Portfolio 2025

CCF.

Catalina Cabral Framiñan.

Phone: +13054409361

Email: catalinacabralf@gmail.com

Instagram: @kataka.arch

Education. Experience. Awards.

University of Miami

Bachelor of Architecture

Summa cum Laude

BA. History

GPA 3.969/4.0

Grad. May 2025

MAST Academy

Cambridge AICE Diploma w/ Distinction 420/420 Pts

Grad. June 2020

Scholarships + Academic.

AIA Miami Diversity Scholarship Oct 2024

AIA Florida Scholarship June 2024

KBCF School Choice Scholarship May 2024

The Villager’s Scholarship March 2024

Presidential Architecture Scholarship 2020-2025

Presidential Scholarship 2020-2025

Provost Honor Roll 20202025

Deans List 2020-2025

DaftBüro

Architectural Designer May 2025 - Present

Shigeru Ban Architects Internship Jun-Aug 2024

ConConcreto

Research Unit

Research Assistant

Jan 2022-May 2025

USoA Fabrication Lab

Aug 2021-May 2025

ARC 102 (1st Y. Studio) Teaching Assistant Jan 2025-May 2025

RJ Heisenbottle Architects Internship Aug 2019-March 2020

Speaking.

NYU Jordan Center

Undergraduate Research Symposium Mar 2024

ASEEES National Conference Dec 2023

Speaker @ Miami Women in Architecture Annual 8x8x2 Fall 2022

Moderator @ 2022 Smart Cities Conference May 2022

Archisource Drawing of the Year 2025 Affinity Medal + Shortlist x2 July 2025

Arch League NY Deborah J. Norden Fund Grantee April 2025

Faculty Award for Outstanding Design Work in the B.Arch Program May 2025

Honors Thesis Award May 2025

ArtExpo New York Photography Competition Finalist April 2025

AIA Miami Student of the Year Oct 2024

AIA Miami Emerging Professionals Best Portfolio Award June 2024

Buildner Virtual Home Comp. Honorable Mention + Shortlist Oct 2023

ArchHive Student Project Award Honorable Mention June 2023

From Forest to Building Student Design Category Winner Jul 2022

Best of Visual Rep. III Studio Winner Dec 2021

Courses.

USoA Rome Semester Fall 2024

Open City Studio: Tokyo Blue Summer 2023

AA Visiting School New York: Urban Futures Summer 2022

AA Visiting School Mars 4.0 Spring 2021

CLT In Situ Workshop Summer 2021

Languages.

English [Native]

Spanish [Native]

Italian [Limited]

Japanese [Basic]

Software.

Rhino 3D

AutoCAD

Revit

Adobe Suite

Affinity Suite

Blender

Twinmotion

VRay

Final Cut Pro

Statement.

My name is Catalina Cabral Framiñan, and I am a recent graduate of the University of Miami’s School of Architecture B.Arch program, with an additional BA in History from the College of Arts and Sciences. These dual degrees have trained me to understand how cities can emerge from layered cultural, political, and environmental forces. Growing up in Miami and traveling frequently to my parents’ hometowns of Mexico City and Buenos Aires has made me attentive to how inherited memories, systems, and material traces can shape architecture and, by extension, everyday life. This sensitivity evolved into how I approach my design work, seeing architecture not only as tectonics but also as storytelling.

Studying abroad was essential in my formation. In Tokyo, through my school’s Open City Studio program, I explored the cultural and spatial logic of water in Japanese architecture and urban formation. My return to Tokyo as an intern at Shigeru Ban Architects taught me how material experimentation, humanitarian design, and environmental responsibility can coexist within a

contemporary and prolific design practice. A subsequent semester in Rome reinforced my interest in designing in cities where heritage is both a burden to bear and a starting point for designing with the future in mind. After graduating, I pursued independent research in Japan through the Architectural League of New York’s Deborah J. Norden Travel Grant, studying industrial ruins and rural regeneration to understand how “industrial ghosts” can come back to life once the economic engines that birthed them abandon them.

These experiences have shaped my belief that architectural design must operate through close investigation of inherited context while guiding it towards an new future.

CENTRO TLALTICPAC.

Location: UNAM, Mexico City

Type: Academic | Individual

Year: Undergraduate 4th Year

Semester: Fall 2023

Project Length: 10 weeks [Sep-Dec 2023]

Professor: Charlotte von Moos cvonmoos@miami.edu

*All drawings completed by myself

The eruption of Xitle unleashed rivers of fire that consumed the ancient city of Cuicuilco, silencing it beneath a vast, black sea of lava. Over centuries, the hardened flows of the Pedregal de San Ángel sculpted a landscape both untamed and enduring, its jagged expanse resisting the passage of time. Life slowly returned, weaving itself through the cracks of the now-cool earth, until architects and artists like Luis Barragán, Max Cetto, Mathias Goeritz, and Diego Rivera saw beauty in the volcanic terrain, envisioning a modern refuge within its wildness. Upon this rugged foundation, UNAM now rises alongside El Pedregal’s homes and gardens, a testament to a land shaped by fire, reclaimed by nature, and reimagined by human hands.

[Right] Drawing shortlisted at the Archisource Drawing of the Year Awards 2025

In Mexico City, the National Autonomous University (UNAM) stands as a key influencer in the architectural education of the city. Its campus, marked by distinctive murals and modern structures, serves as a hub where students delve into both traditional and contemporary architectural practices, shaping the city's architectural narrative.

Proposed to act as a connecting point between practicing architects and university-level studies, it is located in the southern, more public section of the University City, on an untouched spot of malpais (the rock formation, created by the lava flow of the Xitle), allowing for architectural experimentation on the terrain.

Through 3D scanning the geological terrain through aerial Structure from Motion (Sfm) Photogrammetry and by utilizing the resultant model a more informed combination of architecture and landscape is created, with the ability to precisely calculate the excavated areas to be used for construction.

The campus itself is known for the malpais landscape its built on, as well as the modernist structures designed by Mario Pani and Enrique del Moral, two of the leading modernist architects of Mexico. Centro Tlaltípac aims to marry the two, creating an orthogonal architectural system embedded into the landscape and creating a more symbiotic relationship between the two. The staggered orthogonal volumes are spread throughout the landscape, attuned to the respective topography and connected by pathways, creating a sense of exploration through the intensely rocky landscape.

Embeddded within the landscape.

Nothing would be achieved if the construction destroyed the natural beauty of the place. To avoid this, it is enough then they would contribute entirely to the benefit of the owners: First it would not be permitted to destroy more than partially one of the three layers of lava that constitute the basaltic mantle, limiting its use as quarries to current exploitation and setting a surface and volume limit….

For constructions, it would be authorized to remove stone from the lot at the site of the building with the material from the surface layer of volcanic stone, preserving the other two for the foundation…

The greatest possible use of the stone from El Pedregal itself is paramount, thereby obtaining the homogeneity of the architectural material, which will characterize it for its same solidity, low cost and beauty. The Above does not exclude the national use of concrete, iron, glass and wood, but the non-construction of tile roofs must be established as an absolutely indispensable condition, with terrace roofs being preferred…

-Diego Rivera,

on the planning of El Pedregal

A studio space dedicated for architectural research is submerged into the heart of the site, surrounded by workshop, communal, and residency spaces carefully positioned to create moments of thoughtfulness while coexisting with the terrain.

MUSEO DEI MUSEI.

Location: Rome

Type: Academic | Individual

Year: Undergraduate 5th Year

Semester: Fall 2024

Project Length: 9 Weeks [Oct-Dec 2024]

Professor: Luca Galofaro, Stefania Manna luca.g@lgsma.it stefania.m@lgsma.it

*All drawings completed by myself

Museo dei Musei proposes a new museum for Rome which combines portions of the collections of 14 of the main museums in Rome, including the National Roman Museums, National Etruscan Museum, Museo delle Civilta, and MAXXI among others. Located at the intersection of via Flaminia and via Guido Reni, across from the MAXXI, the project proposes an adaptive reuse of the existing military warehouse structures, with the introduction of three new volumes, an impressive glazed “spine” and a new public piazza leading down into the museum proper.

METROPOLITAN ROME

Located at the crux of several axis on a main bend of the Tiber river, the museum site sits outside of the main “cone” of the touristic center while maintaining a direct connection to it through via Flaminia. The surrounding context holds less historical “baggage” with several contemporary architectural projects such as the MAXXI, the Olympic village, Parco della Musica, and Foro Italico located within a 1030 min walk.

MUSEUMS

WATERWAYS

RAILWAYS

ROADS

MUNICIPI

RIONI

50M CONTOUR

10M CONTOUR

5M CONTOUR

The underground portion of the “spine” would house a portion of the collection of the Centrale Montemartini, also symbolically connecting the circulation of the two sites, as the Centrale holds a distinctive “first floor industrial vs second floor garden” layout.

A central glazed spine connects the underground realm of the museum with the existing ground floor, creating a “winter garden” within the volume of the museum. After removing parts of the existing warehouse roofs (keeping to the existing precast modular dimensioning system) three rectangular volumes are made to “float” above the spaces, allowing for an open-air cinema and patio to exist below.

These three “new” volumes would house the three more modern and purpose built museums of the MAXXI, MACRO, and Galleria Nazionale di Arte Moderno. The ground floor would be host to some of the more “traditional” Museums such as that of the National Roman and Etruscan Museums or the Palazzo Barberini. The underground portion would act as the main entry point (thus allowing for a circulation that rises through the “layers of Rome”) as well as housing the Centrale Montemartini collection and archive/restoration facilities for the museum.

A set of stairs would lead down into the entrance of the museum, allowing for a transitional space, letting light into the underground portion of the spine, as well as providing a new public piazza on via Flaminia.

LEGEND

Entry Forum

Bookshop

Entry Lobby + Ticketing

Centrale Montemartini

Excavated Exhibition

Archives + Restoration

Ground Floor Connection Bridges

Temporary Exhibition

Baths of Diocletian

National Roman Museum

National Etruscan Museum

Exterior Cinema

MIAC

Galleria Nazionale

Museo delle Civilta

Palazzo Barberini

Palazzo Braschi

MAXXI

ECO-NEST.

Location: Governor’s Island, NYC

Type: Academic | Group

Collaborators: Hazel Xing, Milad Saboori

Year: Undergraduate 2nd / 3rd Year

Semester: Summer 2022

AAVS New York: Urban Futures

Project Length: 1 Week [August 5-13]

*All drawings completed by myself after end of course

The ECO-Nest proposes a modular, component based urban system to be installed in Governors Island in New York City. Inspired by concepts of video game urbanism and designed to provide refuge from the bustling city, the system is flexible and expandable to accommodate growth. The raised platforms allow the system to permeate the existing coastline, blurring the demarcation of land vs water and allowing it to function even under flooding conditions in the future. Designed from a “catalog” of different functions, the new urban proposal would enable a certain form of “glamping” (which already exists on the island) as well as new functions of play, meditation, and urban circulation.

A series of components was created, each able to connect with the other to create a flowing urban fabric raised on stilts and be nestled in a sort of artificial canopy.

Circulation v.1

Circulation v.2

TREEHOUSE MODULE

The treehouse module re-thinks the existing “glamping” program of Governors Island, proposing two different style of accommodation within the overall clustering.

Each of the components can be clustered into a larger series, each with individual programs. The resulting cluster “catalog” could then be aggregated further, creating an even larger fabric with each cluster “villages” being interconnected.

CLUSTER V3

Components

• Play

• Circulation v.1

• Circulation v.2

• Generate

• Meditate

The raising of the components came at the face of sea level rise and flooding conditions that Governor’s island faces. By raising them, not only can the fabric continue to expand even after coastal areas are flooded, but the coastline is permeated, providing interest both on land and on the water.

PHASE 1

PHASE 3

PHASE 2

VOXEL IN THE GROVE.

Location: Coconut Grove, Miami

Type: Academic | Individual

Year: Undergraduate 2nd Year

Semester: Spring 2022

Project Length: 9 Weeks [Feb-April 2022]

Professor: Shawna Meyer

shawna@ateliermey.net

*All drawings completed by myself

Voxel in the Grove proposes a multifamily affordable housing complex in West Coconut Grove built entirely of a hybrid Southern Yellow Pine, 5ply CLT and Glulam column structure. A voxelized mass would surround a communal courtyard, with small terraces connected by metal catwalks on upper levels, creating an exterior circulation to access most of the units. The 16 differently shaped units within give a range of options, providing a village like space nestled into the forest-like structure, creating a diverse community in the complex, one which promoted diverse interactions between its inhabitants.

Project received a Category Award at the From Forest to Building Student Competition in 2022

Project received an Honorable Mention for the ArchHive Student Projects Awards in 2023

Extruding a single mass from the setback line maybe maximizes interior space, but its boring and predictable

Using a grid created by the 9' 9" dimensions of a standard CLT panel, we can create a voxelized grid and play with it.

No longer boring and predictable!

Rather than randomly “pixelating/voxelizing” the mass of the structure, the anatomy of a tree was used to base the form of pixelation. The first floor would be the “trunks,” pulled back and split into separate masses, creating large spaces punctured by glulam columns, as if one was walking through the forest. The second floor would extend significantly out over the first, as if they were the base branches, the thickest ones that extend the most. The third floor, while still branching out would be “thinned” out, much like the branches of a tree when you go up. The fourth floor would house a roof terrace, with very little mass, reflecting the canopy of a tree.

IMPRACTICALLY PRACTICAL

To create the diverse range of unit types, a system of panels was devised and placed along the 9’ 9” grid (tailored specifically to account for the standard CLT panel dimensions) created for the mass of the building. Walls were strategically placed to create rooms, thus shaping the different unit layouts. This was done instead of creating a repetitive system, to be able to provide the diversity in unit shapes and thus create an organic, almost grown pixelation of the plan. This can be seen as creating “impracticality” instead of being “practical” and using a modular material in an un-modular way, showing that as long as you have a set system of panel “blocks” and someone willing to think it through, you don’t have to resort to a standard, repetitive system of using a wood load bearing/columnated structure. Wood is a material that is full of life, full of unpredictability, and here it would be used as such to create spaces that reflect that life.

PANEL SYSTEM

*According to OneClickLCA

Plate Connector

5 ply Glulam Column

Rothoblaas 14” Screw Wood Trim

Sill Plate

Rothoblaas 14” Screw

5 ply CLT Insulation

Plywood Sheathing

VaproShield Membrane

Furring Strip

Engraved Steel Facade*

Choice Floor Material (Tile, etc.)

Acoustic Mat + Floor Underlay

Triple glazed Window

Aluminum Window Frame*

Deck Furring (Drainage)

Wire Rope Guardrail*

or

or

UNIT STATS

x2

1 Bedroom x6

2 Bedroom x4

3 Bedroom x4

16

INSULAE: MIAMI-MADE

Location: Miami, FL

Type: Academic | Individual

Year: Undergraduate 4th Year

Semester: Spring 2024

Project Length: 10 Weeks [March-April 2025]

Professor: Carie Penabad, Adib Cure cpenabad@miami.edu acure@miami.edu

*All drawings completed by myself

Insulae proposes a new model for Miami using its original standard sized city blocks while increasing density and promoting aesthetic diversity, allowing for individual design within the proposed framework. A standard set of dimensions and facade division would allow for easy customization within the set system, thus allowing for the easy densification of the blocks. The resulting block type would be more similar to that of the Roman “Palazzina” which promotes densification while preventing super-height structures, thus limiting the need for wider streets and still using the existing block plans. The name ‘insulae’ comes from the latin word for a Roman apartment building, drawing a line from the original Roman prototype to the more modern

Studio was a joint studio held simultaneously in Miami and Yale SoA.

Location: Magic City Casino

Collaborators: Tate Nowell, Sebastian Hernandez

*Drawings completed by myself

An initial urban masterplan exercise kicked off the studio, using the large Magic City Casino, located on the edge of Little Havana and Flagami in Miami. Currently an extensive parking lot with a casino and defunct dog racing track, the idea was to redevelop the site into higher density mixed-use housing to act as a prototype for the current single-family residential model in the area.

BASE DESIGN BLOCK GEOMETRY VEHICULAR

DEDICATED GREEN SPACE

Location: Magic City Casino

Collaborators: Tate Nowell, Sebastian Hernandez

*Drawings completed by myself

DEDICATED PUBLIC SPACE ZONING

VEHICULAR PATH

PEDESTRIAN PATH

PEDESTRIAN ACCESS

Using the typology of a palazzina block, the site was divided into vehicular and pedestrian paths, with the defunct dog track turned into a public park. The palazzina was further pushed and pulled, creating irregular shaped blocks that would mimic an organically grown street pattern while maintaining an approximate 100x100 lot dimension.

Following the urban planning exercise was an individual project to develop a chosen housing type for Miami.

The palazzina was chosen for the project and a standard set of dimensioning and division was created for the original Miami block that would allow for easy modification of the already existing urban lot. The standard 50’x100’ block would be merged in sets of two, creating a new 100’x100’ double lot as base. From there setbacks and circulation corridors are defined, allowing for further division.

[Top] Part of a ‘floor plan catalog’ created to showcase the dozens of combination of units and layout prototypes in more detail.

[Left] 67 unique floor plans ranging from Hotel-room, dorm, studio, 1-bed, 2bed, 3-bed, non-square, and penthouse types showcase the endless combinations possible within the frameworks of the 100’x100’ lot plan.

1:100 Scale model of a ‘Miami palazzina’ prototype.

A standardized division system present in the prototypes as well as the separation of the facade from the unitary division of the plans allows for diversification.Even though each facade type uses a standard division for structure, aesthetic differences allow for a more varied urban-scape.

Through a component based design structure the basic prototype block building can be endlessly adjusted and customized, from the scale of the unit allowing for more diversity in tenants to the presence of a more aesthetically diverse urban city scape, avoiding monotony in design and promoting a more colorful community.

This drawing won the Affinity medal for the 2025 Archisource Drawing of the Year Awards

CODA: KOMOEREBI

Location: Simpson Park, Miami

Type: Academic | Individual

Year: Undergraduate 5th Year

Semester: Spring 2025

Project Length: 11 Weeks [Feb-April 2025]

Professor: Florian Sauter

fsauter@miami.edu

*All drawings completed by myself

CODA Imagines a house for the Japanese composer Ryuichi Sakamoto, nestled within Simpson Park in Miami, a dense native hammock isolated within the overall landscape of the city’s urban center. The design takes its cues from the Japanese term “komoerebi” which refers to the dappled light that filters through tree canopies. From this, the concept of solids and voids were developed to create concrete “crystals” to hold the more rigid programs of a house, while two circular slabs primarily consisting of glass would embed the more public programs within the natural context.

Coda: (kōdə); the concluding passage of a piece or movement, typically forming an addition to the basic structure.

komorebi (木漏れ日): (kō-mō-reh-bē); sunlight leaking through trees

The project is called CODA: Komoerebi, connecting two separate terms: Coda referring to this conceptual house being designed posthumously for Sakamoto as well as this being my final design project of my Bachelors, and komoerebi referring to the concept for the design of the house.

When first visiting the site for the purpose of this project, I was drawn to the way the light filtered through the dense canopy, and decided to use my 1960s film camera to purposely unfocus the image and only capture the light in an unfocused bokeh. Captured in black and white, this became the initial concept for the play of solids and voids.

In order to connect the design to Sakamoto’s music, I created a series of paintings of acrylic gouache on paper which captured a form of “notation” based on the shapes and monochromatic patterns I inherently associated with his music. Each painted piece came to be a “notation” of a separate composition of my favourite of Sakamoto’s albums, andata. These pieces came to become the inspiration for the form of the house, with solid volumes being placed in an endless sea of noise (in this case, the natural context of the park itself).

Noise Diagram

This noise diagram aims to represent noise present in the house, with its main concentration being within the music studio.

In an attempt to preserve as many trees on the chosen location as possible, the two main slabs that connected the different concrete program volumes was punctured by holes of different radii, encased by cylindrical glass to maintain the separation of interior to exterior. For the exterior perimeter channel glass was chosen in order to diffuse the horizontal view (connecting back to the original images of unfocused light) as well as forcing the view to be of the forest floor and canopy accessible through the glass ceiling and floor present in the western portion of the house facing away from the public path. The concrete volumes would house Sakamoto’s music studio, bedroom, bathroom, and genkan (Japanese style entry area) as well as an “unfinished” volume providing an exterior terrace overlooking the surrounding environment while still blocking off the path.

[Left] Roof plan of the house overlayed a 3D scan of the chosen location rotated to face North. Elevations of each cardinal direction.

[Right] ¼”=1’ Scale model, 3D printing and laser cut acrylic

OIL AND CITY

Location: Varied [Baku, Tampico, Comodoro Rivadavia, Bay of Campeche]

Type: Academic | Individual

Year: Undergraduate 5th Year

Semester: Spring 2025

Project Length: Multi-Year Research

Advisors/Mentors: Eduardo Elena, Vyta Pivo, Christina Crawford edelena@miami.edu vpivo@miami.edu christina.crawford@emory.edu

*All drawings completed by myself unless otherwise noted

Oil and City and the solo thesis exhibition “Oil Future/Past” explored the entanglement of oil extraction and urban form across Baku, Tampico, and Comodoro Rivadavia—three cities transformed by petroleum industries in the twentieth century. Combining archival research, cartographic analysis, and speculative design, the 130-page written thesis examined how geological, political, and economic forces shaped housing, infrastructure, and collective identity in these petro-cities. The culminating exhibition presented a series of maps, diagrams, and conceptual proposals, including speculative designs for the adaptive reuse of offshore oil platforms, inviting viewers to consider how extractive landscapes might be reimagined as spaces of civic possibility.

[Right] Created as a traditional Mexican amate painting using ink on amate bark paper, the drawing creates a narrative for the “foundation” of the idealised city of Cantarell in the Gulf of Mexico.

Research Thesis Summary:

This thesis examines how oil-based industry shapes urban development through a comparative study of Baku, Comodoro Rivadavia, and Tampico. Challenging the notion of a singular “resource curse,” it argues that oil urbanism emerges from the interplay of geography, governance, and cultural-political agendas. Analyzing pre-industrial form, geological constraints, industrial models, housing strategies, and migration, the study shows the three study cases through an interdisciplinary lens. Through archival and spatial analysis, it frames oil urbanism not as a fixed prototype but as a spatial and political condition whose legacies shape cities in a postoil era. In addition to the written research thesis, a curated exhibition was done to present the research as well as the design component which studied the repurposing of offshore oil rigs in the Bay of Campeche.

Link to publication on Issuu: https://issuu.com/ccframinan/ docs/oil_and_city

[Top] Exhibition Images

Unlike traditional design projects that rely on prescriptive plans and sections, this project presented the speculative redevelopment of oil fields through “found objects” such as invented newspapers, postcards, and archival ephemera. These narrative artifacts were used to show the story rather than tell it directly, inviting viewers to piece together imagined futures through traces of everyday life rather than fixed drawings.

OBJECTS FOUND

[Top] “Found Objects” Original artifacts and invented narratives.

By introducing both true (past) and invented (future) archival materials that mirror each other, visitors are encouraged to rethink preconceived ideas of history and architecture and both’s relationship to the stories of the ordinary people than inhabit cities and how they interact with their built environment.

INDUSTRIAL GHOSTS

Location: Japan

Type: Research | Individual

Year: Post-Graduation [Gap Year]

Project Length: Ongoing

Architectural League of New York Grant Project

*All drawings completed by myself

Industrial Ghosts is an ongoing project examining how abandoned extractive landscapes in Japan shape the communities built around them and how they can contribute to their regeneration even after abandonment. During the grant-funded research trip in fall of 2025 three sites were distilled as the main areas of focus: copper in the Seto Inland Sea and their rebirth as “Art Islands”, coal mining in Hokkaido’s Ishikari Basin and the ghosts left behind by the industry’s end, and gold extraction on Sado Island and the current tourist interest due to its recent UNESCO status. Rather than treating industrial ruins as obsolete remains of an expired industry, the project asks how architecture, memory, and cultural re-programming can mediate between difficult histories and future regeneration, while also situating the project within Japan’s broader questions of rural depopulation, adaptive reuse, and an uneven legacy of modernisation.

[Right] Yubari Coal Museum area in Japan. Abandoned coal mining industry.

The three sites were selected to represent different extractive histories, geographies, and industrial trajectories within Japan. The Seto Inland Sea’s Art Islands illustrate a curated and distinct model of regeneration, where former copper and industrial sites, once mired in scandals regarding illegal industrial waste, have been reactivated through art, architecture, and sustained private investment. Hokkaido’s Ishikari Coal Basin was chosen for its scale and placement within Hokkaido’s broader history: central towards Japan’s rapid industrialisation during the Meiji era, it now presents a landscape of abandoned mines and declining towns shaped by economic shifts and rural depopulation. Sado Island’s gold mines offer an older example where centuries of extraction have been absorbed into a consolidated narrative, recently recognised by UNESCO as a World Heritage Site, yet also holding controversial histories of conscripted labour. Together, these sites attempt to provide a holistic reading of how interplaying variables can influence the afterlives of such landscapes and who’s architectural regeneration can perhaps provide solutions to the twin issues of rural depopulation and urban over-crowding.

The research trip combined site visits, photographic documentation, conversations with local institutions, and an interview with the director of the Yubari Coal Mine Museum in Hokkaido to ground research with lived experiences. Visiting the various sites revealed contrasting strategies of post-industrial survival: from top down cultural tourism in the Seto Inland Sea, to fragmented and under-resourced grass-roots preservation efforts in Hokkaido’s declining coal towns, to globally recognized heritage tourism in Sado Island with governmental promotion nation-wide. The project is ongoing, but the trip resulted in original maps, photographs, and interviews that will be compiled into a detailed research report, with a shorter 4,000 word report scheduled to be posted on the Architectural League of New York’s website in February as well as a linked traveloguesque book.

Samples from a class on the studies of Louis Kahn and Rafael Moneo through the act of drawing.

Surrounding is a study of light and shadow through detailed rendering of the modern marble facade of the extension of the Bank of Madrid by Rafael Moneo. Detailed to mimic the elements of the old facades but made modern through digital fabrication and sculpting.

To the left another light and shadow study of a reflected ceiling of two of Louis Kahn’s buildings: the First Unitarian Church and the Dhaka National Assembly. Similar in the idea of plan, both featuring central assembly halls with side light-well lit spaces.

Film Photography samples, using a range of cameras and film mediums from 35mm to 127 and 120 film.

Selected drawing made for the Arquine Mextropoli 2023 Competition. Individual work and drawing, for the projects “Voces de la tierra” (Voices of the Earth), a temporary monument made to the major earthquakes that occurred in Mexico in the previous 25 years.

C C F.