sarah v wilsonarchitecture portfol io

statement of purposeArchitecture is not simply one of the visual arts, but a link between man and purpose. Architecture may delight the senses, but it is a utility of function. I chose this field to combine my incessant need to create with my sense of duty to society. With each design I complete in the academic and professional setting, I cultivate my understand-ing of a form that promotes both function and feeling. Without both purpose and character, architecture is meaningless, and I believe my dual background in medicine and art assists me in achieving both

of these qualities of design.

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table of contents

sanctuary

synchronize

living cycle - group project-

galleria, cultural center - group project-

raise the roof - group project-

inside outside - award winner-

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15

25

31

39

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s a n c t u a r y project deliverables

site analysisprogramming scheme

vertical circulation schemesnatural light scheme

foundation and frame plans

purpose:

Using the wooded lot on Clemson Univer-sity’s campus, create a space of repose and

reflection that takes into account the site, natural light, and programmatic stipulations.

Fall 2013Professor Bruhns-3-

program

pre-functionentry

sanctuaryfellowship hall

circulationoffice

janitorialrestrooms x 2

ornamental stair, fire stair, and elevator

1800 sq ft700 sq ft1600 sq ft800 sq ft800 sq ft70 sq ft50 sq ft100 sq ft(subjective)

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existing footpath

major roads

buildable site

view corridors

sun path

soundprevailing winds

major treesexisting radiiaxes from radiiaxes from trees

axes from view corridorsaxes from existing pathsaxes from existing roads

The site for the sanctuary is located on a forested lot near the edge of campus. Site analysis reveals a natural clearing near the center of the lot, with pre-existing foot-paths diagonaaly through this clearing. Prevailing winds

come from the southwest and southeast, and there is heavy traffic noise coming from the nearby intersections.

Sources of major site axes are the bordering roads, foot-paths, access roads, view corridors, and major trees.

view axesgestural model

road axes

exist

ing fo

otpat

h

Selecting the major footpath, road, and view axes, I began experimenting with angular plan arrangements and circulation. Exploration with geometric shape led to developing a winged ges-tural model, which pulled inspira-tion from Japanese shoji screens: designed with geometric patterns, these screens are light, transpar-ent, and give the effect of floating.

calmclear light

airyquiet soft

natural

serene

mea

nder

ing

floating

timeless

meditative

whitegreen

taupe

A sanctuary space needs to be calm and

clear, in every sense of these words; Japanese architecture, particularly

that of tea houses, fits this bill perfectly and

was very inspirational.-6-

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circulation800 sq ft

sanctuary1600 sq ft

fellowship hall800 sq ft

pre function1800 sq ft

entrance700 sq ft

restrooms (x2)

100 sq ft

office70

sq ft

chosen plan

programmatic plan programmatic section

chosen section

Keeping in mind these qualities of light, serene, and meandering, various progrommatic schemes with relative spacial sizes were developed. Particular attention was given to the circulation and transitional spaces.

The chosen plan ex-ploits the use of exterior pre-function space and interior circulation to slow the progression of occupants and men-tally prepare them for a space of sanctuary.

section of stair3/16“ = 1’ scale

plan of stair3/16 “ = 1’ scale

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As a part of the circulation, the orna-mental stair is a pivotal piece. This stair furthers the concepts of lightness and meandering, using minimal supports, a circular motion, and plentiful natural light from above.

Particular attention was paid to construc-tion codes and materiality. Using light-reflecting concrete and minimal steel supports, the stair appears to float and gives a sense of serenity while remaining a safe method of circulation.

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Natural light studies were performed with the proposal oriented on site. The first designs utilized entirely reflected and filtered light, attempting to cre-ate this calm and floating atmosphere. Testing this scheme proved that such a scheme provided insufficient light, and improvements were necessary.

A final lighting scheme continued use of northern, ambient light, but also used supplemental, con-trolled light from the south. The entrance area is diagrammed in the longitudinal section to the left.

To the right is a transverse section of the sanc-tuary and fellowship hall. Each is structured with a series of concrete columns, above which light from the east and west is directed in from above. This makes the roof appear to float and provides ambient light to the spaces.

early light diagram

refined light diagrams

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Combining the programmatic, stair, and light studies with the geometric shoji influences resulted in the final foundation and framing plans. Oriented along the existing footpath in the clearing, this sanctuary has minimal site impact and provides a meditative space even for those who want to simply pass through; and yet, it slows and calms all who walk through its spaces.

plan of proposalground floor

plan of proposaltop floor

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Geometric designs provide a sense of serenity and holism, as Japanese architects have under-stood for centuries. Geometric patterns give con-tinuity to a space, and repeating exterior shapes on interior spaces helps orient occupants in the scheme. Furthermore, relative complexity of the geometry helps clue occupants into the relative importance of spaces.

Examining the north elevation reveals the use of symmetry and reflection to reveal the purpose of the

spaces within. The roof lines of the entrance and sanctuary are reflections of each other, signifying

the very different programs of each. The entrance roof reaches out and welcomes occupants, while the

sanctuary roof lifts them spiritually.

north elevation

west elevation

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The geometry of the scheme also gives character to the scheme. As reflected in the earlier gestural model, the angles of the roof line lift the scheme from the ground and make it appear to float. Thus, rather than support it above the ground, the wide columns appear to anchor the winged roof to the ground.

At the ground level, a courtyard surrounded by these anchors provides a sheltered area to con-gregate, much like the entrance courtyard. These too are geometrically organized, utilizing greenery to slow occupants and force them to meander to find their way. They are a transition from the out-side world to this space of sanctuary, a way to slow down from the speed and pressures of life and prepare oneself for meditation.

construction section, 3/32” = 1’

site section with east elevation

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The propsed scheme comes together in this physical model, built into the existing topography to show its

relation to the sloped site. The structural system of the sanctuary is revealed to show material usage and the

relation of the roof to the foundation.

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s y n c h r o n i z e

purpose:Create a school house or a series

of classrooms tailored to the needs of children with autism. Include provisions for light, sound, and

proprioceptive sensitivities.

Spring 2013Professor Skinner-15-

project deliverablesstudy of effects of autism

floor planslighting and circulation diagrams

renderings

program:classroom spaces

dining areaquiet spaces

circulationstorage

teacher officeoutdoor classroom

site:new Asheville Middle School

Asheville, NC

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Children with autism have sensitivies to visual stimuli, particularly from fluorescent lights. Natural, dispersed light is best.

Audial sensitivity can also be problematic; proper sound insulation and sound absorb-ing panels should be used to minimize harsh noise.

Autistic children may have trouble with proprioception, or their bodies in rela-tion to the environment. Slow spacial transitions are important.

existing site, 1” = 130’

As a yet unbuilt school, the new Asheville Middle School lends itself to a classroom addition. Additionally, as a school that will serve a large population, it has an oppor-tunity to serve a number of children with autism.

technical socialenvironmental

technical environmental social-18-

As any academic space, this classroom space will focus on the technical, en-viornmental, and social as-pects, but serving specfic needs for autistic children.

Occupying a wedge-shaped site between the main class-room building, media cen-ter, and cafeteria, students and faculty within the new classroom space will have access to all of these major spaces, including an out-door classroom space.

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location of students

9:00 am 11:00 am 3:00 pm

The most important factor to this design is the use of natural light. Seeking to light the spaces primarily with natural light, lighting schemes were extensively explored. In this first scheme, sections of roof were raised at an angle to capture as much overhead sunlight as possible, tracing both the movement of the sun and the students through the classrooms.

light strategy diagrams

roof strategy diagram

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9:00 am 12:00 pm 3:00 pm

Refining this scheme, as well as the program and organization of spaces, led to a final floor-plan and day lighting scheme.

To avoid rainfall drainage issues, the roof is only angled in one direction, and skylights are placed more purposefully to capture sun-light. The scheme does, however, continue to provide more light in more heavily used spaces according to the time of day.

Children with autism thrive with a steady daily routine; the organization of spaces caters to this idea, moving students around the build-ing like clockwork. Moving wall panels allow teachers to shape spaces as necessary to direct attention and focus.

circulation diagram

chronological natural lighting diagram

1/16” = 1’

floor plan1/8 scale

A

B

N

section cut 3/16” scale

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The programmatic scheme in-cludes two general classroom

spaces, a culinary classroom, a dining area, bathrooms, storage, and an outdoor classroom in the

form of a garden. Additionally, there are small break-out rooms where a child can go to escape

from sensory overload and calm themselves before rejoining the

others.

plan, 1/16” = 1’

section, 1/16” = 1’

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The angled roof above the northern-most spaces brings in northern light through the skylights, which is then filtered and distributed through a semi-transparent ceiling. In the event of a cloudy day, incandescent lights placed into the walls shine supple-mental artificial light upwards to prevent glare.

In addition to the skylights, ribbon windows are located along the upper edge of each outward-facing wall, bringing in southern light above eye-level to spread ambient light to the spaces below.

lighting strategy

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Using materials such as carpet and fabric wall panels helps to control sound, as well as absorb light and

prevent glare. Low ceilings provide additional sound control and create comfortable spaces.

The garden provides a natural, relaxing environment that allows children to learn skills outside of the classroom, while also providing raw ingredients to be used in the culinary space next door.

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l i v i n g c y c l e

purpose:Create a new transportation system or path to encourage cycling, as well as cleaner methods of movement on and off

Clemson University’s campus.

Spring 2013Professor Skinner

living cycle

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-group project-

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project deliverables:study of local transportation services

research of existing technologiesplans and diagrams of proposal

renderings of proposal on campus

site:Clemson University, Clemson,

and its bordering cities

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star

t//

//end

de

ce

l er a

t io

n

An initial analysis of a 6-mile path revealed the need to encourage bike-riding and provide safer paths for said bikes. Using the amount, length, and frequency of brake lights, I highlight-ed some of the problem areas near Clemson’s campus at various inter-sections.

A secondary analysis proved that heavy car polution, inconsistant and insufficient bike path provisions, and dangerous inter-sections are a problem for bike users, and these must be solved by our proposal.

map of Clemson University campus

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Our group proposal was a series of bike path improvements and additions, each lined with an emissions-absorbing and protective wall. Research into available materials and chemical processes, performed by myself, provided the foundations for which we developed the pod-wall system.

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My main role in the group, in addition to initial site research, was research and development towards the individual pods. These were a combination of two systems: The first was the pod, coated with a membrane of titanium dioxide, which combines with nitrous oxides in car emissions to create nitric acid. If combined with calcium carbonate (also in the membrane), it produces water, calcium nitrate, and carbon dioxide. The second was the fern, which would absorb the water and carbon dioxide biprod-ucts to produce oxygen.

2’ O.C.

4”

6”

6”construction section

chemical reaction diagrams

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The result of this porous membrane was to produce fresh oxygen for any pedes-trian using the bike path, while simulta-neously providing a wall of protection for those bikers.

Producing the membrane in 10’ spans makes it adaptable to any road, campus, and city. This could encourage increased bike usage and reduce emissions across the country.

According to our math, if the pod membranes were applied to the 14 million miles of highways in the US, CO2 emissions could be reduced by as much as 3 7 % .

g a l l e r i a : c u l t u r a l c e n t e r

purpose:Design a new cultural center for the city of Genoa, Italy in the given site; use the

term galleria to drive your scheme. (galleria: a large arcade or court, sometimes with a glass roof, used for displaying artworks, as a

passageway to shops or offices)

Fall 2012Professor Bruhns-31-

-group project-

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project deliverables:plans and site sections

elevationshand-drawn renderings

physical model

site:old gardens behind the Albergo,

Genoa, Italy

program:indoor theater (entrance, box office, circulation,

bathrooms, coat closet, seating, stage, backstage)

outdoor theater (seating, stage, backstage)indoor and outdoor art galleries

gardens, new and preservedrestaurant

research librarysouvenier shop

offices

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Located in the old gardens of the Albergo (poor house) in Genoa, the site for the cultural center is rimmed with terracing on three sides, with a look-out point on its northern edge and the walls of the Alber-go to the south. There are access points on the western and southern edges.

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Tower Plan1:62.5

bus stop

views onto site

slope of terraces

anch

or c

ompl

ex

along

edge

One of the major stipulations was to preserve as much of the existing terracing as possible, as well as at least half of the existing gardens in the center of the site. This gave our group a driving idea for our scheme: to orient the program around the edges, building on top of the terracing, to preserve those central gardens.

= anchors

N

Using this idea, we organized the scheme into three parts: the indoor theater, the outdoor theater, and the tower, which comprised the majority of the remaining program pieces. Connecting these three an-chors was the galleria, the long corridor from which stems larg-er spaces; to this, we assigned the dual use of art gallery and circulation space.

My role in the group was to design the tower and the galleria. As the central anchor, the tower was a pivotal piece, and served as a hub to connect the two theaters, as well as the lower gardens with the upper street level.

-35- site plan, 1” = 35’

The major entrances to the cultural center are aligned with the bus stop in front of the indoor theater and with the tower. This way, one may enter the tower to access the restaurant, shop, or offices without needed to pay for entrance to the gallery; if one did want to see the gal-lery, they could purchase entrance at the southern box office, where they could also buy tickets to both theaters. Each piece has handi-cap access, utilizing ramps and elevators where necessary.

The indoor theater seats 600 individuals; the outdoor theater seats 1,100.

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Tower Section1:500

76.50

88.50

97.50

83.50

76.75

102.25

98.25

site section, 1” = 20 ‘

Gallery Detail Section1:75

102.25

98.25

This tranverse section reveals the vertical organization of the scheme. The galleria is divided into two purposes: the upper level serves as circulation between the three buildings, while the lower level serves as the art gallery.

The tower floors increase in depth with each successive level in order to direct views down into the gardens; ver-tical circulation set to the sides for simplified movement and ease of orientation.

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North Elevation, 3/64” = 1’

The galleria and tower are each or-

namented in similar fashions, utilizing stained and clear

glass, curved roofs, and travertine, a tra-ditional Italian build-

ing material.

The tower celebrates its horizontal quali-ties as much as its vertical; a series of ribbon windows crosses with vertical supports, bounded by the vertically spi-ralling staircases.

South Elevation, 3/64” = 1’

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The renderings also show a quality of historic continuity; we adopted characteristics of some of the historical pieces of architecture we visited dur-ing our semester abroad, as well as those of the contextual residential buildings.

In addition to designing the tower and galleria, I also drew the hand renderings of our completed scheme. These renderings show the character of the scheme in a manner that plans and sections cannot. In this case, the render-ings particularly show how the scheme relates to the exist-ing terracing and the gardens below. Though each of the three individual pieces was largely designed by a different individual, continuity was important to the project; the ren-dering shows how we achieved such continuity through the use of common materials and roof styles.

The cultural center is not simply a place to display the performing and visual arts, but also to continue the cul-ture of the local architecture. This center is a continuity of the antique and the modern in the city of Genoa.

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r a i s e t h e r o o f

purpose:Using a notable architect’s residence for inspiration, create an interactive model with a removable roof to serve as a collection box for the Upstate Homeless Coalition of South Carolina.

Spring 2013Professor Skinner

-group project-

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project deliverables:analysis of house

plans, sections of modelphysical model

demonstrative photos

home:Alvar Aalto’s Summer Home in

Muuratsalo, Finland (1953)

The house’s anchoring within the 53,650 sq meter site to a natural rocky platform provides an indirect geo-ther-mal passive system, and the topog-raphy and vegetation protect from air flows and possible floods.

The main experimental areas Aalto mentioned were1. experimenting with building without foundations2. experimenting with free-form brick construction3. experimenting with free-form struc-tures4. experimenting with solar heating

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Murratsalo Summer House

plan , 1/32” = 1’

wind protection

-42-sections, 1/32” = 1’

It seemed to my partner and I that the true roof to Aalto’s house was not made of shin-gles, but of leaves. The stone and trees sur-rounding the house form a protective shell around its walls, sheltering it from the wind and water. Given this, we decided it was the trees that were to become the removeable roof in our interactive model. We adapted the model of the foosball table, attaching stylized trees to rotating handles through a rounded double platform.

trees and handles, in plan

tree with handle, exploded

The key to uncovering the hidden house below is that people must work together to manipulate the trees: a han-dle on one side corresponds to a tree on the opposite side. There is a specific order that the trees must be moved in, and donors at the fundraiser must play with the model together if they are to discover the house within.

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The name of the game is play, as it was for Aalto; just as he played with materials and patterns in the courtyard, so too must donors play with our deposit box of a model.

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My partner and I worked closely together on this project, using our shared ideas of what makes a home to help come up with our scheme. Individually, we each constructed part of the model and cre-ated some of the images; my primary contributions included the plan, sections, and this rendering of the Aalto house in Muuratsalo, as well as the physically modeled house and some of the trees.

Together, we presented our work to the donors of the Upstate Homeless Coalition, in honor of Alvar Aalto

and those most in need of a place to call home.

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i n s i d e o u t s i d e

purpose:Design a children’s playhouse within an 8’x8’x8’ volume to present at the NARI “Parade of Playhomes” at the Southern Ideal Home Show. Follow safety standards for youth occupants.

Summer 2013Eddie DeRhodesDeRhodes Construction, L.L.C.

project deliverables:perspectives, elevations

necessary diagramsconstruction documents

built playhouse

represented firm:DeRhodes Construction, L.L.C.

Charlotte, NC

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8’

8’

8’

8’

This design competition was a culmination of the construc-tion principles I learned while at my internship at DeRhodes Construction, a general con-tracting firm. The design con-straints were simple: to create a child’s playhouse within an 8’ cubic volume that was creative, original, but also safe. The final design would be constructed, transported, and sold at auction for charity.

To begin, Mr. DeRhodes gave me a few simple instructions: use a series of intersecting planes, keep it simple, and make it buildable. After that, the design was largely left up to me. I had a few goals of my own: maximize the space, make it fun, and win the architectural design award.

4 1/2"

1' 3"

1' 11"

45°

65°

6' 1/16"

4' 2"

R 1/2"

R 1"

2' 9 5/8"

4' 10 1/2"

R 1/2"

4 1/16"

4 1/2"

3' 7 1/8"

4' 13/16"

1' 9 3/16"

1' 3"

1' 11"

8'

65°

3' 7 1/8"

4 1/2"

4' 8 1/2"

2' 6 1/2"

5' 2 5/16"

2' 10 1/16"

65°

4' 5 3/8"

2' 9 5/8"

3' 11 15/16" 4' 10 1/2"

4 1/2"

R 1"

R 1/2"

2"

1 1/2" insertion

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1/4” = 1’

Given a child’s small stature, I realized I could have two levels of space within the given volume. Combining this idea with the concepts of inter-secting planes and “keeping it simple” and “build-able”, I came up with a series of panels and parts. These included four walls, two floor plates, a stair, a slide, a planter, and the necessary safety bars.

If I was going to maximize the space, this was how I could do it: providing as many ways to play as possible within the cubic volume. This was how I developed the title Inside-Outside: no matter what side a kid is on, there is something to play with.

Once the basic panel shapes were determined, I had to devise a method of construction; I first designed a wedge-method of connection, then discovered a flat connection with bolts was easier. A summer at a contracting firm tought me how to simplify where you can.

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The final design comprised multiple play methods as I’d hoped: climbing, sliding, swinging, digging, and crawling. Activity is important, but so is safety; the top level includes a child-safe railing height and spacing.

elevations

north

west

east

south

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Designing the playhouse in a series of panels proved useful in the construction; each was constructed separately, then all were put together at the show. This was one of our selling points at the auction.

My design fulfilled all of my hopes: the kids loved it, it maximized the space, and most of all, it won the

Best Architectural Design award. I was proud to represent DeRhodes Construction at this charity event;

my internship there was an invalu-able experience.

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educat ionBachelor of Arts from Clemson University (anticipated May 2014)Enrolled in Calhoun Honors CollegeMajor: ArchitectureMinor: EntrepreneurshipGPA: 3.97

Internship at DeRhodes Construction, L.L.C - General contractor firm - Summer 2013 in Charlotte, NC - Edited existing construction drawings, designed original residential additions - Represented firm at and won design competitionResearch into Mental Health Facilities - Fall semester 2013 - Assistance from FreemanWhite, Inc, international medical architecture firmDesign-Build Project with Freedom By Design (AIAS) - Wheelchair ramp for family in Anderson, SC - Participated in design stage - Helped build foundation and post elements for ramp

work & research exper ience

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- Palmetto Fellow Scholarship- Abney Foundation Scholarship- Won group design competition at South Quad Conference, Fall 2012- Won Best Architectural Design award for NARI Parade of Playhomes design competition, Summer 2013

honors & awards

- Computer drafting, digital rendering and modeling- Hand-sketching, -rendering, and -modeling- Analytical, creative, and communicative skills

re la ted sk i l l s

p ro fess iona l o rgan iza t ions & a f f i l i a t ions- Member of AIAS and Freedom By Design- Member of Alpha Delta Lambda, Phi Kappa Phi, and Tau Sigma Delta

con tac tSarah Wilson

4128 Birkshire HeightsFort Mill, SC 29708

(803) 984-0386svwilso@g.clemson.edu

resume