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JESSE HEWITT 3052 old hillsboro road franklin, tennessee 37064 615.445.5210



archive oasis 6 | ut faculty club 14 leap collaborative 24 | net-zero brewery 34

photography exhibition 36 | cracovia gateway 46

movement 58 | taast competition 62



marfa, texas professor hansjรถrg gรถritz spring 2010 Initially, an archive was designed to house the works of Donald Judd. After a visit to Marfa, an addition to the archive was designed for visitors and artists in residence. The concept of the archive is to create two contrasting spaces. The first space is the archive itself. It is envisioned as a long dark space that houses the precious works and is more about a personal interaction with the art. The second space is the educational piece which is designed as a shallow, bright space that is allows for the interaction among people about the art.


[top left] concrete sculptures by donald judd in the emptiness of the landscape. [top middle] contemplative courtyard filled with flowering pear trees. [top right] the vastness of the sky experienced through the frame of the ruined military hospital. [right] model of the site showing the entire project. 9

The two spaces are set up around a main axis that frames a nearby ruined military hospital. A generous entry portico bridges the axis and connects the two designed spaces, thus completing the frame. The concept of the addition is to create a fabric of structures that connects the most hierarchic pieces, which become objects. These are set up on a new axis perpendicular to the first. One side of the axis is a complex of housing for the artists while the other side is a collection of educational facilities.

[top left] diagram showing distribution of program according to the initial archive layout. [right] approach to the archive with the exterior gallery portico framing the ruined military hospital in the background. 10


[top left] the archive framing the orchard path to the garden grotto. [top middle] archive framing the axis looking north. [top right] auditorium in the foreground with the fabric buildings stretching out to the gallery space in the distance. [right] section cut through cross axis. 12

The fabric is created using simple rectilinear structures which contain the housing and learning elements of the program. Interspersed between the fabric pieces, courtyards provide shady niche like spaces where artists and visitors can congregate and relax. In the artist community, the circular gallery terminates the axis and forms a frame similar to the archive that visually connects down an allĂŠe of trees to a grotto set out in the landscape. On the opposite side, the educational complex is terminated by the square auditorium.



knoxville, tennessee professor mark schimmenti spring 2011 The University of Tennessee is one of the most important institutions in the city of Knoxville. Yet, it has very little presence in the downtown district. A University Faculty Club is thus envisioned to create a dialog between the city and the university. The fabric of Knoxville has been steadily depleted throughout the twentieth century. Therefore, the goal of this project is to provide a platform for the regeneration of the city. The permeability of the site to the public is extremely important to the design.


[left] the new courtyard with community orchard showing contrast between horizontal and vertical articulation of facades. [middle left] view looking through the orchard of columns under the bridge and into the courtyard. [middle right] the two vertical bars of program with the community enhancing elements, the bridge and the auditorium contained in between. [right] view of the corner condition of the project.


The program of the project is separated into four pieces. Two tall bars enclose the site on the north and south. These pieces contain most of the program such as the private rooms, library, exercise rooms, etc. The two bars frame a new green space that provides a place for the faculty and local residents to relax and enjoy. The two additional pieces of the program are a bridging element and the sculptural auditorium. These pieces of program were seen as the most important gathering spaces in the project and thus occupy the new green space. tears in the fabric of the city, in this case the locations of surface parking lots.


the main streets of the downtown district run north to south, but our site is located on one of the strongest east to west corridors.

typical floor of guest rooms along with the dining hall in the community bridge.


The dining hall and the pool are lifted above the new green space in a structure that bridges across the courtyard and physically connects the two private bars. These spaces benefit from the new views out both directions into the green space. Underneath the bridge, a forest of columns continues the orchard of trees and anchors the project into the landscape. The auditorium is set into the ground which retains the existing slope of the site. The roof is an occupiable volume that emerges from the ground and becomes a formal, focal point in the courtyard space.

[top] view under community bridge looking into new civic orchard. [right] section showing benefit to community by establishing orchard on two adjacent vacant lots.



The project is clad in a fine wire mesh that fully covers the bridge element and covers the interior of the enclosing bars. The articulation of the enclosing bars is dense at the top where the private rooms are and opens up at the bottom where the spaces are more public. The bars are expressed vertically, while the bridge has a strong horizontality to it. The exterior facades of the bars and the sculptural auditorium are poured in place concrete to reflect the heaviness of the building materials in the area.

view in orchard looking at the formal auditorium emerging from the ground and the community bridge in the background. 22



knoxville, tennessee professor robert french fall 2011 The project seeks to integrate itself into the lower business district in downtown Knoxville. It attempts to bridge the gap between the two main pedestrian access routes to the city, Clinch Avenue from the West and Church Street from the East. It creates a space where these two routes can merge together as one. The form of the project began as a simple block and was subjected to site specific and programmatic forces that torqued and twisted the form away from the orthogonal. The design is separated into two bars in order to provide adequate access to daylight and views.


[top] transformation of form due to site forces and programmatic needs. [right] site plan and shadow study. 27

The center of the building is carved out to allow daylight and views from all parts of the building. Both ends of this opening seek to pull people in and through the project. The paving creates a distorted perspective which draws you into the space and allows you to experience the canyonlike space between the two bars. The paving lines compress as the space gets tighter and expand as the space opens back up.

[left] plan of third floor showing typical floors of the collaborative work space. [right] view into front plaza from church street, the restaurant is on grade with the corten clad review space above. 28



The rear plaza is raised to allow parking underneath while creating a pleasant occupiable space for the collaborative, as well as the restaurant. In addition to the green roofed plaza, the other roofs of the project are vegetated roofs to enhance the views down from the surrounding tall structures on all sides of the site. transverse section showing the interior street condition and the corten library and protruding conference boxes.


Within the collaborative, large scale gathering spaces were identified as the most hierarchic. These spaces break the wooden clad system established in the project and are instead are articulated with corten steel. The library, the gallery, the large conference rooms, the break room, and the review space receive this special treatment. The library is moved to the corner of the site in order to have dialog with McCarty’s library. The review space moves over the restaurant and has views to both the front plaza and the elevated courtyard in the back. [right] detail section and elevation of front facade cut at the double height library. [far right] view from walnut street bridge showing the interior street condition and corten box housing the studio gallery space on the ground floor with the staff lounge above. 32



new orleans, louisiana professor mark dekay fall 2012

group research and design with forrest reynolds.

The objective of this project is to create a net zero microbrewery with accompanying beer hall and beer garden. We divided into teams and picked different climate zones and their respective cities. We researched the cities and climates and picked sites according to certain criteria that we compiled. The city Forrest and I selected was New Orleans. Within the city, we identified the Warehouse District as having the right character and culture for a microbrewery. Within the district, our site was chosen based on size, proximity to other nightlife and its location on a major avenue.


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[left] the site needs a mutual interaction with the main street.


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[middle left] public program elements slide forward to interact with the street, while private spaces slide back towards the alley. the entire project is wrapped by a snake of greenery. [middle right] explanation of the zoning plan for the site and the context of the street landscapes. [right] diagram of major net zero strategiesconditioned spaces and rainwater filtration.



The vision for the project was to create vibrant community renewal. Our intention was not only to create a new building that fills in a hole in the city, but to generate activity between the patrons and passersby. The concept of a “parade facade� was created based on the fact that one of the Mardi Gras parades runs up Saint Charles Street. Our intention was to try to bring this activity and excitement to the everyday function of the project. One way we accomplish this is by creating the zone of food along the street with the kitchen and the food trucks, which connect the street to the space behind. [left] overhead view of the project in context. [right] ground plan showing the transformation of the landscape as it weaves through the project.






[top] section through the interior, two story bar and kitchen and the exterior, one story beer hall. [right] the back of the beer hall with small scale seating areas along the rain collection garden. [far right] view along saint charles street with the food truck space. 40

From our research, we learned that the people of New Orleans are more resilient to the heat because they are accustomed to it. Therefore, the design took the two highest heating loads in the project, the beer hall and the brewing space, and moved them outside. This greatly reduced our energy consumption and allowed us to create a stronger permeability of the garden into the different spaces. The snaking green space transforms according to the boundaries of the space it occupies. For example, the street front is spaced to allow the access of the food trucks.


Forrest and I sought to create a low tech design that could achieve net zero. We chose not to pursue many of the technological methods of green design and instead focused on the passive strategies that our project could utilize. Although, we did eventually use some green technology such as photovoltaics, but these were supplementary and only used for needs that passive strategies could not meet. The most important moves for our achievement of the net zero status were to minimize interior cooling loads, shading all exterior spaces and openings, and to provide psychological cooling.

[right] our project enhances the mardi gras parade which proceeds down saint charles street. [far right] view at night of the central garden space, the string lights zig zag through the space and bring people through. 42




knoxville, tennessee professor david matthews fall 2011

group project along with chris buehler, hannah daniels, andrea diamante, amanda gertsen, rochelle lo, piper morris, bernice paez, and alicia wetherington.

To better understand the Japanese way of life, we immersed ourselves in their daily rituals. We struggled to assimilate into the tranquil, traditional Japanese culture, while we felt more comfortable in the dense, fast-faced, urban settings. Our studies explored the ideas of renewal, imperfection, and simplicity. Together our photographs convey how we defined Japan through our varied experiences. Two main themes arose during our travels: restraint and exuberance. Although these two conflict, they also strengthen each other’s identities by complementing the differences of one another. 48

one module of the exhibition with two framing pieces and central viewing box.

the location and the form of the gallery proved important to the design of the exhibition.


[exuberance] the new city framed by a city gate in kyoto. photo by a. gertsen.


[tadao ando] experience of the water temple. photo by p. morris.

[restraint] secluded temple on mount shosha in himeji. photo by of a. gertsen.

image of tadao ando’s water temple as seen in the frame of the exhibition box.

The exhibition seeks to reframe the work of Tadao Ando through our experiences of the Japanese culture. In order to accomplish this, we created a frame displaying images of restraint and exuberance with Ando’s work housed in a precious container in between. The linear gallery where the exhibition was displayed required an exhibition designed for multiple experiences. On the large frames, we presented the passerby with our experience of Japanese culture at large. But we wanted another level to the exhibit, something to draw you in with a sense of intrigue. 51

[tadao ando] disconnection. may 2011. church of the light where planes of concrete do not meet.


[exuberance] talisman. may 2011. exposure to mount koyasan, a pilgrimage site for the japanese.

[exuberance] osaka streets. may 2011. exploring the food culture capital of japan at night.

The box housed the precious images of Tadao Ando’s work. The boxes were designed according to the work displayed within. We worked with the Japanese idea of framing in order to select specific holes and viewing angles that were specific to each of the images within.



krakow, poland professor krzysztof bojanowski spring 2012 The project began with two requirements: to create a master plan for the Blonia Park area and to replace the iconic Cracovia Hotel with a new icon to serve as a gateway for the city. There is too much space, and it needs definition. A system is needed to unify the disparate public spaces. The new system combines linear spaces made for movement and irregular spaces made for congregation. The irregular articulation relates to the irregularities of Blonia park. The triangular shapes ramp up out of the ground to create edges for different spaces and define new circulation paths through the spaces. 56

[top] site plan highlighting the elements of the new master plan. [far left] map of krakow depicting the importance of our site at the threshold of the city along an important axis to the center. [left] investigation of the many public spaces at the site differentiating between pedestrian friendly and unused public spaces. 57

Six spaces were chosen for the irregular articulation. The triangular terminus of Blonia, the front of the National Museum, the front and rear of the Kijow Theater, the backyards of the apartment buildings to the south, and the plaza in front of the Cracovia Football Stadium. The corner of the park is lifted up and hollowed out to create a new physical threshold between the park and the city.


[left] view looking out towards blonia with new gateway seen in the lower right. [bottom left] new plaza space for the national museum showing sunken courtyard and new art gallery space. [bottom right] behind the kijow theater, a new quiet public gathering space for residents.


In front of the Museum, the central three triangles are sunken into the ground as seen in the section. The middle one is a new sculptural gallery for the Museum and the southernmost one is a sculpture courtyard. The two on the outer edges are ramped up to give definition to the space and separate it from the busy street. In addition, beside the Museum three new structures are proposed to help fill in the immense open space and to give a strong edge to the park. The public space in front of the Kijow theater is divided into three parts all of which are on grade. The center is a new reflecting pool that brings attention to this cultural institution. Behind the Kijow, the pieces are made of grass with the large central one was ramped up to screen the fire exit on the back side of the theater.

sunken gallery


sculpture courtyard

section through important cultural institutions, the sculptural kijow theater (below) and the national gallery with new subterranean art gallery space.


night view from blonia park showing the folded copper clad facade.


The building begins to respond to the ideas laid out in the master plan and to directly relate to the context itself. The plan has linear spaces that serve as the circulation of the building as well as triangular spaces that serve as gathering points for eating and sitting. In relation to the context, the building connects to strong cultural icons in the city with its copper clad facade. These copper facades wrap and hold the bars of program, which are articulated with strong vertical bands in order to relate to the structures in the vicinity such as the National Museum and the Cracovia Football Stadium. 63


knoxville, tennessee professor diane fox fall 2011 The first project of the graphic design course at UT was to design a composition of grey and black rectangles that conveyed movement. After creating the composition, it then had to be represented using fonts that could convey the same movement. The large composition is the final iteration. The heaviness of the black is contrasted by the seemingly chaotic movement of the grey rectangles and letter forms. 66


knoxville, tennessee professor diane fox fall 2012 Each year the college hosts a competition for the design of the TAAST poster and other affiliated media. The design reflects the design process of architects and designers. The design uses the construction lines as a way to create a perspective that forms the letters of TAAST creating a logo that is used on the different pieces.


[top] the t-shirt design replicates the experience of hand drafting and hand lettering. [right] the calendar of events is rendered in perspective and creates a shadow-like element to compliment the logo form.



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Portfolio for graduating student.