Architecture Portfolio

ASHER SAMUEL INTEBIARCHITECTURE PORTFOLIO

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Splinter:A luminaire prototype

Environmental controls I

Fall 2014

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Austin Amtrak Station

Design VI

Spring 2015

Page 4

LBJ Wildflower Learning Center

Design II

Spring 2013

Page 18

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MITO

Advanced Design; Paris

Fall 2015

Page 56

South Congress Pool

Design III

Fall 2013

Page 50

Autorus

Design V

Fall 2014

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Mixed-use development

Design IV

Spring 2014

Page 42

Resume + Contact

Page 64

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Design VI

Spring 2015

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Design VI

Spring 2015

Instructor: Michael Hargens

Duration: 12 weeks

Project Awarded ‘2015 Sound

Building With Distinction’

The Sound Building Studio is a milestone of the 5-year undergraduate program at the University of Texas at Austin. This studio prompts the creation of a design with competing goals: non-standard construction methods yet structurally sound, conceptually and visually stimulating yet thoroughly technical and safety focused, and progressively responsive to the environment yet still accommodative to the mechanical and plumbing systems.

This design not only takes on the Amtrak rail-line as a design issue, but also analyzes the entire site in its relation to Greater Austin. It creates a multi-modal point for transportation methods including, Amtrak’s regional trains, city buses, regional destination buses, car traffic, bicyclists, and pedestrians on foot. The project internalizes the unique intersection of these external drivers and combines them into a dynamic, constantly-beating heart of Austin.

In section, to respond to these various movements, the project gradually steps from the below-grade Lamar Boulevard on the east to a cantilevered waiting deck, bridging above the raised rail-lines. This sectional variety allows the buses and car traffic to approach at current grade with the site providing maximized ease for taxi, carpooling, employee parking, and the long-distance buses. This is afforded by the decision to elevate the train off the current ground to allow permeability below its tracks. For this reason, the pedestrian section of the building is developed through a series of moving ramps. By creating a constant ascension above the dense tree line, the circulation weaves through each type of transportation to embrace the movement of the programs on the facade of the station.

The details of the design work to constantly relate to this concept of perpetual motion. For the structural system, a hollow steel-tube truss was pulled beyond the glass curtain wall to the exterior of the building in order to visually reinforce the ascending movement across the site. The exposed diagrid steel beam roof structure furthers this concept by selectively creating apparent movement in the building’s pathways, yet the structure is covered in the areas of waiting. This distinction also works to conceal the necessary mechanical ducts for air, plumbing lines, and piping to harvest the rainwater in to cisterns for reuse. Site Plan

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Process Iterations FinalFinal Massing

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Transverse Section

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South Elevation

Longitudinal Section

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Section Detail Elevation Detail

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Level One

Level two

Level three

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Emergency Egress & Designated Areas of Refuge

Programmatic Configuration

Multi-modal Access & Site Circulation

Site Visibility & View Path

01. Inhabitation & Use

Photovoltaic Fritting

Ceramic Fitted Glass Panels

Summer & Winter Sun Paths

02. Solar Considerations

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Air Distribution System Tree

Rainwater Collection & Retention

Mechanical Room Placement

03. Mechanical

Tertiary Roof Structure

Secondary Roof Structure

Primary Roof Structure

Lateral Resistance

Exposed Truss System

Isolated Train Platform & Support System

04. Structure

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Lady bird Johnson Wildflower

Learning center

Design II

Spring 2013

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01 Water collection

02 Nourishment

03 Distribution

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Lady bird Johnson Wildflower

Learning center

Design II

Spring 2013

Instructor: Danelle Briscoe

Duration: 8 weeks

This learning center design was chosen to sit directly at the crossroads of two major trails of the Ladybird Johnson Wildflower Center’s main arboretum. In many ways, the two paths that converge at this intersection represent the two distinct functions of the site. The first path leads into the depths of the arboretum, which is intended to preserve and showcase the beauty of the nature without man-made interference. The second path leads to the Wildflower Center’s café and existing learning and research center. The distinction between these two programs was used as an inspiration for the building’s massing. From the path leading into the arboretum, a shallow, green roof emerges out of the ground and blends into the field of wildflowers surrounding it, thus leaving the nature free from obstruction. From the second path, the roof runs parallel to the trail and slowly reveals itself as the walker progresses along the path.

The natural responses of the building took inspiration from the intense study and mapping of the Aloe Minnie Belle succulents. In the same way that these succulents draw the water to one location for collection, the roof and ground slope shed water to a cistern that can be used to store precious rainwater. The massing of the site also shades itself from the harshest sun and creates outdoor seating in the shade.

The interior of the arboretum center continues a stepped terrace feature from the exterior and uses it to provide seating for a projection screen for the center’s educational films. Further into the space there is a sky-lit learning center, which is naturally ventilated through a soffit below the parasol roof structure.

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01. axial circulation

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02. wind considerations 03. solar shading 04. rainwater collection

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Final presentation ModelInitial study model

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Splinter:A luminaire prototype


Fall 2014

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Splinter:

A luminaire prototype


Fall 2014

Instructor: Keith Simon

Team: Asher Intebi, Gabi Campagna,

Shannon Bonn, & LeAnna Burgin

The purpose of this prototype is to create a luminaire that helps enhance conversational interactions at Austin, Texas’ dimly-lit Mozart’s Coffee Bar through an understanding of light-to-glare ratios, current wiring techniques, and lighting design.

Splinter is a fixture intended to rest upon work surfaces in order to provide adequate lighting conditions for working or conversation. Atop the translucent shell, wooden, triangulated screens are implemented to control the amount of light emitted. These screens allow light to only escape through the bent edges of the translucent plastic, thus reducing the amount of harsh light reaching users’ eyes. Beneath the wooden screens a reflective material is concealed; this material is used in order to effectively distribute light throughout the interior. Along the bottom edge of the fixture, there are no wooden screens or reflectors in place. This allows the light to fully penetrate through translucent plastic creating a brighter condition shining downward onto the work surface. Hexagonal steel bolts hold the layered assembly together and adding to the industrial aesthetic that the design is meant to emulate.

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Concept Sketch FinalDesign Development Fabrication Process

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Section

Elevation

Plan Photometric Curve:

Horizontal

Photometric Curve:

Vertical

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Materials intended for production

Materials used in prototype

8-32 1/2” zinc plated slotted indented hex

machine bolts

8-32 3/8” stainless steel flat hex bolts

3/16” pre-engineered birch ply sheets with 115

modern walnut wood stain

3/16” reclaimed walnut sheet with polyurethane exterior coating

0.030 polypropelene plastic sheet scored along

faces to prevent seams in edges

0.030 polypropelene plastic sheet molded to form

1/16” board with reflective aluminum foil tape on interior

1/16” plastic light reflectors facing interior

8-32 zinc plated coarse thread

hex nuts

8-32 stainless steel coarse

thread hex nuts

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Autorus

Design V

Fall 2014

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Autorus

Design V

Fall 2014

Instructor: Kory Bieg

Duration: 14 weeks

On display at the university

of Texas at Austin School of

Architecutre Technology Lab

This studio project functions as an experimental investigation of computer-aided modeling, the analog and digital relationship between physical fabrication and the computerized model, and the emerging philosophy of object-oriented ontology.

The project is staged in three parts. The first of these is an exploration of digital modeling, devoid of the constraining realities of gravity, structure, or inhabitation. Two forms were created from this stage and act symbiotically forming around each other. As both were derived from tori, the project name Autorus was given, literally meaning ‘originating from the torus’.

After the models were created digitally and constructed physically, the second stage was a reconstruction. The two models were then broken into pieces and re arranged in space to dictate new inter-object relationships and create a conversation about object-orientation theories. Once re-arranged and mounted, the objects were re-imaged back to the digital realm and thought of as a base for stage three, further growth. These forms are new derivations of the original creation process, now with new insight on digital fabrication. Ultimately, the project itself is one representation of its design process and future development.

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In order to begin the fabrication process, the digital model is first in need of slight reformation. The two forms are separated, sliced into bands of equal depth to the fiberboard used, and capped into fully-closed discs. These pieces are then annotated and logged with a corresponding location marker in order to expedite the process of assembly.

A cutting pattern for the 3-axis CNC routing machine is then designed from the modified form. In order to accommodate the double curving nature of the model, the MDF sheets are required to be routed on both the top and the bottom of each sheet. As a result, the template incorporates a precise series of connectors. These connectors are placed to minimize potentially unreachable machining shadow areas while still holding the pieces in place as the sheet is flipped.

Due to the precision required to flip the material and re-route on the other side, two placement jigs are additionally designed and installed on the router bed to fit the MDF sheets. In order to fully utilize the capable machining precision of the computerized router, the sheets are precisely trimmed prior to beginning the manufacturing process. Once routed, each sheet is flipped 180 degrees about the x-axis and routed again.

01.1 MODIFICATION

01.2 TEMPLATE

01.3 routing

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Once the five sheets are fully routed, hand tools are used to break the connectors and remove any noticeable deformations caused by the splints. After the pieces are individually processed, they are assembled in sections and heavily reinforced with 3/8” threaded steel rods. The rods are adhered using an industrial-grade, two-part epoxy surrounded by expanding cyanoacrylate adhesive wood glue.

The elements are sanded to remove router scars and covered in wood filler to fill gaps between pieces caused by the machining allowance. The forms are then sanded again to fully seal and smooth the exterior for painting. Once sanded up to 225-grit, the components are fully covered in an oil-based sealing primer. The components are subsequently sanded to a 320-grit polish and re-primed, a process that is repeated until the final elements are devoid of fabrication information.

01.5 Surfacing

01.4 assembly

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To begin the reorganization process, the pieces are measured to find the precise location of each of the breaks. This information is used to generate a mock-up file, in to produce plans, sections, and elevations of the final assembled arrangement prior to erection. A grid is drawn onto the base in order to properly orient the orthographic projections with the physical segments.

Once the pieces are ready to be assembled, the inner-most piece is carefully aligned into position and marked for support attachments. These markings are indicative of the attachment location, but not of the orientation. For this reason, a vertical drill press is prepared with a jig and used to precisely prep the holes for the mounts at exactly the same angle. Upon completion, each form is adjusted by tweaking the nut position vertically.

02.1 COMPOSITION

02.2 STRUCTURE

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By shifting between both analog and digital techniques, an inevitable discrepancy evolves between the original computerized design and the actual physical model. Given this expected error margin, a conversion back to digital precision is necessary. To accomplish this, the fully assembled model goes through a three-dimensional, non-contact digitizing system. During this process, it is rotated about a fixed origin while being scanned through both a series of lenses and infrared lasers to interpret the complex forms. The raw extracted data is then calibrated using a precise world origin and stitched together into one object. Upon completion, the model is precisely imaged as a digital replica of its exact physical form. This analog-to-digital conversation not only embodies the project’s thesis, but also is crucial in allowing for further expansion and growth.

02.3 Re-imaging

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The re-imaged model is modified to include section cuts taken less than .01” inside the physical cuts of the model. These section cuts give a precise perimeter from which the form creation follows. This process is verified by tracing the caps by hand and scanning the results overlaid with the digital model. The resulting perimeter is used to create a line primitive with evenly-spaced points along its curve.

First the perimeter, curves are edited into points with linear connections to minimize excess segmentation during the modeling process. These pieces are extruded, sculpted, and then smoothed. Once a form is developed, a skin topology was applied to the geometry to fragment the surface.

The form is then re-converted to an editable polygonal shape and decreased to a maximum polygon size of 3 sides. This process is crucial in the evolution of the forms, as this triangulation is what ultimately allows for the surface pattern to exist as it does. A shell modifier was added to create depth to the model. Lastly, a final turbo-smooth modifier is applied to smooth the final existing geometries.

03.1 SUPERIMPOSITION

03.2 FORMATION

03.3 PATTERNING

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The processes outlined in Stage 3 are then repeated on multiple faces of the existing geometries. A catalog of forms are made and only some are selectively chosen to move into production. This process is based on adherence to the production guidelines and overall benefits to the existing composition.

Each attachment was 3D-printed in a strong and flexible PA 2200 plastic. This process is done subtractively, beginning with a full printing bed of Nylon powder and allowing the laser to pinpoint exact coordinates to melt and harden. Once this process is complete, the pieces are excavated from the tray and polished down to remove any lines or indications of the printing process. The final product has an accuracy of about 0.006”.

The final growths are then adapted to adhere to the model. This process begins with carefully coating the edges of the pieces with an all-purpose adhesive. The adhesive is able to absorb into the grain of the prints and seal all of the pores into a solid unit. As a result, the sealed edge is then easily attached to the base model using cyanoacrylate adhesive for strength.

03.6 ATTACHMENT

03.4 REPLICATION

03.5 PRODUCTION

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Mixed-use development

Design IV

Spring 2014

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Mapping:South Lamar, Austin

Design IV

Spring 2014

Instructor: Sarah Gamble

Duration: 2 Weeks

As a means of site exploration and place investigation, two graphic maps were created, which filter varying types of analytics in such a way as to inform two new conversations: Locality shown with Place Identification and Wealth as compared to Density.

Local Retail sites and their

associated street intersections

Through fieldwork probing the inhabitants of the local retail shops, it was determined that most people determine the locality of a retailer by the number of other locations and the proximity of the subsequent location to the original. For example, a shop with no other locations would be more local than one with an international corporate franchise. From this, a scale was created to calculate the degrees of locality. The retail locations were asked to identify the street intersection with which they associate. This information is overlaid to show that many of the truly “local” sites prefer to identify on similar intersections, regardless of which intersection is closest.

Wealth and Density

This map gives insight as to how densely the inhabitants are living, in terms of housing units per square mile, overlaid with household income. These factors together give an indication of which areas are the most geographically desirable, and how the people of South Lamar inhabit the corridor.

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Frameworks:South Lamar, Austin

Design IV

Spring 2014


Team: Asher Intebi, Diana Atvars,

Rossina Ojeda, & Alena Savera

After analyzing the corridor individually through mapping, teams were formed to create

urban development strategies for this stretch of South Lamar.

A 12-foot long site model was constructed to house

diagrammatic building-envelope proposals from each team. The

basis of the proposal was to form social hubs. These hubs

would be the collective stopping points for the different modes of transportation and as such

turn into gathering points for both tourists and locals. These hubs were planned around the

intersections with which most retail stores identified, as well

as their proximity to each other. In addition, a full list of building

codes was developed to dictate future construction along the corridor. These included land

cover restrictions, easements, public space requirements, and

height restrictions. Ultimately, these codes were diagrammed

in a new mapping exercise and used to regulate the urban

housing design along the corridor.

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Mixed-use housing development

Design IV

Spring 2014


Duration: 6 Weeks

By constantly shifting lenses between a macro, corridor-planning view and a micro, interior design perspective, this mixed-use development engaged the site on many different fronts.

To begin this project, a broad look at its site allowed the development to enhance its massing arrangement with its surroundings. Through fieldwork, diagramming, research, and planning, a holistic contextual view proved that there was a strong need for public space. This lead to the idea of creating a public amphitheater tucked into the building envelope in order to connect the character of the site with the inhabitants. To further address this, the front of the site was lined with space for food trailers and an eating area. Next, the design was analyzed at a more detailed design level. The amphitheater became coupled with a rental speaker and show light facility on the ground level of the development, and a lobby for the housing developments with backstage views. A screen was added to filter views and sound from the housing units down into the amphitheater. Next, the development was further detailed with individual unit plans and attention to building regulations and standards. By shifting scopes from large city scale to small unit scale, the development was able to create a conversation between the occupants, the individual units, the development, the site, the corridor, and the city.

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Massing Proposal FinalProcess Iterations

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Longitudinal Section

Latitudinal Section

Site with proposal massingExisting site with zoning

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SIte PLan Floor Plan

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South Congress Pool

Design III

Fall 2013

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South Congress Pool

Design III

Fall 2013

Instructor: Judy Birdsong

Duration: 3 weeks

Team: Asher Intebi & Hattie Sherman

As an intervention into a narrow, existing thrift shop along the busy South Congress strip in Austin, Texas, this design incorporates an inventive new program as an elegant and legible revitalization of a deteriorating existing shell.

This renovation began with a desire to maintain as much of the existing historic exterior as possible. To achieve this, all four walls were kept intact with just a few small openings expanded to be more inviting to the South Congress and neighborhood sides. The initial parti of the building was inspired by Austin’s Balcones Fault, which famously created the popular Barton Springs swimming hole. This concept drove the design of the South Congress Pool. By paralleling the pool design with a famous Austin landmark, a relationship was established between Austin’s man-made splendor and its natural beauty. Representing the fault line with a stacked and frosted glass furthered this relationship by allowing natural light to illuminate the pool and penetrate the interior during the daytime and artificial light to reciprocate from the interior into the pool in the evening.

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Lower level plan

Upper level plan

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MITO

Advanced Design: Paris

Fall 2015

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MITO

Advanced Design: Paris

Fall 2015

Instructors: Igor Siddiqui, John Blood,

Danilo selb-Udvicki, Gaelle Brennan, &

Jean Francois Arnaud

Duration: 8 weeks

Team: Asher Intebi, Taylor King, Lise

Delcroix, & Stephanie Ravillion

Produced During Residence at

L’Ecole Nationale SupErieure

d’Architecture de Paris-Belleville

Produced as a collaboration studio with students from the l’École Nationale Supérieure d’Architecture de Paris-Belleville, MITO evolved from an ongoing discussion of dense living and an exploration of mixed-programmatic design.

Located in the ZAC Clichy-Batignolles in the 17th arrondissement of Paris, France, the site is undergoing major revitalization. Social housing and public parks are filling the formerly undesirable land adjacent to the sunken railway platform that bifurcates northern Paris. The prompt demanded close to 60,000 square meters of a quite diverse mixture of programs, including education, housing, workplace, recreational sports, public retail, and parking. The high diversity of programs and reinvigoration of natural landscapes in the encompassing ZAC lead the team to consider the diverse symbiotic nature of plant ecology and how these principles can serve as design influences to architecture and urban living. In this way, the team/project equates architectural merit to systemic survival. With this in mind, we determined new development on the site must be produced to engage symbiotic compatibilities of program, to transform yet conform to our Parisian environment, and to afford adaptation and flexibility of spaces.

This ecological lens forced the team to reconsider urban architecture and our perception of flexible design. Perhaps most striking influence was a microscopic image of tree leaf cells reproducing through mitosis, from which the project was named. These cells were contained in equal, rectangular areas and had irregular nuclei that could expand and contract within these boundaries as necessary for its growth. The team saw this concept as an opportunity to think of buildings as a set of regular forms, which maximize efficiency on an urban scale, with irregular central voids that allow the building to take space when necessary for the units. This content/container study inspired the individual unit layouts as well.

In addition, a critical part of the project was a unifying facade system that would be cohesive between buildings yet still unique for the distinct programs. The solution was a double-layer facade with a glass exterior and an opaque, wooden interior. This duality allowed the skin to operate specifically for the distinctive programs on the site. For the offices, the interior skin panels rotated, providing occupants the ability to control light, while the temperature is regulated by a building-wide system. Conversely, the residential application had fixed interior panels and operable exterior glazing to allow individuality in the units and controllable, natural ventilation through the housing.

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The interior housing facade contours to the shape of the void with small punch openings to serve the service functions of the program. Translucent glass maintains privacy within these intimate housing spaces.

The interior facade for the office spaces are fully glazed to completely utilize the light given by the internal void. This allows the natural daylight to reach fully into the open-plan office spaces and provides views to the vegetated courtyard.

A glazed interior facade for the school program helps to naturally light the circulation spaces between the classrooms. It also provides views to the activity and vegetation of the private courtyard which contains the schools’ break functions.

Education: Interior Facade

Housing: Interior Facade

Office: Interior Facade

The exterior facade panels pivot on center to allow the inhabitants

to control the climate within the individual units. A fixed, internal layer pairs with this, to add consistency to

the appearance and privacy for the occupants.

To adapt to the differentiation of program, the facade operation

changes to fit the unique circumstances. For the office, the

exterior glazing remains fixed to keep consistency within the interior climate,

while the inner lining of louvers is operable to allow the user to control

light quality.

The exterior facade of the school responds to the unique necessities

of an education program. While natural light and views are essential to productive spaces, privacy and security are foremost necessities. For this reason, the facade design

matches the modulation of the other programs yet maintains opacity and

privacy.

Education: Exterior Facade

Housing: Exterior Facade

Office: Exterior Facade

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SIte Section

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SIte PLan

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Asher Samuel Intebi

2807 Rio Grande Street

Austin, TX 78705

[email protected]

214-601-5780

Portfolio:http://issuu.com/asherintebi

Linkedin:http://linkedin.com/in/asherintebi

Education

The University of Texas AT Austin

School of ArchitectureBachelor of Architecture, May 2017McCombs School of BusinessBusiness Foundations Program

Architectural Skills

AnalogBoard drafting, sketching, watercolor, variety of woodshop equipment, and baby press.DigitalAutodesk Revit, AutoCAD, AutoCAD Architecture, & Impression, 3DS Max, Bentley Systems’ MicroStation, Google Sketch-Up, Rhinoceros 5, iWork, Microsoft Office, Bluebeam revu, and Adobe CS6 Photoshop, Illustrator, InDesign & Acrobat.FabricationC.N.C. routing, laser cutting, 3D-scanning, and 3D-printing

Relevant Experience

Architectural Intern at CORGAN ASSOCIATES - Dallas, Texas (Summer 2015)Prepared schematic design and design development documents with the Aviation Studio for a large scale addition to Dallas Love Field Airport, utilizing mainly in Revit, 3DS Max, and Bluebeam Revu.Architecture Assistant at Wendy Williamson Design - Austin, Texas (2014-2015)Coordinated with clients, contractors, and architects to make construction documents, design layouts, and presentation renderings.Design Consultant at Haven Blue Development - Austin, Texas (2014-2015)Used a variety of analog and digital techniques to render images for publication of existing and future developments.Student assistant - university of Texas school of architecture - Austin, Texas (2014-2015)Assisted the Undergraduate Program Office with admissions, academic advising, prospective and new student seminars, and organization event planning.Specialist At Camp Laurel South - Casco, Maine (2013)Created and lead programs for a coed, overnight summer camp and supervised a 10-man cabin.Intern AT GMW/Architect - Plano, Texas (2011-2012)Assisted a local architect on site visits and processed red-lines to gain an introductory knowledge in the field of architecture.

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Academic Honors and Achievements

Sound Building with Distinction (Spring 2015)

Student Representative - undergraduate curricula committee (Fall 2014 - Present)One of two undergraduate students appointed to be a voting member in decisions effecting undergraduate programs.DEAN’S AMBASSADOR - the University of Texas, SCHOOL OF ARCHITECTURE (SPRING 2013 - Present)Faculty-nominated undergraduate student representative to speak at school functions, give tours of the School of Architecture, and share experiences about the program, the school, and Austin with prospective students and potential donors.Mentor - UNDERGRADUATE ARCHITECTURE STUDENT COUNCIL (SPRING 2013)Selected to be paired with first-year undergraduate students to help assimilate them into the school and greater campus community.University Honors (Fall 2013, Fall 2014, spring 2015)

Dallas Construction Specifications Institute Scholarship Recipient (2015-2016)

Architexas endowed Scholarship recipient (2015-2016)

Alpha Lambda Delta and Phi Eta Sigma Honors Societies (Fall 2012)

Leadership

Alpha Epsilon Pi Fraternity, Texas Gamma Deuteron Chapter

President (Spring 2014 - Spring 2015)Oversaw all Executive Board officers, Minor Board positions, and committees. Presided over all meetings and administered the entire yearly operational budget of over $300,000.House Manager (Fall 2013 - Fall 2014)Responsible for the administration of all chapter property, including managing employees, budgeting $100,000 towards a $4,000,000 property, scheduling and negotiating service agreements with outside contractors, and communication with Housing Board and the National Fraternity.

President of FADE: Future Architects Designers and Engineers Club (2011-2012)Chosen from six candidates to coordinate events, competitions, and meetings.

Language ProficienciesIntermediate knowledge of Spanish

Architecture Portfolio

Documents

Transcript of Architecture Portfolio