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
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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
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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
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A collection of diagrammatic drawings during the master planning phase of Dodger Stadium.
KEVIN FINCH
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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.
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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.
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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
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KEVIN FINCH
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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.
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[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.
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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.
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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
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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
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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
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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
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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"
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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"
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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
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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