Hemila Rastegar-Aria by Hemila Rastegar-Aria

Hemila Rastegar-Aria The Complete Studio Designs and Projects - 4 Years

The Complete Studio Designs and Projects SCI-ARC, 2012-2014

Portfolio Introduction This portfolio represents the two years of work that Iâ&#x20AC;&#x2122;ve done at SCI-Arc. Over this time period, I learned much about architecture and gained lots of experience, especially when it comes to software programs. The portfolio has been color-coded so as to easily show which year is being represented. Additionally, these colors are meant to emphasize how each semester is fundamentally differentâ&#x20AC;&#x201D;the idea being that these colors can stand for the various experiences I have had. After I graduate, the colors will extend across the spectrum, combining like a rainbow to show the broad-ranging experience I will have had at that point. I started out at SCI-Arc with 2B (that is, at the second year), at which point I learned to design a dance school, taking into consideration things like the amount of space and lighting that a structure calls for; at this point, I didnâ&#x20AC;&#x2122;t have a lot of experience working with building structures. The beginning of my third year, 3A, had me designing the exterior of a building with structural skin. This is when I also took a visual study class that taught me how to use Grasshopper to make the structure of a vault and transform it into various types of vault in order to Ă&#x20AC;W YDULRXV SXUSRVHV 7KH VHFRQG VHPHVWHU RI WKH third year, 3B, enabled me to learn how to design a double-skinned building for a museum, teaching me numerous things about structure development. This same semester, I took a tectonic class that went over the structure of vaults and how they can be transformed in myriad ways. My fourth semester, 4A, taught me a lot about the urban design process, which is surprisingly complex. When using only Grasshopper, urban designing is made easier on many levels, but it also limits the design on many levels, too. The studio I was in for 4A only gave us enough time to design the massing of our buildings, giving further details no attention. These designs did not just start with me creating an imDJH RI D ORFDWLRQ RQ D VFUHHQ 5DWKHU , Ă&#x20AC;UVW KDG WR look at past city plans and observe their strengths and weaknesses. After this, I had to choose a conFHSW WKDW ZRXOG VROYH VSHFLĂ&#x20AC;F FLW\ZLGH SUREOHPV These cities have residential, commercial, industrial, governmental, and green zones, all of which have to be designed differently, consequently presenting various challenges and making the design process harder. And this same semester is when I learned how to further develop the buildings that I created in my 3B studio, focusing on things like the material to be used. Each semester provided me with what seemed like a piece of this puzzle that we call Architecture. By looking at my portfolio you can see how my experiences thus far have played out. Three more colors, or semesters, will complete my rainbow. The rainbow, to me, perfectly represents a semester, for much of a semester feels like a series of long, rainy days, but if you look in the right direction there is always beauty to be found: knowing that youâ&#x20AC;&#x2122;ve learned something and put that knowledge to work is beautiful. Regardless of how hard a particular semester is, it always seems to be colorful in the end.

Building art is a synthesis of life in materialised form. We should try to bring in under the same hat not a splintered way of thinking, but all in harmony together. â&#x20AC;&#x153;Alvar Aaltoâ&#x20AC;?

What is Architecture?

Something about Me:

7R GHĂ&#x20AC;QH $UFKLWHFWXUH LV QR HDV\ WDVN &XUUHQW usage makes the term appear both broad and VSHFLĂ&#x20AC;F DQG WR VRPH LW LV XQGRXEWHGO\ ERWK On the one hand, Architecture is a form of art; and, it is concerned with the aesthetics of structures. Beyond this, Architecture is really about creativity. To an architect, Architecture is about problem solvingâ&#x20AC;&#x201D;it is a very personal endeavour. It is about looking at a space and letting oneâ&#x20AC;&#x2122;s imagination run wild; bringing the focus onto a particular space, and then choosing how that space is to be utilized: establishing function. A space can be turned into something practical or grand; both of which serve different purposes, or functions. The world LWVHOI LV Ă&#x20AC;QLWH DQG $UFKLWHFWXUH LV DERXW WDNLQJ the resources that are at our disposal and creating something with purpose. Architecture is the art and science of design, and the business of erecting buildings and other physical structures; furthermore, it is a general term to describe these buildings and structures. 7R IXOĂ&#x20AC;O SRWHQWLDO LV RI FRQFHUQ WR DQ DUFKLWHFW and to push the boundaries of what is and is not possible. Ultimately, Architecture is about creation; but more than this, it is creation backed up by a philosophy that is grounded by the constraints of our natural resources. Architecture could simply be said to be the bringing of a spaceâ&#x20AC;&#x2122;s potential into fruition.

Life is short, and I believe that in order to OLYH D JRRG OLIH RQH KDV WR Ă&#x20AC;QG WKHLU SXUSRVH VRPHWKLQJ WKDW LV IXOĂ&#x20AC;OOLQJ WR WKH LQGLYLGXDO Architecture is my purpose, because it is what , HQMR\ HYHU\ DVSHFW RI LW ,W LV D Ă&#x20AC;HOG WKDW LV demanding and often stressful, although it LV DOVR D YHU\ UHZDUGLQJ Ă&#x20AC;HOG 7KH SURVSHFW of visualizing something and then seeing it through to fruition is very exciting to me. This is what I think of when Iâ&#x20AC;&#x2122;m stressed. I think of why Iâ&#x20AC;&#x2122;m doing this. I think of Architecture.

Contents 4B Projects 4B Studio | Curiosity 4 5 6 9 15 20

Course Description Project Description Feather Wearings Feather Models Feather Models Drawings Physical Models From Drawings

Construction Documents 24 Course Description 26 Cover Page 27 3D Views 28 Key Note and Symbols 29 3D Views/ Renderings 3DUFHO 3URÀOH 5HSRUW 31 Navigate La Site Plan/ Tax Assessor Map 6SHFLÀFDWLRQV 33 Wall Types 34 Control Plan 35 Plans 39 Elevations 41 Building Sections 43 Door and Window schedules 44 Finish Schedules 45 Wall Section 48 Details 51 Stair Plan 52 Stair Section 53 Interior Elevation 54 Structural Framing Schedules 55 Enlarged Plan-Kitchen 56 Kitchen Elevations 57 Enlarged Plan-Bathroom 58 Bathroom Elevations 59 Slab Plan 60 Framing Plans 64 Mechanical Plans 66 Electrical Plans

Expand and Contract: Radical Art Practices 1960-2000 70 71 73 75

Course Description The Transgressions of Mike Kelley Two styles in one Drawing Layers of One Drawing

4A Studio | City Operations: Architecture in Critical Settings 80 81 82 83 85 87 88 91

Course Description Project Description DTLA Zoning A Million People Precedents Urban designing strategy Plan Strategy Precedents

93 95 96 97 98 99

Elevations strategy of City Nested Zone Site Plan Elevations Building Scale Green Space Scale City renders

Design Document Analysis Development 106 107 109 110 113 114 115 117 121 122 123 124 125 126 127 128 129

Course Description Phase of Design Site Plan Plans Longitudinal Section Transverse Section Elevations Details Structural System Enclosure System ADA diagram Life Safety Egress HVAC Diagram Cross Section_Environmental System Fire Protection Cost Calculation Physical Model of Chunck of Building

Biomimetic Principles 132 133 137 139 141 145

Course Description Leonardo Da Vinci Birds Wing Structure Flying Machine Study ofBirds Wings Birds & Airplain

Introduction to Critical Studies 154 155 157 160

Course Description Different View of the Facade Secularization and Its Impact on the Face Different Views of the Facade

The Poetics of Dwelling: Haunted House in Modern Literature, Art and Theory 164 165 167 175 177

Course Description Methodology Response Paper Perceptions of the Gamble House Public and Private

3B Projects 3B Studio | Dynamic Architectural Systems: Anabolic, Metabolic, Catabolic 182 183

Course Description Project Description

185 186 187 193

Detailed Section of Museum Drawings and Diagrams Drawings and Renderings Physical Model

Tectonics - Construction Assembly and Detail 198 199 201 209 211 216 217 219 221 225 227

Course Description Course Objectives Study of Wells Cathedral Ceiling, Columns and Capitals Study of Wells Cathedral Capital Transformation of Wells Cathedral Vault and Capital Final Transformed Vault Pattern Proportion Study of Transformed Vault Process of Transforming Capital Process of Casting Physical Model

Humanities 1: Premodern to Modern 232 233

Course Description Images of Women

3A Projects 3A Studio | Field Operations: Static Architectural Systems 240 241 243 251 261 263 265

Course Description Part One, Project Description Structure Study Drawing and Physical Model of Union Station Design Part Two, Enclosure System Deployment Renderings, Drawings, and Physical Model of Final Design of Union Station

3A Visual Studies / Deep Skin I Light Bones 278 279 284

Course Description Project Description Final Vaults

Environmental Systems I 286 287 297 305

Course Description Study of Massing and Site of Farnsworth House in Actual Location Building Relocation Transformation Analysis

2A Projects 2A Studio | Frameworks: Programs 322 323 325 327 328 336 337 340 343

Course Description First Part Project Description Drawings and Diagrams Physical Models and Diagrams Second Part Site Plan Render Diagrams and Physical models Rendering and Drawings

Technologies of Description 2: Analog and Digital Practices 352 353 355 357 358 367 369

Course Description Project # 1: Solar System Map Making of Sphere Project # 3: Glacier Project #4: Landform Matrix Unit #2: Sun & Horizon Unit #3: Mapping

History of Architecture 3: Industrial Revolution to Contemporary Discourses 372 374 375

Course Description Research Paper Abstract: Zaha Hadid Zaha Hadid: A Trendsetter

Humanities 3 - Modernism in Literature, Art and Film 378 380 382 384

Course Description Essay #1: Subjectivity Essay #2 : Modernism and Surrealism in the Works of Shelley and Kafka Street Art

4B Studio Designs and Projects Spring 2014

4B Studio Design| Curiosity Where does the desire to learn or know leave off DQG WKH Ă&#x20AC;FWLYH ZRUOG RI WKH LPDJLQDWLRQ WDNH RYHU" How is the blur of the imaginary sustained long enough to give rise to that which was in imaginable ZKHQ WKH Ă&#x20AC;UVW FXULRXV LPSXOVH HPHUJHG" The objective is to make ourselves vulnerable enough to take on, to explore, what we do not know. A collection of curiosities, transformed through various media and investigated for their architectural potentials, will provoke curious productions that are somehow strangely satisfying. Instructor:

Merril Elam

Project Description: Curiosity and Imagination Where does the desire to learn or know leave RII DQG WKH Ă&#x20AC;FWLYH ZRUOG RI WKH LPDJLQDWLRQ WDNH RYHU" How is the blur of the imaginary sustained long enough to give rise to that which was LQ LPDJLQDEOH ZKHQ WKH Ă&#x20AC;UVW FXULRXV LPSXOVH HPHUJHG" The objective is to make ourselves vulnerable enough to take on, to explore, what we do not know. A collection of curiosities, transformed through various media and investigated for their architectural potentials, will provoke curious productions that are somehow strangely satisfying.

Program of building: Baroque sanctuary Curiosity The challenge of this studio was delving deeply into our curiosity and imagination. I was curious about the characteristics of feathers and about how these characteristics might be applied to the structure of a building. I wanted to create a thin but safe structural building, all the while maintaining the look and feel of a feather. I began by researching feathers. What is the SXUSRVH RI D ELUGÂˇV IHDWKHUV" :KDW FKDUDFWHUistics do feathers have and why have certain ,QGLDQ WULEHV ZRUQ WKHP" +RZ PLJKW WKHVH LGHDV EH DSSOLHG WR EXLOGLQJV"

Feather Characteristics and usage )HDWKHUV DUH QRW RQO\ XVHG WR KHOS ELUGV Ă \ DV most people think. There are two basic types RI IHDWKHUV YDQQHG IHDWKHUV ZKLFK FRYHU WKH ELUGÂˇV H[WHULRU DQG GRZQ IHDWKHUV ZKLFK DUH found underneath the vanned feathers. Down feathers help keep birds warm and vanned IHDWKHUV KHOS WKHP Ă \ DQG SURYLGH WKH ELUG with a pleasing appearance. Feathers insulate birds from water and cold temperatures. They may also be plucked to line the nest and provide insulation to the eggs and young. Color patterns serve as camRXĂ DJH DJDLQVW SUHGDWRUV IRU ELUGV LQ WKHLU KDELWDWV DQG VHUYH DV FDPRXĂ DJH IRU SUHGDtors looking for a meal. Striking differences in feather patterns and colors are part of the sexual dimorphism of many bird species and are particularly important in selection of mating pairs. In some cases there are differences LQ WKH 89 UHĂ HFWLYLW\ RI IHDWKHUV DFURVV VH[HV even though no differences in color are noted in the visible range. The wing feathers of male Club-winged Manikins Machaeropterus delicious have special structures that are used to produce sounds by stimulation.

Feather wearing # 1 Contraction Pose 5

4B, Spring 2014, 4B Studio | Curiosity, Project Description

Feather wearing # 1 Expansion Pose

4B, Spring 2014, 4B Studio | Curiosity, Feather Wearing #1

Feather Wearing The bird of paradise uses his feathers to FKDQJH KLV ORRN WR FDPRXĂ DJH RU WR VHGXFH D female bird. Some American Indian tribes use feathers for beauty and make wearable dresses for their ceremonies. I began by making a bird dress that could be worn to represent a bird. After that, I used this dress to make a second dress, but this time , XVHG DUWLĂ&#x20AC;FLDO IHDWKHUV WRR 7KHQ , PDGH D WKLUG GUHVV VROHO\ RXW RI DUWLĂ&#x20AC;FLDO IHDWKHUV WR see how it compared with the real feathers.

Feather wearing # 2 0DGH RXW RI DUWLĂ&#x20AC;FLDO IHDWKHU Acrylic raped with material to create a soft and hard part of a feather

4B, Spring 2014, 4B Studio | Curiosity, Feather Wearing #2

Feather wearing # 3 0DGH RXW RI DUWLÃ&#x20AC;FLDO IHDWKHU Painted Acrylic Sheet

4B, Spring 2014, 4B Studio | Curiosity, Feather Wearing #3

Feather Building (Sanctuary) The program that I was assigned was that of a Baroque sanctuary. The Baroque period was a period in which many things were taken to their extreme. We saw a revolution in architecture, where everything became highly ornate. In my building, I attempted to imitate this extremism, while using a very unfamiliar material. Here I used different feathers to create these VDQFWXDU\ PRGHOV WR Ă&#x20AC;QG WKH IHDWKHUÂˇV DELOLW\ and characteristics. Also, these feather models were used to create the different interior spaces. Also each of these models helps me to experience a space that I can get from each feather models

Physical Model #1, Made out of White Ostrich Feather

Physical Model #2, Made out of Peacock Feather

Physical Model #3, Made out of Ostrich Feather

4B, Spring 2014, 4B Studio | Curiosity, Physical Models

5HĂ HFWLYH DQG VRIW VSDFH IURP :KLWH Ostrich Feather

Colorful and Structural Space from Peacock Feather

Soft, Fuzzy Space from Ostrich Feather

4B, Spring 2014, 4B Studio | Curiosity, Space Created by Each Feather Model 10

Model # 1 Black Ostrich Feather

Model# 2 Peacock Feather

Model # 3 Black Teal Feather

4B, Spring 2014, 4B Studio | Curiosity, Physical Models

Model # 4 Guinea Feather

Model # 5 Guinea Feather

Model # 6 Guinea Feather

4B, Spring 2014, 4B Studio | Curiosity, Physical Models

Model # 7 Black Guinea Feather

Model# 8 Natural Pheasant Feather

Model # 9 Black Teal Feather

4B, Spring 2014, 4B Studio | Curiosity, Physical Models

Model # 10 Ostrich Feather Feather

Model # 11 Marabou Feather

Model # 12 Peacock Feather

4B, Spring 2014, 4B Studio | Curiosity, Physical Models

Feather Building Drawings After making different feather sanctuaries, I tried to draw the structure of each model. By drawing the structure of each model, I found each model to have different layers of structure. On account of this, I created my drawings out of as many layers as each model had. To show each layer of structure in the models, I XVHG FOHDU Ă&#x20AC;OP SDSHU WR WKDW , FRXOG VKRZ HDFK layer of the structure on one sheet. Then I stack the layers together to show the 3 dimensional view and structural space that each of them created. As you can see in the drawings, different models have different structures and create different interior spaces. All of them come from feathers but are different. Each is also made of lines that create the surfaces like that of a feather. The Structure of Feather Models

Drawing of Model # 10, Ostrich Feather

Drawing out of Model # 8, Natutal Pheasant Feather 15

4B, Spring 2014, 4B Studio | Curiosity, Drawings out of Physical Models

The Structure of Feather Models on layers of ClearFilm sheets

Drawing of Model # 11, Marabou Feather

Drawing of Model # 5, Guinea Feather

Drawing of Model # # 7, Black Guinea Feather

4B, Spring 2014, 4B Studio | Curiosity, Drawings out of Physical Models 16

Drawing of Model # 1, Black Ostrich Feather

Drawing of Model # 6, Guinea Feather

Drawing of Model # 3, Black Teal Feather 17

4B, Spring 2014, 4B Studio | Curiosity, Drawings out of Physical Models

Drawing of Model # 2, Peacock Feather

Drawing of Model # 9, Black Teal FeatherFeather

Drawing of Model # 12, Peacock Feather 4B, Spring 2014, 4B Studio | Curiosity, Drawings out of Physical Models 18

Physical Model of Baroque Sanctuary (Lines Create the Surface) By drawing and making layer drawings, I could see the space that each feather created and WKH NLQG RI VWUXFWXUH WKDW WKH\ KDG VR IRU D Ă&#x20AC;nal proof I created this physical model with the concept of the featherâ&#x20AC;&#x2122;s structure. This model is made out of 435 piano wires and 325 clear rods. From Structure of the Feather to the Building Structure

Drawing of Model # 4, Guinea Feather

Drawing of Model # 4, Guinea Feather on layers of ClearFilm sheets

Physical Model of Drawing # 4

4B, Spring 2014, 4B Studio | Curiosity, Drawings out of Physical Models

As architects, we always look at nature and learn from it to create spaces that are more comfortable and beautiful. Feathers may look soft and frugal, but they have a really strong structure. By looking at the structure and recreating it, we can make buildings that are safe and more beautiful.

Sanctuary of Light

4B, Spring 2014, 4B Studio | Curiosity, Physical Models out of Drawings 20

Physical Model of the Sanctuary with Night Light

The Physical model of Baroque sanctuary (lines create surface)

4B, Spring 2014, 4B Studio | Curiosity, Physical Model

Physical Model of The Sanctuary with Day Light

4B, Spring 2014, 4B Studio | Curiosity, Physical Models

Construction Documents The goal of this course is to provide students with a comprehensive knowledge of the perfectible craft of construction documentation, a standardized language developed to clearly communicate complex designs to a third party and the architect’s legal responsibilities, including the AIA Code of EthLFV DQG 5HJXODWLRQV 6WDWXWHV 6WXGHQWV UHÀQH WKHLU skills through the production of a full construction documentation package, drawn in 2D and 3D CAD, for a small to medium-scale single story residence. In doing so, they also develop an understanding of what types of technically precise documents and RXWOLQHG VSHFLÀFDWLRQV QHHG WR EH SURGXFHG DQG LQ what sequence, and of the languages of other disciplines, such as mechanical, electrical, and acoustical engineering. Attention is place on student’s understanding of registration law, building codes and regulations, professional service contracts, zoning and sub-division ordnances, environmental regulations and other licensure concerns. This class also introduces students to the basics of cost analysis and construction management. Instructor:

Jay Vanos, Pavel Getov

Course Description: To become familiar with the production of Construction Documents relating to projects of a â&#x20AC;&#x153;designâ&#x20AC;? nature and relatively small scale. Emphasis is placed on language and process.

Language and Process The essence of Construction Documentation is understanding the process or sequence, by which the documents are produced, and their language. This includes the languages of the other disciplines involved. (Structure, Mechanical, Electricalâ&#x20AC;Ś) Understanding what â&#x20AC;&#x2DC;typesâ&#x20AC;&#x2122; of documents, i.e. plans, details, etc. should be produced, and in what sequence is essential to the success of the effort. 1. General Comments a. DRAWINGS: are graphic descrip WLRQV ZLWK ZRUGV IRU LGHQWLĂ&#x20AC;FDWLRQ b. SPECIFICATIONS: describe in detail all materials and processes for the construction of the project. c. Project Manual: Project Manual, is the term used to identify a docu ment which â&#x20AC;&#x153;containsâ&#x20AC;? all of the contract for construction. That is, it states the Conditions of the Con tract between the parties, Refer ences all of the Drawings which are WKH FRQWUDFW VHW DQG WKH 6SHFLĂ&#x20AC;FD tions which describe the materials and processes for construction. d. Complementarity: Drawings, Speci Ă&#x20AC;FDWLRQV DQG 3URMHFW 0DQXDOV DUH complementary documents. One is binding on the other. What is mentioned in one is as if it had been mentioned in the other with WKH VDPH VLJQLĂ&#x20AC;FDQFH e. Precedence: It is presumed that the written word governs over the graphic depiction. Note this care fully. The drawings do not govern in a debate, the written part of WKH VSHFLĂ&#x20AC;FDWLRQV GR 7KLV LV EH cause it is presumed to be a more precise language for commu nication and subject to less inter pretation than a drawing. 2. Organization of Project Manual A. Bid Documents 1. Bidding requirements 2. Invitation to bidders 3. Instructions to bidders D 4XDOLĂ&#x20AC;FDWLRQV b. Examination F &ODULĂ&#x20AC;FDWLRQ RI TXHVWLRQV d. Addenda e. Bid Bonds

4B, Spring 2014, Construction Documents, Course Description

f. Performance and Labor Bonds g. Procedures for submitting bids, withdrawing or modi fying bids. h. Opening bid procedure i. Rejection of bids j. Award of contract proce dure k. Return of bid documents 4. Bid forms a. Bid b. Bid Bonds c. Performance and Payment bonds G &HUWLĂ&#x20AC;FDWH RI LQVXUDQFH e. Consent of surety I $SSOLFDWLRQ DQG FHUWLĂ&#x20AC;FDWH for payment g. Sample forms 1. Request for Information 2. Change Order 3. Field order 4. Bulletins B. Agreement C. Conditions of the Contract 1. AIA Documents or Owners docu ments 2. Supplementary conditions D. Schedule of Drawings ( 6SHFLĂ&#x20AC;FDWLRQV &216758&7,21 '2&80(176

6SHFLĂ&#x20AC;FDWLRQV 1. General Strategies: A. Performance: States requirements for results. 1. Standards of performance 2. Desired results. Freedom of method. B. Prescriptive: States requirements for methods. 1. Materials 2. Manufacturers 3. Workmanship 4. Installation procedures *HQHUDO 6WUXFWXUH RI DQ\ 6SHFLĂ&#x20AC;FDWLRQ Part 1: General 1. Description of Work 2. Quality Assurance D 4XDOLĂ&#x20AC;FDWLRQ RI workmen b. Regulatory agen cies c. Tolerances d. Mockups e. Source quality control 3. Submittals 4. Product delivery, storage, handling

5. Job conditions 6. Alternatives 7. Guarantees Part 2: Products 1. Materials 2. Mixes 3. Fabrication and manufac ture Part 3: Execution 1. Inspection 2. Preparation 3. Installation, application, performance 4. Field Quality Control 5. Adjust and Clean

PLANNING DEPARTMENT INFORMATION

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ASSESSORS PARCEL NUMBER 9 .52: '<+ 259 '4-+2+9 )'

BUILDING CODE

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PROPOSED BUILDING AREA -85;4* ,2558 # 9+)54* ,2558 # :./8* ,2558 # ,5;8:. ,2558 # :5:'2 #

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4B, Spring 2014, Construction Documents, 3D Views, G0.01

GENERAL NOTES

GENERAL REUIREMENTS OF CONTRACTORS

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SYMBOLS NAME ELEVATION

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DATUM

PLYWOOD WOOD STUD

45 *+</':/54 ,853 :.+ 9:8;):;8'2 *+9/-4 =/:.5;: =8/::+4 '6685<'2 5, :.+ 9:8;):;8'2 ';:.58/:? :5 *+</':+ ,853 :.+ 62'49 58 96+)/,/)':/549 /9 '225=+*

:+3658'8? 9'4/:'8? ,')/2/:/+9 ,58 =5813+4 9.'22 (+ 685</*+* *;8/4- )549:8;):/54

)54:8'):589 '-8++9 :.': /4 '))58-'4+ =/:. -+4+8'22? '))+6:+* )549:8/):54 68'):/)+9 )54:8'):58 =/22 (+ 8+7;/8+* :5 '99;3+ 952+ '4* )5362+:+ 8+96549/(/2/:? ,58 .5( 9/:+ )549/:/549 *;8/4- :.+ )5;89+ 5, )549:8/):/54 5, :./9 685.+): /4)2;*/4- 9',+:? 5, '22 6+89549 '4* 6856+8:? :.': :./9 8+7;/8+3+4: 9.'22 (+ 3'*+ :5 '662; )548/4;5;92? '4* 45: (+ 2/3/:+8 :5 )583'2 =581/4- .5;89 '4* )54:8'):58 ,;8:.+8 '-8++9 :5 *+-+4, /4*+34/,? '4* .52* *+9/-4 685-+99/54'29 .'832+99 ,853 '22 2/'(/2/:? '4* )2'/39 8+'2 58 '22+-+* /4 )544+):/54 =/:. :.+ 6+8,5:3'4)+ 5- =581 54 :./9 6850): +>)+6:/4- 2/'(/2/:? '8/9/4- ,853 :.+ 952+ 4+-2/+4)+ 5, *+9/-4 685-+99/54'29

685</*+ '))+99 6'4+29 '9 8+7;/8+* (? '662/)'(2+ )5*+9 '4* '9 8+7;/:+* ,58 3+).'4/)'2 +2+):8/)'2 '4* 62;3(/4- +7;/63+4: '22 25)':/549 9.'22 (+ 8+</+=+* =/:. :.+ '8)./:+):

-8'*/4- 58 5:.+8 )549:8/):/54 =581 5,,9/:+ /9 45: 685659+* '4* /9 45: 6+83/::+* =/:.5;: 68/58 =8/::+*4 6+83/99/54 5, :.+ ',,+):+* 5,,9/:+ 6856+8: 5=4+8

*/3+49/549 '8+ :5 :.+ ,')+ 5, ,/4/9. ;42+99 45:+* 5:.+8=/9+ ; 4 5 *5 45: 9)'2+ *8'=/4-9 )54:8'):58 9.'22 685</*+ 6+*+9:8/'4 ,+4)+ '4* )'456? '9 8+7;/8+*

)558*/4':+ 62')+3+4: 5, '22 )+/2/4- +2+3+4:9 =/:. 3+).'4/)'2 +2+):8/)'2 ,/8+ 968/412+8 *+9/-49 =.+8+ */9)8+6'4)/+9 +>/9: (+:=++4 *8'=/4-9 '4* /49:'22':/54 8+</+= =/:. :.+ '8)./:+): 68/58 :5 685)++*/4- =/:. =581 :.+ )54:8'):58 9.'22 685</*+ '22 4+)+99'8? (25)1/4- (')1/4- ,8'3/4- .'4-+89 58 5:.+8 9;6658: ,58 '22 ,/>:;8+ +7;/63+4: '4* )'(/4+:8? )54:8'):58 9.'22 685</*+ '22 ' ,/8+ 685:+):/54 9?9:+3 *;8/4- )549:8;):/54 )54:8'):58 9.'22 )558*/4':+ '22 92'( '4* ='22 56+4/4-9 8+7;/8+* (? 3+).'4/)'2 '4* +2+):8/)'2 *8'=/4-9 =.+8+ 8+)+99+* 58 454 35*;2'8 ,/>:;8+9 */,,;9+89 96+'1+8 58 5:.+8 +>659+* *+</)+9 '8+ ;9+* :.+? '8+ :5 (+ )+4:+8+* / :.+ )+/2/4- :/2+ 6'::+84 ;42+99 5:.+8=/9+ 45:+* '22 6/6+ *;):9 '4* (;9 *;):9 :.': 6+4+:8':+ ,2558 92'(9 9.'22 (+ /49:'22+* /4 ' 3'44+8 :.': =/22 68+9+8<+ :.+ ,/8+ 8+9/9:/<+ '4* 9:8/):;8+ /4:+-8/:? 5, :.+ (;/2*/4-

)54:8'):58 '-8+99 :5 '99/3+ 952+ '4* )5362+:+ 8+96/49/(/2/:? ,58 685:+):/54 5, 6;)2/< '4* 68/<':+ 6856+8:? /4 :.+ </)/4/:? 5, :.+ .5( 9/:+ '4* ,;8:.+8 ',8++9 :5 ': )54:8'):58 9 +>6+49+ 8+6'/8 58 8+62')+ :5 58/-/4'2 )54*/:/54 '22 +>/9:/4- /3685<+3+4:9 =/:.54 58 /4 :.+ </)/4/8: 5, :.+ 05( 9/:+ =./). '8+ 45: *+9/-4':+* -58 8+35<'2 '4* =./). '8+ ,'3'-+* 58 8+35<+* '9 ' 8+9;2? 5, )54:8'):58 9 56+8':/549 '4 +,,58: .'9 (++4 3'*+ :5 *+,/+4 :.+ 25)':/54 5, +>/9:/4- ;4*+8-:5;4* ,')/2/:/+9 =/:./4 :.+ 05( 9/:+ .5=+<+8 '22 +>/9:/4- /:;2/:? '4* 5:.+8 ;4*+8-85;4- 9:8+):/58+9 3'? 45: (+ 9.5=4 54 :.+9+ 62'49 '4* :.+58 25)':/54 =.+8+ 9.5=4 /9 '6685>/3':+ /: 9.'22 (+ )54:8'):58 9 8+96549/(/2/:? :5 *+:+83/4+ :.+ 25)':/54 '4* *+96:. 5, '22 +>/9:/4- ;4*+8-85;4* -')/2/:/+9 /4)2/*/4- 9+8)/+ )544+):/549 =./). 3'? ',,+): 5, (+ ',,+):+* (? ./9 56+8':/54

CONSTRUCTION NOTES '22 8+,+8+4)+* 96+)/,/)':/549 '4* *+:'/29 9.'22 (+ /4)58658':+* /4:5 :.+9+ 62'49 '4* 3'*+ ' 6'8: .+8+5, '9 /, 96+22+* 5;: /4 :.+/8 +4:/8+:? .+8+/4 5:.+8 ;4*+8-85;4* '4* 5<+8.+'* )549:8;):/54 /4 '**/:/54 :5 :.': 9.5=4 54 :.+9+ 62'49 /9 685659+* ,58 :./9 6850+): /4)2;*/4- ;:/2/:? 9+8</)+9 '4* 2'4*9)'6/4- )54:8'):58 9.'22 8+,+8 :5 '8)./:+):;8'2 62'4 '4* 96+)/,/)':/549 ,58 )549:8;):/54 *+:'/29 '4* */3+49/549 /4)2;*/4- :.59+ ,58 (;/2*/4-9 6':/59 *8/<+='?9 ='21='?9 ,+4)+9 62;3(/4- +2+):8/)'2 '4* 2'4*9)'6/4- :./9 8+658: '4* '**+4*' 9.'22 (+ /4)58658':+* /4:5 :.+9+ 62'49 '4* 3'*+ ' 6'8: .+8+5, '9 /, 96+22+* 5;: /4 /:9 +4:/8+:? .+8+/4 /: /9 )54:8'):58 9 8+96549/(/2/:? :5 8+</+= :.+ '662/)'(2+ 95/2 8+658: )54:8'):58 9.'22 )54:'): :.+ 95/2 +4-/4++8 :5 5(:'/4 58 8+</+= ' )56: 5, :./9 8+658: '4* '**+4*'

PROJECT INFORMATION

9/4-2+ ,'3/2? .5;9+

PROJECT ADDRESS 9 .52: '<+ 259 '4-+2+9 )'

ARCHITECT .+3/2' 8'9:+-'8 '8/' 3'-452/' (2<* 9.+83'4 5'19 )'

PROJECT DESCRIPTION 9/4-2+ ,'3/2? .5;9+ *+9/-4 25)':+* ': =+2)53/4- 4+/-.(58.55* '8+'

CONSULTANTS :565-8'6./)'2 9;8<+?

)54:8'):58 9.'22 (+ 8+96549/(2+ ,58 :8',,/) )54:852 ,58 /49:'22/4- '4* 3'/4:'/4/4- '*+7;':+ ,+4)/4- 9/-4/4- 2/-.:9 '4* ('88/)'*+9 '4* ,58 /49:'22/4- '4* 3'/4:'/4/4- '*+7;':+ 9.++:/4- 9.58/4- (8')/458 +7;/<'2+4: 685:+):/54 '9 8+7;/8+* ,58 '22 +>)'<':/549 +>/9:/4- 9:8;):;8+ :+3658'8? 9:8;):;8+ '4* '22 6'8:/'22? )5362+:+* 658:/549 5, :.+ =581

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(+,58+ (+-/44/4 :.+ =581 )54:8'):58 9.'22 )54:'): :.+ )5;4:? 6;(2/) =581*9 *+6'8:3+4: :.+ ;:/2/:? )536'4/+9 :.+ 95/2 +4-+4++8/4- '4* 9.'22 *+:+83/4+ ,853 +').

95/2

9)56+ 5, :+9:/4- '*<'4)+ 45:/)+ 8+7;/8+* 3/4/3;3 5, .5;89 *;8/4- :.+ )5;89+ 5, =581 )54:8'):58 9.'22 (+ 8+96549/<2+ ,58 )'22/4- ,58 :+9:/4- '4* /496+):/54 '9 9:/6;2':+* 6;89;'4: :5 '(5<+ *+:+83/4':/549 =581 45: 6856+82? :+9:+* '4* /496+):+* =/22 (+ 9;(0+)? :5 8+0+<:/54 '22 ;49;/:'(2+ )549?:;)?/54 3':+8/'29 '4* 8;))/9. '4* 9+<8/9 9.'22 (+ 8+35<+* ,853 :.+ 05( 9/:+ (+ :8'49658:+* :5 ' 9;/:'(2+ 25)':/54 '4* (+ 9/*659+* 5, /4 ' 6856+8 '4* 2+-'2 3'44+8 )54:8'):58 9.'22 9).+*;2+ -8'</:? 6/6+2/4+ =581 '.+'* 5, 5:.+8 ;4*+8-85;4* )54*;/: )549:8;):/54 -8'</:? 9+=+8 '4* 9:583 *8'/4 =581 9.'22 (+-/4 ': :.+ 25=+9: 65/4: 5, */9).'48-+ '4* 685)+* ;69:8+'3 '22 =581 /4<52</4- +>)'<':/54 /4)2;*/4- :.': ,58 =':+8 9+=+8 9:583 *8'/4 '4* ;:/2/:? )54*;/:9 '4* '22 9+8</)+ )544+):/549 '4* 3+:+8 (5>+9 4: 6+83/::+* /4 *8/<+='?9 9.'22 (+ )5362+:+* '4* /496+):+* '4* '6685<+* (? :.+ '-+4)? .'</4- 0;8/9*/):/54 '4* :.+ 9:8;):;8'2 (')1,/22 /496+):+* '4* :+9:+* ,58 )536'):/54 '4* '6685<+* (+,58+ '--8+-':+ ('9+ 6'</4- '4* 5:.+8 6+83'4+4: 9;8,')+ )549:8/):/54 3'? )533+4)+

GYPSUM

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INSULATION

1 A101

GLASS

SIM DETAIL REFERENCE

WALL TAG

101

DOOR TAG

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

WINDOW TAG

CONSULTANTS :565-8'6./)'2 9;8<+?

ROOM NAME 101

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

ROOM TAG

150 SF

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS 3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

95/2

Sheet List

PROJECT NAME

'22 =581 9.'22 (+ 6+8,583+* /4 '))58*'4)+ =/:. '662/)'(2+ .+'2:. '4* 9',+:? 2'=9 '4* 9:'4*'8*9 /4)2;*/4- '22 8+7;/8+3+4:9 5, :.+ 9:':+ 5, )'2/,584/' */</9/54 5, /4*;9:8/'2 9',+:?

9)56+ 5, =581 :5 (+ /496+):+* '4* (? =.53

GRAVEL

/654 2+'84/4- 5, :.+ +>9/:+4)+ '4* 25)':/54 5, '4? ;4*+8-:5;4- ,'</2/:/+9 45: 9.5=4 58 9.5=4 /4'));8':+2? 54 :.+9+ 62'4* 58 45: 6+56+82? 3'81+* (? :.+ ;:/2/:? 5=4+8 )54:8'):58 9.'22 /33+**/':+2? 45:/,? :.+ ;:/2/:? 5=4+8 '4* :.+ '8)./:+): (? :+2+6.54+ '4* /4 =8/:/4-

)584+8 (+'*9 '8+ :5 (+ 4'/2+* *8?='22 (5'8* 96')/4- :5 (+ 3'>/3;3 '22 4+= -2'@/4- 9.'22 )5362? =/:. 9:'4*'8*9 5, :.+ ; 9 )549;3+8 685*;): 9',+:? )533/99/54 3'4;,'):;8+8 :5 9;662? )+8:/,/)':+ 5, )5362/'4)+ :5 5=4+8

EARTH BUILDING SECTION

T.N 1

SITE PLAN 3/64" = 1'-0"

Sheet List

Sheet Number Sheet Name COVER G0.00 3D VIEWS G0.01 3D VIEWS/ RENDERINGS G0.01.1 KEY NOTES AND SYMBOLS G0.02 PARCEL PROFILE REPORT G0.03 NAVIGATE LA SITE PLAN/ G0.04 TAX ASSESSOR MAP SPECIFICATIONS SP01 WALL TYPES A0.1 CONTROL PLAN A0.9 SITE PLAN A1.00 FIRST FLOOR PLAN A1.01 SECOND FLOOR PLAN A1.02 THIRD FLOOR PLAN A1.03 ROOF PLAN A1.04 ELEVATIONS A2.01 ELEVATIONS A2.02 BUILDING SECTIONS A3.01 BUILDING SECTIONS A3.02 GROUP SECTION/ A3.03 ELEVATION DOOR AND WINDOW A4.01 SCHEDULES FINISH SCHEDULE A4.02 STRUCTURAL FRAMING A4.03 SCHEDUELS WALL SECTION A5.01 WALL SECTION A5.02 WALL SECTION A5.03 WALL SECTION A5.04 DETAILS A6.01 DETAILS A6.02 DETAILS A6.03 STAIR PLAN A7.01 STAIR SECTION A7.02 INTERIOR ELEVATIONS A8.01 (1/$5*(' 3/$1 A9.01 KITCHEN KITCHEN ELEVATIONS A9.01.1 (1/$5*(' 3/$1 A9.02 BATHROOM BATHROOM ELEVATIONS A9.02.1 SLAB PLAN S1.01 FIRST FLOOR FRAMING S1.02

Disciplin order 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

Sheet Name SECOND FLOOR FRAMING ROOF DECK FRAMING UPPER FLOOR FRAMING GROUND FLOOR MECHANICAL SECOND FLOOR MECHANICAL FIRST FLOOR ELECTRICAL SECOND FLOOR ELECTRICAL THIRD FLOOR ELECTRICAL

Sheet Number S1.03 S1.04 S1.05 M1.01

Disciplin order 39 40 41 42

M1.02

E1.1 E1.2

44 45

E1.3

CLIENT'S SIGNATURE & ADDRESS

20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35

960 E 3RD ST LOS ANGELES CA 90013

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' DRAWING TITLE

KEY NOTES AND SYMBOLS DRAWN BY

Author CHECKED BY

Checker SCALE :

36 37 38

DATE :

3/64" = 1'-0" 02/24/14

SHEET NO:

G0.02

4B, Spring 2014, Construction Documents, Key Note and Symbols, G0.02 28

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ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

CONSULTANTS :565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS 3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

)2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

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NORTHEAST VIEW

NORTHWEST VIEW

9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

3D VIEWS/ RENDERINGS *8'=4 (?

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G0.01.1

4B, Spring 2014, Construction Documents, 3D Views/ Renderings, G0.01.1

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ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

)2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

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PARCEL PROFILE REPORT *8'=4 (?

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G0.03

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NAVIGATE LA SITE PLAN

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)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

CONSULTANTS :565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2

TAX ASSESSOR MAP

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)2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

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NAVIGATE LA SITE PLAN/ TAX ASSESSOR MAP

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G0.04

4B, Spring 2014, Construction Documents, Navigate La Site Plan/ Tax Assessor Map, G0.04

CONSTRUCTION SPECIFICATIONS Foundations â&#x20AC;&#x201C; Concrete mix, strength, reinforcing Concrete slabs â&#x20AC;&#x201C; Concrete mix, strength, reinforcement, flatness, finish, expansion/movement joints, allowable cracks Roofing â&#x20AC;&#x201C; Type, weight/thickness/warranty period of roofing; type of underlayment, flashing, and fasteners. Carefully spec details for low-slope roofs, and for complex roofs with hips and valleys, detailing how valleys will be waterproofed. Get detailed material and installation specs for roofing materials such as wood, metal, tile, slate, and composite materials. Windows and doors â&#x20AC;&#x201C; Specify type, model, and energy efficiency. Also provide flashing details around doors and windows to prevent leaks, which are common here. Skylights â&#x20AC;&#x201C; Prone to leaking. Make sure installation follows manufacturers specs. Extra membrane flashing around skylights recommended in freezing climates. Insulation and air sealing â&#x20AC;&#x201C; If you care about energy performance, youâ&#x20AC;&#x2122;ll need to spec this carefully. HVAC systems â&#x20AC;&#x201C; A lot can go wrong here. System can be oversized, undersized, uneven, noisy, leaky (ductwork), and inefficient due to installation errors. See performance specs. Radiant heating â&#x20AC;&#x201C; Needs careful specifications by an experienced designer or installer. Wood flooring â&#x20AC;&#x201C; Moisture content, substrate, fasteners, vapor barriers (over slab), finishes. Follow the recommendations of the National Wood Flooring Association (NWFA). Ceramic tile â&#x20AC;&#x201C; Follow the methods and standards in the TCNA Handbook if you want trouble-free installations. Floor must be stiff enough. Also pay attention to substrates, adhesives, and movement joints. Special construction for wind or seismic loads: This includes wind-resistant roofing, impact-resistant windows, engineered framing fasteners, and shear wall requirements. Metal components in coastal areas: Make sure that any exposed metal flashing, fasteners, or hardware is stainless steel, copper, brass, lead, or double hot-dipped galvanized. Other metals and finishes will not last long due to the corrosive power of salt spray.

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A3.02

WALL TYPES

VERICAL SECTION

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WEATHER-RESISTIVE BARRIER

2X4 WOOD STUD

4+= +>:+8/58 ='22 ^ 9:;*9 -?6 (*

STUCCO OVER METAL LATH W12 X 26 PLYWOOD PER STRUCTURAL

R-13 5/8" GYP. BD.

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/4-

B C

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

5/8" GYP. BD.

PLASTER

BATH 1 103 40 SF

REF.

/4:+8/58 ='22 > 9:;*9 .5;8 ,/8+ 8':+ -?6 (*

2X4 WOOD STUD

PLASTER

KITCHEN 102 120 SF

5/8" GYP. BD.

ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

Kitchen tiles 1

5/8" GYP. BD.

A3.01

2X4 WOOD STUD

5/8" GYP. BD.

CONSULTANTS :565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2

ALUMINIUM GLASS MULLION

LUNDRY 104 41 SF

PLASTER

4x4 CERAMICTILE

LIVING ROOM 101 484 SF

/4:+8/58 ='22 > 9:;*9 .5;8 ,/8+ 8':+ -?6 (* 54+ 9/*+* )+8'3/)

GARAGE 105 224 SF

A3.01

+>:+8/58 -2'99 );8:'/4 ='22 '2;3/4;3 ,8'3+ -2'99 .8 ,/8+ 8':+*

BEAR GLASS INC GLASS BEAR GLASS INC GLASS ALUMINIUM GLASS MULLION

)2/+4: 9 9/-4':;8+ '**8+99

GARAGE 105 224 SF

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

*8'=/4- :/:2+

WALL TYPES *8'=4 (?

Author ).+)1+* (?

Checker

: 4

FIRST FLOOR/WALL TYPE 3/8" = 1'-0"

9)'2+ *':+

As indicated 03/30/14

9.++: 45

A0.1

4B, Spring 2014, Construction Documents, Wall Types, A0.1

A3.02

1 2' - 2 5/8"

3' - 8 3/16"

B C

8' - 6 27/32"

5 6' - 11 9/32"

6 6' - 0 15/32"

3' - 2 5/32" 1' - 3 3/8"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

N 44' - 1 7/16" E -37' - 1 5/16"

ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

3' - 7 27/32"

7' - 8 13/16"

2' - 7 15/16"

A3.01

A3.02

2' - 7 29/32"

.KSORG 8 'XOG 'XINOZKIZ

CONSULTANTS :565-8'6./)'2 9;8<+?

6' - 1 3/4"

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

2' - 8 1/8"

9:8;):;8'2

6' - 7 9/16"

3+).'4/)'2 :/:2+

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

2 A3.01

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

7' - 0 1/4"

)2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

J N 7' - 1 21/32" E -8' - 4 29/32"

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

*8'=/4- :/:2+

CONTROL PLAN *8'=4 (?

Author

T.N

).+)1+* (?

CONTROL PLAN 3/8" = 1'-0"

Checker 9)'2+ *':+

3/8" = 1'-0" 03/30/14

9.++: 45

A0.9

4B, Spring 2014, Construction Documents, Control Plan, A0.9

.KSORG 8 'XOG 'XINOZKIZ 1

A3.02

3" LW Concrete on 2" Metal Deck

18' - 11 11/32"

12' - 7 23/32"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

119' - 8 5/16"

)56?8/-.: *8'=/4-

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT

" 1 3/32

10' -

BATH 1 103 40 SF

REF.

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

KITCHEN 102 120 SF 03 W3 1 A3.01

CONSULTANTS

:565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

33' - 1 5/32"

5' - 4 7/8"

LIVING ROOM 101 484 SF

A8.01 2 01

W2 02

6' - 0 31/32"

1 4

95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

9:8;):;8'2

LUNDRY 104 41 SF

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

15' - 3 1/16"

A3.01

GARAGE 105 224 SF

)2/+4: 9 9/-4':;8+ '**8+99

DN W1

3' - 10 25/32"

- 10 15'

" 1/4

+ 8* 9: 259 '4-+2+9 )'

14' - 6 15/16"

6850+): :/:2+

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

Area Schedule (Gross LEVE 1) Area Type Gross Building Area

T.N 1

FIRST FLOOR 3/8" = 1'-0"

Level Level 1

Name Area

Perimeter 150' - 0 1/32"

Number 2

*8'=/4- :/:2+

FIRST FLOOR PLAN *8'=4 (?

Author ).+)1+* (?

Checker 9)'2+ *':+

3/8" = 1'-0" 02/23/14

9.++: 45

A1.01

4B, Spring 2014, Construction Documents, First Floor Plan, A1.01

A3.02

Hemila R-Aria Architect 7

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

B C 7' - 6 11/16"

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

05 12 00

11' - 11"

BALCONY 204 230 SF

1 A3.01

5' - 0 17/32"

D DN

ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

05 12 00

CONSULTANTS

TOPOGRAPHICAL SURVEY :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

4' - 11 3/16"

5' - 5 1/2"

SOIL 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

3' - 1 1/32" 04 UP

LIVING ROOM 200 425 SF

8' - 7 3/32"

STRUCTURAL

3' - 0"

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

H 2 A3.01 W2

BEDROOM 201 151 SF

MECHANICAL & TITLE 24 +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

12' - 4 5/16"

0' -

" 11

CLIENT'S SIGNATURE & ADDRESS

CLOSET 202 38 SF

BATH2 203 FD 61 SF + 8* 9: 259 '4-+2+9 )'

PROJECT TITLE

W12X26

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

Area Schedule (Gross LEVE 2)

Area Type Gross Building Area

Level Level 2

Name Area

Perimeter 151' - 9 25/32"

Number 3

DRAWING TITLE

SECOND FLOOR PLAN DRAWN BY

Author CHECKED BY

T.N 1

Checker

SECOND FLOOR 3/8" = 1'-0"

SCALE :

DATE :

3/8" = 1'-0" 02/23/14

SHEET NO:

A1.02

4B, Spring 2014, Construction Documents, Second Floor Plan, A1.02

A3.02

.KSORG 8 'XOG 'XINOZKIZ

12' - 7"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

B C

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

3' - 2"

W1 1 A3.01

OFFICE 305 124 SF

CONSULTANTS :565-8'6./)'2 9;8<+?

3' - 2 17/32

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

95/2

9:8;):;8'2

LIVING ROOM 304 313 SF

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

3" LW Concrete on 2" Metal Deck

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

W1 W4

BEDROOM 301 151 SF

2 A3.01

3" LW Concrete on 2" Metal Deck

3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

12' - 4 1/2"

4' - 0"

Bathroom tiles 25

1 3' -

)2/+4: 9 9/-4':;8+ '**8+99

6' - 3"

2" 1/3

CLOSET 303 41 SF

BATHROOM 302 64 SF + 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54

Area Schedule (Gross LEVE 3) Area Type

Gross Building Area

Level Level 3

Name Area

Perimeter 158' - 4 15/32"

Number

9 .52: '<+ 259 '4-+2+9 )'

4 *8'=/4- :/:2+

THIRD FLOOR PLAN *8'=4 (?

Author ).+)1+* (?

T.N 1

THIRD FLOOR 3/8" = 1'-0"

Checker 9)'2+ *':+

3/8" = 1'-0" 02/23/14

9.++: 45

A1.03

4B, Spring 2014, Construction Documents, Third Floor Plan, A1.03

1 A3.02

.KSORG 8 'XOG 'XINOZKIZ

2 A3.02

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

B C

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

157' - 8 5/16"

ARCHITECT

158' - 8 5/16"

155' - 6 5/16" 1 A3.01

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

CONSULTANTS

:565-8'6./)'2 9;8<+?

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

150' - 2 5/16"

95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

156' - 6 5/16"

H 2

158' - 8 9/32"

A3.01

3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

I )2/+4: 9 9/-4':;8+ '**8+99

157' - 8 9/32" 149' - 2 5/16" + 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

*8'=/4- :/:2+

ROOF PLAN *8'=4 (?

Author

: 4

).+)1+* (?

ROOF PLAN 3/8" = 1'-0"

Checker 9)'2+ *':+

3/8" = 1'-0" 03/24/14

9.++: 45

A1.04

4B, Spring 2014, Construction Documents, Roof Plan, A1.04

.KSORG 8 'XOG 'XINOZKIZ

2 1

A3.01

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

A3.01

)56?8/-.: *8'=/4-

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ROOF 158' - 8 5/16"

ARCHITECT

Roof 2 156' - 6 1/32"

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

Roof1 150' - 2 5/16"

Level 4 146' - 8 5/16"

level 3 part 2 142' - 2 5/16"

Level 3.5 140' - 4 5/16"

Level 3 137' - 8 5/16"

Level 2.5 131' - 3 21/32"

CONSULTANTS :565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2

Level 2 128' - 8 5/16"

)2/+4: 9 9/-4':;8+ '**8+99

1 A4.01

2 A4.01

Level 1 119' - 8 5/16"

Level 1 119' - 8 5/16" + 8* 9: 259 '4-+2+9 )'

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54

EAST ELEVATION 1/4" = 1'-0"

WEST ELEVATION 1/4" = 1'-0"

9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

ELEVATIONS *8'=4 (?

Author ).+)1+* (?

Checker 9)'2+ *':+

1/4" = 1'-0" 02/23/14

9.++: 45

A2.01

4B, Spring 2014, Construction Documents, Elevations, A2.01

.KSORG 8 'XOG 'XINOZKIZ

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

A3.02

)56?8/-.: *8'=/4-

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ROOF 158' - 8 5/16"

Roof 2 156' - 6 1/32"

Roof1 150' - 2 5/16"

Level 4 146' - 8 5/16"

level 3 part 2 142' - 2 5/16"

ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

CONSULTANTS :565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2

Level 3.5 140' - 4 5/16" Level 3 137' - 8 5/16"

Level 3.5 140' - 4 5/16" 3 A4.01

Level 3 137' - 8 5/16"

Level 2.5 131' - 3 21/32"

Level 2 128' - 8 5/16"

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

)2/+4: 9 9/-4':;8+ '**8+99

Level 1 119' - 8 5/16"

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

NORTH ELEVATION 1/4" = 1'-0"

SOUTH ELEVATION 1/4" = 1'-0"

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

ELEVATIONS *8'=4 (?

Author ).+)1+* (?

Checker 9)'2+ *':+

1/4" = 1'-0" 02/23/14

9.++: 45

A2.02

4B, Spring 2014, Construction Documents, Elevations, A2.02 40

.KSORG 8 'XOG 'XINOZKIZ

A3.02

8 .KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

ROOF 158' - 8 5/16"

Roof 2 156' - 6 1/32"

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

3 A5.02

2 A5.01

ARCHITECT

Roof1 150' - 2 5/16"

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

Roof1 150' - 2 5/16"

Level 4 146' - 8 5/16"

OFFICE 305 124 SF

)56?8/-.: *8'=/4-

Roof 2 156' - 6 1/32"

4 A0.1

LIVING ROOM 304 313 SF

Level 4 146' - 8 5/16"

3 A0.1

level 3 part 2 142' - 2 5/16" Level 3.5 140' - 4 5/16"

CONSULTANTS :565-8'6./)'2 9;8<+?

BEDROOM 301 151 SF

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

level 3 part 2 142' - 2 5/16" Level 3.5 140' - 4 5/16"

95/2

Level 3 137' - 8 5/16"

LIVING ROOM 200 425 SF

Level 3 137' - 8 5/16"

BALCONY 204 230 SF

1 A5.02

Level 2.5 131' - 3 21/32"

1 A5.01

LIVING ROOM 200 425 SF

BEDROOM 201 151 SF

Level 2 128' - 8 5/16"

2 A0.1

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2

Level 2.5 131' - 3 21/32"

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

Level 2 128' - 8 5/16"

3+).'4/)'2 :/:2+

KITCHEN 102 120 SF

LIVING ROOM 101 484 SF

4 A5.01

Level 1 119' - 8 5/16"

3 A5.01

BASEMENT B100 678 SF

HVAC B101 84 SF

2 A5.02

GARAGE 105 224 SF

Level 1 119' - 8 5/16"

4 A5.02

BASEMENT B100 678 SF

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

)2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

Basement 107' - 8 5/16"

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

BUILDING SECTIONS *8'=4 (?

Section 1 1/4" = 1'-0"

Section 2 1/4" = 1'-0"

Author ).+)1+* (?

Checker 9)'2+ *':+

1/4" = 1'-0" 03/30/14

9.++: 45

A3.01

4B, Spring 2014, Construction Documents, Building Sections, A3.01

.KSORG 8 'XOG 'XINOZKIZ 1

A3.01

A .KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

OFFICE 305 124 SF

1 A5.03

LIVING ROOM 304 313 SF

ROOF 158' - 8 5/16"

Roof 2 156' - 6 1/32"

Roof1 150' - 2 5/16"

Level 4 146' - 8 5/16"

CLOSET 303 41 SF

Level 3 137' - 8 5/16"

BATH 1 103 40 SF

CLOSET 202 38 SF

BEDROOM 201 151 SF

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2

3 A5.03

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

Level 2 128' - 8 5/16"

GARAGE 105 224 SF

LUNDRY 104 41 SF

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

95/2

Level 2.5 131' - 3 21/32"

1 A5.04

LIVING ROOM 101 484 SF

2 A5.04

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

4 A5.04

Level 2.5 131' - 3 21/32"

ARCHITECT

CONSULTANTS

level 3 part 2 142' - 2 5/16" Level 3.5 140' - 4 5/16"

2 A5.03

3 A5.04

:565-8'6./)'2 9;8<+?

BEDROOM 301 151 SF

Level 3.5 140' - 4 5/16"

Level 2 128' - 8 5/16"

5 A0.1

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

Level 4 146' - 8 5/16"

level 3 part 2 142' - 2 5/16"

LIVING ROOM 200 425 SF

)56?8/-.: *8'=/4-

LIVING ROOM 101 484 SF

Level 1 119' - 8 5/16"

3+).'4/)'2 :/:2+

KITCHEN 102 120 SF

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

Level 1 119' - 8 5/16"

)2/+4: 9 9/-4':;8+ '**8+99

5 A5.04

BASEMENT B100 678 SF BASEMENT B100 678 SF

4 A4.01

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

Basement 107' - 8 5/16"

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

BUILDING SECTIONS Section 3 1 1/4" = 1'-0"

Section 4 1/4" = 1'-0"

*8'=4 (?

Author ).+)1+* (?

Checker 9)'2+ *':+

1/4" = 1'-0" 03/30/14

9.++: 45

A3.02

4B, Spring 2014, Construction Documents, Building Sections, A3.02 42

.KSORG 8 'XOG 'XINOZKIZ

Door Schedule

Assembly Code

SINGLE-FLUSH DOOR 3/4" = 1'-0"

Count

Family and Type

Function

Overhead-S Exterior ectional: 8' x 6'-6" Curtain Exterior Wall-Store Front-Dbl: Store Front Double Door

Head Height

B2030410

Overhead Doors

B2030110

Exterior Glazed Doors Aluminum

C1020

Interior Doors

Single-Flus Interior h: 30" x 80"

6' - 8"

C1020

Interior Doors

Single-Flus Interior h: 36" x 80"

6' - 8"

Overhead-S Exterior ectional: 8' x 6'-6" Single-Flus Interior h: 36" x 80"

6' - 6"

B2030110

Assembly Description

6' - 6"

Curtain Exterior Wall-Store Front-Dbl: Store Front Double Door

B2030410

Overhead Doors

C1020

Interior Doors

C1020

Interior Doors

Single-Flus Interior h: 36" x 80"

6' - 8"

C1020

Interior Doors

Single-Flus Interior h: 36" x 80"

6' - 8"

C1020

Interior Doors

Single-Flus Interior h: 36" x 80"

6' - 8"

C1020

Interior Doors

Sliding-Clos Interior et: 48" x 80"

6' - 8"

C1020

Interior Doors

Sliding-Clos Interior et: 48" x 80"

6' - 8"

C1020

Interior Doors

Single-Flus Interior h: 36" x 84"

7' - 0"

Heat Transfer Coefficient (U)

Height

0.6520 6' - 6" BTU/(hÂ·ftÂ²Â·Â° F) 0.6520 7' - 11 7/8" BTU/(hÂ·ftÂ²Â·Â° F)

Level Level 1

Thickness 0' - 1 1/2"

Level 2

Type 8' x 6'-6"

Type Mark 22

Store Front 28 Double Door

0.6520 7' - 9 1/2" BTU/(hÂ·ftÂ²Â·Â° F)

Level 1

0.6520 BTU/(hÂ·ftÂ²Â·Â° F) 0.6520 BTU/(hÂ·ftÂ²Â·Â° F) 0.6520 BTU/(hÂ·ftÂ²Â·Â° F) 0.6520 BTU/(hÂ·ftÂ²Â·Â° F) 0.6520 BTU/(hÂ·ftÂ²Â·Â° F) 0.6520 BTU/(hÂ·ftÂ²Â·Â° F) 0.6520 BTU/(hÂ·ftÂ²Â·Â° F) 0.6520 BTU/(hÂ·ftÂ²Â·Â° F) 0.6520 BTU/(hÂ·ftÂ²Â·Â° F) 0.6520 BTU/(hÂ·ftÂ²Â·Â° F)

6' - 8"

Level 3

0' - 2"

30" x 80"

6' - 8"

Basement

0' - 2"

36" x 80"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/4-

Store Front 28 Double Door

6' - 6"

Level 1

0' - 1 1/2"

8' x 6'-6"

6' - 8"

Level 1

0' - 2"

36" x 80"

6' - 8"

Level 1

0' - 2"

36" x 80"

6' - 8"

Level 2

0' - 2"

36" x 80"

6' - 8"

Level 3

0' - 2"

36" x 80"

6' - 8"

Level 2

0' - 2"

48" x 80"

6' - 8"

Level 3

0' - 2"

48" x 80"

7' - 0"

Level 2

0' - 2"

36" x 84"

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

)2/+4: 9 9/-4':;8+ '**8+99

Callout of SOUTH ELEVATION 3/4" = 1'-0"

DOUBLE GLASS DOOR 3/4" = 1'-0" + 8* 9: 259 '4-+2+9 )'

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

*8'=4 (?

DOOR AND WINDOW SCHEDULES Author

).+)1+* (?

Checker 9)'2+

GARAFE DOOR/EAST ELEVATION 3/4" = 1'-0"

*':+

3/4" = 1'-0" 03/30/14

9.++: 45

A4.01

4B, Spring 2014, Construction Documents, Door and Window schedules, A4.01

Wall Schedule Area

Cou Family and Functio nt Type n

422 SF 1

343 SF 1

223 SF 1

155 SF 1

32 SF

446 SF 1

144 SF 1

157 SF 1

161 SF 1

19 SF

10 SF

309 SF 1

256 SF 1

137 SF 1

83 SF

567 SF 1

121 SF 1

236 SF 1

Basic Wall: STEEL WALL - 12" 00 Basic Wall: STEEL WALL - 12" 00 Basic Wall: STEEL WALL - 12" 00 Basic Wall: STEEL WALL - 12" 1 Basic Wall: STEEL WALL - 12" 00 Basic Wall: STEEL WALL - 12" 00 Basic Wall: STEEL WALL - 12" 00 Basic Wall: STEEL WALL - 12" 00 Curtain Wall: Exterior Glazing Basic Wall: STEEL WALL - 12" Basic Wall: STEEL WALL - 12" 1 Curtain Wall: Exterior Glazing Basic Wall: STEEL WALL - 12" 00 Basic Wall: STEEL WALL - 12" 00 Curtain Wall: Exterior Glazing Basic Wall: STEEL WALL - 12" 00 Curtain Wall: Curtain Wall 1 Curtain Wall: Exterior Glazing

Wall Schedule Length

Structural Material

Area

Cou Family and Functio nt Type n

Exterior 16' - 1"

Metal Stud Layer

99 SF

Exterior 18' - 2 19/32"

Metal Stud Layer

10 SF

Exterior 18' - 5 25/32"

Metal Stud Layer

34 SF

39 SF

Exterior 8' - 7 3/32"

Plywood, Sheathing

Exterior 3' - 8 1/8"

Metal Stud Layer

22 SF

29 SF

11 SF

Exterior 16' - 5 1/16" Metal Stud Layer

Exterior 14' - 5 7/16" Metal Stud Layer

Exterior 16' - 5 1/2"

Metal Stud Layer

16 SF

257 SF 1

Exterior 8' - 7 11/32" 189 SF 1 Exterior 2' - 4"

Plywood, Sheathing

Exterior 0' - 9 1/2"

Plywood, Sheathing

2 SF

164 SF 1 Exterior 9' - 0 29/32" 113 SF 1 Exterior 13' - 6 13/16"

Metal Stud Layer

Exterior 13' - 8 31/32"

Metal Stud Layer

49 SF

85 SF

Exterior 8' - 7 17/32" 104 SF 1 Exterior 18' - 1 1/16" Metal Stud Layer 179 SF 1 Exterior 4' - 1"

Exterior 13' - 2 13/16"

Wall Schedule Length

Structural Material

Area

Cou Family and Functio nt Type n

Basic Wall: Interior - 5" Partition (2-hr) Basic Wall: STEEL WALL - 12" 1 Basic Wall: STEEL WALL - 12" Basic Wall: Interior - 4 7/8" Partition (1-hr)

Interior 9' - 2 23/32" Metal Stud Layer

225 SF 1

Exterior 7' - 2 19/32" Plywood, Sheathing

81 SF

Exterior 18' - 3 5/8"

Plywood, Sheathing

191 SF 1

Interior 6' - 8 5/8"

Metal Stud Layer

Basic Wall: STEEL WALL - 12" Basic Wall: STEEL WALL - 12" Basic Wall: STEEL WALL - 12" Basic Wall: STEEL WALL - 12" 1 Basic Wall: Interior - 5" Partition (2-hr) Basic Wall: Interior - 5" Partition (2-hr) Basic Wall: STEEL WALL - 12" 1 Basic Wall: Foundation - 12" Concrete Basic Wall: Foundation - 12" Concrete Basic Wall: Foundation - 12" Concrete Basic Wall: Foundation - 12" Concrete Basic Wall: Foundation - 12" Concrete Basic Wall: Foundation - 12" Concrete

Exterior 10' - 10 9/16"

Plywood, Sheathing

Exterior 16' - 0 27/32"

Plywood, Sheathing

Exterior 4' - 9 9/16"

Plywood, Sheathing

Exterior 7' - 5 5/8"

Interior 8' - 11"

378 SF 1

221 SF 1

84 SF

69 SF

49 SF

Plywood, Sheathing

Metal Stud Layer 157 SF 1

Interior 8' - 5 3/4"

Metal Stud Layer 31 SF

24 SF

16 SF

86 SF

Exterior 1' - 3 19/32" Plywood, Sheathing

Founda 13' - 1 3/8" tion

Concrete, Cast-in-Pla ce gray

Founda 9' - 3 31/32" Concrete, tion Cast-in-Pla ce gray Founda 4' - 2 15/32" Concrete, tion Cast-in-Pla ce gray 125 SF 1 Founda 6' - 11 1/2" tion

Concrete, Cast-in-Pla ce gray 215 SF 1

Founda 8' - 7 13/16" Concrete, tion Cast-in-Pla ce gray 21 SF Founda 15' - 11 tion 5/32"

Concrete, Cast-in-Pla ce gray

Basic Wall: Foundation - 12" Concrete Basic Wall: Foundation - 12" Concrete Basic Wall: Foundation - 12" Concrete Basic Wall: Foundation - 12" Concrete Basic Wall: Foundation - 12" Concrete Basic Wall: Foundation - 12" Concrete Basic Wall: Interior - 5" Partition (2-hr) 2 Basic Wall: Interior - 5" Partition (2-hr) 2 Curtain Wall: Curtain Wall 1 Basic Wall: Foundation - 12" Concrete Basic Wall: Interior - 5" Partition (2-hr) 2 Basic Wall: STEEL WALL - 12" 00 Basic Wall: Interior - 5" Partition (2-hr) Basic Wall: Interior - 5" Partition (2-hr) 2 Basic Wall: Interior - 5" Partition (2-hr) 2 Basic Wall: Interior - 5" Partition (2-hr) 2

Wall Schedule Length

Structural Material

Area

Cou Family and Functio nt Type n

Founda 17' - 8 tion 25/32"

Concrete, Cast-in-Pla ce gray

157 SF 1

Founda 4' - 10 tion 23/32"

Concrete, Cast-in-Pla ce gray

132 SF 1

Founda 15' - 9 tion 19/32"

Concrete, Cast-in-Pla ce gray

191 SF 1

Founda 32' - 5 5/8" tion

Concrete, Cast-in-Pla ce gray

73 SF

Founda 18' - 5 5/32" Concrete, tion Cast-in-Pla ce gray

701 SF 1

Founda 7' - 2 3/4" tion

32 SF

Concrete, Cast-in-Pla ce gray

Interior 8' - 4 15/16" Metal Stud Layer

189 SF 1

Interior 5' - 4 3/16"

126 SF 1

Metal Stud Layer

179 SF 1

Exterior 4' - 10 13/16"

Founda 3' - 8 7/16" tion

Concrete, Cast-in-Pla ce gray

242 SF 1

Interior 2' - 5 1/4"

Metal Stud Layer

12 SF

Exterior 6' - 2 5/8"

Metal Stud Layer

15 SF

Interior 7' - 0"

Metal Stud Layer

12 SF

Interior 6' - 10 11/32"

Metal Stud Layer

8 SF

Interior 11' - 3 11/32"

Metal Stud Layer

2 SF

Interior 1' - 11 23/32"

Metal Stud Layer

105 SF 1

Curtain Wall: Exterior Glazing Curtain Wall: Exterior Glazing Curtain Wall: Exterior Glazing Basic Wall: STEEL WALL - 12" 1 Curtain Wall: Exterior Glazing Curtain Wall: Exterior Glazing Basic Wall: Interior - 5" Partition (2-hr) 2 Basic Wall: Interior - 5" Partition (2-hr) 2 Curtain Wall: Curtain Wall 1 Curtain Wall: Curtain Wall 1 Basic Wall: STEEL WALL - 12" 1 Basic Wall: STEEL WALL - 12" 1 Basic Wall: STEEL WALL - 12" 1 Basic Wall: STEEL WALL - 12" 1 Basic Wall: STEEL WALL - 12" 1 Basic Wall: Interior - 5" Partition (2-hr)

Ceiling Schedule Length

Structural Material

Area

Assembly Code

151 SF 703 SF

C3030210

Exterior 11' - 1 17/32"

223 SF

C3030210

151 SF

C3030210

Exterior 6' - 5 13/16"

64 SF

C3030210

41 SF

C3030210

Exterior 17' - 11 9/32"

Plywood, Sheathing

Exterior 31' - 10 21/32"

Exterior 7' - 3 1/16"

Interior 10' - 11 9/32"

Metal Stud Layer

Interior 6' - 10 1/4"

Metal Stud Layer

C3030210

Count

Exterior 18' - 10 1/2"

138 SF

C3030210

607 SF

C3030210

278 SF

C3030210

109 SF

C3030210

88 SF

C3030210

88 SF

C3030210

104 SF

C3030210

Family Compound Ceiling Compound Ceiling Compound Ceiling Compound Ceiling Compound Ceiling Compound Ceiling Compound Ceiling Compound Ceiling Compound Ceiling Compound Ceiling Compound Ceiling Compound Ceiling Compound Ceiling

Level Level 4 Level 1 Level 1 Level 2 Level 2 Level 2 Level 2.5 Level 2 Level 4 Level 4 Level 3 Roof1 Level 3.5

Perimeter

Type

51' - 7 27/32" 145' - 10 19/32" 62' - 9 11/32" 51' - 7 27/32" 33' - 0 5/8"

2' x 4' ACT System 2' x 4' ACT System 2' x 4' ACT System 2' x 4' ACT System 2' x 4' ACT System 25' - 6" 2' x 4' ACT System 51' - 0" 2' x 4' ACT System 120' - 10 2' x 4' ACT 3/32" System 67' - 1 3/32" 2' x 4' ACT System 50' - 1 5/8" 2' x 4' ACT System 43' - 5 2' x 4' ACT 21/32" System 39' - 5 2' x 4' ACT 11/32" System 58' - 5 1/16" 2' x 4' ACT System

Area Type

Count

Level

Name

Number

Perimeter

Exterior 6' - 3 13/32" 1011 SF Exterior 8' - 8 1/4"

1007 SF

Exterior 6' - 10 3/16" Plywood, Sheathing

1067 SF

917 SF Exterior 8' - 3 1/16"

Plywood, Sheathing

Exterior 6' - 4"

Plywood, Sheathing

Exterior 4' - 3 5/16"

Plywood, Sheathing

Gross Building Area Gross Building Area Gross Building Area Gross Building Area

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

CONSULTANTS :565-8'6./)'2 9;8<+?

Area Schedule (Gross Building) Area

.KSORG 8 'XOG 'XINOZKIZ

Level 1

Area

150' - 0 1/32"

Level 2

Area

151' - 9 25/32"

Basement

Area

154' - 0 5/16"

Level 3

Area

158' - 4 15/32"

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS 3+).'4/)'2 :/:2+

Exterior 2' - 1 11/16" Plywood, Sheathing

Interior 11' - 0 9/32" Metal Stud Layer

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

)2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

FINISH SCHEDULE *8'=4 (?

Author ).+)1+* (?

Checker 9)'2+ *':+

03/30/14

9.++: 45

A4.02

4B, Spring 2014, Construction Documents, Finish Schedules, A4.02 44

.KSORG 8 'XOG 'XINOZKIZ 1

6 .KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

Level 2.5 131' - 3 21/32"

Roof1 150' - 2 5/16"

7 A6.01

5 A6.01

ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

Level 2 128' - 8 5/16" Level 4 146' - 8 5/16"

CONSULTANTS

ROOF 158' - 8 5/16"

:565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

Roof 2 156' - 6 1/32"

8 A6.01

level 3 part 2 142' - 2 5/16"

95/2

Level 3.5 140' - 4 5/16"

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

Level 1 119' - 8 5/16" Level 3 137' - 8 5/16"

9:8;):;8'2

3 A6.01

Roof1 150' - 2 5/16"

Level 1 119' - 8 5/16"

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS 3+).'4/)'2 :/:2+

6 A6.01

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

Level 4 146' - 8 5/16"

)2/+4: 9 9/-4':;8+ '**8+99

Level 2.5 131' - 3 21/32"

level 3 part 2 142' - 2 5/16"

+ 8* 9: 259 '4-+2+9 )'

Level 2 128' - 8 5/16"

6850+): :/:2+

1 A6.01

Level 3.5 140' - 4 5/16"

Basement 107' - 8 5/16" 4 A6.01

Basement 107' - 8 5/16"

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

2 A6.01

WALL SECTION *8'=4 (?

Author ).+)1+* (?

Checker

Callout of Section 1 1/2" = 1'-0"

Callout (2) of Section 1 1/2" = 1'-0"

Callout (3) of Section 1 1/2" = 1'-0"

Callout (4) of Section 1 1/2" = 1'-0"

9)'2+ *':+

1/2" = 1'-0" 03/30/14

9.++: 45

A5.01

4B, Spring 2014, Construction Documents, Wall Section, A5.01

.KSORG 8 'XOG 'XINOZKIZ

1 8 ROOF 158' - 8 5/16"

Roof1 150' - 2 5/16" 6 A6.02

Roof 2 156' - 6 1/32" Level 4 146' - 8 5/16"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

3 A6.02

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT

level 3 part 2 142' - 2 5/16"

Roof1 150' - 2 5/16"

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

Level 3.5 140' - 4 5/16"

CONSULTANTS

Level 4 146' - 8 5/16"

Level 3 137' - 8 5/16"

:565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

7 A6.02

95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

level 3 part 2 142' - 2 5/16"

Level 1 119' - 8 5/16"

Level 3.5 140' - 4 5/16"

Level 2.5 131' - 3 21/32"

5 A6.02

Level 3 137' - 8 5/16"

Level 2 128' - 8 5/16"

9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS 3+).'4/)'2 :/:2+

ROOF 158' - 8 5/16"

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

4 A6.02

Roof 2 156' - 6 1/32"

)2/+4: 9 9/-4':;8+ '**8+99

Level 2.5 131' - 3 21/32"

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

Level 2 128' - 8 5/16"

Level 1 119' - 8 5/16"

Roof1 150' - 2 5/16"

Basement 107' - 8 5/16"

1 A6.02

2 A6.02

8 A6.02

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

WALL SECTION *8'=4 (?

Author ).+)1+* (?

Checker 9)'2+

Callout of Section 2 1/2" = 1'-0"

Callout (2) of Section 2 1/2" = 1'-0"

Callout (3) of Section 2 1/2" = 1'-0"

Callout (4) of Section 2 1/2" = 1'-0"

*':+

1/2" = 1'-0" 03/30/14

9.++: 45

A5.02

4B, Spring 2014, Construction Documents, Wall Section, A5.02 46

.KSORG 8 'XOG 'XINOZKIZ

9 A6.03

ROOF 158' - 8 5/16"

Roof 2 156' - 6 1/32"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

Level 2.5 131' - 3 21/32" 1 A6.03

Roof1 150' - 2 5/16"

ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

Level 2 128' - 8 5/16"

CONSULTANTS :565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

ROOF 158' - 8 5/16"

Level 4 146' - 8 5/16"

95/2

Roof 2 156' - 6 1/32"

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

2 A6.03

level 3 part 2 142' - 2 5/16"

Level 1 119' - 8 5/16"

9:8;):;8'2

3 A6.03

Level 3.5 140' - 4 5/16"

3+).'4/)'2 :/:2+

Roof1 150' - 2 5/16"

Level 3 137' - 8 5/16"

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

11 A6.03

)2/+4: 9 9/-4':;8+ '**8+99

Level 4 146' - 8 5/16"

+ 8* 9: 259 '4-+2+9 )'

Level 2.5 131' - 3 21/32"

6850+): :/:2+

level 3 part 2 142' - 2 5/16" Level 2 128' - 8 5/16"

Basement 107' - 8 5/16"

14 A6.03

10 A6.03

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

Level 3.5 140' - 4 5/16"

*8'=/4- :/:2+

WALL SECTION *8'=4 (?

Author ).+)1+* (?

Checker 9)'2+

Callout of Section 3 1/2" = 1'-0"

Callout (2) of Section 3 1/2" = 1'-0"

4B, Spring 2014, Construction Documents, Wall Section, A5.03

Callout (3) of Section 3 1/2" = 1'-0"

*':+

1/2" = 1'-0" 03/30/14

9.++: 45

A5.03

.KSORG 8 'XOG 'XINOZKIZ

6 1 6

Level 2 128' - 8 5/16" Level 2.5 131' - 3 21/32"

Roof1 150' - 2 5/16"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT

Callout (2) of Callout (2) of Section 1 1" = 1'-0"

Callout of Callout (2) of Section 1 1" = 1'-0"

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

Callout of Callout (4) of Section 1 1" = 1'-0"

CONSULTANTS

:565-8'6./)'2 9;8<+?

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2

Basement 107' - 8 5/16"

Level 1 119' - 8 5/16" Roof 2 156' - 6 1/32"

Callout (2) of Callout (3) of Section 1 1" = 1'-0"

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

Callout of Callout (3) of Section 1 1" = 1'-0"

)2/+4: 9 9/-4':;8+ '**8+99

Basement 107' - 8 5/16" Level 1 119' - 8 5/16"

Callout (5) of Section 1 1" = 1'-0"

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

DETAILS *8'=4 (?

Author ).+)1+* (?

Checker

Callout (2) of Callout (4) of Section 1 1" = 1'-0"

Callout (3) of Callout (4) of Section 1 1" = 1'-0"

9)'2+

1" = 1'-0"

*':+

03/30/14

9.++: 45

A6.01

4B, Spring 2014, Construction Documents, Details, A6.01 48

.KSORG 8 'XOG 'XINOZKIZ

8 4

Roof 2 156' - 6 1/32"

Level 3 137' - 8 5/16"

ROOF 158' - 8 5/16"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

Roof 2 156' - 6 1/32"

ARCHITECT 3

Callout of Callout (2) of Section 2 1" = 1'-0"

Callout of Callout (3) of Section 2 1" = 1'-0"

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

Callout (6) of Section 2 1" = 1'-0"

CONSULTANTS :565-8'6./)'2 9;8<+?

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

Roof1 150' - 2 5/16"

95/2

Level 1 119' - 8 5/16" Level 1 119' - 8 5/16"

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

Callout (2) of Callout (3) of Section 2 1 1" = 1'-0"

3+).'4/)'2 :/:2+

Callout of Callout (4) of Section 2 1" = 1'-0"

Callout (7) of Section 2 1" = 1'-0"

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

)2/+4: 9 9/-4':;8+ '**8+99

Basement 107' - 8 5/16"

+ 8* 9: 259 '4-+2+9 )'

Roof1 150' - 2 5/16"

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

DETAILS *8'=4 (?

Author ).+)1+* (?

Checker

Callout (2) of Callout (4) of Section 2 2 1" = 1'-0"

Callout (5) of Section 2 6 1" = 1'-0"

9)'2+

1" = 1'-0"

*':+

03/30/14

9.++: 45

A6.02

4B, Spring 2014, Construction Documents, Details, A6.02

Hemila R-Aria Architect

Level 2.5 131' - 3 21/32"

A3.01

level 3 part 2 142' - 2 5/16"

ROOF 158' - 8 5/16"

Callout (2) of Callout (3) of Section 3 1" = 1'-0"

Level 3.5 140' - 4 5/16"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

Callout of Callout (5) of Section 4 1" = 1'-0"

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

Level 2 128' - 8 5/16"

Callout (2) of Callout (2) of Section 4 4 1" = 1'-0"

Roof 2 156' - 6 1/32"

Callout of Callout (3) of Section 4 1" = 1'-0"

ARCHITECT

B Level 3 137' - 8 5/16"

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

Level 3 137' - 8 5/16"

CONSULTANTS TOPOGRAPHICAL SURVEY

Callout of Callout (2) of Section 3 1" = 1'-0"

Level 1 119' - 8 5/16"

Callout (5) of Section 3 1" = 1'-0"

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR SOIL

Callout (2) of Callout (5) of Section 4 1" = 1'-0"

Callout (7) of Section 4 1" = 1'-0"

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

STRUCTURAL

Level 2 128' - 8 5/16"

Level 3 137' - 8 5/16" Level 1 119' - 8 5/16" Level 1 119' - 8 5/16"

Callout of Callout (4) of Section 4 1" = 1'-0"

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS MECHANICAL & TITLE 24 +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

Callout (6) of Section 3 1" = 1'-0"

CLIENT'S SIGNATURE & ADDRESS

13 Callout (3) of Callout (5) of Section 4 6 1" = 1'-0"

Callout of Callout (3) of Section 3 1" = 1'-0"

Callout (8) of Section 4 1" = 1'-0"

+ 8* 9: 259 '4-+2+9 )'

PROJECT TITLE

Level 3.5 140' - 4 5/16"

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54

ROOF 158' - 8 5/16"

Level 1 119' - 8 5/16"

9 .52: '<+ 259 '4-+2+9 )' DRAWING TITLE

DETAILS DRAWN BY

Author CHECKED BY

Checker

Callout (4) of Section 3 1" = 1'-0"

Callout (2) of Callout (2) of Section 3 1" = 1'-0"

Callout of Callout (2) of Section 4 1" = 1'-0"

Callout (9) of Section 4 1" = 1'-0"

SCALE :

1" = 1'-0"

DATE :

04/05/14

SHEET NO:

A6.03

4B, Spring 2014, Construction Documents, Details, A6.03 50

.KSORG 8 'XOG 'XINOZKIZ 3

A3.02

4 2 A7.02

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/4-

0' - 3 1/32" 3' - 1 1/32"

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

0' - 11"

ARCHITECT

21 R @ 0' - 6 27/32"

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

4' - 7"

7" MAX RISE-11" TREAD GLASS PANEL- BOTTOM FILL

CONSULTANTS

:565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2

2 A3.01

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

16 R @ 0' - 6 29/32"

0' -

9:8;):;8'2

" 11

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

3+).'4/)'2 :/:2+

I 1 3' -

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

2" 1/3

)2/+4: 9 9/-4':;8+ '**8+99

9' -

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

: 4

STAIR PLAN 3/4" = 1'-0"

*8'=/4- :/:2+

STAIR PLAN *8'=4 (?

Author ).+)1+* (?

Checker 9)'2+ *':+

3/4" = 1'-0" 03/30/14

9.++: 45

4B, Spring 2014, Construction Documents, Stair Plan, A7.01

STAIRS SECTION

A7.01

.KSORG 8 'XOG 'XINOZKIZ

GLASS PANEL-BOTTOM FILL

0' - 2" 2' - 10 31/32"

0' - 6 27/32"

Level 3.5 140' - 4 5/16"

0' - 6 27/32"

2' - 5 13/16"

level 3 part 2 142' - 2 5/16"

Level 3 137' - 8 5/16"

0' - 8 27/32"

0' - 10 1/4"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/4-

2' - 0 17/32" 3

STAIRS DETAIL 3/4" = 1'-0"

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT

9' - 0"

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

CONSULTANTS Level 2.5 131' - 3 21/32"

:565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

Level 2 128' - 8 5/16"

95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2

9' - 0"

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS 3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

Level 1 119' - 8 5/16"

)2/+4: 9 9/-4':;8+ '**8+99

6' - 2 5/16"

3 A7.02

+ 8* 9: 259 '4-+2+9 )'

12' - 0"

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

STAIR SECTION *8'=4 (?

Author

10' - 5 3/4" ).+)1+* (?

Basement 107' - 8 5/16"

Checker 9)'2+

17' - 4 7/32"

*':+

STAIRS SECTION 1/2" = 1'-0"

STAIRS PERSPECTIVE

As indicated 03/30/14

9.++: 45

A7.02

4B, Spring 2014, Construction Documents, Stair Section, A7.02

.KSORG 8 'XOG 'XINOZKIZ

A3.02

S2 4

LIVING ROOM 101 484 SF

Level 1 119' - 8 5/16"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/4-

INTERIOR ELEVATION I 3/8" = 1'-0"

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

A9.01

A3.01

ARCHITECT

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

CONSULTANTS

BATH 1 103 40 SF

:565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

Level 1 119' - 8 5/16"

INTERIOR ELEVATION II 3/8" = 1'-0"

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2

95/2

A3.02

4 S2

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

A3.02

3+).'4/)'2 :/:2+

LIVING ROOM 101 484 SF

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

KITCHEN 102 120 SF

)2/+4: 9 9/-4':;8+ '**8+99

Level 1 119' - 8 5/16"

INTERIOR ELEVATION III 3/8" = 1'-0"

2 A3.01

A3.01

A9.01

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

GARAGE 105 224 SF

LUNDRY 104 41 SF

LIVING ROOM 101 484 SF

*8'=/4- :/:2+

INTERIOR ELEVATIONS *8'=4 (?

Author ).+)1+* (?

Level 1 119' - 8 5/16"

Checker 9)'2+ *':+

3/8" = 1'-0" 03/30/14

9.++: 45

INTERIOR ELEVATION IV 3/8" = 1'-0"

4B, Spring 2014, Construction Documents, Interior Elevation, A8.01

A8.01

Structural Framing Schedule Asse C mbly Assembly ou Code Description nt B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10

Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure Superstruct ure

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

Length

OmniClass Number

17' - 4 3/16" 23.25.30.11 .14.14 16' - 10 1/4" 23.25.30.11 .14.14 15' - 10 3/8" 23.25.30.11 .14.14 16' - 10" 23.25.30.11 .14.14 16' - 7 23.25.30.11 13/32" .14.14 16' - 11 23.25.30.11 17/32" .14.14 17' - 3 1/4" 23.25.30.11 .14.14 17' - 1 23.25.30.11 15/16" .14.14 5' - 7" 23.25.30.11 .14.14 19' - 1 7/32" 23.25.30.11 .14.14 17' - 0" 23.25.30.11 .14.14 17' - 11 23.25.30.11 21/32" .14.14 23.25.30.11 22' - 10 .14.14 17/32" 15' - 8 1/4" 23.25.30.11 .14.14 15' - 7" 23.25.30.11 .14.14 15' - 11 23.25.30.11 9/16" .14.14 31' - 3 5/16" 23.25.30.11 .14.14 14' - 9 9/16" 23.25.30.11 .14.14 10' - 1 3/8" 23.25.30.11 .14.14 12' - 5 1/32" 23.25.30.11 .14.14 1' - 11 3/4" 23.25.30.11 .14.14 15' - 2 1/8" 23.25.30.11 .14.14 10' - 0" 23.25.30.11 .14.14 8' - 5 1/4" 23.25.30.11 .14.14 33' - 9" 23.25.30.11 .14.14 8' - 4 1/4" 23.25.30.11 .14.14 18' - 9 23.25.30.11 11/16" .14.14 5' - 3 1/2" 23.25.30.11 .14.14 17' - 4" 23.25.30.11 .14.14 15' - 6 1/4" 23.25.30.11 .14.14

Structural Framing Schedule OmniCl ass Volum Title e

Asse C mbly Assembly ou Code Description nt

Beams 0.84 CF Beams 0.88 CF Beams 0.80 CF Beams 0.88 CF Beams 0.82 CF Beams 0.85 CF Beams 0.89 CF Beams 0.87 CF Beams 0.28 CF Beams 1.01 CF Beams 0.89 CF Beams 0.94 CF Beams 1.17 CF Beams 0.80 CF Beams 0.80 CF Beams 0.82 CF Beams 1.64 CF Beams 0.73 CF Beams 0.51 CF Beams 0.63 CF Beams 0.10 CF Beams 0.78 CF Beams 0.52 CF Beams 0.33 CF Beams 1.77 CF Beams 0.44 CF Beams 0.99 CF Beams 0.28 CF Beams 0.91 CF Beams 0.81 CF

B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10

Length

11' - 4 15/32" 18' - 4 1/8"

5' - 7 1/8"

17' - 7 1/8"

15' - 9 7/32"

22' - 1 3/32"

14' - 2 7/8"

9' - 7 1/4"

11' - 5 1/2"

6' - 6"

7' - 6 11/32"

1 1

16' - 4 13/16" 17' - 4"

6' - 10 3/8"

4' - 9 1/8"

5' - 11 5/32"

7' - 6 15/32"

18' - 2 1/8"

19' - 6"

5' - 10 31/32" 3' - 11 3/32"

1 1

1' - 10 25/32" 0' - 11 13/16" 8' - 7 1/32"

7' - 7 29/32"

6' - 6 1/4"

16' - 8"

6' - 2 5/8"

18' - 2 1/16"

9' - 3 1/4"

Structural Framing Schedule

OmniClass Number

OmniCl ass Volum Title e

Asse C mbly Assembly ou Code Description nt

23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14 23.25.30.11 .14.14

Beams 0.58 CF Beams 0.91 CF Beams 0.28 CF Beams 0.91 CF Beams 0.81 CF Beams 1.13 CF Beams 0.71 CF Beams 0.49 CF Beams 0.58 CF Beams 0.32 CF Beams 0.05 CF Beams 0.81 CF Beams 0.83 CF Beams 0.31 CF Beams 0.28 CF Beams 0.30 CF Beams 0.40 CF Beams 0.95 CF Beams 1.05 CF Beams 0.31 CF Beams 0.20 CF Beams 0.11 CF Beams 0.08 CF Beams 0.43 CF Beams 0.39 CF Beams 0.33 CF Beams 0.86 CF Beams 0.33 CF Beams 0.99 CF Beams 0.49 CF

B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

Length 6' - 3 5/32"

OmniClass Number

23.25.30.11 .14.14 12' - 5 5/32" 23.25.30.11 .14.14 6' - 11 23.25.30.11 27/32" .14.14 12' - 3 23.25.30.11 31/32" .14.14 7' - 1 1/8" 23.25.30.11 .14.14 6' - 5 3/4" 23.25.30.11 .14.14 10' - 9 23.25.30.11 21/32" .14.14 17' - 9 23.25.30.11 25/32" .14.14 5' - 1 11/16" 23.25.30.11 .14.14 15' - 10 1/8" 23.25.30.11 .14.14 12' - 7 3/16" 23.25.30.11 .14.14 8' - 7 1/2" 23.25.30.11 .14.14 23.25.30.11 15' - 8 .14.14 23/32" 1' - 7 1/16" 23.25.30.11 .14.14 4' - 4 9/32" 23.25.30.11 .14.14 6' - 7 15/16" 23.25.30.11 .14.14 17' - 1 1/4" 23.25.30.11 .14.14 14' - 6 7/16" 23.25.30.11 .14.14 17' - 5 3/16" 23.25.30.11 .14.14 18' - 1 1/32" 23.25.30.11 .14.14 11' - 8" 23.25.30.11 .14.14 8' - 5 3/4" 23.25.30.11 .14.14 11' - 0 23.25.30.11 21/32" .14.14 8' - 9" 23.25.30.11 .14.14 9' - 6 11/32" 23.25.30.11 .14.14 12' - 4" 23.25.30.11 .14.14 8' - 0 1/32" 23.25.30.11 .14.14 6' - 4 1/16" 23.25.30.11 .14.14 4' - 6 1/2" 23.25.30.11 .14.14

Structural Framing Schedule OmniCl ass Volum Title e

Asse C mbly Assembly ou Code Description nt

Beams 0.29 CF Beams 0.61 CF Beams 0.36 CF Beams 0.61 CF Beams 0.40 CF Beams 0.35 CF Beams 0.56 CF Beams 0.95 CF Beams 0.19 CF Beams 0.82 CF Beams 0.63 CF Beams 0.47 CF Beams 0.79 CF Beams 0.12 CF Beams 0.25 CF Beams 0.36 CF Beams 0.90 CF Beams 0.76 CF Beams 0.89 CF Beams 0.94 CF Beams 0.61 CF Beams 0.44 CF Beams 0.56 CF Beams 0.45 CF Beams 0.48 CF Beams 0.60 CF Beams 0.41 CF Beams 0.34 CF Beams 0.21 CF

B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10 B10

Length

7' - 0 9/32"

15' - 3 1/2"

7' - 0 25/32"

4' - 2"

8' - 6 17/32"

1 1

13' - 3 11/32" 3' - 5 3/4"

5' - 9 3/4"

19' - 7 1/2"

8' - 3 1/4"

29' - 0 13/32" 25' - 6 15/32" 13' - 1 1/32"

9' - 5 7/32"

1 1

17' - 8 19/32" 8' - 4 11/32"

9' - 5 1/8"

9' - 7 19/32"

22' - 3 17/32" 22' - 8 25/32" 22' - 8"

1 1 1 1

0' - 10 31/32" 25' - 1"

4' - 4 3/32"

6' - 3 1/16"

12' - 4 27/32" 12' - 2 21/32" 12' - 0 27/32" 12' - 7 7/32"

25' - 4 5/32"

1 1

OmniClass Number

OmniCl ass Volum Title e

Beams 0.39 CF Beams 0.80 CF Beams 0.36 CF Beams 0.21 CF Beams 0.47 CF Beams 0.69 CF Beams 0.19 CF Beams 0.29 CF Beams 1.03 CF Beams 0.43 CF Beams 1.50 CF Beams 1.31 CF Beams 0.69 CF Beams 0.50 CF Beams 0.91 CF Beams 0.32 CF Beams 0.48 CF Beams 0.47 CF Beams 1.14 CF Beams 1.16 CF Beams 1.16 CF Beams 0.01 CF Beams 1.29 CF Beams 0.17 CF Beams 0.30 CF Beams 0.63 CF Beams 0.62 CF Beams 0.62 CF Beams 0.65 CF Beams 1.30 CF

.KSORG 8 'XOG 'XINOZKIZ

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

)2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

STRUCTURAL FRAMING SCHEDUELS

*8'=4 (?

Author ).+)1+* (?

Checker 9)'2+ *':+

04/06/14

9.++: 45

A4.03

4B, Spring 2014, Construction Documents, Structural Framing Schedules, A4.03

2 A3.02

.KSORG 8 'XOG 'XINOZKIZ

12' - 11 25/32" Level 2 128' - 8 5/16"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

11' - 1 3/8"

)56?8/-.: *8'=/4-

2' - 1 1/16"

7' - 4 1/2"

A3.02

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT C Level 1 119' - 8 5/16"

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

CONSULTANTS :565-8'6./)'2 9;8<+?

3' - 4"

REF.

8' - 7 3/8"

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

KITCHEN SECTION 1/2" = 1'-0"

95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

2 A9.01

3+).'4/)'2 :/:2+

9' - 8

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

2' - 9 1/16"

3/16"

)2/+4: 9 9/-4':;8+ '**8+99

F 5' - 4 3/4" + 8* 9: 259 '4-+2+9 )'

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 T.N

9 .52: '<+ 259 '4-+2+9 )'

KITCHEN PLAN 3/4" = 1'-0"

*8'=/4- :/:2+

KITCHEN PERSPECTIVE

*8'=4 (?

(1/$5*(' 3/$1 KITCHEN Author

).+)1+* (?

Checker 9)'2+ *':+

As indicated 03/30/14

9.++: 45

A9.01

4B, Spring 2014, Construction Documents, Enlarged Plan-Kitchen, A9.01

.KSORG 8 'XOG 'XINOZKIZ

W12X26 W12X26

Level 2 128' - 8 5/16"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

8' - 7"

6' - 3 1/2"

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

0' - 0" 2' - 5 1/8"

3' - 0 1/2"

ARCHITECT

Level 1 119' - 8 5/16" Kitchen tiles

CONSULTANTS Level 1 119' - 8 5/16"

11' - 5 7/8"

5' - 2 9/16" W4

KITCHEN ELEVATION I 1/2" = 1'-0"

KITCHEN ELEVATION III 1/2" = 1'-0"

:565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

9:8;):;8'2

Level 2 128' - 8 5/16"

1' - 7 1/4"

3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

5' - 9 1/2"

Level 1 119' - 8 5/16"

)2/+4: 9 9/-4':;8+ '**8+99

3' - 0 1/2"

3' - 8"

2' - 9 11/32"

3' - 8"

2' - 10 1/2"

3' - 0 1/2" W12X26

7' - 4 1/2"

2' - 1 1/2"

W3 W1

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

Level 1 119' - 8 5/16" 9' - 8 5/8"

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54

KITCHEN ELEVATION II 1/2" = 1'-0"

KITCHEN ELEVATION IV 1/2" = 1'-0"

9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

KITCHEN ELEVATIONS *8'=4 (?

Author ).+)1+* (?

Checker 9)'2+ *':+

1/2" = 1'-0" 03/30/14

9.++: 45

A9.01.1

4B, Spring 2014, Construction Documents, Kitchen Elevations, A9.01.1

.KSORG 8 'XOG 'XINOZKIZ

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/4-

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT . 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

CONSULTANTS 10' - 6"

:565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

0' - 4 1/4"

6' - 3"

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

3' - 5 3/4"

4' - 1 5/16"

95/2

9:8;):;8'2

0' - 11 1/8"

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

5' - 0"

3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

J )2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

T.N

BATHROOM PLAN 3/4" = 1'-0"

BATHROOM PERSPECTIVE

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

*8'=4 (?

(1/$5*(' 3/$1 BATHROOM Author

).+)1+* (?

Checker 9)'2+ *':+

3/4" = 1'-0" 03/30/14

9.++: 45

A9.02

4B, Spring 2014, Construction Documents, Enlarged Plan-Bathroom, A9.02

.KSORG 8 'XOG 'XINOZKIZ

5 8

W3 CERAMIC TILE

10' - 4 17/32"

10' - 2 29/32"

CERAMIC TILE

Level 4 146' - 8 5/16"

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

BATHROOM 302 64 SF

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

11' - 6"

11' - 3 1/2"

5' - 0"

ARCHITECT

level 3 part 2 142' - 2 5/16"

level 3 part 2 142' - 2 5/16" 25

Level 3.5 140' - 4 5/16"

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

1' - 6"

2' - 11 11/16"

Level 3 137' - 8 5/16"

0' - 7 31/32"

1' - 6"

CONSULTANTS W3

:565-8'6./)'2 9;8<+?

3' - 0" Bathroom tiles

BATHROOM TILE

Level 3 137' - 8 5/16"

BATHROOM ELECATION III 1/2" = 1'-0"

95/2

BATHROOM ELEVATION I 1/2" = 1'-0"

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

I J

6' - 2 25/32"

9:8;):;8'2

W3 CERAMIC TILE

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

1 / A9.02.1 6' - 7 25/32"

0' - 1CERAMIC 1/4" TILE

3+).'4/)'2 :/:2+

Level 4 146' - 8 5/16"

BATHROOM 302 64 SF

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

Level 4 146' - 8 5/16"

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

)2/+4: 9 9/-4':;8+ '**8+99

09 30 13

1' - 10 13/16"

level 3 part 2 142' - 2 5/16" 2' - 8 3/16"

level 3 part 2 142' - 2 5/16" + 8* 9: 259 '4-+2+9 )'

Level 3.5 140' - 4 5/16"

1' - 5 1/2"

1' - 6"

1' - 5 1/32"

Level 3.5 140' - 4 5/16"

CERAMIC TILE

Level 3 137' - 8 5/16"

09 91 00

BATHROOM TILE

6' - 5 1/8" Structural steel 50ksi

Level 3 137' - 8 5/16"

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

2' - 0 13/32" *8'=/4- :/:2+

Lightweight concrete

BATHROOM ELEVATIONS

1' - 10 3/4" 5' - 6 3/16"

*8'=4 (?

Author ).+)1+* (?

BATHROOM ELEVATION II 1/2" = 1'-0"

BATHROOM ELEVATION IV 1/2" = 1'-0"

Checker 9)'2+ *':+

1/2" = 1'-0" 03/30/14

9.++: 45

A9.02.1

4B, Spring 2014, Construction Documents, Bathroom Elevations, A9.02.1 58

1 A3.02

.KSORG 8 'XOG 'XINOZKIZ

2 A3.02

A .KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/4-

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT

HVAC B101 84 SF 1 A3.01

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

BASEMENT B100 678 SF

CONSULTANTS :565-8'6./)'2 9;8<+?

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

H 2 A3.01

3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

I LIFTING PARKING B102 120 SF

)2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

BUILDING STRUCTURE

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

*8'=/4- :/:2+

SLAB PLAN *8'=4 (?

Author ).+)1+* (?

: 4

Basement 3/8" = 1'-0"

Checker 9)'2+ *':+

3/8" = 1'-0" 03/30/14

9.++: 45

S1.01

4B, Spring 2014, Construction Documents, Slab Plan, S1.01

A3.02

.KSORG 8 'XOG 'XINOZKIZ 5

3" LW Concrete on 2" Metal Deck

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

B C

)56?8/-.: *8'=/4-

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT

REF.

D 03

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

Kitchen tiles W4 W3

CONSULTANTS

1 A3.01

:565-8'6./)'2 9;8<+?

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

21 R @ 0' - 6 27/32"

95/2

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

UP W4

9:8;):;8'2

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

A3.01

3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

)2/+4: 9 9/-4':;8+ '**8+99

DN W1

W4 10

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

*8'=/4- :/:2+

FIRST FLOOR FRAMING *8'=4 (?

Author

: 4

Level 1 3/8" = 1'-0"

).+)1+* (?

Checker 9)'2+ *':+

3/8" = 1'-0" 03/30/14

9.++: 45

S1.02

4B, Spring 2014, Construction Documents, First Floor Framing S1.02 60

.KSORG 8 'XOG 'XINOZKIZ 1

A3.02

A .KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

B C

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

REF.

ARCHITECT

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

1 A3.01

CONSULTANTS :565-8'6./)'2 9;8<+?

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

H 2 A3.01

3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

I )2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

*8'=/4- :/:2+

SECOND FLOOR FRAMING *8'=4 (?

Author

: 4

).+)1+* (?

SECOND FLOOR FRAMING 3/8" = 1'-0"

Checker 9)'2+ *':+

3/8" = 1'-0" 03/30/14

9.++: 45

S1.03

4B, Spring 2014, Construction Documents, Second Plan, S1.03

A3.02

.KSORG 8 'XOG 'XINOZKIZ 5

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/4-

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )' 1 A3.01

CONSULTANTS

:565-8'6./)'2 9;8<+?

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

H 2 A3.01

3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

I )2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

*8'=/4- :/:2+

ROOF DECK FRAMING *8'=4 (?

Author

T.N 17

).+)1+* (?

ROOF DECK FRAMING 3/8" = 1'-0"

Checker 9)'2+ *':+

3/8" = 1'-0" 03/30/14

9.++: 45

S1.04

4B, Spring 2014, Construction Documents, Roof Deck Framinf, S1.04

A3.02

.KSORG 8 'XOG 'XINOZKIZ

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS W4

)56?8/-.: *8'=/4-

B C

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT D

BALCONY 204 230 SF 1

1 A3.01

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

CONSULTANTS

3" LW Concrete on 2" Metal Deck

W12X26

:565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

F W4

04 35

LIVING ROOM 304 313 SF

95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

W12X26

9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

W12X26

BEDROOM 301 151 SF

2 A3.01

3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

CLOSET 303 41 SF

)2/+4: 9 9/-4':;8+ '**8+99

BATHROOM 302 64 SF + 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

*8'=/4- :/:2+

UPPER FLOOR FRAMING *8'=4 (?

Author

: 4

).+)1+* (?

THIRD FLOOR FRAMING 3/8" = 1'-0"

Checker 9)'2+ *':+

3/8" = 1'-0" 03/30/14

9.++: 45

S1.05

4B, Spring 2014, Construction Documents, Upper Roof Framing, S1.05

.KSORG 8 'XOG 'XINOZKIZ 1

A .KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/4-

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

230CFM 230CFM

125 CFM

CONSULTANTS :565-8'6./)'2 9;8<+?

F AIR SUPPLY

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2

AIR RETURN

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

3+).'4/)'2 :/:2+

230CFM

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

)2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

*8'=4 (?

GROUND FLOOR MECHANICAL Author

).+)1+* (?

: 4

GROUND FLOOR MECHANICAL 3/8" = 1'-0"

Checker 9)'2+ *':+

3/8" = 1'-0" 03/30/14

9.++: 45

M1.01

4B, Spring 2014, Construction Documents, Ground Floor Mechanical, M1.01

.KSORG 8 'XOG 'XINOZKIZ 1

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

ARCHITECT

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

125 CFM

CONSULTANTS :565-8'6./)'2 9;8<+?

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR

AIR SUPPLY

230CFM

95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS

AIR RETURN

9:8;):;8'2

230CFM

).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS 3+).'4/)'2 :/:2+

230CFM

+4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

I )2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+

+8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )'

*8'=/4- :/:2+

*8'=4 (?

: 4

SECOND FLOOR MECHANICAL Author

SECOND FLOOR MECHANICAL 3/8" = 1'-0"

).+)1+* (?

Checker 9)'2+ *':+

3/8" = 1'-0" 03/30/14

9.++: 45

M1.02

4B, Spring 2014, Construction Documents, Second Floor Mechanical, M1.02

.KSORG 8 'XOG 'XINOZKIZ 1

A3.02

LEGEND CEILING LIGHT- FLAT ROUND 60W-120V

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

OUTLET- DUPLEX

GFI

45: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

S SWITCH-SINGLE

ARCHITECT

S2 2 SWITCH-SINGLE

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

ELECTRICAL PANEL 1

)56?8/-.: *8'=/4-

OUTLET- DUPLEX

A3.01

CONSULTANTS :565-8'6./)'2 9;8<+?

0' -

7/8

:XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2

S2 GFI

9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2 ).8/9:/'4 : =/22/'3954 +4- /4) 'OXVUXZ '\K ([ORJOTM + 9ZK 9GTZG 3UTOIG )' :KR ]]] IZ]KTMOTKKXY IUS

2 A3.01

3+).'4/)'2 :/:2+ +4+8-? )5*+ =5819 3GXQ * 3GJOYUT 3OINKRYUT *X 9ZK /X\OTK )' :KR

)2/+4: 9 9/-4':;8+ '**8+99

+ 8* 9: 259 '4-+2+9 )'

6850+): :/:2+ +8+):/54 5, 4+= 8+9/*+4:/'2 ;4/: 54 9 .52: '<+ 259 '4-+2+9 )' *8'=/4- :/:2+

FIRST FLOOR ELECTRICAL *8'=4 (?

Author

T.N

).+)1+* (?

FIRST FLOOR ELECTRICAL 3/8" = 1'-0"

Checker 9)'2+ *':+

3/8" = 1'-0" 03/30/14

9.++: 45

E1.1

4B, Spring 2014, Construction Documents, First Floor Electrical, E1.1 66

.KSORG 8 'XOG 'XINOZKIZ 1

A3.02

LEGEND CEILING LIGHT- FLAT ROUND 60W-120V

.KSORG 8GYZKMGX 'XOG .KSORGE'XOG&_GNUU IUS

OUTLET- DUPLEX GFI

)56?8/-.: *8'=/445: :5 (+ 8+;9+* =/:.5;: 6+83/99/54

OUTLET- DUPLEX

S SWITCH-SINGLE

ARCHITECT

S2 2 SWITCH-SINGLE

. 8 '8/' *+9/-4 9:;*/5 3'-452/' (2<* 9.+83'4 5'19 )'

ELECTRICAL PANEL

CONSULTANTS

1 A3.01 S

:565-8'6./)'2 9;8<+? :XGTY ' SKXOIGT +TMOTKKXOTM 2G 3GJKXG '\K +R 3UTZK )' :KR 95/2 9:8':;3 -KUZKINTOIGR )UTY[RZGTZ 3[RNURRGTJ .OMN]G_ )GRGHGYG )' :KR ]]] YZXGZ[SMI IUS 9:8;):;8'2

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2 A3.01

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Expand and Contract: Radical Art Practices 1960-2000 This course examines how radical art practices in WKH 8QLWHG 6WDWHV IURP GHÃ&#x20AC;HG GLVFLSOLQary conventions and produced the new frameworks of installation, performance, and conceptual art. While modern art challenged academic traditions LQ WKH Ã&#x20AC;UVW KDOI RI WKH WZHQWLHWK FHQWXU\ SRVWZDU DUW eroded even modernist conventions by integrating landscape, text, architecture, and the body into art SUDFWLFHV ,Q WKLV Â´H[SDQGHG Ã&#x20AC;HOG Âµ GHVFULEHG E\ 5Rsalind Krauss, the practitioners of Land Art, Body Art, Conceptual Art and Happenings had to create their own systems of rules and constraints to structure their work. The course will involve close visual analysis of projects by artists such as Sol le Witt, Bruce Nauman, Yoko Ono, Marina Abramovic, and Matthew Barney to examine the construction RI FRQVWUDLQW ZLWKLQ WKH H[SDQGHG Ã&#x20AC;HOG &ORVH WH[tual analysis of writings by Michael Fried, Rosalind Krauss, and Yve-Alain Bois will address how disFRXUVHV RQ PHGLXP VSHFLÃ&#x20AC;FLW\ DQG FXOWXUDO FULWLTXH structured the work of this period. Instructor:

Bryony Roberts

example, particular things they saidâ&#x20AC;&#x201D;must be understood in light of our ideas about these persons. The same holds true for those we abhor, like serial killers; the harmless nature of Gacyâ&#x20AC;&#x2122;s picture is not enough to render our image of it harmless. Juxtaposing images that evoke feelings of good and evil allows Kelley to call into question our understanding of each. In doing so, he expands the disciplinary boundaries of his profession, putting himself in a position to ask the following question: to what extent are the notions of good and bad SUHVHQW LQ DQ\ GHSLFWLRQ" That Kelley is not unaware of the conventions that he is transgressing is evident from his writings. The fact that he is aware of the meaning behind such conventions is no trivial matter, for it is this fact that enables his work to be construed as criticism. In his essay â&#x20AC;&#x153;Foul Perfection: Thoughts on Caricature,â&#x20AC;? for instance, Kelley talks not only of the historical role that caricature has played but also of the motivation behind this state of affairs. Kelley begins by marking an important distinction: The Transgressions of Mike Kelley low-art vs. high-art. Then, he talks about how caricature is often associated with the former. in which they are found, providing him with The idea of representation is esThis, however, has, as he notes, caused ways of critiquing other representations. sential to art. Put another way, art is never artists to attempt to use caricature in high When discussing the work of Kelley, devoid of nor properly understood without the art. â&#x20AC;&#x153;But the low-art/high-art distinction has intention to depict. Even if an artist were to at- itâ&#x20AC;&#x2122;s good to think in terms of juxtaposition. For become cloudy in some of this work,â&#x20AC;? (21) he tempt to capture a moment of pure, spontane- his deviation from established norms derive says. He goes on to say that underlying much their content in large part from comparison. ous creativity, it would still be an intention to of our artwork is the notion of pure, idealistic depict something, namely, pure, spontaneous This is readily seen in his â&#x20AC;&#x153;Pay for Your Pleasforms (Platonism), and that this gives meancreativity. The act of representing, however, is ureâ&#x20AC;? installation. In the installation, Kelley ing to caricature. As he puts it, â&#x20AC;&#x153;A fouled prinot possible in the absence of preestablished KDV SRUWUDLWV RI D QXPEHU RI UHYHUHG Ă&#x20AC;JXUHV mal form is a caricature of the very notion of conventions. In some cases, conventions pro- whose portraits are colorful and lively. But, perfectionâ&#x20AC;? (34). Kelley knows that by departvide a standard by which to judge a particular in direct contrast with their colorful and lively ing from that which is normally done one can appearance, the portraits contain quotes from call attention to the standards that exists, and work, yet, in all cases, conventions provide those who are depicted that speak to a darker this is what he does with his work. a context in which a particular work can be subject matter. For example, the harmless understood. This is not to say that breaking The distinction between low-art and with convention is bad. In fact, itâ&#x20AC;&#x2122;s often quite looking picture of Michel Foucault contains high-art plays a big role in much of Kelleyâ&#x20AC;&#x2122;s the following quote by him: â&#x20AC;&#x153;The madness of the opposite, for in doing so one is able to work. As one familiar with Kelley might expect, comment on the representations produced by, desire, insane murders, the most unreasonKelley takes caricature and attempts to asable passions â&#x20AC;&#x201D; all are wisdom and reason, as well as the intentions of, others, whether sociate it not with high-art but with low-art, since they are part of the order of nature.â&#x20AC;? these be collective or otherwise. One artist which draws our attention to our reasons for who was extremely skilled at this sort of com- 1HHGOHVV WR VD\ RQH GRHV QRW W\SLFDOO\ Ă&#x20AC;QG wanting to associate it with either category. mentary was Mike Kelley. In a discussion that quotes such as this selected when talking A classical example of caricature being used Kelley participated in at the Walker Art Center DERXW VXFK UHVSHFWHG Ă&#x20AC;JXUHV .HOOH\ KRZin high-art is seen in Michelangeloâ&#x20AC;&#x2122;s David, ever, seems to be curious as to why this is so. where the hands are disproportionally large, in 2005, entitled â&#x20AC;&#x153;Mike Kelley with John $PLG WKHVH UHVSHFWHG Ă&#x20AC;JXUHV Ă&#x20AC;JXUHV WKDW DUH ostensibly conveying humanistic ideas of Welchman,â&#x20AC;? Kelley stated, â&#x20AC;&#x153;All entertainment â&#x20AC;&#x153;goodâ&#x20AC;? in the traditional sense but that nevhas a social function.â&#x20AC;? This notion is crucial manâ&#x20AC;&#x2122;s great strength and potential. Kelley, HUWKHOHVV KDYH VDLG WKLQJV WKDW FRQĂ LFW ZLWK to understanding his work. On the surface, also in â&#x20AC;&#x153;Foul Perfection: Thoughts on Caricaour common images of them, Kelley placed a ture,â&#x20AC;? talks about the tendency in art towards Kelleyâ&#x20AC;&#x2122;s work seems transgress established painting by John Wayne Gacy of a clown. This norms in order to represent that which is reductivism, where one divides things into is interesting because it reverses what is emamoral or rebellious. However, to understand simpler forms and depicts those. In the case phasized in the rest of the installation. Placing of Michelangeloâ&#x20AC;&#x2122;s David, the hand is seen as his work in this way is to misunderstand his VXFK D Ă&#x20AC;JXUH LQ WKLV FRQWH[W LV XQFRQYHQWLRQDO worthy of such a division. But Kelley appears intention, as well as the history of the transto say the least, and it causes one to seek gressed conventions. Kelley understands the to wonder what it is that makes one bodily ways in which the image can be linked with disciplinary boundaries and rules of society part appropriate for singling out. This is readthe others. This is where the quotes come in and transgresses these in order to perform ily seen in his â&#x20AC;&#x153;(Master Dik â&#x20AC;&#x2DC;Yall) Bannerâ&#x20AC;? of the social function of criticism; the transgres- handy. In the case of the revered persons, 1989. The banner depicts a large, erect penis anything that is attributed to any of themâ&#x20AC;&#x201D;for sions constitute new rules within the context wearing a crown and that has at its tip an

4B, Spring 2014, Expand and Contract: Radical Art Practices 1960-2000, The Transgressions of Mike Kelley

eyeball staring at the observer. This is, quite obviously, caricature applied to what would typically be considered low-art. But what PDNHV LW VR" 8SRQ UHÁHFWLQJ RQ WKH WUDGLWLRQ of portraying idealized forms, one realizes that this particular body part has often been portrayed in high-art. The eyeball and crown in Kelley’s banner seems to suggest that this body part has perhaps even been the motivation for such high-art. In any case, Kelley’s banner makes us think about the values and standards that we hold. It, in effect, takes our existing logic beyond the limits at which we feel comfortable seeing it employed and causes one to realize the contradiction in saying that it fails to conform to our notion of “art.” One is left questioning their view of art. In the end, the work of Mike Kelley is made important by its ability to call attention to the standards and intentions of others. His work reminds us that criticism via representation is effectively done by distorting prevailing techniques and speaks to the great importance of art transgressing the limits that are imposed on it at any particular time. To transgress these limits is to expand the range of what can be represented by a piece of art. In a word, it is a way for art to be able to talk about art.

Works Cited Kelley, Mike and John C. Welchman. “Foul Perfection: Thoughts on Caricature.” Foul Perfection: Essays and Criticism. Cambridge, Mass: MIT Press, 2003. Print. Walker Art Center. “Mike Kelley with John Welchman.” Online video clip. YouTube. YouTube, 6 Dec. 2013. Web. 20 Apr. 2014.

4B, Spring 2014, Expand and Contract: Radical Art Practices 1960-2000, The Transgressions of Mike Kelley

Two styles in one Drawing Ellsworth Kelly Minimalist artist Ellsworth Kellyâ&#x20AC;&#x2122;s Spectrum Colors Arranged by Chance II is a selection of large collages that are made up of hundreds of small squares of color. The color squares are distributed onto a support sheet, which means that the patterns are predetermined. The colors are then randomly placed. The paper Kelly used was French, glossy paper with a gummed back. Spectrum Colors Arranged by Chance II, 1951. Collage. (39â&#x20AC;?x39â&#x20AC;?)

Francesco Lo Castro Francesco Lo Castroâ&#x20AC;&#x2122;s &RQĂ XHQFH RI $PELtions is made of axonometric cubes, each of which has been exploded. The rectangular shapes are distributed so as to allow these exploded cubes to be viewed. Lo Castro places an emphasis on color and movement. &RQĂ XHQFH RI $PELWLRQV $FU\OLF DQG Spray Paint (36â&#x20AC;?x36â&#x20AC;?)

Hemila R-Aria The intention of my drawing was to merge the ideas found in the work of Kelly and Lo Castro. First, I looked for similarities between their works. I realized that both works had explosion as a central concept. The objects in both were of rectangles of the same size that differed in color. Movement, too, was emphasized in both works. On account of these common features, I used these features as the foundation of my drawing as well. I then attempted to mix other stylistic features and slightly alter the way that movement is deSLFWHG &OHDU Ă&#x20AC;OP ZDV XVHG WR DOORZ GLIIHUHQW views of the drawing. 0DJQLĂ&#x20AC;FHQFH RI &RORUV 3ULQW RI )LYH Layers on Clear Film (18â&#x20AC;?x18â&#x20AC;?)

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Layers Of One Drawing These four frames show the different layers of my Kelly- and Francesco-inspired drawing. All of the layers are of exploded rectangular surfaces that show the movement in the drawing. I have presented both 2D and 3D versions of the drawings.

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4B, Spring 2014, Expand and Contract: Radical Art Practices 1960-2000

4A Studio Designs and Projects Fall 2013

4A Studio | City Operations: Architecture in Critical Settings The premise of this studio is that cities and EXLOGLQJV DUH ODUJHO\ VKDSHG E\ D G\QDPLF Ă RZ RI interrelated cultural, social, political, and economic forces. Different cities are chosen by individual studio faculty and used as a basis for student projects. During the course of the term, students WHVW WKH QDWXUH RI LQWHUIDFHV EHWZHHQ DUFKLWHFWXUH DQG LWV YDULRXV VHWWLQJV ZLWKLQ WKH FRQWHPSRUDU\ city. Individual and varied theoretical assumptions, ZLWKLQ WKH VHSDUDWH GHVLJQ VWXGLRV DUH WHVWHG DQG developed as an integral part of the building design process. Instructor: Alexis Rochas

City Operations Project Description This studio is about bringing more than a PLOOLRQ SHRSOH WR GRZQWRZQ /$ 6WXGHQWV KDYH WR VWXG\ WKH FLW\ DQG EH NQRZOHGJHDEOH RI LWV capacity; also, they must research the things that are important in urban population design.

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Precedents Before beginning my city plan, I looked at city plans for Tokyo, Dublin, Paris, and the Netherlands. Most cities are developed from residential zones; residential grids are mostly very different from other zoning grids. Also, old and QHZ JULGV LQ PRVW SODQV DUH UHSUHVHQWHG GLIIHUHQWO\ ,W LV LQWHUHVWLQJ WR VHH WKH ROG DQG QHZ grids connect.

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Urban designing strategy Urban designing is more complex than just layLQJ RXW WKH Ã&#x20AC;JXUH RI D FLW\ &LWLHV KDYH WR KDYH FRQFHSWV DQG EH PDGH DFFHVVLEOH 1HZ FLWLHV KDYH WR DFFRXQW IRU WKLQJV OLNH WUDIÃ&#x20AC;F 'RZQWRZQ /$ VWUHHWV DUH VPDOO ZKLFK FDQ OHDG WR KHDYLHU WUDIÃ&#x20AC;F UHVXOWLQJ LQ ORWV RI ZDVWHG WLPH 6R LI ZH ZDQW WR EULQJ PRUH WKDQ D PLOOLRQ SHRSOH WR WKLV DUHD ZH GRQÂ·W ZDQW WR PDNH WKLV SUREOHP ZRUVH 7KXV ZH QHHG WR GHVLJQ WKH FLW\ ZLWK larger streets. More people could mean more YHKLFOHV DQG DLU SROOXWLRQ VR ZH PXVW DOVR SURvide other transportion options.

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Design Document Analysis Development The Design Documentation course investigates issues related to the implementation of design, including technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. 7KH FRXUVH LQFOXGHV D UHYLHZ RI EDVLF FRQVWUXFWLRQ methods, analysis of building codes, the design of structural and mechanical systems, the development of building materials and the integration of EXLOGLQJ FRPSRQHQWV DQG V\VWHPV 6WXGHQWV DUH JLYHQ WKH (PHUJLQJ 3URIHVVLRQDOÂˇV &RPSDQLRQ DQG XSGDWHG ,'3 PDWHULDOV 6WXGHQWV DUH DVNHG WR select their studio project from the previous semester to develop, focusing on a detailed design of a single component of the building and the resolution of its structural system and building envelope DV D ZKROH Instructor: 3DYHO *HWRY 6FRWW 8ULX

Design Document Analysis Development Phases of Design Â&#x2021; 3UH GHVLJQ â&#x20AC;&#x201C; Establish scope, budget, schedule, site analysis, zoning, programming Â&#x2021; 6FKHPDWLF 'HVLJQ â&#x20AC;&#x201C; Massing, design alternatives, early structure, m.e.p. concepts, concepts for materials Â&#x2021; 'HVLJQ 'HYHORSPHQW Â˛ 'HVLJQ LV Ă&#x20AC;QDOL]HG GHYHORS GHWDLOV PDWHULals, engineers and consultants, mock ups, code interaction Â&#x2021; &RQVWUXFWLRQ 'RFXPHQWV Â˛ 'HWDLOV VSHFLĂ&#x20AC;FDWLRQV SHUPLWV Â&#x2021; %LGGLQJ 1HJRWLDWLRQV Â˛ $VVLVW WKH &OLHQW LQ REWDLQLQJ ELGV DQG QHJRWLDWLQJ ZLWK contractors Â&#x2021; &RQVWUXFWLRQ $GPLQLVWUDWLRQ Â˛ 2EVHUYH FRQVWUXFWLRQ PDNLQJ VXUH ZKDW LV being built matches WKH GHVLJQ LQWHQW UHYLHZ VKRS GUDZLQJV PHHWings, respond to UHTXHVWV IRU LQIRUPDWLRQ FODULĂ&#x20AC;FDWLRQV

Dynamic San Francisco Museum Address: 3RVW 6W 6DQ )UDQFLVFR &$ Architect: +&+ $UFKLWHFWXUH Ă&#x20AC;UP Consultants

General Notes Work performed shall comply with the following: a.These general notes unless otherwise noted RQ SODQV RU VSHFLĂ&#x20AC;FDWLRQV b.All applicable local and state building codes, ordinances and regulations. c.Building code requirements take precedence over the drawings and it shall be the responsibility of the contractor to bring the attention of the architect any discrepancies RU FRQĂ LFW EHWZHHQ WKH UHTXLUHPHQWV RI WKH code and drawings. 2Q VLWH YHULĂ&#x20AC;FDWLRQ RI DOO GLPHQVLRQV DQG conditions shall be the responsibility of the contractor. Noted dimensions take precedent RYHU VFDOH 7KH DUFKLWHFW LV WR EH QRWLĂ&#x20AC;HG LPmediately of any discrepancy before proceeding with any work. 3.All dimensions shall have preference over scale. Do not scale drawings. Large scale details govern over small scale details. 4.No deviations from the structural design without written approval of the structural DXWKRULW\ WR GHYLDWH IURP WKH SODQV RU VSHFLĂ&#x20AC;cations is allowed. $OO GLPHQVLRQV DUH WR WKH IDFH RI Ă&#x20AC;QLVK unless noted otherwise (U.N.O.). Do not scale drawings. 6.Contractor shall provide pedestrian fence

107

4A, Fall 2013, Design Document Analysis Development, Phases of Design

and canopy as required. 7.Temporary sanitary facilities for workmen shall be provided during construction. 8.Provide access panels as required by applicable codes and as required for mechanical, electrical and plumbing equipment. All locations shall be reviewed with the architect. 9.Coordinate placement of all ceiling elePHQWV ZLWK PHFKDQLFDO HOHFWULFDO Ă&#x20AC;UH sprinkler designs. Where discrepancies exist between drawings and installation, review with the architect prior to proceeding with work. 10.The contractor shall provide all necessary blocking, backing, framing, hangers or RWKHU VXSSRUW IRU DOO Ă&#x20AC;[WXUH HTXLSPHQW DQG cabinetry. &RQWUDFWRU VKDOO SURYLGH D Ă&#x20AC;UH SURWHFWLRQ system during construction. 12.Contractor shall coordinate all slab and wall openings required by mechanical and electrical drawings. :KHUH UHFHVVHG RU QRQ PRGXODU Ă&#x20AC;[WXUHV diffusers, speaker or other exposed devices are used, they are to be centered in the ceiling tile pattern unless otherwise noted. 14.Corner beads are to be nailed. Drywall board spacing to be 3/8â&#x20AC;? maximum.

Structural and Facade Engineering: Buro Happold MEP and Acoustics Consultant: 0D[ )RUGKDP &RQVXOWLQJ (QJLQHHUV Lighting Design: ,620(75,; /LJKWLQJ 'HVLJQ AV Consultant: 6RQR Cost Manager: Betlinski Construction: (PSW\ 6 /

A.0.0

Cover Sheet

Drawing List

Grant Av.

6LWH 0DS

Post St.

Grant Av.

Post St.

Stockton St.

Maden Ln.

Geary St.

Grant Av.

$ &RYHU 6KHHW $ *HQHUDO 1RWHV $ 6LWH 3ODQ Plans $ *URXQG /HYHO A.1.1 Floor Plan 1 A.1.2 Floor Plan 2 A.1.3 Floor Plan 3 A.1.4 Floor Plan 4 Sections $ /RQJLWXGLQDO 6HFWLRQ $ 7UDQVYHUVH 6HFWLRQ Elevations A.3.0 East Elevation A.3.1 North Elevation $ 6RXWK (OHYDWLRQ Chunk $ ' :DOO 6HFWLRQ A.4.1 Additional Details $ ' &KXQN $ ' ' 'HWDLOHG 'UDZLQJV $ /DUJH 6FDOH 'HWDLO $ $GGLWLRQDO 'HWDLOV Structural System $ 6WUXFWXUDO 6\VWHP $ (QFORVXUH 6\VWHP ADA and Life Safety A.6.0 ADA Diagram A.6.1 ADA Diagram $ /LIH 6DIHW\ (JUHVV $ 6WDLUV 'HVLJQ Environmental Systems $ +9$& $ &URVV 6HFWLRQ Â² (QYLURQPHQWDO 6\VWHPV A.7.2 Fire Protection Cost $ &RVW &DOFXODWLRQ

t. tS

6LWH 3ODQ 5HQGHU

Symbols Detail Identification Identifies Location of Detail

Elevation Elevation Identification Sheet where Elevation is drawn Arrow indicates Direction

Section Sheet identification Sheet where section is drawn Arrow indicates direction

Window

Door Room identification Room name Room number

Interior elevation Elevation identification (Unfold elevations clockwise no elevation means no elevation shown) Sheet where elevation is drawn

Revision Cloud around revision Optional accompany revision Number with date in revision Column on appropriate sheet

Match line Shaded portion is the side considered

Work Point, Control Point or Datum Point

A.0.1

General Notes

4A, Fall 2013, Design Document Analysis Development, *HQHUDO 1RWHV 108

Post St. Emergency Exit

Store Entrance

Grant Av.

MainEntrance

Maden Ln.

Information:

Site Plan 0

6T )W %XLOGLQJ +HLJKW Â· )ORRUV &RQVWUXFWLRQ 7\SH % 2FFXSDQF\ 7\SH $ % )LUH 5HVLVWDQFH 5HTXLUHG 3ULPDU\ +UV %HDULQJ +UV )ORRUV +U 5RRI +U A.0.2

109

Site Plan

4A, Fall 2013, Design Document Analysis Development, 6LWH 3ODQ

4â&#x20AC;&#x2122;

10â&#x20AC;&#x2122;

20â&#x20AC;&#x2122;

Plans 16’-6”

16’-6”

17’-3”

6’-0”

14’-6”

18’-6”

11’-6”

11’-11”

BACK STAGE EL: -27’-0”

11’-6”

9’-0”

1 A.2.0

THEATRE LOBBY B103

THEATRE B102

11’-6”

EL: -25’-0”

COAT ROOM B104

EL: -15’-6”

11’-6”

1 A.2.1

A.1.0

PLAN: THEATRE

Ground Level

16’-0”

16’-6”

6’-0”

17’-3”

14’-6”

2’

10’

5’

14’-4”

17’-6”

10’-0”

LOADING DOCK 100 F

7’-6”

53°

10’-3”

83°

LOBBY 101 EL 0’-0”

TICKET SALE

10’-3”

1 A.2.0

MUSEUM SHOP 102

7’-6”

10’-9”

1 A.2.1

A.1.1

Floor Plan 1

PLAN: LOBBY ENTRY 0

2’

5’

10’

4A, Fall 2013, Design Document Analysis Development, Plans

110

15’-0”

16’-0”

17’-3”

14’-6”

06’-0”

18’-0”

15’-6”

OPEN TO BELOW

EL: 70’-0”

15’-0”

EXHIBITION GALLERY 401

GALLERY 400

EL: 70’-0” C

15’-0”

1 A.2.0

15’-6”

EL: 51’-0” OPEN TO BELOW

OPEN TO BELOW

1 A.2.1

PLAN: GALLERY 4 0

A.1.2

2’

10’

5’

Floor Plan 2 25’-6”

17’-3”

6’-0”

14’-6”

11’-6”

11’-0”

OPEN TO BELOW

11’-6”

OFFICE 500 EL: 87-6”

157°

1 A.2.0

11’-6”

EXHIBITION GALLERY 501 61° B

OPEN TO BELOW

11’-6”

OPEN TO BELOW

1 2

1 A.2.1

A.1.3

111

Floor Plan 2

4A, Fall 2013, Design Document Analysis Development, Plans

PLAN : GALLERY 5 0

2’

5’

10’

16’-0”

16’-6”

6’-0”

17’-3”

14’-6”

18’-0”

9’-0”

10’-6”

OPEN TO BELOW

11’-6”

100°

EXHIBITION GALLERY 701

9’-6”

EXHIBITION GALLERY 700 EL: 138’-0”

EL: 134’-0” D

OPEN TO BELOW

7’-6”

A.2.0

43° C

23°

10’-9”

OPEN TO BELOW

10’-9”

OPEN TO BELOW

1 A.2.1

A.1.4

Floor Plan 3

PLAN: GALLERY 7 0

2’

5’

10’

1/8”=1’-0”

4A, Fall 2013, Design Document Analysis Development, Plans

112

12’-8”

6’-8”

42’-2”

6’-8”

15’-2”

21’’-6”

14’-6”

BUILDING HEIGHT EL 170’-0”

EXHIBITION GALLERY 901

9TH FLOOR EL 155’-6”

21’-6”

A.4.0

GALLERY 801

17’-6”

8TH FLOOR EL 134’-0”

EXHIBITION GALLERY 701

EXHIBITION GALLERY 700

A.4.2

17’-0”

7TH FLOOR EL 116’-6”

OFFICE 601

1 A.4.7

12’-0”

6TH FLOOR EL 99’-6”

EXHIBITION GALLERY 501 OFFICE 500

17’-6”

5TH FLOOR EL 87’-6”

EXHIBITION GALLERY 400

EXHIBITION GALLERY 401

19’-0”

4TH FLOOR EL 70’-0”

GALLERY 301

3TH FLOOR EL 51’-0”

19’-0”

GALLERY 201

2ND FLOOR EL 32’-0”

32’-0”

STORE 102 LOBBY 101

15’-0”

STREET LEVEL EL 0’-0”

COAT ROOM B104

THEATRE LOBBY B103

THEATER LOBBY EL -15’-0” 15’-0”

THEATRE B102

STORAGE B202

15’-0”

LOWER THEATER EL -25’-0”

MECHANICAL ROOM B302

LOWER THEATRE EL -40’-0”

A.2.1

EW SECTION: LONGITUDINAL 0

A.2.0

113

Longitudinal Section

4A, Fall 2013, Design Document Analysis Development, /RQJLWXGLQDO 6HFWLRQ

2’

5’

10’

10’-0”

12’-0”

10’-0”

18’-3”

5’-7”

12’-3”

18’-3”

14’-6”

BUILDING HEIGHT EL 170’-0”

EXHIBITION GALLERY 901

21’-6”

9TH FLOOR EL 155’-6”

GALLERY 801

17’-6”

8TH FLOOR EL 134’-0”

EXHIBITION GALLERY 701

17’-0”

7TH FLOOR EL 116’-6”

EXHIBITION GALLERY 501

12’-0”

6TH FLOOR EL 99’-6”

17’-6”

5TH FLOOR EL 87’-6”

EXHIBITION GALLERY 401

19’-0”

4TH FLOOR EL 70’-0”

GALLERY 301

19’-0”

3TH FLOOR EL 51’-0”

GALLERY 201

2ND FLOOR EL 32’-0”

32’-0”

LOBBY 101

LOADING DOCK 100

STREET LEVEL EL 0’-0”

25’-0”

THEATRE B102

STORAGE B202

15’-0”

LOWER THEATER EL -25’-0”

MECHANICAL ROOM B302

LOWER THEATRE EL -40’-0”

1 A.2.0

NS SECTION: TRANSVERSE 0

A.2.1

2’

5’

10’

Transverse Section

4A, Fall 2013, Design Document Analysis Development, 7UDQVYHUVH 6HFWLRQ 114

1 A.2.1

BUILDING HEIGHT EL 170’-0”

9TH FLOOR EL 155’-6”

8TH FLOOR EL 134’-0”

MATERIAL : GRFC

7TH FLOOR EL 116’-6”

6TH FLOOR EL 99’-6”

5TH FLOOR EL 87’-6”

4TH FLOOR EL 70’-0”

3TH FLOOR EL 51’-0”

2ND FLOOR EL 32’-0”

STREET LEVEL EL 0’-0”

A.3.0

115

East Elevation

4A, Fall 2013, Design Document Analysis Development, East Elevation

EAST ELEVATION 0

2’

5’

10’

1 A.2.0

BUILDING HEIGHT EL 170’-0”

9TH FLOOR EL 155’-6”

8TH FLOOR EL 134’-0”

7TH FLOOR EL 116’-6”

6TH FLOOR EL 99’-6” MATERIAL : GRFC

5TH FLOOR EL 87’-6”

MATERIAL : GRFC 4TH FLOOR EL 70’-0”

3TH FLOOR EL 51’-0”

2ND FLOOR EL 32’-0”

STREET LEVEL EL 0’-0”

NORTH ELEVATION 0

2’

5’

20’

A.2.0

A.3.1

North Elevation E

BUILDING HEIGHT EL 170’-0”

9TH FLOOR EL 155’-6”

8TH FLOOR EL 134’-0”

7TH FLOOR EL 116’-6”

MATERIAL : GRFC 6TH FLOOR EL 99’-6”

5TH FLOOR EL 87’-6” MATERIAL : GRFC

4TH FLOOR EL 70’-0”

3TH FLOOR EL 51’-0”

2ND FLOOR EL 32’-0”

A.3.2

South Elevation

STREET LEVEL EL 0’-0”

SOUTH ELEVATION 0

2’

5’

20’

4A, Fall 2013, Design Document Analysis Development, Elevations

116

Mullion *OD]H Pre-case concrete panel Ancher in to pre-case concrete panel &OLFN V\VWHP :DWHUSURRI Membrane Insulation

A.4.0

2D Wall Section

Secondary steel beam

Clippings Primary steel beam GFRC interior panels Floor Finishing Concrete deck

Water system AC ducts Space truss

A.4.1

117

Additional Details

4A, Fall 2013, Design Document Analysis Development, Details

Primary enclosure tubes GFRC exterior panels Secondary steel beam Rigid Insulation layer Ply layer Clippings GFRC interior panels Primary steel beam

Floor finishing Concrete deck Water system pipes AC ducts Space truss

A.4.2

3D Chunk

4A, Fall 2013, Design Document Analysis Development, 3D &KXQFN 118

PRECAST CONCRETE PAN TO BELOW

20'

x 65 W 12

OPEN TO BELOW

TO BELOW

OPEN TO BELOW

1 1

3D+2D Detailed Drawings

AIR SPACE BARRIER INSULATION

GFRC CLIP

GFRC PANEL

GFRC CLIP

5’ 3’

WATER PROOFING

2’ 0

1’

GFRC PANEL

A.4.4

119

Large Scale Detail

4A, Fall 2013, Design Document Analysis Development, Details

A.2.0

OPEN TO BELOW

A.4.3

A.2.1

23°

EL: 134’-0”

EXHIBITION GALLERY 701

43°

OPEN TO BELOW

100°

OPEN TO BELOW

EXHIBITION GALLERY 700 EL: 138’-0”

OPEN TO BELOW

floor finishing

concrete deck GFRC interior panels secondary steel beam

panel clippings secondary steel beam GFRC interior panels ply layer rigid insulation layer primary steel beam

A.4.5 A.4 .5

Additi Add Additional itiona onall Deta D Details etails ils

4A, Fall 2013, Design Document Analysis Development, Additional Details

120

Structural System

FACADE CLIPS/ ANCHOR

ENVELOPE STRUCTURE BENT I-BEAM

TRUSS FLOORS

EGGCRATE STRUCTURE

STRUCTURAL CORE X 2

GRADE LEVEL -

A.5.0

121

Structural System

4A, Fall 2013, Design Document Analysis Development, 6WUXFWXUDO 6\VWHP

O’ - 0”

Enclosure System

Secondary Structure Clips

GFRC Exterior Panels Rigid Insulation Layer

A.5.1

Enclosure System

4A, Fall 2013, Design Document Analysis Development (QFORVXUH 6\VWHP 122

ADA Diagram

MUSEUM SHOP 102

83°

TICKET SALE

53°

LOBBY 101 EL 0’-0”

LOADING DOCK 100

Entrance

Exit

PLAN: LOBBY ENTRY

(OHYDWLRQ YLHZ RI $'$ 'LDJUDP

A.6.0

ADA Diagram

COAT ROOM B104

OPEN TO BELOW

OPEN TO BELOW EXHIBITION GALLERY 501

THEATRE LOBBY B103 EL: -15’-6”

EXHIBITION GALLERY 700 EL: 138’-0”

157°

THEATRE B102

OFFICE 500 EL: 87-6”

OPEN TO BELOW

61°

OPEN TO BELOW

43°

EXHIBITION GALLERY 701 EL: 134’-0”

OPEN TO BELOW

23°

BACK STAGE EL: -27’-0”

EL: -25’-0”

OPEN TO BELOW

PLAN : GALLERY 5

A.6.1

123

ADA Diagram

4A, Fall 2013, Design Document Analysis Development, ADA Diagram

PLAN: GALLERY 7

PLAN: THEATRE

Life Safety Egress ROOF TOP - GALLERY OCCUPANCY : 123 AREA:645,130.7 SQF

GALLERY SEVEN OCCUPANCY :121 AREA:650,680 SQF GALLERY SIX OCCUPANCY :120 AREA:525,445.7SQF

GALLERY FIVE OCCUPANCY : 70 AREA: 485,458.7 SQF GALLERY FOUR OCCUPANCY : 118 AREA:559,708 SQF GALLERY THREE OCCUPANCY : 112 AREA:543516.1 SQF

GALLERY TWO OCCUPANCY : 120 AREA:573404.8 SQF GALLERY ONE OCCUPANCY : 125 AREA:757,939 SQF

LOBBY/ STREET LEVEL OCCUPANCY :115 AREA:683,120 SQF

THEATRE OCCUPANCY : 90 AREA:532,030 SQF MECHANICAL ROOM OCCUPANCY : 155 AREA:962,035.3 SQF EGRESS CIRCULATION LIFE SAFETY EGRESS 0

5â&#x20AC;&#x2122;

10â&#x20AC;&#x2122;

15â&#x20AC;&#x2122;

A.6.2

Life Safety Egress

Stairs from Lobby to Gallery

Fron View

Perspective View

Side View 15â&#x20AC;&#x2122;-0â&#x20AC;?

52â&#x20AC;&#x2122;-9â&#x20AC;?

20â&#x20AC;&#x2122;-9â&#x20AC;? 58â&#x20AC;&#x2122;4â&#x20AC;?

Steel GFRP

Lobby Stairs Axo View 7â&#x20AC;&#x2122;-2â&#x20AC;?

Lobby Stairs Plan

STAIRS DETAIL STAIRS 0DETAIL 5â&#x20AC;&#x2122; 10â&#x20AC;&#x2122;

10Â°

7â&#x20AC;&#x2122;-2â&#x20AC;? 0

5â&#x20AC;&#x2122;

10â&#x20AC;&#x2122;

15â&#x20AC;&#x2122;

A.6.3

Stairs Design

4A, Fall 2013, Design Document Analysis Development /LIH 6DIHW\ (JUHVV 6WDLUV 'HVLJQ 124

HVAC Diagram

ROOF TOP - GALLERY OCCUPANCY : 123 AREA:645,130.7 SQF

GALLERY SEVEN OCCUPANCY :121 AREA:650,680 SQF

GALLERY SIX OCCUPANCY :120 AREA:525,445.7SQF

GALLERY FIVE OCCUPANCY : 70 AREA: 485,458.7 SQF

GALLERY FOUR OCCUPANCY : 118 AREA:559,708 SQF

GALLERY THREE OCCUPANCY : 112 AREA:543516.1 SQF

GALLERY TWO OCCUPANCY : 120 AREA:573404.8 SQF

GALLERY ONE OCCUPANCY : 125 AREA:757,939 SQF

LOBBY/ STREET LEVEL OCCUPANCY :115 AREA:683,120 SQF HOT AIR COOL AIR BOILER CHILLER THEATRE OCCUPANCY : 90 AREA:532,030 SQF

COOLING TOWER FRESH AIR EXHAUST AIR

MECHANICAL ROOM OCCUPANCY : 155 AREA:962,035.3 SQF

41 FT² SA needed size of supply air for duct work= 7 x 6 duct

Total SF* 1CFM/SF= 41, 000 CFM 41,000/1000FPM=41FT² SA

A.7.0

125

HVAC

4A, Fall 2013, Design Document Analysis Development, +9$& 'LDJUDP

Environmental Systems Diagram

EXHIBITION GALLERY 901

GALLERY 801

EXHIBITION GALLERY 701

EXHIBITION GALLERY 700

60% of the museumâ&#x20AC;&#x2122;s space utilizes mechanized and controlled air systems

OFFICE 601

EXHIBITION GALLERY 501

DOUBLE LAYERED SHELLS CREATE BUFFER ZONES FOR VENTILATION, NATURAL COOLING AND INSULATION.

OFFICE 500

EXHIBITION GALLERY 400

EXHIBITION GALLERY 401

40% of the buildingâ&#x20AC;&#x2122;s space

GALLERY 301

may be naturally cooled and ventilated GALLERY 201

STORE 102 LOBBY 101

COAT ROOM B104

THEATRE LOBBY B103

THEATRE B102

STORAGE B202

MECHANICAL ROOM B302

A.7.1

Cross Section â&#x20AC;&#x201C; Environmental Systems

4A, Fall 2013, Design Document Analysis Development /LIH 6DIHW\ (JUHVV &URVV 6HFWLRQ (QYLURQPHQWDO 6\VWHPV 126

5HĂ HFWHG FHLOLQJ GLDJUDP RI VSULQNOHUV

A.7.2

127

Fire Protection

4A, Fall 2013, Design Document Analysis Development, Fire Protection

PRE-CAST CONCRETE PANELS

PRE-CAST CONCRETE PANELS(2)

CONCRETE SLABS

STRUCTURAL STEEL

$120 / SF

$100 / SF

42,100 SF TOTAL

53,500 SF TOTAL

46,500 SF TOTAL

28,600 SF TOTAL

42,100 X $120 = $5,052,000

53,500 X $120 = $6,420,000

46,500 X $120 = $5,580,000

28,600 X $100 = $2,860,000

TOTAL COST ESTIMATE: +$5,052,000 (PRE-CAST CONCRETE PANELS) +$6,420,000 (PRE-CAST CONCRETE PANELS(2)) +$5,580,000 (CONCRETE SLABS) +$2,860,000 (STRUCTURAL STEEL) = $19,912,000

$19,912,000 +FINISHES $2,127,840 +CORES $4,998,830 TOTAL COST ESTIMATE $27,038,670

A.8.0

Cost Calculation

4A, Fall 2013, Design Document Analysis Development &RVW &DOFXODWLRQ 128

Physical Model of Chunk of Building

3HUVSHFWLYH YLHZ RI &KXQFN

6HFWLRQ YLHZ RI &KXQFN

129

4A, Fall 2013, Design Document Analysis Development, 3K\VLFDO 0RGHO RI &KXQN RI %XLOGLQJ

3HUVSHFWLYH YLHZ RI &KXQFN

4A, Fall 2013, Design Document Analysis Development, 3K\VLFDO 0RGHO RI &KXQN 130

Biomimetic Principles %LRORJ\ LQĂ XHQFHV GHVLJQ SURMHFWV LQ PDQ\ ZD\V WKH UHODWHG GLVFLSOLQH LV NQRZQ DV biomimetics or biomimicry. Using the animal kingdom and botany as a source of inspiration, the class seeks to instill a shift in thinking about the application of biological principles to design and architecture. 7KH VHPLQDU ZLOO IRFXV RQ WKH DQDO\VLV RI KRZ rganisms have adapted to different environments and translates the learned principles into the built environment. Beyond the traditional studies DUFKLWHFWXUH KDV PRYHG WRZDUGV DQ LQWHUGLVFLSOLQary approach to develop building technologies, elements, processes and urban strategies inspired E\ QDWXUH 7RGD\ ZH GHVLJQ DQG HQJLQHHU Ă H[ible and dynamic building systems to mediate the LQWHUDFWLRQ EHWZHHQ PDQ DQG QDWXUH 6WXGHQWV RI WKLV FRXUVH ZLOO H[DPLQH QDWXUH LQ RUGHU WR HQKDQFH these elements through our design abilities and FUHDWH D PRUH LQWHOOLJHQW ZD\ RI OLYLQJ E\ LQWHUIDFLQJ ZLWK WKH HQYLURQPHQW LQ D PRUH VRSKLVWLFDWHG DQG OHVV LQYDVLYH ZD\ Instructor: Ilaria Mazzoleni

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Primary Coverts Primary Flight Feathers

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Secondary Flight Feathers

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3B Studio Designs and Projects Spring 2013

3B Studio | Dynamic Architectural Systems: Anabolic, Metabolic, Catabolic This studio introduces students to the comprehensive development of a building, from conception to large-scale detail, with an emphasis on the assimilation of building systems. Students examine interrelated systems which are able to both modify the spatial structure of a building, and articulate expectations of their performance structurally, thermally, acoustically and environmentally. In this studio, along with AS3040 â&#x20AC;&#x201C; Design Documentation Analysis and Development, students are expected to demonstrate how their buildings explore and resolve issues of egress, codes and life safety. Both classes comprise the academic sequence LQ IXOĂ&#x20AC;OOPHQW RI 1$$% FRQGLWLRQ &RPSUHKHQVLYH 'HVLJQ GHĂ&#x20AC;QHG DV Â´$ELOLW\ WR SURGXFH D comprehensive architectural project based on a building program and site that includes development of programmed spaces demonstrating an understanding of structural and environmental systems, building envelop systems, life safety provisions, wall sections and building assemblies and the principles of sustainability. Instructor:

Herwig Baumgartner

Project Description: Grant Av.

The goal of this project is to create a museum for the San Francisco site. It must be designed so as to create two different shelvesâ&#x20AC;&#x201D;an outer and an inner shelf, where the former holds up the latter. The language of these shelves should be different in order to create an atmosphere that is appealing, which will then draw in visitors. The concept of two shelves provides an opportunity to use multiple lanJXDJHV EXW DOVR SURYLGHV Ã&#x20AC;UH SURWHFWLRQ IRU WKH various galleries.

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Grant Av.

The program includes nine large interior galOHU\ VSDFHV Â· [ Â· [ Â· WKDW PDNH WKH bulk of the program. It is expected to produce VHYHUDO YROXPHWULF LWHUDWLRQV SD\LQJ VSHFLÃ&#x20AC;F attention at the relationship between inner volumes and outer mass as well as the surface UHODWLRQV WKDW GHÃ&#x20AC;QH HDFK RI WKHP 7KH YHUWLFDO composition of the inner volumes (gallery VSDFHV DQG D FRQWLQXRXV YHUWLFDO FLUFXODWLRQ network for the museum visitors should not only produce a strong conceptual, formal and spatial strategy for the project, but should also allow for a feasible functional paradigm to exist within it as well. This paradigm should unPLVWDNDEO\ GHÃ&#x20AC;QH D SUDFWLFDO UHODWLRQ EHWZHHQ interior gallery spaces and exterior mass with an overall vertical circulation network.

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Stockton St.

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Site: The site is a city block on west Grant Avenue, between Post Street and Maiden Lane in downtown San Francisco. The site is currently occupied by a twelve-story building that is to be demolished. Recently purchased by a private, high-end fashion company (think of 3UDGD WKH FOLHQW VHHNV D GHVLJQ IRU D SXEOLF museum/exhibition space to showcase a variety of works from their private collection, as well as changing, travelling exhibitions. Located away from the cultural precinct occupied by more stable, civic institutions (think of MOMA, located further downtown in the )LQDQFLDO 'LVWULFW WKLV VLWH LV RI LQWHUHVW GXH WR its proximity to a lively urbanism made up of major shopping areas and multiple private art galleries. 7KH VLWH LV DSSUR[LPDWHO\ VT IW The dimensions of the site are approximately Â· [ Â· 7KH VLWH LV ERXQG E\ 3RVW WR WKH 1RUWK *UDQW WR the East and Maiden Lane to the South

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AS Tectonics - Construction Assembly and Detail This course explores the concepts that govern architecture within a tectonic tradition of craft, construction, detail and assembly. The class examines the use of techniques and technologies and discusses them through historical precedents as well as by means of current designs and studio projects. The course focuses on different construction principles, materials and their particular methods of fabrication, assembly and detail. Exercises are carried out in model form both physically and digitally and simultaneously documented. Instructor:

John Bohn, Alexis Rochas

COURSE OBJECTIVES

Wells Cathedral, Somerset :LOOLDP :\QIRUG (QJODQG

It will be through precedent research, analysis, modeling and fabrication process that we will develop techniques for architectural production based on an understanding of the intelligence embedded in this critical architectural moment. It is hoped to develop an understanding of the architectural detail and its relationship to the entire building; the performance criteria, generative possibilities and expressive possibilities of seams, joints, capitals, brackets and other material connections or transitions.

Capitals, Pendentives, Muqarnas, Dougongs and Gargoyles! Embodied Intelligence in Tectonic Expression Capital: in architecture, the crowning member of column, pilaster, pier or other vertical shaft that takes the weight of the structure above. Pendentive: in architecture, one of the concave triangular members that support a dome over a square space. Muqarnas: in architecture, a corbeling that transitions between columns and walls and the structure above. Dougong: in architecture, an interlocking bracket system that transitions between vertical columns and the horizontal roof structure above. Gargoyle: in architecture, a spout in the form RI D JURWHVTXH KXPDQ RU DQLPDO Ă&#x20AC;JXUH SURMHFWing from a roof to throw rainwater away from the structure.

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:HOOV &DWKHGUDO 5HĂ HFWHG &HLOLQJ 3ODQ The nave of Wells cathedral is a hybrid assemblage formed by the horizontal tessellation of a base unit that combines cellular vaults with complex rib vaults. The cellular vaults are situated along the nave, and the complex rib vaults along the side aisles. The combination of base units introduces different degrees of subdivision of the vaultsâ&#x20AC;&#x2122; surfaces as well as a range of patterns, from a triangulated pattern on the complex rib vaults to one that is squarebased on the cellular vaults. The difference in height between the nave and the side aisles increases the surface of the elevation, introducing a higher ratio of openings. The nave of Wells cathedral transmits an optical affect of cellularity, reticulation, verticality and ribbing, and an acoustical affect of diffusion and slowness.

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Humanities 1: Premodern to Modern This introductory course surveys ancient to premodern cultural production with a framework that extends beyond a normative Western trajectory with an interest in tracing parallel histories in disparate geographical and cultural locales. The course examines art, theater, music, fashion and literature in ancient Greece, Rome, Africa, Egypt, Asia, Europe and beyond. This course is readingbased. Instructor: -LOO 9HVFL

Humanities Select at least six of images from the list that you feel form a common theme or narrative. The goal is for you to develop a coherent theVLV RQ D VSHFLĂ&#x20AC;F WRSLF RI \RXU FKRLFH <RXU WRSLF can be related to either an issue we discussed in class or based on your own observations. Examples could include, but are not limited to: Â&#x2021;5HSUHVHQWDWLRQ RI WKH KXPDQ IRUP RYHU WLPH Â&#x2021;+RZ UHOLJLRQ LQĂ XHQFHG DUW Â&#x2021;7KH XVH RI ODQGVFDSH DQG QDWXUDO LPDJHV Â&#x2021;+RZ WKH HFRQRP\ LQĂ XHQFHV WKH SURGXFWLRQ of images Â&#x2021;7KH HIIHFW RI JHRJUDSK\ RQ FXOWXUH Â&#x2021;'HYHORSPHQW RI QHZ WHFKQLTXHV DQG PHWKods of production Â&#x2021;7UHDWLHV Â&#x2021;2WKHU WRSLFV DFFRUGLQJ WR \RXU REVHUYDWLRQV <RXU WRSLF GRHV QRW KDYH WR IRFXV RQ WKH HQWLUH time period of the course; you may choose to focus on particular eras and periods. Once you select your topic you need to prepare a paper that contains the following: $Q LQWURGXFWRU\ SDUDJUDSK GHVFULELQJ \RXU theme and how the images are connected. $ SDUDJUDSK GHVFULELQJ HDFK RI \RXU VHOHFWed images, why they are important, what they represent and how they support your theme. 3. Identify and include a copy of the images you have selected along with relevant dates and time period. $ Ă&#x20AC;QDO SDUDJUDSK W\LQJ \RXU QDUUDWLYH WRgether. The goal of this assignment is for you to use visual evidence to support a narrative discussion on a theme that you observed or learned during this course.

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Artwork provides an interesting window into the societal attitudes of various times and places. Because it is essentially just a mode of communication, it allows one to see how views have evolved over time, even if the reasons for this evolution are not always as easily seen. For example, looking at how women have been depicted throughout various times and cultures reveals how differently they have been viewed. To see this, all one needs to do is look at the works that were done closer WR WKH EHJLQQLQJ RI WKH &RPPRQ (UD DQG compare them to the works of later artists like 6DQGUR %RWWLFHOOL DQG -DQ 9HUPHHU ,I RQH ZHUH to analyze the portrayal of women from these times, it would be evident that through time the images of women have gone from that which is majestic and powerful to that which is modest and subservient. The works from the past depict ZRPHQ DV FRQĂ&#x20AC;GHQW SRZHUIXO DQG LQGHSHQGent. For example, if you look at the Winged 9LFWRU\ RI 6DPRWKUDFH D QG FHQWXU\ %&( sculpture of a goddess, you see a woman that LV FRQĂ&#x20AC;GHQW DQG SRZHUIXO DV VKRZQ E\ KHU body language. Her powerful stance makes her DSSHDU DV LI VKH PLJKW Ă \ RII DW DQ\ VHFRQG which also gives one the impression that she is independent. Another example would be WKH )ODYLDQ :RPDQ VFXOSWXUH IURP &( +HU head is thrust upward and her hair extravagant, signifying that she is the one in control. This also gives one the impression that she stands on her ownâ&#x20AC;&#x201D;that she is valuable, yet perhaps unobtainable. This sculpture shows a woman who is proud, not shy, of being a woman, much like the images of women that were found at Pompeii, dating back to around WKH Ă&#x20AC;UVW FHQWXU\ &( 2QH VXFK LPDJH LV NQRZQ by the name of Flora, Goddess of Spring. This god was known to bring happiness and health, and so the woman is depicted in an alluring manner. She is distant, beautiful, loosely clothed, and self-assured, which gives her a majestic air. Another image from Pompeii that VKRZV D ZRPDQ OLNH WKLV LV WKH <RXQJ :RPDQ This image also shows a woman with her head up, indicating that she is no oneâ&#x20AC;&#x2122;s inferior. The pensive look in her eye is captivating and makes one feel as if they are being evaluated. Just like the other images, this woman appears unconstrained and strong. s

attempts to modestly cover herself. Also, rather than thrusting her head upward, her head is tilted down ZDUG ZKLFK VKRZV WKDW VKH ODFNV WKH FRQĂ&#x20AC;dence and power of the women in the previous examples. Others surround her too, which makes this tilted head and modest demeanor appear to be an act of compliance; this attitude is very different from the loosely clad womanâ&#x20AC;&#x2122;s in Flora, Goddess of Spring. In Botticelliâ&#x20AC;&#x2122;s work, a woman is swooping in to clothe the goddess and the goddess appears to lean towards her, which makes her seem even PRUH VXEVHUYLHQW 6LPLODUO\ -DQ 9HUPHHUÂˇV *LUO ZLWK D 3HDUO (DUULQJ IURP VKRZV D woman very much like this. The earing hints at the idea of underlying value, but what is most apparent is the fact that she is almost completely coveredâ&#x20AC;&#x201D;modesty taken to the extreme. She glances back, but not in an enticLQJ PDQQHU 1R ZKDW LV VHHQ LQ KHU IDFH PRUH like a longing for permission. Both of these women seem to have lost their power and become nothing more than beautiful treasures that you keep hidden and controlled. In the end, the transformation is made apparent. Each work communicates a view of what a woman is and what she should be. While it appears that the newer ones havenâ&#x20AC;&#x2122;t completely destroyed the idea that women are valuable, they do seem to have different ideas about what it means to be valuable. Given that the later images of women are stripped of any sense of independence and power, the view seems to be they are valuable possessions. This is in direct contrast to the former view that women were just simply valuable. Different views are expressed here, but that doesnâ&#x20AC;&#x2122;t necessarily mean that theyâ&#x20AC;&#x2122;re equal.

The images that can be found later show women stripped of this power, appearing instead as modest and subservient.Sandro %RWWLFHOOLÂˇV %LUWK RI 9HQXV IURP LV D good example of this. Even though a goddess is being depicted, she appears shy as she

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3A Studio Designs and Projects Fall 2012

3A Studio | Field Operations: Static Architectural Systems 7KH Ă&#x20AC;UVW VWXGLR RI WKH FRUH VWXGLR VHTXHQFH ORFDWHV the idea of architecture at the intersection of various systems of information: from technical to cultural, from visual to tactile. Students consider the uses of precedent and antecedent in their work, while the main investigation examines the impact of structure and material systems on site and building form, and the capacity to use transformation as a methodological tool to guide a rigorous approach to decision making. Instructor: Patrick Tighe

Part One

Project Description 7KH Ă&#x20AC;UVW VWXGLR RI WKH FRUH VWXGLR VHTXHQFH locates the idea of architecture at the intersection of various systems of information: from technical to cultural, from visual to tactile. Students consider the uses of precedent and antecedent in their work, while the main investigation examines the impact of structure and material systems on site and building form, and the capacity to use transformation as a methodological tool to guide a rigorous approach to decision making. The studio will engage these issues through the design of new enlarged infrastructural node for high speed rail at Union Station in &KLFDJR 0RWLYDWHG E\ WKH ULFK VWUXFWXUDO DQG tectonic history of the train station, and other performative criteria. Topics to be focused on this project include structural systems, perIRUPDWLYH HQYHORSHV SURJUDP DQG Ă RZ DQDO\sis, and the development of spatial conditions that create compelling public experience.

Exercise 1 The building project to be developed over the VHPHVWHU LV D WUDQVSRUWDWLRQ KXE IRU &KLFDJRÂˇV Union Station. A series of introductory exercises will be lead WR WKH Ă&#x20AC;QDO EXLOGLQJ SURMHFW 7KH GHVLJQ SURcess will be explored as both an assemblage of part relations whilst the focus will be on the tectonics of structural systems. Materials, natural lighting, environmental concerns and programmatic requirements will inform the process as will the relationship of the building to the site and to the city. Life-safety issues, accessibility and sustainable building practices will be integral to the design. More detailed programmatic requirements will be VXSSOLHG DIWHU 3URMHFW LV FRPSOHWHG

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Structural Morphology will be used as a strategy for generating three-dimensional structural networks. Techniques will be discussed and offered as generative starting points. Operational strategies will arise through research and analysis. Each student will develop a set of techniques related to their own approach and sensibility. Throughout the course, the impact of structure and material systems on the site and the building form will remain the focus of the studio.

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1.A INTERconnection We will start with generating spatial patterns EDVHG RQ WKH UHODWLRQVKLS RI SDUW V WR D larger whole. Students will produce two and three-dimensional representations informed by the initial studies. Drawings, details and 3 dimensional studies will be produced to clearly articulate the spatial relationships inherent within the structural form. The 3d construct will be studied at the micro level and also at a larger scale. While the whole is often beautiful and ornate, it is equally compelling for its ability to achieve, perform or otherwise function well beyond the expected means of the sum of the parts. By GHĂ&#x20AC;QLWLRQ WKH ÂśZKROHÂˇ RI D FRPSOH[ V\VWHP LV greater than the sum of its parts. 6WXG\ 0RGHO RI 'UDJRQĂ \ %UDQFKLQJ 6WUXFWXUH Elevation

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Fiber Cell Systems - Diagrid Structure The structure is that which stands and supports itself. In order to establish a solid structure, however, we needed to connect the two pieces that made up our surface. This was done by means of bending, a method that created the prominent curved surfaces, which provided a stable base on which to build.

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Part Two

Enclosure 'XULQJ WKH Ă&#x20AC;UVW KDOI RI WKH VHPHVWHU WKH VWXGLR focused on the singular pursuit of developing DQG UHĂ&#x20AC;QLQJ JHRPHWULF ODQJXDJH WKURXJK WKH lens of structure. In the course of the second half of the semester, the studioâ&#x20AC;&#x2122;s focus is on WKH GHYHORSPHQW DQG UHĂ&#x20AC;QHPHQW RI JHRPHWU\ through multiple building systems namely structure, program and enclosure. We believe that a robust project will emerge from a process of negotiation between these three systems and not simply through one-way causal thinking. In other words, there will be moments in each project where structure trumps program and enclosure, then conversely, moments where program trumps enclosure and structure. In an effort to get at this type of relational thinking, we are introducing program, structure, and enclosure in layers that are worked on additively, not independently. For the past weeks, the 3A studio has focused on the development of a programmatic strategy DV ZHOO DV RQ WKH UHĂ&#x20AC;QHPHQW DQG GHSOR\PHQW of a structural system. For the next two weeks, the studio will foreground the development of DQ HQFORVXUH V\VWHP ZKLOH FRQWLQXLQJ WR UHĂ&#x20AC;QH program and structure.

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3A Visual Studies / Deep Skin I Light Bones Students will be working with Grasshopper through Rhino software. Previous knowledge of Grasshopper will be useful as we will move into complex modeling quickly. Students will be encouraged to FUHDWH WKHLU RZQ GHÀQLWLRQV E\ XQGHUVWDQGLQJ WKH JHRPHWULFDO SULQFLSOHV LQ GHÀQLQJ WKLV W\SH RI JHRPetry. Students will work entirely in the Grasshopper environment to create both the structure as well as deep 3-D pattern on the surface. Final project will connect a series of their redesigned vaults to create a new system of ceiling structure. Instructor: Jenny Wu

Project Description We began by choosing a vault that held special appeal to us. This was followed by a methodical study of the vaultâ&#x20AC;&#x2122;s structure. Then, by utilizing Grasshopper we were able to take our understanding of the structure even further and eventually transform it as we desired.

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Environmental Systems 1 &RQWH[W DQG HQYLURQPHQW DUH WKH WZR IXQGDPHQWDO terms examined in this course. Beginning with an understanding of what constitutes the experience of place, the class develops a series of arguments with which to evaluate environments, the relationship between man and nature, and the architectural notion of what constitutes comfort. The course investigates to what extent the understanding of the environment is culturally and biologically determined. Students conduct their own research into a chosen area of climatology and develop schematic buildings proposals for various climatic conditions while making design decisions that conserve natural and built resources. Instructor: John Bohn

Paripatric Speciation in Architecture Project Description 7KH ,QWHUQDWLRQDO 6W\OH DGYRFDWHG VSHFLĂ&#x20AC;F terms for architectural expression that suSHUVHGHG VSHFLĂ&#x20AC;F JHRJUDSKLHV DQG RIWHQ LQWHQVLĂ&#x20AC;HG WKH LQHIĂ&#x20AC;FLHQW XVH RI DFWLYH EXLOGLQJ technologies for human comfort and environPHQWDO SHUIRUPDQFH &RQYHUVHO\ ELRORJLFDO RUJDQLVPV DUH W\SLFDOO\ RSWLPL]HG IRU VSHFLĂ&#x20AC;F local environmental performance for survival DQG SULRULWL]H WKH HIĂ&#x20AC;FLHQW FRQVXPSWLRQ RI energy resources. This dichotomy between the built and the biological is no longer sustainable in contemporary architectural production and has become a fertile territory for design expression. In fact, in spite of ambitions to WKH FRQWUDU\ ORFDO HFRORJLHV GLG Ă&#x20AC;QG WKHLU ZD\ into even the most dogmatic works as Modern architecture evolved. The re-discovered passive systems of historic precedents, performance-based design techniques and emerging digital technologies have been increasingly leveraged to inform the production of archiWHFWXUH 1RW VLPSO\ WR RSWLPL]H HQYLURQPHQWDO performance, but for architectural expression, ERWK EDVHG RQ SURMHFW VSHFLĂ&#x20AC;F HQYLURQPHQWDO performance parameters. The production of architecture can be considered the synthesis of performance and expression. In the sequence of Environmental 6\VWHPV FRXUVHV WKLV Ă&#x20AC;UVW FRXUVH KDV IRcused on understanding the basic principles of energy, thermodynamics and the dynamic HFRORJLHV RI D ÂśFRQVWUXFWHG VLWH Âˇ ,Q DGGLWLRQ climatic zones, passive system precedents and emerging digital simulation tools have been introduced. The intention of this project LV WR XVH VWUDWHJLHV RI VLWH VSHFLĂ&#x20AC;F RULHQWDWLRQ massing, geometry and materiality to both optimize the passive energy performance of an architectural form and inform its expression.

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2B Studio Designs and Projects Spring 2012

2B Studio | Frameworks: Programs Students examine the structure of information WKDW RUJDQL]HV D SURMHFW &RQVLG HUDWLRQ IRU YDU\LQJ weaves of interrelationships is studied through increasingly complex data sets. Students are chalOHQJHG WR ZRUN ZLWKLQ VSHFLÃ&#x20AC;F FRQGLWLRQV DV ZHOO as develop working processes which yield their own ideas for organizational operations regarding space, site and context. 6NLOOV )DPLOLDULW\ ZLWK $XWR&$' DQG KDQG GUDIWLQJ verbal presentation. &RQFHSWV $QDO\WLFDO SURFHVVHV ZRUN SURFHVV scenario planning. Instructor: Mary-Ann Ray

First Part

Project: Overview 6WXGLR % ZLOO ZRUN DV D UHVHDUFK ODERUDWRU\ for exploring programming as a means of generating organization models and conceptual narratives that shift basic morphologies into new spatial realms. This demands an understanding of how what we do see and determine as architects affects what we donâ&#x20AC;&#x2122;t see or donâ&#x20AC;&#x2122;t determine as architects and vice versa. Simply, put the formal choices an architect makes impacts the range of behavioral outcomes a building affords. Primary to this study is an investigation into the gradient of space between architectural form and cultural DFWLRQ &XOWXUDO DFWLRQ VKRXOG EH XQGHUVWRRG DV WKH Ă RZV RI SHRSOH DQG WKH GLVWULEXWLRQ of functional uses. By focusing on methods of organization, the students will engage in processes that can affect traditional systems of order and transform them into renewed models of spatial interaction. In exploring the role of programming in architecture, the studio will propose formal organizations and their corresponding material form for the new Los $QJHOHV %DOOHW 6FKRRO LQ +ROO\ZRRG &DOLIRUQLD Ballet, one of the earliest formalized forms of dance, originated in the Italian Renaissance as entertainment for the royal courts. It was the predominant form of dance in Europe whose popularity was uncontested until the HDUO\ WZHQWLHWK FHQWXU\ &RQWHPSRUDU\ IRUPV of dance, like modern and jazz, exploded onto the dance scene in the twentieth century as a reaction towards the social changes of the time and against the classical nature of ballet. +RZHYHU E\ WKH V ERWK FRQWHPSRUDU\ DV well as classical forms of dance are performed by most major ballet

companies around the world and dancers are trained in both types of techniques. The Los Angeles Ballet School is an extension of the professional dance company, the Los Angeles Ballet. It is located in the heart of Hollywood at the intersection of Sunset and Ivar Â˛ DFURVV WKH VWUHHW IURP $UFOLJKW &LQHPDV DQG $PRHED 5HFRUGV 7KH &LW\ RI /RV $QJHOHV KDV failed to sustain a world class dance company XQWLO LWV IRXQGLQJ LQ ,WV VXUYLYDO DFFRUGing to its mission statement, is credited to Â´DQ LQFUHDVLQJ OHYHO RI FRPPXQLW\ DZDUHQHVV and support; the ability to adapt to change and challenge; and, above all, integrity and devotion to quality.â&#x20AC;? In the spirit of opening up to the community and adapt to the changing dance scene, it is the conceit of this studio that the Los Angeles Ballet School will be offering educational opportunities to the general public in one of the alternative genres of dance: hip hop, ballroom, and African, as well as its original offerings of ballet, modern and MD]] (DFK VWXGHQW PXVW VHOHFW D VSHFLĂ&#x20AC;F JHQUH and design a new programmatic relationship between the dance company and the public. This additional genre will also generate new structural, spatial opportunities for the architecture of the dance school.

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Transformational Morphologies and Typological Shifts In this part, by looking and studying the Ddatume lines and the density of the site, we design four different models to Ã&#x20AC;QG ZKLFK RQH ZLOO EHVW SURYLGH XV ZLWK D strategy connected to the site. These four buildings should be made with just three different actions.

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Building Structures 7KH FRQWRXU OLQH GLYLGHG LQWR IW LQWHUYDOV and made into a physical model. The model displays the design with structure. Moreover, the model allows the dance studios and perIRUPDQFH URRP WR EH Ã&#x20AC;[HG 7KH SHUIRUPDQFH room color will be pink, and the studio color will be orange.

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Grid Structures This part of the project is comprised of grid PRGHOV RI WKH 3HUIRUPDQFH +DOO SLQN DQG 6WXGLR RUDQJH WR VKRZ WKH VSDFH DQG circulation inside the building. The model showed that there were problems of circulation and giametric shape of the Performance Hall and Studio.

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Classroom A

b Video Techno / logy La

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Medium Dance Studio

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Gym

Dance Library

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Site Plan

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Diagrams This buildingâ&#x20AC;&#x2122;s void space is made to look like a tree; it is clearly seen in the greengray diagram. Moreover, the dance school is organized with a distributed program in the orange-pink diagram, which shows a different view of the building.

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Technologies of Description 2: Analog and Digital Practices This course examines and extends the analytical techniques and strategies for the study of architecture evolving from programmatic and structural systems to external factors affecting site or building. Work is centered on advanced digital 3D drawing and modeling techniques for the construction and evaluation of spatial conditions. Students develop techniques for manipulating 3D data that include rapid modeling, texture mapping, lighting and rendering, and analog drawing. Instructor: Emily White

Unit #1: Orbs & Orbits We begin the seminar with an intensive unit on parametric modeling. These models are UHODWLRQDO V\VWHPV GHĂ&#x20AC;QHG E\ SDUDPHWHUV RU characteristics. ,Q WKH Ă&#x20AC;UVW XQLW WKH\ GHVFULEHG IRUP DQG relationships with parameters that were understood quantitatively. We mastered the application of familiar geometries. We wored with rays, arcs, circles, ellipses, spheres and angles. We also examined geometric transODWLRQV EHWZHHQ Ă DW VXUIDFHV DQG YDULRXV primitives.

Project #1: Solar System :H EHJLQ LQ WKH SDUDOOHO XQLYHUVH <RX ZLOO EH modeling a solar system. There are the following elements in the solar system: A sun 4 planets orbiting the sun in concentric elliptical orbits 5 moons orbiting the planets in circular orbits The outermost planet orbits the sun the fastest The innermost planet orbits the sun the slowest 7KHUH DUH RU PRUH SODQHWV ZLWKRXW PRRQV 7KHUH DUH RU PRUH SODQHWV ZLWK RU PRUH moons

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Map Making of Sphere First, I designed a pattern for the sphere. Then, I folded the pattern around the sphere. Following this, I unrolled the pattern in different ways on different spheres to see how the same pattern could produce different maps.

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Project # 3 : Glacier We found a bay on one of our continents that ZDV QRU ODUJHU WKDQ NP [ NP 7KH JODFLHU forms here. Snow falls and is compacted into ice over time. We represent the layers of ice as a topographic drawing. A layer of ice is deposited each year for between 500 and 5,000 years. Each year, the ice respondsd to enviornmental parameters that is approximated with software. For instance, one year there may be volcano erupting somewhere in the glacier causing a hot spot where the ice melts. Another year may have strong winds causing more ice to be deposited on one side of the glacier than the other. We describe these scenarios with both normal, qualitative vocabulary and in terms of WKH SDUDPHWHUV LGHQWLĂ&#x20AC;HG ,Q WKH PRVW LQWHUesting glaciers, several systems will interact.

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Project # 4 : Landform Matrix In this project, we develop a landscape as a result of interactions between two or more systems. Previously, we looked at systems of curves to describe the topography of a glacier. ,Q PRVW FDVHV PXOWLSOH V\VWHPV HYHQWV occured in serial. In this project, multiple sysWHPV HYHQWV ZLOO RFFXU LQ SDUDOOHO We will continue working with landforms and their formation over time. We will explore the difference between a tendency and a characteristic. Of particulr interest are the tendencies within systems. Tendencies will be understood as having temporal associations, as behaviors informed over time. :RUNLQJ ZLWK D G\QDPLF LH DGMXVWDEOH V\Vtem in Grasshopper, model a landscape with some of the following forms. Bodies of water: Lake, River, Bay, Ocean %RGLHV RI LFH *ODFLHU ,FHEHUJ ,FH Ă RH (DUWKIRUPV 0RXQWDLQ 9DOOH\ &DQ\RQ 3HQLQVXOD ,VWKPXV &OLII 3ODWHDX

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Unit #2: Sun & Horizon In this unit we learned how to render the ODQGVFDSH WKDW ZH PDGH LQ XQLW $IWHU rendering the landscape we imported it into ,OOXVWUDWRU WR FUHDWH D FRORU Ã&#x20AC;HOG SLFWXUH :H then created a script in Grasshopper and used it with the rendered image to produce the mapper pattern.

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Unit #3: Mapping In this unit we learned how to map our pattern to the Glacier calf and then laser cut the SDWWHUQ RQWR ODWH[ Ã&#x20AC;OP :H GR VHYHUDO SDLQW tests and choose the one that works best with our project. The calf itself is produced from a SDUW RI WKH JODFLHU WKDW ZDV PDGH LQ 8QLW

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History of Architecture 3: Industrial Revolution to Contemporary Discourses 7KLV FODVV SUHVHQWV D KLVWRU\ RI WK FHQWXU\ DUFKLWHFWXUH DQG XUEDQLVP IURP WK FHQWXU\ WHFWRQLFV and structural rationalism to the emergence of deconstruction and the contemporary avant-garde. The course examines critical moments in the creative and intellectual discourses that have arisen over the course of the century, a time in which the discipline of Architecture has endured innumerable theoretical debates that forged an ever-greater reliance upon theoretical sources and visual knowledge. Among the issues discussed are the rise of industrial production of new technologies and mass urbanization. Instructor: Stephen Phillips

Research Paper Abstract: Zaha Hadid Upon reading Architectureâ&#x20AC;&#x2122;s history, you will Ã&#x20AC;QG YHU\ OLWWOH QRWLFH RI ZRPHQ $UFKLWHFWXUH has primarily been viewed as a manâ&#x20AC;&#x2122;s professionâ&#x20AC;&#x201D;any contribution made by women has largely been marginalized. Although in recent times, the idea of architecture existing as a manâ&#x20AC;&#x2122;s profession is no longer convincing. With the world becoming more politically correct and with the championing of anti-sexist sentiment, women have found a place within many professions that were previously closed to them; although, this does not necessarily mean that these professions have been welcoming. In many professions, despite outward appearances that profess the opposite, the irrational belief that women are somehow inferior to men still lingers. This surviving misconception, in part, results from the relatively undocumented achievements of women attesting to their abilities; and, the tendency of past society to overlook the achievements that have been documented. This has led to the current need for women to establish themselves on the basis of meritâ&#x20AC;&#x201D;to prove their ZRUWKLQHVV DPRQJ WKH PHQ ,Q DQ\ Ã&#x20AC;HOG JUHDW women are needed to pave the way for others. $OWKRXJK PHQ KDYH GRPLQDWHG WKH Ã&#x20AC;HOG RI Architecture in the past and sexism continues WR EH DQ REVWDFOH =DKD +DGLGÂ³DUJXDEO\ WKH ZRUOGÂ·V Ã&#x20AC;UVW IDPRXV IHPDOH DUFKLWHFWÂ³KDV proven that women are just as innovative and FDSDEOH LQ WKH Ã&#x20AC;HOG RI $UFKLWHFWXUH DV PHQ Her architectural style is both uncompromisingly ambitious and inventive, which rivals that of her contemporaries.

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Zaha Hadid: A Trendsetter The overwhelmingly talented establish in the eyes of others what can and cannot be achieved. We live in a world of expectations and obstacles. Oftentimes, we are hindered by these expectations that attempt to limit what can and should be done. Expectations establish roles, and roles can be imprisoning. Although, these roles are not static: they, like everything else, are in a constant state of Ă X[ÂłDQG WKLV Ă X[ LV DVVLVWHG E\ LQGLYLGXDOV who buck the status quo and force us to revaluate the way in which we see the world around us. As we shift our collective consciousness to allow for new possibilities, we very often HQDEOH RXU ZRUOG WR EHFRPH ULFKHU 7KH Ă&#x20AC;HOG RI Architecture is a perfect example of just much can be gained by such a shift in consciousQHVV ,Q WKH SDVW WKH Ă&#x20AC;HOG ZDV E\ FXVWRP made up of men to whom the profession was VHHQ DV Ă&#x20AC;WWLQJ 7KH SUHVHQW RI FRXUVH LV QRW quite as bleak: women are now working within WKH Ă&#x20AC;HOG DOWKRXJK WKH\ RI FRXUVH KDYH VRPH catching up to do. The collective number of famous male architects, living and otherwise, far exceeds the number of famous female architects; this isnâ&#x20AC;&#x2122;t surprising, however, given the relatively short period of time that women KDYH EHHQ DFWLYHO\ SDUWLFLSDWLQJ LQ WKH Ă&#x20AC;HOG Women have already contributed much to the Ă&#x20AC;HOG DOWKRXJK LW LV RQH ZRPDQ LQ SDUWLFXODU that has especially contributed to the prestige of the idea of a woman architect. That woman LV =DKD +DGLG DQG VKH LV RYHUZKHOPLQJO\ talented. She is a trendsetter who lives in a world of dreams that she actively seeks to bring into fruition. As an architect, she represents the vast potential of women everywhere: she is a symbol of what is possible. Although PHQ KDYH GRPLQDWHG WKH Ă&#x20AC;HOG RI $UFKLWHFWXUH LQ WKH SDVW =DKD +DGLGÂłDUJXDEO\ WKH ZRUOGÂˇV Ă&#x20AC;UVW IDPRXV IHPDOH DUFKLWHFWÂłKDV SURYHQ WKDW women are just as innovative and capable in WKH Ă&#x20AC;HOG RI $UFKLWHFWXUH DV PHQ As mentioned, Architectureâ&#x20AC;&#x2122;s past is painted with men, although women such DV =DKD +DGLG KDYH HQVXUHG WKDW LWV IXWXUH representation will include women. Great men are found among the history pages of Architecture: men like Brunelleschi, Borromini, and Bernini are but a few examples of the types RI QDPHV RQH PLJKW H[SHFW WR Ă&#x20AC;QG RQ D JLYHQ page of Architectural history. Searching further and one would likely come across a plethora of masculine names adorning any particular page. It is then that one might realize a notable peculiarity: the absence of feminine names. This would be because women have more or less lived in Architectureâ&#x20AC;&#x2122;s shadows for much of its history. The traditional role of a woman has been that of a homemaker,

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DOWKRXJK WKH ZRUOG WKDW ZH Ă&#x20AC;QG RXUVHOYHV in today has liberated women from this role and allowed them to focus on their desired SXUVXLWV 7KLV RI FRXUVH KDV KDG D VLJQLĂ&#x20AC;FDQW impact on the demographics of the workplace DQG KLJKHU HGXFDWLRQ ,Q DQ DUWLFOH E\ 1LFRODL Ouroussoff that examined past and present GHPRJUDSKLFV RI ZRPHQ ZLWKLQ WKH Ă&#x20AC;HOG RI $UFKLWHFWXUH WKDW ZDV SXEOLVKHG LQ E\ 7KH 1HZ <RUN 7LPHV DQG ZDV WLWOHG Â´.HHSLQJ +RXVHV 1RW %XLOGLQJ 7KHPÂľ WKH DXWKRU QRWHV WKDW WRGD\ Â´ZRPHQ PDNH XS URXJKO\ KDOI RI all students in American graduate schools of DUFKLWHFWXUHÂľ )URP WKLV RQH FRXOG ULJKWO\ conclude that women have taken an interest in Architecture. Unfortunately though, this doesnâ&#x20AC;&#x2122;t mean that women have shared the same type of successes that men have. This LV UHĂ HFWHG LQ 2XURXVVRIIÂˇV DUWLFOH ZKHQ KH JRHV RQ WR VD\ WKDW Â´WKH QXPEHU >RI ZRPHQ@ who have entered the ranks of international VWDUV LV PLQXVFXOHÂľ 7KLV LVQÂˇW WR VD\ KRZever, that there have been no international VWDUV 7KH Ă&#x20AC;HOG RI $UFKLWHFWXUH LV XQGRXEWHGO\ demanding and hard not just for women, but for men as well. It requires a level of devotion that is in most cases simply unparalleled. To become an architect, is an impressing feat; to become a famous architect, is to make history. As previously mentioned, it is the greats of any professions that inspire and to a certain H[WHQW SURYH ZKDW FDQ EH GRQH =DKD +DGLG LV one of those few international stars, and she has opened the historical book of Architecture and written her name down in it; and in doing so she has also written down the name Â´ZRPDQ Âľ $QG RI FRXUVH WKHUH UHPDLQ PDQ\ EODQN SDJHV LQ WKH ERRN WR EH Ă&#x20AC;OOHG =DKD +DGLGÂˇV SHUVRQD VKLQHV OLJKW on the fact that she is remarkably innovative, and that other women can be too. It is a timehonored tradition that women be gentle and XQDVVXPLQJ =DKD +DGLG LV QHLWKHU 7KLV LV QRW to say that she is not a woman, but merely to point out the fact that she is a non-conformLVWÂłDV DOO WUHQGVHWWHUV DUH =DKD +DGLG LV QRW only a non-conformist, but also untiring and DYDQW JDUGH ,Q GHVFULELQJ =DKD +DGLG IRU an article that appeared in The Times called Â´$UFK )XU\ $UFKLWHFW =DKD +DGLG Âľ -RDQQD 3LWPDQ VDLG Â´7KLV ZRPDQ EHKDYHV VR PXOLVKO\ so extraordinarily willfully, that you might imagine she is engaged in building an Egyptian pyramid single-handedly, block by massively painful block.â&#x20AC;? Itâ&#x20AC;&#x2122;s no surprise that Joanna Pitman chose to imagine Hadid as attempting to construct one of the Seven Wonders of the Worldâ&#x20AC;&#x201D;that is precisely how creative and DPELWLRXV WKDW VKH LV =DKD +DGLG GRHV QRW want to be involved in the trivial; she wants

to construct something grand, and she is in the habit of doing just that. Her interests, KRZHYHU H[WHQG EH\RQG $UFKLWHFWXUH =DKD Hadid has also contributed to the design of VKRHV &RQVLGHULQJ WKH IDFW WKDW =DKD +DGLGÂˇV architecture is very much concerned with aesthetics, it is no surprise that she would branch out and decide to have a run at shoe design. ,Q DQ DUWLFOH E\ $OZD\V ,QVSLULQJ 0RUHÂŤ =DKD +DGLG LV TXRWHG DV KDYLQJ VDLG Â´,I RQO\ ZH DUchitects were intentionally allowed to do what we dream of, then the world would be a better place.â&#x20AC;? It is the dreamers that were responsible for the things that awe us, like the pyraPLGVÂłDQG =DKD +DGLG LV GHĂ&#x20AC;QLWHO\ D GUHDPHU And, I would bet that other women are, too. 7KH FULWLFDO DFFODLP WKDW =DKD +DGLG has received demonstrates that she is worthy of praise and speaks to the enormous potenWLDO RI ZRPHQ ZLWKLQ WKH Ă&#x20AC;HOG RI $UFKLWHFWXUH $PRQJ KHU PDQ\ DFKLHYHPHQWV =DKD +DGLG ZDV WKH Ă&#x20AC;UVW ZRPDQ WR UHFHLYH WKH SUHVWLJLRXV Pritzker Architecture Prizeâ&#x20AC;&#x201D;an impressive achievement for any architect. According to WKH RIĂ&#x20AC;FLDO 3ULW]NHU $UFKLWHFWXUH 3UL]HÂˇV ZHEsite, the purpose of this much-coveted award is: To honor a living architect whose built work demonstrates a combination of those qualities of talent, vision, and commitment, which has produced consistent and VLJQLĂ&#x20AC;FDQW FRQWULEXWLRQV WR KXPDQLW\ and the built environment though the art of architecture. $V WKH Ă&#x20AC;UVW ZRPDQ WR UHFHLYH WKLV DZDUG =DKD Hadid has set a precedent. This in turn will undoubtedly inspire numberless women in the future to follow in her footsteps. Itâ&#x20AC;&#x2122;s not that the worth of women was unproven in the past, but rather that the sight of such an achievePHQW LV LQVSLULQJ :RPHQ KDYH RIĂ&#x20AC;FLDOO\ MRLQHG the ranks of men among the Pritzker Architecture Prize laureates, and so their contribution WR WKH Ă&#x20AC;HOG KDV EHHQ PDGH NQRZQ =DKD +DGLG KDV SURYHQ WKDW ZRPHQ are just as innovative and capable as men; this isnâ&#x20AC;&#x2122;t in any way to demean men: it is certainly true that men are just as innovative DQG FDSDEOH DV ZRPHQ :LWK =DKD +DGLG WKH world has been given a new perspective. Our collective consciousness has been nudged E\ +DGLG WR VHH $UFKLWHFWXUH DV D Ă&#x20AC;HOG WKDW LV comprised of both great men and women. It is QRW WKDW WKLV ZDV XQIDWKRPDEOH EHIRUH 1R RQH of any sense would have stated that blacks ZHUH XQĂ&#x20AC;W WR EHFRPH 3UHVLGHQW RI WKH 8QLWHG States of America; however, with the election of Barack Obama many of us see the world as a bit more open now. In much the same way, =DKD +DGLG KDV PDGH WKH ZRUOG D ELW PRUH openâ&#x20AC;&#x201D;just as trendsetters do.

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Humanities 3 - Modernism in Literature, Art and Film This seminar looks at the background, nature, evolution and multiple facets of modernism, and how these connect through the arts. The ways in which DUWLVWV LQ DOO Ă&#x20AC;HOGV KDYH UHVSRQGHG WR PRGHUQLW\ LV discussed, along with the impact of new technologies, art forms, and social and economic condiWLRQV 6WXGHQWV GHYHORS D IDFXOW\ IRU OLWHUDU\ Ă&#x20AC;OP and art criticism, and an awareness of the ways in which similar themes, techniques and world outlooks have recurred at different times in different media since the advent of modernism. The course operates at two scales, presenting the wider context for each topic as well as looking closely at VWUDWHJLHV XVHG E\ ZULWHUV DUWLVWV DQG Ă&#x20AC;OP PDNHUV from Baudelaire to Wong Kar-Wai. Instructor: Jill Vesci

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Essay #1 Identify common themes between the music selections we heard in class, art examples and the chapters of Frankenstein. What about WKHVH ZRUNV LGHQWLĂ&#x20AC;HV WKHP DV Â´5RPDQWLFÂľ" 8VH VSHFLĂ&#x20AC;F H[DPSOHV IURP WKH UHDGLQJV DQG lectures to illustrate these connections.

Subjectivity The world is seen through the eyes RI WKH REVHUYHU 1DWXUDOO\ WKLV OHDGV WKH observer to try to make sense of that worldâ&#x20AC;&#x201D;it leads him to form an interpretation. In much the same way, we could say that reality exists; reality is dependent on perspective. Those who have grasped this, like the Romantics, understand that our understanding of the world is truly subjective. Romanticism epitomized subjectivity; all one needs to do is examine the works of this period to see their purpose: to point out the individual nature of life. 8SRQ VHHLQJ &DVSDU 'DYLG )ULHGULFKÂˇV SDLQWLQJ Wanderer above the Sea of Fog, we immediately see the need for an interpretation. The painting is philosophical: it is subjective. It becomes no wonder why this picture can be found adorning the cover of the Barnes & 1REOH &ODVVLFV HGLWLRQ RI )ULHGULFK 1LHW]VFKHÂˇV 7KXV 6SRNH =DUDWKXVWUD 7KH PDQ LQ WKH SDLQWing stands atop a ridge and looks down below; his vision, however, is obscured by fog. The fog could be taken to signify the fact that our perspective in life is not clear, but necessarily blurryâ&#x20AC;&#x201D;and therefore subjective. &KRRVLQJ ZKDW LV DQG ZKDW LV QRW important can be deemed subjective. In Mary Shelleyâ&#x20AC;&#x2122;s novel Frankenstein, this is precisely ZKDW WKH SURWDJRQLVW 9LFWRU GRHV ZKHQ KH chooses to immerse himself within the world of science and reimagine what is possible; in his opinion, this was a worthwhile endeavor. Furthermore, by seeking to create what he did, he made an important statement about the moral implications of doing so; namely, that they, as seen by the observer, can be interpreted in different ways. The novel is an examination of subjectivity in action. Another addition to the realm of subjectivity is the music of Beethoven. Listening to Ode to Joy and determining any particular meaning is clearly up to the listener. The title of the piece provides a framework to understand the piece, although it does not tell us how we should feel about it; all we know is that it is addressed to the subject of joy. Beethovenâ&#x20AC;&#x2122;s piece provides us with mixed feelings, which forces the issue of interpretation that much more. The more one listens, the more one realizes: the music written by Beethoven depends upon the notion of interpretation. It is therefore highly subjective. 7KH SHULRG RI 5RPDQWLFLVP LV Ă&#x20AC;OOHG with artists who sought to express the subjectivity of life, which allowed them to truly embrace what it means to be an artist; an artist was, to them, simply a skilled interpreter. They knew that whether painting, writing, or composing, they were offering up a view of the

world. Life did not exist in the logical fashion that we are often misled to believe; it existed through interpretation.

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Essay #2 Read Kafkaâ&#x20AC;&#x2122;s Metamorphosis and answer the following two questions: ,V 7KH 0HWDPRUSKRVLV D 6XUUHDOLVW ZRUN" ([SODLQ KRZ WKH HYROXWLRQ RI 0RGHUQLVP can be seen from Shelleyâ&#x20AC;&#x2122;s Frankenstein to Kafkaâ&#x20AC;&#x2122;s Metamorphosis.

Modernism and Surrealism in the Works of Shelley and Kafka 7KH WK DQG WK FHQWXULHV VDZ many changes. Among those changes, were the ways in which authors sought to express themselves. First, there was the rise of Modernism, which attempted to make sense of the world after the end of World War I; following this, there was the Surrealist movement that focused on the potential and creativity of the subliminal. Through the literature that WKHVH PRYHPHQWV LQVSLUHG ZH Ă&#x20AC;QG WKHPHV well worth exploring. Upon reading Franz Kafkaâ&#x20AC;&#x2122;s The Metamorphosis, one is immediately drawn in by its surrealist nature. The Metamorphosis is HDVLO\ LGHQWLĂ&#x20AC;DEOH DV 6XUUHDOLVW OLWHUDWXUH IURP its bizarre plot line and overall departure from DQ\WKLQJ WKDW ZH ZRXOG H[SHFW WR Ă&#x20AC;QG LQ WKH natural world; the idea of a man turning into D EXJ LV TXLWH DEVXUG ,Q 6XUUHDOLVP ZH Ă&#x20AC;QG D lot of symbolism. By seeing the man as a bug we see his isolation. The fact that the author chose to have the main character turned into a bug demonstrates his imaginative powers and his desire to put forth abstract ideas. The Modernism movement transformed over time, and this can be seen in Mary Shelley Frankenstein and Franz Kafkaâ&#x20AC;&#x2122;s The Metamorphosis. In Frankenstein, the 0RGHUQLVP WKDW ZH Ă&#x20AC;QG LV SULPDULO\ FRQcerned with human ambition in a world where tradition no longer provides us with answers. Shelley pointed out that with science comes ethical dilemmas. The Modernism found in The Metamorphosis is more focused on the human condition; pointing out that life is difĂ&#x20AC;FXOW Ă HHWLQJ DQG FDQ OHDG RQH WR LVRODWLRQ Both works focus on issues that arose from a changing world; and, just as the world was changing, so too were the works of Modernismâ&#x20AC;&#x201D;from examining concerns that arise from progress to ones that examine our inner lives. Modernism and Surrealism are powerful ways in which we have examined what it means to be human. Both are modes of expression that seek to explain our place in this world. And, both are important because the themes that they explore are still just as important today as they were when individuals Ă&#x20AC;UVW EHJDQ WR H[DPLQH WKHP

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Street Art 7KLV VWUHHW DUW VKRZV D FRXSOH RI Ă RZHUV VHW against either side of a window that looks out LQWR WKH FLW\ 7KH Ă RZHU RXWVLGH WKH ZLQGRZ is pale and withering, which represents the detrimental effects of a modern society that is separated from nature. In contrast to this is WKH Ă RZHU LQVLGH WKH ZLQGRZ ZKLFK LV EULJKW and lively; this represents the positive effects of being separated from modern society.

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