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s m i t h L
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Memory believes before knowing remembers. William Faulkner Light in August 1932
Making is my passion.
Transforming a question to an idea to a sketch, and then to an object, is the process of making. The strength of the process reflects the quality of the maker, and the more learned, the better the product. If buildings could speak, they would tell stories about their making; lessons learned, challenges overcome, character developed. I like to think that I know what I don’t know. Although this claim is inherently flawed, its premise fuels my aspiration to be better tomorrow than I was today. My purpose in going to graduate school is to learn what I don’t know; to become an exceptional maker of buildings.
This
portfolio is a representation of my finest work to date. The following projects are separated into the four categories that have defined my focus.
1
CRAFT
2
digital design build
3
green design
4
studies
6 10 12
20
pin table german pourover berlin.1
the
mini
museum
o f R i c h ard McMahan
42 52
62 68 76
hydroport museo vita cibo
20 queen street venti viaggi matisse / picasso / kirchner
1
CRAFT
2
digital design build
3
green design
4
studies
pin table p r i v a t e c l i e nt c h a r l e s t o n , sc july-august 2008
6-9
german pourover c i t y l i g h t s c o ff e e s h op c h a r l e s t o n , sc june 2008
10-11
berlin.1 p r v a t e c l i e nt n e w y o r k , ny august 2009
12-17
pin table craft
1
private client charleston, sc materials: poplar and white oak plywood design and fabrication: william smith overall dimensions: 68�L 30�D 28�H p i n
p i n
a
july 2008
The pin table was developed for a photographer in need of a large , sturdy surface with the ability to move from apartment to apartment. The goal was to create a table composed of removable parts held together with friction pins. T h e t a b l e w a s b u i l t i n 3 p a r t s [ To p , Skirt, Legs] and assembled on-site by one person in under 3 minutes.
6
l e g
s k i r t
c o n c e p t
a
d i a g r a m
s k i r t
b
b
The top is made by laminat ing solid poplar rails to 3/4� white oak plywood. Finished and buffed the surface is then sealed to protect from liquids and humidity.
craft
1
t a b l e
t o p
Cut to reciprocal sizes, the large and small skirts are tenons that slide through the mortises in the legs.
s k i r t
Started from poplar stock the legs are cut to square and rough length. A hollow core mortiser cuts holes through 4 layers before they are laminat ed together.
l e g s
8
german pourover craft
1
city lights coffee shop charleston, sc material: wenge design and fabrication: william smith june 2008
R e d a n d B l u e C h a i r,
Gerrit Rietveld, 1918
Composition (Blue, Red, Yellow)
City Lights Coffee required a device to facilitate a rare German method of serving fresh coffee. The design holds two ceramic filters above two mugs as hot water is poured over the ground beans. Inspired by the De Stijl movement, the piece is made of 3 structural components that intersect planes.
10
Piet Mondrian, 1 9 3 0
berlin.1 craft
1
private client new york, ny m a t e r i a l s : c a s t c o n c r e t e , m a h o g a n y, g l a s s design and wood fabrication: william smith concrete fabrication: christian lincoln overall dimensions: 54.75”L 18”D 12”H august 2009: designed
emotional
january 2010: production begins
f o r W i l l i a m S m i t h D e s i g n i n c o l l a b o r ation
raw
with Counter Culture Concrete
clean Berlin.1 is the first table of a series i n s p i r e d b y t h e c i t y. Structural properties of three materials keep the table together without usi n g h a r d w a r e . A e s t h e t i c a l l y, t h e p r e cision and warmth of the mahogany forms a contrast with the rough, cold strength of the concrete.
12
practical
strong
sexy
refined
juxtaposed
artistic
Development Sketches NOT Final Dimensions
craft 1
29
1
CRAFT
2
digital design build
3
green design
4
studies
the
mini museum
of r i c h a r d
mcmahan c l i e nt:
halsey institute of contemporary a rt
a d d l e s t o n l i b r a ry c h a r l e s t o n , sc jan-may 2008
20-39
mini museum of
richard mcmahan
william smith senior designer
taylor newman senior designer
jan-may 2008
digital design build
2
20
p r o f e s s o r, p r o g r a m d i r e c t o r
p r o f e s s o r, s h o p d i r e c t o r
exhibition design + installation
The CAC.C is a satellite program of Clemson University that transitions architecture students from academia to professional practice. Projects are sponsored by outside clients seeking a meaningful product. Therefore, the studio is run like an office, emp h a s i z i n g e f f i c i e n c y, q u a l i t y a n d r e sult. With more productive output, students earn more r e s p o n s i b i l i t y.
robert miller
david pastre
halsey institute of contemporary art addlestone library charleston, sc
The MINImuseum of Richard McMahan i s a n e x h i b i t i o n o f o v e r 11 0 0 w o r k s o f miniature art curated by the Halsey Institute of Contemporary Art. The exhibit was designed and built by the Clemson Architecture Center in Charleston (CAC.C) during spring 2008 for the Rotunda of the Addlestone Library at the College of Charleston. It was a Piccolo Spoleto Invitational Exhibition, and was on exhibition from 16 May-30 June 2008.
the team
A Note on Project Credit: All work shown in this section is the product of research, design or fabrication done by William Smith. All sketches shown are drawn by William Smith. The nature of successful collaboration is such that a great product is a sum of ideas from many members of a team. My role was to lead by example in all phases of the design-build process.
nicolas kuntzi graduate designer
kelly pollard
art layout, junior designer
jamie pratt
p a n e l c o o r d i n a t o r, j u n i o r d e s i g n e r
rosalyn cowart
art layout, junior designer
madison meggs
“modressionist” node designer
andrew edwards
“grobetan” node designer
joel trantham
“tombgyptian” node designer
alyson leslie
paint coordinator
the artist + his collection
1 1 0 0 works of
miniature art
Richard McMahan is a 34 year old savant who for the past 18 years has been recreating masterworks of Western art in miniature. Endowed with a photographic memor y, t h e a r t i s t w i l l s t u d y a w o r k f r o m a b o o k a n d c r e a t e h i s r e p r o d u c t i o n f r o m m e m o r y. Most of his materials come from WalMart. By his own account, the artist does not usually know the size of the original work. Therefore, his subjects are limited to that which reproduces well at miniature scale. Richard McMahan, 2008
scale and size
distance of collection (side-by-side)
d =60’
1.04 revolutions
scale on wall
scale in hand
distance of collection (in site)
research summary + principles
research miniature art
1.size
history + display
The significance of the McMahan collection derives from the vastness of its scope and size.
principle
Display McMahan’s oeuvre, not so much as individual works, but as a collection. Traditionally, miniature art is dis p l a y e d i n s h a d o w b o x e s .
2.scale
digital design build
2
The significance of the McMahan work derives from its miniature scale relat i v e t o t h e h u m a n b o d y.
Portraits and Illuminations were first forms of miniature art.
principle
Accentuate the scale by showcasing the tiny works inside a single gigantic shadowbox.
re-production
the inverse benjamin effect
3.sensationalism
I n h i s 1 9 3 6 essay, “The Work of Art in the Age of Mechanical Reproduc t i o n , ” Wa l t e r Benjamin used the word aura to refer to the sense of awe o n e e x p e r i e n ces in the presence of unique art. H e a r g u e d t h at in mass reproduction, works of art lose their inherent aura. We a s s e r t t h at because McMahan is not copying, but remaking, he rein s t i l l s a u r a i n his reproductions, thus inverting Benjamin’s famous thesis.
The miniature size and works as reproductions ger that work could be through sensationalism
nature of the brings a dandelegitimized and kitsch.
principle
The exhibition should present the work in a serious and imposing mode, unveiling its sense of wonder upon closer and repeated examination and allowing a sense of surprise and delight in overview.
CafePress.com, “Eatin Flesh is for Zombies”, TEE-shirt, 2008 McMahan after Goya, Saturn Devouring his Children Goya, Saturn Devouring his Children , 1819
22
4.art historicism McMahan considers his work to be both art and art historical scholarship.
principle
The exhibition should be historically didactic and revelatory of M c M a h a n ’ s v i e w o f a r t h i s t o r y.
p e r i o d a n a l y s i s
a r t i s t a n a l y s i s
schematic design
SHADOWBOX Wall S c h e m e
digital design build
2 Rotunda Model Scale: 1/2”=1’
THE WALL Scheme Model Scale: 1/2”=1’
The studio submitted schematic proposals founded upon the principles derived from the research phase. Many initial proposals were theoretically strong, but lacked “buildability”, the main premise of a DESIGN BUILD studio. The project took off with the piece of a larger scheme. The piece, a wall that houses the art within its skin, making it accessible from both sides. Tw o w a l l s c h e m e s w e r e d e v e l o p e d , T h e T R I - WA L L S c h e m e a n d T h e S L AT Scheme. Full scale mock-ups were made for both. The TRI-WALL was selected to be taken into design development.
24
TRI WALL Scheme s k e t c h
TRI WALL Schematic Model Scale: 1 1/2”=1’
design development basic wall system
digital design build
2
pine model 1 1/2”=1’
friction pins
26
“shoulders”
“knees”
“toes”
p r e s e n t a t i o n model 1 1/2�=1’ hanging in C l e m s o n A r chitecture Center in Charleston
model components (laser cut mahogany)
friction peg system
assembly
design development “the hot end”
digital design build
2
video screen (2” x 3”)
sound shower model
column wrap detail model
At the beginning of the project, the client (curator) wanted a video with sound to be played somewhere in the exhibition. Put off until the design had definite shape, including the A/V monitor and sound shower posed technical and conceptual problems. The sound shower had to be “within” the wall to keep in line with the concept that art exists inside the external skin. The solution called for 1/4 of the dome to be inside the wall and the rest protruding outside of the rotunda.
28
sound “shower”
audio-visual elevation diagram
cnc documents
digital design build
2
laser: CNC scale photo
The use of CNC technology was critical to the fabricating a complex design at full scale. The precision of the CNC machine allowed the design team to use the same file for full scale fabrication as was used for the laser cut models.
5’ x 10’ MDF panel
30
cut pack 2 of 3
installation b
a
digital design build
2
toe - fin:
Toes are parralel tracks with notches every 18�on center. Fins are also notched to regulate spacing. The two work in tandem to create the project modular. 32
s h oulders:
ever y t i m e a f i n i s r a i s e d into p o s i t i o n o n t h e s l e d s , a sh o u l d e r l o c k s i t i n t o the p r e v i o u s f i n . S h o u l ders h a v e S TO P S ( c i r c l e d abov e ) . P i n s i n s e r t e d i n s l o t A ac t a g a i n s t t h e s t o p t o mak e a t i g h t f i t a n d s y s t e m atic s p a c i n g .
knees:
Every 5 bays a knee is inserted to align the wall. It is shaped like a shoul der without the “stopper�. Where knees extend into a gap, the end is blunt and pegged (Right).
head:
Structurally, the h e a d w a s not necessary. H o w e v e r, connecting the f i n s t o t h e head provided th e u l t i m a t e vertical alignmen t , k e e p i n g the wall straight.
day 1
time lapse
digital design build
2
34
may 3
day 2 may 4
day 3 may 6
day 4 may 7
day 5 may 8
day 6 may 9
day 7 may 10
day 8 m a y 11
day 9 may 12
day 10 may 13
d a y 11 may 14
day 12 may 15
day 13 may 16
opening night 16 may 2008
digital design build
2
36
digital design build 22
38
1
CRAFT
2
digital design build
3
green design
4
studies
hydroport a t l a n t a h a r t s f i e l d a i r p o rt a t l a n t a , ga may-july 2007
42-51
museo vita cibo p i a z z a d e l l e e r be g e n o v a , i t a ly oct-dec 2006
52-59
hydroport atlanta hartsfield-jackson international airport atlanta, ga sustainable intervention clemson university
professor martha skinner
a l l w o r k pr o d u c e d b y w i l l s m i t h july-aug 2008
n
green design
3
d
n
c o n c o u r s e s i t e 42
p l a n
d
reduce potable water consumption rainwater harvesting
reduce energy consumption evaporative cooling
1,296
toilets in airport average flushes per day
x
20
average gallons per flush
x
1.5
=
38,800
gallons
potable w a t e r f l u s h e d per day of
c
a n
c o n c o u r s e
green design
3
s e c t i o n 44
a
d
b
s e c t i o n
b
v e r t i c a l
s t r u c t u r e g l a z i n g
c o n c r e t e
s l a b
h y d r o m e s h 3 green design
s e c t i o n
skin
block heat gain
hydromesh is a translucent secondary designed to from solar rays by t r a n s p o r t i n g c h i l l e d w a t e r molecules through a surface area. working as a form of evaporative cooling the water temp e r a t u r e c a n b e c o n t r o l l e d d e p e n d i n g u p o n v a r i a b l e s : s u n s t r e n g t h , o c c u p a n c y, a n d c o s t .
capillary
48
s e c t i o n
c
h y d r o m e s h
g l a z i n g
green design
3
c u r t a i n
50
w a l l
s e c t i o n
museo vita cibo piazza delle erbe genova, italy urban revitalization
1
clemson university
n
professor virginia san fratello
a l l w o r k pr o d u c e d b y w i l l s m i t h oct-dec 2006
green design
3
In 1944 the Allies shelled Genova from offshore and destroyed a church in Piazza delle Erbe. For 60+ years the church has been left in ruins as Genova’s young adults created a nightlife scene in the piazza.
h i s t o r i c
d i s t r i c t
A new building on the site has the potential to elevate the quality of life for young adults. Genova is an elderly city lacking cultural outlets targeting those in their 20’s and 30’s. Museo Via Cibo is a celebration of the food and culture of Genova, manifested in a sustainable building, flexible for use as a performance venue at night and as an eclectic museum duri n g t h e d a y.
52
1.
e x i s t i n g
p i a z z a
m a s s i n g
green design
3
c i r c u l a t i o n
54
s t u d i e s
c u r t w c o n c m o
a a e d
i n l l p t e l
f l o o r
4
f l o o r
2
f l o o r
1
g a l l e r i e s
g a l l e r i e s
3 green design
n
e n t r y
56
2 n d
f l o o r
g a l l e r y
o p e n
c l o s e d
winter
summer
+night
green design
3
c u r t a i n
58
w a l l
s e c t i o n
+day
1
CRAFT
2
digital design build
3
green design
4
studies
20 queen street o l d c o t t o n w a r e h o u se c h a r l e s t o n , sc jan-apr 2008
62-67
venti viaggi s t u d e n t p h o t o g r p a hs o f e u r o pe aug-dec 2006
68-75
matisse/picasso/kirchner s e l e c t e d e s s ay oct 2008
76-79
20 queen street cotton warehouse + theatre charleston, sc architect:arthur kiddle built: 1840 architectural drawing
professor justin ferrick jan-may 2008
These five drawings, worked for approximately 60 hours each, focus on different techniques of architectural drawings to build skill
studies
4
62
contour
5 line maximum
cross hatch
thousands of lines
studies
4
64
tone
use no lines
perspective
line + tone
studies
4
66
material
any mix of techniques
venti viaggi student photographs from europe
e d i t e d b y m o l l y m o r i n a n d w i l l i a m s mith professor virginia san fratello aug-dec 2006
Travel is my drug of choice. Dis-
covering life anew is inspiring. Travel informs design. The tastes, styles, customs, and languages of the places of the world provide opportunities to refresh the imagination.
studies
4
68
left:
view of giudecca
venice top:
terracotta roof florence bottom:
apartment shutters siena
over left:
certosa di pavia
pavia
over right:
medieval rampart san gimignano
left:
parco della musica
renzo piano rome right:
nordic pavilion
sverre fehn venice over left:
potsdamer platz cladding
berlin
over right:
reichstag addition 4
studies
norman foster berlin
studies 4
74
matisse | picasso | kirchner 20th centruy art history 1
1895-1940
clemson university
professor andrea feeser
the question:
nov 2008
Analyze the similarities and differences evident in and
Picasso’s
portrayal of the
Matisse’s, Kirchner’s,
“primitive” female body.
What traditions and
artistic conventions is each artist reproducing?
B l u e Nude: Memory of Birska , 1907 Nude with Drapery, 1907
Picasso
Matisse 4
Girl Under a Japanese Umbrella , 1909
studies
Kirchner Joy of Life , 1905-06
76
L e s D e m o i s e l l e s d ’ Av i g n o n , 1 9 0 7
What we need now are barbarians…. One must have a vision of natural life…. Today begins the era of passion.
Charles-Louis Philippe, 1897
At the beginning of the 20th century the Impressionists Monet and Renoir, the Neo-Impressionists van
Gogh, Seurat, Gauguin and Cezanne, and the Symbolists Munch and Ensor transformed the theory driven art of the fin-de-siècle to a new era of modern art which became known as Expressionism. Broadly characterized as the use of emotional content, romantic spirit and personal vision, Expressionism can also be defined as the age of the manifesto and the artist group. The Fauves (Beasts) of Paris, Die Brücke (The Bridge) of Dresden, Der Blaue Reiter (The Blue Rider) of Munich, and The Cubists, are examples of the various interpretations and geographies defining the Expressionists. Conscious of the work of each other and of their avant-garde predecessors, the approximate contemporaries Matisse, Kirchner, and Picasso formed a triangle of influence. Matisse was highly critical of the Cubist work of Braque, the studio-mate and influence on Picasso, who was influenced to create, Les Demoiselles d’Avignon as a response to Matisse’s, Joy of Life. Inspired by a Gauguinesque trip to North Africa, Matisse painted Blue Nude: Memory of Biskra, which inspired Kirchner to paint, Girl Under a Japanese Umbrella, and inspired Picasso to paint Nude with Drapery. The novelty of their female nudes is not the subject matter; the female nude is a classic genre redefined over time by Botticelli, Titian, Ingres, Manet, and Gauguin. The novelty is in shattering the realm between the painting and the viewer, evoking deeper, intensely protected emotions of anger, guilt and lust. La Grande Odalisque, painted by Ingres in 1814, depicts an ideal woman with leg crossed giving a seductive over the shoulder look. Matisse, Kirchner and Picasso have novel and Primitive interpretations of the exact pose,
using distinct techniques to arrive at a personal interpretation. Matisse is the first to paint his version of the crossed legged female, Blue Nude: Memory of Biskra, (1907), in which he, “…flouted the tacitly agreed rules of the game…” with an ugly, disfigured, muscular nude surrounded by flowers and patches of grass. The flesh colored torso and legs comprise the center of the composition and come forward while the head and shoulders recede in cooler blues. The realistic and unrealistic nature of the body parts in Blue Nude, juxtapose each other, prompting Picasso to respond, “ ‘If he [Matisse] wants to make a woman, let him make a woman. If he wants to make a design, let him make a design. This is between the two.’” Picasso’s remark to Walter Pach regarding the “fatal” duality of Matisse’s work was reinforced by his painted response to it, Nude with Drapery, (1907). Unlike Matisse’s bold use of color to make the female form, Picasso’s triangulated figure exists in a composition created from earth tones of green and yellow. Vibrant color defines form in Matisse’s work while Picasso used dark line over similar colors to create form. As the eye moves from the brightest yellow of the thigh to the pelvic v, line cuts up into the abdomen, stimulating thoughts of terminated pregnancy. After seeing Matisse’s work in Berlin in 1907, Kirchner painted Girl under Japanese Umbrella, a synthesis of the form of Blue Nude, and the color palette of an earlier Matisse work, The Green Stripe. Aside from questions of authenticity, Kirchner is able to learn from Matisse’s use of intense color contrast to make a shockingly vibrant scene of a woman hardly able to be controlled by the constraints of the square canvas. The haunch of the figure is the focal point of Girl under Japanese Umbrella, as it was in Blue Nude, However, Kirchner brings the nude into the viewer by having the apex of the haunch break the canvas. Matisse and Picasso, although differing in style, shared a drive to find truth of life in the visual realm. Aside from sharing a common client, Gertrude and Leo Stein, they both found that there was truth in the coarseness of man’s interaction with woman. In two seminal pieces Modern art, Les Demoiselles d’Avignon and Joy of Life, Picasso and Matisse, respectively, arrived at two different but similar understandings of this subject that possessed
them. Compositionally both works share a striking resemblance with Cezanne’s, The Great Bathers. Matisse’s subjects, more like Cezanne’s, interact in a vast area grounded by a horizon line and contained laterally by trees. “Saturating” the large canvas (approximately six feet by eight feet) a portal is created to another world where open love and frolicking is the norm. In buying the piece for their Paris salon the Steins inadvertently gave Picasso, a frequent visitor of the salon, the inspiration to create Les Demoiselles. The subject matter and composition of Picasso’s masterpiece differ from Matisse’s in that the figures dominate the scene and suffocate the spatial understanding of the brothel they run. Inspired by African masks, Hellenistic sculpture and pre-Christian Iberian carvings Picasso is known to have studied, the final composition is literally and psychologically primitive. The two figures on the right are different, as their faces resemble masks, while the three figures on the left have shattered faces comprised of multiple perspectives. The figures absent in the scene but studied by Picasso in sketches are the men. Ironically the clientele, or those not depicted, complete Picasso’s psychological vision of primordial beast stalking its prey. The viewer realizes that they are part of the composition, standing in as disfigured men and completing the disgusting scene that is life. Matisse, Kirchner, and Picasso break new ground in their primitive interpretations of simple, classic subject matter by turning what has always been painted as serene and beautiful into ugly and aggressive. It is this evolution that shatters the conceptual space between the painting and the viewer, evoking pain, anger and animalistic urge.
Cowling, Elizabeth. Interpreting Matisse Picasso. London: Tate Publishing, 2002. Flam, Jack. Matisse and Picasso: The Story of Their Rivalry and Friendship. Cambridge: Westview Press, 2003. Gordon, Donald. Ernst Ludwig Kirchner. Cambridge: Harvard University Press, 1968. Green, Christopher. Picasso’s Les Demoiselles d’ Avignon. Cambridge: Cambridge University Press, 2001. Hunter, Sam, John Jacobus, and Daniel Wheeler. Modern Art. New York: Prentice Hall, 2004. Rhodes, Colin. Primitivism and Modern Art. New York: Thames and Hudson, 1994.
references design studios robert miller
p r o f e s s o r, d i r e c t o r clemson architecture center in charleston F2007 + S2008
virginia san fratello
p r o f e s s o r, c o - d i r e c t o r daniel center for building research F2006
history + theory andrea feeser
professor 20th century art history
josĂŠ caban
chairman clemson school of architecture
20 franklin st / charleston, sc / 29401 843 723 1747 miller@clemson.edu 2323 magnolia st / suite 6 / oakland, ca / 94607 510 207 2960 studio@rael-sanfratello.com
123 lee hall / clemson, sc / 29634 864 656 3921 afeeser@clemson.edu 145 lee hall / clemson, sc / 29634 864 656 1499 jcaban@clemson.edu
professional experience robert vuyosevich
partner butler rogers baskett architects
simonetta cenci
partner 5+1 agenzia di architectura
michael maher
director charleston civic design center
david pastre
d e s i g n e r, m a s t e r c r a f t s m a n jmo woodworks
vladimir kagan
president vladimir kagan design group
475 10th avenue / new york, ny / 10018 212 792 4661 bobbyv@brb.com v i a i n t e r i a n o 3 / 11 / g e n o v a , i t a l y / 1 6 1 2 4 +39 010 540095 s.cenci@5piu1aa.com 85 calhoun st / charleston, sc / 29401 843 958 6416 maherm@ci.charleston.sc.us 70 romney st / charleston, sc / 29403 843 577 7352 pastre@clemson.edu 11 8 5 p a r k a v e / n e w y o r k , n y / 1 0 1 2 8 212 289 6685 vladkagan@aol.com
résumé
education
3 0
Clemson University
Bachelor of Arts in Architecture Minor in Fine Arts
Clemson, SC 18 December 2008 Cum Laude
Daniel Center for Building Research Genova, Italy F 2006
a r c h i t e c t u ra l Vladimir Kagan Design Group
Design Assistant
Clemson Architecture Center (CAC.C) Charleston, SC F 2007+ S 2008 LEED Accredited Professional v 2.1 New Construction July 2006 Clemson Club Baseball Team 2004-2007; Elected Vice-President 2006 Proficiency in Italian
Deerfield Academy
Varsity Baseball Team 2003-2004; Elected Captain 2004 Reverened G. Richard McKelvey Spirit Award May 2004
Deerfield, MA 30 May 2004
JMO Woodworks
Craftsman
Charleston Civic Design Center
Urban Designer
5+1
Agenzia di Architettura
Summer Intern
honors Winner Second Place d3 Brooklyn
publications
n o v e m b e r
Ray Huff Prize for Excellence in Architecture
CAC.C Program Award
April 2008
St. Petersburg Prize for Design Excellence Museo Vita Cibo April 2007
Butler Rogers Baskett Architects
Summer Intern
Nantucket Preservation Trust
Summer Intern
East | West Exhibition Pin Table Feb - Mar 2007
o t h e r Vladimir Kagan: Classics Graphic Designer ©2009
The Baseball Center
Instructor
Research Assistant to Author Ronald Rael ©2007 Co- Editor, Art Layout, Photo Contributor ©2006
e x p e r i e n c e NYC Office Manager, Design Assistant to Mr. Kagan, 3D Modeling, Construction Drawings New York, NY Mar 2009 - Present Residential + Commercial Installations, Custom Cabinet Fabrication Charleston, SC June - August 2008 Neighborhood Planning, FEMA Research, Urban Education Program + Game Designer Charleston, SC August 2007 - May 2008 Graphic Design, 3D Modeling, English-Italian Translation, Design Development Genova, Italy May 2007 - August 2007 Presentation Models, Design Development New York, NY May 2006 - August 2006
Research, Historic Surveying, Walking Tours Nantucket, MA May 2003 - August 2003
e x p e ri e n c e
Earth Architecture
Venti Viaggi: Student Photographs of Europe
2 0 0 9
w i l l i a m
Pitching + Catching Lessons 9U + 11U Travel Team Assistant Coach New York, NY Sep 2009 - Present
s m i t h
9 east 94th street apartment 3 new york, ny 10128 wsmith3@me.com
917 972 5737
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