ELINEWA RREN interior design por t folio 2 0 14 — 2 0 16
TABLE OF CONTENTS
PART ONE
6 8
RESUMÉ MANIFESTO
PART TWO
12 38 46 54 62
A CITY WINERY LITTLE HOUSE ON LITTLE HOUSE BOHO CYCLE + GREENHOUSE MARKET POP-UP CHICKEN COOP TRAVELING EXHIBITION
PART THREE
72 74 75
SHOWROOM DOOR CONSTRUCTION SIKES FRONT PATIO BROOKES GATE
CREDENTIALS
UNIVERSITY PROJECTS
PROFESSIONAL PROJECTS
PART ONE
CREDENTIAL S
6
RESUMÉ
ELINEWA RREN
PHONE EMAIL ADDRESS
434.466.5987 elinew337@gmail.com 3902 Cutshaw Ave Apt 2 Richmond VA 23230
FORMAL EDUC ATION
WORK EXPERIENCE
VIRGINIA COMMONWEALTH UNIVERSITY
INTERIM DESIGNER/INTERN
RICHMOND VA | 2014-2016
WELLBORN + WRIGHT
MASTERS IN FINE ARTS | INTERIOR ENVIRONMENTS
RICHMOND VA | MARCH — SEPTEMBER 2015
UNIVERSITY OF VIRGINIA
•
initial drawings, estimates, verbal and written communication of ideas and construction documents for fabrication
CHARLOTTESVILLE VA | 2007-2011 BACHELOR OF ARTS | HISTORY
ADDITIONAL EDUCATION PIEDMONT VIRGINIA COMMUNITY COLLEGE CHARLOTTESVILLE VA | 2013
•
LIMA PERU | 2010 UNIVERSITY OF VIRGINIA | FOREIGN EXCHANGE PROGRAM
SOF T WARE
Completed take-offs of materials and facilitated the ordering of metal, dimensional lumber, glass, and hardware for various projects
•
Developed 2D models (Sketchup), renderings (Photoshop), and construction documents (Autocad) for client approval and fabrication
•
Aided in the visualization of the company’s new showroom, develop design options and select ff+e
FUNDAMENTALS OF DESIGN + TYPOGRAPHY
UNIVERSIDAD ANTONIO RUIZ DE MONTOYA
Worked with clients throughout design and build process, including
MANAGER FINCH BOUTIQUE CHARLOTTESVILLE VA | 2008 —2014 •
Managed a sales team of 10 employees
•
Collaborated on the selection of new merchandise
•
Designed biweekly window and floor displays
•
Implemented a new floor plan for better circulation path
•
Created graphics for annual events and sales initiatives
•
Illustrator
•
InDesign
•
Photoshop
•
AutoCAD
•
Revit
CHUNGDAHM LEARNING INC.
•
SketchUp
SEOUL SOUTH KOREA | 2012
•
iMovie
•
Microsoft Office
OTHER SKILL S + INTERES TS •
Hand drafting, sketching and rendering
•
Critical problem solving and decision making
•
Conceptual and analytical reading, writing, research
•
Detail drawing and construction
•
Public speaking and client communication
•
Graphic design
•
Sustainability and green building
•
Amateur photography
•
Armchair detective
ENGLISH TEACHER •
Taught 50+ students per term, 4 levels of English
•
Developed students’ critical thinking skills through lessons in reading, writing, and listening
•
Facilitated classroom management to promote a healthy learning environment
OFFICE ASSISTANT WASHINGTON AND LEE UNIVERSITY LEXINGTON VA | 2011 •
Managed office statistics to archive
•
Compiled statistics for research + development
•
Designed brochure for cross cultural event
•
Wrote and edited website and social media content
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8
MANIFES TO
Design is a creatively pragmatic endeavor. Both artistic and scientific, natural and Man-made, design is dichotomous, all about the details, and decisive. I want to understand and explore interior design as an ongoing dialogue between humans, nature, and human nature. I want to explore interior design as a study of human experience, where design is not simply what we see and touch, but what touches us. I want to explore interior design from six inches, where details reveal an internal logic, a hypothetical’s path to reality.
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PART T WO
UNIVERSIT Y PROJEC TS
12
A CIT Y WINERY For the final thesis project, students were given the opportunity to create and complete an individually unique interior design project. The fall semester began with intense theoretical research, selection of relevant case studies and initial analysis, building/site selection and analysis, initial programming, and code analysis. The second semester took the research and development for the project and applied it through the design of the space. Throughout the design process, continued investigation into new aspects of the project, program, theory, process, and concept drove the design further and continued its evolution. The intention of the thesis project is to design an experimental winery that centers around the continued quality of Virginia wines. This winery would be a place where winemakers and the like can come together to collaborate on methods of growing grapes and producing wines to better the resulting products of the state. A City Winery is designed to encourage understanding of process through links between production and consumption with both a winemaking facility and laboratory that are visually tied to the restaurant, tasting room, and wine shop. The visual exposure to the facility in the hospitality-based spaces will stimulate patron interest and intuitive knowledge of the intricate nature of the winemaking process. This can be further explored by the patrons through production facility tours that will occur on a daily basis as well as opportunities for patrons to sign up to make wine during the post-harvest season. These activities give patrons the opportunity to understand wine on a more haptic level where they engage with the product through physical interaction.
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MARBLE
CHAR
WHITE OAK
FELT
CHAR
CHAR
MARBLE
BELLANO 440
WHITE OAK
CORK
FELT
LORO 700
BELLANO 400
COLOR + MATERIAL PALETTE
RED CLAY
RUST
EGO 705
ANDRIA 444
RED CLAY
RUST
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SITE R I C H M O N D, V I R G I N I A Richmond, Virginia is less than 130 miles south of Northern Virginia and less than 75 miles from Charlottesville, the two regions of the state that produce the most wine. Richmond and its surrounding counties technically reside in two of Virginia’s AVAs, or American Viticultural Regions, the Monticello AVA, which encapsulates Charlottesville, and the George Washington Birthplace AVA, in close proximity to the central shoreline. Northern Virginia falls into the Middleburg AVA. As the capitol of a state that ranks in the top 5 producers of wine in the country, and is in close proximity to the state’s major wineries, this thesis project logically found its location in Richmond.
Avenue on the East, and Highpoint Avenue on the West. In the early 1900s modest dwellings and businesses were constructed in the area. From the 1930s to the 1950s, large industrial plants, commercial buildings, and warehouses were built amongst the existing dwellings or replaced them. Large industrial plants and commercial structures are the dominant building type in the area today. The Scott’s Addition Historic District is one of the larger industrial and commercial districts in the City of Richmond (Residential Neighborhoods, Subdivisions and Historic Districts).
SCOT T’S ADDITION
1701 S U M M I T AV E N U E
The neighborhood of Scott’s Addition is undergoing incredible transformation with the resurgence in craft production and services, most notably craft beer and cider. It is thus appropriate to weave a winery into the fabric of this craft-oriented neighborhood.
1701 Summit Ave is located on the corner of Summit Avenue and Norfolk Street. Built in 1920, possibly as a warehouse associated with a ginger ale bottling company, it is constructed with brick and mortar, steel I columns, and wood. Consisting of one main floor, a mezzanine and a basement, 1701 Summit Avenue occupies 12,264 square feet. As such, it provides an open floor plan which lends itself to the program’s need for a production facility. In addition, this industrial warehouse would share its history of production with the winery, strengthening the future growth of the neighborhood to its past.
Scott’s Addition, named for General Winfield Scott (1786-1866), was part of the 600 acre Hermitage estate that Scott inherited from his father-in-law, Colonel John Mayo. The earliest subdivision plan for Scott’s Addition was made in November 1890. Known as Scott’s Plan, the subdivision was for residential development between West Broad Street on the South, the R.F. & P. Railroad tracks on the North, Altamont
MIDDLEBURG AVA
MONTICELLO AVA
GEORGE WASHINGTON BIRTHPLACE AVA
An American Viticultural Area (AVA) is a designated wine grape-growing region in the United States distinguishable by geographic features, with boundaries defined by the Alcohol and Tobacco Tax and Trade Bureau (TTB) of the United States Department of the Treasury
The city of Richmond lies slightly in two AVAs, the Monticello AVA and the George Washington Birthplace AVA. Richmond lies along the Fall Line, which divides the city and surrounding counties into two regions; to the east, the coastal plains, and to the west, the tidewater. This gives Richmond an interesting character geographically. Within the winemaking business in Virginia, there is a lot of camaraderie on a regional scale between the makers. It is vital for them to all share, discuss, and explore techniques and strategies, as the terroir of Virginia is challenging. As such, an experimental winery hub in Richmond would be an ideal place for these winemakers to meet and continue their conversation and work.
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PROGR AM RECEPTION
A liminal, welcoming space where visitors are oriented to the various activities and services available. Daily tours of the wine production facility and laboratory as well as classes where one actively participates in winemaking are two key components. OCCUPANCY TYPE: A-3 MAX. OCCUPANCY: 60 AREA: 900
R E S TA U R A N T
The restaurant brings the wine tasting experience to another level, where the pairing of specific wines and foods is explored. This incites another instance of collaboration and experimentation between the winemakers and chefs, who work together to create new sensations and flavors through the combination of food and drink. The restaurant is located on the mezzanine level, which provides views below, creating a sensory connection between the restaurant and the two first floor areas of productionfermentation and bottling. OCCUPANCY TYPE: A-2 MAX OCCUPANCY: 56 AREA: 840
TA S T I N G R O O M
The tasting room provides a space for patrons to learn about and experience several varieties of Virginia wine. The tasting room is where patrons are guided through the sensory qualities of the wine — color, smell, and taste. The order in which wines are tasted is from the lightest white to the darkest red. Here, discussions will ensue on the flavors found within the wine, giving the patrons a chance to inform the staff on what they taste instead of having the staff dictate what they will taste. This brings another level of research to the facility, where the patrons’ experience of the wine is used to reflect on the flavors of the wine from the winemaker’s perspective. OCCUPANCY TYPE: A-2 MAX OCCUPANCY: 44 AREA: 666
KITCHEN
Commercial kitchen with dry storage and walk-in refrigerator that prepares locally sourced foods to pair with various Virginia wines. OCCUPANCY TYPE: A-2 OCCUPANCY: 4 AREA: 280
WINE SHOP
The wine shop provides patrons with an extensive selection of Virginia wines from vineyards statewide as well as wines produced in house. The shop has its own point of entry from the outside, making it readily accessible for patrons that want to directly buy wine to take home. A glass wall divides the shop and the bottling facility, creating a visual connection between these two points in the wine production process —bottling/aging and distribution. OCCUPANCY TYPE: M MAX OCCUPANCY: 25 AREA: 900
WINE CELL AR
The cellar is where wine goes to age one to two years. The space needed to be in a dark, cool place in the building so wine does not spoil, so the basement level was redesigned to provide more space for barrels and circulation. OCCUPANCY TYPE: S-2 OCCUPANCY: 23 AREA: 2,832
C O D E A N A LY S I S GROSS AREA level one: 11,680 SF mezzanine: 4,300 SF basement: 2600 SF TOTAL: 18,580 SF NET AREA (pre-demo) level one: 7,008 SF mezzanine: 2,580 SF basement: 1560 SF TOTAL: 11,148 SF PROGRAM AREA level one:7,160 SF mezzanine: 2,152 SF cellar: 2,832 TOTAL: 12,144
PRODUC TION FACILIT Y
The production facility encompasses the majority of the north and south wings of the first floor, visually connected to surrounding spaces. A garage door opens up into the receiving area, where Virginia grapes are shipped to the facility. Here, grapes are crushed/destemmed and pressed (if white; pressed later if red), and sent into must storage tanks or straight into fermentation tanks, located along the north side of the building. The area that houses the fermentation tanks is dropped two feet from the first floor to express the flow of the process, known in the business as gravity flow production. The wine then descends into the cellar for aging and back up to the first floor for bottling. OCCUPANCY TYPE: S-2 MAX. OCCUPANCY: 28 AREA: 3,449
L A B O R AT O R Y
The laboratory is centrally located between the various production facilities. Here, winemakers and analysts embark on research and development for increased quality of Virginia wine. Anything from analysis of the wine itself to the soil from which the grapes came happens here. OCCUPANCY TYPE: B MAX. OCCUPANCY: 20 AREA: 408
OCCUPANT LOAD TOTAL: 400* *assuming 50% female, 50% male, occupant load used to determine necessary plumbing fixtures PLUMBING REQUIREMENTS TOILETS female: 1 per 65 (IBC) 200 females: 3 fixtures male: 1 per 125 (IBC) 200 males: 2 fixtures WATER FOUNTAINS 1 per 100 (IBC) 400 occupants: 4 fountains
OFFICE
Place for six employees of the winery to work— where the winemakers, director, assistant director, and accountant conduct the “behind the scenes” logistics for the facility. OCCUPANCY TYPE: B MAX. OCCUPANCY: 8 TOTAL: AREA: 837 17
M U LT I - P U R P O S E S PA C E E L E VAT O R S
Flexible space to accommodate classes, lectures, presentations, parties, and collaborative meetings. OCCUPANCY TYPE: E/ A-3 MAX. OCCUPANCY: 40 AREA: 1032
ADA accessible for vertical circulation to cellar and mezzanine. Freight elevator that carries forklift and barrels from fermentation down to the cellar FREIGHT AREA: 66 CIRCULAR AREA: 28.26 TOTAL: 94.26
RESTROOMS
MECHANIC AL CLOSE T
ADA accessible restroom equipped with the appropriate fixtures to accommodate visitors and staff. OCCUPANCY TYPE: A-2
Controls for electric/mechanical/data OCCUPANCY TYPE: S-1 OCCUPANCY: 1 AREA: 100
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CONCEP T Conceptually, the project is inspired by the rhythmic nature of the grape vine and celebrates the undulating and fluid process of winemaking. An analysis of winemaking and the steps the grapes undergo to become wine reveal a process that ebbs and flows, intertwining creativity and pragmatics, art and science, man and nature. The expression of these dichotomies lead to important drivers of the project such as expansion and contraction, high contrast and meander, where the space is designed to provoke sensory experience and exploration through circulation, volume and materiality. Concept development began with a series of 30 inspirational two and three dimensional works, where wine was explored as a medium. This allowed for the generation of words that continued the concept exploration, giving rise to certain themes and ideas important to the project. These words were then represented in the form of collages and analyzed in terms of importance and substance. Commonalities between the ideas explored suggest an importance of movement, interaction, experience and rhythm within the project. A notion of things coming together (intertwining or weaving) lead to PROCESS as concept. Not only is it the process of winemaking, but the revealing of this process through program, material, circulation, volume, views and orientation.
PROCESS OF WINEMAKING
The diagrams created through case study analysis informed concept development and definition. Abstract diagrams of the winemaking process informed orientation of materials, form, lighting and layering throughout the design process. The circles drawn in the diagrams change in scale due to changes in volume and vessel size (grape is smaller than fermentation tank, which is larger than a wine bottle, etc.) The diagrams also consider changes in momentum and longevity throughout the process The diagrams are abstractions of this process and are a series of steps that show evolution of thought and layering of ideas.
DESIGN DRIVER DIAGRAMS
EXPANSION + CONTRACTION 1
2
3
4
DISCOVERY
MEANDER
6
5
Diagrams of congruous ideas within the case studies informed floor plan strategies as well as orientation of display walls in the shop and circulation. To incite visitor procession through the space, the use of partial views, various circulation paths that provide visual connections to important spaces in the facility and gaps within the walls all provide a sense of discovery and interaction. The creation of visual diagrams of ideas aid in the visualization of complex ideas and forms that needed representation in the project.
WHITE WINE 1
2
3
4
5
6
7
8
9
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1. CRUSHING + DE-STEMMING Grapes are received and immediately placed in the crusher/ destemmer where fruit is separated from stems and then gently crushed to extract juice
2. PRESSING Grape must (juice, seeds and skins) are run through the press to separate the skins from the juice. This step is responsible for the color differentiation between red and white wines
3. CLARIFICATION Freshing pressed juice is moved to a tank where it is left for one or two days to settle. This allows sediment to settle to the bottom of the tank
4. FERMENTATION Settled juice is racked into fermentation tanks where yeast is added to aid in the conversion of sugars into carbon dioxide and alcohol. Heat is generated during fermentation so tanks are cooled for control
5. AGING Depending on the winemaker’s discretion, after fermentation white wines can either be aged in stainless steel tanks or in oak barrels. Sometimes wine is fermented in one for a while and then transfered into the other.
6. FINING Proteins and tartrates are removed from the wine to ensure stability in unfavorable conditions
7. BLENDING Winemakers draw samples from the tanks to test. Here wines are either blended together as each batch will ferment slightly differently and thus have variable flavor concentrations.
8. FILTRATION Any remaining particles that affect clarity or quality are removed to ensure fermentation and spoilage do not occur in the bottle
9. BOTTLING Wine is bottled and corked with a bottling machine that ensures wine does not come into contact with the air, which can cause it to spoil
RED WINE 1
1. CRUSHING + DE-STEMMING Grapes are received and immediately placed in the crusher/ destemmer where fruit is separated from stems and then gently crushed to extract juice
2
2. FERMENTATION I Yeast is added to the crushed juice, seeds and skins (must) to aid in alcoholic fermentation. Color, tannins and flavor are extracted by racking the juice during this stage, which is gentling pumping the juice out and back into the tank
3
3. PRESSING Wine is run through the press to separate the skins from the juice
4
4. FERMENTATION II During this second stage of fermentation, bacteria metabolizes malic acid and produces lactic acid and carbon dioxide
5
5. AGING Red wine is usually aged in oak barrels for one to two years depending on the winemaker’s discretion. Some reds will be aged in stainless steel tanks, but this is less common.
6
6. FINING Proteins and tartrates naturally remove themselves from the wine. This ensures stability
7
8
7. BLENDING Winemakers draw samples from the tanks to test. Here wines are either blended together as each batch will ferment slightly differently and thus have variable flavor concentrations.
9
8. FILTRATION Any remaining particles that affect clarity or quality are removed to ensure fermentation and spoilage do not occur in the bottle
9. BOTTLING Wine is bottled and corked with a bottling machine that ensures wine does not come into contact with the air, which can cause it to spoil
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FLOOR PL ANS C
UP
CELLAR
C‘
CELLAR FLOOR PLAN
0’
30’
N
C
A
B‘
STORAGE KITCHEN
RESTAURANT
DN
MULTIPURPOSE ROOM
C‘
A‘
MEZZANINE FLOOR PLAN
0’
A
N
30’
21
C
DN
B
FERMENTATION
UP
DN
TASTING
SUMMIT AVENUE
RECEIVING
B‘
RECEPTION STORAGE LABORATORY
UP DN
UP
OFFICE
SHOP BOTTLING + FILTRATION UP
A’
FIRST FLOOR PLAN
BOTTLE AGING
MECH. CLOSET
UP
C’
NORFOLK STREET
0’
30’
N
22
SEC TIONS
SECTION A-A’
0’
12’
SECTION C-C’
0’
12’
23
0’
SECTION B-B’
12’
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M AT E R I A L S + D E TA I L S R E D C L AY
Red clay, or cecil, is a major component of Virginia soil. As soil is such an integral part in the winemaking process, red clay is used as a building material to express this connection between the land and wine. The design of a clay wall system comprised of individually molded components references the soil from which the wine it houses is born. Based on the dimensions of a wine bottle, this wall system is a vessel for the vessels, and can be assembled in a variety of orientations.
individually molded clay components based upon the proportions of a wine bottle
components adhered to one another with mortar on site
12”
12”
8” COMPONENT DIMENSIONS
.5” x .75” steel bar
CHARRED OAK Before barrels are shipped to winemakers, they are pre-charred to the taste of the winemaker, ranging from lightly toasted to full char. This is done to impart a certain level of flavor into the wine, where the heavier char will render the wine a more smoky taste. This part of the process is integral to the essence of the wine, but is rarely expressed. Charred wood is a building material gaining popularity in the United States, but is an ancient technique in Japan known as Shou Sugi Ban. Charred oak is used to clad a hot rolled steel wall system that houses wine and wine glasses throughout.
1” x 1”, .25” steel angle
10”, .75” x .25” flat structural bar
.75” x 1.5” angles to hold wine glasses, welded in place
2.75” x .5” charred wood cladding, .25” gap between and bolted in place
5.5” x 1” x .25” steel bar with .5” x 1” slot for bottle top
5.5” x 3” x .25” steel plate with 2” x 4” slot for bottle base
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GL ASS
Glass is used to create as few visual boundaries as possible. Throughout the design process, the desire to expose the color variations of the wine lead to the design of a wall/guardrail system made of steel and glass that physically holds wine in its liquid form to showcase its color in its natural state. Wine is tasted starting with the lightest white to the darkest red and as such, the guardrails follow this gradient. wine 1.5” X .0625” flat steel bar .0625” steel channel (.5, .75, and 1” widths provide variable gaps between the glass)
.25” thick transparent glass layer of silicone sealant around the inner perimeter to ensure waterproof construction
RUS TED COLUMNS
Cork is a vital material in the winemaking process, traditionally used as bottle stoppers. During the spring and summer, the bark of the cork tree rapidly grows and is easily removable. The stripping of this outer bark exposes a rust-like sublayer of the tree. The idea to abstract the cork tree onto the columns became an important design strategy. To ensure that the design process is authentic to the cork stripping process, the columns will be rusted to strip the first layer off the steel columns to reveal a similar color and rhythm throughout the space. To ensure that rust does not come into contact with visitors’ clothing, the top of the columns receive the rust instead of the base.
steel above 7’ stripped of any paints or finishes
spray desired area with vinegar several times using a spray bottle. The acid in the vinegar etches the metal so chemicals can penetrate
combine hydrogen peroxide, white vinegar and salt and spray accelerator solution onto the metal
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D E TA I L M O D E L S Individual components were first made of chipboard and once glue dried were carefully covered in a thin layer of Mexican modeling clay. Once the clay dried, it was then sealed with mod podge. Components were then adhered to each other with hot glue.
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Charred wood wine wall assembled with basswood. Charred cladding is cut to correct size and angle and then lightly burned. A detachable cladded wall is modeled to demonstrate how these particular walls are either exposed on one side (as the picture above shows) or clad on both sides. Where the wall is clad on both sides, lights are situated within so that the light coming through the gaps between the cladding illuminates the pattern and texture of the wall.
To show the color gradient of the wine within a form similar to the glass wall design, acrylic pieces were laser cut and then, using an acrylic welding kit, were made into thin boxes to house six Virginia wines.
RECEPTION A liminal, welcoming space where visitors to A City Winery are oriented to the various activities and services available. Daily tours of the wine production facility and laboratory as well as classes where one actively participates in winemaking over the course of a few months are two key components. Direct access to hospitality-based spaces— the shop, tasting room and restaurant— allows for short-term visitors to access these areas most readily.
DEGREE SIDE TABLE PATRICK NORGUET
ERODED STOOLS I M LAB
TULIP COFFEE TABLE SAARINEN FOR KNOLL
BELLANO 440
BELLANO 400
TACTILE QUALITY
VISUAL QUALITY LIGHT
LOVE PAPILIO B+B ITALIA
DARK
HARD
SOFT
BIG
SMALL
COLD
WARM
COLD
WARM
ROUGH
SOUND QUALITY
GRANDE PAPILIO B+B ITALIA ANDRIA 444
SMOOTH
SMELL QUALITY
QUIET
LOUD
COLD
WARM
SOFT
HARD
BITTER
SWEET
MOBILE CHANDELIER MICHAEL ANASTASSIADES
STRING LIGHTS MICHAEL ANASTASSIADES
WHITE OAK FLOORING WELLBORN + WRIGHT
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MEDIUM — SKETCH UP, MARKER,COLORED PENCIL,PEN, PHOTOSHOP
TA S T I N G The tasting room provides a space for patrons to learn about and experience several varieties of Virginia wine. The tasting room is where patrons are guided through the sensory qualities of the wine in general — primarily, color, smell, and taste. The order in which wines are tasted is from the lightest white to the darkest red. Here, discussions will ensue on the flavors found within the wine, giving the patrons a chance to inform the staff on what they taste instead of having the staff dictate what they will taste. This brings another level of research to the facility, where the patrons’ experience of the wine is used to reflect on the flavors of the wine from the winemaker’s perspective. VISUAL QUALITY LIGHT
DEGREE SIDE TABLE PATRICK NORGUET
TULIP COFFEE TABLE SAARINEN FOR KNOLL
WHITE OAK FLOORING WELLBORN + WRIGHT
ONDA STOOLS STUA
ERODED STOOLS I M LAB
WHITE BACK PAINTED GLASS SURFACE PRODUCTS INC.
TACTILE QUALITY DARK
HARD
SOFT
BIG
SMALL
COLD
WARM
COLD
WARM
ROUGH
SOUND QUALITY
SMOOTH
SMELL QUALITY
QUIET
LOUD
COLD
WARM
SOFT
HARD
BITTER
SWEET
LOVE PAPILIO B+B ITALIA
MINI PAPILIO B+B ITALIA
STRING LIGHTS MICHAEL ANASTASSIADES
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MEDIUM — SKETCH UP, MARKER,COLORED PENCIL,PEN, PHOTOSHOP
SHOP The wine shop provides patrons with an extensive selection of Virginia wines from vineyards statewide as well as wines produced in house. The shop has its own point of entry from the outside, making it readily accessible for patrons that want to directly buy wine to take home. A glass wall divides the shop and the bottling facility, creating a visual connection between these two points in the wine production process —bottling/aging and distribution.
VISUAL QUALITY
LIGHT
TACTILE QUALITY
DARK
HARD
SOFT
BIG
SMALL
COLD
WARM
COLD
WARM
ROUGH
SOUND QUALITY
ERODED STOOLS I M LAB
DEGREE SIDE TABLE PATRICK NORGUET
WHITE OAK FLOORING WELLBORN + WRIGHT
STRING LIGHTS MICHAEL ANASTASSIADES
SMOOTH
SMELL QUALITY
QUIET
LOUD
COLD
WARM
SOFT
HARD
BITTER
SWEET
30
MEDIUM — SKETCH UP, MARKER,COLORED PENCIL,PEN, PHOTOSHOP
R E S TA U R A N T The restaurant brings the wine tasting experience to another level, where the pairing of specific wines and foods is explored. This incites another instance of collaboration and experimentation between the winemakers and chefs, who work together to create new sensations and flavors through the combination of food and drink. The restaurant is located on the mezzanine level, which provides views below, creating a sensory connection between the restaurant and the two first floor areas of production- fermentation and bottling.
VISUAL QUALITY
LIGHT
TACTILE QUALITY
DARK
HARD
SOFT
BIG
SMALL
COLD
WARM
COLD
WARM
ROUGH
SMOOTH
ONDA STOOLS STUA
TULIP DINING TABLE SAARINEN FOR KNOLL
WHITE OAK FLOORING WELLBORN + WRIGHT
SERRA 850
SOUND QUALITY
SMELL QUALITY
SERRA 830
QUIET
LOUD
COLD
WARM
SOFT
HARD
BITTER
SWEET
SERRA 815 PAPILIO DINING CHAIR B+B ITALIA
STRING LIGHTS MICHAEL ANASTASSIADES
WHITE BACK PAINTED GLASS SURFACE PRODUCTS INC.
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MEDIUM — SKETCH UP, MARKER,COLORED PENCIL,PEN, PHOTOSHOP
PRODUC TION The production facility encompasses the majority of the north and south wings of the first floor, visually connected to surrounding spaces. A garage door opens up into the receiving area, where Virginia grapes are shipped to the facility. Here, grapes are crushed/destemmed and pressed (if white; pressed later if red), and sent into must storage tanks or straight into fermentation tanks, located along the north side of the building. The area that houses the fermentation tanks is dropped two feet from the first floor to express the flow of the process, known in the business as gravity flow production. The wine then descends into the cellar for aging and back up to the first floor for bottling.
VISUAL QUALITY
LIGHT
TACTILE QUALITY
DARK
HARD
SOFT
BIG
SMALL
COLD
WARM
COLD
WARM
ROUGH
SOUND QUALITY
CRUSHER/DESTEMMER
FERMENTATION TANK
THE WESCO PENDANT LIGHT BARNLIGHT ELECTRIC
WINE FILTER
BOTTLING LINE
SMOOTH
SMELL QUALITY
QUIET
LOUD
COLD
WARM
SOFT
HARD
BITTER
SWEET
PRESS
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MEDIUM — SKETCH UP, MARKER,COLORED PENCIL,PEN, PHOTOSHOP
CELL AR The cellar is accessed from the production facility through a freight elevator so full barrels can be brought down to the cellar for aging. Visitor access to the cellar is via the spiral staircase that wraps around a circular glass elevator. The cellar is where wine goes to age on average one to two years. The space needed to be in a dark, cool place in the building so wine does not spoil, so the basement level was redesigned to provide more space for barrels and circulation.
VISUAL QUALITY
LIGHT
CFL PENDANT ROD MICHAEL ANASTASSIADES
TUBE WALL LIGHT MICHAEL ANASTASSIADES
TACTILE QUALITY
DARK
HARD
SOFT
BIG
SMALL
COLD
WARM
COLD
WARM
ROUGH
SOUND QUALITY
SMOOTH
SMELL QUALITY
QUIET
LOUD
COLD
WARM
SOFT
HARD
BITTER
SWEET
MEDIUM — SKETCH UP, MARKER,COLORED PENCIL,PEN, PHOTOSHOP
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L A B O R AT O R Y The laboratory is centrally located between the various production facilities. Here, winemakers and analysts embark in research and development for increased quality of Virginia wine. Anything from analysis of the wine itself to the soil from which the grapes came happens here. As the sensory qualities of the wine must be emphasized during analysis, an environment that does not distract is critical. This requires the laboratory to be free of any overwhelming color, odor, light, sound, taste, and temperature. As such the use of white materials is implemented in the lab with white back-painted glass countertops and cabinetry.
VISUAL QUALITY
LIGHT
WHITE BACK PAINTED GLASS SURFACE PRODUCTS INC.
separatory funnels for metal analysis
burets reagants for titrations
oven for sterilization
pipet drain rack
ebulliometer for alcohol alcohol distillation apparatus
TACTILE QUALITY
DARK
HARD
SOFT
BIG
SMALL
COLD
WARM
COLD
WARM
ROUGH
SOUND QUALITY
SMOOTH
SMELL QUALITY
QUIET
LOUD
COLD
WARM
SOFT
HARD
BITTER
SWEET
ELEVATION OF LAB
0’
8’
1701 EXTERIOR | TREES + SURROUNDING BUILDINGS
MEZZANINE
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FIRST FLOOR
SHOP
35
PRODUCTION
THROUGH GLASS WALL INTO PRODUCTION
BOTTLING AND SHOP BEYOND
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LIT TLE HOUSE ON LIT TLE HOUSE “I went to the woods so I could live deliberately, to front all essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms” —HENRY DAVID THOREAU Built on Little House Mountain in Rockbridge County, Virginia, this 284-square foot cabin in the woods is designed to embrace simple and deliberate living, narrowing the gap between human and nature. In such an environment, we are brought closer to our essential selves and what we as humans really need from our environment, both built and natural. The goal of the project is to functionally fit all the bare necessities for human life into less than 400 square feet. This includes indoor plumbing, and kitchen amenities. Designed for a naturalist and English professor, and based upon the teachings of Henry David Thoreau’s Walden, the Little House on Little House celebrates the act of deliberate living so to learn what an interior environment is at its most essential. Built into the side of a hill and equipped with a rooftop garden, the space utilizes the natural temperature of the earth, keeping it warm in the winter and cool in the summer. This allows the occupants to use less fuel to heat and cool their dwelling during the year and recalls a more primitive use of the natural environment as habitation. This reinforces the concept of simple and deliberate living as well as further connects them to their surroundings and essential nature.
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SITE + PL AN L I T T L E H O U S E M O U N TA I N Little House Mountain was chosen for the site of the project for several reasons. It is in close proximity to Lexington, Virginia, where the client teaches for part of the year, raised his children and spent much time exploring the woods. Still teaching in Lexington but having since moved to upstate New York, the client requires a small dwelling in Lexington during the months he still teaches at the university.
R E S T, S L E E P
0’
SECOND FLOOR PLAN
3’
N
The second floor is a 80 square foot iron-framed loft, equipped with a small wardrobe and double bed with storage compartments incorporated into the base. The loft is situated at the back of the little house and, as such, is tucked back into the earth. A large skylight is incorporated into the roof design so to provide natural light during the day.
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The first floor of the little house provides the client with a living space, a kitchen, dining area/work space, and a bathroom with sink and shower. The bathroom is located underneath the stairs and, as is common in other parts of the world, the toilet and shower are not separated by a partition of any kind. Kitchen appliances were selected based upon their energy ratings and function while a slate countertop with open shelving below give ample space for cooking, cleaning and storage.
0’
FIRST FLOOR PLAN
3’
N
E AT, L I V E , W O R K
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M AT E R I A L S + F F + E GREEN ROOF + M U S H R O O M I N S U L AT I O N A green roof reinforces sustainable living as it is a natural solution for roofing insulation, integrates the habitat into the hillside, and extends the inhabitable space to the outside. The roof is designed with a slight slope towards the back of the house so that rainwater runoff is collectible at the top of the hill for reuse. Mushroom insulation is a fairly new product and a successful alternative to common insulation materials. Ecovative Design created mushroom insulation where agricultural waste from farms is cleaned and introduced to mycelium, the vegetative part of a fungus. The mixture is bagged to allow the mycelium to grow, forming a matrix of white fibers. This is then broken up again and put into a tool that allows the mycelium to grow completely through and around, creating a solid structure without voids. This resulting solid is left to grow for a few days and then dried to stop further growth. Mushroom insulation is naturally fire resistant, rapidly renewable, and VOC free.
GREEN ROOF SOCO CONSTRUCTION
MUSHROOM INSULATION ECOVATIVE DESIGN
RECL AIMED + LOC AL Local and reclaimed materials for construction, cladding, textiles and furniture further the concept of deliberate, simple and sustainable living. Reclaimed materials provide the space with character and patina that embrace age, use and the past. Virginia slate is selected for the countertop, reducing cost of delivery and fuel emissions while referencing the natural landscape. The interior walls are clad with Bushwick mixed hardwoods and the floor with mixed oak barn siding. Both products are reclaimed from old barns within the United States, but also alludes to the culture of Rockbridge County as a rural farming community. Aellon nesting tables are selected for their materiality, to save space, and to provide flexibility.
BUSHWICK MIXED HARWOOD WELLBORN + WRIGHT
SLATE COUNTERTOPS
NESTING TABLES AELLON
MIXED OAK BARN SIDING SUSTAINABLE FLOORING
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T H R E E S E AT S + H E AT According to Thoreau, in his tiny house at Walden pond, he had “three chairs in [his] house; one for solitude, two for friendship and three for society�. Here he begins to create an interior that speaks to his existential exploration of living. He sees only a need for three chairs to accommodate his daily life and any entertaining he may do. Anything more is superfluous and goes against the intimate nature of such a small dwelling. To follow his resolution, the Little House on Little House has a sofa made from recycled army tents and a dining room table with two chairs. The dining room chairs double as cubbies, addressing the dual need for storage and surfaces to sit, eat and work on. The client uses a wood burning stove throughout the winter months and wanted to maintain this natural heating method within the Little House. This method is energy efficient and more cost effective than gas heating, but more importantly connects human survival to nature in a more intuitive manner.
PACIFICA SOFA ENVIRONMENTAL
DINING TABLE/BOOKSHELF ADACHI
WOOD-BURNING STOVE
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OB JEC TS + IDENTIT Y FORM OF WINDOWS The bottom of the windows angle to reveal the slope of the hillside within which the Little House sits. This gesture connects the site and the built environment to one another, provides the interior with ample light and views of the surrounding landscape. The Little House required an integration with the surrounding landscape that brings the relationship between human and nature into a dialogue that is quickly disappearing in the modern world. This dialogue is the purpose of Thoreau’s livelihood at Walden Pond, and it too is the purpose of the Tiny House Movement that is quickly gaining attention.
SECTION — FIRST FLOOR + LOFT
0’
3’
BOOKS An important design opportunity arose when the parameters evolved to require ample space for the client’s book collection. A staircase that houses books serves as an effective spatial design solution but also places these precious objects on display, celebrating the client’s identity as an avid book reader, writer and collector. The solution to create a book—staircase gives the square footage already occupied by the stairs a dual purpose while also providing the occupants with a unique showcase for their books. Within a minimalist color scheme of light woods, white and black, the books give the space a richness of color and rhythm with purposeful, usable items.
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ELEVATION — STAIR + BOOKCASE DESIGN
STAIR + BOOKCASE SCHEMATIC CONSTRUCTION
0’
3’
44
B O H O C YC L E + GREENHOUSE MARKET Boho Cycle, an independently owned indoor cycle studio in Richmond, Virginia, is growing out of their current space and want to explore opening a second location. Here, they would like to partner with a cafe that conceptually aligns with their fresh, young and healthy business model, as well as expand their offerings to include barre classes, yoga classes and a cycle studio equipped with 45 bikes. Initial research was conducted into exercise, food and health trends to inform concept development, most notably the ideas of wellness and holistic health. This led the project to be driven by the concept of water, specifically the water of the James River. The James River splits Richmond into northern and southern sections, and as an energetic, ever-moving, ever-changing body, it itself attracts energetic, fun and healthy activity. The new space for Boho Cycle and Greehouse Market is like the James River— its positive, healthy energy reverberates into the surround, attracting patrons and creating more of the same positivity and health. The site/building for Boho Cycle and Greenhouse Market is known as the “Highpoint” Building, a multi-tenant building situated in the neighborhood of Scott’s Addition at 1801 Highpoint Avenue. Occupying suites 101 and 102, the space is approximately 7,338 square feet with a ceiling height of 11’-11”. The most notable interior features of the building are a brick dividing wall some 37’ into the interior of the space, 6 skylights, and four rows of three columns. Programmatically, Boho Cycle requires reception, retail, changing rooms, cycle studio, barre studio, offices, restrooms, and a laundry room/janitors closet. Greenhouse Market requires a kitchen with walk-in, two service counters, a juice bar, dining area, retail area and restrooms. The two businesses will share a mechanical/electrical room and an IT closet.
FLOOR PL ANS
ROOM SCHEDULE PROGRAM
OUTSIDE
To design an interior environment for BOHOcycle, a b
2 MEN’S 109
MEN’S 119
WOMEN’S 120
WAITING 117
SERVICE COUNTER 104
RECEPTION 116
1
BARRE STUDIO 123
IT/MECH. 103
124 125 126
BOHO RETAIL 113
114
ENTRANCE 101
CAFE RETAIL 102
115
CONCEPT
kb
c Ro
CHANGING ROOMS
LAUNDRY 121
DINING 112
OFFICE 122
and Greenhouse Market, a farm-to-table cafe, TYPE ROOMstudio, # ROOM cooperation and bringing the outside in. ENTRANCE 101 community, CAFE RETAIL 102 IT/MECH. 103 SERVICE COUNTER 104 BOHOcycle and Greenhouse Market seek to create a KITCHEN 105 outside in, physically, spiritually and communally. BOH WALK-IN 106 so doing, creates an environment that cultivates a mor JUICEwithin BAR the Greater Richmond Area. Greenh 107 community farmers and artisans bring and share their good 108 whereBANQUET community. RESTROOM 109 urban MEN’S WOMEN’S RESTROOM 110 DINING 111 DINING 112 BOHO RETAIL 113 CHANGING ROOM 114-5 RECEPTION 116 WAITING 117 CYCLE STUDIO 118 MEN’S RESTROOM 119 RR WOMEN’S RESTROOM 120 LAUNDRY 121 OFFICE 122 BARRE STUDIO 123 18 CHANGING ROOM 124-7 ge
rid
127
AV E nt oi hp ig
ST
Bou leva
rd
H
0’
ST
FURNITURE PLAN
FURNITURE PLAN N 1/8” = 1’-0” 15’
d oa Br
STUDIO ING ROOM
WOMEN’S 110
CYCLE STUDIO 118
TYPE
RETAIL ING ROOM ING ROOM ION G STUDIO RESTROOM N’S RESTROOM RY
KITCHEN 105 DINING 111
E MARKET
NCE ETAIL H. E COUNTER N N AR ET RESTROOM N’S REST.
WALK-IN 106
RR
N
JUICE BAR 107
BANQUET 108
CHANGING ROOMS
46
DROP CEILING KEY WOOD GRILLE GYPSUM EXPOSED
LIGHTING KEY CERNO VIX MASON JAR LED STRIP LITHONIA WRAP RECESSED N
REFLECTED CEILING PLAN
0’
15’
47
FLOOR MATERIAL KEY RECLAIMED ELM RUBBER/CORK SLATE TILE RECLAIMED WALNUT CONCRETE N
DIMENSIONED PLAN
0’
15’
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B O H O C YC L E + B A R R E BOHO RECEPTION BOHO’S reception is situated along the brick dividing wall. The client’s requirements for the space are a reception desk, cubbies for cycle shoes, seating, a coffee and juice bar for daily use and events, space for the sale of merchandise and two changing rooms. Here students will wait for their cycle or barre classes to start, attend social events and shop BOHO’s merchandise. The reception is intentionally located at the front of the building, visible and accessible to and from the market to encourage cross-pollination and exploration.
VIX LED LINEAR PENDANT PIRRA PILLOW KIARA BENCH CERNO ANTHROPOLOGIE WORLD MARKET
RECLAIMED ELM SHOU-SUGI BAN WELLBORN + WRIGHT DELTA MILLWORKS
EXISTING WHITE BRICK
MEDIUM — SKETCH UP, WATERCOLOR, PHOTOSHOP
C YCLE S T UDIO The atmosphere within the cycle studio needed to be like a nightclub, where darkness and colored lights create a sense of excitement and anonymity. The COLORrail IRC is selected as it sits on the floor and casts moving colored light onto the walls. The movement of the light will promote the movement of the body and the colors intentionally change to support the desired mood of a workout. The traditional rubber flooring found in indoor cycle studios is substituted with a new, more environmentally friendly product made with both cork and rubber by Capri Cork. Loud music is played throughout the classes so an acoustical wood ceiling is selected. This also provides an opportunity for LED strip lights to be positioned within the wood slats, providing more lighting and sparkle. Cool colored lights are used to reinforce the blue of the BOHO brand but also to give the room a water-like quality and a feeling of cool. This is a desired sensation when warm from working out. CYCLE STUDIO
COLORrail IRC CHAUVET LIGHTING
MEDIUM — SKETCH UP, WATERCOLOR, PHOTOSHOP
WOODGRILLE ACOUSTICAL CEILING ARCHITECTURAL SURFACES
AND/OR RUBBER CORK CAPRI CORK
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BR AND + RIVER The incorporation of blue to emphasize Boho’s brand provided the opportunity to create an accent wall made of patinaed copper. Patina copper is seen throughout the city of Richmond as exterior cladding and piping. The specified copper panel has a water-like quality that reinforces the concept and ties it to Boho’s brand. PATINA COPPER SEARLES ART
ELEVATION 1 — BARRE STUDIO ENTRANCE + ACCENT WALL
LED STRIP LIGHTING COLORBRIGHT
MEDIUM — HAND DRAFTING, WATERCOLOR, PHOTOSHOP
50
GREENHOUSE MARKE T
MARKET FROM JUICE BAR
MEDIUM — SKETCHUP, WATERCOLOR, PHOTOSHOP
MEDIUM — SKETCHUP, SANDPAPER, COLORED PENCIL, PHOTOSHOP
CROSS-POLLINATION
GALVANIZED STEEL CHAIRS AEON
RECLAIMED WALNUT WELLBORN + WRIGHT
SOHO RECLAIMED OAK WELLBORN + WRIGHT
HANGING PLANT DISPLAY CUSTOM
51
INDOOR FARMER ’S MARKE T
The intention of the Market is to feel like an indoor farmer’s market. The market sells healthy, locally sourced food, juices and artisanal gift items, cut flowers and potted plants. The sign at the entrance to the market is made of living plants and communal live edge tables encourage conversation. The natural curve of the table’s edge has a sense of movement that is reminiscent of water. On that same note, next to the juice bar, a counter with barstools cascades down to form a bench seat with small tables. This seating provides patrons with a more intimate place for connection and its fluid form reinforces the notion of the James River with its cascade and curvature. The use of mason jars as decorative lighting, simple hanging planters, and dark and light wood give this industrial warehouse a lively interior that brings to mind the open air markets found in Virginia.
MASON JAR PENDANTS CUSTOM
RECLAIMED SLAT VENEER FOR COUNTERS WELLBORN + WRIGHT
LIVE EDGE FARM TABLE ETZ AND STEEL
ELEVATION — BANQUET SEATING + JUICE BAR
SECTION PERSPECTIVE — MURAL AS CONNECTION
MEDIUM — SKETCHUP, WATERCOLOR, PHOTOSHOP
52
POP- UP CHICKEN COOP Given the opportunity to design a chicken coop, my personal goal for the project became about creating a system of construction that would allow the chicken coop to be portable or mobile in some way. This had to be achieved with a simple system of construction, few to no tools required for assembly, and easily accessible materials. Inspired by mobile lifestyles and products—from IKEA to pop-up campers and tents — the Pop- Up chicken coop is designed to be cut with a CNC router out of plyboo or plywood. Plyboo is recommended as it is made from a rapidly renewable resource and thus best aligns with the environmentally conscious mentality. Once the CNC router cuts the coop pieces, the flat pack coop is ready for transport to the assembly site. The simplicity of the design requires the coop owner to only staple hardware mesh along the openings (to keep unwanted critters out of the coop) and to slightly hammer pegs into place. The particular system of construction used in the coop’s design is dubbed a “tab and peg” system. Certain sides have slots that receive the tabs of the joining side. A peg is then inserted into the tab to secure the sides together. This system allows for a secure coop and provides a more intuitive experience during assembly. It is simple and easy, providing a design solution that enables the benefits of owning chickens to be easily available to more individuals.
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CONS TRUC TION DOCUMENTS
55
56
A S S E M B LY I N S T R U C T I O N S 1
J K A
B
L
I
N
C D
F
E
G
M
H
2
O
CNC router cuts coop parts out of 1/2” bamboo plywood sheets. 80 1/4” diameter pegs for securing walls cut separately. Attach 1/2” hardware mesh to openings on parts A, B, M, O and to circular and rectangular cut outs on right half of part L.
3
Coop flat packs for easy transportation. Approximately 7.5 inches high, 5 feet long and 3 feet deep
Place part A on the ground in coop’s desired location. Attach part N to the side of part A without square cutout. Insert 4 1/4” pegs through tabs to secure parts together.
5
4
Attach part O to part A and then to part M. Insert 1/4� pegs through tabs to secure parts together
Attach part M to part A and then to part N. Insert 1/4� pegs through tabs to secure parts together
7
6 While coop is still open, attach parts J and K (roosting bars) through the two slots located on parts N and O. Attach part I with door opening to the side of part A without square cutout. Secure with pegs along the sides and base.
Attach part F through the three center vertical slots on part N. Attach parts G and H to part N with single tab side facing up and against part N.
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8
9
Attach part E, the base of the nesting boxes, through the large horizontal slot on part N. Attach part E to part N with pegs on the interior of the coop
10
Attach part D through tabs on parts F, G, and H and through slots of part E.
11
Attach part B with square cut out on the same side as part A’s. This will act as the coop run. Secure part B with pegs
Attach pegs as hinges to part I. attach pegs to part L. attach pegs to part C and insert through tabs on parts G and H.
MEDIUM — SKETCHUP, WATERCOLOR, PHOTOSHOP
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MODEL + RENDERINGS
“REGARD IT AS JUST AS DESIR ABLE TO BUILD A CHICKEN HOUSE AS A C ATHEDR AL”
—Frank Lloyd Wright
TABS+ PEG CONNECTION
59
MEDIUM — SKETCHUP, WATERCOLOR, PHOTOSHOP
60
T R AV E L I N G E X H I B I T I O N Twelve objects from the Virginia Museum of Fine Arts were selected to travel to twelve museums around the United States. These twelve items are to be housed in a free standing armature designed to disassemble and reassemble at each museum. As curator and designer, the first ‘to-do’ was the selection of twelve pieces from the museum. After an afternoon of photographing different pieces, upon further examination, it became apparent that the majority of the objects were images, sculptures, masks and jewels depicting heads from all over the world. This led to the Many Heads of Human Traveling Exhibition, where the design of the armature accentuates the objects but also the heads of the occupants. With this objective, an analysis of human proportions, the golden section, and symmetry informed the final form of the armature. Symmetrical in plan, the space is six 5’ x 5’ squares that are separated into two groups of three by a small hallway. The armature is symmetrical yet each 5’ x 5’ square “room” varies slightly to accommodate the needs of the pieces of artwork. This furthers the concept of the human head, as it is symmetrical but with subtle variations. To continue this exploration of the human head, the need to express human proportion into the design led to an investigation of the golden section. The space uses the parameters of the golden section to guide the dimensions. The relationship between 1:3:5:8 adhere to the golden section and to the proportions of the human body. As the human head generally sits above 5 feet and below 8 feet, the exhibition design creates an open zone here, where the heads of the human visitors and the artwork are emphasized and exposed. Below 5 feet, birch plywood panels cover up the armature’s frame to hide the rest of the body, further accentuating the heads.
62
CONS TRUC TION DOCUMENTS
63
64
FRAMING DETAILS
OPEN + CLOSED ZONES
65
66
F R A M I N G A S S E M B LY
2
screw 5’x 5’, 2x2 frame to 2” side of 2x3 frame
1
screw two 5’ x 5’, 2x2 frames on center of 2x3 frame screw two 5’x8’ , 2x3 frames at a right angle, inset one frame on the other 1.5 inches
see step 1 for construction. Mirror orientation of step 1 to achieve step 3. leave 3 feet between step three and previous assembly for hallway
3
67 screw 5’ x 5’, 2x2 frame to 2” side of 2x3 frame from step 3
screw 5’ x 5’ 2x2 frame to 2x3 frame from step 3. offset 2’. place another 5’x 5’ frame perpendicular to first frame. offset 2’.
4 screw 3’ x 8’, 2x2 framing to 2” side of 2x3 framing of step 3.
68 1
3
5
screw 6, 3’ 2x2s to 5’ tall frames as ceiling support. see plan for placement specifications
5 4
2
6
place 8’x8’, 2x3 ceiling frame onto of 5’x8’ panels and 2x2 ceiling supports. screw in place.
6
place 3’x8’, 2x3 framing between the two 8’x8’ ceiling frames. screw in place.
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7
set up the 6 pedestals to display 3D artwork. see floor plan for proper placement specifications
MEDIUM — SKETCHUP, MARKER, PHOTOSHOP
PART THREE
PROFESSIONAL PROJEC TS
1 2"
1 4"
1 2"
1" 1 4
1 4"
1"
1 2"
1 4"
1 4
1" 1 4
1 4"
1"
1
1 2
1 2"
1 2
1
1
1 2
1 4
1 2
1
1 4 1 2
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SHOWROOM DOOR CONS TRUC TION
1 4 1 2
1 4 3 8
1
An expansion of Wellborn + Wright’s showroom provided the opportunity for the custom fabricators and designer to collaborate on the creation of a custom wood and metal barn door, as well as metal double doors and accordion-style doors. The intimate dialogue between designer and fabricator lead to an interesting exchange of ideas, skills and knowledge. What resulted was a growing understanding of and interest in construction, materiality and detail drawing. 1 9016
1
893 4
1 4
883 4
913 4
OVERALL FRONT ELEVATION 1 2"
1 4"
1" 1 4"
BACK ELEVATION
SECTION B—B’
1"
SECTION A—A’
1 2"
1 4
ACCORDION S T YLE DOOR 1 2
1
1
1 4
1 2
1 4
1 4 3 8
1
2
1 12
5 8
3 4
1 8
1 13 8 14
OVERALL ELEVATION
13 8
5 8
1 8
3 4
13 8
1 14
1 14 1 12
5 8
1 8
3 4
2
73
1 8
1 8
1 14
1 13 8 14
1 8
BARN DOOR
5 8
3 4
2
3 4
1 4
1 14 1 8
1 8
1 14
SECTION B — B’
2
SECTION C — C’
5 8
1 14
13 8
1 14
13 8
1 14
2
1 14
1 4
2
1 8
1 14
2
1 2
1 12
5 8
3 4
1 8
13 8
1 14
1 13 8 14
1 4
1 8
3 4
2
1 8
SECTION A — A’
5 8
1 14
43 4
1 14
45 8
1 12
13 8
1 14 1 4
1 14
1 14
5 8
1 14
1 14
1 14
1 8
1 14
1 4
1 8
5 8 43 4
1 8
1 8"
43 4
1 8
1 4
1 18
1 8"
45 8
13 8
1 18
1 12
13 8
1 48
1 8
5 8
1 4
1 8
5 8
1 14 1 8"
1 8 1 14
1 8
1 18
1 8
45 8
45 8
43 4
1 8"
13 8
1 18
1 44
1 48 13 8
1 44
1 52
1 8 1 48 1 44
1 18
1 48 1 44 6
1 52
1 8
BACK ELEVATION: ONE DOOR
1 18
SECTION B — B’
1 8
SECTION C — C’
DOUBLE DOOR
1 8
1 18
FRONT PATIO DIMENSIONED PLAN
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S I K E S F R O N T PAT I O
As part of a full-scale interior renovation of a Richmond Fan House, the client requested Wellborn + Wright to design a stone front patio that is complementary to the house and neighborhood’s history, but contemporary in style. An acknowledgment of the existing angles of the bay window, the need for a spacious outdoor seating area and two circulation paths— direct and indirect— lead to the following design solution. The project began in the summer of 2015 and was completed in the winter of 2016.
DEMO
PATIO RENDERING
FINISHED PATIO
MEDIUM — PHOTOSHOP
ELEVATION OF GATE
B R O O K E S G AT E A client requested that Wellborn + Wright design an exterior gate for his house in Florida’s horse country. Through extensive communication between client, designer and fabricator,the final design of the gate is inspired by the elegant strength of the horse. Thin horizontal steel pieces are supported by steel vertical sections that are either open or covered in thin sheet metal. This gives the gate a rhythm that references the movement and syncopation of running hooves.
INSTALLED GATE
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THANK YOU
C O N TA C T I N F O PHONE EMAIL ADDRESS
434.466.5987 elinew337@gmail.com 3902 Cutshaw Ave Apt 2 Richmond VA 23230
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