Selected Portfolio by Clarisse Wean

C l ar i ss e Wea n

selected works

Clarisse Wean Education

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Academic SP_2020 AU_2019 AU_2016 SP_2016

Confluence Distillery Boutique Hotel Golden Gate Concert Hall Chandigarh

Research SP_2017 AU_2020 SP_2020 AU_2020

Other Worlds - Undergraduate Thesis Mocuments Sustainability Initiative A Winter of Discontent

Professional SU_2020+ AU_2017+

Knowlton On the Rocks RWA Work

For more work visit

www.clarissewean.info

selected works 3

SP_2019

Confluence Distillery In Collaboration with Aubrey Nelson + Santiago Rodriguez Beth Blostein + Todd Gannon Graduate Studio II

The Confluence Distillery is a collection of buildings arranged around a plaza, creating a complex rather than a singular distillery building. The distillery complex allows for each programmatic element to maintain its own identity while maintaining strong formal and material relationships with all other programs. Oversized primary objects were chosen to set up a subtle landmark on the site, one that was easily recognizable from a plane, the nearby highway, or the surrounding bike paths. The familiar yet uncanny shapes, produced by embedded primary objects within oversized primary objects, creates both a familiar and an uncanny experience.

View from Plaza

Production Hall

Gift Shop

Courtyard Plaza

Restaurant + Bar

Museum + Offices Education + Research

Plaza Level Plan 6

Production + Plaza

High Ground - Low Ground

Primary Object Program

Superimposed Objects

Lower Level

Plaza Level

Upper Level

Front View 9

Production Hall

Aging + Barreling

Visitor Viewing Platform

Storage

Truck Loading

Lower Level Plan 10

Plaza View Towards Production

Museum Courtyard View 11

Path to Waterfront

N:S Section

E:W Section 13

AU_2019

A Boutique Hotel Erik Herrmann + Sandhya Kochar Graduate Studio I

A boutique hotel, the project is an investigation of bad fits: formally, programmatically, and experientially. Bad fits are defined as moments of awkwardness by means of unexpected encounters and the continuous collision of space. Unexpected encounters occur through the enforcement of people watching from lobby mezzanines, hotel rooms overlooking the art galleries, and an interior plaza. A continuous compression and expansion of space leads guests through all parts of the boutique hotel, ending in the expansive main gallery. The hotel’s form is derived from a collision of objects, during which the main gallery asserted its formal dominance and maintained its original formal qualities.

Physical Model

Colliding Program

Carved Out

Awkward Overlaps

Voided Gallery

Section 17

Front Elevation 18

Interior Renders

Blackbox Entry

Inner Plaza

Gallery Entry

Ground Floor Plan 20

Gallery

Hotel Rooms

Upper Plan 21

Physical Model Photo

Section 23

Physical Model Photo

AU_2016

Golden Gate Concert Hall Andrew Cruse Undergraduate Gui Competition Studio

The music hall is situated in Golden Gate Park on a steep slope. Already in such a public space, the music hall took in to consideration the potential for various users. The rear programmatic bar simultaneously acts as a retaining wall and acts as a sound barrier to the adjacent road. Once beyond this threshold, two more layers of space unfold: a continuous shell directs circulation and holds the three concert halls, which are the final layer of space. The space between the retaining wall and the shell allows users to experience both the music hall and the park. As one moves through the shell towards the concert halls, the spaces become more enclosed and protected acoustically and visually. This phenomena allows for various events to occur at once, without any damage to the acoustic of each individual space.

Sensory Farm Axonometrics

Sensory Farm - Scratch + Sniff 28

Bar

Shell

Music Halls

Bar

Interstitial

Bar

Site Access

Zones of Circulation

Section

Floor Plans 31

Site Plan

Section 33

SP_2016

Chandigarh Jose Oubrerie Vertical Studio

A knowledge museum for the residents of Chandigarh, the project is made up of open-ended, continuous spatial containers allowing exchange between the interior and exterior. Programmatic possibilities are explored through the creation of artificial terrain as building. Overlayed systems of exchange, circulation, and site conditions mimic modes of sharing and discovering knowledge in a museum setting. The project acts as a tool for recognizing and revealing the site by gathering in and orienting the space of the landscape, both in geological and urban terms.

Hand Drawing Physical Model Photo

Physical Model Photos 36

Section

Site Elevation

Precedent Study + Cube Transformation Collage 39

SP_2017

Other Worlds In Collaboration with Cassidy Rush + Justin Slayton Dow Kimbrell + Sandhya Kochar Honor’s Research Studio

In the day and age of mass globalization, the power and stake of architecture is in peril. A new world order is necessary to claim territory in the socio-political climate of today. To do so, socio-political themes must be analyzed, read, reread, misread, and deployed as architectural worlds. While questioning the current state of architecture and its political power, seminal precedent architecture projects are used: new worlds based on previous knowledge. With each use of a precedent, its meaning is [re]deployed to respond to the world it resides in.

Physical Model Photo

Precedent Studies 42

Rendered World

Physical Model Photos 45

AU_2020

Mocuments In Collaboration with Henry de Leon + Max Lux + Santiago Rodriguez + Elliott Smithberger Zach Cohen Distributed Manufacturing Graduate Studio III

Mocuments is a research project aimed to create more equitable construction practices by physicalizing the process of both reading and writing construction documentation. Construction error is often a result of miscommunication between construction labor and architectural labor. Drawing legibility, information, and format are crucial to the accurate and safe construction. To mitigate some of the risk this research project proposes a new kind of construction document that consists of more than one media, allows for new conventions, and reduces error. We propose Mocuments. A mocument is a handheld, transportable, and interactive kit of miniaturized 3D printed parts. It is part physical model, part full-size mock-up, part construction document.

Speculative Render of Mocument AR App

Exploded Render of Mocument Pieces 49

Mocument Chunk + Custom Tool

Speculative Render of Mocument AR App

SP_2020

Sustainability Initiative Independent Study In Collaboration with Bailey Shurtleff + Knowlton Students

3D printing is a large part of the Knowlton School culture. Students begin 3D printing sophomore year , producing test prints, discarded support material, and final spray painted prints. With no program to recycle 3D print material, myself and other Knowlton students began a 3D print recycling initiative with funding from the OSU CocaCola Sustainability Grant. Through research and testing we found effective methods to shred, melt, and reuse 3D prints and their associated waste. Among many experiments, recycled, multi-colored filament was extruded and a mock stool was designed to test the strength of recycled 3D prints. The group intended to finish the semester with a large-scale installation of recycled 3D print sheets - to be reused by students for final models - before COVID affected the semester.

Recycled Filament 53

Melting + Bending Process 54

Color Studies

Melting + Color Study 55

Mock Stool + Drawings 56

Final Installation Renders 57

AU_2020

A Winter of Discontent Ashley Bigham Slavic + Eastern European Seminar

A Winter of Discontent is a research project that looks at the protests of Belgrade during the winter of 1996-1997. The architecture, monuments, previous historical experiences, and present institutions made the streets of Belgrade the perfect “stage for a revolutionary theater.” Protesters often followed a similar, circular route on their way from City Hall to Republic Square. Along the way, certain institutions became targets of the urban protesters. A basic characteristic of this “revolutionary theater” was to debase institutional architecture in an attempt to invert symbols of power and oppression. The research included mapping the route of the protesters, drawing the architecture that staged the protests, and analyzing the background of both the protest and its protesters.

City Hall

Radio Belgrade

Supreme Court

Politika Palace

Ministry of Education

State Television

SU_2020+

Knowlton On the Rocks Co-Founded with Eric Schultz

Knowlton On the Rocks was founded over the summer of 2020, at the height of COVID-19. In search of a way to stay connected to other students, Knowlton On the Rocks hit the ground running with an issue highlighting the Knowlton BIPOC Coalition and their demands. Knowlton On the Rocks is the alternative student publication at the Knowlton School of Architecture. It is a platform where students - especially those not given the space or opportunity in studios or classroom settings - can share their ideas, opinions, issues, and demands. Knowlton On the Rocks is a student publication for students, by students.

KOTR 63

From the Editors

The act of design is inherently discriminatory. A series of conscientious decisions that yield preference. The inaugural issue of Knowlton On the Rocks must address, unlearn, and redress the racism and white supremacy that pervades design practice and education, specifically our own. In support of the Knowlton BIPOC Coalition’s letter to administration which confronts Knowlton’s complicity and calls for immediate systemic change, our first issue will focus on racial inequality, micro and macroaggressions, and white supremacism within Knowlton and the design community at large. These are implemented in White Eurocentric history courses, willfully ignorant studio prompts, student, faculty, and professional representation, and the capitalist cycles that promote, award, and defend gentrification. Design has both actively and passively perpetuated racial injustice and inequitable spaces, and without significant change, will continue to create and guard these environments. As the next generation of planners, landscape architects, and architects we are responsible for dismantling and rebuilding these systems and practices.

Coalition has done thus far; confronting Knowlton’s complicity and calling for immediate systemic changes to racial injustice and white supremacy. Dismantling and rebuilding the foundations on which Knowlton and the design community stand is work that cannot be left solely to the Coalition - we must all be engaged, urgently and continuously.

Knowlton On the Rocks was initially started as a platform for students to express their interests, opinions, and concerns in real time. We wanted a publication for students, by students - one that would be less formal and more frequent than One:Twelve in hopes of being more accessible to a wider audience. Shortly after the inception of this publication came the death of George Floyd and a profound shift and reconsideration of attitudes towards racial inequality in the United States and beyond. While the goals and attitudes of Knowlton On the Rocks remain the same, there are now much more serious implications and responsibilities to oblige. Through its digital platform, Knowlton On The Rocks will host student content as it relates to all Knowlton disciplines, the field of design as a whole, and the pertinent issues our communities face.

Knowlton On the Rocks is committed to doing the work of unlearning white supremacy and anti-Black racism. Knowlton On the Rocks is committed to engaging in critical reflection and immediate action. Knowlton On the Rocks is committed to supporting the Knowlton BIPOC Coalition and their calls for immediate change. We call on fellow students, faculty, and administration to do the same.

In solidarity

Eric Schultz & Clarisse Wean

K n ow l to n B I P O C C o a l i t i o n

Everyday encounters of discrimination, racial harassment, tokenism, and microaggressions are also common for BIPOC students at KSA. It is these very actions that deter many BIPOC students from furthering their education or from seeking a career in their respective field. Black architects represent approximately 2% of all licensed architects in the United States and only .5% of licensed architects

Paityn Monagan, 2019 B.S. in Landscape Architecture Patricia Molina, 2019 B.S. in Architecture

We call for the investment and security in space for Black students and other POC students. This includes supporting and investing financially in Black student efforts, events, and organizations like National Organization of Minority Architecture Students (NOMAS). All other groups shall be held accountable to upholding diversity and inclusion in representation and programming, and shall have zero-tolerance statements written into their bylaws and conveyed to their membership.

We call for the expansion of the Knowlton Ambassadors program for recruitment and retention of BIPOC students. This includes formal partnerships with local, inner-city schools to promote attendance and mentorship with KSA. The expansion of this program requires BIPOC student ambassadors, and paid labor for students’ work.

We call for the creation of a Knowlton scholarship program to support local inner-city Black students. These are available to incoming or continuing students of all disciplines. Multiple scholarships supported by KSA, alumni, and local partnerships are encouraged.

We call for the allocation of funding to invest in hiring and supporting Black faculty, staff, administration and BIPOC fellows. We expect the school to intentionally seek Black, Indigenous, and other POC faculty for tenure, fellowship programs, and professorships. This includes expanding the fellow/professorship program to include fellows interested in social justice or racial equity work. The school shall highlight and support the varied endeavors of BIPOC faculty and staff, especially Black faculty and staff, while regularly uplifting all active contributors to racial equity work.

We call for transparency in the selection criteria of all hiring protocols, honors, and awards. We call for representation for student leadership in the decision-making process in the selection of faculty, fellows, administrative candidates, honors, and awards.

We call for the investment in a Knowlton Diversity and Inclusion Officer that oversees and advises all diversityrelated matters. The expertise of a Diversity and Inclusion Officer will ensure the implementation, longevity, and success of all diversity-related trainings, initiatives, recruitment processes, and policies within the school. This person should be part of the leadership team.

Students Architecture

an interview with

Andre Banerjee

Landscape Architecture

How was the Coalition formed? The Coalition was formed in response to the Black Lives Matter movement and began in early June, a few weeks after the death of George Floyd. A group of KSA alumni, students and faculty came together to put pressure on the administration to address the racial injustices and white supremacy that the institution has helped perpetuate for years on end with little to no action taking place.

What were the Coalition’s thoughts on the Townhall? Did you find the administration’s responses acceptable? Overall, the Townhall went as we planned. We expected that we would not have enough time to address all of the items put forward in the letter, so we had to focus on just seven points. We found that there was reasonable dialogue, but that the administration held back in committing to hiring more diverse faculty due to the hiring freeze. We understand the given circumstances due to COVID-19, however a plan and commitment to hiring more faculty of color would have been ideal. Additionally, in regards to Demand #12 (ending contractual relationships with prison labor at OSU and the police), we hoped for more of a commitment again, however the administration was not able to do so. Additionally, based on feedback that we received from participants and members of the Coalition, we felt that the logistics of the Townhall could have been improved. Some who attended the call felt that their voices were not heard due to the way that the call was organized, and that is valuable information that we will definitely prioritize in the future.

In response to items 11 & 12, Dorthee’s response distinguished between individual faculty opinions and institutional stances. KOtR is of the belief that institutional stances can, and should, adapt to reflect the opinions of the individuals that comprise them. This week, the University of California faculty announced that they are “...in coalition with students, staff, workers, and community orgs we will ensure COPS OFF CAMPUS by Fall 2021. We refuse participation in carceral & settler logics.” What are your thoughts? During the call, it was mentioned that a number of faculty members had signed the petitions to end contracts with the police. I am curious to know what total percentage of faculty are in support of ending contracts. I believe that it is of high priority for Knowlton to take a stance, because it sends a message to the students and alumni of Knowlton that they are in solidarity with them. I believe that KSA should prioritize how they are going to address this issue and come up with a collective response.

Could you describe how the interaction between the Coalition and Knowlton/College of Engineering administration has been? What are the steps going forward? Is there agreement on next steps? Leading up to the Town Hall and after, the interaction between the Coalition and the administration has been cooperative. There were a number of meetings between the Coalition and Knowlton in order to assure that everyone is on the same page. Going forward, there is agreement that the Coalition will be involved in decisions that the school takes, and that the BIPOC network will continue the work that was started. The next item for the Coalition is to provide input in structuring a peer mentorship program for Knowlton.

“Going forward, there is agreement that the Coalition will be involved in decisions that the school takes . . .” How does the Coalition propose to hold Knowlton accountable? The Coalition plans to continually work with the school to ensure that the demands set forth are met. If we feel that our demands are not met, we will encourage students, faculty and staff to put pressure on the administration to take a correct course of action. We plan to establish the Coalition as a group that continues this work for years to come, and does not end when current members are all graduated or no longer affiliated with Knowlton.

Aisha Cheema, 2020 B.S. in Architecture

Michaela Urteaga, 2020 B.S. in Architecture

Latifa Alagah, 2021 B.S. in Architecture

Shauna Lindsey, 2016 B.S. in Architecture and 2018 Master of Architecture

Roulette Martese, 2023 B.S. in Architecture

Makayla Davis, 2021 B.S. Landscape Architecture

Avee Oabel, 2021 B.S. in Landscape Architecture

National Organization of Minority Architecture Students at Ohio State

We call for the restructuring of curriculum, course offerings, and public events within KSA to include BIPOC communities and voices. We call for equal time dedicated to academic and built work outside of Western influences, especially work done by Black and Indigenous practitioners within the Global South region. It cannot be a kind of tokenism. This includes expanding existing curricula to contextualize the role of European/White American architects and planners in the history of spatial injustice. We cease to accept the responsibility of students to seek these course offerings outside of KSA as the response or sole solution.

We call for multidisciplinary studios that meaningfully engage with communities, and consider the impacts of political/social issues on the community as a part of the studio process. We call for more cross-disciplinary studio experiences that forefront activism, planning policy, and design that engage students in realistic contexts for community engagement. We emphasize that it is academically and professionally irresponsible to disregard the impact of design in creating a just society.

We call for full representation in the selection of reviewers and Baumer guest lecturers. We cease to accept reviewers and lecture series that hold an all-white, all-male lineup. We call for multiple voices of BIPOCs in every final and mid-review and BIPOC representation in the selection of works within the gallery. Promotion of BIPOC practitioners as valuable contributors to the architecture, landscape architecture, and city planning fields is imperative. We encourage partnerships with minority-serving institutions and organizations to recruit non-white representation.

We call for reasonable expectations of time and financial commitment to academic work. We recognize high-cost project deliverables and demanding time commitments make architecture education inaccessible to many students due to class and racial inequities. We call for ongoing efforts to mitigate educational and financial barriers of architecture, landscape, and planning education to ensure that opportunities for education are achievable for all.

We call for Knowlton to admit the harm caused by the territorial expansion of universities in Black neighborhoods and of American settler colonialism into Indigenous lands. We call Knowlton to publicly denounce OSU’s aggressive gentrification of Columbus, including the Short North and Franklinton, and acknowledge that increased policing often follows gentrification, criminalizing Blackness and poverty under the guise of public safety.

We call on Knowlton to advocate for the end of contractual partnerships with police and for ceasing the use of prison labor on campus. We call Knowlton to publicly denounce the University’s investment in the carceral state. We call on Knowlton to advocate for reallocating funds to the critical spatial, communal, and cultural needs of neighborhoods and communities which have been harmed by violent spatial practices sponsored by the university.

Currently we do not have concrete plans for another Townhall, but if we decide to pursue another Townhall, we will take in as much feedback and consideration from those who attended as much as possible. As more progress is made on the administration’s side, we will evaluate if another Townhall is in the best of interest. Alumni have played a huge role in the Coalition, as well as in many other school’s call for action & accountability. Knowlton’s Coalition is creating a BIPOC Alumni & Student Board. What is the status of the board and how can both students and alumni get involved? We are currently planning how to best engage students and alumni, and planning what the next actionable steps we need to take are. We strongly encourage students and alumni to reach out to any one of us involved and we will gladly involve them in our efforts. If someone wanted to reach out to the Coalition with questions, comments, support, how could they do so? Reach out to me (Andre Banerjee), Adeeba Arastu, Asya Shine, or anyone else who they know who is part of the coalition. We will provide our information below:

Andre Banerjee B.S. Landscape Architecture Alum Email: andrebanerjee@gmail.com Adeeba Arastu 2018 B.S. Architecture Alum 2018 Email: adeeba.arastu@gmail.com Asya Shine B.S. Architecture Alum 2017 Email: ashine@umich.edu

We announce the creation of a BIPOC Alumni and Student Board to directly cultivate a strong network of BlPOC professionals, alumni, and students. They will work in collaboration with the Diversity and Inclusion Committee and KSA leadership to not only uphold the school’s diversity and inclusion commitments, but advocate for the assemblage of a Columbus NOMA chapter through community partnerships and alumni outreach.

This letter is just the beginning, and represents our commitment to working with the Knowlton School of Architecture on institutional change. Signed in solidarity, Co-Authors (See above for list of Co-Authors)

Faculty

City & Regional Planning

2019 UG Enrollment (Does not include pre-majors)

All Programs

2019 Assistant Professors

2018-2019 UG Degrees Awarded

Knowlton By The Numbers

There is a quote often attributed to Scotsman Andrew Lang about statistics and how they are misused much the same way a drunk uses a lamppost: for support rather than illumination. Addressing disparities of minority representation in universities and professional fields must go beyond the numbers. Administrative benchmarks placed on promoting racial diversity, although seemingly well intentioned, can alternatively be viewed as perpetuations of tokenism. To echo the words of Dr. Martin Luther King Jr. in Why We Can’t Wait: there is no minimal level of minority acceptance. Equality cannot be enumerated. The following figures compiled from the 2019 College of Engineering Annual Statistical Report1 are not meant to gauge Knowlton’s student and faculty bodies, but instead shine light through the cracks of a broken system. For instance, it is statistically irresponsible to draw inferences from a single year’s worth of institutional data. However the discrepancies in diversity through the progression of undergraduate populations to graduate degrees, particularly in the architecture and landscape architecture sections, should be cause for concern. Additionally, at the faculty level, minority representation greatly decreases beyond the rank of assistant professor.

2019 Associate Professors

In the professional sense, the AIA refers to these as challenges2. As of 2015 only 5% of students enrolled in architecture programs across the country were African American, while 15% were Latinx2. In comparison to licensed architects, those numbers drop to 2% and 3% respectively2. The AIA lists numerous reasons for these drop-offs, many of which reflect the necessary action items listed by the BIPOC Knowlton Coalition.

2019 Graduate Enrollment (Does not include CRP PhD

2019 Full Professors

There were many times when it was difficult to balance a full time job and push forward the Coalition’s efforts. As of now, there has not been any compensation, but we value everyone’s mental health first. If someone has to step away for a while in order to prioritize themself, we are very supportive. We also tried to schedule meetings at a time that is convenient for our members who are working and have other commitments. From the beginning, we have made this point clear that our work is not being monetarily compensated. However, we know that this work is necessary and vital to ensuring that the future of design education at Knowlton is as inclusive it can be. We also recognize that we as BIPOC react to racism in different ways. Whether it be anger, fatigue, sadness, etc., our goal is to provide the space to express those emotions and offer support. It can take a lot of energy to continually talk about racial injustice, so we want to provide a space that is accommodating and supportive. The Townhall focused on seven of the fourteen action items. Will there be another Townhall to publicly address the other seven demands?

02 Initiating a Town Hall with the administration, faculty, staff, and representatives from BIPOC students and alumni to develop an action plan.

Having a collection of schools working towards the same goal of diversity and inclusion is truly inspiring. This network is growing and there are more conversations that are being planned to join forces and share resources. During the New Grounds conversation, representatives across sections, both architecture, landscape, planning, and other design professions, all came together to share how their experiences are progressing and shared how their individual efforts can be adapted across schools. Having this process of exchanges and dialogue shows that this effort is not singular and that this problem is not just specific to Knowlton. There is a larger problem within the design education system itself and we cannot change it without a collective effort. Many Coalition members are recent graduates. Many also have full time jobs and commitments. The work that the Coalition has been doing is uncompensated. How is the Coalition dealing with compensation, time, and energy?

We affirm that a safe environment requires community accountability and zero tolerance for racist/sexist/ homophobic/transphobic behavior and sexual harassment. We call for faculty to ensure that each student is familiar with how to report a bias incident, harassment, or hate crime. We call for a system where students, with options to remain anonymous, report directly to the Director of the School and to the Diversity and Inclusion Officer, in an effort to streamline action and response.

01 Issuing a written commitment to these initiatives in collaboration with BIPOC students and alumni.

“. . . only 3 percent of landscape architects and just over 1 percent of ASLA members identify as African American.” The Coalition has been a part of many conversations - including New Grounds for Design Education, a conversation between letter writers from several design schools. There is power in collective force and accountability. What has been the process of schools working in tandem? Has this network already expanded or shifted, and in what ways?

In response to the message from the Knowlton School on Juneteenth we call on the immediate attention and action of the items listed above. Taking action on these items will only be the beginning of dismantling the systemic racism embedded in this institution’s educational pedagogy and the greater built environment. Action will require centering and working with the BIPOC voices from current students and alumni. We invite Knowlton faculty and administration to take action by the following means:

Andre, with your background in landscape architecture do you feel that there are differences among disciplines regarding racism - how, or if, it is evaded, learned, and unlearned? Speaking from my experience in landscape architecture, I feel that it is not discussed enough, especially within smaller landscape firms. Given that landscape architecture is a comparatively smaller field than architecture, there is a low number of minority landscape architects. According to ASLA, about 14 percent of the U.S. population identifies as African American, but only 3 percent of landscape architects and just over 1 percent of ASLA members identify as African American. I feel that people in general are not as exposed to landscape architecture as they are to architecture, and that translates to even less exposure for minorities. We need to continue the work of introducing landscape architecture to young BIPOC minds, because the future of our profession depends on it. We need a diverse representation of people from all backgrounds. And there needs to be a better education system within landscape architecture so that those who are studying the profession are aware of how landscape design affects communities of color, because this is often a topic that is avoided.

Accountability

Broader Climate

Andre Banerjee interviewed by Clarisse Wean

Andre Banerjee graduated from Knowlton in 2018 with his Bachelors of Science in Landscape Architecture. Currently, he is a landscape designer at Faris Planning and Design in Columbus, Ohio. At Faris, he works on many multi-family residential and land planning projects within the greater Columbus area. In addition, he is currently the Secretary of the ASLA Chapter of Ohio and co-leads the Diversity and Inclusion Subcommittee. Andre is also on the Knowlton Alumni Society Communications Committee and co-coordinates their social media outreach.

Kenya Gray, 2021 B.S. in City Regional Planning

Sandhya Kochar, Current Faculty

Pedagogy + Curriculum

Resources + Opportunities

romanticized histories of our profession as practiced by white practitioners, taught by mostly white professors, in a community where BIPOC voices aren’t heard, on land violently dispossessed from

Kristen Perng, 2020 B.S. in Architecture

Deborah Tadesse, 2020 B.S. in Architecture

Joy Griffin, 2020 B.S. in Architecture

At our school, white supremacy is a part of our culture. It is implemented by learning only the

We call for the Knowlton School of Architecture to uphold their intentions to actively institutionalize anti-racism pedagogy and dismantle white supremacy within the institution. We emphasize that creating a just academic environment that recognizes a plurality of voices is good for all. We recognize that this is not an effort that faculty and administration can undertake without the voice of BIPOC students and alumni. Refusing to take urgent measures suggests that you are complicit in upholding outdated structures and pedagogy. The following illustrates a path that your BIPOC students and alumni see as an essential step forward:

N’Dos Onochie, 2021 B.S. in Architecture

Joneé Fitzpatrick, 2020 B.S. in Architecture

in the US are Black women. Recognition and inclusivity are what we are seeking. Knowlton has a chance to set a standard for OSU.

Black and Indigenous peoples.

Nasra Osman, 2021 B.S. in Architecture

Samuel Tibbs, 2019 Master of Architecture

Bryant Phares II, 2019 B.S. in Architecture

A statement from the Knowlton School of Architecture student body and alumni to the administration and faculty of the Knowlton School of Architecture.

To be a BIPOC student in KSA is a true mental workout; the feeling of isolation is all too common. We have to maintain our cultural identity, seek out work by people whom we can relate to, and keep up with the works of white men who built walls to hide us.

Pamela Force, 2019 B.S. in Landscape Architecture

Andre Banerjee, 2018 B.S. in Landscape Architecture

Adeeba Arastu, 2018 B.S. in Architecture

Letter & Call for Action We, as Black, Indigenous and People of Color (BIPOC) alumni, students, and faculty of the Knowlton School of Architecture (KSA), are calling for immediate systematic changes to the academic experience at KSA. Our education as designers suffers from the lack of exposure to BIPOC talent, creators, and designers. None of the heroes we are taught about look like us nor have a similar background. In fact, we romanticize some of the villains from our past as the greatest creators of society. We grossly disregard what effects their work had on people of color and polish them up as great men.

Asya Shine, 2017 B.S. in Architecture

Schult z

Knowlton On The Rocks

Knowlton On the Rocks stands in solidarity with the Knowlton BIPOC Coalition, all BIPOC members of the Knowlton community, and the Black Lives Matter movement. We support and applaud the critical work that the

Er ic

Issue 01

American Indian and Alaskan Native Asian Black or African American Hispanic or Latino Native Pacific Islander

As students, we are well aware of the time and financial requirements of studio work. Imagine (some may not have to) having to balance those along with extenuating family and/or monetary scenarios. It is nearly impossible to take on an architecture curriculum as a non-traditional student, and for many it is a privileged pursuit. Unfortunately, this does not stop after graduation. Many leave the profession citing dissatisfaction with compensation, work-life balance, opaque pathways to promotion, and discriminatory office cultures. Unsurprisingly, these viewpoints vary significantly between race and gender2. We face incredible uncertainties entering this academic year, although two things are for certain: design for all is better when done by all, and positive change rarely comes passively. We must be actively engaged, urgently and continuously in making the field of design, and in turn the environments we create, equitable for all.

Non-Resident Alien None/Unknown Two or More Races

2018-2019 Graduate Degrees Awarded (Does not include CRP PhD)

Four White Walls Finding myself within a fairly predictable milieu of self existence, made only ever more present by the grinding halt the world has come to as a result of the ongoing global health crisis, I have become evermore consciously aware of two facts which I know to be unequivocally true. First, I will never know the fear, anger, and distrust that is inherent of being a Black man or woman in America. Secondly, the perpetuation and education of architecture as a “nuanced” discipline does very little to acknowledge, confront, and attenuate the very real sicknesses deeply laden within contemporary society. Despite a personal inability to accurately understand the former, my own observations have shown the latter to consistently fail to acknowledge the mere existence of the other. At its core, and in its current evolution, the discipline is largely considered successful through capital control, land acquisition, and an ability to pursue “higher” education, which in turn inherently leaves little room for representation by African Americans throughout the discipline, at any level. As the profession continues to be predominantly white (and male for that matter) there has been a longstanding, relative silence surrounding race, diversity, socio-economic conditions, and so on… Instinctually, this would appear to be an unmitigated paradox that leaves me wondering how those that are entrusted, as civil servants, to define parameters of physical contextuality - in which we all inhabit - can also be described as a systemic malignancy. Like a badge worn by an officer or a figurehead of an oppressive a regime, this malignancy acts as an overbearing presence; always there, never forgotten. For architecture, this has metastasized as a not-so-subtle secret of lacking inclusion, relatability, empathy, understanding, and an inability to adapt for future understandings of a progressive and Black architecture. These sentiments are echoed throughout architecture at the various levels. Whether it is the estimated 2% of licensed architects that are Black, or whether it is the 4 total Black students I attended two different degrees with at two different schools, for a marginally better 3%. A lack of visible, vocal, and respected alternative viewpoints is blatantly and abhorrently missing. But yet time and time again, a need for diverse thought has been rendered silent, specifically in classrooms throughout my time as a student. As fellow students, teachers, and professionals argued for an architecture

1 2

https://engineering.osu.edu/about/annual-statistical-report Diversity in the Profession of Architecture: Key Findings 2015, The American Institute of Architects

White

b y t .f. M a h o n e y that need not concern itself with the outside world, I developed confusion and anger that clouded my ability to articulate proper rhetoric of staunch opposition. Because, as I experienced it, there is a constant inundation from academia, which historically, and now ironically, had stood for progressivity and change, but yet only seek to push the proverbial “boundary” when it conveniently fits a predefined narrative of what capital ‘A’ architecture should be understood as through this lens of elevated art or perceived complex expression. But, in sharp contrast, the singular Black male of my graduate class instantaneously and effortlessly focused his thesis on issues of redefining the Anglotypical understanding of family and their inherent dwellings, in a broader context of the built world. This utilized unique specificities and vastly different personal experiences that is statistically shown to not be easily understood by the other 97% of his peers. Simultaneously, many of his constituents, myself included, perpetuated topics of introverted disciplinarity, manipulating and prolonging the existence of time, perhaps subconsciously chosen to have little concern with implementation or relevance outside of the four walls of our graduate studio. While one student focused on changing his immediate surroundings in an impactful way, the majority of research focused on time as an affect, time denoted to leisure, time committed to singular existence, and time as specific durations, and so on and so forth. But, time is a luxury we no longer have. So while metaphysical ponderance on the relevance of time may have its place in architectural disciplinarity, the moment is upon us to reinvent what architecture will mean, as a harbinger of change, focused on systemic reorganization of Anglo-traditional hierarchies, unknowingling perpetuating antiquated values of everpresence and overbearance, no longer needed in the current context of American society. And yet from the four white walls that surround me as I write this and the piles of charred refuse and broken glass that can be seen outside my downtown Columbus apartment window, the built environment acts as a haunting reminder that white people have been and will continue to be most powerful and systemically oppressive, through conscious intention or not, when in prominent positions of building physical context, dictating legislation pertaining to planning, urbanity, and onstruction, and most importantly, while owning

things; whether that be in the present state of land or past notions of people. We, as an architectural discipline; as students, educators, civil servants, designers of space, and most importantly, as allies, must do better and must be better in a volatile moment of extreme frustration, endless unrest and cultural-construct collapse. No longer is it acceptable to argue, whether you are a student, teacher, or prominent starchitect, that architecture is not political; to say that architecture is already diverse enough; to say that architecture must only be discussed within the existence of if its own cult-like inner circle; or to say that architecture need not be concerned with a given societal issue if it is not directly overlapping with its own predescribed definition. These are egregious statements that have been uttered over and over by those that wish to perpetuate a status quo where harsh realities and uncomfortable conversations are kept at an arm’s length. And while a plume of smoke makes hazy the Columbus skyline, I think to myself that there is no coincidence why architecture and race are coming into direct, caustic contact at this moment in time. For White America, the built environment represents wealth, artistic endeavor, personal or professional growth,and, above all else, success. But yet for Black America, this world may represent a metaphorical extension of brutality, neglect, and oppression, through the physical form of cell blocks, forgotten neighborhoods, and unobtainable capitalistic entities, all while providing no clear path for gaining acceptance or opportunity within. What may appear inconceivable by the former, the latter has chosen to confront this stagnant and burdensome context through various means of intense opposition against architecture’s historic oppressiveness and deep seeded, racial undertones that can be seen on every street and on every corner across the country. Therefore, our disciplinary sect is faced with a unique crossroads, one that has left architecture physically and metaphorically on fire. So to all students, educators, and professionals of this discipline, past, present, and future, what are we going to do to help put out this fire? Black lives matter. Black experiences matter. Black perspective is essential. Architecture must integrate, now.

Knowlton On the Rocks Issue 01 September 18, 2020 Issue Editors Eric Schultz & Clarisse Wean Undergraduate Editor Marianne Redillas Podcast Editor Brandom Homes-Evans www.knowlton-ontherocks.com knowlton.on.the.rocks@gmail.com

Issue 01

Issue 02

AU_2017+

Professional Work RWA Architects

Between undergraduate and graduate school I worked as an architectural designer for the Cincinnati high-end residential firm RWA Architects. During my 2 years with the firm I developed and managed projects from field analysis and schematic design through construction documents. Alongside project manager Andy Corn I developed site conditions and paddle courts for a local country club. My most significant project was a single-family project that primarily focused on kitchen and master bath renovations. I worked closely with the clients, contractors, engineer, interior designer, and my project manager to develop structural solutions, mill-work details and custom plumbing.

DRAWING PACKAGE 2 PADDLE HUT AND COURTS NEW PERMIT AND PRICING SET

El. 616.0'

8'-0 1/2"

DN 1:20

T/ Wall Elev. 615-0"

T/ Grade Elev. 610'

Retaining wall 2.

2 A1.6

T/ Wall Elev. 614'

Concrete

El. 614.0' 1 A1.6

A1.2 Detailed Site Plan Paddle Hut & Courts

5'-0"

90°

Asphalt

14 Retaining wall 2.

13'-0 1/2"

3 A1.6

Work point

T/ Wall Elev. 613'

Datum line

13 T/ Grade Elev. 610'-0"

1 6'-6"

60'-5"

4 A1.6

Paddle Court

Control Joint in concrete slab - see 6/A1.5

12'-0" 5'-0"

T/ Grade Elev. 610'-0"

3 A1.2 1'-6"

EJ El. 615.33'

Stair 3

El. 614.0' 2

T/ Wall Elev. 616'-0"

Asphalt paving.

T/ Wall Elev. 614'-0"

5'-5"

Concrete paving.

30'-2 1/2"

El. 614.0'

Dumpster

Clay court irrigation box

Intended drainage at ßoor surface

1 DN 30'-2 1/2"

2 10

Paddle Hut

El. 616.083'

First Floor Subfloor El. 616.0' DN

Stair 2

15 2 A1.2

1'-6"

5'-0"

15'-0 1/2"

30'-2 1/2"

El. 614.0' 2

Retaining wall 3. 3 10'-0"

Addendum 1 Addendum 4

5'-0"

R=3'-0"

10'-0"

9'-0"

R=3'-0"

EJ EJ R=4'-0"

El. 610.5'

5'-4 3/8"

Bulletin B Bulletin L Bulletin L

7'-0"

23'-6" ±

13'-4"

32'-11"

1 A2.0

15'-3" 12'-0"

60'-5" 24'-0"

35'-0"

24'-0"

5'-0"

15'-9"

9. 10. 11. 12. 13. 14. 15. 16. 17.

Paddle court, fencing doors, lighting, accessories, decking, structure, and foundations by Paddle Court Contractor. See paddle court drawings. Extent of paddle court decking by Paddle Court Contractor. 36" h. railing by Paddle Court Contractor. Railing not to allow passage of a 4" dia. object. 3'-0" x 7'-0" door with accessible hardware by Paddle Court Contractor. Platform by Paddle Court Contractor. Stair risers to be 7" max. Treads to be 11" with 1" nosings. Handrail to be 36" h. and extend past lowest tread 23". Exit stairs by Paddle Hut Contractor. Stair risers to be 7" max. Treads to be 11" with 1" nosings. Handrail to be 36" h. and extend 12" past top riser and 23" past bottom riser. Concrete sidewalk 6" thick concrete apron with #5 rebar at 18" o.c. to lower level garage door opening. See civil drawing for curb cut details Lawn area Prefabricated firepit with gas burner. See Alternate A-5 drawing A2.1 Concrete terrace Integral 6" concrete curb Line of foundation wall below Planting beds 16'-11" additional decking 8" th. concrete slab to match width of stair. Rebar @ 12" oc each way Asphalt path

Presentation Pricing

9 9

7. 8.

Detailed Site Plan Drawing Notes:

Issues:

Paddle Court

4. 5. 6.

Lower Level Concrete Slab El. 607.24'

5'-5"

148'-6"

23'-5 1/2"

2. 3.

43'-6"

148'-6"

Paddle Court

Expansion joint in concrete slab - see detail 5/A1.5

5'-0"

El. 614.0'

3'-5 5/8"

2771 Observator Cincinnati, Ohi Office: 513-32 Fax: 513-321-

LEGEND

Retaining wall 2.

60'-5"

El. 614.0'

30'-2 1/2"

T/ Grade Elev. 610'

RWA Archite

Commission No. 86'-1" A1.3 Detailed Site Plan Pickleball Courts

A1.2 Detailed Site Plan Paddle Hut & Courts

Drawn By:

Checked By: Plotted:

D.S.

RWA Archi

18 18

101

2'-0"

6'-9" ±

3'-8"

3'-2 1/2" 15

1'-4"

105 Existing Hdwd.

Tooth in T.M.E.

First Floor Plan General Notes:

Refer to specifications for typ. header size - U.N.O Use tempered safety glass @ all doors, sidelites and windows (within 24" of the arc of adjacent door and with a bottom exposed edge of glazing less than 60" above the floor). Provide sound batt insulation in all interior stud & floor spaces @ all toilet, mechanical & bedroom spaces - typ. Refer to Specs. Contractor to examine all existing conditions prior to beginning new work. Inform Architect of any conditions that vary from those shown. Connect new and relocated downspouts to existing storm water drainage lines. Refer to Interior Elevations for specific blocking locations for coat hooks, towel bars, etc. Patch surfaces as required to install new work. Finishes and thicknesses to match adjacent surfaces.

Existing Hdwd. 8 A7.2

2'-10"

104 Hdwd.

407 0

2'-6 1/2"

407 0

Butler's Pantry

2'-7 3/4"

1'-5 3/4"

CL C.O.

Hall

5 1/2"

7 A7.2

3 A7.2

CL Existing Beam

308 0

6'-9"

5 1/2"

10 1/4" ±

103 Hdwd

A7.2 4

106 Existing Hdwd.

2a A7.1

7'-2 1/4" ±

2'-4"

Wine Ref

Existing Hdwd.

CL Fireplace

Family Room

Closet

1 21

Amy's OfÞce

No Work

102 Hdwd.

Powder

30" Frz.

New Hdwd.

4'-0 1/2" ± 102-A

1'-8 1/4"

5 1/2" 23

A7.2 2

30" Ref.

103-A

4'-0 1/8" 3 1/2"

4'-2"

Counter

2'-0"

1'-0 3/8" ±

Utility Closet

Mudroom

9 A7.1

Tooth in T.M.E.

A7.1

1'-3 1/8" V.I.F. to catch crown

30" Ref.

Existing Hdwd.

CL Existing Beam

5680

24" Micro

CL C.O.

Sim. 3a A7.1 1

8 A8.10

4'-5" ±

15" Ice

3'-6 1/4"

101-1

4'-0"

5 A7.1

24" Trash

1 A3.0

Closet

Kerr 32" x 20"

Existing Hdwd.

3'-3"

4'-3 1/8" ±

3'-9"

A7.1 7

24" D/W

4'-6 7/8"

9 A7.2

CL Fireplace

4'-6 7/8"

101-2 3'-9"

Tooth in T.M.E.

Eq. Eq.

4'-1"

2'-2 1/2"

3'-2 1/2"

2 1/2" 3'-7"

2'-0"

Eq. Eq.

A7.1

3'-6 1/4"

Post above

5680

3'-10 3/4" ±

D.S.

Hdwd.

A7.1

2771 Observa Cincinnati, O Office: 513Fax: 513-3

D.S.

Kitchen

22 Spread beam at Second Floor Post above Studs at First Floor

Existing Hdwd.

New Hdwd.

Dining Room

Living Room

107 Existing Hdwd.

108 Existing Hdwd.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

Existing Hdwd.

New Hdwd.

Foyer

109 Hdwd.

Existing Hdwd.

New Hdwd.

Powder Room

110 Hdwd. 8 5

27 A7.2

2 Selections 2

Finished surfaces to match and align. Existing (2) 2 x 12 w/ 3/8" x 11" steel plate. Existing steel column to remain. - verify location. Paint wood paneling, trim, casing, crown, and base. New crown - T.M.E. Replace existing outlet and switch covers. New stair carpet runner. Coordinate width with Interior Designer. Paint existing trim. Patch ceiling and walls as required. New squared off cased opening tops. See Interior Elevations. Existing W10 x 54 (flush). Existing (3) 1 3/4 x 11 1/4 LVL (flush). Existing (2) 1 3/4 x 11 1/4 LVL (flush). New W8 x 15 (dropped). See A2.1a for placement and Details on A8.0 Existing studs under beams to remain. See Interior Elevation 2/A7.10 for cased opening placement. Rough framing of new wall to match width and location of previous wall. Coordinate with Architect. Lutron shade window coverings. Paint risers. Treads to remain as existing. New stone wall and stone sill - T.M.E. Evaluate need to rework existing venitian plaster finish. Niche for t.v. equipment. See Interior Elevation. Existing skylights to remain. Existing W10 x 54 (flush). Existing W8 x 18. (dropped). New herringbone hardwood flooring, New hardwood flooring, to match finish, size, and direction of existing hardwood in the rest of the house. Front door casing and door to remain stained. (3) new studs under new steel beam.

18. 19. 20. 21. 22. 23. 24. 25. 26. 27.

Study

No Work

Issues:

Building Perm Selections

First Floor Plan Drawing Notes:

28. 29.

Commission No. Drawn By: Checked By: Plotted:

Sheet Contents:

Fir

4" 1'-6 1/2"

CL Window

2'-4" 3 1/2"

2'-1"

3 1/2"

4'-3"

First Floor Plan

CL Window

CL Fireplace

A2.1

CL Cabinet

Crown A, ptd.

Sheet No.:

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

CL Cabinet

Crown A, ptd.

1'-2"

1'-0"±

5'-0 3/4" ±

1'-0"±

Eq.

Kitchen 101

A7.1

5'-0" 5'-4"

Kitchen 101

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

2'-0" 2'-4" Pantry

2'-0"

2" 2'-4 3/4"

2" 1'-4"

A8.10

2'-0"

Appliance & Pantry Panels: Doors: Flush overlay with euro hinges. Panels: Flat panel. Sticking: None Frames: Square Edge. Finish: High Gloss Walnut doors. Stainless steel face frame and toe kick.

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

2'-0"

3'-6 3/4" ±

2" 1'-8 1/2" ±

A7.1

2" 1'-8 1/2" ±

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

A7.1

2'-9 3/4"

Cabinetry: Panels: Flat panel. Frames: Square Edge. Drawers: Slab. Finish: Stainless Steel all surfaces interior and exterior. Polished trim and toe kick, brushed panels.

Kitchen 101

5 cm.

2" 1'-8 1/2" ±

4'-0 3/4"

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

Cabinetry: Doors: Inset with euro hinges. Panels: Raised panel. Sticking: See detail 2/A8.10 Frames: Square Edge. Drawers: Slab. Finish: Interior - Walnut. Exterior - white high gloss. 12

15 Eq. Eq.

Open

Eq. Eq.

Open

Eq. Eq.

Countertop: Species: Solid Wenge, stained. Finish: Hand-scrapped

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

A7.1 5 cm.

A7.1

Kitchen 101

1'-4"

D/W

High Gloss Walnut panel w/ White High Gloss face frame

1'-5"

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

A8.11 CL Fireplace

2" 3'-9"

5'-8" 10

A8.11

1'-1"

1'-4"

2'-8"

1'-4"

1'-1"

To Family Room 106

1'-5"

4'-1"

Cabinetry: Doors: Flush overlay with euro hinges. Panels: Flat panel. Frames: Square Edge. Finish: High Gloss Walnut doors and toe kick, interior and exterior. White high gloss face frame.

A7.1

Island

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

9 1/2"

3/4"

2'-0"

3/4"

2'-0 1/4" 2"

2'-7 1/4" 2"

11"

Cabinetry: Doors: Inset with euro hinges. Panels: Flat panel. Sticking: See detail 2/A8.10 Frames: Square Edge. Drawers: See detail 2/A8.10 Finish: Interior - Walnut. Exterior - white high gloss.

A7.1

A8.10

7'-3 3/4"

3/4"

11"

A7.1

Scale: 1/2"=1'-0" CL Existing Beam

Eq.

2'-11"

9 1/2"

2'-0 1/4"

Island

Existing ceiling to remain

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

Stainless Steel Inset Overlay Door

2'-2 1/2"

3'-0 1/2"

2'-4 1/2"

3'-0 1/2"

Stainless Steel Inset Overlay Door German Silver Panel

A8.10

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

1'-4"

4'-4" typ.

15" Ice

3'-4 1/2"

2'-2 1/2"

5 cm.

30" Ref Drawers

Island

4"2"

3'-0 1/2"

8'-11 3/4"

3'-9"

Island

A7.1

Kitchen 101

Drawing Notes:

5 cm.

4" 2"

2'-0" 15

German Silver Panel

3'-3"

2'-4 1/2"

3'-6" 7

2771 Observatory Avenue Cincinnati, Ohio 45208 Office: 513-321-9506 Fax: 513-321-9507

Stainless steel cabinetry. Existing wood beams to remain. 5 cm. countertop. Pullout trash and recycling. Blind corner storage - Hafele Magic Corner I. Tilt-out false drawer with stainless steel tray. Venetian plaster - T.M.E. 3 cm. stone backsplash. Existing tile and window finishes to remain. Brushed nickel hood w/ polished nickel straps. Wall niche for TV cables and bracket. Verify size. Wood counter @ 42" A.F.F. See Details on A8.10 not used Samsung Frame model #43LS003 Match existing chamfered corner and venetian plaster finish. Line of existing arched opening. Hand planned Wenge counter. 3 cm. stone counter. Existing wine refrigerator. Stainless steel open shelving with wood bottom shelf. Existing door and trim to remain. Solid wood beams to match finish and color of family room beams. 23. New W8 x 15 (dropped). 24. Tile backsplash, full height of wall. See Tile & Stone schedule. 25. Hung mirror provided by Interior Designer. 26. Custom vanity. See details. 27. Stainless steel open shelving with Wenge shelves, hand scrapped.

Finished cabinet ends

Base A

2'-5 3/4"

3'-0 3/4"

2" 1'-8 1/2 ±

A8.10

A8.0

3'-0 3/4"

Cabinetry: Doors: Inset with euro hinges. Panels: Flat panel. Sticking: See detail 2/A8.10 Frames: Square Edge. Drawers: See detail 2/A8.10/. Finish: Interior - Walnut. Exterior - white high gloss. 12

8'-0"

1'-0 3/4" ±

A8.10

Finished cabinet ends

4'-6"

2'-0"

4'-2 3/4"

2'-4" Pantry

11 Align

3'-0 1/2"

A7.1

2" Eq.

M/W

3'-6"

3'-0"

1'-6"

1'-8 7/8"

To Hall 105 2"

1'-8 7/8"

2'-6 1/2"

Toe kick at front

3'-5 7/8" ±

6 3/4" 6 3/4"

3'-0 1/2"

Flush kick at sides

1'-0"±

3'-9" 10

A8.10

3'-0 1/2"

3'-3 3/4" typ.

Stainless steel face frame, Ref side and kick

1'-0"±

5'-5 7/8" 8

3'-9" 6 3/4" 6 3/4"

2'-6 5/8"

9 1/4"

16'

1'-2"

8' Align

Eq. 10

1'-5 1/2" 2"

9 1/4"

Eq.

Eq. 1'-5 1/2"

Open High gloss walnut veneer

3'-0"

3'-6 5/8" ±

2'-8 5/8" ±

75°

Eq.

3'-8 5/8"

Line of Ref/ Frz. behind Casing A, ptd.

1" 2'-7 5/8" ±

Eq.

Selections Selections 2

01/16/19 01/31/19

Commission No.

18-0407

Bar Island Scale: 1/2"=1'-0"

CL Existing Beam

CL Fireplace

Eq.

Issues:

Building Permit 11/27/18

4 Elec. Revisions 2 03/07/19

Eq.

CMW

Drawn By:

JJI

Checked By:

Sheet Contents: Open

8:44 AM 5/31/19

A7.1

Family Room 106 Scale: 1/2"=1'-0"

Open

Interior Elevations

Fixed Panel

Base A

Fixed Panel

Sheet No.:

To Hall 105

To Kitchen 101

To Hall 105

A7.1

Family Room 106 Scale: 1/2"=1'-0"

2'-0 1/2" 2"

2'-0 1/2" 4'-3"

2'-0 1/2"

To Kitchen 101

2'-0 1/2" 4'-3"

Cabinetry: Doors: Overlay with euro hinges. Panels: Flat panel. Frames: Square Edge. Finish: High Gloss Walnut doors and toe kick, interior and exterior. White high gloss face frame.

5/31/19

Plotted:

15 Open

Existing wood trim to remain

To Hall 105

8'-0"

15 Open

6'-7" to Top of Box

15 Open

8'-9 1/2"

8'-0" Extend exisitng opening Match existing finishes

A7.1

Crown = 6" ±

2 cm. stone slab ceiling

1/2"

1/2" cement backer board

Mirror Frame - custom wood profile at mirror. Frame to anchor to wall with slide-on metal cleat strips

3/4" plywood behind TV opening 2 cm. stone slab 2cm

1/2" cement backer board

1 1/2"

Shim behind TV/mirror in order to have mirror flush with 2 cm stone at wall. Shimming not shown.

1/4" reveal

2 cm. stone

6 1/4" 3/8" glass shower wall

Bond coat Nobleseal T5 Membrane; lap shingle-style when necessary, seam with Noblesealant 150

Stone curb

1/2"

5/8"

2cm

1/2"

3 1/2"

1 3/8" overall depth of mirror tv

1/2"

Seura 27" TV behind custom sized mirror. Anchor to wall with mfgr supplied clips

A8.5

2 cm. stone slab 2 cm. stone sill

Slope

A8.5

Shower Wall Plan Detail Scale: 3" = 1'-0"

1/2" cement backer board

5 7/8"

1/2" cement backer board

4'-9"

1/4" reveal

Gypsum board, ptd.

Framed stud wall w/ sound-attenuation batts (typical all walls between bath and adjacent interior spaces)

3 cm. stone slab header

2 cm. stone ceiling

Edge of shower wall

3/8" glass shower door

1/2" th. ceme

Nobleseal T5 Bond coat

Lap Noblese over Chloralo

2 cm. stone

Turn Chloraloy Membrane up and over built-out ledge

5 7/8"

3/8" glass shower door

Mirror frame 1"

1/8" O.H. 3 cm stone slab w/ eased edge to ea. side

5 1/2"

3" 4"

1/2"

Makeup vanity, 30" a.f.f.

1/2"

5/8"

1/4" reveal

1/8" O.H. Slope

Turn Chloraloy membrane up and over ledge, face w/ mortar Two-layer mortar bed

2 cm stone curb face both sides to match curb stone

Tile floor, set on mortar bed

2 cm. s

Two-layer mort

Tile floor, set o mortar bed

Mortarbed curb 2 cm. stone slab 1/2" cement backer board

3 1/2"

A8.5

3" Chloraloy Membrane, 1.0 mm thick Mortar bed: Slope max. 1/8:12 to drain 3/4" th. plywood subfloor

1 1/2"

Wall Detail @ Master Shower Scale: 3"=1'-0"

A8.5

Curb Detail Scale: 3"=1'-0"

Sketches from European Study Abroad