Joseph Whitt Architectural Portfolio – 2019

Page 1

portfolio

JOSEPH

WHITT


table of CONTENTS


academic PROJECTS

undergrad

graduate

Paper Lantern

Pop-up Tent

Raising Arizona

Precast Highline

Genoa Museum

Children’s Theatre

Refugee Center

Habitat Hiwassee

Immerse & Escape professional WORK Creative Inquiry Hayesville Hotel

Clarke Design GRP


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 Fall 2012 Clemson University Clemson University Professor Dave Lee 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, a diagram of 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 film when the antagonist 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 & 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 Genoa, Italy Professor Nick Ault

This project took place during a semester abroad in Italy. Essentially, 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 city possessed a dichotomy of historical urban planning strategies; restriction to a grid and a more organic growth.

Several 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 was choosing the 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


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 produce and crafts are sold 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. LOGO


PRE-CAST HIGHLINE Fall 2014 Clemson University Professor C. Barrios

This design was generated from various studies of tessellations and how they could possibly apply to the 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. 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

The SC Children’s Theatre was my last undergraduate project. 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.

Spring 2015 Clemson University Prof. Julie Wilkerson

SITE ANALYSIS

SITE ANALYSIS AND INITIAL SKETCHES

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

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M

HEA TRE

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CON

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L OW ER B UPP BOWL ER LOW

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Sout h Chil Carolin dren a 's th ea

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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

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Fall 2017 Clemson University Prof. Ulrike Heine

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

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ZA

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IN

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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 %

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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

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Building Section

Low-Cost

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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

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1.2 MILLION

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seeking asylum in EU

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1,300,000

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forcibly displaced people worldwide

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65.6 MILLION

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BY THE NUMBERS

7TH

PASSIVE VENTILATION

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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

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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.

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PLAZA

PROPOSED STREET

EXISTING

STREET

STREET

STREET

DESIGNING INTEGRATION The street and plaza compose the primary spaces for community interaction in Madrid. By replicating these environments within the center, refugees can comfortably experience Spain’s culture and be encouraged to interact among each other & 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 Capturing and controlling prevailing winds allows the breezeway to VENTILATION passively cool the interior space. SUNLIGHT The intense sun demands different responses from different facades. CONTROL Providing shade to the plaza activates the space. EVAPORATIVE Water collected from the plaza will be channeled to the roof and COOLING 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.

RENDER FROM INTERIOR PLAZA

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, lowmaintenance 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.


HABITAT HIWASSEE

Spring 2019 Clemson University Prof. David Franco

The goal of this project was to address the affordable housing crisis afflicting rural America. Specifically, our studio focused on Hayesville, NC, a small town tucked away in a scenic Appalachian landscape. We had the unique opportunity to visit and collaborate with an organization operating in the city and provide designs that tackled the complex issue of housing. My proposal revolved around a social housing development that would additionally perform as a public asset to the community at large. By creating a river-side park and containing strategic programming, the public is encouraged to interact with social housing participants which, historically, have been typically isolated.

PROJECT DEVELOPMENT


ADDRESSING HOUSING IN HAYESVILLE, NC ARCHITECTURE FOR RURAL APPALACHIA 7.2 MILLION affordable homes needed to house growing number of extremely lowincome households

HABITAT

in public housing under 18 years old

1/3

HIWASSEE

rapidly growing rates of rural homelessness

21%

9,000 households in Clay County endure winter without heating capabilities 292,000 households severely cost-burdened

NC

TN

of all social housing offered in rural context

MACON

CHEROKEE

RABUN

GA

THE DECLINE OF RURAL AMERICA

SOCIAL HOUSING: A NATIONAL CRISIS

CLAY TOWNS

UNION

spend more than a third of income on housing

60%

CLAY COUNTY, NORTH CAROLINA

PROJECT OBJECTIVES CELEBRATING THE RIVER

MASTER PLAN

SITE PLAN: SCALE 1”=80’ 0’

This project implements a master plan for a large site attached to the Hiwassee River. In addition to a large housing complex, a mostly open-air structure at the southern end of the site provides opportunities for community markets and administration. A park consisting of walking paths, riverside open-air structures, and flanking fields winds in and out of the tree-line that borders the river.

AFFORDABILITY

Low-Income Single-Parent Households Disability Transitional Housing Substance Rehabilitation

Kayaking

1.27 miles

1

.77 miles

SCHOOL DISTRICT

HWY 64 .67

COMMERCIAL DISTRICT

B B

$

Relaxing

Fishing

+

HOSPITALITY

Seasonal Workers Urban Retreat Returning Millennials Eco-Tourists Local Renters

$

+

MIXED-USE

Cafe Community Market Media Center Gym Event Venue

=

$

COMMUNITY & ECONOMY

Incorporating a river-side park and trail encourages healthy outdoor activity and provides incentive for tourists and nature lovers.

Hin

2.6

ton

16.4 miles to next grocery store

mi

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INSPIRATION

to

r

FINDING FORM

CREATING A REGIONAL, MODERN IDENTITY This project takes influence from jambled structures of historical industry as a means of organization. Furthermore, form was inspired by the humble barn structures that dot the landscape and denote the agriculture that once shaped life. These aesthetics combine to create a distinct identity for Hayesville that’s rooted in a regional context and provides opportunity to be further explored as the Appalachia continues to be revitalized.

RIVERSIDE PARK

PUBLIC YARD

HIWASSEE OPEN-AIR MARKET The community market located at the southern extremity of the site is analogous to the barnhouse in Appalachian culture, both in its physical separation from the housing facility and the fluidity of programmatic opportunists it offers. As such, the form is also inspired by a classic barn form. The structure celebrates and promotes the prevalence of informal economies and trading of goods and services among residents of Hayesville, offering a center for such activities that also serves as a head-mark for the riverside park. This suggestion also provides an example for the potential community spaces that currently dot the landscape in the form of dilapidated barns.

ARCHITECTURE AS LANDSCAPE The mountains of the Appalachia provide inspiration for an architecture that reflects such a dynamic landscape, in terms of form and navigation.

SITE ADJACENCY

PUBLIC YARD

SECTION A

SECTION B

miles

SITE

320’

EXIT

$

HIWASSEE RIVER

160’

HOUSING

SOCIAL HOUSING AS AN ASSET

Hiking

DOWNTOWN

80’

PUBLIC YARD

EXISTING

A

ENTRY

PUBLIC YARD

MYERS CHAPEL RD RESPONDING TO WATER, CONNECTING BLOCKS

CREATING DYNAMIC INTERSTITIAL SPACES

REFLECTING MOUNTAINS, EXPLOITING NATURE

MARKET

A

PARKING

HIWASSEE RIVER

FLOOR PLAN

IMPACT

GROUND FLOOR Studio: 4 1 BR: 3 2 BR: 5 3 BR: 1 SECOND FLOOR Studio: 10 1 BR: 3 2 BR: 7 3 BR: 1

INFORMAL / OVERFLOW PARKING

THIRD FLOOR Studio: 7 1 BR: 7 2 BR: 1 3 BR: n/a FOURTH FLOOR Studio: 6

HWY 64

HWY 64

TOTAL 58 units 72 beds

PERSPECTIVE

HOUSING PLANS CC

GF

The housing plans for Habitat Hiwassee are intended to host a variety of residents, including locals in need of affordable housing and potential renters. Hayesville currently lacks a sizable availability of short term rental properties which could be used to increase tourism and catalyze economic growth. In addition, mixed-use programming is included to attract these people. Thus, participants in the affordable housing program will have access to better facilities and program opportunities given the inclusion of commercial properties. Creating an Observatory

AMPHI

Moving through the architecture becomes synonymous with moving through the Appalachia, creating moments of vista and discovery while traversing a built landscape.

2F

Cafe

Studio

Public Restrooms Ground Floor Units Reserved for Accessibility Needs

Courtyard

GYM

1BR

2BR

FLOOR PLANS: SCALE 1”=45’ 0’

3BR

45’

90’

180’

Rentable Units

YARD

3F

OTB

4F

AA

AA

Ground Floor Units Reserved for Accessibility Needs YARD

Media

Yoga

Youth Oriented Hostel Addressing missing demographic among rural cities, live-work environments offer millennials attractive ownership / renting opportunities

Transitional Housing: Separated Circulation Community Kitchen Conference Rooms Administration Offices Reception

LA

Rentable Venue Reception Bathrooms BOH/Kitchen Dining Hall Lofted Balcony

Insinuated “Private” Deck

YARD

Gym

FLOOR PLANS: SCALE 1”=28’ 0’

Phase one provides plans for 12 residential units and 20 beds. Overall, there are 6 plan options, mostly regarding 1 BA/ 2 BA layouts. Two of the units in particular provide prestigious square footage and views. These units, along with others could be marketed/rented as a means for growing the funds for the remaining phases. The first phase also begins to incorporate expansive community space meant to instill the premise and features of the remaining complex. The phase also considers the completion or partial completion of the riverside park, which will ultimately be attractive to future buyers/ renters.

PHASE 3

TOTAL 12 units 20 beds

Utility/ Storage

Deck

Low Construction Costs

Low Maintenance

Parking Reserved for Accessibility Needs

AA

Utility/ Stor.

CC Reception

Community Kitchen Utility/ Storage

Extending Space

In oder to negotiate the loss of private exterior space that’s associated with multi-family living, the connective decks are expansive and create pockets for occupation, not just circulation.

Rentable Suite

BB

YARD

Lofted Floor Plans

Deck

Passive Conditioning Control

Private Courts Lofted Units

Ground Floor Units Reserved for Accessibility Needs

PHASE 3

Lawn

Affordable Units

Affordable Units

Community Pockets Pockets within the expansive decking are affixed with rocking chairs, grills, tables, etc. to encourage community interaction and communication

HTD 21,220 DECK 27,300 TOT 48,520

HTD 21,220 DECK 27,300 TOT 48,520

112’

A FACADE ALTERNATIVE

Affordable Units

Rentable Units

Stor. Utility

56’

GROUND FLOOR 2 BR: 5 SECOND FLOOR 1 BR: 3 2 BR: 3 3 BR: 1

Lawn

Court Parking Reserved for Accessibility Needs

28’

IMPACT

ADDRESSING VZVZV

Offices

Hammock Pavilion

Courtyard BB

PHASE ONE

HTD 21,220 DECK 27,300 TOT 48,520

Floor Plan Parti

HTD 21,220 DECK 27,300 TOT 48,520

GF

2F

Wood Stick Frame Labor 6-8$ / SQFT Materials 4-8$ / SQFT Poly Carb Panels 2-5$ / SQFT Wood Scrim 5$ / SQFT

Rentable Venue

Bedroom Bathroom Living Room & Kitchen

TOTAL 17-26$ / SQFT Traditional Metal Studs and Glass Store Front Systems labor & materials

SITE SECTIONS: SCALE 1”=20’

1

FABRIC DROP CEILING

TOTAL 35-40$ / SQFT

0’

20’

40’

80’

BENEFITS OF POLYCARBONATE

Suspended fabric panels can be drawn and pulled to control heat rising in the winter, and encourage ventilation in the summers, saving on conditioning costs

BB

2

Transitional Housing

2 1

WOOD LOUVER SCRIM

Gym

CC

Venue

Utility/ Stor. Gym

Light-Weight

Easy-to-Cut

High R-Value

Cost Effective

Cafe

Operable sliding wood louvers along primary facades control and filter light as necessary, alluding to the change of forests in the season.

SECTION PERSPECTIVE

FINAL BOARDS


CONCEPT

SOCIAL HOUSING AS AN ASSET

$ $ AFFORDABILITY

Low-Income Single-Parent Households Disability Transitional Housing Substance Rehabilitation

+

HOSPITALITY

$

Seasonal Workers Urban Retreat Returning Millennials Eco-Tourists Local Renters

+

MIXED-USE

Cafe Community Market Media Center Gym Event Venue

=

$

COMMUNITY & ECONOMY

CELEBRATING THE RIVER ARCHITECTURE AS A LANDSCAPE

The mountains of the Appalachia provide inspiration for an architecture that reflects such a dynamic landscape, in terms of form and navigation.

FINDING FORM

Responding to Water, Connection Blocks

Creating Dynamic Interstitial Spaces


FLOOR PLANS

SITE SECTIONS

CREATING A REGIONAL, MODERN IDENTITY

This project takes influence from the jambled structures of historical industry as a means of organization. Form was inspired by the humble barn structures that dot the landscape and denote the agriculture that once shaped life. These aesthetics combine to create a distinct identity for Hayesville.

Reflecting Mountains, Exploiting Nature


SUSTAINABILITY

COMMUNITY

AFFORDABLE AND ENERGY EFFICIENT

Low Construction Costs

Low Maintenance

MIX-USE AND RIVER-SIDE PARK

Passive Conditioning Control

1

An open-air market promotes local economy, healthy eating, and encourages interaction with surrounding community. 1.Collapsible fabric drop ceiling retains heat

during winter, allows for passive ventilation during summer. 2. Affordable layered faรงade utilizing polycarbonate enhances insulation and provides variable shading device

2

SECTION PERSPECTIVE THROUGH PHASE ONE

1

2


SITE PLAN

INITIAL SKETCH

Pavilions dotting a river-side park


IMMERSE & ESCAPE

Fall 2018 Clemson University Prof. Ufuk Ersoy

The technique of collage, the art of surrealism, and the capacities of skeptical architecture to mold ideas and teach lessons were all a part of what I would consider the most unique project I encountered in graduate school. The images shown here were accompanied and informed by a fair-tale of my imagination. The first line of this narrative reads, “I dreamt I was drowning.” It goes on to paint a picture of a utopian city, intended to allude to Charleston, SC, and the tragedy that engulfs the city as they continue to build higher walls and push for exclusivity. In a complex and metaphoric way, this project attempts to exaggerate the social and cultural issues facing one of the oldest cities in America, including present-day gentrification, the threat of rising sea levels, and a dark history of slavery.

2

3 INITIAL COLLAGE STUDIES

1

1. Heart of the Slave Trade 2. Rigid vs. Organic 3. Drowning in Grids…


BOARD ONE


BOARD TWO


BOARD THREE


BOARD FOUR


BOARD FIVE


professional WORK


CREATIVE INQUIRY

Summer 2014Spring 2015 //2017 - present Clemson University

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


2017-2018

ANNUAL REPORT

CUMULATIVE

ACCOMPLISHMENTS 415

Creative Inquiry is Clemson’s signature undergraduate research program. It’s the imaginative combination of engaged learning and undergraduate research unique to Clemson University.

CLEMSON’S PREMIER UNDERGRADUATE STUDENT RESEARCH PROGRAM

PUBLICATIONS

CREATIVE INQUIRY AROUND THE GLOBE

IN PEER-REVIEWED JOURNALS

Human-Elephant Conflict in Asia, working to protect elephant populations in Myanmar

Students take on problems that spring from their own curiosity, from a professor’s challenge or from the pressing needs of the world around them. Creative Inquiry projects are team-based investigations led by faculty mentors, and that typically span two to four semesters.

448

BY THE NUMBERS FRESHMAN

707

1,148

2,760

SOPHOMORE

JUNIOR

SENIOR

PROJECTS BY COLLEGE 58 CAFLS

20

77

CAAH

CBSHS

14

12

CBUS

COE

CECAS

61

28

78

CAAH

CBSHS

22 CBUS

18

116 COE

CECAS

414 PROJECTS 68 SCIENCE

79 SCIENCE

18 OTHER

STUDENTS

APRIL CLEMSON 04&05 10AM-3PM

@WattCenter

student

RESEARCH

FORUM

YOU ARE INVITED!

to present your research at this poster forum! All disciplines, all undergraduates, all graduate students are welcome! Deadline for Abstract Submissions: March 12 Apply here: ci.clemson.edu/forms/ research_forum/ Contact tullen@clemson.edu for more information

Conference Travel Project Sites

The Creative Inquiry program is supported by Clemson University and external sponsors such as:

Corporate Creative Inquiry Projects

• The Carr Family supports rural community development and vegetable/crop production • The Bradley Endowment supports mentor awards • The Helms Endowment provides general program support

148

Creative Inquiry projects span • 22 States • 14 Countries

EXTERNAL SUPPORT

Endowments

420 MENTORS CLEMSON.EDU/CI

CLEMSON

AT PROFESSIONAL CONFERENCES

OTHER

TO LEARN MORE, VISIT US AT CONTACT Cora Allard-Keese // callara@clemson.edu // 864.656.0721 // 303 Watt

CALLING ALL

1,415

PRESENTATIONS

12

CAFLS College of Agriculture, Forestry & Life Sciences // CECAS College of Engineering, Computing & Applied Sciences CBSHS College of Behavioral, Social & Health Sciences // CAAH College of Architecture, Arts & Humanities CBUS College of Business // SCIENCE College of Science // COE College of Education // OTHER Affiliations Outside Academic Colleges

ABOVE Annual Graphic Report

Montana Prairie Ecology,

conducting research on the Great Plains and experiencing life on a ranch

153

MENTORS BY COLLEGE CAFLS

FOR CREATIVE INQUIRY RESEARCH

4,838 STUDENTS

STUDENTS BY CLASS 223

STUDENT & FACULTY AWARDS

Corporate Creative Inquiry invites companies to engage talented, creative Clemson undergraduates in industry-relevant projects and in doing so contribute to building the workforce of the future.

EXTERNAL GRANTS AT PROFESSIONAL CONFERENCES CORPORATE

CARR FAMILY ENDOWMENT

CARR / BRADLEY / HELMS FOLLOW US

@ciclemson

fb.com/ciclemson

instagram.com/ciclemson

BELOW & RIGHT Various graphics advertising events via newspaper, flyers, social media, and website


The team’s first step was spent in the field at night time, conditioning barred owls living in urban, suburban and forested areas to trust them. By luring the owls with food, they would catch, measure, and tag them. GPS telemetry devices were placed on the owl’s leg to monitor locations. Determining the location of the owls allowed the team to verify the home ranges and compare them with urban and forest birds.

who gives a H

T?

The evolving habitat of barn owls

question. “For a predator to exist, the environment has to be doing very well. When a barred owl lives in a specific area, it is an environmental indicator that predicts how well the ecosystem is doing.” Clement said. Due to the fact that predators such as barred owls need a healthy environment with plenty of prey to thrive, their ability to adapt is a strong indicator of the overall health of the urban environment that barred owls are now occupying.

A successful element behind this project has been the willingness of homeowners to assist. To properly study the barred owl’s urban environment, the team must access private property with homeowner’s cooperation and permission. Many families are interested in this Creative Inquiry and want to know how they can help create habitats to encourage the barred owls to move into a more urban environment. The endearing nature of these creatures has allowed families across the Piedmont region of South Carolina to find a new sense of connection with the ecosystems in their backyards.

Clements is excited for what the future will bring for her team. “Next year, students will train, trap and track owls themselves.” Clements said. The close relationship between student and owl will hopefully provide students with a more detailed analyses of owl behavior as well as giving them the opportunity to gain valuable research skills. The data collected from the barred owls will allow the students to compare and contrast data from owls in different habitats. With the help of this Creative Inquiry, we will have a better understanding of barred owls and their behaviors. Seeing one of these creatures downtown may become the norm in the near future.

While the primary goal of this Creative Inquiry is to understand why the barred owls habitat is changing, the study could also answer a larger

by Niko Hajimihalis

A

s I walk through downtown after a long night in the library, I hear eight distinctive hoots that harmonize into what almost sounds like the phrase, “who cooks for you, who cooks for you all” coming from a tree above me. Puzzled at first, I look up into the trees and catch a glimpse of the bird who is making the unique noise. This mottled brown-gray bird with horizontal streaks running up and down its body looks out of place in an area that is better known for its lively student nightlife than wildlife resources. Yet here I stand, making eye contact with this beautiful barred owl.

Students study a sedated owl

Led by graduate student Marion Clement from the Department of Forestry and Environmental Conservation, the Studying Barred Owls in an Urban to Forest Landscape Gradient Creative Inquiry team is looking to determine why an animal that was once associated with living in old growth forests is now inhabiting urban settings. The team started their research through a hands-on process in their field of wildlife ecology.

5

6

Invasively Toxic Lionfish

toxicity

4th Order Consumer Sharks and Large Fish

when predator turns prey

3rd Order Consumer Lionfish

by Stone Washington

2nd Order Consumer Lantern Fish

T

he lionfish met their match when consumed by the insatiable devastation of Hurricane Irma. During the September 2017 category 4 storm that ravaged much of America’s eastern coast, the Florida Keys became the center of immense devastation as the hurricane barreled across inland U.S. Irma’s destructive impact led to hundreds of sunken boats in the Atlantic that have left lingering oil and sewage spills into the ocean even a year after the storm passed.

1st Order Consumer Shrimps

biological magnifigation

According to Hurk, the primary goal for this project is to “see if we can use the lionfish as a monitoring species.” Hurk is hopeful that when the prospect of an oil spill arises, either caused by a hurricane or oil tanker mishap, researchers will now be able to go out, collect lionfish, and measure the extent of the effects that the oil spill made, based on the creature’s toxicological response to it. This Creative Inquiry project has been afforded the unique opportunity to examine the lionfish up close with no catch restriction, due to the species' growth and insatiable diet. “That’s the whole point of this Creative Inquiry project”, Hurk states, “is to find out when the lionfish are exposed to oil compounds, what is their response? What can we measure in the fish as a response to the oil compound?” Hurricane Irma demolished nearly 25% of homes in the Florida Keys and along the Atlantic coast, while leaving nearly 6.9 million households without power. Despite the dilapidated conditions on the surface, Hurk is happy that at least the aquatic world and creatures below the sea were left relatively unharmed, allowing for this endeavor to be possible. Through proper biochemical analysis of lionfish and the toxicological reaction they have to harmful oil spills, this Creative Inquiry project will provide a never before-seen look inside the detrimental ecological effects of oil and fuel to the undersea environment.

what is this girl doing?

Producers Algea & Plankton

Harmful substances like pesticides accumulate in higher concentrations in higher trophic levels

The storm has potentially affected many undersea creatures by exposing them to the harmful toxicological effects of the released fuel. One creature in particular, the lionfish, has become a central interest to Dr. Peter Van den Hurk, Associate Professor in the Department of Biological Sciences, leads a Creative Inquiry project examining whether the lionfish became adversely affected by the fuel and oil. “The lionfish are voracious feeders, and they grow fast. They eat an enormous amount of small fish”, Hurk states.

7

8

A microscopic VIEW OF OYSTERS by Niko Hajimihalis

O

ysters are known for their unique taste, but Clemson Univeristy’s Ocean Under the Magnifying Glass - Using Microscopy to Understand the Impacts of Climate Change Creative Inquiry team is here to show that these small creatures have much more to offer. Oysters are a key variable in the coastal ecosystem: they protect beaches from rising sea levels; they are natural filters in the ocean; and they provide a home for other underwater creatures. Unfortunately climate change may be affecting these creatures in ways that marine biologists had never planned for. The project, led by Dr. Vera Chan and Dr. Andrew Mount from the Department of Biological Sciences, approaches the study of oyster shell formation through microscopy. By examining the the formation of oyster shells through a microscope, students are able to study how climate change can potentially affect oysters. The team started by cultivating wild Atlantic oysters, Crassostrea virginica, in an artificial recirculating seawater system. that contained water with high levels of carbon dioxide. “We have created a mini ocean and hatchery in Clemson,” Chan said. By replicating the ocean’s ecosystem, the team has been able to monitor spawning in the oysters and track abnormalities during shell formation.

Subheading?// Caption

Through the use of this method, the team is able to closely monitor the oyster shell’s growth, development and calcification. It has allowed for a close analysis of how high carbon dioxide levels that are typically found with climate change affects oysters - as well as being beneficial in other manners. “You may find other applications from researching how the shell develops that are unrelated to this project. Whether that be industrial applications or using microscopy in other fields, it could benefit research in different fields” senior biological sciences major Jonathan Stewart said. The study of these oysters may have wide ranging benefits that even the Creative Inquiry team did not expect to learn upon the outset of this project. From this point forward the team continues to spawn the oysters both naturally and artificially. The Creative Inquiry team will continue to collect samples to analyze and be able to produce a clear conclusion on how high carbon dioxide levels in water affects shell formation. While it is clear that oysters have not been immune to the negative effects of climate change, time will show how climate change effects oysters on a microscopic level. By creating and studying an artificial mini ocean in Clemson, this team has helped protect our real oceans from climate change. In the future this research will help protect oysters from climate change and keep a crucial part of our ecosystem thriving. Similar to how oyster lovers crack open their favorite seafood before consumption, this Creative Inquiry team has begun to crack open the study of shell formation.

is there any kind of diagram we can use here?

9

10

she is feeling. “We see it all the time, but we never stop to ask why we do it or even what it communicates,” Aragon explains.

CUTE AGGRESSION

by john jacobs

I

t is January 9, 2017, and Clemson just won the College Football Playoff National Championship. Cheering and celebration fills the stadium. Fans and players jump up and down, screaming and smiling. Many even shed a tear. Why do people have the urge to cry when they are excited or when something incredible happens? Or have the urge to squeeze babies’ faces when they think they are cute? Although some may believe emotion and expression are synonymous, they, in fact, are opposites in many instances. The term “happy tears” is the urge to cry accompanied by the feeling of excitement or happiness. However, Dr. Oriana Aragon of the Department of Marketing, calls this a dimorphous expression; experiencing such intense emotion that, in turn, produces the exact opposite reaction. In her words, dimorphous expressions are “two physical displays that manifest from a single emotional experience”. Aragon’s Creative Inquiry, Research into emotion and its expression, is focused on investigating emotions and expressions and applying her research to marketing efforts. She works with a select group of students to further her emotion exploration. Dimorphous expressions are experienced in many types of emotions — aggression when a sports team secures a win, fear when meeting a celebrity or laughing when frightened. By understanding this phenomenon, Aragon's research can be opened up to a variety of contexts in society such as mental illness, sports analysis, and brain capacity. Aragon’s interest with dimorphous expressions, a term she coined herself, all started with a late-night T.V show with host Conan O’Brien and guest Leslie Bibb. Bibb was talking about puppies, exclaiming, “They are just so cute! I just want to kick them in the head!” Dr. Aragon immediately took notice of that strange comment, wondering for herself, why so many times, someone’s face does not match he or

Through her Creative Inquiry, she hopes her team of students can help to uncover how certain people fit under the consumer umbrella based on their emotions and expressions. This team believes consumer behavior focuses on the emotional and internal state of one person as well as how that affects their choices of products. Many will agree that the most remarkable part about Creative Inquiries is the involvement that the students have. Aragon goes above and beyond by dividing her team into five groups that each focus on one specific aspect of the Creative Inquiry’s research. Teams 1 through 4 (the Baseline team, the Dimorphous Expressions in Marketing team, the Model team, and the EEG team) are dedicated to evaluating and defining expressions and determining their connection to marketing. Team 5 focuses on a specific case of dimorphous expression: “cute aggression” (the human reaction to infantile stimuli).

of subjects to see how they will react. Finally, the EEG team analyzes these same subject’s reactions and identify specific stimuli reactional changes in the brain. Dimorphous expressions can often be very powerful. When used in advertising, businesses are able to connect with their consumers on a deeper level than a typical advertisement normally would if it were to use traditional tactics. Aragon and her team of research-hungry students strive to determine how expressions can differ from emotions and at the same time, strengthen them. By discovering why certain consumers buy certain products based on certain advertisements that certain companies present is a very difficult aspect of many marketers. Dr. Aragon believes that by utilizing dimorphous expressions in marketing, companies can create a stronger and more personal connection to their desired consumer. At the end of the day, this can make marketing a much more targeted effort. “As the marketer, you can see someone using the product, and get an idea of what that product experience is like, what attributes of product is like, get an idea of what they might prefer,” Aragon describes. If a marketer can gauge how a consumer will react to their advertisement, they will better sell their product to a target audience. Emotions are universal, felt by everyone in every moment of every day. However, although they are felt universally, they are the very thing that makes each person unique. Dr. Aragon and her team of students is paving the way for a greater understanding of how people see and feel the world around them. By continuing to uncover associations between emotions and their congruent (or incongruent) expressions, marketers can focus their advertising on the customers that will buy their products. Thanks to Dr. Aragon, wanting to squeeze a cute dog has a reason behind it. So, next time you see a cute dog, don’t feel guilty for wanting to squeeze it!

Any subheading we may want to add

Beginning with the Baseline team, this team focuses on testing the association between particular emotions and expressions. For example, determining why crying is solely associated with sadness, when it can be a reaction stemming from anger or happiness. Next is the Dimorphous Expressions in Marketing Team. This team’s main concern is determining the background of association between emotion and expression for the Baseline Team and how this association is presented in marketing. The Model Team does exactly what their name supplies: they create a model in the form of short videos showcasing individual’s demonstrating certain expressions. These videos are shown to a sample

23

24

SPREADS from Decipher magazine. LOGOS and brand management

CARR FAMILY ENDOWMENT

COLLABORATIVE


CLARKE DESIGN GRP Fall 2015Summer 2017 Mt. Pleasant, SC

As an intern architect at Clarke Design Group, a primarily residential architecture firm, I was able to participate in all 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 high-end waterfront homes to community-oriented plans. Additionally, I created various material to help market and promote the firm.

Community Infill Development SITE PLAN FIRM MARKETING

Waterfront Residences RENDER


ABOVE Sullivan’s Island historic residence renovation S Q. F T

PLAN NAME

404 Rose Wilder Lane

BEDS

1,225

1

2

B AT H S

DIM.

2

22’ x 35’

2 1ST FLOOR

710

2ND FLOOR

515

Flex / Bedroom 10’ x 16’

Laundry

Kitchen 8’7” x 10’7”

Dining

Family Room 22’ x 13’

Bedroom 14’ x 13’6”

Porch

C L A R K E D E S I G N G R O U P L L C . A L L R I G H T S R E S E RV E D W W W . C L A R K E D E S I G N G R O U P. C O M

LEFT & BELOW Oversaw various developer oriented plan collections and produced associated marketing materials

Private Residence RENDERS


HAYESVILLE HOTEL Fall 2018 Hayesville, NC Fall 2018

As a result of the Habitat Hiwassee studio, a developer in the Hayesville area hired me to help him market an attractive piece of land in town. Together, we were able to establish a conceptual program; a 75 bedroom hotel that also integrated a small exhibit dedicated to the historical significance of the site, being that it was part of the Native American Trail of Tears. The following schematic design is now being used to market the property and entice incentives from local government.

Hayesville, NC

CONCEPTUAL ELEVATION STUDY

HAYESVILLE

HOTEL

PROPOSAL BOOKLET

CONCEPTUAL SITE PLAN


EARLY MASSING STUDY ELEVATION SKETCH

ELEVATION


FLOOR PLANS

HOTEL ADMIN

RELEASE DECK CONFERENCE CENTER

A

TRAIL OF TEARS GALLERY LARGE SCULPTURAL PIECE

POOL HOUSE VERTICAL CIRCULATION

CELEBRATED MAIN STAIR

POOL OUTDOOR

GYM

B A

RETAINING WALL/ LA TO GRADE

DECK

DINING

C

BATHROOM FACILITIES

BUFFET

ADMIN BOH

KITCHEN DESIGN TBD

GALLE

RY

FRO N DE T SK C

LOBBY

GROUND FLOOR

WAIT

RETAINING WALL/ LA TO GRADE B

ENTRY CARPORT

CORNER SUITES

SECOND FLOOR

CORNER SUITES

THIRD FLOOR

BALCONY

NOOK STANDARD ROOM

ROOF BELOW

NOOK

COVERED PORCH

STANDARD ROOM

COVERED PORCH

COVERED PORCH

BALCONY

SPECIAL SUITES COVERED PORCH

EXTENDED SUITES

EXTENDED SUITES

ROOF BELOW PORCH NOOK

STUDY

KID ZONE DESIGN TBD

OPEN TO BELOW

SERVICES AS NEEDED

SERVICES AS NEEDED

ICE, VENDING, ETC.

OPEN TO BELOW

SITTING NOOK

NOOK

OTB

EXTENDED SUITES COVERED PORCH

ROOF-TOP FLOOR

BASEMENT FLOOR

SEATING

PARAPET WALL BAR

JANITORIAL SERVICES / MECHANICAL AS NEEDED

STORAGE

0’

30’

60’

120’



RESUME


JOSEPH

WHITT

EDUCATION

CONTACT jhwhitt@clemson.edu | 864.907.0183 OBJECTIVE An architectural designer seeking employment // Expected to graduate May 2019 with a Master of Architecture degree from Clemson University Clemson University, College of Architecture, Arts, and Humanities Masters of Architecture, expected graduation 2019 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

MCA Architecture Intern Architect Summer 2018 Chan Addis caddis@designmca.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 Proficiency: AutoCAD, Adobe Creative Suite (Illustrator, InDesign, Photoshop, Spark), Sketchup, MS Office (Word, Excel, PowerPoint), Working Knowledge: Revit, Rhino 3D, Podium, ArchiCAD

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 Tau Sigma Delta Honor Society (Top 20% national architecture students) 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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