Architectural Design & Visualization by Bruna Nakhle

BRUNA NAKHLE

DESIGN

utep manufacturing aerospace

unt frisco

durham hall

texas a&m international university

missouri botanical gardens

making spirits bright

ucla sustainability masterplan

proteus

waimea-nui communit y development

U T E P M A N U F A C T U R I N G A E R O S P. Architect: Ayers Saint Gross Location: El Paso, TX Role: Architectural Designer [ceiling design & interior renderings] Team: Nathan Korkki, Architectural Visualization Team (Jessica Lewis, Ben Hurlbut)

One of the most recent interesting projects that I had been asked to participate in was to design a ceiling inspired by a “cosmic” mandala layout that relates to UTEP’s adoption of Bhutanese Architecture. I began by extracting relevant geometries from our mandala precedent into designs that could be made into a perforated metal ceiling. I then worked with the Architectural Visualization team of Ayers Saint Gross to implement rendering the design with Revit and Vray. I shadowed the team and helped create these renderings, learning much about Vray along the way.

UNT FRISCO

Architect: Ayers Saint Gross Location: Frisco, TX Role: Architectural Designer [interior renderings, double height space ceilings & study pods] Team: Nathan Korkki, Kevin Jones, Dana Dixon, Mallory Payne, Treanor HL

The creation of our in-house interior renderings was a difficult but insightful process. Much time was spent coordinating changes between the rendering team, interiors team & project managers in order to streamline an efficient production process. After many iterations of these renderings, I was able to produce these images with minimal post-processing in Photoshop. If any of the iamges needed to be Photoshopped, elements like brightness and contrast were the main parameters that were manipulated.

Several ceiling layouts were studied to determine the most suitable configuration for the building. The intent was for the ceilings to respond to the spaces around and below them and to find a thoughtful connection between both those spaces and other building exterior elements such as the arches and columns. After careful consideration, the design options were narrowed down to two specific layotus: the faceted ceiling and the wood plank ceiling. Ceiling references from buildings such as the Alaska State Archives (A) and the Hyatt Regency, Seattle (B) were used to help re-imagine what the initially flat ceilings below could become.

0'-0" AFF View from West Lobby

CEILING TYPE A.F.F. PAINTED GYPSUM

4'X8' ACOUSTIC PANEL CEILING

2'X2' ACOUSTIC PANEL

The faceted ceiling rises and falls gracefully above all, drawing emphasis unto the spaces below it. The ceiling creates an umbrella over the cafe, 06 emphasizing the grandiose double height space and forms ridges over the library, pushing waves of students into a comfortable study space. The wood plank design brings a complex array of voids and solids throughout the level one ceiling. This almost random configuration stretches from the entryway of the building to the double height space on the opposite end, with two central gaps that lead people along the primary circulation routes in the building. UNIVERSITY OF NORTH T 7

2'X5' ACOUSTIC PANEL

EXPOSED STRUCTURE PAINTED PROJECT INFORMATION

precedent image

WOOD CEILING

Alternate Layout:

9 6

View from East Lobby

FABRIC CEILING (ABOV IN SEATING)

Create gradient of openings from most solid above Welcome Center to most open near windows / exterior glazing

WOOD SOFFIT UNDER

FRISCO BRANCH CAM BUILDING ONE

View from Library

REVISIONS REV. #

APC-1 10' - 0" A.F.F.

___________________________

APC-1 10' - 0" A.F.F.

___________________________

APC-1 10' - 0" A.F.F.1

SERVICE DESK 244E

ASSISTIVE TECH BUTTON STUDIO 231 229

ELEC 215

GWB 10' - 0" A.F.F.

___________________________

ACT 0'-0" AFF

80-PERSON CLASSROOM 260

APC-2 9' - 6" A.F.F.

ELEV2 ELEV-2.2

GWB 9' - 0" A.F.F.

___________________________

ELEV1 ELEV-2.1

View from West Lobby

PAINTED GYPSUM

JANITOR 277

ELEC 279

CIRCULATION C206

GWB 9' - 0" A.F.F.

___________________________

IDF 281 CIRCULATION C201

2P STUDY 284

4'X8' ACOUSTIC PANEL CEILING A B

2'X2' ACOUSTIC PANEL 7

6P STUDY 268

TOILET 275

APC-1 10' - 0" A.F.F.

80-PERSON CLASSROOM 266

___________________________

2'X5' ACOUSTIC PANEL

APC-2 9' - 6" A.F.F.

___________________________

EXPOSED STRUCTURE TRU PAINTED

___________________________

4P STUDY APC-1 9' -208 2" A.F.F.

OPEN STUDY 219

6P STUDY 282

___________________________

GWB 10' - 0" A.F.F.

___________________________

APC-2 9' - 6" A.F.F.

___________________________

GWB 11' - 0" A.F.F.

___________________________

WOOD CEILING

OPEN STUDY 286

OPEN STUDY 204

40-PERSON CLASSROOM 210 APC-2 9' - 6" A.F.F.

___________________________

CEILING TYPE CEILING TYPE A.F.F. KEY PLAN

___________________________

APC-1 ___________________________ 10' - 0" A.F.F.

GWB 12' - 0" A.F.F.

2P STUDY 206 APC-2 9' - 6" A.F.F.

4P STUDY 264

___________________________

ELEVATOR LOBBY C205

STAIR 3 STR-2.2

MEN 213

IDF 217

APC-2 9' - 6" A.F.F.

___________________________

STAIR 2 STR-2.1

___________________________

2P STUDY 2P STUDY 2P STUDY 2P STUDY 250F 2P STUDY 250C 250D 250E 262

CONSULT 248 APC-2 9' - 6" A.F.F.

___________________________

DESCRIPTION

40-PERSON CLASSROOM 280

APC-2 9' - 6" A.F.F.

___________________________

FABRIC CEILING (ABOV IN SEATING)

APC-2 9' - 6" A.F.F.

___________________________

6P STUDY 202

OPEN WORKSTATIONS 220C

OPEN STUDY 200

WOOD SOFFIT UNDER

6P STUDY 288

6 3

APC-1 11' - 0" A.F.F.

J1 / A-162B

K1 / A-162A

View from Library

Rotated ceiling panels relate to 3 zones above double height areas

___________________________

REVISIONS REV. #

DESCRIPTION

APC-1 10' - 0" A.F.F.

___________________________

APC-1 10' - 0" A.F.F.

___________________________

CONSULT 248 APC-2 9' - 6" A.F.F.

___________________________

APC-1 10' - 0" A.F.F.1

SERVICE DESK 244E

ASSISTIVE TECH BUTTON STUDIO 231 229

REFLECTED CEILING PLAN LEVEL 2

GWB 10' - 0" A.F.F.

___________________________

ELEC 215

GWB 9' - 0" A.F.F.

ELEV2 ELEV-2.2

___________________________

ELEV1 ELEV-2.1

APC-2 9' - 6" A.F.F.

ELEC 279

2P STUDY 284

6P STUDY 268

TOILET 275

BID PACKAGE 1 APC-1 10' - 0" A.F.F.

80-PERSON CLASSROOM 266

___________________________

APC-2 9' - 6" A.F.F.

___________________________

4P STUDY APC-1 9' -208 2" A.F.F.

OPEN STUDY 219

APC-2 9' - 6" A.F.F.

___________________________

6P STUDY 202

OPEN WORKSTATIONS 220C

APC-1 11' - 0" A.F.F.

OPEN STUDY 286

6P STUDY 288

J1 / A-162B

DRAWING NAME

REFLECTED CEILINGTRU PL LEVEL 2 DRAWING NUMBER

A-152

40-PERSON CLASSROOM 280

APC-2 9' - 6" A.F.F.

___________________________

OPEN STUDY 200

GWB 11' - 0" A.F.F.

___________________________

K1 / A-162A

___________________________

GWB 10' - 0" A.F.F.

___________________________

OPEN STUDY 204

APC-2 9' - 6" A.F.F.

___________________________

6P STUDY 282

___________________________

07/21/202

KEY PLAN

DRAWING INFORMATION 18 ISSUE DATE: A SCALE: JOB NO.: A B PROJECT DESIGN PHASE

CIRCULATION C206

IDF 281 CIRCULATION C201

40-PERSON CLASSROOM 210

JANITOR 277 GWB 9' - 0" A.F.F.

___________________________

2P STUDY 206

80-PERSON CLASSROOM 260

APC-2 9' - 6" A.F.F.

___________________________

APC-1 10' - 0" A.F.F.

___________________________

GWB 12' - 0" A.F.F.

K1 1/16" = 1'-0"

4P STUDY 264

___________________________

ELEVATOR LOBBY C205

STAIR 3 STR-2.2

MEN 213

IDF 217

APC-2 9' - 6" A.F.F.

___________________________

STAIR 2 STR-2.1

___________________________

2P STUDY 2P STUDY 2P STUDY 2P STUDY 250F 2P STUDY 250C 250D 250E 262

STUDY POD DESIGN DEVELOPMENT:

VOID

FILL

PULL

LINK

APPROACH

REFERENCE: MILKEN INSTITUTE SCHOOL OF PUBLIC HEALTH

form

function

views

At UNT Frisco, the ideal study space should adapt to the form of the void it is filling, function as intended and provide an iconic transparency that markets its suitability as an architectural tool that furthers academic pursuit in an efficient way.

SIT/WAIT

PREP

LEARN

The study pods were another task I took ownership of. I worked closely with my team to iterate a series of quick sketches to communicate the form and function of study pods and their potential as powerful learning and meeting tools for students and staff/faculty alike.

MEET

STUDY

study pod classroom

The design began a lot more stiff and rigid at first, as we were discovering how we could use the room as we shaped it. This handin-hand process helped us expand our expectations of what the space could do. It was especially important to keep our mind open to the multitude of precedents that we were researching to maximize the potential efficiency of the space. The Milken Institute School of Public Health was our favored precedent (see left). After several evolutions, the study pod became a space where students and faculty could sit, wait for a class to begin, meet (before or after class or during office hours), prepare for the next class, and study/learn.

av cabinet entry bench

DURHAM HALL Architect: Ayers Saint Gross Location: Tempe, AZ Role: Architectural Designer [lobby design & documentation] Team: Nathan Korkki, abSketches (rendering)

I took ownership of the task of designing the lobby, including the complex wood grille system that makes up the ceiling and walls. The process involved creating a pattern of wood grille panels that appeared random but actually had a structured and modular layout that could be easily assembled.. The wood grille ceiling was designed to roll gracefully down the adjacent walls and around all the elevator components as well. Lighting was carefully incorporated into the design, embedding itself into the ceiling and also snaking its way down some of the adjacent walls.

Creating one of several material boards for the interior finishes of Durham Hall was my very first project at Ayers Saint Gross. During this process I had the opportunity to learn a lot about interior finishes and how they are chosen for spaces, primarily in commercial buildings. I worked closely with our highly competent interiors team to narrow down colors, compare materials in order to make the best choice, and coordinate quality and durability for all of Durham Hall’s interior spaces.

These are some of the materials that were incorporated into the material board. The process began with colelcting all of the physical materials, designing a digital version of the board and then cutting out where each material would go within a piece of foam baord with the template pasted on it. Finally. the materials were applied to that board and a label was made for the container.

ELEVATOR DOOR

DASHED LINE OF SOFFIT ABOVE

08 80 00 INTERIOR GLAZING

H5 A-822

__________

OPEN TO BEYOND

09 65 13 RESILIENT BASE

09 78 19 CEMENTITIOUS INTERIOR WALL PANELING, CP2 8

C1 A-822

L1 A-822

GALVANIZED STL PL FASTENED TO STRUC STUDS FOR DISPLAY BACKING – SEE TECHNOLOGY DTL

DASHED LINE OF SOFFIT ABOVE

C1 A-822

09 29 00 GYPSUM BOARD

09 78 19 CEMENTITIOUS INTERIOR WALL PANELING

WG-A WG-B WG-A WG-A WG-BWG-A 1' - 7 5/8"09

F7 __________ A-823

AV CREDENZA, BY OWNER

L1 A-822

__________

3 65 13 RESILIENT BASE F7 __________ F7 __________ A-822 A-823

L3 A-822

__________

5' - 2"

LOWER LEVEL - CLASSROOM 40 - ELEV 1 EQ EQ D6 1/4" = 1'-0"

1/4" = 1'-0"

36' - 10 3/4"

ELEVATOR DOOR 05 50 00 STAINLESS STEEL FRAME

H7 EQ A-822

H5 A-822

L6 1/4" = 1'-0"

F7 A-822

H3 A-822

H5 A-822

09 65 13 RESILIENT BASE

WEST E7 1/4" = 1'-0"

H7 A-822

__________

ELEV. L1-00E2

H3 A-822

TYP ALL OUTSIDE CORNERS

A-501B

4" 4"

H7 A-822

__________

E1 A-822

TYP @ ELEV DOOR

ELEV. L1-00E3

C1 A-822

ALIGN

E1 A-822

17' - 8"

WG-A

WG-B

WG-A

WG-B

WG-A

WG-B

WG-A

WG-B

WG-A FLOOR LOUNGE L1-00L1 WG-B WG-A

WG-A

WG-B

WG-A

WG-A WG-B ELEV. LOBBY WG-B L1-00L3 WG-A

WG-B

WG-A

WG-B

WG-A

WG-B

WG-A WG-B

E1 A-822

E6 09 29 00 GYPSUM WG-ABOARD A-822

MAY

2019

TYP @ MONITOR

L7 A-822

__________

DRAWING INFORMATION ISSUE DATE: 6' - 4 1/2" SCALE: JOB NO.:

C EQ

06 MAY 2019 1/4" = 1'-0" 09 78 19 CEMENTITIOUS 21826.00

INTERIOR WALL PANELING

1 B

LOWER LEVEL - TOWER CLASSROOMS / ELEVATOR LOBBY

WG-A WG-B

DESCRIP RFI 0113 ADDENDUM 02 RFI 177 RFI 255

WG-B

WG-A

WG-B

WG-A

WG-B

WG-A

WG-B

WG-A

WG-B

WG-A

WG-B

WG-A

WG-B

8' - 9 3/4"

WG-A

WG-B

WG-A

WG-B

WG-A

WG-B

WG-A

WG-B

WG-A

WG-B

WG-A

WG-B

WG-A

C1 A-822

H3 A-816

TYP @ DIFFUSER EQ

WG-B

C3 A-816

__________

TYP @ LIGHT

1 1/4" TYP

6' - 0"

REF. G0.02 FOR CONSTR AND PERMIT APPLICATI

DIFFUSER CENTERLINE

A LIGHT CENTERLINE

DIFFUSER CENTERLINE DEVICE CENTERLINE LIGHT CENTERLINE

C 3

TYP EQ

9 08 41 13 GLAZED ALUMINUM

KEY PLAN LIGHT CENTERLINE

WG-A

WG-B ELEV. LOBBY WG-A L1-00L2 WG-B

WG-B

__________

WG-A

__________

WG-B

08 44 13 GLAZED ALUMINUM WG-B WG-A CURTAINWALL

WG-B

EQ CONSTRUCTION SET

__________

REV. #

6' - 0" WG-B

WG-B WG-B

09 65 13 RESILIENT BASE

L1 A-822

__________

WG-B

WG-A

__________

05 51 00 PERFORATED METAL GUARDRAIL

__________

22' - 0"

E3 A-822

TYP ALL OUTSIDE CORNERS

__________

TYP @ WOOD WALL

WG-A

__________

ELEV. LOBBY L1-00L2

__________

9' - 6"

E1 A-822

EQ ? ?

ELEV. L1-00E4

H3 A-822

__________

22' - 0"

H3 A-822

L1 A-822

C1 A-822

2' - 11 1/4"

__________

E1 A-822

6' - 0"

4' - 0" 6' - 0"

E1 __________ A-822

SIM

__________

26' - 0"

4" 6' - 0"

A-822

E1 A-822 A-822

__________

09 29 00 GYPSUM BOARD

08 14 00 WOOD DOOR

__________

E1 FIRE RISER ROOM L1-31U1A-822

__________

L1 __________ __________

ELEVATOR DOOR

__________

SIM

H7 H5 A-822 A-822

__________

08 80 00 INTERIOR GLAZING

E1 E7 A-822

__________

1' - 6"

L6 A-501B E8

__________ __________

L7 A-822

05 50 00 STAINLESS STEEL FRAME

4' - 1 1/2"

L1 A-824

STAIR 4 L1-00S4

L1-00L1

ELEV. LOBBY L1-00L3

__________

LEVEL 1 - LOBBY/SILC CAFE NORTH

G4 1/4" = 1'-0"

SIM

1 A 2 3

TRUE NORTH

7' - 0"

E1 A-822 E1

__________

F7 OPEN TO __________ BEYOND A-822 FLOOR LOUNGE

___________________________

H3 A-822

1' - 5 3/4" EQ EQ

5' - 2"

G1 A-824

__________

H3 A-822

__________

5' - 2"

L3 __________ A-822

8' - 8 1/2"

EQ EQ ELEV. L1-00E1

L1 __________ A-822

REVISIONS

AT2 9' - 0" A.F.F.

___________________________

09 29 00 GYPSUM BOARD

06 20 23 - 10" X 10" X 3.5" PLYWOOD BACKING FOR ASU 1 SIGNAGE

9 1/2"

1' - 5 1/2"

L1 A-822

__________

ALIGN

26' - 0"

WG-B WG-A WG-B WG-B WG-A WG-A WG-B WG-A WG-B

L1 A-815

__________

REF. G0.02 FOR CONSTRUCTION PHASING AND PERMIT APPLICATION

9 1/2"

1' - 7"

CLASSROOM (15P) L1-16

L1 A-815

__________

03 JUN 2019 02 JUL 2019 02 AUG 2019 17AT2JAN 2020 9' - 0" A.F.F. 03 FEB 2020 08 FEB 2021

4' - 0"

1' - 0" 3' - 4"

F4 A-822

CLASSROOM (40P) DATE L1-18 06 MAY 2019

DESCRIPTION RFI 0022 DESIGN EVOLUTION RFI 0113 RFI 0115 ADDENDUM 02 RFI 169 RFI 255

KEY PLAN

14 21 00 CALL BUTTON PANEL 14 21 00 HALL LANTERN 09 54 26 WOOD GRILLE WALL 1' - 0" 3' PANEL - 4" 1' - 7" 2' - 0" 09 78 19 CEMENTITIOUS INTERIOR WALL PANELING, CP1

__________

REVISIONS

09 78 19 INTERIOR WALL PANELING, CP2

2' - 0" 1' - 7"

4 E3 A-822

__________

CG1 8' - 9" A.F.F.

___________________________

4' - 0"

26 00 00 RECESSED LINEAR LIGHT FIXTURE, SEE ELEC

__________

L8 A-501A L6

05 51 00 PERFORATED METAL GUARDRAIL J8

MENTITIOUS ALL PANELING

H5 A-822

09 65 13 RESILIENT BASE

G8 A-501A G6

CG1 8' - 9" A.F.F.

___________________________

REV. # 1 A 2 3 5 B 4 5 CEMENTITIOUS

CLASSROOM (15P)

L1-16 09 78 19 CEMENTITIOUS INTERIOR J6 WALL PANELING

A OPEN TO BEYOND

E-

CARDSIGNAGE READER, SEE AV/IT

4" CLASSROOM (40P) L1-18

09 65 13 RESILIENT BASE

ROOM SCHEDULING DEVICE, SEE PLYWOOD BACKING AV/IT

E3 A-822

11 1/2" 11 1/2"

08 41 13 GLAZED ALUMINUM STOREFRONT

06 20 23 - 10" X 10" X 3.5" FOR ASU

ROOM SIGNAGE, BY OWNER

LEVEL - ELEVATOR H7 A-822LOBBY / FLOOR LOUNGE -

LOWER __________

__________

OPEN TO BEYOND

MANUF.

PER FURN.

09 29 00 GYPSUM BOARD

__________

EQ EQ

L3 A-822

A AV

08 80 00 __________ INTERIOR GLAZING

__________

TRANSOM

H3 A-822

06 20 23 - 10" X 10" X 3.5" PLYWOOD BACKING FOR ASU SIGNAGE

16' - 7 1/4"

LOWER LEVEL - ELEVATOR LOBBY / FLOOR LOUNGE - EQ SOUTH 8' - 0"

H5 A-822

__________

05 50 00 STAINLESS STEEL FRAME 08 14 00 WOOD DOOR W/ 10 26 00 CORNER GUARD

14 21 00 HALL LANTERN 1' - 6 1/8"

06 20 23 - 10" X 10" X 3.5" PLYWOOD BACKING FOR ASU SIGNAGE

A-822

E8 1/4" = 1'-0" WG-A WG-B WG-A WG-B WG-A WG-A

09 65 13 RESILIENT BASE

__________

09 65 13 RESILIENT BASE

WG-A WG-B WG-B WG-A WG-B

F7 H7 A-822 A-822

__________ __________

H3 A-822

__________

09 65 13 RESILIENT BASE

09 54 26 WOOD GRILLE WALL PANEL 09 78 19 CEMENTITIOUS H5 __________ INTERIOR WALL PANELING, CP1

13' - 0"

WG-B

H5 A-822 3

WG-A WG-B 09 29 00 GYPSUM BOARD WG-B 09 65 13 RESILIENT BASE WG-A

__________

DISPLAY MONITOR, NIC, 16 GA GALVANIZED STL PL FASTENED TO STRUC STUDS FOR DISPLAY BACKING – SEE TECHNOLOGY DTL __________

LOWER LEVEL - ELEVATOR LOBBY / FLOOR LOUNGE NORTH

ALIGN

L3 A-822

__________

05 50 00 STAINLESS STEEL FRAME

14 21 00 CALL BUTTON PANEL

13' - 0"

SIM

OPEN TO L7 BEYOND __________ A-822

1' - 7"

E6 A-822

__________

TEMPE, AZ 85281

F4 A-822

ROOM SIGNAGE, BY OWNER

4' - 5 1/4"

E3 A-822

__________

10 26 00 CHAIR RAIL

EQ EQ

ELEVATOR DOOR

6 8' - 0"

C1 A-822

L1 A-822

__________

DISPLAY MONITOR, NIC, 16 GA EQ EQ GALVANIZED STL PL FASTENED TO STRUC STUDS FOR DISPLAY OPEN TO BACKING – SEE TECHNOLOGY 3 BEYOND DTL 1' - 5 3/4"

4' - 5 1/4"

__________

WG-A WG-B WG-B WG-A WG-A WG-B WG-A WG-B

4' - 5 1/4"

L7 A-822

6" 1

H6 1/4"40=- ELEV 1'-0" 2 G6

09 78 19 CEMENTITIOUS INTERIOR WALL PANELING

LEVEL 1 - LOBBY/SILC CAFE SOUTH - ELEVATION LOWER LEVEL - CLASSROOM1

06 20 23 - 10" X 10" X 3.5"

E6 PLYWOOD BACKING FOR ASU A-822

SIGNAGE

__________

1' - 6 1/8" EQ EQ

OPEN TO BEYOND

14 21 00 CALL BUTTON PANEL

D8 A-823

ELEVATOR DOOR

__________

EQ EQ

1' - 5 1/2"

DURHAM LANGUAGE & 10 26 00 CORNER GUARD LITERATURE BLDG. RENOVATION E3 09 65 13 RESILIENT BASE __________ L7 __________ A-822 BUILDING NUMBER 012 A-822 851 SOUTH CADY MALL

__________

EQDISPLAY MONITOR, EQ NIC, 16 GA

WG-B

09 29 00 GYPSUM BOARD

10 26 00 CHAIR RAIL 09 29 00 GYPSUM BOARD

__________

851 SOUTH CADY MALL TEMPE, AZ 85281

14 21 00 CALL BUTTON PANEL

4' - 5 1/4"

LOWER LEVEL - CLASSROOM 40 - ELEV 3 D8 1/4" = 1'-0"

L8 1/4" = 1'-0"

OPEN TO BEYOND

DISPLAY MONITOR, NIC, 16 GA GALVANIZED STL PL FASTENED TO STRUC STUDS FOR DISPLAY D8 __________ BACKING – SEE TECHNOLOGY A-823 DTL

__________

LOWER LEVEL - ELEVATOR LOBBY/CORRIDOR - WEST

09 65 13 RESILIENT BASE

E3 A-822

08 14 00 WOOD DOOR

4 L1 A-824 BUTTON PANEL 14 21 00 CALL

L3 A-824

__________

09 29 00 GYPSUM BOARD

__________

4' - 0"

09 65 13 RESILIENT BASE CARD 14 21READER 00 HALL LANTERN

H7 A-822

__________

09 65 13 RESILIENT BASE EQ

09 29 00 GYPSUM BOARD

11 52 13 PROJECTION SCREEN

C EQ

5' - 2"

26 00 00 PENDANT LIGHT FIXTURE, SEE ELEC

10 26 00 CHAIR RAIL

09 65 13 RESILIENT BASE

EQ EQ

__________

OPEN TO BEYOND 6"

AV CREDENZA, BY OWNER

LOWER LEVEL - CLASSROOM 40 - ELEV 4 G8 1/4" = 1'-0"

08 14 00 WOOD DOOR W/ TRANSOM

D8 A-823

08 14 16 FLUSH WOOD DOOR

08 14 00 WOOD DOOR

__________

5' - 2"

09 65 13 RESILIENT BASE

08 14 00 WOOD DOOR W/ TRANSOM

7' - 0"

H8 1/4" = 1'-0"

08 80 00 INTERIOR GLAZING

H5 A-822

__________

LEVEL 1 - LOBBY/SILC CAFE SOUTH - ELEVATION 2 9

09 29 00 GYPSUM BOARD

08 80 00 INTERIOR GLAZING

ADJACENT CEILING AS SCHEDULED

09 29 00 GYPSUM BOARD

DURHAM LANGUAGE & LITERATURE BLDG. RENOVATION

HEAVY DUTY GRID

09 54 26 WOOD GRILLE CEILING, LIFT & LOCK CLIP

The documentation on these two pagesG encompasses some ofF the work that was involved in designing and detailing the lobby spacesC of H E D Durham Hall. The most challenging but rewarding part was probably the series of architectural details. It took hours to take the drawings apart and put them back together while understanding how the pieces were being constructed at the same time. I learned a lot from this process and 1 am always excited to learn the more technical and functional aspects of what we are designing onWOOD a daily basis. PLANK CEILING AT BUILDING NUMBER 012 851 SOUTH CADY MALL TEMPE, AZ 85281

09 54 26 WOOD GRILLE CEILING, EDGE TRIM

09 54 26 WOOD GRILLE CEILING PANEL, REFERENCE RCP 09 54 26 WOOD GRILLE CEILING PANEL, BLACK SCRIM

EDGE TRIM L7 3" = 1'-0" L

DATE 06 MAY 2019 17 JAN 2020 10 JUL 2020 18 DEC 2020

1 1/2"

2' - 0"

1 1/4"

09 54 26 WOOD GRILLE WALL PANEL

TYP

L5 1" = 1'-0" 5 09 78 19 CEMENTITIOUS INTERIOR WALL PANELING PARTITION AS SCHEDULED

CHANNEL

250S125

1'-0" OC

8'-11"

FLANGE BLACK BRACING AT BASE AS MIDSPAN 12'-0"

2' - 0" 2' - 0"

1 1/2"

BUILDING NUMBER 012 851 SOUTH CADY MALL TEMPE, AZ 85281

1 1/4"

5 1/8"

09 54 26 WOOD GRILLE CEILING ADJACENT CEILING AS PANEL, REFERENCE SCHEDULEDRCP 09 54 26 WOOD WALL 09 29GRILLE 00 GYPSUM BOARD 26 0000 - EMERGENCY LIGHTING PANEL FIXTURE - SEE ELECTRICAL 06 20 23 1 1/4" BLOCKING, PAINT BLACK 09 54 26 WOOD GRILLE CEILING PANEL, REFERENCE RCP

05 50 00 STAINLESS STEEL FRAME ELEVATOR DOOR FRAME

CLG - WOOD SYSTEM @

FLOATING EDGE CLG - WOOD SYSTEM @ EXIT L3 3" = 1'-0" ELEVATOR DOOR OPENING SIGN SURROUND HEAD @ WOOD H5 3" = 1'-0" SYSTEM W/O SHROUD

E6 1 1/2" = 1'-0"

SUSPENDED FRAMING PER 06

SCHEDULED

06 20 23 - 10" X 10" X 3.5" PLYWOOD BACKING FOR ASU SIGNAGE SIGNAGE, BY ASU VENDOR

06 20 23 1/2" BLOCKING, PAINT

NO FLANGE BRACING

09 54 26 WOOD GRILLE WALL 6' - 0" PANEL

09 51 13 HEAVY DUTY GRID

DURHAM LANGUAGE & LITERATURE BLDG. RENOVATION

PANEL (WG-A)

06 20 23 1 1/4" BLOCKING, PAINT BLACK 3

09 29 00 GYPSUM BOARD HEAVY DUTY GRID

2 1/2"

09 54 26 WOOD GRILLE CEILING PANEL, REFERENCE RCP

N TRUE NORTH 06 20 23 1 1/4" BLOCKING, SPACING AS REQUIRED BY INSTALLER

TYPICAL WOOD PLANK CEILING MODULE LAYOUT

SPACING

2 1/2"

PARTITION AS SCHEDULED

1/2"

09 29 00 GYPSUM BOARD

REVEAL

2' - 0"

09 29 00 GYPSUM BOARD

STUD

3" 3"

09 54 26 WOOD GRILLE CEILING PANEL, BLACK SCRIM

PANEL (WG-B)

4 1/2"

1 1/2"

3" 3"

09 5113 - HEAVY DUTY SUSPENDED CEILING GRID

06 20 23 7/8" BLOCKING, PAINT BLACK

1 1/2" 1 1/2" 1 1/2" 3" 3" 3"

3 1/2"

26 00 00 SURFACE MOUNTED LIGHT FIXTURE, ATTACHED TO SUSPENDED GRID; SEE ELEC.

ELEVATOR SIGNAGE @ WOOD

PROJECT INFORMATION

REF. G0.02 FOR CONSTRUCTION PHASING AND PERMIT APPLICATION

1 1/2" 1 1/2" 4 1/2" 1 1/2"

09 54 26 WOOD GRILLE CEILING PANEL, REFERENCE RCP 6 09 54 26 WOOD GRILLE CEILING PANEL, BLACK SCRIM

06 20 23 1 1/4" BLOCKING,SYSTEM F7 @BY HANGER WIRE 4'-0" OC SPACING AS REQUIRED 3" = 1'-0" INSTALLER

TYPICAL PLANK TYPICAL WOOD SYSTEM ELEVATOR SIGNAGE @WOOD WOOD CEILING MODULE LAYOUT REVEAL L5 1" = 1'-0" H7 3" = 1'-0" SYSTEM5 F7 3" = 1'-0"

3" 3"

ELEVATOR CALL BUTTON @ WOOD SYSTEM

09 54 26 WOOD GRILLE PANEL, BLACK SCRIM

09 54 26 WOOD GRILLE CEILING PANEL, BLACK SCRIM

09 51 13 HEAVY DUTY GRID

10"

1 1/4"

TYP

WOOD PLANK CEILING AT 14EDGE 21 00TRIM L7 PANEL 3" =51'-0"

09 51 13 HANGER WIRE

PER ASU SIGNAGE STANDARDS

09 54 26 WOOD GRILLE PANEL, REFERENCE R

6' - 0"

REVISIONS REV. # DESCRIPTION 1 RFI 0028 A ADDENDUM 02 B ADDENDUM 06 ELEVATOR CALL BUTTON 2 RFI 244

PARTITION AS KEYSCHEDULED PLAN

06 20 23 7/8" BLOCKING, PAINT BLACK EQ CLG - WOOD SYSTEM @ 09 29 00 GYPSUM BOARD SURFACE MOUNTED LINEAR LIGHT FIXTURE C3 3" = 1'-0" PARTITION AS SCHEDULED

1 1/4"

09 54 26 WOOD GRILLE CEILING PANEL, REFERENCE RCP

H7 1 1/2" = 1'-0"

10" PER ASU SIGNAGE STANDARDS 3"

09 54 26 WOOD GRILLE CEILING, EDGE TRIM

09 51 13 HEAVY DUTY

EQ 1 1/2" 1 1/2" 1 1/2" 3" 3" 3"

1/2" REVEAL 29" @ L1

6 09 54 26 WOOD GRILLE CEILING, LIFT & LOCK CLIP

05 50 00 STAINLESS STEEL FRAME

16" @ LL & L2

1/2" REVEAL

HEAVY DUTY GRID

REFER TO FIXTURE MANUFACTURER FOR RECOMMENDED SPACING IN FIELD

CLG - WOOD SYSTEM @ SPRINKLER HEAD C5 3" = 1'-0"

09 29 00 GYPSUM BOARD

09 54 26 WOOD GRILLE WALL 6 PANEL

09 54 26 WOOD GRILLE CEILING PANEL, BLACK SCRIM

1 1/2" 1 1/2" 4 1/2"

ADJACENT CEILING AS SCHEDULED

06 20 23 1 1/4" BLOCKING, PAINT BLACK

09 54 26 WOOD GRILLE CEILING PANEL, REFERENCE RCP

PANEL (WG-B)

3 1/2"

3" 3"

09 29 00 GYPSUM BOARD

HEAVY DUTY GRID

PANEL (WG-A)

1 1/2"

9 21 13 13 PENDANT SPRINKLER HEAD

4 1/2"

1 1/2"

19 Y 20 MA

PARTITION AS SCHEDULED 09 51 13 ACOUSTICAL PANEL CEILING

T E X A S A & M I N T E R N AT I O N A L Architect: Ayers Saint Gross Location: Laredo, TX Role: Architectural Designer [campus plan 3D modeling and diagramming] Team: Dana Dixon, Corey Rothermel, Jack Black

This project was a request to improve our graphics standards for client interviews and presentations from simple 2D diagrams to readable but complex 3D diagrams. It was out of my comfort zone, as it required that I learn Rhino within a week to get the base done, edited in Illustrator, and finally post-processed in Photoshop.

Partof the challenge of the task was to meet a precedent’s graphic standards within such a limited amount of time. I was given an image and asked if I could replicate it. I confidently knew that I could and tackled the task, regardless of my lack of exposure with some of the programs. This type of adaptive learning and improvisation is what allowed me to help streamline an important client interview and meeting for the team and the firm.

All the diagrams shown reflect pieces of complex build-outs that were meant to illustrate the current conditions of the Texas A&M International University in Laredo, Texas. Some of these diagrams include: vehicular circulation, pedestrian circulation, surface parking, primary and secondary frameworks, primary and secondary open spaces, potential growth, building identity diagrams, key building diagrams, and an edge character diagram.

M I S S O U R I B O TA N I C A L G A R D E N S

RIVER

ROCK BED

LEAF STRUCTURE

TREE CANOPY

Architect: Ayers Saint Gross Location: St. Louis, MO Role: Architectural Designer [lobby studies & interior renderings] Team: Michelle Kollmann, Nathan Korkki, Baltimore team

I had the opportunity to work on this unique project from a design and graphics perspective. I helped design the unique lobby floor below a Chihuly sculpture (as seen on the previous page) and rendered the simple and colorful indoor retail spaces that were part of the project scope.

One of the other processes I was involved in was rendering the iterative designs of the front desk and the lobby, seen below and on the next page. Each view adopts a different perspective on approach, interactivity and lighting. Some of the views even explore incorporating a more graphic backdrop to the wooden plank wall behind the desk.

MAKING SPIRITS BRIGHT Architect: ayers saint gross Location: Tempe, AZ | Washington DC, VA | Baltimore, ML Role: concept designer Team: asg, angi kwak

CONCEPT SKETCHES

HOLIDAY PIECE HOLIDAY PIECE As an engaged design firm, we make spirits bright. As the holiday story unfolds, familiar faces from each of our six disciplines collaborate to create an illuminated, origami gift box. Designed to surprise and delight viewers, the gift box is a true work of art. Like the paper folds of origami, various skillsets at Ayers Saint Gross combine to produce an intricate and inspiring design. This intersection of knowledge, perspectives, and expertise strengthens the culture of our firm, and the work we deliver as one. What’s inside the box is not physically revealed, but it glows from the desk of our President Luanne Greene. The light, which represents the creativity of Ayers Saint Gross, is the gift we share with the communities in which we serve.

PROTOTYPE CONCEPT SKETCHES FOR FINAL BOX

I designed the concept of this project with Angi Kwak. The two images on the left show early prototypes of the box which would be incorporated into a video. It ended up winning an SMPS award. Ayers Saint Gross is an interconnected web of people, ideas, and services.

An array of specialities, personalities, and ecclectic combinations of attitudes towards design (Architecture, Interiors, Graphics, Landscape, Space Analytics, Planning).

We are all connected by a strong foundation that distinguishes us from others through its ability to center our clients in the core of our design philosophies.

U C L A S U S TA I N A B I L I T Y M P Architect: Ayers Saint Gross Location: Los Angeles, CA Role: Architectural Designer [travel workshop: board prep, event & post-processing] Team: Carolyn Krall, Ashwin Dharmadhikari, Allison Wilson

At student/staff engagement workshops, I was often responsible for preparing workshop material, interacting with attendees and finally collecting all of the information. After that, I worked steadily on the post-processing of the event. This often involved creating many diagrams, word clouds, tables and graphs, compiling all of the information that was collected followed by transcribing the results into interesting and easily understood graphics that could then be presented to the client.

Some of the work that I produced to prep for these institutional workshops were simple postcard graphics that students and/or faculty could place dots into or write in a simple response. These graphics were usually designed with simple and intuitive logos, titles and thoughtful consideration of the client’s branding and color codes. Below is an example of a set of them that were taken to UCLA for their “Sustainival” What three sustainability-relatd topics at UCLA interest you most? (Sustainability Festival) event. Priority Board: What are three of the most important aspects of sustainability at UCLA?

Place a dot in the space provided near your choice.

most interesting most enaging most gratifying

abletop / Easel

PLACE DOTS HERE

Preserving Biodiversity

PLACE DOTS HERE

Diversity

PLACE DOTS HERE

Water Conservation

PLACE DOTS HERE

Active Transportation

Waste Reduction & Recycling

PLACE DOTS HERE

Ethical Treatment of Animals

Renewable Energy

PLACE DOTS HERE

Ethical Sourcing

Health & Wellness

PLACE DOTS HERE

Responsible Trade

PLACE DOTS HERE

Research

PLACE DOTS HERE

Affordability

PLACE DOTS HERE

Carbon Neutrality

PLACE DOTS HERE

Sustainable Food Systems

PLACE DOTS HERE

Innovation & Technology

Creative and simple diagrams were made in order to simplify and organize the different disciplines and sub-categories of sustainability that were being held into consideration for the production of the Sustainability Masterplan. In addition, post cards with word clouds and simple questions that could be rated on a scale were detrimental to quickly and easily gather information from the students and the faculty.

Combined

Carbon Dioxide emissions increase global warming and climate

Achange. Carbon Neutrality describes actions which balance

Green Building

atmosphere with carbon Energy carbon dioxide emissions into theLocal Solar dioxide removal from the atmosphere.

Climate Protection

Energy-Efficient Air QualityCarbon Dioxide emissions increase global warming and climate Buildings How important is carbon neutrality to you on a scale of 1 to 5 and

change. Carbon Neutrality describes actions which balance

Clean Energy

Carbon & Climate why? Open Space, Recreation, carbon dioxide emissions into theLeadership atmosphere with carbon and Habitat / Biodiversity

dioxide removal from the atmosphere.

Sustainable Foodservice Environmentally Preferable Purchasing

How important is carbon neutrality to you on a scale of 1 to 5 and why? Procurement, Waste Reduction, and Recycling

Resource Recovery and Waste Management

Housing not important

Waste Reduction and Recycling Sustainable Water Systems

Front Back

not important

Water

Front

Transportation

Email:

3.5”

carbon dioxide emissions into the atmosphere with carbon dioxide removal from the atmosphere.

Carbo

Cchange

carbon dioxide

Carbon Dioxide emissions increase global warming and climate How important is carbon neutrality to you? change. Carbon Neutrality describes actions which balance carbon dioxide emissions into the atmosphere with carbonVery Not Slightly Fairly Not Sureremoval Important Important Important Important dioxide from the atmosphere.

Carbo Which change most c carbon dioxide

How important is carbon neutrality to you?

Which most c

Not Slightly IfNot “NotSure Sure,” please elaborate why: Important Important

Fairly Important

Very Important

Build Ener

If “Not Sure,” please elaborate why:

Build Ener

5 very important

Year:

Housing & Major: Development

Major:

Preparedness & Resilience

What words do you associate with sustainability?

Public Health and Well-Being

3.5”

Carbon Dioxide emissions increase global warming and climate

Bchange. Carbon Neutrality describes actions which balance

very important

Land Use and Mobility & Transit What words do you associate with sustainability? Transportation Name: Year: Prosperity & Green Jobs

Economy and Workforce Development Academics and Research

Environmental Justice Air Quality Livable Neighborhoods Urban Ecosystem

Equity

Social Sustainability

Local Water

Name:

Email:

Sustainable Operations

Waste and Landfills

Economy

Back Transportation

Environment

Climate Protection

Name:

Major:

What words do you associate with sustainability at UCLA?

ENVIRONMENT COMMUNITY CAMPAIGNS Name: Major: ETHICAL SOURCING TRANSPORTATION CLOTHING HOUSING ENERGY CLIMATE What words do you associate with sustainability at UCLA? TEAMWORK SUNLIGHT BICYCLES POLITICS ENVIRONMENT COMMUNITY CAMPAIGNS ANIMALS WASTE DIVERSITY EDUCATION ETHICAL SOURCING TRANSPORTATION JUSTICE RESEARCH PEOPLE CARS HOUSING CLOTHING EQUITY CLIMATE ENERGY CARBON FOOTPRINT FOOD HUMAN RIGHTS BICYCLES POLITICS TEAMWORK SUNLIGHT BUILDINGS RECYCLING ECONOMY PLANTS EDUCATION ANIMALS WASTE DIVERSITY AFFORDABILITY GLOBAL WARMING JUSTICE RESEARCH PEOPLEWATER EQUITY CARS Write-In Your Own HUMAN RIGHTS FOOD CARBON FOOTPRINT BUILDINGS RECYCLING ECONOMY PLANTS

G UCLA

F Affor AfforG Affor UCLA Ethic Rene Affor Recy Affor Heal Affor Wate Ethic Sust Rene Recy Heal Wate Sust

PROTEUS Year: Spring 2017 Location: Phoenix, AZ Role: Designer Instructor: Victor Irizarry

The goal of this project was not made clear from the beginning. This studio project was an incremental progression through individualistic exercises that involved writing a letter to yourself, forming a graphic/map out of that letter, printing the graphic full-size and then cutting and shaping that graphic into 3D forms, first out of the paper that the map was printed on and then superimposed onto balsa wood. After our 3D models were formed, we were asked to research what a “nomad” was and to find a type of nomad that we wanted to craft this project around. In doing so, we would find a way to relate the 3D forms we made in the first three exercises to the subject of the project that we were designing for.

Having multiple nationalities and empathizing with the subject I researched, I targeted a theoretical group known as the “hybridized neonomads.” These nomads are people who belong to more than one culture but cannot claim either. Their “physical shelter” is broken down to the only layer that they can take with them as they travel: their skin. Since I could not travel during the semester, I used a virutal environment with open parameters to create a portotypical journey as a hybridized neonomad. I recorded my movements, created simple line diagrams out of each video, and superimposed them onto one another to create a theoretical, virtual map that would help become the base of my design.

Proteus is a migrating, neo-nomadic memory tool. It leaves behind relics for people to continue to record their thoughts and memories so that, when it returns, it can share in their experiences. Proteus’ walls are made of a conglomeration of different fabrics and materials it has collected from the locals of all the places it has traveled, embedded into a steel structure that can be taken apart and remade. Its guests are invited to participate in making their very own mark on its colorful skin.

Though Proteus moves around all over the world, the hardscape that forms when it sets into its new temporary home remains and so do the simple obelisks that the site’s visitors can interact with. The caretakers of the structure leave blank journals and allow visitors to make their marks on them. These journals travel with Proteus and become part of its story and evolution. The obelisks allow people to sit, conteplate, write, read or even take shelter during a vulnerable moment. Visitors can also build upon previous visitors’ entries.

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WA I M E A - N U I Year: Fall 2016 Location: Waimea, HI Role: Designer Instructor: Phil Horton

The Waimea-Nui Community Development project was a collaborative project that involved our entire studio (15 students) in an exciting first attempt at tackling an architectural problem at both micro and macro scales.

We traveled to Hawaii as a group, specifically to Waimea on the Big Island. Some key cultural themes that were important to the Natives included the usage of lava rock, thatched rooves, native hawaiian canoes, and sacred customs. Along with these aspects was the people’s firm desire to be able to identify as a distinct cultural community instead of being stereotyped into Polynesian culture as a whole. As a result, our project became an eclectic conglomeration of 15 students’ ideas and thoughts through the scope of what the native Hawaiians wanted: a cemetary, a chapel, a cultural center, a health center, a senior living center, and an agricutlure center.

The key element that was developed in order to connect our site to the rest of Waimea was a massive “green network” (previous page). The green network would function not only as a transportation medium that connects the site to the rest of the area but also as an opportunity to build upon important sustainability ideals that the natives wanted to promote about the way that they live and function on a day-to-day basis. These renderings below were made using Podium with some fairly heavy post-processing in Photoshop. A more abstract approach was used for the backgrounds of the perspective views, using a collaged effect of the distant mountain forms taken from trip photos.

Architectural Design & Visualization

Articles inside

proteus

making spirits bright

utep manufacturing aerospace

texas a&m international university

waimea-nui community development

missouri botanical gardens