Interior Architecture Portfolio- Dylan Wakelin by Dylan Wakelin

INTERIOR ARCHITECTURE

EDUCATION 2012

Dylan J.S. Wakelin

dwakelin93@gmail.com DWAKELIN93@GMAIL.COM

As an emerging Interior Designer and future Architect, I am passionate about the built environment, creating experiential spaces, and design in general. I have a strong work ethic and sense of urgency, with an intense desire to keep learning. I am interested in developing myself and the work I produce to higher levels. I am excited to begin positively, and energetically.

EDUCATION 2012

2019

High School Diploma

Westlake High School

Bachelor of Intrior Architecture (B.IARC)

University of Oregon Minor: Architecture 2-Year Undergrad. Certificate: Cinema Studies

FUTURE M.ARCH AMBITIONS

2012

Parade Performer

2015

2014

Design Studio Specialist

2016

Assistant Store Manager-Design

2018

Disneyland Resort

2016

DESIGN

Skills

University of Oregon Minor: Architecture 2-Year Undergrad. Certificate: Cinema Studies

2018

Urban Planning

ADMINISTRATIVE

INTERESTS

Disney

Student Planning Assistant

2018

Administrative Coordinator

2019

JR. DESIGNER

PRESENT

Studio Blitz

Design Explorations Urban Planning

Skills

CAD/3D Modeling

Campus Planning and Facilities Management

2019

Themed Cinema Enertainment Design

DESIGN

Campus Planning and Facilities Management

INTERESTS

Bachelor of Intrior Architecture (B.IARC)

FUTURE M.ARCH AMBITIONS

PBteen//Pottery Barn

2017

Themed Cinema Enertainment Design

2019

EXPERIENCE

Pottery Barn

Disney

High School Diploma

Westlake High School

Autocad Sketch-Up Rhino Vray-3.0 Revit GIS

Adobe Suite

Photoshop Illustrator In-Design Premiere Pro After Effects

Urban Planning

ADMINISTRATIVE

Concur Microsoft Office Suite

Word Powerpoint Excel Outlook

PERSONAL

Efficient Passionate Determined Analytical Creative

ABOUT ME Hello! My name is Dylan Wakelin and I am an architectural designer with a bachelorâ&#x20AC;&#x2122;s of interior architecture (B.Iarch) from the School of Architecture and Environment at the University of Oregon. I am passionate about the interplay of design, life, and the natural world, and love to work with both broad-stroked conceptual design as well as design detailing. I have interests in both film- its theory as well as production, and architecture and interior design. If life imitates art, then we are vastly affected by multimedia representations and by the imaginative worlds wen can dream up. I believe that a strong narrative in conjunction with the built environment culminates in the most special of spaces, as long as we remain diligent of the responsibility we have when creating and telling those stories. I have a decade of experience dealing with client relations and have spent half of that time helping new homeowners and families furnish and design their homes. Most recently, Iâ&#x20AC;&#x2122;ve spent a year conceptualizing, designing, and detailing workplace interiors for large tech. and gaming companies- redefining how spatial organization, aesthetics, and program can increase productivity and drive brand values. This includes multiple test fit plans, 3D visualizations, FF&E specifications, construction documentation, and more. Workplace design shares qualities with other architectural avenues such as attention to detail, driving the program, and creating spaces that are enriching and that foster creativity. I am an enthusiastic extrovert who thrives in team settings where creativity can be grown and fostered. I believe in honesty and integrity both personally and professionally and believe our built environment should strive for the same. I welcome challenges to find creative solutions, and appreciate the ability to remain curious, and to constantly learn. My architectural passions go beyond interiors and into experiential design, set/stage design, multimedia experiences and more. Thank you for your taking the time to view my selected architectural and graphic works. 3

I think that the ideal space must contain elements of magic, serenity, sorcery, and mystery. Luis Barragan

TABLE OF CONTENTS

PROFESSIONAL SELECTED WORKS:

PROJECT K: INTERNATIONAL GAMING

PROJECT G: CANNABIS TECH.

PROJECT S: INTERNATIONAL TI

METALS IN CONSTRUCTION: NEW

COMPANY; THREE-STORY TI PROJECT

COMPANY; ONE STORY TI PROJECT

PROJECT.

YORK FACADE COMPETITION.

ACADEMIC SELECTED WORKS:

SAFE HAVEN: A QUAKER MEETING

THE PIPELINE: A CO-WORKING LEED

HOUSE AND LGBTQ+ OUTREACH

OFFICE

STRATA: A BOUTIQUE HOTEL AND

THE SEAM CHAIR: TAKE IT WITH YOU

FALLING SKYLIGHT: SITE-SPECIFIC

ELIXIR BAR [CONSTRUCTION DOCUMENTS]

FIXTURE DESIGN

PROFESSIONAL EXAMPLES FROM DESIGN BLITZ, L.A. EXAMPLES: Studio Blitz in Los Angeles, California is known for creating unique, and people-driven interiors for renown tech. companies. The anatomy of the workplace is quickly changing and evolvingchallenging designers to creative vastly collaborative areas to ignite creative possibilities while balancing the need to respect efficient heads-down work as well. The office-spaces of Blitz include activated areas to communicate, ideate, and shape the future of the way technology companies do business. While at Blitz, I was able to contribute my creative way of thinking through the following avenues: • Concept design- crafting a space and layout based upon creative design principles and rule-set making. • Design detailing at all stages of the design process from programming and schematic design, to design detailing and construction documentation. • Project visualization from diagrams to full 3D renderings. • Brand and graphics integration throughout the project to make spaces feel uniquely tied to the clients’ brand point of view and company principles. • Furniture, finish, and equipment specification from workstations to ancillary furnishings, materials, and final finishes that speak to the project’s overall concept and look and feel. 8

PROJECT K

INTERNATIONAL GAMING COMPANY; THREE-STORY U.S TI PROJECT

PROJECT G

CANNABIS TECH. COMPANY; ONE STORY U.S TI PROJECT

PROJECT S

TECH. COMPANY; INTERNATIONAL TI PROJECT

METALS IN CONSTRUCTION

NEW YORK FACADE COMPETITION

PROJECT K: INTERNATIONAL GAMING COMPANY

SPEAKING THE SAME LANGUAGE Project K is a three-story tenant improvement and the first time the L.A branch of the company will own their space. The client is an internationally known gaming company whose space needed to reflect their creative work without being overly distracting. The existing characteristics of the space included groin vaults and arches throughout the building. Instead of replacing and choosing to forget about these qualities, the design answers to them by modernizing the geometry of the curve and re-interpreting its use to create an integrated architectural language. The experience of traveling throughout the space was a major driver of the overall concept. The reception is the first glimpse of this modernized arch geometry, and literally scoops visitors through the front door and towards the center of the space- the reception desk. The custom desk looks to the branding of the company’s letter “K” and manifests the typology into built form. The wood-veneered arches have L.E.D lights embedded seamlessly within them adding another element of movement and energy highlighting the gaming demo room behind the large panes of glass. The entrance hopes to introduce varying layers of architecture. PERSONAL CONTRIBUTIONS UNDER SENIOR MANAGEMENT: PROJECT CONCEPT, ARCH INTERVENTIONS, FINISH PALETTE, FURNITURE SPECS, LIGHTING SPECIFICATIONS, GRAPHIC ASSISTANCE, BRAND INTEGRATION

TRANSIITIONS AND RESPITE The client asked for neutrality throughout, rather than a loud assortment of gaming motifs. Still, the design acts to heighten traditionally drab spaces such as hallways and ‘back of house’ facilities by continuing the conceptual architectural language throughout. Using the existing concrete flooring, the wood helps to soften the otherwise cold materials, and the lateral variegation in the wood adds an additional sense of movement towards the user’s destination. Pictured to the left is one example of how the curve is able to act as a designation of space for an open collaboration zone- activating the surface of the semi-transparent curve as a white board, and creating a sense of protection and separation from the open office atmosphere. To the right, the wooden arches illuminate with thin recessed L.E.D strips to create a portal of light and excitement to propel employees and their guests from one area of the floor to the other through an otherwise meaningless hallway. PERSONAL CONTRIBUTIONS UNDER SENIOR MANAGEMENT: PROJECT CONCEPT, ARCH INTERVENTIONS, FINISH PALETTE, FURNITURE SPECS, LIGHTING SPECIFICATIONS, GRAPHIC ASSISTANCE, BRAND INTEGRATION

GET YOUR HEAD IN THE GAME One noteworthy and exciting aspect of the project was the creation of a large E-sports arena. The space will act as a large-scale meeting area for annual meetings and also as a gathering space for competitive gaming. There were several design challenges in the creation of this space- including a structural column to remain, as well as occupancy load factors on the third floor of the building. The leftmost image shows The E-sports arena in action- the architectural language reflecting the curved archways throughout as well as the front two flanking “battle stations” for computer playing that shroud machinery and cables while referencing the first floor reception desk to create a holistic sense of space. The rightmost image reflects the journey into the E-sports arena, again calling back the arches to propel the audience into the arena and the painted graphic arrows creating energy and excitement before entering. PERSONAL CONTRIBUTIONS UNDER SENIOR MANAGEMENT: PROJECT CONCEPT, ARCH INTERVENTIONS, FINISH PALETTE, FURNITURE SPECS, LIGHTING SPECIFICATIONS, GRAPHIC ASSISTANCE, BRAND INTEGRATION

“RESIMERCIAL”

Since states have begun legalizing marijuana, there has been a surge in cannabis related companies and profit. Along with growing the industry comes destigmatizing the culture surrounding it. Project G has a level of material, furnishings, and spatial curation to redefine what success in the market looks like. The library is an example of highly-curated space of respite for the employees working on the floor. There are multiple ways to enjoy the room- from collaborating at the main table, to head’s down work within the custom casework, or within the soft-seating area by the vapor fireplace. When stress and workload become burdensome, break-out spaces like these are meant to help reduce anxiety and increase overall productivity and employee happiness and health. The term “Resimercial” refers to the atmospheric feeling of hospitality and comfortability one feels at home, and is becoming a strong guiding principle in workplace design. PERSONAL CONTRIBUTIONS UNDER SENIOR MANAGEMENT: LIBRARY CASEWORK, LIBRARY LAYOUT & FINISHES, I.T. COUNTER, ELEVATION DOCUMENTATION

PROJECT G: CANNIBIS TECH COMPANY

PROJECT S: TECH. DATA COMPANY FROM THE INSIDE- OUT Project S is the first international project I was able to contribute to. It’s smaller footprint meant being efficient with space without sacrificing program. The driving concept for the space invited nature in and to celebrate the vast views of Singapore. A trellis language with canted struts activates spaces and signifies areas of gathering and collaboration. I was able to contribute greatly to the project by selecting the finish palette as well as developing the architectural trellis moments throughout. Pictured to the right is the final finish palette which celebrates natural tones and textures while also celebrating the brand’s vibrant energy and colors. To the right- the 3D view modernizes the idea of a coffee break by creating a park-like java bar with private rooms to take a phone call or enjoy the morning cup in a quiet, safe space.

RECEPTION

PERSONAL CONTRIBUTIONS UNDER SENIOR MANAGEMENT: MATERIAL FINISH PALETTE, ARCHITECTURAL TRELLIS LANGUAGE TO REFLECT CONCEPT, PANTRIES, ALL-HANDS, COLLABORATION ZONES, I.T. DESK/ STOP, FURNITURE SPECS, LIGHTING SPECS.

ABOVE ACTIVATION Oftentimes the ceiling of a space is a second thought or simply meant to be hidden because we spend most of our time looking down, or directly in front of us. Part of Project S’s concept meant embracing natural elements, motifs, and architectural language; in this case- that meant activating the ceiling by use of a trellis system as a way to designate spaces, partition off areas, and to create a park-like gazebo feeling throughout the office. Though the wooden elements and spacing are regular, the shapes they make and directions they go are unique to the spaces they are over. The tech. center of the office was meant to act more as an Apple store ‘Genius’ bar and less like a traditional room for employee tech support. Flanked on both sides with modular shelving housing greenery, and backed by amazing views over Singapore, the tech. spot could easily become one of the most interesting spaces in the office.

TECH. STOP

The all-hands eating area of the office frames the best view in a lucky Singaporian red, while the trellis helps to frame the views outwards. To the far right- the 3D view modernizes the idea of a coffee break by creating a park-like java bar with private rooms to take a phone call or enjoy the morning cup in a quiet, safe space.

ALL-HANDS BREAK ROOM

THE SKY’S THE LIMIT In about one month, myself and one other designer were tasked with creating a sustainable facade system that would cut energy use by at least 50% for the Metals in Construction annual competition. Under the supervision of a principle architect, we conceptualized a functional energygathering blanket. New York has a unique urban fabric and rich history. Responding to both the need for active engagement in reducing anthropogenic carbon emissions became just as important as creating a structure that is aesthetically beautiful. Energyhaus responds to the City’s climateputting the effects of thermal gain and wind sweeping through the streets to work. In essence, the design is a three-layer facade system that protects and gathers energy from the environment outside. The layer closest to the inhabitants is a traditional glazed layer that offers views and sunlight into the space. Beyond that are rows of pivoting wind turbines that respond to wind direction and convert gusts traveling along the edge oft he building into usable energy. The last layer is a petal-like drape of photovoltaic fabric encircled in metal rings that can open and close like shades to gather energy from the sun and to provide shading when necessary. The placement of all of the elements responds directly to the environmental phenomena of New York City’s weather patterns. 23

safe haven Quaker Meeting House & LGBTQ+ Outreach

SAFE HAVEN 20,000 SQ. FT. 1 floor + Mezz. EUGENE, OR

A QUAKER MEETING HOUSE & LGBTQ+ OUTREACH PROJECT SCOPE: In ten weeks, students were asked to write a partial program for a refurbishment on an existing building in Eugene, Oregon. The building is intended as a meeting house for Friends of Eugene- a branch of the Quaker religion. However, in break-out groups, students were asked to include a secondary programmatic aspect that would serve as an outreach to the greater community. Safehaven aknowledges the displacement of queer children and teens within the city. Throughout the country, children of varying ages are thrown out of their homes or made to feel unsafe for their sexuality. This very often siphons these kids into sexual trafficking and drug-abuse, coupled with a much more difficult road to higher education. It made sense that Safehaven would provide a safe space for displaced youth. The Quaker religion has progressed since their founding and has found a balance between their belief ideologies and reaching out to the community in need, regardless of background. Still, ideals such as absolute simplicity, minimalism, and functionality shine through. Moreover, while their beliefs are in-line with many other christian denominations, they do not believe in imagery rather, the presence and absence of light as a metaphor. The design is informed by a simplicity in materiality and construction- using plywood as a final finish, along with the already existing concrete throughout many spaces.

MATERIALS PALETTE The material and color palette for SafeHaven is minimalistic in its approach. Hues are derived from natural elements such as wood, concrete, and other earthen-materials. The palette is kept soft and bright to reflect the philosophy of divine light. 31

THE CONCEPT SHIFTING GRIDS

SHIFTING PERCEPTIONS

The Quaker religion is marked by progressiveness and inclusivity, and therefore their space should reflect their willingness to embrace new ideas. SafeHaven’s concept shifts the vertically oriented grid to create a dynamic and charged energy, while supporting the underlying ideologies of the religion itself.

Existing Structural Grid

Shifted Vertical Grid

Inhabit Result Spaces

Refine Harsh Corners

Circulation Through Space

Apply Program “Strips”

Traditional gabled-styled structures were the starting point for the interior articulation of space because of its close vernacular tie to the tradition of Quaker meeting houses. Here, the gabled roofs shift and fold as does the schematic grid - altering the directionality and energy of the built environment inside the overall structure.

Gable Form

Deconstructed Gable Form

Create Neighborhoods

COMMUNITY DRIVEN DESIGN

Offset Openings

Fill with Friends

CLASSROOM Age Range: 12-17 Program: lounge, prayer, study mood: relaxed, calm, inviting, inclusive Meeting House Age Range: Adult-focused Program: prayer, large-occupancy gathering Mood: simple, clear, bright CLASSROOM Age Range: 6-11 Program: studying, teaching. crafts Mood: open, clear, bright, functional

COMMUNAL KITCHEN Age Range: All ages Program: cooking, eating, teaching Mood: clean, inclusive, eﬃcient

CLASSROOM Age Range: 1-5 Program: teaching, crafts Mood: relaxed, inviting GROUP DINING ROOM Age Range: All Program: eating, interacting Mood: relaxed, clean, bright LIBRARY/ READING ROOM Age Range: All Program: reading, studying, tutoring Mood: relaxed, quiet, calm LGBTQIA OUTREACH Age Range: 8-18 Program: Administration, Lounge, Sleeping quarters

GROUND FLOOR 34

1/8” = 1’0”

SAFEHAVEN FLOOR PLANS TEEN LOUNGE Age Range: 12-18 Program: lounge, group study, prayer Mood: simple, clear, bright COMPUTER LAB Age Range: 6-10/Teen Program: studying, teaching Mood: bright, simple, clean ADULT PRAYER STUDY Age Range: adult Program: prayer study, group meetings Mood: simple, bright, functional “LITTLES” NAP LOFT Age Range: 1-5 Program: sleeping, napping, cool-down Mood: clean, quiet THERAPY ROOM(S) Age Range: All ages Program: counseling, therapy, cool-down Mood: relaxed, inviting, quiet OUTREACH HOUSING Age Range: 8-18 Program: sleeping, lounging, cool-down Mood: relaxed, clean, bright THERAPY OFFICE(S) Age Range: All Program: administration, meeting Mood: relaxed, quiet, calm LGBTQ+ GROUP AREA

MEZZANINE LEVEL 1/8” = 1’0”

Age Range: 8-18 Program: lounging, group work Mood: Bright, open, spacious

CLASSROOMS

EXT. PLYWOOD FINS FOR SUN-SHADING

LQBTQ+ OUTREACH GROUP THERAPY

BOW TRUSS

SACRED SPACE

LIBRARY/ READING ROOM

LGBTQ+ OUTREACH/ HOUSING

NON-PENETRABLE SIDE ON ALLEY

ATRIUM SPACE & MAIN ENTRANCE

LIBRARY

SACRED SPACE & PRAYER ROOM

TEEN PRAYER STUDY

LGBTQ+ OUTREACH EMERGENCY HOUSING

THE PIPELINE

A [CO]WORKING OFFICE

THE PIPELINE 10,300 SQ. FT. 1 floor DALLAS, TX

A [CO]WORKING, LEED OFFICE PROJECT SCOPE: With the intention to create a creative, collaborative, and communicative work space, The Pipeline serves as a designer’s hub to manage projects from their start through their completion. The project required us to design several different task-oriented spaces as well as to give the overall space a personality and brand.aThese “zones” add to the co-working environment, serving co-working space multiple work-types: from an open-air bull-pin area, to heads-down quiet space, studio space, and more. Additionally, it was important that the office be mindful of design’s sustainable responsibility, therefore, it boasts a L.E.E.D Gold badge.

THE PIPELINE

The display and sale of finished products is as important as the space in which they are being made. The Pipeline dedicates a large area to showcasing the latest and greatest in design and exhibition. Additionally, for the convenience of the members- a cafe and kitchen for events and downtime is also featured. The site is located in Dallas, Texas, in a densely populated urban area. The program occupies the 13th floor of the large- vertically oriented building. With younger millennials entering the job force, the modern day office environment is evolving. Instead of hierarchical areas denoting a difference between work staff and the executive team, the project focuses on the needs of the work being done over the title or position someone holds.

MATERIALS PALETTE The Pipeline â&#x20AC;&#x2DC;s atmosphere should feel playful but professional. Existing materials such as the old hardwood floors and concrete columns will be highlighted by subtle hues of greens, maroons, and pinks. Texture should take the place of too much pattern. 47

THE PIPELINE The name is derived from the major circulation system that runs laterally through the space and breaks open to reveal other areas of the office. Directly adjacent is the main co-working area, private meeting rooms, and the studio space. It separates public from private, acts as one of several synergy spots throughout the overall space and is the most dynamic landmark throughout. It has both literal and metaphorical meaning as it directs inhabitants to one of the many space types, while also signifying the developing, production, and completion of ideas that are created within the office. 48

DRIVING THE [CO]NCEPT Pipeline /ˈpīpˌlīn/: 1. a route, channel, or process along which something passes or is provided at a steady rate; means, system, or flow of supply or supplies: in the process of being developed, provided, or completed; 2. in the works; under way

‘PA

LIZ

E’

IST

TR US

AR Y

CIR CU

LA TIO

L.E.E.D BREAKDOWN 12

SUSTAINABLE SITES

WATER EFFICIENCY

I.E.Q

MATERIALS & RESOURCES

ENERGY & ATMOSPHERE

I.D (INNOVATION IN DESIGN)

70 POINTS

[CO]OPERATING WITH THE ENVIRONMENT The Pipeline hopes to be the pinnacle of innovation and creativity in both form and function. It is located in a historic building and is intended to bring both native Texans and new innovators to the area. It boasts a L.E.E.D GOLD badge by the use of reclaimed, recycled, and/locally sourced materials, used extensively throughout. The furnishings and finishes are low VOC-emitting and indoor air quality (IEQ) is increased with modern technology and products. The Pipeline is a shared space available by public transportation that lowers the amount of space needed for parking. Access to views and natural lighting are vital and available throughout.

13TH FLOOR 1/8” = 1’0”

SECTION A.A

SECTION B.B

STRUCTURE WITHIN Existing features included old hardwood floors, concrete columns and structural brick exterior walls . From above, a network of beams is present throughout the space. A vertical â&#x20AC;&#x153;coreâ&#x20AC;? of circulation exists towards the south of the triangular form. 54

SHH... WEâ&#x20AC;&#x2122;RE [CO]WORKING The existing concrete floor and columns made for a louder space which is not conducive to a working environment. Therefore, the material palette and furniture selection add an acoustic barrier to quiet the noise throughout the entire office space. BUZZICACTUS: ACOUSTIC OBJECT

BUZZISPACE: FOR WORKING

BUZZISPACE: FOR MEETING

BUZZISHADE: ACOUSTIC PENDANT

BUZZIBLINDS: ACOUSTIC PARTITION

HOTDESKING

CAFE/ PRODUCT DISPLAY SPACE

INTEGRATED FURNITURE

PIPELINE ENTRANCE

STRATA a boutique hotel & ELIXIR bar and patio

STRATA 18,490 SQ. FT. 1 FLOOR + VERTICAL CONNECTION TO OTHERS SPRINGFIELD, OR

DEMO AND NEW CONSTRUCTION storefront in order to emphasize the bar upon entering. When traveling, the arrival process is the first opportunity at a good impression. At Strata hotel- guests are greeted upon stepping foot inside, and after check-in, they are given their key and signature Elixir bar beverage. For however long the stay is, your “Jack-of-all-trades” concierge and bartender will remember your name and welcome you back.

A BOUTIQUE HOTEL & BAR AND PATIO- WORKING DRAWINGS PROJECT SCOPE: While most studios typically focus on design development, this working drawings studio asked students to focus on the creation of construction documents. Among the list of requirements included: an existing and demolition plan, interior elevations, reflected ceiling plans, FF&E Plans, and more. Additionally, an element of casework and/or a feature bar was also a project requirement. In 10 weeks, there was less time to create multiple perspective views, and more emphasis given to the drafting of building details and connections. Students were required to redesign the entrance, including a new storefront, along with shaping the existing building to fit at least one guest room, a lobby, a bar area, and bathrooms onto the first floor. The name Strata comes from the levels of layering throughout the first floor. Thresholds are deeper than usual and give a sense of arrival onto the next space. Overall, the space is meant to evoke a feeling of early 1920’s Hollywood glitz and glamour, with modern material and furniture choices.

MATERIAL PALETTE Strata Hotel and Elixir Bar & Lounge is a respite from the everyday business of work and life. It is rich in its application of materials: brass metal, wrought-iron, and warm hues. A slight tropical feel might be prominent because of the flora present. 65

11'-8"

7'-10"

2'-6 1/4"

5'-11 3/4"

13'-10 1/2"

3'-2"

DEMO AND NEW CONSTRUCTION

4'-2"

2-HR RATED FIRE CORRIDOR

7'-0 1/4"

GUEST ROOM

106

GUEST ROOM W.C

106B

2'-3 1/4"

First, the entrance needed to be centered on the storefront in order to emphasize the bar upon entering. When traveling, the arrival process is the first opportunity at a good impression. At Strata hotel- guests are greeted upon stepping foot inside, and after check-in- they are given their key and signature Elixir bar beverage. For however long they stay, the “Jack-of-all-trades” concierge and bartender will remember their name, and welcome them back.

2 A3

3'-6"

1'-9"

4'-3 1/4"

105

OPENING THORUGH EXISTING WALL

GUEST ROOM

18'-3 1/4"

3'-6"

1'-9"

OPENING THORU EXISTING WALL

4'-3 1/4"

+18"

2 A5

NEW CONSTRUCTION DEMOLISHED WALLS EXISTING WALLS

RUN STRUCTURAL I-BEAMS

ROOM TAG XXX

N MARKER EW

+18"

ROOM TAG

+18"

MOVE ENTRANCE TO MIDDLE

WINDOW TAG

FINISH TAG

<QTZ-1>

2 A5

3 A3

New Construction Demolition

7'-2"

5'-7"

+18"

11'-9 1/4"

6'-9 1/2"

7'-7" 4'-0 1/2"

7'-1 3/4"

11'-7 1/4"

3'-9 1/2"

1. EXISTING/DEMO PLAN

his page

9'-3 3/4"

27'-5 1/2"

SCALE: 1/4” = 1’0” OPENING THORUGH EXISTING WALL

102

A5 A6 OPENING THORUGH EXISTING WALL

4'-3 1/4"

3 A4

OPENING THORUGH EXISTING WALL

5 A6

2 A5

1 OPENING THORUGH EXISTING WALL

7'-7"

7'-1"

2 A3

2'-6 1/4"

6'-6 1/4"

5'-7 3/4"

OPENING THORUGH EXISTING WALL

4 A7

100

MOVE ENTRANCE CENTER

ELETRICAL BOX

101

BAR/ CHECK-IN

OPENING THROUGH EXISITING WALL

L-1

2ND LOBBY

3'-6"

5'-10 3/4"

LIFT

2 A4

2 A5

14'-7"

D13

6'-9 3/4"

67 PATIO 100-P

5'-8"

103

3 A5

100

BUILT-IN BANQUETTE

MECH. ROOM

2'-9 1/2"

GUEST ROOM

104

3'-8"

FREE STANDING TABLES: 42”

1 A4

PUBLIC W.C

D12

2 A5

A8 3

UGH

7 A6

BRING POWER TO FLOOR

1 4

4'-7 1/2"

D2 STORAGE

SCALE: 1/4” = 1’0”

LIGHTING SCHEDULE

MODEL NUMBER

DESCRIPTION “FAST JACK” FIXTURE HEAD

L.E.D EFFICIENT LIGHTING

Rocky H2 120 Volt Ceiling Mount Downlight

BLACK

L.E.D EFFICIENT LIGHTING

MFR201892

PALLADIAN WALL SCONCE

BRASS

L.E.D EFFICIENT LIGHTING

ART2720

MICONOS WALL SCONCE

BRASS/GLASS

EDG50883

CEILING MOUNTED DOWNLIGHT

WALL SCONCE B

SUSPENDED PENDANT B

ZANADOO CHANDELIER

AHM112813

WALL SCONCE A

L.E.D EFFICIENT LIGHTING

WALL SCONCE A

L.E.D EFFICIENT LIGHTING

BRASS

3. ELECTRICAL/LIGHTING PLAN Above: Electrical Plan

Above: Fixture Schedule

ZONE SCALE: 1/4” = 1’0” 4

ING

ZONE 3

ZONE 2

9'-63 "

5'-5"

SCALE: 1/8” = 1’0” BAR/CHECK-IN 106

10-6" AFF

105

1105B 8'-6" AFF

4'-914"

3'-11"

GUEST ROOM

GUEST W.C

8'-6" AFF

4'-83 4"

A crucial part of an environment’s ambiance is through the lighting of a space. Beyond needing to see around the room and the task at hand, lighting and other ceiling elements help to add drama, depth, and points of brilliance.

BAR/CHECK-IN 106B

6'-3"

LOOKING UP

6'-5

1. HVAC DIAGRAM

ING

7'-91 "

15-6" AFF

9'-63 4"

1'-7 2"

3'-43 4"

Above: STORAGE Reflected Ceiling Plan

9'-63 "

2. REFL. CEILING PLAN 102

6'-5

9-6" AFF

SCALE: 1/4” = 1’0”

PUBLIC W.C 104

5'-9 4"

1'-11 2"

4'-7 4"

5'-5"

SUSPENDED PENDANT A

6'-3"

WALL SCONCE B

SUSPENDED PENDANT B

ING

TRACK MOUNTED LIGHT

SUSPENDED PENDANT A T

ING

TRACK MOUNTED LIGHT

3 A12

CEILING MOUNTED DOWNLIGHT

SUSTAINABILITY NOTES

BRASS

FJ-FOR-RD-3-SN

ING

FINISH

LIGHTING KEY F

WALL SCONCE CEILING FIXTURE DIRECTIONAL CAN FIXTURE

EGRESS LIGHTING

3 WAY SWITCH

SMOKE DETECTOR

DIMMER SWITCH

EXIT SIGN

CAN FIXTURE

SWITCH

FIRE ALARM NOTIFIER

THERMOSTAT

TRACK LIGHT

PHOTOSENSOR

REVISIONS

DATE

DJS INTERIORS

3 A12

REFL. CEILING, ELECTRICAL, HVAC PLAN

NEW CONSTRUCTION PLAN ZONE 4

ZONE 3

ZONE 2

DRAFT SET

ZONE 1

PROJECT NO. F

DATE PS

D D D

1. HVAC DIAGRAM

05.15.18

D 3 D

DRAWN BY DYLAN WAKELIN

SCALE: 1/8” = 1’0” SWITCH REQUIRES KEY

SWITCH REQUIRES KEY

SCALE

MULTIPLE

1'-7 2"

3'-43 4"

7'-1 2"

7'-1

BAR/CHECK-IN 100

10-6" AFF

5'-6"

" 8'-11

MECH. 101

5'-214"

15-0" AFF

9'-3

5'-214"

10'-6 "

10'-23 4"

HVAC SUPPLY

SPRINKLER SYSTEM

8'-O" DROP

11'-0" SUSPENDED ENDS CAPPED

AT 15-0"

LIGHTING KEY WALL SCONCE CEILING FIXTURE DIRECTIONAL CAN FIXTURE

SWITCH

FIRE ALARM NOTIFIER EGRESS LIGHTING SMOKE DETECTOR

3 WAY SWITCH

DIMMER SWITCH

THERMOSTAT

8'-O" DROP

322 Main St, Springfield, OR 97477

4'-6"

11'-8"

103

4'-512"

2ND LOBBY

3'-5 3 4"

5'-11

1'-11 2"

5'-9 4"

7'-1034"

4'-6"

PUBLIC W.C 104

5'-6"

STRATA HOTEL & BAR

4'-5 4"

4'-6"

9-6" AFF

1'-7 4"

4'-7 4"

STORAGE 102

NOSTALGIC DETAILING The bar (and acting reception area) is the first moment guests are greeted with upon entering the hotel and bar. Overall, the design is inspired by luggage carts. The lower half of the bar is visually heavier and is designed to support small bar tasks such as drink making and light snack preparation. On either side, there is a small ice machine, mini-refrigerator, and a small dishwasher. To the front, three shelves set on rollers can slide out- making the check-in/check-out process efficient and clutter-free 8'-11"

8'-11"

O.C

2'-5 1/4"

8'-11"

O.C

2'-5 1/4"

BOTTLE SHELF BOTTLE SHELF

QUARTZ SURFACE

4 1/4"

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

2'-8"

1”x1” GLASS TILES

1 1/4"

11'-7 1/2"

5. Above: LEFT Left ELEVATION Elevation 5. SCALE: LEFT3/4”ELEVATION = 1’0”

1/2"

SCALE: 3/4” = 1’0”

DISHWASHER HOTEL ROOM LOCK-BOXES DISHWASHER ICE MACHINE ICE MACHINE

COLD FOOD STORAGE COLD FOOD STORAGE COLD FOOD STORAGE

6. Above: LEFT INT. SECTION/ELEVATION Int. Section/Elevation 6. SCALE: LEFT3/4”Left INT. = 1’0” SECTION/ELEVATION

11'-7 1/2"

QUARTZ SURFACE HOTEL ROOM LOCK-BOXES

1/2"

4 1/2"

5 1/2"

5 1/2" 10"

2'-8"

2'-10"

1”x1” GLASS TILES

4 1/2" 4" 4" 4" 4" 4" 4" 4" 4" 4" 4" 3"

10"

QUARTZ SURFACE

10"

QUARTZ SURFACE

COLD FOOD STORAGE

SCALE: 3/4” = 1’0”

Below: Right Elevation

Below: Right Int. Section/Elevation

2'-6"

9'-1 3/4" 6'-2 3/4"

2'-6"

2'-5 3/4" 9'-1 3/4"

6'-2 3/4"

2'-5 3/4"

1 3/4"

2 3/4"

1 3/4"

2 3/4"

8'-11 1/4" 2'-5 3/4" 8'-11 1/4"

2'-3 1/4"

SINK

2'-3 1/4"

3'-7"

3'-8"

3'-7"

3'-8"

1'-4 3/4"

2'-5 3/4"

CHECK-IN COUNTER SINK

QUARTZ SURFACE

10" 10"

9 1/2"

9 3/4"

1/4”X10” WOOD BOARDS

9 3/4"

1/4"

9 1/2"

CHECK-IN COUNTER 1/4”X10” WOOD BOARDS

2 1/2"

4 3/4" 2"

2'-7 1/2" 2'-7 1/2"

4 3/4" 2"

2” DIA. FOOT RAIL

2'-10 1/2"

3'-8"

3'-8" 3'-8" 2'-10 1/2"

3'-8"

1/4"

2” DIA. FOOT RAIL

PLY. SUBSTRATE ADA CLEARANCE ROLLING SHELVES ADA CLEARANCE 1/4” BRASS SHEET ROLLING SHELVES PLY. 1/4” SUBSTRATE BRASS SHEET

2X4 STUD PLY. SUBSTRATE WINE STORAGE 2X4 STUD

MINI REFRIGERATOR WINE STORAGE

11'-7 3/4" 4 1/2"

7. RIGHT ELEVATION 7. SCALE: RIGHT 3/4” = ELEVATION 1’0”

PLY. SUBSTRATE QUARTZ SURFACE

2'-6 3/4"

9 1/2"

1'-7 3/4"

2'-0"

2'-4 1/4"

1'-8"

MINI REFRIGERATOR

11'-7 1/2"

11'-7 3/4" 4 1/2"

2'-6 3/4"

9 1/2"

1'-7 3/4"

2'-0"

2'-4 1/4"

8. RIGHT NT. SECTION/ELEVATION 11'-7 1/2"

1'-8"

ST ST

7 4 3/4 9 7

4 3/4 10 1/2"10 1/2"

1. Cross 1. Cross Section Section

2'-7 3/4" 2'-7 3/4"

SCALE:SCALE: 1’-1/2”1’-1/2” = 1’0” = 1’0” NO

REVISIONS NO REVISIONS DATE

CUSTOM CUSTOM CASEWORK CASEWOR

DETAILED CONSTRUCTION DETAILED CONSTRUCTIO DWGS.

3'-6"

DRAFT SETDRAFT SET PROJECT PROJECT NO. C.6 NO. C.6 DATE

DATE 05.18.18 05.18.18

DRAWN BY DRAWN DYLAN BY WAKELIN DYLAN WAK

Below: Front Section

2. FRONT 2. FRONT ELEVATION ELEVATION

3. BACK 3. BACK ELEVATION ELEVATION 7'-7 1/4"

SCALE:SCALE: 3/4” =3/4” 1’0” = 1’0” 5'-0" 1'-11 3/4"

4 1/2"

9" 4 1/2"4 1/2" 9" 3'-0"

2'-5"

A5A5

4 1/2" 3'-0" 5'-2 1/4"

5'-2 1/4"

SCALE:SCALE: 3/4” =3/4” 1’0” = 1’0”

SCALE

SCALEMULTIPLE MULTIPLE SCALES SC

2'-7 1/4" 3'-1 1/2"

2'-3 1/4"

D1 A6.1 1 1/2” T-5 L.E.D TUBE

1 1/2” T-5 L.E.D TUBE D1 A6.1

BOTTLE SHELF 1 3/4” DIA. BRASS PIPING L.E.D TUBE

1 1/2” T-5 L.E.D TUBE

T-5 UNIT

2'-3 1/4" 1 1/2” T-5 L.E.D TUBE MITER JOINT QUARTZ SURFACE

10"

2X4 STUD

6 1/2"

3'-8"

6 1/2"

1/4” BRASS SHEET

1'-3 3/4"

10 1/2"

2'-7 3/4"

1. Cross Section SCALE: 1’-1/2” = 1’0”

9 1/2"

7 1/2"

FOOT RAIL BRACKET

4 3/4"

1 3/4” BRASS METAL HOUSING`

1/4” Inset for L.E.D STRIP LIGHTING

4'-2 1/4"

T-5 UNIT

2'-8"

OMETRIC ETRIC

Below: Front/Back Elevations 1'-3 3/4" 1'-3 3/4"

L.E.D LIGHTING EMBEDDED IN RAILS

UNDER-COUNTER L.E.D. LIGHTING

LIQUOR/ BOTTLE RACK

QUARTZ COUNTER TOPS

STAINED OAK

BRASS KICK BOARDS

Interior elevations help give detailed information about a space that a perspective view often times cannot. Strata is a “row” building in nature and therefore, one of the challenges was dealing with a very long western wall. Since the bar opens to a patio area, it was fitting that the curved motif was repeated in both windows and walls. the central doors are a custom design of wrought iron and glass, leaving playful shadows on the floor as the sun moves throughout the day. SPRINGFIELD This threshold, from outside to in, blurs the difference between the two because of the exposed brick and large round wall sconces. 1'-1"

3 3/4"

3'-4 3/4"

Strata

GSKY 2" EDGE TRIM

5'-1"

9'-0 1/4"

DJS INTERIORS

INTERIOR DETAILING

2X1ALUM. SCREENING RUBBED BRASS “CHARGE BAR” CHARGING STATION

CRUSHED VELVET COVERED BANQUET; EMERALD

3'-0 1/4"

VERSA TRAY WITH SELECTED PLANTS BY GSKY

1'-4"

GSKY CABINET FRONT COVER

7 1/4" 1 1/2" 3"

1'-0"

RECESSED L.E.D LIGHITNG

5'-9 3/4"

Below: Int. Elevation (to patio)

1. LIVING STRATA WALL

2. CASUAL BOOTH SEATING SCALE: 1’/2” = 1’0”

5'-9 1/2"

SCALE: 1’/2” = 1’0”

3'-4 1/2"

<BR-1>

STRATA HOTEL & BAR

7'-1 1/4"

GSKY 2" EDGE TRIM

9'-4 1/2" 3'-0"

3'-0"

EXIT

1'-8 1/2" 10'-11 1/4" 3'-1 1/4" 7'-10"

REV

INT ELE

EXIT D1

7'-10"

7'-9"

7 1/2" 7'-10" 28'-0 1/4"

3'-11" 4'-6 1/4"

INTERI

PROJECT NO. DATE

3. WEST GLAZING WALL

DRAWN BY

INTERACTION A range of seating was important for Elixir bar at Strata hotel. The design extends threshold thicknesses and creates nooks and other intimate places. A banquet seems hidden- tucked under the stairs with darker mood lighting, deep velvet upholstery, and of course- a place to charge electronics.

DJS INTERIORS

The idea of greenery in both color and nature makes its way inside in the form of a living wall. This is placed by the secondary entrance from the parking lot, rather than the main entrance located at the front of the building. The belief is that all points of entry are special in their own way- lending a different experience.

1'-1"

3 3/4"

Strata

5'-1"

9'-0 1/4"

Below: Living Wall and Branding Elevation

3'-4 3/4"

Below: Banquet Seating Elevation

SPRINGFIELD

GSKY 2" EDGE TRIM

2X1ALUM. SCREENING RUBBED BRASS

3'-0 1/4"

CRUSHED VELVET COVERED BANQUET; EMERALD

VERSA TRAY WITH SELECTED PLANTS BY GSKY

7 1/4" 1 1/2" 3"

GSKY CABINET FRONT COVER

2. CASUAL BOOTH SEATING SCALE: 1’/2” = 1’0”

5'-9 3/4"

1. LIVING STRATA WALL ESS

EL & BAR

1'-0"

RECESSED L.E.D LIGHITNG

GSKY 2" EDGE TRIM

7'-1 1/4"

1'-4"

“CHARGE BAR” CHARGING STATION

SCALE: 1’/2” = 1’0”

THE SEAM CHAIR JUST STITCH IT TOGETHER

And other furniture explorations

THE SEAM CHAIR PERSONAL CHAIR

TAKE IT WITH YOUTAKE IT APART PROJECT SCOPE:

EUGENE, OR

This ten week studio focused on the drafting and creation of a full-scale furniture piece. Our design brief was to create a â&#x20AC;&#x153;site-appropriate seatâ&#x20AC;? that allowed us to choose a site and design concept. South Eugene, Oregon is known for is hills, hikes and butte. One trail in particular offers stunning views of the sunset when the clouds finally recede. I envisioned a chair that could be easily constructed and deconstructed to easily take on the go. With the outdoors in mind, The seam chair hopes to be the next model for sustainable portable furniture. At its core, the chair is easily and quickly cut from a CNC router to specific dimensions. This helps to regulate time and cost when creating multiple units to test fit and ergonomics. The finish is simple- a few wax coating to protect from moisture and an accent color to emphasize the connection of the seat and back to the structural sides. After using it- simply pull the sides apart and lay flat to easily take on the go. The material is natural and bio-degradable after its lifecycle has completed.

CNC-ROUTER

DESIGN INTENT Mass-producible, durable, and quickly made; the seam chair is designed to enjoy the outdoors by getting the user close to the floor, and slightly tilted upward. Its geometry is created by a single shape turned in on itself and an ergonomic relationship between seat and back. Red paint gives the appearance it has been stitched together. Added dowels give extra stability, but without them- the chair can store flat when not in use.

18”

3/4”

Models Like the chair itself, the model making process was iterative and exploratory. Through several re-designs the Seam Chair was developed from a single notion of small-sale seating for outdoors and to bring the user closer to nature.

KIT OF PARTS

The Seam Chair is designed to be mass-produced and assembled quickly and easily. It features a seat and back that slots into the two side profiles that are machine cut. The seat and back proportions are cut from maple hardwood to match the plywood sides and to continue the wood “cathedral” patterning as part of its graphic.

1/4”

15 1/4” 15 ”

1/4

4 3/4”

20”

9” 6 1/4 “

27”

PHOTOGRAPHY: DYLAN WAKELIN

MODEL: JACOB BUSHMAN

TWO IS BETTER THAN ONE The ability to construct multiple chairs meant being able to â&#x20AC;&#x153;fine-tuneâ&#x20AC;? the ergonomics of the chair. It was important not to compromise comfort for ease of construction and/or the ability to deconstruct it and store it. Pictured are Seam Chair 001 and Seam Chair 002.

FALLING SKYLIGHT

FALLING SKYLIGHT 1 FULL-SCALE MOCK-UP

EMBEDDED DROP CEILING FIXTURE PROJECT SCOPE: In the 4th year of the program, students take an electric lighting course- learning the basics of lighting for interior design, as well as constructing a personal luminaire. Throughout the term, the course focused on determing different types of lighting strategies to varying space types. This was an important first step in creating luminaires by the end of the term. Students were asked to create a lighting element for a commercial space of our choosing. It was important to highlight the types of tasks taking place, as well as the demographic and proxemics of people in the space. While many opted to create pendant lights and small table fixtures, Falling Skylight was inspired by lights ability to pierce through objects and interact with surfaces. The luminaire is designed to be embedded in the ceiling above the banquets and wired with L.E.D strips along its perimeter.

BRANDING BY FALLING SKY

DESIGN INTENT The assignment was to create a lighitng fixture for an existing space of our choice. Falling Sky Pizzeria is located in the heart of campus and acts as a social hub for many students, faculty and staff. Inside, the materials are simple- plywood, concrete and adonized steel. Color comes in the form of differently tinted glass panels located at the entrance. Because the restaurant is located below grade, there is no access to natural light. The Falling Skylight answers to the same material ideology- using wood to create the perforated screen to be embedded in the ceiling over the booth-style seating area.

FALLING SKY DINING ROOM

CONCEPT- THE SKY IS THE LIMIT Traditionally, the Falling Sky brand of resturaunts and brew-houses feature a custom and unique cloud-shaped pendant. These pendants do not emit enough light for more task-oriented scenarios such as homework, studying, or reading. The concept looked towards the clouds to create the design, but instead of creating a cloud-like form, the ďŹ xture allows for rays of light to penetrate the ceiling, as if the clouds were parting to reveal the space below.

Lighitng Channel 3/4” W

Panel “Break” line “Pressure Point”

Bow-tie Joint to connect panels

POINTS OF LIGHT The size of each opening is determined by its proximity to a “pressure point”. Where a point is placed, the circular openings closest to it decrease in size, and increase in size as they move away from the point, focusing light towards the center.

Full-scale Mock-up

INTERIOR ARCHITECTURE dwakelin93@gmail.com

DESIGN PORTFOLIO || 2020