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ARCHITECTURAL EDUCATION

PORTFOLIO + RESUME of

SEAN SMITH BARCH at UNCC 2005 - 2010

During my college education I have heard of and seen much of your work and find it particularly intriguing and think that the kind of work that you do would be a good fit with my portfolio. I also believe that your philosophy and architectural ideas match very well with my particular approach to architecture.

Sean Smith Resume 505 L Barton Creek Dr. Charlotte, NC 28262 (704)-779-3222 sasmith1@uncc.edu tigerjr@gmail.com

Notable Accomplishments Eagle Scout Award OA Vigil Honor Metrolina Theater Association Award for Sound Design Faust 2007 NAWIC National Design Competition 2nd Place 2004

Certifications Pilot Licensure CPL Net+ Networking Certification PADI SCUBA Certification Advanced Rating NRA Certified Instructor

Skills Read, Write and Speak basic German, Spanish Computer Networking Electrical*, Civil, and Process Engineering Knowledge and Experience Welding and Metal Fabrication *Began college career with 3 semesters of Electrical Engineering

Software AutoCAD version 2000 – 2010 AutoDesk Revit 2009, 2010 AutoDesk Maya VectorWorks 2007 – 2009 Microstation Version 7 and 8 Catia V5, V6, and Ghery Technology Versioning

Microsoft Office Suite Adobe Suite CS – CS4 Sketchup 3D Rhino 3D and Grasshopper

Sean Smith Resume Professional Associations Theta Tau (Engineering Fraternity) National Society of Collegiate Scholars (NSCS)

Relevant Work Experience/Employment History UNC Charlotte Student Union Audio Engineer and Visual Resources Technician, 2004 – Present Provide an array of technical services to any variety of events and locations nearby and throughout the UNC Charlotte campus. Harboreigh LLC Assistant Fabricator, Summer 2004 Fabrication shop assistant, aided in welding and operation of metal processing equipment for the manufacture of specialty equipment or equipment parts. UNC Charlotte Department of Dance and Theater Audio Engineer, 2005 – Present Provide technical and engineering services in the area of audio and acoustics for the UNC Charlotte Department of Dance and Theater centered mainly in the Belk Theater and its adjoining Black Box Studio Theater. This includes drafting system schematics, lighting plots, and set design. Orion Engineering PLLC Draftsman, 2005 – 2006 Produce accurate drawings necessary for the operation of the company through detailed consultation with the engineering staff as well as clientele. Clariant Draftsman and Process Engineering Assistant, Summer 2006 Provided drawings and technical information for the completion of in-house projects. Sub-hire from Orion Engineering PLLC UNC Charlotte Department of Music Recording Engineer, 2006 – Present Produce high production quality recorded audio of requested concerts and other events preformed at UNC Charlotte and nearby facilities put on through the UNC Charlotte Department of Music. Aware Environmental Inc. Draftsman and Graphics Design, 2007 Produce accurate CAD drawings required by the project supervisors and coordinators as well as consult on aesthetic design and implementation within projects.

Sean Smith Resume UNC Charlotte Department of Dance and Theater Sound Designer, 2007 – Present Collaborate with the production staff within the UNC Charlotte Department of Dance and Theater to provide integral and quality sound design for any array of shows or programs put on by the UNC Charlotte Department of Dance and Theater.

Education University of North Carolina at Charlotte. Charlotte, NC Bachelor of Arts in Architecture, 2009 Dean’s List Bachelor of Architecture, 2010 Chancellor’s List Bachelor of Arts in History 2010 Chancellor’s List

References Beverly Lueke UNC Charlotte: Facilities Operation Manager, Robinson Hall for the Performing Arts 704-687-0151 bblueke@uncc.edu Bill Kennedy Orion Engineering: Managing Principal 704-523-1707 b.kennedy@orionengr.com Keith Stills Aware Environmental: Drafting and Design 704-845-1697 keith_stills@awareenvironmental.com Deborah Ryan UNC Charlotte: Architecture Professor Ryan-Harris, LLC: Managing Principal 704-687-3020 deryan@uncc.edu •

Additional References Available Upon Request

SIXTH STREET HOUSE PRECEDENT

An investigation and number of hand drawings of Thom Mayne's Sixth Street House. These investigations not only looked at the building but also the architectural and representational styles of both Thom Mayne and Morphosis.

Sean Smith Spring 2007

BUS STOP

This project centered at a site where there is a bus stop but not one of any recognizable placement, in fact one could walk by it a number of times before even realizing its existence, this was to combat that and improve upon the surrounding area through promoting public transit in the community. This was a very enlightening introduction to the software program Maya, which I would continue to use on many subsequent projects.

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Sean Smith Spring 2007

CHICAGO STUDY

One of the primary trips that the school takes its students on is a trip to Chicago where everything from urbanism to the works of Frank Lloyd Wright and Mies Van Der Rohe are studied and analyzed in depth. The image to the right is only one of many images, models, and investigations created from this experience, however I think this is the most telling, examining a specific area, namely the gold coast in relation to the city and its historical growth over time. Many of my current fascinations and precedents lay upon the architects studied here and the investigations undertaken within that city. This image was created using a wide gambit of tools in the Adobe creative suite.

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Sean Smith Spring 2007

FIRE STATION

This project was also based in NoDa in this same general vicinity, it was to recreate the existing, outdated fire station and through the symbolic re-use of a variety of its parts conceive a new station. This was primarily to start to explore program as a driving design element but also introduced me to a number of digital methods.

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Sean Smith Fall 2007

CARDBOARD SHELTER

This was an early exercise in fabrication where we had to, using two sheets of cardboard construct a shelter with no waste and inhabit that structure for 24 hours, the weather in the form of a torrential downpour put them to a test, in which all eventually failed.

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Sean Smith Fall 2007

ESHERICK HOUSE PRECEDENT STUDY

This project was less about the actual precedent and more about the proper analysis and representation of that analysis. This was really the first big step into digital image processing and explored the idea of transference and layering digital and analog many times over to create a unique representation that is neither digital nor analog.

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Sean Smith Fall 2007

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Sean Smith Fall 2007

HOME STUDIO

This project was a simple program but very specific design criteria, It was the first project I had where there was an actual client involved and also had to take into account the requisite input from that client. This also started to deal with sustainability as far as response to the environment and economics when dealing with materials and assembly.

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Sean Smith Fall 2007

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Sean Smith Spring 2008

BOOK STORE - LIBRARY

This project was based in Charleston, and was a opportunity for me to concentrate on an area that I had been lacking in, Structure. This project was all about structure and that is what essentially drove the design. It looked at every design problem, such as the books from a pragmatic, structural viewpoint, in the case of the books, weight. Everything else, such as circulation was integrated into the structural system, which evolved into a modular unit that would inform and literally compose the buildings aesthetics and massing.

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along with several small charleston bookstores gave ideas of confined, reclusive, private space to immerse yourself in books a common theme it seems and one that I personally felt a deep connection with along with a compulsion to continue that idea.

Sean Smith Spring 2008

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Sean Smith Spring 2008

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Sean Smith Spring 2008

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Sean Smith Spring 2008

UNIVERSITY PLACE

This project was a first look at urban design and how buildings interacted on a large collective scale and on a small pedestrian scale, It was the redesign of the University Place off of Hwy. 29. Following the master plan the project was distributed amongst the studio where each person investigated a specific building and type. The one shown is a Texas Doughnut style condo and flat complex, with retail on the lower level. Applying the lessons in digital modeling and image processing this project still was a challenge in its programmatic nature as well as digital representations given the curvilinear nature of the design, this was in response to the idea that a weaving pattern would solve a great many problems of balcony space as well as shading for that same space. The lake front facade is the most expressive with punctuated elements and a variety of architectural apparatuses.

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Sean Smith Fall 2008

SHADOW BOX

This project was an exercise in not only the theory of creation and interpretation and abstraction of styles, but also in the art of fabrication on a level of incredible detail. Using the influences of Archigram and MC Escher, My shadow box looked at mechanical expression, deceiving structure and the combining of orthogonal geometry supporting inherently circular, non-orthogonal items.

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Sean Smith Fall 2008

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Sean Smith Fall 2008

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Sean Smith Fall 2008

GREENSBORO CULTURAL ARTS CENTER

This project was a further investigation into urbanism, with an actual client within the city of Greensboro, this project had a high sense of realism about it. My interest has always been theaters and this had allowed me to examine this programmatic puzzle in depth. The concept behind this project was simple enough, the program is one of connection on a multitude of levels and so that was heavily expressed through the building not only in adjacencies but also in traffic. Secondly, the interior programmatic pieces are what drove the buildings mass and eventually aesthetics with not only the elements of the program shaping the exterior but also were denoted through fenestration and material treatments. While function governed the overall design, the facade treatment came from a steel parti model generating both aesthetics and materiality.

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Sean Smith Fall 2008

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Sean Smith Fall 2008

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Sean Smith Fall 2008

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Sean Smith Fall 2009/Spring 2010

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Sean Smith Fall 2009/Spring 2010

BLAIR ROAD UMC EXPANSION

This project was a two semester comprehensive architectural thesis project where every stage of the design cycle was taken into account. This facility would expand the function of the existing making use of the natural surroundings and mitigate an experience between the two halves of the site. Located on a small lake this building would act as gateway and frame for the natural setting which it would use to enhance not only the corporeal programming of the building, but also the spiritual experiences of the building. As with any church light, positioning, symbolism, and orientation were carefully taken into consideration and with this project additional consideration was given to symbolic progression, structure, and the attempted merging of interior with exterior.

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Sean Smith Fall 2009/Spring 2010

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Sean Smith Fall 2009/Spring 2010

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Sean Smith Fall 2009/Spring 2010

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Sean Smith Fall 2009/Spring 2010

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LEFT

Sean Smith Fall 2009

BY SEAN SMITH RENNOVATION

The Structural Systems of

Source: Architectural Record

The Kaufman House

by Frank Lloyd Wright

BY SEAN SMITH

FIRST LEVEL

L

cantilever beams and joists. The cross section and axonometric to the LEFT shows how a cable is run alongside the In most cases, the diagram for how Wright arranged central beam, anchored at each end, and positioned over a deviator block in the middle. When tension was applied and construed the indoor and outdoor spaces very closely with a hydraulic jack, the cable tightened, lifting the end matched the diagram for how he would arrange and define of the overhang beam. The photo below shows the work public and private in progress. spaces, or the gradient thereof within

the house. Note the two diagrams to the LEFT, the TOP ABOVE being of inside and out, as well as thier possible transition With the living room’s polished flagstone floor repoints and then that of the BOTTOM being of public and moved, the thick, black-sheathed tensioning cables could private areas, these are quite similar and definately speak be positioned along the sides of the cantilever beams. The cable passes through the forms for an anchor block and a to Wright’s philosophy on both of these special and often deviator block, soon to be filled with concrete. architecturally inhibiting dichotomies. The buidling section to the left begins to reveal the structural systems employed LEFT as well as the lack of actual barrier between the inside and Source: Architectural Record A hydraulic jack, attached where the tensioning cables outside and likewise the public and the private. exited the building, gradually tightened the cables until they

Interior Exterior FIRST LEVEL

Public Private

Interior Exterior Public Private

SEAMLESS TRANSITIONS

Interior and exterior, or the lack thereof, was by Wright’s own admission was the key concept of this building and in many instances the prevelant theme through all of his work, however this house exemplified this the most. It is by no happenstance that these diagrams show such striking similarities and also that when inside you cant help feel like you are still outside and when definitavely outside but near the building a sense of enclosure and interior habitation also exists.

SEAMLESS TRANSITIONS

ABOVE

With the moved, the t be positioned cable passes deviator block

LEFT

SEAMLESS TRANSITIONS

INTEGRATION WITH NA A hydrau SEAMLESS TRANSITION exited the bui INTERIOR AND EXTERIOR INTEGRATION

INSIDE OR OUTSIDE?

In most cases, the diagram for how Wright arranged and construed the indoor and outdoor spaces very closely matched the diagram for how he would arrange and define public and private spaces, or the gradient thereof within the house. Note the two diagrams to the LEFT, the TOP INTEGRATION WITH NATURE SEAMLESS TRANSITIONS being of inside and out, as well as thier possible transition points and then that of the BOTTOM being of public and private areas, these are quite similar and definately speak to Wright’s philosophy on both of these special and often architecturally inhibiting dichotomies. The buidling section to the left begins to reveal the structural systems employed as well as the lack of actual barrier between the inside and outside and likewise the public and the private.

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7 of the StructuThis was an in-depth analysis al Systems employed by Frank Lloyd WrightSEAMLES INSIDE OR OUTSIDE? with a specific concentration the Interior and on exterior, or the Kauffman lack thereof, was by Wright’s own admission was the key concept of this build8 House7 (Fallling Water) ing and in many instances the prevelant theme through all and how these might of his work, however this house exemplified this the most. It is by no happenstance that these diagrams show such be employed or have an impact on my own striking similarities and also that when inside you cant help feel like you are still outside and when definitavely outside designs specifically forbut near the building a sense of enclosure and interior habithe Blair Road United Interior tation also exists. Exterior Methodist Church addition project. SEAMLESS TRANSITIONS

Public Private

STRUCTURAL MODEL DEPICTING STRUCTURAL MODEL DEPICTING FRAMING SYSTEM

INTEGRA SEAMLES

10

10 STRUCTURAL MODEL DEPICTING FRAMING SYSTEM

STRUCTURAL MODEL DEPICT FRAMING SYSTEM

[SEAN SMITH] THIRD LEVEL WITH FRAMING PLAN

exerted a sta lifting it abou in the anchor

Frank Lloyd Wright Precedent

G PLAN

FRAMING SYSTEM

work of steel cantilever bea metric to the central beam a deviator blo with a hydrau of the overha in progress.

exerted a static pull of 195 tons on each side of the beam, lifting it about ¾ inch. Then the cable ends were embedded and in the anchor blocks and trimmed and the holes patched. exterior, or the lack thereof, was by

to the left begins to reveal the structural systems employed as well as the lack of actual barrier between the inside and outside and likewise the public and the private.

SECOND LEVEL

THIRD LEVEL WITH FRAMING PLAN

RENNOVAT

SEAMLESS TRANSITION Beneath

Interior Wright’s own admission was the key concept of this build In most cases, the diagram for how Wright arranged ing and in many instances the prevelant theme through all and construed the indoor and outdoor spaces very closely of his work, however this house exemplified this the most. matched the diagram for how he would arrange and define is by thereof no happenstance that these diagrams show such public and private spaces, or the It gradient within the house. Note the two diagrams to the LEFT, the TOP striking similarities and also that when inside you cant help being of inside and out, as well as thier possible transition feel like you are still outside and when definitavely outside points and then that of the BOTTOM being of public and private areas, these are quite similar and definately speak but near the building a sense of enclosure and interior habito Wright’s philosophy on both of these special and often tation also exists. architecturally inhibiting dichotomies. The buidling section INTERIOR AND EXTERIOR INTEGRATION

SECOND LEVEL

Beneath the living room floor at Fallingwater a net-

INTERIOR AND EXTERIOR INTEGRATION work of steel cables was installed to stabilize the sagging

A hydraulic jack, attached wh exited the building, gradually tight exerted a static pull of 195 tons o lifting it about ¾ inch. Then the ca in the anchor blocks and trimmed

INSIDE OR OUTSIDE?

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Sean Smith Spring 2009

London Art Pavillion

This was a collaborative project which utilized various digital fabricaiton technologies in order to create a small art display pavillion using simple plywood quickly assembled and dissassembled for a temporary ansulary exhibit and gathering space at a London Art Museum. The Project began using very curvalinear forms, organically responding to not only the programatic demands but also the human body and natural elements such as light and wind.

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Sean Smith Spring 2009

London Art Pavillion Evolution

The pavillion quickly took on new form as an interest in parametric design and zero waste came into focus altering the design to utilize a form that created structure but then the scrap or left overs from the creation of that structure composed the skin. This through many permutation led to the final design.

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Sean Smith Spring 2009

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Sean Smith Spring 2009

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Sean Smith Spring 2009

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Sean Smith Spring 2009

Central Park Kite Pavillion

This was a collaborative project which utilized various digital fabricaiton technologies in order to create a both a Kite for entry into a design competition in New York City but also to create a pavillion to house the various Kites submitted for entry and then also act as a viewing and operational platform for these Kites. The Kite had to not only be fabricated but also functional and flown in the competition in New York, from there the Kites would all be auctioned off as aesthetic design works with all proceeds going to charitable foundations providing housing for the homeless, so quality in craft, sturdiness, and aesthetics was also important.

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Sean Smith Spring 2009

Images of the Kite and the Grasshopper model used to parametrically design the Kite.

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Architectural Design Portfolio and Resume