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Portfolio Interior Architecture student at the University of Tennessee’s College of Architecture and Design, completing a four-year curriculum on an accelerated two-year track with final studies abroad in Mexico City.

Logan Smith

logansmithdesigns.com

Interior Architecture

logansmith2255@gmail.com

selected works 2024-2026

Logan Smith Contact: +1 470-505-8896

Email: logansmith2255@gmail.com LinkedIn: Logan Smith Website: www.logansmithdesigns.com

Interior Architecture student at the University of Tennessee, currently in Mexico City completing an immersive design studio with JSA Arquitectura under the guidance of architect Javier Sánchez. Completed a four-year Interior Architecture degree on an accelerated two-year track while maintaining Dean’s List honors. My current project with JSA explores the adaptive reuse of an existing flour mill into a mixed-use residential and hospitality environment, with an emphasis on preserving the building’s existing architectural character. My international design experience also includes a summer (2025) in Kyoto, Japan, studying hospitality design, and spatial restraint. Together, these experiences have given me a strong foundation in residential, hospitality, and adaptive reuse design across a range of cultural contexts. /SKILLS 0

Rhino Revit Illustrator Photoshop Vray Enscape Handrawing Indesign

/DESIGN SKILLS • • • • •

Design Software: Revit, Enscape, Rhino, V-ray, Adobe Creative Suite Consultative sales and relationship-building skills from high-end hospitality experience Knowledge of spatial flow, ergonomic storage solutions, and lighting Organized, self-motivated, and responsive to feedback Comfortable and confident working independently or in a team setting

/EDUCATION UNIVERSITY OF TENNESSEE Bachelor of Science in Interior Architecture — CIDA-Accredited Program Degree Completion: August 2026 Accelerated completion of four-year curriculum in two years | Dean’s List Relevant Coursework: Hospitality and Residential Design Studio, Construction Documentation, Materials, Digital Fabrication, Color Theory, and Lighting Design International Design Experience: Mexico City, Mexico — Summer 2026: Currently completing an immersive design studio with Javier Sánchez and JSA Arquitectura, developing an adaptive reuse proposal for a mixed-use residential and hospitality space. Kyoto, Japan — Summer 2025: Studied hospitality design with a focus on spatial restraint, materiality, minimalism, and user experience.

CONTENT

FLOUR MILL IN PROGRESS

MOBILITY INTERFACE [ TERMINAL KNOX ]

CURING HOUSE [CANTILEVER BARN]

RYOKAN AND RESORATION HALL

STAVE

ESSENCE IN MOTION

/SUMMER 2026 VERTICAL STUDIO SANCHEZ/VALENZUELA

/IARC 375 RANA ABUDAYEH

/IARC 376 HOJUNG KIM

/SUMMER 2025 VERTICAL STUDIO KEOGH/MATTHEWS

/IARC275 NGUYEN HA (visting)

/IARC 275 FELICIA DEAN

01 FLOUR MILL IN PROGRESS This adaptive-reuse proposal transforms the historic flour mill adjacent to JSA into a mixed-use development that supports affordable housing and new public activity. The project preserves the building’s existing structure, industrial character, and façade while introducing a vendor-driven restaurants at ground level and residential units above. The design draws from the mill’s original infrastructure. Existing flour chutes are reinterpreted as ventilation pathways for the restaurants, allowing former industrial systems to serve new functions. The modular structural grid organizes the interior, helping the new program integrate with the existing building. At the ground floor, roll-up doors create a flexible interior–exterior threshold, extending the restaurant and public spaces outward. This proposal gives the flour mill a new civic purpose while preserving its industrial identity. By working with the building’s existing structure, the design creates affordable housing, public gathering spaces, and a stronger connection to the surrounding city.

/Key Project Information Site: CDMX, Mexico Program: Hospitality/ Residential Software: Rhino, Enscape, Adobe Suite

EXISTING

PROPOSED

EXISTING

PROPOSED

01 FLOUR MILL example floor plan 01

V Pino 334, Santa María la Ribera Cuauhtémoc, 06450 Ciudad de México, CDMX, MX

302 SQ FT STREET

delivery access S

sanitation

SECURITY

cold storage

prep Q

Flour Mill P

sauté / grill

storage

vent

PROPOSED CDMX, MEXICO

roll-up doors

terraced lawn

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6/25/2026 LS LS LS

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FIRST FLOOR PLAN

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7 On the residential levels, the narrow gap between the mill and the neighboring building becomes a vertical circulation zone. Exterior balcony corridors extend the façade while creating shared circulation and opportunities for resident interaction. The housing includes one- and two-bedroom loft apartments that take advantage of double-height spaces, adding usable area without major structural changes. Each unit is organized around a centralized utility core containing the kitchen, bathroom, mechanical systems, and ventilation, improving efficiency and linking to the ventilation strategy below. 01

Pino 334, Santa María la Ribera

STREET

Cuauhtémoc, 06450 Ciudad de México, CDMX, MX

SECURITY

Flour Mill P

PROPOSED CDMX, MEXICO

M WD

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FIRST AND SECOND FLOOR PLAN

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02 MOBILITY INTERFACE [ TERMINAL KNOX ] /Project Description Mobility Interface is not just a place to pass through, but a layered landscape of memory and movement—where circulation becomes experience, infrastructure becomes community, and the rhythm of the city finds a new home. At the heart of it, the mural garden turns the building itself into a canvas, grounding the project in culture and giving every traveler a moment of pause, reflection, and connection as they move through the space. Inspired by the stepped logic of rice terrace fields, the building is organized as a series of layered planes that slow, collect, and redistribute movement, allowing users to occupy space at multiple levels and rhythms rather than simply moving through it. This spatial layering parallels the logic of RAM-stick memory, where information is stored, accessed, and transferred in fragments—transforming transit into a system of accumulated experiences rather than a single moment in time. At the uppermost level, the Mobility Interface accommodates emerging modes of transportation, including rideshare and future aerial mobility such as Uber Air–style drone transport. This level is designed not only as a point of arrival and departure, but as a flexible civic platform. Anchored by the mural garden, the space extends beyond transportation infrastructure to support public events, exhibitions, and informal gatherings, allowing the building to function as a shared urban destination rather than a single-purpose transit hub.

/Key Project Information Site: Knoxville, Tennessee Program: Mobility Terminal Software: Rhino, Enscape, Adobe Suite

/Initial Research The initial research for this project began with pulling a RAM stick from a computer. This moment revealed a physical expression of memory, layered, modular, and accessible in fragments, which became a framework for thinking about how movement and information are stored, retrieved, and experienced over time. This abstract concept was later grounded through my study abroad experience in Japan, where visiting rice terrace fields demonstrated how layered landscapes slow movement, collect resources, and create moments of pause within systems of flow. Together, these influences shaped the Mobility Interface as an architectural system that organizes circulation as memory—stacked, shared, and experiential rather than purely efficient.around which circulation and program are organized.

02 [ Terminal Knox ] example floor plan

201 Randolph St, Knoxville, TN 37917

Mobility Interface Mobility Terminal

KNOXVILLE, TENNESSEE

issue date project manager design coordinator drawn by checked by

11/17/2025 LS LS LS RA

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1/2"

Knoxville Mobility Terminal

[ Terminal Knox ] wall detail

Knoxville, Tennessee ASSIGMENT #:

XLGMB

2' - 0"

THIS DRAWING SET HAS BEEN ISSUED FOR: INFO/REVIEW ONLY PRICING/BIDDING DOCUMENTS CONSTRUCTION DOCUMENTS

STEEL PIPING WD-02 GYPSUM MATTE FINISH FOR MURAL ART

CIP CONC. BEAM POLISHED

STEEL FRAMED SCONCE SHELF

WD-02 GYPSUM MATTE FINISH FOR MURAL ART

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THE UNIVERSITY OF TENNESSEE SCHOOL OF INTERIOR ARCHITECTURE 1715 VOLUNTEER BLVD KNOXVILLE TN 37917

WD-01 WALL PANELING CIP CONC. BENCH

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STEEL PIPING

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L EXISTING FLOOR TO REMAIN

LOGAN SMITH 1715 VOLUNTEER BLVD KNOXVILLE, TN 37917

EXISTING FLOOR TO REMAIN

CIP CONC. BENCH K

LEVEL 01 0' - 0"

3D View NE

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T (865) 310-6138 C LAUREN MULLANE-SEARLE E lmullane@utk.edu STUDENT:

WD-01 WALL PANELING

03/19/25

ISSUE DATE:

STEEL FRAMED SCONCE SHELF

WD-01 WALL PANELING

WD-02 GYPSUM MATTE FINISH FOR MURAL ART

CIP CONC. BEAM POLISHED

THESE DOCUMENTS ARE INVALID WITHOUT A SIGNED STAMP BY PROFESSIONAL

STEEL PIPING

LEVEL 02 10' - 0"

T T SE UC K TR EC NS H C CO R FO

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T 470-505-8896 C LOGAN SMITH E OSMITH15@VOLS.UTK.EDU

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LEVEL 02 10' - 0"

STEEL PIPING WD-01 WALL PANELING

METAL STUD LAYER FASTENED TO CAST IN PLACE CONCRETE

EXISTING WALL TO REMAIN

PW BARRIER FOR STUD LAYER

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CIP CONC POLISHED LEVEL 01 0' - 0"

0' - 4 7/8"

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WD-01 GYPSUM WALL PANELING

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EXISTING FLOOR TO REMAIN

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wall seating elevation

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1/2" = 1'-0"

Designer: Logan Smith Project Name: Terminal Knox Project Location: Knoxville, Tennessee 2' - 0" PROJECT DESCRIPTION: The seating in the café comes directly from the main form I used earlier in the project — the mass that “invades” or cuts into the existing building. In the early diagrams, this form operated as a directional force, pushing into the interior and carving out usable space. Here, that same geometry is simplified and grounded, becoming a solid concrete bench that feels built into the architecture rather than placed in front of it. The idea was to take the energy of the original move and convert it into something functional, durable, and easy to maintain in a high-traffic environment.

C:\Users\logan\OneDrive\Documents\IARC 331_TEMPLATE_CENTRAL_XLGMB_osmith15H6ZR5.rvt

12/1/2025 11:20:45 PM

D 21' - 8"

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The stepped profile follows the original carved form and creates different places to sit, lean, or spread out, which fits the casual atmosphere of the café. Each offset in the bench reflects a shift in the carving logic—almost like the form is still pushing into the wall. This variation also supports different sitting postures, so the piece acts as both seating and an informal gathering edge. By recessing the mural into the wall above, the bench reads as the base of a larger spatial move, tying the art and architecture together and reinforcing the idea that the wall and seating are part of a single system rather than separate elements.

2' - 6"

24' - 7"

A611

Materially, the smooth concrete finish contrasts with the exposed mechanical ceiling, letting the bench feel heavy and intentional while everything above remains visually light and open. This helps define the café zone without needing partitions. Integrating linear lighting underneath the bench softens the lower edge and helps the mass read as a continuous form rather than a block. The lighting also provides practical visibility along the floor line and subtly highlights the geometry. REVISIONS:

Overall, the seating becomes a practical, durable translation of the project ’s conceptual form—turned into something people can actually occupy. It takes an abstract study from the early design phase and converts it into a clear architectural detail that organizes the space, anchors the café, and supports everyday use.

F11

floor plan 1/2' = 1',0"

DATE 12.02.2025

INTERIOR + CASEWORK DETAILS

A611

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NO. DESCRIPTION 2 assignment 04

03 CURING HOUSE [ CANTILEVER BARN ] /Project Description

Historically, tobacco leaves were placed within the barn to dry, transform, and deepen in character over time. This project reinterprets that process through sound. Instead of leaves, voices, music, and language move through a sequence of three acoustic chambers, each calibrated with different levels of absorption and resonance. As sound passes through these spaces, it is not simply recorded but gradually refined and shaped by material Guests inhabit elevated recording and writing chambers within the cantilevered structure, working within environments that encourage focus, reflection, and iteration. Like curing tobacco, the work is given time to settle, resonate, and evolve. The building becomes an instrument itself. One that captures, filters, and transforms sound by reframing hospitality as a space for creative processing, where music, voice, and writing remain intentionally unfinished, open to change through time and environment.

/Key Project Information Site: Cades Cove, Tennessee Program: Recording Studio Software: Rhino, Revit, Enscape, Adobe Suite

/Initial Research Initial research examined Appalachian tobacco curing barns in Cades Cove and the environmental conditions that allowed tobacco to slowly transform through suspension, airflow, humidity, and time. This research expanded into Appalachian traditions of recording and preserving culture through oral storytelling, music, writing, and craft. The parallels between curing and the creative process became the foundation of the project, treating unfinished writing, music, and sound as work that also requires time, reflection, and an environment that allows it to evolve.

03 CURING HOUSE example floor plan 01

ADA LIFT

CURING HOUSE Cades Cove, TN

Logan Smith

Section A L

Level 1 Acoustic

I Level 2 Acoustic

Level 3 Acoustic

issue date project manager design coordinator drawn by checked by

Section B

05/07/2026 LS LS LS HK

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FLOOR PLAN (level two) A

ID-120

/Acoustic Chambers

2” mineral fiber insulation

2” mineral fiber insulation RC-8 resilient channel 1” plywood existing floor

2” mineral fiber insulation

RC-8 resilient channel acoustic panel

2” mineral fiber insulation RC-8 resilient channel 1” plywood existing floor

2” mineral fiber insulation

RC-8 resilient channel acoustic panel

2” mineral fiber insulation RC-8 resilient channel 1” plywood existing floor

The three recording chambers are designed around progressive levels of acoustic absorption, moving from the least absorptive to the most controlled environment. The first chamber is the most acoustically live, allowing greater resonance for larger instruments and fuller sound production. The second balances reflection and absorption, supporting smaller instrumental sessions and collaborative work. The third is the most absorptive, creating a highly controlled environment for vocals, writing, and isolated recording. Rock wool is used as both an interior and exterior material, reinforcing the acoustic identity of the chambers while providing sound absorption and a consistent material language throughout the project. Large roll-up doors allow instruments and equipment to move easily between spaces and enable each chamber to adapt to different recording needs.

04 RYOKAN AND RESTORATION HALL /Project Description Pause—a soft landing between motion and rest. It resists spectacle, choosing simplicity and space that listens. Memory lingers, time drifts, and silence holds. Hospitality lives in restraint, in the quiet dignity of what’s left unsaid. Not a destination, but an in-between—a place to shed, to slow, to be. This is a space that holds, not hurries. Nothing demands attention; instead, everything invites presence. What’s worn is not discarded—it’s remembered. Time is felt in the uneven, the softened, the sincere. Each imperfection becomes a gesture of trust, each trace a quiet offering. Here, value is found not in what is added, but in what remains. It is a rhythm of return—a space shaped not by display, but by what quietly endures.

/Key Project Information Site: Kyoto, Japan Program: Hospitality Software: Rhino, Enscape, Adobe Suite

/Dual- Panel Sun System

A key design element was a dual-panel sun-shading system constructed from corrugated metal, chosen to both modulate daylight and visually ground the building within its surrounding neighborhood. This system emerged as the project’s initial concept, developed during my study abroad in Japan while conducting a focused study on light and atmosphere. Observing how light is carefully filtered, layered, and choreographed across Japanese architecture informed the design of panels that diffused daylight differently throughout the day across public, transitional, and private spaces. As light moved through the building, shifting interior conditions reinforced the rhythms of daily life within the ryokan, subtly highlighting moments of craft and restoration within the workshop spaces. This balance between hospitality and making draws from Japanese notions of material respect, time, reuse, and contextual continuity.

/ “Illuminating the Invisible: Artificial Light in Japanese Design” In Japan, artificial lighting is more than a practical tool—it is a choreographed element in spatial storytelling. While studying abroad, I conducted a photography-based study focused on light, documenting how illumination is subtly engineered to create atmosphere, support wayfinding, and shape spatial experience. This series of postcards captures lighting strategies across hospitality, public spaces, and historic sites, revealing how the interplay between light and shadow is deliberate and intentional. Contrast is used not only to reveal form and movement, but also to conceal, inviting moments of pause, reflection, and quiet discovery.

JAPAN PROCESS WORK

Transverse Section Facing WEST

Transverse Section Facing EAST

Circulation Diagram

Spatial Planning

S T A V E

STAVE /Project Description In the heart of Hanoi, bourbon bar “Stave”, rises as a sanctuary of craftsmanship and transformation—a spatial distillation of the age-old art of barrel-making and the forgotten language of alchemy. The soul of the architecture draws itself from the antique barrel staves repurposed into furniture and design elements, their natural curvature echoed throughout the architecture with precision and intention. Every element within the space is a reverent nod to this ritual that turns flame and wood into vessels of spirit.

DOWN

As alchemists once sought to turn base metals into gold, this space embraces that same spirit of transformation. The charred timber walls are rich with years of aging and memory. The sage-toned velvet panels seamlessly fuse the refined elegance of the spirit with the mystique of the alchemy that brings it to life. Spaces unfold like stages in a distillation. Guests pass through a dark, compressed threshold before emerging into an expansive bar filled with the hum of laughter and the rich aroma of charred barrels. From there, the space gently ascends into a warm, intimate lounge—inviting conversation, connection, and the enjoyment of company. This bar is not just a place to drink—it is a place to witness transformation. To sit with time. To taste the magic born of craft and element. Here, architecture becomes alchemy. And bourbon, its golden result.

/Key Project Information Site: Hanoi, Vietnam Program: Bourbon Bar Software: Rhino, V-Ray, Adobe Suite

06 ESSENCE OF MOTION /Project Description Isolation once fabricated waves of fear that engulfed both Japanese and Appalachian cultures. In response, each community cultivated independence through patchwork methods of repair—using weaving as a means of survival, continuity, and cultural reinforcement. These practices embedded resilience into everyday acts of making, unraveling collective melancholy and weaving strength through material, labor, and tradition into the soul of each region. This project reimagines the Arrowmont Weaving Studio in Gatlinburg by bringing together Japanese Sakiori weaving and Appalachian rag rug weaving, positioning textiles as both artifact and active process. A gallery space anchors the project, where woven works are displayed on a hinged wall panel system that allows textiles to shift, layer, and reconfigure— mirroring the adaptive nature of patchwork itself. Overhead, a draped fabric ceiling condition responds to the panel system below, moving and folding in dialogue with the exhibition, reinforcing the relationship between structure, softness, and motion. Adjacent to the gallery, the weaving studio functions as a space of learning and participation. Visitors are invited to engage directly with looms and materials, transforming observation into embodied experience. Guided by the core principles of research, application, and reflection, the project allows visitors to move fluidly between making and viewing. Through this spatial narrative, repair is celebrated not as a final act, but as an ongoing process of resilience, connection, and renewal—radiating through every seam. /Key Project Information Site: Gatlinburg, Tennessee Program: Education Software: Rhino, Adobe Suite