Scott Wilburn Work Samples & Resume
Occupied Ground
4-17
Renders Drawings Diagrams
5-7 8-13 13-17
UNWall
18-27
Drawings Diagrams
18-19 20-27
Inside the Box
28-39
Renders Drawings
28-37 38-39
More
40-62
PToL Manifold Tectonics - HyPar Over Under Technical Drawings Sketches Resume
42-47 48-49 50-53 54-61 62-65 66
Occupied Ground Exploring the dualistic nature of the plinth through the program of the embassy. In architecture the plinth is both simultaneously the problem and the solution to the domain between the street and the tower. At its inception in Greek temple the plinth was used to elevate, separate and create grandeur. The modernist interpretation of the plinth performs all these operations at the scale of the city block in an effort to solve the need for parking and enable the production of the tower. The plinth has never been the ground but the scale modernist plinth establishes a new ground on top of what has become a volume. Working in the vein of the Yokohama port terminal by FOA and the Taipei Pop Music center by Reiser + Umemoto that began to use the plinth as a means of activation and connection this project furthers that inquiry into the articulation of the plinth as an activated volume and new ground plane that is part of the urban fabric. However the inherent symbolic and physical separation of the plinth that sets it up as a place that is different from where you just left cannot be ignored and can be leveraged. Since the U.S. Department of States announcement of a new embassy in Mexico City and the foregrounding of embassy’s overseas with the incidents in Cairo and Benghazi last September, leveraging the plinths dualistic nature as something that separates and desires to connect, the embassy is the perfect place to test the plinth. This project is situated on the new U.S. Embassy site in Mexico City in a diverse neighborhood with residential, commercial, retail, cultural and industrial sites along its perimeter. The plinth will negotiate the need for different levels of security and protection as well as openness to the people and country that surround it.
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Scott Wilburn
The embassy shown in context with the diverse surrounding neighborhood.
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Occupying the new ground created by the plinth and looking out across its topography.
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Scott Wilburn
This image is intended to expressly show the new ground created by the plinth.
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Site Plan The United States recently purchased this lot from Mexico to build a new Embassy. The Site is in the middle of a mixed neighborhood with a multitude of different program types and scales from residential houses, to warehouses, industrial sites to twenty story office buildings.
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100
10
Scott Wilburn
50
25
Occupied Volume < Ground floor consists of the low security programs, including Citizenship & Immigration Services, Consular Affairs and everybodyâ&#x20AC;&#x2122;s favorite the IRS.
New Ground > The second level is mainly the new ground plane of the plinth but also includes the thickened plinth of the medium security area that contains the trade and agricultural services that are not frequented by the general public.
100
50
25
100
50
25
Vertical Plinth > The tower type contain the high as The Narcotics Marshals Service residence of the
levels of the plinth security programs, such Affairs Section, The US & the Chancery, office and ambassador.
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Scott Wilburn
Isometric Section The section shows the medium security plinth folding over itself then back and up to become the tower. The tower, or the object has historically sat on the plinth and has been read as separate, however by folding the plinth into the tower it becomes an integral part of the overall design.
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50
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Circulation Circulation Security Checkpoints
Low Security Programs Cultural Theater Cafeteria Public Affairs Citizenship & Immigration Services Consular Affairs RTAC Book Store Regional Technical Aid Center IRS Human Resources Battle Monuments Commissions
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Scott Wilburn
Medium Security Programs APHI Animal Lab APHI Phyto Lab Animal Plant Health Inspection Foreign Agriculture Service FDA Agricultural Trade Office Commercial Services Agency For International Development Economic, Environment, Science, Technology & Health Section Offices of US States in Mexico Additional Programing
High Security Programs Residences Chancery Defense Coordination & Defense Attache US Marshals Service Drug Enforcement Administration Narcotics Affairs Section Immigration & Customs Enforcement Customs & Boarder Protection Office of Foreign Assets Control
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Pre-Modern
Modern
Contemporary
Historic Plinth Typologies There are three basic types of plinth in the historic typologies, the pre-modern, the modern and the contemporary. The plinth in the pre-modern acts as a base, grounding and elevating the structure to increase its grandeur and set it apart from the site both physically and symbolically. The modern plinth acts in a similar function, however it is also born out of necessity for vehicular traffic and floor to area ratio requirements for a tower to be implemented on a site. The contemporary plinth becomes a sideways building that is then inhabited and moved through as a new topography and it may or may not have a tower, it is no longer necessary in the contemporary sense of the plinth because the plinth has become the building.
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Scott Wilburn
Location, Location, Location While all of these do create a new ground which is one of the characteristics of a plinth, not everything that creates a new ground is a plinth. The plinth must also have a relation to the original ground plane in order to be read as a plinth. The plinth may be elevated off of the ground, however after the plinth is raised more than a few stories it quickly stops reading as a plinth from ground level. Conversely when one occupies the top of the elevated surface it still retains some of the essential qualities of a plinth, referential separation from the surroundings and as a platform for an abject. As the elevation of platform increases both the reference to the ground and the size of the objects on the plinth decreases, weakening the reading of the surface as a plinth. When this new ground is situated at the top of the tower it no longer reads as a plinth because it is now purely self referential. For the plinth to maintain its reading as a plinth, from both the ground and its surface, it must maintain a referential separation which, while somewhat subjective, is no more than several stories.
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Taxonomy Some basic forms that a plinth may begin to take. While all of them may not be useful as a plinth, or even plinths, it is the beginning of exploration of the forms that a plinth may take. Several of these basic plinth forms were instrumental in the siting and formal strategy of the embassy.
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UNWall
East west section through the regional market and fishing industries.
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Scott Wilburn
When discussing tsunamis and different strategies to protect against them, the sea wall is an inevitable part of that discussion. However no single piece of infrastructure failed so wholly in the 311 tsunami. The sea wall has also been given partial credit for the slow demise of many coastal towns, cutting the people off from why they lived there in the first place, the sea. The solution to the first problem is to build a bigger wall; however, the solution to the second problem contradicts the first solution, remove the wall. One or the other. Today we build bridges for ships, floating walls for sinking cities and metropolises in the most unlikely places on earth. Why canâ&#x20AC;&#x2122;t we design a solution to both the problems these cities face? We can. Leveraging contemporary building practices and technologies as well as those that are emerging we can build both
Merging the sea wall with the city in an effort to protect the city while removing the physical barrier that is a disruption to life in a coastal town. the wall and the connection to the sea, we can UNWall these cities. In the creation of an UNWall we can strategically integrate the minimal solid wall portions and structural lattice buttress into the urban fabric rendering them invisible. Furthermore, because of the current need for city systems and facilities beyond simply a new sea wall, these can be seamlessly integrated into the UNWall enhancing its invisibility. We can also create and foster a direct connection to the ocean by designing lightweight composite doors that are passively activated by their own buoyancy in any event of increased water surge. The UNWall is just as much about creating and regenerating city life as it is about protection, it is about creating new cities and urban opportunities.
This project was developed while studying abroad in Japan. It was intended to be a fresh perspective on how communities could be rebuilt in the regions effected by the March 2011 tsunami.
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Site Plan
UNWall Superstructure UNWall Buttressâ&#x20AC;&#x2122; Memorial Gardens Water
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Scott Wilburn
City Programing Civic
School City Offices Police Department Fire Department
Commercial
Train Station Fishing Industry Comercial Fill-In Regional Market Resort Residential Canyons
City Egress Even in the event of a failure of the UNWall, because it stretches the mouth of the valley, the residence can still use the new topography on top to get to a designated safety zone.
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Energy Dissipation as Aesthetic Inspiration
Armored Revetment ARMOR LA YER
1
2 BAC KSL OPE
UNDE RLAY ER
SPL A APR SH ON
GEOT EXT GRI ILE/ D
TOE
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Tetrapod Connection Types Over 80% of Japans coastline has been engineered with about 50% of it consisting of tetrapod aggregations. While tetrapods do not dissipate as much energy as some other systems, they are the most stable, reducing the need for maintenance. The tetrapod is typically deployed in one of the three aggregations below, the first two being lattice structures and the third being a pile. The tetrapod formations already have interesting spatial qualities that were used as the inspiration for the formal and structural strategy behind this project.
Lattice 1
Lattice 2
Pile
Energy Dissipation Energy in water can be dissipated by creating turbulence. As water flows passed irregular shapes, rocks or the many small islands off the coast of Matsushima, it is forced in different directions creating turbulence and reducing the velocity of the tidal surge. The reduced velocity not only buys time for residents to get to safety but also takes the deadliest component out of the tsunami, the water velocity. The lattice structure of UNWall is intended to function in a similar capacity.
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Passively Activated Door Systems There are two different door types that are used in UNWall, the first of which is the flip type. The flip door is initially activated by the velocity of the tidal surge. The CFD simulations showed the viability of this approach. While admittedly the water velocity can not close the door all the way, the buoyancy of the door and the water pressure against the ocean side of the door would close it the rest of the way.
CFD Simulations The CFD simulations, provided by Bechtel, proved that the velocity of the water in a tsunami could be used to passively close doors. The door in the simulation was rotated through 40 degrees in 1.6 seconds before the simulation became inaccurate.
Road
School
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Scott Wilburn
Canyon
Residential & Comercial
Canyon
Civ
The second door type is the floating slot door. This type moves vertically in response to its own buoyancy. The benefit to this type is that there is no need for simulations, it works off of simple math. The buoyancy load acting on a submerged object is equal to the mass of the water it displaces times gravity. The disadvantage to this door type is that it may never fully close if the surge is not big enough, which would be rather disconcerting to the residents.
Viability of Large Doors We have used large doors throughout history for protection. With some of the largest doors being used the Mose system in the lagoon surrounding Venice Italy. The Mose system, coming online in 2014, uses chains of large doors that raise above the water level by their own buoyancy to protect Venice against tidal surges.
vic, Residential & Comercial
Imperial Palace 1603 4m x 3.5m
Riguzentogura 1963 9m x 3m
Mose System 2014 20m x 18-28m
Largest Door 25m x 12m
River
Canyon
Road
Comercial
Train Station
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Staged Reconstruction Strategy The reconstruction could be staged in order to affect the greatest change as it is needed. Everything begins with the train station which would allow easier transport of materials and machinery needed for reconstruction but also reopens these communities to the world.
Elementary School & Community Facilities
Residential & Commercial Fill-in
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City Facilities, Residential & Fishing Industry Facilities
Commercial Fill-in & Regional Market
Resort Facilities & New Housing Beyond UNWall
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27
Inside the Box Inside the Box is an adaptive reuse project of an old warehouse in the Los Angeles Arts district. The two story addition on top of the existing structure transforms the building into a near perfect cube. The units, modules and materials used in the addition are all derived from close study of the original building causing the building to be read as a whole instead of the usual juxtaposition of pieces found in the additions of many adaptive reuse projects. This project was not about clever planimetric or sectional manipulations but instead focused on the creation of simple beautiful spaces. All of the special moments in this project happen internally as private moments of beauty and introspection. All of the public spaces are designed to be minimal but rich, allowing for new understanding with the passing time.
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Loft Space
Loft Space
5th Floor
Restaurant Patio
Exercise Room
Lounge
Mechanical Room
Restaurant Bar
Kitchen
6th Floor
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Scott Wilburn
Water Patio Pool
Olympic Length Lap Pool
Meditation Garden
Panorama Garden
7th Floor
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More
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PToL PToL is a robot that responds to its environment with physical movement. There are a series of photo sensors that articulate servos that in turn cause the muscles to flex and pulse. As one gets closer the muscles tense up, contracting in response to your presence. Its movement is similar to that of a jellyfish.
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Scott Wilburn
The
Adagio PToL - 1.2
CPU - Primary Muscle Control
Secondary Muscle Control
Primary Muscle Joint Attachment
Secondary Muscle Joint Attachment
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The
Adagio PToL - 1.2
CPU - Primary Muscle Control
Secondary Muscle Control
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Scott Wilburn
Manifold Tectonics - HyPar Manifold Tectonics explored the relationship between armature and skin as well as between structure and ornament. The exploration of this was done through the combination of two different buildings that dealt with these issues differently. One building was to be the host, Chapel Lomas de Cuernavaca by Felix Candela, providing the basic form and structural principals of the building. The second was to be the virus, Tokyo Prada Store by Herzog and de Meuron, a building using contemporary structural and facade technologies that would infect and transform the host building.
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Over Under Over Under inverts the typical configuration of parking on the bottom and habited zones on top. The inversion of this typical organization returns the ground plane to the pedestrian and fosters community.
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Technical Drawings
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210
240 Match Line - See A1.3.1 See A1.3.2
X
270
X
300
X
330
X
360
X
X
2 A2.2
A5.3, A8.5
A8.3
13'-6"
UP Space 2-2
11'-3"
UP
Rock Garden
UP UP
4'-6"
6'-9"
9'-0"
A8.8
7'-6" 5'-0"
UP
A3.4
UP
Space 2-3
A8.8
10'-0" Office
Office Janitorial Space 2-1
A8.4, A8.6, A8.9
Match Line - See A1.3.1 See A1.3.2
A5.1 - A5.3
210 X
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2 A2.2
240 X
Scott Wilburn
270 X
300 X
330 X
360 X
Y
20 feet
30 feet
DATE
12/05/2011
DRAWN BY
A1.3.2
X
12/05/2011
90
DESIGN DEVELOPMENT
X
11/28/2011
6
60
DESIGN DEVELOPMENT
X
10/24/2011
5
30
10/17/2011
DESIGN DEVELOPMENT
SCOTT WILBURN
swilburn@outlook.com
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Y
DESIGN DEVELOPMENT
4
0
10/10/2011
3
Y
X
120
DATE 09/26/2011
37
PROJECT
1
DESIGN DEVELOPMENT
A2.1
2
Y
X
150
A5.1 - A5.3
10 feet
DRAWING REVISIONS: NO. DESCRIPTION 1 DESIGN DEVELOPMENT
A5.3, A8.5
X
180
X
180
20 feet
X
Space 2-1
A8.8
4'-6"
UP
13'-6"
X
210
A8.4, A8.6, A8.9
210
1/8" = 1'-0"
X
SCALE
150 Match Line - See A1.3.1 See A1.3.2
5'-0"
30 feet
UP
240 X
A
6'-
UP
11'-
Janitorial
UP
X
240
5'-0"
7'-6"
X
A8.3
Space 2-2
X
X
A5.3, A8.5
DESIGN DEVELOPMENT DESIGN DEVELOPMENT DESIGN DEVELOPMENT
4 5 6
X
X
X
330
2
A8.8
2
A2.2
10'-0"
X
360
X
360
UP
10 feet
X
390
X
390
20 feet
12'-6"
X
420
X
420
UP
12'-9"
X
450
DECEMBER 5TH 2011
30 feet
X
450
X
DATE
12/05/2011
DATE
12/05/2011
A1.3.2
SHEET NUMBER
11/28/2011
10/24/2011
10/17/2011
10/10/2011
DATE 09/26/2011
42012/05/2011 DESIGN DEVELOPMENT
DESIGN DEVELOPMENT DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
6
PROJECT
5
4
DESIGN DEVELOPMENT 3
2
DRAWING REVISIONS: NO. DESCRIPTION 1 DESIGN DEVELOPMENT
X
450
X
480
Space 2-4
7'-6" UP
X
510
Space 2-5
A8.8
A8.3
X
540
X
570
Space 2-6
X
570
A5.1 - A5.3
A5.3, A8.5
10 feet
Space 2-7
X
600
20 feet
A8.4, A8.6, A8.9
X
600
Space 2-8
X
630
10'-0"
A8.6
X
630
30 feet
X
660
X
660
A8.8
DECEMBER 5TH 2011
pace 2-8
PROJECT
6
5
4
3
2
12/05/2011
DATE
SCOTT WILBURN
A1.3.3
X
12/05/2011
11/28/2011
10/24/2011
10/17/2011
10/10/2011
DATE 09/26/2011
630 SHEET NUMBER
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
10'-0"
A8.6
DRAWING REVISIONS: NO. DESCRIPTION 1 DESIGN DEVELOPMENT
1/8" = 1'-0"
SCALE
GALERY LEVEL
TITLE
MATTHEW MELNYK JAMEY LYZUN
CONSULTANTS:
X
630
INSTRUCTORS: SCOTT URIU, PAVEL GETOV
DRAWN BY
330
A2.2
1/8" = 1'-0"
SCALE
GALERY LEVEL
TITLE
5'-0" UP
UP
X
540
DRAWN BY
300
A5.1 - A5.3
UP
12'-9"
X
510
SCOTT WILBURN
270
Office
Space 2-3
UP
X
480
DRAWN BY
UP
9'-0"
Rock Garden
Match Line - See A1.3.2 See A1.3.3
SCOTT WILBURN
A1.3.1
X
240
Janitorial
A3.4
UP
X
450
Match Line - See A1.3.3 See A1.3.4
13
UP
6'-9"
UP
X
420
INSTRUCTORS: SCOTT URIU, PAVEL GETOV
UP
13
SHEET NUMBER
12/05/2011
11/28/2011
10/24/2011
10/17/2011
10/10/2011
DATE 09/26/2011
210
DESIGN DEVELOPMENT
3
13
PROJECT
DESIGN DEVELOPMENT
2
DRAWING REVISIONS: NO. DESCRIPTION 1 DESIGN DEVELOPMENT
1/8" = 1'-0"
SCALE
GALERY LEVEL
TITLE
A8.4, A8.6, A8.9
Space 2-1
A8.8
4'-6"
UP
Office
300
MATTHEW MELNYK JAMEY LYZUN
11'-3"
X
270
CONSULTANTS:
UP
X
240
MATTHEW MELNYK JAMEY LYZUN
13'-6"
Match Line - See A1.3.1 See A1.3.2
CONSULTANTS:
X
210
INSTRUCTORS: SCOTT URIU, PAVEL GETOV
DECEMBER 5TH 2011
GALERY LEVEL
X
TITLE
120
X
660
X
660
A8.8
UP
MATTHEW MELNYK JAMEY LYZUN
74
X
450
X
12'-6"
Y
420
90
12'-9"
111
X
60
X 7'-6"
X
690
X
690
A5.1 - A5.3
A5.3, A8.5
UP
X
720
5'-0"
X
720
X
750
X
750
X
780
X
780
Match Line - See A1.3.2 See A1.3.3
10 feet
X
810
X
810
X
148
X
UP Match Line - See A1.3.2 See A1.3.3
390
30
Match Line - See A1.3.2 See A1.3.3
UP 20 feet
450
Match Line - See A1.3.1 See A1.3.2
X
840
X
840
30 feet
A2.1
1
DECEMBER 5TH 2011
Match Line - See A1.3.1 See A1.3.2
X
Match Line - See A1.3.2 See A1.3.3
10 feet
420
Match Line - See A1.3.2 See A1.3.3
X
Match Line - See A1.3.3 See A1.3.4
390
Match Line - See A1.3.3 See A1.3.4 Match Line - See A1.3.3 See A1.3.4
INSTRUCTORS: SCOTT URIU, PAVEL GETOV
CONSULTANTS:
X
13
SHEET NUMBER
59
Y
0
Y
37
Y
74
Y
111
Y
148
DECEMBER 5TH 2011
12/05/2011
DATE
SCOTT WILBURN
12/05/2011
11/28/2011
10/24/2011
10/17/2011
10/10/2011
DATE 09/26/2011
A1.3.4
SHEET NUMBER
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
DRAWN BY
13
PROJECT
6
5
4
3
2
DRAWING REVISIONS: NO. DESCRIPTION 1 DESIGN DEVELOPMENT
1/8" = 1'-0"
SCALE
GALERY LEVEL
TITLE
MATTHEW MELNYK JAMEY LYZUN
CONSULTANTS:
INSTRUCTORS: SCOTT URIU, PAVEL GETOV
STAINLESS STEEL RECTANGULAR HANDRAILS HANDRAIL BRACKET CLAMPS IN PLACE BETWEEN GLASS PLATES
RUBBER STRIP CUSHONING THE GLASS PLATES
VARIES - MAX 0'-4 9/32"
LIGHT GUAGE GALVANIZED FRAMING
METAL CHANNEL FOR GLASS PLATE
RUBBER CUSHIONING PAD
VARIES - MAX 0'-4 9/32"
SCALE: 3" 1'-0"
30'-0"
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DECEMBER 5TH 2011 INSTRUCTORS: SCOTT URIU, PAVEL GETOV
CONSULTANTS: MATTHEW MELNYK JAMEY LYZUN
5'-0"
2'-6"
TITLE
RAMP DETAIL VARIES - MIN 8'-6"
5'-0"
42"
SCALE
1" = = 1/8" 0'-6" 1'-0"
INDENTATION FOR MOSS DESIGNATES ADA ACCESSIBILITY AREA DRAWING REVISIONS: NO. DESCRIPTION 1 DESIGN DEVELOPMENT
DATE 09/26/2011
2
DESIGN DEVELOPMENT
10/10/2011
3
DESIGN DEVELOPMENT
10/17/2011
4
DESIGN DEVELOPMENT
10/24/2011
5
DESIGN DEVELOPMENT
11/28/2011
6
DESIGN DEVELOPMENT
12/05/2011
MOSS WALL HANDRAIL PROJECT
GLASS PLATE
SHEET NUMBER
13 DRAWN BY
SCOTT WILBURN DATE
12/05/2011
A8.3 swilburn@outlook.com
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Sketches
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Scott Wilburn
Room Graphite on cold press bristol.
< Chair & Drape Graphite on cold press bristol. > Japanese Garden, Tokyo Ink on sketch paper.
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Scott Wilburn swilburn@outlook.com
925.997.3645
Objective I am eager to further my understanding of the intersection between real world architecture, design, tools and techniques in the professional realm. For me the integration of architecture into urban streetscapes is equally as important as the detailing of an individual room.
Savvy Computer
Making
Rhino
Navisworks
Sketching
Wood Working
Maxwell V-Ray Grasshopper
Adobe
Drawing
CNC Milling
Model Making
3D Printing
Sculpting
Laser Cutting
)LUHÀ\
Maya AutoCAD
Photoshop Illustrator InDesign Premier After Effects
0LFURVRIW 2I¿FH
Revit
Welding
Learn SCI-Arc//2009-2013
Diablo Valley College//2006-2009
Bachelors of Architecture
Focus on architecture and GE Units
Work BIM Coordination
Teaching Assistant
Walt Disney Imagineering//2013-Present Spatial & Parametric Analysis//Custom Revit Family Creation//File Set Up & Maintainance
SCI-Arc//Fall 2012
Management Sales Associate & Print Specialist SCI-Arc Supply Store & Print Center//2012-2013
Blockbuster Video//2006-2009 Electronics Boutique//2005-2006
In-Print Applied Dynamics: A Critical Approach to the Reconstruction of Tohoku
Tokyo Construction Daily Reporter 2012-08-23
SCI-Arc Publications 2013
Exploits Co-curated and displayed work in a special exhibition of exemplary undergraduate thesis projects as an extension of SCI-Arc’s 40th anniversary celebration and in conjunction with LA Art Walk. In the summer of 2012 I studied abroad in Japan for three months focusing on the Tsunami effected areas of the Tohoku region and different
rebuilding strategies. Working with multiple simulation technologies, various design approaches were tested with the help of engineering consultants Bechtel and Arup. In conjunction with John Knox Presbyterian in Dublin California I helped to build four houses for impoverished Mexican families near the US Mexico boarder in the Tijuana area.