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RAFAELA KIRLOSS Intern Architect, AIBC


TABLE OF CONTENTS

RESUME

THE BODY AND (ITS) ARCHITECTURE

D É J À -VU: A HOUSE FOR RODNEY GRAHAM

iii

1

7

A GALLERY FOR ONE WORK OF ART

11

1441 HORNBY AVE.

15

HANDS-ON AT THE MUSEUM OF VANCOUVER

19

PROGRAM IN FORM: TRANSIT CENTRE

23

IT IS WHAT IT IS: DANIEL FLAVIN LIGHT STUDY

27

AMBIENCE IN SOUTH KOREA

31

LA URBAN DESIGN PRINCIPLES

35

IN PRACTICE

39

778 918 3935

rafaela.kirloss@gmail.com


All works Š Rafaela Kirloss 2014 ii


EDUCATION University of British Columbia, School of Architecture & Landscape Architecture | Vancouver, BC -Master of Architecture

May 2014

University of Pennsylvania, School of Design | Philadelphia, PA -Master of City & Regional Planning, Certificate in Urban Design

May 2008

Providence College | Providence, RI -BA in Sociology & Anthropology, Minor in Dance

May 2006

EXPERIENCE Independent Design Consultation | Vancouver, BC -Working with local firms, such as Simcic Uhrich Architects and PUBLIC Architecture, as a design consultant on projects ranging from small scale architectural details, shop and fabrication drawings to design development, conceptual model making and document layout. Museum of Vancouver | Vancouver, BC -Working with UBC SALA and Principle Architecture to create the Active Engagement and Accessibility section of the retrospective exhibit on Daniel Evan White, “Play Houses”

April 2014-present

June 2013-March 2014

Graduate Academic Assistant | UBC- SALA -Student leader for Introductory Workshop

Summers 2012 and 2013

Moule & Polyzoides: Architects & Urbanists | Pasadena, CA -Working with a team of architects to produce a series of graphics for East LA T.O.D. Plan: revising text and creating illustrative maps.

September 2008-March 2009

Brown & Keener Bressi Urban Design | Philadelphia, PA -Assisting with research and reports for planning projects. -Creating graphics and maps for planning and public art projects.

November 2007-June 2008

Urban Design Studio, City Hall | Los Angeles, CA -Worked directly with Urban Design Directors to create LA’s Urban Design Principles. -Presented to City Commissioners on multiple occasions.

Summer 2007

ACTIVITIES Urbanarium | Vancouver, BC -Organizing events throughout Vancouver to create a dialogue on the urban environment.

April 2014- present

LIVINGSPACE | Vancouver, BC -Assisting with Charlotte Wall’s Spatial Installation. Lineage Dance Company- Non Profit Organization | Pasadena, CA -Member of the Board of Directors and Set Designer

August 2013

February 2009-August 2010

SKILLS LEED Accredited Professional: Certified by the Green Building Certification Institute as a LEED AP Professional Presentation: Experienced in public presentations and communications, research and writing Computer/DigitalMedia: Revit, AutoCAD, Vectorworks, Adobe Creative Suite, SketchUp, Rhino, Microsoft Office, ArcGIS iii


T H E B O DY A N D ( I T S ) A R C H I T E C T U R E


THE BODY AND (ITS) ARCHITECTURE Completed for: Final Thesis Report, 2014

A Platform for Performance

Skills: Vectorworks, Adobe Illustrator, Adobe Photoshop, Rhino, Wood Model Building, Hand watercolouring

Architecture is about the body. Whether we, as architects, are engaging or denying the body, it is always there. Our bodies exist within and move through the built environment intimately. This project serves to investigate the body as it relates to architecture through the examination and analysis of our relationship to the physical world. This project further serves to create a platform for emerging choreographies where the body can engage with all planes and dimensions of the built environment. Ultimately, this project intends to call the body to build a relationship with all layers of architecture. Through extensive research and writing in the written stages of my thesis project, I developed five theories in relation to the body and the built environment. These five theories became the five guiding design principles for the design portion of my thesis.

Theory

Design Principle

Draw Attention to Spatial Norms

Architecture and Atmosphere

by Altering Them

The Senses and the Built Environment

Engage all the Senses

+

Mediation

Removal and Voyeurism of Bodies

(re)Integration of the Body

Create Places for Interaction and Play

The Performing Arts

Create Performative Aspects

2


Proposed Site Existing Performance Spaces

Site Context

Site Collage acts as a conclusion of multiple site studies that demonstrate the site being defined by three main aspects: slope, transition and reveal.

Site Plan: The design forms as a series of concrete planes that appear to be falling down the site with the topography. These planes gain height and thickness and, as the body progresses through the space, guide the experience. The path makes a gentle slope into the landscape while the planes create a fluid cadence, hooking into the path and eventually towering over the body as it progresses through the space. The architecture literally lifts off the ground and spatial norms are altered. Beginning from a wide and human-scaled path, with human-scaled planes, the path ends narrowed as the body is surrounded and squeezed by the built environment.

3


Section A-A: The above-ground space provides interaction, play, and opportunity for installation and informal performance. Bodies can literally walk on top of the plans and eventually, as they gain height and thickness, can move through them. Performative spaces can be found in between the planes and viewed from near or far. Views and experience vary and are revealed from a number of different points. Bodies can pass by, catch a glimpse or sit in a frame to enjoy a quiet moment. The aboveground space culminates on the roof of the underground theater, connecting it to the space below. Not only can bodies view the underground theater, but they can find themselves as part of a performance on one of the many rooftop stages.

Detail Roof & Glass Extrusion

Detail Pathway

Below-ground Theatre Floor Plan: The underground theater-arts space can be accessed from two points. One is the main path that cuts into the ground and the other is a side entrance from the existing underground tunnel. As you enter the lobby of the theater space, the body is hugged by a warm wooden lobby space. The interior follows the form from the above-ground planes. Further connection to the outdoor space happens as the planes literally sink into the theater space below providing a visual reminder of the program that takes place outdoors. 4


A The Experience A The Pied Piper Rooftop Show The concrete narrowed and grew taller until guests found themselves, rather suddenly, inside a warm wooden lobby. The real show began to take form.

B The Unexpected Lobby The fantastical and the real blended together and the passers-by began to realize their surroundings could be explored in new ways.

C A Nightscape Cutting through the park on their way home had never looked quite like this. They watched the show and, before long, joined themselves.

B

C 5


DÉJÀ-VU


A HOUSE FOR RODNEY GRAHAM Completed for: Exploring Space Studio, 2012 Skills: Vectorworks, Adobe Illustrator, Adobe Photoshop, SketchUp, Wood Model Building

Déjà-vu When designing a house for the artist Rodney Graham and his family, I began to look at his body of work. Themes of infinity, looping and repetition abound. Using these themes as a springboard I began to design a house with a dreamlike familiarity. Users experience at continual “déjà-vu” version of home as they move throughout. The home is divided for two main families, allowing for both privacy and communal spaces. A double-height arts studio and the children’s rooms are at the center of the home while private studios, kitchens and adult bedrooms exist on opposite ends of the home. Form follows function as the layout of each floor repeats itself in an opposing manner on the other side. The form of the home is flipped in the roof structure allowing for covered outdoor space. In the space left open from this flipped roof structure, the ceiling height is extruded another 2 meters creating the opportunity for lofted guest rooms and additional light in this rainy climate.

Concept diagrams demonstrate the merging of two families into one. Each side of the home is the identical opposite of the other and as one moves throughout the home the repetition begins to give the feel of familiar dreamlike memories.

Ground Floor Plan

Second Floor Plan 8


Section A-A

Section B-B

2

1

3

1

3 Perspectives throughout the home show the repetitive looping of rooms, stairs and hallways. One feels a sense of familiarity throughout the home as subtleties repeat themselves.

2 9


GALLERY


QUICK STUDY: GALLERY FOR ONE WORK OF ART Completed for: Exploring Space Studio, 2012

A Gallery for Mark Rothko’s “Red, Brown, and Black”

Through his paintings, Mark Rothko would reveal pieces or hints of emotional Skills: Adobe Illustrator, Adobe Photoshop, experiences. Each of his paintings create a new emotion or range of emotions that change with the waxing and waning of light. Model Building, Concrete Casting The concepts behind Rothko’s work were vital in the creation of this gallery space. As users approach the gallery they find themselves on an extreme landscape with significant grade change. The gallery reveals itself by appearing to emerge from within the landscape. The interior gallery space invites vsitors to experience the painting from many viewpoints and different light conditions. As one moves closer to the painting, the space narrows and the black void in center of the space begins to rise to the surface. As the emotional intensity of the space increases, the painting draws closer until users are able to confront it face to face.

Conceptual Site Plan:The gallery emerges from the landscape

The journey to Rothko’s “Red, Brown and Black” teases the viewer with glimpses of the painting that become more intense as one draws closer. 13


1 4 4 1 H O R N B Y AV E .


1441 HORNBY AVE, VANCOUVER BC Completed for: Housing Density Studio, April 2012 Skills: Rhino, Vectorworks, Adobe Illustrator, Adobe Photoshop, Wood Model Building

Form Design cut-out as a courtyard with an extra cut for site-specific sunlight and air. A ground-plane of water creates a serene, light reflective surface.

High Density Housing Above a Serene Water Landscape The aim of this project is to provide water, light and air to high density housing. Further, this project seeks to allow the opportunity for both privacy and community in high density living situations. The residences are raised above the ground to float above a water-landscape on the ground level. This landscape aims to reflect off polished concrete columns bringing light and tranquility to all spaces. The geometry of each unit is stacked in such a way to allow for a private balcony on the upper level of the double-height units and, on the main floor, to allow for a similar private balcony with wood-louvered shutters. If one chooses, the shese shutters can be opened to the public outdoor circulation on each level. Slits in each unit allow for light at certain angles and in different areas. Light, air and refreshing water making up the 3 principles of this high density exercise.

Unit Design developed for cross ventilation and natural daylighting.

Section A-A

Section B-B

Typical Floor Plan I

Typical Floor Plan II 16

Units stacked to create both semi-public and private space in double-height units.


3 Bedroom Unit Plan Floor 1I

4 Bedroom Unit Plan Floor 1I

3 Bedroom Unit Plan Floor 1

4 Bedroom Unit Plan Floor 1

2 Bedroom Unit Plan Floor 1I

1 Bedroom Unit Plan Single Storey

2 Bedroom Unit Plan Floor 1

Studio Unit Plan Single Storey

BI-DIRECTIONAL CONCRETE (180MM) CEDAR LOUVERED WINDOW SHUTTERS AT 8mm APART DOUBLE GLAZING WITH ALUMINUM FRAME CEDAR FLOORS (20mm), SCREED (50mm), CONCRETE SLAB (180mm OR 300mm on ground level) STAINLESS STEEL HANDRAIL WITH CEDAR PANELLING

CEDAR DECKING (24mm), WATERPROOF RUBBER (5mm), OVER CONCRETE SLAB

BI-DIRECTIONAL CONCRETE (300MM)

Upper Level Deck

Ground Level and Unit Decking Detail

Ground Level Water Landscape 17


HANDS-ON


MUSEUM OF VANCOUVER EXHIBIT Completed for: Daniel Evan White Exhibit “Playhouses” October 2013 Skills: Sketchup, Adobe InDesign, Wood Model Building

Hands-On at the Daniel Evan White Exhibit For Daniel Evan White’s Exhibit at the MOV it was my task to create the interactive aspects of the exhibit. Like his homes, my section of the exhibit aimed to engage visitors, young and old, with the work. Visitors were able to ‘build their own’ Daniel Evan White home while experimenting with the ideas of geometry, scale, and repetition. Visitors were given the opportunity to gather and explore new understandings of Daniel Evan White’s work. Six different wooden toys correspond to a different home. Visitors are given the opportunity to learn about the home and build it through simple shapes. They toys also give the flexibility to create your own ‘home’ through the lessons on geometry and space given in the tri-fold brochures. Continuing with the themes of geometry and scale throughout the exhibit, this section was designed using the same geometry in the seating and table as the building blocks.

Daniel Evan White’s work is broken down into simple geometries that repeat at different levels of scale. From 2-dimensional shapes that are combined and repeated to 3-dimensional shapes that are scaled from small toy blocks to large seating and furniture.

MÁTÉ RESIDENCE

LEARN ABOUT:

Repeat

Offset

Stack

listed above happen

1

2

3

4

What You’ll Build:

MOV

Can you point out where the techniques

8

9

10

in 14 Steps

BUILD YOUR OWN

HOUSE AT THE

THINK ABOUT:

7

Máté Residence

DEW

GEOMETRY

Combine

Assemble your own

What You’ll Need:

11

13

6

5

12

14

in this image?

CONNELL CABIN

LEARN ABOUT:

BUILD YOUR OWN

DEW

GEOMETRY

House at the

Pattern

Repetition

MOV

THINK ABOUT: What does the use of wood tell you about the house?

MATTHISON I RESIDENCE

LEARN ABOUT:

BUILD YOUR OWN

DEW

GEOMETRY

Shape

Multiply

Shift

HOUSE AT THE

THINK ABOUT:

MOV

How can you take a few simple shapes and create a home? After building the Matthison House, use the

What do you think the three main circles mean when

ideas of staggering one shape, and combining

defining the idea of a home?

different shapes, to make your own

SHAUGHNESSY RESIDENCE

LEARN ABOUT:

BUILD YOUR OWN

DEW

GEOMETRY

Repetition

House at the

Scale

MOV

THINK ABOUT: What happens to a space when you take one shape and repeat it? What happens when you repeat this same shape at different scales?

version of ‘home’.

Assemble your own

Connell Cabin

What You’ll Need:

5

Assemble your own

6

Matthison I Residence

What You’ll Need:

in 7 Steps

Assemble your own

6

5

in 7 Steps

1

1

1

7

2

What You’ll Build:

7

2

6

5

Shaughnessy Residence

What You’ll Need:

in 10 Steps

2

8

What You’ll Build:

7

What You’ll Build: 3

4

Create Variation: 3

4

Create Variation:

3

4

9

What happens when you slide the pieces to change

10

Use the dowls to create different circular patterns. What

the pathways? What happens when you change the size-order of the pieces?

happens when you make one large circle? What about when you make a series of small circles? How do you think size effects the qualities of space?

Sample pages from the tri-fold instruction brochures show the way in which visitors were encouraged to engage with the exhibit. 20


The active engagement section of the exhibit (shown directly above and on the lower left of the top image) invited visitors to play with ideas of geometry and scale in architecture. CREATIVE AND CURIOUS

DEW at the

MOV FOR KIDS

21


PROGRAM IN FORM


TRANSIT CENTRE Completed for: Culture of Making Studio, 2011 Skills: Vectorworks, Adobe Illustrator, Model Building

Program in Form This project was the final one for my first year as an M.Arch student. The studio required an exploration into structural systems as they relate to needed program. The project site, located in a suburb of Vancouver, needed opportunity for and access to transit in addition to housing a roller derby rink. My proposal played upon the human experience with architecture and structural systems. The project brought the structural systems down to the human level, where users could literally enter into columns as they meet the ground. The concrete columns give a sense of weight and gravity while providing functional programs, and opportunities to view roller derby games. Resting on these thick columns is a roof structure of glulam beams with a lightness coming from the coloured glass or ETFE panels that span between. Pre-fab CLT panels provide further structural support and complement the large glulam beams.

Concept diagrams demonstrate the concrete columns as they meet the ground in an expanding progression. Each size holds a different type of program needed in the transit station.

Section A-A

Section B-B

24


Detail Section: Form is repeated in detailed lights

Detail Section: Between the Kiosks

Site Plan: Skin and Landing

Detail Section: Program in the form. As the structure meets the ground it opens up into kiosks, cafes and newstands

The skin of the roof is a combination of pre-fab CLT panels spanning between glulam beams and the revealed coloured glass or ETFE underneath. This transparent surface provides light and colour to the space below.

Concrete columns meet the ground and hold program for transit centre users.

25


I T I S W H AT I T I S . . .


QUICK STUDY: DANIEL FLAVIN LIGHT EXPLORATION Completed for: Exploring Space Studio, 2012 Skills: Model Building, Photography

It is what it is, and it ain’t nothing else. In these studies, colour is used to create spaces that look smaller or larger, that appear more spacious or more confined. Light and colour, working in a 3-dimensional environment, brings the illusion that painters create to life. Daniel Flavin used coloured lights to create perceptions of space. He was adament that his work is not sculpture, but rather experiences or situations. His work is not about the fluorescent bulb so much as the architectural space it effects. Light and colour alters our perception of a space in size, feeling, orientation and mood. Light can work in harmony or against an environment. Flavin’s light “propositions” respond to architecture and are available for viewers both to experience and create their own perceptions. The images below are samples from a light box with seemingly endless possibilities and experiments with borders, light, and spatial awareness.

Barriers and borders can define a space or, alternatively, work to distract from a focal point. They work to define the space right in front of us, and yet, they offer views to something beyond. Colour, additionally, can further change our perception of space. In these images, I have created a light box that experiments with different colour screens and borders to examine our perception of size, gravity and focal points in space.

Daniel Flavin’s untitled (to Jan and ron Greenberg), 1972.-73 entices viewers down a hall giving them a peak to the other side of the barrier but not enabling them to pass. 29


AMBIENCE IN SOUTH KOREA


SOUTH KOREA’S NEW PUBLIC ADMINISTRATIVE TOWN Completed for: International Design Studio, April 2008 Skills: AutoCAD, Adobe Creative Suite TYPE A1 | BRT R EGIONAL ARTERIAL WIT H BRT STOP

While large street trees will not have enough room to grow properly on this type of street, planters, benches and other types of street furniture must be incorporated along this roadway at a minimum of every 10 meters.

Guidelines:

Ambience For a Design and Sustainability Studio focusing on the creation of a series of Urban Design Guidelines for South Korea’s new Public Administrative Town (PAT), transportation throughout was vital. With a focus on vehicular efficiency, pedestrian movement and safe space for cyclists, a group of 12 city planners, architects and landscape architects created a street grid system. I assumed the task of creating a street-section for each type of street throughout the PAT.

bridges. Sidewalks (4.5m wide) on both sides of the road.

40 PAT DESIGN GUIDELINES PennDesign

The street plan of the PAT is organized into a hierarchical system promoting the goals of both a Link City and Zero Carbon Footprint City, accommodating the automobile, while privileging mass transportation, pedestrians, and cyclical travel. Six street types have been defined, from the largest, which accomodates automobiles and Bus Rapid Transit (BRT) lanes, to the smallest which facilitates pedestrian only circulation. The street system is well connected and will reduce the need for local automobile travel, fostering a healthy, vibrant, pedestrianoriented city.

PAT Street Hierarchy Plan

1

TYPE A & A1 | BRT Regional Arterials TYPE B | PAT Boulevards TYPE C | PAT Through Streets TYPE D | Mixed-Use Local Streets TYPE E | Shared Streets Retail Space TYPE F | Pedestrian Streets Pedestrian Paths

The above map displays the main street grid of the PAT, highlighting road-types in distinct colors. meters

0

125

250

500

N

2

3 The above street-sections show three main street types: 1 a small pedestrian oriented roadway, 2 a retail corridor and, 3 a large BRT arterial. 33


LA URBAN DESIGN PRINCIPLES


CITY OF LOS ANGELES: URBAN DESIGN PRINCIPLES Completed for: LA City Hall, Summer 2007 Skills: Adobe Creative Suite, Photography, Research + Writing

Change in the Built Environment The primary responsibility of this internship was to help create and communicate new Urban Design Principles for the City of Los Angeles. The goal of these Principles was to assist leaders, decision makers, community planners, staff and residents in creating more specific urban design guidelines, policies and regulations that can be understood by all. The cities of the world that are often identified as great cities have one thing in common; they were designed on a human scale before the presence of automobiles. The Urban Design Principles focus mainly on a reverse engineering concept, which brings the focus of LA back to a human scale. In addition to composing text with another intern, I was able to work independently on field studies throughout the myriad of landscapes in Los Angeles. Further, layout and design presentation for these new principles was undertaken and completed. The project progressed with two presentations to City Commissioners and the adoption of these new principles.

Sample pages from draft of the Urban Design Principles. 37


W2.04

W2.04

I N P R AC T I C E DOUBLE SINK

4"

8"

TAPS

8"

8"

8"

FLOOR DRAIN

18'2"

2'

1'-8"

1'-5 3/4"

2'-0"

2'-0"

EXIT FROM RETAIL

3'-10"

2'-1"


PROFESSIONAL PRACTICE Completed for: Simcic Uhrich Architects, Summer 2014

Architecture in Practice

Skills: Vectorworks, Working Drawings

This drawing set acts as a simple sample of the working drawings I spent time on this past year. Learning to translate design from an academic setting to a professional setting is an invigorating learning curve and one which I look forward to continuing on. Contributing to real projects with real outcomes brings the architecture and design learned in an academic studio to its true form. 10

10

+/- 3/4" RECLAIMED WOOD W/ WHITE TRANSLUCENT STAIN FINISH

5/8" HEX CONCRETE LAG BOLT (REFER TO STRUCTURAL)

"B" SPACING

"A" SPACING

7"

3 1/4"

1/4" COLD ROLL STEEL BELOW

"A" SPACING

4 1/4"

CONCRETE CURB BELOW

3 1/4"

3"

3"

6 2

7"

MARINE GRADE 5/8" PLYWOOD TO 4'0" ELEVATION AFF 1/2" GWB ABOVE 4' AFF

B

5 1/4"

1"X4" CLEAR CEDAR KILN DRIED W/ CLEAR SATIN FINISH

5/8" HEX CONCRETE LAG BOLT (REFER TO STRUCTURAL)

"C" SPACING

1

HSS 3 SCALE: 2"=1'

2

SUITE 230 3 WEST 3RD AVENUE VANCOUVER BC CANADA V5Y 3T8 604.559.5190

SIMCIC + UHRICH ARCHITECTS

MARINE GRADE 5/8" PLYWOOD TO 4'0" ELEVATION AFF 1/2" GWB ABOVE 4' AFF

Seen below is a set describing the layout for a portion of a brewery with specific attention to the millwork and design of the front and back bar.

4" x 4" x 1/4" HSS CENTER WELDED AT BOTH ENDS TO STEEL BASE PLATE

5 5/8" REFER TO ELEVATION FOR SPACING PATTERN

REFER TO ELEVATION FOR SPACING PATTERN

1'-4 3/4"

3 1/4"

6" x 5/8" x 10" STEEL BASE PLATE "A" SPACING

4" x 4" x 1/4" HSS CENTER WELDED AT BOTH ENDS TO STEEL BASE PLATE 1"X4" CLEAR CEDAR KILN DRIED W/ CLEAR SATIN FINISH

5 5/8"

2

8 5/8"

1/8" COLD ROLLED STEEL +/- 3/4" RECLAIMED WOOD W/ WHITE TRANSLUCENT STAIN FINISH

6

6 "B" SPACING

2

4 1/4"

2

6

1 1/4" x 1" ALUMINUM CHANNEL

6" x 5/8" x 10" LONG STEEL BASE PLATE

EXISTING CONCTRETE COLUMN

HSS 6 SCALE: 2"=1'

Strange Fellows Brewing

COPYRIGHT OF THIS DRAWING AND DESIGN IS RESERVED BY SIMCIC + UHRICH ARCHITECTS (THE ARCHITECT). THIS DRAWING AND ALL ASSOCIATED DOCUMENTS ARE AN INSTRUMENT OF SERVICE BY THE ARCHITECT. THIS DRAWING AND THE INFORMATION CONTAINED THEREIN MAY NOT BE REPRODUCED IN WHOLE OR IN PART WITHOUT

HSS Details

PRIOR WRITTEN PERMISSION OF THE ARCHITECT. THIS DRAWING IS NOT TO BE USED FOR CONSTRUCTION UNTIL BARREL STORAGE ISSUED FOR THAT PURPOSE BY THE ARCHITECT. PRIOR TO COMMENCEMENT OF THE WORK THE CONTRACTOR

marko@simcicuhrich.com bill@simcicuhrich.com www.simcicuhrich.com

SCALE: 2" =1' DATE:

SHALL VERIFY ALL DIMENSIONS, DATUMS, AND LEVELS, AND SHALL BRING ANY DISCREPANCIES BETWEEN THIS DRAWING AND THE FULL CONTRACT DOCUMENTS OR SITE CONDITIONS TO THE ATTENTION OF THE ARCHITECT FOR CLARIFICATION.

July 30 , 2014

2

1

W2.04

W2.04

W2.07

10

D-09

W2

365 sq ft

DOUBLE SINK

TAPS

1'-6"

6"

W1e

CAVITY WALL

4"

8"

8"

8"

8"

3'-6"

FLOOR DRAIN 6'-7"

1'-4" 18'2"

22

RETAIL 7 187 sq ft

20

2'-9"

2'-0"

19

1'-4"

7'-0"

2'-0"

2'-0"

2'-0"

21

2'

2'-1"

2'-0"

1'-5 3/4"

1'-8"

2'-0"

MOYIER DIEBAL GLASSWASHER (DF) DISHWASHER (BOSCH 800 DLX SERIES)

3'-10"

23

EXIT FROM RETAIL

FUTURE ICE WELL (KROWNE MEDIUM DROP-IN ICE WELL D278)

FIXED AND IMMOVABLE TABLE

BAR FRIDGE (DANBY COMPACT DCR88BSLDD) EXTENT OF 3'6" HIGH TIMBER COUNTERTOP EXTENT OF 2'11" HIGH STAINLESS STEEL COUNTERTOP LINE OF GABLE BELOW TYP.

SUITE 230 3 WEST 3RD AVENUE VANCOUVER BC CANADA V5Y 3T8 604.559.5190

SIMCIC + UHRICH ARCHITECTS

COPYRIGHT OF THIS DRAWING AND DESIGN IS RESERVED BY SIMCIC + UHRICH ARCHITECTS (THE ARCHITECT). THIS DRAWING AND ALL ASSOCIATED DOCUMENTS ARE AN INSTRUMENT OF SERVICE BY THE ARCHITECT. THIS DRAWING AND THE INFORMATION CONTAINED THEREIN MAY NOT BE REPRODUCED IN WHOLE OR IN PART WITHOUT PRIOR WRITTEN PERMISSION OF THE ARCHITECT. THIS DRAWING IS NOT TO BE USED FOR CONSTRUCTION UNTIL ISSUED FOR THAT PURPOSE BY THE ARCHITECT. PRIOR TO COMMENCEMENT OF THE WORK THE CONTRACTOR SHALL VERIFY ALL DIMENSIONS, DATUMS, AND LEVELS, AND SHALL BRING ANY DISCREPANCIES BETWEEN THIS DRAWING AND THE FULL CONTRACT DOCUMENTS OR SITE CONDITIONS TO THE ATTENTION OF THE ARCHITECT FOR CLARIFICATION.

marko@simcicuhrich.com bill@simcicuhrich.com www.simcicuhrich.com

Strange Fellows Brewing

Bar Plan

SCALE: 1/2" =1' DATE:

July 29 , 2014

A1.05

STAINLESS STEEL BACKSPLASH

1 1/2"TIMBER COUNTERTOP 2-'9" 10 1/2"

DRAIN PAN

3"

1 1/2"

5 1/2"

GABLE BEYOND

1'-6"

EQ.

3/4" CONDUIT MECH. PIPING AS REQ'D.

5/8" MARINE GRADE PLY W/ PLASTIC LAMINATE ON ALL EXPOSED SURFACES AND VINYL EDGE STRIP

REM.

5/8" MARINE GRADE PLY W/ PLASTIC LAMINATE ON ALL EXPOSED SURFACES AND VINYL EDGE STRIP

Front Bar Elevation

3" x 3" STEEL ANGLE MECHANICALLY FASTENED TO CONCRETE (TYPICAL)

3" 4" KICK

1

10"

SCALE: 1/2"=1'

3'-0"

EQ.

5/8" P-LAM SHELF W/ LAMINATE EXPLOSED ON ALL SURFACES AND PVC EDGE TYP. 2'-11 1/8"

3'-6"

1

8"

5/8" P-LAM SHELF W/ LAMINATE EXPLOSED ON ALL SURFACES AND PVC EDGE TYP.

MAHOGANY SCREEN W/ WOODEN DOWELS MOUNTED TO P-LAM SHEET

OVERLAPPING MAHOGANY WOOD SCREENS OF 1" THICK WOOD SLATES SPACED AT 1.5" O/C W/ 3/4" WOOD DOWELS BETWEEN

4"

1/8" STAINLESS STEEL COUNTERTOP

1 1/2" THICK TIMBER COUNTERTOP

4" KICK

1/8" STAINLESS STEEL

ELECTRICAL

LED STRIP LIGHT

TAPS AT 8" O/C

1'-0"

TAPS AT 4" O/C

Section Through Bar SCALE: 1"=1'

4" KICK

1 1/2"TIMBER COUNTERTOP 2-'9"

1/8" HOT ROLLED STEEL, MECHANICALLY FASTENED

5 1/2"

6" CAVITY

10 1/2"

GLASS RACK, SPECIFICATIONS TBD

2" x 2" x 1/4" STEEL ANGLE

1'-6"

1/8" STAINLESS STEEL

LED STRIP LIGHT

STEEL SHELF MOUNTED ON CORK, SPECIFICATIONS TBD

1/8" STAINLESS STEEL

SINK

CLEANING SUPPLIES

EQ.

DIRTY GLASS TRAYS

EQ.

STORAGE

TRASH EQ.

EQ.

EQ.

GROWLERS

SUITE 230 3 WEST 3RD AVENUE VANCOUVER BC CANADA V5Y 3T8 604.559.5190 marko@simcicuhrich.com bill@simcicuhrich.com www.simcicuhrich.com

2'-2"

BOSCH 800 DLX SERIES DISHWASHER (REFER TO MANUFACTURER'S WRITTEN INSTRUCTIONS FOR INSTALLATION)

PULLOUT FOR TRASH 3'-0"

KOBALT METAL UTILITY HOOK

2'-11 1/8"

5/8" MARINE GRADE PLY W/ PLASTIC LAMINATE ON ALL EXPOSED SURFACES AND VINYL EDGE

10" CONCRETE CURB OF COOLER ROOM

SIMCIC + UHRICH ARCHITECTS

3'-6"

5'-4"

6'-0"

GLASSES + TASTING BOARDS

CLEAN GLASS TRAYS POTENTIAL FOOD STORAGE

5/8" MARINE GRADE PLY W/ PLASTIC LAMINATE ON ALL EXPOSED SURFACES AND W/ VINYL EDGE STRIP

STAINLESS STEEL BACKSPLASH STAINLESS STEEL COUNTERTOP

MAHOGANY SCREEN W/ WOODEN DOWELS MOUNTED TO P-LAM SHEET

2

3" x 3" STEEL ANGLE MECHANICALLY FASTENED TO CONCRETE (TYP.)

Back Bar Elevation Strange Fellows Brewing

Front + Back Bar Elevations

2

4" KICK

SCALE: 1/2"=1'

COPYRIGHT OF THIS DRAWING AND DESIGN IS RESERVED BY SIMCIC + UHRICH ARCHITECTS (THE ARCHITECT). THIS DRAWING AND ALL ASSOCIATED DOCUMENTS ARE AN INSTRUMENT OF SERVICE BY THE ARCHITECT. THIS DRAWING AND THE INFORMATION CONTAINED THEREIN MAY NOT BE REPRODUCED IN WHOLE OR IN PART WITHOUT PRIOR WRITTEN PERMISSION OF THE ARCHITECT. THIS DRAWING IS NOT TO BE USED FOR CONSTRUCTION UNTIL ISSUED FOR THAT PURPOSE BY THE ARCHITECT. PRIOR TO COMMENCEMENT OF THE WORK THE CONTRACTOR SHALL VERIFY ALL DIMENSIONS, DATUMS, AND LEVELS, AND SHALL BRING ANY DISCREPANCIES BETWEEN THIS DRAWING AND THE FULL CONTRACT DOCUMENTS OR SITE CONDITIONS TO THE ATTENTION OF THE ARCHITECT FOR CLARIFICATION.

10"

8"

8"

NOTE: CONFIRM ALL APPLIANCE & PLUMBING SPECIFICATIONS PRIOR TO STARTING WORK

SIMCIC + UHRICH ARCHITECTS

marko@simcicuhrich.com bill@simcicuhrich.com www.simcicuhrich.com

SCALE: As Indicated DATE:

SUITE 230 3 WEST 3RD AVENUE VANCOUVER BC CANADA V5Y 3T8 604.559.5190

July 29 , 2014

A2.06

41

COPYRIGHT OF THIS DRAWING AND DESIGN IS RESERVED BY SIMCIC + UHRICH ARCHITECTS (THE ARCHITECT). THIS DRAWING AND ALL ASSOCIATED DOCUMENTS ARE AN INSTRUMENT OF SERVICE BY THE ARCHITECT. THIS DRAWING AND THE INFORMATION CONTAINED THEREIN MAY NOT BE REPRODUCED IN WHOLE OR IN PART WITHOUT PRIOR WRITTEN PERMISSION OF THE ARCHITECT. THIS DRAWING IS NOT TO BE USED FOR CONSTRUCTION UNTIL ISSUED FOR THAT PURPOSE BY THE ARCHITECT. PRIOR TO COMMENCEMENT OF THE WORK THE CONTRACTOR SHALL VERIFY ALL DIMENSIONS, DATUMS, AND LEVELS, AND SHALL BRING ANY DISCREPANCIES BETWEEN THIS DRAWING AND THE FULL CONTRACT DOCUMENTS OR SITE CONDITIONS TO THE ATTENTION OF THE ARCHITECT FOR CLARIFICATION.

Section Through Bar SCALE: 1"=1'

Strange Fellows Brewing

Front and Back Bar Millwork

SCALE: As Indicated DATE:

July 29, 2014

W2.04


Rafaela Kirloss: Portfolio