Ambrosia Market Process Book by Alverina Weinardy

IAD_300_01 SUMMER 2014 KATHLEEN VALKUCHAK

TABLE OF CONTENTS CASE STUDIES AESTHETICS CIRCULATION & PATH OF TRAVEL BRAND ANALYSIS WAYFINDING VISUAL CLUES LIGHTING FEATURES MATERIALS AND SPECIAL FINISHES INSTALLED ID FEATURE PROJECT

PROJECT DEVELOPMENT SITE ANALYSIS CONCEPT/PROGRAMMING BUBBLE DIAGRAM SPACE PLANNING FLOOR PLAN MIDTERM CAFE DEVELOPMENT SUSTAINABILITY STUDY MARKET DEVELOPMENT PREPARED FOOD AREA DEVELOPMENT CUSTOM FURNITURE DETAIL STORYBOARD OF FINAL PRESENTATION FINAL PROJECT

NOTES ESSAY ON GREEN DESIGN CLASS NOTES & IN-CLASS EXERCISES CRITIQUES

CASE STUDY

LOCATION: LA GRANDE EPICERIE DE PARIS EVALUATION: AESTHETICS

CONCEPT The concept for La Grande Epicerie de Paris is ized French. The interior designers picked up ditional, French shops and redesigned them like trendy, upscale boutiques along Rue Saint The concept embraces traditional and nouvelle

modernthe trato look Honore. cuisine.

AESTHETICS La Grande Epicerie de Paris is located inside Au Bon MarchĂŠ Rive Gauche. It is a freestanding department store that boasts its original Victorian architecture. It has a beautiful traditional exterior style adorned with accentuated cornice and moldings. As you step inside, you will see modernized interior completed with French flair here and there. The aesthetics of the architecture and interior design definitely embrace the same idea of traditional and nouvelle. They took the traditional French patisserie, chocolaterie, boulangerie, etc. and redesigned them to look like boutiques. Each section of the market place has its own appearance, but are all harmonized through the use of materials and finishes, and black and white color scheme. The walls are plain white to give emphasis to the products. One side of the walls or columns of each section is covered with unique wall-coverings that represent the products in that particular section. For example, the patisserie has a cotemporary mosaic wall with circular patterns that resemble cheese and pastries. Each of the section has a simple black font signage placed on the ceiling, so it would be easy for the customers to spot where they want to go. Other than uniform sign, steel frame shelving and freezers are used for display throughout the store. These furniture selections work well with the white-black granite tiles, and also black and white square tiles in the fresh produce section. The overall impression of the interior is clean, especially under the bright white light. It definitely sends a message that the products are specialized and high quality. The simplicity and elegance help to deliver the marketplaceâ&#x20AC;&#x2122;s concept.

BRANDING La Grande Epicerie de Paris has a smart and well-designed black font on white background logo. The placement of the words, however, is the best part of it. The words are arranged so that

CASE STUDY

LOCATION: LA GRANDE EPICERIE DE PARIS EVALUATION: AESTHETICS “de” at the end of Grande would be on the center above Paris. “de Paris” is made bolder than the rest of the letters. It shortens the logo without losing its meaning. In addition, the classic combination of black and white emphasizes elegance. Its strategic placement, right on top of the main entrance in the intersection, is welcoming food lovers to their mecca.

SPACE PLANNING The marketplace occupies an area of 3000 m2, around 32,291 ft2, and sells about 30,000 gourmet products. There are four main departments, which are again divided into specialties. These departments are groceries, fresh produce, wines, and the production kitchens. There is a clear division among the sections. The entire space is huge, which makes it possible for customers to browse comfortably. The counter seating and restaurant also have ample space to accommodate the foodies coming into La Grande Epicerie. With the help of the signage hanging from the ceiling, people can easily navigate their ways to their intended departments and sections. The designers also use lighting to guide people through the space. Strip lighting is used to highlight the hallways. Each department and section has ambiance lighting encircling the area, but completed with spectral lighting to highlight the focal point, which usually means the cutting and finishing area for the food products, or just the center of the area.

DESIGN Just like the other departments, La boucherie, or meat section, has a modernized black and white design. The freezer is framed with black steel. The column separating one freezer to another is lined with stainless steel strips. However, there are four cylindrical light fixtures recessed above where the employees cut the meat that I would change. Although they have similar style to the whole design, simple cylinder with stainless steel strip, they still look out of place. They are also competing with the hanging meat in the freezer. The section would look better with transparent glass lighting as shown in the fresh produce section.

PROPOSED

CASE STUDY

LOCATION: WHOLE FOODS - SOMA, SAN FRANCISCO EVALUATION: CIRCULATION & PATH OF TRAVEL

CONCEPT There are three words that describe Whole Foods the best: Local, Organic, and Sustainable. Whole Foods attracts consumers who care about where their food comes from. Locally made and produced food reduces carbon footprints and benefits the communities nearby. Plants and animals products grown without chemicals contribute to a better health. Last but not least, sustainability in harvesting helps to ensure our food resources for years to come. The three words are applied to the concept of the chain supermarket down to its physical store’s design.

OBSERVATION The consumers at Whole Foods are multicultural. They range from professionals to housewives at the age of 20 to 50 years old. However, all of them have one thing in common; they are health-and-fitness-conscious. During working hours, most professionals come in to get coffee, prepared foods, or juices. They either utilize the store’s seating area to take a break, or they leave after purchasing. The seating area has an open plan, which allows the consumers to spend their break quietly, or interacting with their companions. During these hours, more women and older people browse with a cart full of grocery. The aisles have ample space to accommodate consumers browsing without touching each other. Some staffs are seen walking around the store restocking, while making sure every consumer has what they need. There is also a customer service table before the checkout line to help people with inquiries. This store does not have a self-checkout area, which allows the consumers to interact directly with the staff. It adds to the customer service experience, making each consumer feel welcomed.

STUDY The interior design of the store is open and direct, like Whole Foods’s “no fuss” approach. They keep the display shelves, counters, and signage simple. The ceiling is exposed without paint that might imply the use of chemicals affecting the food. This gives a feeling of open-air, so the consumers do not feel stuck in a box. Even though the products are slightly more expensive than products offered at Safeway or Costco, Whole Foods tries to be casual with its design, giving an approachable atmosphere to the consumers. An example would be the use of wooden signage with chalk-like fonts. Some wooden crates are also used for display purposes. This is a good idea to emphasize their “farm to table” philosophy.

CASE STUDY

LOCATION: WHOLE FOODS - SOMA, SAN FRANCISCO EVALUATION: CIRCULATION & PATH OF TRAVEL

Whole Foods has two entrances, the main one is closer to the fresh produce section (right side), the other one to the checkout area (left side), which makes it the main exit. The main idea is to get the customers walk through the entire store to increase revenue. So, carts are placed right after the main entrance. It immediately suggests the consumers to walk to their right, especially with the flower section on the left, slightly blocking the circulation to the left side. For shoppers, the main circulation leads them to the fresh produce sections, as well as the marketplace. They can choose if they want to start with raw ingredients, or walk straight to the market aisles. The restroom is a little hidden in the market area. It is near the kitchen where the plumbing goes through, and it prevents an impression of being unhygienic. For those who come in for coffee and prepared foods, these sections are placed near the front area, where the entrance and cashiers are. Going to the far right, a 5-6 foot wide aisle is provided for checkout lines. On the corner, the consumers would make a turn to find the cashiers.

DESIGN

EXISTING

PROPOSED

Going to Whole Foods on 4th Street for the first time was a little confusing for me. The fresh produce section and marketplace were easy to find, but there was additional clue to help me circulate around the store. I had to constantly check the signage above to make sure where I was going. The checkout area was hidden from the entrance, and I had to turn around the corner to find it. Even then, I saw how the cashiers had to shout “Over here” to the consumers because the corner threw off people from fully realizing where they were. A couple of my friends also experienced the same thing. To improve the store design, I suggested moving the checkout area closer to the entrance and exit. This way, the consumers, even first-timers, would notice right away where they are supposed to go when they finish. The seating area is to be moved to the far right of the store, so it would not disturb the shopper’s circulation. Coffee stand would also be placed here to provide a more convenient shopping experience. By placing it far from the main circulation, shoppers would be more likely to get coffee after paying their grocery, which means they do not have to carry their coffee around. For professionals on a lunch break, they can grab prepared food first, and then get coffee before sitting down. Last but not least, I would create more visibility to the circulation by doing different patterns or colors on the floor. It would help the consumers to go through the store more naturally, without having to check on the signage all the time.

CASE STUDY

COMPANY: WHOLE FOODS EVALUATION: BRAND ANALYSIS

OBSERVATION Logo •Whole Foods logo has soft, rounded edges that suggest warmth. •The soft edges suggest handwriting effect, rather than fonts by computer and typing machine. •Uses soft serif, reminiscent of Art Nouveau shapes. These shapes are often used in brands to evoke products made from the earth. •Green suggests organic and sustainable, which embraces the company’s values. •The “O” in “Whole” is designed to look like a fruit. This comes back to the company’s emphasis on natural and organic products. It is so distinct that the the “O” can stand on its own to represent the brand.

Marketing Technique As much as possible, Whole Foods would place their logo on the center of the building facade. Placed against the plain glass, this gigantic logo grabs people’s attention right away. There is rarely a national campaign for Whole Foods since the company focuses on local trade. The company has monthly coupon magazine available for consumers. This is more relevant and beneficial for the consumers because it is originated from the local stores. The cover of the magazine features childlike-illustrations combined with the highlighted product of the month. It is colorful and playful, suggesting that local and organic food is affordable and available to all. It would even attract kids and introduce the importance of clean eating because of the imagery presented.

DESIGN The coupon magazine always comes out well designed with every element carefully placed to achieve a standardized aesthetics. The first example focuses on refreshing juices for summer savings, especially orange juice. The illustration incorporates the fruit and juice box, while using handwriting-like font and cheerful colors to casually suggest products consumers should buy. Adding a few more birds, so it would not look out of place, can make a little improvement to the cover. The second example focuses on jellybeans, but also adds a little note about spring asparagus on the corner. The play on scale and placement helps the scale of importance of the products. The orange text looks subdued against the blue background. I would add a bigger cloud behind it to make it stands out.

CASE STUDY

LOCATION: WHOLE FOODS - SOMA, SAN FRANCISCO EVALUATION: WAYFINDING VISUAL CLUES

OBSERVATION & STUDY •Both entrances are adjacent, but hard to find. •The interior of the store uses a lot of earthy tones, which reminds the customers of Whole Foods’ local, organic, and sustainable philosophy. •However, the colors of the wall, ceiling, shelves, and floor are too similar to one another, making wayfinding a little complicated, especially for first-timers. •There is no visual clue that separates the different departments in the store. Customers have to constantly look up and find the signage that shows the directions. •The signs above the aisles are made to look like chalkboard, giving a more casual and approachable atmosphere to the space. The font is simple, straightforward, and easy to read. •The sign leading to the checkout area is not easily found and read.

DESIGN •Incorporate direction to the entrance into the colorful •Change the checkout signboard into a circular one, sign a board that looks similar to Whole Foods’ distinctive •Design a graphic and colorful wayfinding clues on the

illustrations on the store’s glass window. and shorten the direction. I would delogo, so the customers can easily spot it. floor to help a more intuitive circulation.

CASE STUDY

LOCATION: LA GRANDE EPICERIE DE PARIS EVALUATION: LIGHTING FEATURES

La Grande Epicerie de Paris has a separate floor dedicated to its wine cellar. The space successfully implement lighting to highlight the architectural features, display the upscale products, and create a beautiful ambiance. All of these also result in a better circulation around the space. OBSERVATION & STUDY Seen from above, slightly hidden by the escalators, the wine cellar looks appealing. The front part displays shelves of wine bottles lit up with spotlight, and the room behind the openings is dim with a hint of spotlight on the bottles. This contrast definitely looks inviting, like a place that you are not supposed to go into, but you just cannot help it. •The ambiance light installed around the circular space highlights the curvy adornment. •There are light fixtures that wash the wall along the corridor, creating a light effect that follows the shape of the curved ceiling. Seen from the end of the corridor, it draws people’s eyes in and invites them to explore the products along the walls. •Lighting is also used to create a more upscale look to the already elegant wine. Some shelves are highlighted with spotlights from above. Some others are lighted from behind the shelves through the translucent glass backings. •The checkout area has a long spectral lighting that acts as the focal point. •Ambiance lights are installed to create a consistent dim throughout the space. Combined with the other types of lighting, especially lighting under the shelving that creates a path, people who walk through the space can easily circulate around. The other types of lighting are used to draw people’s eyes in as well as direct them to the product display. •No decorative light fixture is used, except the spectral above the cashier. This is done intentionally to focus the customers’ attention to the products. It is kept to a minimal look, especially that they space has beautiful architectural features that can be highlighted using simple lighting.

CASE STUDY

LOCATION: THE EUROPEAN AT WARWICK HOTEL, SAN FRANCISCO EVALUATION: MATERIALS & SPECIAL FINISHES During Prohibition, many Americans flocked to Europe to indulge in alcohol. They often requested traditional American cocktails, which European bartenders infused with their own touch. When the Prohibition was lifted, many recipes were brought back to the United States with its distinct European taste. The European at the Warwick Hotel expertly embraces this sensibility and style, a tasteful mix of old with new without being overly trendy.

OBSERVATION Just like the name suggests, The European takes its inspiration from late 19th and early 20th century European cafĂŠ and restaurant. The walls are either painted with a classic dark brown color, or covered with bold red geometric wallpaper. The floor looks smooth with dark grey wooden herringbone pattern. To lighten the mood in this relatively narrow space, the ceiling is lighter than the other colors used in the space. There are also mirrors placed along the walls of the seating area to give an illusion of a bigger space. The bar, tables, and lower part of the walls are made out of dark wood to elevate the classy look. Last but not least, the sofa and chairs are upholstered with leather and velvet to compliment the overall design. The lighting is carefully picked out to compliment the bold materials. During the day, the bar looks beautiful as it is filled with natural light from the front door and sparkles from the light fixtures. The effect is upscale and classy. At night, it gets darker in the space, giving it a moodier vibe. The light fixtures on the ceiling give out a glow that highlights the colors and the finishes. The floor lamps are used to help customers go around the space to find their seating, in addition to different types chairs or different upholstery that mark a table.

DESIGN Although the sofa and chairs have different finishes, the designer kept to a few different ones, so it does not look confusing and distracting. Overall, the colors and materials are all complimenting each other to realize the Prohibition-era European look. However, I would change upholstery of the orange sofa against the back wall. It works nice as a focal point, but it would look better with a darker color. With the wallpaper and shelving on that particular wall, a bright orange attracts peopleâ&#x20AC;&#x2122;s eyes directly, but does not let them move about the space.

CASE STUDY

LOCATION: TWA TERMINAL, NEW YORK INTERNATIONAL AIRPORT ARCHITECTS: EERO SAARINEN & ASSOCIATES

“All the curves, all the spaces and elements right down to the shape of the signs, display boards, railings and check-in desks were to be of a matching nature. We wanted passengers passing through the building to experience a fully-designed environment, in which each part arises from another and everything belongs to the same formal world.” EERO SAARINEN

FORM/SHAPE/VOLUME -Saarinen used curves to create spaces in this building that flowed into one another. -The exterior is shaped like a bird flying with two massive “wings” structure. The curves continue to flow into the interior, so that ceilings run into walls and those walls become floors. -Every piece of furniture, such as signposts, seats, counters, and desks, is a part of the wall, floor, and ceiling. It seems to grow organically out of the structure. -Play on scale. High ceiling and wall to give a sense of vastness. -Gigantic windows in the lounge providing views of departing and arriving planes.

MATERIALS/COLOR/TEXTURE -White concrete that flows through the entire building. -Everything seems to be in white and charcoal until the travelers reach the broad stair leading toward the waiting lounge. It is carpeted and upholstered in red. It draws people in, and leads them to a cozy oasis.

CASE STUDY

LOCATION: TWA TERMINAL, NEW YORK INTERNATIONAL AIRPORT ARCHITECTS: EERO SAARINEN & ASSOCIATES

MOOD/STYLE/CHARACTER -The flowing curve captures the excitement of traveling. -Combination of big scale, white concrete, and natural lighting also make the space feels serene. -The vastness of the structure and serenity of the atmosphere make the terminal more than just a passing glance during travel. -Every element of design belongs to the “same formal world”. -Futuristic. The swooping curves embrace the travelers into the jet age.

LIGHTING -The client wanted this building to capture the “spirit of light”. -A lot of natural lighting throughout the day from the ceiling and windows. -Light fixture installed to highlight the curves. It also directs travelers to walk around the building. -Decorative lighting seems to grow from the ceiling, suggesting that it belongs to the same formal world as the structural elements. It also creates focal point.

FUNCTION -Everything is decorative as well as functional. -It grows out of the structure not just to look pretty, but to serve another function as well. -The seats in the lounge act as a room divided. It controls the traffic in the space. -No arms on the seats like we see in today’s airport. It draws people closer together. It encourages interaction.

SITE ANALYSIS CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

YEAR BUILT

: 2013

BLOCKLOT

: 8711023

ZONING

: Generalized – Mixed use (MB-RA)

SPACE PARAMETERS : Residential (315 units) with ground floor retail (7748 Sq. Ft. net area)

HISTORY Mission Bay is a 303-acre neighborhood in San Francisco, created in 1998 by the Board of Supervisors as a redevelopment project. Originally, much of the land was a rail yard of the Southern Pacific Railroad Company. After the Souther Pacific and Santa Fe Railway merger was aborted, the land was transferred to Catellus Development Corporation. Catellus sold or sub-contracted several parcels to other developers. Recently, the area has rapidly evolved into a wealthy neighborhood of luxury condominiums, high-end restaurants and retail, and biotechnology research and development.

PUBLIC TRANSIT The site is easily accessible by car. I280 is nearby, approximately 2 minutes away. It is surrounded by main roads, such as 4th Street and 3rd Street. Public transportations stop around the block. These lines include F, KT, S, 91, and T-OWL.

LOCAL DEMOGRAPHIC Mission Bay has a total population of 3,985 people, 42.4% are female and 57% male. The median age is 39.48 years old. 20% of the population is blue-collar workers, and the majority 80% white collar. The level of education is also relatively high as the majority has at least a Bachelors Degree. The average household income is $141,687. The crime rate in the area is above the national average, but it is still in transition to a better-developed neighborhood.

WHAT’S NEARBY Grocery Stores minutes walk)

– Safeway (6 minutes walk), Walgreens (7

Café & Restaurants – Philz Coffee (4 minutes walk), Tsunami Sushi (5 minutes walk), Panera Bread (5 minutes walk), Starbucks (6 minutes walk), Umami Burger (8 minutes walk) Public Parks – Mission Creek Garden (across the street), China Basin Park (5 minutes walk), Bay Common Parks (7 minutes walk) Tourist Attractions – AT&T Ball Park (8 minutes walk) Schools walk)

– Academy of Art University (12 minutes

CONCEPT

CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

CONCEPT STATEMENT Rediscovering Eden. The Garden of Eden is the biblical “garden of God”. It is the divine garden where Adam and Eve were placed to guard the tree of life. This garden is self-sustaining. It is an oasis for every living thing placed there. It is pure and untouched. Eden is the quintessence of our natural ecosystem. The gourmet marketplace and café will encourage the customers to be more conscious about what they eat and where it comes from. It will remind them that the best ingredients are in their purest form without manmade chemicals. This is the place where they will rediscover local and organic ingredients that come straight from the natural producers.

CLIENT PROGRAM Tony Riviera, CEO of Primo Hospitality Group, is targeting the “Young, Foodie, Hipster” crowd living in the Mission Bay community for his startup, upscale specialty food market and cafe. These consumers have high disposable income that can support their lifestyles and food habits that lean towards supporting organic, local, sustainable farmers, fisherman and ranchers. They are 20 to 40 years old professionals who do not have the time to cook three times a day every single day, but still desire each meal to be clean and fresh. Other than raw ingredients of the highest quality, there will also be extensive selections of wine, champagne, caviar and prepared foods. The store also offers off-site catering and event catering services. Since the products are specialized, the store design needs to be upscale and classy, but approachable at the same time. It is important for the customers to feel relaxed and comfortable in this elegant, universally designed space. There will be a coffee shop and a dining room on site to accommodate at least 50 people. Other than selling prepared foods, the marketplace will have a special section where the ingredients are displayed by recipes, instead of food types. So, the customers can replicate the menus the store offered at home. A wine cellar with the region’s best wine selections is also on-site for the wine aficionados.

BUBBLE DIAGRAM CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

FINAL BUBBLE DIAGRAM CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

•Main entrance at the intersection •Coffee bar as focal point •Open kitchen, where the consumers order food, across from the café •Outdoor seating available •Separate department for fresh produce and other ingredients •Products categorized based on recipe instead of food type •Closed kitchen for catering services •Storage next to south entrance •Break room and an office on the mezzanine level above open kitchen •Straight-line main circulation

SPACE PLANNING CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

COFFEE BAR 1

FRESH PRODUCE 2

PATTISERIE & CONFECTIONERIE 3

OPEN KITCHEN & BAR SEATING 4

Room Legend

CAFE

BREAK ROOM

CAFE

RESTROOM

CHECKOUT

CHEESE COFFEE BAR FOOD BY RECIPE FRESH PRODUCE KITCHEN OFFICES OPEN KITCHEN & BAR SEATING

FOOD BY RECIPE

WINE

PATTISERIE & CONFECTIONERIE RESTROOM

CHEESE

CHECKOUT

STORAGE

WINE

KITCHEN 11

BREAK ROOM

OFFICES

STORAGE 14

FLOOR PLAN CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

am·bro·sia am’brōZH(ē)ə/

The food of the gods in Greek and Roman mythology, thought to confer immortality Ambrosia Market draws its inspiration from the word “ambrosia” itself. It embraces the philosophy of “your body is your temple” through the local, organic, and sustainable products offered. The gourmet marketplace and café remind the customers that the best ingredients are in their purest form without manmade chemicals, just like the gods’ nectar of immortality. Ambrosia Market is the place where mythical gods would eat and shop, underneath the trees in an airy space filled with lights.

CLIENT HISTORY Tony Riviera, CEO of Primo Hospitality Group, is a successful restaurateur with a strong vision. He embraces the philosophy of local, organic, and sustainable, and wants this to translate into his newest gourmet marketplace and café. He wants the Mission Bay community’s young foodies and hipsters to frequent his upscale, yet casual and inviting joint at the corner of Channel Street. He wants them to come in for its clean and fresh menu in the midst of their busy urban life. He also wants them to replicate it at home conveniently.

CLIENT PROGRAM Café and bar that seats at least 50 people An open kitchen that accommodates the café and catering service A prepared food area A fresh produce section A meat section A “Food-by-recipe” section A wine cellar and wine tasting room An open kitchen for on-site cooking classes Checkout area Mezzanine for storage Restrooms Employee’s locker and break room An office

CHEYUAN HSU ALVERINA WEINARDY

FLOOR PLAN

CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

CHEYUAN HSU ALVERINA WEINARDY

FINISH PLAN

CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

CHEYUAN HSU ALVERINA WEINARDY

REFLECTED CEILING PLAN CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

CHEYUAN HSU ALVERINA WEINARDY

ELEVATIONS

CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

CHEYUAN HSU ALVERINA WEINARDY

CUSTOM FURNITURE CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

CHEYUAN HSU ALVERINA WEINARDY

CUSTOM FURNITURE CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

CHEYUAN HSU ALVERINA WEINARDY

CUSTOM FURNITURE CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

CHEYUAN HSU ALVERINA WEINARDY

CUSTOM FURNITURE CHANNEL MISSION BAY 185 CHANNEL STREET SAN FRANCISCO, CA 94158

CHEYUAN HSU ALVERINA WEINARDY

STORYBOARD OF FINAL PRESENTATION

FINAL PRESENTATION

CONSTRUCTION DOCUMENT

GENERAL NOTES

PROJECT / SITE DATA

1. ALL WORK SHALL COMPLY WITH THE APPLICABLE CODES, AMENDMENTS RULES, REGULATIONS, ORDINANCES, LAWS, ORDERS, APPROVALS, ETC. THAT ARE REQUIRED BY PUBLIC AUTHORITIES IN THE EVENT OF CONFLICT, WORK SHALL COMPLY WITH THE MOST STRINGENT REQUIREMENTS. REQUIREMENTS INCLUDE, BUT ARE NOT LIMITED TO, THE CURRENT APPLICABLE EDITIONS OR PUBLICATIONS OF THE FOLLOWING: A. INTERNATIONAL BUILDING CODE, 2012 B. UNIFORM MECHANICAL CODE (U.M.C.), 2012 C. NATIONAL ELECTRICAL CODE (I.N.E.C.), 2012 D. UNIFORM PLUMBING CODE (U.P.C.), 2009 E. INTERNATIONAL FIRE CODE (I.F.C.). 2009 F. AMERICANS WITH DISABILITIES ACT (A.D.A.) G. STATE AND MUNICIPAL ORDINANCES TO THE CODES

PROJECT ADDRESS

: 185 CHANNEL STREET SAN FRANCISCO, CA 94158

PARCEL BLOCK

YEAR BUILT

: 2014

BUILDING AREA

: 440,000 SQ. FT.

PARCEL AREA

: 89,000 SQ. FT.

NEIGHBORHOOD

: MISSION BAY

2. THE GENERAL CONTRACTOR (GC) SHALL REVIEW ALL DOCUMENTS AND VERIFY ALL DIMENSIONS AND FIELD CONDITIONS AND SHALL CONFIRM THAT WORK IS BUILDABLE AS SHOWN.

CERTIFICATION

: LEED CERTIFIED

SCOPE OF PROJECT

: COMPLETE RENOVATION OF INTERIOR SPACE

3. ALL DIMENSIONS TO BE TAKEN FROM NUMERIC DESIGNATIONS ONLY. DIMENSIONS ARE NOT TO BE SCALED OFF OF DRAWINGS. 4. IN CASE OF CONFLICT BETWEEN ARCHITECT'S AND ENGINEER'S DRAWINGS IN LOCATING MATERIALS/EQUIPMENTS, THE ARCHITECT AND OWNER WHALL BE NOTIFIED IMMEDIATELY FOR CLARIFICATION.

ZONING CLASSIFICATION : RESIDENTIAL (MIXED USE)

SHEET INDEX

5. WORK AREAS ARE TO REMAIN SECURE AND LOCKABLE DURING CONSTRUCTION. GC SHALL COORDINATE WITH OWNER TO ENSURE SECURITY.

A0.1 - COVER SHEET A1.1 - SITE PLAN A1.2 - PARTITION PLAN A1.3 - FURNITURE FINISH PLAN A1.4 - REFLECTED CEILING PLAN A1.5 - ELECTRICAL PLAN A2.1 - A2.2 - ELEVATIONS A3.1 - A3.2 - DETAILS

6. SUBSTITUTIONS, REVISIONS, OR CHANGES SHALL BE SUBMITTED TO ARCHITECT AND OWNER PRIOR TO PURCHASE, FABRICATION, OR INSTALLATION.

LEGEND NORTH ARROW

7. ALL MANUDACTURED ARTICLES, MATERIALS, AND EQUIPMENT SHALL BE APPLIED, INSTALLED, CONNECTED, ERECTED, CLEANED AND CONDITONED PER MANUFACTURER'S INSTRUCTIONS.

ELEVATION

8. GC IS TO ASSUME THE SOLE RESPONSIBILITY FOR JOB SITE CONDITIONS, INCLUDING SAFETY OF PERSONS AND PROPERTY DURING THE DURATION OF THE PROJECT.

SECTION

SITE MAP

VICINITY MAP

Designer

ALVERINA WEINARDY & CHEYUAN HSU

Author

AW & CH

Owner

TONY RIVIERA (PRIMO HOSPITALITY GROUP)

Project Name Address

185 CHANNEL STREET SAN FRANCISCO, CA 94158

Sheet Name

: COVER SHEET

Date

: AUGUST 4, 2014

Checked By

: AW & CH

A0.1

Scale

SHEET 1 OF 10

CONSTRUCTION DOCUMENT

CLASS NOTES/PRESENTATIONS ESSAY ON GREEN DESIGN

As human activities become more and more destructive to the Earth, green design is becoming a necessity to prolong our period in this planet. Green building uses environmentally responsible materials and technologies, and allows the building to be resource-efficient throughout its life cycle. This is what I would like to describe as “what goes around comes around”. Green design does not destroy the natural environment to acquire the building’s site. The materials used are carefully picked out, so only easily renewable resources can be used in the construction. These resources are also non-toxin, and produce less waste/pollution. In addition, the construction details are designed to limit the energy used. Free energy sources, such as the sun, water, and wind, are utilized to operate the building. Some buildings even produce more energy than they consume. Last but not least, the demolition of the building should not create more destruction to the Earth. Green design and sustainability impact me personally on two different levels. The first one is as a human being and citizen of the world. The second one is as a designer. On the first level, green design can help lengthen our period on Earth. It helps us to preserve what we have left now, so that it will last longer than the current tragic prediction. This is the major impact for me because I do not believe in evacuating to another inhabitable planet if the Earth comes to an end. Although the idea of space exploration is exotic, I personally would prefer to live on Earth, where the atmosphere, forest, ocean, and land have provided our sustenance until this day. Green design also allows us to help the animals from losing their home and food.

for our own benefits, but we do not feel the suffering that they do when they see their nests detroyed after humans chopped down trees to make way for new projects, or to fuel paper production. The second level is the impact on me as a designer. Since I am an environmentally conscious person, I want others to be on board in helping the planet. I believe that this is everyone’s responsibility because we are all breathing the same air. I can encourage people to adopt green design by becoming a designer. This also means that I need to know more about the application of green design to accommodate the client’s growing needs. At the same time, now that our environment is rapidly changing, the need for green design affects building codes that come with the job. I can start to apply green design and sustainability in my current project for Tony Riviera of Primo Hospitality Group. Since my team is building Ambrosia, a gourmet marketplace and café that takes its inspiration from nectar of immortality, the applications of energy efficient design and technology, as well as environmentally friendly materials interlace with the concept. We are designing green walls throughout the space to hide the construction columns. At the same time, these walls help filter the air and reduce noise within the market. We are also considering concrete, stones, and reclaimed wood for floor finishes instead of carpet, so that they would last longer. For the tree sculptures branching out to the ceiling, we would like to explore bamboo since it grows fast. All of the light fixtures would be LED to lower energy usage and heat ra-

CLASS NOTES/PRESENTATIONS ESSAY ON GREEN DESIGN

The Sustainability Treehouse in West Virginia by Mithun is an example of a successful green building with remarkable aesthetics. This is a state of the art facility commissioned by the Boy Scouts of America and the Living Building Challenge to serve as a unique learning facility about environmental stewardship. The building itself exemplifies the ideals it is set to communicate through its interactive exhibitions. It has photovoltaic panels and qr5 wind generators that produce the energy used on site. A large cistern collects and cleanses water. As for the construction, the structureâ&#x20AC;&#x2122;s root system used concrete pylons that support the metal stilts securing the forms above. This allows them to limit the direct intervention on the ground and saving on unnecessary pads that would destroy a larger portion of the trees surrounding it.

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