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portfolio melissa szymulewska

SELECTED WORKS 2015-2018


melissa szymulewska MELISSASZYMULEWSKA@GMAIL.COM (331) 200 9575


table of contents

ARCHITECTURE

CONSTRUCTION

ART


WHITEandREAD.

LOCAL BARS

FIGURE GROUND

CONCEPT DIAGRAM

CROSS SECTIONS WINE RACK BOOKCASE

OUTDOOR + INDOOR BAR WINE GLASS SEATING

EXPLODED AXONOMETRIC

LONGITUDINAL SECTION

INTERIOR VIEWS

B-B’

A-A’


A’

B’

C

C’

6

1 5 2

3

4 B

A

first floor plan

A’

7

8 A

ROOM 1 WORK ROOM 2 MECHANICAL ROOM 3 CLOSET 4 BATHROOM 5 MAIN LOBBY 6 BAR 7 STUDY AREA 8 LOUNGE

DIMENSIONS 24’-2” x 14’-9” 10’-0” x 5’-0” 5’-4” x 5’-0” 8’-0” x 5’-0” 45’-6” x 21’0” 72’-6” x 9’-6” 25’-0” x 21’-0” 45’-6” x 8’-0”

second floor plan

indie cafe bookstore

champaign, il course: architecture in the city

project description: an empty lot in downtown champaign was chosen for our site to erect a local bookstore. the site itself faces a +5’ drastic elevation change and is sandwiched between two buildings, causing the dimensions to be drastically narrow in width and drastically long in length. instead of a cafe, i decided to incoporate a wine bar into the design. after analyzing the local bar scene, it felt appropriate for this area as champaign is home to many breweries. it opened up the opportunity for the public to really interact with the space and helped aid in the imagery for not only the facade, but the bookcases as well. i highlighted the fact that the bookcases are in the shape of wine racks, the open outdoor seating is in the shape of wine glasses, and there is the chance to enjoy the outside when weather is appropriate. in order to accomodate the difference in elevation, an ramp was made for ada compliance, as well as an elevator near the entrance for those who cannot use the spiral staircase. there is plenty of areas for seating for both work and play spread throughout the entirety of the building.


VISITOR’S RETREAT AT ALLERTON PARK

MONTICELLO, IL course: architecture in the landscape project description: ALLERTON PARK HAS A RICH HISTORY THAT STARTED ALL WITH THE ALLERTON FAMILY. ROBERT ALLERTON WAS A FAN OF THE ARTS AND ALLOWED FRIENDS TO STAY WITH HIM IN HIS MANSION, AS HE OWNED ACRES OF LAND THAT THEY CAN ACHIEVE INSPIRATION FROM. east cross section OUR DESIGN WAS TO CREATE A SEPERATE LIVING SPACE THAT ACCOMODATED UP TO TWO ARTISTS AT A TIME SO THAT THEY CAN STAY AS A RESIDENT BUT HAVE THEIR OWN PRIVACY. FOR MY DESIGN, I HAD THE MAIN THREE FACTORS BE VIEWS, SEPERATE STUDIOS, AND CIRCULATION. VIEWS CAME FROM WHERE I DECIDED TO LOCATE THIS BUILDING, RIGHT ON THE EDGE OF THE POND. THEIR STUDIOS ARE ON SEPARATE SIDES BUT ACROSS FROM ONE ANOTHER SO THAT THEY CAN STILL COMMUNICATE WHILE HAVING THEIR OWN PLACE TO THINK AND SLEEP. THEIR CIRCULATION WAS ON EITHER SIDE OF THE west elevation BUILDING, INCLUDING AN ELEVATOR IN ORDER TO BE ADA COMPLIANT.

site plan

physical model


SEPARATE STUDIO SPACES

VIEWS

CIRCULATION

second floor plan

exploded axonometric

first floor plan

exterior perspective


PRECEDENT STUDY

course: strategies of arch design project description: for this project, we had to choose from a list of famous precedents and take what we thoughtwas the architect’s “style” and mimick it into a simpler, conceptualized form. i chose richard meier for the purity of white, geometric shapes, and his choice of clean details. this building was built for the giovanitti family and is located in a woodsy area. my conceptual diagrams are really what showcase the particular aspects that pertain to this residency that meier chose.

Giovannitti House (1983) Richard Meier Pittsburgh, Pennsylvania

SQUARE MASS

SQUARE WINDOWS

THIRD FLOOR

CUBIC PANELS

second floor

FIRST FLOOR

SQUARE DETAILS

FINAL MASSING


THE INSECT EFFECT CHAMPAIGN, IL

MASS

CONNECTION TO ORPHEUM MUSEUM

PRIVATE SPACE

COURSE: STRATEGIES OF ARCH DESIGN

PROJECT DESCRIPTION: AN EMPTY LOT LOCATED IN DOWNTOWN CHAMPAIGN HAS BEEN GIVEN TO US IN ORDER TO CREATE A MULTI-PURPOSE FARMER’S MARKET WHERE STALLS ARE ABLE TO MOVE TO OPEN UP THE SPACE FOR WHATEVER ACTIVITY THE COMMUNITY NEEDS. MY TAKE ON IT WAS TO HAVE THE SPACE BECOME A LEARNING ENVIRONMENT WHERE THE LIVING INSECTS AIDED NOT ONLY IN TEACHING THOSE WHO CAME TO LEARN AND OBSERVE, BUT TO ALSO HELP POLLINATE AND HARVEST THE CROPS THAT WERE KEPT INSIDE. A GARDEN IS ALONGSIDE THE NORTH WALL FOR THE SOUTHERN SUN. THE STALLS ARE MADE OUT OF BEEHIVES THAT ARE ABLE TO WHEEL AROUND. I CHOSE TO CONTINUE THE BRICK FROM THE NEIGHBORING BUILDING IN ORDER TO KEEP WITH CONSISTENCY, AS WELL AS THE FACT THAT BOTH BUILDINGS ARE MAINLY FOR THE EDUCATION AND ENTERTAINMENT FOR CHILDREN (ONE BEING A MUSEUM, MY BUILDING BEING AN INSECTARIUM).

INSECTARIUM

PHYSICAL MODEL

GROUND FLOOR PLAN

ISOMETRIC

HIVE DURING MARKET

HIVE DURING BUGKEEPING


HERE. APARTMENTS

COMPRESSIBLE GASKET

FIRESAFING, SMOKESEAL PER CW -S -2050

3" SPRAY FOAM W/ GYP., SEE WALL SCHEDULE

CMU STABILIZER CLIP, SEE STRUCT. METAL FLASHING WITH INTEGRAL WEEP

4' - 0"

STOP INSULATION AND GYP. AT TOP OF CURB

SHIM AS REQUIRED 3 1/4" SEMI RIGID ROCKWOOL INSULATION AWS, VERIFY DETAILS WITH MANUFACTURE

SPANDREL GLASS

EXTERIOR

CLEAR SEALER 2" INSULATED METAL PANEL (WALL TYPE N2, SEE SCHED

CMU BLOCK WALL SEALANT AND BACKER ROD

1"

PROJECT DESCRIPTION: A PRE-EXISTING BUILDING LOCATED RIGHT ON CAMPUS WAS CHOSEN TO RECREATE IN REVIT FROM THE FOUNDATION PLAN ALL THE WAY UP TO THE SIXTEENTH PENTHOUSE SUITE. WE HAD THE OPPORTUNITY TO ANAYLZE THE ACTUAL CONSTRUCTION DOCUMENTS USED FOR THE INTERIOR DEVELOPMENT OF THE BUILDING. STARTING FROM THE BASICS OF REVIT, WE THEN LEARNED HOW TO CREATE AND EDIT FAMILIES SO THAT F3 2HR RATED WALL -REFER TO WALL SCHEDULE THEY ADHERED TO THE DETAILS OF THE CURRENTSTRUCTURE. THIS PROJECT TO TEACH US HOW TO RECREATE SOMETHING THAT ALREADY EXISTED INSTEAD OF MAKING SOMETHING OF OUR OWN DESIGN. IT TOOK THE ENTIRE SEMESTER AS WE EVEN WENT INTO THE DETAILS OF THE INTERIOR DIFFERENT WALL TYPES (AS SEEN ON THIS PAGE). IT WAS BENEFICIAL TO AS STUDENTS TO ALREADY SEE WHAT THE BUILDING LOOKED LIKE AND COPY IT BASED OFF OF THE DOCUMENTS WE HAD SO THAT WE CAN LEARN EXACTLY WHAT THE RELATIONSHIPS ARE BETWEEN ALL THE PEOPLE WORKING ON A PROJECT AND HOW THEY HAVE TO WORK TOGETHER IN ORDER TO ACHIEVE A BUILDING THAT MEETS ALL THE CODES.

BACK PAN TO MATCH MULLIONS NOTCH AND SEAL BACKPAN AROUND ANCORS

STOREFRONT GLAZING SYSTEM ELASTOMERIC COATING COLOR SELECTED BY THE ARCHITECT BACKER ROD + SEALANT - BOTH SIDES CONCRETE WALL - SEE STRUCTURAL

3" MIN CLOSED CELL SPRAY FOAM INSULATION, MIN. R -21 (1) LAYER 5/8" GYPSUM BOARD

2-1/2" METAL STUD @ 24" O.C. ALIGN

SEALANT AND BACKER ROD GYPSUM BOARD CLIPPED TO BLOCK BEHIND CONTINUE OUTER LAYER OF GYPSUM FROM F5 WALL

TERMINATION BAR AND COUNTER FLASHING

TPO ROOF MEMBRANE ON 2" MIN. RIGID INSULATION, SLOPED 1/4" PER FT. MIN. TO DRAIN (MIN R-30 AVERAGE), REFER TO A5.0 FOR DETAILS

CONC. PARAPET

ELASTOMERIC COATING ON ALL EXPOSED CONCRETE - COLOR SELECTED BY ARCHITECT

8" PT SLAB, SEE STRUCTURAL

2 STORY LIVING ROOM SPACE INSULATED VISION GLASS AS PART OF EXTERIOR WALL SYSTEM

CONTINUOUS DRIP EDGE CAULK/BACKER ROD, TYP.

UNITIZED EXTERIOR WALL SYSTEM WITH METAL STUD FRAMIN, CENTRIA METAL PANEL AND INSULATED GLAZING UNITS

8' P.T. SLAB

FIRESTOPPING/ SMOKE SEAL AT FLOOR TO EXTERIOR WALL CONNECTIONS, TYP.

INSULATED VISION GLASS AS PART OF EXTERIOR WALL SYSTEM

LINE OF COLUMN BEYOND (TYP)

INSULATED VISION GLASS AS PART OF EXTERIOR WALL SYSTEM

UNITIZED EXTERIOR WALL SYSTEM WITH METAL STUD FRAMING, CENTRIA METAL PANEL AND INULATED GLAZING UNITS

DUCT BEYOND, SEE MECHANICAL DRAWINGS

DUCT BEYOND, SEE MECHANICAL DRAWINGS

MINI BLINDS MINI BLINDS

INSULATED VISION GLASS AS PART OF EXTERIOR WALL SYSTEM LINE OF COLUMN BEYOND (TYP.)

NOTE: ALL SPRAY FOAM TO MEET THE REQUIREMENTS OF UL 1040 TEST OR SIMILAR AND THE CHARACTERISTICS OF SPRAY FOAM AS DEFINED IN THE SPECIFICATION UNDER ASTM C1149 AND ASTM C518 (REFER TO SPEC)

INSULATED VISION GLASS AS PART OF EXTERIOR WALL SYSTEM

CONCRETE UPTURNED BEAM (TYP.) SEE STRUCT.

ELASTOMERIC COATING ON ALL EXPOSED CONCRETE - COLOR SELECTED BY ARCHITECT

2 STORY LIVING ROOM SPACE

D.W. SILL

3" MIN. SPRAY APPLIED CLOSED CELL INSULATION (R-21) 2 1/2" METAL STUD W/ (1) LAYER GYP. BD.

P.T. SLAB REFER TO STRUCTURAL DRAWINGS FOR CONNECTION AND DETAILS

BASEBOARD

0' - 8"

FLOOR FINISH PER FINISH SCHEDULE

8' P.T. SLAB

FIRESTOPPING/ SMOKE SEAL AT FLOOR TO EXTERIOR WALL CONNECTIONS, TYP.

Wall Section - North and East Wall @ Double Height Res. 1 1/4" = 1'-0"

1' - 0"

COURSE: CONSTRUCTION OF BUILDINGS

CONT. FLASHING, SEALANT BETWEEN FLASHING & CONCRETE

0' - 10"

CHAMPAIGN, IL

BACK ROD & SEALANT

2 STORY LIVING ROOM SPACE


ACTUAL EXTERIOR

210

211

212

SOUTH ELEVATION

213

214

215

216

217

218

222

219 221

220

224

223

225

12

UP DN

UP

1

DN

5 3/64" = 1'-0"

TYPICAL FLOOR PLAN

EXTERIOR RENDER


INTERIOR WALL DETAIls NORTHBROOK, IL

PROJECT DESCRIPTION: l.A. BROTHER’S CONSTRUCTION IS A CARPENTRY COMPANY THAT FOCUSES ON WOODWORKING, SPEFICICALLY IN CABINET DESIGN. THIS PROJECT, HOWEVER, WAS DONE TO ENHANCE THE WALLS OF THE RESIDENCY. THIS WALL DETAIL, WHILE STILL CURRENTLY A WORK IN PROGRESS, SURROUNDS THE MAIN STAIRCASE OF THE RESIDENCE HOME. MY PART IN THIS WAS TO TAKE THE DIMENSIONS OF THE WALLS INTO CONSIDERATION WHEN DESIGNING THE WALL LAYOUT. ONE WALL HAS AN OVAL WINDOW AND FOLLOWS THE RISE OF THE STAIRCASE, ONE WALL IS OPEN TO THE REST OF THE FOYER, AND THE THIRD IS WHERE THE STAIRCASE STARTS, ALSO INCLUDING A RATHER LARGE WINDOW. WHILE EACH WALL IS UNIQUE IN ITS SHAPE AND LAYOUT, I TRIED TO HAVE THEM ALL FOLLOW THE SAME HORIZON LINE AND MOSTLY THE SAME VERTICAL DIMENSION. EACH WALL DOES HAVE ITS OWN MEASUREMENT,BUT IS FAIRLY CONSISTENT FOR THE MAJORITY OF THE DETAIL.

21.2533

21.7467

21.7000

21.7000

21.7000

21.7000

21.7000

17.7500

22.9375

22.9375

22.9375

30.0000

26.2500

30.0000

26.2500

29.0000

29.0000

29.0000

22.9375

3.0000

3.0000

23.7500

23.7500 WINDOW MULLION

23.7500 30.0000

WINDOW

28.5000

WINDOW MULLION

30.0000

30.0134

30.0000

WINDOW MULLION

23.7500

3.2366

23.7500

3.0000

26.8750

3.0000

13.6250

3.0000


taft house

course: anatomy of buildings project description: this physical model was done to show the balloon frame construction that holds up the taft house, a residence that is symbolic of the developement of the university’s campus as it is one of the oldests structures. built in the 1870s, the house was moved from its original location and is the only faculty house still existing in tact. the model is built at 1/2” = 1’ made from sticks and sheets of basswood and foamcore to represent insulation.


SCULPTURES

COURSE: STRATEGIES OF ARCH DESIGN project description: these are four out of six sculptures i created that i felt displayed the different definitions of “light” and “dark.” open to interpretation, i used a cube of marbles as a heavy, dark image. for light, i used materials such as wire, lightbulbs, a white grid and colorful sticks.


building research council course: anatomy of buildings

project description: THE PURPOSE OF THIS SKETCH WAS TO ANALYZE THE BUILDING AND PICK A DETAIL YOU FELT REALLY STOOD OUT. I THOUGHT THE VINES ADDED AN INTRICATE DESIGN TO THE SIMPLE DOORWAY, ESPECIALLY DUE TO THE FACT THAT THEY SHOW A SHADOW ON THE REST OF THE SPACE. USING A VARIETY OF GRAPHITE PENCILS, I SKETCHED THIS ON A 18” X 30” SHEET MOSTLY BY FREEHAND.


missed cALLS.

It’s April.

When I called you on your birthday, You laughed and said, “Are you getting married?” Confused, I asked what you meant. You told me the only time you really expected a call from me Was so I could ask for your blessing. I laughed it off and said, “Happy birthday, I love you.” It’s May.

The flowers could not compete with How lively you looked. Every color matched your complexion, Ranging from white to red to peach, even blue. You wore your olive green suit, That was meant for special occasions.

Everyone came to see you go. The breeze was warm and the only noise heard was The symphony of sobs To the beat of what should have been your heart. The sun was shining, but your smile was forced By a pair of hands That couldn’t capture it Just right. It’s June and July and August and September. Sometimes I don’t cry when I think of you, But sometimes, I feel like I’m cliff diving in slow motion And at the bottom of the jagged rocks I see your arms, And your calloused hands, Waiting to catch me. But I never really do reach the bottom.

Sometimes I think that You’re just lying in this coffin And no one could hear you even if you decided To wake up.

Once I had a dream That you passed by me in a crowded street. (I forgave you because that many people shouldn’t be on a sidewalk.) But when I called your name, you did not turn. Do you not remember my voice? I grabbed your arm, And your calloused hands, And begged you to look at me. You did nothing.

Do you not remember my face? Please don’t say so. Please don’t say so.

hear me out.

My first instinct was to cringe upon hearing that thieving name. When I was told you were merely a lost soul, I could not extinguish my laughter. You? You with your shoulders held too broadly, Screaming lies, As your eyes Quivered side to side, Fidgety and dilated.

I could count the sweat as it beaded down your not so collected trance, I could smell the word nefarious as it peeled off you like paint. Those treadmarks could not trace me back to the real you. They were the road you took When the tide was low and you needed to get high, You burned with such an intensity, A feeling, That yes, You are finally ALIVE But Darling, In this livelihood, You forgot about me.

You left me kicking stones for comfort.

With jagged feet I raced you home, but by the time I made it The clock had already struck twelve. You were gone and I cannot begin to explain the void I’ve always struggled with.

The hollow “hellos” and empty “goodbyes” soon became the retrospect I easily recognized as Regret. When I went to go see you, The walls melted into a pool of enmity and resentment. I traced the frame that outlined you and divided you from me. I took a breath and dared to look.

Behind every looking glass is a moment of truth. When I peered in, I saw your sober self for the first time since I was able to comprehend what you were to doing to yourself And to me. Especially to me.

You were weak And no one held you. But my arms were not strong like Atlas. I was useless.

It’s December.

Why weren’t your words loud enough for me to decipher through the eerie silence? Was it because you thought I was too young to understand how quickly Your mind escalated from one thing To another To another To another To another Was it because you were as ashamed as I was? Or was it because you didn’t know how to confide certain words to a Stranger you’ve known your whole life?

I hope you don’t forget to call this year.

If I had told you how much I cried because I’ve never wished you a “Happy Birthday” or even asked you how your day was going, Would you then understand why I can’t tear down this wall?

It’s November.

Leaves blow passed me And it reminds me of the Autumn I used to love. But now fallen things Just tell me how everything changes In a matter of moments. I’m waiting for a call from you. Your voice, always so surprised, Even if you’re the one who dials first. “Happy birthday, Meliniu.” Your nickname for me. I smile, “Thank you.” The conversation is short, But always sincere.

POETRY WRITTEN BY ME.

Was I not the sister you expected, The sibling you wanted, Was I an echo you tried to outrun? Was I a bruise that wouldn’t fade? Was I a memory you tried to erase?

A BIG PART OF MY HIGHSCHOOL CAREER THAT TRANSFORMED ME INTO WHAT I ENJOY NOW WAS TAKING CREATIVE WRITING ALL FOUR YEARS. ON THE LEFT, TITLED “MISSED CALLS” WON THE GOLD KEY IN A NATIONAL COMPETITION. ON THE RIGHT, “HEAR ME OUT”, WON SECOND PLACE IN A CONFERENCE COMPETITION.


ONE THING THAT REALLY DEFINES ME IS MY CULTURE. I AM A FIRST GENERATION AMERICAN, BOTH OF MY PARENTS ARE IMMIGRANTS FROM POLAND AND CAME TO AMERICA IN 1993. MY FIRST LANGUAGE IS POLISH. HAVING THIS AS MY BACKGROUND HAS IMPACTED MY LIFE IN SUCH A WAY THAT IT IS TRULY INCOMPARABLE EXCEPT FOR THOSE WHO SHARE AN EXPERIENCE SIMILAR TO MINE. I AM LUCKY TO EMBRACE MY NATIONALITY AND ENJOY IT, DESPITE LIVING IN A DIFFERENT COUNTRY. HERE I AM PICTURED WEARING A TRADITIONAL POLISH OUTFIT AS I DANCED IN A CULTURAL SHOW WITH A GROUP OF OTHER POLISH AMERICANS.


Final portfolio  
Final portfolio  
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