DAN IEL E. HUTCHERSON Architecture Packaging Consumer Biometrics
DAN IEL E. HUTCHERSON Architecture Packaging Consumer Biometrics
Dispersed Memorial
Packaging Design
The Consumer Experience
Temporal Landmarks
Anderson Pivot
a digital/physical memorial 2012 pp. 05-08
packaging exercises 2012 pp. 05-08
graduate thesis reserach 2012 pp. 05-08
pedestrian footbridge 2008 pp. 05-08
city transportation facility 2009 pp. 05-08
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A Spatial Trumpet
Surface Area
Act Adapt
Canonical Text
Framing the CCDC
drawing and modeling 2008 pp. 05-08
sustainable restaurant 2010 pp. 05-08
performing arts center 2010 pp. 05-08
architectural theory 2010 pp. 05-08
bike locker storage system 2010 pp. 05-08
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“Hi, my name is Dan� This is a portfolio of work that bridges the three areas of my background: architectural design, packaging design, and consumer biometrics. I am interested in producing powerful design solutions, concepts, and interactions through the many scales of design: large to small and fast to slow. The athleticism and rigor of the design process fuels my enthusiasm in architecture. I enjoy finding and representing the links between physical and digital methods to develop an experience that is closely linked to the participant, a highly integrated and advanced society. The following pages are presented to illustrate these interactions in design through process, experimentation, and rigor.
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Dispersed Memorial A Digital and Physical Memorial of 9/11 Team Members: Martha Skinner (leader) | Lauren Mitchell 2011-present, Volunteer Designer and Collaborator Online New York, NY Charleston, SC Asheville, NC
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Dispersed Memorial A Digital and Physical Memorial of 9/11
On September 11, 2010 the Dispersed Memorial team launched an effort that will acknowledge lives lost during the tragedy of September 11, 2001 as well as reconstruct as many views of the city’s lost skyline. A website was launched to illustrate the concept of the memorial in a digital format. Thousands of glass plates, inscribed with a written dedication to a victim and an outline of the missing skyline, will populate New York City from anywhere in the city that the towers would have been visible. The project will be assembled online through the thousands of contributions from victims’ loved ones and residents or visitors of New York City. Our goal is to construct two conversing collective memorials, a virtual database of stories and images and the physical dispersed installation in the city. The organization of this memorial marks and celebrates the ephemeral and impromptu nature in which people lit candles simultaneously in the days following the events that took these lives, intersecting the everyday activities of the city as an organizational pattern that engages daily life.
40° 42' 12.24" N
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a NYC virtual and physical collaborative memorial of HTTP://
.NET
CONCEPT
TIMELINE
TRACK
MEDIA
TEAM
PARTICIPATE
9/11
BLOG
members around the nation join a virtual movement to acknowledge lives lost during the tragedy of September 11, 2001
TRACK YOUR DM PHOTOS!
CONTRIBUTE TO THE MEMORIAL: We are on phase one of the project, in which citizens around the nation are
contributing to the virtual by expressing their inspirationTimes. through featured online: ArchDaily, Archinect, and thememorial International Business the interactive cards of the Dispersed Memorial. Find out how to participate! REQUEST YOUR DM CARDS TODAY
HOW TO TRACK@DISPERSED-MEMORIAL.NET :
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>
>
40° 42' 12.24" N
40° 41' 43.02" N
73° 59' 59.85" W 40° 41' 47.69" N
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73° 59' 59.85" W
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40° 43' 4.06" N 40° 43' 22.09" N
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73° 59' 51.99" W 40° 42' 12.24" N
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74° 0' 35.07" W 40° 42' 12.24" N
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8 mile radius original tower visibility
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Contributor Photographs of Memory Cards Dispersed throughout the world.
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On 1/11/11 we announced Dispersed Memorial, phase II to the world, nine months prior to the 10th year anniversary of the 9/11 events. We embarked on preparations, team expanding, logistics … working on the steps towards realizing the original Dispersed Memorial proposal. We want to create moments of remembrance in as many places in the city as there were victims, while also reconstructing the lost views of New York City’s skyline. In the process, what was the ‘project card’ prompted exchanges which began to happen on all corners of our nation. As the cards were held up to the light, ‘dispersed memorial’ was revealed, and stories about that day were shared. We are touched that there was a story shared with each exchange. Moments of remembrance have, and are still occurring across our nation. Thanks to all of you who have initiated these moments of reflection.
A prototype for the conceptual digital/physical memorial was fabricated for the transparent window facing the Asheville streetscape. Instantly recognized, the Twin Towers created the tone of the night’s interactions. As people peered into and out of the gallery space, a moment of remembrance occurred at the site of the striking skyline etching the foreground.
A physical site was constructed as a gallery exhibit to initiate a remembrance on the 10th anniversay of 9/11, Asheville, NC.
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DM memory cards a physical memorial | an individual and personal moment in time | shared among the digital archive | a reference to a collective physical remembrance
gallery map of memory card ambassadors across the nation
Dispersed Memorial Team
Friends conversing at the 2011 Dispersed Memorial in a physical state.
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Packaging Design various packaging exercises Critic: R. Andrew Hurley, PhD 2012, Graduate Studio The Retail Environment
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Packaging Design various packaging exercises
Packaging designers are forced with the task to design buldings for our consumables. Harvest Smoothies introduces whole grains into the smoothie industry. Real Guac Guacamole packaging uses recycled avocado shells to repackage a classic mix. Pyro Matches, introduces a new form of representation and interpretation for simple campire matches. Here, the packaging design is outlined by user ergonomic factors. The Illuminate cell phone packaging encourages an second life for a luxury item. The circular form encases a printed photovoltaic array to encourage consumers to recycle and take advantage of their abundant resources.
Real Guac Guacamole | Collaborator: Natalie Quin 18 Hutcherson
Pyro Campfire Matches
Illuminate Cell Phone Packaging | Collaborators: Isaac Levin | Evan Funderburk | Brooks Patrick | Calvin Hutto Illuminate is an inspirational cell phone package that serves to bridge the gap between sustainability, modern technology, and our natural environment. Third place award recipient of the 2010 Paperboard Packaging Association Student Challenge, Illuminate creates a package and brand that blends paper with technology through the use of printed photovoltaic panels.
Pyro Campfire Matches | Collaborators: Joanna Fischer | Josh Galvarino | Rachel Randall | Katie Thackston
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The Consumer Experience graduate thesis research Critics: R. Andrew Hurley, PhD | Chip Tonkin, PhD | Shaundra Daily, PhD | Andrew Duchowski, PhD Team Members: Rachel Randall | Katie Thackston 2012, Graduate Studio Clemson, SC Las Vegas, NV Chicago, IL Berkeley, CA
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The Consumer Experience graduate thesis research
Experience a lab, first of its kind in an educational setting, CUshop contains eye-tracking equipment and resources to aid us in better understanding consumer purchasing decisions. Designs can now be backed up by statistical proof of success instead of market failure and shelf blindness. CUshop’s immersive experience starts with an introductory vestibule flanked with automatic sliding glass doors. These doors effortlessly lead participants into the grocery store where studies occur.
Tactile Heat Maps: User Experienced Data
3D Heatmap | Tactile Visualization 3D Printed + Thermoformed 22 Hutcherson
Tobii Mobile Eye Tracking Glasses
Electrodermal Activity (EDA)
AGGREGATED HEAT MAP SCAN-PATHS Hutcherson 23
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WRITING SAMPLE | ABSTRACT
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Alternative methods of packaging evaluation are researched to represent the interactions held between a consumer and product packaging in retail environments. Biometrics are used as a means to document visual and physical attention during experiments of adaptive packaging. An experiment is designed as a pilot test to precede future costly production runs of predestined design failures. Newly prototyped packages are created as design stimuli and tested within a scripted environment. An intersection between the contrasting fields of art and science are merged to distinguish the production and future evolution of packaging design. Descriptive patterns are examined from biometric data visualizations to determine if a person’s emotions have an effect on one’s purchasing decisions. An increase in visual attention and descriptive physiological reactions describe the effects of the packaging—similar to a conversation held between two people. Strategies are discussed to enhance the design of consumer packaging in response to real-time consumer reactions. After strategically analyzing one’s behavior, a population of packages in different retail environments can globally adapt to meet a consumer’s needs. Packaging designers are provided with a process to rely on consumer-justified designs rather than merely designer-justified decision making. In order to increase market success in packaging, Talk to Me, starts the conversation on a personal and individual level between consumers and packaging design.
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Electrodermal Activity (EDA)
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5800 sqaure feet of exhibition space were used for a packaging installation at the McCormick Place in Chicago. Five different themed retail environments were fabricated to house packaging evaluation studies.
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Temporal Landmarks Lee Hall Connection: footbridge, gallery space, and student lounge Critic: Lauren Mitchell, PhD 2008, Second Year Studio Clemson, SC
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Temporal Landmarks Lee Hall Connection: footbridge, gallery space, and student lounge
Lee Hall, home to the Clemson University School of Architecture is in need of an elevated, exterior breezeway. Additions to the building’s first plan have resulted in the segregation of the undergraduate and graduate architecture studios. Between the two groups of students, one can find many resources scattered throughout the extended plan of Lee Hall. This division of the educational atmosphere creates difficult circulation patterns for the building’s occupants. A narrative was defined through the aid of several word actions. These actions created a bridge that completed connections between all of the facility’s studios and utilities.
DISSECT
EXPAND
iconic connection with expandable spaces
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SHIFT
WRAP
temporal exhibitions
exterior utilities and a “branding” connection To connect the facility and the School of Architecture’s participants, the construction of a bridge has been proposed. This bridge serves not only to close a gap between the different year levels but also to provide an identity for the school. Vibrant green becomes a branding device.
interior studio space with added/adaptable features
exterior shading, courtyard pin-up space
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Many diverse opportunities can be unfolded for the bridge’s long-term future development.
A
SHOWER/SINK
B
C
KITCHEN/LOUNGE
With attention paid to the importance of the courtyard and the limited amount of space, the bridge’s need for transparency and minimal structure is strong. Small members of steel provide structure that produces great heights and spans while still leaving valued views.
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SECTION CUT B 1:100
SECTION CUT A 1:100
recycled billboards transformed vertical
SHOWER/SINK
KITCHEN/LOUNGE SECTION CUT A 1:100
SECTION CUT B 1:100
SECTION CUT A 1:100
student longue KITCHEN/LOUNGE
KITCHEN/LOUNGE
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SECTION CUT B 1:100
HORIZONTAL (GLAS VERTICAL (BILLBO
shower stalls
insertions and connections
SECTION CUT C 1:100
SHOWER/SINK
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Anderson Pivot Downtown Transportation Center: Train, Bicycle, Bus, Automobile Critic: Peter Laurence, PhD 2009, Second Year Studio Anderson, SC
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Anderson Pivot Downtown Transportation Center: Train, Bicycle, Bus, Automobile
An interactive axis has been created at the site of the Anderson Train Station to link all forms of transportation. This pivot creates a mobility axis that connects a three phase plan of (1) train/bike, (2) bus, and (3) automobile parking. To circulate the traffic of the city’s transported visitors; the train station has provided a dynamic path elevated above the tracks. Geometric influences from the site have formed hinged paths that push patrons into the layers of the moving modes of transportation. To support the growing number of cyclists in the upstate region of South Carolina, one rail is refurbished with the Rails to Trails program enabling it to become an uninterrupted recreational bike lane. This additional layer to the program exhibits the building’s purpose to be a multifaceted civic structure.
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phase 2
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pivotal motion off of Main Street and into transportation layers
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introduction to layering paths
HINGED OPENING: forced perspective leading into the city
sense of motion
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pivot` 38 Hutcherson
SECOND LEVEL . 2
Paths are found inscribed in the plans and the section where maps create partitions and way-finding devices. The production of a large scale (1/4”=1’-0”) model provided exemplary material to study craft in application with 2D drawings. Program requirements called for a three level building: lower level arrivals/departures, second level guest services and street level access, and a third level for visitor lounges and employee offices. Additional programmatic features are woven into the parti with lower level locker rooms for cyclists, second level bike rental kiosk, and a third level mapping room.
STREET LEVEL . 1
RAIL LEVEL . G Hutcherson 39
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A Spatial Trumpet Door, Window, Stair: Tectonics and Spatial Relationships Critic: Lauren Mitchell, PhD 2008, Second Year Studio Michel Gondry’s video, Lucas With the Lid Off
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A Spatial Trumpet Door, Window, Stair: Tectonics and Spatial Relationships
Michel Gondry’s video, Lucas With the Lid Off, is the exciting narrative that informs the construction of drawings and a model. By studying a set of frames, diagrams are extruded from each to create a series of folding ribbons and planes.
pause moment
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switching video frames
The process applied to the video is applied to the spatial qualities of the trumpet. The instrument can be identified as a mode to express the language of music. Three moments are composed to express the culture of the instrument as it explores its interactions between space, sound, and the public. A composition of three pause moments exists around an “L� structure and connections are found by a stair. The tectonics and layering of the model represent the depth of a musical composition.
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Surface Area Real-Pit BBQ, Sustainable Restaurant Critic: Robert Bruhns 2010, Fourth Year Studio Pendleton, SC
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Surface Area Real-Pit BBQ, Sustainable Restaurant
The rural areas of Pendleton, SC have supported the construction of large superstores with expansive parking lots. The design of a real-pit BBQ restaurant supported views of outdoor picnicking and community gathering. Surrounding these ideas were views of green and natural settings suitable for the production of BBQ. Surface Area aims to bring attention to the site’s barren parking lot by way of remediating the landscape.
Restoration of the rural landscape is acheived by elevating the structure off the ground plane. This respect leaves room for an outdoor arbor structure, an attachment to the surrounding landscape. Within this arbor, wisteria and yellow-jasmine vines attach themselves providing covered shelter for parking below. The plan of the site is transformed from a blank asphalt plane into an undulating aerial terrain.
PHASE
001
002
003
+6’
+2’
+4’
+0’
site remediation 46 Hutcherson
DELIVERY
VERTICAL CIRCULATION
INTERIOR SERVICE
=arbor support
rain collection
HEARTH
STORAGE
POSITIVE GREEN
BBQ Restaurant Covered Parking Supports Site Remediation
NEGATIVE GREEN Existing Parking Lot
IDEAL RESTAURANT LOCATION Hearth Coordinates
FAMILY DOLLAR STORE DAIRY QUEEN GRILL AND CHILL
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rural community space
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CROSS SECTION: VELLUM INSERT
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G E I F D +6’
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A. HEARTH B. Drive-Thru C. Ramped Entrance +8’-0” D. Bike Parking E. Interior Seating F. Bar G. Exterior Seating H. Arbor Structure (Covered Parking) I. Restrooms
Central to the restaurant is the HEARTH. Here the food is prepared and delivered in the expanding forms of the interior. A circle is dissected with the vectors of pertinent site lines, property lines, and surrounding buildings. This grounds the project into the landscape that it has created--providing interpretation of the site’s history. The growth of the site lends itself as a discovered detail found as the introduced vegetation transfigures the site’s current appearance.
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Act Adapt Student Performing Arts Center Critic: Robert Bruhns Team Members: Molly Herlong | Elizabeth Jones Contribution to Team Project: shared work, plan/section drawings, rhino digital model, physical model, sketches 2010, Fourth Year Studio Clemson, SC
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Act Adapt Student Performing Arts Center
EXPAND
CONVERGE
THRUST
ROTATE
The location of the student theatre reflects the activity and excitement of the design. ActAdapt is situated at the intersection of Clemson University’s campus, downtown Clemson, and student housing and faces two of Clemson’s iconic landmarks: Bowman Field and Tillman Hall.
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ActAdapt is a theatre by and for the students acting upon the stage of Clemson University.
The theatre is meant to meet the needs of the growing number of performing arts students that are unable to find time in the University’s state of the art public performing arts center. This lack of time and space available to students is due to the priority placed on visiting road shows and University run events. ActAdapt is designed to relieve this deficit by providing a space meant for the education and practice of theatre as well as space for rehearsal and student retreat.
animated theater confines
reactions to space transform topography
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+828'
+804' +800'
+774'
+760'
+745'
The theatre is composed of three spaces that act, react, and adapt to the needs of the student’s. The stage is the focal point of the site, engaging and attracting the attention of Clemson. The auditorium provides both the experience of theatre as well as an extension of the education of theatre. The auditorium appears to be rotating around the stage, therefore highlighting the importance and focus of the focal point of the site. The expandable space provides front of house program as well as a large amount of rehearsal space. These spaces are adaptable to the student’s needs through the use of moveable walls. The expandable space provides a fluid navigation from the entrance, through rehearsal spaces, and to the theatre allowing visitors to fully engage in and experience performing arts. The flexibility and interconnection of floor, ceiling, and wall (similar to that of OMA’s Jussieu Library) make the circulation throughout ActAdapt fluid and easy to navigate allowing all attention to be placed on the art and beauty of the theatre experience.
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The lobby is presented as an educational journey through the adaptable theater. Everything is in motion celebrating the unique and creative atmosphere that is created.
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GROUND plan
B: BELOW GROUND
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1: GROUND ENTRANCE
2: SECOND LEVEL
3: THIRD LEVEL theater entrance
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+828'
+780' +770' +760' +750'
Cuts in the topography add interest to the site and allow for unique and interesting surfaces and planes for sports, rest, and leisure. These programmatic capabilities allow the topography of the site to act as an extension of the iconic Bowman Field.
student expansion
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Canonical Text Architectural Theory: The Aiken Rhett House Critic: Sallie Hambright 2010, Third Year Studio Charleston, SC
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Canonical Text Architectural Theory: The Aiken Rhett House
The AIKEN RHETT HOUSE is representative of canonical architecture with the repetitive and morphing character of its actions of SHIFTADD-ANCHOR-DIVIDE-MOVE. This Charleston home posseses all of these visual motions transfigured behind its layered facade . 195 years of history has enstilled its canonical status by way of three canonical movements, otherwise known as its three distinct periods. “In other words, less a concern for what the eye sees--the optical--and more for what the mind sees--the visual. This latter idea of “seeing with the mind” is called here “close reading.” -Peter Eisenman
notation and spatial form
tectonics and structure
context and site
function and program
movement
AIKEN RHETT HOUSE 48 Elizabeth Street, Charleston, SC 64 Hutcherson
“A canonical pattern in music is contrapuntal, repeating but also constantly changing. In the context of this book, the term canonical encompasses the potential heretical and transgressive nature of ways of close reading architecture.� -Peter Eisenman
shift
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DISCONNECT
B R A C
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shifting axes
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RR R EAAA H EE SSHH S
add
braced addition
anchor
site control points
divide
PRIV SERV
PRIV SEMI-P SERV discovered gallery
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eliz et stre street facade display
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VATE VICE
VATE PUBLIC VICE
move
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1
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Canonical buildings “require a reading forward to what the building inspired, as well as backward to what the building denoted. In this sense, great buildigs are timeless, while canonical buildings are identified with specific moments in time.� -Peter Eisenman
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Framing the CCDC Charleston Civic Design Center Bike Storage Facility Critics: Robert Miller (Studio) | Sean Ahern (Metalworking) Team Members: Joel Babcock | Alexander DeFee | Jonathan Jones | Charles Kane | Andrew Pardue | Kathryn Sedor | Lindsay Shelton | Joel Travis | Barack Yaryan Contribution to Team Project: shared work, historical reserach, graphic design, conceptual design, all areas of fabrication/installation 2010, Third Year Studio (Vertical Studio: 4 Masters, 6 Undergraduates) Charleston, SC
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Framing the CCDC Charleston Civic Design Center Bike Storage Facility
DESIGN+BUILD: Studio V, a vertical, collaborative, and iterative studio, consisted of four graduate and six undergraduate architecture students serving the Charleston Civic Design Center (CCDC). The CCDC requested that the studio use a small plot of land adjacent to the east side of their historic building as the site of a permanent bicycle storage facility.
THE CLIENT CHARLESTON CIVIC DESIGN CENTER in collaboration with:
STUDIO V CLEMSON ARCHITECTURE CENTER IN CHARLESTON Joel Babcock. Alexander DeFee. Jonathan Jones. Charles Kane. Andrew Pardue. Kathryn Sedor. Lindsay Shelton. Joel Travis. Barak Yaryan.
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Design Development CCDC Client Reviews Schematic Design Construction Documents Charleston Design Review Committee Charleston Mayor Joe Riley approval Charleston Board of Architectural Review Steel Fabrication Permitting Processes Site Construction Installation
the new image of the CCDC
Bicycle parking: 9 private—enclosed storage units, 3 public—open storage units CCDC street presence: an increased public display Storage: space for trash/recycling bins, flooding sand bags, ice coolers Bicycle Advocacy: a display of Charleston bike culture
SUPER GRAPHIC, LANDSCAPE, BIKE BOX before installation
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Historic Charleston Foundation Charleston Library Society SC Room at the Charleston Public Library SC Historic Society -de
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“SUPER THE SOLE GRAPHIC SURVIVOR ” The studio extracted an extensive amount of historic maps, images, and text on the client’s Arch Building. These findings concluded that the current state of the Arch Building was incorrect. Due to two restorations and one renovation, the east and west facades of the building were scraped clean. History instantly became site specific.
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Architectural graphics make visible the removed masses against the east façade. By way of reading the text and dates applied on the walls, visitors can compare the bike box history panels to that of the mapped elements on the east façade. Communication of the project’s components enable visitors to understand, feel, and experience the site’s history. This architecturally drawn map on the façade of the CCDC reconstructs the past.
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“SUPER THE SOLE GRAPHIC SURVIVOR ” LANDSCAPE The placement of the bike boxes on the east of the Arch Building direct the viewer to the angled sides of the old structure. By placing the bike boxes perpendicular to the street, an odd angle is created against the axis of the boxes and the east wall of the Arch Building. Viewers experience the space while reading history panels throughout the shrinking and expanding path.
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Historic Sanborn Maps were used to locate two buildings that occupied the site in the early 1900s and 1950s. Segments of these foundations were excavated and extended with cast concrete to recreate the historic footprints. These footprints also provide needed boundaries for the applied gravel surrounding the boxes.
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Panels mounted on the rear of the bike boxes provide historic information about the buildings history. Visitors are able to instantly locate the exact placement of artifacts on the wall with the aid of the history panels.
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BIKE “LANDSCAPE SUPER THEBOX SOLE GRAPHIC SURVIVOR ” Due to the limited size of the client’s site and current site restrictions (utilities, HVAC, and underground receptacles), the bike box developed the form of a vertical box, storing the bike perpendicular to its normal position. By placing the bikes vertically, each box footprint was reduced dramatically.
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DANIEL E. HUTCHERSON http://dehutch.net
EDUCATION:
EMPLOYMENT:
Clemson University: Clemson, SC
The Sonoco Institute of Packaging Design and Graphics Graduate Research Assistant Clemson, SC, Aug. 2011-present
MASTER OF SCIENCE IN PACKAGING SCIENCE Graduate Research Assistant Aug. 2011-May 2013
BACHELOR OF ARTS IN ARCHITECTURE Architecture Major, Packaging Science Minor Aug. 2007-May 2011 GPA: 4.0, Summa Cum Laude Graduated 1st in Class
Clemson Architecture Center: Charleston, SC Study Abroad Design/Build: 8 month project GPA: 4.0
Designed and produced CUshop™, a consumer experience eye-tracking lab, with an accompanying website. Researched eye-tracking methods and applications while conducting industry supported experiments in CUshop™. Designed and fabricated tradeshow exhibitions for 2011 and 2012 Pack Expo shows. Fisher Price - Mattel Packaging Intern New York, NY, June 2012-Sept. 2012 Designed, prototyped, and assembled packaging for all current Fisher Price Brand toys. Worked within a collaborative environment to bridge packaging structure with graphic artwork. Charleston Civic Design Center Architectural Intern Charleston, SC, May 2011-Aug. 2011 Studied legal construction documents for interpretation into scale models [both digital and physical]. Engineered and fabricated a metal counterweight system for the City of Charleston’s bike storage units.
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danhutcherson@gmail.com 864.421.3032
HARDWARE:
VOLUNTEER:
RECOGNITION:
Dimension ABS 3D Prototyper, UP 3D Prototyper, Epson Stylus Pro 7900, Kongsberg iXL44, Mimaki UJV-160, Roland LEJ-640, Tobii Eyetracking Glasses Head Unit, Affectiva Q-Sensor, Emotive EEG Neuroheadset
Dispersed Memorial Design Team Member Oct. 2011-present
Paper Presentation, 4th International Conference on Science in Society, University of California, Berkeley, USA, Nov. 2012 First Place Design, Danisco Knowledge Award, July 2012
Worked with team leader Martha Skinner to promote the NYC 9/11 memorial. Produced graphics and website for http:// www.dispersed-memorial.net. Fabricated laser cut memory cards for the September 2011 9/11 anniversary.
Professional Enrichment Grant, awarded $750 maximum prize, Summer 2012
American Institute of Architecture Students, Clemson Studio Culture Director [Leadership Role] Volunteer Designer and Fabricator Aug. 2009-May 2011
Harris A. Smith Research Fellowship, Aug. 2011-May 2013
SKILLS: Autodesk Revit, Rhinoceros, AutoCAD, Luxology Modo, Google SketchupPro, Solidworks, Photoworks, Adobe Creative Suite 5.5, Esko Studio for Flexibles, Esko ArtiosCAD, Cape Pack, Esko Visualizer, Physical/Digital Modeling, Laser Cutting, CNC Milling, 3D Printing, 3D Rendering, Metalworking, Woodworking, Mural Painting [large scale], Microsoft Office
TEACHING EXPERIENCE: Guest Critic invited to review student work on the following projects: Spring 2012: CUSoA Undergraduate Portfolio Competition Spring 2012: CU Packaging Undergraduate Finals Fall 2012: CUSoA Second Year Studio Project Review Fall 2012: CUSoA First Year Studio Final Project Review Drawing and Diagraming Lectures presented lectures at the following: Spring 2012: CUSoA School-Wide Seminar Spring 2012,13: CU Packaging Science Drawing Lecture, Beginning Design Students
Collaborated with students and professors to write the school’s Learning Culture Document, required for the school’s accreditation.
Honorable Mention, IOPP Ameristar Student Competition, Feb. 2012 3rd Place, Paperboard Packaging Association Challenge, Sept. 2011 Faculty Scholarship Award, highest achievement in graduating class [BA], May 2011 AIA SC Chapter Award, faculty voted award, May 2011
Directed the production of Clemson University’s first Learning Culture Forum, an event used to discuss the document’s condition.
First Place, Clemson Undergrad. Portfolio Competition, Dec. 2010
Worked with student volunteers of Freedom By Design to design and construct a wheelchair accessible ramp for a citizen in Easely, SC.
Bobby R. Hudson Scholarship, Aug. 2008-May 2011, awarded $3,000
Community Research and Design Center Volunteer Designer and Fabricator Aug. 2010-May 2011 Constructed a stair needed for a site’s accessibility with a team of 10 students at the Clemson Student Organic Farm.
SC Life Scholarship, Aug. 2007-May 2011, awarded $20,000
CAC.C Collaboration Award, May 2010 Rudolf E. Lee Award, School of Architecture Faculty Award, May 2010 Second Year Award, School of Architecture Faculty Award, May 2009 President’s List [4.0 GPA], Eight out of Eight Semesters Alpha Lamda Delta Honors Society, Jan. 2008-May 2011 Pepsi Golf Scholarship, Aug. 2007-May 2008, awarded $1,200
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