Welcome to Wonderland

DESIGN TEAM : Rish Saito, Creative Director | Glen Morris, Huitt-Zollars | Joe Ales, Walter P Moore | Chris Foster, COST | Todd McCurdy, TMLA | Steven Young, Visual Terrain | Josh Contrell, Electrosonic | Amy Pastor, EXP | Asif Parkar, Cumming

TA B L E O F C O N T E N T S TEAM C R E AT I V E INTRODUCTION FORM DEFAMILIARIZATION EXPERIENCE CULTIVATION BIOME MISREGISTRATION DICHOTOMY WHIMSICALITY ARCHITECTURE SITE PLAN PLAN - BASEMENT FLOOR PLAN - GROUND FLOOR PLAN - 2ND FLOOR PLAN - 3RD FLOOR PLAN - 4TH FLOOR PLAN - 5TH FLOOR PLAN - ROOF ELEVATION - EAST ELEVATION - WEST ELEVATION - N + S SECTION A-A SECTION D-D RESTAURANT + RETAIL PLAN RESTAURANT + RETAIL ROOF RESTAURANT + RETAIL ELEV. RESTAURANT + RETAIL ELEV. RESTAURANT + RETAIL SECT. CIRCULATION BASIS OF DESIGN STRUCTURE PLAN - FOUNDATION PLAN - SLAB ON GRADE FRAMING PLAN - LEVEL 2 FRAMING PLAN - LEVEL 3 FRAMING PLAN - LEVEL 4 FRAMING PLAN - LEVEL 5

3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41

ELEVATIONS - W + N ELEVATIONS - E + S ISOMETRIC VIEW ISOMETRIC VIEW BASIS OF DESIGN THEMED FINISHES MATERIALS ALLIUM ALLIUM LUPINES LUPINES ZINNIA BASIS OF DESIGN S I T E D E V E LO P M E N T CONTEXT SITE SITE VIEW DESIGN PARAMETERS ACTIVATION+PROGRAMMING SITE ELEMENTS SITE PLACEMENT CONNECTIVITY MASTERPLAN INSPIRATION FORMS RESTAURANT VIEW DESIGN SITE VIEWS SITE VIEWS DESIGN DRIVERS SITE VIEWS DESIGN DRIVERS LIGHTING CONCEPTS CONCEPTS EXTERIOR INTERIOR / EXTERIOR INTEGRATION MEZZANINE

42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80

FAA LIGHTING AREA DEVELOPMENT LOADS CONTROLS DONOR RECOGNITION HOLOGRAMS RIPARIAN CORRIDOR PROJECTION + SOUND ICONIC OUTSIDE INSIDE HOLOGRAMS AUDIO NET ZERO

81 82 83 84 85 86 87 88 89 90 91 92 93 94 94-99

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GLEN MORRIS, AIA VICE PRESIDENT H U I T T- Z O L L A R S

J O E A L E S , P h . D. , S . E .

M A N A G I N G P R I N C I PA L WA LT E R P M O O R E

JEFF MASBRUCH D I R E C TO R O F D E S I G N COST INC.

T O D D M c C U R DY , FA S L A LANDSCAPE ARCHITECT T M L A | TODD McCURDY L. A.

Huitt-Zollars delivers Design Management, Architecture and Civil Engineering to the Wonderland team.

Huitt-Zollars is a full-service design firm transforming how we live, work, and connect with our world through AdvanceDESIGN. Established in 1975, the firm has grown to 26 offices and over 500 employees.

Our professionals have contributed to the successful delivery of projects utilizing virtually every delivery method, and understand the advantages associated with each method.

Through our collective knowledge and experience, we add value as a member of any project team.

Walter P Moore delivers structural engineering to the Wonderland Team. We are an international company of engineers, architects, innovators, and creative people who solve some of the world’s most complex structural, technological, and infrastructure challenges. Providing structural, enclosure, and construction engineering services, we design solutions that are cost- and resource-efficient, forward-thinking, and help support and shape communities worldwide. Founded in 1931, our 700+ professionals work across 20 U.S. offices and five international locations.

COST has been actively involved in theme construction since 1957.

Our Preconstruction division works closely with owners, architects, and contractors to provide shop drawings, estimating, scheduling, and value engineering, if required. The team also develops material constructibility reviews for early-stage projects. COST’s 144,000 sq. ft. facility offers the latest in design and fabrication technologies along with a diverse line of material offerings.

Our successful list of precon clients includes Disney, Universal Studios, Fresno Chaffee Zoo, Amazon.com, and Monterey Bay Aquarium.

Todd McCurdy, FASLA is Principal at TMLA | Todd McCurdy Landscape Architect. A graduate of The Ohio State University, Todd has been a leader in the entertainment industry for more than 30+ years. His experience with place-making, knowledge of tourism and sustainable design have allowed him to advise developers and government entities worldwide in the planning and development of new destinations and major urban centers where tourism is a key factor. Todd brings his well-studied body of knowledge of people and places, and quality guest experience to bear on all types of projects.

S T E V E N YO U N G P R I N C I PA L L D VISUAL TERRAIN INC.

J O S H COT T R E L L , C T S S R ACCO U N T M A N AG E R ELECTROSONIC INC.

A M Y PA S T O R , L E E D A P P R I N C I PA L EXP

A S I F PA R K A R VICE PRESIDENT CUMMING

Visual Terrain is celebrating over 25 years of award-winning lighting design for Architecture, Attractions and the Arts. Recognized as an international firm, it is certified as a Disadvantaged Business Enterprise in the state of California.

Past public art/iconic projects include the LAX Gateway, Rays at the River’s Edge Park in Council Bluffs, Cinema Dome, and Universal’s Volcano Bay. We take pride in developing high-impact designs that are beautiful, maintainable and sustainable.

For more information, visit us at www.visualterrain.net.

Electrosonic creates lasting experiences with innovative technology solutions where people live, work, and play. For over 56 years, Electrosonic has pushed the boundaries of technology to create immersive storytelling and themed entertainment environments fusing architecture, storytelling and technology. We have worked with the world’s biggest and most respected organizations, creating high-performance audio-visual and control systems that deliver on the overarching guest experience and operate reliably.

With a mission to understand, innovate, partner and deliver, EXP provides engineering, commissioning and sustainable consulting services to the world’s built and natural environments. Our heritage dates back to 1906, when the earliest of EXP’s predecessor companies started its engineering infrastructure practice.

Today, over 3,000 creative EXP professionals across North America provide the passion and experience needed to deliver successful projects around the world.

EXP is an integrated, motivated team working together with all types of clients, on projects big and small.

Established in 1996 as a project and cost management company, Cumming has evolved into a 950-person, multi-faceted consulting firm focused on adding value at every stage of a project’s development. Driven by our steadfast commitment to supporting theme park owners and their development projects around the world, our entertainment portfolio has flourished and continues to grow today.

Over the past 24 years we have developed relationships with the industry’s most successful companies, comprising tens of billions of dollars in completed projects.

TEAM

TEAM R I S H _ RY U S U K E S A I TO C R E AT I V E D I R E C T O R Rish_Ryusuke Saito is a recent graduate of a master’s program at Southern California Institute of Architecture (SCI-Arc). He received the Merit Graduate Thesis Prize at SCI-Arc Graduate Thesis 2020.

Rish also took a BEng and MEng with emphasis in Architecture in Japan. His thesis won the Outstanding Graduation Thesis Award from Architectural Institute of Japan (Selected 7 out of 180) in 2011.

He currently lives in Southern California and started his career as an architectural designer.

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INTRODUCTION Welcome to Wonderland takes its inspiration from Lewis Carroll’s book Alice’s Adventures in Wonderland.

This project celebrates the imagination of Silicon Valley and San Jose.

Silicon Valley has long been known for pushing boundaries in technology. By creating an eccentric Biome composed of gigantic flora, Welcome to Wonderland celebrates imagination and wonder, and drives the innovative spirit.

North West Perspective

C R E AT I V E

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FORM 225’ - 0”

The multi-scaled flora is packed into a huge figurative, imaginary box measuring 100 feet wide by 225 feet long and 200 feet high. Those portions of the flora that protrude outside the box are sliced off. You will recognize the imaginary box from a distance. In close proximity, the box loses its boundary and becomes more diaphanous. As you move into the interior walkways, the protuberances of the flora are sliced away in the same procedure as the exterior.

200’ - 0”

200’ - 0”

225’ - 0”

0’

-0

”

North West Perspective

West Elevation

South Elevation

Section

100’ - 0”

200’ - 0”

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C R E AT I V E

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D E FA M I L I A R I Z AT I O N In addition to the flora being enlarged and pruned, it is also abstracted into various shades of white composed of varying materials, textures and finishes. This design procedure defamiliarizes the flora from its original self. This project raises awareness of the contrast and variety in the white spectrum. Each flower is composed of a different material but will give the impression of being white, either with its raw materiality or topical paint application. This project puts the notion of white into the process of abstraction for the sake of dismembering to achieve defamiliarization.

C R E AT I V E

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EXPERIENCE The flora relates to each other by touching, leaning and intertwining to produce a multitude of spatial qualities and experiences. Curvilinear floors and ramps allow for a completely immersive experience, giving you the feeling of flight. This surreal structure invites visitors of all ages back to a state of childlike wonderment, to become a bee or a butterfly. The spatial qualities and the circulation combine both sculpture and architecture to become the adventure of Welcome to Wonderland.

Ground Floor

Second Floor

Third Floor

Third Floor

C R E AT I V E

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C U LT I VAT I O N In the novel Alice’s Adventures in Wonderland, Alice says “Being so many different sizes in a day is very confusing.” Welcome to Wonderland is the realization of surreal literature. The experience transports you into a fictional character that challenges your cognitive ability. In order to activate and cultivate the Arena Green Park, the ground level remains wide open. As you move deeper inside, the oversized flowers impart the feeling that you are physically growing smaller with every step you take. The experience is the intertwining between two different worlds. The juxtaposition of artificial nature against real nature allows you to dream or rethink the familiar world in a fantastic new way.

C R E AT I V E

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BIOME Welcome to Wonderland does not take sides, neither sculpture nor architecture. This ambivalence is the definition of this Biome. Sculpture generally conveys the perception of a visual art form that is composed of solid objects. A sculpture as such, affords you the possibility of perceiving a sculpture. In other words, a thing seen or perceived by human beings elicits the affordance of being perceived as a sculpture. Through the introduction of the interaction between the multiple sculptures and the circulation, this project invokes another potentiality. A potentiality which never releases in the relationship between human beings and an individual object. This perceived affordance, the quality of non-sculpture and non-architecture, creates a new world that is this Biome.

C R E AT I V E

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M I S R E G I S T R AT I O N Welcome to Wonderland does not conceal its structure in order to express the ontology of the system. Its structure is a synthesis of conventional framing and organic composition. Some structural elements mimic the flora while others are revealed as they are. This misregistration allows you to get beyond the recognition of structure even though it is right in front of yours eyes.

C R E AT I V E

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D I C H OTO M Y Welcome to Wonderland takes the dichotomy of daytime and nighttime to constitute two distinct and contrasting perceptions. While this project shows its enormity in stillness during the daytime, it transforms its artificial nature into a vibrant, colorful bouquet at night. It is framed by the stars and the glistening city of San Jose.

North West Perspective

C R E AT I V E

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WHIMSICALITY Digital technology adds whimsicality in Welcome to Wonderland at night. Projection mapping on the exterior brings the flora to life with dynamic colors, and textures. Within the interior larger-than-life hologram creatures allow you to experience an enjoyable and yet slightly unsettling environment.

In Closing:

Third Floor

Forth Floor

The many juxtapositions within Welcome to Wonderland represent the creativity of Silicon Valley. Welcome to Wonderland is a local landmark but sets the stage to become a world-wide sensation.

Second Floor

C R E AT I V E

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SITE PLAN 1” = 160’-0”

OH

Camera-1

GUADALUPE RIVER

N. AUTUMN STREET

WELCOME TO WONDERLAND PROJECT SITE

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UPE FW Y GUADAL

W

TJ .S

ET RE T NS

A NT SA .

W

A AR L C

.

ST

TRUE NORTH PLAN NORTH

ARCHITECTURE

15

PLAN B AS E M E N T F LO O R ( -1 2 ’ - 0 ” )

A 1

2

3

4

3/6 4 ” = 1 ’ - 0 ”

5

6

7 ROOM SCHEDULE - BASEMENT

225' - 0" 23' - 3"

20' - 0"

CONTROLS ROOM

26' - 7 1/2"

36' - 0"

26' - 7 1/2"

009

HOLOGRAM

12' - 0"

WOMEN'S RESTROOM 005

B

PLUMBING CHASE

18' - 0" 18' - 0"

100' - 0" 12' - 0" 20' - 0"

E

23' - 3"

LIMIT OF WORK (ABOVE)

SMART MIRROR

D

44' - 7 1/2"

CATERING

004

A

C

44' - 7 1/2"

NUMBER 001 002 003 004 005 006 007 008 009 010

NET AREA LOBBY 471 SF CORRIDOR 553 SF ELECTRICAL 567 SF CONTROLS ROOM 352 SF WOMEN'S RESTROOM 248 SF PLUMBING CHASE 35 SF CUSTODIAL 65 SF MEN'S RESTROOM 233 SF CATERING 199 SF ELEVATOR MACHINE 239 SF ROOM NAME

ELEVATOR MACHINE ROOM

006

010

CORRIDOR

LOBBY

002

001

ELEVATOR PIT

UP

-7' - 0"

CUSTODIAL

ELECTRICAL

007

003

B

STAIR #2

SMART MIRROR

MEN'S RESTROOM 008

HOLOGRAM

KEY PLAN

TRUE NORTH PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

ARCHITECTURE

16

PLAN

A

E 1

2

G R O U N D F LO O R ( 0 ’ - 0 ” )

3

3/6 4 ” = 1 ’ - 0 ”

4

5

6

7 ROOM SCHEDULE - LEVEL 1

225' - 0" 44' - 7 1/2"

20' - 0"

23' - 3"

26' - 7 1/2"

18' - 0"

18' - 0"

26' - 7 1/2"

44' - 7 1/2"

NUMBER 101 102 103 104 105

23' - 3"

NAME ELEVATOR STAIR #1 VESTIBULE STAIR #3 ELEVATOR

AREA 146 SF 975 SF 37 SF 120 SF 68 SF

MAIN ENTRANCE

12' - 0"

A B 18' - 0"

VESTIBULE

ELEVATOR

12' - 0"

D

B

DN

101

UP 18' - 0"

N

100' - 0"

C

103

STAIR #3

UP

104

S

STAIR #2

ELEVATOR 105

E

STAIR #1 20' - 0"

102

KEY PLAN

LIMIT OF WORK

W

TRUE NORTH PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

ARCHITECTURE

17

PLAN

A

E 1

2

2 N D F LO O R ( + 3 4 ’ - 0 ” )

3

3/6 4 ” = 1 ’ - 0 ”

4

5

6

7 ROOM SCHEDULE - LEVEL 2

225' - 0" 23' - 3"

44' - 7 1/2"

26' - 7 1/2"

18' - 0"

18' - 0"

26' - 7 1/2"

NUMBER 202 203 204 205

23' - 3"

LIGHT GRAY CONCRETE PLATFORM, TYP.

20' - 0"

43" GLASS GUARDRAIL, TYP.

44' - 7 1/2"

12' - 0"

VESTIBULE 203

B 18' - 0"

VIEWING PLATFORM 2 205

STAIR #1

100' - 0"

DN

ELEVATOR 101

18' - 0"

N

AREA 38 SF 37 SF 119 SF 2916 SF

LIMIT OF WORK

A

C

NAME VESTIBULE VESTIBULE STAIR #4 VIEWING PLATFORM 2

DN

102

B

UP

S

UP

D 12' - 0"

STAIR #4 204

20' - 0"

E

KEY PLAN STAIR #3 104

VESTIBULE

ELEVATOR 105

RAILING

W TRUE NORTH

202

PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

ARCHITECTURE

18

PLAN

A

E 1

2

3 R D F LO O R ( + 6 8 ’ - 0 ” )

3

3/6 4 ” = 1 ’ - 0 ”

4

5

6

7 ROOM SCHEDULE - LEVEL 3

225' - 0" 23' - 3"

44' - 7 1/2"

26' - 7 1/2"

18' - 0"

18' - 0"

26' - 7 1/2"

43" GLASS GUARDRAIL, TYP.

44' - 7 1/2"

NUMBER 301 302 303 304

23' - 3"

AREA 687 SF 1403 SF 1453 SF 36 SF

20' - 0"

LIGHT GRAY CONCRETE RAMP

NAME VIEWING PLATFORM 3A VIEWING PLATFORM 3B VIEWING PLATFORM 3C VESTIBULE

A 12' - 0"

STAIR #4 204

B

1:20

+72' - 0"

C

18' - 0"

N

100' - 0"

18' - 0"

+78' - 0"

ELEVATOR

+68' - 0"

VIEWING PLATFORM 3C

101

STAIR #1 102

303

B

DN

DN

VIEWING PLATFORM 3B

S

302

UP

12' - 0"

D

VESTIBULE

1:20

RAILING

304

20' - 0"

E

KEY PLAN

LIGHT GRAY CONCRETE PLATFORM, TYP.

VIEWING PLATFORM 3A 301

LIMIT OF WORK

W

TRUE NORTH PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

ARCHITECTURE

19

PLAN

A

E 1

2

4 T H F LO O R ( + 1 02 ’ - 0 ” )

3

3/6 4 ” = 1 ’ - 0 ”

4

5

6

7 ROOM SCHEDULE - LEVEL 4

225' - 0" 23' - 3"

44' - 7 1/2"

26' - 7 1/2"

18' - 0"

18' - 0"

26' - 7 1/2"

44' - 7 1/2"

NUMBER NAME AREA 401 VIEWING PLATFORM 4 1405 SF

23' - 3"

43" GLASS GUARDRAIL, TYP.

20' - 0"

LIMIT OF WORK

12' - 0"

A

C

VIEWING PLATFORM 4

STAIR #1 102

401

ELEVATOR 101

18' - 0"

N

RAILING

100' - 0"

18' - 0"

B

B

DN

S

UP

12' - 0"

D

20' - 0"

E

KEY PLAN LIGHT GRAY CONCRETE PLATFORM, TYP.

W TRUE NORTH PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

ARCHITECTURE

20

PLAN

A

E 1

2

5 T H F LO O R ( + 1 9 0 ’ - 0 ” )

3

4

3/6 4 ” = 1 ’ - 0 ”

5

6

7 ROOM SCHEDULE - LEVEL 5

225' - 0" 23' - 3"

44' - 7 1/2"

26' - 7 1/2"

18' - 0"

18' - 0"

26' - 7 1/2"

44' - 7 1/2"

NUMBER NAME AREA 501 VIEWING PLATFORM 5 2277 SF

23' - 3"

43" GLASS GUARDRAIL, TYP.

20' - 0"

LIMIT OF WORK

12' - 0"

A B

C

B

ELEVATOR 101

18' - 0"

N

100' - 0"

18' - 0"

DN

S

STAIR #1 102

D 12' - 0"

VIEWING PLATFORM 5 501

20' - 0"

E

KEY PLAN LIGHT GRAY CONCRETE PLATFORM, TYP.

W TRUE NORTH PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

ARCHITECTURE

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PLAN

A

E 1

2

ROOF PLAN (+200’-0”)

3

4

3/6 4 ” = 1 ’ - 0 ”

5

6

7

225' - 0" 44' - 7 1/2"

26' - 7 1/2"

18' - 0"

18' - 0"

26' - 7 1/2"

44' - 7 1/2"

23' - 3"

20' - 0"

23' - 3"

12' - 0"

A

C

B

ROOF 18' - 0"

N

100' - 0"

18' - 0"

B

S

+200'

12' - 0"

D

20' - 0"

E

KEY PLAN

W TRUE NORTH PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

ARCHITECTURE

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E L E VAT I O N ( E ) E A S T E L E VAT I O N 1/32” = 1’-0”

ARCHITECTURE

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E L E VAT I O N ( W ) W E S T E L E VAT I O N S 1/32” = 1’-0”

ARCHITECTURE

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E L E VAT I O N S N O R T H + S O U T H E L E VAT I O N 1/32” = 1’-0”

( N ) N O R T H E L E VAT I O N

( S ) S O U T H E L E VAT I O N

ARCHITECTURE

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SECTION 7

VIEWING PLATFORM 5

6

5

4

3

2

SECTION A - A

1 43" GLASS GUARDRAIL WITH ALUMINUM HANDRAIL, TYP.

501

1/32” = 1’-0”

LEVEL 5 190' - 0" STAIR #1

GLASS ELEVATOR

102

ELEVATOR

STEEL SPIRAL STAIRCASE

101

VIEWING PLATFORM 4

PAINTED WHITE STEEL

401

VIEWING PLATFORM 3A

VIEWING PLATFORM 3B

301

302

LEVEL 4 102' - 0"

VIEWING PLATFORM 3C

STEEL SPIRAL STAIRCASE

303

LEVEL 3 68' - 0"

STAIR #4 204

GLASS ELEVATOR

VESTIBULE

VIEWING PLATFORM 2

203

LEVEL 2 34' - 0"

205

KEY PLAN A

LEVEL 1 0" BASEMENT -12' - 0" ELEVATOR MACHINE ROOM 010

LOBBY 001

CORRIDOR 002

ELEVATOR PIT

WOMEN'S RESTROOM

A

005

0 5' 10' 20'

40'

60'

TRUE NORTH PLAN NORTH

1/32" = 1' - 0"

ARCHITECTURE

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SECTION SECTION B - B 1/32” = 1’-0” VIEWING PLATFORM 5

A

B

C

D

E

43" GLASS GUARDRAIL WITH ALUMINUM HANDRAIL, TYP.

501

LEVEL 5 190' - 0"

GLASS ELEVATOR

STEEL SPIRAL STAIRCASE

VIEWING PLATFORM 4 401

LEVEL 4 102' - 0"

ELEVATOR

STAIR #1

101

102

LEVEL 3 68' - 0"

VIEWING PLATFORM 2 205

LEVEL 2 34' - 0"

KEY PLAN

PAINTED WHITE STEEL

-19' - 6"

LEVEL 1 0" BASEMENT -12' - 0"

ELEVATOR PIT

B

0 5' 10' 20'

40'

60'

B C

TRUE NORTH PLAN NORTH

1/32" = 1' - 0"

ARCHITECTURE

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R E S TA U R A N T + R E TA I L B U I L D I N G

X1

X2

X3

N

X4

G R O U N D F LO O R

D X5

X6

X7

X8

3/32” = 1’-0”

X9

96' - 0" 3' - 0"

9' - 0"

12' - 0"

12' - 0"

12' - 0"

12' - 0"

12' - 0"

12' - 0"

4' - 0"

ROOM SCHEDULE - RESTAURANT

8' - 0"

NUMBER 110 111 112 113 114 115 116 117 118 119 120 121

PLUMBING CHASE 116

4' - 0"

XA

OUTDOOR DINING 121

6' - 6"

BOH CORRIDOR 118

13' - 6"

XB

110

RETAIL BOH

W

13' - 6"

111

AREA 790 SF 65 SF 67 SF 239 SF 259 SF 63 SF 37 SF 216 SF 130 SF 305 SF 1048 SF 1334 SF

DINING AREA

MEN'S RESTROOM

120

C

113

48' - 0"

XC

RETAIL

NAME RETAIL RETAIL BOH RETAIL STORAGE MEN'S RESTROOM WOMEN'S RESTROOM CUSTODIAL PLUMBING CHASE KITCHEN BOH CORRIDOR CORRIDOR DINING AREA OUTDOOR DINING

CUSTODIAL 115

WOMEN'S RESTROOM 114

E

KITCHEN 117

RETAIL STORAGE 112

XE

CORRIDOR 119

4' - 0"

6' - 6"

XD

KEY PLAN

TRUE NORTH

S

PLAN NORTH

0

5'

10'

20'

TRUE NORTH PLAN NORTH

3/32" = 1' - 0"

ARCHITECTURE

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R E S TA U R A N T + R E TA I L B U I L D I N G

X1

X2

X3

X4

N

ROOF PLAN

D X5

3/32” = 1’-0”

X6

X7

113' - 4" 12' - 0"

12' - 0"

12' - 0"

12' - 0"

12' - 0"

12' - 0"

12' - 0"

X9 12' - 0"

8' - 8"

2" / 12"

7' - 8"

8' - 8"

X8

10' - 6"

XA

13' - 6"

XB

C E

13' - 6"

W

2" / 12"

63' - 4"

XC

2" / 12"

10' - 6"

XD

KEY PLAN

2" / 12"

7' - 8"

XE

TRUE NORTH

S

PLAN NORTH

0

5'

10'

20'

TRUE NORTH PLAN NORTH

3/32" = 1' - 0"

ARCHITECTURE

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R E S TA U R A N T + R E TA I L B U I L D I N G E L E VAT I O N S 3/32” = 1’-0”

X1

X2

X3

X4

X5

X6

X7

X8

X9 WHITE METAL ROOF

GLASS METAL COLUMNS

LEVEL 1 0" GLASS DOOR WITH STEEL FRAME

( N ) N O R T H E L E VAT I O N

X9

X8

X7

X6

X5

X4

X3

X2

X1

WHITE METAL ROOF

KEY PLAN STEEL COLUMNS GLASS

LEVEL 1 0" GLASS DOOR WITH STEEL FRAME

( S ) S O U T H E L E VAT I O N

0

5'

10'

N

20'

TRUE NORTH PLAN NORTH

S

3/32" = 1' - 0"

ARCHITECTURE

30

R E S TA U R A N T + R E TA I L B U I L D I N G E L E VAT I O N S 3/32” = 1’-0”

WHITE METAL ROOF

XE

XD

XC

XB

XA

GLASS DOOR WITH STEEL FRAME

GLASS

LEVEL 1 0" ( E ) E A S T E L E VAT I O N

XA

XB

XC

XD

XE

WHITE METAL ROOF GLASS DOOR WITH STEEL FRAME

KEY PLAN

GLASS

LEVEL 1 0" ( W ) W E S T E L E VAT I O N

E

0

5'

10'

20'

TRUE NORTH PLAN NORTH

W

3/32" = 1' - 0"

ARCHITECTURE

31

R E S TA U R A N T + R E TA I L B U I L D I N G SECTIONS 3/32” = 1’-0”

X9

X8

X7

DINING AREA

X6

KITCHEN

120

117

X5

X4

X3 MEN'S RESTROOM

WOMEN'S RESTROOM

X1

RETAIL BOH

113

114

X2

111

OUTDOOR DINING

RETAIL

121

110

LEVEL 1 0"

SECTION C - C

XA

OUTDOOR DINING 121

XB

XC

XD

XE

WOMEN'S RESTROOM 114

KEY PLAN

CORRIDOR 119

LEVEL 1 0" SECTION D - D

C

D

0

5'

10'

20'

C

TRUE NORTH PLAN NORTH

D

3/32" = 1' - 0"

ARCHITECTURE

32

C I R C U L AT I O N

CIRCULATION AREA LEVEL

PLATFORM

RAMPS

2

3120 SF

0 SF

3

3555 SF

2600 SF

4

1459 SF

0 SF

5

2352 SF

0 SF

VIEWING PLATFORM 5

VIEWING PLATFORM 3B VIEWING PLATFORM 4

VIEWING PLATFORM 2

VIEWING PLATFORM 3A VIEWING PLATFORM 3C

ARCHITECTURE

33

BASIS OF DESIGN FIRE AND LIFE SAFETY CHALLENGES

SOLUTIONS

A P P R O VA L R I S K

FIRE AND LIFE SAFETY ASSUMPTIONS

Occupancy: • A-3, typical assembly

Occupancy: • A-5, outdoor assembly, depends on level of enclosure

Occupancy: • Low

• San Jose Classification = Building “Structure intended for supporting occupancy” (CBC 202)

High Rise: • Requires fire service access elevators, redundant fire pump, secondary water tank, fire command center, emergency generator, and smoke proof stairs

High Rise: • CBC 403.1 except for lookout towers and A-5

High Rise: • Medium

• California Building Code (CBC) and Fire Code (CFC) apply + local amendments

Construction: • Type I-A (>180ft tall) • 3hr fire rated structure • 2hr floors

Construction: • Classified as an open free-standing structure. 70% open to the sky and no fire rating

Construction: • High

Smoke Control: • 4 stories interconnected requires smoke control • Standby power and commissioning

Smoke Control: • 2 story building w/ multiple mezzanines.

• Mezzanines < 1/2 the size of story below • No smoke control

Smoke Control: • Medium

Egress: • Each story requires at least 2 exits that are separated by 1/3 of the max diagonal floor dimension • Open stairs or sloped walkway cannot span more than 1 story before providing access to an exit • Restrictions on travel distance to an exit

Egress: • Curved stair complies w/ CBC 1011.9 and enclosed in fire rated construction (tree).

• Access to the sloped walkway should be > 1/3 from the curved stair. Smoke curtain for elevator opening.

• Limit occupant load <50p.

• Means of egress component should be supported by fire rated construction

Egress: • High

Fire Protection Features: • Automatic Fire Sprinklers • Fire Alarm System • Standpipe Hose Connections • Noncombustible & Fire-Resistance Rated Construction • Gurney-sized Elevators • Seismic Design: Structural Risk Category II, <300 occupants

I M A G E T I T L E ( I F YO U N E E D )

ARCHITECTURE

34

S T

R

U

C

T

U

R

E

PLAN F O U N D AT I O N 3/6 4 ” = 1 ’ - 0 ”

E 3

18'-0"

4

18'-0"

26'-7 1/2"

6

-19'-6" TOP OF FOUNDATION 24" THICK CONCRETE WALL

2'-3" TYP

PC4 -12'-10"

PC4 -2'-0"

N 4'-4" TYP 4'-4" TYP

-7'-0" TOP OF FOUNDATION

PC4 -12'-10"

18'-3 1/4"

PC4 -2'-0" PC4 -2'-0"

-12'-10" TOP OF PILE CAP

2'-3" 2'-3"

2'-3" 2'-3" 4'-4" TYP

A B

C

S D

PC4 -2'-0"

2'-3" TYP

PC4 -2'-0" 2'-3" 2'-3"

18" THICK CONCRETE WALL

PC4 -2'-0"

18'-0"

2'-3" TYP

PC4 -12'-10"

PC4 -2'-0"

7

44'-7 1/2"

84" THICK CONCRETE FOUNDATION PC4 -2'-0"

PC4 -2'-0"

PC4 -2'-0"

5

12'-0"

26'-7 1/2"

18'-0"

2

12'-0"

44'-7 1/2"

11'-10 3/4"

1

2'-3" TYP

E

KEY PLAN

4'-4" TYP

W TRUE NORTH PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

STRUCTURE

36

PLAN SLAB ON GRADE 3/6 4 ” = 1 ’ - 0 ”

E 1

44'-7 1/2"

2

26'-7 1/2"

3

18'-0"

4

18'-0"

5

26'-7 1/2"

6

44'-7 1/2"

7

PIPE24, TYP 12'-0"

A B

18'-0"

W24

W14, TYP

SLAB ON GRADE

C

N

S

W24

18'-0"

SLAB ON GRADE

12'-0"

D E

KEY PLAN

W TRUE NORTH PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

STRUCTURE

37

FRAMING PLAN LEVEL 2 3/6 4 ” = 1 ’ - 0 ”

E

12'-0"

W30

W14 W30

W30

B

C

S

18'-0"

14

30

W14

W

W

A

18'-0"

W30 14

W30

W30

W

W30

30

W 30

14

W30

D 12'-0"

W

W14

W30

W14

W30

W14

W30

W30

W30

W30

W30

W 14

W3 0

W3 0

W30

W30

W3 0 W 30

W 30

14

W30

W

W30

W30

W30

W3 0

W

W 30

W30

W 14

W30

W30

W 14

N

W 30

W14 W30

W 14

4 W1

W1 4

W 30

W14 W14

W30

7

44'-7 1/2"

W 14

W14

W1 4

0 W3

W30 W30

6

26'-7 1/2"

W 14

W1 4

W30

W14

W1 4

5

18'-0"

W14

W14

W30

W14

0 W3

4

18'-0"

W14

W14 W30

W14

3

26'-7 1/2"

W14

2

44'-7 1/2"

W14

1

E

KEY PLAN

W TRUE NORTH PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

STRUCTURE

38

FRAMING PLAN LEVEL 3 3/6 4 ” = 1 ’ - 0 ”

E

12'-0"

W30 W14

S

18'-0"

W14 W14

W 30

C

W30 W1 4

W14

W 30

B

18'-0"

W14

W14

W14 W14

D 12'-0"

W14

W14

W14 W30

0 W3 W30

W14

W30

W14

W30

W14

W14

W30

W30

30 0 W3 W30

W30

A

W30

W30 W14

W30 W14

30

W

W30

30

W30

30 W

W30

W14

W

W14

W14 W30

W14

W14

14

W30

W

W14

W30 W14

W1 4 W30

W1 4 W30 W14

W30

W14

W14

W14 W14

W14

W30

W14

W

W30

W30 W30

W30 W30 W30

W14

W 30

W30

W30

W14

W30

4 W1

W14

W14

W14

W30

W30

W14

14

W30 W14

W30

W14

W30

0 W3

7

44'-7 1/2"

14

W 30

W30

W30

6

26'-7 1/2"

W

W

W 14

W 30

W30

N

0 W3

W14

4 W30 W1

W30 W14 4 W1 W30 W30

W 30

W30 W30

W14

5

18'-0"

W14

4

18'-0"

W30W30

3

26'-7 1/2"

W14

2

44'-7 1/2"

W14

1

W30

W30

E

KEY PLAN

W TRUE NORTH PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

STRUCTURE

39

FRAMING PLAN LEVEL 4 3/6 4 ” = 1 ’ - 0 ”

E 1

2

44'-7 1/2"

26'-7 1/2"

3

4

18'-0"

18'-0"

5

26'-7 1/2"

6

44'-7 1/2"

7

W30

12'-0"

W30

W30 0 W3

W

W

W30 30

W30

W

30

S

18'-0"

30

D

W3 0

12'-0"

30

B

18'-0"

W30

W30

W14

W30

W14

W30

W14 W14

30

W30

W14

W

C

W30

30

W30

W30

W

A

0 W3

W30

30

W30

W30

W

W14

W30

W30

W30

N

W14

W

W30

W14

W30

W14W14

W14 W14

W30

W14

W14 W14

W30

30

W30

W

W 14

W30

W30

W14

4 W 14 W1

W30

W30

E

KEY PLAN

W TRUE NORTH PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

STRUCTURE

40

FRAMING PLAN LEVEL 5 3/6 4 ” = 1 ’ - 0 ”

E 1

44'-7 1/2"

2

3

26'-7 1/2"

4

18'-0"

18'-0"

5

6

26'-7 1/2"

44'-7 1/2"

7

W14 W 14

W14 W14

W30

W30

S D

W30

W14

W14

12'-0"

W30

W30

W 14

W14

12'-0"

W30

W14

W14

C 18'-0"

W14

W30

W14

W30

W14

B

18'-0"

W30

W 14

W30

W14

W14

W14

W30

W30

W30 W 14

N

A

W30

W 14

W14

W 14

W30

W30

W 14

W 14

E

W14

KEY PLAN

W TRUE NORTH PLAN NORTH

0 5' 10'

20'

40'

TRUE NORTH PLAN NORTH

3/64" = 1' - 0"

STRUCTURE

41

E L E VAT I O N S W E S T + N O R T H E L E VAT I O N 1/32” = 1’-0”

W

14 14 14 W

14 W

0'-0"

LEVEL 1

LEVEL 1

LEVEL 1

LEVEL 1

( W ) W E S T E L E VAT I O N

14 W W1 4 W1 4

W W1 4

W

14

14 W 14 W

14

14

W

14 W 14 W

14 W W1 4

W1 4

W1 4

W1 4

W30

W30 W14 KEY PLAN PIPE24, TYP N

W14 PIPE24, TYP 4 W1

0'-0"

W30

4 W1

0'-0"

4 W1

0'-0"

14

W30

4 W1

PIPE24, TYP

W30

4 W1

4 W1

PIPE24, W14 TYP

W

LEVEL 2

14

LEVEL 2

W

34'-0"

W30

4 W1

34'-0"

14

14

LEVEL 3

W30

W

LEVEL 3

W

14

68'-0"

14

W30 W

68'-0"

199'-6" TOP OF STEEL

W

14

LEVEL 4

E

W30 W

LEVEL 4

4 W1

W14

14

102'-0"

4 W1

W30

4 W1

W1 4

W30 W

14

102'-0"

D

W30 199'-6" TOP OF STEEL W30

W30

W30

W30

E C

W30

W

LEVEL 2

W30

DB

W30

W30

4 W1

LEVEL 2

W30

4 W1

34'-0"

14

34'-0"

LEVEL 5

W30 W

LEVEL 3

LEVEL 5

14

14

LEVEL 3

190'-0"

W

W

68'-0"

190'-0"

14

14

68'-0"

RHS30x30, TYP

C A W30

W

W

LEVEL 4

14

14

LEVEL 4

RHS30x30, TYP

B

W30

W30

102'-0"

199'-6" TOP OF STEEL

A

W30

W30

102'-0"

W

W

W30

7

W

LEVEL 5

W30

14

LEVEL 5

W30 199'-6" TOP OF STEEL W30

W

190'-0"

14

190'-0"

6 7

W

W30

5

W

4 6

W1 4

53

14

2 4

W1 4

3

W1 4

1 2

W1 4

1

W

( N ) N O R T H E L E VAT I O N

WEST ELEVATION WEST ELEVATION

NORTH ELEVATION NORTH ELEVATION 0 5' 10' 20'

40'

60'

TRUE NORTH PLAN NORTH

1/32" = 1' - 0" WONDERLAND WONDERLAND

STRUCTURE

42

SP200 SP200

ELEVATIONS ELEVATIONS

E L E VAT I O N S E A S T + S O U T H E L E VAT I O N 1/32” = 1’-0”

W1 4

14

14 W

14

14

W 14

14

W

W

( E ) E A S T E L E VAT I O N

14

14

W

W W1 4

LEVEL 1

W1 4

14 W 14 W

W1 4

W1 4

W1 4

14 W

14 W 14 W 14 W

LEVEL 1

W30

W30

KEY PLAN

W14 PIPE24, TYP

4 W1

LEVEL 1

4 W1

0'-0"

4 W1

0'-0"

14

0'-0"

W

PIPE24, TYP

W30

4 W1

W14

14

W30

4 W1

4 W1

4 W1

PIPE24, TYP

W

LEVEL 2

W30

4 W1

LEVEL 2

14

14

34'-0"

RHS30x30, TYP

W30 W

34'-0"

W

14

LEVEL 3

4 W1

4 W1

LEVEL 3

4 W1

4 W1

68'-0"

14

W

14

14

68'-0"

199'-6" TOP OF STEEL

W

14

W

W

LEVEL 4

102'-0" W30 LEVEL 4

A

W30 RHS30x30, TYP

W30

102'-0"

B

W30 W

14

14

W1 4

190'-0" W30 LEVEL 5 14

W

W

W1 4

C

W30 199'-6" TOP OF STEEL W30 W

14

14

W1 4

D

W30

W30

W14

AE

W30

W30

W30

LEVEL 2

190'-0"

W

W

34'-0"

B

W30 LEVEL 5

W30

W30

LEVEL 3

C

W30

W30

68'-0"

D

W30

W30

LEVEL 4

199'-6" TOP OF STEEL

E

W30

W30

102'-0"

1

14

14

RHS30x30, TYP W30

2

W

W

RHS30x30, TYP

1

W

W30 199'-6" TOP OF STEEL W30

W30

LEVEL 5

3

W1 4

190'-0"

4

W

W30

52

W1 4

63

W1 4

4

14

5

W

7

14

6

W

7

W14

PIPE24, TYP

E

( S ) S O U T H E L E VAT I O N

EAST ELEVATION EAST ELEVATION

SOUTH ELEVATION SOUTH ELEVATION 0 5' 10' 20'

40'

60'

S TRUE NORTH PLAN NORTH

1/32" = 1' - 0" WONDERLAND

WONDERLAND

STRUCTURE

ELEVATIONS

ELEVATIONS SP201

43

SP201

ISOMETRIC VIEW

WONDERLAND

ISOMETRIC VIEW

STRUCTURE

SP401 44

DATE: 01/15/21

ISOMETRIC VIEW

WONDERLAND

STRUCTURE

ISOMETRIC VIEW

SP402 45 DATE: 01/15/21

BASIS OF DESIGN C O D E S A N D S TA N D A R D S Design work shall comply with the most current adopted edition of applicable city, county, state and national codes and standards. In addition, the current adopted edition of the following codes, standards and publications, are considered as the governing references to this section.

Applicable recommendations of related trade and professional associations not listed here are also employed.

1. California Building Code, 2019 (CBC), plus City of San Jose code amendments 2. International Code Council (ICC) 3. American Society of Civil Engineers (ASCE) Minimum Design Loads for Buildings and Other Structures, ASCE7-16 4. American Institute of Steel Construction (AISC)

a. Specification for Structural

Steel Buildings, AISC 360-16

b. Seismic Provisions for

Structural Steel Buildings,

AISC 341-16 5. Steel Deck Institute (SDI) 6. American Concrete Institute (ACI) Building Code Requirements for Structural Concrete, ACI 318-14 7. American Society of Testing Materials (ASTM) 8. American National Standards Institute (ANSI) 9. American Welding Society (AWS) 10. Concrete Reinforcing Steel Institute (CRSI)

C B C R I S K C AT E G O R Y C L A S S I F I C AT I O N F O R ST R U C T U R A L LOA DS 1. Wonderland Sculpture Structure: Risk Category II 2. Café: Risk Category II

SAFETY AND TESTING 1. Safety: All designs shall conform to the safety requirements of Cal OSHA and all other applicable safety standards.

2. Materials Testing: A testing laboratory, retained by the Owner, will inspect structural welding (structural steel, rebar, steel deck, headed studs); concrete, grout and rebar placement; high strength bolting; installation of post-installed concrete anchors and epoxy grouted dowels.

The laboratory shall collect all mill certificates for structural steel and rebar, and review welders’ qualifications and welding procedure specifications. The laboratory shall also perform concrete slump tests and compressive strength tests. The structural engineer of record will indicate on the structural drawings items requiring structural tests and inspections.

3.Structural Observation in accordance with the requirements if the CBC will be provided by the structural engineer of record (SEOR). The SEOR will also assist the Architect in the preparation of the Statement of Special Inspections for structural features as required by the City of San Jose.

S E I S M I C LOA D C R I T E R I A Site Class (based on nearby geotechnical reports): D Importance Factor, I Wind 1.0 Seismic 1.0 Peak Ground Acceleration 0.57g Short Period Spectral Acceleration, SDS 1.12 g Long Period Spectral Acceleration, SD1 1.13 g Seismic Design Category D

S E I S M I C R E S I ST I N G SYS TEM Wonderland: Steel Buckling Restrained Braced Frames System Classification (ASCE 7-16, Table 15.4-2) Amusement Structures and Monuments Response Modification Factor, R 2.0 System Over-strength Factor, Ω 2.0 Deflection Amplification Factor, Cd 2.0 Base Shear Coefficient, Cs 0.248 Analysis Procedure: Modal Response Spectrum Allowable Story Drift (ASCE Table12.12-1) 0.020h Café: Steel Buckling Restrained Braced Frames System Classification (ASCE 7-16, Table 12.2-1) Building Frame System Response Modification Factor, R8.0 System Over-strength Factor, Ω 2.5 Deflection Amplification Factor, Cd 5.0 Base Shear Coefficient, Cs 0.14 Analysis Procedure: Equivalent Lat-

STRUCTURE

eral Force

ST R U C T U R A L SYST E M S The structural frame for the Wonderland sculpture consists of wideflange structural shapes for the floor framing, hot-rolled round pipe shapes for the ramp columns, wideflange columns, buckling restrained brace members, and wide-flanged beams for the central core braced frame, and built-up box shapes for the flora structural support.

The foundation system consists of pile caps supported on deep foundations and cast-in-place concrete walls for the basement.

The floor system consists of concrete on composite metal deck.

The secondary support structural system for the flora consists of tube, pipe, channel, angle, and plate shapes, attached to the primary structural frame described above.

The primary lateral system consists of a centrally located buckling restrained braced frame.

For the cafe the structural system consists of wide-flange beams supporting a metal roof deck. The frame is supported on shallow spread footings. The lateral system consists of buckling restrained braced frames.

N A R R AT I V E Welcome to Wonderland celebrates nature through the whimsical surrealism of a large scale biome. All living things, whether plants or animals, need structure to survive

and thrive within the environment they live. Evolution, through eons of time, has generated, through trial, error, and mutation, almost ideal and optimized structural systems for the flora and fauna of earth, in response to each species’ particular environment. Bringing Wonderland to life requires no less of an effort, though because there is now a designer, time and trial and error have been replaced with design thinking, algorithms, and focused creativity.

The structural system of Wonderland is a fusion of traditional framing integrated with an organically geometric composition of support for the flora. The entire biome of Wonderland is anchored to the earth at the central elevator and stair core, through a buckling restrained braced frame system. Radiating out from the anchoring core, traditional structural framing is used to define and support the ramp and floor system. From here, an organic structural frame springs from the traditional to emulate the stems, sepals, and styles of the flora. This biomimicry provides for a seamless integration of the structural system with the artistic vision. The three components of the structural system, the braced frame core, the floor and ramp framing system, and the organic flora structural support system, are tied to together as a unified whole to resist the environmental and seismic forces that Wonderland will need to resist.

46

T

H

E

M

E

D

F

I

N

I

S

H

E

S

M AT E R I A L S INTRODUCTION

M AT E R I A L C O M P O S I T I O N

Silicon Valley has always been known for its creative and innovative technology. Welcome to Wonderland conveys this essence of creativity and technology by using cutting edge project design and delivery methods, the latest in fabrication techniques, and material applications in new ways. Welcome to Wonderland will push the envelope of sculptural creations that will be unsurpassed in modern art. In order to meet the aesthetic requirements, and to accommodate structural engineering and architectural criteria, a number of materials will be used to fabricate the various abstract flora illustrated within the design package.

The Welcome to Wonderland sculptures include durable outdoor materials such as steel of various types, FRP, mesh, and urethane to provide many years of low maintenance use.

These materials are all commonly used outdoors in theme construction applications. The selected materials were chosen based on their respective varied textures that deliver the design intent. These textures (from very smooth to stipple finishes) vary dramatically so patrons see visible changes between the flora surfaces while in close proximity to each sculpture.

THEMED FINISHES

Steel and shotcrete materials used at grade-level and within patron spaces will have softer edging conditions without sharper protuberances. This is an added safety measure with any artistic sculptures touchable by patrons (although the intent is to have most flora out of patron’s reach). For example, the large rose petals and allium leaves will be composed of a structural steel system and covered in a structural and finish shotcrete application, which will be troweled, and finished in a light “knock-down” stipple texture.

48

ALLIUM Focus on leaves and similar type flora elements originating from ground level, this material intent is shotcrete, reinforcing steel, structural steel supports with other finish elements as decorative metals.

To create the large leaf shapes, pulling proven results from past projects of similar size, an internal structural steel framework will be developed.

This framework will be clad with reinforcing steel and then shotcrete will be applied to create final thickness and shapes to follow engineering guidelines specific to Welcome to Wonderland.

M AT E R I A L S Shotcrete finishes to be rough or stippled with various shades of white. Decorative and exposed metals to be smooth finish with either natural or white/gray shades.

T O P I C A L A P P L I C AT I O N S Shotcrete elements on grade level will include the rose, narcissus leaves, and petunias. The colorations will vary from whites to light gray. Other stems, leaves, and petals will primarily be metal fabrications and vary in color from matte white, gray, to natural metal colorations.

The lower-level sculptures will receive an anti-graffiti application that will carry a slightly glossy finish, although a matte graffiti coating will be researched in greater detail.

THEMED FINISHES

49

ALLIUM O T H E R C O N S I D E R AT I O N S Fire rating of materials was a major consideration when selecting steel/ metal fabrications, shotcrete concrete, and FRP, all meeting a Class-A fire rating.

Another major factor considered in material selection and sculpture structure is climbability.

Special precautionary measures have been taken during design to mitigate structures that patrons or others are able to climb. Branching, petals, et al. will be configured and fabricated in ways that alleviate climbing opportunities. This is especially important at all grade level sculptures and flora features in close proximity to elevated walkways and view platforms.

THEMED FINISHES

50

2'-6

LUPINES As patron’s make their way up to the higher elevations, the sculptures will become thinner and lighter weight for both structural and aesthetic reasons. Sharper definition will be integrated in the higher elevated flora by using lighter weight metal fabrications and woven wire mesh products (supported by structural framework). This will reduce overall loading on the primary structure and provide very different visual experiences as patrons make their way to the upper elevations via elevated walkways and view platforms.

8'-0 18 "

7 5’-1 5'-17/8” 8"

5 2’-1 2'-15/8” 8"

2’-6 5/8” 2'-6 58 "

6

8’-0 8'-0 181/8” "

1'-1 38 "

1'-1 38 "

1 2’-3 2'-3 1/4” 4"

2'-1 58 "

6 1'-1 38 "

1'-1 38 "

M AT E R I A L S

2'-3 14 "

Focusing on the Lupines radiating from the central primary structural column, a series of secondary steel stems will support the translucent FRP shells. The shells will be formed from molds in various sizes and will allow for naturalistic appearance by day, and allow for illumination in the evening.

Steel plate supports will be designed in a manner to reduce weight yet still provide adequate structural support of the finishes. This framework will be water jet from shapes derived directly from the design model. These structural framing ribs will also allow the opportunity for lighting and other effect attachments.

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LUPINES T O P I C A L A P P L I C AT I O N S The remainder of flora in higher elevations will receive a white, gray, and natural metallic finishes. White and gray applications will vary based on specific flower sculpture. The design intent also allows some of the decorative metals to retain their natural colorations, much like in the grade elevation sculptures. This will provide an excellent contrast to the other topically painted materials.

The exception to the rules above are the lupines. Several of these flowers will include internal lighting and will therefore be semi-translucent for light emission. However, the intent is these “light covers” will have a milky-white coloration to better conceal internal framework and the lighting fixtures.

Pulling from past projects, two examples at left for opaque and translucent FRP. The upper showing front light opaque FRP, the bottom backlit translucent FRP. Varied effects will be coordinated between construction and lighting teams to fulfill the design intent.

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JACKSON, WI 53037 FAX (262) 677-6020 4201 HIGHWAY P (262) 677-6060

OF WISCONSIN INCORPORATED

SALISBURY ZOO MATA MATA

ZINNIA M AT E R I A L S Other flora will be composed of steel and decorative metals. Branching/ stems will primarily be fabricated with steel assemblies. The flora will be lighter gauge steel fabrications but still be durable and relatively resistant to potential vandalism in these heavily trafficked areas.

At left material examples of mesh showing varied opportunities for visibility. Options will be reviewed and coordinated to with lighting, architectural, structural and safety concerns for final mesh opening and wire sizing. Mesh will either be left natural or will have a white or gray finish applied.

DATE REVISIONS

Stamp:

Drawn by Checked Date Scale Job No. Sheet Title

Sheet Number

EX-3.0

THEMED FINISHES

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BASIS OF DESIGN MOCKUPS

CONCLUSION

S H OTC R E T E

F R P/ F I B E R G L A S S

S T E E L / D E C O R AT I V E M T L

Projects like Welcome to Wonderland require an extensive mock-up schedule to ensure texture and coloration aligns with the creative directives. Each surface texture and color will be provided in the form of a mock-up for stakeholder review and approval. Only after signed approval forms are completed, pieces can be placed into the fabrication queue. This checks and balances approach has been accounted for within the project’s hard costs.

Welcome to Wonderland requires an exceptionally durable sculptural attraction that provides variation in color and texture. Welcome to Wonderland team members have extensive experience in using these materials in high traffic attractions located in seismic zones. These materials are commonly found in theme parks, museums, zoos, and of course, public art throughout the world. The team also understands that future phases will require further dialogue with project stakeholders to ensure the proposed materials meet the requested performance criteria from functional and aesthetic perspectives. This ongoing dialogue will continue to evolve through the Phase 3 design iterations and the mock-ups phase for Welcome to Wonderland

Shotcrete: Wet-mix shotcrete concrete is composed of cement, fly ash, sand, and water. The process involves pumping of a previously prepared concrete, typically readymixed concrete, to the nozzle. Compressed air is introduced at the nozzle to impel the mixture onto the receiving surface. The wet-process procedure generally produces less rebound, waste, and dust compared to the dry-mix process. The greatest advantage of the wet-mix process is all the ingredients are mixed with the water and additives. This process allows for larger volumes placed in less time than typical drymix process concrete. The material, once placed, is then carved, troweled, stamped, or left as is to deliver the specified textural finish.

FRP is a common type of fiber-reinforced plastic using glass fiber.

The fibers are flattened into a sheet (via a chopper/chopped strand mat) or can be woven into a fabric. The plastic matrix may be a thermoset polymer matrix, such as epoxy, polyester resin, or vinylester—or a thermoplastic. FRP is stronger than many metals by weight, is non-magnetic, non-conductive, transparent to electromagnetic radiation, can be molded into complex shapes similar to the flora at Welcome to Wonderland, and is chemically inert under many circumstances. Typical FRP applications include aircraft, boats, automobiles, swimming pools, water tanks, roofing, pipes, cladding (architectural and theme), and external door skins. These applications require long term durability while oftentimes exposed to outdoor conditions.

Welcome to Wonderland will include a variety of steel and decorative metal products from rolled carbon steel for its structural properties to wire mesh for its aesthetic quality.

Metals will vary in type and material thickness per the structural engineering requirements and creative design intent. These requirements and limitations will be further vetted during the Phase 3 design. Currently, the potential materials include:

•Carbon steel •Aluminum

•Stainless steel

•Woven wire mesh in various

diameters and spacing

AT T I C S T O C K As with any custom fabricated project, we have evaluated the life cycle assessment of materials used, and possible replacement costs involved.

The project estimate includes 100 units of attic stock that would be used to replace worn parts over the project’s life. These parts are specific to fiberglass/resin fabrications as the other materials are primarily steel (and other decorative metals) and concrete, thus having a longer life expectancy. Since the above FRP parts include both semi-translucent (for internally lit flora) and opaque versions, we have assumed 50 units of attic stock each. These pieces can be removed through mechanical fasteners and replaced as needed. The final counts can be further reviewed in the Phase 3 planning as more detail design work and engineering is completed.

Proposed Material per Location (Color coded) Level Proposed Materials Textures Level 1-Ground

Shotcrete Steel Level 2 Steel Decorative mesh FRP Level 3 Steel Decorative mesh FRP Urathane mesh* *Currently prototyping for use

THEMED FINISHES

concrete/stipple smooth smooth screen like smooth smooth screen like smooth light texture

Colors white, gray in various shades natural metal/white, gray in various shades natural metal/white, gray in various shades natural metal/white, gray in various shades semi-translucent/white natural metal/white, gray in various shades natural metal/white, gray in various shades white in various shades/semi-translucent white and gray in various shades

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CONTEXT Adjacent to Downtown San Jose, Arena Green is one node along the extensive Guadalupe River Park. The Arena Green site, with its adjacency to SAP Arena is perfectly positioned to be a Catalyst for bringing more guests to experience the park.

The location of Welcome to Wonderland at the confluence of the Guadalupe River and Los Gatos Creek is the perfect site for this iconic element. This creation of a new anchor to an already strong park system adds value to the existing park, and urban fabric, while becoming THE icon of Silicon Valley. The two will be inseparable as planned.

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SITE The Welcome to Wonderland site placement, and site development take inspiration from this initial park direction, re-purposing some of the form-making, and reusing some of the river edge terracing, while adding to it additional connectivity and an upgrade to improve park usage.

SAP CENTER

DIRIDON STATION

Welcome to Wonderland is sited outside the 100’ Riparian Setback following the Riparian Corridor Protection and Bird-Safe Design Council Policy, August 23, 2016.

ARRIVAL PLAZA ARENA GREEN PARK RESTAURANT

Connections from the new Gardens to the rest of Guadalupe River Park are a key element in the ability to activate the entire park.

WONDERLAND GARDENS LOS GATOS CREEK

CONFLUENCE POINT PARK

VIEWING TERRACES PEDESTRIAN BRIDGE

GUADALUPE RIVER

GUADALUPE RIVER PARK

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Garden walk back to the Restaurant and views under Welcome to Wonderland

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D E S I G N PA R A M E T E R S A C T I VAT I O N

CONNECTIVITY

Having a plan for Activation of the site is critical to making a successful place. This plan identifies a variety of things to do, including but not limited to dining, nighttime shows, daytime family activities, and connections with all parts of the park and connecting back into downtown San Jose. See page 6 for greater detail.

Connectivity with the Urban Fabric of San Jose, with Guadalupe River Park, Diridon Station, SAP Arena and future development planned for the area are critical to it’s integration into the urban fabric. This allows the benefits of the new development to expand out and become a catalyst to the other parts of he park and surrounding land and future development.

PROGRAMMING

Special Experience walking under Welcome to Wonderland

EXPERIENCE The experience of walking back across the bridge after watching the projection show is just one of those little gem experiences that make this project sing. This is all about Experience.

E XC L U S I V I T Y

Programming the environment is also critical to its success. A place where events are scheduled to happen that people can PLAN to attend. Events like a San Jose International Food and Wine Festival, Local Artist Art Festival, San Jose History Days, Silicon Valley Youth Innovation Days, Wine and Ice Cream sunsets and a dramatic LIVE Projection Lighting show with lights, motion and music. See page 6 for greater detail.

Creation of a ticketed “Next Level” experience for guests to enjoy Welcome to Wonderland from within - above ground within the biome. This allows guests to explore the upper levels and visit the Rooftop Terrace. This ticketed attraction will create income from the sculpture, as well as provide a better opportunity to secure it at night. It provides a completely unique experience.

I N T E G R AT I O N

INCLUSIVITY

Integration of existing elements and uses within the park create a more seamless park with different ‘rooms’ and experiences within it. Utilizing similar materials and design typologies project a common connection and integration of all the elements and rooms with each other. Guests’ ability to experience each ‘room’ and still feel like they are in the same park.

As the project provides some exclusivity as an experience, INCLUSIVITY is even more critical so that everyone is able to feel like this is THEIR park.

This is designed to be a park for everyone. The entire ground level and gardens are open to the public and fully accessible. Even under the Welcome to Wonderland Sculpture itself.

View from across the River

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A C T I VAT I O N + P R O G R A M M I N G D A I LY / N I G H T LY A C T I VAT I O N

SPECIAL EVENTS PROGRAMMING

Nightly Projection Mapping show (active moving images and lights choreographed to music, Once or twice a night).

Dramatic Lighting every night from Dusk to Close (Subtle changing).

International Food & Wine Festival Festival of the Arts (Local artists) San Jose Music Festival Festival of San Jose Culture San Jose Seafood Festival San Jose History Festival Welcome to Wonderland Garden Festival San Jose Sharks Championship Celebration (Date TBD) Silicon Valley Youth Technology Festival Ice Cream (and Wine) Socials Holiday special events and potential for special Projection Mapping shows:

Welcome to Wonderland Gardens.

Restaurant with indoor and outdoor seating and 270° view of parks.

Pop Jet Fountain and Gift Shop. Children’s Play Area.

Fitness and Yoga Classes.

Shaded seating.

Locations for activities.

Interactive storytelling locations Hikes and Connectivity with other park elements for walking, running, biking, skating, birding, etc.

Convention Center Connections.

Public Restrooms, Wonderland Ticketed Guest Restrooms, (in basement below sculpture).

Restaurant Restrooms.

S I T E D E V E LO P M E N T

Christmas Holidays New Years Eve 4th of July Martin Luther King Veteran’s Day César Chávez Day Native American Day Daily Sunsets, etc

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SITE ELEMENTS Dynamic programming is a critical asset for activated, thriving parks in the 21st century. Quality programs don’t just happen; they require careful planning and development. The plan for Welcome to Wonderland is to go beyond when it comes to programming events. Some of the most successful parks in the world are available to use as a guide on how to do this.

A great example to emulate is Bryant Park in New York with its at Winter Village, free summer movies on the lawn, and endless meals and meetings at its tables, Bryant Park serves its role well as a centrally located Manhattan park.

The most noticeable and significant site element is Welcome to Wonderland, of course. In addition to it, and in full support of it are the Gardens, the Restaurant and Gift Shop, the new Pedestrian Bridge that links the parks on both sides of the river, viewing terraces on the East side of river, and interactive gems like the pop-jet fountain and storytelling areas.

The integration of the site with the overall park with enhanced connectivity and excitement set the stage for the experiences gained by guests coming to enjoy this amazing sculpture called Welcome to Wonderland.

To all those future guests, welcome, and enjoy.

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S I T E P L AC E M E N T R I PA R I A N S E T B A C K Following Riparian Corridor Protection and Bird-Safe Design Council Policy, August 23, 2016, the location for Welcome to Wonderland falls outside the 100’ Riparian Setback as shown.

S I T E P L AC E M E N T

ADDITIONAL GROUND LEVEL PARK IMPROVEMENTS

WELCOME TO WONDERLAND ACK 100’ SETB

PRIMARY SITE AREA

RIPARIAN SETBACK

The original design statement for Guadalupe River Park by Hargreaves Associates notes “The City of San Jose’s desires for the Guadalupe River improvements were multiple: control floods, create habitats for people and wildlife, transform the river into an amenity and a contribution to the renaissance of downtown San Jose, and help create a positive focal image for the city as a whole. The park’s design and programming transitions from one end where urban hardscape plazas and terraced riverbanks respond to the adjacent downtown environment, to the downriver area where a braided landscape of earthworks and riparian plantings creates passive areas for strolling, resting, and play adjacent to residential areas of the city.”

The Welcome to Wonderland site development and placement takes inspiration from this initial park direction, re-purposing some of the form-making, and reusing some of the river edge terracing, while adding to it additional connectivity and an upgrade to improve park usage.

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CONNECTIVITY

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S OHN

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Guadalupe River Park is an incredible asset to the City of San Jose. The site design for Welcome to Wonderland acknowledges it’s importance by improving connections, both visual and physical between the existing park elements and new elements on the opposite side of the river.

EXISTING GUADALUPE RIVER GARDENS ZONE 4 NODE

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The addition of a new Wonderland Restaurant is the glue that ties the remaining Arena Green Park with Welcome to Wonderland by creating a translucent connection with stunning 270° park views. This restaurant is “in” the park surrounding it. The restaurant building is also home to the Gift Shop and Public Restrooms. Adjacent to it is a small arrival plaza with a popjet fountain to provide additional activation and to function as a magnet to drive Arena patrons into becoming Park Guests.

VIEWS

EXISTING ARENA GREEN PARK

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S I T E D E V E LO P M E N T

The overall park can be accessed from all 4 corners. The two on the east side bringing Guests in from Downtown, The two on the west bringing Guests in from Diridon Station, Arena Parking, and the Arena itself. Additional access across Autumn Street via the addition of a “Scramble”. Activating the park is a critical path issue and making connections to the existing park system improves activation.

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MASTERPLAN WO N D E R L A N D FLOOD CONTROL STRUCTURE

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STEPPED TERRACES (SEATING EROSION CONTROL /SHOW VIEWING)

TENNIS COURTS

PROJECTORS

RIVER CORRIDOR

WELCOME TO WONDERLAND

EXISTING PARK TO REMAIN

GUADALUPE RIVER

WONDERLAND GARDENS

FLOOD CONTROL STRUCTURE

PLAZA POP JETS

RESTAURANT /RETAIL / RR

The Big Idea for the Wonderland Masterplan is rooted in the desire to create a new place, but utilizing forms and materials that make it feel like it belongs as a natural element within the Guadalupe River Park. In the end, when all is complete, the Masterplan seeks to be seen as a gentle re-sculpting of its place, and a grounding of the new sculpture into new gardens that are activated and exiting.

LOS GATOS CREEK EXISTING CONFLUENCE POINT PARK TO REMAIN

EXISTING PARK TO REMAIN

S I T E D E V E LO P M E N T

For the majority of the river corridor, all development stays above the top of slope line, with the exception of some plantings to create edges and help with erosion control, as well as some selective hand clearing of damaged or dead trees, and replanting new material as well as of seating terraces to improve erosion resistance as part of the plan. In addition to erosion control, the terraces allow people to view the river, as well as providing seating to view the Interactive Projection Mapping show. Trails and Passive recreational uses can be added to the Riparian Corridor where necessary for continuity per code. Paths/stream crossings are allowed at 500’ intervals. Our proposed pedestrian bridge is less than that, however, the St. John street crossing is currently the only way and does not fully accomplish the connectivity goal. A variance will be sought.

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I N S P I R AT I O N ELEMENTS

Local Artist murals

Over the years, San Jose, like any modern city, has grown and evolved.

The Guadalupe Greenway Park has brought design into the area that previously was not there. There are also engineered solutions to flooding problems blended with park and garden design.

Powerful local art, elegant and effective terraces and bridge crossings are all elements in the existing park system that we felt should be included in our site solution.

FORMS The forms that make up the Guadalupe River Park are varied, but carry some recurring themes. Circles, ovals, spirals and braided, fluid forms are the most visible and memorable.

M AT E R I A L S Terraced seating Circular and flowing forms

Spirals and granite w/ inlaid messaging

Local Artist murals

‘Braided’ Forms

S I T E D E V E LO P M E N T

Materials vary greatly throughout the Guadalupe River Park, but Concrete, Granite in multiple colors, inset text and metal inlays abound. The overall impression is a quality park built with quality materials built to stand the test of time.

Suspension Pedestrian Bridge

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FORMS

Site form making follows the inspiration of other elements already present on the site, in the region, and in the spirit of San Jose. Following along with the Biome theme while relating to it without copying it, the forms Branch, Leaf and Seed all relate back to the Biome while providing visual connections to the historical forms.

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ARRIVAL | Gift Shop and views to Welcome to Wonderland

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DESIGN A C T I VAT I O N A very important key to activation of the site is to make it easy, and efficient to get to the site itself. For example, the SAP Center holds 17,562 people. Before and after events at the arena, we want to make sure that visiting Welcome to Wonderland is in Guests’ plans. To insure that people take the walk across Autumn street to the park, elements and spaces have been included that will help draw people over.

A small plaza and Pop-Jet Fountain add activation to the edge of the park where people from the Arena might arrive. This fountain will be recirculated water, held in an enclosed tank below. There is no large evaporation area above ground, and water usage is minimize since the water is filtered, treated and continuously reused.

For days when there isn’t a SAP Center event happening, those same elements can be the reason for going, and/or the reason for staying longer.

The Gift Shop is located in this area along with public restrooms and the restaurant to all work together to activate this critical area. During Events in the park, such as a Food and Wine Festival (see next page), lighting of the fountain, the landscape and the sculpture all work together to create an inviting look that gets people interest in participating.

ARRIVAL Plaza with pop-jet fountain

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Southwest side by the Rose. Decomposed Granite areas are flexible activation areas.

View from the Restaurant’s outdoor cafe

View of the Southeast side illustrating open views and access below.

Walkers can follow the broad promenade, or dive under the Sculpture for a more intimate experience

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West Side at 6pm.

West Side at Dusk as the lights come on

Morning view East (Guadalupe River) side of Welcome to Wonderland

West Side at 6pm.

Northeast corner along Autumn Street at 6pm just before the lights turn on.

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A C T I VAT I O N PROGRAMMING I N T E G R AT I O N CONNECTIVITY E XC L U S I V I T Y INCLUSIVITY EXPERIENCE

DESIGN DRIVERS I N T E G R AT I O N The addition of the new pedestrian Suspension Bridge facilitates connectivity and integration with the existing park network, as well as direct access to Welcome to Wonderland from Guadalupe River Park.

CONNECTIVITY Currently, the only way to get to this part of the park from Guadalupe River Park is to exit the park on a sidewalk next to the road. While this can be made to work on some level, making a stronger connection between the key open space in the River Park and Welcome to Wonderland goes a long way towards integrating it into the landscape, but also makes for a better, more cohesive experience for park guests. With the green being used as an integral part of the nighttime show experience, simplifying that movement makes a huge difference.

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View from the Green across the bike path to Welcome to Wonderland

View from the River Terraces across to Welcome to Wonderland

6am View from St. John Street overpass | New Floral Mural art on flood engineering structure to discourage graffiti

View from the River Terrace across to Welcome to Wonderland at night

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DESIGN DRIVERS EXPERIENCE The TEAM for Welcome to Wonderland has a lot of previous Theme Park industry experience. We know how to create things that are out of the ordinary. We know how people will use a facility, and how to make them stay longer, happily. When they stay longer, they spend more money. When they come back, they bring their friends. OUR experience isn’t the important part though. It’s the Experience the park guests have. They get to interact with places and people that they didn’t know before. They get to be exited, intrigued, and delighted by something new and different. Our design for Welcome to Wonderland has been about many things, but the most important has to be the opportunities to bring a sense of place, a place where people are excited to be.

A place to have great experiences. A World Class experience in their own back yard.

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CONCEPTS INTRODUCTION The application of nighttime lighting to the Welcome to Wonderland sculpture is meant to enhance the overall shape, design, and grandeur of the daytime experience and transform the sculpture in new and unexpected ways to excite the imagination - challenging the viewer to see the world with a fresh perspective, to create new things, and to boldly embrace the future of the city of San Jose.

Rish’s intent for the daytime experience of Welcome to Wonderland is to create a calm or ‘stillness,’ where the changes to the space are from guests’ changing views as they walk throughout its levels, enhanced by the progression of the sun across the sky.

But as the sun sets, Welcome to Wonderland awakens a world of color: The bottom of the sculpture gradually illuminates, reaching upward until it is entirely engulfed in color. Subtle shifts in contrasting hues continue throughout the evening, with a late night return to a simpler expression of blues and violets, chosen to minimize the impact on the adjacent wildlife.

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CONCEPTS INTENT Lighting will be thoughtfully applied to the surrounding areas to create a warm and comfortable environment for the sculpture to exist within.

Lighting will strategically illuminate the exterior views of the sculpture, using masking inside the lensing of fixtures to limit stray lighting, and additional shrouds and shields to the outsides of fixtures to reduce glare and further prevent light trespass.

Lighting will be added to interior glass ramps to provide even levels of illumination along the paths, to maintain safe passage by guests.

Lighting will be carefully placed at the internal sculpture areas to ensure that lighting strongly illuminates sculpture elements while not creating stray lighting.

Major donors will be recognized by having their names projected in light from multiple levels and areas toward walking surfaces below, the elevator core area, and upper viewing areas, as a living expression of gratitude and community involvement.

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EXTERIOR From the outside of the sculpture, a total of nine lighting poles are intended for use in illuminating the outside of the sculpture. Each pole includes up to sixteen narrow beam fixtures to illuminate the sculpture from distances up to 400’ away from the sculpture itself.

These 40’ tall poles are nestled into the surrounding area development trees and grassy areas, with LED pattern projector fixtures with color-changing, pattern projection, and zoom abilities, plus external lens and stray light shrouding. Poles located at key locations allow the fixtures to be aimed at primary sculpture elements, while minimizing guest view of any structural members and mezzanine ramps. All fixtures will be custom-painted to match the sculpture and poles will be matched to all metal finishes in the rest of the park.

All fixtures will be programmed to create a dynamic nighttime expression of the sculpture with attention to color contrast and animation over time to enhance the artist’s vision.

Fixtures are chosen for their energy-conscious performance, flexibility, and rugged construction.

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INTERIOR / EXTERIOR At the planting areas just outside the sculpture, adjustable accent fixtures are mounted discreetly amongst the plants to aim up to the sculpture’s lower flora. These fixtures provide strong color and light from ground level up to 20’ to 30’ into the sculpture’s flowers and stems. Tightly focused and shrouded from guest view, the light is specifically aimed and locked to keep the illumination only to the sculpture itself.

These fixtures also help to transition the sculpture from day to night, as they will illuminate first each evening, imbuing color to the base of the sculpture, as the sun sets.

Interior to the sculpture, and nearest to guests, ingrade fixtures are carefully placed to illuminate the interior flora, hidden almost completely from guest view. These fixtures include light sources deeply regressed into the fixture to eliminate glare, and can be aimed toward each featured flower and stem. Precise locations are needed to ensure that no stray light escapes to the sky above.

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I N T E G R AT I O N Some elements within the sculpture are created with translucent materials that allow for individual lighting of each petal, resulting in more dynamic and kinetic lighting effects.

The lupine flowers, daffodil stigma, and potentially other flowers can include weather-tight replaceable LED tubes to glow through the sculpture elements. Internally wiring is routed through the flower stems and up to the top of the sculpture catwalks where electrical connections are easily maintained.

Flowers are constructed as half dome ‘shells’ which can be removed to access the LED lighting inside, with quick disconnect connectors for easy replacement or upgrading of equipment with changes in LED technology.

Lupine Petal Section

Lupine Petal Cross-Section

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MEZZANINE The lighting approach to the mezzanines differs in purpose and approach from other areas of the sculpture, with a priority for guest safety and to keep any reflections and light sources out of the way of the views out to the sculpture and surrounding areas.

Our purpose here is to create a safe and welcoming place for guests to gather and explore the upper areas of the sculpture, and the approach we take to achieve that purpose is to hide all sources, and point light down to the walking surface and not into the eyes of the viewer.

The actual walking surface includes no visible light sources, with a gentle warm glow emanating from the side-glass-mounted handrails. This lighting creates a soft pad of lighting onto the walking surface, without any light at guests’ eye level. Inner areas of the ramps and landings include a hidden lighting trough, where warm white downlights and even special effects projectors could be mounted.

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FA A L I G H T I N G Welcome to Wonderland has an overall height of 200’-0”, which categorizes the structure as an A-1 tower (over 150’ but below 350’) requiring both a steady red beacon on top of the elevator core, and also perimeter synced flashing beacons.

These beacons can be mounted into shrouds to eliminate their downward lighting.

FAA regulations stipulate that structures exceeding 150 Feet (46 m) in at least one Horizontal Direction. If the structure/bridge/extensive obstruction exceeds 150 feet (46 m) horizontally, at least one steady-burning light should be displayed for each 150 feet (46 m), or fraction thereof, of the overall length of the major axis.

Additionally, when lighting systems are installed on structures located near highways, waterways, airport approach areas, etc., caution should be exercised to ensure that the lights do not distract or otherwise cause a hazard to motorists, vessel operators, or pilots on an approach to an airport. In these cases, shielding may be necessary. This shielding should not derogate the lighting system’s intended purpose.

Airplane Obstruction Lights

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AREA D E V E LO P M E N T Throughout the park, warm pools of lighting are created by a repeating pattern of simple brushed-metal bollards and gently lilting metal poles that designate major pathway intersections. Clusters of these poles include deeply shielded light heads mounted at varying heights, which provide smooth, even illumination, and a visual connection to the sculpture, without drawing undue attention away from the grandeur of the guest experience.

Additionally, new structures in the park, including the suspension bridge and the building that houses the cafe, restrooms and the gift shop - are designed to eliminate light trespass, either by capturing light within the bridge pathway, or bouncing light off of the restaurant ceiling structures down to the guest levels below.

All fixtures will utilize light sources that are deeply regressed inside the fixtures to minimize glare and stray light and will also be externally shielded to further eliminate light trespass into the sky. Lighting near the riparian corridor utilizes 180° shields to keep light onto to the pathways and sculpture, and not into the river.

Area Development Light Pole and Bollard Layout Plan

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LOA DS

Lighting Power Requirements

Area Exterior Lighting

Equipment Martin Exterior 1000 Pole

Area Development Lighting

Extended QTY Watts Voltage Wattage 92 600 100-120/ 55,200 200-277 7

Lighting Pole - Structura (Various Sizes) Pole Head - KIM - Altitude 1

29 29

155

120-277

4,495

Bollards - ERCO - Castor Bollards - ERCO - Castor

73 10

24 24

120-277 120-277

Control Protocol DMX

Assumed Assumed Nightly Use - Nightly Use Summer Winter 7pm-12am 3pm-12am

N/A

0 7pm-6am

3pm-6am

1,752 240

Wired Control with PIR Occupancy Sensoring 0-10V 0-10V

7pm-6am 7pm-12am

3pm-6am 3pm-12am

Viewing Area

LED Linear, per foot

565

5

24

2,543

DMX

7pm-6am

3pm-6am

Bridge Lighting

LED Linear, per foot

200

5

24

900

DMX

7pm-6am

3pm-6am

Overflow Seating Area

Lighting Pole - Structura (Various Sizes) Pole Head - Flood Lighting ERCO - Kona

18

0

23

96

120-277

2,208

0-10V

7pm-12am

3pm-12am

Basement Lighting

Lensed Recessed Lighting Wall Wash Fixtures

10 18

18 18

120-277 120-277

180 324

0-10V 0-10V

10am-12am 10am-12am

10am-12am 10am-12am

First Floor Interior Lighting

Flood Lighting RGBW Ingrade Lighting RGB

74 80

250 15

120-277 9-15

18,500 1,160

DMX DMX

7pm-10pm 8pm-10pm

3pm-10pm 6pm-9pm

Ramp Lighting

Handrail, per foot

1374

3

120-277

3,435

0-10V

7pm-12am

3pm-12am

Integral Flower Lighting

Integrated Lighting Custom RGB

1200

12

120-277

14,400

DMX

7pm-12am

3pm-12am

Interior Flood Lighting

Flood Lighting RGBW

36

250

120-277

9,000

DMX

8pm-12am

6pm-12am

Donor Wall Lighting

Projector Lights - Rosco Integrated Lights - Custom

12 18

45 15

120-277 120-277

540 270

DMX 0-10V

7pm-12am 7pm-12am

3pm-12am 3pm-12am

Retail Lighting

Accent Track Heads

24

19

120-277

456

0-10V

7pm-12am

3pm-12am

Restaurant Lighting

Uplights for Ceiling

36

40

120-277

1,440

0-10V

7pm-12am

3pm-12am

Restroom Lighting ADA Basement Restroom Lighting

Surface Vandal Proof Lensed Recessed Lighting

36 12

40 18

120-277 120-277

1,440 216

0-10V 0-10V

7pm-12am 7pm-12am

3pm-12am 3pm-12am

Exhibit Lighting

Accent Lighting - TBD

12

18

120-277

216

0-10V

7pm-12am

3pm-12am

FAA Lighting

Signal Lighting

5

40

120-277

200

N/A

7pm-12am

3pm-12am

Equipment Room Lighting

1x4 Vandal Proof

8

18

120-277

144

N/A

As needed

As needed

Controller

ETC Mosaic Rack, etc.

1 1

200 200

24 24

200 200

DMX DMX

24/7 24/7

24/7 24/7

T o t a l:

1 1 9 ,6 59

LIGHTING

This booklet attempts to describe the major lighting systems and lighting approach for the sculpture and surrounding park areas. However, there are several important areas that haven’t been addressed. The table below details these other areas and the quantities of fixtures to capture all wattage and types of lighting for the project and informs the NetZero efforts.

These areas include the restaurant, retail and restroom lighting, the basement and ADA lighting, plus the pedestrian bridge and seating area lighting. Additionally, an allowance is made to include adjustable lighting for temporary art exhibits or events that might take place in the areas around the sculpture. Information shown here is based on rough design information and will be refined in Phase Three.

83

CONTROLS Welcome to Wonderland uses solid state lighting control equipment and advanced software to create linear timelines of lighting programming that allow for astronomical control over the lighting from predawn safety lighting, through the day and evening, and then changes into the nighttime resting state. A distributed data network routes the programming to each of the various areas of the park. Additionally, the system is shielded from damage with lightning suppression and electrical grounding.

Programming controls all sculpture lighting, plus Area Development, Restaurant, Retail and Restroom lighting, plus the nightly video projection mapping shows. All controls are safely locked into a shared equipment room, and can be updated with new firmware, park programming changes, or newly created shows for seasonal events.

All equipment is manufactured by established controls companies with proven track records, and years of experience with entertainment lighting and life safety considerations.

The controls integrate seamlessly with other equipment, including audio playback, and projection equipment, syncing all elements together.

LIGHTING

84

DONOR RECOGNITION Within the sculpture, areas are dedicated to giving recognition to the companies and individuals who have given generously to ensure that Welcome to Wonderland can be appreciated by future generations.

The names of major donors will be projected from multiple levels and areas toward walking surfaces below, the mezzanine walkways and sculptural flora, and upper viewing areas, as a living expression of gratitude and community involvement.

Donors and special event information can be easily changed in the fixtures and projectors to recognize new donors or special announcements.

LIGHTING

85

H O LO G R A M S Not only is the sculpture itself fantastical, but it is home to a variety of brightly colored, “hologram” creatures who magically appear throughout the space. In the image shown here, hidden projectors create movement and playful surprises for all children and even adults to enjoy.

These projectors and pattern lighting fixtures are programmed to allow for seemingly random sightings to hint at a larger population of creatures that ‘live’ inside Wonderland.

Equipment can be hidden within the mezzanine light troughs, or in specially constructed enclosures inside the flora. This equipment should be located in easy to reach and easily maintained locations such that the greatest number of guests may enjoy the projected creatures for years to come.

LIGHTING

86

R I PA R I A N C O R R I D O R The lighting design is respectful of park wildlife and migrating birds.

Pole-mounted sculpture lighting includes cut-off shields to prevent light from illuminating the river and ensure sources are not visible from the water surface. Fixtures are carefully placed and focused to further ensure no artificial lighting reaches these sensitive habitats.

Each fixture includes an inner masking template that cuts the light from extending beyond the sculpture to neighboring buildings or the sky.

Sources are LED, with no output in UV wavelengths, to minimize attracting insects and bats.

All poles are 40’ tall, with fixtures mounted above the tree line, well above the river. Ground-mounted lighting fixtures near the sculpture include glare shields, and are aimed only at the lower 1/3 of the sculpture. Light intensity drops off before light can reach the sky, and is designed to be entirely captured within the sculpture. Ingrade fixtures are mounted so their light output is directed entirely within the sculpture.

Area Development poles and bollards use full cut-off optics to keep all lighting aimed down to pathways, never to the sky above.

Lighting is programmed so that after normal operations hours, the overnight state of the sculpture is in relative darkness, with only the uplights at the pedestrian level in blues and other short wavelength hues, plus handrail and area development

poles on motion sensors for safety.

All other areas are programmed to be as dark as possible to minimize impact on the riparian corridor and wildlife.

All lighting is controlled by an astronomical time clock that tracks the rising and setting of the sun, and can ensure that the lighting is never left ‘on’ when it shouldn’t be.

Throughout the evening, lighting is programmed to subtly and continuously shift, in order to not attract or confuse migrating birds.

View of Seating Area from Rooftop Terrace

LIGHTING

87

P

R

O J

E

C

T

I

O

N

+

S

O

U

N

D

ICONIC Projection mapping techniques in unison with show lighting and audio will be used to enhance and transform the sculptural elements to tell stories. This method has successfully been used on iconic landmarks around the world. Future specialty content can be created to activate the park at night during special events and holidays such as Symphony in the park, Christmas, Halloween, Corporate events, etc.

PROJECTION + SOUND

89

OUTSIDE LASER PHOSPHOR The primary projection for the sculpture will be achieved by 24 28,000 lumen laser phosphor projectors. 20 are located inside a projection tower and 4 are located on poles near the sculpture. The environmentally controlled projection booth will be 2025ft above the ground level to allow the projection to clear trees in the area. The projection booth will also house the Video, Audio and central control equipment for the main viewing area.

POLE Projection for the lower section of the sculpture will be achieved by using projection located inside of secure environmental enclosures. The enclosures will be mounted to ~15ft high poles located along the outer edge of the pathway.

S H OW CO N T R O L All show elements will be connected via the Medialon show network for synchronous control of scheduled shows, special events and maintenance monitoring. Operations can interface with the system via local operator control panels or their personal devices via secure network interface.

PROJECTION + SOUND

90

INSIDE Projection inside of the sculpture will be achieved by using projectors located inside of environmental enclosures. The enclosures can be mounted in a number of different ways and orientations. Projection on the glass core surfaces will be achieved by placing organic shapes of translucent projection film on the glass. This film will pickup the light from the projector to display an image. Projection can also be used for Donor recognition.

The source and control equipment for these projectors will be located in the basement electronic equipment room.

Mounting Location Options • Under Walkways • Inside of Sculpture Elements Orientation • Portrait • Landscape • Ultra Short Throw Maintenance Enclosures will require direct access from catwalks or via lift. A lift point will be installed to facilitate projector installation / replacement.

PROJECTION + SOUND

91

1.32 ft

H O LO G R A M S

1.32 ft

1

2

3

4

5

6

Holographic images will appear around Wonderland by using Holographic LED displays from Hypervsn. The units will be used individually for small effects and combined in arrays to display larger images.

These displays work by using LEDs and a spinning armature to create an image that appears to float in mid air.

These units will be located within the sculptural elements to protect them from the environment and create a light controlled area allowing them to be viewed during the day and night.

Diameter of rays: 1.87 ft Spacing between the units: 1.32 ft

PROJECTION + SOUND

92

Mainviewing Area Coverage

Speaker Pole

MAIN VIEWING AREA Audio for the main viewing areas will be achieved by an array of JBL CBT1000 speakers mounted to ten (10) 15ft high poles spaced 25ft apart along the west edge of the grass area. These column line array speakers will provide even coverage for guests in these areas.

A R E A D E V E LO P M E N T

Seating Area Coverage Area Development BGM Coverage

AUDIO

The background music for the area development will be achieved with Soundtube XT850-GN in ground speakers hidden by landscaping.

These speakers will be placed 25 – 30 ft apart along pathways. In ground security brackets with concrete footings will be used to reduce the potential for theft.

JBL CBT1000+1000E TAPERED HORIZONTAL WAVEGUIDE CONTINUOUSLY VARIABLE. LONG-THROW (TOP) SECTION: 100° MIDDLE SECTION: 130° SHORT-THROW (BOTTOM) SECTION: 160°

INSIDE SCULPTURE THE DATA IN THIS DOCUMENT INCORPORATES PROPRIETARY RIGHTS OF ELECTROSONIC INC. ANY PARTY ACCEPTING THIS DOCUMENT DOES SO IN CONFIDENCE & AGREES THAT IT SHALL NOT BE DUPLICATED IN WHOLE, OR IN PART NOR DISCLOSED TO OTHERS, WITHOUT THE WRITTEN CONSENT OF ELECTROSONIC INC. c

2017 ELECTROSONIC INC.

The audio inside of the sculpture for background music and point source audio for sound effects will be achieved by placing outdoor rated compact speakers along the walkways and inside of the sculptural elements.

QSC Products: AD-S112sw

PROJECTION + SOUND

AD-S6T,

AD-S8T,

93

N

E

T

Z

E

R

O

BASIS OF DESIGN A P P R OAC H

LIGHTING

usage is reported in the next section.

A critical element of our design includes integrating on site renewables to offset the energy used by the sculpture and the retail building, to create a project that is Net Zero Energy.

Our approach to net zero uses the acronym, CERO, which is Spanish for “zero”. This trademarked term simply outlines the 4 key steps to getting to net zero for the building and the site: Conservation, Efficiency, Renewables and Offsets. For this project, our team focused on the first three segments: Conservation, Efficiency and Renewables.

The team started by CONSERVING resources through responsible design practices and pushing the envelope with EFFICIENT technologies where possible. Some elements considered under CONSERVE and EFFICIENCY: 1. LED Lighting 2. Roof overhangs on the retail building 3. Variable volume refrigerant HVAC systems 4. Variable volume fans 5. Low flush and flow rate water fixtures After design considerations were made for the project, preliminary load calculations were performed to determine the energy used on site by the building (retail), by the site lighting and by the projectors used for the shows.

Lighting used for the site and the structure were determined through direct calculations - input wattage of the fixtures and run time (hours per day and days per year). Seasonal considerations were also made, with an assumption that more light would be needed during the winter months and less during the summer months.

Based on the calculations, the lighting load associated with the site and the structure equates to an estimated annual usage of 248.4 MWh/year.

B U I L D I N G LOA DS H VA C , L I G H T I N G , WAT E R H E AT I N G

NET ZERO

PROJECT EQUIPMENT U N C O N D I T I O N E D S PA C E Loads associated with the projectors, that are not included in conditioned spaces, were also determined with a direct calculation - input wattage of the projection equipment and server loads and run time (hours per day and days per year).

Based on the calculations, the projector loads (in unconditioned spaces) account for 101.2 MWh/year of energy use on the site.

PROJECT EQUIPMENT C O N D I T I O N E D S PA C E S Where projectors and server were located in conditioned spaces, these loads were included in the EnergyPro model, used to determine the HVAC loads (energy) for the building and basement of the structure.

Information on the annual expected

There is a small, conditioned building component for the equipment rooms and restrooms in the basement of the structure. To accurately simulate these annual loads, an 8,760 simulation was complete using conceptual information on the equipment anticipated in the electrical rooms, the server room, the elevator machine room and the restrooms.

An additional simulation was performed for the retail building. This 4,000 SF standalone structure is assumed to house a commissary kitchen, where food will be reheated and served to patrons. No gas loads have been included for the kitchen space, as it is expected that the warmers will use electricity.

HVAC equipment has been sized according to these assumptions as well, though considerations for a small kitchen hood and associated exhaust fans have been made in our loads.

Based on the output from the conceptual, box model, the load associated with the building’s HVAC, Lighting, Water Heating, Process, Server Room and Equipment Room has been estimated at 501.2 MWh/ year.

95

E N E R GY U SAG E - S U M MARY The total energy used on site - from the lighting, projection and building loads, is an annual estimate of 850.8 MWh/year.

It is our hope that, as the design progresses in the next stages of development, we continue to decrease the energy intensity use on site and lower the annual expected energy use through more efficient equipment and finalizing the show sequences to understand the actual run time of the lights and projectors.

R E N E WA B L E S Renewable energy, in the form of photovoltaic (PV) panels, will be the primary path to net zero for the site.

Current considerations for PV include: 1. Traditional PV Panels roof-mounted 2. Traditional PV Panels ground-mounted 3. Solar Shingles 4. Solar Trees The most efficient source of PV is in a traditional roof- or ground-mounted system. This allows the project to maximize collection of the sun’s energy through the correct mounting and setting proper tilt angles. A properly installed and maintained system with high-efficiency inverters can be expected to produce 14 - 18 W per SF of panel area.

NET ZERO

Additional site area, for a ground-mounted system, would be the next priority and considered to layout the PV array. Tennis courts or other open spaces may be utilized for the panels.

R E N E WA B L E S - S I Z I N G REQUIREMENTS

Solar Shingles are less efficient than a traditional PV array but offer a unique solution to our site. With a significant overhanging canopy on the retail building, solar shingles may be incorporated across all angles or only on the optimal directions (south and east).

The PV Watts Calculator, found at www.pvwatts.nrel.gov, utilizes TMY2, TMY3 and NREL International weather data for the site’s Latitude and Longitude. This allows the calculator to analyze expected annual sun-hours for the system size anticipated on the site.

Solar Trees can be blended into the landscape and provide another unique alternative to a traditional PV array. These are the least efficient option but, using creativity in this open, community space will be part of the draw to the Welcome to Wonderland project.

User inputs for General System Information is also required. Using industry standards, the following assumptions were made for any traditional PV panels located on the roof of the retail building or ground-mounted on the site: 1. Module Type: Standard 2. Array Type: Fixed 3. System Losses: 14.08% 4. Tilt Angle: 20 degree 5. Azimuth: 180 degrees 6. DC to AC Size Ratio: 1.2 7. Inverter Efficiency: 96% 8. Commercial Electrical Rate: $0.141/kWh

The final consideration will be incorporating solar shingles into the actual structure. This option brings a sense of completeness to the concept. The negative impacts from the site development and energy used from lighting, projectors and HVAC loads are actually being negated by the energy generated from the solar shingles within the flowers of the structure.

As concepts move toward construction, these details will be finalized and integrated into the final submission.

Using the National Energy Renewable Laboratory’s (NREL) PV Watts calculator, an estimate for the size of the PV array was determined.

96

With an expected annual energy use of 850.8 MWh/year, and provided the assumptions outlined in the previous sections, a 525 kW PV array would be required to offset 100% of the energy used on this site. This system can be expected to generate up to 865 MWh/year, providing a slight safety factor for this conceptual phase.

R E N E WA B L E S - F O O TPRINT The least cost option for the 525 kW PV array would be to utilize the high efficiency roof- or ground-mounted systems. At an average of 16 W/SF generated (i.e. between 14 - 18 W/ SF), it is expected that nearly 32,820 SF of PV panel would be needed at this site.

The roof of the retail building provides approximately 1,820 SF of flat area to place these panels, the equivalent of a 29 kW system. This system can generate 62,000 kWh/ year, using the solar radiation from NREL of 5.86 sun-hours per day for San Jose, CA. Solar Shingles come at a premium cost; however, utilizing this technology on the South and East facing slopes of the retail roof will avoid taking up prime open space on site.

Calculations are based on the Tesla SR 60T-1 shingle. The shingle is 45” x 17” and have an efficiency of 24 W per shingle. The East facing slope is 40’-0” wide at its shortest dimension and provides approximately 11’-6” of sloped flat area. The South

NET ZERO

facing slope is 90’-0” wide at its shortest dimension and provides the same depth of 11’-6” for the sloped flat are. Assuming 75% of the area can be used for shingles (less installation, structure, spacing between shingles), and provided that the shingle depth and height of the slope need to align, we can expect the East facing slope to hold up to 60 shingles and the South slope up to 144 shingles. At 24 W per shingle, another 4,896 W can be accounted for in our renewables calculation.

Utilizing the 5.86 hr/day solar radiation value from NREL’s PV Watts, the solar shingles will account for only 28.7 kWh/year.

Summarizing the PV included on the retail building, we have estimated that 62,028 kWh per year will be offset from this system. Since the Solar Shingles do not account for a large portion of the estimate, the calculations will show that the equivalent of a 496 kW (traditional) system is still necessary.

With an additional 496 kW needed to fully offset the remaining energy used on site, design considerations in the next stages will be focused on maximizing the ground-mounted systems before looking at higher cost options, like solar trees. If a 496 kW traditional system is used, the floor print on site required is 31,000 SF.

97

C A L C U L AT I O N S URBAN CONFLUENCE - WELCOME TO WONDERLAND Area

Equipment

Quantity Wattage

Voltage

Projector Power Requirements Projectors See Electrosonic for Information Projector Room Loads See Electrosonic for Information

Extended Wattage

Control Protocol

92,456 0

Assumed Nightly Use - Summer

Assumed Nightly Use - Winter

Percentage of Fixtures used throughout evening

6pm-9pm 6pm-9pm

6pm-9pm 6pm-9pm

100% 100%

3 3

7pm-12am

3pm-12am

50%

5

9

0

0

0

Wh

Assumed Nightly Assumed Nightly Use - Summer Use - Winter (hrs) (hrs)

Annual Wh

3 101,239,320 Wh 3 0 Wh 101,239 PROJECTOR TOTAL kWh/year

Lighting Power Requirements Exterior Lighting - Top Areas

Martin Exterior 1000 Pole

Area Development Lighting

Basement Lighting

First Floor Interior Lighting

92

600

100-120/200-277

55,200

7

DMX N/A

140,925,600 Wh

Pole Lighting - Structura/Selux

36

33

277

1,188

Motion/0-10V

7pm-12am

3pm-12am

100%

5

9

3,032,964

Wh

Bollards - WAC Lighting Landscape Lighting - WAC RGB

36 36

13 15

9-15 9-15

475 522

N/A DMX

7pm-12am 7pm-12am

3pm-12am 3pm-12am

100% 50%

5 5

9 9

1,213,186 1,332,666

Wh Wh

Lensed Recessed Lighting Wall Wash Fixtures

12 18

18 18

120-277 120-277

216 324

0-10V 0-10V

10am-12am 10am-12am

10am-12am 10am-12am

100% 100%

2 2

2 2

157,680 236,520

Wh Wh

Flood Lighting RGBW

72

250

120-277

18,000

DMX

7pm-10pm

3pm-10pm

50%

3

7

32,814,000

Wh

Ingrade Lighting WAC RGB

90

15

9-15

1,305

DMX

8pm-10pm

6pm-9pm

100%

2

3

1,190,160

Wh

Ramp Lighting

Handrail, per foot - Cole Lighting

1000

3

120-277

2,500

0-10V

7pm-12am

3pm-12am

100%

5

9

6,382,500

Wh

Integral Flower Lighting

Integrated Lighting - Custom RGB LED Neon, per foot GLLS

600 1200

12 4

120-277 24

7,200 4,392

DMX DMX

7pm-12am 7pm-12am

3pm-12am 3pm-12am

50% 50%

5 5

9 9

18,381,600 11,212,776

Wh Wh

Interior Flood Lighting

Flood Lighting - Acclaim RGBW

36

250

120-277

9,000

DMX

8pm-12am

6pm-12am

100%

4

6

16,416,000

Wh

Donor Wall Lighting

Projector Lights - Rosco Imagespot Integrated Lights - Custom

24 24

45 15

120-277 120-277

1,080 360

DMX 0-10V

7pm-12am 7pm-12am

3pm-12am 3pm-12am

100% 100%

5 5

9 9

2,757,240 919,080

Wh Wh

Retail Lighting

Accent Track Heads

24

19

120-277

456

0-10V

7pm-12am

3pm-12am

100%

5

9

1,164,168

Wh

Restaurant Lighting

Surface Vandal Proof Lighting

24

40

120-277

960

0-10V

7pm-12am

3pm-12am

25% or less

5

9

2,450,880

Wh

Restroom Lighting Surface Vandal Proof Lighting ADA Basement Restroom Lensed Recessed Lighting Lighting

36

40

120-277

1,440

0-10V

7pm-12am

3pm-12am

25% or less

5

9

3,676,320

Wh

12

18

120-277

216

0-10V

7pm-12am

3pm-12am

25% or less

5

9

551,448

Wh

Hologram Lighting

Accent Lighting - TBD

12

18

120-277

216

0-10V

7pm-12am

3pm-12am

25% or less

5

9

551,448

Wh

Exhibit Lighting (special events only)

Accent Lighting - TBD

48

18

120-277

864

0-10V

7pm-12am

3pm-12am

25% or less

5

9

2,205,792

Wh

FAA Lighting

Signal Lighting

8

40

120-277

320

N/A

7pm-12am

3pm-12am

100%

5

9

816,960

Wh

Equipment Room Lighting 1x4 Vandal Proof

4

18

120-277

72

N/A

As needed

As needed

0

0

0

Wh

Controller

1 1

200 200

24 24

200 200

DMX DMX

24/7 24/7

24/7 24/7

ETC Mosaic Rack, etc.

Totals: MEP Requirements MEP Loads

See EXP Information

100% 100%

0 0

0 0 LIGHTING TOTAL

0 0 248,389

Wh Wh kWh/year

MEP TOTAL

501,186 501,186

kWh/year kWh/year

TOTAL PV SIZING

850,814

kWh/year

199,162 -

NET ZERO

98