portfolio. --
jess vanecek [2020]
contents. [about]
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meet jess.
6 cv. [academic projects]
[competitions]
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when the levee breaks.
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against the tide.
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brace / deflect.
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re-frame of reference.
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structured temporality.
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from the third pole to the nine dragons.
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the nomadic american dream home.
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wildwood house.
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STL post-dispatch.
[professional work]
Designing Resilience in Asia International Open Competition The Forge Prize by the American Institute of Steel Construction
with mademan design with mademan design
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[about]
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[e] jrvanecek@gmail.com [p] +1 804 580 1058
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jess vanecek is a designer with a keen interest in the human factors and processes that radically alter natural and social environments. at the macro scale, her research explores the complex spatial intersections between architecture, infrastructure, landscape, climate change, and various interest groups along inland waterways and coastal communities. on the micro level, she is interested in the detailing, material selection, and methods pertaining to residential construction; specifically curious about ways to reimagine our collective relationship to the home in more ecologically responsive ways.
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cv. education -WASHINGTON UNIVERSITY IN ST. LOUIS 2018 / St. Louis, MO Master of Architecture, with Honors / Sam Fox School of Design + Visual Arts Master of Construction Management, with Honors / School of Engineering + Applied Science UNIVERSITY OF VIRGINIA 2012 / Charlottesville, VA Bachelor of Science in Architecture / School of Architecture Minor in Architectural History, Minor in Historic Preservation / School of Architecture
research, field work, travel -[dhd] DEREK HOEFERLIN DESIGN / designer + research assistant 2016 - present / St. Louis, MO watershed-based design + field research; urban design; landscape design; competitions; drone photography; cartography PUBLIC LAB RIVER RAT PACK 2016 / St. Louis, MO anti-drone aerial photography; field research on infrastructure, water, and environment BARCELONA SUMMER STUDIO 2016 / Barcelona, Spain architectural design; architectural history; urban exploration + research FALMOUTH FIELD SCHOOL 2010 / Falmouth, Jamaica applied historic preservation; archival drawing; construction
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professional experience -MADEMAN DESIGN / architectural designer 2018 - 2020 / St. Louis, MO modern residential and commercial design (all phases); graphics; fabrication; small business management SPACE ARCHITECTURE + DESIGN / architectural designer 2017 / St. Louis, MO residential design; restaurant design OFFICE OF THE DEAN, SAM FOX SCHOOL OF DESIGN + VISUAL ARTS / graphic design assistant 2016 - 2017 / St. Louis, MO publication design; photography; social media KTGY ARCHITECTURE + PLANNING / architectural designer 2012 - 2015 / Tyson’s Corner, VA residential design (all phases); graphics; project management + coordination REED HILDERBRAND LANDSCAPE ARCHITECTURE / research + design intern 2011 / Boston, MA urban design research; landscape design SAMUEL C. NUCKOLS, ARCHITECT / architectural intern 2008 - 2012 / Lancaster, VA residential design (design development + construction documents)
academic experience -SAM FOX SCHOOL OF DESIGN + VISUAL ARTS, WASHINGTON UNIVERSITY IN ST. LOUIS 2020 / faculty assistant; Design Thinking (graduate research seminar with Julie Bauer) 2019 / faculty assistant; Design Thinking (graduate research seminar with Derek Hoeferlin) 2018 / graduate teaching assistant; Archidam 3.0 - Transboundary (undergraduate studio with Derek Hoeferlin) 2017 / graduate teaching assistant; Archidam 2.0 - California Dreamin’ (undergraduate studio with Derek Hoeferlin) 2016 / graduate teaching assistant; Archidam 1.0 - The Mekong (undergraduate studio with Derek Hoeferlin) SCHOOL OF ARCHITECTURE, UNIVERSITY OF VIRGINIA 2012 / teaching assistant; Lessons in Making (undergraduate seminar with Sanda Iliescu)
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cv, continued. honors + awards -A SUSTAINING ARTS PRACTICE (ASAP) FUND 2020 / St. Louis, MO AIA ST. LOUIS EMERGING PROFESSIONALS FUND 2019 / St. Louis, MO +STL: GROWING AN URBAN MOSAIC team leads: [dhd] Derek Hoeferlin Design, Object Territories, TLS Landscape Architecture 2019 / ASLA National Honor Award, Analysis and Planning 2019 / AIA New York Honor Award, Planning 2019 / AIA St. Louis Honor Award, Unbuilt 2019 / AIA Central States Distinguished Project Award, Unbuilt 2019 / Global Human Settlements Award on Planning and Design; award by Global Forum on Human Settlements 2019 / Architizer A+Award, Landscape + Planning - Unbuilt Masterplan FROM THE THIRD POLE TO THE NINE DRAGONS team: Derek Hoeferlin, Jess Vanecek, Rob Birch 2017 / First Prize, Designing Resilience in Asia International Open Competition 2017 / featured on Architizer 2017 / exhibited at Washington University in St. Louis 2020 / published in JAE 74:1 H2O DEAN’S TRAVEL GRANT: 2017 a2ru EMERGING CREATIVES STUDENT SUMMIT 2017 / Gainesville, FL Nominated and selected to represent Washington University in St. Louis at the fourth annual interdisciplinary student summit hosted by Alliance for the Arts in Research Universities titled WATER: New Directions through Art and Science. REBECCA WEBB VOYLES SCHOLARSHIP 2016, 2017 / Washington University in St. Louis Recurring merit scholarship. PUBLICATION SELECTION 2015, 2017 / Washington University in St. Louis Multiple studio projects selected for various graduate work publications. STEAMBOAT FOUNDATION SUMMER SCHOLAR PROGRAM 2011 / Boston, MA + New York, NY Selected as one of fourteen students from universities nationwide to participate in an intensive ten-week program that emphasized leadership through high-profile internships, meetings with industry leaders, and team building events.
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leadership + invovlement -- GRADUATE ARCHITECTURE COUNCIL 2016 - 2018 / Washington University in St. Louis EXHIBITION DESIGN TEAM 2017 - 2018 / Washington University in St. Louis SOLAR DECATHLON CONSTRUCTION TEAM 2017 / Washington University in St. Louis AIAS PREISDENT + LIASONS CHAIR 2008 - 2012 / University of Virginia HABITAT FOR HUMANITY 2008 - 2012 / University of Virginia
abilities --
*to varying degrees of proficiency, and always ready to learn new things! PROGRAMMATIC Adobe CC: Acrobat, AfterEffects, InDesign, Illustrator, Photoshop; ArcGIS; AutoCAD; Grasshopper; Revit; Rhino; RhinoCAM; SketchUp HANDS-ON book design, craft, and binding; concrete casting; cnc milling; exhibition design and execution; furniture fabrication; hand drafting; laser cutter operation; photography (ground + drone), physical modeling
references -- DEREK HOEFERLIN (e) hoeferlin@wustl.edu (p) +1 (314) 749-3342 NICK ADAMS (e) nick@mademandesign.com (p) +1 (314) 971-0950
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[academic projects]
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when the levee breaks. project:
location: year:
advisors:
alternative energy research lab sauget, illinois, USA 2017
derek hoeferlin & chandler ahrens
In the current political atmosphere of climate change denial and alternative facts, budget cuts are drastically affecting various federal agencies’ ability to regulate negative impacts on the environment through legislation. Coupled with those in power having financial interests at the forefront, the United States is seeing a shift back to the use of fossil fuels as its primary energy source. Coal plants are flourishing again, a prominent sight throughout the flood plain of the Mississippi River, where land is cheap and accessible to the barge industry for transport. The problem here is two-fold. First, there’s the issue of coal production as a primary energy source, given it’s non-renewable nature and contributions to rising CO2 levels in the atmosphere. Second, and perhaps less widely taken into consideration, are the multifaceted and adverse effects that result from building industrial complexes such as this within a flood plain that has been masked with a false sense of security. We expect air pollution and air quality issues with the burning of coal, but what often goes under the radar are the issues of water contamination at these plants resultant of floods. As long as there are levees surrounding the facilities, they are deemed protected. However, with the increased frequency and intensity of major flood events, the disconnect between our collective trust in levees and what we think they can handle versus how they actually function is becoming clear. Even with frequent flood destruction, it is perfectly normal to rebuild in the same location, in the same way. In this way, the act of building becomes disposable. So, since legislation and common industrial building practices are not tackling issues of longevity and environment, how can architects intervene? To design the built environment in a way that assumes responsibility for, relieves pressures of, and is responsive to the natural environment? This project, dubbed the Sauget Energy Institute, addresses this in two ways: (1) through the research and integration of renewable energy strategies and (2) by critically assessing and proposing new methods of building within the flood plain. The project also seeks to break down the disillusion that exists between the public and infrastructure. It provides public access both to methods of energy production and to the working Mississippi riverfront, previously all but hidden from view. The intention is to promote an understanding of the industrial processes that drive the consumer world and in turn have a critical impact on the environment, in the hopes of generating public interest regarding the issues at stake.
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500 y ear l evee
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[above] zoom-in of Sauget, IL - a haven for big industry, originally incorporated as Monsanto Town in 1926.
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[right] digital elevation mapping of the flood plain affectionately known as the American Bottom, an area that once flooded naturally but is now controlled and home to a plethora of manufacturing operations.
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[when the levee breaks]
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MO
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[when the levee breaks]
gateway arch
malcom martin memorial park
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sauget
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[when the levee breaks]
[program]
In line with the historic use of the site for coal production, yet in opposition to society’s present reliance on coal, the facility is designed for research on alternative forms of energy, with a focus on the creation of biofuel from algae and the harnessing of methane from cattle. [form]
The structure consists of two main bars that straddle the levee – one set within the ground on the “floodable” side; the other elevated above the ground on the “protected” side. A path cuts through the site at an elevation of 418’ above sea level, providing access to the riverfront and allowing users to perceive subtle differences in landscape. [material]
Corten cladding allows the elevated portion of the building to become an icon during the day, while still speaking to the industrial nature of the rusting bridges that surround it. Conversely, at night, the polycarbonate greenhouse structure becomes the beacon as it glows pale green with the reflection of the algae.
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[when the levee breaks]
[above] view looking looking west; showing cattle stalls and the path that slices through the levee at an elevation of 418’ with a concrete retaining wall that follows the profile of the levee. [right] lower level; plan cut at an elevation of 406’ graphite on mylar
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[when the levee breaks]
[above] view looking looking west; on path next to greenhouse within the re-constructed floodwall made of high-strength acrylic in order to eliminate the visual disconnect with the mississippi river. [right] intermediate level; plan cut at an elevation of 422’ graphite on mylar
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[when the levee breaks]
[above] view looking looking west; showing communal meeting area with lookout beyond that provides an elevated vantage point of the flood plain and the mississippi river. [right] upper level; plan cut at an elevation of 454’ graphite on mylar
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[when the levee breaks]
Decisions regarding floor levels, ceiling heights, and roof levels are dependent upon levee height, various ground elevations, and recorded major flood events. [west side of levee]
Algal labs and greenhouses on the “floodable” side of the levee are situated on a barge, designed to rise with the floodwaters and remain protected. The barge serves as a low-tech, low maintenance response to the need for a building that is designed to work with the river. [east side of levee]
“Dry” labs, collaborative meeting rooms, offices, are elevated above the levee with minimal ground contact to remain protected from floodwaters. There are cattle stalls at ground level for data collection, though cows are otherwise allowed to graze freely on the high ground of the protected property.
typical wall detail @ elevated bar.
longitudinal section looking north.
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transverse section looking west.
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[when the levee breaks]
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[when the levee breaks]
on path looking east, normal condition.
on path looking east, flood condition.
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atmospheric perspectives; behind transparent floodwall during various flood stages.
atmospheric model; wood, acrylic, water, and mississippi mud from site.
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[when the levee breaks]
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against the tide. project:
research outpost / memorial
year:
2016
location:
tangier island, virginia, USA
instructor: eric cesal
Tangier Island is a small yet culturally rich community in the heart of the Chesapeake Bay, existing just feet above sea level. The island was first settled in the 1770s and has remained isolated since, leaving the locals with a curious accent all their own. But after 250 years, the place is now under threat. Governmental regulation on crabbing and oystering have challenged the livelihoods of a once vibrant waterman community, causing young people to leave the island and not return due to the lack of job opportunities. On top of this, the island is projected to be underwater in just 50 years due to rising sea levels, subsidence, and coastal erosion. The signs are present already - abandoned settlement areas, sunny day flooding, exposed grave sites due to the loss of land. The Army Corps of Engineers has the ability to mitigate these issues and has done so in the past with the building of a seawall; however, a lack of state and federal funding is inhibiting future projects of the same caliber. This project explores how architecture can interface with and draw attention to a future that the residents of Tangier Island will face within our lifetime if no action is taken becoming climate change refugees. The proposal engages time as a key component, investigating how a built work can maintain relevance through changing environments, both physical and metaphorical. The initial phase of the project includes the construction of a centrally-located marine and environmental science research outpost as an addition to the existing school. Here, children and community members alike can learn methods of rebuilding and protecting coastal shorelines. Additionally, an elevated boardwalk lines the perimeter of the island for research and leisure. The combination provides both resources and access for the inhabitants to fortify the island themselves against rising tides and coastal erosion in the absence of government assistance. It’s a don’t go down without a fight mentality. As time goes on, the project morphs from an active research center to somber memorial. The selection of construction materials for the building and the boardwalk is integral to achieving this purpose. If and when Tangier Island succumbs to the Bay, so too will the wood cladding of the main structure and the wood decking of the boardwalk. However, the underlying concrete masses and platforms, respectively, are designed to remain, to exist as grave markers visible on the horizon and from above. This not only serves as a reminder of a community that we failed to save, but also foreshadows the fate of many coastal cities if we do not take action to address climate change now.
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1937 SHORELINE LIVING SHORELINE WORKSHOP
MIAMI, FL AVERAGE ELEVATION: +6’ INUNDATED BY: 2100
BOSTON, MA AVERAGE ELEVATION: +19’ REGULAR FLOODING BY: 2100
2009 SHORELINE EXISTING SETTLEMENT AREAS EXISTING BRIDGES ABANDONED SETTLEMENT AREAS PAST / ABANDONED BRIDGES EXISTING JETTY [BUILT 1990] PROPOSED JETTY [2017]
NEW YORK, NY AVERAGE ELEVATION [LOWER MANHATTAN]: +5’ INUNDATED BY: 2090
*$15.4 billion to date in federal funds post Hurricane Sandy. *Additional $200 million from federal aid competition. *All winning enrties for the Rebuild by Design competition were focused on the greater NYC area.
LIVING SHORELINE WORKSHOP
ATLANTIC CITY, NJ AVERAGE ELEVATION: +7’ REGULAR FLOODING BY: 2100
*$6.8 billion to date in federal funds post Hurricane Sandy. *Additional $15 million from federal aid competition.
JETTY WORKSHOP
SMITH ISLAND, MD AVERAGE ELEVATION: 0’ INUNDATED BY: 2050
erals funds post Hurricane Sandy for living shoreline project.
VIRGINIA BEACH, VA AVERAGE ELEVATION: +9’ REGULAR FLOODING BY: 2100
LIVING SHORELINE WORKSHOP
HOUSING WORKSHOP
BREAKWATERS WORKSHOP
SEAWALL WORKSHOP
SAVANNAH, GA AVERAGE ELEVATION: +49’ REGULAR FLOODING BY: 2100
[NOT SHOWN] NEW ORLEANS, LA AVERAGE ELEVATION: -4’ INUNDATED BY: 2075
1937 SHORELINE
MIAMI, FL AVERAGE ELEVATION: +6’ INUNDATED BY: 2100
2009 SHORELINE EXISTING SETTLEMENT AREAS EXISTING BRIDGES ABANDONED SETTLEMENT AREAS PAST / ABANDONED BRIDGES EXISTING JETTY [BUILT 1990]
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[against the tide]
INFLUENCER
CONTRIBUTOR
LACK OF PREPAREDNESS + POOR INFRASTRUCTURE + DENSITY [CITY] + CLIMATE CHANGE + LUCK & TIMING
DISASTER
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subFACTOR
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[against the tide]
TANGIER COMBINED SCHOOL
airstrip
[largest structure]
DAVID B. NICHOLS HEALTH CENTER TANGIER WATER TOWER
[tallest structure, 122’]
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ENTRY AUDITORIUM CLASSROOM OFFICE INDOOR / OUTDOOR CLASSROOM WET LAB DRY LAB RESTROOM OUTDOOR TERRACE
+3’MARK TANGIER [2016] BUILDING FLOOR PLAN_PHASE 1_INHABIT 1/8” = 1’-0” +4’MARK NEW ORLEANS
[2016]
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CIRCULATION SECTION_PHASE 1_INHABIT
+5’MARK
NYC
+6’MARK
MIAMI
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[against the tide]
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[against the tide]
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brace / deflect. project:
open air structural playscape
year:
2016
location:
st. louis, missouri, USA
instructors: angela pang & yoshiyuki hiraiwa
This pavilion is an exploration of how steel, a material generally used for its structural stability, can become flexible. The idea was born through the research of design projects that seemingly defy odds, but have inherent structural properties that afford them existence. The Penguin Pool at London Zoo (1934) by Berthold Lubetkin, the Gateway Arch in St. Louis (1965) by Eero Saarinen, and Table (2005) by Junya Ishigami were studied in an effort to understand how to create architecture based on structural properties of elements, rather than engineering a work after design. The pavilion is a simple system, with just three main components – a steel grid supported by columns with a surface for walking. The grid is made up of steel members 2’-0” in length, fashioned in a diamond pattern due to its strength in resisting lateral loads. In order to achieve both stability and dynamism, there are two types of joint connections that attach the grid to the columns, pin joints and roller joints. Pin joint connections are used to form a walking path. This connection allows for slight movement, but resists lateral forces, thereby stabilizing the grid between the columns. In these areas, columns are spaced 15’-0” apart. Roller joint connections are used in areas where the intent is to experience deflection, allowing the grid to shift and flex as needed in response to various loads. In these areas, columns are generally spaced 30’-0” apart. Topping the structure a layer of expanded metal mesh sits on top of the 2’ steel grid, providing a walking surface that is stable yet flexible enough to move with the deflection. It also allows light to filter through to the ground and spaces below. The chosen site is an open circular field in Forest Park along Post-Dispatch Lake, dotted with patches of trees but lacking an existing walking path. The pavilion begins and ends at the ground level, intersecting with existing walking paths. It slowly elevates and widens as it curls around the edge of the lake, allowing pedestrians to walk and play amongst the trees while also providing a shaded place to inhabit beneath.
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[brace / deflect]
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[brace / deflect]
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re-frame of reference. project:
museo don quixote
year:
2016
location:
barcelona, spain
instructor: adrian luchini & mariona benedito
This project was conceived as a reaction to Barcelona’s dense urban fabric and the forced perspectives caused by that density. The Gothic Quarter exists in stark contrast to the vast countryside of rural Virginia and to the large infrastructure, vacant land, and wide roadways of St. Louis, MO - the places I have lived most of my life. In these places, building are perceived as objects in a field. This is rarely, if ever, possible in the Old City of Barcelona; the streets are too narrow and the fabric too dense. Intrigued by this impossible perspective, I began to note the effects that the density of the city has on people. Buildings no longer become the focal point of a given space. Perspectives are constantly skewed by narrow corners, sporadic views of the sky, and activity on the ground level. The study of Miguel Cervantes’ Don Quixote influenced the restructuring of how one perceives and experiences the built environment. Quixote, and Cervantes through the telling of the story, was constantly creating his own perceptions and existing in multiple levels of space, time, and imagination. Effectively, he recreated reality based on experiences that he wanted to have. Being a museum dedicated to Don Quixote, the project developed from that perspective. It abandons the traditional notion of a museum being a blank canvas for which work is exhibited. Rather, the experience of the space is the dedication to the work of Don Quixote - focused not on telling one specific story, but instead allowing individuals to craft their own perceptions, interpretations, and experience of space.
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[re-frame of reference]
[above] watercolor sketch; color, size, and direction of the strokes translate into the form of the building. red strokes are programmatic areas; black strokes are circulation patterns; yellow strokes are realized as views across the levels.
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section aa.
plan, level 1. 53
[re-frame of reference]
[form]
The angles, fixed widths, and constant level changes contribute to the idea that one can be in any location in the building and maintain the ability to perceive other surrounding spaces at the same time. The intention is to have the visitor experience the building the way Don Quixote envisioned his world - never with a single view of a space or an object, but always amidst the chaos of a multitude of conflicting perceptions at once. [material]
All walls are made of polycarbonate. This allows diffuse lighting into the museum spaces of an otherwise densely walled building. Additionally, the translucency of the walls allows for one to perceive silhouettes of others, reinforcing the dynamic nature of the experience.
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structured temporality. project:
30-unit housing development
year:
2015
location:
new orleans, louisiana, USA
instructor: derek hoeferlin
Tasked with developing a 30-unit collective housing project located in New Orleans, research first began with analysis at a variety of scales from region, to city, to site. By mapping out factors across time such as human impact on the changing course of the Mississippi River, the subsidence of New Orleans due to urbanization and lack of appropriate water management, and the transitions from canals to railroads to industrial buildings along the Lafitte Corridor, it became apparent that the typical housing model of slab-on-grade construction needed to be re-thought. This project addresses issues of water management and learning to live with water rather than rendering it unseen. Temporality versus permanence and time are also key factors of the development, stemming from the constant change of use of the adjacent urban fabric at the site scale. The intervention itself is composed of two main systems – the first, a framework of metal columns and wood beams that is a permanent addition to the landscape, both as infrastructure to support the housing and as an overall method of larger site development. The second component is the housing system, which exists as a “kit of parts� that allows for customization by the user, promoting a sense of ownership and pride in neglected areas that have had difficulties bouncing back Hurricane Katrina. Because the site itself exists within a complex web of changing infrastructure, the housing is designed to be temporary. If and when the city decides the site will no longer be used for housing, these components can be removed, however the framework will remain as a permanent park structure to promote engagement with the site, rather than allowing it to become a barren expanse of wasted space like what currently exists.
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[structured temporality]
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[structured temporality]
1/8� scale model of two units.
1/32� scale model of thirty units.
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[structured temporality]
exterior panel configuration: one solid, one transparent.
exterior panel configuration: two transparent.
exterior panel configuration: two solid. 62
rendered view, upper level.
rendered view, lower level. 63
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[structured temporality]
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[competitions]
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from the third pole to the nine dragons. competition: DRIA International Open Competition year: team:
2017
derek hoeferlin, jess vanecek, rob birch
recognition:
2017 / First Prize; DRIA Competition 2017 / featured on Architizer 2017 / exhibited at Washington University in St. Louis 2020 / published in JAE 74:1 H2O jury comments:
“This proposal provides a very strong vision of how water resources could be managed systematically across boundaries. The regional-scale analysis and simple response provokes visionary discussions about cross-boundary collaboration and water management, providing tools for negotiation. The project has potential to operate at multiple scales.” “The project can be applied on other territories with alike conditions. The idea of involving not only the public scale but also the local communities is well considered on the proposal goals.” “A bold concept traversing socio-political and policy considerations.” “A comprehensive nature of impact - from macro to micro-scale.” “Strong and unique visuals.” “Clarity of thought and a very well structured storyboard.” “The proposal shows a depth of research and reality of solutions; it highlights the problem of water management not only as a problem of weather, but rather of social behavior.”
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[from the third pole to the nine dragons]
The Watershed Architecture of the Mekong River Basin A MEKONG MANIFESTO ENABLING TRANS-BOUNDARY RESILIENCE Tens of millions embrace the Mekong River Basin for its dynamic fluctuations of bountiful water resources. To maintain abundance, the Mekong’s namesake and its tributaries pulsate – radically – between wet and dry seasons causing extreme variations in water levels. Communities not only embrace floods and droughts, they also rely on them for plentiful returns. Seasonal pulses provide positive, not negative feedback loops – a truly unique precedent for resiliency. But such dynamism is at threat. The Mekong finds itself at a tipping point for 2 fundamental reasons: 1) CLIMATE CHANGE will create major fresh water scarcities. + 2) DAM INFRASTRUCTURE designed to supply energy and irrigation demands will exacerbate fresh water scarcities. The alterations to the dynamics of the Mekong River Basin caused by climate change and dam infrastructure threaten to decouple the critical link between the source at the Third Pole (Tibetan Plateau) and the mouth of the Nine Dragons (Mekong Delta). To survive, all local communities of the Mekong River Basin must be empowered with a pro-active role in designing collective, future resiliencies for their river basin. “from the Third Pole to the Nine Dragons” outlines a simple, 2-part toolkit for communities to understand their local futures within broader river-basin scaled threats and adaptations: Part 1: Expose 6 adverse, trans-boundary THREATS of climate change + dam infrastructure projects on future fresh water scarcity. Part 2: Engage 6 resilient, trans-boundary ADAPTATIONS that keep the water, the power, and the people within the Mekong River Basin. The toolkit culminates in an integrated map for the Mekong River Basin. Defined as Watershed Architecture, the flexible template enables various Mekong communities to holistically understand the threats and adaptations, and to collectively determine the resilient futures of their river basin.
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the nomadic american dream home. competition: The Forge Prize by the AISC year: team:
2019
mademan design (nick adams & jess vanecek)
Technology has made the world smaller, faster, and more transient. We work from anywhere, travel, and delay settling down. We own fewer, lasting things over useless clutter. Architecture, however, is lagging behind. When it comes to home-buying, we’re forced into place-based commitment, from ‘rental’ to ‘starter home’ to the ‘forever house’. The house is a shell in which we temporarily reside, consumed and moved past. Drawing from modular and prefab design principles, utilizing an existing transportation infrastructure, and incorporating the permanence of steel, this project suggests an expandable, transportable dwelling intended to last the course of a lifetime – the Nomadic American Dream Home. It’s an easily distributed prototype that’s developed to suit any needs. This means no more outgrowing the home, but rather growing the home. Steel is critical to this concept for its permanence and rigidity, manifesting in two ways: First, to make working with steel more attainable, we’ve developed a new steel profile – the DI-Beam. The modified double ‘I’ shape is stiffer than a typical I-Beam, permitting a shallower depth. The ‘D’ profile of the channel allows for simplified connection of any material or fitting using D-Bolts. The material is drawn into place as the bolt is turned. This simple connection detail makes working with steel more universal. Second, to tap into an existing global transportation infrastructure, we’ve incorporated the shipping industry’s standardized locking system. Corner-castings are located at each corner of the module – the dimensions of which are set by twist-lock spacing on trucks, trains, and ships – so they can be transported and connected through a well-established system of conveyance. This exploits the best components of shipping containers while eliminating design limitations. Embodying the strength of steel and with unprecedented ease of adjustment, the Nomadic American Dream Home establishes the architectural analog to our 21st century life.
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[professional work]
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wildwood house / mademan design project:
single family residence
year:
2019-2020 (unbuilt)
location: team: role:
wildwood, missouri, USA mademan design (nick adams & jess vanecek) involved in all phases from schematic design
to construction documents; including but not
material research, and digital drafting.
limited to client meetings, digital modeling,
*all images courtesy of mademan design and are not to be redistributed in any way.
existing site photo.
In siting this project on a 14-acre unimproved piece of property, the design gravitated towards one of two “dry� creek beds that bisect the site and feature running water during snowmelt and heavy rainstorms. Capitalizing on this natural feature, the house exists as two distinct living spaces that focus their attention inward, opening up to the creek and connected primarily by an elevated dining room that bridges across. On east side of the creek are the collective living spaces and guest bedrooms, while the west side houses the private functions and pool. The house nestles into the hillside on the south edge and cantilevers as the grade falls away.
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62'-0" 22'-0" 5'-6"
18'-0"
22'-0" 9'-6"
12'-6" 1'-6"
16'-6"
15'-0"
14'-0"
11'-10"
10'-0"
5'-0"
16'-5"
10'-0"
12'-5"
WINE
9'-6"
3'-0"
dishwash
HB
MICRO
LINEAR DRAIN
GAS
w/d
BENCH
5'-0"
6'-0"
STACK
5'-0"
4'-0"
27'-6"
dn
5'-2"
22'-0"
PANTRY
6'-5"
5'-2"
9'-6"
8'-11"
1'-3"
ref 36"
28'-6"
HB
17'-8"
5'-101 2"
3'-6"
w/d
11'-9"
2'-6"
8'-0"
2'-111 4"
trash
dn
3'-6"
33'-5"
24'-6"
11'-0"
3'-0"
39'-6"
14'-0"
9'-0"
ICE
12'-0"
58'-6"
pool eqpm't
1'-8"
3'-0"
5'-0" 2'-6"
14'-1"
12'-0"
16'-0"
15'-6"
10'-6"
1'-6"
21'-0"
dn
COND. PROPANE TANK
COND.
16'-0"
5'-0" 48'-0"
18'-0"
3'-0"
12'-2" 21'-6"
25'-0"
first floor plan.
north elevation. 77
STL post-dispatch / mademan design project:
interior office renovation
year:
2018-2019 (built)
location: team: role:
st. louis, missouri, USA mademan design (patrick knobloch & jess vanecek) involved in all phases from schematic design
to construction administration; including but not
material research, digital drafting, and on site
limited to client meetings, digital modeling, supervision during construction.
*all images courtesy of mademan design and are not to be redistributed in any way. This project saw a 10-year vacant building transformed into the new headquarters for the St. Louis Post-Dispatch newspaper in a matter of months. Moving from a 6-story building, where the Post had been located for over 50 years, into a 2-story space presented unique space planning challenges, but ultimately ended in a newly collaborative office environment and a fresh perspective on the future of newspapers in an increasingly digital world. An extremely condensed timeline as well as a limited budget meant that the design needed to achieve a lot with a little. A set of rules was established to structure the space, including a consistent horizontal datum struck at 8’-6� above finished floor, anchoring door frames, light fixtures, and soffits. A simple color palette of white, black, and white oak gives a modern feel to a dated space in a low-tech manner. Black paint is used intentionally at transition moments where soffits compress the space between departments and in break / lounge areas.
78
OFFICE 321
CONFERENCE 322
DN
PC-1
FEC
OPEN OFFICE 349
OFFICE 348
ref
OFFICE 326
1
ref
PRINT/COPY 324
PANTRY 323
mw
PT-4 FEC
PT-4
OFFICE 327
STORAGE 350
OFFICE 351
OFFICE 352
OFFICE 353
OPEN OFFICE 320
SC-1
SC-1
SERVER ROOM 362
IT SHOP 363
OFFICE 328
OPEN OFFICE 347
OFFICE 354
PT-4
STORAGE 325 SC-1
OFFICE 329 PT-4
CR
PT-4
OFFICE 355
OPEN OFFICE 346
OFFICE 330
FEC
OFFICE 356
STORAGE 361 SC-1
OFFICE 331
OFFICE 332
OFFICE 345
OFFICE 333 CONFERENCE 357
OFFICE 334
PT-4
PT-4
PT-4
WAITING AREA 339
OFFICE 360
STORAGE 359 EXEC BATH 358
OPEN CONFERENCE 338
OFFICE 344
CT-1
PT-4
PT-4
PT-4
PT-4
FEC
DN
OFFICE 335 PT-4
ref
CONFERENCE 336
CONFERENCE 337
OFFICE 343
CT-1
BOARD ROOM 340
EXEC KITCHEN 341
OFFICE 222
OFFICE 221
PODCAST STUDIO 223
ADMIN 342
STORAGE 224
1 3rd FLOOR FINISH PLAN - TENANT IMPROVEMENT 4 4 A.53 SCALE: 3 32" = 1'-0"
PHOTO STUDIO 227
PT-4
PT-4
QUIET RM 225
QUIET RM 226 mw
vend
WC-2
CHANGE 228
vend
FEC vend print
1
PRINT/COPY 229
ref UP
DN
ref
3 BREAK AREA 231
PT-4
2
PT-4
VIDEO STUDIO 230
PC-1
print dw
FEC
PT-4
1 ref
ref
mw
cm cm
PT-4
ice
STORAGE 249
WELLNESS RM 250
OFFICE 247
PT-4
OPEN OFFICE 220
OFFICE 248
OFFICE 246 PRINT SHOP 251 STORAGE 232
SC-1 PT-4
SC-1
PT-4
OFFICE 245
SHIPPING & RECEIVING 252 SC-1
OFFICE 244
PT-4
PT-4
OFFICE 239
CPT-3
OFFICE 240
PRINT/COPY 242
OFFICE 241 print
PT-4
CPT-4
STORAGE 243 PT-4
RECEPTION LOBBY 236
FE
C
PT-4
1 UP
DN
RECEPTION 235
CPT-4
PT-4
CONFERENCE 234
PT
-4
FEC
CONFERENCE 233
CONFERENCE 237
1
OFFICE 238
OPEN OFFICE 253
GENERAL NOTES: FINISH / POWER
CONST
- REFER TO PLANS, RCP, ELEVATIONS, FINISH LEGEND, DOOR SCHEDULE, AND DETAILS FOR FINISH INFORMATION AND LOCATIONS. REFER TO ELEVATIONS FOR ADDITIONAL FINISH INFORMATION OR WHERE MULTIPLE FINISHES ARE INDICATED ON PLAN FOR THE SAME WALL. - IDENTIFY AND INFORM CONSTRUCTION TEAM OF ALL CRITICAL PATH ITEMS, CRITICAL DEADLINES, AND DATE OF SUBSTANTIAL COMPLETION. - PATCH AND REPAIR EXISTING FINISHES AS REQUIRED WHERE DEMOLITION OR NEW CONSTRUCTION OCCURS. NEW FINISHES TO MATCH EXISTING IN MANUFACTURER, COLOR, FINISH, AND TEXTURE. WHERE MATERIALS ARE NOT AVAILABLE FOR EXACT MATCH, SUBMIT PROPOSED REPLACEMENT MATERIALS TO ARCHITECT FOR BEFORE PURCHASE OR INSTALLATION. - PATCH AND REPAIR OR REPLACE ANY EXISTING FINISHES IN BUILDING COMMON AREAS OUTSIDE SCOPE OF WORK IF DAMAGE OCCURS RELATED TO THE CONSTRUCTION OF THE SCOPE OF WORK. MAINTAIN AND PROTECT EXISTING FLOORING AND FINISHES NOTED TO REMAIN FOR DURATION OF CONSTRUCTION. - CLEAN AND PREPARE FLOOR AREA SCHEDULED TO RECEIVE NEW FLOORING SO THE AREAS ARE ABLE TO ACCEPT NEW FLOORING, AND MAINTAIN REQUIRED FLOOR ASSEMBLY RATING, TO BE FLUSH AND CONTINUOUS WITH ADJACENT FLOOR SURFACE, AS REQUIRED FOR NEW FINISH. - INSTALL ALL FLOORING PER MANUFACTURER’ S RECOMMENDATIONS AND ACCEPTED INDUSTRY PRACTICES, INCLUDING BUT NOT LIMITED TO MOISTURE TESTING, FLOOR PREPARATION, INSTALLATION METHOD, AND ADHESIVES. VERIFY WITH ALL MANUFACTURERS AND SUPPLIERS PRIOR TO INSTALLATION. - ALL INTERIOR FINISHES TO MEET OR EXCEED APPLICABLE CODE REQUIREMENTS, INCLUDING BUT NOT LIMITED TO FLAME SPREAD AND SMOKE DEVELOPMENT. - ALL INTERIOR FINISH AND SUNDRIES TO MEET OR EXCEED CLASS II FLAME SPREAD, 26 - 75 AND SMOKE DEVELOPMENT RATING LESS THAN 450 AND ALL OTHER APPLICABLE CODES. ALL VINYL WALL COVERING FIRE HAZARD CLASSIFICATION (ASTM-E-84) FLAME SPREAD 5, FUEL CONTRIBUTION 0, SMOKE DENSITY FACTOR 5. - UNO, INSTALL ALL WALLCOVERING PER MANUFACTURER'S INSTRUCTIONS. AFTER HANGING THREE (3) LENGTHS OF THE WALLCOVERING MATERIAL, CHECK FOR ANY DEFECTS. IF THERE IS A PROBLEM CONTACT SUPPLIER IMMEDIATELY. IF THE PROBLEM CANNOT BE RESOLVED IN A TIMELY MANNER, CONTACT ARCHITECT. - UNO, ALL PAINTED SURFACES TO RECEIVE A MINIMUM OF ONE (1) PRIMER COAT AND THEN TWO (2) FINISH PAINT COATS. TINT PRIMER COAT PER MANUFACTURER'S SPECIFICATIONS. - UNO, ALL PARTITIONS, EXTERIOR WALLS AND COLUMNS TO RECEIVE PAINT PT-1 AND BASE RB-1. - UNO, ALL HOLLOW METAL FRAMES TO RECEIVE PAINT PT-2. REFER TO DOOR SCHEDULE FOR ADDITIONAL INFORMATION. - UNO, ALL METAL DOORS TO RECEIVE PAINT PT-2. REFER TO DOOR SCHEDULE FOR ADDITIONAL INFORMATION. - UNO, ALL GLASS IN DOORS AND SIDELITES TO BE GLASS GL-1. - UNO, ALL FLOORING TRANSITIONS TO BEGIN AT CENTERLINE UNDER DOOR. REFER TO TRANSITION DETAILS FOR ALL FLOORING CHANGES. - UNO, ALL RESILIENT AND TILE FLOORING TO EXTEND UNDER CABINETRY AND COUNTERTOPS. - UNO, ALL FLOORS TO RECEIVE CARPET CPT-3. - UNO, ALL RESILIENT BASE TO BE RESILIENT BASE RB-1, 4" STRAIGHT AT CARPET AND 4" COVE AT HARD SURFACE FLOORING. - UNO, ALL FLOORS RECEIVING CERAMIC TILE CT-1, SHALL RECEIVE MATCHING 6" CERAMIC TILE [CTB-1] COVE BASE. - ANY WALLCOVERING WITH RECOR BACKING TO BE ADHERED WITH HEAVY-DUTY CLAY ADHESIVE. - ALL COUNTERTOP EDGE PROFILES TO BE AN EASED EDGE. - REFER TO SHEET A.01 FOR DESIGN/BUILD SPECIFICATIONS. - ELECTRICAL CONTRACTOR TO VERIFY AND COORDINATE ALL ELECTRICAL AND COMMUNICATION REQUIREMENTS WITH TENANT BEFORE INSTALLATION. - ELECTRICAL CONTRACTOR TO VERIFY QUANTITY AND LOCATION OF ALL ELECTRICAL DEVICES REQUIRING U.P.S. BACK UP WITH TENANT. - EXISTING ELECTRICAL AND COMMUNICATION DEVICES TO REMAIN ARE LABELED "E" FOR EXISTING. - REMOVE ALL EXISTING OUTLETS, RECEPTACLES, COVERS, BOXES, AND WIRING NOT BEING REUSED. REMOVE ALL ABANDONED WIRING BACK TO JUNCTION BOX OR PANEL AS REQUIRED. UPDATE PANEL LABELING TO REFLECT ALL MODIFICATIONS. - ALL EXISTING CORE DRILLS NOT BEING REUSED ARE TO BE FILLED AND FINISHED FLUSH WITH EXISTING SURFACE. - ALL SECURITY EQUIPMENT, WIRING, AND INSTALLATION TO BE PROVIDED UNDER SEPARATE CONTRACT WITH TENANT. - WHERE ELECTRICAL OUTLETS AND DATA RECEPTACLES ARE INDICATED ON WALLS OR COLUMNS WITH FURNITURE, MILLWORK, OR OTHER ITEMS, COORDINATE OUTLET HEIGHT WITH ARCHITECT AND TENANT. - AT ALL ENCLOSED MILLWORK LOCATIONS, INSTALL ALL NEW ELECTRICAL OUTLETS AND COMMUNICATIONS RECEPTACLES ABOVE COUNTER. - PROVIDE REQUIRED POWER FOR SYSTEMS FURNITURE. COORDINATE WITH TENANT, FURNITURE SYSTEM MANUFACTURER, AND INSTALLER BEFORE INSTALLATION. - COORDINATE CORE DRILL AND JUNCTION BOX LOCATIONS WITH FURNITURE LAYOUT BEFORE INSTALLATION. ELECTRICAL CONTRACTOR TO COORDINATE WITH ARCHITECT AND FURNITURE SUPPLIER REGARDING FURNITURE CIRCUITING REQUIREMENTS. - COORDINATE COMMUNICATION LOCATIONS WITH FURNITURE LAYOUT BEFORE INSTALLATION. CABLING CONTRACTOR TO PROVIDE AND COORDINATE NECESSARY TENANT CABLING REQUIREMENTS. CABLING CONTRACTOR TO COORDINATE WITH ARCHITECT AND FURNITURE SUPPLIER. - G.C. TO PROVIDE BUILDING STANDARD FIRE STROBES TO COMPLY WITH CODE REQUIREMENTS. PROVIDE LOCATION PLAN TO ARCHITECT FOR REVIEW AND APPROVAL BEFORE INSTALLATION. - COORDINATE WITH I.T. AND NETWORK DEPARTMENTS FOR EXACT NUMBER OF ELECTRICAL OUTLETS AND DATA/VOICE RECEPTACLES. - ALL NEW AND EXISTING INTERIOR WALLS AND PARTITIONS TO HAVE A MINIMUM OF ONE ELECTRICAL DUPLEX OUTLET. REUSE EXISTING OR PROVIDE GENERAL CONVENIENCE OUTLETS AS REQUIRED BY CODE. CONTRACTOR TO VERIFY EXISTING LOCATIONS AND PROVIDE NEW AS REQUIRED. - UNLESS NOTED OTHERWISE ALL CABLING IN SCOPE OF WORK TO BE CAT6E. WHERE D.V.I. TO H.D.M.I. LOCATIONS ARE SPECIFIED, PROVIDE CONDUIT BETWEEN AND PULL LINE TERMINATION BOXES BETWEEN. - COMMUNICATIONS SUBCONTRACTOR TO PROVIDE AS-BUILT PLANS TO TENANT WITH ALL CABLING AND TERMINATIONS LABELED. GENERAL NOTES: FINISH / POWER - PROVIDE A SEPARATE DEDICATED ELECTRICAL DUPLEX OUTLET AND REQUIRED CAT6E CABLING TERMINATION(S) FOR EACH PRINTER, EACH FAX, AND EACH - REFER TO PLANS, RCP,SHOWN ELEVATIONS, FINISH LEGEND, WITH DOOR TENANT. SCHEDULE, AND COPIER LOCATION IN PLANS; COORDINATE DETAILS FORAND FINISH INFORMATION LOCATIONS. REFER TOEQUIPMENT ELEVATIONS - PROVIDE POWER DATA FOR TENANTAND FURNISHED DEVICES AND PER FOR ADDITIONAL FINISH INFORMATION OR WHERE ALL MULTIPLE FINISHES MANUFACTURER'S SPECIFICATIONS; COORDINATE LOCATIONS WITHARE INDICATED TENANT. ON PLAN FOR THE SAME WALL. - IDENTIFY AND INFORM CONSTRUCTION TEAM OF ALL CRITICAL PATH ITEMS, CRITICAL DEADLINES, AND DATE OF SUBSTANTIAL COMPLETION. - PATCH AND REPAIR EXISTING FINISHES AS REQUIRED WHERE DEMOLITION OR NEW CONSTRUCTION OCCURS. NEW FINISHES TO MATCH EXISTING IN MANUFACTURER, COLOR, FINISH, AND TEXTURE. WHERE MATERIALS ARE NOT AVAILABLE FOR EXACT MATCH, SUBMIT PROPOSED REPLACEMENT MATERIALS TO ARCHITECT FOR BEFORE PURCHASE OR INSTALLATION. - PATCH AND REPAIR OR REPLACE ANY EXISTING FINISHES IN BUILDING COMMON AREAS OUTSIDE SCOPE OF WORK IF DAMAGE OCCURS RELATED TO THE CONSTRUCTION OF THE SCOPE OF WORK. MAINTAIN AND PROTECT EXISTING FLOORING AND FINISHES NOTED TO REMAIN FOR DURATION OF CONSTRUCTION. - CLEAN AND PREPARE FLOOR AREA SCHEDULED TO RECEIVE NEW FLOORING SO THE AREAS ARE ABLE TO ACCEPT NEW FLOORING, AND MAINTAIN REQUIRED FLOOR ASSEMBLY RATING, TO BE FLUSH AND CONTINUOUS WITH ADJACENT FLOOR SURFACE, AS REQUIRED FOR NEW FINISH. - INSTALL ALL FLOORING PER MANUFACTURER’ S RECOMMENDATIONS AND ACCEPTED INDUSTRY PRACTICES, INCLUDING BUT NOT LIMITED TO MOISTURE TESTING, FLOOR PREPARATION, INSTALLATION METHOD, AND ADHESIVES. VERIFY WITH ALL MANUFACTURERS AND SUPPLIERS PRIOR TO INSTALLATION. - ALL INTERIOR FINISHES TO MEET OR EXCEED APPLICABLE CODE REQUIREMENTS, INCLUDING BUT NOT LIMITED TO FLAME SPREAD AND SMOKE DEVELOPMENT. - ALL INTERIOR FINISH AND SUNDRIES TO MEET OR EXCEED CLASS II FLAME SPREAD, 26 - 75 AND SMOKE DEVELOPMENT RATING LESS THAN 450 AND ALL OTHER APPLICABLE CODES. ALL VINYL WALL COVERING FIRE HAZARD CLASSIFICATION (ASTM-E-84) FLAME SPREAD 5, FUEL CONTRIBUTION 0, SMOKE DENSITY FACTOR 5. - UNO, INSTALL ALL WALLCOVERING PER MANUFACTURER'S INSTRUCTIONS. AFTER HANGING THREE (3) LENGTHS OF THE WALLCOVERING MATERIAL, CHECK FOR ANY DEFECTS. IF THERE IS A PROBLEM CONTACT SUPPLIER IMMEDIATELY. IF THE PROBLEM CANNOT BE RESOLVED IN A TIMELY MANNER, CONTACT ARCHITECT. - UNO, ALL PAINTED SURFACES TO RECEIVE A MINIMUM OF ONE (1) PRIMER COAT AND THEN TWO (2) FINISH PAINT COATS. TINT PRIMER COAT PER MANUFACTURER'S SPECIFICATIONS. - UNO, ALL PARTITIONS, EXTERIOR WALLS AND COLUMNS TO RECEIVE PAINT PT-1 AND BASE RB-1. - UNO, ALL HOLLOW METAL FRAMES TO RECEIVE PAINT PT-2. REFER TO DOOR SCHEDULE FOR ADDITIONAL INFORMATION. - UNO, ALL METAL DOORS TO RECEIVE PAINT PT-2. REFER TO DOOR SCHEDULE FOR ADDITIONAL INFORMATION. - UNO, ALL GLASS IN DOORS AND SIDELITES TO BE GLASS GL-1. - UNO, ALL FLOORING TRANSITIONS TO BEGIN AT CENTERLINE UNDER DOOR. REFER TO TRANSITION DETAILS FOR ALL FLOORING CHANGES. - UNO, ALL RESILIENT AND TILE FLOORING TO EXTEND UNDER CABINETRY AND COUNTERTOPS. - UNO, ALL FLOORS TO RECEIVE CARPET CPT-3. - UNO, ALL RESILIENT BASE TO BE RESILIENT BASE RB-1, 4" STRAIGHT AT CARPET AND 4" COVE AT HARD SURFACE FLOORING. - UNO, ALL FLOORS RECEIVING CERAMIC TILE CT-1, SHALL RECEIVE MATCHING 6" CERAMIC TILE [CTB-1] COVE BASE. - ANY WALLCOVERING WITH RECOR BACKING TO BE ADHERED WITH HEAVY-DUTY CLAY ADHESIVE. - ALL COUNTERTOP EDGE PROFILES TO BE AN EASED EDGE. - REFER TO SHEET A.01 FOR DESIGN/BUILD SPECIFICATIONS. - ELECTRICAL CONTRACTOR TO VERIFY AND COORDINATE ALL ELECTRICAL AND COMMUNICATION REQUIREMENTS WITH TENANT BEFORE INSTALLATION. - ELECTRICAL CONTRACTOR TO VERIFY QUANTITY AND LOCATION OF ALL ELECTRICAL DEVICES REQUIRING U.P.S. BACK UP WITH TENANT. - EXISTING ELECTRICAL AND COMMUNICATION DEVICES TO REMAIN ARE LABELED "E" FOR EXISTING. - REMOVE ALL EXISTING OUTLETS, RECEPTACLES, COVERS, BOXES, AND WIRING NOT BEING REUSED. REMOVE ALL ABANDONED WIRING BACK TO JUNCTION BOX OR PANEL AS REQUIRED. UPDATE PANEL LABELING TO REFLECT ALL MODIFICATIONS. - ALL EXISTING CORE DRILLS NOT BEING REUSED ARE TO BE FILLED AND FINISHED FLUSH WITH EXISTING SURFACE. - ALL SECURITY EQUIPMENT, WIRING, AND INSTALLATION TO BE PROVIDED UNDER SEPARATE CONTRACT WITH TENANT. - WHERE ELECTRICAL OUTLETS AND DATA RECEPTACLES ARE INDICATED ON WALLS OR COLUMNS WITH FURNITURE, MILLWORK, OR OTHER ITEMS, COORDINATE OUTLET HEIGHT WITH ARCHITECT AND TENANT. - AT ALL ENCLOSED MILLWORK LOCATIONS, INSTALL ALL NEW ELECTRICAL OUTLETS AND COMMUNICATIONS RECEPTACLES ABOVE COUNTER. - PROVIDE REQUIRED POWER FOR SYSTEMS FURNITURE. COORDINATE WITH TENANT, FURNITURE SYSTEM MANUFACTURER, AND INSTALLER BEFORE INSTALLATION. - COORDINATE CORE DRILL AND JUNCTION BOX LOCATIONS WITH FURNITURE LAYOUT BEFORE INSTALLATION. ELECTRICAL CONTRACTOR TO COORDINATE WITH ARCHITECT AND FURNITURE SUPPLIER REGARDING FURNITURE CIRCUITING REQUIREMENTS. - COORDINATE COMMUNICATION LOCATIONS WITH FURNITURE LAYOUT BEFORE INSTALLATION. CABLING CONTRACTOR TO PROVIDE AND COORDINATE NECESSARY TENANT CABLING REQUIREMENTS. CABLING CONTRACTOR TO COORDINATE WITH ARCHITECT AND FURNITURE SUPPLIER. - G.C. TO PROVIDE BUILDING STANDARD FIRE STROBES TO COMPLY WITH CODE REQUIREMENTS. PROVIDE LOCATION PLAN TO ARCHITECT FOR REVIEW AND APPROVAL BEFORE INSTALLATION. - COORDINATE WITH I.T. AND NETWORK DEPARTMENTS FOR EXACT NUMBER OF ELECTRICAL OUTLETS AND DATA/VOICE RECEPTACLES. - ALL NEW AND EXISTING INTERIOR WALLS AND PARTITIONS TO HAVE A MINIMUM OF ONE ELECTRICAL DUPLEX OUTLET. REUSE EXISTING OR PROVIDE GENERAL CONVENIENCE OUTLETS AS REQUIRED BY CODE. CONTRACTOR TO VERIFY EXISTING LOCATIONS AND PROVIDE NEW AS REQUIRED. - UNLESS NOTED OTHERWISE ALL CABLING IN SCOPE OF WORK TO BE CAT6E. WHERE D.V.I. TO H.D.M.I. LOCATIONS ARE SPECIFIED, PROVIDE CONDUIT BETWEEN AND PULL LINE TERMINATION BOXES BETWEEN. - COMMUNICATIONS SUBCONTRACTOR TO PROVIDE AS-BUILT PLANS TO TENANT WITH ALL CABLING AND TERMINATIONS LABELED. - PROVIDE A SEPARATE DEDICATED ELECTRICAL DUPLEX OUTLET AND REQUIRED CAT6E CABLING TERMINATION(S) FOR EACH PRINTER, EACH FAX, AND EACH COPIER LOCATION SHOWN IN PLANS; COORDINATE WITH TENANT. - PROVIDE POWER AND DATA FOR TENANT FURNISHED DEVICES AND EQUIPMENT PER MANUFACTURER'S SPECIFICATIONS; COORDINATE ALL LOCATIONS WITH TENANT.
- WHERE N TO P MET EQU - ALL COL CON POS - ALL COL EXP DRA - WHERE P 8'-6 - ALL DEV COL - ALL OFF - COORDIN - COORDIN POL - ASSUME OPE - PROVIDE FINA - PROVIDE SHR - ELECTRI CON POW COR FLO
third floor plan.
second floor plan.
#
1
KEY
PRO LOC
FINISH
CONCRE SC PC
CARPET CP CP CP CP
CERAMIC CT CT W
RESILIE RB
PAINT PT PT PT PT
WALL C W W
ACOUST AC AC CONST
-SOLID WHERESN TO SSP MET SS EQU - ALL COL PLASTIC CON POS PL - ALL COL PL EXP PL DRA PLP - WHERE 8'-6 -WOOD ALL DEV V COL W - ALL OFF - COORDIN - COORDIN POL - ASSUME OPE - PROVIDE FINA - PROVIDE SHR - ELECTRI CON POW COR FLO
#
1 2 3 4
KEY
REF PAIN PRO SCA PRO LOC
FINISH
CONCRE SC PC
CARPET CP CP CP CP
CERAMIC CT CT W
RESILIE RB
PAINT PT PT PT PT
WALL C W W
ACOUST AC AC
SOLID S SS SS
PLASTIC PL PL PL PL
1 2nd FLOOR FINISH / POWER PLAN - TENANT IMPROVEMENT A.52 SCALE: 3 32" = 1'-0"
79
WOOD V W
jess vanecek -j r v a ne c e k @ g m a i l . c o m +1 804 580 1058