Culinary Arts College

Combinatory Chongqing

Woven Web Atrium Intervention

Augmentation of the Inconstant:

MAT Landscape

Folding Light

Using Parametrics as an Urban Tool

5th + 10th

Performance of the Urban Block

Chiaroscuro

PROCESS MAPPING

Urban Stomach

Charles Shelton Green Jr.University of Florida: Selected Works 2010-2013

Using Parametrics as an Urban Tool: Reinterpreting the Vertical Trajectory of the High-Rise 34

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the testing and exploration of an idea that continually progresses until satisfying a set criterion. This meaning sometimes I never reached the outcome I predicted but learned something atypical throughout, and in other cases I have achieved an excess amount of outcomes that would lead to an even greater discovery as I am then able to continually process those ideas. This project encompasses a variety of spatial and architectural complexities that I have explored throughout my undergraduate education.

Mapping Process:

M.Arch Applicant Fall 2013M.Arch

Culinary Arts College: 2011-2012 ACSA/AISC Steel Design Competition 4

Combinatory Chongqing: An In Between Place of Building and Ground 10

Digital Virtuosity: Woven Web Atrium Intervention 16

Augmentation of the Inconstant: An Alteration of Paynes Prairie 20

MAT Landscape: Edge Morphologies of the Florida Coast 24

Folding Light: Luminaire Design Competition 32

Using Parametrics as an Urban Tool: Reinterpreting the Vertical Trajectory of the High-Rise 34

5th + 10th: Urban Infill Washington Square NYC 36

Performance of the Urban Block: Clinton District Manhattan 48

Chiaroscuro: Creating a Daily Life for the Shibanpo District 40

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Urban Stomach: A Gallery for Recycled Art 30

CULINARY ARTS COLLEGE: THE UN-MUSEUM2011-2012 ACSA/AISC Steel Design CompetitionCritic: Stephen Bender Year 3: Spring 2012

Charleston is a city based on historic preservation and the history directly influ-ences the culture similar to that of a mu-seum. A museum, being a place where art and research is displayed/preserved (physical form). In contrast to Culinary Arts which are displayed but constantly consumed with knowledge being the only thing preserved (not physical form), which consistently creates a void, being filled with new forms of art, research, and technology. The strategy of the void has a close relationship to the program of the Culinary Institute. Following the propos-als based on square footage, food state

Analytical Urban Fabric Exploration

process, and visual adjacencies. It is ap-parent that a central void is enveloped by a majority of the spaces. The void be-comes a mediator for the interaction of institution and public, containing a bake shop, pastry kitchen, teaching kitchens, a roof garden and a culinary restaurant that folds down into the void as the pri-mary support of the program. A primary consideration in the thought of the pro-gram is based around adaptability in terms of adjusting to consistent new cre-ation, occupation, and technology. This became one of the driving criteria for the form of the multi-story public space.

The Un-Museum anchors to the site by going against the philosophy of Charleston, it connects with a public space embodied by open air circulation system making an visual and aromatic connection.

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Initial Sketches

Speculative Street View

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Floor 1 Floor 2

Floor 3 Floor 4

Initial Multi-Height Space Study

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Atrium Detail

The strategy of the void is also applied to the en-trance. The entrance creates a first level primary ac-cess circulation for public, student, and faculty ac-cess. Connecting the thoroughfare of Cordes to the buildings on the other side of Eastbay a secondary entrance allows for a less dense path to the Culinary Institute.

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Exploded Axonometric Diagram

Elevational Study

This open air system would also al-low for the “smells” of the culinary kitchens to move throughout the in-stitute and onto the streets bringing the public into the construction visu-ally and aromatically. The ultimate goal of the project is to provide a successful institution for public and student interaction in the historic district of Charleston.

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Breathable Aluminum Panel Surface

Panel Bracket Framework/ Curtain Wall System

Steel Tube Atrium Structure

Adjusted Column Grid according to Volume Formation

Primary Circulation

Concrete Slabs

Truss System allows the Restaurant to suspend in the Atrium

Speculative Atrium Restaurant Space

Longitudinal Section

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COMBINATORY CHONGQINGAn In Between Place of Building and GroundCritic: Albertus Wang & Hui Zou Year 4: Summer 2012

Cantilever

Depression

Intangible

Carved

Imposed

Embedded

Platform

Combinatory

Taking Inspiration from the city of Chongqing in North/Central China, this study begins to further explore how the people of the Shibanpo District occupy the mountainous landscape. There are endless possibilities for how people use the landscape but this architectural/urban proposal focuses on just a few such as cantilever, embed, depression, etc. The driving force of the project looks at tak-ing the ways in which people use, move, and occupy public and private spaces in a urban context and create a combinatory condition, that acts as an anchor to the site and can link/respond to its context.

Initial Formal Study

Mountainous Landscape Study

These forces combined helped create an architecture that approaches some-thing like a building at times and some-thing like a landscape at others, where the edge between the horizontal and vertical become blurred. The formal proposal has a strong gestural approach but was not intended to be just a form in a field but yet the form derives from a process of making as many connections as pos-sible to the already in place infrastructure and topography. The programmatic pro-posal allows for an integral architecture for the users of Shipanbo that functions as a hybrid between building and ground.

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Conceptual Aerial Perspective

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Speculative Public Observation Insertion12

Building/Ground Entrance Connection

connection are accessible by foot, vehicular access is secondary. Upon entering the com-binate building the occupant arrives at a pub-lic green space, with an observation insertion hovering above the mountainous landscape, with views through the public plaza portion out to the Yangtze River.

These spatial sequence drawings look at the relationship of the building to the ground spe-cifically with the connections of building in-serted into ground, building above ground and building as ground (enveloping space between ground and ground). There is a priority given to the pedestrian means of movement as all direct

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Ground Plan

Alternate Ground Plan at Higher Elevation

Both sectionally and in plan a continuous formal process helped create and envelope public space, outline program itinerary, and create as many connections as possible with the already in place pedestrian path ways, infrastructure and mountainous landscape.

Initial Section / Perspective Sketch exploring outdoor / interior relationship

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Longitudinal Section

Cross Section

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The Atrium Intervention is an extension of the already in use program of a student/faculty lounge are between classes. Ar-chitecture students and have faculty have a tightly woven bond taking into consider-ation the amount of hours spent together in studio, and other classes. The woven web intervention strives to maintain that strong social relationship between stu-dents and faculty alike outside of studio

DIGITAL VIRTUOSITYWoven Web Atrium InterventionCritic: Lee-Su Huang Year 3: Spring 2012

Initial Inspiration

3-D print tectonic study

Cross-Section

or the office. The basis of this project comes from the structure of a woven spi-der web. The primary structure is woven through the entire atrium but remains rela-tively open to allow for gathering spaces. The secondary structure and spatial inter-action is an extruded hexagonal surface for individual lounge, study, or relaxation, this is located of the wall closest to the studios in the building. Opposing the in-

dividual lounge is a different series of extruded hexagonal shaped that project light into the atrium and can serve as pin-up space for an exterior critique or display. Both extruded surfaces are held together with a steel hexagonal tube con-struction. This proposal will provide the students and faculty with public and semi-private spaces and encourage the use of more open air events for the UF SoA.

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Diagrammatic Plan with Intervention

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Entry

Circulation

Lounge18

Public Lounge

Private Lounge

Exploded Axonometric Diagram

Tertiary Hexagonal Structure

Tertiary Hexagonal Structure

Secondary Hexagonal Structure

Secondary Hexagonal Structure

Primary Web Structure

Hexagonal Display Extrusions

Hexagonal Occupiable Extrusions

Sectional Perspective19

AUGMENTATION OF THE INCONSTANTAn Alteration of Paynes Prairie Critic: Kourtney Baldwin Year 2: Spring 2011

Paynes Prairie is a Floridian Preserve housing a wide variety of flora/fauna conditions. During the initial site visit I discovered this was not just a dry prairie like those in the Midwest of the U.S. but similar to the rest of Florida this has some wetland features. There is an artificial drainage system in place as well as routine controlled fire events that keep this a prairie rather than a

Process Model 1

Process Model 2

swamp. As I began to look at this site spatially the integration between the man-made and natural systems needed to be intertwined but allow for the man-made to be distinct similar to the underlying system to ground the project to the context. The program was a simple spatial construction that provided a space for park info/display, a space for observation, and a space

of dwelling for traveling visitors. The project became an integrated project of space and nature where overhead conditions come from ground, plac-ing the occupant in a space between ground, building, and ground. Using site trajectories/views help develop the internal rooms and create a spatial construction fulfilling the program and integrate both systems and spaces.

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Abstract Charcoal Perspective of Space Between Landscape and Structure21

Conceptual Spatial Sequence through construction

Sectional series illustrating the variety of spatial conditions in the continuous folded plane construction

Section demonstrating an integrated natural and artificial condition 22

Lifting the landscape to construct an internal spatial condition

Landscape Augmentation Aerial View

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MAT LANDSCAPE:Edge Morphologies of the Florida LandscapeCritic: Michael Kuenstle Year 3: Fall 2011

The Mat Landscape along Florida’s Northwest Coast was inspired by the ideas of Stan Allen’s Mat Building, and Chris Reed’s Mat Ecologies. This explo-ration began with a study of how the edge conditions of Fort Island Trail Beach have changed over time. In order to structure the beach, inspiration was taken from a matted seaweed type material on the beach. The connections of the mat is what pushed the project further, as where ever there was a change in the edge condition, there was an intersection, which ultimate-ly helped construct the underlying frame-work of the landscape. With a framework in place, the surface of the landscape formed from a similar Mat inspired pro-cess. Relating surface to a mat in the sense of a filter, a series of cut, fill, and

Matted Seaweed Inspiration taken from site Initial Sketches Concerning Volume and Surface

extrusion operational parameters begin to form the Mat Landscape surface. The Cut allows for designated areas of human occupation and/or specific flora growth. Fill allows intertidal waves to overflow into specific areas for interaction with remain-ing water filtering out artifacts for visitor keepsake. Extrusion begins to provide shade for occupants due to the high heat effects of the sun at the site. The idea of Mat as Filter became about the exchange of two parts or two edges as the pro-gram of the USCG Flotilla Facilities was added to the program of the landscape. The idea of two folded planes exchanging space began to create the initial building diagram, where one folded plane creates an overhead condition, and then is en-veloped by a skin system for enclosure.

“The mat can be thought of as a systematic field of consistent and repetitive parts, dispersed across a large-scale territory.”

- Chris Reed

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Initial Sketches Concerning Volume and Surface

Conceptual Mat Landscape and Integrated Construction with Performative Surface 25

Initial Skin Study working with variable light possibilities

Variation among components

Spatial Attribute Study for Performative Surface

The next layer of the project was to create a performative surface, according to the criteria of sun exposure and view trajectory. The sur-face is made of a two piece folded component that creates an opening, which adjust accord-ing to the sun path, as well as opens up spe-cific view for the people using the facilities.

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Process Model constructing a Framework and Surface for the Coastal Landscape

Mat Landscape Ground Plan27

Observation Platform

Circulation

Entry28

Longitudinal Section

Latitudinal Section

Varying Mat Landscape Features (Softscape, Hardscape, Water Feature)

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URBAN STOMACHA Gallery for Recycled ArtCritic: Stephen Bender Year 3: Spring 2012

Downtown Gainesville functions as an “ur-ban stomach” the relationship of the stom-ach and Gainesville’s morphological history is related in the sense, on a city scale the original formed city grid acts as a “stomach” compiling all of the blocks together with the circulation paths of streets and sidewalks. On a block scale each building is brought together through the use of a facade typol-

ogy which exist in most downtown regions, this allows the building to address the street with a continuous facade that exist on the surface on each building. On the occupant scale or street scale, the urban stomach is implemented differently as the build-ings become individuals, separated from the city grid and block facade continua-tion for public and personal use of the city.

Surface Study exploring varying divisions and aperture size

The Skin System allows for eastern light to seep into the art galleries but blocks harsh western light.

Continuing with the established urban fabric of the city as a stomach, the program fo-cuses on a Recycled Art Gallery/Recycling Sorting Center for artist pick up. This pro-posal is meant to compile the surrounding recyclable trash, compile it into to malleable materials for artists, and then with the use of recycled art can then be disbursed the for public viewing.

The Primary Structural Columns en-velope the perimeter of the building to enforce the circulation and allow for open gallery space.

The primary circulation stairs move around a large multi-height void that pushes the occupant to the edges of the building to experience the dis-plays and opens of the floor space for large gathering displays and events.

A three floor open void allows for multi-height displays, exposes the recycling equipment and envelopes and open air roof garden.

Morphological Proposal Programmatic Proposal

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Spatial Sequence Study

Longitudinal Section

Speculative Street Approach31

FOLDING LIGHTA Parametric Exploration of Surfacing LightCritic: Dr. Lucky Tsiah Year 4: Fall 2012

The idea of a folding light came from the inspiration of paper folding; the initial study began with a study of varying ways of how to fold paper. Upon finding a paper folding method of inter-est I began to specify the idea by perforating the paper to allow light to pass through the material, where the panels are more

10Speculative Dining Space

Materials of Lighting Fixture: The lamp is made from a folded and perforated watercolor paper. The light housing is acrylic that attaches to the watercolor paper by mono filament wire.

Fabrication Layouts

flat the perforations become larger to let more light through and they become smaller as the fold becomes tighter.

Use as room installation when lamp turned off

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USING PARAMETRICS AS AN URBAN TOOLReinterpreting the Vertical Trajectory of the High-Rise in New York CityCritic: Martin Gundersen Year 4: Fall 2012

The skyscraper is a definite typology and appears to be a final

construction in all highly dense urban models globally. It can ex-

ist anywhere in a rice field, or downtown it makes no difference

anymore. The original intent of the skyscraper was in an urban

environment ran by zoning, codes, and politics to pack people

on the move into a vertically organized space either for working

or for dwelling, but towers nowadays in the highly dense area

of Manhattan no longer stand together, they are spaced apart

or inserted up against other towers to the point where they do

not interact. A system of an urban grid which people move and

a vertical matrix of towers in a field of the grid in which people

dwell and work is created. Although there is insertions of public

space throughout New York City the effect of the public “green”

space is miniscule compared to that of which people move and

live? The same way the city continuously evolves in terms of

population, economics, business, and entertainment, the archi-

tecture and urban model of the city should be able to evolve to

accept these changes. The use of parametric modeling tools

used as a computational method rather than a style could help

generate a more integrated architecture/urban city model that

can deconstruct the typology of a vertical stacked space insert-

ed into a grid.

A majority of architects and designers nowadays think

of parametrics as a style and ascribe to its false skin deep char-

acter that overshadows its true merits. It can be used as both

a generative and analytical method during design exploration,

not only an emphasis place on design but also economics,

performance, efficiency, etc. And the form and appearance is a

product of the process of bringing together the urban grid and

vertical matrix. This new type of process driven urban architec-

ture can create a typology that is specific to the site, culture, and

time. This can create a sense of identity to cities again, rather

than the identity which is posed on them now of a transparent

and empty logo that is only recognized by the tallest and biggest

glass tube in the skyline. As parametrics is a newer emerging

technology is allows for endless analytical models than can be

based on any three-dimensional relationship whether it be of

volume and space or of economics and population. Parametric

modeling allows for and even encourages further transforma-

tions that accommodate the evolving often unpredictable needs

and wants of the users.

Replacing the tower as a symbol of capitalistic power

with public connective space, is how we can achieve the break-

down of the dumb glass tubes that take up the sky, where priority

is given to connectivity versus iconography. The use of horizon-

tal expansion through the New York City grid could allow for an

“We no longer need to reach the moon with 100 mile-high buildings. We can fly there.” - Frederick J. Kiesler

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Allen, Stan. CASE : Le Corbusier’s Venice Hospital and the mat building revival. Munich; London: Prestel, 2001.Dino, Ipek Gursel. “Creative Design Exploration by Parametric Generative Systems in Architecture.” 2012: 208-224.Holl, Steven. Intertwining: Selected Projects 1989-1995. New York: Princeton Architectural Press, 1996.Koolhaas, Rem. ‘’Bigness’’ and the test of the construction site + Rem Koolhaas and OMA architects project for.” LOTUS INTERNATIONAL (ELECTA PERIODICI SRL), 1995: 50-86.Mayne, Thom, and Stan Allen. Combinatory Urbanism. Culver City: Stray Dog Cafe, 2011.

intersection of public created space which in the spirit of central

park could define parks, urban rooms, etc. It’s nothing new to

New York City where public amenities are pumped through the

city as a catalyst to drive private investment, which in turn could

finance the public space themselves. The most basic most is

that of central park where is a vastly used public space but gen-

erates billions of dollars for private companies (business, real-

estate, educational facilities, etc.) that sell the views, the prox-

imity, the experience of moving, working, and dwelling around

the park. Also in regards to taking advantage of the horizontal

movement, these type of urban architectural intervention, can

begin to stitch the field of towers together again, continually in-

tegrating the moving, the working, and the dwelling users. The

parametric integrated approach takes the urban model of New

York with existing landscape or green space in the city and treats

them as one, which creates a variety of new typologies with the

grid, that of landscape, roofscape, cityscape, etc. to respond to

the fluctuating nuances of the human experience of the city.

As stated by Rem Koolhaas cities are “becoming big-

ger and bigger, equipped with more and more facilities uncon-

nected to travel.” This is seen currently in the continual vertical

building expansion that is happening every day in the city, with

no plans or intentions of improving or revitalizing the infrastruc-

tural systems such as the subway, which is interesting in a city

that is always moving and changing developers, companies,

and occupants are more interested in the static improvement of

their space rather than the path or destination to and from that

place. This becomes another support as to why the typology of

the skyscraper should be broken, to help refocus the view of the

community that the public space is what is important over the

view of the public space. This view is similar to the way people

view parametric modeling in the sense they are concerned more

with the object rather that how the object is effecting the space.

If the refocus of parametric modeling could be on the logic of the

object rather than that of the object itself this in conjunction with

deconstructing the vertical line of the skyscraper could help es-

tablish a new urban architecture hybrid that gives identity back

to the city, and maintains connectivity.

Manhattan Spatial Montage In Search for Green: expresses the overall pre-conception of New York vs. the experience

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FIFTH + TENTH: MANHATTAN HOTELUrban Infill Washington SquareCritic: Tom Smith Year 4: Fall 2012

The New York Hotel Infill takes place along 5th Ave. near Wash-ington Square Park. This 3 week proposal looked at how to be-gin plugging a singular architecture into the complex matrix of Manhattan. The overall driving force of the project was to take the conventional space of a building core and expand it to the point where it becomes a vertical public atrium. After given the site parameters the realization for my colleague and I was there was minimal views over looking the street and park. The con-

Room Analysis

Standard Core

Expansion of Core

Removal of Internal Core

Public Space Extruded

Public Space Carved

Atrium Study

Partners: Genna Reckenberger

cept was to look in rather than out and the vertical atrium would enforce this while bringing light into the space, and add a sense of community to people living or temporarily staying in the hotel. The carving and extruding of large spatial volumes came from the inspiration of how the city works in plan and elevation with a variety of carved and extruded spaces. These volumes become the public spaces and amenities (lobby, deck/pool, piano bar) for the occupants of the hotel.

36Sunlight Public Balconies Circulation Structure

Public / Private Spatial Study

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Plan Diagrams

Street Approach to Hotel Aerial Perspective

Plan Diagrams

Section Through 5th Avenue

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Plan Diagrams

Hotel Room

Roof Garden

Core Circulation

Pool/Sun Deck

Observation Deck

Public Balconies

Section Through 10 Street

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CHIAROSCURO (LIGHT | DARK)Creating a Daily Life for the Shibanpo District Critic: Albertus Wang & Hui Zou Year 4: Study Abroad 2012Partners: Violeta Lizama, Shelly Yang, Cat Jing

Enforcing the idea of horizontal light by creating a grid set by the parameters of the topography and programmatic use.

Analytical Light Diagram illustrating a connection of Horizontal Light for the Shibanpo District to Connect to the surrounding context.

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How to connect two seperate districts in an urban area?

The two inspirational influences of the project came from the phenomena of light condition of the residential towers on one side, and the high rise office district on the other. The other inspi-ration came from the five mountain ranges that run throughout the Chongqing area as the light and shadow condition is greatly affects urban lifestyle in China.

Located in Shibanpo and near the Tongyuan Gate, at the highest point within the strong mountainous topography, the Daqiangba Water Plant was the first formal large-scale water plant in Chongq-ing. Historically it illuminated a majority of the Shibanpo District, preserving the memory and presence in the master plan was a major consideration.

Residential Light Condition

Master Plan Proposal13

Plan Diagrams illustrating spatial, circulatory, and formal operations in response to program

Main Public Space (Park/Retail) Water Factory Re-Use Water Garden Mid Rise Housing Circulation and Public Area Connections

Higher Elevation Public Circulation to Lower Elevational Levels Public Plazas (Transitional Points between zones) High-rise circulation to surrounding site w/ subway connections

Speculative Night View from Bridge after integrated with surrounding context

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Benefits of Slating Roof Plane on Structures within Master Plan

Increase Public Roof Garden Awareness

Allow for Better View Towards Bridge and River

Site Longitudinal Section Diagram

Site Cross Section Diagram

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The initial analysis of the site started with trying to find the morphological significance of the water tower as it has been around since the early 1900s. Aside from this, a thor-ough investigation of the mountainous landscape helped to understand how people use, move, and dwell in Shibanpo.

High-Rise Plan Study giving priority to Water Tower

High-Rise Elevation in relation to plan

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Re-Used Water Factory Plant Public Space

Study Abroad Continuous Sketch focusing on an Urban Ground Condition of Beijing, Chongqing and Hong Kong

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The driving force of the master plan proposal for the Shibanpo area was to create an urban condi-tion that connected to its surroundings by setting up parameters that would link the site to similar light experiences both in day and at night, and giving a priority to the water tower which originally had been a strong source of light that created a sense of community of the Shibanpo District.

Aerial View of Chongqing Shibanpo District

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LACK OF GREENERY Performance of the Urban BlockCritic: Tom Smith Year 4: Fall 2012

Manhattan Green Public Space Density Map Immediate Context adding Block to Green Map

Tower Formal Diagram

Partners: Genna Reckenberger

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The Urban Block Proposal takes place in the Clinton district of Manhattan and after visiting the site and its surrounding context my colleague and I noticed the lack of greenery (public space) in the area, this brought about the initial concept for the block to not sim-ply be residential towers and an internalized podium public space.

Sun path Diagram - initial study looking at amount of sun light available for open space with tower configuration.

Summer Equinox

Winter Equinox

9:00 am 12:00 PM 2:30 PM 5:00 PM

9:00 am 12:00 PM 2:30 PM 5:00 PM

Speculative Green Public Space

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The site specific codes (street wall, sky exposure plane, 40 % open space), programmatic sq. ft. as well as view, light, and sun exposure became the driving performance parameters of the block. Using param-eters as such allowed us to test a variety of tower and podium proposals until we achieved one that met/ex-ceeded all of the items needed for the block.

Longitudinal Section (green space, plaza, retail park, sky lobby)22

Exceeding 40 % open (green) space with 55% we created a ground plane consisting of a large (green) soft/hardscape mix, as well as a public plaza, and an elevated green space for residents.

When any 2 towers meet the intersection be-comes a public balcony, and in the instance where all 5 towers meet a sky lobby is created.

Outdoor Podium Intersecting Balconies

Latitudinal Section (elementary school, green space) Latitudinal Section (elevated public space, pool, sky lobby)23

When towers do not touch the podium at all in this case the enclosure of the base of the tow-ers is lifted 4 stories allowing the public using the ground to easily pass through the block rather than around it as typical of the New York Urban Block.

In the case when tower becomes the podium the program and skin are fluent, the create the public retail area, with outdoor eating area, and raised 3 floors above is a resident pool, and garden.

Public Plaza Roof Garden/Pool

Tower Structure Study

Program Distribution (sq. ft.)

Residential - 1,100,000

Retail - 17,500

Commercial - 39,000

School - 197,000

Open (Green) Space - Achieved 55%

Parking - 70,000

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Through a formal exercise we looked at how the structure could remain tectonic but also serve as a sunshade device. Exceeding 40 % open (green) space with 55% we created a ground plane consisting of a large (green) soft/hardscape mix, as well as a public plaza, and an elevated green space for residents.

Exterior structure maintained; Not enough light allowance

Exterior structure too light to-wards top; Scale becoming too massive

The intent of the project is to achieve positive outcomes from the strictly enforced codes, program, and break the typical block experience in order to provide a cohesive interconnect-ed block of public/private program.

Ground Plan

Speculative Sky Lobby Space Overlooking Hudson River

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Exterior structure not maintained; Light exposure too severve

Exterior structure evenly distrib-uted load; Good amount of light allowance

Speculative View Looking Up From Plaza

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M.Arch Applicant Fall 2013Charles Shelton Green Jr.University of Florida: Selected Works 2010-2013

Contact:Mail: 1309 Magnolia St.New Smyrna Beach, Fl. 32168

Phone: (407) 587 9347Email: charlesgreenjr95@gmail.com

Mom, Dad, Trevor and Christina

Alissa Lane, Jessica Garcia, Franchella Griggs, and Delores Pigsley

Stephen Bender, Michael Kuenstle, Albertus Wang, Tom Smith, Lee-Su Huang, Hui Zou, Nawari Nawari, Mick Richmond, Martin Gundersen, and Lisa Huang

Allen Watters, Kourtney Baldwin, Jason Towers, and Renwick Daelo

Joshua Treadway, Lauren Friedrich, Genna Reckenberger, Lucas Najle, Zach Yarnell, Chris Cantanno, Christine Schorr, Clarissa Antioquia, Elizabeth Cronin, Carlos Ben Saca, Bobbie Behm, Kevin Di Nardo, and Mitch Clarke

to my Family for all your love and support.

to The Confederated Tribes of Siletz Indians for your assistance and support in my higher education.

to my Professors at the University of Florida School of Architecture for your continued guidance, critique, and education you have provided me with.

to my Professors at Valencia College for introducing me to the allure and complexity of Architecture.

to my Friends, Peers, and Students for all your valued friendships, ad-vice, and life lessons.

Thank You

PROCESSMAPPING