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ADOCODA THE VERNACULAR ECHO CHAMBER SERVES AS AN INSTURMENT TO TRANSFORM THE RELATIONSHIP BETWEEN BUILDING AND SITE.

komoidia κώμη + ώδή village song

FINAL THESIS PROJECT JON BRADLEY 02448338 SPRING 2013 ACADEMY OF ART UNIVERSITY MASTER OF ARCHITECTURE (87 UNITS) GRADUATE DIRECTOR : MARK MUCKENHEIM THESIS COORDINATOR : RICHARD SMITH INSTRUCTORS: KEITH PLYMALE, ROBERT CRAMER DATE OF FINAL REVIEW: MAY 7 2013


MISSION / USER GROUPS

PRECEDENT ANALYSIS

MARS

2

VENUS

7

MOON

11

ADOCODA / ITHACA, NY

1

JUPITER

ODEON OF HERODES / ANCIENT / 300 BC / ATHENS, GREECE / SITE CHARTRES CATHEDRAL / MEDIEVAL / 13TH CENTURY / CHARTRES FRANCE / STRUCTURE TEATRO OLIMPICO / RENAISSANCE / 1585 / VICENZA, ITALY / PALLADIO / MUSICAL PROPORTION TANGLEWOOD / MODERN /1924 / LENOX, MA / WILLIAM RAWN ASSOCIATES / PROGRAM SAN FRANCISCO JAZZ CENTER / CONTEMPORARY / UNDER CONSTRUCTION / CAVAGNERO / ACOUSTICS

SITE ANALYSIS / STATIC MAPPING DEMOGRAPHICS / MAJOR CITY NODES/ NATURAL FEATURES / MUSIC ZONING / CIRCULATION / SHADOW ENVIRONMENTAL RECREATION / HYDROLOGY GEOLOGY / HISTORICAL / AXONOMETRIC SHADOW

SCHEMATIC DESIGN CONCEPT TREE / OCTAVE / PILGRIM

ARCHITECTURAL DRAWINGS

14

EARTH

SITE 1/32” - 1’ ROOF 1/16” - 1’ SKIN / STRUCTURE 1/8”-1’ EXITING / ADA AXONOMETRIC 1/8”-1’ FULL / LEVELS 5-4 / 3-2 / 1- 0 FLOOR 1/8”-1’ LEVEL / 5 / 4 / 3 / 2 / 1 SECTION 1/8”-1’ SOUTH EAST ELEVATION 1/8”-1’ EAST WEST 31

SUN

SCHEMATIC DESIGN AXONOMETRIC SUB STRUCTURE STRUCTURAL SYSTEM SPATIAL COMPOSITION SPACIAL / PROGRAM / COST / CODE SUSTAINABLILITY

MERCURY

36

ARCHITECTURAL DETAIL DRAWINGS / RENDERING WALL SECTION - 1/2”-1’ DETAIL 1 - 1/2”-1’ FOUNDATION DOOR ROOF CONNECTION STRUCTURAL ASSEMBLAGE SECTION DETAIL 1/2”-1’ BATHROOM DETAIL RENDERING MAP EXTERIOR INTERIOR

TABLE OF CONTENTS I

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

PROPOSAL


ADOCODA / ITHACA, NY

SITE 1/32” - 1’ ROOF 1/16” - 1’ SKIN / STRUCTURE 1/8”-1’ EXITING / ADA AXONOMETRIC 1/8”-1’ FULL / LEVELS 5-4 / 3-2 / 1- 0 FLOOR 1/8”-1’ LEVEL / 5 / 4 / 3 / 2 / 1 SECTION 1/8”-1’ SOUTH EAST ELEVATION 1/8”-1’ EAST WEST

SCHEMATIC DESIGN

SUN

31

MERCURY

36

AXONOMETRIC SUB STRUCTURE STRUCTURAL SYSTEM SPATIAL COMPOSITION SPACIAL / PROGRAM / COST / CODE SUSTAINABLILITY

ARCHITECTURAL DETAIL DRAWINGS / RENDERING WALL SECTION - 1/2”-1’ DETAIL 1 - 1/2”-1’ FOUNDATION DOOR ROOF CONNECTION STRUCTURAL ASSEMBLAGE SECTION DETAIL 1/2”-1’ BATHROOM DETAIL RENDERING MAP EXTERIOR INTERIOR

PHYSICAL

SATURN

49

SITE MODEL 1/32” - 1’ CONCEPT MODEL / SKETCH PAINTING

PERSONAL

FIXED STARS / URANUS

61

SEMESTER BREAKDOWN / TIME RESUME

APPENDIX INDEX BIBLIOGRAPHY

PREMIUM MOBLE / NEPTUNE

i

TABLE OF CONTENTS II

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

EARTH

4

ARCHITECTURAL DRAWINGS


ADOCODA / ITHACA, NY USER PROFILE

I PROPOSE TO DESIGN A VERNACULAR ECHO CHAMBER THAT HOPES TO UNCOVER THE SYMBIOTIC RELATIONSHIP BETWEEN THE SPACIAL QUALITIES OF A BUILDING AND THE FORM OF A SONG THAT IS CREATED IN IT. MORE SPECIFICALLY, TO ANSWER THE QUESTION: IS MUSICAL FORM CREATED WITH AN ARCHITECTURAL CONTEXT IN MIND? AND IF SO, WHAT IS THE RELATIONSHIP BETWEEN MUSICAL AND ARCHITECTURAL ORDER?

THIS THESIS WILL EXPLORE VERNACULAR MUSIC OF AMERICA CONSISTING OF IT’S SEVEN MAJOR MUSICAL GENRES: JAZZ, BLUES, CAJUN, TEJANO, OLE TYME, GOSPEL, NATIVE AMERICAN. THIS FACILITY WILL NOT BE EXCLUSIVE TO, BUT FOCUS ON THE NATIVE MUSICAL DIALECTS SPECIFIC TO THE UPSTATE NEW YORK REGION.

IF A ODEON CAN BE SEEN AS A HOUSE FOR MUSIC. CHORD FORM ON A GUITAR CAN BE SEEN AS A HOUSE OF SONG. THE WORD SONGE IN FRENCH MEANS DREAM OR VISION. IN ITALIAN, STANZA MEANS ROOM; AND IN GREEK THE WORD POEM DENOTES STRUCTURE. THROUGH THE ETYMOLOGY OF THESE WORDS IT IS VERY CLEAR THE RELATIONSHIP BETWEEN MUSICAL FORM AND ARCHITECTURE. THIS RELATIONSHIP HAS CHANGED THROUGHOUT THE COURSE OF HISTORY. RELATIVE TIME PERIODS IN ARCHITECTURE HOUSE THEIR RESPECTIVE TIME PERIODS IN MUSIC. WITHOUT A HEALTHY BALANCE, BETWEEN MUSIC AND THE ARCHITECTURE THAT IT IS CREATED IN; EACH ART FORM SUFFERS. OSCAR WILDE, IN HIS ESSAY THE DECAY OF LYING STATED: ‘THAT LIFE IS IN FACT THE MIRROR AND ART THE REALITY.’ WITHOUT HEALTHY BALANCE BETWEEN THE TWO, THE RESULT IS THAT SOCIETY SUFFERS. NOW, IN ORDER FOR MUSICIANS TO CATER TO CONTEMPORARY MARKETS THEIR CRAFT MUST BE REDUCED INTO THE CHANNELS THAT THEIR MUSIC WILL BE CONSUMED. THIS MEANS GEARING THEIR MUSIC TO THE I-POD EAR PHONE GENERATION. THUS SUBVERTING THE ROLE THAT ARCHITECTURE PLAYS IN THIS SYMBIOTIC RELATIONSHIP. THE MISSION OF THIS PROJECT IS TO ALLOW MUSICIANS TO EXPLORE DIFFERENT ENVIRONMENTS FOR CREATING MUSIC IN. RATHER THEN BLINDLY CREATING MUSAK RELATIVE TO A INVISIBLE MARKETABLE SUPERSTRUCTURE.

VERNACULAR, FROM THE LATIN VERNACULUS MEANING HOME-BORN SLAVE; IS CONSIDERED THE NATIVE LANGUAGE OR NATIVE DIALECT OF A SPECIFIC POPULATION. IT’S MUSICAL FORM AND SONG IS HOW THAT REGION PASSES DOWN ITS TRADITION AND HISTORY FROM GENERATION TO GENERATION. THIS CENTER, BECAUSE OF THE NATURE OF VERNACULAR MUSIC, WILL ONLY FACILITATE ACOUSTIC MUSICIANSHIP. FINALLY, UNLIKE CLASSICAL MUSIC, VERNACULAR MUSIC CAN SURVIVE WITHOUT A CONDUCTOR SO THE ARCHITECTURE WILL REFLECT THIS MAJOR DIFFERENCE BY PROVIDING A MULTITUDE OF STAGE AND AUDIENCE PERSPECTIVES. THIS FACILITY WILL ATTEMPT TO BREAK AWAY FROM THE TRADITIONAL SINGLE STAGED CENTRIC DESIGN AND BLEND THE LINE BETWEEN AUDIENCE AND PERFORMER. THIS WILL INCLUDE LOCAL MUSICIANS AS PERFORMERS AND LOCAL ITHACA RESIDENCE AS AUDIENCE MEMBERS TO DISTORT THIS LINE THE FACILITY WILL USE ITS LOCAL RESOURCES TO OFFER EDUCATIONAL PROGRAMS TO ENTICE AUDIENCE MEMBERS INTO PERFORMANCE. THIS WILL INCLUDE ATTEMPT TO FUSE WITH ITHACA COLLEGE’S MUSIC SCHOOL, AND BOTH THE “BOUND FOR GLORY” AND “TRACY CRAIG” RADIO STATION. THE FACILITY WILL PROVIDE A STUDIO LIKE ATMOSPHERE WHERE THE AUDIENCE CAN CONDUCT INTERVIEWS WITH THE ARTISTS, THUS, FURTHER BLENDING THE LINE.

MUSE

+

?

thesis

7

12

- A CALLIOPE IS A MUSICAL INSTRUMENT THAT USES STEAM POWER TO PRODUCE MUSIC. HOW CAN AN ARCHITECTURE INVERT THIS PHENOMENON BY USING MUSIC TO PRODUCE ENERGY? 1

_

anti-thesis

2

13

8

=

synthesis

16

3

14

- CALLIOPE HOUSE IS A IRISH JIG TUNE IN 6/8 TIME. THIS TUNE SERVES AS A CALL TO THE DANCERS WHOM FORM A RHYTHMICAL PATTERN OF JUMPING IN IT'S RESPONSE. BY CREATING A REACTIVE DANCE-FLOOR THIS ARCHITECTURE, FUNCTIONS IN A VERY SIMILAR WAY TO THAT OF A DIAPHRAGM AND A SET OF LUNGS. BY UTILIZING THE ENERGY PRODUCED FROM THE DANCERS JUMPING, PRESSURE IS DISPLACED BY THE DANCE-FLOOR AND USED TO HARNESS ENERGY. 11

10

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

MISSION

- "WHERE WE DO NOT REFLECT ON MYTH BUT TRULY LIVE IN IT, THERE IS NO CLEFT BETWEEN THE ACTUAL REALITY OF PERCEPTION AND THE WORLD OF MYTHICAL FANTASY." -ERNST CASSIRER PHILOSPPHY OF SYMBOLIC FORMS 5

echo 9

6

15

4

AS A RESULT OF THE SITE CONTEXT THIS ARCHITECTURE HARNESES THE NATURAL OCCURENCES OF THE SITE IN ORDER TO PLAY THE BUILDING LIKE AN INSTURMENT.

M[ISSION]USE MUSE / MISSION / USER GROUPS

1


SITE AREA: 8 ACRES BUILDING FOOTPRINT: 40,000 SQ FT

27.

WHAT: THE ODEON OF HERODES WAS BUILT TO HOUSE THE MUSICAL COMPETITIONS OF THE PANATHENIAN GAMES. THERE ARE TWO THEATER DESIGN TYPOLOGIES ON THE GREEK ACROPOLIS: THE THEATER OF DIONYSUS, SPANNING ABOUT TWO TIMES THE FOOT PRINT OF THE ODEON OF HERODES. THE MAJOR DIFFERENCE BETWEEN THE TWO IS THE ROOF ASSEMBLY. IN ORDER FOR ACOUSTICAL PROJECTION INTO THE 2,000 PERSON BOWL THERE WAS A TIMBER FRAMED SQUARE PYRAMID ROOFTOP FROM WOOD CAPTURED FROM CAPTURED PERSIAN SHIPS.

ADOCODA / ITHACA, NY

ODEON OF HERODES ATHENS GREECE

WHY: THE GREEK CLASSICAL ORDERING SYSTEM LAID THE FOOTWORK FOR VETRUVIUS’ TEN BOOKS ON ARCHITECTURE. IT IS IN THE STRICT GEOMETRIC ORDERING PRINCIPALS OF THE ACROPOLIS AND THE ODEON IN TALKING ABOUT PROPORTION VETRUVIUS REFERS TO PROPORTION AS A CORRESPONDENCE AMONG THE MEASURES OF THE MEMBERS OF AN ENTIRE WORK AND OF THE WHOLE TO A CERTAIN PART SELECTED AS A STANDARD. FROM THIS LAW SET THE ODEON OF HERODES DIRECTLY CORRESPONDS THE SAME PRINCIPALS SET OUT FOR THE ACROPOLIS AS A WHOLE RELATING IT TO ITS GREATER SITE CONTEXT.

25.

ECHO:

KALMANOVITZ HALL ODEON UNIVERSITY OF SAN FRANCISCO

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

26.

ARCHITECT / PREFORMER / “ TOM RELLING” ARRAGEMENT / SLIDE GUITAR, VOCAL SONG / “TRAVELING RIVERSIDE BLUES” AUTHOR / ROBERT JOHNSON DATE RECORDED / 01 /13 /2013 ORIGINAL DATE RECORDED / 06 /20 /1937 FORM / 12 BAR BLUES

PRECEDENT / ODEON OF HERODES ANCIENT / 300 BC / ATHENS, GREECE / SITE

2


WHAT: THE DELICACIES OF THE ROSE AND LANCET WINDOW SYSTEM IS SUPPORTED BY AN EXTERIOR, FLYING BUTTRESS, STRUCTURAL SYSTEM. ALLOWING WITH THE STORY TELLING ABILITY OF THE STAINED GLASS, THE CATHEDRAL IS STRUCTURED IN PERFECT TUNE WITH THE PIPE ORGAN TO COMMUNICATE THE LITURGY ON A MUSICAL LEVEL. THE ENTIRE CATHEDRAL SERVE AS THE ORGANS MAIN CHAMBER, LARGE ENOUGH FOR HUMANS TO ENTER. THEY ARE ABLE TO EXPERIENCE HOW ACOUSTICAL FINE TURNINGS CAN TRANSFORM THEIR SONOROUS EXPERIENCE OF THEIR NATURAL SURROUNDINGS, TO THAT, OF THE DIVINE.

ADOCODA / ITHACA, NY

SITE AREA: 15 ACRES BUILDING FOOTPRINT: 117,060 SQ FT

WHY: THIS ARCHITECTURAL TYPOLOGY IS THE MOST ECONOMICAL WITH IT’S STRUCTURE SO THAT IF ONE STONE WERE TO BE REMOVED, THE WHOLE BUILDING WOULD COLLAPSE. IT IS ALSO BASED AROUND THE CONCEPT OF THE LABYRINTH WHICH HAS HISTORICAL ASSOCIATION WITH ARCHITECTURE (DEADALUS: ARCHITECT OF LABYRINTH) MUSIC AND DANCE ( THE CLERGY AT CHARTRES RE-CREATED HELL AND DANCED THEIR WAY OUT.)

ECHO:

GRACE CATHEDRAL NOB HILL

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

CHARTRES CATHEDRAL CHARTRES FRANCE

ARCHITECT / LEWIS P. HOBART PREFORMER / “JON VRADLEY” ARRAGEMENT / FIDDLE SONG / “C MAJOR SCALE” AUTHOR / TRADITIONAL DATE RECORDED / 12 / 06 /2012 ORIGINAL DATE RECORDED / NA FORM / DORIAN

PRECEDENT / CHARTRES CATHEDRAL MEDIEVAL / 13TH CENTURY / CHARTRES FRANCE / STRUCTURE

3


WHAT: TEATRO OLIMPICO IS MODELED AFTER A STRICT ADHERENCE TO CLASSICAL THEATER DESIGN ORDERING PRINCIPALS BASED ON VETRUVIUS’ TEN BOOKS ON ARCHITECTURE. IT IS UNIQUE IN DESIGN BECAUSE OF IT’S STRICT ECONOMY OF MATERIALITY. PALLADIO WAS VERY AWARE OF PERCEPTION. BECAUSE OF THIS TEATRO OLIMPICO IS UNIQUE FROM CLASSICAL THEATERS. WHERE A COLONNADE OR A ROOF STRUCTURE IN A CLASSICAL THEATER DESIGN WOULD CONSIST OF SOLID MARBLE OR STONE, PALLADIO WOULD USE WOOD TIMBER FRAMING AND FACE THE WOOD WITH STONE BRICK OR PLASTER TO MAKE THE ARCHITECTURE APPEAR CLASSICAL. PALLADIO ALSO PLAYED WITH PERCEPTION BY TILTING UP THE ALLEY WAYS AT THE BACK OF THE THEATER IN ORDER TO GIVE OFF THE EFFECT THAT THE ALWAYS WAS EXTENDING INTO THE CITY BEHIND. WHY: PALLADIO’S STRICT ADHERENCE TO MUSICAL PROPORTIONALITY BASED ON SUB DIVISIONS OF THE OCTAVE. THE SAME MATHEMATICAL PROPORTIONS THAT ARE USED TO STRUCTURE MUSICAL SCALES, PALLADIO USES THEM IN HIS ROOM PROPORTIONS. TEATRO OLIMPICO , WITH IT’S UNIQUE STAGE PERSPECTIVE BLENDS THE LINE BETWEEN THE NATURAL STREETS CAPE STAGE OF VICENZA AND ARTIFICIAL STAGE OF TEATRO OLIMPICO.

38.

39.

ECHO:

PALACE OF FINE ARTS PRESIDIO GATE ARCHITECT / BERNARD MAYBECK

36.

ADOCODA / ITHACA, NY

SITE AREA: 4 ACRES BUILDING FOOTPRINT: 12,000 SQ FT

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

TEATRO OLIMPICO VICENZA ITALY

PREFORMER / “ JON BRADLEY” ARRAGEMENT / FIDDLE SONG / “CALLIOPE HOUSE” AUTHOR / NIEL GOW DATE RECORDED / 12 /13 / 2012 ORIGINAL DATE RECORDED / 1895 FORM / OLE’ TYME FIDDLE TUNE / 6/8 IRISH JIG

PRECEDENT / TEATRO OLIMPICO RENAISSANCE / 1585 / VICENZA, ITALY / PALLADIO / MUSICAL PROPORTION

4


WHAT: THE TANGLEWOOD MUSIC CENTER IS A ESTATE OPENED IN 1924 WITH THE HOPES OF CREATING A MULTI USE MUSIC FACILITY INCLUDING INDOOR AND OUTDOOR PERFORMANCE AREAS. PROVIDING A MULTITUDE OF FACILITIES WHERE STUDENTS AND FELLOWS COULD LEARN FROM THEIR EXPOSURE TO THE BOSTON SYMPHONY ORCHESTRA. THERE ARE 13 DIFFERENT PERFORMANCE FACILITIES, LIBRARY, CAFE, GALLERIA, MUSIC STORE, AND VISITORS CENTER EACH FACILITY RANGES IN SCALE, MATERIALITY, ACOUSTICAL MAKE UP, AND INTERIOR/ EXTERIOR CONDITION. THE SEIJI OZAWA HALL ALLOWS SEATING FOR 1,200 INTERIOR AND 2,000 EXTERIOR. WHY: THE DIVERSITY AND SUCCESS OF TANGLEWOOD HAS BEEN A DRIVING FORCE IN CLASSICAL MUSIC. PLACING 20% OF ITS MEMBERS TO AMERICAN SYMPHONY ORCHESTRAS AND 30% OF ITS MEMBERS AS FIRST CHAIR PLAYERS. EACH OF THE FACILITIES AT TANGLEWOOD IS ARCHITECTURAL FINE TUNED FOR THE ACADEMY TO BE SO SUCCESSFUL. EACH OF THESE FACILITIES ARE GEARED TOWARDS DIFFERENT CLASSICAL MUSIC FORMS. I WANT TO APPLY THE SAME PRINCIPALS THAT EACH BUILDING HOLDS FOR 250 PIECE CLASSICAL ORCHESTRAS AND SCALE DOWN TO HOUSE MUCH SMALLER 3 PIECE VERNACULAR MUSIC GROUPS. THE RATIO BETWEEN PERFORMER AND AUDIENCE SHOULD REMAIN MAKING THE VERNACULAR MUSIC CENTER ROUGHLY 1/10 THE SIZE OF TANGLEWOOD.

46.

ECHO:

STERN GROVE MUSIC FESTIVAL WEST PORTAL

ADOCODA / ITHACA, NY

SITE AREA: 210 ACRE BUILDING FOOTPRINT (SIJI OZAWA HALL): 36,000 SQ FT COST: $7.5 MILLION

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

TANGLEWOOD LENOX, MASSACHUSETTS

ARCHITECT / LAWRENCE HALPRIN PREFORMER / “ BELA FLECK AND THE FLECKTONES” ARRAGEMENT / BANJO, TABLA, BASS SONG / “BIG COUNTRY” AUTHOR / BELA FLECK DATE RECORDED / 06 / 25 /2000 ORIGINAL DATE RECORDED / 06 /09 / 1998 FORM / TRADITIONAL BLUEGRASS ARANGEMENT

PRECEDENT / TANGLEWOOD MODERN /1924 / LENOX, MA / WILLIAM RAWN ASSOCIATES / PROGRAM

5


WHAT: THE SF JAZZ CENTER IS RANGING FROM 200 TO 700 SEAT TRANSFORMABLE AUDITORIUM. THIS INCLUDES ADJUSTABLE, SEATING, DEFUSE, REFLECT, AND ABSORBING WALL CONDITIONS. DRAPE WALL SYSTEM COMPACTING SPACE TO ALLOW FOR DIFFERENT SCALE PERFORMANCE. PROGRAMMATICALLY THERE IS AN 80 PERSON ENSEMBLE ROOM THAT NEEDS TO BE ACOUSTICALLY RATED FOR FIRE ENGINES FROM THE EXTERIOR AND ISOLATED FROM THE REST OF THE SPACE VIA A ACOUSTICALLY ROBUST FLOOR, WALL, AND CEILING CONDITION. THE SPACE ALSO HOUSES A MULTITUDE OF THEATER FEATURES INCLUDING DIGITAL LEARNING CENTER, CAFE, BOX OFFICE, LOBBY, RETAIL, GREEN, PRACTICE, OFFICE AND DRESSING ROOMS.

52.

ECHO:

PREFORMER / “ ZAKIR HUSSAIN” ARRAGEMENT / TABLA SONG / INTERVIEW AUTHOR / BELA FLECK DATE RECORDED / 03 / 06 /2013 ORIGINAL DATE RECORDED / 03 /06 /13 FORM / TRADITIONAL TABLA

WHY: BEING UNDER CONSTRUCTION, THE SAN FRANCISCO JAZZ CENTER WILL BE A HUMAN SCALE RESEARCH LABORATORY UNTIL IT’S PROPOSED COMPLETION IN 180 DAYS. WORKING DIRECTLY WITH SAM MESIKEPP I HAVE BEEN ABLE TO LOOK THROUGH THE COMPLETE SET OF WORKING CONSTRUCTION DOCUMENTS AND THE WORKING REVIT MODEL FOR THE PROJECT. THIS INCLUDES ACCESS TO ALL OF THE LATEST TECHNOLOGY IN ACOUSTICAL ENGINEERING WALL, CEILING AND FLOOR ASSEMBLAGE DETAILS. THIS INCLUDED A PRESENTATION ON THE PROJECT DEVELOPMENT WITH THE PROGRAM NAVISWORKS. THIS PROGRAM ALLOWS FOR EACH SUB - CONTRACTOR TO CREATE A 3D MODEL OF THEIR JOB: I E. ELECTRICAL, HVAC, ETC. AND IMPORT INTO THE CREATED ARCHITECTURAL REVIT MODEL TO SEE HOW EVERYTHING IS ORGANIZED. IT IS THEN THE ARCHITECTS JOB TO SOLVE PROBLEMS OF OVERLAPPING WITH DIFFERENT SUB CONTRACTORS. THIS APPROACH, GIVES THE MOST EXTENSIVE LOOK TO HOW A HIGH PERFORMANCE BUILDING IS ASSEMBLED. WITH IT’S BOX FORM THE SF JAZZ CENTER APPEARS SIMPLE, BUT UNDER THE HOOD IT IS ONE OF THE MOST COMPLEX PROJECTS IN IT’S FIELD.

LOCAL ACOUSTICAL PRECEDENTS PALACE OF FINE ARTS GRACE CATHEDRAL

ADOCODA / ITHACA, NY

SITE AREA: .5 ACRE BUILDING FOOTPRINT: 13,000 SQ FT COST: $30 MILLION ($3 MILLION ACOUSTICAL)

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

SF JAZZ CENTER SAN FRANCISCO CALIFORNIA

KALMANOVITZ HALL ODEON SFJAZZ

STERN GROVE

PRECEDENT / SAN FRANCISCO JAZZ CENTER CONTEMPORARY / UNDER CONSTRUCTION/ CAVAGNERO / ACOUSTICS

6


ITHACA FALLS

1.

2.

K. D.

NODE - 1

J. E.

G.

3.

CORNELL UNIVERSITY

C.

NODE - 2

A.

4.

ITHACA COMMONS

5.

ITHACA COLLEGE

H.

K.

I.

0.25 MI

10 MI

F.

“PEOPLE OF THE GREAT SWAMP” LENGTH - 38.2 MI AVERAGE WIDTH -1.7 MI MAX DEPTH - 433 FT.

ALBANY CIVIC NEW YORK CITY FINANCIAL

ITHACA NEW YORK AREA - 476 SQ. MI. POPULATION - 101,000 MEAN TEMP - SUMMER - 78 F MEAN TEMP - WINTER - 32 F NAMED AFTER GREEK ISLAND OF ITHAKA

A. GRASSROOTS MUSIC FESTIVAL ANNUAL VERNACULAR MUSIC FESTIVAL B. RONGOVIAN EMBASSY 50 PERSON VENUE C. THE HAUNT 250 PERSON VENUE

“ITHACA IS GORGES” WATERFALLS - 100 WITHIN 10 MILES OF DOWNTOWN GORGES - 6 MAJOR 27 MINOR HIGHEST WATERFALL EAST OF MISSISSIPPI TAUGHANNOCK FALLS - 215’ ITHACA COLLEGE SITE - 500 GILES STREET ITHACA, NY 14850 SITE REACH - WITHIN 0.5 MILES OF THE THREE MAJOR NODES OF ITHACA

ITHACA EDUCATION

CAYUGA LAKE

ESTABLISHED - 1892 AS ITHACA CONSERVATORY OF MUSIC UNDERGRADUATE - 6,200 GRADUATE - 500 FACULTY - 223 STAFF- 487 TOTAL - 7001

D. CASTAWAY’S 500 PERSON VENUE CLOSING - TAX PROBLEMS E. STATE THEATER RESTORED 1,000 PERSON VENUE

G. ITHACA FESTIVAL ANNUAL MUSIC AND ART FESTIVAL H. PYRAMID STUDIOS HOME OF I TOWN RECORDS CLOSING BECAUSE OF STRUCTURAL PROBLEMS I. ITHACA COLLEGE 6. SCHOOL OF MUSIC 450 STUDENTS J. CHAPTER HOUSE BAR 200 PERSON VENUE

K. TAUGANNOCK PARK SUMMER CONCERT SERIES F. WVBR-FM HOME OF LIVE OLD TYME L. WILLARD STRAIT HALL SUNDAY RADIO SHOW HOME OF LONGEST G. ITHACA FESTIVAL RUNNING FOLK RADIO ANNUAL MUSIC AND PROGRAM IN COUNTRY ART FESTIVAL “BOUND FOR GLORY”

MUSIC

30 MI

NODE - 3

ADOCODA / ITHACA, NY

CAYUGA LAKE

B.

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

A.

CORNELL UNIVERSITY ESTABLISHED - 1865 UNDERGRADUATE - 13,935 GRADUATE - 7,004 FACULTY - 1,564 STAFF - 8,081 OTHER - 1,313 TOTAL - 31,899

SITE ANALYSIS / STATIC / REGIONAL SITE ZOOM / DEMOGRAPHICS / MUSIC / CITY NODES

7


“Seadeath, mildest of all deaths known to man. Old father ocean ”

“In this room, the heat pipes just cough”

1,000’

MIDDLE DEVONIAN GLACIER “Congealing Cocytus”

“Two roads diverged in a yellow wood, And sorry I could not travel both”

- ADVANCEMENT AND RETREAT OF GLACIER GOUGE DEEP TRENCHES FORMING FINGER LAKES REGION.

“Facilis descensus Averni” - GLACIAL ICE MELT DAMMING SEDIMENT CREATED VERY DEEP ELONGATED LAKES. STREAMS PLUNGED INTO LAKE FROM THE GLACIALLY STEEPENED VALLEY SIDES.

“A river watering the garden flowed from Eden” `

- LATER LAKE LEVEL FELL, LEAVING A SERIES OF STEPS ON THE HILLSIDE.

CIRCULATION / TRAJECTORY DIRECTION OF GLACIAL SHOVE

- STREAMS THEN ERODED DOWNWARD AS THE LAKE LEVEL CONTINUED TO DROP, FORMING GORGES AND DELTAS.

ADOCODA / ITHACA, NY

ITHACA RESERVOIR 702’

WATER TREATMENT 393’

CAYUGA LAKE 381’

ELEVATION CHANGE 321’ OVER 6.0 MILES

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

FALLING WATER “.. The sum of all the general rage felt by his whole race from Adam down.”

RESIDUAL STRESS LATERAL SHIFT LEFT

REVERBERATION FREQUENCY

LATERAL SHIFT RIGHT STRESS TRAJECTORY

MUSICIAN

SLIP LATERAL PARALLEL JOINTS SLIP NON LATERAL PARALLEL JOINTS 1/10 YEARS

440 FREQUENCY C-MAJOR SCALE

GLACIAL FLOW MODEL

BASE OF RHINESTREET SHALE

SITE ANALYSIS / STATIC / ENVIRONMENTAL / REGIONAL MIDDLE DEVONIAN GLACIER / FREQUENCY / CIRCULATION / TRAJECTORY / FALLING WATER

8


SITE

B.

C.

1. 5.

3. 4. A.

APPROACH

2.

D. 6.

VIEWS 1. CAFE CULTURE 2. DOWNTOWN CHANNELIZATION 3. SUSPENSION BRIDGE 4. NATURAL SHALE PATHWAY 5. EXISTING GRADED ROAD 6. NATURAL ROCK AMPHITHEATER 7. HUMAN SCALE 8. EXPOSED ROOT SYSTEM 9. GLACIAL REMAINS CIRCULATION

3.

7.

8. 9.

5. 6. 7.

4.

8.

200’

SITE CIRCULATION

BUS BIKE MULTI-USE STOP

A. TCAT - BUS STOP 10 LINE - 0.15 MILES FROM SITE B. TCAT - BUS STOP 11 LINE - 0.2 MILES FROM SITE C. BICYCLE LANE LOW TRAFFIC DESIGNATED LANES CONNECTING DOWNTOWN, CORNELL, AND ITHACA COLLEGE WITH SITE D. SOUTH HILL RECREATION MULTI - USE PATH - 0.2 MILES FROM SITE

9.

RESIDENTIAL COMMERCIAL

ZONING SECTION 325-8: DISTRICT REGULATIONS CHART P-1 USE DISTRICT USE PERMITTED PRIMARY USES PERMITTED ACCESSORY USES OFF-STREET PARKING OFF-STREET LOADING DIST. (See: General Notes) REQUIREMENTS 12345 1. Public recreation. Accessory uses and service buildings for permitted 1. Public recreation: 1 space per 10 persons viewing Institutional: As set forth above and in 2. Public and semi-public institution whose purpose is education except that uses, upon issuance of a special permit as set forth or participating. §325-21 For similar specific uses, subject also Within 200 feet of a residential district, any use other than classrooms or in §325-9. 2. Institutional: As set forth above and in §325-20 for to §325-9.Living accommodations which conform to the regulations of the adjacent similar specific uses, subject also to §325-9. P-1 residential district is permitted only by special permit of the Board of Appeals (See: §325-9) 3. All municipal public buildings, facilities and functions.

SITE OBSCURA

ADOCODA / ITHACA, NY

SITE OPTICS 2.

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

1.

C -1 / B-1 COMMERCIAL/ CIVIC R -1 RESIDENTIAL

P -1 CITY OWNED

SITE ANALYSIS / MAPPING / LOCAL SITE CIRCULATION / ZONING / SITE OPTICS / SITE OBSCURA

9


MULHOLLAND WILDFLOWER PRESERVE SIX MILE CREEK

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NUDIST COLONY POTTER’S FALLS

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ADOCODA / ITHACA, NY

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JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

WATER TREATMENT

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SITE ANALYSIS / STATIC / ENVIRONMENTAL / LOCAL 10


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PARTI

ONCE UPON A TIME, 380 MILLION YEARS AGO, SIX MILE CREEK GORGE WAS THE HOME OF THE MIDDLE DEVONIAN GLACIER. NOW, AMIDST IT’S HOUSE OF RUIN , THE GLACIAL HARROW, HAS LEFT US A GEOLOGICAL THUMB PRINT OF THE MIDDLE DEVONIAN’S FREQUENCY.

- ABRASION

FREQUENCY IN MUSIC, IS THE ORDERING OF COMMON OCCURRENCES REPEATED WITHIN A FUNCTION OF TIME. SOUND OR SONG IS CREATED WHEN AN OBJECT CREATES FRICTION, THROUGH VIBRATION WITH THE AIR. SIX MILE CREEK IS THE REMAINS OR ARCHITECTURAL FORM OF THE MIDDLE DEVONIAN GLACIER’S SONG. AFTER THE GLACIAL THAW, SIX MILE CREEK WAS PROGRAMED WITH DENSE FOREST AND A WATER SOURCE WHICH WILL EVENTUALLY IRRIGATE THE CITY OF ITHACA. TSAP FUTURE

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ADOCODA / ITHACA, NY

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JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

CONCEPT GLACIAL HARROW

g = SYNTHESIS BURL DERAILMENT

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O D A

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CONCEPT GLACIAL HARROW / TREE PROGRAM

11


VERNACULAR-

TIME SIGNATURE : 6/8 - IRISH JIG TUNE

a: Using a language or dialect native to a region or country rather than a literary, cultured, or foreign language.

b: In music, vernacular is the arrangement of local musical dialects around traditional songs and how these songs are arranged with instrumentation and dance.

THROUGHOUT HISTORY THE TERM CALLIOPE HAS REQUIRED ENERGY TO PRODUCE MUSIC. FOR HOMER IT WAS HIS LOVE, THE CIRCUS RINGLEADER STEAM, THE WARLORD OIL AND FOR THE SIRIN BREATH.

MY THESIS ATTEMPTS TO SEE IF THERE IS AN ARCHITECTURE THAT CAN INVERT THIS PHENOMENON BY CREATING AN INSTRUMENT THAT USES MUSIC TO PRODUCE ENERGY.

CALLIOPE HOUSE:

1.

28.

30.

12 EPIC / VERNACULAR

ADOCODA / ITHACA, NY

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013 REE ALPHA BET A Cross, the foiled dawn… Tracing the breaking wheel Stretched upon St. Catharine Lending DA illiterate Her ornamental pane Sheathed a Yellowish Blue, Occidental Stain “I’ve Wandered neath the ocean” Thy Tar Baby Reassured But it’s the Air who was jealous With her nimbus Obscured So I thought it the best… Just to leave this world So slipper-ally and Splintered The Ivory vine winds Retracting upon a reverie Where Her Ivy does whine: To-morrow, and To-Morrow and To-morrow …Once upon a time. Tusks Tap trickle track patted Patterning the parched pony’s jaws Peering panorama pleat, seep the wounds beneath her gauze Deep, where Datt a Diorama Dew Permeate Her a Flaws. The Curse of the Mississippi Where Eddies Echoed her perfume Where the Bucked toothed Virgins Atrax Men-straight to Ma oooom “But Won’t you play the rest for me?” Sobs babble bobbes woon Oh’ the Arkansas Traveler’s With a face of cured Ham Reects lyres Liriope’s, toc, hung so grand Father’s hand, Twix, the Rowan window jamb “Play it yourself…”says he Wurr hur numb son done swam Under a Lacquered Lenten lantern Silos Silhouette the Harvest worm As the return of the robins To Close their nal turn day-Break… O, how their Caw bled A sound a gnomon could discern And the guest tickled Rapeseed As Lucifer’s sickle reaped Sew In Pascal’s ebony cabinet A Pallid Peg-leg Weeps But There’s hope inside the alder grove Where his machinery medicine sleeps The Heroine Nympho tracks Seven years of Scars But can’t veil the stench hatched plumbeneath the mar Cause the High-man’s blades Know Less than the journey-work of stars That shed its radiance bright and far Will pointed a path which led Low Down the kiddymine chatterbox of a store-bought head But the lids on the jars are just too tight To hear what they said So like a cloud of urine, bellow Orion’s belt I forded the Nueces that penetrates the grand Corpus Christi carcass, liquid quick sandy Where the trinities just muddy rusty and dandy So La, la, la, le, please lend me your brazos Cause there’s many a women, to gossip this landy. How the Panoptic pollutants palsied Pinocchio’s penicillin spume Their leagues can’t fathom A Rabid slaver Neptune So, we’ve all worried wonders Witch wicked wanders loom The ninth Alchemy, Aristotle symphony Who’s drawing room so tenderly wrote A Chant for the Transhomo column Quinns Where children born with hairy coats Because it Seams that his story’s Heavens wrath unto the kingdom it denotes Ode to The Oedipal Opis… Great devour of the road Eating villages for breakfast… Witch Scarlet's doth forebode:) Crafting the shade’s urthona Tomb cough Oppened en code A Meaty-esh, invertebrates, disjointed chain of bones The Blood-purple Empress splattered Her albino-clay monochrome And a chance to mold that wicked-whale In an innite amount of forms The Winds wind her leather bag… Letters Found oating between The varlet abandoned wagon’s Mercury static appearllatticed machine That Retard the resonance of his Myriad attic apparatus of dreams As the Myopic menopause monsters, Some Stretch the yolk in vain Some Like the Omaha’s cattle stock, Or even the autumn man’s graze Upon Oberon, Titania and Puck, They’re all cloaked in lace Porcelain Puppet Prancing Round the maypole’s gaze Drenched in the Prude palace Of Helio’s Hydrogen rays That Twinkle St. Cecilia’s Vacant azure glaze The Celestial Pirouette plot Atlas, the celibate sirens silence broke Scrawnally sheveled, objectifying their Note An old an gasp bound the cripplers joke While Alma gest’s most hystericalhistorical Somn am bu lists woke Do rhyme phone Delph si tu Commands, time the sword her prod But the tender Roast beef mutton She musk polio nus Ball-odd Digesting mama’s chamber Scene behind her shroud Neurosis uncle’s and a golden bug O Hex I gonzo go comb Dis lexical Logorithmic stanzas As amour crystallized Rome Down six seven eight nine Accent’s Jupiter acrostyxx,, home …Yes-rosy ngers fecal She raised her arms in wrath So mythmaker, mythmaker Please draw me a bath Be fore be low be tween be neath, Be yond this dirty path To string along the seashells Amazed at the amputee’s rope Meanwhile Minos Meandering To Pool the Hypochondriac’s hope Portina’s prosthetic patter’s Penal Pattrns to Nyx Hypnos elope CirQuilling the Mary-go-Row Oarso divides the thirty-fourth Act The noise of Palinurus’ Stranded: Like the mast’s of the Essex: CRACK As the creamy-iris yawn Gasping, that Cat a ract…

[HIS]TORY

CONCEPT


ADOCODA / ITHACA, NY

SYNCHYSIS noun a hyper-baton so violent as to confuse the meaning of a sentence. 2. A complicated, interlocking word-order pattern in early Latin verse, demonstrated by Virgil and his contemporaries. UMBILICALS 3. Following the rhetorical structure: ABAB

HORN HOLLOW DRUM LABYRINTH

NOSTOS

EPIC CHIASTIC OCTAVE

A SI

D LA

ODYSSEY O SO

C FA

O ME

TELEMACHIAD D RE

A DO

SYNCHYSIS

DAWN

TWILIGHT

SON

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

M(OTHER) OCTAVE noun A series of eight notes occupying the interval between (and including) two notes, one having twice or half the frequency of vibration of the other

DO RE ME FA SO LA SI

CONCEPT OCTAVE / BREATH

13.1


ADOCODA / ITHACA, NY

A

PILGRIM noun PILGRIM noun A wanderer; a traveler; particularly, onetravels that travels A wanderer; a traveler; particularly, one that to a distance from hiscountry own country holy place, to a distance from his own to visittoa visit holyaplace, or to his devotion the remains ofsaints dead saints or to pay hispay devotion to the to remains of dead CHIASMUS noun CHIASMUS grammatical constructions, or concepts are repeated in reverse order. noun 2. Following the rhetorical structure: ABCDEFGFEDCBA

B

grammatical constructions, or concepts are repeated in reverse order. 2. Following the rhetorical structure: ABCDEFGFEDCBA B

A

1.

2. B.

C. 3. 4.

CIRCULATION : 3/4 WALTZ

A.

D.

5. 6. 7.

8. 9.

COLLECTIVE

COLLECTIVE

PILGRIM

NADIR

PILGRIM

NADIR

ITHACA 42.4406째

ITHACA

42.4406째

HAMLET HAMLET

COLLECTIVE (STATIC)

COLLECTIVE (STATIC)

SE TOWARDS SE TOWARDS DAWN DAWN

ECLIPSES BOTH THE ECLIPSES BOTH SUNTHE AND MOON SUN AND MOON

NW TOWARDS TWILIGHT

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

A A D D O O C

NW TOWARDS TWILIGHT

PILGRIM IN TIME

PILGRIM IN TIME

WINTER SOLSTICE DAWN SATURNALIA

ALPHABET TREETREE ALPHABET

PILGRIM PILGRIM (STATIC)

CONCEPT PILGRIM / 3/4 WALTZ

13.2


ADOCODA / ITHACA, NY

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

A Cross,, the foiled dawn… … Tracing the e b kin brea ng wheel Stretched upon St. Cathaarine Lending DA iillit lliterate t H Her orn namental pane Sh heathed a Yellow! issh Blue, Occidental Stain “I’ve wandered neath the ocean” Thy Tar Baby Reassured But it’s the Air who was jealous With her nimbus Obscured So I thought it the best… Just to leave this world So slipper-ally and Splintered The Ivory vine winds Retractin ng upon a reverie e Where W Wher here e Her er Ivy Ivvy d does whine: Tomorrow, and T Morro ToTo ow and an n To-morrow …Onc …O O e upon a time Tusk u s Tap ttric r kle track p ed Patternpatt A Cross, C the h in the parched pony’ss ing in foiled dawn… Tracing the breaking jaws jja a Peering panorama pleat, wheel Strretched upon St. Catharine Le ending DA illiterate Her seep the wounds beneath her gauze nDeep, p where Datt a Diorama Dew Pe ermeate Her a Flaaws. The Curse ornamentall pane Sheathed a Yellowish Blue, Occidental Stain “I’ve wan of the Mississippi Where edd o dies echoed her perfume Whe ere the Bucked toothed Virgins Atrax Men- dered neath the ocean” Thy Tar Baby Reasssured But it’s the Air who wass jealous With her nimbu us Obscured So I thought it th he best… Just to leave this wo orld sstraight to Ma oooo st om “But won’t you play the resst for me?” Sobs babble bobbes woon So slipp So lipper-aally lyy aand n Splintered The Ivory vine winds ReOh’ the Arkan O nsas Traveler’sWith a face of cured Ham Reflects lyres liriop pe’s, to oc, c, t ting upon a reverie Where trac Her Ivy does whine: Tomorrow, and To-Morrow morrow To Morrow w aan nd To-morrow …Once eu upon a tim me e.. Tusks Tap t kle tric e track p ed patt Patterning the parched pony’s jaws Peering panorama pleat, seep the wound woun w ds benea ne nea ne ea eath her gauze Deep D e , whe ere Dattt a Diorama D Per Dew Perm erm meate e Her a Flaws. The $ Curs Cur rrsse of of the e Mississippi Where e edd eddi eddies dd d es e echoed choed her perfume choed Whe W he ere the Bucked toothed Vii inss Atrax Men-straight V Virg ? to Ma oooom “But won’t you play the rest for me?” Sobs babble b bobb es woon Oh’ the Ark A Ar rrk rkansas Trav Tra Tr rraa ele er’sWith a face off cured d Ham Reflec ect e ec c s lyr yres lii ope’s, toc, lir liri hung so o gran gr g gra ra d ra Fat Fath atth ath at her’ss ~ he haan han hand h and and nd, Twix,, th Tw Twix the Rowaan wind ndow nd ow jam ow amb mb “Pla “Pl “Pla Pllaay it Pl i yourrself you your sel self elff…”sa e ” yss he ”sa wurr h hur numb b = A Cross, the fo oiled dawn… Tracing the breaking wheel Stretched upo on St. Cath Cat ath atharin at harine Lendin Le L nd nding ndin g DA D ill illiter iter te e-

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A Cross, the foiled d dawn… awn… Tracing the breaking wheel Stretched upon St. Catharine Lendin ng DA illiterate Her ornamental pane e Sheathed a Yellowish Blue, Occidental Stain “I’ve wandered neath the ocean”” Thy Tar Baby Reassured But it’s the Air wh ho was jealous With her nimbus Obscured So I thought it the best… * Just to leave this world So slipper-ally an nd Splintered The Ivory vine winds Retracting g upon a reverie Where Her Ivyy does whine: To-morrow, and To-Morrow and To-mo orrow …Once O upon a time. i Tusks Tap trickle track patted Patterning the parched pony’s jaws Peering panorama pleat, seep the e wounds beneath her gauze g Deep, p where Datt a Diorama Dew Perme-

ARCHITECTURAL DRAWINGS SITE PLAN / 1’ - 1/32”

14


ADOCODA / ITHACA, NY

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

A Cross, the foiled dawn… Tracing th he breaking wheel Stretche ed upon St. Catharine Lending DA illiteraate Her ornamental pane Sh heathed a Yellowish Blue, Occidental Stain “I’ve wandere ed neath the ocean” Thy Tarr Baby Reassured But it’s A Cross, the Air who was jealou us With her nimbus Obscure ed So I thought it the best… … Just to leave this world the foiled dawn… th So slipper-ally and Splintered The Ivory vine winds Retracting upon a reverie Where Her Ivy does whine: To o-morrow, and ToTTrracing the breaking Morrow and To-morrow …Once upon a time. wheel Stretched Tu usks Tap trickle track patted Patterning the parched po ony’s jaws Peering panoram ma pleat, seep the wounds beneath her gauze Deep, where up u pon St. Catharine Dattt a Diorama Dew Permeate Her a Flaws. The Curse of th he Mississippi Where eddiess echoed her perfume Wherre the Bucked toothed Virgiins Atrax MenLending LLe ending DA illitending sstraight traig ght to Ma oooom “But ght But won won’tt you play the rest for me?” me? Sobs babble bobbes woon Oh’ Oh the Arkansas Traveler’s Traveler Traveler’sWith ssWith With a face of cured Ham Reflects Reflects lyres liriope’s liriope liriope’s, s, errate Her ornae toc, hu ung so grand mental pane Faather’s hand, Twix, the Rowan window jamb “Plaay it i yyour ou ursse self e …”says he SSh hea eatth h wurr w wu u hu ur numb son done swam Under a Lacquered Lenten laantern S s Silhouette the Harvvest worm As the return of the robins To Silo c e their final turn day-Break… O, how their Caw bled A clos s soun d a gnomon could discern And the guest tickled Rapeseed Ra As Lucifer’s sickle reaped A d Sew In Pascal’s ebon on cab ony abinet ine n A Pallid Peg-leg weeps But there’s hope ins ns e the nsid e alder er grov gro eW e his machine Wher ery medicine sleep ep eps The Heroine Nyympho tracks S en years of Scar Se Seve a But can’t veil the ar ars stench hatch hed plumbe-n h th neat he mar Cause th he High-maan’s blades KnowLess than the journey-work of stars That st s shed its radiance bright and far Will p ted a path whicch led Low Down the kiddyypoin mine chatterbox of a store-bought head But the lids on the jars are just too o tight To hear what they said So like a ccloud of urine, bellow Orion’s belt I forded the Nue eces that pe pe pene enetrat ene n trat ne rra es e the h g grand rand d Corpus Corpu Christi carcass carcass, liqu uid quick sandy uid W e the Wher the trrinit nitie ies just muddy rusty and daandy So La, la, la, lle, e, please plea ea le end me your brazos Cause there’s many a w wo wome n, to gossip p this landy. How the Panoptic pollutants p ie pals ed Pino occhi cchio’s cc o penicillin spu ume Their leagues can’t f thom fat t A Rab Rabid id slaver Neptun ne So, we’ve all worried won nd Wit ders Witch ch wicked w wanderss loom The ninth Alchemy, Ari tle isto l sym mphony Who’s drawing room so tenderly w e A Chant for the Trans-homo column Quinns wrot W e cchildren born Wher n with hairy coats Because itt Seam ms that his storyy’s Heavens wrath unto the kingdom d om it denotes Od de to The Oedipal Opis… Grreat devourer of the ro oad Eating villages for breakkffast a … Witch Scarllet's doth forebode:) Craftin ng the shade’s urtho th ona Tomb cough Oppened en code A Meaty-flesh, invertebrates, disjoin jjo o ted chain of bones The Blood-purple Empress splattere ed Her albino-clay monochromeAnd a chaance to mold that wic w wick ic ed-whale In an an infinite amount of fform orms The Winds wind her leather bag… b ag… Letters Foun nd floating between The e varlet abandon ned wagon’s Mercury ry st s tic appearllatticed machine sta Thatt Retard the reson nance of his Myriiad M a attic apparatuss of dreams As A t Myopic menopausse monthe ster ers, Some Stretch the yolk e i vain Some Like the in Omaha’s cattle stock, Or even the autumn man’s graz raz ra aze Upon Obero az on, Tita tania nia iaa and Puck, They ey’re ey r al al cloaked in all n l lace Porcela Por ce cela elaain in Pup P Pu Pupp upp ppet et Pranc a cin anc ing ng n g Rou d th Roun the e M Mayp ole s gaze ole’ e Drenched D Dr Dren re ched he hed he ed d in in the Prud Prud ud de pal palace lace Off H He Heli e io’s H dr Hy Hyd drogen n ray rayss Th That at Twinkle e St. t Cec Ceci cilia’ lia s Vaacant caant az can aazu z re e glaze e The he he Ce Ce Cele el stiaal P ele Piiroue irou ro ro roue ou tte tt plot o Atla tla tl las, s, the t e ce elilibate sir si ens sile silence silence ce brokke Scraw Sccraw wnall naall n nal a y sheveled shev eled,, obje eled obje ectifyi ectifyi ect fying ng ttheir heir Not Note e An old o ol an gasp bound the cripplers joke While A Alma gest’s mostt hystericalh orical hist A Cross, the fo oiled dawn… Tracing the breaking wheel Stretched upon St. Catharine Len u nding DA illiterate Her ornaamental p pane Sheathed a Ye ellowish Blue, Occidental Sttain “I’ve w wand ered neath the ocean” Thy Tar Baby Re eassured But i the Air who was jealous With her nimbus Obscured it’s SSo I thought it th he best… Just to leave this world So slipp pper--ally and Splinpp

E GILES 1’ - 1/16”

REET STR

A C s, the foiled daawn… Tracing the bre Cros eaking wheel Stretched upon St. Catharine Lending DA illiterate e Her ornamental pane S Shea thed a Yellowish wish Blue Blue, Occidental Stain “I’ve I ve wandered neath

ARCHITECTURAL DRAWINGS ROOF PLAN / 1’ - 1/16”

15


1’ - 1/8”

ADOCODA / ITHACA, NY

Stre SSt ttr tched upo o on n St. Catharine Lending DA A illiterate Her o ornamental rnamental pane Sheathed a Yellowish Taa Baby Reassured But it’s the Air who was je Tar j lous With he jea er nimbus Obscured So I in ing ng g upon a reverie Where re e Her Ivy does whin ne: To-morrow, and To-Morrrow and pony pon po ny ’s jaws Peering panoraama pleat, seep the woundss beneath her gauze Deep, The Curse of the Mississippi Where eddies echoed her perfume Where the Bu ucked straight to Ma oooom “Bu ut won’t you play the rest fo or me?” Sobs babble bobbes woon Oh’ Traveler’sWith a face of curred Ham Reflects lyres liriop pe’s, toc, hung so grand Twix, wi th the R Rowan window i d jjam mb b “Pl “Play it yourself…”says lf ” he h wurr hur numb son done swam wu m Under a Lacquered Lente en lantern Silos Silhouette the Harvest worm As tthe he return of the robins To close the h eir final turn day-Break… O, how their Caw bled A sou und a gnomon could disc cern And d the guest tickled Rapesee ed As Luciferr’s sickle reaped Sew In Pascal’s ebony cabinet A Pallid A d Peg-leg weeps But there’ss hope inside the alder grovveWhere hiss machinery medicine sleep ps The Heroine Nympho tracks Seven years of Scars But can’t veil the ste ench hatched plumbeneath h the mar Cause the High-m man’s blades Know K nowLess than the journey-work of stars That shed its radiance brigh ht and far Will pointed a paath which led Low Down th he kiddymine ch terb cha chat ter ox off a store-bought head But the lids on the jars are just too tight To hear what they said So like a cloud of urine, bellow Orion’s be I fo b belt ford ord ded d the the N Nueces that penetrrates Nueces rates the grand Corpus Christi Christi carcass carcass, liquid quick san ndy Where the trinities just muddy rusty and ndy dand da dy SSo La, a,, la la, la, le, le ple ease len nd me your brazo z Cause th zos here’s many a women, to go ossip this landy. How the Panoptic pollutants palsied Pinocchi Pin cchio’s cc o’ss peni pen en cillin n sspum p e Their leagu g es can’t fathom m A Rabid slaver Neptune So, we’ve all worried wonders Witch wicked wanders loom loo m The T n nin nth h Alche c my che my, Aris Aristotl totle le symphony Who o’s drawing room so tenderly wrote A Chant for the Trrans-homo column Quinns W e ch Wher c ildrren bo born with hairy coats Because e it Seams that his story’s Heavens wrath unto the kin ngdom it denotes Ode to Th he Oedipa Opis pa pal Opis… … Gr Gre eat devourer of the road Eattin ea ng villages for breakfast… … Witch Scarlet's doth foreb bode:) Crafting the shade’s urthona T mb cou Tomb To co o gh Oppened en code A Meaaty-fl -flesh, invertebrates, dissjointed chain of bones The -fl e Blood-purple Empress splattered Her albi al alb biino no-cclay monochromeAnd a chaance to mold that wicked-w whale In an infinite amountt of forms The Winds wind her leather bag… Le ers Found floating between Lett n Th T e varlet r abandoned wag gon’s Mercury static appeaarllatticed machine That Rettard the resonance of h s Myriad attic apparatus of dr hi d eams am As ams A the Myopic menopause monsters, Some Stretch the yolk in vain Som me Like the Omaha’s ca le stock, Or even th catt ca he auttumn man an’s graze Upon Oberon, Titania and Puck, They’re all cloaked in lace Po orcelain Puppet Prancing Ro d the Maypolle’s gaze Roun z Dre ze r nche re nc d in the Prude e palace Of Helio’s Hydroge en rays That Twinkle St. Ceciilia’s Vacant azure glaze The e Ce stial Pirouettte plottAtl Cele Ce Atla l s, the e celibate sirenss silence broke Scrawnally sheveled, objectifying theiir Note An old an gasp b bo boun d the crrippllers joke jokk Whiile Alma gest’s most hysterical-historical Somn am bu lists woke Do rhyme phone Delph si tuCo omm mand s, time me the h swor he word d her he prod But the tender Roast beef muttonTThe musk polio nus Ball-odd Digesting mama’s chamb berSc e behin Scen Sc n nd d her shr h oud Neurosis unccle’s and a golden bug O He hr ex I gonzo go comb Dis lexxical Logorithmic stanzas Am mour crystallize cr ed Rome D Down six seven eight nine Accentt’s Jupiter acrostyxx,, home…Yes-rosy fingers fecal S raised her arms in She n wrath So mythmaker, mythmaker Pllease draw me a bath Bee fore B f be b low l be be tween tw t be b neath, ne eath, th B Be yond d this thi dirty di t pat pathTo thTo hT string t i along l th the seashe seashells hells ll Amazed at the e ampute amp e’s rope Meanwhile Minos Mean ndering Pool the Hypochon ndriac’s hope Portina’s prossthetic p er’s Penal patt a Pa P rns to Nyx Hypnos elope Patt CirQuilling ng g tth the he Mary-go-R Row Oarso divides the thirtyy-fourth Act The noise of Paalinurus’ Stranded: Like the e mast’s of the Esse s : CRACK As the creamy-iris yawn Gasping, that Cat a ract… A Crosss, the foiled dawn… Tracin sex ng the breakin ng wheel Stretche ed upon St. Catharine Lend ding DA illiterate Her ornam mental pane Sheathed a Yellowish Blue, Occidental Stain “I’ve wandered neath the occean” Thy Tar Baby Reassurred But it’s the Air who wass jealouss With her nimbus Obscured So I thought it th he best… Just to leave this world So slipper-ally and Splintered The Ivory vine wind ds Retracting upon a reveriie Where Her Ivy does whin ne: To-m o o-morrow, orrow, and To-M To M Morrow orrow and To-morrow To morrow …O Once upon a time. Once Tusks Tap trickle track patted Patterning the paarched pony’s jaws Peering panorama pleat, seep the wo ds beneath her gauze Deep, where Datt a Diorama Dew Permeate Her a Flaws. The Curse of th woun he Mississippi Where eddies echoed her perfume Where the Bucked toothed d Virgins Atrax Men-straigh ht tto o Ma oooom “But won’t you play the rest for me?” Sobs babble bobbes woon Oh’ the Arkansas Traaveler’sWith a face e of cured Ham Reflects lyrres liriope’s, toc, hung so graand Father’s hand, Twix,, the Rowan window jamb “Play it yourself…”says he Fa wurr hur numb son n done swam Under a Lacquered Lenten lantern Silos Silhouette the Harvest worm As the return n of the robins To close their final turn day-Break… O, how their Caw bled A sound a gnomon co ould discern And the guestt tickled Rapeseed As Lucifer’s sickle re eaped Sew In Pascal’s ebony cabinet A Pallid Peg-leg weeps But there’s hope inside the ald der groveWhere his machine ery medicine sleeps Th Th he Heroine Nymph ho tracks Seven years of Sccars But can’t veil the stench h hatched plum p lum umbeneath the mar Cause the High-man’s blades KnowLess than the jo ourney-work of s s That shed its raadiance bright and far Will pointed a path which led Low Down the star k ym kidd ymin m e chatterbo ox of a store-bought head But the lids on the jars are just too tight To hearr what they saiid So like a cloud of urine, bellow Orion’s belt I forded the Nueces To that pen that enetra etrates the grrand Corpus Christi carcass,, liquid quick sandy Where the trinities etr etra ju mud just u d dy rus usty and dandy So La, la, la, le, please e lend me your brazos Cause there’s manyy a women, many w wo omen men, to gossip gosssip sip this landy. landy How the Panoptic Panoptic pollutants palsied Pin Pinocchio’s nocchio’s nocchio’s pen nicill cillin in n spume Their le eagues can’t fathom A Rabid d slaver Neptune So, we’ve all worr ried wonder won wo d Witch wicke ders ed wanders loom The ninth h Alchemy, Aristotle symphony Who’s dr drawin awing room so te awin enderly wrote A Chant for th he Trans-homo column Quiinns Where ch childr ildr ildren d born with hairy coats Because it Seam ms that his story’s Heavens wrath un ntto the kingdom it denotes Ode to The Oedipaal Opis… Great devoure re er of o the th h road d Eat Ea in ing villages for breakfast… Witch Scarlet's doth forebode:) Craftin in the ing s ade’s sha a urth rthona o Tomb cough Oppened en code A Meatyy-flesh, invertebrates, s, disj nted join n chai hai ain n of bones The Blo ood-purple Empress splatteered Her albino-clay ay mon n nochro om meAn eAnd a chance to m mold old that wicked-whale wicked whale In an infinite amoun amou unt of unt f ms form m The he Winds W wind her leath her bag… Letters Found flo oating between n The v ett aba varl bandoned wagon’s Mercury static appearllatticed machine Thatt Retard th he resonance of his Myriad attic apparatus of dream ms As the the th h Myo yopic menopause monste ers, Some Stretch the yolk in vain Some SSom ome Like the Omaha’s cattle sttock, Or even the autumn man’s graze Upon Oberon, Titania and graz d Puck, They’re all cloaked in llaace Porcelain Puppet Prancing g Round the Maypole’s gaze e D nched in the Prude palace Of Helio’s Hydrogen rays Dre T at Tha a Twinkle St. Cecilia’s Vacan nt azure glaze The Celestiall Pirouette plotAtlas, the celib Pi bate sirens silence broke S wnally sheveled, objectifying their Note An Scr Sc Scra old o ol l an gasp bou und the cripplers joke W e Alma gest’s most hystericalWhil h orical Somn am bu lists woke hist D rhym Do me phone Delph si tu uCom mands, time the sword h prrod But the tender her Roast beef muttonThe Roa m k polio mus musk nus Ballod o dd d DiDige ges stin st

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

A Cross, the foiled dawn… Tracing the breaking whee el B , Occidental Stain “I’ve wandered neath the ocean Blue hy n” Thy t thou ght it the best… Just to leave this world SSo slipper-ally and Splinterred The Ivory vine winds Re etr tractTo orrow …Once upon a time. To-m To T s Tap trickle track patted Patterning the parch Tu Tusk hed w e Datt a Dioraama Dew Permeate Her a Fllaws. wh wher too toot o hed Virgiins Atrax Menthe Arkansas the th FFath th her’s r’s ’ h han and, d, d

ARCHITECTURAL DRAWINGS ROOF SKIN / 1’ - 1/8”

16


0'

2'

4'

8'

16'

ADOCODA / ITHACA, NY

Stretched up pon pon St. Catharine Lending DA DA illiterate Her er o ornamenta rnamentaal pane Sheathed a Yellowissh Tar B Baby aby Reassured But it’s the Air who wass jjealous ealous With her nimbus Obscured So I ing upon a reve erie Wher e Her Ivy does wh ere hine: To-morrow, and To-Mo orrow and pon p o ’s jaws Peering panorama ony rama pleat, seep the wounds beneath her gauze Dee ep, The Curse of the Mississssippi sippi Where eddies echoed d her perfume Where the Bucked straight to Ma oooom “B B ut won’t you play the rest for me?” Sobs babble bob bbes woon Oh’ But Traveler’sWith a face of cu ope’s, toc, hung so grand ured Ham Reflects lyres lirio Twix, the Rowan window jam Twix m mb b “Play Play it yourself… yourself ”says says he wurr hur numb son done swam m Under a Lacquered Lenten Lentten lantern Silos Silhouette e the Harvest worm As the retturn of the robins To close their heir final turn day-Break… O, how their Caw bled A sound s a gnomon could dis-cern An nd the guest tickled Rapese eed As Luciffer’s sickle reaped Sew In Paascal’s ascal’s ebony cabinet A Pallid Peg-leg weeps But there e’s hope inside the alder grroveWhere his machinery medicine slee eps The Heroine Nympho tracks Seven years of Scars But can’t veil the stench stench hatched plumbeneaath the mar Cause the High h-man’s blades Kn Less thaan the journey-work of starss That shed its radiance bright Know Kno brig ght and far Will pointed a path which led Low Down the kiddymine chat hat atterb t ox of a store-bought head Butt the lids on the jars are justt too tight To hear what the ey said So like a cloud of uriine, bellow Orion’s belt elt I forded the Nueces that p pene etrates the g grand Corpus p Ch Christi hristi carcass,, liquid q quick q saandyy Where the trinities jjusst muddyy rustyy and dan an ndy dy So La, la, la, le, please le e end nd me your brazos bra razos azos Cause Cau there’s there’s many a women, to gossip this landy. How the e Panoptic pollutants palsie ed Pino nocchio’s penicillin spum no me me Their leagues leagu gues can’t fathom gu fatho om A Rabid slaver Neptune e So, we’ve all worried won nders Witch wicked wanders loom oom The ninth Alche emy, emy,, Aristotle Aristotl Aris totle otle symphony Who’s Who’s drawing room so tend derly wrote A Chant for the Trans-homo column Quinn ns Wh W here children born borrn rn with hairy coats Because Becau use it Seams that his story’ss Heavens wrath unto the kingdom it denotes Ode to The Oedipal Opis… Grrreat eat devourer of the road EEating atting villages for breakfast… breakfast Witch Scarlet's doth fore ebode:) Crafting the shade’s ’s urthona Tomb cou Tom ou u ugh gh Oppened en code A Meaty-flesh, Me eaty-flesh, invertebrates, disjointed chain of bones The Blood-purple Empress splattered Her albi lb no-clay -clay monochromeAnd a chance chaance to mold that wicked d-whale In an infinite amount of forms The Winds wind d her leather bag… Letttters ers Found floating betwee between en The varlet abandoned wagon’s Mercury static appe earllatticed machine That Retard the resonance off his h is Myriad attic apparatus us o of dreams As the Myopic menopause monsters, Some e Stretch the yolk in vain Some Like the Omaha’s cattle stock, Or even n th t e autumn man’s graze Upon n Oberon, Titania and Puck,, They’re all cloaked in lace Porcelain Puppet Prancing Round the Maypo ole’ss gaze Drenched in the Prud de palace Of Helio’s Hydrog gen rays That Twinkle St. Ce ecilia’s Vacant azure glaze Th he Celestial Pirouette e plotAtlas, the celibate sirens silence broke Scrawnallly sheveled, objectifying their Note An old an gasp bound the cripplers joke While Alma gest’’s most hysterical-historicall Somn am bu lists woke Do o rhyme phone Delph si tuC Command ds, tiime e the sword her prod But the tender Roast beef mutton nThe musk polio nus Ball-o odd Digesting mama’s cham mberScen e e beh hind her shroud Neurosis uncle’s and a golden bug O Hex I gonzo go comb Dis le exical Logorithmic stanzas Amour crys rysstallized Rome Down Do o n six seven eight nine Accen nt’s Jupiter acrostyxx,, hom me…Yes-rosy fingers fecal She Sh he raised her arms in wrath So mythmaker, mythmaker Please draw me a bath Be e fore fore be low be tween be neath, n neath eath, Be yond this dirty pathTo paathTo athTo string along the seash seashells hells hells Amazed at the amputee’s rope Meanwhile Minos Me Am eandering Pool the Hypochondriac’s hope Portina’s pro osthetic patter’s Penal Pattrns to Nyx Hypnos elope CirQuilling the Mary-go-Row Oarso divides the thirrty-fourth Act The noise of Palinurus’ Stranded: Like th he mast’s off the Essex: CRACK Ass the creamy-iris yawn Gasp o ping, that Cat a ract… A Cro oss, the foiled dawn… Traccing the breaking wheel Stretched upon St. Catharine Len nding DA illiterate Her ornaamental pane Sheathed a Ye ellowish Blue, Occidental Stain n “I’ve wandered neath the ocean” Thy Tar Baby Reassu ured But it’s the Air who was jealous With her nimbuss Obscured So I thought it the best… Just to leave thiss world So slipper-ally and Splintered The Ivory vine winds Retracting upon a reve erie Where Her Ivy does wh hine: To-morrow,, and To-Morrow Morrow and To-morrow …Once … upon p a time. Tusks Tap trickle traack ack patted Patterning the parched pony’s jaws Peering panorama pleat, seep the e wounds beneath her her gauze Deep, where Dattt a Diorama Dew Permeate e Her a Flaws. The Curse of the Mississippi Where eddies echoed her perfum me Where the Bucked toothed Virgins Atrax Men-straig ght to Ma oooom “Butt won’t you play the rest forr me?” Sobs babble bobbes woon Oh’ the Arkansas Traveler’sWith a faaace ce of cured Ham Reflects lyyres liriope’s, toc, hung so grand Father’s hand, Twiix, ix, the Rowan window jamb b “Play it yourself…”says he e wurr hur numb so o on n done swam Under a Laccquered Lenten lantern Silo os Silhouette the Harvest worm As the returrrn n of the robins To close the eir final turn day-Break… O, how their Caw bled A sound a gnomon could discern And the gueest tickled Rapeseed As Lucifer’s A L if ’ sickle i kl reaped d Sew S In I Pascal’s P l’ ebo bony cabinet bi A Pallid P llid Peg-leg P l g weeps B But there’s h ’ hope inside the alder groveWhere his machiinery medicine sleeps The Heroine Nympho tracks Seven years of Scars But can’t veil the stench hatched plumbeneath the mar Cause the High-man’s blades KnowLess than the e journey-work of stars That shed its radiance bright and far Wiill pointed a path which led d Low Down the kiddymine chatterbox of a store-bought head d But the lids on the jars are e just too tight To hear what they said So like a cloud of urine,, bellow Orion’s belt I forded the Nueces that penetrates the grand Corpus Christi carcasss, liquid quick sandy Where e the trinitiess just muddy rusty and d dandy So La, la, la, le, please lend me your brazos Caause there’s many a women, women to gossip gossip this landy. landy How the Panoptic Paanoptic anoptic pollutants palsied Pinocchio’s Pinocchio s penicillin spume Their leagues can’t fathom A Rab bid slaver Neptune So, we’vve all wor-ried wonders Witch wicked wanders loom The nintth Alchemy, Aristotle symp phony Who’s drawing room so tenderly wrote A Chant for the Trans-homo column Quinns Where children born with h hairy coats Because it Seaams that his story’s Heavenss wrrath unto the kingdom itt denotes Ode to The Oedip pal Opis… Great devoure ure urer er of the road Eating villages for breakfast… Witch Scarlet'ss doth forebode:) Craffting the e sh hade’s urthona Tomb cough Oppened en code A Meaaty-flesh, invertebrate es, dis-joiinted chain of bones The Blood-purple Empress splatttered Her albino-cla la lay mo onochromeAnd a chance to o mold that wicked-whale In an infinite amou ount of form fo o ms The Winds wind her leaather bag… Letters Found fl floating between e The en varllet abandoned wagon’s Me ercury static appearllatticed d machine Thaat Retaard the resonance of his Myyriad attic apparatus of dre eams As the Myopic menopause monstters, Some Stretch the yolkk in vain Som me Like the Omaha’s cattle stock, Or even the autumn n man’s graaze Upon Oberon, Titania and Puck, They’re all cloaked d in lacce Porcelain Puppet Prancin ng Round the Maypole’s gaze Drrenched in the Prude palace Of Helio’s Hydrogen rays That Twinkle St. Cecilia’s Vaccant azure glaze The Celestiial Pirouette Pi tt plotAtlas, l tAtl the th celib libate t sirens i silence il b broke k Scrawnally sheveled d, objectifying their Note An n old an gasp bo ound the cripplers joke While Almaa gest’s most hystericalhistoricaal Somn am bu lists woke e Do rhyyme phone Delph si tuCommands, time the sword d her prod But the tender Ro oast beef muttonThe e musk polio nus Ballo Diodd DigeDig stin in

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

A Cross, the foiled dawn… … Tracing the breaking whe eel Blue, Occidental Stain “I’vve wandered neath the ocean” Thy thought it the best… Jusst to leave this world So slipper-ally and Splinte ered The Ivory vine winds RetractTo-morrow …Once upon n a time. Tusks Tap trickle trackk patted Patterning the parrched where Datt a Dio orama Dew Permeate Her a Flaws. toothed Virgins Atrax Menthe e Arkansas Father’s Fath e s hand er hand,

ARCHITECTURAL DRAWINGS ROOF STRUCTURAL / 1’ - 1/8”

17


1’ - 1/8”

AXONOMETRIC DRAWING SUB STRUCTURAL = 1’= 1/8” 18

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


1’ - 1/8”

AXONOMETRIC DRAWING RAW LEVEL 5 & 4 / 1’= 1/8” 19

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


1’ - 1/8”

AXONOMETRIC DRAWING LEVEL 3 & 2 / 1’= 1/8” 20

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


1’ - 1/8”

AXONOMETRIC DRAWING LEVEL 1 & 0 / 1’ = 1/8” 21

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


ADOCODA / ITHACA, NY

SPACIO-ACOUSTIC CONDITIONS

OUTDOOR

PROGRAM / AREA

SOUNDBOARD AUDIO VIDEO

ENCLOSED PARTIAL EXPOSURE EXPOSED

DN

AIR TIGHT ADA RAMP ADA BALCONY GREETING

OBSERVATION DECK FIRE EGRESS CORE / ONE TWO THREE

7

DN

6

FIRE EGRESS

DN

28.2 8

ADA CIRCULATION

DN

5

-5’0”

9

4

10

DN

11

DN

EMPTY / FULL 3

28.3 2

12

22.1

DN

0’0”

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

27.1

13

15 DN

14

1’ - 1/8”

ARCHITECTURAL DRAWINGS FLOOR PLAN / LEVEL 5 / 1’ - 1/8”

22


PROGRAM /AREA

SOUND BOARD AUDIO VIDEO

OUTDOOR AIR TIGHT

AUDITORIUM STAGE

ENCLOSED PARTIAL ENCLOSED

ADA RAMP ADA BALCONY

MAIN CHAMBER

6

ADOCODA / ITHACA, NY

SPACIO-ACOUSTIC CONDITIONS

GREETING OBSERVATION CHAMBER

7

GREETING

-15’0”

FIRE EGRESS CORE / ONE TWO THREE

DN

28.2 8

5

BATHROOM / UNISEX

FIRE EGRESS

ADA RAMP CIRCULATION

9

-5’0”

4

10

11

DN

DN

DN

3

-2’0” ECHO UP

UP

28.3 2

UP

UP

UP

12

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

27.1

0’0”

13

23.1

15

DN

14

1’ - 1/8”

ARCHITECTURAL DRAWINGS FLOOR PLAN / LEVEL 4 / 1’ - 1/8”

23


ADOCODA / ITHACA, NY

SPACIO-ACOUSTIC CONDITIONS PROGRAM / AREA OUTDOOR AIR TIGHT

AUDITORIUM STAGE

ENCLOSED PARTIAL ENCLOSED 6

MAIN CHAMBER

7

OFFICE / ONE TWO THREE GREEN

DN

28.2

ADA RAMP /

FIRE EGRESS CORE / ONE TWO THREE

8

BATHROOM / FEMALE UNISEX MALE

5

-15’0”

FIRE EGRESS

ADA RAMP

9

CIRCULATION

4

10

-5’0”

11

DN

DN

DN

3

12 UP

1

28.3 DN

UP

CIRCULATION TO USE

2 UP

UP

12

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

27.1

DN

UP

-2’0”

UP

DN

13

24.1 0’0”

15

DN

14

1’ - 1/8”

ARCHITECTURAL DRAWINGS FLOOR PLAN / LEVEL 3 / 1’ - 1/8”

24


ADOCODA / ITHACA, NY

5’0”

DN

SPACIO-ACOUSTIC CONDITIONS

OUTDOOR AIR TIGHT -15’0”

MAIN CHAMBER

7

DANCE STAGE FRONT BACK DANCE FLOOR TYP. CELL

ENCLOSED PARTIAL ENCLOSED

6

PROGRAM /AREA

SUMMER STAGE CAFE’

ADA RAMP ADA BALCONY

28.2 UP

CACOPHONY CHAMBER

UP

UP

8

-15’0” INSTRUMENT LIBRARY

DN

LIBRARY

FIRE EGRESS CORE / ONE TWO THREE

5

GREETING

OFFICE

9

BATHROOM / FEMALE MALE FIRE EGRESS

ADA RAMP

ACOUSTICAL CHAMBER 4

10

CIRCULATION

DN

-5’0”

11 UP

12

DN

3

1

28.3 STRUCTURAL GYRE

2

12

-15’0”

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

27.1

13

25.1 0’0” UP

15

14

1’ - 1/8”

ARCHITECTURAL DRAWINGS FLOOR PLAN / LEVEL 2 / 1’ - 1/8”

25


ADOCODA / ITHACA, NY

16

17

UP

PROGRAM / AREA

SPACIO-ACOUSTIC CONDITIONS

DN

SUMMER BATHROOM / MALE FEMALE

OUTDOOR AIR TIGHT ENCLOSED

6

7

MARKET

PARTIAL ENCLOSED UP

28.2 8

MAIN CHAMBER

STORAGE MECHANICAL

FIRE EGRESS CORE / ONE TWO

FIRE EGRESS

5

BATHROOM / FEMALE MALE 9

ADA RAMP CIRCULATION SEASONAL

4

10

UP

11

3

DATUM

28.3 2

12

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

27.1

13

26.1 15 14

1’ - 1/8”

ARCHITECTURAL DRAWINGS FLOOR PLAN / LEVEL 1 / 1’ - 1/8”

26


ADOCODA/ /ITHACA, ITHACA,NY NY ADOCODA

ADA VIEWING DECK LOBBY BATHROOM GREEN ROOM AUDITORIUM RADIANT HEATING LIBRARY ADA RAMP STAGE MARKET SUMMER STAGE CELL TRANSFORMATIVE DANCE FLOOR DANCE STAGE

28.2

28.3

LEVEL 4

LEVEL 3

JONBRADLEY BRADLEY/ 02448338 / 02448338/ ACADEMY / ACADEMYOFOFART ART/ /FINAL FINAL THESISPROJECT PROJECT/ /VERNACULAR VERNACULARECHO ECHOCHAMBER CHAMBER CHAMBE / /SPRING SPRING2013 2013 JON THESIS

1.

LEVEL 2

LEVEL 1

LEVEL 0 1.

B

A

1’ - 1/8”

C

D

E

F

G

H

ARCHITECTURAL DRAWINGS BUILDING SECTION / EAST / 1’ - 1/8”

27


ADOCODA / ITHACA, NY

ADA VIEWING LOBBY STAIR

GILES ST. BRIDGE 3.

WELL’S FALLS DAM

ELEVATOR

WATER WORKS

PERFORMANCE CELL

EVAPORATION CHAMBERS

ADA RAMP

ADA RAMP AUDITORIUM RADIANT FLOOR HEATING FALLS OBSERVATION LIBRARY BATHROOM STAGE MECHANICAL SOFIT AUDITORIUM SEATING MECHANICAL RETURN MARKET

27.1

27.1

LEVEL 4

LEVEL 3

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

2.

LEVEL 2

LEVEL 1

LEVEL 0 2.

G.1

G.2

G.3

H

3.

C.1

C.2

C.3 C.4

ARCHITECTURAL DRAWINGS SOUTH SECTION / STAIRWELL / AUDITORIUM 1’ - 1/8”

28


28.2

A

1’ - 1/8” B C D

LEVEL 4

LEVEL 3

E F G

ELEVATION //EAST EAST //1’ 1’--1/8” 1/8”

ADOCODA/ /ITHACA, ITHACA,NY NY ADOCODA JONBRADLEY BRADLEY/ 02448338 / 02448338/ ACADEMY / ACADEMYOFOFART ART/ /FINAL FINAL THESISPROJECT PROJECT/ /VERNACULAR VERNACULARECHO ECHOCHAMBER CHAMBER/ /SPRING SPRING2013 2013 JON THESIS

28.3

LEVEL 2

LEVEL 1

LEVEL 0

H

ARCHITECTURAL DRAWINGS 29 29


ADOCODA / ITHACA, NY 12.1

LEVEL 4

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

12.1

LEVEL 3

LEVEL 2

LEVEL 1

LEVEL 0

1’ - 1/8”

A

B

C

D

E

F

G

H

ARCHITECTURAL DRAWINGS A ELEVA ELEVATION VATION / WEST / 1’’ - 1/8” 1/8 / ”

30


A. B. C. D. E.

1’= 1/8”

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

27.1

1’ - 1/8” F.

NORTH ELEVATION 30.1


A. B. C. D.

1’= 1/8”

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

27.1

1’ - 1/8”

SOUTH ELEVATION 30.2


1’ - 1/8”

AXONOMETRIC DRAWING SUB STRUCTURAL / 1’= 1/8” 31

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

RIB VAULT

SKIN MEMBRANE GREEN ROOF

INTERNAL TESSELLATION

INTERNAL TESSELLATION STRUCTURE GLUE-LAM 4” X 16”

SKIN MEMBRANE

PRE - CAST INTERNAL INTERIOR BUTTRESS SYSTEM

EXOSKELETON HOLLOW TUBE 5 GAUGE STEEL

EXOSKELETON

CAST IN PLACE CONCRETE FOOTING

STRUCTURAL SCHEMATA

STRUCTURAL SYSTEM 32


LA

SO

FA

ME

Nymp

ho

cks tra

Se

n

of ars ye

’t v t can s Bu Scar eil the stench hatched plumbeneath the mar Cause the High-man’s

lin spume Their leag nicil ues

ca n’t

fa

A Ra bid slave rN

ep tune So A Cross, the foiled dawn… Tracing the breaking wheel Stretche d upon St. Catharine Lending DA illiterate Her ornamental pan e Sheathed a Yellowish Blue, Occidental Stain “I’ve wandered neath the ocean” Thy Tar Baby Reassured But it’s the Air who was jealous With her nimbus Obscured So I thought it the best… Just to leave this world So slipper-ally and Splintered The Ivory vine winds Retracting upon a reverie Where Her Ivy does whi ne: To-morrow, and To-Morrow and To-morrow … Once upon a time. Tusks Tap trickle track patted Patterning the parched pony’s jaws Peering panorama ple at, seep the wounds beneath her gauze Deep, where Datt a Diorama Dew Permea te Her a Flaws. The Curse of the Mississippi Where eddie s echoed her perfume Where the Bucked toothed Virgins Atrax Men-straight to M a oooom “But won’t you play the rest for me?” Sobs babble bobbes woon Oh’ the Arkansas Traveler’sWith a face of cured H am Reflects lyres liriope’s, toc, hung so g rand Father’s hand, Twix, the Rowan window jamb “Play it yourself…”says he wurr hur numb son done swam Under a Lacquered Lenten lantern Silos Silho uette the Harvest worm As the return of the robins To close their final turn day-Break… O, how their Caw bled A sound a gnomon could discern And the guest tickled Rapeseed As Lucifer’s sickle reaped Sew In Pasc al’s ebony cabinet A Pallid Peg-leg weeps But there’s hope inside t he alder groveWhere his mac hinery medicine sleeps The Heroine Nympho tra cks Seven years of Scar s But can’t veil the st ench hatched plu mbeneath the m ar Cause the H igh-man’s bl ades Know Less tha n the jou r

RE ney-work of stars That shed its radiance brig ht and far Will poin t ed a path which led Low Dow n the kiddymi ne chatterbox of a store-bo ught hea d But th

33 DUEL PROCESSION

all

tch rs Wi de on dw rie or w

ers loo ed wand wick

m The ninth Alchemy, Aristo tle sym

pho

ny W ho’s dra win g

ro

om

ADOCODA / ITHACA, NY

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013 The

ine Hero

nted a pa th wh ney-w ich led ork ine Low of sta dym Down the kid rs Th at sh ed its far Will p

jour

and

the

brig ht

an

ce

ss th

adian

SI

thom A Cross, the foiled dawn… Tracing the breaking wheel Stretched upon St. Catharine Lending DA illiterate Her ornamental pane Sheathed a Yellowish Blue, Occidental Stain “I’ve wandered neath the ocean” Thy Tar Baby Reassured But it’s the Air who was jealous With her nimbus Obscured So I thought it the best… Just to leave this world So slipper-ally and Splintered The Ivory vine winds Retracting upon a reverie Where Her Ivy does whine: To-morrow, and To-Morrow and To-morrow …Once upon a time. Tusks Tap trickle track patted Patterning the parched pony’s jaws Peering panorama pleat, seep the wounds beneath her gauze Deep, where Datt a Diorama Dew Permeate Her a Flaws. The Curse of the....

e e’v ,w

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SPATIAL COMPOSITION

r

blades KnowLe

oi

ve


SEPARATION

COST DIVISION NAME

%

SQ. FT. COST

PROJECTED

EXCAVATION CONCRETE METALS WOODS PLASTICS AND COMPOSITES 5 GAGUE STEEL TUBE THERMAL AND MOISTURE PROTECTION GREEN ROOFING PANEL OPENINGS FINISHES SPECIALTIES ACOUSTICAL CONDITION EQUIPMENT FURNISHINGS CONVEYING SYSTEMS FIRE SUPPRESSION PLUMBING RADIANT HEATING / COOLING HVAC ELECTRICAL

20 3 10 10 3 10 3 5 1 5 1 2 2 2 3 10 5 5

30 50 20 6 30 7 23 9 45 2 30 3 5 5 6 12 40 45 41

15,000 12,000 1,000 3,000 6,000 9,000 9,000 3,000 6,000 3,000 5,000 1,000 3,000 1,000 1,000 3,000 3,000 6,000 6,000

TOTAL

100

409

24,540,000


ADOCODA / ITHACA, NY SEPARATION

USE / OCCUPANCY CLASSIFICATION GENERAL : Structures or portions of structures shall be classified with respect to occupancy in one or more of the group listed below. A room or space that is intended to be occupied at different times for different purposes for which the room or space will be occupied. Structures with multiple occupancies or uses shall comply with section 508. Where a structure is proposed for a purpose that is not specifically provided for in this code, such structure shall be classified in the group that the occupancy most nearly resembles according to the fire safety and relative hazard involved.

Furnace room where any piece of equipment is over 400,000 Btu per hour input

1 hour or provide automatic fire - extinguishing system

Rooms with boilers where the largest piece of equipment is over 15 psi 10 horsepower

1 hour or provide automatic fire - extinguishing system

Refrigerant machinery rooms

1 hour or provide automatic sprinkeler system

Parking garage

Group 1-3 waste and linen collection rooms

2 hours or 1 hour or provide automatic fire - extinguishing system 1 hour or provide automatic fire - extinguishing system 1 hour or provide automatic fire - extinguishing system

Waste and linen collection rooms over 100 square feet

1 hour or provide automatic fire - extinguishing system

ASSEMBLY GROUP A Assembly Group A occupancy includes, among others, the use of a building or structure, or a portion thereof, for the gathering of persons for purposes such as civic, social or religious functions; recreations; food or drink consumption; or awaiting transportation.

Storage rooms over 100 square feet

CONSTRUCTION TYPE TYPE II-B--Unprotected Non-Combustible (Most common type of non-combustible construction used in commercial buildings). Building constructed of non-combustible materials but these materials have no fire resistance.

HEIGHT/ ALLOWABLE AREA / CONSTRUCTION TYPE TYPE OF CONSTRUCTION

Exceptions: 1. A building used for assembly purposes with an occupancy load of less than 50 persons shall be classified as a Group B occupancy. 2. A room or space used for assembly purposes with an occupant load of less than 50 persons and accessory to another occupancy shall be classified as a Group B occupancy or as part of that occupancy. 3. A room or space used for assembly purposes that is less than 750 square feet in area and is accessory to another occupancy shall be classified as a Group B occupancy or as part of that occupancy. A -1 Assembly uses, usually with fixed seating, intended for the production and viewing of the performing arts or motion pictures including, but not limited to: Motion Picture Theaters / Symphony and Concert Halls / Television and Radio studios admitting an audience / Theaters A-2 Assembly uses intended for food and / or drink consumption including, but not limited to: Banquet halls / Dance Halls (not including food or drink consumption) / Night Clubs / Restaurants / Taverns and Bars

TYPE I A GROUP HGT (FT) A-1 A-2 A-3 A-4 A-5

S A S A S A S A S A

TYPE II B

TYPE III

A

UL

160

55

UL UL UL UL UL UL UL UL UL UL

UL UL UL UL UL UL UL UL UL UL

6 17,500 6 17,500 6 17,500 6 17,500 UL UL

B 65 3 10,500 3 9,500 3 9,500 3 9,500 UL UL

A

B

55

65

6 14,700 6 14,000 6 14,000 6 14,000 UL UL

3 5,600 3 5,600 3 5,600 3 5,600 UL UL

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

CODE

BUILDING CODE SEPERATION / ALLOWABLE AREA / CONSTRUCTION TYPE 34.1


THE SUSTAINABLE STRATEGIES BEST HARNESS THE NATURAL SURROUNDINGS TO CONSERVE THE TRANSFER OF TRADITIONAL ENERGY SYSTEMS. [A] COOL WATER IS DIVERTED INTO THE BUILDINGS RADIANT FLOORING FROM SIX MILE CREEK TO COOL THE FACILITY IN THE SUMMER AND HEAT IN THE WINTER. [B.] THE BUILDINGS EXOSKELETON MAPS THE SUN’S PATH TO DIVERT SOLAR ANERGY TO BOIL TANKS OF WATER TO CONSTANTLY PRODUCE A WATER CYCLE THAT CONTINUALLY GENERATES ENERGY. [C] KNOWING THE AMOUNT OF FOOT TRAFFIC ONE CAN SET UP A SYSTEM OF PUMPS THAT GENERATE ENERGY AS THE TOWNS PEOPLE OF ITHACA PROCESS UP THE PATHWAY ALONG SIX MILE CREEK. BY WALKING THEY ARE ABLE TO PRODUCE THE ENERGY TO FUEL THEIR CONCERT EXPERIENCE.

+

=

+

=

+

=

+

+

=


ADOCODA / ITHACA, NY

GREEN ROOF PARAPET

CAST IN PLACE CONCRETE SLAB SLOPED FOR EXTERIOR DRAINAGE SCUPPER PRE - CAST CONCRETE METAL ENTRANCE DOOR FIXED BOLT

POLYETHYLENE WATER BARRIER UNDER SLAB INSULATION C.

STEEL TUBE STRUCTURAL MEMBER 5 GAUGE PRE - CAST PLACE ANGLED CONCRETE BUTTRESS COLUMN PRE-FABRICATED STEEL W FLOOR SYSTEM STEEL PLATE FLANGE BASEMENT ENTRANCE DOOR CAST IN PLACE CONCRETE FOOTING

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

D.

A.

B.

4.

1’ - 1 1/2”

DETAIL DRAWING WALL SECTION 1’ - 1/2”

36


ADOCODA / ITHACA, NY

PRE-FABRICATED STEEL W FLOOR SYSTEM BOLT PRE-CAST CONCRETE CUSTOM I BEAM FASTENER BOLT STEEL I BEAM WELD

STEEL TUBE STRUCTURAL MEMBER 5 GAUGE

WELD STEEL PLATE FLANGE STEEL PLATE FLANGE WATERPROOFING MEMBRANE BOLT CAST IN PLACE CONCRETE

CAST IN PLACE CONCRETE BENCH CAST IN PLACE ANGLED CONCRETE COLUMN CAST IN PLACE CONCRETE SLAB SLOPED FOR EXTERIOR DRAINAGE

POLYETHYLENE WATER BARRIER

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

EXTERIOR BASEBOARD QUICKCRETE CONCRETE FINISH STEEL L FLANGE

UNDER SLAB INSULATION 2” LAYER SAND 4” LAYER GRAVEL SOIL

SOIL

CONCRETE FOOTING

STEEL I BEAM

PRE-FABRICATED STEEL W FLOOR SYSTEM

STEEL TUBE STRUCTURAL MEMBER 5 GAUGE

GREEN ROOF SYSTEM

GLUE-LAM 4” X 16”

STRUCTURAL PRE-CAST CONCRETE COLUMN 2’ X 2’

BUILDING OBSCURA

CAST IN PLACE CONCRETE FOOTING STEEL REBAR

A.

DETAIL DRAWING SUB STRUCTURE FOOTING CONNECTION 1’ -1 1/2” 37


ADOCODA / ITHACA, NY ENTRANCE DOOR SECTION DOOR HYDRAULIC SYSTEM ENTRANCE DOOR ELEVATION CAST IRON HANDEL HYDRAULIC CHECK AND SPRING CLOSER DOOR ROLLER AND GUIDEBOX 16 GA. - 13 GA. DOOR RAILS W/ RETURNED ENDS 2” HOLLOW COR PRE FABRICATED PAINTED ALUMINUM DOOR 2” HOLLOW COR PRE FABRICATED PAINTED ALUMINUM DOOR 3” x 1” x .25” BIANARY BLAZON STEEL PLATE DOOR HANGER 5” x .25” CONCRETE LAGG BOLT

16 GA. - 13 GA. DOOR RAILS W/ RETURNED ENDS SEALANT GROUT FOR EXPANSION JOINT REBAR REINFORCEMENT

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

4.

(3/4" TYP.) W/ 1/2" THRESHOLD FINISHED FLOOR 10”

POLYURETHANE MOISTURE BARRIER UNDER SLAB INSULATION 2' LAYER OF SAND 4" LAYER OF GRAVEL

B.

DETAIL DRAWING SOUTH EXTERIOR DOOR / SECTION / ELEVATION 1’ - 1 1/2 “

38


ADOCODA / ITHACA, NY

METAL ENTRANCE DOOR FIXED PRE - CAST CONCRETE SLAB SLOPED FOR EXTERIOR DRAINAGE POLYETHYLENE WATER BARRIER BOLT HOLLOW CORE PRE - FABRICATED CUSTOM METAL PANEL STEEL TUBE STRUCTURAL MEMBER 5 GAUGE WELD R - 30 BAT INSULATION WATERPROOF MEMBRANE CUSTOM STEEL FASTENER STEEL L FLANGE PRE - CAST CONCRETE

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

4.

C.

DETAIL DRAWING WEST EXTERIOR DOOR / ASSEMBLAGE 1’ - 1 1/2 “

39


ADOCODA / ITHACA, NY

BOLT ENGINEERED GLUE-LAM 4” X 16” CEDER FURRING FOR ACOUSTICAL BAFFLING

ENGINEERED STEEL STUD 2” X 8” WALL ACOUSTICAL PANELS TYP. GSKY GREEN ROOF / WALL PANELS SHADE GROWN FOLIAGE ROOFING MEMBRANE

THE HOLLOW TUBE STRUCTURE IS BASED ON THE INVERSE OF AN AEOLIAN HARP. WHERE THE OUTPUT OF THE WIND IS TRANSFORMED INTO ENERGY AS IT PASSES THROUGH THE AND SPINS INTERNAL TURBINES.

FLASHING MEMBRANE FELT SUB WALL

R - 30 BAT INSULATION

FIRE RATED DRYWALL ROUGH FINISH DRAINAGE PIPE

ALUMINUM CLIP SINGLE PLY ROOFING 1/4” / FT. SLOPE FRENCH DRAIN MEMBRANE GASKET SEALANT SEALANT AND BACKER ROD FLASHING

HOLLOW 5 GAGUE STEEL TUBE

GRAVEL STOP

TURBINE

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

PRE FABRICATED STEEL BRACKETS WELD

ROOFING ADHESIVE SCUPPER STRAINER P. V. C. LEADER DRAIN STEEL REBAR PRE-CAST CONCRETE

D.

DETAIL DRAWING ROOF CONNECTION / PARAPET / SUPER STRUCTURAL SYSTEM 1 1/2” - 1’

40


REPRESENTATIVE TO UNIQUE

STAGE / BALCONY / AUDITORIUM / 1’ = 1/8”

BUILDING SECTION 41

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


BUILDING SECTION AUDITORUM 1’= 1/2” 41.1

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


11. PROVIDE 16 GA. BACKING AT ALL ACCESSORIES AND LAV. TOPS AT GRAB BARS PROVIDE 16 GA. BACKING SECURED TO AT LEAST 3 STUDS 12. CAULK AROUND JOINT AT BOTTOM OF TOILET AND FLOOR

WOMEN

NOTES:

1/4" THICK (TYP.)

6.

12" EQUILATERAL TRIANGLE, 1/4" THICK WITH THE VERTEX POINTING UPWARD AND THE COLOR AND CONTRAST BEING DISTINCTLY DIFFERENT FROM THE COLOR OF THE DOOR

7.

LETTERS AND NUMERALS ON SIGNS ARE RAISED 1/32", SANS SERIF UPPERCASE CHARACTERS TO BE ACCOMPANIED BY GRADE 2 BRAILLE.

8.

BRAILLE DOTS ARE 1/10" ON CENTER IN EACH CELL WITH 2/10" SPACE BETWEEN CELLS

9.

BRAILLE DOTS ARE RAISED A MINIMUM OF 1/40" ABOVE THE BACKGROUND

2. ALL LETTERS AND SYMBOLS SHALL BE RAISED 1/32"

DOT DIAMETER

.059 INCHES

INTER-DOT SPACING

.090 INCHES

3. 12" DIAMETER CIRCLE, 1/4" THICK WITH THE COLOR AND CONTRAST BEING DISTINCTLY DIFFERENT FROM THE COLOR OF THE DOOR

.241 INCHES

4. INTERNATIONAL SIGN OF ACCESSIBILITY, WHITE FIGURE ON BLUE (#15090 FEDERAL STANDARD 595a) BACKGROUND

.395 INCHES

11_2"

MEN

1. H.C. SIGNS PER ADA

LITERARY BRAILLE STANDARD DIMENSIONS:

HORIZONTAL SEPARATION BETWEEN CELLS VERTICAL SEPARATION BETWEEN CELLS

BLUE BRAILLE LETTERS TYP.

5. SIGN SHALL BE DISPLAYED AT 60" A.F.F., CENTERED ON THE DOOR, COLOR AND CONTRAST SHALL BE DISTINCTLY DIFFERENT FROM COLOR AND CONTRAST OF THE DOOR TYP. FOR MEN'S AND WOMEN'S SIGNS

CONTROLS AND OPERATING MECHANISMS SHALL BE OPERABLE WITH ONE HAND AND SHALL NOT REQUIRE TIGHT GRASPING, PINCHING OR TWISTING OF THE WRIST. THE FORCE REQUIRED TO ACTIVATE CONTROLS SHALL BE NO GREATER THAN 5 lbf (22.2 N) FAUCETS LEVER-OPERATED, PUSH-TYPE AND ELECTRONICALLY SHALL COMPLY WITH 4.27.4 CONTROLLED MECHANISMS ARE EXAMPLES OF ACCEPTABLE DESIGNS. IF SELF-CLOSING VALVES ARE USED THE FAUCET SHALL REMAIN OPEN FOR AT LEAST 10 SECONDS

10. MOUNTING HEIGHT IS 60" FROM FINISH FLOOR TO THE CENTERLINE OF THE SIGN

ACCESSIBLE DOOR SYMBOLS

13. ALL "BOBRICK" SPECIFIED ITEMS MAY BE SUBSTITUTED WITH APPROPRIATE ALTERNATE WITH ARCHITECTS APPROVAL

MIRROR 2'-0"

CUTURED MARBEL BACKSPLASH (TYP)

19" MIN.

8" MIN.

FAUCETS SHALL BE LEVER OPERATED, PUSH TYPE, OR ELECTRICALLY CONTROLLED MECHANISIMS. SELF-CLOSING VALVES SHALL REMAIN OPEN FOR AT LEAST 10 SECONDS.

40" MAX.

5"

CONT. PIANO HINGE MAGNETIC CATCH

PROTECTED PIPING MIRRORS SHALL BE MOUNTED WITH THE BOTTOM EDGE OF THE REFLECTING SURFACE NO HIGHER THAN 40 INCHES ABOVE THE FINISH FLOOR.

18 GA. ANGLE 3/4" PLYWOOD MDF TYP. 6"

PLAS. LAM. 5/8" HINGED PANEL

9"

HOT WATER AND DRAIN PIPES UNDER THE LAVATORY SHALL BE INSULATED OR CONFIGURED TO PROTECT AGAINST CONTACT. THERE SHALL BE NO SHARP OR ABRASIVE SURFACES UNDER LAVATORY.

34" MAX.

29" MIN. 6"

8" MIN.

9" MIN.

27" MIN.

30" MIN.

CULTURED MOSAIC LAV AND PULMAN TOP

6"

CLEAR FLOOR SPACE

2'-10"

4'-0" MIN.

17" MIN.

17" MIN. 19" MAX.

ADOCODA / ITHACA, NY

8. CHARACTERS CONTRAST WITH THEIR BACKGROUND (LIGHT CHARACTERS ON A DARK BACKGROUND, OR DARK CHARACTERS ON A LIGHT BACKGROUND) 9. CHARACTERS AND BACKGROUND OF SIGNS IS EGGSHELL, MATTE, OR OTHER NON-GLARE FINISH

5. LETTERS AND NUMERALS SHALL BE RAISED 1/32", UPPER CASE, SANS SERIF TYPE AND SHALL BE ACCOMPANIED WITH GRADE II BRAILLE. RAISED CHARACTERS SHALL BE AT LEAST 5/8" HIGH, BUT NO HIGHER THAN 2" 6. PERMANENT SIGNAGE TO BE INSTALLED ON THE WALL ADJACENT TO THE LATCH SIDE OF THE DOOR. MOUNTING LOCATION MUST ALLOW A PERSON TO APPROACH WITHOUT ENCOUNTERING PROTRUDING OBJECTS OR STANDING WITHIN THE SWING PATH OF THE DOOR

10. SEAL AROUND ALL RECESSED RESTROOM EQUIPMENT

WHITE 12" HIGH

3. BLOCK CAPITAL LETTERS NOT LESS THAN 6 INCHES IN HEIGHT WITH A STROKE OF NOT LESS THAN 3/4 INCHES. LETTERS TO HAVE WIDTH OF NOT LESS THAN 2 INCHES ECCEPT FOR THE LETTER "I". WITH A SPACING BETWEEN LETTERS OF NOT LESS THAN 3/8". 4. CONTRACTED GRADE 2 BRAILLE SHALL BE USED. DOTS SHALL BE 1/10 INCH ON CENTERS IN EACH CELL WITH 2/10 INCH SPACE BETWEEN CELLS. DOTS SHALL BE RAISED A MINIMUM OF 1/40 INCH ABOVE THE BACKGROUND.

7. LETTERS AND NUMBERS ON SIGNS HAVE A WIDTH-TO-HEIGHT RATION BETWEEN 3:5 AND 1:1 AND A STROKE WIDTH-TO-HEIGHT RATIO BETWEEN 1:5 AND 1:10

12" DIA.

1. TACTILE EXIT SIGN IS REQUIRED IN ADDITION TO ILLUMINATED SIGN ABOVE DOOR AT EXIT DOOR 2. APPROVED SELF-LUMINOUS SIGN (0.06 FT. LAMBERTS MIN.)

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

ADA GENERAL NOTES:

SCALE: N.T.S. LAVATORY CLEARANCES

ACCESSIBLE PULMAN LAVATORY

DETAIL DRAWINGS ADA / BATHROOM STAIR ACCESSIBILITY 1’ = 1/ 4”

42


ADOCODA / ITHACA, NY

33"-36"

19" MIN.

17"-19"

CL

SIDE WALLS

5'

DI A

25' - 0"

C

LE AR

22' - 0"

1'-6"

11/2 " Ø RAIL (SS OR CHROME)

T.P.

REAR WALL OF STANDARD STALL

WALL MOUNTED FIXTURES 1'-0"

C L

33"-36"

19" MIN.

17"-19"

3' - 0"

1'-6"

11/2 " Ø RAIL (SS OR CHROME)

3'-0" MAX.

SIDE WALLS 7

6"

3'-0"

3'-6"

T.P.

6"

3'-0"

3'-6"

3'-0" MAX.

33"-36"

5'-0"

1'-0" 5'-0"

21

REAR WALL OF STANDARD STALL

FLOOR MOUNTED FIXTURES

SCALE: N.T.S.

5

4

SANITARY NAPKIN 4' - 0"

SEAT COVER

TOWELS TOWEL

HAND DRYER

TOWEL

LIGHT

MIRROR

38"-48" TO ENSURE FORWARD RE

SOAP DISPENSER

40" MAX. TO BOTTOM OF REFLE

8' - 6"

13' - 6"

WASTE

WASHROOM ACCESSORIES

2

ADA HAND RAILING

URINAL SINK BATHROOM STALL

TOILET

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

C

ADA STALL TILE @ 36" HEIGHT

TOILET

FIRST FLOOR WOMEN'S ROOM 1/4" = 1'-0"

6

FIRST FLOOR MEN'S ROOM 1/4" = 1'-0"

1

SECOND FLOOR WOMEN'S BATHROOM 1/4" = 1'-0"

3

BATHROOM DETAIL 2 1/4" = 1'-0"

DETAIL DRAWINGS ADA / BATHROOM STAIR ACCESSIBILITY 1’ = 1/ 4” 42.1


ADOCODA / ITHACA, NY NEW GUARD RAIL SPACING OF 21" (HORIZONTAL) DOES NOT REPRESENT A HAZARD. OBC 3.4.6.5. (6)

EXTEND RAILING AT TOP OF STAIRS 12". RETURN TO WALL IF APPLICABLE. (ONE SIDE ONLY)

3'-0"

HSS 1 1 x1 1 x.188 RAILING TYPICAL. VERTICAL AT MAX 48" CTRS.

CLOSURE PLATES TOP AND BOTTOM

3'-0"

2"

10"

1"

31/ " 2

3"

1"

EXTEND RAILING AT BOTTOM OF STAIRS 12" FROM NOSING LINE.

SEE PLAN

2" CONCRETE OVER 1 1/ " DECK 2

3'-0"

3" 12ga METAL PAN FILLED WITH CONCRETE 10"

1'-0"

STAIR #1 DETAIL ANTI-SLIPPERY SELF ADHESIVE ANCHOR STRINGERS TO FLOOR COVER ON TREADS. GRIND SMOOTH ALL WELDS. PAINT FINISH ON ALL STEEL. PROVIDE 5"x 1/4" KICK PLATE AT LANDINGS (TYPICAL)

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

1'-0"

DETAIL DRAWINGS ADA / BATHROOM STAIR ACCESSIBILITY 1’ = 1/ 4” 42.2


ITHACA NEW YORK

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

ADOCODA / ITHACA, NY

1.

RENDERING MAP 43


EXTERIOR RENDERING GILES ST. BRIDGE 44

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


28.

30.

SUMMER PARADE

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

1.

EXTERIOR RENDERING 45


+ ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

=

EXTERIOR RENDERING BIRD’S EYE / CLIFF 46


INTERIOR RENDERING CEILING STRUCTURE 47

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


INTERIOR RENDERINGS ENTRANCE / RAMP / STAGE 48

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


CREEK : POPLAR / DANCE FLOOR : COPPER, POPLAR / ORGANS : CLAY / SKETCH : COMPUTER, INK

CONCEPT : PHYSICAL / SKETCH 49

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


PARTI : INK / WATERWORKS : OIL / ROOT : PASTEL / DREAM : PASTEL, INK / BODY : PASTEL / SITE : INK

PAINTING 50

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


SITE PLAN 1’= 1/32”

SITE MODEL 51

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


SOUTH ELEVATION 1’= 1/32”

SITE MODEL 52

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


WEST ELEVATION 1’= 1/32”

SITE MODEL 53

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


EAST ELEVATION 1’= 1/32”

SITE MODEL 54

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


NORTH ELEVATION 1’= 1/32”

SITE MODEL 55

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


NORTH EAST PERSPECTIVE 1’= 1/32”

SITE MODEL 56

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


SOUTH WEST PERSPECTIVE 1’= 1/32”

SITE MODEL 57

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


SOUTH EAST PERSPECTIVE 1’= 1/32”

SITE MODEL 58

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


NORTH WEST PERSPECTIVE 1’= 1/32”

SITE MODEL 59

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


SECTION MODEL DETAIL 1’= 1/8” 60

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


SOUTH WEST PERSPECTIVE 1’= 1/8”

SECTION MODEL 61

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


NORTH WEST PERSPECTIVE 1’= 1/8”

SECTION MODEL 62

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


NORTHEAST PERSPECTIVE 1’= 1/8”

SECTION MODEL 63

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


BIRD’S EYE PERSPECTIVE 1’= 1/8”

SECTION MODEL 64

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


NORTHWEST PERSPECTIVE 1’= 1/8”

SECTION MODEL 65

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


EAST ELEVATION 1’= 1/8”

SECTION MODEL 66

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


WEST ELEVATION 1’= 1/8”

SECTION MODEL 67

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


NORTH ELEVATION 1’= 1/8”

SECTION MODEL 68

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


SOUTH ELEVATION 1’= 1/8”

SECTION MODEL 69

ADOCODA / ITHACA, NY JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013


Jonathan Carroll Bradley 281 14th St. # 2 San Francisco CA, 94103 jonbradley81@gmail.com 607 273 2360

Education FALL

‘09

First Semester 9.0 Units ARH_650: MS: Introductory Design Studio 1 [Core] ARH_651: MS: Design Process and 2D Media [Core] ARH_621: MS: Architectural History 1: Antiquity to da Vinci [Core]

SPRING ‘10

SUMMER

Second Semester 9.0 Units ARH_653: MS: Introductory Design Studio 2 [Core] ARH_654: MS: Design Process & 3D Media [Core] ARH_631: MS: Architectural History 2: Ascendancy of the Renaissance [Core] Second Year - 21.0 Units

FALL

Third Semester 9.0 Units ARH_656: MS: Introductory Design Studio 3 [Core] ARH_635: MS: Contemporary Urban Theory [Core] ARH_602: MS: Graduate Design Technology 1: Structures [Core]

SPRING ‘11

Fourth Semester 12.0 Units ARH_608: MS: Building and Site Design Studio [Core] ARH_601: MS: Spatial Composition [Core] ARH_620: MS: Digitally Generated Morphology [Core] FA_616 MS: Portrait Painting [Elective By Advisement]

SUMMER

Academy of Art University - San Francisco California Masters of Architecture Candidate University of Colorado Boulder - Boulder Colorado Bachelor of Arts - Studio Arts

Professional Experience June 2012 - Present

ADOCODA / ITHACA, NY

RESUME

Independent Design/Build Project, Bicycle Kitchen, San Francisco, CA - Food Truck kitchen typology made from four bicycles. - Serving breakfast burritos. Architecture Internship, MB Architecture, Oakland California. May 2011 - May 2012 - Design and construction of transformable 800 SQ FT office. - Set up inter office information technology system to allow workers to work remotely. - Designed Flash based Website for Assemblage Development Firm. - Put together construction set documents (Revit) and worked with Local, Oakland, Berkeley, Emeryville, and San Francisco Planing Department. - Set up quantity take of to run with Revit in order to gain project cost estimation for Assemblage residential development firm. Independent Design/Build Project, Coal Creek Canyon CO (Employer: Dang Troung) August 2008 – August 2010 - Residential new construction project - Complete plans including foundation, floor, framing, site plan, elevations, roof, and stair details. - All plans drawn to code stamped off on by structural engineer and approved by Jefferson County Planning Board. Director of Marketing: Randall Scott Company, Boulder, CO March 2007- December 2008 - In charge of wide variety of marketing publicity including: Blogs, News Letters, Product descriptions, advertisement and web content, Web analytics. - Event Coordination: Classes, Local Fund raising, Community Building activities.

Third Year - 27.0 Units FALL

SPRING ‘12

SUMMER

Fifth Semester 15.0 Units ARH_609: MS: Intermediate Design Studio 1 [Core] ARH_604: MS: Material and Methods of Construction: Building Detailing [Core] ARH_605: MS: Graduate Design Technology 2: Environmental Controls [Core] ARH_641: MS: Architectural History 3: Modernism & the Americas [Core] ARH_606: MS: Construction Documents and Building Codes [Core] Sixth Semester 12.0 Units ARH_619: MS: Intermediate Design Studio 2 [Core] ARH_614: MS: Architectural Professional Practices [Core] ARH_609: MS: Urban Mapping

Independent Contractor: Bradley & Associates, Boulder CO October 2006 – March 2007 - General Contractor over Construction of Boulder Concept Showroom. - Included Framing, Electrical, Plumbing, HVAC, Drywall, and Telecom. - Direct Contact with the City of Boulder Planning Department. Carpenter/General Contractor assistant: Burke Builders, Boulder CO December 2005 – October 2006 - Carpenter’s apprentice learning all aspects of the construction process. Design/Build: Academia Falcon, Guaqnajuato Mexico June 2005 – December 2005 - Helped in the renovation of a bed and breakfast into a school dormitory. - Re arrangement of floor plan to accommodate housing needs. - Learned native building techniques infused with open-air architecture. English Teacher: Academia Falcon, Guaqnajuato Mexico January 2005 – December 2005 - Elementary English: Students age 5 to 7 - Conversational English: Students age 18 to 50

JON BRADLEY / 02448338 / ACADEMY OF ART / FINAL THESIS PROJECT / VERNACULAR ECHO CHAMBER / SPRING 2013

SEMESTER BREAKDOWN

MIDPOINT WORKSHOP Languages Fourth Year - 21.0 Units

FALL

SPRING ‘13

Seventh Semester 12.0 Units ARH_800: MS: Directed Study ARH_800: MS: Directed Study FA_607 MS: Cityscape Painting [Elective By Advisement] Eighth Semester 9.0 Units ARH_800: MS: Directed Study ARH_800: MS: Directed Study

English Intermediate/Advanced Spanish Volunteer and Leadership White water rafting guide: Acquired Tastes Rafting Company, Buena Vista CO June – August: 2002, 2003 Assistant to The Secretary of Social Services: State of Guanajuato, Guanajuato Mexico October 2005 – December 2005 - Organized and delivered stainability packets of livestock, seeds, and supplies for greenhouse construction, to rural villages surrounding the city of Guanajuato. Art Teacher; Family Learning Center, Boulder CO August 2008 – Present - Curriculum ranging from Art History to Studio Work. - Grades 6th – 8th

SEMESTER BREAKDOWN / RESUME 69


INDEX 1.1 - Project Narrative, User group Narrative and Concept Statement Pg. 1. 1.2 - Precedent Studies Pg. 2-6 1.3 - Conceptual Study diagrams, sketches and models showing the exploration of multiple design solutions Pg. 11 - 13.2 1.4 - Spatial Analysis diagrams and sketches Pg. 33 1.5 - Site and Context analysis diagrams and Impression sketches (photographs recommended keyed to site plan) Pg. 7 - 10 1.6 - Narrative and diagrammatic analysis of all sustainable strategies Pg. 11,35 1.7 - Spatial and Functional Program diagrams with areas/square footages Pg. 34 1.8 - Site Plan with street names, side walk, property lines, set-backs, all neighboring building footprints, contours, trees, dimensions, graphic scale and north arrow. Pg. 14 1.9 - A Building Code Summary: Occupancy type(s), Construction Type, Allowable Areas, Maximum heights, required fire separations, a diagram of required exits, plus a summary of Zoning requirements. Pg. 9, 34 1.10 - Floor plans all levels including roof - minimum scale 1/8" - 1' major dimensions, and rooms labeled or identified with a legend, graphic scale and north arrow. Ground floor plan should be shown in context and respond to the site accessibility requirements. Pg. 16 - 26 1.11 Structural diagram (column placement grids, frames, bearing vs. non bearing walls, etc.) Pg. 31 - 32. 1.12 Mechanical Diagrams: a plan diagram that shows the primary mechanical systems. Also show any duct work in dropped ceilings in sections, show the location of mechanical rooms in plan, and show natural day lighting, heating or cooling strategies you have employed in the design. Pg. 35 1.13 Elevations - minimum scale 1/8" = 1' Pg. 29 - 30 1.14 An elevation detail (bay or facade area study) - minimum scale 1/2" - 1' Pg. 39

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1.15 Sections - cross and transverse - as many as needed to fully describe project. Pg. 27 - 28 - minimum scale 1/8" = 1' 1.16 One complete wall section (from foundation to roof) of a critical area - minimum scale 1/2" - 1' Pg. 36 1.17 One building section of critical public space - minimum scale 1/2" - 1' Pg. 41 1.18 Four building material details of critical areas, keyed to wall section - minimum scale 1 - 1/2" - 1' Pg. 37 - 40 1.19 Two details to illustrate understanding of accessibility and compliance (i.e. bathroom plan, handrail detail, etc.) Pg. 42 1.20 Study, Process, and Massing models used in your design process Pg. 51 1.21 One complete presentation model Pg. 49 1.23 Two Exterior perspectives in color Pg.43 - 46 1.24 Two Interior perspectives in color Pg. 47 - 48 1.25 A Master plan Analysis Pg. 43 1.26 Painting Pg. 50 1.27 Physical model photographs. Pg. 49

BIBLIOGRAPHY Allmon, Warren D., and Robert M. Ross. Ithaca Is Gorges: A Guide to the Geology of the Ithaca Area. Ithaca, NY: Paleontological Research Institution, 2008. Print. Aristotle, and Gerald Frank Else. Aristotle: Poetics. Ann Arbor: University of Michigan, 1967. Print.

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Bewer, Julius August. The Book of Ezekiel, in the King James Version. New York: Harper, 1954. Print. BrainyQuote. Xplore, n.d. <http://www.brainyquote.com/quotes/authors/j/jimmy_smith.html>. Mills, Sophie. Euripides: Bacchae. London: Duckworth, 2006. Print. "Harry's Blues Lyrics Online, Lightnin' Hopkins Lyrics, ' Lonesome Road '" Harry's Blues Lyrics Online, Lightnin' Hopkins Lyrics, Page 2. N.p., n.d.. <http://blueslyrics.tripod.com/artistswithsongs/lightnin_hopkins_2.htm>. Homer, and W. Walter Merry. Homer. Odyssey;. Oxford: Clarendon, 1955. Print. "Official Bob Dylan Site | The Official Bob Dylan Site." The Official Bob Dylan Site. N.p., n.d. <http://www.bobdylan.com/us/home>. Palladio, Andrea. The Four Books of Architecture. New York: Dover Publications, 1965. Print. Sear, Frank B. "Vitruvius and Roman Theater Design." American Journal of Archaeology 94,.2 (Apr., 1990): 249-58. Print. Toynbee, Paget Jackson. Dante's Letter to Can Grande (Epist. X). Cambridge: At the UP, 1919. Print. Vitruvius, Pollio, and M. H. Morgan. Vitruvius: The Ten Books on Architecture. New York: Dover Publications, 1960. Print. "Willie Nelson." Yesterday's Wine » Music ». N.p., n.d. <http://www.willienelson.com/release/all/yesterdays-wine>. Wittkower, Rudolf. Architectural Principles in the Age of Humanism. New York: W.W. Norton, 1971. Print. Wright, Craig M. The Maze and the Warrior: Symbols in Architecture, Theology, and Music. Cambridge, MA: Harvard UP, 2001. Print.

IMAGE 1. "Willow Trees and Cayuga Lake in Stewart Park ..." Slideshow 476-24: Willow Trees and Cayuga Lake in Stewart Park. Ithaca, New York. N.p., n.d. <http://www.asergeev.com/pictures/archives/compress/2005/476/24s.htm>. 2. "Flickriver: Most Interesting Photos Tagged with Ithacafalls." Flickriver: Most Interesting Photos Tagged with Ithacafalls. N.p., n.d. <http://www.flickriver.com/photos/tags/ithacafalls/interesting/>.

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3. "International Programs." Welcome Incoming Visiting Fellows! N.p., n.d.. <http://www.ilr.cornell.edu/international/visitingFellows/IncomingVF.html>. 4. -5. & 15. – 22. "Ithaca Historical Department." Welcome to The History Center. N.p., n.d. <http://www.thehistorycenter.net/>. 6. - 7. Mirage, The Digital. "Wells Falls NY." Flickr. Yahoo!, 25 Oct. 2009. <http://www.flickr.com/photos/miragebym/4043525861/>. 8. JohnRiccio. "Ithaca, Treman Gorge." Flickr. Yahoo!, 21 Jan. 2009. <http://www.flickr.com/photos/zenjaphy/3214932122/>. N.d. Photograph. N.p. 9. "Floodthehull." Cliff Jumping. N.p., n.d. <http://floodthehull.com/tag/cliff-jumping/>. 10. "ITHACA IS GORGES." ITHACA IS GORGES. N.p., n.d. <http://www.frontiernet.net/~ithacaisgorges/>. 11. "In Mulholland Wildflower Preserve. Ithaca, New York ..." Slideshow 470-07: In Mulholland Wildflower Preserve. Ithaca, New York (large Size). N.p., n.d. <http://www.asergeev.com/pictures/archives/compress/2005/470/07x.htm>. 12. -13. "Sixmile Creek." Sixmile Creek. N.p., n.d. http://naturalhighs.net/waterfalls/falls02/sixmile-p11.htm>. 14. "Pablo Picasso - "Bathers with a Toy Boat". 1937 г." Pablo Picasso. N.p., n.d. <http://www.pablo-ruiz-picasso.net/work-172.php>. 23.- 24. Sear, Frank B. "Vitruvius and Roman Theater Design." American Journal of Archaeology 94,.2 (Apr., 1990): 249-58. Print. 25. "Acropolis Site Plan." N.p., n.d. Web. <http://www.discusmedia.com/authors.php?id=24432>. 26. -27. "The Odeon of Herodes Atticus." The Odeon of Herodes Atticus. N.p., n.d. <http://www.maquettes-historiques.net/P164.html>. 28. "Picture of Ancient Amphitheatre Odeon Gerodes Atticus In Acropol Athents Greece." Ancient Amphitheatre Odeon Gerodes Atticus In Acropol Athents Greece Picture. N.p., n.d. <http://www.featurepics.com/online/Ancient-Amphitheatre-1802232.aspx>. 29. "Chartres Cathedral  ." Chartres Cathedral. N.p., n.d. <http://www.sacred-destinations.com/france/chartres-cathedral>.

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30. "Chartres Cathedral: Exterior." Chartres Cathedral: Exterior. N.p., n.d. Web. 25 July 2012. <http://www.bc.edu/bc_org/avp/cas/fnart/arch/chartres_ext.html>. 31. -33. "Romanesque and Gothic Art & Architecture." Romanesque and Gothic Art & Architecture. N.p., n.d. Web. 25 July 2012. <http://www.oberlin.edu/images/artime9.html>. 34. "IMAGES OF MEDIEVAL ART AND ARCHITECTURE." Medieval Chartres Plans and Drawings. N.p., n.d. <http://www.medart.pitt.edu/menufrance/chartres/plandraw.html>. 35. "Iconostasis a Christianized Scaenae Frons?" Iconostasis a Christianized Scaenae Frons? N.p., n.d. <http://www.orthodoxchristianity.net/forum/index.php?topic=26201.0>. 36. -37. Wittkower, Rudolf. Architectural Principles in the Age of Humanism. New York: W.W. Norton, 1971. Print. 38.-39. "Teatro Olimpico - Andrea Palladio - Great Buildings Architecture." GreatBuildings. N.p., n.d. Web. 25 July 2012. <http://www.greatbuildings.com/buildings/Teatro_Olimpico.html>. 41. "Vicenza, Teatro Olimpico - Sezione - Loreno Confortini Disegni/Drawings." Vicenza, Teatro Olimpico - Sezione - Loreno Confortini Disegni/Drawings. N.p., n.d. <http://www.lorenoconfortini.it/pic/156/vicenza_teatro_olimpico_sezione.html>. 42.-43. "Teatro Olimpico." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. <http://www.britannica.com/EBchecked/media/38767/Teatro-Olimpico-designed-by-Andrea-Palladio-and-completed-by-Vincenzo>. 44.-45. "Tanglewood Music Center." Tanglewood Music Center. N.p., n.d. <http://www.bso.org/micro-sites/tanglewood-music-center/home.aspx>. 46.-50. "::. William Rawn Associates .::." ::. William Rawn Associates .::. N.p., n.d. Web. 25 July 2012. <http://www.rawnarch.com/music_seiji_tanglewood.html>. 51. -57. "The SFJAZZ CenterBuilt for Jazz." Built for Jazz. N.p., n.d. <http://www.sfjazz.org/built-jazz>.

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Jonathan Carroll Bradley