Bachelor of Architecture (B.Arch), Expected May 2026, University of Florida
High School Diploma, Edgewater High School
Gala Family Scholarship
Deans List for 5 semesters
2023 - Current Work Event Staff and Tech Crew, Stephen C. O’Connell Center
2020 - 2024
Volunteer at Rise Against Hunger
Objective
I am an architecture student with an unconventional thought process allowing me to creatively deal with unexpected situations. I pick up new skills very easily and always seek to expand my knowledge in and outside the architectural field. My education at UF and various team working experiences in design studio has prepared me well for this role.
Skills
AutoCAD, Rhino, Grasshopper, Adobe Creative Suite, Enscape, Lumion, Model making, Hand Drafting/sketching, Photography, Rendering, English (Fluent), French (Basic), German (Beginner)
Hobbies
Model automobile building and restoration projects
Frozen Music
Semester 5 | 8 Weeks
“Music is liquid architecture; architecture is frozen music”
- Johan Wolfgang von Goethe
This project is a music convention center located next to an elementary school and down the street from the University of Charleston, South Carolina. The design integrates music into architecture experientially, using tension, suspension, materiality, and transparency—both in plan and section. Organized like a deconstructed instrument, the structure plays a pivotal role in defining the relationship between public and private space while establishing a rhythmic datum that wraps around the building’s major street edges. The facade, a translucent yet expressive structural element, invites people in while maintaining a distinct boundary along the street, seamlessly weaving into Charleston’s historical fabric. Mast trusses, chosen for their naval origins in ship construction, honor Charleston’s maritime history while infusing the building with a modern identity. Their delicate integration into the facade makes the glass appear weightlessly suspended above the street, reinforcing the interplay between structure and lightness.
Upon entering, you pass beneath the suspended practice rooms, experiencing an intense overhead condition accentuated by the lightness of the structural glass façade. The floating walkways, supported by tension cables from the roof, connect the heavier performance spaces to the suspended private rooms, creating a sense of seclusion within the busy performance hall. The loud presence of the glass façade, juxtaposed with the quiet, heavy public spaces, mirrors the dynamic interplay of musical notes and rests, reinforcing the experiential connection between architecture and sound.
Having the entire West facade be glass introduces a phenomena as the glass captures shifting reflections and shadows, creating a dynamic visual connection between the interior and exterior. For the non-suspended parts of the building, brick is used, grounding the structure as a mass and providing acoustic insulation. The suspended practice rooms utilize a light wood panel offering a sense of lightness and giving warmth as contrast to the brick behind it. Overall this combination of materials reinforces the buildings conceptual tension between loud and quiet.
Haphaestus
Semester 5 | 4 Weeks
This studio explored craftsmanship as a lost art in the modern world, a practice fading due to the diminishing significance of hand labor, meticulous detail, and dedication. In response, I designed a space where skilled stonemasons could gather, live, and work in an environment tailored specifically for them. To accommodate the space required for gantry cranes and forklifts, the most collaborative labor spaces are located on the ground floor for accessibility. This “realm” of labor is buffered by a translucent screen, which softens the boundary between the craftsmen and their surrounding context. The upper level serves as a place of reflection, where visiting craftsmen have access to residential units and a communal kitchen, fostering social interaction. A layered roof system follows the central hallway, opening up to allow light to filter down into the gallery spaces, creating a natural effect.
Before a stone becomes a sculpture, it must be felt and understood by its density, its texture, and its fractures. I decided to carve out of the site model rather than construct it out of pieces which helped me understand the importance of human senses to both craft and architecture. This building is not merely a workshop but a place where stone, hands, and time converge as the act of making transforms both material and maker. The form of the building becomes an extension of stone itself with its thick concrete walls appearing massive and monumental. Voids where light spills in become sculpted beams piercing into the interior spaces, delicately chosen to highlight programmatical moments.
Waterside Haven
Semester 4 | 9 Weeks
Waterside Haven embodies the essence of lakeside living by blending rustic charm with modern comfort. Nestled along the tranquil shores of a glistening lake, the retreat’s architecture seamlessly integrates indoor and outdoor spaces, with dwellings boasting spacious balconies that extend towards the water. Inspired by traditional fish camps, the design celebrates the beauty of the natural surroundings through the use of natural materials and thoughtful detailing. Residents are invited to immerse themselves in the serenity of their surroundings, whether casting a line off the dock or savoring breathtaking sunsets from the comfort of their balcony. Sustainable practices underscore the retreat’s commitment to environmental standards and works with the landscape rather than against it.
The roof holds the sky above, A silent guardian, unseen, yet felt. It shields the soul from the world’s rage, A barrier between chaos and peace. Under its shelter, we are safe— From rain, from heat, from things unknown. It is the space where dreams find rest, Where thoughts are wrapped in comfort, A place to retreat, to breathe, to heal. Without it, we would be lost, Exposed to the winds of the world’s unrest. The roof is the heart’s protector, the mind’s keeper. Beneath it, we are ourselves, Without the gaze of the world upon us, Where we can hide our truest thoughts, Free to be, unburdened by the outside storm. The roof is not just shelter—it is our space, A boundary between what’s ours and what’s not.
Ruins
Semester 3 | 8 Weeks
For this project, our studio focused on the Sutro Bath Ruins in San Francisco. After its closing in 1964 and then a mysterious fire in 1966, the ruins now exist as a reminder of human ambition and community—a place where nature’s unforgiving forces slowly wash pieces of history away into the ocean, into the past. My design seeks to understand the interplay between threshold and ruin, where the remnants of the past meet the evolving present. The threshold becomes a passage between time, guiding visitors through spaces that layer history with decay. Ruins act as a palimpsest, where each intervention reveals and obscures traces of what once was there. The opening of the main tunnel frames the sweeping motion of the Pacific and acts as a lens through which the textures of nature are celebrated. Moments of reflection and repair invite engagement with the past while introducing new life as visitors occupy the space. Overall, I sought to preserve the dialogue between nature’s decay and human history.
Tower
Semester 4 | 4 weeks
This program is an exploration of vertical datum as both a structural and conceptual anchor. I focused on organizing layers of experience while extending the program outward through its facade. Through collage studies, moments of tension, expansion, and release emerged, guiding the placement of programmatic elements and shaping the tower’s structural rhythm. Rather than imposing a rigid grid, the datum materialized as a series of relational moments, defining thresholds of transition and experience.
Materiality plays a crucial role in this translation. For instance, the metal sheets used in the physical model capture the essence of sound reverberation by having their reflective surfaces enclosing the echoes of performance. Just as sound waves bounce, layer, and interact within a space, the facade fragments, bends, and opens, mirroring the dynamics of the internal program.
Mobile, Stabile
Semester 3 | 5 Weeks
This studio sought to investigate the quality and manipulation of light, circulation, and programs influence on form. I decided to investigate the dissipation of light through different materials onto various surfaces. My primary conclusion was that the darkness of shadow is essential to light by providing the backround for contrast and balance, allowing the two to harmonize.
In the model, I designed an internal void framed by circulation, where scissor stairs split around a Ptera don fossil. The fossil stretches into each space, allowing viewers to experience it at multiple scales—from a distant silhouette to the scale of a hand or joint. I constructed the Pteradon’s major bones and joints from metal wire, which allows the light to animate its presence and movement through the void. The roof fractures and pulls apart to let light in, highlighting the fossil and allowing it to cast a shadow onto the main stair. Similarly, as the assembly layers separate, they expose internal structural systems at certain pivotal programmatic moments. Each of these moments signifies a different experience, showcasing the progression of scale and sensory immersion.
