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collection of works

the following is a series of projects and explorations produced in an earnest attempt to capture: ideas, attitudes, place, time, memory, language, into a moment.

matthew bellomy


matthew r. bellomy m: 949.616.6362 e: mbellomy899@gmail.com p: https://issuu.com/matthewbellomy

education

professional experience

academic experience

University of Kansas Masters of Architecture Degree in progress

ARCH 605, Visualizing Natural Forces Teaching Assistant Software tutor and instructor at the University of Kansas, 2016

Dirtworks Construction Document Manager Created and managed central file system with team for construction document set, 2016 - 2017

University of Sheffield, England Semester Abroad Fall 2017

Stephen Lane Architect Summer internship, 2017

AIAS Forum - Revolution Boston, MA, 2016

leadership

software skills

awards

AIAS - University of Kansas Vice president, 2016 school year

Illustrator Photoshop Indesign AutoCAD Rhinoceros Sketchup Revit

Most Precise Technical Drawing, KU Competition, 2015

Software Tutor Held self-initated software tutorials for peers.

Best of High School and College Photography - Finalist, 2016 McDowell Engineering Scholarship, 2014 American Architecture Prize, Interior Design Student Category - Chalmers Hall, 2017 International Green Interiors, Student Category - Chalmers Hall, 2017 AIA Kansas, Student Design Award - Chalmers Hall, 2017

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4


University of Kansas

Visitor’s Center Caracas, Venezuela 6-19 Alley City, Lawrence, Kansas 20-31 Center for Dwelling, Lawrence, Kansas 32-41 Chalmer’s Renovation, Lawrence, Kansas 42-55

University of Sheffield

Spa Scarborough, England 56-67 Oblique Strategies of Design 68-69

Personal

Chair 70-71 Catford Centre Analysis 72-73

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NI UNO N

CARACAS, V


NI OTRO

VENEZUELA


Caracas is a landscape of complexity and contradiction and this is no more evident than in the built environment of Universidad de Central Venezuela, (UCV) a UNESCO world heritage site master planned in the 1950s. The built environment at UCV can be distilled to specific architectural phrases or words, which can be combined in a variety of ways as a way to regenerate this language. Canopies, plants, pavers, columns, louvers, sculptures paths, breeze-blocks, planes, windows, walkways, these are the words of UCV. The page opposite demonstrates some phrases.

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grid / anti-grid

single / collective

large / small

exposed / covered .....


10

exploded axonometric


canopy

structure

walkway

This building was tasked to act as a visitor’s center for the University. The particular goal for this building was to use the discovered language of UCV to create a contextual project. The plot in which the Visitor’s Center is located is formed by a series of covered walkways that border the site.

pods

Within this leftover space, the program was placed as autonomous units with the ground plane and elevated walkway as a connective tissue. Once these were located, a canopy was placed over, creating an open-air structure which responded to specific constraints. Visual connection, sun light, movement, wind.

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12

ground floor plan


exhibition space

exhibition space

model space

services / retail restrooms elevator mechanical storage giftshop

On the south, the concrete canopy stretches out and creates a covered plaza. Columns underneath gesture towards the main entrance. Once there, the umbrella structure frame both context beyond and anyone who may be using the space. Within this main space, contradicting architectural elements are in play with each other. Constant rhythm of the louver wall with the on-off pattern of the columns. The overfilled planters weaving in and out of the structure and disintegrating the trace of the grid of the floor surface. The openness of the umbrella structure contrasting the self-referential nature of the pods.

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existing covered path

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exhibition

longitudinal section

exhibition

model of ucv


The response to pedestrian activity was multi-faceted depending on certain established circulation patterns. Public transport for visitors terminates south of the site, so this boundary extended the existing covered walkway to the reception The north boundary would be primarily used by students. Still visually and physically accessible, it is raised to provide some amount of separation.

services reception

‘continuation’ of covered path

existing covered path

longitudinal section

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16

a qualitative drawing


various interior perspectives

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18

interior perspective


looking through the open air structure, a visual dictionary of UCV would appear in forms of (light / dark) (articulation / monolithic) (grid / anti-grid)

interior perspective

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W

Y

E C

I R T A E Y N N S C A E S ,

K

LA

LL

A


Alley City is an architectural exploration in using the typology of the alleys to subvert the status quo of Lawrence, Kansas. The development pulls the alley through and across the site. Shops, parks, and non-functional spaces are then in-filled within this new and opposing smallscale organizing system. Nooks and crannies emerge and create pockets to host the life of the city. Hidden from the main street and only announces itself via a tower which media is projected upon. This holds significance as Lawrence only builds upwards to demarcate important eras.

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ground floor plan

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The ‘mostly pointless’ zone of the project contains no specified program but rather lets itself become anything it wants. An exception however, is the tower. Quite pointless except for the screen up top which allows media to projected upon it. It becomes the beacon and the identity of the space.

The ‘commercial’ zone is a collection of parts and buildings that loosely sit within the bounding edges of their plots. Their geometry and lack of understanding of context are only intensified by their scale. Everything in this area is seemingly built for a person, not people. Nooks, crannies, undiscovered spaces, they belong to the ones who occupy it.

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vignettes of the second level plan

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Alley City

Lawrence 26

comparing patterns of navigation


Alley City

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ci residential

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m

m

co

Lawrence

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os

m rk

pa

tly

os

m

ss

tle

in

po

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ar

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commercial

tly

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ly

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comparing program distribution

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commercial


This series of sections shows how the tower becomes an object in within this texture of parks, stairs, walkways, buildings. It becomes a way to orient oneself in this space.

section through retail - park space

elevation along street front

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section through retail space

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30

axonometric


axonometric

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Center For Dwelling Within the city of Lawrence, public amenities are sparse for the citizens who are currently atrisk of or experiencing homelessness. The Center for Dwelling (C.F.D.) acts a centralizing hub for resources that anyone within the community may need. Because of the sensitive nature of the program, the project is straightforward in programmatic organization but explores the tectonics and materiality of a building. Phenomenological associations are the keystone for this project.


The form of the building is unassuming, the main designintent was to elicit specific emotional responses using materials. Texture, scale of detailing, articulation, lighting effects, associations, these were all crucial in the exploration of this project. Two main focuses were the ‘mass wall’ bordering the plot boundary and the ‘wood wall’ bordering the interior courtyard. The mass wall is made of a two foot thick monolithic rammed earth wall with a sparse windows and skylight to evoke feelings of security, stability, and a heightened sense of ‘interior’. The courtyard wall is made of CLT wall panels and tongue-groove wood siding with larger / common fenestrations that look onto the courtyard to evoke feelings of domesticity, connection, and warmth. 34


mass wall

wood wall

program block

design strategy diagram

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1

2

3

1. Reception 2. Offices 3. Dining Room 4. Kitchen 5. Services 6. Retail

4

5

6

7 7. Lecture Hall 8. Montessori School 9. Children’s Area 8

9

8

11

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plans and street elevation

10. Medical 11. Library


gure ground

est elevation /24� = 1’

The Center for Dwelling sits confidently within the site, establishing the boundaries with the mass wall, cueing to what happens beyond with irregular fenestation.

con

The program is pulled away from this wall and creates a void space which functions as a triple-height circulation space allowing for light to reflect on / off of the rammed earth wall. All of the program have views into the courtyard primarily for visual enjoyment but additionally allowing for cross-ventilation and optimum natural lighting scenarios. The exterior wall bordering the courtyard was designed with south-facing sun in mind, it was articulated in a way that would cast many small and gentle shadows, creating a sense of depth within the facade.

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sealed insulated safety glass extruded aluminum frame steel connection plate

concrete bond beam with gutter 5-ply clt wall panel

tcc composite flooring glulam beam balustrade-beam attachment

24” thick rammed earth wall with 8” rigid insulation core continual rebar reinforcement bent-steel balustrade 3-ply clt floor panel with half-lap securement mechanical runs

steel plate connection for lateral reinforcement

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“mass wall” axonometric section


steel cap steel cap tongue and groove western red cedar siding western red cedar siding, tongue and groove ventilated air cavity ventilated air cavity

red cedar sill 2x4 blocking 4” rigidinsulation insulation 4” rigid

compositeflooring flooring tcc tcc composite

moisture barrier moisture barrier

glulam beam beam glulam

5-ply clt panel, panel,half-lap half-lap securment 5 ply CLT securement

3 ply clt floor panel 3-ply clt panel

awning awningwindow window

concrete flooring

“wood wall” axonometric section

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40

elevation, looking south


elevation, looking south

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Chalmer’s Renova In the fall of 2016, the coffee shop within the School of Architecture and Design became defunct. Our studio was asked to renovate the space. What started as a relatively small project, transformed into a 6,000 sq. ft and $120,000 project. The renovation included: relocating a coffee and supply shop; renovating a gallery space, common space, and classroom; re-purposing offices; and creating a cafe space that can meet the unique requirements of daily affairs but also provide a space to host event and display work.


ation


JA YH

AW

KB OU

BR

IDG

E

LINDLEY HALL

LE

VA R

D

MA HA RVIN LL FO

RU M

CA

CH HA ALME LL RS

FE IN RV MA DIOS U ST

A

The macro / programmatic LIBNSCHU R T approach had to satisfy both day-ARY Z to-day affairs while also providing a space in which could respond to displaying student work and being an event space. This was achieved through the use of dynamic walls. The gallery space has a sliding glass wall and the classroom has a rotating CLT panel system. These conditions let the building to respond to the specific needs of the occupants.

44

arrangement for special functions

arrangement for daily functions


gallery

cafe

shop

lounge

classroom

highlighted area of work, new conditions

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The micro design strategy of the renovation was to distinguish the boundaries of the cafe. We did so by aligning walls and exposing the concrete floor to create an identifiable ‘slice’ within the building. We then used two axises to divide the space. The north wall was a place to display art (bar / gallery), the south wall was a place where the walls were the ‘art’ (shop / classroom). A secondary division was also created to establish static elements on the west, and dynamic on the east. These were the telescoping glass walls and rotating clt panels.

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static elements dynamic elements bar

art as focus architecture as focus

gallery

cafe

classroom

diagram displaying different axises

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test fit of all the panels

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on-site adjustments

rotating panel wall, prior to construction


Once the design of the project was solidified, studio goals shifted towards construction. My particular role was being part of the Construction Document Management team and focusing on the entire process of the construction and installation of the CLT wall. Responsibilities for this ranged from: shop drawings for manufacturers; meetings with the engineer; hardware research; managing Revit Central File; construction document production; the list goes on. However, it is crucial to note that every task I was involved with would not have been completed without the tremendous help of my peers, teaching assistant, and professor.

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C

1 A501 TOP OF SLAB 15' - 8 7/8"

8"

8"

8"

1/2” THREADED ROD SUSPENSION SYSTEM PLACED WITHIN 8” OF CROSS BEAM - GIRDER CONNECTION APPROX 5' O.C. ALONG GIRDER

8"

4 A502

DOUBLE 2 x 4 WOOD STUD WALL STUDS 16" O.C.

BOT. CHORD OF GIRDER 11' - 11 3/8"

2 A501

Dirt Works 3813 Gree 785.864.4

3 A404

HORIZ. DATUM 10' - 0"

KU DCM 1515 St. A 785.864.3

3-1/2" x 11-7/8" LVL

KU Memo 1301 Jayh 785.864.4

PAIR OF MOMENT RESISTING ARMS TO BE PLACE APPROX. 10' O.C.

PONY WALL ABOVE ROTATING AND FIXED CLT CONNECTION, SEE A503

PONY WALL STRUCTURE TO BE SPLICED IN THREE SECTIONS, AT EACH CONNECTION PAIR OF HSS 2"x2"x1/4" HSS TUBE IS TO BE BOLTED IN BETWEEN STUDS AND WELDED TO TOP AND BOT. FLANGES OF GIRDER TO RESIST MOMENT

3 A502

L4"x4"x1/4"x0'6" LONG WELDED TO EXISTING COLUMN WITH (2) 1/4" DIA x 3" LAGS INTO LVL

Apex Engi 832 Penns 785.337.3

KU DCM 1515 St. A 785.864.3

Confidential Ma property of Dirt made public to returned on req

MIN 32" LENGTH OF PLYWOOD TO PONY WALL STUDES ON SITE, AFTER THE PONY WALL SECTIONS ARE BOLTED TO THE STEEL TUBES, BOTH SIDES OF PONY WALL

TYP. 4' - 7 1/2" 5 -

3-1/2" x 11 7/8" LVL

--502 T/O FINISH FLOOR 0' - 0" 1 A502

3

CONNECTION TO EXISTING COLUMN 3" = 1'-0" 0'

1/2" 1"

2"

2 4"

2 A502

CLT ROTATING PANEL ELEVATION 1/4" = 1'-0"

0'

TYP. 4' - 11 3/8"

1'

2'

4' - 11 1/4"

8'

C

OVERALL DIM OF PANEL

4' - 9 1/2"

4'

3 PLY CLT ROTATING PANEL 4' - 11 1/4"

4' - 11 1/4"

4' - 11 1/4"

3 PLY CLT CLADDING

4' - 11"

100% CON

3 A502

5

75% CON

CHALM JAY BR ROOM

EXISTING CONDITIONS

Chalme 1465 Ja Lawren

29' - 2 3/4"

2-

State N

-

Project Drawn Date

CLT RO

B/O FLOOR SLAB 15' - 5 3/8"

1

CLT ROTATING PANEL ENLARGED PLAN 1/4" = 1'-0"

0'

1'

2'

4'

8'

As indicate

3/16" EXISTING STRUCTURAL BEAM 5' O.C.

EXISTING STRUCTURAL GIRDER AT GRID LINE 5

PAIR OF HSS 2" x 2" x 1/4" MOMENT ARMS WELDED TO TOP AND BOT. FLANGES OF EXISTING GIRDER LOCATED AT 10' O.C. (APPROX.) INSTALL TIGHT TO GIRDER

PAIR OF HSS 2" x 2" x 1/4" MOMENT AR TO TOP AND BOT. FLANGES OF EXIST LOCATED AT 10' O.C. (APPROX.) INST GIRDER

EXISTING STRUCTURAL BEAM 5' O.C.

1/2” DIA. THREADED ROD SECURING STRUCTURE TO EXISTING GIRDER FL

EXISTING STRUCTURAL GIRDER AT GRID LINE 5

WASHER - DOUBLE NUT ASSEMBLY R 2" x 2" x 1/4” STEEL PLATE

3/16"

1/2" x 2' 3-1/2" THREADED ROD SUSPENDING PONY WALL STRUCTURE FROM EXISTING GIRDER DOUBLE NUT TOP CONNECTION RESTING ON 1/2" STEEL WASHER

BOT. CHORD OF GIRDER 11' - 11 3/8"

(2) 3/4” PLYWOOD AS CAP PLATE

1 1/2" PLYWOOD

2 x 4 DIAGONAL BRACING AT 32" O.C ALTERNATE ORIENTATION OF BRACE

5"

2 x 4 WOOD STUD SURROUNDING 2" x 2" x 1/4" STEEL TUBE W/ (3) 1/2"-13 x 6" BOLTS

1/2"-13 x 6" BOLT SECURING MOMENT PONY WALL SPLICE CONNECTIONS, T EACH TUBE

5"

2 x 4 WOOD STUD, 16" O.C

2 x 4 WOOD STUD 16" O.C.

1/2" PLYWOOD SHEATHING, BOTH SID FASTNE W/ 8D NAILS 6" O.C.

2 x 4 DIAGONAL BRACE

1/2” GWB, PNT.01

4"

(3) 10d NAILS AT EACH BRACE

5/8” GWB, PNT.01

3/12” x 11-7/8” LVL AS BOT. CHORD 3-1/2" x 11-7/8" LVL

HORIZ. DATUM 10' - 0"

4"

MORTISED CAVITY FOR THREADED ROD CONNECTION ASSEMBLY

HORIZ. DATUM 10' - 0"

JOINT BETWEEN PONY WALL FRAMES

2"

WASHER - NUT ASSEMBLY RESTING 1/2" STEEL PLATE

CLT ROTATING PANEL HIDDEN FOR C 2

50

CLT ROTATING PANEL 1 1/2" = 1'-0"

0'

1"

2"

4"

8"

enlarged detail various of clt construction panel wall structure details

1

CLT HEADER CONDITION 1 1/2" = 1'-0"

0'

1"

2"

4"


B/O FLOOR SLAB 15' - 5 3/8"

3/16" EXISTING STRUCTURAL BEAM 5' O.C.

EXISTING STRUCTURAL GIRDER AT GRID LINE 5

PAIR OF HSS 2" x 2" x 1/4" MOMENT ARMS WELDED TO TOP AND BOT. FLANGES OF EXISTING GIRDER LOCATED AT 10' O.C. (APPROX.) INSTALL TIGHT TO GIRDER

1/2” DIA. THREADED ROD SECURING PONY WALL STRUCTURE TO EXISTING GIRDER FLANGES WASHER - DOUBLE NUT ASSEMBLY RESTING ON 2" x 2" x 1/4” STEEL PLATE

3/16"

BOT. CHORD OF GIRDER 11' - 11 3/8"

(2) 3/4” PLYWOOD AS CAP PLATE 2 x 4 DIAGONAL BRACING AT 32" O.C., ALTERNATE ORIENTATION OF BRACES

1/2"-13 x 6" BOLT SECURING MOMENT ARM AND PONY WALL SPLICE CONNECTIONS, TYP OF (3) EACH TUBE 2 x 4 WOOD STUD 16" O.C. 1/2" PLYWOOD SHEATHING, BOTH SIDES FASTNE W/ 8D NAILS 6" O.C.

1/2” GWB, PNT.01

(3) 10d NAILS AT EACH BRACE

5/8” GWB, PNT.01

3/12” x 11-7/8” LVL AS BOT. CHORD

HORIZ. DATUM 10' - 0"

2"

WASHER - NUT ASSEMBLY RESTING ON 1/2" STEEL PLATE

CLT ROTATING PANEL HIDDEN FOR CLARITY

enlarged detail of clt panel header assembly

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WELD ANGLE TO EACH ANGLE OF BOTTOM CHORD OF SPACE TRUSS

STEEL ANGLE WELDED TO EACH ANGLE OF BOT CHORD OF EXISTING SPACE TRUSS

7" x 4" x 1/4" STEEL ANGLE W/ 9/16" DIA. x 2" VERT. SLOTTED HOLE TO ACCOUNT FOR DEFLECTION

1/2"-13 x 1-3/4" PLACE 3" ABOVE CAP PLATE AND HORIZ. CENETERD

1"

1/2"-13 x 1-3/4" BOLT PLACE 3" ABOVE CAP PLATE AND CENTERED HORIZ.

MIN 7/8"

1"

4" x 4" x 1/4" STEEL ANGLE W/ 9/16" DIA. x 2" VERT. SLOTTED HOLE TO ACCOUNT FOR DEFLECTION

MIN

EXISTING SPACE TRUSS LOCATED AT GRID LINE C

KU Memori 1301 Jayha 785.864.46

7" x 4" x 1/2" STEEL CAP PLATE FULLY WELDED TO HSS COLUMN

45°

3/4"

Apex Engin 832 Pennsy 785.337.32

1/2" GUSSET PLATE FULLY WELDED TO CAP PLATE AND HSS COLUMN

WIDE FLANGE BEAM TO HSS COLUMN CONNECTION SEE A505.2

HSS 4" x 4" x 1/4" COLUMN

KU DCM 1515 St. An 785.864.34

4" x 4" x 1/2" STEEL KERF PLATE WELDED TO CAP PLATE

4" x 4" x 1/2" STEEL KERF PLATE WELDED TO CAP PLATE

4" x 4" x 1/2" CAP PLATE FULLY WELDED TO HSS COLUMN

Dirt Works 3813 Green 785.864.41

KU DCM 1515 St. An 785.864.34

Confidential Mate property of Dirt W made public to th returned on reque

3"

WIDE FLANGE BEAM TO HSS COLUMN CONNECTION, SEE A505.2

HSS 4" x 4" x 1/4" COLUMN

5

EAST COLUMN CONNECTION 3" = 1'-0"

0'

1"

2"

4"

8"

C

6

WEST COLUMN CONNECTION 3" = 1'-0"

0'

1"

2"

4"

8"

1 A505

TOP OF SLAB 15' - 8 7/8"

EXISTING STRUCTURAL BEAMS 5' O.C., TYP. BOT. CHORD OF GIRDER 11' - 11 3/8"

5 A504

HORIZ. DATUM 10' - 0"

6 A504

9' - 0"

8' - 0"

WIDE FLANGE TO COLUMN CONNECTION SEE DETAIL A406 #1

HSS 3" x 3" x 1/8" TUBE WELDED TO WIDE FLANGE FOR TOP HUNG GLASS TRACK SYSTEM

100% CON

W12 x 16 BEAM

1/2" WEB STIFFENER PLACED 9' FROM EAST EDGE AND 8' FROM WEST EDGE OF WIDE FLANGE BEAM

75% CONS

3" x 3" x 1/4" HSS MOMENT ARM BOLTED TO STEEL ANGLES AND FULLY WELDED TO EXISTING SPACE TRUSS TOP AND BOT FLANGES

CHALM JAY BR ROOMS

Chalmer 1465 Ja Lawrenc 1 1/4"

Project

Drawn B

B/O FLOOR SLAB 15' - 5 3/8"

1 1/2"

BASE PLATE DETAIL, SEE A505.3

Date

3/8"-13 x 4" LONG ANCHOR BOLTS

3 1/2"

T/O FINISH Level 6 FLOOR 0' - 0"

4

State Nu

28' - 11 3/4"

1 1/4"

TOP CHORD BEAM TRUSS 14' - 11 3/8"

OPERAB

1/2" x 7" x 10" STEEL PLATE

GALLERY SOUTH WALL ELEVATION STRUCTURAL 1/4" = 1'-0"

3" x 3" x 1/4" HSS WELDED TO TOP AND BOT FLANGES OF EXISTING SPACE TRUSS 0'

3/16"

1"

2"

Dirt Works Studio 3813 Greenway Drive 785.864.4129

4"

KU DCM 1515 St. Andrews Drive 785.864.3431

Design + Build Lawrence, KS 66046 www.dirtworksstudio.ku.edu

8"

1/4" 3

Structural Engineer Apex Engineers, Inc. 832 Pennsylvania, Suite 1020 Lawrence, KS 66044 785.337.3222 www.apex-engineers.com

4" x 4" x 1/4" HSS TUBE FULLY WELDED TO BASE PLATE 1 1/2"

MEP Engineer Lawrence, KS 66047 kudcm@k.edu

KU DCM 1515 St. Andrews Drive 785.864.3431

Confidential Material: This material, specifications, and all information therein are the property of Dirt Works Studio. No part of this work may be revealed, reproduced, or made public to third parties without the expressed written authorization and shall be returned on request.

1 1/2"

OPERABLE GLASS WALL BASEPLATE DETAIL 3" = 1'-0"

Architect of Record Lawrence, KS 66047 kudcm@k.edu Client Lawrence, KS 66045 union.ku.edu

KU Memorial Union 1301 Jayhawk Blvd. 785.864.4651

0'

1"

2"

4"

8"

EXISTING SPACE TRUSS

W12 x 16 STRUCTURAL STEEL WIDE FLANGE BEAM

1 1/2"

3" x 3" x 1/4" HSS WELDED TO TOP AND BOT FLANGES OF EXISTING SPACE TRUSS

3/4"-10 x 2" BOLT (TYP. OF 3)

BOT. CHORD OF GIRDER 11' - 11 3/8"

1/2"-13 x 4" BOLT SECURING BEAM TO MOMENT RESISTING ARM

3"

B/O FINISH CEILING 11' - 10"

1 1/4"

4" x 2" x 1/4" STEEL ANGLE W/ 1" VERT. SLOTTED HOLE FULLY WELDED TO WIDE FLANGE

1 1/4"

1 1/2"

1/4" STEEL PLATE WELDED TO COLUMN

3/8"-13 x 4" LONG ANCHOR BOLTS

3 1/2"

1 1/2"

3"

13/16" DIA. x 1" HORIZ. SLOTTED HOLE IN SHEAR TAB

4" x 4" x 1/4" HSS STEEL COLUMN

1/2" x 7" x 10" STEEL PLATE

STEEL SHIM AS NEEDED

B/O FLOOR SLAB 15' - 5 3/8"

1/2" WEB STIFFENERS PLACED APPROX. 10' O.C.

4" x 2" x 1/4" STEEL ANGLE W/ 1" VERT. SLOTTED HOLE FULLY WELDED TO WIDE FLANGE

12.23.2016

100% CONSTRUCTION DOCUMENT SET

TOP CHORD BEAM TRUSS 14' - 11 3/8" 75% CONSTRUCTION DOCUMENT SET

STEEL ANGLE TO BE CUT TO FIT WITHIN FLANGE OF BEAM

12.5.2016

CHALMERS HALL, REMODEL FOR JAY BREAK AND ART GALLERY, ROOMS 302, 315, 361, 362

3/16"

3" x 3" x 1/4" STEEL ANGLE WELDED TO COLUMN

Chalmers Hall, #68200-000151 1465 Jayhawk Blvd., Lawrence, KS, 66045 HORIZ. DATUM 10' - 0"

State Number

4" x 4" x 1/4" HSS TUBE FULLY WELDED TO BASE PLATE

1/4"

HSS 3" x 3" x 1/8" WELDED TO WIDE FLANGE FOR ATTACHMENT OF GLASS WALL SYSTEM

1 1/2"

A-013198

Project Number

1 1/2"

151-11182

Drawn By

MATTHEW BELLOMY

Date

2/7/2017 12:52:45 PM

OPERABLE GLASS WALL HEADER 2

OPERABLE GLASS WALL STRUCTURE COLUMN CONNECTION 3" = 1'-0"

0'

1"

2"

4"

8"

1

GLASS WALL BASEPLATE DETAIL 3 OPERABLE Gallery Header 3" = 1'-0" 1 1/2" = 1'-0"

0'

1"

2"

4"

0'

1"

8" 2"

4"

8"

As indicated

A505

1 1/2"

W12 x 16 STRUCTURAL STEEL WIDE FLANGE BEAM

3/4"-10 x 2" BOLT (TYP. OF 3)

BOT. CHORD OF GIRDER 11' - 11 3/8"

3"

B/O FINISH CEILING 11' - 10"

1 1/2"

3"

13/16" DIA. x 1" HORIZ. SLOTTED HOLE IN SHEAR TAB

1/4" STEEL PLATE WELDED TO COLUMN

4" x 4" x 1/4" HSS STEEL COLUMN

STEEL SHIM AS NEEDED

52

various glass wall construction details

3" x 3" x 1/4" STEEL ANGLE WELDED TO COLUMN HORIZ. DATUM 10' - 0"

As indicated


B/O FLOOR SLAB 15' - 5 3/8"

TOP CHORD BEAM TRUSS 14' - 11 3/8"

3" x 3" x 1/4" HSS WELDED TO TOP AND BOT FLANGES OF EXISTING SPACE TRUSS

EXISTING SPACE TRUSS

3" x 3" x 1/4" HSS WELDED TO TOP AND BOT FLANGES OF EXISTING SPACE TRUSS

BOT. CHORD OF GIRDER 11' - 11 3/8" B/O FINISH CEILING 11' - 10"

1/2"-13 x 4" BOLT SECURING BEAM TO MOMENT RESISTING ARM

4" x 2" x 1/4" STEEL ANGLE W/ 1" VERT. SLOTTED HOLE FULLY WELDED TO WIDE FLANGE 1/2" WEB STIFFENERS PLACED APPROX. 10' O.C.

4" x 2" x 1/4" STEEL ANGLE W/ 1" VERT. SLOTTED HOLE FULLY WELDED TO WIDE FLANGE STEEL ANGLE TO BE CUT TO FIT WITHIN FLANGE OF BEAM

HORIZ. DATUM 10' - 0"

enlarged detail of glass wall header assembly

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54

various images of the finished renovation


various images of the finished renovation

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Scarborough, England

Spa


residential

consumption

civic

park

landmark

landmark

mption landmark

Scarborough, England has a varied history but perhaps the most notable is that of a holiday spot for the English working class. Families would travel to Scarborough to experience: swimming; arcades; parks; spa; and so much more. Because of it’s unique history, the collective memory of Scarborough is tinged with nostalgia. It exists both in the real world and that of memory. My approach to designing a spa for Scarborough was to avoid adhering to ‘this or that’ but rather oscillate between the binaries that Scarborough seems to exist within.

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18.

10.

14.

8. 7.

17.

15.

16.

1.

12. 9.

6.

2.

1. Proposed Spa

9. City Hall

2. Scarborough South Beach

10. North Street Car Park

3. Crescent Park 5.

11. Rotunda Museum 12. Park

4. Spa Bridge 13. Scarborough Art Gallery 5. The Grand Hotel 14. Public Market 6. Funicular

15. Waterhouse Lane

3. 11. 13.

4.

7. West Pier

16. Newborough / Eastborough

8. Harbour

17. Foreshore Road

figure ground of the spa in context

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entrance level The site is located at the top of a hill with an approx. 15 meter drop between the highest and lowest point. The general strategy was to terrace the building with the terrain and pull apart the ‘logistic’ and ‘experiential’ program, leaving a public courtyard in between the two. By doing so, the building starts to embed itself into the fabric of Scarborough. Internally, the layout is quite simple. The entrance level contains all the logistical program, check-in, showers, changing rooms, etc. The sauna level (1 story below entrance) contains the saunas and the plunge pool. The lowest floor contains the two main pools, hot pools, and private court. 60


sauna level

main pool level

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LOUNGE

HOT ROOM

OPERABLE WOOD SHUTTER

OPERABLE VENT

HEATED STONE SLABS

AMBULATORY

WARM ROOM

PLANT ROOM

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wall section


ambulatory perspective

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elevation along n (private o

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elevation along s (public o


north-side of spa oriented)

south-side of spa oriented)

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Additionally, an exploration of this project was to understand the role of an ‘architectural language’ played in perception of the building. At points this project shifts from simple moments as displayed above, to repetition of language to build up to complex moments displayed to the right.

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architectural language displayed at a minimum


architectural language displayed at a maximum

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The following work was generated over the summer of 2017 in a class called ‘OBLIQUE STRATEGIES OF DESIGN’. The aim was to discover different methods of approaching any design work from an non-direct process and on the way discovering new facets of any situation, present, past, or future. In addition, a more personal goal was introduced which was to explore the tangled relationship between subject and object.

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start at the end, go backwards


create a language only you understand

the first was too hard, the second was too soft, but the third was just right

each night I had the same dream, but different

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The “Bastard� is a chair from chairs. Created by cannibalizing chairs that have been discarded in the alleyways of Lawrence, Kansas. Tossed from their homes and displaced from their identity they become the canvas for imagined origins. The Bastard is the hero of the displaced. Nothing but a chair, nothing but chairs, but where did these chairs come from?

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collage of parts


non-context in new context

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In spring of 2016, I was asked by a professor to develop a model and series of drawings for their research on the examination of the ‘town center’ typology through Owen Luder’s built works. This model of Catford Centre by Owen Luder was generated in rhino by creating a database of images taken of the building by residents, photographers, passersby, and cross-referencing them to build the centre from ground up. This work is still ongoing and what is displayed is only a small portion of the analysis.

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vignettes of the ‘characters’ of the centre


displaying the centre in context

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collection of works

collection of works, vol. 2  
collection of works, vol. 2  
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