Page 1

Architecture

XUANCHENG ZHU Portfolio Selected Works 2015-2018

Observation Process


CONTENTS Curriculum vitae

Eleven Madison Park

1

'World's Best' Restaurant Interior Architecture Renovation

Brooklyn Music School

17

Building Renovation and Extension

Suchu Business Center

23

Industry Park International Business Center

Rebuild Connections

33

Nexus College of Engeneering Building

Memory of Material

47

A Narrative Thinking of Tools, Well, and Field

Arch Coffee Table

63

Furniture Design

Dwelling

75

Allied Works Architecture Residential Book

Other Works Architecture / sketch / Observation

Full of merit, yet poetically, man dwells on this earth. ___ Friedrich Hรถlderlin

81


XUANCHENG ZHU

110 First Street Jersey City, NJ 07302

PROFESSIONAL EXPERIENCE

ALLIED WORKS ARCHITECTURE I Junior Architect

alchu324@gmail.com

321.460.2924

New York, NY 2016 - 2017

• Worked through the full SD, DD, CD, CA and delivery process on the renovation of what was named this year’s ‘World’s Best’ Restaurant; created drawing sets, 3D models, design studies, renderings and mock-ups for each phase; check shop drawings, mock-up reviews and coordinated with the PMs, PAs, and interior designer on various design items and products. • Developed floor plans, sections and facade concepts with design principal and project architects for Brooklyn Music School (33,000 sq ft). Completed research, analysis, drawings, renderings and presentation package for the client. • Coordinate with the associate principal and lead designer on Bayshore Vertical Garden Residence (range from 69,000 to 118,000 sq ft). Completed master planning, massing, drawings, and design package. • Worked on drawings and architectural photography with graphic designers, bookmakers for the firm’s new book on private residence: Dwelling. VLADIMIR RADUTNY ARCHITECTS I Intern Architect

Chicago, IL 2016

• Part of the design team on a single-family house project (5,800 sq ft) in Chicago, created the 3D model, physical models, plans, elevations, and sections. • Developed schematic design of a new Mikveh, pursuing concepts of functional, poetic and spiritual spaces. • Worked on the wood structure for a residential-exterior alteration project; designed and created outdoor space for multi-functions. BNIM ARCHITECTS I Intern Architect

Des Moines, IA 2015

• Completed plans and diagrams, design-award drawings, and assisted on architectural photography for American Enterprise Group Corporate Headquarters. Winner of the 2016 AIA National Institute Honor Awards for Architecture • Completed design-award drawings for Lutheran Church of Hope project, plans, sections, and diagrams. Winner of the 2015 AIA Iowa Excellence in Design Honor Awards & 2015 AIA Kansas City Honor Award • Coordinated physical models, renderings, and diagrams for IFK Building at the University of Chicago and an Art Museum project at the University of Iowa. • Developed site analysis and schematic modeling for a planning project at Iowa Historical Museum. AZL ARCHITECTS ( ATELIER ZHANG LEI ) I Intern Architect

Nanjing, China 2013 - 2014

• Developed extensive schematic design for a commercial office project, worked on research, modeling, sections, diagrams, and layout. • Collaborated with Design Principal on the design of a transfer terminal, created the 3D models, renderings, and design package for the client. • Built physical models of the design process and interviews for a variety of projects.


JIANGSU PROVINCIAL ARCHITECTURAL D&R INSTITUTE LTD (JSAD)

I Intern Architect Nanjing, China 2012

• Worked in a design team for medical center planning and design, participated in site analysis, modeling, and plans. • Created innovative diagrams for a national laboratory project to enhance communication with the client. • Coordinated plans and sections for Jiangsu Province Hospital.

EDUCATION

AWARDS & HONORS

SKILLS

LANGUAGES REFERENCES CONTACT

M. Arch

University of Florida (UF) Vicenza Institute of Architecture (VIA)

Gainesville, FL Vicenza, Italy

2014 - 2016 2015 - 2015

B. Arch

Jinling Institute of Technology (JLIT)

Nanjing, China

2008 - 2013

The AIA Henry adams Medal

2016

Arthur Blenn Anderson Scholarship

2016

Architecture academic achievement award, University of Florida School of Architecture

2016

Vicenza Institute of Architecture Study Abroad Scholarship

2015

The College of Design, Construction and Planning Certificate of Outstanding Merit

2015

Autocad Maxwell

Revit V-Ray

Vectorwork Adobe Suites

English (Fluent)

Mandarin Chinese (Fluent)

Rhinoceros Hand Sketches

Sketch Up Microsoft Office

Yuri Suzuki Senior Associate Allied Works Architecture

ysuzuki@gmail.com

Office: 212.431.9476

vladimir@radutny.com

Office: 312.329.1400

rkruse@bnim.com

Office: 515.974.6462

jalread@ufl.edu

Office: 352.294.1456

Vladimir Radutny AIA Principal

Vladimir Radutny Architects

Rod Kruse FAIA LEEP AP

Principal BNIM Architects

Jason Alread AIA LEED AP

Director School of Architecture. UF


ELEVEN MADISON PARK 'World's Best' Restaurant Interior Architecture Renovation Allied Works Architecture

LOCATION

New York, New York SIZE

2,900 sf SCOPE

Architectural Design, Interior Design, Furniture Design, Tableware, Artist Coordination CLIENT

WIll Guidara, Daniel Humm, Make It Nice NYC PROJECT TEAM

Brad Cloepfil, Thea von Geldern, Chris Stoddard, Yuri Suzuki, Rachel Massey, Xuancheng Zhu, Markus von Dellinghausen, Rebecca Wood, Luke Anderson PHOTOGRAPHERS

Eric Piasecki, Johhny Fogg, Xuancheng Zhu (Photo Shoot Assistant) RECOGNITION | PUBLICATION

New York Times interview with Brad Cloepfil Architectural Digest Preview, October 2017 Architectural Record Eleven Madison Park by Allied Works, Dec 2017

PROJECT DESCRIPTION

Renovation of the Michelin-star restaurant located in the Metropolitan Life building in Manhattan’s Flatiron District. Our challenge was to reinforce the beauty of the historic lobby of the art-deco Met Life building, and to create a new setting, through furnishings and tableware, specifically for Chef Humm’s cuisine. In reconsidering the room itself, our focus was to amplify the grace, hospitality and service that Will and his staff extend to their clientele. The project draws inspiration from neighboring Madison Square Park through the quality and color of light, the textures and patterns of foliage, the shifts of form, line and shadow through the seasons. The space builds anticipation, and exudes a sense of invitation and welcome for one to come together with friends and associates. It is a space that expands time in its calm, color and craftsmanship, and offers time to sit and enjoy one of the world’s most extraordinary culinary experiences. It is a room for both the art and theater of dining.


3


Downtown Dining, Eleven Madion Park 4


A UP

4

3

7

UP

5

B

B

2

11 8

UP

6

10

UP

9

20x12

A

Floor Plan Level 1

1. Entry Foyer 2. Downtown Dining 3. Uptown Dining

4. Servers Station 5. Bar 6. Bar Foyer

7. Kitchen 8. Back of House 9. Back Hall

10. Women’s Restroom 11. Men’s Restroom

OCCUPANCY BY MORE THAN 261 PERSONS IS DANGEROUS AND UNLAWFUL Commissioner, Dept. of Buildings, City of New York

6 ELEVEN MADISON PARK

5

4

1

Section A

5

2

1. Bar Foyer 2. Bar

3

3. Servers Station 4. Private Dining South

10'-0"

20x12

5. Private Dining North 6. Private Dining Kitchen


7

1

20x12

2

Section B

1. Main Dining 2. Bar

6

3. Kitchen 4. Women ‘s Restroom

3

5. Men ‘s Restroom 6. Private Dining East

4

5

7. Private Dining North

6


7


Main Dining Room North Elevation

RECEPTACLE

RECEPTACLE

RECEPTACLE

RECEPTACLE

RECEPTACLE

RECEPTACLE

RECEPTACLE

Main Dining Room East Elevation

RECEPTACLE

RECEPTACLE

RECEPTACLE

RECEPTACLE

RECEPTACLE

RECEPTACLE

RECEPTACLE

RECEPTACLE

Main Dining Room West Elevation 8


3 1/2" 3 1/2"

5 1/2" 5 1/2"

6 3/8" 6 3/8"

7"

2 1/4"

9

1 1/2"

1 1/2"

1 3/4"

BAN SCA

BAN

10

BANQUET A: PAIRE 9: 3 SCALE

WRAP METAL SHOE EDGES INTO 1/2 VERTICAL GROVE BANQUET

9

3/8"

9

SCALE : 3

WRAP METAL SHOE EDGES INTO VERTICAL GROVE 7/8” METAL ROD 7/8” METAL ROD FOR FLOOR FOR FLOOR BANQU ANCHORING ANCHORING

1 3/4"

3/4"

2 1/4" 2 1/4" METAL SHOE METAL SHOE

9

10

7/8” METAL ROD SCA FOR FLOOR 5 DEGREE ANGLEDANCHORING PLYWOOD SHEET BAN (NEEDED?) 7/8” METAL ROD SCA FOR FLOOR 5 DEGREE ANGLED ANCHORING PLYWOOD SHEET (NEEDED?) A: PAIRE 2 1/4"

1 3/4" 113/4" 1/2" 1 1/2"

3 1/2" 3 1/2"

63/4" 3/8" 6 3/8" 1" 1 1/2"1" 1 1/2" 7"

9

WRAP METAL SHOE EDGES INTO VERTICAL GROVE

1"

10

7"

2 1/4"

1'-3 3/4"

1'-3 3/4"

1'-3 3/4"

6 1/2" 6 1/2" 3 1/2" 3 1/2" 3 1/2" 6 1/2"

3/4" 62'-9 1/2"3/4"2'-9 3 1/2" 6 1/2" 6 1/2" 3 1/2" 3 1/2"

3 1/2"

1/4"

6 1/2" 3 1/2"

2'-9 3/4"

6 1/2"

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

7

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

1'-6"

1'-6"

9"

2'-9 3/4" 2'-9 3/4"

7

1/4"

1'-5 1/2" 1'-5 1/2"

REMOVEABLE BASE PANEL, TO UPHOLSTERED BANQUETTE UPHOLSTERED BANQUETTE ACCESS SCREEN CONNECTION, SEAT CUSHION, NO VENEER, SAG WOOD HARDSTOCK SKIRT SEAT CUSHION, NO SAG BLACK WALNUT SPRINGS SPRINGS CLEAR SEALED, TYP. REMOVEABLE BASE PANEL, TO UPHOLSTERED BANQUETTE BOLTACCESS BANQUETTE TO FLOOR UPHOLSTERED BANQUETTE SCREEN CONNECTION, SEAT CUSHION, NO SAG WHERE NEEDED, TYP.VENEER, SEAT CUSHION, NO SAG BLACK WALNUT SPRINGS CONTINUOUS SPRINGS CONTINUOUS CLEARCUSHION SEALED, PIPING TYP.CUSHION PIPING AT TOP AND BOTTOM EDGES AT TOP AND BOTTOM EDGES BANQUETTE TO FLOOR OF 7/8” SEATBOLT CUSHION FLOOR ANCHORING, OF SEAT CUSHION WHERE INSIDE NEEDED, TYP. CONCEALED LEG CONTINUOUS CUSHION PIPING CONTINUOUS CUSHION PIPING AT TOP EDGES AND BOTTOM EDGES UPHOLSTERED BANQUETTE UPHOLSTERED BANQUETTE AT TOP AND BOTTOM OF SEAT CUSHION SEAT FRONT SEAT FRONT OF SEAT CUSHION 7/8” FLOOR ANCHORING, CONCEALED INSIDE LEG UPHOLSTEREDUPHOLSTERED BANQUETTE BANQUETTE SEAT FRONT SEAT FRONT WOOD HARDSTOCK WOODSKIRT HARDSTOCK SKIRT

9"

1'-6" 4"

4"

A-702

2'-9 3/4"2'-9 3/4"

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

A-702 8

8

REMOVEABLE BASE PANEL, TO REMOVEABLE BASE PANEL, TO ACCESS SCREEN CONNECTION, ACCESS SCREEN CONNECTION, WOOD HARDSTOCK SKIRT WOOD SKIRT BLACKHARDSTOCK WALNUT VENEER, BLACK WALNUT VENEER, CLEAR SEALED, TYP. SEALED, TYP. CLEAR REMOVEABLE BASE PANEL, TO REMOVEABLE BASE PANEL, TO BOLT BANQUETTE TO FLOOR BOLT BANQUETTE TO FLOOR ACCESS SCREEN ACCESS SCREEN CONNECTION, CONNECTION, WHEREWALNUT NEEDED, TYP.WALNUT WHERE NEEDED,VENEER, TYP. BLACK BLACK VENEER, CLEAR CLEAR SEALED, TYP. SEALED, TYP. BOLT BANQUETTE TO FLOOR BOLT BANQUETTE FLOOR 7/8” FLOOR ANCHORING, 7/8”TO FLOOR ANCHORING, WHERE NEEDED, TYP. WHERE NEEDED, TYP. CONCEALED INSIDE LEG CONCEALED INSIDE LEG 7/8” FLOOR ANCHORING, 7/8” FLOOR ANCHORING, CONCEALED CONCEALED INSIDE LEG INSIDE LEG

1/4"

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

7

1/4"

7

BANQUETTE - ENLAR SCALE : 1 1/2" = 1'-0" 9"1/4"

10 1/4"

1'-3 3/4"

A-702

A-702 SEATOF FRONT SEAT 90 DEGREE VERTICAL PLYWOOD ANDPLYWOOD 5 90CUSHION DEGREE VERTICAL AND 5 DEGREE ANGLED PLYWOOD SOLID STOCK WOOD BANQUETTE DEGREE ANGLED PLYWOOD SOLID STOCK WOOD BANQUETTE FRAMING TO SWING OUT FRAMING TO SWING OUT UPHOLSTERED BANQUETTE SEAT FRONT 90 DEGREE VERTICAL AND 5 90 DEGREE VERTICAL PLYWOOD ANDPLYWOOD 5 WOODANGLED HARDSTOCK SKIRT DEGREE ANGLED PLYWOOD DEGREE PLYWOOD

9"

1 1/4" 1/2" 1/2" 10

10 1/4"

1" 1/8"

8

9" 1/4"

9"

1 1/2" 1/2"

10 1 1/4" 1/2" 1/2"

8

9"

10"

1/4"

1 1/2" 1/2"

9"

9"

9"

9"

TERRAZZO TO WRAP TERRAZZO TO WRAP AROUND STEPAROUND STEP

9"1/4"

BANQUETTE - ENLARGED SECTION SCALE : 1 1/2" = 1'-0" 9"

6

1" 1/8" 1 1/2"

9" 3/4" 9"1/4" 2'-9

4" 9"1/4" 4 1/4" 1/4" 4 1/4"

BANQUETTE - ENLARGED SECTION 1/2" = 1'-0"

4 1/4” WOOD HARDSTOCK 4 1/4” WOOD HARDSTOCK BASE, CLEAR TYP. SCALE :1 BASE, CLEAR SEALED, TYP. SEALED,

1 1/2"

SOLID STOCK WOOD BANQUETTE SOLID STOCK WOOD BANQUETTE CONTINUOUS CUSHION PIPING 7/8” FLOOR ANCHORING, FRAMING SWING OUTTO LEG UPHOLSTERED BANQUETTE FRAMING SWING OUT ATTO TOP AND BOTTOM EDGES CONCEALED INSIDE

10" 1'-3 3/4"

1'-6"

10 1/4"

9"

9"

1 1/2" 1/2"

1'-3 3/4"

1'-6"

10 1/4"

3/8" 5 5/8" 10" 2" 3/8" 2"5 5/8"

1/4" 9"

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

4 1/2"

4 1/2"

1'-9"

3'-3" 3'-3"

1/4" 4 1/4" 3'-7 3/4" 3'-7 3/4"

9"

1'-3 3/4"

8 A-702

90 DEGREE VERTICAL PLYWOOD AND 5 UPHOLSTERED BANQUETTE CUSTOM METAL LAMP &METAL STEM LAMP & STEM CUSTOM DEGREE ANGLED PLYWOOD SEAT FRONT SOLID STOCK WOOD BANQUETTE (BY OTHERS), PLUG WIRED TO (BY TO OTHERS), PLUG FRAMING SWING OUT WIRED TO HARDSTOCK SKIRT HIDDENWOOD RECEPTACLE HIDDENBELOW RECEPTACLE BELOW

1'-6" 5"1'-5 1/2"

5" 1'-3 3/4"

8 A-702

BANQUETTE SEAT BANQUETTE SEAT 90 DEGREE VERTICAL PLYWOOD AND 5 CUSTOM LAMP & STEM CUSTOM METAL LAMPBASE &METAL STEM REMOVEABLE PANEL, TO DEGREE PLYWOOD (BYANGLED OTHERS), PLUG WIRED TO (BY OTHERS), PLUG WIRED TO ACCESSCUSHION SCREEN CONNECTION, CONTINUOUS PIPING CONTINUOUS CUSHION PIPING HIDDEN RECEPTACLE BELOW WOOD HARDSTOCK SKIRT HIDDENBLACK RECEPTACLE BELOW WALNUT VENEER, AT TOP EDGES OFTOP BACK AT EDGES OF BACK BANQUETTE SEAT UPHOLSTERED BANQUETTE BANQUETTE SEAT CLEAR SEALED, TYP. CUSHION, RUNNING DOWN CUSHION, RUNNING DOWN SEAT CUSHION, NO SAG REMOVEABLE BASE PANEL, TO VERTICALLY ALONG ARMREST VERTICALLY ALONG ARMREST BOLT BANQUETTE TO FLOOR SPRINGS ACCESSCONTINUOUS SCREEN PIPING CONNECTION, CUSHION PIPING CONTINUOUS WHERECUSHION NEEDED, TYP. OF BACK BLACK WALNUT VENEER, AT TOP EDGES AT TOP EDGES OF BACKBANQUETTE UPHOLSTERED CLEAR SEALED, TYP. CUSHION, RUNNING DOWN CUSHION, RUNNING DOWN SEAT CUSHION, NOALONG SAG ARMREST VERTICALLY VERTICALLY ALONG ARMREST BOLT BANQUETTE TO FLOOR CONTINUOUS CUSHION PIPING SPRINGS 7/8” FLOOR ANCHORING, WHERE TYP. AT TOP AND NEEDED, BOTTOM EDGES CONCEALED INSIDE LEG OF SEAT CUSHION

5/8" 5 5/8" 2" 3/8"2" 5 3/8"

10 1/4"

1" 1

10"

1 1/2" 1/2"

1 1/

CONTINUOUS CUSHION PIPING UPHOLSTERED BANQUETTE AT TOP AND BOTTOM EDGES SOLID STOCK WOOD BANQUETTE SEAT FRONT OF SEAT CUSHION FRAMING TO SWING OUT

5"

5"

1/2" 1/2"

1'-4"

1/4" 43'-8" 1/4" 3'-8"

3'-3"

1'-7"

A-702

90 DEGREE VERTICAL PLYWOOD AND 5 DEGREE ANGLED PLYWOOD SOLID STOCK WOOD BANQUETTE FRAMING TOLAMP SWING CUT AT 2' METAL CUSTOM & OUT STEM (BY OTHERS), PLUG WIREDPLYWOOD TO 90 DEGREE VERTICAL AND 5 HIDDEN RECEPTACLE BELOW DEGREE ANGLED PLYWOOD BANQUETTE SEAT CUT ATCUSTOM 2' METAL LAMP & STEM UPHOLSTERED BANQUETTE (BY OTHERS), PLUG WIRED TO CONTINUOUS CUSHION PIPING SEAT CUSHION, NO SAG HIDDEN RECEPTACLE BELOW AT TOP EDGES OF BACK SPRINGS BANQUETTE SEAT CUSHION, RUNNING DOWN VERTICALLY ALONG BANQUETTE ARMREST UPHOLSTERED CONTINUOUS SEAT CUSHION,CUSHION NO SAG PIPING AT TOP EDGES OF BACKPIPING SPRINGS CONTINUOUS CUSHION CUSHION, DOWN AT TOP ANDRUNNING BOTTOM EDGES VERTICALLY ALONG ARMREST OF SEAT CUSHION

1'-6" 1'-9" 1'-9"

1'-7"

2'-0 1/2"

1'-9" 4 1/2" 3/8" 5 5/8" 10" 1'-9" 10" 2" 3/8"2"5 5/8" 5" 4" 1'-5 1/2"

1 1/2"

1 1/2" 2'-0 1/2"

BANQUET 10 SCALE : 1

8

SOLID STOCK WOOD BANQUETTE FRAMING TO SWING OUT

10"

3'-3"

1'-3 3/4" 1'-7"

1 1/2" 1 1/2" 1/2" 121/2" 7/8" 2 1/2" 3/4" 2 7/8" 2 3/4"

9"1/4" 43'-3" 1/4" 1/4" 4 1/4"

1 1/2" 1 1/2"

1 1/2" 1 1/2" 8 3/4" 11 1/2" 1/2" 1/2" 1/2" 8 13/4" 1/2" 1'-3 3/4" 1/2" 121/2" 7/8" 2 1/2" 3/4" 2 7/8" 2 3/4" 1'-7"

1'-4"

1/2" 1/2" 8 3/4" 1 1/2" 8 3/4" 1'-3 3/4" 1/2" 1 1 1/2" 1/2" 2'-0 1/2" 1'-3 3/4" 1/2" 1/2" 1 1/2" 2'-0 1/2" 1/2" 1 1

9"

3'-8"

1'-7"

3'-3" 1/2"

1'-4" 3'-8"

3'-8"

3'-7 3/4"3'-7 3/4" 1/2"

1 1/2"

1'-9"

BANQUETTE - ENLARGED PLAN BANQUETTE - ENLARGED PLAN CUT AT 2' 3: 1 1/2" SCALE : 1 1/2" = 1'-0" = 1'-0"

1'-5 1/2"1'-5 1/2"

BANQUETTE - ENLARGED PLAN CUT AT 2' BANQUETTE - ENLARGED PLAN 3: 1 1/2" = 1'-0" SCALE :1'-3 1 1/2" 3/4" = 1'-0"

3

1'-9" 1'-9" 5" 2" 3/8" 5 5/8" 10" 4" 44" 1/2" 1'-5 1/2"1'-5 1/2" 2" 3/8" 1'-6"5 5/8"

1'-4"

3

1/2" 1/2" 1/2" 1 1 1/2"

9" 3'-8"

3'-8"

1'-3 3/4" 2'-0 1/2"

1'-7"

BANQUET SCALE10 :1

10

1/4"

1 3/4"

5" 5"

2'-0 1/2"

1 1/2" SCALE 1/2" 2 7/8" 2 3/4"

10

44"1/2" 4 1/2"

1/2"

1 1/2"

1/2"

1 3/4" 1 13/4" 1/2" 1 1/2"

1 1/2"

11 3/4" 1/2"

3/4" 7" 3/4"

2 1/2" 2 1/2"

1" 1 1/2" 1" 1 1/2" 7"

3

10

2 1/4"

1" 1 1/2"

3/4" 3/4" 7"

2 1/2"

90 DEGREE 90 DEGREE 5 DEGREE ANGLED 5 DEGREE ANGLED CUSTOM METAL LAMP & PLYWOOD STEM VERTICAL PLYWOOD SHEET VERTICAL PLYWOOD PLYWOOD SHEET (BY OTHERS), PLUG TO SHEET, TO TURN (NEEDED?) SHEET, TOWIRED TURN (NEEDED?) HIDDEN RECEPTACLE BELOW WITH HARDWOOD WITH HARDWOOD 90 DEGREE 5 DEGREE ANGLED BANQUETTE SEAT 90 DEGREE 5 DEGREE ANGLED FRAMING FRAMING CUSTOM METAL LAMP & PLYWOOD STEM VERTICAL PLYWOOD PLYWOOD SHEET 3/4" 3/4" 3/4" 3/4" 3/4" 3/4" 3/4" VERTICAL 3/4" PLYWOOD SHEET (BY OTHERS), PLUG TO SHEET, TOWIRED TURN (NEEDED?) SHEET, TO TURN (NEEDED?) CONTINUOUS CUSHION PIPING BANQUETTE - ENLARGED PLAN CUT AT 2' HIDDEN RECEPTACLE BELOW WITH HARDWOOD WITH HARDWOOD 1'-7" 1/8" AT TOP EDGES OF BACK 1/8" BANQUETTE SEAT FRAMING SCALE : 1 1/2" = 1'-0" CUSHION, RUNNING DOWN 3/4" 3/4" 3/4" 3/4" FRAMING 3/4" 3/4" 3/4" 3/4" VERTICALLY ALONG ARMREST CONTINUOUS CUSHION PIPING AT TOP EDGES OF BACK CUSHION, RUNNING DOWN 8 VERTICALLY ALONG ARMREST A-702 2 1/2"

2'-2"

3

1/2" 2'-2"

2'-2"

1" 1 1/2"1" 1 1/2" 7"

1 1/2" 1/2" 2 7/8" 2 3/4"

1'-3 3/4"

1'-3 3/4" - ENLARGED PLAN CUT AT 2' 1/8" SCALE : 1 1/2" 1'-7" = 1'-0" 1/8"

1 1/2" 1 1/2"

1/4" 3'-3"

3'-8"

6

3'-7 3/4"3'-7 3/4"

6

BANQU WRAP METAL SHOE A: SCALE EDGES INTO VERTICAL GROVE

3/8"

8 1/8" 1/8" 1" 3/4" 3/4" 1" 3/4" 3/4"

3/4" 7"

2 1/2"

2 1/2" 1" 1 1/2"

2'-2"

1 1/2"

2'-0 1/2"

TERRAZZO TO TO WRAP UPPER ATTACHMENT UPPER ATTACHMENT TO 1 1/2" 1/2" 10 1/4" AROUND STEP BANQUETTE, COORDINATE BANQUETTE, COORDINATE LOWER ATTACHMENT TO METAL INSTALL WITH METAL WITH INSTALL BANQUETTE, COORDINATE SCREEN FABRICATOR, SCREEN FABRICATOR,TO UPPER ATTACHMENT TERRAZZO TO TO WRAP UPPER ATTACHMENT INSTALL WITH METAL SCREEN TO BE INSTALLED SCREEN TO BE INSTALLED BANQUETTE, COORDINATE AROUND STEP BANQUETTE, COORDINATE SCREEN FABRICATOR, BEFORE CUSHIONS GO IN BEFORE CUSHIONS GO IN WITH METAL LOWER ATTACHMENT TO INSTALL WITH METAL SCREEN TOINSTALL BE INSTALLED SCREEN FABRICATOR, BANQUETTE, COORDINATE SCREEN FABRICATOR, BEFORE CUSHIONS GO IN WOOD BANQUETTE WOOD BANQUETTE TO BE INSTALLED INSTALL WITH METAL SCREEN TOSURFACES, BESCREEN INSTALLED VENEERED VENEERED SURFACES, 4 1/4” WOOD HARDSTOCK BEFORE CUSHIONS GO IN SCREEN FABRICATOR, BEFORE CUSHIONS GO IN CLEAR SEALED - TYP. CLEAR SEALED BASE, CLEAR SEALED, TYP.- TYP. SCREEN TO BE INSTALLED BANQUETTE - ENLARGED SECTION WOOD BANQUETTE BEFORE CUSHIONS GO IN WOOD BANQUETTE SCALE : 1 1/2" = 1'-0" VENEERED SURFACES, VENEERED SURFACES, 4 1/4” WOOD HARDSTOCK CLEAR - TYP. CLEAR SEALED - TYP. SEALED BASE, CLEAR SEALED, TYP. BANQUETTE - ENLARGED SECTION

6

1'-6"

3/4" 7"

7" 7"

2 1/2" 2 1/2"

1"

1 1/2"

3'-7 3/4" 1/2" 1/2" 9" 1/4" 3/4"1/4" 3'-7 3'-3"

1'-4"

1'-4"

UPPER ATTACHMENT TO TO LOWER ATTACHMENT BANQUETTE, COORDINATE BANQUETTE, COORDINATE INSTALL WITHWITH METAL INSTALL METAL SCREEN FABRICATOR, SCREEN FABRICATOR, LOWER ATTACHMENT TO UPPER SCREEN TO BE SCREEN TOINSTALLED BE INSTALLED BANQUETTE, COORDINATE BANQUETTE, COORDINATE BEFORE CUSHIONS GO IN BEFORE CUSHIONS GO IN INSTALL INSTALL WITH WITH METAL METAL 1/2” x 1SCREEN 1/2” 1/2” x 1HARDSTOCK 1/2” WOOD 4SCREEN 1/4”WOOD WOOD FABRICATOR, FABRICATOR, WOOD BANQUETTE HARDSTOCK EDGE, HARDSTOCK EDGE, BASE, CLEAR SEALED, TYP.CLEAR SCREEN TO BE INSTALLED SCREEN TO CLEAR BE INSTALLED VENEERED SURFACES, SEALED, TYP. SEALED, TYP.GO BEFORE CUSHIONS BEFORE CUSHIONS GO IN IN CLEAR SEALED - TYP. 1/2” x 1HARDSTOCK 1/2” WOOD 1/2” x 141/2” 1/4”WOOD WOOD NEW CUSTOM METAL WOOD BANQUETTE HARDSTOCK EDGE, NEW CUSTOM METAL HARDSTOCK EDGE, CLEAR BASE, CLEAR SEALED, TYP.CLEAR SCREEN (BY OTHERS) VENEERED SURFACES, SEALED, TYP. SCREEN (BY OTHERS) SEALED, TYP. CLEAR SEALED - TYP.

BANQUETTE - ENLARGED SECTION SCALE : 1 1/2" = 1'-0"

METAL SHOE

3 1/2" 7"

5 1/2"

3 1/2"

5 1/2"

6 3/8"

7"

6 3/8"

7"

3 1/2"

5 1/2" 5 1/2"

5 1/2"

3 1/2"

5 1/2"

6 3/8"

7"

1/8"

2'-2"

2'-2" 1'-4"

1'-4"

2 3" 1/2" 2 1/2" 1 1/2" 1 1/2" 3" 1'-7" 1'-7"

2'-0 1/2" 2'-0 1/2"

8 3/4"

1 1/2" 1 1/2" 8 3/4" 1/2" BANQUETTE 1/2" 2 7/8" 2 3/4"

8 3/4" 1/2" 1 1/2" SCALE 1 1/2" 1 1/2" 1/2" 2 7/8" 2 3/4" 1 1/2"

9"

5

1 1/2" 1 1/2"

1/2" 1/2"

1 1/2" 1 1/2"

1 1/2"

TERRAZZO TO WRAP LOWER ATTACHMENT TO LOWER ATTACHMENT TO AROUND STEP BANQUETTE, COORDINATE BANQUETTE, COORDINATE INSTALL WITH INSTALL METAL WITH METAL SCREEN FABRICATOR, SCREENATTACHMENT FABRICATOR,TO TERRAZZO TO TO WRAP LOWER SCREENATTACHMENT TO BELOWER INSTALLED SCREEN TO BE INSTALLED BANQUETTE, STEP BANQUETTE, COORDINATE BEFOREAROUND CUSHIONS GO IN COORDINATE BEFORE CUSHIONS GO IN INSTALL WITH INSTALL METAL WITH METAL SCREEN FABRICATOR, 4 1/4” WOOD HARDSTOCK 4 1/4” WOOD HARDSTOCK SCREEN FABRICATOR, SCREEN TO BESEALED, INSTALLED BASE, CLEAR TYP. BASE, CLEAR TYP. SCREEN TO BESEALED, INSTALLED BEFORE GO IN BEFORE CUSHIONS GO CUSHIONS IN

BANQUETTE - ENLARGED SECTION SCALE : 1 1/2" = 1'-0"

BAN A: P SCA

9

8

1 1/2" 1 1/2"

1 1/2"

9"

5

BANQUETTE - ENLARGED SECTION SCALE : 1 1/2" = 1'-0"

GROVE FOR CABLE, MAX. 1/2” WIDE

9

1'-6"

1/2" 1 1/2" 8 3/4" 1 11/2" 1/2" 1/2" 1 1/2" 1 1/2"

1/4"

BANQUETTE - ENLARGED SECTION SCALE : 1 1/2" = 1'-0"

BANQUETTE - ENLARGED SECTION SCALE : 1 1/2" = 1'-0"

1"

- ENLARGED LEGS ELEVATION BANQUETTE - ENLARGED LEGS ELEVATION 8 BANQUETTE 1'-6" : 3" = 1'-0" 1/8" 1'-6" SCALE : 3" SCALE = 1'-0"

NEW CUSTOM METAL SCREEN (BY OTHERS)

UPPER ATTACHMENT TO BANQUETTE, COORDINATE 1 1/2" INSTALL WITH METAL SCREEN FABRICATOR, UPPER TO SCREENATTACHMENT TO BE INSTALLED BANQUETTE, COORDINATE BEFORE CUSHIONS GO IN INSTALL WITH METAL 1 1/2" SCREEN FABRICATOR, WOOD BANQUETTE SCREEN TOSURFACES, BE INSTALLED VENEERED 1/2”BEFORE x 1 1/2”CUSHIONS WOOD GO IN CLEAR SEALED TYP. HARDSTOCK EDGE, -CLEAR SEALED, TYP. WOOD BANQUETTE VENEERED SURFACES, 1/2” x 1 1/2” WOOD NEWCLEAR CUSTOM METAL SEALED - TYP.CLEAR HARDSTOCK EDGE, SCREEN (BY OTHERS) SEALED, TYP.

9"

1'-2" 1'-2" 5 1/2" 521/2" 1/2" 2 1/2" 1'-0"

5

5

PAINT INSIDE CARVED SURFACE PAINT COLOR: WHITE BRONZE A: P MATCH SAMPLE

GROVE FOR CABLE, MAX. 1/2” WIDE

BANQUETTE - ENLARGED LEGS ELEVATION SCALE : 3" = 1'-0"

7"

2'-2" 2'-2"

3"

1'-7" 1 1/2" 1 1/2"

2 1/2" 3" 3" 2'-2" 1'-7"

2'-2"

1'-7"

1 1/2" 5" 1 1/2" 2'-0 1/2"2'-0 1/2" 5"

1/2” x 1 1/2” WOOD NEW CUSTOMEDGE, METAL HARDSTOCK CLEAR SCREEN (BY SEALED, TYP.OTHERS)

9"

2'-2"

3" 1'-7"

1 1/2"2'-2"

2'-0 1/2"2'-0 1/2" 1 1/2"

1 1/2" 1'-7"

3"

2 1/2"

21 1/2" 1/2"

1 1/2" 5" 1 1/2" 5" 2'-2"

2'-2" 2'-0 1/2" 2 11/2" 1/2" 1 1/2" 2'-0 1'-7" 1/2"

1 1/2" 1 1/2"

1 1/2" 5"

1 1/2" 5" 2'-2" 2'-2"

1 1/2" 1 1/2" 5" 5"

1'-2" 1'-2" 5 1/2" 52 1/2" 1/2" 2 1/2"

1'-2"

1'-0" 1'-0" 1'-2"

2 1/2" 2 1/2"

5 1/2"

5 1/2"

1'-2"

1'-0"

1'-2"

1'-0"

CONTINUOUS CONTINUOUS 90 DEGREE 90 DEGREE VERTICAL PLYWOOD VERTICAL PLYWOOD

SEAT CUSHIONSEAT TO GRADUALLY CUSHION TO GRADUALLY BECOME THICKER, AS THICKER, AS BECOME ARMREST MAKES THE TURN ARMREST MAKES THE TURN CUSHION TO GRADUALLY SEAT CUSHIONSEAT TO GRADUALLY BECOME BECOME THICKER, AS THICKER, AS ARMREST MAKES THE TURN ARMREST MAKES THE TURN

1"

SCALE : 3" = 1'-0"

3

1 1/2"

1/2” x 1 1/2” WOOD HARDSTOCK EDGE, CLEAR SEALED, TYP.

CUSTOM METAL NEW CUSTOM NEW METAL SCREEN (BY OTHERS) SCREEN (BY OTHERS)

SEAT CUSHIONSEAT TO BE CUSHION TO BE IMBEDDED INSIDE HARDWOOD IMBEDDED INSIDE HARDWOOD FRAMING, TO STICK OUT TO ONLY FRAMING, STICK OUT ONLY 1/2” 1/2” CUSHION TO BE SEAT CUSHIONSEAT TO BE IMBEDDED INSIDE HARDWOOD IMBEDDED INSIDE HARDWOOD SOLID STAINED WOOD SOLID STAINED WOOD FRAMING, TO STICK OUT ONLY FRAMING, TO STICK OUT ONLY FRAMING, CLEAR SEALED, 1 FRAMING, CLEAR SEALED, 1 1/2” 1/2” 1/2” x 2 1/2”, CURVED 1/2” x 2 IN 1/2”, CURVED IN PLAN, TOP FRAMING PLAN, TOP FRAMING SOLID STAINED WOOD SOLID STAINED WOOD CURVED IN TWO CURVED INCLEAR TWO SEALED, 1 FRAMING, FRAMING, CLEAR SEALED, 1 DIMENSIONS DIMENSIONS 1/2” x 2 IN 1/2”, CURVED IN 1/2” x 2 1/2”, CURVED PLAN, TOP FRAMING CONTINUOUS 90 DEGREE PLAN, TOP FRAMING CONTINUOUS 90 DEGREE CURVED TWO VERTICALINPLYWOOD CURVED TWO VERTICALINPLYWOOD DIMENSIONS DIMENSIONS

PAINT INSIDE CARVED SURFACE PAINT COLOR: WHITE BRONZE MATCH SAMPLE 8 1/8"

3/8" 3/8" 1"

BANQUETTE - ENLARGED LEGS ELEVATION

3

NEW CUSTOM METAL SCREEN (BY OTHERS)

SEAT CUSHION TO GRADUALLY BECOME THICKER, AS ARMREST MAKES THE TURN

3/4"

90 DEGREE VERTICAL PLYWOOD SHEET, TO TURN WITH HARDWOOD TYPICAL METAL SCREEN 8 ATTACHMENT, 1/8" 1" 90 1" DEGREE FRAMING LOCATION VERTICAL PLYWOOD TO BE DETERMINED SHEET, TO TURN WITHMETAL HARDWOOD BANQUETTE ENLARGED LEGS ELEVATION CONTINUOUS 1 1/2” BANQUETTE - ENLARGED 8 ELEVATION 1/8" TYPICAL 1"SCREEN 1/8" 1/8" LEGS 1" FRAMING 1/8" 8 3/4" 1'-6" FILLER :PIECE, SET : 3"3/4" ATTACHMENT, LOCATION SCALE 3"1'-6" = 1'-0" 3/4" 3/4" SCALE = 1'-0" BACK 1” TO BE DETERMINED 3/8"

8

9"

1 1/2" 1 1/2"

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

1"

1"

8 1" 3/4"

8 1/4" 1"

CONTINUOUS 90 DEGREE VERTICAL PLYWOOD

1 1/2"

3/8" 3/8" 1"

1 1/2" SCALE 4 1/4” WOOD HARDSTOCK 4 1/4” WOOD HARDSTOCK 90 DEGREE 5 DEGREE ANGLED 7/8” METAL ROD BASE, CLEAR 7/8” METAL ROD BASE, CLEAR SEALED, TYP. SEALED, TYP. BANQUETTE - ENLARGED PLAN CUT AT 2' VERTICAL PLYWOOD PLYWOOD SHEET FOR FLOOR FOR FLOOR CONTINUOUS 1 1/2” TYPICAL METAL SCREEN CONTINUOUS TYPICAL METAL SCREEN BAN 1 1/2" SCALE 1 1/2"1SET =1/2” 1'-0" SHEET, TO TURN (NEEDED?) FILLER PIECE, SET : PIECE, ATTACHMENT, LOCATION ANCHORING ANCHORING FILLER ATTACHMENT, LOCATION SCA WITH HARDWOOD BACK 1” TO BE DETERMINED BACK 1” TODEGREE BE DETERMINED 1/8" 90 5 DEGREE ANGLED FRAMING BANQUETTE - 3/4" ENLARGED PLAN 3/4" 3/4" 3/4" CUT AT 2' CONTINUOUS TYPICAL METAL SCREEN PLYWOOD SHEET VERTICAL PLYWOOD CONTINUOUS 1 1/2” : 1 1/2"1 =1/2” TYPICAL METAL SCREEN SCALE 1'-0" ATTACHMENT, SHEET, TO TURNLOCATION (NEEDED?) 1'-6" PIECE, SET 1/8" 1'-6" 1/8" 1'-6"ATTACHMENT, 1'-6" FILLER PIECE, FILLER SET LOCATION BACK 1” TO BE DETERMINED WITH HARDWOOD BACK 1” TO BE DETERMINED 3/8" 1/8" 3/8" FRAMING 3/4" 3/4" 3/4" 3/4" WRAP METAL SHOE WRAP METAL SHO 1'-6" 1/8" 1/8" 1'-6" 1'-6" 1'-6" EDGES INTO EDGES INTO 1/2" 3/8" 3/8" VERTICAL GROVE VERTICAL GROVE WRAP METAL SHO WRAP METAL SHOE EDGES INTO 1/2" EDGES INTO 1 1/2" 1/2" 1 1/2" 2'-0 1/2" VERTICAL GROVE VERTICAL GROVE

1 1/2"

SEAT CUSHION TO GRADUALLY BECOME THICKER, AS ARMREST MAKES THE TURN

1 1/2"

3/4"

4 1/4” WOOD HARDSTOCK 4 1/4” WOOD HARDSTOCK BASE, CLEAR SEALED, TYP. SEALED, TYP. BASE, CLEAR

CUSTOM WOODCUSTOM BANQUETTE: WOOD BANQUETTE: HARDSTOCK EDGES AND EDGES AND HARDSTOCK VENEERED SURFACES, CLEAR VENEERED SURFACES, CLEAR SEALED - TYP. SEALED - TYP. WOOD BANQUETTE: CUSTOM WOODCUSTOM BANQUETTE: 1'-6" HARDSTOCK HARDSTOCK EDGES AND EDGES AND1'-6" VENEERED SURFACES, CLEAR VENEERED SURFACES, CLEAR SEALED - TYP. SEALED - TYP. 1'-6" 1'-6"

9

PAINT INSIDE CARVED SURFACE PAINT COLOR: WHITE BRONZE MATCH SAMPLE

GROVE FOR CABLE, MAX. 1/2” WIDE

CONTINUOUS 1 1/2” FILLER PIECE, SET BACK 1”

8

9"

4

1'-0"

1'-0"

BANQUETTE - ENLARGED SECTION SCALE : 1 1/2" = 1'-0"

9

1'-0"

5 1/2" 521/2" 1/2" 2 1/2" 1'-0"

2 1/2" 52 1/2" 1/2" 5 1/2" 1'-0"

1'-6" 1'-6"

1'-1"

4

BANQUETTE - ENLARGED SECTION SCALE : 1 1/2" = 1'-0"

1'-1"

BANQUETTE - ENLARGED SECTION SCALE : 1 1/2" = 1'-0" 1'-0"

4

7

2 1/2"

2" 1/2" 2" 1/2"

1 1/2" 1/2"

1'-1"

2 1/2" 2 1/2"

1 1/2" 1/2"

SEAT CUSHION TO BE IMBEDDED INSIDE HARDWOOD FRAMING, TO STICK OUT ONLY 1/2” SEAT CUSHION TO BE IMBEDDED INSIDE HARDWOOD SOLID STAINED WOOD FRAMING, TOSEALED, STICK OUT FRAMING, CLEAR 1 ONLY 1/2” 1/2” x 2 1/2”, CURVED IN PLAN, TOP FRAMING SOLID WOOD CURVED IN STAINED TWO FRAMING, CLEAR SEALED, 1 DIMENSIONS 1/2” x 2 1/2”, CURVED IN PLAN, TOP CONTINUOUS 90FRAMING DEGREE CURVED IN TWO VERTICAL PLYWOOD DIMENSIONS

4 1/4” WOOD HARDSTOCK BASE, CLEAR SEALED, TYP.

9 CUSHION TO9GRADUALLY SEAT BECOME THICKER, AS ARMREST MAKES THE TURN

PAINT INSIDE CARVED SURFACE PAINT COLOR: WHITE BRONZE MATCH SAMPLE GROVE FOR CABLE, MAX. 1/2” WIDE

8

8

GRAIN DIRECTION GRAIN DIRECTION 4 1/4” WOOD HARDSTOCK BASE, CLEAR SEALED, TYP.

SEAT CUSHION TO GRADUALLY BECOME THICKER, AS ARMREST MAKES THE TURN

7

52 1/2" 1/2"

1'-1"

1'-0" 1'-1" 2 1/2" 2 1/2" 1'-0"

1'-1"

2" 1/2" 2" 1/2" 5 1/2" 2 1/2"

5 1/2"

2 1/2"

8 1/2" 8 1/2" 1'-5 1/2" 1'-5 1/2"

2" 1/2"

2 1/2"

8 1/2" 1'-6" 1'-5 1/2"

1'-5 1/2" 1'-6"

8 1/2" 8 1/2" 1'-6"

1'-6"

1'-5 1/2"1'-5 1/2" 1'-6" 1'-6"

1 1/2" 1/2"

6

CONTINUOUS 90 DEGREE VERTICAL PLYWOOD

1 1/2" 1/2"

1 1/2" 1/2"

6

5 1/2"

1'-1"

1'-0" 2 1/2" 5 1/2" 52 1/2" 1/2" 2 1/2" 2" 1/2"

6

PLAN

- ENLARGED PLAN BANQUETTE - ENLARGED PLAN 2 BANQUETTE SCALE : 1 1/2" = 1'-0" SCALE : 1 1/2" = 1'-0" 1 1/2" 1/2"

4

1" 8 1/4" 8 1/4" 1"

8 3/4" 8 3/4" 1 1/2" 1 1/2"

6

2'-2" 2'-0 1/2"

SCALE2 : 1 1/2" = 1'-0" SCALE : 1 1/2" = 1'-0"

1"

1"

2'-0 1/2" 1'-7"

1" - ENLARGED 1" 2'-2"- ENLARGED BANQUETTE PLAN 2'-2" BANQUETTE 8 1/2"

1'-7"

SEAT CUSHION TO BE IMBEDDED INSIDE HARDWOOD FRAMING, TO STICK OUT ONLY 1/2” SEAT CUSHION TO BE IMBEDDED INSIDE HARDWOOD SOLID STAINED WOOD FRAMING, TO STICK OUT ONLY FRAMING, CLEAR SEALED, 1 1/2” 1/2” x 2 1/2”, CURVED IN 9 7 9 PLAN, TOP FRAMING SOLID STAINED CURVED IN TWOWOOD FRAMING, CLEAR SEALED, 1 DIMENSIONS 1/2” x 2 1/2”, CURVED IN 9 PLAN, TOP FRAMING CONTINUOUS 909DEGREE7 CURVED TWO VERTICALINPLYWOOD DIMENSIONS

1'-0"

1'-1"

2'-2" 2'-0 1/2"

1 1/2" 1/2"

1'-0"

1 1/2" 1" 1"

2" 1/2" 2" 1/2"

1 1/2" 2'-0 1/2" 1" 1" 3" 3" 2 1/2" 1'-7"

1" 1 1/2" 1"

1'-7"

2 1/2" 2 1/2"

1 1/2" 1 1/2" 1" 1" 2 1/2"

1'-5 1/2"1'-5 1/2"

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

1"

1 1/2"

1 1/2" 1/2"

BANQUETTE - ENLARGED PLAN SCALE : 1 1/2" = 1'-0"

3"

4 OF METAL SHELF EDGE OF METAL SHELF EDGE 1 1/2" 1/2" 1/8" 1 1/2" 1” SET6BACK 1” SET BACK 9 1/8" 7111/2" 9 SOLID STAINED WOOD SOLID STAINED WOOD FRAME, CLEARFRAME, SEALEDCLEAR SEALED EDGE OF METAL SHELF EDGE OF METAL SHELF 1/2" 1/8" 1 1/2" 1 1/2" 1/8" 9 111/2" 9 1” SET BACK 6 1” SET BACK 7 UPHOLSTEREDSOLID BANQUETTE UPHOLSTERED STAINED BANQUETTE WOOD SOLID STAINED WOOD SEAT CUSHIONFRAME, TO DIE INTO SEALED SEAT CUSHION TO DIE INTO CLEAR FRAME,BANQUETTE CLEARWOOD SEALED WOOD FRAMING BANQUETTE FRAMING UPHOLSTEREDUPHOLSTERED BANQUETTE BANQUETTE CUSHION SEAT CUSHIONSEAT TO DIE INTO TO DIE INTO WOODFRAMING BANQUETTE FRAMING WOOD BANQUETTE 1"

8 1/2" 8 1/2"

1" 2'-2" BANQUETTE - ENLARGED PLAN SCALE : 1 1/2" = 1'-0"

2

1/2" 811/4"

8 3/4"

1 1/2"

4

1'-7" 2'-0 1/2"

1 1/2" 1" 2 1/2"

1" 8 1/4" 8 1/4" 1"

2'-2"

1 1/2" 1"

UPHOLSTERED BANQUETTE SEAT CUSHION TO DIE INTO WOOD BANQUETTE FRAMING

1"

1"

4

8 3/4" 8 3/4" 1 1/2" 1 1/2"

2'-0 1/2"

8 1/4" 1"

8 3/4" 1 1/2"

4

1'-7"

1 1/2" R 3" 1"R 3"1 1/2" 1" 2 1/2" 3"

81"1/4"

R 3" 3"

8 3/4"

1R1/2" 3" 1" 2 1/2"

9

3/8" 3/8"

BANQUETTE - ENLARGED LEGS8 ELEVATION 1/8" SCALE : 3" = 1'-0"

6 3/8"

3 1/2" 3 1/2"

3 1/2" 3 1/2"

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

EDGE OF METAL SHELF 1” SET BACK 1'-6"

R 10"

1"

1'-6"

10"

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

BANQUETTE - ENLARGED PLAN SCALE : 1 1/2" = 1'-0"

2

2

6

R 10" 1" BANQUETTE

2

R 10"

1'-6"5

10 9 10

7

3/8" 3/8"

3/4"

8

8

GRAIN DIRECTION GRAIN DIRECTION

9" 1/4"

3 1/2" 3 1/2" 1'-4" 1'-4"

1'-5 1/2" 1'-5 1/2" 8" 8"

1'-6"

2" 10" 10"

1

10

METAL SHELF,METAL DARK SHELF, DARK BRONZE FINISH BRONZE FINISH 2'-0"1/8" 1 1/2"2'-0" 1 1/2" 10 SOLID STAINED METAL SHELF,WOOD DARK 1'-6" 1'-6"51/8" 1/8" 1'-6" METAL SHELF, DARK 9 7 FRAME, CLEAR SEALED BRONZE FINISH BRONZE FINISH 2'-0" 2'-0" 1 1/2" 1/8" 1 1/2" UPHOLSTERED BANQUETTE WOOD 1'-6" 1/8" 1/8" 1'-6" 1'-6" STAINED SEATSOLID CUSHION TO DIE INTO FRAME, CLEARFRAMING SEALED WOOD BANQUETTE

59

CUSTOM WOOD BANQUETTE: HARDSTOCK EDGES AND VENEERED SURFACES, CLEAR SEALED - TYP. CUSTOM WOOD BANQUETTE: HARDSTOCK EDGES AND1'-6" VENEERED SURFACES, CLEAR SEALED - TYP. 1'-6"

9" 1/4" 4 1/4" 1/4" 4 1/4"

3 1/2" 3 1/2"

44"1/2" 4 1/2"

10 5 EDGE OF METAL SHELF4 10 1” SET BACK10

3/4"

1 1/2" SCALE : 3"1=1/2" 1'-0" 1/2” x 1 1/2” WOOD BAN 1/2” x 1 1/2” WOOD HARDSTOCK EDGE, CLEAR EDGE, CLEAR HARDSTOCK SCA GRAINTYP. DIRECTION SEALED, SEALED, TYP. 1 1/2" 1 1/2" 1/2” x 1x 1/2” 1/2” WOOD WOOD 1 1/2” 1/2” x 1x41/2” 1 1/2” 1/4”WOOD WOOD HARDSTOCK HARDSTOCK EDGE, CLEAR VERTICAL EDGE HARDSTOCK CLEAR HARDSTOCK VERTICAL EDGE BASE,EDGE, CLEAR SEALED, TYP. 7/8” METAL ROD SEALED, TYP. GRAIN DIRECTION PROFILE, CLEAR SEALED, SEALED, TYP. PROFILE, CLEAR SEALED, FOR FLOOR TYP., MITRED EDGE 3/4" 3/8" 3/8"3/4" 3/8" 3/8" TYP., EDGE PAINT INSIDE CARVED SURFACE PAINT INSIDE CARVED SU ANCHORING 1 1/2”MITRED x 1/2” WOOD 1 1/2” x41/2” 1/4”WOOD WOOD HARDSTOCK PAINT COLOR: PAINT WHITECOLOR: BRONZEWHITE BRO HARDSTOCK VERTICAL EDGE CUSTOM WOOD BANQUETTE: HARDSTOCK VERTICAL EDGE CUSTOM WOOD BANQUETTE: BASE, CLEAR SEALED, TYP. 7/8” METAL ROD MATCH SAMPLE MATCH SAMPLE 1" PROFILE, SEALED, HARDSTOCK EDGES ANDCLEAR PROFILE, CLEAR SEALED, HARDSTOCK EDGES AND CONTINUOUS 1 1/2” FOR FLOOR TYPICAL METAL SCREEN TYP., MITRED EDGE VENEERED SURFACES, CLEAR PAINT INSIDE CARVED SU TYP., MITRED EDGE VENEERED SURFACES, CLEAR 3/4" 3/8" 3/8"3/4" 3/8" 3/8" PAINT INSIDE CARVED SURFACE FILLER PIECE, SET ATTACHMENT, LOCATION ANCHORING GROVE FOR CABLE, SEALED - TYP. SEALED - TYP. GROVE FOR CABLE,PAINT COLOR: PAINT WHITECOLOR: BRONZEWHITE BRO BACK 1” TO BE DETERMINED CUSTOM WOOD BANQUETTE: 8 1/8" 1" CUSTOM WOOD BANQUETTE: MAX. 1/2” WIDE MATCH SAMPLE MAX. 1/2” WIDE MATCH SAMPLE HARDSTOCK 1" HARDSTOCK EDGES AND EDGES AND CONTINUOUS 1 1/2” TYPICAL METAL SCREEN VENEERED SURFACES, CLEAR VENEERED SURFACES, CLEAR A: PAIR 1'-6" 1/8" 1'-6"ATTACHMENT, LOCATION FILLER PIECE, SET GROVE FOR CABLE, SEALED TYP. GROVE FOR CABLE, SEALED - TYP. BANQUETTE - ENLARGED LEGS ELEVATION BACK 1” TO BE DETERMINED 3/8" MAX. 1/2” WIDE 8 1/8" 1" 1/2” WIDE MAX.

CUSTOM WOOD BANQUETTE: HARDSTOCK EDGES AND VENEERED SURFACES, CLEAR SEALED - TYP. CUSTOM WOOD BANQUETTE: 1'-6" HARDSTOCK EDGES AND VENEERED SURFACES, CLEAR SEALED - TYP. 1'-6"

METAL SHOE METAL SHOE

10

6

SCALE : 1 1/2" = 1'-0" R 10"

1 1/2” INSIDE SOLID WOOD ARMREST PAINT CARVED SURFACE PAINT COLOR: WHITE BRONZE STAINED & CLEAR SEALED, MATCH SAMPLE ROUNDED EDGE RADIUS MAX. 1/8” PAINT INSIDE CARVED DETAIL PAINT INSIDE CARVED SURFACE PAINT COLOR: WHITE BRONZE PAINT COLOR: WHITE BRONZE MATCH SAMPLE TRANSITION BETWEEN MATCH SAMPLE VENEERED PANELS AND SOLID WOOD FRAMING

4

1

1

2

2"6"

2" 6"

8" 10"

1 1/2" 1" 2 1/2" 3" 1'-7" R 3" BANQUETTE - ENLARGED ELEVATIONELEVATION 1 1/2" 1/2" BANQUETTE - ENLARGED 1 1" : 1 1/2" = 1'-0" 2'-0 1/2" SCALE SCALE 1" 2 1/2" 3" : 1 1/2" = 1'-0" 1'-7" R 3" - ENLARGED ELEVATION 1 1/2" BANQUETTE 1" 2'-2" BANQUETTE - ENLARGED ELEVATION 1" 1/2" SCALE : 1 1/2" =2'-0 1'-0"

1

2

10"

10"

R 10"

1'-6"

10" 2"

1'-6"

R 10"

GRAIN 1 1/2” x 1/2” WOOD 1/2” x DIRECTION 1 1/2” WOOD HARDSTOCK VERTICAL HARDSTOCK EDGE,EDGE CLEAR PROFILE, CLEAR SEALED, SEALED, TYP. TYP., MITRED EDGE 1 1/2” x 1/2” WOOD CUSTOM WOOD BANQUETTE: HARDSTOCK VERTICAL EDGE HARDSTOCK PROFILE,EDGES CLEARAND SEALED, VENEERED SURFACES, TYP., MITRED EDGECLEAR SEALED - TYP. CUSTOM WOOD BANQUETTE: HARDSTOCK EDGES AND VENEERED SURFACES, CLEAR SEALED - TYP.

OF METAL SHELF CLAD, FINISH AND BUTT JOINT BETWEEN BUTT JOINT BETWEEN FACEMETAL BEYOND, PROVIDE HOLE FOR COLOR, PER ARCHITECT’S BANQUETTES BANQUETTES ELEC.SPEC CORDS SOLID WOOD LEGS WITH METAL SHOE BUTT JOINT BETWEEN 1 1/2” FACE OF WOOD METALARMREST SHELF BUTT JOINT BETWEEN SOLID BANQUETTES BEYOND, PROVIDE HOLE FOR BANQUETTES STAINED & CLEAR SEALED, PAINT INSIDE CARVED DETAIL PAINT INSIDE CARVED DETAIL METAL SHOE ELEC. EDGE CORDS ROUNDED RADIUS MAX. 1/8” PAINT COLOR: WHITE BRONZE SOLID WOOD LEGS WHITE WITH BRONZE PAINT COLOR: MATCH SAMPLE METAL SHOESAMPLE MATCH PAINT CARVED SURFACE 1 INSIDE 1/2” SOLID WOOD ARMREST PAINT INSIDE CARVED DETAIL PAINT COLOR: &WHITE BRONZE STAINED CLEAR SEALED, PAINT INSIDE CARVED DETAIL METAL SHOE MATCH SAMPLEEDGE RADIUS MAX. 1/8” ROUNDED PAINT COLOR: PAINT WHITECOLOR: BRONZEWHITE BRONZE MATCH SAMPLE MATCH SAMPLE TRANSITION BETWEEN TRANSITION BETWEEN 10 10 PAINT INSIDE CARVED SURFACE VENEERED PANELS AND SOLID VENEERED PANELS AND SOLID PAINT COLOR: WHITE BRONZE WOOD FRAMING METAL SHELF, DARK WOOD FRAMING 5 MATCH SAMPLE BRONZE FINISH TRANSITION 2'-0" METAL CLAD,BETWEEN FINISH AND TRANSITION METAL CLAD,BETWEEN FINISH AND 10 VENEERED PANELS AND10 SOLID COLOR, PERPANELS ARCHITECT’S VENEERED AND SOLID COLOR, PER ARCHITECT’S WOOD FRAMING 1'-6"5 1/8" 1'-6" SPEC METAL SHELF, WOOD FRAMING SPECDARK BRONZE FINISH 2'-0" METAL CLAD, FINISH AND FACE OFCLAD, METAL SHELF METAL FINISH AND FACE OF METAL SHELF COLOR, PER ARCHITECT’S BEYOND,PER PROVIDE HOLE FOR COLOR, ARCHITECT’S BEYOND, PROVIDE HOLE FOR 1'-6" 1/8" 1'-6" SPEC ELEC. CORDS SPEC ELEC. CORDS FACE OF METAL SHELF FACE METAL SHELF 1 1/2”OF SOLID WOOD ARMREST 1 1/2” SOLID WOODHOLE ARMREST SOLID WOOD LEGS WITH BEYOND, PROVIDE FOR BEYOND, & PROVIDE HOLE FOR STAINED CLEAR SEALED, STAINED & CLEAR SEALED, METAL SHOE ELEC. CORDS ELEC. CORDS ROUNDED EDGE RADIUS EDGE MAX. 1/8” ROUNDED RADIUS MAX. 1/8” METAL SHOE 1 1/2”ARMREST SOLID WOOD ARMREST PAINT INSIDE CARVED SURFACE 1 1/2” SOLID WOOD PAINT INSIDE CARVED SURFACE SOLID WOOD LEGS WITH STAINED & CLEAR SEALED, PAINT COLOR: WHITE BRONZE STAINED & CLEAR SEALED, PAINT COLOR: WHITE BRONZE METAL SHOE ROUNDED EDGE RADIUS MAX. 1/8” MATCH SAMPLE ROUNDED EDGE RADIUS MAX. 1/8” MATCH SAMPLE 4 PAINT INSIDE CARVED SURFACE METAL SHOE PAINT INSIDE CARVED SURFACE PAINT COLOR: PAINT WHITECOLOR: BRONZEWHITE BRONZE MATCH SAMPLE 10 4 10 MATCH SAMPLE EDGE OF METAL SHELF 1 1/2" 1/8" 1 1/2"METAL SHELF, DARK 5 1” SET BACK BRONZE FINISH SOLID STAINED WOOD 2'-0" 10 FRAME, CLEAR SEALED 10 EDGE OF METAL SHELF 1'-6" 1/8" 1/8" 1 1/2" 1'-6" 1 1/2" METAL SHELF, DARK 5 1” SET BACK BRONZE UPHOLSTERED FINISHSTAINED BANQUETTE SOLID WOOD 2'-0" SEAT CUSHION TO DIE INTO FRAME, CLEAR SEALED WOOD BANQUETTE FRAMING 1'-6" 1/8" 1'-6" UPHOLSTERED BANQUETTE SOLID WOOD LEGS WITH SOLID WOOD LEGS WITH SEAT CUSHION TO DIE INTO METAL SHOE METAL SHOE WOOD BANQUETTE FRAMING METAL SHOE SOLID METALWOOD SHOE LEGS WITH SOLID WOOD LEGS WITH METAL SHOE METAL SHOE

10"

8"

BANQUETTE - ENLARGED ELEVATION SCALE : 1 1/2" = 1'-0"

1

DIRECTION 1/2”GRAIN x 1 1/2” WOOD HARDSTOCK EDGE, CLEAR SEALED, TYP.

FACE OF METAL SHELF 1 1/2” SOLID WOODHOLE ARMREST BEYOND, PROVIDE FOR STAINED & CLEAR SEALED, ELEC. CORDS ROUNDED EDGE RADIUS MAX. 1/8”

METAL CLAD, FINISH AND TRANSITION BETWEEN COLOR, PER ARCHITECT’S VENEERED PANELS AND SOLID SPECWOOD FRAMING

6"

6"

1

METAL FINISH AND FACE OFCLAD, METAL SHELF COLOR, ARCHITECT’S BEYOND,PER PROVIDE HOLE FOR SPEC ELEC. CORDS

BUTT JOINT BETWEEN BANQUETTES PAINT INSIDE CARVED DETAIL PAINT COLOR: WHITE BRONZE MATCH SAMPLE

10"

CONTINUOUS CUSHION PIPING CONTINUOUS CUSHION PIPING DETAIL AT TOPDETAIL EDGESAT OFTOP SEAT EDGES OF SEAT CUSHION CUSHION R 3" CONTINUOUS CUSHION PIPING CONTINUOUS CUSHION PIPING DETAIL AT TOP EDGES OF SEAT DETAIL AT TOP EDGES OF SEAT CUSHION - ENLARGED ELEVATION CUSHION BANQUETTE SCALER: 3" 1 1/2" = 1'-0"

1 1/2"

1/2” x 1x 1/2” WOOD 1 1/2” HARDSTOCK EDGE, CLEAR VERTICAL EDGE SEALED, PROFILE,TYP. CLEAR SEALED, TYP., MITRED EDGE 1 1/2” x 1/2” WOOD CUSTOM WOOD BANQUETTE: HARDSTOCK VERTICAL EDGE HARDSTOCK EDGES AND PROFILE, CLEAR SEALED, VENEERED SURFACES, CLEAR TYP., MITRED EDGE SEALED - TYP. CUSTOM WOOD BANQUETTE: HARDSTOCK EDGES AND VENEERED SURFACES, CLEAR SEALED - TYP.

TRANSITION BETWEEN VENEERED PANELS AND SOLID WOOD FRAMING

4"

1/2"

5 1/2" 5 1/2" 4 1/2" 4 1/2"

1'-9" 1'-9"

1'-4"

1'-5 1/2"1'-5 1/2"

10" 1'-6"1'-9"

ELEVATION

5 1/2"

1'-9" 1'-9"

4 1/2" 1'-4"

4 1/2" 1/2"

8"1/2"

6"

6"

4"

2" 10"

ELEVATION

1'-4" 1'-4" 10" 2" 1'-6" 1'-5 1/2"1'-5 1/2"

BANQUETTE ENLARGED CONTINUOUS CUSHION- PIPING DETAILSCALE AT TOP EDGES OF=SEAT : 1 1/2" 1'-0" CUSHION CONTINUOUS CUSHION PIPING CONTINUOUS CUSHION PIPING BANQUETTE - ENLARGED DETAIL AT TOPDETAIL EDGESAT OFTOP EDGES OF SCALE : 1 1/2" = 1'-0" BACK CUSHION, RUNNING BACK CUSHION, RUNNING DOWN VERTICALLY ALONG DOWN VERTICALLY ALONG CONTINUOUS CUSHION PIPING CONTINUOUS CUSHION PIPING ARMREST R 10" ARMREST DETAIL AT TOPDETAIL EDGESAT OFTOP EDGES OF BACK CUSHION, RUNNING BACK CUSHION, RUNNING DOWN VERTICALLY ALONG DOWN VERTICALLY ALONG ARMREST ARMREST R 10"

4" 4 1/2"

2" 6" 1/2" 6" 4 1/2" 5 1/2" 4 1/2"

1'-9"

410" 1/2" 10" 2" 1'-9" 4 1/2" 1'-4"

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

1

5 1/2" 4 1/2"

1

1/2"

CONTINUOUS CUSHION PIPING DETAIL AT TOP EDGES OF SEAT CUSHION

PAINT INSIDE CARVED DETAIL PAINT COLOR: WHITE BRONZE MATCH SAMPLE

BUTT JOINT BETWEEN BANQUETTES

1'-5 1/2" 1'-6" 1/2" 4 1/2" 1'-4" 4 1/2" 1'-6" 5 1/2" 10" 1/2" 10" 8" 1'-5 4" 8" 5 1/2" 5 1/2" 4 1/2" 4 1/2"

CONTINUOUS CUSHION PIPING DETAIL AT TOP EDGES OF BACK CUSHION, RUNNING DOWN VERTICALLY ALONG CONTINUOUS CUSHION PIPING ARMREST DETAIL AT TOP EDGES OF BACK CUSHION, RUNNING DOWN VERTICALLY ALONG ARMREST

1'-9"

CONTINUOUS CUSHION PIPING DETAIL AT TOP EDGES OF SEAT CUSHION

44" 1/2"

CONTINUOUS CUSHION PIPING DETAIL AT TOP EDGES OF SEAT CUSHION

1 1/2"

1/2” x 1 1/2” WOOD HARDSTOCK EDGE, CLEAR SEALED, TYP.

BUTT JOINT BETWEEN BANQUETTES PAINT INSIDE CARVED DETAIL PAINT COLOR: WHITE BRONZE MATCH SAMPLE

TRANSITION METAL CLAD,BETWEEN FINISH AND VENEERED AND SOLID COLOR, PERPANELS ARCHITECT’S WOOD SPEC FRAMING

8"

CONTINUOUS CUSHION PIPING DETAIL AT TOP EDGES OF BACK CUSHION, RUNNING DOWN VERTICALLY ALONG CONTINUOUS CUSHION PIPING ARMREST DETAIL AT TOP EDGES OF BACK CUSHION, RUNNING DOWN VERTICALLY ALONG ARMREST

4 1/2"

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

BUTT JOINT BETWEEN BANQUETTES

TERRAZZO TO WRAP TERRAZZO TO WRAP AROUND STEPAROUND STEP

4

BANQUETTE - ENLARGED SECTION SECTION BANQUETTE - ENLARGED SCALE4 : 1 1/2" = 1'-0" SCALE : 1 1/2" = 1'-0"

4

- ENLARGED BANQUETTE - ENLARGED SECTION SECTION 4 BANQUETTE SCALE : 1 1/2" = 1'-0" SCALE : 1 1/2" = 1'-0"

Banquette Elevation, Section, and Details 9

5

BANQUETTE - ENLARGED SECTION SECTION BANQUETTE - ENLARGED SCALE5 : 1 1/2" = 1'-0" SCALE : 1 1/2" = 1'-0"

5

- ENLARGED BANQUETTE - ENLARGED SECTION SECTION 5 BANQUETTE SCALE : 1 1/2" = 1'-0" SCALE : 1 1/2" = 1'-0"

6

BANQUETTE - ENLARGED SECTION SECTION BANQUETTE - ENLARGED SCALE6 : 1 1/2" = 1'-0" SCALE : 1 1/2" = 1'-0"

7

BANQUETTE - ENLARGED BANQUETTE -E SCALE7 : 1 1/2" = 1'-0" SCALE : 1 1/2" =

6

- ENLARGED BANQUETTE - ENLARGED SECTION SECTION 6 BANQUETTE SCALE : 1 1/2" = 1'-0" SCALE : 1 1/2" = 1'-0"

7

-E BANQUETTE - ENLARGED 7 BANQUETTE SCALE : 1 1/2" = SCALE : 1 1/2" = 1'-0"


10


11


PATCH AND PAINT EXISTING PATCH AND PAINT EXISTING SOFFIT SOFFIT

VERTICAL FRAME WELDED VERTICAL FRAME WELDED TO EXISTING STEEL TO EXISTING STEEL ANGLE, SEE STRUCTURAL ANGLE, SEE STRUCTURAL DRAWINGS FOR DETAILSDRAWINGS FOR DETAILS

NEW PAINTED GWB SOFFIT NEW PAINTED GWB SOFFIT

MAIN DINING ROOM

3

3

A-511

A-511

4" MAIN DINING ROOM

4"

PRIVATE DINING ROOM PRIVATE DINING ROOM

MAIN DINING ROOM

MAIN DINING ROOM

2

2

A-511

A-511

PLAN DETAIL A 1:1

7

PLAN DETAIL A 1:1

EXISTING CONC. FLOOR EXISTING CONC. FLOOR SLAB, LOCALLY REMOVESLAB, LOCALLY REMOVE CONCRETE, PATCH AS CONCRETE, PATCH AS REQUIRED AFTER REQUIRED AFTER INSTALLATION OF ANGLE INSTALLATION OF ANGLE

5 5/8"

1 1/4"

5 5/8"

NEW STEEL ANGLE, REFER NEW STEEL ANGLE, REFER TO STRUCTURAL TO STRUCTURAL DRAWINGS FOR DETAILSDRAWINGS FOR DETAILS

NEW STEEL ANGLE ATTACHED TO STRUCTURAL ANGLE

NEW STEEL ANGLE ATTACHED TO STRUCTURAL ANGLE

EXISTING STEEL GIRDEREXISTING STEEL GIRDER EXISTING FACE OF CONCRETE

TOP OF COVE 10'-8"

8

SILICONE SEAL SILICONE SEAL REMOVABLE METAL FLOOR REMOVABLE METAL FLOOR CLOSURE CLOSURE CONTINUOUS PAINTED CONTINUOUS PAINTED STEEL ANGLE AND PLATE STEEL ANGLE AND PLATE ATTACHED TO CONC. ATTACHED TO CONC. FLOOR SLAB, MATC COLOR FLOOR SLAB, MATC COLOR WOOD FLOOR WITH WOOD FLOOR PRIVATE DINING ROOM PRIVATEWITH DINING ROOM EXISTING WOOD FLOORING EXISTING WOOD FLOORING

3 1/2" 2'-11 3/4"

NEW PAINTED CURTAIN NEW PAINTED CURTAIN BOX BOX MATCH PAINT COLOR WITH MATCH PAINT COLOR WITH SOFFIT COLOR SOFFIT COLOR

SECTION DETAIL AT DIFFUSER DETAIL AT DIFFUSER 4 SECTION 3"=1'-0" 3"=1'-0"

1 1/4" 2'-11 3/4"

3/4"

3 1/2"

7,8 A511

1/2"

2'-11 3/4"

2'-11 3/4"

2ND FLOOR + 15'-3"

2 1/2"

EXISTING CURTAIN EXISTING CURTAIN TRACKS MODIFIED AND TRACKS MODIFIED AND INSTALLED INSTALLED NEW CURTAIN BY OTHERS NEW CURTAIN BY OTHERS

4

2ND FLOOR + 15'-3"

3/4"

1/2"

2'-11 3/4"

2'-11 3/4"

2 1/2"

7,8 A511

PAINTED PERFORATED STEEL PAINTED PERFORATED STEEL PLATE (AIR DIFFUSER) PLATE (AIR DIFFUSER) MCNICHOLES, GREACIANMCNICHOLES, 58% GREACIAN 58% OPEN AREA, OR EQUAL OPEN AREA, OR EQUAL PAINT COLOR TO MATCHPAINT COLOR TO MATCH FRAME, TYP. FRAME, TYP.

3"

5 A-511

3"

5 A-511

6 1/4"

A-511

1”X2”PAINTED VERTICAL1”X2”PAINTED VERTICAL WINDOW FRAME, WELDED TO WINDOW FRAME, WELDED TO HORIZONTAL WINDOW FRAME HORIZONTAL WINDOW FRAME BELOW BELOW

1/8" 1 1/2" 1/4"

A-511

1/8" 1 1/2" 1/4"

4

2'-11 3/4"

4

6 1/4"

BOTTOM OF SOFFIT 22'-9"

2'-11 3/4"

BOTTOM OF SOFFIT 22'-9"

1/4" 1/4"

1/4" 1/4"

EXISTING STEEL ANGLE EXISTING STEEL ANGLE

EXISTING FACE OF CONCRETE

TOP OF COVE 10'-8"

2'-1 3/8"

2'-1 3/8"

6'-4"

6'-4"

1/8” ACRYLIC PANELS, 1/8” ACRYLIC PANELS, COLOR TO BE SPECIFIEDCOLOR TO BE SPECIFIED BY ARCHITECT BY ARCHITECT

3

SEAL ALL SIDES OF ACRYLIC PANEL, TYP

SEAL ALL SIDES OF ACRYLIC PANEL, TYP

SEAL ALL SIDES OF ACRYLIC PANEL, TYP

SEAL ALL SIDES OF ACRYLIC PANEL, TYP

SECTION DETAIL AT L2 FLOOR DETAIL AT L2 FLOOR 3 SECTION 3"=1'-0" 3"=1'-0"

HEIGHT OF EXIST. WINDOW HEIGHT SILL OF EXIST. WINDOW SILL 4'-4" 4'-4" 11 3/8"

2'-1 1/8" 11 3/8"

2'-1 1/8"

1/8” ACRYLIC PANELS, 1/8” ACRYLIC PANELS, COLOR TO BE SPECIFIEDCOLOR TO BE SPECIFIED BY ARCHITECT BY ARCHITECT

SEAL ALL SIDES OF ACRYLIC PANEL, TYP

4"

1/4"

1 1/2"

1 1/2"

1 1/2"

SEAL ALL SIDES OF ACRYLIC PANEL, TYP

4"

1/4"

BAR CEILING

BAR CEILING

ALIGN

ALIGN

FACE OF WALL BEYOND FACE OF WALL BEYOND

MAIN DINING ROOM

1

SECTION 3/4"=1'-0"

1

SECTION 3/4"=1'-0"

2

MAIN DINING ROOM

SECTION DETAIL AT COVE DETAIL AT COVE 2 SECTION 3"=1'-0" 3"=1'-0"

BAR

BAR

MAIN DINING ROOM

5

MAIN DINING RO

SECTION DETAIL AT TYPICAL 5 SECTION 3"=1'-0" 3"=1'-0"

Interior Glazing Sections & Details 12


NOTE:

METAL SCREEN PAT COORDINATED WITH

CONNECTION OF ME BANQUETTE TO BE C MILLWORKER, SEE S A-703, A-704 NEW CUSTOM METAL SCREEN 1/4" X 1 1/2" FLAT BAR, CONCEALED FIXTURES, CHEMICALLY TREATED STEEL, FINISH TO MATCH ARCHITECTS SAMPLE

4'-11 3/4" 1" 1'-7 1/8"

2'-6 3/16"

2'-6 3/16"

2'-6 3/16"

1"

4

2'-6 3/16"

2'-6 3/16"

1'-7 1/8"

5'-4"

15'-9 1/4"V.I.F.

1'-6 15/16"

2'-5 15/16"

2'-5 15/16"

MIN. 5'-4" V.I.F. 35'-0 1/2"V.I.F.

2'-5 15/16"

2'-5 15/16"

2'-2 7/16"

13'-9 1/4"V.I.F.

3'-11" 6" 1/4"

9"

6" 1/4"

9"

1/4"

5'-2 1/2"

4'-11 3/4" 1/4"

5'-9" DOWNTOWN

NEW CUSTOM METAL SCREEN 1/4" X 1 1/2" FLAT BAR, CONCEALED FIXTURES, CHEMICALLY TREATED STEEL, FINISH TO MATCH ARCHITECTS SAMPLE

1"

4'-1 3/4" V.I.F 4'-1 3/4"

1"

11 1/2"

2'-6"

2'-6"

2'-6"

2'-6"

1'-7"

12'-6 1/2"

1"

16'-9 1/4" V.I.F.

ELEVATION - MAIN DINING ROOM

5

ELEVATION - BAR SCREEN

174 AT STEPS, END OF SCREEN TO ALIGN WITH FACE OF THE BANQUETTE ENDS, TYP. +18" ALIGN

EMP

ALIGN

UP +9"

15'-9 1/4"

2

MIN. 5'-4" V.I.F.

PLAN - UPTOWN DINING ROOM

13'-9 1/4"

Eleven Madis

1"

11 Madison Avenue New York, NY 10010

3 A-521

173

REVISION #

DESCRIPTION

01

ADDENDUM 01

02

ADDENDUM 01 -

163

AT STEPS, END OF SCREEN TO ALIGN WITH FACE OF THE BANQUETTE ENDS, TYP.

ALIGN

ALIGN +18"

METAL SCREEN MAIN DINING + B ALIGN

UP +9"

4'-1 3/4"V.I.F.

12'-6 1/2"

1"

1/2" = 1'-0"

16'-9 1/4"V.I.F. 1"

15'-9 1/4"

MIN. 5'-4" V.I.F. 3

13'-9 1/4"

1"

COMPLIANCE SE 29 JUNE 2017

5

A-521

A-521 N

1

PLAN - DOWNTOWN DINING ROOM

3

PLAN - BAR

1 1/2"

1/2"

A-

Main Dining Room Metal Screen Plan & Elevation

1/2"

NEW CUSTOM METAL SCREEN

NEW CUSTOM METAL SCREEN

CUSTOM BANQUETTE BACKING

5'-2 3/4"

3'-0"

3'-0"

1'-11"

1'-11" METAL SCREEN

9 1/4" ALIGN

1/4"

6"

SECTION - BAR SCREEN 1-1/2"=1'-0"

3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE

3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE

1/2" 1 1/2"

3 1/2"

1/2"

3 1/2"

1/2" 1 1/2"

1 1/2"

1/2"

1/2" 1 1/2"

4

WALL

1"

TERAZZO STEP

6"

9 1/4" ALIGN 6"

METAL SCREEN

1 1/2"

1/2"

3 1/2"

MAIN DINING ROOM BANQUETTE

WALL

TERAZZO STEP

ALIGN TERRAZZO FACE AND METAL SCREEN

SECTION - BAR SCREEN 1-1/2"=1'-0"

MAIN DINING ROOM BANQUETTE

1"

METAL SCREEN STANDS ON TERRAZZO FLOOR, USE 4” x 1/2” METAL SPACERS, @ ~ 4’ O.C., PAINT IN SCREEN COLOR

TERRAZZO TO WRAP AROUND STEP

4 3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE

1 1/2"

1 1/2"

1/2" 1 1/2"

3 1/2"

5'-2 3/4"

SECTION - MAIN DINING SCREEN 1-1/2"=1'-0"

Metal Screen Connection Details 1 1/2"

1/4"

5 1/2"

1

3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE

13

6"

ALIGN TERRAZZO FACE AND METAL SCREEN TERRAZZO TO WRAP AROUND STEP

SECTION - MAIN DINING SCREEN 1-1/2"=1'-0"

CONTRACTOR TO CORDINATE LOCATION ATTACHMENT TO BANQUETTE, TYP

LOWER ATTACHMENT TO BANQUETTE

METAL SCREEN STANDS ON TERRAZZO FLOOR, USE 4” x 1/2” METAL SPACERS, @ ~ 4’ O.C., PAINT IN SCREEN COLOR

TERRAZZO TO WRAP AROUND STEP

1

REMOVEABLE UPHOLSTRY, TO ACCESS SCREEN CONNECTION

REMOVEABLE PANEL TO ACCESS SCREEN CONNECTION

ALIGN

1/4"

REMOVEABLE PANEL TO ACCESS SCREEN CONNECTION

9"

9"

ALIGN TERRAZZO FACE AND METAL SCREEN

BANQUETTE WOOD BACKING

REMOVEABLE UPHOLSTRY, TO ACCESS SCREEN CONNECTION

3'-8"

2'-0 1/2"

2'-0 1/2" TERRAZZO TO WRAP AROUND STEP

9"

9"

1/4"

5 1/2"

METAL SCREEN STANDS ON TERRAZZO FLOOR, USE 4” x 1/2” METAL SPACERS, @ ~ 4’ O.C., PAINT IN SCREEN COLOR

ALIGN

METAL SCREEN STANDS ON TERRAZZO FLOOR, USE 4” x 1/2” METAL SPACERS, @ ~ 4’ O.C., PAINT IN SCREEN COLOR

BANQUETTE WOOD BACKING

UPPER ATTACHMENT TO BANQUETTE

REMOVEABLE UPHOLSTRY, TO ACCESS SCREEN CONNECTION

3'-8"

4'-11 3/4"

REMOVEABLE UPHOLSTRY, TO ACCESS SCREEN CONNECTION

LOWER ATTACHMENT TO BANQUETTE

LOWER ATTACHMENT TO BANQUETTE

ALIGN TERRAZZO FACE AND METAL SCREEN

NEW CUSTOM METAL SCREEN

UPPER ATTACHMENT TO BANQUETTE

LOWER ATTACHMENT TO BANQUETTE

1/2"

CUSTOM BANQUETTE BACKING

UPPER ATTACHMENT TO BANQUETTE

4'-11 3/4"

UPPER ATTACHMENT TO BANQUETTE

1 1/2"

1 1/2"

NEW CUSTOM METAL SCREEN

1 1/2"

1/2"

1 1/2"

1 1/2"

TERAZZO STEP

B

B


1 1/2"

1/2"

1 1/2"

1/2"

NOTE:

1 1/2"

1/2"

1 1/2"

1/2"

NOTE: OF ME CONNECTION BANQUETTE TO BE C PATS METAL SCREENSEE MILLWORKER, A-703, A-704 WITH COORDINATED

METAL SCREEN PAT COORDINATED WITH

NEW CUSTOM METAL SCREEN

NEW CUSTOM METAL SCREEN

CONNECTION OF ME BANQUETTE TO BE C MILLWORKER, SEE S A-703, A-704

BANQUETTE WOOD BACKING CUSTOM BANQUETTE BACKING NEW CUSTOM METAL SCREEN

NEW CUSTOM METAL SCREEN REMOVEABLE BANQUETTE WOOD UPHOLSTRY, TO BACKING ACCESS SCREEN CONNECTION

CUSTOM BANQUETTE BACKING UPPER ATTACHMENT TO BANQUETTE

UPPER ATTACHMENT TO BANQUETTE

5'-2 3/4"

REMOVEABLE UPHOLSTRY, TO ACCESS SCREEN CONNECTION

3'-8"

3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE

MAIN DINING ROOM BANQUETTE

3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE

MAIN DINING ROOM BANQUETTE WALL

METAL SCREEN

3'-0"

1'-11" 9 1/4" ALIGN

1/4"

6" 9 1/4"

6"

ALIGN

1/4"

4

SECTION - BAR SCREEN 1-1/2"=1'-0"

4

SECTION - BAR SCREEN 1-1/2"=1'-0"

1"

BAR BANQUETTE

BAR METAL SCREEN

1" WALL

1"

1 1/2"

1 1/2"

3 1/2"

1 1/2"

TERAZZO STEP 1 1/2"

1 1/2"

1 1/2"

1 1/2"

TERAZZO STEP 1 1/2"

1 1/2" 1 1/2"

1/2"

4 3/16"

1 1/2"

Eleven Madis

TERAZZO STEP 1 1/2"

3 1/2"

1 1/2"

1/2"

2” x 5/16” PRE-CUT SLOT FOR METAL SCREEN CONNECTION

EMP EMP

1/2"

TERAZZO STEP 1 1/2"

WALL

BAR METAL SCREEN

1/2"

3 1/2" 1 1/2"

WALL

BAR BANQUETTE

3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE

1/2" 1 1/2"

3 1/2"

1"

3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE

1/2"

METAL SCREEN

1/2"

1

SECTION - MAIN DINING SCREEN 1-1/2"=1'-0"

1/2" 1 1/2"

SECTION - MAIN DINING SCREEN 1-1/2"=1'-0"

1/2"

3 1/2"

TERRAZZO TO WRAP AROUND STEP

1

1/2" 1 1/2"

3 1/2" 1 1/2"

CONTRACTOR TO CORDINATE LOCATION OF SCREEN ATTACHMENT TO BANQUETTE, TYP

6"

ALIGN TERRAZZO FACE AND METAL SCREEN

TERRAZZO TO WRAP AROUND STEP

6"

5 1/2"

ALIGN

1/4"

59"1/2"

METALTERRAZZO SCREEN STANDS ON ALIGN FACE AND TERRAZZO FLOOR, USE 4” x METAL SCREEN 1/2” METAL SPACERS, @ ~ 4’ O.C.,TO PAINT INAROUND SCREEN TERRAZZO WRAP COLOR STEP

ALIGN

1/4" 9"

METAL SCREEN STANDS ON TERRAZZO FLOOR, USE 4” x 1/2” METAL SPACERS, @ ~ 4’ O.C., PAINT IN SCREEN COLOR

REMOVEABLE PANEL TO ACCESS SCREEN CONNECTION

9"

9"

ALIGN TERRAZZO FACE AND METAL SCREEN

LOWER ATTACHMENT TO BANQUETTE

REMOVEABLE PANEL TO ACCESS SCREEN CONNECTION

Main Dining Room Overlook METAL SCREEN STANDS ON TERRAZZO FLOOR,FACE USE AND 4” x ALIGN TERRAZZO 1/2” METAL SPACERS, METAL SCREEN @ ~ 4’ O.C., PAINT IN SCREEN COLOR TERRAZZO TO WRAP AROUND STEP

3'-0"

3'-8"

LOWER ATTACHMENT TO BANQUETTE

1/2" 1 1/2"

LOWER ATTACHMENT TO BANQUETTE METAL SCREEN STANDS ON TERRAZZO FLOOR, USE 4” x 1/2” METAL SPACERS, @ ~ 4’ O.C., PAINT IN SCREEN COLOR

CONTRACTOR TO CORDINATE LOCATION OF SCREEN ATTACHMENT TO BANQUETTE, TYP

1'-11"

2'-0 1/2"

UPPER ATTACHMENT TO BANQUETTE

2'-0 1/2"

LOWER ATTACHMENT TO BANQUETTE

REMOVEABLE UPHOLSTRY, TO ACCESS SCREEN CONNECTION 5'-2 3/4"

4'-11 3/4"

REMOVEABLE UPHOLSTRY, TO ACCESS SCREEN CONNECTION

4'-11 3/4"

UPPER ATTACHMENT TO BANQUETTE

11 Madison Avenue New York, NY 10010

4 3/16" 1/2"

Eleven Madis

2” x 5/16” PRE-CUT SLOT FOR METAL SCREEN CONNECTION

11 Madison Avenue REVISION # DESCRIPTION

1 1/2" 1 1/2"

1'-11" 1'-11" 9 1/4"

1 1/2"

1'-11"

1/4" 9 1/4" 1/4" 6" 6"

1 1/2" 1/4" 9 1/4"

METAL SCREEN STANDS ON TERRAZZO FLOOR, USE 4” x 1/2” METAL SPACERS, @ ~ 4’ O.C., PAINT IN SCREEN COLOR

1/4" 6"

2" 5/16"

METAL SCREEN STANDS ON TERRAZZO FLOOR, USE 4” x 1/2” METAL SPACERS, @ ~ 4’ O.C., PAINT IN SCREEN COLOR

6"

1/4"

9 1/4"

5/16"

BANQUETTE WOOD BACKING

02

ADDENDUM 01 -

REVISION #

DESCRIPTION

01

ADDENDUM 01

02

ADDENDUM 01 -

3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE 3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE

METAL SCREEN MDR & BAR

AS NOTED METAL SCREEN MDR & BAR SE COMPLIANCE 29 JUNE 2017 AS NOTED N

9"

9"

1'-11"

1 1/2"

2" 1 5/16" BANQUETTE WOOD BACKING

1 1/2"

1 1/2" 1 1/2"

5 1/2"

3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE 3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE

5 1/2" 1/4"

5 1/2" 5 1/2" 1/4" 9"

METAL SCREEN STANDS ON TERRAZZO FLOOR, USE 4” x 1/2” METAL SPACERS, @ ~ 4’ O.C., PAINT IN SCREEN COLOR

1/4"

5/16"

METAL SCREEN STANDS ON TERRAZZO FLOOR, USE 4” x 1/2” METAL SPACERS, @ ~ 4’ O.C., PAINT IN SCREEN COLOR

9"

1 1/2"

2" 2"

1 1/2"

5/16"

BANQUETTE WOOD BACKING

5/16"

CL

1 5/16"

1 1/2"

2" 1 5/16"

CL BANQUETTE WOOD BACKING

3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE 3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE

5/16"

CL 2"

1 1/2"

2'-0 1/2" 2'-0 1/2"

1 5/16" 5/16"

2'-0 1/2"

2"

1 1/2"

CL

2'-0 1/2"

5/16"

2” x 5/16” PRE-CUT SLOT FOR METAL SCREEN CONNECTION

1 1/2"

3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE 3 1/2” x 1 1/2” CONNECTION PIECE, WELDED TO SCREEN, MATERIAL TO MATCH SCREEN MATERIAL, SLOTTED HOLE, HELD IN PLACE BY METAL ANGLE THAT IS BOLTED TO BACKING OF BANQUETTE

1 1/2"

2"

1 1/2"

New York,ADDENDUM NY 10010 01 01

2” x 5/16” PRE-CUT SLOT FOR METAL SCREEN CONNECTION

2

DETAIL - CONNECTION TO BACK OF MDR BANQUETTE 3"=1'-0"

3

DETAIL SECTION - CONNECTION TO BACK OF MDR BANQUETTE 3"=1'-0"

2

DETAIL - CONNECTION TO BACK OF MDR BANQUETTE 3"=1'-0"

3

DETAIL SECTION - CONNECTION TO BACK OF MDR BANQUETTE 3"=1'-0"

A-

COMPLIANCE SE 29 JUNE 2017

2

DETAIL - CONNECTION TO BACK OF BAR BANQUETTE 3"=1'-0"

3

DETAIL SECTION - CONNECTION TO BACK OF BAR BANQUETTE 3"=1'-0"

2

DETAIL - CONNECTION TO BACK OF BAR BANQUETTE 3"=1'-0"

3

DETAIL SECTION - CONNECTION TO BACK OF BAR BANQUETTE 3"=1'-0"

N

A-

Metal Screen Connection Details 14


15


16


BROOKLYN MUSIC SCHOOL Building Renovation & Extension Allied Works Architecture

LOCATION

Brooklyn, New York US SIZE

33, 000 sf CLIENT

Brooklyn Music School SCOPE

Programming, Architectural Design, Interior Design PROJECT TEAM

Brad Cloepfil, Chris Stoddard, Yuri Suzuki, Xuancheng Zhu

PROJECT DESCRIPTION

The Brooklyn Music School is a community school for the performing arts, founded in 1909 as the Brooklyn Music School Settlement. The School consists of 4 combined row houses and a theater. The row houses date back to the mid 19th century and were substantially renovated in the 1920’s. The buildings house numerous rehearsal rooms, dance studios, administrative of offices. With renewed energy and growth BMS has outgrown its well-worn facility. The upcoming phase of the adjacent lot at 130 St. Felix Street will allow Brooklyn Music School to build a new state of the art facility that will accommodate current and future space needs well into this century. The new facility will house performance spaces, rehearsal rooms and dance studios for afternoon, evening and weekend programs, administrative and support spaces. The building concept is use the new atrium to bridge the old buildings and the new building. Atrium will become the new node of circulation path and it is viable to St. Felix Street and accessible from the sidewalk. The atrium will serve as an indoor urban square where spontaneous performance, and small gathering can occur.


TEACHING

PERFORMANCE

RECORDING SPACE VIDEO ROOM 250 sf

300 sf

250 sf

300 sf 1000 sf

DIGITAL MUSIC LAB

GENERAL STORAGE CHAIRS 300 sf

150-PERSON PERFORMANCE

DRESSING DRESSING ROOM ROOM MEN'S WOMEN'S

3000 sf

80-PERSON PERFORMANCE

* SOUND SEPARATION REQUIRED

1500 sf

BLACK BOX REHEARSAL

ARCHIVE MUSIC LIBRARY

DIGITAL PIANO LAB

750 sf

INSTRUMENT STORAGE 300 sf

1000 sf

500 sf

ADMINISTRATION

LARGE PRIVATE LESSON-PRACTICE ROOMS

150 sf

300 sf

ENTRANCE

CLOSED DOOR OFFICES

300 sf

300 sf

300 sf

300 sf

300 sf drums

150 sf

* SOUND SEPARATION REQUIRED

PERFORMANCE LOBBY

SIDE PLAY SPACE SCULPTURE GARDEN

500 sf

500 sf OUTDOOR

SMALL CLOSED DOOR OFFICES 80 sf

SMALL PRIVATE LESSON-PRACTICE ROOMS

80 sf

FOOD PREP/ KITCHEN AREA

SMALL CONFERENCE

500 sf

200 sf

100 sf

100 sf

100 sf

100 sf

100 sf

100 sf

100 sf

100 sf

100 sf drums

MULTI-FUNCTIONAL GROUP ROOMS

500 sf OUTDOOR

500 sf

100 sf

100 sf

* SOUND SEPARATION REQUIRED

ROOFTOP PLAY SPACE

CAFÉ

100 sf

750 sf

750 sf

750 sf

750 sf

750 sf

750 sf

750 sf

750 sf

750 sf

750 sf

750 sf

LARGE CONFERENCE 800 sf

CHILDREN'S MUSIC LIBRARY

2000 sf

COPY/ COFFEE WAITING 150 sf

OPEN SPACE WORKSTATIONS

300 sf 800 sf

150 sf 250 sf

1200 sf

BANQUET HALL

SCHOOL LOBBY

LARGE DANCE STUDIO

RECEPTION

SMALL DANCE STUDIO

1200 sf

MEN'S BATHROOM

MEN'S BATHROOM

WOMEN'S BATHROOM

WOMEN'S BATHROOM

200 sf

200 sf

200 sf

200 sf

INSTRUMENT STORAGE 500 sf

650 sf

AMENITIES

ENTRANCE

GENERAL STORAGE

MEN'S BATHROOM

WOMEN'S BATHROOM

100 sf

100 sf

100 sf

WOMEN'S BATHROOM

MEN'S BATHROOM

300 sf

300 sf

UNINEX BATHROOM

CUSTODIAL OFFICE

SECURITY STATION

100 sf

100 sf

DANCE GENERAL STORAGE STORAGE 100 sf 50 sf

TELECOM 100 sf

50 sf

CHANGE ROOM-F 100 sf

CHANGE ROOM-M 100 sf

DIRECT

CONNE

CONNE

Program Adjacencies BMS I BROOKLYN MUSIC SCHOOLAnalysis

PROGRAM ADJA

AWA | 20 JUL 2017

Buildable Area: Allowable Zoned SF: 50,980 zsf. Exisitng BMS Building: 12,480 zsf. Total Allowable Zoned SF: 38,500 zsf.

NEW BUILDING

EA:

EXISTING THEATER

BUILDABLE AREA:

ATRIUM 6 FLOORS (OUTDOOR SPACE ON ROOFTOP)

,500 SF

1F: 9,500 SF

0,400 SF

NEW BUILDING

SF

EXISTING BUILDING

2F: 8,500 SF

EXISTING BUILDING

3F-5F: EACH=10,400 SF 6F: 1,000 SF

BUILDABLE AREA:

BUILDABLE AREA:

5 FLOORS

6 FLOORS (OUTDOOR SPACE ON ROOFTOP)

Zoning Analysis 1F-2F: EACH=9,500 SF

3F-5F: EACH=10,400 SF

NEW BUILDING

TOTAL: 50,200 SF

EXISTING BUILDING

1F: 9,500 SF 2F: 8,500 SF

TOTAL: 50,200 SF

Conceptual Plan Diagram

3F-5F: EACH=10,400 SF

OOL

19 BMS I BROOKLYN MUSIC SCHOOL AWA | 26 JUL 2017

6F: 1,000 SF TOTAL: 50,200 SF N SITE


USIC SCHOOL

ASHLAND PL -5'-0"

LOADING AREA 215 SF

SECURITY 135 SF

TELECOM 135 SF

DRESSING ROOM WOMEN'S 270 SF

DRESSING ROOM MEN'S 345 SF

ELEC. RM 98 SF

WC

WC

135 SF

135 SF

CHAIR STORAGE 210 SF

THEATER 3700 SF

GENERAL STORAGE

150-PERSON PERFORMANCE BLACKBOX

220 SF

3,000 SF

RECORDING 255 SF

SERVICE

UP

WC WOMEN'S

WC MEN'S

375 SF

MUSIC CAFE 530 SF

390 SF

PERFORMANCE BREAKOUT 200 SF

LOBBY 750 SF

-9-1/2"

+0'-0"

PUBLIC SPACES /CIRCULATION

PERFORMANCE LOBBY 760 SF

LESSON LRG

LESSON LRG 420 SF

THEATER LOBBY 520 SF

PERFORMANCE

200 SF VESTIBULE

RECEPTION/ BOX OFFICE

TEACHING

PORCH ADMINSTRATION +0'-0"

SERVICE PHASE 1

PHASE 2A

PHASE 2B

ST FELIX ST

Ground Floor Plan

N FLOOR PLAN_LVL1 1/24"=1'-0"

+66'-0" TOP OF ROOF

TOP OF ROOF +66'-0"

+54'-0" 5TH FLOOR

+42'-0" 4TH FLOOR

4TH FLOOR +42'-0"

+30'-5 3/4" 3RD FLOOR

+19'-1 3/4" 2ND FLOOR

+0'-0" 1ST FLOOR

2ND FLOOR +19'-1 3/4"

+1'-0" 1ST FLOOR

1ST FLOOR -5'-4"

Building Sections BMS I BROOKLYN MUSIC SCHOOL AWA | 27 SEP 2017

20

BUILDING SECTION 1/16"=1'-0"


21


22


SUCHU BUSINESS CENTER Industry Park International Business Center AZL Architects

LOCATION

Suchu, Jiangsu China SIZE

570, 400 sf YEAR

February 2015 SCOPE

Master Planning, Architectural Design, Interior Design PROJECT TEAM

Zhang Lei, Gong Huan, Tang Tao, Xuancheng Zhu

PROJECT DESCRIPTION

Suchu Business Center is located in the core area of Suchu ​​ Modern Industrial Park in Chuzhou City, Anhui Province. The site is located on the northeast side of the intersection of Huizhou Road and Central Sanlu Road. The construction site is about 17.5 acre. The total construction area is about 50,000 square meters, of which about 35,000 square meters of upper levels, underground construction area of about ​​ 15,000 square meters. The project includes three primary optimization programs on site: the office tower, mixeduse conference hall, and reception area. The key to this design is to maximize the flexibility of office area and create an affinity public area for the entry and mixed-use area. One waterscape plaza for the main entry, another one for the oval reception space next to the conference hall. The landscape of the plaza also created a spiritual place with the reflection of the building in the water.


露天剧场

融通规划

■ 规划布局分析

现代产业园国际商务中心用地位于产 苏滁现代产业园国际商务中心用地位于产 中央商务区的中央主轴线西侧,西临 业园中央商务区的中央主轴线西侧,西临 快速道路徽州路,东望主要城市节点 城市快速道路徽州路,东望主要城市节点 广场。用地北部及东部地块均布置有 才汇广场。用地北部及东部地块均布置有 100 米的高层商务塔楼,用地东南 80 至 100 米的高层商务塔楼,用地东南 园区标志性的 150 米双塔建筑。整个 部为园区标志性的 150 米双塔建筑。整个 商务区形成了北低南高、外围低中央 中央商务区形成了北低南高、外围低中央 空间形态及城市界面。 高的空间形态及城市界面。

总平面图

Site Plan

中 央 轴 线 节 点

中 央 轴 线 节 点

城 市 空 间 节 点

城 市 空 间 节 点

城 市 中 央 主 轴

城 市 中 央 主 轴

限 高 80 米 高 层 建 筑

限 高 80 米 高 层 建 筑

滨水休闲步行轴

滨水休闲步行轴

限 高 100 米 高 层 建 筑

限 高 100 米 高 层 建 筑

> 150 米 高 层 建 筑

> 150 米 高 层 建 筑

完 整 的 沿 街 界 面

完 整 的 沿 街 界 面

体育中心

体育中心

方案充分尊重上位规划中的发展方向, 方案充分尊重上位规划中的发展方 塔楼布置在基地东北角,与周边地块的 塔楼布置在基地东北角,与周边地 80 及 100 米塔楼共同形成了完整的城 80 及 100 米塔楼共同形成了完整的 市空间形态,犹如一块拼图完美的镶嵌 市空间形态,犹如一块拼图完美的 在城市之中。裙房部分沿徽州路一侧布 在城市之中。裙房部分沿徽州路一 置,以保证沿徽州路的完整城市界面与 置,以保证沿徽州路的完整城市界 主楼共同围合出景观水院,与地块东侧 主楼共同围合出景观水院,与地块 的才汇广场遥相呼应。 的才汇广场遥相呼应。

规划布局分析

9

设计分析·Design Analysis

计分析·Design Analysis 8

融通规划

限高 100 米

限高 100 米

商业会展 育博广场

商业会展

限高 80 米

育博广场

限高 80 米 > 150 米

吴风广场 滨水休闲步行街

才汇广场

才汇广场

路 三 中 景观水院

景观水院

吴风广场

滨水休闲步行街 N

Urban Axis Analysis

本方案(80 米)

心 才汇广场

才汇广场

本方案(80 米)

本方案

本方案

中央商务区

中央商务区

爱金广场

爱金广场

> 150 米

N

Urban Nodes Analysis

25 苏滁现代产业园国际商务中心方案设计 苏滁现代产业园国际商务中心方案设计


■ 绿地结构

■ 硬地结构

■ 水体结构

4

4

1

1

2

3

4

2

1

2

3

4

2

3 2

14

3

1

1

设计分析·Design Analysis

注重效率 ■ 硬地结构 Water Landscape

■ 绿地结构 Pavement

塑造地 塑造地 塑造地

Landscape 苏滁现代产业园国际商务中心方案设计

Site Analysis

■ 内部流线分析 高效的功能流线,建筑地面层分别设有 4 方便办公、会议、外来办事人员、贵宾 人员及后勤服务的独立出入口,地下部 2 分也分别设有通往各个功能区域的垂直 交通,各流线之间互不干扰,方便快捷。

4 2

1

2

3

4

空 景

间 观

轴 节

线 点

景 空

观 间

节 轴

点 线

线

路 路路 州 州州 徽徽

3

3

1

1 与才汇广场空间联系

沿徽州路空间联系 沿徽州路空间联系 沿徽州路空间联系

■ 绿地结构 Landscape

与才汇广场空间联系

国际商务中心作为苏滁现代产业园中 区的首发项目,在特定的时期将承载 国际商务中心作为苏滁现代产业园中 地标的使命。因而,为了突出项目的 区的首发项目,在特定的时期将承载 国际商务中心作为苏滁现代产业园中 并塑造高耸挺拔的形体关系,方案采 地标的使命。因而,为了突出项目的 区的首发项目,在特定的时期将承载 式塔楼的基本平面形式并在此基础将 并塑造高耸挺拔的形体关系,方案采 地标的使命。因而,为了突出项目的 划分为东西两个体量,既强化了南侧 式塔楼的基本平面形式并在此基础将 并塑造高耸挺拔的形体关系,方案采 的门户感与礼仪感,又形成了“双塔 划分为东西两个体量,既强化了南侧 式塔楼的基本平面形式并在此基础将 象,与基地东南方的 150 米双塔相映 的门户感与礼仪感,又形成了“双塔 划分为东西两个体量,既强化了南侧 塔楼外立面材料由竖向划分疏密变化 象,与基地东南方的 150 米双塔相映 的门户感与礼仪感,又形成了“双塔 色金属板组成精致新颖,群房部分利 塔楼外立面材料由竖向划分疏密变化 象,与基地东南方的 150 米双塔相映 外饰面彰显大气沉稳厚重的建筑气质 色金属板组成精致新颖,群房部分利 塔楼外立面材料由竖向划分疏密变化 之间相互补充形成既庄重又不失灵动 外饰面彰显大气沉稳厚重的建筑气质 色金属板组成精致新颖,群房部分利 建筑效果。 之间相互补充形成既庄重又不失灵动 外饰面彰显大气沉稳厚重的建筑气质 建筑效果。 之间相互补充形成既庄重又不失灵动 建筑效果。

与才汇广场空间联系

路 三 心 路 中 三 心 中

Planning

苏滁现代产业园国际商务中心方案设计

4 徽

线

人 行 流 线 车 流入 线 地 下行 车库 口 人 车 行 流 线 非机动车出入口 地 车库 口 人 下行 流入 线

路 路路 州 州州 徽徽

2

3

N N N

非机动车出入口 地下车库入口 非机动车出入口

路 三 心1 路 中 三 心 中

Circulation

办 公

苏滁现代产业园国际商务中心方案设计

办 公 办 公 餐 饮 会 议 餐 饮 规划展示厅 餐 会 饮 议 规划展示厅 会 议 “一站式”服务中心 规划展示厅 “一站式”服务中心 “一站式”服务中心

线

线

线

线

“一站式”服务中心流线 规 划 展 示 厅 流 线

Programing

Internal Circulation

苏滁现代产业园国际商务中心方案设计 苏滁现代产业园国际商务中心方案设计 苏滁现代产业园国际商务中心方案设计

26


22

23

技术图纸·Technical Drawings

2

一层平面图

1

1

2 苏滁现代产业园国际商务中心方案设计

26

技术图纸·Technical Drawings

Ground Level Floor Plan

27

三层平面图

Upper Level Floor Plan 27

苏滁现代产业园国际商务中心方案设计


28

29

技术图纸·Technical Drawings

标准层平面图

30

技术图纸·Technical Drawings

地下一层平面图

Typical Level Floor Plan

Lower Level Floor Plan

独家企业型

二家企业型(东西分区)

二家企业型(南北分区)

多家企业型

苏滁现代产业园国际商务中心方案设计

31

苏滁现代产业园国际商务中心方案设计

28


34

技术图纸·Technical Drawings

立面图

东立面图

Building Elevations

29

西立面图

南立面图

北立面图

沿徽州路透视图


35

剖面图 东南向鸟瞰图

Building Sections 1-1剖面图

2-2剖面图

30 米白色石材幕墙

深灰色金属百叶

银灰色金属板饰面

LOW-E 中空玻璃

深灰色铝板


景观水院透视图

31

“一站式”服务中心透视图


沿中心

32


REBUILD CONNECTION Nexus College of Engeneering Building TYPE

M. Arch Academic Work | Fall 2014 LOCATION

Gainesville, FL US SIZE

630,200 sf PARTNER

Zhizhou Wang INSTRUCTOR

Jason Alread, Director School of Architecture

PROJECT DESCRIPTION

This project focused on exploring a new way of circulation with public space and works within interior and exterior, trying to rebuild the connnection between faculties and students through common space. Two different characters of volume seperated the site into three parts, with an atrium inside. The atrium continues the axis of Reitz Union North Lawn, and people could stop to gathering in the free ground space or pass through the building. The programs divided into those two volumes, and were connected by 9 bridges. The bridges are not just for circulation, they also provide public space for faculty and students. Exterior corridors, bridge face to the Reitz Union, platforms are all serves for the collaboration and resting. This building is concerned about how people move from outside to inside, and also how they are connected with each other with the circulations.


Volume Connections Studies From Hand Gesture

FRANK LLOYD WRIGHT HANDS, FROM THE FUTURE OF ARCHITECTURE Frank Lloyd Wright’s Hand gestures, From The Future of Architecture FRANK LLOYD WRIGHT HANDS, FROM THE FUTURE OF ARCHITECTURE BY FRANK LLOYD WRIGHT BY FRANK LLOYD WRIGHT

35


IC

ER

M

C NF OL ER LA EN BO CI RA NG T I SP ON AC ES

NO AS E AR

O

EA

DU AT E FF IC ES +K IT CH

,

EN

IC ER M co n vi de fer o en co ce nf er roo en m ce ro om

c co olla lla bo bo ra ra tio tio n n sp ac e

275

BL

RA

AV E

ce

en

llp

bu

lo

e

us

ge

t un

se

clo

ra l

ne

ge

offi

ce

b

la

le

sig nb

as

n-

5000

350

fe re n

co n

M

ER

IC

n

ra tio

bo

la

co l

e

st or ag

re ce pt ki ion tc he n

79690

GN

+G

SI

UL TY

N-

FA C

B +M OR IC ATO RO R SC Y P O OD PY S RO , A O UTO M S CL

LA

300

CO

co fre mp sh ut m er an la offi ad b ce vis se ing vi ce ki tc he la n b st or a st g or e ag e

800

EO

RA

Reorganized Program

L US CO E M +S PU UP TER PO LA R T B, UN O RE DE RG FFIC CEP RA E TIO DU N, CO AT E NF PR ER O EN GR CE AM RO S O O FF M IC E TE SU AC IT E +L HIN AB G + SU RE PP SE O AR RT C SP H L AC A B E OR AT O RI ES

NE

no

3500

ID

SU

IT E IT CH EN

NG

79690

+K

SI

GE

VI

UN

AD

LO

AN

GE

m

lo

/a

ge

un

at riu

ar ea

ss em y

bl

n+

co m pu

an ics

la

b

ad vi so r

m

la b

co py ro o

te r

m icr os

bi om ec h

la b

la b

ip

re se ar ch

le ad er sh

el ev bu at or ild in g se rv ice

la tio

cir cu

13000

+V

HM

UL TY

ES

FA C

FR

m ec h

yp in g

la b

la b

la ve

ro co om m co put m er fre put lab sh er a fre ma lab dvi sh n d so fa ma adv irec r cu n is to l a i offi ty u dv ng r ce nd isin -st erg gaff ra sta d ff

au to c

in te rg ra te d pr pr oc od es uc sd ta en gi es nd ne ig n er in g in du st ry st at la io bo n ra to ry po ds

pr ot ot

k

an ica la re a

co m pu te r de sig lab n te ch in g

ne w

ex te rio r-l re oa st di ro om n g do c

Program Analysis

Required Program Categories

42365 5960

2700

250 740

36


N

37


1. Site Process

2. What happen inside?

3. Connection

1. Site

2. What happen inside?

bridges 3. Connection

?

site

bridges

?

Reitz Union North Lawn Axis site

Reitz Union North Lawn Axis

4. Character

5. Ground

6. Interaction

4. Character

5. Ground

6. platforms Interaction platforms

shiftting the floors

response to site

shiftting the floors

response to site

volume b

Structural System

truss

bridges type b

platforms

bridges type a screen

volume a

38


39


206' 36'

36'

36'

26'

36'

2

23'

36'

23'

3

42'

42'

1

10'

10'

9'

9'

First Floor Plan 7'

37'

1. Lounge 2. Design Teching Lab 3. Design Teching Lab 4. Graduate Student Bullpens 5. Graduate Student Bullpens

7'

5

4

23'

23'

7'

37'

7'

36'

18'

30'

36'

36'

36'

18'

210'

206' 36'

36'

2

23'

36'

26'

36'

3

36'

23'

4

42'

42'

1

10'

9'

9'

7'

1. Video Conference 2. Visual Closet 3. Design Teching Lab 4. Design Teching Lab 5. CL Director 6. Advisor Office 7. Reception 8. Conference Room 9. Computer Lab

7'

5 37'

Second Floor Plan

10'

23'

6

9

8

7

23'

7'

37'

7'

18'

36'

30'

36'

36'

36'

18'

210'

206' 36'

36'

1 23'

3

36'

5

4

26'

36'

5

36'

6

23'

42'

42'

2

10'

9'

9'

7'

37'

7'

7

23'

9

8

23'

7'

7'

18'

Third Floor Plan

10'

36'

30'

36'

36' 210'

36'

18'

37'

1. Undergrad Staff 2. Undergrad Staff 3. Undergrad Office 4. Undergrad Office 5. Propopyping Lab 6. Propopyping Lab 7. Undergradute Reception 8. Lab Pods 9. Lab Pods

40


206' 36'

36'

1 3 4 2

23'

42'

36'

5

26'

36'

36'

5

6

23'

42'

10'

10'

9'

9'

7'

37'

1. Graduate Staff 2. Graduate Staff 3. Graduate Faculty 4. Graduate Faculty 5. Protopyping Lab 6. Protopyping Lab 7. Freshmen Reception 8. Freshmen Staff Office 9. Lab Pods

7'

8

7

23'

9

23'

7'

37'

7'

18'

36'

30'

36'

36'

36'

Fourth Floor Plan

18'

210'

206' 36'

36'

1 2

23'

42'

36'

26'

36'

3

36'

4

23'

42'

10'

10'

9'

9'

7'

37'

Fifth Floor Plan 1. Faculty Office 2. Faculty Office 3. Research Lab 4. Research Lab 5. Faculty Office 6. Faculty Office 7. Faculty Office 8. Lab Pods

7'

8

6 7

5

23'

23'

7'

37'

7'

18'

36'

30'

36'

36'

36'

18'

210'

206' 36'

36'

1 2 3

23'

42'

10'

36'

26'

36'

4

36'

23'

5

42'

9'

9'

7'

37'

7'

5

23'

6 7

8

23'

7'

7'

18'

36'

30'

36'

36' 210'

41

Sixth Floor Plan

10'

36'

18'

37'

1. Faculty Office 2. Faculty Office 3. Faculty Office 4. Research Lab 5. Research Lab 6. Microscopy Room 7. ICEIM 8. Lab Pods


42


43


44


45


46


MEMORY OF MATERIAL A Narrative Thinking of Tools, Well, and Field TYPE

Thesis / Master Research Project LOCATION

Gainesville, FL US YEAR

Grad 3&4, Sep. 2015 - May. 2016 INSTRUCTOR

Chair - Jason Alread, co-chair - Lisa Huang

PROJECT DESCRIPTION

Memory of Materials: A Narrative Thinking of Tools, Well, and Field reflects how I observe, think about, memorize, and document things from the world. The increasing interest of materiality grew with my life experience, travel documents, and understanding of architecture in the last 20 years. This project began with looking at the documentary of the site. All the photos I took from my hometown in the past seven years reminds me series of memories about the previous life in the countryside. For example, I explored the field as a child; the horizontal special quality and seasoning change of the field, the fear and curiosity about the well, and my grandfather with his farm tools. The project starts to separate into two methods of working. One project is about using the logic of materials to make architecture. This requires approaching the functional spaces and utility for tools, hay, and working space. It’s also about creating a new structure as a linkage between home and field. The other project aims to capture the body senses of memory from the well and the field. This celebrates the moments between water and air, lightness and darkness, verticality and horizontality. At the end, two buildings from different locations come back together in the same piece of land and presence in their own way.


0

0.9

2.7

1.8

3.6

扁担

4.5

5.4

6.3

7.2

钉耙

8.1

9.0m

洋镐

0.9

1.8

2.7

镢头

木推

扫帚

铁耙

打谷板 3.6

4.5m

锯子 0

竹篓

竹篮

工具包

挂锤

0.6

鳝笼

镰刀

斧头

杆秤

簸箕

筛子

葫芦

1.2

1.8

竹筛

竹匾

2.4m

0

0.6

1.2

1.8

2.4

3.0

3.6

4.2

4.8

5.4

6.0m

Farm Tools Collection

49

Shoulder pole

wooden fork

toolkit

Shovel

plough

wooden pusher

hung hammer

Steelyard

hoe

threshing board

saw

Dustpan

spade

broom

finless eel catcher

Sieve

rake

iron rake

sickle

Gourd ladle

pickaxe

bamboo basket

axe

Bamboo sieve


Frequently Used

Seasonal Used

750

Hanging

5600

1250

1350

1500

b

a

750

c

750

2100

2450

3000

3000

3000

3000

700

18000

Others

Linkage of Home and Field a. Tools Space

b. Hay Storage

c. Farm Working Space

In the consideration of the overall functional layout, all spaces present an open state. The wall for placing tools is semi-open in order to enable the farmers to easily get their most commonly-used tools and let the sunshine and air into space. The bamboo shelf to put straw has two layers with four segments of 3 meters by 1.5 meters, which is derived from the common volume of straw piles in the field. In the harvest season, the straw would be reaped, bundled in front of the bamboo shelf, and put on the shelf for the residents to make fire.

Space Organization of Tools, Hay, and Woking Space The layout of tools, straw, and working space roots in the concept of traditional living space of three bedrooms. Both of the two houses of my family have three bedrooms. The rooms in the middle are kitchen and dinning room and the rooms at the ends are bedrooms.

50


DANCING TOOLS

Dancing Tools

Bamboo Tools

The tool is an extension and specialization of the hand that alters the hand’s natural powers and capacities. When an axe or a sheath knife is being used, the skilled user dose not think of the hand and the tool as different and detached entities; the tool has grown to be a part of the hand, it has transformed into an entirely new species of organs, a tool-hand. Michel Serres, the philosopher, describes this perfect union of an animate and inanimate element eloquently:’ the hand is no longer a hand when it has taken hold of the hammer, it is no longer a hammer, it is the hammer itself, it is no longer a hammer, it flies transparent, between the hammer and the nail, it disappears and dissolves, my own hand has long since taken flight in writing. The hand and thought, like one’s tongue, disappear in their determinations […].’ 3 3. Michel Serres, Five Senses, as quoted in Steven Connor, 'Michel Serres' Five Senses, David Howes, ed., Berg Publishers(Oxford and New York), 2005, p311.

51


From Material Logic to Thingking of Structure

Material Assembly

150mm Thatched Roof 12mm Bamboo Stick Roofing Surface 70mm Bamboo Rod Structure 80mm Bamboo Rod Bamboo Formworked Wall Surface 300mm Rammed Earth

60mm Bamboo Rod for Hay Shelf

Straw Mat Wall Surface

150mm Concrete Slab 150mm Precast Concrete Cavity Floor

52


Wall for Tools The placement of farm tools in the tool space is a crucial step of the designing process. I kept thinking about how to place those classified farm tools. Based on studies of the features of farm tools, I decided to use the aesthetics and logic of farm tool design and place them in the simplest ways.

Tool Wall Mockup

Tools on Wall

Exterior Wall Surface 53

A natural feature of most farm tools is that they could stand up on one side of the wall. Even today, my grandpa still randomly put them beside the wall of the garage and takes them to the field when necessary. I hope that this continuity of physical memory of taking and placing farm tools could be kept and the design aesthetics of tools in itself could be respected. As a result of that, I preferred a negative method to excessive design in order to express the excellent features of the farm tools.


Tool, Shadow, Surface and Wall

Sketch Elevation of Tools wall 54


EYE - VISION

moist rammed earth

burned straw

firewood

pond and well

rock dropped into the well smell from the moisture of soil

rammed earth roofing roofing tiles straw

ceramic tiles

MUSCLE - ACTION

SKELETON - ACTION

layering

rugged surface waving texture

Every touching experience of architecture is multi-sensory; qualities matter, space, and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle. Architecture involves seven realms of sense experience which interact and infuse each other. 4

4. Holl, Steven, Juhani Pallasmaa, and GĂłmez A. PĂŠrez. Questions of Perception: Phenomenology of Architecture. San Francisco, CA: William Stout Publishers, 2006, p30. 55

EAR - HEARING


daily necessities from rough to smooth BODY MATERIALS SENSES

NOSE - SMELL

TONGUE - TASTE

solid and rough and bumpy rough brick surface surface

fetch the water from well

cool and slightly sweet

bamboos standard bricks

run in the field between the crops

grey bricks

rammed earth wall

well water

mud texture

crops

well water

SKIN - TOUCH

Body, Materials, and Senses Some parts of my memory of hometown gradually turned into the memory of natural building materials, appliances used in daily life, and wells. The first house was built of rammed earth instead of modern templates, which forms rough walls. The sunlight into the room forms unique shape of light and shadow on the wall, which impressed me a lot. The second house mainly used bricks wand tiles, whose smooth but the rough wall still had the scratching marks and holes by clays and multi-layered tile roof was quite thick. In addition to that, there are also some segments including the coldness and sweetness of well water, the cracks of burning firewood, and soft and undulate surface of the beach, all of which form my memory of the traditional materials of my hometown.

56


Sketch Diagram of Wall and Well

Section Perspective, From Water to Air

57


Space and Senses Upper Level: Air & Field Lower Level: Water & Well Bamboo Structure Stairs

View Point to Field 900mm Rammed Earth Wall

Ground Level Floor

Lower Level Space Around The Well

Stairs from Lower to Ground Level

Well

Ramp to Lower Level of Well Space

58


Lower Level Plan ‌then, I looked down and saw the world I was entering, that would be my home. And I turned to my companion and said, Where are we? And be replied, Nirvana And I said again, but the light will give us no peace.� 5 Louise Gluck

5. Robinson, Sarah. Nesting: Body, Dwelling, Mind. Richmond, CA: William Stout Publishers, 2011, p81.

59


Looking Field from High Point The sense of gravity is the essence of all architectonic structures and great architecture makes us conscious of gravity and earth. Architecture strengthens verticality of our experience of the world. At the same time that architecture makes us aware of the depth of earth, it makes us dream of levitation and flight. 6

6. Holl, Steven, Juhani Pallasmaa, and GĂłmez A. PĂŠrez. Questions of Perception: Phenomenology of Architecture. San Francisco, CA: William Stout Publishers, 2006, p37.

60


FROM WATER TO AIR

61


LINKAGE OF HOME AND FIELD

62


ARCH COFFEE TABLE Furniture design TYPE

M. Arch Academic Work | Fall 2014 LOCATION

Gainesville, FL US SIZE

L 5'-0", W 1'-6", H 1'-3 1/4" INSTRUCTOR

Stephen Belton

PROJECT DESCRIPTION

This furniture design started with the material research and tests, and then focused on wood bending. After testing red oak, pine, cypress and plywood, I started to learn with the properties of bending wood. This design tried to take advantage of the material property as a self-supported structure. The structure of this coffee table is steam bent from one piece of red oak. It looks like a arch underneath the table. After bending it, it would have a spring back. But when the joints locked into the table and shelf, the compotents connected very tight. In addition, this piece of work is not only about the mechanics, it's also concerned about the elegant and human scale. It's simple, functional, and peaceful.


Left: Hard wood bending Right: Butterfly stool, Sori Yanagi Center: Power Play Armchair, Frank Gehry

65


Process 09.15.14 - 09.30.14 Material Research and Test

09.30.14 - 10.19.14 Mockup and Steam Box

10.19.14 - 10.30.14 Form Making and CNC milling

10.30.14 - 11.09.14 Steam Bending 1. 2

11.09.14 - 11.23.14 Steam Bending 3

11.23.14 - 12.08.14 Steam Bending 3 CNC milling

01.23.15 - 01.24.15 Joints and Final Work

66


Conceptual Sketches

5'-0" 1'-11" 5'-0"

1'-6 1/2"

1'-6 1/2"

1'-11"

1'-6 1/2"

6" 6" 6"

6"

1'-6" 1'-6"

6"

6"

1'-6 1/2"

Plan 1'-6"

6 1/4"

6 1/4"

5 3/4"

5 3/4" 5'-0" 5 3/4"

5 3/4"

6 1/4"

6 1/4"

6"

6"

6" 1'-6"

6"

6"

6 1/4"

6 1/4"

5 3/4"

5 3/4"

5 3/4"

6 1/4"

6 1/4"

6"

6"

6"

6"

1/2"

1'-10 1/2"

1/2"

4 1/4" 3 1/8" 3 1/4" 3 1/8" 4 1/4"

1/2"

2'-1" 1'-10 1/2"

1/2"

4 1/4" 3 1/8" 31'-6" 1/4" 3 1/8" 4 1/4"

2'-1"

Front Elevation 67

1'-6"

Side Elevation

2 3/8"2 3/8"

1'-0 1/8" 3/4" 3/4" 1'-0 1/8"

5 3/4"

1'-3 1/4" 1'-3 1/4"

5'-0" 6"


1

2

3

4

8

8

8

9

10

7

6 5

6

Mock-ups Pieces

Final components

1. Main structure, one piece 2. Top board 3. Bottom board 4. Bending formwork

5. Bottom board 6. Keyed Mortise Joints x2 7. Main structure, one piece (Revised)

8. Top Boards x3 9. Rod Bolts x6 10. Butterfly Joints x6 68


Side

Base / Book Shelf

69


Components Axonometric

Mortise & Tenon Joint

Butterfly Joint

Keyed Mortise & Tenon Joint

Through Mortise & Tenon Joint

70


Front

Tabletop

71


Elevation of Structure Transformation

72


73


74


DWELLING Allied Works Architecture / Dwelling book design Allied Works Architecture

LOCATION

New York, NY Portland, Oregon SIZE

10" x 11" 224 pages DETAILS

224 pages Hardcover, 10"x11" Rizzoli USA PROJECT TEAM

Brad Cloepfil, Brian Walbergh, Kelly Britton, Keith Alnwick, Xuancheng Zhu PHOTOGRAPHERS

Jeremy Bittermann, Hélène Binet, Marion Brenner, Brad Cloepfil, John Dimaio, Scott Frances, Arthur Hitchcock, Dean Kaufman, Daniel Mihaylo, Jason Schmidt, Sally Schoolmaster, Brian Walbergh, and Xuancheng Zhu

PROJECT DESCRIPTION

Allied Works Architecture / Dwelling, focuses on nine of the firm’s signature residential projects. Sharing a profound concern for land, light and craft, each house is carefully attuned to the specific character of its site and the needs of the client. The projects range from modest coastal cabins, spectacular mountain homes, elegant urban infill structures, and large estates for dwelling, entertaining and viewing art. The 224-page book includes a catalogue of residential works spanning the 23-year history of Allied Works, essays by Brad Cloepfil and Joseph Becker, writer and curator for Architecture at SFMoMA, and new photography by Jeremy Bittermann. Dwelling was developed and designed in-house by Brian Walbergh in Portland, Oregon, edited by Ron Broadhurst in New York, and released by Rizzoli in October 2017.


77


78


Dutchess County Residence Main House Site Plan

79


Dutchess County Residence Main House Floor Plan

80


OTHER WORKS Architecture / Sketch / Observation


CASTLEWOOD RESIDENCE Vladimir Radutny Architects Chicago, IL 2016

83


CAVEA CHIERICATTI New Salotto for Bacchilione M. Arch Academic Work I Vicenza, Italy 2015

Sectional Study

Teatro Olympico

Loggia del Capitaniato & Basilica Palladiana

Palazzo Chiericatti

Site Analysis Santa Corona Teatro Olimpico Palazzo Leoni Montanari Palazzo Thiene Chiesa di San Lorenzo

o rs Co io

n to An

aro

zz ga Fo

Bacchilione

rea

rs Co

nd oA

lla Pa

dio

Palazzo Chiericati

Fiume Retrone Cattedrale Santa Maria Annunciata Palazzo Porto Breganze

Site & River

City Axis

Landmarks

Palladian Basilica

Transportation (Bus Stops)

84


GENIUS LOCI Nanjing Chengnan Village Courtyard Research B. Arch Thesis Project I Nanjing, JIangsu, China 2013

85

01

02

03

04

05

06

001

002

003

004

005

006

009

010

011

012

013

014

017

018

019

020

021

022

025

026

027

028

029

030

033

034

035

036

037

038

041

042

043

044

045

046

049

050

051

052

053

054

057

058

059

060

061

062

063

064

065

066

067

068

069

070

071

072

073

074


THE BRICK Nanjing Chengnan Culture and History Museum B. Arch Thesis Project I Nanjing, JIangsu, China 2013

86


Thinking Hands: Sketching As Thinking

87

Castelvecchio, Verona, Italy, 2015

Bruder Klause Chapel, Mechernich-Wachendorf, German, 2015

Egypt Museum, Berlin, German 2015

Mirror and Stairs, Athens, Greece, 2015

Parthenon, Athens, Greece, 2015

Villa Capra "La Rotonda", Vicenza, Italy, 2015


Villa Capra "La Rotonda", Vicenza, Italy, 2015

Castelvecchio, Verona, Italy, 2015 88


Thinking Eyes: Observation As Thinking

89


90


Thanks to all the people who have helped me.


Contact Xuancheng Zhu C. 321.460.2924 E-mail: alchu324@gmail.com

Xuancheng Zhu Selected Works 2018  
Xuancheng Zhu Selected Works 2018  
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