Jesus Montes Herrera Portfolio 3.0

Po r tf o l i o Jesus Montes 2017-2021

NO.

2

RE S UM E

Jesus Montes-Herrera

je susmontes@ ic lo u d .c o m

Language / OS

(323) 240-0782 www.da rch1s.co m

English

Spanish

P5js

Python

4883 Bell ave Bell C A 90201

Experience / References Gerhard Heusch Heusch Inc | Beverly Hills ghesuch@me.com Designer / Draftsman

Michael Hamner FAIA | Chair ELAC Architecture hamnerdm@elac.edu Tutor / Assistant

Galina A Kraus | Admin-Coordinator, Architecture galina.kraus@woodbury.edu Gallery Receptionist

Mark Ericson | Chair, Applied Computer Science - Media Arts

Awards HONORABLE MENT

Woodbury University- 2021

DEGREE PROJECT

Woodbury University- 2020

GRAND CRITIQUE

AIA SFV Chapter -2019-2020

J.R.D AWARD

AIA Pasadena Foothill Chapter - 2017

2ND PLACE

A.S.E.A / Sand-Castle Competition - 2016

2ND PLACE

A.S.E.A/ Toothpick Competition -2016

1ST PLACE

A.S.E.A/ Toothpick Competition - 2016

1ST PLACE

East Los Angeles College / ARC 262 - 2016

1ST PLACE

East Los Angeles College / ARC 102 - 2015

mark.ericson@woodbury.edu CSMA Student

Rommel Vega | Principal / Co-founder VAM llc vam.llc@outlook.com Co-founder / Designer

Education 2020 - 2021

Woodbury University (Minor) CSMA

2017 - 2020

Woodbury University B-ARCH

2013 - 2016

East Los Angeles College

2013 - 2021

Honors (with distinction)

Software Skills

Publications

Autocad

Photoshop

Illustrator

Sketchup

Indesign

Enscape

Revit

Word

Blender

Rhino

Powerpoint

Touchdesigner

Lumion

Spark AR

Hand drafting

Maya

Unity

TwinMotion

Other

Skills

Archinect 2020 THESIS

Woodbury University 2020-2021 Climate Justice

AIA Pasadena Foothill JRD Scholarship

Woodbury University Grand Critique 2019-2020 Grand Critique winner in Los Angeles

Welding, Woodworking, Laser, 3D Printing Woodbury University Computer repair | Skill certificate Harbor occupational center Restorative nurse assistant | Skill certificate SOCAL Regional occupational center

Interest EXPERIENCING NEW CULTURES EXPLORING NEW TECHNOLOGIES E X PA N D I N G M Y K N O W L E D G E

3

CONT E NT S

01

02

03

04

4

X e n o p h i l a c t i c To w e r Detail

10-13

Site Plan

14-21

Section

22-23

Graphic Galleries

Site Plan

32-33

Section

34-35

E c o l o g i c a l To w n C e n t e r

Site Plan

40-41

Section

48-49

Fire Block 21

Site Plan

56-57

Section

58-59

CONT E NT S

05

06

07

08

Julius Shulman Museum

Site Plan

72-73

Section

74-75

Wo r k E X

Minotti

77-85

Alto Cedro

86-95

CSMA

AQS X1

96-103

AOW

104-109

LAMOT

110-115

WU-BOT

116-123

Graphic Design

S c h o o l Wo r k

124-131

5

Woodbury University- 2021 Woodbury University- 2020 6

TOWER The

Xenophilactic

tower

was

my

degree project in Woodbury university. The Project evolved from the extreme taxedermy topic that had been tought by Paulette Singley and Scrap Marshall in the fall of 2020.

XENOPHILACTIC TOWER

LOS ANGELES

5B

2020

A-01

SARS ALCOHOL

PEOPLE

SUPPLY

HAZMAT

SPECIMEN

VIRUS

HYPERTROPHYCMORPHIC

RESEARCH LAB

ISOLATE

H.I.V

CORONA

VENTILATOR POLLUTION

RESEARCH

XENOPHYLACTIC

PROTOCOL

EYES

NATURE

INFLUENZA

CLASSROOMS

N95

ANIMALS

FEET

DNA

NATURE

DIRTY

INSURANCE

HUMAN

CPU

CLEAN

CRYOGENIC

2019

HANDS

INFECTED

NATURE

FURNACE

PATIENT

55+

MORGUE

3M

EBOLA

COLONY

HPV

DISEASE

QUARANTINE

COVID-19 DISINFECT

PANDEMIC

COLD

ADMISSION

ROBOTs

VACCINE

NOVEL

CREMATION

PNEUMONIA

AIR LOCK

8

AIR

tower to achieve the desired effect.

AI

MERS

transformed in volumetric spaces and arranged through a

DAYS

development.

MECHANICAL

programmatic

CURE

ENTRY

PROPHYLACTIC

the

TREATMENT

in

ILLNESS

COUGH

LA

guide

ARCHITECTURE

SPACE

governing

Keywords that illustrated importance in the manual were

FEVER

DESIGN DISINFECT

all

RNA

SUPPLIES

SOCIAL

DOCTOR

department of health’s construction manual became the over-

TOWER

WARM

for the build environment. The proposition was a center for disease control tower located in downtown Los Angeles. The

ICU

CONTAINMENT

DISTANCING

CONFERENCE ROOM

SOCIAL

As a jumping of point I chose pathogens as generic problem

MEDIC

Programmatic Solution

COLD

MANUFACTURED

MASSING & STRATEGY

01-03 MASSING

VERTICAL

PNEUMATIC

GROUND

ENVELOPE

MECHANICAL

The Massing strategy became an evo evolutionary olutionary an a and nd technotower environments logical development. de e velopment Traditional T tow environm me entts where first studied in order to biologically cultivate a m multi-proceult i-procedural envelope that contained the desired intentt to o display graphically any contaminated areas that would yi yield ield d potential danger. The conclusion arrived at a triangular la ar rounded tower semi separated from the ground and pedestrians. s ans. stri

9

DETAIL 10

0

2

6

12

WALL DETAILS & FACADE

8 9

Det ai l W al l S ec t i o n

10

13

18

19

14

roof constructi on: drai nage l ayer el astomer 2-l ayer seal an t foam i nsul ati on, b itu m in o u s tre a tm e n t vapour barri er

9

al umi ni um sheet metal

14

18 11

8

19

10

6” X 6” steel S HS

11

spri nkl er

12

cabl e trough

13

pressuri sed ai r pi pes

14 PTFE whi te membrane ETFE transl ucent membr a n e

20

21

15

fl oor constructi on: decki ng beam

16

fl oor duct

17

el ectri cal

18

venti l ati on i nfl ator senso r

19

venti l ati on duct

20

C DC personel

21

medi cal bed

17 16

01

12

10 14 19

11

D e ta i l s e cti on 0 1 1 6 ” X 6” steel SH S 2 w aterp roof in termedi ate l ayer 3 3 .2 5 ” X 2” steel R HS canti l ever 4 PE in termed iate layer 5 alu min iu m cop in g 6 sealin g p rofile 7

PTFE w h ite memb rane E TFE tran slu cen t membrane

01 ASSEMBLY

15

7 2 6

6 5 4 3 6

2

7

11

VAX STORAGE CONTAINMENT LABORATORY

Layers of The skin The multi-layered skin envelope contains mechanical and pneumatic equipment that functions as the largest organ in the body of the tower instantly changing color during use.

12

AXON CHUNK & FACADE CHUNK

Pods and Graphics Pneumatic pods are directly woven into the structual system and are mechanically controlled by the artificial intelligence.

A

B C

13

A

A

6TH STREET

0

14

20

60

120

SITE PLAN

INDUSTRIAL STREET 15

ic

en

ry og

C

Decon

I

tamin

l so

system

120

ration

60

s Air filt

16

20

ed at ile er st i ta Cold air return

0

fo r

nk

ta

se

ho

en

im

ec

sp

ir

A

n

io

at

til

ve n

ub ble

cb

ati

um

Pn e

Ra

m

lati

on

g Th

eate r

po

ne

nt er

wa ye

an

dr et

ur n

els

roo m

rfin

ETFE pneumatic pan

Iso

brie

Elevator

05

ation a rea

ay rw

FLOOR PLANS 05 & 18

le mp l sa ca rti Ve

tic mp pu

etin

e rag sto

ma eu Pn

Me

g ro

ai st n ua

tio

p

ram

ev ac

ess acc

Em

er ge

nc y

ple

Sam

rs

Ele vat o

r

om

Cold air pump

ion sat

air

e

hos

en

d Con

ry

on

ati ltiv Cu

ato or

lab

lm

a rn te

In p

um

lp

a ic

nk tion ta incuba

n ha ec

Failsafe

18

17

PNEUMATIC PODS ETFE pneumatic pods used to isolate contagious pathogens and samples.

QUARANTINE ROOMS Isolated rooms eith one way circulation or infection control.

BRIEFING ROOM Meeting space where information is shared with the rest of the world.

RESEARCH LAB Designated computer and chemical laboratories for research and experiments.

EMERGENCY CLINIC Emergency tents setup in case of overwhelmed hospitals.

TESTING STATIONS Series of testing tents and temporary food distribution station

Dissection The vertical incision of the tower will reveal complicated muscular and skeletal body that is separated by purposeful tissue dividing contaminated and clean spaces.

18

0’

20’

60’

120’

EXPOSED AXONOMETRIC

H

HELICOPTER PAD Landing platform for incoming patients.

Connected directly to top levels

CRYOGENIC LAB Cold environment design to preserve and maintain cultures and samples.

ETFE SKIN ENC Ethylene tetrafluoroethylene is a fluorine-based plastic.

VENTILATION External ventilation hose connecting to mechanical levels.

19

20

21

Sterile & Contaminated

The pneumatic skin is inflated and deflated creating an opaque or translucent environment. This skin condition or local inflammation can then be externally visible and noted whether the tower is infected or not. Similarly to how a biological organisms react internally anti bodies or health specialist are frequently circulating to those particular areas.

22

ELEVATIONS - A-A SECTION

RL

18

05

AI

-06

Artificial intelligence is implemented to develop and manufacture vaccines and properly dispose haphazard

material

waste

thats

has

been

outputted by the tower at a subterranean level.

0 20

60

120

23

24

MIXED Graphic galleries was a 5th year topic studio taught by Ryan Tyler Martinez.

The Topic investigated ambiguity as a tool for space creation. A Graphic poster was chosen as the main piece to grab a set of tools that would be and residential space. The integration and transition of street to building was then experimented on using urban camouflage as a theme.

Antwerp, Belgium

Graphic Galleries

GraphicGalleries

transformed in to a multi used gallery

5A

2019

A-02

Graphic & Space The process began by transforming a graphic poster created by a graphic designer. Simple shapes such as circles squares and triangles were then takeb as cut out tools to repedidly trim and rearange the original graphic in an ambuguis manner providing diferent layers and depth in plan and section. The color of the poster then dictated the aspect of negative and positive space in the facade of the building.

26

27

Graphics into volume

Urban Cammo The location of the project was in Antwerp Belgium in close proximety to the home studio of dutch artist Peter Paul Ruben. This urban street condition was mainly dominated by 1500th century european architecture. The sterategy became to interupt the traditional street fiber with a bold volume and dynamic facade that tranformed the simple volume into different shapes from every angle.

28

29

East Elevation

Shape & Form The question that constantly came up was the difference betwwen what was shape and what was form. the answer was a very ambiguous topic since shape was a more recognizable figure compared to form that was usualy irecognisable .This gave birth to facade design that utilized the graphic as urban camouflage color but ironically made the building stand out even more compared to other buildings.

30

31

187’-0”

@24”

45’-0”

@6”

A

aat

@18”

iersstr

@12”

@6”

@12”

A

@12”

@12”

@24”

@18”

@24”

@18” @0’

@12”

30’

-0” 30’ 90’

-0”

-0”

30’

-0”

@24”

@6” @0’

0” 45’-

SITE PLAN

32

E-1

Hopland

Kolven

115’-0”

E-2

Wapper

@12”

A B PLAN 01

C

4

D

@24” @6”

3

6

75’

-6”

A

6

2

@12”

4

@18”

1

7

UP

7

@12”

1

4

@6”

40’

E-2

6

-0”

5

3 @12”

A

@12”

@12”

@24”

@18”

@18”

@24”

@12”

E-1

@24”

1. GALLERY 2. GIFT SHOP 3. ENTRY

@6” @0’

4. EXIT 5. ELEVATOR

45’-

0”

6. RESTROOM 7. LOBBY

33

Gallery & Living Different from the plan the section did not adapt to the exterior line postions but became a more practical design. Where the first level was the main gallery space that was a semipublic enviorment the second, third, and fourth level where functional dormitories along with communal volumes.

34

30’-0”

C 30’-0”

SECTION A-A

B

A

D 30’-0”

R O O F LV L @ 9 0 ’ - 0 ”

6 T H LV L @ 7 8 ’ - 0 ”

5 T H LV L @ 6 0 ’ - 0 ”

4 T H LV L @ 4 3 ’ - 0 ”

3 R D LV L @ 3 0 ’ - 0 ”

2 N D LV L @ 1 5 ’ - 0 ”

E N T RY LV L @ 0 ’ - 6 ”

35

36

STUDY MODEL

Canvas & Model The final challenged arived at the development of the study model stage. the graphic coordination between the site and model was a reveling moment since the simple shape of the model abstractly integrated itself to the site condition.

37

38

PUBLIC This fourth year studio was taught by Dr Anthony Fontenot the fall of 2019 the topic of the studio attempted to address the rising water condition in the

gulf

Ysclosky,

of

Mexico.

Louisiana

Specifically which

had

historically faced flooding, Ysclosky is very small and humble and their connection with the surrounding Eco system became an important asset to maintain. The solution was to implement an amphibian Master-plan.

Ecological Town Center

Ysclosky, Louisiana

4B

2019

A-03

Float Lab Buoyant Ecologies

Aviary animals

Buoyant Pod

Yscloskey Louisiana The planing stage called for the study of precedence that had achieved buoyant architecture. The study of demographics and community surveys also revealed the close connection to the bouyu eco-

Underwater Ecology

system and the social gathering areas connected to the bayou.

The Float House

Crawfish

Other

Black

White

Morphosis Architects

Race

$18,681 Buoyant foundations

Vertical guidance post

Red Drum

Buoyant Ecologies

$133,400

San Francisco

Oysters Community Aproach

Inhabitable Space

Aquatic life

40

Avarage Income

Existing Condition

Median Property Value

DEMOGRAPHICS / PROPOSED Bayou

Social

House

Road

Buoyant Retrofit

Relationship

41

Town Center Master Plan The execution of the master plan came together through three main developmental stages. Number one it had to be an amphibian piece of floating infrastructure along the bayou. Number two it had to be sustainable meaning it had to become part of the ecosystem providing food ind energy. Finally it had to preserve the way of life in the community bringing services and shelter in case of a big storm.

42

43

MASTER PLAN

Complete Set of parts The combined kit of parts act together as one single floating piece of infrastructure. the bouyant structure is meant to work in a symbiotic way with the existing houses to maintain the social space that is vernacularly used. vertical guidenace post maintan the houses and infrastructure in place.

01

03

Existing

02

44

Proposed

04

Buoyant

Executed

Ecological roof

Green roof

The rain water collection system is intended to collect rain water by the curvilinear roof that channels water to drainage conducts.

Ecological roof concept combines the rain water and sunlight to cultivate organisms and promote additional ecologies.

The Green roof concept utilizes the insulation efficiency of dirt and increases the sustainability factor.

Agriculture

Social space

Circulation

The Agricultural module is intended to sustain enough real state in the pedestrian circulation and provide food for inhabitants.

The Social space module introduces space for the community to gather and begin to explore interactive spaces.

Circulation modules become adjacent between the other module maintaining th same formal characteristics .

Aqua ecosystem

Aquaculture

Boat dock

The Aqua ecosystem is sub Aquatic portion of the module where the form of the module allows aquatic life to thrive.

The Aquaculture Module allows for aqua farming to become more efficient since smaller fish are grown separately.

The Boat dock module allows a transitional portal between the aquatic and land space still maintaining the same formal profile.

PARTS AND MECHANISMS

Rain water collection

45

Detail Void allows sunlight to reach plants

: Vertical Facade

Detail: Facade Ecology Plants growing along walkway

Water Flow

People cultivating.

Plants growing Vertically

Community spaces created to collaborate maintain the structure.

People cultivating plants

Buoyant haul foundation

Detail: D De etta ail: Public circulation space offers a transition between land and water preserving the same social quality as before.

Detail: Decking & Flooring Wireframe weld Community spaces created collaborate collabora aborate maintain the struct

Detail: Hatchery Wood boards attached to cement pre-cast People feeding fish Fish containment

Pipe caring water from fish to plants

Buoyant cement Vertical support

46

Community circulation space and agriculture

Flow of water is directed through the formal character of the project Surface Organisms

DETAILED SECTION

Birds

Facade

texture allows organisms to dwell

Detail: Aquaponics Plants run vertically taking advantage of facade

Facade Ecology

Fruit

Plants Fisherman catching fish

Underwater ecologies are form through the entire subsurface of the project

Vertical surface Pumps for water circulation to ure.

Underwater Ecology C.E.T.O. Energy Surface

Cap

Spring Organisms Cover Tension coil Fish

47

SECTION SCALE:

0

12.5

25

50

ba

A

2n ds tre et t en sid R e t #6 i un

ial

en sid R e t #7 i un

48

tia

l

en sid R e t #8 i un

tia

l

0

25

50

@-

20

’-0

”

SCALE:

BR

ID

GE

ayou

A

ysc

Mot Parking

el

y y hw

PLAN

ENTRY @-0’-0”

losk

49

50

FIRE + The fire block

23 fire house was a

4th year studio taught by Mathew Gillis in the fall of 2018. the studio topic called for the construction of a fire station in the Malibu mountains, in addition to the fire house one more constructible

element

proposed

accompany

to

had

to the

be fire

station. My partner and I suggested a hiker clinic as the additional program.

Fire Block 23

Malibu, California

4A

2018

A-04

Social Portal The EXTERIOR connection between the hiker clinic and the fire station was converted into an interstitial gathering space. The combination of materials were purposeful used to create the distinction of what touches the sky and what touches the ground.

The INTERIOR connection between the hiker clinic and the fire station was strategically used as a main circulation core between fire fighter technology classrooms and the actual engine bay

52

53

EXTERIOR & INTERIOR MOMENTS

Massing Strategy CIRCULATION

1 BAR

2

DRAINAGE

SPLIT

3

RAISE APERTURE

54

DIAGRAMS

APPRETURES

Operation Diagrams The operation diagrams and massing strategy validate some executive decisions that where made when form making. The evolution from the bar into the bulbous volumes then illustrates the precision of mass subtraction. Openings and perforations provide sunlight to penetrate dark corridors, water collection abd solar panels make the fire block a sustainable building.

AMPHITHEATER

ENTRANCE & EXIT

55

Site Specificity The location of the firehouse was a major influence on the form making. The adaptation of trans formative materials such as the steel panels that naturally rust because of the close proximity to the ocean made the pallet of the building a natural red. The sloped mountain condition allowed for minimal excavation to occur during the relocation of the proposed program.

SCALE:

1/8” = 1’-0”

PAS EO MIR AMA R

A

K IN G

B

B

LI

C

O

N

ES

C

B

LV

D

SUNSE

S

PARK ING

LO

T BLVD

E

W

STUDY MODEL

N

PAR

A TOP OF ROOF+ 60’-0”

THIRD FLOOR+ 30’-0”

SECOND FLOOR+ 15’-0”

57

Fire Engine Bay The dormitories and lounge areas are directly accessible and visible from the engine bay and vice versa. This is extremely important for the reaction time.

TOP OF ROOF+ 60’-0”

THIRD FLOOR+ 30’-0”

SECOND FLOOR+ 15’-0”

Fire + Clinic The core delivers moments of bursts of light thought circulation path. The concrete core also works a structural element.

58

Public Amphitheater and clinic program space, A space was needed to integrate the local community as well as celebrate the heroes that put their lives on the line.

TOP OF ROOF+ 60’-0”

STUDY MODEL

The public amphitheater came as a result of the fire

THIRD FLOOR+ 30’-0”

SECOND FLOOR+ 15’-0”

TOP OF ROOF + 60’-0”

THIRD FLOOR + 30’-0”

SECOND FLOOR + 15’-0”

FIRST FLOOR+ 0’-0”

59

ASSEMBLY MODEL

076100

07200

051200

15330

15330

08810

09620

053000

053100

055000

07200

051000 08900

03350

03430 076100

She e t M et al R oof in g

07200 051200

In su lat ion Str uctur al St eel Framin g

15330

We t-P i p e Sp r in kler Syst em

09620

051000 08900

St ruct ural M et al F raming G laz ed C urt ain Wall

03350

C o ncret e F inis hing

03430

Precast S t ruct ural C o ncret e

Sp ec ialt y Floorin g

053100

S t eel D eck ing

053000

Met al Deckin g

051300

St ru ct ural S t ainles s - S t eel

055000

Me tal Fabricat ion s

08810

Temp ered G las s

Building Materials and Assemblies

STUDY MODEL The study model was constructed of three main materials plywood, museum board and plastic polymer. The section was cut out at the core and clinic space.

CIRCULATION ULATION STRUCTURE CTURE

TEMPERATURE ANALYSIS 110 100 90 80 70 60 50 40 30 20 10

The thermal analysis then of the bar helped take advantage of the sun direction.

JAN FEB MAR APR MAY JUN

RECORDED HIGH

AVERAGE HIGH

JUL AUG SEP OCT NOV DEC MEAN

AVERAGE LOW

ANNUAL

COMFORT ZONE

61

62

MUSEUM The third year studio proposal was a steel competition. The studio was taught by Gerry Smulavich in the spring of 2018. The project was a team proposal consisted of three members. Weidong zhou and Guy Blum and I designed a museum located at the top of a scenic hike path in Culver city.

Julius Shulman Museum

Culver City, California

2018

3B

A-05

Aperture & Frame The partti of the project became the adaptation of the most iconic photographs taken by Julius Shulman. We wanted to create a machine like environment that would be able to have the characteristics of a camera, instinctively we created apertures in strategic areas so that the museum galleries would have control over lighting . we later realized that the apertures themselves became actual frames.

64

65

INTERIOR

Framing LA FRAMING

VOLUME INSERTION THE PROGRAM VOLUME PLACED ON TOP OF THE BALDWIN HILLS SCENIC OUTLOOK ADJACENT TO THE STAIR WAY ON THE NORTH SIDE .

ELEVATED PROPOSAL IN ORDER TO USE STEEL AS THE PRIMARY MATERIAL OF CONSTRUCTION AND TO ACHIEVE A ENHANCED VIEWING EXPERIENCE THE VOLUME IS ELEVATED 20’.

DEFINITION OF SPACE

FRAMED VIEW PARTI THE IDEA THAT WAS THEN CONCEPTUALIZED

WAS

THE

CREATION

OF

VIEWS

WITHIN VIEWS OF LOS ANGELES.

SOCIAL SPACE THE RESULT OF ELEVATING THE VOLUME AND EXTRUDING THE GEOMETRY TO FACE VIEWS CREATES TWO CANTILEVERED VOLUMES THAT SERVE AS SHADING ELEMENTS FOR BOTH HIKERS AND VISITORS

66

PERSPECTIVE

PARTI AND DIAGRAMS

VIEW OF THE VIEW THIS PHOTOGRAPH WAS USED AS THE MAIN CONTRIBUTOR

TO

THE

DESIGN

CONCEPT

BECAUSE OF THE SECOND VISUAL FRAME IT CREATES BETWEEN THE ROOF OF THE HOUSE AND THE ALREADY EXISTING VIEW OUT THE WINDOW.

67

Expousure & Angle

VIEW OF THE VIEW

THE VIEW

FRAMING THE VIEW

The exposure to the proper programs became a major contributer for space creations. The broken outer steel panels dynamically introduced burst of light that could be controlled by the curator. The angles of floor plates later activated key pedestrian moments that captured memories.

DEFINING A SPACE

A

B

C

D

E

F 320’- 0”

TH JULIUS SHULMAN GALLERY FOCUSES ITS

25’-0”

25’-0”

25’-0”

2 5’- 0”

25’- 0”

ENTIRE VOLUMETRIC SPACE CONVERGING PLATES IN ORDER TO CREATE INTERSTITIAL SPACES THAT VISUALLY GUIDES MOVEMENT INTO THE VIEW OF THE GETTY CENTER

GALLERY FIFTH LVL @ 75’-0”

GALLERY

FIFTH LVL @ 70’-0” FOURTH LVL @ 60’-0” GALLERY THIRD LVL @ 40’-0”

SECOND LVL @ 20’-0”

ENTRY LVL @ 0’-0”

THE VIEW OF THE VIEW CONTINUES AS THE SHULMAN GALLERY OPENS UP INTO A SPACE THAT OVERSEES HIKERS WHO ARE HIKING UP THE TRAIL

68

25 ’

’ - 0 ”

PERSPECTIVE FLOOR PLATE

PERSPECTIVE SHIFTED PLATE

SECTION AND MOTIVE

PERSPECTIVE STACKED PLATE

THE

SOLUTION

IS

THE

THE

TAPERED

SHIFTING

OF

THE

TAPERED

THE

STACKED

TAPERED

PLATE

PLATE THAT FOCUSES VISION TO THE

PLATE NOT ONLY ALLOWS VISUAL

ALLOWS THE PREVIEW OF SPACES

SURROUNDING WALLS AND MAKES

MOVEMENT

INCEPTING

DISTANCES

WALKING

SEEM

FARTHER

THAN

BUT

PROVIDES

EXPERIENCE

A

TROUGH

INTERSTITIAL SPACES THAT BRINGS

THEY REALLY ARE.

ALLOWS

ONES VISUAL

VISION

AND

MOVEMENT

THROUGH A SPACE.

THE PARTI OF THE DYNAMIC FRAME.

G

H

2 5 ’-0”

I

THE CORE IS THE CENTER STRUCTURAL

2 5 ’-0 ”

ELEMENT PLACED BETWEEN MAIN GALLERY

THAT IN

THE

THE

WAS

INTERSTITIAL

SHULMAN

GALLERIES.

STRATEGICALLY

IT

SPACE

GALLERY PROVIDES

AND THE

VERTICAL CIRCULATION AND CONNECTION TO THE RESULTING PLAZA SPACE.

GALLERY THE PLAZA CONDITION WAS A RESULT OF SHULMAN LOBBY

ELEVATING THE PROGRAM VOLUME 20’ UP THE PLAZA SPACE ACTS AS A COMMUNAL RESTAURANT

GATHERING AREA FOR BOTH HIKERS AND MUSEUM GUESTS!

ENTRY

69

FRAMED VIEW AT

A

GLANCE

FROM

3

THE

FIRST

MOMENT THE BUILDING IS ENTERED AN OBVIOUS FRAME CAN BE APPRECIATED AT A DISTANCE

CUSTOM COLUMN THE

CUSTOM

COLUMN

SPANS

THE

ENTIRE HEIGHT OF THE FLOOR PLATES

Structure & Composition

BRACED DIAGONALLY FOR STIFFENING

SUPPORT LEGS THE PRIMARY SUPPORT RESPONSIBLE FOR HOLDING THE ENTIRE STRUCTURE 20’ UP IN THE AIR MADE ENTIRELY OF WELDED STEEL.

The main structure consisted of steal beams and columns that where spanned across the scenic path. The core truss named the eye was proposed as circulation path to ensure the open transition between ground and building.

SKIN TREATMENT MAIN

STEEL

ATTACHED

TO

SKIN A

PANELING 10’X10’

IS

STEEL

CHANNEL RIB SYSTEM THAT IS THEN ATTACHED TO VERTICAL COLUMNS.

70

THE CORE IS CONSISTED OF 6 STEEL RINGS THAT ARE ATTACHED TO THE HORIZONTAL BEAMS RUNNING ACROSS AT ALL DIREC-

3

TIONS , IT IS ALSO THE MAIN CIRCULATION ELEMENT. 3

ELEVATION AND STRUCTURE

CORE

9 11 12

1

11 10

7 14

1

LOBBY

8

2

ATRIUM

9

TICKET BOOTH

3

GALLERY

10

BACKSTAGE

4

SHULMAN GALLERY

11

RESTAURANT

5

SHULMAN LOBBY

12

ELEVATOR

6

RESTROOM

13

STORAGE

7

AUDITORIUM

14

OFFICES

AUDITORIUM LOBBY 13

8

71

The Apparatus THE PLAN DEVELOPMENT FOLLOWS THE PARTI OF THE VIEW OF THE VIEW THUS IT PROVIDES THE OPPORTUNITY TO DESIGN SPACES THAT ARE DYNAMIC. THE RESULT IS A

4

SPACE THAT ABSORBS A DYNAMIC GEOMETRY .

3

LAX VIEW AN OPORTUNITY TO ENHANCE THE EXPERIENCE

3

ARCHITECTURAL

0

OF

0 ’

JULIUS

SHULMAN

GALLERY

2

THE

3 4

THE

ARRIVAL

OF

1

REFLECTS

’

THAT

0

PRESENTS ITSELF AS AN ESCALATOR

INCOMING AIRPLANES TO LAX.

2

D N

10

THE AUDITORIUM 6

THE

AUDITORIUM

SPACETHAT

IS

ABSORBS

VOLUMETRIC BOTH

1

7

THE

12

MAIN GALLERY AND THE SHULAMN

8

GALLERY, ACOMODATING THE LOBBY

6

SPACE AS AN INTERSTICIAL VOLUME.

A

11

THE SITE THE

SITE

ADAPTATION

TO

THE

B

GEOMETRY HAD TO BE AN DESIGN THAT FOLLOWED THE SAME METHOD AND

PRINCIPLES

PLATFORMS

THE

AND

PLAN

DID.

LANDSCAPE

ELEMENTS WERE DESIGN TO IN THE SAME

LANGUAGE

TO

BLEND

IMMERSION INTO THE BUILDING.

72

THE

B

C

D

E

F

G

H

B

8

PLAN

7

6 5

4

D

N

D

N

2

4 U P D

N

1

LOBBY

8

2

ATRIUM

9

TICKET BOOTH

3

GALLERY

10

BACKSTAGE

4

SHULMAN GALLERY

11

RESTAURANT

5

SHULMAN LOBBY

12

ELEVATOR

6

RESTROOM

13

STORAGE

7

AUDITORIUM

14

OFFICES

AUDITORIUM LOBBY

4

0’ 30

4

0’ 34

4

3 U P

2 D N

3

3

D N

3

A

U P D N

I

J

K

L

M

N

O

P

Q

R

S

N 73

Analog & Digital The study model served to test out the structural calculations of the floorplates. It was composed of museum board and basswood sticks as well as a 3d printed structure core. The longitudinal section displays the longest span of the building from the theater all the way to the galleries. the outer hike path and integration structure are also visible.

A

B

25’- 0”

C

EQ

D

EQ

E

EQ

F

EQ

G

EQ

H

EQ

I

EQ

FIFTH LVL @ 80’-0” BATHROOM

SHULMAN GALL A FOURTH LVL @ 70’-0”

AUDITORIUM LOBBY AUDITORIUM

BATHROOM

LOBBY

THIRD LVL @ 45’-0”

STORAGE SECOND LVL @ 20’-0”

ENTRY LVL @ 0’-0”

74

OFFICES

Model and Section J

K

L

M

N

O

P

Q

R

S

4 88’- 0”

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

25’- 0”

GALLERY GALLERY

LERY GALLERY

GALLERY

GALLERY

RESTAURANT

ENTRY ELEV

75

BUILDING SQUARE FOOTAGE CALCULATIONS EXISTING ONE STORY BUILDING EXISTING ONE STORY BUILDING SQUARE FOOTAGE :

12,792 SQFT

PORTION OF BUILDINGS TO BE DEMOLISHED 6,888 SQFT ___________________________________________________________________________________________ BEVERLY BLVD

EXISTING TO REMAIN

5,754 SQFT

PROPOSED FIRST FLOOR EXISTING TO REMAIN

5,764 SQFT

PROPOSED ADDITION AT FIRST FLOOR : 6,703 SQFT ___________________________________________________________________________________________ N Almont Dr

TOTAL:

12,467 SQFT

PROPOSED SQUARE FOOTAGE: PROPOSED BASEMENT OFFICES GROSS SQFT = 5,715 SQFT PROPOSED FIRST FLOOR GROSS SQFT INCLUDING ADDITION = 12,467 SQFT PROPOSED NEW SECOND FLOOR GROSS SQFT OUTDOOR WHOLESALE = 3,333 SQFT PROPOSED THIRD FLOOR GROSS SQFT WHOLESALE = 9,194 SQFT SECOND FLOOR PARKING GROSS SQFT = 8,055 SQFT ______________________________________________________________________________________________ TOTAL :

=

38,764

SQFT

MINOTTI

TOTAL GROSS FLOOR AREA PER WHMC 19.90.020

30,709

SQFT

9000 BEVERLY BLVD

TOTAL GROSS FLOOR AREA , EXCLUDING BASEMENT PER WHMC 19.90.020

24,994

SQFT

WEST HOLLYWOOD, CA 90048

Commercial The Monotti store was a commercial project that I was a part of in the summer of 2017. i was interning at Heusch INC under the supervision of Gerhard

Heusch

principal

of

the

office. The office was located in Beverly involved

hills. with

I

was

particularly

renderings

plan,

section and elevation drawings.

West Hollywood, California PROPERTY OWNER: ECRU, INC. 8936 BEVERLY BLVD. L.A CA 90048 (310) 271-2172

MINOTTI

PROPERTY ADDRESS: 9000 BEVERLY BLVD, WEST HOLLYWOOD, CA LEGAL DESCRIPTION: Legal Description TRACT NO 7615 E 26 FT OF LOT 58 AND ALL OF LOTS 111 AND LOT 112 ZONING DISTRICT: CC2 ( Commercial, Community 2) + MUIOZ (MIXED USED INCENTIVE OVERLAY ZONE) FAR: ZONING DISTRICT : CC2 ( COMMERCIAL, COMMUNITY 2) + MUIOZ (MIXED USED INCENTIVE OVERLAY ZONE) FAR RATIO = 2.0 LOT SQUARE FOOTAGE:

15,689 SQFT

15,689 X 2.0 TOTAL GROSS AREA EXCLUDING BASEMENT

= 24,994

<

31,378 SQFT 31,378 SQFT

W.EXP

2017

LANDSCAPE SQUARE FOOTAGE: FIRST FLOOR PERMEABLE SURFACE :

1,371 SQFT

SECOND FLOOR PERMEABLE SURFACE :

3,901 SQFT

TOTAL SQFT OF PERMEABLE SURFACES

5,272 SQFT

A-06

CAD & PLANNING The plan was drawn entirely in Autodesk Autocad. I was assessed initially by senior draftsman who prepared the layers and block lines. The take away from this phase was the code regulations that where a big part of the planning of this drawing.

WALL LEGEND NEW WALL EXISTING TO REMAIN EXISTING TO BE DEMOLISHED

78

79

PLAN

02

03

80

PLAN

RP

81

82

SECTION

Layers & Weight The section drawing was drawn in Autocad with projection lines from the plan. This was the first entire solo drawing that i made in the office. It was here where i truly learned the importance of layers and wight for clarity of drawings.

83

N

ELEVATION

E

ELEVATION

84

85

ELEVATIONS

86

Residential The Alto Cedro recidence was a resiodential project that I was a part of in the summer of 2017. I was interning at Heusch INC under the supervision

of

Gerhard

Heusch

principal of the office. The office was located in Beverly hills. I was particularly involved with plan, section and elevation drawings.

Alto Cedro

Beverly Hills , California

W.EXP

A-07

2017



-1 4

-1 6

18

ST RIS EP S ER : 0 S: '-11 0'- " 7"

17

B

5'- 1 0 2"

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5'-

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11

4'-

21 2"

A A1

"

11 '-8

105

6

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2

4'

6'- 3 6 4"



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4'- 3 7 4"

61 2"

6" 3'-

23 '-3 3 4"

73 4"

2"

1'-

"

106 '-7

22

"

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26

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14

"

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19

1'2'10 3 4"

3'

6'

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22

2'

2"

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2'-



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

28

105

12

0" 3'1

9"

2"

1'-

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3'-

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7"

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KITCHEN

11 '-

5'

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1'-

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OUTDOOR KITCHEN

112

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11 1 4"

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3"

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3'

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10

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6"

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8'- 3 9 4"

4'

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3'-5 1" 2

7"

2'-

13 '-2 3 4"

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16'- 1 1 " 2

15'-7 1" 4



24 '-2 "

3'-1 1 0 " 2

32'-7 315'31 4" 4"

16

18

107

"

10 2'

15

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

5"

21

" 6'-

1'-

4" '-3

11 9'102 CH 10'-7"

10

8"

"

TOILET

7'-

101 CH 10'-7"

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7

4'

3

5'- 1 0 2"

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19

6" 3"

9'2'

104 "

2'5'-

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10 5

20

18

1

103

ST RIS EP S ER : 0 S: '-11 0'- " 7"

DN

4

10

14

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14

7'-

102 14

UP 2

10

15 ST RIS EP S ER : 0 S: '-11 0'- " 7"

6

8

12

0"

101

5'- 1 0 2"

+1452.84

36

104 103

4'

102

101

4'-4 1 4"

31

2

2"

ENTRANCE 21

6"

NW 22

4'-

+1452.67

5'- 1 4 2"

DN '-0 1 2"

F

14

+1452.67

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

7'-7"

TING PO

14

D 9'-8 1" 4

1

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9'- 1 0 2"

REFLEC 22'-6 1" 2

4627.04 SQ FT 

A1

NE

01

2'-



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E

ND

23 1" '-4 2

14 1" '-1 4

109

106

LIVING ROOM 105 CH 10'-7" +1452.84

11

12

DINING ROOM

104 CH 10'-7"

+

8

9

10'-10"

2"

1'-

1"

5'

Building Materials and Assemblies





B

A

1 7 2"

S 1 16'-5 2"

15'-2"

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

1 9'-9 4"

1 7 2"

1 2'-9 4"

1 3'-1 2" "

1'

3 1'-6 4"

117

1 12'-10 2"

7'-9"

3'-11"

116

3" 1'-1 4

2'-6"

4'-3"

3 7'-2 4"

3" 1'-3 4

" 7'-3

13

1" 4'-3 2

1'-4"

1

1 1'-1 4"

1" 4'-2 4

113

1" 5 5'- 4

1 1'-0 4"

6" 14'111

1" '-6 2 15

1" 8 6'- 2

6"

3 9'-3 4"

1 6'-1 4"

1" 12'-11 2 3 9'-7 4"

"

3'-8"

10'-6

1" 7 4'- 2



3 2'-7 4"

3 3'-4 4"

1 3'-4 2"

11'

1" 15'-8 4

3'

-3"

4'-3

1" 11 2

1 2'-1 4"

2'-1

"

5'-5

3" 3'-4 4

1" 6'-5 2

BATH

1" 5'-0 2

STUDY

6'-6" 3 6'-7 4"

108 CH 10'-7"

107 CH 10'-7"

106 CH 10'-7"

" 3" '-8 4

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17

+1452.84

"

4

109 CH 10'-7"

4'-8"

1'-2"

BATH

1" 5'-6 2

"

11

118

GUEST ROOM

1 2'-3 4"

3'-2"

1 3'-2 4"

1" 3'-0 4

112

" 5'-5

110 CH 10'-7"

1" '-11 4

SD

1 5'-5 2"

4'-5"

3" 1'-1 4

F

F

1" 3'-0 4

4'-5

"

110

1" 4'-6 2

LIFT 4'-6" X 4'-6"

115

3 4'-2 4"

3'

3" 1'-1 4

CORRIDOR

3 4'-10 4" 3' 2'

SD

107

3 6'-1 4"

3 5'-5 4"

3 1'-3 4"

1 3'-9 4"

8"

3 9'-2 4"

114

2'-8"

119 3 7'-0 4"

1 8'-9 4"

1 2'-5 4"

1 1 " 24'- 4

1 3 4"



C 1 13'-3 2" 1 20'-8 2"

1" '-1 4

16

LIBRARY

5"

14'1

1" '-6 4

4

111 CH 10'-7"

"

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12

C

12

22

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DN

1 6'- 3 7 4"

3 4 5

S RS : 0': 0 11 '-7 " "

2

6 7 STE RIS P E

108

SPA 9"

5'-

SWIMMING POOL

"

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"

57 '

49

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13 58

+1452.67

D

SW

'-1 1 2"

10





GRAPHIC SCALE 1' 2' 3' 4' 5'

10'

15'

20'

89

24'-2"

3'

8"

1 1'-4 2"

SD

1 4'-0 4"

20 4

1'-1"

3'

2

3 1'-6 4"

20

1 6'-4 2"

6

13'-11"

18 1 1'-10 2"

8"

1

14

2

10

3 5'-4 4"

G222

3 13'-7 4"

Y

20 DN BB

LO

CH 212 8'6"

12

3 1'-3 4"

8

SD

2E

D

17'-10"

20 1

BE

R CH 201 M 8'6"

2B

1 7'-7 4"

O

20 5

17

CM

G201

G202

CM

4'

2E

3 5'-114" 7'-434"

3

20

6

20

19'-3"

2F

14'-111" 4

12'-53" 4

2E

3'-4 1" 4

CH

20

3'

8

0"

16 Y

7'1

DR

UN

LA

2F

L.V.

F

6'-3 1" 2

7

20

3'-4"

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24'-1 3 4"

RR

CO

CH 211 IDO R 7'10 "

3'-034"

4

20

3'

1

22

9'-1 3 1" 4

1 2'-4 4"

4'-

6"

5

5'-6 3 4"

26'-7 1 4"

A

LK

WA

"

10'-3

CH 213 IN C. 10 '-2 "

"

17'-1

2B

2F

CM

" PS: 0'-11 20 STE RS: 0'-7" 21 RISE

T 6" LIF 4'X

F

09

2E

G2

10

G2

2

5'

20

0 3" 4

9

3'-7 1 4"

20

27'-1

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B

21

0

2'-5 3 4"

GU ES

12'-2 3 4"

2

G2 1

18

21

8

21

1'-1 1 4"

2

2'-9"

CL

3 3'-1 4"

14

+ 2

64 .9

2F 9

CH 208 10 '-2 " L.V.

5'-1 1" 2

9'-7 1 2"

"

2'-9

23'- 1 3 " 2

"

T CH 210 R M 10 '-2 "

4'-2

20 1

3 7 4"

20 3

1 6'-5 4"

S CH 203 ET 7'8"

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F

2'

2F

5

21

BA

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1 7'-3 2"

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DR

BE

5'-9"

20 2

5'-3"

BA

T CH 202 H 8'6

9'-8"

BA

T CH 204 H 8'6

1 11'-34"

2B

2

20 6

1 114"

1 6'-0 2"

1 7'-10 4"

SD

4

21

M

ER

AS T

CH 207 10 '-2 "

TV

3'-0 1" 4

3 13'-7 4"

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SD

18 DROP DOWN

5'-0 1 4"

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4'-7

2B

C

4'

1 20'-0 4" 1 5'-0 4" 1 1'-4 4"

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

CM

05 0"

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3'

D

21 2

3

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0"

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3 1'-10 4"

1 2'-6 4"

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R CH 205 M 8'6"

1 17'-6 4"

1 9'-5 2"

T CH 209 H 10 '-2 "

2'-8 "

"

7

11'-0 1 2"

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1"

1" 20'-11 2

3

21

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G2

6'

20 7

1 3'-10 4"

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2

21

6

21

2'-3

G2

11

20'- 1 4 " 2

TV

WN

1'-11 3 4"

4'-1

N

9



19'-0 3 4"

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OP

DR

DY

1'-6"



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3'-3 1 4"

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1'-1"

ST

CH 206 10 '-2 "

21 1

3'-6 1 2"

1 9'-0 2" G218

10'-9 1 4"

1 6'-10 4"

2

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 2'-111" 4

4'-21" 4 5'-51" 4 4'-91" 4

2'-113" 4

 R BE OO LO F W

20 5

21

D

1 3'-0 2"

10'-2"

3 8'-1 4" 2'

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3'

2'

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G217

C

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G2

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G2

10'- 3 3 " 4

2



"

2'-6

18'- 3 2 " 4



3562.40 SQ FT

1'-0 3 4"

2

"

22'-1 1 2"

27'-1

17'-

6 1" 2

8"

2

1 R104'-2 4"

G203

A

B

1 22'-1 4"

R82'-4"

4'-5 1 4" 1'-4 1 4"

G21 6

7'-3 1 2" R11

G219

7'

1 4'-7 2" 6'

13'-11" 3'

11'-6" 1 6'-5 4"

3'-6"

3 1'-10 4" 1 6'-3 4"

3 3'-9 4"

3 6'-5 4"

3'-3"

3 5'-1 4"

ELECT. 3 7'-114"

 

8"

2'-9"



1 12'-6 2" 2'

5'-7"

3'

3 2'-9 4"

1 3'-0 2"

7'-10"



2'-5"

2E

1 9'-6 4" 20'-10" 1 5'-4 4"

 

1 5'-1 2"

2B



02

 

1 5'-0 4"

23'-11"

G2 07









47'

3'-7"

G221 G220

G204 b G204 a

G2 06

2901.85 SQ FT



D

B

A





Building Materials and Assemblies

BT

1" 2 14'-5

3'-3 1 2"



+1443.50

13'-10"

1 11'-74"

19'-5"

SLOPE 2%

5 SQ.FT.

1A 3 3'-0 4"

3 7'-9 4"

BE MIN. DOOR TO GARAGE MAKE-UP AIR OPEN FOR

1A

D

9

18'-9"

3 7'-10 4"

3 13'-3 4"



001

LIFT 4'-6" X 4'-6"

1" 1'-10 4

10'

3 9'-4 4"

CH 8'-2"

N

6"



3" 3'-8 4

1 5'-7 4"

1 9'-1 2"

002

6'-9"

"

NE

L

11

PA

10'

3'

" 10

'-1

3'-4 "

2'

4

-1

1D

" 4'-7

1B

11 "

3'-

7'-

F

9"

005 CH 7'-9"

10

01 4"

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13

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14

SD 5'-5

"

1F



1D

3'-6 1 2"

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12 '-1 1 2"

TOILET

4'

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3'-1

15

3'-1 1 4"

2'-7 3 4"

3 6'-5 4"

006

TV

9'-11 1 2"

005 "



007

CM

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007 CH 8'-4"

1B

10

'

1C

29 '-

BASEMENT LOUNGE

14

3'-3"

11 1 4"

004 CH 9'-5"

+1442.42

1A

5'-8"

GOLF SIMULATOR

003

MECH

008 CH 7'-11"

6'-2 1 2"

009

1D

+1442.92



CH 7'-9"

2'-6

003 CH 8'-10"

1A

1

13 4"

2

-1

-1

0

-8

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G0

"

"

SD

2'-3

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"

SD

1D

91 2"

008

5'-9

02

F

ST RIS EP ER S: 0' S: -11" 0'-7 "

GYM / BEDROOM

010

003

3'

14

6'-

10

3 "

1B

12

A.V

.

A.V

B SU EC

T.

10 "

EL

6'-9 1 2"

2'-8

3'-7 1 4"

23

" 1'-4

7'-5 1'-10 2" 4 "

29

3'-4 3 4"

1

'-3 1 4"

15

1E 15

011 CH 7'-11"

+1442.92

(N) POOL UNDER SEPARATED PERMIT

'-7 1 2"

1"

'-1

14

16

21

21

9'-1 13 4"

004

19

.

'-4 3 4"

G0 0

L.V.

+1443.55

1

013

ELECT.

L.V

2'-8

3 11'-0 4"

1'-6"

.

SPA

002 CH 8'-10"

2'-4 3 4"

001 CH 7'-11"

1314,66 sq.ft.

L.V

6'- 3 4 4"

012

.

010 CH 7'-11"

10 '-3 3 4"



GARAGE

MECH

1B

1A

RS PE HEATE WATER

10

22

5

19

'

EV

CH

AR

GE

R

4'- 1 3 4"

16'-4"

8

CM

R MECH

'L

12

1A

1A

3 3'-3 4"

10

1" 29'-10 2

12

MECH

009 CH 7'-11"

7'

6'-3"



10

"

002

3'-8

"

'-4 1 4"

12



3'-1

13 4"

16

A

005

'-4 1 4"

001

12

3'-8

"

G0

04



+1442.92

9'-3 1 4"

8"

2'-9 3 4"

13 4"

8'-1

"

37

3'

W

01 4

'-1

10 3 4"

E

IN

12 '-

D

R

LA

CE L

'-5 1 2"

8'-7 1 2"

11

"

2'-6



03

G0

004

9'

9'- 1 1 4"

11

1

RIS EP S ER : 0' S: -11" 0'-7 "

1A

-1 6 -1 4 2

5'

-1



"

71 2

"

G

10



1



2

18

17

ST

4'- 1 5 2"

S.H

.

B

006 CH 8'-4"

10

9'-



6'-1

"

POOL EQUIPMENT

91

30' MAX HEIGHT ENVELOPE

8

HIGHEST POINT +1477.59

8

7

2'-5"

+1475.15

1'

7

6

+1465.17

6

22'-7"

1'-2"

3'-6"

25'-0"

9'-3"

3

11'-2"

4 3

6

7

+1452.84

1'-2"

1

(E) NATURAL GRADE +1452.17

8'-9"

8

3 4" 4"

NW

+1442.96

ELEVATION

FINISHED GRADE +1442,10

30' MAX HEIGHT ENVELOPE

8 8

1'-2"

HIGHEST POINT +1477.59

11'-6"

3

22'-7"

1'-2"

25'

3'-6"

12'-8"

1'-5"

+1473.75

11'-2"

6

6

5'

12'-4"

2

+1452.33

NE

ELEVATION

Building Materials and Assemblies

7

1'-2"

ROOF +25' -0" (+1477.59 ASL)

3'-6"

11'-6"

3

11'-2"

1'-2"

25'-0"

SECOND FLOOR +12' - 7" (+1465.17 ASL)

9

(E) NATURAL GRADE +1452.17

+1452.84 FIRST FLOOR +0' - 3" (+1452.84 ASL)

NOTES

8

1

9'-8" TALL RETAINING WALL

2

5' TALL WOOD FENCE AND GATE

3

3'-6" TALL LOW-REFLECTANCE GUARDRAIL

4

6' TALL STONE WALL

5

WOOD LATTICE

6

STONE FINISH

7

WOOD FINISH

8

STUCCO

9

POOL

ATTACHED TO STRUCTURE

BASEMENT -9' - 8" (+1442.96 ASL)

ATTACHED TO STRUCTURE

5 ROOF +25' -0" (+1477.59 ASL)

2'-5"

+1475.15

1'-5"

3

7

3'-6"

6

8

+1465.17

SECOND FLOOR +12' - 7" (+1465.17 ASL)

1'-2"

1

(E) NATURAL GRADE +1452.17

FIRST FLOOR +0' - 3" (+1452.84 ASL)

8'-9"

+1475.15

FINISHED GRADE +1442,10

93 BASEMENT -9' - 8" (+1442.96 ASL)

SETBACK LINE

LOT BOUNDARY LINE

SLOPE 41":12" MINIMUM TO DRAIN R-43 SPRAY FOAM INSULATION

12'-8"

1134"

2'-541"

+1475.15

BEDROOM

8'-6"

25'

9'-3"

1

205

SLOPE 41":12" MINIMUM TO DRAIN +1465.17

1.2 A411

10'-834"

KITCHEN

9'-7"

ENTRANCE 101

103

1

8'-1034"

1'-2" 9'-1034"

-1 -2 -3 -4 -5 -6 -7 -8

1.1 A411

8'-834"

9'-1034"

+1452.84

R-30 SPRAY FOAM INSULATION

5 A409A

GYM

7'-1134"

12'-4"

11'-2"

1'-2"

R-43 SPRAY FOAM INSULATION

003

+1442.96 +1442

LOW POINT FINISHED FLOOR +1442.96 ASL

12'-2"

2'

13'-3"

3'

SETBACK LINE

(E) NATURAL GRADE

2'-6"

2'-7"

2'-6"

PILE FOOTING BEYOND SEE STRUCTURAL DRAWINGS

MAXIMUM ENCLOSURE HEIGHT

SLOPE 41":12" MINIMUM TO DRAIN

10'-2"

11'-6"

R-43 SPRAY FOAM INSULATION

10'-2"

12'-8"

+1477.59

MASTER BEDROO

STUDY

207

206

SLOPE 41":12" MINIMUM TO DRAIN

10'-921"

DINING ROOM

9'-7"

12'-4"

11'-121"

25'

1'-221"

R-43 SPRAY FOAM INSULATION

LIVING ROOM 105

104

1 3'-6"

3'-6"

+1452.8

10'-8

3'

FOR SLAB AND FOUNDATION DETAILS SEE STRUCTURAL DRAWINGS 16'-0

PILE FOOTING BEYOND SEE STRUCTURAL DRAWINGS

94

7'-1134"

MECH 008

007

+1442.34

2'

2'

BASEMENT LOUNGE

R-30 SPRAY FOAM INSULATION

+

LOW POINT FINISHED FLOOR +1442.96 ASL

(E) NATURAL GRADE

R-30 SPRAY FOAM INSULATION

7'-934"

8'-434"

9'-1034"

10'-3"

8'-841"

R-30 SPRAY FOAM INSULATION

7'-1134"

1'-241"

1.1 A411

3'

11'-8 "

2'-6"

8'-3"

2'-6"

PILE FOOTING BEYOND SEE STRUCTURAL DRAWINGS

11'-11"±

Building Materials and Assemblies

LOT BOUNDARY LINE

SETBACK LINE

SECTION BREAK LINE

HIGH POINT - TOP OF ROOF +1477.59 ASL +1477.59

R-43 SPRAY FOAM INSULATION

ROOF +25' -0" (+1477.59 ASL)

3'-6"

8'-6"

25'

11'-141"

12'-8"

2'-541"

+1475.15

R-47 SPRAY FOAM INSULATION

SECOND FLOOR +12' - 7" (+1465.17 ASL) R-30 SPRAY FOAM INSULATION

12'-4"

1

(E) NATURAL GRADE

4

8'-241"

7'-934"

GARAGE

9'-10 "

FIRST FLOOR +0' - 3" (+1452.84 ASL)

001

BASEMENT -9' - 8" (+1442.96 ASL)

FOR SLAB AND FOUNDATION DETAILS SEE STRUCTURAL DRAWINGS 33'-3"±

SECTION BREAK LINE

3'±

A

SETBACK LINE

SECTION

HIGH POINT - TOP OF ROOF +1477.59 ASL

SLOPE 41":12" MINIMUM TO DRAIN

209

WALK-IN CLOSET

7'-10"

10'-2"

10'-2"

R-47 SPRAY FOAM INSULATION BATH

OM

213

12'-8"

+1473.75

CORRIDOR 211

25'

R-30 BATT INSULATION

+1465.17

R-47 SPRAY FOAM INSULATION

NOTES

2

9'-7"

10'-921"

12'-4"

1

84

(E) NATURAL GRADE

FOR SLAB AND FOUNDATION DETAILS SEE STRUCTURAL DRAWINGS

8'-334"

MECH

GARAGE

2

5' TALL WOOD FENCE AND GATE

24'-7"±

2'

3

REFLECTING POND

4

GLASS FLOOR

9'-1034"

R-30 SPRAY FOAM INSULATION

3'6" TALL LOW REFLECTANCE NON-GLARE GLASS GUARDRAIL

110

106

0 M N

1

CORRIDOR

STUDY

009

001

+1442.96

±

4'-8

4'-3"±

3'±

SECTION

B

96

Product As a final project for a computer science minor our class was asked to program and design a working protoproposed sensor was an adaptive powered sensor with wireless transmitting tech that would be able to stand the elements.

Programing & Design

AQS X1

SMART AIR QUALITY SENSOR

type of an air quality sensor. The

CSMA

C-01

2021

10:15 / 45:00

M5 STICK C

Components List

AIR Q SENSOR

At The central core was an M5 stick controller ller that had wifi capabilities wand was able to be program with Python. A 10000 MA power bank was used in combination with the existing M5 battery to achieve a week of functionality.

98

10.000 M/AH BATTERY

MATERIALS AND MODEL

Top Lid

Mount Bracket

Mount & Access The accessibility of the components became a challenging

part

while

designing

the

inner

chambers. one way i worked around it was to use the design language of an alien vessel that wsa opening up this served to my advantage as air could also travel within

99

In order for the data to be transmissible and codable to a graphical mode , we used adafruit, an online platform that connects to the M5 device with a few lines of code. The information and data is then turned into a graph and displayed in three categories. The data is also logged chronologically to determine the time and date it recorded a particular reading. A prototype video render was made as a part of the commercial

PN2-5 DATA

PN10 DATA

PN1-0 DATA

aspect of the development of the prototype.

100

Scan Me for Video

Data

DATA & HOUSING

Prototype The complete design was made entirely digital at first to ensure proper fitting of the internal components. The housing was designed around the functionality of the device.

Figure 01 illustrates the 3d printed components that had to be designed with the manufacturability in mind. Figure 02 demonstrates the main control device cluster. In Figure 03 the assembly of the entire enclosure is seen after it was glued, primed, painted, and coated with UV resin.

Fig 01

Fig 02

Fig 03

101

Desktop Mode One of the usability modes that the prototype brought was desktop mode. Here the intent was for the user to leave it inside the home and find if people were smoking inside.

Home Mode The second

usability mode the device offered

was the outer home use. This mode allows for the user to collect data from outside the home in case of bad air quality the device can kickstart the internal air purifier

Outdoor Mode The outdoor mode is the final usability mode. This mode uses the housing to bolt onto a steak that is paced in any location. The intent was for the user to collect data close to questionable areas.

102

MODES &CONCEPT

Working Prototype The final working prototype was painted white and coated with a thin layer UV enamel to withstand the outer elements. The interior seams were kept at a dark gray color to hide the openings necessary to record data.

103

104

VR / AR The final project of my Mixed reality

Augmented Reality

course taught by Michael Peguero was to develop a working application platform using Unity and Spark AR. The theme I chose to explore was architecture

of

war,

in

particular

naval vessels. The intent was to educate the users on the development

of

floating

inhabitable

machines. User interface and experience where of prime importance.

Architecture of War

Virtual Reality

Programing & Design

CSMA

C-02

2021

UX / UI The composition of the icons and link buttons was of primary focus in order to have ease of usability. The development of the icons and color pallete had to relate to the overall theme, thus the final palette was chosen as blue.

Facts Button Home Button

Facts

3D Object

Object Menu 106

The icons were specially developed to be recognisable. they particularly had to inhibit a piece of information of what it would link you to. The three dimensional objects came at a low poly count to conserve memory and deliver a smoother user experience.

PNG (2D)

USER INTERFACE & ICONS

Icons & Objects

OBJ (3D)

107

Platform & Development Unity was the main platform that was utilized to develop the platform. a series of three dimensional models were inserted along with a full set of png images that were coded with C sharp to link them to cards containing facts and further details. the environment could be either experienced in virtual reality or augmented reality.

108

PLATFORM AND NAVIGATION

Navigation

Access & App

AR

VR

109

Los Angeles Museum of Tolerance 110

Projection Mapping As a final project for the media environment course our professor Ivaylo Getov asked us to investigate projection mapping. Touch-designer was the primary software utilized to develop and formulate a working simulation of projected animations on a three dimensional surface. The proposition

was

a

museum

of

tolerance that displayed a constant animation of MLK’s speech

LAMOT

Programing & Design

CSMA

C-03

2021

LA proposition The ambition of the proposition intended nded for this to be a pitch to city officials at a scaled model size. The same principal could be used d at a much larger scale.

Digital Model The digital model was quickly designed to challenge the capabilities of traditional surfaces. In order to test out the maximum capabilities of the

software the model had to possess

breakages and dynamic angles.

112

out of the experience on the site. FIG 02 shows the projector locations that are optimal for the best performance. FIG 03 shows the canvas surfave that would be projected on.

MODEL & PROPOSITION

FIG 01 shows the location that would get the most

Figure 01

Figure 02

Figure 03

113

TouchDesigner

Exhibit The audio and speech of the I have a dream speech by MLK is used to generate a purple and yellow graphic show. as well as the materiality preview of the

SCAN

actual building this can be changed.

114

As an added feature any type of material can be used to preview and transition to animations more realisti-

HARDWARE AND SOFTWARE

Projected Material cally. Museum board works the best at the small scale and darker materials are experienced better at low lighting settings with a high definition projector.

115

116

Prototyping As

a

midterm

project

instructor

Gottfried Haider proposed we code and

attempt

to

build

a

working

usable tech piece. I proposed a robotic fitness companion that monitors and reacts to different types of exercises as an adaptive function the device would be solar powered.

WU-BOT

Programing & Design

CSMA

2021

C-04

Concept Sketch The sketches where originally developed to elaborate on the many types of capabilities the device would have. The materiality was of importance at this stage as well due to constructibility issues.

Features The gesture of the design is intended to provoke a friendly ergonomic feature. The single button was a limitation of the hardware and was worked around for user adaptability.

118

CONCEPT AND GEAR

Gear & Power A servo motor was programmed in python to

10:15 / 45:00

cycle through different work out routines once selected. The device would be attache to two wheels and would rotate to different locations of the workout space

LIGHT

I NTEN S E

YO GA

R O PE

B IKE

WARM U P

WEIGHTS

ST R E C H

119

Open Source The initial design intended for the shell of the device to be made out of widely available materials. In fact a simple printer can produce and even make the design of the WU-BOT unique. the open source availble cut out shit would be able to be printed at a letter sized sheet.

SCAN ME

120

121

SOURCE AND MODEL

Essentials The final deliverable prototype had become more rigid to withstand wearbility. ABS filament was used to 3d print the housing shell and was designed to come apart for service.

Wheel Shell

Main Shell

Servo

M5-STICK

L-Shape Type-C

122

Mode 01 was the primary method of usability for the device. The intent was for the user to travel and be reminded when to workout. Mode

02 takes the usability to a different stage as the robot becomes a home fitness coach connected to other devices at a home gym.

Mode 01

ASSEMBLY AND ESSENTIALS

MODES

Wearable 5V- Solar Panel

Mode 02

Wheel

Rotation

Follow me

123

graphic -design

124

Typography As designers Architects are naturally drawn

to

graphic

design.

As

a

reinforcement of skills I took a typography course taught by Behnoush McKay. The beginning of the course introduce

the

identification

of

typefaces. The class later moved onto the composition of characters for design and finally the creation of an information graphics poster.

VARIOUS

Design

GDS

2021

GD-00

01

Architectural Design Architecture can mean: A general term to describe buildings and other physical structures. The art and science of designing buildings and (some) non building structures. The style of design and method of construction of buildings and other physical structures. A unifying or coherent form or structure.

55%

Other

48%

02

Graphic Design Graphic design is the process of visual communication through the use of typography, photography, iconography and illustration. The field is considered a subset of visual communication and communication design, but sometimes the term "graphic design" is used synonymously.

45%

White

43

37

Avg Salary

$84,534

Workforce age avg

Workforce age avg

Other

53%

46%

Bernard Tschumi

Masters Degree

Avg Salary

Daniel Libeskind

$51,022 Creativity

CREATIVE

Other

71%

Artistic

Frank Gehry

Bachelor degree

Communication

Bjarke Ingels

White

DISCIPLINES

"L BL EA DI NG

im

ita

03

t

n

$54,627

ak

NG KI AC R

Interior Design

Avg Salary

m

T

es

43

the

cre

Workforce age avg

SATURAT ION FLA T

mind inventive. "

RAST CONT

ative

T IGH HE X-

Interior design is the art and science of enhancing the interior of a building to achieve a healthier and more aesthetically pleasing environment for the people using the space. An interior designer is an individual who plans, researches, coordinates, manages , and deals with the design of interiors.

R

Other

VE CT O R

Bachelor degree

HIER ARC HY

Masters Degree

B SERIF IPT SLA SCR

io

HY AP GR PO TY

ER ST A

ID GR

Other

80%

RGB

CMYK

HEX

69%

HU E

TIN T Avg Salary

44%

38

$62,481 Communication Other

54%

Visual& Performing Arts

Workforce age avg

06

Interactive Design

41

Other White

58%

Workforce age avg

56%

Business

Interactive design is a user oriented field of study that focuses on meaningful design through cyclical and collaborative processes between people and technology. Successful interactive designs have simple, clearly defined goals, a strong purpose and intuitive screen interface. In some cases interactive design is equated to interaction design.

Avg Salary

$58,627 78%

Visual & Performing Arts

A-A

Engineering

126

Business

White

Bachelors

Workforce age avg

16%

Masters

$79,106

84% Avg Salary

35

Other White

Fashion designers attempt to design clothes which are functional as well as aesthetically pleasing.

They consider who is likely to wear a garment and the situations in which it will be worn, and they work within a wide range of materials, colors, patterns and styles.

Industrial Design Industrial design is a process of design applied to products that are to be manufactured through techniques of mass production. A key characteristic is that design precedes manufacture: the creative act of determining and defining a product's form and features takes place in advance of the physical act of making a product, which consists purely of repeated, often automated, replication.

83%

04

Fashion Design

05

17%

White

22%

INFORMATION GRAPHICS

Info Graph As a finally deliverable for the typography course we where tasked to research and design

an info-graphic poster that

informed users on a particular subject. I chose to research major creative disciplines and illustrate the differences and similarities between them. One typical piece of data that kept emerging in the research was the aspect ratio of gender in th different industries. Salary and ethnic backgrounds where also investigated to reveal discrepancies.

127

UNIVERS 128

A d r i a n Fr u t i g e r The Univers typeface was designed

by Adrian Frutiger in Fr a nc e/Ger m any, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths.

sans serif

1957

TYPOGRAPHY RESEARCH

Typography Research A series of graphic design proposals where tasked of the studio. Two typefaces where assigned to every student. I was assigned Universe a sans serif and Caslon a serif the poster on the left informs of Universe while the one on the left is the two typefaces merged.

129

Presented

Albert Einstein

1946

Woodbury University School Of Architecture

In , Albert Einstein stood in front of students at the oldest historically black college in the United States and decried the oppression of African Americans. "There is separation of colored people from white people in the United States. That separation is not a disease of colored people. It is a disease of white people. I do not intend to be quiet about it,"

Martin Luther King, Jr.

1964

Martin Luther King, Jr. In said „I refuse to accept the view that mankind is so tragically bound to the starless midnight of racism and war that the bright daybreak of peace and brotherhood can never become a reality.... I believe that unarmed truthand unconditional love will have the finalword.‰

Nelson Mandela

1994

Nelson Mandela said„No In one is born hating another person because of the colour of his skin, or his background, or his religion. People must learn to hate, and if they can learn to hate, they can be taught to love, for love comes more naturally to the human heart than its opposite.‰

Barack Obama

2020

11 M Immigrants

In Barack Obama said„Let's not excuse violence, or rationalize it, or participate in it. If we want our criminal justice system, and American society at large, to operate on a higher ethical code, then we have to model that code ourselves.‰

Nov 03 2020 6:00 - 8:00pm

130

12.5 Million Between 1525 and 1866, 12.5 million people were kidnapped from Africa and sent to the Americas through the transatlantic slave trade. Only 10.7 million survived the harrowing two month journey. Comprehending the sheer scale of this forced migration·and Despite paying billions of dollars annually slaveryÊs subsequent spread across the in taxes, undocumented immigrants were country via interregional trade·can be a ineligible for the direct deposit relief doled daunting task, but as historian Leslie Harris out by the $2.2 trillion coronavirus stimulus told SmithsonianÊs Amy Crawford earlier this bill. None will receive the cash assistance year, framing „these big concepts in terms that millions will get as a result of the relief of individual lives « can [help you] better unpackage passed by Congress; the payments derstand what these things mean.‰ were tied to Social Security numbers as opposed to Individual Tax Identification Numbers, over Democrats’ objections.

SOCIAL JUSTICE

Social Justice As a theme topic this year social justice was chosen.

The GD studio focused a series of exercises on social justice. The poster on the left is intended as a lecture series poster addressing racism. The poster on the left similarly focuses on racism and suggest the bleaching of colored culture in America.

131