UNDERGRADUATE
Design Portfolio
DUY NGUYEN BAO VO
BEAUTY GOES BEYOND THE MEASURE OF AESTHETICS. It encompasses both the physical and emotional contents of a given object. In architecture, beauty is not simply what can be seen or perceived; it is something that provokes the mind, engages the soul and the body. For such beauty to truly exist, the architect must go beyond superficial aesthetics and actively engage users with the built environment they occupy. I believe every building that I create should respect its context, touch its users, and strive toward true beauty. My name is Duy Vo and I aspire to be an architect, an innovator and a leader.
ENVIRONMENTAL ED. CENTER SHOALWATER BAY - OREGON
WAR LETTER MUSEUM PORTLAND - OREGON
OUTDOOR YOUTH CENTER SPRINGFIELD - OREGON
ARCHITECTURE ED. CENTER SAIGON - VIETNAM
STUDY ABROAD SKETCHES TRADITIONAL MEDIA
TECHNICAL DRAWINGS ENCLOSURE DETAILS
DIGITAL PHOTOGRAPHY BEAUTIFUL PLACES
PLACE
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ENVIRONMENTAL EDucation CENTER SHOALWATER BAY - OREGON - U.S.A
Project Description: As we dwell in our concrete jungle, the nostalgia
for the natural environment becomes overwhelming and no longer undeniable. We have rediscovered the desire to explore our close connection to mother Earth. However, to venture into such a seemingly strange and unfamiliar nature is not an easy task but rather requires a thorough understanding of what was once our breeding ground. Shoalwater Bay possesses a diverse ecosystem where many different species of animal inhabit and reproduce. However, due to its remoteness, many fail to recognize its many wonderful attributes. The interpretive center is subdivided into four distinct yet interconnected building pods providing visitors with many opportunities to learn more about Shoalwater Bay’s hydrology, soil, plants and wildlife. Additionally, with a system of screens installed along its congruent path from the main road to the water edge, the building places its visitors in the most active biodiversity area without being disturbing to the surrounding habitat. The residential retreat embodies the full integration of man back into nature. Unlike the interpretive center, it provides visitors with a place in total remoteness. Here, one discovers the unfamiliar reclusiveness that cannot be encountered in the world of skyscrapers and overcrowded streets. The structure is simple with minimal accommodation. Its purpose is to offer shelter to visitors, while its existence is a subtle integration into the landscape.
Hand Media: Pencil, Ink liners, Copic Markers & Hand Model Digital Media: Google sketch-up, Autodesk Revit Architecture, Adobe Photoshop, Adobe InDesign, Adobe Illustrator
OVERALL design approach Once arrived to Shoalwater Bay, one would have no idea that it used to be acres of farm lands before the Reclamation Act took place in 1902. The site itself is the epitome of nature’s true resilience against damages caused by man. I felt that it was necessary to not only reflect the site’s history but also inform visitors on the repressibility of the natural habitat via the design of this environmental education center. The center itself provides its visitors with a series of interstitial spaces allowing them to leisurely observe nature without causing any noticeable disturbances to the surrounding. Screens are introduced as the in-between elements. They not only differentiate the natural realm and the man-made realm but also frame views, shade spaces, and veil the presence of visitors. The experience is sequenced based on the four main attributes of the site: soil, vegetation, hydrology and waterfowl. Visitors are invited to explore Shoalwater Bay from the least biodiversity active to the most biodiversity active, from the rooted to the stilted.
McLoughlin Mountain
Mountain top view
ON WATER VIEW
MARSH EDGE
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Open Sky Visitors arrive to the culmination point of their journey. Before their eyes, it’s the site and its grandeur.
Observe Water Visitors are informed about the mechanism of a marsh without physically setting foot in it.
Tree Line Elevation Visitors are brought out to observe the site’s vegetation, as they emerge from below grade.
Submersion Point Visitors are introduced to the site from below grade as they enter the soil exploratory pod.
Arrival Point Visitors get acquainted with the site in which the environmental education center is located.
A. SOIL exhibition POD The area in which the Environmental Education Center is located has Woodcock Association soils. They are well-drained soils. Woodcock Association soils formed in gravelly colluvium weathered from andesite, basalt, and a small amount of cinders and ash. These soils are used mainly for timber, wildlife habitat, and grazing. They are well suited to production of ponderosa pine. White fir, grand fir, Douglas-fir, and sugar pine also occur in the stand and become more prominent as elevation and precipitation increase. Many dwellings have been built on this unit in Klamath Falls along the south end of Upper Klamath Lake, & on Bly Mountain. The soil itself provides nutrition and habitat for numerous organisms that are unknown to many average people. I want the environmental education center, especially the soil exploratory pod, to be the place where visitors not only get a chance to learn about the Woodcock Association soils but also the many organisms that live below the surface. Once arrived to the center, visitors embark on their visit starting from below grade. As they meander through the underground path which eventually opens up to a grand view of Mountain McLoughlin and the great outdoor, they get to learn, feel and be submerged within the soil.
LIGHTED PATHWAY
After being submerged in the ground, visitors emerged out to a path way filled with ample natural light.
GATEWAY TO NATURE
Visitors are introduced to the great outdoor of Shoalwater Bay at they come out of the underground path.
Submerged activity hub
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Cafe, bookshop are placed underground as to minimalize the physical presence of visitors and reduce noise disturbance to wildlife.
B. VEGETATION EXPLORATORY pod Shoalwater Bay has a notably significant variety of vegetation distributed along its ridge. The marsh is seen with plenty of low to medium size aquatic plants such as water lilies, bulrushes. Whereas mature vegetation occupies mostly along the upward slope. Species such as Ponderosa Pine, White Fir, Douglas Fir, Grand Fir, and Sugar Pine are amongst the most commonly found species in this area. Additionally, due to its thickly vegetated nature, this area provides opportune location for various wildlife species to inhabit and gather food. This particular building pod displays my effort integrating different level of permeability into the built structure. Screens, walls, windows are strategically placed in order to not only engage the visitors in the content displayed within the building but also the beautiful outdoor. A series of screens was carefully studied. Each is capable of doing more than just separating what is inside and what is outside. Openings are created with clear intended purposes. They frame views, camouflage & protect visitors, shade the sun and bring out the true beauty of nature.
A B C D E
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C. HYDROLOGY EXPLORATORY POD As a part of the Upper Klamath Lake, Shoalwater Bay also experiences the high water evaporation rate in the summer. Consequently, the site is often confronted with water shortage issue, which affects greatly the current occupying habitats such as short-nosed suckers (red list), lost river suckers (red list), etc. Moreover, the water from Shoalwater Bay is also drawned out by the nearby farmers to irrigate their crops. Having understood the lack of water present at Shoalwater Bay, I intended to use the insertion of this Environmental Education Center as a means not only to raise the awareness on water issues at the site but also to help capture, treat and release the run-off water back into the lake. This hydrology exhibition pod is envisioned to have its footings over a constructed wetland that imitate the Shoalwater Bay marsh. Here visitors have the opportunity to not only learn about the many hydrological aspects of Shoalwater Bay, but also see the working mechanism of a typical marsh displayed in the wetland.
Upper Klamath Lake is a large, shallow lake with high biological productivity. It features extensive wetlands, numerous shoreline springs and several tributaries. This lake is the largest body of fresh water in Oregon with an approximate surface area of 64,000 acres and a total capacity of more than 650,000 acre-feet. The Sprague River is a tributary to the Williamson river which empties into the Upper Klamath Lake. This lake then empties into the Link River.
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d. WATERFOWL EXPLORATORY POD Upper Klamath/Shoalwater bay is comprised of a variety of habitats including lakes, freshwater marshes, sagebrush and juniper habitats, coniferous forests, and grassy meadows. These habitats altogether support a diverse and abundant concentration of resident and migratory wildlife with over 400 species of birds, mammals, amphibians, reptiles and fishes. The refuge currently offers excellent, year-round wildlife observation opportunities with many newly established loop trails. With that said, the construction of our proposed building presents an opportunity to integrate the existing infrastructure into the educational component of the program. The insertion of this particular waterfowl exhibition pod will provide great opportunities for many birding and educational visitations to be had.A series of screens is introduced along the pathway that leads to the building. The screens veil the physical presence of the visitors while allowing them to observe the water fowls that come down to the marsh. The first floor of this pod houses exhibition spaces along with a multitude of bird viewing areas. The ground floor houses classrooms and provides on-foot access to the more sensitive area of the site,
Blue Heron
WHITE EGRET
GADWALL DUCK
SNOWY EGRET
MALLARD DUCK
OSPREY
BALD EAGLE
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STILTED CONTEMPLATIVE RETREAT The residential retreat embodies the full integration of man back into nature. Unlike the interpretive center, it provides visitors with a place in total remoteness. Here, one discovers the unfamiliar reclusiveness that cannot be encountered in the world of skyscrapers and overcrowded streets. Here, one gets the view of deer leisurely prancing in between tall coniferous trees, while they collect twigs for the indoor fireplace. The retreat itself is modest in size and minimally equipped. As visitors explore the site, they have the choice to enter these retreat pods in order to stay or to observe nature. The structure is stilted and protruded from the edge of mountain slope, providing a grand view of the surrounding site. There are two viewing platforms available in the retreat: the room and the intermediate roof. The idea is to maximally enhance the experience that the visitors have with nature while minimally introducing built elements.
WAR LETTER MUSEUM
PORTLAND - OREGON - U.S.A Project Description: The building will be located on an open site at the ter-
minus of the North Park Blocks. It will be approximately 3540,000 square feet, therefore a multi-story building, with an emphasis on epitomizing good civic design. Besides the actual gallery spaces, the program also allows for a flex theater/presentation hall used specifically for interpretive presentations. The design of the building reflects my efforts increating a place that would represent not only the two fronts of wars but also the physical and psychological separations that divide soldiers and their loved ones. The two fronts are the gallery spaces displaying letters, whereas the separation wall is integrated into the main upward circulation of the building. Considering the fact that this museum is a container of the war letters, or the physical memories of bloodshed and human emotions, I have attempted to integrate the experience of reading these letters into the main circulation throughout the building. With the introduction of the two glass walkways, visitors are given the opportunity to read the letters etched on to the glass as they proceed towards the bridge connecting to the separation wall. These letters are themed according to the front in which the walkway is representing. Here, visitors get to witness the coexistence of the past (letters) and the present (cityscape) Lastly, I’ve attempted to continue the park block progression by creating a memorial garden for the building. I envisioned it to not only be interconnected to the museum but also be complimentary to its existence.
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Hand Media: Pencil, Ink liners, Pastel & Hand Model Digital Media: Google sketch-up, Autodesk Revit Architecture, Adobe Photoshop, Adobe InDesign, Adobe Illustrator
ACTUALIZATION OF SEPARATION This scheme was created last in the process and was the most interesting creation. Unlike the other two schemes, the composition of this scheme consists of a series of interdigitating straight lines emphasizing the three main elements: the wall of separation. the home front, the battlefront. The two tube elements symbolizing the two fronts are supported by arcades created L-shaped elements that pierce through the wall. The concept for this piece was especially strong. It explored and sought for ways to embody not only the physical separation, but also the psychological and emotional separation between the two fronts. This one made it to the final design because I saw the potentials of it having many tightly-knit attention-grabbing spaces that follow an interesting sequence.
PROGRESSIONAL SEQUENCE This perspective taken from the street level shows the progression that one might have entering the building. The museum is enabled to engage its visitors with the presence of an arcade created by a series of black-painted cast iron column. On top of these solid yet impressive structural elements, there resides a walkway covered with glass panels and shading elements. Inside these walkway one can find themselves reading letters etched on to the glass. As they read what was once the evidence of the past, they connect with the present, the moving city.
PORTLAND POST OFFICE
NW HOYT STREET
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ANNOTATED SITE PLAN UP
NW GLISAN STREET
Functional Poche
FEDERAL BUILDING
Delineating lines
Museum Lobby
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Ground floor of the building is divided into three different organizational groups: the service core, the theater, and the museum. The museum part houses a coffee shop, a lobby area and a history orientation room. The service core consists of the bathrooms, loading dock service, and the main staircase. Residing in the back is the theater. This building also has a memorial garden that locates at the front end greeting its visitors as they approach the museum from the South side of the block.
The in-house theater is capable of hosting small-sized theatrical plays and musical performances
Contemporary Exhibition Space houses contemporary interpretation art of warfare and its impact Main Gallery Space with 6 individual display silos, where letters are thematically showcased
Separation Wall with narrow walk way that is integrated into the main circulation of the building. Here the letters are read to visitors as they make their way up to the contemporary exhibition area
GLOWING LETTER SILO
As the visitors make their way up to the first floor they encounter six different silos inside which the letters are thematically displayed. These silos are arranged in such a sporadic manner that visitors can only see one doorway to one silo at a time. Each exhibition silo space actively engages its visitors with its combination of light pattern and letter display from within. The exhibition space, as a whole, is the epitome of war, the representation of warfare and its many impacts on human beings. Copper plated metal is used on the outside surface of the silos creating a destructive corrosive aesthetics of wars. The floor of this main exhibition space is sloped downward giving visitors an impression of descending a hill. By doing so, I intended to further disorient the visitors, making this war experience even more authentic.
SOMBER GLASS WALKWAY
This perspective taken from the glass walkway. Resting atop a series of black painted cast iron columns, this glass walkway is an extension of the main exhibition space. Here visitors have a chance to read the letters etched on to the glass of the walkway. These letters are themed according to the front in which the walkway is representing. As they walk toward to bridge that connects to the separation wall, they see the past (letters) and the present (current cityscape) coexisting. The glass walkway has three sides made of glass giving the visitors the chills walking through it. The idea behind it is to create something conceptually as spine-tingling as war.
SPRINGFIELD SCHOOL DISTRICT SPRINGFIELD LIBRARY adventure golf park
BRING RECYCLING
PLACE
ACADEMY OF ARTS & ACADEMICS
YOUTH OUTDOOR CENTER
SPRINGFIELD - OREGON - U.S.A er e riv enzi Mck
Project Description: The building will be located on a site that is cur-
nzie Mcke
rently occupied by an optometrist office and is close to a stream. It will be 10,000 square feet and will be housing equipment and holding events for four major outdoor activities: bicycling, kayaking, canoeing, and rock climbing. Beside the recreational areas, the program also calls for an indoor rock climbing wall, a fully equipped warehouse and offices for renting out to public The main objective for this particular project is to create a youth center that would socially and aesthetically reinvigorate a fairly historic site located in Springfield Oregon. My inspiration for this project is a tree and my goal is to create a building that would not only be functional but also be able to respond/reflect changes of the context seasonally and socially. The building is composed of 2 highly active facades engaging people to what is happening on both sides of the site: the creek and the street. The idea of layering materials is also incorporated thoroughly through out the project in hopes of creating a canopy-like feel for the building. Throughout the design I intended to emphasize the duality between rootedness and lightness. The ground floor symbolizes the rootedness, whereas the 1st floor represents the lightness with the presence of cantilevering elements.
river
Hand Media: Pencil, Ink liners, Copic Markers Digital Media: Google sketch-up, Autodesk Revit Architecture, Adobe Photoshop, Adobe InDesign, Adobe Illustrator
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2nd floor conference room providing a second rentable venue for community meetings and such
2nd floor classroom provides space for kids to come and learn about their immediate environment
40 feet tall rock wall that anchors the building to the very site in which it is located. The towering height of this area makes it an iconic landmark for this building.
Equipment storage area houses all necessary equipment for all outdoor activities that take place here.
Large conference room provides nice rentable venue for community & groups to hold events.
The site is located at a rather picturesque location with green edges and water way. However, because of tall trees, it does have problems.
Contextually, the site is blocked from the street by a fence of tall trees, making it hard for people to know where it is located
With the trees blocking the view into the site from the street, the site is actually the breeding ground of drug scene, prostitution problems.
The building has a series of sunshades keeping the south side nicely shaded. Second floor juts over the water engaging the landscape.
Creek bank DUALITY Millrace creek has been the breeding ground for drug addicts and prostitutes, making it highly unsafe for anyone to visit and really enjoy the true beauty the site holds. The insertion of this youth outdoor center provides the necessary surveillance that the site desperately needs to improve its reputation in the public’s eye. Besides having provided Millrace creek’s visitors with the desired safety, the building also acts as the gateway leading visitors to explore the site. With its highly dynamic Southern facade, the youth center creates and multiple view ports from which the visitors as well as staff members can observe and admire nature in its natural conditions. Well-shaded and cantilevered volumes allow for views at tree-line level, whereas the patio engages visitors in exploring the site with its openness. Staff members are provided with operable windows with views out to the creek itself.
2nd floor conference room shifted to a different angle provides a different view to the surrounding site.
2nd floor classroom cantilevered over the river bank projects its physical presence into nature
Outdoor patio provides visitors with a space to observe nature while being projected into nature.
DIST R
TIC 1 -
WARD H N A H T BEN
INDEPENDENCE PALACE
SAIGON
PLACE
ARCHITECTURE ED. CENTER U ST REE T
SAIGON - VIETNAM
NGU
YEN D
Project Description: The building will be located on an open site that
laos consulate
PROPOSED SITE NAM
KY K
bach tung diep park
HOI
NGH
IA S TRE E
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is kitty-corner to the Independence Palace. It will be approximately 35-40,000 square feet, therefore a multi-story building, with an emphasis on epitomizing good civic design. Besides the actual library and archive space, the program also calls for a small cafe, a lecture hall as well as resident unit for visiting scholars. The program also allows for an ample amount of outdoor space. The main objective for this particular project is to create an architectural education and research center that would socially and aesthetically reinvigorate a fairly historic site located in district 1, Saigon Vietnam. This project experiments with the relationship between the straight edges and the curves. The straight edges symbolize the already existing conditions of Vietnamese culture, whereas the curves symbolize the optimistic vision of what Vietnamese architecture can become. The form is derived from the idea of the curves peeling away from the straight edges as a way of suggesting futuristic design approach with preservation of tradition. Additionally, I envisioned the building to act as an iconic landmark of its context . Its presence is a means to draw attention not only to itself but to the historical site in which it is located.
Hand Media: Pencil, Ink liners, Copic Markers, Hand Modeling Digital Media: Google sketch-up, Adobe Photoshop, Adobe InDesign, Adobe Illustrator
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1ST FLOOR PLAN
The 1st floor plan of the building houses six smaller pods assigned with specific tasks: administration, lecture hall, cafe, residence and faculty facilities. Because Nguyen Du street is a rather active street with heavy traffic flow and many other small shops and restaurants, it makes the most sense to me have the cafe on that side with hopes to appropriately respond to that context. Ly Tu Trong street is a much quieter street with less heavy traffic flow and more official buildings, hence having the administrative pod resonates with its surrounding. The residence pod is set further back on the side, away from the public so that it provides the occupant with great privacy and lack of disturbances. The lecture hall is also pushed back from the streets, yet close to the heart of the outdoor space
LANDSCAPE PLAN
For this particular project, because I wanted to focus not only on the building itself but also its outdoor space, I dedicated some time to come up with a landscape plan for the building. The idea behind the plan is to literally create the rippling effect of raindrops hitting the water surface. Because Vietnam has a tremendous amount of rainwater annually, I felt that it was appropriate to have that resonate back in the patterns used for the outdoor space. There are 6 different small pools that create different focal points for triangulation to happen within the space. The main material used for the outdoor is permeable pavers that catch run off water from the site. There are trees planted strategically to frame areas specific to the pods.
Central courtyard “Organic buildings are the strength and lightness of the spiders’ spinning, buildings qualified by light, bred by native character to environment, married to the ground.� -Frank Lloyd Wright The streets play an important role in Vietnamese culture, as they not only provide commuting thruways but also are utilized to hold markets and other local ceremonial events. Having understood the importance of the streets in Vietnamese culture, I created a center courtyard for this particular building in order to emulate the street-oriented interaction from within the premise of the building. All small building pods open up to the courtyard, offering visitors an opportunity to immediately connect back to the outdoor. Additionally, having the courtyard here would enhance with cross ventilation, necessary for cooling in the building.
Water channel that gathers the water shedding off from the curved roof of the building pods
Small classrooms decorated with traditional colonial Vietnamese ornamentation patterns.
Central Courtyard provides an interactive space in between small building pods of the building.
Large auditorium classroom that features a curved bamboo wall and ample amount of space
STUDY ABROAD SKETCHES TRADITIONAL MEDIA
Project Description: This is a collection of my work, learning experiences
abroad, and especially my observations of the cities that I was blessed to visit. This section highlights both the town form studies as well as the material studies done in both Italy and Switzerland under the supervision of both Professor Corner and Professor Young. Italian cities, though densely populated, offer ample amount of outdoor spaces for their urbanites to socialize and interact with one another. The outdoor spaces, namely piazze, are often located at the heart of the cities providing its populates and visitors a necessary landmark in way finding, and fantastic interaction hub. The town form study visually provides insights into the design of 2 piazze: piazza Santa Spirito (Rome) and Piazza Santa della Croce (Florence). The practice of architecture in an Italian city is a very restricted art. In a country so proud of its historical heritage the guidelines for building provide a narrow box in which creativity must flourish. With a few exceptions - such as Richard Meier’s Ara Pacis being built around a ruin - most architects must work within the renaissance, medieval and sometimes ancient fabric. The majority of contemporary architecture in the cores of major cities are therefore interior renovations rather than completely new buildings. Tadao Ando and Carlo Scarpa have two very different but striking examples of a modern intervention in older fabric. The material study below visually highlights some of fundamental differences between the Punta della Dogana (Tadao Ando) and the Castel Vecchio (Carlo Scarpa)
Hand Media: Pencil, Ink liners, Water color, Japanese Ink
Santa Croce Piazza FLORENCE Santa Croce Piazza is one of the most contained piazze that I have experienced. The buildings bounded the piazza are 5 story tall creating a significant containment of a public space where market takes place. This piazza isn’t visually noticeable because of the lack of iconic markers, but it has a closely stitched relationship between the void and the solid.
Santa SPIRITO ROME Santa Spirito piazza is one of a few piazze in all of the Italian cities I have visited that has trees. Unlike other piazza, Santa Spirito is not an intended empty lot but rather has trees, fountains providing a variety of smaller congregating spaces. There are two kinds of movement that happen within this piazza: edge movement and triggering movement. Edge movement describes the flow of traffic going around and away from the piazza, whereas triggering movement stands for the flow of people moving into and lingering around the piazza.
CASTEL VECCHIO - VERONA
Punta della dogana - venice
Structure detail Punta della dogana - venice (Left) A diagrammatic sketch showing the structure that spans a large exhibition space in the Punta della Dogana. The structure is composed of 5 smaller elements: triangular wood truss, brick walls, concrete wall, wood beams and brick columns. Unlike the other 4 elements, the wood beams are sophisticated and complex in their own composure. There are many smaller pieces help creating one seemingly large and heavy beam. The color tone of this structure is not screaming for attention but divert the attention to the exhibition space, which is very much what is left of the old structure.
STAIRCASE DETAIL CASTEL VECCHIO - VERONA (Left) A diagrammatic sketch showing the staircase newly inserted into the old castle Castel Vecchio by Carlo Scarpa. The stair itself is fully made of steel contrasting with the brittle bricks that compose the building. Every component os the stair is skinny and fragile in profile, yet together they are one solid entity. Similarly to every other addition to the old castle, the stair is painted black showing Scarpa’s intent of not competing for attention with the old but rather complimenting
SEALANT & BACKER ROD 0.5 INCH MORTAR BRICK TIE STANDARD BRICK 1.5 INCH AIRSPACE 6 inch steel stud concrete slab composite metal decking FIBERGLASS INSULATION FLASHING RIGID INSULATION HORIZONTAL LOUVERS FLASHING lintel DOUBLE PANE clerestory
TREATED WOOD SHIM METAL FLASHING METAL BASE FLASHING coNTINOUS FLASHING MEMBRANE (over the parapet lapped & sealed to the roof membrane)
3 INCH ROOF INSULATION PEBBLES AND GRAVEL vegetative module
TECHNICAL DRAWINGS ENCLOSURE DETAILS
(Left) Extensive Green Roof with Parapet (Right) Timber Roof Eave
4 in. RIGID INSULATION BLOCKING LAG BOLT STANDING METAL SEAM SPACER weather resistant barrier Flashing 4 IN. WIDE GUTTER 3 IN. T&G DECKING 15 IN. gLULAM RAFTER (DOUBLE) 3 X 12 FASCIA BOARD
FRIEZE BLOCK FIBER GLASS BATT INSULATION 1/2 in. sheathing BLUE SKIN VAPOR BARRIER Flashing CASEMENT WINDOW CASING
GYPSUM BOARD AIR BARRIER 2X6 HEADER CASEMENT WINDOW SILL CASEMENT WINDOW SASH
DIGITAL PHOTOGRAPHY BEAUTIFUL PLACES
Photography provides me with the necessary means to not only capture beautiful views but also to see the world differently. Photography strives where language fails to adequately describe the beautiful, complex and thought-provoking environment that surrounds us. This section of the portfolio showcases some of the places/things/people that I have had the opportunity to encounter during my many adventures.
Camera: Canon Rebel Xsi & Nikon D5100
“Landscape is a piece that is emotional and psychological.” Jim Hodges
“Architecture is the will of an epoch translated into space.� Mies van der Rohe
THANK YOU.