LIAM ALFRED CLARKINTERIOR DESIGN GRADUATE

COLLECTED PROJECTS

CONTENTS:Capstone:

Sephora:

Monte Carlo:

Fifth-Third:

Tectonics:

Convergence:

Acoustic Baffle:

About Me:

BRE

AK

ArchitectureInterior Design

Degree Path20132012201120102009

Capstone:MMoser:

Sephora:Study Abroad:SOM:Monte Carlo:F|M|E:5/3:

Techtonics:Immersion:Third Studio:Second Studio:First Studio:

AMAA:

Work Experience:MMoser Associates - New York City, NY

Cooperative Education 9.12 - 12.12

Ankrom Moisan Associated Architects - Portland, ORCooperative Education 1.12 - 6.12

Skidmore, Owings, and Merrill - Chicago, ILCooperative Education 1.11 - 6.11

Fee, Munson, Ebert - San Francisco, CACooperative Education 6.10 - 9.10

Schooling:

University of Cincinnati - Bachelors of Science in Interior Design 2013

Ecole Speciale d’Architecture - Summer Study Abroad 2011

Art Academy of Cincinnati - Summer Intensive Courses 2005 - 2007

Wyoming High School - Graduated Class of 2007

Skills:

Digital:Revit:

AutoCAD:Photoshop:Illustrator:

InDesign:Acrobat:Rhino 5:

Grasshopper:Maya:

Sketchup:

3ds MAX:Form Z:Laser-cutting:Stereolithography:

Casting:

Manual:Sketching:

Scale Models:Rendering:Welding:

Presentation:Booklet Making:Wood Craft:

Cutting:

CONTACT:

LiamAlfredClark@gmail.com

513.519.3633

Liamalfredclark.com

Linkedin.com/in/liamalfredclark

Tumblr.com/blog/liamalfredclark

Senior Capstone Project:

The INDUS Initiative was an experiment with imbuing forgotten industrial areas with the romantic quality of a fronteir. Inspired by homes sold in the Sears catalogue in the early 1900’s, the initiative would provede open-sourced plans detailing the construction needs of moules for living. These would

cover living spaces, cultural spaces, utility spaces, and spaces for food production. The idea also pulled from the ‘Arcology’ of Paolo Soleri. A unit that is self-sustaining within its own self. The intent was that each location that an Indus project would occupy would be designated as an ‘Arco’. The inhabitants

would provide an organicly reactive growth with the creation of modules to support the needs of the Arco. Then, by selling food, fabricating goods, and providing living arraingements, the Arco would help develop the surrounding industrial district.

Much of the produced work was in diagramming the way growth would occur within the walls of an ARCO. By keying in on the ‘Boblo Warehouse’ in Detroit, I was able to give a clearer view as towards the implimentation of INDUS’s ideas. Replicability is key with the implimentation of an ARCO, therefor the modules were set to key in with a 20’x20’ column grid, common language for an Albet Kahn factory. When it came to the scale model, I desired to represent 3 levels of completion: the existing form, the INDUS provisions, and the user furnishings. For the perminance of the existing condition, I decided to use an old plate of steel. The basswood walls defined the lighter planes with user furnishings simply being etched on to the floors.

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2011 P.A.V.E. STUDENT COMPETITION For our retail studio, we were charged to produce an entry for the 2011 PAVE Retail Design Competition. The competition called for either a fixture or a mobile store for Sephora. I chose the latter, because I wanted to create a specticle about introducing the location. As far as a venue, I was captivated with the Americas Cup which is soon to be underway in the San Francisco Bay. Since the parent company, Louis Vuitton Moet Hennessey, owns the advetising rights both the Americas cup and the preceding international trials, I figured that Sephora could have an advantageous position to enter the market.

I then came upon the idea to utilize a boat plane from the 1940’s to provide viewers of the race a specticle of a branded airplane roaring across the bay and landing in a splash of water before the races were underway. Not only would this provide intrigue, but the plane would be a viral sensation by coupling with instagram to install a photo-booth within the interior of the plane. More of the project can be seen on my website including the entire booklet submitted for consideration at Liamalfredclark.com.

Our Hospitality studio was focused on the city and environment of Las Vegas. Working with critics and information provided by FRCH, we were charged to develop High-roller suites in the Monte Carlo. Rather than work with overly ornate and plushy schemes, I decided to make a more rectilinear modern approach. Much was inspired by Playboy Townhouse articles of the 1960’s and 1970’s, where oppulance was expressed through the synergy

of technology, material, and form. The user would interact with iPhone key-cards to provide a new degree of interaction with the space, and also be surrounded by beautiful materials. By keeping clean lines and aesthetics, I was able to play with tectonic forms and structures within the space. The Ceiling plane was also activated with 3form acryllic panels that could change color with the user’s app.

Office Design Studio: Before I even had the chance to work in an office, I was subject to the Corporate Studio, my first interior design studio. It was around the height of the nation’s mis-trust of banks, so I decided that an experiment was called for in order to provide transparency to the industry and also provide confidence to the community. The two-story office would be zoned to provide for hotelling space for the new generation of bankers and financial analysts entering Fifth Third’s banking infrastructure. There was also space designated as ‘war rooms’ where spirited meetings could take place and teams could work on business proposals together utilizing a technologically configured space.

The Second floor was all about community engagement providing clinics, museums, and community outreach space to help local users bank smarter and understand the implications of the economic crisis on their local financial institutions. It would also play to soften the image of Fifth Third. Each corporate tower that the company owns is a monolithic mass of glass and steel. This is starkly contrasted with the suburban branches all having a georgan aesthetic. The adaptive re-use of a Cincinnati warehouse space would provide a unique space to the banking industry.

5/3 BANK OFFICE EXPERIMENT:Spring Quarter 2010

Tectonics Studio

The last studio that I was involved in while still considering my self a student of Architecture wias the Tectonic theory studio. In this class we focused on the generation of different schemes and organizations with the three defining forms of frame, plane, and mass. We were not given a prompt for which to design. In this way we were to focus on the generation of form for form’s sake. I decided to use

a mixture of Pine and Sapele for the main structure of the model, providing Mass. I then utilized scale lumber for framing elements and Bristol Paper for planes. Where it was an absolutely mesmerising experience to create the little forms for this project, I did not agree with the method in which it was proctered. In the last two weeks of class, the

professors revealed that the purpose of the project was to be a school. However, since the forms were already made, it was an exercise in ‘Post-rationalism’ and the final motivation to make the switch to Interior design. I still hold that decision as one of the best that I have made in my lifetime.

The Convergence ChairWilliam Alfred Clark 12.08.11Furniture Design INTD 414

The Convergence Chair The Convergence Chair was a product of a furniture design seminar taught by Hank Hildebrandt. His goal for the class was to produce a chair inspired by the ‘Adirondack Chair’ of Appalachia. Convergence was schemed out to be a modern expression of the sitting position of an adirondack chair. It then became

abstracted as the meeting of two planes. The entire chair was friction held and sturdy due to the low tolerance machining it was created with. The quarter was also filled with research on furniture makers, other styles of similar vernaculars and other reaserch. A booklet detailing the creation of the chair is available at liamalfredclark.com.

Suspended Acoustic BaffleFor Installation in the Niehoff Urban Studio

The space itself has been destroyed, rebuilt, and re-inhabited in a way that pays homage to the condition that was once present, but with a flair of modern influence. The nature of the studio is that of a flexible organiza-tion that must occupy a rigid framework. This nature gives reference to a Bee’s honeycomb when in a manufactured framework. When the bee-keeper lets the bees create their own honeycomb within the human built frame work, they will often take an organic approach to the construction of their opus. The result is that of a harmonious compromise between the nature of the bee, and the desire of the keeper.

The suspended baffle for consideration derives its form from the nature of the studio that contains it.

+ = =x 124 Slats

Painted Cardboard Slats to be Laser Cut

Metal End caps with Cable Holes for MountingSolid Dark Hardwood to be Milled and Assembled

The idea’s approach to the acoustic performance was taken from an experience at Tara Donovan’s instillation in 2011. The instillation entailed plastic drink straws stacked up in an undulating pattern. The closer one would get, the more of an experience of deafness he/she would experience. The open ends of the tubes would catch and dissipate sound energy.

Niehoff Acoustic Baffle Due to my late transfer into the Interior Design program, I missed out on a computer skills credit. In order to make up for this missing credit I opted to take a seminar course taught by Ming Tang. This class provided me an opportunity to further my knowledge of Rhino and Maya inorder to create a parametrically formed baffle to absorb sound traveling in the rafters of the Niehoff Neighborhood Studios on Short Vine. The method called for the laser cutting of panels to be keyed into one another to create a sinuous form. Much of the form was inspired by Tara Donovan’s instillation at the CAC of a wall of straws. I was deeply moved by the deafining silence next to the wall of tiny openings, so I saught to replicate the form. For the final critique I was able to 3D-Print an esquisse that one could hold up to the light and understand the general form and method of the baffle.

Thank You.Liam Alfred Clark

Liamalfredclark.com

Liamalfredclark@gmail.com

- 513.519.3633 -