Lyndsey Greene Interior Design Portfolio 2017

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