmail.com Full Portfolio: issuu.com/sydneyfarris
ACADEMIC EXPERIENCE University of Michigan
09.18 — Expected 05.01
Master of Architecture Texas A&M University
08.14 — 05.18
Bachelor of Environmental Design Barcelona Architecture Center
08.16 — 12.16
Study abroad
SKILLS Microsoft Office Word Excel PowerPoint Adobe Suite Illustrator Indesign Photoshop After Effects
PROFESSIONAL EXPERIENCE Taubman Fab Lab
Zund Coordinator responsible for operating the Zund cutting machine, cleaning the surrounding space, training new students, answering emails, and assisting students during and outside of assigned shifts BRW Architects
Autocad Revit Maya
Rhinoceros Grasshopper Other Sketchup ZBrush Keyshot
05.18 — 08.18
Experience with construction administration including site visits and OAC meetings; preparing models and other materials for client meetings and internal design competitions; participation in the annual intern project for one day a week Linear! Architecture
McNeel
05.19 — 08.19
Experience designing proposals for higher-ed signage packages; use of a variety of graphic techniques and tools to highlight built projects for marketing and competitions; research and graphic support for client meetings Gensler, Dallas
Autodesk
09.19 — Expected 05.01
05.17 — 08.17
Space planning and programming for restaurants and retail, both ground-up and interior finish-outs; required to handle permitting including mailing documents, filing paperwork, and coordinating with building and fire departments in various cities The Arkitex Studio, Inc.
05.16 — 08.16
Introduction to professional and technical principals of architecture through working on a higher-ed renovation project, including as-built drawings, schematic design, design development, construction documentation, material selection, and site-visits
Traditional media
The Battalion
Hand Sketching OIl, Acrylic Painting
Graphic artist and page editor; required to communicate with photographers, writers and editors, produce the daily paper, develop graphics if photography is absent, attend weekly budget meetings
01.14 — 05.17
SPECULATIONS 01 INTEGRATED SYSTEMS 02 T4T LAB 03 FABRICATIONS 04 PAINTINGS 05
REDENSIFICATION Spring 2019 CRITIC Claudia Wigger The city of Ahmedabad has a uniquely dense and obfuscating urban fabric made up of “pols”, or dense communities of up to a few hundred people and often organized around a larger public space called “chowks.” The individual pol house within this organization is similar to many other historic shophouse precedents: a narrow two- to three-story party wall home with more public greeting or commercial spaces towards the front and a raised threshold. What makes Ahmedabad’s typology unique is its organic, tight-knit fabric full of bends and deadends, which relies largely on user experience to navigate. Whereas the typical goal of an urban plan is to facilitate movement, Ahmedabad’s obstruction of free movement creates unique opportunities for social and commercial interaction. What better way to induce a more vertically dense architecture with the same irregularities than to appropriate pieces of the fabric itself and adapt them to a new verticality through extracting, cutting, folding, tilting, and intentionally misreading? Appropriating existing footprints provides a more granular, detail-rich form which responds to the human body.
01
SPECULATIONS
CAPITOLIUM Fall 2019 CRITIC Steven Mankouche Located in Highland Park, MI (commonly referred to as “Detroit’s Detroit”), this proposal for a new city hall responds to the promt to explore as well as reimagine the use of ornament in architecture. It does so by scaling typography and calligraphy — typically part of a fine-grain layer of complexity on the building facade — to be larger than the architecture itself, thereby distorting the trope to create the opposite affect. The project begins by projecting supergraphics onto a traditional form and evolves to explore material systems.
FLOOR 1 1” = 16’ Floor 1
JUSTICE DEPARTMENT HUMAN RESOURCES CITY ADMINISTRATION OTHER SERVICES
Index of historic fabric
1915
1951
1967
1973
1999
2014
1915 ROADS
CURRENT STREETS
CURRENT STRUCTURES
FLOOR 1 1” = 16’ ASSEMBLY BUILDING DEPARTMENT WATER DEPARTMENT POLIE DEPARTMENT SERVICE
FORMAL APPROACH FROM WOODWARD AVENUE
Floor 2
FORMAL APPROACH FROM WOODWARD AVENUE
ON THE MARKET Fall 2019 TEAM Ryan Cohn Vama Garrimella CRITICS Lars Graebner Christina Hansen We wanted our project to celebrate the vibrancy of Eastern Market, while also providing a peaceful place of refuge for residents. Tasked with creating a large market space, high density housing, and parking for both, our solution was to design a striated massing scheme of different program types, transitioning from public to private. Lifting the parking level 30 feet above the ground provides a large covered market space on the ground that can host vendors on market day. The parking deck acts as a steel truss bridge supported by cast-in-place concrete structures, acting as legs for the bridge to minimize the need for support columns. This effectively allows us to treat the residential buildings on top as separate structures using lightweight steel construction. The community on top reflects the diversity of the people who gather at the Eastern Market twice a week. We wanted our project to be a place where people choose to live long term, and not to feel like a place a transience.
02
INTEGRATED SYSTEMS
09
80'-0"
08
70'-0"
07
60'-0"
06
50'-0"
05
40'-0"
1
3
Residential Light gauge steel 4 Parking Steel ‘truss’ system 3 Commercial Cast-in-place concrete Foundation
2 2 1
4
LANGFORD INFILL Fall 2017 COLLABORATOR Madison Green CRITIC MIchael O’Brien Beyond accommodating excess studio and office spaces and creating a new home for the Technical Reference Center, Langford D presents an opportunity to rethink the way we learn, research, and interact. Our interior design emphasizes circulation and communication through ramps and half-level floors. How should an architecture education building represent itself to a modern campus? Many structures have come and gone with barely a trace of their existence. Our form should echo its surroundings to preserve buildings’ presence after they’re demolished. This design’s interior (rather than exterior) pays respect to the brutalism of Langford A in a schematic, rather than cosmetic way. While the concrete structure imitates the surrounding context of the Langford Complex the form must dance around existing pedestrian paths and between existing facades in a way its neighbors never had to. Primary circulation occurs at the nexus of Langfords A, B, and C with studios, offices, and assembly spaces breaking off to the West side of the building, while lounge, gallery, and TRC-related spaces are contained in the East wing.
Texas A&M Campus College of Architecture (Main) Langford A Langford B Langford C Available interstitial site
Longitudinal Section
Grand entry from parking lot
Studios
DOWN
UP
UP
DOWN
UP
DOWN
UP
UP
TO EXISTING FIRE STAIR
Transverse Section
Architectural Detail: Auditorium’s back entrance
3” Topping slab 4” R-30 XPS
1” Stone tile Grout EPDM 2” Joist slab Joist Steel angle Hot channel
2” Topping slab 16” square column 40” wide girder, shored Shear studs Top chord of truss Gusset plate Structural Detail: Pan-joist system meets wide flange truss
W-24 W-8 Truss members
Auditorium Section
ROUGH + SATURATED Spring 2018 TEAM Maria Fuentes Ozzie Carrion Ashleigh Fulcher CRITICS Nathan Hume Gabriel Esquivel The project developed into a way of observing qualitative tropes within an architectural perception of the estranged and the familiar. This studio is mainly an exploration of the both/and; the rough and saturated. The program, a building for the entomology department, is located North of Texas A&M’s West Campus, on university-owned agricultural land. The project introduces a new culture to the context, while using a familiar, banal program related to animal and food sciences, in our case, a new building for the entomology department. We were interested in the intersection of subject/object + nature/culture, by determining the relationships of objects that become familiarized through four tiers of exhaustion: movement, geometry, space, and texture. The mereology of the familiar canonizes the creation of categorical elements. Through our project, we’ve utilized postural catalysts such as embedding, imposition, and hovering. With these catalysts, we can use the four tiers of exhaustion to evaluate relationships according to degree.
03 T4T LAB
Individual preliminary explorations prior to final project
Taxonomy of pieces
Intermediate drawings of early ensembles
Cutaway of final model
Through posturing the ground and the ensemble, they are exhausted of their original character.
At the micro level, these same figures, the hot dogs, can be seen as the smallest member of the categorization; becoming a successful field object that aids in creating inner-outer-inner moments.
In this composition, the hot dogs are the autopoietic machine which occupies the anchored, designed objects, producing more of themselves. The relationship between the hot dogs at the micro scale catalyze the autopoetic machine, as the program is introduced as a new part of the machine, the entirety shifts to become allopoetic, necessary to be represented by the drawings, plans, and section.
T4T LAB: CRITTER Spring 2016 TEAM Juan Arriaza Stefani Johnson Madison Haynes Chris Bell CRITICS Adam Fure Gabriel Esquivel We reconfigured, distorted, and extruded elements of Liebskind’s Jewish Museum’s and Ronchamp’s plans to produce 3D manifestations of its main organizational principles. After individually sweeping, extruding, lofting, and “booleaning” shapes and forms derived from the original plan, the group members compiled their work into an index of these new primitives (or “chunks”) from which new compositions were built. Through the process of combining and distorting chunks, elements which once functioned as parts of a plan began to lose their definition and take on a new autonomy.
In computing, from least to most physical, there are four layers of information: application, transport, internet, and link; where the application is the interface we actually engage in and the link is the physical medium of transport. The more raw scripting languages become, the further they move from our understanding. We are more able to interface with the entirely hypothetical “critters� than with the original drawing, or data.
The process of deriving and categorizing “chunks” has been repeated so many times that the final products have logical depth, meaning a large amount of data has been discarded to reach the final — a conventional design process with an unconventional product. In this way, the project redefines abstraction by unfolding
CUPS Fall 2019
ITERATION 1
COLLABORATOR Mackenzie Bruce CRITIC Wes McGee ITERATION 2
ITERATION 3
ITERATION 4
ITERATION 5A
ITERATION 5B
ITERATION 5C
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FABRICATIONS
ROD CHAIR Fall 2019 COLLABORATOR Mackenzie Bruce CRITIC Wes McGee
BUILDING TRANSLATIONS Fall 2019 TEAM So Young Lee Sonham Llamo CRITICS Adam Fure Dew Bradford
EXPLODED AXON NTS
Acrylic Brayn-College Station, TX From life
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PAINTINGS
Charcoal Studies From life
“Space in Figure I” Oil on canvas, 2017 Model: Maria Fuentes
“Space in Figure II” Oil on canvas, 2017 Model: self
Roof patio in Barcelona, Spain From photograph
View down New York Ave. from Carnegie Libary — Washington D.C. From life
Ciutat Vella — Barcelona, Spain From photograph
Somewhere in Utrecht, The Netherlands From photograph