PERSONAL LETTER OF INTEREST
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RESUME 2
ACADEMIC STUDIO PROJECT 4 SKETCHBOOK 20
PROFESSIONAL McDougal Architects 24 Anderson Porter Design
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INDEPENDENT COMPETITIONS 34 FREELANCE PROJECTS 36
Rodney Cudmore 936 Centinela Ave Santa Monica, CA 90403 tel: 310-424-0207 rodneycudmore@gmail.com
To Whom It May Concern, I recently completed my M.Arch. thesis in Boston and am seeking full time employment in a progressive architecture firm. I hope to find a position that will allow me to take on the challenge of projects with a high degree of complexity in order to develop professionally. I am currently located in the Los Angeles Area. Before attending architecture school, I worked in the construction industry, building custom homes. I started as a laborer, but soon took on the role of site supervisor for a residential renovation. During this time I also completed a certificate in construction project management by attending courses at night and on weekends. I also have experience working in architecture offices on a variety of projects. In my previous position at Anderson Porter Design, I learned a great deal about zero energy design using a super-insulated building envelope and the application of photovoltaic panels. I was able to participate in design decisions as well as developing the infographics for communicating the concepts of the development. Having experience in both construction and architectural design, makes me better able to communicate with contractors, engineers and clients. Since I have knowledge of building systems, methods and materials, I am able to assess the ‘buildability’ of details from a contractor’s perspective. I can supply references upon request. Please let me know if you think my skill set would be an asset to your company. Best Regards,
Rodney Cudmore LEED AP
Boston Architectural College - M.Arch. - 09/07-05/12 (Graduation Pending) University of Toronto - B.A. (Hons.) - Architectural Design - 09/99-05/04
Autodesk Revit Associate + Professional Certificates 2011 LEED AP Building Design + Construction - Member 01247469 Construction Project Management Certificate - George Brown College 2005-2007
Glassman Bailey Travelling Scholarship - Paris 2009 Awarded based on an essay and portfolio submission
Graphic Design - Adobe CS5 PhotoShop, Illustrator, InDesign Drafting and BIM - Autodesk AutoCAD + Revit Generative Modeling - McNeel Rhinoceros, Grasshopper 3D Media Production - Sony Vegas Pro 11
ALGODE 2011 - International Student Collaboration - Japanese Tea House Design Dingbat 2.0 2010 - Los Angeles Forum for Architecture and Urban Design - Re-Inventing the Dingbat Typology
Junior Designer 02/12 – 05/12 Anderson Porter Design, Cambridge Communicated with client representative and participated in site meetings Produced project manual and permit set Created and implemented an office technology update strategy Graduate Level Teaching Assistant 09/08 – 01/09 Boston Architectural College, Boston Established leadership role and mentored students Evaluated student performance in a critical and constructive manner Responsible for maintaining office hours and meeting with students Intern Architect 10/07 – 05/08 McDougal Architects, Inc., Boston Contributed to construction documents and made changes Communicated with clients and consultants Managed time efficiently to satisfy deadlines Site Supervisor 06/04 – 04/06 G.E.S. Construction, Inc., Toronto Planned and Scheduled Sub-contractors Supervised laborers and prioritized tasks Estimated quantity of material required and placed orders
Ambar Residence - Tarzana, California, 2012 - Developed schematic design options for renovation Mirza Residence - Mississauga, Ontario , 2012 - Prepared drawings and 3D visualization for basement renovation Mozayyan Residence - North York, Ontario, 2007 - Prepared permit proposal for addition and renovation King Residence - Toronto, Ontario, 2006 - Prepared permit proposal for new driveway and parking area Evans Residence - North York, Ontario 2004 - Prepared Permit Drawings for 2-story addition
ACADEMIC
Masters Studio C: Concrete Thinking Boston Architectural College Fall 2010 Instructors: Kevin Losso Duration: 12 weeks This studio explores the materiality of concrete, using the typology of the crematorium as a design premise. Using this section of “Sonnets to Orpheus” by Rilke, this project explores notions of Directional Transformation and phenomenal transparency. There is a complex relationship between the original German words “uberhaupt ubersteht” which mean “is about all about” (uber = about). Rilke uses a pun to compare ‘physical survival’ and ‘existential existence’ (or transcendence?) in both words.
“ANTICIPATE ALL FAREWELLS, AS IF THEY WERE, BEHIND YOU, LIKE THE WINTER YOU JUST WEATHERED. BECAUSE AMONG ALL THE WINTERS THERE IS ONE SO ENDLESS WINTER, THAT, OVERWINTERING IT, YOUR HEART PREVAILS ALTOGETHER.”
One of the most influential factors on the immediate site is the presence of many mature trees of various species. Different trees, depending on whether they are coniferous or deciduous will create different site conditions seasonally. The fall colors of the deciduous trees are golden, brown, and deep red, whereas the conifers do not change. This means that although some aspects to the site are constantly changing, others remain constant.
Cedrus Libani
Davidia involucrata
Picrasma Quassiodes
The most compelling aspects of the site can be assessed sectionally. The changes in elevation create a distinct separation of the different 'ground planes' This condition is interesting because in order to connect to another ground plane, one must redirect their gaze above or below the typically horizontal plane that one has become accustomed to using in order to understand the surrounding environment. Also, some of the cemetery's largest trees are located in close proximity to the site. The changes in topography allow various relationships to the height of these trees, which can be as tall as eighty feet high. Being at the top of the hill changes one's view of these important elements around the site.
The spaces were arranged to allow for parallel movement through each system, as one of the aspects of the poem reflected the fact that awareness of other realities actually facilitates the transformational process.
The project challenges the notion of indoor and exterior, by separating the traditional part of the building envelope into different zones. The tubes, where the services will be held will be environmentally conditioned, while the interstitial spaces will be sheltered from the elements, but will not be conditioned space.
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The formal expression of this project explores the place of the inhabitant amongst the structure. The idea of the wall dissembled allows for the inhabitation of interstitial spaces and the reinterpretation of poche space.
P - Porte Cochere C - Chapel Space W - Waiting Area R - Remembrance Space A - Ancillary Spaces
The form of the tubes was based on the concept of creating joined, not separate spaces. The profile is an adjusted pentagon, which allowed for interesting intersections with the adjacent tubes, and the desired sweeping height of the interior spaces.
The four chimneys in the project are sculptural elements that are made of concrete and precast off-site. Using a formwork ‘machine’, The process will allow a high degree of differentiation of parts, while using a common formal language. Once placed on site, the top is cut to become flush with the building skin.
ROTATE MAIN SUPPORTS
BUILD INNER AND OUTER FABRIC
LOCATE SPACERS
BUILD SPACERS
Formwork Section Detail
TEFLON FABRIC PLASTIC FLEXIBLE WASHER 6” PLASTIC SPACER W/ REMOVABLE FLEXIBLE FLANGES, FOAM RIM AND STEEL CORE LIGHTWEIGHT CONCRETE W/ FIBERGLASS ADMIXTURE HHS STEEL STRUCTURAL FRAME
In order to explore the materiality of concrete, two methods of concrete design are utilized in order to address the different design goals of each component. The foundation and tube bases are poured in place and some of the formwork is left in place, exposing the method of construction to the users.
Rendered Wall Section Showing Materials
Wall Section Detail
WEATHER BARRIER EXPANDED STAINLESS STEEL OUTER SKELETON 1/2” GALVANIZED STEEL BOLT ANCHORED WITH EPOXY ADHESIVE
POLYURETHANE WALL PANEL ACTING AS VAPOUR BARRIER WHITE BATT INSULATION 1/2” GALVANIZED STEEL BOLT FASTENNED WITH NUT CAULKING
1/16” COPPER FLASHING /W/ DRIP EDGE
3/4” STEEL REBAR LIGHTWEIGHT CONCRETE POURED IN PLACE
VAPOUR BARRIER 4” RIGID INSULATION
1/2” THREADED ROD ANCHOR FASTENNED WITH NUT 2” ROUGH TIMBER FORMWORK SANDED AND STAINED
EPOXY SEALANT
The upper portions of the enclosures are a custom composite wall solution of expanded polished stainless steel skeleton with soft, translucent polyurethane panels fastened to the interior. The finishes used in the project reflect the site as well as the idea of overwintering. The wood form is made of red oak, a tree found in close proximity to the site. The colors of the deciduous trees in autumn are inspiration for the polyurethane inner panels of the tubes, to evoke the idea of overwintering.
The structural system will attempt to maintain the design intent of the project. In order to do so, the cantilever effect of the pathways must be preserved through strategic use of structural members. The base supporting elements are constructed of concrete and introduce a new design language into the project, juxtaposing rectilinear elements with the polymorphic forms of the ‘tubes’. These load bearing elements are used as foundations on which to bear the horizontal steel members.
Load Upper Level W1 = [Dead Load + Live Load + Self Load] x Safety Factor
= [(130cu.ft. x 100lb/cu.ft.) + (80lb/sf x 260sf )+ (26ft. x 12 lb/Lf )] x 125% = [13,000lbs + 20,800lbs + 312lbs] x 1.25 = 43 Kips of Force
Load Lower Level W2 = [Dead Load + Live Load + Self Load] x Safety Factor
= [(110cu.ft. x 100lb/cu.ft.) + (80lb/sf x 220sf )+ (22ft. x 12 lb/Lf )] x 125% = [11,000lbs + 17,600 + 264] x 1.25 = 36 Kips of Force
Total Load
WT = 43 + 36 = 79 Kips
Critical Buckling Load of Column A [W10x12]
COLUMN A
Effective Length of Column Fixed at Both Ends = 12ft x 0.5 = 6ft w third point bracing PCR = π2 E I / L2 = (9.86) (29.6 x 106 lb/in2 ) (2.2 in4 ) / 5,184 sq.in. = 124 Kips
Therefore, the selected W10x12 Column is sufficient to support the load.
POURED CONCRETE BEARING WALL
12’
WIDE FLANGE STEEL GIRDER MIN 12” BEARING ON WALLS AND MOMENT CONNECTIONS
40FT UNIFORM LOAD
35FT UNIFORM LOAD
Shear Wall
12’
44’ POURED CONCRETE BEARING WALL
28’
34’
Different than a traditional crematorium, the building functions are not hidden, but rather open to view. This decision is based on the Rilke’s view that knowledge is a means by which on can gain peace of mind. These considerations result in a very porous and sublime design while accommodating ancillary spaces in adjacent supporting structure. Light is filtered through the various layers and openings, reflecting off the various materials, creating interesting patterns and colors. One can see in the crematoria in the lowest level, the effects of this.
Sketchbook France, 2009
PROFESSIONAL
McDougal Architects Principal: Beth McDougal Address: 151 Pearl St. 3rd Floor Boston, MA 02110 Duration: 9 Months Position: Intern Architect Transverse Section
Rear Elevation
First Floor Plan My responsibilities included making changes and coordinating plans, sections and elevations and making some design decisions.
Slesar Residence | Main Floor Plan I was responsible for producing all construction documents from given hand sketches. Harrington Residence | SketchUp I produced these images in order to present two different options to a client.
Supervisor: Brian Anderson Address: 875 Main St. Suite 200 Cambridge MA 02139 Duration: 4 Months Position: Junior Architect (temporary)
INDEPENDENT
This project maintains the spatial relationships of the traditional Tea House, but deconstructs the whole into fragments. The boundaries of public/private and interior/exterior are expanded into fields of gradual change. This strategy uses the idea of the Japanese fan to create adjustable space. It establishes two entrances, and a rotational circulation.
The canopy is an adjustable envelope that can expand based on the twisting capability of the material. The form could rise from the ground, as an extension of the landscape. The model shows straight pieces of wood, however, the intent is to twist the wood along its length. An algorithm could be developed that associates width, length and rotation of each piece.
The structural strategy is to use a system of hinged frames that support the interior and exterior skins. The geometry of the system is based on a 1:2 trapezoidal grid, an interpretation of the traditional tatami mat arrangement
CONTRACTED
EXPANDED
Ambar Residence 2012 Tarzana, California Documentation of Existing Conditions and Renovation