DESIGN COLLECTION
Whitney R. Carter A vast collection of projects produced throughout the academic realm. Photograph by Author, Parking Garage in Chicago, IL
W.R.C.
W HITNEY.R EBECCA.C ARTER.
Photograph by W.Carter. Parking Garage, Birmingham, AL
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INTERIOR DESIGN
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ARCHITECTURE
Whitney Carter whitrcarter@gmail.com
Each image was drawn or modeled by W. R. Carter
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Design is a constant, evolving yet circumvolutory industry, an industry that impacts and influences everyone. Living in an era where design has become technology driven while encompassing the next big idea and transforming it into a surreal movement has made me appreciate the integrity of past design movements. I have a desire to understand the art of craft in the high level
of care the design artisans put forth hundreds years ago until the modern age. The idea of transposing the thoughtfulness of detail is a trait I want to carry into my design ideology. The knowledge of the past combined with the constant, evolving practice of design will help me become a problemsolving, creative designer, intrinsically referring to the vernacularism of the past. Design surrounds
our existence; the photograph above taken at the Nelson-Atkins Museum parking garage, is an example of the different types of design that influence our perception of space and the intuitive reaction to design. In the photograph, three types of design interact with one another affecting the experience of the user. Signage lighting, a building, and a 1956 Cadillac were all designed
DESIGN
Photograph by W.Carter. Nelson-Atkins Museum Parking Garage, Kansas City, MI
A CONSTANT, EVOLVING YET CIRCUMVOLUTORY INDUSTRY.
at different time periods with a different purpose, but they all affect our mood, how well we move through space, and our memory. As an architect, I don’t want to design just a building, but design a building that creates an impressionable experience while establishing a memory for the rest of time. I feel it is my duty to bring delight to people through design whether it is space planning, a product,
or an environment, the user must feel a sense of intrigue, gripping their innate appetite for interest. As the photograph illustrates the different types of design coming together to influence an experience, my design philosophy illustrates the same holistic approach‌ to utilize the constant, evolving yet circumvolutory industry as a means to perfect the endangered art of craftsmanship while celebrating
new technology, creating spaces for people to release their solicitude and explore life through an embodiment experience, and involving various types of design to give the best journey possible all while being architecturally responsible.
Design Philosophy
ARCHITECTURE
Architecture should be an embodied experience; the process of design can enhance the inhabiter’s perception and experience throughout spaces. Provoking ideation design; an object in the built environment or the intuitive nature of the subconscious can influence an idea. There are several types of intuition: practical intuition that aids problem solving and imaginative intuition that stimulates creative intellect. The natural and manmade environment can impact someone in multiple capacities, directly influencing their subconscious while affecting their perception of the past and simultaneously changing their
reaction to imminent events.
Southwestern Perspective of the Warm-up Area and Stables. Produced by Revit and Photoshop for the Savannah Equestrian Performing Arts Center, 2010.
is the antecedent of
Exploring through art, ideas will evolve and progress subconsciously, heavily influenced by making. Making is thinking. Sketching, collaging, anything that involves the direct relationship from brain to hand help evolves the design. Henri Poincaré’s said, “It is by logic we prove, it is by intuition that we invent. Logic, therefore, remains barren unless fertilized by intuition.”
LEFT ABOVE
RIGHT
Intrinsic movement of a jumping horse, hand sketch Exterior rendering of the horse stables and warm-up area, Revit rendering and photoshop manipulation Site Plan, CAD drawing
The Savannah Equestrian Performing Arts Center is located in the middle of Savannah, GA, engaging the constant influx of tourist and residents. The form was derived from the horse sketch (to the left) evolving into a program that protected the privacy of the horses in an urban environment. SITE PLAN 1 2 3 4 5 6 7 8
Indoor Arena Entrance Stables Living Quarters Outdoor Arena Entrance to Underground Parking Sculptor Garden Entrance from Underground Parking
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Structural Integrity
Structural Concept Model
Produced by W. Carter for the Project Skin & Bones, 2011
Skin & Bones
Fashion Melanie Conde
Furniture Whitney Carter
Architecture Whitney Carter
A collaborative project between fashion and architecture majors contributed to a unique design process and outcome. Melanie Conde’s fashion collection inspired the to-scale cardboard furniture that was cut and pieced together by hand. The main design goal was to design a piece of furniture based on structural integrity that would influence the architectural design.
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OUSTON OMESTEAD
The houston homestead, a project expounding on the skills of hand coordination and proportion control, has an eclectic style. The clients asked for a rustic yet contemporary interior environment for their downtown residence. The high ceilings in the living room give the room a larger and grand feel. The kitchen’s coffered ceiling create an intimate setting while giving the room a rustic appeal. Modern furniture is placed throughout the space to offset the rustic style. HAND DRAWINGS AND RENDERINGS
ABOVE BELOW
Furniture Plan
Reflected Ceiling Plan
The high-end equestrian boutique, Unbridled, located in Dallas was inspired by the traditional horseman’s culture and rise of contemporary design in the downtown area. The eclectic style is fused with the richness of a dark cream, monochromatic color scheme with dark green and rustic red accents. Repetitive, curvilinear storefront windows attract customers by the dramatic effect placed on items; the black and cream, herringbone floor creates a canvas for merchandise, illuminated by soft, direct, recessed lighting. Upon entering the substantial, hand-carved, Spanish doors, a gold dome secures a chandelier under which a curved wall of ostrich leather creates a backdrop for the store logo and featured retail items. The display areas are defined by dark walnut flooring which contrasts to the marble aisle flooring, producing a natural traffic flow throughout the 1,500 square foot retail space. John Houshmand’s wood and glass tables provide contemporary display surfaces. A coffered ceiling over the saddle and furniture display areas provide the perception of power and permanence an element customers should feel when buying items that will last them a life-time. Saddles are displayed on vaulted wooden barrels made from old barn siding giving customers access to each one. The furniture display area engages the atmosphere of a home by a floor to ceiling stone fireplace as a focal point promoting
warmth of a home and elegance of nature. The lowest, suspended ceiling in the retail shop hangs over the clothing display and cash counter, enticing customers to look at the merchandise. The clothing displays are Spanish-style armories and a contemporary curved wall of glass and wood for a high-end look that provides balance and scale for helmets, boots, and whips to be displayed with ease of visibility. The curvilinear, custom cash counter is surrounded by columns influencing the perception of placement while drawing the eye to an abstract mural of a horse. The dressing area is designed for the ultimate customer experience, a luxurious sitting area composed of traditional furnishings with snake skin pillows, a cowhide rug, and a grand chandelier suspended from a crocodile leather dome. Spacious dressing rooms curtained by lavish upholstery and large black framed mirrors (leaned floor-to-ceiling) create an environment for people to feel comfortable to and secure while trying on clothes. Unbridled, a unique equestrian retail shop, undoubtedly represents the creativity, vision, and diverse taste of the customers’ personalities and lifestyles, reflecting their appreciation for a harmonious, eclectic blend of styles. All elements in the retail space work together and are well suited to each other by way of balance, scale, and texture yet each element comes from a different genre of design.
Unbridled, a unique equestrian retail shop, undoubtedly represents the creativity, vision, and diverse taste of the customers’ personalities and lifestyles, reflecting their appreciation for a harmonious, eclectic blend of styles. All elements in the retail space work together and are well suited to each other by way of balance, scale, and texture yet each element comes from a different genre of design tied together with a color palette of french grey, creme, rustic red, with a rousing hint of dark green.
A HIGH END EQUESTRIAN BOUTIQUE
UNBRIDLED
HOTEL ENTRANCE
Spot Rendering of the Hotel’s Restaurant and Lobby Produced by CAD and Rendered by Hand
EMBASSY SUITES The design philosophy was to create an environment that reflects, supports, and enriches the lifestyle of the occupants.
LU XU RY
The new, luxury Embassy Suites Hotel, located in Seattle, Washington, demonstrates the company’s mission to be the preferred choice for a diverse clientele. The design philosophy was to create an environment that reflects, supports, and enriches the lifestyle of the occupants. Accommodating individuals, couples, families, and groups of people, it is critical that the design details address the need for this space to be highly functional with maintenance as an important consideration. The manipulation of space in the design plan for Embassy Suites is a matter of both aesthetic and functional consideration. The interrelated spaces are designed in a sequential relationship to each other, not only in terms of planning but also in terms of the visual effect. A successful interior was designed that is cohesive within each area and seamlessly transitions from one area to another. While creating an environment that is contemporary and unique, an eclectic style emerges as traditional features are fused into the overall design reflecting the diverse tastes of the customers’ personalities and appreciation for a harmonious blend of elements. The monochromatic color scheme integrated throughout the public guest spaces of midnight black, shimmering silver, rich purple, and accents of red achieve the aesthetic goal of delighting the eye, taking in the “tone” or feel of the space, and providing specific points of attraction on which the eye can rest. Lighter shades and hues are used in the atrium and restaurant areas to visually suggest a spacious, more open feeling while darker combinations of the color scheme used in the bar/lounge suggest a more intimate and cozy atmosphere. Curvilinear lines contrasted by straight lines of squared motifs and furniture design create balance and interest throughout the hotel space, which is enhanced by the varied textures of the wall-coverings, upholstery, and materials; the contrast of leather and plush upholstery, sleek vinyl materials, and raised patterned wall accents. The focal point of each space is defined by color, vertical lines of multi-levels and dimensions, interesting textures, and sensory stimulation. Incorporating various textures in the materials and finishes serves not only to add interest and address the sense of touch, but utilizes the effect of light absorption and reflection on different surfaces.
BRIDGING
Designing by the process of making... Making is Thinking, Thinking is Creating.
New Orleans Eatery
The methodology, based on the premise that an idea, like space, does not exist without the concrete to define it, will focus on rigor through materiality and physical process. An idea can only begin to form when we do, when we make. The materiality that we use then takes on especial significance as its influence is inescapable. Pursuing the same expectation and program in different places emphasizes the site and its influence on the design. Pursuing the same expectation in different media emphasizes the site and its characteristics, experience, and understanding of the student as well as engaging the student’s critical thinking, encouraging the student to understand the creative force that distinguishes architecture from engineering. No Representational Work. All process work will be made by hand: no CAD or BIM software of any kind is permitted. All work will be Communicative in nature: they are intuitive and creative material investigations both 2D and 3D; they are the concomitant resultants of making, the means and the end. The idea is inherent within the thing itself rather than represented by it. In other words, the made thing itself communicates the idea rather than delineates a form. Exception: a perspective or spatial drawing or any vehicle that allows us to inhabit it. You will do rather than plan to do; you will make rather than think; you will accept the precept that making is thinking.
Algar Thagne
Initial abstract diagram of the spatial movement R I G H T , T O P Diagram representing the culture parallelism of music and food RIGHT, MIDDLE Perspective of the entrance to the eatery R I G H T , B O T T O M Conceptual Site Model LEFT
THE CULTURE GAP
THROUGH ARCHITECTURE
Rendering of the Northern Library Entrance, 2012. Produced by Revit and Photoshop.
KENSINGTON PARK BRANCH LIBRARY
The proposed tectonic form exposes the detachment between the natural and man-made environment, reacting through responsive architecture.
The unique site has a man made water drainage canal splitting the site in half, exposing the brutality of man and the purity of nature. The proposed building design is a tectonic form emerging from the ground expressing the connection between the natural and man-made environment. The curvature of the form contrasts against the rigidness of the site’s boundary while utilizing passive control of the sun exposures to allow natural light into the facility without harming the books. The building envelope’s design is based on the direction it is facing thus creating a dynamic, linear movement throughout the skin on the southeast side and solid wall on the west. Each floor has voids, allowing indirect light to transcend throughout the building from an undulating roof panel system. A ramp ascending to the second floor through the most northern point allows people to experience a changing light tunnel as they enter the building creating a stimulating sense upon arrival and departure. The interior and exterior envelope respond simultaneously creating a fluid movement, creating a functional yet comfortable space presenting readers the ability to find books and reading nooks easily for an enjoyable experience at the library.
LITERARY
First Floor
Second Floor
Third Floor
IDEOLOGY
Wall section through the southeastern wall showcasing the undulating roof and linear glazing within the CMU exterior wall.
ICONIC
TRANSFORMED THE SIMPLISTIC CURVATURE OF THE ICONIC NOGUCHI DINING ROOM TABLE SERVED AS THE INSPIRATION FOR A PRESENT DAY BUFFET TABLE. The iconic redesign hinged on the metamorphosis of the dining table Isamu Noguchi designed for the Burden family in 1948. The original laminated beechwood dining table resembled a boomerang, the dynamic shape allowed for an abundant amount of people to sit at the table, enhancing the room by being a sculpture piece. The metamorphosis of the table transformed into a buffet table, utilizing the software program, Rhino, the form kept true to the undulating, curvature form of Noguchi’s iconic dining room table. The balance of the iconic, transformed table was designed to be eccentric, creating a feeling of perplexity yet astonishment.
Wallace Residence Site Plan (CAD, Photoshop, and Google Maps)
I S OLIVING L AOFFTTHEEGRIDD Wallace Residence Key West, Florida
Model of the Wallace Residence Entrance
The secluded residence located in the marshlands of Florida became the living grounds for a family of four. The dependency of natural elements became the structure of design. The Wallace family decided to minimize the carbon footprint as much as possible. To access the grounds, one would have to arrive via water. The residence is sited to capture wind for cross ventilation, water drainage to reuse for living, and natural daylight to heat the space while creating a compelling, interior environment.
SLAUGHTERHOUSE
S I L E N C E OF THE COWS
L e f t Collage of cattle entering the abattoir A b o v e , T o p Light study model A b o v e , M i d d l e Concept Model A b o v e , B o t t o m Final Model Right, Clockwise from Left
Floor plan, Section through holding pens, Section through the channel before cattle are stunned, Section through stun area, Section through employee factory line, Western perspective of the facility showcasing the undulating wind panels
As a progressive nation, questions have arisen from concerned food consumers; their persistent demands for answers and change have reformed the food industry. The abundance of commercially processed food consumed in the United States is staggering and empowers the food processing industry to control their own regulations. Slaughterhouses have become a mass industry, capitalizing on the high demand for meat. It is the only type of factory that live animals enter one end and exit packaged ready for human consumption at the other end primarily by utilization of human labor rather than mechanized equipment. The high demand for meat consumption results in unfortunate, harmful conditions in slaughterhouses for employees and cattle due to mass production requirements. Even though monumental advancements have been made during the past decade, slaughterhouse employees continue to experience high levels of emotional trauma resulting from the continual slaughtering process in the built environment. The psychological suffering of slaughterhouse employees is clearly evident; the turnover rate exceeds 100% annually in these facilities due to the unbearable conditions and expectations. As cattle enter the high stress environment of a slaughterhouse facility, they respond to fear by unpredictable flight responses resulting in inhumane treatment and injury to animals and employees and ultimately lower profit margins. Slaughterhouse, Silence of the Cows, is a thesis seeking to understand the relationship between the built environment of slaughterhouses and its users. By understanding the psychology of cattle and employees, the design will be conducive to the physical and emotional psyche of employees while creating a calm environment for cattle resulting in higher profits and better quality meat for consumers. Incorporating the intricacies of architecture in a slaughterhouse based upon the intrinsic nature of cattle can enhance the interaction between employees and animals. The form of the building is responsive to the user, the curved portions are related to the areas cattle inhabit whereas the linear portion is the employee factory line. Designing a facility that is architecturally responsible enhances the overall building performance as well as responding to the vernacularly of the agricultural surrounding buildings.
Island Village, a sustainable, urban development in conjucture to Celebration, Florida is a residential area with self-sustaining amentities that contributes to the responsible living people choose to participate in at the innovative village.
ENGAGING THE LAND AS A TEACHING MECHANISM BY UTILIZING EACH ISLAND IN VARIOUS LEVELS OF
SUSTAINABILITY.
TONG RESIDENCE
The progressive, 3,300 square foot residence of Jiao and Li Tong in the countryside of Kansas City, Missouri is a modern fusion of Asian and Art Deco with a sustainable emphasis. The design team’s vision was to blend the four Chinese elements throughout the house, incorporating the family’s heritage through the selection and use of materials balanced with modern design. Both the interior and exterior of the home is minimalist in style, predominantly with a white palette and clean, contemporary lines. The Tong’s residence features a design that unifies sustainability, universal design, and smart technology. Environmentally responsible materials and products were selected to ensure healthy living conditions, superior indoor air quality, and energy and water efficiency. Thoughtful consideration of universal and accessible design with an emphasis on aging in place would help the elderly couple make daily living better. In public spaces, an open floor plan would provide
optimum accessibility and visibility. The innovative design of the living room maximizes natural light from the operable window wall along the north facing wall which opens completely to the courtyard for flexibility when entertaining. The expansive windows on the south side take full advantage of passive solar design and the harvesting of daylight. Tall ceilings with ambient lighting and a view of the serene outdoor space create a naturalized atmosphere characterized by tranquility and peace inspired by Chinese culture. The sleek, modern exterior materials interpret and blend the various styles harmoniously. Incorporating green practices
MODERN FUSION OF ASIAN AND ART DECO IN THE COUNTRYSIDE OF KANSAS CITY
such as geothermal heating and cooling, green roof technology, photovoltaic panels and passive solar design ensure the efficiency and environmental consideration requested by the clients. The art deco inspired roof line of the entrance adds interest to the green roof which insulates the residence from both heat and cold weather while absorbing the storm water runoff and minimizes noise pollution. The EnviroDesign team worked in collaboration to design this luxurious, contemporary residence that reflects the values of the people living in the home.
Dimensioned Floor Plan Photoshop Rendering from CAD Drawing
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ABOVE
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plan
Hand rendered furniture
Hand drawn section through the dropped soffit in the conference room R I G H T , B E L O W Hand drawn section through the acoustic ceiling throughout the public area of the bank RIGHT, ABOVE
CREDIT UNION The grand scale of the precocious structure provides a unified, highly distinctive atmosphere that is handicap accessible, and functional, exceeding customers’ experience.
Midland, Texas became a central location for a new Credit Union Bank. The grand scale of the precocious structure provides a unified, highly distinctive atmosphere that is handicap accessible, and functional, exceeding customers’ experience. A fourteen-foot ceiling establishes a perception to clienteles the strength and resolute commitment the bank will offer to handle transactions securely. The amalgamation of styles exemplified by materials, finishes, color, and furnishings create a calming yet authoritative atmosphere. The entrance is lit by a contemporary chandelier designed with suspended, multi-twisting glass cylinders. Upon entering the lobby, the customers’ eye is drawn to the logo encased in the transparent partition which is the backdrop for the receptionist area. A view of four fourteen-foot Doric columns defines the teller area providing open visibility for efficient traffic flow between the lobby and teller area. Different banking services are defined in the open space of the lobby accommodating easy access to the receptionist area, waiting area, check station, and teller line. The warm, rich colors of cream and dark brown throughout the lobby conform to five-inch crown molding and chair-rails. Providing comfort to employees and customers, the lobby is furnished with contemporary pieces. The geometric upholstery complements the monochromatic color scheme found throughout the bank. The Credit Union ensures a secure experience for customers by providing specified areas that create a feeling of confidentiality. The bank manager and loan offices address individual needs of customers in spaces designed to be relaxing, personal, and free from intimidation. The bank manager’s office offers a peaceful experience through rich, dark colors; sleek, contemporary furniture; maple flooring with a dropped soffit and recessed lighting. The loan offices address the needs of customers in an efficient space consisting of four individualized service areas that are furnished for comfort and security. The overall interior architectural articulation expresses stability and trust in an environment that is welcoming and professional in nature; a service environment that invites customers to return.
CRAFTMANSHIP
CONCEPTUALIZING ARCHITECTURE THROUGH THE USE OF PHYSICAL MODEL MAKING.
BAMBOO FURNITURE
Interior Space: Joseph Dirand Architecture, INRIA Building Fashion: Alexander MQueen Furniture: Whitney R. Carter, Rhino and Keyshot
DESIGN BASED UPON VERSATILITY AND SUSTAINABILITY. FURNITURE THAT CAN WITHSTAND THE TEST OF TIME. THE ABILITY TO TRANSFORM A PERSON’S SENSE OF BEING.
Architecture: Luis Barragan Fashion: Yves Saint Laurent Furniture: Whitney R. Carter, Rhino and Keyshot
TOY FACTORY
Perspective of the River Street Entrance of the Toy Factory, Produced by Revit and Manipulated through Photoshop
Factor’s Walk Toy Factory
The interstitial spaces create a form that is contemporary in design, influenced by the site and surrounding remnants of Savannah’s culture.
Abstracting Savannah, Georgia’s history, divisions occur, separating major events. The voids became
the driver of form while creating the concept of spaces in between. The interstitial spaces create a
form that is contemporary in design, influenced by the site and surrounding remnants of Savannah’s culture. The site is situated between buildings
built in the early 1800’s on River Street. The buildings among River Street were once used as
cotton exchange facilities. People would walk onto bridges on Factor’s Walk, an alley right behind the buildings, and bid for cotton. The bridges,
even though updated, still exist in their primary
location. The proportions of the proposed building were derived from the rhythmic orientation of
the bridges; while incorporating a bridge running
through the site into part of the design. The
façade of the proposed building was to capture the
surrounding
vernacular
characteristics
conveying them in a contemporary method. The
building’s interstitial spaces respond to the site’s
voids creating a harmonious balance between the existing and proposed. The Factor’s Walk Toy
Factory consists of a toy display and receptionist area on the first floor facing River Street, a retail store facing River Street and Bay Street
and workshops on the second floor, offices and artisan studio spaces on the third floor, and a
restaurant and four apartments on the fourth floor. The artisan toy factory is a place where artists can design and build their own creations while inspiring one another with ideas from different genres. The building is conducive to the workers
while allowing people to view their process and
toy making. Savannah is an interactive city; the
building reciprocates peoples’ curiosity permitting them to access parts of the factory. The building
envelope is designed based on the exposure of sun throughout the day reacting to the given activity housed inside. The east and west exterior
walls have vertical, rotating louvers, the south has horizontal louvers, and the north allows natural, indirect in through a double façade system.
Floor Plan: Fourth Floor
ARCHITECTURE CAN.
W.R.C.
WHITNEY.REBECCA.CARTER. whitrcarter@gmail.com