INTERNSHIP REPORT
Jimmy Darling
Internship Report
The following is a report entailing the execution of internship work by Professional Master of Architecture candidate, Jimmy Darling, during the Summer of 2016 while in Los Angeles, California. This report was completed for the Savannah College of Art and Design as part of the ARCH 779F: Graduate Field Internship course with Professor Tammy Thompson.
Index
4 6 18 24 44 48
Executive Summary Part One: Marmol Radziner Part Two: Transitioning Part Three: Machine Inspired Art Part Four: Exploring LA Part Five: Submittals
Executive Summary
Goals I began my internship pursuit by moving to Los Angeles, California and applying to firms with architectural with practices and ideologies aligning with specific goals I set for myself in hopes to maximize my summer experience. I wanted to extend what I had learned in my ARCH 706: Architectural Practice and ELDS 727: Advanced Digital Applications courses to apply knowledge about firm structure, contracts, and the professional side of architecture, along with applying newly gained skills in Revit. I wanted to find an internship that would push me in new directions and make me think in new ways. I have a passion for intimate architecture and like to fabricate and work with my hands as a way to understand the intricacies of any given project. I am interested in finding ways that architecture can be more than just working at a computer. With my internship, I wanted to be a part of a firm that transcends the traditional role of the architect behind a desk.
4
Marmol Radziner Getting the opportunity to work for a design/ build firm with such prestige, specializing in high-end residential architecture, such as Marmol Radziner, seemed to be an apparent match for the internship choice. My time in the firm consisted of producing various graphics, three visits to construction sites, and minimal exposure to the innerworkings of the firm. Although a learning experience, but not for expected reasons, I ulitmately believed the internship was not fulfilling the goals I had hoped to achieve during my summer internship.
Transitioning When the opportunity to work with an artist/ architect specializing in fabrication presented itself, I knew I had to follow this new path to arrive closer at meeting the goals originally set in place. Transitioning from Marmol Radziner to Machine Inspired Art happened extremely fast and was rather unexpected for all parties involved. My lack of time in Los Angeles prevented a traditional and formal departure from Marmol Radziner in an effort to maximize the learning experience at MIA. This transition has proved successful, leading to future opportunities and professional involvement following the completion my graduate schooling. Machine Inspired Art Although my time with Dr. Behn Samareh and Architect, Jamilah Haygood was short, the experiences gained and the opportunities to learn were significant. Working directly with industry leading machinery, tools, and software along with various traditional means of fabrication, I was able to become a significant member of the team throughout design conception and into fabrication and assembly on multiple projects.
Part One Marmol Radziner
Marmol Radziner
8
Due to the high profile clients and the nature of the projects worked on at Marmol Radziner, non-disclosure agreements are quite common. Because of this, I was asked not to discuss the clients, specific locations, or details of the many of the projects I was exposed to during my internship. This, along with the firm’s goal to publish the completed projects, has not allowed me to include many photos or drawings I worked on during my internship. But, I am able to vaguely describe the type of work completed and my role in the projects. I first want to mention my involvement with visits to three separate construction sites: 1. The first visit was to a Spanish-American style home, a fairly uncommon style in the firm. I was part of a team including the project manager, general contractor, and client that checked a punch list and reviewed the project in its nearly completed state, preparing the final touches for the client to occupy. This visit was beneficial for me because it allowed me to witness the custom detailing involved with highend residential projects. For instance, custom cabinetry to include kitchen appliances, hidden drawers embedded in the marble backsplash, and hidden pull-out steps to be used for reaching high cabinetry. The encounter also gave me insight into the close relationship that is built between the client and the architect over the period of three years it took to get the project where it was. 2. The second residence was in the early stage of construction and involved meeting with the general contractor, the interior designers, and a millwork consultant on site to discuss design details revolving around the home’s renovation.
One of the focal points of discussion during the meeting involved a mock-up model of some of the detailing that would be taking place in the residence. The contractor wanted approval from the architects and interior designers before moving on to the full scale implementation. The meeting also involved discussing shop drawings created by the millwork consultant for purposes of fabrication. This site visit allowed me to witness the extreme planning and coordination involved in the construction of high-end residences. 3. The last site visit was to a residence of the typical Marmol Radziner design aesthetic. This project was at roughly 50% completion, allowing me to witness the process of pouring terrazzo floors in the interior and the application of travertine stone masonry veneer on the exterior. The project manager, one of the partners, and myself met the contractors and interior designers on site to discuss wood finishing in relation to the travertine stone and coating on the anodized aluminum framing for the windows. This site visit gave me insight into some construction techniques included within crafting a residence of such high standard. When I began my internship, Marmol Radziner enrolled me into an three day Revit training course. This opportunity allowed me to expand on what I learned while I was enrolled in the ELDS 727: Advanced Digital Applications course at SCAD. Following the training and keeping in mind my goals for the internship, I was eager to begin work in Revit on construction documentation and/or 3D modeling. I wanted to learn how Marmol Radziner develops their
detailing and how they produce the architecture for which they are known. Instead, throughout my eight weeks, I was predominately challenged with producing graphics for various projects including presentation style perspective sectional drawings for Ron Radziner’s newly finished home (the drawings are not included in this report because they are to be included in the firm’s upcoming publication of the project).
10
The project on which I spent most of my time during my internship with Marmol Radziner was a proposal to the neighborhood of Brentwood to redesign a large portion of Sunset Boulevard in an attempt to make the corridor more accommodating to bicyclists and pedestrians via protected bikeways and sidewalk set-backs respectively. Historically, large portions of Sunset Boulevard have been dangerous for pedestrians due to the high speed traffic and lack of proper accommodations. This led me to complete research into traffic calming methods and bicyclist safety and implementing the gained knowledge into the local conditions at the macro and micro scales. I was involved with this proposal at multiple stages, beginning with early design conception in conjunction with Brad Williams, an associate architect, and Ron Radziner, one of the founding partners, in an effort to identify and target problem areas and develop manageable solutions. I then worked on the project through the production of presentation style graphics, which are included later in Part One, in critical collaborative discussions with Brad. As demonstrated in the trailing drawings, the project became focused on merely graphic representation of simple design solutions contrary
to my expectations of it being a more design and content intensive task. The final portion of the project in which I was involved included presenting the proposal to members of the Brentwood neighborhood committee. They were very welcoming of the ideas and commended me on the quality of the graphics. Although this project was not challenging or innovative with respect to design, I now feel more confident about representing ideas and design via graphic outlets.
12
miles
10.4
PACIFIC COAST
SUNSET CORRIDOR
UCLA
Site
i-4 05
et ns u S
vd Bl
icente
San V
Blvd
Ba
Bl
gto ve nA ive
Property Line
North Westgate Ave
ve ir A lta Sa No rth
Site
200’
Bev
erly
Ct
e Av
ville
Gr an
Pro pe rt
yL
ine
Av e e Lin
We stg ate
Pro pe rty
uth
So
14
100’
Dr
Sunset Corridor 50’
Archer School for Girls
St. Martin of Tours School
University Synagogue
0’
Bl
MARMOL RADZINER
Overall Plan
St. Martin of Tours Catholic Church
on
M
y nd Bu
a
nt
Sunset Corridor
vd
ica
Sa
rrin
vd
re
hi
ils
W
MARMOL RADZINER
Archer School for Girls Bus Stop
Street Trees
Protected Bikeway
Raised Planter
Raised Crosswalk
Planted Buffer
Sidewalk
Bev erly
Cou
rt
Planted Median
Sunset Corridor 20’
MARMOL RADZINER
40’
Property Line
10’
Property Line
0’
Planted Buffer Raised Protected Sidewalk Planter Bikeway 10’ 5’ 6’ 3’
Planted Buffer Protected Raised Bikeway Planter 5’ 6’ 3’
Sidewalk 10’
Raised Crosswalk
Travel Lane - 11’
Travel Lane - 11’
Travel Lane - 10’
Travel Lane - 10’
Planted Median + Turn Lane - 10’
16
Part Two Transitioning
Transitioning
I must begin by saying I respect Marmol Radziner and the designers comprising the team for the work they complete. They have developed a strong architectural product that they are able to sell to clients, consistently gaining new clientele that want said product. I think they have reached a level in the profession for which many architects strive. Working with such a firm for eight weeks and 320 hours during my internship, I did not learn as much about the profession as I had hoped to in the beginning when I set out to start my internship. While working at Marmol Radziner could have been an enriching experience for another student with different goals, I regret to report that I believe with regards to my internship, Marmol Radziner was not the right fit. Our goals did not align. I felt underutilized, I was limited in my design capabilities, and ultimately felt unfulfilled. I believe an internship should be a symbiotic relationship between employer and intern, allowing for an exchange of experience and knowledge for youthful energy and curiosity. While there was constant exchange with my supervisors, the nature of the exchange was not in alignment to the goals I had set as an architecture intern. This internship did give me critical insight into the world of high-end residential architecture and the required patience, high attention to detail, and complex coordination necessary to complete such projects – all valuable lessons gained.
20
Following week eight of my internship I was offered an opportunity to work for an architect specializing in fabrication, which will be discussed more in depth on page 24. I knew this
opportunity would provide great benefit and allow me to be a step closer to achieving my original goals for the summer. Having such an offer presented to me in addition to the state of dissatisfaction as previously mentioned, I chose to resign from Marmol Radziner to begin what would be the beginning of an intensive three week introduction into the world of architectural fabrication. Because of the short amount of time I had remaining in Los Angeles, I was forced to make the quick transition in an effort to obtain the most benefit from this new opportunity. If time allowed, I would have taken a more traditional approach to leaving the firm by giving at least a two week notice prior to my departure, ensuring all loose ends were tied up. However the quick exit was taken after a discussion with partner of the firm, Ron Radziner, who agreed immediate exit would prove most beneficial for me at that point. After completing the Sunset Boulevard project and presenting it to the members of the Brentwood neighborhood committee, I had no further commitments or obligations to the firm, in the sense that I was not a critical member of any ongoing projects. I was not being utilized as a member of any team, predominately sitting on the sideline as a spectator when I wanted to be included in the game, metaphorically speaking. I had more than doubled the required 150 hours worked for the internship registration with the Savannah College of Art and Design, satisfying the requirements for the ARCH 779F: Graduate Field Internship course. I hold my personal well-being and growth in the highest and believe my education is an important extension. If I do not feel challenged
or like I am learning properly, if my growth as a professional is halted, I will take initiative to find solutions. I do not strive to live a life of complacency. Again, I am not saying this in an effort to disrespect or disregard Marmol Radziner or their work - our paths simply did not align, nor did we have common goals. I felt the eight weeks worked in that firm was sufficient time for me to understand I do not want to pursue that niche of the profession, ultimately a valuable lesson. But when presented with opportunities more suited for learning aiding in my personal growth, it was an obvious choice to take control of my education in the pursuit of well-being – an obvious act for anybody in my position. I want to thank Marmol Radziner for the opportunity to be a member of their firm for the summer, and more importantly, I want to thank them for teaching me a valuable lesson about my place in the profession amidst the ongoing pursuit to find that place.
22
Part Three Machine Inspired Art
New Beginning
When enjoying a weekend and visiting various architectural landmarks, I received a message from a former professor from my undergraduate institution with regards to a possible part-time job helping out his friend in need, an architect specializing in fabrication in Los Angeles. I was intrigued by the offer and decided to follow up with said friend, Behn Samareh. When I first met with Behn in his studio, I knew I had entered a laboratory for experimentation and learning. I was extremely interest in the kind of work Behn was completing and his process of execution. After discussing his need for help on a specific project, he offered me a full-time position until I would be leaving Los Angeles to return to Savannah to continue my graduate studies. Due to my current state of educational stagnation, it was an offer I could not refuse. Once I began working for Behn, I instantly felt like I was part of the team. I was given major responsibilities essential to the project execution. My design skills were utilized and welcomed. I became part of a collaborative environment. I was given opportunities to learn mold making techniques, the intricacies involved with digital fabrication, and the hands-on nature of carpentry and wood-working.
26
In the three weeks I was a part of Machine Inspired Art, I worked roughly 150 hours, all of which can be documented under various categories included in the NCARB Internship Development Program. Another member of the MIA team, Jamilah Haygood, is licensed for practice in the state of California and can sign for any work credited towards IDP.
www.MachineInspiredArt.com
Kerplunk
Commissioned by an interior designer as part of an adult game room with the idea of including adult sized kids games, Machine Inspired Art was tasked with designing and fabricating Kerplunk for adults. The design for the Kerplunk consists of a 4’x8’ sheet of perforated aluminum wrapped into a cylinder to create the fuselage for the balls. The sculptural structural supports will be made of CNC milled plywood that include notched to hold the aluminum cylinder without the use of fasteners. A round base with indented sections act as collectors for the balls when they fall. The design idea was completed by Solomon Interior Design. Design detailing completed by Behn Samareh and Jimmy Darling. 3D modeling and renderings completed by Jimmy Darling. Fabrication will be completed by Behn Samareh.
28
www.MachineInspiredArt.com
Triangulated Desk
Commissioned by an interior designer for an office space, this desk and column are the focal point of the reception area, allowing for design opportunity to arise. The interior designer sent inspirational imagery for the way he wanted the piece to look and left the details for Machine Inspired Art. The following renderings were completed by me after I modeled the triangulated surfaces in Rhino. The model will be used to CNC surface mill plywood panels varying in depth between 0.5 and 4 inches. Once milled, the panels will be applied via adhesives to the desk and column on site. The design idea was completed by Solomon Interior Design. Design detailing completed by Behn Samareh and Jimmy Darling. 3D modeling and renderings completed by Jimmy Darling. Fabrication and installation will be completed by Behn Samareh.
30
www.MachineInspiredArt.com
www.MachineInspire
www.MachineInspiredArt.com
www.MachineInspire
Tiled Pattern
Commissioned by an interior designer for an office space with the idea of repeating a single tile to create a varying pattern across a wall. I was given the task of developing various pattern designs to propose to the interior designer. This project involved prototyping with the CNC mill with different router bits, varying depths, and changing patterns. Once the design of the tile is complete, there will be a large quantity of the tiles fabricated to be installed on site. The design idea was completed by Solomon Interior Design. Design detailing completed by Behn Samareh and Jimmy Darling. 3D modeling completed by Jimmy Darling. Fabrication and installation will be completed by Behn Samareh.
32
Holy Family Playground
While working at Machine Inspired Art, an ongoing project within the studio involved fabricating concrete tiles with donor names to be embedded in a new playground at a local, private elementary school. When I arrived, much of the design was already complete and the project was well into the production stage. I worked directly with Dr. Behn Samareh to assist him in the mold making process. His process involved CNC Milling the desired design into high-density foam, casting a silicone mold, and then pouring colored Hydrocal, a gypsum based cement, into the silicone mold, resulting in a decorative concrete tile to be embedded in the cast concrete on site by a mason.
San Manuel Lights
Commissioned by an interior design team for San Manuel Casino, Machine Inspired Art was tasked with designing and fabricating two 40’x20’ light fixtures to be hung over blackjack and roulette tables. I began working on the project when it was transitioning from the design development phase into fabrication, beginning with the production of shop drawings submitted to the contractors, consultants, and third party fabricators. The shop drawings consisted of detailing the aluminum frame, locations of hang points, and locations of specialty lighting and security cameras required by the casino along with locations of sprinklers in conjunction with California building codes. Following the shop drawings, I began working extensively with the team at Machine Inspired Art to prepare for the fixtures to be CNC milled. Once the files were ready for milling, I took the lead in operating the CNC mill for five continuous days to ensure the project would not fall behind schedule. After the milling was complete, I worked with the team to paint and prepare all pieces to be delivered on site. Unfortunately, because my time in Los Angeles came to an end, I was unable to partake in the installation process. The design idea was completed by Wimberly Interiors. Design detailing completed by Behn Samareh and Peter Won. Renderings and shop drawings completed by Jimmy Darling. Fabrication completed by Behn Samareh, Peter Won, and Jimmy Darling.
36
www.MachineInspiredArt.com
www.MachineInspiredArt.com
Machine Inspired Art 530 S Main St, Los Angeles, CA 90013 213.293.9442 http://www.machineinspiredart.com/
45'-243" 8'-541 "
9'-841 "
8'-541 "
1'-9"
4'-0"
2'-3"
18'-8"
9'-7"
2'-1121 "
2'-1121 "
1'-9"
BOX A PLAN 1/2"=1'-0"
2'-3"
4'-0"
2
1 3.1
OVERALL PLAN
1
1/2"=1'-0"
18'-7"
2'-1121 "
6'-4"
CERTIFICATION
2'-1121 "
6'-4"
777 San Manuel Blvd, Highland, CA 92346
SAN MANUEL INDIAN BINGO & CASINO
3'-8"
9'-7"
WOOD TRIM = 9'-8"
BOX D
2'-1121 "
9'-8"
BOX C
9'-8"
BOX B
BOX A
2'-1121 "
11'-3" 2'-1121 "
2'-1121 "
5'-4"
9'-7" 2'-1121 "
2'-1121 "
2'-1121 "
3'-8"
DRAWN BY JIMMY DARLING
3'-1058"
CHECKED BY BEHN SAMAREH
3'-8"
WOOD TRIM = 9'-8" 9'-7"
2'-1121 "
7'-2"
13'-1"
3'-1058"
WOOD TRIM = 13'-2"
2'-1121 "
REVISIONS
2'-1121 "
3'-1058"
WOOD TRIM = 17'-8" 17'-7"
PLANS
08.12.2016 SHOP DRAWINGS
1/2"=1'-0"
1 3.1
BOX B PLAN
1/2"=1'-0"
BOX C PLAN
4 3
BOX D PLAN
5
2'-1121 " 1/2"=1'-0"
BOX DIAGRAM B
C D
SHEET
NUMBER
1.1
Machine Inspired Art 530 S Main St, Los Angeles, CA 90013 213.293.9442 http://www.machineinspiredart.com/
A
16'-1143" 5'-678"
5'-678"
5'-6"
9'-743"
ø2"
1'-978"
2'-9"
3'-278"
ø2"
2'-643"
3'-1078"
CERTIFICATION
4'-1081 " 3'-058"
4'-1081 " 2'-338"
2'-643"
343"
1'-9"
9"
4'-443" 1'-10"
1'-10"
2'-643 "
443"
943"
DRAWN BY JIMMY DARLING CHECKED BY BEHN SAMAREH
2'-643"
6'-143"
3'-1058"
4'-021 " 2'-221 "
REVISIONS
8'-921 "
8'-921 "
1'-1138"
1'-9"
443"
943"
2'-643"
6'-143"
443"
7
BOX C HANGER PLAN
8
BOX D HANGER PLAN 1/2"=1'-0"
1/2"=1'-0"
PLANS
BOX B HANGER PLAN 1/2"=1'-0"
BOX DIAGRAM A
B
C D
SHEET
08.12.2016 SHOP DRAWINGS
3'-1058" 343" 2'-3" 443"
1 3.1
6
443"
1'-1138"
12'-321 "
1'-1138" 1'-1138" 4'-443" 2'-538" 1'-541 " 4'-0"
2'-643" 443"
BOX A HANGER PLAN 1/2"=1'-0"
1'-921 "
443"
1'-2"
8'-921 " 2'-643"
5
3'-1078"
443" 443"
3'-438"
2'-3"
443"
5'-1181 " 2'-1158"
1'-541 "
9"
2'-538"
2'-221 "
2'-643"
1'-10"
2'-643"
4'-0"
4'-021 " 1'-10"
1/2"=1'-0"
443"
5'-1181 " 2'-1158"
4'-443"
4'-443" 2'-643"
BOX D FRAME PLAN
1/2"=1'-0"
1/2"=1'-0"
5'-1181 "
443"
4
BOX C FRAME PLAN
BOX B FRAME PLAN
2
3'-438"
ø2"
1'-578"
3'-1078"
3
7'-1143"
3'-8" 1'-9" 6"
6"x6" PLATE ø2"
1/2"=1'-0"
2'-643"
ø2"
6"x6" PLATE 3'-878"
6"x6" PLATE
BOX A FRAME PLAN
443"
3'-1078"
6"x6" PLATE
3'-10"
3'-1078"
FRAME SPLIT SEE DRAWING 2-3.1
ø2"
1
3'-1078"
3'-10"
FRAME SPLIT SEE DRAWING 2-3.1
7'-1143"
6"x6" PLATE ø2"
7'-1143"
6"x6" PLATE
1'-9"
6"x6" PLATE
3'-1078"
6"x6" PLATE
777 San Manuel Blvd, Highland, CA 92346
6"
SAN MANUEL INDIAN BINGO & CASINO
1'-10"
11'-543"
2'-10" ø2"
6"
6"
3'-878"
2'-278"
3'-1078"
1'-578"
3'-1078"
4'-878"
3'-1078"
7'-1143"
443"
17'-8"
2'-1121 "
3'-8"
NUMBER
1.2
Machine Inspired Art 530 S Main St, Los Angeles, CA 90013 213.293.9442 http://www.machineinspiredart.com/
443"
1" ∅3 2
1" ∅3 2
∅3
" 2
3'-878"
ø1"
1'-7"
1" ∅3 2
3'-1143"
1" ∅3 2
1" ∅3 2
ø1"
1'-741 "
1" ∅3 2
1" ∅3 2
958" 958"
1" ∅3 2
1" ∅3 2
1'-741 "
ø2"
3'-1143"
ø2"
ø1"
858"
∅321"
1'-181 " 1'-181 " 438"
1" ∅3 2
378"
ø1"
378"
ø1"
SEE NOTE
1'-0"
1" ∅3 2
1
921 "
BOX A PLEXIGLASS PLAN
1
BOX B PLEXIGLASS PLAN
2
1/2"=1'-0"
5'-743" 1178"
1'-6"
1'-778"
1'-6"
1/2"=1'-0"
4
BOX D PLEXIGLASS PLAN 1/2"=1'-0"
5'-743"
5'-743"
2'-738"
BOX C PLEXIGLASS PLAN
3
1/2"=1'-0"
3'-038"
778"
1'-6"
1'-6"
1'-1178"
777 San Manuel Blvd, Highland, CA 92346
2'-558"
1'-9"
1" ∅3 2
1178"
3'-1143"
1" ∅3 2
1" ∅3 2
2'-0"
1" ∅3 2
SAN MANUEL INDIAN BINGO & CASINO
ø2"
ø2"
1'-241 "
1'-7"
ø1"
11"
ø1"
3'-878"
2'-078" 2'-638"
ø1"
2'-078"
ø1"
ø1"
3'-9"
3'-1143"
3'-043"
1'-338"
1" ∅3 2
1'-043"
3'-1143"
1'-878"
2'-558" 1'-481 "
1" ∅3 2
4'-9"
ø2"
858"
ø1"
3'-943"
443"
ø1"
SEE NOTE 1" ∅3 2
1" ∅3 2
ø2"
1'-338" 1" ∅3 2
1043"
1'-778"
1" ∅3 2
3'-943"
3'-178"
858"
4'-943"
2'-321 "
ø1"
ø2"
1'-343"
4'-4"
ø1" 278"
4'-943"
2'-638"
3'-438"
ø1"
ø1"
738"
1" ∅3 2
2'-641 "
1" ∅3 2
3'-943"
1'-0" 1'-0"
3'-1143"
1'-1143" 278"
∅3
1" ∅3 2
738" ø1"
1'-1178"
7 321 " 38"
ø2"
1'-6"
" 2
1" ∅3 2
ø1" ø2"
∅3 1 2"
1'-6"
ø2"
ø1"
3'-1143"
3'-878"
778"
1
3'-381 "
1" ∅3 2 343"
3'-038"
" 2
1'-481 "
1" ∅3 2
∅3
ø1" ø1"
" 2
5'-743"
5'-743"
2'-738"
1" ∅3 2 1
" 2
ø2"
2'-743"
1'-7"
1" ∅3 2
∅3
∅3
3'-1143"
1" ∅3 2
1
3'-878"
1'-7"
∅3
" 2
378"
1'-7"
1
943" 943"
3'-1143"
858"
11"
1'-7"
3'-1143"
3'-1143" 1'-241 "
858"
2'-0"
1'-778"
1'-6" 1" ∅3 2
1
858"
3'-1143" 921 "
1'-6"
1'-878"
5'-743" 1178"
1" ∅3 2
1
" ∅3 2
443"
1" ∅3 2
1" ∅3 2
1
" ∅3 2
921 "
3'-878"
"
1" ∅3 2
1" ∅3 2
1" ∅3 2
3'-878"
ø1"
CHECKED BY BEHN SAMAREH REVISIONS
1'-7"
ø1"
858"
ø1"
1'-7"
∅3 2
DRAWN BY JIMMY DARLING
3'-1143"
1
1'-741 "
1" ∅3 2
958" 958"
∅3
" 2
1'-741 "
ø2"
ø2"
1" ∅3 2
1
3'-1143"
378"
ø1"
378"
ø1"
858"
∅321"
1'-181 " 1'-181 " 438"
1" ∅3 2
2'-0"
1" ∅3 2
SEE NOTE
1'-0"
1" ∅3 2
1'-878"
ø2" 2'-558"
1'-9" 1178"
3'-1143"
1" ∅3 2
2'-078"
ø1"
1'-241 "
3'-943"
2'-078" 3'-9"
11"
ø1"
3'-943"
2'-638" 1'-043"
ø1"
3'-1143"
3'-043"
1'-338"
1" ∅3 2
ø2"
3'-1143"
3'-943"
443" 2'-558"
1" ∅3 2
4'-9" ø1"
ø1"
ø2"
SEE NOTE 1" ∅3 2
1'-481 " 1'-338"
1043"
ø1"
1" ∅3 2
ø1"
2'-638"
1'-343"
4'-4"
1'-778"
1" ∅3 2
ø2"
1'-481 "
3'-438" 738"
1" ∅3 2
1" ∅3 2
ø1" 278"
3'-178"
1'-878"
1'-0" 1'-0"
1'-1143" 278"
ø1"
4'-943"
2'-321 "
ø1"
ø2" 7 321 " 38"
ø2"
1" ∅3 2
4'-943"
858"
858" ∅3 1 2"
ø1"
ø1"
3'-381 "
ø2"
2'-641 "
1" ∅3 2
1" ∅3 2
ø1"
2'-743"
1" ∅3 2
3'-878"
3'-1143"
"
∅3 2
343"
∅3
" 2
ø2"
ø1"
858"
943" 943"
1
∅3
" 2
1
" 2
ø2"
3'-1143"
1
" 2
∅3
738"
1
∅3
1" ∅3 2 1
" 2
ø1" ø1"
1'-7"
1'-7"
858"
11"
3'-878"
1" ∅3 2
∅3
3'-1143"
1'-241 "
378"
3'-1143"
2'-0"
3'-1143"
1" ∅3 2
1'-7"
1'-7"
921 "
3'-1143"
CERTIFICATION
3'-1143"
1" ∅3 2 1
7
1/2"=1'-0"
BOX C KOMATEX PLAN 1/2"=1'-0"
8
BOX D KOMATEX PLAN 1/2"=1'-0"
PLANS
BOX B KOMATEX PLAN
6
08.12.2016 SHOP DRAWINGS
BOX A KOMATEX PLAN 1/2"=1'-0"
NOTES A. AD5 FIXTURES HAVE BEEN MOVED OUT OF WOODEN BOX FRAME TO BE SET IN PLEXIGLASS AND KOMATEX PANELS
BOX DIAGRAM A
B
C D
SHEET
NUMBER
1.3
Machine Inspired Art 530 S Main St, Los Angeles, CA 90013 213.293.9442 http://www.machineinspiredart.com/
CEILING
4'-443"
4'-021 "
5'-11163 "
5'-11163 "
5'-11163 "
4'-1081 "
4'-1081 "
8'-541 "
1'-0" 3"6" 3"
18'-8321 "
1'-0" 3"6" 3"
1'-0" 3"6" 3"
1'-0" 3"6" 3"
16'-8" A.F.F. 15'-4" A.F.F.
17 15'-932 "
1
9'-8" 11'-4"
BOX B
BOX C
SAN MANUEL INDIAN BINGO & CASINO
9'-8"
BOX A SOUTH ELEVATION
BOX D
1/2"=1'-0"
CEILING
CEILING
2'-3"
2'-3"
2'-3"
9'-8" 13'-2" 17'-8"
1'-9"
2'-3"
CERTIFICATION
2'-3"
EAST ELEVATION
3
1/2"=1'-0"
2'-3"
1'-0" 3"6" 3"
14'-0" A.F.F.
1'-9"
1'-9"
1'-0" 3"6" 3"
1'-0" 3"6" 3"
15'-4" A.F.F. 1'-0" 3"6" 3"
15'-4" A.F.F.
8'-921 "
1'-9"
1'-0" 3"6" 3"
1'-9"
16'-8" A.F.F.
14'-0" A.F.F.
2
8'-921 "
1'-9"
1'-0" 3"6" 3"
2'-3"
16'-8" A.F.F.
777 San Manuel Blvd, Highland, CA 92346
14'-0" A.F.F.
1'-9"
9'-8" 13'-2" 17'-8"
1'-9"
2'-3"
DRAWN BY JIMMY DARLING
WEST ELEVATION
CHECKED BY BEHN SAMAREH
1/2"=1'-0"
REVISIONS
CEILING
8'-541 "
4'-1081 "
4'-1081 "
5'-11163 "
5'-11163 "
5'-11163 "
4'-021 "
4'-443"
ELEVATIONS
1'-0" 3"6" 3"
1'-0" 3"6" 3"
16'-8" A.F.F. 15'-4" A.F.F. 14'-0" A.F.F.
9'-8"
17 15'-932 "
9'-8"
BOX B
BOX A
11'-4"
4
BOX D NORTH ELEVATION 1/2"=1'-0"
BOX C
BOX DIAGRAM A
B
C D
SHEET
08.12.2016 SHOP DRAWINGS
1'-0" 3"6" 3"
18'-8321 "
1'-0" 3"6" 3"
5
NUMBER
2.1
40
August 25, 2016 To whom it may concern: My name is Behn Samareh and I am writing this letter on behalf of Jimmy Darling. For ten years, I have been a teacher of architecture at California State Polytechnic University in Pomona, where I teach design as well as fabrication. I also have a studio in the heart of downtown Los Angeles, building custom architectural installations where many of my students have worked as interns. I understand the goals and objectives of an internship as well as the logistics and scheduling required. As well, having received a Ph.D. in Architecture from UCLA, I am well aware of the dynamics of the academic environment, as a student of architecture.
www.machineinspiredart.com
During the three weeks of working at our studio, Jimmy has been an invaluable asset to our team. Just to list a few of his contributions, he has been responsible for design, CNC fabrication, and carpentry in addition to mold making and decorative concrete casting. He has helped with physical fabrication of a large scale lighting feature, as well as created a complete set of shop drawings. He has proven to be an integral member of our team and MIA is fortunate to have him working with us. I am glad that we were able to provide him with a meaningful experience as well, although it may have only been for a few of weeks. My partner, Jamilah Haygood, is a California licensed architect who has agreed to sign-off on the hours Jimmy has spent working with us if need be.
530 South Main Street los angeles, ca 90013
Currently we have a large scale project coming through our office that required additional support. A fellow architect and teacher friend I have known for many years recommended his former student Jimmy Darling, knowing full well the stringent demands of this position. We brought Jimmy in for a meeting to review his capabilities and were impressed, not only at his skills but also the high opinion of his past teacher. Knowing he was already working, at first we thought he could work after-hours on our project but then he mentioned that he wasn’t working on any specific project at the firm where he was, nor did he have any specific responsibilities. It appeared that there was no structure to his internship, and that there would be little impact as the result of his leaving. Most significantly, it seemed that his talents were being under-utilized which left him ungratified and stagnant. Jimmy chose to end his internship and join our project team so he could obtain valuable work experience along with responsibilities which were not available to him at his school sanctioned internship.
Page 2
August 25, 2016
We, as educators can only hope that our students take the initiative to seek out experiences which contribute to the information we provide in school. Joining our team ways clearly an active decision on Jimmy’s part to do as such. In light of the lack of any significant negative impact, Jimmy’s only offence seems to be a procedural one, especially considering that he consulted his internship supervisor before stopping his internship. I can only hope that his proactive and directed approach to his learning is not seen as anything but noteworthy and commendable.
Sincerely Behn Samareh Ph.D. Director Machine Inspired Art LLC 530 South Main Street Los Angeles, CA, 90013 www.machineinspiredart.com (213)221-7076 Studio (310)766-7443 Cell
Part Four Exploring LA
Exploring LA
When choosing a city in which to pursue a summer internship, it was important for me to live in a city with a lot of activity - socially, culturally, and architecturally. Los Angeles has a lot to offer in all three categories and is vastly different compared to other places I have lived previously. I felt that a three month stay while working an internship would be enough time to immerse myself in the Los Angeles culture and give me a chance to explore a part of the country I have never experienced. Some of the most iconic moments during my stay in Los Angeles includes visiting architecture around the city and surrounding areas. I finally had the ability to see those iconic projects I learned about in my architecture history classes. Being able to immerse yourself fully into the architecture gives a new identity and understanding of the project, not gained from photographs or text books.
46
Projects in order from top left to bottom right: The Broad by Diller Scofidio + Renfro. Cathedral of Our Lady of the Angels by Rafael Moneo. Ramon C. Cortines School of Visual and Performing Arts by Coop Himmelb(l)au. Walt Disney Concert Hall by Frank Gehry. Pterodactyl by Eric Owen Moss. Samitaur Tower by Eric Owen Moss. Stealth by Eric Owen Moss. Beehive by Eric Owen Moss. What Wall? by Eric Owen Moss. Lou Ruvo Center for Brain Health by Frank Gehry. Eames House by Charles and Ray Eames. They Getty Center by Richard Meier. Gehry Residence by Frank Gehry. VDL House by Richard Neutra. Gamble House by Greene & Greene. Hollyhock House by Frank Lloyd Wright. Schindler House by Rudolf Schindler. Salk Institute for Biological Studies by Louis Kahn. Geisel Library by William Pereira. Photographs taken by Jimmy Darling and Shalmali Wagle.
Part Five Submittals
Graduate Program Field Internship Evaluation by Student To be compleTed by sTudenT Name
Jimmy Darling
SCAD email Major
SCAD ID number
001836073
jdarli20@student.scad.edu
Architecture
Degree
SCAD supervising professor (print full name) On-site supervisor (print full name)
M.A.
M.F.A.
M.Arch.
M.U.D.
Tammy Thompson
Brad Williams
Site of field internship (organization or company name) Type of company and location (city, state, country)
Marmol Radziner and Associates
Architecture Firm - Los Angeles, California, United States
Complete the following questions on an attached sheet • Discuss the academic and professional benefits of this internship. For instance, was the internship relevant to coursework you have completed, or will it impact choices you make in selection of remaining courses? Will it impact the studio and/or written aspect of your thesis? Are you better prepared to gain entry into the industry or other employment related to your academic major? • Describe the projects you worked on and the general areas of responsibility to which you were assigned. What were your primary contributions? Where did you excel? Where are your opportunities for growth? » Describe specific tasks you performed. What new or established skills were essential to these tasks?
• Discuss the content, frequency and benefit of your contact with your supervising professor. » Discuss the content, frequency and benefit of your contact with your on-site supervisor. • Describe the written and/or visual work product provided to the supervising professor for evaluation and for verification of the minimum of 150 hours of engaged internship activity. • Would you recommend this as a site for future graduate field internships? Why or why not? Discuss.
I have provided the appropriate Graduate Program Field Internship evaluation forms to my on-site supervisor and supervising professor. I will provide the supervising professor and on-site supervisor with copies of this evaluation and understand that this evaluation becomes part of my permanent academic record.
Signature of student
08 25 Date / /
Signature of supervisor
Date / /
2016
56697.11.12
50
Q: Discuss the academic and professional benefits of this internship. For instance, was the internship relevant to coursework you have completed, or will it impact choices you make in selection of remaining courses? Will it impact the studio and/or written aspect of your thesis? Are you better prepared to gain entry into the industry or other employment related to your academic major? A: Going into the internship, I had an interest in intimate, human-scale architecture, along with construction assembly and methodology, leading me to pursue Marmol Radziner, a firm specializing in designing and building high-end residential architecture. I was honored to be offered an internship position at a firm with such a reputation in the Southern California, directed by two architects with distinguished honors as Fellows of the American Institute of Architects. I think working in a firm with a reputation like that of Marmol Radziner can provide connections and professional benefits in the future. I think this internship has influenced me to pursue classes that provide opportunity to explore the realm of fabrication because of its lack of handson nature. I have discovered I do not want to sit at a desk every day and that I want to experience the project from start to finish, meaning I want to design and build myself. Deciding to leave Marmol Radziner and work under the direction of Dr. Behn Samareh and Architect, Jamilah Haygood at Machine Inspired Art has proved more beneficial in helping me get closer to finding my own place in the profession of architecture.
Q: Describe the projects you worked on and the general areas of responsibility to which you were assigned. What were your primary contributions? Where did you excel? Where are your opportunities for growth? A: Due to the high profile clients and nature of the projects worked on at Marmol Radziner, non-disclosure agreements are quite common. With this being said, I am not at liberty to discuss the clients, specific locations, or details of the projects. This, along with the firm’s goal to publish the completed projects, has not allowed me to include many photos or drawings I worked on during my internship. But, I can vaguely describe the type of work completed and my role in the projects. I was involved in three visits to separate sites where residences were under construction. One visit was to a Spanish-American style home, an uncommon style in the firm, with the project manager and involved a checking a punch list and walking through with the general contractor, preparing the final touches for the clients to move in. Another residence was just beginning construction and involved meeting with the general contractor, the interior designers, and a millwork consultant on site to discuss design details revolving around a the home’s renovation. The last site visit was to a residence of the typical Marmol Radziner design aesthetic that was at roughly 50% completion. During all three visits, my role consisted of following along with the architect in charge and asking questions about various aspects of the construction process. 52
While in the office, I had little opportunity to actually work on design or construction documentation as I had hoped. One of my goals for the internship was to learn how Marmol Radziner has developed their detailing and how they produce the architecture they are known for. Instead, I was predominately tasked with producing graphics for various projects including presentation style perspective sectional drawings for Ron Radziner’s newly finished home (the drawings are not included in this report because they are to be included in the firm’s upcoming publication of the project). The project I spent most of my time on during my internship with Marmol Radziner was a proposal to the neighborhood of Brentwood to redesign a large portion of Sunset Boulevard in an attempt to make the corridor more accommodating to bicyclists and pedestrians via protected bikeways and sidewalk set-backs. I was heavily involved with the proposal, beginning with early design conception through the production of the presentation graphics, which are included in this report. After meeting with members of the Brentwood neighborhood committee and witnessing their reactions to the graphics, I am confident in my skills to graphically represent ideas and design proposals in the professional setting. My want to learn construction means and methods and my fascination with learning detailing and assembly methodology are reasons that originally brought me to Marmol Radziner, especially with the firm’s design/ build structure. Throughout the internship, I was
consistently given tasks involving the use of my graphic skills, not allowing me to expand on the knowledge I had originally hoped to gain from my time there. When the opportunity to gain hands-on experience with this aspect of the profession presented itself, I had to follow that path to fulfil my original purpose I set out to accomplish during my time in Los Angeles. Unfortunately, this opportunity was not with Marmol Radziner, but rather with Machine Inspired Art, under the direction of Dr. Behn Samareh and Architect, Jamilah Haygood. The small amount of time I have worked with Machine Inspired Art has provided me with beneficial experience now, and has provided me with potential opportunities following graduation to continue my exploration into the fabrication realm of architecture. Q: Describe specific tasks you performed. What new or established skills were essential to these tasks?
54
A: I was primarily tasked with producing presentation style graphics for various projects. These graphics included a process using Photoshop to alter existing photos and composing new images that best represents the design ideas. I also used Illustrator for various vector work necessary for the imagery. I took part in producing presentation style graphics directly from Revit, which I was introduced to in the ELDS 727 course and was able to translate that gained knowledge into the professional environment. Also taken from the ELDS 727 course, and then expanded on during an
intensive three day Revit training workshop offered by Marmol Radziner, I was tasked with some construction documentation in Revit, making me more confident in my ability to use Revit on future projects. Q: Discuss the content, frequency and benefit of your contact with your supervising professor. A: I spoke with Professor Thompson on a biweekly basis via email, as agreed upon at the beginning of the course, giving her an in-depth look into the work I was completing and the experiences I was gaining. We completed a midterm phone conference discussing in more detail what was expected for final submissions, as well as helpful advice for handling the predicament I encountered. Q: Discuss the content, frequency and benefit of your contact with your on-site supervisor. A: Brad Williams and I sat close to each other in the office and I had frequent contact with him during my time at Marmol Radziner. We would have detailed discussions about my work at least once per day with quick comments and/or questions occasionally throughout the day. Brad and I would regularly disagree on graphic representation, but engage in productive conversation, resulting in what I believe to be successful graphics that ultimately lead to client approval and excitement.
Q: Describe the written and/or visual work provided to the supervising professor for evaluation and for verification of the minimum of 150 hours of engaged internship activity. A: Due to the non-disclosure agreements and publication purposes, I am unable to show some of what was worked on during my time at Marmol Radziner. I am, however, able to show the results of the intensive design proposal involving the redesign of Sunset Boulevard. This, along with information detailed out in the biweekly logs emailed to Professor Thompson, my field supervisor’s evaluation, and the supplementary material completed following my departure from Marmol Radziner can verify I have well surpassed the necessary hours required for the internship. Q: Would you recommend this as a site for future graduate field internships? Why or why not? Discuss. A: I would recommend Marmol Radziner as an establishment for those future architecture students wanting to intern in a highly specialized architecture firm. If the student has a committed interest in high-end residential architecture and has the patience for working on projects for extended periods of time, working in a firm such as Marmol Radziner is perfect. I think Marmol Radziner has a lot to offer up and coming architects with regards to managing clientele and highly-detailed customization. 56
Submissions
My updated resume and portfolio inserts can be found on my website at www.jdarling.net. Updated resume can be downloaded at: http://www.jdarling.net/#!resume/cfvg Portfolio insert for work completed at Marmol Radziner can be found at: http://www.jdarling.net/#!sunset-blvd/r2rnl Portfolio insert for work completed at Machine Inspired Art can be found at: http://www.jdarling.net/#!x/xzm1t
jDARLING
Jimmy Darling, LEED Green Associate education
317.828.2016 | jimmy@jdarling.net 805 E 35th St. | Savannah, GA 31401 Portfolio available at: www.jdarling.net
Savannah College of Art and Design - Savannah, Georgia Professional Master of Architecture - expected June 2017
Ball State University - Muncie, Indiana Bachelor of Science in Architecture - December 2014 Franklin Central High School - Indianapolis, Indiana Core 40 with Academic Honors Diploma - May 2011 skills
LEED Green Associate - March 2016 AutoCAD Revit 3DS Max Sketchup
Rhino Grasshopper vRay Microsoft Office
Photoshop Illustrator InDesign Premiere Pro
Model building; physical and digital (laser cutting + 3D printing), rendering, documentation, photography
honors
American Institute of Steel Construction Competition 2014 Second Place (Team Submission) - Ball State
Cripe Capstone Competition 2014 Competition Finalist (Team Submission) - Ball State
Indiana Concrete Masonry Association Competition 2013 Competiton Finalist - Ball State
involvement
Site Design Workshop + Charrette - Fall 2015 SCAD Atlanta
CAP Americano - Summer 2014
College of Architecture and Planning - Ball State Study abroad program - Ecuador + Argentina + Portugal + Spain
Workshop Internacional A4A - Experiencias Proyectuales Summer 2014 - Córdoba, Argentina Universidad Nacional de Córdoba International architecture workshop and seminar
CAP Japan - Summer 2013 College of Architecture and Planning - Ball State Study abroad program - Japan publication
work experience
Strelka Magazine - April 2016 “Projective Preservation: A Manifesto for Savannah” by Ryan Madson Drawing published Machine Inspired Art - Los Angeles, California Designer: project design, digital fabrication, shop drawings August 2016 Marmol Radziner and Associates - Los Angeles, California Student Intern: rendering + conceptual graphics, construction documentation June 2016 - August 2016 Blackline Studio for Architecture - Indianapolis, Indiana Student Intern: project design, construction documentation, rendering February 2015 - September 2015, December 2015
58
jDARLING
Jimmy Darling, LEED Green Associate references
317.828.2016 | jimmy@jdarling.net 805 E 35th St. | Savannah, GA 31401 Portfolio available at: www.jdarling.net
Behn Samareh, Ph.D. Director - Machine Inspired Art 310.766.7443 behn@machineinspiredart.com
Scott Perkins, AIA
Principal Architect - Blackline Studio for Architecture 317.371.8666 perkins@blacklinstudio.net
Tammy Thompson, AIA, EDAC Professor - Savannah College of Art and Design tthompso@scad.edu
Julie Rogers Varland
Professor - Savannah College of Art and Design jrogersv@scad.edu
Ana de Brea
Associate Professor - Ball State University 765.744.9410 adb.academia@gmail.com
www.jDARLING.net