The point at which relationships between disciplines of art blur is a fantastic place. Moving

through an undergraduate training in Interior Design has led me through many different

processes of creation. I have realized how integrated the fields of art and design are, no matter

how dissimilar they may seem.

Throughout my freshman year, I was trained in the fine arts, taking classes such as figure

drawing, color theory, art history, design graphics, and portrait painting. These classes were

invaluable during my next three years of study, contributing to the graphic quality of my designs

and presentations in my studies. My first year of study was a microcosm for what I would explore

during my future studies in design, and taught me the elements and principles of design that I

could incorporate in a three dimensional level later on.

I have found that incorporating all varieties of fine art and design creates a multi-dimensional

product that is more thorough in its development. Similarly, I feel that my investigation in interior

design has prepared me for something larger, and has taught me the basics and principles

for my studies in larger scale architectural design. My background allows me to create

architecture that is finer in detail and more comprehensive than it would have been without my

previous experiences.

University of Maryland, College Park

Master of Architecture, Spring 2014

Master of Historic Preservation, Spring 2014

4.0 Cumulative Grade Point Average

Virginia Commonwealth University

Bachelor of Fine Arts, Interior Design, Spring 2009

4.0 Cumulative Grade Point Average

Dean’s List 2005-2009

Recipient of the American Institute of Architects/American Architectural Foundation Scholarship, Summer 2011

AIAS Art Auction Graphics Volunteer, Spring 2011

Member of the Hyattsvil le Community Arts Association, August 2010-Present

Selected as the recipient of a Provost Scholarship from Virginia Commonwealth Universitycovering tuition and university fees, 2005-2009

Nominated for the Wayne C. Hall Undergraduate Scholarship by the Interior Design Departmentat Virginia Commonwealth University, 2008

Chosen to exhibit work in the Virginia Commonwealth University Design Exhibition at theAnderson Gallery, 2007-2008 President of the Alpha Sigma Chapter of Phi Sigma Pi, National Honor Fraternity, 2007-2008

West Grace Honors College Hall Council Chair, 2005-2007

Adobe Photoshop and InDesign

Microsoft Office Suite, including Word, Excel, and Powerpoint

AutoCAD 2008-2011

Sketchup

Revit

Hand drafting and rendering

Kitchen PlannerIKEA College ParkCollege Park, MarylandMay 2009 - April 2010

Used specialized software to help customers design and purchase kitchen components

Met with contractors to coordinate kitchen installation for clients

Provided cost estimates for kitchen cabinets and custom countertops

Created architectural construction documents in AutoCAD for residential and commerical projects

Generated 3D models of architectural designs for use in client presentations

Met with project managers to discuss progress and plans on a daily basis

InternFOX ArchitectsMcLean, Virginia

June 2008 - August 2008

InternBeyond Ordinary Boundaries ArchitectureRichmond, Virginia

August 2008 - March 2009

Assisted in creating a partit ion standards l ibrary in Revit for the firm

Revised redlined CAD documents for commercial interior design projects

Helped to maintain the company’s materials and finishes l ibrary

Coordinate between artists, faculty, and stu-dents to plan exhibitions and gallery talks

Implement exhibition installations and signage, including layout and fabrication

Responsible for gallery public relations

Gallery AssistantKibel Gallery, University of Maryland School of ArchitectureCollege Park, MarylandAugust 2010-Present

+Target Markets   Tourism:

  Suburban game day visitors (from the Stadium or Camden Yards)

  Alcohol tourists from Fell’s Point or the Inner Harbor

  Guests of Federal Hill residents

R o o m D e s i g n

Using precedents through history, I created a room based on the synthesis of these spaces. I was assigned specific rooms in three buildings--the Villa Stein by Le Corbusier (living room an porch), the Villa Cornaro by Andrea Palladio (the atrium and portico), and House in New England by Office dA (the living room). I added the Villa Madama and the Villa Rotunda to my synthesis studies later. After extensive diagramming of these spaces, I was able to use the precedents to create a new room based on the conceptual organizational strategy of my precedents.

Spatial Frame

Solid Volume

Villa CornaroAndrea Palladio1553Piombino Dese, Italy(N.T.S.)

Villa SteinLe Corbusier1926Garches, France(N.T.S.)

House in New EnglandOffice dA2006New England, U.S.(N.T.S.)

Synthesis

Spatial Fields

Solid-Void Relationships

Synthesized 3-Dimensional Diagram

Spatial Sequence/Transition

Circulation

Geometry

Conceptual Organizational Strategy

Organizational Systems

At left is a section of my diagrams focusing on features of each of my precedents. By breaking down the rooms into specific diagrammatic exercises, I was able to locate similarities between the three--specifically how the rooms connect to spaces beyond the architecture.

Below are the diagrams I used to begin formulating the idea of a synthesized space. How would the precedents overlap to create a new space? What do the precedents share? I noticed that there were shared conditions about each room--each consists of an interior space, an extension into an exterior space, and a “linchpin” piece that connects the two. I aligned the “linchpin” pieces along the separation of the inside and the outside to create the synthesized diagram to the right.

To the left are preliminary models of the room. The image below shows the roof removed to reveal the spaces created by the beams and drop ceiling. On the opposite page there is an axonometric of the finished space, as well as digital models showing the actual space as compared to the floorplans of the precedents used.

02

I n i t i a l D e s i g n

I was challenged to design a new structure and additional programming for the existing Cross Street Market in South Baltimore. I wanted to portray the ideas of movement, and the ritual of trade for the project. The surrounding site lacked hospitality presence, even though the area is known for its various types of tourism (with two large sports arenas, a large shopping district and several museums nearby). Focusing on the idea of modular systems and the shipping port vernacular of the area, I developed plans for a market and hotel comprised of a series of modified shipping containers as units.

+Target Markets   Tourism:

  Suburban game day visitors (from the Stadium or Camden Yards)

  Alcohol tourists from Fell’s Point or the Inner Harbor

  Guests of Federal Hill residents

+Target Markets   Tourism:

  Suburban game day visitors (from the Stadium or Camden Yards)

  Alcohol tourists from Fell’s Point or the Inner Harbor

  Guests of Federal Hill residents

+Process

+Process

+Process

+Site

+First Floor Plan   Open Market at Charles Street side

  31 Permanent Market Stalls

  Three Vertical Circulation Modules with restrooms

  4 Entrances on Cross Street

  5 Entrances on pedestrianized park side

+Second Floor Plan

  Terraces open to market below at

  26 Permanent Market Stalls

+Third Floor Plan

  Hotel Reception

  Twenty 400 s/f hotel rooms

  Ten 280 s/f hotel rooms

+Fourth Floor Plan   Hotel Reception

  Nineteen 400 s/f hotel rooms

  Seven 280 s/f hotel rooms

  1600 s/f meeting hall

level 1

level 2

level 3

level 4

Far left: Initial diagrams for the assembly of modular contairs in various patterns and forms

Near left: Site of proposed market and hotel

Right: Floorplans

+Roof Terrace

+Entry to Open Market (Charles Street)

+

+Market Interior

+Modular Systems

3” rise module to module to receive site

4’ and 7’ offset for terraces +

Modular Systems

Left from top to bottom: View of roof terrace from above View of S. Charles Street entry Interior view from S. Charles Street entry looking up monumental stairs to hotel compartments Section through modular compartments

Above: Modular systems and their assembly

Right: View of storefronts and hotel terraces above from the new park created on the South side of the structure

+Perspective from Park

M a r k e t & H o t e lUpon the completion of the previous design for Cross Street Market, I was charged with creating a completely new form for the same site. I continued with the nautical concept, but developed the market and hotel more like the pieces of a ship rather than the containers transported on one. The structure is developed using a series of transverse sections that create each individual market stall and hotel room above. These transverse sections vary slightly to create an undulating facade as one travels down Cross Street. The structure seems to sit precariously on the ground at a single point on each section, which opens up the ground plane to provide access to a new park on the South side. This illusion is created by pin-connected X shaped members with the bottom halves buried below the street surface.

Above is a plan oblique of the utilized office space.

Below are some selections of the patterns I generated to develop my concept of analysis.

Hotel (Levels 4-7)

Hotel Reception & Public Meeting Hall (Level 3)

Individual Stall Market Hall (Level 2)

Open Market (Ground Level)

Left: New market and hotel situated in the site between S. Charles and S. Light streets

Below, top to bottom:

Fedeal Hill diagram of the flow of goods and people, showing the proximity to the harbor

Diagram of the transverse sections and compartmentalized structure of a boat, which became the parti for the building

Diagram of the structure of the transverse sections of the new building and how they meet the ground.

Right: Floorplans

Left, from top to bottom:

Transverse section through the market levels and hotel reception with rooms above

Transverse section through the market levels, looking toward the stairs to the public forum

Three sections moving through the length of the structure

Right: View of the open market hall from the ground near the Charles Street entrance.

8 am

noon

5 pm

May 21 December 21

Left: Sun study

Below: South elevation North elevation

Right: View of the Charles Street facade of the market. The terrace of the public meeting hall is visible over the front plaza.

The design challenge for this project was to create a post office for a college town that incorporated community gathering spaces and a coffee shop. My intent was to create intersecting volumes of space that corresponded to specific programmatic uses. These distinct volumes of space+program are created by the manipulation of floor and ceiling heights and the placement of piers to define space. The circulation space became simultaneously a uniter and a divider from one program to the next: a threshold from post office areas to gathering areas, coffee shop areas to community rooms, and so forth.

photo credit: Rainnovation

Top left: Section through Route 1

Middle left: Section through side street

Bottom Left: Diagrams showing the overlapping of specific volumes of space

Right: First floor plan

Opposite page: View of the post office counter and elevator on the ground level of the structure from the side street entrance

Top left: View from the front entrance of the post office counter on the ground level and the coffee bar above

Lower left: View of the post office from the opposite street corner

Opposite page: View from the front entrance down the main corridor toward the post office counter

+ s k e t c h b o o k s

The drawing at right is a graphite drawing I did of San Carlo alle Quattro Fontane during the first semester of my graduate program. To the left is a detail of the section and at right is a rendering of the facade. On the following pages are images taken directly out of my sketchbooks from my studies in Rome, watercolor analytiques, and a watercolor of the facade of the Capitoline Museum on the Campidoglio. Diagrams from the analysis of urban environments to the study of fine art are also included.

Bottom left: Marker rendering of the interior of a restaurant

Bottom right: Marker rendering of Barcelona chairs

Opposite page: Ink sketches of Frank Lloyd Wright’s Fallingwater from Mill Run, Pennsylania

Below: Diagrams analyzing fine art (originals in left column)

Opposite page: Diagrams of urban conditions as a site study precluding an architectural project in Baltimore, Maryland