at h a o 2 3 0 @g m a i l .c o m 316.518.2166
SELECTED WORKS
2012-2017
AMA NDA THAO
ARCHITECTURAL PORTFOLIO
RESUME
AMA NDA THAO JOB OBJECTIVE
E D U C AT I O N
EXPERIENCE
SKILLS
I N V O LV E M E N T
INTERESTS
REFERENCES
14441 Siefkes Court Wi c h i t a , K S 67 2 3 0
S e ek i n g a n e nt r y l ev e l a r c h i t e c t u r a l d e s i g n p o s i t i o n w i t h g r ow t h p ot e nt i a l w h e r e I c a n u t i l i z e my t r a i n i n g . Master of Architecture Ka n s a s S t at e Un i v e r s i t y M ay 2 0 1 7 L aw r e n c e G r o u p : D e s i g n e r N ew Yo r k , N ew Yo r k Ja nu a r y 2 0 1 6 - Au g u s t 2 0 1 6 w o r k e d o n v a r i o u s r et a i l p r o j e c t s , m o s t n ot ab l y Wa r by Pa r k e r , i n c l u d i n g t h e i r G r a n d C e nt r a l s t o r e w o r k e d o n a v a r i et y o f m a r k et i n g fo r p r o j e c t s , i n c l u d i n g E qu i n ox Wa r r e n T h e at r e s : S t a f f M em b e r Wi c h i t a , Ka n s a s N ov em b e r 2 0 1 0 - D e c em b e r 2 0 1 5 served as staff, customer service, emp l oy e e i n s t r u c t o r ; t w o t i m e emp l oy e e o f t h e m o nt h D i g i t a l : M i c r o s o f t O f fi c e , R h i n o 5 , R ev i t , Ad o b e P h ot o s h o p , Ad o b e I l l u s t r at o r , Ad o b e L i g h t r o o m , Ad o b e Pr em i e r e Pr o , Ad o b e I n D e s i g n , 3 D S M A X , F i n a l D r a f t M a nu a l : S k et c h i n g , H a n d D r a f t i n g , M o d e l B u i l d i n g , Pe n c i l R e n d e r i n g , H a n d L et t e r i n g , Wat e r c o l o r C o m mu n i c at i o n : ex c e l l e nt v e r b a l a n d written skills AP Design Ambassador 2012 - 2017 LOV E Wi c h i t a Vo l u nt e e r S u m m e r 2 0 0 9 , 2 0 1 0 F i l m Pr o du c t i o n a n d C r i t i c a l A n a l y s i s i n c l u d e s p r o du c i n g , s et d e s i g n i n g , e d i t i n g , s c r e e nw r i t i n g , a n d d i r e c t i n g Classical Piano p a r t i c i p at i o n i n Wi c h i t a S t at e Un i v e r s i t y Pe r fo r m a n c e E v a l u at i o n s a n d C o mp et i t i o n s 2 0 0 1 - 2 0 0 9 . Wo n s e c o n d p l a c e i n t h e S e n s e n ey S c h n e i d e r M u s i c C o mp et i t i o n 2 0 0 5 , H o n o r ab l e M e nt i o n 2 0 07 Av a i l ab l e u p o n r e qu e s t
at h a o 2 3 0 @g m a i l .c o m 316.518.2166
CONTENTS
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AT L A N T A M A S T E R P L A N + R E C O R D I N G S T U D I O
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A D PERPE TUAM MEMORIAM
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URBAN MARKE T
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PROFESSIONAL WORK
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A DDI TIONAL WORK
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P H OT O GR A P H Y
AT L A N T A M A S T E R P L A N + RECORDING STUDIO
AT L A N T A M A S T E R P L A N The fifth year graduate architecture studio at Kansas State University, in conjunction with HOK Kansas City, developed a semester long Master Plan for downtown Atlanta in 2040. Together the studio redefined major gaps within the existing infrastructure and designed a proposal that addressed the key issues of the city, specifically an area (roughly 3/4 mile by 1 mile footprint) of the downtown sector
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called “The Gulch.� This desolate area in the center of downtown is suffocated by a copious amount of intersecting railroads and steep topographic landscape that make for an undesireable and undervalued location for Atlanta locals. The downtown core has been rebuilt upon itself vertically in layers, again and again, leaving behind a concrete skeleton of the old city beneath the new roads and city blocks above.
AT L A N T A , G E O R G I A Throughout the semester, the studio analyzed, interpreted, and resolved the major issues relating to the railway and topography, along with the lack of commercial and residential areas that are vital to a downtown’s flourish and survival. The Atlanta 2040 Master Plan embraces the city’s issues and uses them to the studio’s advantage when recreating and reimagining the forgotten downtown core. By utilizing the generous
grade changes in the area, the studio worked to stitch the city together by using green space and pedestrian traffic. The following, unless noted otherwise, is a small selection of the studio’s efforts to take the downtown area of Atlanta and give it new life through meticulous and analytical planning.
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CURRENT PROBLEMS The Atlanta 2040 Master Plan’s site is located directly on the line that separates Atlanta socio-economically. In the upper half, infrastructure growth and job growth is climbing. Midtown and Buckhead are prominent neighborhoods in the north that are economical centers of the city, with thousands of available jobs for residents. The people who reside here have high incomes and the majority race is white. Below the dividing line, the growth of the city is minimal, with the majority of the population being black and of low-income status. Neighborhoods like Sweet Auburn and Cabbagetown are home to a large number of impoverished families, due to lack of jobs, infrastructure, and good education.
Stable Growth high income white majority
This divide within Atlanta has been present almost since its conception, though progress has been made over the years. Through the master plan, the aim is to bridge the gap and begin diversifying a new standard in Atlanta.
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million
C U R R E N T P O P U L AT I O N
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5.5
slow Growth low income black majority
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million
million
P R O J E C T E D P O P U L AT I O N
17,000 residents
S I T E P O P U L AT I O N
TRAIN DISCONNECT Several freight and subway lines disconnect horizontal movement on the ground level, prohibiting movement across the site.
GULCH DISCONNECT The “gulch” is an area of downtown Atlanta that is characterized by sunken city blocks. A 35 foot drop from street level to “gulch” level disconnects street life to the ground beneath.
ABANDONED PROPERTIES An extremely high level of vacancies have left the downtown area full of dilapidated properties untouched for many years. These properties hurt pedestrian and cultural life in the city’s core.
V AC A N T S U R F AC E LOT S In downtown Atlanta, surface parking lots are plaguing the downtown landscape. These lots are impermeable, leaving little space for stormwater to drain, as well as not catering to pedestrian and street life.
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PRIMARY GOALS + MASTER PLAN
RE-INHABIT To reinhabit Atlanta, we will work to provide more housing and lodging around the downtown core and gulch area.
RE-UNITE To reunite Atlanta, we will provide more green connections to the rest of the city and to the BeltLine using existing infrastructure from the rail lines.
RE-LINK To relink our site, we will address the disconnection issues of the gulch with strategies to reconnect the missing links.
RE-CLAIM To reclaim our site, we will look at current vacancies and problems in downtown and work on adaptively renovating dilapidated sites.
RE-USE To reuse water in our site, we will implement multiple strategies to collect and clear water while giving water access to the public.
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C E N T E N N I A L O LY M P I C P A R K
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FUT URE DEVELOPME NT
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TABERNAC LE
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SPORTS DISTRICT
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I N T E R N AT I O N A L P L A Z A
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AT L A N T A U N I T E D F C
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MERCEDES-BENZ STADIUM
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T R A N S P O R T AT I O N H U B
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B E LT L I N E P R O M E N A D E
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H OT E L D I S T R I C T
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MARTA REMODEL
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A M P H I T H E AT E R
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BREWERY
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ART CORE (MIXED-USE)
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ENTERTAINMENT
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H A R D R O C K H OT E L
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RECORDING STUDIOS
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ADAPTIVE REUSE RECORDING STUDIOS After the studio collectively designed the Atlanta 2040 proposal, each student chose a separate site within the master plan. They were responsible for designing a project that contributed to the master plan and the immediate neighborhoods within the area. Each design worked through programming, site analysis, pre-design, schematic design, and design developement, giving each student a holistic understanding of the design process from start to finish. While creating the master plan, the studio learned about the historical and cultural values of Atlanta. One major design move for Atlanta 2040, defining the districts, was built off of three main modes of activity: sports, multimodal, arts and music. With Atlanta being one of the country’s biggest musical scenes, it was a surprise to discover the lack of recording studios and music stores within the downtown area. Upon further research, out of the 400,000+ residents in the downtown area, nearly 25 percent of them are musical students or are receiving a musicrelated education. While there are musical programs at Georgia State University, located a mile and a half northeast of the site, the university was one of few contributors to one of the cities deeply rooted passions. For my individual contribution to the master plan, I focused on the existing issues of the site and the existing musical community surrounding the site. As stated before, one of the primary goals of Atlanta 2040 was to re-claim.
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I chose one of the many forsaken buildings with the intention of creating a home for one of the passionate communities in the city. Because of its location being directly adjacent to the existing Marta and Greyhound Bus Station, and its close proximity to new residential areas and various art and musical destinations within the arts and music district, the 68,000 square foot Garnett Station Place (as pictured below) was chosen as the site for Atlanta Recording Studios.
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AT L A N T A R E C O R D I N G S T U D I O S The music scene in Atlanta is considered to be the heart and soul of the city. Because the music scene is so deeply rooted in the downtown area, there is an abundance of music venues for artists of any scale to perform. Ranging from the Cobb Energy Performance Centre for theatrics, to Phillips Arena for anthem-styled shows, down to the historic Tabernacle, a restored historic building for smaller intimate concerts.
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While hip-hop/R&B/Rap is the prominent genre in Atlanta, many other genres of music are produced out of the area including urban contemporary gospel, southern gospel, country, and jazz. Atlanta is the center for these styles yet encourages all music as it continues to host annual events that have, and continue to be, nationally recognized.
AT L A N T A , G E O R G I A Boldly calling out the city’s musical history, that history has and continues to influence and inspire the young and old generations of the music industry today. It has been proven that the market for music in Atlanta is alive and beating; however, there lacks a home for that market to breathe and grow. Atlanta Recording Studios’ primary objective is to be that home for all those who want to be involved in the creation of music. The studios and its
services would provide musicians, aspiring and professional, a collaborative environment dedicated to the musical arts; it will engage and unite the diverse people of Atlanta with one of the deeply rooted passions of the city. Music comes in all forms and therefore will never be obsolete. Through spatial relationships and community engagement, the Studios will epitomize a space where creativity and passion flourish.
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PROGRAM + C ONC EPT Before designing our individual projects, each student was instructed to design the program of our buildings. For Atlanta Recording Studios, the program is organized into three main modes of function: creative opportunity, education, and administration. Creative opportunity includes the recording studios and music-related services such as studio lounges. Education includes all the classrooms and spaces involving community functions. Administration includes all back of house services and offices for the staff: managers, IT, audio engineers, etc. Unlike most programs, each mode is equally contingent upon the other; creative opportunity cannot happen without education and the community, and education cannot happen without the expertise of the administration. Therefore, it was imperative to create strong relationships between the three modes for a successful collaborative environment. Throughout the early design phase, the concept and building form had been working in tandem with one another. Atlanta Recording Studios’ concept is inspired by “music being the heart of the
C R E AT I V E O P P O R T U N I T Y
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city.” The first major design decision was to centralize the studios. However through extensive research on the parameters and specific square footage of recording studios, it was difficult and nearly impossible for the “heart” of the building to rest comfortably within the center of the existing building. In order to provide the studios with ample room, to keep the studios “beating” within the body, the decision to extend the studios where it intersected with the existing facade was made. This created additional space and better opportunity for the programs to interact with each other. After distinguishing where the other programs would reside, the next and primary focus was how patrons would circulate around the studios. Incisions were surgically made to the original facade to make room for the centralized studios and the walkways (the veins) that adequately connected the programs (supporting organs) in the existing building and the addition together.
E D U C AT I O N
A D M I N I S T R AT I O N
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P R O G R A M + C I R C U L AT I O N With Atlanta Recording Studios being an adaptive resue project, there were multiple factors that needed to be addressed; the main factor being the existing structure. Approaching the project as realistically as possible, the decision was made to keep the original one foot timber columns. The original structural grid can be seen in the second floor plan below. It ultimately helped create the circulation connecting the three modes of function. The two eastern staircases seen in the plan were the original fire stairs. The administrative services were pushed to the east as a strategy to not
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disrupt the main circulation while still remaining close to the educational spaces and studios. The educational program, which would partner with Georgia State University and its staff, was pushed to the north and west because they desired natural light. The studios remained centralized in plan, directly adjacent and easily accessible to the classrooms and administration for the collaborative environment Atlanta Recording Studios strived to be.
C R E AT I V E DIRECTORY
C I R C U L AT I O N
AT R I U M
ORCHESTRA SUITE
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PROGRAM + MASTER PLAN Most of the projects driven by the arts (the brew hub, the amphitheatre, the performance centre, the bazaar, the concert hall) sat directly on the Beltline Promenade. Revisiting Atlanta 2040, The Beltline Promenade was one of the solutions to re-unite the city by using green space and pedestrian traffic. With Atlanta Recording Studios located along the southern border of the master plan, the main challenge was to create a connection to the promenade. The couple design strategies to help with that connection was creating overflow green space and a rooftop restaurant/bar that doubled as an event space. The overflow green space south of the studios would provide an outdoor area for patrons to wait for their alotted studio time. Some small, local performances would also take place there. The rooftop bar would be open Thursday through Sunday, serving local beer made from the brewery across the promenade. It faces west which provides views looking out onto Beltine Promenade, its festivities, and the entire arts and music district.
R O OT O P B A R & R E S T AU R A N T
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CONCERT HALL
BAZAAR
RECORDING STUDIOS
AMPHITHEATRE BREW PUB
PERFORMING ARTS CENTER
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OLD DETAILS With the program extending outside the existing facade, how the “old” and “new” touched was deeply considered. The existing building was composed of an I-beam, wood decking, and concrete slab system. For the rooms with acoustical needs, sound absorbtion pads covered with gypsum was added.
metal capping wood capping roof membrane drainage mat 3” insulation 2” concrete slab 2” wood sheathing 4” wood beam 14” I-beam
transition joint 1” gap 3” concrete slab
2” wood sheathing
4” wood beam 14” I-beam hanging joists 5/8” gypsum
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Upon carefully breaking the original facade, the program as well as the circulation paths connecting the program modestly celebrate the original brick. The existing timber colums were kept to support the various loads while visually countering the horizontality of the circulation paths outside the studios and additional program.
NEW DETAILS For the addition, the structure connecting to the existing facade replicated the existing floor structure. However, with the “new” roof being occupiable, metal decking was used. Roof pavers supported by a joist and pedestal system would provide a comfortable area for events.
The existing windows would be covered with transition panels to prevent moisture. The ground floor of the addition and existing building are connected by a sealant, creating a seamless transition into “old” and “new.”
2” pavers metal trays roof membrane drainage mat joists 3” rigid insulation 2” concrete slab 3” metal decking I-beam
cinder block rigid insulation brick
1/2” sealant 6” concrete slab crushed gravel 6” insulation footing
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AD PERPETUAM MEMORIAM
AD PERPETUAM MEMORIAM The design intent for Ad Perpetuam Memoriam aims to confront the emotional narrative of those mourning their loved ones, how we mourn and how we remember, by using tectonics, spatial narratives, and light. Upon entering the building, the friends and family are to pass under a single, steel frame that represents the start of the journey when losing a loved one.
The private and public services wrap around the ceremony hall which acts as the core of the building. The administrative and preparatory activities remain hidden to the east and south of the ceremony hall. The exposed steel columns and beams within the ceremony hall represent the vulnerability that comes with the healing process. The panel suspended over the space covers modular skylights that help to provide natural light
PARTI
P U B L I C A N D P R I V AT E M O U R N I N G
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SI TE PLAN
M A N H AT T A N , K A N S A S to counteract the heavy emotions of letting go. After the ceremony, “the body” and “the occupants” take separate journeys. The body is pushed into the committal chamber and moved to the crematorium while the family move to the waiting area. They reunite in the enshrinement area before the final stage of the ceremony: the columbarium. The columbarium is a steel frame, much like the entry. However, instead of a bare frame, there
are shelves that fill in the void. Once laying those who moved on to rest, the family and loved ones leave under the “supported” frame, knowing they will continue to heal as time permits.
outdoor space
outdoor space
waiting office
enshrinement
storage
large ceremony
employee lounge
hearse landing
storage columbarium committal crematorium
mechanical
abatement
2031
T E C T O N I C S + N A R R AT I V E When designing Ad Perpetuam Memorium, there was a desire for a strong relationship between the tectonics and narrative. The entire building consists of three simple elements: the beam, the column, and the plane. The Memorium wanted to celebrate the moments they connect. One main strategy used to push the narrative was exposing structure in certain rooms, in contrast to clean finishes in other rooms, to indicate
B O DY P R E P A R AT I O N ab at em e nt committal c r em at o r i u m
A D M I N I S T R AT I O N S E R V I C E S o f fi c e restrooms emp l oy e e l o u n g e
CONNECTION the beam | the column | the plane
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they are meant for mourning. This is evident in the main ceremony hall. However, there are multiple exposed single beams running throughout the different rooms of the building, symbolizing that every moment is connected.
crematorium committal columbarium um
large ceremony
storage
enshrinement
waiting
entry
the body
t h e o c c u p a nt s
C E R E M O N Y A N D R I T U A L S P AC E S l a r g e c e r em o ny h a l l e n s h r i n em e nt waiting area + outdoor area columbarium
P R I V AT E C E R E M O N Y S E R V I C E S small chapel + outdoor area
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ENTRY
CEREMONY HALL
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H A L LW AY T O C E R E M O N Y H A L L
C O LU M B A R I U M
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URBAN MARKET
URBAN MARKET The San Diego Market and Restaurant is an urban market aiming to bring the diverse communities of San Diego together supporting the local farmers and businesses. Due to the urban market’s location directly adjacent to the San Diego Public Library and close proximity to several primary schools, it was a goal for the market to provide a friendly and comfortable area for all ages.
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The original concept was a two bar system: one bar consisting of the market and the other bar consisting of the restaurant. However, site conditions needed to be addressed. The public transit trolley that runs between the library and the urban market pushed for the main entrance to be located on the west side while produce drop off and other back of house program would be on the east. Because of this design decision, the two bar system shifted into a bar, void, bar system. After creating the
SAN DIEGO, CALIFORNIA form, the program fell into place. The fresh market selling produce from local farmers is located in the northern bar. It wanted to be a double height space with ample light because of the activity inside. In the sourthern bar, the first floor houses a flea market while the second is home to the farm to table restaurant. All bathrooms and back of house services were pushed to the east.
As a strategy to connect the two bars of program on the upper levels, green roofs were designed. The green roof on the west side would provide the fresh ingredients for the restaurant while acting as the entrance overhang to draw patrons into the courtyard and market. The courtyard itself would act as a bridge where all patrons could interact and engage with each other.
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FORM + COURT YARD
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SI TE PLAN
FUNCTION
URBAN RESPONSE
P U B L I C V E R S U S P R I V AT E E N T R Y
COURTYARD
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P R O G R A M O R G A N I Z AT I O N
FRESH MARKE T
C I R C U L AT I O N
R E S T AU R A N T
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F I R S T F LO O R
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S E C O N D F LO O R
FRESH MARKET
FARM TO TABLE GREEN ROOF
R E S T AU R A N T 35
GREEN ROOF DE TAILS
2” steel post
glass pane vegetation layer 1/4” filter layer steel retaining angle
12” I-beam 6” metal stud layer 1 1/2” wood paneling 5/8” gypsum sheating thermal insulation 5/8” gypsum sheating
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3” drainage layer 1/4” protection mat 1/8” waterproof membrane 4” thermal insulation 1/8” vapour barrier 3” concrete 2” steel deck 5/8” plywood sheathing
CURTAIN WALL DETAILS
a l ualuminum m i n u m f ifinish nish 5 ” t5” h ethermal r m a l i ninsulation sulation v avapour p o u r bbarrier arrier 33” ” cconcrete oncrete 22” ” ssteel t e e l deck deck p lplywood y w o o d ssheathing heathing
parapet flashing water control membrane aluminum cladding 5/8” plywood sheathing 3” thermal insulation 18” steel I-beam
mullion insulated glass
w o o d cladding cladding wood 55/8” / 8 ” plywood p l y w o o dsheathing sheathing 66” ” cconcrete o n c r e t e sslab lab
44”” thermal t h e r m a linsulation insulation 55/8” / 8 ” plywood p l y w o o dsheathing sheathing
6 ” 6” c rcrushed u s h e d ggravel ravel 2 ” 2” i n sinsulation ulation
66”” metal m e t a l stud s t u dlayer layer 55/8” / 8 ” gypsum g y p s u mboard b o a r dsheathing sheathing cconcrete o n c r e t e footing footing
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PROFESSIONAL WORK
NEW YORK INTERNSHIP January 2016 to August 2016, I had the opportunity to intern at the Lawrence Group New York office. In recent years, Lawrence Group took over as the main designers for Warby Parker stores. During my time at the office, Lawrence Group had been involved with over sixty Warby Parker stores, all across the country, ranging from conceptual design to completion. As for my duties, I worked closely with the project managers and the project architecton the Warby Parker Design Team, responsible for
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creating a variety of programmatic and schematic design packages, including final renderings, material boards, and construction documents. Throughout the internship, I also helped organize and catalog documents within the Warby Parker Design Team and modified them as the list of projects grew. In addition to Warby Parker, I worked with the principal on minor presentations and assisted in creating and modifying multiple marketing documents for the office.
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G R A N D C E N T R A L S T AT I O N W A R B Y P A R K E R P O P U P One of the most rewarding experiences at Lawrence Group New York was having the opportunity to work on the Warby Parker pop up store in Grand Central Station. The project progressed faster than our other projects because it was categorized as a “pop up� contract. I was brought aboard at the end of February 2016 during the programmatic design phase and was able to work on several draft sets of construction documents until the final set was completed in March 2016.
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Construction was scheduled to begin in May 2016 and conclude in August 2016 but multiple factors resulted in the delay of the project. I was unable to personally witness the store as they were beginning construction upon my leaving New York. However, it is now completed and in business. The following pictures were taken from the official Warby Parker website.
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ADDITIONAL WORK
HAND RENDERINGS / SKETCHES
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F A R N S W O R T H C A S E S T U DY / M O D E L P R O C E S S
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P H OT O G R A P H Y
S E AT O N S E R I E S KANSAS STATE UNIVERSITY
“SEATON”
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“LET’S PUT A PIN IN IT, SHALL WE?”
A NA LOG BLAC K A ND WHI TE COLORADO | WISCONSIN
“A TOURIST AND A LOCAL”
“GRANDMA”
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NEW YORK SERIES NEW YORK, NEW YORK
“FRAME WITHIN FRAME”
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“DAILY COMMUTE”
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