BEACONS OF MEMORY
Alzheimer’s is among the most challenging conditions to live with. As memory gradually deteriorates, individuals often lose not only their sense of time but also their awareness of that loss, creating confusion, anxiety, and a deep emotional weight for both residents and their families. In response, care environments must move beyond simple accommodation and become therapeutic landscapes that uphold dignity, provide comfort, and sustain a meaningful Quality of life
Early Studies where conducted, sun path, general Site Conditions and most important view points from the site. Based on this early sketches where created in response on what a possible space could look like.
A personal exploration into the potential future scale of the massing, examining how it may relate to residents on both a human and community level, and considering the ways in which the built form will or can interact with the site’s physical, social, and environmental context.
This image portrays Alzheimer’s as a slow, internal burning memories not extinguished all at once, but singed at the edges. The collage fragments faded facades, floating signage, suspended laundry, and faceless figures form a pseudo-convoluted assortment of recollections that no longer align in time or place.
This collage establishes the project as an architectural synthesis—an assemblage formed through the careful extraction and recomposition of multiple references and precedents. Rather than presenting a singular, isolated building, it constructs an architectural language from a multiplicity of projects, distilling shared principles into one cohesive proposal.
Choreography
Of Spaces
Facilities & Sinthezised Program
Facilities & Sinthezised Program
The campus is organized around a beacon based framework that offers residents clear, consistent points of recognition. At the heart of this environment stands a bell tower, a quiet and constant presence that restores confidence in movement and gently reestablishes a sense of orientation. Floor plans naturally gravitate toward this central element, reinforcing its role as a primary reference point.
1: Art therapy space
2: Outlook Point
3: Shading Structure
4: Noise of the bells
5: Benches Across the site
6: Benches at the shaded walkways
7: Bell Tower
8 & 9:Fireplace activty with piano
Oculus at activity room
& 12: Chapel and prayer
1: Art therapy space
2: Outlook Point
3: Shading Structure
4: Noise of the bells
5: Benches Across the site
6: Benches at the shaded walkways
7: Bell Tower
8 & 9: Fireplace activity with piano
10: Outdoor View Point
11 & 12: Chapel and prayer
Beyond its visual clarity, the tower operates as a spatial anchor through sound, its soft, periodic reverberations drifting across the campus and offering a steady, familiar cue that can be followed instinctively. It becomes less of an object and more of a presence, guiding without demanding and grounding without overwhelming.
Fireplaces create moments of warmth and stillness, spaces where residents can pause without pressure or uncertainty. Carefully framed outlook points introduce gentle visual connections to the outside world, providing moments of clarity beyond the immediacy of the interior. Sound is thoughtfully integrated throughout the environment as a subtle but powerful layer of orientation, familiar tones, rhythms, and ambient cues that can be felt even when they are no longer consciously recognized. These auditory threads invite presence, evoke emotion, and allow for connection to emerge in ways that do not rely on memory or language.
A small church nearby offers a place for reflection and prayer, supporting both residents and their families with a sense of peace, while allowing the tower to remain the primary orienting element of the campus.
Together, these components form an environment that preserves dignity while enabling a form of confident dependence, one where individuals in later stages of Alzheimer’s can still feel anchored, understood, and gently held within a world that continues to make sense.
CARDINAL RHYTHMS
This poetry foundation is designed as an architectural abstraction of Downtown Riverside’s urban fabric, reinterpreting local elements to create a resonant space for the community. By translating familiar street into a new structural language, the building fosters a sense of immediate belonging and invites public engagement. This approach strengthens the community’s connection to the site, allowing the foundation to stand as a living symbol of Riverside’s unique cultural identity.
Beyond its sculptural clarity, the Poetry Foundation operates as a spatial vessel for voice, structuring experience around the act of performance rather than the permanence of text. The architecture withdraws into layered planes and shadowed tiers, allowing the illuminated center to emerge as the true focal point. In doing so, the building shifts emphasis from enclosure to encounter, framing poetry not as something archived, but as something embodied.
The amphitheater geometry gathers attention instinctively. Stepped surfaces spiral inward, drawing sight lines toward the performer and transforming the audience into a quiet perimeter of presence. The space does not rely on ornament to signal importance; instead, hierarchy is established through light, proportion, and convergence. The performer stands in a concentrated field of illumination, while the surrounding structure recedes, reinforcing the vulnerability and courage inherent in speaking before others.
SUSPENSE
The Performance Center of Arts in the community of Redlands, California, aims to create a sense of suspense from its user that will make anticipation resolution at the end of its performance center by creating a back of the House that intertwines with the front of the House. This approach allows for the character, either viewer or performer, to move in and out of sight either by The greenery on the site, by the perforated brick facade extrusion, or by the frosted glass, all revealing presence but never explaining a form, Over time this building aims to build the curiosity of the user.
The programmatic structure is organized into three sectors: Underground, Middle Ground, and Over Head; the underground belongs to the users wishing to visit the art of Redlands and take part in the Play; the Middle Ground Belonging to the Visitors and General Public and To Over Head sector which belongs to the player and performing comprising most of the back of House.
This Physical distance develops a perceived sense of security that is shattered when the characters come in direct contact with one another in the performing spaces. Thus, offering a stimulating experience of a teacher for the community of Redlands. By drawing inspiration from the work of Alfred Hitchcock, the center aims to provide a captivating atmosphere that reflects the highest standards of professionalism and artistic excellence.
CAMPUS CENTER RENOVATION ALAMO COLLEGES
During my internship at Overland Partners, I had the opportunity to contribute to the redesign of the Cypress Campus Center, a renovation project aimed at transforming a pre-existing structure into a vibrant “third place” on the NVC campus. This revitalized activity hub is designed to enhance the holistic student experience beyond the classroom, bringing together students, faculty, staff, and the community to foster academic excellence, shared identity, and engagement.
The renderings and plans shown are the property of Overland Partners and are included for portfolio purposes only. All rights belong to Overland Partners
My involvement spanned from Schematic Design (SD) to Construction Administration (CA), covering 10 months of work. Throughout this process, I gained hands-on experience in multiple aspects of the architectural workflow, from early conceptual development to the refinement of final details.
Working closely under the supervision of the design team, I contributed to spatial planning, digital modeling, renderings, and construction documentation, ensuring that the project’s vision was effectively carried through each phase while respecting and adapting the existing structure.
As of January 2025, the Cypress Campus Center project remained in the demolition and early construction phase following the official groundbreaking in late 2024. At this point in the schedule, the team was focused on selective removal of interior elements and preparing the existing structure for renovation, which is typical for institutional renovations before full-scale build-out begins. This extended demolition process meant that while the project was officially underway, the visible transformation of the space was still in its early stages.
PERSONAL STUDIES
These images represent a curated body of travel sketches and photographic studies produced during my time in South Korea in 2025 and Italy in 2023, synthesizing observation, analysis, and documentation. The sketches function as an analytical tool, allowing for a direct engagement with proportion, spatial hierarchy, and the interplay of light and form, while the photographs serve as a complementary record of materiality, texture, and atmospheric conditions.
FAMILY BUSINESS
My wife and I run a small family clothing brand built on the life we are growing together. Each piece we create carries meaning, shaped by our experiences, our faith, and the moments that define us. Our motto, “Made from our stories. Every logo and design,” reflects the heart behind the brand nothing is random, everything is intentional, and every design is a part of who we are. Our business is built on a commission based model, where each piece is custom made for the person who requests it, allowing every design to be rooted in their own story. Because of this, every shirt is named after the individual it was created for, making each piece a direct reflection of a real life and a real experience.
The collection “Anatomy of an Ego” explores the tension between identity, pride, and self awareness. It breaks down the layers we build around ourselves, the image we present, the validation we chase, and the quiet struggle between who we are and who we pretend to be. Each piece within the collection is shaped through a personal collaboration, translating the patron’s story into a design that reflects both their inner identity and the way they present themselves to the world.
¡Vivir en sí, qué espanto!
Salir de sí desea
El hombre, que en su seno no halla modo De reposar, de renovar su vida, En roerse a sí propia entretenida.La soledad ¡qué yugo!
Del aire viene al árbol alto el jugo: –De la vasta, jovial naturaleza
Al cuerpo viene el ágil movimiento
Y al alma la anhelada fortaleza.¡Cambio es la vida! Vierten los humanos De sí el fecundo amor: y Iuego vierte
La vida universal entre sus manos
Modo y poder de dominar la Muerte. Como locos corceles
En el cerebro del poeta vagan Entre muertos y pálidos laureles, Ansias de amor que su alma recia estragan
De anhelo audaz de redimir repleto Buscar en el aire bueno a su ansia objeto
Y vive el triste, pálido y sombrío, Como gigante fiero
A un negro poste atado, Con la ración mezquina de un jilguero
Por mano de un verdugo alimentado. ¡Fauce hambrienta y voraz, un alma amante!
Y aquí, enredado entre sus hierros, rueda Y el polvo muerde, el aire tasca y queda Atado al poste el mísero gigante.
José Martí