Portfolio Volume I

PAUL CLEMENTS

ARCHITECTURAL DESIGN

PHOTOGR APHY

GRAPHIC DESIGN

Wh e n I

l o o k b a c k at t h e i n f l u e n c e s o n m y d e s i g n

s e n s i b i l i t y, t h e g e n e s i s o f m y a e s t h e t i c i n t e r e s t h a s t o b e v e h i c l e s — e s p e c i a l ly fa s t c a r s . o f t h e m e d i a t h at

I

Most

now de sign in were first

en co u nter ed th ro u g h m y au to m otiv e o b se s si o n .

Wh e t h e r

i t b e h a n d d r awi n g , p u b l i c at i o n s ,

p h o t o g r a p h y, o r e v e n p r e c e d e n t r e s e a r c h , c a r s d rov e m y i nter e s t i nto th e r e a lm o f d e si g n .

My

c h i l d h o o d d r e a m wa s t o b e a c a r d e s i g n e r ,

h o w e v e r t h i s d e s i r e e v e n t u a l ly g av e way t o

Architecture,

as

I

b e g a n t o u n d e r s ta n d t h e

g r e at va r i e t y a n d c o m p l e x i t y o f b u i l d i n g s .

P h oto g r a ph y

wa s i m p o r ta n t i n m at u r i n g m y

a p p r e c i at i o n o f s t i l l n e s s i n a e s t h e t i c s , h o w e v e r

Graphic Design has been challenge. Graphic Design

the most recent m a k e s m e wa n t t o

master order and precision.

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ARCHITECTURAL DESIGN 6 / Th e s i s R e s e a r c h 8 / A lgo rith m i c Au th enti cit y 14 / W o r s h i p , C o m m u n i t y , E d u c at i o n 1 8 / S t o r m R e s i s ta n t E c o H o m e 20 / D i g i ta l ly F a b r i c at e d 2 2 / S a r o n i k o s S ta d i u m 24 / T r a c t o r H o u s e

PHOTOGRAPHY 28 / A r c h i t e c t u r a l 30 / L a n d s c a p e 32 / P o r t r a i t 34 / Miscell aneous

GRAPHIC DESIGN 38 / Apex Project 40 / Posters 42 / P u b l i c at i o n s 4 6 / Pa c k a g i n g

EXPERIENCE 5 0 / A B r e at h

of

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Fre sh Air

ARCHITECTURAL DESIGN

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T h e s i s R e s e a r c h / F a l l 2014 A l g o r i t h m i c A u t h e n t i c i t y / S p r i n g 2015 W o r s h i p , C o m m u n i t y , E d u c at i o n / S p r i n g 2014 S t o r m R e s i s ta n t E c o H o m e / S p r i n g 2013 D i g i ta l ly F a b r i c at e d / S p r i n g 2014 S a r o n i k o s S ta d i u m / F a l l 2013 T r a c t o r H o u s e / F a l l 2012

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+CRAFT

+T E C H N O L O G Y

+VERNACU L AR

ALGORITHMIC AUTHENTICITY THE RESEARCH COMPONENT OF MY MASTERS THESIS

Architecture is a profession that has always embraced, as well as adapted itself to technology. Technology enables new approaches of information analysis, simulation, manufacturing, and materiality, so it seems natural that the field would welcome such changes.

The greatest architectural evolution came with the Industrial Revolution by way of its mechanization through precision. Gears led to circuits, and computers took on the task of storing and processing the constantly growing amount of data that surrounds the construction of a building. Not only did Industrialization change the landscape of information management and analysis, it also pushed making from the realm of intimate handcraft to mass manufacturing.

The Industrial Revolution evolved how and why we designed and made,

but was something lost in translation?

The “workmanship of risk” which left room for craftsmen to succeed or fail was erased by mechanization, and the “workmanship of certainty” took its place. Craft is the soul of a design that is born out of chance and risk, but also experience. Looking forward, a vernacular that embraces technology in all of its facets, yet ignores the embodied wisdom of craft, is unacceptable. There is ample opportunity for a new approach—a digital vernacular—to emerge. A new digital vernacular can incorporate advances in design technology by contextualizing them against extant knowledge from the realm of handcraft.

The intersection of these distinct worlds will form an authentic aesthetic that could not have existed without a dialogue between old and new. >

“The phrase ‘workmanship of risk’ means that at any moment, whether through inattention, or inexperience, or accident, the workman is liable to ruin the job. It is in opposition to the ‘workmanship of certainty,’ in which the quality of the result is predetermined and beyond the control of the operative. These are incisive concepts that cut through much of the confusion generated by such multivalent terms as craftsmanship, quantity production, handmade, and skill.”

- David Pye The Nature and Art of Workmanship

+IMAGES OF T V E R R FJ E L L H Y T TA B Y S N Ø H E T TA , 2 0 1 1

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ALGORITHMIC AUTHENTICITY THE DESIGN COMPONENT OF MY MASTERS THESIS

Exploring the links between craft and technology to create a new digital vernacular allowed me to find the perfect project to explore the future of manufacturing. Near Nashville, TN is a secluded plot of land in the space between a quiet residential area and a bustling commercial and industrial zone. Glen Leven farm is an antebellum property with a rich fabric of historic structures including timber barns.

The humble barn is a consistent metric for understanding the inputs and outputs of societal consumption as well as a clear representation of aesthetic style. My design integrates the underutilized land of Glen Leven with a manufacturing facility split into two components. A workshop is the domain of makers, providing all the tools to support a fast-paced iterative design process. A second structure

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is the domain of robots. Once an object is designed, these high-precision machines fabricate with incredible customization and speed. At a large scale, these structures mark the transition between the quiet, residential area and the busy commercial and industrial zone. The two distinct spaces fit within the network of the historic farm buildings, honoring the linear process of which these structures were a part.

In addition, fresh food is brought in from the garden to enrich the creative process in a farm cafÊ. The innovative structural and enclosure systems are reflective of the processes within, and they break from the traditional forms as the process moves from the human realm to that of the robots. Glen Leven’s proximity to Nashville will connect the creative energy of the city to the tools of the next revolution, fabrication. >

PROGRAM ELEMENTS Additive fabrication machines use spool or pellet materials including polymers stored in an accessible manner.

A fabrication hub would greatly benefit from an on-site recycling facility to process waste into a usable form.

3D Printers and the like operate within a restricted box-like area. At small scales, this offers great precision.

COMMON

R EC YC LED

CONVENTIONAL

M AT E R I A L S

M AT E R I A L S

ADDITIVE

INPUT

FA B R I C AT I O N

COMMON

R EC YC LED

CONVENTIONAL

M AT E R I A L S

M AT E R I A L S

SU BTR AC TIVE

Subtractive fabrication machines use solid materials of varying density including lumber stored neatly.

Any manner of solid waste material can be milled into another form. Space is necessary to collect such goods.

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CNC milling machines operate on an X-Y plane with reasonable depth. They handle sheet goods most commonly.

T R A N S P O R T N E A R & FA R

In close proximity to the site is an extensive transportation network composed of an interstate highway, rail yard, & international airport.

BETWEEN OLD & NEW

Franklin Pike is a historic route between Nashville and it’s neighbor to the south, Franklin. In recent decades, the road was bypassed.

CONFLUENCE OF IDENTITIES

The Glen Leven Farm is on the border between a bustling commercial area, a busy transport corridor, & a quiet residential area.

Lightweight materials provide greater flexibility in networking multiple machines for precise placement.

3D printing is equally as capable at producing replacement parts, as well as duplicates of complex forms.

Additive fabrication allows integration of many different systems into one component, such as those in a car chassis.

E X P E R I M E N TA L

SMALL SCALE

LARGE SCALE

ADDITIVE

ADDITIVE

ADDITIVE

OUTPUT E X P E R I M E N TA L

SMALL SCALE

LARGE SCALE

SU BTR AC TIVE

SUBTR ACTIVE

SUBTR ACTIVE

New approaches such as robot arms are able to reach along countless axes to allow more complex milling.

Small objects can be formed with much greater speed and accuracy through CNC milling than human hands.

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Parametric algorithms allow for quick assembly of repeatable planar elements to create complex form.

SECTION PERSPECTIVE

+ABOVE TH E GAR D EN

I D E A C U LT I VAT I O N H A P P E N S I N T H E W O R K S H O P, L I B R A R Y, & G A R D E N C A F É

+STRUCTUR AL DIAGR AM

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+STRUCTURAL DIAGR AM

+ROOF WITH A TWIST

A U T O M AT E D M A N U FAC T U R I N G R O B O T I C F A B R I C AT I O N W I T H O N - S I T E M AT E R I A L R E C Y C L I N G

SECTION PERSPECTIVE

T H E U N D U L AT I N G F OY E R

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WORSHIP COMMUNITY EDUCATION A NEW HOME FOR J UDAISM IN SPRINGFIELD, MISSOURI T H AT U N I T E S T H R E E FA C E T S O F T H AT FA I T H .

As part of Springfield’s long term development of Jordan Valley, a sanctuary will be built. A sanctuary in this location draws worshipers from the nearby universities and broader area. My design for a Synagogue recognizes the equal importance of Worship, Community, and Education to the Jewish faith. It unites these distinct spaces with an grand foyer that emphasizes openness and reverence for the appropriate wings with an undulating roof structure. A focus of the Comprehensive Studio in which this design was produced, was integration of building systems. Splitting the synagogue into distinct wings allowed for more deliberate conditioning of the separate areas, based on their requirements and occupant loads. >

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CO M M U N IT Y S PAC E

+EAST SECTION

+ S O U T H E L E VAT I O N

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+ EXPLODED STRUCTURAL DIAGR AM

E D U C AT I O N W I N G

STORM RESISTANT ECO HOME A SIGN OF HOPE AND S U S TA I N A B I L I T Y I N A C I T Y WOU N DED BY STORMS

This disaster resilient demonstration home seeks to lead Joplin into the future while respecting traditions of the past.

It showcases sustainable, affordable building practices and lifestyle choices to help educate residents rebuilding after the 2011 tornado. As the main offices of Greentown Joplin, visitors can learn about sustainability and experience living in an Eco-friendly home by staying in the integrated bed and breakfast. > + R A I N WAT E R C O L L E C T I O N

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+ S O U T H E L E VAT I O N

+ W E S T E L E VAT I O N

+WEST SECTION

BLOBS ON BODIES

+CNC MILLED

+3 D P R I N T E D

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+LASER CUT & ALIGNED

DIGITALLY FABRICATED CONSTRUCTING COMPUTER G E N E R AT E D F O R M S W I T H I N N O VAT I V E M E T H O D S

Parametric design approaches are only helpful if you can take them from the screen to the shop. These projects explore the intersection of materials & tolerances, iteration & joinery. > S T R I P B U I LT

+SITE PLAN

SARONIKOS STADIUM E S TA B L I S H I N G A N I D E N T I T Y FOR A NEGLECTED PUBLIC S PAC E I N A EG I N A , G R E EC E

The waterfront in Aegina is a piece of land that is rundown, segmented, and under utilized. In order to revitalize this place, a series of accommodating axes are introduced, which will unite the site through the connection and

reorganization of spaces, and in turn fix a broken link in the waterfront.

Interesting functions already exist on and around the site, but with unity this place will become better than the sum of its parts. >

+ALO N G TH E A XIS

+CONTEXT

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+DEVELOPMENT

TRACTOR HOUSE E N G A G I N G A G R I C U LT U R A L HISTORY TH ROUG H INTER ACTIVIT Y

This structure was designed to enclose a 1957 Massey Ferguson 50 tractor.

The design explores how light and wind move through the structure and engages occupants by forcing them to push the enclosure system along its rails in order to gain access to the tractor beyond, the same way you would open an engine cowling to see the working parts beneath. The sliding element passes through the stationary walls cleanly and when complete, represents a simplified barn form. >

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+1957 MASSE Y FERGUSON 50

+WA L L S EC T I O N

+CLOSED

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT

+MOVING

+OPEN

+ E L E VAT I O N

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PHOTOGRAPHY

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28 / A r c h i t e c t u r a l 30 / L a n d s c a p e 32 / P o r t r a i t 34 / Miscell aneous

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SEAGR AM , 2014

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ROT TERDAM , 2013

WA LT O N , 2 0 1 4

MAKRINITSA, 2013

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EGGARDON HILL, 2015

N AT C H E Z , 2 0 1 4

MIR ANDA , 2014

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MARISA, 2014

MOSHE SAFDIE, 2014

LAMBORGHINI, 2013

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BRUSSELS, 2013

BIG SHED, 2015

GRAPHIC DESIGN

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38 / Apex Project 40 / Posters 42 / P a c k a g i n g 4 6 / P u b l i c at i o n s

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FORMULA SUN SERIES MORE THAN THE SUM OF ITS FI V E D I S T I N C T PA RTS , 2 01 5

Formula Sun explores the relationship between fast moving objects and their still surroundings. The United States Grand Prix is part of the calendar of the most prestigious car racing series in the world. Austin, TX is the newest host of the race, and a city you wouldn’t expect to contain such a major global event.

In order to explore the link between the quick passing of this event and its

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unique stop in Texas, I depicted the path the sun follows over a day, as well as the distinctive topography of the Hill Country and how it forms a memorable racetrack. The single car that spans the posters emphasizes the beauty of these remarkable machines, as well as exploring the way that separate images can come together and represent objects of a surprising scale. >

TELECASTER, 2015

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MEXICAN COKE, 2015

ASSORTED POSTERS, 2015

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FRONT COVER / SIDE A

ORIGINAL LP COVER BY KOSH , 1976

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BACK COVER / SIDE B

ELECTRIC LIGHT ORCHESTRA DECIPHERING THE MOTION OF AN LP RECORD, 2015

An exploration of the complexity ELO brought to rock music with their revolutionary instrumentation through a minimalistic redesign of the classic album, A New World Record. >

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APOLLO WINE, 2013

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GARY CLARK JR, 2014

S L I C K PA I N T, 2 0 1 3

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JAMES BOND RE-IMAGINING THE COVERS OF CLASSIC IAN FLEMING NOVELS IN SERIES, 2014

C A S I N O R O YA L E LIVE AND LET DIE F RO M R U SS I A W I T H LOV E DR. NO GOLDFINGER

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ISOSCELES, COVER FOR A FICTITIOUS MAGAZINE, 2015

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PERSONAL MAGAZINE, 2014

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AT H O M E I N T H E W O O D S

A BREATH OF FRESH AIR NEW PERSPECTIVES FROM ACROSS THE POND

At the end of my college education I felt fulfilled, but there was an element of my passion that was yet to be engaged. After a year of studying the cutting edge of construction with digital fabrication methods, and developing a project that implemented some of these methods, I wanted to see the process firsthand, and participate in the realization of a full scale project.

I first discovered the Architectural Association School’s Hooke Park campus in Dorset, UK while researching precedents for my thesis. The AA’s operation at Hooke Park is composed of revolutionary timber buildings that exude an understanding of forest management with their innovative composition. Structures are designed and built in order of necessity by students completing a postgraduate master’s degree. In order to construct buildings in a somewhat timely manner,

the school brings in summer volunteers for their labor as well as criticism and insight. As soon as I learned that the school needed help during the summer, I knew that there was a way to continue my learning in a new environment.

The project I was going to work on would hold wood chips and be constructed from the natural forks in trees. I could have never imagined how exciting the experience would be from that simple description. At the end of five weeks I had learned to embrace the metric system, made new friends from all over the world, sourced raw material from the woods, 3D scanned tree forks, operated a six axis robotic arm, learned about defects weakening trees, seen a team of designers hit their stride, and witnessed the intersection of old methods and new technologies pushing a design further than it could go without either. >

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END

SELECTED WORKS 2015