Architecture Portfolio | Sean Brungardt by Sean Brungardt

Sean J. Brungardt

Assoicate AIA Masterâ&#x20AC;&#x2122;s of Architecture | University of Kansas [2017] Architecture & Design Portfolio

FLUID

County Courthouse

MUD HUT 16

Design-Build Renovation Project

SJ SEAN

26 HWA

Projects from Hoefer Wysocki

JAME

RESUME 56

48 ADDITIONAL

BRUNGARDT

Other Selected Works

36 HELIX

Projects from Helix

FLUID

Transposition: Travis County Courthouse, Austin Texas

Can a monolith be a fluid? This was something a group of myself and two other classmates asked ourselves along the path to designing this County Courthouse for Austin Texas for our Comprehensive Studio. Can a space which reads as a strong and austere pillar of the community, also be a comforting and reflective space? “Fluid” represents the most cohesive synthesis I have ever been fortunate enough to experience. Along the way each group members ideas were added and strengthened the collective design. The end design embodied our idea of strength while uplifting and comforting those in the same way which the Justice system seeks too. “Fluid” required a synthesis of three individuals and everything we had collectively learned to this point, along with the complexity of juggling the public, restricted, and secure pathways and parts of a courthouse. This synthesis resulted in the highlight of my undergraduate career: Fluid.

DISTINCT TOWERS

CONNECTION

SHIFT

An initial concept was to drive the form of the building by placing it on top of a plinth and extruding two primary cores upwards to house the primary courtroom typologies.

In order to connect the cores, an axial notion was introduced to provide a strong relationship between each ends of the building. By creating a bridge, opportunities to view the entirety of Austinâ&#x20AC;&#x2122;s downtown skyline became possible.

The form of the building became more resolved when we began to imagine the potential of moving the floor plates in contrasting directions. The bridge became slanted and the cores were pulled to opposite site corners.

OPENINGt With such a large building, we wanted to find a way to incorporate the site at some level. By aligning the plinth with the core shifts, openings at each end of the site created entry conditions for pedestrians and vehicles alike.

SCULPTING

UNDULATION

In keeping with its monolithic qualities, the building began to feel like a block of marble to be shaped and sculpted. We manipulated floor plates further and made strategic decisions about the glazing system to best complementary its dynamic facade.

By undulating the central axis and its facade in addition to pulling away further from the building at its sunken entries, we were able to make the building more aesthetically interesting, open to public engagement and increased accessibility.

N 7

- Public - Restricted - Secure

Floor Plan Key

om Ro SF 103

ir Sta SF 232

JC SF

106

. . Int Atn SF 64

SPSF 40

107

SPSF 40

HC SF

IC SF

107

SPSF 40

IC SF

107

SPSF 40

SP SF 49

IC SF

121

IC SF

107

SPSF 39 a Are c. SF Se 5 307

SPSF 40

. . Int Atn SF 74

v. ff Ele eri SF Sh 78

c. Pro s. SF Pri 380

HC SF

106

HCSF 99 y bb Lo 6 SF 414

. Rm nf. SF Co 403

HC SF

f. Rm Of c. Se SF urt 623 Co

m. Ad s. SF Sy 150

a. Level 11 - +210’ b. Level 5 - +78’ c. Level 4 - +56’ d. Level 3 - +34’ e. Level 2 - +12’ f. Level 1 - -12’

ss ce Ac b. 9 SF Pu 102

HCSF 81

ir Sta SF 242

WCSF 76

HC SF

v. Ele SF 86

v. Ele SF 87

WCSF 76

HC SF

v. Ele SF 86

132

SPSF 84

. k Rm ea SF Br 300

Are rk Wo SF en 9 Op 152

HC SF

172

. e Rm Fil SF 250

m. Co c. SF Se 492

WCSF 98

WCSF 60 HC SF

HC SF

119

145

il Rm Ma py SF Co 250

. As ec SF Ex 151

. As ec SF Ex 149 Rm ss ne SF Fit 991

a Are s. SF Re 3 333

. As ec SF Ex 149

e fic Of pt. SF De 120

ult Va e. Fir 97 SF

e fic Of pt. SF De 120

om r Ro cke SF Lo 188

e fic Of pt. SF De 120

ice Off p. SF Su 204

ice Off p. SF Su 202

e fic Of pt. SF De 120

ir Sta SF 242

er ow Sh SF 50

n mi Ad SF 161

m oo rkr Wo e / SF rag 184 Sto Are rk Wo9 SF en Op 127

a n mi Ad SF 162

n mi Ad SF 139

n mi Ad SF 111

n mi Ad SF 138

WC SF 81

v. Ele SF 95

. cp Re SF 224

e rag Sto

e rag Sto rm SF 91

v. Ele SF 87

ce ren nfe Co SF ge un 607 ff Lo Sta

HC SF 106

WCSF 79

v. Ele SF 103

WC SF 89

WCSF 72 il Ma ing py SF Co 381

v. Ele SF 89 v. t Ele igh SF Fre 134

e rag Sto rm Te SF ng 275 Lo

JC SF 172

a Are s. SF 502

v. Ele SF 97

v. Ele SF 86

om Ro SF 38

ort Sh

v. Ele SF 87

SL SF 353

y rar Lib SF 275

ll Ha SF 364

WC SF 116

WC SF 143

v. Ele SF 87

WC SF 159

WC SF 159 WCSF 74

m oo rkr Wo e / SF rag 275 Sto

om Ro SF 81

WC SF 111

ge un Lo SF 264

ng Lo

rd co Re SF rm Te 576

HC SF 106

WCSF 81

ir Sta SF 242

JC SF 116

WCSF 81

. Rm rry SF Ju 244

SL SF 92

n mi Ad SF 275

C SF 38

v. t Ele igh SF Fre 134

. Rm ch SF Me 195

v. Ele SF 87

SP SF 101

v. Ele SF 87

Are rk d Wo SF are 260 Sh

. Rm ch Me 86 SF

Are rk d Wo SF are 249 Sh

SL SF 92 v. Ele SF 87

v. Ele SF 87

y bb Lo 05 SF 115 v. Ele SF 87

t en Ag SF 191

WCSF 73

SL SF 353

HC SF 106

v. ff Ele eri SF Sh 97

. . Rm ch SF Me 2 263

ll Ha SF 356

WC SF 159

v. Ele SF 87

n mi Ad SF 139

ll Ha SF 7 144

rk Cle w SF La 164

e rag Sto SF 96

y bb Lo te SF va Pri 398

v. Ele SF 87

WCSF 81

n mi Ad SF 139

n mi Ad SF 138

n mi Ad SF 139

ir Sta SF 247

WC SF 72

. cp Re SF 147

106

v. t Ele igh SF Fre 134

WCSF 50

SP SF 101

HC SF

125

Rm ing ief SF Br 907

HC SF 106

HCSF 96

v. Ele SF 87

106

SL SF 73

. Rm rry SF Ju 244

SP SF

v. Ele SF 87

m roo urt t Co3 SF tric Dis 159

C SF 38

106

279

v. Ele SF 90

v. Ele SF 87 y bb Lo te va SF Pri 302

WCSF 65

be am Ch e's SF dg 714 Ju

JC SF 172

HC SF

106

232

ir Sta SF 236

WC SF 159

106

y lle Ga s. SF Pri 184

v. Ele SF 87

g. Garage Level 1 - -40’ h. Garage Level 2 - -56’ i. Level 5 Structure j. Level 1 Structure k. Level 5 Mechanical l. Level 1 Mechanical

Rm nf. . Co SF Atn 196

HC SF

106

ta l. Da . Te SF mp Co 200

de fen De SF p. Su 235

t. . As ec SF Ex 131

e rag it Sto hib d Ex3 SF an 117

WC SF 140 y bb Lo 8 SF 504

SL SF 78

e rag Sto SF 96

rds co

rk Cle w SF La 159

. cp Re SF 155

ll Ha SF 2 256

WCSF 50 m roo urt t Co SF tric 1135 Dis

be am Ch SF

Rm nf. . Co SF Atn 191

a. d.

e's dg 712 Ju

ir Sta SF 241

als eg ral SF Pa 131

f. t. DeSF As 163

als eg ral SF Pa 130

f. t. DeSF As 162

f. t. De As SF 157

Are rk Wo SF en Op 513

r ato tig es SF Inv 134

f. t. De As SF 157

r ato tig es SF Inv 186

f. t. DeSF As 155

ir Sta SF 242

ir Sta SF 236

be am Ch e's SF dg 714 Ju

om Ro SF 238

rs A AD SF 191

A AD SF 191

A AD SF 185

A AD SF 196

A AD SF 199

. Rm

nf. . Co SF Atn 196

A AD SF 206

A AD SF 234

A AD SF 210

A AD SF 230

y rar Lib SF 867

A AD SF 104

m roo urt t Co SF tric 1 Dis 159

WDSF 13

WCSF 50

e rag Sto SF 96

ll Ha SF 429

ll Ha SF 576

rk Cle w La 163 SF

Are rk Wo SF en Op 617

SL SF 73

WCSF 72

WC SF 159

a Are

WCSF 81

v. Ele SF 87

WCSF 81 . cp Re SF 147

. . Rm ch SF Me 195

v. Ele SF 87

. Rm rry SF Ju 244

HC SF 106

ll Ha SF 180

JC SF 172

ge un Lo SF 389

als eg ral SF Pa 135

als eg ral SF Pa 133

v. Ele SF 87

e rag Sto rm Te SF ng 427 Lo

. Rm nf. SF Co 584

WC SF 159

US SF 36 UT SF 82

. e Rm Fil SF 287

bb e Lo vat SF Pri 334

. ch Me SF 167

y bb Lo 5 SF 615

UT SF 81 ult Va e. SF Fir 155

WCSF 50

b U La SF 237 ge un Lo SF 429

. Rm nf. . Co SF Atn 191

rk Cle p. SF Su 187

m roo urt t Co SF tric 1606

. cp Re SF 299

WCSF 89

b. e.

ll Ha SF 801

. l Off tria SF Pre 157

. l Off tria SF Pre 158

. l Off tria SF Pre 154

. l Off tria SF Pre 148

WC SF 124

e arg Ch . In SF Off 202

ir Sta SF 246

als eg ral SF Pa 144

v. Ele SF 93

WC SF 192

v. t Ele igh SF Fre 134

ay llw Ha SF 532

WCSF 74

ir Sta SF 241

v. Ele SF 87

v. Ele SF 88

m oo rkr Wo SF nt. Co 282

e rag Sto SF 96

Dis

rag

als eg ral SF Pa 146

WC SF 182

. Off g. . Mn SF ild Bu 167

Sto rd co Re SF nt 322

v. Ele SF 87

C SF 38

e rag Sto SF p. Eq 168

be am Ch e's SF dg 712 Ju

rre Cu

ge un Lo SF 289

SL SF 78

rk Cle w SF La 159

tor iga est SF Inv 180

als eg ral SF Pa 132

als eg ral SF Pa 130

e rag Sto SF 214

v. Ele SF 87

WC SF 159

. . Rm Int SF 131 . cp Re SF 268

oo rkr Wo n. SF d Co304 are Sh

. cp Re SF 224

WCSF 81

SP SF 101

HC SF 106

ll Ha SF 364

v. Ele SF 87

v. t Ele igh SF Fre 134

SL SF 353

e rag Sto SF 53

A AD SF 166

v. Ele SF 87

SL SF 92

WCSF 81

a Are rk Wo SF en Op 260

v. Ele SF 87

A AD SF 166

DA SF 298

rk d Wo SF are 249 Sh

SL SF 92

y bb Lo blic 2 SF Pu 882

SP SF 101

C SF 38

. . Rm ch Me 86 SF

tor iga est SF Inv 160

tor iga est SF Inv 156

SL SF 353

HC SF 106

HC SF 106 . Rm ry SF Ju 244

JC SF 172

tor iga est SF Inv 112

ll Ha SF 356

v. ff Ele eri SF Sh 100

A AD SF 212

ll Ha SF 6 171

Da l/ Te 78 SF

als eg ral SF Pa 145

als eg ral SF Pa 143

2 DN

ir Sta SF 7 23

v. Ele SF 81

ir Sta SF 7 26

WC SF 5 31

v. Ele SF 84

ir Sta SF 8 23

WC SF 7 32

ly mb se SF As ry 1652 Ju

. Rm

WC SF 5 18

v. ff Ele eri SF Sh 78

le bu sti Ve 1 SF 21

ll Ha SF 7 27

rity cu / Se try 3 SF En 76 rk Cle e/ Qu SF ry 7 Ju 52

ion lat cu 43 58 c Cir bli Pu

WC SF 5 18

g rin the & Ga SF

4 ing nd Ve 4 SF

ort llyp Sa re cu SF ff Se 82 eri 18 Sh

ce rvi Se 38 v. Ele SF 93

e rag Sto SF ry Ju 240 om Ro ry SF Ju 324

HC SF 0 12

SP SF 9 24

v. Ele SF 87

WCSF 94

rk Cle w La 4 SF 10

v. Ele SF 87

t se Clo SF 43

WC SF 98

us ha Pit k's SF tric 0 Wa 54

or rrid Co ed ict 0 SF str 52 Re

a Are rk d Wo SF are 496 Sh

SL SF 3 18

nf. . Co Atn 6 SF 14

nf. . Co Atn 1 SF 14

v. Ele SF 88

v. Ele SF 87

JC SF 4 12

v. t Ele igh SF Fre 127

v. Ele SF 88

g& vin cie 27 SF , Re 31 ing ad Lo

g nin ree Sc

e rag V Sto SF A / 144

e ett

en ch SF Kit 218

WCSF 59

SL SF 27

m roo urt Co ial SF on 92 rem 20 Ce

SL SF 3

e ac g Sp rin the SF c Ga1109 bli Pu

ice Off e's dg 0 SF Ju 63

ir Sta SF 6 24

v. Ele SF 81

ir Sta SF 221

v. Ele SF 81

ict str Re

ir Sta SF 231

ng rki + Pa mp Ra SF 88 221

-6'

mp Ra SF 09 100

de Gra

v. Ele SF 81

ir Sta SF 1 23

ir Sta SF 1 22

blic Pu

d Pa an mp 5 SF Ra 09 28

ng rki

-6'

' +6

North Elevation

West Elevation

South Elevation

East Elevation

Glass Facade Detail

Steel Joint System Joined Horizontal Truss Undulating Glass Facade

4â&#x20AC;? Steel Framing System Triple Paned Thermal Tinted Glass Terrazzo Flooring Structural Steel Column Horizontal Truss Attachment Reinforced Concrete Fill Metal Decking Rebar Reinforcement for Bridge System Structural Steel Beam Truss Convergence Assembly Cladding Attachment Clasp Through-Bolt Cladding Attachment Plenum Cladding (Steel Panels)

Parapet, Courtroom + Ground Transitions

Canted Wood Blocking Galvanized Flashing Concrete Topping Metal Decking Masonry Ties 6” Face Masonry 2” Air Cavity Insulation Structural Steel Beam Moisture Barrier 8” Stud Wall Brushed Plaster Interior

Masonry Glazing Tie Galvanized Flashing 6” Face Masonry 2” Air Cavity Insulation Moisture Barrier Brushed Plaster Interior Terrazzo Flooring Structural Steel Beam

6” Face Masonry Masonry Ties Insulation Metal Decking Compact Fill

MUD HUT

Marvin Studios Rebirth : An Experiment in Design-Build

The University of Kansas School of Architecture, Design & Planning requires all who graduate with a masters of architecture to enroll in a design build studio in their third year. This is the story of my project. A project that was so lofty in its ambitions that even the failures that intermingled with the success of the project, taught us the most important of lessons. Our triumphs: 1. The successful demolition of an existing load bearing rammed earth block wall in order to construct itâ&#x20AC;&#x2122;s predecessor. 2. The thinnest, tallest, and (as far as we know) only magnetic rammed earth load bearing wall in Kansas. 3. A CNCâ&#x20AC;&#x2122;d tongue and grooved wooden wall wrapper, which raps around a corner and then bends at a 45 degree angle. 4. Creating custom structural framing to fit in place of existing framing we removed. Our failures: being issued a cease and desist letter due to a series of miscommunications and oversights. Our project was an ambitious one, especially for a group of students with nearly no professional construction experience. We were tasked with renovating the communal space in a one story, historic and architecturally nondescript building. Recently the building had gotten a technological face lift in the form of a new robotics, laser and 3D printing lab. With plans to update other parts of the building in future years, our studio was tasked with taking the first step in rejuvenating the old building. This building is affectionately known as the Mud Hut by the students in the school of architecture. Its real name is Marvin Studios, named after the same dean of engineering that Marvin Hall, the school of architecture, is also named after. Our class met in the classroom on the other side of this communal space, which at the time, couldnâ&#x20AC;&#x2122;t have been further removed visually. We were given the task to not only do something we had no experience with doing, but also do so in an old mismatched historic building. And of course to design and then build all these things in the course of one semester with a very small budget.

Existing Conditions

Here are the existing conditions as they appeared before demolition started. Above are the interior of the classroom (Left) and the common space (Right). Below is the finalized plan for our phase of the project. To the upper and lower left on the next page is the hallway leading into the common space as it angles at 45 degrees. In the center on the next page is the exterior of the building all this took place in. To the far right on the next page are some of the sketches and charettes that lead to our final design. Demolition began on the first day of spring break. Phase I Wrapper PIN UP SPACE Rammed Earth Wall OFFICE Maker Studio

Digital Fabrication Lab OFFICE

SP AC

OFFICE

CNC LAB

3-D PRINT LAB MECHANICAL

REST ROOM REST ROOM

LIVING ROOM STORAGE

CNC LAB

PIN UP GALLERY LASER LAB

MAKER STUDIO

ROBOTICS LAB

Demolition + Process

The demolition and construction process took a majority of the semester due to the scale and scope of the project. In order to do something so experimental as a magnetic rammed earth load bearing wall in a school building, it required a lot of communication with, and support of the school administration. We tested different mixture of rammed earth, fly ash, and cement for their structural integrity. The ceiling trusses were shored up, demolition of the wall began and nearly every original block was saved for a supposed future use. After the wall was demolished completely, the form work was put in place and the rammed earth wall started to go up.

Details + Lessons

M Throughout the 16 week process from charette 1 to the ribbon cutting, I was fortunate to have a fantastic group of classmates to collaborate with. The final product was one that is still a little bittersweet to walk through or look at. It was for all of us, our first foray into the world of real life architecture. We were divided up into different groups that had certain responsibilities along with the construction the project demanded. We had the ambition and drive to do what no other previous 3rd year studio had done; give back to our school. I have always believed that education requires a certain amount of failure. This project was a success on many fronts. But as I said previously the issued cease and desist letter meant we never got to see the project completed. Should the time ever come when it is approved, the pieces will all be waiting as they are now. For me, it has taught me the power of vision, communication and ingenuity at work in a team.

Dirt Works Studio 409, Spring 2015 Abby Noelke Abi Davis Blaze Capper Chloe Hosid Fatima Moufarrige John Coughlin Maria Comerford Nic Webber

Project Manager Lab Manager Project Manager Lab Manager Visual Communications Lab Manager Acquisition Manager Construction Manager

Rabia Bajwa

Project Architect

Sean Brungardt

Project Architect

Shelby Hartman

Acquisition Manager

Theresa Signorio

Acquisition Manager

Thomas Carmona

Project Architect

Yuejia Yang

Visual Communications

Zach Zeilke

Construction Manager

HWA

Projects from Hoefer Wysocki VA Phoenix

P H

H X

VA Phoenix is the largest VA clinic I have worked on during my time at Hoefer Wysocki. We received a “bridging document” which was a preplanned option, that was substantially altered for aesthetic and planning reasons. While I had a hand in working on the plans, sections, and elevations, my main responsibility was the site plan. We had 1,370 spaces required by the VA. Since this is a competition, the pressure to create the best design at the lowest cost is perhaps the greatest challenge. Myself and my mentor spent weeks on this site plan, to find out that we were the lowest bid by several million because we were the only group without a parking structure. This project is one of my favorites I worked on at HWA because of the level of design we strove to provide by drawing from the Phoenix landscape for both colors and shading strategies. With these VA projects we also create an “architectural narrative” which helps the judges better understand our design decisions through diagrams and text.

To the Left: Site Plan To the Upper Right: First Floor Plan To the Lower Right: Building Section

To the Left: Circulation Hybrid Axon Diagram To the Upper Right: Exterior Night Rendering of Entry Drop-off To the Lower Right: Exterior Site Rendering To the Right: 3D section View of Atrium and Waiting Areas.

*All diagrams, plans, sections and renderings (other than those explicitly stated otherwise) were created in house by our team. The bulk of these drawings which are present in this portfolio were either partially or fully created by me.

HWA

Projects from Hoefer Wysocki Kansas State Foundations Building - Phase 2

Kansas State Foundations Building Phase 2 is a project I was brought in to assist with during Construction Administration. The following two spreads represent two different additions to the project that were made after construction began. These two additions were also mostly left up to me to detail and draw with assistance from the project architect. This spread is about the exterior gas fireplace and 12â&#x20AC;&#x2122; x 12â&#x20AC;&#x2122; umbrellas for the patio area. The fireplace was based off a concept that the client brought to the table, and left it up to us to execute and research burners and city requirements. The end result is something that relates to the language present in our building and the campus as a whole. To the Left: View from walking path towards the patio To the Upper Left: View from in front of the fire place looking over the patio Above: View from cafe out to the patio To the Right Details, Plans, Elevations, and Sections from the Drawing set

1/2" TEMPERED GLASS IN S.S. FRAME CHANNEL

AS1.22

E9 AS1.22 2' - 8 3/8"

FIRE BRICK

04.70B

3 5/8"

6' - 0"

3 5/8"

E12

04.20D

2' - 8 3/8"

FIRE BRICK

AS1.22 04.42B

04.20B

A 2' - 0"

(9) 3/16" STAINLESS STEEL CABLE AT 4" O.C. ATTACHED BY 04.42B METAL CHANNEL

2' - 0"

05.12C

FIRE BRICK

04.70A

F1 AS1.22 05.12E

CALLOUT 3 H12 FIREPLACE 6" = 1'-0"

3' - 0"

CALLOUT 2 H9 FIREPLACE 6" = 1'-0"

6' - 0"

FIRE PLACE INSERT - 48"

3' - 0"

7' - 8 5/8"

04.42C

FLINT HILLS GRAY, HONED LIMESTONE HEARTH

04.70B 04.20B 04.70A

PLAN H1 FIREPLACE 3/4" = 1'-0"

A 1' - 6 1/2"

2' - 1 1/8"

04.42B

STONE CAP WITH DRIP EDGE

04.42B STONE CAP WITH DRIP EDGE

10 1/2" 1/2" / 12"

1/2" / 12"

1' - 5 5/8"

26.56

NATE 17 OUTDOOR COVE LIGHT PROVIDE J-BOX AND CONDUIT

04.42B 04.70B

1 3 1/4"

FIRE BRICK

04.20B

2' - 8 1/2"

04.20B 04.20D 05.12E

2' - 11 1/2"

7' - 6"

H9 AS1.22

(9) 3/16" STAINLESS STEEL CABLE AT 4" O.C. ATTACHED BY METAL CHANNEL

7' - 6"

05.73A

04.42B 04.70B

1/2" TEMPERED GLASS IN S.S. FRAME CHANNEL

04.20B

DECORATIVE GAS FIRE PLACE INSERT (TBD)

04.70B 04.42B

FIRE BRICK H12 AS1.22

04.42C

FLINT HILLS GRAY, HONED LIMESTONE HEARTH

04.42B

GAS LINE RE: PLUMBING

04.42C

FLINT HILLS GRAY, HONED LIMESTONE HEARTH

H1 AS1.22 1' - 8"

05.12D

SLOPE RE: CIVIL

FIRE PLACE INSERT

FIRST FLOOR 100' - 0"

A12 AS1.22

PE IL O IV SL : C E R

A10 A3.22

AS1.22

R E:

SL O

SECTION 1 E9 FIREPLACE 3/4" = 1'-0"

IV IL

RE: PLUMBING

SECTION 2 E12 FIREPLACE 3/4" = 1'-0"

PLAN CALLOUT 1 F1 FIREPLACE 6" = 1'-0"

07.62A

FIRST FLOOR 100' - 0"

RE: STRUCTURE

07.62A

SLOPE RE: CIVIL

1 E9

AS1.22

2' - 9"

3" E.Q.

2' - 9" E.Q.

A6 E.Q.

1/2" / 12"

AS1.22

04.42B

PE EQ

ATHCO UMBRELLA SHADE

05.73A

05.73A 8' - 2"

05.73A

4" FIRST FLOOR 100' - 0"

A12

R E:

04.42B

NATE 17 OUTDOOR COVE LIGHT PROVIDE J-BOX AND CONDUIT

SL O

26.56

5' - 11 3/4"

7' - 6"

26.56

1' - 4"

3' - 3 1/2"

2' - 8 1/2"

E.Q.

ANGLED WALL

IV IL

ANGLED WALL

FIREPLACE - FRONT 1/2" = 1'-0"

FIRST FLOOR 100' - 0"

17 17

SIDE A7 FIREPLACE 1/2" = 1'-0"

SHADE SECTION A6 UMBRELLA 3/8" = 1'-0"

PROJECT NORTH

NORTH

CAFE PATIO A1 ENLARGED 1/4" = 1'-0"

This spread shows the new tenant improvement plans we created for our GC to move into after project completion. We had a starting direction from the GC as to specifics of what they were wanting. All improvements had to be removable or easily demountable. To the Left: View into kitchen from reception area To the Upper Left: View from work stations into kitchen Above: View of conference room To the Right Details, Plans, Elevations, and Sections from the Drawing set

*All renderings, plans, sections and details (other than those explicitly stated otherwise) were created in house by HWA. The bulk of these drawings which are present in this portfolio were either partially or fully created by me.

1.8

2.5

COORDINATE CEILING WITH NEW WALLS

17' - 9" 8' - 5 1/2"

10' - 0"

6' - 9"

FIXTURE B

COORDINATE CEILING WITH NEW WALLS COORDINATE CEILING WITH NEW FIXTURES

4' - 0"

2 1/4" 9' - 0"

SPRINKLERS ABOVE AND BELOW CLOUD

10' - 0"

DIFFERENT LIGHT FIXTURE NEEDED

3' - 0 1/4"

COORDINATE CEILING WITH NEW FIXTURES

FIXTURE A

2' - 1"

8' - 0"

1' - 0"

4' - 0"

COORDINATE CEILING WITH NEW WALLS

FIXTURE C

9' - 3 1/2"

3' - 2"

5' - 7 3/8"

2X5 CEILING WITH AXIOM TRIM. ARMSTRONG, ULTIMA 1433 BASIS OF DESIGN

200 TENANT ENLARGED RCP 2 UNIT 1/4" = 1'-0" 1

1.8

1' - 5 5/8"

TENANT PROVIDED FURNITURE

2.5

RECYCLE

TV & EQUIPMENT

OFFICE 200A

9 1/2"

GALLERY RAIL 12' - 3"

9' - 10"

FUTURE WORKSTATIONS

SEATING AREA / LOUNGE 200D

WHITE BOARD

TENANT PROVIDED SYSTEMS FURNITURE

DEMOUNTABLE PARTITION

TENANT PROVIDED SYSTEMS FURNITURE

OFFICE / CONFERENCE 200B

40' - 1 3/8"

DEMOUNTABLE PARTITION

9 1/2"

13' - 3"

8' - 10"

U/C DRINKS

EXTEND POLISHED CONCRETE CONTROL JOINT

6 1/2" 21' - 2 1/2"

5 1/2" 3' - 0 1/2"

6' - 5"

TV & EQUIPMENT FC3 FX1

FC3 FX1

BAR HEIGHT

STORAGE 200G

COPY AND MARKETING 200H

TENANT PROVIDED CASEWORK TENANT PROVIDED FURNITURE

RECYCLE

FRIDGE & FREEZER WITH ICE MAKER AND WATER DISHWASHER DOUBLE BOWL STAINLESS STEEL SINK WITH GARBAGE DISPOSAL ICE MAKER

6 3/8"

MAIN CONFERENCE ROOM 200C

EXISTING COUNTERTOP

RECEPTION 200F

TENANT PROVIDED FURNITURE C

11' - 1 5/8"

WOOD FEATURE WALL BY TENANT

FC3 FX2

7' - 6"

EXISTING TABLE

13' - 8 5/8"

13' - 1 5/8"

4' - 3 1/2"

200G

OPEN BEAK AREA 200E

2' - 7 1/8"

FX1 FC3 TV & EQUIPMENT AND WOOD FEATURE WALL BY TENANT

FC3 FX1 TENANT PROVIDED FURNITURE

PROJECT NORTH

NORTH

200 TENANT ENLARGED PLAN 1 UNIT 1/4" = 1'-0"

HELIX

Project from Helix Architecture Crossroads West Apartments

This is a 3D printed model which I made during my Fall semester interning at Helix Architecture + Design. The project is a large scale new construction apartment complex north of the railroad between I35 and the Broadway overpass. I took a highly detailed Revit model and then created a water-tight duplicate in Rhino. It took a month to create the files needed to print. Then another month to print and assemble all the pieces. The model required me to think differently about how models can be constructed in a similar way to machine parts with very tight tolerances. The project also allowed me to become a sort of in-house 3D printing expert.

904 Pieces 351 Drill Holes 2 Months 1 MakerBot Replicator 2

HELIX

Project from Helix Architecture Kansas City Crossroads 3D Model

This model was done near the very end of my time at Helix. I had created a detailed SketchUp modl for the office to use for all projects within the crossroads and greater downtown area. I realized that it wouldnâ&#x20AC;&#x2122;t take much extra work to take the SketchUp massing model and turn it into files which I could 3D Print. I decided to print each block individually in order to add or replace blocks as needed. The scale of the model was then determined by the maximum block size of the largest block as it would fit on the MakerBot printer bed. The largest blocks took 12+ hours with the smallest blocks taking around an hour.

HELIX

3D Print Models, 3D Print Guide and Masterâ&#x20AC;&#x2122;s Thesis

18th & McGee multi-family development (all four) Current Page: McCown Gordon HQ schematic design (upper-left) Traders on Grand (images to the left)

A COMPREHENSIVE GUIDE TO YOUR MAKERBOT REPLICATOR 2

At one point during my time at Helix I was asked to created a 3D print guide so that others in the office could benefit from my time there and the enormous amount of work I had done to teach myself how to use the printer. I created a 40+ page document outlining every step of the process from modeling in the comptuer to cleaning up a finished print.

[EXPORT] bonds PLA to whatever you are trying to bond it too. I find that super glue which is thicker and gooey is better than the ultra-watery glue.

THE FUTURE OF THE PAST

Sean J. Brungardt ARCH 806 May 12, 2017

USING 3D TECHNOLOGY TO PRESERVE WORLD HERITAGE SITES

ABSTRACT

Three-Dimensional (3D) technology is revolutionizing the way that world heritage sites are being documented, preserved, and accessed. Throughout the course of this presentation numerous case studies will be used to demonstrate the techniques available to scan and utilize heritage buildings with the broad set of digital technology currently available. These technologies, while relatively new, are creating waves within the architectural and archaeological communities. Contemporary technologies are providing new levels of access, use, and documentation to heritage sites on an unprecedented level.

INTRODUCTION

In recent years, 3D technology has enhanced the way heritage sites are captured, studied, accessed (both professionally and publicly), and used. The major issues facing the widespread acceptance of 3D scanning and documentation are the high cost and the steep learning curve associated with the hardware and software needed. As with previous technologies, time will lessen the expense and accessibility gap present in early-stage professional hardware and software. There are many software applications available online through open source companies and groups which can document heritage sites for free. As the following case studies demonstrate, new methods of documentation, recreation, visualization and community involvement are rapidly changing the way heritage sites are captured. These 3D facsimiles, aside from standard documentation, also offer the potential for more diverse kinds of accessibility to larger groups of users. In short, contemporary technologies provide new levels of access, use, and documentation to heritage sites.

3D TECHNOLOGIES

IMPACT ON CULTURAL HERTIAGE

ADDITIONAL USES

1.1 HARDWARE DEFINITIONS

COMTAL CASTLE CARCASSONNE, FRANCE

3.1 VR + AR + VISUAL MEDIA

LASER SCANNER

DIGITAL CAMERA

A laser scanner is a piece of hardware which collects “3D coordinates of a given region of an object’s surface automatically and in a systematic pattern at high rates and [archives] these results in near real time…” (Boehler and Marbs 2002, 1). A laser scanner has its strength in capturing irregular geometric shapes, making it useful in scanning complex topographies, organic shapes, and more. However this method becomes difficult when used to capture water or dense vegetation.

Photogrammetry is the process by which photos are taken, either manually or by machine, with a digital camera in close proximity to one another and at overlapping intervals in order to obtain a complete set of photos which capture every surface of an object or building. Photogrammetry is useful for details which are difficult to capture due to their relatively low profile, like paintings. They also excel in capturing textures and translating them into a 3D model. While it may be a newer technique, it is also less expensive given that a store-bought digital camera can be used (Boehler and Marbs 2002).

This case study is used to illustrate how it is possible to document heritage sites and also capture their “semantic” nature. “Semantics, structure, and representation” are the three areas aside from simple geometry which are valuable in heritage site analysis (De Luca et al. 2007, 2). Once all three levels are functioning, it creates an environment in which a user can toggle between a 3D model and a written/verbal description within the same interface.

Virtual Reality (VR) is defined by the Oxford Dictionary as “the computer-generated simulation of a three-dimensional image or environment that can be interacted within a seemingly real or physical way by a person using special electronic equipment, such as a helmet with a screen inside or gloves fitted with sensors” (Oxford Dictionaries, 2017).

The semantic level is used to encase a term or descriptor of a part of the site in a digital object or “family.” The structural level constructs a graph which shows the relationship between elements (parts of the building) in a given scene to a description of those same elements.

INTENT

The representational level connects “…one or more representations to each isolated concept” (De Luca et al. 2007, 2).

Typical VR experience.17 Typical AR experience.2 Augmented Reality (AR) is defined as “an enhanced image or environment as viewed on a screen or other display, produced by overlaying computer-generated images, sounds, or other data on a real-world environment” (Oxford Dictionaries, 2017).

Photogrammetry model.5 Laser scan model.16 El-Hakim et al. (2003), De Luca et al. (2014), and Boehler and Marbs (2002) all agree that there is no perfect scanner for every scenario currently in existence. In fact, all three make recommendations for ways in which to compliment any particular laser scanner’s shortcomings with photogrammetry or, in the case of Boheler and Marbs, by using multiple types of laser scanners.

1.2 SOFTWARE DEFINITIONS

Laser scanning software creates what is known as a “point-cloud.” This point-cloud must further be edited in order to be useable or understandable to the architect or archaeologist. Often the software used to create the point-cloud comes with a feature to “mesh” or “triangulate” the data in order to produce a file which may be used in other programs. Photogrammetry takes less processing time due to the ability of computer algorithms to better identify relationships between two pictures, rather than between scanned points or triangulated surfaces. This process of identifying shared geometries between images and stitching these photos together is “..known as Scale-Invariant Feature Transform (SIFT)” (McCarthy 2015, 177). SIFT works by matching 3D points to 2D photos. Building Information Modeling (BIM) is a 3D modeling software which creates digital models made up of components or “families.” These families contain editable parameters which range from standards “width, height and depth” to less tangible dimensions like cost, weight, and time. BIM provided the ability to use the model to better simulate and analyze the project during different phases of restoration

Phasing graph of the castle.6 3D/Semantic model of the castle.6 With BIM-like concepts of tying “semantic” or non-physical dimensions to physical objects, “phasing” is the next step in the modeling process. Once temporal information is added into the model, using software which hosts the model “in real time,” one can easily reference the model or the semantic description of the building simultaneously. The model also gives the owners or caretakers of the site a better understanding of appropriate methods to maintain and care for the building. The predicament with old buildings like Comtal Castle is that it has clear stages in its life cycle, making a blanket preservation technique difficult (De Luca et al. 2007).

RHUBHA AN FHAING DHUIBH, UK This case study was conducted with cost and, by association, time being major factors in determining how to capture the site in just three days. McCarthy (2014) cites the irregular stones making up the site as difficult to document quickly. The team decided photogrammetry would be the best solution for documentation. The point-cloud generation and subsequent photo-mapping was largely an automated process done by a computer program for free. Two-dimensional (2D) renderings of the point-cloud were added to ArcGIS and then referenced to draw elevations and plans which documented “outlines of individual rocks which would have been impossible to capture in the same length of time using traditional methods” (McCarthy 2014, 179).

1.3 GUIDELINES + MEANS OF PRACTICE STEPS TO CREATE A MODEL

Step 1: “Profile Extraction.” Once the point-cloud is brought into a program it must be simplified and split into components to more easily manage and use the file. Step 2: “Surface Generation.” Surfaces and planes are created using a program like Rhino 3D. Step 3” “Texture Extraction.” In order to add texture from the photographs to a model an algorithm is used “to superimpose a photographic image and a 3D point-cloud. The tool operates with 2D points selected on a photograph and their corresponding 3D points selected on the point-cloud” (De Luca et al. 2014, 268).

RECOMMENDED STEPS FOR EFFECTIVE CAPTURE Step 1 “Global shape” and typical architectural elements like windows, doors, balconies, etc. should be produced using photogrammetry. “Accurate close-range laser scanning captures fine geometric details, like sculpted and irregularly shaped surfaces” (El-Hakim et al. 2003, 2). Step 2 “Visual details”, like frescoes or paintings should be obtained using photogrammetry as it provides a clear shape and texture to an otherwise flat wall (El-Hakim et al. 2003). Step 3 Aerial photogrammetry should be used to effectively capture large complexes or landscapes. Generally Unmanned Aerial Vehicle Photogrammetry (UAVP) is used due to the lower cost of a drone versus a plane or helicopter.

2D plan of each rock’s location.12

19TH CENTURY SHIPWRECK, TETNEY SANDS, UK

Rhinoceros 3D (Rhino) is a surface modeler used to create 3D meshes from point-clouds which are produced after after a scan. Rhino is useful for modeling complex forms and triangulating faces and meshes. ArcGIS, when used in tandem with ArcGIS online and the program “Living Atlas”, allows the user to draw and input massive amounts of data on diverse kinds of information. This data can include historic information, demographics, topography, structures (both man-made and natural), ocean/river/lake information, destruction maps (fires, floods, etc.), pollution data, transportation systems, country property location boundaries, and “story maps” which house “…narrative text, images, and multimedia content to engage and inspire…” (https:// livingatlas.arcgis.com/en/#s=0 accessed April 11, 2017).

Faceted screen system.4 Typical CAVE system.4 A CAVE is “a cube-shaped virtual-reality room,” typically 3m-by-3m-by-3m in size, whose walls, floor and sometimes ceiling are entirely made of computer-projected screens” (DeFanti et al. 200 , 2). The effect is a complete visual and physical “immersion.” CAVEs have the unique ability of full physical immersion and often have a soundtrack for the simulation (including footsteps, birds, and other environmental sounds). In some cases, CAVEs also have a scent which is pumped through the air to give an extra layer of immersion. Economic versions substitutive the large rooms for faceted screens which take up far less space.

Model of the shipwreck.12

In order to capture the remains of the wreck within the one-hour window available, photogrammetry was used to create a 3D model which could be studied in detail later. It only took a few minutes after images were taken of the wreckage to create the model. This left the team with more time to do fieldwork before the tide rolled in. The most valuable part of this case study was the fact that this 3D model provides an “objective” recording of the delicate site. This 3D model can, at a later date, be “re-interpreted” or used to draw new conclusions.

VR experience of abbey.5 AR experience of abbey.5 Saint-Guilhem-le-Desert Abbey is used to understand the nature of the site before it was dismantled by setting up different types of VR and AR experiences. The VR experience uses a real-time view which is set up using a series of cameras that move “in the 3D scene in interaction with the user. This interface has the ability to track the movement of the user, meaning that the user sitting at this device can look around the spherical projection and see a realistic panorama.

PRESCOT STREET, LONDON

The AR experience is created using a “live video input…from the southeast corner of the cloister, onto which This survey is used to demonstrate how the archaeological profession might benefit from open discussions during virtual volumes are superimposed in real time…The added volumes have a level of transparency, to clearly disan active excavation. “ I t is cost effective and relatively easy to undertake open archaeology’ even within the continguish the real from the hypothetical” (De Luca et al. 2014, 274). straints of a commercial education in London” (Morgan and Eve 2012, 527). As the excavation was being conducted, all findings were uploaded to a free archaeolgical website “Archaeological Recording Kit (ARK)” (Morgan and Eve 2012, 526). All members of the project team blogged regularly to express active thoughts, processes, and issues during the excavation. This became a “train-of-thought” exercise which allowed the archaeologists to bypass popular media by presenting their findings online inexpensively and clearly via open source programs and free sites. While the final documentation and official conclusion to the excavation was done in a standard peer-reviewed manner, ultimately the process and documentation were tied in a more open way to the conclusion than is typical. “[T]he raw data [has] been available for...four years in an open format that can be examined and used in inter-site analysis. The current and ongoing interpretations are instantly available and can be discussed and redefined with input from others, rather than being confined in closed archives” (Morgan and Eve 2012, 526). This openness is critical because “sharing should be the default’ for archaeological knowledge, especially when the majority of projects are funded directly or indirectly through public resources” (Morgan and Eve 2012, 530). Machu Picchu point cloud.20 Petra model with ghosted-in steps.21 Time Scanners is a Public Broadcast Service (PBS) television show which ran from 2014-2015. Each episode has a team of experts who 3D scan a different UNESCO heritage site. Machu Picchu and Petra were both scanned in order to ascertain their methods of construction which are traditionally harder to measure. In Machu Picchu the main focus was on how the complex topography was constructed and tamed to live on. At Petra step-shaped grooves in the walls flanking either side of the Treasure House and the ground immediately in front, the Treasure House was carved out in layers starting from the top. No one had verified this before because these grooves were so difficult to distinguish due to the dense striations present in the rock walls.

GRAVESTONES IN A SCOTTISH GRAVEYARD “This survey is used to illustrate the value of the technique for dissemination of archaeological features and for community engagement” (McCarthy 2014, 178). The capture process was done “by children between the ages of 10 and 16” with an app called 123D Catch who were members of the Young Archaeologists’ Club. By simply changing the already existing tools which archaeologists use daily and bringing them down to a more attainable level (such as a blog or a smartphone app). It allows the public to more richly take part in these same heritage sites.

3.2 3D RECREATIONS

Textured and non-textured gravestones.12

SAINT-GUILHEM-LE-DESERT ABBEY HERAULT, FRANCE

Step 4 Manual surveying is not typically necessary except when determining a scale or to fit the scanned model within a “coordinate system.” Step 5 “CAD or geometric modeling and rendering software tools remain necessary to fill the gaps that are not covered by imaging or scanning and to create complete representation for visualization” (El-Hakim et al. 2003, 1-2).

Virtual reassembled view of the abbey.5

This final paper and the subsequent poster presentation represent a culmination of my time at KU. I was given free-reign to write about any topic. I chose how technology can and is being used to preserve and present architectural heritage sites. To me this project took a great deal of thought, work and research. In the end the results were above what I would ever have expected of myself.

The abbey was sold in 1791 and cut up into pieces. The building was surveyed to create a 3D model which would serve as the base from which to virtually re-assemble the entire site. The team went to work digitally scanning all other pieces which could be found off-site. Once all the pieces that could be found and scanned were documented, they were then added to the model in digital space. The model was set up in “3D interactive scenes” which were capable of being displayed on top of the existing digital model. The overlapping of both on-site and off-site elements displays “the current state of the cloister…the hypothetical structure of the galleries that have disappeared…[and] the sculpted elements rendered using occlusions and embed into transparent volumes” (De Luca et al. 2014, 270). This provides the ability for any viewer to organize, categorize, sort, or experience the abbey in a more complete way than is currently possible in the real world. 3D recreation of Tut’s tomb.22

Lowe and his company, Factum Arte in Madrid, are at the cutting edge of 3D capturing and recreation practices. Lowe captured and subsequently “rematerialized” King Tutankhamen’s tomb in Luxor, Egypt. “Many Egyptologists expect that Tutankhamen’s resting place, like many others in the Valley of the Kings, will one day be closed to tourists, in order to save it from destruction” (Zalewski 2016). Lowe’s team went in with laser scanners and digital cameras and captured at “a resolution of eight-hundred dots per inch” (Zalewski 2016). Once the digital model was created, the files were sent to an in-house Computer Numerical Control (CNC) machine. This machine translates the 3D model into a language for a router bit to follow over a surface, removing material in order to create a sculpted face. 248 panels were milled using the CNC machine. “The panels, which mimicked the uneven surface of the original walls, were fitted together. The ersatz walls were then wrapped with a flexible skin’, of a gesso-like material, bearing a lush ink-jet printout of the frescoes” (Zalewski 2016). Theoretically, Lowe’s data could be recreated endlessly, but Lowe states that he would only be able to create the copies in Luxor since “[t]he Egyptian government holds the copyright on the data, and would consider it cultural theft — and an assault on its tourism industry…” (Zalewski 2016).

CONCLUSION

ACKNOWLEDGMENTS

Several case studies were reviewed to show how 3D technology is enhancing use and access of cultural sites. The main 3D technologies discussed were laser scanning, photogrammetry, VR, AR, 3D recreation techniques and the advantages inherent in each approach. 3D technology can be used to document and experience these sites in a more-timely, cost efficient, and accessible manner for a wider range of users. Diversified case studies were reviewed in order to ascertain the ways in which 3D technology can effectively and creatively represent and document cultural sites. Some studies aimed to understand how these copies provided unparalleled access on both a professional and public level. Others explored how 3D scanned sites were being used in various mediums, both digital and physical, to further understand and appreciate the original site. As each of the aforementioned case studies validate, for each unique site, an equally innovative solution is possible to bring cultural heritage to a heightened level of access or future use. “Symbolic dimensions” and “intangible attributes” of sites go far beyond the visual and physical aspects (Silva 2012). This research seeks to frame these technologies as a step forward in how historic documentation is approached and utilized. These recreations and re-imaginations, no matter how innovative or useful, cannot replace the actual heritage site. It is instead critical to understand that “the multimedia technologies offer to the cultural world new possibilities of exchange, creation, education, and informational sharing. These new techniques enable a considerably broader access to culture and heritage” (De Luca et al. 2014, 265).

I would like to acknowledge Helix Architecture and Design for committing so much time and resources to aid me in furthering my education while interning at the firm. Thanks to Helix I was able to pursue two personal interests in regards to existing building renovations and 3D printing. Both of which I feel are absolutely integral in my consideration and pursuit of this research topic. I would also like to thank Professor Marie-Alice L’Heureux, for her feedback and guidance through the research process. And finally I would like to thank Professors Kapila Silva, Amy Van De Riet and Farhan Karim for their additional guidance in the areas of historic preservation, BIM and preservation technology.

ABSTRACT

Three-Dimensional (3D) technology is revolutionizing the way that world heritage sites are being documented, preserved, and accessed. Throughout the course of this essay numerous case studies were used to demonstrate the techniques available to scan and utilize heritage buildings with the broad set of digital technology currently available. These technologies, while relatively new, are creating waves within the architectural and archaeological communities. Contemporary technologies are providing new levels of access, use, and documentation to heritage sites on an unprecedented level.

SOURCES 1. 2. 3. 4. 5. 6. 7. 8.

“ArcGIS.” Wikipedia. March 19, 2017. Accessed March 22, 2017. https://en.wikipedia.org/wiki/ArcGIS. “Augmented Reality.” IEEE-SA Augmented Reality. Accessed May 07, 2017. http://standards.ieee.org/innovate/ar/. Boehler Wolfgang and Andreas Marbs. 2002. “3D Scanning Instruments.” CIPA Symposium, Potsdam, Germany, Proceedings. In print: 1-4. De Fanti, Thomas et al. “The Future of the CAVE.” 2009. Future Generation Computer Systems 25: 1-35. De Luca, Livio, Tudor Driscu, Emilie Peyrols, Dominique Labrosse, and Michel Berthelot. 2014. “A Complete Method ology for the Virtual Assembling of Dismounted Historic Buildings.” International Journal on Interactive Design and Manufacturing (IJIDeM) 8 (4): 265-76. doi:10.1007/s12008-014-0224-5. De Luca, Livio, Phillippe Veron, Chiara Stefani, Michel Florenzano. 2007. “An Integrated Framework to Describe, Analyze, Document and Share Digital Representations of Architectural Buildings.” Cultural Heritage Papers: 1-9. El-Hakim, Sabry F., J.-Angelo Beraldin, Michel Picard, and Antonio Vettore. 2003. “Effective 3D Modeling of Heri tage Sites.” Fourth International Conference on 3-D Digital Imaging and Modeling. 3DIM 2003. Proceedings.: 1-8. doi:10.1109/im.2003.1240263. Foxe, David M. 2009. “Building Information Modeling for Constructing the Past and Its Future.” Capturing the Past for Future Use Symposium: 39-45.

Liritzis, Ioannis, George Pavlidis, Spyros Vosynakis, Anestis Koutsoudis, Pantelis Volonakis, Nikos Petrochilos, Matthew D. Howland, Brady Liss, and Thomas E. Levy. 2016. “Delphi4Delphi: First Results of the Digital Archaeology Initiative for Ancient Delphi, Greece.” Antiquity 90 (354): 1-6. doi:10.15184/aqy.2016.187. 10. Living Atlas of the World | ArcGIS. Accessed April 11, 2017. https://livingatlas.arcgis.com/en/#s=0. 11. Logothetis, S., A. Delinasiou, and E. Stylianidis. 2015.“Building Information Modeling for Cultural Heritage: A review.” ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences II-5/W3: 177-83. doi:10.5194/ isprsannals-ii-5-w3-177-2015. 12. McCarthy, John. 2014. “Multi-image Photogrammetry as a Practical Tool for Cultural Heritage Survey and Community Engagement.” Journal of Archaeological Science (43): 175-85. doi:0305-4403/$. 13. Morgan, Colleen, and Stuart Eve. “DIY and Digital Archaeology: What are You Doing to Participate?” World Archaeology 44 (4): 521-37. doi:10.1080/00438243.2012.741810. 14. Oxford Dictionaries, s.v. “augmented reality,” accessed March 25, 2017, http://www.dictionary.com/browse/augmented-reality. 15. Oxford Dictionaries, s.v. “virtual reality,” accessed March 25, 2017, https: en.oxforddictionaries.com definition virtual reality.

16. Pavlidis, George, Anestis Koutsoudis, Fotis Arnaoutoglou, Vassilios Tsioukas, and Christodoulos Chamzas. 2007. “Methods for 3D digitization of Cultural Heritage.” Journal of Cultural Heritage 8 (1): 93-98. doi:10.1016/ j.culher.2006.10.007. 17. “PlayStation®VR.” Playstation VR Headset. Accessed May 07, 2017. https://www.playstation.com/en-gb/explore/playstation-vr/. 18. “Rhinoceros 3D.” Wikipedia. February 10, 2017. Accessed March 22, 2017. https: en.wikipedia.org wiki Rhinoceros 3D. 19. Silva, Kapila. 2012. “Symbolic Integrity of Historic Urban Landscapes: The Forgotten Dimension in Urban Conserva tion.” In Vitruvius on the plains: Architectural Thought at Kansas, 1912-2012, edited by Grabow, Stephen and Silva, Kapila, 323-330. Lawrence, KS: School of Architecture, Design & Planning, University of Kansas. 20. “Time Scanners: Machu Picchu.” Directed by Tom Stubberfield. Performed by Steve Burrows and Dallas Campbell. PBS.org. December 9, 2015. http://www.pbs.org/program/time-scanners/. 21. “Time Scanners: Petra.” Directed by James Franklin. Performed by Steve Burrows and Dallas Campbell and LeighAnn Bedal. PBS.org. July 15, 2014. http://www.pbs.org/program/time-scanners/. 22. Zalewski, Daniel. November 22, 2016. “The Factory of Fakes.” The New Yorker. Accessed Feb 19, 2017. http:// www.newyorker.com/magazine/2016/11/28/the-factory-of-fakes.

ADDITIONAL

Other Selected Works

LOGO OBJ

JECT

ART

I believe that interest in multiple area of design helps to inform better architecture and create a well-rounded architect. I have always had an interest in drawing and making things with my hands, and I find that those same interests have manifested themselves in these side-projects. Taking time to pursue my other passions provides me with a constructive and enjoyable way to use my design talents and open my mind up to new ways to solve problems.

Logo Design: Well Garden Industries Wichita, KS

I was approached to design a logo for my brother Seth’s recently opened hydroponics business in Wichita Kansas called Well Garden Industries. To the top right is Seth’s original sketch, and the three colors that he wanted which came from the paint job on the inside of the store. The challenge to the design of this logo, was how to communicate something which represents both the name, merchandise and personality of the store. The decision was to simplify and give a unique twist to the idea of a “well garden.” With the principals of hydroponics in mind, the logo is a minimal but understandable section cut through a well which has since been turned into a hydroponics garden.

Forest Board: A Value of Design Intentions

This project was a fun warm to the comprehensive studio to come. This project was assigned to understand our personal design sensibilities, so that we could be assigned to a group of three individuals who had similar values as ourselves. The project also was to serve as a guide to what we put value on in our courthouse designs. The form of the board comes from the desire to make a thing which shows the inherent temporal nature of design. In essence when you look at this object you will see in what order it was made. I also was interested in the way in which nature repeats things like trees at a grand scale, which on the surface seem identical and separate, but below are interconnected by root systems or other ecological factors. The board was a found piece of board with a mirror piece cut in a tear drop shape. After that I applied a grid pattern, then drilled different size holes through the board. After I weaved thread through the board until it reached the point it started and tied it together. I drilled in the screws in one section, spray painted, and continued in a clockwise motion around the board. This circulation started with the white region, and ended with the black. The colors selected, and orientation were selected to mimic the light of the day fading into night. It can be viewed as a clock with 12 being the point where the strings are tied together and the white and black are next to each other.

Digital Art, Painting, & Paper Crafts

Sean J. Brungardt Assocaite AIA

Profile: I believe architecture is the design of the very large by means of working out the very small. I am pragmatic, imaginative, and inquisitive.

Contact: c. (785)-840-7469 seanbrungardt@gmail.com

Professional Experience: Architectural Designer, Hoefer Wysocki Architecture | Leawood KS, May 2017 - Present Two-Time Capstone Award Winner 2017 While at Hoefer Wysocki I was part of the HEAP (Higher Education + Advanced Projects) studio where I helped to create proposals for nine competitions. I also helped coordinate with consultants and contractors to issue PRs, ASIs, and RFIs for two separate CA projects. I worked on healthcare, commercial and higher education projects. I helped create inner-office best-practice documents to aid other employees in the use of Revit, SketchUp, and parts of the Adobe Suite.

Architectural Intern, Helix Architecture + Design | Kansas City MO, May 2016 - May 2017 Firm of the Year AIA Kansas City 2016 Project of the Year AIA Kansas City 2016 During my time at Helix I was a part of over a dozen projects from the conceptual stages all the way up to construction administration. I was responsible for drafting and modeling using Revit, SketchUp and Rhino. I created as-built drawings in the field for adaptive re-use projects. I worked on re-use, multi-family, commercial, restaurants, and higher education projects. I became the in-house 3D-printing expert creating a massive 3’ x 3’ model, and 30+ smaller models for other projects. I also created a comprehensive guide for others in the office to begin 3D-printing their own models.

Architectural Intern, Finkle + Williams Architecture | Overland Park KS, May 2015 - Aug 2015 #7 Ingram’s Corporate 100 2015 I took part in project types like arenas, multi-family, and industrial warehouses. I was responsible for drafting in Auto CAD, creating 3D models in SketchUp, and Photoshopping final renderings for clients.

Education: Master’s of Architecture, University of Kansas | Lawrence, KS, 2011- 2017 Cumulative: 3.4 GPA Independent internship at Helix Architecture + Design Masters thesis focused on VR, AR, and 3D-Scanning as a means to preserve UNESCO sites Studied abroad in Singapore, Malaysia, and South Korea Awards: Historic Preservation Certificate

Bishop Carroll Catholic High School | Wichita, KS, 2007-2011

Adobe Photoshop

Adobe Illustrator

Honors Diploma | 4 years of Spanish | Various honors and AP classes | GPA: 3.5

Extramural Activities: Outstanding Presentation Award for “Vortex: A Science Fiction Cinematic Arts Museum”, Poster Presentation, Undergraduate Research Symposium, University of Kansas, April 2015.

Adobe InDesign

Autodesk Revit

Eagle Scout Award, January 2011 Rhinoceros 3D Historic Preservation Certificate, University of Kansas, School of Architecture Design + Planning, May 2016 for the completion of 4 architecture elective courses in a series focusing on preservation SketchUp

Skills: Experienced in Microsoft Office Suite, Adobe Suite, Autodesk products, Rhino, Grasshopper, SketchUp and other professional softwares.

Interests: Brewing, Drawing, Design, Gaming, Movies, Painting, Photography, Reading,Technology, Travel, Writing

Autodesk AutoCAD

P 57

c. (785)-840-7469 seanbrungardt@gmail.com