Segment I Portfolio by Andre Vasconcelos

ANDRE A. VASCONCELOS SEGMENT I PORTFOLIO FALL 2007 - FALL 2010

curriculum vitae ANDRE A. VASCONCELOS

10 Lincoln street, Somerville, MA. 02145, Home: [617] 718 2818 Cell: [617] 800 6418

andreread@hotmail.com Objective Secure an entry-level designER-drafter position in a design firm with room for growth. Education ● College: Boston Architectural College, candidate for Bachelor of architecture degree ● University: Unip, Universidade Paulista, Såo Paulo, Brazil. Major in architecture and urban design

SEP. 06 TO PRESENT

JAN. 01 TO DEC. 01

Summary of Skills ● Design: Experience includes renovation projects involving designing and management, RENDERINGS, selection of finishes and materials, pROJECT documentation. ● Software: Fluent in Mac and Pc operating systems, AutoCAD, Sketch-Up Pro, Keynote, Adobe Illustrator and InDesign. ● Managerial: Make decisions in a timely manner, awareness, team work skills and communication skills. ● Languages: Fluent in Portuguese and English. Experience ● INDEPENDENT PRACTICE 10 LINCOLN STREET street, SOMERVILLE, MA JUL. 10 to MARCH $350,OOO RESIDENTIAL DESIGN, JOB INCLUDES, MANAGING ALL PHASES OF PLANNING, DESIGN AND CONSTRUCTION, communicatION with client AND CONTRACTOR, generate CONSTRUCTION documentation and sketches, responsible for selection of finishes and materials.

● INDEPENDENT PRACTICE 10 LINCOLN STREET street, SOMERVILLE, MA DEC. 09 to SEPT. $250,OOO RESIDENTIAL DESIGN, JOB INCLUDES MANAGING ALL PHASES OF PLANNING, DESIGN AND CONSTRUCTION, communicatION with client AND CONTRACTOR, generate CONSTRUCTION documentation and sketches, responsible for BUDGET, selection of finishes and materials.

● Bay State Design: Auto CAD Drafter 70 Tower office park, Woburn, MA Jul. 07 to May 08 Interpret site sketches to convert them into lease exhibitions, zoning drawings, lease amendments and ultimately construction documents for the expansions of the telecom industry nationwide. Interests Minimalist architecture, urban design, landscape design, music and video production.

INDEX : DRAFTING | STUDIOS | WORK

INTRODUCTION THIS PORTFOLIO IS A RESULT OF SEGMENT I FOR THE BACHELOR OF ARCHITECTURE CURRICULUM AT THE BOSTON ARCHITECTURAL COLLEGE.

EVOLVING MANIFESTO If architecture is a feeling, I would rather be senseless. If architecture is an art, I would rather not be artistic. If architecture is a science, I would rather not be a scientist. If architecture is organization, I would rather be disorganized. If architecture is order, I would rather embrace chaos. Architecture is the translation of human evolution, Therefore I must be part of it.

SUMMARY SEGMENT I PORTFOLIO FALL 2007 - FALL 2010

p. 1-4

INSTRUCTOR: NATALIE WATSON

Fall 2006

FREE HAND

This class was an introduction to free-hand drawing. The most valuable lesson I learned in this class was how to visualize an object and trust my eyes to draw a picture. This eye trust that I have gained through Natalie is going to stay with me for the rest of my life. HOMEWORK “THE ECSTASY”

VARIOUS PROJECTS

HOMEWORK

IN CLASS MODEL

“THE RIPPING SKIN”

“THE BATH”

DAVID

IN CLASS MODEL

HERMAN MILLER P.1

INSTRUCTOR: RICHARD GRISWoLD

spring 2007

DESIGN PRINCIPLES

MIDTERM AND FINAL PROJECTS

Design Principles was an introduction to the study of architecture based on various types of 20th and 21st century buildings and readings. The most valuable lesson learned in this class was the ability to express ideas in a form of diagrams. The image on the left is my midterm project. It diagrams a capsule as to how my education as well as my interests will lead to prosperity in the architectural field. The image on the right is my final project in this class. It represents a diagram of all the material covered in this class. My conclusion was that the design principles class is the DNA of the architecture curriculum of Boston Architectural College. It is the schoolâ&#x20AC;&#x2122;s DNA because it deals with imminent modern design and the BAC so far has consistently shown to me as a designer how to critically think in these terms.

MIDTERM P.2

FINAL

INSTRUCTOR: LEWIS WADSWORTH

Spring 2007

SKETCH-UP

THE FARM MUSEUM PROJECT

For my final project in this class I proposed a museum situated in a farm land which I named the Farm Museum. This project involved not only a 3D model but an incorporation of a real landscape. The main idea of this proposal was to bring art and culture to a rural setting therefore expressing my desire to un-monopolize and un-conglomerate the urban setting thus distributing culture throughout the countryside.

AERIAL VIEW I

SKETCH

This idea in my opinion would be a solution to traffic issues as well as a means of bringing interest for everyone. Design wise this museum incorporates the local landscape in an attempt to hide itself. The circular shape was chosen as an attempt to improve walkability in various levels of the building as well as to make a shape that is not alien to nature.

AERIAL VIEW II

WEST ELEVATION

NORTHEAST MAINE P.3

FRONTAL PERSPECTIVE

INSTRUCTOR: DAVE HARRISON

HAND DRAFT PERSPECTIVE

Spring 2007

In this class Professor Dave Harrison, head of the Interior Design program at the Boston Architectural College. Mr. Harrison was a great mentor who helped me comprehend all there is in measured perspective. He took the time to explain concepts using real life examples. The knowledge acquired in this class was immensely beneficial to my career in the field of architecture, as a designer needs to be able to think three dimensionally.

FINAL PROJECTS

PERSPECTIVE B

PERSPECTIVE A

PERSPECTIVE C

P.4

p. 5-9

INSTRUCTORS: TRAVIS BRIDGES | TOM COLLINS

SPRING 2007

DREAM SPACE

The dream space project was based on the reading Black Vernacular - Architecture as Cultural Practice by Bell Hooks. Hooks talks about how architecture could be if anything relating to architecture was just a matter of desire, in other words, how architecture could be without economical, practical, governmental or cultural constraints. This reading is based on a little girl impoverished by her family’s economical situation. She imagines her dream house being constrained by her desires and nothing else. We were assigned to respond to the reading by creating a model that reflected our personal desires for a space. This project was a blank canvas in the sense that we did not have to incorporate surroundings, location or cultural constraints.

“...TO DESIGN A SPACE BASED ON DESIRE, WITH NO LIMITATIONS OR CONSTRAINTS. A PLACE WITH NO SENSE OF NECESSITY.”

SKETCHES

I based my design on a resting butterfly. My design is composed of three members: right, left and central, which are all proportionally balanced. Each member represents a political party. This design is a critique on our societal inequalities. I am not sure if this reading would be necessary if wealth and opportunity were equally distributed.

MODEL

P.5

2007 H2 SUV SPECS & PERFORMANCE DATA

BASE MODEL

H2 ADVENTURE

H2 LUXURY

8,600 lb.

6,400 lb.

2,200 lb.

6,700 lb.

203.6 in.

17â&#x20AC;? chromed wheel Black roof rack crossbars (STD. ON ADVENTURE SERIES) Chrome roof rack crossbars (STD. ON LUX SERIES) Soft cargo carrier (REQ. ROOF RACK CROSSBARS) Hard cargo carrier (REQ. ROOF RACK CROSSBARS) Canoe/load stop (REQ. ROOF RACK CROSSBARS) Roof basket (REQ. ROOF RACK CROSSBARS) Roof-mounted bike carrier (REQ. ROOF RACK CROSSBARS) Fork-mounted bike carrier (REQ. ROOF RACK CROSSBARS) Ski/snowboard carrier â&#x20AC;&#x201C; 4 or 6 pair (REQ. ROOF RACK CROSSBARS) Roof-mounted off-road lamps Low profile light bar Roof rail handles Front hitch-mounted portable winch Winching accessory kit Brush grille guard (STD. ON ADVENTURE SERIES) Black wrap-around brush grille guard Chrome wrap-around brush grille guard Black tubular tail lamp guards Chrome tubular tail lamp guards Grille guard-mounted off-road lamps Black tubular assist steps Chrome tubular assist steps (STD. ON LUX SERIES) Removable â&#x20AC;&#x153;Uâ&#x20AC;? steps Chrome hood handles Chrome fuel door with locking gas cap Chrome hood latches Chrome retrieval loops Chrome tow loops

INSTRUCTORS: TRAVIS BRIDGES | TOM COLLINS GROSS VEHICLE WEIGHT RATING (GVWR)

NOTE 5

CURB WEIGHT

PAYLOAD, MAXIMUM

NOTE 6

TRAILERING, MAXIMUM VEHICLE LENGTH VEHICLE HEIGHT

NOTE 7

(WITH REAR TIRE CARRIER)

203.6 in.

81.7 in.

79.2 in.

NOTE 8

81.7 in.

WITH STANDARD ROOF RAILS

81.2 in.

TRACK WIDTH

69.4 in.

WHEELBASE

122.8 in.

VEHICLE WIDTH

(EXCLUDING MIRRORS)

GROUND CLEARANCE

9.7 in.

BREAK-OVER ANGLE

25.8Âş

10.8 in.

WITH STANDARD REAR AIR SUSPENSION ENGAGED

27.5Âş

WITH STANDARD REAR AIR SUSPENSION ENGAGED

9.9 in. 25.8Âş

Chrome louver Chrome air vents Hitch cover Hitch-mounted step-to-roof Body color grille Trailer hitch & ball mounts Neoprene seat covers Mudder seat covers Custom carpet floor mats (STD. ON LUX SERIES) Rubber mudder floor mats (STD. ON ADVENTURE SERIES) Cargo area mat Cargo area liner Rod Hall shocks Performance exhaust Vehicle cover Magnetic truck shields Clear Cover Protection First aid and tool kit (STD. ON ADVENTURE SERIES) Engine block heater Trailering convenience package Portable ARB freezer/fridge Portable air compressor Truck VaultÂŽ secure cargo drawer Tactical mountain bike Wheel locks HUMMER Adventure Kit Front Hitch Extender XM Radio

SPRING 2007

COLOR STUDY - MANUFACTURING/ARCHITECTURAL

The color study project was a study between the correlation of colors in the car manufacturing industry in comparison to the architectural industry. I was assigned to analyze the Hummer - the Mini Cooper and the Federal agency for the environment in Dessau, Germany. 42.8Âş

40.8Âş

APPROACH ANGLE

WITH STANDARD REAR AIR SUSPENSION

40.0Âş

40.8Âş 39.6Âş

DEPARTURE ANGLE

39.6Âş

WATER FORDING DEPTH

20 in.

VERTICAL SCALING HEIGHT

16 in.

FUEL TANK CAPACITY

32 gal.

WITH STANDARD REAR AIR SUSPENSION ENGAGED

20 in.

2007 H2 SUV EXTERIOR COLORS

2007 H2 SUV INTERIOR COLORS

WARRANTY*

H2SUV

LETâ&#x20AC;&#x2122;S SWEAT THE DETAILS

LETâ&#x20AC;&#x2122;S BE SMART

Hereâ&#x20AC;&#x2122;s a quick reference list of the most notable standard features on a MINI. Some we havenâ&#x20AC;&#x2122;t mentioned yet. And some are too good not to repeat.

Six standard airbags: Smart technology knows which airbags need to inflate when, and at what speed and force

2007

LETâ&#x20AC;&#x2122;S FORGET ALL OUR ASSUMPTIONS ABOUT CARS

Advanced Head Protection System (AHPS II). Two airbags that are technically not airbags. Call them sausages. They extend from A-pillar to C-pillar on both sides of the car. They protect all passengersâ&#x20AC;&#x2122; heads and stay inflated longer than conventional in the event of multiple impacts. PEWTER ALL TERRAIN BLUE BLACK airbags to keep protecting METALLIC METALLIC Rear Roll Hoops and reinforced A-pillar and frame for added rollover protection Four standard airbags: Smart technology knows which airbags need to inflate when, and at what speed and force Side thorax airbags in the sides of the front seats that protect the bodies and the heads of the driver and front co-pilot Advanced crumple zones re-channel forces around the passenger compartment rather than through it The latest generation 4-channel Anti-lock Braking System (ABS). Vented in front, solid in back. Brake surface area is larger than TWILIGHT MAROON SLATE BLUE BIRCH WHITE the classic Miniâ&#x20AC;&#x2122;s entire wheel. METALLIC METALLIC Use this key (not the kind that unlocks doors) to find out which feature is for which model:

MINI COOPER MINI COOPER S

3/,!2 2%$

0520,% (!:%

YELLOW

#(),) 2%$

EBONY

WHEAT

"2)4)3( 2!#).' '2%%.

2/9!, '2%9

ONLY AVAILABLE ON H2 LUXURY !342/ ",!#+ $!2+ 3),6%2

High-tech CBC, EBD and DSC braking systems. Features too intensive to go into and short-change here. Be sure to visit MINIUSA.COM to learn the full story. Flat tire monitor: Alerts driver the,)15)$ moment a tireâ&#x20AC;&#x2122;s revolution 9%,,/7 0%00%2 7()4% rate changes, indicating tire integrity has been compromised Side-impact door beams are massive and, well, protect against side impact Engine designed to break away from its mounts in a head-on collision to protect the legs of the driver and front co-pilot

#//, ",5%

(/4 /2!.'%

30!#% ",5%

(90%2 ",5%

.OT ALL COLORS AVAILABLE ON ALL MODELS &OR EXAMPLE 3OLAR 2ED IS ONLY AVAILABLE ON THE -).) #OOPER (OT /RANGE AND #OOL "LUE ARE ONLY FOR THE #ONVERTIBLES

2OOF 7HITE 2OOF 3ILVER 2OOF "LACK -).) #OOPER AND -).) #OOPER 3

2OOF "LACK 2OOF 'REEN 2OOF "LUE -).) #OOPER #ONVERTIBLE AND -).) #OOPER 3 #ONVERTIBLE

MINI COOPER CONVERTIBLE MINI COOPER S CONVERTIBLE

MacPherson strut front suspension w/ multi-link rear suspension

Corner Brake Control (CBC)

Optional center armrest

Multifunction steering wheel

Electronic Brakeforce Distribution (EBD)

Advanced Head Protection System (AHPS II)

Electro-hydraulic, engine-speed-sensitive, power steering

Split fold-down rear seats for expandable cargo space

Rear windshield wiper

Front and rear anti-roll (stabilizer) bars

Side-impact door beams with interlocking anchoring system

Flat tire monitor

Engine Immobilizer with coded driveway protection

Driver/co-pilot seat-mounted, side-impact airbags

Climate controlled glove box

Center-mounted speedometer

Air conditioning with microfilter and air-recirculation

Steering column-mounted tachometer

Remote entry, including 2-step unlocking and trunk release

Anti-lock Braking Systems (ABS)

Speed-sensitive intermittent windshield wipers

Driver and co-pilot airbags â&#x20AC;&#x201C; Supplemental Restraint System, with â&#x20AC;&#x153;smartâ&#x20AC;? dual-threshold, dual-stage deployment

Power windows with â&#x20AC;&#x153;one-touchâ&#x20AC;? down operation

MINI COOPER CONVERTIBLE MINI COOPER S CONVERTIBLE

On the other hand, when it comes to a building it is safe to choose more complementary color tones because a building, unlike a car, can last hundreds of years. Therefore my study incorporated complementary colors in a fashion where even the brightest colors could complement each other, thus producing a very effective way to develop either pleasing manufacturing products or works of architecture.

PALETTES P.6

MINI also wants to ensure the proper performance of your vehicle, so we offer full maintenance as standard for 3 years/36,000 miles.

Find a MINI Dealer at MINIUSA.COM

ÂŠ2005 MINI, a division of BMW of North America, ÂŠ2006 MINI, a division of BMW of North America, LLC.LLC. MINI name registered trademarks. BR0002-05 TheThe MINI name andand logologo are are registered trademarks. BR0001-06

SAUERBRUCH HUTTON ARCHITEKTEN | FEDERAL AGENCY FOR THE ENVIRONMENT | 2005

COMPLEMENTATION

ÂŽ

*For a list of terms and conditions for all the good stuff above, visit MINIUSA.COM

Anti-theft CD audio system with AM/FM radio, six speakers, presets, auxiliary input ready, satellite radio ready and pre-wired for 6-disc CD changer

The relationship found between the Hummer and the Mini was the difference in size. The bigger car had very similar color when compared to the smaller one. Both offered bright colors and I believe the reason for this similarity is the lifetime of the product which in this case is a car. Cars are only meant to last a decade or so therefore car designers can be more concerned with an attractive rather than durable product.

PIXELS

MINI. LETâ&#x20AC;&#x2122;S MOTOR.

FULL SCHEDULED MAINTENANCE IS STANDARD*

The MINI owner experience continues out on the road. You are only a toll-free phone call away. MINIâ&#x20AC;&#x2122;s Roadside Assistance Program is available 24-hours a day, anywhere in the U.S., Canada and Puerto Rico. The program offers towing, lock-out service, on-site assistance and even custom computerized trip routing services. And for a nominal fee, the MINI Service Card extends this service after the New Passenger Car Limited Warranty for as long as you wish.

2006 MINI COOPER COLOR BROCHURE

2006 HUMMER COLOR BROCHURE

MINI. LETâ&#x20AC;&#x2122;S MOTOR.ÂŽ

ROADSIDE ASSISTANCE PROGRAM*

Service interval indicator with miles-to-service readout MINI COOPER MINI COOPER S

At MINI, our commitment to quality and customer satisfaction is clearly demonstrated by a 4-year/50,000-mile New Passenger Car Limited Warranty, and a 12-year/unlimited-mileage warranty against rust and corrosion perforation.

MINI COOPER MINI COOPER S

MINI COOPER CONVERTIBLE MINI COOPER S CONVERTIBLE

INSTRUCTORS: TRAVIS BRIDGES | TOM COLLINS

SPRING 2007

2D/3D TRANSFORMATION MIDTERM

For the 2d|3d transformation project I was asked to transform a two dimensional piece of art, Annis Albers’ Unexecuted Wall Hanging, into a three dimensional space. When I first saw this piece I immediately saw the influence of the Bauhaus School of Design. I got this notion from the orderly linear pace of the elements within the piece. After analyzing it with more care, I was able to see an alternating rhythm. Going deeper I saw that the piece most likely went through a process of metamorphosis, which started with the renunciation of old methods created by all artistic movements in history. Study for an Unexecuted Wallhanging, 1926. “Layer after layer of civilized life seems to have veiled our directness of seeing. We often look for an underlying meaning of things while the thing itself is the meaning.” -Anni Albers

UNEXECUTED WALL HANGING -ANNI ALBERS

METAMORPHOSIS - WEEK 1

The Bauhaus was in search of new methods of design and eventually disseminated the modernist movement. My initial investigation left me with two main ideas; Product and Metamorphosis. Product is defined as something produced by human effort or by nature. Metamorphosis is defined as marked to complete change in appearance, character or form. The completion of my initial assignments led me to the idea of a rhythm. Rhythm is defined as a visual tempo or beat, the principle of design that refers to a regular repetition of elements of art to produce, the look and feel of movement. Rhythm is often achieved through careful placement of repeated components which invite the viewer’s eye to jump rapidly or glide smoothly from one component to the next. P.7

RHYTHM - WEEK 2

Alternating rhythm examples are: ABC-ABC-ABC-DEF-DEF-DEF-ABC-ABC-ABC-DEF-DEF-DEF | ABA-CDC-ABA-EFE-ABA-CDC-ABA-EFE | ABCD-DCCBBA-ABCD-DCCBBA |

INSTRUCTORS: TRAVIS BRIDGES | TOM COLLINS

SPRING 2007

2D/3D TRANSFORMATION MIDTERM

My analysis of this piece started with darkness through transformation into form and structure. I also saw how each layer of Albersâ&#x20AC;&#x2122; piece was purposefully positioned to translate rhythm. After realizing the alternating rhythm of the piece I developed diagrams that revealed the voids and masses within it. I chose to work with one of my diagrams that best captures this alternating rhythm. The next step was to produce a bas-relief model study. In looking at my chosen diagram, I saw a floor plan. In this floor plan I wanted to explore the beauty of free forms.

SKETCHES, BAS-RELIEF MODELS & COLLAGES

So I used this floor plan as a base for my models. However, I wanted to eliminate the rigidity of the straight lines. To do this, I distorted the lines, and as a result created the free forms in the bas-relief. From the 2D bas-relief model study I went ahead and fully developed 3D model studies. With purity and beauty in mind, I was able to produce my final 3D model that shows mass against spaces. In conclusion, one can contract and filter old ideas to fit into our present time in relation to design and sometimes even promote ideas for the future.

PATTERNS VOIDS AND MASSES

DEFORMATION CONCEPT - VOIDS AND MASSES

DEFORMATION CONCEPT - HARDLINE P.8

FINAL MODEL

INSTRUCTORS: TRAVIS BRIDGES | TOM COLLINS

SPRING 2007

The studio A1 final project was a continuation of the 2d|3d midterm project. This time around we were given a predetermined site in which I was able to maneuver in any shape I wanted while respecting the siteâ&#x20AC;&#x2122;s dimension constraints. My approach was to continue the deformation solution applied on the midterm phase of this project. Only now I applied to the land in the site and as a contrast I kept a very rectilinear building to host the art-piece. Part of this assignment was to display the Alberâ&#x20AC;&#x2122;s piece which I did very expressively, the reason being very simple. The Bauhaus School of Design and the Modern Movement as a whole were interested in social change and the democratization of social achievements . In my view, this project encompassed that idea, because the art would be exposed to everyone and not confined inside a particular place.

2D/3D TRANSFORMATION FINAL

3D MODEL

FINAL MODEL

HARDLINE AND CONCEPTUAL SKETCHES P.9

p. 10-13

INSTRUCTORS: scott culey | nathan allen

FALL 2007

The Pathway Project started with the reading of chapter 5 of Alice In Wonderland. The assignment was to read and interpret the chapter and then create something based on our understanding. After much struggle reading this chapter I developed feelings about it which I attempted to describe in words: confusion, delusional, metamorphic, mutant, surreal, superficial, fiction, fairytale and complexity. I created a painting in an attempt to convey those feelings. I wanted to capture the exact moment when an idea is born. Early on, we were also asked to create a collage to help us gather, organize and describe our thoughts on chapter 5.

PAINTING

pathway PROJECT

The next step of the assignment was to interpret my reaction, which in my case was the painting. After carefully analyzing the painting, I found myself focusing my attention on its motion, which explicitly show sinuous curves at the end of each overlaying of color. For the following step we were asked to create two models of this interpretation of our original creation. This time I developed diagrams that focus on the paintingâ&#x20AC;&#x2122;s variable and linear strokes.

COLLAGE P.10

INSTRUCTORS: scott culey | nathan allen

FALL 2007

pathway PROJECT

PROGRESSION OF MODEL AND SKETCHES

Going forward we were asked to proceed with this study, however, now we had to use planar elements. With the planar elements, I was again seeing the motion of the sinuous curves in the painting. These became ramps in the landscape. Further along in the study I chose to work with the diagonal strokes seen on the last layer of covers in the painting which provide a more literal, visual observation.

SKETCHES

My final model successfully shows the progression from interpretation to realization then from analyzing to developing the finaL product. The path of discovery was my final concept, which came about through Aliceâ&#x20AC;&#x2122;s confusion which led her to discover new things along her path.

PLANS, ELEVATIONS & SECTIONS P.11

FINAL MODEL

INSTRUCTORS: scott culey | nathan allen

FALL 2007

ritual | ceremony PROJECT

COLLAGE & SKETCHES OF THE ORIGINAL IDEA, THE STADIUM

For the Ritual/Ceremony Project I was assigned to develop an olympic awards podium. I originally wanted to have a submarine-type stadium that would travel the world so games could be held in different locations as needed. I came up with that idea based on the shape of an extruded Olympic medal. My instructors were opposed to this idea and asked me to revise and refine my project and construct something of a smaller scale. I started to investigate the significance of the Olympic emblem, which signifies the unity of the world. It means continents, all countries, all people of the earth coming together to practice and be part of healthy, constructive competition. The design embodies the

SKETCHES OF THE OLIVE TREE, A PAINTING I BASED ON A WREATH, SKETCHES AND MODEL OF THE PODIUM APPARATUS P.12

continents within a greater circle which resembles the planet earth. This shows the unification of all earthâ&#x20AC;&#x2122;s inhabitants. Based on this concept of unity, I designed a podium, which reflects the overlapping rings of the emblem. In my further research of the original olympic ceremonies, I came across information on the significance of the olive wreath in the Olympic games. The Olive tree was viewed by the ancient Greeks as a symbol of abundance, glory and peace. Olive wreaths were used to crown the victors of friendly games and also the victors of bloody war, as emblems of benediction and purification.

INSTRUCTORS: scott culey | nathan allen

FALL 2007

I decided that I wanted to include aspects of the olive wreath and tree in the award ceremony, as they played such an important role in the early games. I did so by designing a podium apparatus. My apparatus design is an attempt to not only resemble the olive tree, its leaves and its components but also to incorporate its sustenance and symbolism. I based it on the strong characteristics and the beauty of an olive tree.. The split trunks of the tree will hold a semicircular shape which signifies the wreath, sending a message to those who may experience it. The message is: the wreath and its significance depends on the powerful sustenance of its provider, the tree itself. In this combination, the users of this space would immediately conceptualize the importance of this ceremony.

ritual | ceremony PROJECT

The 2 main aspects of my podium and apparatus are the Olympic emblem and the olive wreath. The three dimensional model shows the two “trunks” in the back and the “wreath” - which crowns the winners in the front. This version of the apparatus needed to be changed as it was too sterile and did not stay true to the essence of the tough, organic characteristics of the olive tree and wreath. I went back to a look which more closely resembled the tree and wreath. The final model was made of wire weaving in and out similar to the windy trunk of the olive tree.

3D APPARATUS TRAILS

PAINTING OF PODIUM AND APPARATUS

FiINAL 3-DIMENSIONAL COMPUTER MODEL OF PODIUM AND APPARATUS

FINAL MODEL P.13

p. 14-23

INSTRUCTORS: MATT MORONG | CHAUNCEY HERMAN

SPRING 2008

GLASS HOUSE INTERVENTION PROJECT

THE GLASS HOUSE | NEW CANNAN, CONNECTICUT, USA | 1949 | ARCHITECT - PHILIP JOHNSON

For this project I was assigned to reproduce plans, sections and elevations of Philip Johnson’s Glass House. I then investigated the site and its surrounding environment. Next we were asked to make various diagrams on our findings: the interior, the site, the site’s circulation and its architectural meaning. The most important of all my findings in this investigation was Philip Johnson himself. He was an interesting person trying to express his persona through architecture. In resume, the Glass House is a combination of many ideas. I discovered that the main Glass House concepts are derivative of Mr. Claude Nicholas Ledoux’s utopian ideas, which are: aesthetics rule over function and eclecticism. The house’s main design motif is derived from minimalist shapes developed by Supremacist artist Kashmir Malevich. The symmetry comes from Mies Van Der Rohe’s influence of aesthetical proportions pleasing to the human eye. The asymmetry is derived from the Athenian Acropolis. The circulation is derived from symmetrical systems found in the Baroque plan and also in the early modernists’ work. Other design features were consequently chosen by Philip’s lifestyle, personal influences and life experiences. I believe that the house is so very rectilinear because of his sexual preference. The key influence in the design of this house is Supremacism.

THE GLASS HOUSE

FLAT ROOF NORTH WALL SECTION A STRUCTURAL I-BEAMS WEST WALL

VIEW NUMBER 3 VIEW NUMBER 1

PERSPECTIVE FLOOR PLAN

PLAN SOUTH ELEVATION

SPACE DIAGRAM

SECTION B

VIEW NUMBER 4

SOUTH WALL EAST ELEVATION

WEEK 1 : THE HOUSE INVESTIGATION | PLAN | SECTIONS | ELEVATIONS | PERSPECTIVE

CHIMNEY

EAST WALL

SLAB FOUNDATION PRE-CAST CONCRETE STEPS

VIEW NUMBER 2

WEEK 2 : THE HOUSE DIAGRAM | INTERIOR PERIMETERS IN RELATION TO EXTERIOR

WEEK 2 : THE HOUSE DIAGRAM | EXPLODED AXOM PARTS P.14

VIEW NUMBER 5

INSTRUCTORS: MATT MORONG | CHAUNCEY HERMAN

SPRING 2008

GLASS HOUSE INTERVENTION PROJECT

BUILDING - THE GLASS HOUSE | LOCATION - NEW CANNAN, CONNECTICUT, USA | YEAR - 1949 | ARCHITECT - PHILIP JOHNSON

After analyzing the circulation, the structure, the relationships between manmade structures and nature, the focal points of the site and the historical precedents Mr. Johnson was influenced by , I began my process of intervention. It began with the desire to replace the brick chimney with Chaux, because it is one of Ledoux’s preferred materials. Chaux is the white substance left after heating limestone used in making cement. Another reason I changed the material from brick to cement was for structural purposes. Form rules over function and I believe there is a function to the form itself. Forms are meant to bring humans spiritual relief or at least a sense of belonging. The rectilinear shape of the Glass House is austere, hard and lacks softness. The rectilinear man made shape of the house contrasts with the organic surroundings. I believe by reducing its angularity I developed a more harmonious relationship with the natural setting. I also started investigating the concepts involved in the glass house, mainly Suprematism and Minimalism.

CIRCULAR EXTENSIONS= INDOOR | OUTDOOR CONVERSATIONS

FOCAL POINT OF THE SITE = THE LAKE

OVERALL PLANAR AREA IN PLAN

LAND DECLINE

VOID MASS CIRCULATION STRUCTURE NATURAL RING

OVERALL PLANAR AREA IN SECTION

Palladian circulation EXTRUSION

WEEK 3 : THE ENVIRONMENT INVESTIGATION | SITE RELATIONSHIP DIAGRAM | INDOOR SPACE VS OUTDOOR SPACE

WEEK 4 : SPACIAL SITE INVESTIGATION | IDENTIFY SPATIAL PERIMETERS AND THEIR RELATION TO THE OUTSIDE. P.15

WEEK 4 : SPACIAL SITE INVESTIGATION | PART II IDENTIFY SPATIAL PERIMETERS AND THEIR RELATION TO THE OUTSIDE.

LEDOUX’S INSPIRATION

INSTRUCTORS: MATT MORONG | CHAUNCEY HERMAN

SPRING 2008

GLASS HOUSE INTERVENTION PROJECT

WEEK 5 : SUPREMACIST PAINTINGS INVESTIGATION | RESEARCH LEDOUX INFLUENCE ON UTOPIAN THEORIES + SUPREMATIST PAINTINGS

Suprematism is geometric abstract art, painting and sculpture that emphasize extreme simplification of form. Another example of simplification in art and architecture is Minimalism. Minimalism is the deletion or reduction of anything that isnâ&#x20AC;&#x2122;t essential, to have only what is necessary, and nothing more. Minimalists have ideas tied in with purity, which is another element of Suprematism, and humbleness.

In art, purity refers to the degree to which a color is free from being mixed with other colors, for example, lacking nothing essential to the whole. The whole can be perceived as beautiful therefore beauty is essential to a modernist composition based on Suprematism. Lastly, simplified forms such as squares and circles are representatives of purity. The circle resembles no boundaries; there is no end or start. It represents the whole and the whole is neverending. It is complete. The whole is the greatest in importance, degree, significance, character or achievement. The whole is full or entire, brought to completeness or to perfection. I thought the circle was the most powerful form, so in turn I decided to use it for this project.

EXAMPLES OF KASIMIR MALEVICH SUPREMACIST PAINTINGS

PAINTINGS I CREATED BASED ON GLASS HOUSE CONCEPTS P.16

INSTRUCTORS: MATT MORONG | CHAUNCEY HERMAN

SPRING 2008

GLASS HOUSE INTERVENTION PROJECT

FINAL WEEK : SUPREMATIST PAINTINGS LED THE FINAL INTERVENTION DESIGN TO EVOLVE INTO A RECIPROCAL LANGUAGE OF UTILITY AND FORM.

The whole is full and sonorous. A loop is a completed course of time. It represents the integrity of the wholeness of the circle, because like the circle it is complete, constant and undivided. Prior to my intervention all elements inside the space seemed to orbit the circular shape of the chimney. Now, all the elements belong to the whole. All elements do not exceed a certain height so there are clear views through the site (an idea pertaining to Acropolis). This aspect of the space did not need revision. I noticed that by having this house raised to a certain level on the horizon, it almost created a sensation of floatation, so I decided to increase that sensation by trying to hide the brick base elevation by creating an angle near the ground sort of resembling the shape of a saucer. The glass house is only a conceptual habitat, not a functional one. With that in mind we need to realize that the brick house, Johnson’s creation which is beside the glass house, is part of the glass house. By looking at Johnson’s decision it seems that he wanted to experience the site with one eye open and another closed. The geometry of my intervention works as planets orbiting the sun. The house is the sun and the people are the planets. The open eye is only limited by the brick house although the fence serves as a spacial warning in relation to the exterior. The final intervention is a correspondence pertaining to all aspects of human nature, as well as one’s physical, intellectual, and spiritual development.

THE INTERVENTION

EAST SECTION TOP VIEW OF EXISTING

WEST RAMP

INDOOR NATURAL RING INDOOR BUSH

EXTERIOR PERSPECTIVE

INTERIOR PERSPECTIVE

LOUNGE AREA

ART

BEDROOM

DINNING ROOM AREA SOUTH RAMP

NORTH RAMP

FIREPLACE

SECTION DETAIL

SCULPTURE

BATHROOM

KITCHEN AREA

OFFICE

FLOOR PLAN

EAST ENTRANCE

FIREPLACE INTERVENTION PERSPECTIVE

EAST ELEVATION

P.17

INTERVENTION TOP VIEW

INSTRUCTORS: MATT MORONG | CHAUNCEY HERMAN

SPRING 2008

THE BOAT HOUSE PROJECT

The Boat House project was an intentional intervention on Bostonâ&#x20AC;&#x2122;s Charles River. We were instructed to visit and document the location in order to develop the project based on our perceptions. Synthesis - The boat house project achieves human habitat enhancements by reconfiguring existing aspects of the site and composing new developments for the greater good.

SKETCHES

NOISE LEVELS - BREAK DOWN

VANTAGE POINTS AND SUN PATTERN

INITIAL MODEL - EXTERIOR TO RESEMBLE PADDLES

SCIENTIFIC INVESTIGATION OF SOUND AND WATER PROPAGATION

Analysis - After a period of investigation of the site I saw a lack of management of sound expelled from heavy traffic on Storrow Drive which contours at least 99% of the section studied of the park. So I decided to explore this idea and perceive a solution to this problem.

SKETCHES

P.18

INITIAL PROGRAM - THE CHARLES FLOATING 3D ELEVATOR

INSTRUCTORS: MATT MORONG | CHAUNCEY HERMAN

SPRING 2008

THE BOAT HOUSE PROJECT

Science - When subjected to 45 decibels (db) of noise, the average person cannot sleep. Hearing loss begins at 85 db. Prolonged exposure to noise ranging from 45 db to 85 db can cause lack of sleep, indigestion, heartburn, irritability, ulcers, high blood pressure and heart disease. One burst of noise, as from a passing truck, is known to alter endocrine, neurological and cardiovascular functions. Distance diminishes the effective decibel level reaching the ear. Thus moderate auto traffic at a distance of 100 ft (30 meters) rates about 50 decibels.

EXISTING DECK

Sound movement - Sound can travel in a straight line of direction in the simplest situation, however sound waves also suffer reflections, bending and scattering in more complex cases. EXISTING ACCESSES

Concept - The concept is based on Isaac Newton’s discoveries on sound waves, where he studied how sound waves pass through a hole as an example and become more hollow creating “valleys” from one wave to the next. Based on these valleys I chose to mimic the sound waves derived from the source ( Storrow Drive ) passing through a “wall” with holes (The Esplanade) reaching the location (the Charles River) of my boathouse. Design - My design is a descendent of the musical element called the triad.

EXISTING PATH WAY

INTERPRETATIONS + OBSERVATIONS:

LOUD VIBRATION

SOFT VIBRATION SITE COMPLEXITY

PARK | LIFE

ASPHALT | DEATH

DISRUPTIVE ROAD NOISE P.19

SONOROUS TRIAD CONCEPT

INSTRUCTORS: MATT MORONG | CHAUNCEY HERMAN

SPRING 2008

THE BOAT HOUSE PROJECT

The triad is a group of three notes having a specific construction and relationship to one another. They are constructed on three consecutive lines or three consecutive spaces. Each member of the triad is separated by an interval of a third. The triad is composed of a root, third, and fifth. In my design the first line of walls (the walls closest to the road) relates to the root, the second wall to the third note, and the third wall to the fifth. The walls of the building go in opposite directions, generating a harmonious relationship also found in harmonics in musical terms. The frequency produced by the harmonic triad produces what is called the fundamental frequency, where a sound source is vibrating, reflecting, bending or scattering in halves, in other words producing an octave which relates to the symmetry used in the building. Lastly, the building is rotated 180 degrees opposed to the “receiving filtered valley waves from Storrow Drive” creating a silent shock reaction up to about 100 ft of its boundaries. Initially I wanted to provide an entire fluvial metro-type elevator that would allow visitors and residents of Boston to connect from the Museum of Science to Harvard and loop back to the other side of Mass Ave. My instructors thought my idea was too broad for this project and I had to work within the immediate location. I thought the building should be away from Sorrow as much as possible for sound purposes and I thought of four ways to accomplish it.

STORROW LAGOON ZAKIM BRIDGE HARVARD BOSTON FINANCIAL BUSINESS DISTRICT MIT SITE ANALYZING | PROPOSED ANALYSIS

CONTINUOUS PATH

ALIGNMENT WITH PRUDENTIAL

AN INTERSECTION

ADVANCING CITY GRID:

P.20

INSTRUCTORS: MATT MORONG | CHAUNCEY HERMAN

SPRING 2008

THE BOAT HOUSE PROJECT

I decided to incorporate the intersection idea with the alignment with the Prudential. The Prudential was important because to me it is the most iconic building in Boston.

COLLAGE

PROPOSED SITE

SOUND ATMOSPHERE

PROPOSED PLAN

DRAFT MODEL

FINAL MODEL

TRIADE SECTION

P.21

INSTRUCTORS: MATT MORONG | CHAUNCEY HERMAN

UNDERGROUND AND ROOF PLANS

SPRING 2008

THE BOAT HOUSE PROJECT

SOUTH ELEVATION

SKETCHES

FLOOR PLAN

CHARCOAL PERSPECTIVE

P.22

SECTION AND WEST ELEVATION

INSTRUCTORS: MATT MORONG | CHAUNCEY HERMAN

SPRING 2008

BOAT HOUSE PERSPECTIVE

P.23

THE BOAT HOUSE PROJECT

p. 24-40

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

PROJECT 00 | TECTONICS

This project started with three different figures. We were supposed to interpret them and to work with them based on descriptive, functional and fundamentally tectonically sound reasons. Figure number 1 was a section illustration. Figure number 2 was a skeleton . Figure number 3 was an arrangement of insect wing x-rays in a rotation order. I started with figure number 1 which was more rectilinear and easier to interpret. I dissected the main elements of the design in search of a reduction of members and then I saw an intersection-like shape. The section detail volume expressed an intersection of planar and cubic elements that is composed primarily around the square connector. This connected joinery intersection was my interpretation of this exploration. I eliminated this figure because I saw no challenge and it was too obvious. 00 | STUDIO B2 PROJECT B2 PROJECTPROJECT 00 | STUDIO B2 00 | STUDIO

SKELETON X RAY WING NATURAL PATTERN VOLUMETRIC SECTION PATTERN SECTIONDETAIL DETAIL X-RAY STRUCTURE NATURAL ION DETAILSECTION X-RAY STRUCTURE NATURAL PATTERN X-RAY STRUCTURE In search of basic elements Xray figure is simply structural. Thehas natural “wings” has a incredible arch of Ibasic elements IThe Xray The Xray figure isThe simply structural. Thehasnatural “wings” a incredible lements figure isI simply structural. The natural “wings” a incredible discovered thisI pattern in which I will it seems to me there ered pattern in which willit seems it seems to meand there are vertical ands eare whichthis I will to me there are vertical n s evertical o f tand r a nssepnasree nocfy tar na sdnes np saer e no cf y t raannds p a r e n c y a n d investigate and develop. members connecting movement. I will try to explore these gate and develop. horizontal members connecting tomovement. movement. try to explore these horizontal members connecting tohorizontal I willtotry to exploreI will these member forma concept. a ideas to form a concept. ideas to form a concept. an organic to form aideas to an organic member to formmember aan organic to form this of will structure. this be the basis mybe the basis of my structure. this will be the basis of will mystructure. concept. concept. concept. Author : Andre Vasconcelos Author : Andre Vasconcelos Author : Andre Vasconcelos

VOLUMETRIC SKELETON

3 SCALES SECTION

VOLUMETRIC X RAY WING

3 SCALES SKELETON

3 SCALES X RAY WING

Number 2 was the skeleton. I made one set of interpretations deriving from object | complexity | pattern | volume. This figure is simply structural. It seems to me there were vertical and horizontal members connecting to an organic member to form a structure. This was the basis of my concept. The X-ray volumetric exploration was very informative, only after giving a third dimension to a planar figure I was able to discover other possibilities, At this point I integrated the structural characteristics of this figure and invested it in the natural pattern figure.

Saturday, February 14, 2009 2009

SECTION DETAIL INTERPRETIVE MODEL

SKELETON INTERPRETIVE MODEL P.24

X RAY WING INTERPRETIVE MODEL

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

PROJECT 00 | TECTONICS

Number 3 was the Cell which I call the natural pattern, although it was intentionally arranged by someone. I also made one set of interpretations deriving from object | complexity | pattern | volume. The natural â&#x20AC;&#x153;wingsâ&#x20AC;? have an incredible sense of transparency and movement. I have tried to explore these ideas to form a concept. Conceptually the wings, when seen in volume form, can be interpreted as multiple objects. Once again I dissected the structural elements, then the translucent patterns. After those steps I integrated the constructional characteristics from the Xray figure and was then able to envision functional purposes for it. Conclusion : A progression of rational and intentional steps can lead us to something greater than life.

BONE STRUCTURE ABSTRACT PAINTING (X2)

X RAY WING NATURAL PATTERN ABSTRACT PAINTING (X2)

Conclusion: Adding a third dimension to a planar figure allows the viewer to interpret it differently.The Greek word tekton refers to the ability to construct something. One begins with a creation of a unit to an assembly of units. If one gives purpose to a unit, one can transform units unto architecture. P.25

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

PROJECT 00 | TECTONICS

The tectonic models investigation led me to better understand the materials I was working with as well as an approximation to my final design proposition The tectonic investigation led me to develop a system partitioned in three components based on the skeleton developments. In addition this tectonic system was later integrated on the natural pattern developments which generated a very interesting final product.

SKELETON SKETCH

SKELETON MODEL INVESTIGATION

X RAY WING NATURAL PATTERN MODEL INVESTIGATION

X RAY WING NATURAL PATTERN SKETCH P.26

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

PROJECT 00 | TECTONICS

= TECTONIC ASSEMBLY

TECTONIC SYSTEM

My final product was a device designed to aid singers during a recording session. The design would fit like a helmet and would benefit oneâ&#x20AC;&#x2122;s studio performance by improving hearing. Looking at different scales this apparatus could be used as a prison cell, or at a much larger scale, as a full blown building.

SKETCHES 3 DIFFERENT SCALES

FINAL MODEL P.27

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

The Arnold Arboretum project started with a field trip. The experience was very compelling. Among a great variety of exotic trees and bushes the park in general is very big, well organized and clean. It makes you forget the city for a while. Within the Arboretum I noticed a rapid transit of people and animals. Some people seemed familiar with the site while others seemed like they had never been there. I also noticed that people seemed to have different interests which made the experience a little awkward. Some people just walked, while others jogged, skated, roller bladed or biked. There were also animals (dogs) that simply went as they pleased intertwining around the paths (accompanied by their owners, of course.) The assigned site is adjacent to Peters Hill, which is a focal point because it is an intersection of three paths. I found Peters Hill disproportional to the human scale. The site has some unresolved issues such as transit and size.

ARNOLD ARBORETUM SITE 3D

PROJECT 01 | Arnold Arboretum project

First week during my visits I noticed that people were moving at different speeds. The very slow explorer would almost hesitate before taking another step or photo. On the other hand, the fastest biker would cut an slow to moderate explorer off so quickly that if they came from behind in the same direction as an explorer it would suddenly create a drag noise right next to them. My design approach was to find order to these issues of size and traffic while minimizing the use of land for my architecture. The solution I found was to separate interest, the fast and the slow, the unfamiliar and the familiar. I attempted to address this issue through several different designs, before settling on the final design.

ANALYTICAL SKETCH P.28

INSTRUCTORS: MIKE PERHAM | SEOK

SITE

FALL 2009

FACILITY PLAN

My first design attempt was to broaden Peterâ&#x20AC;&#x2122;s Hill intersection without damaging the integrity of the park. I intended to do this by recessing an underground facility contouring the path. This design would provide visitors with a sort of balcony on the rooftop of the facility. The facility would be split into halves connecting the underground. My instructors did not readily accept this idea, so I developed a new design solution. There would be a tunnel in the centerline of the path with the intention of separating the traffic patterns into a more organized system. This time around my instructors were starting to accept my intentions for the project, although they still were not satisfied. I took a step back into the tectonic patterns I had created in project 00 and I decided to literally incorporate it into this project. Once again, the proposed solution was not still settling well with my instructors. I decided to investigate a completely revolutionary concept that had the amenities broken up sparsely on the site with a number of smaller items. This solution came closer to meeting their expectations.

SITE INTERSECTION - FACILITY DESIGN TO CONTOUR PATH

PROJECT 01 | Arnold Arboretum project

FACILITY PLAN P.29

UNDERGROUND INTERSECTION

UNDERGROUND FACILITY

ORDER

CHAOS

SITE - TECTONIC COLLAGE

ANALYTICAL SKETCH

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

PROJECT 01 | Arnold Arboretum project

SKETCHES

SOLUTION: My final design not only separates the fast and the slow but also demonstrates the tectonics idea broken up into smaller portions. It ultimately manages the traffic issue with an overpass. The elevated pathways would allow the eyes of the visitors observing nature to be level with the trees thus providing the visitor with a more engaging experience. Their experience would be improved by a closer relation to the trees and park. The experience of all visitors: nature observers, bikers, and runners, among many others, would be improved with the new division of interests leading to more privacy and comfort of all traffic patterns.

FINAL MODEL

3D MODEL P.30

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

PROJECT 02 | CHINATOWN PROJECT

This project started when I received the coordinates from my instructors such as location, size and duration of the project. My initial approach included various site visits for documentation, in which I noted existing elevations, setbacks, tree patterns, traffic issues, etc. My findings were helpful: I saw a place submerged in the sublime.There is a sense of awe in the look and feel of this part of Boston’s Chinatown. It feels obscure and looks random. My analysis incorporated current social and economical census data of the city of Boston in comparison to Chinatown’s. Finally, a short investigation on Chinatown’s history and my findings were: Reproach of other local ethnic immigrant groups from the past. Unequal social and financial status per capita when compared to the average Bostonian. The families living in Chinatown walks on average twice as much as the average family in Boston’s metropolitan area. The average Bostonian drives on average twice as much as the average person from Chinatown Visuals - Chinatown looks horizontal when compared to the local financial district in Boston. Also, the financial district looks colder and less warm than the predominant brick in Chinatown.

PRECEDENTS & WEALTH DISTRIBUTION

HISTORICAL TIMELINE P.31

INSTRUCTORS: MIKE PERHAM | SEOK

URBAN ANALYSIS

FALL 2009

PROJECT 02 | CHINATOWN PROJECT

INTERLOCK CONCEPT | INTEGRATION

URBAN PROGRAM

PROJECT SYNTHESIS - After interpreting all my studies I made the design decision to respond to some of the issues found in my studies. My design decisions were to interlock, to integrate and to create a mysterious atmosphere to reflect my first subliminal perceptions. Design approach - Step 1: divide site in equal parts. Step 2: Search for a mathematical order of proportions. Step 3: Subdivide the order of proportions into equal parts. Step 4. Separate the order of proportions in the center to design distribution. Step 5 (final step): to transfer all program assignment information given by instructors. BUILDING PROGRAM

P.32

SKIN STUDY

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

TRIPARTITE PROGRAMATIC BUILDING

PROJECT 02 | CHINATOWN PROJECT

CENTRAL ARTERY PROGRAM - INTERLOCK CHINATOWN AND BOSTON

REDESIGNED CIRCULATION

My instructors challenged me to resolve the program differently and I did. The prior program revolved around the central grid, so I developed a new program around the optimal circulation of the building, an idea received well by my peers. GROUND LEVEL

FRONT

LATERAL 1

LEVEL 1

LATERAL 2 P.33

LEVEL 2

LEVEL 3

BACK

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

PROJECT 02 | CHINATOWN PROJECT

Architecturally we were asked to bring our tectonic developments from project 00 and 01 consequentially into this project. With the interior program being finite I began to analyze the skin of the building in ways that expressed my sentiments. For example, the interlocking, the integration, the aesthetic feel of sublimity and the tripartite resolution are all elements legible to the exterior program. My design perimeters were; 1 To interlock the financial district and Chinatown; -By creating a space for activities such as finance, theater, artist studios, art galleries, a cafe, etc... 2 To integrate the walkability factor of the locals as well as visitors and neighboring districts; - By creating a path that travels through the exterior of the building connecting both Hudson street and J F Fitzgerald Road. 3 To design an interior program that literally responds to exterior relationships. I organized the activities of the interior of the building to respond to the exterior environment. Then I made each facade legible from the exterior. I organized the activities of the building, for example, making the faรงade of the building more active to respond to the activity of the street as opposed to a less active side of the building adjacent to the Jiznga restaurant. This way the building would be readable from the exterior as well. 4 The overall design coupled with my tectonics would evoke a sense of awe and obscurity that imminently relates to my impressions of the site. I projected regularity of shapes instead of a symmetrical composition and odd compositions of masses and voids that speak of my theory tectonically. My aim was to create the sublime in a built form.

INITIAL SKETCH

TECTONIC DEFINITION

TECTONIC DEFINITION ASSEMBLY P.34

3D ASSEMBLY

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

My instructors were pushing me to go beyond my initial developments so I did. After bringing to class my skin module model, they asked me to work with my concepts and explore new ways of constructibility. I spent a week trying to push myself to go beyond these boundaries and I figured how my original tectonic was brought up from project 00 and how it had developed as I continued to respond to my instructors and my own ideas for this project. I worked on a trial for a building envelope (skin) which was well received in class, however I did not stop there. Indeed I created an entire dynamic facade for my interior program.

SKIN TRIAL - EXTERIOR RESPONSIVENESS P.35

PROJECT 02 | CHINATOWN PROJECT

SKIN MODULE MODEL

TECTONIC EVOLUTION

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

PROJECT 02 | CHINATOWN PROJECT

This dynamic facade was a big step in my view to where I wanted to bring this project. My instructors although well receptive of my interlocking concept as well as my new developments still asked me to improve my building’s skin to make a clearer statement on all façades. I took two more steps to find what I thought I was looking for. I brought the tectonics to my interlocking concept and then I sharpened it by minimizing the structure and maximizing the functionality of the building.

FINAL TECTONIC DEVELOPMENT

FINAL TECTONIC PRODUCT P.36

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

PROJECT 02 | CHINATOWN PROJECT

After interplaying all my concepts I came to this modular design that incorporated my interlocking tripartite facade.

ROOFTOP

3RD LEVEL

2ND LEVEL

MODULAR BUILDING ENVELOPE P.37

1ST LEVEL

GROUND LEVEL

FLOOR PLANS

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

FINAL DESIGN - ELEVATIONS

JFF ROAD ELEVATION

PROJECT 02 | CHINATOWN PROJECT

MODEL

SECTIONS

HUDSON ELEVATION OVERVIEW

JFF ROAD PERSPECTIVE

HUDSON SECTION

HUDSON PERSPECTIVE

J. F. F. ROAD SECTION

JFF ROAD BACK ELEVATION PERSPECTIVE

FRONT ELEVATION

HUDSON BACK ELEVATION PERSPECTIVE

BACK ELEVATION

3D SECTION P.38

INSTRUCTORS: MIKE PERHAM | SEOK

Building interior program details were Ground 1. entrance 2.admissions 3.gallery loft 4.WC (man-woman) 5.mechanical room 6.storage room 7.fire scape

ARENA

FALL 2009

1st level 1. lounge 2.loft cafe area 3.performance arena 4.theater 5.gallery loft

2nd level 1. main circulation 2.artist loft area 1 3.artist loft area 2 4.artist loft area 3

PROJECT 02 | CHINATOWN PROJECT

3rd level 1. lounge area 2.office manager room 3.associates office 4.kitchen

ARTISTSâ&#x20AC;&#x2122; LOFT

OFFICE P.39

INSTRUCTORS: MIKE PERHAM | SEOK

FALL 2009

FINAL PERSPECTIVE

P.40

PROJECT 02 | CHINATOWN PROJECT

p. 41-66

SUPERVISOR | Ronald Jackson

2007 - 2008

WORK

JOB DESCRIPTION : INTERPRET SITE SKETCHES AND TRANSLATE THEM INTO A DIGITAL FORMAT [CAD] ARCHITECTURAL DESKTOP

My first architectural / engineering office experience was very rewarding. Working at Bay State Design helped me understand important trades in the architectural profession. One such trade was working in a team of professionals. My participation was in the team of engineers to help them translate their engineering solutions into a graphical representation. That was a good challenge for my level of development in the profession. I worked at Bay State Design, Inc. from early 2007 until the beginning of the financial recession early 2008. I was an integral part in a draftsmanâ&#x20AC;&#x2122;s team composed to produce an entire corporate expansion.

P.41

4G TELECOM EXPANSION PROJECT

SUPERVISOR | Ronald Jackson

2007 - 2008

WORK

JOB DESCRIPTION : INTERPRET SITE SKETCHES AND TRANSLATE THEM INTO A DIGITAL FORMAT [CAD] ARCHITECTURAL DESKTOP

P.42

4G TELECOM EXPANSION PROJECT

INDEPENDENT PRACTICE

2009-2011

BASS HOUSE PROJECT 02

SUPERVISOR | KENNETH SAVOIE

Clients : Mr. Michael & Misses Kathleen Read

Architect : Andre Vasconcelos

Location : 82 Bass ave., Gloucester, Ma. 01930

Job description : Beach House renovation | addition

Date : July 2009 To Present

82 Bass Avenue is a: small Style house located two blocks west of: Good HarborMA Beach in Gloucester, The house sits on a generous west of Cape Ann Coffees, coffee shop. To the North lies a small shopping complex that includes a JOB DESCRIPTION BEACHCape HOUSE RENOVATION-ADDITION | LOCATION GLOUCESTER | DATE JULY 2009MA. TO PRESENT | ARCHITECT : ANDRElot VASCONCELOS | CLIENT : MR. the READlocal & FAMILY

GOOD HARBOR BEACH

CVS Pharmacy as well as a Super Stop & Shop. To the west of 82 Bass Avenue there is residential dwelling and to the south is Bass Avenue itself which consists of residences and small local businesses. N

MARSH LAND

BUSINESS

SITE SITE

TI T EC OJ PR

SITE SATELLITE IMAGE

SITE

Design Initiation

82 Bass Avenue is a small Cape Style house located two blocks west of Good Harbor Beach in Gloucester, MA. The house sits on a generous lot west of Cape Ann Coffees, the local coffee shop. To the North lies a small shopping complex that includes a CVS Pharmacy as well as a Super Stop & Shop. To the west of 82 Bass Avenue there is residential dwelling and to the south is Bass Avenue itself which consists of residences and small local businesses. SOLAR GAIN | INHIBITION

NARRATIVE | Since beginning work on this house in November of 2008, I have been developing new skills as well as improving old ones. These skills relate to both carpentry and architecture. I obtained and improved carpentry skills during a series of activities that took place in this house, some of which are the restoration of hard wood flooring in the kitchen, installation of a casement window, tiling, and the demolition and construction of walls all the way from studs to plaster. As an architect I planned the layout for the renovation in both the kitchen and bathroom, and later I planned a complete redesign of this house including a second floor addition. This house is the summer home of Mr. & Mrs. Read. Schemes They share a passion for Victorian style houses, however, for their summer house they wanted something functional and exiting. In their second home they wanted to expand functionality and improve their vantage points. While the Cape style home is common in the immediate neighborhood, just several blocks away on Bass Rocks there are extraordinary houses with exponential architectural value. The budget for this project was extremely limited and I had to come up with creative ideas in order to overcome monetary constraints. This project took me to a new understanding of architecture. I have had the incredible opportunity to have open minded clients that respected my design decisions and that helped me achieve success without external interference. STAGE 1

ZONING

LOCAL SATELLITE IMAGE

Start | Since beginning work on this house in November of 2008, I have been developing new skills as well as improving old ones. These skills relate to both carpentry and architecture. I obtained and improved carpentry skills during a series of activities that took place in this house, some of which are the restoration of hard wood flooring in the kitchen, installation of a casement window, tiling, and the demolition and construction of walls all the way from studs to plaster. As an architect I planned the layout plans for the renovation in both the kitchen and bathroom, and later I planned a complete redesign of this house including a second floor addition. This house is the summer home of Mr. & Mrs. Read. They share a passion for Victorian style houses, however, for their summer house they wanted something functional and exiting. In their second home they wanted to expand itâ&#x20AC;&#x2122;s functionality and improve their vantage points. While the Cape style home is common in the immediate neighborhood, just several blocks away on Bass Rocks, there are extraordinary houses with exponential architectural value. The budget for this project is extremely limited and I had to come up with creative ideas in order to overcome monetary constraints. This project is taking me to a new understanding of architecture. I have had the incredible opportunity to have open minded clients that respected my design decisions and that helped me achieve success without external interference.

PAVEMENT

82 BASS AVE.

RESIDENCES

VOLUMES

HEIGHT CONSTRAINT

SOUND CONTROL

AESTHETICS

BASS FISH

P.43

STAGE 3

ORIGINAL HOUSE

SUPERVISOR | KENNETH SAVOIE

INSPIRATION

INDEPENDENT PRACTICE

2009-2011

SCHEME 1

SCHEME 2

SCHEME 3

BASS HOUSE PROJECT

SCHEME 4

program

THE BASS FISH

1ST FLOOR = PUBLIC 2ND FLOOR = PRIVATE

SOLAR GAIN | INHIBITION

VOLUMES

HEIGHT CONSTRAINT

SOUND CONTROL

P.44

AESTHETICS

EXPLODED AXON.

SUPERVISOR | KENNETH SAVOIE

2009-2011

INDEPENDENT PRACTICE

BASS HOUSE PROJECT

The Bass House project strived to be sustainable in some aspects, for example, the roof type, windows and doors, heating and cooling, I have selected are all energy efficient . The framing / structure of the addition was 70% assembled with engineered lumber, 60% of all insulation in the building is (R40) to help reduce temperature swings considerably, the insulation used was soy foam. The overall house design uses a passive solar design which helps with energy loss and the roof top manages the water runoff back in the yard by the omission of traditional gutters with help of an extended eave that pushes the water out to the yard.

MARKET RESEARCH

SITE INVESTIGATION

FOLLOW-UP

PLANNING

COORDINATING

Notable Learning Outcomes | Establishing credibility with the client through research and analysis of the local real estate market to establish budget guidelines that are in line with market conditions and property values. * Applying knowledge and understanding of site considerations affecting building orientation and envelope design. * Engaging with client to develop clear design guidelines and renovation objectives. * Generating close working relationship with municipal building officials, contractor and subcontractors. * Increasing effective communication skills with all project stakeholders * Managing construction, project budget and requisition process.

P.45

Ă&#x2021;â&#x2C6;&#x161; knowledge

DESIGNING

MAKING DECISIONS

MAKING CONNECTIONS

COMMUNICATING

SUPERVISOR | KENNETH SAVOIE

2009-2011

INDEPENDENT PRACTICE

Financial management was critical at times, we went $60,000 over budget due to change orders, unexpected construction costs and construction delays. Today this property has over a quarter of million dollars invested in it and another quarter million dollars for home acquisition, giving us a total investment of $600,000. The house market has seen a substantial downturn in the United States. However, there are multiple multimillion dollar houses in a quarter mile radius from our location. Overall this journey was rewarding to say the least.

P.46

BASS HOUSE PROJECT

SUPERVISOR | KENNETH SAVOIE

2009-2011

INDEPENDENT PRACTICE

ThE BASS HOUSE FINAL PERSPECTIVE

P.47

BASS HOUSE PROJECT

SUPERVISOR | KENNETH SAVOIE

INDEPENDENT PRACTICE

2009-2011

BASS HOUSE PROJECT

A time line period of construction... CONSTRUCTION STARTS

DAY 1

DAY 2

DAY 3

DAY 4

DAY 5

DAY 6

DAY 7

DAY 8

DAY 9

DAY 10

DAY 11

DAY 12

DAY 13

DAY 14

DAY 15

DAY 16

DAY 17

DAY 18

DAY 19

DAY 20

DAY 21

DAY 22

DAY 23

DAY 24

DAY 25

DAY 26

P.48

DAY 27

SUPERVISOR | KENNETH SAVOIE

2009-2011

INDEPENDENT PRACTICE

BASS HOUSE PROJECT

A time line period of constructionâ&#x20AC;Ś progression from the 2nd month to the 7th month. month 2

month 3

month 4

month 5

month 6

month 7

P.49

SUPERVISOR | KENNETH SAVOIE

2009-2011

INDEPENDENT PRACTICE

BASS HOUSE PROJECT

A time line period of constructionâ&#x20AC;Ś progression from the 7th month to beginning of summer 2011. interior under construction

interior - first floor

interior - second floor

EXTERIOR 1 - southwest

EXTERIOR 2 - detail

EXTERIOR 3 - northeast

P.50

SUPERVISOR | DIGIORGIO + BRACCIOTI

2010 - 2011

INDEPENDENT PRACTICE

STONEHAM HOUSE PROJECT

JOB DESCRIPTION : SINGLE FAMILY - NEW CONSTRUCTION HOUSE | LOCATION : STONEHAM MA | DATE JULY 2010 TO PRESENT | ARCHITECT : ANDRE VASCONCELOS | CLIENT : LEONE & FAMILY

The Stoneham project is a single family residence designed for the Leone’s family. This project came about by the Leone’s visit to Good Harbor beach in the summer of 2010. They saw my work; the Bass house, during our conversation I introduced the idea of letting me design a house for them. Interestingly, the Leone’s were looking to purchase a house in the suburbs of Boston for about a year and according to them, they were somewhat disappointed. The Leone’s were skeptical of my idea at first but later decided to purchase land and to custom build a home for themselves. As an ideal financial and practical solution, they purchased land and contact me to help design their home. As we started discussing the design expectations and possibilities I introduced my personal mentor from the Boston Architectural College. Ken Savoie to professionally assist them instead. A little time went by and the Leone’s contacted me to take charge on the design. Following this event I asked Len Charney. The head of the Practice Department at the Boston Architectural College for help. I was looking for professional assistance. Len then teamed up Peter Braccioti and Dom DiGiorgio both members of Practice. We soon started a proficient team. Design-wise I had been studying the site and I had already developed three concepts. These concepts were later analyzed by the team and I was asked to choose one concept I liked the most. I thought each concept had a strong point about them so I came to the idea of combining all three concepts into one. This concept I called the HYBRID CONCEPT. CHUCK FAIA, CIVIL ENGINEER PREPARED TOPOGRAPHIC DRAWING FOR LAND ACQUISITION WITH FOOTPRINT PROPOSAL.

CONSERVATION LAND

SITE

SCHIAPPA CR.

TOPOGRAPHIC - ORIGINAL FOOT PRINT LAYOUT

LOCAL SATELLITE IMAGE P.51

SUPERVISOR | DIGIORGIO + BRACCIOTI

2010 - 2011

INDEPENDENT PRACTICE

ZONING

LEDGE CONSTRAINT

STONEHAM HOUSE PROJECT

ORIENTATION

SUN PATTERN

P.52

SITE CLUSTER

P.45

SUPERVISOR | DIGIORGIO + BRACCIOTI

2010 - 2011

INDEPENDENT PRACTICE

STONEHAM HOUSE PROJECT

CONCEPTS: I II & III

CONCEPT I

THE INTENTION WAS TO PROVIDE A MORE RECTANGULAR DESIGN - TO REDUCE CONSTRUCTION COST AND TO RELATE TO CLIENT’S INTEREST FOR A COLONIAL APPEARANCE HOME

CONCEPT II

THE INTENTION WAS TO PROVIDE A MORE FLEXIBLE DESIGN - TO INCORPORATE AN ARCHITECTURAL LANGUAGE WITH THE LAND

P.53

CONCEPT III

THE INTENTION WAS TO PROVIDE A MORE DYNAMIC DESIGN - TO ADD ARCHITECTURAL VALUE

SUPERVISOR | DIGIORGIO + BRACCIOTI

2010 - 2011

INDEPENDENT PRACTICE

STONEHAM HOUSE PROJECT

CONCEPTS: I II & III

CONCEPT I

CONCEPT II

CONCEPT III

1,250 sq. f. FIRST FLOOR

1,400 sq. f. FIRST FLOOR

1,600 sq. f. FIRST FLOOR

42* COUNTER CLOCKWISE

25* COUNTER CLOCKWISE

P.54

15* COUNTER CLOCKWISE

SUPERVISOR | DIGIORGIO + BRACCIOTI

2010 - 2011

INDEPENDENT PRACTICE

HYBRID CONCEPT PLAN

STONEHAM HOUSE PROJECT

HYBRID PLAN - CONCEPTUAL STAGE

Our design team evaluated good aspects of the three design concepts and we pushed forward a new design that encompasses ideas from tree concepts in which I called the HYBRID CONCEPT.

HYBRID CONCEPT

DIGIORGIO | BRACCIOTTI & VASCONCELOS

SKETCH - THE HYBRID CONCEPT PLAN

PROPOSED FOOT PRINT LAYOUT P.55

SUPERVISOR | DIGIORGIO + BRACCIOTI

2010 - 2011

INDEPENDENT PRACTICE

STONEHAM HOUSE PROJECT

Our architectural team responded diligently to the family’s needs based on a family’s wish list. Our design team had major difficulties with conservation setbacks and an extensive ledge in a very prominent area in the front yard. We carefully analyzed the situation in order to properly establish an interior program that was expected by the Leone’s. Based on a series of circumstances and rational decision making, we made room even for the clients emotional perceptions of themselves.

HYBRID CONCEPT TOTAL LIVING SPACE 2,625 2,523 SQ. F. PETER | DOM & ANDRE

HYBRID CONCEPT

TOTAL LIVING SPACE 2523

PROPOSED FLOOR PLAN

PROPOSED BUILDING PROGRAM

P.56

SUPERVISOR | DIGIORGIO + BRACCIOTI

INDEPENDENT PRACTICE

2010 - 2011

STONEHAM HOUSE PROJECT

Final evaluation prior proceeding forward - The design team came up with design tweaks for a more finite solution. Our final solution inquired the area of the second floor plan with an addition of a cantilever “skirt” around the perimeters of the house., this would allow better circulation and furniture placement. built upon the HYBRID CONCEPT so the owner could proceed to bidding processes. Out of an evaluation of budgetary constrains as well as zoning constraints, overall economy, high efficiency and practicality. The HYBRID CONCEPT we believe is an immediate rational response to all issues related to this project

TOTAL LIVING SPACE 2,625 SQ. F. 59' 9"

JELDWEN PRE-HUNG DOORS (SOLID WOOD DOORS) unless specified otherwise ROUGH SIZE

STORAGE

11"

WINDOW SCHEDULE MARVIN INTEGRITY DOUBLE HUNG (WOOD ULTREX WINDOWS)

42" RAILING 17' 9"

NOTE: 36" FIRE PROOF STEEL DOOR REQUIRED

LAWN AREA

TOTAL LIVING AREA 1,495 sq. f. FIRST FLOOR

5' 6"

3' 0"

10' 0"

13' 3"

ITDH 3676

3' 0 1/2"W X 4' 0 1/4"H

H. DETECTOR

" 3' 0"

10' 0"

61b

DRIVEWAY

OF (1)

3' 0"

ITDH 3676

'0 "

OF (2)

22' 0"

ITDH 3676

ITDH3648

3' 0 1/2"W X 6' 5 11/16"H W

21' 0"

2' 11 1/2"W X 3' 11 1/4"H

LEDGE AREA A 2

OF (1)

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

TOTAL OF (16) SAME

PICTURE FOYER WINDOW

1' 10 1/2"W X 3' 0 1/4"H GENERAL NOTES ITDH2236 W GENERAL CONTRACTOR MASTER BATH NOTE: ALL WORK AND

TOTAL OF (2)

1' 9 1/2"W X 2' 11 3/4"H TOTAL OF (1)

MATERIALS SHALL BE PERFORMED AND INSTALLED IN STONEHAM FIRE ACCORDANCE WITH THE CURRENT EDITIONS OF THE FOLLOWING CODES AS H. DETECTOR ADOPTED BY THE LOCAL GOVERNING AUTHORITIES.

SMOKE

OF (2)

10' 0"

5' 0"

3' 0"

ITDH 3648

4' 6"

E0044

SMOKE DETECTOR

3' 0" 7' 1"

3' 0"

MASTER BEDROOM 231F!

14' 5" DOUBLE HEIGHT FOYER

4' 6"

3' 0"

3' 0" HERS 37.5F!

9' 0"

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

H V AC

1' 8"

5' 5"

E0044

6' 0"

2' 6"

VENT

14' 0"

11' 6"

CO2

3' 3"

38' 6"

HIS 15F!

GIOVANNI'S BEDROOM 203.5F!

2' 7" 9' 0"

3' 0"

21' 0"

17' 6"

5' 6"

MASTER BATHROOM 78F! 8' 0"

HIS 45F!

NOTE: M08 VSE VELUX SKYLIGHT TOTAL OF (2)

KITCHEN ROOFTOP

3' 0"

ITDH 3648

CLIENT MR. MS. LEONE 25 CLEVELAND AVE.

11' 5"

3' 0"

5' 6"

5' 8"

11' 6" 24' 6"

OF (1)

5' 6"

PERFORMANCE RATING: Complies with ANSI / AAMA / NWWDA 101 / I.S. 2!97, 101 / I.S. 2/NASF!02 and AAMA / WDMA / CSA101 / I.S. 2 / A440!05.

WX H

11' 6"

UNIT SIZE

NOTE: ALL WINDOWS MEET OR EXCEED ENERGY STAR COMPLIANCE TWO CAR GARAGE 545 F!

61b

F (22)

F (16)

ROUGH SIZE ITDH 3676

26' 0"

10' 0"

SIZE

14' 5"

5' 2"

3' 0"

PICT.

NOTE: ALL WINDOWS MUST LINE-UP

H. DETECTOR 3' 0"

E-UP

7' 1"

1' 10"

NOTE: ALL OPENINGS MUST BE DETECTOR CHECKED PRE-ORDERING WINDOWS AND DOORS, BE CARBON RESPONSIBLE FOR THE SAME.

MONOXIDE

DTP. TOTAL OF (1) TOTAL OF (3) TOTAL OF (1)

13' 0"

5' 6"

1' 9"

3' 0"

1' 9"

5' 6"

15' 0"

48' 11"

A 3

SECOND FLOOR PLAN Scale: 1/4" : 1' - 0'

TOTAL LIVING AREA 1,130 sq. f. SECOND FLOOR

GUTTER

PROJECT NO. 245.170

6' 0"

THERMA-TRU FIBER CLASSIC MAHOGANY

GUTTER

DRAWN BY ANDRE VASCONCELOS

2' 0"

D 3' 0"

W ITDH22 36

ISSUE 08.08.08

LAUNDRY 60 F!

2' 6"

4' 0"

D 817

3' 0"

3' 6"

2' 6"

MUDROOM + STR. 107 F!

SHARED BATHROOM 84.5F!

3' 6"

ITDH 3676 ITDHT 3616T

7' 6"

8' 0"

7' 6"

3' 0"

SMOKE DETECTOR

ITDH 3648

3' 0"

HERS 15F!

17' 6"

NOTE: PULL-DOWN ACCESS TO ATTIC (TYP.)

8' 0"

ITDH 3676 ITDHT 3616T

817 4' 6"

3' 0"

HALL 92.5F!

VICTORIA'S BEDROOM 219.5F!

10' 5"

3' 0"

12' 4"

3' 6"

GENERAL CONTRACTOR TO VERIFY ALL BEAM AND JOISTS SIZES, PROVIDE BEAM CALCULATIONS TO BUILDING INSPECTOR AND INSTALL ALL BEAMS AND FLOOR JOISTS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODES

W ITDH 3648

PROJECT CONTEMPORARY SINGLE FAMILY HOME

2' 6"

3' 0"

3' 6"

ONS

3' 0"

ITDH 3676 ITDHT 3616T

5' 0"

RIFY LOOR

3' 0"

2' 6"

DESCRIPTION FIRST FLOOR PLAN

5' 6"

FOYER 180 F!

E0044

3' 0"

SMOKE DETECTOR

3' 0"

62' 0"

ITDH 3676 ITDHT 3616T

14' 3"

8' 0"

ITDH 3676 ITDHT 3616T

20' 6"

12' 6"

NOTE: LAND LEVEL SPLIT 4F HEIGHT ROSE BUSHES OR DWARF AUSTRIAN PINES REQUIRED IN ADDITION TO LANDSCAPING

3' 0"

2 X 6 WALLS, 12" DEPTH LVL ALL HEADERS, 12" TJI FLOOR JOISTS, 12" DEPTH DOUBLED LVL BEAMS, 1/2" STRUCTURAL PLYWOOD UNDERFLOOR

PAVERS 140 F!

W ITDH 3648

ITDH 3648

38' 6"

NOTE: FRAMING DESIGN CALLS FOR NOMINAL:

26' 9"

TOTAL OF (5)

18' 6"

2' 6"

VENT

3' 2"

DINNING 182 F!

E0044

GENERAL NOTES

2' 6"

3' 0"

KITCHEN 300 F!

35 1/2"W X 79 1/2"H

W ITDH 3648

RE-ISSUE 08.09.08

3' 6"

3' 0" 9' 6"

BATH 40 F! 11' 0"

D E0044

36"W X 80"H

35' 6"

3' 0"

5' 0"

10' 5"

E0044

18' 0"

3' 6"

11' 6"

7' 0"

4' 10"

OFFICE 100 F! 7' 6"

ITDH 3676 ITDHT 3616T

3' 6"

NOTE: M08 VSE VELUX SKYLIGHT TOTAL OF (2)

3' 10"

SMOKE DETECTOR & CO2 DETECTOR

3' 0"

OF (2)

IOFD 6065 XXL

7' 0"

20' 6"

W ITDH 3648

E0044

TOTAL OF (1)

GREAT ROOM 295 F!

MULTI-ROOM 130 F!

ITDH 3676 ITDHT 3616T

89 1/2"

UNG

CLOSET DOOR HALLWAY

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

7' 5"

CLIENT MR. MS. LEONE 25 CLEVELAND AVE. EVERETT, MA, 02149 PHONE: 617 3122740

6' 6"

65 1/2"W X 79 1/2"H

ISSUE 08.08.08

6' 6"

W ITDH 3648

ITDH 3648

PROJECT NO. 245.170

4' 6"

W ITDH 3648

4' 0"

DRAWN BY ANDRE VASCONCELOS

IOFD 6065 XXL

6' 0"

3' 8"

W ITDH 3648

3' 0"

14' 0"

SIZE

TOTAL OF (5)

66"W X 80"H

19' 6"

1/2"H

OF (2)

CLOSET DOOR

3' 0"

8' 0"

11' 6"

3' 0"

31 1/2"W X 79 1/2"H

15' 0"

ITDH 3676 ITDHT 3616T

3' 0"

4' 6"

11' 6"

OF (2)

3' 0"

1/2"H

3' 0"

ITDH 3676 ITDHT 3616T

3' 0"

32"W X 80"H

14' 11"

5' 6"

4' 0"

3' 0"

GAS VENTLESS FIREPLACE

34' 0"

3' 6"

W MARVIN ULTREX 45 DEGREE DOUBLE HUNG BAYS

15' 6"

W ITDH 3676 ITDHT 3616T

22' 0"

W ITDH 3676 ITDHT 3616T

3' 6"

ITDH 3676 ITDHT 3616T

11' 11"

ITDH 3676 ITDHT 3616T

DECK 475 F!

3' 0"

ITDH 3676 ITDHT 3616T

3' 0"

NOTE: ALL EXTERIOR DOORS MEET OR EXCEED ENERGY STAR COMPLIANCE

1/2"H

OF (2)

6' 0"

8' 0"

F (22)

UNIT SIZE

15' 3"

3' 0"

12' 0"

3' 0"

28' 4"

5' 5"

SIZE

12' 0"

27' 3"

3' 0"

32' 6"

3' 0"

ORS

DOOR SCHEDULE

GARAGE ROOFTOP

67' 9"

PROPOSED FIRST FLOOR PLAN

PROPOSED SECOND FLOOR PLAN P.57

SUPERVISOR | DIGIORGIO + BRACCIOTI

2010 - 2011

INDEPENDENT PRACTICE

STONEHAM HOUSE PROJECT

PRECEDENTS AESTHETICS

The client intention was to relate to the immediate neighborhood as much as possible - they requested a modern house with a Colonial Style appearance to fit-in in this existing setting.

PRECEDENTS - END OF THE CUL-DE-SAC

SKETCH - INITIAL FRONT FACADE

PRECEDENTS - ACROSS OF THE STREET

PRECEDENTS - FIRST HOUSE OF THE STREET

SKETCH - POSTERIOR FRONT FACADE P.58

SUPERVISOR | DIGIORGIO + BRACCIOTI

2010 - 2011

INDEPENDENT PRACTICE

STONEHAM HOUSE PROJECT

ELEVATION DESIGN PROCESS - ONE TO ONE PROCESS BETWEEN DESIGNER AND CLIENT OPENED AN OPPORTUNITY TO SOME ATYPICAL COLONIAL APPEARANCE.

TRIAL II

TRIAL I

THE INTENTION WAS TO FUNCTIONALITY TO THE ATTIC

THE INTENTION WAS TO PROVIDE A MORE RECTANGULAR DESIGN - TO REDUCE CONSTRUCTION COST AND TO relate to CLIENT’S interest FOR a COLONIAL APPEARANCE HOME

P.59

PROVIDE

SUPERVISOR | DIGIORGIO + BRACCIOTI

2010 - 2011

INDEPENDENT PRACTICE

STONEHAM HOUSE PROJECT

ELEVATION DESIGN PROCESS - ONE TO ONE PROCESS BETWEEN DESIGNER AND CLIENT OPENED AN OPPORTUNITY TO SOME ATYPICAL COLONIAL APPEARANCE.

roofing design option#3 [protruded bedrooms]

roofing design [protruded b

perspective 1

south south

perspective 2

south

TRIAL III

THE INTENTION WAS TO PROVIDE A MORE CONTEMPORARY DESIGN INFLUENCE

TRIAL IV Monday, December 13, 2010

P.60

north north

THE INTENTION WAS TO PROVIDE FUNCTIONALITY TO THE ATTIC AND STILL KEEP A CONTEMPORARY INFLUENCE

SUPERVISOR | DIGIORGIO + BRACCIOTI

2010 - 2011

INDEPENDENT PRACTICE

STONEHAM HOUSE PROJECT

ELEVATION DESIGN PROCESS - ONE TO ONE PROCESS BETWEEN DESIGNER AND CLIENT OPENED UP AN OPPORTUNITY TO SOME ATYPICAL COLONIAL APPEARANCE.

roofing design option#4 [protruded bedrooms]

TRIAL V

THE INTENTION WAS TO SATISFY THE CLIENT’S DESIRE OF A FUNCTIONAL ATTIC south AND A MORE TRADITIONAL AESTHETICS Monday, December 13, 2010

roofing design option#5 [protruded bedrooms]

TRIAL VI

THE INTENTION south WAS TO IMPROVE TRIAL DESIGN NUMBER 5 Monday, December 13, 2010

cember 13, 2010

P.61

TRIAL VII

THE INTENTION WAS TO IMPROVE TRIAL south DESIGN NUMBER 6

roofin [prot

SUPERVISOR | DIGIORGIO + BRACCIOTI

2010 - 2011

INDEPENDENT PRACTICE

FINAL ELEVATION - TO BUILD A BASILICA ROOF-LINE THAT TRANSCENDS SOME MOTION TO THE OTHER VOLUMES AS IF THEY WERE EXTRUDING OUTWARDS ON THEIR OWN.

P.62

STONEHAM HOUSE PROJECT

+/- 175'-0" A.S.L. BASEMENT FLOOR ELEVATION

A5 SOUTH ELEVATION

1 A9 1 A9

Scale: 1/4" : 1' - 0'

STONE CLADDING STONE CLADDING APPROX. 600 SQ. F. STONE CLADDINGAPPROX. 600 SQ. F. APPROX. 600 SQ. F.

NOTE: NOTE: COMPOSITE DECKING COMPOSITE DECKING

1 A9 A9

817 817

BAY BAY

3676 3676 3676 3676 817 817

6065XXL 6065XXL 817

BAY

NOTE: CEMENT PAVERS

W W

3242 3242

6065XXL 6065XXL

3242 3242 3242

JAMES HARDIE JAMES HARDIE CEMENT BOARD CEMENT BOARD SIDING SIDING

JAMES HARDIE CEMENT BOARD SIDING

JAMES HARDIE JAMES HARDIE CEMENT BOARD CEMENT BOARD SIDING SIDING

WATER RUNOFF WATER RUNOFF

NOTE: NOTE: LIMESTONE PORTICO LIMESTONE PORTICO NOTE:

AZTEK BOARDS AZTEK BOARDS ALL CORNERS ALL CORNERS & JOINTS & JOINTS

AZTEK BOARDS ALL CORNERS & JOINTS 3648 3648

3648 3648

AZTEK BOARDS AZTEK BOARDS ALL CORNERS ALL CORNERS & JOINTS & JOINTS

3648 3648

3648 3648 3648

3648

3648 3648

3676 3676 3676 3676

61B 3676 3676 3676 367661B 3676

6065XXL 6065XXL

3676

6065XXL 6065XXL

3676

ELEVATIONS AND ROOF PLAN

SEPT. 3:30 PM

WA 5 A5

W A5

Scale: 1/4" : 1' - 0'

N NA5 A5

GENERALNOTES NOTES GENERAL GENERAL NOTES GENERAL CONTRACTOR TO

WATER RUNOFF

SEPT. 2:30 PM SEPT. 2:30 PM SEPT. 2:30 PM

ROOF PLAN

A ROOF PLAN PLAN A 5 ROOF Scale: 1/4" : 1' - 0' 5 Scale: 1/4" : 1' - 0'

Scale: 1/4" : 1' - 0'

3676 3676

61B 61B

3676 3676

3676 3676 3676

61B

3676

3676 3676

3676

6065XXL 6065XXL

SEPT. 3:30 PM SEPT. 3:30 PM

A WEST ELEVATION ELEVATION A5 WEST Scale: 1/4" : 1' - 0' 5 Scale: 1/4" : 1' - 0'

NORTH ELEVATION

A NORTH ELEVATION ELEVATION A 5 NORTH Scale: 1/4" : 1' - 0' 5 Scale: 1/4" : 1' - 0' N

6065XXL

SEPT. 3:30 PM SEPT. 3:30 PM W W A5

61B 61B 61B

6065XXL 6065XXL 6065XXL

61B 3676 3676 61B 3676 3676

SEPT. 6:30 PM

A 5 3676 3676 3676 3676

N N

A5 A5

A ROOF PLAN PLAN A5 ROOF Scale: 1/4" : 1' - 0' 5 Scale: 1/4" : 1' - 0'

3648

A 5

WEST ELEVATION Scale: 1/4" : 1' - 0'

A WEST ELEVATION ELEVATION A 5 WEST Scale: 1/4" : 1' - 0' 5 Scale: 1/4" : 1' - 0'

NOTE: NOTE: NOTE: NOTE: SEWER CONNECTION SEWER CONNECTION SEWER CONNECTION SEWER CONNECTION EVERY 1' : 1 5/8" PITCH; ASSUMING EVERY 1' : 1 5/8" PITCH; ASSUMING NOTE: EVERY 1' : 1 5/8" PITCH; ASSUMING EVERY 1' : 1 5/8" PITCH; ASSUMING INVERSE AS 30F AWAY FROM HOUSE INVERSE AS 30F AWAY FROM HOUSE SEWER CONNECTION INVERSE AS 30F AWAY FROM HOUSE INVERSE AS 30F AWAY FROM HOUSE EVERY 1' : 1 5/8" PITCH; ASSUMING INVERSE AS 30F AWAY FROM HOUSE

P.63

+/- 3' +/- 3' +/- 0' +/- 0' +/- -2' +/- -2'

+/- -2'

SEPT. 2:30 PM SEPT. 2:30 PM

3648 3648

+/- 5' +/- 5'

+/- 0'

WATER RUNOFF WATER RUNOFF

S SA5

PERMEABLE PAVEMENT

3648 3648 3648

WATER RUNOFF WATER RUNOFF

S NOTE: NOTE:AA5 5 PERMEABLE PAVEMENT PERMEABLE PAVEMENT NOTE:

+/- 8' +/- 8'

GENERAL CONTRACTOR TO GENERAL CONTRACTOR TO GENERAL CONTRACTOR TO VERIFY ALL DIMENSIONS ON VERIFY ALL DIMENSIONS ON VERIFY ALL DIMENSIONS ON VERIFY ALL DIMENSIONS ON SITE AND SHALL NOT RELY ON CONTRACTOR GENERAL SITE TO AND SHALL NOT RELY ON SITE AND SHALL NOT RELY ON SITE AND SHALL NOT RELY ON DRAWINGS, CONTRACTOR VERIFY ALL DIMENSIONS ON DRAWINGS, CONTRACTOR DRAWINGS, CONTRACTOR DRAWINGS, CONTRACTOR SHALL INSTALL ALL SITE AND SHALL NOT RELY ON SHALL INSTALL ALL SHALL INSTALL ALL SHALL INSTALL ALL MATERIALS ACCORDING TO CONTRACTOR MATERIALS ACCORDING TO MATERIALS ACCORDINGDRAWINGS, TO MATERIALS ACCORDING TO MANUFACTURERS SHALL INSTALL ALL MANUFACTURERS MANUFACTURERS MANUFACTURERS SPECIFICATIONS AND ALL MATERIALS ACCORDING TO SPECIFICATIONS AND ALL SPECIFICATIONS AND ALL SPECIFICATIONS AND ALL APPLICABLE MASSACHUSETTS 2MANUFACTURERS APPLICABLE MASSACHUSETTS APPLICABLE MASSACHUSETTS 2 MASSACHUSETTS BUILDING CODES, SPECIFICATIONS APPLICABLE AND ALL A9 BUILDING CODES, BUILDING CODES, A9 BUILDING CODES, 2 SUB CONTRACTORS SHALL APPLICABLE MASSACHUSETTS SUB CONTRACTORS SHALL SUB CONTRACTORS SHALL SUB CONTRACTORS SHALL NOTA9PERFORM WORK IN CASE BUILDING CODES, E NOT PERFORM WORK IN CASE NOT PERFORM WORK IN CASE NOT PERFORM WORK IN CASE A5 OF ANY UNCERTAINTY. SUBAE5CONTRACTORS SHALL OF ANY UNCERTAINTY. OF ANY UNCERTAINTY. OF ANY UNCERTAINTY. GENERALECONTRACTORNOT MUST PERFORM WORK IN CASE GENERAL CONTRACTOR MUST GENERAL ACONTRACTOR MUST 5 GENERAL CONTRACTOR MUST NOTIFY ARCHITECT AND OF ANY UNCERTAINTY. NOTIFY ARCHITECT AND NOTIFY ARCHITECT AND NOTIFY ARCHITECT AND ONWER IN WRITING - IN GENERAL CONTRACTOR MUST ONWER IN WRITING - IN ONWER IN WRITING - IN ONWER IN WRITING - IN STEPHENSON CASE OF DISCREPANCIES, NOTIFY ARCHITECT AND STEPHENSON CASE OF DISCREPANCIES, STEPHENSON CASE OF DISCREPANCIES, STEPHENSON CASE OF DISCREPANCIES, STANDARD 4 SIDED ALL WORKMEN SHALL BE ONWER IN WRITING IN STANDARD 4 SIDED ALL WORKMEN SHALL BE STANDARD 4 SIDED ALL WORKMEN SHALL BE STANDARD 4 SIDED ALL WORKMEN BE CUPOLA MODEL SHALL RESPONSIBLE FOR THEIR STEPHENSON CASE OF DISCREPANCIES, CUPOLA MODEL RESPONSIBLE FOR THEIR CUPOLA MODEL FOR THEIR RESPONSIBLE FOR THEIR CUPOLA MODEL RESPONSIBLE 48-C (BROSCO P.B331) WORK. STANDARD 4 SIDED ALL WORKMEN SHALL BE 48-C (BROSCO P.B331) WORK. 48-C (BROSCO P.B331) WORK. 48-C (BROSCO P.B331) WORK. CUPOLA MODEL RESPONSIBLE FOR THEIR 48-C (BROSCO P.B331) WORK.

WATER RUNOFF WATER RUNOFF

LIMESTONE PORTICO NOTE: NOTE: PERMEABLE PAVEMENT PERMEABLE PAVEMENT

+/- 3'

ISSUE ISSUE 08.08.08 08.08.08

NOTE: NOTE: LIMESTONE PORTICO LIMESTONE PORTICO

+/- 8'

SEPT. 6:30 PM SEPT. 6:30 PM

A 5

E E

NOTE: NOTE: FABRAL 1-1/2" SSR FABRAL 1-1/2" SSR NOTE: 24 GAUGE STEEL GAUGE STEEL FABRAL 1-1/2" SSR 24METAL ROOFING METAL ROOFING 24 GAUGE STEEL METAL ROOFING

+/- 9' +/- 5' +/- 5'

6065XXL

WATER RUNOFF

TOTAL OF (2)

+/- 9' +/- 9'

+/- 8' +/- 8'

+/- 18'

+/- 3' +/- 3'

A NORTH ELEVATION ELEVATION A5 NORTH Scale: 1/4" : 1' - 0' 5 Scale: 1/4" : 1' - 0'

N NA5

+/- 18' +/- 18'

3676 3676

6065XXL 6065XXL

SEPT. 6:30 PM SEPT. 6:30 PM

A5 A5

NOTE: NOTE: FABRAL 1-1/2" SSR FABRAL 1-1/2" SSR 24 GAUGE STEEL 24 GAUGE STEEL METAL ROOFING METAL ROOFING

3676 3676 3676 3676

+/- 0' +/- 0' +/- -2' +/- -2'

W WA 5 A5

3676

3676 3676 3676 3676

+/- 5'

NOTE: NOTE: CEMENT PAVERS CEMENT PAVERS

INSULATED CLOPAY INSULATED CLOPAY TRADITIONAL SERIES TRADITIONAL SERIES INSULATED CLOPAY GARAGE DOORS GARAGE DOORS TRADITIONAL SERIES TOTAL OF (2) TOTAL OF (2) GARAGE DOORS

3676

GENERALNOTES NOTES GENERAL

INSULATED CLOPAY INSULATED CLOPAY TRADITIONAL SERIES TRADITIONAL SERIES GARAGE DOORS GARAGE DOORS TOTAL OF (2) TOTAL OF (2)

3676 3676

3676 3676 3676 3676

+/- 19'

+/- 9' +/- 9'

2 2 A9 A9

A5 A5

3676 3676 6065XXL 3676 3676 6065XXL

3676 3676 3676 3676 BAY BAY 6065XXL

NOTE: NOTE: COMPOSITE DECKING COMPOSITE DECKING NOTE: COMPOSITE DECKING

NOTE: NOTE: CEMENT PAVERS CEMENT PAVERS

+/- 19' +/- 19'

+/- 18' +/- 18'

+/- 178'-0" A.S.L. +/- 178'-0" A.S.L. STREET LEVEL STREET LEVEL ELEVATION ELEVATION +/- 175'-0" A.S.L. +/- 175'-0" A.S.L. BASEMENT FLOOR BASEMENT FLOOR ELEVATION ELEVATION

+/- 19' +/- 19'

+/- 181'-0" A.S.L. +/- 181'-0" A.S.L. GARAGE FLOOR GARAGE FLOOR ELEVATION ELEVATION

N NA 5

3648 3648

SEPT. 8:30 AM SEPT. 8:30 AM A EAST ELEVATION ELEVATION A5 EAST Scale: 1/4" : 1' - 0' 5 Scale: 1/4" : 1' - 0'

SEPT. 8:30 AM SEPT. 8:30 AM E EA 5

SEPT. 8:30 AM

A 5

EAST ELEVATION Scale: 1/4" : 1' - 0'

A EAST ELEVATION ELEVATION A 5 EAST Scale: 1/4" : 1' - 0' 5 Scale: 1/4" : 1' - 0' E A5

EA5 A5

05 05

A 05

INDEPENDENT PRACTICE INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE BOSTON ARCHITECTURAL COLLEGE

+/- 178'-0" A.S.L. STREET LEVEL ELEVATION

3648 3648

CLIENT CLIENT MR. MS. LEONE MR. MS. LEONE

SA5 S

STONE CLADDING STONE CLADDING APPROX. 600 SQ. F. APPROX. 600 SQ. F.

+/- 178'-0" A.S.L. +/- 178'-0" A.S.L. STREET LEVEL STREET LEVEL ELEVATION ELEVATION +/- 175'-0" A.S.L. +/- 175'-0" A.S.L. BASEMENT FLOOR BASEMENT FLOOR ELEVATION ELEVATION

A SOUTH ELEVATION ELEVATION A 5 SOUTH Scale: 1/4" : 1' - 0' 5 Scale: 1/4" : 1' - 0'

A 5

+/- 181'-0" A.S.L. GARAGE FLOOR ELEVATION

+/- 27'

1836

ISSUE ISSUE 08.08.08 08.08.08

SEPT. 11:30 AM

+/- 181'-0" A.S.L. +/- 181'-0" A.S.L. GARAGE FLOOR GARAGE FLOOR ELEVATION ELEVATION

FIRST FLOOR PLAN ELEVATION

+/- 27' +/- 27'

PROJECT NO. PROJECT NO. 245.170 245.170

3676

SEPT. 11:30 AM SEPT. 11:30 AM

A SOUTH ELEVATION ELEVATION A5 SOUTH Scale: 1/4" : 1' - 0' 5 Scale: 1/4" : 1' - 0'

S SA 5

3676

+/- 28'

DRAWN BY DRAWN BY ANDRE VASCONCELOS ANDRE VASCONCELOS

SEPT. 11:30 AM SEPT. 11:30 AM

3676

+/- 183'-0" A.S.L.

3676 3676

N 3648 3648 3648 3648

RE-ISSUE 08.09.08

3676 3676 3676

3676 3676 3676 3676 3676 3676

+/- 183'-0" A.S.L. +/- 183'-0" A.S.L. FIRST FLOOR PLAN FIRST FLOOR PLAN ELEVATION ELEVATION

3648 3648 3648 3648

PROJECT CRAFTSMAN SINGLE FAMILY DWELLING

THERMA-TRU THERMA-TRU 3676 3676 3676 3676

3676 3676

SECOND FLOOR PLAN ELEVATION

1836 3648 3648 1836 3648 3648

DESCRIPTION ELEVATIONS

3676 3676 3676 3676 3676 3676 3676 3676 3676 3676 3676 3676 THERMA-TRU

+/- 183'-0" A.S.L. +/- 183'-0" A.S.L. FIRST FLOOR PLAN FIRST FLOOR PLAN ELEVATION ELEVATION 3676 3676

+/- 27' +/- 27'

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

3242 3242 3242

+/- 192'-0" A.S.L.

3648 3648 3648 3648

+/- 28' +/- 28'

CLIENT MR. MS. LEONE 25 CLEVELAND AVE. EVERETT, MA, 02149 PHONE: 617 3122740

THERMA-TRU THERMA-TRU

3242 3242 3242 3242 3242 3242

1836 3648 3648 1836 3648 3648

+/-33' 6"

+/- 28' +/- 28'

ISSUE 08.08.08

PICT. PICT.

3242 3242 3242

3676 3676 3676 3676 3676 3676

PICT. PICT. PICT. PICT.

N N

3236 3236 3236

+/- 192'-0" A.S.L. +/- 192'-0" A.S.L. SECOND FLOOR SECOND FLOOR PLAN ELEVATION PLAN ELEVATION

+/-33' 6" +/-33' 6"

PROJECT NO. 245.170

3242 3242 3242 3242 3242 3242 3242 3242 3242 3242 3242 3242

SECOND FLOOR PLATE ELEVATION

+/- 192'-0" A.S.L. +/- 192'-0" A.S.L. SECOND FLOOR SECOND FLOOR PLAN ELEVATION PLAN ELEVATION

3236 3236

DRAWN BY ANDRE VASCONCELOS

PICT. PICT. PICT. PICT.

3242 3242 3242 3242 3242 3242

+/- 200'-0" A.S.L.

+/-33' 6" +/-33' 6"

RE-ISSUE RE-ISSUE 08.09.08 08.09.08

SPECIALTY

ROOF LINE ELEVATION

PROJECT PROJECT CRAFTSMAN CRAFTSMANSINGLE SINGLE FAMILY FAMILYDWELLING DWELLING

SPECIALTY SPECIALTY

DESCRIPTION DESCRIPTION ELEVATIONS ELEVATIONS

SPECIALTY SPECIALTY

+/- 208'-0" A.S.L.

CLIENT CLIENT MR. MR.MS. MS.LEONE LEONE 25 CLEVELAND 25 CLEVELANDAVE. AVE. EVERETT, EVERETT,MA, MA,02149 02149 PHONE: PHONE:617 6173122740 3122740

GUTTERS

+/- 208'-0" A.S.L. +/- 208'-0" A.S.L. ROOF LINE ROOF LINE ELEVATION ELEVATION +/- 200'-0" A.S.L. +/- 200'-0" A.S.L. SECOND FLOOR SECOND FLOOR PLATE ELEVATION PLATE ELEVATION

INDEPENDENT INDEPENDENTPRACTICE PRACTICE BOSTON ARCHITECTURAL BOSTON ARCHITECTURALCOLLEGE COLLEGE UNDER SUPERVISION OF FACULTY UNDER SUPERVISION OF FACULTY

+/- 208'-0" A.S.L. +/- 208'-0" A.S.L. ROOF LINE ROOF LINE ELEVATION ELEVATION +/- 200'-0" A.S.L. +/- 200'-0" A.S.L. SECOND FLOOR SECOND FLOOR PLATE ELEVATION PLATE ELEVATION

GUTTERS GUTTERS

STONEHAM HOUSE PROJECT

PROJECT PROJECTNO. NO. 245.170 245.170

GUTTERS GUTTERS

INDEPENDENT PRACTICE

2010 - 2011

DRAWN DRAWNBY BY ANDRE VASCONCELOS ANDRE VASCONCELOS

SUPERVISOR | DIGIORGIO + BRACCIOTI

A A

SUPERVISOR | DIGIORGIO + BRACCIOTI

INDEPENDENT PRACTICE

2010 - 2011

STONEHAM HOUSE PROJECT

PROJECT DOCUMENTATION PART I PROPOSED INFILTRATION SYSTEM 30' X 7' REFER TO TOPO

DOOR SCHEDULE

SINGLE FAMILY PROJECT - ASSESSORS MAP 7 AS LOT 412A - LOT D (TOTAL PLOT AREA = 32,125 SQ. F.) (TOTAL LIVING AREA = 2623 SQ. F.) FIRST FLOOR PLAN = 1493 SQ. F. | SECOND FLOOR PLAN = 1130 SQ. F.)

67' 9"

MARVIN INTEGRITY DOORS (OUTSWING FRENCH DOOR) ROUGH SIZE

UNIT SIZE

COLUNM BASE FOR DECK ABOVE TOTAL OF (9)

NOTE: ALL EXTERIOR DOORS MEET OR EXCEED ENERGY STAR COMPLIANCE

5" DIA. RECESSED LIGHTING 32' 6"

36" W. STAIRCASE

7' 9"

19' 6"

8' 0"

EXTERIOR LIGHT FIXTURE

28' 3"

3WAY $

OUTLET

5' 11"W X 6' 7 1/2"H

6' W X 6' 8"H

ELECTRICAL LEGEND

THERMOSTAT HEAT/AC

IOFD6065XXL

FRONTAL PERSPECTIVE

TOTAL OF (3)

BATHROOM FAN

SLAB /PAVERS 475 F!

NOTE: WINDOW CENTERED WITH BAY WINDOW ABOVE

MECHANICAL LEGEND

LEDGE LEDGE

ROUGH SIZE

10' 6"

WALL PLATE ATTACHED WITH SIMPSON HURRICANE TIES

UNIT SIZE

BASEMENT 1460 F!

2' 6"

9' 11"

IOFD6065XXL

MARVIN INTEGRITY DOUBLE HUNG (WOOD ULTREX WINDOWS)

SCHIAPPA CR.

12' 3"

8' 0"

11' 11"

SMOKE DETECTOR

IOFD6065XXL

NOTE: ALL WINDOWS MEET OR EXCEED ENERGY STAR COMPLIANCE

PAVERS 140 F! BLOCKING

12' 1"

E0044

8' 3"

7' 0"

6' 0"

WATER MAIN LINE

RECOMENDATION E

BASEMENT PLAN

Scale: 1/8" : 1' - 0'

ATTIC PLAN Scale: 1/8" : 1' - 0'

DESIGNER'S RECOMMENDATION FOR FIXTURES IS A MINIMUM OF 75% OF LIVING AREA TO HAVE L E D ( LIGHT-EMITTING DIODE) LIGHTING TECHNOLOGY TO REDUCE OVERALL ENERGY CONSUMPTION AND HEAT FLUCTUATION $ $ $

TV CABLE

$ $

PERFORMANCE RATING: Complies with ANSI / AAMA / NWWDA 101 / I.S. 2!97, 101 / I.S. 2/NASF!02 and AAMA / WDMA / CSA101 / I.S. 2 / A440!05.

GAS MAIN LINE

6' 3"

REAR PERSPECTIVE

WATER LINE

CLIENT MR. MS. LEONE 25 CLEVELAND AVE. EVERETT, MA, 02149 PHONE: 617 3122740

20F

CARBON MONOXIDE

ITDH3648

18' 6"

10F

SMOKE DETECTOR

IOFD6065XXL

10' 4"

RETAINING WALL

NOTE: PAVED AREA

WALK OUT PATIO

20' 6"

GENERAL CONTRACTOR TO VERIFY INSTALL ALL BEAMS AND FLOOR JOISTS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODES WINDOW SCHEDULE

12' 0"

10" THICK FOUNDATION WALLS, 12" DEPTH TJI FLOOR JOISTS, 12" DEPTH DOUBLED LVL BEAMS, 12" STEEL BEAM ON SPANS OVER 30F (IF NECESSARY)

10F

GAS LINE $

INFILTRATION SYSTEM

3WAY

NOTE: FRAMING DESIGN CALLS FOR NOMINAL:

200AMPS ELECTRICAL PANEL EQUIP.

GENERAL NOTES

BUFFER ZONE

HEAT& COOL. EQUIP.

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

8' 0"

8' 0" 10" THICK CONCRETE (TYP.) FOUNDATION WALL CONTRACTOR SHALL DEFINE CHANGES IF ANY NECESSARY

CLIENT MR. MS. LEONE 25 CLEVELAND AVE. EVERETT, MA, 02149 PHONE: 617 3122740

TOTAL OF (1)

E0044 BASEMENT ACCESS

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

3WAY

FLUORESCENT CLOSET FIXTURES $

N ZONING SETBACKS

12' 0"

35 1/2"W X 79 1/2"H

36"W X 80"H

BUFFER ZONE

LOT D 32,125 SQ. F.

BUILDING IS 40 DEGREES COUNTER CLOCKWISE FROM SCHIAPPA CR. AXIS

+/- 175'-0" A.S.L. BASEMENT FLOOR ELEVATION

ISSUE 08.08.08

11"

42" RAILING

61b

10' 0"

5' 6"

13' 3"

ITDH 3676

H. DETECTOR 4'

ITDH3648

6' 6 19/32"W X 6' 5 11/16"H W

H. DETECTOR

TOTAL OF (2)

SMOKE DETECTOR

TOTAL OF (2)

CARBON MONOXIDE

TOTAL OF (1)

61b

ITDH 3676

21' 0" 10

SAME

45 DEGREE TOTAL OF (1) DOUBLE HUNG BAYS STONEHAM FIRE DTP.

3' 0"

10' 0"

2' 11 1/2"W X 3' 11 1/4"H TOTAL OF (1)

ITDH 3648

9' 0"

1' 8" 3' 0"

14' 5" DOUBLE HEIGHT FOYER

4' 6"

3' 0"

3' 0" HERS 37.5F!

9' 0"

38' 6"

5' 5"

SMOKE DETECTOR

14' 0"

3' 0"

4' 6"

3' 0"

D E0044

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

2' 6" 5' 6"

6' 0"

5' 8" 5' 6" 3' 6"

3' 0"

ROUGH SIZE

UNIT SIZE

3' 0"

ITDH 3648

3' 0"

13' 0"

5' 6"

1' 9"

PICT.

3' 0"

NOTE: ALL WINDOWS MEET OR EXCEED ENERGY STAR COMPLIANCE PERFORMANCE RATING: Complies with ANSI / AAMA / NWWDA 101 / I.S. 2!97, 101 / I.S. 2/NASF!02 and AAMA / WDMA / CSA101 / I.S. 2 / A440!05.

3' 0 1/2"W X 4' 0 1/4"H

RE-ISSUE 00.00.00 PROJECT SINGLE FAMILY DWELLING

ISSUE 01.01.11

DESCRIPTION ELECTRICAL & MECHANICAL DIAGRAM

DRAWN BY ANDRE VASCONCELOS

GENERAL NOTES

NOTE: FRAMING DESIGN CALLS FOR NOMINAL:

7' 1"

3' 0"

1' 9"

5' 6"

2 X 6 WALLS, 12" DEPTH LVL ALL HEADERS, 12" TJI FLOOR JOISTS, 12" DEPTH DOUBLED LVL BEAMS, 1/2" STRUCTURAL PLYWOOD UNDERFLOOR

48' 11"

A 3

SECOND FLOOR PLAN Scale: 1/4" : 1' - 0'

GUTTER

2' 11 1/2"W X 3' 11 1/4"H

SPRAY FOAM AREA R40

GENERAL CONTRACTOR TO VERIFY AND INSTALL ALL BEAMS AND FLOOR JOISTS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODES WINDOW SCHEDULE

15' 0"

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

10' 0"

11' 5"

3' 0"

5' 6"

3' 0"

22' 0" 3' 0"

MARVIN INTEGRITY DOUBLE HUNG (WOOD ULTREX WINDOWS)

DRIVEWAY '8

3' 0"

ITDH 3676

'0 "

22' 0"

LEDGE AREA A 2

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

DESCRIPTION FIRST FLOOR PLAN

TOTAL OF (16)

DRAWN BY ANDRE VASCONCELOS

3' 0 1/2"W X 4' 0 1/4"H

MASTER BEDROOM 231F!

WINDOW SCHEDULE

ITDHT3616T

5' 0"

MARVIN INTEGRITY DOUBLE HUNG (WOOD ULTREX WINDOWS) ROUGH SIZE

UNIT SIZE

32"W X 42"H

31 1/2"W X 41 1/2"H

ITDH3648

72"W X 42"H W

SMOKE DETECTOR

W SPECIALTY WINDOWS

TOTAL OF (1)

71 1/2"W X 41 1/2"H

SPECIALTY (1 right triangle) (1 left triangle)

TOTAL OF (2) 13' 0"

3' 0"

6' 11"

3' 0"

15' 0"

48' 11"

H V AC

GENERAL NOTES GENERAL CONTRACTOR NOTE: ALL WORK AND MATERIALS SHALL BE PERFORMED AND INSTALLED IN ACCORDANCE WITH THE CURRENT EDITIONS OF THE FOLLOWING CODES AS ADOPTED BY THE LOCAL GOVERNING AUTHORITIES. NOTE: ALL OPENINGS MUST BE CHECKED PRE-ORDERING WINDOWS AND DOORS, BE RESPONSIBLE FOR THE SAME.

A 02

ITDH3648

3' 0 1/2"W X 6' 5 11/16"H W

PICTURE FOYER WINDOW

1' 10 1/2"W X 3' 0 1/4"H W

ITDH2236 MASTER BATH

TOTAL OF (16) SAME TOTAL OF (2)

GARAGE ROOFTOP

1' 9 1/2"W X 2' 11 3/4"H TOTAL OF (1)

STONEHAM FIRE DTP. H. DETECTOR

TOTAL OF (1)

SMOKE DETECTOR

TOTAL OF (3)

CARBON MONOXIDE

TOTAL OF (1)

67' 9"

P.64

DESCRIPTION SECOND FLOOR PLAN

3' 0"W X 1' 4"H

5' 6"

DRAWN BY ANDRE VASCONCELOS

11' 6"

3' 0"

NOTE: TRANSOMS COMBINATION

26' 0"

TWO CAR GARAGE 545 F!

TOTAL OF (22)

PROJECT CONTEMPORARY SINGLE FAMILY HOME

ITDH 3676

PROJECT NO. 245.170

10' 0"

LAWN AREA

35' 6"

NOTE: 36" FIRE PROOF STEEL DOOR REQUIRED

VENT

ATTIC 590 F!

NOTE: ALL WINDOWS MUST LINE-UP

H. DETECTOR 3' 0"

17' 9"

3' 3"

E0044

NOTE: PULL-DOWN ACCESS TO ATTIC (TYP.)

NOTE: STEPHENSON STANDARD 4 SIDED CUPOLA 48-C 28"X 28"X 42" (TYP.)

PROJECT CONTEMPORARY SINGLE FAMILY HOME

3' 0"

2' 0"

3' 0"

THERMA-TRU FIBER CLASSIC MAHOGANY

RE-ISSUE 08.09.08

STORAGE

3' 6"

7' 6"

LAUNDRY 60 F!

CO2

NOTE: M08 VSE VELUX SKYLIGHT TOTAL OF (2)

KITCHEN ROOFTOP

RE-ISSUE 08.09.08

8' 0"

MUDROOM + STR. 107 F!

D 817

MASTER BATHROOM 78F! 8' 0"

2' 7"

5' 2"

CLIENT MR. MS. LEONE 25 CLEVELAND AVE. EVERETT, MA, 02149 PHONE: 617 3122740

4' 6"

ITDH 3648

7' 1"

1' 10"

ISSUE 08.08.08

W ITDH 3676 ITDHT 3616T

HIS 15F!

9' 0"

ITDH 3648

PROJECT NO. 245.170

W ITDH 3676 ITDHT 3616T

817

3' 0"

GUTTER

14' 5"

3' 6"

17' 6"

SMOKE DETECTOR

2 X 6 WALLS, 12" DEPTH LVL ALL HEADERS, 12" TJI FLOOR JOISTS, 12" DEPTH DOUBLED LVL BEAMS, 1/2" STRUCTURAL PLYWOOD UNDERFLOOR

W ITDH22 36

HIS 45F!

GIOVANNI'S BEDROOM 203.5F!

15' 0"

8' 0"

3' 0"

ITDH 3648

21' 0"

9' 0"

2' 6"

3' 0"

ITDH 3648

13' 0"

SHARED BATHROOM 84.5F!

HERS 15F!

17' 6"

ROOF OVERHANG PERIMETR

7' 6"

HALL 92.5F!

VICTORIA'S BEDROOM 219.5F!

N N/A

12' 4"

3' 6"

5' 0"

UNIT SIZE 2' 11 1/2"W X 6' 3 3/4"H

2' 6"

UNIT SIZE

NOTE: PULL-DOWN ACCESS TO ATTIC (TYP.)

3' 0"

15' 6"

W ITDH 3676 ITDHT 3616T

2' 6"

62' 0"

3' 0"

E0044

8' 0"

3' 0"

6' 0"

MARVIN INTEGRITY DOUBLE HUNG (WOOD ULTREX WINDOWS)

14' 3"

FOYER 180 F!

2' 6"

W ITDH 3676 ITDHT 3616T

5' 6"

12' 6"

ITDH 3676 ITDHT 3616T

20' 6"

NOTE: LAND LEVEL SPLIT 4F HEIGHT ROSE BUSHES OR DWARF AUSTRIAN PINES REQUIRED IN ADDITION TO LANDSCAPING

SMOKE DETECTOR

11' 6"

GENERAL NOTES

CLIENT MR. MS. LEONE 25 CLEVELAND AVE. EVERETT, MA, 02149 PHONE: 617 3122740

26' 9"

3' 0"

18' 6" PAVERS 140 F!

3' 0"

11' 11"

DINNING 182 F!

TOTAL OF (5)

NOTE: FRAMING DESIGN CALLS FOR NOMINAL:

3' 0"

3' 10"

KITCHEN 300 F!

35 1/2"W X 79 1/2"H

E0044

3' 0"

E0044

TOTAL OF (1)

2' 6"

3' 0"

2' 6"

9' 6"

BATH 40 F!

VENT

W ITDH 3648

5' 5"

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

4' 10"

65 1/2"W X 79 1/2"H

36"W X 80"H

W ITDH 3648

4' 0"

CLOSET DOOR HALLWAY

W ITDH 3648

11' 6"

8' 0"

D E0044

11' 0"

3' 0"

5' 0"

10' 5"

3' 6"

E0044

NOTE: M08 VSE VELUX SKYLIGHT TOTAL OF (2)

3' 6"

3' 0"

3' 6"

3' 2"

11' 6"

NOTE: ALL WINDOWS MUST LINE-UP

3' 0 1/2"W X 1' 4 1/4"H

IOFD 6065 XXL

OFFICE 100 F!

WINDOW SCHEDULE

ITDH3676

7' 5"

7' 0"

3' 0"

GENERAL CONTRACTOR TO VERIFY AND INSTALL ALL BEAMS AND FLOOR JOISTS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODES

6' 6"

GREAT ROOM 295 F!

SMOKE DETECTOR & CO2 DETECTOR

3' 0"

2 X 6 WALLS, 12" DEPTH LVL ALL HEADERS, 12" TJI FLOOR JOISTS, 12" DEPTH DOUBLED LVL BEAMS, 1/2" STRUCTURAL PLYWOOD UNDERFLOOR

3' 0 1/2"W X 6' 4 1/2"H

6' 6"

15' 0"

NOTE: FRAMING DESIGN CALLS FOR NOMINAL:

ROUGH SIZE

4' 6"

W ITDH 3648

ITDH 3648

24' 6"

IOFD 6065 XXL

7' 6"

ITDH 3676 ITDHT 3616T

GENERAL NOTES

TOTAL OF (5)

W ITDH 3648

10' 5"

3' 0"

6' 0"

3' 8"

MULTI-ROOM 130 F!

ITDH 3676 ITDHT 3616T

TOTAL OF (2)

CLOSET DOOR

66"W X 80"H

19' 6"

UNIT SIZE 9' 11 1/2" X 89 1/2"

31 1/2"W X 79 1/2"H

3' 0"

4' 6" 11' 6"

3' 0"

32"W X 80"H

3' 0"

14' 0"

3' 0"

GAS VENTLESS FIREPLACE

14' 11"

ITDH 3648

3' 0"

MARVIN ULTREX 45 DEGREE DOUBLE HUNG BAYS

3' 0"

ITDH 3676 ITDHT 3616T

34' 0"

3' 0"

ITDH 3676 ITDHT 3616T

NOTE: ALL EXTERIOR DOORS MEET OR EXCEED ENERGY STAR COMPLIANCE

3' 0"

ITDH 3676 ITDHT 3616T

ROUGH SIZE

12' 0"

6' 0"

18' 0"

TOTAL OF (2)

61b CLOPAY GARAGE DOOR

3' 0"

35 1/2"W X 79 1/2"H

ROUGH SIZE 10'W X 8'H

ITDH 3676 ITDHT 3616T

3' 0"

11' 6"

TOTAL OF (2)

3' 0"

35 1/2"W X 79 1/2"H

817 fiberglass ext.

ITDH 3676 ITDHT 3616T

3' 0"

36"W X 80"H

8' 0"

3' 0"

E0044 interior door

ITDH 3676 ITDHT 3616T

DECK 475 F!

7' 0"

TOTAL OF (2)

3' 0"

36"W X 80"H

ITDH 3676 ITDHT 3616T

UNIT SIZE

5' 11"W X 6' 7 1/2"H

IOFD 6065XXL

4' 0"

6' W X 6' 8"H

TOTAL OF (22)

15' 3"

3' 6"

IIFD30 65XR

20' 6"

12' 0"

JELDWEN PRE-HUNG DOORS (SOLID WOOD DOORS) unless specified otherwise

RE-ISSUE 08.09.08

ROUGH SIZE 28' 4"

PROJECT CONTEMPORARY SINGLE FAMILY HOME

UNIT SIZE 2' 11 1/2"W X 6' 7 1/2"H

3' 0"W X 6' 8"H

Scale: 1/8" : 1' - 0'

DOOR SCHEDULE

JELDWEN PRE-HUNG DOORS (SOLID WOOD DOORS) unless specified otherwise

27' 3"

38' 6"

ROUGH SIZE

DOOR SCHEDULE

32' 6"

SECOND FLOOR PLAN

DESCRIPTION ATTIC LAYOUT

59' 9"

DOOR SCHEDULE

FIRST FLOOR PLAN Scale: 1/8" : 1' - 0'

22' 0"

45' 7"

MARVIN INTEGRITY FRENCH DOORS (WOOD ULTREX DOOR)

E E

CLIENT MR. MS. LEONE 25 CLEVELAND AVE. EVERETT, MA, 02149 PHONE: 617 3122740

TITLE

ISSUE 08.08.08

DESCRIPTION TITLE SHEET - GENERAL CONTRACTOR NOTES SATELLITE IMAGE OVERLAY & PERSPECTIVES

PROJECT NO. 245.170

DRAWN BY AV

DRAWN BY ANDRE VASCONCELOS

ISSUE 10.15.10

21' 0"

PROJECT NO. 245.170

4' 0"

PROJECT SINGLE FAMILY DWELLING

PROJECT NO. 245.170

3' 6"

40째

E12 - ELECTRICAL PLANS

CLIENT MR. MS. LEONE 25 CLEVELAND AVE. EVERETT, MA, 02149. PHONE: 617 3122740

38' 6"

A11 - SECTIONS, DETAIL

GENERAL CONTRACTOR TO VERIFY ON SITE AND INSTALL ALL MECHANICAL & ELECTRICAL EQUIP. ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODES ADOPTED BY THE LOCAL AUTHORITIES. GENERAL AND SUB CONTRACTORS TO PERFORM THE WORK AND BE RESPONSIBLE FOR THE SAME.

10' 0"

A5 - ELEVATIONS

+/- 178'-0" A.S.L. STREET LEVEL ELEVATION

TITLE SHEET

21' 0"

A10 - FRAMING PLAN

GENERAL NOTES

4' 0"

A9 - FRAMING PLAN CONT.

A4 - ATTIC PLAN

NOTE: FROST LINE INSULATION 18" AWAY FROM SLAB MINIMUM REQUIRED

Scale: 1/4" : 1' - 0'

3' 6"

A8 - FRAMING PLAN CONT.

A3 - SECOND FLOOR PLAN

BASEMENT FLOOR PLAN

A 1

24' 0"

A2 - FIRST FLOOR PLAN

+/- 181'-0" A.S.L. GARAGE FLOOR ELEVATION

10' 11"

_________

A7 - FRAMING PLAN CONT.

GARAGE SLAB 545 F!

3' 6"

OTHER

A1 - BASEMENT PLAN

13' 3"

38' 6"

DATA

ELECTRICAL

A6 - FRAMING PLAN

PROJECT CONTEMPORARY SINGLE FAMILY HOME

MECHANICAL

TS - TITLE PAGE

DESCRIPTION BASEMENT FLOOR PLAN

PLUMBING

PROJECT NO. 245.170

STRUCTURAL

5' 6"

+/- 183'-0" A.S.L. FIRST FLOOR PLAN ELEVATION

ESTIMATED NEARLY 60% REDUCTION OF HEATING ENERGY COMSUPTION AND 75% REDUCTION OF COOLING USAGE WHEN COMPARED TO CONVENTIONAL NATURAL GAS SYSTEMS

DRAWN BY ANDRE VASCONCELOS

SHEET DESCRIPTION

10' 0"

5' 6"

26' 6"

COORDINATION

11' 6"

(TYP.) LOLLY COLUMN 3.5" DIA. BOTTOM PLATE BOLTED TO SLAB & TOP PLATE BOLTED TO LVL BEAM ABOVE

Scale: 1" = 20' - 0'

95% EFFICIENCY ECONAR GEOTHERMAL A/C AND HEATING SYSTEM - PREPARED BY EAST COAST GEOTHERMAL,LLC 464 HIGH STREET, CLINTON, MA 01510. CONTACT INFO. 888-GEOENGY

WASHER & DRIER

ALL WORK AND MATERIALS SHALL BE PERFORMED AND INSTALLED IN ACCORDANCE WITH THE CURRENT EDITIONS OF THE FOLLOWING CODES AS ADOPTED BY THE LOCAL GOVERNING AUTHORITIES.

CONTRACTOR SHALL VERIFY ALL PLANS AND EXISTING DIMENSIONS AND CONDITIONS ON THE JOB SITE AND SHALL IMMEDIATELY NOTIFY THE ARCHITECT IN WRITING ON ANY DISCREPANCIES BEFORE PROCEEDING WITH THE WORK, SHALL BE RESPONSIBLE FOR SAME.

CODE COMPLIANCE

Scale: N/A

GEN. CONTRACTOR NOTES DO NOT SCALE DRAWINGS

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

LOCUS - SATELLITE IMAGE

RE-ISSUE 08.09.08

ISSUE 08.08.08

8' 9"

9' 10"

18"

RENDERINGS

STEEL I-JOIST OR TRIPLE LVL'S CONTRACTOR TO VERIFY SIZING MINIMUM DEPTH REQUIRED 11 3/4"

HVAC

TOTAL OF (1)

CARBON MONOXIDE

$$ $

TOTAL OF (3)

DISH WASHER

$ $

TOTAL OF (2)

SMOKE DETECTOR

$ $

H. DETECTOR

6' 0"

TOTAL OF (1)

STONEHAM FIRE DTP.

HEAT/AC THERMOSTAT

ITDH3648

TJI- I JOISTS CONTRACTOR TO VERIFY SIZING MINIMUM DEPTH REQUIRED 11 3/4"

2' 11 1/2"W X 3' 11 1/4"H

12' 6"

3' 1/2"W X 4' 1/4"H

STONEHAM FIRE DTP. H. DETECTOR

TOTAL OF (0)

SMOKE DETECTOR

TOTAL OF (1)

CARBON MONOXIDE

TOTAL OF (0)

A 4

ATTIC LAYOUT Scale: 1/4" : 1' - 0'

SUPERVISOR | DIGIORGIO + BRACCIOTI

INDEPENDENT PRACTICE

2010 - 2011

STONEHAM HOUSE PROJECT

PROJECT DOCUMENTATION PART II GENERAL NOTES

FLASHING COVERED BY SLATE SHINGLE

NON-OPERABLE WINDOW

NOTE: CUPOLA MAY BE ADDED AFTER PROJECT'S COMPLETION

NOTE: FRAMING DESIGN CALLS FOR NOMINAL:

2 X 12 RAFTERS BIRDS BEAK LAP CONNECTION

2 X 6 WALL STUD @16 OC 1/2" STRUCTURAL PLYWOOD UNDERFLOOR/SHEATHING 12" DEPTH LVL ALL HEADERS, 12" TJI FLOOR CEILING JOISTS, 12" DEPTH DOUBLED LVL BEAMS, 12" DEPTH RIM JOIST LVL BEAMS, 12" LUMBER ROOF GABLE DESIGN W/ LVL COMBINATION AROUND PERIMETER OF STRUCTURE 12" DEPTH STEEL (IF ANY NECESSARY)

2 X 12 RAFTERS 16" OC 6 X 6 OPENING WITH 2 X12 LVL COLAR TIES 2 X 12 RAFTERS 16" OC

KNEE WALL 2X6

LOW BEARING WALL

PLUMB CUT SIMPSON U-HANGER TIES WITH DOUBLE SHEAR NAILING

2 X 12 RAFTERS 16" OC

ALL HEADERS 2 X 12 LVL'S

ALL VERTICAL MEMBERS 2 X 6 INCLUDING WALL PLATES, KING JACKS CRIPLE JACKS

ALL RIM JOIST 2 X 12 LVL'S

7' 10"

CUPOLA MINI VALEY SECURED BY COLLAR BRACING

A 8

FRAMING ISO 2ND FLOOR CEILING & ROOF

A 8

FRAMING ISO SECOND FLOOR

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

5' 11"

LOW BEARING WALL

5' 4"

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

LOOKOUT 18"

Scale: 1/4" : 1' - 0'

ROOFTOPS ISOMETRIC DRAWING FRAMING

1' 6"

27' 8"

CLIENT MR. MS. LEONE 25 CLEVELAND AVE. EVERETT, MA, 02149 PHONE: 617 3122740

I-LEVEL TJI CEILING JOISTS

SECOND FLOOR CEILING FRAME

FOUNDATIONS SLAB MINIMUM 12" REQUIRED

ROOF OVERHANG ALL BUILDING

12' 0"

FRAMING PLAN - BASEMENT TO FIRST FLOOR

A 9

Scale: 1/8" : 1' - 0'

8' 0"

FRAMING PLAN - FIRST FLOOR TO CEILING

A 9

Scale: 1/8" : 1' - 0'

5' 0"

8' 1"

7" RISE

CEMENT SLAB 8" MINIMUM DEPTH REQUIRED

RE-ISSUE 08.09.08

7' 8"

INFILTRATION SYSTEM SEE DETAILS ON TOPOGRAPHIC DIAGRAM

PROJECT CRAFTSMAN SINGLE FAMILY DWELLING

13' 3"

RE-ISSUE 08.09.08

12" RUN

ISSUE 08.08.08

4" RISE

PROJECT CRAFTSMAN SINGLE FAMILY DWELLING

GENERAL NOTES

1' 0"

GRADE

1' 4"

BASEMENT SLAB SECTION DETAIL

Scale: 1/4" : 1' - 0'

12" RUN

1' 4"

- 5'-0" A.S.L. BELOW GRADE SLAB LEVEL ELEVATION

Scale: 1 1/2" : 1' - 0'

A 11

FRAMING SECTION DETAIL - WEST ELEVATION Scale: 1/2" : 1' - 0'

1' 4"

8' 0" SLAB

A 11

FRAMING ISO FIRST FLOOR

7" RISE

NOTE: FRAMING DESIGN CALLS FOR NOMINAL: 2 X 6 WALL STUD @16 OC 1/2" STRUCTURAL PLYWOOD UNDERFLOOR/SHEATHING 12" DEPTH LVL ALL HEADERS, 12" TJI FLOOR CEILING JOISTS, 12" DEPTH DOUBLED LVL BEAMS, 12" LUMBER ROOF GABLE DESIGN W/ LVL COMBINATION AROUND PERIMETER OF STRUCTURE 12" DEPTH STEEL (IF ANY NECESSARY)

A 7

FOOTING

CONTINUOS REBAR

12" RUN

NOTE: SHEAR LOAD STABILIZER +/- 35 DEGREES ALL CORNERS

DESCRIPTION FRAME PLANS

0'-0" A.S.L. GRADE LEVEL ELEVATION

DESCRIPTION SECTION DETAILS

REBAR MID SPAN

COMPACTED GRAVEL

3'-0" A.S.L. TOP OF FLOOR ELEVATION

DRAWN BY ANDRE VASCONCELOS

VERTICAL REBAR 48" O.C.

Scale: 1/8" : 1' - 0'

12' 0"

RE-ISSUE 08.09.08 PROJECT CRAFTSMAN SINGLE FAMILY DWELLING

REBAR 3" BELOW TOP

12" CONCRETE SLAB

FRAMING PLAN - SECOND FLOOR

12' 0"

ISSUE 08.08.08 PROJECT NO. 245.170

9' 0"

10"

(TYP.) 4" X 4" X 9' COLUNM GARAGE SLAB SECTION DETAIL

DECK FRAME

CLIENT MR. MS. LEONE 25 CLEVELAND AVE. EVERETT, MA, 02149 PHONE: 617 3122740

A 9

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

NOTE: TRIPLE I-LEVEL LVL, OR (COMPARABLE) 11 3/4" DEPTH CONTRACTOR TO INSPECT LENGTHS ON SITE

26' 8"

NOTE: TRIPLE I-LEVEL LVL, OR (COMPARABLE) 11 3/4" DEPTH CONTRACTOR TO INSPECT LENGTHS ON SITE

GENERAL NOTES

1' 4"

CONCRETE FOUNDATION WALL ASPHALTIC DAMP PROOF & POLYSTYRENE FOAM BOARD MINIMUM 1/2" THICK ALL FOUNDATION WALL BELOW GRADE

18' 6"

14' 6" NOTE: TRIPLE I-LEVEL LVL, OR (COMPARABLE) 11 3/4" DEPTH CONTRACTOR TO INSPECT LENGTHS ON SITE

LVL 11 3/4" DEPTH

2 X 10 DECK FRAME

8' 9"

15' 6" 13' 9"

11' 6"

PROJECT NO. 245.170

13'-0" A.S.L. TOP OF FLOOR ELEVATION

R 19 FIBER GLASS INSULATION ON WALL AND CEILINGS

1' 6"

2 X 6 LUMBER 16" OC TROUGH OUT FRAME UNLESS OTHERWISE SPECIFIED

DRAWN BY ANDRE VASCONCELOS

2 X12 RIM JOIST

NOTE: STEEL I-JOIST 11 3/4" DEPTH CONTRACTOR TO INSPECT LENGTHS ON SITE

11' 6"

8' 0"

LVL 11 3/4" DEPTH WINDOW HEADERS

Scale: 1 1/2" : 1' - 0'

11' 2" 2'

WALL PLATE

A 11

GENERAL NOTES

6' 8"

LVL 11 3/4" DEPTH

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

22'-0" A.S.L. TOP OF ATTIC FLOOR ELEVATION

CLIENT MR. MS. LEONE 25 CLEVELAND AVE. EVERETT, MA, 02149 PHONE: 617 3122740

8" MIN.

3/4" I-LEVEL UNDERLAYMENT STRUCTURAL PLYWOOD NAILED TO FLOOR JOISTS (ALL FLOORS)

18" FROST LINE SUPER TUFFR POLYISOCYANURATE RIDIG FOAM INSULATION

27' 3"

11' 2"

10' 0"

AVERAGE ELEVATION

5' 0"

2 X 10 RAFTERS WITH BIRD'S PEAK ASSEMBLY

10" THICKNESS CONCRETE FOUNDATION WALL

34' 0"

18' 5"

METAL DRIP CAP

COMPACTED GRAVEL UNDER 8" CONCRETE SLAB

19' 11"

Scale: 1/4" : 1' - 0'

NOTE: FRAMING DESIGN CALLS FOR NOMINAL:

27'-0" A.S.L. SOY FOAM INSULATION R 40 FOR BOTH SIDES OF LOWER ROOFTOPS

ASPHALTIC MEMBRANE BELOW GRADE

13' 10"

9' 0"

SIDING

5/8" ANCHOR BOLT

12' 6"

11' 0"

2 X 6 KNEE WALL

11 3/4" TJI JOIST

6' 0"

10' 0"

3/4" STRUCTURAL ENGINEERED PLYWOOD

8' 0"

36'-0" A.S.L. ROOF TOP - HIGHEST ELEVATION

7' 0"

2 X 10 RAFTERS WITH BIRDS BEAK ASSEMBLY

TYVEK VAPOR BARRIER

12' 0"

RE-ISSUE 08.09.08

08 FRAMING ISO FIRST FLOOR CEILING

DESCRIPTION FRAME ISOMETRIC PLANS

1/2" DRYWALL

8' 0"

1' 6"

2 X 12 RIDGE

1/2" OSB PLY.

10' 4"

NOTE: FRAMING DESIGN CALLS FOR NOMINAL:

10' 0"

SHEAR WALL TYP.

NOTE: FRAME EXTENDS 2 FEET BEYOND WALL PERIMETER

A 8

GENERAL NOTES

PROJECT CRAFTSMAN SINGLE FAMILY DWELLING

ISSUE 08.08.08 NOTE: FRAME EXTENDS 2 FEET BEYOND WALL PERIMETER

DESCRIPTION FRAME ISOMETRIC PLANS

FOUNDATION WALL 10" THICK CONCRETE WITH 12" JOIST LAP

FIRST FLOOR CEILING FRAME

INDEPENDENT PRACTICE BOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY

INFILTRATION SYSTEM PIPING

Scale: 1/4" : 1' - 0'

CLIENT MR. MS. LEONE 25 CLEVELAND AVE. EVERETT, MA, 02149 PHONE: 617 3122740

FRAMING ISO ILUSTRATION

ISSUE 08.08.08

GENERAL NOTES

A 6

WALL RIM 2 X 12 I-LEVEL LVL

PROJECT NO. 245.170

CONCRETE FOUNDATION WALL ASPHALTIC DAMP PROOF & POLYSTYRENE FOAM BOARD MINIMUM 1/2" THICK ALL FOUNDATION WALL BELOW GRADE

(TYP.) STEEL LOLLY COLUNM 3" DIAMETER TOP AND BOTTOM PLATES ATTACHED BY MANUFACTURE'S RECOMMENDATIONS

HAND NOTES

DRAWN BY ANDRE VASCONCELOS

Scale: 1/4" : 1' - 0'

DRAWN BY ANDRE VASCONCELOS

FRAMING PLAN - CROSS SECTION

Scale: 1/4" : 1' - 0'

2X6 LUMBER

2 A 9

PROJECT NO. 245.170

I-LEVEL 2 X 12 TJI FLOOR JOIST

RE-ISSUE 08.09.08

6' 6"

PROJECT CRAFTSMAN SINGLE FAMILY DWELLING

6' 5"

PROJECT CRAFTSMAN SINGLE FAMILY DWELLING

5' 11"

DESCRIPTION ISOMETRIC FRAME

12' 0"

ISSUE 08.08.08

Scale: 1/4" : 1' - 0'

12" STEEL I-JOIST SIZING AND QUANTITY TO BE VERIFIED BY CONTRACTOR

8' 0"

PROJECT NO. 245.170

FRAMING PLAN - WEST SECTION

11' 9"

NOTE: FRAMING DESIGN CALLS FOR NOMINAL:

DESCRIPTION DETAILS

A 9

9' 8"

ISSUE 08.08.08 10' 3"

DRAWN BY ANDRE VASCONCELOS

12' 3"

PROJECT NO. 245.170

7' 0"

DRAWN BY ANDRE VASCONCELOS

GENERAL NOTES

2' 0"

FRAMING CONTRACTOR TO VERIFY ALL BEAM AND JOISTS SIZES ON SITE, THE DESIGN BEAM CALCULATIONS CALLS FOR MINIMUM 40 PSF LIVE LOAD & 10 PSF DEAD LOADS. INSTALL ALL BEAMS AND FLOOR JOISTS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODES PERFORM THE WORK AND BE RESPONSIBLE FOR THE SAME

DO NOT RELY SOLELY ON THIS ESTIMATION

NOTE: ROOFING COVERAGE ESTIMATED AS 3,350 SQ. F.

A 9

FRAMING PLAN - SECOND FLOOR CEILING Scale: 1/8" : 1' - 0'

12X16 TJI COUNT ARE ESTIMATED AS 110 UNITS PER FLOOR

A 9

FRAMING PLAN - ROOF TOPS Scale: 1/8" : 1' - 0'

A 09

12X16 LVL COUNT ARE ESTIMATED AS 40 UNITS PER FLOOR

P.65

A A 7

FRAMING ISO BASEMENT Scale: 1/4" : 1' - 0'

SUPERVISOR | DIGIORGIO + BRACCIOTI

2010 - 2011

INDEPENDENT PRACTICE

ACADEMIC ONLY

STONEHAM HOUSE PROJECT

HYPOTHESIS

::::LEN CHARNEY:::: THE DIRECTOR OF THE PRACTICE DEPARTMENT AT THE BOSTON ARCHITECTURAL COLLEGE CHALLENGED ME TO ACADEMICALLY CONVEY THE STONEHAM PROJECT WITH NO REAL-LIFE CONSTRAINTS OTHER THAN THE SITE CONSTRAINTS.

FOOD

PERSPECTIVE

AERIAL PERSPECTIVE

SOUTH ELEVATION

WEST PERSPECTIVE

NORTH ELEVATION

EAST ELEVATION P.66

THE END