Space / Time
Rhode Island School of Design
Speos Photographic Institute
International Travel Program_Photography in Paris
Hand drafting techniques in forms oforthographic, axonometric, oblique, and conical projection drawing.
Architectural Design & Build
Blossom Community Garden
Part two of RISD Architecture's Spring studio, Architectural Design, was undertaking a nearby design & build project. This six-week project consisted of collaboration between 72 RISD Undergraduate and Graduate students and the Rhode Island Environmental Protection Agency.
As a result of Slater Mill and the start of the Industrial Revolution, the adjacent river, Blackstone River, became the most polluted river in the United States. RISD's goal was to help to bring awareness to this issue, as well as to help to prevent future pollution.
Working off of an existing RISD pavilion, RISD students designed a new grape arbor pavilion, multiple rain gardens, river access, and a floating pavilion. These designs were incorporated through various extensive landscape designs. This project helped to create a connection between the existing pavilion and the waterfront, bringing human interaction to the site.
Grape Arbor Pavilion
Built off of an existing concrete retention wall, the grape arbor pavilion, is intended to be an initial place for rest and interaction, when first entering the Blossom Site. The land was tended to and plowed for the installation of sonotube footings. Framework was then added to create parameters for construction. The entire pavilion was created from standardized scraps of wood, found around the site. As a final piece, this semi-permeable skin allows for lighting, ventilation, and interaction to germinate.
The hillside is lined with staggered gabion benches, helping to create a meandering path for interaction. Carefully positioning each gabion bench with a framed view allows for the area to also be utilized for personal reflection. In addition to creating a space for experiential moments, the benches also act to help retain the earth. As well, they assist in collecting larger debris from future runoff.
The hillside underwent extensive landscaping in order to help create this path. Trees and regional vegetation were planted to create a more natural passage. Zones were staked out, framing views for the incoming benches. Steel cages were welded on-site, allowing for ultimate customization. The cages were filled with rocks, which were collected through excavating the site. Finally, the cages were capped with a wooden bench. All together, creating an experiential passage.
In attempt to combat the runoff from the adjacent parking lot, multiple rain gardens were implemented to reduce water contamination. These gardens consisted of a layer of sand, compost, bio retention, and topsoil. Regional, thick rooted, vegetation was planted in the soil. The combination of these creates a filtration zone for contaminated water to permeate through before reaching the Blackstone River.
Water access was created to connect the existing RISD pavilion with the new floating pavilion. The hill was cleared and excavated to allow for a concrete foundation to be laid. Wooden framework was constructed and inlaid with steel rebar in preparation for concrete pouring. Once cured, these concrete terraces were buffed and backfilled with soil. Wooden stairs were creatively implemented to create passage.
Designed around a system of dock floats, the floating pavilion, extends from the land, creating a relationship to the water. Consisting of dock floats, wood, and custom galvanized steel hardware, the 3,200-pound dock was not only a group effort to build, but to install, as well.
Starting with the idea of a boarder, I created an interaction between the states of Rhode Island and Massachusetts. However, I didn't see this boarder as a line on a map, but rather an area of space. A space within the line, giving it thickness, area, and density, thus creating a threshold. With the program of a tollbooth, the convergence between these two states became an interaction of cars, trains, humans, and nature. Evolving from a corner condition of the site, these elements began to negotiate with one another.
With my preliminary pen plot drawings, a language of convergence and overlap began to build. These intersecting lines created a build up of density in specific areas of the drawing. Using these points, I began to imagine how they would respond in a three-dimensional space. I began to conceive of how they could influence a mesh or a surface. A hierarchy of structure and a three-dimensional mass was formed by these controlling points, creating an enclosure with an inside, an outside, and circulation.
Through illustrative explorations I sought out relationships; relationships not only of space, but also of interaction; an imaginative habitable space that depicts experiential moments; ideas of how and where the space can be used, and how it can create unity.
Rhode Island School of Design
How do I relate on paper how I feel about my passion for art? Similar to overcoming obstacles and solving problems, art allows me to push myself to be better. Furthermore, I can express myself and my creativity. Thoughts become dreams, dreams become initiatives, and initiatives become projects which take form, shape, and color. An outward expression of my innermost self. The feeling of birthing and massaging an idea into fruition stimulates me and helps make me feel whole and accomplished.
For me, the city of Paris lives within the connections. It is the individual thresholds that connect this entire interconnected web of the city. They allow light, ventilation, view, passage, and privacy to exist. Focusing on composition, contrast, and unity, I was able to compare night to day, light and shadow, and color against shade. Ultimately, creating a single composition, uniting space.
Through shifting, rotating, and enlarging, I created a space comprised of unique and distinct moments in relation to one another. Capturing areas relating to light, privacy, and accessibility led me towards embedding, and ultimately building vertically. Focusing on relationships, I juxtaposed lit areas to those in shadow, by creating composition through opaque and transparent spaces. With this concept, I contrived a space relating density to light, and explored how it could impact and guide an experience.
Without utilizing all of our sensory capacity, one cannot effectively
explore and analyze a system. Each sense, unique to its own, allows for
us to experience a moment of clarity. While exploring Boston's Seaford
area, we allowed ourselves to become harmonious with our senses and
allowed them to guide and impact our experience. Being attentive to
smell, sight, sound, and touch provided us with the ability to truly be
attentive to the surrounding area.
Through connecting plains, we can connect people.
Connecting people, integrates systems. Integrating
the public into a public space creates convergence.
Overlapping groups of people allows for an increased interaction at a site.
It can become a public space, traversed by the local people.
At the same time, it can shelter its residents with privacy.
Sunlight allows for these interactions to take place.
Optimizing this space by public use, short term use, and longer term
stays, creates a unique system for interaction and connection.
Creating different points of access and egress allow for optimal flow of movement. By creating a space around an axial point, a system can fluidly revolve around it. Connected plains that allow for increased interaction with the site. It can become a public space, traversed by the local people, or it can shelter its residents and allow for a moment of privacy. Creating multiple access points creates a hierarchy for residents. Optimizing this space by public use, short term use, and long term stays, creates a unique system for interaction and connection.
Catch & Release
The act of capturing is paired with that of emitting. It helps to create
a self-sustaining system that can be utilized on an extensive scale. By creating a building that responds to the sun's patch, one can effectively harness its product. Emitting it, strategically through a system of angled vents, allows for efficient plant growth.
Rainfall can be captured, filtered, stored, and utilized to nourish these plants, as well as satisfy the residing peoples. This sustainability creates a threshold between residents, as well as an optimal public space.
Line of sight creates a juxtaposition between revealing and concealing. Through pattern and symetry I was able to create a space that combated the density of the city, allowing visibility from multiple viewpoints.
Brown Institute of Brain Science
"A key aspect of creativity is the process of finding great metaphors-symbols that represent something else."
Ray Kurzweil, How to Create a Mind
By emulating brain processes, one can better interpolate the mind / brain relationship. This can lead the way for insight into the way one thinks about ordering space, program, and the architectural organization of cooperative work environments.
Working with Brown University's Brown Institute for Brain Science (BIBS), one can begin to fathom bringing together researchers from the Departments of Neuroscience, Cognitive and Linguistic Science, Physics, and the Division of Applied Mathematics. In addition, BIBS will be joining forces with the Norman Prince Neurosciences Institute at Rhode Island Hospital, bringing together clinical neuroscience departments of Neurology, Neurosurgery and Psychiatry. Combining these distinct fields creates an interdisciplinary approach with hopes to yield breakthroughs.
Working closely with Brown University's Neuroscience Department, granted the opportunity for direct experiments and demonstrations, analogous modeling, presentations by prominent brain researchers, and relevant tours of Brown University’s laboratories and hospital clinical space.
As with the brain, the optimal goal is to bring these related, yet separated practices or parts together, to work as a single entity.
To me, The Brown Institute of Brain Science lives within the overlaps. Through these shared spaces, a loose program can be created. Beginning with watercolor thumbnails, I began to conceive space and program through compound overlap. Program could be organized by quality of light, relationship, scale, and accessibility. However, I didn't necessarily see these areas as static. Rather, ones that would perpetually contract and expand. Revolving around a central channel, the red areas of research could meld with the yellow clinical areas. The green public then had the opportunity to weave throughout the two.
Shifting floor plates removed the mundane connotation of floors and created connected, yet private, spaces within one another while maintaining a visual connection. Carefully shifting walls and floor plates of extruded geometry allowed for light to be present where it normally wouldn't. Unique stairs were created that could hold additional functions such as desks and work areas. They created connection, while also acting as divisions between spaces. This loose program and open floor plan allows for optimal overlap. It leads users to confabulate, or to converse informally and freely with one another. Ultimately, creating unity throughout the project.
The Corpus Callosum is home to 300 million contralateral axon projections. It is the largest white matter in the human brain and the reason we are able to get dressed in the morning. At its essence, it is a channel that connects the two hemispheres of our brain. Through this connection, fosters unity. It allows the two halves of the brain to respond and interact. Cutting or blocking areas of communication creates a disconnect of the whole, inevitably leading it to fail.
Each model works as a unit. Each piece is able to respond to the actions of every other, creating a matrix of connections. However, if part of the connection is cut, the relationship will eventually falter.
Perception vs. Conception
By distorting light, I created a space that fluctuates based on directionality. Thus, altering one’s perception of space from their conception of it. Working with extruded geometries allowed for me to create two like spaces that are radically different experiences. A shared wall creates interplay between the two sides, creating a space that contracts and expands. Angled apertures create the illusion of a closed or an open roof based upon the users point of view. Light radiates along the curved interior walls, extenuating the distorted space.
High School Art
Huntington School of Fine Arts
University of Pennsylvania Pre-College, Architecture
Parsons The New School For Design Pre-College, Architecture
Composition & Geometry
Focusing on composition and geometry, I created a set a pieces that work at multiple scales. Each piece works by itself, as well as with its neighboring pieces, and all together as a complete composition. Composition and geometry are considered not only in a spatial sense, but also with color and contrast in mind. While working with the idea of scale for the composition of the project, I wanted to remove a sense of scale and depth from each individual piece, thus creating more graphically oriented, or "flat", images.
This project incorporates multiple attempts. A series of simple geometric compositions focus on negative space and contrast. The scaleless photographs use texture, pattern, and color to compose a piece. I was also interested in showing the city's architecture. However, I was more drawn to its architectural details. For me, the architecture is strongest at these moments. Architecture lives within the individual details; they are what make up the whole.
This modern light is an example of an ideal construction design. Developed through contour, and digitally fabricated through Rhino, this ellipsoid can be repeatedly and readily constructed and assembled. When working with Laser Cutting technologies, the potential is limited only by imagination and innovation. However, the challenge is how to use it innovatively. At its essence, a lamp is a creative obstruction of a light source, defined by its workmanship, design and function. Working properly, light and structure should function collaboratively. Designed around this concept, this light orchestrates the above qualities.
Laser Cutting birch plywood leaves the edges charred and darkened. This perceived flaw can be conceptually viewed as intrinsic. When a plane obstructs a light, its edges will perceive to darken. Using each piece as a plane, the charred edges can be aligned to show only on the exterior, allowing light to pass between each slate. Thus, creating this natural phenomenon. Each piece, being finished in amber, allows light to radiate and enhance off of each surface in a unique illuminating experience. Its pragmatic use meets no boundaries. It functions as a floor lamp, a desk lamp, or can even be hung from above. Digital fabrication and rapid prototyping allow for this design to be efficiently manufactured and reproduced accurately. Constructed with slip joints, the lamp can be easily taken apart and reassembled. Thus, making it the ideal lamp for any environment.
By creating a versatile building component, it is possible to construct a range of layouts with a single unit. With regards to the unit's orientation and relationship to adjacent members, varying conditions can be formed. The units can act as structural components for a wall or foundation, and can be filled and reinforced with conduit or rebar. They can also be arranged to create openings for lighting and ventilation.
The cast pockets create an aesthetic on the undulating wall. They help to overcome the stagnant flatness that is attached to concrete. Utilizing the casting potential of the material intrigued me. Each cavity is unique, working by itself and as a whole. In addition, they reduce the weight of the unit and create structural coffers. The pours perform to collect rainwater, allowing for cool breezes to be present.
Shifting, overlapping, and reorienting can create openings and thresholds. This offers variability and customization based upon desired conditions. Scale is important in every aspect. The units must coincide with one another. They must meet the scale of a building, the scale of a human, and the scale of a machine. All of this can be acquired with a single variable mold. Thickness can be controlled through proximity. Size is determined by a numerical factoring.