Currently enrolled at Carnegie Mellon University heading into my final pursuing a B. Arch, the work presented here is a mixture of my architectural portfolio and my own personal projects. The work represented here intends to highlight my desire to craft an architecture centered around the human perception of material, form and place; design that is multimodal and sensory. My passion for the arts began at a very young age, when I turned to music and drawing as ways to express myself when words failed me, growing up with a flawed social acumen. It became my first way at communication with others, and as such I thoroughly enjoy connecting to people. My interests are varied, spanning from the arts to the subjects of mythology, cartography, philosophy, and history. When not crafting architectural projects I mainly spend time writing music and performing it when can, primarily in the alt punk rock style. I am a sucker for trivia facts, and I constantly enjoy finding out information on vague and quirky subjects. I also enjoy using my experiences and thoughts as a voice to others, and as such I have adopted roles as a music instructor, as well as a peer mentor and elected student official in my architectural program at Carnegie Mellon. 



In getting through architectural projects, there is a certain set of reinforcing guidelines I try to abide by. I developed these "mantras" as a way to aid me in not getting dismayed or hungup while also attempting to become more rigorous with my work. While these are presented with an order in mind, note that one can move back and forth between these phases in whatever order.

ANALYZE THE ABSTRACT: This is the point where playful exploration into the project begins. Not confined by rules or the physical world this is the time where musings over site, program, form, intent start to take shape via abstract methods like sensory drawing, modeling, etc.

BOYCOTT THE BLOCKADES: As a way to fight though brainblocks which are integral to the design process, this is the point to focus on what can be done rather than grind about what should be done. This allows for more iteration and more options which ideally help lead past a blockage to a set of new design priorities.

CULTIVATE THE CONCEPTS: Here is where playing with an architectural parti begins to become more crafted and nuanced. Testing new strategies and formal articulation may serve to strengthen this intent or form into a new one which may be more pertinent to the project goals.

DETERMINE THE DETRIMENT: Becoming more rigorous about the project faults and discovering what hindrances plague the project, leads more often than not to a more refined and sensitive proposal. Understanding project issues such as program requirement, structure, form, contextual connectivity, etc and beginning to solve them is critical at this phase.

EVALUATE THE EXECUTION: At any stage in the process understanding how to convey the project or the process via drawing or modelling is critical to architects. Always being thoughtful about what is needed to convey information and how to represent it vary wildly with intent, but are an integral part to communicate the ideas.

FINALIZE THE FRAMEWORK: Since a project would theoretically continue forever, there comes a point where it is time to deliver. Organizing a presentation, designing through final drawings, and making a clear and concise verbal rundown in a thoughtful way are key here.

GET THE GLORY: The work has been completed and the sensitivity shows through. There are faults of course, but this should be used productively. Understanding what could've been is crucial but in the confidence of the decisions made, it is time to congratulate the achievement. Now its time to prepare for a new cycle and another project!