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"
01 2"
5'-
'-5 1 2"
11
4'-
21 2"
A A1
"
11 '-8
105
6
-1
-1
2
4'
6'- 3 6 4"
"
'-8
11
4'- 3 7 4"
61 2"
6" 3'-
23 '-3 3 4"
73 4"
2"
1'-
"
106 '-7
22
"
'-8
26
'-2 1 2"
14
"
'-7
19
1'2'10 3 4"
3'
6'
'-5 3 4"
22
2'
2"
21 4"
7'-
2'-
'-8 3 4"
'-7 3 4"
28
105
12
0" 3'1
9"
2"
1'-
13 4"
3'-
2'-
7"
103 CH 10'-7"
KITCHEN
11 '-
5'
7"
2'-
21 2"
5'-
3'- 1 8 2"
2'- 1 1 2"
21 2"
6'-
2
-1
"
0
3'- 1 6 2"
-6
'-9 1 4"
22
-8
8"
24
-1
4"
7'-
'-2 3 4"
"
61 4" 1'-
4'- 1 4 2"
" 3'-
"
11
1'-
-4
6"
1'-
8"
3'- 1 9 4"
10
'-4 1 4"
-2
6
OUTDOOR KITCHEN
112
0
-8
-6
-4
-2
DN
11 1 4"
10'-9 3" 4 8" 1'-
8" 2'- 3 5 4"
1'- 1 1 2"
2'- 1 1 2"
8"
2'-
3'2"
6'-
8'
2"
'-0 3 4"
15
" 4'-
3"
4'3 4'-
3'
6'- 1 2 2"
'-9 3 4"
10
6"
7'-
9'-5 1" 4
6"
1'-
9"
7'-
8"
8'-
3'-5 1 2"
3'-3 1 4"
8"
4
8'- 3 9 4"
4'
'-1 3 1 4"
3'-5 1" 2
7"
2'-
13 '-2 3 4"
'-3 1 4"
14
8'-6 "
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
'-3
5"
21
" 6'-
1'-
4" '-3
11 9'102 CH 10'-7"
10
8"
"
TOILET
7'-
101 CH 10'-7"
'
7
4'
3
5'- 1 0 2"
'-6 12
19
6" 3"
9'2'
104 "
2'5'-
'-5 1 4"
'-8
10 5
20
18
1
103
ST RIS EP S ER : 0 S: '-11 0'- " 7"
DN
4
10
14
'-3 "
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
'-6 1 2"
7'-7"
TING PO
14
D 9'-8 1" 4
1
'-1 1 1 2"
9'- 1 0 2"
REFLEC 22'-6 1" 2
4627.04 SQ FT
A1
NE
01
2'-
N
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
'-3
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"
"
'-7
12
C
12
22
'-4 3 4"
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
"
'-4
"
57 '
49
'-6 1 4"
'-1
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"
2'-7 1" 2
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
SD
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"
F3'-4"
F
2'
2F
5
21
BA
F
"
19 21
"
2B
"
21 0 3'
1 7'-3 2"
M
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"
2F 4
SD
18 DROP DOWN
5'-0 1 4"
2'-5 3 4"
"
4'-9
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"
"
8"
20'-11"
2'
20 9
3'
D
21 2
3
G2 2'-1
0"
2'-1
7'-4
3 1'-10 4"
1 2'-6 4"
BE
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"
21
1"
1" 20'-11 2
3
21
6'-5"
08
G2
6'
20 7
1 3'-10 4"
4'-10"
U
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"
DO
OP
DR
DY
1'-6"
11 1 4"
6'-7 1 4" 3'-3 1 2"
3'-3 1 4"
6'-4 3 4"
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
2'-1 1" 2
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'
2'-5"
3'
2'
19
G217
C
4'-3 3" 4
32'-113 4"
2
G2
14
6'-7 3 4"
15
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"
'-1
13
'-1 1 4"
SD
14
SD 5'-5
"
1F
1D
3'-6 1 2"
" 1'-4
" 8'-6 3'
4'-4 3 4"
12 '-1 1 2"
TOILET
4'
'-4 3 4"
3'-1
15
3'-1 1 4"
2'-7 3 4"
3 6'-5 4"
006
TV
9'-11 1 2"
005 "
007
CM
'-6 1 2"
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
" 4'-9
G0
"
"
SD
2'-3
'-2
"
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