Ryan William Martin - S2 Portfolio - Boston Architectural College by Ryan Martin

S2 - portfolio ryan william martin

Ryan Martin Partial fullfilment of Master of Architecture Boston Architectural College

dichotomy (n): dÄŤ-kĂ¤-to-mÄ&#x201C; -

a division or contrast between two things that are or are represented as being opposed or entirely different

abstract - literal form - fuction static - dynamic qualitative - quantitative radical - conventional object - feild classroom - workplace concurrent learing B.A.C.

dichotomy an architectural portfolio

entirely different

July 19, 2010

resume

architectural experience

Ryan William Martin 86 Ellery Street ! Cambridge, MA 02138 W: 617.492.8400 C: 303.808.1462 ! martirn2736@msn.com

CORE COMPETENCIES ! Architectural Design ! Graphic Design ! Client Satisfaction

! Revit Architecture Software Expertise (BIM) ! Commercial & Institutional Building ! Construction Documents

PROFESSIONAL EXPERIENCE BRUNER/COTT & ASSOCIATES, Cambridge, MA Project Architect

2007 - 2010

Lead my project team with little BIM experience to adopt, embrace and learn the software. Effectively produced working drawings for both As-Built projects and Existing Building renovations. Completed a self-motivated, BIM-based project to enhance the drawing components throughout the firm. Selected Accomplishments: Accomplishments • Dartmouth Class of 1953 Commons - In being part of this project team, we have examined

this 17k square-foot dining facility, re-envisioned its program, proposed sustainable measures, and created construction documents for phase one of summer work.

• Harvard Wadsworth House - Within a 5 month time period, a college and I had produced

construction documents, coordinated sub-contractors, engaged the Cambridge Historical Commission, orchestrated the construction of, and successfully completed of the revamping of this historic building.

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• Lesley University Arts Center - Researched, pioneered, and engaged the first software

program to field measure the built environment through the use of photographs.

Roof 10' - 0"

SPECIAL QUALIFICATIONS • LEED Accredited Professional

FIRST FLOOR -7' - 0" LOWER LEVEL -10' - 0"

EDUCATION BOSTON ARCHITECTURAL COLLEGE Partial Fulfillment of Masters of Architecture

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UNIVERSITY OF COLORADO Bachelors of Environmental Design in Architecture

2007 - Present

Exceptional Portfolio and References Available Upon Request

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Roof 10' - 0"

2000 - 2004 FIRST FLOOR -7' - 0" LOWER LEVEL -10' - 0"

Sketch Problem Fall 2008

Accessible Poet’s Retre

practice essay

a statement of retrospection

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Roof 10' - 0"

FIRST FLOOR -7' - 0" LOWER LEVEL -10' - 0"

Sketch Problem Fall 2008 Accessible Poetâ&#x20AC;&#x2122;s Retreat

Reflecting on the time I have spent at the B.A.C., I have had many opportunities for personal and professional advancement. I now understand the process and methodology to formulating an architectural career. By seeking knowledge in a broad range of architectural veins, I have been able to deepen my competency in architecture as it is fundamentally understood and practiced. Thanks in part to the guidance of the B.A.C., I have gone from having absolutely no practice experience in the field of architecture to being a confident and valued designer in a respected architectural firm. The challenges that I have faced have proven helpful in responding to a dynamic social and economic environment. As I will highlight, there are specific instances of tribulation that produced favorable outcomes in the time I have spent here in Boston. Having taken only 4 semesters of coursework, I am nearly completely ready to enter my Thesis portion of the B.A.C. Masters of Architecture program. Despite moving expeditiously through the Masters of Architecture program academically, the primary restriction has been on the practice end of the program. To reach the appropriate milestone for Thesis has not been easy. I have had several appointments with the practice department in order to petition for clearance into Segment 3, but with each attempt I was told to keep pushing. Because of this, my goals at the firm shifted from appeasing those who ask me for help, to being derisively discriminatory on projects I chose. I called for many meetings with upper management to project my career in a more involved and professional direction. After months of petitioning an opportunity presented itself to place me on a project team. At this time I had been an employee for Bruner/Cott for nearly 2 years, therefore it was a much overdue promotion.

Until this time, I had acquired many project related skills in a piecemeal fashion, but never as a cohesive whole. While attending class at the B.A.C. my skills in the software program Revit dovetailed nicely with practical work applications. In my studio class shown in this review, I display the early Revit work that has augmented my proficiency. In fact, around the time our firm was exploring the possibility of purchasing Energy Modeling Software, my studio class has a representative for the IES software teach us the basics of their particular program. As an alternative to B.A.C. coursework informing practical applications, I have used my technical expertise in Revit to quickly and effectively draw and detail an existing building. This was evident in my Detailing and Structures classes, as Revit was a crucial tool for applying multifaceted information to multiple sets of drawings. It assisted the process of visualizing a performance requirement at every possible scale. Now that I have opened the door to a collaborative project environment, I have expanded my interest for the profession I seek to pursue. In a team, I rely more on my ability to manage many tasks simultaneously and evaluate priorities. I have less prescribed direction, and more self motivated problems to solve. Even though there were five of us on my most recent project team, we all shared responsibilities and took turns evaluating design issues. Each of us had a body of skills to enhance both the project and each other's understanding of the greater principals. It is with this formula, I aim to grasp the most responsive and enjoyable rout to good design. -RM 07.19.2010

The intent of this book is to coherently display a body of work that demonstrates the methodology behind the concurrent B.A.C. process. It will give a balanced portrayal of work from my architectural office and work from B.A.C. homework assignments.

I chose to organize the portfolio chronologically from earliest to latest work in order to show growth and process. The projects from office and classroom alternated intermittently as to show a real-time depiction of my experiences. This portfolio exhibits work from a 2 year time frame: from summer of 2008 to summer of 2010. My previous portfolio, a Segment 1 portfolio, was presented on July 28, 2008 and contained all of the work previous to its submission. This Segment 2 portfolio is exclusive of the work presented in Segment 1 and therefore does not contain my B-1 Boathouse project and sketches from my Freehand Drawing class. The work presented in the S-1 portfolio was mostly work prior to my studies at the B.A.C. from the University of Colorado.

Collaboration is also a central theme to this portfolio. Whenever an opportunity arose to exchange ideas and formulate a design with another designer, I seized it. Synergy of architectural practice almost never has an unfavorable outcome. Other designers doubtlessly have a collection of skills built from various backgrounds separate from your own. As for me in particular, I have exhibited several collaborative works in this book that involve both education and practice environments. Notable works are my C-2 Studio project and the work I have done on the Dartmouth College Dining Facility.

a chronological timeline

â&#x20AC;&#x153;Dichotomyâ&#x20AC;? is the title I chose to give this portfolio because it is the lynchpin of architectural design. I have found that the most simplified process to live by, usually has to do with identifying two variations of something and choosing the most appropriate one. When cost and durability are proportionally equivalent, the choice to buy that particular product is a response to the identification of that dichotomy. In my opinion, design is a constant weighing of options and educated choices. Naturally the world is not a black and white dichotomy. In fact, architecture is much more about nuance than absolutes. This said, the underlying drive of architectural design is not nuance but the tension between a constructâ&#x20AC;&#x2122;s various elements.

table of contents

a guide for the reader

interpreting this portfolio

Orientation

Student work (Boston Architectural College)

Fall 2008

Practice work (Bruner/Cott & Associates) 1

C1 Studio - Taliesin West Micro-campus 130 Prospect Street

C2 Studio - Downtown Sailing Pavilion Spring 2009

Waltham Watch Factory American Contemporary Architecture - Getty Center Paper

Harvard Wadsworth House

a chronological timeline

8 9

Site Planning & Design Language & Architecture - Final Paper

table of contents

6 7

Structures II & Designing Architectural Details

Spring 2010

4 5

Lesley University Arts Center

Fall 2009

Dartmouth College Class of 1953 Commons

Independant Study

10 11

Practice Work

B.A.C. Work C Stainless Steel Splayed Coping

3' - 8" > 3'-0" Min.

Built -up Wood Header

Interior - 7 1/4" Wet Wall Partition

Interior - Perimeter Wall Partition

11 5/8" Steel Flashing Spray Foam Air Barrier

THIRD FLOOR 28' - 0"

Roof Membrane 2" Board Insulation

5/8" Steel Anchor Bolt Caulking Typ

Interior - CMU

Interior - Perimeter Wall Partition

SECOND FLOOR 16' - 0"

wall detailing and materiality

Interior - 3 1/8" One-Sided Partition

Noncomposit 1-Way Steel Deck

FIRST FLOOR 0"

concurrent learning

6" Lightweight Concrete Decking Typ. Interior - 9 1/8" CMU w/ Furring

1/2" Isolation Joint Typ.

Structural Steel Section L8x6x5/8

Dartmouth College

12" Concrete Masonry Unit Fire Wall

Class of 1953 Commons

BASEMENT -12' - 0"

Hanover, NH

6" Concrete Slab with Haunch Interior - CMU

Interior - 1 1/2" Furring

Soil #5 Reinf. Bar Steel

Concrete Bearing Wall Footing Foundation

1' - 0"

100% DESIGN DEVELOPMENT

#10 Reinf. Bar Steel

Interior - 3 3/4" Shaft Wall

3' - 0"

Interior - 4 1/4" One-Sided Partition

a comparative study

Designing Architectural Details

Interior - 4 7/8" Partition

Boston EMS Substation & Response Center

Project Address

Interior - Perimeter Wall Partition

Issue Title

A-901

Fire Wall Section

PARTITION TYPES

A-901

see: 7.6 PRODUCED BY AN AUTODESK STUDENT PRODUCT

see: 11.11

passive solar design

see: 2.3

see: 3.10 Ryan Martin Masters of Architecture October 12, 2009 Structures 3 Assignment 4

Legend Slope is greater than 1/4” per foot Slope is equal to 1/4” per foot

Swale creates

Drainage P

Drains

19' - 2"

231.2

19' - 6"

SCUPPER SLOPE DIRECTION

100% CONSTRUCTION DOCUMENTS

ath

6 5

E ROOF DRAIN PLAN

ROOF SLOPE PERCENTAGE

Front Door

Path interference

(7)

Front Door

PL228.9 22

D 24' - 9"

(4)

low-slope roofing design

Roof Plane

Hanover, NH

MID ROOF (SHOWN ON A103)

Building 1b

234 F.F. U.L. _____ 230 F.F. L.L. _____

Class of 1953 Commons

ROOF GOVERNING SLOPE PLANE

Dr ain

Dartmouth College

LEGEND

Building 1a

234 F.F. U.L. _____ 230 F.F. L.L. _____

Downward Slope 29' - 0"

39' - 0"

20' - 0"

Axon - Building from Upper South West

Axon - Building from Upper South East

224

225

A-104

223

see: 11.7

ROOF PLAN with ROOF PLANE DIAGRAMS

see: 7.1 N

10’

20’

Scale: 1” = 20’ - 0”

30’

B.A.C. Work Practice Work

HEAT PUMP HP01 PP4 1,3 HP02 PP1 1,3,5 HP03 PP1 8,10,12 HP04 PP1 2,4,6 HP05 PP1 7,9,11 HP06 Hse Pnl Gar. HP07 PP1 14,16,18 HP08 PP1 20,22,24 HP09 PP1 25,27,29 HP10 PP1 19,21,23 HP11 PP4

PP3

HP09

HP06 Serves Lobby

HP07

CIRCUIT BREAKER NO. PANEL PP1, PP4 1.5 Ton - Server Rm 3 Ton 3.5 Ton 2.5 Ton 3 Ton 2 Ton - Serves Lobby 3.5 Ton 4 Ton 4 Ton 4 Ton 3 Ton

PP1 PP4

HP01

T T

PP2

HP02 HP04

mechanical system design

HP11 HP05

HP03

Fresh Air Unit T HP10

T damper

HP08

T T

FIRST FLOOR PLAN

HP-1

Bruner/Cott & Associates

PRODUCED BY AN AUTODESK STUDENT PRODUCT

see: 3.8

see: 2.3

PRODUCED BY AN AUTODESK STUDENT PRODUCT

Interior light quality / glare

see: 3.4

see: 2.3

PRODUCED BY AN AUTODESK STUDENT PRODUCT Swale creates steep slope 23

SECTION 1

Drainage Path

43'-8"

age

236.6

Drain

Path

Building 1a

20%

231.2

age Pa

Front Door

236.4

Building 3a

232.1 232.3

232.7

239 F.F. U.L. _____ 235 F.F. L.L. _____

ge Dra

234.0

234.4

TYPICAL 2-CAR PARKING (MIN.)

233.4

ath

R=10'

ina

1.5%

Path interference

18' min. Pa th

nt Fro oor D

Dr ain

Front Door

8' 18' min.

R=10'

Washington Street 234

233

232

231

40’

230

30’

229

20’

228

10’

227

226

225

224

223

TYPICAL ADA PARKING SPACE

50’

Ryan Martin Assignment #2 - Part 2 Site Planning & Design TM 421A & 7421A The Boston Architectural College Fall 2009

see: 9.3

Scale: 1” = 20’ - 0”

Building 3

Building 2 Wall

SECTION 2

SECTION 1

0'-6" STEP DOWN

COURNER OF BUILDING AT GRADE 535.06 T.O. STONE WALL 532.44

AT JOG 536.57

5.00% GRADE 4.42% GRADE

INTERMEDIATE STAIR LANDING 536.79 BASEMENT LEVEL 532.46

B.O. STAIR 530.04

see: 11.4

site design / landscaping

85' - 7 3/8"

5' 8'

FIRST FLOOR 546.12

9' min. typ.

237.4

Building 3b

234.0 231.5

239 F.F. U.L. _____ 235 F.F. L.L. _____

236.1

231.5

F.F. L.L. _____

TYPICAL BUILDING UNIT

nt Fro oor D

PL228.9

Front Door

Building 2b

237 F.F. U.L. _____ 233 F.F. L.L. _____

Building 1b

F.F. U.L. _____

237.9

SECTION 2

nt Fro oor D

Building 1b

234 F.F. U.L. _____ 230 F.F. L.L. _____

nt Fro oor D

Building 1a

234 F.F. U.L. _____ 230 F.F. L.L. _____

237 F.F. U.L. _____ 233 F.F. L.L. _____

234.7

Drain

F.F. U.L. _____ F.F. L.L. _____

Building 2a

233.1

3' - 9 3/8"

DARTMOUTH CLASS OF 1953 COMMONS

10%

5' - 0"

SCALE: 1/16" = 1'-0"

BRUNER/COTT & ASSOCIATES, INC. MAY 28, 2010

FIRST FLOOR 0"

Other Getty Center Paper Language & Architecture Paper

Architecture is more than just an encapsulated construct on a localized site. Like a creative work, a building has a place and time for which many lives and landscapes are deaply effected. The projects presented in this section examine a figurative cross section of North American geography, and in doing so, present context sensitive responces.

Scotsdale, Arizona Taliesin West New Micro-campus

C1 1

american design

Hanover, New Hampshire Boston, Massachusetts 130 Prospect Street Downtown Sailing Pavilion Waltham Watch Factory Leslie University Arts Center Boston EMS Substation Harvard Wadsworth House Boston Fens Site Analysis Kingston Church Site Design

Dartmouth Dining Facility

c1 design studio

“an unfinished sketch”: a new ‘micro-campus’ for frank lloyd wright’s taliesin west

CD7101F Instructor: Joshua Safdie Fall 2008 Mondays 4 p.m. to 7 p.m. September 8 - December 15 Boston Architectural College

I was interested in Josh Safdieʼs studio in Fall of 2008 for several reasons: the multifaceted approach to design, the opportunity to travel to and interact with students of Frank Lloyd Wrightʼs School of Architecture at Taliesin West, and lastly because of the premium Josh placed on process and ideological exploration. As the name “unfinished sketch” implies, this studio shifted the typical studio priorities of “completeness” to a more simplified notion of dynamic mailable framework for learning. As the semester progressed we stayed naive to what Joshʼs next step might involve, thus we privileged the current moment in time instead of looking toward the final product or deadline. This studio taught me the significance of taking photographs in a thoughtful and expressive way. We read several significant works relating to the observation of spacial experience and its subsequent documentation. From these essays we learned to see the site context as not only static, rigid form but multidimensional, multi-purpose, and evolving space. We learned that a photograph can be as objective and literal as a proper noun, or conversely as subjective as an abstract painting. To summarize the overall concept of this studio, Josh prescribed for this studio to be a sort of “petri dish” of ideologies and parameters which constantly evolved with its layering of scope and scale. The schedule and progression lended itself not to refinement and detail, but to approach and morphology. In retrospect, the most vivid recollections of this studio were not in the constructing of architectural space, but rather in the collective experience brought about by forced collaboration and constant discussion of our research.

1.0

C1 STUDIO

assignment one | multiple views

Preconditions: It was obvious that our individual Christian Science Center sketches from our in-class exercise did not have a distinct and literal connection. But with this first assignment, it was up to us to reconcile the disjointedness of two sketches from our classmates. Action: In order to understand the panorama of the site, I took the 8 total sketches into Photoshop. Since they were already scanned into digital media, my inclination was to scale the individual sketches in order to maintain a common proportion between all of them. With the uniform scale established, I simply layered one next to the other in a strand and matched as many lines as possible. The end result is the color-inverted image shown above (the black stripe, so-to-speak) In response to the assignment, I extracted the two assigned images from the previous composition. With this Photoshop enhances meshing, I simply traced on top of the image from my computer screen onto a sheet of paper. By sketching over the computer image, I was able to, once again, reconcile even more differences by increasing line weights, stitching common traits, and eliminating discrepancies altogether. The final result is the large sketch shown to the left.

1.1

assignment one | exquisite corpse

The initiator & su

Preconditions:

For the most part, in this second in-class exercise, the actual process had more importance than the analysis. It was yet another forced collaborative activity in which we would not know the outcome. Furthermore this process obscured our sense of authorship even more than the previous exercise at the Christian Science Center. Action: Given the intrinsic qualities mentioned above pertaining to the exercise, I wanted to unravel the complex site programs into simpler, and more defined thresholds. But more than that, I wanted to diagram the element of authorship, the element of time, and lastly, the element of adjacencies (shown respectively from top to bottom).

For the top line, my hope was to clearly define the individual participant in relation to the overall drawing. With these 8 drawings, one might begin to make more conclusions about clustering, movement, and edges. For the middle line, the gradation of grey aims to show the phasing for each drawing. The earliest designs within the drawing are represented by the darkest grey, and conversely, the latest addition is represented by the lightest grey. The bottom row of drawings attempts to group common areas according to color. Red representing Student Spaces, Green representing Faculty Spaces, and lastly, Blue as Public Spaces. It was not certain that the adjacencies were planned, but they did tend to group together after looking at these final results.

C1 STUDIO

Lauren

The time scale:

First Add

The grouping of

Student

- War Ro - Model - Main S - Artistâ&#x20AC;&#x2122;s

The initiator & subsequent contributors: 8

1 4

2 3

7 1

8 6

7 1

2 3

8 2

0 3

1 5

Lauren

Sean

Essa

Katie

Megan

Greg

Amanda

Ryan

Second Addition

Third Addition

Fourth Addition

Fifth Addition

Sixth Addition

Seventh Addition

Eighth and Final Addition

The time scale:

First Addition

The grouping of similar space usage: 8

4 6

8 6

8 7

3 5

4 4

8 3

2 0

7 1

1 0

0 3

8 8

Student Spaces

Faculty Spaces

Public Spaces

- War Room - Model Shop - Main Studio - Artistâ&#x20AC;&#x2122;s Studios

- Faculty Offices

- Entrance - Kitchen / Lounge / Gathering Space - Exhibition Space

2 0

1 5

Existing Conditions

Exquisite Corpse

1.2

The Assignment The overall purpose of this assignment was to analyze the preconditions of Taliesin West by “mapping” as James Corner writes about in “The Agency of Mapping.” In his essay Corner describes an “agency of mapping” whose operational structures are Fields, Extracts, and Plottings: Fields being a setting of rules and the establishment of a system, Extracts being the isolation or de-territorialization of parts and data, and Plottings being the drawing-out and setting-up of relationships between parts. The author compares his term Mapping to Tracing. He asserts that both actions reveal and realize hidden potential, but tracing only “delineates patterns & reveals nothing new”

We were given the 2-D CAD drawing of the Taliesin West Campus shown on the opposite page. The objective of distributing this plan view was to show the “spine” of the Drafting room, Pergola, AND the new Micro-Campus site. Required of us was a series of mappings that clearly defined fields, extracts and plotting and their interrelationships. We were asked to consider three independent “scales” of our choosing that together informed a generative interplay of ideas.

C1 STUDIO assignment two | mapping

My Response

Because this assignment was based upon James Cornerʼs Essay about “Mapping”, it was up to us to interpret the reading with our own version of mapping as well as describe our mappings by using Cornerʼs terminology. With the AutoCAD site plan drawing of Taliesin West given to us, we had accurate visual information combined with our mediocre knowledge of Taliesin from the previous weekʼs readings. In analyzing the CAD drawing, I noticed the uniform slope of the site shown by the topographical lines. And since the visual image of the built forms was lacking depth and discernible information, I chose to keep that information abstract and unknown. The previous weeks reading about Frank Lloyd Wrightʼs work, was helpful in producing a preconceived mental

image of the institution Taliesin West, of the weather conditions in the Arizona Desert, and of the site qualities of Taliesin West. All of these elements found their way into the model I created for the assignment. My model displayed the three scales, which were required: (1) the heavily sloped site, (2) the intense solar pattern of the site, and (3) the panoramic views of the mountain range beyond. The techniques I chose to borrow from Cornerʼs essay were layering, rhizome, and game board. Because there are layers that compete for different end goals, my model aims to mesh them into a

unique montage of dispara ing the model from differen constantly shift your fo dynamic.

Lastly, I employed Cornerʼ plottings in this exercise. T West in which we soon aft limited information in whic moment. Lastly, the Plot with the limited information physical, and ephemeral qu Plotting is the model which

n Taliesin West, of the e Arizona Desert, and of in West.

ound their way into the assignment. My model s, which were required:

site, attern of the site, and ws of the mountain

to borrow from Corner始s zome, and game board. that compete for different ms to mesh them into a

unique montage of disparate items. This way, in analyzing the model from different angles and scales, you can constantly shift your focal point to a competing dynamic.

Lastly, I employed Corner始s idea of fields, extracts and plottings in this exercise. The field is the site of Taliesin West in which we soon after visited. The Extract is the limited information in which we have been given to this moment. Lastly, the Plotting is what has been done with the limited information to make an argument about physical, and ephemeral qualities of Taliesin west. The Plotting is the model which you see to the right.

1.3

assignment three | drifting In this third assignment, we were asked to literally read further into the concept of “Drift” through Simon Sadlerʼs text, The Situationist City. We were introduced to this topic in the previous weeks text from James Corner. In short, the concept of drift was a based on a political movement spawned by Karl Marx in which the urban context was turned into a fabric for which situations grew. And for well known situationists like Guy Debord and Asger Jorn the product of these drifts through the city were abstract maps and compositions that gave a feel or mood for the drift. Drifting was a way to add a dramatized process to the oversimplified readings of cities. In effect, for our assignment, we were asked to do several drifts on our own, dealing with the Christian Science Center once again as the field of study. The first drift that I aimed to portray graphically was the collaborative drift in which Sean and I drew a portion of a meaningful area within the site, then once we completed that portion, we exchanged drawings and added to one anotherʼs drawings from a completely desperate part of the site. The product you see displayed above is a hybrid drawing of the two locations.

C1 STUD As for my individual drifts. I did not have access to any arial maps of the site, nor did I want to reference any. My drift, like Debordʼs drifts, was meant to be experiential and represent the sentiments of the drift rather than the logistics of the space. The grey-scale image on the right shows three of the iconic built forms on the site in a collage. My thought, was by meshing of these buildings, a mimicry of form would emerge as a architectural language by which a genetic make-up could propagate new forms. The last drift was a thermal diagram of circulation throughout the site. Red was determined to be the highest presence of traffic, while the color dissipated to yellow with the lighter flows of traffic. I took about 30 minutes to follow pedestrians and observe the most used paths of commute. Although many people used the site as a place to rest, many people used it as a means to travel from one end to the other or throughout. Once again, in the spirit of the situationist movement, I did not use any formal arial maps for this exercise, but produced a generic diagram in order to simplify the site but privilege the pedestrian movement.

STUDIO

any arial maps of the site, 始s drifts, was meant to be t rather than the logistics ws three of the iconic built meshing of these buildings, nguage by which a genetic

oughout the site. Red was hile the color dissipated to 0 minutes to follow pedese. Although many people as a means to travel from he spirit of the situationist s exercise, but produced a ege the pedestrian move-

1.4

assignment four | seeing

Series of 10 - Material E

C1 STUDI

In keeping with the trend of previous assignments, once again, our response to assignment four was influenced by the supplementary reading of that week. The two texts given to us were: (1) Siegfried Kracouerʼs Theory of Film and (2) Wim Wenderʼs The Act of Seeing. We were asked to take both readings and consider photography as not just a means of representation, but as narrative, as an identifier, as a “field,” as subjective work, and so forth.

The 48 photographs seen on the left show the objective 48 shots taken for this secondary exercise in mapping/drifting. While taking these pictures, we had to keep in mind the categorical nature of each shot. As you can see on the opposite page, some photos show the Christian Science Center as a series of 10 different material palates. As for the pairing photos seen on the right, the pairs either compliment or oppose each other. From the top to the bottom: (1) the pair represents the opposing classic architectural beauty and its less attractive counterpart, unfinished construction. (2)

The second pair shows th mimics one another. (3) used within the site. (4) distinct agenda, whereas t memorate the moment. one another in scale. Th within the left shot as the are far different in scale. ( photographs show opposi second notion, is of author right.

The final shot highlighted story of the site,” so to sp things about my observat central church as the foc colonnade as a main thoro center taking a mimicking

Narrative - Polished vs. Unfinished

Photograph as composition

Sight as a Reflector Series of 10 - Material Elements Subjective vs. Objective

STUDIO

ce again, our response to ding of that week. The two Film and (2) Wim Wenderʼs and consider photography s an identifier, as a “field,”

e 48 shots taken for this e pictures, we had to keep see on the opposite page, es of 10 different material

her compliment or oppose esents the opposing classic nfinished construction. (2)

Literal Scale - Foreground vs. Background

Authorship & Light

The second pair shows the composition of the image as a geometrical shape that mimics one another. (3) The third pair deals with reflectivity as a design aesthetic used within the site. (4) Fourthly, the image on the left is subjective and without distinct agenda, whereas the right photo captures an objective photograph to commemorate the moment. (5) Second form the bottom, these photographs oppose one another in scale. The woman walking away holds nearly the same presence within the left shot as the Prudential Tower holds in the right shot, even though they are far different in scale. (6) The final pair shows multiple notions. Most notably, the photographs show opposing directions, both away from, and in to the sun. The second notion, is of authorship within the frame of the left shot and anonymity in the right. The final shot highlighted in to the right was a photo that was meant to “tell the story of the site,” so to speak. I wanted to have a photograph that suggested many things about my observation of the site. In this photo, I wanted to capture the central church as the focal point of the site and capture the circulation along the colonnade as a main thoroughfare. With luck, there was a man standing front and center taking a mimicking shot of the church to reaffirm my notion of its focal point.

1.5

INFORMATION ABOUT THE TRIP :

EXERPT FROM MY TALIE

With our prior incomplete knowledge of the site of Taliesin West, we embarked on a 5-day trip to visit, document, analyze and present. While in Arizona, we met with students, faculty, and employees of Taliesin. In collaborating with the these resourceful people, we reached our own understanding of the site and furthered our personal studies. In October of 2008, we came equipped with a multitude of ideas and inspirations to guide our investigation. A thorough proposal was required of each of us before leaving Boston.

C1 STUDIO

assignment five | preparation THE PROPOSAL :

In keeping with the previous work we had done with mapping, drifting, and seeing, I wanted to quantifiably document the aspect of time as it relates to process. Although the concept of drift is, by nature, a subjective exploration of the human psyche, I believe it is fundamental to the success of built form. I assert that time is less of a focal point than the momentary experience suspended within that given moment. With this platform of inquiry I aimed to discover how the proverbial “snapshot in time” can be reproduced and woven into a stream of methodical moments. Equipped with a stopwatch and a camera, I proposed to freely navigate the campus of Taliesin West. As the stopwatch reaches 3 minutes, I wanted capture an image of that which I am currently focusing on (similar

to the “seeing assignment” but without thematic motives). After 1 hour (20 photos), I sat and wrote a brief blurb about each one of the photos. In particular, I wrote about the connection between each and emotional response to that moment. In opposing that methodology, I proposed to drift with no constraint on time, but rather time the differences in the photographs. This way, there was a comparison from time to process. I hypothesized that the meaningfulness of the second procession outweighs the haphazard moments captured every 3 minutes. For the third unscheduled time frame, instead of photographing on intervals of time, I chose to take 3 of my most provocative moments from the previous

exercise and sketch/map the space using techniques from Cornerʼs Essay. These mappings were the first drafts of my final mappings which took place back in Boston. The purpose of the exercise was to collect observational information on several scales and represent them in a 2-dimensional composition. Even though they were rough compositions, they were also a montage of various graphics and techniques. For this final personal exercise, it was more important to seek out diverse locations and get a good cross section of Taliesin West as a site. This methodology contrasts with the fist two exercises, in that time was less likely be a point of study but rather experience weighed heavily on the final outcome.

EXERPT FROM MY TALIESIN WEST TRAVEL JOURNAL :

he space using techniques e mappings were the first which took place back in he exercise was to collect on several scales and nsional composition. Even compositions, they were graphics and techniques. se, it was more important ons and get a good cross a site. This methodology o exercises, in that time f study but rather experie final outcome.

1.6

C1 STUDIO

on site | taliesin west | scottsdale, az â&#x20AC;&#x153;I would like to analyze the campus of Taliesin West as not a static encapsulated formal mass, but rather as a processional experience for a given observer to reflect upon. By taking snapshots on a one minute time interval, I hope to deviate the experience into forced moments. In later study, I will contrast this approach by lifting the time constraint and taking photos whenever they seem relevant.â&#x20AC;? - My Travel Journal Entry. October 23, 2008.

1.7

C1 STUDIO

DIO

on site | taliesin west | scottsdale, az TIME BLOCK TWO - Photos as they appear

1.8

C1 STUDIO on site | taliesin west | scottsdale, az

TIME BLOCK THREE -

TIME BLOCK THREE - Sketching the essance of a given environment

1.9

C1 STUDIO

on site | taliesin west | scottsdale, az TIME BLOCK FOUR - Reflection & Synthesis (The final time block)

1.10

week ten | first week back individual master planning assignment

first iteration

Over the following two weeks after our trip, we developed several master plans for the new micro-campus site, using the “exquisite corpse” program that was utilized at the beginning of the semester. Having visited the Taliesin West, the approximate sizes were be more meaningful now that I had visited the existing facilities. Using a similar graphic language, I presented the two initial master plans shown here. Program Entrance / approach sequence Exhibition space Main Studio space “War Room” Print & model-making room 10 faculty offices 2 studios for visiting artists Kitchen/Lounge/Gathering Space second iteration

sized as appropriate approx. ½ size of Atrium studio approx. 2x Atrium studio approx. ½ size of Atrium studio approx. ½ size of main studio each approx. 100sf each approx. 250sf sized as appropriate

assignment

ed several master plans for â&#x20AC;? program that was utilized esin West, the approximate e existing facilities. Using a er plans shown here.

e trium studio studio trium studio main studio

1.11

week eleven group master planning assignment

process narrative

Working in our first set of temporary groups, we collaborated to complete a “final” master plan – taking into consideration the issues that were raised during the previous critique. Below are several agenda items discussed previously to consider for this assignment. • Connection to existing site circulation • Relationship to desert / hills – visual, environmental • The “Unfinished-ness” factor – how does our plan accommodate future expansion? • Adjacencies – related or adjoined programmatic elements • Proximity / connection to historic core • Scattered vs. clustered elements (density) • Critical distances – for walking, for viewing, for hearing • Climatic response(s) • Building and/or material logic(s) – tectonics

process sketch

circulation

vegetation

adjacencies diagram EXHIBITION

materiality

WAR ROOM

PRINT/MODEL

MAIN STUDIO

This master plan was begun by mimicking the circulation pattern of the main campus. The prow was mirrored across the eastern edge of the historic core, connecting the paths at the existing walkway leading to the Sun Cottage. Thus the 45/90 grid of the historic core was transplanted and used for the new buildings of the microcampus. The war room and exhibition space were placed along an extension of that existing path as a way of drawing the user into the microcampus from the original. The war room was kept above grade to create a sense of enclosure to the site, and was designed as a separate space from the studio to create a more formal or ceremonial presentation space. A water wall was also placed on the southwest side of the war room to maintain a connection with the fountains of the historic core. The exhibition space was placed below grade to maintain views across the microcampus. A green roof was installed on the exhibition space so that all parts of the courtyard would remain usable. Renovation of existing buildings (the Atrium Studio and the East Wing) was preferred over demolition as the more ecofriendly alternative. The Atrium Studio was converted into the model shop and printing room, and the East Wing was converted to a kitchen/lounge area for the students and faculty. The main studio space was placed adjacent to the lounge area. A corridor was placed between the two buildings, leading into the microcampus courtyard. A compression of space was created at that corridor because of the conflicting grids of the East Wing and the new studio, thus encouraging circulation through that space.

GUEST STUDIO KITCHEN/LOUNGE FACULTY

ARM

ARCHITECTS

amanda poirier . ryan martin . meghan krieger

The main studio space w student work areas on th visiting artist studios and second floor. Views were the two floors as a mean verticality of the mountain plane of the desert, and really acts as more of a m ern and southern walls we although some openings cross ventilation purpose cantilevered over the firs and east sides in order to the interior spaces. The studio were completely morning light to enter the well as to allow uninhibite the desert as well. More views were created betw ings as a means of enc through the campus. A placed at the northernmo create a threshold that w of the microcampus. Its mined by mirroring the s the prow across the line o path from the original cam so as to keep a similar sc campuses. Lawns were p order to determine th through the microcampus road and parking were ma ing locations so that car when on the courtyard. S used as seen on the origi some modern materials a roof on the exhibition spa lish the microcampus as historic campus. The ref into the eastern edge of order to keep Wrightʼs id sketch” alive.

rrative

begun by mimicking the the main campus. The ross the eastern edge of necting the paths at the ding to the Sun Cottage. of the historic core was d for the new buildings of e war room and exhibition ong an extension of that y of drawing the user into m the original. The war e grade to create a sense te, and was designed as a the studio to create a onial presentation space. placed on the southwest to maintain a connection f the historic core. The placed below grade to ss the microcampus. A ed on the exhibition space e courtyard would remain of existing buildings (the the East Wing) was lition as the more ecoThe Atrium Studio was model shop and printing Wing was converted to a for the students and studio space was placed ge area. A corridor was wo buildings, leading into rtyard. A compression of that corridor because of of the East Wing and the encouraging circulation

ARCHITECTS

. ryan martin . meghan krieger

The main studio space was designed with the student work areas on the first floor and the visiting artist studios and faculty offices on the second floor. Views were maintained between the two floors as a means of referencing the verticality of the mountains over the horizontal plane of the desert, and so the second story really acts as more of a mezzanine. The northern and southern walls were left fairly opaque, although some openings were included for cross ventilation purposes. The second floor cantilevered over the first floor on the north and east sides in order to provide shading for the interior spaces. The eastern walls of the studio were completely glazed to allow the morning light to enter the space uninhibited, as well as to allow uninhibited horizontal views of the desert as well. More restricted or framed views were created between individual buildbuildings as a means of encouraging movement through the campus. A reflecting pool was placed at the northernmost edge of the site to create a threshold that would define the limits of the microcampus. Its location was determined by mirroring the southwestern edge of the prow across the line of the main circulation path from the original campus to the new one, so as to keep a similar scale between the two campuses. Lawns were placed appropriately in order to determine the circulation paths through the microcampus. The existing service road and parking were maintained in their existing locations so that cars would not be seen when on the courtyard. Similar materials were used as seen on the original campus, but with some modern materials as well (i.e. the green roof on the exhibition space) in order to establish the microcampus as a new part of the historic campus. The reflecting pool trails off into the eastern edge of the microcampus, in order to keep WrightĘźs idea of â&#x20AC;&#x153;the unfinished sketchâ&#x20AC;? alive.

plan

war room entry

entry

faculty offices fffices (above) exhibition space

C1 STUDIO guest studio (above)

entry

print & model

sun cottage (existing)

entry

kitchen & lounge

main studio

section

1.12

Micro

Conceptual Diagrams week twelve | buildings

C1 STUDIO

Key Plan / Site Plan 40’

200’

Scale: 1/64” = 1’-0”

Using our own collaborative master plans from the previous week, we were asked to prepare a new master plan on and individual basis. Taking the concept and layout from our group design, we began to articulate more ideas about individual buildings and their relationship to the site. Sectional Model (left): After our formalized design was completed, we were required to construct a single 1/4” scale sectional model that cuts through a minimum of two distinct buildings and the spaces between them, including adjacent pathways and landscape elements. This investigation forced upon us questions of scale, and tectonics.

Key P

Micro-Campus Site Plan 10’ 50’ Scale: 1/16” = 1’-0”

Diagrams

DIO

Final Model in progress

Conceptual Diagrams Key Plan / Site Plan 40’ 200’ Scale: 1/64” = 1’-0”

1.13

final presentation | the complete picture

C1 STUDIO design guidelines

Before executing our final design, we were first asked to author 5 specific ideas that were fundamental to solving the problem(s) posed by the studio. These specific ideas were code to which our design might be able to objectively critiqued as we moved forward. The five general principals that I came up with were as follows:

3. Use material qualities in your design to assist in passive cooling techniques. By simply placing glazed facades away from the hot Arizona sun will increase the level of comfort within the space. Conversely, the heavy masonry walls have a low heat index as to guard the cool interior from the hot exterior. Such walls should be placed primarily in the southern facades.

1. The orientation of the design must either follow primary axes of Frank Lloyd Wright始s historic core and/or the orientation of the existing sun cottage. Given these set of boundaries, the continuity of the old and new design will be more pronounced.

4. Since the ecosystems of the desert are fragile and destructible, it is favorable to tread as lightly as possible with footprint of the proposed design. The new Micro Campus should take no more space than is needed to fulfill its programed spaces.

2. The stairways and terraces in the original campus represent thresholds from one area to the next. Use the sloped site to accentuate these boundaries in not only elevation but in plan as well.

5. Given the presence of strategically placed water features in Taliesin West, the design shall incorporate water as a node for which any person might be inclined to see.

DIO

n to assist in passive cooled facades away from the el of comfort within the ry walls have a low heat m the hot exterior. Such southern facades.

t are fragile and destrucas possible with footprint o Campus should take no programed spaces.

placed water features in orate water as a node for see.

materiality collage / axonometric sketch 1.14

the spiri

Water

En try

War Room

Entry

Main Studio

Exhibition Space

Tree Grove Entry

Faculty Offices Existing Sun Cottage Print & Model Room

the complete picture

Kitchen & Lounge

& Guest Studios

I had three main p West. Like Wrigh so that any obser entially. Secondly warm climate, the for my design to r and compliment t

To elaborate on t Wright始s employm tional movement tively compressing release one feels acute. The views as you move from

the spirit of the design I had three main principals to my final design to the micro-campus of Taliesin West. Like Wright始s design of Taliesin, I wanted my proposal to be organized so that any observer or user can circulate in a non-linear procession, i.e. experientially. Secondly, I wanted my design to respond to existing conditions: the warm climate, the sloped site, and the individual user groups. Lastly, I intended for my design to reflect and associate with Frank Lloyd Wright始s original designs and compliment the existing building conditions. To elaborate on these principals, the experiential qualities were derived from Wright始s employment of compression and expansion, and his mastery of navigational movement through corridors, trellises, loggias, and terraces. By figuratively compressing the user under a low overhead ceiling, Wright observed the release one feels upon exiting the space is verifiably more momentous and acute. The views beyond instantly transition from background to foreground as you move from small shaded spaces to the expansive desert panorama.

This was the intent in my design of the bridged mass housing the Guest Studios and Faculty Spaces in the center of my micro-campus. By looking at the section directly above, you can see the space underneath the overpass and the possible views it would produce to the east (to the right). In responding to the site, I took the existing language of old and new to, what I thought might be its natural fulfillment. This was a propagation of our collaborative project始s notion of the inverse-prow since the symmetry delineated a strong relationship between the old campus and the new micro-campus. This new micro-campus would contrast the historic prow in that it would dig into the earth as opposed to emerge from the earth. My proposed campus shall excavate and retain the desert soil in order to create the voided wedge you see in the lower left part of the opposite page. Since the slope is fairly server on this site, adding terraces and sloped walkways in the north/south direction helped to harmonize with the site instead of divorce from it.

C1 STUDIO materiality collage / axonometric sketch 1.15

Circulation

C1 STUDIO

planimetric

Learning from James Cor much more than just a t re-envisioning of a site w depicting the four catego the varying spheres throu site. Just like Roger Clark edents in Architecture, th typal patterns and format

The circulation diagram sh might navigate the space beginning of the semeste might be and how to circu

circulation

Circulation

water

axes

Axes

vegitation

the complete picture

Water

Vegitation

The axes diagram unveil page. The inverse V-shap tional symmetry. The sec metrically bisects the site underpass space created b is based on the existing final axis hinges on the ce Level One forms a perpendicular th apex.

Water features found in connected the space from audibility. In a desert sett attractive and tranquil, th small water feature you s waterfall pit demarcating feature is a soothing arr pathway might exist. The site provides a chasm in tree-grove area. The size the built environment surr also passively cool the ad

Water

The last topical diagram and natural features sur requirement of our studio surface, this diagram show undisturbed or integrated

Circulation

Axes

Water

Vegitation

planimetric organization Learning from James Corner始s essay mentioned previously, a site is much more than just a tracing that reveals hidden potential, but a re-envisioning of a site with a hierarchy of layers and meanings. In depicting the four categories on the opposite page, I wanted to display the varying spheres through which one might be able to envision the site. Just like Roger Clark and Michael Pause show in their book Precedents in Architecture, these four categories show the formal archetypal patterns and formative ideas of my design. The circulation diagram shows how a future student or faculty member might navigate the space. Learning from the drifting exercise at the beginning of the semester I displayed where a typical destination node might be and how to circulate to that area most efficiently. The axes diagram unveils the geometry discussed on the previous page. The inverse V-shape acknowledges the historic prow by its rotational symmetry. The secondary axis down the center of the site planimetrically bisects the site but visually invites framed view through the underpass space created by the second floor mass. The horizontal axis is based on the existing sun cottage and student space. Lastly, the final axis hinges on the center node created by the last two axes and Level One forms a perpendicular threshold for the long procession to the site apex. Water features found in Wright始s Taliesin West not only visually connected the space from space to space, but did so also with their audibility. In a desert setting, it is the elements of water that are most attractive and tranquil, therefore they mark a moment of arrival. The small water feature you see at the western (left) part of the site is a waterfall pit demarcating the diverging paths at that nexus. This water feature is a soothing arrival sequence where otherwise a drawn out pathway might exist. The large water basin on the eastern part of the site provides a chasm in the space bisecting it from the more natural tree-grove area. The size of this water body compliments the size of the built environment surrounding it. The cool air from the water might also passively cool the adjacent building.

Water

The last topical diagram shows the localized presence of open space and natural features surrounding the site. Because a prescribed requirement of our studio was to tread lightly on the delicate desert surface, this diagram shows that much of the vegetation was either left undisturbed or integrated into the site始s landscape.

Circulation

Axes

Water

level two

Level Two

Vegitation

level one

Level One

1.16

Level Two

final present

Exhibition Space

view looking fro path down

Main Studio

War Room

Faculty Offices

3 Sun Cottage

view looking from roof into cou Kitchen & Lounge

Print & Model Room

Guest Studios

5 6

view looking throug model room & kitc

view looking from exhibition space path down into the war room

view looking down into msin water body and main studio space from the desert

4 view looking from print & model room roof into courtyard space below

view looking through ally-way between model room & kitchen into courtyard

view looking west along a primary axis from the desert

view looking at the overall eastern part of the proposed campus

6 1.17

2 130 Prospect Street

C1 STUDIO

final presentation | the complete picture

the beginnings of architectural project work

130 Prospect Street

In the Fall of 2008, I was promoted from the General Office Person to the Assistant to the CAD Manager and IT Manager. At this time, I had only a few opportunities to use Computer Aided Design tools in the office setting. I was a novice at AutoCAD from my work in the classroom, but naive to CAD standards and office protocol. At the onset, I assisted the CAD manager, Lyle Lemon in organizing and updating our office AutoCAD library to make it more user friendly and comprehensive. Hereafter, I was introduced to the world of Building Information Modeling. Lyle worked closely with me on small projects using the program, Revit Architecture. I built components called â&#x20AC;&#x153;familiesâ&#x20AC;? for billable projects, and familiarized myself with the Revit user interface. As my knowledge and proficiency aggrandized, I began working on larger scale projects. The projects shown in this section display my introduction to project work at Bruner/Cott & Associates. The first project is an As-built project of our office building. The second project is a renovation of our office building for incoming tenants. The last page represents our office initiative to stainability and how I was involved.

2.0

refl

as-built project | building information modeling

130 PROSPECT S The project shown on this page is the office building where Bruner/Cott & Associates is located. Because many of the drawings for this building were outdated, missing information or simply hard to find, the impetus for a Revit model was in place. Revit was still fairly new to the office and therefor it was enticing to use this exercise as a pioneering project. The curator of the project was Laurie Soave, however Lyle Lemon and I were responsible for the successful implementation. The drawings I utilized were from the anachronistic periods of hand drafting, and some from Microstation (a 2-D drafting program). The way Lyle and I created this Revit Model was to take the Microstation drawings, loading them into Revit as underlays and verifying the dimensions. I learned from this project many new and exciting tools for creating a virtual model and what incredible capabilities the Revit program has. I discovered that sections could be easily cut and displayed once a model was created. I found that walls could be drawn with a desired thickness and composition so that the design had added accuracy. I learned that materials of surfaces were important for rendering and scheduling purposes. Lastly, I learned that drawing in three dimensions meant walls were not simply planimetric but were elements with vertical properties.

reflected ceiling plans

floor plans

on modeling

PECT STREET

& Associates is located. rmation or simply hard to the office and therefor it

northwest elevation

section looking northwest

were responsible for the tic periods of hand draftI created this Revit Model and verifying the dimen-

model and what incredible cut and displayed once a s and composition so that portant for rendering and ant walls were not simply

2.1

Sim

LIMIT OF WORK

A-402

LIMIT OF WORK

NEW ELECTRUCAL OUTLETS SEE ELEVATION

A-402

A-301

VERIFY LOCATION OF DOOR

GFI

EXISTING ELECTRICAL FLOOR OUTLETS TYP.

3' - 8" TO FACE

A-301 2

1 A-401

DN UP 2

DETACH, RELOCATE AND ADD NECESSARY PANELS AND ATTACHMENTS TO EXISTING FURNITURE ASSEMBLY

REMOVE OR RECESS FLOOR OUTLETS

Project

130 Prospect Street

Cambridge, MA

Title

SECOND FLOOR PLAN

ASI/RFI #:

Scale

1/8" = 1'-0"

Number

08/25/09

Date

NOTES:

A-102

130 PROSPECT S DN

Project

130 Prospect Street

Cambridge, MA

Title

SECOND FLOOR DEMO PLAN

ASI/RFI #:

NOTES:

1/8" = 1'-0" new t e n a08/27/09 n t r e n o AD-102 vation project Scale

Date

LIMIT OF WORK

REMOVE SPIRAL DUCT WORK REPLACE WITH RECTANGULAR ABOVE CEILING

REDIRECT SPRINKLER HEADS AS NEEDED

RELOCATE EXIT SIGN TO BCA SIDE OF PARTITION

Number

In the Fall of 2009, a colleague, Lyle Lemon and I were involved in the renovation for the new tenant space within our office building. I was chosen to be a part of this project because I was the original creator of the Revit model, and because Lyle being my supervisor at the time took over as the project manager. From the Revit model we were able to create Construction Drawings depicting the changes we needed to accommodate the new tenants and provide for their needs. Lyle and I were also assisting in the deconstruction, relocation, and storage of BCA material. After construction we reassembled the modular furniture in the new space as well as reorganized the remainder of our office. This project provided many opportunities for my learning and cultivation of skills. I had not yet created Construction Documents until this time. And due to the time constraints of the tenants moving in within the month, this project exercised Lyle and my sense of urgency. I realized too that the implications of each drawing was critical for unequivocally communicating accurate information to the subcontractor. Up until this point, almost all of my architectural work communicated a group of concepts or diagrams, but never a fully instructional, pragmatic, live document.

Project

130 Prospect Street

Title

SECOND FLOOR REFLECTED CEILING DEMO PLAN

Scale

1/8" = 1'-0"

Date

08/27/09

NOTES:

Cambridge, MA ASI/RFI #: Number

AD-202

Sim

LIMIT OF WORK

A-402

NEW LOCATION OF REGISTERS

HVAC AS REQUIRED

1 A-402

1 NEW EXIT SIGN

A-401

NEW LOCATION OF RELOCATED EXIT SIGN

Project

130 Prospect Street

Title

SECOND FLOOR REFLECTED CEILING PLAN ASI/RFI #:

Scale

1/8" = 1'-0"

Date

04/02/07

Cambridge, MA

Number

A-202

NOTES:

HVAC AS REQUIRED

Project

130 Prospect Street

Cambridge, MA

Title

SOFFIT DETAIL

ASI/RFI #:

Scale

1" = 1'-0"

Date

08/28/09

Number

A-402

1/4" x 2 1/2" STEEL PLATE FASTENED TO STUD ABOVE & BELOW

WORK

A-301

NEW LIGHT FIXTURE

GFI

3' - 8" TO FACE OF BRICK

Detail @ Bracing in GWB

SCALE: 3" = 1'-0"

2 A-401 1/4" x 2 1/2" STEEL PLATE FASTENED TO STUD ABOVE & BELOW

8' - 6" AFF

UTLETS

NEW ACT CEILING UP

3 A-401

Detail @ Bracing in Glass Block

PECT STREET SCALE: 3" = 1'-0"

WORK

Project

130 Prospect Street

Cambridge, MA

Title

SOFFIT DETAIL

ASI/RFI #:

Scale

1" = 1'-0"

Date

08/28/09

Number

NOTES:

A-402

AC AS REQUIRED

Project

130 Prospect Street

Cambridge, MA

Title

WALL DETAILS

ASI/RFI #:

Scale

As indicated

Date

03/28/07

Number

Interior Wall Section

SCALE: 1" = 1'-0"

NOTES:

A-401

31' - 0"

10"

29' - 4"

10"

1 A-401

WORK

AC AS REQUIRED

4' - 0"

2' - 1"

2' - 0"

Kitchenette Elevation

GLASS BLOCK 5' - 4"

2' - 0"

7' - 4"

3/4"

STEEL BRACING

NEW ELECTRICAL OUTLETS

SCALE: 1/4" = 1'-0"

7' - 4" TYP.

Partition Wall Elevation

SCALE: 1/4" = 1'-0"

2.2 Project

130 Prospect Street

Cambridge, MA

Title

SECOND FLOOR INTERIOR ELEVATIONS

ASI/RFI #:

Scale

1/4" = 1'-0"

Number

Date

08/27/09

A-301

NOTES:

as-built pro Winter

Summer

PP3

HP06 Serves Lobby PP1

PP2

T damper

4 p.m.

11 a.m.

HVAC diagram

The drawing ab building. In dra to understand codependent w

Sun Shades As an initiative of Sustainabilty Committee and our associate Laurie Soave, the firm entertained the option of reducing the solar heat gain on the southern facade by introducing sun shades. Because of this, Laurie asked me to produce renderings of our building from the Revit model with Sun Shades attached. With my extensive experience of building parametric Revit families, I was able to build the sun shade family seen above and to the right. The parameters allowed the shades to extend outward by increasing the amount of louvers, and widen to accommodate the window size. The three iterations seen above are images from the completed study. From my renderings, we can see that the size and shape of these shades were fairly successful in their application. The most intense summer sun is blocked during mid-day while the winter sun will intentionally penetrate the space.

as-built project | sustainability measures

PP3

HP09

HP06 Serves Lobby

HP07

CIRCUIT BREAKER NO. PANEL PP1, PP4 1.5 Ton - Server Rm 3 Ton 3.5 Ton 2.5 Ton 3 Ton 2 Ton - Serves Lobby 3.5 Ton 4 Ton 4 Ton 4 Ton 3 Ton

3 C2 Studio

HEAT PUMP HP01 PP4 1,3 HP02 PP1 1,3,5 HP03 PP1 8,10,12 HP04 PP1 2,4,6 HP05 PP1 7,9,11 HP06 Hse Pnl Gar. HP07 PP1 14,16,18 HP08 PP1 20,22,24 HP09 PP1 25,27,29 HP10 PP1 19,21,23 HP11 PP4

130 PROSPECT STREET

PP1 PP4

HP01

T T

PP2

HP02 HP04 T

HP11 HP05

HP03

Fresh Air Unit T HP10

T damper

HP08

T T

Heat gain measurements: HVAC diagram: The drawing above represents the vent locations for our office building. In drawing this diagram for use in our office, I began to understand how the vents interact with the windows in a codependent way.

To continue the study of solar gain in our office space, Laurie asked me to take a surface heat measuring device and periodically measure window temperatures. The study began first in March of 2009, then finished in May. I measured the second floor windows around the office and noticed that the surface of the glass along the South wall could reach over 110 degrees at mid-day while other windows remained much cooler. The adjacent brick also fluxuated very little in temperature while the window could change sometimes 50 degrees in only 4 hours. Additional to this study, Laurie asked me to take a light measuring device to measure the amount of lumens near each window. Glare is another reason for discomfort and with this study we could determine that some offices had less than 5 lumens from natural light, where others had over 200.

Sustainabilty Project Showcase: Blackstone is a LEED-Platnum project completed by Bruner/Cott in 2006. This wall showcases the many awards our firm had received and highlights the many sustainablity measures. I was responsible for painting this wall and designing its layout.

2.3

c2 design studio

Integrated Project Delivery Studio: Downtown Sailing Pavilion

Level of Studio: C2 - Masterʼs Core Two - Advanced Architectural Studio Class Code: CD102A / CD7102G Studio Instructor: Andreas Savvides Spring 2009 Location of Site: James Hook Fish Company in Bostonʼs 4-Point Channel Summary and analysis of the experience and skills learned: The purpose of this project was to investigate the notion of place-making via the translation and reinterpretation of the B-1 Studio boathouse project into a sailing pavilion. Our site was the former site of the James Hook & Co, a lobster and shellfish wholesaler, which was burnt down the year previous to our studio. The site is located between Atlantic Avenue and the Boston Waterfront and between Seaport Boulevard and Northern Avenue. Because this studio was an advanced architectural studio, we were challenged to think about our design from every possible perspective and with every degree of intensity. As the design progressed, we were to ask ourselves what was gained and weigh the benefits and pitfalls to each iteration. In order to maintain a focused methodology, Andreas asked us to keep constant both our “Concept Statement” and our “Programatic Rationale.” In turn, everything else was to be considered fluid. As the name indicates, the major focus of our studio was on interdisciplinary design. We as architectural designers were to orchestrate our projects as if they had no departure from reality. In other words, like in the professional setting, this studio project had similar parameters, constraints and social pressures. Experts and professionals from all disciplines made scheduled appearances every week for the first half of the studio. Each week we presented the most up-to-date design to these experts, and in turn received a unique and pragmatic response to our respective designs. As our designs changed, the amount of information carried within the design increased. Because this studio was fast-paced, we used our design from our B-1 studios as a departure point. To start, we transplanted this B-1 boathouse onto this site from its original context along Bostonʼs Back Bay Esplanade. Knowing that this relationship to the site had a fractured and arbitrary feel, we were asked to adjust our designs to appropriately fit the site and program. But before this could happen, we had to understand what the original design intent was, and envision what it could be through a series of evolving iterations.

3.0

One of the many programmatic sketches which subdivide space through diagramming

A rough sketch of the proposed volumetric interplay for the sailing pavilion

C2 STUDIO Sketch by Andreas showing additive design

integrated project delivery studio | downtown sailing pavilion

Reading this section: This introductory page is a collage of pivotal influences pertaining to the final design. Here I briefly introduce the topics explored, but in the pages that follow the content is topical, i.e. exclusive to the principal explored. This studio was organized in a layered and generative fashion, therefore it is important to see it as a synthesis of parts instead of a unified whole.

Studying the relationship of programmed spaces on the site

PAVILION PROGRAM REQUIREMENTS Entry Lobby / Reception / Men’s + Women’s Accessible Restrooms Boat Storage - (24) boats double-stacked three-high @ four rows: Workshop - (4) boats at any time for maintenance: Exercise Room: Women’s & Men’s Showers / Toilets / Lockers: (2) Offices + Conference Room: Club Room / Bar: Kitchen / Prep Area / Servery: Large Event Room: Viewing Platform / Sunroom + Outdoor Deck: Mechanical / Electrical Room: Sub-Total 1 Student Designated Program (20% of above): Sub-Total 2 Circulation (20% of total): Total: Additional Program Elements Launching Dock(s) for Boats (half the boats potentially here) Ramp(s) from Pavilion Boat Storage to Dock(s) (big enough to turn boats) Slip for (2) Launches Site Design & Landscape Architecture

2x1,000 2x400 3x200

SQ. FT. 1,200 2,000 800 800 800 600 600 400 1,600 1,000 200 10,000 2,000 12,000 2,400 14,400

Photograph of Catboats being

oposed volumetric avilion

My B1 Boathouse

Notations above show collaboration between WPI student, Mehmet Hurgunsel and me.

Photograph of the site

â&#x20AC;&#x153;Each design objective is significantly important in any project, yet a truly successful one is where project goals are identified early on and held in proper balance during the design process; and where their interrelationships and interdependencies with all building systems are understood, evaluated, appropriately applied, and coordinated concurrently from the planning and programming phase.â&#x20AC;? Photograph of the of the New England Catboats being stored in our design

- The Whole Building Design Guide article (Required reading for the class)

3.1

Energy Modeling Software - IES

C2 STUDIO

Considerations

Integrated Environmental Systems (IES) is one of many Energy Modeling softwares that are available on the market today. In our studio, we were fortunate to have Michelle Farrell, an employee and spokesperson for the software assist us in its implementation into our studio. These five frames shown in the box show a comparison between two insulation options in my particular design. This program takes the guessing out of engineering energy efficiency. As you can see the results are conclusive, identifiable and comparable.

downtown sailing pavilioin | climate The goal of the whole building design philosophy is to produce a building that is most effectively responsive to the site and its users. In order for the design to be responsive, the designers must know the parameters and codes for which the proposed building must comply. I submit, as do many architectural designers, that in order for a design to be acceptable in the aesthetic realm, it must first function in the practical realm. Shown in the page adjacent to this are a group

of graphs, diagrams and tables. Conclusive in each is that Boston is a 4-season climate with moderately low and high temperatures. The cold winds come in from the northeast while others come from the west. The solar exposure is considerable in summer months and minimal in the winter. Lastly, the design conditions table and diagrams are from a free software called Climate Consultant which give hints to designing a building appropriate to each respective climate.

TEMPERATURE

at Boston is a 4-season cold winds come in from exposure is considerable sign conditions table and ant which give hints to .

Considerations of the Preexisting Context

WIND

TEMPERATURE

BOSTON, MA

SUN

DESIGN CONVENTION

3.2

Common Pedestrian Circulation

C2 STUDIO downtown sailing pavilion | site

After learning the lessons of the pre-existing context, the next step was to translate them into a workable set of rules that had meaning to our design. In studying the site, there were several concise factors that commanded a physical response. These factors were; the pavilionʼs relationship of land to the waterfront, the pavilionʼs communication with neighboring buildings, the materials of the pavilionʼs surroundings, the predominant direction of wind and sun, the pavilionʼs year round climate changes, the proximity of the pavilion to the heavily used Kennedy Rose Greenway, and the pavilionʼs inescapable physical constraints of a forced pedestrian path. From these elements the beginnings of our design emerged from the perfunctory B-1 Boathouse. Landscape architect speaker Ellen Merritt benefited our design by giving strategies for integrating site work into our simple volumetric construct. Such tools as walkways, plantings, curbs, bollards. and berms were later considered.

Designing for

Predominant Wind Direction

5 PM

Common Pedestrian Circulation

12 PM

9 AM

Sun Exposure Study

Hierarchy of Site Procession

Summer Solstice

Fall / Spring Equinox

Massing Diagram of Bostonâ&#x20AC;&#x2122;s Financial District

Winter Solstice

Designing for the Site Predominant Wind Direction

Pedestrian Experience of the Site

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C2 STUDIO downtown sailing pavilion | concept

As stated in the introductory page, we were asked to keep a single generative idea throughout the semester. Since I have already alluded to my belief that site is what dictates the design and not visa versa, my designs always present a resonance between site properties and built form. The imagery shown on this spread are the secondary responses to such context sympathetic design. Shown here are a few examples of my stylistic tendencies. The diagram in the upper left shows my favorability toward skewed cartesian grid orientations along focal points and the unique spaces they create. The sketch above, pertaining to my B1 Boathouse design, displays my priority of visual connections. In my experience, within a space there are momentary oppor-

tunities for short range or long range views. In a dense and unique downtown environment, there were many instances of long range views including the world trade center towers and directly across the four point channel. The diagram to the right hints at my privileging of diverting pathways over intersections. On the right hand spread there are two more concepts: (1) passive solar heating techniques / daylighting strategies, and (2) exterior design precedents. In regards to the precedents, I had many inspirations for my fractured and crystalline typology. The newest designer Andreas Savvides introduced me to was a Boston based architect, Charles Rose.

Precedents

Daniel Leibeskind

Fentress Bradburn

Charles Rose

Antoine Predock

3.4

PRODUCED BY AN AUTODESK STUDENT PRODUCT

ground floor

Design Pro

1 A104 1 A104

www.autodesk.com/revit

27 ' - 6"

Consultant Address Address Phone Fax e-mail

Kitchen / Prep Area / Servery 35

Entrance Lobby 14

Vestibule 13 Men's M en's Restroom Women's 12 Restroom 11 Women's Locker Room

Exercise Room Corridoor

10 Men's Locker Room

2 A104

Mechanical Room 2 Boat Workshop 6 15

Club Room 4

Large Event Room 16

Consultant Address Address Phone Fax e-mail

PRODUCED BY AN AUTODESK STUDENT PRODUCT

Consultant Address Address Phone Fax e-mail

2 A104

No.

Description

Date

Consultant Address Address Phone Fax e-mail

Mechanical Room 3 17

Consultant Address Address Phone Fax e-mail

Lobby & Gathering Space 18

PRODUCED BY AN AUTODESK STUDENT PRODUCT

Mechanical & Electrical Room 1

Classroom Space

Consultant Address Address Phone Fax e-mail

Viewing Platform / Deck 24

Sun Room 19

Office 2 Corridor 22 23 Conference Room Office 1 20 21

No.

Description

Date

Boat Storage 5

Sailing Pavilion First Floor Plan

Sailing Pavilion Second Floor Plan

C2 STUDIO Drawn by

Checked by

First Floor 1/16" = 1'-0"

A101

Scale

Second Floor

1/16" = 1'-0"

Project Number Issue Date Author Checker

Project number Date

Drawn by

Checked by

4/2/2009 6:51:04 AM

Project Number Issue Date Author Checker

Project number Date

A102

Scale

PRODUCED BY AN AUTODESK STUDENT PRODUCT

downtown sailing pavilion | process This spread shows the progression from our initial B1 boathouse response to a more refined and holistic approach. From the beginning, abstract conceptualization and tectonic evolution occurred concurrently in order to validate the initial concept, our siting exercise, and our climactic responses. Program, defined as an optimal mix of uses and their strategic adjacencies, formulated my designs from these virtual building blocks. After learning from our guest critics we were able to understand scope for our interdisciplinary design project. These first sketches, models, and computer renderings act as a retrospective evolution relating previous designs more & more to the context.

1/16" = 1'-0"

4/2/2009 6:52:35 AM

PRODUCED BY AN AUTODESK STUDENT PRODUCT

second floor

PRODUCED BY AN AUTODESK STUDENT PRODUCT

ODESK STUDENT PRODUCT

Design Progression www.autodesk.com/revit

Consultant Address Address Phone Fax e-mail Consultant Address Address Phone Fax e-mail Consultant Address Address Phone Fax e-mail

PRODUCED BY AN AUTODESK STUDENT PRODUCT

Consultant Address Address Phone Fax e-mail

Viewing Platform / Deck 24

n Room 19

Room No.

Description

Date

Project Number Issue Date Author Checker

Project number Date Drawn by Checked by

A102 Scale

1/16" = 1'-0"

4/2/2009 6:52:35 AM

Sailing Pavilion Second Floor Plan

PRODUCED BY AN AUTOD

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nse to oncepalidate . Proencies, arning rdisciender& more

3.5

downtown sailing pavilion | materiality & ambiance

Interior Perspectives

Shown here is both interior and exterior material qualities for my final proposed design. In the hand-renderings to the left, I aimed to show a visceral prospective design for the space. The sketch on top showing the bold size of the lecture space from the audience perspective. The sketch on the bottom making the focal point of the design the circular information desk and the polygonal second story opening, while secondary elements like the stairs, people and distant windows permeate the image.

C2 STUDIO

On the opposite page the collage shows the material considerations I explored. Certain programatic elements were differentiated either a red brick veneered envelope or a heavy CMU wall for its high thermal mass index. The image in the lower left part of the collage tips its hat to the precedent studies from two pages previous. The roof planes visually peal away from the stratified wall levels to uncover the clearstory glass below. Finally, the materials are vaguely vernacular with brick being the most classical typology to Boston architecture.

Materialit

lion |

Materiality Collage

ial qualities for my final e left, I aimed to show a sketch on top showing ience perspective. The f the design the circular story opening, while distant windows perme-

material considerations I differentiated either a wall for its high thermal f the collage tips its hat vious. The roof planes s to uncover the clearvaguely vernacular with on architecture.

View Looking North from above Seaport Boulevard

3.6

Site Plan

Physical Model

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

C2 STUDIO

Scale: 1’-0” = 0’-1/16”

downtown sailing pavilion | programmatic use Here is the first glimpse of the fully integrated design in a comprehensive manner. This is the final design of 5 iterations produced, but I am sure many more iterations could further the design. As I typically do for all studios and designs, the given program was followed quite strictly and thoughtfully. Therefore the spaces shown are the product of many re-adjustments to fit the my concepts into the requested qualifications. Being able to understand the implications of a plan adjustment is one of the major benefits of drawing a final model in a CAD program instead of by hand. The color coding of the plans helps to visual differentiate the various uses and adjacencies. With a program of only 14,000 square feet, this sailing pavilion had to economize the site to its utmost ability. To this affect, I created a centralized hingepoint as that branched out into the three distinct wings. The structural and mechanical systems are shown on the next spread.

Lecture Space Public Restrooms Mechanical Room Kitchen / Prep Ar Club Room Lobby / Receptio Exercise Room Boat Storage Workshop Locker Rooms

Physical Model

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

1. 2. 3. 4. 5. 6. 7.

Lecture Space Public Restrooms Mechanical Room Kitchen / Prep Area Club Room Lobby / Reception Exercise Room Boat Storage Workshop Locker Rooms

Lecture Space Exhibit Area Public Restroom Offices & Conference Room Deck / Outdoor Viewing Platform Second Floor Reception Area Classroom Spaces

1 3 5

D DN

6 5

9 8

First Floor 1/16" = 1'-0"

Second Floor 1/16" = 1'-0"

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C2 downtown sailin pavilion | structure and mechanical systems

A building始s programmatic layout and orientation affect its operational performance, both quantitatively and qualitatively, in terms of the very pragmatic management and maintenance costs, as well as the rich and positive psychological condition of inhabiting and operating in a space. The passive means of heating and cooling the various program areas and the need for natural light and ventilation have a tremendous effect on the experiential perception of a building.

These passive conditions were integrated into my design, and balanced with active climate control systems. These systems along with a delicately considered structural proposal were carefully studied, and presented to our M/E/P design guest critic, Warren Cochrane and our structural lecturer, Christopher Downey. From this point on, our mechanical systems were designed with energy efficiency and cost in mind. Lastly, the structural grid is a best guess on how to compromise a space with interacting grid patterns, double height spaces and column-free boat storage spaces. The rule of thumb that I went by was that interior partitions usually centered themselves on structural beams whenever possible.

Notes from vistiting M/E/P expert, Warren Cochrane始s lecture:

Structu

2 ST Structural Grid

HVAC Path

om vistiting M/E/P expert, ochrane始s lecture:

3.8

Sectio

Wall Detail Section

Scale: 1’ - 0” = 0’ - 1/4”

downtown sailing pavilion | tectonics After being introduced to the final design in the last few spreads, this spread transitions into a formalized and literal representation of the plans and sections. On the opposite page, the plans are shown as keys for the 6 revealing sections. The sections show the tilted roofs and the proportions of the interior spaces. Because this studio preceded my formal introduction to wall detailing, my knowledge base was minimal. The wall section you see above was the best depiction I could find of a brick veneer wall section. The 3-dimensional axonometric building section shown above is produced in Revit and improved in Photoshop. The intent of this drawing it so display the foundation walls in the context of the entire west wing of the building.

Sections & Floor Plans 3 - Roof 24' - 0" 2 12' - 0"

1 0' - 0" 0.3 - High Tide -1' - 6" 0.2 - Low Tide -11' - 6"

Section 1 1/16" = 1'-0"

4 UP

3 - Roof 24' - 0" 2 12' - 0"

1 0' - 0" 0.3 - High Tide -1' - 6"

Section 2 1/16" = 1'-0"

2 5 3 - Roof 24' - 0"

C2 STUDIO 2 12' - 0"

1 0.3 - High Tide 0' - 0" -1' - 6"

Section 3 1/16" = 1'-0"

First Floor 1/16" = 1'-0"

3 - Roof 24' - 0" 2 12' - 0"

1 0.3 - High Tide 0' - 0" -1' - 6"

Section 4 1/16" = 1'-0"

6 3

3 - Roof 24' - 0" 2 12' - 0"

1 0.3 - High Tide 0' - 0" -1' - 6"

0.2 - Low Tide -11' - 6"

Section 5 1/16" = 1'-0"

1 3 - Roof 24' - 0" 2 12' - 0" 1 0' - 0" 0.3 - High Tide -1' - 6"

0.2 - Low Tide -11' - 6" 0.1 - Water Bottom -21' - 6"

Section 6 1/16" = 1'-0" 2

Second Flooor

3.9

1/16" = 1'-0"

Scale: 1’ - 0” = 0’ - 1/16”

C2 STUDIO

downtown sailing pavilion | elevations & photomontage

In these final rendering I used Revit to render telling perspectives of the exterior design while later photo-editing the images to include clouds and entourage (people, and boats). Because these were computer renderings the craftsmanship of drawings needed to exceed that which might have been originally done by hand. I spent much time tweaking the lighting and material colors to get the desired look and feel of my proposed design. Looking back at these images, I feel the tilted roof planes were both elegant and functional. Similarly the variations of brick and concrete really show brilliantly as a differentiator of the volumetric elements. In concluding, this project was the most holistic design I have attempted in my 7 years as an architecture student. Although some of my knowledge was lacking in various disciplines, the opportunity was there for me to expand my learning. The project took place just before entering the project team environment in the workplace. The integration of and exposure to these various trades helped me grasp the complexity of a singular building.

Elevations Scale: 1’ - 0” = 0’ - 1/16”

4 Waltham Watch Factory

3.10

Waltham Watch Factory Exhibit Casework

Bruner/Cott & Associates Project Team Qty: 3 Spring 2009 Location: Waltham, Massachusetts

The Waltham Watch Factory is a historic factory along the Charles River in Waltham, Massachusetts. These 19th century mill-buildings are in the process of being converted into condominiums, lofts and offices. To commemorate the historic moments in this watch factory始s past, the historical committee put together a collection of photographs, documents, and paraphernalia for an exhibit. The location of the exhibit was decided to be part of the main entry lobby as patrons make their way into the living spaces. Because Bruner/Cott was the project architect, Henry Moss AIA asked myself and Lyle Lemon to be a part of the casework design and representation. Lyle was a particularly insightful resource because of his decades of experience in both carpentry and AutoCAD.

4.0

WALTHAM WATCH FA interior spaces | casework

Each of the cases shown above were designed by Henry Moss, but drawn by Lyle and myself in AutoCAD. From these drawings, the carpenters South Shore Millwork drew their own cut-sheets for verification and construction. The schedule to the right makes an easy reference for the millworkers to determine which case is which and quickly find information about that case. Due to value engineering, the quantity of cases diminished as the price quote came in from South Shore Millwork. In the end, the display area of cases was sufficient for the exhibit material and the cases filled the lobby to an appropriate density.

TCH FACTORY

oss, but drawn by Lyle rpenters South Shore struction. The schedrs to determine which Due to value engineerme in from South Shore t for the exhibit mate.

South Shore Millwork Sub./Revision Location Quantity Sheet # Sheet Name Date A 1 2/12/2009 Pentagon Display Table 1 B 2 2/12/2009 Aquarium Style Display Cases 1 C/D & E/F

2/12/2009

4 2/12/2009 4A 2/12/2009 J 2A 2/12/2009 1 M/N 3 1 3/3/2009 O/P 3A 1 3/3/2009 9 = TOTAL NUMBER OF PIECES

G/H & K/L

Tall Display Cases

Waltham Watch Factory Exhibit Pieces Description

Coffee Table with Glass Surface Large Rectangular box with a Glass Lid Enclosed Tall Stand with Glass Window

Approximate Size

Notes

Height: 22", Diam: 28" Paint differs along the kick. Needs more paint call-out symbols H: 42", W: 42", L: 66" Fabric is on Homesote. Needs more paint call-out symbols Origional Sheet 3 prior to Mark-ups. Fabric on Homesote should H: 103", W: 12", L: 33" be on bottom, back & sides of interior display. Floor connection needs consideration

Sloped Case

Linear Case with Pitched Windows

H: 51", W: 42", L: 84" Paint differs along the kick.

Aquarium Style Display Cases Tall Display Cases Tall Display Cases

Smaller Rectangular box with a Glass Lid Unenclosed 1-Panel Tall Stands with no Glass Unenclosed 3-Panel Tall Stand with no Glass

H: 42", W: 42", L: 48" Paint differs along kick. Needs more paint call-out symbols H: 103", W: 9", L: 33" Floor connection needs consideration H: 103", W: 9", L: 90" Floor connection needs consideration

4.1

interior spa

WALTHAM WATCH

as-built project | interior spaces

Details:

Economizing surface area:

The details above show connections, materials and dimensions. The aluminum extrusions were researched and specified by Lyle. The MDF board and paint were specified by Henry, and the nailed connections changed to anodized screws by the recommended by South Shore.

The document shown abo laid out before it was cut role was to minimize the f to be made. The fabric it to the material costs. On out along a 54â&#x20AC;? roll, the f

interior spaces | casework

American Contemprary Architecture

WATCH FACTORY

Economizing surface area:

Final installation:

The document shown above is a study showing the casework fabric as it might be laid out before it was cut. The rationale for economically subdividing the fabric role was to minimize the fabric waste and streamline the amount of cuts needing to be made. The fabric itself was one of the larger expenses when comparing it to the material costs. Once I was able to determine each surface area and lay it out along a 54â&#x20AC;? roll, the final fabric needs ended up being only 240 square feet.

The reward of doing a project of this scale is the rapid build time form drawing submittal to final installation. Within only a few monthĘźs time, the drawings became a reality and Henry and I witnessed and assisted in the installation in May of 2009.

4.2

american contemporary architecture

Richard

Class C Instruct Instruct Spring Boston

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american contemporary architecture

Richard Meier’s Getty Center

Class Code: HT7110 Instructor (Lecturer): Mark Brus Instructor (Discussion): Susan Deily-Swearingen Spring 2009 Boston Architectural College

Background: American Contemporary Architecture is a two part, lecture and seminar, class which investigates the culture and the values of contemporary Western architecture. The class is split in half, with Mark Brus lecturing about various class topics from practical vernacular architecture to Le Corbusierʼs machine for living for the first half of the evening, and Susan Deily-Swearingen framing a discussion around our readings for the second half. As for assignments, we were asked to write three papers about the same architectural construct of our choosing. Each paper was to follow a specific set of guidelines that built on the complexity of the previous paper. The first paper was to be about observation. It was supposed to be a descriptive and speculative analysis where we were to examine the built work from an outside perspective. Because this was the first of three papers, it was important to establish the simple facts about the project: its name, its designerʼs name, its function, its client, its location, the year it was designed, and the years it was built and completed. Then we were asked to describe and analyze the workʼs organization of tangible formal characteristics, such as its masses, volumes, materials, spaces, and structure. Thereafter we were asked to describe the interrelationships between these formal characteristics. Because the paper was required to be written from an observers perspective, I chose to write mine from my own self-perspective as a student of architecture. And since I was eager to research an architect and project I had much reverence for, I chose the J. Paul Getty Center by Richard Meier. The title of the first paper was The Getty Center: Integrating an elaborate design into Californiaʼs architectural cannon. In this paper I spoke about such formal characteristics as the processional approach sequence from its 7-story underground parking structure, up its sinuous sloped tram track, through its campus of stone clad pavilions and courtyards, all the way to its scenic Los Angeles overlook from the Cactus Garden Promontory. I also talked about the scale and magnitude of this 750 acre plot atop the Santa Monica Mountains, the natural and pristine

site, its balance of buildings and landscaped gardens, the luminous presence of the Southern California sun, and lastly Meierʼs clean post-modern style of primary geometric volumes like the cube and the cylinder punctuated by the whimsical interplay of curvilinear planes and volumes. In addition to the concrete forms, I introduced many historical and social contexts. I gave a brief history on how the project was funded, organized and conceived. It wasnʼt until the second paper that I weighed all of these social factors on a more global scale. I began to notice factors that would bring about a many layers of circumstantial opportunity. Because no project is without its pitfalls, Meier too had his fair share of extenuating circumstances and difficulties. He was under the watchful eye of many stakeholders and committee members to produce a design that suited many conflicting needs. �Since the first paper was meant to be a more global approach to investigating the our building, the second asked us to not only dig deeper but also be more subjective. The Getty center is today a recognized Los Angeles landmark, but it too had outside influences and contextual differences at the time of its design in the late 1980ʼs. This second paper, entitled Below the Surface of the Getty Center: A Research Paper, discusses the financial backing and budgeting of this $1.3 billion project and how the scope swelled to this unprecedented scale. I wrote more about the J. Paul Getty Trust and their vision for the project. And lastly I wrote about Meierʼs personal attribute as a unifier and collaborator that led to the successful completion of the center. The last paper you see on the page spread that follows directly compares the Getty Center to the famous Italian landmark, Hadiranʼs Villa. It shows their similarities in scale, landscape, materiality and monumentality. This last paper was meant to grasp the deeper significance of the work by offering a greater comprehensive vantage point of the projectʼs historical perspective. I see the order of magnitude with which Hadrian commissioned his masterpiece and I cannot help but question if the Gettyʼs modern day institution can even be compared.

5.0

final paper | the historical significance of the getty center While the Getty Centerʼs short but substantial history is fascinating to consider on its own terms, the still greater substance of discourse can be pinned to a more global and historical context. In spite of the “Getty-centric” point of view envisioned in the previous two essays, the Getty does hold a place in history, but to what degree can be easily disputed. The Getty we know today is both literally and denotatively contemporary; it is comparatively recent, and it is also of the Post-Modern “contemporary” style. Like many great works of architecture, the Getty Center has to withstand not only the scrutiny of modern criticism, but endure the life-long tribulation of age, and more importantly, adapt to satisfy itʼs ongoing cultural significance. For all anyone can predict, Richard Meierʼs Getty Center has the makings of a historical monument, but to assume this is to account for no aptitude for change. Different from the last essays, this thesis touches on the aspects unique to the Getty which are not orchestrated merely by the project architect, but the aspects of the Getty which fall under the gravity of external cultural & historic forces. I will argue that the Getty Center is not merely about the actions taken by Richard Meier and his associates, but instead about the outside influences beyond his control. The trans-historical context of the Getty has a trajectory based on; the synergy of its constituents and stakeholders, the stylistic cultural trends of its day and age, and its placement in human history. As a we often do, it is easy to associate artists in their quintessential public persona. With Richard Meier the totality of his being is not nearly as documented as the buildings in which he designs. With Meier, his architectural language is typified by expansive white facades, and his expressive irregular forms juxtaposed by an insistent structural grid. But before Meier, a much more notable architect had pioneered this similar idiom. Moreover, this pioneer of the post-modern movement is the architect most idolized by Meier himself. This architect is the French architect, Charles-Edouard Jeanneret-Gris, better known as Le Corbusier. This is brought up, not to dispute Meierʼs originality, but rather to portray Meier as a less enigmatic, more prescribed designer. In fact, Meierʼs secondary passion was and is removed from the pragmatic cultivation of buildings. His passion for artistic collage can possibly be the balance to his stark austere architectural form. The abstract art in his expansive art portfolio is haphazard, whimsical, vibrant in color, and, in essence, oppositional to his architecture.

Still more, Meier is not merely known for his work on the Getty, nor even his commercial designs. Meierʼs early works were not large-scale cultural institutions, but rather houses. His most recognized residential houses likely overshadow his more grandiose subsequent work. Works like the Smith House and the Douglas house are the more simplified and a more lucid manifestation of Meierʼs architectural framework. Like Le Corbusierʼs Villa Savoy, Meierʼs early houses brought together his design principals on a manageable scale, and instilled a methodology for more sizable works that follow later in his career.

All of these examples of Richard Meierʼs alternative interests, point to one truth; that despite an architectʼs most valiant efforts to avoid typification and one-dimensionality so as to accommodate their naturally divided interests, the unwitting public perception breads comfortable norms. In other words, to have a specialized idiom, brings with it an expectation of predictability and banality. As critics like Martin Filler might attest, Meierʼs work might fall under the category of formulaic and predictable. Filler talks about the Getty in terms of its layout, style, and clientele; “Thought the layout is exceptionally busy--unsurprising with a program so varied and a budget so lush--the buildingʼs individual details are carried out with Meierʼs customary finesse. He is nothing if not skillful and dependable, as well as predictable, qualities that are understandably reassuring to institutional clients.” Perhaps there is some truth to Fillerʼs argument. With the american tradition of client involvement, the Gettyʼs fine tuned and compromised master plan was subject to many external forces. Because of the Gettyʼs oligarchical Design Advisory Committee, the vociferous Bentwood Homeownerʼs Association, the stringent code and permit prerequisites, the accessibility to the obscure site, and the many administrative difficulties, there was not much wiggle-room for any such a right-brained expressionist, as many architects are. But as stated previously, predictability of design is something that Meier has honed into a set of parameters for which his designs are not limited, but conversely, invigorated. In his lifetime Meier has produced a unique permutation within each character of his architectural repertoire. The Getty is simply a showcase of many self-standing program functions designed in concert with one another by the only party completely capable of doing so; the architect. In order to look beyond this place and time of the Getty Center as we know it today, it is helpful to look to the past to see what the Getty of the historic past once was. Hadrianʼs Villa is an archaeologic site originally built for and by the emperor of Rome at the peak of the Roman empire, circa 100 AD, and, for the sake of argument, is the Getty Center of yesterday. Only coincidentally the Getty uses the same travertine stone quarry in Bagni di Tivoli, Italy for its world renowned stone tile cladding as the Villa used to erect its walls, pediments, flooring and the like. There are many similarities and many differences between the two urban metropolises, but the connection that forces the most critical analogy is Richard Meierʼs reverence for the Villaʼs organizational pattern as found in the Getty itself. Thought scattered, the arrangement of the two master plans follows a centrifugal hinge point to which programatic functions emanate outward in a two separate cartesian grid patterns. The pivot point is the rotunda placed in the relative center of each. For the Getty Center this cylindrical space is the Museum Lobby & Entrance Hall, and for Hadrianʼs Villa it is the Cryptoporticus which joins the Philosopherʼs Chamber and the Library Courtyards.

Central to Gettyʼs t the undulating site and softe decided that the natural char nant ridges found on the mou discovery informed how the d master plan would take shap Geometrically the tw sacred primary shapes, such view, these simple shapes a Institute at the Getty Cente Villa. Of course, the Classic columns, colonnades, barrel motifs. In contrast to this, style and is indicative of the The Italian piazza is f museum courtyard to the G ushered along the North/Sou the southern Promontory wit baths & pools centered in Ha

Within the negative there are many gardens lined ment. This is also true of th of landscape design within th

In previous papers, advanced techniques to fulf electronically operated louve security systems, and seis competitive edge to this ins remaining experiential similar critic Robert Campbell; “Had

might fall under the category erms of its layout, style, and ing with a program so varied d out with Meierʼs customary predictable, qualities that are

ith the american tradition of master plan was subject to ign Advisory Committee, the t code and permit prerequiministrative difficulties, there essionist, as many architects ething that Meier has honed but conversely, invigorated. n each character of his archiself-standing program funccompletely capable of doing

d time of the Getty Center as to see what the Getty of the eologic site originally built for Roman empire, circa 100 AD, er of yesterday. Only coinciquarry in Bagni di Tivoli, Italy Villa used to erect its walls,

ween the two urban metropoy is Richard Meierʼs reverence self. Thought scattered, the ge point to which programatic tterns. The pivot point is the enter this cylindrical space is is the Cryptoporticus which

Central to Gettyʼs theme, the double axes works to ameliorate the challenges of the undulating site and soften the rectilinear constraints. When designing the Getty, Meier decided that the natural character of the site was within its topography. The two predominant ridges found on the mountainous site met at approximately a 22.5 degree angle. This discovery informed how the dominant axes would be placed on the site, and in turn how the master plan would take shape. Geometrically the two architectural works use a similar vocabulary. The use of sacred primary shapes, such as circles and rectangles resonate in both designs. In plan view, these simple shapes are comparative in both master plans. The circular Research Institute at the Getty Center is the most literal imitation of the rotundas within Hadrianʼs Villa. Of course, the Classic Roman style found in Hadrianʼs Villa uses traditional Greek columns, colonnades, barrel vaults, domes, pediments, elaborate detailing, and decorative motifs. In contrast to this, Meier uses his Corbusian minimalism found in late modernist style and is indicative of the Bauhaus movement pioneered in the turn of the century. The Italian piazza is found in the Gettyʼs layout, but in more abstract terms. In the museum courtyard to the Getty, there is a fountain lined pool for which the visitor is ushered along the North/South axes toward the southern most pavilion and eventually to the southern Promontory with views to downtown Los Angeles. This is reminiscent to the baths & pools centered in Hadrianʼs Villaʼs many Quadrangles.

Within the negative spaces between the Greek Doric colonnades of Hadrianʼs villa there are many gardens lined with promenades of trees with a rhythmic and uniform placement. This is also true of the hillsides adjacent to the Getty, and of course the infiltration of landscape design within the Getty Center plazas as well.

existed in order to be appreciated: a retreat for a romantic longing to wander and think poetic thoughts amid caves and pools and sculpture. Meier imagines you behaving that way, too: strolling in an out of galleries and gardens, in and out of the sun, on an isolated Olympus far from the city. The Gettyʼs dark but skylit galleries are the architects equivalent of the underground cryptoporticus at Hadrianʼs Villa, which is day-lit as well. Instead of capturing sunlight with marble figures, Meier grabs it with his own architectural sculpture. Both buildings are places to be probed and explored over time, places in which you come unexpectedly on one feature or another.” So what does this compare and contrast insinuate about the Getty? It shows mostly the surface level physical characteristics of each design, but what had made Hadrianʼs Villa so successful had much less to do with its design and more to do with the harmonizing of its core users within their historical context. The Villa not only fortified a lasting relationship with emperor Hadiran and this Roman empire, but remained a viable refuge to the emperors that followed. The way architecture can be judged most effectively is to see how historical predecessors have accomplished a successful architectural outcome with their use of design. The way Meier has approached this very project is not merely an aesthetic and ephemeral fleeting style of today, but more globally as an investment in tomorrow. In his initial letter of intent before being awarded the commission for the J. Paul Getty Center, Meier simplified his belief in architecture much as the preeminent designers of the past might have; “ Architecture at its best is an integration of human scale with civic grandeur, decorative simplicity with material richness, and interest in technical innovation with respect for historical precedent.” Many personal principals make a great architectural design, but knowing how to use such principals as a force of recognizable history takes an architect with a knowledge of the past and an ambition for a better future.

6 Lesley Arts School

nterests, point to one truth; ation and one-dimensionality unwitting public perception lized idiom, brings with it an

AMERICAN CONTEMPORARY ARCHITECURE

Bibliography

In previous papers, I have brought to light the reasons for which the Getty has advanced techniques to fulfill for its modern-day architectural needs. Such innovation as electronically operated louvered skylights, underground service corridors, state-of-the-art security systems, and seismic technology for earthquake contingency have given a competitive edge to this institution to satisfy its complex array of needs and users. The remaining experiential similarities from Getty to the Villa are aptly described by architecture critic Robert Campbell; “Hadrianʼs Villa offers one way of thinking about the Getty. It

- Meier, Richard. Building the Getty. New York, NY: Alfred A Knopf Incorporated,1997. - Meier, Richard, et al. Making Architecture: The Getty Center. Los Angeles, CA: The J. Paul Getty Trust, 1997. Meier, Richard, et al. The Getty Center: Design Process. Los Angeles, CA: The J. Paul Getty Trust, 1991. Meier, Richard and Michael Brawne. The Getty Center. London: Phaidon Press Ltd.,1998. Mulas, Antonia. Richard Meier: The Getty Center. Italy: Poltrona Frau, 1998. Adembri, Benedetta. Hadrianʼs Villa. Rome, IT: Elemond Editori Associati, 2000. “A Tour of Meierʼs Getty Center” Architectural Record Magazine. November 1997: Pages 72 to 107. “I Richard Meier Really Modern?” Architecture. February 1996: Pages 65 to 139.

5.1

Lesley University Arts Center

Name of Firm: Client Name: Type of Project: Location: Size of Project Team: Student始s Role:

Bruner / Cott & Associates Leslie University Interior and Exterior Field Dimensioning 1803 Massachusetts Avenue, Cambridge, MA 02140 Varies (currently 3) Field Measurer, Drafter, Software Expert

Background: In 2006 Bruner/Cott won the invited competition to design the new Arts Campus at Lesley University in Cambridge, MA. The design envisions the site along Massachusetts Avenue as a crossroads for the nearby academic, artistic, and neighborhood communities. The new structure proposes to provide a space for the teaching and making of art, with the Arts Quad covered atrium serving as the epicenter for the College of Art and Design. In order to make this happen, the plan proposes relocating the historic church (moved once before from Harvard Square in 1867) to the south side of the site in order to facilitate construction and help integrate the entire building more seamlessly into the nearby residential neighborhood. Currently this Greek revival church serves a religious organization on the second floor and a preschool on the first floor. Combined, the church currently provides over 15,000 net square feet of usable space. As you can see from the photos on the next page, the main sanctuary has incredibly high ceilings with ample room for an interstitial floor if the program calls for it. My involvement in this project is highlighted on the following pages. In short, I was responsible for the Revit modeling of this existing church from both conventional and unconventional field dimensioning practices.

6.0

as-built project | interior spaces

My involvement: I was not ever part of this project team, but I did spend a formidable amount of time documenting its existing conditions. This first page shows the final result of fellow colleague, Aoife Morris and my efforts to field measure the interior spaces of the church. Over the course of one afternoon we mapped out the worship space on the second floor with only a few floorpans and a couple of tape measurers. Once the measurements were taken it was up to me to bring the measurements into Revit as an ad-hawk 3-dimensional model. The model later was matched up with the exterior conditions to complete the existing conditions package.

LESLEY UNIVER Reflection:

Besides my small scale verifications on my work with the 130 Prospect Street model, this was my first opportunity to field dimension an entire building in one fell swoop. Reflecting on this experience, I gained an appreciation for systematic measurement techniques. When mapping out drawings with dimensions it became important to clearly show overall dimensions and interstitial dimensions separately. Also the way the floor plans are shown before they are measured can be revealing in their own right. If they drawings show a project before design completion, there could be missing walls or openings. This was true in support space at the back of the church. By noticing these differences at the onset, the floor plan clarified itself once I returned to the office to draw in the accurate version.

m, but I did spend a formiexisting conditions. This ow colleague, Aoife Morris rior spaces of the church. mapped out the worship ew floorpans and a couple ments were taken it was into Revit as an ad-hawk was matched up with the sting conditions package.

NIVERSITY 2

n my work with the 130 first opportunity to field swoop. Reflecting on this systematic measurement wings with dimensions it rall dimensions and intere way the floor plans are be revealing in their own before design completion, nings. This was true in urch. By noticing these an clarified itself once I ccurate version.

4 5

6.1

as-built project | exterior spaces This project:

Introduction to Photomodeler:

Separate from field-measuring and drawing the interior space of this historic Church, I was later asked to research effective and inexpensive means of documenting the exterior. At the time, the program that fitted our needs best was Photomodeler. Because I was both familiar with the buildingʼs geometry and a member of the CAD/IT team, I was chosen to pioneer the first project with our new software. After about 35 hours photographing and using Photomodeler, I was able to transition into building the final Revit model you see on the far right. By comparison, this software cost the company significantly less than paying for a professional surveyor to do equal work.

Photomodeler is a software tool for measuring and modeling real word objects throughout the use of photographs. It uses “photogrammetry” to measure points on multiple images to determine the three-dimensional coordinates of the points. It builds a 3D model based on lines drawn between lines and points referenced in multiple photographs. By contrast, It does not generate geometry automatically. The final product is an exported 3-dimensional framework of lines. In any CAD program, further documentation can be added to this information to produce a more conventional end product.

Techniques for taking photographs: Having the camera set to the highest resolution, more accurate measurements can be taken. Taking too few or too many photographs can have disadvantages. Too few is obviously detrimental to the process, but having a cacophony of photos convolutes the process and takes much more time to sift through.

37 total photographs marked

2 photographs with converging points

Site measurement

Detail view

Lastly, the angle of each photo is important. Generous horizontal and vertical separation distance of the subject will help to lessen the amount of photos needed to cross-reference geometric points. a more conventional end product.

3D AutoCAD file imported

LESLE

3D model from perspective of photo #3

3D model exported to AutoCAD

Same 3D view with confidence regions shown

Orthographic view

Mass modeled using the re

Revit model compared to s

odeling real word objects etryâ&#x20AC;? to measure points on rdinates of the points. It and points referenced in 3D AutoCAD file imported into Revit

Reference planes drawn in

7 Structures III & Designing Architectural Details

y. The final product is an ogram, further documentaonventional end product.

ESLEY UNIVERSIT

l exported to AutoCAD

phic view

Mass modeled using the reference planes

Revit model compared to site survey

3D Revit mass

Final Revit model using mass then adding appropriate detail

6.2

structures & architectural detailing

Structures III (TM 432) Instructor: Amir Mesgar Fall 2009 - First Half of the Semester September 14 - October 26 Boston Architectural College Designing Architectural Details (TM 632/7632) Instructors: John Pilling and Jennifer McGregory Fall 2009 - Second Half of the Semester November 2 - December 21 Boston Architectural College

At the B.A.C., Structures 3 and Designing Architectural Details is taught in unison during the semester. The first half of the semester teaches Structures and the second half Detailing. In the Fall of 2009, these two classes integrated a joint project into the curriculum to make the understanding more coordinated and seamless. Decidedly, the first project was a small scale building in Roslindale, Massachusetts (south of Boston). The floor plan you see on the opposite page was given to us as a starting point for both classes. From their each class diverged into each respective topic of study. In the pages that follow, I will show selected projects from each to give a sense of the class content and the lessons I learned. In both classes we design the building as if it were a new construct. The future use is determined to be an Emergency Ambulance Station with a bakery on the busier street to the northwest. Currently the building is being used as an auto-body shop. The building has two types of exterior walls, a steel framed brick veneer wall and a structural CMU wall. A more descriptive analysis of the building始s intricacies can be found further in this section.

Durning this semester there were several moments of concurrent learning I received between the classroom and the office. During the work weeks I was beginning to receive training on detailing methods in Revit. This bolstered my confidence in drawing methodology when the Detailing class asked for similar style drawings. Also, the roofing drain exercise shown on the following page was re-envisioned in practice when I later worked in designing the roof for the Dartmouth Dining Facility. With these small introductions to pragmatic design I was able to be more conversive when such topics were generated in the work atmosphere.

7.0

STRUCTURES & ARCHITECTUR Typical Steel Beam & Girder Design

Locations of beams & girders were the objective of this assignment. The basement & first floor were limited by 10始 maximum distances. The second floor by 6始. 7

9' - 5" 9' - 5" 9' - 5"

5 4

Occupancy C IV (E

9' - 8 1/2" 9' - 8 1/2" 9' - 8 1/2" 9' - 8 1/2"

NOTE: ALL BEAMS LESS THAN 10' O.C.

9' - 6"

9' - 9"

1 5' - 7" 5' - 7" 5' - 7" 5' - 7" 5' - 7" 5' - 7" 5' - 6"

NOTE: ALL BEAMS LESS THAN 10' O.C.

10' - 0"

= Simp = 12.7

= Adjus = 1.40

24' - 0"

2 25' - 0"

7' - 0" 7' - 0"

PS30 6' - 0" 6' - 0" 6' - 0" 6' - 0"

10' - 0"

9' - 7 1/2" 6' - 6" 6' - 6 1/2"

Wind Exposur C (m

Basic Wind S 110 m

29' - 0"

38' - 6"

5' - 6" 5' - 6" 5' - 6" 5' - 6" 5' - 6" 5' - 6" 5' - 6"

5 9' - 5"

39' - 0"

9' - 7 1/2" 9' - 7 1/2" 9' - 7 1/2" 9' - 7 1/2"

The packet of Structural Ste Lateral-Force

= Impo = 1.15

39' - 0" 39' - 0"

20' - 0"

The wind-load qS = IPS30

BASEMENT REFLECTED CEILING PLAN SCALE: 1/32" = 1'-0"

FIRST FLOOR REFLECTED CEILING PLAN SCALE: 1/32" = 1'-0"

SECOND FLOOR REFLECTED CEILING PLAN SCALE: 1/32" = 1'-0"

V base shear

HITECTURAL DETAILING The packet of information used for this assignment is a 13 page photocopy of the Structural Steel Designers Handbook. It refers to Chapter 8 which deals with Lateral-Force Design speciﬁcally for wind calculations.

By making the tributary areas follow the grid pattern it was simple to determine the governing slope from the dimentions we had. The orange triangle shows a typical slope steeper than 1/4” per foot.

Occupancy Category (Table 1-1 of Class Packet, Pg 11) IV (Emergency Vehicle Storage Garage)

Legend Slope is greater than 1/4” per foot Slope is equal to 1/4” per foot

Wind Exposure (Class Packet, bottom of Pg 5, and Pg 13) C (moderate terrain with scattered obstructions)

24' - 0"

CTED CEILING PLAN

19' - 6"

Downward Slope

Roof Plane

= Importance Factor for wind loads (Determined by Table 4.9, Pg 6) = 1.15 (for Occupancy Factor IV)

24' - 9"

Drains

= Simpliﬁed Wind Pressure (Determined by Figure 4.2 Table, Pg 9) = 12.7 psf (using a 110 mph basic wind speed, and an exposure type “C”) = Adjustment Factor (Determined by Figure 4.2 Table, Pg 10) = 1.40 (for exposure C, and mean roof height of 30 ft)

Basic Wind Speed (Figure 4.1, Class Packet, Pg 7) 110 mph (5% likely every 50 years in Boston, Massachusetts) PS30

19' - 2"

38' - 6"

5' - 6" 5' - 6" 5' - 6" 5' - 6" 5' - 6" 5' - 6" 5' - 6"

6' - 0" 6' - 0" 6' - 0" 6' - 0"

Roof Drain Design

29' - 0"

The second floor by 6ʼ.

Wind Load Calculations

The wind-load calculations on the building: qS = IPS30

= (1.4)(1.15)(12.7psf) = 20.5 psf

V base shear = (length of building)(height of building)(qs) = (94 ft) (30 ft) (20.5 psf) = 57,810 lbs = 57.8 kips

39' - 0"

20' - 0"

ROOF PLAN with ROOF PLANE DIAGRAMS SCALE: 1/32" = 1'-0"

7.1

STRUCTURES & ARCHITECTUR

Load Combination #2: 1.2 D + 1.6 L Wu = 1.2 [ (75 psf x 38 ) + 50 plf ] + 1.6 [ (100 psf x 38 ) ] = 4810 plf > 2065 plf 2 2 Therefore, Load Combination #2 is the controlling Wu.

Step 2 - Factored Moment Mu = ( Wu * l 2 ) / 8 Mu = [ (4.81 kips/ft) * (29 ft)2 ] = 506 kip-ft 8

Step 3 - Required Wide-Flange Section (Zx)min = Mu / (0.9 Fy) = (506 kip-ft x 12 in/ft) / (0.9 x 50) = 135 in3 Therefore, a W24x62 Beam Section is adequate with Z = 154 in3

Wu = 1.2 x 75 x (9.66 + 9.66) + 1.6 x 100 x (9.66 + 9.66) = 2415 plf > 1014.3 plf 2 2 Therefore, Load Combination #2 is the controlling Wu.

Step 3 - Required Wide-Flange Section (Zx)min = Mu / (0.9 Fy) = (435.9 kip-ft x 12 in/ft) / (0.9 x 50) = 116.2 in3 Therefore, a W18x60 Beam Section is adequate with Z = 123 in3

38' - 8"

EQ 15' - 0"

FIRST FLOOR REFLECTED CEILING PLAN

20' - 0"

29' - 0" 25' - 0"

W24

39' - 0"

Step 2 - Factored Moment Mu = [ (2.415 kips/ft) * (38 ft)2 ] = 435.9 kip-ft 8

W14

39' - 0"

Mu = ( Wu * l 2 ) / 8

W24

Dead Loads, psf Roof Collateral Deck Ceiling Roof Steel Beams Sprinklers Miscellaneous RooďŹ ng System & Insulation Total Dead Loads Live Loads, psf Roof Snow Load Girder self weight, plf Girder self weight

Load Combination #2: 1.2 D + 1.6 L

20' - 0"

8' - 2"

Wu = 1.4 x 75 x (9.66+9.66) = 1014.3 plf 2

12" CMU WALL TYP.

Wu = 1.4 [ (75 psf x 38 ) + 50 plf ] = 2065 plf 2

Load Combination #1: 1.4 D

TRIBUTARY AREAS

Step 1 - Design Load

24" x 24" PILASTER TYP.

7' - 0"

Step 1 - Design Load

W24x62

W18x60

9' - 0"

Girder self weight, plf Girder self weight

100

B EQ

100

Live Loads, psf Live Loads

W24

Live Loads, psf Live Loads

W24

9' - 0"

45 5 5 20 75

Dead Loads, psf Floor composite slab & deck Ceiling & Mech. Secondary Steel Beams Partitions Total Dead Loads

45 5 5 20 75

Dead Loads, psf Floor composite slab & deck Ceiling & Mech. Secondary Steel Beams Partitions Total Dead Loads

Design for Girder C1-D1

9' - 6 1/2"

9' - 8"

Design for Beam C1-C2

Design for Girder C1-D1

9' - 7"

Second Floor Framing Calculations

Step 1 - Design Load

Load Combination #1: 1

Wu = 1.4 [ (27 x 38) + 50 ] = 7 2

Load Combination #2: 1

Wu = 1.2 [ (27 x 38) + 50 ] + 1 2

Therefore, Load Combinatio

Step 2 - Factored Moment Mu = ( Wu * l 2 ) / 8 Mu = [ (1.89 kips/ft) * (29 ft)2 8

Step 3 - Required Wide-Flange

(Zx)min = Mu / (0.9 Fy) = (198.7

Therefore, a W16x31 Beam S

designing beams & girders The calculations below show the three step method for determining the most apropriately sized (least expensive) wide flange beam and girder for a given load.

HITECTURAL DETAILING

LING PLAN

20' - 0"

5 2 2 5 3 5 5 27

Live Loads, psf Roof Snow Load

Girder self weight, plf Girder self weight

Step 1 - Design Load Load Combination #1: 1.4 D Wu = 1.4 [ (27 x 38) + 50 ] = 788.2 plf 2

Load Combination #2: 1.2 D + 1.6 L Wu = 1.2 [ (27 x 38) + 50 ] + 1.6 [ (40 x 38) ] = 1891.6 plf > 788.2 plf 2 2

B W10X22

38' - 2"

Dead Loads, psf Roof Collateral Deck Ceiling Roof Steel Beams Sprinklers Miscellaneous Rooﬁng System & Insulation Total Dead Loads

EQ 5' - 2"5' - 6" 5' - 6" 5' - 6" 5' - 6" 5' - 6" 5' - 6"

5 2 2 5 3 5 5 27

Step 1 - Design Load

Load Combination #1: 1.4 D Wu = 1.4 x 27 x (5+5.802) = 204.2 plf 2

Load Combination #2: 1.2 D + 1.6 L Wu = 1.2 x 27 x (5+5.802) + 1.6 x 40 x (5+5.802) = 520.7 plf > 204.2 plf 2 2 Therefore, Load Combination #2 is the controlling Wu.

29' - 0"

TRIBUTARY AREAS

W16X31

5' - 9 5/8"

Dead Loads, psf Roof Collateral Deck Ceiling Roof Steel Beams Sprinklers Miscellaneous Rooﬁng System & Insulation Total Dead Loads

E 39' - 0"

24' - 0"

25' - 0"

7' - 0"

EQ 9' - 0"

6" 6" 15' - 0"

W24

29' - 0"

W14

8' - 2"

12" CMU WALL TYP.

38' - 8"

9' - 8"

24" x 24" PILASTER TYP.

6' - 0" 6' - 0" 6' - 0" 6' - 0"

9' - 6 1/2"

EQ EQ

W18x60

Design for Beam C1-C2

Design for Girder C1-D1

EQ EQ

W24

TRIBUTARY AREAS

Roof Framing Calculations

9' - 7"

19' - 6"

SECOND FLOOR REFLECTED CEILING PLAN

Therefore, Load Combination #2 is the controlling Wu.

Step 2 - Factored Moment Step 2 - Factored Moment Mu = ( Wu * l 2 ) / 8 Mu = [ (1.89 kips/ft) * (29 ft)2 ] = 198.7 kip-ft 8

Step 3 - Required Wide-Flange Section (Zx)min = Mu / (0.9 Fy) = (198.7 kip-ft x 12 in/ft) / (0.9 x 50) = 53 in3 Therefore, a W16x31 Beam Section is adequate with Z = 54 in3

Mu = ( Wu * l 2 ) / 8 Mu = [ (0.521 kips/ft) * (38 ft)2 ] = 94.0 kip-ft 8

Step 3 - Required Wide-Flange Section (Zx)min = Mu / (0.9 Fy) = (94.0 kip-ft x 12 in/ft) / (0.9 x 50) = 25.1 in3 Therefore, a W10x22 Beam Section is adequate with Z = 26 in3

7.2

STR

designing steel columns Objective: Design the the most controlling column in the floor plan. Start the design with the the Wide Flange section W8x24 and deduce the design to the more ideal column size after 3 iterations. Use a 16 ft. tall column in the calculations. Shown in ceiling plan below: the column with the largest tributary area is B2.

Column B2 Design - Iteration #

Step 1 - Tributary Area - Weight Calculations Weight of Dead Load (D) = Area x Per Unit Weight = A * Wu = (563 ft2)(75 psf + 27 psf) = 57,426 lbs = 57.4 kips Weight of Live Load (L)

Column B2 De

of 3

= (563 ft2)(100 psf + 40 psf) = 78,820 lbs = 78.8 kips

Step 4 - Slenderness Ratio Given:

K factor Height (L)

Load Combination #2 (Pu) = 1.2*D + 1.6*L = 1.2 (57.4 kips) + 1.6 (78.8 kips) = 195.0 kips > Load Combination #1 (80.4 kips) Therefore,

Load Combination #2 governs.

= K factor * Length / Radius of Gyration = K*L / r

Slenderness Ratio for X-axis

= K*L / rx = (1.0)(192 in) / (3.42 in) = 56.1

Slenderness Ratio for Y-axis

= K*L / ry = (1.0)(192 in) / (1.16 in) = 165.5 > Slenderness Ratio for X-axis (56.1)

Therefore,

Given: Resistance factor for bending ( )

Starting the design with Wide Flange W8x24 (given), ﬁnd Ag, rx, and ry. Using Table 1-1, shape W8x24 has the following properties: = 7.08 in2 = 3.42 in = 1.16 in

* Fcr, use governing slenderness ratio (above)

With 165.5 being the governing slenderness ratio,

Step 3.2 - Colu

Since the we must W8x58 c = = =

Step 4.2 - Slend

= 50 ksi = 0.85 c

Step 2.2 - Load

Ag rx ry

Step 5 - Design Stress for Compression Members

Speciﬁed Yield Stress

Weight o Weight o

Load Co Load Co

Y-axis is the governing Slenderness Ratio

Using Table 3-50 to calculate

Step 3 - Column Properties

Area Given (Ag) Radius of Gyration (rx) Radius of Gyration (ry)

= 1.0 (“pinned-pinned” connection from Table C-C2.2) = 16 ft = 192 in

Slenderness Ratio

Step 2 - Load Calculations Load Combination #1 (Pu) = 1.4*D = 1.4 (57.4 kips) = 80.4 kips

Step 1.2 - Tribu

* Fcr = 7.74 ksi

Slenderne Slenderne

Step 5.2 - Desig

With 91.4 Step 6 - Required Area Calculations Area Required (Ag)

= Governing Load / Design Stress = Pu / ( c * Fcr) = (195.0 kips ) / (7.74 ksi) = 25.2 in2 > 7.08 in2 (from Ag value for W8x24 above)

Therefore, W8x24 is too light for the design of this column. A heavier column shall be selected. [End of Iteration #1]

Step 6.2 - Requ Ag

= =

Therefor shall be s

nnection from Table C-C2.2)

us of Gyration

tio for X-axis (56.1)

enderness Ratio

lenderness ratio (above)

* Fcr = 7.74 ksi

n Stress

m Ag value for W8x24 above)

olumn. A heavier column

STRUCTURES & ARCHITECTUR Column B2 Design - Iteration #

Column B2 Design - Iteration #

of 3

Weight of Dead Load (D) = 57.4 kips (calculated on Page 2) Weight of Live Load (L) = 78.8 kips (calculated on Page 2)

Load Combination #1 (Pu) = 1.4*D Load Combination #2 (Pu) = 1.2*D + 1.6*L

= 80.4 kips = 195.0 kips (governs)

Load Combination #1 (Pu) = 1.4*D Load Combination #2 (Pu) = 1.2*D + 1.6*L

= 80.4 kips = 195.0 kips (governs)

Step 3.3 - Column Properties

Step 3.2 - Column Properties Since the W8x24 shape was too light for the column to sustain the axial load, we must chose a heavier shape. The heavier shape that I will test next is a W8x58 column. Using Table 1-1, shape W8x58 has the following properties:

Since the W8x58 shape was too heavy for the column to be economical, we must chose a lighter shape. The lighter shape that I will test next is a W8x40 column. Using Table 1-1, shape W8x40 has the following properties: Ag rx ry

= 17.1 in2 = 3.65 in = 2.10 in

= 11.7 in2 = 3.53 in = 2.04 in

Step 4.3 - Slenderness Ratio

Step 4.2 - Slenderness Ratio = K*L / rx = (1.0)(192 in) / (3.65 in) = 52.6 = K*L / ry = (1.0)(192 in) / (2.10 in) = 91.4 (governs)

With 91.4 being the governing slenderness ratio,

Slenderness Ratio for X-axis Slenderness Ratio for Y-axis

= K*L / rx = (1.0)(192 in) / (3.53 in) = 54.4 = K*L / ry = (1.0)(192 in) / (2.04 in) = 94.1 (governs)

Step 5.3 - Design Stress for Compression Members

Step 5.2 - Design Stress for Compression Members c

* Fcr = 22.9 ksi (table 3-50)

Step 6.2 - Required Area Calculations Ag

Weight of Dead Load (D) = 57.4 kips (calculated on Page 2) Weight of Live Load (L) = 78.8 kips (calculated on Page 2) Step 2.3 - Load Calculations

Step 2.2 - Load Calculations

Slenderness Ratio for X-axis Slenderness Ratio for Y-axis

of 3

Step 1.3 - Tributary Area Weights

Step 1.2 - Tributary Area Weights

Ag rx ry

= Pu / ( c * Fcr) = (195.0 kips ) / (22.9 ksi) = 8.52 in2 < 17.1 in2 (from Ag value for W8x58 above)

Therefore, W8x58 is too heavy for the design of this column. A lighter column shall be selected. [End of Iteration #2]

With 91.4 being the governing slenderness ratio,

* Fcr = 22.0 ksi (table 3-50)

Step 6.3 - Required Area Calculations Ag

= Pu / ( c * Fcr) = (195.0 kips ) / (22.0 ksi) = 8.86 in2 < 11.7 in2 (from Ag value for W8x40 above)

Therefore, W8x40 is still heavy for the design of this column. A lighter column could be selected, but since there is only 3 iterations, this shape is the most ideal size that I have tested. [End]

7.3

STRUCTURES & ARCHITECTUR assignment one | Q&A

assignment o

Question to Answer: Given the requirements for the detail design problem, what is the “comprehensive description” of the materials and systems you propose to compliment your Structures III design with. Use the technical descriptions found in the “Building Systems” part of Chapter 1 in Architectural Graphic Standards to arrange your response.

My Answer: Given this existing 2 story, bakery and auto body shop, we have a building system of Type III construction. The current use group falls into the category of Type III construction with its occupancy group of “M” for its “Mercantile” qualification. Since the use of the building is changing with the proposed Boston Emergency Medical Services (EMS) substation and Response Center, the use group might change to a High Hazard Group H since it potentially stores and handles hazardous materials. And with the use of the 7th Edition of the Massachusetts State Building Code where we are able to determine that it falls under the Type II construction category. As described in the programmatic requirements for this EMS substation and Response Center, there is a two parcel lot spanning 72 feet in length by 100 feet in length. There is a 2-bay garage that faces southeast to Bexley Street. There is one day room, one locker room, one bakery to the south of the first floor property line, one storage area in the basement, and the Response Center occupying the second floor space. There are 2 unisex bathrooms that both have shower rooms and changing rooms within them. The station is in hopes of attaining the LEED rating of silver after its completion.

The structure of the building has a 12” nominal thickness CMU bearing wall around the southeast and southwest perimeter. The remaining exterior envelope is a light-weight steel frame with brick veneer. The flooring systems are unshored 1-way steel decking slabs with light weight concrete. The roof system is a built-up membrane on rigid insulation with a 2 foot surrounding parapet at the edges. The roof slopes at ¼” per foot from southeast to northwest to meet the intermittent roof drains. The foundation is a continuous concrete footing with one square pile support for the only internal column. The structural beams and girders supporting the first and second floors, and the roof are all wide flange steel extrusions of various sizes, whereas the basement consists of steel reinforced concrete beams and girders. Because the load bearing exterior walls meet at a 90 degree angle in at critical lateral load areas, the cross bracing is a minimal chevron steel brace in the northern parts of the building.

are to be of double pane low-e glazing to reduce heat gain and heat loss throughout the fluxuating Boston area seasonal temperatures.

A-402

Mechanical systems consist of radiant floor heating through liquid based active solar heating systems and forced air ventilation systems. In the radiant heating liquid floor systems, the flat plate collectors are located on the roof connected to propylene glycol liquid filled pipes that course through the Pex tubing inlayed in the concrete flooring. Photovoltaic panels shall be attached to the roof membrane at an angle sufficient to receive a maximum sun exposure throughout the year.

STO SP

B 1 A-502

STORAG SPACE

Fire suppression and safety is in place through sprinkler system design and implementation. And lastly, electrical conduits will distribute electrical power connected to the local grid.

Since there will be an office setting in the second floor Response Center, I should specify that there be a polished concrete floor, as well as acoustical ceiling tiles and florescent troffer lights spaced such that appropriate light levels are achieved. All areas that are not exposed to car exhaust from the EMS vehicles will have gypsum wallboard finishes over the interior partitions and around exposed steel columns so as to comply with a 2 hour fire rating standard for Type II construction. All exterior walls not servicing vehicle storage areas will have an insulating assembly consisting of rigid insulation panels on the interior with appropriate weather proofing and a 2 inch air gap. All exterior windows and openings

Basement Floor Plan

SCALE: 1/32" = 1'-0"

ROOF 28' - 0"

SECOND FLOOR 16' - 0"

FIRST FLOOR 0"

Northeast Elevation

SCALE: 1/32" = 1'-0"

Southeast Elevation

SCALE: 1/32" = 1'-0"

HITECTURAL DETAILING assignment one | plans & elevations 1

A-402

glazing to reduce heat gain he fluxuating Boston area

A-402

12/13/2009 3:20:40 PM

A-4 02

1 DN

A 2 A-501

A-506 4 5

PILASTER

A-502

40' - 0"

STORAGE SPACE

A-401

A-502

A-401

CONFERENCE ROOM

PILASTER

W18x60 STEE L BEAM

OFFICE

A-401

EMERGENCY VEHICLE GARAGE

OFFICE

LOBBY

A-901

OFFICE

KITCHEN AND PANTRY

W24x62 STE EL GIRDER

1 A-901

A-501

OFFICE

29' - 0"

of radiant floor heating solar heating systems and In the radiant heating liquid ollectors are located on the glycol liquid filled pipes that ng inlayed in the concrete hall be attached to the roof t to receive a maximum sun

3 A-501

STORAGE SPACE

BAKERY STORE

GFI

REFRIGERATOR

CONFERENCE ROOM

25' - 0"

in place through sprinkler ation. And lastly, electrical al power connected to the

LOBBY

E 40' - 0"

Basement Floor Plan

SCALE: 1/32" = 1'-0"

KITCHEN

20' - 0"

First Floor Plan

SCALE: 1/32" = 1'-0"

Second Floor Plan

SCALE: 1/32" = 1'-0"

CHEVRON BRACING ROOF 28' - 0"

ROOF 28' - 0"

SECOND FLOOR 16' - 0"

FIRST FLOOR 0"

Southeast Elevation

SCALE: 1/32" = 1'-0"

Southwest Elevation SCALE: 1/32" = 1'-0"

Northwest Elevation

SCALE: 1/32" = 1'-0"

7.4

STRUCTURES & ARCHITECTUR assignment two | Q&A

assignment t

Problem 1

In response to the two types of cabinets described by the United States Department of Housing and Urban Development in their Guide Specifications for Public and Indian Housing, I have chosen to create cabnetry that exemplifies both. The tall vanity casework unit that holds the oven between upper cabinets and lower pull out drawers is exemplary of a “HUD Severe Use Cabinet.” It is made with solid 3/4” lumber (Grade C birch) with corner connections consisting of glued and screwed to a 3/4” square support rods. The toe kick is sized as required by the Architectural Access Board regulations, and is made of the HUD required 3/4” pressure treated lumber. The drawers have all of the mandatory thicknesses and are joined by a dovetail joint in the backs and datoed in to the finished front. Additionally, both drawers can withstand the 75 pound load capacity. The entire system will have been tested for structural proficiency with deflections never exceeding 1/6” per linear foot when loaded for seven days. The entire piece is certified and approved by The Kitchen Cabinet Manufacturers Association (KCMA) and bears the label. Keeping in mind the cost differential in these two HUD qualifications, the other parts of my kitchenette design have lesser qualifications than the aforementioned furniture design. The remaining casework and couterpieces meet the required field measurements for HUD, and meet the AAB minimums for accessibility. The primary differences are the material make-up and the

Problem 2 Compare Crotoneʼs four grades of cabinets to the two grades of cabinets in the HUD guide specification.

My response: Both Crotone cabinets and the HUD guide specifications are affiliated with the KCMA. Crotoneʼs four grades of cabinet have different prices as well as different qualities, therefore they fall under both categories of the HUD specs. The products that are typically lowest in quality (and price) will typically fall under the “Normal/Elderly Use” category of HUD, but only the upper-end cabnetery that fulfills each of the Server Use requirements, can be stamped and approved by the KCMA. The Crotone Server Use cabinets meet all of these requirements simply by following and achieving the high standards of the HUD specs. Such things as Kiln dried solid wood, glued and stapled end panels, and single veneer joints on exterior drawer faces. The only other cabinet type that can meet the Server Use stipulations is the Craftwood Collection. The

BLOCKING

few discrepancies between this cabinet and the severe use are its size and its use of hardwood plywood. Otherwise the connections are strongly rabbit joined and wood thincknesses are sufficient to qualify it for the Severe Use standard. The other two collections; Modular, and Vanities are neither properly made strong enough nor, do they meet the material requirements of solid wood, therefore they fall into the Normal Use category of HUD

A-802

BATT INSULATION

Refrigerator and Freezer

2' - 3 3/8"

Cooking Range

10"

3' - 0" 4' - 0" = min.

My response:

connection joinery. As I have shown in the drawings, the penetrations through each kitchen piece as well as wall openings have been considered. The oven has a 3” exhaust hose, while the other kitchen services require gas piping and plumbing. The countertops are made of high pressure plastic laminate and particleboard. Similarly the undercounter leg guard is made of inexpensive but effective melamine. Proper blocking is in place to receive the wall fastenings for the two countertops and the elevated cooking range. Lastly, the backsplash is without a joint to avoid mildew or excessive cleaning and/or maintenance.

STORAGE CABINET

After drawing a proposal for a dayroom kitchenette, summarize the uses of: industry standards (HUD Guide Specs for Public & Indian Housing), access regulations (521 CMR Section 32), and manufacturerʼs literature (Crotone Cabinets) for interior furnishing systems.

Problem 2 Propose one of the four grades of Crotone cabinets for the use in the Boston EMS substation, and describe why you believe your choice is the most cost effective.

Kitchenette Plan View

SCALE: 1/4" = 1'-0"

My response: I believe that the most cost effective cabinet style produced by Crotone is the Modular Collection. Since this particular product would work effectively in any medium to low use kitchen, it would be a relatively inexpensive alternative to the other 3 types of cabinet produced by Crotone. The particle board material is structurally sound, but over time the ware and tear of constant use might cause structural or finish failure. I could argue that the resiliency of the other types such as the Craftwood or the Severe Use might eventually outweigh the benefits of smaller up front costs, but as a gut reaction to a price constraint, cheapness is what the client has in mind. Given what we know, it is still unknown how this kitchen space is eventually going to be used and for what duration of time, therefore these factors produce an unknown ideal for the end client, the Boston Emergency Medical Response employees. These are the reasons I chose the Modular Collection above the other 3 cabnetry styles by Crotone.

Refrigerator and Freezer

Overhead Cabi

Compact Undercounter Cabinet GAS Cooking Range

Kitchenette Elevation SCALE: 1/4" = 1'-0"

1 A-802

HITECTURAL DETAILING assignment two | kitchenette details BLOCKING

cabinet and the severe use dwood plywood. Otherwise y rabbit joined and wood qualify it for the Severe Use

A-802

A-803

In my first attempt at configuring a kitchenette, there were several great sources: the 521 CMR from the Architectural Access Board, and the Architectural Graphic Standards. Because the AAB is required in this type-M Mercantile use building, there are specific dimensions and restrictions in such a kitchenette design. When drawing the kitchenette I referenced Graphic Standards for typical dimensions for each kitchen unit, such as the refrigerator and the sink. The other shapes and sizes were determined by the AAB regulations.

BATT INSULATION GFI

ons; Modular, and Vanities g enough nor, do they meet lid wood, therefore they fall of HUD

OVEN

Cooking Range

10"

Sink

3' - 0"

1' - 5" = min.

4' - 0" = min.

2' - 3 3/8"

STORAGE CABINET

Refrigerator and Freezer

Microwave above

2' - 6"

7 1/2"

2' - 2"

1 7/8"

12' - 11 3/4" Overall

UNOBSTRUCTED AREA 7' - 6 3/8" > 30" min.

of Crotone cabinets for the tion, and describe why you cost effective.

1 A-801

GAS Cooking Range

Built-in Overhead Cabinets Backsplash

A-802

GFI Double Duplex Outlet

Shelf

3 A-803

Oven

STORAGE CABINET

ON/OFF SWITCHES

MICROWAVE

SHELVING

LIGHT SOURCE

GAS COOKING RANGE

TOWEL RACK

PARTICLE BOARD

2' - 3 1/2" > min.

2' - 1" < min.

STRUCTURAL REINFORCEMENT BRACE

2' - 9 1/2" < max.

GAS PIPING

SWITCH TO GARBAGE DISPOSAL 5 3/8" < max.

SOLID WOOD SHELF

4' - 5" < max.

VENTILATION FAN

OVEN OVEN EXHAUST RETRACTABLE BREAD BOARD DRAWERS

OUTLET PLUG

Kitchenette Elevation SCALE: 1/4" = 1'-0"

Kitchenette Section 1

SCALE: 1/4" = 1'-0"

Kitchenette Section 2

SCALE: 1/4" = 1'-0"

4' - 5 3/8" < max.

Compact Undercounter Cabinet

Microwave

2' - 0" < 30" max.

Overhead Cabinets

6' - 6 1/8" overall height

Refrigerator and Freezer

Axonometric View

4' - 10 3/4" < max.

cost effective cabinet style odular Collection. Since this effectively in any medium to relatively inexpensive alters of cabinet produced by aterial is structurally sound, ear of constant use might re. I could argue that the uch as the Craftwood or the outweigh the benefits of s a gut reaction to a price he client has in mind. Given wn how this kitchen space is d for what duration of time, ce an unknown ideal for the ergency Medical Response asons I chose the Modular abnetry styles by Crotone.

Kitchenette Plan View

SCALE: 1/4" = 1'-0"

2' - 9 1/2" < max.

SECOND FLOOR 16' - 0"

Kitchenette Section 3

SCALE: 1/4" = 1'-0"

7.5

STRUCTURES & ARCHITECTUR assignment three | Q&A

assignment t

Problems to respond to 1. List the general requirements for construction details for a fire wall 2. List the specific requirements for construction details for a fire wall (Include requirements for openings). 3. Explain how the proposed design meets the requirements of 780 CMR 7.

My response: The State Board of Building Regulations and Standards defines a Fire Wall as “A fire-resisaance-rated wall having protected openings, which restricts the spread of fire and extends continuously from the foundation to or through the roof, with sufficient stability under fire conditions to allow collapse of construction on either side without collapse of the wall.” In general the Fire Partition is used to separate two or more tenant spaces weather it is residences or places of commerce, as well as other applications like elevator lobbies and corridors walls. The purpose of a fire wall is to shield one compartment of a building from the other incase of combustion on the other side. This is done by having sufficient material between one space and the other to reduce or illuminate the threat of fire spreading across the threshold. Techniques used by designers have been refined and standardized in such building codes put forth by government authorities as the Federal government, the State government, and in some cases the local government. In Massachusetts the 780 CMR takes proven practices and instates them as code for which builders mush comply to build in the state. In the case of the Fire Partition of Section 708, the Fire Wall has to be rated one hour

(some exceptions apply) for it to qualify as an acceptable Fire Wall. Also, in most cases, the wall has to extend a given distance beyond the exterior wall envelope in order for it to mitigate the spread of fire. One major exception is that buildings with effective sprinkler systems are given leniency to this fireblocking or draftstoping principal. In the case where access is needed to pass from one part of the fire wall to the other, special rating systems for doors, openings, penetrations, and ductwork are given. These rating systems are systematically categorized in the later part of Section 7 of the building code though tables and charts. The greater the need for fire resistance the more able designers are to utilize strategies for incorporating both spaces on either side of the Fire Wall. Because we are working with many different types of use groups for this building in particular, there are different requirements to base my design off of. And since EMS inhabits the basement, the use group of F-1 is sufficient for moderate hazard use. With the Bakery on the first floor, a use group classification of F-1 would be most appropriate since bakeries are explicitly mentioned under this use group. And lastly, the 2nd floor has a has a business and administrative usage, therefore use group B shall be designed for on this upper most floor. The type of building discussed and agreed upon is a type II B construction since the steel structure does not have a fire resistance rating. This type of building construction is an Unprotected Non-Combustible building mostly used for commerce (not typically residential). Because it is “Unprotected” the exterior walls do not have to be fire rated, but since we are separating the space, the fire wall will enforce stricter standards for the fire resistance.

The design method I chose to employ for my fire wall was to erect a mostly hollow core, 12 inch Concrete Masonry Unit wall that extends past the original exterior walls by the required 36 inches. Structurally this type of construction should be able to sustain the loads of the floors on either side. The strategy is to have a non-combustible material such as concrete and lime mortar that is thick enough and strong enough to virtually stifle the flame at its face. The floor connections are not as strong as the wall structure when it comes to fire resistance but they are protected by a fire-retarding caulking at the edge and a bolted connection to the infilled concrete blocks. The last concern was to make a foundation that both supported the heft of the Fire Wall but recessed far enough into the ground to lessen the heat transfer in the event of a fire.

The details shown on this p researching presidents in A information into what is se 1 A

FIRST FLOO SCALE: 1/32" = 1'-0"

HITECTURAL DETAILING C

Stainless Steel Splayed Coping

3' - 8" > 3'-0" Min.

Built -up Wood Header

The details shown on this page were my first attempt at detailing a wall of any sort. After researching presidents in Architectural Graphic Standards and online, I was able to combine the information into what is seen here based on the Massachusetts State Building Code 7th edition.

11 5/8" Steel Flashing Spray Foam Air Barrier

THIRD FLOOR 28' - 0"

Roof Membrane 2" Board Insulation

3 5/8" Steel Anchor Bolt

Caulking Typ

2 2 1/4" Board Insulation

6" Lightweight Concrete Decking Typ.

B UP DN

SECOND FLOOR 16' - 0"

D Wall Type "B" 11 5/8"

FIRST FLOOR 0"

---

Fire Wall 11 5/8"

Noncomposit 1-Way Steel Deck

C 2" Expansion Joint

1/2" Isolation Joint Typ.

Structural Steel Section L8x6x5/8

UP 12" Concrete Masonry Unit Fire Wall

E 6"

BASEMENT -12' - 0"

FIRST FLOOR PLAN SCALE: 1/32" = 1'-0"

FIRST FLOOR PLAN

6" Concrete Slab with Haunch

SCALE: 3/8" = 1'-0"

Soil #5 Reinf. Bar Steel Concrete Bearing Wall Footing Foundation

1' - 0"

employ for my fire wall was 12 inch Concrete Masonry original exterior walls by the ly this type of construction oads of the floors on either a non-combustible material tar that is thick enough and e the flame at its face. The trong as the wall structure e but they are protected by edge and a bolted connecocks. The last concern was h supported the heft of the gh into the ground to lessen of a fire.

assignment three | fire wall details

#10 Reinf. Bar Steel 3' - 0"

7.6

STRUCTURES & ARCHITECTUR assignment four | Q&A

assignment f

The three call outs shown to the right overlays eleme clouds show changes that photovoltaic panel and its m therefore a necessary desi roof. The final section wa CMU instead of brick.

T-SHAPED STEEL FITTINGS PRESSURE TREATED WOODEN STOPS

For the warmer and more humid climates of Mobile, Alabama, I would change the envelope design to a more permeable system without a vapor barrier nor an air barrier. The use of an air conditioned interior will reduce the humidity levels while the insulation provided should trap enough of the conditioned air to meet comfort levels. Without the air or vapor barriers the warm air that meets the cool air will not have a distinct threshold on which it will produce unwanted amounts of condensation. Similarly if moisture occurs, the drying of the wall will happen much faster. As with the dry climate of Santa Fe, New Mexico, an air barrier might be welcomed, but since the temperature fluctuation is not extreme and the presence of moister is not common, a vapor barrier is not necessary. Otherwise I would keep the overall makeup of the wall the same.

1 1/2" STEEL PIPING TYP. 4'

As seen in the wall section below, the design for my brick veneer envelope is based off of the design drawing SK-C3 from our in-class discussion. The Air Barrier is located outside of both types of insulation as to limit the air infiltration through the insulation. This strategy limits the disturbances of construction related activity on this membrane as well as reduces the amount of areas that the air is forced through small cracks in joints therefore making it a more even distribution of air pressure. The Vapor Barrier is located on the area between the two types of insulation. The hope here was that since the air barrier will reduce air movement though the interior parts of the wall, the vapor will have less turbulent vapor movement though the wall. Also the vapor barrier will work in unison with the rigid insulation to produce any condensation on the exterior side of the insulation and funnel any collected water down the provided air space. As for the direction of drying, the materials on either side have enough thickness that the drying can occur to both sides of the vapor barrier.

STEEL BRACKET

My response:

T TIL

Describe what changes, if any, would be made to the wall if it were located in either a) Mobile, Alabama or b) Santa Fe, New Mexico AL

Explain the strategy for moisture control in the brick veneer wall facing Washington Street.

TIM

Problem to respond to:

ROOF 28' - 0"

AIR GAP DESIGNED TO ALLEVIATE SNOW BUILD-UP

SEE A-502 BOLTED CONNECTION

1 A-503

PV Panel Mounting Apparatus SCALE: 1/4" = 1'-0"

Wall Type "B"

3 PARAPET STAINLESS STEEL CAP INSULATED STEEL CURB ROOF 28' - 0"

AIR & VAPOR BARRIER SEE A-502 5/8" GYPSUM BOARD WITH LATEX FINISH 2" BATT INSULATED STEEL STUD CAVITY R8 PLYWOOD SHEATHING

Wall Type B Section SCALE: 1/4" = 1'-0"

Building Sec SCALE: 1/16" = 1'-0"

HITECTURAL DETAILING assignment four | section through the envelope

METAL FLASHING, 2X10 BLOCKING, & CONTINUOUS SHIM BASE FLASHING AND WOOD BLOCKING

1 ROOF 28' - 0"

BALLASTED MEMBRAN E ROOF

STEEL BRACKET 1 1/2" STEEL PIPING TYP.

The three call outs shown below refer to the remaining detail sections on this spread. The section to the right overlays elements of structure, moisture control, insulation, and water drainage. The clouds show changes that were implemented after the first submission of the assignment. The photovoltaic panel and its mounting apparatus were essential to this building始s energy reduction, and therefore a necessary design feature. I took a guess at how each panel might be connected to the roof. The final section was very similar to the parapet to the right, but the wall construction was CMU instead of brick.

4" RIGID INSULATION AIR BA RRIER 4" BRICK WYTHE 1 1/2" AIR SPACE

AIR BA RRIER 3/4" RIGID INSULATION R6.5 VAPOR B ARRIER 2" BAT T INSULATED STEEL STUD CAVIT Y R8

T-SHAPED STEEL FITTINGS PRESSURE TREATED WOODEN STOPS

SECOND FLOOR 16 ' - 0 "

L-SHAPE STEEL WALL TIE TYP.

AIR GAP DESIGNED TO ALLEVIATE SNOW BUILD-UP

SEE A-502 BOLTED CONNECTION

2 A-503

W-SHAPE STRUCTURAL STEEL BEAM

1/2" GYPS UM BOARD WITH LATEX PAINT F INISH

1 A-502

1 A-503

ROOF 28' - 0" Wall Type "B"

Wall Type "A"

SECOND FLOOR 16' - 0"

PARAPET STAINLESS STEEL CAP INSULATED STEEL CURB

Washington Street

AIR & VAPOR BARRIER SEE A-502 5/8" GYPSUM BOARD WITH LATEX FINISH

FIRST FLOOR 0"

2" BATT INSULATED STEEL STUD CAVITY R8 PLYWOOD SHEATHING

CAVITY DRAI NAGE MESH FORMED METAL FLASHING TYP. 5" NONCOMPOSITE FLOOR DECK WITH CONCRETE FILL & RADIANT HEA T TYP.

FIRST FLOOR 0"

VAPOR RETARDER REINFORCED CONCRETE FOUNDATION WALL PLYWOOD SHEATHING 4" BAT T INSULATED STEEL STUD CAVIT Y R13 5/8" GYPS UM BOARD WITH LATEX PAINT F INISH CONCRETE DAMP PROOFING MEMBRANE 5" REINFORCED CONCRETE SLAB

BASEMENT -12' - 0"

RIGID INSULATION ON 6 MIL POLYETHYLEN E VAP OR BA RRIER

BASEMENT -12' - 0"

GRAVEL DRAI NAGE LAYER 4" PERFORATED P IPE DRAIN

2" RIGID FOAM INSULA TION

Building Section SCALE: 1/16" = 1'-0"

CONCRETE CONTINUOUS FOUNDATION UNDISTURBED SOIL

7.7

STRUCTURES & ARCHITECTUR assignment five | Q&A

assignment f

Problem to respond to

Select specific manufactured building products that will fulfill a design for: windows, air barrier, and insulation.

Use Chapter 13 of the State Building Code for determining a minimum thermal conductance requirement for Wall Type A in this project. Use this number as a base to determine how to exceed the Massachusetts requirement by 25%.

My response: There are several manufacturers that I have chosen in the design of this cavity wall with brick veneer. I have chosen to have two types of insulation in my wall that fulfill different purposes. The Knauf brand insulation product is the batt type blanket I have chosen to line the steel framed cavity spaces of my envelope design. In designing with this product in unison with Dow brand polyurethane rigid insulation, the batt fulfills a less flammable and more easily installed purpose. In contrast, the rigid insulation is more water resistant and longer lasting. During insulation the rigid foam product can be placed nearest to the air space so that when water collects on the surface it does not permeate through. Similarly, the Prosoco brand fluid-applied air barrier can be applied to the exterior surface of the rigid insulation boards because of their uniformly flat surface characteristics. The last of the products that I have chosen is the Kawneer double hung window so provide a dependable, well made product that has a warranty, a simple installation/maintenance process, and that is useful in keeping heat from transferring from indoors to outdoors and visa versa. In the wall section shown, I have filled the hollow aluminum frame with batt insulation to reduce heat transfer as well. Window: Kawneer AA3350 Isoport Window –Double Hung Air Barrier: Prosoco R-Guard Fluid Applied Membrane Air & Water Resistive Barrier Insulation: 1) Knauf R-8 QT Unfaced 2 ½ ” Batt 2) Dow TUFF-R Commercial ¾” Polyisocyanurate

My response: In the Massachusetts State Building Code, Chart 780 CMR, shows the minimum requirements for exterior wall insulation values. Because the “Wall Type A” that we are designing for is a metal framed above grade wall with fenestration between 10 and 25% of the wall area; we will be using the Table 1304.2.6 to determine our R-value requirements. As shown, the Framed or Masonry wall should be less than 35 pounds per square foot in weight, therefore our requirements yield the R-value of 16 ft²·°F·h/Btu (= R-13 + R-3). Therefore, in order to exceed this minimum requirement by 25% I will have to provide an overall wall design with a R-value of at least 20 ft²·°F·h/Btu (16 x 1.25 = 20). In my design I have determined that the overall value of the system is about 18 ft²·°F·h/Btu. This value is determined by taking both the manufacturerʼs specification values, and the generic values given in the “In-Class Exercise” hand-out, and finding the summation. Below I have documented each of the materials and their associated R-value (starting with the exterior materials and moving to the interior materials):

Material Brick 4” face Air Space Air Film (Interior Wall) Rigid Insulation (TUFF-R) Plywood Sheathing Batt Insulation (Knauf) Gypsum Wall Board (5/8”) TOTAL

R-Value (ft²·°F·h/Btu) = 0.44 = 1.00 = 0.68 = 6.50 = 0.77 = 8.00 = 0.56 = 17.95

SAME AS BELOW

As you can see, the R-value falls short of the goal value of 20 ft²·°F·h/Btu, but this value does exceed the minimum value set forth in the code. In order to design a wall that might have a higher thermal resistance (R-value), I might have increased the wall thickness with thicker insulation, but since the desired grid spacing allows for a given wall thickness of approximately 9 inches, this would require a larger structural grid setback, and in turn, a redesign of the structural system. For now, I will use this wall configuration that yields a R-value which exceeds the Mass code by 12.5% (18 ft²·°F·h/Btu / 16 ft²·°F·h/Btu = 1.125). If I were to use a 3.5 inch batt insulation from Knauf Insulation, I would increase the thermal resistance to 22.95 ft²·°F·h/Btu (13 ft²·°F·h/Btu – 8 ft²·°F·h/Btu = 5 ft²·°F·h/Btu additional resistance to the 17.95 ft²·°F·h/Btu shown above). This wall system would be sufficient to exceed the desired 25% beyond the minimum requirements (43.4% to be exact). 1" BATT INSULATION AROUND SASH 1/2" WATER-RESISTANT GYPSUM WI TH FINISH 2 x 3 WOOD BLOCKI NG TYP. 2 1/2" STE EL FRAMING CH ANEL TYP. 5/8" PLYWOOD SH EATH ING VAPOR B ARRIER 2" BAT T INSULATED STEEL STUD CAVITY 1/2" GYPS UM BOARD WITH LATEX PAINT F INISH

HITECTURAL DETAILING 1

SAME AS BELOW

CAVITY DRAI NAGE MESH POLYURETHANE FOAM SEALANT

Because this assignment was our second attempt at detailing the envelope on the Washington Street side of the building, we had time to do extensive research on building envelope science. This is evident in my descriptive annotations below pertaining to the qualities of the material, the use of the material, and the location of the material. In this final assignment, material research played a large part in our conception of the final envelope design. Therefore, instead of basing the wall dimensions off of generic sources, we understood the composition of a wall.

BRICK WEEP SPACED 2' O.C. L-SHAPE STRUCTURAL LENTIL

value falls short of the goal this value does exceed the code. In order to design a hermal resistance (R-value), thickness with thicker insud spacing allows for a given 9 inches, this would require k, and in turn, a redesign of w, I will use this wall configuich exceeds the Mass code 6 ft²·°F·h/Btu = 1.125). If nsulation from Knauf Insulaermal resistance to 22.95 tu – 8 ft²·°F·h/Btu = 5 istance to the 17.95 This wall system would be d 25% beyond the minimum act).

MANUFACTURED ALUMINUM DOUBLE HUNG WINDOW

Brick is the first line of defense for outside forces of nature that compromise the sanctity of the interior space that designers create. The qualities of brick that make it useful are its rigidity, its impermeability, and its availability as a building material. Air space is essential to the overall brick veneered system because it simultaneously clears out the moisture of the system and gives the envelope a small but useful thermal resistance.

BRICK AIR SPACE

DRAINAGE MESH

PLYWOOD SHEATHING RIGID INSULATION

SEALANT

The drainage mesh shown in the cavity space is designed to slow the impact of water as it falls down the adjacent wall surface as well as temporarily collect water in its fiber as to mitigate standing water at the window head space Sealants are especially important at all thresholds and joints. A foam sealant such as the one shown here fills gaps and cracks efficiently so that neither water nor air can easily pass though the system.

BATT INSULATION Sheathing is useful in a non-load bearing wall system because it provides a rigid layer for softer materials to adhere to and use as support in the installation process.

WEEPS

Rigid insulation is used in this system for several reasons. One, because it has a high thermal resistance in relation to its thickness. Secondly, it is long lasting and resilient. Thirdly, it is has a very low water permeability. And lastly, it is the surface which I believe to be the best host for the fluid-applied air barrier.

FLASHING

As Fred Nashed says in Time Saver Details for Exterior Wall Design, weeps allow water to escape the inside of your wall assembly by having water flow out through the gravitational pull on the water. Flashing is essential in a wall system due to its purpose of forcing water around susceptible materials within or around the wall. It is usually found at the base and the tops of wall assemblies as to protect either end from water infiltration or pooling.

In relation to rigid insulation, batt insulation is used in this system due to its less-flammable nature, and its more easily replaceable location within the wall system. The other beneficial quality to this insulation type is its friction fit nature that allows it to fill hollow areas within the system more effectively than its rigid counterpart.

1" BATT INSULATION AROUND SASH 1/2" WATER-RESISTANT GYPSUM WI TH FINISH 2 x 3 WOOD BLOCKI NG TYP. 2 1/2" STE EL FRAMING CH ANEL TYP.

WEATHERPROOF CAULK SEAL AROUND SEAM 2" THICK STONE SILL CONT. SAW-CUT DRIP

5/8" PLYWOOD SH EATH ING

4" BRICK WYTHE

VAPOR B ARRIER

1 1/2" AIR SPACE

2" BAT T INSULATED STEEL STUD CAVITY 1/2" GYPS UM BOARD WITH LATEX PAINT F INISH

AIR BA RRIER 3/4" RIGID INSULATION

The vapor barrier is characterized by its extreme resistance to water permeation. In this configuration, I chose to place my vapor retarder closest to the interior for two reasons. For one, it is likely the easiest to install when wrapped around the insulation on the outside of the metal studs. And secondly, in this colder climate, the warm air will typically be on the interior of the building as apposed to the exterior surface. From what Fred Nashed says about vapor retarder, they perform best when they are placed "on the warm side of the envelope assembly to minimize the migration of warm air with more gaseous water into the envelope assembly where it will turn into liquid water."

VAPOR BARRIER

AIR BARRIER

The purpose of the air barrier is to mitigate the infiltration of unwanted air into the interior and conversely to limit the amount of heated or cooled interior air from escaping the building. In the wall system shown, I have provided this wall system with an air barrier on the exterior side of the rigid insulation layer. By doing this I have made a conscious decision to allow for a uniform application of fluid-applied membrane to this flat surface upon the completion of the installation of the rigid foam layer (and before the laying of the brick whythe.

Assignment 5 - Moisture & Air Control SCALE: 1 1/2" = 1'-0"

Harvard Wadsworth House

HEAD FLASHING WITH DRIP CAP

R-Value (ft²·°F·h/Btu) = 0.44 = 1.00 = 0.68 = 6.50 = 0.77 = 8.00 = 0.56 = 17.95

assignment five | large scale section through the envelope

7.8

Lesley University Arts Center

Name of Firm: Client Name: Type of Project: Location: Size of Project Team: My Role:

1999

Bruner / Cott & Associates Harvard University Exterior Renovation 1563 Massachusetts Avenue, Cambridge, MA 02138 2 Drafter, Contractor Interface

Background: In 1999 Harvard Real Estate Services (HRES) managed a comprehensive exterior repairs project as part of a larger renovation and expansion of Wadsworth House. The survey records produced by Robert Neiley and Finch & Rose demonstrate a carefully researched approach to the building, identifying original material and documenting sequential alterations after the first house construction in 1721. After a decade, HRES employed ARAMARK to review the current condition of the building and indicate elements of construction that need further evaluation or remedial work. ARAMARK listed two structural items in their condition assessment as potentially problematic, a leaning chimney above the offices of the University Librarian and deteriorating brick at the basement floor in arched structures supporting fireplaces and flues in the floors above. HRES retained Bruner/Cott & Associates to investigate those observations that could involve life safety, and report on priorities for exterior repairs for the whole of Wadsworth House. HRES intended for this survey and analysis to result in drawings and specifications that could be bid competitively and be the Construction Documents for a repairs project in the summer of 2009. With the guidance of Henry Moss, we began this repairs project in May. The scope was clearly defined by Henry and HRES upon initiating the project. It was up to us to create a clear set of bidable drawings for Harvard to use in selecting the appropriate contractor. By the time this project reached completion in September, I learned many things about Construction Administration.

2010

8.0

elevations

1 A-306

Corrosion Resistant Paint Wood Shingles

A-306

A-303

16 7

Slate

Slate Wood Shingles Wood Shingles

Gutter Joint Repair

Fire Escape

Metal Gutter

Wood Gutter

Wood Siding

Add Wood Dutchman

Fire Escape

Wood Gutter Metal Gutter

6 5

Existing Fire Escape

55 Metal

BRICK

Slate Roof

Wood Shingles

Wood

WOOD SIDING

46 Brick

Wood Siding

Metal Roof

Brick

Wood Gutter

Wood Light Well

Wood

south

west

north

Refasten Downspouts

east

HARVARD WADSWORTH HO my first window schedule

non-standard construction documents

All of the images and drawings seen on this spread is from the Harvard Wadsworth House Repairs Bid Set. This 11 page document clearly defined for the future contractor Lee Kennedy the scope of work. With drawings provided by Harvard University in the form of photocopied hand sketches, we already had a starting point. Henry and I decided to used the drawings as the foundation of our drawing set. Connection to Wigglesworth Dormitory

A-305 A305 1

Combining the programs Adobe Photoshop and Autodesk Revit Architecture, I was able to effectively create elevations and a roof plan with annotations, section markers and call-outs. Because a precisely drawn CAD drawing was not needed to relay the pertinent information for the project, this method of drawing was not only sufficient but a significant time-saver.

No Gutter

Metal Gutter

A-306

Metal Gutter

Light Well 10

Wood Gutter Parapet

Light Well

Wood Gutter

Metal Gutter

Northern Brick Building Addition

A-304

Metal Gutter

Brace

Wood Gutter

Parapet

Metal Gutter

No Gutter

Perimeter Splash Trench 1

Main Entry

04 Roof SCALE: 1/4" = 1'-0" 1 A-303 -

roof plan

Walkway to Lehman Hall

South Facing Facade - Massachusetts Avenue

Courtyard

A-302

This project made evident to me the non-standard methods of architectural drawing. In the case of smaller scale restoration projects, sometimes standard practices can be bent or broken in order to reach the end goal. In fact, the right hand page was brought about by my suggestion as a supplement to the somewhat banal line drawings. In creating a sheet of photographs, it is easy to cross reference the keynotes (in the upper right of the page) with their real life conditions.

GENERAL NOTES Remove all shutters for millwork and hardware repairs and repainting. Remove all plate pintles for corrosion resistant treatment, repainting and reinstall. Prepare and paint all existing brick exterior, wood clapboards and wood trim, exterior doors, lanterns, shutter hardware, gutters and downspouts. Windows and storm windows are NOT to be painted as part of this project. Avoid any contact with existing wood shingle roof surface except as required for flashing improvements at soffit over west entrance. Dormer repairs are not included in this project. Roof level chimney brickwork and metal handrail above main house are not included in this project.

1 A-306

Corrosion Resistant Paint

Slate Roof

Wood Shingles

HARVARD UNIVERSITY VE TAS

Holyoke Center, Room 1016 1350 Massachusetts Avenue Cambridge, MA 02138

Wood Gutter Metal Gutter

Wood Siding

1 2 3 4 5 6 7 8 9 10

Brick

Wood Gutter

21 Light Well

Refasten Downspouts

east

ORTH HOUSE 1

11 12 13 14 15 16

KEYNOTES Prepare and paint boarded windows. Repair joints in existing wood gutter Repair exterior finish carpentry. Repair/replace clapboard to match adjacent profile. Repair storm window. Replace missing or ruined shutter. Replace missing slates. Install new footing and column bases. Install new porch floor joists and boarding. Clear perimeter splash zone of organic debris and dress with new gravel. Cut out and replace spalled brick. Expose soffited enclosure. Treat all wood with preservative. Replace all decayed wood elements. Divert rain water at eave to gutter. Ventilate. Protect existing brownstone. Point all perimeter stone joints to exclude animals. Restore and repaint rusted pintles Install ZCC lintel flashing

R I

tel: 617.495.2234 fax: 617.495.0559

LEAD ARCHITECT:

SUB-CONTRACTOR:

REVISION HISTORY:

Rev

Date

Remarks

Bid Set

sworth future Harvard g point. et.

USE DISCLAIMER:

ARCHITECT'S STAMP:

IF THIS SHEET IS NOT: 22" x 34", IT HAS BEEN REDUCED OR ENLARGED.

rawing. ces can ge was e drawynotes

LOCUS MAP:

Soffit Repairs

PROJECT NAME:

Harvard University

Wadsworth House Exterior & Structural Repairs Cambridge, MA DRAWING TITLE:

6/12/2009 10:14:39 AM

e, I was n marko relay y suffi-

June 12, 2009

Keynote Illustrations

CAD FILE NAME: DRAWING SCALE: DRAWING NUMBER:

AREA:

SHEET NUMBER:

A-301

8.1

HARVARD WADSWORTH HOUSE

construction administration

In a project of this nature, it is apparent to see verifiable improvement in comparing before and after photographs. For me, compiling these images in itself was a learning experience. The process was illuminated and made transparent when I categorized the three stages of repair: pre-construction, construction, and post-construction. In only a few days the clapboards and brick were plastered and painted by the painters while carpentry repairs like the shutters and portico took nearly the whole summer.

Stensil work was done by a caligrapher in a few hours time.

The font style was presurved but elongated.

The Yellow paint that adorns the Wadsworth House had to be approved by the Cambridge Historical Comission.

This door threshold was a example of on-site wood r

This door threshold was a good example of on-site wood repair.

Debree and clutter were not only bi-products of general use, but also construction residue.

This overhanging soffit was plagued by a wet rot and was in desparate need for repair.

All of the window shutters were removed and painted. Some needed repair and a few needed to be replaced.

The molding along the base of this window was also softened by a wood rot and needed to be replaced.

9 Site Planning & Design

Yellow paint that adorns Wadsworth House had to approved by the Cambridge torical Comission.

8.2

Locus Plan

K PA R

SIZ

W AY

MFA

1:400

IDG

ON ST

SITE AG

site planning & design

TM 421A & T 421A) Instructor: Bob Brooks Fall 2009 - First Half of the Semester September 8 - October 27 Boston Architectural College

TM 421A and 7421A SITE PLANNING & DESIGN Fall 2005, The Boston Architectural Center

Locus Plan

NEW

K PA R

SIZ

ALT

TON

ST.

SSA

W AY

ETT

SA VE.

HA VE.

RY S

YLS

SITE

IDG

ON ST

BO CO

MFA

N Assignment #1 SITE ANALYSIS & DESIGN

1:400

Site Planning & Design is an introductory course to landscape design for architectural students at the BAC. The course touches upon problemsolving approaches to site evaluation, site/building relationships, and site planning. There are three distinct homework assignments during this half-semester course in which us students were required to complete: Assignment #1 - Reading the Site, Assignment #2 - Building Site Relationships, and Assignment #3 - Site Planning of St. Joseph始s Church in Kingston, Massachusetts. These three assignments are shown in this section. The skills I learned in this class were applied in practice a year later when I was designing the egress exit walkway for The Dartmouth Class of 1953 Commons. I used my knowledge of factoring slopes from site lines to create a sloped walkway that was ADA compliant.

Upper Basin Back Bay Fens, Boston

9.0

assignment one | reading the site

INTRODUCTION:

REQUIREMENTS FOR THE SITE ANALYSIS PLAN:

As a class we were asked to visit and observe the nearby gardens and wetlands of the historic Back Bay Fens. We were to make note of the soils, hydrology, wetlands, and climate and depict these qualities in our first of 3 maps of the site. Not much instruction was given as to strategy for mapping, conceptualizing and developing the site, so it was up to us to find our methodology. As you can see above, we were given only a few maps of the site, so our task was to connect these line drawings to our experience on the grounds. You can see on this first map that the photographs within the circles depict the isolated vantage point from each highlighted moment on the map. This strategy helped me visualize the connection between the map and its microcosmic areas.

Locate & label all setbacks from roadways. Locate possible building sites and their optimal orientation. Locate views and opportunities for solar/wind power. Locate possible points of pedestrian entry into the site. Locate possible vehicular entry, circulation and parking. Locate possible locations for a septic system. Locate constraints such as noise, poor views, adjacencies, steep slopes, soils, etc. Identify unique areas that impressed you for example, a beautiful space, a view.

The task of this assignment was to construct 3 maps: (1) a Site Analysis Plan, (2) an Environmental Opportunities & Constraints Plan, and (3) a Site Strategy Plan. The Site Analysis is shown on the page to the right. The other two plans are shown on the page spread that follows.

SITE DESIGN

INITIAL IMPRESSIONS OF THE SITE:

Having never spent time in the Fens, I was not familiar with the layout of the site in the Upper Basin. I suspect that I, like most people, have circumvented this nature area and its Victory Gardens because of its inconspicuous nature. Prior to visiting this site on September 12, 2009, I associated this area as more of a complimentary space to the surrounding buildings, than a centralized space in itself. The thoroughfare of pedestrian and, more commonly, vehicular traffic lends itself to a prominent edge condition. To me, the Fens, as with many nature areas within an urban setting, is contrasted starkly with its abrupt threshold. I felt that there was an opportunity to soften that edge with the mitigation of overbearing tree canopy and thick foliage. Once I had explored the Fens with an analytic eye, I found that it is a sanctuary that had not reached its full potential. The community gardens were intriguing and gave a personal touch to an otherwise unclaimed space, but overtook the Western side of this basin. The Phragmites reed grass does inhibit views of Muddy River as well as the adjacent side of the river. The existing pathways were quite nice besides these aforementioned qualities. With the introduction of a Nature Center and a boardwalk, this site would be much more of a destination than simply a pathway from one end to the other. As a last point, the introduction of more pathways would provide a less prescriptive pathway though the site and more of an exploratory measure.

Site Planning & Design TM 421A & 7421A The Boston Architectural Center Fall 2009 Assignment #1 SITE ANALYSIS Upper Basin Back Bay Fens, Boston

Scale: 1" = 150'

The map that we were given as a starting point.

LYSIS PLAN:

adways. their optimal orientation. solar/wind power. n entry into the site. culation and parking. tic system. poor views, adjacencies,

PARK D

RIVE

PEDESTRIAN APROACH

75’ SETBACK

+ 13

+ 21

sed you for example, a

FENWAY PARK

15 + 18

STEEP SLOPE

+ 12

BO YL S

20 + 16

OPTIMAL ORIENTATION

+ 15

TO N

NOISE SEPTIC SYSTEM

+ 17

+ 16

+ 19

Ex. Tree Canopy, typ.

IMPRESSIVE SCENIC AREA

NOISE

BACK BAY FENS Reedgrass, typ.

G SQ ASTO UA N RE

+14 + 11

WIND POWER

STEEP SLOPE

100’ SETBACK 10

Edge of Wetland, typ.

BOYLSTON BRIDGE

AGGASIZ ROAD

50’ SETBACK

+ 29

Victory Gardens

+ 13

+31

Site Planning & Design TM 421A & 7421A The Boston Architectural Center Fall 2009

MUDDY RIVER

Assignment #1 SITE ANALYSIS

+ 11

Upper Basin Back Bay Fens, Boston

50’ SETBACK

Scale: 1" = 150'

starting point.

AT E SG

x x

STEEP SLOPE 25 x

FIREHOUSE

+ 11

AVENUE

REE

POOR VIEWS

FEN

WAY ST

WSTLAND

FENWAY STREET`

Site Analysis Plan

9.1

Requirements:

Identify and label all wetlands including boundaries, wetland type, and buffer zones. Identify woodland and other vegetation zones to remain and be protected. Using the soil survey, locate and identify boundaries of buildable and non-buildable soils.

Locate Locate Locate Locate Locate

SITE DESIGN

your building footp vehicular and pede and design propos proposed pedestria (to scale) all other

PARK D

RIVE

FENWAY PARK + 21

+ 13

+ 21

15 + 18

+ 12

BUILDABLE SOIL AREA

BO YL S

+ + 16

TO N

+ 15

15 + 19

+ 17

Ex. Tree Canopy, typ.

15 + 16

WOODLAND TO REMAIN TYP.

Victory Gardens

+ 13

BACK BAY FENS

Reedgrass, typ.

+ 29

G SQ ASTO UA N RE

100â&#x20AC;&#x2122; BUFFER ZONE TYP.

Edge of Wetland, typ.

AGGASIZ ROAD

BOYLSTON BRIDGE

AGGASIZ ROAD

+14 + 11

+31

Sw MUDDY RIVER

+ 11

AT E SG

x x

25 x

Scale: 1" = 100'

10 FIREHOUSE

ENUE

REE

WAY ST

WSTLAND AV

FEN

FENWAY STREET`

assignment one | Environmental Opportunities & Constraints Plan

Scale: 1" = 100'

Requirements: Locate Locate Locate Locate Locate

your building footprint and orientation to meet requirements. vehicular and pedestrian entry points into the site. and design proposed vehicular circulation and parking including drive aisle and parking space layouts. proposed pedestrian circulation (distinguish between boardwalks and paved surfaces). (to scale) all other program requirements.

PARK D

MBTA STOP

RIVE

75’ SETBACK BOAT DOCK #1

+ 21

15 + 18 + 12

FENWAY PARK

+ 13 BO YL S

20 10

CANOE STORAGE

NATURE CENTER

+ 15

+ 16

PEDESTRIAN APROACH

15 15

+ 19

+ 17

TO N

SEPTIC SYSTEM

+ 16

HIGH WATERPERMIABILITY AREA

Reedgrass, typ.

+ 29

Victory Gardens

+ 13

BACK BAY FENS

G SQ ASTO UA N RE

+14

+ 11

WIND POWER

100’ SETBACK 10

Edge of Wetland, typ.

BOYLSTON BRIDGE

AGGASIZ ROAD

50’ SETBACK

Ex. Tree Canopy, typ.

+31

BOAT DOCK #2

MUDDY RIVER

+ 11

50’ SETBACK

Scale: 1" = 100'

GA TE

AR L

FIREHOUSE

AT E SG

+ 11

REE

WAY ST

BIRDWATCHING BLIND

AVENUE

FEN

WSTLAND

FENWAY STREET`

assignment one | Site Strategy Plan

9.2

assignment two | building site relationship BACKGROUND The first assignment dealt mostly with abstract diagrams of the site from the arial view. In the second assignment, we were introduced to the representation and design of site grading. This proficiency was an important skill to have learned for later testing in the Architectural Registration Exam. We were given a topographical plan of a hypothetical sloped site with which to make our new designs. The size of the buildings were given and the required grading was mandatory. With the skills we learned in the classroom, we were to make 3 schemes with the appropriate grading and building placements. To this point we had learned about the ADA accessibility requirements, the properties and design of a swails and drainage paths, and how to calculate the slope over a given distance. All of these aptitudes were made evident in this second assignment.

REQUIREMENTS

Part 2 – Schematic Grading and Drainage Design

Part 3 – Final Grading and Drainage Design

Attach a photocopy of Part 2 requirements. 1 final grading/drainage design plan (1” = 20’ scale) Place six townhouse units (3 pairs) on the site. Take one of the two conceptual designs and draw: 1 full section that illustrates your site idea (1/8" scale) Each front entry is to be 4 feet lower than each rear entry. 1 schematic grading/drainage design plan (1” = 20’ scale). The difference in elevations between the pairs should be less than 6 ft. indicate the ideas of your grading. Refine the grading and drainage plan Provide a hard surface terrace at the rear of each unit (minimum of 8’ depth) grade the terrace away from the building include: 2 ADA parking spaces (no more than 100' from each unit’s front door) (with 2% wash for drainage). curbs, Accessible path required to connect the parking to the doors. swales and side slopes shall not exceed 30%, roadway, Establish spot elevations at all parking lot corners, center of swales shall slope between 5% and 12%. parking lot Assume a 6" curb or alternative. FFE’s, sidewalk drainage spot elevations at landforms (if used), Part 1 – Conceptual Design top and bottom of drive, positive surface flow, all corners of the terraces, drainage devices Draw 2 concept grading/drainage plans (1” = 20’ scale). the exterior side of door thresholds, swales, and Include: top/base of all walls and steps. drainage structures. new contours all exterior building corners, spot elevations at FFE’s % slope indication, top and bottom of curbs, spot elevations drainage design top and bottom of walls, corners of buildings exterior corners of buildings, front & rear doors, Parking grading: exterior thresholds at doors. corners of terrace, Grade the parking area for positive drainage, drainage design including top & bot. of driveways slopes cannot exceed 3% in any direction, location, corners of parking areas ADA parking spaces and aisles should not direction of flow of swales, drainage intent. exceed 2% in any direction. drainage structures (if used) circle areas where grading causes a failure in driveways should slope a minimum of rim elevation, accessibility, 3% toward the street. positive flow away from all building drainage, or edges and doors. soil stability 2 Sketch Sections of walls or slopes greater than 2:1 (1/4" scale) describe why. walls should be used as both water must drain away from buildings, grade change devices and grading should give a ‘sense of place’ to the buildings to enhance the sense of privacy between the units. walls may be used for slopes greater than 3:1. name each design

Part 1 - Sketch #1 of 2 Title: The Cul-de-sac

Part 1 - Sketch #2 of 2 Title: The Triangle

SECTION 1

Swale creates steep slope 23

Drainage Path

Building 1a

SECTION 1

F.F. U.L. _____ F.F. L.L. _____

ag Drain

Front Door

231.2

Building 2a

233.1

age P

ath

Building 1a

Scale: 1/8” = 1’ - 0”

Front Door

237.9

SECTION 2

Building 2b

236.4

237 F.F. U.L. _____ 233 F.F. L.L. _____

Building 3a

231.5 232.1 232.3

232.7

239 F.F. U.L. _____ 235 F.F. L.L. _____

ottom of curbs, ottom of walls, orners of buildings, hresholds at doors. cluding

234.0

R=10'

234.4 233.4

TYPICAL 2-CAR PARKING (MIN.)

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ath

1.5%

Path interference

18' min.

t on Fr oor D

9' min. typ.

237.4

Building 3b

234.0 231.5

239 F.F. U.L. _____ 235 F.F. L.L. _____

236.1

t on Fr oor D

PL228.9

Part 1 - Sketch #1 of 2 Title: The Cul-de-sac

Building 1b

234 F.F. U.L. _____ 230 F.F. L.L. _____

234.7

t on Fr oor D

234 F.F. U.L. _____ 230 F.F. L.L. _____

237 F.F. U.L. _____ 233 F.F. L.L. _____

Drain

Dr ai

Front Door

TYPICAL BUILDING UNIT

20% 23

F.F. L.L. _____

10%

Building 1b

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e Pa

236.6

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d structures.

SECTION 2

43'-8"

nage plan

, w,

Scale: 1/8” = 1’ - 0”

ina

sign plan (1” = 20’ scale) your site idea (1/8" scale)

Wall

Scale: 1/8” = 1’ - 0”

Wall

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Drainage Design

SITE DESIGN Building 2

Building 3

Building 2

of flow of swales, structures (if used) m elevation, ositive flow away from all building dges and doors.

Washington Street

234

233

232

231

230

229

228

227

226

225

224

223

5' 8'

18' min.

Scale: 1/8” = 1’ - 0”

Part 1 - Sketch #2 of 2 Title: The Triangle

10’

20’

Scale: 1/4” = 1’ - 0”

30’

40’

50’

R=10' TYPICAL ADA PARKING SPACE

9.3

20 p.

JON ES RIV ER

Property Line, Ty

assignment three | st. josephʼs church

Sunday School

Restrooms

Key View

Outdoor Courtyard

Multi-Purpose Room

Kitchen

Memorial Grove Parking (72 Spaces Total)

7,000 s.f. Storm Water Detention Basin

Sun Path

Nor

Pedestrian Conflict 40

Exit Point

25 30

100 ft.

Scale: 0’ - 1” = 50’

St.Joseph's Church

SITE DEVELOPEMENT DIAGRAM #1 of 2

Kingston, MA

Vehicular Circulation Entry/Exit Point

Assignment #3 TM 421A/7421A - Site Planning & Design

Boston Architectural College Instructor: Bob Brooks

Ryan Martin - Fall 2009

Setb

ack

Site Development Diagram #1

er Riv

Steep Drop-off

New Entry / Entry Point Drop Off

Existing Church Large Event Room

65 70

Property Line,

Typ.

Buddhism I found to be a religion of many circular qualities with the believe in Karma: cause and effect, suffering and rebirth, and reincarnation. This was evident in the orientation of paths and buildings.

SSe et tbac ba k c

Kitchen

Rive r

Exit Point Shade Trees (1 per 8 spaces)

7,000 s.f. Storm Water Detention Basin

Riv

None of the River Setback is disterbed

RIV

JON

Jones River

Property Line, Typ.

Existing Rectory Key View 20

Existing Church

New Entry / Drop Off

30 ack

35 er Riv

Pedestrian Conflict Vehicular Circulation

Steep Drop-off

Memorial Buddhism Grove Information Center

Key View Restrooms Sunday School

Multi-Purpose Gathering Area

th Nor 0

100 ft.

Scale: 0’ - 1” = 50’

St.Joseph's Church Kingston, MA

SITE DEVELOPEMENT DIAGRAM #2 of 2

Kitchen Key View Outdoor Courtyard Restrooms Multi-Purpose Rooms Classrooms Optimized Solar Exposure

Assignment #3 TM 421A/7421A - Site Planning & Design

Boston Architectural College Instructor: Bob Brooks

Ryan Martin - Fall 2009

Site Development Diagram #2

Outdoor Classroom Space

Sun Path

50 55

Entry/Exit Point

60 65 70

Dense Pine Forest

Parking (68 Spaces Total)

Nor

100 ft.

Scale: 0’ - 1” = 50’

Entry/Exit Point Large Event Room

Setb

15’ SETBACK

New Tree Plantings

Given only an AutoCAD site plan with topography and the current location of St. Josephʼs Church, we were to research and interpret this heavily sloped site based on the a set group of buildings, parking spaces, pathways, vehicular drop-offs, planted groves, and the like. Instead of simply placing boxes on the site for building program, we were asked to think of the proximity of buildings and the exterior space they created between them. Ephemeral elements like sun direction, wind direction, and other weather factors were to be a paramount to our design. The final twist was that our site had to inform physical guidelines that appealed to a particular religion. The religion of my choosing was Buddhism.

Multi-Purpose Gathering Area

Multi-Purpose Room

Optimized Solar Exposure

Site Planning of St. Josephʼs Church in Kingston, Massachusetts.

This last assignment not only combined the lessons from the previous two assignments, but focused our attention on vehicular and pedestrian circulation as well as parking and drainage. The site was not readily accessible, but with the information we were given it could be sufficiently analyzed.

Existing Rectory

Outdoor Classroom Space

Multi-Purpose Room Key View

Meditation Rooms

Kitchen Key View

Classrooms

New Tree Plantings

SITE DESIGN

Shade Trees (1 per 8 spaces)

30% of the River Setback is disterbed

St.Joseph's Church Kingston, MA

SITE OPPORTUNITIES & CONSTRAINTS AM DIAGRAM

Assignment #3 TM 421A/7421A - Site Planning & Design

Boston Architectural College Instructor: Bob Brooks

Site Opportunities and Co

er Riv

ASSESSORS MAP 45 LOT 103 N\F HUNT

FINAL SITE PLAN

JON ES RIV ER

Property Line, Ty

ASSESSORS MAP 45 N\F CHAPLAIN LOT 102

Property Line, Ty

ROUTE 106 M A I N STREET

W G

85 W G

100 ft.

W G

9.4 W

Scale: 0’ - 1” = 50’

N\F DRISCOLL

BENCHMARK

Site Opportunities and Constraints Diagram

BENCHMARK

Possible Site Entry Points

75 85

ASSESSORS MAP 45 LOT 98 N\F DRISCOLL

Nor

10 Language & Architecture

ROUTE 106

15’ SETBACK

Warm Summer Winds 78

Assignment #3 TM 421A/7421A - Site Planning & Design

Boston Architectural College Instructor: Bob Brooks

Kingston, MA

SITE OPPORTUNITIES & CONSTRAINTS AM DIAGRAM

St.Joseph's Church

Classrooms 77

Sun Path

100 ft.

Scale: 0’ - 1” = 50’

Entry/Exit Point Large Event Room

Entry/Exit Point

e, Typ .

10,000 sq.ft. Optimal Worship Center Site #2 (Multiple Buildings)

rty Lin

NOISE

30’ SETBACK

Dense Pine Forest Nor

Restrooms

Prope

Sun Path

Optimal Worship Center Site #1 Existing Woodland, (Multiple Buildings) Typ.

Entrance

New Tree Plantings

Entry/Exit Point

Kitchen

10,000 sq.ft.

Existing Entr ance Drive

Outdoor Courtyard

TOP OF CONCRETE BOUND ELEV.=85.20 (NGVD)

15’ SETBACK

Kitchen

Key View Outdoor Courtyard Restrooms Multi-Purpose Rooms Classrooms zed Solar Exposure

Setb

Market Street M A I N STREET

Pedestrian Conflict Vehicular Circulation

NOISE

Historic Church Church

ack

er Riv

75 Rive r

STEEP SLOPE

Outdoor Classroom Space

Historic Rectory Rectory

Existing Bituminous Parking area

New Tree Plantings

75 er Riv

Bituminous Parking Area

45 50 55

SSe et tbac ba k c

Multi-Purpose Gathering Area y Line , Typ.

Typ.

RIV

15’ SETBACK

Existing Gravel Overflow Gravel Overflow Parking area

Parking Area

Restrooms Sunday School

Property Line, Typ.

Existing Barn Barn

Prope rt

Property Line,

JON

ASSESSORS MAP 45 N\F CHAPLAIN LOT 102

Key View

Entry/Exit Point

Memorial Buddhism Grove Information Center

Cold Winter Winds

Property Line, Typ.

Exit Point Existing Rectory

Vehicular Circulation

Existing Woodland, Typ.

ASSESSORS MAP 45 LOT 103 N\F HUNT

Jones River

Kitchen

W G

er Riv 45

New Entry / Drop Off

RD RD Setb

ack

Parking (68 Spaces Total)

Existing En trance Drive

Outdoor Classroom Space

Rive r Se tbac k

RD RD

ack

etb

S ver

New Entry / Drop Off

Historic Church

New Tree Plantings

Sunday School

Multi-Purpose Gathering Area

Key View Restrooms

Entry/Exit Point

Memorial Buddhism Grove Information Center

Historic Rectory

Exit Point

Vehicular Circulation

Existing Church

7,000 s.f. Storm Water Detention Basin Pedestrian Conflict

ng es Total)

Shade Trees (1 per 8 spaces) Existing Bituminous Parking area

Memorial Grove

Parking Spaces Total)

Exit Point

New Entry / Entry Point Drop Off

Existing Church

INAGE EASEME

Existing Rectory

Barn

7,000 s.f. Storm Water Existing Gravel Detention Basin Overflow Parking area

10' WIDE DRA

Kitchen

Key View

Kitchen Existing

Property Line, Typ.

None of the River Setback is disterbed

language & architecture

Logic of Architecture

History & T Class Code Studio Inst Fall 2009

Language a History T primarily a aesthetics tics was th evolved int aesthetica class with focused di biassed. D principled

Genzyme Building

We were a final synth Our topics could write ran paralle in reason a wrote were

Bea Exp The Log

In my first setts since I was intrig and learnin beauty as absorb not abstract o building ha ineffability it for them ence inste Harry Parker Boathouse

The Vetruvian Man

language & architecture

Logic of Architecture

History & Theory Elective Class Code: HT7530 Studio Instructor: Dr. Edward Kamoski Fall 2009

Language & Architecture is a class taught by Professor Edward Kamoski as a History Theory Elective at the Boston Architectural College. The class is primarily a socratic seminar dealing with topics of semiotics, philosophy, and aesthetics as it pertains to architecture. As the class name implies, linguistics was the linchpin of weekly discourse, although generally the topic evolved into defining what it means for something to be beautiful or aesthetically pleasing. In retrospect the class was merely an opinion based class with subjectivism at its core. The suggested readings engaged a more focused discussion, however the overall message was unfortunately biassed. Despite the skewed pedagogy, my arguments questioned the non principled responses to a universal pulchritude. We were asked by Dr. Kamoski to submit 4 “Prospective Papers” and one final synthesizing paper that combined topics from the previous papers. Our topics were entirely self motivated and unfiltered. In other words we could write about anything we pleased. Generally the chosen paper topics ran parallel to class discussions, but in my case, I tried to ground my topics in reason and personal exploration. The first four prospective papers I wrote were titled as follows: Beauty and Language as it relates to the Genzyme Building, Experiencing the Harry Parker Boathouse, The Infinite Cross-Section of Architecture, and Logic of Architecture: Creating Meaning through Language & Truth.

Like the first paper, I did a similar exercise with a building along the Charles river in Brighton, Massachusetts by the architecture firm Anmahian-Winton. Unlike the Genzyme building, I had visited the boathouse previously and seen an exhibit about it through the BAC. I was drawn to its unique architectural style and beauty, but instead of selfreflecting, I wanted to analyze it on a purely formal and objective basis. The third paper took the famous text by Vitruvius, the Ten books of Architecture and reinterpreted it in todayʼs context from a personal standpoint. In the final paper I did a book review on William J. Mitchellʼs book The Logic of Architecture and related it to the class discussion about beauty and aesthetics. I questioned the relationship between language and the mind and how certain descriptive words held different meanings based on the moment of our learning of that word. This final paper set the tone for the final paper you see highlighted on the page spread that follows. The final paper is a retrospective look at all of the topics discussed and written about throughout this class. I present this paper as a look at my theoretical approach to design and beauty and a privileging of my own sensibilities.

In my first paper I studied the Genzyme building in Cambridge, Massachusetts since I had not yet had the opportunity to visit the acclaimed building. I was intrigued by the notion of experiential beauty; being in the moment and learning of an objects beauty at that moment. By deriving a sense of beauty as it is fresh in your memory I argue that you can analyze and absorb not only the apparent qualities but also the qualities that are subtle, abstract or altogether subconscious (transcendental). Even if the Genzyme building has been described and analyzed to no end, there was a certain ineffability to it that could not be imparted to someone whom has not seen it for themselves. I attempted to read this building from first hand experience instead of being exposed to interpretations of others.

10.0

final paper

(of five)

| the meaning of beautiful, useful, and lasting architecture

The study of architecture is the study of meanings. Vitruvius ascertains Semantics is the analysis of meaning in that the three guiding principals of architecture are utilitas (usefulness), firmas language. Syntactics is the structure or (durability), and venustas (beauty). By his standards every compulsion of both grammer of language. Programatics is the architectural practice and architectural appreciation stems from these three study of behavior in language. Each condicategories. His affinity to categorization guides a discussion that has influenced tion is a highly complex part of the larger designers for over 2 millennia. It is noteworthy that despite the antiquity of his field semiotics. Take, for example the well known work, The Ten Books on Architecture, the text possesses a ubiquity English language. The word “architecture” and relevance even for the present day architect. is built with twelve separate letters, four of This begs the question, can Vitruviusʼ concepts, found in todays pracwhich repeat within the word, and all of tice, point to a universal truth or guiding principal for architecture, or which are linearly organized in relation to conversely, does no such connection exist? The stroke of this inquisition is the other. Much can be said about the broad, but it leads to a more oblique and ethical question of; what drives humans visual appearance of this very word, but the to design the built environment? In asking these questions, one might seek out point being made is that it because it is a a definitive conclusion, but find little substantiality. With subjectivity at the word that nearly all english speaking and helm, finding the underlying truths to architectural work is intrinsically an introenglish literate people can recognize, it has spection into ones own beliefs. To evaluate architecture is to put into words a significant bearing on how we interpret and belief system based on an individualʼs observations. react to the meaning when written or In brief, what is being explored is this: as architectural designers, how do spoken. we frame our belief system to fulfill a balanced and useful reaction to the On the macrocosmic level of syntactics human condition? Once again, this is inquisition is intentionally broad in is grammar. Grammar deals with the order to frame a discussion on how we formulate our thinking process to interaction of words in relation to one justify the act of creation. To many, if not all of the souls on earth, the another. A word within a phrase is impulse to create is second nature. Inaction is the only adversary to analogous to a building within a creative expression. By the order of logical principals, to do one city. Once a word has been thing is to chose not to do any myriad of other things at that placed within a grammatical moment of opportunity. To create is to impart ones own self sentence, the identity of into a world of lesser sustenance. that phrase is complete The first of the ways in which we create, or and meaningful, similar to more specifically, create architecture is to communia well placed building within cate our conceptual ideas to others. In order for its context. As an architect, the architect to erect the first wall for the your orchestration of a singular design of his construct, he first must be able building is valued by its users only to use his proficiency in a language to when meant to be a part of its impart his concept to the builders so surroundings. that both the builder and the architect The next category of semiotics is are alined on the overall objective of the semantics. Semantics deals more with the built object. This is why language is a highly derivations of thought though linguistic stimuli. useful tool to unite men of different interests Ironically, before we know about the study so that they can assist one another in their language we must first speak it. Sociologist Benjamin creative endeavors. As a living, breathing human, Lee Whorf has explored this conundrum of Linguistic the fabric of our being is a constant stream of Relativism in his studies. It is interesting to ponder this thoughts and emotions. Social interaction is a product of notion of whether or not we learn language independently of taking these internal functions and externalizing them for our thought process, or if the language that we learn influences the betterment of ourselves and our fellow community. our behavior and mental processes. Although this is a broader When we speak to one another through a common language topic than what is at hand it is important to recognize that this we are lessening the anxiety of not knowing what the other is an important part of our learning process and by extension, person is thinking. an important part of our design sensibility. In scientific terms, semiotics is the study of The last of the semiotic subcategories is programatics. language. Within the field of semiotics, there are three At the elementary level, a word or phrase is a symbol of perforconditions; semantics, syntactics, and programatics. mance language. A conversation between two individuals is a

dynamic exchange of giving and taking that can be separated categorically into statements, inquiries, commands, inferences, salutations, and silences. But more generally, a verbal exchange is sometimes not even an exchange of ideas, but more simply an absorption or repulsion of another individualʼs ideology. Rhetorical language is a passive expression of ones ideas, but contrary to that emotive language is meant to engage the intended audience with a verbal rebuke or a non-verbal reaction. For example, when a teacher asks a student to hand in an assignment, he might say the the student, “would you please pass me your assignment.” Whereas, a rhetorical or informative phrase might be to address the class and say that homework will be passed in whenever it is completed” this is a less overt way for that instructor to relay a similar message. The formulation of phrases is important to communicate well as a designer, but in unison with that, a designer would benefit from a mastery in denotative and connotative vocabulary. A denotation specifically puts a word under scrutiny to establish its finite and accepted meaning. When the word has a connotation associated with it, it delves into the more cultural and social implications of using that word for a desired emotional or evocative effect. Knowing the denotation to a word is the most effective way of standardizing the language with which to communicate. If a word can be misinterpreted while relaying an idea to an associated project architect, there exists a chasm between the intent and the understanding. If an architect were to ask a fellow draftsperson to bring the wall forward, the meaning might be construed as up, down, left, or right since the establishment of “forward” might not have been discussed. All of these literary tools are mentioned not to distract from the original notion of finding a metaphysical foundation for which architects base their designs, but to strengthen the argument for determining a comprehensive approach to the practice of building. When Vitruvius first involved himself in the exhaustive measure of writing his Ten Books on Architecture, he began with his own ideology based on what he had learned about architecture up until that point in his life. From that point on, he had received enough life experience to formulate a conclusive and evident truth to relay to others in the realm of architectural practice. The

success of his Ten Books w put forth his most devoted enhance the lives of others. have benefited from his less In my third paper, I a in a modern day interpreta pertained to architecture. B holistic and integrated in intended to impart ways touched the lives of all of th mary of the practice of arch system. At first I wish to elaborate on each. As its base, archite affinity to. As a bird crea nurture of its young, so to primal nature in which a hum the conditions in which he is as humans have come a lo formulaic response to buildi ture of today prides itself extravagance and whimsical designers have the internal d the one extreme of prac aesthetic allure. This preoc the architectural impetus. In my Ten Books of

separate titles: Biocentricit nity, Social Imperatives, Mor and Technology. Each title an important part of the tot In the first book, I w sustaining forms since this their common day to day inte built form being the object precedent in many ways. Creativity is the seco uct of the mind. To me, cre thought and harness its pote

g and taking that can be nto statements, inquiries, utations, and silences. But xchange is sometimes not but more simply an absorpindividualʼs ideology. Rhee expression of ones ideas, tive language is meant to ce with a verbal rebuke or a ample, when a teacher asks signment, he might say the ease pass me your assignical or informative phrase ass and say that homework t is completed” this is a less or to relay a similar message. f phrases is important to signer, but in unison with fit from a mastery in denoocabulary. A denotation der scrutiny to establish its ng. When the word has a h it, it delves into the more ons of using that word for a ative effect. Knowing the most effective way of stanwhich to communicate. If a ed while ssociated exists a t and the tect were n to bring ing might n, left, or hment of ve been

success of his Ten Books was not simply by chance, but because he put forth his most devoted effort to delivering his point of view to enhance the lives of others. More than that, other people like myself, have benefited from his lessons and his word. In my third paper, I attempted a similar approach to Vitruvius in a modern day interpretation of my personal belief system as it pertained to architecture. By giving my humbled point of view on my holistic and integrated involvement in architectural practice, I intended to impart ways in which the field of architecture has touched the lives of all of the people in todays age. In doing a summary of the practice of architectural I will relay, once again this belief system. At first I wish to privilege my broad categories and later, elaborate on each. As its base, architecture is an instinct that mankind has an affinity to. As a bird creates a nest for its own shelter and the nurture of its young, so too does humankind. Architecture has a primal nature in which a human sustains a barrier between himself and the conditions in which he is vulnerable to. Despite this assertion, we as humans have come a long way since the purely pragmatic and formulaic response to building. In fact, one might say that architecture of today prides itself in promoting the humanʼs fondness for extravagance and whimsicality. With this polarization in mind, we as designers have the internal dialogue in every decision we make to pin the one extreme of practicality against the other extreme of aesthetic allure. This preoccupation with juxtaposition is what fuels the architectural impetus. In my Ten Books of architecture, I would have these books of

tools are mentioned not to otion of finding a metaphysichitects base their designs, ment for determining a compractice of building. When self in the exhaustive meas on Architecture, he began ed on what he had learned that point in his life. From ed enough life experience to d evident truth to relay to rchitectural practice. The

separate titles: Biocentricity, Creativity, Conventionality, Opportunity, Social Imperatives, Morphology, Aesthetics, Linguistics, Nature, and Technology. Each title represents a heading which encapsulates an important part of the total spectrum of architecture. In the first book, I would describe architecture in purely life sustaining forms since this is what many people sympathize with in their common day to day interaction with architecture. Instead of the built form being the object of analysis, the built environment takes precedent in many ways. Creativity is the second book simply because it is more a product of the mind. To me, creativity is the humanʼs ability to cultivate thought and harness its potential. The practice of creating something

LANGUAGE & ARCHITECTURE from nothing is central to architectural core values. Whereas important items completed efficiently and graceother art forms create an outlet though more immediate results, fully. architecture is a more involved process than most. To take an Some might say that nature is the counterpart architectural piece from conceptual design to completed to most architecture, but truly the two worlds are construct, countless hours and resources have to be invested in integrated in many ways. If it were not for the condithe design. Therefore the creativity poured into a singular building tions that nature gives to architects, the practice of is both short term and enduring. It is not simply making small decisions to creating exceptional and comfortable architecture no end, it is a vision that one person has and forces his or her way to its would be futile. Nature is a very symbiotic countercompletion part to the built environment. Without one, the Conventionality says that architecture is only a means to an end. other would not be possible. Conventional architects chose a more pragmatic approach to design, but Lastly, for my final book on architecture, I deliver immediate and unwavering results. Convention proves to be would attest that technology is the final frontier of decisive and uniform like in rectilinear architectural design. As time has the architectural practice. Like creativity, this shown, building buildings that form simple right angles and orthographic concept of technology is the creative mind applied shapes is one of the fastest and least expensive methods for design. This is to the successful benefit of the profession. Technolperhaps the most cogent argument for architectural convention. ogy allows architects to not only speed up the Opportunity brings time and unpredictability into the nature of process of design, but to also spend the remaining architecture. Even though there is plenty of need for architecture and the time they have saved on the more important aspects service of architecture, each opportunity for design is what produces a new of design. Technology like the computer and electric and unique permutation of what we see as architectural design. Every time powered equipment have enhanced the underan architect or several architects embark on new projects, this is not only an standing and potential of architecture and has given opportunity for them to display their reaction to a particular challenge but us an entirely new direction for the ways that we it is also an opportunity for all of the project’s beneficiaries. conduct our lives. Social imperatives are codes by which an architect or designer is By furthering the profession and execution of governed by in order to safely practice their profession. Like in architectural practice, there is a sense of permamy first description of architecture’s essential nature of nence that society is endowed with. When one project or piece of sheltering humans from their exterior environment, the fact architecture is erected, it is essentially a stated claim that he as the that the piece of architecture itself needs to architect has a visualization and set of ideas that equally lend to sustain a code of safety to protect its inhabaesthetic appeal as they do to its mathematical and organized itants. More specifically, safety in today’s execution. Each of these small statements of architecture bring to age of skyscrapers and elaborately built bear a conversation based on time and effort. Effort being the structures, a specific fire escape is essential architects willingness to participate in the language of his day and for life safety as well as structural integrity. further expand the architectural cannon for future generations. Such concerns are second nature to most The truest logic that can be said about architecture is architects, but are highly important in the that it holds meaning for everyone on every stratosphere in overall considerations of a design. varying intensities. The passion and skill that go into a European Aesthetics is what Vitruvius refers to as cathedral can hold just as much meaning and order to a particular beauty. Beauty is not simply the ineffable set of people as one minimalistic Miesian pavilion can hold to the quality of a person’s affinity to an object, person or piece of Bauhaus contemporaries of 20th century design. Each design is a music, but it is a gage by which the community at large can statement independent of the other, but recollective of what the decipher the significance or value they place on the forefathers have come to attain through a lifetime of architectural architect’s effort. The assessment of an architectural work is logic. Every individual has the capacity to care for himself and just as meaningful as its performance since it is meant to sustain his being, but it is when that individual rises above the inspire as much as it is to serve the people who utilize its routine of reenactment that he builds both an identity for himself, services. and in turn an identity of his legacy. As I have mentioned above, linguistics is the way an architect relays information to another party, whether it be his associate, his client, his users, his contractor or even himself. For an architect to have a command over the language in which he speaks gives him an edge in his business of getting

10.1

11 Dartmouth College Class of 1953 Commons

ecture

SOUTHEAST AERIAL - PROPOSED

PLANNING REVIEW SOUTHEAST AERIAL - EXISTING CONDITIONS

PLANNING REVIEW

MARCH 12, 2010

NEW MECHANICAL PENTHOUSE/AHU

NEW COOLING TOWER

NEW STAIR ENCLOSURE

ENLARGED LANDING TO ALLOW FOR ACCESSIBLE RAMP

NEW ACCESSIBLE ENTRY TO LOWER LEVEL

NEW ACCESSIBLE RAMP TO MAIN ENTRY

C L A S S O F 1 9 5 3 C O M M O N S __DARTMOUTH C L A S S O F 1 9 5 3 C O M M O N S __DARTMOUTH

COLLEGE

existing

proposed

dartmouth class of 1953 commons

Name of Firm: Client Name: Project Size: Type of Project: Location: Size of Project Team: My Role:

Bruner / Cott & Associates Dartmouth College 72,065 sf. 100% Interior Renovation and Envelope Upgrade Hanover, New Hampshire 5 Architectural Designer, Drafter, Consultant interface

Background and Description of the Project: In 1937 architect Jens Frederick Larson designed Thayer Dining Hall, a building on the Dartmouth College Campus just west of the famous Green. The building contains a number of discrete dining rooms, kitchens, conference rooms, offices, and a convenience store. It is an entirely brick clad building that has gone through three major additions and several more smaller reconfigurations. Currently Thayer Dining Hall is a 72,065 square foot facility comprised of three floors: basement (28,640 sf), first floor (29,123 sf) and second floor (14,302 sf). Until now, the last major renovation was carried out in the early 1972 by architects Childs Bertman Tseckares, Inc. Because Thayer is now the only dining facility on the Dartmouth Campus, itʼs upgrades and retrofits were a top priority for the college in 2009. Apparently dining is a significant revenue booster for undergraduate campuses. In the case of Thayer Dining Hall, Dartmouth had seen a lucrative venture in modernizing this heavily used common meeting place.

In this section: introductory pages code analysis existing conditions: elevations and windows schematic design social space exterior egress path design social space entry walkway design current basement and first floor plans current roof plan bathroom design kitchen layout office layout finishes and wall partitions doors

The funding for this project was heavily provided for by its class of 1953 alumni. Originally Bruner/Cott had previously taken a commission and completed fully bidable construction documents for a new dining commons but had the bottom drop out, so to speak, because of unfavorable market conditions and expensive new-building costs. Now, with a renewed ambition and market upswing, the Thayer Dining Hall is the new object of Dartmouthʼs attention and efforts. With the funding coming from its alumni, the hall will now be called the Class of 1953 Commons. Recently, after the bid on Bruner/Cottʼs 2010 Summer CD Set, the building costs come in on budget to around $18 million. This is based on a full interior renovation of almost every part of the building and an envelope upgrade. The proposed programming uses are explained in the pages that follow. This existing building is the most recent project I have been working on at Bruner/Cott. Laurie Soave, Scott Chisholm and Michael Kyse have been the three project managers, while Mark Rogers and I are the two drafters.�

11.0

Water Rm.

Office 168 SF 2 OCC. Loading Dock

Women's Locker

1039 SF 0 OCC.

Corridor

393 SF 8 OCC.

Soap Storage

Elev.

Office

1171 SF 0 OCC.

Office

Storage

Concessions 480 SF 5 OCC. Corridor

Pot Wash

Storage 114 SF 0 OCC.

Women's

Office

Electrical Switchboard Room Storage 726 SF 0 OCC.

Soda 176 SF 2 OCC.

Jan. Storage

Cold Prep Area 562 SF 6 OCC.

Compost Cooler

Dry Storage

Men's Locker Corridor

2507 SF 0 OCC. Stair

14 OCC. Dining Offices Suite

Corridor

Existing Walk-ins

Ramp Up

Office Entry 134 SF 2 OCC.

Office Corridor

Ramp Dn. Conf. Room Stor. 219 SF 155 SF 3 OCC. 0 OCC.

Dining Office Suite 459 SF 5 OCC. Office

Elev. Elev. Mach. 53 SF 0 OCC.

Storage 55 SF 0 OCC.

Tel.Com. 82 SF 0 OCC.

Storage 342 SF 0 OCC.

Equip. Maint. Rm.

Corridor

Existing Hovey Lounge

476 SF 0 OCC. Steam Main

1098 SF 157 OCC.

DARTMOUTH COLLEGE

Trash Room

Mech.

Dry Storage

Corridor

450 SF 5 OCC.

Convenience Store

Card Offices 481 SF 5 OCC.

852 SF 9 OCC.

Main Electrical Rm. 646 SF 0 OCC.

Ramp Dn.

Corridor

Stair

Tunnel To Next Building

renovation project | code analysis Men's

43 SF 0 OCC.

Women's

Social Space 2005 SF 287 OCC.

-6" HEIGHT

Platform 315 SF 21 OCC.

Vending

Locked Storage

632 SF 0 OCC. Furniture Storage

Graduate Suite 1244 SF 25 OCC.

0 sqft/occ. 100 sqft/occ. 20 sqft/occ. # of Seats 100 sqft/occ.

Accessory storage areas, mechanical equipment room Business areas Classroom Fixed Seating Kitchens commercial

50 sqft/occ.

Library Reading Room

50 sqft/occ.

Locker Rooms

7 sqft/occ. 15 sqft/occ.

Standing Space Unconcentrated (tables and chairs)

Background: Central to the construction or renovation of any publicly accessed building is the unwavering constriction of architectural code. Code is implemented for many reasons and often from various governing bodies. For Dartmouth College in Hanover, New Hampshire, the codes in which the town must abide are split between the International Building Code (IBC 2009) and the National Fire Protection Agency (NFPA 7.0). My Involvement: In determining the stipulations of the code, I was one of the point persons for our project. Our code consultant, Vernon Woodworth, was helpful in answering perplexing questions, but in general it was between Scott Chisholm and I to assess and interpret the code as it relates to the dining facility at hand. In short, I became an expert at the process of determining occupants and their subsequent egress paths for this building. Using my Revit knowledge, I created a system for identifying rooms and interstitial areas by their use group and square footage. In turn the program determined the occupancy load by room, by floor, and for the entire building. The colored area plans shown on the right hand page are a visual result of this work. The color coding legend is displayed above. The predecessor to the Revit system, shown to the left, shows calculations based on arbitrary regions. After many iterations, due to plan and program changes, it was evident that an efficient and updatable system would save time and energy. The program, Revit, proved to be the most ideal tool for this exercise. After determining the occupancy for each region and subregion, the egress patterns were the next complicated step in the building始s design. The trace-paper sketch to the left is my diagram of the basement egress possibilities based on a fixed occupancy count and a fixed number of exits. Once a conception of the egress quantities was determined, the proposed doors, stairs and ramps were appropriately resized. The code sheet on the left hand page represents the latest thinking in our code analysis for the Class of 1953 Commons. I show this page as the first display because its ramifications dictate later designs that I was involved in (see social space exterior egress path design, social space entry walkway design, bathroom design and doors).

200 STAIR

200 DOOR

170 DOOR

6/3/2010 11:46:40 AM

BASEMENT

SCALE: 3/64" = 1'-0"

NEW METAL STAIR

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

STAIR #1 (EXISTING) 180 DOOR CAP.

216 SF 8 OCC.

1211 SF 81 OCC. DN 1 HOUR SHAFT ENCLOSURE

ASSEMBLY - UNCONCENTRATED

ASSEMBLY - UNCONCENTRATED 3660 SF 245 OCC.

422 SF 14 OCC.

340 DOOR CAP.

175 STAIR #3 (NEW)

200 STAIR CAP.

PREVIOUS RELEASES

SECOND FLOOR: OCCUPANCY LOAD: OCCUPANCY CAPACITY:

ode, I was one of the point onsultant, Vernon Woodplexing questions, but in and I to assess and interfacility at hand. In short, etermining occupants and building. Using my Revit tifying rooms and interstire footage. In turn the ad by room, by floor, and a plans shown on the right work. The color coding essor to the Revit system, ased on arbitrary regions. program changes, it was system would save time d to be the most ideal tool

14,724 G.S.F. 348 373

02-23-10

100% SCHEMATIC DESIGN

04-20-10

EARLY RELEASE PACKAGE

04-30-10

100% DESIGN DEVELOPMENT

05-07-10

BUILDING PERMIT #1

SECOND FLOOR

SCALE: 1/16" = 1'-0"

270

200 DOOR CAP.

BASEMENT (97 OCC) & FIRST FLOOR (173 OCC) CONVERGENCE

STAIR #1 (EXISTING)

200 STAIR CAP.

280 DOOR CAP.

STAIR #5 (EXISTING)

340 DOOR CAP.

173 STAIR CAP.

Rev. 200 ASSEMBLY - UNCONCENTRATED

330 SF 23 OCC.

166 SF 2 OCC.

Remarks

1 HOUR SHAFT ENCLOSURE

340 DOOR CAP.

3987 SF 266 OCC. (ACTUAL: 310 OCC.)

Date

154 SF 11 OCC.

21%

ASSEMBLY UNCONCENTRATED

173 COMBO 62%

ELEV #1 (NEW)

1771 SF 18 OCC.

STAIR #2 (EXISTING) 340

41%

470 STAIR CAP. DN

340 DOOR CAP.

621 SF 7 OCC.

ELEV #2 (EXISTING)

1 HOUR SHAFT ENCLOSURE

777 SF 8 OCC. 564 SF 6 OCC.

ASSEMBLY STANDING SPACE 1087 SF 156 OCC.

151 SF 2 OCC.

Date

STAIR #4 (EXISTING)

340 STAIR CAP.

JUNE 2, 2010

Scale

ASSEMBLY - UNCONCENTRATED 360 SF 24 OCC.

Project Number Drawn By

170

STAIR #3 (NEW)

ASSEMBLY - UNCONCENTRATED

Hanover, NH

6' - 3 3/4"

7' - 11 5/8"

ADJACENT BUILDING

FIRST FLOOR

SCALE: 1/16" = 1'-0"

STAIR #1 (EXISTING) 200 STAIR CAP.

STAIR #6 (EXISTING)

CHANGES TO PREVIOUSLY BID ITEMS

170 DOOR CAP.

173 STAIR CAP.

1389 SF 14 OCC.

134 SF 2 OCC.

170 DOOR CAP.

DN 1039 SF 0 OCC. 393 SF 8 OCC.

168 SF 2 OCC.

1171 SF 0 OCC.

155 SF 0 OCC.

726 SF 0 OCC.

176 SF 2 OCC.

2507 SF 0 OCC.

219 SF 3 OCC.

6/3/2010 11:46:40 AM

ELEV #2 (EXISTING) STAIR #4 (EXISTING)

82 SF 0 OCC.

4' - 0" 8" RETAINING WALL

320 DOOR CAP.

210

481 SF 5 OCC.

1098 SF 157 OCC.

852 SF 9 OCC.

STAIR #7 (NEW)

210

340 DOOR CAP.

154

43 SF 0 OCC.

340 DOOR CAP.

315 DOOR CAP. 320 STAIR CAP.

CODE ANALYSIS KEY

LIBRARY READING ROOM

ASSEMBLY - STANDING SPACE

632 SF 0 OCC.

(ACTUAL: 49 OCC.)

BASEMENT: 28,777 G.S.F. OCCUPANCY LOAD (SOCIAL SPACE=357, OTHER=223): 580 OCCUPANCY CAPACITY: 802

DIRECTION OF EGRESS ## O.C.C.

OCCUPANT LOAD DIRECTION OF EGRESS AND OCCUPAND LOAD PER EXIT

BASEMENT Occupancy

SCALE: 1/16" = 1'-0"

CODE PLANS AND SUMMARY

ONE HOUR FIRE SEPARATION RATING

1244 SF 25 OCC.

2005 SF 287 OCC.

-6" HEIGHT

1 HOUR SHAFT ENCLOSURE

646 SF 0 OCC.

340 DOOR CAP.

320 DOOR CAP.

Platform 315 SF 21 OCC.

SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE

ASSEMBLY STANDING SPACE

476 SF 0 OCC.

210

STAIR #3 (NEW)

220 STAIR CAP. 240 EGRESS WALKWAY CAP.

EGRESS ONLY

220 STAIR CAP.

NEW METAL STAIR

1 HOUR SHAFT ENCLOSURE

ELEV #1 (NEW) 53 SF 0 OCC.

342 SF 0 OCC.

114 SF 0 OCC.

450 SF 5 OCC.

459 SF 5 OCC.

55 SF 0 OCC.

480 SF 5 OCC.

562 SF 6 OCC.

Author

Class of 1953 Commons

FIRST FLOOR: 28,960 G.S.F. OCCUPANCY LOAD: 881 OCCUPANCY CAPACITY: 913

3925 SF 262 OCC. (ACTUAL: 310 OCC.)

200 DOOR CAP.

DDT-251

Dartmouth College

200 STAIR CAP.

1/16" = 1'-0"

551 SF 6 OCC. ROOF OF HEADHOUSE

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

because its ramifications in (see social space extetry walkway design, bath-

1 HOUR SHAFT ENCLOSURE

173

ELEV #1

ovation of any publicly nstriction of architectural reasons and often from outh College in Hanover, town must abide are split ode (IBC 2009) and the 7.0).

ach region and subregion, complicated step in the ketch to the left is my ibilities based on a fixed exits. Once a conception ned, the proposed doors, sized. The code sheet on est thinking in our code ns.

173 STAIR CAP.

TOTAL BUILDING OCCUPANCY LOAD: 1811

G-101

11.1

Slate Roof

AE-501 Brick Flemish Bond

Brick Flemish Bond Slate Roof

Dentil Band Cornice

NOTE:

Brick Flemish Bond Slate Roof Brick 4 Course Running Bond Sringcourse Brick Flemish Bond

1 AE-501

These drawings document existing conditions based on building surveys and field verification by non-destructive means. Please note existing conditions vary from the available construction documents. Areas which were inaccessible which may impact new work design and detailing will require additional survey information prior to performing new work or renovations.

SECOND FLOOR 16' - 2"

Jack Arch Typ.

MEZZANINE 8' - 1"

Brick Flemish Bond Brick Flemish Bond

Slate Roof

Dentil Band Cornice

renovation project | existing conditions: elevations and windows Rev.

NOTE:

Brick Flemish Brick Cove Water Table Bond Brick 4 Course Running Bond Sringcourse Brick Flemish Bond

FIRST FLOOR SECOND FLOOR 0" 16' - 2"

Jack Arch Typ.

MEZZANINE 8' - 1"

Brick Flemish Bond

Rev.

Brick Cove Water Table

FIRST FLOOR 0"

Brick Flemish Bond

Date

Remarks

Date

Remarks

DARTMOUTH COLLEGE

Slate Roof

AE-501 Copper

ATTIC

Brick Flemish Bond

White Painted Wood Siding Brick Flemish Bond

Wood Cornice Brick Flemish Bond Slate Roof

Brick Flemish Bond

1 AE-501 Copper

Brick Flemish Bond

SECOND FLOOR 16' - 2" Brick Flemish Bond

Two Bond Course over Single Soldier Course

MEZZANINE 8' - 1"

White Painted Wood Siding Brick Flemish Bond

Brick Running Bond

Wood Cornice Brick Flemish Bond

Brick Cove Water Table

Brick Double Soldier Course

Brick Flemish Bond Brick Flemish Bond

Two Bond Course over Single Soldier Course

Brick Running Bond

Brick Flemish Bond

1/18/2010 4:24:45 PM

Brick Running Bond

FIRST FLOOR 0" Brick Flemish Bond

Poored Conc.

1/18/2010 4:24:45 PM

BASEMENT -11' - 8"

Copper Slate Roof

3 AE-501 Slate Roof

Copper

Brick Flemish Bond

Skylight

Slate Roof

Dentil Band Cornice Slate Roof

4 Course Running Bond Sringcourse

Jack Arch Typ.

Copper Flashing

AE-501

Skylight Slate Roof

Slate Roof

Dentil Band Cornice

Brick Flemish Bond

4 Course Running Bond Sringcourse Brick Cove Water Table

Jack Arch Typ.

Double Soldier Course

Copper Flashing

Brick Flemish Bond

Brick Running Bond

Brick Cove Water Table

Poored Conc. Foundation Double Soldier Course

NOTE: These drawings document existing conditions based on building surveys and field verification by non-destructive means. Please note existing conditions vary from the available construction documents. Areas which were inaccessible which may impact new work design and detailing will require additional survey information prior to performing new work or renovations. NOTE: These drawings document existing conditions based on building surveys and field verification by non-destructive Rev. Please Date Remarks means. note existing conditions vary from the available construction documents. Areas which were inaccessible which may impact new work design and detailing will require additional survey information prior to performing new work or renovations.

Rev.

Date

Remarks

SECOND FLOOR 16' - 2"

Poored Conc. Foundation

FIRST FLOOR 0"

5/5/2010 5:50:53 PM

1/18/2010 3:40:20 PM

BASEMENT -11' - 8"

Copper Slate Roof

Slate Roof

Copper Roof

2 4 Course Running Bond Sringcourse Wood Dentil Band Cornice

AE-501

Jack Arch Typ.

Two Bond Course over Single Soldier Course

Copper Roof Copper Roof

Brick Cove Water Table

4 Course Running Bond Sringcourse

Jack Arch Typ. Brick Flemish Bond

Two Bond Course over Single Soldier Course Brick Running Bond

Brick Double Soldier Corse

1/18/2010 3:39:59 PM

Brick Flemish Bond

Brick Running Bond

1/18/2010 3:40:20 PM

1/18/2010 3:39:59 PM

Brick Cove Water Table

Brick Double Soldier Corse

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

AE-501 Copper Wood Dentil Band Cornice

001 002 003 004 005 006 101 102 103 104 105 106 107 108 109 110 111 112 201 202 203 204

F F F C C C E E E M B B B S S B J J A R A J

W W W W W W W W W W W W W W

MEZZANINE 8' - 1"

Brick Flemish Bond

Brick Running Bond

E E E E E E E E E E E E E E E E E E E E E E

MEZZANINE 8' - 1" BASEMENT -11' - 8"

Brick Double Soldier Course

Type

S S S S S BASEMENT -11'S- 8" S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S

Brick Flemish Bond

Window Opening #

N N N N N N N N N N N N N N N N N N N N N N N SECOND FLOOR 16'N- 2" N UPPER HALL 13'N- 5" N N N FIRST FLOOR

FIRST FLOOR SECOND FLOOR 0" 16' - 2"

Poored Conc. Brick Running Bond

Brick Cove Water Table

Exposure

SECOND FLOOR 16' - 2"

MEZZANINE 8' - 1"

FIRST FLOOR 0"

BASEMENT -11' - 8"

Window Mat'l ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

001 C ALUM 002 C ALUM 003 C ALUM 004 C ALUM 005 C ALUM 006 C ALUM 007 C ALUM 008 C ALUM 009 C ALUM 010 C ALUM 011 C ALUM 012 T ALUM 101 B ALUM 102 B ALUM 103 B ALUM 104 D ALUM 105 D ALUM 106 D ALUM 107 D ALUM 108 D ALUM 109 D ALUM NOTE: 110 D ALUM These drawings document existing conditions based on building byALUM non-destructive 111surveys and field verification D means. Please note existing conditions vary from the available Areas which were 112construction documents. J ALUM inaccessible which may impact new work design and detailing 113will require additional K survey information ALUM prior to performing new work or renovations. 114 J ALUM 115 L ALUM 201 A ALUM Rev. 202 Date A Remarks ALUM

I was brought on to the t last year (2009) to con drawing set. Aoife Morris ers assigned to the exis project, but soon after Ao ects. Within a 3 week pe sured, modeled, drafted a release of this drawing set ing the exterior dimensi openings. In turn, betwee Window Schedule MATERIALS Glazing Type Jamb Mat'l

Finish

Sill Mat'l

GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

001 002 003 004 005 006 007 008 009 010 101 102 103 104 105 106 107 108 109 110 ATTIC 111 112 113 114 115 201 202 203 204 205 206 207 208 209 210 211 214 215

I F F F F F F F C C B B E E E E E E E E E E E B B G G G H H G G G G G G H H

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL2 GL2 GL2 GL2 GL2 GL2 GL2 GL2 GL1 GL1 GL1 GL1 GL1 GL1 GL1 SECONDGL1 FLOOR 16' - 2" GL1 UPPER GL1HALL 13' - 5" GL1 GL1 GL1 FIRSTGL1 FLOOR 0" GL1 GL1 GL1 GL1

001 002 101 102 103 104 105 106 201 202 203 204 205 206

I I J T E E E J J N N N N N

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

GL1 BASEMENT -11' - 8" GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1

Comments

NEW OPG.

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM NEW OPG. NOTE: ALUM ALUM NEW OPG. These drawings document existing conditions based on building surveys and field verification by non-destructive ALUM NEW OPG. means. Please noteALUM existing conditions vary from the available construction documents. Areas which were ALUM ALUM HAND inaccessible which may impact new workOPPOSITE design and detailing will require additional survey information prior to ALUM ALUM performing new work or renovations. ALUM ALUM ALUM ALUM ALUM ALUM Rev. Date Remarks ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM OPPOSITE HAND ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

BASEMENT -11' - 8"

INNER LITE

FILM

OUTER LITE

INNER LITE

FILM

OUTER LITE

GL2 A - Low-e 272 B - HM SC75 - heat mirror C - Fritted @ lower sash only

4 5 A

INT.

GL3 A - HM TC 88 - heat mirror

The window line-drawings shown below are representations of three of my efforts: (1) The measuring of the window openings, (2) the modeling, labeling and layout of the window types in Revit, and (3) the detailing and drafting of their detail. GENERAL NOTES: 1- ALL DIMENSIONS SHOULD BE VERIFIED IN FIELD 2- DIMENSIONS ARE MASONRY OPENING. - M.O.

2' - 8"

PREVIOUS RELEASES

1 A-512 4' - 0" 6' - 0" 3 A-512

02-23-10

100% SCHEMATIC DESIGN

04-20-10

EARLY RELEASE PACKAGE

2 A-512 EQ

NEW OPG.

8' - 6"

10' - 0"

5' - 0"

6' - 6 1/2"

6' - 9"

5 A-512

6 A-512

4 A-512

Rev. 3 A-512

1 A-512

WINDOW TYPE - DOUBLE HUNG

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM LOWER SASH FRITTED ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM NEW OPG. NOTE: ALUM ALUM NEW OPG. These drawings document existing conditions based on building surveys and field verification by non-destructive ALUM NEW means. Please noteALUM existing conditions vary from OPG. the available construction documents. Areas which were ALUM ALUM HAND inaccessible which may impact new workOPPOSITE design and detailing will require additional survey information prior to ALUM ALUM performing new work or renovations. ALUM ALUM ALUM ALUM ALUM ALUM Rev. Date Remarks ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM OPPOSITE HAND ALUM ALUM

Date

Remarks

2 A-512

WINDOW TYPE - DOUBLE HUNG

WINDOW TYPE - HOPPER

WINDOW TYPE - FIXED (NOT USED)

5' - 0"

3' - 11" 3 A-512

3 A-512

5' - 0" EQ

5' - 0"

3 A-512

Scale

6 A-512

Drawn By

6 A-512 EQ

3 A-512

WINDOW TYPE - FIXED

2' - 2"

3 A-512

WINDOW TYPE - FIXED

3 A-512

WINDOW TYPE - DOUBLE HUNG

Dartmouth College Hanover, NH

3' - 8"

6 A-512

4' - 9"

3 A-512

4' - 0"

6 A-512

3 A-512

6 A-512

3 A-512

3 A-512 J

Author

Class of 1953 Commons

3 A-512

WINDOW TYPE - DOUBLE HUNG

DDT-251

4' - 8 1/2"

3 A-512

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

As indicated

Project Number

5' - 4"

6 A-512

APRIL 30, 2010

Date

3 A-512

WINDOW TYPE - DOUBLE HUNG

1' - 7 1/4"

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

2 3

EXT.

GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1

INT.

6 A-512

2' - 9 3/4"

GL1 BASEMENT -11' - 8" GL1

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

GL1 A - Low-e 272 B - HM SC75 - heat mirror

8' - 0"

I I J T E E E J J N N N N N

2 3 4 5

EXT.

001 002 101 102 103 104 105 106 201 202 203 204 205 206

INT.

GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL1 GL2 GL2 GL2 GL2 GL2 GL2 GL2 GL2 GL1 GL1 GL1 GL1 GL1 GL1 GL1 SECONDGL1 FLOOR 16' - 2" GL1 UPPER GL1HALL 13' - 5" GL1 GL1 GL1 FIRST FLOOR GL1 0" GL1 GL1 GL1 GL1

4' - 6"

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

4' - 3"

I F F F F F F F C C B B E E E E E E E E E E E B B G G G H H G G G G G G H H

3 4 5

7' - 4"

001 002 003 004 005 006 007 008 009 010 101 102 103 104 105 106 107 108 109 110 ATTIC 111 112 113 114 115 201 202 203 204 205 206 207 208 209 210 211 214 215

INNER LITE

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

FIRST FLOOR 0"

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

EXT.

4' - 0"

W W W W W W W W W W W W W W

MEZZANINE 8' - 1"

GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3

Comments

SECOND FLOOR 16' - 2"

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

5' - 5 1/2"

S S S S S BASEMENT -11'S- 8" S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S

ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

Sill Mat'l

GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3 GL3

5' - 4"

N N N N N N N N N N N N N N N N N N N N N N N SECOND FLOOR 16'N - 2" N UPPER HALL 13'N - 5" N N N FIRST FLOOR

Window Mat'l ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM ALUM

FILM

F F F C C C E E E M B B B S S B J J A R A J

OUTER LITE

Type

001 002 003 004 005 006 101 102 103 104 105 106 107 108 109 110 111 112 201 202 203 204

in the Revit model was more suited to elevations, sections and roof plans. The final elevations and sections for the Existing Conditions set are shown to the left.

ATTIC

Window Opening #

E E E E E E E E E E E E E E E E E E E E E E

Window Schedule MATERIALS Glazing Type Jamb Mat'l Finish

indows

Exposure

I was brought on to the team by Laurie in December of last year (2009) to construct the Existing Conditions drawing set. Aoife Morris and I had been the two drafters assigned to the existing conditions portion of the project, but soon after Aoife returned to her other projects. Within a 3 week period, Aoife and I had field measured, modeled, drafted and set upGLAZING theTYPES drawings for the release of this drawing set. I was responsible for measuring the exterior dimensions and the exterior window openings. In turn, between Aoife and I, my involvement

3 A-512

WINDOW TYPE - DOUBLE HUNG

WINDOW TYPE - FIXED

WINDOW TYPE - DOUBLE HUNG

WINDOW TYPE - AWNING

100% DESIGN DEVELOPMENT 7' - 0" EQ

6' - 0" EQ

2 A-512

1' - 8"

3' - 0"

5' - 0" 1 A-512

SIM

5' - 0"

WINDOW TYPE - DOUBLE HUNG W/ FIXED TRANSOM

EQ 6' - 6" 2' - 4"

5 A-512

1 A-512

2 A-512

2 A-512 D

5 A-512

4' - 0"

5 A-512

3 A-512

BASEMENT -11' - 8"

EQ SIM 2 A-512

6 A-512

WINDOW TYPE - AWNING

WINDOW TYPES / SCHEDULE

8' - 6"

4' - 7 1/2"

FIRST FLOOR 0"

SIM

10' - 10"

4 A-512 9' - 8"

SECOND FLOOR 16' - 2"

MEZZANINE 8' - 1"

3' - 10"

1 A-512

4' - 2"

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

5/5/2010 5:50:53 PM

3 A-512

WINDOW TYPE - DOUBLE HUNG

1 A-512 A

WINDOW TYPE - DOUBLE HUNG

A-511 11.2

renovation project | schematic design Background After the Existing Conditions drawing set, immediately I transitioned into the Schematic Design Drawings with Principal Dan Raih and Laurie. I had been the primary image graphic editor as well as Revit user on this phase. It was in this phase that the team dynamic changed with the addition of Mark Rogers as the second drafter and Robert Lavash hired to manage our tasks and metabolize the work flow. Coincidentally Robert was succeeded by Michael Keys about the time this phase was complete.

The Proposed Program agreed upon by Dartmouth is as follows: Food Service / Dining (1000 seat minimum) Servery Back of House Kosher Hallal Receiving / Loading Dock Meat Prep Business Offices Conference Room Card Offices Social Space / Graduate Suite

DARTMOUTH COLLEGE

Reflection

The images shown below SD. In short, I was the exp of the freehand outlines w rate elements and layers in was not available to draw to draw and incorporate m were a shared responsibilit

At this point in the design stipulation agreed to by D spaces were secondarily d

is as follows: )

Reflection The images shown below are a indicators of some of my work at the beginning of SD. In short, I was the expert at image manipulation in Photoshop. Although much of the freehand outlines were drawn by Dan Raih, it was my job to piece the disparate elements and layers into the finished floor plans seen below. Occasionally Dan was not available to draw certain elements of the design, therefore it was my job to draw and incorporate my freehand work into the drawings. The color schemes were a shared responsibility of Mark Rogers and myself. At this point in the design, the main concern was meeting the minimum 1000 seat stipulation agreed to by Dartmouth and Bruner/Cott. In turn, other programatic spaces were secondarily designed and later on made more paramount.

Not shown in this spread is the work done after these diagrams. After several schemes were presented to the decision makers at Dartmouth, the design began to take shape and a hard-lined drawing set was produced. In Revit, we incorporated our proposed floor schemes by underlaying the Photoshopped images and essentially building scope into the drawing set. Learning that nothing is every final in this phase, Mark and I used â&#x20AC;&#x153;Design Optionsâ&#x20AC;? as a feature in Revit to aid the constantly sporadic jumps from one scheme to another. This phase was a little over a month in duration

11.3

renovation project | social space exterior egress path design

As I hinted at in the code a finalization of the exit path southwest part of the build indicate the additive proce course of this project, I bec of ordinarily concrete elem enced drawings so that a repository and thereby elim

DARTMOUTH COLL

As I hinted at in the code analysis spread, this outline shows the conception and finalization of the exit pathway from our proposed egress stair in the fold of the southwest part of the building. By showing the three sketches below I wanted to indicate the additive process to design through its many iterations. During the course of this project, I became cognizant of the ephemeral and malleable nature of ordinarily concrete elements. The lesson I learned was to update the referrefer enced drawings so that all of the latest information could collect itself in one repository and thereby eliminating confusion.

The finalized sloped path drawing immediately below was initiated and drawn by me. The annotations are meant to clarify the intent and be a reference for our basis of design. The numbers below indicated points on the slope are reference point heights given to us by our Civil Engineering consultant, Engineering Ventures. By code (ADA), the slope of the walkway had to be less than 1 to 20 in order to avoid having to put railings on either side and a landing every 30 feet. At this time in the design, our path and stairs had to both accommodate 153 occupants from our code calculations, and therefore had to be a certain width or greater according to IBC 2009. FIRST FLOOR 546.12

FIRST FLOOR

0'-6" STEP DOWN

T.O. STONE WALL 532.44

AT JOG 536.57

4.42% GRADE

INTERMEDIATE STAIR LANDING 536.79 BASEMENT LEVEL 532.46

3' - 9 3/8"

COURNER OF BUILDING AT GRADE 535.06

5.00% GRADE

B.O. STAIR 530.04

H COLLEGE

85' - 7 3/8"

5' - 0"

SCALE: 1/16" = 1'-0"

BRUNER/COTT & ASSOCIATES, INC. MAY 28, 2010

11.4

Background: The social space is an area for students and alumni to congregate which is fundamentally separated from the rest of the building. As the building exists today, the space inhabiting this southern basement area is a bakery, a locker room, storage rooms and mechanical rooms. The goal of the new accessible ramp at main entry and the new entry to Social space was to: - Create a well designed pedestrian access that integrates the visual connection at this central apex, - Respond to the existing building with scale and materials, - Create a point of destination, - Integrate with the landscape, and - Visually identify the separate building entrances.

PLANNING REVIEW MARCH 12, 2010

renovation project | social space entry walkway design

DARTMOUTH COLL My involvement:

Like I mentioned earlier, building code played a role in the design of this sloped walkway. Understanding the large occupancy load quantity of this space, Scott Chisholm and I designed this path along the building to comply with code and to fit within the property line shown in blue on the opposite page. The head house was to be an entirely new construct to present the entrance as an architectural design feature. Since the stairs within the head house had to be accessible, we designed the space to include a platform rail lift by the company Garaventa. The main challenge of this design was finding the balance between the amount of risers and the amount of sloped path so as to reach the basement level without causing extensive excavation.

CLASS OF 1953 COMMO

ts and alumni to congrefrom the rest of the buildpace inhabiting this southroom, storage rooms and w accessible ramp at main e was to: ccess that integrates the ex, h scale and materials,

PLANNING REVIEW

LOWER LEVEL ACCESSIBLE ENTRY

MARCH 12, 2010

ng entrances.

EXISTING GRADE H’CAP CHAIR LIFT

H COLLEGE +/- 5’-0”

+/- 0’-0”

RAMP DOWN 1:20

NEW ENTRANCE TO SOCIAL SPACE

PROPERTY LINE

played a role in the design the large occupancy load and I designed this path and to fit within the prope page. The head house o present the entrance as the stairs within the head ed the space to include a enta. The main challenge between the amount of so as to reach the basexcavation.

FOLD DOWN PLATFORM LIFT

C L A S S O F 1 9 5 3 C O M M O N S __DARTMOUTH

COLLEGE 11.5

DARTMOUTH COLLEGE

renovation p

A-302 2

4.8

8.3

19.2

21.4

21.8

22.6

23.8

24.2

A-401

7.5

8.2

8.6

8.9

Bathrooms: See 11.8

18.3

19.3

21.3

22.3

Bathrooms: See 11.8

23.7

Offices: See 11.10

4 A-701

A-401

5 A-703

26.2

6 A-703

PREVIOUS RELEASES

2 A-401

3 A-701

A-501

1 A-701

B.2

A-401

EXISTING WALK-INS 042

EXISTING WALK-IN TO REMAIN

D.2

OFFICE 015B

015

011

CORRIDOR RAMP-1: 009 - WALL MOUNTED PAINTED STEEL TOP & BOTTOM HANDRAILS

RAMP DN. 21' - 0"

2' - 1 1/8"

042B

053A

NEW ELECTRIC PANELS. SEE ELECTRICAL DRAWINGS FOR MORE INFORMATION.

E.8

A-902 STAIR-7: - RUBBER TREADS AND RISERS OVER EXISTING SUBSTRATE - PAINTED METAL WALL 8 MOUNTED HANDRAILS

053C

H.6 H.7

EL-04

J.2

ELEVATOR 2 EL-2

J.6

TRASH ROOM 048

048B

STAIR-6 - RUBBER TREADS AND RISERS OVER EXISTING SUBSTRATE - PAINTED METAL WALL MOUNTED HANDRAIL

CORRIDOR 033

MECH. 049

CLEANING SUP. CL. 043

043

STORAGE 029

CONCESSIONS 028

(1-HOUR RATED ROOM)

029

ALUMINUM STOREFRONT ON 3'0" HIGH CMU WALL

COLD PREP AREA 047

044

SOAP STORE 044

J.4

8 WALK-IN COOLER

041D

13 A-601

A-803

DRY STORAGE 045

047B 045

CORRIDOR 046

L.9

-9' - 4"

M.1

UP -9' - 4"

M.2

STAIR-3 059

059A

STORAGE 007

007

021A

FOLD-DOWN PLATFORM LIFT

J.3 EXISTING INTERIOR WINDOWS TO REMAIN

J.8 K

TUNNEL TO COLLIS 023

023

HEADHOUSE ENTRY 064A

DOOR ON HOLD-OPENS

063

060A

067

068

MENS 3 066

2 4 A-602

-6' - 8"

IDF 067

Scale

WOMENS 4 063

STAIR-5: CONCRETE STEPS WITH TILE TREADS AND RISERS & WALL MOUNTED WOOD HANDRAIL

NEW GRANITE CURB

Drawn By

H.9

DDT-251 Author

J.2 J.6

Dartmouth College

L.9

4 A-702

N.6

4 A-703

SOCIAL SPACE 060

VENDING 062

LOCKED STOR. 069 1

GRADUATE SUITE 068

STAIR-4: CONCRETE STEPS WITH TILE TREADS AND RISERS & WALL MOUNTED WOOD HANDRAIL

CHANGES TO PREVIOUSLY BID ITEMS

27' - 0" -10' - 1 1/2"

BASEMENT PLAN

SCALE: 1/8" = 1'-0"

SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE

3 A-401

6/3/2010 11:43:11 AM

A-501

A-401

7.6

8.7

LEGEND - PLAN

EXISTING WALLS AND PARTITIONS TO REMAIN

A-401

11.4

15.3

18.6

18.2

18.8

MASONRY PARTITION

NON-MASONRY PARTITION

6.4

7.7

7.8

8.1

8.4

8.8

9.2

9.8

12.8

17.2

18.4

18.5

6/3/2010 11:43:17 AM

11' - 9"

NEW WOOD FRAMED JOISTS AND PLYWOOD SHEATHING AT RAISED PLATFORM TO MAKE FLUSH WITH HIGH SLAB

FURNITURE STORAGE 061

21.2

PROJECT NORTH

SUMMER 2010 LIMIT OF WORK

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

A-302

GENERAL NOTES - FLOOR PLANS 1. REFER TO G-001 FOR SYMBOLS AND ABBREVIATIONS.

BASEMENT PLAN

2. CONTRACTOR TO ALLOW 25% REPLACEMENT OF ROOF SHEATHING. 3. VERIFY ALL EXISTING CONDITIONS IN FIELD AND REPORT ANY DISCREPANCIES TO THE ARCHITECT IMMEDIATELY. 4. DIMENSIONS GIVEN ARE TO FACE TO FACE OF FINISH OR STRUCTURAL GRID UNLESS OTHERWISE NOTED. 5. KITCHEN EQUIPMENT IS SHOWN FOR REFERENCE ONLY. SEE QF DRAWINGS FOR MORE INFORMATION. 6. PROVIDE ADEQUATE BLOCKING AND BACKUP FOR INSTALLATION OF ALL EQUIPMENT. 7. ALL NEW ROOF INULATION SHALL BE TAPERED TO EXISTING DRAIN LOCATIONS. 8. ALL EXISTING PARTITIONS NOT FURRED OUT MAY REQUIRE PLASTER PATCHING. CONTRACTOR SHALL CARRY 25% PATCHING. 9. ALL WORK IS NEW UNLESS OTHERWISE NOTED AS EXISTING. 10. CONTRACTOR SHALL VERIFY ALL EXISTING CONDITIONS AND DIMENSIONS, AND WILL NOTIFY ARCHITECT AT ONCE OF ANY DISCREPANCIES BETWEEN THE EXISTING CONDITIONS AS INIDCATED ON DRAWINGS AND ACTUAL FIELD CONDITIONS AND RECEIVE WRITTEN INSTRUCTIONS PRIOR TO PROCEEDING.

A-100

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

061

PORTABLE RAISED PLATFORM 060A 2

SEE PLUM FOR MO

CONTRACT CONDIT HOISTW COMP VERIF

069

KITCHEN STOR 117

L.8

Class of 1953 Commons

NEW EXTERIOR WALL WITH METAL PANEL CLADDING.

-10' - 1 1/2"

H.8

1/8" = 1'-0"

Hanover, NH

NEW EXTERIOR WALKWAY

064B

A-301

JUNE 2, 2010

M.8 066

DA KI OT

H.2 H.6

Date

2 060B

A-301

H.7 1 L-SP-101 3 L-101

FOLD-DOWN PLATFORM LIFT

WATER FOUNTAIN

A-501 HOVEY LOUNGE 006

065 CORRIDOR 064

F.2

F.8 INFILL WINDOW WITH MASONRY TO MATCH ADJACENT

28' - 0"

124

D.7

STEAM MAIN 024

OFFICE 124

D.6

EXISTING FIREPLACE MANTLE

027A

064

059B

D.8

006B

021B

MAIN ELECTRICAL 021

ALUMINUM STOREFRONT SYSTEM

D.2

D.4

EXISTING COUNTER TO REMAIN

1 A-401

D.1

D.3

024

CARD OFFICE SUITE 065

Remarks

Project Number

CONVENIENCE STORE 027

065A OFFICE 065A

006A

Date

OFFICE 005

021C

J.5

065B

POT WASH 034

027C

2 A-701

OFFICE 065B

KOSHER STORAGE 070

070

CORRIDOR 020

020

B.4 Rev.

3' - 11 1/2"

022 -11' - 8"

CORRIDOR 019

B.2

A-401

006C

EQUIP. MAINT. RM. 025

A.8

005

025

028 11

6 OFFICE SUITE 004

STORAGE 022

018

LOWER LOBBY 002

1 A-601

TEL. COM 018

027B

048A

CONTRACTOR SHALL VERIFY CONDITION OF EXISTING HOISTWAY AND REPLACE COMPLETE ELEVATOR. VERIFY MACHINE ROOM REQUIREMENTS.

8 SODA ROOM 031

H.3

WALK-IN FREEZER

A-803

EL-03

049

8 031

-11' - 8"

A.6

ELEV. MACH. RM. 026 (1-HOUR RATED ROOM) 026

EL-01

034

H.4

COMPOST COOLER 050

016

017

032

CORRIDOR 041

1 2

050

ELEC. SWITCHBD. ROOM 017

STORAGE 029A

-9' - 8"

1 A-703

-9' - 11"

ELEVATOR #1 EL-1

CONFERENCE RM 014

BUILDING PERMIT #1

003 004

UNISEX 010

EL-02 STORAGE 016

052

H.8 H.9

037

LOCKER RM. 037

047A

053B

042A

RAMP-2: - WALL MOUNTED PAINTED STEEL TOP & BOTTOM HANDRAILS

WATER FOUNTAIN

100% DESIGN DEVELOPMENT

05-07-10

12' - 7 1/2"

001A

010

009

054

LOADING DOCK 053

008

-9' - 11"

(1-HOUR RATED ROOM)

3' - 8" 3' - 0"

053D

L.8

OFFICE 015C

013

04-30-10

Kitch

OFFICE 003

STAIR 1 001

MENS 008

012

014

OFFICE 054

F.2

CLEAN INSIDE OF COOLER AND INSTALL NEW FRP PANELS ON WALLS

OFFICE 015D

Ramp Up

PROVIDE NEW BUMPERS AT ALL LOADING DOCKS

D.7

SUPPLY ROOM 013

015A

015B

4 1/4" 12' - 3 1/4"

WOMENS 2 011

9 12 A-803 10

D.3 D.4

H.2

015C

DRY STORAGE 032

038

16 A-803 14 15

D.6

015D

OFFICE 3 015E

LOCKER RM. 13 038

D.1

A-301

015E

11' - 11 7/8"

OFFICE 012

OFFICE 015A

056

STAIR-8: - PAINTED METAL WALL MOUNTED HANDRAILS

053E

DINING OFFICES SUITE 015

EARLY RELEASE PACKAGE

81' - 9 3/4"

B.4

057

COPY ROOM 015F

CORRIDOR 033

A.8 058A

SHWR 039

MAIN WATER 056

100% SCHEMATIC DESIGN

04-20-10

13' - 9"

OFFICE 057

1' - 0"

WOMEN 039

040

ENTRY 058

13' - 8 1/2"

058B

A.6

12' - 0"

MEN 040

SHWR

02-23-10

50' - 11 3/4"

The two floor plans below are shown for two reasons: (1) as an introductory map of the enlarged plan areas highlighted in the pages that follow, and (2) to display the latest floor plans as they exist today in our construction document phase. The entirety of the work shown is the final product of months of coordination and refinement.

renovation project | current basement and first floor plans A-302 2

PREVIOUS RELEASES

100% DESIGN DEVELOPMENT

05-07-10

BUILDING PERMIT #1

Kitchen: See 11.9

A-401

INFILL EXTERIOR WALL WHERE WINDOW WAS MOVED FROM. PATCH TO MATCH ADJACENT.

7.5

8.2 A-401

129A

B.2 B.4 Rev.

Date

D.1 D.2

D.4

D.8

H.6

Scale

J.3

Drawn By

129B

129C

12 A-904

SEE MILLWORK SCOPE FOR MORE INFORMATION.

125

J.6

Dartmouth College

A-801

NORTH DINING ANNEX 129

130F

TYP. AT WALLS BETWEEN WINDOWS

WOMENS 8 107

12' - 1 3/8"

EARLY RELEASE PACKAGE

04-30-10

100% DESIGN DEVELOPMENT

05-07-10

BUILDING PERMIT #1

Computer Kiosks

STUDENT LOUNGE 105

12' - 6"

5 106

Rev.

001C 6

WATER COOLER

2 A-601

130E

130D

130C

DRY STORAGE 120

120

LOBBY 102

101B

VESTIBULE 101A 101

C D 0"

D.8 E

4 A-904

OPEN TO 2STORY SPACE ABOVE

A-501

DDT-251 Author

Dartmouth College J.3

STAIR 2

PAGANUCCI CONFERENCE 104

A-602

J.8 1 A-704

K Class of 1953 Commons

Hanover, NH

5 A-602

M.2

ST-3 112B

112B

DAY STORAGE 114C

CONCIERGE 109B

M.8

114C

FREEZER 114D

111D

BAKERY 114

COOLER 114E

SOUTH DINING VESTIBULE 112

INFILL EXTERIOR WALL WHERE WINDOW WAS MOVED FROM. PATCH TO MATCH ADJACENT.

JUNE 2, 2010 1/8" = 1'-0"

Drawn By

OPEN TO 2-STORY SPACE ABOVE

A-301

Scale Project Number H

DO NOT FUR OUT EXTERIOR WALLS IN THIS ROOM

CORRIDOR 109

3 A-702

GDate

3 L-SP-101

4 JANITOR SINK. SEE PLUMBING DRAWINGS FOR MORE INFORMATION.

CUBBIES. SEE MILLWORK SHEETS FOR MORE INFORMATION.

ROLL DOWN GRILLS

115

1 A-501

JAN 110A

1:20 SLOPE UP

F.8 1

MILLWORK SCREEN

110

SKYLIGHT ABOVE

F 6

104A

J.5 SERVERY 113

110A

A-904

TYP.

TYP. OF (4)

104B

J.4

HALLAL 113A

ELEVATOR 2 EL-2

DISHROOM 110

TYP. OF (3)

CORRIDOR 109A

KITCHEN STORAGE 117

3 A-904

EXIT

HALF WALL

4 A-904

Remarks

130B

H.3

Date

1 A-702

H.4

1 A-401

EXIT

RECEPTION DESK. SEE MILLWORK SCOPE FOR MORE INFORMATION.

ELEVATOR #1 EL-1

NEW DRYWALL FURRING ABOVE

GRILL AREA 113B

8' - 9"

CORRIDOR 114A

ELEC. ROOM 114B 114B 111B

111A

50' - 11 3/4"

N.6

MEMBRANE ROOFING ON NEW BASEMENT ENTRY HEADHOUSE

111C

SKYLIGHT 1

3' - 6"

SEE MILLWORK SCOPE FOR MORE INFORMATION.

CHANGES TO PREVIOUSLY BID ITEMS

INFILL EXTERIOR WALL WHERE WINDOW WAS MOVED FROM. PATCH TO MATCH ADJACENT.

SOUTH DINING 111

4' - 4 3/8"

4 3

A-802

FIRST FLOOR PLAN

SCALE: 1/8" = 1'-0"

PROJECT NORTH

TYP. AT WINDOW SILL

SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE

TYP. AT WALLS BETWEEN WINDOWS

SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE -

LEGEND - PLAN 3

6/3/2010 11:43:17 AM

PROJECT NORTH

001B

E.8

DASHED LINE INDICATES KITCHEN EQUIPMENT BY OTHERS, TYP.

CONTRACTOR SHALL VERIFY CONDITION OF EXISTING HOISTWAY AND REPLACE COMPLETE ELEVATOR. VERIFY MACHINE ROOM REQUIREMENTS.

CHANGES TO PREVIOUSLY BID ITEMS

100% SCHEMATIC DESIGN

04-20-10

STAIR-1: - RUBBER TREADS AND RISERS OVER EXISTING SUBSTRATE - STAINLESS STEEL CABLE GUARD RAIL SYSTEM, REFER TO 2/A-603 - WOOD WALL MOUNTED RAIL

MENS 106

NORTH DINING 130

2 A-702

M.1

N.6

-2' - 11"

130A

14 A-601

4 A-702

A-401

A-904

TRADITIONAL 121

L.9

Hanover, NH

26.2

121

DN.

M.8

02-23-10

EL-11

L.8

Class of 1953 Commons

107

DDT-251 J.2

Bathrooms: See 11.8

23.7

H.9

Author

TYP. AT WINDOW SILL

A-904

(1-HOUR RATED ROOM)

129D

OFFICE 124

H.8

22.3

2 A-703

SKYLIGHT ABOVE

1/8" = 1'-0"

Project Number

J.8

A-301

A-401

H.7 JUNE 2, 2010

21.3

STAIR 1 001

H Date

24.2

4' - 0"

H.2

19.3

23.8

124

81' - 9 3/4"

A-301

22.6

1' - 4"

F.2

F.8

18.3

21.8

A-501

ELECTRICAL 129C

129E

D.7

1 L-SP-101 3 L-101

21.4

ELECTRICAL 129B

KOSHER SERVERY 126

D.6

D.3

INFILL WINDOW WITH MASONRY TO MATCH ADJACENT

19.2

Remarks

11 1/2"

131B

A-401

A.8

B 1 A-401

3' - 4 7/8"

IDF 129A

A-904

12 STAIR-9: - RUBBER TREADS AND RISERS OVER EXISTING SUBSTRATE - WALL MOUNTED WOOD HANDRAILS

VESTIBULE 131

21' - 8 5/8"

8.9

131A

2 A-704

TO EDGE OF NEW WINDOW OPENING

A.6

8.6

04-30-10

1' - 7 1/2"

EARLY RELEASE PACKAGE

8.3

6' - 6"

04-20-10

5' - 6 7/8"

100% SCHEMATIC DESIGN

SUMMER WORK SCOPE: KITCHEN AND SERVERY FOR ROUGH FRAMING AND COORDINATION ONLY

4' - 0"

3 A-701

02-23-10

11' - 10 1/2"

PREVIOUS RELEASES

4.8

1' - 0"

A-401

7.6

8.7

EXISTING WALLS AND PARTITIONS TO REMAIN

A-501

A-401

11.4

MASONRY PARTITION

15.3

18.6

18.2

18.8

NON-MASONRY PARTITION

SUMMER 2010 LIMIT OF WORK

BASEMENT PLAN ARCHITECT IMMEDIATELY.

OTHERWISE NOTED.

E INFORMATION.

TRACTOR SHALL CARRY 25% PATCHING.

NOTIFY ARCHITECT AT ONCE OF ANY D ACTUAL FIELD CONDITIONS AND RECEIVE

A-100

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

6.4

7.7

7.8

8.1

8.4

8.8

9.2

9.8

12.8

17.2

18.4

18.5

21.2

1 A-302 68' - 0 1/2"

123' - 1"

GENERAL NOTES - FLOOR PLANS

FIRST FLOOR PLAN

11.6

1. REFER TO G-001 FOR SYMBOLS AND ABBREVIATIONS. 2. CONTRACTOR TO ALLOW 25% REPLACEMENT OF ROOF SHEATHING. 3. VERIFY ALL EXISTING CONDITIONS IN FIELD AND REPORT ANY DISCREPANCIES TO THE ARCHITECT IMMEDIATELY. 4. DIMENSIONS GIVEN ARE TO FACE TO FACE OF FINISH OR STRUCTURAL GRID UNLESS OTHERWISE NOTED. 5. KITCHEN EQUIPMENT IS SHOWN FOR REFERENCE ONLY. SEE QF DRAWINGS FOR MORE INFORMATION. 6. PROVIDE ADEQUATE BLOCKING AND BACKUP FOR INSTALLATION OF ALL EQUIPMENT. 7. ALL NEW ROOF INULATION SHALL BE TAPERED TO EXISTING DRAIN LOCATIONS. 8. ALL EXISTING PARTITIONS NOT FURRED OUT MAY REQUIRE PLASTER PATCHING. CONTRACTOR SHALL CARRY 25% PATCHING. 9. ALL WORK IS NEW UNLESS OTHERWISE NOTED AS EXISTING. 10. CONTRACTOR SHALL VERIFY ALL EXISTING CONDITIONS AND DIMENSIONS, AND WILL NOTIFY ARCHITECT AT ONCE OF ANY DISCREPANCIES BETWEEN THE EXISTING CONDITIONS AS INIDCATED ON DRAWINGS AND ACTUAL FIELD CONDITIONS AND RECEIVE WRITTEN INSTRUCTIONS PRIOR TO PROCEEDING.

A-101

DARTMOUTH COLLEGE TAPERED INSULATION

PROVIDE WOOD BLOCKING

EXISTING METAL DECKING

LOW WEST ROOF T.O. STEEL

WOOD CANT STRIP CONTINUOUS SEALANT

3 5/8" METAL STUDS WITH 1/2" CDX ALL SIDES

ROOFING MEMBRANE TURNED DOWN AT FACE OF BLOCKING & FASTENED

METAL FASCIA W/CLIP FASTENED TO BLOCKING

1/2" PROTECTION BOARD

CONTINUOUS SEALANT

P.T. WOOD BLOCKING

TAPERED INSULATION

3" 1' - 4"

SHEET METAL CONDUCTOR HEAD WOOD BLOCKING 9"

11"

1 5/8"

SHEET METAL ROOF EDGE

LOW WEST ROOF T.O. STEEL

1/2" PROTECTION BOARD TAPERED INSULATION ROOFING MEMBRANE TURNED DOWN AT FACE OF BLOCKING & FASTENED

EXISTING CONCRETE BOND BEAM

EXISTING WALL 12" CONC. BLOCK 2" RIGID INSUL. 1" AIR SPACE 4" FACE BRICK

EXISTING METAL DECK SHEET METAL DOWNSPOUT EXISTING WALL 12" CONC. BLOCK 2" RIGID INSUL. 1" AIR SPACE 4" FACE BRICK

SCALE: 1 1/2" = 1'-0"

1 1/2" 1' - 7"

1 1/2" Ø PAINTED STEEL RAILS AND POSTS

GALVANIZED STEEL ANGLED BRACE SHOWN DASHED

GALVANIZED STEEL COLUMN

2'1'- -6"0"CLEAR

3/8"

1' - 7 5/8"

1' - 6"

1 1/2"

3' - 5 5/8"

PLATFORM T.O. STEEL STEEL BEAM FOR RAISED PLATFORM

PLATFORM T.O. STEEL PRESSURE-SENSITIVE ELASTOFORM FLASHING

PRESSURE-SENSITIVE ELASTOFORM FLASHING

WOOD BLOCKING

METAL FASCIA W/CLIP FASTENED TO BLOCKING

STEEL BEAM

ROOFING MEMBRANE TURNED DOWN AT FACE OF BLOCKING & FASTENED

9 1/2"

1/2"

ROOFING MEMBRANE

STEEL COLUMN

FLASHING AT COLUMN PENETRATION

ROOF EDGE AT PENTHOUSE RAILING SCALE: 1 1/2" = 1'-0"

2' - 2" 21' - 0"

B.2 B.4

LP RD

A-501

D.1 D.2 D.3 MECHANICAL PENTHOUSE 1750 SF

D.4 D.6

HP (9 1/2" INSULATION)

D.7 F.2

REPLACE EXISTING DRAIN WITH NEW AND PLACE ADDITONAL DRAIN BESIDE IT PER CURRENT CODE. SEE PLUMBING DRAWINGS FOR MORE INFORMATION.

H.2

STAIRS ABOVE

H.6 A-301

H.7

H.8

DASHED LINE INDICATES MECHANICAL PLATFORM ABOVE

H.9 RD

J.2

J.6 HP

ROOF EDGE AT MECHANICAL PENTHOUSE UNIT SCALE: 1 1/2" = 1'-0"

LOW WEST ROOF T.O. STEEL

FULLY ADHERED MEMBRANE ROOFING WITH RIGID INSULATION ON EXISTING DECK.

L.8 L.9

COLOR = GREY

2' - 0"

And like I spoke about in the structures section, this instance of design was an excellent example of concurrent learning. About 6 months prior to this roof design, for the first time I was exposed to low-sloped roofs in Amir Mesgarʼs class. I incorporated my knowledge into this Dining Hall Facility since the existing roofs not only were getting replaced, but re-sloped to accommodate the new insulation and drainage design. Like in Amirʼs class, I made prominent the governing slope within each bay by showing a grey pattern in the drawing to the bottom right. The design had to follow accurate indicators of roof steel structure in order for it to properly function. For this, coordination was necessary between us at Bruner/Cott and our structural engineer, Folley Buhl & Associates. The details to the left are all drawn by me and designed by Michael Kyes. In drawing these, I learned about how to articulate roof connections and structural bracing in a coherent manner.

PRE-MANUFACTURED MECHANICAL PENTHOUSE

GALVANIZED STEEL STRUCTURAL ANGLE TO SUPPORT GRATING

DU CE GA

A.8

Like the previous spread, the floor plan and roof plans displayed in the upper right are shown in order to display the most updated version of the design. These two plans show both the roofing information per their indicated level and the floor plan information concurrently.

ROOF EDGE AT LOW WEST ROOF

SCALE: 1 1/2" = 1'-0"

GALVANIZED STEEL GRATING (MISC METALS)

HP (EXPANSION JOINT)

A.6

M.1 HP (9 1/2" INSULATION)

SCUPPER

4 A-501

SCUPPER

M.2 N

P 1-HOUR RATED EXTERIOR WALL AT WEST-SIDE

6/17/2010 5:47:35 PM

SCALE: 1 1/2" = 1'-0"

6 SCUPPER

1 A-401

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

TYPICAL HIGHPOINT BETWEEN ROOF-DRAIN PORTIONS

EXPANSION JOINT AT MEMBRANE ROOF

ROOF EDGE SCUPPER AT LOW WEST ROOF

4.8

HP (9 1/2" INSULATION)

SCALE: 1 1/2" = 1'-0"

SIDE OF SHEET METAL SCUPPER BEYOND

HP (9 1/2" INSULATION)

25' - 7"

ROOFING MEMBRANE ROOFING EXPANSION JOINT

renovation project | current roof plan

39' - 1

3 SCUPPER

81' - 11 3/4"

BUILT-UP CURB WITH ROOF INSULATION

5 37' - 7"

31' - 2 3/4"

ROOFING MEMBRANE

1 2' - 0 1/2"

23.7

23.8

24.2

26.2

H.3 BANQUETS. SEE MILLWORK SHEETS FOR MORE INFORMATION.

H.7

H.8

FULLY ADHERED MEMBRANE ROOFING WITH RIGID INSULATION ON EXISTING DECK.

21' - 0"

19' - 0 3/4"

25' - 7"

D.6

82' - 1 3/4"

HIGH POINT OF MEMBRANE ROOF

H.7

COOLING TOWER SEE MECH. DWG

H.9

1/8" = 1'-0"

J.2

DTD-251 Author

Dartmouth College

COLOR = WHITE

SECOND FLOOR AND LOW ROOFS PLAN SCALE: 1/8" = 1'-0"

M.1 4 A-501

M.2

PITCH

Date 6/17/10

Remarks Addendum #1

PROVIDE SNOW GUARDS THIS AREA EXISTING SLATE ROOF TO REMAIN A

6' - 11"

27' - 1"

8' - 11"

9.8

12.8

17.2

20' - 3"

8.1

8.4

8.7

8.8

9.2

24' - 11"

11.4

10' - 7"

15.3

14' - 0"

67' - 10 1/2"

18.2

18.4

16' - 0"

18.5 18.6 18.8 27' - 1"

9' - 1"

Class of 1953 Commons

Hanover, NH .

7.7

9.8

12.8

17.2 PROJECT NORTH

NON-MASONRY PARTITION

ATTIC, MECHANICAL PENTHOUSE, AND MID-ROOF PLAN SCALE: 1/8" = 1'-0"

SLATE TO REMAIN PATCH ROOF OPENING WITH STRUCTURE AND SLATE ROOFING TO MATCH ADJACENT

SECOND FLOOR AND LOW ROOF PLAN

SLOPE

FULLY ADHERED MEMBRANE ROOFING WITH RIGID INSULATION ON EXISTING DECK. COLOR = WHITE

2. REFER TO G-001 FOR SYMBOLS AND ABBREVIATIONS.

7. ALL NEW ROOF INSULATION SHALL BE TAPERED TO DRAIN LOCATIONS. 8. ALL WORK IS NEW UNLESS OTHERWISE NOTED AS EXISTING.

SLATE TO REMAIN

A-102

. SLATE TO REMAIN

SLATE TO REMAIN .

3. CONTRACTOR TO ALLOW 10% REPLACEMENT OF ROOF SHEATHING.

6. PROVIDE ADEQUATE BLOCKING AND BACKUP FOR INSTALLATION OF ALL EQUIPMENT.

SLOPE

FULLY ADHERED MEMBRANE ROOFING AT NEW ELEVATOR OVERIDE PENTHOUSE

1. CONTRACTOR SHALL VERIFY ALL EXISTING CONDITIONS AND DIMENSIONS, AND WILL NOTIFY ARCHITECT AT ONCE OF ANY DISCREPANCIES BETWEEN THE EXISTING CONDITIONS AS INDICATED ON DRAWINGS AND ACTUAL FIELD CONDITIONS AND RECEIVE WRITTEN INSTRUCTIONS PRIOR TO PROCEEDING.

4. DIMENSIONS GIVEN ARE TO FACE TO FACE OF FINISH OR STRUCTURAL GRID UNLESS OTHERWISE NOTED.

SLATE TO REMAIN

SUMMER 2010 LIMIT OF WORK

5. MECHANICAL EQUIPMENT IS SHOWN FOR REFERENCE ONLY. SEE MEP DRAWINGS FOR MORE INFORMATION.

10' - 2 1/2"

21.2

123' - 5"

6.4

GENERAL NOTES - ROOF PLANS

12' - 0"

Author

17' - 1"

1' - 6"

MASONRY PARTITION

7' - 3 7/8"

A-401

7.8

DTD-251

Dartmouth College

4' - 4"

C D

D.8 E F F.8

88' - 1"

16' - 0"

11' - 6 5/8"

6' - 0 1/2"

A-501

EXISTING WALLS AND PARTITIONS TO REMAIN

14' - 0"

1/8" = 1'-0"

LEGEND - PLAN

A-501 10' - 7"

SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE FOR CONSTRUCTION

7.6 21.2

1' - 1 1/8"

18.8

2' - 10 3/4"

18.5 18.6

SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE FOR CONSTRUCTION -

GENERAL NOTES - ROOF PLANS 1. CONTRACTOR SHALL VERIFY ALL EXISTING CONDITIONS AND DIMENSIONS, AND WILL NOTIFY ARCHITECT AT ONCE OF ANY DISCREPANCIES BETWEEN THE EXISTING CONDITIONS AS INDICATED ON DRAWINGS AND ACTUAL FIELD CONDITIONS AND RECEIVE WRITTEN INSTRUCTIONS PRIOR TO PROCEEDING. 2. REFER TO G-001 FOR SYMBOLS AND ABBREVIATIONS. 3. CONTRACTOR TO ALLOW 10% REPLACEMENT OF ROOF SHEATHING. 4. DIMENSIONS GIVEN ARE TO FACE TO FACE OF FINISH OR STRUCTURAL GRID UNLESS OTHERWISE NOTED.

LEGEND - ROOFING EXTENT OF NEW ROOFING

A-501

NEW ROOF STRUCTURE. SEE STRUCTURAL DRAWINGS FOR MORE INFORMATION.

J.3

MECHANICAL EQUIPMENT SEE MECHANICAL DRAWINGS FOR MORE INFORMATION. SLATE TO REMAIN

5. MECHANICAL EQUIPMENT IS SHOWN FOR REFERENCE ONLY. SEE MEP DRAWINGS FOR MORE INFORMATION. 6. PROVIDE ADEQUATE BLOCKING AND BACKUP FOR INSTALLATION OF ALL EQUIPMENT.

SLATE TO REMAIN .

PROVIDE SNOW GUARDS THIS AREA

SUMMER 2010 LIMIT OF WORK

7. ALL NEW ROOF INSULATION SHALL BE TAPERED TO DRAIN LOCATIONS.

J.8

8. ALL WORK IS NEW UNLESS OTHERWISE NOTED AS EXISTING.

L M

ATTIC FLOOR, MID ROOF, AND HIGH ROOF PLAN

M.2 2' - 4 1/2"

18.2 18.4

26 26.2

SLOPE

8' - 10 1/4"

15.3

JUNE 17, 2010

Drawn By

10' - 10 7/8"

11.4

Date

SLOPE

NEW ROOF STRUCTURE. SEE STRUCTURAL DRAWINGS FOR MORE INFORMATION.

6/17/2010 5:47:41 PM

9.2

REPLACE EXISTING DRAIN AND PROVIDE ADJACENT SECONDARY DRAIN. SEE PLUMBING DRAWINGS FOR MORE INFORMATION.

Project Number

SCUPPER

A-302

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

Rev.

Scale

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

6/17/2010 5:47:35 PM

8.8

24' - 11"

7.7

BUILDING PERMIT #1 SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE

SLOPE

LEGEND - ROOFING

123' - 3"

6.4

J.8 K

SLOPE

SLATE TO REMAIN

SEE SECOND FLOOR PLAN FOR MORE INFORMATION.

TH3

PROVIDE SKYLIGHT IN EXISTING OPENING

EXISTING SLATE ROOFING AT DORMERS TO REMAIN AND WALL.

SEE SECOND FLOOR PLAN FOR MORE INFORMATION.

MECHANICAL EQUIPMENT SEE MECHANICAL DRAWINGS FOR MORE INFORMATION.

A-401

100% DESIGN DEVELOPMENT

05-07-10

J.3

PROJECT NORTH

EXTENT OF NEW ROOFING

COLOR = GREY

SCUPPER

EARLY RELEASE PACKAGE

04-30-10

5' - 11 3/4"

REPLACE EXISTING DRAIN WITH NEW AND PLACE ADDITONAL DRAIN BESIDE IT PER CURRENT CODE. SEE PLUMBING DRAWINGS FOR MORE INFORMATION.

FULLY ADHERED MEMBRANE ROOFING WITH RIGID INSULATION ON EXISTING DECK.

A-401

8' - 8 1/4"

INFILL ROOFING TO MATCH EXISTING

REPLACE EXISTING DRAIN WITH NEW AND PLACE ADDITONAL DRAIN BESIDE IT PER CURRENT CODE. SEE PLUMBING DRAWINGS FOR MORE INFORMATION.

SCUPPER

20' - 3"

REPLACE EXISTING DRAIN AND PROVIDE ADJACENT SECONDARY DRAIN. SEE PLUMBING DRAWINGS FOR MORE INFORMATION.

J.5

PITCH

18' - 0" LP RD

1' - 6"

100% SCHEMATIC DESIGN

04-20-10

8.7

MID RIDGE

SCUPPER

6 A-602

8.4

02-23-10

SKYLIGHT

8.1

FULLY ADHERED MEMBRANE ROOFING WITH RIGID INSULATION ON EXISTING DECK.

GALVANIZED STEEL GUARDRAIL

INFILL ROOFING TO MATCH EXISTING

7.8

PREVIOUS RELEASES

A-501

GALVANIZED STEEL STEPS

PARAPET AT METAL CLAD WALL

7.6

G H

FULLY ADHERED MEMBRANE ROOFING.

Class of 1953 Commons

E F

GENERATOR SEE MECH. DWG

J.6

HIGH POINT OF MEMBRANE ROOF

REPLACE EXISTING DRAIN AND PROVIDE ADJACENT SECONDARY DRAIN. SEE PLUMBING DRAWINGS FOR MORE INFORMATION.

H.4

GALVANIZED STEEL GRATING PLATFORM DECK

J.4

L.8

ATTIC

06-02-10

REFRIGERATION SYSTEM SEE MECH. DWG

L.9

D UP

H.8 JUNE 17, 2010

ENTRANCE TO MECHANICAL ATTIC

WALKWAY PADS

F.8

5 DN

D.8

E.8

P 1-HOUR RATED EXTERIOR WALL AT WEST-SIDE

EXISTING COPPER ROOFING TO REMAIN .

COLOR = WHITE

Hanover, NH WALKWAY PADS

PROVIDE SNOW GUARDS THIS AREA

6' - 0 3/4"

STAIR-3 208

4' - 4"

18' - 0 1/4"

M.2

6' - 0 1/2"

DIVERTER

MECHANICAL DUCTWORK - SEE HVAC DWGS

F.2

H.6

Drawn By

2 A-602

2 A-401

6' - 1 1/2"

2' - 0"

J.8 K

STOR 204A

A-301

Scale

EQ 1

Date

BANQUETS. SEE MILLWORK SHEETS FOR MORE INFORMATION.

30 10' - 2 1/2"

SCUPPER

29 12' - 0"

D.7

LOW SLOPED CEILING. APPLY SPRAY FOAM INSULATION WITHIN RAFTERS AND COVER WITH GWB.

26.2

SLOPE

J.3

STOR 204B

STAIR 2

FULLY ADHERED MEMBRANE ROOFING WITH RIGID INSULATION ON PITCHED EXISTING DECK.

MECHANICAL PENTHOUSE UNIT

H.2

Project Number PRIVATE DINING 204

COLOR = GREY

A-501

24.2

D.3

11 OPEN TO BELOW

J.5

DIVERTER

EXISTING STANDING SEAM METAL ROOFING TO REMAIN

D.4

COUNTER SEE MILLWORK SHEETS FOR MORE INFORMATION.

B.4

D.2

TYP.

F.8

DIVERTER

39' - 0 1/8"

B.2

D.1

Remarks

A-501

47' - 0"

M.1 SCUPPER

UPPER EAST DINING 201

WEST DINING 205

WEST DINING 209

COLOR = GREY

HP (9 1/2" INSULATION)

5 A-401

8' - 2"

L.8

5 A-904

7' - 10"

LP (3" INSULATION) NEW SKYLIGHT IN EXISTING OPENING

6' - 8 1/2"

SLOPED CEILING 1

OPEN TO SERVERY BELOW HP

FULLY ADHERED MEMBRANE ROOFING WITH RIGID INSULATION ON EXISTING DECK.

(1-HOUR RATED ROOM)

25' - 9 3/8"

23.8

J.6

23.7

A-501

Date

STAIR-10: - RUBBER TREADS AND RISERS OVER EXISTING SUBSTRATE - STAINLESS STEEL CABLE WIRE GUARD SYSTEM, REFER TO 2/A-603 - WOOD WALL MOUNTED HANDRAIL

16' - 2"

SLOPE

J.2

HP (9 1/2" INSULATION)

TYP. OF (12)

ALLUMINUM STOREFRONT SYSTEM WITH STRUCTURAL GLAZING.

11' - 9"

DASHED LINE INDICATES MECHANICAL PLATFORM ABOVE

H.9

Rev.

31' - 2 3/4"

A-301

ELECTRICAL IDF 205C 205A

22.6

2' - 5"

A-401

D.8

14 A-904

REPLACE EXISTING DRAIN WITH NEW AND PLACE ADDITONAL DRAIN BESIDE IT PER CURRENT CODE. SEE PLUMBING DRAWINGS FOR MORE INFORMATION.

STAIRS ABOVE

6' - 9"

25' - 7" 81' - 11 3/4"

H.2

DISH DROP 205B

4 A-401

A.8

A-401

TYP.

13' - 5 1/8"

DN MECHANICAL 206

1 NEW SKYLIGHT IN EXISTING OPENING

H.6

18' - 6"

HP (9 1/2" INSULATION)

REPLACE EXISTING DRAIN WITH NEW AND PLACE ADDITONAL DRAIN BESIDE IT PER CURRENT CODE. SEE PLUMBING DRAWINGS FOR MORE INFORMATION.

11' - 0"

BANQUETS. SEE MILLWORK SHEETS. ELEVATOR #1 EL-1

3 A-401

SEE SECOND FLOOR PLAN FOR MORE INFORMATION. WOMEN'S 202

LOWER EAST DINING 202A

DUCTWORK SUPPORTS, TYPICAL

22.3

A A.6

12' - 6"

STAIR 1 001

13' - 5 1/8"

D.6

F.2

31' - 2 3/4"

WATER FOUNTAIN BALCONY 3 201A A-601

4' - 7 1/2"

1' - 9"

MEN'S 203

INFILL DOOR OPENING MECHANICAL DUCTWORK - SEE HVAC DWGS

MECHANICAL PENTHOUSE 1750 SF

D.7

PLATFORM SET BACK FROM EXISTING LOWER ROOF LINE BELOW.

2' - 0"

42" RAIL RD

D.3 D.4

BUILDING PERMIT #1 SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE

5' - 0" LP

D.2

L.9

HATCH INDICATES HALF OF GABLED ROOF IS INTERIOR SPACE ON SECOND FLOOR TO BE USED AS A MECHANICAL DUCT CORRIDOR.

OPEN BELOW TO NORTH DINING

MECHANICAL 207 LP

EARLY RELEASE PACKAGE 100% DESIGN DEVELOPMENT

05-07-10

86' - 2 1/2"

2' - 2" 21' - 0"

B.2

A-501

04-20-10

12' - 0"

13' - 7 1/2"

4' - 7 1/2"

DUCT PENETRATION AT CENTER OF EXISTING GABLE FACADE

B.4

100% SCHEMATIC DESIGN

04-30-10

06-02-10

HP (EXPANSION JOINT)

21.8

6' - 10 1/2"

22.6

21.3 21.4

19' - 0 3/4"

22.3

12' - 0"

21.8

A.6

A-401

30' - 3 1/8"

19.2 19.3

88' - 1"

21.3 21.4

17' - 6 3/4"

18.3

32' - 7"

19 19.2 19.3

18.3

D.1

44' - 9 3/8"

SHINGLES TO REMAIN

SLOPE

HP (9 1/2" INSULATION)

A.8

26' - 2 1/2"

8.9

2' - 0"

8.6

38' - 0 1/8"

8.3

SLOPE

8.9

8.6

8.2

24' - 7 7/8"

8.3

34' - 6 7/8"

7.5

2' - 0"

8.2

02-23-10 STAIR-1: - RUBBER TREADS AND RISERS OVER EXISTING SUBSTRATE - STAINLESS STEEL CABLE GUARD RAIL SYSTEM, REFER TO 2/A-603 - WOOD WALL MOUNTED RAIL

SCUPPER

13' - 7"

2' - 0"

7.5

2 A-401

4.8

16' - 8 1/2"

5 A-401

39' - 10"

2' - 0 1/4"

4.8

SCUPPER

2 A-501

PREVIOUS RELEASES

17' - 6 3/4"

4 A-401

4' - 2"

32' - 7"

3 A-401

37' - 7"

30 10' - 2 1/2"

2' - 0"

29 12' - 0"

6' - 7"

28 25' - 9 3/8"

7' - 6"

25 30' - 3 1/8"

7' - 8 3/4"

22 44' - 9 3/8"

20' - 9"

17 26' - 2 1/2"

1' - 5 1/4"

34' - 6 7/8"

2' - 0"

8 13' - 7"

2' - 0"

39' - 10"

44' - 1 3/4"

37' - 7"

played pdated roofing forma-

ned by iculate nner.

282' - 10 3/4" 2' - 0 1/2"

281' - 0 1/4"

t roof plan

ance of bout 6 xposed ed my g roofs modate class, I howing design n order essary Folley

A-302

1 2' - 0 1/2"

PROJECT NORTH

HIGH ROOF PLAN SCALE: 1/8" = 1'-0"

A-103

11.7

GENERAL NOTES - FLOOR PLANS

LEGEND - PLAN

1. REFER TO G-001 FOR SYMBOLS AND ABBREVIATIONS.

EXISTING WALLS AND PARTITIONS TO REMAIN

2. CONTRACTOR TO ALLOW 25% REPLACEMENT OF ROOF SHEATHING. 3. VERIFY ALL EXISTING CONDITIONS IN FIELD AND REPORT ANY DISCREPANCIES TO THE ARCHITECT IMMEDIATELY.

MASONRY PARTITION

4. DIMENSIONS GIVEN ARE TO FACE TO FACE OF FINISH OR STRUCTURAL GRID UNLESS OTHERWISE NOTED. 5. KITCHEN EQUIPMENT IS SHOWN FOR REFERENCE ONLY. SEE QF DRAWINGS FOR MORE INFORMATION.

NON-MASONRY PARTITION

6. PROVIDE ADEQUATE BLOCKING AND BACKUP FOR INSTALLATION OF ALL EQUIPMENT. 7. ALL NEW ROOF INULATION SHALL BE TAPERED TO EXISTING DRAIN LOCATIONS. 8. ALL EXISTING PARTITIONS NOT FURRED OUT MAY REQUIRE PLASTER PATCHING. CONTRACTOR SHALL CARRY 25% PATCHING. 9. ALL WORK IS NEW UNLESS OTHERWISE NOTED AS EXISTING. 10. CONTRACTOR SHALL VERIFY ALL EXISTING CONDITIONS AND DIMENSIONS, AND WILL NOTIFY ARCHITECT AT ONCE OF ANY DISCREPANCIES BETWEEN THE EXISTING CONDITIONS AS INIDCATED ON DRAWINGS AND ACTUAL FIELD CONDITIONS AND RECEIVE WRITTEN INSTRUCTIONS PRIOR TO PROCEEDING.

DARTMOUTH COLLEGE

PREVIOUS RELEASES

renovation project | bathroom design

EARLY RELEASE PACKAGE

8.9

Rev.

MEN'S 203

Date

Remarks

2 5B

WOMEN 039

A-904

1 A-904

6' - 3 1/4"

MEN 040

WOMEN'S 202

STAIR 1 001

A.6 B PAINTED GWB PT-02

7.5

8' - 6" 3' - 6"

12' - 0"

WALL TO WALL MIRROR

7' - 0"

SS-01 SOLID SURFACE INTEGRAL SINK/COUNTERTOP

8.2

8.3

8.6

BASEMENT BATHROOMS - ENLARGED PLAN

SCALE: 1/4" = 1'-0"

APRIL 30, 2010

Date

SECOND FLOOR BATHROOMS - ENLARGED PLAN

Scale

SCALE: 1/4" = 1'-0"

As indicated

Project Number

2' - 7"

3' - 6"

2' - 6"

Drawn By

12.8

TYPICAL BATH - WEST ELEVATION SCALE:

15.3

18.2

26.2

CT-04 WALL TILE BASE

1/4" = 1'-0"

CORRIDOR 064

13' - 5 1/8"

Hanover, NH

MENS 106

PAINTED GWB PT-02

10 A-703

1 A-904

TOILET PARTITION

SS-01 SOLID SURFACE INTEGRAL SINK/COUNTERTOP

A-904

MENS 3 066

WOMENS 8 107

WOMENS 4 063 1

TYPICAL BATH - NORTH ELEVATION SCALE:

1/4" = 1'-0"

SOCIAL SPACE BATHROOMS - ENLARGED PLAN

SCALE: 1/4" = 1'-0"

FIRST FLOOR BATHROOMS - ENLARGED PLAN SCALE: 1/4" = 1'-0"

CT-04 WALL TILE 12' - 0"

100% DESIGN DEVELOPMENT 25

26.2

TYPICAL BATH - EAST ELEVATION SCALE:

1/4" = 1'-0" 1

MENS 008

12' - 0"

TOILET PARTITION

A-904

1 UNISEX 010

PAINTED GWB PT-02

WOMENS 2 011

1 A-904

ENLARGED PLANS BATHROOMS

826.2 10 SS-01 SOLID SURFACE INTEGRAL SINK/COUNTERTOP

CT-01 FLOOR TILE BASE

CT-04 WALL TILE BASE

Author

Dartmouth College Class of 1953 Commons

1 1

DDT-251

CT-04 WALL TILE

6' - 6"

5/5/2010 5:51:57 PM IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

100% SCHEMATIC DESIGN

04-20-10

16' - 2"

CT-01 FLOOR TILE BASE

The DNA of a bathroom became clarified during the many redesigns in which I was a part of. Once again, the designs of these individual bathrooms were driven by occupancy and code requirements. I became familiar with ADAʼs 5ʼ diameter barrier free zone, the door swing implications, the minimum toilet stall dimensions, the locations of grab bars, and the 18” door pull zone. Besides the code, I understood what to do about leftover space, and why to line up tile patterns to bathroom fixtures. And lastly I learned about wet walls and plumbing types for wall mounted or floor mounted toilets. All of these lessons increased my adeptness for bathroom design.

8 15' - 7 1/2"

12' - 0"

Through the course of the project, the bathrooms have incurred drastic changes both in their locations in the building and their individual layouts. Until Michael Kyes introduced his design option for stacked bathrooms in the northeast part of the building (his sketches are shown above), bathrooms were shuffled around and placed into the most peculiar locations. As the design stands today, the bathrooms exist in the several spaces highlighted on the basement and first floor plans a few spreads previously. In this spread I show a procession from oldest design to latest from left to right. I chose not to include the finalized bathroom construction drawing so that the notations and process take precedent.

02-23-10

TYPICAL BATH - SOUTH ELEVATION SCALE:

1/4" = 1'-0"

BASEMENT BATHROOMS - ENLARGED PLAN SCALE: 1/4" = 1'-0"

Basement - Main Bathrooms SCALE: 1/4" = 1'-0"

A-703

LEGEND - PLAN EXISTING WALLS AND PARTITIONS TO REMAIN

REPANCIES TO THE ARCHITECT IMMEDIATELY.

MASONRY PARTITION

RAL GRID UNLESS OTHERWISE NOTED.

AWINGS FOR MORE INFORMATION.

NON-MASONRY PARTITION

F ALL EQUIPMENT.

LOCATIONS.

R PATCHING. CONTRACTOR SHALL CARRY 25% PATCHING.

NSIONS, AND WILL NOTIFY ARCHITECT AT ONCE OF ANY ON DRAWINGS AND ACTUAL FIELD CONDITIONS AND RECEIVE

PREVIOUS RELEASES

02-23-10

100% SCHEMATIC DESIGN

04-20-10

EARLY RELEASE PACKAGE

Rev.

EN'S 203

Date

Remarks

2 5B 1 A-904

1 A-904

WOMEN'S 202

STAIR 1 001

APRIL 30, 2010

Date

OR BATHROOMS - ENLARGED PLAN

Scale

As indicated

Project Number Drawn By

26.2

DDT-251 Author

Dartmouth College Class of 1953 Commons Hanover, NH

MENS 106 10

-703

1 A-904

WOMENS 8 107

BATHROOMS - ENLARGED PLAN 100% DESIGN DEVELOPMENT 26

26.2

ENS 2

n Bathrooms

MENS 008

1 A-904

ENLARGED PLANS BATHROOMS

A-703 11.8

DARTMOUTH COLL renovation project | kitchen layout

Coordination: Since the back of house is a crucial part of the dining hallʼs functionality, Bruner/Cott opted to hire an expert foodservice consultant, Ricca Newmark Design. From Schematic Design on, coordination with them played a large part in how the basement and first floors were laid out. It was up to us to relay design intent to them while they notified us if specific areas were unable to accommodate our design. Their expert knowledge of kitchen infrastructure and sizing was essential to our process. In the hard-line drawings to the right, the grayed-out lines are what Ricca Newmark had given us as their Revit model. When lines overlapped for whatever reason, it was up to me or Mark Rogers to coordinate the resolution. There was occasionally a grey area between who “owned” what in the overall scope of work. For example, certain walls were provided in our model, while cooler and freezer walls were provided by Ricca Newmark. What I Learned: After following Ricca Newmarkʼs and Scott Chisholmʼs lead, I was able to learn about an efficient and workable kitchen layout for which a dining facility of this size can provide for 1,000 diners. I understood the necessity for floor drainage in this space. I found out to what degree Kosher foods needed to be prepared separately from other foods. Lastly I learned that this type of kitchen, as with many kitchens need a large amount of both counter space and storage space.

GENERAL NOTES - FLOOR PLANS

EXISTING WALLS AND PARTITIONS TO REMAIN

2. CONTRACTOR TO ALLOW 25% REPLACEMENT OF ROOF SHEATHING. 3. VERIFY ALL EXISTING CONDITIONS IN FIELD AND REPORT ANY DISCREPANCIES TO THE ARCHITECT IMMEDIATELY.

H COLLEGE

MASONRY PARTITION

4. DIMENSIONS GIVEN ARE TO FACE TO FACE OF FINISH OR STRUCTURAL GRID UNLESS OTHERWISE NOTED. 5. KITCHEN EQUIPMENT IS SHOWN FOR REFERENCE ONLY. SEE QF DRAWINGS FOR MORE INFORMATION.

NON-MASONRY PARTITION

9.8

12.8

SERVERY 113

18.5

18.4

2 2

COOLER 114E

8.8

SCOTT JANDREAU

NEW SUPERVISOR'S DESK

chen layout

NEW BUILT-IN CREDENZA

DAY STORAGE 114C 1

MARK BROCAR

BAKERY 114

FREEZER 114D

4' - 10"

4.8

22' - 9"

7' - 9 1/2"

111B

SCALE: 1/4" = 1'-0"

Rev.

9' - 2"

Remarks

15' - 9 1/2"

12' - 10" 17' - 2 7/8" 1

E.8 F

4' - 1"

A-804

125 1' - 2 5/8"

121 1' - 3 5/8" 1

2' - 0 1/2"

4 7/8"

2' - 10 1/4"

10' - 0 3/8"

10' - 0 1/4"

4' - 0"

1' - 10 1/2"

4 7/8"

8.2

Drawn By

9 8.3

8.6

DTD-251 Author

Dartmouth College

H.3 H.4

Class of 1953 Commons

5' - 3 3/4"

1' - 2 5/8"

As indicated

Project Number

124

D.7

7.5

SECURE KOSHER PREP AREA

GRILL AREA 113B

7.8

JUNE 17, 2010

Scale

4 7/8"

D.2

D.6

Date

5' - 9 3/8"

D.4

D.1

KOSHER SERVERY 126

17' - 1 1/2"

D.3 2

4 7/8"

OFFICE 124 12 A-502

4' - 0"

9' - 8 1/2"

Hanover, NH

H.8

SERVERY 113

15' - 9 3/4"

F.2

4 7/8"

81' - 9 3/4"

J.4

4 7/8"

J.5

ALIGN

5' - 0"

4' - 2 3/8"

H.4

H.7 120

SERVERY - ENLARGED PLAN SCALE: 1/4" = 1'-0"

1' - 2 3/8"

11 A-502

H.3

2 A-804

TRADITIONAL 121

8' - 3"

H.2

H.6

Date

8.9

4 7/8"

21' - 0"

A.8

25' - 7"

5B 5

-out lines are model. When o me or Mark occasionally a erall scope of n our model, ca Newmark.

BUILDING PERMIT #1 SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE

114B

BAKERY - ENLARGED PLAN

7 13 A-502

100% DESIGN DEVELOPMENT

05-07-10

1' - 6 1/2"

2' - 0"

EARLY RELEASE PACKAGE

04-30-10

SOUTH DINING 111

100% SCHEMATIC DESIGN

04-20-10

02-23-10

06-02-10

N.6

2' - 0 1/2"

PREVIOUS RELEASES M.8

SUPERVISOR 109B

114C

CORRIDOR 114A 1

M.2

FAWNA WILSON

ng hall始s funcervice consulgn on, coordiasement and design intent ere unable to ge of kitchen ss.

19.2

19.3

21.3

21.4

21.8

22.3 NORTH DINING 130

DRY STORAGE 120

2' - 6 1/2"

22.6

23.7 23.8

24.2

SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE FOR CONSTRUCTION

H.9

130B ALIGN

J.2

CORRIDOR 109A

F.8

J.4 31' - 2 3/4"

6/17/2010 5:50:52 PM

6 HALLAL 113A

DISHROOM 110

10 A-502

110A

KITCHEN STORAGE 117

1 115

L.8

REPLACE EXISTING FREIGHT ELEVATOR ALIGN

DN EXISTING STAIR TO REMAIN

J 2

ENLARGED PLANS - FIRST FLOOR SERVERY

1 110 1

5B 1

2' - 0"

L.9

SERVERY 113

K IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

m始s lead, I was en layout for 000 diners. I pace. I found epared sepathis type of ount of both

LEGEND - PLAN

1. REFER TO G-001 FOR SYMBOLS AND ABBREVIATIONS.

J.3

A-702

SERVERY - ENLARGED PLAN SCALE: 1/4" = 1'-0"

DISH ROOM - ENLARGED PLAN

CORRIDOR 109

SCALE: 1/4" = 1'-0"

11.9

What is Shown:

Similar to bathroom and k yet another programatic e consideration. The colo various uses and densities of these drawings are in pl first order of design in a s

renovation project | office layout

DARTMOUTH COLLEGE OFFICE LAYOUT

FEBRUARY 05, 2010

OFFICE AREA DINING CARD ACCESS TOTAL

Dock Employees 132 SF

Entry

2357 SQ FT 419 SQ FT 2776 SQ FT

Beth DiFrancesco 144 SF

OFFICE 176 SF

Cooler

CARD OFFIC ES S UITE 126 SF

BAS EME NT FL OOR PL AN

SCALE: 1/4" = 1'-0"

Beth Rosenberger OFFICE 117 SF Office 132 SF

D.8

Todd Tattershall

Linda Hoover

Scott Jandreau

Fawna Wilson

Dining Offic es Suite 740 SF

4 Kelly Mousley 154 SF

BAS EME NT FL OOR PL AN

BASEMENT DI SCALE: 1/4" = 1'-0"

SCALE: 1/4" = 1'-0"

Office 132 SF

David Newlove 140 SF

Randy Baker

Chris Magliola

Mark Broc ar

Larry Carr

Freezer Carmen Allen 100 SF

Jan Perry 266 SF

BAS EME NT FL OOR PL AN SCALE: 1/4" = 1'-0"

Cooler

Sm. Conf. 119 SF

Don Reed 129 SF

Robert Lester Matt Trombly

Don Blume 133 SF

KITCHENETT

Office 129 SF Dry Jeff Quigley 141 SF

Kris Fletcher 169 SF B

SEC ON D FL OO R PL AN

SCALE: 1/4" = 1'-0"

FIRST FL OOR PLAN SCALE: 1/4" = 1'-0"

BAS EME NT FL OOR PL AN SCALE: 1/4" = 1'-0"

3 5

6/25/2010 2:22:36 PM

2 SHARED OFFICES 2ND FLOOR PLAN

T H AY E R H A L L D I N I N G S T U D Y __DARTMOUTH

IST FLOOR PLAN

COLLEGE

BASEMENT PLAN

CARD ACCESS OFFICES N

12' - 10 5/8"

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

10 PRIVATE OFFICES 7 WORK STATIONS

D.8 E

BASEMENT DINING SCALE: 1/4" = 1'-0"

GENERAL NOTES - FLOOR PLANS

3. VERIFY ALL EXISTING CONDITIONS IN FIELD AND REPORT ANY DISCREPANCIES TO THE ARCHITECT IMMEDIATELY.

Lessons I Learned:

5. KITCHEN EQUIPMENT IS SHOWN FOR REFERENCE ONLY. SEE QF DRAWINGS FOR MORE INFORMATION.

NON-MASONRY PARTITION

6. PROVIDE ADEQUATE BLOCKING AND BACKUP FOR INSTALLATION OF ALL EQUIPMENT. WOOD BUMPER RAIL

7. ALL NEW ROOF INULATION SHALL BE TAPERED TO EXISTING DRAIN LOCATIONS. 8. ALL EXISTING PARTITIONS NOT FURRED OUT MAY REQUIRE PLASTER PATCHING. CONTRACTOR SHALL CARRY 25% PATCHING.

Unfortunately our Revit model was not drawn entirely from field dimensions and many of the areas considered for office space use were depicted incorrectly for the entirety of the design. The line diagram with dimensions shows our very recent visit to Dartmouth in which we verified the existing space layout for the largest proposed office space. After drawing this, I overlaid the 2-dimensional lines on top of the basement plan and immediately understood the discrepancies.

Similar to bathroom and kitchen layouts, offices are yet another programatic element that needed design consideration. The colored document shows the various uses and densities for the office spaces. All of these drawings are in plan view because that is the first order of design in a spacial layout. 29

12' - 7 1/2"

9. ALL WORK IS NEW UNLESS OTHERWISE NOTED AS EXISTING.

Despite his best efforts, the dining operations director was changing the staff quantities and his preferences for certain spaces within the building. Some office staff were given more preferential and optimal areas, while others were assigned to areas with little to no natural light. The current office workers occasionally needed more space due to their collections of bookshelves, desks or other bulky objects. All of these factors were not concrete, but made for a more prescribed design.

10. CONTRACTOR SHALL VERIFY ALL EXISTING CONDITIONS AND DIMENSIONS, AND WILL NOTIFY ARCHITECT AT ONCE OF ANY DISCREPANCIES BETWEEN THE EXISTING CONDITIONS AS INIDCATED ON DRAWINGS AND ACTUAL FIELD CONDITIONS AND RECEIVE WRITTEN INSTRUCTIONS PRIOR TO PROCEEDING.

SUMMER 2010 LIMIT OF WORK

PREVIOUS RELEASES

7' - 4 1/2"

6 6

J.5

INFILL WINDOW TO MATCH EXISTING CONDITIONS

058B

ENTRY 058 2

13' - 1 1/4"

A B MAIN WATER 056

OFFICE 057

A.8

058A

057

EXISTING WALK-IN COOLER TO BE MODIFIED

053E

M.1

D.6

053D

D.7

6' - 0"

REBUILD CONCRETE PIT WHERE NECESSARY

TODD TATTERSHALL

LINDA HOOVER

CHRIS MAGLIOLA

RECEPTIONIST

KELLY MOUSLEY

NEW INTERIOR GLAZED PARTITION SYSTEM

DINING OFFICES SUITE 015

CORNER GUARD - REFER TO K.E.C. DRWGS FOR MORE INFORMATION 053A

NEW ELECTRIC PANELS. SEE ELECTRICAL DRAWINGS FOR MORE INFORMATION. CORRIDOR 041

Class of 1953 Commons Hanover, NH

OFFICE 012

7 A-502

INFILL HOLE IN MASONRY WALL

H.3

H.6

16' - 10 7/8"

Dartmouth College

H.2

DON BLUME

054

Author

053C

10' - 0"

KITCHENETTE

DTD-251

81' - 9 3/4"

COPIER

WOOD BUMPER RAIL

F.2

20' - 3 7/8"

1' - 0"

6" TYP.

LOADING DOCK 053 25' - 7"

9 12 A-803 10

2' - 0"

D.4

SCALE: 1/4" = 1'-0"

DOCK EMPLOYEES OFFICE 054

8' - 0"

SCALE: 1/4" = 1'-0"

Drawn By

DOCK LEVELER TO BE REPLACED

As indicated

Project Number

D.2

N 00 CARD OFFICES - ENLARGED

JUNE 17, 2010

Scale 9

10' - 0"

BASEMENT DINING OFFICE SUITE - ENLARGED PLAN

Date

HOLLOW METAL FRAMED STOREFRONT WINDOW 8'-0" W x 4'-0" H. 36" A.F.F.

PAINT ALL EXPOSED STEEL COLUMNS, TYPICAL

17.2

12' - 0"

M.2 D.1

042C

FREEZER WALL TO BE MOVED TO ACCOMODATE NEW CMU WALLS

8 A-502

4' - 6"

Remarks Addendum #1 Addendum #2

056

B 26' - 9 3/8"

D.8

Date 6/17/10 6/25/10

INFILL WINDOW TO MATCH EXISTING CONDITIONS

11"

10' - 4 1/2"

DON REED

21' - 0"

12' - 10"

Rev.

NEW INTERIOR GLAZED PARTITION SYSTEM

OFFICE 005

BETH DIFRANCESCO

EXISTING PARTIAL HEIGHT WALL

4.8

J.8

4 36' - 0 1/2"

10' - 3"

005

BUILDING PERMIT #1 SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE

10' - 2"

JAN PERRY

MECHANICAL SHAFTS

KOSHER STORAGE 070

100% DESIGN DEVELOPMENT

05-07-10

2' - 0"

070

CARD OFFICE SUITE 004 NEW

9 A-502

NEW INTERIOR GLAZED PARTITION SYSTEM 003

004

2' - 0 1/2"

EARLY RELEASE PACKAGE

04-30-10

13' - 9"

OFFICE 003

100% SCHEMATIC DESIGN

04-20-10

06-02-10

12' - 0"

DAVE NEWLOVE

02-23-10

053B

H.7

012

052

1 013

SUPPLY ROOM 013

B 2

050

H.9

7' - 4 3/8" 1

COMPOST COOLER 050

J.2 EL-04

KRIS FLETCHER

LARRY CARR 2

CORRIDOR 009

RAMP UP

4' - 6"

8 ELEC. ROOM 048A

12' - 10 5/8"

049

2 017

EL-03

2' - 6"

ELEC. SWITCHBD. ROOM 017

D.8

ELEVATOR 2 EL-2

ELEV. MACHINE ROOM 049

049A

2 009

STORAGE 029A

14" CONCRETE WALL - REFER TO STRUCTURAL DRWGS FOR DETAILS

016

3' - 0"

048B

047B

4' - 0"

4" CMU CURB

8 6 A-502

L.8 F

L.9

BASEMENT DINING OFFICES SUITE -18.3 ENLARGED PLAN

SCALE: 1/4" = 1'-0"

J.4

6' - 6"

JEFF QUIGLEY

7' - 10"

6/25/2010 2:22:36 PM

BETH ROSENBERGER

31' - 2 3/4"

SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE FOR CONSTRUCTION

29' - 11 7/8"

PREP ROOM 047

19.3

21.3

22.3

TRASH ROOM 048

WATERPROOF FLOOR WITHIN CURB

048A

CORRIDOR 046

ENLARGED PLANS - OFFICES

2' - 0"

S OFFICES

MASONRY PARTITION

4. DIMENSIONS GIVEN ARE TO FACE TO FACE OF FINISH OR STRUCTURAL GRID UNLESS OTHERWISE NOTED.

What is Shown:

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

FICES

EXISTING WALLS AND PARTITIONS TO REMAIN

2. CONTRACTOR TO ALLOW 25% REPLACEMENT OF ROOF SHEATHING.

FFICES

IONS

LEGEND - PLAN

1. REFER TO G-001 FOR SYMBOLS AND ABBREVIATIONS.

23.7

LOADING DOCK - ENLARGED PLAN SCALE: 1/4" = 1'-0"

11.10 A-701

BOTTOM OF STRUCTURE HEAD

BOTTOM OF STRUCTURE

SEALANT

HEAD

5/8" GWB

HEAD

SEALANT

7/8" MTL. HAT CHANNEL

5/8" GWB

3 5/8" MTL. STUD

HEAD

5/8" GWB

3 5/8" MTL. STUD

SEALANT

5/8"

SEALANT

HEAD

5/8" GWB

2 1/2" MTL. STUD

AIR SPACE

BASE

SCHEDULED BASE

BASE

SCHEDULED BASE BASE

SEALANT FLOOR SLAB

Interior - 4 7/8" Partition SCALE: 1 1/2" = 1'-0"

SEALANT

Interior - 4 1/4" One-Sided Partition SCALE: 1 1/2" = 1'-0"

Interior - 1 1/2" Furring SCALE: 1 1/2" = 1'-0"

AIR SPACE

EXISTING PLASTER & LATH FINISH

E L

EXISTING MASONRY PERIMETER WALL

E P

SCHEDULED BASE

SEALANT

FLOOR SLAB

BASE

S BASE

SEALANT

FLOOR SLAB

EXISTING MASONRY PERIMETER WALL

SCHEDULED BASE

B HEAD

5/8" GWB

3 1/2" LOW DENSITY OPEN CELL SPRAY INSULATION. APPLY TO FACE OF EXISTING SUBSTRATE TYP.

EXISTING PLASTER & LATH FINISH

BASE

5/8"

6" MTL. STUD

3 1/2" LOW DENSITY OPEN CELL SPRAY INSULATION. APPLY TO FACE OF EXISTING SUBSTRATE TYP.

SCHEDULED BASE

3 5/8"

5/8"

SEALANT

HEAD

3 5/8" MTL. STUD

BASE

BOTTOM OF STRUCTURE

SEALANT

V.I.F.

8 5/8"

6 1/4" 2" 3 5/8"

FLOOR SLAB

Interior - 3 1/8" One-Sided Partition SCALE: 1 1/2" = 1'-0"

renovation project | finishes and wall partitions Wall Partition Details: The wall partitions shown above were initiated by Mark Rogers and carried through by me with the help of Michael Kyes. From the Ramsey/Sleeper Architectural Graphic Standards book I was able to determine wall types that pertained to our project. I was familiar with basic 4 7/8” drywall partitions at the start, but shaft walls, insulated furring walls and wet walls were new to me. In retrospect, I concede that the best way to understand a detail is to learn to articulate it through drawing it..

Interior - Perimeter Wall Partition SCALE: 1 1/2" = 1'-0"

Interior - Perimeter Wall Partitio SCALE: 1 1/2" = 1'-0"

Architectural Finishes:

Lessons Learned:

To the right is the Finish Schedule from our Summer 2010 Construction Document package. The lines that are grayed-out show information that is not pertinent to the summer 2010 scope of work.

I understand what this pro tect relationship. Like with ect builds a relationship o that holds the possibility f above the expectations of being a part of this project to impress a client in an enhancing the spaces in w large portion of their day innovative interior design effectively than the simple these reasons are why so blending of style, color, te

Before this project, my exposure to interior design elements was limited. I had worked on one other master bathroom renovation in early 2009 that introduced me to intimacy and aesthetic of a small space. This project compounded the complexity of that one space by many orders of magnitude. Because of this, it was necessary for Bruner/Cott to re-hire Pam Davies for the product specification and interior design of the dining hallʼs spaces. To summarize the descriptive interiors narrative, Dartmouthʼs Class of 1953 Commons shall be of a somewhat Nordic yet modern style. A touch of contemporary flair should combine with the modern amenities like: bleached woods, clean lines, light backgrounds and splashes of classic colors.

DARTMOUTH COLLEGE

The main areas of diverse identity and gravitation are to be the Lobby, the North Dining area, the South Dining area, the Servery, and the Communicating Stair to the second floor. The primary materials in these spaces are, stainless steel, tile, wood, carpet, gypsum wall board, acoustic ceiling tile, concrete, paint, and exposed brick. In our design we kept in mind that pieces of art (the Winter Carnival Posters, paintings by Andy Warhol, a sculpture, and paintings that are currently hung in the building) were to be placed throughout the building in a celebratory manner to give the walls and niches aesthetic appeal.

V.I.F.

SCHEDULED BASE

FLOOR SLAB

erior - Perimeter Wall Partition

LE: 1 1/2" = 1'-0"

m our Summer 2010 Conlines that are grayed-out ent to the summer 2010

terior design elements was aster bathroom renovation ntimacy and aesthetic of a ed the complexity of that de. Because of this, it was Pam Davies for the product e dining hallʼs spaces.

ors narrative, Dartmouthʼs f a somewhat Nordic yet orary flair should combine ed woods, clean lines, light olors.

BASE

8" CMU

BASE

FLOOR SLAB

SCHEDULED BASE

Interior - Perimeter Wall Partition SCALE: 1 1/2" = 1'-0"

Interior - 3 3/4" Shaft Wall SCALE: 1 1/2" = 1'-0"

BASE

SCHEDULED BASE

BASE

SEALANT

SCALE: 1 1/2" = 1'-0"

Interior - CMU

SCALE: 1 1/2" = 1'-0"

Lessons Learned: I understand what this project means for the the client / architect relationship. Like with Harvard Wadsworth House, this project builds a relationship of Bruner/Cott and Dartmouth College that holds the possibility for future designs if Bruner/Cott rises above the expectations of Dartmouth. What I had learned from being a part of this project is that one of the most powerful ways to impress a client in an Existing Building project is by visually enhancing the spaces in which workers and users alike spend a large portion of their day. Appropriately chosen finishes and innovative interior design capture the feel of the space more effectively than the simple geometry and program. I gather that these reasons are why so much attention is paid to the careful blending of style, color, texture and light.

Dartmouth College Class of 1953 Commons

Bruner/Cott & Associates – June 2, 2010 Summer 2010 Alterations & MEP/Civil Bid Package SECTION 09000 SCHEDULE OF FINISHES

DES

DESCRIPTION

MANUFACTURER Q STONE

STYLE PROVENZA, GREY NATURAL

CT-01

18X36 CERAMIC FLOOR TILE

CT-02

12X24 CERAMIC FLOOR TILE

CT-03

2X2 MOSAIC CERAMIC FLOOR TILE

DAL TILE

COLOR = D109 ARCHITECTURAL GRAY

CT-04

6x18 CERAMIC WALL TILE

REFIN CERAMICHE

STILE, COLOR = GRIGIO

CT-05

2X2 MOSAIC CERAMIC WALLTILE

DAL TILE

COLOR = D109 ARCHITECTURAL GRAY

Q STONE

8X8 QUARRY FLOOR TILE

METRO QUARRY BASICS

COLOR = PLAZA GREY 505

CPT-01

CARPET ALLOWANCE

TBD

$40/ YD

TBD

$30/ YD

CPT-03

CARPET ALLOWANCE

TBD

$40/ YD

LIN-01

SHEET LINOLEUM

CARPET ALLOWANCE

FORBO

MARMOLEUM, STRIATO, COLOR TBD

LIN-02

SHEET LINOLEUM

FORBO

WALTON, UNI, COLOR TBD

WD-01

ENGINEERED WOOD FLOORING

NYDREE FLOORING

TBD

WD-02

WOOD WALL CLADDING

TBD

MAT-01

ENTRANCE MAT

FORBO

CORAL, DUO, COLOR TBD

FRP-01

FRP WALL PANELS

TBD

STP-01

STAINLESS STEEL WALL PANELS

RIGID METALS CORP

6-WL BLACK, .029 GUAGE

SS-01

SOLID SURFACE

CORIAN

COLOR TBD

PT-01

WALL PAINT

BENJAMIN MOORE

COLOR TBD

PT-02

WALL PAINT

BENJAMIN MOORE

COLOR TBD

PT-03

WALL PAINT

BENJAMIN MOORE

COLOR TBD

PT-04

WALL PAINT

BENJAMIN MOORE

COLOR TBD

PT-05

WALL PAINT

BENJAMIN MOORE

COLOR TBD

PT-06

WALL PAINT

BENJAMIN MOORE

COLOR TBD

SCHEDULE OF FNISHES 09000 - 1

SCALE: 1 1/2" = 1'-0"

ROOM NAME

BASEMENT 001 STAIR 1 002 LOWER LOBBY 003 OFFICE 004 OFFICE SUITE 005 OFFICE 006 HOVEY LOUNGE 007 STORAGE 008 MENS 009 CORRIDOR 010 UNISEX 011 WOMENS 2 012 OFFICE 013 SUPPLY ROOM 014 CONFERENCE RM 015 DINING OFFICES SUITE 015A OFFICE 015B OFFICE 015C OFFICE 015D OFFICE 015E OFFICE 015F COPY ROOM 016 STORAGE 017 ELEC. SWITCHBD. ROOM 018 TEL. COM 019 CORRIDOR 020 CORRIDOR 021 MAIN ELECTRICAL 022 STORAGE 023 TUNNEL TO COLLIS 024 STEAM MAIN 025 EQUIP. MAINT. RM. 026 ELEV. MACH. RM. 027 CONVENIENCE STORE 028 CONCESSIONS 029 STORAGE 029A STORAGE 031 SODA ROOM 032 DRY STORAGE 033 CORRIDOR 034 POT WASH 037 LOCKER RM. 038 LOCKER RM. 039 WOMEN 040 MEN 041 CORRIDOR 042 EXISTING WALK-INS 043 CLEANING SUP. CL. 044 SOAP STORE 045 DRY STORAGE 046 CORRIDOR 047 COLD PREP AREA 048 TRASH ROOM 049 MECH. 050 COMPOST COOLER 052 STAIR-4 053 LOADING DOCK 054 OFFICE 055 COOLER 056 MAIN WATER 057 OFFICE 058 ENTRY 059 STAIR-3 060 SOCIAL SPACE 060A PORTABLE RAISED PLATFORM 061 FURNITURE STORAGE 062 VENDING 063 WOMENS 4 064 CORRIDOR 064A HEADHOUSE ENTRY 065 CARD OFFICE SUITE 065A OFFICE 065B OFFICE 066 MENS 3 067 IDF 068 GRADUATE SUITE 069 LOCKED STOR. 070 KOSHER STORAGE FIRST FLOOR 101 VESTIBULE

104 105 106 107 109 109A 109B 110 110A 111

PAGANUCCI CONFERENCE STUDENT LOUNGE MENS WOMENS 8 CORRIDOR CORRIDOR CONCIERGE DISHROOM JAN SOUTH DINING

112 SOUTH DINING VESTIBULE 112B ST-3 113 SERVERY 113A HALLAL 113B GRILL AREA 114 BAKERY

FRP FOR ALL BACK OF HOUSE KITCHEN AREAS NOT COVERED WITH STAINLESS STEEL

FLOOR SLAB

Interior - 9 1/8" CMU w/ Furring

102 LOBBY

PROVENZA, GREY NATURAL

CT-06

CPT-02

REMARKS

SEALANT

FLOOR SLAB

Interior - CMU

SCHEDULED BASE

BASE

SEALANT

LOCATION

d gravitation are to be the th Dining area, the Servery, second floor. The primary s steel, tile, wood, carpet, tile, concrete, paint, and in mind that pieces of art s by Andy Warhol, a sculphung in the building) were in a celebratory manner to peal.

6" MTL. STUD

SCHEDULED BASE

SEALANT

FLOOR SLAB

5/8" GWB

1" GYPSUM LINER PANEL

SEALANT

8" CMU

114A 114B 114C 114D 114E 117 120 121 124 126

CORRIDOR ELEC. ROOM DAY STORAGE FREEZER COOLER KITCHEN STORAGE DRY STORAGE TRADITIONAL OFFICE KOSHER SERVERY

129 NORTH DINING ANNEX 129A IDF 129B ELECTRICAL 129C ELECTRICAL 130 NORTH DINING 131 VESTIBULE

SECOND FLOOR CLOSET 201 UPPER EAST DINING 201A BALCONY 202 WOMEN'S 202A LOWER EAST DINING 203 MEN'S 204 PRIVATE DINING 204A STOR 204B STOR 205 WEST DINING 205A 205B 205C 206 207 208 209

IDF DISH DROP ELECTRICAL MECHANICAL MECHANICAL STAIR-3 WEST DINING

FLOOR

LIN-01 CT-02 CPT-02 CPT-02 CPT-02 CONC CT-01 CT-01 CT-01 CT-01 CPT-01 CONC CPT-02 CPT-02 CPT-02 CPT-02 CPT-02 CPT-02 CPT-02 CPT-02 CONC CONC CONC CONC CONC CONC CT-06 CONC CONC LIN-01 CONC CONC CONC CONC CONC CONC CONC CT-03 CT-03 CT-03 CT-03 CT-03 CONC CONC CONC CONC CONC CONC CT-06 CONC CONC CONC RB CONC CONC CONC CONC CONC LIN-01 CPT-02 LIN-01 LIN-01 CT-02 CT-02 CPT-02 CPT-02 CPT-02 CT-02 CONC CPT-02 CONC CONC

MAT-01/ CT-01 CT-01

BASE

RB WD RB RB RB RB CT-01 WD CT-01 CT-01 WD RB RB RB RB RB RB RB RB

SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL SEAL

RB RB RB RB RB RB CT-06 RB RB RB RB RB RB RB RB RB RB CT-03 CT-03 CT-03 CT-03 CT-03 RB RB RB RB RB RB CT-06 RB RB RB RB RB RB RB RB RB RB WB RB RB CT CT-02

NORTH

SOUTH

Interior - 7 1/4" Wet Wall Partition SCALE: 1 1/2" = 1'-0"

ROOM FINISH SCHEDULE WALL EAST

CEILING

WEST

CONC GWB GWB GWB GWB CONC GWB GWB GWB GWB GWB GWB GWB GWB GWB GWB GWB GWB GWB GWB CONC CONC CONC GWB GWB CONC FRP CONC CONC GWB CONC GWB CONC CONC CONC CONC CONC GWB GWB GWB GWB GWB GWB CONC GWB GWB GWB GWB CONC CONC CONC FRP PANEL CONC CONC CONC CONC GWB GWB GWB GWB GWB GWB GWB

PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD PTD

CONC GWB GWB GWB GWB CONC CT-04 / GWB GWB CT-04 / GWB CT-04 / GWB GWB GWB GWB GWB GWB GWB GWB GWB GWB GWB CONC CONC CONC GWB GWB CONC FRP CONC CONC GWB CONC GWB CONC CONC CONC CONC CONC GWB GWB GWB GWB / CT-05 GWB / CT-05 GWB-03 CONC GWB GWB GWB GWB CONC CONC CONC FRP PANEL CONC CONC CONC CONC CONC GWB CONC CONC GWB GWB GWB

CONC GWB GWB GWB GWB CONC CT-04 / GWB GWB GWB CT-04 / GWB GWB GWB GWB GWB GWB GWB GWB GWB GWB GWB CONC CONC CONC GWB GWB CONC FRP CONC CONC GWB CONC GWB CONC CONC CONC CONC CONC GWB GWB GWB GWB GWB / CT-05 GWB CONC GWB GWB GWB GWB CONC CONC CONC FRP PANEL CONC CONC CONC CONC CONC GWB CONC GWB GWB GWB / CT-03 GWB

CONC GWB GWB GWB GWB CONC CT-04 / GWB GWB GWB CT-04 / GWB GWB GWB GWB GWB GWB GWB GWB GWB GWB GWB CONC CONC CONC GWB GWB CONC FRP CONC CONC GWB CONC GWB CONC GWB CONC CONC CONC GWB GWB GWB GWB / CT-05 GWB GWB GWB GWB GWB GWB GWB CONC CONC CONC FRP PANEL GWB CONC CONC CONC CONC CONC GWB GWB GWB GWB / CT-03 GWB

ACT GWB/PTD ACT ACT ACT EXP ACT ACT ACT ACT ACT ACT ACT ACT ACT ACT ACT ACT ACT ACT ACT EXP EXP ACT ACT EXP EXP/ACT ACT EXP ACT EXP ACT EXP ACT EXP EXP EXP GWB ACT ACT ACT ACT ACT ACT ACT ACT ACT ACT ACT EXP ACT ACT ACT ACT EXP EXP ACT ACT ACT ACT ACT ACT ACT

PTD PTD PTD PTD PTD PTD PTD PTD

GWB CONC CONC GWB GWB GWB GWB CONC

PTD PTD PTD PTD PTD PTD PTD PTD

GWB CONC CONC GWB / CT-03 GWB GWB GWB CONC

PTD PTD PTD PTD PTD PTD PTD PTD

GWB CONC CONC GWB / CT-03 GWB GWB GWB CONC

PTD PTD PTD PTD PTD PTD PTD PTD

ACT EXP EXP ACT ACT ACT ACT EXP

PTD

GLASS/GWB

PTD

GLASS/GWB

PTD

GLASS

ACT

PTD

PTD -

RB RB RB CT RB WB RB RB

GWB CONC CONC GWB GWB GWB GWB CONC

GLASS/GWB

FINISH

EXISTING MASONRY PERIMETER WALL

4" CMU

MAT'L

EXISTING MASONRY PERIMETER WALL

1 1/2" C-H MTL. STUD

FINISH

EXISTING PLASTER & LATH FINISH

7/8" MTL. HAT CHANNEL

MAT'L

EXISTING PLASTER & LATH FINISH

PAINT

FINISH

AIR SPACE

PAINT

MAT'L

3 1/2" LOW DENSITY OPEN CELL SPRAY INSULATION. APPLY TO FACE OF EXISTING SUBSTRATE TYP.

(2) LAYERS 5/8" GWB

FINISH

6" MTL. STUD

SEALANT

HEAD

SEALANT

MAT'L

6" MTL. STUD

HEAD

SEALANT

FINISH

DIAGONAL STRUCT. BRACE

HEAD

BOTTOM OF STRUCTURE

SEALANT

MAT'L

AIR SPACE

HEAD

SEALANT

HEAD

MAT'L

5/8" GWB

BOTTOM OF STRUCTURE

SEALANT

HEAD

5/8" GWB

FINISH

BOTTOM OF STRUCTURE

BOTTOM OF STRUCTURE SEALANT

5/8"

FINISH

3 5/8"

5/8"

ROOM NO.

MAT'L

8 5/8" 2"

NO WORK IN THIS AREA USE SAME FINISHES IN ROOM 040 AND ROOM 039

USE SAME FINISHES IN ROOM 040 AND ROOM 039

PTD

CL FIIN PTD PTD PTD PTD

GWB GWB GWB GWB GWB GWB GWB FRP GWB GWB

PTD PTD PTD PTD PTD PTD PTD PTD PTD

GWB GWB CT-04 / GWB CT-04 / GWB WC GWB GWB FRP GWB GWB

PTD PTD PTD PTD PTD PTD PTD PTD

GWB GWB CT-04 / GWB CT-04 / GWB WC GWB GWB FRP GWB GWB

PTD PTD PTD PTD

SEAL -

WD WD CT-01 CT-01 WB WD / CT WD CT-06 RB WD

PTD PTD PTD PTD

GWB GWB CT-04 / GWB CT-04 / GWB WOOD/GWB BLKBD WC / GWB FRP GWB GWB

PTD PTD PTD PTD PTD PTD PTD PTD PTD

CT RB CT

GWB GWB CT-04/GWB

PTD PTD PTD

GWB GWB CT-04/GWB

PTD PTD PTD

GWB GWB CT-04/GWB

PTD PTD PTD

GWB GWB CT-04/GWB

PTD PTD PTD

GWB/PTD GWB/PTD ACT ACT GWB ACT GWB/ACT ACT ACT ACT/GWB /WD ACT ACT GWB/ACT

CT-01 CT-01

CT CT

ST. STL ST. STL / CT-04

CT-04/GWB CT-04/GWB

PTD -

CT-04/GWB CT-04/GWB

PTD -

ST. STL ST. STL

GWB/ACT GWB/ACT

CT-01

ST. STL

FRP/ST. STL

FRP

ACT

CPT-01 CONC CT-06 CT-06 CT-06 CT-06 CT-06

SEAL -

CT RB CT-06 CT-06 CT-06 RB CT-06

GWB GWB GWB FRP FRP GWB CT-04 / FRP

PTD PTD PTD PTD -

GWB GWB GWB FRP FRP / ST. STL. GWB ST. STL/FRP

PTD PTD PTD PTD -

GWB GWB GWB FRP FRP GWB CT-04 / FRP

PTD PTD PTD PTD -

GWB GWB GWB FRP FRP GWB ST. STL/FRP

PTD PTD PTD PTD -

ACT ACT ACT ACT ACT ACT GWB/ACT

CT-01 CT-01 CT-01 CT-01 WD-01

WD RB RB RB WD

PTD CUSTOM

GWB GWB GWB GWB WD / GWB

CT-04/GWB GWB GWB GWB WD / GWB

GWB GWB GWB GWB WD / GWB

GWB/ACT GWB GWB GWB ACT/GWB /WD EXP

PTD PTD PTD PTD PTD

CPT-03 CT-01 CT-01 CT-01 CT-01 CT-01 CT-01 CT-06 CONC LIN-01 / LIN-02 CT-01 LIN-01 CT-01

GRAY AREA NOT INCLUDED IN SUMMER WORK REMARKS

PROVIDE BUMPER GUARD RAIL ON WALLS. SEE 8-A-904.

PREVIOUS RELEASES PROVIDE BUMPER GUARD RAIL ON WALLS. SEE 8-A-904.

PROVIDE BUMPER GUARD RAIL ON WALLS. SEE 8-A-904.

EARLY RELEASE PACKAGE

04-30-10

100% DESIGN DEVELOPMENT

05-07-10

BUILDING PERMIT #1

STAIR CONNECTING LOADING DOCK WITH FIRST FLOOR SERVERY

Rev.

Date

Remarks

42' OF MILLWORK

ALL EXISTING WOODWORK TO BE REPAINTED / COSTOM PLASTER FINISH AT WEST WALL BEHIND DESK PTD PTD

SEE ELEV. FOR TILE SCOPE SEE ELEV. FOR TILE SCOPE SEE ELEV. FOR WOOD WALL

PTD SEE FOOD SERVICE DWG FOR MILLWORK/EQUIP. PTD

Date

CEILING: ACT 60% GWB 40%, 50' OF MILLWORK. ALLOW FOR 20% CUSTOM FINISH WOOD AT CEILING.

Project Number SEE FOOD SERVICE DWG FOR MILLWORK/EQUIP. SEE NOTE BELOW FOR WALL FINISH SCOPE. SEE NOTE BELOW FOR WALL FINISH SCOPE. SEE FOOD SERVICE DWG FOR MILLWORK/EQUIP.

Drawn By

SEE FOOD SERVICE DWG FOR MILLWORK/EQUIP. SEE NOTE BELOW FOR WALL FINISH SCOPE.

Dartmouth College

SEE FOOD SERVICE DWG FOR MILLWORK/EQUIP. PTD

JUNE 2, 2010

Scale

SEE FOOD SERVICE DWG FOR MILLWORK/EQUIP. SEE NOTE BELOW FOR WALL FINISH SCOPE.

CT-01 / LIN-01

CONC

PTD PTD PTD PTD PTDCUS T / PTD PTD

CONC

PTD PTD PTD PTD CUST / PTD PTD

CONC

PTD PTD PTD PTD CUST / PTD PTD

CT-01 CPT-01

CT-01 WD

PTD

GWB GWB

PTD PTD

GWB GWB

PTD PTD

GWB GWB

PTD PTD

GWB GWB

PTD PTD

GWB GWB/ACT

PTD PTD

CLOSET WITHIN 2ND FLOOR WOMEN'S BATHROOM

CT-01 CPT-01 CT-01 CPT-01

CT-01

PTD

GWB GWB GWB GWB

PTD PTD PTD PTD

CT-04/GWB GWB CT-04/GWB GWB

PTD PTD PTD PTD

CT-04/GWB GWB CT-04/GWB GWB

PTD PTD PTD PTD

CT-04/GWB GWB CT-04/GWB GWB

PTD PTD PTD PTD

ACT GWB ACT ACT

PTD -

SEE ELEV. FOR TILE SCOPE

CT-01 WD

CPT-01 / CT CONC CT-06 CONC CONC CONC LIN CPT--01

PTD

GWB / CT-04

PTD

GWB

PTD

GWB

PTD

GWB

PTD

ACT/GWB

PTD

CEILING: ACT 75% GWB 25% / WOOD WALL SEPERATING 2 DINING AREAS SEE ELEV. FOR TILE SCOPE

SEAL SEAL -

RB CT-06 RB RB RB RB WD

GWB CT-04 GWB CONC CONC GWB GWB/GLASS

PTD PTD PTD PTD PTD PTD GWB

GWB CT GWB CONC CONC GWB GWB/GLASS

PTD PTD PTD PTD PTD PTD GWB

GWB FRP GWB CONC CONC GWB GWB

PTD PTD PTD PTD PTD PTD

GWB FRP GWB CONC CONC GWB GWB/GLASS

PTD

100% SCHEMATIC DESIGN

04-20-10

EXISTING TO REMAIN

PTD PTD PTD PTD CUST / PTD PTD

02-23-10

DDT-251 Author

Class of 1953 Commons Hanover, NH

CEILING: ACT 60% GWB 40%, 30' OF MILLWORK

SEE ELEV. FOR TILE SCOPE

CHANGES TO PREVIOUSLY BID ITEMS

PTD EXP ACT PTD EXP PTD EXP PTD EXP PTD ACT PTD GWB ACT/GWB PTD GWB

SUMMER 2010 ALTERATIONS AND MEP / CIVIL BID PACKAGE NOTE: ALL WALLS IN SERVERY ARE DRYWALL WITH TILE EXCEPT WALLS INDICATED AS STAINLESS STEEL ON A-121. ASSUME 50% OF TILE WALLS 7'-0" AFF ASSUME 50% OF TILE WALLS 9'-6" AFF

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

6/3/2010 12:49:17 PM

TILE: CT-04 REFIN CERAMICHE STILE 4" X 24" COLOR TO BE DETERMINED

11.11

STAINLESS STEEL CORNER GUARDS: SEE DETAIL 15 AND 16 A-904. ASSUME 25% OF WALLS TO RECIEVE STAINLESS STEEL CORNER GUARDS.

ROOM FINISH SCHEDULE

A-903

My General Involvement with Doors: In December of 2008, I was involved in a project with our CAD Expert, Lyle Lemon, in which he asked me to create parametric door families (similar to AutoCAD blocks) that would serve as the standard door components for Bruner/Cott. Over the course of the next year I would build, refine, test, and engineer highly complex families that became standard in our office protocol. Each â&#x20AC;&#x153;familyâ&#x20AC;? was identifiable by its frame type. For example, double door hollow metal masonry head, or single door wooden frame with sidelight and transom. I created about 12 different door frame families, each with a variation of door panel types that were interchangeable within the family. The doors had varying parameters like masonry head height, butted or wrapped connections, uneven panels, and so on. Over the course of this year I learned many of the physical intricacies of doors, but my work on Dartmouth expanded my knowledge on more minute and sophisticated fields of door knowledge. I learned about hardware, weather stripping, closers, and card access. At the start of the door project in 2008, I had severely underestimated the complexity of doors and the myriad of permutations to doors within a project. My Involvement with Dartmouth Doors: Before hiring a door consultant it was Scott Chisholm, Pam Davies and myself that took a first pass at specifying doors for the project. Pam, who had the best sensibility for the feel of the space made suggestions after Scott and I discussed materiality. We had three possible categories from which we first chose: Hollow Metal doors, Wooden doors, and Aluminum doors with glass. In classic wood accented spaces such as the lobby, the conference rooms, and the social spaces we thought Wood would be most appropriate. Aluminum doors with glass were agreed to be in delicate and more public spaces. And lastly Hollow Metal doors fulfilled the heavy-duty back of house and storage uses. The sizes of the doors were determined by existing openings, if there was one, except when the opening did not accommodate the proper egress width. Otherwise, the size of the openings were based on our discretion and best judgement (3 ft. by 7 ft. being the default size). DOOR HEIGHT

DOOR WIDTH

5/5/2010 5:52:11 PM

As a disclaimer, the section details shown on the page opposite are drawn entirely by Mark Rogers. I was however the creator of the door type legend, the frame type legend and the door schedule.

FLUSH

A HOLLOW METAL

DARTMOUTH COLLEGE

DOOR HEIGHT

DOOR WIDTH IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

renovation project | doors

FLUSH

A DOOR TYPE SCALE:

1/4" = 1'-0"

3/4"

V.I.F.

MTL. STRAP ANCHOR SIDELITE

SIDELITE JAMB @ MTL STUDS SCALE:

3" = 1'-0"

OVERHEAD TRACK FRAME ANCHORED TO INSIDE FACE OF CMU BACK-UP WALL. SEAL JOINTS VERT. MULLION - SEE SCHEDULE FOR TYPE

DOOR - SEE SCHEDULE

SCALE: 3" = 1'-0"

SEE WALL SECTION FOR ADDITIONAL INFORMATION

V.I.F.

ysical intricacies of doors, n more minute and sophisdware, weather stripping, ct in 2008, I had severely yriad of permutations to

EXTERIOR OVERHEAD DOOR JAMB

VARIES

SIDELIGHT

CMU BACK-UP WALL BRICK VENEER

DOOR - SEE SCHEDULE

FLASHING

VERT. MULLION @ DOOR AND SIDELIGHT SCALE:

3" = 1'-0"

3 3/4"

SEALANT, TYP.

STL. LINTEL

DOOR FRAME - SEE SCHEDULE FOR TYPE

DOOR FRAME - SEE SCHEDULE

GROUT SOLID

DOOR - SEE SCHEDULE VARIES

CMU - SEE PLAN FOR PARTITION TYPE

2 5/8"

3/4"

EXTERIOR DOOR HEAD

VARIES

2 1/2"

V.I.F.

SCALE: 3" = 1'-0"

V.I.F.

2 1/2"

DOOR - SEE SCHEDULE DOOR FRAME - SEE SCHEDULE FOR TYPE BRICK VENEER

MTL. STRAP ANCHOR

3/4"

2 5/8"

DOOR JAMB @ CMU PARTITION SCALE:

3" = 1'-0"

FIRST FLOOR 18 120 101B 102 110 110 110A 110 111A 111 111B 111 111C 111 111D 111 112B 112B 114B 114B 114C 114A 115 113 121 113 124 121 125 126 129A 113 129B 113 130B 109A 130C 113 130D 113 130E 113 130F 113 224 125 225 123 228 129 266 001 267 102 268 102 269 270 102 271 109 272 101 277 129 EL-11 EL-1

V.I.F.

VARIES

DOOR FRAME - SEE SCHEDULE FOR TYPE SEE PLAN FOR PARTITION TYPE 3/4"

VARIES

CMU BACK-UP WALL - SEE WALL SECTIONS GROUT SOLID

penings, if there was one, oper egress width. Otheretion and best judgement

SEALANT, TYP.

MTL. STRAP ANCHOR

MTL. ANCHOR

DOOR - SEE SCHEDULE

EXTERIOR DOOR JAMB

SCALE: 3" = 1'-0"

DOOR JAMB @ MTL STUDS SCALE:

CORRIDOR OFFICE CARD OFFICE SUITE CORRIDOR IDF GRADUATE SUITE LOCKED STOR. LOWER LOBBY LOWER LOBBY CORRIDOR CORRIDOR CORRIDOR CORRIDOR CORRIDOR CORRIDOR MAIN ELECTRICAL TUNNEL TO COLLIS CORRIDOR CONVENIENCE STORE CORRIDOR CORRIDOR POT WASH SOAP STORE CLEANING SUP. JAN. CL. COLD PREP AREA CORRIDOR MECH. TRASH ROOM COMPOST COOLER

3" = 1'-0"

DOOR WIDTH 6" TYP.

6" TYP.

DOOR WIDTH

GL.

DOOR HEIGHT

GL. DOOR HEIGHT

6" TYP.

6" TYP. GL.

GL.

FLUSH

HALF GLASS

FULL GLASS

CORRIDOR STAIR-3 SOCIAL SPACE WOMENS 4 CORRIDOR

065 065 065B 066 064 064 068 001 008 015 017 016 022 021 024 020 020 027 019 029 032 033 041 041 041 048 048

CARD OFFICE SUITE CARD OFFICE SUITE OFFICE MENS 3 CORRIDOR CORRIDOR GRADUATE SUITE STAIR 1 MENS DINING OFFICES SUITE ELEC. SWITCHBD. ROOM STORAGE STORAGE MAIN ELECTRICAL STEAM MAIN CORRIDOR CORRIDOR CONVENIENCE STORE CORRIDOR STORAGE DRY STORAGE CORRIDOR CORRIDOR CORRIDOR CORRIDOR TRASH ROOM TRASH ROOM

COOLER OFFICE MAIN WATER CORRIDOR CORRIDOR CORRIDOR ELEVATOR 2

006 006 033 038

HOVEY LOUNGE HOVEY LOUNGE CORRIDOR LOCKER RM.

117 101 109A 110A 109B 109B 112 112 112B 114A 114C 117 121 124 121 129 129 130 130 130 130 130 129 129 205D 102 106 107 102 104 104

KITCHEN STORAGE VESTIBULE CORRIDOR JAN CONCIERGE CONCIERGE SOUTH DINING VESTIBULE SOUTH DINING VESTIBULE ST-3 CORRIDOR DAY STORAGE KITCHEN STORAGE TRADITIONAL OFFICE TRADITIONAL NORTH DINING ANNEX NORTH DINING ANNEX NORTH DINING NORTH DINING NORTH DINING NORTH DINING NORTH DINING NORTH DINING ANNEX NORTH DINING ANNEX ELECTRICAL LOBBY MENS WOMENS 8 LOBBY PAGANUCCI CONFERENCE PAGANUCCI CONFERENCE

HM HM HM AL AL AL AL AL AL AL

P P P F F F F F F F

AL WD WD AL AL AL WD AL -

F P P F F F P F

1 3/4" 2" 2" 2" 2" 2" 2" 2" 2" 2" 2" 2" 2" 1 3/4" 2" 2" 2" 2" 2" 2" 2" 2" 2" 2" 2" 2" 2" 2" 2" 2" 2" 2" 1 3/4"

3' - 0" 6' - 0" 3' - 0" 3' - 0" 8' - 0" 8' - 0" 8' - 0" 8' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 8' - 0" 8' - 0" 6' - 0" 6' - 0" 6' - 0" 6' - 0" 6' - 0" 3' - 0" 3' - 0" 3' - 0" 6' - 0" 3' - 0" 3' - 0" 6' - 0" 6' - 0" 6' - 0" 6' - 0" 6' - 0"

7' - 0" 7' - 0" 6' - 8" 6' - 8" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 6' - 8" 6' - 8" 6' - 8" 6' - 8" 6' - 8" 7' - 0" 6' - 8" 7' - 0" 7' - 0" 8' - 0" 8' - 0" 8' - 0" 8' - 0" 8' - 0" 6' - 8" 6' - 8" 6' - 8" 6' - 6" 7' - 0" 7' - 0" 7' - 0" 6' - 6" 6' - 6" 7' - 0" 7' - 0"

FULL GLASS W LOCK RAIL

PREVIOUS RELEASES

LOBBY CORRIDOR VESTIBULE NORTH DINING ANNEX ELEVATOR #1

Date

Remarks

Date

131 109

VESTIBULE CORRIDOR

201

EAST DINING

3' - 0"

7' - 0"

202 202 203 204 205 205C 206 208

WOMEN'S WOMEN'S MEN'S PRIVATE DINING MAIN DINING ELECTRICAL MECHANICAL STAIR-3

204 204 205 201A

PRIVATE DINING PRIVATE DINING MAIN DINING BALCONY

AL HM AL AL HM HM HM AL HM HM WD WD -

F P F F P P P F P P P P

2" 2" 1 3/4" 2" 2" 2" 2" 1 3/4" 1 3/4" 1 3/4" 2" 2"

3' - 0" 2' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 5' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0"

7' - 0" 6' - 8" 7' - 0" 6' - 8" 7' - 0" 7' - 0" 7' - 0" 6' - 8" 7' - 0" 7' - 0" 6' - 8" 6' - 8"

1 3/4"

6' - 0"

7' - 0"

APRIL 30, 2010 As indicated

Project Number

DDT-251

Drawn By

Author

Dartmouth College Class of 1953 Commons Hanover, NH

100% DESIGN DEVELOPMENT

DOOR

2" 1' - 6"

WIDTH

DOOR HEIGHT

1' - 6"

DOOR

1' - 6"

WIDTH

DOOR

WIDTH

COIL

2" 2' - 0"

PTD. GALV. STEEL GUIDE RAIL JAMBS

DOOR HEIGHT

3 1/4"

DOOR TYPES AND DOOR SCHEDULE

DOOR WIDTH

DOOR HEIGHT

PTD. GALV. STEEL BOTTOM BAR

DOOR WIDTH

2" TRANSLUCENT GL.

DOOR HEIGHT

3" 3"

DOOR WIDTH

GL. DOOR HEIGHT

EARLY RELEASE PACKAGE

DOOR WIDTH

DOOR HEIGHT

GL.

100% SCHEMATIC DESIGN

04-20-10

Rev.

2" DOOR WIDTH

02-23-10

Scale

DRY STORAGE LOBBY DISHROOM DISHROOM SOUTH DINING SOUTH DINING SOUTH DINING SOUTH DINING ST-3 ELEC. ROOM CORRIDOR SERVERY SERVERY TRADITIONAL KOSHER SERVERY SERVERY SERVERY CORRIDOR SERVERY SERVERY SERVERY SERVERY ELECTRICAL IDF NORTH DINING ANNEX STAIR 1 LOBBY LOBBY

DOOR HEIGHT

DOOR WIDTH

PTD. GALV. STEEL CURTAIN SLATS

DOOR HEIGHT

IF THIS SHEET IS NOT: 36" x 48", IT HAS BEEN REDUCED OR ENLARGED.

DOOR WIDTH

REMARKS test test test

ALUMINUM

DOOR WIDTH

HARDWARE SET

F P P F F F F P P P

THRESHOLD

AL HM HM AL AL AL AL HM HM HM

RATING (HRS)

7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0"

GENERAL

HEAD

3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 6"

JAMB

2" 2" 1 3/4" 1 3/4" 1 3/4"

FINISH

P P P P P

1 3/4" 1 3/4" 1 3/4" 2" 2" 2" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 1/2" 1 1/2" 1 1/2" 1 3/4" 1 3/4" 1 3/4" 2" 1 3/4" 1 3/4" 1 3/4" 2" 1 3/4" 1 3/4"

MAT'L

WD WD HM HM WD

2" 2" 2" 2" 1 3/4" 1 3/4" 2" 2" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 2" 2" 1 3/4" 2" 2"

TYPE

1 3/4" 1 3/4" 1 3/4" 1 3/4" 2" 2" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 1 3/4" 2" 2" 1 3/4" 1 3/4" 1 3/4" 1 3/4"

7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 6' - 8" 6' - 8" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 3 1/4" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 6' - 8" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 9' - 0" 9' - 0" 9' - 0" 7' - 0" 7' - 0" 8' - 0" 6' - 8" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 6' - 5" 7' - 3 1/4" 7' - 3 1/4" 7' - 3 1/4" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0"

F F F P P P P F F P F F F F F F P P P P P F P P P P P P P P P P P P

ATTIC 282

NARROW LITE

THICKNESS

TYPE

055 057 056

P P P P P F F P F P F F F F F P F P F F F P P P P P P P P P P P P P P P P P P P P P P F

3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 5' - 8" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 6' - 0" 3' - 0" 3' - 0" 3' - 0" 6' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 5' - 8" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 6' - 0" 8' - 0" 8' - 0" 8' - 0" 3' - 0" 3' - 0" 3' - 6" 3' - 0" 6' - 0" 6' - 0" 6' - 0" 6' - 0" 3' - 0" 6' - 0" 5' - 7" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 6' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 5' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 4' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 10" 5' - 0" 3' - 0" 3' - 0" 3' - 0" 3' - 6"

AL AL AL HM HM HM HM AL AL HM AL AL AL AL AL AL HM HM HM HM HM AL HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM AL AL HM AL HM AL AL AL AL AL HM AL HM AL AL AL HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM AL -

DETAILS

HOLLOW METAL

064 059 060 063 064

020 009 046 EL-2

SECOND FLOOR 202 201 EAST DINING 202A 203 201 EAST DINING 204 201 EAST DINING 205A 205A IDF 205C 205B DISH DROP 206 205B DISH DROP 208 209 WEST DINING 208A 208 STAIR-3 208B 208 STAIR-3 279 204B STOR 280 204A STOR EL-21 EL-1 ELEVATOR #1 EL-22 EL-1 ELEVATOR #1

1' - 0"

DOOR HEIGHT

3' - 7" MAX.

DOOR HEIGHT

5/5/2010 5:52:11 PM

GL.

DOOR WIDTH 6" TYP.

DOOR HEIGHT

page opposite are drawn the door type legend, the

DOOR WIDTH 6" TYP.

2' - 9"

DOOR WIDTH

STAIR-3

COOLER COOLER

E 02 UPPER HALL LEVEL 278 001 STAIR 1

WOOD

059

ELEVATOR #1 ELEVATOR #1 ELEVATOR 2 COOLER

BASEMENT EAST 232 002 LOWER LOBBY 233 002 LOWER LOBBY 253 037 LOCKER RM. 254 033 CORRIDOR 273 001 STAIR 1

DOOR - SEE SCHEDULE

SEE WALL SECTION FOR ADDITIONAL INFORMATION

V.I.F.

m, Pam Davies and myself t. Pam, who had the best fter Scott and I discussed ich we first chose: Hollow h glass. In classic wood ms, and the social spaces um doors with glass were lastly Hollow Metal doors s.

COOLER ENTRY ENTRY CORRIDOR STAIR-3 SOCIAL SPACE SOCIAL SPACE FURNITURE STORAGE CORRIDOR CORRIDOR

HEIGHT

5 3/4"

SEE PLAN FOR PARTITION TYPE

OFFICE OFFICE SUITE OFFICE HOVEY LOUNGE STORAGE CORRIDOR UNISEX WOMENS 2 OFFICE SUPPLY ROOM CONFERENCE RM OFFICE OFFICE OFFICE OFFICE OFFICE CORRIDOR CORRIDOR CORRIDOR EQUIP. MAINT. RM. ELEV. MACH. RM. CONVENIENCE STORE CONCESSIONS CORRIDOR SODA ROOM WOMEN MEN CORRIDOR CORRIDOR EXISTING WALK-INS CORRIDOR COLD PREP AREA COOLER COOLER COOLER COOLER COOLER OFFICE COOLER

WIDTH

SEE WALL SECTION FOR ADDITIONAL INFORMATION

SIDELITE FRAME - SEE SCHEDULE FOR TYPE

NAME

003 004 005 006 007 009 010 011 012 013 014 015A 015B 015C 015D 015E 019 020 020 025 026 027 028 019 031 039 040 041 041 042 046 047 055 055 055 055 055 054 055

FINISH

BRICK VENEER CMU BACK-UP WALL - SEE WALL SECTIONS

NAME OFFICE SUITE LOWER LOBBY OFFICE SUITE CORRIDOR HOVEY LOUNGE CORRIDOR CORRIDOR CORRIDOR CORRIDOR CORRIDOR CORRIDOR DINING OFFICES SUITE DINING OFFICES SUITE DINING OFFICES SUITE DINING OFFICES SUITE COPY ROOM TEL. COM CORRIDOR MAIN ELECTRICAL CORRIDOR CORRIDOR CORRIDOR CORRIDOR KOSHER STORAGE CORRIDOR CORRIDOR CORRIDOR CORRIDOR EXISTING WALK-INS CORRIDOR DRY STORAGE CORRIDOR STAIR-4 CORRIDOR

DOOR SCHEDULE FRAME

DOOR

MAT'L

BASEMENT 003 004 004 002 005 004 006C 020 007 006 009 019 010 009 011 009 012 009 013 009 014 009 015A 015 015B 015 015C 015 015D 015 015E 015F 018 018 020 019 021A 021 025 020 026 020 027A 064 028 019 028 028 031 019 039 033 040 033 041D 046 042A 042 042B 041 045 045 047B 046 052 052 53 041 053B 053C 053D 054 055 058A 058 058B 058 059A 064 059B 059 060A 060 060B 060 061 061 063 064 064 019 064B 065 064 065A 065A 065B 065 066 064 067 067 068 068 069 069 230 002 231 002 234 009 235 019 242 019 243 020 244 020 245 020 246 021 247 023 248 019 249 027 250 019 251 019 252 034 255 044 256 043 257 047 258 046 259 049 260 048 261 050 262 263 055 264 055 274 EL-01 EL-1 EL-02 EL-1 EL-03 EL-2 EL-04 055

NO.

DOOR NO.

ith our CAD Expert, Lyle r families (similar to Automponents for Bruner/Cott. test, and engineer highly otocol. Each “family” was oor hollow metal masonry transom. I created about of door panel types that d varying parameters like uneven panels, and so on.

NO.

FROM

FLUSH

A DOOR TYPES SCALE:

1/4" = 1'-0"

FULL GLASS

FULL GLASS W LOCK RAIL

FULL GLASS - NORTH DINING

A DOOR FRAMES SCALE:

1/4" = 1'-0"

11.12 A-902

Summary and analysis of the experience and skills learned:

dartmouth class of 1953 commons

Over the course of this project, there were many challenges and lessons learned. At the forefront of my recollection is the regret I feel towards our rushed existing conditions measurements and the subsequent unverified dimensions in the Revit model. This particular grievance had compounding ramifications later in the project that was unfortunately reckless and foreseeable. At a “Lunch and Learn” in January, I was given insight, as many of us did, about the technology of 3D Laser Scan Surveying by Feldman & Associates. Within a dayʼs time one of their surveying staff could completely map out and scan this entire building, to have a highly accurate point cloud model at our disposal. Not only could this have happened, but it partially did, and Feldman & Associates scanned part of Thayer Dining Hall and showed us a virtual walk-through movie of this. I couldnʼt be sure the price difference, but the Lunch and Learn presenter eluded to its relatively inexpensiveness and its time saving effectiveness. The raw data that they could have collected would be invaluable if it was properly integrated into our existing conditions model. The energy and time we have spent verifying, reassessing and speculating has been an extreme burden on our project staff. This, in my opinion, was our greatest oversight to date. Second in my list of robust lessons learned on this project was to not only manage my time for future tasks, but look retrospectively at how my time has been spent. Before this project, my direction of thinking was mostly in the forward motion, but I learned that as a project progresses, it is crucial to keep key elements of the design (like code, cost, and structural integrity) in the back of your mind. Because this project was somewhat limited by rapidly approaching deadlines, I learned to give my supervisors a piece of mind by keeping them posted on all aspects of my work and progress. Last, but not least important in my lessons learned, was my understanding of interpersonal relations within the office setting. In all honesty, our project team was dysfunctional. Personalities clashed due to miscommunication and close-mindedness. The working environment in our part of the office became anxious, guarded and sterile to new ideas. With three project managers who fundamentally disagreed with one another and manic deadline frenzy, the work environment for us two drafters became schizophrenic and occasionally undirected. But all-in-all I have learned what I could from my tasks and my initiatives. Even in this turbulent working environment, my principal of self-betterment has never been compromised.

Independent Study...

12.0

In the time I have spent at the B.A.C., creating art for the sake of expression and craft refinement unfortunately has not been a luxury I have allotted much time to. Most of the studies and explorations I have endeavored deal mostly with the office work or student obligations at hand. In my Segment 1 portfolio, I displayed nearly all of the notable freehand sketches from my Fall 2007 Freehand Drawing class. In the accordance with my wish to make this work exclusive of its predecessor, I have these few sketches which come from my years previous to my studies at the B.A.C. The rendering to the right is a portrait of the musician, Kurt Cobain. The rendering below is a rendering of a Gibson Les Paul guitar. The photograph to the left is a 2 foot by 3 foot tack-board that I built of corks and wood. The wine corks were collected from a restaurant I used to work at in San Diego, California. The last small accent to this spread it the colorful strip directly below. It is part of a photograph that has been extruded from a thin row of pixels within it.

miscellaneous art | pencil and physical media

INDEPENDENT STUDY

ke of expression and craft ed much time to. Most of y with the office work or displayed nearly all of the Drawing class. In the predecessor, I have these tudies at the B.A.C. The ain. The rendering below o the left is a 2 foot by 3 rks were collected from a last small accent to this hotograph that has been

UDY

4 5

12.1

side-project | grave marker rendering

INDEPENENT STUDY

Background: In 2008 I was asked by Simeon Bruner, the co-founder of Bruner/Cott & Associates to assist him in a personal project. In 2007 his wife of many years passed away. As a tribute to her, he created an artistic stone maker to sit atop her grave stone that had special meaning to him. Since the grave had not yet been marked, the new grave stone he was proposing had to be approved by the Mount Auburn Cemetery. Due to its unconventionality, Simeon始s wishes were to present his work of art in a sensitive and favorable manner. My involvement: When Simeon approached me, he assumed correctly that I had an aptitude for manipulating photographs and images. Having never worked one-on-one with Simeon, this was my first chance to understand his methods of working and hopefully impress him with my abilities and appreciation for his vision. The singular image that he gave to me is a photograph of the stones found in the upper left of the opposite sheet. From this he asked me to simply place it on an inscribed granite grave marker and bring it to the foreground. From that point on the project progressed incrementally as new ideas and settings arose. Small elements were changed in Photoshop like the vanishing point, the lighting, the proportions, and so on. The final result shown on this page is the image Simeon ended up presenting with. This image showed a lush Mount Auburn background and the discrete placement of Lesley Gould始s grave marker. This unique process and gradation was one of my first chances in the work setting to understand the intentions of a curator and assisting them to reach their final goal.

12.2

INDEPENENT STUDY

photography | capturing light & space In this final spread, I wanted to show a collection of photographs that I have taken over the past 5 years that resonate with my passion for unique moments in space and time. I am interested in designing only as much as I am interested in what has been designed. My photographs aim to say much more about a setting始s visceral qualities than its physical properties. As the subtitle insinuates, architecture at its core, is an interplay of light and space.

12.3

For me writing is a design tool as much as design is a writing tool. This portfolio has been a personal exploration into understanding how best I comprehend and interpret the world around me. If nothing less, this work has memorialized for me my unwavering ambitions of the past few years. Thank you for reading. - Ryan Martin

end

Buildings are personified by their basic functions. They are born, they breathe, they consume, and eventually they perish. The generations of buildings that follow owe a debt of gratitude to the legacy of their predecessors.