Joseph Whitt - 2018 Architectural Portfolio

Page 1

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

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Y

CON

ICES

ROO

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OR

OFF.

OFF

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MAI FLO

BAL SEC

OND

L OW ER B UPP BOWL ER LOW

FLO

OR

Sout h Chil Carolin dren a 's th ea

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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

JOB

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PLAZA UNO

PLAZA DOS

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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

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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

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1.2 MILLION

VEN

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seeking asylum in EU

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BR

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1,300,000

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forcibly displaced people worldwide

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BP RE

AN TH NG RE SI O M OU

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65.6 MILLION

ZA

LA

PRE

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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)



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