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curriculum vitae education
Boston Architectural College Candidate for Bachelors of Architecture January 2008 - Present University of Arizona Candidate for Bachelors of Architecture September 2007 - December 2007
architecture skills detailing construction docs interior design landscape design architectural design specifications code review
employers
DW Arthur Associates Architecture, Inc. Boston, MA - Designer May 2008 - Present Robinette Architects Inc. Tucson, AZ - Office Assistant Summers of 2006, 2007
.misc awesome facts - bred dogs in high school - played trombone in marching band - fascinated by the apocalypse - has serious nerd cred
workin’ on it
meh
fairly good
old hat
life skills
yeah
friend making leadership taking building by hand problem solving historical facts spewing event planning prop mastering
heck yesh
graphic tools j u s t messin
autocad sketchup photoshop indesign sketching illustrator linocut
pretty good
awesome
contents resume studios long studio urukundu pottery center academics affective design workshop practice harvard GSA ironbound SUNY service architects for humanity public kitchen etc.
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.playa ahumada (long studio) .urukundu potters village
studios.
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overview The Long Studio involves studying a different culture and exploring design through conceptual gestures gathered from the experience of that culture. This studio was based in Old San Juan, Puerto Rico at El Morro fortification. We spent ten days traveling the island and studying the culture.
c o n c e p t Through a process that considered site factors and relied on generative words, a concept was developed that allowed for flexibility of program spaces through expansion and contraction as user groups required.
Playa Ahumada
(Long Studio) Fall 2010 Louis Montalvo & John Pilling
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historical context exploration
pre concieved notion of puerto rico explored through painting
The history of Puerto Rico is one of constant fluctuation, cultural infiltration, and invasion. As a result of the island’s tumultuous history, its culture is an idiosyncratic blend of native, European, African, and American cultures. Taino exploration
presenting taino history
food culture exploration
religion exploration (short film) ~ 7 - 11th Century Taino’s inhabit the island 1493 - Columbus Lands Era of conquest and slavery Old San Juan fortified Point between Americas & Europe 17th -18th Century Spain loose interest PR attempts independence & fails
present time exploration
1898 - American Invasion Spanish American War spanish colony exploration 1947 - PR becomes Commonwealth studio.playa ahumada.longstudio.fall2010.
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travel itinerary old san juan el yunque forest
fajardo
hacienda buena vista san german ponce
flying my kite- photo: john pilling
parador palamas
looking back to old san juan- photo: john pilling
trip sketch book
glass beach under el morro
sea glass pebbles from glass beach
sketching on top of el morro
“daylight ceremony�
photo: wendall chin
studio.playa ahumada.longstudio.fall2010.
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trip reflections Old San Juan was enclosed by massive walls and forts, giving the city a definite boundary that cast ever shifting
shadows.
The historic context of Puerto Rico seems to diminish as the buildings are updated and become more contemporary, as if all new structures are hollow of their past glory.
echoes
studio.playa ahumada.longstudio.fall2010.
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Despite a desire for independence in the past, Puerto Rico had an overwhelming sense of acceptance, a laid back culture that preferred to than pursue.
cruise
serendipity
occurs throughout Puerto Rico: hidden, unexpected places of absolute charm and happiness.
studio.playa ahumada.longstudio.fall2010.
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2
4 3
1
project program The studio asked us to design a night club between the walls of the El Morro Fort and the sea at the tip of Old San Juan.
required program: - dance club - food service of some type expanded program based on analysis: program for day time: - cafe - viewing platforms - small bar program at night: - large bar - performance space - dipping pool - dance floor
project
site
The stunning site sits between a 600 year old wall with lush vegetation ending in volcanic rocks and waves. After spending two days on site, a few key impressions were made:
1 - an existing outer wall path would eventually be extended to completely encircle the fort, potentially going straight through the site.
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2 - the site can either be accessed from the outer path or directly from the fort’s mall through the cannon turrets & look out towers. 3 - in some parts of the site, the topography is really steep, with small cliffs and gorgeous exploding waves. any design would need to respond to the topography 4 - what ever is designed may not be visible from Old San Juan, making it exclusive, but would be highly visible from the fort itself.
studio.playa ahumada.longstudio.fall2010.
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cruise
Cruise represented the laid back nature of Puerto Rico. Initially represented with a thin piece of fabric, i eventually used curved chip board to create cruise that was fluid in shape but not material.
shadow
Shadow was to represent the massiveness of the fort wall all around Old San Juan, but especially our project sites. Becoming the back bone of the model, I used angular folded foam core to represent the massiveness.
echo
Echo was meant to describe the feeling of this dimensioning culture, a history brighter than its future. Focusing on the diminishing value of “echo,” I created transparent triangles of velum & supported them with similarly diminishing lengths of balsa wood
serendipity Serendipitous moments happened through out the island. Initially modeled using a ball of bright orange paper “exploding”, it was eventually subdued to a detail, a simple bright hued paper at the shadow element.
translation of generative words to built form The instructor challenged us to explain our concept out loud, and to note the hand gestures that we used to convey meaning. These gestures were then to be translated in to a physical element of the design. The material, weight, feel, and color of the element were chosen to reflect these concepts as well. The four gestures were then combined to create multiple study models.
iteration of concept models first iteration: 1 of the 40
second iteration: 1 of the 20
The four gestural elements were then combined to create forty sketch models in one night. Out of the forty, the one that best represented all four concepts, while also being aesthetically interesting, was chosen. Having learned from the first forty, twenty more models were created and reviewed. Then a series of ten, then a series of five, were built. Finally, the last iteration of the model was created.
Each of the conceptual gestural elements went through their own iterations. “Cruise” changed from cloth to structurally fluid, curved chip board to better express the gesture. The foam core that created the “shadow” piece was elongated, and a “kick stand” detail was added, in order to support the vertical element. The “echo” component was used to combine the “shadow” pieces, and became more exaggerated and elongated. “Serendipity” was revised to be a simple piece of bright color hidden by the shadow element.
third iteration: 1 of the 10 final iteration fourth iteration: 1 of the 5 studio.playa ahumada.longstudio.fall2010.
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lookout point/night entrance
exterior pool interior pathway
performance space
lighting studies
exploration of concept model The investigation of the final conceptual model was considered at a human scale to illuminate the potential for a wealth of human experience. Through a multitude of mediums, I explored program, elevation change, lighting, movement, and interaction.
studio.playa ahumada.longstudio.fall2010.
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selection of site Located on the tip of Old San Juan, outside of the northern 18’ thick walls of El Morro, this historic fort and its battlements tower over the sea. The orange highlighted area denotes possible site location. I chose to position my project at the point in the wall where a prominent lookout tower is located. Additionally, the slope was the steepest and my form would work well with the topography. Access to the structure would be from one of two points. During the daytime, visitors using the path around the outer walls could simply walk through the building; the path leads directly through it. Access from the lookout tower would be available at night, making it more accessible for the locals, and less of a circuitous route.
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studio.playa ahumada.longstudio.fall2010.
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experience d i a g r a m
exploration of program
The other program was to be experienced with a meandering “cruise� through the space. The first thing open to those passing through was to be a small outdoor cafe that The program required the project to be both a nightclub and a restaurant. could seat 18. Then, it would branch off into a bar and lounge - also I wanted to keep my building relatively compact. At night, a new relatively small, as to not detract lower level would expand into the from the massiveness of El Morro. I kept all program elements compact. dance floor and the dipping pool. When there were performances, Through the use of multiple levels, the space could be accessed from I allowed for the building to expand the dance floor by the public, and based on the number of users. I added some program: a performance features a ramp near the exit for the performers. space as well as a dipping pool, a hot tub, and a rinse shower. Having experienced the warm, open night clubs of San Juan, I wanted to provide users with a place to cool off.
final
model
Once I had finalized my ideas for the program and the site location, I fabricated a model of the final design. Using the rules and elements I learned from my study model. Working in model form, as opposed to using plan and section, allowed for the nature of the element’s forms to positively shape the final product.
studio.playa ahumada.longstudio.fall2010.
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daytime experience
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nighttime experience
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section key
1 2 3 5
4
6
section at entrance
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1 - ramp to night club 2 - upper bar 3 - dj booth 4 - ramp to dance floor/pool 5 - swimming pool 6 - performance space & lower bar
studio.playa ahumada.longstudio.fall2010.
Once I began to create the sections and plans, I revisited the topography of the site to ensure the building was still blending into the slope without exceeding the height of El Morro. Schematic spot grades were determined, and are reflected in the sections.
site plan
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1 section key
2
3
section at entrance 4
1
4
1 - entrance from look out tower/mall (night entrance) 2 - entrance from path 3 - cafe (open day time only) 4 - viewing vista 5 - shower platform
studio.playa ahumada.longstudio.fall2010.
N
3
2
upper level plan
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enlarged section at cafe kitchen
N
4
3 5
1
2 6
1 - ramp entrance to night club areas 2 - upper bar 3 - built in bar seating 4 - restrooms 5 - spa 6 - dj booth
studio.playa ahumada.longstudio.fall2010.
mid level plan
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structural design
example of slip form concrete
diagrammatic structural design
The main walls of the structure are created with hollow slip-form concrete construction tied into steel reinforced foundations. The horizontal beams are marine-grade steel I-beams, supported by the concrete. The I-beams support the transparent resin “sails,� as well as the ceiling lighting. The floor construction for the main path was meant to match the existing colored concrete path. On the lower level of the shower and pool, a wood deck would be implemented so that no standing water would accumulate.
sectional through floor assembly @ shower sectional detail of I beam connections
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10
5
9 8
7 6 1
2
4
3
1 - dance floor 2 - pool bar 3 - dipping pool 4 - shower 5 - performance hall 6 - restrooms 7 - mechanical room & storage 8 - ramp for staff between upper & lower bar 9 - green room 10 - stage exit studio.playa ahumada.longstudio.fall2010.
lower level plan
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things learned The most important thing that I took away from this class was that I don’t suck at modeling. I have, in all previous classes, only used the model to “test” my final design. I dreaded the process every time. In this studio, we were forced to do 76 models in two weeks, forcing me to get over my aversion to modeling early on. I found that the materials and shapes that I had created had much more affect on my design if I worked in a built form early in the design process. It really was an epiphany, and a process I plan to use extensively in my design career. During segment one studios, I did a summer studio in Paris with the BAC. I realized that immersing oneself in another culture was a great way to create unique designs. I enjoyed learning about a culture prior to immersing myself in said culture. It allowed for one’s preconceived notions to be explored, and allowed valuable time for reflection. I’d like to use these techniques for all future projects, as every neighborhood has its own culture.
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overview The 2012 Sasaki Distinguished Visiting Critic Studio, Urukundu Potters Village was run by the founders of MASS Design Group. MASS has distinguished itself as one of the leading socially conscious multi-disciplinary design firms.
Focusing on the social, economic, and environmental impact design can make, this studio explored those concepts by designing an environment which would empower a minority neighborhood in the heart of the capital of Rwanda.
c o n c e p t Reconnecting a society with it’s heritage through a weaving of experience and functioning cultural tradition.
Urukundu Potters Village
Design for Social Justice spring 2012 Instructor: Sierra Bainbridge, Michael Murphy, Alan Ricks
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Urukundu Village
rw
undervalued Urukundu Village is a small settlement in Kigali, Rwanda, that is populated primarily by indigenous minorities. Rwandan authorities have developed a master plan that requires the relocation of the villagers, separating them from the clay beds, which represent their livelihoods. The proposed project strives to preserve the land for its inhabitants, and to reconnect the Urukundans with their traditions, while also fostering a sense of place through community.
Rwandans and potters alike place little value on traditional pottery forms. Urukundu villagers lack gathering space. Public parks and green spaces are not part of urban kigali.
kigali, rwanda
wanda urukundu site village
re-valued By weaving users and use, new connections can be made. Paths through the program will serve to display & teach the process of pottery.
community spaces pottery
nursery
studio.urukundu potters village.design for social justice.spring2012.
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precedent study-pottery We began our analysis by researching the traditional pottery of rwanda, as well as the clay collection and firing process. After coming to appreciate the perfection behind the traditional Rwandan form of the water vessel, I attempted simple alterations to the shape in order to repurpose the pottery for modern Rwandans. These were designed and (terribly) modeled in clay.
Pottery Family hanging light fixture
ry Family
ery Family
sketch rendering
r collection & planter
Family ration & collection
design
this design uses the traditional pottery with proportions slightly skewed to allow for access to interior. Fixture could be hung with airplane wires, or if smaller, the cord of the light itself.
target market
high end hotels, sketch rendering end residential
variations
decorations could be added to the exterior in a traditional style or added punches through the pottery to play with light.
finish
restaurants, high unglazed traditional finishes
sketch rendering sketch
rendering
precedent study-brick As a studio, we researched the forming and firing of brick. The site, with its ample amount of clay, allows for all the bricks necessary for a building to be created on-site.
Brick + Bricizoid
assemblies
modules
the two modules I choose to work with were quite straight forward - a simplified brick and a trapezoid. The trapezoids simple shape allowed it to function similarly to the brick but shine in a few unique ways when allowed to rotate upon its angled side.
Through the selection of simple modification rules, I hoped to allow for a hire multitude of options to result.
Brick + Bricizoid
odules
two modules I choose to work were quite straight forward - a plified brick and a trapezoid. The ezoids simple shape allowed it nction similarly to the brick but e in a few unique ways when wed to rotate upon its angled .
Pushing the brick module design, a simple alteration to shape while still maintaining the ratio inspired the “brickizoid”. This angular brick lent its self well to modularity and unique wall shapes
Bricizoid - Rotate rotate perpendicular
Brick - Flip
assemblies flip
Through the selection of simple modification rules, I hoped to allow for a hire multitude of options to result.
the simple “flip” movement created a easily opened screen wall, where any combination or pattern could be created.
assemblies Through the selection of simple modification rules, I hoped to allow for a hire multitude of options to rotate result.
brick module
“brickizoid” module flip
Urukundu Studio | Bainbridge, Murphy, Ricks | Assignment 4 | Brick Assembly | Renee Roediger
flip
rotate
By rotating the trapezoid, the
perpendicular character of the “bricizoid” becomes
better understood. modularity It also created a doubleThe wife andand openings to structural and wallunique with designs a unique be created result in many interesting textured basket weave pattern. things.
perpendicular
undu Studio | Bainbridge, Murphy, Ricks | Assignment 4 | Brick Assembly | Renee Roediger
Urukundu Studio | Bainbridge, Murphy, Ricks | Assignment 4 | Brick Assembly | Renee Roediger
Urukundu Studio | Bainbridge, Murphy, Ricks | Assignment 4 | Brick Assembly | Renee Roediger
1 of 40 brick module configurations
studio.urukundu potters village.design for social justice.spring2012.
1 of 40 “brickizoid” module configurations
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proposed valley path
ex-pat high end housing
wet land valley urukundu village government buildings & embassies
user profiles
site
middle class rwandan residences
Rwanda is one of the most densely populated African countries & its capital hosts a wide variety of citizens. Yet with no public spaces, these groups remain separated in their daily lives.
urukundan co-ops
urukundan villagers
the co-op consists of 40 men and women, most of whom are from the urukundu village.
urukundan villagers are mostly low income Rwandans who’s vocations are mainly pottery or farming.
rwandans
Kigali Rwandans are middle class urbanites and lack general public green space.
tourist + ex-pats
ex-pats in Kigali tend to be high income and secluded. Tourists fly through Kigali when visiting the gorilla habitat.
existing site main road, well used with bus stop
wetland zone
clay collection area
clay collection area
f sit
water on site
exte
existing pottery kilns and offices
e
nursery
nt o
pottery display
canal
studio.urukundu potters village.design for social justice.spring2012.
prop path osed val le in ma ster y plan
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commuter playground playground clay clay sportsfield sportsfield clay sportsfield forming forming classroom sportsfield classroom playground forming classroom forming classroom clay community drying drying sportsfield spaces The project strived to create a drying shop drying shop forming kiln space whichkiln would showcasecafe the cafe classroom shop shop sale garden sale garden co-ops talents, bring money into kiln pottery kiln cafe drying cafe garden the village and re-value the village sale nursery garden sale production production at large to the government. To kiln shop cafe production production sale garden accomplish all of those objectives, meeting area production meetingto area the program was expanded initial programatic weaving parti appeal to all of the surrounding meeting area meeting area
clay
c r i t i c a l programming
user groups.
nursery
meeting area
community commuter
pottery
agency diagram of program elements
urukundu co-op urukundu villager rwandans tourists/e u co-op urukundu villager rwandans tourists/expats urukundu co-op urukundu villager rwandans tou urukundu co-op urukundu villager rwandans tourists/expats urukundu co-opmeeting urukundu villager rwandans tourists/expats playground playground playground g area playground area cafe area playground meeting playground cafe playground meeting areameeting area playground playground shop cafe sportsfield cafe sportsfield playground sportsfield clay sportsfield sportsfield y sportsfield shop clay playground shop sportsfield clay claysportsfield claycafe cafe cafeshop cafe classroo sportsfield sportsfield cafe forming c cafe forming ing classroom sportsfield cafe meeting area shop forming classroom shop cafe cafemeeting drying area cafe meeting area forming shop classroom drying ng garde garden forming classroom meeting areameeting area garden garden shop kiln shop drying garden garden garden garden garden drying garden kiln n sale drying garden garden kiln garden kiln salegarden e shop garden sale kiln sale cafe sale garden production garden en garden production sale garden production ction program elements per each user group production production meeting area sale e sale sale
initial program layout
potters
playground lawn clay nursery garden
cafe
class studio room
community drying space community commons amphitheater exist.
clay store
potted nursery area store drying
production area of nursery community gardens
production area of nursery
nursery
play field
community
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programming iteration After a review of my initial layout, I developed many iterations which focused on existing desire lines, centralizing the buildings, reflecting the logic of the user’s needs, and expanding the program to further my objectives.
studio.urukundu potters village.design for social justice.spring2012.
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The final plan encompassed the entire site creating a centralized plaza and weaving paths to different site programs.
expandable market area - 1 viewing platform - 2 plaza of pottery - 3 existing buildings - 4 young nursery - 5 outdoor seating area - 6 nursery display garden - 7 soccer field - 8 volleyball courts - 9 drink stand - 10 older playground - 11 clay collection area - 12 wetland viewing pavilion - 13 nursery production - 14 younger clay playground - 15
final site plan
12 13
15
14
12
1 7
3 2
11
4
10
6 5
studio.urukundu potters village.design for social justice.spring2012.
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intertwining paths/uses My intent for the site was to weave together experience and function, thereby reconnecting the Rwandan society with Urukundan culture.
community spaces pottery
nursery
conceptual parti
potter’s path
paths used by co-op to collect, mix, form dry, and fire clay.
proposed commuter path
proposed path by urban master plan connecting Kigali’s valleys
relaxation areas
areas for sitting & viewing, usually shaded
shopper’s path
paths taken by rwandans, urukundans, expats, & tourists during market days
night uses
the cafe on site would be used during the night and the path would be lit with solarpowered brick blocks in the path.
studio.urukundu potters village.design for social justice.spring2012.
paths to play
the paths likely to be frequented by Rwandan kids of all ages.
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unfolded section through site programs
a
b
a
younger playground - clay play
b d
Using water collected from the community space roof or brought up in buckets, toddlers and preschoolers will be able to play with clay and discover their own creations.
c
c
d
d
playing fields
older playground - topography play
Both soccer fields and beach volleyball courts will be provided for all users to enjoy.
Using the provided topography to carve out play areas as well as create embankment slides for older children to enjoy. Staples of the playground (swings, teeter totter) an absolute must.
studio.urukundu potters village.design for social justice.spring2012.
wetland pavilion
The wetland pavilion will serve to education Rwandans on the state of their countries wetlands as well as provide a unique secluded area for gatherings.
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expanding co-op The new studio space will encourage the use of the potter’s wheel for the development of a line of pottery catered towards modern Rwandans. This pottery will be used in the garden cafe as well as displayed at the pottery shop.
sketch rendering design
resizing and skewing the proportions of the traditional pottery, dishware is created
target market rwanda families, restaurants for tourists.
tourists,
staking diagram
variations
decorations to the sides, other dishware items ie large salad bowl, etc.
finish
glazed for cleaning purposes
With all the expanded area for a nursery, as well as a marketable area, the co-op will be able to expand. Revenue can be attained from the garden cafe as well as the drink stand, and, for special occasions, the market area could be rented. New facilities and paths will make a welcoming environment for tourist, school groups and Rwandans at large. As a benefit to the co-op members, they have new place to send their kids for inclusive and exploratory play.
expanding market area - 1 viewing platform - 2 office/lockable storage - 3 community space/classroom - 4 water collection for clay/playground - 5 exterior studio space - 6 water collection for clay mixing - 7 pottery studio space - 8 potter’s wheels for small pottery - 9 medium pottery storage/drying - 10 small pottery storage/drying - 11 pottery store and display - 12 pottery plaza - 13 large pottery drying area - 14 co-op cafe using pottery dishware - 15 young nursery production - 16 large pottery production (existing) - 17 kiln (existing) - 18 offices (existing) - 19
5 3 6
4
1
7 8
10
11
9 12
13
2
15
14 17 18
16
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new studio space
community section studio section
plaza plan section key
studio.urukundu potters village.design for social justice.spring2012.
As the urkundans prefer working outdoors, most of the structures provide needed shade while feeling very open. The construction of the buildings would mostly be fired bricks made from clay on site. Some of the bricks would be “brickizoid� modules to create unique display & screen walls.
community space
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things learned Through this studio, I delved into design for a non-western culture. As our instructor had just moved back from living in Kigali & we had access to individuals involved with this project on-site, a lot of the initial analysis process involved learning to ask the right questions.
My design process for this studio was heavily based in research and iterations. The studio instructor was instrumental in pushing my design, and I concluded the studio feeling very satisfied with my final iteration. I also expanded my representation skills this studio, learning new programs and techniques to create a more professional presentation. My technical skills were also pushed and utilized well. MASS Design Group has suggested our studio visit the site and do a three week design-build exercise with the villagers in the summer of 2013 which will be an awesome experience.
academic.workshop.spring 2011
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.workshop
academic.
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overview This workshop explores the ideas of psychoenvironmental design within the realm of healthcare architecture. We explored how designed spaces affect the people who use them and suggested changes to the current design standards that would benefit the end users. The workshop’s findings are to be included in a yearlong study of healthcare architecture and psychoenvironmental design, which will be published in Fall of 2012 and presented to the healthcare design community.
Community Center
Community Health Center
Community Hospital
Hospital
Affective Design Workshop Fall 2011 Instructor: Laura Portney
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p s y c h o environmental exploration
SOCIAL LEARNING THEORY
CONTROL THEORY
ATTENTION RESTORATION THEORY
Through readings, lectures from professionals, and in-class discussion, the psychoenvironmental design of health care space was explored. I chose to focus on the definition of health as physical, mental, and social well-being, using that meaning as a springboard for my article’s thesis.
article excerpt
Hospital+Community
Breaking Down the Hospital Facade
Community Center
Hospital
Hospitals have become high-tech machines for healing. The technology of the 21st century crowds the hospital’s halls, patient rooms, and operation rooms, helping to save the lives of its patients. As hospitals become leaner and more efficient every year, architecture is racing to keep up. These technologies push the designers ever forward, not questioning the efficiency, but embracing this new system. The need of a hospital to function as a life saving construct trumps all the other needs of the building. Architecture needs to stop trying to simply cover up the issue. A new lighting scheme just isn’t going to cut it. What is needed is a radical reinterpretation of the hospital as a healing environment that alleviates the stress of its users and brings humanity back to health care environments.
things learned Library
Community
Restaurant
Child Care
Park
Hosptial Yoga
Gym
Benefits of the Combination: • “brand” loyalty • satisfied costumers • extra revenue • higher job satisfaction • ability of preventative care • healthier community • understanding of hospital prior to use
academic.workshop.spring 2011
The implementation of this idea could be explored at any scale. An existing hospital with little room for expansion could simply use its large atrium to hold community events, or a ground up health campus could be created in a suburban setting, combining all aspects of a community center with the hospital.
I realized that writing can be a truly engaging method of understanding a problem. I disregarded all the images I had created prior to the writing and redeveloped my ideas to tell the story succinctly, in one graphic “voice”. This workshop was unique in that it made me create a cohesive visual argument and an accompanying text that would fully stand alone. The article is to be vetted and published later in 2012. I will remain engaged with the instructor through the editing processes and hope to be featured in the 12 article compilation for the fellowship.
Hospitals were created to heal the population. In this age of fortified and secured buildings filled with machines, the architecture of hospitals has lost its humanity. It is time we shatter the facades and embrace the community that surrounds and populates the hospital.
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reflections Working concurrently with school attendance has taught me a great deal about design implementation. I understand the constraints of engineering and construction, and allow practice to positively inform my design in studio based on this outside experience. I do not find the practicality of a design hindering my desire to push the envelope; it acts as another set of constraints in which to strive. Taking a design from conceptual study through schematic design to a construction document while realizing cost estimation and the technical aspects of building has allowed me to more fully understand what happens in a design project. Performing code reviews and creating specifications for public built work has given me an understanding of the full picture of practice.
The BAC has helped me to excel at my professional life by teaching me things not normally touched upon the workplace. Taking classes specifically about engineering, lighting, and acoustics has been beneficial as I have been simultaneously implementing that knowledge in practice. Doing so has made me much more interested in my classes, while also making me more valuable to the firm. The most beneficial class to me, so far, has been professional practice.
practice.
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overview This is a tiny playground renovation on the Harvard University campus. It is the first project where I was the main designer and project manager.
involvement • Playground design & detailing • Construction administration • Project management
initial design meeting at existing playground
OXFORD STREET DAY CARE PLAYGROUND - TREE HOUSE DESIGN
Oxford St Day Care Playground Renovation
August 2012 - Present My Role: Project Manager, Construction Administration
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things learned The main thing I learned from this project is the importance of communication - both in drawing, in person, in the field, about money, about scope and about the weather. The people at this day care, the contractor, the mill worker, the harvard representative all want to do really good work and there is a sense of comradery on this project that is often not felt on site. Yet there is no interest in design changes, scope creep, or surprises. This was both a lesson in what to do and what not to do.
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overview This is a renovation to an existing GSA own childcare center in St. Albans, Vermont. I became involved in this project after the proposal was submitted by a leaving associate and was left with a lot of missed engineering scope and code compliance ambiguity.
involvement
• Complete Construction Set • Code review • Project management • Client & consultant management • Project accounting
existing center
GSA Y’s Time Childcare Center Renovation September 2012 - Present My Role: Project Manager
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things learned The most important thing learned from this project was in regards to liability, client negotiations, and engineer accounting coordination. What was supposed to be a straight forward project easily became an extreme mess due to negligence on our part initially and the client not communicating the scope completely.
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overview
This project in New Jersey is a addition to an existing childcare center. The two story addition creates new infant and toddler classrooms as well as a multipurpose room, a courtyard and a roof garden. As a LEED project, we chose to reuse the materials from a demolished warehouse on site. Many unique details resulted.
involvement • entrance design • modeling assistance • millwork design and detailing • construction detailing • LEED finishes selection
T
model of ironbound addition
Ironbound Child Care Center
March 2011 - Present Team: Chris Howe (Project Arch), Sean Gray, Adam Collier + Me
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construction documents
inner roofgarden railing details
project model, mostly by our modeling genius with some of my help
details at entrance overhang (pictured in model)
things learned
courtyard playground trike shed, designed to reflect buildings language
The details for this project really challenged me. The building envelope was realitively straight forward, as we used the clients perfered E.I.F.S. What was challenging was connection from the new building to the existing as well as the developement of details for the roof garden playground using recycled materials. As this project had an impossible time table, a lot of the design work of the playground and entrance lobby display was completely up to me. It was enjoyable to have design freedom on a realitively large project.
entrance ramp and display wall built around existing sheer wall w/ interactive play ironbound childcare center.practice.march 2011 - present
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overview D.W. Arthur Associates has worked with the State University of New York for two different campus childcare centers. One is in Delhi, NY currently under construction, and the other is in Farmingdale, NY, currently in the final month of CDs.
involvement
• playground design and detailing • graphic creation • material finish selection • LEED specifications & documentation • construction documentation
delhi under construction
schematic sketch of delhi entrance, created by dino indra
exterior entrance delhi elevation reflecting clients color choice
State University of New York (SUNY) Delhi & Farmingdale Child Care Centers July 2010 - Present Team: Kelly Ryan (Associate), Adam Collier, Sean Gray, Dino Indra + Me
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playground during construction
playground design Having three manufactures for each specified element complicated the playground design as well. SUNY had a contract with one playground manufacturer, but all of their products were plastic. So in the schematic phase we chose to create the playground out of mostly custom millwork elements, and used only a few large playstructures from the manufacturer.
playground plan
Pulling upon what I had learned from Woodlawn, I designed and developed details for more playground elements.
construction photos: adam collier
construction details: me woodlawn playground renovation.practice.spring 2011-winter 2011
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Farmingdale Childcare Center
farmingdale entrance rendering, dino indra Floor Plan
SUNY Farmingdale Child Care Center SUCF 26295
Finish Schedule: Maple Vinyl Plank Tile Carpet VCT Ceramic Tile Walk O Mat Maple Millwork Accent Walls
interior sketches to demonstrate materials & color selections
plan material finish rendering
things learned
f i n i s h e s
I was asked again to select the material finishes for the next SUNY project. I learned from the previous project that specifying three different (but coordinating) materials, as necessity per the public bid, tended to lead to client expectation issues. This time around, I implemented this knowledge and only chose materials that could be easily replicated across three manufacturer’s offerings.
Lobby
Typical Preschool/Toddler Classroom
Typical Infant Classroom
Typical Preschool/Toddler Toilet
interior finish material rendering
LEED SUBMISSION TRACKING WORKSHEET LEED-NC: VERSION 2009 SUNY - Farmingdale Child Care Center Proj. No: Date:
Site Selection C SS-Prereq. 1
credit to be pursued credit not to be pursued maybe credit - likely to be obtained
basic: 40-49 points; silver: 50-59 points; gold: 60-79 points; platinum: 80 points and above
certification: LEED NO.
KEY
1009.01 04/08/11
POSS. POSS. INTENT CREDITS CRDITS (NC) (SCHOOL)
prereq.
SS-Prereq. 2 Credit 1
5 1
Credit 4.1
6
D Credit 4.2
1
D Credit 4.3
3
D Credit 4.4
2
C Credit 5.1
1
4 Alt. Transportation - Public Transit Access 1 Alt. Transportation - Bicycle Storage & Changing Rooms 2 Alt. Transportation-Low Emitting & Fuel Efficient Vehicles 2 Alt. Transportation - Parking Capacity
Clarify Denied
prereq.
credit
Anticipated prereq. credit
1
1 Stormwater Design: Quality Control
1
Credit 7.1
1
1 Heat Island Effect: Non-Roof
D Credit 7.2
1
1 Heat Island Effect: Roof
1
D Credit 8
1
1
Credit 9
n/a
1 Light Pollution Reduction Control 1 Site Master Plan
Credit 10
n/a
4 Water Efficient Landsc
2
2 Innovative Wastewater Technologies
4
4 Water Use Reduction
Credit 4
n/a
D.W. Arthur Associates Architects
LEED
In case the three manufacturer requirement wasn’t enough, all three options for each material also need to meet LEED requirements. I had to compile documentation for each material for recycled content, sourced locally, air quality, and rapid LEED worksheet renewal points. CIVIL CIVIL
CIVIL
ARCH
MEP
8 0 1
0
0 0
0
0 0
4
D Credit 3
WE - Subtotal
Photos showing installation of silt fence/local req'ts
CIVIL
1
prereq.
Water Use Reduction
4
civil to complete template & documents GC to take photos during construction
GC
LA
pursued maybe prerequisites prereq.
COMMENTS
CIVIL
CIVIL
1 Joint Use of Facilities
SS - Subtotal
Denied
CIVIL
1 Site Development - Protect or Restore Habitat 1 Site Development - Maximize Open Space 1 Stormwater Design: Quantity Control
1
Clarify
RESPONSIBLE ADDITIONAL TEAM INPUT TEAM MEMBER
ARCH
3
1
Credit 2
Anticipated prereq. credit
CONSTRUCTION CREDITS USGBC COMMENTS
prereq.
1
D Credit 1
credit
CONST. CREDIT SUBMISSION
4 Development Density & Community Connectivity 1 Brownfield Redevelopment
D Credit 6.1
Water Efficiency WE-Prereq. prereq.
LEED School Specific credit
DESIGN CREDIT USGBC COMMENTS
prereq.
D Credit 6.2
D Credit 5.2
DESIGN CREDIT SUBMISSION prereq.
Construction Activity Pollution Prevention prereq. Environmantal Site Assessment - Schools 1 Site Selection
1
Credit 2 Credit 3
credits pursued
2 4
MEP/FP
1 Proces Water Use Reduction pursued maybe prerequisites
10 0 0
0
0 0
0
0 0
1009_01-leed worksheet-tracking-021411.xls
I really enjoy picking out material finishes for our office projects, and these projects are no exception. They add complication, and working with specific requirements made their selection even more enjoyable. I also developed a certain Photoshop + CAD elevation technique to accurately demonstrate how finishes interact with each other that I will use again for future studio projects. This project was yet another challenge in designingInterior construction Elevations details for an exterior environment. The Delhi project is currently under construction, and having to answer field questions regarding my millwork has taught me quite a bit. We have another playground project in design at our office currently, and I’m currently using the many things I learned from this project to create a custom climbing structure between two existing trees. SUNY Farmingdale Child Care Center SUCF 26295
LEED tracking summary 1
woodlawn playground renovation.practice.spring 2011-winter 2011
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service
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overview
After having sparked my interested in social concious design and attended a Public Interest Design Institute conference, I discovered Architecture for Humanity Boston and have been volunteering ever since.
involvement • playground design and detailing • graphic creation • material finish selection • VOC specifications
Various Projects
Winter 2011 - Present
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make/shift A creative co-op in the south end of boston approached AFHB regarding the renovation of their newly acquired space. Working as a go between for the co-op and the owner and his hasty contractor, we set to make the finishing of the interior one which would reflect the spirit of the co-op as well as not present any life safety issues.
I personally was in charge of helping the 15 person co-op come together and agree upon finishes, no easy task. After one successful meeting, they literally applauded me. By next week, we’ll have created a finishes package to forward on to the owner.
things learned What I find liberating about AFHB projects is the lack of politics and dear I say it, money. Being able to work with people in a capacity where your work is appreciated and not scrutinized for how many hours you spent on it is entirely refreshing. I also, of course, love providing architecture in all its different faucets to people who really need it.
Other than the overwhelming sense of self righteousness, the experience also provides me with leadership and presentation skills.
project mema NGO Project Mema seeks to help two small Tanzania Nursery schools doing a multitude of projects to better their learning and playing environment. They approached AFHB to see if anyone would be available and willing to design a playground on a limited budget for their nursery school. As I have designed mulitple playgrounds on low budgets, I readily volunteered and am eager to see where this project goes. architecture for humanity boston.practice.winter 2011-present
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overview
Public Kitchen was an intervention aimed at social and food justice-an experiment in how more vibrant public infrastructures can improve the quality of our lives. Inspired by the family kitchen as a gathering place, the second prototype of the Public Kitchen invited Upham’s Corner and Dudley Street residents to feast, learn, share, imagine, unite and claim public space.
involvement • kitchen unit design • budget management • fabrication of kitchen units • interactive display design consultant
Public Kitchen
July - October 2012 Team: Design Studio for Social Intervention, Golden Arrows, Global Local Gourmet + me
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kitchen design & fabrication I teamed up with golden arrows design collective to be the architectural consultant and ended up falling in love with the project, the people and the idea. I helped design the mobile kitchen unit, that is easily collapsible into a flat pack. Designed using plumbing pipes, plywood, used sinks, and a camping stove. The design itself started big, but ended up simple and doable and was fabricated in little less than 48 hours.
things learned
I loved working on the public kitchen. Not only was a surrounded by outstanding people, communities and design studios, I was able to contribute my time and expertise to something I really believed in. Golden Arrows, the design collective who asked me for help, has asked me back to help them with other projects and I’m really excited to see where these new connections take me.
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. t h e a t r e . f i l m .graphics .furniture .photography
etc.
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theatrical The theater company 11:11 recruited me to be their prop master and fabricator for the second production of their 20102011 season. The play was set in 1950, and many of the props involved buying cheap antiques and scrounging up materials. After suggesting we make a series of fun headshots themed around the play’s concept, my role in the creative side of 11:11 grew exponentially. When asked to return to perform my previous role for their next production, I gladly accepted. Prop fabrication was as fun as it was creatively interesting, and having to create things such as ninja-star wounds made for a fun challenge. At one point, I was making suggestions regarding the programs in a production meeting, and was promptly assigned program design. Apparently I had learned nothing from the last play. But I gladly created the program, a mock guide to the museum featured in the play. It was a fun experience, and working with other creative people outside of architecture was fascinating.
Taryn Trapp is excited to be making her stage management debut. This is the fourth 11:11 production she has been involved in. She started working with 11:11 in the fall of 2010 as a Marketing Associate
Renee Roediger is all about the mastery of props and a few other things, including being a student of architecture and a graphic design enthusiast.
=-/B1 This is Caitlin Fergus’s second production with 11:11 theatre company. She recently designed ‘The Master Forger” with 11:11, ‘The Spitting Image’ with the Happy Medium and “Neighborhood 3: Requisition of Doom” with the A.R.T. institute. Caitlin is also currently an MFA candidate in scenic design at Boston University. For more info and recent work, please visit www.caitfergus.com.
Rosie Kenney is proud to be working with 11:11 for -2"# 64*-# -+?"@#A# 4"1"3-# .4)(&)-"# 54%?# B)'"?# B-)-"# University with a BFA degree in Technical Theatre, Rosie hopes to pursue a professional theatre career in directing. Past credits include Beast on the Moon, Europe, and The Tempest.
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>2+*# +*# 8)49# 7''"3# B-"CC+3*# 65-2# *2%$# $+-2# ::;::# (Master Forger, Foreverendia, From Places Unknown, Her Red Umbrella). Recent credits include , Hold, Music, One Arm and a Leg (PEGLEG, NYC), Good (Boston Center for American Performance, NYC), and Susannah (Boston University Opera Institute). She is the 2011 Recipient of the USITT Lighting Design Award. She was graduated from Harvard in 2008. www.maryellenstebbinsdesign.com
Brian Tuttle graduated from the University of Iowa with a B.A. in Theatre Arts in 2002. He has written 32 plays, many of which have received productions in New England or the Midwest. Recent credits include Foreverendia, Three UnWise Men and Her Red Umbrella(IRNE nomination-Best new play). Brian is 1&44"3-'9# $4+-+3.# 2+*# 64*-# 2+*-%4+1)'# 0+"1"# 1)''"(# >2"# Battle of Alexandria and a romantic drama entitled The Macawber.
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Museum Production Staff 74+3#8&44)9##64*-#$%4,"(#$+-2#::;::#$2"3#*2"#*1%4"(#')*-#*")*%3<*#=4")-# Expectations and Foreverendia. Since then she produced two musical variety shows for Club Oberon in Harvard Square and wrote the music for The Great Heathersby Heist—her third original musical. She lives in Brighton and is a graduate of the Berklee College of Music.
+,-&./-$&)*$0,1"2&3$4"-(2./-$5$67"38$9(&.:(-1;8
above: Heathersby House Headshots left: props i created and a production shot i took below: parts of the program created to look like a museum map
our most distinguished resident artist
!"#$%&'"()* Rourke Christina Malanga is thrilled to be making her debut with 11:11. She previously appeared as Nanny/Janice in Happy Medium Theatre’s The Effect of Gamma Rays...Other productions include Into the Woods (Little Red Riding Hood), Working (Rose) and No. 11 (Blue & White) (Suzanne). Christina graduated from Northeastern University with a double major in theatre and mathematics. Thanks to the cast, crew, Ma, Pa + Bee.
Melanie Josh Rilla is making his 5th appearance in the cast of an 11:11 show and is pretty darn excited to be back after a year-long hiatus. In addition to applying to graduate schools and coaching junior tennis players, Josh has recently become an adamant fan of Mexican Train Dominoes and invites any and all to join him in friendly competition. !"#$%&'(#)'*%#'+,"#-%#.+/"#)#*0"1+)'#-2)3,*#-%#2+*#0)4"3-*#5%4#)''%$+3.#*&12#.%%63"**# in his adolescent years as to make possible a play like this one.
Benj
Music In the Museum Presents:
entrance
%561"
%561"
Visitor Highlight
coat room
Act 2: “The Interrogation” Fromage and Rourke “Sure” Benj and Emily “Goodnightenschpleigen” Melanie “Preparations” Company “Sure (Reprise)” Emily and Benj “The Auction” Ariana “Mona Lisa” Fritz and Biddies “Finale” Melanie, Rourke and Benj
The Heathersby House
members lounge
e out e to mak great plac
courtyard
gift shop
[ the grotto of indecent thoughts ]
[ spend more money area ]
trinity gallery
dutch masters [ wow they loved fruit back then ]
Pottery meh
Tapastry Room
9(&*$/C$@(2,-".8$5$!-/7&?($ Evan Quinlan
Impressionists [ fellas who were drunk when they were painting ]
SECOND FLOOR
by begins to Lady Heathers *'.%/""' BEWARE ()*+,%-,%+&$%+& !"#$%&$'%#
Sitting Room Far Eastern Delights w
Act 1: “A Trip to the Museum” Company “Museum Ettiquette” Ariana, Biddies, and Company “Unconditional” Melanie and Rourke “In My Defense” Fromage and Emily “Unconditional (Reprise)” Ariana and Emily “Same Old / Days Go By” Benj and Emily Musical Musings from the Lady Erin Murray
[ the cat room ]
The Room of the Masters [ the room where the paintings are worth your life ]
[ 99 chairs on a wall ]
THIRD FLOOR
etc.theatrical.fall2010-presnt
the blank canvases of theft. As we cross over to our newest chapter Act 1:hundred years, I invite you to join us in making our mark of the next the future. A small donation would go a long way in helping us “Aon Trip to the Museum” 04"*"4/"#-2"#!")-2"4*C9#(""0#+3-%#-2"#-$"3-9#64*-#1"3-&49G##A3(#+5#9%&# are not able to make a donation, then simply do Lady Heathersby the Company honor of feasting your eyes for as long as you can, on the works that make up the great lady’s grand opus. Enjoy your visit. “Museum Ettiquette” -Emily Heathersby, Curator Ariana, Biddies, and Company “Unconditional” Our Staff Melanie and Rourke “In My Defense” A11".&).$+,-&./-$5$A-"&)& I)12"'# J)&?# +*# "K1+-"(# -%# 0)4-+1+0)-"# +3# 2"4# 64*-# Fromage and Emily 11:11 production. She was most recently seen in Patience(Reprise)” with The MIT Gilbert and Sullivan Players. “Unconditional She has also performed locally with The Footlight Ariana and Emily Club, Makeshift Theatre Co., & Blue Spruce Theatre. like to thank everyone involved with this “Same OldShe’d / Days By” production for Go making it happen and her friends and for their support. Benjfamily and Emily
FIRST FLOOR
13 not pg [ naked baby jesus room featuring mary’s bare bosom ]
meo
Musical Musings from the Lady Erin Murray
Musical Musings from We have gone on quite a journey in our storied hundred year history at the Heathersby. our humble origins as an out-of-the-way the Lady From Erin Murray oddity to a thriving museum with world-wide recognition. We have experienced the highs of artistic appreciation and the lows left by
[ biddies club ]
Music In the Museum Presents:
[ you dont want to know ]
D")4# E)-4%3F# -2)3,# 9%&# 5%4# 63(+3.# 9%&4# $)9# -%# %&4# 2%?"G# # H%&</"# come at the perfect time! We are in the midst of celebrating our 100 year centennial here at the museum. It’s hard to believe that it was only a hundred years ago that Lady Heathersby, my grandmother, opened the doors to the Heathersby House to the eyes of the world, so that we could all see the treasures she had spent her life collecting. My grandmother dedicated her life to the procurement of beauty, in whatever form it came. It was in that spirit that she went to the four corners of the world and came back with the most diverse collection of art to be found anywhere in New England. It was also in this spirit that led her to stipulate in her will that the Heathersby House be opened to the public but remain unchanged forever in its beauty. That is why nothing has been changed inside the museum for this entire century. Lady Heathersby secured her legacy for generations to come. I am living proof.
Room of Expiration [ the room of functional ” urns ]
“ew
joined 11:11 Theatre Company
in 2007. Since then he has acted in eight of the Act 2: company’s productions including this one. Evan works as a software product manager in Nashua, “The Interrogation” NH, posts original short stories on Drabbleshire.org, Fromage and Rourke adapted three stories by Edgar Allan Poe for 11:11’s Poe; a fever dream, and is currently writing a stage “Sure” adaptation of The Three Musketeers. Benj'/3,).((-$@.&CC$5$!-".D and Emily We welcome Murray Wheeler back for his seventh “Goodnightenschpleigen” appearance with 11:11. Since starting with the Melanie Footlight Club in Jamaica Plain in the mid-80s, Murray has appeared with such companies as the New “Preparations” Repertory Theatre, SpeakEasy, Centastage, and Boston Theatre Works. Murray lives in Cambridge Company where he tutors, does property management, and sings in a Cambridge chorus. “Sure (Reprise)” Emily and Benj Donors Circle “The Auction” Ariana E"**8 Bryan Killen is excited about making his debut “Mona Lisa” with 11:11, as well as his big debut performing as He has appeared in College productions Fritza woman. and Biddies such as You’re A Good Man, Charlie Brown, as well “Finale” as Godspell. Melanie, Rourke and Benj %&*8$E"**3(1 Lisa Dempsey is excited to be making her 11:11 debut with this fun & fabulous show. She is a recent graduate from Northeastern University with a degree in theatre performance and production. She was most recently seen in The Footlight Club’s A Midsummer Night’s Dream and Reagle Music Theatre’s: It’s Christmas Time. She’d like to give love to all the “biddies” in her life that have inspired her, support her, and continue to make her laugh every day.
%"..3($E"**8$F:&.$+/,3* Diana DiCostanzo (Assistant Director) is delighted to be working on her fourth 11:11 production, and making her debut on the 11:11 stage! A recent graduate of Emerson College, previous performing credits include Bear Patrol (Vaquero Playground) and various collegiate projects. Previous directing credits include most notably, L.O.V.E., an original, self-written musical. www.DianaDiCostanzo.com.
Music In the Museum Presents:
Lianne O’Shea is thrilled to be working with 11:11 again. She is a graduate of the University of Massachusetts Amherst (BA Theater). She currently works for “The NED Show”, a local, national and international touring children’s show. Her most recent productions include work with Makeshift Theatre Company, Ghosts and Gravestones of Boston and 11:11’s production of “From Places Unknown” last spring. A huge thank you to the cast and crew of Heathersby, thank you to Mike and all of my friends and family! Preston Graveline is in his third show with 11:11. He was in Poe: A Fever Dream and participated in the Fringe Wars. He has also worked with Boston Actors Theater, Happy Medium and Zero Point Theatre.
Welcome to the Museum
early renaissance room [ the hacks whose names you won’t remember ]
Act 1: “A Trip to the Museum” Company “Museum Ettiquette” Ariana, Biddies, and Company “Unconditional” Melanie and Rourke “In My Defense” Fromage and Emily “Unconditional (Reprise)” Ariana and Emily “Same Old / Days Go By” Benj and Emily Act 2: “The Interrogation” Fromage and Rourke “Sure” Benj and Emily “Goodnightenschpleigen” Melanie “Preparations” Company “Sure (Reprise)” Emily and Benj “The Auction” Ariana “Mona Lisa” Fritz and Biddies “Finale” Melanie, Rourke and Benj
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f
i
l
m
In 2009, I was approached by some Emerson friends to help with prop fabrication for a BA practicum film. The film was SYNC, a sci-fi CSI were agents travel back in time to solve unsolved murders. I created the key prop, the time machine/ evidence collection suitcase, out of a two-sided rifle case. It was a fascinating exploration in design, as it was an object that had to function up to a point but mostly just look great on camera. There were eight different light-up objects, some green-screens, toggles, and actual medical equipment. It all filmed gorgeously. I used free architectural samples for 50% of the construction. In the end it functioned, looked great, and cost about 50% of what was expected.
In 2011, I worked on another film project. A friend was creating a commercial for a new iPhone app, Rocket Boy Retro. I created the rocket pack and helmet, again with lights and operable parts created from mostly recycled objects. I also created a faux SNES cover for the game, set dressed an apartment to look like it was from the 1990â&#x20AC;&#x2122;s, and helped on set.
graphics 11:11 Theater Company dissolved in early 2011. Soon after, it recreated itself as Fresh Ink Theater Company. As I had been heavily involved in 11:11s graphics over the last year, I was approached to create Fresh Inkâ&#x20AC;&#x2122;s new logo. It needed to capture their mission: to put on fresh new local plays. To the left is the final logo, which everyone adores.
My aunt has an insurance company in Wilcox, Arizona that insures farms, ranches, equipment, and cattle. She asked me to create a new logo and sign for her company. To the right is the one of the logos I presented to her - a cow with a life vest, one of the funnier things Iâ&#x20AC;&#x2122;ve created.
etc.film+graphics.fall 2009-present
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FI enjoy u creating r n ifurniture t ubyr e transforming objects I have found on the curb and the free section of craigslist.
p h o t o g r a p h y Like any good hipster-in-denial 20 something, i have a collection of film cameras and use them frequently. I enjoy portraits of friends, strangers and ugly dogs(in no particular order).
etc.film+graphics.fall 2009-present
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thanks.
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