Alexander Ross Martinson Segment 1 Portfolio Master of Architecture Candidate January 3, 2012
Alexander Ross Martinson 96 Westwind Road #305 Dorchester, MA 02125
Professional Experience
Phone (317) 557.3089
US Architects - Yorktown, Indiana Project Technician January 2008 - July 2011 • Led Sahm Golf Course Clubhouse design team. Principal project designer Developed concept, program and organization Worked with colleagues to create renderings and plans • Managed production of the Ball Memorial Hospital Facility Cost Center Plans. Catalogued floor plans for hospital billing. Measured building spaces when changes occurred. Tracked changes in AutoCAD and Excel spreadsheets. • Generated construction documents for various projects, including floor plans, elevations, wall sections, mechanical plans, electrical plans, plumbing plans and various details. • Designed mechanical, plumbing and electrical systems for single-story buildings. • Created “Blueprints,” the firm’s e-newsletter and wrote content monthly. • Designed new firm website. Moore Ruble Yudell - Santa Monica, California Architectural Design Intern July 2005 - December 2005 • Collaborated with office colleagues, clients and artists during in-house design workshops. • Generated drawings for millwork bidding. • Built digital models and physical models of varying scales. • Redesigned firm’s model shop
Email armartinson@gmail.com Website www.armartinson.net
Education The Boston Architectural College Boston, Massachusetts Master of Architecture Candidate August 2011 – Present Ball State University Muncie, Indiana Bachelor of Science in Architecture August 2002 – December 2009 Awards: Academic Honors in Writing, April 2008 ICMA Design Competition Finalist, April 2004
Software Proficiency • AutoCAD 2010 • Google SketchUp 8.0 with various rendering plug-ins • Adobe Creative Suite 5, including Photoshop, InDesign and Illustrator • COMcheck, U.S. Department of Energy Code Compliance Software • Microsoft Office 2007
Personal Interests • • • • •
Residential Architecture Graphic and Web Design Marketing Playing Golf Playing Trumpet
Table of Contents Academic Projects: Broad Ripple Arts Center CAP Satellite Facility Auditorium Studio Desk Restaurant and Chocolatier Mixed-Use Highrise Surf Shelter Prototype Cassette Tape Deconstruction Electric Luminaire
06 10 14 18 20 24 30 34 36
Independent Projects: Benfold Residence NOSoA Competition New Harmony Competition
38 42 50
Practice Work: Practice Essay La Loma Residence UVa South Lawn Project Innovation Connector Golf Course Clubhouse Crystal Flash Premier Auto Center Meridian Services First Merchants Bank Muncie Music Center Community Storage
57 58 62 64 66 68 70 74 78 82 84
Broad Ripple Arts Center Arch202 - Spring 2004 - Brian Hollars - 10 Weeks When visiting the given site in Broad Ripple, a small area of Indianapolis known for culture and nightlife, I was charged with the task of discovering feelings, ideas, and spaces. The two sides of the area spoke to me as the most crucial aspects of Broad Ripple’s existence. Commercial and industrial businesses both call Broad Ripple home and both rely on a delicate balance to survive. With this duality, a design concept began. Programmatically, the design statement called for both display/performance spaces as well as hands-on workshop spaces. Splitting the two sections down the middle was the logical answer, and this split created an opportunity to develop a grand entryway and main “spine” of the building. With a glass roof and glass ends, the main corridor is open to the outside world, embracing the sky and river scenery present on the site. Performance spaces were placed on the west side of the building, while hands-on spaces were placed on the east side. This allowed for the hands-on workshops to have natural lighting for most of the day to promote both a better work environment as well as promoting a more eco-friendly design. Saw-tooth edges of the design’s east side hearken back to the old industrial warehouses found in the area. Using concrete masonry units as the primary material, this design challenged the idea that masonry must be vertical and horizontal. The west wall of the main chamber slants to the west while the surrounding exterior walls support it. The generous glass roof features operable panes that open to ventilate the facility throughout the year. While it is true most people visit Broad Ripple to shop, visit bars, or partake in the arts, the industry in the background keeps this relationship alive. In an all-encompassing sense, the people of Broad Ripple keep the community rich and active, thus retaining Broad Ripple’s status as a cultural and artistic epicenter in Central Indiana.
6
First Floor Plan
Second Floor Plan
7
Building Section : Not to Scale Black marker on vellum
Exterior Perspective Black marker on vellum 8
Wall Section : Not to Scale Black marker on vellum 9
CAP Satellite Facility Arch301 - Fall 2004 - Lohren Deeg - 8 Weeks On the lower west side of Manhattan lives the Highline, an abandoned elevated rail line now converted into a linear park. Running for over a mile, the Highline twists its way through Manhattan only to come to an abrupt stop at the corner of Gansevoort and Washington Streets. This is our site, a site deep in the heart of the Meatpacking district. This district, despite its past and namesake, is evolving into an area of trendy elegance and high fashion. Thus, there is a merging of industrial past and simplistic present. It is in the joining of these ideas that this design began.
1
Programmatically, the building’s goal was to house undergraduate and graduate level architecture studios and the peripheral classrooms along with hostel-style living spaces, a bookstore, faculty offices and presentation spaces for College of Architecture and Planning satellite campus. My design process began with a site visit during a field trip to NYC followed by a series of sketches and study models. With such a strong horizontal element as the Highline present on the site, continuing its emphasis into the design felt crucial. Countering this interaction, large steel structural elements were introduced, creating a level of tension. This structural detail was translated to the façade, creating a unique opportunity to study positive and negative surfaces. Utilizing two distinct sizes of structural members, a private roof garden was created behind the atrium core of the building.
2
The site at the Highline’s terminus is shallow, surrounded by buildings of industry almost a century old. This design starts narrow on the first two floors, hidden by the raised railway, and gracefully expands over the Highline to provide presence for the ending of the historic transit system. Without the use of steel, the cantilevered space over the Highline would be a bulky and brutal obstruction. Using the vertical steel trusses lightens up the visual approach to the building from the Highline. Site Images (Left): 1: Looking towards site from across street 2: View down the Highline showing shops 3: Highline terminus, our true site
10
3
In order to enter a building on the site, I chose to create an entrance under the Highline itself. With that in mind, I explored different massing options, starting with an L-shaped building and then a series of smaller masses. Both of these options proved too small for the program. The next option I explored was stepping the building back, filling the entire site on the ground level and then stepping back the facade perpendicular to the Highline. This proved less effective because of a lack of interaction with the Highline. The final option I explored was using the entire site and then cantilevering space out over the Highline to increase building area. This idea seemed to engage the Highline and its future occupants by creating an overhang of protection from the elements. This idea translated into the final design.
11
Concept Elevation Sketch depicting horizontality of the Highline and the matching elements on the building beyond.
Study Models exploring massing possibilities
Refined Concept Model
12
Final Digital Model (above) and Final Physical Model
13
Auditorium Arch302 - Spring 2005 - Stephen Kendall - 8 Weeks 1
2
At the core of anthroposophy lies a staunch belief in the symbiosis of education and nature, a communion between our experiences as people in today’s world and the traditions of a simpler time. Waldorf schools across the world hold this philosophy as the chief tenant in their instructional programs. It is from this idea of an education in touch with the natural environment that this design’s concept stems. Nature of all kinds stems from some type of seed; seeds are the beginning, the building blocks that trigger a natural reaction. This design likewise began with a seed, a central point that informs the consequent geometry. Found at the building’s heart is the seating and stage space, a space inspired by the Culture Center in Tokorozawa, Japan. This space is surrounded by a arc-shaped lobby, connecting the entrances to the small sitting nooks and further to the back stage prep areas. Bringing nature inside is a key extension of anthroposophy’s educational core. To accomplish this, natural elements are used both inside and outside of the structure. Quartzite and local timber provide a warm, inviting aura, while a trickling water wall spanning the back of the lobby soothes the soul and quiets the surroundings.
Precedent and Material Study Images:
3
14
1: Culture Center in Tokorozawa, Japan 2: Stone ideas, quartzite and sandstone 3: Wood ideas, cherry and walnut
Initial concept sketch showing a funnel-like entrance and massive curved walls to isolate the audience.
Final first (above) and second floor plans
Refined concept sketch with more defined spaces. Connecting tunnel to neighboring building appears in this sketch to provide student access. This idea was dropped in favor of a simple wall reaching out towards the building. Front walkway begins to form.
15
Final Physical Model (above and right) and Interior Perspective, black marker and graphite
16
17
Studio Desk Arch395 - Spring 2005 - Kevin Klinger - 6 Weeks Digital fabrication and mass customization are becoming a familiar face in the architectural world, both leading to faster and more precise construction. Our ability to enter data into a computer and generate a multitude of possibilities in mere minutes versus hours has increased the production of many firms and corporations. Changes to a design can be made instantly with less effort than ever before, allowing for customization at more effective costs while still maintaining the concepts of mass production and interchangeability.
1
2
The studio desk here was an experiment in this emerging field. Designed to the height, width and depth specifications of multiple people, the design can be changed to conform to its user. The criteria for each user was input to a spreadsheet that allowed my partner and me to change the desk simply by entering new numbers into the design. The process began with sketches and smaller scale prototype models, one of which utilized the laser cutter to cut the components. In this instance, the laser cutter was a stand-in for the much larger CNC router. The full-scale prototype seen here was built to my specifications, allowing for maximum comfort whether I work sitting or standing at the desk. At the base, the footrest was angled for placement of my feet at the angle I found most comfortable. Once the CNC router milled the components, I acquired the carriage bolts, washers, lock nuts, glue, sanding materials, and polyurethane and began the assembly process. The actual assembly was a very brief process, followed by several days of sanding and sealing the wood. Once finished, I moved the desk into my design studio and used it for the remainder of the academic year, even continuing to use it at home for several years. Final Desk Images (Left): 1: Back of desk prior to finishing wood 2: Front view of finished desk 3: Desk being used in studio
18
3
Study Model, foam core Concept Sketches
Refined Study Models, matte board
19
Restaurant and Chocolatier Arch402 - Spring 2006 - Rod Underwood - 6 Weeks Attempting to reduce the cost of materials and detriment to the environment, almost all materials used in this design are native to Indiana. The exterior facades are mainly ochre pattern quartzite. The secondary facade is composed of glass and two different types of Indiana Limestone. The possibility of utilizing recycled materials with this project is very high, as the pattern of the facade is composed of varying hues and textures.
1
Programmatically, the building features dining space, kitchens for pastry and chocolate production, a chocolate bar, banquet space, offices and restrooms. The shipping/receiving area was placed behind the chocolate kitchen for easy storage and shipment.
Site Visit Photos: 1: Existing site conditions 2: Historic building across street from site now housing retail shops and offices 3: Historic building across street from site 4: Facade of neighboring bank
2
3 20
4
Conceptually, this design creates a building that is interactive both inside and outside. Ramps allow access to terraced spaces, each with a garden-like atmosphere for sitting and simply enjoying the outdoors. These green roofs provide a level of recovery for the land on which this building would be built. This minimizes the level of drainage from the roof and the building’s impact on city drainage systems. Most of the green roof spaces are one foot in depth to accommodate small growth plants. To further the goal of a sustainable design, the shipping/receiving room and pastry kitchen both have clerestory windows, allowing for daylighting opportunities.
Material Precedent (above) and subsequent Material Study
Located on the terraced spaces are trees, which require a larger depth in order to survive. Because of this, large “bowls� dip into the spaces below, creating a safe growing environment for the trees.
Concept sketch exploring solid versus void, shading devices and roof elements.
21
Structural System Diagram (above) and Exterior Renderings (below and right)
22
23
Mixed-Use Highrise Arch402 - Spring 2006 - Rod Underwood - 10 Weeks 1
2
3
4
5
6
Site Visit Photos: 1: Existing site looking towards the Regions Bank building and the Chase Tower beyond 2: Sculptures at end of Mass Ave. 3: Historic buildings along Mass Ave. 4: Historic office building across the street from site 5: Historic office building across the street from site 6: Close-up of windows 24
For my final design studio project, I wanted to focus on a building type I had not yet worked with: the skyscraper. I chose a site in Indianapolis at New York and Ohio Streets, a site at the southern tip of the Massachusetts Avenue Arts District, an area known for local art and music as well as local restaurants. Aiming to bring together local businesses, artist and residents into one community, the design concepts I worked with focused the building’s facades on both the Mass Ave. Arts District and the University Park, located across from the site on New York Street. Located directly next to the Regions Bank building and one block northeast of Chase Tower, the site chosen catered to a new structure exceeding forty stories. However, the Mass Ave. district is historic, with its buildings being between two and six stories. To bridge these two differing proportions, I started with a six-story base, stepping the body of the building back to preserve the human scale. Going up the building, I added niches every ten stories to bring relief to the glass facade. Both of these concepts started in different concept massing models and evolved into two sketches. Combining both concepts into one parti, I built a more detailed scale model with neighboring buildings. Changing the small niches into large voids, the building became too separated, each side attached only with thin “walkways.” The building’s base became angled, a choice that also split up the site and created odd voids around the building. I reverted back to the previous niche idea, which reinforced the concept of different “sectors,” a lower business layer, a middle layer for artist lofts and galleries, and a top residential layer. The based returned to an orthogonal block, stepping back from New York St. to create a park area, linking the site with University Park and with the green roof areas created on the base. The six-story based maintains the material palette and proportions of the Mass Ave. district, but is broken up with areas of contemporary glass facades. The final physical model and drawings bring together all the concepts and ideas for a 52-story highrise community.
When I did analysis of my chosen site, I looked at the major factors that played in to the facility’s possible success. Connection to Massachusetts Avenue as well as the park catty-cornered to the site. It was important for the design to focus views on both locations, but also important for the design to allow appropriate daylighting for artists and businesses to work well with minimum utility impact. Above is the downtown analysis diagram I created to better understand the relationships of some key factors in Indianapolis. The site, currently a parking lot, is a prime location...two blocks from the city’s center, two blocks from the City Market and two blocks from Meridian Street, a main artery through Indianapolis. To the left are concept sketches I created to explore different forms and views from the site. I originally wanted to created a courtyard on the north side of the building but decided that might create an unsettling pocket of turbulent air. 25
To explore ideas further, I built a series of study models, the first of which is seen above. This concept seemed to focus attention on Mass Ave. but turned its back on downtown. It also didn’t take human scale into consideration on an appropriate level. The large rectangular masses feel overwhelming and monolithic. The next model attempted to taper as it moved upwards, but again felt too large and overbearing. Even the pockets of space between the “wings� feel too large and vacant. The final design eliminated these eliminated the vacant spaces but maintained the idea of tapering. The key factor was the base. The concept models only gave the occupant three stories at most to feel comfortable at the base before a large mass was presented to them. The final design incorporated a seven-story base that aligned better with the surrounding buildings. Another idea I explored was the use of glazing with built-in louvers. These special triangular louvers (diagram, left) reflect the high angle heat of summer sun to help cool the building and allow the low angle heat of winter sun to enter and help heat the building. The louvers also allow for daylight to enter with or without the heat radiation.
26
27
North Elevation 0’
28
50’
100’
200’
East Elevation
Final Physical Model
29
Surf Shelter Prototype Arch314 - Spring 2007 - Tim Gray - 6 Weeks Designed to be a temporary living unit for one or two people, the surf shelter is located right on the Pacific coast. Programmatically, the structure called for a small kitchen, surfboard storage, a sleeping area, and small bathroom. With a maximum footprint of 10’x15’ and a maximum height of 18’, the challenge was to provide all required spaces without any excess.
Concept Sketch
30
Being familiar with the popular nature of the shed roof in Northern California, I chose to start my basic design concept with that in mind. The shed roof helps minimize the effects of wind coming in from the ocean. From a floor plan perspective, I decided that beginning with the maximum footprint and carving away as needed would be the most logical first step. It was given in the project statement that outside spaces such as decks would not count towards the collective footprint size. I carved out a deck at the door and used this deck as a place for showering off after surfing. The design has two levels, connected by a ladder on the south side of the structure. Stairs would be too cumbersome for this de-
sign, taking up precious floor space. Structurally, the shelter was traditional wood framing with an exterior stucco finish. With such a small structure, interrupting the structure to provide windows and doors seemed detrimental, yet necessary. To solve this problem, I used windows that fit between the 16” on center studs, allowing for the structure to maintain continuity. To explore the structure, I built a 1”=1’-0” physical model, which helped me better understand how the shelter would be built. Due to the climate and cabin-like qualities of the shelter, allowing in as much sunlight as possible was a necessity. The large southern windows achieve this goal.
floor plan scale: 1/4”=1’-0”
31
west elevation scale: 1/4”=1’-0”
32
south elevation scale: 1/4”=1’-0”
Final Physical Model detailing the structure. Basswood, foamcore and cork
33
Cassette Tape Deconstruction Arch314 - Spring 2007 - Tim Gray - 4 Weeks The project concept was straightforward: choose a simple machine and deconstruct it as to understand its function. Then, create a series of drawings illustrating how the piece goes together. With a life-long love of music, the simple machine that came to mind first was the cassette tape. Now a defunct technology, the cassette tape was a mainstay of music from the 1970s through to the 1990s. Within the casing, the supply and take-up reels feed the magnetic tape back and forth between two guide rollers. The pressure pad at the base of the outer casing presses the tape gently against the play head on the tape deck as the tape streams by. This project allowed me to go inside a small machine and measure parts to understand its function better. I also learned a lot about creating an exploded axonometric drawing with this project.
34
35
Electric Luminaire Arch373 - Spring 2007 - Glen Switzer - 4 Weeks Innovative material use, light play, subtlety, and glow all came together with hand crafting to create a unique piece with an Eastern aura. Initially, resin was to be used to create the side panels, but this was deemed counter to our goal of an eco-friendly product. Instead, using paraffin wax and wood, the structure became fairly simple, bound together with twine connections at all four corners. Leaves from the assigned site were incorporated in the side panels, rooting the luminaire with the site. With the materials used, the texture is imperfect, but provides subtle variances in the lighting conditions. The luminaire creates a soothing, warm glow while providing enough light to enjoy a good book. My partner and I worked in tandem during construction, seen in the photos to the right. Below, the complete luminaire is seen at the specified site, having survived a spring thunderstorm.
36
37
Benfold Residence Independent Project - Spring/Summer 2009 When close family friends James and Cynthia Benfold purchased a large plot of land along the White River in Delaware County, they asked me to design a new home for them and their three children that would reflect their personal style as well as connect with the surroundings. Natural and inviting local materials were considered to be essential in the design process, with local Indiana wood products and patterned quartzite playing key roles. I began my design process by gathering information from the Benfolds and drawing some basic spacial relationship sketches. These led to exterior sketches and finally to finished plans. To aid the whole Benfold family in understanding the layout of their new home, I created several computer renderings of both the exterior and interior of the home. The Benfolds were looking for a residence that featured a large kitchen, dining room, and family room for entertaining family and friends. The focus of this large gathering space is a large stone chimney, separating the dining room from the sitting room above. In the opposite corner, large floor to ceiling windows frame a view down the White River. Upstairs, the Benfolds wanted the bedrooms to face towards the woods, while they pictured the hallway and den opening up to the north. Situating all the second floor spaces over the garage and kitchen guaranteed views down the river from the master suite and den, while also allowing diffused northern light to enter the spaces. Placing clerestory windows along the north side of the upstairs hallway allows for indirect northern light to enter and wash down the arched hall ceiling. On the first level, the floor height changes three feet from its lowest in the family room, to its highest in the sitting room and library. This occurs due to the natural topography of the site. Choosing to leave most of the natural variation alone creates a visual separation of spaces while also providing unique opportunities to connect each space.
Concept Sketches exploring material texture and programmatic layout. 38
Entering into the family room and dining space is more dramatic having the space sunk three feet below the entry foyer, and allows for a better view of the space below. Following the topography also allows for the residence to have a dining room tower element, which extends above the family room yet does not add considerable height to the first level. This further emphasizes the second floor’s view down the White River. The stairs to the second level are hidden back beyond the sitting room to allow the family private access to and from the upstairs. Whether Mr. and Mrs. Benfold are entertaining friends, or their daughter is having a sleepover in the family room, this stair location provides a less public stairway connecting the second level with the kitchen.
Refined Concept Sketch carrying over the established “L Shape� and tower dining room element.
39
Final Exterior Renderings, front (above) and back of house
40
Final Interior Renderings, entry and dining room (above) and upstairs hallway
41
NOSoA Competition Independent Project - Summer/Fall 2009 With its unique cultural variety and abundant natural resources, the Greater Sudbury region of Ontario is poised for success on both the national and international level. To break through, the Northern Ontario School of Architecture (NOSoA) and the city of Sudbury should have a piece of architecture that is as unique as the region it calls home. NOSoA will link not only people of the community together, but also people to their environment. A school of architecture should be a model for design students and the community to follow; a beacon of creativity and an example of community interaction and environmental understanding. These ideas are the seeds from which this design concept sprouted. Located centrally at Elm and Elgin Street, the school is organized to allow many areas to remain open to the public.. The drawing studio, theatre, galleries, and manufacturing are located on the ground floor, allowing easy access for both NOSoA architecture students and members of the community. These spaces all branch off of a large glass atrium; a central core that floods the space below with ample daylight. At the base of the atrium is a Living Machine, a special collection of native plants that cleans and renews the building’s wastewater, contributing to NOSoA’s sustainability. The system starts inside, connects to the garden space on the south side, and returns inside to complete the cycle. Continuing the goal of sustainability, the atrium’s southern windows have louvers to mitigate sunlight, each with a built-in solar panel to generate electricity. With the wood industry in a state of flux, the construction spaces at NOSoA would allow master woodworkers to reach out to the community and teach their art. The dedicated construction gallery would be a place to display this artwork. Opposite this gallery is a universal gallery, displaying both architecture student work and work from local artists. The retail space, with its art supply store and cafe, connects to this gallery, together creating a public lounge space.
42
While the ground level is public, the top three levels are designed to be more private, holding the undergraduate studios and classrooms, library, and the graduate studio and offices. Faculty offices are located immediately adjacent to the undergraduate studios, connecting students with faculty from every year level. Each of these levels features outdoor roof gardens with native plants, helping to lessen the building’s rain water runoff. Runoff that does occur is collected and funneled into the building’s Living Machine. Bringing the traditional lumber and mining industries together in this design was the final objective. The building features wood and copper prominently, in curved interior railings and exterior tiles respectively, while stone and steel add simple, clean accents. These materials are all local to Northern Ontario, and using them not only connects NOSoA with its heritage, but also begins a cycle of resource education and creativity.
Material Precedents: Using a material that would hold up to the harsh Canadian winters was crucial to the success of this design. Natural metal shingles, like copper and zinc, manufactured aluminum panels and various stone products were all considered during the design process. These images helped inspire the final design.
Final Exterior Rendering looking at the building from the northeast.
43
44
Starting with an understanding of the site and how pedestrians move around Sudbury, Ontario, I started with sketches of how people would enter the building. From those sketches, I began organizing spaces programmatically (top, left) sketching over sketches with marker and trace paper. I then worked with a partner to develop the concept drawing of the exterior (bottom, left). Once I moved forward from the design development phase, I generated building sections to understand how spaces interacted with each other (images below). To the left is a diagram of the special louver system used above the atrium space. They are self-operating and are equipped with photovoltaic cell for generating electricity.
45
First Floor (above) features presentation spaces, galleries, a woodshop and metal shop, a public computer lab and food court. Second Floor (below) features the first of three undergraduate studio spaces, faculty offices, classrooms, presentation spaces and the first floor of the library.
46
Third Floor (above) features undergraduate studio space, faculty offices, classrooms, academic advisory offices, a rooftop terrace and the second floor of the library. Fourth Floor (below) features undergraduate and graduate studio space, classrooms and two rooftop terraces. Suspended walkways connect both sides on the Second, Third and Fourth Floors.
47
Northern Facade Rendering (above) and Main Atrium Rendering
48
First Floor Library Rendering (above) and Main Gallery Rendering
49
New Harmony Competition Independent Project - Summer 2010 The town of New Harmony was founded upon principles of both unity and community; a socialist experiment that brought people together and treated them fairly and justly. In the same way, this design for the Bicentennial House brings together the built environment and the natural environment so they function harmoniously. The three main tenets of this design, reclaiming used materials, use of renewable materials and use of recyclable materials, come together to allow for greater efficiency, lower energy usage and a healthier living environment. REclaim: All around Indiana, there are structures that have fallen into disrepair. Facilities that are no longer used and pose potential safety hazards if left to rot and collapse. This design for the Bicentennial House features use of materials from these old, abandoned facilities. Old barn siding, both wood and metal, can be used to clad this house. Old bricks from churches, houses and commercial buildings can be used to clad this house. These reclaimed materials would cost nothing and would then lower the building cost of this house. Using these materials would keep them out of landfills and also lower use of new building materials, both outcomes helping the environment. REnew:
Bubble diagram and site concept sketch to study spatial relationships. This sketch established the “central hall” parti.
Building air flow diagram 50
Many building materials are pulled from the earth and once removed, they are no more. Utilizing materials that can be renewed, grown again, helps the environment and makes a home more sustainable. This design replaces some standard building materials with choices that can be renewed. Instead of using traditional fiberglass insulation, this design uses sheep’s wool insulation. This material, in addition to being renewable, offers more insulation value per inch of thickness, does not offgas harmful chemicals and can be installed with no special safety equipment. Wood studs, while a traditional material, are renewable. The exterior walls are 2”x6” studs to allow for a higher insulation value. This creates a more efficient home, which lowers energy costs.
10
Massing Study Model 9 6
8
7
Refined Massing Study Model
4 5
2 3
Materials Study Model Using resources that are not building materials is crucial as well. Aligning the home in a North-South orientation allows access to sunlight during specific times of day. The kitchen, dining room and master bedroom are located on the east side to capture morning sunlight. The computer room, other bedrooms and garage are located on the west side to capture evening sunlight. Aligning the home in a North-South orientation also allows for better natural ventilation. With the wind primarily from the West, placing windows and doors on both sides of the main hallway allows for moving air to pass straight through the home, bringing in fresh air. Above the main hallway, vents allow hot air to escape, which further reinforces the draw of air through the home.
1
Floor Plan 0’
Floor Plan Key: 1: Great Room 2: Dining Room 3: Garage 4: Laundry Room 5: Kitchen
2’
6’
10’
6: Master Suite 7: Den 8: Bedroom 2 9: Hallway 10: Bedroom 3
51
Front Elevation Scale: 1/8” = 1’-0” Lastly, over the great room, there is a green roof area. Utilizing a soil replacement, this system is tremendously lighter than loading the roof with dirt. By planting a garden on the roof, water runoff is mitigated and the interior is kept cooler. This area can be used to grow food or simply for decorative plantings. REcycle: If materials cannot be renewed or grown again, using materials that are recycled or are recyclable is the next best choice. This design replaces standard asphalt shingles with a metal standing seam roof. This roof system is both made from recycled metal and is fully recyclable later in time. Hardie Panel systems used in this design are created from industry by-products including wood pulp and sand. These panels do not require painting, which lowers cost and introduction of harmful chemicals. Both these materials are far more durable than their non-recycled counterparts, which lowers the overall life cost of this home.
52
Rear Elevation Scale: 1/8” = 1’-0”
Community Build Diagram. The community comes together to build a house for a family and in turn that family helps the next.
53
House Framing Rendering (above) and Interior Renderings of Great Room (below) and Hallway (right).
54
Community-Based Construction Project Community is the glue that binds New Harmony together. Much like the unity of recycling, reusing, and reclaiming, the unity of people in a community can strengthen it. This design for the Bicentennial House advocates community volunteering to be built. When a family moves to New Harmony and chooses to build this house, the community kicks into action, joining with that family to build the new home. When another new family moves to New Harmony, the previous family then becomes part of the construction team. This not only lowers building costs substantially, but also bonds the community together, creating relationships that will last a lifetime. Construction industry leaders in Southern Indiana would volunteer to lead teams of local residents in the construction process. With all labor volunteer-based, the cost of this home would drop dramatically, allowing for budgeted money to be spent in other areas of the project. This volunteering, coupled with use of many free, reclaimed materials, would bring down the cost of this 2,000 SF house dramatically. Direct involvement of organizations like Habitat for Humanity would occur and help further drive this project. The more houses of this design that are built, the more vibrant New Harmony will become. Because the options of reclaimed materials are endless, the variety of final products is endless! Three environmental tenets merge with one small step of volunteering to create a next generation of New Harmony. These principles have been a part of the town since its founding and bringing them back to the foreground will invigorate New Harmony and stimulate economic and social growth. All because families decided to help other family live out their shared dreams. Typical Wall Section 0’
1’
2’
4’
55
56
Practice
My first practice experience was during my undergraduate internship. I was fortunate enough to receive an offer
from Moore Ruble Yudell, Architects and Planners in Santa Monica, California for my six-month internship. While in California, I worked on several design teams, worked with artists, architects and clients, built physical and digital models on various teams and learned a lot about client relations. Well-known for their designs around the world, Moore Ruble Yudell was an eighty-person firm full of ideas and experience. At every opportunity, the design team members would ask my opinion and encourage my input during meetings and discussions. I worked on some high-profile projects including work at University of Virginia and the University of California Berkeley, as well as in Santa Monica and around California. This experience has helped form my personal design aesthetic. But with all the “designing� going on during my internship, there was a large part of my knowledge left lacking.
When I returned from California and to school, I started to struggle with the practical aspects of architecture. In my
search for a position with a new firm, a strong background in construction documentation and detailing was a key criterion. I was still pursuing my undergraduate degree in architecture and also was searching for a firm that would work with my school schedule. It was at this point I found US Architects. The staff at US Architects worked on a wide variety of projects including medical offices, retail spaces, car dealerships and repair facilities, industrial facilities, convenience stores, offices, churches and restaurants. Above all, however, was the experience in detailing and construction documentation that caught my attention. While much smaller than Moore Ruble Yudell at only seven people, the team at US Architect afforded me the opportunity to learn much more about the practical side of design, the wall sections, the mechanical and plumbing plans and the code research. Here I had the opportunity to specify materials and fixtures, work with project architects to resolve detailing issues and still utilize my design training and rendering background.
These two experiences have greatly influenced my knowledge of architecture as an academic endeavor and as a
profession. While in school, I took the knowledge I gained from both firms and applied it to various projects. My desire to explore independent projects was originally based solely on design but now takes strongly into account the practical aspects of the industry. Understanding how insulation impacts energy bills and how air infiltration negates insulation values is huge. Learning about water damage and how to prevent it was crucial. The knowledge of construction has been pivotal in my Materials and Methods class while my design experience has been pivotal in forming sound arguments in my Design Principles class. I believe that an exceptional architect must be well-rounded, having a firm understanding of design, aesthetics and spatial relationships while also fully understanding the detailing of built conditions. I could not have asked for a more wellrounded experience in the field thus far.
This month, I begin a new chapter of professional experience as an Assistant Job Captain with Group One Partners
here in Boston. The firm works mainly on hospitality projects, something in which I do not have experience. I am looking forward to learning about this new field and working with the team on larger projects. The firm employs thirty people and feels very much like a hybrid between Moore Ruble Yudell and US Architects. They are practical but appreciate good design. I am excited about this opportunity and am looking forward to making an impact on the architecture community here in Boston.
57
La Loma Residence Moore Ruble Yudell, Architects + Planners - 2005 Located in an exclusive land preserve just outside Monterey, California, the La Loma Residence was designed by the residential team at Moore Ruble Yudell. Due to local environmental requirements, the Santa Lucia Preserve limited the architecture firms that can design and build homes in the area. These firms were selected based upon their sensitivity to environment in their designs. The Santa Lucia Preserve and other areas in northern California are special in their respect for environment. No trees on any home site here may be removed, relocated or harmed during the presence of construction crews, nor can any trees be removed due to the structure. All houses here must conform to the natural environment, angling past trees and shifting with the topography. Programmatically, the design separated the master suite from the other bedrooms, allowing for guests to have a private “wing� during their stay. Both the master suite and guest suite converge into a central living space where the kitchen and library are located. This central core spills out onto a patio overlooking the Pacific Ocean. During my work on this project, I met with the design team regularly and discussed different ideas. I created renderings, seen here, to aid the client in his understand of the home’s spatial relationships. The home was completed in 2008. Images courtesy of Moore Ruble Yudell
58
59
Images of the completed home. Master Suite Hallway (above, left). Courtyard view towards Master Suite (above, right). View of home from driveway (below).
60
Images of the completed home. Master Suite (above, left). Dining and Living Room (above, right). View from courtyard into main Living Room (below).
61
UVa South Lawn Project Moore Ruble Yudell, Architects + Planners - 2005 The University of Virginia expanded its undergraduate facilities into previously undeveloped territory on campus. With undulating topography and natural surroundings, the University wanted a building that was contemporary yet maintained traditions laid out by Thomas Jefferson. Our design team met with faculty and administrators from the University and held a two-day workshop that brought together clients and architects in a collaborative effort aimed at solving a unique design problem. I participated in this workshop by providing design ideas from a student’s perspective, bringing forward ideas of what the end users of this building might need. The client had several goals for the project. The building was to feature a rotunda, there must be a pedestrian connection across the main road to the historic South Lawn and the view to the South from buildings north of our site must not be blocked. Our team developed a design that kept the building open to its surroundings while simultaneously limiting its height, allowing for the view south. To aid both University faculty and our design team, I built a series of foam massing models. The project was completed and open for the fall semester 2010. Images courtesy of Moore Ruble Yudell
62
63
Innovation Connector US Architects - 2008
1
Located at the gateway to Downtown Muncie, the Innovation Connector is an “incubator” bringing small businesses together. Providing shared resources such as conference rooms, IT support, fax and copy machines, and a large training room, the Innovation Connector offers small businesses that are just starting up the opportunity to decrease overhead and compete more effectively. Working in tandem with several key players in the Muncie/Delaware County area, US Architects led the design team for the incubator’s new facility. The client’s main goals in moving locations were to gain a large, open lobby space for greeting business clients, to gain a training room capable of seating at least 60, and to focus on energy efficiency. To accomplish the client’s goals, our design team used a simple parti. Splitting the design down the middle, we placed the lobby and training room right in the center with all secondary spaces branching off from this core. The training room angles to face the White River to the east. The lobby features a curving bulkhead, which creates two lower areas, one for sitting and the other for the receptionist. Using energy-efficient lights with self-dimming sensor controls greatly reduces the building’s electricity consumption, helping both the environment and the businesses that rent space at the incubator.
2
To aid the Innovation Connector board of directors in understanding the spacial relationships, the other members of the design team asked me to develop a computer rendering of the interior, specifically the lobby space. During this process, I developed a concept for the receptionist’s desk and, with assistance from a local interior design firm, developed the color and material palette. Images courtesy of US Architects
Project Images:
3 64
1: Building exterior facing White River 2: Reception Desk 3: Training Room looking out to White River 4: Rendering of Lobby space 5: Finished Lobby space
4
5
65
Golf Course Clubhouse US Architects - 2009 When the City of Indianapolis was interested in updating several of its golf courses, they contacted T&W Corporation for assistance. Having a relationship with T&W that spans two decades, US Architects was called upon to develop design ideas for the new clubhouse at Sahm Golf Course on the north side of Indianapolis. Based on the site for the new clubhouse, the client wanted the building to angle, aligning with the parking lot and with the tenth hole. Programmatically, the client wanted the Pro Shop, Snack Bar, and Banquet Hall to face outward toward the tenth hole and the forest beyond. The cart storage needed to be close to the parking lot as well as the first tee box. When returning carts, the client wanted patrons to pass through the Pro Shop on their way to leave, helping to increase sales of sundry items and snacks. The banquet hall was envisioned as a place to hold private parties as well as golf tournament luncheons. Lastly, the restrooms and locker rooms needed to be connected to the lobby for easy access during regular business hours and during banquets. To organize all the spaces the client needed, I started with simple bubble diagrams over the existing site. To provide the views the client was looking for as well as create an angled building that is receptive to the site, I established a “Golf Hall” along the western side. This connects the banquet hall with the rest of the building, providing it with a private corner and a grand entrance for gala events. The “Golf Hall” also allowed for considerable daylight infiltration into the banquet hall via clerestory windows. Images courtesy of US Architects
66
Two different design concepts, one contemporary and other colonial, utilizing the same preliminary layout. Each design features a large, open entry space and “Golf Hall� connecting to the banquet hall.
67
Crystal Flash US Architects - 2009 1
2
Crystal Flash Petroleum wanted to create an inviting interior atmosphere for their new convenience stores in Fishers and Noblesville, Indiana. Taking cues from coffee shops, grocery stores and US Architects’ previous convenience store experience, my task was to develop an interior color and material palette that met these objectives. I started with a physical model using established Crystal Flash colors of red and white and adding new earth tones. This was not exactly what the client was hoping for. The client wanted rich tones and textures to be featured, something we successfully achieved by using dark, mahogany-stained wood trim, slate tile behind the food service areas, and rustic red brick around the coffee bar. The color palette is warm and subtle, yet features a bold yellow and green. Over the sales floor, the ceiling is coffered, adding depth. Once the color and material palette was assembled, I, along with other members of the design team, met with the client to discuss, and ultimately approve, the chosen scheme. Following approval, I created the floor plan, reflected ceiling plan, and interior elevations for the construction documents. On this project, I had the opportunity to learn about material specification and worked with the client directly to select materials that evoked the feelings for which they were looking. This was also one of my most detailed renderings from any project, academic or professional. This taught me patience and honed my ability to work with a strict deadline as well as some new Photoshop techniques. Images courtesy of US Architects
3
Study Model Images: 1: View from front door towards coffee bar 2: View from front door towards cashier and food service area 3: View from front door towards coolers
68
69
Premier Auto US Architects - 2010 A client’s brother owns Premier Auto Centers, a chain of auto repair facilities in Indianapolis, Indiana. So when he wanted to expand his company, he contacted US Architects per a recommendation from his brother. We called on our past experience with auto dealerships and repair facilities to create a new location for Premier. The company’s colors are red and green, so the project architect and I decided to incorporate the green into the building’s facade. With a beige split-face block base, the green was added in bands through the EIFS above the block. The EIFS was brought down into the block to differentiate the entry. To develop the two-story waiting room, the project architect and I worked with a local interior designer with retail experience. One of the challenges with this project was getting the zoning boards approval. The entry elements were originally designed to be paneled with Aluminum Composite Material. The zoning board would not allow it as they felt it would reflect too much light. A matte finished, textured material was required and we decided on EIFS for the remaining elements of the facade. Finished waiting room (above) and Final Rendering (below).
70
Images courtesy of US Architects
Finished garage space (above) and completed exterior (below) prior to landscaping this past spring.
71
72
Panel "A" 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41
Surface Mounted
Item AIR CONDITIONER
RADIANT WEST RADIANT EAST FURNACE WATER HEATER EXTERIOR GFCI OUTLETS MEZZANINE OUTLETS GRINDER PIT
phase A: phase B: phase C:
Panel "B" 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41
LIGHTING SCHEDULE
CODE
DESCRIPTION 2x4 RECESSED FLUORESCENT FIXTURE W/ (2) T8 32W LAMPS
CB 40 I 25 I 20 20 20 50 I 20 20 30
Phase CB Wattage X 50 4800 X I 4800 X 20 1800 I 1800 X 20 1656 X I 1656 X 20 1656 X I 1656 X 20 1656 X I 1656 X 20 1656 X I 1656 X 20 1656 X I 1656 X 20 1656 X I 1656 X X X X X A B C X
19.88 KVA 21.14 KVA 18.44 KVA
166 amps 176 amps 154 amps
Item CONTACTOR (MONUMENT SIGN) SHOP LIGHTING NORTH/MEZZ. SHOP LIGHTING SOUTH BREAK ROOM/OFFICE/RR LIGHTING SHOWROOM OUTLETS CASHIER OUTLETS NORTH BREAK ROOM/RR OUTLETS SHOP OUTLETS STAIRS SHOP OUTLETS NORTHEAST SHOP OUTLETS WEST WATER COOLER/DISPENSER
CB 20 20 20 20 20 20 20 20 20 20 20
Phase X X X X X X X X X X X X X X X X X X X X X A B C
5.55 KVA 6.04 KVA 3.68 KVA
46 amps 50 amps 31 amps
MODEL #
COOPER-METALUX
2RDI-232SLS-UNV-EB81/PLUS-U
C
2X4 FLUORESCENT HIGH BAY LIGHTING FIXTURE
COOPER-METALUX
2HE-632-UNV-EB82/PLUS-U
D
OUTDOOR WALL SCONCE, 120V
BESA LIGHTING
307457-K1
E
SERVICE CEILING FAN.
NuTONE
PFC56WH
EF
110 CFM EXHAUST FAN. CARPENTER TO PROVIDE BLOCKING AS REQUIRED.
NuTONE
QTXEN110
EM
EMERGENCY FIXTURE. WIRE INTO NEAREST AVAILABLE CIRCUIT AHEAD OF ANY LOCAL SWITCHES.
LITHONIA
ELM618
EX
EXIT FIXTURE. WIRE INTO NEAREST AVAILABLE CIRCUIT AHEAD OF ANY LOCAL SWITCHES.
H
Square D NQOD 120/208 3 phase 4 w MAIN 225 A Panel
CB Wattage Item 20 762 CONTACTOR (EXTERIOR LIGHTING) 2 20 840 SHOP LIGHTING MIDDLE 4 20 500 SHOP CEILING FANS 6 20 1064 SHOWROOM LIGHTING 8 20 720 CASHIER OUTLETS SOUTH 10 20 900 OFFICE/WAITING RR OUTLETS 12 20 540 SHOP OUTLETS EAST 14 20 360 PHONE BOARD OUTLET 16 20 360 SHOP OUTLETS NORTHWEST 18 20 540 SHOP OUTLETS SOUTH 20 20 720 SHOWROOM WINDOW OUTLETS 22 24 26 28 30 32 34 36 38 40 42
MANUFACTURER
3-BULB VANITY LIGHT. SELECTED BY OWNER. $150.00 ALLOWANCE PER FIXTURE.
G
2 4 6 8 OHD OPERATOR 10 12 OHD OPERATOR 14 16 OHD OPERATOR 18 20 OHD OPERATOR 22 24 OHD OPERATOR 26 28 OHD OPERATOR 30 32 34 36 38 40 42
K9049
Wattage 260 1124 840 1120 720 720 900 360 360 360 1200
B
F
Item WELDER
* VERIFY* AIR DRYER
Surface Mounted
phase A: phase B: phase C:
A
K9049
Wattage 3480 3480 1440 1440 1200 1200 1200 4500 4500 540 540 2880
AIR COMPRESSOR *VERIFY*
LITHONIA
LHQM-S-W-3-G
6" DIMMABLE FLUORESCENT CAN LIGHT. DECORATIVE PENDANT LIGHT. SELECTED BY OWNER. $300.00 ALLOWANCE PER FIXTURE.
COOPER-PORTFOLIO
SIMILAR TO C61126-2D-6251-LI-WF
4' INDUSTRIAL STRIP LIGHT. (2) T8 32W LAMPS.
COOPER-METALUX
SNF-232-UNV-EB1/PLUS-U
W
WALL PACK. BLACK.
COOPER-LUMARK
MHWP-FC-250-MT-BK
NOTE:
E.C. TO SUPPLY ALL FITTINGS AND ACCESSORIES AS REQUIRED TO MAKE A COMPLETE INSTALLATION.
Square D NQOD 120/208 3 phase 4 w MAIN 225 A Panel
73
Meridian Services US Architects - 2010 For this project, our team at US Architects worked in tandem with a local interior design firm. The client came to US Architects after acquiring a building neighboring their main office. In need of major renovation, the building also didn’t fit in with the other buildings on the Meridian Services “campus.” Using matching brick and EIFS colors , I designed an entry element and exterior face-lift to tie the building in with its brothers, the rendering of which is seen below. For the remainder of the project, I worked heavily on the construction documents, continuously bouncing ideas off of the interior designers, the general contractor and the client. We added new ADA-compliant restrooms off the waiting room and reconfigured the staff work areas and exam rooms. I learned a lot about remodels on this project. Measuring existing conditions was very important on this job as with any remodel. The hardest part was working with a set of drawings that didn’t reflect the building’s current condition, as it was older than a previous remodel. Images courtesy of US Architects
74
Finished waiting room, staff break room and staff work room (all below). Working with the interior designer, we developed a rich, colorful interior for the waiting room and workspaces that made patients feel more comfortable.
75
76
77
First Merchants Bank US Architects - 2010 Having a long-standing relationship with US Architects, First Merchants Bank came directly to the firm when they wanted to renovate and expand their Madison Street branch in Muncie, Indiana. I worked directly with the project architect and the client on developing a look that met the bank’s corporate identity. The existing front entrance remained and was reclad with brick to better accentuate the entry. For client and local zoning approval, I created the rendering below. Once approved, I worked with the project architect on creating the construction documents and specifying materials, primarily the brick, EIFS, roofing and interior materials. This renovation added new drive-up bays, restrooms, storage, a break room and IT closet. I learned a lot about document coordination on this project as it was a remodel and all demolition changes had to be chased through the set many times. I enjoyed the opportunity to specify materials on this project. The branch remained open throughout all construction, and was completed in June 2011. Images courtesy of US Architects
78
Rendering of Final Design approved by First Merchants Bank (below, left). Completed project as seen from the sidewalk along Madison St. (below) The final EIFS color was actually slightly lighter than originally planned.
79
80
81
Muncie Music Center US Architects - 2011 When the Muncie Music Center wanted to build a new facility for its retail store and music lesson studios, they approached US Architects and asked us to develop some ideas for a downtown building. I was asked by our principals to develop a preliminary floor plan and elevations and then, following the client’s approval, I created several exterior renderings of the proposed building. The client wanted a building that fit into the downtown fabric, so we created a two-story space above the showroom with lowered roof heights for the education and tenant spaces. Taking cues from other local buildings, I used two colors of brick with a neutral EIFS color between them. The tenant and education spaces were predominantly red brick while the blonde brick was used mostly on the showroom piece. Images courtesy of US Architects
82
83
Community Storage US Architects - 2011 When the owner of Community Storage approached US Architects to design a new office building for a newly-acquired storage facility, both the firm’s principals were overwhelmed with work. As the client was a repeat client, they wanted to work with him again and assigned me the project. For the first time, I had the opportunity to work directly with the client and design, specify and document an entire project. From the floor plans and elevations, to wall sections and electrical systems, I completed the entire project on my own, with a principal always there to ask questions. Specifying all the materials was very informative because I had to understand local zoning regulations. Noblesville, Indiana would not allow any “shiny” materials on the elevations of the building, so metal paneling or siding was not an option. It also gave me the opportunity to design a building’s structure for the first time, from the foundation to the roof framing. Below is the rendering I created for the client and zoning approval. Below right is the finished office, now occupied by staff as well as boxes, locks and tape for sale. Images courtesy of US Architects
84
85
86
Panel A Surface Mounted 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39
Item Showroom/Vestibule Lighting Exterior Lights Showroom/Restroom Outlets Telephone/Data Board Outlet Electric Wall Heater Electric Wall Heater Heat Pump Heat Pump
J10081
Wattage CB Phase CB Wattage 576 20 X 20 400 680 20 X 20 1080 1080 20 X 20 720 360 20 X 20 180 1500 20 X 1500 l X 20 1500 1200 20 X 20 1200 1200 l X l 1200 X X X X X X X X X X X X A B lead A: lead B:
6.68 KVA 7.70 KVA
55.6 amps 64.2 amps
Item Garage/Restroom Lighting Vestibule/Storage Outlets Garage Outlets Air Handler
2 4 6 8 10 Water Heater 12 Well 14 Well 16 18 20 22 24 26 28 30 32 34 36 38 40
Square D NQOD 120/240 single phase 3 w MDP 200 A Panel
87