SEGMENT II PRACTICE ASSESSMENT
SEGMENT II PRACTICE ASSESSMENT
Embedded Files
Reflecting on my experiences...
Reflecting on my experiences...
I have always considered myself a cross-disciplinary artist. My self-image has never been confined to one path, other than my devotion to becoming an architect. My greatest intention, however, is to contribute to something greater than myself. I carry an unwavering faith that everything unfolds when and how it's meant to, and that belief guides me each day. I grew up with a fascination—or obsession—with painting and with Georgia O'Keeffe. The way she brought pigments and flat planes to life has stayed with me as I now work in three dimensions. Complementing my creativity is a drive to lead and shape my own personal mission; perhaps this is my "business side."
When I came to the BAC, I arrived as the bag lady of methods and madness. I sought out every opportunity to render drawings in charcoal, build models in plaster, and go deep on everything I touched. Bringing my art into architecture was a no-brainer—the two disciplines feed each other constantly. This instinct to pull knowledge from other fields and past experiences into my current work has become the defining quality of how I practice: I am, at my core, a shape-shifter.
It's been tricky learning how far I can push myself; I'm rarely satisfied with my efforts in work and academics until I've gone too far. I challenge deliverables, question whether I'm producing my best work, search for slivers of light in my creative blocks, and treat every obstacle as the way through. Ironically, that relentlessness has become one of my greatest strengths. The greater challenge that I've felt in practice was in landing the right opportunities for myself. I knew that I could ideally place myself *somewhere*, but I never wanted to end up just *anywhere.* Before ending up in my current role, I felt internal pressure about where my next professional opportunity could be. I had previously felt a semester of painful rejections from firms, so it was hard to allow that possibility back in. My perfect match really did come when I had my interview, and I felt that immediate connection to the firm's values, which let me know I was right where I needed to be.
My current role at RODE Architects is where that strength has been most tested—and most rewarded. Landing here was anything but linear. I spent the summer before as a fabrication associate, practicing my craft and finding a creative outlet in jewelry and woodwork, but I was ready to return to professional practice. Then, in the span of a week and a half, I found myself at RODE. Joining a team that creates genuine opportunities for young designers to move real projects forward has been invigorating. I have been continuously trusted with tasks I had never done before, and I've succeeded by holding onto a "try everything" mindset. That openness has made me the on-call resource for "has anyone ever done this before?"—and it's taught me to fail forward without apology.
One accomplishment I'm proud of is becoming someone my team genuinely relies on for ambiguous problems. Early on, taking on unfamiliar tasks felt slow and awkward; now it's simply how I work. It reflects my commitment to staying in motion, finding my way, and leaning into possibility rather than retreating into what is familiar.
Outside of work, I've found joy in sculpture, metalwork, painting, woodworking, sewing, coding, embroidery, cooking, casting, photography, running, writing poetry, and research. These aren't just hobbies—they are the inputs that keep my practice alive. My rituals around reflection, discernment, documentation, and gratitude have grown alongside them. Through leadership experiences, I've become more resilient, vocal, and curious, and I'm now discovering the power of delegation and trusting others—a practice in being a true convener.
Looking ahead, my plans include starting my own firm with a salient mission: to create a better built environment rooted in care for the whole person. A foundational principle from my Jesuit high school education—cura personalis, or "care of the whole person"—has put language to something I've always felt in design. Shelter is one of the most basic human needs, and I'm endlessly curious about how we've evolved to seek ownership and stewardship over our spaces. This goes hand in hand with servant leadership and the ethics of contributing to something greater than oneself. My future practice will be guided by stewardship of the built and unbuilt environment, by developing my communication, and by being a citizen architect—values I've been quietly building toward my entire life. My updated resume and practice plan, included alongside this essay, reflect both where I've been and the deliberate direction I'm heading.
If I could offer anyone advice about choosing a path: don't pick opportunities based on where you think they'll take you. Choose the open doors whose outcomes can't be predicted but make you curious. Surprise yourself. Adaptability makes you a better neighbor, friend, and stranger—and, I'd argue, a better architect.
Self-portrait in graphite pencil.
Helping paint the McCormick Gallery at the BAC for Tatiana Bilbao's exhibition.
Challenging myself to fill my sketchbook pages.
Painting to "describe" my synesthesia.
About me...
Student Name: Madeline Jane McGloin
Degree Program: Bachelor of Architecture
Current Job Title: Architecture Co-op
Employer: RODE Architects
Employer Location: Boston, MA, USA
Self Assessment
I rate my current abilities as follows: 4 = outstanding/exemplary; 3 = proficient; 2 = needs improvement; 1 = unsatisfactory; N/A = no opportunity to observeSelf Assessment
Design Approach: 4 of 4
- evaluates and solves problems effectively- accesses, learns, and applies theoretical and practical knowledge- brings skills and methodologies from academic work into practice workCollaboration: 3 of 4
- works effectively with others and manages conflict effectively- helps motivate others to succeed- understands and contributes to organization’s goals- respects diversity and diverse opinionsCommunication: 3 of 4
- speaks and writes with clarity, confidence, and concision- makes effective presentations- exhibits good listening and questioning skillsTechnical Skills: 4 of 4
- showing positive development with software skills- understands the role different technologies play in design- understands technologies related to the execution of design projectsProfessional Development: 4 of 4
- assumes responsibility, sets goals, can multitask- possesses honesty/integrity/personal ethics- shows initiative/self-motivation and good time management- is punctual, has good attitude- is engaged in design cultureRESUME & PRACTICE PLAN
In high school, I was asked to create the design for our class sweatshirts–something to represent our year. Given the immense and impressive efforts from our grade in social justice and direct service, I tattooed our Jesuit teachings onto the silhouette of the fist symbol associated with the Black Lives Matter movement. This was one of many social justice topics that we continually brought up in school assemblies, in history class, and in our yearbook publications. Also, I made the design decision to alter one of our mottos, "men and women for others," by adding "and people" to better represent my non-binary classmates.
I often think back on these values and the process of creating this design.
Kipp Academy Boston 3rd-grade student, Ishael, drew me when prompted to "draw an architect or construction worker." I created these custom worksheets for the class so that I could learn about their understanding of design and architecture. At the time, they were practicing calculating area and perimeter through a project-based learning group assignment. They made floorplans of an envisioned community center and included the types of programming that they thought were most important.
Ishael and her partner included rooms such as a crochet room, a storage room, a pool, and a snack/drink room.
Last year, I made a trip to Manhattan to surprise my Parsons Space & Materiality professor, Carol Peligian. Her gallery showing, "Shift and Lift," covered themes of femininity, maternal instinct, global perspectives, and fragility. Below, I admire the hundreds of glass dollies that Carol suspended from the ceiling.
Opening the Fall 2024 copy of The Harvard Advocate to see my published sketches!
See here: The Mothership and Architectural Flesh.
TABLE OF CONTENTS
Professional Experience
Professional Experience
Project 1: Jack Connors Bench
Project 2: 1016 WASH
Additional Experience
Additional Experience
Project 3: On Plinth
Project 4: AIAS
Some Art Projects
Some Art Projects
Project 5: Jewelry
Project 6: Metalwork
Project 7: Sewing & Style
Project 1 - RODE ARCHITECTS
Jack Connors Bench
Jack Connors Bench
PUBLIC SCULPTURE, ARTS COMMISSION CURRENT
BOSTON, MA, USA
ROLE: DESIGN STAFF, MENTOR ANNA RICKER-ARNOT & KEVIN DEABLER, COLLABORATOR ELLIE WHELTON
This arts commission project came about in an effort to honor the life and legacy of the late Jack Connors, a prominent businessman and philanthropist of Boston. He is remembered for founding Camp Harbor View in 2007, and for his role in the growth of Mass General Brigham. As an alumnus of Boston College, our design incorporated the silhouette of the teak benches on the BC campus, where Jack spent much of his time connecting with others and befriending strangers.
The artist we collaborated with, Pablo Eduardo, is known for his spirited bronze sculptures, such as St. Ignatius of Loyola on Boston College's campus and the Boston Marathon Survivors Memorial on Boylston St. I felt connected to this project as a student from a Jesuit high school, so I came into this project with shared values in mind.
I assisted in designing the options for the comprehensive memorial. We evaluated the number of benches, lighting schemes, and plaques. Jack's family selected a quote of his for us to use in the design process. Recalling the benches we saw on our company team-building retreat a few weeks prior, I suggested the quotes be engraved into the wood seat rests. Though the design is still being finalized, I gained experience by creating schemes for the family to choose from.
I also learned about the accessibility implications of flush/low-profile lighting systems, electrical management, and how to plan for future serviceability.
PROFESSIONAL VALUES: INTERPERSONAL SKILLS & INTERCULTURAL COMPETENCE
CONCEPTUALIZATION: INTEGRATE KNOWLEDGE FROM OTHER DISCIPLINES; PROBLEM SOLVING; PROGRAMMING, NEEDS ASSESSMENT, FEASIBILITY, CREATIVE THINKING
IMPLEMENTATION & PROJECT DELIVERY: FINANCIAL CONSIDERATIONS & PROJECT COST, CODES & REGULATIONS
MANAGEMENT & ENTREPRENEURSHIP: BUSINESS PRACTICES & OPERATIONS, STAKEHOLDER ROLES, TEAM BUILDING
SKILLS INVENTORY:
During my involvement with this project, I felt the value of TEAM BUILDING that I did with my mentors, Anna and Kevin. Working with Kevin, one of the two founding principals of RODE, allowed me to witness how CREATIVE THINKING and sensitivity toward others can drive design. I also collaborated with my classmate and coworker, Ellie Whelton, on renderings for the project.
With the task of honoring the life and legacy of Jack Connors, a prominent businessman and philanthropist, I worked with Anna to INTEGRATE KNOWLEDGE FROM OTHER DISCIPLINES. We worked with our STAKEHOLDERS, sculptor Pablo Eduardo, the Boston Public Works Department, the Mayor's Office, and the Connors Family, to realize a concept that aligns with Jack's love of connecting with others.
Working together in Rhino, Anna and I refined our bench model for fabrication. I learned about FINANCIAL CONSIDERATIONS & PROJECT COST as I made mockups of the bronze sheets we would have the foundry cut and form for pieces of the custom bench design.
A critical part of our BUSINESS PRACTICES & OPERATIONS through this process was our effort to stay involved with public departments. This project was one of my first opportunities at RODE to learn about the processes for bringing a project to life here in Boston. We chose to present the project at public hearings for community comments, though this was a privately commissioned project for the Plaza of the Hancock Tower. It allowed me to grow my INTERPERSONAL SKILLS & INTERCULTURAL COMPETENCE.
Photographs of the Hancock Tower and immediate context.
Rendering of the statue and benches in the Plaza of the Hancock Tower, 200 Clarendon. Collaboration with Ellie Whelton on parts of the renders.
Rendering of the bronze and teak benches, featuring engraved quotes.
Context near 200 Clarendon as it relates to public art and sculptures.
A one-slide example of the design options I created for the project, with quotes engraved on the bench backs (one of which is eccentric for the sculpture's placement). Also locates the quotes in plan with a proposed bronze plaque.
This slide was primarily created by my Project Architect, Anna. But it's great visual context for your understanding.
In Rhino, I exploded, dimensioned, and arranged our bench components (that would be bronze) on the template for bronze sheet stock. From here, the artist will quote the costs and the forgery will make the cuts/welds.
Project 2 - RODE ARCHITECTS
1016 WASH
MULTI-FAMILY RESIDENTIAL CURRENT
DORCHESTER, MA, USA
DESIGN PROJECT: ENTITLEMENTS AND SCHEMATIC DESIGN
ROLE: DESIGN STAFF, MENTOR MIKE DELLEFAVE, COLLABORATION W/ ADRIAN DICORATO
Since joining RODE as a Design Co-op, I've joined projects that challenge and enrich my competencies. With this in mind, I'm leading design for 1016 Washington Street, a 24-unit residential proposal in Dorchester, MA. So far, I have conducted context research, taken inventory of architectural significance and history of adjacent homes, identified site challenges, responded to context through massing studies, drafted working construction documents, and rendered views that investigate the project's presence within the neighborhood.
I've worked with my Studio Director, Mike, and colleague Adrian to explore programming options that locate a lobby, gym, bike room, parking, two ground-level units, and an outdoor porch area for future residents. Our site has the width of a typical lot and a depth nearly triple that. We used self-imposed setbacks — exceeding the city's standards — to retain a cluster of mature trees in the back of the site. I designed angled bays that extend living room spaces into more daylight, and we're exploring options for rooftop patios nested in the pitched roofs.
CONCEPTUAL THINKING: PROGRAMMING, FEASIBILITY, SITE/EXISTING CONDITIONS ANALYSIS, USE OF PRECEDENTS, READING & RESEARCH
PROFESSIONAL VALUES: TEAMWORK & COLLABORATION, WRITTEN COMMUNICATION, ORAL COMMUNICATION & PRESENTATION DELIVERY
TECHNOLOGY & REPRESENTATION: MODEL BUILDING/FABRICATION, BIM (REVIT), GIS, 2D&3D CAD DRAFTING, 3D ILLUSTRATIVE RENDERING, GRAPHIC DESIGN SOFTWARE (ADOBE SUITE), FREEHAND SKETCHING, DIAGRAMMING
SKILLS INVENTORY:
During the FEASIBILITY and Entitlements process, I am using Boston's zoning code, Zoning Viewer, Tax Parcel Viewer, and Property Lookup to learn about EXISTING CONDITIONS.
In a COLLABORATIVE Miro board, we've pulled in READINGS from Dorchester Historical Society and architectural PRECEDENTS to ANALYZE site significance. Adrian helped me with context modeling in Revit and massing studies in Rhino. I am learning from him, as he has more experience and proficiency with feasibility studies. We are constantly SKETCHING and DIAGRAMMING physically and digitally with this content for reference
I use ADOBE SUITE software, such as Illustrator and InDesign, to refine our RHINO and REVIT drawings for PRESENTATIONS.
Through Schematic Design, I used FABRICATION methods with the laser cutter, 3D printer, and foam hot wire to develop a physical site for sketch modeling.
Rendered views of our current concept. I used Lumion, populating trees and existing greenery as accurately as possible. We showed the views with a sketch filter.
Some precedent projects that I pulled into our collaborative Miro board.
This render shows our interest in wood cladding and wood frame construction; Passive House is our firm's design standard. The entrance features a covered porch as a response to the "kit-of-parts" elements identified from adjacent homes, which we coupled with rich plantings.
I made a physical model, with laser-cut chipboard for the topography, and foam for context buildings. I collaborated with Adrian to create a 3D print of our latest massing.
Our current zoning table has updated metrics for the project. Our project is in a single-family residential district.
Below: a close-up of the covered porch at the entryway. Wood paneling is functional for the exterior walls and soffit. Above: I design flared bay windows to grow the unit living spaces and increase daylighting opportunities. Our windows, following Passive House standards, are deeply inset with an extended sill. Beginning to play with materiality.
Above: (outdated) schemes for the original client proposal. We presented 3 and 4-story options between 14 and 30 units. The clients had an interest in both rental and condo units, so we developed schemes to reflect the potential of maximizing and minimizing the footprint and height on the lot.
Above: (outdated) schemes for the original client proposal. We presented 3 and 4-story options between 14 and 30 units. The clients had an interest in both rental and condo units, so we developed schemes to reflect the potential of maximizing and minimizing the footprint and height on the lot.
First and typical floor plans of the project, a recent iteration.
Massing build-up diagram of the project. Final mass shown below.
Diagrams presented to City Councilor Brian Worrell for design review. I used Revit, InDesign, and Illustrator to create and present the diagrams.
Project 3 - INDEPENDENT WORK
On Plinth
DESIGN COMPETITION DEC-APR 2025
MUSEUM OF OUTDOOR ARTS DESIGN AND BUILD COMPETITION: "SACRED GEOMETRY"
INDEPENDENT WORK, MENTORED BY IAN F. TABERNER AND ANTHONY MEROLA
On Plinth is designed to exhibit natural forces on the landscape. As a living time-lapse, these tetrahedra endure erosion and aging for visitors to witness the forces that alter our environments. Constructed with local, ancient, sustainable methods, the volumes would be rammed earth consisting of regional Navajo Sandstone silt and sediment. The Museum of Outdoor Arts Design and Build Competition released the prompt, "Sacred Geometry: Platonic Solids," for students to envision a project in a selected U.S. National Park. I pursued this competition during the 2025 Spring semester as a way to challenge myself and exercise my opportunities working in the Fabrication Department at the BAC.
Meeting with Ian Taberner intermittently, I worked to create a proposal that would have a positive, sensitive, mild, and unexpected design for visitors at Arches National Park in Moab, Utah. Ian helped me understand how to craft a refined design statement and select visuals that would enrich the vision of my final design.
I begin every design project with rigorous research to uncover all possible influences on my selected site, medium, and concept. I channelled my interest in sacred geometry and past studies of Platonic Solids for this project. As I uncovered the significance of tetrahedra and studied indigenous history in the Moab region, I gained more and more momentum to make On Plinth an idea I could carry with me into my future research and professional architecture career.
As an employee in the CNC Fabrication Department at the BAC, I utilized my resources to cut a physical model out of Cherry wood. I CNC-ed my Rhino model with lots of trial and error selecting the correct bits and speeds for a successful cut. I finished the model by hand using sandpaper, a light walnut stain, and a mild wood oil. Creating a physical model brought me back to feeling my passion for sculpture that dormant.
CONCEPTUALIZATION: ENVIRONMENT, CLIMATE, & SUSTAINABLE DESIGN; SOCIAL INTERACTION & HUMAN-CENTERED DESIGN
PUBLIC INTEREST & RESEARCH: DESIGN COMPETITIONS
REPRESENTATION: MODEL BUILDING/FABRICATION, 2D & 3D CAD DRAFTING (RHINO), GRAPHIC DESIGN SOFTWARE (ADOBE SUITE)
PROFESSIONAL VALUES: PERSONAL TIME MANAGEMENT, INFORMATION LITERACY
SKILLS INVENTORY:
In the MOA DESIGN COMPETITION, I prioritized SOCIAL INTERACTION & HUMAN-CENTERED DESIGN with Arches National Park visitors and the local community in mind.
Using my proposal to promote a local company that teaches Rammed Earth construction methods, an ancient and sustainable building practice, allowed me to add value to my project of ENVIRONMENT, CLIMATE, & SUSTAINABLE DESIGN.
Making the most of my employment role, I created the physical deliverable using the CNC machine. MODEL BUILDING/FABRICATION was integral to the making of On Plinth. My digital representation took place in GRAPHIC DESIGN SOFTWARE such as ADOBE InDesign, Photoshop, and Illustrator. I drafted my work in 2D & 3D CAD, RHINO.
Balancing this project with a job and full-time school work required PERSONAL TIME MANAGEMENT, and my research required INFORMATION LITERACY.
My final submission of On Plinth.
Photoshop rendering using sandstone textures, color enhancement, and my Rhino model.
On Plinth, freshly cut with the CNC machine. Made with two laminated pieces of Cherry wood.
On Plinth is close to my heart for the reason that its development moved me to reflect on the role of sacred geometry in my inner world, and in my studies of architecture. I also think of this:
During my first semester of college, I took a class called Space and Materiality. To begin our studies, we constructed a Platonic Solid of choice following an analysis of a text called Corpus by Jean-Luc Nancy. Nancy references Plato–and his theories of form–in discussing the eternal and ideal models of reality that the human body, flawed and imperfect, cannot achieve. In constructing my octahedron for the project, I began with two triangular prisms. As if it were a collage of two stages of creation, On Plinth looks like my desk before and after combining those wireframe forms. The central mound appears as an image of the octahedron, and its fragments as the triangular prisms that contort inward to connect. Additionally, I am pleased to have constructed this model using resources made available through my school fabrication role. I am privileged to bring my project to fruition using the CNC, and to operate the machinery myself–making it even more personal. It was a pleasure to research this site and uncover a rich volume of sacred geometry and indigenous history to sift my ideas through. The concept rose out of my research in a sacred way, and it felt prayerful to contemplate and digest the concepts that influenced my proposal, On Plinth.
Right: enlarged material swatches for project visualization. Above: populated elevations to show activation on the public landscape.
Project 4 - STUDENT ORGANIZATIONS
AIAS
STUDENT LEADERSHIP AUG 2023 - PRESENT
AMERICAN INSTITUTE OF ARCHITECTURE STUDENTS:
AIAS AT BOSTON ARCHITECTURAL COLLEGE - CHAPTER PRESIDENT (CURRENT); CHAIR OF OUTREACH (2024-2025)
AIAS NATIONAL BOARD - DEVELOPMENT TASK FORCE CHAIR (CURRENT)
MENTOR BETH LUNDELL GARVER, NICHOLAS CLARK
The American Institute of Architecture Students is a nonprofit organization run by students, for students. Since starting at the BAC, I have ascended leadership positions through AIAS at the chapter level and among the national board. I currently serve as the Chapter President at Boston Architectural College, and our chapter belongs to the Northeast Quad. For the national board, I am the Development Task Force Chair, serving for its first term as a committee/task force.
PUBLIC INTEREST & RESEARCH: ATTEND PROFESSIONAL LECTURES/CONFERENCES, OFFICE COMMITTEES/STUDENT GROUPS, PROFESSIONAL/CULTURAL ORGANIZATIONS.
During my time as an AIAS E-board member, I've been able to ATTEND PROFESSIONAL LECTURES/CONFERENCES such as the AIAS NEQ DesAIgn conference at CMU, GRASSROOTS in D.C., and FORUM in Denver, CO. In addition, we went in a group to the AIA conference here in Boston in 2025.
AIAS at the BAC operates as an OFFICE COMMITTEE/STUDENT GROUP that contributes to the richness of student life for the general body. Having a board of 8 or 9 people to organize our events and develop ideas has been a great help for increasing the reach and quality of our programming.
AIAS operates as a PROFESSIONAL/CULTURAL ORGANIZATION with several alliance organizations, who we try to work with as frequently as possible: NCARB, AIA (BSA in Boston), NOMAS/NOMA, ACSA, and NAAB.
The "DE" in RODE, Kevin Deabler. Kevin tells a room of students about our firm and what we do, followed by an invitation to reach out and inquire about work opportunities. Thanks, Kevin, for all that you do.
AIAS BOS MIXER: BAC x WIT x NEU x MASSART x RODE x BSA EPNET
Chapter Meetup Event | February 20th, 2026
Group photo, people left to right: BSA Emerging Professionals Network Chair, Yasmin Maura-Orihuela; BSA Director of Architecture Schools, Paul Hajian; BSA EPNet Member, Juanita Libreros-Foronda; Wentworth AIAS President, Kailash Letman; BSA EPNet Member and BosNOMA Co-Chair of Membership Events, Allyson Middleton; MassArt AIAS President, Stephanie Xiao; BAC AIAS President, Madeline McGloin; Northeastern AIAS President, TJ Posillico; RODE Architects Co-Founder and Principal, Kevin Deabler.
Group pic with AIAS Chapter Presidents! We did it!
AIAS BAC Executive Board Members, left to right (minus Treasurer Tiffany Pesantez): Graphics Director, Nisarg Mewada; Chair of Events, Vinamr Gulati; Freedom by Design Director, Nutsa Gabriadze; Vice President, Constanza Reveco; President, Madeline McGloin; Past-President, Juanita Libreros-Foronda; Chair of Outreach, Alexia Seretean; Secretary, Yoseph Markos.
A few slides from a short presentation I made for the event. I highlighted RODE's Youth Engagement experiences and the programs we host at our office.
FORUM 26: CATALYST
AIAS Conference | Denver, CO
One of our keynote speakers, Brad Buchanan, is talking about his awesome wife. Brad is also the founder of Freedom by Design.
During our Northeast Quad Breakout, candidates for NEQ Director answered our questions panel-style. Jeremy Lynn, Susan Yang, and Gerardo Ruiz were all excellent candidates for the position, and I was torn who to vote for!
Strategic Planning Co-Chairs Will and Jeremy leading the "Strategic Planning: Future of the AIAS" workshop.
Biggggggg group photo from our morning Council of Presidents Meeting. During the meeting, I gave a report for my Task Force, Development.
A collection of responses from the Strategic Planning workshop, not all are pictured as over 600 responses were collected!
GRASSROOTS 25: ROOTS
AIAS Conference | Washington, D.C.
Signatures poster--a classic at conferences!
Group photos with my E-board members and friends from Grassroots.
Group photo at the Lincoln Memorial with Tiffany Pesantez, Constanza Reveco, and Juanita Libreros-Foronda.
Our Northeast Quad Director, Luke, posing with our quad mascot, Luke the Lobster.
DEVELOPMENT TASK FORCE 25-26
AIAS Committee/Task Forces | Established 2025 | Development Task Force Chair
The Development Task Force is a brand new task force created for AIAS to explore and identify the partners and sponsors we want to work with in the coming years. As a a part of our Strategic Plan, we are using the Development Task Force to explore ideas of collaboration, and look at revenue generation to meet our financial goals, even as a nonprofit.
My main idea since beginning my role as Chair is to implement "scales of I'mpact" that can reach members, chapters, quads, regions, and the international scope. I am interested in creating materials for each user group to successfully utilize and stimulate partnerships and programming.
All of the 2025-2026 Committee and Task Force Chairs!
Here is the timeline of the 2025-2026 Development Task Force. We have bi-weekly meetings during which we meet and develop our deliverables. These are some captures from my most recent Winter report, with headshots of our members. Since the conference, we've grown by 4 members! To the right is an outdated Partnership material we identified and are working to update.
OUR CHARGES AND DELIVERABLES
CHARGES
Identify and explore sponsorships, partnerships, and other funding opportunities for the AIAS, nationally and internationally.
Track and report fundraising goals.
Explore efficient ways to engage with national and international non-profits in creating member value and opportunities.
DELIVERABLES
List of potential sponsors, donors, or partners aligned with AIAS values.
Pitch decks, email templates, and other materials as requested by the Executive Director and Executive Committee.
NEXT STEPS FOR THE TASK FORCE: AS REPORTED BY MADELINE MCGLOIN DURING COUNCIL OF PRESIDENTS, JANUARY 2026
Halfway marker, how will we finish the term?
DEVELOPING MATERIAL TO ENGAGE POSSIBLE PARTNERS
Refreshing our materials and content makes communication with possible partners more effective and allows the AIAS to demonstrate the excellence and range that we uphold.
DEVELOPING MATERIAL TO REACH INDIVIDUAL CHAPTERS AND QUADS
Creating content which can better facilitate programming and career/skill development content for chapters will be an excellent supplement to our deliverables. We hope to envision partnership as something that happens beyond surface level and resonates with individual members and chapters.
CONSIDERING MEMBER BENEFITS THAT MAKE THE AIAS MEMBERSHIP FEEL LIKE A ‘NO-BRAINER’
By focusing on the quality of our partnerships, engagement opportunities, discounts, and other investments create a sense of value that can make a greater impact on the students who hold an AIAS membership.
OUR
MEMBERS
Not featured here: Salvador Salazar Cantu & Tanner Kloster
Madeline McGloin
Chair of Development TF
Matthew Goodwin
Member
Nicholas Clark
Development Liason
Gerardo Ruiz
Member
Helena Galeano Paiz
Member
Ethan Davis
Member
Andrew Nichols
Member
Chloe Wallbom
Member
Susan Yang
Member
Victoria Sawyer
Member
WHAT WE DO IN OUR MEETINGS: BRAINSTORMING IN MIRO/LUCID BOARDS
These screenshots show the collection of thoughts and comments from members during our bi-weekly meetings. We tackle a variety of topics, mostly concerning the best way to communicate information and values in partnership.
SOME ART PROJECTS OF CHOICE
I chose to include the following projects, without identifying specific learning goals, because they are integral to my experience. I hope you can appreciate them as I do. I think they would all fall somewhere along the lines of "Investigation, Inquiry, and Analysis."
Project 5 - MISCELLANEOUS ART PROJECTS
Jewelry
FABRICATION/PERSONAL PROJECT LONG-TERM
CNC FABRICATION ASSOCIATE - BAC | MENTOR ANTHONY MEROLA
I've had a long-term love for jewelry and metals, in general. I'm often decorated in sterling silver jewelry that I've thrifted, collected, or inherited. The more I acquired, the more I needed storage for it. After learning how to use the CNC, I saved up money every now and then for wood, or used scraps, to practice tray and box designs for my bling. I had a few works commissioned by friends, one of which was for someone's engagement jewelry. Wood and metal are two categories of material I adore, and I feel they belong together.
For the past two years, I've also been in the world of vintage jewelry. A friend of mine has a business selling vintage jewelry and I've been helping him at the local vintage markets. I help him polish, sort, price, stage, and photograph pieces when I'm not doing the markets. What's that saying...don't get high on your own supply? It's hard not to leave with a little silver treat.
Modeling and staging vintage gold and silver charms for my friend's business.
See below for photos from more staging, content creation, and working the vintage markets year-round.
Project 6 - MISCELLANEOUS ART PROJECTS
Metalwork
FABRICATION/PERSONAL PROJECT LONG-TERM
INDIANAPOLIS ART CENTER - WELDING COURSE WITH JULIE BALL
WELDING PRACTICE (TIG/MIG/OXY-ACETYLENE) WITH ELIOT TESCI
I still dream of the day I can weld up an architecture model! Metalwork is a hobby I underestimated, but t showed me a new kind of beauty in the everyday materials around us. The moment I discovered that I could control heat shield and surface colors, I felt I had unearthed a new obsession. With a range of temperatures somewhere near 1000 degrees Fahrenheit, welding creates a surface tension in metal that can result in a residual colored surface. I took my humble beginnings in a class of three women at Indianapolis Art Center and became someone who went to the metal scrapyard on the weekends so I could practice with my coworker's setup. I'll group automotive work with metalwork, as I've used my skills on project cars and started learning basic maintenance for my own car.
To explain a few of the photos above: TIG welding a custom stainless steel wastegate for my coworker's car, working on my own car, my first welding sculptures with scrap and cutoffs, repairing my dad's stainless steel grill table with TIG, practicing MIG, Oxy-Acetylene brazing (my favorite) in class, learning how to sort special tools
Project 5 - MISCELLANEOUS ART PROJECTS
Sewing & Style
TEXTILES/PERSONAL PROJECT LONG-TERM
SELF-TAUGHT, EXPERIMENTATION
As a lover of vintage and second-hand clothing, I am often tasked with the mending and repair of my own clothing. Is it crazy to say I love collecting things that need repair? I take pride in customizing my clothes, bags, shoes, and accessories. Being resourceful and smart with money has a byproduct of always having one-of-ones, and never fitting in with the crowd. I wouldn't have it any other way.
Practicing hand-sewing.
Took a $12 dress for a ride with a pair of hotel scissors and a travel sewing kit. Transformed the neckline, straps, and opened the back of the dress.
Accessorizing in fucky ways--my resourcefulness. Wearing a belt as a cross-body decoration.
Adding sleve embellishments (from an old skirt) and fleece pockets (from a pair of fuzzy socks).
I tailored this skirt and gave it a custom closure for better wearability.
Created a custom AIAS BAC logo patch, which i sewed to my army green flight suit.
I get crafty with the way I wear my jewelry. Here, I've strung my rings onto a bangle and hung it from a long necklace chain. The longer necklace includes stones that I hand-wrapped with wire.
Sewing on fabric patches to my *other* army green flight suit.
Some rough hand stitching on my bandana, reading "PLANET."
Custom asymmetrical top by me, made out of a thrifted Cop Copine button dress.
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