This student came to us around a year before his application deadlines. We had a good amount of time with him to encourage his visual skills and writing skills. We also included some interview practice for his UK school options at the end of his enrollment with us. This particular video reviews his Cornell portfolio submission, which is a little longer than the Bartlett submission since the Bartlett requires just 10 pages, and Cornell around 20 pages (for 2025 entry). He was accepted to both programs, and chose Cornell.
Full transcript
This post reviews a successful architecture portfolio from one of our students who was accepted to both Cornell University and the Bartlett School of Architecture at UCL. The student applied to Cornell’s Bachelor of Architecture program and the Bartlett’s BSc RIBA Part I program. They also applied to several other schools in both the United States and the United Kingdom, but because Cornell and the Bartlett are among the most competitive, this review focuses on how the portfolio succeeded for those two applications.
The portfolio was created with both schools’ expectations in mind. I will discuss how its structure reflects what Cornell and the Bartlett look for and how it succeeds as a whole.
The student was based in Delhi, India. One of the main reasons this portfolio stood out was the student’s combination of diligence, organization, and skill. That combination is extremely powerful for any kind of application. Both organization and skill can be learned and developed through deliberate practice. Students who feel they are disorganized or weak in drawing or model making can improve those qualities through consistent effort.
This student already possessed a good balance of both, which made the process smoother. For others, building those habits takes longer but is entirely possible with proper guidance and persistence.
Portfolio structure and requirements
The version shown here is a shortened edit of the student’s original submission. It contains twelve pages rather than the full twenty. Cornell’s guidelines for 2025 entry specify a portfolio of no more than twenty single pages, with no more than two pages devoted to any one project. The Bartlett’s guidelines for the same year specify a portfolio of ten pages.
This portfolio works effectively for both because each page represents a complete project. The longer Cornell version could be reduced to ten pages for the Bartlett simply by selecting the strongest projects. When preparing multiple portfolios, it helps to design the first one according to the strictest requirements and then edit shorter versions for other schools.
Range of media
The portfolio includes a wide range of media. There are drawings, paintings, architectural models, sculptural models, elements of product design, speculative 3D work, and some graphic design. The variety of techniques is one of its strengths.
However, the variety matters most when different media support unified projects. A strong portfolio does not just list types of work such as 2D, 3D, or textile pieces. It shows how these different forms of making come together within each project. This demonstrates intellectual range and a project-based mindset rather than a simple collection of skills.
Presentation and descriptions
Each page begins with a clear information box that gives essential details such as title, medium, size, date, and whether the work was done independently or in a class. These small details matter because admissions reviewers examine portfolios quickly. Clarity helps them understand the work without confusion.
Dates are important because undergraduate portfolios should reflect work from the last couple of years. Mentioning whether something was independent or class-based also helps, since independent work shows self-initiative.
Text descriptions should be brief, vertically arranged, and easy to scan. A short paragraph that outlines the brief, what was done, and a small reflective comment is ideal. The writing should support the visuals, not compensate for them. If you feel that you need to explain poor visuals with words, that usually means the work itself needs improvement.
Key projects
The first project, titled Warren, succeeds because it is personal and technically strong. It focuses on the student’s home city of Delhi. The writing that accompanies it is concise and accurate, focusing on the drawing’s visual structure rather than abstract ideas. This demonstrates critical reflection and precision.
The next project, Multi-Orientation Assembly, shows a direct relationship between drawing and model making. The model was developed from the drawing, and the continuity between projects is clear. The work was done independently, which demonstrates confidence and initiative. The student explored speculative space and form without attempting to design a conventional building, which is entirely appropriate for a pre-architecture portfolio.
The photography of the model is also strong. The images were taken from a moderate distance with controlled lighting and good contrast, which emphasizes the object’s form and mass. A plain background and a slightly brighter exposure could improve the presentation, but overall it is effective.
Another project documents architectural sites and ruins in Delhi. This kind of catalog-style documentation aligns well with the Bartlett’s teaching, particularly in the first year of the BSc program, which often involves detailed urban or spatial recording. The page layout shows good hierarchy, with a large image balanced by smaller supporting ones. This indicates an understanding of how to communicate visually on a page, which is an essential skill for architects.
Strengths and weaknesses
Not all projects are equally strong, but even the weaker ones serve a clear purpose. One example is a drawing of an imagined environment made from memory. While imaginative work is valid, it demands greater technical precision because the value lies in the drawing’s formal quality rather than observation. In this case, the perspective and line work are good but could be improved to match the standard of the other pieces.
This kind of self-awareness is part of developing as a designer. It shows that the student is capable of identifying areas for growth.
Fabrication and making
Several projects demonstrate interest in fabrication. One set of works came from a bamboo workshop in Bali, where the student created a model and a light fixture during an eight-hour exercise. Labeling it as an exercise rather than a full project was smart because it shows awareness of scale and purpose. The layout balances large finished images with smaller process photographs and sketches, which gives the reader a clear understanding of the making process.
Another project involves a table design that began as a cardboard model, later cast in brass and aluminum during an internship. This kind of fabrication is beyond what is required for an undergraduate portfolio, but it demonstrates impressive technical ability. For students without access to expensive materials or facilities, similar results could be achieved through plaster casting on a smaller scale. A detailed study of a fragment can be just as effective if photographed and presented well.
Material and spatial experiments
The portfolio also includes a project that combines sculpture and garment making, using wire mesh springs and leather strips to create a form draped over the shoulder. The concept is simple, but the strength lies in the photograph itself. The composition communicates texture, materiality, and scale clearly, showing that the student understands how to prioritize the most important element on the page.
The final projects explore photography, graphic design, and light. The student experimented with color and composition in photography and then applied those studies to a project involving stained glass and light projection. This two-part project demonstrates how earlier visual research can evolve into a fabricated outcome. It also shows curiosity about materials and light, both of which are central to architectural design.
The stained glass box project suggests potential for building science and technical resolution, which are qualities valued by both Cornell and the Bartlett. It reflects an awareness of how light interacts with material and space, and it remains rooted in experimentation.