User:Matt: Difference between revisions
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You can see some of my 3D models hosted on my [https://sketchfab.com/openpreservation.xyz SketchFab site]. Several of these buildings, including the Yamaguchi Hotel and the commercial building at the corner of Northeast Alberta Street and 28th Avenue have since been demolished. | You can see some of my 3D models hosted on my [https://sketchfab.com/openpreservation.xyz SketchFab site]. Several of these buildings, including the Yamaguchi Hotel and the commercial building at the corner of Northeast Alberta Street and 28th Avenue have since been demolished. | ||
As an independent consultant, I surveyed three sites and created 3D models that were featured in ''[https://urldefense.com/v3/__https:/oregonblackpioneers.org/exhibit/hidden-landmarks/__;!!C5qS4YX3!ExMUKaCJunTeBj7WHIxEZ3rD6KwuRuKrw5D_StnNDy74G2x4eKTgelrNeTg0i9B2ThUrgYsGkiPC$ Hidden Landmarks of Albina’s Black Community]'', an online exhibit by Oregon Black Pioneers. I’m currently wrapping up a HABS drawing set for the Transfiguration of Our Lord Church in Ninilchik, Alaska (excerpts from a draft are here: | As an independent consultant, I surveyed three sites and created 3D models that were featured in ''[https://urldefense.com/v3/__https:/oregonblackpioneers.org/exhibit/hidden-landmarks/__;!!C5qS4YX3!ExMUKaCJunTeBj7WHIxEZ3rD6KwuRuKrw5D_StnNDy74G2x4eKTgelrNeTg0i9B2ThUrgYsGkiPC$ Hidden Landmarks of Albina’s Black Community]'', an online exhibit by Oregon Black Pioneers. I’m currently wrapping up a HABS drawing set for the Transfiguration of Our Lord Church in Ninilchik, Alaska (excerpts from a draft are here: [[File:MattKelly NinilchikChurch HABS DRAFT.pdf]]). | ||
[[File:MattKelly NinilchikChurch HABS DRAFT.pdf]]). | |||
In Portland, he volunteers at CETI (A Creative and Emergent Technology Institute), where he works with artists, technology enthusiasts, and community members on projects involving digital documentation and interpretive storytelling. | In Portland, he volunteers at CETI (A Creative and Emergent Technology Institute), where he works with artists, technology enthusiasts, and community members on projects involving digital documentation and interpretive storytelling. | ||