Lyndsey Greene Interior Design Portfolio Spring 2017
Table of Content About
About Me & Design Theory
4
Residence
Zeoli Residence & Gallery
8
Mixed Use-Residential and Commercial Location: Spokane, Washington Size: 7,500 sq ft
Resume
Qualifications & Experience
6
Tinker
Eureka! Palouse Commercial Education Location: Moscow, Idaho Size: 6,124 sq ft
14
Collaboration IIDA Booth Design
allcovering erior shingles nishings ncing
ailable In: nels minate ngles stom Furniture ncing
ertifications d Awards: adle to Cradle old
Conceptual
Furniture & Textile Design
Textile and chair designs illustrating conceptual
Size: 400 sq ft
and precedent inspiration.
24
HUMBLE ROOTS
GLOBAL TECHNOLOGY COMPANY
A1.0 A1.1 A2 A3 A4 A5 A6
GENERAL NOTES 1. DO NOT SCALE DRAWINGS 2. VERIFY FIELD CONDITIONS PRIOR TO COMMENCEMENT OF EACH PORTION OF THE WORK
Location: Amman, Jordan
3.CONTRACT DOCUMENTS ARE COMPLIMENTARY, AND WHAT IS REQUIRED BY ONE SHALL BE BINDING AS IF REQUIRED BY ALL. THE DESCRIBED IN THE CONTRACT DOCUMENTS. NOTIFY THE ARCHITECT FOR RESOLUTION OF ALL DISCREPANCIES PRIOR TO CONSTRUCTION. 4.DIMENSION TO THE STRUCTURAL GRID OF THE FINISH SURFACES UNLESS OTHERWISE NOTED. 5.DOORS INDICATED NEARBY WALL INTERSECTIONS SHALL BE LOCATED SO THAT THE FINISH OPENING IS FOUR INCHES FROM THE FACE OF THE NEARBY WALL UNLESS OTHER WISE NOTED. 6. REFERENCE OTHER PLANS FOR CLARIFICATION ON PLACEMENT. 7.GENERAL CONTRACTOR IS RESPONSIBLE FOR PROVIDING GENERAL SPEIFICATIONS AND INFORMATION TO ALL SUBCONTRACTORS.
ABBREVIATIONS AFF- ABOVE FINISHED FLOOR ARCH-ARCHITECT AUTO-AUTOMATIC BLDG-BUILDING CFL-COMPACT FLOURSCENT LIGHT CL-CENTER LINE CMU- CONCRETE MASONRY UNIT COL-COLUMN CONF-CONFERENCE CPT-CARPET DN-DOWN E-EAST EA-EACH ELECT.-ELECTRICAL EQ-EQUAL EXIST-EXISTING FF-FINISHED FLOOR FT-FEET
W-WEST W/-WITH W/O-WITHOUT
Project Location: 1455 Queen Nour, Abdali District Amman Jordan 15572
Governing Codes: 2015 International Building Code 2015 Assecoblity Code 2015 NFPA CODE
Project Description: Creating a workplace of the future for the global tech company AzTech Inc. Project Building: Central Abdali Building Square Footage 4th Floor: 20,000 SF Square Footage 5th Floor: 5,000 SF Square Footage Total: 25,000 SF Occupancy Classification: B-Business Building Type: 1-A Number of Exits Required Per Floor: 2 Exits Occupancy Load: 154 Occupants
Consultant Address
Northwest Architects 1537 Pike Ave, Seattle Wa, Suite 125 (206) 555-5587 Architects
Phone Service
Reflected Ceiling Plans & Schedule
Consultant Address
Furniture Plans & Schedule
Phone Service
Fire & Life Saftey Plans
40
Evergreen Engineers 675 NE East Ave, Everett Wa, Suite 1A (253) 555-6665 Engineering
Finish Plans & Schedule Elevations & Interior Sections
business. No.
Other: Fully Sprinkled, Fire Alarm System Equiped, Emergency Lighting Equiped
LOCATION
1 2
SYMBOLS 1 A101
Size: 20,000 sq ft
Greene Designs 555 NE Maple Street, Seattle Wa, Suite 420 (206) 555-1257 Interior Design
Technical Work 4th Floor Partition Plan & Space Schedule 5th Floor Partition Plan
Full construction document set of a commercial
CODE CONSIDERATIONS GL-GLASS GYP BD-GYPSUM WALL BOARD HVAC-HEATING, VENTILATION AND COOLING INT-INTERIOR JAN-JANITOR MECH-MECHANICAL MISC-MISCELLANEOUS N-NORTH NTS-NOT TO SCALE OC-ON CENTER R-RADIUS REF-REFRIGERATOR RM-ROOM S-SOUTH SPEC-SPECIFICATION SUS-SUSPENDED STD-STANDARD UN-UNLESS OTHERWISE NOTED
Consultant Address Phone Service
Title Sheet
AzTech
Commercial Business
Technical
SHEET INDEX T1.0
SIM
Callout Head
Amman Jordan Office
Global Workplace Design
1i
Description
Date
Prelim CD Final CD
4.25.2016 5.4.2016
Wall Tag
A101
Ref View Name
Ref View Name
Ref View Name
Elevation Tag
Ref View Name
Grid Head
0 Name Elevation
Title Sheet
Level Tag
North Arrow
N
Project Number
Room name 101
Date Room Tag
150 SF
1
SIM
A101
1
Sustainable Gallery
30
View Name 1/8" = 1'-0"
Drawn By Checked By
1 5.4.2016 Lyndsey Greene GE
T1.0
Section Head
View Tag Scale
1/4" = 1'-0"
5/3/2016 10:06:32 AM
Abdali District Amman Jordan
Research
profile
38
Commercial
International
ark House
ses
20
Watercolor Sketching
44
Research and gallery design project focusing on
Sketching relating to design, architecture, and
sustainable materials.
travel.
White Pine Bark Laminate
White Birch Bark Laminate
Design-build
Inspired by patterns in nature, we founded our business to utilize Reclaimed Appalachian Wood Waste (RAW™) and create pure architectural products in support of Independent Business Owners working to build “whole” communities. We honor the environment through thoughtful product design, procurement and refinement using sustainably certified processes. We honor people by maintaining a long heritage of artisanal craftsmanship, supporting and enriching local culture and building whole-communities. We actively share our success through community leadership and education, vendor training, volunteerism, employee designated donations, paying a livingwage and in special circumstances – lending.
Lux Motus Pavilion Art Installation
Location: WSU Campus where it comes from Benefits • All natural wood products otherft Poplar products have Size:•Shingles 450andsq • The bark is taken from trees that needed to R-Value be removed or were already being used for lumber
• Meet California’s VOC standards • Can last up to 80 years • FSC certified wood • 100% reclaimed wood and recyclable
32
Capture Photography
Photography work relating to design, architecture, and travel.
46
Washington, where a respect and passion for design and the environment was instilled by my parents from a young age. I am a senior at Washington State University where I am pursuing a photography, sketching, and traveling.
Design Theory
Bachelors of Interior Design. Along with design my passions include,
About Me
Hello! My name is Lyndsey Greene. I was born and raised in Seattle
Design is bold. Design protects. Design helps. Design respects. Design has longevity. Design has endless opportunities and has endless solutions. It responds to the environment as well as human interaction. It allows spaces to be bold in new ways. Users should be impacted and should have a positive experience in every space. Design allows us to protect our environment as well as our built environment. The power and the possibility of being able to help people is the foundation that drives a great design. Design should respect a built condition as well as respect the environment and be true to the natural materials that it uses. Most importantly design should have longevity. Spaces should function first, be flexible, and express design principles. Design has the power to change lives as well as shape our future.
Lyndsey Greene LEED Green Associate
lyndsey_greene@yahoo.com p. 206.300.1534 https://issuu.com/lyndseygreene/docs/ lyndsey_greene_protfolio_2017
Education
Bachelors of Interior Design | May 2017 Washington State University August 2013 - May 2017 GPA 3.4 CIDA Accredited Program
Experience
Resource Room Manager | School of Design and Construction August 2016 - May 2017 Managing student workers, ordering samples, updating the library, assisting and mentoring students Pro bono design assistant | Genell Ebbini December 2016 - April 2017 Working under lead designer on a residence in Amman, Jordan with a fellow student Interior Design Intern | Six Walls Interior Design Full time intern May - August 2016 Working on interior design projects under lead designs, managing solo residential design projects under supervision of the firm owner. Part time intern July - August 2015 Managing resource room, working on interior design projects. Lifeguard & Swim Instructor | Covington Aquatic Center May - August 2014 May - August 2013 Lifeguard & Swim Instructor | Lindbergh Pool May - August 2014
Affiliations
United States Green Building Council | Idaho Chapter LEED GA, General Member May 2017 American society of Interior Designers WSU Chapter General Member 2014 - Present CAHNRS Representative August 2015 - February 2016 Community Service Chair February 2016 - Present General Board Member 2015 - Present Washington State University Women’s Water Polo 2013 - 2014 Kentridge Girls Water Polo Team 2008 - Present
Qualifications Computer Skills Autodesk Revit 2016, AutoCAD 2016, SketchUp and Podium Rendering Plug-in, Rhinoceros and Grasshopper, Adobe Photoshop, Adobe InDesign, Adobe Illustrator, Adobe Lightroom, Microsoft Excel, Word, PowerPoint. Design Skills Project management experience, Hand and computer rendering, Hand and computer drafting, Computational modeling, Basic design budgeting, Specifications/FF&E Knowledge, Reading construction documents, Space planning, Conceptual development, IBC 2015, LEED and sustainable design knowledge, Curating small gallery shows, Foundational client meeting and presentation skills.
Awards 2017 Voiland College Student of the Year-Interior Design-Senior
Residence Zeoli Residence & Gallery
The clients for this design were Len and Christine Zeoli. Len is a successful, local wood turner and Christine is a painter and accountant. Christine Zeoli is legally blind and must have a residence that accommodates her impairment. The Zeoli’s wish to convert an old school gymnasium into a residence, gallery and studio for them to live and work. The Zeoli’s also wish to incorporate sustainability and universal design for vision impairment.
canalblog.com
design-milk.com /atrium-house-by-mesh-architectures/
glucksteinhome.tumblr.com
Len Zeoli
archdaily.com/43371
Concept | Inspiration The inspiration behind the Zeoli Gallery and residence stemmed from existing building as well as Len Zeoli’s art. The building was built in the early 1900’s and first served as St. Joseph’s Catholic School’s Auditorium. The style of the building is Spanish Eclectic which served as inspiration for finishes and space planning. The curvilinear forms and materiality of the artwork were also used as inspiration throughout the design.
Plans | Gallery The circular movement throughout both levels of the design is pulled
The gallery is inspired by the circular movement of the concept and the
from conceptual exploration into the artists work. The 2nd floor does not
curvilinear lines found in the artist work. This inspiration was transferred
have curvilinear partitions in order to keep with the historic nature of the
into the the curvilinear walls as well as the curvilinear floor pattern that
residence. Curvilinear forms were used in the gallery where they would be
helps define the pathway. The entrance of the gallery is intended to be a
more adaptable and appropriate for the space. The back of the building is
desensitizing experience to prepare the viewers to be completely present
the artist studio. A main addition to the floor plan is the atrium in the center
for the exhibit ahead. The first display of the exhibit seen is a cubby wall
which allows for ventilation and light to enter the residence, gallery, and
that features some of the artist’s work. The gallery continues and features
studio.
and interactive experience and is kept open and flexible for rotating displays that may be featured in the gallery.
Gallery View
Reception
Residence
Reception Desk Gallery
Atrium Atrium
Gallery Woodturning Display Studio
1st Floor Plan
Not to scale
Studio
N
2nd Floor Plan
Not to scale N
Gallery View
Kitchen View Kitchen Elevation
Living Room View
Living Room Finishes
Residence | Historic Preservation Historic preservation was an important aspect of this residence and played a large role in the space planning. The large windows located on each side of the building are the original windows and needed to be maintained. Creating a floor plan that integrated nooks and custom details was a large factor in the space planning of the residence. The windows in the kitchen also needed to be maintained as well and require custom FSC certified cabinetry. All the details in the home are designed to be period specific to maintain the history of the building.
Master Bathroom View Master Bedroom View
Tinker Eureka! Palouse
Eureka! Palouse is an education center and tinker space located in Moscow, Idaho. The goal of the space was to serve the entire community and be open after school for students as well as open during the day for homeschool students and adults to use the space. The space required a large tinker space, a play space, an education and tutoring center, and a wet lab.
thurstontalk.com/2012/11/10
http://robinverdegaal.nl/
rustandsunshine.com/2012/08/
newyorkmarkt.com
http://blog.idmgroup.hu/blog/donnysbar/
Concept | Inspiration The concept behind Eureka! Palouse was a buzzing hive. This created the idea that this would become a center in the community for education and community events. The space needed to have repurposed materials to promote sustainability. In addition, the space needed to be bright, colorful, and graphic and inspire creativity in all the occupants.
Plans | Tinker Space Due to the space being leased to Eureka! Palouse, many of the walls could
The tinker space included break out areas, teaching space, and club space.
not move if it were not required by code. This provided a unique opportunity
The floor graphic leads users through the space. Each color on the floor
to show the client how everything can still fit in these spaces and show
graphic corresponds to each space allowing users to easily navigate the
them that there are even more possibilities. Some walls were added to
space.
create fire rated corridors bringing the space up to code
Tinker Space
Fire Rating Plan
Not to scale
N
Not to scale
N
Egress Plan
Not to scale
N
Floor Plan
Play Space View
Play Space Finishes
Education Center View
Education Center Finishes
Play Space | Education Center The play space features a teaching area, reading cubbies, seating for
The education center features four tutor rooms, two classrooms, and
children and adults, and a tinker wall. The tinker wall is made from recycled
space for individual work and tutoring throughout. The classrooms may be
and repurposed materials and allows children to experiment with cause
sectioned off with a sliding partition that features acoustic panels. Noise
and effect. Each piece of pipe can be rotated to create a large system
control and lighting in this space were a large concern and were adapted
where children may learn and experiment.
with sound absorbing materials and the addition of skylights.
Not to scale
N
Space Planning
Collaboration IIDA Booth Design Competition
The purpose of this project was to create a booth for IIDA to use at a conference in Germany. This was a collaborative project that was done over two weeks with my partner, Julie Nguyen. We collaborated on the space planning as well as the look and feel for the booth. I was responsible for the renderings and construction documents while Julie was responsible for project submission and documentation.
iida.org
iida.org/content.cfm/headquarters
iida.org/content.cfm/headquarters
iida.org/content.cfm/headquarters
Concept | Inspiration The concept of the booth was pulled from the IIDA logo. The combination of two text styles shows that there are two sides to IIDA, classic and inventive. The crossing lines create connection for all designers. The colors and materials were inspired by the IIDA headquarters and included the IIDA brand image.
Exterior View
Design | Construction Drawings The design of the booth was focused on interaction, connections and drawing designers in to connect with one another. The elevations detail a wall element that was inspired by a graphic created to represent connections. The graphic can also be seen on the floor design that leads into the interactive display. Interior View
Podium Section Detail
Interior Materials
Side Elevation
Accent Wall Color
Seating
Vitra Cork Stool
Main Wall Color
Carpeting
Vitra Tall Stool
Back Elevation
International Global Workplace Design
The global workplace design was located in Amman, Jordan in the Abdali district. The company is a Seattle based commerce tech company. The company is expanding into the Middle East region and wish to be located in a growing city with an expanding tech district. The design must be planned to be built 5 years in the future and should be designed for many different types of workers and work environments.
alburgan.com/textiles.html
alamy.com
allaroundthegirl.com/2013/03/08/
futurespace.com.au
http://verainteriorco.blogspot.com/
Concept | Inspiration The concept for the Amman workplace was derived from the traditional textiles found in Jordan as well as traditional Jordanian headdress. These textiles were humble as well as the root for many Jordanian traditions. The rich colors of the textiles inspired the pops of color used through the design. Jordanian design is very humble and expresses it through materiality. This was a large inspiration in conjunction with the textiles and headdress. Another inspiration was working with many different types of workers which allowed for a variety of work environments.
Main Hallway View
Design | Space Planning | Circulation The space has a direct circulation path with many sub-circulation paths.
work areas, individual work areas, small and large meeting, and temporary
These paths were then overlapped with intricate areas that were pulled
work areas. The areas that are labeled as intricate are high traffic areas
from the concept. The circulation can be seen in the diagrams below. In
that provide a space for unplanned interaction between coworkers.
between the circulation paths are different work areas. This includes team
Not to scale N
Conceptual Diagram and Floor Plan
Not to scale N
Interactive Teamwork Area Materials & Finishes
Main Wall Color
Ceiling Color
Accent Wall Color
Biophilic Carpeting Walkway Carpeting
Future | Sustainability A futuristic approach in the design can be seen in the technology used
large issue for the project. Water conservation as well as the use of solar
in the team work areas. In the interactive teamwork area the walls are
energy were implemented in the project. The restrooms in the workplace
removeable and work as touch screen computers as well as a writing
implements water conservation by using a system that allows the grey
surface. In the entry, a traditional reception desk has been replaced with an
water from the sinks to be drained and used in the toilets. The automated
interactive reception for visitors to use. Visitors can use the touch screen
shades are also a part of the solar system used on top of the building. The
display to sign in a have a visitors pass printed for them. Lighting and
absorbing qualities of the solar panels are used in the fabric of the window
climate control in the space was a huge issue because of the location in
shades so they can absorb as much energy as possible during the day. The
Amman. This requires a new system that auto-regulates all of the window
ambient lighting is programed to only light spaces that need it to help cut
coverings to change at specific times allowing more or less light in.
energy costs.
The location of the work place in Amman, Jordan makes sustainability a
Workspace Panorama
Research Sustainable Gallery
The focus of the gallery exhibition was to research and promote awareness of sustainable products. The sustainable gallery design featured 24 posters designed by a fellow student and myself. The poster content focused on explaining the products and the sustainable qualities they embody. Every poster was accompanied by physical samples for viewing and touching. The physical product was displayed in a way that invited the students to touch and experience them in the round, gaining a better understanding of the product.
Bark House
Uses Wallcovering Exterior shingles Furnishings Fencing Available In: Panels Laminate Shingles Custom Furniture Fencing
Anaglypta
White Pine Bark Laminate
profile
White Birch Bark Laminate
Inspired by patterns in nature, we founded our business to utilize Reclaimed Appalachian Wood Waste (RAW™) and create pure architectural products in support of Independent Business Owners working to build “whole” communities. We honor the environment through thoughtful product design, procurement and refinement using sustainably certified processes. We honor people by maintaining a long heritage of artisanal craftsmanship, supporting and enriching local culture and building whole-communities. We actively share our success through community leadership and education, vendor training, volunteerism, employee designated donations, paying a livingwage and in special circumstances – lending.
where it comes from
• All natural wood products • The bark is taken from trees that needed to be removed or were already being used for lumber
Certifications and Awards: Cradle to Cradle Gold
CHAIN OF CUSTODY CERTIFICATION B Cooperation’s Award 2015
Uses Wallcovering Variety of textures, and finishes
Benefits
• Shingles and other Poplar products have R-Value • Meet California’s VOC standards • Can last up to 80 years • FSC certified wood • 100% reclaimed wood and recyclable
Styles include contemporaty, classic, retro, and heritage Can be left with manufactures paint or can be painted after installation to fit desired look
profile
where it comes from
• Product is made of high quality paper that uses a traditional method of embossing the paper. • Paper made form responsibly sourced pulp
Benefits
• Historically accurate product that fits the sustainability needs of the future. • Product is PVC free • Designed to be painted and disguises imperfections • Allows walls to breath
Gainsborough, UK Original Anaglypta Book
Spruce Pine,NC
Process of removing bark from the tree
Sources: http://barkhouse.com/
Original Production of Anaglypta
Anaglypta is one of the best known and oldest wallpaper brands, now in its 129th year. The brand is synonymous with paintable wallpaper and remains, in our view, the definitive collection offering a very wide range of designs. Throughout the decades Anaglypta has thrived by constantly adapting, adding to its design archive to meet the changing demands of the time. For today’s discerning customers we have blended Anaglypta’s unique breadth of authentic styles with the best materials available. The result is a huge range of styles from vintage through to contemporary; available on a wide range of materials such as crisply embossed pure paper, Original to modern Luxury Textured Vinyl’s and super tough textile reinforced Supaglypta papers.
Available In: Rolled Sheets
Poplar Bark Shingles
Alfred-Heritage Collection (production since 1907)
Caiger Luxury Vinyl
Sources: http://www.anaglypta.co.uk/
Design-build Lux Motus Pavilion
The Lux Motus Pavilion was a design build studio project completed by a team of senior interior design students. The purpose of this Pavilion was to digitally fabricate a structure based off of generative design. The studio was split into groups where students had specific jobs to ensure the completion of the project. Some of these groups included pavilion design, communications, structural analysis, website design and many more.
widehdwallpapers.in
absolutdata.com
wallpapersafari.com/
savingseaturtles.org
Concept | Inspiration The concept of Lux Motus Pavilion was pulled from the movement and light play seen in the ocean. This concept was directly translated into the name of the Pavilion. Lux is Latin for light and Motus is Latin for movement. The light play of the water was an element that the team felt was important to the design. The movement and power of waves was also an important aspect that was to be incorporated into the overall structure and shape of the pavilion. Additionally, the sea turtle was the inspiration that influenced the shape of the cells in the pavilion.
Lux Motus
Design | Modeling | Teamwork My role in the project, like many others, shifted as the project changed
fabric that allowed light to pass through and create interesting shadow
and neared completion. During the first phase of the project I was on
and light play.
the design team with one other student. Once the design portion was completed and the project was beginning production my role started to
The design of this pavilion went through many iterations as it began to be
shift into project management. Being in a project management role was a
modeled. The first model posed many problems when it was being laser
new experience that I found challenging and rewarding. It allowed me to
cut and caused the team to redesign. The components were then designed
be able to collaborate with the team on a regular basis to find solutions for
to be flat pieces cut by the 3 point CNC machine. This created a mesh-
problems that arose.
like, flexible structure for the pavilion and was designed to be hung upside down as seen in the diagrams.
Overall, the design of the pavilion followed the concept very closely. The shape was inspired by a wave while the pattern was inspired by the shapes made when light interacts with ocean waves.Light was incorporated into the pavilion with the extrusions. The extrusions were wrapped in white
Pavilion Hanging Diagram
Fabrication The fabrication process began with using the CNC machine to cut out all of the pieces to create a mesh. The next step was to hang the pavilion and attach the metal brackets. Once the metal brackets were attached, making a solid mesh, the T brace was added to the structure to ensure structural stability. The pavilion was then flipped and the extrusions were upholstered and attached to the pavilion.
Images Curtsey of David Drake
Conceptual Furniture & Textile Design
The designs in this section explore the relationship between concept and textile design as well as using precedents to create a new furniture piece. The larger textiles displayed were developed from two different concepts. The “Blue Print” textile was developed from simple lines of mid-century modern Eames furniture in combination with the French Art Nouveau movement. The second textile titled “Passing” was inspired from the concept of passing time and the illusion of it stopping. All the textiles shown were first hand drawn and then manipulated in Photoshop to add color and pattern.
Iteration of “Blue Print”
Blue Print
Passing
Iteration of “Blue Print”
Furniture Design The inspiration for the furniture was pulled from the Art Nouveau movement and the iconic Eames lounge chair. Both of these styles have a sense of weightlessness as well as strong curvilinear lines. These aspects were incorporated into the conceptual development of the chairs and can be seen in the curvilinear forms on the arms and legs. The Eames lounge chair inspired the materiality choice of bent plywood for its function as well as its simple aesthetic. Chair Design 1
Chair Design 2
Technical Technical Work
This section displays a variety of technical work. The hand drafting work ranges from floor plans to elevations to wall details. Hand drafting has allowed for a deeper understanding of space planning and detailed construction. This section also includes Revit work and a construction document set.
17' G'
16' GENERAL NOTES
-8 48'
1. DO NOT SCALE DRAWINGS
29/3
2"
6 A6
15'
2. VERIFY FIELD CONDITIONS PRIOR TO COMMENCEMENT OF EACH PORTION OF THE WORK 3.CONTRACT DOCUMENTS ARE COMPLIMENTARY
A6
4.DIMENSION TO THE STRUCTURAL GRID OF THE FINISH SURFACES UNLESS OTHERWISE NOTED . 5.DOORS INDICATED NEARBY WALL INTERSECTIONS SHALL BE LOCATED SO THAT THE FINISH OPENING IS FOUR INCHES FROM THE FACE OF THE NEARBY WALL UNLESS OTHER WISE NOTED.
8' -
3
H'
/32" 1 27
14'
Desking 184
Consultant Address
"
-2 83'
3/16
9
1636 SF
" 5/32
7' -
13'
" 1/16
-1
185 - 11
1324 SF
1/2"
Ind.Work
11 1/8 " '11
-1 15 /32 "
25' - 3 7/32"
7'
5 A6
196 35 SF
7' - 1 13/16"
141' - 2 31/32"
1/2 "
Ind. Work
-1
22' - 2 15/16"
/32" 3 29
2" 31/3
27'
476 SF
14' - 4 7/16"
Benching
Conference
Conference
197
198
199
46 SF
46 SF
46 SF
332 SF
Quiet Room 8' - 0"
6' - 1 1/2"
Conference
203 111 SF 10' - 8 9/32"
16' - 7 3/16" 27' - 2 13/16"
202 201 SF
32' - 1 9/16"
A6
Name
6' - 0"
7' - 4"
Conference
20' - 5 7/8"
21 43 SF
17' - 0 5/32"
12' - 9 5/8"
Conference
Desking
20 41 SF
33' - 0 25/32"
207 909 SF
" 10' - 9 1/32
201
7' - 8 1/4"
9' - 7 7/16"
15' - 11 7/16"
9' - 3 15/16"
31' - 10 1/2"
Benching
20' - 7 3/8"
A6
65' - 9 11/32"
13' - 6 1/2" 8
939 SF
Conference 200 129 SF
A 1
4
2 30' - 5 9/16"
A6 13' - 0"
11' - 3"
No.
A6
Space Program 3' - 0"
9' - 5 1/32"
1
1' - 6"
9' - 5 1/32"
7
8' - 6 1/8"
7 9' - 5 1/32"
Private Office 11' - 0"
12' - 11 11/32"
3
4 33' - 1 1/2"
89' - 0 1/8"
N
Area
Accessory Spaces Dinning Space 308 SF Game Room 540 SF Kitchenette 894 SF Meditation 338 SF Room Phone Booth 80 SF Quiet Room 201 SF Seating 52 SF 2412 SF Building Support Comm. Center 332 SF 332 SF Conference Conference 183 SF Conference 370 SF Conference 313 SF Conference 215 SF Conference 153 SF Conference 41 SF Conference 43 SF Conference 154 SF Conference 158 SF Conference 144 SF Conference 46 SF Conference 46 SF Conference 46 SF Conference 129 SF Conference 86 SF Conference AV 450 SF
Area Program
Diff
Comments
Name Conference AV
600 SF 300 SF 900 SF 300 SF
-49% 80% -1% 13%
120 SF 300 SF 144 SF 2664 SF
-33% -33% -64%
300 SF 300 SF
11%
144 SF 315 SF 315 SF 250 SF 144 SF 120 SF 120 SF 144 SF 315 SF 315 SF 120 SF 144 SF 120 SF 144 SF 144 SF 420 SF
27% 17% 0% -14% 6% -66% -64% 7% -50% -54% -62% -68% -62% -11% -40% 7%
1 2
Space Program
Adjacent to Kit Adjacent to Kit Adjacent to Kit and Flex
4 Seats 8-12 seats 8-12 seats 4-6 seats 4 Seats 3 seats 3 Seats 4 Seats 7 Seats 7 Seats 2 Seats 4 Seats 2 Seats 4 Seats 3 Seats 14-18 seats
Work Areas Benching Benching Benching Desking Desking Ind. Work Ind. Work Ind. Work Ind. Work Ind.Work Ind.Work Ind.Work Ind.Work Ind.Work Ind.Work Individual Work Benching Interactive Work Private Office Private Office Work/Meeting Space Grand total: 45
Area
Area Program
Diff
452 SF 3029 SF
420 SF 3694 SF
8%
1324 SF 909 SF 900 SF 1636 SF 939 SF 32 SF 31 SF 35 SF 26 SF 743 SF 88 SF 78 SF 25 SF 20 SF 276 SF 476 SF
1500 SF 1200 SF 1920 SF 2000 SF 1440 SF 240 SF 240 SF 240 SF 240 SF 2300 SF 500 SF 500 SF 240 SF 240 SF 1500 SF 1800 SF
-12% -24% -53% -18% -35% -87% -87% -85% -89% -68% -82% -84% -90% -92% -82% -74%
465 SF 111 SF 122 SF 218 SF
720 SF 300 SF 300 SF 144 SF
-35% -63% -59% 52%
8453 SF 14226 SF
17564 SF 24222 SF
Description
Date
Prelim CD Final CD
4.25.2016 5.4.2016
Comments 8-12 seats
16 Work Stations 12 Work Stations 2 Work Areas 2 Work Areas 2 Work Areas 2 Work Areas 23 Work Areas 5 Work Stations 5 Work Stations 2 Work Areas 2 Work Areas 15 Work Stations 15 Work Stations 8 Work Stations Single Occupant Single Occupant
4th Floor Partition Plan Project Number Date Drawn By Checked By
1 5.4.2016 Lyndsey Greene GE
A1.0 Scale
1/8" = 1'-0"
5/3/2016 9:57:12 AM
Comm. Center
28' - 0"
12' - 9"
6' - 3"
47' - 3 25/32"
900 SF
C
Level 4 Partition Plan 1/8" = 1'-0"
2"
AzTech
18' - 3 19/32"
71 7/3 2" 18 '-
191
195
209
1
2" 23/3
- 11 16'
/4"
27/3
Individual Work Benching
Ind. Work
C.6
B
6' -
154 SF 13 /4"
2" 25/3
- 0" 18'
182
53 /32 " 10 1
2" 23/3
1/4"
276 SF
-1 11'
-0 98'
A6
1' -
-4 17'
743 SF
8" 2 7/
01 /32 "
3' -
17 450 SF
K'
-0 38'
183
7' -
9
Conference AV
1/4"
ø 25' - 0"
D C.8
2" 31/3
208
5/8"
Conference
31 SF 2
-1 19'
"
Ind.Work
-0 18'
/32" 3 29
Ind.Work
A6
6' -
A6
-1 24'
1/16
Ind.Work 188
6' -
10 10 '-
78 SF
215 SF
11 313 SF
370 SF
10
210
Conference
Evergreen Engineers 675 NE East Ave, Everett Wa, Suite 1A (253) 555-6665 Engineering
Phone Service
2" 23/3
10
2" 21/3
Conference
2
12
Conference 2" 31/3
UP
26 SF
7' -
2" 31/3
Consultant Address " 3/16
11
- 11 16'
5/8"
20 SF
183 SF
- 11 27'
A6
194
"
- 0" 11'
-2 12'
5/8
/32" 0 23
Northwest Architects 1537 Pike Ave, Seattle Wa, Suite 125 (206) 555-5587 Architects
Phone Service
6' -
Ind.Work -8
9' -
80 SF
122 SF
" 7/16
J'
9
" 1/32
11
206
" 3/16
6" 15/1
7' -
-5 21'
8'
86 SF
-7 20'
Ind. Work
205
6" 11/1
21' - 3 1/2"
E
Private Office
204
Consultant Address
Conference
- 10 16'
153 SF
Phone Booth
Conference
- 10 11'
/32" 1 15
158 SF
- 10 22'
88 SF
Conference 144 SF
7' - 6 3/4"
ø 25' - 0"
19 -8 11'
465 SF
187
9' -
189
190
1/
Conference
16"
Ind.Work
Conference
14'
32" 0 9/
0"
8" 0 5/
F
-5 29'
186
193 32 SF
2" 27/3
6' -
11'
-1 17'
2" 19/3
Interactive Work
Ind. Work
2' -
"
" 9/16
192 25 SF
1/4"
-9 25'
-7
9/32
-1 11'
12' 18'
-5 21'
- 11 11'
22'
Greene Designs 555 NE Maple Street, Seattle Wa, Suite 420 (206) 555-1257 Interior Design
Phone Service
" 3/16
Benching
Amman Jordan Office
13.4'
" 10" 3/16 -3 54'
21'
174'
- 10 20'
6. REFERENCE OTHER PLANS FOR CLARIFICATION ON PLACEMENT.
Lighting Schedule Type Mark
http://www.lutron.com www.revitseek.com
Count
LED LED LED LED W30 (2) 35wMR16 DO NOT USE
D5020200 D5020200 D5020210
1 2 2 1 5 21 55
LED LED
D5020200 D5020230
414 9
Consultant Address
Greene Designs 555 NE Maple Street, Seattle Wa, Suite 420 (206) 555-1257 Interior Design
Phone Service
/32" 8 31
Consultant Address
8" 2 7/
20' - 0"
0 5' "
7' -
3/8
Northwest Architects 1537 Pike Ave, Seattle Wa, Suite 125 (206) 555-5587 Architects
Phone Service 8' 0" AFF
6"
27 '-
Recessed Can Spot Lights Grand total: 510
Assembly Code
Lamp
Ellipses-16 Ellipses-6 LA2 Connected Rings LA2 Connected Rings UDC5 F1xIC P-ID-82M48T5HO-BW-CWM-LP/E LB-TW-120 FDT4SI153521F1B2XX-------75 Degree Dwelling Unit
6' -
5' -
8' 0" AFF
9' 0" AFF
http://lightart.com/ http://lightart.com/ http://lightart.com/ http://lightart.com/ http://delraylighting.com/ www.usa.lighting.philips.com http://www.litecontrol.com
8" 2 7/
8' 0" AFF
Model
3Form Elipse 3Form Elipse 6' 3Form Rings 8x8 3Form Rings 12x8 Circular Pendant Emergency Lights Linear Pendant
6' -
5'
/32" - 8 31
URL
Consultant Address
0"
Evergreen Engineers 675 NE East Ave, Everett Wa, Suite 1A (253) 555-6665 Engineering
Phone Service
36'
- 0"
8' 0" AFF 7' - 6"
7' - 6" 2" 25/3
" 1/32
1' -
/32" 4 11
5' -
- 0"
-0 25'
24'
-0 55'
9' 0" AFF
/32" 4 21
9' 0" AFF
6' -
9' - 10 1/4"
8' 0" AFF
0"
8' 0" AFF
9' 0" AFF
8' 0" AFF
8' 0" AFF
9' -
0"
8' 0" AFF - 0" 20'
8' 0" AFF
8' 0" AFF
9' 0" AFF
1' - 3"
3' - 11 5/32" 5' - 0"
AzTech Inc.
7/8"
3' - 10 7/8"
/32" 0 21
16" 8 7/
8' 0" AFF
9' -
3' - 8 3/8"
9' 0" AFF 3' -
-9 13'
6' - 0 27/32"
0"
6"
7/8"
6"
4' -
-9 13'
6"
8' 0" AFF
18' 0" AFF 10' - 0"
9' -
4" 0 3/
4' -
3' -
5' - 6"
6' -
0"
7' -
6' -
9' 0" AFF
8' 0" AFF
8' 0" AFF
0" - 0" 14' 8' -
0"
71 /8"
6' - 1" 4' - 0 7/32"
1' - 3"
10' 0" AFF
ø2
4' -
8' 0" AFF
Amman Jordan Office
/8" 71
12' - 3 9/16"
4'
24' - 6"
ø2
18' 0" AFF
6' - 8"
12' - 3 9/16"
5' - 9"
3' - 6 31/32"
Level 5 Reflected Ceiling Plan 3/32" = 1'-0"
N
No.
18' 0" AFF
8' 0" AFF
1 2
Description Prelim CD Final CD
8' 0" AFF
Date 4.25.2016 5.4.2016
8' 0" AFF
4' - 0 7/16"
8' 0" AFF 8' 0" AFF
33' - 9 5/32"
7' - 0"
8' 0" AFF
8' 0" AFF
8' 0" AFF
9' 0" AFF
3' - 6"
8' - 7 7/16" 6' - 0"
Recessed Sprinkler Head
28' - 9 13/16"
Recessed Can Light
8' 0" AFF
Exit Signal
3. THE CONTRACT DOUCMENTS ARE COMPLEMENTARY 24' - 2" 8' 0" AFF
7' - 4 3/16"
2.VERIFY FIELD CONDITIONS PRIOR TO COMMENCEMENT OF EACH PORTION OF THE WORK
1' - 11 1/2"
8' 0" AFF
RCP & Lighting Schedule
1. DO NOT SCALE DRAWINGS
9' 0" AFF 8' 0" AFF
1' - 2" 9' 0" AFF
4. DIMESNSIONS ARE TO THE STRUCTURAL GRID OR THE CENTERLINE OF EACH WALL, UNLESS OTHERWIDE NOTED. 5. FIXTURES ARE MEASURED TO THE CENTER.
5' - 0"
Spot Light
Walkway Accent Pendant Light 6' - 0"
Accent Pendant Light- 3Form Meeting Space and Entry
GENERAL NOTES
9' 0" AFF
Project Number Date Drawn By Checked By
6.IF AFF IS 9' 0" UNLESS OTHERWISE NOTED. VERIFY AFF WITH DESIGNER BEFORE EACH PORTION OF THE PROJECT.
9' 0" AFF
A2
7. SPRINKLER HEADS MUST BE NO MORE THAN 15' APART Emergency Lighting 1
Level 4 Reflected Ceiling Plan 3/32" = 1'-0"
N
8. GENERAL CONTRACTOR RESPONSIBLE FOR PROVIDING GENERAL SPECIFICATIONS AND INFORMATION TO ALL SUBCONTRACTORS. 9. REFERENCE OTHER PLANS FOR CLARIFICATION ON PLACEMENT.
15 4.24.2016 Lyndsey Greene GE
Scale
As indicated
5/3/2016 11:05:16 AM
8' 0" AFF
3' - 0 7/8"
Accent Entry Pendant Light3Form
3' - 6"
6' - 0"
8' - 5 3/4" 8' 0" AFF
Pendant Light- Direct Indirect
9' 0" AFF
6' - 0"
Lighting Legend
1' - 10 1/8"
2
Watercolor Sketching
Sketching is a passion of mine that I feel is ever changing and improving. Sketching and rendering with watercolor allows me to have a lightness to my sketches as well as experiment with rendering styles. Common subjects for my sketching are travel and architecture and they are both passions of mine. The advantage of sketching is being able to capture what an photo can not. The time and analyzing the detail allows me to truly remember each scene that I sketch.
Capture Photography
My passion for photography started over seven years ago when I started working with traditional black and white film. This became my first experience with the elements and principles of design and quickly translated into my passion for interior design. While I currently practice portrait photography, I always make time for my favorite type of photography. Art, design, architecture and travel are what I find to be the most enjoyable to photograph.
Lyndsey Greene Interior Design Portfolio Spring 2017 lyndsey_greene@yahoo.com p. 206.300.1534