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H e a th e r Kimbrell ArchÉtudes


01 | Contents


02 | Statement

Ar c hÉ tude s Hello! I am a recent graduate from Clemson University’s School of Architecture. Over the course of my four years I have put together a few portfolios and have discovered more and more with each portfolio about my architectural representation. Music is a large influence in my passion for architecture and it has driven me to the notion of architecture as a practice like music. As études are musical studies, my portfolios are architectural studies. Do read through this portfolio exercise to gain an understanding of my architectural practice from first year of undergraduate through current work samples. Joyfully, Heather Kimbrell


1

M esh

ARCH 4520 Synthesis Studio January 2019 - April 2019

Type: Group Studio Project with Grayson Mosteller and Lori North

This approach to an adaptive reuse project at the Brodhead Armory (Detroit, MI) seeks to preserve the original armory shell and trusses while removing the south end masses. It retains a certain level of historical context and opens up the building to be re-envisioned through the m e s h .

landscape, the level change from front entry to rear (street to water) is consistent with the natural slope of the site. Furthermore, we create an interior landscape of undulating ramps which serve as both floor and ceiling to the auditoriums, our major ordering system.

We laterally displace the auditoriums to facilitate planar circulation. The ramp system is modeled as meshes and smoothed to achieve the fluid gestures we desire.

Circulation is driven by a desire to draw a line from community through landscape through water’s edge. To support the notion of an interior

Through strategic placement of these elements, we achieve the level changes necessary to make a ramp strategy useful for vertical circulation.

03

To connect to the community, we leave half of the armory shell open air and unrestricted by our new building envelope. This allows the shell to frame an axis from the street down to the water, and connect with the River Walk in a welcoming manner.


04 | Mesh

Original Mass

The original structure of the armory primarily consists of two masses.

Addition - Auditoriums

The new addition is based upon the placement of the auditoriums where the original mass was.

Original Mass - Removal

To maximize the footprint created by the original structure, the back mass and roof was removed.

Addition - Mass 1

While it does not house an auditorium, the first addtional mass facilitates circulation to them.

Addition - Mass 2

The second additional mass begins to incorporate circulation around the auditoriums themselves.

Addition - Mass 3

The final additional mass provides circulation to the rest of the more private programs.

Addition - Final Mass

2

The Final mass is a result of smoothing over and unifying the three additional masses in order to make the structure more fluid as well as to further engage the existing building.

1 Aeriel shot of site 2 Old to new adaptive reuse massing strategy


05 | Mesh

3

Axis - Section Line - Ground Line

In both the plan and the section, the line demonstrates an axis connecting the interior and exterior spaces. When applied to the plan, the line idicates where and which direction the section is cut. Transitioning to the section, the line serves as the ground indication.

3 Axis diagram relating site to water


06 | Mesh

1. Planar mesh created at each established building level.

01: Planar meshes created at established building levels.

1: Planar meshes created at established building levels.

02: Selective removal and adjustment of mesh faces and edges.

02: Selective removal and adjustment of mesh faces and edges.

03: Addition of roof structure, connected to floor system and to site.

2. Selective removal 02: Selective removal and adjustment of and adjustment of mesh faces and edges. mesh faces and edges.

3. Addition of roof, 03: Addition of roof structure, connected to floor connected to mesh system and to site. system and site.

03: Addition of roof stru system and to site.

04: Mesh refinement

04: Mesh refinement.

05: Thickn

4. Mesh refinement.

4 03: Addition of roof structure, connected to floor system and to site.

04: Mesh refinement.

05: Thickness added.

4 Parametrically designed mesh surface


07 | Mesh

5

0’

16’

6

5 Renderings highlighting mesh surface 6 Longitudinal section


08 | Mesh


09 | Mesh

7

L -1 Elev. -4’

7 Floor plans highlighting the Mesh section cuts and their interaction with planar surfaces

L 0 Elev. 0’


10 | Mesh

L 1 Elev. 12’

L 2 Elev. 42’


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A cquir ing Str uc tur e

Folding is a design tool that teaches the idea of “flat to form,” which morphs something as ordinary as paper into an object with immense structural integrity through the manipulation of valley and mountain folds. One simple crease down the centroid of a piece of copy paper allows the paper to stand, hinged open. With a series of controlled creases I performed the following folding study.

“Six Folded Plates” study is featured in publication ‘Études for Architects’ by Joseph Choma, Routledge 2018.

ARCH 2510 ARCH Foundations I February 2017


12 | Acquiring Structure

2

3

1 Flat-to-form with concentric circles

2 Folding template 3 Excess material used for economizing exercise


13 | Acquiring Structure

V1

V2

V3

4

5

4 Economizing material - folded plates 5 “Six Folded Plates” Series is featured in ‘Études for Architects’ page 100-101.

V4

V5

V6


14 | Acquiring Structure

The (6) 14�d pieces vary in dimensional arrangement of mountains and valleys such that, when V3 is duplicated 3 times, overlapped and secured, and then pinched and secured, a free-standing column takes form.

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7

6 Economizing material - column 7 Flat-to-form column


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15

Dév o ile r

A quick charrette, this 5-day project for an installation in Paris sought to quickly test team work ethic and group chemistry. My team designed Dévoiler. Dévoiler means “to unveil” or “to reveal.” We chose this as our naming convention to represent the sheer material of our panels and to convey the idea of unveiling the spaces within and along the pathway. Different worlds, the inside and the outside, are unveiled as people enter and exit.

ARCH 4520 Synthesis Studio January 2019

Type: Group Studio Project with Grayson Mosteller and Lori North This project proposal was submitted for entry in the Embellir.Paris Competition in February and passed to the 3rd round.


16 | Dévoiler

2

2

3

5

3

1 Cataloged fashion pattern for bay “K”

2 Inverse relationship of spatial void size to quantity 3 Section through panels and path


17 | DĂŠvoiler

4

4 Complete pattern catalogue for installation


18 | Dévoiler

PRODUCED BY AN AUTODESK STUDENT VERSION

5

5 Assembly conceptualization


19 | DĂŠvoiler

6

6 Mixed media render


20 | Dévoiler


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Rever se - Engine e r e d

The goal of this project was to familiarize the first year studio on quintessential architects and their work through a process I like to call “Reverse-engineering.” Using John Hejduk’s Wall House II for my subject, the timeline of this project works itself backwards from fully developed works shown as models and orthographic drawings to studying other lenses such as paths, views, structure,

circulation, section assembly, and finally-what we have dissected the building to be all about-a parti sketch. By working backwards through an existing building, knowledge of how to work forwards was learned. Project featured in publication Poché by Clemson University Architecture

ARCH 1510 ARCH Communication February 2016 - March 2016


22 | Reverse-Engineered

2

3 1 Experiential drawing, ink on mylar

2 Model featured in publication PochĂŠ by Clemson University Architecture 3 Solid, Void, and In-between spatial model pieces


23 | Reverse-Engineered

4

4 Circulation exploration by sketching along a path, level by level


24 | Reverse-Engineered

5

5 Joint drawing of the Wall as a threshold moment


25 | Reverse-Engineered

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6 Orthographic projections, lead on 42�x36� hot press watercolor paper


26 | Reverse-Engineered

7

Reverse-engineering Wall House II dissects its quintessential building elements into one simple parti diagram dividing work from play.

5

7 Parti sketch


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US Embassy i n B r az il

The US Embassy in BrasĂ­lia, Brazil, is a current project being developed by KCCT (Washington, DC office). Through their leadership and a sponsorship with PCI (Precast Concrete Institute), I designed the US Embassy over the course of 10 weeks with precast concrete methodologies. My concept began with playful models and a deliberate anchor I wanted the embassy to have in the site with a retaining wall. Through the many sketch

models made, my form became one that clearly dictates public versus private (consulate versus chancery) through material variation, an L-shaped form, and its duality. With the intention of 2 unique entrances to define the functionality of the building, I execute the grand gesture of sweeping users into the space.

ARCH 3510 Studio Clemson October 2018 - December 2018


28 | US Embassy

private public 2

Clarity

Duality

Contrast

3

3

1 Paper form of the public entry

2 Driving concept for design on consulate and chancery 3 Series of playful models to formalize mass from concept outlined above


29 | US Embassy

PRODUCED BY AN AUTODESK STUDENT VERSION 4

8

1 14

5

11

9 13

6

12 15 2

4

3 10

7

30 | US Embassy

5 m

1 2 3 4 5 6 7 8

0

10

Chancery Chancery Gallery Consular Services Consular Offices Burle Marxx Garden Main CAC Consular CAC Service CAC

PRODUCED BY AN AUTODESK STUDENT VERSION

4 Sketch demonstrating the pushing and pulling of building shell to arrive at a building footprint based off of CACs (Controlled Access Compound) 5 Site plan for secure embassy design

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9 10 11 12 13 14 15

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50

Main Entry Consular Entry Service Entry Consular Exit Main Fire Exit Motor pool drop-off On-site Parking


30 | US Embassy

East Elevation

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

B-B West Section

PRODUCED BY AN AUTODESK STUDENT VERSION

West Elevation

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

South Elevation

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

6

PRODUCED BY AN AUTODESK STUDENT VERSION

6 Elevations


31 | US Embassy

Roof

p1

p0

7

7 Paper and museum board model


PRODUCED BY AN AUTODESK STUDENT VERSION

32 | US Embassy

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Roof

PRODUCED BY AN AUTODESK STUDENT VERSION

A

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

p1

PRODUCED BY AN AUTODESK STUDENT VERSION

A

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

p0

B

B

PRODUCED BY AN AUTODESK STUDENT VERSION

A

8

B

8 Plans

PRODUCED BY AN AUTODESK STUDENT VERSION


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CLT Tower

CLT Tower (Cross-laminated timber) is a flagship design for Katerra. The goal of this project is to be completely Katerra-designed and owned from the ground up. Working through the Schematic design phase with the client and city is what called for the following exercises to be produced. This project is part of Podium Team and the efforts to move towards code types that allow for mass timber building podiums. Per current code

Work Sample KATERRA May 2019 - August 2019

restrictions, we can only design a concrete podium base for the 12-story residential CLT Tower to sit atop, but one day we hope to build for the same program in all CLT products. The site is a small, urban lot in Bellevue, WA. Many design constraints have been from the City of Bellevue, while our rules for design come from the CLT product that Katerra designs and manufactures itself.


34 | CLT Tower

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4 viewsheds were analyzed from selected levels of the tower as a means of presenting the value gain from a taller tower with a gasket compared to a base model tower without a gasket. 4 1 Level 12 Viewshed compilation. Autodesk Infraworks, Google Earth Pro, Photoshop 2 Level 00

3 Level 04 4 Level 07


35 | CLT Tower

TRIM 2’-0” AND REMOVE

Narrow tower for R.O.W. dedication

Set garage back 9’ to align with lobby

PUSH ~9’-0”

TOWER FLOOR PLATE

Enhance streetscape and weather protection

TOWER FLOOR PLATE

Reduce columns & set back from curb

Schematic design proposal

Full block parking strip

5

7

5 Diagramming design changes from Schematic Set 1 per city requests 7 Series of 3 renders produced to conceptualize CLT Tower’s “greener streetscape” for presentation to the City of Bellevue


NOTE: SCALE IS 1” = 10’ THIS DOCUMENT IS NOT FORMATTED FOR A STANDARD PAPER SIZE.

36 | CLT Tower

111TH AVE NE

NE 4TH ST

NE 3RD PL 6

6 Adapted landscape plan to follow new tower proposal and its minimal impact on the small urban site


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37

A ri a Cavatin a

This urban infill project focuses on design that is defined by wine. Placed atop a small hill town, our site exercises strong progression and experience through the pleasure of wine to involve all senses of its habitants. Set in Montepulciano, a little Italian hill town, this urban infill project gets its beginnings from a sensory story writing exercise. As music is a major escape of mine, my mind was

immediately taken back to a time when I played ‘Pines of Rome’ with Clemson University’s Symphonic Band. The piece had movement, energy, anger, heaviness, and relief, and these are feelings that come with ascending a mountainous terrain to arrive at a winery. My sensory story draws a metaphor from music which leads me to compose a piano piece to make audible the trials and tribulations from my sensory story.

ARCH 3500 Intro to Urban Contexts October 2017 - December 2017


38 | Aria Cavatina

There is no entrance to the city whose seal can be broken without the downbeat by native folk. This of course means we sit and wait outside, ready to begin the experience until one other person allows for it to begin. Acting as a conductor, the natives control the beginning and the end of one’s journey through the city. It is what happens in the middle that is subject to change. When a native of Montepulciano allows the beginning of a traveler’s journey, it is a thoughtful and completely purposeful point of beginning. Situated in front of me is the gate to Montepulciano. As I enter, the city gives off a cacophony of sound. I find that as I move one step into the entrance of this piece of earth I change the sound with every single placement of my footsteps. There is no rush to mover further into the city. Why rush when there is so much to see? Semplicemente I keep my steady pace. I continue onward, and though the timbre rarely changes, the scenery races forward. It isn’t a place that I would’ve chosen, yet something I learned of the city emits likeness in design and atmosphere in front of me. Feelings truly begin to change as I approach the peak of the city. The height of music follows the height of the city and as I near the top, a grand view also follows. I pause in the moment to reflect in silence. Tacet. The sound of silence allows my thoughts to be deafening. What is this city composed of that makes others so minute in comparison? The silence lifts and I trudge on. Up the hill, growing in exhaustion but pushing forward, building to my own frustration with what cannot be seen. I must exist only in this moment. I am forced to a pace that is heavy and steady. Pesante, rather. The weight becomes weightlessness and upon approaching the peak of this city, the highest peak comes into view! Prestissimio. I near the top and sound resonates as all the music behind me instantly becomes clear. A choir of many voices echoes jubilation in my own head. Surrounded by clouds at this hill top I begin to soak in the sound. What was once heavy, sustained and weighted dissonance has now become light, airy, perfect tones at the breach of Aria Cavatina’s highest point. It is here that I pick my spot of rest. Absorbing the voices in my ears and the tastes of fine wine on my palette. One cannot happen without the other, so it is in unison that sound fills my ears and tastes fill my mouth. It spreads through my head, circulating as the music changes. My senses spin about and the taste becomes smell… becomes thought…becomes memory…. of the fine wine and musical expression. It is with wine in hand that the memory of this place is preserved parallel to the city’s composition. This is Aria Cavatina. 2

1 Sketches to arrive at a name for this compositional piece and place 2 Sensory story, a musical metaphor


39 | Aria Cavatina

3

4 3 Piano composition based off the sensory story 4 Figure-ground map


40 | Aria Cavatina

5

5 Folded paper models mapping pitch and note length from the first 4 composition measures into a 3D object


41 | Aria Cavatina

6

Circulation was developed by mapping pitch and note length from the piano composition. The rules for peeling from the wall were subject to which material was being explored. Combining music and material as my design guidelines gave me a mathematical, musical way to design movement throughout the largely vertical space. 8

7

6 3 iterations of material and methods for “peeling� walls of the cantina 7 Material peeling study


42 | Aria Cavatina

Southeast Interior

Street Approach

9 8 Views and approaches along the small urban Italian streets 9 Illustrating the many split-levels as a mixed plan-section composite drawing


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Col umns o f Do uble C ur v atur e

Our team aimed to create a seamless column without the use of traditional mold techniques. We accomplished this by combining ruled surfaces and weaving to create columns with double curvature. We designed a rotisserie-like jig to help us weave fibers, while controlling the woven density and surface curvature. With this rig, which essentially becomes a column loom, the weave is applied across the series of fiberglass cords, creating

a surface to be epoxied. Currently, the industry manufactures rolls of woven fiberglass. We think there is a possibility to manufacture three dimensional, seamless, woven parts, which suggest incredible structural performance. Site: Composites Pavilion at the 2017 AIA Convention in Orlando, FL

ARCH 4990 Composites Manufacturing January 2017 - April 2017 Type: Team Research Project Diego Bazzani Carrie Bull Erin Doering William Franzreb Heather Kimbrell Harrison Polk


44 | Columns of Double Curvature

Columns of Double Curvature was a finalist in the ACMA 2nd annual Composites in Architecture Design Challenge. Our team took the 8’ mock up and field conditions model to the 2017 AIA Convention in Orlando, FL to present with the composites pavilion.

1 Digital section drawing


45 | Columns of Double Curvature

Study models with ruled surfaces reveal an opportunity for double curvature of varying forms through additional transverse weaving.

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3

2 Cardboard and string woven ruled surface study models 3 Lasercut conditions base and string woven ruled surface field condition columns


46 | Columns of Double Curvature

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4 Field conditions exploded model, axon, and diagram of the section cut displayed above. 5 Field conditions model


47 | Columns of Double Curvature

6

To construct the final eight foot column with the use of the two bounding box sheets as form work, a “column loom� was created to allow the team to string fiberglass cords through the footprints. Plywood sheets were CNC routed to create the passes for the fiberglass, as well as a pass for a larger central rod which is used to hold the jig up while the column is assembled. Each sheet can then rotate around the rod, allowing easier threading and final weaving.

6 Building sequence


48 | Columns of Double Curvature

8’ -0”

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8

7 Diagram of the building sequence 8 Final 8’ tall fiberglass woven column


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Centre Cultur al G ò tic

This site, located in the Gothic quarter of Barcelona, is uniquely shaped and comes with the challenge of an existing roof garden on level 1 with aqueducts dating back hundreds of years to the city’s roman influence engraved in adjacent buildings to the east side of the lot. My partner and I kept both of these features in our design and used them as a basis for designing a building with program for a cultural center.

Type: Partner Studio Project with Lauren Ambuhl

ARCH3540 Studio Barcelona January 2018 - April 2018


50 | C e ntre C u l tu ra l G ò ti c

Ca

rr

Plaer de ça del Dur Vu an it d i B e M as arç Plaça dels Peixos

Carrer de Ripoll

Plaça D

’Is

s

Carrer dels Arc

Carrer didre Nonell els Sagri stans

2

Avinguda de la Catedral

1 Digital section drawing 2 Exploded elevations for site context research


51 | C e n tre Cu l tu ra l Gòti c

After visiting the site, my partner and I decided the program we wanted to develop would be a cultural center that focuses on the Gothic impact in Barcelona. A web diagram helped to narrow down programmatic elements, and sectional thinking developed the arrangement of our program pieces. In keeping the original roof garden and preserving the aqueducts, a public plaza the north and south side of the site became major circulation points for us to continue foot traffic through the site.

ARCHIVES

ENGAGING GROUP SPACE CULTURE MUSIC

ARCHITECTURE

CLASSROOMS TO TEACH

EDUCATE SHOWCASE GOTIC

INFORMATION SPACE

LITERATURE

AQUEDUCTS STAY!

VISIBLE PRACTICE ROOMS

CULTURAL CENTER

SPACE TO LEARN

VISUAL ARTS

SPACE TO PRACTICE

PROMOTE THE ARTS

LEARN FROM THOSE WHO DO. LISTEN.

FILM

EXHIBITS

SPACE TO PERFORM

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4

5

3 Word map to discover necessary program requirements for a cultural center 4 Parti development with program in section

5 Views - adult and child - to aqueducts


52 | C e ntre C u l tu ra l G ò ti c

6

7

Lateral circulation Vertical circulation Highly trafficked “enclosed street” 6 Axonometric building pieces 7 Circulation diagram


53 | C e n tre Cu l tu ra l Gòti c

p -1 Elev. -2.8 m 8

8 Plans

p0 Elev. 0.0 m

p1 Elev. 4.0 m


54 | C e ntre C u l tu ra l G ò ti c

p2 Elev. 8.0 m

p3 Elev. 10.8 m

Roof Elev. 13.4 m


55 | C e n tre Cu l tu ra l Gòti c

Carrer dels Sagristans

9

Carrer dels Capellans

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9 Transverse section 10 Longitudinal section


56 | C e ntre C u l tu ra l G ò ti c

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11 Materials and methods study - structural conceptualization model


57 | Ré su mé

H ea t h er Kimbrell

Experience Design G&A Intern KATERRA | Seattle, WA • Worked on Design Development phase for a 12-story CLT tower on a concrete podium base for a high-rise housing project in Bellevue, WA.

• Produced diagrams and drawings to communicate design evolution to the client and city with respect to city requests and code compliance.

• Produced renders with quick turnaround to support a “greener streetscape” design to the City of Bellevue. • Analyzed and documented strategies for CLT Industrial Product to be optimized in plan and bay spacing to allow warehouses to become mass-produced CLT products.

• Practiced vertical integration through supply chain and QTO data analytics to improve RFI process.

Education Clemson University Clemson, SC B.A. Architecture & Minor in Music May 2019 3.75 / 4.00, Cum Laude Dean’s List 2015-2018, Tau Sigma Delta

Barcelona Architecture Center Barcelona, Spain January 2018 - April 2018 4.00 / 4.00 Teaching Assistant

Data Analyst Clemson Makerspace | Clemson, SC • Led 9 tours and delivered 6 presentations to increase visibility of the Space across all fields and majors. • Instructed over 250 users, managed cleaning, inventory control, equipment management, and project support. • Increased user visits from 5 colleges to 6 by participating in outreach events across campus. • Initiated contact between the School of Architecture and the Makerspace to increase interdisciplinary work. Design Project Manager CUhack.it | Clemson, SC • Managed a team of 3 designers. • Coordinated semi-weekly video conferences and recorded minutes for records. • Communicated action items by assigning Trello cards to include 5 key points: task description, requirements, assigned person(s), deadline, and file naming format.

Architecture Intern Carlos Zapata Studios | New York City, NY • Documented existing ~4000SF NYC office building in plan and elevation AutoCAD drawings. • Iteratively redesigned the NYC office space through 12 physical models and supported AutoCAD drawings. • Conducted site research for an empty lot on Long Island by building and manipulating a 24” x 36” site topography model according to zoning and building codes.

• Iterated drawings and models of a Long Island residence to place into context of a site model and re-evaluate design improvements.


58 | R é s u m é

Recognition

Involvement

Skills

Merit: • Phi Kappa Phi Certificate of Merit Finalist. January 2019 • FBI Alumni Association Scholarship recipient. February 2017 • Palmetto Fellows State Scholarship recipient. August 2015 - May 2019

After Work: • KATERRA’S Adult Soccer League • Book Club • Alki Beach Volleyball 4x4 Adult League May 2019-Present

• AutoCAD 2D, 3D • Rhino 3D • Sketchup • Bluebeam • Enscape • Autodesk Infraworks • HTML • Adobe Creative Cloud • GSuite • MySQL • Formal, informal, & extemporaneous presenting • Spanish - Professional

Publications: • 2 projects published in ‘Études for Architects’ by Joseph Choma, Routledge. June 2018 • “Reverse-Engineering Wall House II” published in ‘Poché’ by Clemson University Architecture. January 2017 Beyond: • Presenter at the AIAS Crit Live Symposia on “Columns of Double Curvature” (“CoDC”) at Georgia Institute of Technology, GA. October 2017 • Exhibitor with the Composites Pavilion and “CoDC” at AIA’17 in Orlando, FL. April 2017 • Finalist in the ACMA 2nd annual Composites in Architecture Design Challenge for research on “CoDC.” April 2017 • Project “Piccolo as an Object,” an exercise on orthogonal projection, solid-void, and experience of a piccolo, displayed at Clemson’s SOA. January 2017-May 2017

heatherkimbrell-archetudes

School of Architecture: Guest Critic • 2Y Studio Final Review, “Atlanta MoArch” • 1Y Studio Final Review, “Lee Hall Light Installation” • 1Y Studio Review, “Objects” • 1Y Studio Final Review, “Dissecting Clemson” • 3Y Architectural Portfolio Midterm Review • 1Y Studio Final Review, “Dissecting Clemson” • 1Y Studio Midterm Review, “Famous Houses” May 2017 - May 2019 School of Construction: • Served as PA for Clemson University’s Construction Science and Management Design-Build Team (ASC Region II.) August 2017 - October 2018 Performing Arts: • TakeNote (Clemson’s female a Capella ensemble) • Women’s Choir • CU Carilloneurs (Carillon Bell players) • Tiger Band (Marching Band) • Symphony Orchestra • Symphonic Band August 2015 - May 2019

heatherkimbrell.archetudes

Joys Music: • Singing, playing flute, piccolo, piano, guitar, mandolin, bass, sousaphone, carillon, composing Making: • Jewelry - glass, metal, and wooden • Composite sculptures • Designing and sewing fashion pieces Food: • Fried Georgia shrimp • Donuts • Black coffee

HeatherL.Kimbrell@gmail.com | 843.619.1243

Profile for Heather Kimbrell

ArchÉtudes  

2019 Summer Portfolio Edition. Includes work samples from my undergraduate and recent internship.

ArchÉtudes  

2019 Summer Portfolio Edition. Includes work samples from my undergraduate and recent internship.

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