NICOLE L Y N N HARNER university of south florida selected works 2014-2017
“If one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours.” HENRY DAVID THOREAU
CONTENTS MINI HOMES FOR HOMLESS VETERANS spring 2016 - summer 2016
FAITH HOUSE FLORIDA spring 2016
PROCESS STUDIO fall 2016
CITY TRAILS fall 2016 - spring 2017
“What we do for ourselves dies with us. What we do for others and the world remains and is immortal.� ALBERT PINE
MINI-HOMES FOR HOMELESS V E T E R A N S
university of south florida 2 0 1 6 in
collaboration
with
yesenia
vega
UP
WEATHER PROOF PLYWOOD FINISHING METAL FRAMING SYSTEM 4' O.C. 2' - 6"
3' - 10 3/4"
12' - 11 1/4"
POLYCARBONATE PANELS
0' - 6"
2.4-CU. FT. 20" ELECTRIC RANGE CONCRETE STEPS 36" x 80" WOOD DOOR
PLOISHED CONCRETE FLOOR 2
2" x 8" WOOD FRAME WALL W/ GYSUM BOARD INTERIOR FINISH DOUBLE SINK W/ DRAINBOARD LIVING ROOM / KITCHEN
2
STANDING SEAM METAL ROOFING 10.72-CU. FT REFRIGERATOR 1 25' - 0"
1 A111
A111 4 19' - 11 27/32"
4 5' - 0"
1' - 4"
5' - 0"
4' - 7"
A109
2
2
2
A109
9' - 0"
2
A115 -
0' - 6"
2' - 5"
BATHROOM 2
A115 -
1 A108
3 6' - 6"
2
4' - 3 3/4"
A114
BEDROOM
1 A108
1
4" STUD WALL W/ GYPSUM FINISH
CLOSET
1' - 6"
PAINTED SLIDING WOOD DOOR 8" STUD WALL W/ CEMENT BOARD AND TILE FINISH
1
A114
-
CLOSET 2
POLYCARBONATE PANEL FD
METAL FRAMING SYSTEM 0' - 6"
FINISHED PLYWOOD FLOOR
9' - 9"
CEMENTBOARD WITH 4" TILE
0' - 7 1/2"
6' - 5 7/16"
12' - 2 15/16"
4" STUD WALL 1
1
A113
A110
19' - 10 7/8"
GYPSUM BOARD
Celebrate Outreach
1
1
A113
A110
WASHER/DRYER UNIT N.I.C.
2
Mini Homes For Homeless Veterans
A106
Floor Plan Project number
STORAGE SPACE
FLOOR PLAN
SCALE : 3/8" = 1'-0"
SCALE : 3/8" = 1'-0"
Date
Author Checker
Drawn by Checked by
TOTAL SQ. FT. = 80'
TOTAL SQ. FT. = 500'
INTERIOR SQ. FT. = 365'
A103 Scale
3/8" = 1'-0"
Partering with Celebrate Outreach based in St. Petersburg, Florida the intention of this project was to create residences for homeless veterans. The homes aimed to be under 500 square feet while still providing a comfotable dwelling, intergrate easily into the landscape of St. Petersburg, as well as staying under a budget of $20,000. The 20k Homes designed by Rural Studio in Alabama were studied as precedent. This challeged our design skills in thinking outside of the American standard of living, by creating versatile spaces within our homes and maximizing every space. The basis of design for Casa Dwell is a solid wrapping shell, which holds a transparent interior. To achieve this standing seam metal roofing was selected to encase the exterior facades. Due to the high cost of glass, polycarbonate panels were selected as a cost effective alternative to create the desired transpacy, while still giving privacy to the occupant. The design is an extruded volume, that contains another volume.
This interior volume is home to closet spaces, as well as the HVAC and plumbing, while encasing the bathroom and providing extra storage above. The preliminary design featured a sliding screen system that seperated the public and private realms of the home. The final design utilizes a sliding barn door instead of the original custom screen door. There is one large door that slides between the two openings, closing off either the bathroom, or the bedroom. The floor of the design is a polised concrete finish, which the in the bathroom slopes down to the drain. The exterior of the porch is finished with treated plywood, this serves to soften the appearence of the home, given that the exterior is completely metal. Three glulam beams are used as collar in the structure as well as an arcitectural detail. After the completion of the schematic designs, four homes were selected to be completed to construction documents. During this process, much research was done on materials and construction to ensure that the selected materials and finishes are compliant with Florida building code.
F A I T H H O U S E F L O R I D A
university of south florida 2 0 1 6 in
collaboration
with
jesse
eliassen
Faith House Florida is an organization based in St. Petersburg, Florida that specializes in community reintergration. For over forty years they have been working with individuals who chronically abuse drugs and alcohol, and those who have recently been released from prison to help them transition back into the community. Faith House Florida provides residents with a place to live, balanced meals, and a structured supervised environment. Residents are taught to be self-sufficient to aid in their road to recovery. Faith House is limited though due to their existing buildings, they must expand to fill the need. Currently on the campus there are four buildings, one serves as the kitchen, administration, and male dorms, another as a female dorm, the last two are currently empty. Faith House currently lacks the facilities to accept those suffering from disiblities, as well as transgender individuals. Not only does Faith House want to develop their campus, they also want to incorperate veterans into their center, providing specialized treatment for those that have served their country.
The intent of this studio course was to envision the future of Faith House Florida and design the campus master plan, as well as address the existing underdeveloped community. Unity park, which is just down the street from Faith House is a area that is known for its high level of drug use, creating a source of tempation for those residing at Faith House. The design process began by creating a series of conceptual section drawings of a utopian faith house. These sections drawing served to aid in the visulization of the character of the spaces, as well as the form the future Faith House might take. Conceptual sections and master plans served as a generator for ideas for the future of Faith House Florida. The campus program included sleeping quaters to accomodate thirty males, thirty females, and ten transgender residents, bathroom facilities, residents livingroom, kitchen and dining, veterans therapy center, a small chapel, urban farming, one retail space, two multi-purpose spaces for classes and meeting, and four seperate ourdoor spaces.
13 1
9
7
10 6
5
5
12
2
final floor plans 11 4 11
6
6
3 8
1 administration 2 kitchen 4 3 veterans center 4 male dorms 5 female dorms 6 urban farming 7 transgender dorms 8 veteran dorms 9 retail 10 chapel 11 classrooms 12 off campus dorms 13 live|work 14 roof terrace
14
14
14
This project began as an individaul process, to facilitate the generation of of many solutions to the design problem. After producing plans, sections, and a master plan model, each team memebers designs were presented and the strongest attributes from each project were combined to further the project. The design incorporated the use of many green elments and urban farming. The Faith House Florida campus master plan includes seven buildings, administration, transgender dorms, male dorms, female dorms, veterans center, kitchen and a retail space. The campus features all exterior circulation, with most of the campus buildings being shaded by a inhabitable green roof This green roof would serve as an extension of the garden space, which in turn provides Faith House with more garden space than they originally started with. Section models were produced to create glimpses of what the final project would look like, and to showcase important elements of the project at a larger scale. These section models show the male dorms and veterans center, kitchen, and park respectively.
Porgramatically the campus is centered around the kitchen/ dining, with the dorms lining the west side of the campus. Gardens line the east side of the campus and serve as a spatial barrier betweeen Faith House and the street. On the north end of the campus sits the administration building, from here the faculty can monitor those entering the campus from the bus stop, which serves as the main mode of transportation for most residents. The south end of the campus is enclosed with the veterans therapy center. The proposal for Faith House Florida campus incorporates many learning spaces so that those that are residents there can learn a trade that they can then take out into the real world with them. Weather this be cooking, or producing a good, residents could learn a marketable skill. This ties in with the retail space. Residents have the opportunity to create something that then can be sold to produce revenue for Faith House, while also giving the residents experience they can take out into the real world to give them an assest to finding employment.
This idea was then expounded upon to become part of Unity park. Within Unity park there are a series of live|works that would be in collaboration with Faith House. These live|works would serve as a way to slowly integrate the Faith House residents back into the community. A member of the community would employ the Faith House resident for their business who would live and work their, with them using the skills they learned in a class at the Faith House. This would bring local businesses into the area while creating connections for the residents. When addressing the solution to Unity park, it was decided upon that one of the easiest way to deter crime was to have people watching. On top of the live|works many amenities were placed into unity park to generate public interest in the space. The park features a small amphitheater, and artists residence wall, retail spaces, a crossfit gym, yoga studio, dog park, a coffee shop, a small restaurant, as well as a large portion of public allotments. These amenities aim to bring people into the space at all hours of the day.
The surrounding neighborhoods are filled with apartment complexes, which are not condusive for those who would like to have garden. the public allotments would bring people into the area as well as provide more fresh food for neighboring restaurants. Community tools would be stored in tool sheds spaced throughout the gardens. The Faith House Florida campus and Unity park interventions have a strong language that tie them all together. The Faith House campus is shaded by a large roof that is broken into two segments. One that runs north|south shading the dorms, which is overlapped by a secondary roof running east|west that shades the kitchen rooftop terrace. This roof then folds on the south end of the campus becoming a large terrace that food can be grown on before touching the ground. This trellising is also repeated in the live|works as well as the bus stop, cafe, restaurant, and tool sheds located in Unity park. The design also features other green elements. Along the exterior walls of the dorms is a green wall that facilitates the growing of spices.
Because the gardens are sure a prominent part of the Faith House, the goal was to provide them with more potential gardening space than before the project began. Many of the surfaces on the Faith House campus can be used for the growth of plants, this inlcudes the exterior dorm walls, the railings on the stairs, the roof, as well as the railings on the dorm balconies. The kitchen area povides a space not only for cooking and dining, but also for instruction so that residence that have an interest in cooking can learn how to cook. The doors on the west side of the kitchen fully open to allow for one to seamlessly transition from interior to exterior. This also allows for larger gatherings to be held in the communal space, and aloow Faith House to invite the community in for events. Much of the construction of Faith House is intended to be concrete and steel, to soften this many wood elements have been designed to make the space feel warmer. The ceiling in the kitchen is composed of dropped finished plywood panels. The interior of the dorms has the same ceiling trealment.
P R O C E S S S T U D I O
university of south florida 2 0 1 6
The intentions of this studio was a return to the art of process, much of the work stayed highly conceptual throughtout the course of the project in order to not limiit the design process. The project began with a series of layered mylar drawings analyzing site conditions in Sedona, Arizona. Potential sites were centered around Bell Rock. Bell Rock is know in the spiritual community as a location of a strong energy vortex, which draws people from all over to come and meditate upon the site. The layers of analysis consisted of a star mapping, topographical mapping, and an analyitical gesture of our proposed site, which could be anywhere within the roughly five hundrend square mile area surrounding Bell Rock. Instead of marking the sacred landscape of Bell Rock, I proposed to inhabit the rocks to the west, which gave stunning views of Bell Rock and the surrounding area. Once the individiual layers of analysis were composed the drawings were then overlapped with a photo of of the site to create a speculative diagram of the site.
The analytci site diagrams were then taken and converted into relief diagrams. This overall site diagram focued on the journey through the site, creating nodes of rest in the landscape, places of reflection to look upon Bell Rock. The journey is one that arrives from the north and circles wide into the site, starting with a gradual climb that becomes increasingly steeper, evenually penetrating the cliffs. This journey is much like the one taken when discovering the site., although in this iteration the path takes on a parasitic nature, penetrating the rock face to continue the journey, and once passing through the rock northern rock face, envelopes the southern rock face to climb to it peak, leaving the traveler with an unbostructed view of the landscape from which they came and as far as the eye can see. Upon completion of this diagram a focus was placed upon the main site located upon the cliffs when the final intervention would rest. While the design of the intervention in parasitic in nature, the intentions of the intervention are to leave no lasting impacts on the site.
This site anaylsis model is born from the site relief diagram, focusing on creating a more to scale interation of the site diagram. Major elements were taken from the diagram to begin to create a more three dimensional representation of the concepts illistrated thus far. This model demonstrates the parasitic nature of the journey taken through the site. Weaving the whole of the intervention through the landscape before terminating at the southern point of the site. The red rock of Sedona, Arizona is represented by the cedar which is the core of the model. The plexi glass was added to not only give a more accurate representation of the scale of the landscape while still remaining conceptual. As it makes the cedar construct appear to float it also serves to imply the remaining landscape below as the base of the site is around two thousnad feet up in elevation from the road below where the whole of the site begins. The path is represented by the linear elements that weave and penetrate the construct. They show the parasitic nature of the intervention.
This construct aims to illustrate the dichotomy between the landscape and the intervention. The landscape, which is monumental and imposing. Contrasted with the delicacy of the intervention which dances round it before slowly enveloping it. The materiality of the construct futher serves to illustrate this dichotomy. This model illistrates two forms of parasitic nature, one penetrating the rock, and the other in the traditional sense, wrapping around and using the rock as a host. Upon completion of this model the decision was made to shift to solely a traditional definition of parasitic in order to disturb the site as little as possible. This decision was made to align more with the program of the intervention. The intervention consists of a design-build school. This school would have two types of construct. The main school building which would be a more permenant structure and the auxiliary building which would be temporary in nature and be constructed by student much in the same manner as the Frank Llyod Wright prairie shelters at the Taliesin West School of Architecture.
Drawing from the construct model, a series of plan and section drawing were created. Cubist paintings were used to add another layer of information to the drawings and further emphasize the concept of the studio which is continunal process. These plan and section drawings show the relation between the intervention and the site. Tone is used to covey the depth of the space. The main building contains a series of smaller private rooms centered around a series of communal spaces. Inspiration for the intervention was taken from Arcosanti which is a artist community in Arizona designed by Paolo Soleri. The drawings illustrate the seperation between the premanant and temporary aspects of the intervention. Each of them associating themselves with the adjacent rock faces and creating a large outdoor communal space between the two structures. One of the main aim of the design is to provide ample shading for the outdoor spaces, as there is not much shade on the site. The desert climate is one that can be qute comfotable as long an there is plentiful shading.
This construct serves to frame the space diagramed by the drawings and pulls from the materiality of the site construct model to represent the parasitic nature of the intervention clinging to the red rock. The context is visually represented by a hunk of cherry wood to illustrate the monolithic nature of the rocks allowing the intervention to be cantilevered from it. The linear elements again serve to show the delicacy of the intervention and how it relates to the site. This helped to create an understanding of how the spaces illustrated in the drawings would relate to one another and how to continue to weave the spaces within one another. The program for the permenant aspect of the school included gallery, exhibition spaces, classrooms, lecture spaces, falculty offices, residences, workshop, gathering spaces, kitchen, library, roof garden and observatory space. The auxliary building would hold the program of extra residences, aditional work spaces and another roof garden. Due to be located away from civilzation, the design-build school would be self sufficent.
Upon completion of the conceptual wireframe massing model, another wireframe model was constructed, this one containing the first real representation of the site to gage how the intervention would interact with the steep cliffs. Ths model is constructed from plexi glasss, threaded rods, nuts, linear elements, and mylar that has been treated with tones from the previous drawings as well as text about the Arizona climate used to inform the project. This model speculated on the potential structure of the permnant intervention as well as being to inform on the final form of the building. The decision was made to cantilever the premenant building off of the cliff, this would not only conseal the structure from the roads to the east, but also reiterates the parasitic nature of the design buy clinging to the rocks. The temporary portion of th eintervention is seated in the small valley between cliff faces and asends upward on the gradual slope. These two masses are integrated within the landscape, but in different ways. The permenant building by being imbeded, the temporary by clinging to it.
The final model is constructed to show the difference in the functions of the buildings. The one solid and strong, an extension of the cliffside. The other light and mildly transparent illuding at the temporary nature of teh sturcture, with only wireframe to outline the shading devices. The Permenant structure is seperated from the rock only enough for circulation to be weaved between the two, creating a narrow canyon of space that one experiences when circulation through the building. Upon approach of the stucture one first arrives at the main gallery for the school. This space would be intended for juries and displays of work throughout the year. The building is organized with the public spaces on the upper levels and the private spaces on the lower levels. The intervention is open concept allowing for multiple uses of the same space. The residences on the bottom floors are small, but are all set off of a common space to encourage the use of the community space. Much like Taliesen West, the faculty and students will all live on the campus.
The floor plans show which of the floors coorespond with one another, giving the viewer a sence of the full scale of the project, as well as how it relates to the surrounding rock face. It also illustrates the relation of the circulation to the rock face. In the drawings one can clearly see the lack on interior walls to allow of the spaces to be ambigious and not lite the size of the room restrict the usage of the space. The temporary aspect of the intervention is composed of auxilary spaces that would only be necessry during the semester. The students would , in theory, be tasked with creating this structure as part of thir course work. The intention is that it would be deconstucted to allow for multiple iterations of the stucture based upon futire students and their needs. This would give the students hands on, real life experience with building a structure.The concept being that it would become a type of palmpsest structure that weaves though the landscape leaving only minor markings in it. Potentially even circling back to resue old spaces marked in the landscape.
C T
I R A
T I L
Y S
university of south florida 2016 2017 terminal
masters
project
The urban condition is full of holes that take many forms, which over time have gained a negative connotation. Abandoned buildings, vacant lots, and highway overpasses, alleyways all exist within the urban fabric, becoming a place most do not want to be within. The intention of this project is to create temporary interventions within the urban fabric to begin to shift the connotation from negavite to positive. My goal is to activate and connect these spaces through a series of interventions and create positive memories within the spaces which will begin to alter the way people view a space, instead of a dead space, they are viewed as a space of opportunity. As a generator, I am using my experience in backpacking and hiking and being temporary within a natural landscape. These experiences have positive memories associated with them, which I want to bring into the urban landscape. These interventions would be temporary, but with no predestined removal date, removal from the space in some cases would occur once something else comes to occupy the space.
When approaching the task of selecting a masters project topic, I wanted to integrate my extended experience with camping, backpacking, and hiking to develop a project, as this was a integral part of my childhood. Through my numerous travels over the years I have found those where I traveled into the wilderness to be much more nurturing than those which were spent in the city context. I began with a series of watercolor studies focusing on being temporary within nature quantifying my past experiences, mapping memories and experiences within nature. Each mapping reflects on a time when I was immersed in nature. These three paintings depict a hike along the Napali Coast to Hanakapi’ai Falls, a hike in Colorado through Glenwood Canyon to Hanging Lake, and a three day camping trip to the Dry Tortugas National Park. The circles represent my perceived amount of time spent in an area, as well as my enjoyment of that area. The lines represent my journey in the space, weather that be single hike or the entire weekend spent exploring the space.
To contrast the nature memory maps, I conducted a series of mappings focusing on being temporary within cities, and the perceived experiences there. These mappings focus on what I classified as non-nurturing spaces. Each of the eight maps focuses on a different city in Europe that I inhabited while backpacking for ten weeks. Similar to the maps examining nurturing spaces the circles on the maps identify spaces I remember inhabiting while quantifying the amount of time I spent there with how much I enjoyed inhabiting that location. While I enjoy cities, the hustle and bustle tends to wear one down. Within the nature there is a sense of adventure, exploration, and discovery and this exists within the urban fabric too but unlike cities, the emotions associated with nature are those of clarity, peacefulness, wonder, relaxation, and escape. For me the city does no produce these emotions, there can be a sense of escape within a city, specifically if one is along within the city as that can be a freeing experience, but that was not the case with these mappings.
Early Morning Late Morning Afternoon Evening Late Night Select Nights Unoccupied
Ybor City is a city with a vibrant history, now known mostly for its night life. Those who flock to the city at night are quite in contrast with those that inhabit it during the day. Daytime the city is quite, tourists wander the historic streets, old men sit outside smoking cigars, a variety of restaurants welcome the business men and women alike. At night the city lights up, filling with a young crowd of college students for a variety of nightlife and social drinking. Venues host live music, tattoo parlors are buzzing with business, the city becomes loud and chaotic. There is a unique dichotomy that exists in Ybor City between those there during the day and night. Which leaves the city feeling quite desolate during the day. Those there during the day would certainly not be found there at night. During the day most of the life exists along 7th Ave, the surrounding streets are quite bare of pedestrians. The city is filled with opportunity for more life to exist within it, containing many spaces that most do not venture into. The intention is to capitalize on these spaces.
I began my research into Ybor City by looking at why the activity levels from day to night are so drastically different. Created was a model with seven layers, each indicating a general time of day in which businesses open. Businesses are grouped into the seven categories, those being early morning, late morning, afternoon, evening, late night, select nights, and unoccupied. Many of the buildings do not open until late morning. Many more are unoccupied leaving the city with much more potential than what it currently has. When walking along the main street in Ybor City many of the storefront windows are dark, the businesses that are open are for the most part restaurant, which accounts for many not opening until late morning. Tourists are told to visit Ybor City as it is a historical city, but many are witnesses wandering the streets due to the lack of activities to partake in. Identifying potential sites, I created this mapping to look at the potential of how they could connect to one another and in turn connect the city upon itself. Identified were vacant lots, alleyways, underutilized
spaces and weaving them together in a matrix which connects the city. One rarely walks down alleys as they have come to be known as places for potential danger, and a great number of the buildings along 7th avenue are separated by a service alley. Many urban fabrics like Ybor City contain similar negative spaces, these spaces if activated properly have the potential to serve as positive spaces within the community and instead of being a space one goes out of their way to avoid. Ybor City has many potential sites to choose from, I identified seven sites which matched the criteria I was looking for. These sites exist in and along the main street in Ybor. One of them a vacant lot that has been vacant for as long as most can remember. Another is a corner lot which is currently only used for a few parking spaces. The rest of the sites are alleyways along the back side of the main road and empty lots throughout the city. The decision was made to focus on three of the site that are linked together given the spatial relationship between the three and that each is a different site within the city.
Working within these three sites gives the most opportunity to explore the potential of different scales of temporary within the urban fabric. This site combines an underutilized corner lot, an alleyway and a large space currently only dedicated to parking. The corner lot is along 7th avenue the main street in Ybor city. This is a smaller lot, the other lot is much larger, twice the size of the corner lot, connected by the alley that spans across one of the cross streets. Wireframe models were constructed to analyze the sites and their relation to one another and the surrounding context. The context buildings were constructed without the rooves to illustrate that the rooftops of these buildings are yet another place that is a waste of potential space within the urban fabric. The wireframe models illustrate the potential for the intervention to weave within the sites. Upon completion of the small scale site analysis I then moved on to larger scale models. These larger scale models began to inform the way the intervention would begin to fill the space.
Continuing with the wireframe I strove to create a gesture of the spaces I intended to create utilizing the wireframe and mylar. These gesture models begin to show the potential form of the intervention. One of the things I observed when wandering throughout Ybor is the lack of places to congregate outside, save for restaurant tables. Many times the urban fabric can be lacking in green space I strove to create a garden walk that filled the forgotten spaces with life, taking the form of plant life, art culture and people. The corner lot strives to bring people in by providing shaded areas to relax with a cafe, book-share and WiFi hot-spot. Ybor is close to three places of higher education, students can be found where ever there is shade, seating and most importantly WiFi. By providing a these amenities students would be more likely to venture from their respective campuses for some fresh air. These plan and section drawings begin to show a gesture of the final shape the interverntion will take. With the intervention weaving through the space, both horizonally and vertically.
Ybor City is home to an artist colony, which is little know those outside of the art world. As part of my proposed intervention I want to create a space where the artists could showcase their work. This would give the artist colony the exposure that they deserve and also serve to bring in a different culture of people to Ybor City. The gallery would be open air, but shaded lending itself to a variety of artistic uses. The intervention that inhabits the alleyway becomes a gallery walk. Raising above the street level of the alley as to not disturb the function below. The gallery walk has many moments of pause, where smaller gathering places exist. Much like that of a vista on a hiking trial with scenic backdrops, the moments of pause along the walk exist as opportunity for small gatherings. The gallery walk extends vertically to occupy and activate the rooftops. These rooftops become garden spaces where one can overlook the city, at night one could witness the mass amount of activity from above. Seeing the city grime all the while surrounded by lush gardens.
Architecture is a powerful tool that shapes the world around us. It can be used to positively effect the space around us and shape how we view the world. Through this winding trail of a process I have discovered much about myself and about architecture. The way we think about architecture is taught to us, but is also part of us, in our past experiences, and is continually shaping how we view the would around us. What was once just an empty space is now a space waiting to be utilized. Our past experiences become the drivers for what is created in the future. I do not intend for this to be a final product but simply a moment of pause along the trail that I take through life, with its many nodes and places of rest. The creation of this project has taught me that every space has potential to be great, if only it is given to opportunity to be. Architecture can be used to shape any variety of spaces into ones that are a pleasure to inhabit, which in turn can change the connotation of underutilized spaces in the urban fabric, creating better cities and better lives for those within them.
NICOLE L Y N N HARNER 1658 W Farwell Ave Chicago Il 60626 nicolelynnharner@gmail.com ( 5 6 1 ) - 4 6 0 - 6 9 4 7