portfolio
JOSEPH
WHITT
table of CONTENTS
academic PROJECTS Paper Lantern Raising Arizona Genoa Museum Pop-Up Tent Pre-Cast Highline Children’s Highline Refugee Center professional WORK Creative Inquiry Clarke Design Group
academic PROJECTS
PAPER LANTERN Fall 2012 Clemson University Professor Dave Lee
1
The inspiration of this project lies in a Japanese ritual that celebrates ancestral spirits. Each year people craft individual paper lanterns along with personalized messages that are then internally lit and sent to float down a river, in order to commemorate lost loved ones. For me, this project became an exercise of diagramming and an introduction to the design process and experimentation. Multiple “families� were created that followed similar aspects of paper manipulation. As a designer, creating these families challenged me to explore all parameters and possibilities. Moving forward, we were encouraged to choose a family to advance towards a fully articulated lantern. 2
3
Diagramming the Folds The design process is a journey. Progress is achieved through iterations and exploration.
RAISING ARIZONA Fall 2012 Clemson University Professor Dave Lee
This project drew inspiration from the 1987 film “Raising Arizona�. Analyzing the film and pulling aspects from the narrative was the first step toward designing a conceptual pavilion in the form of a spatial experience. The initial study of the film began with a method called cinemetrics that focused on diagramming camera frames in relation to position and time. Additionally, a design palette was developed composed of emotions, materials, and symbols from the film. After defining this palette I began designing a series of individual sections that were meshed together using different tectonic techniques. The resulting design was a spatial pavilion that was derived from the film.
Cinemetric diagram, exploring the relationship of a scene to time and space
Design inspiration can be found in the strangest places.
1
2
3
4
The primary inspiration for the pavilion was based on a single clip that occurred halfway through the movie when the antagonist of the film is revealed for the first time. The intimidating character is introduced piece by piece vertically and at different positions traversing through a store. The idea of a simple, singular figure being fragmented and repeated through a path became the basis of my design.
1. Creating a Module
3. Fragmentation
2. Replicated and Intersected
4. Recreating Contrast, Open & Closed
Final Drawings Section AA
A C
B
B
A
A
C
Floor Plan
B
Section BB
C
Section CC
GENOA MUSEUM Fall 2013 Clemson University // Genoa, Italy Professor Nick Ault
This project took place during a semester studying abroad in Italy. In essence, there was a semester-long investigation into representative methods, such as Analytiques from the French school of Beaux-Arts, and the bold paintings of Futurists calling for Italian Revolution. In addition, supporting courses gave insight into Italian history and architectural evolution. Finally, we were challenged to design a museum that combined the history of war and peace in Italy and offered a symbolic monument. The subjects of the museums and monument were left to our own created narrative, including the individual artifacts to be displayed. Partners: Yuxiang Jiang, Paul MacKnight
Architecture can serve as a narrative. tell a story
Above. A time lapse of the Genoa, Italy studying the growth of the harbor and its effect on our site which, at one point, was situated along the coast, but now sits aback a prominent drop-off. Left. The site and city possessed a dichotomy of historical urban planning strategies and results; restricted and organic.
Series of site analysis drawings were performed according to a Beaux-Arts style of ‘Analytique’. A collection of these drawings were then overlapped digitally, through a set of evolving parameters, to produce several distinct compositions. This mosaic of drawings, for example, was created by aligning the center points of the piazza and maintaining the established axis but totally disregarding scale. Several of these compositions were created and then analyzed aesthetically as well as their ability to maintain a readily identifiable reference to the site.
From the previous compositions certain lines or curves were extrapolated and explored as both futurists paintings and three dimensionally, using a set of parameters unique to each one. The result of this process was a set of models that reflected all six analytiques originally created and an architectural abstraction of the site.
Program Part of the design scope for this project resided in choosing artifacts for the museum. Our narrative took the shape of a linear timeline describing the events leading up to WWII and the cultural climate afterwards. As such, the first museum was dedicated to the work of Italian Futurists and several pieces of Fascists propaganda. Then, the visitor will arrive to the war memorial, an intimate space that serves as a monument to the war. The final gallery revolved around the economic boom experienced in Italy after the war and include pieces of advertisement, particularly ones completed in a pop-art style.
1950
1945
1940
1955
1960
1925
1930
1935
Site The site allocated for this project is located at the tip of a wide, tree-lined avenue called Via Corsica. The top level piazza offers a nice view into the harbor and is completely open with a thin perimeter of benches and trees. The bottom site is dark, overgrown, and all together undesirable and inaccessible. The entirety of the place is surrounded by noisy car traffic and has been relatively forgotten.
Site significance: plaza and view
Pedestrian vs. vehicular circulation
Creating a timeline with form
Circulation reflecting timeline
Visual monumentality and sloping elements
Flattening of planes and subtleness
Connecting levels of site
Axial entrance
Stratified facade and frame
8
6
D B C
9
1 2
7
A B
5
4
D
A 3 1O
C
Site Plan
Section DD
Floor Plans
15
B
12 16
D
13
14
11
D
15
A A
1 Public Plaza 2 Reflection Pond 3 Playground 4 War Memorial 5 Gallery Space 6 Via Corsica 7 Corso Aurelio 8 Via Fiodorz
B
C
15
15
15
11
12
13 14
15
A
A
C
9 Peace Museum 10 War Museum 11 Utility Closet 12 Multimedia Room 13 Restroom 14 Office 15 Gallery 16 Entrance
I
R SE
Project Logo
Section AA
War Memorial After experiencing the pre-war gallery, the exhibit continues into a monumental tower. While circulating upwards you view hollow metal tubes hanging from the ceiling and casting out names of soldiers cut into the plates. Then, the gallery proceeded with imagery from the economic boom experienced afterwards.
Section BB
Section CC Interior Render
POP-UP TENT Spring 2014 Clemson University Professor Bo Garland
This project was a response to a competition created by AIA Chicago. They called for a new “pop-up tent” to replace the tailgate structures we have become accustomed to. Specifically the competition was targeted towards farmer’s markets in Chicago where local markets were often set up in the street. The design included a $500 budget and the inability to be connected to the ground, along with the respect for strong winds present in Chicago. The focus of this tent was certainly tectonic exploration along with material investigation. Partners: JJ Nemetz, Taylor Smith
INS T A LL I N G
SING P LA L CO
CONSTRUCTION
Problem At certain times throughout the day the owner of a standard pop-up tent may have to be outside of the structure in order to benefit form the shade it provides due to the position of the sun. Also the current tent without proper anchoring to the ground is at risk of failing with strong winds.
$ Form meets function
Concepts Incorporating similar techniques found in origami provides a less complex method and more economical action of collapsing and expansion. Triangulation provided the additional structural strength needed to uphold against strong winds and also utilizes angular planes that provide consistent shade and adjustable protection. Goals To develop a new pop-up tent that maintains structural integrity independently, succeeds in providing consistent protection and shade, achieves material economy, competes with price of the standard pop-up tent, and includes materials that are both readily available and eco-friendly.
PRE-CAST HIGHLINE
Fall 2014 Clemson University
This design was generated from various studies of tessellations and how they could possibly apply to the future pre-cast concrete industry. After initial exploration, we were challenged to apply the 2D articulations to a structure developed of pre-cast components. To be specific, our site was located near the end of the Highline (phase 3) in NYC and was to be a residential tower. I decided to explore the idea of pre-cast “additive� pieces that were more than aesthetic facade assembly, but functional catalogues that could transform a space.
Professor Carlos Barrios
55.7O
Initial Form
Linear tessellation
Fragmentation
Rotation
Site Analysis The proposed site was located at a planned addition of the highline facing the water. The massing of the residential tower aimed at capitalizing on sunlight and water views, as well as complimenting the Highline with mixed-use at the lower levels.
Inspiration I began the study of tessellations with inspiration from the first project in this portfolio. I wanted to explore the shape more. The geometry I arrived at was derived from alternating arcs of tangentially touching circles.
Design Generation
Commercial
Typical Circulation
Business
Vertical - Elevators,Stairs
Residential
Horizontal
Programming
Circulation
Applying Tessellation
Site Plan
15’
8’
19’
15’
Pre-cast Solutions A diagrid frame is applied to standard concrete pillars and double t floor plates. Threedimensional pre-cast forms that draw from the tessellation experiments can then be applied to create an array of functions.
CHILDREN’S THEATRE
Clemson University
The SC Children’s Theatre was my last undergraduate project at Clemson University. The program called for a dynamic space, one that was suited for an educational environment for small children, but that also needed to function as a full-service theatre that both patrons and kids could enjoy. The site lied in Greenville, SC and we were prompted to maintain a regional identity and to activate a somewhat lacking street front. The semester long studio was also a competition between all the senior architecture students of which I was selected as a finalist.
Prof. Julie Wilkerson
Site analysis and initial sketches
SITE ANALYSIS
Spring 2015
ARK SP
L FAL TO
Pu
blic
to
Priv
ate
DISTRICT DISPARITIES Site
Institutional
Residential
Commercial
CRITICAL REGIONALISM Recreation
City-Oriented Green Vein
River-Oriented
URBAN FABRIC Setback Inconsistencies Gaps in the Urban Street-scape
VEIN
EDU GREEN
PUBLIC
CHILD PRIVATE
VEIN
THEATRE
POCAHONTAS TREE
THEATRE
grid
CANOPY
child Park
EDU GREEN PUBLIC
CHILD
THEATRE
POCAHONTAS TREE
THEATRE
grid
child Park
view
Urban gap
CANOPY
ADULT
Street Presence
ADULT
view
Urban gap
Conceptual Development My response to the site and program was an analogy to the unique urban fabric that makes downtown Greenville so special. Two separated “districts” composed the education and patron environments. A “green vein” split the site and served to simulate the Reedy River downtown. The “canopy”, then, became my Liberty bridge, which serves as a landmark in Greenville,SC, and connected the two programs while simultaneously adding an element of nature, indicated by a large tree-like column and materiality. The canopy also dissected the green vein, created an Street Presence while also maintaining a more intimate active street-scape that contributed to the urban context and protected space at the back of site for children. The “Pocahontas Tree” was a concept of what exactly the central lobby could be, essentially presenting the large column as a whimsical item for children to enjoy and cherish.
PRI
PRODUCTION
REHEARSAL
REHEARSAL
CLASS
ADMIN
CLASS
CLASS LOBBY
CLASS
LOBBY
open to below
BLACK BOX
STAGE
STAGE
LOBBY
SUPPORT
BLACK BOX
LOBBY
PRODUCTION
Second Floor Plan SUPPORT
STAGE
BLACK BOX
LOBBY
ADMIN
LOBBY
PRODUCTION
LOBBY
open to below
open to below
STAGE
STAGE
BLACK BOX
LOBBY
Ground Floor Plan
Third Floor Plan THE
ADMIN
LOBBY
CAN
OPY
LOBBY
open to below
open to below
STAGE
STAGE
LOBBY
THI
RD
DIR
ECT
OR
CLA
SSR
ADM
IN.
REH
EAR
M
HEA TRE
OOM
S
Y
CON
ICES
ROO
NT
OR
OFF.
OFF
SAL
MAI FLO
BAL SEC
OND
L OW ER B UPP BOWL ER LOW
FLO
OR
Sout h Chil Carolin dren a 's th ea
C
OX KB
tre
BLA
TION
DUC
PRO
Exploded Axonometric
Side Elevation
Section through theatre
South Carolina children’s theatre
Front Elevation
Section through Lobby
REFUGEE CENTER
My first project in graduate school was geared towards the AIA Cote Top Ten competition. The competition focused on exploring sustainability in architecture. Our studio prompt involved another growing problem in the world, housing refugees. In particular, the challenge was to design an integration center that could fit into a highly dense and urban environment. We were given six sites to explore in Madrid, Spain and provide a sustainable response. Our design focused on an unused plaza in which we placed three contextual urban separated blocks of programming that were strung together by an open air breezeway. This strategy served both the sustainable goals of the competition and a social goal of integration. Partner: Cameron McRae
Clemson University Prof. Ulrike Heine
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Fall 2017
NEW PLAZA
Design for Community Plaza del Carmen, Madrid provides an opportunity to address an urban gap resulting from vehicle-driven planning. This refugee center recaptures valuable lost urban space while also defining and supporting public interaction.
WA Y TILA TIO
PLA
AL TU
ZA
D
IA
G
IN
AL
HE SPIRI
LO
las Tres Cal le de
Media Lobby
6m
3m
URBAN RESPONSE
0m
0m
3m
6m
9m
12m
Encouraging Local Interaction, Introducing Plaza Culture
Programming designed to prepare refugees for a healthy, self-sustained life in Spain. 15m
NEW PLAZA
PLAZA
Petit Palace
PL
Surrounding Buildings provide pre-functioned opportunities to activate plaza currently scarcely used.
AZA
Filling Urban Gap
Extending Block
IST. AC GARA CES G E S
PLAZA UNO
DESIGN FOR COMMUNITY Plaza del Carmen, Madrid provides an opportunity to address an urban gap resulting from vehicle-driven planning. This refugee center recaptures valuable lost urban space while also defining and supporting public interaction.
E1
STREET
Cine Acteon
PLAZA DOS
Defining Two Plazas
Micro-Environment
lber
to
Water Collection
Water collected from the plaza will be channeled to the roof and dropped down interior walls into pools, facilitating evaporative cooling.
Communal Bath Kitchen
Kitchen
12-24
5
TH FLOOR Communal Bath Kitchen
7-14 Laundry Communal Bath
12-24
Kitchen
Childcare
4TH
FLOOR
Zero-Landscaping Communal Kitchen
Spiritual Chapel
6F
Communal Bath
Housing Office
Sunlight is Reflected into the lobby
5F
Legal Assistance
Education Offices
4F Housing
Language Class
E3
3RD
Media Lobby
3F
FLOOR
2F 1F
Conference Rooms
Healthcare Center
PLAZA
Stacked Mix-Use Programming
Defined Interaction
Open Interaction
3
Flex Space
DESIGN FOR ECOLOGY Zero-Landscaping: low-maintenance and low-water bio-strategy
Street Re-Interpreted Within Center Accommodation Healing
Plaza Incorporates Pedestrian Street
Interaction Assistance
PLAZA
Support
PROGRAM KEY
Language Class
Education Offices
1. Delosperma sphalmanthoides 2. Iris germanica 3. Aloe variegata 4. Cleistocactus strausii 5. Carpobrotus acinaciformis 6. Echinocereus pentalophus 7. Kniphofia uvaria 8. Echinopsis pasacana 14. Euphorbia lactea va 9. Tephrocactus articulatus 15. Faucaria tigrina 10. Punica granatum 16. Schlumbergera truncata 11. Lagerstroemia indica 17. Echinopsis terscheckii 18. Sempervivum tectorum 12. Aloe brevifolia 19. Lanata espostoa 13. Hybrid Echinopsis
BLOOM SCHEDULE
Media Lobby
Computer Lab
2ND FLOOR
Spiritual Chapel
Elevation Three:
The southern glass curtain wall bookend of the breezeway will experience many hours of direct sunlight and is protected by perforated metal scrim panels. At the ground floor these panels are collapsible to allow permeability.
6
DESIGN FOR ENERGY Through the strategic use of passive ventilation and evaporative cooling, this refugee integration center drastically reduces the necessity of air conditioning. In addition, sunlight is controlled to prevent overheating while maintaining maximum natural light. Relative Humidity
5
1/3
98.7%
E2
Unconditioned SQFT.
80 %
60 %
.028
8
DESIGN FOR RESOURCES All materials were strategically selected based on locale, affordability, recyclability, low-maintenance requirements and production-based carbon impact. Material strategies are both traditional, to reflect the existing urban blocks, and contemporary to emphasize the design of an innovative response to the refugee crisis. Local
.024
80
Building Section
Low-Cost
.020 70
.016 .012
60
THERMAL COMFORT HOURS
E1
100 %
Wet-Bulb Temperature, Deg. F
High Thermal Mass (21.3%) Natural Ventilation (5.9%) Comfort (14.7%) Direct Evaporative Cooling (10.9%) Heating (51.7%)
50
Recycled Operable Metal Mesh Scrim
.008
40 20 10
E2
FLOOR
E3
Elevation Two:
The contextual urban blocks are covered by twisting corten metal strips. This treatment filters direct sunlight and creates fluid movements along the monolithic facades.
DESIGN FOR ECONOMY An operable facade that facilitates passive ventilation allows for low-cost air conditioning and comfortability while also promoting a sense of ownership.
6TH 12-24
Flex Space
Housing
Legal Assistance
Plaza Interrupted by Street
Balcony
12-24
13-26
Condensing and reflecting
E2
Elevation One:
Interpretation of a Spanish balcony that incorporates an operable metal mesh facade. By manually opening and closing, occupants can passively control the ventilation effect and light entering the breezeway.
nA
Existing Condition
99 WALK SCORE easy access to amenities 8 TRANSIT LOCATIONS within 10 min. walk
2
Left-Over Urban Space
?
EX
Cine de Madrid
le Sa
DESIGN FOR CHANGE By reflecting existing urban strategies involving commercial and public programming at lower levels and housing above, this facility can be easily affixed to life in Spain after the refugee crisis.
The street and plaza compose the primary spaces for community interaction within Madrid’s urban fabric. By replicating these environments within the center, refugees can comfortably experience Spain’s culture and be encouraged to interact among each other and locals. In this way, circulation between the contextual blocks becomes the method of integration.
EX
IST.
9
Cal
DESIGNING INTERACTION
FORM FINDING GAP
Hotel Anaco
40%
Language Education, Job Preparation, Legal Aid
PRIVATE PRIVATE PRIVATE PUBLIC
Humidity Ratio
9m
Physical and Mental, Healthcare Center,, Spiritual Chapel
STREET
12m
15%
15%
Temporary Housing, Communal Kitchens, 136 Max Capacity
The intense sun demands different responses from different facades. Providing shade to the plaza activates the space.
EVAPORATIVE COOLING
INTERACTION
STREET
15m
30%
ASSIST
STREET
Spain
HEAL
CO MP LE TE BL OC K
Top Five Refugee Source Countries
E
S
PATH TO INTEGRATION. MORE THAN A CAMP ACCOMMODATE
Communal Bath Kitchen
FLOOR
Communal Bath
N
Sun Path
Male
Capturing and controlling prevailing winds allows the breezeway to passively cool the interior space.
SUNLIGHT CONTROL
Central Breezeway
have died crossing the Mediterranean since 2016 100+ 95-99 90-94 85-89 80-84 75-79 70-74 65-69 60-64 55-59 50-54 45-49 40-44 35-39 30-34 25-29 20-24 15-19 10-14 5-9 0-4
S
W
4,600+ Female
E
Wind Rose
Cafe
middle-eastern refugees travel by sea
MADRID AS A HOST An overlay of age distributions among Spanish citizens and European asylum-seekers. Incoming refugees can provide relief to a demographic gap resulting from the greying of Europe. Providing an appropriate center for refugees to acclimate and integrate within European society is critically important.
Healthcare Center
BR
N
Y ENTR Y BB
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1.2 MILLION
VEN
ud
M
seeking asylum in EU
IVE
N
W
BR
la
1,300,000
Y
NIT
de
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IL
CH
forcibly displaced people worldwide
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BP RE
AN TH NG RE SI O M OU
CO EL W
65.6 MILLION
ZA
LA
PRE
Sal
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JOB
BY THE NUMBERS
7TH
PASSIVE VENTILATION
le
REFUGEE INTEGRATION
Wind Diagram
SUSTAINABLE STRATEGIES
Cal
DE MADRID
DESIGN FOR INTEGRATION In order to combat the hot and dry climate conditions in Madrid the massing capitalizes on prevailing winds being channeled through narrow streets. The resulting breezeway informs methods for passive ventilation. The existing site slope is utilized for water capture and evaporative cooling within the structure.
Cru ces
PUERTO
Z
1
20
.004
30
30
40
50 60 Dry-Bulb Temperature, Deg. F
70
80
90
100
110
Twisting Steel Corten Strips
Housing
Glass Sliding Door
Conference Rooms
Spiritual Chapel
MEDIA LOBBY 7
DESIGN FOR WELLNESS Specific facade treatments responding to the sun ensure naturally lit interiors throughout the day and year. By providing shade to the plaza it is also activated and desirable.
Recycled Steel W-Sections
88% of floor space can be naturally lit at operable hours Glass Pivot Doors
Granite Horizontal Stack Stone ~18 in/yr
floor connection detail
12,600 SqUARE FOOT
SITE GRANITE RE-PURPOSED
4
662,000
GALLONS HARVESTED ANNUALLY
DESIGN FOR WATER After capturing water from the plaza it can be cooled and treated, pumped to the roof, and trickled down the interior walls into a small pools. The evaporation from these pools will, in turn, cool the air being pulled through the breezeway.
Water is filtered, stored and cooled Below grade, then pumped to above the interior water wall.
?
PLAZA
Proposed STREET
Existing
STREET
STREET
STREET
Designing Integration The street and plaza compose the primary spaces for community interaction within Madrid. By replicating these environments within the center, refugees can comfortably experience Spain’s culture and be encouraged to interact among each other and locals.
PLAZA
Site Plan
Media Lobby
Spiritual Chapel
Housing
6F 5F 4F
Housing Legal Assistance Language Class
3F 2F 1F
Healthcare Center Stacked Mix-Use Programming
Defined Interaction
Open Interaction
SUSTAINABLE STRATEGIES
The following strategies were employed for the refugee integration center: Passive Ventilation Capturing and controlling prevailing winds allows the breezeway to passively cool the interior space. Sunlight Control The intense sun demands different responses from different facades. Providing shade to the plaza activates the space. Evaporative Cooling Water collected from the plaza will be channeled to the roof and dropped down interior walls into pools, facilitating evaporative cooling. Program Various programs were applied to the center to facilitate refugee integration Accommodation Healing Interaction Assistance Support Central Breezeway A breezeway oriented toward prevailing winds facilitates passive ventilation within the structure and encourages interaction between people as they move among the programs
Sunlight Control Facade treatments vary to compliment programming and orientation
Breezeway Articulation An operable facade that facilitates passive ventilation allows for low-cost air conditioning and comfortability while also promoting a sense of ownership.
Remaining Facades Twisting coreten metal strips and fixed perforated metal scrim panels strategically control light
Design for Ecology Zero-Landscaping: a lowmaintenance and low-water biostrategy that is strategically placed on the roof. A variety of plant species mostly found in desert biomes was selected to provide blooming throughout the year.
Design for Resources All materials were strategically selected based on locale, affordability, recyclability, low-maintenance requirements and production-based carbon impact. Material strategies are both traditional, to reflect the existing urban blocks, and contemporary to emphasize the design of an innovative response to the refugee crisis.
MEDIA LOBBY
Design for Water Collected water is treated and trickled down interior walls, where it facilitates evaporative cooling to the breezeway.
professional WORK
CREATIVE INQUIRY
Summer 2014Spring 2015 //2017 - present Clemson University Dr. Barbara Speziale
The summer before my senior year at Clemson University I accepted a position as the Creative Director for Creative Inquiry, a campus-wide research program under the Undergraduate Studies department of Clemson University. I jointly lead a program called Adobe Scholars, a partnership between Adobe and Clemson University that sought to teach students from all disciplines the benefits of being able to use programs like Photoshop, Illustrator, and InDesign. My primary responsibility was to organize a team of students in the creation of an annually published magazine called Decipher. I also acted as the Chief Graphic Designer for the magazine and directed a team that included writers, editors, a photographer, and a graphic design assistant. In addition, I produced several other graphics promoting the program, as well as two digital interactive publications. When I enrolled into graduate school I resumed my position with Creative Inquiry and continue to practice graphic design.
Infographics Throughout my work with Creative Inquiry I’ve produced a number of graphics dedicated towards promotion and education of the program, as well as material for national conferences, such as Adobe MAX.
Cover The cover of Decipher 2015 celebrated the Solar Decathlon project at Clemson which included several Creative Inquiry teams.
App Many articles were converted into online interactive publications that included videos, animations, and additional info about the Creative Inquiry teams.
Pages from Decipher magazine.
Cover for an annual poster forum
Event Flyer
CLARKE DESIGN GRP
Fall 2015Summer 2017
As an intern architect at Clarke Design Group, a small, primarily residential, architecture firm, I was able to participate in several phases of design. For several projects I prepared presentation documents for various review boards and neighborhood committees. I was very involved in construction documentation and design development for various scales of residential projects, including highend waterfront homes to community-oriented plans. Additionally, I created various material to help market and promote the firm.
Mt. Pleasant, SC
Community Infill Development Site Plan Firm Marketing
Waterfront Residences
Private Residence Render
Commercial Renovation
RESUME
JOSEPH
WHITT
Education
Contact jhwhitt@clemson.edu | 864.907.0183 Objective An architectural designer seeking employment over Summer 2018 // Currently pursuing MARCH degree from Clemson University with two years of professional experience in residential architecture. Clemson University, College of Architecture, Arts, and Humanities Pursuing M.ARCH, 1st year graduate Current GPA: 4.0 Clemson University, College of Architecture, Arts, and Humanities Bachelors of Arts in Architecture, 2015 Minor in Business Administration
Professional Experience
Clarke Design Group Intern Architect Sept. 2016- Aug. 2017 Phil Clarke phil@clarkedesigngroup.com
Rush Dixon Architects Intern Architect Summer 2016 Rush Dixon rush@rushdixon.com
Creative Inquiry - Clemson University Creative Director // Graduate Assistant June 2014 - Oct. 2015 // Aug. 2017 - present Dr. Barbara Speziale bjspz@clemson.edu
Skills // Program Knowledge
Graphic Design & Architectural Design (residential professionally) Proficient In: AutoCAD, Adobe Creative Suite (Illustrator, InDesign, Photoshop, Spark), Sketchup, MS Office (Word, Excel, PowerPoint), Mac/Windows Platform, analog modeling and drawings General Knowledge of: Rhino 3D modeling, Podium Rendering, ArchiCAD, DPS publishing
General Accomplishments
Affiliations
Awarded magnet graduation distinction (high school) College Scholarships: Palmetto Fellows, Milton E. Pate Scholarship, Presidential Freshman Lantern Design Finalist Freedom by Design Competition Winner Senior Studio Design Finalist AIAS Advocacy Chair (Fall 2014-Summer 2015) Freedom by Design Project Manager (Spring 2015) Adobe Student Representative (Fall 2014) Adobe Scholar Mentor (Summer 2014) COC Urban Design Course Assistant (Spring 2015)