Mujia Lin Interior Design Portfolio by Mujia Lin

MUJIA LIN Interior Design Portfolio 2018 -2021

Table of Contents

Transforming

Immersion 3.0

Page 7-12

Page 23-28

Sensory Kaleidoscope: Prada/POPS

Change Upon Change: Resilient Space in Natural Disasters

Public Privacy

Page 1-6

Page 13-22

Page 29-34

Coliving: 1+1>2

Office Renovation

Drawing

Page 35-40

Page 47-50

Page 57-58

Fuji Restaurant Renovation

Atlantic Ave Cafe

Page 41-46

Page 51-56

What is possible in art becomes thinkable in life. —Brian Eno So does interior design, I think.

MASTER OF ARTS: INTERIOR DESIGN Pratt Institute, Brooklyn, NY BACHELOR OF ARTS: DESIGN AND VISUAL COMMUNICATIONS University of California, Davis, Davis, CA To enhance my professional skills, communication and networking To practise sustainability, aesthetics, functionality and social justice in the design of interior space David Ling Architect New York, NY 01/2020-05/2020 Interior Design Intern

Illustrator Photoshop

Freelancer Suzhou, China 06/2018-10/2019 Interior Designer Freelancer

Sketchup Rhinoceros AutoCAD Artlantis Studio 3ds MAX

Project 3 - New York Small Lots Competition • Assisted drawings and developed 3D Modelings and relevant details under a team directly with Brett Snyder and Janette Kim.

Unity

English Chinese (Native)

Project 1 - Suzhou Dual Smart Information Technology Co. LTD • Designed office renovation using Revit and SketchUp and created construction drawings in AutoCAD from schematic design to construction phase. • Supervised demolition and construction process, including coordinating labor. • Worked directly with lighting and material vendors and labor contractors. • Selected construction materials, air conditioning, and equipment for lighting, wiring, and pumping. Project 2 - Fuji Restaurant, Changzhou, Jiangsu, China • Assisted CAD drawings on elevations and floor patterns. • Visualized space using collages with selected materials. • Assisted in measuring dimensions before and during demolition.

Revit

Eugene Harvey Bush Scholarship 2016-2017 Pepsi Scholarship 2016-2017 UC Davis Design Departmental Citation 2019 UC Davis Outstanding Performance Citation 2019

• Created detailed drawings for prefabricated furniture and visualized six cabinet assembly possibilities in SketchUp and Enscape. • Worked on construction document set for the residential project. • Produced 3D renderings and material boards for presentations to the client.

The Designers Group New York, NY 02/2019-06/2019 Interior Designer SVN, Shanghai SVN Space Design Co. LTD Shanghai, China 07/2018-09/2018 Interior Design Intern

• Selected materials and created material boards for presentation. • Outreached new vendors and worked with contractors for residential projects and healthcare projects. • Successfully delivered schematic design for New Jersey hospitality project using Revit and AutoCAD. • Assisted interior designers and directors in different project phases of multiple office and retail projects focusing on historical preservation and sustainability. • Worked directly under design director for an office renovation project from schematic design to construction phase with direct presentation to the client. • Studied construction standards and finished construction drawing sets for the office renovation project using AutoCAD.

Sensory Kaleidoscope: Prada/ POPS

Grand Central Terminal Bloomberg

120 POPS

42nd St

Park Ave

A luxury store and a POPS, privately owned public space, form a heterogeneous space characterized with thresholds, which are insuperable boundaries that distinguish and communicate with two opposite worlds. The luxury store is identified as sacred due to its exclusiveness, motionlessness, and brand spirit. On the other hand, the POPS is identified as profane because of its day-to-day routine, movability, and inclusiveness. Both of them have different lifestyle groups but all target providing a sensory experience.

Thresholds Between Prada, POPS, and Bloomberg

Concept: Inspired by the kaleidoscope, in which the rotation of the tube changes the view dramatically, the concept is using reflection and openings to create a dynamic environment in both the luxury store and the POPS. The movement of an individual, that symbolizes the rotation of the tube, determines the view to the luxury store or POPS. With the change of natural light and standing position, each individual takes control of their own experience as well as interprets and influences other's movement. Exclusive

VIP Lounge PRADA Store POPS

Inclusive

Targeted Users:

Thresholds:

Form:

EVATION

Exclusive

Reflective Surface Sense Individual Movement

Inclusive Openings between Prada and POPS

Openings within Prada and POPS Adding reflective materials

Openings Sense Other's Movement Thresholds Sense Other's Movement

A cluster of sensory boxes that provide sensory experience for users in Prada and POPS

Adding thresholds

LATITUDINAL ELEVATION

Park Ave Elevation

LEVEL 1 FLOOR PLAN Prada Store POPS

Storage

Sales Counter

Storage

W.C.

Security

Waiting Area Short-time Seating Area Shipping & Receiving

E. 42nd St

Waiting Area Short-time Seating Area

Park Ave

LEVEL 2 FLOOR PLAN Prada Store POPS

1st Floor PRADA Sales Sensuous Seating Area Storage VIP Lounge

E. 42nd St

Lunch Break Seating

Lunch Break Seating Display Box

Display Box

W.C. Fitting Room

Park Ave

LEVEL 3 FLOOR PLAN Prada Store POPS

Display Box Storage

Staff W.C.

W.C. Fitting Rooms

Sales (Cloth&Shoes)

Storage

Fitting Rooms Sales (Cloth&Shoes)

Staff Changing Room

Display Box

Office Storage

Manager Office

E. 42nd St Staff Office Conference Room

1st Floor POPS 5

Park Ave

MATERIAL PALETTE (PRADA)

3rd Floor PRADA Sales

PRADA Material Palette: - A hint of traditional PRADA store - Different shades of green to add more dynamics MATERIAL PALETTE (POPS)

2nd Floor POPS

POPS Material Palette: - A feeling of welcoming, friendly, and delightful - Warm tone materials to give healthy looking and uplifting experience 6

Office Main Entrance 7

Transforming

South Brooklyn Marine Terminal

34 35th St, Brooklyn, NY 11232

Industry City

2nd Ave

3rd Ave

Sunset Park

As a newly formed music management firm, the Be Side shows its transformation from traditional music production to innovative music management. Their office emphasizes transformability and proposes a dynamic workspace, which further enhances the technology, performance, and communication. The flexibility and transformation thus propose long-term stability and development in this firm.

Concept: Transformation proposes dynamic and flexible responsiveness to enhance technology, performance, and communication in the workplace.

1st Floor Meeting Room and Reception

Pantry and Gathering 1st Floor Pantry

Material Palette and Furniture Selection Color Scheme

Furniture Selection

Materiality NOS Operative Desking System by Guialmi

Main Staircase

1 A103

Section A-A'

A' UP

2 A103

Level 1 1/4" = 1'-0"

Section B-B'

A103

2 A103

Level 1 1/4" = 1'-0"

Main Staircase and 2nd Floor Conference Rooms

Main Staircase and Conference Rooms

1st Floor Cafe

The chronology of regular intervals, time, is not lived time, as Faulkner said, the past lingers into the present, just as the future extends it; every now is also a former future and every future is at the same time a present yet to come. 13

Change Upon Change: Resilient Space in Natural Disasters This project proposes a prototype that responsive space could provide resilience for dual social and spatial vulnerabilities to achieve longterm stability in natural disasters.

Loss of identity and culture Psychological trauma

Loss of living space Social vulnerability

Spatial vulnerability

Loss of beloved ones Short-term housing support

Short-term care

Psychological/Emotional It is along with the social relations and social inequalities, which fails to deem the disadvantage as a risk of endangering vulnerable groups

Physical The space that lacks ability to foresee, prevent and relieve potential harm caused by natural disasters

With an auspicious and a dropping eye, With mirth in funeral and with dirge in marriage, In equal scale weighing delight and dole --Hamlet by William Shakespeare Act 1 Scene 2

San Gabriel Mission

This project explores emotional and practical solutions for contrasting spatial terrains in natural disasters, using responsive architecture. It points out a possible duality expressed in disasters as conflicting emotions and needs. Specifically, it means the conflict between flexibility and stability, expansion, and limitation, as well as change and continuity. The problem is unfolded based on the divergence between spatial rigidity, a fixed structure that cannot respond to flexibility and unpredictability of natural events, and critical spatial demand for stability, a feeling of safety, and settling down. From a narrative perspective, the project layers time, space, activities, and materials in a roof-damaged historical church that experienced a fire. Transforming between a community center with permanent housing for independent elderly, and an evacuation center with temporary housing for disaster victims, the project prospects to provide a ‘sustainable’ (sustainable in the sense of survival) and safe space, which is flexible, transformable, inflatable, expandable, and adaptive.

Site Interior and Exterior Before and After A Fire by San Gabriel Mission Archangel

Mission Bell Altar

Baptistery

San Gabriel Mission Interior Details

Inspired by the mergence and separation in biological cells, which provides resilience for human bodies, I started to explore responsive space that could have similar properties to address varied physical and psychological needs in different disaster phases. With the mergence of programs, responsive space could adjust its size to offer physical needs, such as a larger space set up to enclose private living units and provide quality living.

Horizontal Responsivness Based on Historical Fabrics

Pre-disaster

1st Floor Plan

Vertical Responsivness Based on Disaster Experiences

Roof that underwent damage for several times due to natural disasters Vertical Responsive Structure to digest the destruction of roof and create resilience in the building

During disasters

Non-responsive Responsive

2nd Floor Plan

3rd Floor Plan

Post-disaster N

Considering that elderly people lack mobility during disasters, the rear building turns to a senior housing to provide protection and local connection for the elderly. With the layering of translucent materials, such as polycarbonate panels, and acrylic panels, the senior bedrooms have a layering relationship between the patio and corridor. The translucency shows co-exists with the space to reduce feelings of isolation.

2nd Floor Bedroom

The community center focuses on transformation an relationships with existing historical fabrics. With tran and expansion, it could provide quality living for disa both interior and exterior. Horizontal and vertical layeri a continuity of memory and enhance community engag interactions.

2nd Floor Lib

Senior Housing Community Center

Exterior Patio Path

1st Floor Cafe

1st Floor Corridor

Senior Housing Perspectives and Axonometric View 17

Community Center P Axonometric View

nd layering nsformation aster victims ings suggest gement and

Fabric Sub-Roof

Materiality Strategies

New Roof Exchange Window with Sensors

Ground Level

3rd Floor Multipurpose Room

brary

Upper Levels

3rd Floor

2nd Floor

The materials for the ground floor are strong, solid, and earthy tones to provide support and a feeling of protection, as earthquakes happen. The materials for the upper floor, on the other hand, tend to be light, soft, and natural, in response the natural effect of debris falling due to gravity. They also guide uplifting hot and smoky air out during wildfires. Space uses the contrast of materials to show respect for history and the support for the growth of a new identity.

Spatial Strategies Transforming

Wall of Hope

Expanding

1st Floor

Perspectives and 18

1st FL Cafe User Profile

Chapter 01 Familiar Strangers

The first chapter depicts a senior couple, William and Jane, who moved to the San Gabriel Mission. Due to the consideration of affordability and weather conditions, they decided to settle down in a senior housing adjacent to the San Gabriel Community Center. With its accessibility to the neighborhood and community center, they hope this place could be a place to better know the local culture and neighborhood.

Local Families

Children Elderly People

Horizontal Responsive Panel - Layering of Time

Chapter 02 Escape

Track System

An intangible danger was evoked by the orange smokey sky. The wildfire sweeps again in Los Angeles. Only carrying treasured items, the Johnson Family and other local families were told to evacuate to the San Gabriel Community Center, which adapts and expands to an evacuation center. Beyond providing physical support, the community center responds to the psychological needs to transform fear and grief to healing and positivity.

Po lyc ar bo W na oo te d S Fr am hee M t et e al M es Pa h int Gr ed W ee n T hite ex Inn tu er re La d ye St uc r co

Chapter 03 Turning Point

Compressed Curtain

One night, an earthquake suddenly attacks. The seismic force breaks the roof of the mission into debris. The partitions crack. However, the mission digests this earthquake with the use of responsiveness. It transforms the destruction of the earthquake into a debris gallery, a space of memory. With the existing nonresponsive structure, both temporary and permanent residents are not impacted.

Vertical Responsive Transport - Wall of Hope Debris Carried by Fabric Sub-Roof

Vertical Circulation

1st Floor Activities (Dining, and Seating Area)

Chapter 04 Lingering Memory

Horizontal Responsive Bookshelf - Memory Storage Wood Veneer

Track System

After a series of natural disasters, some disaster victims leave the mission. However, the Johnson family and some disaster victims cannot find an alternative living space. The community center still provides living space for them to stay until they can afford to move. It continues to provide both physical and psychological support for local families through new functional spaces. Upon the cracked and exposed panels, occupants weave their identities. Space continuously adds new layering to announce a rebirth from the natural disasters but also preserve a memory for the past. 19

A Thin Layer of Cream Stucco

1st FL Cafe Lounge

2nd FL Library Seating

3rd FL Multipurpose Rm

Transforming disaster de

Altar Historical Wall

Historical Arch

Wall of Hope

Priva

Cafe Lounge

During Earthquake 21

Private Living Unit

estruction into new spatial construction of memories.

Pre-disaster

Debris Gallery

Historical Facade

During Wildfire

ultipurpose Rm

ate Living Unit

Post-disaster Vertical Responsiveness

Cafe Counter Shared Kitchen

The vertical transport becomes a container while the PTFE fabric sub-roof carries the debris into the outer double-layer metal mesh.The inner doublelayer mesh still functions as air and sunlight exchange. Along with the vertical circulation, The Wall of Hope transforms into a debris gallery, transformed by the disaster destruction. 22

Immersion 3.0 Howard Way

California Ave

Parking

Cruess Hall

Memorial Union Terminal

Veihmeyer Hall

Quad

N Quad

UC Davis Design Department - Veihmeyer Hall Redesign The Department of Design in UC Davis has experienced a dramatic increase in students. The current department in Cruess Hall can’t fulfill the demand for space and facilities; hence, the Department of Design needs additional space for future development. The Veihmeyer Hall, which is adjacent to the current department building becomes a perfect match for the expansion. Combining the characteristics of the UC Davis Design Department, the design focuses on creating an immersive experience for both learning and entertainment. The design department becomes not only a place to impart knowledge but also a place for gathering, sharing, and appreciating. 23

1st Floor Interactive Lecture Hall

The concept The idea came from the overlapping between different design majors in UC Davis Department that focuses more on the general visual communication in design rather than a specific field. Despite the difference, the principles for design remains the same. The center of the building thus becomes an open gallery for interaction and collaboration as well as the core to spread and share design ideas.

Immersive experience Entrance 1

Interactive Learning Interactive Sharing

Entrance 2

Group ONLINE in an imme (sharing design in a physic

Individual ONLINE (sharing design through online platform)

Immersive Learning

13 6

7 6'-016"

Interactive Learning Classrooms

Interactive Sharing Open Gallery

13 6

7 6'-016"

1 A3

1st Floor Plan

Immersive Learning Tiered Classroom

14 1 A3 16 15

18 17

13 6

7 6'-016"

Immersion 1.0 Physical immersion Projective screens 25

1 A3

Immersion 2.0

Immersive 3.0

Digital immersion Social media

Connection between the physical and digital

1 A3

2nd Floor Plan

ersive environment cal space)

1st Floor Classroom Entrance

1st Floor Learning Corridor

1st Floor Tiered Classroom Vertical Circulation

Interactive Stairs

Legend 1

1. Utility Closet 2. Janitor's Closet 3. Design Office (Tool Room) 4. Student Locker 5. Project Storage 6. 1st Floor Restroom 7. Seminar Room for 24 8. Student Lounge 9. Open Gallery 10. Student Club 11. MFA Studio 12. Tiered Classroom 13. Equipment Storage 14. Computer Classroom 15. Student Review Space 16. Computer Lab Staff Office 17 Student Advisor Office 18. 2nd Floor Restroom 19. Faculty Office, 8 A3

Student Display Area/Gallery 27

1st Floor Exhibition Gallery

9 1

8 5 7

2 3

1. Rippled Metal Sheet 2. PTFE Fabric 3. Ribbed Veneer, painted glossy white 4. Matte Aluminum Sheet 5. Dark Oak Veneer 6. Anodized Aluminum Sheet Black 7. Beech Wood Veneer 8. Eggshell White Wall Finish 9. Curved Strip LED Ceiling Light 10. Acoustic Ceiling Tile 11. Glass Block

Public Privacy This installation questions the line between the sense of public and private in the current digital age. With online platforms, social media, and search engines, people could have more access to information. Meanwhile, they could also maintain private information by setting up limitations. However, is privacy still private while information could be shared in the age of big data? Using interactive partitions, space engages people to rethink public and private information with social relations.

1 Rod = 1 Piece of Information/Data

The loose arrangement forms a public available space, whic h represents public information. It could reveal the certain character of a person (e.g. Instagram Info, Facebook brief)

The dense arrangement for ms a private space that represents private information, which creates a whole picture of a person. (e.g. personal pictures, private blog, contact information) 29

Installation Before Occupants' Intervention

The concept The design started from a Chinese character " 回 ", which has a meaning of transformation. The layout of the character also has a layering relationship. Based on the character, I developed the track system, which is both on the floor and ceiling to allow mobility and transformability of rods, representing a piece of information. With the occupant's interaction with the rods, space will form public, semi-public, and private space. However, the different materialities on each layering eventually make all space sense public.

100% Public 80% Public 40% Public "Private" Layer3 Layer2

7'-6"

4'-0"

12'-0" 4'-0"

4'-0"

7'-6"

Layer1

= 40 Rods

There are three main layers of the track. Each layer has the same amount of rods, which could form an enclosed square space. Meanwhile, the ceiling has panel lighting with the same pattern. The light will be activated when people stand or walk on the floor pattern.

20'-0"

4'-0"

35'-0"

4'-0" 4'-0"

Reflection on Mirror Wall

Private Space Partition

Enclosed private space in the center will be noticed by vibrant red. Although formed space could spatially be private, but it is also marked as public while people outside it will easily notice it. As in the big data age, it also represents a tendency for public privacy. Water

Matt Aluminum

Red Acrylic Panel

Trasparent Acrylic Panel (Disappear in Mirror) Black Paint Translucent Pink Acrylic Panel (Disappear in Mirror)

Semi-Public Space Partition

Mirror

Public Space Partition

Occupant's Intervention with Rods

Private Information 33

Public Information Needed Access

Public Information

Private, Semi-public, Public Enclosed Spaces Formed

View 1: Entrance 35

Coliving: 1+1>2 The characteristic of a home embodies with its inclusiveness in which separation and connection could co-exist. Considering the clients are all based in New York, the design concentrated on echoing the spirit of the city, which is its inclusiveness. Inclusiveness means a very tolerant attitude towards generations, sex orientations, cultures, and genders. In the design, natural materials enhance the feeling of inclusiveness, and colors indicate the separation and connection between two families. The design redefines the idea of coliving that it doesn’t just represent as living together but it has a spiritual quality, which shows as inclusiveness. The separation shows respect for each resident and the connection celebrates spiritual bonds with space. Without love, respect, inclusiveness, the home is just a hollow shell. In this way, it proposes coliving could give spiritual support rather than just physical needs. 3rd Ave Gramercy Park

2nd Ave 225 E 21st Street, Manhattan, New York E 21st Street Peter’s Field

Family A Daughte room and study. I c in both living rooms

Family B Elder Fat bedroom settling o convenient for me t I also like the suffic for my ceramics co

3rd Floor

Family A Father, T finally have a spac Father, Michael: Th is great! I could hav discarded objects.

2nd Floor 2 1 4 Family A

1st Floor

Father, Trevor, Cyclist Father, Michael, Sculpture Teacher Daughter, six-year-old Family B

Elderly Father, Hao, Chinaware col Son, Daniel, Writer, Book collector Son's wife, Mary, Love cooking

Basement

er: I have my own can see the activities s. Awesome!

Family B Couple: It’s nice that we could have a loft that including plentiful bookcases. We can also easily take care of our father.

ther, Hao: I like my on the 1st floor. It is to walk with a cane. cient display wall ollection.

Trevor: As a cyclist, I ce for storing bikes. he Sculpture Studio ve enough space for

llector

View 2: Shared Dining and Living Space

View 3: 1st and 2nd Floor Living Room 38

View 4: Dining & Gathering 39

6 1 3

1. Perforated Copper Panel 2. Grey Terrazzo 3. Grey Stonetile 4. Cream Marble 5. White Oak 6. Blue Paint

Fuji Restaurant Renovation

Located in Changzhou, Jiangsu Province, China, Fuji Restaurant represents the local traditional cuisine for more than twenty years. The owner of the restaurant wants the renovation to offer some new identities with respect to the brand history and local culture. The concept considers the new blooms from the old. The design focuses on revealing a vintage feeling but also incorporates modern elements to provide new insight and identity for customer experience.

People’s Park

China International Travel Service

Fuji Restaurant Shuanggui Fong

Puling Road

Qingguo Alley Historical Zone

Renovated Facade

Elevation Material Collage over CAD Drawings

1st Floor Dining Close Street Elevation

1st Floor Dining

2nd Floor Corridor Elevation

2nd Private Roo

2nd Floor Corridor

2nd Floor Privat

om Elevation

te Room

3rd Floor Banquet Hall Elevation

3rd Floor Wedding Room Elevation

3rd Floor Banquet Hall

1st Floor Main Entrance 45

Entrance Staircase Elevation

1st Floor Callout with Material Collage 46

Office Renovation Suzhou Dual Smart Information Technology is an I.T. Company located in Suzhou, China. The existing interior lacks sunlight and effective ventilation. The client required an interior renovation to solve these problems and to create an environment that coordinates with the company's image. I was in charge of the whole project including the initial design, construction drawings, material selection, project management, and equipment purchase.

Entrance 47

Entrance

The company has a representation for the future and tec hnology, so the interior image mainly focuses on futurism and neatness. By using glass panels to separate the function in the space, the interior allows more natural light to come in and provides more interactions during wor k time. Because the ceiling is relatively low, exposing the ceiling structure and painted black extends vertical vision and enlarges the space in senses. The flooring used different materials to separate the programs. The conference room and executive office had dark grey tiles and the rest was light grey. The entrance used aluminum strips to lower the height which worked as a buffer for guests to come to the unfamiliar space. All light is covered with black shells to create a flowing effect.

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1st Floor Cafe Seating Area 51

Atlantic Ave Cafe Located at 525 Atlantic Avenue in Brooklyn, an area featured with industrial feeling; this cafe continues the conversation between the old and the new in the interior space while emphasizing a combination of industrial and modern taste. Earthy tones and natural elements create a welcoming and comfortable atmosphere. Ambient light also softens the hard feature of industrial traces, such as exposed red bricks and concrete. This project focuses more on the construction and technical drawing sets. It includes construction, finish, furniture, and light plan and detailed drawings of construction materials and joints. PROJECT TEAM:

INTER

T: xxx.xxx.xxxx

PRATT INSTITUTE - INTERIOR D

C Conta Conta Co

C Conta Conta C

FINAL SUBMISSO

REV NO.

DATE

DESCRIPT

PRATT INSTITUTE |

PROJECT:

ATLANTIC AVE RESTAU

525 ATLANT BROOKL

DRAWING TITLE:

MILLED PANEL PERSPE

SEAL & SIGNATURE

DATE:

05/1

PROJECT NO. 20-7

DRAWING BY: Auth

1st Floor Cafe Counter

CHK BY:

Chec

DRAWING NO.

A-5

1 A-200

A-200

PROJECT TEAM:

14' - 4 3/16"

15' - 1 3/32"

INTERIOR DESIGNER MUJIA LIN ADDRESS1 ADDRESS 2 T: xxx.xxx.xxxx; F: xxx.xxx.xxxx

W.C.

8' - 3 25/32"

5' - 3 5/8"

3 A-102

5' - 0"

8' - 0"

Contact A - Title Contact A - Name Contact A - Address 1 Contact A - Address 2 Contact A - Phone

8' - 5 5/32"

8' - 0"

2 4 A-102

LEGEND

CLIENT: W.C. PRATT INSTITUTE - INTERIOR DESIGN - INT724 Client Address 1 1 Client Address 2 Client Contact Info

W.C. ADA

WOOD FLOOR WF-1

2 Contact B - Title Contact B - Name Contact B - Address 1 Contact B - Address 2 Contact B - Phone

TERRAZZO ST-1A

STONE TILE ST-2A

Seating Contact C - Title Contact C - Name Contact C- Address 1 Contact C- Address 2 Contact C- Phone

Seating 4

Contact D - Title Contact D - Name Contact D - Address 1 Contact D - Address 2 Contact D- Phone

23' - 5 19/32"

Coffee Roaster 3

CONCRETE TILE

Coffee Roaster 3

FINAL SUBMISSON 4

UP 76' - 4 1/2"

6' - 9 1/4"

FLOOR FINISH SCHEDULE Level

9' - 11 1/2"

5 UP

Office 7 UP

A 301

Stair

NIC

DATE

DESCRIPTION

Seating

Bar

PRATT INSTITUTE | INT724

Bar

PROJECT:

Name W.C.

Level 1

Coffee Roaster

Level 1

Seating

Level 1

Seating

Level 1

Bar

Level 2

Office

Level 2

Seating

Level 2 Level 1

9 2

Stair W.C. ADA

Seating

A 501

NIC

REV NO.

Number 1

38' - 11 1/2"

Seating

11' - 3 1/2"

Stair

NIC

9' - 6"

12' - 3"

Level 1

11' - 4 1/2"

Office

Floor Finish

Base Finish

ST-2A WB-1 GREY THERMOPLASTIC RUBBER WB-1 GREY THERMOPLASTIC RUBBER ST-1A WB-2 WHITE THERMOPLASTIC RUBBER ST-1A WB-2 WHITE THERMOPLASTIC RUBBER ST-1A WB-2 WHITE THERMOPLASTIC RUBBER WD-1 WB-2 WHITE THERMOPLASTIC RUBBER WD-1 WB-2 WHITE THERMOPLASTIC RUBBER WD-1 WB-3 WHITE OAK ST-2A WB-1 GREY THERMOPLASTIC RUBBER

Wall Finish CERAMIC TILE PAINT PAINT PAINT PAINT PAINT PAINT N/A CERAMIC TILE

NIC

ATLANTIC AVE RESTAURANT

A-200

525 ATLANTIC AVE BROOKLYN NY

DRAWING TITLE:

CONSTRUCTION FLOOR PLAN

SEAL & SIGNATURE

DATE:

05/10/2020

PROJECT NO. 20-724-01 DRAWING BY: MUJIA LIN CHK BY:

MUJIA LIN

DRAWING NO.

Level1-ProposedSD 1/4" = 1'-0"

Level 2 - ProposedSD 1/4" = 1'-0"

A-100

Level1 - FINISH PLAN 1/4" = 1'-0"

Level 2 - FINISH PLAN 1/4" = 1'-0"

PROJECT TEAM:

INTERIOR DESIGNER MUJIA LIN ADDRESS1 ADDRESS 2 T: xxx.xxx.xxxx; F: xxx.xxx.xxxx

3" DEPTH RECESSED FROM WALL RECTANGULAR HANDRAIL THICKN ABOVE THE FRONT OF THE TREAD GAP BETWEEN HANDRAIL AND WA

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT724 Client Address 1 Client Address 2 Client Contact Info

Contact A - Title Contact A - Name Contact A - Address 1 Contact A - Address 2 Contact A - Phone

A300

Roof 39' - 0"

Contact B - Title Contact B - Name Contact B - Address 1 Contact B - Address 2 Contact B - Phone

WHITE OAK TREAD 0' - 11"

3' - 6"

9' - 11 1/2"

11' - 8 1/2" 25' - 2"

10' - 10"

Level 3 27' - 0"

3 1/2" PAINTED GUARDRAIL PANEL RECESSED RECTANGULAR HAND

Contact C - Title Contact C - Name Contact C- Address 1 Contact C- Address 2 Contact C- Phone

Level 2

1/2" = 1'-0"

Contact D - Title Contact D - Name Contact D - Address 1 Contact D - Address 2 Contact D- Phone

FINAL SUBMISSON 6

1' - 7 27/32"

Level 2 15' - 0"

3' - 3 13/16"

9' - 8 23/32"

A 504

Level 1 0' - 0"

REV NO.

DATE

DESCRIPTION

PRATT INSTITUTE | INT724 Cellar -9' - 6"

PROJECT:

ATLANTIC AVE RESTAURANT

525 ATLANTIC AVE BROOKLYN NY

LATITUDINAL SECTION 1/4" = 1'-0"

LONGITUDINAL SECTION 1/4" = 1'-0"

DRAWING TITLE:

SECTION

GUARDRAIL PANEL PAINTED WHITE SEAMLESS WITH THE STRINGERS

PROJECT TEAM: PROJECT TEAM:

1 A-200

14' - 4 3/16"

PROJECT TEAM:

INTERIOR DESIGNER MUJIA LIN ADDRESS1 ADDRESS 2 T: xxx.xxx.xxxx; F: xxx.xxx.xxxx

9' - 1 7/16"

6' - 0"

L3 L1

COMPOUNDCEILING CEILING COMPOUND 2'X2'ACT ACTSYSTEM SYSTEM 2'X2'

COMPOUNDCEILING CEILING COMPOUND 2'X4' 2'X4'

GWBON ONMTL MTLSTUD STUD GWB

WALNUTWOOD WOOD WALNUT SUSPENDEDCEILING CEILING SUSPENDED

MINO 100 suspended 2360

FI FINA

6' - 0" 6' - 0"

MINO 100 suspended 2360

L2 FINAL SUBMISSON

6' - 0"

L2 6' - 0"

23' - 0 7/16"

MINO 100 suspended 2360

Coffee Roaster

MINO 100 suspended 2360

Contact D - Title Contact D - Name Contact D - Address 1 Contact D - Address 2 Contact D- Phone MINO 100 suspended 2360

MINO 100 suspended 2360

L1 L3

MINO 100 suspended 2360

Contact C - Title Contact C - Name Contact C- Address 1 Contact C- Address 2 Contact C- Phone

Seating

MINO 100 suspended 2360

Level1- W.C. CALLOUT 1/2" = 1'-0"

MINO 100 suspended 2360

8' - 0"

L3 L1

Contact B - Title Contact B - Name Contact B - Address 1 Contact B - Address 2 Contact B - Phone

6' - 0"

8' - 0"

Contact A - Title Contact A - Name Contact A - Address 1 Contact A - Address 2 Contact A - Phone

MINO 100 suspended 2360

4' - 7 1/8"

LEGEND LEGEND MINO 100 suspended 2360

CLIENT: L1 PRATT INSTITUTE - INTERIOR DESIGN - INT724 L1 Client Address 1 Client Address 2 Client Contact Info

MINO 100 suspended 2360

5' - 0"

W.C.

6' - 0"

8' - 0"

1 A-200

Lighting Fixture Schedule

Level 1 RCP

Lamp

Image

Wattage

Height/Widt h/Depth/

Count

LED

Cooper Level 1 Industries, Inc. RCP

Lamp

30 W

0' - 6"/

XAL

Level 1 RCP

LED

30 W

0' - 3 13 7/32"/0' - 4 1/32"/

Lumenpulse

Level 1 RCP

LED

L1 EQ

Lumenwerx

Level

REV NO. REV NO.

DAT

PRATTI PRATT

PROJECT:

ATLANT ATLANTIC

5' - 0"

DRAWING TITLE:

FURNITURE FLOOR PLAN

L1 L3

L1 7' - 10" 7' - 10"

RE REFL

DRAWING TITLE:

DRAWING TITLE

MINO 100 suspended 2360

6' - 10 1/2"

MINO 100 suspended 2360

525 ATLANTIC AVE BROOKLYN NY

2 A-200

5' - 0"

ATLANTIC AVE RESTAURANT

Bar

5' - 0"

5' - 0" 5' - 0"

MINO 100 suspended 2360

PROJECT:

MINO 100 suspended 2360

NIC

MINO 100 suspended 2360

5' - 0"

PRATT INSTITUTE | INT724

Seating

5' - 0"

11' - 3 1/2"

DESCRIPTION

4' - 7 1/8"

10' - 0"

5' - 0"

5' - 0" 15' - 0"

DATE

MINO 100 suspended 2360

REV NO.

MINO 100 suspended 2360

6' - 10 1/2"

9' - 6"

Manufacturer

5' - 0"

Stair

Seating

2' - 1"

NIC

Type Mark

2' - 6"

5' - 0"

MINO 100 suspended 2360

Office UP

Level1- W.C. ADA CALLOUT 1/2" = 1'-0"

11' - 4 1/2"

MINO 100 suspended 2360

7' - 1 11/32"

6' - 9 1/4"

SEAL & SIGNAT S E A L & S I G N A T U RE

S E A L & S I G N A T U RE

DATE:

0 5 / 1 0/ 2 0 2 0

PROJECT NO. 2 0 - 72 4 - 0 1 D R A W I NG B Y : M U J IA L I N

Level 1 RCP 1 Level 1 RCP 1/4" = 1'-0" CHK 1/4" = 1'-0"

BY:

PROJECT TEAM:

INTERIOR DESIGNER NAME ADDRESS 1 ADDRESS 2 T: xxx.xxx.xxxx; F: xxx.xxx.xxxx

Level1-FURNITURE 1/4" = 1'-0"

M U J IA L I N

DRAWING NO.

Level 2 RCP 2 Level 2 RCP 1/4" = 1'-0" 1/4" = 1'-0"

A-102

PROJECT TEAM:

Level 2 - FURNITURE 1/4" = 1'-0" PROJECT TEAM:

INTERIOR DESIGNER NAME ADDRESS 1 ADDRESS 2 T: xxx.xxx.xxxx; F: xxx.xxx.xxxx

CLIENT: Owner

L NESS 1 1/2" HEIGHT 36" D NOSING ALL 1 1/2"

0' - 1 1/2"0' - 3"

CLIENT: Owner

MASONARY WALL BATT INSULATION 2 1/2"

3' - 7"

L 42" DRAIL (1 1/2" THICK)

0' - 1 1/2"

0' - 4 1/2"

0' - 3"

0' - 1 1/2"

HANDRAIL WHITE OAK FINISH

3" DEPTH RECESSED 1 1/2" WHITE OAK HANDRAIL

Project Status

GUARDRAIL PANEL PAINTED WHITE 3' - 0"

WHITE OAK FLOOR FINISH 5/8"

SUBFLOOR 3/4"

GUARDRAIL PANEL PAINTED WHITE

WHITE PAINT

FLOOR JOIST 2'X6"

Level 2 15' - 0"

DATE

0' - 2"

OSB

WOOD BATTEN 3/4"

525 ATLANTIC AVE BROOKLYN NY

DRAWING TITLE:

STAIRCASE DETAIL 1

DATE:

D R A W I NG B Y : Author CHK BY:

3/12/2020

PROJECT NO. 20-724-01 DRAWING BY: MUJIA LIN CHK BY:

Checker

DETAIL 3" = 1'-0"

DETAIL2 3" = 1'-0"

3 / 1 2/ 2 0 2 0

PROJECT NO. 2 0 - 72 4 - 0 1

DATE:

S E A L & S I G N A T U RE

1 S E A L & S I G N A T U RE

0' - 0"

2"X6" FLOOR JOIST

525 ATLANTIC AVE BROOKLYN NY

WHITE OAK COVERING 3/4"

Level 1

DRAWING TITLE:

SUBFLOOR 3/4"

ATLANTIC AVE RESTAURANT

DRAWING TITLE:

STAIRCASE PLAN AND SECTION

SEAL & SIGNATURE

WHITE OAK FLOOR FINISH 5/8"

PROJECT:

WHITE OAK FINISH 3/4" PROJECT:

STRINGER 2" WIDTH PAINTED WHITE

PROJECT:

ATLANTIC

ANGLE IRON

ATLANTIC AVECEILING RESTAURANT PLYWOOD SUPPORT 5/8"

3'4" WIDTH PANEL COVERED THE BACK OF THE STAIR

STEEL FACING PLATE

STEEL PLATE 1 1/4" 2 1/2" METAL STUD

TREAD THICKNESS 2" NOSING RADIUS 1/4"

DATE

DESCRIPTION

PRATT INSTITUTE | INT724 CLEAT

DESCRIPTION

PRATT INSTITUTE | INT724

REV NO.

PRATT IN

FIRE-RATED GWB 5/8" REV NO.

REV NO.

7" RISER COVERED WITH WHITE OAK

WHITE OAK FLOOR FINISH 3/4"

2" STRINGER "DEAFENING" (SAND/CLINKER)

Checker

DRAWING NO.

A301

PROJECT TEAM:

A-502

A-501

INTERIOR DESIGNER MUJIA LIN ADDRESS1 ADDRESS 2 T: xxx.xxx.xxxx; F: xxx.xxx.xxxx

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT724 Client Address 1 Client Address 2 Client Contact Info

Contact A - Title

Contact A - Name BLOCKING AS REQ'D Contact A - Address 1 Contact A - Address 2 Contact A - Phone

1' - 0 3/4"

UNDER SHELF LIGHT

Contact B - Title 1" MDF LAMINATED W Contact B - Name WHITEContact OAK VENEER B - Address 1

3' - 4"

0' - 1"

Contact B - Address 2 Contact B - Phone

Contact C - Title

Contact C -PANEL Name 1/4" ACRYLIC Contact C- Address 1 Contact C- Address 2 Contact C- Phone

2' - 6"

10" DRYWALL SUPPO Contact D - Title Contact D - Name Contact D - Address 1 Contact D - Address 2 Contact D- Phone

Level 1 RCP 0' - 0"

10' - 0" 1

MILLWORK SECTION A 1" = 1'-0"

15' - 0"

FINAL SUBMISSON 2

Level1-CASEWORK 1/2" = 1'-0"

0' - 7"

MINERAL WOOL INSULATION

1' - 8 1/2"

ELASTOMERIC SPRAY FIRESTOP

MTL STUD, 5/8", 20GA, 16" O.C. 0' - 2"

2' - 0" 3' - 0"

0' - 4 7/8"

3' - 0" 1

5' - 0"

Drafting 1 3" = 1'-0"

REV NO.

DATE

DESCRIPTION

PRATT INSTITUTE | INT724

4' - 0"

2' - 8 7/32"

0' - 0 3/4"

1' - 9 1/4" PROJECT:

ATLANTIC AVE RESTAURANT 0' - 4" 3' - 5"

1' - 6 1/2"

0' - 8"

3' - 5"

0' - 1"

5' - 0"

525 ATLANTIC AVE BROOKLYN NY 3

Level 1 RCP 0' - 0"

DRAWING TITLE:

MILLWORK BAR PLAN AND ELEVATION

S E A L & S I G N A T U RE

FLOOR-Drafting 1 3" = 1'-0"

MILLWORK FRONT ELEVATION 1/2" = 1'-0"

DATE:

0 5 / 1 0/ 2 0 2 0

PROJECT NO. 2 0 - 72 4 - 0 1 D R A W I NG B Y : Author CHK BY:

FLOOR-Drafting 2 3" = 1'-0"

Checker

DRAWING NO.

A-500

ADDRESS 2 T: xxx.xxx.xxxx; F: xxx.xxx.xxxx

PROJECT TEAM:

INTERIOR DESIGNER MUJIA LIN ADDRESS1 ADDRESS 2 T: xxx.xxx.xxxx; F: xxx.xxx.xxxx

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT724 Client Address 1 Client Address 2 Client Contact Info

STONE LAMINATE FINISH 1/8"

Contact A - Title Contact A - Name Contact A - Address 1 Contact A - Address 2 Contact A - Phone

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT724 Client Address 1 Client Address 2 Client Contact Info

1" MDF

Contact A - Title Contact A - Name Contact A - Address 1 Contact A - Address 2 Contact A - Phone

Contact B - Title Contact B - Name Contact B - Address 1 Contact B - Address 2 Contact B - Phone

WHITE POLISHED ACRYLIC PANEL

0' - 1"

WHITE POLISHED FINISH LAMINATE ON 1" MDF

Contact C - Title Contact C - Name Contact C- Address 1 Contact C- Address 2 Contact C- Phone

0' - 0 3/4"

0' - 1"

Contact D - Title Contact D - Name Contact D - Address 1 Contact D - Address 2 Contact D- Phone

FLOATING SHELF MDF LAMINATE WHITE OAK VENEER

Contact B - Title Contact B - Name Contact B - Address 1 Contact B - Address 2 Contact B - Phone

UNDERSHELF LIGHTING

Contact C - Title Contact C - Name Contact C- Address 1 Contact C- Address 2 Contact C- Phone

Contact D - Title Contact D - Name Contact D - Address 1 Contact D - Address 2 Contact D- Phone

1/4" WHITE OAK VENEER

FINAL SUBMISSON

WITH

WHITE MARBLE LAMINATE

WHITE OAK VENEER

1" MDF

REV NO.

0' - 0 1/8"

DESCRIPTION

PRATT INSTITUTE | INT724

UNDERCABINET LIGHTING

WHITE OAK VENEER FINISH

0' - 9"

1' - 3"

3' - 2"

Level 1 RCP 0' - 0"

3' - 1"

0' - 4"

DATE

0' - 6 1/32"

REMOVABLE BASE FOR ADA COMPLIANCE

0' - 3" 0' - 4"

WHITE MARBLE LAMINATE ON MDF

WHITE OAK VENEER 1' - 6"

0' - 1"

0' - 9"

1" REVEAL

COUNTERTOP DETAIL (BACKBAR) 6" = 1'-0"

BLOCKING AS REQ'D

WHITE OAK FINISH ON 1" MDF DRAWERS ON GLIDES

1' - 5"

3' - 1"

ATLANTIC AVE RESTAURANT

0' - 3" 0' - 4"

DRAWING TITLE:

1 S E A L & S I G N A T U RE

ATLANTIC AVE RESTAURANT

MILLWORK SECTION AND DETAILS-02

0 5 / 1 0/ 2 0 2 0

PROJECT NO. 2 0 - 72 4 - 0 1

PROJECT TEAM:

WHITE POLISHED LAMINATE FINISH

D R A W I NG B Y : Author

INTERIOR DESIGNER MUJIA LIN Checker ADDRESS1 ADDRESS 2 DRAWING NO. T: xxx.xxx.xxxx; F: xxx.xxx.xxxx CHK BY:

A-501

0' - 4 7/8"

5/8" (FIRE-SHIELD) GWB

STEEL CHANNEL WITH SQUARE RAIL

TEAM: D R A W I NPROJECT G BY: Author CHK BY:

Checker

DRAWING NO.

A-502

PRATT IN

Contact C - Title Contact C - Name Contact C- Address 1 Contact C- Address 2 Contact C- Phone

1 LAYER OF 3 1/2" WIDE 1/2" THICK PLASTERBOARD SCREW TO CEILING SECTION

3' - 0 1/16"

MOSAIC TILE 4" AS SCHEDULED

Contact D - Title Contact D - Name Contact D - Address 1 Contact D - Address 2 Contact D- Phone

3/8" TRANSPARENT GLASS

8' - 0"

2" DIA RECESSED CEILING LIGHT FINAL SUBMISSON

8' - 8 29/32"

2' - 10"

3' - 6"

Drafting 3 3" = 1'-0"

2' - 10"

0 5 / 1 0/ 2 0 2 0

PROJECT NO. 2 0 - 72 4 - 0 1

Contact B - Title Contact B - Name Contact B - Address 1 Contact B - Address 2 Contact B - Phone

5/8" (FIRE-SHIELD) GWB

MILD STEEL CHANNEL

DATE:

Contact A - Title Contact A - Name Contact A - Address 1 Contact A - Address 2 Contact A - Phone

3 1/2" INSULATION (BAM)

DROP CEILING FINISH (WALNUT)

S E A L & S I G N A T U RE

TOEKICK DETAIL (BAR) 6" = 1'-0"

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT724 Client Address 1 Client Address 2 Client Contact Info

WALL FINISHING (PAINT)

PRESSED STEEL

8' - 0"

ANGLE CLEATS

525 ATLANTIC AVE BROOKLYN NY

DRAWING TITLE:

MILLWORK SECTION C 1" = 1'-0" DATE:

DESCRIPTION

PROJECT:

0' - 3"

Level 1 RCP 0' - 0"

MILLWORK SECTION AND DETAILS-01

0' - 4"

0' - 3"

DATE

1" MDF

WHITE OAK VENEER

525 ATLANTIC AVE BROOKLYN NY

0' - 1"

MILLWORK SECTION B 1" = 1'-0"

REV NO.

PRATT INSTITUTE | INT724

WHITE POLISHED FINISH

PROJECT:

0' - 1 1/4"

0' - 0"

Level 1 RCP 0' - 0"

FINAL S

5' - 10 29/32"

FLOOR FINISH ( 3/4" TERRAZZO)

3 3' - 7 3/8"

BONDING AGENT

Elevation 1 - a 1/2" = 1'-0"

Elevation 2 - a 1/2" = 1'-0"

A-600 5

3' -

1' - 4"

EXISTING CONCRETE SLAB EARTH REV NO.

DATE

DESCRIPTION

PRATT INSTITUTE | INT724

Level1- W.C. ADA CALLOUT 1/2" = 1'-0"

SCHEDULED LIGHT FIXTURE AT TWO SIDES OF MIRROR

3/4" FLOOR FINISH (WHITE OAK)

1" WOODEN BATTEN

19/32" SUBFLOOR

2" X 6" FLOOR JOIST

DOOR TYPE 1

WOOD CUSTOM CABINETS

TOILET

S E A L & S I G N A T U RE

DATE:

0 5 / 1 0/ 2 0 2 0

PROJECT NO. 2 0 - 72 4 - 0 1 D R A W I NG B Y : M U J IA L I N CHK BY:

Finish

Description Dimensions

FIORA

Large Lamda inset sink

BLACK

Large Lamda inset sink

L 450MM, 2 H 450MM, W 750MM

KOHLER Co.

kohlerK-6418

WHITE

Cimarron Touchless Comfort Height two-piece elongated 1.28 gpf

L 28-3/4", 2 H 30-3/4", W 17-5/8"

Count

REV NO.

WHITE OAK VENEER VANITY CABINETS, FLOATING, ALLOW FOR INSTALLATION OF STEEL BRACKETS

Level 1 RCP 0' - 0"

PROJECT:

ATLANTIC AV Elevation 3 - a 4 1/2" = 1'-0"

Elevation 4 - a 5 1/2" = 1'-0"

M U J IA L I N

DRAWING NO.

DATE

PRATT INST

2' - 10"

VANITY TYPICAL DETAILS SINK

Item #

2' - 10"

DRAWING TITLE:

19/32" PLYWOOD/OSB

Plumbing Fixture Schedule Manufactur er

1' - 3"

2" "DEAFENING" (SAND/CLINKER)

525 ATLANTIC AVE BROOKLYNFixture NY

8' - 0"

PROJECT:

ATLANTIC AVE RESTAURANT

0' - 7 27/32"

ORT

STONE LAMINATE COUNTER TOP

DRAWING TITLE:

ADA Toile P

A-504

56 SEAL & SIGNATURE

Drawing A Responsive Model of Changes in Antarctica The project looked at the causes and results of the impact of red algae in Antarctica through layering and time considerations. The drawings try to establish a layering system to show the overlapping relationships in both small scales (algae cells and species) and large scales (geography, temperature, and web structure). Meanwhile, considering the melting iceberg which is under the influence of time. The drawings explore the impact of human activities and time in the ecosystem.

Appendix - Other Projects Home Renovation Design & Space Planning -Suzhou, Jiangsu Province, China Software: SketchUp, Enscape, AutoCAD

Office Renov - Suzhou, Jia Software: Ske

vation (Concept to Construction) angsu Province, China etchUp, Enscape, AutoCAD

1075 West Side Hospitality Design (Concept to Schematic) -New Jersey, New York, United States Software: Revit

16. Atmosphere Thyme Acrylic Panel, Shelf 17, Estia Sand 2x2 Mosaic Porcelain Tile, Restroom Wall 18, Upholstery, Reading seating 19. Upholstery, Seating

6 14

Office 20. Maple veneer, Office desk 21, Crossroad, Almond upholstery, Office seating

Appendix - Group Projects

F8 8F 8F F88F F8

8F 8F 8F

F8 F8

Cloud Library (Concept to Design Development) Rendered Plan Credit: Rendering, AutoCAD drawings, Material Selection Work Software: AutoCAD, Photoshop, Illustrator

3F F10 3F 3F

F7 F10 F10

F10 F10

3F 3F F10

F10 F10 F10

F10 F10

F10

01F

F10

F10 F10

01F 01F F10

01F F10

RECESSED WALL WASHER

RECEPTION AND THE OTHER SIDE OF CORE

DECORATIVE PENDANT MOBILE

RECEPTION LOBBY

LED WALL WASHER WITH SHIELDED LIGHT

BATHROOM

DECORATIVE FLOOR LAMP

ON THE LOWER DECK

F11

7F 01F 01F

01F 01F

F3 0F3 1F F3

01F 01F

Furniture Selection

F1 F2

F7 F6

F3 F3 01F

01F 01F

01F

F8 7F

F10 F10

F7 F10

Furniture Selection F11 F3 F3

F8 F8 F2

UNDER THE WALL UNDER THE CAFE BAR Rendered PerspectiveON THE CEILING OF COVERED DECK UNDER THE STAIRS

RECESSED LINEAR STRIP

F2 F3

8F 8F 8F

Rendered Plan

F3 F2

F11

F9 F4

ON THE CEILING

F2 F1

RECESSED DIFFUSED LED DOWNLIGHT

F7 F7

01F

Material Scheme

8F 7F

F8 8F F7

8F F7

3F 3F 3F

F3 F3 F3

SACLE: 1/4” = 1’ - 0”

Material Scheme

F8 7F

DECORATIVE TABLE LAMP

Rendered Elevation

15 PENDANT MOUNTED LINEAR LED FIXTURE

F11

F10 16

Material Scheme

Reception 6. Wall Cladding, Wall 1 top 7. Yellow Poplar, Circulation desk

F8 17 F8 F8

F8 F8 19 F8 19

18 12

F8 F8

19 19

F10

F7 F10 F10

F10 F10

F8 F8

F10

F2 F1

F10

F10 F10

F10

F10 F10

F9 F4

F11

F2 F3

F10 F10

F3 F2

F7 F10 F10

F10 F10

F10

F10 F10 F10

F10 F10

F10

F11

F10 F10

F3 F3 F3

Rendered Perspective

F10

F10 F10

F8 F8

F8 F7

DECORAT

F7LAMP

F3 F3 F3

SACLE: 1/4” = 1’ - 0”

LED WALL WITH SHI LIGHT

DECORAT LAMP

F10

F8 F8

DECORAT DANT MO

19 19

F3 F3 F3 F3

PENDANT MOUNTED LINEAR LED FIXTURE

Rendered Perspective

SACLE: 1/4” = 1’ - 0”

F11

OFFICE

12 18

19 19

Rendered Plan

Lighting Elevation

Rendered Perspective

nalP deredneR

FLOODLIG NAIRE WIT LIGHT SOU

DECORAT LAMP F10

Lighting Elevation

Office 20. Maple veneer, Office desk 21, Crossroad, Almond upholstery, Office seating

Rendered Plan

FLOOR LA 98.4" d | 8 base: 19.7 includes 1 2300K, 85 lumen LED

F10

19. Upholstery, Coffee Seating Bar Office 8. Leather, Seating 9.veneer, Oak, Shelf 20. Maple10. Office desk Countertop Mustang Granite, 21, Crossroad, Almond upholstery, 11. Upholstery, Counter Office seating 12. Walnut, Floor 13. Bethel Wood Wallcovering, Wall

Reading / Main Area 14, Whale Song, Belgua module tile, Floor 15, Wool Drapery, Wall 16. Atmosphere Thyme Acrylic Panel, Shelf 17, Estia Sand 2x2 Mosaic Porcelain Tile, Restroom Wall 18, Upholstery, Reading seating 19. Upholstery, Seating

F10 F10

F10

10 11

F10 F10

Coffee Bar 8. Leather, Seating Outdoor 9. Oak, Shelf 4 1. Kamari Beige 17x34 Stone 10. Mustang Granite, Countertop 11. Upholstery, Counter Tile, Floor Look Porcelain 12. Walnut, Floor Infinity Marble, Stair 2. White 13. Bethel Wallcovering, 3.Wood Outdoor Upholstery,Wall Seating 4. Outdoor Upholstery, Seating Reading 5. / Main Area Light-Colored Beech, Coffee table top 14, Whale Song, Belgua module tile, Floor 15, Wool Reception Drapery, Wall 16. Atmosphere Thyme Acrylic Panel, Shelf Wall2x2 Cladding, 17, Estia 6. Sand MosaicWall Porcelain Tile, Restroom Wall 7. Yellow Poplar, Circulation desk top 18, Upholstery, Reading seating

RECESSED STRIP

RECESSED WASHER

F3 F3

F10 F10

RECESSED LED DOW

F8 F8

F10

F3 F3

F2 F3

F10

F3 F3 F3

F11 F2

F2 F9

F2 F3

DECORAT DANT

Lighting Plan

F8 F8

10 7

Outdoor 4 1. Kamari Beige 17x34 Stone Look Porcelain Tile, Floor 2. White Infinity Marble, Stair 3. Outdoor Upholstery, Seating 4. Outdoor Upholstery, Seating 5. Light-Colored Beech, Coffee table top

Rendered Elevation

Office 20. Maple veneer, Office desk 21, Crossroad, Almond upholstery, Office seating

9 15

9 7

Outdoor 5. Light-Colored Beech, Coffee table top 4 1. Kamari Beige 17x34 Stone 7 Reception Look Porcelain Tile, Floor 2. White Infinity StairWall 6. WallMarble, Cladding, FLOODLIGHT LUMIAROUND SCULP3. Outdoor7.Upholstery, Seating Yellow Poplar, Circulation desk top WITH LED TURES ON THE 4. OutdoorNAIRE Upholstery, Seating 5 5. Light-Colored Beech, Coffee table top Coffee Bar LOWER DECK LIGHT SOURCE 8. Leather, Seating Reception9. Oak, Shelf 10. Mustang 6. Wall Cladding, Wall Granite, Countertop 11. Upholstery, Counter 7. Yellow Poplar, Circulation desk top 12. Walnut, Floor Coffee Bar13. Bethel Wood Wallcovering, Wall 8. Leather, Seating Reading / Main Area 9. Oak, Shelf 14,Granite, Whale Song, Belgua module tile, Floor 10. Mustang Countertop 15, Wool Drapery, Wall 11. Upholstery, Counter 16. Atmosphere Thyme Acrylic Panel, DECORATIVE TABLE ON Shelf THE READING 6 12. Walnut, Floor 17, Estia Sand 2x2 Mosaic 13. BethelLAMP Wood Wallcovering, Wall Porcelain Tile, Restroom Wall 18, Upholstery, Reading seating DESK Reading / 19. Main Area Upholstery, Seating 14, Whale Song, Belgua module tile, Floor Office Wall 15, Wool Drapery, 6 16. Atmosphere Thyme Acrylic Panel, Shelf 20. Maple veneer, Office desk 17, Estia Sand 2x2 Mosaic Porcelain Tile, Restroom Wall 21, Crossroad, Almond upholstery, Office seating 18, Upholstery, Reading seating 19. Upholstery, Seating

OFFICE

1 2 AROUND SIDE FLOOR LAMP READING CHAIRS 98.4" d | 82.7" h | Outdoor19.7" dia. base: 4 1. Kamari Beige 17x34 Stone 3 includes 1170x18W, Look Porcelain Tile, Floor 2. White Infinity Marble, Stair 2300K, 85CRI, 1105 3. Outdoor Upholstery, Seating lumen LEDs 4. Outdoor Upholstery, Seating

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Lighting Plan 9

Rendered Elevation

Material Scheme

Lighting Elevation

”0 - ’1 = ”4/1 :ELCAS

Rendered Elevation

ON THE COFFE TABLE ON THE DECKS

Furniture Selection

Alameda Creek Watershed Installation (Concept to Installation) Work Credit: Research, Graphics, 3D Modeling, Laser Cutting Files Software: Rhino, Laser Cutting, Model Making

Alameda Creek watershed natural flow

Urban expansion

Pollution source impact of flood control channel

Comparision between channelized and natural waterway

Issues with channelization and obstruction Pollution and sediment volume

Appendix - Interest 1 for 5 Stool (Concept to Completion) Software: Model Making, Hand Sketch, Furniture Making

Oil Paintings