Ali Johnston Portfolio of Interior Architecture & Design by Ali Johnston

A L I

J O H N S TO N

P O R T F O L I O

INTERIOR ARCHITECTURE & DESIGN 2010-2015

ALI JOHNSTON Bachelors of Interior Architecture

Pushing boundaries and testing existing limits in design to achieve better solutions to design problems; creating spaces that work both in the present and the future, emphasizing healthier environments and a sustainable future.

I call the School of Architecture & Allied Arts at the University of Oregon home. Originally from the Los Angeles area, I moved to Eugene for one reason—The University of Oregon’s Interior Architecture program — a unique and highly ranked design program that offers an education focused on the human condition and environmental sustainability, with a culture that encourages risk taking and challenges standards in creating, composing and presenting ideas. I place great value on the education I’m receiving at the University, but recognize that for me, continued learning is a lifelong goal.

University of Oregon B.IARC 2015 alexisj@uoregon.edu 661.755.5777

I pride myself on hard work and never being too proud to ask for advice or help. As a young designer and student, I have come to realize that design is about a collective thought process and collaboration. Accepting that there is no such thing as an original idea has perhaps been the greatest aid to my design process; a process that revolves around research, collaboration, asking for and providing feedback.

RESUME 2015

CAREER GOALS

E D U C AT I O N

University of Oregon Eugene, OR

SKILLS

Interior Architecture 2015 Major: Bachelors of Interior Architecture Minors: Fine Ar ts, Architectural Ar t History

William S. Hart High School Santa Clarita, CA

WORK EXPERIENCE

MAC OSX WINDOWS

WORKING DRAWINGS AUTOCAD REVIT SKETCHUP INDESIGN ILLUSTRATOR PHOTOSHOP HAND MEDIA

R Johnston Interiors, inc. - Los Angeles, CA

Design Assistant, June 2013-Present Working drawings for high end residential design projects including construction documents, technical

drawings, shop drawings, and 3D renderings for clients, contractors, and workshops. Administrative duties including oversight of social media, marketing, branding, website, and blog. Rebecca Johnston, Founder & Principal rebecca@rjohntoninteriordesign.com rjohnstoninteriordesign.com 661.645.1835

Teaching Assistant - University of Oregon Arch 202 Media Class, January 2015 - Present Lead first year architecture studio in introduction to hand media course. Assisting students in use of

media in architectural drawings through demonstrations and hands on teaching. Provide constructive critical reviews of work. Prof. Daisy Oâ&#x20AC;&#x2122; lice Williams, UO A&AA daisyoli@uoregon.edu

GBD Architects - Portland, OR Intern Interior Designer, June 2013- September 2013 Produced construction documentation sets for several on going projects, primary work in Autocad and

Revit. Assisted with material selection and design for several ongoing housing and commercial projects.

Kent Pottebaum, IIDA, LEED AP ID+C kent@gbdarchitects.com

CONTENTS SCHOOL WORK & ARTWORK

2 6 8 12 16 24 28 32 33 34

Introduction

ABOUT ME & RESUME Comprehensive Project: a brief introduction

WESTLAKE HIGH SCHOOL Working Drawings

RED DUCK FOODS, inc. Furniture Design

COFFEE BENCH Housing Design

MICRO LIVING Accessibility Design

TAMARACK & BRIDGEWAY OfямБce Design

PERTH & EION Lighting Design

OMPHOLIS & BLOK Oregon BILDS

INTERIOR CONSTRUCTION Media

FINE ARTS

WESTLAKE HIGH SCHOOL LOS ANGELES | W14 - S15 A BRIEF INTRODUCTION TO SENIOR COMPREHENSIVE PROJECT COURSE: IARC 488 | 5th Year | Comprehensive Project PROJECT: Westlake High School: The New American Urban Public High School INSTRUCTOR: Prof. Alison Snyder & Prof. Linda Zimmer | ABSTRACT | Concerned with the Urban-Suburban High School Graduation Gap that is evident in the Los Angeles County and the effect this education gap is having on inner-city youth and neighborhoods, this project was begun with looking at the social and socio-economic issues facing high school students in the Westlake district of downtown Los Angeles, California. In my research I explored the potential positive effects designing smaller urban high schools would have on attendance and overall graduation rates, as well as the overarching importance of education, and eventual higher education, students of low-income urban families feel towards school. Through research and interviews with educators and administrative personnel, I am investigating classroom types and designs for a technologically advanced and rapidly changing world. Partnering with LA’s Promise, a non-profit based out of Los Angeles focused on school reform and neighborhood revitalization, and the Los Angeles Unified School District (LAUSD), I committed to building a smaller learning community and a program based on a new, unique curriculum and methodology. The program of this new public high school will be a fusion of traditional subject matter and current events to encourage interdisciplinary understanding and a comprehensive learning of material. Because the Westlake District is a historically architecturally-rich neighborhood, and as stated by Heidi Early of Noble High School in North Berwick, Maine, “What schools look like, tells students what they are worth”. I chose to work within the 1926 Young’s Market Building. I believe that beautiful buildings should not only be placed in the hands of those who can afford their detailing, but be placed in the hands of those who can see the future for which it promises. This project is to be a prototype for the new American Public High School, acting as a case study for education reform, and the programming and design of public secondary education in urban areas. The Westlake High School project will make a commitment to small— physically downsizing the footprint of the school, reducing the number of students, shrinking the ratio of students to teachers, lessening the number of subjects taught independently—building the whole school culture around small learning communities. Westlake High School will act as a prototype for a New Urban American High School. As a case study for education reform, neighborhood revitalization, and the redesign of educational spaces to accommodate changing technologies in and out of the classroom, the school will focus on issues effecting low-income urban neighborhoods. Maria Montrossori, founder of the Montrossori Method of education, famously said in 1936, “preventing conflicts is the work of

politics, establishing peace is the work of education”. With the guidance of LA’s Promise, I pose the question of how education can be socially responsible and academically rigorous at the same time. The goal of this architecturally and programmatically smaller approach to public secondary education is to connect with students on a more intimate level, ultimately reducing the high dropout rates of the Westlake District. Through design and architecture I propose that a smaller public high school can influence students to be active, contributing members in their urban community and beyond, ultimately effecting entire socio-economic divisions. I was heavily influenced by Theodore Sizer, a great educational philosopher and teacher, who wrote a book called “Horace’s Compromise: the Dilemma of the New American High School”. I was also greatly influenced by Myles Horton and Paulo Freire, who got together and “talked a book” entitles “We Make the Road by Walking: Conversations on Education and Social Change”. What stood out to me the most while researching education reform and education design was the importance of creating connections between the students, the staff, and the subjects being taught. Relevance not only educationally, but architectural and design relevance is critical in making the urban high school of the future successful. The best school designs emphasize the greatest qualities of the neighborhood as well as the students. Education is considered one of the most important foundations to a persons’ social and cultural life. In the U.S. we invest substantial amounts of money into the public school systems, but expect little in return of them. Revitalization of neighborhoods is one of the fundamental goals in developing smaller, local schools. Westlake has a rich historic background, but sadly many architectural treasures in the area have been left to deteriorate. By making this project an adaptive re-use project, not only is the neighborhood’s history being preserved, but students and families will become part of the new story of these buildings. Buildings are living entities and are meant to adapt and change with the changing world—just as education is. The schematic programming of this projects was heavily dependent on adjacencies and security issues related to the needs the students and faculty. The program can be broken down into a few basic elements: classrooms, administrative spaces, study and communal workspaces, and social spaces. The overarching scheme for Westlake High School is a central heart flanked by smaller focused learning communities. After subdividing the existing building in half, Westlake High School will occupy 56,250 gross square feet

with a program requiring approximately 52,000 net square feet. The building presents a few basic challenges: a heavy concrete structure with three foot wide columns on a twenty-five foot bay system, a heavily public façade on a major street corner, and lack of connection between floor plates. The overarching ideas I am working with for Westlake High School are based on a central building heat, occupied by student common/open space and overseen by administrative spaces, flanked by smaller, focused, learning clusters or “learning neighborhoods”. In my first scheme I worked with keeping the “learning neighborhoods” open to the common circulation spaces as well as the administrative offices. This scheme promotes openness and fluidity between classrooms and the common spaces throughout the building. My second scheme talks about what closing off the neighborhoods to the common spaces would do—an issue that I am unsure of the potential downfalls from. This Scheme creates a more intimate neighborhood with greater potential use—but is then disconnected from the heart/core of the school.

I BELIEVE THAT BEAUTIFUL BUILDINGS SHOULD NOT ONLY BE PLACED IN THE HANDS OF THOSE WHO CAN AFFORD ITS’ DETAILING, BUT IN THE HANDS OF THOSE WHO CAN SEE THE FUTURE FOR WHICH IT PROMISES. 7

WORKING DRAWINGS RED DUCK FOODS, INC.

ARCHIVED BY UO A&AA

COURSE: IARC 486 | Spring 2014| Working Drawings PROJECT: Red Duck Foods: Elevate Your Food INSTRUCTOR: Jenna Fibley COURSE DESCRIPTION: The scope of work for this studio is to design a small retail space and to generate complete working drawings for the remodel of an existing building in downtown Eugene. In addition to general planning, lighting and material selection, consideration must be given to the display of retail items. The “clients” are interested in salvaging, repurposing or upcycling “found” items for a few key display pieces. For the remainder of the shelving, storage and display, the clients would like to use off-the-shelf building components and materials in innovative and unexpected ways. Although the project scope is limited to an interior tenant infill space, the clients would like to use every available opportunity to incorporate sustainable strategies into the project. Architectural elements, such as windows, skylights and storefront construction are integrated into the design.

AUTOCAD SKETCHUP PHOTOSHOP

2010-2015

ROOTS elevate your food

[SAMPLES FROM CONSTRUCTION DOCUMENTATION SET] GLAZING PRESSURE CAP AND COVER CAP

121" BUTCHER BLOCK COUNTERTOP

INTERIOR

BACKER ROD and SILICONE SEAL.

TYP. DRAWER BOX CONSTRUCTION

GLAZING

5" X 34" SOLID WOOD SLATS, TYP.

2'-3"

121" BUTCHER BLOCK COUNTERTOP

71 4"

3 4"

121" BUTCHER BLOCK COUNTERTOP

1'-73 4"

CASH BOX, HARDWIRED INTO PLACE

1'-6"

TYP. 2" X 4" WOOD FRAMING

1'-01 4"

1 2"

EXTERIOR WOOD CEILING 9WOOD 2600 FLUSH JOINT LINEAR, FINISH AS SPECIFIED

REVEAL, PAINTED

3 4"

3'-6"

3'-3"

REVEAL, PAINTED

ADJUSTABLE SHELF

3" 6"

HINGE HARDWARE

4" RUBBER BASING, FINISH TBD

P.O.S. COUNTER- DESK

P.O.S. COUNTER- 24" REGISTER BASE CABINET

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

121" PLY SUBSTRATE 1 2"

3 4" PLY FRONT, PLAM FINSIH TBD, TYP.

SLIDING TRACK TRANSITION STRIP

REVEAL, PAINTED

TYP. DRAWER BOX CONSTRUCTION

2'-6"

2'-5"

PLY DOOR, PLAM FINSIH TBD

REVISION:

TRANSITION STRIP

SCALE:

TITLE:

A.7

CASEWORK- PRODUCE DISPLAY

P.O.S. COUNTER- 24" BASE

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

DETAILS

SHEET:

4" RUBBER BASING, FINISH TBD

AS SHOWN

DRAWN BY: A. JOHNSTON

BLOCKING

JUNE 4, 2014

DATE:

BLOCKER

4" RUBBER BASING, FINISH TBD

BY:

EXISTING 4" CONCRETE SLAB ON GRADE

ADJUSTABLE SHELF OPEN STORAGE

DATE:

PIVOTING TRACK

NEW EXTERIOR WOOD PLANKS 1:12 ADA SLOPE

3 4" PLY DOOR, PLAM FINISH TBD 1" STEEL "LETTER" SUPPORTS

3'-6"

3 4"

1'-7"

GLAZING HINGE HARDWARE

FINISHED BLOCKING

3'-0"

ALUMINUM FRAMING

BUTCHER BLOCK COUNTERTOP

53 4"

121" BUTCHER BLOCK COUNTERTOP

1'-10" 9"

SCALE: 6" = 1'-0"

121"

2'-3"

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

LACANTINA DOOR HEADER DETAIL

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

6" FINISHED BASE, PLAM TBD

CASEWORK SECTION - ICE TROUGH

SLIDING TRACK

GLAZING

4" RUBBER BASING, FINISH TBD

ACCESS PANEL FOR ICE TROUGH, VERIFY DIMENSIONS REQUIRED BY MANUFACTURE 6"

PIVOTING SYSTEM

PLY DOOR, PLAM FINISH TBD

SECONDARY FIXING HEADER

ALUMINUM FRAME

BLOCKER

3 4"

PRIMARY FIXING

BATT INSULATION FOR SOFFIT CEILING

ADJUSTABLE SHELF STEEL "LETTER" SUPPORTS

2'-6"

3 4" PLY DOOR, PLAM FINISH TBD STEEL "LETTER" SUPPORTS

2" 1'-0" VERIFY W/ MANU.

1 2"

PLY DOOR, PLAM FINISH TBD

GYP

MDF TRIM, PAINTED TO MATCH SOFFIT COLOR

121" PLY SUBSTRATE

1'-0"

121" PLY SUBSTRATE

2" BUTCHER BLOCK COUNTERTOP, FINISHED AND SEALED

ICE TROUGH W/ BUILT IN DRAIN

SCALE: 3" = 1'-0"

1'-5"

10"

SCALE: 6" = 1'-0"

ALUMINUM GROMMET

O R

9'-1112" 3'-10"

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

OWNERS CONTACT INFORMATION (XXX) XXX.XXXX XXX@REDDUCK.COM

ACURLITE STRUCTURAL SKYLIGHT SILL DETAIL

E U G E N E

5" TYP.

RED DUCK FOODS OWNERS NAME OWNERS ADDRESS

EXISTING BEAM

4" RUBBER BASING, FINISH TBD

6" X 6" WHITE PORCELAIN TILE W/ MATCHING GROUT

2'-8"

EXISTING 2" X 8" JOIST

FOAM TAPE

LACANTINA DOOR JAM DETAIL

ALEXISJ@UOREGON.EDU c | 661.755.5777 f | 661.253.0156

EXISTING PLYWOOD DECKING

MEMBRANE ROOFING SYSTEM WATER BARRIER

EXISTING BRICK WALL

P.O.S. COUNTER- DRAWER BASE

ALI JOHNSTON 2643 KINCAID ST EUGENE, OR 97405

WOOD PANELING FINISHED TO MATCH EXPOSED JOISTS

ALUMINUM FRAME

BLOCKER 1'-0" HOLD

CURB 1 4"

BACKER ROD PLUS SEALANT

ADJUSTABLE SHELF

1'-3"

4" RECESSED LED CAN LIGHT

A.JOHNSTON INTERIOR DESIGN, INC.

RIGID INSUL. CONT. SILL PAN

D U C K

STD. 2" X 4" WOOD FRAMING

PLY DOOR, PLAM FINISH TBD STEEL "LETTER" SUPPORTS

3'-3"

3'-6"

EXTERIOR 3 4"

S T .

121" PLY SUBSTRATE

O A K

EXISTING CONCRETE WALL ASSEMBLY

SHIM BLOCK

1 3 8 5

512"

5" X 34" SOLID WOOD SLATS, TYP.

REVEAL, PAINTED

R E D

51 2"

1 2"

PROJECT:

2'-3"

EXISTING STRUCTURAL BEAM

LACANTINA DOOR ADA SILL DETAIL

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

SCALE: 6" = 1'-0"

EL. 16'-0" T.O.SKYLIGHT 14 EL. 12'-941" T.O.PARAPET

3 A7

GENERAL DEMO NOTES

EL. 8'-4" B.O. AWNING 3

4'-0"

3'-10"

4'-0"

KEY NOTES

EXTERIOR ELEVATION - SOUTH

5 A3

6 EL. 12'-941" T.O.PARAPET

EL. 12'-941" T.O.PARAPET

3 A7

EL. 8'-4" B.O. (N) OVERHANG

ROOTS

4 A7

elevate your food.

4 1 101

2 A7

1 A7

EXTERIOR ELEVATION - EAST SCALE: 1/4" = 1'-0"

ACURITE STRUCTURAL GABLE SKYLIGHT; FINAL PLACEMENT TO BE VERIFIED ON SITE BY CONTRACTOR AND DESIGNER/ARCHITECT.

LACANTINA ALUMINUM THERMALLY CONTROLLED BI-FOLDING DOOR AND MODIFIED DOOR/WINDOW SYSTEM

SOFFIT CEILING; FINISH TBD EXISTING COLUMN AND DOWNSPOUT

EXISTING 4" CONCRETE SLAB ON GRADE

4 A3

EXISTING FOOTING DRAIN

EL. 0'-0" T.O. SLAB

10'-0"

1'-21 4"

EXTERIOR ELEVATION - WEST SCALE: 1/4" = 1'-0"

2 9

1 A7

EXISTING ROOF DRAIN TO REMAIN

EL. 3'-0" B.O. SIGNAGE

EXTERIOR WOOD CEILING- 9WOOD 2600 FLUSH JOINT LINEAR, FINISH AS SPECIFIED

EL. 0'-0" T.O. SLAB

7'-0" 4 A3

6" 4'-0"

UPPER WALL ASSEMBLY: EXTERIOR- PLASTER O/ WOOD FRAMING. NEW INTERIOR GYP. WALL BOARD ASSEMBLY O/WOOD FRAMING

ROOTS

EL. 2'-6" T.O. PLANTER 4

EXISTING PARAPET AND ROOF CAP

elevate your food.

7'-7"

Eugene Headquarters

NEW MEMBRANE ROOF ASSEMBLY. TO WORK IN CONJUNCTION WITH STRUCTURAL SKYLIGHT SYSTEM; SLOPE ROOF 41" PER 1'-0"

EL. 8'-4" T.O.SIGNAGE

redduck Foods, inc.

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

EL. 16'-0" T.O.SKYLIGHT

3 A7

M.12

2 A7

E.4 E.2

E.1

NEW EXTERIOR ENTRYWAY; TILE OVER NEW CONCRETE PAD 1:12 ADA SLOPE

EXTEND EXISTING EXTERIOR SOFFIT ABOVE NEW DOORWAY

6" MDF BASEBOARD, BM-OC-117 SIMPLY WHITE

OPEN STORAGE SHELVES, REFER TO FINISH SCHEDULE FOR FINISH

3-D GRAPHIC SIGNAGE, MOUNTED WITH 1 21" STANDOFFS TO FINISHED SURFACE

APPLIED VINYL GRAPHIC TO TILE FACE

INTEGRATED LIGHTING INTO NEW SOFFIT; J-BOX TO BE CONCEALED IN SOFFIT

COMPUTER SYSTEM; INTEGRATED ELECTRICAL AND DATA REQUIRED, COORDINATE WITH ELECTRICAL PLAN

CUSTOM CASEWORK: COLD CASE REFRIGERATION UNIT, COORDNIATE WITH ELECTRICAL PLAN FOR REQUIRED ELECRTICAL, VERIFY WITH MANU.

NEW EQUIPTMENT: ICE TROUGH; SEE DETAIL ELEVATION 10.A7 FOR PLUMBING REQUIREMENTS

LACANTINA ALUMINUM THERMALLY CONTROLLED FIXED DOOR

EL.9'-141"

T.O. STRUCTURE

T.O. STRUCTURE EL.8'-2"

TYP. HEAD HEIGHT

7 8

E.3

EL. 3'-4" TYP. SILL HEIGHT

6'-6"

elevate your food.

11 15

EL. 0'-0" T.O. SLAB 21 1 A3

6 1'-4" TYP.

E.3

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

APPLIED 21" WOOD SLATS TO DOOR, COORDINATE WITH MANUFACTURE FOR CLEARANCE REQUIREMENTS

EXTERIOR BARNLIGHTS/SIGNAGE LIGHTING; COORDINATE LOCATION WITH ELECTRICAL PLAN

SIGNAGE MOUNTED TO EXISTING BRICK WITH 1 21" STANDOFFS

PLANTER MOUNTED TO EXISTING BRICK, DRAINAGE REQUIRED

REVISION:

DATE:

BY:

6.9.14

JUNE 4, 2014

SCALE:

1 4"

= 1'-0"

DRAWN BY: A. JOHNSTON EXTERIOR ELEVATIONS & SHEET: SECTIONS TITLE:

EL. 0'-0" T.O. SLAB 20 1 A3

DATE:

elevate your food.

LOWER WALL ASSEMBLY: BRICK INFILL TO MATCH EXISTING

EL. 11'-4" B.O. JOIST EL. 9'-1121" B.O.BEAM

℄

TRANSVERSE SECTION

EL. 13'-834" T.O.PARAPET

7 8

LACANTINA ALUMINUM THERMALLY CONTROLLED MODIFIED FIXED WINDOW SYSTEM

2'-8"

EL. 3'-4" TYP. SILL HEIGHT

M.6

EL. 16'-0" T.O. SKYLIGHT

5 EL.12'-9" T.O. PARAPET

EL.8'-2"

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

43 4"

EL. 11'-4" B.O. JOIST EL. 9'-1121" B.O.BEAM

LONGITUDINAL SECTION

3'-03 4"

EL.9'-141"

EL. 13'-834" T.O.PARAPET

3 A7

1 EL. 16'-0" T.O. SKYLIGHT

1 A7

6 A5

2 A4

3'-0"

6 5

EL.12'-9" T.O. PARAPET

3 A4

13 11

10 A7

M.12

E.1

9'-111 2"

M.4

E.2

3'-6"

8'-2" 7'-71 4"

M.12

RED DUCK FOODS OWNERS NAME OWNERS ADDRESS OWNERS CONTACT INFORMATION (XXX) XXX.XXXX XXX@REDDUCK.COM

LOWER WALL ASSEMBLY: BRICK INFILL-EXISTING

7 26 6

ALI JOHNSTON 2643 KINCAID ST EUGENE, OR 97405 ALEXISJ@UOREGON.EDU c | 661.755.5777 f | 661.253.0156

O R

4'-0"

6 A3

elevate your food.

ALL VERTICAL DIMENSIONS TAKEN ABOVE THE EXISTING FINISH FLOOR, ANY CHANGES TO BE NOTED.

E U G E N E

2 A7

4 A7

A.JOHNSTON INTERIOR DESIGN, INC.

D U C K

EL. 0'-0" T.O. SLAB 23

VERIFY ALL DIMENSIONS AND RELATIONSHIPS GIVEN TO THE EXISTING WORK BY FIELD MEASUREMENT. NOTIFY ARCHITECT OF ANY DISCREPANCIES BETWEEN DRAWINGS AND ACTUAL CONDITION

elevate your food.

EL. 3'-4" B.O. SILL

DIMENSIONS ARE TO THE FACE OF BRICK UNLESS NOTED OTHERWISE. COLUMNS DIMENSIONED TO CENTERLINE

S T .

ROOTS

1. 1

O A K

4 A7

1 3 8 5

4 A7

R E D

PROJECT:

TRANSVERSE SECTION

A.3

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

FOR FULL SET OF CONSTRUCTION DOCUMENTS, SEE WORKING DRAWINGS PORTFOLIO

1 A3

EL. 16'-0" T.O.SKYLIGHT

98'-103 4"

14 12'-941"

EL. T.O.PARAPET

16'-3"

16'-0" 512"

9'-23 4"

6'-33 4"

3 A7

1 EL. 8'-4" B.O. AWNING (E) CON.

ALIGN

(N) M.1

4 A7

11'-112"

3'-10"

4'-0"

20'-0" C.O. BEAM

3 A3

1 A4

2 A3

EL. 0'-0" T.O. SLAB

4 A3 1 A5

4'-0"

3'-10"

2 A7

1 1

2 A7

3 A7

6 A3

EL. 16'-0" T.O.SKYLIGHT

ALIGN

3'-1112"

7'-5"

EL. 12'-941" T.O.PARAPET B

3 A7

2'-0" ADJACENT TENANT SPACE

ALIGN

2'-212"



redduck Foods, inc. 11'-0"

elevate your food.

Eugene Headquarters

 7'-01

10'-2"

2 A7

4 A3

1'-0" 3 A4

EL. 0'-0" T.O. SLAB

7'-0"

EL. 2'-6" 1'-0" T.O. PLANTER

2 A4

4'-0"

6'-03 4"

2'-0"



ALIGN W/ COLUMN 4

EL. 8'-4" B.O. (N) OVERHANG



4 A7

7'-7"

3'-512" HOLD

24'-6"

12'-41 2"

4 A7

3'-212"

4 A7

elevate your food.

EL. 3'-4" B.O. SILL

3'-10"

TYP.

12'-03 4"

ROOTS

4'-0"

4 A7

16 11'-7"

3'-212"

11'-7"

2 A3

16'-01

EXTERIOR ELEVATION - EAST SCALE: 1/4" = 1'-0"

1 A7

8'-2" 7'-71 4"

M.12

E.4 E.2

E.2

10 A7

1 2

6 5

EL.12'-9"

3 A4

1 A7

EL. 16'-0" T.O. SKYLIGHT EL. 13'-834" T.O.PARAPET

EL.12'-9"

DEMO PLAN

EXISTING DRAIN LINES TO REMAIN, RECONFIGURE PIPING AS REQUIRED FOR NEW FIXTURE LAYOUT

EXISTING ELECTRICAL BOXES TO REMAIN, RECONFIGURE CIRCUITS FOR NEW FIXTURE LAYOUT

DEMO EXISTING EXAUST VENT, RECONFIGURE DUCT FOR NEW EXAUST VENT

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

KEY NOTES ADJACENT BUILDING 1

LACANTINA ALUMINUM THERMALLY CONTROLLED BI-FOLDING DOOR, CUSTOM DIMENSIONS; REFER TO DOOR SCHEDULE AND NOTED DETAILS

LACANTINA ALUMINUM THERMALLY CONTROLED WINDOW SYSTEM, CUSTOM DIMENSIONS; REFER TO DOOR SCHEDULE AND NOTED DETAILS

LACANTINA ALUMINUM THERMALLY CONTROLLED BI-FOLDING MODIFIED DOOR TO WINDOW, CUSTOM DIMENSIONS; REFER TO WINDOW SCHEDULE AND NOTED DETAILS

16'-01 4"

5'-61 2"

 1'-9" 

11'-101 2" 4'-0"

3'-53 4"

8'-512"

ACURITE STRUCTURAL GABLE SKYLIGHT; FINAL LOCATION TO BE VERIFIED ON SITE BY DESIGNER/ARCHITECT 1. DIMENSIONS ARE TO THE FACE OF BRICK UNLESS ONE WAY SECURITY WINDOW, FINAL LOCATION TO NOTED OTHERWISE. COLUMNS DIMENSIONED TO BE VERIFIED BY DESIGNER/ARCHITECT CENTERLINE

GENERAL DEMO NOTES

4 3

TYP.

6'-1"

276 5



5'-0" (E) CON.

(E) CON.

(N) M.3

5'-0"

11'-0"

EL. 12'-941" T.O.PARAPET

A5 F

ROOTS

4 A7

elevate your food.

9'-4"

11'-2"

4 1 101



3'-6"

ROOTS

LEGEND

EL. 8'-4" T.O.SIGNAGE

FIRE ELECTRICAL

2'-113 4"

512"

53 4"

EL. 3'-0" B.O. SIGNAGE P

1 A7

4 A3

1'-21 4"

CONSTRUCTION PLAN EL. 0'-0" T.O. SLAB

10'-0"

EXTERIOR ELEVATION - WEST

EXISTING ROOF DRAIN TO REMAIN EXISTING DROP CEILING TO BE REMOVED

PANEL WALL ASSEMBLY: BRICK INFILL-EXISTING 8 FIRELOWER

2 9

M.12

2 A7

PLUMBING 11 EXISTING EXISTING 4" CONCRETE SLAB ON GRADE

E.1

M.12

6 A5

2 A4

3 A7

6" MDF BASEBOARD, BM-OC-117 SIMPLY WHITE OPEN STORAGE SHELVES, REFER TO FINISH SCHEDULE FOR FINISH

3-D GRAPHIC SIGNAGE, MOUNTED WITH 1 21" STANDOFFS TO FINISHED SURFACE

APPLIED VINYL GRAPHIC TO TILE FACE

INTEGRATED LIGHTING INTO NEW SOFFIT; J-BOX TO BE CONCEALED IN SOFFIT

COMPUTER SYSTEM; INTEGRATED ELECTRICAL AND DATA REQUIRED, COORDINATE WITH ELECTRICAL PLAN

CUSTOM CASEWORK: COLD CASE REFRIGERATIO UNIT, COORDNIATE WITH ELECTRICAL PLAN FOR REQUIRED ELECRTICAL, VERIFY WITH MANU.

NEW EQUIPTMENT: ICE TROUGH; SEE DETAIL ELEVATION 10.A7 FOR PLUMBING REQUIREMENTS

LACANTINA ALUMINUM THERMALLY CONTROLLED FIXED DOOR

LACANTINA ALUMINUM THERMALLY CONTROLLED MODIFIED FIXED WINDOW SYSTEM

LOWER WALL ASSEMBLY: BRICK INFILL TO MATCH EXISTING

APPLIED 21" WOOD SLATS TO DOOR, COORDINATE WITH MANUFACTURE FOR CLEARANCE REQUIREMENTS

EXTERIOR BARNLIGHTS/SIGNAGE LIGHTING; COORDINATE LOCATION WITH ELECTRICAL PLAN

SIGNAGE MOUNTED TO EXISTING BRICK WITH 1 21" STANDOFFS

PLANTER MOUNTED TO EXISTING BRICK, DRAINAGE REQUIRED

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

1 2

LONGITUDINAL SECTION

EL. 16'-0" T.O. SKYLIGHT

6 5

1'-4" TYP.

9 EL. 13'-834" T.O.PARAPET

EXTEND EXISTING EXTERIOR SOFFIT ABOVE NEW DOORWAY

E.1

EXISTING ELECTRICAL BOX NEW EXTERIOR ENTRYWAY; TILE OVER NEW CONCRETE PAD 1:12 ADA SLOPE

M.4

PANEL FINISH TBD 9 ELECTRICAL SOFFIT CEILING;

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

DUPLEX 12 EXISTING EXISTING FOOTING DRAIN

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

EXTERIOR WOOD CEILING- 9WOOD 2600 FLUSH JOINT LINEAR, FINISH AS SPECIFIED EXISTING FLOORING TO BE REMOVED

EXHAUST VENT 10 EXISTING EXISTING COLUMN AND DOWNSPOUT

LACANTINA ALUMINUM THERMALLY CONTROLLED WALL ASSEMBLY: GWB O/WOODDOOR/WINDOW 7 NEWBI-FOLDING D DOOR AND MODIFIED FRAMING SYSTEM



UPPER WALL ASSEMBLY: EXTERIOR- PLASTER O/ WOOD FRAMING. NEW INTERIOR GYP. WALL BOARD ASSEMBLY O/WOOD FRAMING

ACURITE STRUCTURAL GABLE SKYLIGHT; FINALD TO BE REMOVED 6 EXISTING PLACEMENT TO BE VERIFIED ON SITE BY CONTRACTOR AND DESIGNER/ARCHITECT. S EXISTING TO REMAIN

1'-10"

elevate 6'-1 your1 food. "

8'-3"

REFER TO LIGHTING/POWER PLAN FOR LOCATIONS EXISTING PARAPET AND ROOF CAP 2 OF RECEPTACLES

FIRE

ELECTRICAL

3 E A7

(N) (E) - SOUTH EXTERIOR ELEVATION M.3 CON. SCALE: 1/4" = NOTE 1'-0" 

(N) M.3



5 A3

6 A5

KEY NOTES

SLIDING BARN DOORS, LOCK REQUIRED; SEE DOOR SCHEDULE FOR DIMENSIONS. REFER TO MANUFACTURES SPECIFICATIONS FOR HANGING R INSTRUCTIONS NEW MEMBRANE ROOF ASSEMBLY. TO WORK IN 1 CONJUNCTION WITH STRUCTURAL SKYLIGHT SYSTEM; SLOPE ROOF 41" PER 1'-0"

1'-9"

5'-23 4"

4'-0"

8 9

WALL GWB O/ WOOD FRAMING 2. ASSEMBLY: VERIFY ALL DIMENSIONS AND RELATIONSHIPS GIVEN TO THE EXISTING WORK BY FIELD MEASUREMENT. LOWER WALL ASSEMBLY: BRICK INFILL NOTIFY ARCHITECT OF ANY DISCREPANCIES BETWEEN DRAWINGS AND ACTUAL CONDITION MOP SINK, USE EXISTING PLUMBING 3. ALL VERTICAL DIMENSIONS TAKEN ABOVE THE NEW EQUIPMENT, REFERFLOOR, TO EQUIPMENT EXISTING FINISH ANY CHANGES TO BE SCHEDULE FOR MORE INFORMATION NOTED.

PROJECT:

6'-01 4"

FURNITURE DESIGN REDESIGNING THE OBSOLETE

2010-2015

COFFEE BENCH COURSE: IARC 486 | Furniture Design Studio PROJECT: “Redesigning the Obsolete” INSTRUCTOR: Ryan Donohoe SHOP TECH: Kevin Rowland

Redesign of the Obsolete, From Tea Cart to Coffee Bench This project aimed to revisit the lost tradition of teatime and the once normal act of inviting guests into the home to share a simple act of communion. Looking at today’s trends, I pulled my redesign inspiration from coffee. The goal of the coffee bench is to bring the same feeling of “catching up over a cup of coffee” back into the home. Conceptually I wanted the design and feeling of the bench to relate to the history of the process and consumption of coffee. To start, I looked at the

equatorial countries coffee is most produced in—these included Brazil, Vietnam, Colombia, Indonesia, India, Ethiopia, Honduras, Peru, Guatemala, and Mexico. Next, I looked at the Northern European countries where coffee is consumed the most—places like Finland, Norway, Denmark, Netherland, Sweden, Switzerland, and Belgium. I combined these two regional inspirations together and formulated a Mid-Century Modern/ Danish Modern styled bench with more traditional elements of contrasting tones and types of wood. The Walnut acts as a band, wrapping around the bench creating a darker and more solid connection to the ground. The patina effect of the copper will act as a living document of the age and use of the bench.

3D RENDERINGS

PROCESS WORK

F I N I S H E D D E TA I L S

MICROLIVING CABRIOLE HOUSE | PORTLAND,OR AUTOCAD SKETCHUP INDESIGN ILLUSTATOR

CABRIOLE

a classical ballet term meaning “caper” --skip or dance about in a lively and playful way

COURSE: IARC 484 | Fall 2013| Trends in Housing Design PROJECT: “Micro Living” INSTRUCTOR: Brian Murtagh OVERVIEW Researching and analyzing current trends in housing, this project focuses on micro-living and the possibility of creating a sustainable, community based living community that encourages using city amenities as an extension to your home. Cabriole House hosts 8 individual self contained owner occupied units with a shared living room, bike storage, mail, hearth, kitchen, dining room, lounge, and washer and dryers. The goal of the project is to reinforce individuality, but instill a sense of community and neighborly connections. Welcome to Cabriole House. RHYTHM AND MOVEMENT CONTROLLED BY STRUCTURE THE DANCER Rhythm and movement controlled by structure As a dancer moves their body traversing the ground they making

place out of space. Every movement is meticulous and calculated. From the delicate pointing of a fingertip down to the pointing of a toe, every part of the body is put to work to create a fluid movement. All movement is controlled by the structure of the dancers body. SPANISH MODERN | SOFTEN GEOMETRY The buildings existing structure will remain as a guiding point with new additions relating back to the language of the buildings form and style. The interiors will respond to the context of the old building while remaining contemporary to Portland’s design style. The goal is to keep the southwester, Spanish mission style at root of the furnishing with a modern twist. I want to play with the existing geometry of the building but play up the softer details by pulling in softer curves both on the interior as well as exterior.

COMMONS LIVING ROOM + KITCHEN

LOUNGE + BIKE STORAGE 17

PRIVATE PATIO

UNIT 103 260 S.F.

UNIT 101 277 S.F.

UNIT 102

UNIT 104

265 S.F.

UNIT 105

262 S.F.

297 S.F.

MAIL

UTLITY ROOM

HEARTH

DINING ROOM KITCHEN

PANTRY

LOUNGE

BIKE STORAGE

GUEST UNIT 115 S.F.

UNIT 108

UNIT 107

152 S.F.

UNIT 106

152 S.F.

282 S.F.

PRIVATE PATIO

CABRIOLE HOUSE FIRST FLOOR PLAN Scale: 1/4" : 1'-0”

+0’-0” A.F.F. - 1’-10.5” A.F.F.

CABRIOLE HOUSE WEST ELEVATION

Scale: 1/8" : 1'-0”

CABRIOLE HOUSE SOUTH ELEVATION Scale: 1/8" : 1'-0”

+11’-11” A.F.F.

+24’-4.5”

+11’-8” A.F.F.

+19’-7” A.F.F.

+16’-1.5” A.F.F. +15’-4.5” A.F.F.

+1’-6” A.F.F.

+11’-8” A

+0’-0” A.F.F.

CABRIOLE HOUSE SOUTH ELEVATION CABRIOLE HOUSE NORTH ELEVATION

- 1’-5” A.F.F.

1 +4’-6” A.F.F.

+0’-0” A.F.F.

-0’-6” A.F.F.

A2 A2Scale: 1/8"1/8" : 1'-0” Scale: : 1'-0”

CABRIOLE HOUSE EAST ELEVATION Scale: 1/8" : 1'-0”

+0’-0” A.F.F. - 1’-10.5” A.F.F.

CABRIOLE HOUSE WEST ELEVATION

CABRIOLE HOUSE SOUTH ELEVATION

Scale: 1/8" : 1'-0”

+11’-11” A.F.F.

+24’-4.5”

+11’-8” A.F.F.

+19’-7” A.F.F.

+16’-1.5” A.F.F. +15’-4.5” A.F.F.

+1’-6” A.F.F. +0’-0” A.F.F. -0’-6” A.F.F.

+0’-0” A.F.F.

+11’-8” A

+11’-11” A.F.F. - 1’-5” A.F.F.

CABRIOLE HOUSE EAST ELEVATION

+11’-8” A.F.F.

Scale: 1/8" : 1'-0”

+4’-6” A.F.F.

+1’-6” A.F.F.

+0’-0” A.F.F.

- 1’-10.5” A.F.F.

+0’-0” A.F.F. -0’-6” A.F.F.

CABRIOLE HOUSE NORTH ELEVATION

- 1’-5” A.F.F.

CABRIOLE HOUSE WEST ELEVATION CABRIOLE HOUSE EAST ELEVATION

Scale: : 1'-0” A2 A2Scale: 1/8"1/8" : 1'-0”

Scale: 1/8" : 1'-0”

+16’-0” A.F.F. +13’-3.5” A.F.F. 3

Exterior Elevations

+9’-0” A.F.F.

CABRIOLE HOUSE NORTH ELEVATION Scale: 1/8" : 1'-0”

+0’-0” A.F.F. - 1’-5.5” A.F.F.

BUILDING SECTION A

Scale: 1/8" : 1'-0”

+16’-2” A.F.F. +16’-2” A.F.F.

+9’-0” A.F.F. +9’-0” A.F.F.

MODELNUMBER TRADENAME PRODUCT MATERIAL

+0’-0” A.F.F. +0’-0” A.F.F. - 1’-5.5” A.F.F. - 1’-5.5” A.F.F.

1 BUILDING SECTION B BUILDING SECTION B A3 Scale: 1/8" : 1'-0” Scale: 1/8" : 1'-0”

KITCHEN

LIVING SPACE 8'-63 4"

8'-63 4" +14’-11.5” A.F.F.

+14

+14’-3” A.F.F.

3'-33 4"

8'-6 3 4"

5'-4"

1" 5'-24

8'-6 3 4"

A2 9

5'-4"

A2 9

3'-33 4"

Roll-up shade +4’-6” A.F.F.

+0’-0” A.F.F.

+0’

4'-6"

12'-9"

Scale: 1/2" : 1'-0”

Recessed bathroom storage

+14’-3.75” A.F.F.

+14’-3” A.F.F.

150 UNIT SOUTH ELEVATION

12'-9"

+14’-11.5” A.F.F. J

Mirrored medicine cabinet

10'-9" 2 EQ STEPS

see bathroom elevations

2 EQ STEPS

MATERIAL PRODUCT TRADENAME MODELNUMBER

5'-3"

+8’-6” A.F.F. +8’-0” A.F.F.

+5’-10” A.F.F.

Roll-up shade

Floor to ceiling tile

150 UNIT B.A. SOUTH ELEVATION Pull out cutting Scale: 1/2" : 1'-0”

+4’-6” A.F.F.

Built in platform living

Desk as headboard +2’-7” A.F.F.

+0’-0” A.F.F.

NIT 107 ENLARGE UNIT FLOOR 107 ENLARGE PLAN FLOOR150PLAN UNIT SOUTH ELEVATION

1 A4 cale: 1/2" : 1'-0”

Scale: 1/2" : 1'-0”

Bed pulled out

Full size matress

1" 11'-102

Scale: 1/2" : 1'-0”

Recessed bathroom storage

+0’-0” A.F.F.

2 UNIT 107 ENLARGE UNIT PLAN ENLARGE LOFT PLAN 150 LOFT UNIT107 WEST ELEVATION 6

A4A2 Scale: 1/2" : 1'-0”

Scale: 1/2" : 1'-0”

Minimal splash shower head

board

Bookcase Ladder +3’-0” A.F.F.

+2’-0” A.F.F.

1" 11'-102

+2’

Full size matress

$$ $ $

Built in platform living +2’-0” A.F.F.

150 UNIT NORTH ELEVATION Scale: 1/2" : 1'-0”

+14’-11.5” A.F.F.

+14’-3” A.F.F.

+14’-3.75” A.F.F.

NIGHT TIME

Roll-up shade

+4’-6” A.F.F.

+2’-0” A.F.F.

Roll-up shade

Built in platform living

Built in platform living +2’-7” A.F.F.

Full size matress +0’-0” A.F.F.

Full size matress

+0’-0” A.F.F.

5 ELEVATION 150 UNIT SOUTH 150 UNIT SOUTH ELEVATION +8’-6” A.F.F.

Scale: 1/2" : 1'-0”A2

Scale: 1/2" : 1'-0”

Recessed bathroom storage

+14’-3.75” A.F.F.

see bathroom Mirrored medicine elevations cabinetA.F.F. +3’-0”

Desk as headboard

+3’-0” A.F.F.

Full size matress

150 UNIT WEST ELEVATION

Bed pulled out

150 UNIT WEST ELEVATION Scale: 1/2" : 1'-0”

Floor to ceiling tile Minimal splash Pull out cutting shower head board

Bookcase Ladder Recessed storage Rec shelf Kolher Veil wall +7’-0” A.F.F. hung toliet

Kolher Veil wall hung toliet

MODELNUMBER TRADENAME PRODUCT MATERIAL

Bookcase Ladder

MODELNUMBER TRADENAME PRODUCT MATERIAL

+0’-0” A.F.F.

Scale: 1/2" : 1'-0”

Scale: 1/2" : 1'-0”A2

Scale: 1/2" : 1'-0”

Scale: 1/2" : 1'-0”A2

Scale: 1/2" : 1'-0”

splash MinimalMinimal splash shower head shower head

+15’-7.5” A.F.F.

sed bathroom storage

ed medicine cabinet

Recessed storage shelf Kolher Veil wall hung toliet

Recessed storage shelf

Clothing storage

Linear shower drain

Clothing storage

MODELNUMBER TRADENAME PRODUCT MATERIAL

g tile

ELEVATION

+7’-0” A.F.F. 10

150 UNIT B.A. WEST ELEVATION Scale: 1/2" : 1'-0”

dder

150 UNIT B.A. NORTH ELEVATION Scale: 1/2" : 1'-0”

Linear shower drain

+0’-0” A.F.F. MODELNUMBER TRADENAME PRODUCT MATERIAL

150 UNIT EAST ELEVATION

150 UNIT B.A. WEST ELEVATION A2

Scale: 1/2" : 1'-0”

M s

MATERIAL PRODUCT TRADENAME MODELNUMBER

+0’-0” A.F.F.

Scale: 1/2" : 1'-0”

150 UNIT NORTH ELEVATION Scale: 1/2" : 1'-0” 10 10 9 NORTH 150 UNIT B.A. SOUTH 150 ELEVATION UNIT B.A. SOUTH ELEVATION 150 UNIT B.A. WEST 150 ELEVATION UNIT B.A. WEST 150 UNIT ELEVATION 150 UNIT EAST ELEVATION

+0’-0” A.F.F.

MATERIAL PRODUCT TRADENAME MODELNUMBER

Scale: 1/2" : 1'-0”A2

Mirrored medicine cabinet

Pull out cutting board

+0’-0” A.F.F. Desk as headboard +2’-7” A.F.F.

Recessed bathroom storage

Floor to ceiling tile

+5’-10” A.F.F.

Roll-up shade

see bathroom elevations

+15’-7.5” A.F.F.

+8’-6” A.F.F. +8’-0” A.F.F.

Bed pulled out

+0’-0” A.F.F.

150 UNIT WEST ELEVATION 150 UNIT WEST EL BATHROOM

+8’-0” A.F.F.

+5’-10” A.F.F.

Built in platform living

+2’-7” A.F.F.

150 UNIT B.A. NORTH ELEVATION Scale: 1/2" : 1'-0”

50 CUBIC FEET OF POTENTIAL STORAGE

PLATFORM LIVING Like a dancers vertical movements of leaps and bounds, the design of the cabriole house aims to create place out of space by changing surface heights and adjusting to existing building conditions. The Platform living system combines living, working, storage, and sleeping. At only 24â&#x20AC;? off the floor, the platform provides for extra seating while cooking or entertaining. By changing levels in such a tight space the mind resets, creating a new room within a room.

1' 1'

2'-03 4"

1' 1'

4'-6"

1" 2'-72

2'-03 4"

2'-6"

4'-6"

3 2'-0 7"4"

1" 2'-72

10'-9"

2'-6"

PLATFORM LIVING SECTION A

Scale: 2'-7 1" :11'-0” "

4'-6" 2'-6" 1' 10'-9"

6'-3"

PLATFORM LIVING SECTION A Scale: 1" : 1'-0”

1' 10'-9"

5'-3"

A5 PLATFORM LIVING SECTION A

Scale: 1" : 1'-0”

1" 6'-42

4'-3"

6'-3"

4'-3"

5'-3"

6'-3"

1' 1 6'-42 "

5'-3" 1" 11'-102

4'-3"

7" 4

PLATFORM LIVING PLAN

2'-6"

PLATFORM LIVING SECTION 1' B-1 Scale: 1" : 1'-0”

2'-6"

2' 1" 6'-42

8" TYP. 2'-6"

7" 8" TYP. 1'

Scale: 1/2" : 1'-0”

8" TYP.

1" 11'-102 4

1" 11'-102

PLATFORM LIVING PLAN Scale: 1/2" : 1'-0” 3 PLATFORM LIVING PLAN

PLATFORM LIVING SECTION B-1 Scale: 1" : 1'-0”

PLATFORM LIVING SECTION B-1 2 : 1'-0” Scale: 1" A5

Scale: 1/2" : 1'-0”

A5 FIXED 12” DEEP DESK

MITRED WOOD PIECE #1

MITRE HINGE

MITRED WOOD PIECE #2

10” FOLDING DESK COMPONENT TRACK FOR BED FRAME

HINDGE CLOSED

WHEEL FIXED FIXED 12” DEEP DESK MOUNTED TO TOP

PLATFORM LIVING SECTION B-2 Scale: 1" : 1'-0”

OF HEADBOARD

HEADBOARD, 21” A.F.F.

HINDGE OPEN MITRED WOOD PIECE #1

FIXED 12” DEEP DESK MITREFIXED HINGE WHEEL MOUNTED TO BOTTOMDESK OD HEADBOARD 10” FOLDING COMPONENT

TRACK FIXED TO FLOOR FOR BED MITRE HINGE TRACK FOR BED FRAME FRAME GUIDE FIXED WHEEL MOUNTED TO TOP 10” FOLDING DESK COMPONENT OF HEADBOARD Scale: 3" : 1'-0” TRACK HEADBOARD, 21” A.F.F.FOR BED FRAME FIXED WHEEL MOUNTED TO TOP FIXED WHEEL MOUNTED TO OF HEADBOARD BOTTOM OD HEADBOARD HEADBOARD, 21” A.F.F. TRACK FIXED TO FLOOR FOR BED FRAME GUIDE FIXED WHEEL MOUNTED TO BOTTOM OD HEADBOARD

MITRED WOOD PIECE #2 MITRED WOOD PIECE #1

DESK HEADBOARD CONNECTION

DESK HEADBOARD CONNECTION TRACK FIXED TO FLOOR FOR BED Scale: 3" : 1'-0”

FRAME GUIDE

DESK HEADBOARD CONNECTION Scale: 3" : 1'-0”

HINDGE MITRED CLOSED WOOD PIECE #2

MITRE HINGE FOR DESK/HEADBOARD Scale: 3" : 1'-0”

HINDGE OPENHINDGE CLOSED

PLATFORM LIVING SECTION B-2 Scale: 1" : 1'-0”

HINDGE OPEN

MITRE HINGE FOR DESK/HEADBOARD Scale: 3" : 1'-0”

ACCESSIBILITY

AUTOCAD SKETCHUP RENDERIN COPIC MARKER PHOTOSHOP

24/60

pearl street

TAMARACK | BRIDGEWAY

TS/30/50-R EELDT D AO STLA C OW _H C TT_ XUI F

19/6

19/60

24/60

19/60

19/6

TS/30/50-R TS/30/50-R

24/60

19/6

24/60

19/60

24/60

19/60

19/6

TS/30/50-R 24/60

24/60

RE ET

COURSE: IARC 484 | Spring 2013| School for Children with Autism & Community Wellness Center PROJECT: Bridgeway House & Tamarack Wellness Center INSTRUCTOR: Prof. Kyuho Ahn

Understanding accessibility to all as a day-to-day environmental necessity, as well as applying in depth research to a design challenge was the overarching goal for these two projects.

TAMARACK WELLNESS POOL

BRIDEWAY HOUSE

Bridgeway House is a private school in Eugene, OR who offer treatements, developmental therapies, enrichment courses, and support for children and families of all income levels affected by autism and related disabilities. The goal for this studio project was to work with Brideway House’s existing facility to create a schematic plan including structural additions, materials, and finishes to create a better functioning learning environment for their students and families affected by autism and other physical or learning disabilities.

Tamarack Pool acts as a community therapeutic pool facility for people with physical or mental disabilities. Located within the same complex as Brideway House, the scope of work for Tamarack Pool included reconfiguring their main offices and entry, locker rooms, and viewing decks to create a holistically accessible facility to aid users and their caregivers.

KIDS’ HALLWAY

TEENS’ CLASSROOM

CATWALK ADDITION

FRONT DESK | LOBBY 25

24/60

LOUNGE

STAFF WORKROOM

19/6

STAIRS DOWN

19/60

TS/30/50-R

TEENS’ CLASSROOM

24/60

19/6

24/60

MEETING ROOM

LIBRARY TEENS’ MULTI-USE HALLWAY

24/60

TEENS’ ENTRY

ACCESS TO REMAINING BUILDING

BRIDGEWAY HOUSE 2ND FLOOR CHILDRENS’ ENTRY

OUTDOOR PLAY SPACE QUIET ROOM PHYSICAL STIMULATION ROOM

STAIRS UP CHILDRENS’ MULTI-USE HALLWAY

CHILDRENS’ CLASSROOM

CHILDRENS’ CLASSROOM DIRECTOR’S OFFICE

CHILDRENS’ CLASSROOM

SOLAR TUBES BRIDGEWAY HOUSE GROUND FLOOR

NATURAL DAYLIGHTING INTO SUBLEVEL SPACES

TEEN HALL

24/60

CHILDRENS’ HALL

BRIDGEWAY HOUSE SECTIONS 19/6

19/6 0

19/60

TS/30/50-R

26 24/60

OFFICE DESIGN Perth & Eion | Seattle , WA

Perth & Eoin Environmental Law Firm 4th & Madison St

ARCHIVED BY UO A&AA

Seattle, WA

The Client Perth & Eoin is a young firm founded by eager and enthusiastic lawyers whose passions focus on reducing the impact on the environment from human activities. Perth & Eoin’s work is in partnership with corporate lawyers and large environmentally focused organizations. The firm is progressive and forward thinking, frequently bringing in new groups with fresh thoughts and ideas. Design Concept In response to the client’s love for, and focus on, the environment, the office is designed to be open and airy with a fresh feeling. The style is clean lined

AUTOCAD SKETCHUP RENDERIN COPIC MARKER PHOTOSHOP

10TH FLOOR MAIN LOBBY

MOUNT RAINIER CONFERENCE ROOM

STAFF CAFE + LIBRARY

OPEN OFFICE WORK SPACE 30

ESTCODE

ESTCODE ESTCODE

ESTCODE

F.E.C.

WOMEN 1003

F.E.C.

MEN 1051 ELEV. No. 1

ELEV. No. 2

ELEV. No. 3

UP 26R

Lobby/ Reception Living Green Wall Conference Center Staff Break Room Outdoor Patio Lg. Copy Center

ELEV. No. 5

ELEV. No. 4

Major Elements:

ESTCODE

DN ESTCODE

F.E.C.

ESTCODE

F.E.C.

DN UP

ELEV. No. 4

ELEV. No. 5 ELEV. No. 2

UP 24R

ELEV. No. 3

Bike Racks Open Work Space Floor Cafe/ Lounge Library Central Files

No. 1 ELEV.

Major Elements:

contemporary mixed with rustic natural elements. To help create this ambiance, the design features reclaimed wood, glass partitions, and a floating stair. The finished space will reflect an office environment that encourages collaboration, equality, and flexibility for future growth. Design Accomplishments By allowing the private offices to act as the needed “cell” and the rest of the office to act as a “club”, I was able to create communal workplaces that link the office and its’ staff together. To create a workplace environment that stressed equality, I designed a universal office size for partners and associates, which allows for future changes and growth of the personnel structure of the office and emphasizes the expectation of equal work output. A large focus was placed on the support staff, particularly the secretarial staff, and their workstations. I designed the secretarial workstations to act as a “pod” unit, which encourages the secretaries to act as a team. Additionally, the open office workspaces were designed to achieve the goal of equality, efficiency and collaboration. Arranged along the reserved window walls and at the heart of the floors, the open office workspaces are designed to pull individuals out of their private workspaces and into collaboration with fellow employees.

WORK STYLES OF AMERICANS

ESTCODE

Schooling style/work style

EXPOSED CROSS BRACE

ESTCODE

GEN X Group projects Discussions Team sports for women Mothers worked Computer as tool

Pen and paper

Personal digital assistant (PDA) Internet

DN ESTCODE

Thought process How they get information What they do with information

ESTCODE

F.E.C.

ESTCODE ESTCODE ESTCODE

M. RR

F.E.C.

DN ESTCODE ESTCODE

W. RR

What they do if they don’t like something How they handle interruption or noise Expectations for their work environment

ELEV. No. 5

Individual research “Power is knowledge”, can be knowledge hoarders Protest, whine

Office as status symbol; need desk credenza, conference table, views

Quick access; not isolated; comfort

8- to 12- hour days

Community spaces; like to change environments, people, location Leave when the job is done

GEN Y Care-free Need it now Have to be stimulated Cant amuse themselves Multitask Computer Internet; inquiry Team comes first; knowledge resides with the team Circumvent the rules Not bothered by interruptions“just one more thing” Do not own space; need stimulation

Flexible 24 hours

ELEV. No. 1

ELEV. No. 2

ELEV. No. 3

Work hours

Drop out, withdraw Put on headset

Major Elements: Bike Rack Open Work Space Floor Cafe/ Lounge Training Room Tech Services

Share info across team and individuals

Close the door

UP 24R

ELEV. No. 4

BOOMERS Work alone Structured Unstructured, unsupervised; play with other

LIGHTING DESIGN LUMINAIRE STUDIES

WALNUT CONCRETE LED LIGHT BULBS

ARCHIVED BY UO A&AA

¨ l s OMPHALOS ’amf ee

9 1/2” 8”

4 1/2”

Assembly Detail

Plan

3/4” 1

1/2”

aluminum cable clamp 1/16” cable 1” aluminum spacer

Section

8”

3/4”

1”

1 1/2”

Photometric Distribution

11”

Elevation

noun (pl. omphaloi |-loi| ) literary the center or hub of something

14”

Photometric Distribution Range: 0 - 85 fc

155

165

175 180

145 135 125 115 105 95 90 85 75 65 55 45 35 25

ARCH 492 | ENVIROMENTAL CONTROL SYSTEMS II | Spring 2012 In collaboration with Amber Turner & Emily Wright

BLOC

IARC 492 | ELECRTIC LIGHTING DESIGN| Winter 2013 In collaboration with Kara Strickland

OREGON BILDS

AUTOCAD SKETCHUP PLYWOOD CONSTRUCTION

INTERIOR FINISH DETAILING

2'-71 2"

1'-3"

7'-612"

3'-6"

3'-6" 2'-111 2"

2'-33 4"

V.I.F. RFG.

2'-111 2"

V.I.F. V.I.F. RFG. RFG. 1'-3" 1'-3" 1'-3" DW DW3'-1" DW 8"

3'-53 4"

3'-612"

6" 6"

6" 6" 6"

1 " 1 3'-013'-1" 3'-03'-1" 2 2"3'-0 2" 3'-1" 3'-1" 3'-1"

2'-6" 2'-6" 2'-6" RANGE 1'-6" RANGE 1'-6"1'-6" 1'-6" 3'-1" 1'-6" 1'-6" 3'-1" RANGE

3'-1"

2" 1

2'-71 2"

REVEAL 1

REVEAL

3'-53 4"

3'-1" 3'-1"

2'-111 2"

2'-33 4"

3'-61

3'-6"

2'-33 4"

3'-1"

6'-8" 7'-53 4" 6'-8" 7'-53 4"

6'-8" 7'-53 4"

4'-012"

4'-012" 7'-612"

1'-6" V.I.F. IKEA CAB? 1'-101 2"

IKEA CAB? 1'-101 2"

3'-6"

5'-0"

V.I.F. 3'-6"

5'-0"

V.I.F.

PLY or MDF TOP PLATE

TYP. COUNTERTOP DETAIL

WHITE PANEL TO MATCH IKEA CASEWORK'

4'-012" 7'-61 2" V.I.F.

3'-6"

3 4" CLEAT FOR ATTACHING COUNTERTOP

IKEA CAB? 1'-1012"

1" x 2" BLOCKING

5'-0"

1'-412" 3'-6" 1'-1012"

2'-6"

PLAM TO MATCH KITCHEN

3 4" CLEAT FOR ATTACHING COUNTERTOP

1" x 6" TRIM TYP.

1'-6"

TYP. COUNTERTOP DETAIL

1" x 2" BLOCKING

OPEN SPACE TO BE FINISH GRADE

PAINTED DOWEL RAIL ADJ. PEG HOLES

PLAM TO MATCH KITCHEN

1'-51 4"

1" ADJ. PLY SHELF

3'-6"

WHITE SUBWAY TILE $1.84 / S.F.

MDF PANEL

3'-111 4" ADJ. SHELVING

2'-6"

IKEA CABINET 24" x 30" x 13" WALL CABINET $84.00

3'-6"

5'-0" 3'-6"

IKEA CAB? 1'-101 2"

1'-3" 1'-3"

2'-6"

2'-6" 1'-6"

1'-6"

2'-71 2"

2" 1

2'-6"

2'-71 2"

OSB. TOE KICK TYP.

2'-33 4"

2'-1112"

THE FINE ARTS HAND MEDIA WORKS

Every portrait that is painted with feeling is a portrait of the artist, not of the sitter. -Oscar Wilde

Art has been a passion of mine as long as I can remember. I was blessed with the opportunity to study the fine arts throughout high school at Mission Renaissance (a private art school) where my technical skills were developed and refined. Beginning with charcoal and moving through acrylics, pastels and oils my passion for art continued to grow. When the desire to paint continued, I began to consider art school. Selected to attend the California State Summer School for the Arts, at California Institute of the Arts after my junior year in highschool, I realized fine arts was not going to be my collegiate path. Looking at different aspects of the educational spectrum that I enjoyed I became aware of a pattern. I enjoyed physics, calculus, geometry, environmental sciences, painting and drawing. The concrete and the abstract held my attention. This is where interior architecture and architecture came into play for me. I continue to pursue my passion for fine arts as I complete a minor in Fine Arts and Architectural Art History in conjunction with my Bachelors of Interior Architecture. The following is a small selection of my artwork completed over the past several years. Included are works in watercolor, oil, acrylic, and digital media, and sketckes.

SKETCH SERIES FACES OF THE UNSEEN

ROBERT OIL ON CANVAS 18” X 22” 2014

LION OIL ON CANVAS 18” X 22” 2013

IN MEMORY OF MY BLACKJACK OIL ON CANVAS 16” X 20” 2012

OLD MAN OIL ON CANVAS 9” X 14” 2010