P
O R T F O L I O By ANDREAS FORNEMARK
Design is a fine balance between idea, art, and function. Be kind Be critical Work hard Be critical again
A collection of architectural works including both professional and personal interests that spanned academia and career. By Andreas Fornemark, B.Arch. Auburn University College of Architecture, Design and Construction
Contact Andreas Fornemark 4327 Lomo Del Sur La Mesa, Califonia 91941 E. Aforarkitekt@Gmail.com T. 760 300 5817
RESUME EDUCATION Passed Architecture Registration Exams. AXP hours complete, Columbus, OH, USA.
2020-2023
Auburn University, College of Architecture, Design and Construction, Auburn, AL, USA.
2016-2020
Mira Costa Community College, Oceanside, CA, USA.
2013-2015
Contractors State License Board, San Diego, CA, USA.
2014
Bachelor of Architecture. Graduated summa cum laude.
C-54 Contractor License in California.
Construction Industry Training Board, Stockholm, Sweden.
2003-2006
Riksäpplet Culinary School, Stockholm, Sweden.
1993-1996
Construction General Knowledge/ Tile and Stone Contractor License.
Certified Chef, Warm Kitchen.
EXPERIENCE Associate, Archall Architects, Columbus, OH.
2020-2023
Design Builder / Consultant, Obstructures, Auburn, AL.
2018-2019
CAD-Tech / Project Architect, English Vendrell Architects, Auburn, AL.
2017-2019
Student Worker, Auburn University, Auburn, AL.
2016-2020
CAD-Tech / Head Drafter, The Letlow Company LLC, Auburn, AL.
Responsible of construction documents, Design development, Design presentation for clients.
2016-2020 2023-2024
CAD-Lab Assistant, MiraCosta College, Oceanside, CA.
2014-2015
Construction Worker, Golden Bear Tile CO, Ramona, CA.
2011-2015
Construction Worker, Bage Bygg AB, Stockholm, Sweden.
2001-2011
Construction Worker, Firma Benny Förnemark AB, Stockholm, Sweden.
1998-2001
Work in teams on primarily commercial projects. Work spaned from schematic design to construction administration.
Villa Brut. Design development through design build. Production of Concrete blocks, Doors, Door handles, and Bathroom.
Responsible of CAD documents, Renderings, 3D modeling, Material research, and Design development.
Woodshop Assistant worker, Aiding architecture students in manufacturing. Work on HUD grant, Duplex unit development. Work on translation and drawings for a+u Magazine Issue 2017:09. Work on SEED grant, 3D model animations.
Teaching students how to use AutoCAD, SketchUp, Aiding students in design development.
Prepare substrate for tile or stone applications, Waterproof walls and floors, Installing tile or stone according to customer needs and board regulations, Minor concrete works.
Plan workflow for multiple trades, Manage time-plans, Estimate and order building materials. Resolve costumer issues, Work directly with costumers to come up with design solutions. Demolition, Build up, Float walls, Concrete work, Tile and stone installations.
Demolition, Painting, Plaster and drywall applications, Minor carpentry work.
RESUME ACADEMIC HIGHLIGHTS Institutional GPA 3.94. Finalist Spire Student Design Competition. 1st Place in 3rd year studios Concrete Design Competition. 1st Place ranking in Summer Option, (qualifying for architecture program). 1st Place Del Mar Fair, Manual Drafting.
COMPUTER SKILLS • AutoCAD • AutoCAD 3D • Revit • SketchUp • Chief Architect X15 • Bluebeam • Adobe Suite • Microsoft Word
Andreas Fornemark 4327 Lomo Del Sur La Mesa, California 91941 E. Aforarkitekt@Gmail.com T. 760 300 5817
LANGUAGE • Fluent Swedish • Fluent English • Comprehend Norwegian • Comprehend Danish • Simple Spanish
REFERENCE The Letlow Company, LLC
English Vendrell Architects
Obstructures
Les Letlow @ lesletlow@att.net
Mary English @ mkemkenglish@gmail.com
Matthew Hall @ hall@obstructures.org
I am a 65-year-old design/build home builder and remodeler with a college degree in building science. I specialize in residential design and I have been in business since 1979.
I have had the opportunity to work with Andreas in multiple capacities. I have worked with him as professor/student, as a research assistant and as a team member for the courtyard house in San Antonio. He showed the same passion, curiosity and high standards for all three. I think that his curiosity and enthusiasm are why we, my partner Xavier Vendrell and I, invited him to work with us on the courtyard house. He was involved in all aspects of the project from schematic design through construction documents and into construction administration. He tested designs, researched materials and assemblies, made physical and digital models and renderings, figured out construction details and analyzed daylighting. I enjoyed working with Andreas as he raised the level of energy and rigor on the team.
Andreas’ contributions to Villa Brut transcended mere fabrication. While his meticulous approach to workmanship, skills and patience were all invaluable, it was his ability to be a partner in dialog. We constantly questioned while building, starting with drawings but often changing course based on a balance of pragmatism and philosophy. As an architect, I am enamored by the raw, the direct, the almost purposefully rough, but Andreas is more patient forcing me to consistently argue my case resulting in countless reconsiderations that were ultimately better for the project.
About 4 years ago, I got a call from Andreas, looking for a job while going to Architecture school. After a short phone discussion, I asked him to come in for an interview. I was overly impressed with his attitude and hired him on the spot to draw 3D house plans as well as additions and remodeling using our CAD program, Chief Architect. Andreas helped take my design/build business to the next level, with his ability and tenacity to solve problems and get things done. There was never anything I ask of Andreas, that he could not figure out how to do. He has the best learning ability of anyone I have ever known. Between, his design ability and my knowledge of construction, we made a good team and created many fantastic award-winning designs that our clients loved. While putting in the enormous time required in school to complete his degree. Andreas is a very honest, passionate, hardworking, and extremely smart guy. I admit, I was proud of him getting his degree, especially achieving Summa Cum Laude, but was sorry to see him leave. I am certain he will make someone a great employee, as I highly recommend him. He made a definite positive impact on our design/ build ability.
His precision in concert with my ad-hocism made for a wonderful and unexpected juxtoposition of detail- like the bare CMU wall detailing against exquisitely crafted concrete blocks for ventilation penetrations, or the fine wood working of a teak door handle brass pinned to a rusty plasma cut CNC Corten steel profile. While I learned quite a lot from Andreas about many trades, tools and methods that I had only a cursory understanding of, it was his inquisitive and open attitude towards discussion that taught me the most. He brought skills to the job that made it possible, but also changing its course into much more interesting territory. There truly is a difference between a craftsman and an architect, with Andreas, you get both. Rather than one architect’s manifesto, in many aspects the house became a discussion in built form. Each day I see things that remind me of the conversations on site, and I expect my next design’s course will be altered from the refinements to my values and approach to architecture working with Andreas.
CONTENTS ACADEMIA 01. CRAFTSMANSHIP THROUGH JOINERY Thesis | 2020
2-25
02. ATLANTA CONTEMPORARY ART CENTER: 9 LEVELS of HELL Subterranean Galleries | 2019
26-41
03. THE COMMUNITY HUB | Spire Competition (Finalist) Urban Response | 2018
42-57
04. SCANDINAVIA Study Abroad | 2018 05. CAHABA RIVER ECOLOGY CENTER Ecology Center | 2017 06. HUES of CONCRETE | Concrete Competition (1st Place) Mixed Use | 2017
58-77
78-87
88-99
WORK 01. VILLA BRUT Design-Build | 2018-2019 02. a+u MAGAZINE Drawings & Translation | 2017-2019 03. COURTYARD HOUSE Residence | 2017-2019 04. THE WEEKEND CABIN Weekend Getaway | 2016-2018
102-119
120-125
126-145
146-155
OBJECTS 01. WORK DESK Design-Build | 2018 02. CONCRETE SIDE TABLE Design-Build | 2017 03. MANUAL DRAFTING (1st Place) Reproduction Drawing & Paraline | 2013 / 2016 04. DRAWING Graphite Render | 2016 05. SKETCHES Charcoal & Graphite | 2016 / 2013 06. INKING Taditional Inking & Pattern Development | 2016 07. MODEL MAKING Studio Models | 2016 / 2017
158-161
162-165
166-167
168-169
170-171
172-173
174-183
VISUAL CONTENTS ACADEMIA
01.
CRAFTSMANSHIP THROUGH JOINERY THESIS 2020
PAGES 2-25
02.
ATLANTA CONTEMPORARY ART CENTER SUBTERRANEAN GALLERIES 2019
03.
PAGES 26-41
THE COMMUNITY HUB (Finalist) URBAN RESPONSE 2018
04.
PAGES 42-57
05.
CAHABA RIVER ECOLOGY CENTER ECOLOGY CENTER 2017
PAGES 78-87
SCANDINAVIA STUDY ABROAD 2018
PAGES 58-77
06.
HUES of CONCRETE (1st Place) MIXED USE 2017
PAGES 88-99
VISUAL CONTENTS WORK
01.
VILLA BRUT DESIGN-BUILD 2018-2019
PAGES 102-119
02.
a+u MAGAZINE DRAWINGS & TRANSLATION 2017-2019
PAGES 120-125
03.
COURTYARD HOUSE RESIDENCE 2017-2019
PAGES 126-145
04.
THE WEEKEND CABIN Weekend Getaway 2016-2018
PAGES 146-155
VISUAL CONTENTS OBJECTS
01.
WORK DESK DESIGN BUILD 2018
02.
PAGES 158-161
CONCRETE SIDE BOARD DESIGN BUILD 2017
03.
PAGES 162-165
05.
SKETCH CHARCOAL & GRAPHITE 2016
PAGES 170-171
MANUAL DRAFTING REPRODUCTION DRAWING & PARALINE 2013 / 2016
04.
PAGES 166-167
06.
INKING INKING & PATTERN DEVELOPMENT 2016
PAGES 172-173
DRAWING GRAPHITE RENDER 2016
PAGES 168-169
07.
MODEL MAKING STUDIO MODELS 2016 / 2017
PAGES 174-183
ACADEMIA PAGES 2-99 01 CRAFTSMANSHIP 2-25 02 ART CENTER 26-41 03 THE COMMUNITY HUB 42-57 04 SCANDINAVIA 58-77 05 ECOLOGY CENTER 78-87 06 HUES of CONCRETE 88-99
01. CRAFTSMANSHIP THROUGH JOINERY A S t u d y o f J a p a n e s e Tr a d i t i o n a n d i t s A p p l i c a t i o n t o Contemporary Architecture.
Thesis | Redesign Existing Program | Aoyama district, Tokyo, Japan | 2020. In today’s construction realm where “the faster, cheaper, is better” mentality rules, craftsmanship has taken a large toll in both quality and quantity. As creators of space, I believe that architects and designers must maintain and encourage the use of craftsmanship in their designs. Craftsmanship ripples through society and fosters a sense of self-fulfillment and pride. Craftsmanship will raise both the construction industry and everyday lives to higher standards. By manifesting good craftsmanship in the form of joinery, I try to create spaces where the inhabitants will become keenly aware of the importance of craftsmanship. It is my hope that joinery will mediate among architecture, craft, and human actions, furthermore by exposing joinery, I will manage to make craftsmanship visible to the inhabitants. Japanese culture is known to take great pride in work. Their wood joinery is recognized as the most advanced in the world. For this reason, research must be initiated by looking at the Japanese culture and joinery, for which they have disregarded the principles that undermine the quality of work in the western world. There is much to be admired about Western Architecture but through my education I felt a piece missing. This void was craftsmanship. The goal of this thesis was to study and expand on the field of Japanese joinery. In the future, I will investigate how to best reintroduce joinery to the built environment.
(Right) JOINT SAMPLES By setting up a joint lab, where Japanese joinery was explored and expanded on, I gained knowledge I could not have attained by simply reading about the subject. I drew, built, and studied multiple joints to understand acting forces, precision, and craftsmanship necessary for joint development. Here displaying lap joints that increase length of members.
(Left & Above) ANGLE JOINTS In the joint lab I drew over 100 joints, roughly half were produced and tested.
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(Left & Above) COLUMN & BEAM CONCEPT JOINT Each joint takes 6-10 hours to produce. Joints were made from poplar wood for its workability as a hardwood. All joints were made in dimensions of 1”-1.25” cross section. For further studies, full scale should be created.
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For part of the thesis I traveled to Japan for 12 days. Time was divided between Tokyo and Kyoto. I stayed with two Japanese friends who grew up in Tokyo, which allowed for a better understanding of Japanese culture and values. During my travels I documented traditional Japanese craftsmanship. Seen in pictures above. Additionally, I spent a full day at the site of my project and studied the neighborhood and its culture. (Pictured from Left to Right) 1. Roof structural Joinery, no fasteners or trim. Local Shrine in Musashi Koyama, Tokyo. 2. Rough good craftsmanship at Ninna-Ji, Kyoto. 3. Hidden Joinery with no fasteners and no trim. Local Shrine in Musashi Koyama, Tokyo. 4. Wedge joint between granite and wood at Nijō Castle, Kyoto. 5. Mastery craftsmanship at an entrance to private residence, Kyoto 6. Private residence, Kyoto. 7. Storefront post with peg connection in Kyoto. 8. Back street at site looking West.
The project site is in Aoyama neighborhood of the Minato Ward, it is one of the wealthiest neighborhoods in Tokyo. The site is surrounded by the flagship stores of high-end fashion houses. Even though the neighborhood is a fashion district, it is a mixed-use neighborhood with residences, schools, restaurants, and shops. The site is one block south of the heavily trafficked Ayoyama Dori Ave and has a corner facing two small, mainly pedestrian, streets. The site currently houses seven structures, of which five are in direct contact with the street. The structures have a wide mix of uses. Starting from the north east to the north west corner, wrapping the perimeter of the site; High-end Diesel retail, Fine dining at Tokyo Whiskey Library, Aveda Lifestyle and Spa, Natur and Nicolai Bergmann flower artist and jewelry. Residency building with Summerbird Organic Chocolate Lab and Cafe. The two structures with no street adjacency are Minamiaoyama Santa Chiara Church which acts as a wedding venue, and the building with a nail salon and residence. The common programmatic thread of the site is event and service, more specifically, created for wedding venues. Even though the programmatic functions aim their sales towards a common event, the buildings are alienated from each other and all freestanding. All buildings are three stories or less. Adjacent to the site, most buildings are four stories or less, except the residency building directly to the north. These buildings generally occupy lots clear to the street with no, or very little, setback. When I spent one day in the neighborhood and site, I noticed that the neighborhood is under transitory movement with ample construction. The north and south streets are trafficked quite heavily by pedestrians. The proposed thesis will act as a unifier of the current various venues, connecting the venues and programs into one coherent piece of architecture. The joinery weaves through every programmatic function in different scales and is visible from the outside.
SANTA CHIARA CHURCH COFFEE CHOCOLATE SHOP AVEDA BEAUTY SHOP TOKYO WHISKY LIBRARY RESTAURANT DIESEL STORE RESIDENCE
THE AYOYAMA JOINERY
The proposed site is broken up into five parts, Circulation and Service, Courtyards, Venue, Aveda store, Restaurant and Chocolate Cafe. The Diesel store will be relocated to main fashion street north of the site. The residency unit will be removed from the site program. Natur Nicolai Bergmann flower artist and entrepreneur will relocate to his flagship store across the street. Venue building and restaurant building will be presented to him as a new development investment. (He currently has partnership in the existing Restaurant, Chocolate Café, and Floral shop. Each building will employ a unique joinery concept to create diversity between the structures.
NATUR NICOLAI BERGMANN FLORAL SHOP
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2.
3.
1.
1. Venue 2. Aveda Store 3. Restaurant & Chocolate Cafe
(Top) THE STREET COURTYARD boundary is designated by a row of totem columns displaying different lap joints as a manifestation of craftsmanship. Set further back are rows of benches and Japanese maple trees. In front of the venue a shallow gravel pool, designed as a buffer. (Bottom) THE BACK COURTYARD will be planted with wild grass and a green wall to the north. The center part of the courtyard has a path connecting to the back entrance. The path is lined with rows of totems, Japanese maple trees, and benches. In front of the venue a shallow water pool acts as a buffer.
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VENUE
SECTION PERSPECTIVE LOOKING SOUTH
Venue will be a double height space with an open floor plan for adaptable use. The joint chosen will be triangulated and interlocking, acting like a large truss, and spill down into the space below. The same joint concept will be used on the side glazed walls acting as a screen. Fabric can be inserted on lower portions when privacy is needed. The screen wall and doors to the back house are cladded in hardwood slats where it becomes one whole unit. The back portion has two levels where kitchen, restrooms, mechanical and storage are on ground level. The upper level has a restroom and two separated suits to assure privacy.
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JOINT CONCEPT Column to beam self-interlocking members by triangulation.
MAJOR BUILDING COMPONENTS
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| 01 CRAFTSMANSHIP | 15
AVEDA STORE
SECTION PERSPECTIVE LOOKING EAST
Aveda store is an open space shop floor circulated by a mezzanine. From the ceiling there will be various lap joints suspended into the space. The joinery will block any direct views and filter light in the space. The periphery is cladded with a secondary structure of lap joints enforcing privacy from the streets outside. Like the other two proposed buildings, the exterior is cladded in large scale glazing units to maximize the visibility of the joinery. Interior has a core aligned under the highest mezzanine level housing staff room, storage, restrooms, dress rooms and an elevator. The railing slats of the mezzanine extend below and clad the core facing into the store. The Restaurant and Aveda Store have crossing steel tension cables for structural bracing. Mechanical room is located on the roof.
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JOINT CONCEPT Ceiling joint and periphery joint
MAJOR BUILDING COMPONENTS
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| 01 CRAFTSMANSHIP | 19
RESTAURANT
SECTION PERSPECTIVE LOOKING EAST
The restaurant and chocolate cafe will employ a right-angled joint from where floorplates will be inserted within the structural system. Each level will have three half levels which creates smaller dining mezzanines. This is to generate privacy and encourage visitors to experience joinery at different levels. Additionally, there will be a wood railing system connecting staircases and mezzanines, wood slats will enforce privacy while still providing views and filters in natural light. The back will have a core containing kitchen, staff room, restrooms, and elevators. Ground level is designated for fast eating with bar counters open towards the kitchen, cafe, and chocolate bar. First level has three mezzanines for seated table dining. Second level has three mezzanines for dining where one mezzanine is a bar. The rooftop has dining options with indoor and outdoor bars. Mechanical room is placed on the roof.
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JOINT CONCEPT Periphery column with draw pin connections
MAJOR BUILDING COMPONENTS
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(Above) RESTAURANT Standing on the first level mezzanine looking south with a clear view towards street activities and exposed joint members. (Top Left) VENUE Looking towards the main entrance from the hardwood slat wall. The center joint members and stone floor give a clear sensation of axis. (Bottom Left) AVEDA Standing on the first mezzanine level looking north into the suspended joint landscape blurring distant activities.
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02. ATLANTA CONTEMPORARY ART CENTER: 9 LEVELS of HELL Studio 07 | Subterranean Galleries | Atlanta, Georgia | 2019. The Atlanta Contemporary Art Center is a project inspired by Dante’s Inferno and the painting Garden of Earthly Delights by Hieronymus Bosch. A gallery, for each of the nine levels of hell, will showcase work that explores that particular theme. The Atlanta Contemporary Art Center will include an underground gallery, café, and education center. The center is in direct connection to the MARTA subway transit to allow for full exposure by those passing by. The ramp system smoothly circulates visitors between levels and galleries, encouraging observation and self-reflection. The light chimneys are of apocalyptic proportions. During the day, light is filtered through the glass ceiling, illuminating and casting shadows on the works treasured inside. The exterior of the chimneys will showcase their own performance with nighttime light shows. Colored screens can be inserted to provoke different moods for circulating galleries. The gallery spaces within lack permanent walls to increase its adaptability.
CONCEPTUAL STUDY Polished mounted on oil painted wood. (18” x 18” x 7”)
concrete
cones
43
The Galleries & Nine Levels of Hell The galleries will house various themes and artists whose art can be correlated to one of Dante’s Nine Levels f Hell. For the opening galleries I have composed a selection of suggested works. It is my hope that the visitors will leave these galleries with discussion, thought, and higher degree of self-awareness. LIMBO The souls of pagan and unbaptized wander the caves of limbo in loneliness with the hope and desperation to meet and be accepted by god. This first gallery consists of art displaying loneliness and anxiety. Art such as The Scream by Edvard Munch. LUST In Hell, lust will be punished by being smothered in fire and brimstone. This section consists of sexual sculptural art such as Reunion of Delights by Alessandro Bozio. GLUTTONY Souls will be force fed by demons, the menu consists of rats, spiders, and toads. The relating art shall be food oriented or relate to human overconsumption. Such as the Total Torpor, Mad malaise by Tony Matelli. GREED The punishment for greed is to be boiled alive in oil for all eternity. This art gallery displays human overexploitation in everyday life and the devastating results it has on mother earth. The gallery is a photo gallery with art by Chris Jordan. ANGER Anger will be punished in hell by being dis-membered alive. This art gallery is a photography and black box gallery where war executions and suffering are displayed. Such as the famous photo by Eddie Adams displaying the national police chief of South Vietnam executing a Vietcong fighter on open street. SLOTH & HERESY Sloth is punished in hell by being thrown into snake pits. Consist of classical art representing different thoughts of heaven and hell over centuries. Art such as Hermonius Bosh’s triptychs. VIOLENCE Those who possess a thirst for violence will be condemned to drown in a lake of boiling blood. This gallery will address domestic violence throughout human history. Starting with excerpts from one of the first law inscriptions, The Code of Hammurabi (1800 B.C.), that justifies domestic violence. On display are art and relics such as the Scold’s Bridle that was used to punish women for being outspoken. FRAUD Souls are thrown into a pit of darkness endlessly beaten and tortured by demons. This gallery exhibits satire and cartoon artwork such as Willam Boss Tweed by Thomas Nast. TREACHERY Souls are imprisoned in ice with Satan himself, from waist to head, they will be displayed as Satan’s trophies of treachery. The gallery will exhibit ice art such as works by Nele Azevedo.
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(Above) SITE MODEL looking SE. The art center is nestled between high-rises and subway entrances. Public plazas are created between light chimneys. (36” x 36”) (Previous Page) CONCEPTUAL PHOTOMONTAGE over sectional study model.
N
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9
2
8
1
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7 6
5 4
2nd FLOOR 1. Administration Lobby 2. Reception 3. Loading Dock Connection
4. Curators Office 5. Workspace 6. Curators Offices
7. Workroom & Storage 8. Directors Office 9. Conference Room
3D LOOKING NE
2nd FLOOR
ADMIN METRO ENTRY
LOADING DOCK
STREET LEVEL
STREET ENTRY
RESTAURANT
09 RESTAURANT MEZZANINE
GALLERY
ENTRY
CAFEE/SHOP MEZZANINE LEVEL
AUDITORIUM
07
08
01
02
GALLERY
GALLERY
GALLERY
GALLERY PLATFORM LEVEL
EDUCATION
06
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04
03
GALLERY
GALLERY
GALLERY
GALLERY
BELOW PLATFORM LEVEL
Section diagram of programmatic spaces. The galleries have an open floorplan with a column structural grid. Each gallery is 60’x60’. Mobile screen systems can be installed per needs. The Art center has two main entrances, where the street entrance leads directly to the Café, shop, and conference room. The Second entrance is below ground, through and adjacent to subway lines. The restaurant has two levels. The lower level mezzanine spills out in the double height space of gallery 07.
| |0 20 1A RVTI LCLEANBT RE UR T || 38 36
A C A D E MWI O ARK
17
18
16 14
15
13
12
10
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STREET LEVEL 10. Subway Entrance 11. Art Center Street Entry 12. Loading Dock
13. Exterior Storage Room 14. Subway Ticket Checkpoint 15. Exterior Gallery
16. Exterior Event Space 17. Restaurant 18. Art Center Egress
0” -14’ -28’ -42’
29 32 27
28
31 30 26
24 23
22
21
25
19 20
MEZZANINE LEVEL 19. Auditorium 20. Staff Quarter 21. Reception & Coat Closet 22. Main Entrance
23. Mechanical 24. Restrooms 25. Restaurant Mezzanine 26. Gallery 09
27. Ramp from Gallery 08 28. Egress 29. Gallery Storage 30. Cafe
31 Shop 32. Back of House
ACADEMIA
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34
33
PLATFORM LEVEL 33. Galleries 34. Receiving 35. Open to Gallery 03
35
37
38
36 39
BELOW PLATFORM LEVEL 36. Galleries 37. Crating 38. Receiving 39. Education & Studios
| |0 20 1A RVTI LCL EA NBTRE UR T || 83 67
A C A D E MWI O ARK
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P A TH W AY BET WEEN G A L L ER I E S E y e l e v e l vi ew l o o ki n g n orth in s id e the c i r c u l a t i o n s pa c e.
S E C T IO N A L V IE W i n t o t he g a l l e r i e s l o o k i ng so u t h w h e r e d o u b l e h e i ght s p a c e o f G al l e r y 0 7 a n d r e st a u r a n t m e z z ani ne i s i n t he fo r e g r o u n d .
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03. THE COMMUNITY HUB SPIRE COMPETITION (FINALIST)
Studio 05 | Urban Response | Chattanooga, Tennessee | 2018. This studio competition challenge was to develop a project that responds to a larger urban system. The scope was to design a mixed-use program, while demonstrating understanding of structural systems, code regulations, and egress. Site history: Martin Luther King Boulevard was originally a street that served as a cultural hub for the African American community in Chattanooga and surrounding areas. During the Segregation Era (1900-1939) the street was widened, and traffic was increased, making it less suitable for pedestrian traffic. Currently the site is an oversized parking lot with no, or very few, cars parked. This design intends to reawaken this part of the city, give public space to the citizens, break up large city blocks, and to provide a new pedestrian route from the university area to downtown. The fragmentation of the buildings allows city dwellers to move freely between the streets, while simultaneously, provide a resting space in the city. To activate the pedestrian paths, the ground level will house retail, grocery market, and a café. The residential units are designed with a central core, which the living space revolves around.
(Top Right) DRIFT MAP of green spaces, parking lots, empty, buildings, and industry in a one-mile radius from site.
DIVISION of THE CITY BLOCK
The residents have private entrances for each building. All residents will have access to rooftop terraces that also house indoor spaces. Lengthy corridors have been minimized and the communal spaces in the building has glazed facades to allow for ample natural light. The three buildings are stepped in height to maximize the southern view over the city. Varying heights also differentiate each building and give identity to the inhabitants. The retail and offices will be open for rent to facilitate a fast response to changing trends. The buildings and plaza will provide a connection point for the neighborhood.
MASSING
PUBLIC SPACE
NEW PEDESTRIAN PATHS
2 Bedroom 1 Bedroom Studio Retail
118 UNITS Total 119,922 ft² Residential 29,000 ft² Retail 60,000 ft² Parking
40 UNITS 30, 1 Bdr 10, 2 Bdr
60 UNITS 48, 1 Bdr 12, 2 Bdr
18 UNITS 2, 2 Bdr 10, 1 Bdr 6, Studios
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| 03 COMMUNITY HUB | 45
STREET LEVEL
The garage ramp is disguised with board formed concrete holding large scale planters for greenery and built in benches. The café sits at the east end of the plaza with the shaded building overhang allowing for outside serving area, making it attractive for people watching. The southeast part of the site has no steps to allow for bike traffic. The overall slope of the site is 14 ft from north to south, where the most northern part of ground level is partially or completely underground. The typical unit has an open floor plan with 9 ft ceilings and revolves around a central core that divides the living spaces. For the bedrooms, a sliding wall panel divides the living room from the bedroom when needed. The unit is designed with the intent to omit doors and corridors. The two-bedroom apartments are placed at the corners for maximizing natural light into the living spaces.
22'-01" 2
UNIT PLAN 1st LEVEL
deaB eD
deaB eD
deaB eD
deaB eD
D
deaB
deaB e
eD
De Baed
De Baed
De Baed De Baed
De Baed
De Baed
TYPICAL UNIT FLOOR PLAN
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30'-10"
A
B
30'-10"
C
30'-10"
D
27'-10"
E
27'-10"
F
30'-10"
G
30'-10"
27'-10"
1
9'
2
27'-10"
3
4
G COLUMNS: Each floor is framed by 2x6 lumber, studs 24" OC. FLOOR TRUSS: Open web floor truss, 2x4 lumber, truss depth 16". DECKING: 2x 21" plywood overlapping joints SHEAR WALLS LATERAL BRACING: Exterior walls interior side 21" plywood. Stair-tower and elevator-shaft fully grouted and reinforced CMU block wall.
STRUCTURAL DIAGRAM
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9
10
1
2
11
3
12
4
5
PROPOSED BUILDING ASSEMBLY
13
1. Rheinzink reveal panel system. W 11.75”, H 42”- 74”, 0.5” Reveal. 2. Exterior grade plywood with weather membrane, staggered joints. 3. Interior 5/8” drywall, staggered joints. 4. Apa advanced framing assembly, studs 24” oc. 5. Span structure, concrete beams 20”x10”. 6. Structural concrete columns 14” diameter. 7. Structural shear wall, fully grouted and reinforced cmu block wall. 8. Structural wall, fully grouted and reinforced cmu block wall. 9. Engineered wood roof truss, 24” oc. 10. Decking 2x 1/2” plywood staggered joints. 11. Lateral brazing. Stair and elevator shaft. 12. Open web floor truss, 2x4 lumber, truss depth 16”. 13. 4” Concrete decking.
6
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ONE BEDROOM APARTMENT
ENTRANCE PLAN DETAIL
Each apartment building entrance is set back from the façade to accommodate privacy. Each entrance door is a double door which measures 36” and 12”. The door has both key and keyless option for entry, with a support bench to the side. The entrance façade is glazed to allow for natural lighting. The walls are cladded with durable teak wood slats to give texture and definition. The ground is laid with large scale stone with a cutout for a grate insert in front of each door section. Interior entry has a smaller scale tile of light color.
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2X 58 " DRYWALL #5 FINISH 2X6 STUD / BIBS 1 2" EXTERIOR GRADE PLYWOOD
2X 2X6 WINDOW HEADER WEATHER SHIELD 2" RIGID INSULATION FLASHING
RHEINZINK REVEAL PANEL R0-30MM L4000MM ANCHOR BOLTS PER CODE PRESSURE TREATED SILL PLATE OVER SILL SEAL CONCRETE BEAM DRIP EDGE POURED IN CONCRETE BEAM ATTACHMENT FOR INTERIOR WOOD CEILING CEILING PANEL, 1X2 TEAK WOOD ENTRY 1X2 TEAK WOOD LINSEED OIL TREATED
ENTRANCE SECTION DETAIL
FF 25'-11"
CEIL 24'-5"
TREATED WOOD FINS
FF 15'-5"
RHEINZINK REVEAL PANEL SYSTEM 11.75"X 42-56". 1 2" REVEAL
STOREFRONT GLAZING SYSTEM
0'-00" ZINK KICKPLATE
ENTRANCE ELEVATION DETAIL ACADEMIA
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f 200 for
200 for
200 for 50 50 50 50 50 15 15
B. C.
wo means of egress=29.5 people or of 0.2(sprinkler system) = 6"
EGRESS
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ELEVATION 1 2" =1'
12 9 10 11
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.
034100 CAST IN PLACE CONCRETE 042200 CONCRETE UNIT MASONRY 093033 STONE TILING 321313 CONCRETE PAVING N 064013 ARCHITECTURAL WOOD WORK 061000 WOOD FRAMING 0814 WOOD FRAMED ENTRANCES & STOREFRONTS 085113 ALUMINUM WINDOWS 7 072100 THERMAL INSULATION 072119 FOAMED IN PLACE INSULATION 033000 CAST IN PLACE CONCRETE DECK 072500 WEATHER BARRIER 074213.16 METAL WALL PANELS 093013 CERAMIC TILING 233113 METAL DUCTS 0921116.23 GYPSUM BOARD 6 061000 ROUGH CARPENTRY 5
2 3
ENTRY PLAN 1 2" = 1'
13
4 1
CSI SPECIFICATION CODE DIAGRAM 1. 2. 3. 4.
Rheinzink reveal panel system. W 11.75", H 42"- 74", 0.5" Reveal. Exterior grade Plywood, staggered joints. Interior 58" drywall, staggered joints. APA Advanced Framing assembly, studs 24" OC.
3D WALL SECTION 1 2" = 1'
EARLY FACADE STUDY MODEL in stained basswood and concrete. (7” X 15”). The wood cladding will add texture to the ground levels. The concrete was disregarded, and a zinc panel system was chosen instead. The treated wood fins on the facade were thought to add shadow lines and change facade appearance depending on view angle.
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04. SCANDINAVIA Studio 04 | Study Abroad | Aarhus, Denmark | 2018. The study abroad program was an 8-week studio held at Aarhus School of Architecture in Denmark. The first 3 weeks were dedicated to a photo studio where students toured Sweden, Denmark, Norway, and Finland to study Scandinavian culture, design, and architecture. The remaining 5-week period was spent in the studio applying their gained inspiration to a project set in the most historic neighborhood of Aarhus. The project statement called for a transit hub for Aarhus Midttrafik, the public transportation system of Aarhus. The program requested a ticketing office, indoor waiting hall, cafe, and administrative offices. Additionally, designs for a back courtyard and bus-stop across the street where required This project aims to bring contemporary architecture to the neighborhood while blending with the surrounding architectural landscape. To do so, local forms and materials were chosen and incorporated into the design, such as rounded corners, spiral staircase, local brick, hardwood, and aged copper.
Studying Scandinavian architecture through photography was a practice in composition and patience. Great attention to detail and timing was required. Slowing down was a lesson learned during these 3 intense weeks where multiple sites and cities were visited. (Above Pictured from Left to Right) 1. Exterior frame window units at Reginal Archive. Lund, Sweden. 2. Aged wood at Astrup Fearnley Museum of Modern Art. Oslo, Norway. 3. Wood screens at Säynätsalo Town Hall. Säynätsalo, Finland. 4. Lap siding at Kamppi Chapel. Helsinki, Finland. 5. Ventilation in board formed concrete at Soderledskyrkan. Stockholm, Sweden. 6. Screen wall at Kiasma Museum of Contemporary Art. Helsinki, Finland. (Left) Main lobby of National Architecture Museum. Oslo, Norway.
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Along with the five-week studio in Aarhus, we participated in a mapping seminar where we explored the city utilizing new observer techniques. The following illustrations were inspired by an activity called “drift,” in which one walks through a city with no intended destination. The analytique, mapping, and precedent diagrams illustrated in the next pages are inspired by this architectural and observational technique. Additionally, this seminar inspired the studio infill project, in which Scandinavian functionalism was integrated.
(Above) PHOTOGRAPH OF MØLLEGADE 5 (Right) THE ANALYTIQUE DIAGRAM communicates the history and layout of Møllegade 5. Designed and built 1933 by C.F. Møller, four years after Le Corbusier’s completion of Villa Savoye. The house resembles Le Corbusier’s modernist architecture in terms of flat roof, white stucco, and horizontal windows. Perhaps this is one of the first examples and predecessor of Scandinavian “funkis architecture” in Aarhus. (Next Spread) THE MAPPING illustrate my drift and highlight three locations that stood out most.
Møllegade 5. Designed by C.F. Møller.
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WAOC RA K D E M I0A1 C O U 0R 4 TSYCA ARNDDHI NO AUVSI EA
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STUDY OF AGING MATERIALS throughout Stockholm, Gothenburg, Oslo, Copenhagen, and Aarhus. The materials studied served as inspiration for the transit hub. (Pictured from Left to Right) 1 . M o s s gr own b ric k wall. C o p e n h a g e n , D e n m ar k 2 . Oak do o r h an d le Op e ra ho u s e . M a l m ö , S w e d e n 3 . Bo a r d- form c on c re te . Mal m ö , S w e d e n 4 . Gr a n i t e fortre s s wall. Osl o , N o r w ay 5 . Ca s t l e wall. Os lo. Norway 6 . Li me w as h e d b ric k . Cop e n h a ge n , D e n m a r k 7 . Br a s s han d le s on ag e d oak . C o p e n h ag e n , D e n m a r k 8 . W eat h ere d oak . Goth e n b u r g , S w e d e n 9 . La c qu ere d oak . A arh u s D e n m a r k 1 0 . K å l mord s marb le . Stoc k h o l m , S w e d e n 1 1 . M ar bl e s lats . Malm ö, S w e d e n 1 2 . Gr ey m arb le with c op p e r . A ar h u s , D e n m ar k
R E V E R S E
T I M E
S c a n d i n a v i a n
f u n k i s
PHOTOMONTAGE DIAGRAM depicting the study of form and materials in Scandinavian functionalism (Funkis).
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PHOTOMONTAGE DIAGRAM depicts the study of spiral stair towers commonly seen in all Scandinavian cities. This design was later applied to the transit hub.
S I M P L I C I T Y S i g u r d
L e w e r e n t z
PHOTOMONTAGE DIAGRAM of a “Funkis” inspired design for a bus stop waiting area, the design aims to fit into the narrow sidewalks of the Scandinavian cities. Materials: Black painted stainless steel, Heat formed smoky acrylic, and oak wood slats treated with oil-based polyurethane.
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BUILDING PROGRAM (Left) STREET LEVEL 1. Covered Waiting Area. 2. Slim Waiting Benches. 3. Café. 4. Main Stairwell & Elevator. 5. Main Waiting Room. 6. Sale & Info Counter. 7. Egress. 8. Courtyard Ramp Garden. 9. Chauffeur Break Room. (Right) UPPER LEVELS 10. Open Offices. 11. Private Office. 12. Mechanical. 13. Small Conference. 14. Large Conference. 15. Directors Office. 16. Employee Room.
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EAST ELEVATION
T his pro p o sal a ims to in t r o du ce a co n t e m po ra r y ve r s i o n o f “ funk is a rch itecture” t o t h e n e igh bo r h o o d wh ile o f f e r i ng a welco mi n g covered wa it in g a r e a fo r t h e a r r i val a nd departure o f p a sseng e r s. T h e bu ildin g h e igh t is s l i g ht l y l o wer than the averag e n e igh bo r h o o d t o n o t t a ke p r i o r i ty. T he façad e is cl a d d e d in lo ca lly m ade Ko lu m b a b r i c k s on a ve rti cal b o n d wit h r o u gh t e x t u r e . I n lin e w i t h t he glazing u n its o ne b ri ck r o w is e x t r u de d 2 ” t o a dd s had o w l i nes and texture to t h e fa çade . T h e gr o u n d le ve l ha s a c u rv ilinear fo rm settin g t h e e n t ra n ce do o r s an d wa i t i ng benc hes b ack fro m th e st r e e t , t h is allo ws city dw e l l e r s t o m ove smo o th ly o n the n a r r o w side walk wh ile st e p p i ng o f f the bus, co mi n g in fo r a co ff e e , o r ju st pa ssin g t hr o ug h. As one en ters th e b ui ldin g t h e st r e e t le ve l is pu b l i c , w i t h a heate d wa iti n g hal l, ca fé , t icke t in g, a n d in fo r m a t i o n desk . T he mai n wai ting r o o m h as bu ilt-in be n ch e s a r o und the per imeter. The be n ch e s a r e se pa ra t e d by d i s t a nc e s i nc e Scand inavians va lu e pr iva t e spa ce .
A s o ne a s c e nd s t he b ui l d i ng p r i vac y i nc r e ases. Wh ere fi r s t l e ve l ho us e s o p e n o ff i c e s a nd m a na ger offices. S e c o nd l e ve l ho us e s a s m a l l c o nf e r e nc e r oom, a few o p e n o ff i c e s , a nd d e p a r t m e nt he a d s . Th ird level ho us e s d i r e c t o r s ’ o ff i c e s and a l ar g e c o nfe r en ce room. T he r o o f t o p ac c o m m o d a t e s a s t a ff r o o m wash ed in na t ura l l i g ht i ng , a nd e x t e r i o r t e r rac e w h ere breaks o r e ve nt s c a n t a ke p l a c e . E a c h s t a i r w e l l tow er h as a n o c ul us w i nd o w t o a l l o w f o r na t ura l l i g h tin g. S u n a nd na t ura l l i g ht i ng a r e i m p o r t a nt i n S c an din avian c ul t ur e . T hus , t he i nt e r i o r wa l l s a r e c l a d d e d in w h ite s t uc c o, a nd f l o o r s a r e o f l i g ht- c o l o r e d a s h w ood.
SHORT SECTION
LONG SECTION
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WAITING AREA EXTERIOR WALL
For the studio project we were asked to produce detailed drawings of the building system we intended to use. In addition, an entry door design was produced (next spread) where materials were expressed. The door design was derived from impressions of the many mid-century-modern doors encountered through the Scandinavia travels. For the door design, materials that age well were selected. Such as copper kickplates, brass circular pull handle, and matte lacquered oak wood.
5" 12" STANDING SEAM COPPER ROOF WATERPROOFING MEMBRANE 1 2" WEATHER RESISTANT PLY OR OSB
2 LAYERS RIGID INSULATION STAGGERED JOINTS ROOF SHEATHING OPEN CELL SPRAY FOAM TO DEPTH OF RAFTER
BOXED IN TRUSS SYSTEM FOR ATTIC 2X12 RAFTER 2X6 WEB FOLD BACK SPACER FLASHING COPPER GUTTER
52'-3"
38'-7"
26'-3"
BRICK KOLUMBA K-4. DIM 20.8"x4.3"x1.5" 1" GYPSUM OVER MESH, ROUGH FINISH 6X8 CMU 1 WEATHER SHIELD 16 "
RIDGID INSULATION 2" AIRSPACE 1.5" 1 2" ANCHORBOLTS PER CODE
14'-5"
1"x1" WOOD SLATS OVER 1" FURING STRIPS
6" SLOPE PER 120" OR 5% SLOPE AWAY FROM FOUNDATION
SECTION & PLAN of ENTRANCE
REFLECTED STREET FACADE AND PLAN
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ENTRY DOOR DETAIL & NEIGHBORHOOD DOOR STUDY
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05. CAHABA RIVER ECOLOGY CENTER Studio 02 | Ecology Center | Selma, Alabama | 2017. Cahaba River Ecology Center intends to educate and connect river enthusiasts to the nature, while not interfering with the natural habitat. The platforms serve as a floating dock on the river delta. The center is designed as a main hub for the Cahaba Blueway System, which consists of hiking trails and river access points, which allow visitors to experience Alabama’s wilderness. The circular movement on the main dock encourages exploration of nature. Only boats and kayaks that can be manually moved from parking lot to river should be allowed. The structures are modular and versatile for many potential usages. The river access building contains a gallery and classroom spaces, which can be modified for specific needs. The light structure consists of operable wood panels attached to a metal framework. The operable wood panels permit for flexible usage while allowing ample light and fresh air stream through the spaces.
PARTI
OPERABLE WALLS AND SHUTTERS
CIRCULATION
STRUCTURE
SEATING
Multiuse Classroom, Gallery, Kayak Equipment
Parking
Office & Lobby
River
WC & Showers
The buildings are aligned with the river flow to minimize damage in severe flooding. For further safety measures the platforms and paths are elevated above the floodplain. The long house design was derived from, and in an aim to connect with, traditional barn design seen throughout the region. The high-pitched roofs are symbolic of shelter, discussion, and rest, meant to become an icon for the center. The design moves visitors from the visitor center buildings to the main programmatic functions on a wide elevated path.
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LONGHOUSE PLAN
SHORT SECTION
For ease of use, the kayak storage is placed at the ramp that leads to the river. Extra space and seating have been allotted to the deck adjacent to the river entrance, this is to avoid potential clogging in circulation. A textured concrete ramp serves as the river access for kayakers and boaters. As a constraint there are no mechanical systems other than electrical in the main building. Therefore, reliance was put on operable walls. The education center and gallery have interior walls that sit on pivot hardware that allows the walls to be rotated to fit specific needs. Additionally, there are wall portions that can be winched up to increase air movement and allow for natural lighting.
LONG SECTION
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SITE SECTION LOOKING NORTH.
VISITOR CENTER PLAN
VISITOR CENTER SECTION LOOKING SOUTH
EAST ELEVATION
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1
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PROPOSED BUILDING ASSEMBLY 1. Corrugated galvanized ridge cap 6” overlap. 2. Corrugated galvanized metal roofing min 8” overlap. 3. Frame and rubber spacers for corrugated roofing system. 4. Tube metal frame, interlocking connections. 5. 10’ Section with interlocking bolt connections. 6. Steel wire tension support. 7. Galvanized gutter. 8. Cover plate. 9. 5/8” Diameter rope. 10. Manual pulley system for shutters. 11. Unconditioned space. 12. Weathered and oiled cedar panels connects to metal fame in channels. 13. Cedar wood benches attached to walls and decking. 14. Pivot operable doors. 15. Tube steel columns. 16. 1”X1” metal rod to frame wall punctures. 17. 38” Railing. 18. 2x4 balusters. 19. Trex decking. 20. 0.25” Hex washer bolt connection for railing against deck. 21. Sliding door wood panels. 22. Tube steel girder and 2x10 wood joists. 23. Reinforced concrete piers.
A module system was chosen to allow for fast addition or subtraction of pieces, which implies structure can be built in sections. Thus additions, upkeep, and remodel become financially sustainable. Each module would be prefabricated and delivered in parts, assembled on site. The modules connect with interlocking bolt connections. The light structure consists of tube steel where wood panels attach to the metal framework in channels. The operable walls allow for versatile usage, while allowing fresh air stream through the spaces. The design will provide a great place for discussion, relations, and a place to appreciate nature in a setting surrounded by the woods and river.
MODULE SYSTEM
CC RIDGE BEAM 26’-8”
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06. HUES of CONCRETE
CONCRETE COMPETITION (1st PLACE) Studio 03 | Mixed Use | Auburn, Alabama | 2017. This project was designed for a third year on campus studio competition. The goal was to create a mixed-use commercial building addressing the urban environment using concrete as primary material. My interest was placed on concrete hues and one column shape that could be rotated or inverted to generate variation throughout the building. The building is located downtown Auburn at the Toomers Corner Crossing, the most pedestrian trafficked street in auburn. The specific program was to create a bank with office spaces above. The design aims to statue the bank and the street corner while making a statement of change in Auburn’s otherwise brick cladded facades.
BANK CONCRETE MODEL displays corner condition and columns. Materials include colored concrete, museum board, and basswood. (11.5” x 18”)
( Le f t) D ESI G N PR OC E S S O F SHA P E S & HU E S P a rti d iagram, c as ted i n c o n c r e t e . T h e b an k i s th e b lac k c on c re te r e c t a n g l e . O ff i c e s a n d s i d e e n try is th e L -s h a p e d l i g h t c o n c r e t e . ( Ab ov e ) COL U MN CO N C E P T & V A R I A T I O N STU D Y
The column design is one unit that will be casted in different hues of concrete. The unit will be rotated and inverted to create variational patterns in the voids between columns. The columns will wrap the two primary perimeters of the building and reach two levels, which is the bank portion of the building. The two top office levels will have a concrete rainscreen panel system. The interior bank entry and main banking space has an open floorplan where exterior columns turn inside and define those spaces. This creates a space that is washed in natural light beams.
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(Above) DESIGN PROCESS During the project many iterations of columns, panels, and concrete mixes were tested. The greatest difficulty was to cast concrete at the small scale. Roughly 20% of pieces broke as formwork of foamcore was removed. As coloring agents, ground down charcoal and gypsum powder were combined. As aggregate a fine sand had to be used instead of gravel. The process images describe some of the iterations. (Right) FACADE PORTION casted in concrete. (6.5” x 14”).
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13.
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KIOSK RENTAL
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14. BUILDING PROGRAM (Left) STREET LEVEL 1. Bank Entry. 2. Cast Concrete Waiting Bench. 3. Main Banking Space. 4. Egress. 5. Customer Restrooms. 6. Reception Counter. 7. Mechanical 8. Black Concrete Vault & ATM 9. Storage 10. Open Offices. 11. Meeting Room 12. Staff Break Room & Back Entry 13. Kiosk (Right) UPPER LEVELS 14. Large Conference. 15. Directors Office. 16. Offices 17. Private Meetings 18. Rental Office 19. Offices 20. Penetrating Light Wells
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LONGITUDINAL SECTION LOOKING SOUTH
SHORT SECTION LOOKING EAST
NORTH ELEVATION
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RENDERING OF MAIN BANKING SPACE At the corner entrance the exterior columns make a turn and lead the visitor through an entrance colonnade into the main banking space. Seen in the background is a black concrete vault that penetrates the floor plates and facade out to the street.
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WORK PAGES 102-155 01 VILLA BRUT 102-119 02 a+u MAGAZINE 120-125 03 COURTYARD HOUSE 126-145 04 WEEKEND CABIN 146-155
01. VILLA BRUT Matthew Hall | Design-Build | Auburn, Alabama | 2018-2019. Villa Brut was a design-build project that fostered innovative solutions within non-conventional architecture. Villa Brut is where rawness of materials met precision of fine detail. The architect Mathew Hall and I started discussing the design of Villa Brut in 2017. Building methods and production were discussed throughout each step of its design and construction. During the latter half of the project development, in Fall 2019, I worked on site in production while continuing to research best practice for the project. Almost every part of the house is custom designed and handmade. Working with Mathew gave me a deeper insight into innovative architecture and use of raw building materials.
Photo: Matt Hall
PLYWOOD DOORS The door construction consists of three layers of high grade yellow southern pine plywood. Each layer is glued and screwed under pressure. The six doors varied in length from 7ft to 10 ft. Each door has a steel frame with handle and jamb attachment. The door production required a high level of precision during gluing and screwing. The plywood sheets tend to slip with glue application. The doors were built on site in various stages. The doors were treated with Swedish pine-tar to increase resistance to weather.
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All doors were produced without the use of professional shop equipment. We used primarily a table saw, miter saw, and a drill driver. Doors were elevated from the floor and glued under clamp and weight pressure. Once the clamps were in place and the sheets aligned, two screws were inserted under careful observation to fix the sheets. This was followed by tightening clamps and completing the full screw pattern. The screws in the middle layer were countersunk while on the finish layer we used a round head. The metal work was produced in a metal shop by plasma cutter. The pine-tar was applied in three coats and are expected to be reapplied each spring and fall as needed. For future production, a top and bottom metal frame would be considered for increased plumbness.
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TEAKWOOD DOOR HANDLES The door handles are made of two pieces of teak, the teak is sandwiched between the steel handle frame of the door. The handle shapes went through three iterations. The teak was chosen for its exceptional resistance to weather but also for its color. The teak color mediates between the rust and aged metal frame and the black/brown colors of the plywood doors. The teak was finished with black Swedish pine tar to increase the grain expression and enhance weather resistance. Round head brass screws were considered but we found a simple brass rod anchor more suitable for the task of securing the handles. The handles were given one final coat of matte boat varnish to withstand usage and the passage of time. With this project, I developed a deeper level of understanding and appreciation for craftsmanship.
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To guarantee a perfect proportionality I constructed four to-scale handle mockups with thicknesses 1/4”, 5/16”, 3/8”, and 7/16”. They were temporarily attached and tested for best comfort and appearance. The 3/8” was chosen for its comfortable and slender touch. Each handle was book-matched and assigned to a specific door. I created a jig and used a professional cabinet saw to cut the handles to identical angles and shapes. Once the handles were cut and sanded, they were clamped into place with epoxy glue one by one. The holes for the brass rod were drilled between clamping and gluing. Each brass rod received epoxy before being inserted. Final adjustments were performed to match the steel frame for a perfect fit. Black pine tar was applied before the final coat of matte boat varnish.
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BATHROOM Research, Build, Tile, & Paint. After constructing the doors, attention was turned towards the design and creation of the Villa Brut’s Bathroom. The materials, design and cost were researched and agreed upon. To achieve the architect’s ideal design the bathroom required modification of the contractor’s original frame job. I stripped and re-framed the bathroom to achieve the necessary precision required. The walls were covered in black subway tile, with a black non-sanded grout. The concrete floor continues into the shower with a step down and linear drain. The most challenging part of the bathroom’s construction was the transition between the waterproofing membranes and concrete floor. I was reminded of my past construction career, where integrity to precision varied greatly between subcontractors. I realized a likeminded team, including the contractor and subcontractors, is as integral as the architect itself. The team must be equally committed to detail and the quality of their work to achieve a final project that is as originally dreamt by the architect.
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| 01 VILLA BRUT | 113
Each wall was measured and reframed, or a sister stud installed to make plumbness of +- 1/8” in 8 ft. The concrete ledge step down in the shower was realigned and resurfaced for a proper transition with wall waterproofing membrane. Batt insulation was inserted in every interior wall cavity. HardieBacker board was used as substrate. The waterproofing membrane was applied in three layers in the shower area. Tile layout was initiated at the shower shelf with great care to complete each corner with a whole tile. Tile was installed with a 3mm grout joint. I used four sanding and three paint applications to achieve a level 5 paint finish on the ceiling and side walls.
Words from Matthew Hall. Andreas’ contributions to Villa Brut transcended mere fabrication. While his meticulous approach to workmanship, skills and patience were all invaluable, it was his ability to be a partner in dialog. We constantly questioned while building, starting with drawings but often changing course based on a balance of pragmatism and philosophy. As an architect, I am enamored by the raw, the direct, the almost purposefully rough, but Andreas is more patient forcing me to consistently argue my case resulting in countless reconsiderations that were ultimately better for the project. His precision in concert with my ad-hocism made for a wonderful and unexpected juxtoposition of detail- like the bare CMU wall detailing against exquisitely crafted concrete blocks for ventilation penetrations, or the fine wood working of a teak door handle brass pinned to a rusty plasma cut CNC Corten steel profile. While I learned quite a lot from Andreas about many trades, tools and methods that I had only a cursory understanding of, it was his inquisitive and open attitude towards discussion that taught me the most. He brought skills to the job that made it possible, but also changing its course into much more interesting territory. There truly is a difference between a craftsman and an architect, with Andreas, you get both. Rather than one architect’s manifesto, in many aspects the house became a discussion in built form. Each day I see things that remind me of the conversations on site, and I expect my next design’s course will be altered from the refinements to my values and approach to architecture working with Andreas.
WORK
| 01 VILLA BRUT | 115
Photo: Matt Hall
VENT BLOCKS Research Production. Villa Brut is defined by its low-profile design. Vent blocks were created for the perimeter walls to avoid standard roof penetration. The blocks allowed for all ventilation including: dryer vent, kitchen exhaust fan, bathroom exhaust fan, DWV, HVAC, and pellet stove exhaust. I wanted to blend precision with the rawness of CMU blocks. A few test pours were conducted to achieve the correct concrete color. Each block consists of three layers with the middle 3” layer being fiber reinforced. There was much emphasis on the block surface and dimension. Each block surface was wet sanded to achieve a matte but smooth finish. Typical block dimensions are 15 5/8” X 7 5/8” X 7 5/8”. Dimension tolerance is +- 1/64”.
WORK
| 01 V I L L A B R U T | 1 17
Photo: Matt Hall
Photo: Matt Hall
To secure a perfect result for every block, I constructed two jigs where the formwork could be built around. The jigs were made from ¾” MDF with handle attachment. Each form was constructed of melamine. All pieces were cut with perfect precision using a cabinet maker shop saw. First the particle board was fitted to support each vent pipe, then the pipes were inserted into the formwork. The pipes were affixed in specific locations. Concrete was poured in three stages, in which the central core was fiber reinforced. On large blocks, where weight exceeded 100 LBS, rods were inserted for handling purposes. The blocks sat in the forms for 7 days while being carefully observed and watered. When the formwork was removed the blocks were cleaned and wet sanded. They were continually watered for another 20 days. This resulted in no cracks or shrinkage. The approximate strength should be +5000 PSI.
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| 01 VILLA BRUT | 119
02. a+u MAGAZINE Matthew Hall | Drawings & Translation for Issue 17:09 | Auburn, Alabama | 2017-2019. Matt Hall is an architect and faculty member of Auburn University’s School of Architecture. His research on Swedish brutalist architects, Bernt Nyberg and Sigurd Lewerentz, was published in a+u magazine. I was honored when asked to participate in this project. My main roles were to read, discuss, and translate Swedish material pertaining to the era and architects. I spent +150 hours performing translations of archived interviews, publications, competition entries, and project specifications. I re-drew and edited 13 projects in AutoCAD with the help of photographs and scanned archive drawings. Although I had spent more than twenty years living among these works in Sweden, through this project I developed a greater understanding of brutalism and appreciation for the materials and craftsmanship utilized.
Villa Leander Lund, Sweden 1963–76
ヴィラ・リエンダー スウェーデン、ルンド 1963 ～ 76
Opposite: The later addition i concrete. Photo by Matthew H page, above: Formwork drawi concrete addition, ARKM.198 2129. This page, below: Concr formwork projecting joint det ARKM.1985-16-2129.
右頁：後に加えられたコンクリ リューム。本頁、上：加えられたコ ト部の型枠図。本頁、下：コンク 枠の凸部となった接合部のディテ
42
Plan and elevations (scale: 1/200)／平面図と立面図（縮尺：1／200） 34
35
Villa Palm
Lund, Sweden 1964
ヴィラ・パーム スウェーデン、ルンド 1964
58
Plan and elevations (scale: 1/200)／平面図と立面図（縮尺：1／200） 48
49
When approaching N from the west, one c being staged. A som terminating the axia vertical slot as articu its scale, purpose or and its interplay wit from 1903 is wroug one, holding the cor common space, Möl usual moves that de of occupation, while with no hint of its p glass panels, broken of the building’s art to the archive exten down to its post and reading room that f spaces on either sid insertion into the m more from its expos partner. The additio masonry constructio set openings, yet un wythe thick, further addition with a purp Nyberg’s work here no history, no style, defined. It is an obje are nowhere near as enclose history. Thi appears as ruin in it masonry illustrates harsh Swedish winte political expediency uprooted and conce into housing for stu its once tranquil gar mysterious self.
Regional Archive Lund, Sweden 1970
ルンド公文書館 スウェーデン、ルンド 1970
120
Upper level plan and sections (scale: 1/500)／上層階の平面図と断面図（縮尺：1/500） 118
119
The drawings illustrate a few samples of the projects worked on. The CAD drawings with white background are the ones I helped produce. Final material published in a+u magazine is illustrated here (see drawings and photography to the left). Working with Matt Hall was a fantastic experience that encouraged me to view architecture through a different light, one of raw materials, structure, and purposefully rough craftsmanship.
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| 02 a+u MAGAZINE | 123
County Administration Building Malmö, Sweden 1975
マルメ郡庁舎 スウェーデン、マルメ 1975
174
Ground floor and Typical plans, longitudinal and transverse sections (scale: 1/400)／地上階と基準階平面図、長手と短手断面図（縮尺：1/400） 162
163
Funeral Chapel
Höör, Sweden 1971
葬儀用礼拝堂 スウェーデン、ヘーア 1971
pp. 150–151: Entry sequence adjacent square and cylinder vertical elevator and stair cores. pp. 152–153: Sanctuary space at high-noon lighting condition. Photos by Matthew Hall. 150 ～ 151 頁：正方形の空間と円筒形のエ レベータと階段室を調整する入り口回りの シークエンス。152 ～ 153 頁：太陽が高い 昼間の礼拝堂の様子。 152
Ground floor plan, longitudinal section and east elevation (scale: 1/400)／地上階、長手断面と東側立面図（縮尺：1/400） 132
133
Cemetery Maintenance Complex
Gävle, Sweden 1966
墓地管理施設 スウェーデン、イェヴレ 1966
This page: Interior of restored building. Photo by Matthew Hall. Opposite, above: Transverse section / pencil on trace. ARKM.1985-16-2760. Opposite, below: Plan and section details at horizontal window. ARKM.1985-162775. 本頁：補修後の内観。左頁、上：短手断面。 トレーシングペーパーに鉛筆描き。左頁、 下：水平窓の平面と断面の詳細図。
100
Plan and elevations (scale: 1/500)／平面図と立面図（縮尺：1/500） 92
93
Words about the work from Matt Hall: Based on my research and reputation as a leading scholar on the work of Swedish architect Bernt Nyberg, I was invited to serve as guest editor for a monographic issue on his work for A+U, a prestigious monthly professional journal on architecture and urbanism. This monograph on the architect’s work culminates many years of research drawing from a personal archive of thousands of images from my visits to document the work, previous conversations with surviving collaborators, interviews and archival work as well as an additional funded trip to Stockholm to pull materials for reproduction from ArkDes, The Swedish Center for Architecture & Design. [...] My essays “Nyberg and Lewerentz: Influence and Refinement” and “Nyberg’s Endangered Architecture” built upon previous writings to provide context for the architect both within his own time and contemporaries but also relative to the current struggle to preserve important works of modern architecture. “First published in January 1971, A+U – Architecture & Urbanism – is an architectural magazine in Japanese and English that provides information on architecture around the globe to a global readership. As Japan’s only monthly periodical dedicated to disseminating information on architecture around the world, A+U has been widely and actively read by the architecture community since its inaugural issue. The magazine’s research network extends around the globe, covering more than 100 countries. It features direct reporting on individual architects in various countries, and each issue is edited from a unique perspective to efficiently deliver the latest trends to readers. In addition, essays penned by architects, critics and historians help guide thinking on tomorrow’s architecture, greatly influencing the industry inside and outside Japan.” (description courtesy of A+U) (CONTRIBUTION: research 100%, new photography 90%, editorial and curation work 75% in collaboration with Professor Hansjörg Göritz, University of Tennessee College of Architecture and Design, drawings 50% with Andreas Förnemark, Leandro Giles, Translation: Per Iwansson and Andreas Förnemark)
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| 02 a+u MAGAZINE | 125
03.
COURTYARD HOUSE English Vendrell Architects | Residence | San Antonio, Texas. | 2017- 2019. Design Development, Historical Preservation League & Estimate Drawing Set. The Courtyard House is located in the La Vaca neighborhood of San Antonio, TX. This elongated courtyard house is set on a 45’x150’ lot. English Vendrell Architects invited me to join their project in 2017. My role included design development, building materials and techniques, research, and drawings for the Historical preservation league, as well as, construction drawings. The project went through multiple changes and testing of design ideas. The client gave total design freedom within the constraints of a set budget. The design goal was to bring the beauty of the outdoor experience into the comforts and privacy of an indoor dwelling. This was done with the inclusion of courtyards and transparent walls. The courtyards are extensions of the interior by the use of glazing systems. Each courtyard has complete privacy from the street. Entry courtyard has bike storage, fruit tree and permeable stone cover. The two courtyards adjacent to the kitchen and living room are divided by a screened in kitchen-dining extension. The master suite courtyard is private and has an outdoor shower. The residence has three bedrooms towards the backyard and one guest room / office towards the street. Beyond the design concept, the historical preservation committee remained our greatest challenge. After multiple meetings and adjustments, the project finally gained approval and contractor bidding began. After the first two bids were dismissed, a third met the desirable budget and construction began in Spring of 2019.
COURTYARD VIEW illustrates transparency through the residence from the corner of the kitchen courtyard looking west. (Previous Page) STUDY MODEL using Heliodon. In this particular photograph the sun is set to 2pm on May 1st. This illustrates the use of the heliodon for development of the house design.
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| 0 3 C O U R T YA R D H O U S E | 1 2 9
COURTYARD HOUSE SOLAR & SHADE STUDY 21 MARCH / 21 JUNE / 21 SEPTEMBER / 21 DECEMBER. 8am, 12pm, 4pm. San Antonio, Texas. Lat 29.25°, Long-98.5°. Sun position: 21 March.
Sun position: 21 June.
Sun position: 21 September.
Sun position: 21 December.
8am, 12pm, 4pm.
8am, 12pm, 4pm.
8am, 12pm, 4pm.
8am, 12pm, 4pm.
Azimuth 99.6° 159.4° 248°.
Azimuth 77.7° 123.8° 275.2°.
Azimuth 101.3° 166° 250.4°.
Azimuth 121.2° 170.8° 229°.
Altitude 17.3° 59.6° 34.6°.
Altitude 28.8° 80.1° 44.3°.
Altitude 20.4° 60.6° 31.7°.
Altitude 6° 36.7° 17.4°.
SOLAR STUDY A solar study was completed to better understand the house impact on the neighborhood, but also to give more information regarding the courtyard design. As a result, we found that much of the courtyard would be in direct sunlight. Therefore, the roof’s pitch was adjusted, and a raised heel was used to elevate the roof another 12 inches. This enabled larger shaded portions but also increased insulation depth in the roof structure. The solar study was conducted using a heliodon apparatus and simulations in Revit. All months of the year were evaluated. Additionally, I used a climate consultant to research typical cloud cover, sun hours, and precipitation in San Antonio.
1st JANUARY / 1st NOVEMBER, 2:00 pm. Sun Position: Azimuth 203°, Altitude 34.2°. Solar Impact: The roof will cast shadow on all courtyards the screen in porch will receive slight sunlight.
1st MAY / 1st JULY, 2:00 pm. Sun Position: Azimuth 240.8°, Altitude 65.3°. Solar Impact: The courtyards will receive ample sunlight but will all be shaded by the south face wall and roof. Most of interior will be shaded.
4th APRIL, 09:00 am. Sun Position: Azimuth 115.8°, Altitude 43.3°. Solar Impact: The sun will reach into the kitchen and living room while the bedrooms will remain shaded. Courtyard floor will have ±50% sun exposure.
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| 0 3 C O U R T YA R D H O U S E | 1 31
S8 S7
S6
S5
S4
S3
S2 S1
S1
S2
S3
S4
S5
S6
S7
S8
PLAN & SECTIONS The whole residence is enclosed by walls that continue through the courtyards at fascia height. The long house portion is 16ft wide while the protruding wings are slightly less. Ceiling heights are set to 9.5ft. The house is elevated 12 inches above grade. The step down in courtyards are set to 6”.
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| 0 3 C O U R T YA R D H O U S E | 1 3 3
ENTRANCE VIEW through living room, kitchen and interior courtyards looking N.
FRONT STREET RENDERING for submission to Historical Preservation League of San Antonio. In this render we used a charcoal stained wood siding. We also considered using or making Shou Sugi Ban, however, it was abandoned due to budget constraints. Final siding was determined to be white stucco.
ENTRANCE VIEW FROM COAT ROOM looking NE.
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| 0 3 C O U R T YA R D H O U S E | 1 3 5
SOUTH ELEVATION
NORTH ELEVATION
EAST ELEVATION
WEST ELEVATION
STUDY MODEL & SECTIONS (Above) EXTERIOR ELEVATIONS for submission to the Historical Preservation League. (Left) THE STUDY MODEL was beneficial for the study of space within the residence and used for the solar study. The model was built from basswood. Each piece was hand cut, except for the roof trusses and floor grid, which required increased precision and use of a laser cutter. I incorporated a grid on the floor surface to better understand the scale and dimension of the space. Each square corresponds to one foot. The model was built in scale 3/16” = 1’. The walls of all interior rooms were point glued so that they could be removed and relocated. The roof was built to endure multiple uses and could be removed easily. Of note, the window layout pictured here is the initial design but changed during the design process.
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| 0 3 C O U R T YA R D H O U S E | 1 37
BACK COURTYARD LOOKING SOUTH
BACK COURTYARD LOOKING NORTH
PLAN OF BACK COURTYARD
WALL CORNER DETAIL
POTENTIAL DESIGN OUTCOMES The wall assembly drawings were one of many I did to explore siding options. We looked at using Shou Sugi Ban, Swedish Pine tar, Cedar boards, Hardie cement fiber, and Stucco. Additionally, a small balcony was planned in the back of the main house. The roof would be pushed back 6’ to incorporate a balcony that would overlook downtown San Antonio. Underneath the balcony was thought to have a storage for gardening equipment. These early designs never got implemented due to the project budget.
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| 0 3 C O U R T YA R D H O U S E | 1 3 9
DETAIL SECTION DRAWING for the lead architect to provide a better overlook of the design and building systems. The drawing was printed in large scale format and pinned up in the office to be sketched on and referred to throughout the design process.
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| 0 3 C O U R T YA R D H O U S E | 141
WINDOW SHUTTER
DETAILED DRAWINGS (Above) ROLLING WINDOW SHUTTERS The exterior shutters were anticipated to be used both as a way to filter light and increase security for extended periods away from the residence. Materials would include teak wood and stainless steel. I designed these shutters with the intent to decrease manufacturing and material costs. (Right) FRONT COURTYARD GATE The front gate, made of stainless steel, was to uphold the simple and clean design concept. I designed it to be durable and weather tolerant, while maintaining a low manufacturing and material cost.
COURTYARD GATE
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| 0 3 C O U R T YA R D H O U S E | 14 3
CONSTRUCTION PROCESS Completion date set to December 2020.
Words from Mary English. I have had the opportunity to work with Andreas in multiple capacities. I have worked with him as professor/student, as a research assistant and as a team member for the courtyard house in San Antonio. He showed the same passion, curiosity and high standards for all three. I think that his curiosity and enthusiasm are why we, my partner Xavier Vendrell and I, invited him to work with us on the courtyard house. He was involved in all aspects of the project from schematic design through construction documents and into construction administration. He tested designs, researched materials and assemblies, made physical and digital models and renderings, figured out construction details and analyzed daylighting. I enjoyed working with Andreas as he raised the level of energy and rigor on the team.
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| 0 3 C O U R T YA R D H O U S E | 14 5
04. THE WEEKEND CABIN The Letlow Company | Weekend Getaway | Bryson City, NC | 2016- 2018. The Weekend Cabin in North Carolina was one of +150 houses and additions I designed and/or drafted for Les Letlow at The Letlow Company. Working for Les gave me broader understanding of working with smallscale American building industry. The property located in Bryson City, NC was situated on a leveled portion of the mountainside, overlooking the valley below. When the clients were first met in early 2016, we discussed their living habits and interests, as well as, the key features most desired. The owners’ desired a chalet style house that maximized the expansive 180 degree valley view. The clients owned a small sawmill which manufactured the timber utilized in most of the cabin. Clients requested a rough sawn timber to achieve a more rustic appearance. I designed a 1600sf cabin with a wraparound deck, a master suite located in the west wing, and guest bedroom and laundry storage in the east wing. The loft contains a mini bar, bathroom, and additional sleeping space. The house not only fit their needs, as a place of refuge from the normal bustle of everyday life and sanctioned their outdoor interests in fishing and hunting, but was as fitting for guests looking for a weekend getaway. Following a handful of meetings over a three months period where design development and budget were readjusted, the final plans were completed and provided to the owner. The cabin was completed in 2018.
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| 01 C O U R T YA R D H O U S E | 110
87'-7" 13'-8"
17'
26'-3"
8'
FOUNDATION PLAN
8'
13'-4"
47'
24'
9'-8"
6'-10"
(Above) FOUNDATION PLAN The cabin is built on top of a 5’ crawl space, which serves as storage and contains mechanical equipment. (Right) FLOOR PLAN Living room, guest bedroom, master bedroom and loft have exposed rough sawn lumber rafters and beams. The bathrooms and laundry in the lower level have flat ceilings and tile covered floor surfaces. The deck is a composite decking system to minimize maintenance. During the design process, I presented several different plan layouts including options with and without the loft. (Next Spread) ELEVATIONS & SECTIONS Materials included board and batten siding, exterior structural rough-cut lumber, and shake siding for the top dormers. Around the deck I designed slat wall sections that could be removed at crawlspace entrances. Bucks County synthetic stones were utilized for the corner posts and chimney. The roofing is a silver standing seam roof. The sections show the double height spaces throughout bedrooms and livingroom. The master bedroom and guest bedroom include a screened in porch and open porch, respectively. Dormers were added to the loft for increased ceiling height and living space. Interior railings and those around the deck are made of rebar treated with polyurethane. All railing posts are rough cut lumber oil treated to resist the weather.
18'-10"
6'-9"
DN
LOFT PLAN
PORCH STRUCTURE
8'
2'-6"
UP
6'
UP UP
FLOOR PLAN
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| 04 THE WEEKEND CABIN | 149
3/12
GUEST WING ELEVATION
REAR ELEVATION
FRONT ELEVATION
12/12
4/12
6/12
RIDGE 24'-10"
LOFT FF 11'-2"
FF 0'-0"
GRADE - 5'-00"
SHORT SECTION
CHIMNEY CAP 26'-10"
DORMER RIDGE 22'-10"
RIDGE 16'-6"
9
LONG SECTION
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| 0 4 T H E W E E K E N D C A B I N | 1 51
* Make sure all work is done according to the "latest International Residential Code" and most resent energy code
5
Install roofing materials according to manufacturer's specifications.
6
Install exterior finish materials per manufacturers recommendation.
Elevation 4
E4
UP
Framing Wings are dens with 4 exposed trusses 6x8.
3982FX 3982FX
3982FX 3982FX
E3
Elevation 3
3068
3068
Elevation 49
2668
E72
Elevation 36
3068
E36
5068
Beam 10x12 1668
Elevation 69
3982FX
3068
3022PT
3059SC
CLOSET
2'-0" X 5'-5"
Shelfs
Ventilation
3982FX
E69
Shelfs
C5/TV
3059SC
60x80
Shelfs
Elevation 75
E75 3059SC
3059SC
E67 363 0DH
3059SC
Elevation 66
3059SC
3059SC
3059SC
3582FX
5015FX 5068
3782FX
8FX 306 0DH 363
114 68M 366 U2DH
E66
8 506 2DH 366
Elevation 68
3059SC
Provide contiguous ridge vents on all roofs, locate proper ridge beams to allow for proper installation of ridge vents.
Elevation 67
3059SC
1
Elevation 72
3068
3DB152136
E49
Elevation 57
B351548
UP B4236
3782FX
Elevation 74
1214PT
1668
3068
3068
E29
3DB152136
5015FX 5068
2810AW
2060
Elevation 29
E70 Elevation 70
UP
3582FX
E74 E57
B182130 3DB152130 B182130
E26
U241490R U241490R
5068
U331275
3036SC
W303616
W2136R
4DB9
Elevation 23
E28
3068
E27
Elevation 28
DCB36R
B24R
3068
B18R
W2436R
DCB36R
Elevation 76
B24R
SB36
E23 Elevation 27
W1236R W2436R
B24R
W382016
E30 Elevation 30
3068
3068
DCW2442R
E76
Elevation 26
W275415
B2421R 4DB1521 4DB1521 B2421R
E71
Elevation 71
2810AW
3
Sheath all exterior walls with 7/16" OSB.
W1536RW1536R W2436R
W275415
Provide solid blocking between walls, under walls that are perpendicular to floor joist.
4010AW
2
DCW2442L
4033SC
3036SC
U151275
Provide double joist below parallel walls, above and around all openings not indicated in drawings, see detail A0.2.
1
E68
369 4DH
8FX 4DH 306 369
Need mechanically fastened to engineers specifications.
2
Providing we are using fiberglass insulation
3
Provide continuous roof to walls vents at all junctures of sloped roofs and vertical walls.
DECK 37'-9" X 14'-0"
LE V E L1
Black 5/8 smooth rebar for railing
Footings 3030SC
1610AW
E59
3068
Elevation 59
DN
B48
Elevation 76
E76
Elevation 36
2636
Elevation 36
Mitsubishi mini split heat pump system or equal
2636
Elevation 49
E36 E49
B2436
E58
E70 Elevation 70
B1836R
1
Elevation 58
E36
SB2736
U182684R
E74 Elevation 74
E69 Elevation 69 Elevation 75 2636
E75 E67
Elevation 67
The Letlow Company LLC does not practice structural engineering: therefore, all beams, connectors, solid bearing locations and all other structural items and to be reviewed. Any design elements that may need to be altered due to structural items must be approved by the owner and/ or The Letlow Company LLC
Elevation 76
1610AW
E76 2636
2850SC
Carry all footings to firm undisturbed compacted bearing soil.
Elevation 75
Elevation 66
E66
Elevation 68
E67
Elevation 67
E75
Verify all local codes, energy types, and site conditions prior to construction. The owner and builder shall be solely responsible for code compliance.
E68
F O UNDA T I O N
LO F T
Copyright C property of The Letlow Company, LLC
* If spray foam insulation is used in exterior walls and encapsulated roof delete roof venting
1
Construction Services
3
All wood used in construction of decks and steps should be pressure treated, fasteners should be either hot dip galvanized or stainless steel.
Design/Build
24x36 prints are at indicated scale, 11x17 prints are at half indicated scale.
4
Construction Drawings
3
The
* Make sure there is a positive drainage away from foundation, minimum 6" slope in the first 10 '
COMPANY .LLC
2
Letlow
Coordinate with homeowners for finish and fixture specifications.
WALKER CABIN
2
These plans are property of
Date
Placement of foundation openings to be determined by contractor and owner
New Plan
1
Conceptual 1
Construction Notes
Contractor to verify existing dimensions and conditions before proceeding.
NOT FOR CONSTRUCTION - FOR USE BY THE LETLOW COMPANY, LLC.
General Notes 1
Scale
1/8'' = 1' Date Issued
3 December, 2016 DRAWING BY ANDREAS F Sheet Title
Scope
A1
LIVING AREA
11x17= Half Scale
2x10 framing- 16" OC for deck. 2x12 double beam.
6
2x12 outside band.
13
7
2x12 PT band under exterior doors and 2' past each side of door.
8
Contractor responsible for providing termite treatment and annually renewable bond.
9
Grade dirt to slope away from house minimum 6" in the first 10'.
14
15
Termite Shield 16"x16" Pier
6mil Poly Groundcover Over Whole Crawlspace
Use ½ inch diameter headed anchor bolts with 1/8 “ plate washers at 4’-0” maximum. Anchor bolts should have 8” embedment.
#4 Rebar - 4 Each Way
6" Frost Line 2"
12"x36"x36" Footing 3000psi Concrete
Dowels are #4’s at 4’-0”. Shall be at each corner with a standard hook in the plane of the bottom of the ties and the verticals extending to within 2 inches of the top of the blocks Enter Crawlspace
2x8 PT Blocking
Joist Hangers
2" 3"
Isolated Footing Detail
Continuous Footing Detail Moisture Wrap (Tyvek or Equivalent)
17'
26'-5"
Elevation 49
E36
32'-1" 8'-3"
Elevation 69
8'-5"
Elevation 75
E75 E67
Elevation 68
Elevation 66
E66
7'-5"
13'
2"
2 # 4 Rebar
E69
7'-6" 8'-5"
16'-4"
Elevation 67
2"
15
7'-6"
2636
T T
Concrete Blocks Fill with Concrete
3"
2636
Elevation 36
E49
30# Felt
# 4 Rebar, ties at 32". Bars are lapped 24” at splice points,or corner bars with 24” legs provided
7'-6"
Elevation 70
24'
Termite Shield
Gravel with Perforated Drain Pipe ( French Drain)
24x36
E70
2x8 Pressure Treated with 10" Anchor Bolts 4' OC
Slope away from Structure. 6" the first 10'
11x17= Half Scale
E74 Elevation 74
2636
Color Coordinated Flashing (Note 11)
12"x24" Continuous Footing 3000 psi Concrete
15
8'-3"
#4 continuous bar, ties at 32". Bars are lapped 24” at splice points
1/2" J Type Rebar Anchor
7'-7"
E76
2x10 - 16" OC
8" Bond Beam with Grout
Cultured Stone to Match with Stone Sill
17' 2636
Elevation 76
R=19
2'
6" BATT
7/16" OSB Sheathing
E68
15 '-1 "
COMPANY .LLC
Construction Services
Regrade Under Crawlspace Smooth
Design/Build
2x10 - 16" OC
Install window and door foil sealing, tape around each window and door, seal each opening in the exterior walls with spray foam as per manufacturer recommendation.
Copyright C property of The Letlow Company, LLC
4 5
Color coordinated flashing over stone foundation sill.
12
Construction Drawings
Isolated pilasters approximately 6-'6" OC each way.
11
R=19
WALKER CABIN
3
3/4" Tongue and Groove Sturdy floor Plywood
Letlow
Foundation of CMU blocks on continuous footing, see section for details.
8"x16" Masonry vents approximately 12' OC.
The
2
10
2 - 2x12 Beam 6" BATT
Date
Contractor to verify existing dimensions and conditions before proceeding.
Provide double joist below parallel walls, above and around all openings.
New Plan
1
Foundation Notes
Conceptual 1
Foundation Notes
NOT FOR CONSTRUCTION - FOR USE BY THE LETLOW COMPANY, LLC.
24x36
Scale
1/4'' = 1' Date Issued
3 December, 2016 DRAWING BY ANDREAS F Sheet Title
Foundation Plan
A2
The Letlow Company, LLC Until building contract is signed.
Elevation 27
Elevation 23
Elevation 26
(Above) KITCHEN RENDERING & WALL ELEVATIONS The renderings and elevations seen above are one of the many options presented to the client, where different materials and colors could be evaluated. The kitchen is seen from a camera view as taken from the center of the living room. For the finalized design, the kitchen received additional cabinetry and less open shelves. The entry has two small closets located under the staircase. On each side of the kitchen and living room space there is a swing door and sliding door on exposed rollers which leads to the master and the guest quarters, respectively. (Left) DRAWING SET EXAMPLES The drawing set was given to the client for construction and bidding. Additional drawings not pictured include: electrical drawings, estimate lists for rough-cut lumber, schedules, plans, sections, details, bathroom, and laundry detailed wall elevations.
WORK
| 04 THE WEEKEND CABIN | 153
Words from Les Letlow I am a 65-year-old design/build home builder and remodeler with a college degree in building science. I specialize in residential design and I have been in business since 1979. About 4 years ago, I got a call from Andreas, looking for a job while going to Architecture school. After a short phone discussion, I asked him to come in for an interview. I was overly impressed with his attitude and hired him on the spot to draw 3D house plans as well as additions and remodeling using our CAD program, Chief Architect. Andreas helped take my design/build business to the next level, with his ability and tenacity to solve problems and get things done. There was never anything I asked of Andreas, that he could not figure out how to do. He has the best learning ability of anyone I have ever known. Between, his design ability and my knowledge of construction, we made a good team and created many fantastic award-winning designs that our clients loved. While putting in the enormous time required in school to complete his degree. Andreas is a very honest, passionate, hardworking, and extremely smart guy. I admit, I was proud of him getting his degree, especially achieving Summa Cum Laude, but was sorry to see him leave. I am certain he will make someone a great employee, as I highly recommend him. He made a definite positive impact on our design/build ability. Sincerely, Les Letlow
(Left & Above) RENDERINGS DISPLAY NORTH & SOUTH ELEVATIONS Renderings with a board and batten siding are illustrated here. Working on this project brought a greater understanding of working on residential projects. Many times, clients are indecisive and want to be presented with multiple design options. Thus, I realized the need for visual representations, importance of adaptability and communication.
WORK
| 04 THE WEEKEND CABIN | 155
OBJECTS PAGES 158-183 01 WORK DESK 158-161 0 2 C O N C R E T E S I D E TA B L E 1 6 2 - 1 6 5 03 MANUAL DRAFTING 166-167 04 DRAWING
168-169
05 SKETCHES 170-171 06 INKING 172-173 07 MODEL MAKING 174-183
01. WORK DESK Design Build | Auburn, Alabama | 2018. Private Project, 65lbs, 2 Full Sheets of 1/2” Baltic Birch, No Screws, Glue Connections, 100h.
48” A D J U S TA B L E HEIGHT 76”
33”
4”
27”
26.6°
0° 10° 20° 30° 40° 50° 60° 90°
80°
70°
THE BEVELED EDGE gives a light appearance of the desk. The rounded corners provide better comfort for hand and arm contact during work.
The work desk is made of two Baltic birch plywood sheets. The birch plywood was chosen for its resistance to wear and for its light color. The plywood was finished with matte polyurethane and a light gray Formica laminate on the top surface. The low-profile shelves were incorporated for the storage of drawings, cords, and other instruments. The assembly was fashioned through dado, dowel, and glue connections. The process of trial and error was utilized with each challenge met. One of the lessons learned was the importance of dado channel size. The small channel size led to a difficult assembly due to tight connections. Though, the finished product made for a large sturdy and versatile desk.
OBJECTS
| 01 WORK DESK | 159
(Above) FINISHED DESK has a light appearance with 8” overhangs. The lower shelf has a surface of 4” for rulers and small equipment. The open shelves were designed with “easy access” in mind. (Top Left) MANUFACTURING PROCESS (Bottom Left) ASSEMBLY DIAGRAM describing glue connections and assembly sequence and parts.
OBJECTS
| 01 WORK DESK | 161
02. CONCRETE SIDE TABLE Design Build | Auburn, Alabama | 2017. Private Project, 90lbs, 0.55 cu. ft. Concrete, Recycled Teak from Old Outdoor Furniture, 80h.
The concrete side table was an experiment challenging the characteristics of concrete. The table was made of fine aggregate concrete and recycled teak wood. The design goal was to produce a table that appeared delicate, yet maintained structural integrity. This project was riddled with challenges, a majority, which were inherent to the principles of concrete. Patience and flexibility were key. The result was an elegant piece of furniture that arguably stands to defy its own laws of material science.
EVOLUTION OF SIDE TABLE
14”
50”
4.5”
35°
0.5” 8°
4° 32”
TECHNICAL DRAWING
ASSEMBLY DIAGRAM describe assembly sequence and parts.
the
glue
connections,
OBJECTS
| 0 2 S I D E TA B L E | 16 3
(Top) MANUFACTURING PROCESS in sequence. Formwork was constructed of melamine particle board. Formwork clamps were used to prevent bowing. Concrete cured for seven days to minimize cracks. The formwork was carefully removed, and the concrete unit was placed on a leveled surface for polishing. The concrete unit was glued to the plywood base to allow for leg attachment. Recycled teak wood was selected to cover the plywood edge. Round tapered hardwood legs were stained and mounted. (Bottom) CONCRETE UNIT before penetrating sealer was applied.
FINISHED TABLE with its slim appearance fits seamlessly into living spaces. The open narrow shelves allow for easy access while hiding its content.
OBJECTS
| 0 2 S I D E TA B L E | 16 5
03. MANUAL DRAFTING Reproduction Drawing | The Douglas House | San Diego, CA | 2013. Paraline with CAD Overlay | Auburn, AL | 2016. Mechanical Pencil, 80 lb Drawing Paper, Arches Paper.
OBJECTS
| 03 MANUAL DRAFTING | 167
04. DRAWING Graphite Render of Alvar Aalto’s Villa Mairea. Graphite Drawing of Studio Project | Auburn, AL | 2016. Graphite on Arches Paper.
OBJECTS
| 04 DRAWING | 169
05. SKETCH Charcoal & Graphite Sketches | Auburn, AL / San Diego, CA. | 2013 / 2016. Charcoal, Graphite on 50lb Sketch Paper.
OBJECTS
| 0 5 S K E T C H E S | 171
06. INKING Traditional Inking & Pattern Development | Auburn, AL | 2016. Water Based Ink on Arches Paper.
OBJECTS
| 0 6 I N K I N G | 17 3
07. MODEL MAKING Office Building | Lake Martin, AL | 2016. Cardboard, Museum Board, Basswood, (8” X 22”).
OBJECTS
| 07 M O D E L M A K I N G | 17 5
KAPPA SIGMA
Forum Addition | Auburn, AL | 2016. Chipboard, Museum Board, Basswood, (24” X 24”).
OBJECTS
| 07 M O D E L M A K I N G | 17 7
WOOD PAVILION
Recreational Forest Pavilion | Auburn, AL | 2017. Painted Chipboard, Basswood, (22” X 16”).
OBJECTS
| 07 M O D E L M A K I N G | 17 9
PRINT SHOP
Work & Live | Opelika, AL | 2016. Chipboard, Museum Board, Concrete, Basswood, (6” X 14”).
OBJECTS
| 07 M O D E L M A K I N G | 1 81
9 SQUARE
Operation & Condition Exercise | Auburn, AL | 2016. Cardboard, Museum Board, (24” X 24”).
OBJECTS
| 07 M O D E L M A K I N G | 1 8 3
Thank you