CONTENTS

STUDENT WORK

VERTICAL ECOLOGY OUT INTO THE OCEAN REST AND THOUGHT UMBRELLA TENT REACH CARVING THE VAST

ARTISTIC WORK

TRAVEL SKETCHES RECENT WORKS

PROFESSIONAL WORK

FARGO FARNESI PROJECT COLOR CORPS

THE MERCATO OTTOFRUTTICOLO AND NUVOLI REDESIGN

As a re-use of an existing but barely used marketplace, this project re-envisions the processes that bring food to our tables. The result is a vertical structure that houses all the essential steps of food production and even consumption. In all, the structure provides: space for the growing of crops and their subsequent processing, pastures for livestock, facilities for the re-use of livestock by-products, employee offices and housing, an underground transportation hub, food educational facilities, an amphitheater, and a marketplace with many eateries. With such a high spatial requirement from this large program, the project called for verticality (the program posed too great a footprint for the site). This need became central to the design; the programmatic elements are divided among separate nodes that double as circulation towers for the higher up elements. On the ground floor, these nodes develop a site plan by the assignment of radial array centered at each which establishes interconnections between them and pre-established major ground circulation. In this manner, access and products radiate out into the surrounding urban context. The result of the plan on site is remarkably similar to traditional Florentine urban fabric, with the nodes acting as landmarks with an irregular system of corridors permeating out.

Spring 2011Florence, Italy

Published in ADD 12

Completed with Joseph Varholick while studying abroad, in a studio taught by Gianni Pettena

A VERTICAL ECOLOGY

CROPS

[1] herbs

[2] citrus fruit

[3] berries

[4] tomatoes

[5] onions

[6] peppers

[7] broccoli

[8] spinach

[10] beets

[11] potatoes

[9] greens

[12] beans

LIBRARY

CIRCULATION DECK

AMPHITHEATER

TRANSIT CENTER

FOOD PROCESSING

HOUSING TOWER

OFFICES

TRANSVERSE SECTION

ALGAE TUBE

STEEL STRUCTURAL MEMBER

PLATE

INSULATION/WATERPROOFING

DRAINAGE AND CAPILARITY LAYER

FILTER LAYER

GROWING MEDIUM

CROPS

BRACKET FOR DIAGONAL BRACING

DIAGONAL TENSION CORDS

EMPLOYEE OFFICES AND HOUSING

STREET LEVEL MARKETPLACE

MARKET PLACE STORES

MARKET PLACE STORES

CENTRAL PLAZA

AUDITORIUM MARKET PLACE STORES

LIBRARY

VERT CIRC. TOWER

VERT CIRC. TOWER

VERT CIRC. TOWER

VERT CIRC. TOWER

MAIN PED. BLVD.

PUBLIC RESTROOMS

SUBWAY ENTRANCE

OFFICES

DN

DN

UP

UP

UP

UP

UP

DN

WORKER’S APARTMENT

SECTION

SECTION

GROUND FLOOR PLAN

VERTICAL FARM WALL/FLOOR SYSTEM

VERTICAL FARM - algae + harvesting/growing system

SLAUGHTERHOUSE AND BIOGAS ENERGY PLANT

The possibility for replication was an important further development in the project. Even with the vertical nature of the structure, the complex would not provide enough sustenance for all of Florence. The revelation defeated the intention, to nullify all food product transportation and harm to natural landscapes, of the project. Yet by proposing a series of interconnected vertical farms throughout the city, the project succeeds in creating an agricultural system capable of providing for Florence’s (and other urban areas’) food needs.

REPLICATING A BUILDING TYPE: connection to site area and beyond

MARITIME COMPLEX FOR RECREATION AND LEARNING

Spring 2008Cal Poly Pier, Avila CA

Presented to Accreditation Board as exemplary Cal Poly 2nd year work

reCLAIMING A PIER

This project places a maritime complex on the end of a pier, formerly used for industrial purposes and currently owned by Cal Poly. The program (boat making school, maritime museum, hotel, dock, offices, and view tower) intimates a nostalgia for the recreational piers of a different time in California’s past. The project’s form is conceptually motivated by the pier. The pier symbolizes a human ambition to penetrate a natural boundary. the ocean; this is not a gentle crossing but a stark representation of human industry. Attempting to reflect this, the form of the project shows a penetration of translucent layers by concrete tubes.

ATMOSPHERIC DRAWINGS

SANDED ACRYLIC AND CHIP BOARD MODEL

A NUNNERY/THINKTANK FOR RETIRED ECOFEMINIST NUNS

An usual project both in program and process, the nunnery offers a place of residence for retired “ecofeminist” nuns, a communal place of prayer and charity for the surrounding community, and a site for assemblage of environmental thinkers. The contrasting spatial needs inspired a complex of idiosyncratic spaces, all working towards a singular goal while answering specific purpose. The complex surrounds two separate courtyards, one for public community and the other for the private use of the nuns, with a dining hall representing an area of overlap. Lastly, the materiality of the project responds to the industrial undertones of the site and strong natural elements of the site.

Fall 2009Heron’s Park, San Francisco

Published in ADD 10

REST AND THOUGHT

ENTRANCE (oils on found metal from site)

PROCESS PAINTING : site analysis and narrative

MODEL AND SECTION PAINTING OF SHRINE TO CHRIST

GROUND FLOOR PLAN

SECOND FLOOR PLAN

MODEL AND SECTION PAINTING OF SHRINE TO CHRIST

PROGRAMMATIC SPACES:[1] NUN RESIDENCES: seven modular and simple dwellings [2] THINK TANK: open space with moveable partitions for discussing of environmental thought[3] ARTIST STUDIOS: five studios for guest artists, hovering above the complex and looking at towards the bay[4] CHAPEL: operating for both the public and resident nuns[5] DINING HALL: this area of communal dining, divides the sequestered courtyard of the nuns and public courtyard

SECTION (oils on found metal from site)

TEAM SUPER JOE AND THE TOPO MEN’S DESIGN/BUILD SHELTERSpring 2010Poly Canyon, San Luis Obispo

Participant in Cal Poly San Luis Obispo’s annual Design Village

Completed with Joseph Varholick, Justin Tien and Tyler Stark

UMBRELLA TENT Along with three peers, Justin Tien, Tyler Stark, and Josepth Varholick, I entered the Cal Poly design village competition in 2010. According to the theme, “Landfill Luxury,” our project used, excluding hardware, all found materials. Though we did not win, we had an enjoyable and lively three days and two nights living in our structure, even weathering intense winds that wholly intended to de-root the umbrella tent from over our heads. Also according to the competition, we were able to carry the entire lightweight structure in one trip and assembled it on site well before the sun started to set.

KEY CONCEPTS

[1]modular lightweight [2]structural system[3]grid layout[4]division bet. space for sleep and social activity

REUSED MATERIALS

A FLOATING STAGE FOR MIAMI

The notion of a stage implies a closed and intimate experience between audience and performer; however, the competition’s proposal adds a ubiquitous sensory presence: the macro-environment—sounds, motion, smells…etc. Instead of seeing this as interference between performer and viewer, our project encourages a connection with this definitive third element, both literal and implicit, in developing a spectator experience both unique and partial to the open-air and water-based site. In doing so, our design echoes an amicable response to water pre-existing within the natural world that, in turn, accentuates the performance in terms unique to the site, while producing a structure that builds on the precedent for innovation of the built bandstand.

Spring 2011Miami, Florida

Submittal to 2011 Dawntown Competition

Completed with Joseph Varholick and Rachel Janzen

REACH

SHADE PROTECTION OVERHEAD STRUCTURE HULL STRUCTURE

REACH

The intangible ability of performance, within space, to reach beyond perceivable limits and effect anything in contact. The project realizes this attribute; for example, in transmitting sound waves across the water’s surface at all points of encounter, it creates an experiential reflection of the performance within the environment.

INTERIOR BAR AND DANCE FLOOR

TRANSVERSE SECTION

ACCOUSTIC CLOUDS CIRCULATION TUBES STRUCTURAL LEGS FLOTATION PONTOONS

FLOTATION PONTOONS

STAGE IN TRANSIT

FORM

The form arrives out of an interactive interface with water, namely the leg-like structures that emulate a water strider’s kinetic play with surface tension; these responsive appendages support a flexible stage, yielding multiple possibilities for performance type and viewer intimacy.

FLEXIBLE STAGE CONFIGURATIONS

PLANS

THESIS PROJECT FOR CAL POLY ARCHITECTURE2011-2012Oakland and Pt. Reyes, CA

“Best in Show” Winner

To be published in ADD 13

CARVING THE VAST

SECTION (through pt. reyes cliff)

Can a deep appreciation of the “Western Landscape,” as an iteration of land art be applied in an urban setting?

As a proposed counterpoint to the current “misogynistic relationship (man seeing land as primarily for man’s use) between built environment and the natural landscape, this project seeks to reiterate an ecological conscience and understanding, gained from studying the work of land artists and then designing a hypothetical piece in the Pt. Reyes Wilderness, within an urban site. The Point Reyes installation, depicted above, focused on providing a viewpoint for the spectacular scenery with as little intervention as possible.

SECTION A (trough art center in Oakland)

OAKLAND SITE

THE URBAN SITE: A GRAIN ELEVATOR IN OAKLAND

The urban reiteration of re-invents an existing grain elevator for the purpose of perpetual built and artistic improvisation. In re-designing the abandoned grain elevator, a symbol of man’s mediation of the land through agriculture, the underlying concept saw an aggressive landform absorbing the grain elevator coupled with the mechanisms for continued growth of whatever nature. Specifically, the form of this landform takes its cues from the layers of rock of Point Reyes. By mirroring the atmosphere and gestures of Tamales Point, the project attempts to capture some of the power of the American West in an urban setting on both a material and immaterial level, breaking the monotony of the man made grid. It strives to communicate some of nature’s potential for moments of deep inspiration and reckoning, both artistic and philosophical and the in-between. The program, established by the landform, sets out to inspire artistic intervention and constant modification, creating an all-purpose improvisational installation space. The landform allows for a loose program that is not intended for specific purposes, but for a great wealth of purposes, some intended and others spontaneous. -

NORTH ELEVATION

WEST ELEVATION

ENTRANCE VIEWED FROM NORTHEAST

EAST ELEVATION

SOUTH ELEVATION

MAIN INTERIOR GALLERY SPACE AND STAIRS

GRD FLOOR 2ND FLOOR 3RD FLOOR

INSTALLATION IN EXISTING GRAIN ELEVATOR’S TOWER

SKETCHES FROM YEAR ABROAD IN EUROPE2010-2011

TRAVEL SKETCHES

Comparison of Alhambra Portals

Watercolor of Edinburgh Castle, which I spilled coffee on

Watercolor of Notre Dame Cathedral tower

Watercolor of Notre Dame Cathedral tower

EXAMPLES OF RECENT ARTISTIC EFFORTS: OILS AND CHARCOALS2010-2012

ARTWORK

ILLUSTRATIONS OF DANTE’S INFERNOThese two charcoal drawings come from a series of thirty illustrations for the Canti of Dante’s Inferno. The series was completed with two fellow students, Katie Stuart and Joseph Varholick, while studying figure drawing in Florence, Italy.

Cantos II - Portal to Hell Cantos XII - King Minos and the Lascivious

Portrait of Brother Oil on Canvas 7”x12” 2011

Man vs. BearOil on Canvas 2’x5’ 2011

DRAFTING COMPLETED WHILE INTERNING FOR FARGO FARNESI2006-2008Berkeley, CA

INTERNSHIP While interning for Sean Smith at his firm Fargo Farnesi, I worked in the program VectorWorks, both drafting CDs and building digital 3-D models. I worked primarily on two separate projects: the Sweeney Residence and the Maybaum Residence. Though both residential remodels, they shared few similarities; the Sweeney project was a historic shingle style building in Berkeley being converted into a duplex while the Maybaum project was a remodel of a suburban Lafayette home with fewer exterior limitations.

EXECUTION OF MURAL FOR NON-PROFIT PROJECT COLOR CORPSSummer 2012E.C. Reems School, Oakland

MURAL This summer, I have had the good fortune of working with Laura Guido-Clark on her Project Color Corps mural for the elementary school, E.C. Reems. The colorful pattern, which reads “WE ARE THE CHANGE,” was designed by the typographer Craig Clark. I have been responsible for enacting their design on the wall, from the initial elevation drawing to overseeing and painting the mural.

TM

BEFORE

IN PROCESS

COMPLETED