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French Quarter Concert Hall New Orleans, Louisiana CAP Studio, Spring 2017 Critic: Kutan Ayayta Groupmates: Liyu Xue & Janice Kwok

While all team members contributed to the overall design of the project, each member took charge of individual aspects of the project. Their contributions are outlined below. Reese Christensen: Concert hall design, Exterior facade details, Final floor plans, Final section drawings, Final elevation drawings Janice Kwok: Landscape design, Lobby and rehearsal space design, Structural design, Structural diagrams, Final landscape drawings Liyu Xue: Glass facade design, Lobby and rehearsal space design, Glass facade details, Facade Diagram, Renderings

This project is a concert hall located between the Eastern edge of the French Quarter and the Mississippi River. As the project took place in Pratt’s Capstone Studio each team was tasked with designing the concert hall while addressing the demands of structure, mechanical systems, and facade assembly while also addressing the climactic issues such as the potential for flooding and hurricanes. The project initiated with a questioning of the typical programatic layout of the concert hall. The building was split into two separate buildings. The first building housed both the front and back of house programatic elements. This included the lobby, ticketing, offices, cafe, practice spaces, and artist’s lounge. The other building houses the concert hall itself. Connecting them is a series of three crystalline bridges and an underground level which houses the loading bay, mechanical rooms, and storage.


The design process initiated with an exercise in which a black and white image was taken and manipulated through a series of trimming and mirroring moves. A topographical drawing was then created from the resulting image. The topographical study was then used to create a language that was used in the landscape, facade, concert hall layout, and ceiling designs.

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St Louis St.

Toulouse St.

Decatur St

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9

Plinth Floor Plan


First Floor Plan

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11

Second Floor Plan


Third Floor Plan

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13

Fourth Floor Plan


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Emotion As Mechanism Studio of Experiments, Spring 2018 Critic: Lindy Roy, Jeffrey Anderson

This project seeks to bridge the gap between emotional experience and the built environment. The project initiated with in depth research of the the neurological, psychological, and physiological processes underlying human emotion. Initially focusing on the external stimuli behind emotion, research then started to move toward the parts of the brain responsible for processing human emotion and the ways that these areas are formed. The research culminated in an in depth investigation of the chemical releases responsible for emotion, the physical effects that they produce within the human body, and how they can be artificially produced through external stimuli. The design proposal was then to create a kinetic architectural system with the capabilities of taking on the physiological responses outlined in the research. Using Arduino and a series of relays, linear actuators, and ultrasonic sensors a nine foot long, kinetic wall was created. Composed primarily of a series of reflective fins and a backing structure, the wall had the capability of pulsing fins according to a pre-programmed heart beat as well as react to a person’s proximity. Projectors were then used to superimpose color and light onto the fins’ reflective surfaces. With further development, the wall could react to live inputs such as heart beat, breathing rate, brain activity and body posture through monitoring instruments such as heart rate monitors and electroencephalographs.


PRODUCED IN HYPOTHALMUS SECRETED BY POSTERIOR PITUITARY GLAND

MAINTAINS SOCIAL BONDS HELPS STRESS REGULATION MODULATES FEAR MODULATES PRO-SOCIAL BEHAVIORS AND STIMULI LOWERS BLOOD PRESSURE MOTIVATION LOWERS HEART RATE SOCIAL RECOGNITION REDUCES PAIN PERCEPTION TRUST LOWERS NOREPINEPHRINE LEVELS PAIR BONDING

OXYTOCIN AM DEPRESSION

HY

CONTROLS BLOOD PRESSURE MODULATES SALT BALANCES MODULATES MEMORY FORMATION CONTROLS BLOOD SUGAR REGULATES METABOLISM REDUCES INFLAMATION

PRODUCED IN ADRENAL GLANDS

HP CORTISOL

ANXIETY

LS MODULATES SLEEP REDUCES ALERTNESS LOWERS BODY TEMPERATURE SUPRESSES CORTISOL

IC

HAPPINESS

IC

REGULATES MOOD HAPPINESS & ANXIETY

VS ENTERS BODY THROUGH DIET

HELPS WITH DIGESTION HEALS WOUNDS MAINTAINS BONE HEALTH OFTEN TIED TO DOPAMINE

CG ANGER

AM

DIET SUNLIGHT EXERCISE MEDITATION

RELEASED IN DARKNESS RELEASED BETWEEN 9PM AND 9AM

MELATONIN

SEROTONIN

SEROTONIN SURPLUS DECREASED LIBIDO NORMAL SEROTONIN LEVELS (101-283 NG/ML) EMOTIONALLY STABLE REDUCES DEPRESSION LESS ANXIOUS HAPPIER FOCUSED CALMER SEROTONIN DEFICIENCY INCREASED LIBIDO ANXIETY DEPRESSION INSOMNIA

HY

INSOMNIA IMPULSIVE BEHAVIOR DEPRESSION ANXIETY MOODINESS ADDICTION ACCUPUNCTURE ACHES AND PAINS MASSAGE DARK CHOCOLATE ENDORPHIN DEFICIENCY EXERCISE REDUCE WEIGHT INDUCES EUPHORIA MUSIC AND ART MODULATES APPETITE DANCE MAXIMIZES PLEASURE ALCOHOL HELPS REDUCE DEPRESSION MEDITATION BOOSTS SELF-ESTEEM SPICY FOOD REDUCES PERCEPTION OF PAIN LAUGHTER

CN AM INFATUATION

HY

VT

WORKS WITH OPIATE RECEPTORS

ENDORPHINS

DISGUST

IC

AROMATHERAPY

DOPAMINE

FEAR

HELPS WITH REINFORCEMENT HELPS SUBJECTS MODIFY BEHAVIOR TO ATTAIN REWARDING EXPERIENCES ASSOCIATED WITH HAPPINESS IN VENTRAL FRONTAL CORTEX ASSOCIATED WITH SADNESS IN ANTERIOR INSULA MEDIATES POSITIVE MOOD EFFECTS DRIVES MOTIVATION FOCUS

INCREASED BRAIN ACTIVITY CALORIC RESTRICTION SETTING AND ACHIEVING GOALS MEDITATION MASSAGE THERAPY EXERCISE SLEEP SUNLIGHT DIET DISFUNCTIONAL DOPAMINE SYSTEM LEADS TO AGGRESSION

MAINTAINS PLEASURE AND REWARD SYSTEM OFTEN TIED TO SEROTONIN

AM

DOPAMINE DEFICIENCY PARKINSONS DISEASE PRONE TO ADDICTION ANHEDONIA ADRENALINE PRODUCED IN ADRENAL GLANDS

EPINEPHRINE

SUPRISE

RELEASED DURING ACUTE STRESS TRIGGERED BY ANGER INCREASES CARDIAC OUTPUT TRIGGERED BY FEAR RAISE GLUCOSE LEVELS RELATED TO FIGHT-OR-FLIGHT RESPONSE RESTRICTS BLOOD FLOW ASSOCIATED WITH ATTRACTION AND AROUSAL

IFG HP NOREPINEPHRINE

STRESS HORMONE SYNTHASIZED FROM DOPAMINE RELEASED BY ADRENAL MEDULLA BINDS TO ADRENERGIC RECEPTORS

TRIGGERED BY STRESSFUL EVENTS SHOCK TO THE BODY BURSTS CAN CAUSE PANIC ATTACKS INSOMNIA EXERCISE DIET ANXIETY NOREPINEPHRINE EXCESS AFFECTS ATTENTION RELATED TO FIGHT-OR-FLIGHT RESPONSE AFFECTS IMPULSE REACTIONS ALLOWS ONE TO REACT QUICKLY IN AN EMERGENCY INCREASES HEART RATE AFFECTS FOCUS RELEASE OF GLUCOSE TRIGGERED LEADS TO BRAIN FOG INCREASED BLOOD TO SKELETAL STRUCTURES LEADS TO LETHERGY

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Botanists’ Micro Housing Brooklyn, New York Urban Mixed Use Studio, Fall 2016 Critic: Maria Sieira

This project is a multi-use residential building with an additional semi-public programatic element added to it. The entirety of the program has been built around the idea of a botanist as the main inhabitant of the project. This is primarily manifested through the semi-public spaces within the project. These spaces are a seven story rainforest biome and a genetics modification lab. The biome is climactically altered to mimic that of a rainforest so as to provide the opportunity for the production and growth of plants that could normally not be found on the East Coast. The biome is the central core of the building and is surrounded on its North, South and East sides with the dwelling units. Each dwelling unit is two stories tall and is composed of a two story atrium, a small kitchen, bathroom and a lofted bedroom looking into the atrium. Each atrium houses its own green wall with a two story curtain wall. Finally, each apartment is equipped with two balconies: one facing outward through the facade out toward the street and one facing into the biome.

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29


The initial design exercises started with the mimicking of the overall form of the bromeliad leaf. Using Rhino and Grasshopper, the initial form was then arrayed into a hexagonal field. A number of studies was then done where the individual components within the array were rotated, scaled, and deformed to create a series of patterns and conditions which could then be applied to the facade of the building.


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The form and inspiration of this project is a function of the desire to collect water for the greenhouse as well as to provide shading for the dwelling units. This is primarily achieved through the facade of the building. The facade is comprised of two components. The first is a deformed hexagonal grid that acts as the primary structure for the facade. The second component is a series of spines that are placed at the center of each hexagon. These spines were originally modeled from a bromeliad leaf with the intent of providing a form that can both provide shading and collect water. These spines are then scaled and rotated into place so as to control light exposure in the living units. Finally, all water is collected and redirected behind the hexagonal grid where it is then redirected into the biome.

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Standard Apartment Floor 1A

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35

Standard Apartment Floor 1B


The apartment layouts were designed to accommodate both the living quarters for two people and an indoor garden. The front of the apartment is a two-story tall atrium. At the back sits the mezzanine with a bathroom and kitchen located beneath it. The front wall is a glass wall tilted according to the maximum sunlight exposure. Each apartment was also given two balconies. One is at the front and faces outside. The other is accessed through the second floor mezzanine and faces into the central biome. Programmatically, the apartment was split into two zones. The first zone is the zone which receives direct sunlight for more than four hours a day. This zone was used for accommodating the programatic aspects that could be shared between the occupants and their garden. This resulted in a kitchen/dining room that could be used for both the preparation of food and for the potting of plants, and a showering area that could be used for both showering and watering the plants. The second zone was the zone that received little light. This was the area that needed to remain clean for the occupants. It includes a powder room and food storage on the first floor and a bedroom area on the second floor mezzanine.

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The Keret House, Ja Warsaw, Polan


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Design Within Reach Showroom La Jolla, California Retail DFA Design and Architectural Studio

Responsibilities: -Head up coordination of all engineers and consultants for project -Carry project through Schematic Design and Design Development phases -Storefront and canopy design -Design of “Design Pavilion� including millwork and undulating wood ceiling -Creation of renderings, diagrams, and presentation material -Creation of Construction Documents and details -Aid in bidding process and Construction Administration

The project is a new Design Within Reach showroom in San Diego. Being located in the UTC Westfield shopping center, the project design had to respond to a series of challenging existing site conditions as well as meet the strict design criteria set forth by the landlord. The showroom is an interior fit out encompassing 8,500 sf of showroom with 28 room displays and back of house storage. Included in the project design is a new storefront, alteration of the existing canopy, and the design pavilion. The project is currently under construction and will be completed Spring 2019.

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39


A

A

B

C B

C

D

D

A

7

A

B

10

9

9

6

C

D

D

E

E

7

02

10

C B

02

02

02

02

02

02

02

6

01

01

01

01

01

01

STORAGESTORAGE 102 102

IT ROOM IT ROOM 104 104

STAFF 103 ELEC. 106

ELEC. 106

STAFF 103 STAFF WCSTAFF WC 105 105

JAN. CLOS. JAN. CLOS. 107 107

CLOSET CLOSET 108 108

01

01 02

8

07

07

08

08

02

02

02

01

01

01

01

02

02

01

01

02

02

02

02

02

02

02

STORAGE STORAGE AREA AREA FURNITURE FURNITURE PLAN PLAN 02 SCALE: 3/16" SCALE: = 1'-0" 3/16" = 1'-0"

N

Back of House Plan N

5

FURNITURE FURNITURE PLAN LEGEND PLAN LEGEND

5

EXISTING EXISTING CONSTRUCTION CONSTRUCTION TO TO REMAIN (FIELD REMAIN VERIFY (FIELD EXACT VERIFY EXACT LOCATION) LOCATION)

NEW CONSTRUCTION NEW CONSTRUCTION

SALES FLOOR SALES FLOOR 101 101

CUSTOM FURNITURE CUSTOM FURNITURE 11 4

11

03

03

05

05

4 06

NOT IN SCOPE NOT IN SCOPE

06

LEASE LINE LEASE LINE

FURNITURE FURNITURE SCHEDULE SCHEDULE KEY DISPLAY KEYTYPE DISPLAY TYPE

#

SIZE #

02

SIZE SUPPLY/INSTALL SUPPLY/INSTALL

1

CHAIR1DISP CHAIR (BUILT DISP IN)(BUILT IN)7

2

14 7' x 2'-6" 14 7' x OWNER/GC 2'-6" CHAIR2DISP CHAIR (FREE DISP STAND) (FREE STAND) OWNER/GC

3

3 UNIT SWATCH SWATCH A UNIT A

1

1 SEE A730 SEE OWNER/GC A730 OWNER/GC

4

4 UNIT SWATCH SWATCH C UNIT C

1

1 SEE OWNER/GC A730 OWNER/GC SEE A730

5

5 SHELVING SEE OWNER/GC A730 UNIT C + FRAME 1 OWNER/GC SHELVING UNIT C + FRAME 1 SEE A730 END + SINGLE TOP FRAME END + SINGLE TOP FRAME

02

7 SEE OWNER/GC SEE A751 A751 OWNER/GC 09

02

09

04

02

6 PAVILION 1 1 DESIGN PAVILION SHELF SEE OWNER/GC A731 OWNER/GC DESIGN SHELF SEE A731

7

7 RUG DISPLAY RUG DISPLAY

8

8 RUGSWATCH 1 DISPLAY SWATCH RUG DISPLAY

9

DESIGN 9 TABLE DESIGN TABLE

1

10

10 FEATURE FEATURE DISPLAY DISPLAY

1

11

BUILT IN MONITOR BUILT11 IN MONITOR

1

1

1

OWNER/GC OWNER/GC

1

OWNER/GC OWNER/GC

SEE A750 1 SEE A750 GC/GC 1

GC/GC

OWNER/GC OWNER/GC

1 SEE OWNER/GC A752 OWNER/GC SEE A752

3

3

02

2

1

02

02

02

10

10

10

10

2

1

ENTRY

ENTRY

Showroom Plan ALL EXISTING DIMENSIONS TO BE VERIFIED ALL EXISTING DIMENSIONS TO BE VERIFIED IN FIELD IN FIELD

01

SALESSALES FLOOR FLOOR FURNITURE FURNITURE PLAN PLAN 01 3/16"SCALE: SCALE: = 1'-0" 3/16" = 1'-0"

40 N

6

04

N

8


2

2

2

2

BUILT-IN CHAIR DISPLAY

SEE A-910 FOR FINISH SCHEDULE

1

2

6

3

4

A

03 A-301

EL. +18' - 1" EL. +18' DECKING - 1" METAL METAL DECKING

04 A-301

B

07 A-301

01 A-300

5

C

02 A-300

03 A-300

02

TYP

SALES FLOOR NORTH ELEVATION 2 SCALE: 1/4" = 1'-0"

6

D

E

01 A-301

04 A-300

EL. +12' - 6 1/2" EL. 6 1/2" TOP+12' OF -STOREFRONT TOP OF STOREFRONT EL. +11' - 0" EL. +11' - 0" CEILING DATUM UNDULATING UNDULATING CEILING DATUM EL. +10' - 0" EL. +10'CEILINGS - 0" DROP DROP CEILINGS

1 2"

REVEAL MT-1B, TYP 1 2"

1 2"

BUILT-INPT1 CHAIR DISPLAY

1 2"

REVEAL MT-1, TYP

PT1

PT1 PT1

PT1

PT1

PT1

1 2"

REVEAL MT-1, TYP

02

FREE-STANDING CHAIR DISPLAY

REVEAL MT-1, TYP

04 A-300

1 2"

REVEAL MT-1, TYP

1 2"

B

REVEAL MT-1, TYP

D

1 2"

REVEAL MT-1, TYP

1 2"

REVEAL MT-1, TYP

01 D

A

03 A-300

6

02 A-300

01 A-300

5

C 04 A-300

4

01 A-301

EL. +18' - 1" EL. +16' DECKING - 10" METAL TOP OF STOREFRONT

1 2"

REVEAL MT-1, TYP

SCALE: 1/4" = 1'-0"

C

EL. +18' - 1" METAL DECKING

FREE-STANDING CHAIR DISPLAY

SALES FLOOR REAR WEST ELEVATION

D

07 A-301

03 A-300

TOP OF DRYWALL +9'-11

SALES FLOOR NORTH ELEVATION 3 03 EAST SCALE: ELEVATION 1/4" = 1'-0" SALES FLOOR

M

SCALE: 1/4" = 1'-0"

B

A 02 A-300

3

01 A-300

2

04 A-301

L

03 A-301

TOP OF DRYWALL +9'-11 21"

PT1

EL. +12' - 6 1/2" EL. 0" TOP+11' OF -STOREFRONT UNDULATING CEILING DATUM

P

PT1

PT1

PT1

CF EL. +0' - 0" EL. +0' -FLOOR 0" FINISH FINISH FLOOR 1 2"

REVEAL MT-1, TYP PT1

PT1 PT1

1 2"

PT1

G3

REVEAL MT-1B, TYP

P REVEAL MT-1, TYP

PT1

S

1 2"

EL. +10' - 0" DROP CEILINGS EL. +10' - 0" DROP CEILINGS 1 2"

1 2"

REVEAL MT-1, TYP

REVEAL MT-1, TYP

PT1

1 2"

G3

FREE-STANDING CHAIR DISPLAY

REVEAL MT-1, TYP

PT1 1 2"

G3 REVEAL MT-1, TYP

G3 PT1

PT1

PT1 PT1

PT1

PT1 PT1

PT1

PT1 FREE-STANDING CHAIR DISPLAY

FREE-STANDING CHAIR DISPLAY

EL. +0' - 0" FINISH FLOOR

1 2"

EL. +0' - 0" FINISH FLOOR 1 2"

REVEAL MT-1, TYP

" REVEAL SCALE: 1/4" =21'-0"

1 2"

MT-1, TYP

1 2"

D

C 04 A-300

EL. +18' - 1" METAL DECKING

B

1 2"

1 2" REVEAL MT-1, TYP

REVEAL MT-1, TYP

SALES 1FLOOR DESIGN PAVILION ELEVATION

04

BUILT-IN CHAIR DISPLAY

03

REVEAL MT-1, TYP

REVEAL MT-1, TYP

04

A

03 A-300

02 A-300

REVEAL MT-1, TYP

SALES FLOOR WEST ELEVATION SCALE: 1/4" = 1'-0"

SALES FLOOR SOUTH ELEVATION SCALE: 1/4" = 1'-0"

01 A-300

EL. +11' - 0" UNDULATING CEILING DATUM EL. +10' - 0" DROP CEILINGS

C L

ALCOVE FREE-STANDING CHAIR DISPLAY

FREE-STANDING CHAIR DISPLAY PT1

PT1

PT1

PT1

3

EL. +0' - 0" FINISH FLOOR

1

1 2" 1 2"

REVEAL MT-1, TYP

SALES FLOOR DESIGN PAVILION ELEVATION

07

06

SCALE: 1/4" = 1'-0"

1 2"

REVEAL MT-1, TYP

REVEAL MT-1, TYP

RUG DISPLAY WALL REAR ELEVATION

05

SCALE: 1/4" = 1'-0"

FREE-STANDING CHAIR DISPLAY

1

RUG DISPLAY

2 1

RUG DISPLAY WALL FRONT ELEVATION SCALE: 1/4" = 1'-0"

A

EL. +18' - 1" METAL DECKING

1 2"

REVEAL MT-1, TYP

EL. +10' - 0" DROP CEILINGS

C L

C L

PT1 PT1 RUG SWATCH DISPLAY PT1

EL. +0' - 0" FINISH FLOOR 1 2"

REVEAL MT-1, TYP

PT1

1 2"

PT1

REVEAL MT-1, TYP

PT1

1 2"

PT1

1 2"

REVEAL MT-1, TYP

REVEAL MT-1, TYP

FEATURE RUG DISPLAY

12

41

RUG SWATCH DISPLAY ELEVATION SCALE: 1/4" = 1'-0"

11

RUG DISPLAY ELEVATION SCALE: 1/4" = 1'-0"

10

REAR VESTIBULE EAST ELEVATION SCALE: 1/4" = 1'-0"

09

REAR VESTIBULE SOUTH ELEVATION SCALE: 1/4" = 1'-0"

08

REAR VESTIBULE NORTH ELEVATION SCALE: 1/4" = 1'-0"


The “Design Pavilion” is a new concept being rolled out in future Design Within Reach stores. This store was one of two stores used to develop the design pavilion concept. DFA worked with the client to create a number of schemes and iterations of the pavilion DESIGN spaceDESIGN along with various methods of construction. The pavilion” PAVILION PAVILION MILLWORK MILLWORK UTC LA UTC JOLLA LA JOLLA 50 final 50“design

is composed of a set of free standing pieces of millwork enclosing a series of pinup, meeting, and workshop spaces. Tying all these together is an undulating, wood louver ceiling. Involvement included the entirety of the design process, aiding in the design and detailing of standard millwork, and designing/detailing the wood ceiling.

42


3

2

3

2

DESIGN PAVILION CEILING SECTION 4 1

04

SCALE: 3/8" = 1'-0"

EL. +18' - 1"

EL. +1

1

EL. +18' - 1"

EL. +1

EL. +16' - 5"

EL. +1

EL. +16' - 5"

EL. +1

EL. +11' - 4"

EL. +1

EL. +11' - 0" EL. +11' - 4"

EL. +1 EL. +1

EL. +11' - 0" EL. +9' - 3"

EL. +1 EL. +9

EL. +9' - 3"

DESIGN

02

THREADED ROD TO BE SECURED TO EXIST. BEAM ABOVE AND SPACING TBD PAVILION SIZE CEILING SECTION

EL. +9

3

SCALE: 3/8" = 1'-0"

SLOTTED HOLE DESIGN PAVILION CEILING SECTION 3

02

UNISTRUT CHANNEL SIZE TBD.

SCALE: 3/8" = 1'-0"

3

2

1

3

2

1

THREADED ROD ASSEMBLY BETWEEN UNISTRUT AND WOOD SLATS SEE 4,5,6/A712 FOR DETAILS

EL. +18' - 1" EL. +18' - 1" EL. +16' - 5"

EL. +1

EL. +1

EL. +1

1" X 2 1/2" WOOD SLAT SUSPENDED FROM UNISTRUT WD-6

EL. +16' - 5"

EL. +11' - 4"

EL. +1

EL. +1

EL. +11' - 0" EL. +11' - 4"

EL. +1 EL. +1

EL. +11' - 0" EL. +9' - 3"3

2

EL. +1 EL. +9

1

EL. +18' - 1"

E EL. +9' - 3"

EL. +9

DESIGN PAVILION CEILING SECTION 4

04

EL. +16' - 5"

DESIGN PAVILION CEILING SECTION 4

04

THREADED ROD TO BE SECURED TO EXIST. BEAM ABOVE SIZE AND SPACING TBD

E

SCALE: 3/8" = 1'-0"

SCALE: 3/8" = 1'-0"

SLOTTED HOLE UNISTRUT CHANNEL SIZE TBD. CROSS BRACING AS REQ'D

62

EXISTING BEAMS

EL. +11' - 4"

E THREADED ROD ASSEMBLY BETWEEN UNISTRUT AND WOOD SLATS SEE 4,5,6/A712 FOR DETAILS

EL. +11' - 0"

E

EL. +9' - 3"

E

02

IMPORTANT NOTE:

3

2 ** CEILINGS ELEMENTS ARE NOT TO BE HUNG FROM DECKING ABOVE. ALL CONSTRUCTION TO BE HUNG FROM BEAMS.

EL. +18' - 1"

THREADED ROD TO BE TO SECTION EXIST. DESIGN PAVILION SECURED CEILING 3 BEAM ABOVE THREADED ROD TO BE SCALE: 3/8" = 1'-0" SIZE AND SPACING SECURED TO EXIST.TBD BEAM ABOVE SLOTTED HOLE SIZE AND SPACING TBD UNISTRUT CHANNEL SIZE TBD. HOLE SLOTTED UNISTRUT CHANNEL 1 SIZE TBD. ROD ASSEMBLY THREADED BETWEEN UNISTRUT AND WOOD SLATS THREADED ROD ASSEMBLY SEE 4,5,6/A712 FOR DETAILS BETWEEN UNISTRUT AND WOOD SLATS SEE 4,5,6/A712 FOR DETAILS 1" X 2 1/2" WOOD SLAT SUSPENDED FROM UNISTRUT WD-6 1" X 2 1/2" WOOD SLAT SUSPENDED FROM UNISTRUT WD-6

EL. +16' - 5"

EXIST. CONCRETE SLAB

1" X 2 1/2" WOOD SLAT SUSPENDED FROM UNISTRUT WD-6

EXIST. CONCRETE SLAB

ADJACENT CEILING

E

E

BOTTOM OF EXIST. SLAB

EL. +11' - 4"

E ALL UNISTRUT TO BE HUNG FROM EXISTING BEAMS

WESTFIELD UTC 4305 LA JOLLA VILLAGE BLVD, Suite 2438 SAN DIEGO, CA 92122

EL. +9' - 3"

DESIGN PAVILION

43

UTC LA JOLLA

UNISTRUT IF REQUIRED

IMPORTANT NOTE: IMPORTANT NOTE:

** CEILINGS ELEMENTS ARE NOT TO BE HUNG FROM DECKING ABOVE. ALL CONSTRUCTION TO BE HUNG FROM BEAMS.

ADJUSTABLE HEIGHT

3/8" ∅ SUSPENSION ROD

NUT

EXIST. CONCRETE SLAB EXIST. CONCRETE SLAB

EXIST. CONCRETE EXIST. SLAB CONCRETE SLAB

SLOTTED UNISTRUT

1/8" THK. BENT METAL CLIP POWDER COATED WHITE

ALL UNISTRUT TO ALLBE UNISTRUT TO BE HUNG FROM EXISTING HUNG FROM EXISTING BEAMS BEAMS

1/8" THK. BENT METAL CLIP POWDER COATED WHITE

3/8" ∅ SUSPENSION ROD

43

06

1" X 2 1/2" WOOD SLAT WD-6

UNISTRUT IF NEEDED

DESIGN PAVILION DESIGN PAVILION WOOD SLAT WOOD ASSEMBLY SLAT ASSEMBLY DETAIL DETAIL 06 SCALE: 3" = 1'-0" SCALE: 3" = 1'-0"

05

1" X 2 1/2" WOOD6" SLAT TYP. WD-6

CL

CL

2 1/2"

2 1/2"

6" 3" TYP. TYP.

CL

Design Architect:

DFA

DFA

3" TYP. 3" TYP.

CL CL

04

CL CL

SCHEDULED LIGHT FIXTURE

DFA

MEP Consultant: 3" TYP. 3" TYP.

GAUSMAN &GAUSMAN MOORE & MOORE

700 Rosedale Tower 1700 Highway 36 West Roseville, MN 55113 T. 651-639-9606 main

CL

700 Rosedale Tower

Highway 36 West CL1700 C Roseville, MN 55113L T. 651-639-9606 main

Lighting Consultant: Lighting Consultant:04

MEP Consultant:

1" X 2 1/2" WOOD SLAT SUSPENDED FROM UNISTRUT WD-6

X 2 1/2" WOOD SLAT WOOD SLAT AT DESIGN 1"PAVILION

SCALE: 3" = 1'-0" GAUSMAN & 700 Rosedale Tower LIGHT STUDIO LIGHT LA STUDIO LA 1700 Highway 36 West

3562 Schaefer Street Culver City, CA 90232 kathy@lightstudiola.com T. 310-837-0382

Roseville, MN 55113 T. 651-639-9606 main

3562 Schaefer Street Culver City, CA 90232 kathy@lightstudiola.com T. 310-837-0382

ADJACENT CEILING

Lighting Consultant:

LIGHT STUDIO LA 3562 Schaefer Street ENVISION ENGINEERING ENVISION ENGINEERING Culver City, CA 90232 565 Pearl Avenue, Suite 209 565 Pearl Avenue, Suite 209 LaEXIST. Jolla, CA 92037 La Jolla, CA 92037 CONCRETE SLAB envisionsandiego@sbcglobal.net envisionsandiego@sbcglobal.net T. 619-990-5467 T. 619-990-5467

kathy@lightstudiola.com T. 310-837-0382

Structural Consultant:

ENVISION ENGINEERING 565 Pearl Avenue, Suite 209 La Jolla, CA 92037 envisionsandiego@sbcglobal.net T. 619-990-5467

3" TYP.

CL

SCHEDULED LIGHT FIXTURE UNISTRUT

SLOTTED HOLE UNISTRUT CHANNEL SIZE TBD. THREADED ROD ASSEMBLY BETWEEN UNISTRUT AND WOOD SLATS SEE 4,5,6/A712 FOR DETAILS

SUSPENDED FROM UNISTRUT ADJACENT CEILING MOORE WD-6

ALL UNISTRUT TO BE HUNG FROM EXISTING BEAMS

SCHEDULED SCHEDULED LIGHT FIXTURE LIGHT FIXTURE

THREADED ROD TO BE SECURED TO EXIST. BEAM ABOVE SIZE AND SPACING TBD

Project Description:

Structural Consultant:Structural Consultant:

IF NEEDED WOOD SLAT WOOD AT DESIGN SLAT ATPAVILION DESIGN PAVILION 3" TYP. 3" TYP. SCALE: 3"04 = 1'-0" SCALE: 3" = 1'-0"

6" TYP.

565 Pearl Avenue, Suite 209 La Jolla, CA 92037 envisionsandiego@sbcglobal.net T. 619-990-5467

TENANT IMPROVEMENT

SCHEDULED SUSPENDED LIGHTING TRACK B.O.TRACK TO BE ALIGNED WITH T.O. ADJACENT WOOD SLAT

1/8" THK. BENT METAL CLIP POWDER COATED WHITE

ENVISION ENGINEERING

4305 LA JOLLA VILLAGE BLVD, Suite 2438 TENANT IMPROVEMENT TENANT IMPROVEMENT SAN DIEGO, CA 92122

MEP Consultant: 6" TYP.

CL

UNISTRUT IF REQUIRED

1"

Structural Consultant:

B.O.TRACK TO BE ALIGNED WITH T.O. ADJACENT WOOD WESTFIELD UTC SLAT

Project Description: Project Description:

Design Architect:

EXISTING BEAMS THREADEDEXISTING ROD ASSEMBLY BEAMS BETWEEN UNISTRUT AND WOOD SLATS THREADED ROD ASSEMBLY SEE 4,5,6/A712 FOR DETAILS BETWEEN UNISTRUT AND WOOD SLATS SEE 4,5,6/A712 FOR DETAILS

UNISTRUT IF

Project Location:

1"

SCHEDULED SUSPENDED SCHEDULED SUSPENDED LIGHTING TRACK LIGHTING TRACK B.O.TRACK TO BE B.O.TRACK ALIGNEDTO BE ALIGNED UNISTRUT IF WITH T.O. ADJACENT WITH T.O. WOOD ADJACENT REQUIRED WOOD SLAT SLAT

EXIST. CONCRETE SLAB

1"

1 1/2"

1" X 2 1/2" WOOD SLAT WD-6

UNISTRUT IF REQUIRED

1 1/2"

2 1/2"

CL

PIN CONNECTION ADJUSTABLE ANGLE AT WOOD SLAT WOOD ELEVATION SLAT ELEVATION AT DESIGN PAVILION DESIGN PAVILION SCALE: 3"05 = 1'-0" SCALE: 3" = 1'-0"

1/8" THK. 1/8" THK. BENT METAL CLIP BENT METAL CLIP POWDER COATED POWDER COATED WHITE WHITE 1" X 2 1/2" WOOD SLAT WD-6

SLOTTED UNISTRUT

2 1/2"

HEIGHT VARIES PER SLAT SEE SLAT ELEVATION A713

HEIGHT VARIES PER SLAT SEE SLAT ELEVATION A713 2 1/2"

PIN CONNECTION PIN CONNECTION ADJUSTABLE ANGLE ADJUSTABLE ANGLE

1/4" ∅ THREADED ROD

1"

Project Location:

REQUIRED WESTFIELDWESTFIELD UTC UTC 4305 LA JOLLA 4305 VILLAGE LA JOLLA BLVD, VILLAGE Suite BLVD, 2438 Suite 2438 SCHEDULED SUSPENDED SAN DIEGO,SAN CA 92122 DIEGO, CA 92122 LIGHTING TRACK

CONTECH LIGHTING CABLE MOUNTING KIT 1/16" GALVANIZED STEEL CABLE: 24", 48", OR 180" LENGTH, CUT TO FINISHED LENGTH AS REQUIRED

ROD

UNISTRUT

3/4"

CL

2"

2 1/2"

CL

EXIST. CONCRETE SLAB

1 3/4" 3/4"

ALL UNISTRUT TO BE HUNG FROM EXISTING 1" X 2 1/2" WOOD 1"SLAT X 2 1/2" WOOD SLAT BEAMS WD-6 WD-6

1 3/4" 3/4"

2 5/8"

2 5/8"

2"

1/8" THK. BENT METAL CLIP POWDER COATED WHITE

2 5/8"

1" X 2 1/2" WOOD SLAT WD-6

SLOTTED UNISTRUT 2"

1 1/2"

1/8" THK. 1/8" THK. BENT METAL CLIP BENT METAL CLIP POWDER COATED POWDER COATED EXIST. CONCRETE SLAB WHITE WHITE

BOTTOM OF DECKING, PT-2

HEIGHT VARIES PER SLAT SEE SLAT ELEVATION A713

SLOTTED UNISTRUT1/4" ∅ THREADED ROD ADJUSTABLE HEIGHT

1 1/2" 1 3/4" 3/4"

SLOTTED UNISTRUT

1 1/2"

SLOTTED UNISTRUT 1/8" THK. 1/8" THK. BENT METAL CLIP BENT METAL CLIP POWDER COATED POWDER COATED WHITE WHITE1/4" ∅ THREADED ROD 5/16" ∅ HOLE 5/16" ∅ HOLE 5/16" ∅ HOLE 1/8" THK. BENT METAL CLIP 3/4" ∅ METAL DISC 3/4" ∅ METAL DISC POWDER COATED WELDED TO METAL WELDED ROD TO METAL ROD WHITE 1" X 2 1/2" 1" X 2 1/2" 5/16" ∅ HOLE WOOD SLAT WOOD SLAT WD-6 WD-6 3/4" ∅ METAL DISC WELDED TO METAL ROD

WOOD SLAT ELEVATION AT DESIGN PAVILION 3/8" ∅ 05SLOTTED SCALE: 3" = 1'-0"SUSPENSION

HEIGHT VARIES PER SLAT SEE 3/4"SLAT ELEVATION A713

SLOTTED UNISTRUT

WASHER ROD ∅ THREADED ROD 1/4" ∅ THREADED 1/4" 5/16" ∅ HOLE 5/16" ∅ HOLE

Project Location:

Design Architect:

ROD ∅ THREADED ROD 1/4" ∅ THREADED 1/4"

HEIGHT VARIES PER SLAT SEE SLAT ELEVATION A713

06

GAUSMAN & MOORE 700 Rosedale Tower 1700 Highway 36 West Roseville, MN 55113 T. 651-639-9606 main

LIGHT STUDIO LA

CONTECH LIGHTING CABLE CONTECH LIGHTING CABLE MOUNTING KIT MOUNTING KIT 1/16" GALVANIZED 1/16" GALVANIZED STEEL CABLE: STEEL CABLE: 48", ORCUT 180"TO LENGTH, CUT TO 24", 48", OR 180"24", LENGTH, FINISHED LENGTH AS REQUIRED FINISHED LENGTH AS REQUIRED

1 1/2"

DESIGN PAVILION WOOD SLAT ASSEMBLY DETAIL

1/4" ∅ THREADED 1/4" ROD ∅ THREADED ROD SCALE: 3" = HEIGHT 1'-0" ADJUSTABLE HEIGHT ADJUSTABLE

NUT

CL

SCALE: 3/8" = 1'-0"

MEP Consultant:

3562 Schaefer Street Culver City, CA 90232 kathy@lightstudiola.com T. 310-837-0382

BOTTOM OF EXIST. SLAB

ALL UNISTRUT TO BE HUNG FROM EXISTING BEAMS UNISTRUT IF REQUIRED

DESIGN PAVILION CEILING SECTION 4

Lighting Consultant:

1/8" THK. BENT METAL CLIP POWDER COATED WHITE UNISTRUT IF REQUIRED 1" X 2 1/2" WOOD SLAT WD-6

PIN CONNECTION ADJUSTABLE ANGLE 3/8" ∅ SUSPENSION ROD

3/4"

NUT

WASHER

SLOTTED UNISTRUT

1" X 2 1/2" WOOD SLAT WD-6

HEIGHT VARIES PER SLAT SEE SLAT ELEVATION A713

NUT

WASHER

ADJUSTABLE WOOD SLAT ANGLE SUSPENSION ROD SECURED TO EXIST. SALB ABOVE

UNISTRUT IF REQUIRED

2 1/2"

UNISTRUT IF REQUIRED

SUSPENSION ROD SUSPENSION ROD SECURED TO SECURED TO EXIST. SALB ABOVE EXIST. SALB ABOVE

SLOTTED UNISTRUT

2 5/8"

1" X 2 1/2" WOOD SLAT WD-6

2"

UNISTRUT IF REQUIRED 1 3/4" 3/4"

UNISTRUT IF REQUIRED

1 1/2"

5/16" ∅ HOLE 3/4" ∅ METAL DISC WELDED TO METAL ROD

04

DFA SLOTTED HOLE UNISTRUT CHANNEL SIZE TBD. SLOTTED HOLE AS CROSS BRACING UNISTRUT CHANNEL REQ'D SIZE TBD. CROSS BRACING AS REQ'D

SLOTTED UNISTRUT

2 1/2"

1/4" ∅ THREADED ROD 5/16" ∅ HOLE

HEIGHT VARIES PER SLAT SEE SLAT ELEVATION A713

EXIST. CONCRETE SLAB

BOTTOM OF EXIST. SLAB

1 1/2"

BOTTOM OF EXIST. CONCRETE SLAB EXIST. SLAB

3/4"

1/4" ∅ THREADED ROD ADJUSTABLE HEIGHT

Design Architect:

CONTECH LIGHTING CABLE MOUNTING KIT 1/16" GALVANIZED STEEL CABLE: 24", 48", OR 180" LENGTH, CUT TO FINISHED LENGTH AS REQUIRED

1/4" ∅ THREADED ROD

HEIGHT VARIES PER SLAT SEE SLAT ELEVATION A713

WASHER

SLOTTED UNISTRUT

TENANT IMPROVEMENT

THREADED ROD TO BE SECURED TO EXIST. BEAM ABOVE THREADED ROD TOTBD BE SIZE AND SPACING SECURED TO EXIST. BEAM ABOVE SIZE AND SPACING TBD

IMPORTANT NOTE:

E

Project Description:

UNISTRUT IF REQUIRED

** CEILINGS ELEMENTS ** CEILINGS AREELEMENTS NOT TO BEARE HUNG NOT FROM TO BE DECKING HUNG FROM ABOVE. DECKING ALL ABOVE. ALL CONSTRUCTIONCONSTRUCTION TO BE HUNG FROM TO BE BEAMS. HUNG FROM BEAMS.

SUSPENSION ROD SECURED TO EXIST. SALB ABOVE

E

Project Location:

THREADED ROD TO BE SECURED TO EXIST. BEAM ABOVE

UNISTRUT IF NEEDED

1" X 2 1/2" WOOD SLAT SUSPENDED FROM UNISTRUT WD-6

cified project. None of such ideas, design arrangements or plans shall be used without the written permission of D-FORM-A LLC

EL. +11' - 0"


Storefront Iteration 1

Final Storefront Design

Storefront Iteration 2

44


REFLECTED CANOPY PLAN

09 DD

EE

FF

EXISTING EIFS WALL SYSTEM

GG

HH

L CHANNEL

II

EQ

EXISTING 6" METAL STUD FRAMING AT 16" OC W/ BATT INSULTATION

EQ

EQ

DRIP EDGE

DRIP EDGE

EQ

4'-8 5/8"

7'-9 5/8" EQ

JJ

EXISTING EIFS WALL SYSTEM

25'-10 1/2"

EXISTING 6" METAL STUD FRAMING AT 16" OC W/ BATT INSULTATION

SCALE: 1/2" = 1'-0"

4'-8 1/4" EQ

Project Location:

WESTFIELD UTC 4305 LA JOLLA VILLAGE BLVD, Suite 2438 SAN DIEGO, CA 92122

4" 1"

METAL STUD FRAMING AT 16" O.C. 5 / 8" GYPSUM BOARD

Project Description:

1"

1"

1 5/8"

TENANT IMPROVEMENT METAL STUD FRAMING AT 16" O.C. 05 A-702

L CHANNEL

SIGNAGE BY VENDOR. SEE VENDOR DRAWINGS.

05 A-702

C CHANNEL

5 / 8" GYPSUM BOARD

Design Architect:

DFA

EXTRUDED ALUMINUM FRAME EXISTING EIFS WALL SYSTEM

CORRUGATED PERFORATED ALUMINUM SCREEN EXISTING EIFS WALL SYSTEM

MEP Consultant:

GAUSMAN & MOORE 700 Rosedale Tower 1700 Highway 36 West Roseville, MN 55113 T. 651-639-9606 main

EXTRUDED ALUMINUM FRAME

6" METAL STUD FRAMING AT 16" OC W/ BATT INSULTATION

EXTRUDED ALUMINUM FRAME 6" METAL STUD FRAMING AT 16" OC W/ BATT INSULTATION

Lighting Consultant:

5'-11 3/4"

CORRUGATED PERFORATED ALUMINUM PANEL

LIGHT STUDIO LA 3562 Schaefer Street Culver City, CA 90232 kathy@lightstudiola.com T. 310-837-0382

CORRUGATED PERFORATED ALUMINUM PANEL

05

1 / 2" SHEATHING

Structural Consultant:

TYPICAL LOUVER DETAIL

ENVISION ENGINEERING

SCALE: 6" = 1'-0"

1 / 2" SHEATHING

565 Pearl Avenue, Suite 209 La Jolla, CA 92037 envisionsandiego@sbcglobal.net T. 619-990-5467

EXISTING BEAM BY LANDLORD ALUMINUM EDGE CAP

EXISTING BEAM BY LANDLORD

03 A-702

EXISTING ALUMINUM CANOPY STRUCTURE

EXISTING ALUMINUM CANOPY STRUCTURE

04

04/05 A-714

CONTINUOUS L CHANNEL

EXISTING ALUMINUM CANOPY STRUCTURE

EXISTING ALUMINUM CANOPY STRUCTURE

03

02

02 -

02/03 A-714

CONTINUOUS L CHANNEL

3/

6" M 03 EXISTING CANOPY STRUCTURE

CURTAINWALL

LAMINATED GLASS, G-3

05 A-701

WEATHER TREATED WHITE OAK LOUVERS

V.I.F. ≈ DIM +/- 6'-0 1/8"

EXISTING CANOPY STRUCTURE TO BE PAINTED

1" REVEAL

CORRUGATED PERFORATED ALUMINUM PANEL

03 04

TYPICAL CANOPY LOUVER DETAIL SCALE: 6" = 1'-0"

CANOPY DETAIL AT TYPICAL STOREFRONT SCALE: 3" = 1'-0"

2 3 1

02/11/19 02/04/19 01/07/19

ISSUE FOR PERMIT ADD CONSTRUCTION

SFJ

REVISION 2 - LAYOUT ADJUSTMENT- 2019-02-04

SFJ

ISSUE FOR CONSTRUCTION

SFJ

2

12/13/18

REVISION 1 - PERMIT COMMENTS - 2018-12-13

SFJ

1

11/05/18

ISSUE FOR 100% BID & PERMIT

SFJ

ARCHITECT OF RECORD:

ALUMINUM EDGE EXISTING ALUMINUM CANOPY STRUCTURE

1" REVEAL EL. +0' - 0" FINISH FLOOR

1" REVEAL

NEW WOOD FLOOR, WD-1

CURTAINWALL

Stantec Architecture 9191 Towne Centre Drive, Suite 220 , San Diego, CA 92122 (858) 622-2730

NEW WOOD FLOOR, WD-1 EL. +0' - 0" FINISH FLOOR

EL. -0' - 1" EXTERIOR PAVING

DESIGN WITHIN REACH

CURTAINWALL METAL FLASHING TO MATCH CURTAINWALL

CONTINUOUS L CHANNEL

CONTINUOUS L CHANNEL

DESIGN WITHIN REACH

EL. -0' - 6" EXTERIOR PAVING

CONCRETE FOOTING FOR CURTAINWALL

CONCRETE FOOTING FOR CURTAINWALL 2 1/2"

STOREFRONT TYPICAL DETAILS VARIES DATE: 12/13/2018 PROJECT NO: 18-10

1 1/2"

EXISTING CONCRETE SLAB

1 1/2"

1 1/2"

1 1/2"

1 1/2"

1 1/2"

1 1/2"

1 1/2"

1 1/2"

1 1/2"

1 1/2"

WEATHER TREATED WHITE OAK LOUVERS

DETAIL AT FLOOR- EXTERIOR NEAR GRID LINE A SCALE: 3" = 1'-0"

01

A702

DETAIL AT FLOOR- EXTERIOR NEAR GRID LINE D SCALE: 3" = 1'-0"

03

6"

3"

45

1 DRAWING 1/2" 1 1/2" BY: RC

CANOPY EDGE DETAIL SCALE: 6" = 1'-0"

08

02

WOOD LOUVER DETAIL SCALE: 6" = 1'-0"

WEATHER TREATED WHITE OAK LOUVERS

L CHANNEL

V.I.F. ≈ DIM +/- 4'-0 7/8"

CANOPY PLAN SCALE: 1/2" = 1'-0"

SLOPE: 1:48

1 1/2"

1 1/2"

WEATHER TREATED WHITE OAK LOUVERS

EXISTING CONCRETE SLAB

02

1 1/2"

04 A-702

2 1/2"

V.I.F. ≈ DIM +/- 6'-0 1/8"

D-FORM-A LLC

C CHANNEL

copyright © 2009

1 7/16"

25'-10 1/2"

4'-0 1/8"

CORRUGATED PERFORATED ALUMINUM PANEL

CANOPY DOWN LIGHTING. SEE LIGHTING DRAWINGS

1 3/4"

ALUMINUM ANGLE FOR SIGNAGE LIGHTING AND LIGHTING CONDUIT C CHANNEL

all ideas, designs, arrangements and plans indicated or represented by this drawing are owned by and the property of D-FORM-A LLC and were created, evolved, and developed for use on, and connection with the specified project. None of such ideas, design arrangements or plans shall be used without the written permission of D-FORM-A LLC

7 3/4"

1 3/4"

CONTINUOUS L CHANNEL

1"


Section

46


77 Washington Place New York, NY Multifamily Residence PLAN Design Group

Responsibilities: -Aid in creation and assembly of zoning studies -Aid in creation and development of layout options for client -Aid in finish selection -Creation of presentation material for client -Creation of presentation material and documentation for Landmarks -Aid in creation of construction documents -Attend site visits and aid in construction administration

The project is a historic Greek Revival brownstone dating back to 1884. Being located in Greenwich Village, the building is landmarked. As such, great care had to be taken to preserve its historical integrity while also providing for the high demands of the luxury real estate developer. The project is composed of six luxury rental apartment units, a rooftop patio, and supporting amenities. During construction, the front and rear facades of the project were preserved and restored. All remaining construction and utilities were replaced. Completion is expected Spring 2019.

47

Front Elevation

Rear Elevation


Overall Ground Floor Plan

Ground Floor Unit

Duplex Unit

48


49

Second Floor Unit

Third - Fifth Floor Units

Roof Patio


Photos provided by New York Residence, Inc

50


51


183 Avenue B New York, NY Multifamily Residence PLAN Design Group

Responsibilities: -Aid in creation of zoning and feasibility studies -Aid in all aspects of Schematic Design and Design Development phases -Creation of presentation material for client -Creation of construction documents -Aid in coordination of all engineers and consultants -Aid in bidding and bid leveling processes

183 Avenue B is currently a four story townhouse located in New York City’s East Village. The project proposal is to demolish the existing building and replace it with a nine story luxury residential building. In the 17 ft wide site, PLAN was able to design a 12 unit apartment complex with three roof terraces, a tenant common room and community garden, a green wall, and ground floor retail space.

Front Elevation

Rear Elevation

52


53

Section


RESIDENTIAL FAR: 4.0 USE:Zoning GROUP 2 (INCLUDING REAR BUILDING) – 183 Avenue B.

Zoning and Massing Studies

LOT:Manhattan Block: 394; 5 EXISTING LOT Lot: (17’-2”X93’-0” + 8’-7”x22’-0”): ZONING: R7A RESIDENTIAL MAX BUILDABLE AREA (WITHOUT AIR RIGHTS PURCHASE): LANDMARK STATUS:NO TOTAL BUILDABLE AREA (WITH AIR RIGHTS PURCHASE): RESIDENTIAL FAR: 4.0 MAXUSE: LOTGROUP COVERAGE: 2 (INCLUDING REAR BUILDING) PROPOSED LOT COVERAGE REQUIRED REAR YARD: LOT: EXISTING REAR LOT (17’-2”X93’-0” + 8’-7”x22’-0”): PROPOSED YARD: MAXAREA BUILDABLE AREA SF (WITHOUT AIR RIGHTS PURCHASE): FLOOR RATIO: 1,785.33

TOTAL BUILDABLE URCHASE): 7,141AREA SF (WITH AIR RIGHTS PURCHASE): MAX LOT COVERAGE: CHASE): 8,309 SF HEIGHT: PROPOSED LOT 65%COVERAGE REQUIRED REAR YARD: 61% MAX PROPOSED BUILDINGREAR HEIGHT: 30 FTYARD: PROPOSED BUILDING HEIGHT: FLOOR AREA RATIO: 30 FT FLOOR COUNT: 4.67 FLOOR-TO-FLOOR HEIGHT: HEIGHT: MAX BUILDING HEIGHT: PROPOSED BUILDING:

PROPOSED BUILDING HEIGHT: 80 FT FLOOR COUNT: 78 FT CELLAR (NOT INCLUDED IN FLOOR AREA COUNT): FLOOR-TO-FLOOR HEIGHT: FIRST FLOOR: 8 FLOORS 9’-8” SECOND FLOOR: PROPOSED BUILDING:

THIRD FLOOR: FOURTH FLOOR: CELLAR (NOT INCLUDED IN FLOOR AREA COUNT): FIRST FLOOR: 1,081.50 SF FLOOR: T):FIFTH SECOND FLOOR: SIXTH FLOOR: 1,081.50 SF THIRDFLOOR: FLOOR:1,081.50 SF SEVENTH FOURTH FLOOR: EIGHTH FLOOR: 1,081.50 SF FIFTH FLOOR:1,081.50 SF SIXTH FLOOR:

SURVEY REMAINING ALLOWABLE AREA: 8,309.00 SF FLOOR TOTAL USABLE0 AREA: SF (INCLUDES ROOF 9,900.00 SF AND CELLAR) Massing ScenarioENTIRE

8,309 SF 65% 61% 30 FT 80 FT 30 FT 4.6778 FT

8 FLOORS 9’-8”

80 FT 78 FT 8 FLOORS 1,081.50 SF 9’-8”

1,081.50 SF 1,081.50 SF 1,081.50 SF 1,081.50 1,081.50 SF SF 1,081.50 SF SF 1,081.50 1,081.50 SF SF 1,081.50 1,081.50 SF SF 909.83 1,081.50 SF 909.83 SF 1,081.50 SF 1,081.50 SF 8,309.00 SF 909.83 SF 0 SFSF 909.83

9,900.00 SF

8,309.00 SF 0 SF 9,900.00 SF

The additional area allows for two additional apartments over the ten allowed without acquiringarea air-rights, bringing the totalapartments number to 12.the The is as follows: The additional allows for two additional over tenmix allowed oneover commercial space on the bringing ground floor, one one-bedroom atfollows: the rear of without acquiring air-rights, the total number to 12. Theduplex mix is as ments the ten allowed the ground and second floors, nine studio apartments on floors two through six, and one commercial space on the ground floor, one one-bedroom duplex at the rear of ber to 12. The mix is as follows: the duplex groundone second nine studio on and floors two through floor-through apartments onapartments the seventh eighth floors. six, In and sum, -bedroom atand thebedroom rear offloors, floor-through one six, bedroom apartments on the seventh and eighth floors. In sum, ts nine on floors twoapartments through and three studio and one-bedroom apartments.

studio apartments nth andnine eighth floors. In sum, and three one-bedroom apartments. rtments.

SURVEY

SURVEY PROPOSED MASSING SIDE VIEW

The new proposed Massing Scenariobuilding exceeds the allowable floor are through the purchase of air rights from an adjoining property. The amount of the additional area purchased derives the maximum as-of-right volume allowed forthrough the R 7A The from new proposed building exceeds the allowable floor are thedistrict. purchase of rights frompurchase an adjoining property. The of the additionalsetback area purchased Assuming a maximum street height ofamount sixty feet, a required of ten oor areair through the of wall derives from the maximum as-of-rightrear volume allowed for the 7A district. feetadditional above that and a consistent yard of thirty feetRthe resulting building f the areabase, purchased Assuming a maximum street wallarea height of sixtythe feet,allowable a requiredby setback ten SF edwill for the R 7A have an district. area of 8309SF. That exceeds aboutof1150 feet above that base, rear yard of thirty feet the resulting building t, a(necessitating required setback ten and aofconsistent theofpurchase the air rights).

will an area of 8309SF. That area exceeds the allowable by about 1150 SF hirty feet thehave resulting building (necessitating theSF purchase of the air rights). llowable by about 1150

Schemati

PROPOSED MASSING SIDE

Novembe

183 Avenue B

1,081.50 SF PROPOSED AREA COUNT: SEVENTHFLOOR FLOOR: 1,081.50 SF REMAINING ALLOWABLE FLOOR AREA: EIGHTH FLOOR: 909.83 SF TOTAL USABLE AREA: 909.83 SF PROPOSED FLOORROOF AREA COUNT: (INCLUDES ENTIRE AND CELLAR)

1 8 3 Ave n N e w Yo r k

1,785.33 SF 7,141 SF 8,309 SF 65% 61% 30 FT 1,785.33 30 FTSF 7,141 SF 4.67

PROPOSED MASSING SIDE VIEW

PLAN

architect

54

tel 212 | 482 | 0630


55


Cellar Plan

First Floor

Second Floor

56


Third - Six Floors

57

Seventh - Eighth Floors

Roof Plan


Elevations evations

South FrontElevation Elevation North Elevation

West Elevation East Elevation Side Elevation

PLA

tel 212 555 8th

58


ON ION1 1

01 01

1/4"=1'-0" "=1'-0"

62 Settlers Landing Lane East Hampton, NY

Document Document Issue Issue

Single Family Home PLAN Design Group

Responsibilities: -Creation of zoning analysis -Schematic massing design -Floor plan development and design -Selection of all exterior finishes -Creation of presentation material for client -Aid in coordination with structural engineer -Creation of construction documents SealSeal

The project is a single family residence located in East Hampton, New York. Originally a three bedroom house built in the 1970’s, the project aims to add two additions to the house while also modernizing its existing structure. The result is a four bedroom house with expanded living spaces, master bedroom, and PROPOSED PROPOSED outdoor patio space. The client was responsible for SECTIONS SECTIONS all interior finish and millwork selections. Project Project Name Name

Project Project Number Number

ON ION4 4

Section 1

SECTION 33 Section 2 04 04SECTION 1/4"=1'-0" SCALE:1/4"=1'-0" SCALE:

1/4"=1'-0" "=1'-0"

03 03

A10-05 A10-05 c 2017 c 2017 PLAN PLAN Architecture, Architecture, PLLC PLLC

PRIVATE RESIDENCE 62 SETTLERS LANDING LANE EAST HAMPTON, NY 11937

Section 3

ON 1

"=1'-0"

59

01

Document Issue


Elevations

11

Site Plan evations

PLAN South Elevation

North Elevation

Rear Elevation

West Elevation

62 Settlers Landing Ln. East Hampton, NY 11937

Design Development Presentation

Side Elevation

June 26, 2018

tel 212 | 48 555 8th Ave

60

6


First Floor

Second Floor

61


62


63


Space Between Buildings Independent Research, Summer 2014 Critic: Fatih Rifki

The social life that manifests itself in the modern day city is a tricky thing to form and manipulate. There are countless urban spaces here in the United States that were designed with the intent of being the social heart of a city, but completion showed them to be incapable of housing social activity. More often than not, this is due to the fact that it is not recognized that a true urban social interaction is not something that can be easily formed. Rather, it is an independent agent that grows and manifests itself if the right framework exists. The purpose of this project is to understand the framework that is required to nurture any significant kind of urban space or street life. This is done by looking at the framework of some of the most successful urban spaces in Europe. There were ten sites throughout Europe (and part of Africa) that were chosen for analysis throughout Tangier, Venice, Rome, Amsterdam and London. These spaces were then analyzed so as to gain an understanding of the basic design strategies that helped to elevate them to prominence as well as understand how the existing buildings helped to achieve this. This analysis was completed using Cristopher Alexander’s A Pattern Language. Five “patterns” common to each site were chosen. Three additional unique “patterns” were also chosen for each site. These patterns, along with more quantitative climactic data, were then used to help analyze these urban spaces and ultimately identify the framework needed for a successful urban space.

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This particular urban space is located in the Medina of Tangier, Morocco. More specifically, it is located at the very edge of this neighborhood. The Medina is interesting in that it is the oldest neighborhood in the city, reaching back to the medieval ages (and in some spots even earlier.) It is unique in that the streets, most of which have a width between five and fifteen feet, are set up like a maze. There is no defining organizational structure to the streets which results in what one could only describe as a tangled up mess. However, the reason why this particular urban site is so important is because it acts as one of the main gateways (53) between the Medina and the rest of the city. Though it does not see much social activity, its main quality as a transition does make it into a pretty important activity node (30.)

The physical space acts as both a transition between these two distinct parts of the city. At one end there is a wide, busy pedestrian street (100) whose wide open feel contradicts the twisting, cavern like streets of the Medina as well as acted as a major subculture boundary (13) in the city. On the average day, this area is filled with vendors selling fruits and vegetables on the edges of the road with cars trying to inch their way through the center. In fact, this street is the closest that any cars can get to the Medina. The site is nothing more than a narrow alleyway with three story buildings on either side (positive outdoor space106.) At the very center of the alley lies a single arch which acts as the defining threshold between the medina and the busy street beyond. This boundary is further defined by the social activity that does occur within the small space. Between the street and the archway local vendors line up to sell their produce. However, there are no vendors who will settle down on the other side of the gate. Furthermore, upon stepping through the gateway (while heading into the Medina) the ground starts to descend into Medina, further establishing this threshold.

Medina Gateway

The other important thing about this site is the relationship that it has with the rest of the city. This site acts as the gateway to one of a system of precincts that are buried within each other (holy ground- 66) which is also reflected in its hierarchy of open space (114.) That is to say that it is part of a larger grouping of neighborhoods and spaces where one leads into another which then leads

another. Then, as one goes deeper and deeper into this system it gradually Tangier, Morocco into morphs. So, in this instance, one starts off with the greater city of Tangier. Upon Drawing 1 of 10 stepping through the threshold that the site creates, one steps into the Medina.

One could argue that Piazza San Marco is perhaps one of the single most important urban spaces in Venice. This is due to the fact that its original intention was to be used as the central gathering space in the city. Upon its construction, and to this day, it is the largest piazza within the city. Today, it has a similar purpose. On the one hand it is still is the largest urban space in Rome and houses many of the historic festivals for which the city is known, but at the same time, it has become the face of Venice to the rest of the world. This is reflected in the fact that the most popular tourist attraction in the city is the piazza and some of the most famous buildings in the city face into the piazza.

This site is a medium sized courtyard located in the heart of the Kasbah in Tangier. While one could say that the Kasbah is in fact part of the Medina, it is actually an independent neighborhood that is locked in by the Medina on three sides and the ocean by the fourth. Originally, it was a Portuguese fortress and the three gates into the fortress now act as the entryways into the walled neighborhood. This particular space lies at the northern edge of the Kasbah and houses one of the three gates into the neighborhood. The physical space (positive outdoor space- 106) is a very basic rectangular space surrounded by buildings varying from two to four stories on three sides. The northern end of the courtyard is the old city wall with the gate looking out onto the sea. Upon stepping through the gate, one finds themselves on a ledge overlooking the ocean. This ledge forms a path which hugs the wall. About two hundred feet down from the gate, the path starts to widen and make room for a series of thin and tall houses which have been built into the wall. The courtyard, due to the fact that it houses one of the gates, acts as a principle activity node (30) within the city.

Due to how central Piazza San Marco is in terms of urban spaces within the city, the piazza becomes the ultimate subculture boundary (13.) While it might not have the qualities of a physical boundary, this boundary exists in a metaphysical and cultural sense. Since it is considered as the city’s central gathering space, people from across the city will come and gather for certain events. At the same time, there is a sense that (at least in its past) it is one of the spots in the city where powerful figures, such as the Doge and the Catholic Church, met with the common citizens. Lastly, as stated before, this piazza acts as one of the most visited tourist sites in the city. So there is a sense in which Piazza San Marco acts as a common boundary between the Catholic Church, the Venetian government, the Venetian citizens and the international community. Furthermore, due to this convergence point, Piazza San Marco acts as one of the biggest activity nodes (30) in Venice.

As stated in the previous drawing (see drawing one,) one of the most important things about this site is its relationship with the rest of the Medina. The Kasbah is part of a series of neighborhoods which are nestled one inside the next, such as a series of Russian dolls (holy ground- 66.) This is also built into the hierarchy of open space (114) of the city. In this particular instance, one can start off with the modern areas of Tangier with their large, busy streets. From there one crosses through a threshold into the Medina. Spatially, the Medina is much more constricted but also quieter. However, one can still hear the noise from the nearby street echoing throughout the cavern shaped streets. Eventually, one crosses through yet another threshold into the Kasbah. While the streets are the same proportions and size of the Medina, it is much quieter than the rest of the city. There is a sense in which the Kasbah acts as a large scale quiet back (59) for the city. Also, the Kasbah is located on the highest hill in the city. Thus, up to this point one is continuously travelling uphill. This leads to the Kasbah acting as the resting spot on top of the hill. After wandering through the Kasbah one stumbles into the site. This is the first time that the space starts to open up since the first entry into the Medina. Finally, after stepping through the northern gate one is found in on the ledge facing the sea (high places- 62.) This single scenic spot acts as the pinnacle of the journey one just took through the city. Lastly, the Kasbah as a whole acts as a social subculture boundary (13.) Originally, the Kasbah acted as the Jewish district in the city. This is still demonstrated in the colors and architecture found in the Kasbah. Now, it houses (or recently has housed) many wealthy and influential Western figures.

The fact that the piazza acts as the official gathering space of the city is reflected in the physical space of the site. Unlike the rest of the city which is much more constricted spatially, Piazza San Marco is extremely open and airy. While the shape of the space is clearly defined (positive outdoor space- 106,) there is still this sense that it opens up to both the sky and the sea. The actual space is surrounded by buildings that range from three to five stories tall. However, due to the large footprint of the square, the buildings are not tall enough to define a dividing line between the space in the piazza and the sky beyond. Furthermore, there is an entire side to the piazza that opens up to offer views of the bay. The other important thing to note about the space is the hierarchy of open space (114) that is created. This hierarchy starts (working from small to large) with the canal Bacino Orseolo which acts as a transition from the city into the piazza. This in turn leads into the piazza itself. The clock tower located at the bend of the piazza (something roughly in the middle- 126) then acts as a divider which helps to subdivide the piazza into two separate spaces. Finally, the southern edge of the piazza leads into the undefined space of the avenue which runs along the water’s edge (access to water- 25.)

Place du Mechoir

Tangier, Morocco Drawing 2 of 10

After meandering up through the Medina one eventually stumbles upon another arch that leads into the Kasbah.

This particular site is much more dynamic than most other urban spaces. This is due to the fact that this urban space is set on the banks of the Tiber River. For the majority of the year the Tiber River is flooded, thus rendering its banks unusable. However, during the summer while the river’s water has receded, entire stretches of the banks are occupied. (One could argue that the desire to occupy the banks is driven by this inherent desire for access to water- 25.) Tracts of the river banks are occupied by hundreds of shops, restaurants, bars, clubs and temporary movie theaters. All of which are set up in temporary tents. Then, when the Tiber River starts to raise again, everything is packed up and the river banks are evacuated.

Piazza San Marco

Herengracht Canal in Amsterdam is not necessarily a famous or socially active space. It is like most other canals and streets in the heart of Amsterdam: quiet and relaxed. This is mainly due to the fact that there are no major activity nodes (30) along these residential streets. In truth, these nodes are often times located outside of or away from the canals. Or, in the case that these nodes do intersect with the canal, they are often times spread far apart. It is no different with this canal. Any activity nodes (30) are outside of the extents of this site. Interestingly enough, there are also few activity pockets (124.) On streets such as those around the canal, one might come across the occasional store or café, but for the most part these streets are occupied by private residences. In the case of the Herengracht Canal, the majority of the activity pockets (124) occur in the form of restaurants and shops at the intersections of canals and streets. This low density of activity pockets and nodes creates a situation where these streets become promenades (31.) Essentially, this site becomes a connecting thoroughfare between the areas with more social activity. This lack of social activity also creates an environment that is much more peaceful and encourages a more informal stroll for those who so happen to be passing through.

This next site is one of the larger Underground Tube stations located in London. More specifically, it is the Bank Station which is located in the heart of London’s financial district. It is also a larger transfer station for a number of other railway lines. Now, there are many who would argue that the Banks Station, or any underground Tube station for that matter, cannot be considered an urban space. This argument is founded on the fact that it does not reflect the qualities of most other urban spaces, such as being open to the air or that it is not at the street level. Many would consider a space like this a building. However, one must remember that any one of these stations is an entryway into an immense network that spans for miles. It is not a building in the sense that the space of the entire system is not confined. Furthermore, it reinforces the fact that the urban fabric of London is not restricted to a single, two-dimensional plane. This entire underground system starts to demonstrate how a city can start to grow three-dimensionally. Thus, if the entire Underground railway network is considered as an urban space, then its corresponding stations become a connecting space between this one system and the rest of the city.

This casual stroll is also encouraged by the general shape and proportions of the canal. The overall shape of the space is defined by both the canal and the buildings that face into the canal (positive outdoor space-106.) Every building, on both sides of the canal, is offset the exact same distance from the canal creating a wall that helps to define the space. However, every building is of a different height and material which keeps it from being too formal as well as helping to break up the length of the space. Furthermore, there is a hierarchy of space (114) which is created by two rows of trees that subdivide the space. The trees create a central space which is occupied by the canal and then two narrow spaces along the roads. These spaces, which are much narrow, help to create a space that is conducive to directing traffic and encouraging to the creation of the promenade.

One could argue that part of the reason why this temporary urban space works so well is the fact that it is the perfect example of a subculture boundary (13.) The river helps to split the city in two. On one side is the majority of the old city along with the Roman ruins. The other side is occupied by additional, quieter neighborhoods along with the Vatican. During the summer months, the river then becomes the common ground between the two. The fact that it is such a distinct dividing line and that it provides access to the waterfront helps to make it an activity node (30) which thus helps to give it a distinct gravitational pull. However, the factor that contributes to the site the most is the space that it occupies (Positive Outdoor Space- 106.) The river is flanked on either side by two sloped walls which extend up some twenty or thirty feet to the street above. Then, at the street level, a line of the trees is stretched out along the top of the wall. The combination of the wall and the trees creates a thin and tall space that isolates one from the rest of the city. The night life (33) of the space is different than most other urban spaces in the city. Unlike other piazzas, the shops and restaurants (the activity pockets- 124 of the space) are arranged in a continuous line instead of around a particular space. In effect, the social activity that occurs is constantly moving as opposed to stagnant.

Tiber River

Rome, Italy Drawing 6 of 10

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However, the most important aspect of this site is how it interacts with the water (access to water- 25 and pools and streams- 64.) The way the water is treated is much different than the sites in Venice (see drawings three and four.) Essentially, Venice is built over top of the water, which is a much more passive approach. One the other hand, the Herengracht Canal demonstrates more of a dominance and control over the water. This canal, along with the other canals in the city, was dug out and the water was rerouted throughout from the bay. This dominance is further shown in how the locals interact with the water. In Venice there is very little interaction with the water, but here the relationship between the people and the water is much clearer. It is not uncommon to see a couple sitting at the canal’s edge or for a couple of friends to take their boat out onto the water. There are also instances where the water is permanently occupied and entire houses are placed in the water. This demonstrates a more informal relationship between the residents and the water than most other places. Most other major cities the public is kept at some distance from the water while in this canal people are encouraged to interact with it.

Due to the sheer size of the piazza, it is difficult to sustain any kind of social activity in the center of the piazza. Because of this, the majority of the social activity, along with the activity pockets (124) that they are formed by; occur within

the arcades (119) that encircle about two thirds of the piazza. It is along these Venice, Italy edges that the majority of the night life (dancing in the streets- 63) starts to deDrawing 3 of 10velop.

As stated above, this space (whether it is considered an urban space or a building) is so important because it acts as a junction between the Underground railway system and the surface. This system is arguably one of the most important pieces of London’s urban fabric. This is due to the fact that it acts as the major component of the web of public transportation (16) within the city. The combination of this entity’s sheer size and its function as one of the main forms of transportation in the city has interesting implications. For example, one could argue that the entire system acts as a three-dimensional subculture boundary (13.) Since it acts as the main connector between just about every neighborhood in London, it acts as an immense common border. The other implication is that, since the stations act as both a connector between railway lines and the surface, these stations (especially the Bank Station) then act as major activity nodes (30) within the city. These nodes are further solidified in that they help to connect the transportation networks at the surface with the underground network.

Herengracht Canal

Amsterdam, Netherlands Drawing 8 of 10

Bank Station

London, England Drawing 9 of 10

Moving through the Bank Station is also unlike moving through other urban spaces. This is due to the fact that the station is divided up into a series of horizontal levels (circulation realms- 98.) This first level or realms is mainly for access into the station. At street level there are a dozen or so stairwells which lead down into a common hallway. From there, all the traffic is directed into one single space. This space is where tickets are sold and access is granted into the subway system. From here, one continues down a series of escalators which lead into the lower levels. Since this station acts as a transfer station there are multiple trains, and their corresponding levels, stacked on top of each other. So, either when first arriving or transferring, one must go through a series of these levels to get to their train.


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