BAC Segment II Portfolio by Michelle Sloan

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  Location: Central Square Cambridge, MA SITE PLAN Environmental Factors: Wind: The most prominent wind direction in the Boston area is WNW. When the strongest winds strike in this direction, it will be hitting the most structurally sound portion of the building, the stone-walled theater. This double-skin wall, shown later as a construction detail, will be able to withstand these wind forces since the heaviest structural elements are here. The least prominent wind seems to be NNE, which will hit the main entrance of the school. This is an open green space, which will benefit from little wind since it will be used as a gathering space for students and community members. Sun: The south-facing facade is the main entry on the west parcel. The large curtain wall entry will allow lots of natural light to pour into this open gathering space, making for a welcoming area for the community. Clerestory windows will also allow indirect natural light into the interior studio spaces. Traffic Flow: Traffic is generally more congested as you head toward Central Square, while it also becomes particularly busy at the intersection of Prospect and Bishop Allen during morning and afternoon pickup for school. However, since many of the homes are within walking distance to the school indicated by the 5-minute walking radius, this could help to reduce the amount of vehicular traffic during these hours.

In recent census data, we can see the large percentage of employment in the educa•on industry. This illustrates the importance of educa•on in recent •mes. Addi•onally, seeing the increase in Cambridge’s popula•on diversity, a school in this central loca•on will prove to be very beneﬁcial for the city.

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 The school is located right at the intersec•on where commercial and residen•al neighborhoods meet, both being within a few minute walking distance. This is convenient for students with working parents, and reduced traﬃc conges•on during the morning and a•ernoon commutes.

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PRECEDENT STUDY Jo Richardson Community School PLB Architects London, England 

The “Internal Street”: A central gathering space for community members and parents. Creates a separation between student and community spaces by combining a common area for the two. Covered Walkway: Provides a sheltered outdoor space while creating a sense of enclosure and place for the users. Curtain Wall Entry: Contrasted by heavier adjacent materials... emphasizes interior public and private spaces SITE ANALYSIS Public/Private Edge: Studying how the sidewalk size changes whether on a commercial street or residential street. Implied vs. Built “U”: An implied or physical formal device used throughout the project to charge ideas. It directed the design decisions from large, formal gestures down to the small details.

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Commercial Sidewalk, showing the boundaries for si•ng and walking, making it feel more welcoming

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Commercial

Residen!al Sidewalk, showing how !ght and closed oﬀ it feels compared to the public sidewalk

Residential

Boundary

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Site

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ITERATION Courtyard Scheme: In this scheme, public and private courtyards were created as the driving force of the design. However, the “Edge Scheme” matched up better with my conceptual ideas about integrating site analysis such as niches as well as precedent study ideas such as the “internal street.” This linearity of the internal street drove the courtyard scheme away from my concepts. Edge Scheme: Undulating edges, “U” gestures, and breakout spaces are the driving idea for this scheme. It goes well with the theme of the residential sidewalk edge, the built and implied spaces surrounding the site, and the internal street from the Jo Richardson School. Developing the edge scheme, the “U” and the push/ pull of the edges was always in the back of my mind. Program spaces shifted to accommodate the concept. For example, the gallery space became a space that wraps around the front facade, the administration area curves in on itself creating an implied “U” as well as a private courtyard, and the undulating classroom edge creates niches for further programmed spaces such as lockers, bookshelves, benches, etc.

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Translation: It is through this process that I figured out how to turn my initial ideas into a more defined concept. Sketching ways that this idea of unaligned edges and gestural “U”s could start to define spaces at different scales while also considering natural light and circulation

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CONCEPT

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Inspired by an urban gesture, giving the “U” new meanings drove the design. It is not about creating a U-shaped building, but about exploring the shape of the “U” and how it can be used at different scales to enhance the design inside and out. Translation @ Different Scales: Urban Scale: Unifying the two site parcels through materiality and shape choice. Sites are “reaching” out to connect with one another. Created through building orientation and tree location, an implied “U” is formed. Additionally, important interior spaces are framed through exterior and visual strategies, as diagrammed in the elevations. Building Scale: Circulation flow is driven by this wrapping idea. Shown in pink are major circulation paths through the school, while the gray shows implied paths at different scales. Detail Scale: Showing stair detail to potentially be multifunctional device such as vertical circulation as well as bookshelves in the corridors. The covered walkway, as in my precedent study, provides a sheltered outdoor space while creating a sense of enclosure and place for the users. Wrapping gives characters visual cues for space boundaries.

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Implied circulation path @ the gestural/building scale

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Implied “connected” path @ detail scale

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Handrail, showing how the concept is brought down to the detail level

PROGRAMMING BASEMENT LEVEL Teachers, students, and community members all use this space. The spaces wrapping the theater are all private student/teacher spaces where they practice before performances. The theater space becomes mostly occupied by community members coming to see the performances. GROUND LEVEL: Teachers, students, and community members all equally use the ground level of the school. The lobby gathering space, the gallery, and the theater all exist on the west parcel ground level. Also over here are the student classrooms and cafeteria. Lastly, the administration wing is also on the ground floor. To the east is the music cafe and commercial gallery space which is open to the public as well. SECOND LEVEL: The second level is used mostly by students and teachers. On this level is all of the 2D art, 3D art, and dance studios. The one area on this level open to the public is the library, which community members can access through the main lobby. EXTERIOR PERSPECTIVE: This view is shown as one approaches from Central Square. The vast green space at the entry is meant to welcome the public and create a warm environment for students to interact.

Community members, teachers, and students are all people that use these spaces daily

Community Member

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Student

Teacher

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BUILDING SECTIONS 23

Section A: A cut across both the east and west parcels, this section is populated with mostly students and community members. The lobby shown above the parking garage hosts this crowd of community members, while the space above this shows students traveling through the corridors with their backpacks. The east parcel shows a cut through the music cafe and gym, showing the students taking advantage of the basketball court amenity on the second floor. Section B: Section B is rendered to show students interacting inside the classroom and studio spaces. The stairs, shown left, lead up to the library, which is open to the public. The bookshelf to the right of this is in the back of the main lobby against the classroom edge, acting as a visual barrier separating the public zone from the student zone. As we move to the right, the section cuts through a musical practice room in the basement, the theater, and studio spaces above, showing painting and dance practice happening while a performance goes on below. The last character shown is someone looking from the second level all the way down onto the theater’s stage, creating a visual connection through multiple parts of the school.

Academic

Public Space, Theater, Administra!on

Main Entry Area

Serves 23 parking spaces, 2 accessible, 1 service loading dock

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A A B

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Public courtyard, indoor public gallery

Music Cafe, Gymatorium

BUILDING SYSTEMS HVAC: Different zones are placed throughout the building to ensure for efficient HVAC systems. The unit concealed beneath the roof garden serves the administration wing of the ground level. The basement zone serves the rest of the building on the west parcel, and the Ground Level mechanical space on the east serves this entire parcel.

beams 10’ on center, typ.

Roof Garden: While the roof garden requires more structural support than other portions of the building, it is a unique feature that can environmentally bring positive aspects to the school. Columns/Beams: The column/beam grids show the general structural layout, discussed with the structural engineer for approval.

Steel structural system 15’-0” - 35’-0” ﬂoor-to-ﬂoor 8’-0” - 30’-0” clear Areas of heaviest structure due to roof garden & large double-height spaces

Structural Concept: While most of the building has typical columns and beams, the concept lies in the large gathering spaces. At the main entry on the west parcel, a U-shaped truss is the main support for this open space, shown in the interior rendering. The 2nd U-shaped truss is in the gymnasium. These two U-trusses face each other, implying a structural unification of the two site parcels when seen in plan or experienced in person.

U-truss Gym U-truss Lobby U-trusses “hugging” important spaces - implying site uniﬁca"on

 HVAC Ground Level Roof

STRUCTURAL DETAILS Stairs: The empty space beneath the stairs will allow the students to store things here, or could act as something such as bookshelves, making the stairs multifunctional. The sketches below show a series of handrail studies Covered Walkway: The exterior covered walkway gives a sense of enclosure as characters travel alongside the building down into the theater space.

HVAC Basement

HVAC Ground Level

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showing the stairwell as mul•func•onal ver•cal circula•on and bookshelf beneath

showing curved spaced underneath stairs that will become a storage space for books

Railing study sketches - showing diﬀerent ways the railing can connect to the tread, and then curve up and around to create a unique and comfortable handrail

     

            

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Location: Florence, Italy Piazza di Santa Maria Novella INFLUENCES THROUGHOUT ITALY This peripatetic studio taken while traveling in Florence allowed me to explore different context and influences that would play a role in my project. Traveling through Italy inspired many different reactions, sketches and observations that would be included in my final design of a pop-up performance space.

35’

The idea of converging and diverging is represented in the pointed arches and vaulted ceilings of Santa Maria Novella.

Temporary seating area for 200 at Ospedale degli Innocenti, Florence, Italy

The Corinthian column represents a continous gesture leading to an intricate design. Simplicity vs. intricacy was something here that interested me. This difference tends to enhance the object that is more detailed. Therefore, my “sculptural” pop-up performance space enhances Santa Maria Novella with its simplicity. It acts as a framing device for the church, and a space where groups can come together and interact with each other as well as with the space itself. The piazza at Ospedale degli Innocenti housed an example of an outdoor theater space with 200 seats. The seats were placed in an area of about 35’ x 35’. Doing sound tests in the space, I determined that even in a noisy area (like Piazza Santa Maria), no user should be any more than about 40’ from the location of voice projection. The idea of proportion exists throughout Florence. Although the scale of much of Italy’s architecture is very large, there are always elements that bring it down to scale to allow human use and comfort.

Converging and diverging - points coming together then spreading apart, leading the eye in multiple directions

Simplicity vs. Intricacy - a simple column leading the eye up to an intricate column capital

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Ospedale degli Innocenti, Brunelleschi The proportions here give true beauty to the site. Although very large in scale, the detail and arches bring it down to a human level, allowing users to enjoy the site

The Decameron is a set of 100 short stories said to be told over 10 days by a group of 10 people, 7 women and 3 men who were referred to as the “Brigata.” The Brigata was in Florence and wanted to escape the Black Death. They gathered at the Basilica di Santa Maria Novella and together decided to escape the Black Death by leaving the city to stay in a fictional villa in the countryside. Each agrees to tell one story each day for ten days. Each day, each person was to tell a new story based on the topic given. and these are the stories that will be told right here, in this spot at Piazza di Santa Maria Novella where the Decameron Days were born. It is a memory for the people of Tuscany, a memory of the people that escaped and survived the Black Death This site will be a place of remembrance for the Florentines, an event destination that will bring this historical time to life. The gestural form of my pop-up venue represents the converging of the people coming together for comfort during this hard time, while the diverging is a metaphor for the fleeing that occurred from the site in order to escape the Black Death.

Santa Maria Novella Cloister This window design gives framing a new meaning. Its intricate detail paired with simplicity draws the viewers eye in multiple directions, allowing a unique experience

Gucci Museum The angled walls remind me of the angular boundaries of Piazza di Santa Maria Novella. The second layer of angled walls that does not align with the outside walls of the room gives the space a new proportional feel that brings the room down to a more human scale.

SITE OBSERVATION & ANALYSIS:

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ENVIRONMENTAL FACTORS: Wind: Most common from the west Temperature: Highs upper 80’s, low mid 60’s

August Daylight

Sun: Long days, resulting in potential for later performances in the piazza in August N CONTEXT: Figure Ground Showing Site With Context Noise: Most noise comes from the back of the site, furthest from Santa Maria Novella. It is a busy street with a lot of vehicular as well as pedestrian circulation.

Vehicular Circulation

August Temperatures

Circulation: The circulation paths throughout the site lead users toward the middle, while the vehicular circulation is mostly only the east and south edges of the site. Site Usage: On an August weekday, the piazza is widely used. People ranging from toddlers to the elderly were seen on the site playing, relaxing, walking, eating, etc. It is a popular hangout area, which makes it a great place for a casual performance. Views: From each of the 5 entry points, users have a clear view of Santa Maria Novella. The resulting path where all of these views cross is a perfect spot for the performance venue since it can act as a framing device. Concept Development: The concept of converging and diverging resulted from observing and analyzing the different circulation patterns on and around the site. The contrast of the angled circulation patterns paired with the surrounding curved architectural detail will be brought into the design.

August Wind Directions Sun Path

Pedestrian Circulation

August Precipitation Types

Italy Unemployment Rate

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Noise

Site Usage

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How the urban grid inspires framing devices for the site... The surrounding arches of Florentine architecture is contrasted by angular circulation patterns

Site boundaries and circulation paths converging or diverging

Pedestrian Entry Points

Views from Entry Points to Santa Maria Novella

Extension of circulation points converging or diverging...90 degree angles shifting at 16 degree increments - proportional urban system/grid

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CONCEPT: CONVERGING & DIVERGING allows spaces to be closed off and then open up, creating different experiences for the users. What begins on the ground as wooden seating elements begins to peel away and open up views to the performance space. Santa Maria Novella, the main focal point of the site, becomes the backdrop for the performer, while the diverging architectural elements frame the performer as well as the views to the church in the background.

CONVERGE DIVERGE

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 The structure will slowly peel up from the ground to allow views into what is happening and to not block the view to Santa Maria Novella. As the viewer approaches the structure, their views to Santa Maria will only be enhanced by the way that it frames their view. Simplicity vs. intricacy. This idea stems from the idea of a Corinthian column, and has been transformed into the idea that my structure’s simplicity enhances the detail of the surrounding architecture.

ITERATION & TRANSLATION: This idea of diverging and converging allows the design to act as multiple things. Firstly, the element closest to the ground acts as a seating device. As the elements begin to diverge away from one another, views start to be framed in new ways. The angular composition of the structure relates to the angular boundaries and circulation patterns on and around the site. While diverging and converging relates directly to the site circulation patterns, it also relates to the interior of Santa Maria Novella. The arches, and vaulted ceilings come together at points to create this converging affect, yet they all come from different angles which is what creates the diverging feel of the large scale spaces inside the church.

DIVERGE DIVE DI VERG RGE RG E

CONVERGE GE

Given the large scale of this sculptural pop-up space, elements are needed to bring it down to the human scale. One way this is done is through the integrated seating elements. Like much of Italy’s large scale architecture, elements are included that bring it down to this level of detail so we can appreciate and interact with the architecture.

CONVERGE DIVERGE

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Wood Wooden oden pieces mimicing the circulation patte patterns terns of the site. Wood members held back by cables in tension

PLAN, SECTIONS, ELEVATIONS:

Plan Development

Section Development

Section Elevation Perspectives Section Cut Series from South to North

Plan: The plan was inspired by the urban circulation grid on and around the site. Studies including directionality of structural elements, and seating layout were done to best optimize the views, while also providing enough seating close enough to the stage for easy listening. Section: In these sections is where I began thinking about how the pieces would peel up off the ground to frame a view, provide shelter, and convey the concept. The series of section cuts through the performance venue gives a better understanding of a users experience traveling through the space. Cables at this location would have to be much bigger to support the added weight

Storyboard: Here, a sequence of one possible circulation path of a user traveling through the piazza into the performance venue. It shows interaction with the space, views to Santa Maria Novella, and a view from the performer’s perspective.

450’ linear seating

showing possibility for draped fabric between wood structural elements - will provide shelter over audience and performer

CONVERGE DIVERGE

The red arrow represents this curvilinear feel of the wood elements shifting upward. This “curve” relates to the curves of the surrounding architecture.

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Entering site from southwest corner

Walking toward existing benches

Seated perspective from the audience Approaching the pop-up venue

Rounding the corner for entry

Interacting with structure @ human scale (integrated bench)

Entering the space, experiencing the framed view of the church

Performer’s perspective

STRUCTURE & SYSTEMS:

v Via degli A

Detail Connections: The detail connections at the ground and joint areas provide insight to how the system of parts works together.

Wind/Air Circulation: With wind coming in mostly from the west and southwest in the month of August, the pop-up will circulate air very well. It will come straight through the main entry area to cool off users during the hot summer days.

elli

Mast Concept: The masts that act as structural support for the wooden elements complement the existing obelisks in the piazza. While these obelisks are historical, the masts slender simplicity could possibly draw even further attention to the larger, heavy structure of the obelisks.

Via d

ell

Winds most common from west/southwest

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 As the scale figure explains below, there are elements that are more to human scale than others. This relates back to the idea of proportion and scale. This venue is like a double-skinned space due to the fact of its two separate systems overlapping one another in plan. The taller structural elements spread across most of the seating areas, providing overhead shelter for the audience. The smaller structural elements bring the concept down to the human level by being interactive, and closer to the ground. The first element acts as a seating device, as the others slowly peel up, allowing users to enter the space for performances. This angular double-skinned feel also relates back to the Gucci Museum, where I was influenced by the exhibit rooms. The exterior walls in these rooms were seperately defined from the glass-walled elements that defined the boundaries of the inhabitable room spaces. The red arrows indicate the relationship to these fanning elements implying a curve, or movement.

Gucci Museum

Implying curvature of the elements as they peel upward off the ground, creating a relationship with this idea of angular elements contrasting with curved architecture.

   Location: Back Bay Fens Boston, MA Design Problem: Design a nature center in Back Bay Fens taking into consideration the surrounding neighborhoods, the existing land conditions, and environmental factors. Analysis & Solution: Using the site analysis plans, I first decided I wanted to site my nature center on the best buildable soil. This was also a great spot because of the views. Trees around the edges create a barrier, making the site more private. Boardwalks with seating areas and viewing platforms will both help to enhance the site. Pedestrian paths from each surrounding side street will allow easy access into the site. The wild flower garden near the entrance will become a beautiful feature during the summer months. The open air canoe storage with docks creates a fun activity for those using the space, and another reason for attracting outsiders to travel to the site.

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open-air canoe trees to storage privatize site pedestrian path, typ. wild ﬂower garden boardwalk boardwalk seating viewing platform

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



    Design Problem: Using the existing sloped plot of land, adjust the contours to creatively place 3 townhouses with the correct use of drainage, accessibility, and design constraints. The goal for this project was to use everything we had learned so far to place these 3 residential homes on a sloped plot of land while also making sure to include each of the design objectives, such as 2% slope for accessibility in the parking lot. Another design goal for example, was for the land at the front of the townhouse to not be more than 4 feet lower than the land at the back of the townhouse. By using calculations to figure out the slope, this informed whether or not contour lines needed further adjusting in order to provide proper drainage, and make sure all slopes were within code. It took multiple sketches, iterations, and calculations to figure out a solution, but the process was one that I learned a lot from. An aspect of architecture that often troubled me was designing on sloped surfaces, and this exercise helped to clear up the confusion.

The main reason for the failture of this design iteration were the slopes. The driveway to the parking lot was too steep to meet code, and did not provide the correct slode for ADA requirements. After careful consideration, it was decided that driveway entry was best if placed on the other side.

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<2% CROSS SLOPE

DR AI

NA GE

INAG

DR AIN AG

DRA

  Location: Florence, Italy San Spirito

p San S

irito

Design Problem: San Spirito is a church in Florence, Italy whose facade was never completed. Through site observation, analysis, and studying the existing proportions of the blank church facade, develop a site strategy and new facade design for San Spirito. Design Contemplation: While the surrounding architecture is very orthogonal and basic, a new facade of San Spirito featuring arches and rounded geometric shapes will create a new feel to the site. It will add an attraction that will contrast its surroundings. A new design of the piazza will help redirect views to the facade of the church, which is off direct axis with the piazza.

Horseshoe shape of new greenery to focus directly on San Spirito facade

Provide new seating areas for existing restaurants in piazza

N Site Plan, showing that the piazza’s relationship with San Spirito facade is not direct

Piazza Plan Perspective

Existing Church Plan

Design Solution: Using arches and circles on the new facade of San Spirito brings a new excitement to the site. The surrounding architecture on the site is simple and direct, and this simplicity remains part of the sites beauty while not creating such an intricate level of detail on the new church facade. The level of detail remains the same while the geometry changes. Keeping within the system of proportions, the facade remains visually pleasing. Arches relate to the half circle vaulted ceilings that are on the interior of the church. Therefore, the facade beings to represent what users will experience inside. In the newly designed piazza, the greenery focuses its view on the church by angling its boundary lines in this direction. It also provides new trees for shading since this site is one that takes a lot of direct sunlight. Existing Relative Proportions

 

Section cut directly behind facade showing interior structure and relationship to exterior facade

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pietra sereno stone (gray)

pilasters stacked to provide visual vertical support

added aperatures to create new interior glow rounded arches to mimic interior (shown left in section)

wood to match existing

New Church Facade - San Spirito - using the studied proportion diagram as an underlay for the design

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Skaftafellsstofa Glacier, Iceland

Southeast Coast, Iceland

Cave, Iceland

October Mountain, Lee, MA





Boston, MA



Gullfoss Waterfall, Iceland

Providence, RI

Back Bay Fens

Boston, MA





Valentine’s Day Chocolate Pretzels

Thanksgiving Cake Pops



Inspiration, Acrylic on Canvas, 24” x 36”

Sketch Studies





Coffee Cups, Acrylic on Canvas, 16” x 20”



Luke Adams Glass, Norwood, MA





Luke Adams Glass, Norwood, MA

 

Practice Essay Over the past few months, it is becoming much clearer to me the benefit of the concurrent program at the BAC. While gaining experience in my studios as well as now working full time on projects at DiMella Shaffer, I am able to relate these skills from the office to the classroom and vice versa. Practice experience has informed my academic coursework in a number of different positive ways. Firstly, throughout my practice experience I have gained skills and have become a more confident and professional individual. When first beginning my work at DiMella Shaffer, I was responsible for mostly administrative tasks. However, I quickly proved that I could handle much more than this, and was given a variety of opportunities to learn and grow from. I am now working full time on projects, and have participated in programming, schematic design, design development, construction documents, and construction administration, the majority of the different design phases. Because of this, I can take new information into my classes, and am able to better understand the process of producing the work that we do for class. From the classroom setting to the professional setting, I am beginning to see the relationships and how I can bring skills from the classroom to work. I have become more confident in public speaking due to weekly presentations in studio. I am therefore more comfortable voicing my opinions at work and speaking up during team meetings. I am not afraid to ask questions because this is the only way to learn. In my undergraduate classes, I also developed such skills, yet through this concurrent program, being in an office all day and classrooms all night, I can really see how they relate and take skills from one to the other. From the professional to the classroom setting, I bring my professionalism, my hard work, and my technical knowledge. While I am able to think more creatively in the classroom, it is good to have this set of technical skills and knowledge that I can also work with. For example, I have been producing RCP’s for multiple projects over the past few months. Because of this, I am learning about the MEP coordination, structural plans, and ceiling layouts. These skills help me to think differently about how I go about solving my design problems in class. Before, I may not have thought as carefully about how the ceilings are laid out, or thought about how they don’t all have to be the same height. Because of this new information I am learning at work, I am able to think more creatively and effectively about my design problems at school. My BAC experience has affected me greatly as an emerging designer. Although the late nights and long days are sometimes tough, I can truly see the benefits of this program. Foundation A studio was a challenging one, as it was twice a week and very demanding. Although the workload was intense especially while working full time, I was still able to enjoy it greatly and grow as a designer. Assisting on projects at work while designing my own spaces in class, was a great balance which allowed me to develop intellectually. Then moving on to complete B-1 and B-2 studios, I used previously learned skills to succeed in these courses. Currently, I am taking Long Studio which I am enjoying so far. Since this C-level studio has a more realistic design process that goes through each phase of design, I can relate this back to my work at DiMella Shaffer. One thing I am looking forward to in this class is learning about wall details. It is something I’m interested in, and a skill that I can bring back to the workplace. I am very happy where I am both at work and at school, and am confident that this will continue through my time at the BAC as well as throughout my life. My computer skills, hand-drafting skills, confidence, and people skills have grown through a combination of both Practice and classroom, all of which are imperative in the design industry. I am excited to continue on my journey through the BAC, and am confident that my success here will benefit me professionally for the rest of my life.





Michelle K. Ungar Address: 1799 Beacon Street Apt. 2 Brookline, MA 02445 508-479-1038 (cell) michelleungar@gmail.com SUMMARY:

EDUCATION: Fall ’11-present

Fall ’06-Spring ‘10

SKILLS:

Determined, motivated, independent individual with well-defined organizational skills

BOSTON ARCHITECTURAL COLLEGE- Boston, MA Master of Architecture Candidate, Anticipated Graduation May 2015 Current GPA 3.79 Alumni Association Scholarship Recipient – Spring 2013 Scholarship based on academic standing and portfolio presentation UNIVERSITY OF MASSACHUSETTS- Amherst, MA Bachelor of Fine Arts in Architecture & Design, Graduated May 2010 Cum Laude, Cumulative GPA 3.62 Major- Architecture & Design Deans List- Spring 2007, Fall 2007, Spring 2009, Fall 2009, Spring 2010 Adobe Photoshop, Google SketchUp, Lumion, Revit, Podium, Adobe InDesign, AutoCAD, hand-drafting, model-making, MS Office Suite

PROFESSIONAL EXPERIENCE: Nov ’10-present: DIMELLA SHAFFER- Boston, MA Junior Designer Team member performing work on all phases of architectural projects Aug ‘10-Nov ‘10: CLOSETS BY DESIGN- Shirley, MA Designer Worked closely with clients to design custom storage spaces that effectively met their needs and budget. Work included measuring, sketching, designing, detailing, pricing, discounting, and selling Dec ’07-Jan ’08: CHRIS WALSH AND COMPANY ARCHITECTS- Framingham, MA Intern Created stair design for a home renovation Learned CAD programs and Google SketchUp Attended informational and business meetings Accompanied and assisted workers in their daily travels and tasks.

OTHER EXPERIENCE: Jan ‘10-May ‘10:

Sept ‘07-May ‘10:

June ‘05-Aug ‘09:

UMASS AMHERST- Amherst, MA Teaching Assistant for Sustainable Living Class Worked as part of a team of 13 peers and 1 professor to run the Sustainable Living lecture class of 300 students Helped facilitate class discussions, and managed computer and sound Graded homework assignments, with useful feedback in a timely manner HILLEL HOUSE- Amherst, MA Fundraising Supervisor (Sept ’09-May ’10) Supervised 15 workers, while managing and organizing all paperwork Worked closely with my co-supervisor Fundraiser (Sept ’07-May ’10) Used strong communication skills to make phone calls in order to raise money for the benefit of activities taking place at UMASS Amherst for Jewish students CAMP PEMBROKE- Pembroke, MA Counselor Trainer (June ‘09-Aug ‘09) One of six counselors that led a group of 110 CIT’s to Israel for 5 weeks Responsible for every aspect of the CIT’s well-being and safety Worked closely with team to complete evaluations of each camper Camp Counselor (June ‘05-Aug ’08) Supervised the lake as a certified lifeguard Instructed girls ages 8-15 in waterskiing and sailing Helped girls develop independence by preparing them to become role models for younger girls

VOLUNTEER EXPERIENCE: Nov ’13: MASTERS STUDIO – Boston Architectural College Guest Critic Provided useful feedback to 5 students in Master’s level architecture studio as part of their midterm review. Provided another perspective on their designs, and made suggestions for presentation quality improvement Oct ’13-Nov ’13: LABOURE CENTER – Boston, MA Design Decorator Designed holiday decorations for a house in South Boston. All proceeds go to the Laboure Center, helping community members in need July ’12-Nov ‘12: CANSTRUCTION- Boston, MA SketchUp Modeler/Active Team Member Part of a volunteer competition to design and build a model made of canned foods to be donated to the Merrimack Valley Food Bank Responsible for creating the SketchUp model of our design July ’10-Aug ’10: HABITAT FOR HUMANITY- Dorchester, MA Volunteer Learned about details of residential construction Caulked windows, applied nail plates, & applied primer on window casement Precisely measured and cut boards of wood using an electric saw

STRONG PERSONALITY TRAITS INCLUDE: Self-motivated, dependable, open-minded, determined, and responsible

  Location: Durham, NH Client: University of New Hampshire Scope of Work: Renovation and addition to English Department/ main campus building.

 • • • • • • • •

Assisting during the schematic design phase. Site visit for existing conditions measuring and dimensioning Classroom layout precedent studies Sustainable mechanical unit study Typical classroom RCP studies Elevation studies to be presented to team Becoming familiar with project’s AV standards Project finances review



 • •

•

• • •

Using a laser measurer Better understand the mechanical concepts for classrooms and offices How to effectively study elevation options in comparison with existing building facades Communicating clearly with consultants RCP layouts and lighting Improved public speaking skills





U N I V E R S I T Y of N E W H A M P S H I R E PLANNING, DESIGN AND CONSTRUCTION GUIDELINES

June 7, 2010

SECTION 11132 - PROJECTION SCREENS

1.1 A.

SUMMARY Section Includes: 1. 2. 3.

1.2

Manually operated projection screens. Electrically operated projection screens and controls. LCD projector Mounts.

QUALITY ASSURANCE

Electrical Components, Devices, and Accessories: Listed and labeled as defined in NFPA 70, by a qualified testing agency, and marked for intended location and application.

Final layouts of screens and projector mounts shall be coordinated with the University Audio Visual Services Department, the Architect and the Contractor.

1.3 A.

MANUALLY OPERATED PROJECTION SCREENS General: Manufacturer's standard spring-roller-operated units, consisting of case, screen, mounting accessories, and other components necessary for a complete installation. 1.

Surface-Mounted, Metal-Encased, Manually Operated Screens: Units designed and fabricated for surface mounting on wall or ceiling, fabricated from formed-steel sheet not less than 0.027 inch (0.7 mm) thick or from aluminum extrusions; with flat back design and vinyl covering or baked-enamel finish. Provide units with matching end caps and concealed mounting. 1.

1.4 A.

Screen Mounting: Top edge securely anchored to a 3-inch- (75-mm-) diameter, rigid steel roller; bottom edge formed into a pocket holding a tubular metal slat, with ends of slat protected by plastic caps, and with a saddle and pull attached to slat by screws. Tab Tensioning: Provide units that have a durable low-stretch cord, such as braided polyester, on each side of screen connected to edge of screen by tabs to pull screen flat horizontally. In lieu of tab tensioning, screens may be constructed from vinyl-coated screen cloth that contains horizontal stiffening monofilaments to resist edge curling.

Product: Draper Inc.; Access / Series M.

ELECTRICALLY OPERATED PROJECTION SCREENS General: Manufacturer's standard units consisting of case, screen, motor, controls, mounting accessories, and other components necessary for a complete

CHAPTER 5 – TECHNICAL CONSTRUCTION AND RENOVATION STANDARDS PROJECTION SCREENS

11132 - 1



   47

  Location: Newport, RI Scope of Work: Senior housing potential project

 • •

• • •

Assisting during interview preparation Put together studies of previous senior living projects DiMella Shaffer completed. Comparing sizes and orientations Studying how building shapes could potentially fit on new site Overlay previous plans against potential new building footprint

 • •

The extent of information needed for interview preparation Strategies for working quickly to complete a last minute study diagrams... useful for classroom settings as well



  Location: Boston, MA Client: Tufts Medical Scope of Work: Existing Furniture Inventory for renovation

 • •

•

• •

Travel to Tufts Medical library Interact with employees to discuss their furniture and layout needs Communicate with supervisor at Tufts to confirm what furniture needs to stay and what can go Recording each piece of furniture per employee - sketching current layouts as I go Keep detailed sheet of furniture, dimensions, and quantities Using this information to transfer into the project file in Revit

 • •

• •

How to work quickly learned as I went for how to most quickly and efficiently measure each piece of furniture -- learning the benefit of sketching (a skill from the classroom) The importance of communicating clearly Completing a job individually on a short time budget

   Location: Cambridge, MA Client: Harvard University Scope of Work: Renovation of existing Graduate building. Updating dorm rooms, dining facilities, adding bathrooms, lounge spaces, and administrative areas

 •

•

Assisting during the design development and construction document phases studying design options such as seating layouts, dorm furniture/ finishes, and light fixture studies coordinating with cut sheets to model accurately

Basement Seating Layout Study

First Floor Seating Layout Study

 •

• • • •

continued to learn about AV requirements and how to maximize seating and views how to make cut planes in SketchUp learned to rotate and size materials in SketchUp to model components from scratch in Revit the importance of showing physical visuals to the clients • • •



studying dorm room options visual for client exported from Revit, all furniture modeled from scratch in SketchUp, cleaned up in Photoshop

Rev: 2011/04/25

SAMPLE CATALOG NUMBER CP5362

Model Number

10FS54(MVOLT) - 1PH39PAR20 Bodylight (Voltage)

Downlight

(5)

(Units with Downlight)

Model Number

Dimensions (unit)

W D OAH X

(Stem Mount only)

CP5360 30-3/4" (781 mm)

16-1/4" 7-1/4" 192" 52-1/2"

Trim Finish

BSIL

Canopy System and Stem Finish

GIA

DCC

Bridge Accent Finish

(413 mm) (184 mm) (4877 mm) (1334 mm)

Bodylight Fluorescent or

10FHP32 10FS28 10FS54

OAH(192) Option

Finish

Optional Downlight Per Unit

1PH35PB 1PH39PAR20 1T35PAR20

Trim

Canopy System and Stem

PTD BA BCA SNA

Options

Bridge Accent

DCC DIM-A DIM-L DIM10 FUSE HPT8L

PTD

IEM MPB OAH PBL TMB

Each unit may be configured with or without downlight. Specify number of units with downlight (0-5) Unit bottom is solid if no downlight is specified For best "white color" LED light output use LEDWHT

W D OAH X

(Stem Mount only)

CP5362 39-7/8" (1013 mm)

16-1/4" 7-1/4" 192" 52-1/2"

(413 mm) (184 mm) (4877 mm) (1334 mm)

10FHP32 10FS28 10FS54

39-7/8" (1013 mm)

LEDAMB LEDBLU LEDGRN LEDRED LEDWHT LEDRGB

Per Unit

1PH35PB 1PH39PAR20 1T35PAR20

PTD BA BCA SNA

PTD

PTD BA BCA GIA

OKA SNA WMA

DCC DIM-A DIM-L DIM10 FUSE HPT8L

IEM MPB OAH PBL TMB

Available in stem mount only

Trim

Diffuser

ABBREVIATION KEY

PHOTOMETRICS and BIM

Dimensions (unit)

Complete BIM (Building Information Modeling) and photometric files for these models may be downloaded from www.visalighting.com

W D OAH X

Width Depth Overall Height Body Height

FHP32 FS28 FS54 PH35PB PH39PAR20 LEDAMB LEDBLU LEDGRN LEDRED LEDWHT LEDRGB

32w High-Performance T-8, med bi-pin base, FLR (MVOLT) 28w T-5, mini bi-pin base, FLR (MVOLT) 54w T-5/HO, mini bi-pin base, FLR (MVOLT; 347V) 35w R111, GX8.5 base, MH (MVOLT) 39w PAR20, medium base, MH (MVOLT) Amber, LED (MVOLT) Blue, LED (MVOLT) Green, LED (MVOLT) Red, LED (MVOLT) White, 4000K, LED (MVOLT) Red, Green, Blue; DMX ready (MVOLT)

PTD BA BCA GIA OKA SNA WMA

Painted - specify color code (ex. BRNZ for Bronze) Brushed Aluminum Brushed Chrome Alternative Glacier Ice Acrylic Orange Krush Acrylic Satin Nickel Alternative Winter Mist Acrylic

DCC DIM-A

Damp clear coat for metal finishes in damp locations. Required for 5 year warranty Fluorescent dimming, Advance Mark 10, specify 120V or 277V. Not available with FS28 lamping. Top mounted ballast is required Fluorescent dimming, Lutron Eco-10, specify 120V or 277V. Top mounted ballast is required Single color LED dimming, 0V-10V Fusing, specify 120V or 277V Include 32w High-Performance Osram Octron® XPS® Ecologic®3 3500K T-8 lamp providing up to 42,000 hour life (rated at 12 hours/start) Integral emergency battery pack, specify 120V or 277V. Top mounted ballast (TMB) or mid-point ballast (MPB) is required. 14" maximum gap to ballast with MPB option. FS28 or FS54 lamping only. Not available with downlight Mid-point ballast. Not available with DIM-A or DIM-L option Overall height variation from standard. Include desired height in inches. (ex. OAH(192) will produce an overall fixture height of 192") Mid-point ballast (MPB) or top mounted ballast (TMB) must be specified for fluorescent lamping when OAH is greater than 192". Maximum OAH with LED or LEDRGB is 24' Include Osram Powerball® R111 lamp Top mounted ballast

Lamping Options (Voltage)

LEDRGB

LEDBLU

CP5360 CP5362

LEDRED

See www.visalighting.com for more installation details

LEDGRN

Nominal LED Wattage LEDWHT

Structural blocking is required. Extra fixture support is provided within the canopy system.

LEDAMB

AIR FOIL indoor decorative and performance pendant

30-3/4" (781 mm)

LED

LEDAMB LEDBLU LEDGRN LEDRED LEDWHT LEDRGB

Option

Lamping Options

Model Number

384

256

384

606

384

256

384

606

Ballast Compartment for MPB and TMB options (finish matches canopy system and stem)

Specify Voltage or MVOLT MVOLT is a ballast that operates 120V through 277V MPB

15"

Finishes TMB

15"

Ballast option must be specified when OAH is greater than 192"

Options

DIM-L DIM10 FUSE HPT8L IEM Door Height = 7' Ceiling Height = 26' Silhouette Height = 6'

MPB OAH

PBL TMB

800-788-VISA www.visalighting.com

• • • •

Light study for main stairwell into dining area studying different configurations of dimensions and light fixtures to find the best option light options modeled in Revit from scratch cut sheets and specs used for accurate modeling information

  "

 Location: Cambridge, MA Client: Harvard University Scope of Work: Renovation of existing Graduate building. Updating dorm rooms, dining facilities, adding bathrooms, lounge spaces, and administrative areas

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coordinate lighting and complete RCP’s for all floors (for DD and CD submissions) making sure to center ceiling grids, and make sure all dimensions worked correctly communicate with lighting consultant to keep up with all light cuts and spec sheets compare completed ceiling plans with consultant plans - MEP coordination

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 •

• • •

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building and editing Revit components to place specific light fixtures into RCP’s learning more Revit modeling skills acting as a full time team member MEP coordination - learned to mark up drawings for consultant use/approval

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D:\RevitProjects2013\HU Cronkhite\120119-HU Cronkhite CMW 2013.rvt

21.3

20.3

281 Summer Street Tel 617.426.5004 Boston, MA 02210 Fax 617.426.0046

19.3

19.1

Client Dimella Shaffer

18.3 STAIR 4 ST-4

DRY STORAGE 018

18.1

17.3 MACH RM 016

WALK-IN 019 ELEV 3

17.1

REFER TO LANDSCAPE

16.3

WALK-IN 017

(E) FTR (TYP)

16.1

15.3

WOMEN'S 015 CORR. 008CR

MECHANICAL NEW WORK NOTES

FITNESS 012

4" HARD DUCTED DRYER VENT. CONNECT TO EXISTING PLENUM

15.1

? 14.3

16x10

MEN'S 013

COORDINATE ALL GRILLS WITH LIGHTING

(XN) VAV (E) 42x10 UP TO SERVERY

BREAK RM 009

14.1

(E) 33x10

13.3 10ø

(E) 33x10 (E) 42x10 UP TO SERVERY

13.1

12.3

NEW 12" MAX ?

FCU-2

12.1

FCU-1

12ø

LOUNGE 008

11.1

(E) 24x16

SD-A 10"Ø 300 CFM (TYP. 6)

ERU-1

11.3

12ø

REF.

10.3

TEL/DATA 006C

100% DD

12ø BUILDING STORAGE 006

10.1

FCU-3

9.3

RG-A 24x24 600 CFM (TYP. 3)

20x18 DISCHARGE CONNECTION MECH 004

9.1

8.3

(XN) AHU-1

78x34 INLET CONNECTION

(E) OA LOUVER

8.1

7.3 GCP STORAGE 007

VENDING 007A MECH 002

7.1

6.3

PROGRESS Issue Description

Drawn By: Author

5.3 VESTIBULE 001V

W/D W/D W/D W/D

NIC

4.3

B-2

NEW LOCATION & DIFFUSER

LAUNDRY 003

SHOW

Reviewed By:

Harvard University Cronkhite

B-1

4.1 DRYER

Checked By: Checker

Project No. 120119.01

CORRIDOR 001CR

HARD PIPE ALL DRYERS W/D

5.1

2/5/2013 Date

Scale: As indicated

BIKE STORAGE 005

6.1

3.3

VENT

Street Name City, State

ELEV 1

MACH RM 001

3.1

CORRIDOR 006CR

1 M2.0A

Sim

2.1

B.25 B.75C

2/7/2013 3:38:30 PM

MECHANICAL BASEMENT NEW DUCTWORK PLAN

2.3

STAIR 1 ST-1

M2.0

21.3

STAIR 6 ST-6

Room 200

281 Summer Street Tel 617.426.5004 Boston, MA 02210 Fax 617.426.0046

20.3 Room 202

Room 201

(E) FTR (TYP)

19.3

Client Dimella Shaffer

Room 203 Room 204

19.1

18.3 UV-3 LEVEL 2 CORRIDOR 201CR STAIR 4 ST-4

Room 205

Room 206

CORRIDOR ST-11

18.1

Premium Room 286

Room 285

Room 207

Room 208

16.3

10x8 DISHWASHER HOOD EXHUAST UP&DN

Room 284

Room 283

4" DUCT FROM DOMESTIC KITCHEN HOOD TO BRICK VENT. TYPICAL ALL LOUNGES WITH KITCHENS.

28x20 KITCHEN HOOD EXHUAST UP&DN

Elevator 3

17.1

17.3

MECHANICAL NEW WORK NOTES

(E) FTR (TYP)

Room 210

16.1

Accessible Room 209

15.3 Room 281

Room 211A

Room 212

Room 282

15.1

14.3 Room 279

Room 211

Room 280

Premium Room 214

14.1

13.3 Room 277

Room 213

Room 278

Room 216

13.1

12.3

D:\RevitProjects2013\HU Cronkhite\120119-HU Cronkhite CMW 2013.rvt

21.3

19.3

19.1

18.3 RECEIVING 115 (E)

Room 276

CLEAN END CAP OF EXISTING DUCT

Room 218

12.1

11.3 Room 273

FTR (TYP)

Room 215

Room 220

Room 274

Room 217

10.3 Room 271 Room 272

Room 222 LEVEL 2 CORRIDOR 201CR

10.1

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17.1

100% DD

Room 219

9.3 Accessible Room 269 Room 224

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Room 267

Room 265

FD @ FLOORLINE

EA Bathroom 262

7.1

FD @ FLOOR LINE

EA UP Storage 268

DAMPER @ FLOOR LINES, TYP. 7.3

Room 226

CUT SHEET? CONFLICT WITH FURNITURE? MILLWORK SURROUND

Bathroom 262

Bathroom 223

SEPARATE EXHAUST 6.3

Bathroom 228

UV-2

(E) FTR (TYP)

(E) FTR (TYP) JC 260

ADA Bathroom 225

EA Room 250

Room 248

ADA Bathroom 258

Elec. 256

Room 246

Room 242

Room 238

Room 236

Accessible Room 232

Room 234

Drawn By: Author

Premium Room 230

5.3

JC 228A

Room 244

(E) FTR (TYP)

KITCHEN / LOUNGE 261

DW REF.

5.1

LEVEL 2 CORRIDOR 201CR

OVEN

Trash/Recycling 249

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STORAGE 231

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Room 255

Room 253

Accessible Room 251

Room 241 STAIR 2 ST-2

(E) FTR (TYP) Room 247

(E) FTR (TYP)

Room 239

Room 237

Room 235

STORAGE 233

Elevator 2 STUDY ROOM CLOSET ST-12

4.3

Kitchen / Lounge 227

STAIR 3 ST-3

UV-1

2.3

2/7/2013 3:38:34 PM

KITCHEN 112

15.1

(E) 33x10 Street Name City, State

Premium Room 252

14.1

MECHANICAL SECOND FLOOR NEW DUCTWORK PLAN

B.25 B.75C

M2.2

14.3

10x8 DN TO (E) DISHWASHER HOOD

TG-A 30x28 2650 CFM (TYP. 4)

(E) 42x10 DN

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13.3

COORDINATE LOCATIONS WITH NEW PENDANT FIXTURES & EXISTING SOFFITS

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SD-B 14"Ø 760 CFM (TYP. 8)

13.1

15.3

2/5/2013 Date

Reviewed By:

Harvard University Cronkhite

3.3

EXHUAST HOOD

STAIR 1 ST-1

2.1

Checked By: Checker

Project No. 120119.01

(E) FTR (TYP)

Room 245

OVEN

3.1

Room 257

SEPARATE EXHAUST SHAFT FD @ FLOOR LINE

Elevator 1

REF.

REF. REF. DW

Room 259

Bathroom 254

4.1

PROGRESS Issue Description Scale: As indicated

Room 263

(E) FTR (TYP)

6.1

16.1

14x12 EA 18x16 EA UP EA

Trash/Recycling 266

TYPICAL NEW LOUNGE

16.3

Room 221

Room 270

9.1

8.1

17.3

10x8 UP TO KEF-2 IN ATTIC

STORAGE 113

(E) FTR (TYP)

11.1

Client Dimella Shaffer

STAIR 4 ST-4

18.1

(E) FTR (TYP) Room 275

281 Summer Street Tel 617.426.5004 Boston, MA 02210 Fax 617.426.0046

20.3

12.3

SERVERY 111B

12.1

11.3 (E) 30x10

(E) 30x10

11.1

10.3 (E) 20x10

100% DD

(E) 20x10

10.1

9.3

D:\RevitProjects2013\HU Cronkhite\120119-HU Cronkhite CMW 2013.rvt

9.1

(E) 8x8

DINING VEST 111A STAIR 6 ST-6

281 Summer Street Tel 617.426.5004 Boston, MA 02210 Fax 617.426.0046

20.3

8.1

Room 301

PRIVATE DINING 110

7.3

(E) FTR (TYP)

19.3

Client Dimella Shaffer

Room 303

Room 304

19.1

18.3 STAIR 4 ST-4

Premium Room 386

17.3

Room 383

CORRIDOR ST-20

CLOSET ST-13

Elevator 3

7.1

Room 305

Room 306

18.1

17.1

6.3

PACKAGE STOR 107A

Room 307

16.3 (E) FTR (TYP)

15.3

Room 379

6.1

5.3

(E) FTR (TYP)

Room 312

Room 382

Drawn By: Author

MAIL 107

Room 310

Room 384

16.1

WOMEN'S 108

Accessible Room 309

Room 311A

15.1

14.3

RELOCATE EXISTING DIFFUSERS?

Room 377 Room 311

Room 380

VEST 105

Premium Room 314

14.1

13.3 Room 375

Room 378

5.1

Room 313 Room 316

13.1

ENTRY CORRIDOR 101CR

OFFICE 103 Room 315

Room 376

Room 373

Room 374

Room 317

Room 320

11.1

Reviewed By:

Harvard University Cronkhite

3.3

100% DD

Room 319

Room 322

Room 372

MEN'S 106

4.1

10.3 Room 369

CORRIDOR ST-20

(E) FTR (TYP)

10.1

J. CL. 104

9.3 Accessible Room 367

STORAGE 101

NO DUCTS IN CORRIDORS SEPARATE EXHAUST

Room 321

Room 370

Room 324

9.1

Street Name City, State

ELEV 1

8.3

FD @ FLOOR LINE

Room 365

Trash/Recycling 366

8.1

Room 326

TYPICAL BATHROOM LAYOUT

8x8

18x16 EA 14x12 EA DN Room 363

(E) FTR (TYP)

7.1

EA UP & DN

MAKE-UP AIR DUCT IN CEILING

Bathroom 362 Storage 368

FD @ FLOOR LINE

Room 361 JC 360

(E) FTR (TYP)

COMMENTS TYP FOR ALL BATHROOM LAYOUTS (FLOORS 2 & 3)

EG-A 6x6 75 CFM (TYP.5)

GROUP INTO ONE?

12x10 8x8 10x8

6.3 TRANSFERS FOR MAKEUP AIR? GROUP INTO ONE?

Bathroom 328

ADA Bathroom 325

ADA Bathroom 358

5.3

EG-A 6x6 75 CFM (TYP. 7)

Elec. 356

(E) FTR (TYP)

CORRIDOR ST-20

5.1 DW REF.

Storage 337

SEPARATE EXHAUST

EXHAUST HOOD

4.1

Elevator 2

CORRIDOR ST-20

REF. REF. DW

Kitchen / Lounge 359

4.3

Trash/Recycling 339 Bathroom 354

Kitchen / Lounge 327

PROGRESS Issue Description

2/5/2013 Date

STAIR 1 ST-1

Scale: 1/8" = 1'-0" Drawn By: Author

Checked By: Checker

UV-5

B.25 B.75C

MECHANICAL THIRD FLOOR NEW DUCTWORK PLAN

2.3

B D

M2.3

2/7/2013 3:38:32 PM

Street Name City, State

EXHAUST HOOD

STAIR 3 ST-3

(E) FTR (TYP)

Premium Room 352

UV-4

Harvard University Cronkhite

FD @ FLOOR LINE

Elevator 1

OFFICE 100

2.1

Reviewed By:

Project No. 120119.01

3.3

REF.

MECHANICAL FIRST FLOOR NEW DUCTWORK PLAN

2.3

7.3

Bathroom 323

6.1

STORAGE 102

3.1

10x10

Showers 364

Checked By: Checker

Project No. 120119.01

11.3 Room 371

3.1

2/5/2013 Date

Room 318

12.1

2.1

4.3

NIC

12.3 (E) FTR (TYP)

PROGRESS Issue Description Scale: 1/8" = 1'-0"

Room 308

Room 381

2/7/2013 3:38:38 PM

8.3

21.3

Room 300

Room 302

B.25 B.75C

B D

M2.1

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Location: Cambridge, MA Client: Harvard University Scope of Work: Renovation of existing Graduate building. Updating dorm rooms, dining facilities, adding bathrooms, lounge spaces, and administrative areas

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NEW LOADING DOCK & UTILITY RAMP NEW RAIL TO MATCH EXISTING STYLE

EXPANDED AREAWAY TO BASEMENT WINDOWS

WINDOW REPAINTING AND REPAIR AS NEEDED

REMOVE WINDOW AC UNITS & RESTORE WINDOWS

BRICKS VENTS FOR UNIT VENTILATOR INTAKE

NORTH WING ASH STREET ELEVATION

REPAINTING OF FASCIA AND GABLE ENDS

NEW BRICK VENTS FOR KITCHEN EXHAUST TO MATCH FACADE

BRATTLE STREET ELEVATION

BRICK VENTS FOR UNIT VENTILATOR INTAKE

NORTH WING EAST ELEVATION

HARVARD CRONKHITE HOUSING STREET ELEVATIONS 4 APRIL 2013

 • • •

SketchUp models to study finishes in public spaces study variety of interior finishes create images for client presentation

 • •

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modeling in Revit and SketchUp from scratch learned to use previous skills to teach myself more advanced modeling techniques furthering knowledge about Podium rendering program



72643 MAPLE FRAME

chair w18.75, d25.25, h33,sh18.75, sd18

   Location: Durham, NH Location: Cambridge, MA Client: Harvard University Scope of Work: Renovation of existing Graduate building. Updating dorm rooms, dining facilities, adding bathrooms, lounge spaces, and

 •

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Respond to requests for information showing elevations of the new apartment spaces, and fitness center. Include a detail of the wall shelving construction

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Complete elevations of the staff mailboxes on the first floor entry space. follow code regulations to assure that mailboxes are accessible and at the correct heights for parcel boxes, while also considering layout and required number of staff mailboxes mandated by the school.

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working with and editing prefabricated Revit families. the difficulties of following code regulations learned about mailbox code and the different heights and requirements.

Figure 1 – Front Loader



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 • • • •

Assisting during Construction Administration Logging all incoming submittals, RFI’s, and consultant responses. Forwarding/Assigning appropriate questions to consultants Assist with SKA’s and document checking for submittal approval

Plan View

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SUBMITTAL

Suffolk Construction Co., Inc. 65 Allerton Street Boston, MA 02119

2O. 101100-2.2 PACKAGE 2O: 101100

Phone: 617-517-4568 Fax: 617-269-5200

 Location: Boston, MA Client: Northeastern University Scope of Work: Student living dorm project- YMCA renovation & new construction

TITLE:



RECEIVED FROM AUT100 MB

• • • • •

Tack Assemblies PROJECT: GrandMarc at Northeastern

REQUIRED START:

DRAWI2G: OPN STATUS: DIM123 BIC:

0 DAYS HELD: DAYS ELAPSED: 1 DAYS OVERDUE: 0 SE2T TO DIM123

REQUIRED FI2ISH:

Review 2o. Description / Remarks

Received

001

4/11/2013 4/12/2013

Tack Assemblies

Sent

RETUR2ED BY DIM123 TW

FORWARDED TO AUT100 MB

Returned Forwarded Status Sepias Prints OPN

Drawing Date Held Elapsed 0

 •

•

How to stamp and return a submittal, correctly noting for clarification purposes Where to look in specs to find specific information needed to compare against submittal How to use Newforma to respond to submittals and RFI’s.

Expedition 



REQUEST FOR I6FORMATIO6

6o. 00120 Architect 6umber Sub Information

Ceiling at the Fire Command Room

TITLE:

DATE: 2/7/2013

PROJECT: GrandMarc at Northeastern

JOB: 212255

Attn: Taylor Walker Dimella Shaffer Architects 281 Summer Street Boston, MA 02210 Phone: 617-426-5004 Fax: 617-426-0046

TO:

STATUS:New Item REASO6:RFI REQUIRED:

2/14/2013

REQUEST: At this afternoons MEP Cooridnation meeting, it was noted that there are plumbing valves currently located within the ceiling of the Fire Command Room. Through the cooridnation process, it was noted that this was the ideal location for access to the valves. Please advise if the ceiling within the Fire Command Room is required. Northeastern would rather not have a ceiling than to access these valves through an access panel. Please advise.

PROPOSED SOLUTIO6: A6SWER:

281 Summer Street Boston, MA 02210

Tel 617.426.5004 Fax 617.426.0046

www.dimellashaffer.com

RFI RESPONSE # 120 To:

Tom Hill - Suffolk Construction Company

From:

Michelle Ungar – DiMella Shaffer, Taylor Walker– DiMella Shaffer

Date:

02/21/13

Project:

GrandMarc at Northeastern

Signed:_____________________________ Project #: 2010067.00 Taylor Walker PSI ®

Re:

Ceiling at the Fire Command Room

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Answers below: Please find attached Grandmarc RFI # 120, which asks if a ceiling is required at the Fire Command Center. In order to facilitate inspection approval, provide a ceiling for the Fire Command Center. See SKA-030. Fan coil valves will be relocated.

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responding to an RFI and a submittal using Revit, Newforma, and Microsoft Word learning how to create sketch views in Revit, attaching “related items” files into Newforma, and emailing a response to the construction company understanding the different processes of construction administration

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