Contents Hand Drawings
2
Studio 1a - Jose Parral
01: Binary Operations in Design
10 16 22
Studio 2b - Mark Ericson
Architectural Intervention
54
Experimental Density
60
Studio 3a - Michael McDonald
26
Studio 2a - Linda Chung
Drawing Dissection/Site Documentation
44
Studio 3a - Michael McDonald
Studio 2a - Linda Chung
MOCA Pavillion
Long Distance Bus Terminal Studio 2b - Mark Ericson
Design Communication 1+2 - Philipp Bosshart + Marcel Sanchez
Garment Case Study
38
Studio 2b - Mark Ericson
Studio 1b - Philipp Bosshart
Design Communication
Site Mapping and Modeling
Boat House
72
Studio 3b - Maxi Spina
34
Materials and Methods Final
78
Materials and Methods - Daniel Rabin
Project Mako
82
Professional Practice - Giulio Zavolta
1
2
Hand Drawings Studio 1a - Jose Parral Can the design process provide us with solutions other then those that are preconceived? What would happen if the human body was the basis to all scaler investigations in design? How can these investigations provide a bodily intervention?
3
Section with Desks
Axon with Desks
Axon of Flow
Plan of Flow
Studio Organization Studio 1a - Jose Parral
On the first day of studio, all of the students walked into a room with a stack of desks at the center, but otherwise empty. Then Jose Parral explained that the first assignment was for each of the students to formulate an intelligent studio space desk arrangement. With no design experience outside of Marine Corps problem solving, I figured the space would need to suit the needs of both the 1a and the 2a students who will be using the space. The division was clear in what I saw as the ‘flow’ of the space. After that, I injected the room with rows of desks. 4
Plan with Desks
Intensive
Extensive
Jumping Jack Motion
Intense Vs Extents Studio 1a - Jose Parral
Hybrid
To understand the scaler needs of architecture, the designer starts with the human body. This exercise demanded that each student map a basic activity, in my case a jumping jack. We were asked to map that motion, and create a different type of drawing based representation then we had previously been familiar. I decided that mapping the force properties present during the motion would need to become one drawing, while the extensive properties would become the second. Once completed, I decide to combine the drawings to express both what I called the ‘intensive and extensive’ properties of the simple motion of a jumping jack. 5
6
7
8
Top View
Perspective
Human Intervention - Idea Helmet Studio 1a - Jose Parral
This was my first project where I put a legitimate effort into not forming a solution prior to any kind of investigation. My instructor would come to my desk knowing he would be doing some serious design coaching to break the problem/solution mindset I had been ingrained with by the Marine Corps. He urged me to just explore the geometries of the square, and find relationships in scalar differences and alignments. Of course I couldn’t completely divorce myself from my bad habits and ended up with a matrix of scales and densities. From that matrix a loose pattern was formed through layering the matrix components in a type of ‘figure eight’. After that patterning exercise, I needed to investigate an ‘intervention’ to the human body. I chose to intervene in human communication by creating a helmet meant to express a need to communicate when in a group setting. When the helmet was worn by the user, and the user needed to express themselves, they would then pull the cord attached to the helmet therefore lighting up the light strand wrapped around the helmet’s base.
Side View
9
10
01: Binary Operations in Design Studio 1B - Philipp Bosshart
How can looking at a series of basic sections influence the design of an object? Can that object operate as space? Will providing the sections standardize the design?
11
Given series of sections
12
X-Ray Section
Plan 1
5
10
01: Binary Operations in Design Studio 1B - Philip Bosshart
Binary systems are chiefly characterized by consisting of two main elements. In this case, I have adapted the binary system to allow for a continuous bifurcation in design decision making. Initially, the sections provided were seen consistently as being either a void or a solid. Then they began to shift to the left or right, and became elevated or lowered. This design process allows for both an inside space and outside space to coexist in the same instance, and for multiple pathways to emerge in all directions. The tendency that the structure lends itself to is parkour, or free running, which is simply the sport of violating intended boundaries pathways in a gymnastic fashion.
Section
13
Top View
14
Side View
15
16
Design Communication Design Communication 1 + 2 - Philipp Bosshart + Marcel Sanchez How can different design ideas be communicated across different mediums? What is possible when these mediums get combined to explore new concepts?
17
18
Design Communication 1 Philipp Bosshart
The communication of design can be a troubling subject even for the most weathered of designers and architects. This class quickly covered a wide array of communication methodologies and strategies. Various drawing skills used in two and three dimensional methods and media of representation were introduced. Methods of perception, technique, composition, critical evaluation and presentation were studied through representational assignments. Emphasis was placed on orthographic projection and documentation and constructed hard line drawing techniques. 19
First Flo or Plan
South Elevation Surface Explosion
Second Floor Plan
East Elevation
20
East Elevation Surface Explosion
North Elevation
North Elevation Surface Explosion
Fo ur t hF loo rP lan
South Elevation
Prospective Veiws
ion A
Sect
Design Communication 2 Marcel Sanchez
This second Design Communications class focused on the production of rendered and built objects. Initially the class was given an incomplete set of elevations and sections to interpret the design of a house. Once a new design was inferred, that design was digitally created, rendered, and ‘unfolded’. We looked at modulating acoustic wall tiles in an attempt to create a simple object that could be patterned differently through the rotation of the tile. 21
22
Garment Case Study Studio 2a - Linda Chung When looking at structure and modulation through the lens of a precedent found in fashion, what can be achieved? How can these strategies be applied to our own processes of design?
23
Modulation Overlap
Module Construction
24
1
3
Module Grouping
2
4
5
6
Module Group
Section Through Module Group
Garmet Case Study Studio 2a - Maxi Spina
Sandra Backlund’s “Blank Page” collection is interesting for varying reasons, but this piece in particular puts on display techniques normally outside of Backlund’s design pallet. The entire design is constructed by aggregating a single module across the human shape with minimal deviation. This system of modulation is orthogonal in nature, and only allows modules to pivot at either a 45 degree angle or 90. The seams of this project are derived from the overlap that occurs when the pieces of each module are fastened together by a form of surface applied adhesive. Each of the modules are comprised of several small folded paper forms. The depth seen in this dress is the result of the many overlapping paper forms, and their internal creases interacting with changing light conditions. Outside of the papers natural rigidity, the modules do not provide any kind of structure against the human body, but are fixed to some sort of undergarment.
1
2 1
3
5 3
Module Group Placing - Front
2
4 4
6 5
6
Module Group Placing - Back
25
26
MOCA Pavilion Studio 2a - Linda Chung
How can the application of learned methodological design processes from fashion apply to architecture? Can intelligent modulation be made to incorporate a structural language inherent in its design?
27
28
Origami Exploration Studio 2a - Linda Chung
After researching Sandra Backlund’s “Blank Page” collection, some structural, organizational, and aesthetic ideas about modulation and folded objects became known. Taking these ideas and transforming them into something that can be later used to investigate structural modulation was the next step in the exploration process. Through these folding exercises, the paper began to create and influence ‘space’, making the next step in the design strategy possible.
29
Site Plan Module - Front
MOCA Pavilion Studio 2a - Linda Chung
The previous garment study led to the exploration of different geometries and origami influenced module formations. When these modules are aggregated to suit the sites natural circulatory tendencies and programmatic restrictions, then the Pavilion was able to take shape. The module itself was formed by its need to tie into adjacent modules while still providing the idea of a partially enclosed space. The module is composed of four smaller ridged primitive shapes that are derived directly from the origami exercise which draws inspiration from the Garment Case Study.
Module - Side
Central Unit
Central Piece of Module
Module - Axon
30
Overlap Connection Connection Point
Sculpture Gallery 2
Transitional Space
Ticket Boot
Sculpture Gallery 1
N
Circulation
Long Section
Plan
Short Section
31
Perspective View
32
Top View
33
Drawing Dissection
34
Drawing Disection/Site Documentation Studio 2b - Mark Ericson .
When looking at site through the eyes of drawing precidents, what can be acheived? How can these stratigies be applied to our own processes of documentation?
35
Sketch of Site
Drawing Disection/Site Documentation Studio 2b - Mark Ericson Starting with a drawing precedent to dissect, I looked at what the drawing was attempting to accomplish. My drawing precedent, ‘Creek Forts’ by Dilip Da Cunha is exploring the idea of explaining a site via sequential sections across a field of graphic snippets relevant to the site environment. I took the drawing apart in that same way, drawing attention to the categorical breakdown of a site, and how a series of sections can influence the construction of information in a drawing. When applied to a new site, in this case the LA Zoo parking lot, the methodologies learned from the precedent dissection lead to a type of drawing that would have otherwise been not considered. With the breakdown of categorical site elements spread throughout the gird, and sections describing sectional information, the new drawing both lends itself the aesthetic qualities of Cunha while still maintaining a relevance all of its own. 36
Sketch of Dissection
Sketch of Dissection
New Site Analysis
37
38
Site Mapping and Modeling Studio 2b - Mark Ericson How can mapping abstract events, objects, and conditions, on a site change the architectural perception of that site?
39
Study Model 1
Study Model 2
Site Mapping and Modeling Studio 2b - Mark Ericson
Following the dissections of site and site environment, the class was given three sites, of which I ended up with the intersection of Broadway and Caesar Chavez in downtown Los Angeles. The first step in the extraction of site data was to determine the most dominant geometries that create the site and neighboring site influences. Through iterative modeling and sketching, a geometric solution was found with enough precision to accurately document the site further, while leaving out minute details that would otherwise be a distraction to the data that would be documented. 40
Study Model 3
Study Model 1
Site Sketch
Study Model 2
Site Sketch
Study Model 3
41
Site Analysis - Drawn
42
Site Analysis - Built
Site Analysis - Drawn Detail
Site Mapping and Modeling Studio 2b - Mark Ericson
Taking the geometries derived from the most resolved study model, I then physically modeled the site in those geometric sections, produced the topographical data, and documented environmental elements found on the site. These elements include mapping an old tunnel, water runoff directions, street light locations, wind direction, noise, pollution levels from the 101 freeway, plant life, per-existing structures, historical conflicts, and the flow of traffic. Once the model was fully populated with the physical annotations, I produced a drawing of the model. Site Analysis - Built Detail
43
44
Long Distance Bus Terminal Studio 2b - Mark Ericson .
When building on the site mapping performed in project two, how can a bus terminal directly relate to the site? How does circulation behave when the large turning radius of a bus spans large portions of the site?
45
Circulation Geometry Perpendicular to Road
Circulation Geometry New Bus Routes
Circulation Geometry Built Site Relationships
46
Combined Circulation Geometries
Sectional Model Supporting Circulation
Sectional Circulation Drawing
47
Sectional Study
Long Distance Bus Terminal Studio 2b - Mark Ericson
My site, at the corner of Broadway and Cesar Chavez, is situated in an area plagued with historical tension and a sloping landscape. To be able to construct an efficiently functioning bus station while becoming relevant to the site, one must address both the physical land while recognizing the surrounding communities in a significant manner. The methodology employed for the development of this project was taken completely from site examination and study. When the site as a whole had been analyzed, a site extract was performed to examine any geometries that could be derived from the site and its community. Once completed, the extract then became the template which guided the development of programmatic organization as well as the overall form of the building. 48
Sectional Study
Bus Terminal Study
Bus Terminal Study
Bus Terminal Final
49
Bus Terminal Site With Single Line Sections
50
Hyb
ctio
n
B
Section A 1/16”=1’
8
1
C
4
Section B 1/16”=1’
3
C
7
5
4
8
9
2
9
9
A
11
Ticket Booth Waiting Area Restroom Restaurant Driver Lounge Offices/Dispatch News Stand Retail Concessions Bicycle Parking Car Parking Storage
8
1 2 3 4 5 6 7 8 9 10 11
10
3
6
1
A
3
2
2
B
Hyb
Se rid
Se rid
Section C 1/16”=1’
ctio
n
51
Section Model Hybrid
Section Model Hybrid Drawing Only
52
53
54
Architectural Intervention Studio 3a - Michael McDonald What kind of structure can be constructed as an architectural intervention? How do space restraints complicate or change this idea?
55
Work
Storage
Unit 1
Sleeping
Living
Sleeping
Living
Living/Storage Living/Storage
Living/Storage
Dinning
om ro th
Sleeping
Ba
Living Living
ge
Sleeping
ra
Dinning
Sto
ge ra Sto
om ro th Ba
Work
Work Cooking
Living/Storage
Sleep/Bath
Sleep/Bath
Sleep/Bath
Sleep/Bath
Work/Cook/Eat
Work/Cook/Eat
Work/Cook/Eat
Work/Cook/Eat
Living/Storage
Living/Storage Living/Storage
Sleep/Bath
Living
Sleep/Bath Sleep/Bath
Work/Cook/Eat
Sleeping
Bathroom
Sleep/Bath
Work/Cook/Eat Work/Cook/Eat
56
Work/Cook/Eat
Storage
Living/Storage
Cafe
Work/Cook/Eat
Dinning
Work
Living/Storage Sleep/Bath
Cooking
Storage
Dinning
Bathroom
Cooking
Bathroom
Unit 2 Unit 1+2
Cooking
Dinning
Work
Cooking
57
58
Architectural Intervention Studio 3a - Michael McDonald
The project is intended to accommodate two live/work apartments for visiting fellows at the Woodbury San Diego campus. Each unit is approximately 1,000 sq. ft. and accommodates regular programmatic activities found in housing. The idea behind the formation of my housing units comes from the San Diego campus itself. The San Diego campus is a re-purposed factory made university. I intended the housing to be re-purposed from time to time depending on the needs of the University. When a fellow is present, then the housing will be used as such; but if no
fellow is present then the spaces can be utilized by students as team competition studio space. The process for the generation of the form was purely diagrammatic, while the production of the project itself was solely model based. That led to a more tangible idea of human to space relationships as opposed to drawing and configuring space based on known human acceptable specifications.
59
60
Experimental Density Studio 3a - Michael McDonald What typologies best suit the LA area? How does urban sprawl affect housing? How can we correct/reverse the negative affects of urban sprawl through new typologies?
61
Typology Study Models
62
Roofscape Study Model
Circulation Study Model
Persistent Relevance Studio 3a - Michael McDonald
Los Angeles is a city plagued with a vast urban sprawl. The 3B final project on housing is focusing on bringing the density of downtown LA into the suburbs. Site two, located adjacent to the metro station at the intersection of Exposition Boulevard and Farmdale Avenue, is perfectly situated alongside one of LA’s main mass transit lines while still being deep in the cities suburbs. The typology chosen to bring this density to the suburbs is a multiunit courtyard/slab hybridization. The generation of this hybridization took place because when in densely populated areas a courtyard home can provide privacy for a family and a break from the frantic pace of everyday city life while the slab clearly separates the commercial identity of the site from the residential. Typology to Form Diagram
63
Figure Ground
64
Roofscape Geometry Diagrams
65
Plan - Ground Level
Plan - Second Level
DOWN
UP
UP
UP
UP
UP
UP
1 5
15
30
60
UP
UP
1 5
Long Section 1
66
5
15
30
15
30
60
OPEN TO BELOW
DOWN
Plan - Third Level
Plan - Roof Level
DOWN
DOWN
DOWN
UP
UP
UP
OPEN TO BELOW
DOWN
UP
DOWN
UP
UP
UP
UP
OPEN TO BELOW
DOWN
UP
Short Section UP
67
Long Section Through a Single Unit
Single Unit Sectional Model
Short Section Through a Single Unit
Single Unit Sectional Model
68
69
70
71
72
Boat House Studio 3b - Maxi Spina Can a primitive shape be modulated to provide a structural system? Can that structural system still house a large open program?
73
74
75
Short Section
Short Section
Long Section 1/4”=1’
Long Section
Boat House
Long Section 1/4”=1’
Studio 3b - Maxi Spina
Boolean shell operations can offer a different kind of structure then a typical ‘post and beam’ methodology by providing a type of structure that is inherent in a primitive shape. For my shape, a pyramid, I started by configuring a two dimensional triangular fractal over the unfolded bounding box. In that fractal, I found that some portions overlap providing a pattern that would become primary structure, while the fractal lines would be the secondary structure. The study model attempted to read the complex language of the fractal and its patterns, although was not perforated enough to allow for the function of the boat house program. In the final model the primary structure was not only built around the envelope of the boat house, but triangulated in the interior as well to provide room enough for the boats to traverse the slip unadulterated. The original bounding box for the project was eroded away at some portions of the project by boolean operations, while other portions were made to reinforce the bounding box idea. 76
Long Section
Long Section
Long Section 1/8”=1’
Long Section 1/8”=1’
Short Section 1/4”=1’
Short Section Short Section 1/4”=1’
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78
Materials and Methods Final Materials and Methods - Daniel Rabin How can wood be used in a way that it either rarely or never is? Can this methodology lead to other discoveries about the material?
79
Exterior of Joints
Perspective View Interior of Joints
Materials and Methods Final Materials and Methods - Daniel Rabin
Our group chose wood as our material for Materials and Methods because we felt that although it may be the most common material used in construction, it is also the most overlooked. Wood’s grain allows it visual texture, to bear massive loads, span wide gaps, and to flex when cut into thin sheets. This kind of duality in the nature of wood needed to be explored in our final project. Our group decided to CNC a orthogonal frame from a 3/4� sheet of plywood and cap it by a circular overhead. After these frames were created, we weaved single ply furniture veneer through the frame entirely on all four sides. We decided that we would not use any fasteners besides the 80
ones necessary to attach the weaving elements. The entire structure is held together by the weave. The orthogonal portions display the regular weave operating as the frames bonding agent, while the circular overhead show how far the weave can be pushed without catastrophic failure. All in all, our project succeeds in exhibiting the duality of the nature of wood made possible due to its granular quality.
Top View
Exploded Axon of Assembly
Front View
81
82
Project Mako Professional Practice - Giulio Zavolta What is the most legible way to produce construction documents? What does the industry demand of practicing architects today?
83
K.N.S. G.T. Retaining Wall
KARIM SNOUSSI NICK WILKINS SAMVEL SIMONYAN GEORGE RIVERA TIM NELSON
40'-0"
3'-0"
UP
15'-0"
Retaining Wall
13'-0"
20'-0"
FIN. GRADE 572
7500 GLENOAKS BOULEVARD BURBANK, CA 91510
3'-0"
UP
40'-0"
UP 20'-0"
4954 E. MERIDIAN
20'-0"
FIN. GRADE 572
PROJECT MAKO
20'-0"
The drawings and specifications and designs represented hereby are and shall remain the property of the Architect, and no part thereof shall be used or reproduced for any purpose other than the specified project for which they have been prepared and developed without the written consent of the Architect
16
SITE PLAN
Written dimensions shall have precedence over scaled dimensions. The Contractor shall verify and be responsible for all dimensions and conditions on the jobsite and report any discrepancies to Architect.
40'-0"
SCALE: 1/8" = 1'-0"
The drawings and specifications indicate the general scope of work and required technical performance of the building systems and do not necessarily indicate or describe all the work required for full performance and completion of the construction contract. Based on the scope of work indicated Contractor shall furnish all items required for the proper execution of the project.
30'-8"
585
32'-6 1/2"
NO.
28'-8 1/2"
30'-8"
JOB NO:
01
ISSUE DATE
1 DATE 04 27 2012
580
575
570
565
Cut
Fill
PAGE TITLE:
SITE DEVELOPMENT PAGE NUMBER:
13
84
SITE SECTION SCALE: 1/8" = 1'-0"
A-100
2 - 2x10 HDR
2 - 2x6 HDR
2 - 2x6 HDR
2 - 2x6 HDR
2 - 2x6 HDR
K.N.S. G.T.
2 - 2x6 HDR SLOPE 8:7
2 x 6 F.J. @ 16" O.C.
SLOPE 10:7
KARIM SNOUSSI NICK WILKINS SAMVEL SIMONYAN GEORGE RIVERA TIM NELSON
2 - 2x8 HDR
2 - 2x6 HDR
7500 GLENOAKS BOULEVARD BURBANK, CA 91510
2 - 2x10 HDR
2 - 2x10 HDR
2 x 10 R.J. @ 16" O.C.
2 - 2x8 HDR
2 - 2x8 HDR
2 x 6 R.J. @ 24" O.C.
3 - 2x10 HDR
2 - 2x6 HDR
2 - 2x8 HDR
2 - 2x10 HDR
ROOF FRAMING PLAN SCALE: 1/4" = 1'-0" 11'-0"
4'-7 3/4"
8'-0" 7'-1"
5'-6"
8'-2 3/4"
14'-1 1/2" 152
106
90 101D
101E
101F
107
5'-0"
108A
2 x 6 F.J. @ 16" O.C.
135 2'-1 1/4"
FIN. FLOOR 573.00" 6'-8"
FIN. FLOOR 573.50"
10'-0"
13'-6" 2 x 10 F.J. @ 16" O.C.
2 x 4 F.J. @ 16" O.C.
107B
FIN. FLOOR 572.50" 101
4'-0"
107A
7'-1"
2"
3'-
13
/4"
90
41
11
3'-10 3/4"
1'-0" 3'-0"
/2"
17'-7 1/2"
"
152 2'-
4'-5 1/2"
107
1/4
40'-0"
2"
104A
101A
101B
1'-
The drawings and specifications indicate the general scope of work and required technical performance of the building systems and do not necessarily indicate or describe all the work required for full performance and completion of the construction contract. Based on the scope of work indicated Contractor shall furnish all items required for the proper execution of the project.
JOB NO:
1
10
101C
1'-
102A
The drawings and specifications and designs represented hereby are and shall remain the property of the Architect, and no part thereof shall be used or reproduced for any purpose other than the specified project for which they have been prepared and developed without the written consent of the Architect Written dimensions shall have precedence over scaled dimensions. The Contractor shall verify and be responsible for all dimensions and conditions on the jobsite and report any discrepancies to Architect.
135
/2"
6'-4"
7'-8"
105A
19'-10 1/2"
5'-6"
1'-0 1/2"
7
SCALE: 1/4" = 1'-0"
14'-3"
ROOF PLAN
2 - 2x6 HDR
2 - 2x6 HDR
4x12 No.1
2x10 @ 16"O.C. SLOPE 1':10'
15
2 - 2x6 HDR
4954 E. MERIDIAN
2 - 2x6 HDR
PROJECT MAKO
3 - 2x10 HDR
NO. 01
ISSUE DATE
DATE 04 27 2012
20'-2"
FIN. FLOOR 572.50" 104B
PAGE TITLE:
FLOOR & ROOF FRAMING PLAN PAGE NUMBER:
13
FLOOR FRAMING PLAN SCALE: 1/4" = 1'-0"
5
FLOOR PLAN SCALE: 1/4" = 1'-0"
20'-0"
A-101 85
TOP OF PARAPET 590.97'
8 A-106A TOP OF ROOF 588.97'
2x10 CEILING JOIST
TOP OF CLOCK 585.92'
6
1" THICK WOOD MINUTE HAND
A-106A
1" THICK WOOD HOUR HAND DBL. GLAZED ALUM WINDOW
1" THICK WOOD CLOCK NUMBER
BOTTOM OF CLOCK 580.67'
5
TOP OF DOOR
A-106A
579.03'
INT. STUCCO SMOOTH FINISH 5/8" TUPE 'X' GYP. BD. 3/4" PLYWOOD VALSER QUARZITE FACE STONE TILE (VERTICAL)
SLATE TILE " PLYWOOD
5 8
FIN. FLOOR 572.50'
2x10 FLOOR JOIST CONC. FOOTING AND FOUNDATION WALL FINISH GRADE
5
86
FRONT DOOR SECTION SCALE: 3/4" = 1'-0"
6" 10 1/4" 1'-11 1/4"
19'-0"
4954 E
PROJE
20'-0" 6"
NDOW
SHED FLOORING
1'-3" 3'-10 1/2"
7'-9 3/4"
FLOOR
11"
ATHING
The drawings and specifications and designs represented hereby are and shall remain the property of the Architect, and no part thereof shall be used or reproduced for any purpose other than the specified project for which they have been prepared and developed without the written consent of the Architect
23'-0 3/4"
T
TING
Written dimensions shall have precedence over scaled dimensions. The Contractor shall verify and be responsible for all dimensions and conditions on the jobsite and report any discrepancies to Architect. The drawings and specifications indicate the general scope of work and required technical performance of the building systems and do not necessarily indicate or describe all the work required for full performance and completion of the construction contract. Based on the scope of work indicated Contractor shall furnish all items required for the proper execution of the project.
JOB NO:
SILL
NO. 01
1
VALSER QUARZITE FACE STONE TILE (VERTICAL)
DATE
ISSUE DATE
04 27 2012
3 4"
10'-9 1/4"
L.
PLYWOOD SHEATHING
2 2X10 HEADER BEAMS 2x6 NAILING SURFACE SUPPORT
ALL
PAGE TITLE:
CAULKING
MEZZANIE
CONT. SEALANT
9
9 1/2"
STAIRS
MEZZANIE STAIR SECTION SCALE: 1/2" = 1'-0"
PAGE NUMBER:
WINDOW FRAME
A-105B
DBL. GLAZED WINDOW
STUCCO 5 8"
GYPSUM BOARD
2x6 CEILING JOIST WITH INSULATION BATTING DBL. GLAZED WINDOW HARDWOOD FINISHED FLOORING 3 4"
PLYWOOD SUBFLOOR
2
WINDOW FRAME
WINDOW HEAD/JAMB DETAIL SCALE: 1 1/2"" = 1'-0"
CONT. SEALANT CAULKING 2x10 FLOOR JOIST 3 4"
PLYWOOD SHEATHING
STONE TILE INSULATION BATTING
Project Mako Professional Practice - Giulio Zavolta
2x6 P.TRTD. WD. SILL SILL GASKET 20 GA. GALV. MTL. FLASHING CONTINUOUS WALL
ANCHOR BOLT
1
WINDOW SILL DETAIL SCALE: 1 1/2"" = 1'-0"
Although design is not the central aspect of this class, my group worked to design a wide array of detail conditions into the project. From tall and wide windows, to floor elevation changes, every group member had an opportunity to document a unique detail of the project. The space is meant to operate as a live/work home. A gallery/living room has floor to ceiling windows to allow for indirect natural light to fill the space at the entrance; while the bedroom and bathroom are at the rear of the building to allow for greater privacy. 2 WINDOW HEAD/JAM SCALE: 1 1/2"" = 1'-0"
87