Fall 2016 Portfolio

GEORGIA INSTITUTE OF TECHNOLOGY COLLEGE OF DESIGN SCHOOL OF ARCHITECTURE FALL 2016 M.ARCH 3

R A Z A N A L T I R A I F I

FALL 2016

ARCH ARCH ARCH ARCH ARCH

6024 6229 6472 6531 6105

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CORE I STUDIO CONSTRUCTION TECHNOLOGY I MEDIA & MODELING II ENVIRONMENTAL SYSTEMS I ARCHITECTURAL HISTORY I

CORE I STUDIO VISUAL AWARENESS AND ARCHITECTURAL THINKING THROUGH ANALOG TECHNIQUE PROFESSORS BRIAN BELL (COORDINATOR) AND MARISABEL MARRATT 1.1 INTRODUCTION TO DRAWING 1.2.1 SCALES / VEGETABLE DRAWINGS 1.2.2 SCALES / GARDEN TOOL DRAWINGS 1.3 DESCRIPTIVE GEOMETRY 2.1 SURVEY PROJECT / INVESTIGATIVE SKETCHES 2.2 SURVEY PROJECT / DRAWINGS 3.1 SINGLE MATERIAL INVESTIGATIONS / EPITOME MODELS 3.2 MULTIPLE MATERIAL INVESTIGATIONS / RADIANCE MODELS 4.1 A ROOM AND ITS PASSAGES / INVESTIGATIVE PHOTOGRAPHS AND SKETCHES 4.2 A ROOM AND ITS PASSAGES / TRACE MODELS 4.3 A ROOM AND ITS PASSAGES / INVERSE MODELS 4.4 A ROOM AND ITS PASSAGES / ROOM MODELS 4.5.1 A ROOM AND ITS PASSAGES / SITE-SPECIFIC ROOM MODEL / INVESTIGATIVE SKETCHES 4.5.2 A ROOM AND ITS PASSAGES / SITE-SPECIFIC ROOM MODEL / SITE AND ROOM MODEL 4.5.3 A ROOM AND ITS PASSAGES / SITE-SPECIFIC ROOM MODEL / DRAWINGS

1.1 INTRODUCTION TO DRAWING

1.2.1 SCALES / VEGETABLE DRAWINGS

1.2.2 SCALES / GARDEN TOOL DRAWINGS

1.3 DESCRIPTIVE GEOMETRY

2.1 SURVEY PROJECT / INVESTIGATIVE SKETCHES

2.2 SURVEY PROJECT / FINAL DRAWINGS

3.1 SINGLE MATERIAL INVESTIGATIONS / EPITOME MODELS

Burn

Carve

Metamorph

Puncture

Scrape

Puncture

3.2 MULTIPLE MATERIAL INVESTIGATIONS / RADIANCE MODELS

3.2 MULTIPLE MATERIAL INVESTIGATIONS / FINAL RADIANCE MODEL

4.1 A ROOM AND ITS PASSAGES / INVESTIGATIVE PHOTOGRAPHS AND SKETCHES

4.2 A ROOM AND ITS PASSAGES / TRACE MODEL

4.3 A ROOM AND ITS PASSAGES / INVERSE MODEL

4.2 -4.3 A ROOM AND ITS PASSAGES / TRACE MODEL AND INVERSE MODEL

4.4 A ROOM AND ITS PASSAGES / ROOM MODELS

4.4 A ROOM AND ITS PASSAGES / FINAL ROOM MODEL

4.5.1 A ROOM AND ITS PASSAGES / SITE-SPECIFIC ROOM MODEL / INVESTIGATIVE SKETCHES

4.5.2 A ROOM AND ITS PASSAGES / SITE-SPECIFIC ROOM MODEL / ROOM MODEL

4.5.2 A ROOM AND ITS PASSAGES / SITE-SPECIFIC ROOM MODEL / SITE AND ROOM MODEL

4.5.3 A ROOM AND ITS PASSAGES / SITE-SPECIFIC ROOM MODEL /

DRAWINGS

CONSTRUCTION TECHNOLOGY ARCH 6219 Construction Technology and Design Integration I Instructor: Charles Rudolph GTA: Avni Joglekar ASSIGNMENT #1: FORM + FORMWORK ASSIGNMENT #2: FRAME AS ARCHITECTURE + CONSTRUCTION ASSIGNMENT #3: OPTION 2: ENVELOPE CASE STUDY REPORT WEEKLY SKETCHES

ASSIGNMENT #1: FORM + FORMWORK Goals: • Understanding the concept of formwork in the construction process associated with casting of a liquid material (concrete / plaster of paris).

• Demonstrate both design and craft in modeling the negative of the shape intended for final casting with plaster of paris.

• Understanding the importance of light in architecture and sculpture.

This exercise covers the following: 1. Concept of form + formwork 2. Modelling the necessary formwork for a monolithic structure.

3. Creating - ‘Forms in light’ Instructions Design an architectural monolithic sculpture within a spatial cube of 12”x12”x12”. Provide drawings of the formwork that will be required to produce the structure. Construct the formwork with foamcore or thick chipboard. Ensure that the built formwork is strong enough to contain the weight of the plaster of paris (POP) It would be a good idea to do some test pours!

Submission 1. Sketches/drawings of the initial formwork. (8.5” x 11”, 300dpi jpeg) 2. Photograph/s of the approved formwork after its assembly. (8.5”x 11”, 300dpi jpeg) 3. Photograph/s of the final product. (8.5”x 11” hardcopy, 300dpi jpeg) Important Dates • Consultation (initial drawings/sketches of formwork) – Thursday, Sept. 8 [after QUIZ #1] • “POUR” Party (POP pouring session in Hinman courtyard) – Wednesday, Sept 21 @ 6:30pm • Final “RELEASE” Party in Hinman courtyard –Thursday, Sept. 22 @ 9:35am!!

MASS & VOID AREEJ ALI RAZAN ALTIRAIFI

Formwork Drawings

Form-Work Photos

Final Model Photos Model Photos

Summary For this project, we wanted to create a shape that consisted of both straight lines as well as more organic, curved planes.

We also wanted to explore mass and void by creating circular tunnels through the form.

We learned that the plaster of Paris picks up on all the internal grooves and bumps from the formwork.

ASSIGNMENT #2: FRAME AS ARCHITECTURE + CONSTRUCTION You are invited to design a prototype bus stop shelter for the STINGER service on the Georgia Tech campus. The design should provide shelter, shade and seating, for waiting passengers. The prototype must exhibit the architectural and tectonic qualities of FRAME CONSTRUCTION. You may choose any of the following materials for the design, and they may be combined.

• Light Wood • Heavy Timber (“from the tree” components or engineered wood) • Steel The shelter should not be larger than 120 sq. ft. and the height should not exceed 20 feet. You should consider how the structure touches the ground, what the surface of that ground is, and what kind of cladding (roof or wall) is needed for the design.

Goals: • Understanding the different types of material and structural frames used in buildings.

• Demonstrate ability to represent the architectural heirarchies of frame construction.

• Understanding basic structural concepts of span, loading and bracing of frames.

Submission 1. Organize a single 18” x 24” sheet with drawings of the prototype to be determined by each student.

Possible drawings: plan, section, axonometric projection, sketches, perspective views.

Architectural scale of drawings at student’s discretion.

2. Submit a final pdf of the design to T-Square in the folder “Assignment #2”.

Important Dates • Consultation (initial drawings/sketches) on Oct. 18 and Oct. 20, by sign up (Rudolph office).

• Pinup of designs on November 3 during second half of class. Location tbd.

ASSIGNMENT #2: FRAME AS ARCHITECTURE + CONSTRUCTION You are invited to select an architectural project that features an envelope design and write a report –with illustrations, that explains the design concept and execution.

Text should be 1500-3000 words. Illustrations should include good quality resolution images, and drawings (plans, sections, details) if available.

Kauffman Center for the Performing Arts

Assignment #3: Envelope Case Study Option 2: Report

Razan Altiraifi

The Architect Moshe Safdie was born in 1938 in in Haifa, Israel and raised there. His parents moved the family to Canada in 1953, where he graduated from Montreal’s McGill University in 1961. His thesis project was the famous and controversial Habitat 67 project. It failed to win the Pilkington Prize for architectural theses. Safdie then moved to Philadelphia where he apprenticed with Louis Kahn. His former thesis advisor asked him to return to Montreal to work on the 1967 World’s Fair in Montreal.

He used that opportunity to bring his thesis project to life, at the age of 29. “Catapulted to attention, Safdie has used his ground-breaking first project to develop a reputation as a prolific creator of cultural buildings, translating his radicalism into a dramatic yet sensitive style that has become popular across the world.”

Safdie is a theorist, architect and educator. He served as director of the Havard GSD’s urban design program from 1978 to 1984. He has established offices in Boston, Jerusalem and Shanghai, and works most in Asia and the Middle East. Safdie’s emphasis is on integrating green and public spaces into his modernist designs. Safdie’s style is to design projects that blend his philosophy of humanized modern with local traditions and context.

Safdie is now known best for his successful career as a builder of cultural and public buildings, most evident recently in the Kauffman Centre for the Performing Arts.

Project Details

“The opportunity to design a major new performing arts center was precipitated by two significant decisions: the selection of an extraordinary site crowning the escarpment overlooking the historic warehouse district and the new entertainment district, affording a 180° view of the horizon; and the decision to construct two dedicated halls for symphony, ballet, opera, and theater.”

Opening Date: September 16, 2011 Location: 1601 Broadway Boulevard, Kansas City, MO 64108 The Kauffman Center for the Performing Arts bridges three of Kansas City’s most dynamic neighborhoods— the urban core of downtown, the Crossroads Arts District, and the Power & Light District.

- Moshe Safdie

Architect: Moshe Safdie / Safdie Architects Total Square Footage: 285,000 square feet

Site

“The Kauffman Center will be a beacon for Kansas City—a transparent and welcoming place that radiates warmth and invites the community to come together. And as a hub for Kansas City’s performing arts, the Center will play a vital role in the social fabric of the region, linking both people and neighborhoods. This sense of connectivity continues in the halls themselves, which have been designed to create unparalleled intimate experiences for both artists and audiences.”

- Moshe Safdie

Situated on 5 acres, including the 113,000-square-foot Performing Arts Center Terrace which will be used for outdoor performances and as a public gathering space, the Kauffman Center bridges three of Kansas City’s most dynamic downtown neighborhoods—the high-rise urban core of downtown to the north and east; the Crossroads Arts District, a low-rise neighborhood of industrial warehouses that has become a mecca of artist residencies, galleries, small business and shops to the south; and the Power & Light District, an entertainment center and home to the recently opened Sprint Center, to the northeast.

The Kauffman Center serves as a second cultural cornerstone in the city’s already vibrant arts community along with the recently expanded Nelson-Atkins Museum of Art and its neighbors, the Kemper Museum of Contemporary Art and Kansas City Art Institute.

“I am a believer that the site of a project always holds the secret for its design concept. Walking around, I was compelled by the dramatic view to the south. Thus, I placed the two performance halls to face south, integrated and connected by a single great lobby—an expansive glazed porch contained by a glass tent-like structure. The drop in the land towards the south allowed us to include a new road that serves as the drop-off point and leads to a large underground parking garage on top of which sits a park. From the garage and the drop-off levels, the public ascends the grand stair to the great hall, with public gathering areas and the individual theaters on each side. Recognizing the significance of downtown as an additional access point, the North Entrance was aligned on the axis of Central Street, penetrating through the building into the theater lobbies.”

- Moshe Safdie The site is downtown Kansas City on a plateau extending south towards a ridge.

This escarpment opens to an expansive view of the flat prairie landscape below. From its crest a curved glass roof sweeps down towards the low-rise Crossroads neighborhood to the south and cascades into a 65-foot high by 330-foot wide glass wall, which provides the Kauffman Center’s Brandmeyer Great Hall with panoramic views of Kansas City. This dramatic glass façade and roof are anchored by 27 high-tension steel cables, reminiscent of a stringed instrument.

To the north is the downtown skyline, including a grid of streets and the Kansas City Convention Center. The north elevation of the building, which faces downtown Kansas City, features a series of arched walls sheathed in stainless steel that rise from the ground like a wave.

Overall Design Philosophy Principal Spaces: Muriel Kauffman Theatre: 18,900-square-foot house Helzberg Hall: 16,800-square-foot house Brandmeyer Great Hall: 15,000 square feet Performing Arts Center Terrace: 113,000 square feet Offices for the Kauffman Center staff: 7,000 square feet 1,000-car garage, owned and operated by the City of Kansas City, MO Shared backstage facilities: dressing accommodations for over 250 performers, 11 rehearsal and warm-up rooms, meet-and-greet lounge Despite being sited in landlocked Kansas City, Missouri, this building has maritime influences. The building rises like waves. The structure is made of maritime forms, clad in bead-blasted stainless steel. The Kauffman centers consists of two acoustically isolated venues: the Muriel Kauffman Theatre (named for the late local arts patron) and Helzberg Hall, home to the Kansas City Symphony. The Kaufman Theatre is horseshoe shaped and lined with balconies featuring balustrades of cast resin and crumpled Mylar. Helzberg Hall is a wood-paneled oval with vineyard seating that brings the audience close to the music. The two spaces are connected by a glass atrium that opens onto an expansive terrace.

Each hall reads as a distinct volume and is visible through the glass shell. The halls metaphorically evoke a musical instrument.

There are a series of access balconies on the halls that form two conical stacked rings of white plaster. These balconies allowed the thousands of people mingling there before and after performances to see each other at different events.

The envelope is an active structure that changes with the light or lack thereof through the changing of the building’s transparency.

During the day, the natural light reflects the surroundings of the structure and only hints at the interior. At night, this process is inverted. The structure becomes completely transparent, displaying the interior activities to the outside world.

The Kauffman Center for the Performing Arts is a feat of design and engineering.

The internationally recognized design team assembled included Moshe Safdie & Associates, BNIM Architects, JeDunn Construction, Theatre Projects Consultants, and Nagata Acoustics.

Safdie collaborated with Richard Pilbrow of Theatre Projects Consultants and Yasuhisa Toyota of Nagata Acoustics America on the design of both halls, which will share backstage facilities, including dressing accommodations for over 250 performers, as well as 11 rehearsal and warm-up rooms. Thw design incorporated the very latest in architectural innovation and technology to create virtually perfect acoustics and optimal sightlines in both performance halls.

The Kauffman Center’s two performance venues, Muriel Kauffman Theatre and Helzberg Hall, are two distinct structures, each existing in their own acoustical envelope and housed within a dramatic architectural shell. This shell features a glass roof and glass walls, creating the Center’s shared public spaces, a series of interior piazzas. The Center has been designed so it can accommodate future expansion along the east side of the building.

Muriel Kauffman Theatre Square Footage: 18,900-square-foot house Seating Capacity: 1,800 seats Stage: 5,000-square-foot stage; width of stage opening may be adjusted from 40’-50’ Orchestra Pit: Up to 1,300 square feet; accommodates as many as 96 musicians Features & Systems: 73’9” fly tower accommodates scenery up to 2,000 lbs. and 30’ tall.

Fully walk-able rigging grid is accessible by stairs, ladders, and elevator.

Retractable acoustic banner system allows for acoustical adjustments accommodating both small and large-scale productions. Stage curtain contains motorized counterweight lineset; center and intermediate splits allow for motorized split travel or guillotine opening

The Muriel Kauffman Theater is celebratory and energetic unlike the intimate Helzberg Hall. It has three balconies that envelop the hall like a horseshoe. Each balcony consists of a series of steps cascading from the center rear balcony to the individual boxes on either side of the stage. The steps provide sightlines and encourage a sense of intimacy with the performance on the stage. Toyota designed undulating walls that provide optimal sound reflection. A series of slats provide a screen-like enclosure. Students from the Kansas City Art Institute painted a series of mural on the slats creating a dynamic mural on the acoustical structures.

The Muriel Kauffman Theatre will host dance performances, plays, musicals and more, and will serve as the performance home of Kansas City Ballet and Lyric Opera of Kansas City. The 1,800-seat venue is designed to be visually striking, yet retain an intimate experience for both audiences and performers.

Inspired by the great opera houses of Europe, audiences are seated in front of the stage in a variation on the traditional horseshoe configuration—bringing them closer to the performers than in traditional auditorium-style venues.

The design of the Muriel Kauffman Theatre’s expanded facilities will provide dramatically enhanced performance capabilities—including a vast 5,000-square-foot stage; a flexible orchestra pit that can accommodate 95 musicians; increased backstage facilities; a 74foot tall fly tower; and a flexible proscenium stage opening. The Theatre’s fly tower will allow for scenery as tall as 30 feet to be flown above the stage, allowing productions to make use of more sophisticated scenic design elements. The stage’s flexible proscenium opening will allow the width and height of the stage to be adjusted, making it tremendously adaptable and allowing for both intimate and larger-scale productions. The Theatre will also offer the Figaro seatback system, with a personal monitor mounted on each seat for productions requiring translation.

Helzberg Hall Square Footage: 16,800-square-foot house Seating Capacity: 1,600 seats Stage: 2,700 square feet, including six lifts which form an adjustable riser system Pipe Organ: 79 stops, 102 ranks, 5,548 pipes; customdesigned mechanical action organ in the French romantic tradition, built by Quebec firm Casavant Frères Features & Systems: Fixed acoustical canopy above the stage. Retractable banner system included in side walls and above fixed canopy.

Six 1,000-pound point hoist systems to hang custom curved trusses. Five skylights allow natural daylight to filter into Hall.

The architects worked with Yasuhisa Toyota of Nagata Acoustics to design the acoustic strategy that included a volumetric and geometric concept for Helzberg Hall. The architects wanted a hall that was intimate, engages the public with the musicians so they feel like they are being embraced by the sound. The theater has 1600 seats without a balcony or ceiling above the audience to encourage a sense of intimacy. The fanning geometry of the northern façade is echoed within the interior. The organ branches apart towards the ceiling sculpturally, forming skylights that allow the light in to reflect upon the organ. Helzberg Hall, the performance home of the Kansas City Symphony, includes a custom-designed Casavant Frères pipe organ.

From chamber music to full orchestra, from jazz and pop to lectures and recitals, Helzberg Hall will be the performance home of the Kansas City Symphony as well as host to renowned international soloists and ensembles. Named in recognition of a $10-million gift from Shirley B. and Barnett C. Helzberg, the 1,600-seat venue is oval in shape, with a vineyard-style seating configuration. The stage extends approximately one-third of the distance into the Hall, thus placing 40 percent of the seats alongside or behind the orchestra. This creates an intimate and immersive experience for both artists and audiences and allows a portion of the audience to experience the musician’s perspective during performance. The distance from the stage to Helzberg Hall’s farthest seat is just over 100 feet.

The Hall will feature mechanical risers that allow the layout of the stage to be altered quickly and easily, greatly expanded backstage facilities, and acoustics which can be readily customized for solo concerts, chamber music, and full orchestra. Helzberg Hall will also enable the Kansas City Symphony to rehearse and perform in the same space, something it has been unable to do at its current home, the Lyric Theatre. The visual centerpiece of Helzberg Hall will be a Casavant Frères pipe organ, which will be one of the finest concert hall organs in the country. Quebec-based firm Casavant Frères has custom-designed the mechanical organ in the French romantic tradition, with 79 stops, 102 ranks, and 5,548 pipes. The organ will be completed in spring 2012.

Brandmeyer Great Hall A glass-enclosed lobby, Brandmeyer Great Hall, connects the two performance spaces. Clad in stainless steel panels, the 1,800-seat Muriel Kauffman Theatre and the 1,600 seat Helzberg Hall comprise the Kauffman Center. The two venues are connected by a 20 metre-high glass-walled atrium that is anchored to the ground by a line of steel cables. One large glass-enclosed area, called The Brandmeyer Great Hall, serves both halls. Guests can enter The Brandmeyer Great Hall from the north, on 16th Street, or from the Kauffman Center drive, just south of the building

“Thus, the great hall with its surrounding balconies is a counterpoint to the theaters within; the theater of the public realm, where the celebrating public are visible to the southern sweep of the city.�

- Moshe Safdie

Materials, how built, why Materials: 40,000 square feet of glass 10.8 million pounds of structural steel 25,000 cubic yards of concrete 1.93 million pounds of plaster 27 steel cables, each holding up to 500,000 pounds of force

The Kauffman Center’s roof and wall-surface are clad in Zahner’s Glass Bead™ Stainless Steel. This material provides a smooth, large scale finish with muted reflectivity. Zahner worked closely with the design team as well as the construction management team at JE Dunn to realize the final surface. The entire roof and metal wall-surface is clad in Zahner Glass Bead™ Stainless Steel, a product well known for its muted reflectivity as well as it’s resilience to nature’s wear. The first Glass Bead™ Stainless Steel panels were installed at the Kauffman Center the week of August 2nd, 2010, and the project was inaugurated September 16th 2011.

Zahner provides premium metal surfacing options based on its proprietary GB-60™ technology. GB-60 was first developed for architectural applications requiring diffused reflectivity. The metal surfacing process was developed as a premium non-directional surface with ambient reflectivity.

The resulting stainless steel is further refined through a process of testing various grades to bring the highest level of quality in an efficiently produced material surface. Zahner uses this process to produce ambient finishes on aluminum, copper, nickel, and stainless steel alloys. This surface is available in sheet, plate, and handrail tubing in any thickness. Sheet materials come in 48� and 60� typical maximum widths, and are available in several alloys based on performance in different environments. Zahner also creates custom shapes and applies the surface to three dimensional forms and unusual shapes. If you apply Angel Hair to a No. 8 polished base material or a bright annealed base material, you can achieve a variety of reflectivities and appearances.

This material is sustainable when properly installed, maintaining the same appearance after decades of weathering. The material is easily cleaned with water when natural pollutants and dirt begin to appear on its finish. The bead-blasted aesthetic can be produced on a range of metal surfaces, and Zahner has a dedicated facility to produce custom bead-blasted surfaces on various alloys, including stainless steel, titanium, aluminum, and nickel metal surfaces. The surface can also be produced on other metals such as bronze, copper, and zinc, but isn’t a commonly desired aesthetic.

Installation of Kauffman Center interior metalwork by Zahner field operators.

Field operators install the ZEPPSâ„¢ Panels on the South roof of Kauffman Center.

Detail of the Kauffman Center roof during construction.

Bibliography n.d. Architecture. Accessed December 2016. https://www. kauffmancenter.org/the-center/architecture/.

Frearson, Amy. 2011. Kauffman Center by Safdie Architects.

June 21. Accessed December 2016. https://www.dezeen. com/2011/06/21/kauffman-center-by-safdie-architects/.

2016. Glass Bead™ Stainless Steel. Accessed December 2016. http://www.azahner.com/glass-bead.cfm.

2011. Kauffman Center for the Performing Arts / Safdie Architects.

July 18. Accessed December 2016. http://www.archdaily. com/151008/kauffman-center-for-the-performing-arts-moshesafdie.

Lange, Alexandra. 2011. Moshe Safdie’s Kauffman Center for the Performing Arts. August 31. Accessed December 2016. http:// www.architecturaldigest.com/story/kauffman-center-performingarts-moshe-safdie-article.

SKETCHES OF THE WEEK

MEDIA and MODELLING II ARCH 6472 MEDIA and MODELLING II Instructors: Dennis Shelden, dennis.shelden@coa.gatech.edu (Coordinator) Sabri Gokmen, sabrigokmen@gatech.edu Jeffrey Collins, jcollins36@gatech.edu

DRAWING BOOK (11”X17” PORTRAIT. VERIFY THE QUALITY OF IMAGES AND DIAGRAMS IN THE SUBMISSION).

PORTFOLIO PAGES (8 ½” X 11”, PORTRAIT, FORMATTED 2 UP WITH COVER.) BOARDS (2 24”X36”) 3+ RENDERED IMAGES (TIF, 2000PIX MINIMUM ON A SIDE)

Media and Modeling II Fall 2016

Villa Rotunda

Module 4 | Final December 13, 2016

Team members: Razan Altiraifi Yue Liu

Table of Contents: A3 Ground Floor Plan A4 Site Map A5 Plan Elevation Analysis A6 North Elevation A7 North Section A8 Detail A9 Axon A10 Exploded Axon A11 Section Axon

A7/8

N Drawing Title Sheet 2 - Ground Floor Plan

Precedent Villa Rotunda

Scale Vicenza, Italy

Andrea Palladio

1/16" = 1'-0"

Sheet A3

Drawing Title Sheet 5 - Plan Elevation Analysis

Precedent Villa Rotunda

Scale Vicenza, Italy

Andrea Palladio

1/16" = 1'-0"

Sheet A4

N Drawing Title Sheet 3 - Site Plan

Precedent Villa Rotunda

Scale Vicenza, Italy

Andrea Palladio

1/32" = 1'-0"

Sheet A5

A8

Drawing Title North Elevation

Precedent Villa Rotunda

Scale Vicenza, Italy

Andrea Palladio

1/16" = 1'-0"

Sheet A6

Drawing Title North Section

Precedent Villa Rotunda

Scale Vicenza, Italy

Andrea Palladio

1/16" = 1'-0"

Sheet A7

Drawing Title Detail

Precedent Villa Rotunda

Scale Vicenza, Italy

Andrea Palladio

3/8" = 1'-0"

Sheet A8

Drawing Title Axon Model

Precedent Villa Rotunda

Scale Vicenza, Italy

Andrea Palladio

NTS

Sheet A9

Drawing Title Exploded Axon

Precedent Villa Rotunda

Scale Vicenza, Italy

Andrea Palladio

NTS

Sheet A10

Drawing Title Section Axon

Precedent Villa Rotunda

Scale Vicenza, Italy

Andrea Palladio

NTS

Sheet A11

Drawing Pages Attribution

RAZAN ALTIRAIFI BOOK LAYOUT AND GENERATION A3 A4 A5 A11 (LEFT IMAGE)

YUE LU A6 A7 A8 A9 A10 A11 (RIGHT IMAGE)

ARCH 6471 Media & Modeling Fall 2016 Instructor: Sabri Gokmen Yue Liu Axonometric Drawing Villa Rotunda

Villa Rotunda Team Members: Razan Altiraifi, Yue Liu

Plan

Plan Geometry Analysis

Villa Rotunda

Section -1

Rendering 1

Section-2

ARCH 6471 Media & Modeling Fall 2016 Instructor: Sabri Gokmen Yue Liu Axonometric Drawing Villa Rotunda

Elevation - 1- 2 - 3 - 4

Porch Elevation Detailed Drawing: A8

Rendering 2

Villa Rotunda Overview: