New Orleans Community Center for Film Aaron Aday - ARCH 609 - Prof. Shannon Criss Spring 2011 - University of Kansas
ii
University of Kansas School of Architecture Marvin Hall 1465 Jayhawk Boulevard Lawrence, KS 66045 Copyright Š 2011 Aaron Aday Cover design: Aaron Aday Graphic design: Aaron Aday No reproduction, copy, or transmission of this publication may be made without written permission from the author (The name mentioned a few times above, on the title page, and on the cover; in case you missed it).
Contents
1 Mission 3 Client
5 History 7 Culture 9 Climate 11 Demographics 15 City 17 Distict 19 Neighborhood 21 Site
23 Program
29
S.D. Iteration I
31
S.D. Iteration II
33
S.D. Iteration III
35
S.D. Review - 2/28/2011
43
S.D. Review - 3/18/2011
53
D.D. Review - 4/15/2011
65
D.D. Review - 4/29/2011
69
Final Documentation - 5/17/2011
97
End Notes
1
The New Orleans Community Center for Film Studies
is to be a non-profit organization designed specifically for independent documentary and film artists working in the New Orleans area. With this in mind, the NOCFS would hope to provide-- through independent media--an enviroment that supports democracy, community participation, cultural preservation, and lifelong learning to underrepresented individuals and communities.
The NOCFS would provide an ideal location for the
average citizen and professional alike to hone their skills; all would have access to the facility’s offering of screening rooms, media classrooms, and archival film collection. All this--along with new and ever changing technologies-- could be used to make a place for a diverse field of artists to teach, screen, research, and meet.
The Center’s function is not merely limited to those
who specifically use it, however, with the facility to play host to an array of public events. Working with what is already a lively city, public workshops, conferences, film screenings, and other programs would all be used to raise awareness of both the Center and the priceless audio-visual heritage that is contained within. This heritage, in the form of a digital collection, would prove to be a singular source of research for the residents of New Orleans, as well as those across the world.
Mission
AP Photo/HBO, Charlie Varley
3
This facility foremost serves those of the surrounding
neighborhood and city of New Orleans. It seeks to provide to newcomer and experienced professional alike access to the tools needed to create a film. These are often hard to come by, and even harder at times is providing access to the wider public the ability to see and experience the message of the filmmaker.
A real life example of such clients comes in the form
of New Orleans resident Kimberly Roberts, who came to be the central force of the documentary “Trouble the Water� [1] With her husband Scott Roberts, Kimberly provided a visual and audio preview of the Lower Ninth Ward in the moments before, during, and after Hurricane Katrina. Having survived the struggles of the storm with camcorder in hand, her footage could have easily disappeared into the oversaturated waters of the internet. Instead they ran into the practiced filmmakers Carl Deal and Tia Lessin at a Red Cross shelter. Denied access to follow the National Guard troops they were there to originally follow, they instead began to follow the couple in their evacuation and eventual return to the ravaged streets of New Orleans.
While this situation proved to be quite fortunate for
all involved, such was and still is not the case for the stories of countless others. With the NOCCFS, the opportunity is presented to those with a camera--whether it be big or small-- to craft and present the sounds and images of their world.
Client
Photo: Zeitgeist Films
5
1718-1722 - Bienville founds New Orleans at present-day French Quarter. 1719 - First large group of Africans arrives, commencing fourteen decades of slavery. 1791 - French Market founded along riverfront. Vending opportunities in this and future municipal markets help launch generations of poor immigrants to financial independence. 1793-1795 - Eli Whitney invents cotton gin and Jean Etienne de Bore granulates sugar, launching plantation economy. 1803 - United States purchases Louisiana territory for $15 million. 1812 - First Mississippi River steamboat The New Orleans arrives, eventually replacing slower moving keelboats. 1861-1865 - Louisiana secedes from Union. War ends early for New Orleans as federal troops occupy city in 1862. Region’s slave-based plantation economy collapses forever. 1901-1920s - Dock Board modernizes port facilities with new riverside warehouses, elevators, canals, and dock space. 1901 - Oil discovered and produced commercially starting in 1906. 1918-1923 - Dock Board excavates Industrial Canal to connect river and lake. 1941-1945 - New Orleans plays important role in WWII for movement of troops and materials, base for ships and aircrafts, and manufacturing center for Higgins landing craft.
History [2] 1950s-1960s - Containerization technology radically alters port, diminishing labor needs while empowering smaller ports like Mobile and Gulfport to compete with New Orleans. 1960s - Petroleum industry rises; coastal and off-shore oil brings investment and professionals to New Orleans and triggers construction of skyscrapers. 1960-1964 - Civil rights movement, court orders, and Civil Rights Act of 1964 hasten end of de jure segregation. White flight, followed by general middle-class exodus, sends New Orleans population into its first long-term decline, which ensues for decades. 1965 - Hurricane Betsy hits New Orleans, pushing storm surge through MRGO, causing levee failures and substantial flooding in parts of New Orleans and St. Bernard Parish. 1972 - One Shell Square rises as tallest structure in the city, symbolizing oil boom of 1970s. 1980s - Worldwide oil crash devastates region’s economy. 1990s - Rise of tourism sector augments hotel capacity to 37,000 rooms 2005 - Hurricane Katrina strikes region; surge ruptures levees and floodwalls at multiple points, flooding 80 percent of urbanized portions of city east of the Mississippi. August 2005-Present - In collaboration with local citizens, a steady stream of civic and professional organizations from across the nation come to New Orleans to help with cleanup. April 2010-Present - Deepwater Horizon oil rig, fifty miles southeast of the Mississippi River, explodes and unleashes vast quantities of oil into the Gulf of Mexico.
7
French, Spanish, African, Native American, Irish,
German, and Italian are among the many cultural influences that have blended together to form New Orleans’ unique history. This history has created a culture quite unique from the rest of the United States, which is reflected in its language, music, food, festivities, and other attractions that give it such appeal to tourists. With the addition of the Community Film Center to the already growing number of arts and culture orgnizations in New Orleans, it is all the more feasible for these traditions to be passed onto future generations.
This identity is all the more strengthened by the
unique flavors that make up the city’s food. Beignets, muffalettas, jambalaya, and gumbo are all a result of the influx of various cultures that New Orleans location on the Gulf has brought about. This has given it a distinctive and influential place in the world of food. It is for this reason that even food will play an integral part in the Film Center’s program.
Registered Arts and Culture Orgnizations [3]
Culture
Being its birthplace, it comes as no surprise that New
Orleans is especially known for its jazz music. Jazz, along with other traditional and contemporary musical styles like second line, hip-hop, blues, and gospel have all come to represent the identity of New Orleans. Given the role that sound has in the success or failure of a film, the Film Center can play a role in the preservation and presentation of the past, present, and future sounds of New Orleans. Photo: Diane Greene Lent
Just like its music and food, New Orleans has come
to be known for its numerous celebrations that occur year round. Most famous is Mardi Gras during the festive Carnival season, a result of the French Catholic heritage of the city. Numerous music festivals occur as well, all of which celebrate the indigenous music and culture of New Orleans and Louisiana. The NOCCF could come to be part of this heritage, both in its creation and celebration. Photo: Kim Welsh
9
By looking at the data in these charts and the vernacular architecture of the area, a series of basic design strategies were presented for consideration: Create a system of natural ventilation through the use of openings on opposite sides of the building to facilitate cross ventilation, with larger areas facing upwind. Minimize or eliminate west facing glazing to reduce summer and fall afternoon heat gain. Screened porches and patios can provide comfort cooling by ventilation and prevent insect problems. For passive solar heating face most of the glass area south to maximize winter sun exposure, but design overhangs to fully shade in summer. Use light colored building materials and cool roofs with high emissivity to minimize conducted heat gain. Use high ceilings, high operable windows, and open plans to again promote natural ventilation of spaces. High mass surfaces like stone or brick that are naturally cool can be used on interiors to reduce day to night temperature swings. The months of June -September are by far the hottest, wettest, and least windy of the year. These conditions might demand the use of a more sealed building using active systems.
Climate[4]
J F M A M
n
n
n
n
n
0
5
10
53.1 56.2 62.6 68.4 75.8
n
80.9
J J A S O N D
n
n
n
n
n
n
82.7 82.7 79.1 70.3 61.7 55.5
11
Metro ethnicity percentages in 2000 and 2009.
As a result of Hurricane Katrina the New Orleans
Metro population went from 1,316, 510 in 2000 to 1,189,981 in 2009. Of the seven parishes comprising the New Orleans Metro, only three have exceeded their 2000 population. While the graph to the right does show a significant decrease in the African American population, the number has been growing steadily back towards its pre-hurricane levels.
Poverty percentages in 1999 and 2009.
Like the population data, poverty rates overall for
the New Orleans Metro dropped in percentage. This was most evident in Orleans Parish drop from 28% to 24%, and the overall declines in child poverty (graph below) across the three largest parishes in the area. While this may seem great at first, it instead shows the inability of poorer residents forced out because of Hurricane Katrina to move back into the city.[6]
Child Poverty percentages in 1999 and 2009.
Demographics[5]
Homeownership rate in 1999 and 2009. As is shown by many of these graphs, many of the trends in the metro area were driven by significant changes in Orleans Parish. It is no different with the homeownership rate, which increased from 46 to 51 percent – largely a reflection of the steeper obstacles renters faced in returning to New Orleans after Katrina.
Median household income in 1999 and 2009. Despite post-Katrina increases in household incomes in Orleans Parish, the Recession has pushed incomes down again such that median household incomes in the city, at $36,468, are almost unchanged from 1999. Compared to nationwide, the Recession has pushed incomes down 7 percent, from $54,058 to $50,221.
Households without access to a vehicle.
Post-Katrina, fewer households do not have access to a vehicle. This change is most pronounced in Orleans where 18 percent of households do not have a vehicle, down from 27 percent in 2000. Nonetheless, at 18 percent, thousands of households in New Orleans are reliant on public transportation.
13
This map--created from 2010 Census data--still shows the large racial divides that exist across New Orleans and many American cities. The map also begins to reflect the elevation of the city (opposite), and the influence it has had on New Orleans’ development through history.
1 dot = 25 people = Caucasian = African = Asian = Hispanic
SITE
Demographics[5]
Elevation (ft)
0 to -0.5 -0.5 to -1.25 -1.25 to -4.0
SITE
0.5 to 0 1 to 0.5 2 to 1
3 to 2 4 to 3 8.5 to 4
15
Seven parishes make up the New Orleans metro area; of these the Orleans Parish comprises the boundaries of the city of New Orleans. Except for its boundary with St. Tammany Parish to the west and the separated Lower Ninth Ward to the east, the city is completely bound by water. The banks of the Mississippi envelop it to the south, with its connection to Lake Pontchartain to the north made by the man-made Industrial Canal to the east. Ten planning districts comprise the Parish, which are broken down even further into numerous neighborhoods. The site itself is along the river in the Marigny Neighborhood, which lies within the Bywater District.
City
Bywater District French Quarter Marigny Neighborhood Bywater Neighborhood Public Outdoor Space
SITE
0
1 miles
2
N
17
With the highest elevations occurring along the
Mississippi in New Orleans, the majority of pre-20th century settlement occurred along the river. The city itself was founded in 1718 at the French Quarter, which forms the western border of the Faubourg Marigny. This neighborhood, along with the Bywater Neighborhood to its east, were first developed in the beginning of the 18th century. Over time it has seen waves of different occupants, from the initial French Caribbean to later German and Irish immigrants. After a period of decline in the mid 20th century, the Marigny has since started to rebound. It has become well known for its music scene along Frenchman Street, as well as the Mardi Gras celebrations that occur throughout. Very little to no flooding occurred in the neighborhood after Katrina, and became one of many neighborhoods along the river that residents sought refuge in. Various bus and bike routes serve what is becoming a diverse community of residential houses, nonprofit organizations, cooperatives, and businesses. This history, along with its proximity to the river and the tourist drawing French Quarter, are a few of the more broad reaching reasons for choosing the site in the Faubourg Marigny.
District
Site Neighborhoods French Quarter Marigny Bywater Transportation # Bus route Bike route Schools High Middle Elementary Demographics African Caucasian Hispanic Public Space Outdoor
SITE
1000 0
Feet
2000
N
19
The chosen site is a unique location along the river, given that it is a full block of unused space. At around 183,000ft2, it provides ample opportunity to engage the public in events of workshops, markets, screenings, and other activities. It is a break from the rigidity of warehouses that run along the river , and presents and opening to the residential houses that occur to the north. However, a 12ft high levee wall--followed by railroad tracks and wharfs-creates a lengthy barrier between the site and river. This barrier is a common site throughout New Orleans, and recent plans to redevelop this riverfront area into a public park seek to remedy the situation. The most vehicular traffic along the site occurs between the river and Warehouses on N Peters St. The more inland streets of Royal, Chartes, and Decatur are alternating one-ways that run through the residential blocks. The slower nature of these one-ways present ideal routes for the increasing amount of pedestrian and bicycle traffic that runs through the neighborhood from east to west. Such increased traffic has resulted from the fairly recent revitalization of the neighborhood, with many small cafes, coffee shops, cooperatives, and other small businesses opening in the area. Larger institutions such as New Orleans Center for Creative Arts--a professional arts training program for secondary school-age children--have also recently moved to the area. With such a unique position along the Mississippi in such an eclectic neighborhood, it was hard not to choose to place the New Orleans Community Center for Film in the Marigny.
Neighborhood
Site
Site Warehouses Cafes/Bars Schools Open/Neutral Ground Future Riverfront Park Material Sources River Levee Wall Railroad Tracks 250 N
0
Feet
500
21
2
1
12
1
2
2
Si Ste
11 12
10
9
11
10
9
Site
3 3
3
Sie te 8
4
5
4
4
5
6
6
7
7
5
8 6
8
7
23
1st Floor Interior
Given
Lobby
CafĂŠ
Actual
2500
920
1000
1755
Kitchen/Prep
-
780
Seating
-
975
Classrooms (4)
1050
2160
-
530
500
1245
6000
1250
Staff/Equipment Room Exhibition Spaces (4)
SoundStage/GreenScreen Main Space Prep
Control Room
-
750
-
100
-
150
-
250
-
1250
-
-
2825
-
440
Storage
Mechanical
Restrooms
Circulation
Storage
300
Interior Walls
-
620
Exterior Walls
-
810
Northeast Patio
-
805
North Patio
- 1090
Northwest Patio
-
-
2935
Exterior
South Patio
520
Work Yard/Screening Area
-
Multi-use lawn
-
Seating/Stream Fountain
-
Native Woodland Park
-
5590 13150 1840 28220
2nd Floor Interior Theatre (220 Seats) Seating
4500
Screen/Egress
-
Gathering Spaces
2680
2420
-
260
-
1130
East
-
750
South
-
380
Program
Interior
Given
Actual
Editing Rooms (8)
1000
1520
Restrooms
-
300
Circulation - 1610 Storage - 50 Interior Walls
- 710
Exterior Walls - 790 Exterior Hydroponic Roof System
- 3560
3rd Floor Interior Library 1500 3365 Reading Area
-
1090
Computer Area
-
680
Stacks Area
-
1595
Offices (6)
3000 600
Server Room
- 310
Conference Rooms (2)
- 380
Theatre Projection Room - Restrooms
240
- 210
Circulation
- 400
Storage - 45 Interior Walls Exterior Walls
- 300
- 700
Exterior Viewing deck
- 3410
GSF
NSF
NASF
Tare
1st Floor
14105
12675
8480
5625
2nd Floor
8790
7240
6040
2750
3rd Floor
6550
5105
5195
1355
29445
25020
19715
9730
Total
Building Efficiency
67%
25
Lobby - 920ft2 Being a film center for the community of New Orleans, the true lobby of the building occurs at the northeast corner (intersection of Decatur and Spain Streets) of the building and site. This allows it to immediately facilitate the various types of traffic that occur down Decatur, a oneway street running east to west. Its highly visible nature from both the north and south allows for a direct physical and visual connection to the activity occurring on each side of the building. This also places it at one terminus of the linear path that runs through the building; this provides an open physical and visual connection from the lobby to every function on the first and second floors. Of the many precedents looked at, the most appealing were those of schools. That of Lynwood High School by Bassetti Architects in Bothell Washington, was used as a direct precedent.[6] A so called “agora” slices through the core of the building, and serves as a lobby, cafeteria, study hall, and event/gathering/performance space.
Café - 1755ft2 The unique culture of New Orleans is defined by many factors, one of which is its distinctive cuisine. It is imperative then, to have a film center that recognizes and utilizes the importance that food plays in the New Orleans community. Occupying the same open first floor space at the northeast corner of the building as the lobby, it acts as a means of connection between the regular users of the film center and the general public. When not in use as a more public cafe and coffee shop, its large kitchen could be utilized for a variety of events and occasions that may occur in and around the building. The Lavin-Bernick Center on the Tulane University campus in New Orleans served as precedent for much of the facility. Its utilization of public study lounges and spaces directly connected to food services provided insight into the role that cuisine can play in the success of a space.
Photo: Michael Cole
Classrooms - 2160ft2 The original program called for 20% of the building’s 30000 square footage to go to the soundstage, greenscreen, and other related production facilities. Yet with this being an independent film center utilized in large part by the community of New Orleans, the more educational aspects of the Center were allocated more space. With ever changing technology and ideas , however, set computer and film classrooms did not seem economical. Instead the classrooms-- which are placed off the open circulation spine of the building--are left open to allow for a multitude Photo: Lincoln Barbour
of uses. A larger technology checkout room, along with a series of smaller storage spaces directly across the circulation path, provide the necessary equipment for the rooms. Not surprisingly, another school served as a model for these classrooms: Mahlum Architects’ Thurston Elementary School based learning environments around a series of open breakout spaces that had direct access to the outdoors. [7]
Exhibition - 1245ft2 Another key aspect to the success of the NOCCF is the presentation of the communication and creation that happens within the Center. A series of smaller exhibition spaces that open off the main connection spine provide the space for this day-to-day a daily display of communication. These spaces are directly opposite of the classrooms, and are separated from each other by the classroom storage spaces. They also bcome a series of breakout spaces opposite the classrooms. A series of movable panels give these spaces a controlled connection to the outside, and provide for a Photo: Rasmus Norlander
unique display of the work. Inspiration for this idea came from the Storefront for Art and Architecture gallery in New York, which was a collaboration between artist Vito Acconci and architect Steven Holl.[8]
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Soundstage - 1250ft2 The reduced size of the soundstage from the given program does not diminish its importance to Center’s success. Space would still be needed for the smaller sets that independent and documentary style films might employ; after looking at several smaller soundstage setups, 750ft2 of space with a 24’ high grided ceiling was determined to work for the program. An additional 500ft2 of space is used for the control, prep, and storage rooms. With the need for acoustical isolation for the main stage, this set of rooms is placed on the building’s west end. This placement provides separation and connection in the form of a vertical circulation core that forms the other terminus of the connection spine. A hangar door on the southeast wall of the stage provides a loading zone and further connection to the park; this area to the south of the sage can then be utilized as a workyard or outdoor screening area. While of a much larger scale, Secondline Studios in New Orleans greatly illustrated all the factors that go into making a successful soundstage.
Theatre - 2850ft2 The thearte would play host to the openings of films produced at the Center, as well as daily presentations of films the general public could view. Its large square footage and need for sound isolation presented challenges similar to that of the soundstage. Yet given a maximum building footprint of 12,000ft2, it was hard to place the theatre on the ground floor. Instead it was lifted above the first floor lobby and cafe to preserve the openness of those connected public spaces. This presented different challenges in terms of structure and egress, with it possessing unique versions of both from the rest of the building. Other details involving the seating, screen, projector room, and sound systems were determined by looking at theatres in the area; Warren Theaters in Wichita, KS, provided beneficial examples of modern, 250 seat stadium theatres similar to that specified in the program.
Editing Rooms - 1950ft2 Being a film center for the community of New Orleans, the encouragement of exchange of ideas between users was key in the development of the program. The same holds true even for the more private spaces of the editing rooms. At around 200ft2 for each, they would contain the necessary equipment (computers, table/chairs, drawing board, etc.) for 4 to 5 individuals to collaborate in the postproduction work of the film. In order to provide a level of privacy and security to these rooms, they are placed off a second floor walkway that runs through the double-height space of the main circulation hall. A large breakout space opens up midway along this path, allowing for further interaction outside of the rooms. A tour of the editing rooms at KU’s Oldfather Studios easily highlighted the amount of space and flexibility needed for all aspects of post-production work on film.
Archive/Library - 3365ft2 Even in the age of digital media, special emphasis must be placed on how information is preserved. As such, the archive and library spaces of the program are placed completely on the third floor. Except for the offices, meeting rooms, and server room that occur along the south wall, the open floor plan allows a variety of ways for information to be accessed. An exterior deck extends along its south facade, presenting an expansive view of the River and New Orleans. The Cambridge Public Library by William Rawn Associates showed the importance that libraries still have in a digital age Photo: Robert Benson
of smart phones and tablets.[9]
29
The first few weeks of schematic design saw the development of what specifically each of us saw as the mission of the film center. At the same time 1/32� massing models were used to determine basic programming relationships. Quick decisions were made on what to include and how we included it. With my initial schemes, I was interested in developing a building and site that engaged the general public. To do this I wrapped the program at the northwest corner of Decatur and Mandeville Streets. Concerned over issues of flooding, security, views, and allowing direct connection through the building to the rest of the site, I raised the majority of the building program off the ground. The lobby/cafe occupies both floors as it moves away from the corner, creating a connection to the theatre that cantilevers back towards the corner. Hoping to engage but not overpower the houses to the north, the editing rooms, classrooms, offices, and archive face but step back from the houses. This would create a large shaded area to the south, as well as creating a series of balconies that would have direct connection to Decatur Street. The larger facilities of the greenscreen and soundstage are placed along the western edge in order to engage the larger geometry of the warehouse it would border.
1/32� model looking southeast
Schematic Design Iteration I
1/32� model looking northwest
31
The second iteration saw us again using 1/32” models, but in addition we were asked to look at more specific program forms and relationships. Similar to the first scheme in layout, I instead decided to move the building to the southwest corner of N Peters and Mandeville Streets. I made this move in order to provide a better connection to the heavier traffic that moves along N Peters St. In addition, this would provide a better opportunity for views to the river and city to the south. The lobby and cafe are this time confined to the first floor, and would provide an open connection at the corner to the rest of the site. The theatre again occurs over the lobby, with the sloped form of its seating area incorporated into a south facing cantilever. The
N
1/32” model plan view
similarly stepped form of the classrooms, offices, and editing rooms is kept, except that they would now occupy the ground floor as well. The library would act as a connection space between these wings and the lobby, occupying the northern end of the space above the lobby. The square footage of the soundstage had been reduced at this point, though its placement and size were still chosen in relation to the warehouse to the west.
1/32” model looking southwest
View from N Peters Street looking northeast
Schematic Design Iteration II
1/32� model looking north
Section showing program layout and views in and out of building
View from Decatur Street looking southwest
33
The program’s placement on the site was again moved for the third iteration; it featured a more linear layout that moved south from the lobby and cafe at the northeast corner of Decatur and Spain Streets. The planned redevelopment of the wharves to the south into public park space prompted ideas on how the building could serve as a connection piece over the levee wall. Similar to the first scheme, the majority of the program is raised up in order to facilitate this connection. The lobby space is split between both floors, allowing for an open connection through the building to the walkway that runs to the south. The classrooms, offices, and editing rooms come to occupy the space that runs along this second floor patth. The library and archive are placed nearest to the houses on Decatur Streets, with each occurring on its own floor. The soundstage was completly cut from this iteration, with any and all squarefootage going to the class/meet/editing rooms. SECOND
Library Lobby/Cafe GROUND
Admin Mech
Library Library Theatre Theatre
SECOND
Classrooms Library
N
View from second floor lobby looking southwest
View from Decatur St. looking southwest
Walkway Walkway
View from N Peters St. looking east
Schematic Design Iteration III
Culture
Creation
Communication
Celebration
Cinema
Library
Studio/Classrooms
2600
7000
Lobby/Cafe/Gallery 5000
Theatre 3500
Soundstage 1000
Perspective section looking northwest
35
Site Geometry The geometry of the shotgun houses to the north and the larger warehouse buildings to the east and west are extended onto the site. This creates a repeated pattern of setbacks and small and large spaces
SITE
Geometry
Building Footprint This pattern is then modulated into a more regimented 5’x30’ grid of repeated bays. Based on desired relationships to the site and other functions, the 3ft raised footprint of the building is applied to this pattern. BUILDING Footprint
Building Circulation The smaller extensions become multiple access points into the building. These then connect to a long and wide linear path that serves as a circulation corridor and breakout/exhibition space for the rooms that it connects. BUILDING H. Circulation
Ground Floor Program The program is placed and extruded vertically into their respective heights around this circulation. The lobby, cafe, classrooms, and soundstage all occupy the ground floor. The classrooms and cafe are pushed forwards to create a better interaction with the street. Program Soundstage Lobby Exhibition Classrooms Cafe
Schematic Design Iteration IV - 2/28/2011 Review
Vertical Circulation The vertical circulation cores are placed at opposite ends of the building. Expressed as feature stairs in the exterior composition, they also serve as the fire enclosures and stairs for all floors of the building.
Building V Circulation
Second Floor Program The second floor is comprised of the more private functions of the building. This consists of the theatre and the group editing rooms. The linear path of the first floor is continued here with a smaller walkway, which connects all Building
the spaces with a series of breakout and gathering spaces.
Theatre Editing / PP Rooms
Third Floor Program Given the more fragile nature of both physical and digital data, the library, archives, and administrative offices are placed on the top floor. Reading spaces occupy the northern wall, with the more private offices and service rooms occurring on the south facade. Building
Admin Offices LIbrary / Archive
Overall Building and Site The rest of the site space is programed as a more informal park space. The raised plinth that the building sits on gradually terraces south to the River. A system of water collectors and planted trees then begin to occupy the space based on site extensions, contours, and program. Building Overall
37
Site Plan
40 0
80 60
Perspective section looking east
N
Floor Plans
39
Aerial view looking southwest towards River and CBD
Aerial view looking northeast at park space and building
View west down Decatur Street towards entrance
View east down Decatur Street
View from park looking north towards building
View from N Peters Street looking northwest
View from Decatur Street towards lobby entrance
View from cafe of the south patio and park space
Review Response Rules are well established, but now how do you break them? The suggestion of seeing how neighbors, and New Orleans in general, create unique street character through the multiple ways the buildings of the city face the street and engage the public is an important to the success of my mission. One suggestion was to break down/reduce the number of building edges that face the street. I can agree that the increased number of faces brings about greater problems with thermal and water prevention aspects of the building. Shannon’s suggestion of creating a larger break is something I’ve started to look at. Through combining the two sets of larger classrooms, I can reduce the number of entrances and increase the size of the two that would remain. I could even possibly eliminate the smaller middle room, and create a larger middle connection point. Does the lobby/gallery need more room to breathe? I think my linear circulation and exhibition was already quite substantial in size, I just didn’t show and present it well enough. I do have room to spare in terms of footprint, and think my building could benefit from the increased space anyway. Looking at what physically starts to occupy this lobby in terms of chairs, tables, screens, etc, will help in determining the size of this space. How does the egress to your theatre work? Not very well. I spent the majority of my time before the review trying to resolve this issue. I pretty much had to stop worrying about it to a point so I could consider the rest of my building and presentation. I have been looking at the possibility of turning the theatre 90o east towards Spain Street, so I can create a 2nd floor lobby that could connect the ground lobby, the second floor theatre, and third floor library.
41
43
The final schematic design iteration was the first to directly develop that of a previous scheme. The layout of the program remained largely the same. The rotation of the theatre and swapped locations of the soundstage and cafe are the only major changes made to the program placement. The multiple entrance points of the previous design--occurring on the smaller dimensions of the extended street geometries--are combined into a series large of exterior patios. These open spaces allow for exterior activity and a visual and physical connection into/through the building. Connections to the building and the 3’ raised spaces from the street are created through multiple ramps and stairs that run parallel along all of Decatur Street. Vertical circulation points become the transition points between programs: the eastern core does so between the cafe, lobby, theatre spaces and the classroom,exhibition, editing, library/archive spaces that occur along the main breakout corridor; meanwhile the western core provides connection and acoustical separation between the mechanical room, soundstage and the rest of the building. Overhangs originally applied just to the south facade are utilized on the north as well. This provides for ample shade and a cohesive language to tie all of the building together.
ne
e con
e Conc
p
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Schematic Design Iteration V - 3/18/2011 Mid-review
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Aerial view looking southwest towards River and CBD
45
Site Plan
20 0
60 40
N
Floor Plans
02 01 01 01 01 01 01
Third Floor 01 Administrative Offices 02 Archive/Library
03
03 Meeting Rooms 04 Server Room
04
05
05 Restrooms 06 Theatre
06
07
07 Projecter Room
04 01 01 01 01 01 01
Second Floor 01 Editing Rooms 02 Breakout Space
01
02
01 01 01 01
03
03 Restrooms 04 Theatre
07
07
07
07
07
09 11
06
02
05
05
05
08
05
05
10
12
03
Ground Floor 01 Mechanical Room 02 Sound/Prep Room 03 Stoundstage
04 Outdoor Patio 05 Exhibition Spaces 06 Storage
07 Classrooms 08 Breakout Space 09 Equipment Storage/Checkout
10 Restrooms 11 Lobby 12 Cafe
47
View west down Decatur street of lobby/cafe entrance
View looking west into cafe/lobby and main circulation hall beyond
View from Decatur street of the 1st floor classrooms and 3rd floor library/archives that are bound by the vertical circulation
View from south of western circulation core, ground floor exhibition spaces, and second floor editing rooms
49
View looking west from cafe/lobby of theatre above and main circulation hall beyond
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1/32� model looking southeast
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Review Response The building program seems well thought out and explained but does not quite read from the street as being a building open both visually and physically to the public. Could the more rigid upper levels perhaps suspend between the heavier corners and create a more flexible open space below? I instantly found this proposal of a floating scheme attracting and responsive to what I was seeking to do with my layout. Given the time left in the semester, however, it would be hard to modify my program to this floating scheme and still accomplish all we have left to do in the semester. With this in mind, I think my street facade will start to open more with a less heavy overhang; the application of materials, colors, and openings to the building’s facades will help as well. What truly makes this a successful film institute? This was a hard question to consider and answer at first. What I believe make’s my building into a successful film center at a basic level is the layout of the program in response to room adjacencies and unique site conditions. This program can then come to read as a film center through structure, materials, and room layouts that are receptive to the community and the user. If I am successful in accomplishing this latter part remains to be seen. You said you plan to apply simpler materials that are then accentuated and broken at certain points with the application of color. Perhaps it is more rigid and reactive materials like wood and metal that begin to accentuate your building at points? This is an interesting idea that I will have to consider in addition to the application of color. I have seen precedents for both, with the possibility of both being utilized. The more reactive materials could come to make up the exterior fenestration, while colors could begin to be applied and accentuated on the inside with light. Library/Archive/Offices Soundstage
Circulation
Editing Rooms
Core
Exhibition
Editing Rooms Exhibition
Theatre Lobby/Cafe
51
Concept Sketches
53
Design development saw the articulation of the many details we had observed in precedents throughout the semester to our building. I began from the ground up, building a three-dimensional model that showed how it was built through a sequence of layers that could be clicked on and off. This allowed me to see the conflicts that arose as I began to put together the many different concepts that were integral to my design. One such example was David Chipperfield’s AM Kupfergraben 10 in Berlin, Germany.[10] Appearing from a distance as a monochromatic stone facade, this restrained volumetric design is instead reused brick with a coating of colored lime mortar applied and partially troweled off. It uses the heights and easements of the neighboring historical buildings, and the subdued color of the applied material allows it to fit well with the host of different textures that comprise the neighborhood. This brickwork is then defined by large openings framed by sandblasted precast concrete elements that run the length of the building. Further articulation is made at these openings through the use of operable shutter frames made from a dark stained wood.
Design Development - 4/15/2011 Review
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odel
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Ground floor north wall section
The multiuse classrooms run along Decatur Street, with large openings allowing for visual connections to the activity going on inside. Yet crime and security are a concern, so a possible system of sliding window shutters--as seen in this House in Nuremburg by Matthias Lobermann-- were considered.[11] In this current scheme, the 2’ thickness of the wall provides room for a series of these sliding track walls. Each classroom would have a floor to ceiling opening 18’ wide, so three 6’ wide shutters would be used for each classroom. This allows for them to move freely past each other, creating a wide variation in possible enclosure or exposure. Made from wood and reinforced with a steel frame, a system of these walls operated in different ways could be used throughout the building. A six foot overhang largely protects this north wall from the elements, but a system of floor to ceiling triple glazing is used in order to create a better thermal break.
57
Second floor north wall section
Connecting the multiuse classrooms is the main circulation hall, which is an open double-height space. The north wall of this space above the classrooms is a continuous system of operable windows. Used to ventilate the building, they would provide further activation and interaction with the building. The current scheme utilizes a large central pivot system, of which few precedents could be found. These windows overlook the roof of the classrooms, which would feature a hydroponic wetland system used to treat wastewater and runoff. Precedent for this system came from a John Deere Works in Germany;[12] a wetland system as thin as 2� was designed inhouse to treat the wastewater produced from the factory, which could then be reused.
59
Third floor north wall section
The third floor contains what could be considered the more fragile functions of the building:the digital and physical library/archive collection. In order to better program and save space, a series of smaller pods are cantilevered from the main structure. These protrusions then contain more private reading carrels and desks. The cantilever would utilize an extension of the primary beams and open web joists. This would be capped with an I-beam, which would have a steel plate extension welded onto it. From this the wall system is built up, utilizing the same system of raked colored mortar (0.25”) on reclaimed brick (4”) tied through an air cavity (2”) and thermal insulation (1.5”) to a CMU wall (4”). This is all capped with a precast concrete element and metal flashing. The current diagram also shows the window and desk system as being separate; in future versions I plan to increase the height of the window and to incorporate a desk system into the wall design, similar to that seen in this residence in Dublin by Boyd Cody Architects. [13]
61
Egress Fire Rated Enclosure Exit Discharge
Mechanical Systems Mechanical Room Return Air Supply
Structure
1
1
2
2
3
3
1
4
3
1 2
3 5
6” concrete slab on corrugated steel decking Secondary open web steel joists on 6’ centers
Primary steel framing on 24’x30’ grid
4
2’ Precast concrete beams
5
8” concrete slab on 28”
2
styrofoam block (3’ raised slab)
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Review Response The wall section seems to be understood, yet seems to lack a clarity of legibility across all facades. Instead of these operable structures for openings being of different materials, can they instead consist of one set of materials that makes this operability legible throughout the building? I looked at quite a few precedents for ideas on operable openings to be utilized for the various facades of my building. Given the uniformity of the rest of the building skin, I found the possibility of each of these structures possessing different materials a straightforward way to enrich the façade. After talking to a few different reviewers on this, though, I don’t think much would be lost aesthetically if these kinetic structures possessed a unified material palette. As for what this is, I’m not quite sure yet. I was at first favorable to steel panels because of its unique heavy aesthetic and provided security. Yet concerns over the hostility of large steel panels along the street façade have led me to consider the use of wood as well; it presents a more friendly material, but does not provide the same security that metal could provide.
The layers of your planted roof seem much too small. The planted roof system I have done quite a bit of research on. It is different from traditional green roof systems, being more a wetland to be utilized for the treatment of water on the site. This hydroponic system uses a thinner soil layer in combination with a sloped plane, allowing for this system to be much smaller and lighter than traditional systems.
Your site plan is quite empty. Are you going to make use of the rest of the site? One of the reasons I chose the Bywater site was because of the opportunity the site offered in terms of size and context relations. Given the lack of larger park spaces within New Orleans—especially along the river—I plan to develop the majority of the leftover site into a planted park space. Movie screenings, markets, concerts, festivals, and other related activities would allow for a more purposed interaction between the formal program of the building and the informal program of the park space. This connection would be physically made through connections of paths and extensions between the two.
Natural ventilation seems to be a big part of your project. Does it truly work the way you have set it up? After talking with Steve Padget, it seems that it could use some refinement. He used Marvin Hall as an example, and gave me great information on how to better adapt my systems to the climate of New Orleans.
How do your cantilevers work structurally? I had been using a system of beams cantilevered and bolted back to the primary structure; a much more efficient system was shown to me where the top rigid L-frames of my open web steel joists could simply be extended over the beam the desired distance. These frames might possibly have to increase in size depending on cantilever size.
65
By this point in the semester,most if not all of the building details had been developed. The classrooms are given a system of multi-sliding pocket doors in order to creates a more open connection to the main hall. The exhibition spaces take precedent from the Storefront for Art and Architecture and utilize a number of movable wall panels for projections and activity to play off of. The second floor editing rooms feature large southern glazing, which is given a certain amount of control over light and privacy through the use of hinged shutter doors and overhangs. The northern clearstory windows of the double height circulation space are changed as well, with the pivot windows being reduced in size and number. Smaller details, though, especially in the wall section and graphics, still required review and refinement to effectively communicate how the building came together.
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Design Development - 4/29/2011 Review
Partial north elevation
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North Wall Section Detail 01.
Steel sheet flashing
02.
7” sandblasted precast concrete capping element
03.
Gravel drainage catch
04.
Planted Roof System: 6” soil substrate Soil filter Drainage mat Root barrier
05.
EPDM roof membrane
06.
4” site cast concrete slab on 2” corrugated steel decking
07.
4“ reclaimed brick in English bond; outer surface slurried and then raked with 1/4” lime mortar
08.
1 1/2” air cavity
09.
2 1/2” PU thermal insulation
10.
4” CMU block tied to exterior brick with stainless-steel ties
11.
6” x 6” steel beam
12.
6” x 10” steel beam
13.
2’ rigid open web steel joist
14.
1/2” plasterboard with white skim-coat finish
15.
6” x 4” steel C-channel
16.
Finished suspended ceiling
17.
3’ x 5’ 6” horizontal pivot window
18.
Indirect lighting system
19.
12” x 6” steel beam
20.
Multi-sliding pocket door system Six 9’ x 3’ doors along 17’ opening Wood frame with frosted glass center
21.
Finished floor
22.
6” concrete slab
23.
2 1/2’ polystyrene waffle pod system
24.
2‘ concrete cap on timber piles
25.
Hydroponic wetland roof system 0“ - 2” variable water level 2” - 4” sloped soil substrate Soil filter on 1” - 2” sloped drainage mat Root barrier
26.
Sliding window shutter system
27. 1/4” + 1/2” + 1/4” double glazing in 2” aluminium profiles
69
While I didn’t finish everything that I had wanted, I found the review to have gone very well. They jury said my “execution of concept [solidity and lightness] is fabulous,” but questioned whether or not the materiality choice fit within the neighborhood. I was further complemented for my “compelling renderings,” though they wanted to see a view down the main circulation hallway of my building. Some criticism was raised of the line weights of my building section, while the perspective section was found to be excellent.
The final deliverables for the studio were: --
1/16” building/site model
--
1/2” sectional model
--
1/32” site plan
--
1/16” floor plans
--
1/8” exterior elevations
--
1/8” building sections
--
1/2” wall section
--
11/2” wall/plan details
--
3-5 key perspectives
--
sectional perspective
--
systems diagrams
--
precedent information
--
site information
1/16” model view looking southwest
1/16” model
Final Documentation - 5/17/2011 Final Review
1/16� model view looking east
1/16� model view looking southeast
71
Site Plan
20 0
60 40
N
Floor Plans DN D
DN
03
02 02 02 02 02 02
01
04
04
05
06
06
07
08
01
Third Floor 01 Exterior Patio 02 Administrative Offices
03 Archive/Library 04 Meeting Rooms
05 Server Room 06 Restrooms
07 Theatre 08 Projector Room
05
05
UP
D DN
DN
04
Second Floor 01 Editing Rooms 02 Breakout/Connection Space
01 01 01 01 01 01
02
01 01 01 01 01 01
03 Restrooms 04 Theatre
03
03
05 Wetland Roof System
UP
UP
UP UP
01
02
04
07
04
07
07
07
UP
09
04 11
UP U P
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06
05
06
05
03
06
05
06
05
10
10
UP
12
04
10 0 Ground Floor 01 Mechanical Room 02 Sound/Prep Room 03 Stoundstage
04 Outdoor Patio 05 Exhibition Spaces 06 Storage
07 Classrooms 08 Breakout/Connection 09 Equipment Storage/Checkout
30 20
10 Restrooms 11 Lobby 12 Cafe
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looking east - Perspective Section
1
Classroom
2
Exhibition
3
Editing
4
Hyrdoponic System
5
Viewing Deck
6
Meeting Room
7
Library/Archive
75
looking west down Decatur - Street Perspective
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looking west - Library Perspective
79
looking west - Park Perspective
81
SOUNDSTAGE
South Section
LOBBY
North Elevation
83
Program 1st Floor
Mechanical/Support Spaces Soundstage
Exhibition Spaces
Classrooms
Equipment Storage/Checkout
Lobby Cafe 2nd Floor
Mechanical/Support Spaces
Soundstage
Editing Rooms
Thearte
Planted Roof 3rd Floor
Mechanical/Support Spaces
Archive/Library
Meeting Rooms
Theatre Administrative
85
04
02
01
Structure 01
Foundation
The foundation consists of a series of 34 pile groups.
Each of these consist of 4 concrete filled, 12.75” contiguous flight auger (CFA) piles. Driven closed-toe to a depth of 100’, they are then joined by a 4’ x 4’ x 2’ concrete cap. On top of this sits a 2’ thick waffle pod slab. This system consists of 6’ x 6’ x 18” polystyrene blocks spaced 2in apart, on top of which is poured 6” of steel reinforced concrete. The use of this system reduces the cost and weight of the ground floor raised plinth. 02
Primary Structure
The primary structure of the building uses a beam
and column system. Column dimensions on the first floor are W12x65, followed by W8x67 on the second and W6x20 on the third. Beam sizes range from W16x7 on the first to W14x38 and W12x22 on the second and third, respectivley. Beams are extended out over the columns at cantilever points. Spacings are set up on a 6ft system, with all bays being either 24’ x 30’ or 24’ x 24’. 03
Secondary Structure
The secondary system consists of rigid open web
steel joists. Depths range from 16” on the first floor to 12” on the third. Three joists occur in each bay, placed on the 6ft grid that is utilized in the whole structural system. At cantilever points, the top 3”x3” rigid C-frame is extended to provide the necessary structural support. 04
Floor
The floor system consists of 3” corrugated steel
decking on top of which is poured 3” of concrete. The ridges of the corrugation sit on and are attached to the joists below. Finished flooring, which varies between room, sits directly on top of this.
87
B
C
Egress Worst Case Scenario Exit Access Fire Rated Enclosure Exit Discharge Elevator ADA Ramps A 20’
Common Path
110’
Path I
72’
Path II B
20’
Common Path
117’
Path I
70’
Path II C
18’
Common Path
30’
Path I
45’
Path II
89
Mechanical
Mechanical Room
Return Air
Supply
70 tons
32000 CFM
800 ft2
Fan room area
450 ft
Boiler room area
80 ft2
Cooling tower area
35ft
25ft2
100 ft
80 ft2
2
Cooling capacity Cooling air volume
Main duct area
2
Branch duct area 2
Fresh air louvers area Exhaust air louvers area
The design for the mechanical system utilizes
a series of concrete geothermal piles in a vertical ground heat exchanger. U-shaped plastic pipes carrying water are incorporated within the pile reinforcement cages, with the concrete forming the piles providing an ideal energy transfer medium. The piles are then connected to a ground source heat pump, which removes the existing energy stored in the earth and transfers it into the building. The water from this system is then used to heat or cool the air that is supplied throughout the building. According to The Concrete Society, for every 1kW of electrical energy used to drive the heat pump, around 4kW of heat energy is delivered.[14]
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North Wall Section Detail 01 03 04 02 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 23 24 25
Planted roof system: 4” - 6” sloped soil substrate Soil filter 2” - 3” sloped drainage mat Root barrier Gravel drainage catch EPDM roof membrane 7” sandblasted precast concrete capping element 4” site cast concrete slab on 2” corrugated steel decking 4“ reclaimed brick in English bond; outer surface slurried and raked with 1/4” lime mortar 1 1/2” air cavity 2 1/2” PU thermal insulation 4” CMU block with steel tiebacks to outer wall 6” x 6” steel beam 6” x 10” steel beam 2’ rigid open web steel joist 1/2” plasterboard with white skim-coat finish Finished ceiling 6” x 4” steel C-channel 3/4” birch on suspended aluminium soffit 3’ x 5’ 6” horizontal pivot window Hydroponic wetland roof system 0“ - 2” variable water level 2” - 4” sloped soil substrate Soil filter 1” - 2” sloped drainage mat Root barrier Indirect lighting system 12” x 6” steel beam Multi-sliding pocket door system: Six 9’ x 3’ doors along 17’ opening Wood frame with frosted glass center Sliding window shutter system: Three 10’ x 6’ frames along 18’ opening 3“ steel frame with 2” x 2” vertical inserts 1/4” + 1/2” + 1/4” d.g. in 2” aluminium profiles Finished floor 6” concrete slab 2 1/2’ polystyrene waffle pod system
26 27
2‘ concrete cap on concrete filled contiguous flight auger (CFA) piles Vertical ground geothermal pump system: 3/4” PE-HD piping routed in concrete piles Integrated with wetland roof system
34
5
1
2 6 7 8 9
11
10 13
14
12
15 16
17
18 19
20 21
22 23
23
24
25
26 27
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1/2� = 1’ Wall Section Model Materials MDF, basswood, chipboard, foamcore, corrugated paper, cork,plexi, museum board, black spray paint
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Final Layout 36”x 120”
97
Sources 01
Dargis, Manohla. “’Trouble the Water’ - Surviving Katrina With a Big Personality and a Video Camera.”
02
Campanella, Richard. Bienville’s Dilemma: A Historical Geography of New Orleans.
03
Nytimes.com. The New York Times, 22 Aug. 2008. Web. 12 Nov. 2010.
Lafayette: Center for Louisiana Studies, University of Louisiana at Lafayette, 2008. Print.
Liu, Amy. “Twenty Indicators Measuring Greater New Orleans’ Progress Toward Prosperity.”
Brookings.edu. Brookings Metropolitan Policy Program, Aug. 2010. Web. 27 Oct. 2010.
04
Charts made using Climate Consultant v5.0, by Mline Murray, UCLA.
05
Plyer, Allison, and Elaine Ortiz. “Jobs, Population and Housing.” Gnocdc.org.
06
Logan, Katharine. “Schools of the 21st Century.” Archrecord.construction.com.
07
Greater New Orleans Community Data Center, Aug. 2010. Web. 26 Oct. 2010.
Architectural Record, Jan. 2011. Web. 15 Feb. 2011.
Novitski, B.J. “Schools of the 21st Century.” Archrecord.construction.com.
Architectural Record, Jan. 2011. Web. 15 Feb. 2011.
08
Grima, Joseph. “About Storefront.” Storefrontnews.org. Storefront for Art and Architecture. Web. 29 Mar. 2011.
09
Gonchar, Joann. “Cambridge Public Library.” Archrecord.construction.com.
Architectural Record, Oct. 2010. Web. 27 Oct. 2010.
10
Detail Magazine. “Gallery Building in Berlin.” DETAIL.de. Detail. Web. 29 Mar. 2011.
11
Detail Magazine. “House in Nuremberg.” DETAIL.de. Detail. Web. 15 Feb. 2011.
12
Steinbeis. “Intelligent Constructed Wetlands.” Stw.de. Steinbeis, 06 Aug. 2010. Web. 03 Apr. 2011.
13
Detail Magazine. “Residence in Dublin.” DETAIL.de. Detail, May 2007. Web. 06 Feb. 2011.
14
Collins, Michael. “Geothermal Piles.” Concrete.org.uk. The Concrete Society. Web. 05 May 2011.
End Notes
Software Site Plan
Sketchup 8, Photoshop CS5, Illustrator CS5
Floor Plans
Revit 2011, Illustrator CS5
Elevations
Sketchup 8+VRay 1.48, Photoshop CS5, Illustrator CS5
Building Sections
Sketchup 8, Illustrator CS5
Wall Section
Sketchup 8, AutoCAD 2011, Illustrator CS5
Perspectives
Sketchup 8+VRay 1.48, Photoshop CS5, Illustrator CS5
Sectional Perspective
Sketchup 8+VRay 1.48, Photoshop CS5, Illustrator CS5
Systems Diagrams
City Diagrams
Sketchup 8, Illustrator CS5
Google Maps, Photoshop CS5, Illustrator CS5