Jeff Swiontkowski Portfolio of Graduate Work

Objective:

between reporting and solving. I wanted WORK whenever possible. This helps me So certain details may not properly to solve. to unearth the narrative of the site —to display on your screen. This paragraph, I first came to architecture after a find, and contribute to, its story. for example, has been placed in this brief foray in the world of journalism. Four years and two degrees later, I have location so it shows through the During my time in that industry I not forgotten where I came from. I bring A brief note: dotted line cut-outs on the cover. So noticed one key, recurring element. a journalistic approach to research All of our problems in this world are and fact gathering. I look for the This portfolio was designed in keep that in mind while viewing. Lastly, design problems. Everything from the stories embedded in our architecture, as chronological order from the fall of all renderings, images and diagrams environment to social injustice can those are often much more powerful 2013 to the fall of 2014. This is intended were created by myself unless noted trace its roots back to architecture, than charts and graphs. I often conduct to show my progression as a young otherwise in the lower left corner and It was with that in mind that personal interviews when researching designer. This portfolio was also of the image. That said, thank you for taking the time to look at my portfolio. designed for print display only, I quickly recognized the difference a location, and I also write about my Enjoy.

Education: University of Kansas - Lawrence

(2013-Present)

Degree in progress: Masters of Architecture

University of Minnesota - Twin Cities

(2009-2013)

Degrees earned: Journalism BA & Architecture BDA (Bachelors of Design and Architecture)

Employment: Graduate Teaching Assistant Under Prof. Nils Gore

(Jan 2015-PRESENT)

•• Helping establish goals and grading methods for the studio •• Assisting in community engagement and lending a journalists perspective •• Working with students to understand and consider various methods of fabrication

Architectural intern at Manica Architecture

(Jan. 2015-Present)

•• Assisting with conceptual design •• Helping with marketing graphics and renderings

ARCHITECTURAL INTERN at Kaas/Wilson Architects

Summer 2014 & Winter Break 2014/15

•• Assisting in construction document generation (redlines, Details, etc.)

•• Handling marketing and presentation graphics •• Helping with product specification

Jeff Swiontkowski Portfolio of Graduate Work Digital Fabrication Assistant for KU School of Arch, Design and Planning

(Oct. 2013-Present)

•• Operating the school’s 3D printers, laser cutters and CNC router •• Helping students to determine the correct software and physical tools to produce their desired work

Technical Skills: Revit, Rhino, Grasshopper, AutoCAD, Autodesk Showcase, Adobe CS6, Sketchup, Kerkythea, Lumion, Solidworks, Film and Photography Editing, Final Cut Pro, Graphic Design and Certified Proficiency in German Swiontkowski

1

Objective:

between reporting and solving. I wanted WORK whenever possible. This helps me So certain details may not properly to solve. to unearth the narrative of the site —to display on your screen. This paragraph, I first came to architecture after a find, and contribute to, its story. for example, has been placed in this brief foray in the world of journalism. Four years and two degrees later, I have location so it shows through the During my time in that industry I not forgotten where I came from. I bring A brief note: dotted line cut-outs on the cover. So noticed one key, recurring element. a journalistic approach to research All of our problems in this world are and fact gathering. I look for the This portfolio was designed in keep that in mind while viewing. Lastly, design problems. Everything from the stories embedded in our architecture, as chronological order from the fall of all renderings, images and diagrams environment to social injustice can those are often much more powerful 2013 to the fall of 2014. This is intended were created by myself unless noted trace its roots back to architecture, than charts and graphs. I often conduct to show my progression as a young otherwise in the lower left corner and It was with that in mind that personal interviews when researching designer. This portfolio was also of the image. That said, thank you for taking the time to look at my portfolio. designed for print display only, I quickly recognized the difference a location, and I also write about my Enjoy.

Education: University of Kansas - Lawrence

(2013-Present)

Degree in progress: Masters of Architecture

University of Minnesota - Twin Cities

(2009-2013)

Degrees earned: Journalism BA & Architecture BDA (Bachelors of Design and Architecture)

Employment: Graduate Teaching Assistant Under Prof. Nils Gore

(Jan 2015-PRESENT)

•• Helping establish goals and grading methods for the studio •• Assisting in community engagement and lending a journalists perspective •• Working with students to understand and consider various methods of fabrication

Architectural intern at Manica Architecture

(Jan. 2015-Present)

•• Assisting with conceptual design •• Helping with marketing graphics and renderings

ARCHITECTURAL INTERN at Kaas/Wilson Architects

Summer 2014 & Winter Break 2014/15

•• Assisting in construction document generation (redlines, Details, etc.)

•• Handling marketing and presentation graphics •• Helping with product specification

Digital Fabrication Assistant for KU School of Arch, Design and Planning

(Oct. 2013-Present)

•• Operating the school’s 3D printers, laser cutters and CNC router •• Helping students to determine the correct software and physical tools to produce their desired work

Technical Skills: Revit, Rhino, Grasshopper, AutoCAD, Autodesk Showcase, Adobe CS6, Sketchup, Kerkythea, Lumion, Solidworks, Film and Photography Editing, Final Cut Pro, Graphic Design and Certified Proficiency in German

Core to shore Master Plan Rewrite Instructor: aLEX oGATA fALL 2013 In 2007 Oklahoma City released a broad scope urban planning guide called the Core to Shore Framework Master Plan. As its title suggests, Core to Shore was designed to link the city center with the Oklahoma River which runs about 1.5 miles to the South. The key components of the plan were: • Large parks along a “pedestrian spine” lined with high/medium density housing • A “world-class” boulevard on the Southern edge of the city center • A new convention center • Walkable design with amenities nearby • Pedestrian friendly transit options • Mixed-use development throughout

Over the first half of the semester, this studio focused the various aspects of this plan and others like it.

We looked for ways in which this plan could be improved or altered to better address the needs of Oklahoma City. We then took our findings and used them to develop a proposal for the city’s new convention center.

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Students began by researching the Core to Shore Plan from cover to cover. From there, students looked at case studies and spoke with locals.

Lastly, after visiting the site, each group began to make their conclusions about how to better the Core to Shore Plan. My group, which consisted of Devan Shihata, Pat Begley, Clara Guimard, and myself, saw the existing framework as problematic at best.

The New York-style central park was too large. The housing developments were too spread out, and the city didn’t have the population or resources to support these spaces.

Lastly, one of the key components of the plan, pedestrian friendly transit, was practically non-existent.

To remedy this we proposed a series of smaller, more manageable spaces (red circles). Arranged along a pedestrian corridor (yellow), each space would be relative to a neighborhood. The neighborhoods would have their own amenities, a diversity of housing options, and each would be linked by one of two light-rail transit lines (blue). The intersection of these two lines then becomes the new heart of the city –located right at the doorstep of our site.

Devon Tower

Myriad Gardens

Cox Convention Center

Chesapeake Energy Arena

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Oklahoma City Convention Center Instructor: aLEX oGATA fALL 2013 As mentioned earlier, a new, state-of-the-art convention center was part of the original Core to Shore Plan that was released by Oklahoma City in 2008. The first half of the studio was a critique of the master plan.

Now we had to develop a proposal for this one element.

My group of Devan Shihata, Pat Begley, Clara Guimard, and myself, chose to continue to work within our previous proposal which involved a series of “pocket parks” arranged along a pedestrian spine. The spine ran North/South with support from two light rail lines. The intersection of the two lines at the Southwest corner of the site then became a guiding element of our design.

Rendering by: Pat Begley

Beyond our own inferences, the project had to meet strict square footage requirements. The project also had to maintain the pedestrian spine, provide a “hearth” for the city, provide space for an additional hotel proposal, a functioning loading dock and service corridors that did not intersect with public spaces.

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First, we looked to emphasize the intersection of the two light rail lines by rotating the overall structure. This opened up space for a public plaza in front and a loading dock in back.

What was later dubbed “Four-Corners Plaza” can be seen on the previous spread.

The hearth, situated at the intersection of the site and the pedestrian spine, acts as the gateway to the structure. Accessible from all levels it serves as a gathering space for guests and the public. As one moves through it, they notice that the exhibition hall, meeting rooms and ballroom each have their own levels.

Once separated, each level can operate independently, thus increasing event turnover. Each level also has a corresponding hierarchy of spatial qualities and materials that become more refined as you move upward. Each level connects back to the hearth, and each level also has access to its own green space.

The exhibition hall is on the first level. We saw this as the most highly functional option because of the direct access to the loading docks.

This level is also the location of the “Four Corners Plaza” where both the public and guests can congregate.

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The second level is highlighted by the sky bridge that continues the pedestrian spine from the Core to Shore Plan North to Myriad Gardens.

This is also the meeting room level.

Exhibition guests have direct access to two open roof terraces, there is a private one to the West and a public one to the East that is lined with restaurants, shops and an art gallery to activate the space.

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Rendering by: Pat Begley

The third level is the most refined.

A private terrace looks to the north towards Devon Tower while guests can also view out over the second level roof terrace and down into the hearth space. This is all a result of giving each programmatic requirement its own level which can be seen at the bottom left.

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Rendering by: Pat Begley

Haskell University Cultural Center Instructor: Marie-Alice L’Hereux Spring 2014 Haskell Indian Nations University began in 1884 as a boarding school for Native American children. Located in Lawrence, KS, its storied past has made it the subject of an ongoing debate in the Native American community. On the one hand, it is a historical landmark and a pillar of modern tribal-based education, on the other hand it is a symbol of oppression, a brick and mortar reminder of nearly a century of “re-education”. So what would a Haskell cultural center represent? How would it address this tumultuous past? And how would it relate to the community at large?

These are all questions I looked to answer with my proposal. To start, I wanted to openly address the university’s past. I did this by making both physical and metaphorical connections to representative objects on the campus. I drew one line to Hiawatha Hall, the oldest building on campus and a symbol of early oppression. I drew another line to the on-campus graveyard –an obvious symbol of death. Next, I chose to intersect these lines in a central courtyard, a square, the modern, man-made equivalent of the circle and a recurring element in all Native American cultures.

3

2 1

3

2

3

2 1

3

2 1

3

2 1

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The circle represents both the passage of time and the unity of the tribe, and it is around this square that I chose to orient all of my galleries. Utilizing my connections to the graveyard and Hiawatha as circulation, I divided my galleries into three parts. The pre-contact gallery is on the entry level to the East of the courtyard. Glazing on both sides provides a connection to both the “tribal square” courtyard and the reclaimed, natural landscape to the East –thus metaphorically connecting it to Native American life before contact with Europeans.

A

DN

Open to Below

UP

DN

DN

1

Open to Below

Open to Below

UP

Gallery 4316 SF UP

B

UP

UP

DN

Bookstore 1621 SF

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The moment of contact, symbolized by a sharp left turn downward toward Hiawatha Hall, is emblematic of Native Americans struggle to remain independent and their eventual submission to Western form. This downward struggle leads the visitor below the “tribal square� into a dark contemplative space. Here there is no direction, the visitor must meander until they find their way up and out.

UP

Lightwell Above

Purchase Gallery 2652 SF

UP

1

UP

Mechanical 2933 SF

Educational Archive

Lightwell Above

1617 SF

Gallery 9819 SF

Permanent Storage UP

3122 SF

Prep Area

Preservation Studio

1530 SF

1477 SF

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The rebirth of Native American culture is symbolized by the journey one must take up and out of the contact period gallery. The dark, condensed space leads the visitor up to a second story gallery. Flooded with light and lined with contemporary Native American art, this gallery not only symbolizes the rebirth and rediscovery of Native American culture –it functions to this end as well.

DN

Open to Below

Gallery 4390 SF

Open to Below

Open to Below

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Amelia Earhart Museum Expansion Instructor: Roberto Castillo Summer 2014 The existing Amelia Earhart Birthplace museum is located on a bluff above the Missouri River in Atchison, KS. Built in 1861, the Gothic revival style house has been home to several families, but it has remained relatively unchanged since its addition to the National Register of Historic Places in 1971. It has functioned as a museum since 1984, and remains an integral part of a historically significant neighborhood that was added to the National Register of Historic Places in 2002.

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Located directly across the street from the existing museum, the site of our new addition would prove to be both topographically and contextually challenging. From the beginning, it was deemed extremely important to not disrupt the neighbors’ views of the river. It was also important to develop some form of dialogue between the old museum and the new addition.

The project was programmatically challenging as well. The main purpose of the addition was to house two replicas of Earhart’s more famous planes: the 41’ x 27’-6” Lockheed Vega in which she made her record-breaking trans-Atlantic flight, and the 55’ x 38’-7” Lockheed Electra 10E in which she so famously disappeared in 1937. Beyond that, we also had to provide additional exhibition space, a projection room, restrooms, a reception desk, a mechanical room and parking.

Connecting to Birthplace and the Earhart Bridge

Two Hangars

Public Space that opens to the neighborhood

The Fly-by as a Salute

Sinking one hangar to preserve views of the river

Parking and Handicap Access

Level -1 Space Syntax

Level -2 Space Syntax Swiontkowski

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1

All together this program is fairly typical of aviation museums –but this is not a typical aviation museum. First, it’s an expansion. Most of the artifacts that are currently on display are deeply connected to the birthplace museum. Also, due to the circumstances of Earhart’s disappearance, there is decidedly less potential for expansion than there would be in other museums. Thus, most of the new “artifacts” on display are fan-generated –the majority of which are for sale. So to accommodate this I looked to transform some of what would be exhibition space into a retail area on the main level.

A704

DN

Observation Platform DN

28 1915 SF

Entry Pavilion 26 651 SF

DN 4 A704 DN

2 A704

3 A704

Level 0: Existing Birthplace Museum, Parking & Main Entry

UP

Gift Shop

Storage

DN

22

16 354 SF

136 SF

Vega Gallery 18 1869 SF UP

Storage

Storage

15

Reception

21

137 SF

19

81 SF

UP

49 SF

W/C Projection Room 13

Display UP

W/C

6

7

242 SF

241 SF

WATER

468 SF

17 45 SF

Kitchen

Storage

25

23

447 SF

62 SF

DN

Mechanical 14

UP

408 SF UP

Observation Platform 27 4323 SF

Electra Gallery 10 4403 SF

Level -1:

Level -2:

Courtyard, Vega Gallery, Admin, Gift Shop & Electra Gallery Observation Deck

Exhibition Hall, Restrooms, Kitchen, Electra Gallery & Seasonal Patio Dining Area Swiontkowski

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My second alteration to the program was more economically motivated. I had a theory that a museum in the town the size of Atchison simply lacked the population capital to stay afloat on daily attendance alone.

So, after doing some research, I uncovered that many museums of this size generate just as much of their income, if not more, from hosting events than they do from daily attendance. This makes even more sense when you consider Atchison’s proximity to major markets like Kansas City, Lawrence, Topeka and St. Joseph. I looked to capitalize on this potential revenue by providing two separate venues for events, and to support these spaces I added a kitchen and a small restaurant with a bar.

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Lawrence Warehouse Arts District

This studio worked in conjunction with a local developer to craft a series of additions to the district. The overall plan was divided into three sites. Each site had to be conscious of the surrounding urban context whilst meeting very specific programmatic goals. In addition to this, students, typically in groups of two or three, were only given a week or so to complete a proposal for each site. This rapid-prototyping method produced a wide variety of results – some of them more successful than others, but perhaps more importantly, this style of work bears a close resemblance to this process as it exists in the real world.

9th St.

University of Kansas

Massachusetts St.

Located just East of downtown Lawrence, the Warehouse Arts District boasts a wealth of historic and creative capital. Once home to a major rail hub, the district has since become a hot spot for young artists and entrepreneurs. Many of its historic buildings have been redeveloped into market-rate apartments and artists lofts while others require more drastic repairs or demolition.

Massachusetts St. Retail Area

Instructor: Josh Shelton Fall 2014

C

A B

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Warehouse Site A Instructor: Josh Shelton Fall 2014 Site A had the largest program of the three sites. Situated in a highly transitional area between residential to the West and industrial buildings to the East, this site had to be a porous boundary to the Warehouse Arts District without cutting off the neighborhood that sustains it. Beyond this students had to accommodate: • (36) Condos

• 2 bed / 2 bath each • +/- 1400 square feet each (including private outdoor space) • 2 off-street covered parking spaces

• (4) Penthouse Suites

• 3 bed / 2 bath each • +/- 2800 square feet each (including private outdoor space) • 2 off-street covered parking spaces

• Amenity Space for Residences • +/- 6,000 interior square feet • Shared outdoor courtyard

• Commercial

• +/- 27,000 square feet

• Additional Parking

• 33 on-street public parking spaces • 85 off-street public parking spaces

Residential Proximity to Arts District

Pedestrian Thoroughfares

Expanding to Vacant lots

Respecting the Neighbors

Parking Strategies

Major Street Frontages

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The Northern-most building has been pushed in at its center so as not to overshadow the neighbors.

The void created by this move is where we chose to locate our other method of parking –though this one is punctuated by a hefty portion of green space.

Rendering by: Ashley meadows

My group of Ashley Meadows, Linda Alouane, and myself elected to locate the majority of our parking at or above grade in the South building.

This was much more cost effective and, in the end, it proved to be a pivotal design feature. We wrapped our garage with residential and office space on three sides. This reduced the unsightly “parking garage aesthetic” and also provided our residents with a private green space and parking adjacent to their units.

The end result is a cost-effective, highly functional mixed-use proposal that, with further development, has real potential to work within this community.

Rendering by: Ashley meadows

Surrounding this void, the entire North building has retail at grade with all the residential units stacked above. The breaks in the building correspond with existing pedestrian pathways and this is also where we chose to locate our vertical circulation for ease of access.

Swiontkowski 39

Rendering by: Ashley meadows

Rendering by: Ashley meadows

Site B Instructor: Josh Shelton Fall 2014 Site B is complicated for much more different reasons than Site A. For starters, there is a large pedestrian thoroughfare to the Northwest with a proposed restaurant on the corner. To the South there is the 9th Street corridor, a major entry point to the district. Directly to the East is a major gallery and creative space for artists, and to the North is a massive surface lot that was deemed off limits. On top of all this, students had to fit in a program as follows: • (1) Mixed Use Retail Space

• +/- 1000 Square Foot retail space with 3 on-street parking spaces • +/- 1800 Square Foot 3 Bed / 2 Bath rental with 2 off-street covered parking spaces

• (1) Mixed Use Gallery Space

• +/- 800 Square Foot gallery with 3 on-street parking spaces • +/- 1200 Square Foot 2 Bed / 2 Bath rental with 2 off-street covered parking spaces

• (12) Live / Work Units

• (10) 1 Bed / 1 Bath each • (2) 2 Bed / 1.5 Bath each • +/- 1100-1500 Square Feet each • 2 off-street covered parking spaces each

Pedestrian Thoroughfares

North-South Pedestrian Pathways

Directing Traffic to Arts District Core

Two Courtyards - Two Programs

Major Street Frontages

Linking Galleries and Pedestrian Areas

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From the start, my group of Tyler Eighmy, Chris Meier, and myself looked to maintain a clear pedestrian pathway to the heart of the Warehouse Arts District –informally located at the intersection of Delaware and 9th Street. To do this we divided the live/work units into two buildings. The North building has all of its residential units stacked on top of the work/sell spaces at grade.

The South Building is capped by a gallery on its Northern-most end near the courtyard. The main body of the building has work spaces on the alley side and retail spaces for artists lining the “pedestrian spine” that runs North/South down the middle of the site. The overall “L” shape of the building gives it a strong presence along the 9th Street corridor while still providing two large courtyard spaces that can be programmed for a variety of uses.

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Site C Instructor: Josh Shelton Fall 2014 The program for Site C was to provide a trail amenity for the proposed Borroughs Creek Rail Trail expansion.

Still in the revision process with the City of Lawrence, the trail will eventually run North along the railroad before cutting across the river to link up with other trail systems. Students were encouraged to develop a program that would not only aide in the development of the community, but the trail system as a whole.

My partner Drew Jablonski and I began by taking a very close look at the “cycling culture” in Lawrence. We talked with local cyclists and bicycle shop owners and the resounding feedback had two key points. First, the trail expansion was absolutely necessary, and second, the trail needed more amenities. With that in mind, we began looking for case studies. We wanted more than architecturally inspired bathrooms or “ride-share” booths. We eventually decided on a brew house based on several highly successful case studies in Portland, Raleigh and Amsterdam.

The brew house would be housed in a new building along Delaware Street. The size of the building is based on a similarly sized brew house in New York City. We managed

Preserve existing tracks & Quonset hut

Provide expansion areas for the trail

food truck parning and event space

Pedestrian Access

the beer garden as a focal point

Providing green space for the neighbors

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To the South of the brew house is a stacked bicycle storage facility. Coupled with outdoor-access restrooms, this is where local residents can store their bicycles. The restrooms provide an amenity to both the nearby trail and to the adjacent beer garden.

The quonset hut was a pre-existing structure that we opted to keep and use as a small restaurant, bar and venue. The aesthetic brought on by the hut is on-par with the history of the district and the railroad. This also works well within the targeted demographics a project of this nature would be pursuing.

Rendering by: Drew Jablonski

to locate the plans to this facility and were able to program out every detail of the brewing process –right down to the number of employees.

Rendering by: Drew Jablonski

The beer garden links the quonset hut to the brewery. It’s central position, coupled with food truck parking and a stage immediately to the South, makes it a seasonal attraction for local residents and trail-goers alike.

Swiontkowski 47

Rendering by: Drew Jablonski

Horton Culinary Education Campus Instructor: Todd Achelpohl Spring 2015 An hour north of Kansas City, Horton, KS is emblematic of most small Midwestern towns experiencing problems. A population of 20,000 has dwindled to roughly 1,700. Most large employers have left. Infrastructure has become strained, and the local government is out of ideas.

This is what we walked into when we first met with city officials, but during the meeting we were able to uncover a few more ideas they hadn’t yet considered. One such idea was culinary tourism –the idea that a culinary education center, a learning farm, or a star chef’s restaurant would be able to draw people, and money, into the town. Our studio was going to take all three of these ideas, hypothetically pair them with culinary programs in Kansas City, and take advantage of the two key resources Horton had left, open land and a camping community around Lake Mission.

My group of Devan Shihata and myself chose the lake site. A lodge/ hotel that would be home to the star restaurant. The site was loaded with potential, and we immediately began looking for ways to transfer that success into downtown Horton.

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Horton Reservoir Hotel and Lodge Instructor: Todd Achelpohl Spring 2015 The end-result of our extensive site study was decidedly un-lodgelike. Throughout this process we noticed that other groups were taking the idea of a hotel/lodge rather literally. There was a lot of heavy timber construction, large gables and Adirondack chairs. We did not want to do that. We wanted to produce something native to Kansas and, more importantly, native to Horton.

These challenges were made much more real when we were told our program. Beyond the star restaurant, we were building a fully functional hotel complete with a reception area, lounge, 12 attached guest suites, 11 detached guest lodges, a 4,500 sf meeting room, and all the necessary service and support spaces.

These would all have to be incorporated into our design and, this being a comprehensive studio, we also had added tasks throughout the semester. We had to plan for utilities, expansion, alternate uses, fire, and structural concerns. And once we had met with all of these consultants we would have to draft full wall details that would cover each of these aspects.

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Beginning with the site, I must say that this was the most loaded site I had dealt with at this point in my education. The large earthen dam, the dam that created Mission Lake in the 20s, borders the site to the North.

On the West and Southeast edges of the lake is a very successful camping community. Oddly enough, the dam actually acts as a wedge keeping the two communities separated.

To the South of the site is the original catchment pond that Mission Lake was created to replace. East is a large forest and West is agricultural land. The entire site is a lush grassland and we looked to preserve it as much as possible.

To do this, we chose to locate our structure directly behind the dam.

This allowed us to preserve the boat launch and other existing amenities while still connecting both sides of the camping community and providing a meeting space. This also provided some very interesting architectural opportunities which I will address on the following spread.

Preserving the Existing Prairie

Connecting Campers Across the Site

Abstracting the Idea of the Spillway

Preserving Existing Amenities

Adding New Amenities

Access to Site

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The addition of this structure to the Horton reservoir created many dynamic conditions within this project. Material wise, we could create an extension of the dam by having a dense, industrial concrete form on bottom with light, tensile steel on top. We could also achieve a likeness by altering the form to further hint at this industrial connection.

Another discovery we made was that we could treat these light, tensile forms on top like musical notes. We were able to move them around and punctuate the form to give it a life outside of its industrial materiality.

We added a large vertical element, a lookout tower/outdoor event space to anchor the form to the West and used the sheer volume of the restaurant to balance the overall assembly.

Altogether, this resulted in fantastic views of both the lake and the town. It also presented new access opportunities for both visitors and local residents. And lastly, this unity of earthen dam and structure managed to enhance what was already in Horton without taking it over. We preserved everything that was preexisting and turned a dead part of town into a valuable thoroughfare for visitors and residents alike.

Creating an Extension of the Dam

Promoting Views to Both Sides

Acknowledging Formal Qualities of Industrial Construction

Rhythm, Repetition and Balance

Punctuating form above the dam

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Rendering by: Devan Shihata Rendering by: Devan Shihata

Rendering by: Devan Shihata

As part of a comprehensive studio we were also pushed to consider other aspects of construction we had not considered in previous studios.

Expansion Plan

Structural Systems

We had to plan for expansion.

Our particular approach was quite successful. Extra modules would be added to the top and we had planned for an additional meeting room in the basement since pre-design. This would make expansion relatively painless considering the complexity of the site.

We also had to have a firm grasp on the structural system. We had to know how it would work, how big it would be, and how other elements of the design would be attached. I personally did the calculations to make sure all the loads and the sizing of elements were correct.

Graphic by: Devan Shihata

HVAC Systems

Graphic by: Devan Shihata

Sprinkler System

These were the two main ones, but we also had to work with fire safety, mechanical, electrical, plumbing and acoustical engineers. We had consultants from these actual fields brought in. They made suggestions to our design and we accommodated all their requests. All of these inputs were incorporated into our design and I feel that, in many ways, it made our project much stronger.

Graphic by: Devan Shihata

Graphic by: Devan Shihata

Service Meeting Room Pre-Function Flex Conference Lobby Hotel Room Restaurant Lounge

Graphic by: Devan Shihata

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The last task for this studio was to produce a set of several key details. I did the far left and the far right details. The near one demonstrates how the green roof of our cabins can maintain a minimal presence on the prairie side while giving way to a sleek, metallic skin that faces south toward the pond.

The far detail demonstrates the sheer complexity and tremendous scale of our structural system beneath the crest of the dam. The tail of the retaining wall alone had to be a minimum of 15 feet. Not to mention how incredibly complicated it can be to insulate a floating hallway if you’re trying not to show any fasteners. These are just some of the small issues we had to tackle with this project, but I must say that, in the end, I think this was one of the most bold and innovative projects I’ve produced in graduate school to date.

13 1.

2.

3.

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7.

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9.

10.

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13.

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Concrete Footing Gravel surrounding Drain Pipe Gravel Underlayment Rigid Insulation Concrete Expansion Joint Exterior Metal Sheathing fastened to Concrete beyond Sill Assembly for Fixed Low-E Window Head Assembly for Fixed Window Light Gauge Steel Header Assembly Metal Rain-Screen attached to Metal Furring Strips beyond 5” Light Gauge Steel Construction between Primary Structural Elements Operable Awning Window w/ Flashing included in Assembly Galvanized Steel Parapet Cap Angle welded to Primary Steel Structure w/ Wood Blocking to support Flashing 8” Light Gauge Steel Assembly to conceal deeper Primary Structural Elements 4” Earth held in place by Perforated Metal Containment System Filter Layer Root Barrier System Rigid Insulation Waterproof Membrane Primary Steel Structure beyond Gyp. Board w/ Interior Finish TBD

16 14

15

17 18 19 20 21 22

12

11

10 Level 2 8' - 0"

9 8

7 6 Level 1 0' - 0"

5 4

2 1

3

D

44

49

48

45

43

46

42

47

41 40 39

Level 3 33' - 0"

38

31

1. Gravel 2. Vapor Membrane 3. Rigid Insulation 4. Slab on Grade 5. Carpet Finish Floor 6. Wood Base Board 7. 5/8” Gyp. Board 8. Cork Acoustical Panel 9. 2’ x 2’ Concrete Column 10. Wood Slat Drop Ceiling 11. 5/8” Gyp. Board 12. Duct Work 13. Concrete Beam 14. 8” Concrete Structural Concrete Slab 15. Filler Sytrofoam 16. Concrete Slab 17. Steel Wide Flange Memeber 18. Ancor Bolts 18. 18” Earth 20. Filter Layer 21.Root Barrier 22. Insulation 23. Waterproof Membrane 24. Heat Pump

14

Level 3 33' - 0"

37

11

36 35

12

34 33

30

32

8 9

29

8

28

6

17

27

Level 2.2 22' - 0"

18

26

16

Level 2.2 22' - 0"

25 24

15

16 17

15 14 13

Level 2 18' - 0"

12 11

18

Level 2 18' - 0"

19 20

16

16

23 22

17

Retaining Wall Base -Size and Reinforcement TBD Gravel surrounding Drain Pipe Concrete Expansion Joint Rigid Insulation on Gravel Bed Concrete Footing -Size and Reinforcement TBD Interior Wall Base Board Concrete Structural Column Beyond 3/4” Gyp. Board w/ Interior Finish TBD Light Gauge Steel Wall Assembly (2) 3/4” Gyp. Board for Acoustics Ventilation Duct Sprinkler System Cable Tray Interior Wood Slat Ceiling Concrete Structural Beam Beyond Rigid Construction Foam 18” Earth Water Proofing Membrane w/ Dimple-board and Finish Strip Waterproof Membrane Rigid Insulation Root Barrier System Drainage Holes at 5’ Intervals Filter Layer Concrete Drip Edge Galvanized Steel Angle Galvanized Steel Tube Rigid Insulation Low Profile Window Sill Housing 2” Polished Concrete Floor Slab Hallway Lighting Steel Primary Structure Beyond Galvanized Steel Angle Galvanized Tube Spacer Galvanized Wide Flange Spacer Depth Adjustment Mount Galvanized Steel Channel Silicone Seal, EPDM Washer and Aluminum Cap Extruded Aluminum Section Rigid Insulation Mounted on Galvanized Steel Angle Galvanized Steel Angle Rigid Insulation Galvanized Steel Angle Fastened to Concrete Parapet Low Profile Window Head Housing Galvanized Parapet Cap Flashing Wood Blocking Roof Membrane w/ white aggregate Concrete Slab on Metal Deck -Size and Reinforcement TBD Drainage at intervals between hotel rooms

Level 2 18' - 0"

21

21 22 23

20

14

19

13

18

10 24

12

9

18

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8 7

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14 12 1. Concrete Footing 2. Gravel 3. Vapor Membrane 4. Rigid Insulation 5. Concrete Slab on Grade 6. See Call out Section Detail 3 7. Wood Slat Drop Ceiling 8. Sprinkler Head 9. Heat Pump 10. Structural Concrete Beam 11. Concrete Roof Structure 12. Waterproof Membrane 13. Rigid Insulation 14. Root Barrier 15. Filter Layer 16. 18” Earth 17. Concrete Beam with Built-In Downspout 18. Exterior Curtain Wall 19. French Drain 20. Filter Fabric 21. Gravel 22. Drain Pipe

10

9

9

8

8 7 6

7

6 19 20 21 22

1

5 4 3 2

6

5 4 3 2 1

3

Level 0 0' - 0"

4 5 2

Graphic by: Devan Shihata

Graphic by: Devan Shihata

1

Swiontkowski

59

Swiontkowski

61