Methodologies-Kevin Finch

speculations The latest samples of work by Kevin Finch, BSLA

558 East Cypress Street #32 Covina, CA 91723 kmfinch@csupomona.edu (626)484-8126

//who?

I am/a/an

Kevin Finch

ETNAW

EREDNER SECIVRES ROF

HCNIF NIVEK OVER KRAPS OT NWONK .OUQ SUTATS NI TFIHS DETPMETTA ROF DETNAW

Human. Thinker. Eccentric.

Inquisitor. Poet. Student.

Individual. Flawed. Sarcastic.

Seeker. Patient. Disciple.

Artist. Lover. Son. Aspirational.

Learner. Fighter. Leader.

Designer.

set. Number. Statistic.

I am not/a/an Skill Minority. Majority. Follower.

Discouraged. Lamb. Perfect.

Cynical. Pessimistic. Finished.

Receptacle. Satisfied. Done.

Two roads diverged in a wood, and I, I took the one less traveled by, And that has made all the difference -Robert Frost

what if?

design process

Kevin Finch_CPP_design process

Expressive Drawing

ETNAW

EREDNER SECIVRES ROF

HCNIF NIVEK OVER KRAPS OT NWONK .OUQ SUTATS NI TFIHS DETPMETTA ROF DETNAW

An important aspect of design that I feel is often overlooked is the process that leads us to our final designs. Due to my ability to perform very well in both analog drawing and digital means of production, I can quickly draw an idea then transfer produced media into the computer. I take pride in the way in which my drawings begin as speculative, instinctive movements that ultimately drive the form and function of my designs. These diagrams show experiments in expression of movement throughout the urban environment. These drawings led to the development of a mat—a concept of urban movement as told

by Stan Allen in “Thick 2D.”

Kevin Finch_CPP_design process

WANTED

FOR SERVICES RENDERED

A collection of diagrammatic drawings during the master planning phase of Dodger Stadium.

KEVIN FINCH

WANTED FOR ATTEMPTED SHIFT IN STATUS QUO. KNOWN TO SPARK REVOL

Physical Files

Kevin Finch_CPP_design process

The accumulation of drawings on the pin-up wall allows me to trace my process and reference ideas that were made at the beginning of the design process. A wall is much easier to access than an archive of files.

ETNAW

EREDNER SECIVRES ROF

HCNIF NIVEK OVER KRAPS OT NWONK .OUQ SUTATS NI TFIHS DETPMETTA ROF DETNAW

physical models

Rose Hills Cemetery//Social Crypt

Rose Hills Cemetery//Scattering Forest

Kevin Finch_CPP_physical models

Iterative Assessment

Through my modeling processes, I have learned much about spatial relationships, material properties, and how to be careful with modeling glue. I like to look at model building like miniature set design—setting the stage for design interventions. I have also learned much about what doesn’t work when building a model. For example, a 3D digital file can exist in a program without supports, a physical model of the exact file cannot. These modeling and crafting skills can also be applied elsewhere; a land art installation, for example. I created an ephemeral spider web out of thread that was tied to a Walnut Tree. The execution of this spider web consisted of a series of carefully tied knots and measured distances. What I value most about modeling, and all areas of design, are the mistakes I make and how I can readily apply those lessons to my next design iteration.

ETNAW

DEREDNER SECIVRES ROF

HCNIF NIVEK ITULOVER KRAPS OT NWONK .OUQ SUTATS NI TFIHS DETPMETTA ROF DETNAW

F.E.A.R.//Winter 2010

Downey Rec Center//emergent architecture

Homeboy Industries Site Model

Homeboy Industries Site Model

Homeboy Industries Site Model

Refined Modeling I have also used laser cutting to produce traditional site and context models. This allows for a greater precision of production and I feel I learn more about the size and scale of site during this process. I personally like to take this process to the next level by finding an appropriate environment in which to photograph my models and, by using macro photography, put the viewer into the things I create. There is something to be appreciated about a wellexecuted site model that makes the viewer, and even me, want to exist within the model.

Kevin Finch_CPP_physical models

Homeboy Industries Site Model

WANTED

FOR SERVICES RENDERED

KEVIN FINCH

WANTED FOR ATTEMPTED SHIFT IN STATUS QUO. KNOWN TO SPARK REVOL

Kevin Finch_CPP_physical models

concrete casting

plaster casting//niche exploration

plaster casting//niche exploration

plaster casting//niche exploration

1

6

x2

2 Adaptive Reformation

3

tight fit!

4 wooden species model

5

7

Sculpting, casting, modling, breaking, and reforming were the process for creating these concrete and plaster forms on the opposite page. By applying the voids and hollows necessary for the habitation of specific species, in this case an American Goldfinch, new forms can be discovered within currently existing shapes.

Kevin Finch_CPP_physical models

Technology is something that allows me as a designer to constantly push the limits of form and production. While researching habitat requirements for the American Goldfinch, I modeled the species and used a laser cutter to create a precision model. After discovering what the Goldfinch prefers for habitat, these dimensions and accommodations were applied to a concrete masonry unit and modeled in Rhino. This process was taken one step further by producing a 3D print of the CMU. I believe that 3D printing is the design medium of the future and I am eager to push my design representations in this direction.

WANTED

FOR SERVICES RENDERED

[CHU] 3D print

KEVIN FINCH

WANTED FOR ATTEMPTED SHIFT IN STATUS QUO. KNOWN TO SPARK REVOL

Kevin Finch_CPP_physical models

Speculative Experimentation One method of graphic representation I particularly enjoy in design is the creation of physical models. It reminds me of playing with Legos as a child; one of my main reasons for pursuing a career in design. Throughout my undergraduate education, I have experimented in traditional chipboard/foamcore/cardboard/ wooden models, plaster and concrete sculptures, and even 3D printing. These images also take into account methods of speculative photography. It’s one thing to create an interesting and appropriate model, but it requires another level of engagement to photograph a model in the best lighting, proper distance, and perhaps colorization or manipulation.

ETNAW

EREDNER SECIVRES ROF

HCNIF NIVEK OVER KRAPS OT NWONK .OUQ SUTATS NI TFIHS DETPMETTA ROF DETNAW

pool construct

wooden topography//speculative photography

wooden topography//speculative photography

acryllic topography//speculative photography

plaster topography//speculative photography

pool construct

analog//computer aided graphics

Kevin Finch_CPP_analog//computer aided graphics

site massing//chavez ravine

Parametric Modeling

Grasshopper script

Kevin Finch_CPP_analog//computer aided graphics

These towers were modeled using Grasshopper, a parametric plugin for Rhino. These four towers are generated by the same script, but differ slightly depending on what numerical parameters are inserted into the script.

WANTED

FOR SERVICES RENDERED

KEVIN FINCH

WANTED FOR ATTEMPTED SHIFT IN STATUS QUO. KNOWN TO SPARK REVOL

Kevin Finch_CPP_analog//computer aided graphics

[CMU]

[CHU]

[CHU] wall ETN AW

EREDNER SECIVRES ROF

HCNIF NIVEK OVER KRAPS OT NWONK .OUQ SUTATS NI TFIHS DETPMETTA ROF DETNAW

bike rack//seating

3D Rendering

This series of models was created to adapt a modular building unit [CMU] and modify its structure to accommodate a species to inhabit the unit. The forms were modeled in Rhino, and then rendered in Vray using a concrete texture displacement map.

This technique is helpful in exploring the materiality of built form. When a texture or a color can be immediately updated in a model, quick concepts can be generated to drive design production.

2D Imagery Initial Base Structures

Intermediate Attachment

Diagrams are a designer’s best tool to represent the processes in complex systems. Whether it is a simple massing diagram, or something as dense as phenology mapping, I have become comfortable with the development, creation, and presentation of graphic diagrams.

By taking simple 3-dimensional graphics and applying color in either Illustrator or Photoshop, I find my diagrams to be simple and effective.

Fringe Collection

grocery store post office hospital church fire station police station

Urban Core

city hall library

Fringe Development

private school high school

Civic Strategies

middle school

Tidal Densification

elementary school

Magnetic Conglomeration

Connective Growth

resort

grocery store post office hospital church fire station police station city hall library private school high school middle school elementary school

housing

Low-Income Strategies

urban agriculture

retail river-linked park space

resort

2

Employment

Factories

Industry

Type of Work

Population

Perceptual Boundaries Distance from Home

Materials

Freeways Work/Housing Ratio

Density

Destinations

Available Jobs

Development Typologies

Transit Corridors

Dodger Stadium

Products

1

Technology

2

Buses

Manufacturing

Ports

Expansion

Job Agencies

3

Rail

Writers

Return Visits Localization

Monoculture

Conectivity

Lodging Extended Stays Tourism

Film and Television

Work

Commute Traffic

Transportation

Attractions

Fun Factor

Participation

3 Mid-Income Strategies

Key to Lines Density Perception Employment Development Typology Manufacturing Attraction

Key to Transit Zones 1 Economy 2 Housing 3 Tourism

CONNECTIONS

housing biofiltration

http://www.afn.org/~alplatt/tubemap.gif PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

american goldfinch [Carduelis tristis]

Kevin Finch LA 303/Wilcox + Pullman Spring 2012

winter

year-round

summer

colors in males during the winter, and females year-round, are muted and more dull

typical conical beak is indicative of finches beak shape lends towards foliage gleaning eating habits

clutch size: 2-7 eggs/egg size: 0.5” x 0.7” 3”

eggs

in a nest

4.5” evening grosbeak ne

e your

st

own

er!

feed

mak

in e

th ’s ch

fin er

ef

pr re d ta

bi

ha

h’s

urban

hab

itat

t

finc

american crow

Urban Agriculture.

Homeboy Style.

FOR SERVICES RENDERED

american goldfinch

american robin

Animation and Editing

WANTED

clutch lends to acrobatic perching habits

house sparrow

the

Dodger Parking-Circulation

vibrant yellow striping makes this finch easy to indentify

3.75”

modular unit structures

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Vehicular

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Pedestrian

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

4.30”

“epicenter” plaza

Kevin Finch_CPP_analog//computer aided graphics

Photo montages are also a cornerstone of a designer’s skillset, and I strive to develop my visual aesthetic with every image I create. By combining photo constructs and diagramming methods, the “Y control” image on the following page represents a possible future of Los Angeles based on a set of predetermined values. To evoke a certain emotion or experience within a design, I accentuate colors or textures that are important to a particular design narrative.

3

KEVIN FINCH

WANTED FOR ATTEMPTED SHIFT IN STATUS QUO. KNOWN TO SPARK REVOL

Y control

Where the Wild Things Go The decline of traditional suburban development leads to mass infill projects Santa Monica throughout Los Angeles. These hyper dense developments will be linked by high-speed mass transit.

Pasadena

Los Angeles

Covina

Long Beach

Decreases in suburban sprawl creates opportunity for high speed rail and other rapid mass-transit systems.

Abandoned intermediary land can now be used for grazing and other agricultural uses.

As highways become obsolete, it is not uncommon to find groups of people making pilgrimages from one city to another.

Kevin Finch Phuong Vo LA 303/Wilcox/Pullman

[re]densification

statu

s qu

interm

o-un

edia

intelli ge subu nt use o f rb max an spra land imize w d im l perv ious su

rfac

es

ry-lo ss o den f fringe d sifi evelo incre cation pme o ase nt of m f urban co ulti-m oda res l tran sport

goa

l-hyp er elim dense u in rban max ation of imiza subu cores tion rb of re an dev sourc e es a lopmen nd la t nd u se

With an increased need for land and resources, suburban developments become quarries.

Once street paving eventually disappears, alternade modes of transportation become more common.

Dilapidated pedestrian walks remain in a state of disrepair. An eventual overtaking of uneven surfaces lends to activities such as urban hiking.

Kevin Finch_CPP_analog//computer aided graphics

Automobiles are now a relic of an ancient past. Some are left abandoned, most provide plant and animal refuge.

Kevin Finch_CPP_analog//computer aided graphics

abstraction of form-20x40 oil on paper

Kevin Finch_CPP_analog//computer aided graphics

mural of the future-40x60 multi-media on canvas

Kevin Finch_CPP_analog//computer aided graphics

hybridized site experience

ETNAW

EREDNER SECIVRES ROF

HCNIF NIVEK OVER KRAPS OT NWONK .OUQ SUTATS NI TFIHS DETPMETTA ROF DETNAW

Venice, Italy

Assisi, Italy

San Gimignano, Italy

Paris, France

I have always been comfortable with drawing and painting, but landscape architecture really taught me how to make these skills useful for me. My semester in Italy also taught me different methods of illustration as well as how to really communicate what I see. I am by no means a fine artist, but I feel that my skills are directly applicable to design. Presented here are a few images from my personal sketchbook, watercolor and oil color paintings, and hybridized imagery where digital and analog methods were employed to create a final image.

Kevin Finch_CPP_analog//computer aided graphics

Siena, Italy

Seeing is Forgetting

WANTED

FOR SERVICES RENDERED

San Francisco, Ca

Site cinematic sketches

KEVIN FINCH

WANTED FOR ATTEMPTED SHIFT IN STATUS QUO. KNOWN TO SPARK REVOL

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

WATER FEATURE NOTES: 1. Installer is responsible for purchasing water feature components, as well as providing labor and materials required effecting installation of the operational systems as detailed in plans and specifications.

2. The prime water feature installer shall furnish the fountain electrical components to the electrical installer for installation and connection.

WATER MAIN

C L-05

1

POOL FITTING

2

UV FILTER

3

BALL VALVE

4

FEATURE PUMP

5

DIRECTION OF WATER FLOW

6

REMOTE CONTROL VALVE ASSEMBLY

7

BACKFLOW PREVENTER

8

RETURN FITTING

9

SUPPLY FITTING

10

OVERFLOW DEVICE

11

LEVEL CONTROLLER TO DETENTION BASIN

WATER FEATURE PLAN VIEW SCALE: 1/4"=1'-0"

3'-5"

2'

B

6'-4"

0'-6"

TO WATER MAIN

WATER FLOW DIAGRAM SCALE: 1/2"=1'-0"

*REFER TO DETAIL "B" FOR WATER FLOW DIAGRAM

1

0'-9"

ELECTRICAL CONTROLLER 9'-5"

1'-1"

1'-1"

TITANIUM POOL FACE

2'-10"

1'-9"

TITANIUM POOL FACE

8

11

0'-4"

10

2

10

SAND FILTER 5'

9

9

1'-8"

2'-4"

TO MAIN LINE

1'

3

1'

1'-4"

4

8

SURFACE OF PLANTING BED

DATE

11

SPRING 2012

7

9'-1"

UESUGI

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

6

LA 333L

4'-8" 6'-4" 1'-8"

CESAR AUGUSTUS 1024 S. GRAND AVENUE LOS ANGELES, CA 90013 (818)555-0123

4

8

SCALE:

AS NOTED 1'

TO DETENTION BASIN

DATE:

5/28/2012 SHEET NUMBER

TO DETENTION BASIN TO MAIN LINE/WATER SUPPLY

WATER FEATURE/ PUMP VAULT DETAIL SCALE: 1/2"=1'-0"

ETNAW

EREDNER SECIVRES ROF

HCNIF NIVEK OVER KRAPS OT NWONK .OUQ SUTATS NI TFIHS DETPMETTA ROF DETNAW

6

Technical Drawing

C

7

WATER FOUNTAIN POOL DETAIL SCALE: 1/2"=1'-0"

L-05

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

A

Although I choose to focus on the design aspect of my education, I also possess skills related to traditional landscape architecture. Too many times have I heard, “In the real world, you will be doing a lot of CAD work.” As if the world in which

I exist is one of fantasy. I understand how typical entry level positions work, but I feel that CAD is a relatively simple skill to learn. The ability to solve problems, think critically, and unite art and utility are skills that are not so easily learned and should be of the utmost importance to professional offices.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Kevin Finch_CPP_analog//computer aided graphics

4. Upon completion of the project, installer shall provide three copies of owners’ operation and maintenance manuals.

Manuals shall be provided as digital copies with all portions in a printable format, and shall include operations and maintenance procedures along with manufacturers’ data sheets and system drawings.

A L-05

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

9'-7"

RESTAURANT WATER FEATURE

6'-4"

BY

0'-6"

4'-1"

REVISION

3'-5"

TEAM SIX/LANDSCAPE ARCHITECTS KEVIN FINCH 558 E. CYPRESS #32 COVINA, CA 91723 (626)383-0844

3. A single manufacturer shall supply electrical and mechanical feature components in order to ensure the integrity of the water feature design.

SAND FILTER ELECTRICAL CONTROL BOX

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

T-3 B-3

32

T-3 34 A-3

1. DIRECT BURIAL CABLE: CABLING SHOWN ON PLAN IS FOR FIXTURE GROUPING ONLY. CABLE IS TO BE CIRCUITED AND SIZED TO PROVIDE A MINIMUM OF 10 VOLTS AND A MAXIMUM OF 15 VOLTS TO ALL LIGHTING FIXTURES. REFER TO FX LUMINARE'S 'CIRCUITING GUIDELINES' INCLUDED WITH THE TRANSFORMER. MINIMUM UNDERGROUND LOW VOLTAGE CABLE SIZE IS 12-GUAGE MULTI-STRAND DIRECT BURIAL. INSTALL CABLE ALONG THE EDGE OF HARDSCAPE AND MOWSTRIPS WHENEVER POSSIBLE. MINIMUM CABLE DEPTH IS 8". CONTRACTOR IS TO INSTALL 1" PVC CHASE LINE SLEEVES WITH SWEEP CORNERS FOR ANY CABLE RUN UNDER HARDSCAPE OR DIFFICULT TO ACCESS AREAS SUCH AS AT GRADE DECKS AND HIGH IMPACT AREAS SUCH AS COLOR PLANTERS THAT RECEIVE SEASONAL COLOR CHANGES. LEAVE 24' LOOPS AT ALL FIXTURES LOCATIONS FOR FINAL ADJUSTMENTS ALL WIRE JUNCTIONS SHALL BE WATERPROOFED WITH FX LUMINARE LITESSPLICE+C102 CONNECTORS OR APPROVED EQUAL. ONLY FULLY ENCAPSULATE WATER PROOF CONNECTORS RATED FOR DIRECT BURIAL WILL BE ACCEPTED. BLACK-TAPE CONNECTIONS WILL BE REJECTED. 2. FIXTURE LOCATIONS: VERIFY EXACT LOCATION WITH LANDSCAPE ARCHITECT OR OWNER'S AGENT BEFORE COMMENCING INSTALLATION. ALL FIXTURES SHALL BE IN A NEW, UNUSED CONDITION. EQUIPMENT SHALL BE THE TYPE SPECIFIED. THERE WILL BE NO SUBSTITUTIONS WITHOUT PRIOR APPROVAL FROM LANDSCAPE ARCHITECT OR OWNER'S AGENT. INSTALL ALL EQUIPMENT AS PER MANUFACTURER'S SPECIFICATIONS AND DETAILS. 3. TRANSFORMERS: ALL TRANSFORMERS SHALL BE FX LUMINARE STAINLESS STEEL LX TRANSFORMER. TRANSFORMERS TO BE INSTALLED INCONSPICUOUSLY USING PLANT MATERIAL OR SITE FEATURES TO OBSCURE A DIRECT VIEW OF THEIR LOCATIONS. AVOID LOCATIONS THAT ARE EASILY ACCESSIBLE TO CHILDREN OR THAT ARE IN A DIRECT PATH OF IRRIGATION WATER. INSTALL TRANSFORMERS 12" OFF FINISHED GRADE AND LEVEL. ALL WIRES LEADING TO OR FROM TRANSFORMER SHALL BE IN CONDUIT SLEEVE THAT IS FIRMLY AFFIXED TO MOUNTING SURFACE. ALL JUNCTION BOXES AND OTHER EQUIPMENT SHALL BE UL APPROVED FOR WET LOCATIONS. PAINT TRANSFORMERS AND ANY NECESSARY JUNCTION BOXES OR CONDUIT TO MATCH THE SURFACE N WHICH THEY ARE MOUNTED. INSTALL TRANSFORMERS ACCORDING TO MANUFACTURER'S SPECIFICATIONS AND LOCAL CODES. ALL EXPOSED METAL PARTS INCLUDING TRANSFORMERS SHALL BE PERMANENTLY GROUNDED IN ACCORDANCE WITH THE NATIONAL ELECTRICAL CODE.

LIGHTING DESIGN PLAN SCALE: 1"=10'-0"

VOLTAGE DROP CALCULATIONS CIRCUIT WATTAGE DISTANCE T-1 52 92.33 A-1 T-2 42 69.83 A-2 T-2 30 97 B-2 T-3 34 58 A-3 T-3 32 185.58 B-3 T-3 42 79.83 C-3 T-3 14 47.08 D-3

WIRE CONSTANT 11920

VOLTAGE DROP 0.4

7500

0.39

11920

0.24

7500

0.26

18960

0.31

11920

0.28

7500

0.08

4. TREE LIGHTING: VERIFY FINAL FIXTURE LOCATION PRIOR TO INSTALLATIION. TREE CABLE SHALL BE 10-12 GAUGE BROWN OR BLACK LOW VOLTAGETWO-CONDUCTOR. RUN 10 GAUGE CABLE ONLY IF 12 GAUGE WILL NOT PROVIDE FIXTURES WITH THE 10 VOLT MINIMUM. INSTALL CABLE ON THE SIDE OPPOSITE PRIMARY VIEW WITH NYLON C-CLIPS AND A SINGLE STAINLESS SCREW. DO NOT USE STAPLES, AS THE TREE WILL EXPAND, CUTTING INTO CABLE. LEAVE A SLIGHT SLACK IN TREE CABLE TO ALLOW FOR EXPANSION OF THE TREE. MAKE CONNECTIONS IN FX MINI J-BOXES USING THE INCLUDED YELLOW WIRENUTS. IF NO MINI J-BOX IS USED, MOUNT THE CONNECTION SO THAT THE WIRE NUTS ARE POINTED UP, PREVENTING ANY WATER FROM COLLECTING IN THEM. LIGHTLY SPRAY PAINT WIRE AND CONNECTION TO MATCH TREE COLOR- TYPICALL KRYLON PRIMER GRAY OR FLAT BLACK. 5. TESTING: CONTRACTOR IS TO COORDINATE A CONVINIENT TIME IN THE EVENING TO TEST AND AIM ALL EQUIPMENT TO THE SATISFACTION OF THE LANDSCAPE ARCHITECT OR OWNER'S AGENT. 6. GUARANTEE: UPON COMPLETION AND ACCEPTANCE OF THE DESCRIBED WORK, THE CONTRACTOR SHALL PROVIDE A GUARANTEE FOR ALL WORKMANSHIP AND EQUIPMENT FOR THE PERIOD OF ONE YEAR FROM THE DATE OF ACCEPTANCE. ALL WARRANTY SERVICE WORK SHALL BE PERFORMED AT NO COST TO OWNER AND BE DONE ON SITE WHEN POSSIBLE. 7. AS BUILT: BEFORE FINAL PAYMENT IS RELEASED, CONTRACTOR WILL PROVIDE OWNER, AT A PREDETERMINED COST, WITH A COMPLETE AND REPRODUCIBLE DRAWING OF THE SYSTEM LAYOUT AS IT WAS ACTUALLY INSTALLED. THIS DRAWING SHOULD INCLUDE THE LOCATION OF UNDERGROUND CABLE. CHASE LINE SLEEVES, AND ALL FIXTURES AND EQUIPMENT.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

N

SPRING 2012

T-3 42 C-3

STANDARDS: ALL WORK PERFORMED IS TO COMPLY WITH THE UNIFORM BUILDING CODE, CALIFORNIA ELECTRICAL CODE TITLE 8, AND ALL LOCAL CODES AND ORDINANCES. CONTRACTOR SHALL POSSES ALL NECESSARY LICENSES TO COMPLETE DESCRIBED WORK AND SHALL CARRY GENERAL LIABILITY AND WORKMEN'S COMPENSATION INSURANCE. CONTRACTOR IS TO OBTAIN ALL NECESSARY PERMITS TO COMPLETE WORK DESCRIBED. CONTRACTOR IS TO VERIFY SITE MEASUREMENTS, GRADES, EXISTING CHASE LINE SLEEVES, EXISTING PLANT LOCATIONS, AND EXISTING UTILITIES, EQUIPMENT AND SWITCHING CONTROLS. CONTRACTOR IS TO PROVE ALL NECESSARY COMPONENTS AND ACCESSORIES TO COMPLETE INSTALLATION AS SPECIFIED.

UESUGI

T-3 14 D-3

LA 333L

CIRCUIT NUMBER

SCOPE OF WORK: THE SUPPLY AND INSTALLATION OF A 12 VOLT LANDSCAPE LIGHTING SYSTEM WHICH INCLUDES THE FIXTURES SPECIFIED ON LIGHTING LEGEND AS WELL AS THE INSTALLATION OF LOW VOLTAGE TRANSFORMERS AND DIRECT BURIAL CABLE NECESSARY TO COMPLETE LAYOUT AS SHOWN. THIS LIGHTING PLAN IS DIAGRAMMATIC AND IS INTENDED TO SHOW GENERAL FIXTURE LOCATIONS AND UTILITIES. CONTRACTOR IS RESPONSIBLE FOR NECESSARY LINE (120V) AND LOW VOLTAGE (12V) WORK TO COMPLETE THE LIGHTING DESIGN AS SHOWN.

CESAR AUGUSTUS 1024 S. GRAND AVENUE LOS ANGELES, CA 90013 (818)555-0123

GENERAL NOTES:

WATTAGE

T-X XXX X-X

RESTAURANT LIGHTING PLAN

TRANSFORMER NUMBER

BY

CIRCUIT CALLOUT DETAIL

SCALE:

1"=10'-0" DATE:

5/28/2012 SHEET NUMBER

L-07

Kevin Finch_CPP_analog//computer aided graphics

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

30

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

T-2 B-2

REVISION

T-2 42 A-2

TEAM SIX/LANDSCAPE ARCHITECTS KEVIN FINCH 558 E. CYPRESS #32 COVINA, CA 91723 (626)383-0844

52

DATE

T-1 A-1

WANTED

FOR SERVICES RENDERED

KEVIN FINCH

WANTED FOR ATTEMPTED SHIFT IN STATUS QUO. KNOWN TO SPARK REVOL

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

STATION # # # # VALVE SIZE

GPM

C

TEAM SIX/LANDSCAPE ARCHITECTS KEVIN FINCH 558 E. CYPRESS #32 COVINA, CA 91723 (626)383-0844

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

11

8.18

3/4" 20

6.21

10

1 1/4"

1"

1.5" 9.5 1"

4

C

BY

1"

1" 8.6

WM

3 1" 7.02

5 1.5" 11.86

REVISION

1"

1.63

DATE

1

SPRING 2012

6 1"

UESUGI

0.8

LA 333L

9 1"

CESAR AUGUSTUS 1024 S. GRAND AVENUE LOS ANGELES, CA 90013 (818)555-0123

0.77

RESTAURANT IRRIGATION PLAN

8 1"

SCALE:

1"

1'=10'-0"

1"

DATE:

5/28/2012 SHEET NUMBER

ETNAW

EREDNER SECIVRES ROF

HCNIF NIVEK OVER KRAPS OT NWONK .OUQ SUTATS NI TFIHS DETPMETTA ROF DETNAW

L-11

2 1" 6.33

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

N

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Kevin Finch_CPP_analog//computer aided graphics

7 1"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

WM

Live as if you were to die tomorrow.

Learn as if you were to live forever.

-Mahatma Gandhi

Kevin Finch, BSLA

Cal Poly Pomona 558 East Cypress Street #32 Covina, CA 91723 kmfinch@csupomona.edu (626)484-8126