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PORTFOLIO

DOUG HARSEVOORT


CONTENTS

ABOUT education HARVARD GSD - M.Arch I UNIVERSITY OF MINNESOTA-B.Sc. residence 93 Kirkland St. Apt 2 Cambridge, MA 02138 contact dougharsevoort@gmail.com dharsevoort@gsd.harvard.edu 608.774.3504

PORTFOLIO This is a catalogue highlighting various scales of intervention, development, and speculation. It attempts to address and instigate familiar questions in architecture, rooted in an historical discourse. Projects are resolved to a level that is appropriate to understand a specific line of intrigue or curiosity. No project is entirley exhausted, instead considered to a point where questions and discourse can be provoked, furthered through conversation. This catalogue is also about understanding the various degrees of resolution necessary to convey the disciplinary ideology of projects at varying scales. It is not about solving anything, since architecture does not solve problems outside of itself. This document is about approaching a question from a familiar, but new standpoint, opening the stage for further queries. It is for architectural investigation. Nothing more, nothing less.

MOTIVATIONS I have long found incredible interest in a scarce series of buildings and artworks that honor history, yet simultaneously depart from it. I like quiet rebels: objects that permanently oscillate between purely evocative and recognizably symbolic. I am interested in the possibility of a Project that is neither an exercise on historicism, nor conceived in a modernist ideology; what invigorates me is the permanent fluctuation that emerges when attempting to confront the conundrum of simultaneously embracing the old and the new. For me, architecture should always engage history, yet be a catalyst for progression. Being both recursive and projective in approach presents a serious dualism, which inevitably becomes a game of hide and seek, abstracting the direct references in order to find new resolution. For me, this results in an architecture that can reveal unexpected potentials within the discipline and conceive of a new collective icon, architectural objects that surrender to authority while fighting all the way, creating something familiar, yet radical.


MoMA MOTEL

JML

THE BATHS OF CALIGULA

JML

ML

READYMADE RUIN

ML NOT OVER OLMSTEAD

JML

A FRUGAL VILLA

JML

JML

DESIGN MIAMI PAVILION 2015

JML JML

JML MENIL DRAWING INSTITUTE


ACADEMIC


MoMA MOTEL SAPPORO, JAPAN HARVARD GSD CORE III FALL 2015

This project is a rejection of the contemporary Japanese tower, shiny, neon, glazed shrines to Modernism. This tower is subtle, humble, extruded. Behind the banded floor plates is a structure that wrestles with the notion of a simple extrusion. It is a wracked wrapper that uses its counter structure to create an external prommenade, a public wrapped cirulation, pushing the hotel rooms inward, and creating a semi-private interior atrium for the rooms. In this way, the banding is remniscent of motels, with their straight run staircases that connect to each room level. In this way, the project is always dealing with combining two different typologies. The large public musem, and the private high-end hotel. The interior hallways of the hotel are no longer double-loaded displays for terrible stock art, but intead wrap around internal galleries that contain art from both public institutions like MoMA as well as private collectors. It becomes a total mix of private and public, both in its programmatic arrangement, and its institutional structure as a place to view art. It creates opportunities to reunite collections that exist in the private and public sectors of the art world. Equally, there are all types of opportunities for hotel visitors to engage the public, becoming part of the display at times, and others having the ability to be veuyeristic, watching from the privacy of spaces only they have access to. It is a totalizing duality of space and function. This tower is aware of its context. It opens three spaces to reflect on one’s place in the city of Sapporo. The lobby has a monumental stair that creates place on an urban streetfront. The center opens up as a moment of pause for all visitors, a reflection space to cleanse one’s art palatte, and view the city. The top is an exterior zen garden and viewing platform, the beginning of a visit for anyone seeing the exhibits and the end for those staying in the hotel.

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Public Courtyards withing the overlapped Trifoil circulation

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HARVARD GSD

Detial Section


MoMA MOTEL

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Facade Vegetation/ Curtain Conditions


HARVARD GSD

View of theater foyer and transitional space


MoMA MOTEL

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View of lobby


HARVARD GSD

View of transitional space


MoMA MOTEL

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View of pool and public perimeter circulation/ gallery


HARVARD GSD

Model Side Perspective Elevation


MoMA MOTEL

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Model Frontal Perspective Elevations


JML JML THE BATHS OF CALIGULA JOSHUA TREE, CA HARVARD GSD KERSTEN GEERS DAVID VAN SEVEREN STUDIO - FALL 2016

This commune, set in the Joshua Tree Desert, two hours driving east of LA, is a hedonist haven for Porn Actors. Situated half way between two major pornography filming locations (the valley in LA and suburbs of Las Vegas), this commune serves as an alternate form of living for new or experienced porn actors. It is a combination of the scenographic elements of Caligula, collaged with the banal everyday moments of David Hockney’s paintings, and the character of spaces found in a Roman Bath. Perhaps perverse in this mixture of references, and often exuberent in its combination of shapes, this commune is unforgiving in its attempt to revive the monumentatlity of the Roman Bath and Aqueduct, yet the intimate nature of the pools in a typical LA apartment. In this way, the two become a labyrinth of discovery and self reflection. The commune is meant to push the limits of communal living, where working and living become a mirage of one another. The spaces for sleeping also function as spaces for filming. In this way, the traces of daily life litter the spaces for filming, and one echoes the other. This serves as a theater set, where filming can happen spontaneously, and where actors must reconcile the ubiquity of surveillance in their daily lives. However, this is a type of self-imposed voyeurism, where niches in the walls of the commune serve the selfie-style filming and Instagram nature of contemporary pornography. Surrounded by falling water from walls that serve to create pools, around which living is centered, this commune becomes an oasis of clustered Joshua Trees and heavy concrete walls. As a safe haven away from the oft dangerous living conditions of actors beginning their career in pornography, this commune creates a place for them to escape the pressures of the city, and live in the tranquility of the desert landscape.


021

Left: David Hockney Plan Diagram and Project Aerial Postcard Right: Ruscha Aqueduct Collage Perspective


HARVARD GSD

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Site Plan and Commune Partial Sections


THE BATHS OF CALIGULA

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Ground Floor Plan of the Commune


HARVARD GSD

Interior Filming/Bedroom Collage Perspective


THE BATHS OF CALIGULA

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Exploded model of interior circulaion and exterior envelope


HARVARD GSD

Exterior Pool and Fountain Collage Perspective


THE BATHS OF CALIGULA

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Exploded model of interior circulaion and exterior envelope


HARVARD GSD

Interior Filming/Bedroom Collage Perspective


THE BATHS OF CALIGULA

029

Exploded model of interior circulaion and exterior envelope


READYMADE RUIN

ZURICH, SWITZERLAND ETH ZURICH ADAM CARUSO STUDIO - SPRING 2016

This project lies somewhere between historical artefact and contemporary pop art display. It is in the myth created by the 19th Century cast iron factory structure, left as a skeleton in the middle of this nudist park, that this project really focuses on the juxtaposition between contemporary fabrication proceses and historical influence in assembly and patterning. This patterned structure is made of cast aluminum, and assembled with similar tectonics to its 19th Century predecessor. However, forgoing the exterior masonry structure necessary to counter lateral racking, this bathouse conceals its structural bracing through the use of two solid vertical cores. These cores are patterned with a contemporary floral pattern, remniscent of the floral patterns of William Morris. The pattern is screen-printed to plywood sheets and fabricated such that the sheets can be bookmatched to create the larger pattern. These cores house the sauna and the meditation space. Both of these spaces are the only permanent functions within this space, allowing for use year round. The rest of the structure functions as a lattice for curtains and attached stairs. In this way, the rest of the spaces remain flexible for the beach-goers that will inhabit. The furniture has also been designed, using Auguste Pugin as a reference to create an atmosphere of an early 20th Century bar/ lounge interior. It is a style that is at once familiar to the structure itself, yet contemporary in its proportion and assembly. The curtains define this cafe, as well as the other interstitial spaces. The design of the patterned floor tile is also meant to define the boundary of the bathoue, creating contrast to the surrounding park. Curtains can be moved by the users, and are removed completely in the winter. They create a soft atmosphere of temporality to the otherwise raw coldness of the industrial, patterned, steel structure.


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Left: Model Photos of Bathouse and Cafe Entrance Right: Model Photo Cafe and Bar Interior


HARVARD GSD

Site Plan 1:2

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ummer1:50

Top: Nudist Island Park Site Plan Bottom: Bathouse Elevation


HARVARD GSD

Second Floor Plan 1:50

Ground Floor Plan 1:50


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Section 1:50

Top: Bathouse Section Bottom: Bathouse First and Second Floor Plans


HARVARD GSD

Model Photo of Sauna Interior


READYMADE RUIN

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Top: Model Photo Site Elevation Bottom: Model Photo Cafe and Bar To Exterior


HARVARD GSD

Detail Section Sauna and Structural System


READYMADE RUIN

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Section 1:50

Sections of Bathouse Section 1:50


NOT OVER OLMSTEAD BOSTON, MA HARVARD GSD - CORE II SPRING 2015

As a library, situated in an Olmstead park in the heart of Boston, directly across from the Boston MFA, this matte building works as a canopy of light filtration across the landscape. There is an axial relationship between the openness of the park across from the MFA and the way in which the landscape has been sculpted to create this connection. However, since the Olmstead plan, this relationship has been muddied with new paths and new vegetation. The aim of this building is to create a connection from one side of the park to the other, while remaining entirely open on the level of the park itself. This allows visitors of the park to experience a gradient from Olmstead’s initial plan to new plantings, and arrive at a series of louvers that filter light and open up for trees to be planted in interior courtyards in the library. The stacks for the library are the structural members for the louvers, dropping down to the library below, and acting as a forest of books on the level of the open park. This duality between what is entirely accessible and what is left visible but inaccessible is consistent throughout the library. The ground is carved in a way that allows oblique, continuous movemnt from the park through the library itself, and back out to the other side of the park. While appering to be rectilinear and axial, in no way is this builing approached on axis. Rather, visitors can shift between the filtered canopy park above and the gradient of light below in the public library. Across the river, there is the rare books section. This is surrounded by planter boxes, also acting as structure for the louvers, consisting of exotic plant species, not native to Boston. This allows for the rare books section to disappear, despite having to be closed and relatively monalithic. Overall, this builing is a critique of the current separation of the park, and works to create a gradient and physical connection from the residential side to the MFA.


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HARVARD GSD

Basement Floor Plan of Library


NOT OVER OLMSTEAD

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First Floor Plan of Library


HARVARD GSD


NOT OVER OLMSTEAD

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Model Photos of Various Conditions


HARVARD GSD


NOT OVER OLMSTEAD

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A FRUGAL VILLA BOSTON, MA HARVARD GSD GO HASEGAWA STUDIO - SPRING 2017

The Triple-Decker is a typology common in both Boston and San Francisco. Originally meant as a means of densifying these two cities, giving opportunities for families to affordably own one apartment and rent the other two. These spaces often consisted of an enfilade, connecting a series of rooms, and were divided laterally into three sections of living, dining, and sleeping. They were usually split down the center with a foyer or corridor. Single floor apartments with two means of egress, stairwells at the front and rear. This was an affordable, frugal model for a new American urbanism. Currently, this type of housing demands flexibility, while still remaining affordable, frugal. In this project, the type has been inverted, making the enfilade the only connection for spaces, replacing the central corridor with the vertical circulation between apartments. In doing so, a secondary stair can be stacked in this zone, allowing for all apartments to have their own private stair, providing more flexibility in dividing space, as well as double-height space in each apartment. In this way, it transforms these affordable apartments into the organization of a villa. Each apartment maintains two means of egress, all loaded in this central zone. This transformation and inversion of the type remains true to the original. The enfilade is continued through sliding doors, rather than walls, making all spaces equally accessible, divided into service spaces on one side of the central stair, and living on the other. The symmetrical exterior gives a sense of unity, of equality, the original intent of this affordable housing model. Yet inside, each apartment is unique, using the central stair as a way of creating different entry into each apartment, yet all converging at this common central element. The sectional changes that are afforded by eliminating wasted space enrich and alter the type, allowing for further possiblities of unit subdivision for students and young professionals. It is truly a frugal contemporary urban villa.


049

Left: David Hockney Plan Diagram and Project Aerial Postcard Right: Ruscha Aqueduct Collage Perspective


HARVARD GSD

Site Plan and Commune Partial Sections


A FRUGAL VILLA

051

Ground Floor Plan of the Commune


HARVARD GSD

Exterior Pool and Fountain Collage Perspective


A FRUGAL VILLA

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Exploded model of interior circulaion and exterior envelope


HARVARD GSD

Exterior Pool and Fountain Collage Perspective


A FRUGAL VILLA

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Exploded model of interior circulaion and exterior envelope


HARVARD GSD

Exterior Pool and Fountain Collage Perspective


A FRUGAL VILLA

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Exploded model of interior circulaion and exterior envelope


HARVARD GSD

Interior Filming/Bedroom Collage Perspective


A FRUGAL VILLA

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Exploded model of interior circulaion and exterior envelope


PROFESSIONAL


JML JML DESIGN MIAMI PAVILION 2015 MIAMI, FL HARVARD GSD COMPETITION WINNING COMMISSION PAVILION

BUILT

As students of architecture and future practitioners, this pavilion embodies our ongoing curiosity in how individual ideas relate to the infrastructure of knowledge, and how we situate ourselves within the larger narrative of cultural production. At the core of our proposal is an effort to engage with the collective knowledge of the entire Harvard GSD community. We collected and recreated work from 198 of our peers , faculty, and practitioners. The juxtaposition of contributions from all departments showcases the amount of creative production at the GSD, as well as the iterative nature of the design process. Each digital submission was constructed into a physical model using pink foam. As the most versatile and affordable model-making material, foam was the ideal material language to articulate this multiplicity of ideas. Our team of 5 was in charge of all phases of SD, DD, and CD/CA. Using fabrication facilities at the GSD and offsite, each model was taken from raw 3DM to final painted and mounted physical model by hand, with only a handful by CNC mill. This process was streamlined using consistent templates to fabricate each model’s rough shape, final details, base sizing and orientation, all made to be easily assembled on to the white steel lattice structure that supported the entire constellation. Althought temporary, the Design Miami pavilion participates in a greater story of design. The Unbuilt pavilion captures a moment in this ongoing narrative. Our conceptual approach redefines the unbuilt: not as a remnant of the past, but as a continuous present. We imagined this pavilion to be a living repository, wherein the knowledge in unbuilt designs becomes collected, catalogued, and mapped.


063

Left: Pavilion Diagram and Worm’s Eye Right: Pavilion Photo


HARVARD GSD

N Construction Set Section and Site Plan


DESIGN MIAMI PAVILION

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Construction Set Plans


HARVARD GSD

Construction Set Section and Slab Footing Details


DESIGN MIAMI PAVILION

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Pavilion Photos


HARVARD GSD

Assembly Details


DESIGN MIAMI PAVILION

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Pavilion Canopy


L JML L JML MENIL DRAWING INSTITUTE HOUSTON, TX JOHNSTONMARKLEE 2013-14

ARCHITECTS

The Menil Drawing Institute is a new museum situated in the heart of a museum campus in Houston, TX. This museum for modern art and drawings is the first of its kind, designed to host both the restoration and preservation of drawings from artists. This museum was designed to filter light in different layers as one progresses from an altering series of courtyards, interior exhibition spaces, and interior proctor spaces for handling the drawings. The museum is conceived of as a continuity of the bungalow nature of the site and is meant to blend with the landscape of the museum campus. It uses existing vegetation to inform the placement of the exterior courtyards. These courtyards are continued through a visual continutity between the language of the gabled roof and the paving continuing into the building. This gives the feeling of openness and free flowing space that all works to create a space for gathering, hosting events, and displaying art. As a member of the team, I was responsible for helping with all parts of design development and construction documentation. This included model making, rendering, design iterations, final drawings, final detailing, and final presentation material.


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Floor Plan Key 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

Entry Courtyard Living Room Exhibition East Courtyard Offices Cloister Scholar Courtyard Drawing Room Art Storage Library Technical Study Loading Area Art Storage Mechanical Storage

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Scale 1/8”=1’-0”

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ALL GRADES, LINES & BENCH 2. ALL MARKS GRADES, FORLINES THE NEW & BENCH MARKS F CONSTRUCTION SHALL BE ESTABLISHED CONSTRUCTION AND SHALL MAINTAINED BE ESTABLISHE BY THE CONTRACTOR, WHO SHALL THE CONTRACTOR, BE RESPONSIBLE WHO FOR SHALL THE BE RE SAME. SAME.

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CONTRACTOR'S CHOICE 3. ASCONTRACTOR'S TO THE MEANS CHOICE OF AS TO THE ME CONSTRUCTION, THE SEQUENCE CONSTRUCTION, OF CONSTRUCTION, THE SEQUENCE AND OF C SAFETY PRECAUTIONS INCIDENT SAFETY THERETO, PRECAUTIONS ARE NOT INCIDENT PART THER OF THE ARCHITECT'S RESPONSIBILITY. OF THE ARCHITECT'S RESPONSIBILITY

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NEW CONSTRUCTION DIMENSIONS 4. NEW CONSTRUCTION ARE BASED ON DIMENSIONS ARE DOCUMENTS PROVIDED BYDOCUMENTS CLIENT. THE PROVIDED CONTRACTOR BY CLIENT. TH SHALL VERIFY DRAWING DIMENSIONS SHALL VERIFY AGAINST DRAWING ACTUAL DIMENSIONS SITE A CONDITIONS AND BOUNDARIES CONDITIONS AND SHALL AND NOTIFY BOUNDARIES THE AND SH ARCHITECT OF ANY AREAS ARCHITECT WHICH WOULD OF ANY DIFFER AREAS FROM WHICH THE WOU INTENT OF THE DRAWINGS,INTENT OR THAT OFSHOW THE DRAWINGS, DISCREPANCY OR THAT S BETWEEN SECTIONS OF THE BETWEEN DRAWINGS SECTIONS AND/OROF ACTUAL THE DRAWING SITE CONDITIONS PRIOR TOSITE CONSTRUCTION. CONDITIONS PRIOR IN THETO EVENT CONSTRU OF THE CONTRACTOR'S FAILURE OF THE TO CONTRACTOR'S GIVE SUCH NOTICE, FAILURE HE TO G WILL BE HELD RESPONSIBLE WILL FOR BE THE HELD RESULTS RESPONSIBLE OF COSTFOR THE RECTIFYING THE SAME. RECTIFYING THE SAME.

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AESS STEEL PLATE ASSEMBLY, AESS STEEL PLATE ASSEMBLY, PER STRL. PER STRL.

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A2 A-522

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CONCRETE SLAB PER CONCRETE STRL. SLAB PER STRL.

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SCALE: 3/4" =

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GRAVEL

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CONCRETE ON METAL DECK

CONCRETE METAL DEC


MENIL DRAWING INSTITUTE

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DO NOT SCALE DRAW PRECEDENCE OVER

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ALL GRADES, LINES & CONSTRUCTION SHA THE CONTRACTOR, W SAME.

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CONTRACTOR'S CHO CONSTRUCTION, THE SAFETY PRECAUTION OF THE ARCHITECT'S

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NEW CONSTRUCTION DOCUMENTS PROVID SHALL VERIFY DRAW CONDITIONS AND BO ARCHITECT OF ANY A INTENT OF THE DRAW BETWEEN SECTIONS SITE CONDITIONS PR OF THE CONTRACTO WILL BE HELD RESPO RECTIFYING THE SAM

077 CL STRL.

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METAL ROOFING (07 41 13)

PVC ROOFING MEMBRANE (07 54 19)

ROOFING UNDERLAYMENT (07 41 13) METAL ROOFING PLYWOOD UNDERLAYMENT (07 41 13)

PVC ROOFING COVER STRIP (07 54 19)

ROOF INSULATION, POLYISO (07 41 13)

ROOF INSULATION (07 54 19)

COLD FORMED METAL FRAMING (05 40 00)

VAPOR RETARDER (07 54 19)

BOLT WITH LEAK PROOF WASHER PVC COATED METAL FLASHING (07 54 19)

PVC COATED METAL FLASHING (07 54 19)

STEEL ANGLE, SPACING AS REQ. (05 50 00)

CONTINUOUS CUSTOM STEEL ANGLE (05 12 13) HT SELF ADHERING SHEET FLASHING (07 65 26) FABRICATED STAND-OFF TO SUPPORT ROOF EDGE ASSEMBLY (05 12 00)

SOLID SPACER SHIM TO ALLOW FOR DRAINAGE

HT SELF ADHERING SHEET FLASHING (07 65 26)

HT SELF ADHERING SHEET FLASHING (07 65 26)

FABRICATED STEEL STAND-OFF TO SUPPPORT ROOF EDGE ASSEMBLY (05 12 00)

PVC COATED RETICULATED FOAM FOR BAT SCREENING

MINERAL WOOL BOARD INSULATION (07 21 00)

HSS PER STRL. (05 12 00)

COLD FORMED METAL FRAMING (05 40 00)

C3

SCALE: 6"

=

AESS STEEL CLADDING PANEL WITH HIGH PERFORMANCE STEEL COATING (05 12 13) (09 97 13)

AIR BARRIER (07 27 13)

CONTINUOUS BENT PLATE, PER STRL. (05 12 00)

C5

1'-0"

1'-0"

4 1/2"

1 3/8"

1 3/8" PVC ROOFING MEMBRANE (07 54 19)

PVC ROOFING COVER STRIP (07 54 19) ROOFING UNDERLAYMENT BOARD (07 54 19)

PVC ROOFING COVER STRIP (07 54 19) ROOFING UNDERLAYMENT BOARD (07 54 19) ROOF INSULATION (07 54 19) VAPOR RETARDER (07 54 19)

PVC COATED METAL FLASHING (07 54 19) JOINT SEALANT WITH CONTINUOUS BACKER ROD (07 92 00) 68'-0" T.O. FASCIA BOLT WITH LEAK PROOF WASHER

68'-0" T.O. FASCIA BOLT WITH LEAK PROOF WASHER

3/4"

PVC ROOFING MEMBRANE (07 54 19)

VAPOR RETARDER (07 54 19)

JOINT SEALANT WITH CONTINUOUS BACKER ROD (07 92 00)

JOINT SEALANT WITH CONTINUOUS BACKER ROD (07 92 00) 68'-0" T.O. FASCIA BOLT WITH LEAK PROOF WASHER NAILER (07 54 19)

NAILER (07 54 19)

NAILER (07 54 19)

AESS STEEL CLADDING FASCIA (05 12 13)

METAL ROOFING EDGE FLASHING (07 41 13)

METAL ROOFING EDGE FLASHING (07 41 13)

STEEL ANGLE, SPACING AS REQ. (05 50 00)

HT SELF ADHERING SHEET UNDERLAYMENT (07 65 26) STEEL ANGLE, SPACING AS REQ. (05 50 00)

AESS STEEL CLADDING FASCIA (05 12 13) MULTIPURPOSE TAPE TO SEPARATE PVC ROOFING FROM HT FLASHING MEMBRANE

SOLID SPACER SHIM TO ALLOW FOR DRAINAGE

SOLID SPACER SHIM TO ALLOW FOR DRAINAGE

HT SELF ADHERING SHEET FLASHING (07 65 26)

CONTINUOUS CUSTOM STEEL ANGLE (05 50 00)

CONTINUOUS CUSTOM STEEL ANGLE (05 50 00)

PVC COATED METAL FLASHING (07 54 19)

HT SELF ADHERING SHEET FLASHING (07 65 26)

CONTINUOUS CUSTOM STEEL ANGLE (05 50 00)

PVC COATED RETICULATED FOAM FOR BAT SCREENING

FABRICATED STEEL STAND-OFF TO SUPPORT ROOF EDGE ASSEMBLY (05 12 00)

HT SELF ADHERING SHEET FLASHING (07 65 26) CURTAIN WALL ATTACHMENT BRACKET BEYOND (08 44 23) PVC RETICULATED FOAM FOR BAT SCREENING

STEEL ANGLE, SPACING AS REQ. (05 50 00) MULTIPURPOSE TAPE TO SEPARATE PVC ROOFING FROM HT FLASHING MEMBRANE SOLID SPACER SHIM TO ALLOW FOR DRAINAGE

Z-CLIP, SPACING AS REQ. (05 50 00)

Z-CLIP, SPACING AS REQ. (05 50 00)

CURTAIN WALL MULLION (08 44 23)

STEEL CURTAIN WALL MULLION (08 44 23) 67'-4" B.O. FASCIA EXTRUDED SILICONE SHEET SET IN WEATHER BARRIERSEALANT AT MEMBRANE AND GLAZED INTO OPENING (07 92 00) 67'-2 1/4" B.O. MULLION

AESS STEEL CLADDING PANEL WITH HIGH PERFORMANCE STEEL COATING (05 12 13) (09 97 13)

67'-4" B.O. FASCIA EXTRUDED SILICONE SHEET SET IN WEATHER BARRIER SEALANT AT MEMBRANE AND GLAZED INTO OPENING (07 92 00) 67'-2 1/4"

MINERAL WOOL BOARD INSULATION (07 21 00) BENT STEEL PLATE PER STRL. (05 12 00) COLD FORMED METAL FRAMING (05 40 00)

B.O. MULLION

AIR BARRIER (07 27 13)

STEEL CURTAIN WALL SYSTEM (08 44 23), MINIMO BY FRENER REIFER MINERAL WOOL BOARD INSULATION (07 21 00)

ALTERNATE DETAIL @ WINDOW 03 AND 04

FABRICATED STEEL STAND-OFF TO SUPPORT ROOF EDGE (05 12 00) ANGLE TRIM PIECE (08 44 23) BY CURTAIN WALL MANUF.

INTEGRATED CURTAIN TRACK

INSULATED GLAZING UNIT (08 81 00) BY CURTAIN WALL MANUF.

ROOF EDGE AND CURTAIN WALL @ SCHOLAR COURTYARD MTL ROOF 1'-0"

=

8" 3/4"

ROOF INSULATION (07 54 19)

COLD FORMED METAL FRAMING (05 40 00)

=

SCALE: 6"

GL

8" 4 1/2"

ROOF INSULATION, POLYISO (07 41 13)

SCALE: 6"

ROOF EDGE @ SOUTH OVERHANG

GL

GL

1 3/8" METAL ROOFING (07 41 13)

A1

67'-4" B.O. FASCIA

HSS PER STRL. (05 12 00)

ROOF EDGE @ PVC ROOF AND STEEL CLAD HSS WALL

ROOFING UNDERLAYMENT (07 41 13) METAL ROOFING FRTW PLYWOOD UNDERLAYMENT (07 41 13)

A

FABRICATED STANDOFF TO SUPPORT ROOF EDGE ASSEMBLY (05 12 00) Z-CLIP, SPACING AS REQ. (05 12 13)

AESS STEEL CLADDING PANEL WITH HIGH PERFORMANCE STEEL COATING (05 12 13) (09 97 13)

12" 3/4"

CONTINUOUS CUSTOM STEEL ANGLE (05 50 00)

BENT STEEL PLATE, PER STRL. (05 12 00)

AIR BARRIER (07 23 13)

4 1/2"

MULTIPURPOSE TAPE TO SEPARATE PVC ROOFING FROM HT FLASHING MEMBRANE

AESS STEEL CLADDING PANEL WITH HIGH PERFORMANCE STEEL COATING (05 12 13) (09 97 13)

CONTINUOUS CUSTOM STEEL ANGLE (05 12 13)

MINERAL WOOL BOARD INSULATION (07 21 00)

1'-0"

AESS STEEL CLADDING FASCIA (05 12 13)

SOLID SPACER SHIM TO ALLOW FOR DRAINAGE

HT SELF ADHERING SHEET UNDERLAYMENT (07 65 26)

B

VAPOR RETARDER (07 54 19) NAILER (07 54 19) JOINT SEALANT WITH BACKER ROD (07 92 00) 68'-0" T.O. FASCIA

MULTIPURPOSE TAPE TO SEPERATE PVC ROOFING FROM HT FLASHING MEMBRANE

METAL ROOFING EDGE FLASHING (07 41 13)

CL STRL.

ROOF INSULATION (07 54 19)

STEEL ANGLE, SPACING AS REQ. (05 50 00)

SOLID SPACER SHIM TO ALLOW FOR DRAINAGE

=

PVC ROOFING COVER STRIP (07 54 19) ROOF COVER BOARD (07 54 19)

NAILER (07 54 19)

STEEL ANGLE, SPACING AS REQ. (05 50 00)

SCALE: 6"

PVC ROOFING MEMBRANE (07 54 19)

68'-0" T.O. AESS STEEL BOLT WITH LEAK PROOF WASHER

NAILER (07 54 19)

ROOF EDGE @ SCHOLAR COURTYARD METAL ROOF

1 3/8"

JOINT SEALANT WITH CONTINUOUS BACKER ROD (07 92 00)

68'-0" T.O. AESS STEEL

C1

3/4"

ROOFING UNDERLAYMENT BOARD (07 54 19)

BOLT WITH LEAK PROOF WASHER

D

4 1/2"

1 3/8"

JOINT SEALANT WITH CONTINUOUS BACKER ROD (07 92 00)

C

GL

GL 8"

12"

A3

ROOF EDGE AND CURTAIN WALL @ PVC ROOF SCALE: 6"

=

1'-0"

A5

ROOF EDGE @ PVC ROOF AND STEEL CLAD CMU WALL SCALE: 6"

=

1'-0"


JOHNSTONMARKLEE


MENIL DRAWING INSTITUTE

079

Harvard GSD Portfolio  

Academic and Professional Work

Harvard GSD Portfolio  

Academic and Professional Work

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