carlo j guzman de jesus portfolio
DESCRIPTION
University of Miami Bachelor of Architecture 2012TRANSCRIPT
University of MiamiBachelor of Architecture, 2012
Carlo Jose Guzman De Jesus
Carlo Jose Guzman De Jesus
UNDERGRADUATE WORK
EVERGLADES ECO-TENT Dismantable Modular Tent Prototype, Everglades, FloridaSpring, 2012: Rocco Ceo & Jim Adamson
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TRANSIT PAVILION Transit Shelter in Las Flores, Barranquilla, ColombiaSpring, 2011: Adib Cure & Carie Penabad
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PUNTA GORDA COURTHOUSECourthouse in Punta Gorda, FloridaFall, 2010: Enrique Macia
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BAY FRONT TRANSIT STATIONTransit Center in Downtown, Miami, Florida Fall, 2009: Sonia Chao
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CHALK’S OCEAN AIRWAYS Seaplane Airport in Watson Island, Miami, Florida Spring, 2010: David Scott Trautman
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CAMPOS DO JORDAO RESIDENCE Residential Prototype for Community in Sao Paulo, Brazil Fall, 2011: Rene Gonzalez
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CASE STUDIESArchitectural Research and Analysis
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PROFESSIONAL WORK
ALLEGUEZ ARCHITECTURE, INC.May 2010 - Present
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INDEPENDENT GRAPHIC DESIGNJanuary 2010 - Present
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PERSONAL WORK
PHOTOGRAPHY 72
DRAWING & PAINTING 76
SCULPTURE 80
EVERGLADES ECO-TENTDismantable Modular Tent Prototype, Everglades, Florida
Spring, 2012: Rocco Ceo & Jim Adamson
This design-build studio was made up of a collective of eleven students (listed below), Rocco Ceo, professor and architect, and Jim Adamson, contractor. It was a 16-week actual prototype for a tent-cabin hybrid which could be disassembled and stored during the off-season for the Florida Everglades National Park on a site located in Flamingo Park. The form of the tent in plan is a perfect square allowing ultimate customizable arrangement of furniture and a equilateral pyramid form above the knee wall. If successful, the prototype will be one of a total of forty to be built on the site. The final outcome was modular in components making
it easier to assemble and replace broken parts interchangably. Some of the materials used included pressure-treated wood for the deck structure, Cali Bamboo decking, heat-treated wood for the knee wall, glue-laminated spruce for the poles and aluminum connectors through out.
Students: Violet Battat, Giancarlo Belledonne, Michael Galea, Carlo J Guzman De Jesus, Glenn Laaspere, Ho Luan, Ruslana Makarenko, Catherine O’Sullivan, Kelly Sawyna, Meagan Sippel, Sam Vana.
Personal Contribution: Document Site, Schematic Design, Renderings, Construction Documents, Drawing Standards, Construction.
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SITE PLANFLAMINGO, FLORIDA
1"=60'-0"A-5.5J 01
SITE PLAN
SCALE: 1/32"=1'-0"PLAN DETAIL
UPPER LEFT: Site Plan for Future Construction LOWER LEFT: Existing Site, Flamingo Park
RIGHT: Night and Day Renderings of Eco-Tents
by Park Employee
by Carlo Guzman
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1.5’ 3’ 6’0’
LEFT: Floor Plan, Section and Exploded AxonometricRIGHT: Assembly Diagram by Four Park Employees
7UNDERGRADUATE WORK: EVERGLADES ECO-TENT
by Meagan Sippel
by Meagan Sippel
by Meagan Sippel
by Catherine O’Sullivan
by Meagan Sippel
by Catherine O’Sullivan
by Catherine O’Sullivanby Catherine O’Sullivan
UPPER LEFT: 1” Scale Model and Final PresentationMID LEFT: Full-Scale Connector Mock Up Model
LOWER LEFT: Construction of Deck Structure RIGHT: Tent Structure at University of Miami Temporary Site
by Carlo Guzman
by Carlo Guzman
by Carlo Guzman
10 UNDERGRADUATE WORK: EVERGLADES ECO-TENT
LEFT: Tent Structure with Canvas Rain Fly RIGHT: Top Connector from Below
by Meagan Sippel
by Carlo Guzman
Three means of transportation intersect at the small town of Las Flores: the tram which takes fishermen, residents, tourists, and curious students to Bocas de Ceniza; the bus which currently drives along the Via 40, connecting workers and residents to the heart of the sloping city: and, the boat which connects fishermen from the Magdalena River to the heart of Las Flores along a road that harbors a number of quality neighborhood restaurants that buy and cook the fish that is caught in the very same coast. The proposal is simple; extend the bus route to the project site to unite these three forms of mobility. The proposal incorporates wood and concrete construction, both of which are commonly used in the region. The design responds to the conditions of the location and reflects the wisdom of vernacular construction methods. Its form opens to frame the view to the water, either while waiting for the next leg of the commute or simply while taking a respite from the intense heat typical of the area. The buoyancy of wood is expressed visually as the roof lightly sits on the structure. The base transitions
up from the floor supporting the wood assembly. The dynamic nature of transportation is also reflected in its form. The base, which slopes up to address flooding, common to a large portion of Barranquilla, is constructed of poured in-place concrete with wood formworks leaves behind the unique surface texture and variations typical of wood, resulting in a “natural skin” that textures its surface. Modularity in construction is adapted to make for a quick-to-build, easy-to-fix pavilion. Louvered screens divide two realms: one out to the water and one out to the street. Both provide filtered visibility to the opposing side. The glass tile detail is a reference to the water, as well as homage to Tecnoglass, the local company that often aids this neighboring community. The realization of this modest, yet potentially iconic structure will hopefully result in increased tourist activity, bringing life to this forgotten, unappreciated coast, as well as providing welcomed rest and ease of transport for those who make a living by fishing at the edge of the river - something of which Barranquilla should be very proud.
LEFT: Context Photography, Las Flores, Barranquilla, ColombiaRIGHT: Location Map of Site with Proposed Transportation Intervention
by Cedric Amanou
by Carlo Guzman
by Carlo Guzman
by Carlo Guzman
TRANSIT PAVILION Transit Shelter in Las Flores, Barranquilla, Colombia
Spring, 2011: Adib Cure & Carie Penabad
by Google
75’ 150’ 300’0’
14 UNDERGRADUATE WORK: TRANSIT PAVILION
8’ 16’ 32’0’
Ventilation through WallsDrainage
Overhang Sun Protection
Visibility of Two Realms
Comfort While Waiting
441 LFTJatoba
370 cuftconcrete
360Screws
140Glass Tiles
9 panelsFormwork
$4550
$2220
$1620
$40
$140
$530
UPPER-LEFT: Site Plan of Immediate ContextLOWER-LEFT: Concept DiagramsLOWER-RIGHT: Cost Analysis DiagramLOWER-RIGHT: Assembly Diagram
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1’ 2’ 4’0’ UPPER-LEFT: Roof and Floor Plan of PavilionLOWER-LEFT: Reflected Ceiling Plan of Pavilion
UPPER-RIGHT: South Elevation of Pavilion with Transmetro BusMID-RIGHT: North Elevation of Pavilion with Las Flores Tram
LOWER-RIGHT: Section of Pavilion
UNDERGRADUATE WORK: TRANSIT PAVILION
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UPPER-LEFT: Perspective from Pavilion of the Magdalena RiverLOWER-LEFT: Perspective from River of Pavilion and ContextRIGHT: Perspective from Bus of Pavilion and Magdalena River
UNDERGRADUATE WORK: TRANSIT PAVILION
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by Carlo Guzman by Carlo Guzman
by Carlo Guzman
LEFT: Bird’s Eye View of Model (Stained Wood, Cement) UPPER-RIGHT: Perspective View of Model (Stained Wood, Cement)
LOWER-RIGHT: Perspective View of Model (Stained Wood, Cement)
UNDERGRADUATE WORK: TRANSIT PAVILION
This small Florida town is located on the west coast, just north of Cape Coral in Charlotte County. This town has recently undergone a rebuilding process after a hurricane left much damage to the town center. The proposal includes the reorganization of the Punta Gorda’s town center along its two largest roads, through which the majority of travelers navigate. The reorganization establishes a line of vision to the under-appreciated waterfront, terminating the axis at the courthouse. The courthouse divided form adheres to this urban gesture while still establishing itself as an important structure in the urban center. Its center is receded back behind the parallel wings, opposite of that of a typical courthouse.
Because of the complex circulation, a simple and clear circulation core was established in the center of the building from which access to an appropriate service can be found easily. Hierarchy among the spaces within are represented on the facades through the use of varying transparencies which individually correspond to the importance of the space. The stone along the pedestrian level is meant to imply strength and permanence, while the softly sloping stairs providing a welcoming less intimidating feel to the entrance. The locations of the courtrooms on the top level permits maximization of daylight usage through the adaptation of skylights which mimic the buildings directional form.
by Enrique Macia
by Enrique Macia
by Bing
LEFT: Context Photographs of Existing Downtown Punta GordaRIGHT: Site Plan of Proposed Downtown Punta Gorda
PUNTA GORDA COURTHOUSECourthouse in Punta Gorda, FL
Fall, 2010: Enrique Macia
by Google
65’ 130’ 260’0’
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Articulation of Interior Spaces
Transparency Relates to Hierarchy
Urban Axis Incorporated with Dual Entry
Proposed versus Traditional Layout
LEFT: Concept Diagrams and Courtroom Floor PlanUPPER-RIGHT: South Elevation of CourthouseLOWER-RIGHT: Section of Courthouse
9’ 18’ 36’0’
Courtroom
Judge Assistant
Judge Office
Jury Deliberation
Conference Room
UNDERGRADUATE WORK: PUNTA GORDA COURTHOUSE
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6’ 12’ 24’0’
UNDERGRADUATE WORK: PUNTA GORDA COURTHOUSE
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LEFT: Perspective of North of CourthouseUPPER-RIGHT: Perspective of Typical CourtroomLOWER-RIGHT: Partial Section through Courtroom
UNDERGRADUATE WORK: PUNTA GORDA COURTHOUSE
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3’ 6’ 12’0’
UNDERGRADUATE WORK: PUNTA GORDA COURTHOUSE
BAY FRONT TRANSIT STATIONTransit Center in Downtown, Miami, Florida
Fall, 2009: Sonia Chao
The unification of three means of transport is the ultimate goal of this downtown Miami transit station. This site fosters opportunity for such a unification which would join the existing train lines with the existing above-ground metro rail and a proposed bus route with would be a simple expansion of the existing city bus route. The project’s form is inspired from the South Florida landscape, predominantly the quality of broken up light between the mangroves of the Everglades. There exists a duality between the man-made structures on the south portion of the site and the
opposing natural landscape along the pedestrian passage on the north portion of the site. Varying the sizes of implied volumes and spaces allow for a clear indication of circulation, making wayfinding in this complex integration of transportation easier for the patron. An organic pedestrian bridge is the spine of the site, providing a link across both sides of the site and the boarding platform. The intent was to provide a solution to the existing car traffic problem by providing an easier way to travel around this growing city.
LEFT: Context Photographs of Existing Downtown MiamiRIGHT: Site Plan of Downtown Miami with Transit Station
by Carlo Guzman
by Carlo Guzman
by Carlo Guzman
by Google
105’ 210’ 420’0’
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LEFT: Ground Floor PlanUPPER-RIGHT: Section through Vertical Circulation PavilionLOWER-RIGHT: Perspective from East Portion of Platform
18’ 36’ 72’0’
UNDERGRADUATE WORK: BAY FRONT TRANSIT STATION
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5’ 10’ 20’0’
UNDERGRADUATE WORK: BAY FRONT TRANSIT STATION
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UPPER-LEFT: Perspective of Platform from MetrorailLOWER-LEFT: Perspective of Concrete Pavilion from StreetRIGHT: Detail Perspective of Conrete Pavilion
UNDERGRADUATE WORK: BAY FRONT TRANSIT STATION
CHALK’S OCEAN AIRWAYS Seaplane Airport in Watson Island, Miami, Florida
Spring, 2010: David Scott Trautman
An important transportation landmark in the short history of Miami, Chalks Ocean Airways established itself for the first time on the project site. The site affords amazing views of downtown Miami, the Miami Seaport, as well as the MacArthur Causeway which connects to Watson Island. The form of the site is unusual and must address pedestrian and vehicular traffic on the public realm and seaplane and pedestrian traffic on the private realm. Paralleling the process of flight - going from one place to another - the scale of spaces varies to evoke movement and frame important views. The roof
assembly form is a reference the site and allows for the variation in the scale of the spaces gradually. The roof is a dominant element of the design and extends over the building edges not only to create comfortable outdoor public spaces but also to shield the interiors from the harsh Florida sun. This was especially the case with the southern exposure due to the solar angle. The tower was designed to afford magnificent views to anyone willing to climb the hundred feet. It is intended to be a light well to the core of the building contributing to the light coming from the edges. Its rectilinear form also acts as a grounding element, contrasting the curvilinear roof.
by Google
by Carlo Guzman
by Carlo Guzman
by Carlo Guzman
by Carlo Guzman
LEFT: Context Photographs of Miami and Watson IslandRIGHT: Site Plan of Watson Island with Proposed Airport
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Tower as Grounding Element
Sculptural Association to Context
Combined Hanger Typology
Open Space Relationship
Roof as Unifying Element
57’ 114’ 228’0’
UNDERGRADUATE WORK: CHALK’S OCEAN AIRWAYS
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0’ 21’ 42’
East Elevation
15’ 30’ 60’0’
Corporate
International Arrival
Domestic Arrival
Departure Hall
Observation Deck
UNDERGRADUATE WORK: CHALK’S OCEAN AIRWAYS
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UPPER-LEFT: Ground Level Floor Plan LOWER-LEFT: South Elevation with Seaplanes
RIGHT: Perspective of South of Airport
UNDERGRADUATE WORK: CHALK’S OCEAN AIRWAYS
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UPPER-LEFT: Section through Main Entrance and WaitingLOWER-LEFT: Structural Diagram including Undulating Roof
RIGHT: Perspective of Departure Hall
UNDERGRADUATE WORK: CHALK’S OCEAN AIRWAYS
37UNDERGRADUATE WORK: CHALK’S OCEAN AIRWAYS
LEFT: Context Photographs of Campos do JordaoRIGHT: Site Plan of Proposed Residential
Community and Concept
by Rene Gonzalez
by Rene Gonzalez
by Rene Gonzalez
Campos do Jordao is a small community along the outskirts of the city of Sao Paulo. It is informally known for this idea of “prana” which is understood to be a vital energy which is transferred primarily through the breath. The client, who currently owns the land of the project site, is specifically connected with this idea of “prana,” naming his own home “Prana Fazenda.” Interpreting this idea of vital energy, wind, light and water is integrated with the home and emphasized in an outdoor courtyard space that subdivides the primary and secondary program. The primary
vertical element of the form is the vertical circulation which perpendicularly bisects the courtyard space emphasizing the entrance to the living spaces. Being at high altitude and in such a rural context, the views are breathtaking and are framed throughout each of the primary spaces. The materials used are those typical to Brazil making the construction of the project appropriate to its location. The climate is very favorable all year. Accordingly, the home opens up to this courtyard and integrates the outdoor and indoor.
Campos do Jordao ResidenceResidential Prototype for Community in Sao Paulo, Brazil
Fall, 2011: Rene Gonzalez
by Google
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45’ 90’ 180’0’
UNDERGRADUATE WORK: CAMPOS DO JORDAO RESIDENCE
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A
5’ 10’ 20’0’
UNDERGRADUATE WORK: CAMPOS DO JORDAO RESIDENCE
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5’ 10’ 20’0’ LEFT: Lower Level Floor Plan with Sun/Wind DiagramRIGHT: Section A through Vertical Circulation
UNDERGRADUATE WORK: CAMPOS DO JORDAO RESIDENCE
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UPPER-LEFT: Perspective of ResidenceLOWER-LEFT: Perspective of CourtyardRIGHT: Perspective from Living Room
UNDERGRADUATE WORK: CAMPOS DO JORDAO RESIDENCE
CASE STUDY Umbrella House, Paul Rudolph, Sarasota, FLArchitectural Drawings & Basswood Model
Spring, 2011: Allan Shulman
by Google
from Vincent Ciulla
LEFT: Photographs of Original Rudolph Umbrella HouseRIGHT: Site Plan of Original Rudolph Umbrella House
from Vincent Ciulla
from Vincent Ciulla
The Paul Rudolph Umbrella House was built on the small island adjacent to Sarasota, Florida known as Lido Key. It was originally a spec home for the developer, Phillip Hiss. According to current owner and restorer, Vincent Ciulla, the home initially only included the main enclosed building mass and the portion of the “umbrella” directly above it. The iconic expansion over the pool was added during construction. The site’s proximity to the water ensures constant breezes, maximizing the characteristics of the tropical environment that would attract potential buyers. A seminal member of the Sarasota school, Rudolph incorporates his principle of tropical regionalism with this umbrella typology, addressing the strong Florida sun. The floor plan adopts a modular linear grid at about 3’-0” on center. The grid is used to subdivide spaces hierarchically as
well as position window sections directly across from each other, maximizing cross ventilation. Wood construction provides a breathable light material, and was a favorite of Rudolph’s. Unfortunately a mere ten years after construction a storm destroyed the original umbrella structure. It was not until a few years ago that Vincent Ciulla was able to reconstruct the primary portion of the umbrella, directly above the home. Ciulla has also laid out the foundation for the extension over the pool but has not yet built the remaining portion. The reconstruction includes an aluminum frame sandwiched between the pair of 2x8’s that make up each column, preserving the original appearance but bringing it up to contemporary structural standards, therefore ensuring that the home lasts for many more years to come.
5’ 10’ 20’0’
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UPPER-LEFT: Ground and Upper Level PlanLOWER-LEFT: East and South Elevation
UPPER-RIGHT: Long SectionLOWER-RIGHT: Short Section
5’ 10’ 20’0’
UNDERGRADUATE WORK: CASE STUDY
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7’ 14’ 28’0’
UNDERGRADUATE WORK: CASE STUDY
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by Carlo Guzman
by Carlo Guzman
UPPER-LEFT: East Elevation Including Umbrella AssemblyLOWER-LEFT: Bird’s-Eye Perspective of North Elevation
UNDERGRADUATE WORK: CASE STUDY
CASE STUDY La Perla, Old San Juan, Puerto Rico
Figure Ground & Analysis
Spring, 2011: Adib Cure & Carie Penabad
In Collaboration with: Fabiana Assenza
Personal Contribution: Documentation of Site and Context,
Develop Drawings & Diagrams, Organize Presentation
by Google
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LEFT: Photographs of La Perla in Old San Juan, Puerto RicoRIGHT: Historical Development Diagram of La Perla
La Perla Figure Ground
by Sarah Wu
by Josue (Prensa Ilegal)
by Jaro Nemcok
100’ 200’ 400’0’
UNDERGRADUATE WORK: CASE STUDY
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Section through La Perla
Topography
UNDERGRADUATE WORK: CASE STUDY
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by Phillip Greenspun
by Gomba Jahbari
by Walter LEFT: Photographs of La Perla in Old San Juan, Puerto Rico
La Perla Location
La Perla Points of Entry
UNDERGRADUATE WORK: CASE STUDY
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Old San Juan Commercial Spaces
Old San Juan Civic Spaces Old San Juan Street Structure
Old San Juan Public Spaces
UNDERGRADUATE WORK: CASE STUDY
PROFESSIONAL WORK
Alleguez Architecture, Inc.: May 2010 - PresentIndependent Graphic Design: January 2010 - Present
PROFESSIONAL WORKAlleguez Architecture, Inc.
This small Coral Gables architecture firm consists of six employees, including myself. The type of work varies from government work, such as schools and fire stations, to commercial and residential projects. Government and private organization contracts have maintained a good amount of work coming in to the office.
I am responsible for a variety of tasks, everything from working on a set of construction documents to working on a computer model and developing a rendering. Being involved in site documentation and the construction administration process has consolidated the full course of a project from beginning to the certificate of occupancy. In addition, I am responsible for occasionally documenting a finished project and updating the website portfolio.
UPPER-LEFT: Weston Publix, Brandon Parterns, Weston, FL, 2012
MID-LEFT: Altos Plaza Publix, Brandon Parterns, Miami, FL, 2011
LOWER-LEFT: Old Cutler Towne Center, Sansone Group, Cutler Bay, FL, 2012
UPPER-RIGHT: CSC Conference Room 240, Florida International University, Miami, FL 2012
LOWER-RIGHT LEFT: OE 309 Labs, Florida International University, Miami, FL 2012
LOWER-RIGHT RIGHT: PG Gold PantherCARD Offices, Florida International University, Miami, FL 2012
57PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.
LEFT: Schematic Design Presentation,Markel Residence, Mr. Markel, Islamorada, FL, 2011
RIGHT: Schematic Design Presentation,Miami Lakes Fire Rescue Station 64, Miami Dade County, Miami Lakes, FL 2012
59PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.
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LEFT: Axonometric Renderings, Schematic Drawings,Plantation Energy Building Proposal, City of Plantation, Plantation, FL, 2010
UPPER-RIGHT: Construction Documents,Conchita Espinosa Academy Kindergarden Addition, Conchita Espinosa Academy, Miami, FL 2010LOWER-RIGHT: Construction Documents,PG Gold PantherCARD Offices, Florida International University, Miami, FL 2012
PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.
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LEFT: Construction Documents,GC Student Orientation Offices, Florida International University, Miami, FL 2011
RIGHT: Construction Documents,Altos Plaza Publix, Brandon Partners, Miami, FL 2011
PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.
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October 17th, 2011
ALTOS PLAZA PUBLIX
901 PONCE DE LEON BLVD, SUITE 202CORAL GABLES, FL 33134305.461.4001 FAX 305.461.6002
ARCHITECTURE:
(954) 923-9681 FAX (954) 923-9689
307 SOUTH 21ST AVENUEHOLLYWOOD, FLORIDA 33020
200 PASADENA PLACE
PH 407- 835-9000
CIVIL ENGINEERING:
(305) 662-8887 FAX (305) 662-8858MIAMI, FLORIDA 331555001 SW 74TH COURT, SUITE 201
LANDSCAPE ARCHITECTURE:
FX 407- 835-9955
DEVELOPER:
S. W. 1st STREET & S.W. 22nd AVENUE
ORLANDO, FL 32803
PERMIT SETMIAMI, FLORIDA
MECHANICAL PLUMBING ELECTRICAL
(813) 241-2525 FAX (813) 241-2424TAMPA, FLORIDA 336054750 EAST ADAMO DRIVE
PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.
64 PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.
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LEFT: Project Documentation,Conchita Espinosa Academy Kindergarden Addition, Conchita Espinosa Academy, Miami, FL 2010
RIGHT: Project Documentation,Miami-Dade County Tropical Park Equestrian Center Miami Dade County, Miami, FL 2010
PROFESSIONAL WORK: ALLEGUEZ ARCHITECTURE, INC.
LEFT: Project Documentation, Women’s Park History GalleryMiami, FL, 2011
RIGHT: Project Documentation,Royal Palm HotelMiami Beach, FL 2011
UPPER-LEFT: Leisure Services & Recreation Guide, Client: Andrina Pardee, Village of Pinecrest, 2011
LOWER-LEFT: FAKAWI 50 Silent Auction and Raffles Flyer, Client: Josselyn Gutierrez, Promise Foundation, 2012
RIGHT: Event Poster for Irshad Khan Performance, Client: David LeBlanc, University of Miami, 2011
UPPER-RIGHT: Logo Design for Lanza! Musical, Client: Chris Palmer, University of Miami, 2010
UPPER-RIGHT: Background for Americas United, Client: Adela Young Bryant, TADA!, 2010
PROFESSIONAL WORKIndependent Graphic Design
Depending on word-of-mouth advertisement of previous clients, I have completed a number of graphic design commissions; some relating to event promotions, others to logo design. It has definitely been a learning process. The more projects I complete, the more I learn. This is in regards to not only the programs I employ to complete the task, but also in terms of dealing with a client. The intricacies of the relationship of what the client is seeking and what I can offer are sometimes very delicately intertwined.
What I enjoy the most is being able to bring an idea to life; if not my own idea, being able to bring the client’s vision to life. These various commissions have strengthened my sense of composition and have expanded my ability to design a presentation.
69PROFESSIONAL WORK: INDEPENDENT GRAPHIC DESIGN
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PERSONAL WORK
PhotographyDrawing & PaintingSculpture
PERSONAL WORKPhotography
Explorations of composition, value and color, photography proves to be a medium which expands my understanding of portraying space in a two dimensional frame. By using a combination of a Nikon DSLR and Photoshop post-processing techniques, learned from acclaimed architectural photographer, Steven Brooke, I showcased various Miami locations of personal significance.
LEFT: Plymouth Congregational Church, 2010, Coconut Grove, FLRIGHT: Bridge Symmetry, 2009, Watson Island, Miami, FL
73PERSONAL WORK: PHOTOGRAPHY
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LEFT: Discovering Prado II, 2010, Coral Gables, FLUPPER-RIGHT: Ocean Drive Streetscape, 2010, Miami Beach, FLLOWER-RIGHT: Pinecrest Elementary School, 2010, Pinecrest, FL
PERSONAL WORK: PHOTOGRAPHY
PERSONAL WORKDrawing & Painting
My artwork is an expression of lessons learned through life experiences that have left a significant stamp in my memory. Each piece provides a means of sharing my individual experience with others in the hope they will gain an awareness of the details of life that are often overlooked or taken for granted. I use vivid, rich color, sharp contrast, dynamic composition, or a combination of all to evoke an emotion needed to alter the viewer’s perspective of the world. I produce a realistic rendition of the subject, providing a strong connection to the piece, making the message more effective. Not being limited to a specific medium, each piece
presents a unique idea with its own character.
LEFT: Madison Marley, 2012, Carbon 18x24UPPER-RIGHT: Michelle, 2006, White Prismacolor 20x15
LOWER-RIGHT: SMSH, 2005, Graphite 23x12
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LEFT: Colors, 2004, Prismacolor 16x12UPPER-RIGHT: Infiniti, 2007, Prismacolor 20x14LOWER-RIGHT: Dead Amy, 2006, Graphite & Prismacolor 21x13
PERSONAL WORK: DRAWING & PAINTING
PERSONAL WORKSculpture
No longer a framed view of an intended scene, sculpture brings a whole new attribute to my perception of art. These objects are not limited to any frame but rather adapt the opportunity to be explored in three dimensions. The use of clay retains a quality of imperfection akin to human condition. This relationship allows the viewer to relate to the piece more readily.
Inner Light, 2009
The form was inspired from a pair of hands offering something; in this case light. Size is proportional to quantity of light representing growth
and maturity.
LEFT: Relationship between the interior and exterior forms.UPPER-RIGHT: Interior texture representing unique palm print.
LOWER-RIGHT: Illuminated set of five.
Decay, 2009
This piece is fired clay, glazed to give it a reflective finish. Initially it was meant to be an underground installation with a small view port being the only visible part at first glance. To satisfy their curiosity the viewer would have to get down to the ground to discover a commonly overlooked world.
UPPER-LEFT: Two of the more developed forms in disarray.LOWER-LEFT: Progress and order superimposed by decay.RIGHT: Detail of the individual forms as they relate to each other.
Vessel, 2009
This piece was inspired by the female figure. Initially intended to be taller and slimmer, the natural response of the wet clay added girth to form. Instead of fighting with the result, it was embraced and fired
in that way.
LEFT: Form of vessel as reference to female figure. UPPER-RIGHT: Resulting texture inside of the vessel.
LOWER-RIGHT: Resulting texture outside of the vessel.
