Work Experience

Printmoz

42149 Zevo Dr, Temecula, CA 92590

2011-2021

On-Press Operations 2019-2021

Oversees the preparation of files for print and the successful operation of large format printers. Ensuring highquality prints on various materials to meet customer satisfaction.

• Large Format Printing

• Operating EFI VUTEk LX3 Pro, EFI VUTEk H5

• Knowledge of Photoshop, Illustrator, Fiery XF Rip Software

• Attention to detail

Logistics Coordinator 2017-2019

Facilitating shipping operations for nationwide and Canadian shipments. Includes scheduling deliveries and freights based on weight, box calculations, and pricing. Ensured the proper packing of boxes, timely arrival, and best pricing.

Experience with UPS WorldShip 2020

CNC Cutter Operator 2015-2017

• ICUT Software

• Kongsberg C Series

Hot Air Welding Operator 2013-2015

Welded hems of large banners.

• Miller WeldMaster T300 Extreme Flex

Quality Control Specialist 2011-2013

Reviewed day-to-day customer orders to assure quality and customer satisfaction.

Contents

Café

Lake Thunderbird, Norman

School of Architecture

Cal Poly, Pomona

Museum of Japanese Contemporary Art

Little Tokyo, Los Angeles

Museum + Library

Cal Poly, Pomona

Café

Lake Thunderbird, Norman

The café at Lake Thunderbird is intended to be unassuming, blending with the natural landscape and acting as a connection from the road to the water. The site was chosen because of a clearing in the trees that has allowed for a natural circulation route. Filling this void, the form of the building follows the existing tree line limiting the impact on the environment and becoming what could be seen as a canopy within the canopy. From the parking lot, the user ramps down into the earth enveloped by a water feature that overflows into the project. The user is first met with the multipurpose space which is shown here as an exhibition space filled with art and sculpture. Passing the multipurpose space, you are met with the café which attempts to capture southern views that are framed by clusters of elm trees. The user then arrives at the bar and outdoor performance space that juts out over the water and provides panoramic views of the lake and western sunset. The buildings feature three systems that aid in sustainability and energy efficiency. The roof of the trellis is comprised of two layers of polycarbonate panels that enclose the primary and secondary beams. The overhang is such that it provides full solar coverage during the hottest months and maximum exposure during the coldest. Solar panels are also utilized and are carefully positioned above each building in place of that top layer of polycarbonate. This not only provides energy but doubles as extra shading to the buildings. Finally utilizing the stack effect, operable windows are placed on the top and bottom of each space, taking advantage of northern winds. While circulating throughout the landscape, the polycarbonate roofing of the trellis diffuses light creating an ambient atmosphere. The translucency of this trellis aids in blurring the line between the built and natural environment. Because of the way each piece of the program sits within the structure, the user is given two circulation paths that wrap around each element. Making their way to what seems to be the end of the path, the user is then enticed to loop back around and enjoy the site from a different perspective.

School of Architecture

Cal Poly, Pomona

The proposed architecture school is central to the student services building, parking structure, and college of engineering. It also sits adjacent to an existing Japanese garden. The intention behind the plinth is to be unassuming and of the ground, highlighting the gardens inside and outside of the plinth and acting as a continuation of the current Japanese garden. To do this the plinth features three gardens that act as that continuation. The entrance from the Japanese garden is immediately met with a café and the plinth’s first garden. Passing the café we are met with a gallery and a ramp that acts as a through condition from the Japanese garden towards the parking structure beyond. The fabrication lab and the gallery have been intentionally put on display to exhibit the beginning and end of the architectural process. Another ramp has also been included that wraps around the gallery leading to a rooftop deck. This rooftop deck then flows into the second floor of the tower which acts as an extended gallery and optional review space. The massing of the tower has been designed using the same DNA as the plinth. The tower features three balconies that are delineated by legs that touch down accentuating the opening in the façade. Two of the balconies are set aside for architecture studios while one is for administration use. The façade is made of undulating translucent acrylic panels which from the outside appear semi-opaque during the day but at night are more translucent. During the day the focus of the project is the gardens but as the sun goes down the focus shifts inward as the interiors light up. The tower’s translucent façade lights up in a way to expose the silhouettes of architecture students thus becoming a beacon for the whole campus showing the hard work and dedication of architecture students working late into the night.

Museum of Japanese Contemporary Art

Little Tokyo, Los Angeles

The museum of Japanese contemporary art is centered around the idea of carving out volumes to create space. The museum is located on east first street in Little Tokyo. The program of the library is separated so that the user must travel up or down from the ground level to reach an exhibit. The ground floor houses the bookstore and much of the service spaces. The second floor houses the lobby, auditorium, and the first exhibit. The remaining floors feature an outdoor café and multiple exhibition spaces ranging in size and height. As mentioned, the main idea of the design was to utilize a carving process to create space.In section, the carving process used to create the spaces in the museum resulted in volumes that seem to float above the lower levels. Then the ground floor was done by carving out circulation resulting in unique spaces and the exhibit spaces were done by carving spaces out that still preserved the flat walls needed for art. This process also created a connection between the bottom levels and the top levels which can be seen with the main staircase that runs the length of the museum. This stair acts as an exterior passage from the ground floor to the second floor. This allows the public to pass through the museum without actually entering it. The café on the third floor has been opened to the outside by carving out a hole in the exterior wall turning what seems to be an interior space into an open exterior experience overlooking east first street. The upper spaces of the museum are delineated by small elevational changes that are connected by a series of long ramps. This is seen by a ramp connecting the café to the exhibit on the third floor and the ramp connecting the two exhibits on the fourth floor. On the second floor, the carving process created a ceiling that ramps up to create a sense of compression and expansion inside the lobby space and the ceiling on the third and fourth floors undulates and unveils creating skylights that highlight key moments in the museum. Finally, the fluid yet imperfect form as a result of the carving process is inspired by a traditional Japanese aesthetic called “WabiSabi.” “The aesthetic is sometimes described as one of appreciating beauty that is “imperfect, impermanent, and incomplete” in nature.” This acceptance and contemplation of imperfection and constant flux and impermanence of all things is particularly indispensable to Japanese art and culture.