Interior Design Portfolio by elutz-pratt

INTERIOR DESIGN

PORTFOLIO

ERIN LUTZ

rengised roiretni ztul nire

erin lutz interior designer

erinlutz923@gmail.com 215 565 5665

PORTFOLIO

P. 2

CONTENTS

11 2"

2'-9"

3'-8" provide center mounted carriage

IDEONELLA SAKIENSIS

6'-6"

HALL INSTALLATION

20 25

3'-2"

4 19

1'-1 21"

6 81"

en to Below

LOCKING HANGER

AIRPORT

SDR PARKS BUILDING

42 45

7'-113 4"

46 51

52 61

2 34"2 34" 2"

9'-11 4" LEVELS OF INTERACTION WORKING SET

6 21"

22"

3'-8"

P. 3

DESERT ESCAPE

62 77

Section 1 Scale:1"=1'-0"

78 85

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

HUMAN & NON-HUMAN COHABITATION

IDEONELLA SAKAIENSIS TYPE _ Educational Research Recycling Facility CONCEPT _ Sustainability: Itâ&#x20AC;&#x2122;s a bacteria that eats plastic

P. 4

DIAGRAM 1 X 50,000 DIAGRAM 2 X 20,000 DIAGRAM 3 X 10,000

This project challenged the way that we as designers typically approach clients by necessitating the cohabitation of a nonhuman species with humans. The species I proposed this for was a bacteria discovered in 2016 called Ideonella Sakaiensis. It was found just outside of a plastic bottle recycling facility in Japan. I specifically chose this bacteria because it is the first to be able to break down, consume, and metabolize a chemical called PET which is found in single use plastics. Because our site was located so closely to the East River, I proposed that this bacteria would be able to service the area by consuming plastic directly from the river. The main program for this site is proposed to be a study laboratory as well as an informational recycling center. Upon entrance, visitors would be confronted with a two story permanent wall of plastic. This is to address the overwhelming issue of plastic pollution. Past the wall, a conveyor belt carrying plastic runs above visitors heads with pneumatic tubes that feed into just off to the left. As one moves through the building they follow the conveyor belt around the glass laboratory in the center of the building. They then see the columns in the back of the building surrounded by

single use plastic. However, these are where the bacteria live. In these columns the bacteria break down the plastic being fed in by the conveyor belt. This structural dichotomy is meant to represent our existing nature, and how the current dumping of plastic is destroying its structure. In order to combat the byproducts of the bacteria, a biome on the third floor is proposed. One foot of water and six inches of soil would pool on this floor, in which a small forest of mangrove trees would grow. Mangroves are known for their ability to thrive in shallow waters with minimal soil and in very close proximity to each other. This means that the carbon dioxide and water created by the breakdown of the plastics could be nullified by this biome making this plastic decomposition sustainable. This forest would also be accessible to people through enclosed pathways throughout the floor. >>

155 WATER ST. BROOKLYN NY

CIRCULATION PATH DIAGRAM

Plastic Circulation P. 5

User Circulation

Scientist Circulation

Lab

P. 6

HUMAN & NON-HUMAN COHABITATION

“ALTHOUGH I BELIEVE IT WILL TAKE TIME, I AM HOPEFUL THAT THE BACTERIUM FOUND WILL BECOME THE CATALYST FOR A RESOLUTION OF THE PLASTIC PROBLEM.” -KOHEI ODA

155 WATER ST. BROOKLYN NY

NW VIEW FROM DIGITAL MODEL

P. 7

HUMAN & NON-HUMAN COHABITATION

P. 8 5

DIAGRAM > Binary Fission DIAGRAM < original iteration DIAGRAM < second iteration

Plastic Bottle Recycling Facility: home to Ideonella Sakaiensis

Bacteria releasing enzymes to consume plastic

500 million bacteria can live right here.

Bacteria breaking down plastic water bottles.

Ideonella Sakaiensis

Wastewater Soil Sediment

155 WATER ST. BROOKLYN NY

This is an ecosystemic drawing completed to explain the life cycle, habitat, and human interaction of Ideonella Sakaiensis. It is read from the bottom to the top originally being discovered in Japan in 2016 outside a recycling facility. It lives in water, soil, and sediment, and can survive solely on plastics. It their life lasts roughly twelve hours before they divide through binary fission thus reproducing into two new cells. Should they die before this, they burst, and are absorbed by their surrounding environment. They have enormous potential to help us humans in that they can break down plastic at rates roughly ten times that which nature can (shown at the very top). >>

ECOSYSTEMIC RESEARCH DRAWING

P. 9

P. 10

HUMAN & NON-HUMAN COHABITATION

155 Water St. in Brooklyn is located just off the east river in DUMBO (the black triangle in image 1). While the East River is known for its waterside paths, expensive views, and ferry rides (image 2), and flooding (image 4), it also has the highest concentration of plastic particles per square kilometer of any of the rivers surrounding NYC (556,484). With the majority of these pieces being smaller than 5mm, the majority of plastic is consumable by the fish and birds feeding in the river (image 6). Because of this, it means that people are also consuming this plastic second hand as, while there have been warnings against it, fishing still often occurs in the river.

High Flooding

Lowest flooding

155 WATER ST. BROOKLYN NY

SITE ANALYSIS

P. 11

HUMAN & NON-HUMAN COHABITATION

P. 12

DIAGRAM < Axon per floor DIAGRAM < Exploded relation axon DIAGRAM > Final programmatic axon

view from back

These axons unpack how the site functions. The exploded relation axon looks at each floor and how they relate to each other. The top floor shows the biome space and the negative space as pathways through it. The pathways were based off of the original ecosystemic drawing and the binary fission of Ideonella Sakaiensis. Under this floor is the columns that extend through the ground and second floor. Next to this is the laboratory space that extends through both of these floor as well. They relate to each other through R&D and execution of the plasticsâ&#x20AC;&#x2122; decomposition. The conveyor belt and permanent plastic wall are also shown. The Axon per floor presents the layout from a back view, looking more at the columns and conveyor belt. The final programmatic axon also includes a final column and beam system supporting the building as well as the final layout of the site. >>

155 WATER ST. BROOKLYN NY

PROGRAM ANALYSIS

Glass Ceiling

Mangrove Carbon Dioxide Absorption Biome

P. 13

Ideonella Sakaiensis breaks down plastic around columns Permanent Plastic Wall

Plastic recycling entrance

Laboratory and Conveyor Belt Interaction

Conveyor belt carries plastic through site.

HUMAN & NON-HUMAN COHABITATION

P. 14

biome environment

second floor

ground floor 155 WATER ST. BROOKLYN NY

ENTRANCE RENDER

P. 15

P. 16

HUMAN & NON-HUMAN COHABITATION

155 WATER ST. BROOKLYN NY

BIOME RENDER & SECTIONS

P. 17

BLUE WEEK RECYCLED INSTALLATION

HALL INSTALLATION

P. 20

TYPE _ Recycled Cardboard Installation CONCEPT _ Sustainability/ Earth Day Waste Awareness

This project was a group project designed in April and installed during Blue Week, a week long event hosted by Pratt to generate awareness about sustainability and the environment. It culminates on Earth Day when this project was presented. The project itself was constructed of entirely recycled cardboard collected from nearby grocery stores, other studentsâ&#x20AC;&#x2122; mail, or off the street. Its goal was to represent the learning process. At the beginning it starts wide open signifying the open-mindedness and naivety before someone learns about something new. As one moves through it though, it becomes tighter and tighter signifying the struggle that often accompanies new concepts, the questions that arise and the discomfort that it causes. There are also pieces that one must rotate to move past that represent the solving of some of these questions. Finally the piece opens back up to represent a more full understanding of the topic and a sense of pride and growth. The piece is raised by a semi-delicate surface to make those walking through it aware of the movements they are going through, and also

rises as they move into the middle, dropping back down when emerging. This project was designed and completed in two weeks with Jingjing Huang, Yeqiuyuan Qiang, Soraya Leite, Christine Park, Junqi Zhang, Nijat Bunyadov, Siqi Guo, Sha Huang, and Gary Ge. >>

200 WILLOUGHBY AVE. BROOKLYN NY

DIGITAL MODEL RENDER

P. 21

WHAT WOULD IT BE LIKE TO STEP INTO THE CREATIVE PROCESS? TO HAVE SO MANY IDEAS, TO STRUGGLE AND TO HAVE AN AH-HA MOMENT THAT LEADS TO A CULMINATION OF WORK.

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BLUE WEEK RECYCLED INSTALLATION

200 WILLOUGHBY AVE. BROOKLYN NY

DRAWINGS AND INSTILLATION

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BLUE WEEK RECYCLED INSTALLATION

200 WILLOUGHBY AVE. BROOKLYN NY

INSPIRED CONGE FORM

DESERT ESCAPE TYPE _ International Hostel CONCEPT _ Oasis: finding influence from a congé form, the hostel would be an escape from the desert around it.

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I L

I T

I O

I V

This project challenged us to look at another country, their culture, and their priorities in order to develop a hostel that accommodated travelers in Qena, Egypt. Because Qena is located within a desert, it was understood that finding a way to provide an escape from the heat and dry air would be desirable and would draw people to the hostel. The original site was a ceramic factory and had a clay drop off at one of the entrances to the building. Within this, there was a fountain that kept the clay from drying out before it was brought inside for processing. The rest of the site followed a chronological order around the perimeter of the site. These concepts were incorporated into the new proposal of a hostel. The users would enter by walking into a front garden space. Upon passing a low reflecting pool they would meet reception before entering the rest of the side. This front garden was open ot the public and encouraged peoples’ participation with it. Around the pool was a ramp that lead to a view over the buildings beside it. After entering, people would be led through the rest of the hostel by the water that were employed through different forms. Through the hall that lead to bedrooms, there was a mist to provide

further privacy, as well as a small river that ran on the exterior of the hall to lead to the back garden and ceramic exhibition. This exhibition was included in order to pay homage to the building’s original purpose. This was a group project completed in the span of five weeks with Aastha Kothari, Shreya Bhuraria, Yijin Wang, Jingjing, Huang, Zhuoxian Yu. >>

QENA, EGYPT

EXPLODED AXON

P. 27

P. 28

INSPIRED CONGE FORM

“WATER IS THE DRIVING FORCE OF ALL NATURE.”

-LEONARDO DA VINCI

QENA, EGYPT

NATURAL COOLING SYSTEM DIAGRAM

P. 29

INSPIRED CONGE FORM

P. 30

DIAGRAM > hallway conge DIAGRAM < conge forms DIAGRAM < concept plan

This project relies on the interaction between people and water in different forms. Shown in the Concept plan to the left, the waterâ&#x20AC;&#x2122;s location is demonstrated in blue. On the far left is the garden space with a reflecting pool. The long hallway in the middle of the building is kept cool through a light misting system that branches into the bedrooms and the bathrooms have a full water flow. To the right shows a view of the hallway with the congĂŠ form directing people to the different programs through their directionality. The amount of them also indicates the relevance and importance of each program as well as how often they will be utilized and their occupancy. >>

QENA, EGYPT

WATER UTILIZATION AND MIST HALLWAY

P. 31

INSPIRED CONGE FORM

Local Sustainability

P. 32

Local Sustainability Qena, located in middle eastern Egypt, (image 1) sits in a transitional green-land between the Nile river and the desert (image 2). While Qena does have access to the river, Egypt, is known for its hot, arid conditions (image 5). This greatly influenced the way we incorporated natural ventilation and cooling techniques traditional to the area (images 3-4). Two story halls allow cooler air from the exterior to sink pushing hot air up into these higher unoccupied spaces. The air is then released through windows. Sometimes water is also utilized as an air conditioner and humidifier. This technique is typically called a Salsabil. A wind chamber catches air and the system is slightly more complex than the two story hall.

Qaâ&#x20AC;&#x2122;a

Qaâ&#x20AC;&#x2122;a 1500

I T

I O

1000

500 0

I L

I V

Two Story Hall Two Story Hall

Salsabil Salsabil

QENA, EGYPT

SITE ANALYSIS & PLAN DEVELOPMENT

< < RCP diagram < > texture plan diagram > < programmatic plan diagram > > old vs new plan diagram

> >

DIAGRAM DIAGRAM DIAGRAM DIAGRAM

> >

P. 33

Reception

Snake Bar

2 Bed

Bathroom

4 Bed

Laundry

Dinning

Lounge

Ceramics

6 Bed

Storage

Workroom

Employee

Transition

Locker

WORKROOM

LOUNGE

Kitchen

Garden

TRANSITION

BATHROOM LOCKER

TRANSITION

Scale 1:100

BATHROOM

STORAGE

RECEPTION

SNACK BAR

6 BED

6 BED CERAMICS

GARDEN

LOCKER 4 BED LOCKER 4 BED 2 BED 4 BED EMPLOYEE

STORAGE

GARDEN

DINNING

LAUNDRY

STORAGE

LOCKER

KICHEN

P. 34

M AT E

QENA, EGYPT

GR AN D

INSPIRED CONGE FORM

CONGE ANALYSIS & PLAN

P. 35

P. 36

INSPIRED CONGE FORM

QENA, EGYPT

SECTIONS

P. 37

P. 38

INSPIRED CONGE FORM

QENA, EGYPT

CERAMICS RENDER

P. 39

INTERIOR HANGER STUDY

LOCKING HANGER

P. 42

TYPE _ Detail construction CONCEPT _ Anthropomorphic study into functionality

This project was inspired by the movement of a tiger’s claw. Each of the individual hangers on the first piece pull out to make it easier to hang on. The second set of hangers have squared off ends so that the curved piece can lock into it. This can also be put into the central piece “upsidedown” in order to provide a space behind it to store keys, sunglasses, swipe-cards, etc. Lastly, these two pieces can lock together so that the dowel cantilevers perpendicularly and can be utilized as a rod to organize hangers on.

This hanger can be module-ized as hangers can be added and taken away to the amount that they desire. They can also use the piece however best suits them or their needs at the time. >>

200 WILLOUGHBY AVE. BROOKLYN, NY

ALL PIECES INTERLOCKED

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P. 44

INTERIOR DETAIL STUDY

ALL PIECES INTERLOCKED

P. 45

DE-STRESSING AFTER SECURITY

TENSION AND RELEASE

P. 46

TYPE _ Airport Restaurant CONCEPT _ Mirroring the experience of an airport

In this project, I wanted to entice people into the restaurant by only exhibiting part of the project by the entrance and having them move through it as they enter the space. The entrance starts narrow and then opens up mirroring the feeling of the airport itself. Before one goes through security everything is tight and regulated like the entrance to the restaurant, but once one move through it, the rest of the airport is free to be experienced as the individual chooses.

This breadth occurs within the site as the ceiling rises and becomes brighter and more spacious. The drawings are meant to show both the layout of the space but also the feeling of individuality and publicity. The more bright and open the space is, the more public it is. The darker and more closed off it is, the more private the space. >>

JFK INTERNATIONAL AIRPORT

MODEL IMAGE

P. 47

“AIRPORTS ARE TORTURE CHAMBERS IF YOU ARE CLAUSTROPHOBIC.” - JENNIFER E. SMITH

P. 48

DE-STRESSING AFTER SECURITY

JFK INTERNATIONAL AIRPORT

EXPERIENTIAL DRAWINGS

P. 49

P. 50

DE-STRESSING AFTER SECURITY

JFK INTERNATIONAL AIRPORT

COMMUNITY CENTER REVITALIZATION I d eas

E NV IRONMENTAL G RAPH ICS

Co ns id e ratio ns

Ideas ENVIRONMEN TAL GRAPHICS

Considerations

M ul t i- l ang uag e M ul t i- c ul t ure S af e t y N av ig at io n I nt e rac t io n

Multi-language M u l t i - c u l t u re Safety Na v i g at i o n I n t e ra c t i o n

Graphic s

Sports Equipments Equipos deportivos

Graphics

Bike Repair Reparación de bicicletas

Sports Equipments Equipos deportivos

單車維修

运动器材

STANTON BUILDING

Bike Repair Reparación de bicicletas 單車維修

运动器材

Languages

Langu ages

Colour/ Arrow

TYPE _ Community Center AASTHA KOTHARI/ ERIN LUTZ/ NIYATI SHAH/ MALLIKA MEHROTRA/ CONCEPT _ Reviving a community building to create a safer MEGAN SOHEILI/ SHREYA BHURARIA/ VANWALEE CHANSUE and more sustainable park Framing

E N V I R O N ME N TAL GR AP HI CS

Framin g

I d ea s

Con sid e rat i o n s Mu l t i - l a n gu a g e Mu l t i - c u l t u re Safety Na v i gat i o n In t e ra c t i o n

Gra p h i c s

Sports Equipments Equipos deportivos

Bike Repair Reparación de bicicletas 單車維修

运动器材

L a ng ua g e s

Co l o ur / A r ro w

P. 52

Fra m i ng

e idea way the ce. It made having le.

Flexible Shelving Module Flexible Shelving Module

This project was developed over the course income community present in the area, as module starts to represent the idea module starts to represent the idea of a semester and overseen by Keena Suh Thewell as installation space The forlayering educational of layering as well as mimics the wayofthe as well as mimics the way the who first proposed the class as a deep dive stairs purposes. Some of our considerations are designed within the space.stairs It are designed within the space. It room to local be flexible and is made allows room to be flexible and is made into social sustainability and ways that allows included students’ history, science, of a sturdy wood frame, while having out of a sturdy wood frame, while having interior design could impact the cultures out and art projects, as well as an up-cycling metal strips run through the middle.metal strips run through the middle. surrounding it. After the Parks Department proposal. After interviewing locals that of NYC decided it was going to vacate this frequented the park, and collaborating building, at the base of Sara D. Roosevelt with Wendy Brawer and K Webster, two Flexible Shelving Park, many localsModule were concerned with local advocates, we pushed this project what would come of this new empty to amplify the community for what it space. As designers my peers and I took currently is rather than trying to “fix” it The module starts to represent idea a gentrified neighborhood. This was this as opportunity to present options to theinto of layering as well as mimics the way the are designedGale within the space. It the Manhattan Borough stairs President, a group project completed with SHreya allows room to be flexible and is made Brewer, that would helpouttoof asupport Aastha Kothari, Vanwalee sturdy wood the frame, whileBhuraria, having metal strips run through the middle. community rather than gentrify it. By reChansue, Mallika Mehrota, Niyati Shah, proposing the concept of a community Mahzad Soheili, and Erin Loffer. center and bringing back the building’s original purpose, we found that this space could support both the children and adults currently living in the area rather than pushing them out with another coffee shop. We proposed a flexible ground floor that could transition to support both after>> school groups or town-hall meetings. We also proposed a monitored quiet space with computer access to provide online resources to those without them, as well as study tables for collaborative or individual utilization. The cellar proposal included space for a “give-take,” to support the low 7’

4’

7’

4’

7’

4’

124 STANTON ST. NEW YORK NY

4’

PARTICIPATORY PARK MAP

P. 53

P. 54

COMMUNITY CENTER REVITALIZATION

“I DON’T BELIEVE THE PUBLIC GOOD SHOULD HAVE TO DEPEND ON THE LARGESSE OF THE WEALTHY FOR MEETING THE BASIC NEEDS OF A CITY. I DON’T THINK A DEMOCRACY CAN LONG SURVIVE RELYING ON THE WHIMS OF THE RICH.” -K WEBSTER

124 STANTON ST. NEW YORK, NY

HAND RENDER OF CELLAR

P. 55

Reclaimed Wood

compact, homogenous porcelain tile. Easy to lay, cut and transport and exhibit high abrasion resistance. minimal maintenance is needed.

Track Lighting

COMMUNITY CENTER REVITALIZATION

rooftop

3/8”=1’

ROOF

RCP

P. 56

mezzanine

3/8”=1’

MEZZANINE

BENEFITS OF WATER FOUNTAINS Indoor / Outdoor Decor Natural Humidiﬁer

WHAT IS GREY WATER? Greywater is gently used water from your bathroom sinks, showers, tubs, and washing machines. It is not water that has come into contact with feces, either from the toilet or from washing diapers.

Drowning Out Annoying Sounds Negative Ions

second floor B

1/2”=1’

DETAIL ELEVATION 3/8”=1’

ground floor

FIRST FLOOR

3/8”=1’

MEZZANINE

BENEFITS OF WATER FOUNTAINS Indoor / Outdoor Decor Natural Humidiﬁer Drowning Out Annoying Sounds Negative Ions

3/8”=1’

SECTION B 3/8”=1’

CELLAR

1/2”=1’

cellar

124 STANTON ST. NEW YORK NY

DETAIL ELEVATION

PLANS & GROUND FLOOR RENDER

P. 57

P. 58

COMMUNITY CENTER REVITALIZATION

124 STANTON ST. NEW YORK NY

SECTIONS & ENTRANCE RENDER

3/8”=1’

CELLAR

3/8”=1’

SECTION A B

P. 59

3/8”=1’

FIRST FLOOR

3/8”=1’

SECTION B

3/8”=1’

MEZZANINE

FREE PLAY

LEVELS OF INTERACTION

P. 62

TYPE _ Privately Owned Public Space (POPS)/ Landscape/Climbing CONCEPT_ Actively engage with the space to a level one feels comfortable with

POPS

LANDSCAPE

Originally inspired from how children interact with space, this project explores the idea of ‘free play’ and how to encourage adults to interact with the spaces surrounding them. Sergio Pellis and Marion Diamond have lead research around this topic finding that free play (a removal of authority figures and a creation of a new set of rules) can stimulate the growth of one’s cerebral cortex helping to solve problems, make plans, regulate emotions, and even improve memory. By providing three levels of interaction within the POPS (or privately owned public space), users are able to participate in free play to the level that they feel most comfortable while also locating recognizable elements to encourage their active engagement. This was my senior thesis project and consisted of a semester of research and a semester of design development. Working from a micro to macro scale, the project was first approached as an object (a rock climbing hold), then as a room (the ribbon curves), and then finally developed fully within the actual site. The site I chose to explore is located at 120 Park Avenue right across from Grand

CLIMBING

Central Terminal. This site is 4,500 square feet and has roughly 50 feet of open headroom. Currently this space functions fairly well as a POPS and receives a lot of foot traffic. However, existing beneath an office building I wanted to approach this space with new motivation. Proposed are three new levels. The first and most basic is the POPS which affords the most opportunity for free movement, however is restricted by social norms to the greatest extent. On the other end of the spectrum exists the Climbing Wall which has almost no societal expectations as one can move their body however they need in order to climb, but is very programmed as they have to move in a specific direction with a certain goal in mind. My thesis therefore exists mainly in the in-between which I will refer to as ‘Landscape.’ This landscape moves the user vertically and horizontally through the space with varying degrees of difficulty as well as options to rest, observe, and overlook the rest of the space. >>

120 PARK AVE. NEW YORK, NY

EXPLODED SECTION

P. 63

P. 64

FREE PLAY

“PLAY’S PROCESS OF CAPTURING A PRETEND NARRATIVE AND COMBINING IT WITH THE REALITY OF ONE’S EXPERIENCE IN A PLAYFUL SETTING IS, AT LEAST IN CHILDHOOD, HOW WE DEVELOP OUR MAJOR PERSONAL UNDERSTANDING OF HOW THE WORLD WORKS.” -DR. STUART BROWN

120 Park Ave. New York, NY

CONCEPT IMAGE

P. 65

FREE PLAY

DIAGRAM ^ EXPLODED SECTION DIAGRAM > INTERACTION WITH THE HAND DIAGRAM SCALAR ROOM EXPLORATION

P. 66

Working at a scale of micro to macro, I first explored my thesis could be represented at the scale of just an object. I chose to make a rock-climbing hold because its form is unfamiliar however it easily indicates how it is to be utilized. Next I explored my thesis at the scale of a room (seen to the right). This developed the idea of indicators, and explored how different provided spaces and surfaces could indicate modes of movement as well as opportunities to misuse the design to create new opportunities. Lastly the project moved into the actual site and took what was learned from the previous two studies and applied these concepts at a larger scale. >>

120 Park Ave. New York, NY

CONCEPT IMAGE

POPS (Privately Owned Public Space): Unprogramed movement, restricted by social norms.

LANDSCAPE:

Invitation to move how one would like, restricted by the users willingness to engage with the landscape.

P. 67

CLIMBING:

Highly programed movement, unrestricted by social norms (thereâ&#x20AC;&#x2122;s barely anything normative in the contortion of ones body in order to climb)

FREE PLAY

space encourage exercise through the movement of oneâ&#x20AC;&#x2122;s own body?

Site Characteristics:Qualities of the existing building that accommodate the proposed program. Scanned with CamScanner

Interest

Playful

Interactive Balance

Flexible

Visually Limited

Scanned with CamScanner

Recognizable Approachable

Public

Permeable

Draw

Accessible

Scanned with CamScanner Scanned with CamScanner

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Scanned with

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CamScanner

Scanned with CamScanner

Transportation

120Hubs Park Ave. is located right across Subway from Grand Central Terminal (as seen in Bus Stop image 6). Currently the ground floor of Bloomsberg building exists as a POPS and is often occupied with various kinds of users (images 3&4). However, as the rest OIĆ&#x201C;FH %XLOGLQJ of'D\ &DUH the building exists as an office building, where work is emphasized, OIĆ&#x201C;FH stationary DD\ &DUH encouraging activity within this space followed the goals of my thesis. Paired with the tall ceiling height and open space, this site was malleable and afforded opportunities to explore both vertical and PHGHVWULDQ 6LGHZDONV horizontal movement.

P. 68

Scanned with CamScanner

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Materials that could suggest specific movements to users or encourage interaction.

Bungee

Grip Tape

Netting

Previous Developing Work: 120 Park Ave. New York, NY

Scanned with CamScanner

Proposed Materiality:

SITE ANALYSIS

P. 69

FREE PLAY

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DIAGRAM < Axon per floor DIAGRAM < Exploded relation axon DIAGRAM > Final programmatic axon

Scanned with CamScanner

These axons look at ways the space, especially vertically, could be layed out based on the three programs I wanted to include. I started with the circulation diagram breaking down the three programs. I then moved to rough sketches of the verticality, and tried to determine how the programs could work off of each other most beneficially Scanned with CamScanner

120 Park Ave. New York, NY

PROGRAM ANALYSIS

P. 71

P. 72

FREE PLAY

120 Park Ave. New York, NY

ENTRANCE RENDER

P. 73

P. 74

P. 73

CONSTRUCTION DRAWINGS

SET

Provide pendent light PH 34 by Louis Poulsen (white). See RCP and specifications for details.

Provide drop ceiling tile in bathroom. See ADA Bathroom Sections for details.

be as invisible as _ Commercial/ Hospitality/ Bar and Restaurant TYPE opening-VIFCONCEPT _ Technical ability be as invisible as opening-VIF "h X 3'-0" w. To be 2 ed. "h X 3'-0" w. To be 2 ed. 0"h X 3'-0" w. To be 2 ed. 0"h X 3'-0" w.To be ed. 1 " 1 " 0"h3 X 3'-0" w. Lock is 4 2 11 4" limited access. 0"h X 3'-0" w. Lock is 3" m limited access. This is a sample of a construction drawing This is a two story restaurant where the 0"h X 3'-0"3 w. Lock 2isand bar in Manhattan. While setElevation for a cafĂŠ ground floor has more lounge space and a Notes: All while dimensions and level I Scale:1"=1'-0" have not included the entire set in this e limited access. casual atmosphere, the lower all existing conditions to be election, exterior space has formal seating for 0"h X 3'-0" w. Lockthese is explains different aspects and DOOR TYPE VIF prior to construction. of the project. Included are also the1A theSolid restaurant. Wood Door; with Horizontal Coordinate 627 5th Section e limited access. specifications that explain the elements >>3" = 1'-0" Ave. building and comply be as invisible as Elevation 2: East facing included. If you would like to see the with all applicable NYC whole set, please let me know, and Iâ&#x20AC;&#x2122;d be codes at all times. opening-VIF =1'-0"

site: 627 5th avenue new york Provide new wood

23'-11 78"

21'-5 78"

5'-10" Typical.

7'-113 4"

new casing

Centerline of fixture is to be centerline of bar.

15" typ.

new casing.WORKING

erin lutz working set int-419-03

door.see door schedule. typ.

18'-11 78"

Provide two mortised hinges as specified in new wood frame, as required. typ.

16'-5 78"

11 4" 1" 11 2"

13 8"

3' typical.

33 4"

11'-5 78"

Note: centerline of hanger and support are to be centerline of bar.

Door rabbet

Stop

Rabbet

P. 78

project name: bar design designer name: Provide new wood door. see door erintyp.lutz schedule.

7' typ.

drawing title:

ADA BATHROOM

Indicates back of bar. Provide services for plumbing and electrical as required and as specified. Provide for water supply and waste for espresso.

Provide Maxxima 4.2A Highspeed 2 USB Wall outlet. 12" under bar. See Electrical plan for details.

Provide continuous under shelf lighting by George Kovacas. See RCP for details.

assignment number 1

3' typic

1 " 2

12"

date: 12.14.2019

13'-11 78"

RM: 102 B Bar

scale: 1" = 1'-0" drawing number:

happy to give it to you.

T-005.00 05 OF 15

Provide split jamb

1 " 4

13 4"

102 B

102 A

5 " 8 1 1 2"

61 4"

5 " 11 2" 8

101

E 2

625 5TH AVE ProvideNEW floor guideYORK, NY

Key Plan

FURNITURE PLAN

001

002 A

002 B 003 C

004

007

006 B

008 205

006 A

P. 79

E FURNITURE PLAN: Cellar

A +0'-6"

+0'-6"

101 104

103 Ramp Up

102 C

105

+0'-0"

102 B

DN Existing Rear Yard

102 A

Open to Below

Sidewalk Hatch

+0'-6"

106

+0'-6"

D +0'-6"

+1'-6" Up

E 2

FURNITURE PLAN: First Floor

107

RM:001 CH:Existing A

B EM

RM:002 A

RM: 002 B

CH:Existing

FT RM:004

FT EM

1 R

CH:Existing

R 1

open to above

UC LV

D C

$ P

CELLAR PLAN

P. 80

RM: 005

RM:006 A

RM:006 B

CH:Existing

CELLAR PLAN

RM: 008

CH:Existing

RM: 101 $D

A NL FT

Ramp Up

RM: 103

RM: 102 C

P P

CH:Existing

RM: 102 B

FT 2

CH:12'-0"

C R Sidewalk Hatch

RM: 102 A

CH:Existing 2 FT

$$ D

FT 2

3 CH:9'-0"

NL CH:9'-0"

FIRST FLOOR

RM: 107 CH:9'-0"

2' Full Tile

S $

FIRST FLOOR

Notes:

1-All conditions shown are approximate. All trades are responsible for certifying all existing and field conditions prior to any work on this project. Protect all devices and services that are to remain in good order. 2- See Demolition Plan, Reflected Ceiling Plan and section/elevations for exact locations of each device and full scope of electrical work. 3- All new devices on open walls to be in rigid conduit with surface mounted electrical boxes to match existing.

4.All fixtures shown in the center of tile, to be the center. 5. Any room with one switch, indicated to have all lights in the room controlled by the switch. 6. All quantity of light fixtures and switches indicated on plan. RM:003

erin lutz interior designer

7. All switches to be Leviton unless otherwise noted.

CH:Existing RM:000 Indicates room number

Indicates ceiling height

Provide recessed down light by USAI Lighting. To be M71932 Bevel trimless square.

Provide single circuit track and LED fixture by Gordon. To be ELCO EP002W. Provide 1 track head per 1 lin/ft of track.

UC P

RM: 007

Provide continuous under shelf light by George Kovacs. To be GKV577128. Quantity for each location is called out on plan. Provide reinforced gem box for pendant light PH 34 by Louis Poulsen (white). EC to install decorative fixtures, by others, in location noted. Provide recessed LED strips by Gregory Kay. To be EDG222595. Provide mounting channel. Switch as indicated. Orientation as indicated. Provide recessed LED strips TBD. Provide mounting channel and. Switch as indicated.

CH:Existing $

$MD

RM: 104

CH:9'-0"

Provide Lutron AY-600PNL Arriadni switch. Indicates location of switch w/ dimmer; symbol in rm indicates fixtures in rm to be switch'd as req'd. See spec's. Provide GreengateOSW-P-1001-MV motion detector switch reccessed in gen box as required. To have manual on/off control as well.

Provide Sure-Lites CU2 LED emergency (EM) lights on separate circuit with battery backup.

Provide Perigold LED Step Light and reinforced gem box for night light TBD. To be on separate circuit

Indicates floor lamp location.

RM: 105

$ MD

Provide sprinkler coverage throughout to comply with local code.

Indicates Woodtrac Ceiling System installed with snaps over 1" drop ceiling grid. Cove moldings in Abby Oak. Refer to T-001.00 for details

Existing Rear Yard

Indicates approximate location of exit lights. Verify quantity and location to comply with all covering covenants. Hatch indicated direction. To be exit light mini green-LED lamps with auto test. Indicates primary base station location for sound system by Fluance. To be ceiling mounted. See Electrical plan for details.

NL R

Indicates remote wireless base station location for sound system by Fluance. To be ceiling mounted. See Electrical plan for details.

date: 12.14.2019 assignment number 1

designer name: erin lutz drawing title:

RCP

scale: = 1'-0"

M: 106

site: 627 5th avenue new york

project name: bar design

Indicates new acoustic ceiling tile as indicated.

erin lutz working set int-419-03

1 4"

drawing number:

A-003.00 10 OF 15

P. 81

Provide Leviton 1451-WPC switch. Symbol in rm indicates fixtures in rm to be switch'd as req'd. See spec's.

5 " 8

US of Slab

212"

5 " 8

US of Slab

21 2"

5 " 8

5 5" " 8 8

Provide top track for layouts shown. typ.

9'-0"

Provide sound batts as noted partition type 1a on plan.

Provide 58" gyp. bd. as required.

Provide 58" Type "X" gyp. bd. as required.

Provide metal studs as spec'd

P. 82

Provide two layers 58" Type gyp. bd. as required.

Provide metal studs as s

Provide bottom track for shown. typ Provide fire rated sealant

FF Slab

Provide fire rated sealant

FF Slab

Partition Type 1 and 1a: Non-bearing; non-rated & insulated

Scale: 3"=1' Provide 2 1.2" metal studs; 16" OC; full height with 58" gyp. bd. both sides.

Provide sound batts as no partition type 1a on plan.

Provide bottom track for layouts shown. typ Provide bottom track for layouts shown. typ

Provide 2 1.2" metal studs; 16" OC; full height with 58" gyp. bd. both sides. Provide full hgt. sound attenuating bats.

FF Slab Non-bearing; 1 hour rated

Scale: 3"=1'

US of Slab

Partition Type 3:

Non-bearing; 2 hour rated; Insulated Scale: 3"=1' Provide 2 1.2" metal studs; 16" OC; full height with two 58" Type "X" gyp. bd. both sides. Provide full hgt. sound attenuating bats.

5 " 8

21 2"

US of Slab

212"

Varies

Provide top track for layouts shown. typ.

Exiting structure

9'-0"

12'-0"

Provide 2 1.2" metal studs; 16" OC; full height with 58" Type" X" gyp. bd. both sides.

5 8"

2 21"

Partition Type 2:

5 " 8

US of Slab

Provide top track for layo shown. typ.

Exiting structure

1 1

5 5" " 8 8

Provide top track for layouts shown. typ.

9'-0"

21 2"

US of Slab

12'-0"

Partition Details

Provide 1 layer gyp. bd laminated as req'd to existing structure for alignments indicated.

Provide metal studs as spec'd

Provide bottom track for layouts shown. typ

FF Slab

4 4

Partition Type 4: Laminated

Scale: 3"=1' Provide new laminated gyp. bd. over existing for alignments indicated. Provide structure as required. To have smooth and flush surface and match adjacent.

5 5

FF Slab

Partition Type 5: Furred out Scale: 3"=1'

Provide new one sided partition, with metal suds and 58" gyp. bd. one side for alignments indicated. To be full height. To have smooth and flush surface and match and align with adjacent.

6 6

Partition Type 6: Chase Scale: 3"=1'

Provide new one sided partitions, with metal suds and 58" gyp. bd. one side for alignments indicated. To be full height. To have smooth and flush surface and match and align with adjacent.

212"

5 8"

Ceiling Details

Provide ceiling anchor Provide pencil rod Provide cee channel clip Provide cee channel

outs 8"

Provide tee grid clip Provide main tee grid Provide acoustic tile 3 "7 " 4 16

oted

erin lutz interior designer

CH: 9'-0"

Provide cross tee

e "X"

Provide edge trim

21 2" 5 " 8

spec'd

5 " 8

Ceiling Type 1:

Acoustic Tile: Bathrooms

Scale: 3"=1' Provide ceiling top track as required Provide light

layouts

Provide light base Provide plywood 5"

1 21" 5 " 8

Ceiling Type 2: Cove Lighting: Stair

erin lutz working set int-419-03

CH: 9'-0"

Scale: 3"=1'

Provide ceiling anchor

9 34"

Provide top track for layouts shown. typ.

Provide pencil rod

Provide cee channel clip

1 21"

Provide cee channel

7 8"

Provide 1 layer gyp. bd laminated as req'd to existing structure for alignments indicated.

Provide hat channel clip Provide hat channel Provide 58" gyp. board Provide blocking as required

Ceiling Type 3:

CH: 12'-0"

site: 627 5th avenue new york

date: 12.14.2019 assignment number 1 project name: bar design

Gyp. board: Dining area

Scale: 3"=1'

Provide ceiling anchor

Provide metal studs as spec'd

designer name: erin lutz

Provide pencil rod Provide cee channel clip 8"

Provide cee channel Provide tee grid clip

Provide bottom track for layouts shown. typ 5 5 9 8" 8" 16"

Provide main tee grid Provide WoodTrac Ceiling System snaps (see A-001.00 for specification details) Provide WoodTrac Ceiling System moldings (See A-001.00 for specification details)

CH: 12'-0"

Ceiling Type 4:

Drop Cove WoodTrac Ceiling System: Bars Scale: 3"=1'

drawing title:

WALL PARTITION AND ADA BATHROOM CEILING DETAIL scale: 3" = 1'-0" drawing number:

T-004.00 04 OF 15

P. 83

3 21"

Provide edge trim

1 5 2" 8"

11 2" 3'-8"

2'-9"

3'-8"

provide center moun

3'-2"

Down

1'-1 21"

3'-8"

3'-8" Landing

2 34"2 34" 2"

1 First Floor Stair Plan Scale:1"=1'-0"

Provide Avcon2-Line Guardrail with 38" glass infill Provide nosing

9'-11 34"

6 21"

Provide riser

221"

P. 84

9'-141"

6 81"

Open to Below

Provide tread Provide stringer

Provide stringer 11"

Detail Scale:3"=1'-0"

Section 1 Scale:1"=1'-0"

nted carriage

6'-6"

Provide glass guard rail

erin lutz interior designer

Provide glass hand rail Provide riser Provide tread Provide nosing Provide stringer Provide carriage First Finished Floor FC

7'-113 4"

site: 627 5th avenue new york

date: 12.14.2019 assignment number 1 project name: bar design designer name: erin lutz

drawing title:

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

STAIR DETAIL ADA BATHROOM Notes: All dimensions and all existing conditions to be VIF prior to construction. Coordinate with 627 5th Ave. building and comply with all applicable NYC codes at all times.

scale: 1" = 1'-0" drawing number:

T-005.00 05 OF 15

P. 85

erin lutz working set int-419-03