S H O S H A N A YA R D L E Y
M AY 2 0 2 0
DESIGN THESIS
LOGO HERE
A D A P T E D T E M P LAT E BY I S S U U
“ We are often told we are materialistic. It seems to me that we are not materialistic enough. We have a disrespect for materials. We use it quickly and carelessly. If we’re genuinely materialistic people, we would understand where materials come from and where they go” - George Monbiot (The Guardian)
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CONTENTS 06
PROJECT STORY
Project Background
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RESEARCH
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IDENTIFY
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PLANS
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SKETCH
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ENHANCE
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DESIGN
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PRESENTATION
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Personal Reflection Design Theory Why Tacoma? Makerspace + Graphic Branding Concept Design Direction FFE; One + Two Site Study Plans; One + Two Diagrams + Fit Plans Idea Iteration Elevation, Details, Strategies Additional Research Code Exploration
Project Review Stack Diagram Material + FFE Palette Design Imagery
Final Floor Plans Sections Rendering + Views
CONSTRUCT FURNITURE (SAMPLE)
SHOSHANA YARDLEY
Dunwoody College of Technology - Spring 2020
LINKEDIN @SHOSHANA-YARDLEY
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P ROJ ECT STO RY PROBLEM Excess building materials are too often discarded to a landfill rather than utilized within the construction industry or artist community.
HYPOTHESIS By focusing on collecting both excess studio and building materials the community will be encouraged to rethink available resources and contribute to a reduction in ‘usable’ materials sent to a landfill.
GOAL Designing a sustainable community space in Tacoma, Washington that promotes the reuse of excess materials by recirculating them into a Makerspace.
O BJ ECT I V ES 1 MATERIAL COLLECTION material library
2 SPACE TO CREATE fabrication labs
3 SHARE COMMUNITY ART gallery space
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“As the ‘circular’ approach to sustainability begins to gather ground, we humans are finding ourselves within the circle, not without.” - Michiel Schwarz, A Sustainist Lexicon
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RESEARCH Pe rson al Re f lec ti on Material Library Waste Design Theory Interior Ecosystem
Model
W h y Ta c o m a ?
Ci t y Lo c ati on
W h at i s a M a ke rs p ac e ?
W h o M a ke s U p a M a ke rs p ac e ?
Branding Brief
Graphic Branding
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PERSONAL REFLECTION: DESIGN LIBRARY PURGE Time: Mon-Fri Oct 2019 Goals: To clean/purge and reorganize the library of all discontinued items and things no longer used.
Emily O. is the business owner and miracle worker of Organized Corp., a small team based in Denver, Colorado who helps design firms organize and manage their material libraries and new resources. I currently intern at a local architecture and design firm with a medium size interior design team and a fairly large in-house sample library. Our interiors team hired Emily to visit our office and to re-organize and purge our design library to make it a more workable space. I was able to meet, and work alongside Emily during the re-organization and was able to learn about her process, and how she works with and capitalizes on the material waste in our industry. Emily contacted our local reps with an informative email about her company, process, and our team goals. They were to schedule a time to come in, pick up items, update and condense, and meet with Emily. How does the purge/clean process go ? We set up times for reps to pick up the items, and reorganize or update the samples, books, or sets to the new allotted space provided. What wasn’t picked up or couldn’t be returned was tossed. We have a 20’ dumpster at our building that had about an eighth (1/8) full and the rest we were able to use. The dumpster was filled to the brim when we finished. We took roughly 20+ trips full of materials samples, books, binders, and other finish sample items to the dumpster. Materials included; large and small tile,
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carpet, upholstery (fabrics), hanging books, tile and carpet books, stone, flooring materials, metals, glass, paint, wallcovering memos and binders, furniture samples, etc. Every load had discontinued or old items, both reusable or not. Some items were brand new and not picked up, others 6+ years old, some things could be salvaged, others less so. Roughly, a fourth of the items were new and current while the rest was old, broken, or discontinued for in-house design use – but still great for reclaimed project materials. It was not the greatest or ideal option to toss all the materials into the dumpster to the landfill, but unfortunately with the time constraint and available programs that is what we ended up doing. Emily mentioned that in other cities and offices, they have donated more items to art programs, schools, or other salvage organizations for reuse, re-purpose, or resell. This is a band-aid fix for a larger consumer issue, but in some way it can help the existing materials lifespan and help us understand what is re-usable vs. not. Personally, it was painful to toss all the items into the trash. For both Emily and I, each trip was hard to dump everything seeing it’s potential use as a crafter/environmentalist and a seamstress. I knew and saw the potential of the items (and salvaged some things) but just couldn’t collect all the materials in my basement or knew of programs that would take the items. I think there could have been more effort on our side to research programs or places to drop/pick up the materials. Emily, After the library purge was complete, I reached out to Emily to hear a little bit more about her business, how Organized Corp came about, and their process with material organization, new product, purging old product, and the material waste that is associated with the industry.
QUESTIONS: SHOSHANA YARDLEY: IN A FEW WORDS, WHAT ARE/WERE YOUR GOALS IN CREATING THIS PROGRAM? WHAT SPARKED THE IDEA OF YOUR BUSINESS? EMILY O.: I started my business 26 years ago when I needed a new career. There was a librarian that was working in LA that got me started. MY UNDERSTANDING IS THAT YOU SERVICE LARGE DESIGN LIBRARIES, ARE THERE ANY OTHER LIBRARY TYPES YOU WORK WITH OR HAVE WORKED ON IN THE PAST? We work with all sizes of Design and Architectural libraries from five person firms to some of the biggest in the world. We also have a separate database and niche with landscape architecture firms in the Denver market.
O RG A N I Z E D CO R P. Emily Odell | Owner
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D E N V E R , CO.
O RG A N I Z E D CO R P. M AT E R I A L L I B R A RY B US I N ES S
THINKING ABOUT THE LIBRARY PURGE/MANAGEMENT, DO YOU HAVE A ROUGH ESTIMATE OF HOW MANY DESIGN LIBRARIES YOU HAVE ORGANIZED AND/OR PURGED? I Have been doing this for 25 years so Hundreds. OUTSIDE OF DENVER, WHAT STATES OR CITIES HAVE YOU WORKED IN – REGARDING LIBRARY PURGING? We are based here in Denver, Colorado but we’ve also worked in CA, AZ, MN and Chicago. Our larger clients tend to use us in their other locations on a as needed basis. IF THERE IS ONE, WHAT WOULD THE AVERAGE RATIO OF MATERIALS WOULD BE: KEEP, DONATE, RECYCLE, DUMPSTER? This is completely library/firm specific. We have libraries that we’ve cleaned out that have architectural binders from the 1980’s but we’ve found ways to recycle and reuse. Some libraries that are newer but just have loose samples we try our hardest to get the reps to pick up. Where you run into hurdles are with manufacturers that do not have local representation (and there are a lot of these reps). These manufacturers will send materials but do not have programs or ways of taking them back. HAVE YOU WORKED WITH OTHER ORGANIZATIONS IS CO OR OTHER STATES TO DONATE MATERIALS OR OTHER OPPORTUNITIES INSTEAD OF THE DUMPSTER? IF SO, HOW OFTEN IS THIS APPLICABLE? AND IS THIS RESEARCH SOMETHING YOU WORK ON, OR A CONNECTION THE DESIGN FIRM WOULD HAVE SET UP? We are constantly researching new ways to recycle, reuse or donate and we will always take firm suggestions if they have found a group we haven’t (which usually doesn’t happen). Organized Corp tries to work with as many organizations as we can locally to donate outdated or old materials when possible. These programs are often volunteer run and tend to come and go at least in the Denver market so keeping a pulse on where and what can be donated is a constant battle. DURING A LIBRARY PURGE, HOW MANY (IF AT ALL) DUMPSTERS ARE NEEDED – ON AVERAGE? Generally we utilize the building dumpster or recycling bins when anything is needed at all. Size of firm, size of library, and last time it was overhauled all play into the amount of time or how often we do large purges. WHAT ARE THE MATERIALS YOU FIND ARE THE LARGEST AMOUNT OF THE PURGED/TRASHED SAMPLE ITEMS? ITEMS THAT COULD BE RETURNED, RECOVERED, OR REUSED BY THE FIRM OR THE MANUFACTURERS/REPS. (FABRIC, TILE, BOOKS, WOOD, PLASTICS)
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Tile seems to be the biggest culprit at most firms and this is because it is sampled in large pieces, it’s heavy and there are A LOT of manufacturers that will ship one way but have no local presence for someone to grab the samples when they are no longer needed. For firms it is very hard to store these types of materials because again they are large in size and heavy in weight so with libraries already being limited on space it is not easy to keep very many of these around. Not to mention firms aren’t going to use the same 12x24 consecutively in projects so how long would a tile sit there before it’s needed again? HAVE YOU EVER HAD A LIBRARY CLEANING/PURGE THAT DIDN’T NEED A DUMPSTER AT ALL? ALL ITEMS WERE RETURNED, SALVAGED, DONATED? Yes we have many where we have longer periods of time to clean and return loose samples, books and boxes. ARE THERE SYSTEMS OR PRACTICES THAT YOU THINK DESIGN FIRMS OR MANUFACTURES CAN MAKE TO HELP REDUCE THE AMOUNT OF MATERIAL WASTE PRODUCED, LANDFILLED, OR NECESSARY IN OUR CURRENT INDUSTRY AND WORK PROCESS? Designers and architects alike can do a lot to help reduce the amount of materials acquired, ordered or shipped into a firm library or for projects (to a certain point). What I mean by that is, do you really need full size tiles or carpet samples in the initial conception phase or would pulling one of the sample books work just as well? Thinking about what you TRULY need before ordering it in or narrowing down from five sample options to two before asking for samples. There are always ways to visualize or consider options without having to ship in materials. We understand that once certain phases are reached in a project sometimes it because a necessity to have the actual (or full size sample) available for the contractor or for the client to be able to sign off on designs or patterns but we should consider how much and how many of samples are really needed. WHAT ARE THINGS THAT YOU HAVE DONE SUCCESSFULLY AND/OR THINGS THAT HAVEN’T BEEN AS SUCCESSFUL? I like to think we have done and continue to do a lot of successful things which is why we’ve been in business for 25 years! Each client is unique and because we cater our work to their needs their doesn’t seem to be much that goes wrong. We’ve stopped a lot of ordering errors because of research and constant follow up. We’ve also helped many designers (typically weekly) who are in project binds, lead time constraints that need VE options, and many other various time crunch or project sensitive issues. Being involved or being asked to step in to help in these situations are because of long time trust and bonds created with our clients where they know we will come through for them, whatever it takes.
O RG A N I Z E D CO R P. Emily Odell | Owner
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I N T E R I O R ECOSYST E M M O D E L I N T E R I O R D E S I G N T H EO RY
Interior Ecosystem Model design theory depicts three environment centered around humans; natural, social, and designed. Natural environment refers to the geographical location of the persons. Social environment refers to the behavior and culture in the surroundings. Designed environment refers to the built environment around the person.
S U STA I N A B I L I T Y
The sustainability of a human society is not just about its relationship with the environment; it’s a problem concerning the nature of the society and the way it is organized. •
“Sustainability is the ability to continue a defined behavior indefinitely.”
•
“Improving the quality of human life within the carrying capacity of supporting Eco-systems.”
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“Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs.”
GREEN DESIGN
Green building (green construction or sustainable buildings) refers to both a structure and the using of processes that are environmental responsible and resource-efficient throughout a buildings life-cycle: from sitting to design, construction, operation, maintenance, renovation ,and demolition. Green Design Principles • Social Responsibility - Creating comfortable, healthy, sustainable built environment’s • Environmental Stewardship (Green Design) - Reduce energy consumption, greenhouse gas emissions, water consumption, and solid waste generation. • Economic Profitability - Reduce costs and liability; increase value; and achieve more predictable results in design, construction, and continued building operations and maintenance.
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Green Design in Interior Reduce energy use Conserve water Minimize waste Repurpose furnishings or materials Eliminate toxins and harmful particles or fibers Use natual, rapidly renewable products and materials Contribute to a sustainable environment and economy
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natural. social. built.
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TACO M A , WA
Tacoma is all about equitable economic growth and opportunity by supporting existing businesses, enabling reinvestment and revitalization, and promoting the attraction and creation of new businesses, living wage jobs, and housing options to enhance the quality of life in the community. With a population of more than 213,00 people, Tacoma is a city of young and diverse mix of cultures, with 41% of the population under 30. With many higher-education institutions including the University of Washington Tacoma in the heart of Downtown, Tacoma’s workers can receive an education and training at a variety of locations. The median household income of $53,553 and a home value of $288,700, Tacoma has the best of both worlds; an affordable lifestyle and an incredible quality of life. The City of Tacoma is committed to providing high-quality, innovative, and transparent municipal services that enhance lives and grow businesses. The city is full of a variety of key industries that help businesses succeed from all background types: from a rich maritime legacy to a burgeoning tech and startup community.
A RT I ST ’ S I N TACO M A
In February 2019, Tacoma made the list for the best cities for artist’s to live and here are some reasons why. WHAT ARTISTS SHOULD KNOW: • Home to the Northwest College of Art and Design, as well as the Broadway Center for the Performing Arts, this city of just over 200,000 people has a strong commitment to the arts. • In 2016, the city launched ArtFull Tacoma, a plan designed to “help grow the city’s economy by promoting its creative builders and makers, and creating spaces for art in every neighborhood,” Rachel Cardwell. • Named an Etsy Maker City, recognizing the importance of artisans and craftspeople to the city’s economy. • The city is full of public art projects, museums and galleries.
D OW N TOW N TACO M A
Downtown Tacoma neighborhoods feel a strong sense of ownership which has led to an almost village-like vibe amongst the people who have settled here. It’s not hard to get to know people and very easy to participate in civic and community life. Tacoma is a growing city, but the stories of the past give it character and self-reflection that is rare in other cities. Tacomans are focused and community oriented, with a strong sense of city ownership, constantly asking themselves, “Where are we going?” and “what kind of city do we want to be?” Downtown Tacoma is packed with culture, hospitality, and local businesses from bars, coffee shops, and new restaurants to theaters, museums and more. Artists come from around the world to preform in the variety of historic theaters, music venues, and museums. WHY DOWNTOWN TACOMA? When I was starting my research into districts and areas around Tacoma, I found a local (Tacoma) website that helped me narrow down and find one that will fit the right demographic and location. While talking with Marguerite; SY: Hi Marguerite! I’m working on my design thesis project and am looking to place my business/project in Tacoma. The users would include the general public, similar to the tool library and artist and maker professionals. ... M: Got it! So who is your target market? You said makers/the general public.. SY: It is a similar target, but I’m looking to create a community within the space. Yes it would be open to the general public, but would be geared towards artists and makers as their profession. M: Like an artist’s co-working space sort of? SY: The space will have material collection, and gallery, but will mostly be a space for working. Yes exactly! M: My guess is the best options for this kind of space is probably downtown Tacoma.
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Marguerite | Online Chat
A RO U N D TOW N To better understand the surrounding consumer habits in Tacoma, I dove into user needs, behaviors, and activities. This included education, art and culture, material collection sites, and reuse store locations in close proximity to the downtown area. A goal of the location and demographic needs is the openness to environmentally conscious consumerism and material goods. The map pictured references the greater Tacoma area with a variety of locations highlighted by color. Each color represents a different type of building and/or business. This study and exploration of Tacoma’s material use and recycling opportunities helped my understanding of the cities relationship with reuse, the current market, and which area of Tacoma will best facilitate cross-collaboration with other businesses. Included in the visual, Tacoma has a large variety of material reuse and second hand stores, showing that the opportunities for Ecobusinesses are thriving, as well as the variety of art and cultural areas that will support the makers and artists that will be using this space.
BUSINESS
MANUFACTURING SITE
RECYCLE CENTER OR SITE ARCHITECTURE & DESIGN FIRMS
SECOND HAND
MATERIALS AND SUPPLIES
CLOTHES AND OTHER GOODS
CULTURE
ART, GALLERIES, & MUSEUMS
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WHAT MAKES A MAKERSPACE? A local maker, John McPearson wrote me an insightful metaphor about maker-spaces, and how they develop and improve, “these types of spaces are maybe best compared to moss, the spaces tend to form around an area where some people with common interests are pooling resources to develop a site that works for them.� This metaphor is insightful because through my research, interviews, observations, and precedence studies three driving points have continued to stand out as important foundations to a makerspace; tools, education, community. A makerspace is...
A makerspace is grounded in making, it includes tools and equipment that allow people to make. Some makerspaces have specific specialized crafts and then curate those tools needed. Others are created to facilitate diverse opportunities for all makers to make anything and therefore provide a variety of tools and equipment. ..... is a place of education. A core element of a makerspace is access to knowledge, both formal and informal. This is provided in both organized classes and training - safety protocols and learning new skills. Informal education happens more organically when members share their knowledge and ideas with each other, being a source of ideas, inspiration, and activity allows all members both seasoned and new to foster creativity and learning. ..... is a place of community. There is a lot of research done on the types of communities that creative spaces foster, but most makerspaces embody one or more of the three types of communities ; neighborhood, innovation, and corporate. A neighborhood community is outwardly focused, they are looking to empower the wider local community through education and are typically non-profit. Innovation makerspaces are more inwardly focused and emphasize communication between members to help build internal innovation - these are most similar to co-working spaces. Lastly, Corporate makerspace communities are outwardly focused on supporting makers who directly support the corporation. The purpose is to create innovative products, mostly for-profit situations.
WHO MAKES UP A MAKERSPACE? Who makes up a makespace, Makers. Makers are individuals who make, create, innovate, design, learn, share, develop, iterate, and build. Often makers have educational background and/or training, but not always. Makers are most often between the ages of 16-24 or 46-59, but all ages are welcome. A maker is a ....
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C ROS S - D E PA RT M E N T D ES I G N P ROJ ECT
BRANDING BRIEF
Over the course of this semester, the graphic design students and I collaborated to develop the graphic branding from this design thesis project. Starting out with a brief concept and name, ecoCOLLECT, we began to dig into what a creative sustainable focused brand would represent visually, and what the company brand logo, name, and graphic would look like. We drafted options with leaves and more environmentally focused imagery, to abstract geometry, to plain text. Our first logo design began to feel more environmental and scientific rather than creative and diverse. So, we went back to the drawing board to revise the brand name and removed eco all together. The name COLAB resonated as it emphasised a collaborative community the space hopes to facilitate and hints at the fabrication labs that the artists and makers will use. The new name inspired new ideas and imagery that influenced our final design - a name, a tag line and layering colors. Our final design landed on COLAB Create - Sustain - Share. The font chosen is Avenir for its relaxed and humanist characters. The color palette creates a colorful, creative element while staying professional in tone. GRAPHIC DESIGN TEAM Alexander Hall, Casey Johnson, Devin Quast and Michelle Stenzel
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IDENTIFY Concept
Concept Story
Visual Direction
M a ke rs p ac e M o o d b o ard Storage Moodboard Gallery Moodboard
FFE Direction
Color + Finishes Furniture & Fixtures
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CHURN - CHURNED - CHURNING 2 [no object] : to move in a circle : turn The wheels/gears began to slowly churn. SYNTHESIS 1: the process of combing parts into a unified whole
Inspired by the circular economy system and the notions of cyclical processes, reuse, and the relationship between nature, social (users), and the designed environment, the desire for a cyclical component was important for the visual connection and concept for this project. When thinking about commonalities between makerspaces, the users, the construction industries and how they are all interconnected, mechanical gear was a strong representation of those elements. A gear is a mechanical piece that serves to keep the turning or rotation of two axes together, they can increase or decrease the speed of rotation and are essential that they transmit rotational motion to a different axis. Gears churn, to move in a circle: turn. The synthesis of these ideas, circular economy and mechanical gears churning, allow for a strong connection between the inner workings of the makerspace and the surrounding community.
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N AT U R A L
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- ONE FFE Direction
Furniture Finishes Material Palette
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F U R N I T U R E D I R ECT I O N
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- TWO FFE Direction
Furniture Finishes Material Palette
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PLANS Site Study
Path of Trave l Site Study
Option One
Adj ace ncy D i ag ra ms Fit Plans
O p ti on Two
Adj ace ncy D i ag ra ms Fit Plans
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PAT H O F T R AV E L
EXIT ACCESS PATH
106’-0”
CE STAN
EL DI
TRAV
CE STAN
237’-0”
EL DI
TRAV
EXIT ACCESS
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CE STAN
EL DI
TRAV
237’-0”
237’-0”
SITE STUDY
LIGHT STUDY
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- ONE Adj ace ncy D i ag ra ms
Bu b b l e P l a n s Block Plans R C P Bu b b l e P l a n s RCP Fit Plans
Fit Plans
Fit Plans Stack Diagram
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A DJAC E N CY D I AG R A M S
RCP
B U B B L E + B LOC K
MAKE
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CREATE
SHARE
FLOW
L. THREE
L. TWO
L. ONE
FIT PLANS
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S TA C K D I A G R A M
MAKE
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FLOW
DIAGRAM
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- TWO Adj ace ncy D i ag ra ms
Bu b b l e P l a n s Block Plans R C P Bu b b l e P l a n s RCP Fit Plans
Fit Plans
Fit Plans Stack Diagram
Model Study
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A DJAC E N CY D I AG R A M S
RCP
B U B B L E + B LOC K
MAKE
60
|
CREATE - SUSTAIN - SHARE
CREATE
SHARE
FLOW
L. FOUR L. THREE L. TWO L. ONE
FIT PLANS
DESIGN RESEARCH BOOK |
61
S TA C K D I A G R A M
MAKE
62
|
CREATE
SHARE
CREATE - SUSTAIN - SHARE
FLOW
MODEL STUDY
DESIGN RESEARCH BOOK |
63
64
|
CREATE - SUSTAIN - SHARE
- S K E TC H 5 0 S ke tc h e s 10 Elevations 4 Details Sustainable Strategies
Material Path Diagram Sustainable Notes Diagram
DESIGN RESEARCH BOOK |
65
S K E TC H E S
66
|
CREATE - SUSTAIN - SHARE
S K E TC H E S
DESIGN RESEARCH BOOK |
67
E L E VAT I O N S
BUSINESS CORNER
ART/ WORK STUDIO
WOOD SHOP
G A L L E RY / L O B BY
CERAMIC STUDIO
68
|
CREATE - SUSTAIN - SHARE
COLLCTION AREA
E L E VAT I O N S
A C T I V E S TA I R
WORKSHOPS V IEW
COLLECTION DESK
G A L L E RY H A L L
D E TA I L S
LOADING DOCK
FREIGHT E L E VATO R
S H E LV I N G UNIT
ACTIV E S TA I R DESIGN RESEARCH BOOK |
69
M AT E R I A L PAT H
GENERAL PUBLIC M AT E R I A L PAT H PUBLIC ARTIST MEMBER ARTIST
70
|
CREATE - SUSTAIN - SHARE
S U S TA I N A B L E N O T E S
I R R E S I S T I B L E S TA I R S R E G E N E R AT I V E E L E VATO R WA L K A B I L I T Y A N D B I K E S E R V I C E S O L A R PA N E L S W INDOWS AND SHADES
DESIGN RESEARCH BOOK |
71
“Arts programming allows community members to not only consume
72
|
CREATE - SUSTAIN - SHARE
but create as well.”
ENHANCE Gallery Visit
Open Book Gallery + Cafe
FF&E Inquires
Acou s ti c al Pro d u c ts Sustainable Furniture
Code Exploration
Occ u p ancy Lo ad s Path of Egres I nc lu s i ve Res t ro oms
DESIGN RESEARCH BOOK |
73
G A L L E RY V I S I T Additional Gallery VIsit to small local gallery and cafe to better study and observe.
74
|
CREATE - SUSTAIN - SHARE
F F& E : ACO U ST I C S
DESIGN RESEARCH BOOK |
75
F F& E : F U R N I T U R E
76
|
CREATE - SUSTAIN - SHARE
DESIGN RESEARCH BOOK |
77
CO D E R E F E R E N C E STA I RWAYS
BUILDING CODE DATA - PLUMBING FIXTURE REQUIREMENTS Project:
COLAB MAKERSPACE
Location:
TACOMA WASHINGTON
PAI Project #
STUDENT THESIS PROJECT - CAPSTONE
Date:
JANUARY 27 2020
Building Code:
IBC 2006 with Minnesota State Amendments
NOTES
Project Description / Assumptions SEE PROGRAM BOOK
P LU M B I N G Plumbing Fixture Requirements Occupant Loads (IBC Table 1004.1.1) Occupancy Use Group STORAGE S-1 COLLECTION S-1 GALLERY A LOBBY A BUSINESS B WORKSPACE F-1 ART STUDIO F-1 CAFÉ B
Area
S.F. / occ.
700 s.f. 6,910 s.f. 1,500 s.f. 300 s.f. 4,400 s.f. 9,964 s.f. 5,100 s.f. 900 s.f.
Occupants
300 s.f. 300 s.f. 30 s.f. 15 s.f. 20 s.f. 200 s.f. 200 s.f. 200 s.f.
Total B Occupancy Plumbing Fixture Calculations (IBC Table 2902.1) Occupancy Group Total B Occupancies
Occupants Occ./W.C. 113
*
% Men
Men
Women
3 24 50 20 220 50 26 5
2 12 25 10 110 25 13 3
1 12 25 10 110 25 13 2
225
113
112
Men W.C. Urinals 3.26
Occ./Lav.
**
Lavatories 2.41 * 1 per 25 for first 50, 1 per 50 for remainder ** 1 per 40 for first 80, 1 per 80 for remainder
Total Fixtures Required 4 Total Fixtures Provided Do urinals comprise 67% or less of required water closets (Y/N)? (SBC Table 2902.1, footnote i) "N" indicates insufficient W.C./ urinals, revise provided fixture count as required Plumbing Fixture Calculations (IBC Table 2902.1) Occupancy Group Total B Occupancies
Occupants Occ./W.C. 112
Total Fixtures Required Total Fixtures Provided
78
|
CREATE - SUSTAIN - SHARE
*
Women W.C. 3.24
4
Occ./Lav.
**
3
Drinking Fountains Lavatories Occ./D.F. D.F. 2.40 100
3
2.25
3
OCC U PA N T LOA D A N D E X I T R EQ. BUILDING CODE DATA - OCCUPANT LOAD AND EXIT REQUIREMENTS Project:
COLAB MAKERSPACE
Location:
TACOMA WASHINGTON
PAI Project #
STUDENT THESIS PROJECT - CAPSTONE
Date:
JANUARY 27 2020
Building Code:
IBC 2006 with Minnesota State Amendments
NOTES
Project Description / Assumptions SEE PROGRAM BOOK
Fire Sprinkler AND emergency voice/alarm communication system? (Y/N)
Y
Floor Number
1
Is this floor the Level of Exit Discharge (Y/N)?
Y
Does this building / floor / mezzanine have only one exit as allowed by IBC Table 1015.1, 1019.2 or IBC 505.3 (Y/N)? If so, describe how building / floor / mezzanine qualifies:
N
Exit Requirements Number of Exits Required (IBC Table 1015.1, IBC Table 1019.1) Use STORAGE COLLECTION GALLERY LOBBY BUSINESS WORKSPACE ART STUDIO CAFÉ
Total Exiting from Floor
Area 700 s.f. 6,910 s.f. 1,500 s.f. 300 s.f. 4,400 s.f. 9,964 s.f. 5,100 s.f. 900 s.f.
29,774 s.f.
S.F. / occ. 300 s.f. 300 s.f. 30 s.f. 15 s.f. 20 s.f. 200 s.f. 200 s.f. 200 s.f.
Occupants
S Occ.? (Y/N)
3 24 50 20 220 50 26 5
Y Y
398
398.00
H1, H2 or H3 Occ.? (Y/N)
Required Minimum Total Exit Width (IBC Table 1005.1) H-1, H-2, I-2 Occ.? Stair Width Stair Width Stair Width Use H-3 or H-4 per Occ. Required Provided (Y/N) Occ.? (Y/N) STORAGE N N 0.2 '' .60 '' COLLECTION N N 0.2 '' 4.80 '' GALLERY N N 0.2 '' 10.00 '' LOBBY N N 0.2 '' 4.00 '' BUSINESS N N 0.2 '' 44.00 '' WORKSPACE N N 0.2 '' 10.00 '' ART STUDIO N N 0.2 '' 5.20 '' CAFÉ N N 0.2 '' 1.00 ''
Total Exiting from Floor
79.60 ''
N N N N N N N N
H4, H5, I-1, Number of I-3, I-4 or R Exits Occ.? (Y/N) Required N N N N N N N N
1 1 2 1 2 2 1 1
Number of Exits Provided
2
Other Egress Width per Occ 0.15 '' 0.15 '' 0.15 '' 0.15 '' 0.15 '' 0.15 '' 0.15 '' 0.15 ''
Other Egress Width Required .45 '' 3.60 '' 7.50 '' 3.00 '' 33.00 '' 7.50 '' 3.90 '' .75 ''
Other Egress Width Provided
59.70 ''
DESIGN RESEARCH BOOK |
79
80
|
CREATE - SUSTAIN - SHARE
- DESIGN Projec t Rev i ew S ke tc h e s
Bu i l d i n g S t a c k D i a g r a m
F loor P lans + RC Ps Bu i l d i n g S e c t i o n C u t
Material + FFE Palette
Material Concept Plan
Design Imagery
Views + Elevations 3D Shop Plans + Details DESIGN RESEARCH BOOK |
81
CO N N ECT I O N PO I N T 82
|
CREATE - SUSTAIN - SHARE
CONNECTION
1 [NOUN]: a relationship in which a person, thing, or idea is linked or associated with something else.
A point of interaction, a place of individual belonging; stringing the community together, this community makespace will connect makers and materials to create, sustain, and share.
DESIGN RESEARCH BOOK |
83
JA M E S + T H EO
DAY JOB: ENGINEER + BUSINESS ANALYST MEMBER: COLLEGE FRIENDS WORKING ON DEVELOPING SMALL TECHNOLOGY PROTOTYPES. PART-TIME MEMBERS AND WORK WITH MACHINES, WELDING, AND 3D PRINTING. VALUES: INNOVATION, CREATIVITY, AND TECHNOLOGY.
J OS I E
DAY JOB: RECENT GRADUATE, WITH A MASTER IN EDUCATION WITH A LOVE FOR ART HISTORY AND JEWLERY. MEMBER: HOPES TO UTILIZE THE SHARED BUSINESS AMENTIEY SPACES, BENIFITS FROM WORKING AROUND OTHER CREATIVES. SHE IS A SMALL BUSINESS OWNER, AND WORKS ON MAKING JEWLERY FROM MATERIAL SCRAPS, SELLING ON AN ONLINE PLATFORM. VALUES: COMMUNITY, PASSION, ENERGY AND INDEPENDENCE.
84
|
CREATE - SUSTAIN - SHARE
YO KO
DAY JOB: RETIRED THERAPIST. NOW PART-TIME CERAMACIST. MEMBER: WORKING IN THE CERAMIC STUDIO GIVING SMALL (INDIVIDUAL LESSONS) AND SELLING HER WORK AT LOCAL SHOPS. SHE WORKS AS ADMIN AT COLAB MAKERSPACE PART-TIME.
M AT H E W
DAY JOB: ARCITECT AT A SMALL FIRM. MEMBER: WORKING IN THE WORKSHOP ON THE WEEKENDS, ENJOYS MAKING SMALL ONE-OFF FURNTIURE PIECES AND HOME ACCESSORIES. VALUES: COMMUNITY AND FLEXIBILITY. CONSTANTLY LEARNING NEW SKILLS.
VALUES: COMMUNITY, PERSONAL STORAGE SPACE, AND WORKING AROUND OTHER ARTISTS.
DESIGN RESEARCH BOOK |
85
LAY E R
86
|
CREATE - SUSTAIN - SHARE
VIEW
R E P E AT
ENTER
DESIGN RESEARCH BOOK |
87
I D E A S K E TC H E S
88
|
CREATE - SUSTAIN - SHARE
DESIGN RESEARCH BOOK |
89
B U I L D I N G S TA C K D I A G R A M
SHARE PUBLIC GALLERY
CREATE WORKSHOPS + STUDIOS PRIVATE STUDIOS
SUSTAIN STORAGE + COLLECTION
SOCIAL CAFE LOBBY
90
|
CREATE - SUSTAIN - SHARE
| ACTIV ITIES
DESIGN RESEARCH BOOK |
91
L E V E L 1 | C R E AT E
F LOO R P LA N K E Y 1 WELDING SHOP 2 G R I N D I N G ZO N E 6
3 3D PRINTING SHOP
10
4 WO R K ZO N E 5 E L E VATO R S
1
6 E M E RG E N CY EXIT 7 R E ST ROO M S 8 WOO D S H O P 9 M E TA L S H O P RAPID P ROTOT Y P I N G
11
CA F E
12
D I S P LAY G A L L E RY
13
E N T RY
15
B I K E STO R AG E
|
9 3
15
C E I L I N G P LA N
K E Y P LA N 92
10
2
CREATE - SUSTAIN - SHARE
5
7
7
7
4 6
5 12
5
4 8
11
13 14
7
DESIGN RESEARCH BOOK |
93
L E V E L 2 | S U S TA I N
F LOO R P LA N K E Y 1 LOA D I N G ZO N E 2 B R E A K D OW N
1 6
3 SO RT I N G
4 C H EC K - I N / O U T
5 E L E VATO R S
2
6 E M E RG E N CY EXIT 7 R E ST ROO M S
4
8 LA RG E M AT E R I A L 9 SMALL M AT E R I A L 10
3
7 7
LOC K E D I T E M S
K E Y P LA N
C E I L I N G P LA N
5
94
|
CREATE - SUSTAIN - SHARE
7
10
8 6 5
11
5
9
8
DESIGN RESEARCH BOOK |
95
L E V E L 3 | C R E AT E , S T U D I O
F LOO R P LA N K E Y 1 A RT ST U D I O 2 CERAMIC ST U D I O
6
1
3 QU I E T ZO N E 4 P R I VAT E ST U D I OS 5 E L E VATO R S
4
4 2
6 E M E RG E N CY EXIT 7 R E ST ROO M S 8 SMALL M AC H I N E S
4
9 LEARNING S PAC E BUSINESS ZO N E
11
P H OTOG R A P H Y ST U D I O
C E I L I N G P LA N
K E Y P LA N 96
10
|
CREATE - SUSTAIN - SHARE
3
5
O
4
4
7
4
4
6 5
4
4
11
5
4
4
8
10
9
DESIGN RESEARCH BOOK |
97
LEVEL 3 | SHARE
F LOO R P LA N K E Y 1 STO R AG E 2 LA RG E STO R AG E
1
6
3 FLEXIBLE G A L L E RY 4 G A L L E RY R EC E PT I O N 5 E L E VATO R S 4
6 E M E RG E N CY EXIT 7 R E ST ROO M S 8 I N D OO R T E R R AC E
2
K E Y P LA N
C E I L I N G P LA N
5
98
|
CREATE - SUSTAIN - SHARE
7 6
4
5
8
DESIGN RESEARCH BOOK |
99
M E TA L
100
|
WO O D
CREATE: INTERIOR BENIFIT
CREATE: INTERIOR BENIFIT
SUSTAIN: MATERIAL BACKGROUND
SUSTAIN: MATERIAL BACKGROUND
SHARE: WHERE IT’S USED
SHARE: WHERE IT’S USED
CREATE - SUSTAIN - SHARE
G LAS S
CO N C R E T E
CREATE: INTERIOR BENIFIT
CREATE: INTERIOR BENIFIT
SUSTAIN: MATERIAL BACKGROUND
SUSTAIN: MATERIAL BACKGROUND
SHARE: WHERE IT’S USED
SHARE: WHERE IT’S USED
DESIGN RESEARCH BOOK |
101
M AT E R I A L C O N C E P T S I N - P
102
|
CREATE - SUSTAIN - SHARE
PLAN
DESIGN RESEARCH BOOK |
103
104
|
CREATE - SUSTAIN - SHARE
F U R N I T U R E D I R ECT I O N
F U R N I T U R E D I R ECT I O N
105
DESIGN RESEARCH BOOK |
106
|
CREATE - SUSTAIN - SHARE
K E Y P LA N
I N T E R I O R FA CA D E
DESIGN RESEARCH BOOK |
107
B U I L D I N G S E C T I O N | R E L AT
108
|
CREATE - SUSTAIN - SHARE
TIONSHIP
DESIGN RESEARCH BOOK |
109
110
|
CREATE - SUSTAIN - SHARE
C E I L I N G P LA N
K E Y P LA N
ARRIV E | RECEPTION
DESIGN RESEARCH BOOK |
111
112
|
CREATE - SUSTAIN - SHARE
BRAND
K E Y P LA N
C E I L I N G P LA N
ARRIV E | RECEPTION ELEV
1’-4”
0’-8”
0’-8”
M AT E R I A L
2’-10”
1’-0”
0’-4”
D E S K D E TA I L
VAT I O N
DESIGN RESEARCH BOOK |
113
114
|
CREATE - SUSTAIN - SHARE
C E I L I N G P LA N
K E Y P LA N
C O N N E C T I O N | S TA I R S
DESIGN RESEARCH BOOK |
115
STA I R D E TA I L
C O N N E C T I O N | G AT H E R I N G
116
|
CREATE - SUSTAIN - SHARE
1’-3” 0’-7”
CO N C R E T E
WO O D
3’-1”
2’-4”
M AT E R I A L
0’-8” M E TA L
1/16”
2
1”
2” 4”
K E Y P LA N
M E TA L D E TA I L
1
1’-10” 11”
G S TA I R S
1
2
DESIGN RESEARCH BOOK |
117
118
|
CREATE - SUSTAIN - SHARE
C E I L I N G P LA N
K E Y P LA N
S O C I A L | CA F E L O B BY
DESIGN RESEARCH BOOK |
119
K E Y P LA N
C E I L I N G P LA N
S O C I A L | CA F E L O B BY
120
|
CREATE - SUSTAIN - SHARE
DESIGN RESEARCH BOOK |
121
W O R K S H O P S | L AYO U T 1 R A P I D P ROTOT Y P E
2 3D PRINTING
1 *CNC
1 CO M P U T E R 2 3D PRINTER 3 WO R K TO P
RO U T E R
2 * LAS E R CUTTER 3 FINISHING BO OT H
3 2
* N OT P I CT U R E D
1
1 3
2
3
122
K E Y P LA N
K E Y P LA N
2
|
CREATE - SUSTAIN - SHARE
L E V E L 1 | EQU I P M E N
1 SO RT I N G
3 WELDING
4
1 2
1 MIG WELDER 2 *TIG WELDER 3 WELDING TA B L E 4 *GRINDER
1 D RO P OFF 2 SO RT I N G 3 BREAKD OW N 4 S E RV I C E DESK
2
* N OT P I CT U R E D
3 4
1
3
1
N T ZO N E
1
L E V E L 2 | D RO P O F F ZO N E DESIGN RESEARCH BOOK |
123
WO O D S H O P
WORKSHOP | WOOD SHOP
2 3
TA B L E S AW
K E Y P LA N
1
1
124
|
CREATE - SUSTAIN - SHARE
2
4
JOINER
3
BA N D S AW
4
DRILL PRESS
5’-0”
2’-5”
D E TA I L
3’-0”
M E TA L
WO O D
DESIGN RESEARCH BOOK |
125
WAY F I N D I N G | E L E VATO R S
4 GALLERY 3 STUDIOS 2 COLLECTION 1
K E Y P LA N
4
126
|
CREATE - SUSTAIN - SHARE
WORKSHOPS
4 GALLERY 3 STUDIOS 2 COLLECTION 1 WORKSHOPS
4 4 GALLERY 3 STUDIOS 2 COLLECTION 1 WORKSHOPS
3 4 GALLERY 3 STUDIOS 2 COLLECTION 1 WORKSHOPS
2 4 GALLERY 3 STUDIOS 2 COLLECTION 1 WORKSHOPS
1 DESIGN RESEARCH BOOK |
127
S U S TA I N | M AT E R I A L C O L L E
4 GALLERY 3 STUDIOS 2 COLLECTION 1
K E Y P LA N
4
128
|
CREATE - SUSTAIN - SHARE
WORKSHOPS
ECTION
1 D RO P OFF 2 SO RT I N G 3 BREAKD OW N 4 S E RV I C E DESK
SO RT I N G
2 3 4
1
DESIGN RESEARCH BOOK |
129
130
K E Y P LA N
K E Y P LA N
QUIET | STUDIOS + BUSINE
|
CREATE - SUSTAIN - SHARE
ESS
DESIGN RESEARCH BOOK |
131
132
|
CREATE - SUSTAIN - SHARE
C E I L I N G P LA N
K E Y P LA N
G A L L E RY | R E C E P T I O N
DESIGN RESEARCH BOOK |
133
S H A R E | F L E X I B L E G A L L E RY
K E Y P LA N
FLEX I
134
|
CREATE - SUSTAIN - SHARE
FLEX II
Y
FLEX III
DESIGN RESEARCH BOOK |
135
136
|
CREATE - SUSTAIN - SHARE
- CONSTRUCT Site Plan Floor Plans
Furniture Plans Finish Plans
Elevations Sections Details DESIGN RESEARCH BOOK |
137
138
|
CREATE - SUSTAIN - SHARE
- FURNITURE Furntirure Specification
DESIGN RESEARCH BOOK |
139
S01 Quantity: 4
Location: Entry Lobby Item Name: ÅHUS Blå Station design by OutofStock Manufacturer: Scandinavian Spaces Model: AHUS_B30 Dimesnions: W32.6” x D31.5” x H28.3” x SH15.7” Finish: Black painted steel frame. Wood side table in ask. Leather 6A leather I, SÖRENSEN ULTRA and leather straps; BLACK NO 9308 TÄRNSJÖ. Description: Blå Station design by OutofStock Åhus is a minimalist chair family with a luxurious feel. The lounge chair is available with optional side table in solid wood, or carved solid stone. Åhus can be upholstered in fabric or leather, with molded polyurethane foam padding.
140
|
CREATE - SUSTAIN - SHARE
S09 Quantity: 4
Location: Cafe Item Name: DAYTRIP Manufacturer: Division Tweleve Model: Daytrip-109201B Dimesnions: W: 18.50” D: 18.50” H: 24” SH: 24” Finish: Counter stool with upholstered seat. Traffic Yellow. Leather Selva.
Description: With its cushy seat and clean lines, Daytrip™ is superbly simple. Like, vanilla ice cream simple. It’s got everything you need and nothing you don’t. Even the story behind its name is simple…we just liked it. Designed by Geof Lilge.
DESIGN CONSTRUCTION BOOK |
141
S10 Quantity: 12
Location: Cafe Item Name: BENDER Manufacturer: Division Twelve Model: Bender-107201A Dimesnions: W: 19.25” D: 17.5” H: 28” SH: 24” Finish: Counter stool with wood seat. Color: Antique Pink, Traffic White.
Description: Designed by Geof Lilge. A stool with a handle. Handy. Bender™ is light, and super easy to move around. It’s perfect for last-minute rearranges (you know who you are). You can drag it, lift it, shift it, and re-shift it without breaking a sweat.
142
|
CREATE - SUSTAIN - SHARE
S11
Quantity: 4 Location: Cafe Item Name: ANAGRAM Manufacturer: Scandinavian Spaces Model: ANAGRAM Dimesnions: W18.89”/19.17” x D20.27” x H30.51” SH17.71” Finish: Seat and back in stained ash. The diecast aluminium buttons are matching the color of the frame. Upholstered seat. Frame in CbM powder coating. Description: Anagram is playful and colorful or sophisticated and refined. Anagram is a chair that can be either playful and colorful, or sophisticated and refined. The legs loop up behind the back, providing a handle for easy moving. Anagram stacks five high and is equipped with stacking pads for protection. Options include a specially designed linking device and armrests with cast TPE that gives it a soft feel and protects table tops when hanging.
DESIGN CONSTRUCTION BOOK |
143
S14 Quantity: 9
Location: Cafe, Gallery Item Name: HONKEN Blå Station design by Bernstrand Manufacturer: Scandinavian Spaces Model: HONKEN S Dimesnions: W31.1” x D29.5” x H30.7” x SH17.3” Finish: Steel frame lacquered in black. Seat and back cushions upholstered in fabric or leather as per Blå Station Fabric List section 6B. Description: Blå Station design by Bernstrand, Lindau & Borselius Honken S is a lounge chair made with a rigid steel mesh frame and solid oak legs. Seat and optional lumbar cushions are made of polyester foam and feather down, with removable cushion covers and zipper closure.
144
|
CREATE - SUSTAIN - SHARE
SF1 Quantity: 4
Location: Cafe, Gallery Item Name: CREST Manufacturer: Scandinavian Spaces Model: CREST_3S_ARMS Dimesnions: W96.9” x D32.7” x H33.1” x SH17.7” Finish: The frame is Dark Grey by Materia (CbM) powder coating. Inner upholstered in leather. Outer upholstered in fabric. Description: Crest is a modular sofa family of a lounge chair, 2-seat and 3-seat sofas, 2-seat bench, and an optional corner table with a black lamp and power outlet. Crest modules can be linked together to create extended sofa settings. The high back panel can be upholstered in a contrasting fabric. Crest can be complimented with the Crest occasional table series.
DESIGN CONSTRUCTION BOOK |
145
T03 Quantity: 1
Location: Cafe Item Name: HONKEN Manufacturer: Scandinavian Spaces Model: AHUS_B30 Dimesnions: H28.3” L116” W32” (See S05 for seat) Finish: Table top and legs in solid oak, with clear-lacquered or oiled finish. Steel leg brackets are powder-coated in black. Description: Blå Station design by Bernstrand, Lindau & Borselius Honken Table is designed to compliment the Honken chair series, and is available as an occasional table in two heights, a bench, or a dining table. Solid wood top and legs, with steel connection brackets. Various top sizes are available.
146
|
CREATE - SUSTAIN - SHARE
T04 Quantity: 3
Location: Cafe Item Name: Cone Manufacturer: Scandinavian Spaces Model: CONE Dimesnions: Top sizes: Ø31.5” / Ø41.33” Occasional height: H19.7” Finish: Table top surface in white or black laminate with a core in black compact HPL laminate. Conical base in or white or black. Description: Cone is an elegant and smart table series Cone is a conical base table in different heights and two top sizes. The table top is made from durable compact laminate with a molded polyethylene conical base. Options include a powered version with a concealed cable inside the base that organizes and hides all cables.
DESIGN CONSTRUCTION BOOK |
147
T07 Quantity: 2
Location: Cafe Item Name: Cone Manufacturer: Scandinavian Spaces Model: CONE Dimesnions: Top sizes: Ø31.5” / Ø41.33” Dining height: H28” Finish: Table top surface in white or black laminate with a core in black compact HPL laminate. Conical base in or white or black. Description: Cone is an elegant and smart table series Cone is a conical base table in different heights and two top sizes. The table top is made from durable compact laminate with a molded polyethylene conical base. Options include a powered version with a concealed cable inside the base that organizes and hides all cables.
148
|
CREATE - SUSTAIN - SHARE
T11
Quantity: 2 Location: Quiet Work Zone Item Name: NASH Manufacturer: Montisa Model: NB9636W4 M16 LC DUW Dimesnions: W96” x H24”-42” x D36” Finish: Table Top: Wood, Ash. Color: Black, or Arctic White. Locking Casters. Power + Data. Description: A strong steel base and built-in support bar make Nash a dependable part of any ensemble. • Add optional locking casters to reconfigure your space on the fly. • Tech options give you multiple ways to bring power to the people.
DESIGN CONSTRUCTION BOOK |
149
S H O S H A N A YA R D L E Y
M AY 2 0 2 0
A D A P T E D T E M P LAT E BY I S S U U