Undergraduate Portfolio

J D G U T E R M U T H

L I V I N G A R C H I T E C T U R E AT T H E H U M A N S C A L E

JD Gutermuth Clemson University Fall 2011

TA B L E O F C O N T E N T S

S TAT E M E N T O F P U R P O S E / R E S U M E - 2

V I S I O N I N G C H A R R E T T E - 3

C R E AT I V E I N Q U I R Y - 5

H A I N T B L U E - 9

A I R P O R T O F T H E F U T U R E - 1 1

G R E E N V I L L E A R T M U S E U M - 1 3

B B Q - 1 5

2 2 @ B A R C E L O N A I N T E R V E N S I O N - 1 8

P H O T O G R A P H I C W O R K S - 2 1

S TAT E M E N T O F P U R P O S E

Architecture in the end is a reaction to the human condition. We need shelter, we build shelter. We want more, we build more. This has perpetuated architecture in many dif-

ferent directions for many different people, some directions better than others. However, the common theme has always been the human condition. We judge architecture on

how it makes us feel or how we use it for better or for worse. Architecture that speaks to the soul, however, must not only react to the human condition, but be pleasurable at the human scale, the tactile scale, a physical scale. When you manage to balance a project that both reacts intelligently and responsibly to the human condition as well as pleases the soul, great architecture occurs. This is the space I strive to occupy with my work. I always think of a community, the public, history, and humanity. This is how a project and a body

of work becomes significant to the world. This is how architecture becomes living.

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R E S U M E

EDUCATION Bachelors of Arts in Architecture, Clemson University, Fall 2007- Fall 2011SKILLS Architectural: Rhino 3DS, AutoCAD, Photoshop, Illustrator, InDesign, SketchUp, Microsoft Office, model building Photography: Large Format film, Medium Format film, 35mm film, digital, darkroom development and printing, digital printing Crafts: Basic MIG welding (unlicensed), Basic metalworking, Basic woodworking EXPERIENCE Vertical Farm Charleston Intern, Clemson, Charleston, SC Summer 2011 Researched the concept of Vertical Farming Designed Master Plan for Jordan Hall Roof Farm Pilot Facilitated Community Charrette in Charleston for site selection and programming of the Vertical FarmAWARDS Eagle Scout, Boy Scouts of America, Spring 2006

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V I S I O N I N G C H A R R E T T ET H E C L E M S O N E X P I R E M E N TA L F O R E S T

P rof. Dan Harding JD Gutermuth Jeremy Fix Jen Ingram Elsa Kosegarten Matt Onan

experimental

november 17th, 5:30pmLee hall architecturesandwiches 5:30charrette/collaborative workshop 6:00-8:00pmRSVP [email protected]

management+research+recreation exploring the 17,000 acre campus idea

you are invited to thehosts: Dr. Hap Wheeler Dr. Ben Sill John Garton Knight Cox

Architects are problem solvers. Typically, an architect is handed a set of program and a site and that is their problem. However, I believe that architects should be engaged in the true problem from the concep-tion of the project. In most cases, the architect could help discover a much better solution to the clients

problem that if that client were to decide on the solutions by themselves. In some cases what a client might have thought would be a building might not need to be, or best be, a building at all. For the Clemson University Experimental Forest Project, we were fortunate enough to be brought on the project from the very beginning. In this case, instead of the clients coming to us and asking, “We need a building on this site to better utilize the forest and we think it should be an outdoor lab,” they came to us

and said, “As a University and a community, we need to better utilize the 17,000 acres we have, how can we do that?” This proposition was very exciting because all of the sudden, as architects, we were allowed to really research the situation from an unbiased point of view and understand what the forest is all about and what it could be.

Charged with this problem, we went about designing a way to solve it. As a team we thought about what the process should

be about: collaboration, community, grassroots, education. We sought to break down the administrative and political silos that have kept the forest underutilized. This is where the idea of a charrette came in. We wanted everyone involved in the forest in a true, hands in the dirt way, to be in the same room, discussing what they do in the forest and what the forest could be in the future. We didn’t want the charrette to be the normal chart board and a marker discussion.

We wanted to create something to facilitate and enhance a col-laborative atmosphere for discussion. First, what we developed was a large format, 4 foot by 8 foot, map of the entire forest and campus, which was printed on durable vinyl and mounted to a sheet of steel, making it magnetic. Then, we created a word bank. The collection of words included mission and vision statements from all the university entities that had projects in the forest as well as community groups that were involved in the forest. We then added any other words we could think of that pertained to the forest. We also created icons that represented activities and places in the forest. The words and icon buttons were printed on

magnetic sheets and cut up into individuals. The idea was that the map combined with the words and buttons would be like refrigerator magnet poetry. This would allow the participants to use the large map as a visual tool to talk about where and what they are doing in the forest and then use the magnet words and buttons to mark places on the map of importance.

With these tools, we invited a long list of people involved in the forest. We only wanted the “grassroots” participants, excluding any administration, chairs of colleges, or deans of col-leges, to make the conversation as open and non-political as possible. We wanted this to be a creative brainstorm of ideas about what the forest could be, without restraints of politics, funding, or bias. With these tools we held the charrette in the School of Architecture building, a neutral ground for all the partici-pants.

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Magnet Poetry Board Charrette Invite

Charrette Process Photos

C R E AT I V E I N Q U I R YC L E M S O N S T U D E N T O R G A N I C F A R M

P rof. Dan Harding JD Gutermuth James Baxley Julie Conard

The Student Organic Farm Creative Inquiry is an ongoing project I started in my sophomore year along

with James Baxley. It has spanned my undergraduate career from sopho-more year though senior year. It has spanned 3 years, 4 coun-tries, 4 professors, and around 30 students. It continues today as a full studio in the graduate department at Clemson University with plans to be integrated into the curriculum of both the Bachelors of Architecture and the Masters of Architecture.

When James and I approached Geoff Zehnder, the faculty member in charge of the farm, and asked

if there is any way we could be involved, he responded, “Well you are a couple of ar-chitecture students and we need facilities. Could you design them?” This response is far beyond what we were dreaming of and we quickly jumped on the oppor-tunity by finding an advisor, Dr. Hogan, in architecture to help us. The Creative Inquiry was created.

We brought on two additional members to the first design team, Julie Conard and Lauren Martinez, to design the farm a tractor shed. We began conceptualizing the shed with a great energy and effort.

However, despite our vigor and enthusiasm, we quickly realized you couldn’t design a building first and a farm second. First we had to design the farm and then the building to fit in that farm. So, after several imaginative designs, we stepped back and started looking at the farm as a whole. We started to analyze and design a master plan for the farm.

206 Lee Hall Clemson SC [email protected]

1 Cover

          Date: 1/11/2010

Contents:

Client:

Drawn By:

Notes:

Project:

S0F

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Original Creative Inquiry Team

Original Shed Design Ideas First Shed Presentation

Shed Brainstorming Farm Masterplanning

the 2 year process of inquiry

december 15 3-5pmLee Hall Broadway Alcove 3-4pm presentation 4-5pm conversation

design

buildcreativeinquiry

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Just at the right time, Dr. Hogan had us meet with a new faculty member, Dan Harding, who we quickly realized was the perfect fit for the project. Dan had just entered the academy from a successful design-build firm and was interested in community projects with a design-build component. From then on Dan

was our advisor and has brought us through three built projects, one build proj-ect on the way, and numerous research, design, and conceptual projects associated with the farm.

87 Final proposed Field StationField Station proposal

Processing Station

Stairs

Barcelona Research Paper

Final Charrette Invite

H A I N T B L U ED E S I G N - B U I L D C A M E R O N A R T M U S E U M

P rof. Dan Harding JD Gutermuth James Baxley Julie Conard Lauren Martinez

“Haint Blue” is one of three architectural follies recently installed on the grounds of the Cameron Art Mu-seum in Wilmington, North Carolina, which is also the sight of the last battle for the African American regi-ment of the Union during the Civil War. The outdoor exhibit was done in conjunction with the Cam’s exhibi-tion spotlighting the work of New York architecture firm Gwathmey Siegel, which designed the Cameron. “Haint Blue” was designed and built by a team lead by Professor Dan Harding as part of a sophomore Creative Inquiry group and Studio South.

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Occupants climbed up between the two tall vertical walls and as they walked forward views of the battle-field embankment axis were revealed, creating deeper understanding of the site. The blue color is a tradi-tional southern color painted on porch ceilings and around windows that, according to folklore, protects the inhabitants from “haints” or evil spirits.

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Entrance view Stair tread detail

Front elevation Side Elevation

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A I R P O R T O F T H E F U T U R EA C O M P E T I T I O N F O R F E N T R E S S A R C H I T E C T S

P rof. Bruhns JD Gutermuth Kaitlyn Pahel

The Airport of the future competition is a call by Fentress Architects of Denver, Colorado, to propose what you believe the airport of the future to be. The competition was open to any site, scale, or technology you could think of. For our proposal, we chose to explore flight as recreation and relaxation. We wanted to bring flying back to the romanitc adventure that it was seen as in the early 20th century. Therefore, we chose a site near Cashiers, North Carolina, in the heart of the Blue Ridge Mountains that is a well know vacation spot for the adventurous. Our proposal is based on the futuristic Puffin aircraft, developed by NASA, that is a family sized aircraft that has hover capabilities and also lands on water.

Catering to the outdoor community, the airport also includes both a eco-resort as well as rooftop tent camping. The airport is situated on a hiking trail making the accommodations perfect for those wanting to wake up and hit the trails. The eco-resort paired with the grand atrium and restaurant make the airport a perfect place to relax and stay.The radial geometry was derived from 4 points in the landscape: the mountaintop behind the airport and three viewpoints out into the lake. This geometry gives a person optimal views out into the landscape and through several moments in the building, cre-ates a panoramic understanding of the site. This radial geometry is then anchored with two main criculation cylinders.

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G r e e n v i l l e A r t M u s e u mG e n e r a t i v e V e r n a c u l a r

Prof. Mills JD Gutermuth Clemson University Spring 2011

Designed around an idea of path, this museum brings viewers from the street and draws them through a series of grand halls. The halls travel both horizontally, vertically, and diagonally pentrating one another creating moments of reveal and tension between the parts. Serving retail, museum, and residential spaces, the Greenville Folk Art Museum weaves together program through path and spacial experience.

The rising and falling tubes transport the occupant from the ground to a height of sixty feet without giving them a sense of how far they have travelled vertically, creating a seemless flow and experience through the museum.

Generative drawings

Model N. Main St. View Model W. Camperdown View 14

Conceptual Plans + Sections

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B B QT H E C L E M S O N V E R N A C U L A R

Prof. Bruhns JD Gutermuth Clemson University Fall 2011

The BBQ restaurant is one of the iconic vernacular architec-tures of the South. This BBQ takes its design motives from the vernacular and critical regionalism in general. Using the idea of a farm smokehouse as a jumping off point, this BBQ takes the barn asthetic and expands on the Clemson vernacular. The BBQ strives to remail open-air by having the majority of its dining enclosed only by the roof and the necissary walls being largely transluscent. The car-hop dining area also harkons back to hay days of the highway and roadside restaurants.

Section looking North

Site Plan North oriented

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West Elevation

Plan North oriented

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2 2 @B A R C E L O N A I N T E R V E N S I O N

P rof. Jordi Prof. Santi JD Gutermuth Julie Conard Barcelona Fall 2010

ALL CONDITIONS CREATE THE VOID FILTER THE VOID

OCCUPANCY1GREEN LINE= 10%RED LINE= FILTER

1PURPLE LINE= 10%RED LINE= FILTER

1YELLOW LINE= 10%RED LINE= FILTER

SOUND TRANSPARENCY

Using operative mapping techniques, a master plan for a new public space seeks to break open the cen-ter of a typical Cerda block of Barcelona in the 22@ district. The park plan spreads itself into the center of a previously industrial block in Barcelona, culminating in a civic center. The unique geometry derived from an operative mapping technique seeks to filter out the harsh elements of the city to provide an oasis of calm for the civic center and park.

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Extract the Geometry Offset the Geometry

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Extrude the Geometry

Section looking North Section looking West

Park Plan with building sites

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P h o t o g r a p h yS t i c k S e r i e s

JD Gutermuth

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P h o t o g r a p h yU n t i t l e d

JD Gutermuth

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P h o t o g r a p h yL e a v i n g

JD Gutermuth

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