Brooke Dexter work samples
Brooke Dexter
marketing, architecture, graphic design Brooklyn, NY
dextebro@gmail.com 248.496.0432
education
University of Michigan, Taubman College of Architecture and Urban Planning | Ann Arbor, MI M.Arch 2014–16 B.S. in Architecture 2010–14, Urban Studies minor College Year in Athens Summer Study Abroad | May–July 2012
experience
Marketing & Business Development Assistant | James Corner Field Operations September 2018–present | New York, NY Assisting with business development efforts for RFQs, RFPs and new project inquiries, organizing teams and compiling digital and printed submissions. Managing internal marketing library and compiling submissions for press, exhibitions, awards and presentations. Updating marketing materials, including the website, portfolios and social media. Marketing & Graphics Associate | SITU October 2016–September 2018 | Brooklyn, NY Led effort to translate core values and company brand across SITU’s digital and printed matter through a rebrand—from portfolios and presentations to website and social media presence. Served as main point-person/resource for processing and organizing project documentation so the company’s diverse experiences and unique processes are captured and can be a powerful tool in PR and marketing initiatives. Leveraged design experience and perspective within marketing team to inform and spur new ideas for visual materials and communication strategies. Assembled RFP/RFQ materials for documents and presentations. Installation Intern | BRUSH July–August 2016 | Denver, CO Design-build internship for construction of three large-scale, complex geometric installations with integrated interactive digital media in the Denver area. Graphic Artist | STPP Graduate Certificate Program, Gerald R. Ford School of Public Policy at UM July 2013–May 2016 | Ann Arbor, MI Designed promotional materials for the STPP Graduate Certificate Program, including marketing for upcoming events and event materials, such as the Nuclear Nonproliferation Conference. Collaborated with the STPP Project Coordinator on newsletter design. Assisted the Director and Assistant Director with STPP events and promotion. Design Consultant | Alpha Rho Chi May 2013–September 2015 | Ann Arbor, MI Updated the APX Iktinos chapter’s history book into a digital/print version for the centennial celebration. Created graphics for historical content throughout the book. Editor in Chief | Michiganensian Yearbook August 2012–May 2014 | Ann Arbor, MI Managed an editorial staff of 25 and organized communication and production between copy, design and photography. Design staff August 2011–May 2012, September 2014–April 2016
skills
Applications | Adobe Creative Suite, Rhinoceros, AutoCAD, Microsoft Office Other Skills | Publications, content editing, letterpress printing, screenprinting, model making, hand drawing, publications, content editing
publications
Editor | Dimensions, vol. 29 2015–16 | Ann Arbor, MI Book design for the annual, student-produced journal of architecture at the University of Michigan. It seeks to contribute to the critical discourse of architectural education by documenting the most compelling work produced by its students, faculty, fellows, and visiting lecturers. Printed. Designer | Michiganensian Yearbook 2015–16 | Ann Arbor, MI Book design for the 120th volume of the University of Michigan’s yearbook. Printed. Editor | Dimensions, vol. 28 2014–15 | Ann Arbor, MI Book design for the annual, student-produced journal of architecture at the University of Michigan. It seeks to contribute to the critical discourse of architectural education by documenting the most compelling work produced by its students, faculty, fellows, and visiting lecturers. Printed. Designer | Michiganensian Yearbook 2014–15 | Ann Arbor, MI Book design for the 119th volume of the University of Michigan’s yearbook. Printed. Editor in Chief | Michiganensian Yearbook 2013–14 | Ann Arbor, MI Book design for the 118th volume of the University of Michigan’s yearbook. Printed. Editor | Alpha Rho Chi history book 2013–15 | Ann Arbor, MI Book design for the centennial celebration for Alpha Rho Chi, updating from a previous edition for a redesigned digital/print version. Printed. Editor in Chief | Michiganensian Yearbook 2012–13 | Ann Arbor, MI Book design for the 117th volume of the University of Michigan’s yearbook. Printed. Designer | Michiganensian Yearbook 2011–12 | Ann Arbor, MI Book design for the 116th volume of the University of Michigan’s yearbook. Printed.
publication awards
Best of Show Award, 5th place, yearbooks 300 or more pages | Michiganensian Yearbook 2014 | Associated Collegiate Press All-American rating with five marks of distinction | Michiganensian Yearbook 2014 | Associated Collegiate Press “It was a distinct pleasure to review the 2014 Michiganensian, a yearbook that developed a creative and engaging historical theme. You and your fine staff especially excelled in theme development, coverage of diverse topics, writing skills and photography techniques.” Gold medalist award | Michiganensian Yearbook 2014 | Columbia Scholastic Press Association “Great visual theme incorporating the historical perspective.” All-American rating with four marks of distinction | Michiganensian Yearbook 2013 | Associated Collegiate Press Judge comments expressed praise in the ability to “capture a piece of history that is both accurate and interesting. This is a unique book that is both bold and daring.” Gold medalist award | Michiganensian Yearbook 2013 | Columbia Scholastic Press Association “Beautiful book. [...] For a large university, you have excellent coverage, especially in academics, sports and clubs.”
SITU
SITU, an architecture firm with three different divisions—design, research and fabrication—underwent a rebrand and I worked as the sole graphic designer in house for this, leading the team through the implementation of this rebrand with the marketing team outward in the company, starting with the development of the new logo and website.
In the new logo, a foundational graphic for SITU—the master brand—is modified by those three divisions. The forward slash is an integral part of the new identity, indicating there is more to SITU; that SITU is many things. SITU remains stable as the parent brand and the divisions modify. Implementing this, both conceptually and skillfully, was something I took on in my role.
The website and identity were an ongoing process, with many conversations between SITU and Scasascia culminating in an identity and website designed/developed by them and implemented by us at SITU with many graphic iterations along the way.
This implementation of the new branding included building out the website and developing new methods for showcasing work that was previously missing—including drawings, photos, videos and revised text—to better represent both the finished work and process, equally important parts to SITU’s practice.
SITU
newsletters & press releases A newsletter refresh allowed for more graphic unity between different content types for the three divisions, including regular newsletters from SITU Studio and SITU Fabrication and press releases from SITU Research.
SITU
collateral New collateral included rebranded portfolios, event signage and business cards, to name a few items.
SITU
SITU Instagram
SITU Fabrication Instagram
SITU Twitter
@situ_nyc
@situ_fabrication
@situ_nyc
SITU Research Twitter
SITU Facebook
SITU Fabrication Facebook
@situ_research
@situ.nyc
@situ.fabrication
SITU
With SITU, I worked on a presentation for the DIA Plaza in Detroit, Michigan. This followed an initial RFP submission with an ensemble team, both creating original content for the SITU portion of the presentation and coordinating a graphic scheme that unified the ensemble team’s content. In our proposal, the landscape framework and digital infrastructure provide both a static site and one that can evolve and continually change. In the content created for SITU’s layer, we represented our ambitions for a cultural district that serves as an engine and platform for both the display and proliferation of Detroit’s creative output, allowing the site to have both fixed and flexible components that build off of and inform each other.
I also worked on a 100-page printed book submission for Wassaic, an RFEI submission that required many curated presentations following the original submission. Working collaboratively with an interdisciplinary team of designers, financial consultants, estimators and developers, we created a master plan proposal to unlock the potential of an abandoned New York State facility on the northeastern edge of the MidHudson Valley region, in Wassaic, NY.
Dimensions 29
Dimensions 29 was printed by ULitho Printers in Ann Arbor, Michigan on the following papers: Finch Opaque Smooth 80# Text, Anthem Matte 100# Cover with spot gloss varnish. In Dimensions 29, we introduced a feature on the Venice Biennale. Due to Taubman College’s involvement with the U.S. Pavillion, Adam Wilbanks and I conducted interviews with Stan Allen, Marshall Brown, and Pita & Bloom. Mónica Ponce de León was interviewed about her design for the entrance of the pavilion and we solicited an afterword from Robert Fishman. We were in charge of designing a feature to precede the opening of the work in Venice and document the process and conversations about these propositions for Detroit. Dimensions 29 captures a wide spectrum of architectural thinking through careful selection of student work, the work of young practitioners, and conversations with notable figures. While the publication is by no means a complete or unbiased representation of the discipline’s modern state, it is our belief that the work and writing within these 208 pages was a glimpse into many conversations unfolding at that time.
cover Introducing a gradient that progresses throughout the book through a series of swatches that move from pure yellow to pure magenta, with a strikethrough varnish.
Michiganensian Yearbook
As returning Editor in Chief for the 118th volume of the Michiganensian, I managed and oversaw the editorial staff, editing each page before submission. The design for this book was inspired by older Michiganensian volumes, including the book Carl Guldberg (an alum and former Michiganensian member, in feature below) worked on as the Art Director, and the book from Victor Streeter’s graduation year (1931, in feature below). The design took on a modern art deco style, with graphic elements, a typeface and clean design that showcases photography and copy without competition between the two. Features were continued in this volume from the previous one, highlighting professors, alumni, and student-athletes. Callouts were added to bring in historical notes, along with illustrations that were commissioned to reference the illustrations of books as far back as the 1940s.
2013-14 Michiganensian Yearbook
introduction spreads Introduction to the 2013-14 Michiganensian, including aerial photos of campus taken by staff photographer Robbie Small.
Best of Show Award: 5th place for yearbooks 300 or more pages | Associated Collegiate Press All-American rating with five marks of distinction | Associated Collegiate Press “It was a distinct pleasure to review the 2014 Michiganensian, a yearbook that developed a creative and engaging historical theme. You and your fine staff especially excelled in theme development, coverage of diverse topics, writing skills and photography techniques.”
Gold Medalist Award | Columbia Scholastic Press Association “Great visual theme incorporating the historical perspective.”
Weebles Wobble
rock & wobble Within the studio framework of setting up possibilities for a new subjectivity between an object and a subject, this project focuses on rocking, wobbling and setting up an instability with the ground. With the weeble wobble of the 1970s as a precedent, I started with a series of small scale models carved out of foam, abstracting the form of the weeble wobble to carve out spaces for inhabitation and create a space of leisure. They were also weighted to wobble with a low center of gravity and airbrushed to accentuate their forms.
making the weeble wobble Rather than premeditating the design and using a robot to fabricate, process was a critical component in making the weeble wobble. Using hand saws, flat files and a spoon, the low-density styrofoam was carved into its form for the weeble wobble, adapting the form from the smaller models and adjusting accordingly. Once bonded together, the styrofoam was coated in rubber urethane and airbrushed.
Brooke Dexter dextebro@gmail.com 248.496.0432