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2020 Student Thesis Showcase - Part I

Have you ever wondered what students design in architecture school? A few years ago, we started an Instagram account called IMADETHAT_ to curate student work from across North America. Now, we have nearly 3,000 projects featured for you to view. In this series, we are featuring thesis projects of recent graduates to give you a glimpse into what architecture students create while in school. Each week, for the rest of the summer, we will be curating five projects that highlight unique aspects of design. In this week’s group, the research ranges from urban scale designs focused on climate change to a proposal for a new type of collective housing and so much in between. Check back each week for new projects. 

In the meantime, Archinect has also created a series featuring the work of 2020 graduates in architecture and design programs. Check out the full list, here .

Redefining the Gradient by Kate Katz and Ryan Shaaban, Tulane University, M.Arch ‘20

Thesis Advisors: Cordula Roser Gray and Ammar Eloueini / Course: 01-SP20-Thesis Studio

Sea level rise has become a major concern for coastal cities due to the economic and cultural importance tied to their proximity to water. These cities have sustained their livelihood in low-lying elevations through the process of filling, bridging, and raising land over coastal ecosystems, replacing their ecological value with infrastructures focused on defining the edge between city and nature. Hard infrastructures have been employed to maintain urban landscapes but have minimal capacity for both human and non-human engagement due to their monofunctional applications focused on separating conditions rather than integrating them. They produce short-term gains with long-term consequences, replacing and restricting ecosystems and acting as physical barriers in a context defined by seasonal transition. 

To address the issues of hard infrastructure and sea level rise, this thesis proposes an alternative design strategy that incorporates the dynamic water system into the urban grid network. San Francisco was chosen as the location of study as it is a peninsula where a majority of the predicted inundation occurs on the eastern bayside. In this estuary, there were over 500 acres of ecologically rich tidal marshlands that were filled in during the late 1800s. To protect these new lands, the Embarcadero Sea Wall was built in 1916 and is now in a state of neglect. The city has set aside $5 billion for repairs but, instead of pouring more money into a broken system, we propose an investment in new multi-functional ecologically-responsive strategies. 

As sea levels rise, the city will be inundated with water, creating the opportunity to develop a new circulation system that maintains accessibility throughout areas located in the flood zone. In this proposal, we’ve designed a connective network where instance moments become moments of pause and relief to enjoy the new cityscape in a dynamic maritime district. 

On the lower level, paths widen to become plazas while on the upper level, they become breakout destinations which can connect to certain occupiable rooftops that are given to the public realm. The bases of carved canals become seeding grounds for plants and aquatic life as the water level rises over time. Buildings can protect high-risk floors through floodproofing and structural encasement combined with adaptive floorplates to maintain the use of lower levels. The floating walkway is composed of modular units that are buoyant, allowing the pedestrian paths to conform and fluctuate with diurnal tidal changes. The composition of the units creates street furniture and apertures to engage with the ecologies below while enabling a once restricted landscape of wetlands to take place within the city. 

The new vision of the public realm in this waterfront district hopes to shine an optimistic light on how we can live with nature once again as we deal with the consequences of climate change.

Unearthing the Black Aesthetic by Demar Matthews, Woodbury University, M.Arch ‘20

Advisor: Ryan Tyler Martinez Featured on Archinect

“Unearthing The Black Aesthetic” highlights South Central Los Angeles’s (or Black Los Angeles’s) unique positioning as a dynamic hub of Black culture and creativity. South Central is the densest population of African Americans west of the Mississippi. While every historically Black neighborhood in Los Angeles has experienced displacement, the neighborhood of Watts was hit particularly hard. As more and more Black Angelenos are forced for one reason or another to relocate, we are losing our history and connection to Los Angeles.

As a way to fight this gentrification, we are developing an architectural language derived from Black culture. So many cultures have their own architectural styles based on values, goals, morals, and customs shared by their society. When these cultures have relocated to America, to keep their culture and values intact, they bought land and built in the image of their homelands. That is not true for Black people in America. In fact, until 1968, Black people had no rights to own property in Los Angeles. While others began a race to acquire land in 1492, building homes and communities in their image, we started running 476 years after the race began. What percentage of land was left for Blacks to acquire? How then can we advance the development of a Black aesthetic in architecture?

This project, most importantly, is a collaboration with the community that will be for us and by us. My goal is to take control of our image in architecture; to elevate, not denigrate, Black life and culture. Ultimately, we envision repeating this process in nine historically Black cities in America to develop an architectural language that will vary based on the history and specificities of Black culture in each area.

KILLING IT: The Life and Death of Great American Cities by Amanda Golemba, University of Wisconsin-Milwaukee, M.Arch ’20

Advisors: Nikole Bouchard, Jasmine Benyamin, and Erik Hancock / Independent Design Thesis

For decades, post-industrial cities throughout the United States have been quietly erased through self-imposed tabula rasa demolition. If considered at all, demolition is touted as the mechanism for removing unsightly blight, promoting safety, and discarding the obsolete and the unwanted. Once deemed unworthy, rarely does a building survive the threat of demolition. 

In the last decade, the City of Chicago has erased over 13,000 buildings with 225 in just the last four months. Not only does this mass erasure eradicate the material and the spatial, but it permanently wipes the remnants of human bodies, values, and history — a complete annulment of event, time, and memory. 

But why do we feel the need to erase in order to make progress?

Our current path has led to a built environment that is becoming more and more uniform and sterile. Much of America has become standardized, mixed-use developments; neighborhoods of cookie-cutter homes and the excessive use of synthetic, toxic building materials. A uniform world is a boring one that has little room for creativity, individuality, or authenticity.

This thesis, “KILLING IT,” is a design proposal for a traveling exhibition that seeks to change perceptions of the existing city fabric by visualizing patterns of erasure, questioning the resultant implications and effects of that erasure, and proposing an alternative fate. “KILLING IT” confronts the inherently violent aspects of architecture and explores that violence through the intentionally jarring, uncomfortable, and absurd analogy of murder. This analogy is a lens through which to trace the violent, intentional, and premature ending and sterilization of the existing built environment. After all, as Bernard Tschumi said, “To really appreciate architecture, you may even need to commit a murder.”1 But murder is not just about the events that take place within a building, it is also the material reality of the building itself. 

Over the life of a building, scarring, moments in time, and decay layer to create an inhabitable palimpsest of memory. This traveling exhibition is infused with the palimpsest concept by investigating strategies of layering, modularity, flexibility, transparency, and building remains, while layering them together to form a system that operates as an inhabitable core model collage. Each individual exhibition simultaneously memorializes the violence that happened at that particular site and implements murderous adaptive reuse strategies through collage and salvage material to expose what could have been.

If we continue down our current path, we will only continue to make the same mistakes and achieve the same monotonous, sterilizing results we currently see in every American city and suburb. We need to embrace a new path that values authenticity, celebrates the scars and traces of the past, and carries memories into the future. By reimaging what death can mean and addressing cycles of violence, “KILLING IT” proposes an optimistic vision for the future of American cities. 

• Tschumi, Bernard. “Questions of space: lectures on architecture” (ed. 1990)

A New Prototype for Collective Housing by Juan Acosta and Gable Bostic, University of Texas at Austin, M.Arch ‘20

Advisor: Martin Haettasch / Course: Integrative Design Studio Read more: https://soa.utexas.edu/work/new-prototype-collective-housing

Austin is a city that faces extreme housing pressures. This problem is framed almost exclusively in terms of supply and demand, and the related question of affordability. For architects, however, a more productive question is: Will this new quantity produce a new quality of housing? 

How do we live in the city, how do we create individual and collective identity through architecture, and what are the urban consequences? This studio investigates new urban housing types, smaller than an apartment block yet larger and denser than a detached house. Critically assessing existing typologies, we ask the question: How can the comforts of the individual house be reconfigured to form new types of residential urban fabric beyond the entropy of tract housing or the formulaic denominator of “mixed-use.” The nature of the integrative design studio allowed for the testing of material systems and construction techniques that have long had an important economic and ecological impact.

“A New Prototype for Collective Housing” addresses collectivity in both a formal and social sense, existing between the commercial and residential scales present in Austin’s St. John neighborhood as it straddles the I-35 corridor; a normative American condition. A diversity of programs, and multigenerational living, create an inherently diverse community. Additionally, a courtyard typology is used to negotiate the spectrum of private and shared space. Volumes, comprising multiple housing units ranging from studio apartments to four bedrooms, penetrate a commercial plinth that circulates both residents and mechanical systems. The use of heavy timber ensures an equitable use of resources while imbuing the project with a familiar material character.

ELSEWHERE, OR ELSE WHERE? by Brenda (Bz) Zhang, University of California at Berkeley, M.Arch ’20

Advisors: Andrew Atwood and Neyran Turan See more: https://www.brendazhang.com/#/elsewhere-or-else-where/

“ELSEWHERE, OR ELSE WHERE?” is an architectural fever dream about the San Francisco Bay Area. Beginning with the premise that two common ideas of Place—Home and Elsewhere—are no longer useful, the project wonders how disciplinary tools of architecture can be used to shape new stories about where we are.

For our purposes, “Home,” although primarily used to describe a place of domestic habitation, is also referring generally to a “familiar or usual setting,” as in home-base, home-court, home-page, and even home-button. As a counterpoint, Elsewhere shifts our attention “in or to another place,” away. This thesis is situated both in the literal spaces of Elsewhere and Home (landfills, houses, wilderness, base camps, wastelands, hometowns) and in their culturally constructed space (value-embedded narratives determining whether something belongs, and to whom). Since we construct both narratives through principles of exclusion, Elsewhere is a lot closer to Home than we say. These hybrid spaces—domestic and industrial, urban and hinterland, natural and built—are investigated as found conditions of the Anthropocene and potential sites for new understandings of Place.

Ultimately, this thesis attempts to challenge conventional notions of what architects could do with our existing skill sets, just by shifting our attention—Elsewhere. The sites shown here and the concerns they represent undeniably exist, but because of the ways Western architecture draws thick boundaries between and around them, they resist architectural focus—to our detriment.

In reworking the physical and cultural constructions of Homes and Elsewheres, architects are uniquely positioned to go beyond diagnostics in visualizing and designing how, where, and why we build. While this project looks specifically at two particular stories we tell about where we are, the overall objective is to provoke new approaches to how we construct Place—both physically and culturally—within or without our discipline.

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Guide To Undergraduate Architecture Portfolio’s For University

• Updated: February 16, 2024

Many students interested in applying to architecture school often come up with various excuses for why they haven’t started working on their portfolio yet.

These excuses, such as “I’ll start after school is over, I need to take a vacation first,” or “How do I make an architecture portfolio with no experience?” can lead to procrastination and a lack of focus on preparing for the competitive admissions process.

As in reality, applying to architecture school requires a significant amount of time and dedication, often requiring applicants to (temporarily!) take a break from social activities and other commitments.

Those who are able to make the commitment to this level of dedication and focus tend to be more successful in the admissions process. If you are not yet ready to make this level of commitment, it may not be the right time for you to pursue architecture school.

However, if you are committed to putting in the necessary work to become a successful architecture school applicant, it is important to manage your time effectively and make the most of it.

…and so in this article we aim to provide a breakdown on how to create a successful undergraduate architecture portfolio that gets you through the administration process and into architecture school.

The Architecture Portfolio Kit

Have confidence in any interview - when it comes to presenting your abilities, everything needs to be working together.

How to create an undergraduate architecture portfolio for university

Why do you need to create an undergraduate portfolio? Well, there are several reasons why you might need to create one:

• To showcase your skills and experience : A portfolio is a way to showcase your skills and experience as an architecture student. It allows you to present your best work in a visually appealing and organized way.
• To demonstrate your potential as an architect : An undergraduate architecture portfolio can help you demonstrate your potential as an architect to potential employers or academic programs. It can give them a sense of your design style and abilities, as well as your ability to communicate and present your work effectively.
• To document your progress and achievements : An architecture portfolio is also a way to document your progress and achievements as a student. It allows you to reflect on your growth and development as an architect and can be a valuable resource for future job searches or academic applications.
• To prepare for the admissions process : If you are planning to apply to graduate school or a professional architecture program, an undergraduate portfolio can be a helpful tool in the admissions process. It allows you to showcase your work and demonstrate your potential as an architect to admissions committees.

While a portfolio is not always a requirement for applying to undergraduate architecture programs, there are situations in which applicants may be asked to submit one regardless as part of the admissions process:

• If the applicant is transferring credits and seeking advanced placement.
• If the applicant does not meet the minimum GPA requirements for the program.

In the points that follow, we aim to walk you through the necessary steps for creating a successful undergraduate architecture portfolio for university, and discuss how to select and organize your work, add context, design a layout, and create both a physical and digital versions.

Through following these, we hope you can create a body of work that is both effective in showcasing your abilities and helps you to stand out in the competitive administration process of applying to architecture school.

01 – University Specific Requirements

To begin with, it’s best to assume there’s no two architecture schools that will evaluate your portfolio in the same way. Always contact the coordination of the specific program you are going to apply to be sure what their requirements are.

You can see examples of these requirements Cornell here , USC here and SOA here . That being said, there are some rules of thumb you could follow.

Architecture school admissions usually require you to demonstrate a vocation for creative and artistic skills, so anything ranging from freehand drawings to woodcraft should be emphasized.

If you are applying for graduate architecture school from a different field, don’t worry. You can (and should) highlight the ways in which your interests and acquired knowledge relate to architecture.

Architecture schools are looking for a diverse range of examples of your skills and talents – including work that demonstrates your understanding of three-dimensional form and your use of mixed media.

You’re encouraged to select work that represents your strongest skills, which may include freehand drawings, paintings, ceramics, textiles, photography, animation, etc. These want to contribute in providing:

• Evidence of design skills and potential : Architecture schools want to see evidence of your design skills and potential as an architect. This should include work that showcases your artistic ability and creativity.
• Demonstration of your design process : It is also important to demonstrate your design process, from the beginning to the end of a project. This may include concept sketches, diagrams, models, and other documentation of your thought process.
• Understanding of form and space : Architecture schools want to see that you have a strong understanding of form and space and how to use them effectively in your design work.
• Ability to observe and record : It is important to demonstrate your ability to observe and record the world around you through drawings, sketches, or other media. This may include observational drawings, life drawings, still life drawings, or urban/rural landscapes.
• Use of mixed media : Architecture schools may also be interested in seeing how you use mixed media in your work, such as digital media, photography, or other mediums.

Some students prior to starting architecture school will attend a foundation year or diploma course in art and design. This may be because they are unsure of what direction to take or just want to gain some extra skills and experience before starting.

This does however make their portfolios slightly more advanced and directed towards the subject, in both the content and the portfolios presentation.

Although highly recommended, on average most students do not do this, and instead continue straight through to architecture school without taking any sort of supplementary course.

02 – Early Research and Preparation

Embarking on the journey to compile an undergraduate architecture portfolio is not just about showcasing your creativity and design skills; it’s about telling your personal story and demonstrating your potential to thrive in the architectural field.

One of the cornerstone strategies to ensure your portfolio stands out is engaging in thorough early research and preparation.

This proactive approach involves more than just gathering your best work; it’s about immersing yourself in the architectural community and gaining insights that can significantly influence your portfolio’s direction and substance.

Attending Graduate Show s

Graduate shows are invaluable resources for prospective architecture students. These events offer a glimpse into the caliber of work produced by current students, reflecting the standards and expectations of the institution.

By attending these showcases, you not only gather inspiration for your own portfolio but also gain an understanding of the diverse approaches to architectural problems and the innovative solutions being explored.

It’s an opportunity to see firsthand the culmination of years of study and to envision how your own work might evolve.

Engaging with Current Students and Faculty

Direct interaction with current students and faculty can provide you with insights that are not available through any other source. These conversations can reveal the nuances of the program’s culture, the types of projects that resonate with the faculty, and the personal growth experiences of the students.

Current students can offer advice on how to structure your portfolio to highlight your strengths and how to navigate the challenges of the application process.

Faculty members can provide guidance on what they look for in a prospective student’s portfolio and tips on how to demonstrate your potential as an architect.

The Role of Research in Portfolio Development

Early research plays a pivotal role in shaping your portfolio. It informs you of the latest trends in architecture, introduces you to new techniques and materials, and helps you identify your unique voice as a designer.

This foundational work allows you to curate a portfolio that not only meets the formal requirements of your chosen universities but also resonates with the personal and academic aspirations of the admissions committee.

Preparation

The preparation phase is critical for refining your portfolio. It’s a time for self-reflection, to reassess your work, and to ensure that each piece included serves a purpose in narrating your architectural journey.

Preparation involves not just the selection of projects but also the development of a coherent narrative that binds your work together. This narrative should clearly articulate your interests, your design philosophy, and your aspirations within the field of architecture.

03 – Purpose Clarification

Before you start creating the content for your portfolio, take some time to write your mission statement. This will help you clarify what makes you unique and what you want to achieve as a designer.

Your mission statement should not be the same as your personal statement for your architecture school application, but it should provide a structure for your portfolio and help you focus your efforts.

To develop your mission statement, think about your overall background and life experiences and try to summarize them in a few simple, easy-to-understand ideas. This will give you a starting point for creating your portfolio and help you focus your efforts.

Remember, your mission statement is like a script for a play and should provide a structure for your portfolio, but it is not necessary to stick to it strictly all the time. As long as it provides a good starting point, you can begin developing your portfolio.

04 – What should be included in an architectural portfolio?

When assembling an undergraduate portfolio, one of the most impactful ways to distinguish yourself is through the inclusion of both independent and professional work.

This blend not only showcases your technical skills and creative vision but also highlights your initiative, diverse interests, and real-world experience in the field of architecture and related disciplines.

Showcasing Independent Projects

Independent projects are those personal endeavors undertaken out of pure passion, curiosity, or self-improvement. They can range from experimental designs, conceptual drawings, and innovative models to interdisciplinary artworks that blend architecture with other forms of creative expression.

These projects are invaluable in a portfolio because they offer admissions committees a window into your creative soul, revealing how you think, design, and innovate outside of structured academic assignments.

Independent work allows you to demonstrate your ability to self-direct, research, and bring unique ideas to fruition. It’s an opportunity to highlight personal themes or issues you’re passionate about, showcasing not just your design skills but your values and what drives you as a future architect.

This personal touch can make your portfolio not just a collection of projects but a narrative of your creative journey.

Incorporating Professional Work

Professional work, on the other hand, includes any experience gained through internships, part-time jobs, or volunteer positions in architectural firms or related industries.

It can also encompass freelance projects or collaborations with practicing architects and designers. Including professional work in your portfolio serves multiple purposes.

It provides tangible proof of your ability to apply academic knowledge in real-world settings, work collaboratively within a professional team, and navigate the practical challenges of architectural projects.

Professional experiences enrich your portfolio by adding a layer of practicality to your academic and independent projects.

They demonstrate that you have been exposed to the realities of the profession, including client interactions, project management, and the iterative process of design development, feedback, and revision.

This experience signals to admissions committees that you have a realistic understanding of the profession and are prepared for the rigors of architectural education and practice.

Balancing Your Portfolio with Independent and Professional Work

The key to effectively incorporating independent and professional work into your portfolio is balance. While independent projects showcase your creativity and personal interests, professional work demonstrates your practical skills and understanding of the architectural profession.

Together, they present a well-rounded picture of you as a candidate, highlighting your readiness for both the academic challenges and the professional opportunities that lie ahead in architecture school and beyond.

Ensure that each project included in your portfolio, whether independent or professional, is presented with clarity and purpose. Describe the context, your role, the challenges faced, and the solutions you devised or contributed to.

This narrative will not only illustrate the depth of your experience but also your ability to reflect on and learn from your work.

05 – Highlight Your Strengths

As you begin to develop your portfolio, ask yourself questions about your design process and how you approach design problems.

For example, do you observe patterns of behavior and form in communities and individuals? Do you tend to focus more on aesthetics or on the rational aspects of a design problem?

Do you analyze the behavior of the people who will use your designs? How do these approaches inform your life and your work as an architecture student?

It’s important to be methodical and authentic in answering these questions and integrating your unique strengths and perspective into everything you submit, from architectural sketches to models.

Remember to focus on what makes you a special and unique architecture school applicant and how you can demonstrate this in your portfolio.

06 – Format and Technical Guidelines for Digital Portfolio Submission

Creating a digital portfolio for your architecture school application involves more than just compiling your best work; it requires careful consideration of format, structure, and presentation to ensure your portfolio is both impactful and accessible.

Below, we highlight the technical guidelines that will help you prepare a digital PDF portfolio tailored for optimal viewing by admissions committees.

File Naming Convention

Start with a clear and professional file naming convention. Your file name should include your full name, the term “architecture portfolio,” and the year of application. For example, “JaneDoe_ArchitecturePortfolio_2024.pdf.”

This ensures that your portfolio is easily identifiable and can be associated with your application.

Orientation and Size

Choose an orientation (landscape or portrait) that best showcases your work. Landscape is often preferred for digital portfolios because it aligns well with computer screen dimensions, providing a more immersive viewing experience. However, the best orientation ultimately depends on how your work is best displayed.

For size, standard A4 or A3 formats are recommended, as they are familiar and easily printable for reviewers who prefer a physical copy. Keep the file size manageable, ideally under 10MB, to facilitate easy emailing and downloading.

Compress images and documents where possible without significantly compromising quality.

Structure and Layout

Your portfolio should have a clear and logical structure. Begin with a cover page that includes your name and contact information, followed by a table of contents. Organize your work in a coherent order, whether it’s chronological, thematic, or by project complexity.

Consistency in layout from page to page is key; a uniform margin, header, and footer can unify the presentation.

Consider dedicating a single page or spread (two facing pages) to each project to give each piece of work space to breathe. Allow for white or negative space around images and text to prevent the portfolio from feeling cluttered.

This space can also help draw attention to the details of your work.

Text and Fonts

Minimize the use of text to ensure your work stands at the forefront. When text is necessary, such as for project titles, descriptions, or your CV at the end, choose a clean, readable font. Stick to one or two fonts throughout your portfolio for a cohesive look.

Font size should be large enough to be readable on screen and in print, typically no smaller than 10 points for body text.

Image Quality

High-quality images are crucial for a professional-looking portfolio. Ensure that scans and photographs of your work are clear, well-lit, and free from distractions. When scanning drawings or physical models, use a high resolution to capture details, but be mindful of the overall file size.

Digital projects should be represented with crisp screenshots or renders.

Review and Feedback

Before finalizing your portfolio, solicit feedback from peers, mentors, or professionals in the field. Fresh eyes can offer valuable insights on both the content and presentation of your work.

Additionally, review your portfolio on different devices and screens to ensure it looks good on both large monitors and smaller screens, like tablets.

06 – Customize for Fit

The goal of an architecture school portfolio is to show that you are a perfect fit for the program, but also very different from other applicants. Striking this balance is key to a successful portfolio.

To increase your chances of being accepted to a particular architecture school, try to tailor your portfolio to the specific program and its philosophical foundation.

While it may not be feasible to create a completely different portfolio for each school you apply to, you can make minor adjustments or vary certain projects to align with the mission and values of each program.

However, the main body of your portfolio should remain consistent to allow for refinement and improvement.

Remember, it is important to reflect the mission of the architecture school in your portfolio, but also to highlight your differences from other applicants. This will help you stand out in a competitive admissions process.

07 – Narrative Approach

One of the challenges facing applicants to architecture school is that they cannot be present to present their portfolio in person. This means that the projects in the portfolio may be misinterpreted or undervalued due to a lack of proper presentation and context.

In an interview or studio critique, the creator of the project is able to provide a detailed explanation and answer any questions from the reviewer.

However, in the case of a portfolio for architecture school admissions, the applicant must rely on the design and development process of each project to effectively communicate their ideas and anticipate the questions of the reviewer.

This is why it’s important for architecture school applicants to view their portfolio as a project in itself and put effort into presenting it in a cohesive and engaging way.

One effective way to do this is by using the portfolio as a storytelling device . Telling a story about the development of the ideas behind a project can be more memorable for the reviewer than simply listing technical and programmatic details.

The portfolio should include sketches, diagrams, and text that take the reviewer through the process step by step, leading to the final concept.

To create a cohesive portfolio, it’s important to ensure that each project has its own character and that they all fit under an umbrella theme.

This allows the applicant to cover a range of topics while still effectively communicating the most essential information to the reviewer through the overall story of the portfolio.

The quality of the story also depends on factors such as narrative, strategy, mission, graphics, layout, and organization. By focusing on these elements, the applicant can improve the cohesiveness of their portfolio as a whole.

07 – Portfolio Organization and Narrative

Essential to crafting an effective portfolio is not just the content, but how you organize and present that content to tell a compelling story about your work and yourself as a designer.

While our initial discussion touched on the importance of creating a narrative within your portfolio, let’s delve deeper into a structured approach to portfolio composition that can significantly enhance your presentation.

The journey your portfolio takes the reviewer on should be thoughtfully curated, beginning with an engaging introduction, building interest and depth in the middle, and concluding with a strong, memorable finish.

This method ensures that every piece of work you include plays a specific role in showcasing your skills, creativity, and development as an architecture student.

• Start with a Captivating Piece : Your portfolio should grab attention from the outset. Choose a project or piece that not only demonstrates high skill levels but also embodies your unique perspective or an innovative approach to design. This initial impression sets the tone for the rest of the portfolio, inviting reviewers to delve deeper into your work.
• Reinforce with a Strong Middle : The middle of your portfolio should build on the initial impression, providing depth and breadth to your skills and interests. Here, include projects that showcase different aspects of your abilities—from technical skills and problem-solving to creativity and conceptual thinking. It’s also an opportunity to demonstrate your process, showing how you develop ideas and overcome design challenges. This section should reinforce the reviewer’s initial positive impression, solidifying your presentation as both diverse and comprehensive.
• End with a Powerful Conclusion : Ending your portfolio on a high note is crucial. The final pieces should be among your best work, leaving a lasting impression of your capabilities and potential as an architecture student. This could be a project that won an award, received notable recognition, or simply represents the pinnacle of your current abilities. The goal is to leave the reviewer with a strong sense of your identity as a designer and the value you would bring to their program.

By strategically organizing your portfolio in this manner, you create a narrative arc that effectively communicates not just the range and depth of your skills, but also your growth and evolution as a designer.

This narrative approach transforms your portfolio from a mere collection of projects into a cohesive story of your architectural journey, making it more engaging and memorable for reviewers.

08 – Establish a theme

An effective way to tie together seemingly unrelated ideas in your architecture school portfolio is by developing a cohesive theme and carrying it throughout your presentation of all projects. A theme for an architecture school portfolio is not a strategy or mission, but rather an extension of both.

It consists of a set of ideas and graphics, a system of personal branding and aesthetics, and a set of tools and processes that appear and reappear throughout the portfolio to help integrate multiple ideas and highlight characteristics of the applicant.

To develop a strong theme, it is important to first define your mission and strategy. This involves delving into the specifics of your background and engaging your portfolio reviewers in an indirect dialogue to help them understand the complexity of the material you are presenting.

Use sketches and diagrams related to your projects to take the viewer through the important parts of the creative process and define the essence of each project.

Keep the main focus of your theme aligned with your mission and strategy and use the remaining space to delve into the interesting details of your projects.

This will allow you to create engaging in-between sections that introduce the viewer to upcoming projects as part of preceding ones.

09 – Clarity is Key

To ensure that your portfolio is easy to understand, your theme should clearly reflect your strategy and mission, allowing the reviewer to instantly grasp the main focus of your portfolio by simply looking at the overall theme. A clear organization is key to a successful portfolio.

To create a powerful presentation of your process, start by describing the design problem and then introduce a seed of an idea or concept. Use primarily sketches and diagrams to explain the development of your idea and gradually include more finished drawings and renderings as you progress.

By the final spread, you should have narrated the entire process, culminating in images or examples of the final product. This will help the reviewer understand your thought process and design approach.

10 – Showcase Creative Process

Your design-thinking process is crucial to a successful architecture school portfolio. It is more important than the final product itself, as it demonstrates the thought and effort put into the project.

By narrating the entire process, starting at the pre-schematic level, you engage the reviewer and allow them to see the progression of your project. This helps to make it more memorable and allows you to inject your own unique influences and ideas into the project.

In addition to the process of developing the project, it is also important to consider the process of presenting it. The presentation should not be static, but rather a ceremonial walk through the development of your ideas.

This helps to create a sense of sequence and allows the viewer to experience the project in a similar way to how an architectural project is experienced – as a series of spaces and moments in time and space. By presenting your portfolio in this way, you can effectively communicate your personality and make a strong impression on the examiner.

11 – Importance of Sketching

Effective communication through sketching is crucial in the field of architecture, both in team meetings and when presenting to clients or contractors. It is especially important when creating a portfolio for architecture school admissions, as it allows you to capture the attention of the reviewer and effectively convey the essence of your ideas and designs.

Diagrams and sketches can help establish a rhythm and pattern in your work, making it easier for reviewers to understand and remember your projects. A strong diagram can inspire the reviewer without necessarily fully resolving the project, allowing them to envision the final result in their own way. Mastering the art of diagramming is essential for success in architecture school and your career.

12 – Effective Graphic Representation

The way you visually organize your portfolio can greatly impact its success. Good graphic representation allows you to highlight the strengths of your projects and mask any weaknesses, while poor representation can negatively impact the impression of a project.

It is important to follow some basic rules to avoid overwhelming the reviewer, such as giving each image on a page enough space to “breathe” and allowing the eye to understand the narrative of the page.

Avoid overstuffing your portfolio with too much information, as this can distract from the quality of your work. Your ability to synthesize your portfolio is a reflection of your ability to synthesize spatial sequences in your projects.

By considering the organization and presentation of your portfolio, you can showcase your projects in the best light.

13 – Concise Text

As an architecture student or applicant, it is important to understand the role of the portfolio in communicating your ideas. A portfolio allows you to showcase your ability to present your ideas through various forms of media, which is a crucial skill in the field.

Even if you are not particularly strong at this, it is important to demonstrate effort in communicating your ideas through your portfolio.

Text is often not given much attention in portfolios. It is unlikely that reviewers will spend much time reading the written text in your portfolio. This is partly because designers sometimes use text simply to fill in gaps or add prestige to a project.

In rare cases, if the reviewer is particularly interested in the graphic narrative of a project, they may read some of the text to learn more. Keep in mind that reviewers will not have much time to spend on your portfolio, especially during the initial selection process.

Instead of using extensive text, include short references to the design and graphic material that clearly describe the concept. Consider using quick “ napkin sketches ” or “Corbusian sketches” to visually convey the story of your project and how it developed.

If you are invited to an architecture school interview, be aware that the interview will likely last about 30 minutes and will involve discussing the visual material in your portfolio with the interviewer.

During these interviews, the interviewer will likely not read any of your text. This is because they may review hundreds of portfolios and want to quickly and efficiently understand a candidate’s work.

To make the most of your text in the portfolio, try to keep the descriptions concise and vary the way they are displayed on the page. If you have graphic material that can convey the same information as the text, consider using it and removing the text from your portfolio.

Remember that the goal is to effectively communicate your ideas through the visual elements of the portfolio.

14 – Selective Project Presentation

It’s important to have a clear strategy and mission in mind to ensure that your portfolio projects serve their purpose and don’t waste your time. Once you have this in place, choose one of your favorite projects and think about how to tell its story.

Define the type of story you want to tell and consider how the project fits into it and how the story fits into the overall portfolio. After defining the story, go back and develop any missing pieces to present the project in a cohesive and engaging way.

Once you’ve finished developing the drawings and models, take some good photos of them. It’s not necessary to use a professional camera – you can use your phone and try to capture your perspective as a designer.

If needed, you can adjust the pictures in Photoshop. The goal is to communicate your process through your design work and showcase the intriguing details of your process to win over the reviewers.

Remember that anything you present needs to be included in your process, or the reviewers won’t be convinced.

15 – Considerate Formatting

The organization of images on pages in an architecture school portfolio is similar to the organization of urban blocks in a city, which helps define its character. This doesn’t mean that using a specific layout, such as a square or grid format, makes you a good or bad architecture school applicant.

Rather, the layout creates a rhythm and sets certain rules that may or may not be suitable for certain projects or audiences. It’s important to consider the layout early on and determine which one is appropriate for your portfolio.

16 – Review and Feedback

Both this discussion and our comparable guides stress the necessity of portfolio review and obtaining feedback. However, an aspect that deserves further attention is the practice of presenting your portfolio.

This practice isn’t just about refining the visual aspects of your work; it’s about preparing you to articulate your creative process, design choices, and personal story confidently during interviews.

The ability to discuss each project in your portfolio eloquently is as crucial as the projects themselves. An architectural portfolio is not merely a collection of your work; it is a narrative of your growth, skills, and potential as a designer.

Each piece you include is a chapter in your story, and how you narrate this story can significantly influence an interviewer’s perception.

Here are steps to integrate presentation practice into your portfolio development process:

• Narrative Development : For each project in your portfolio, craft a concise narrative that covers the inspiration, challenges faced, solutions developed, and the lessons learned. This narrative should not only explain what you did but also why you did it and how it contributes to your growth as an architect.
• Mock Interviews : Conduct mock interviews with peers, mentors, or professionals in the field. Present your portfolio as you would in an actual interview setting. This exercise will help you get comfortable with speaking about your work and receiving live feedback.
• Feedback Integration : Use the feedback from these sessions to refine not just your verbal presentation but also to identify any areas within your portfolio that may need further clarification or visual enhancement.
• Question Preparation : Anticipate questions that might arise from each project and prepare thoughtful responses. This preparation includes reflecting on constructive criticism you’ve received, technical challenges, conceptual development, and personal growth through the project.
• Confidence Building : The more you practice presenting your portfolio, the more confident you’ll become in your ability to communicate your ideas effectively. Confidence is compelling; it can turn a good portfolio into an unforgettable one.
• Continuous Improvement : Even after successful interviews, continue to seek feedback and opportunities to present your work. The architectural field is ever-evolving, and continuous learning and adaptation are key to long-term success.

By emphasizing the presentation aspect of your portfolio, you not only enhance your ability to showcase your work but also demonstrate your communication skills, critical thinking, and personal commitment to your architectural journey.

This holistic approach to portfolio development will serve you well in interviews, critiques, and professional presentations throughout your career in architecture.

We have a selection of undergraduate architecture portfolios here , and the below three personal YouTube clips on how to create a winning undergrad portfolio and gain a place in architecture school, provide an excellent account of what to expect.

“My Undergraduate Architecture Portfolio [Flip Through+Tips]”

Here the host of “ Surviving Architecture ” provides an in-depth flip through of her undergraduate architecture portfolio, sharing her architecture designs, compositions, and architecture portfolio layout tips.

“High school architecture portfolio // tips + examples”

In this video, the host Zoe shares the portfolio she used to apply to architecture colleges as well as explaining some tips she learned along the way.

“ACCEPTED Cambridge Architecture Portfolio Flip-Through”

Lastly, in this undergraduate architecture student portfolio flip-through video host Callum talks us through his portfolio that that he created for his application to study undergraduate architecture at the University of Cambridge.

FAQs about undergraduate architecture portfolios

How long should an undergraduate architecture portfolio be.

The ideal length for an undergraduate architecture portfolio varies depending on the specific requirements of the school or program to which you are applying. However, as a general guideline, portfolios typically range from 20 to 40 pages.

This range is broad enough to showcase a variety of projects and skills without overwhelming the reviewer.

Key considerations for determining the length of your portfolio include:

• Quality Over Quantity : Focus on including your best work that demonstrates a range of skills and creativity. It’s better to have a shorter portfolio of outstanding projects than a longer one filled with mediocre work.
• Specific Requirements : Always check the application guidelines of each architecture program you’re applying to. Some schools may specify a maximum or minimum number of pages or projects.
• Diversity of Work : Include a variety of work that showcases different aspects of your abilities, such as technical drawings, conceptual sketches, 3D models, and any interdisciplinary projects. This diversity can help keep the reviewer engaged throughout your portfolio.
• Clarity and Conciseness : Ensure that each page of your portfolio is purposeful and that your projects are presented clearly and concisely. Avoid cluttering pages with too much information or too many images that can dilute the impact of your work.
• Personal Statement and Process Work : Some programs appreciate a brief personal statement at the beginning of the portfolio and process work that shows how your projects evolved. These elements can add to your page count but are valuable in telling your story.

Ultimately, the goal is to curate a portfolio that best represents your skills, experiences, and aspirations as a prospective architecture student.

It’s essential to tailor your portfolio to each application, adhering to any specified guidelines, and ensuring it’s polished, professional, and reflective of your unique perspective and abilities in the field of architecture.

To Sum Up…

Building upon this articles discussion points, the below “Portfolio Kit” contains a highly detailed guide teaching you how to craft and package the perfect collection of work for both academic and professional portfolio scenarios, and in both digital and physical formats.

This comes paired together with a designed set of over 300 drag and drop InDesign portfolio cover, contents , title, and project template pages, enabling you to effortlessly copy and paste text and import drawings, diagrams, and images straight into place.

Your portfolio is the most powerful tool you have. Learn how to shape and use it to its full advantage with this in-depth guide.

Stand out from the competition, and create an interview ready portfolio.

As you embark on the exciting journey of compiling your undergraduate architecture portfolio, remember that this is not just an application requirement; it’s a canvas for your creativity, a showcase of your skills, and a testament to your dedication to the field of architecture.

Your portfolio is a powerful tool that can open doors to new opportunities and set you on the path to achieving your dreams.

We hope that the insights and strategies shared in this article have provided you with clarity, inspiration, and confidence to craft a portfolio that truly reflects your unique vision and potential.

Remember, every line you draw, every model you build, and every project you include tells a part of your story as an aspiring architect. Make it a story worth telling.

If you ever find yourself needing a bit more guidance, inspiration, or just a sounding board for your ideas, don’t hesitate to reach out.

Our doors (and inboxes) are always open to help you navigate this creative journey. Contact us here for any questions or additional support. We’re here to assist you in any way we can.

Best of luck as you put together your portfolio. May your creativity shine bright, and your architectural journey be filled with success and fulfillment. Remember, this is just the beginning of a thrilling adventure in the world of architecture.

We can’t wait to see the incredible places your talent and vision will take you.

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Architecture Undergraduate Thesis Portfolio | 2018 Muhyuddin | University Of South Asia

Architecture Thesis Portfolio | 2018 Muhyuddin IN Portfolio we learn how to represent the Thesis portfolio of Architecture I am a student of architecture Batch 2013-2018 B-18073 Muhyuddin Portfolio includes bank square project, urban vllage project, hjotel project,hospital projecft,some residentiaol projects some freelance Dont forgot to subscribe our channel How to Speed Up Your Windows 10 Performance best settings https://youtu.be/a7NOVhP7Cwg lumion 8 setting Nvidia performance 100% working https://youtu.be/E6TxAfG9KBg Lumion 8 rendering animation tutorial A to Z https://youtu.be/sxw3D5IKmi4 for business query : www.behance.com/muhyuddin [email protected] Make an architecture portfolio, architects portfolio, architecture portfolio tutorial, architect (profession), architecture portfolio ideas, architecture graduate portfolio, architecture portfolio, undergraduate student, architecture student, architecture student portfolio, architecture portfolio tips, architecture portfolio cover page, architecture portfolio samples pdf, architecture portfolio cover, howtoarchitect, what an architect does, architecture students, architect, architecture, design, FORE MORE CONTACT ME WWW.BEHANCE.COM/MUHYUDDIN [email protected]

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74 Exceptional Architecture Portfolios

• Written by Dima Stouhi
• Published on December 03, 2019

Technical skills: check. Visually coherent content: check. Distinctive personal input on both the projects and portfolio design: double check.

Although résumés and portfolios can be somewhat flat when it comes to informative content, it is their ability to present an applicant's unique sense of style that makes or breaks an application. Whether it’s a deliberate image selection, or a clear, consistent layout, some people manage to fulfill all the criteria needed in a successful portfolio . Issuu , the world’s largest online digital publishing platform that allows anyone—from architects to global brands to fresh graduates—to publish their creative content online, has hand-picked their top 74 exceptional architecture portfolios . The selected architects have managed to showcase their impressive projects and technical skills in portfolios that reflect their creative mindset.

We’re not saying you should judge a book by its cover, but some "covers" can’t help but stand out from the rest, for all the right reasons. Take a look at Issuu ’s list of top architecture portfolios here , and see a few of our personal favorites below.

Just as Issuu says: If you’re looking for the next big thing, "see who has a pencil, piece of paper, and plenty of imagination.”

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Undergraduate Thesis

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Graphic Design Tutorial: Designing to a Grid

NewSchool recommends Adobe InDesign for designing your thesis book. Many free templates and tutorials are available online. Try starting with Blurb.com. 

The grid is your underlying structure which helps create visual hierarchy by sizing and positioning images and text to create a coherent design. The grid is the graphic expression of a set of assumptions about the permissible sizes and shapes of images and blocks of text. It enables you to achieve and sustain design consistency.

Your prime consideration for text should always be legibility. Text needs to be readable and perfectly clear. Don't allow it to compete with or obscure images; it should always work with them to explain and enhance them. Keep text clearly separate from images by spacing and/or maintaining a strong contrast between values of the images and values of the text blocks.

Familiarize yourself with type, it's legibility and emotional impact, by studying the typefaces used in books and magazines and on the web. Remember less is more--don't use more the three different fonts in any portfolio. Additionally, make sure all of the fonts are very different looking to create contrast.

Basics in Graphic Design

Remember, your thesis layout should follow graphic design standards. Here are recommended resources on design concepts including text, images, color, and white space.

See Examples of Attractive Layout Here

Ambrose / Harris. (2005).  Basics Design 02: Layout.  AVA Academia.

Linton, H. (2012).  Portfolio Design 4th ed.  W.W. Norton & Company.

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STS 4600 Library Dashboard: Welcome

Welcome to the STS 4600 library support guide. This guide provides quick links to the resources you need to succeed in your research in STS4600. Whether you are online or on-Grounds, UVA Library services and support are available to all students. 

Your Librarian

Your Librarian is Maggie Nunley

Connect with Maggie for help with your assignments.  This service is available to all SEAS students, and meeting with a librarian early in your research process can help you save time and get a better grade.

Maggie can help with any step in the research process and  can meet with you in-person or online via Zoom.

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SEAS Undergraduate Thesis Portfolios

• Online Thesis Portfolios This Virgo search pulls all the SEAS undergraduate thesis portfolios that are available in Libra. They span those submitted from 2020-2023.
• Print Thesis Portfolios The UVA Library's entire collection of seas undergraduate thesis portfolios. The list is sorted newest (2019) to the oldest (~1940s). All print portfolios are stored at Ivy Stacks and can be access via request.
• SEAS Undergraduate Thesis Portfolio Guide Includes the full Library guide for the SEAS undergraduate thesis portfolio including submitting to Libra.

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• Is it peer-reviewed? A quick tutorial to help you determine if a resource is peer-reviewed or not (and what peer-review means and why we care about it!).
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Electronic theses & dissertations (ETDs)

Electronic dissertations and masters’ theses have been deposited in the Libra scholarly repository at the University of Virginia since 2012. Libra makes UVA scholarship available to the world and provides safe and secure storage for the scholarly output of the UVA community. Submitting your work to Libra is a graduation requirement for all graduate students whose programs have required theses and for PhD students. LibraETD is can be used by all students, undergraduate  or graduate, whose programs have optional theses or capstones.

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All dissertations submitted to the UVA Library in CD format were deposited into Libra in early 2014. Access to these items is UVA-only, replicating the accessibility level of the originally deposited CDs.

If you are the author of one of these dissertations and would like to change the access level to be world-wide open access, please  contact us .

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We no longer accept paper copies for the Library shelves.  Many frequently requested dissertations from the UVA collection have been added to Libra through a generous grant from Jefferson Trust. If you are the author of one of these dissertations now in Libra and would like to change the access level to be world-wide open access, please  contact us .

If your dissertation was published in paper previously and you would like it to be added to Libra, please  contact us .

Many UVA dissertations were deposited in ProQuest until 2012, and some students continue to take the option to deposit to this commercial vendor of databases and other information products. ProQuest’s  Dissertations and Theses Full Text  database contains many dissertations published in the U.S. and is used by scholars worldwide whose institutions opt to provide paid access to the database. ProQuest also sells full-text copies of dissertations directly to the public, though it is worth noting they do not share revenue from those sales with authors. NOTE: To access "online" ETD's in Proquest, you must be affiliated with an institution that subscribes to the ProQuest database.

ProQuest charges fees for submission, and they have particular formatting and copyright requirements.  Please see their  submission instructions  for details. UVA does not require thesis or dissertation deposit to ProQuest, nor does UVA have an institutional agreement with ProQuest for such deposit. Students who opt to deposit with ProQuest do so as individuals contracting with this vendor.

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