BAC Segment Two Portfolio by Alex Siekierski

Alex Jeffrey Siekierski

SEGEMENT

2 Portfolio

An Architecture Studentâ&#x20AC;&#x2122;s Personal Works July 19th 2010

COPYRIGHT ÂŠ 2010 ALEX SIEKIERSKI All rights reserved. No part of this publication may be reproduced, stored in retrieval system, or transmitted in any form or by any means electronic, mechanical, photocoping, or otherwise, without the prior permission of the author. published July 19th of 2010 by Alex Jeffrey Siekierski

To my wife, Ania, for 06.29.2010

Contents ACKNOWLEDGEMENTS RESUME

DESIGNSTUDIOS| 7-83

PROFESSIONALPRACTICE |128-157

2009 SOLAR DECATHLON |158-161 FRANK LLOYD WRIGHT’S FALLINGWATER | 162-163 PERSONAL MODELING + DRAFTING STUDIO |164-165 ARCHITECTURAL PHOTOGRAPHY |166-169

INDEPENDENTEXPERIENCES |158-169

Alex Jeffrey Siekierski

EDUCATION: Boston Architectural College, Boston, MA Candidate for Master of Architecture August 08 - Present

577 Eastbroadway Unit #2 South Boston, MA 02127 Mobile (413) 348-4824 Siekierski.Alex@Gmail.com http://alexsiekierski.carbonmade.com/ http://www.linkedin.com/in/alexsiekierski

Technical University of Berlin, Berlin, Germany Academic Semester Abroad March 08 - August 08 UMass Amherst, Amherst, MA Bachelor of Fine Arts in Design September 06 - September 08

DESIGN COMPETITIONS: Miami Civic Center 4-10 Miami Beach Hotel Competition 2-10 ACSA/AISC Competition 5-09/10 The Venice Architecture Biennale 7-08

Springfield Tech., Springfield, MA Associates Degree in Architectural Technology, May 2006: In addition, completed certificate in Construction Management

PROFESSIONAL EXPERIENCE: NELSON Black Cow June14 - Present Boston, MA 02111 3/d3 Studio, LLC March 15 - Present Lynnfield, MA 01940 DCAM, Boston, MA January 10 - Present Arch Programming Intern BAC, Boston, MA July 09 - Present Exhibition Design/Installation TRAVEL: Dubai Bilbao London Paris Amsterdam Brussels Dublin Cork Barcelona Rome Florence Vienna Zürich Prague Istanbul Majorca Jerusalem Oslo Stockholm Riga Krakow

EXTRACURRICULAR: BAC Student Ambassador V.P. of the BAC Golf Club BAC Dean’s List (3.7 GPA) V.P. of the UMass Arch Club President of the STCC Building Club Member of the UMass Crew Team STCC Basketball and Golf Teams Hobbies include hiking, fishing, skiing, backpacking, chess, and golf.

Urbanica, Boston, MA January 09 - June 09 Project Coordinator The Dennis Group, Springfield, MA January 08 - April 08 Architectural Intern Architectural Insights, Palmer, MA June 07 - February 08 Drafter/Fieldwork Nancy Stracka Interiors, Boston, MA September 08 - Present As-Built Drafter DPW, Ludlow, MA June 06 – February 07 Engineering Department Aide Home Renaissance, Indian Orchard, MA May 04 - May 05 Draftsman/Laborer

DESIGN SKILLS: Computer Skills: ArchiCAD 13, Revit Architecture/AutoCAD 2011, 3DSMax 2010, Adobe CS4 Suite, Sketchup Pro 7, Podium Construction Documents: Plans, Sections, Call-Outs, Elevations and Details Drawing: Perspective, Orthogonal, Freehand Modeling: Laser Cutter, Basswood, Chipboard, Plexy, Foamcore Knowledgeable of LEED N.C. 3.0, ADA and Mass Building Codes, Architectural Programming

PROFESSIONAL AFFILIATIONS: BEMG 10 AIAS 08-10 NCARB 07-10 BSA 09-10 DBIA 07 NHBA 06 AIBD 06-08

DESIGN C-1 STUDIO | URBAN MOUNTAINEER Alex Jeffrey Siekierski

CD7101 Duration: 14 Weeks Fall 2009 Instructors: Christine Marie Cuttitta , Robert Bennett Gillig This Studio will concern itself with both the practical and the poetic in architecture, and will require that both be pursued rigorously and simultaneously. On the practical side, there will be an emphasis on creating a purposeful, functional and sustainable environment. On the poetic side, an aspirational and forward-looking client is presented, and forms and spaces for this client will want to be evocative of the client group’s adventurous pursuits as well as representative of the client’s environmentally responsible public outreach/presence in the community. For this studio, you will imagine 2 buildings for a single client-group: An Urban Mountaineering / Explorer’s Club. One building will be a headquarters, located on an urban site in Somerville, in Porter Square. The other will be a much smaller mountain hut located just above the tree-line on Mount Washington in New Hampshire. The program for this studio presents the opportunity to examine integrated program elements on two radically different sites. All successful solutions will reflect the complimentary needs of beauty and functionality in architecture, resulting in usable, sustainable, comfortable, and memorable forms, spaces, and places. A demonstrated clear and complete understanding of how both your buildings are to be constructed, structured, heated, cooled, and their impact on their surroundings will be required.

p(L) Alex Siekierski, Seth Coleman, Lauren Bellievue and Brian Conrad

Site visit | Hiking 6,288 feet with some of my closet friends. The terrain was non-forgiving and the overall hike up and back took roughtly 8.5 hours.

tProject 1: The Mountain Hut: Site Area p Mount Washington is the highest peak in the Northeastern United States at 6,288 ft. It is famous for its dangerously erratic weather, and long held the record for the highest wind gust directly measured at the Earthâ&#x20AC;&#x2122;s surface, 231 mph (372 km/h) on the afternoon of April 12, 1934. The mountain is located in the Presidential Range of the White Mountains, in Coos County, New Hampshire. It is the third highest state high point in the eastern U.S. and the most prominent peak in the Eastern United States. While nearly the whole mountain is in the White Mountain National Forest, an area of 59 acres surrounding and including the summit is occupied by Mount Washington State Park (Referenced from Wikipedia).

Google Earth image of Tuckermanâ&#x20AC;&#x2122;s Revine at Mount Washington

Hand Sketch Displaying Paths, Placement & Views.

Fall 2009

SITE SELECTION became a very important factor in the early stages of the design process. It took into consideration the pedestrian hiking paths with the attempt to have solar gain on the non-winderly side of the mountain. The prevailing winds mainly from the north would not pass over to the southern side. Located at the vertex of two paths the site is on a very sloped area.

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Fall 2009

Sketch Model Iterationsq Below are a series of hand size sketch models displaying the variations of shelter types in which all are integrated into the surrounding landscape.

pAbove are some space diagrams which were sketched for the purposes of visualizing the line of vision that and inhabitant would have during there stay. The views were dependant on the placement and orientation of the building and spaces within it.

Short Section Through Main Common Area

Project 1: The Mountain Hut: Site Area p This aerial section cut just below the roof assemblies, is intended to display the PROGRESSION and circulation of the structure. It was intended to lead the visitor down a widening corridor through the sleeping quarters. The lighting into these spaces is blocked by a heat bearing trombe wall in front of all the room entries. One in the common space vertical circulation break the boundaries both above and below leading people to the breath-taking finale points. These being the interior lookout point and the cantilevered deck.

Fall 2009

pSouth Facing Elevation

The first go around at the project was to create a long skinny passage which lead you to the final destination point. The building becomes a glass cube cantalevered over the hillside (see left elevation).

Short Section Through Main Common Area

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Fall 2009

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Early Renderings were generated with materiality tbecause it was an area of focus I had for the studio. I wanted to try and maintain a vernacular appearance through the types of finishes I choose to display. In essense I wanted to use the excavated material to erect the structural stone walls which were then loadbearing for some heavy timber frame construction.

Physical Models were also a great design tool. The topography was an critical component to the designs concept which reflected a type of sheltering effect by INSERTING. Because I was able to choose and manipulate the site, I went through multiple topography iterations.

Floor Plan Iteration #2q The changes in the location of the structure and the plan itself were based on a few design solutions. These solutions included the need to decrease the overall square footage so that it is not mimicking a five star hotel. By mirroring the building I was able to break the joint at the rest room area. Rather than adding materials to build walls I choose to create a breathing point near the entryway which forces you to turn around a corner and open to the view down the corridor. A collective bunk style sleeping quarters eliminate a lot of unnecessary wall space. Also near the entry is a mug room for storing and un-packing belongings. Lastly, was the extension of the deck into the surrounding topography as well as an exterior shower which uses rain harvested water.

pShort Section Through Common Space

TUCK AND COVER

Fall 2009

The use of rock was to be the primary building component. Secondly was heavy wood timber. In the rendering to the right you may see how the cut and fill was intended to be placed back onto the site by filling in the mountain side so that it seems as if the structure is carving through it. With the intent of carving which will keep the sleeping quarters warm during the winter season. Rather than placing the building fully on top of the site and totally exposed to the elements I choose to stick with the theme of carving and inserting, therefore I inserted the structure into the hill allowing for the re-use of the local materials.

Site plan showing the vastness or open terrain around the building site. This makes the structure very vulnerable to mother nature.

Section through the Topography

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Fall 2009

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pSite Context

pFinalized Primary Inhabitant Floor Plan

pShort Section showing the relation to the site

pLong section through the mountain hut

THE FINAL DESIGN ITERATION p When refining the design for my final submission I decided to add some additional dramatic design components. One being a glazed floor around the central fireplace. Because I used the chimney as a large structural column supporting the cantilever, I choose to use the glazed flooring to give a glimpse of what lies below. In addition I reduced the footprint of the built space and mirrored the interior plan allowing for one central artery with a vestibule to keep some of the heat/cold within the structure.

The Mountain Hut at Sunset

Fall 2009

Material Palette p Mount Washington is the highest peak in the Northeastern United States at 6,288 ft. It is famous for its dangerously

Stone Walls The stones of which were excavated from the site could then be used to create the load bearing walls of the shelter and then be crushed up and used as in fill around the structure and on the roof in some cases. See detail of the stone wall above.

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DESIGN THROUGH MODEL MAKING Throughout the creation of multiple sketch models and iteration models the mid semester process model gives full detail of all interior spaces. The model captures how the building was intended to lead people off of the path and into or even on top of the structure. The building is inserted into the bedrock and floods out onto the level terrain which is built up from the excavated material.

tPre-Final Iteration Physical Model at 1/8â&#x20AC;? Scale p

pMOUNTAINEERS CLUB HEADQUARTERS Somerville, MA Site Description| The location of our project 2 design project is located near Porter Square in Somerville, Mass.

URBAN OUTDOORS UNION

Fall 2009

DESIGN STUDIO C-1 PROJECT #2

pExisting Gas Station where the New Mountaineering Club will Take Place

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APPROACH AND GOALS During the beginning of this studio I set forth some goals which were a reflection from my B-2 studio. These goals were mainly problematic areas that were brought out in the past and therefore I decided to concentrate on my weaknesses this semester. Design Concepts for the Semester Throughout project one I began large in program and through revisions and simplifications I was able to develop four design focus points. 1. Lead pedestrians off of the typical path through curiosity. 2. Play with the natural landscape and carve into it. 3. Allow the architecture to create multiple transition points. 4. Finally, these transitions areas will arrive at a grand space. This entire semester I have been working on maintaining the design requirements above and therefore not allow for myself to wander of the drawing board. My thesis statement for Project Two specifically is a reflection of the four point just stated. The intention is to create a structure which supports both private and public functions uniquely. The overall mission of the building is to serve activities for education, business, recreation and leisure. The architecture can create unique moments where depth can be altered and curiosity can become a new emotion.

Large Intersection Adjacent to Site

Site Plan Sketch

Site Adjacency Diagram

Possible Entry Points

Increased Entry Points

Primary Pedestrian Circulation

Vehicular Circulation

SITE ANALYSIS

Existing Railway Adjacent to Site

Fall 2009

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INTUITIVE SPEAKING THROUGH SKETCHING

THE FUN PART ABOUT ARCHITECTURE TO ME IS THE CREATION OF THE IMAGINED IMAGE

Fall 2009

Through a close dialogue between my hand and my mind I was able to sketch out the intended space layout diagrams in which you see on this page. These sketches were aimed at capturing the site analysis and the overall conceptual points determined from the mountain hut project.

pPreliminary space and circulation diagrams

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Fall 2009

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DESIGN THROUGH SKETCHING Throughout the iterative process I created a series of sketchbook items which allowed me to speak directly to the paper. This allowed for me to take the concepts within my mind and express them visually. This process is the birth of design for me and gives way for the development of the IDEA. The images on this page were from my sketch book and they cover my overall idea of climbing. pAn Idea of an interactive Architecture in which people can climb on

11 10 9 8 7 6 5 4 3 2 1

21 20 19 18 17 16 15 14 13 12

031 A: 1,454 sq ft P: 163'-10 1/4" H: 9'-0"

Gallery Area

pDigital Schematic Lower Level Plan

pSchematic Main Floor Plan

BEGINNING THE PROCESS OF SCHEMATIC DESING AND MAINTAINING CONCEPT

Fall 2009

To begin the studio I began sketching design ideas both by hand and digitally, which stemmed from project one. From there I began using Archicad 12 to develope a massing 3D model. This was a helpful tool that allowed me to visually study the spaces I was envisioning.

pProcess Massing Model in ArchiCAD 12 (left) & the Prior Sketch Model (right)

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pSchematic Section Through the Primary Function Spaces

pRendering focused on Bridging the Railway and Creating more Daylighting by Sloping the Landscape

pREACHING OUT OVER THE TRACKS is a concept idea that was to be maintained

Fall 2009

ARCHICAD RENDERINGS I began the studio by forcing my self to use ArchiCAD as a BIM modeling tool. After unsuccessfully getting a position that uses ArchiCAD I choose to increase my skills. The renderings on this page along with the building model were some of the very first images I pulled from ArchiCAD which seemed to be at a high calibure. ArchiCAD uses the attached Maxwell render plugin. The above rendering displays the exterior sunken park area, the catwalk bridge for circulation. Overhangs and cantaleviers seem to play a large part in the facade of the builging using them to cover the walkways and entries.

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pThe structure is intended for a climbing society club and therefore the climbing structure is at the entry of the building

pIteration #1 Model at 1/8â&#x20AC;? (left) & the Revised 1/6â&#x20AC;? Scale Iteration #2 Model (right)

THE CENTRAL AXIS OF ENTRIES Int the nearly final iteration of the Mountaineering Club, I bridged the adjacent railway allowing for two primary entry points from both major streets which occur on opposite sides of the railway. While pushing the converging extries to the midddle of the structure I have allowed for an increaded level of security with easy wayfinding which becomes displayed by the exterior architecture.

pDesign Development Lower Level Floor Plan

Fall 2009

pNon-fenestrated Final Design Process Rendering Focusing on the Cantilevered Exhibition Space

pPhotomontage of the proposed roof on the existing site plan

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The floor plans were layered in a way that there was only three floors. Vertical circulation and double height spaces along with sloped ceilings were all used to break up the linear characteristics of the slabs. The lower level is for the assembly and film areas with a break out space. The entry level houses the administrative offices, security officer, and large public interactive climbing space. At the height level there are areas for training and learning about climbing/ hiking along with a museum and exhibition space.

NORTH

ASSEMBLY LEVEL FLOOR PLAN (BELOW GRADE)

GROUND LEVEL FLOOR PLAN (AT GRADE)

EXHIBITION AND GALLERY FLOOR PLAN (ABOVE GRADE)

FINAL PARTI-DIAGRAM

Fall 2009

FLOOR PLAN BREAKDOWN

INTERIOR PERSPECTIVE OF CLIMBING AREA

LONG BUILDING SECTION (STRUCTURAL FOCUS)

SMALL BUILDING SECTION

Fall 2009

SECTIONAL PERSPECTIVE THE KEY FEATURE The biggest design feature which will almost instantly brand the building is the large cantilever. It reaches out over the railway and creates curiosity in the passer byes. This feature which houses the exhibition/ lecture space was to directly relate to project one and the resemblance of the procession of hiking. This progression involves looking up and knowing where you want to go and following the correct paths to get to that place. This was similarly turned and translated into the built experience.

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SOUTHWEST ELEVATION ACROSS BEACON STREET

NORTHEAST ELEVATION ACROSS SOMERVILLE AVENUE DESIGN CONCEPTS FOR THE SEMESTER Throughout project one I began large in program and through revisions and simplifications I was able to develop four design focus points. 1.Lead pedestrians off of the typical path through curiosity. 2.Play with the natural landscape and carve into it. 3.Allow the architecture to create multiple transition points. 4.Finally, these transitions areas will arrive at a grand space.

SECTION PERSPECTIVE THROUGH MAIN EXIS

FINAL DESIGN WITHIN THE SURROUNDING SITE CONTEXT

Fall 2009

BEACON STREET ENTRY FACADE

SECTION THROUGH RAILWAY SIDE ENTRY INTO THE CLIMBING ROPE AREA

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My THESIS STATEMENT for Project Two specifically is a reflection of the four point just stated. The intention is to create a structure which supports both private and public functions uniquely. The overall mission of the building is to serve activities for education, business, recreation and leisure. The architecture can create unique moments where depth can be altered and curiosity can become a new emotion.

PERSPECTIVE COLLAGE AT THE CORNER OF BEACON STREET AND SOMERVILLE AVENUE

qFINAL PRESENTATION BOARDS DISPLAYING PROJECTS ONE AND TWO PROJECT ONE: MOUNT WASHINGTON SHELTER SITE LOCATION ON MOUNT WASHINGTON

OBSERVATION DECK AND SITE PLAN: 1/64”=1’0”

NATURAL COMPONENTS OF THE GIVEN SITE MAIN FLOOR PLAN: 1/8”=1’0”

NON-CANTILEVERED BUILDING RENDERING MAIN FLOOR PLAN: 1/8”=1’0” PRELIMINARY PARTI-DIAGRAM WITH THREE COMPONENTS ASSEMBLY LEVEL FLOOR PLAN (BELOW GRADE): 1/8” = 1’-0”

GROUND LEVEL FLOOR PLAN (AT GRADE): 1/8” = 1’-0”

Fall 2009

CANTILEVERED BUILDING RENDERING

LONG BUILDING SECTION: 1/8”=1’0”

SOUTHWEST ELEVATION ACROSS BEACON STREET: 1/8” = 1’-0”

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NORTHEAST ELEVATION ACROSS SO

Fall 2009

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URBAN MOUNTAINEERING & EXPLORATION STUDIO MEMBERS:

DESIGN STUDIO C-1 Alex Jeffrey Siekierski December 22nd, 2009

SITE AND ROOF PLAN OVERLAY: 1/64”= 1’-0”

BOYLSTON STREET ENTRY FACADE

BEACON STREET ENTRY FACADE

EXHIBITION AND GALLERY FLOOR PLAN (ABOVE GRADE): 1/8” = 1’-0”

OMERVILLE AVENUE: 1/8” = 1’-0”

PERSPECTIVE COLLAGE AT THE CORNER OF BEACON STREET AND SOMERVILLE AVENUE

LONG BUILDING SECTION (STRUCTURAL FOCUS): 1/8” = 1’-0”

PROJECT TWO: CAMBRIDGE MOUNTAINEER’S CLUB

PUBLIC CLIMBING APPARATTUS

PERSPECTIVE DISPLAYING INTERIOR ATRIUM

PERSPECTIVE SECTION THROUGH PRIMARY ENTRY AXIS

ASSEMBLY AND GALLERY SECTION CUT

SOMERVILLE AVENUE FACADE

SMALL BUILDING SECTION: 1/8” = 1’-0”

SECTION PERSPECTIVE WITH EMPHASIS ON THE CANTILEVER

DESIGN C-2 STUDIO | COMMUNITY CENTER

Alex Jeffrey Siekierski

CD7102 Duration: 12 Weeks Spring 2010 Instructors: Herb Kronish, David Michael Stuhlsatz The BSAC (Boylston Street Athletic Club), located at 48 Boylston Street, would like master planning and design studies for a high density city block. This study will include a 25 to 30 story mixed use condominium and apartment complex on and adjacent to their existing site. As a result of recent development initiatives their site has air rights expansion possibilities that would allow for the construction of a building that matches the scale of recent projects located in the neighborhood of their site. Their building and site is located among a rich setting of existing historic structures. Their existing building is one of the countryâ&#x20AC;&#x2122;s oldest non-profit health and fitness clubs and is also listed on the National Historic Register. Faculty and students will meet with client representatives to assess existing conditions, discuss programmatic scenarios and design possibilities. Based on individual interests, our studio will be open to a variety of design approaches. Current client desires include design investigations, interior and exterior studies, and site models.

THE VERTICAL SUBURB

Located just one building away from the Boston Common, the “Vertical Suburb” rises up above its historic pedestal as a unique structure which promotes affordability in urban living. Acts of service are open to the public on the first four levels of the building while also providing convenience for the residences above. Inspired by the historic context of the site, the building exposes its building construction while engaging multiple green spaces to compliment the Boston Common. Located on an “L” shaped site with three existing buildings, the largest program element being the winter garden gets pulled above the street level of Boylston providing privacy at the pedestrian level. As the majority of the structure is wrapped around two existing structures, small sliver of historic frontage blends in the new tower with its existing roots. Upon either entry you ascend into the three story winter garden which encompasses the public services of the building. It is at these levels where the old becomes separated from the new and the tectonic steel mullions of the atrium are weaved into the building. The majority of the spaces surrounding the garden, have an open plan and look onto the garden. The privacy and security of these areas are then camouflaged by the interior tree canopy. This area begins to serve as a small town center, where the neighborhoods begin above. The intended resident, being on the younger side of the retirement community can access secure glass elevators which act as street cars bringing you up to your “street.” The glass lifts allow for the viewing of three story” neighborhoods as you pass by vertically. Each neighborhood has a small community green space which is located above the winter garden below creating a connecting between base and tower. Once you arrive at your street, natural light it filter through the vertical parks which have a glazed corner to them. You may also say hello to your neighbor through the Dutch doors which act as a front porch. Once within the unit, a glazed wall separates the unit from its connected balcony green space (the lawn). This allows for the opening of the wall into the living space creating a direct connection with the outdoors as if you were in a single family home in the suburb. It is the extrusion of the balconies which allows for the exposure of structural steel beams to be exposed to the elements creating a distinction between the buildings surroundings at the upper levels. This unique blending of historic and modern become addressed through the camouflaging of the building’s interior spaces along with the imagery of the residential tower allow for a conducive atmosphere for healthy and happy ageing.

Spring 2010

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pBoylston Street with existing BSAC and Proposed Vertical Site

12425 sq.ft. X32 Flrs = 397,600SF pSite Adjacency Use Diagram

pMassing Volume Slab Calculation

CONTEXT ANALYSIS AND SCALE To begin I first visited the site four times and at different times of day. This allowed me to establish an emotion towards the site. Nextly, I decided to map out the types of building uses surrounding the broader area. Lastly, I developed a digital model of the Boston Area to try and get a sense of how large my building could be as well as where my views exist and where they become blocked by an adjacent structure. All of these factors with some solar analysis help me begin to determine some boundaries and rules I would follow for a design.

Spring 2010

pSite Location Near the Boston Commons

pSite Elevation Showing the adjacent Heights of the Surrounding Structures

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pUnderstanding the Existing Entries to the Site

pEcotect Solar Analysis Chart

pPossible Entryways SITE ANALYSIS A thorough site analysis was needed in order to allow my design to be structured toward pedestrian patterns. This is critical in an urban environment. After looking at possible entry points I was able to make an understanding of where I can begin to design.

The sun and wind paths in the Boston area are in the southern sky. This provides very long shadows cast during the winter months

Spring 2010

pExploring the existing form and solar patterns

pBlending of the elements

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pSpace Adjacencies

Spring 2010

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pPost Construction Intended Goals

tMIND MAPPING While looking at this page in my portfolio, one who is not in the profession might be comfused. When given a problem to fix, an example is a defined program, a client goal, whatever. I begin by creating a dialouge with myself. This conversation occurs between my mind and my had. It speaks upon the intended goals and needed end result along with possible options in order to achieve the end result. I am fairly new to the use of mind mapping but I found it to be an easy and clear way to define the road in which you want to begin your design process upon. From a central broader scoped mind map you can always go in and create a smaller version of one of the others components. Even during the process of sketching iterations I might try and use this dialogue rather then sketch the options. I find it to be very important in my personal design process to go back and forth.

pVocabulary

pFinal Vocabulary Collage

MATERIAL PALETTEu

Spring 2010

While trying to attract folks from the suburban sprawl a material palette was chosen based upon residential single family homes and recycled products. Finish stone and wood work became a present in all residential units. Cement boards were readily available for some areas of the exterior finish along with metal panels.

tFORM FINDING 1p When referencing the internet, magazine, books even the physical. I create mental notes which are comprized of building elements in which I would like to explore.

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pVegetated Areas both interior and exterior

pLarge Centralized Winter Garden

DIGITAL INSPIRATIONAL RESOURCE IMAGES

pGeometry

Spring 2010

tFORM FINDING 2p After site analysis and a better understanding of the total volume of the maximum size able to be built on the site. I wanted to carve into this block. Either by pushing and pulling, adding and subtracting in some areas. Either way I wanted to use the site analysis information which pushed me towards the vehicular entry on the backside and the pedestrian entry on the front side. The sketches on this page try to take these entry points shown on the other page and give form to them.

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pGroup Made Physical Model at 40 scale

pEntry Idea for Preserving the Historic Facade

pSectional Diagram attempting to created the central winter garden from the reference images and mind mapping goals

pThis mind map on the left is what influenced my first massing idea on the right. pEastern Elevation of Massign Model

Spring 2010

pSouthern Elevation of Massing Model

THE FIRST FORM It has always been a challenge, to take the site and contextual analysis and use it intuitively in order to produce the best possible option. The only true test is a built one. This massing model attempts to capture the information gained from the solar analysis and site analysis. pAerial perspective of Massing Model

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pSketch Capturing Dynamic Interior and Exterior Spaces

pUse of vegetation on Balconies for Solar Gain

pAtrium Facade Study & Solar Effects

LIGHT PENETRATIONp Through the use of a multi-height space, natural lighting can enter further into the center of the building at the service levels.

pDetailed Sketch of Balcony Space with Green Wall

pPreliminary Sketch of the Winter Garden

CREATING THE EXPERIENCE OF A SPACE One part of my design process which was never explored before was the efforts to try and design an experience. My experience was the winter garden. This space is intended to be the life of the building. All and most interaction will occur in or around this space. The sketch above was the first phase in creating the experience. Secondly was the diagram to the bottom right, displaying the leveling and ramping with vegetated space. Lastly was the sketch model above which tries to mimic the overall physical qualities of the space.

pSketch Model of Winter Garden (NTS)

Spring 2010

pLeveling Stepback with Program Insertion

pDiagram of the Winter Garden

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Spring 2010

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ADJACENCY DIAGRAMSp In efforts to try an utilize the existing structure I created a series of floor by floor space diagramming sketches to allow myself visually to see the first four floors. By the end I was able to create a preliminary parti-diagram. pPreliminary Parti-Diagram

pThe before and after sketches of the units

Spring 2010

SKETCHING OUT THE SOLUTIONS Because I wanted to create a feeling of private personalization I began looking at options as to giving every unit in the building there own personal grass area on their balconies. It began as a common light well between the units to divide up the space and give additional windows for daylighting. Secondly was the use of lighting to display the exposed archtiectural steel beams and columns.

pDiagram displaying the air circulation due to the vegetation

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pLighting concept for all the exterior balconies which illuminates all of the exposed steel members

Spring 2010

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pSecond Massing Iteration

pThe Six Building Components pThe diagram above displays the connection of green spaces from the

winter garden up and through the joint of the tower creating a direct connection between the base and the tower. The floors above the right side of the joint are intended to be purchased properties or penthouse units.

qSketch Model of the above massing

pParti-Iteration #1

FIRST ITERATION PROCESS FLOOR PLANS

pInterior Perspective of the Reading Room (2nd floor)

pSchematic Plan of the 4th floor

pSchematic Plan of the main floor plan

Spring 2010

pFloor Plan Iteration 1

pSchematic Plan of the lower level

SERVICE LEVELS FOR PUBLIC AND PRIVATE SERVICES The first six floors of the building are all based around the winter garden and has its own vertical circulation. These floors tend to have a more organic flow than the residential levels above. Due to the constraints of the site on the Boyston Street side each service level is split by the vertical circulation and located into three primary spaces. These sectors are then broken down and in most cases try to become an open and engaging floor plan, with respect to the winter garden.

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pFINAL PARTI DIAGRAM

THE VERTICAL SUBURB

Spring 2010

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pCollage of the Historic Facade and Structure Above

pFinal Site Plan Showing Roof Plan and Typical Residential Layout

VIEWS OUTWARD AND INWARD Because the building is about elderly living and solar gain. The structure tries to both orient itself to maximize gain while maintaining view outward of the Boston Commons & Chinatown. From a far the building expresses itself with it’s structure exposed. This makes is an easy way finder for tourist and day go-er’s.

FINAL FLOOR PLANS Spring 2010

pLower Level Plan

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THE SEPERATION OF LEVELS BY FUNCTION The lower levels is only used for the residences of the building. This is also there vehicular entry as well. The primary level contains the core in which services both the public and private sectors separately as well as some public services like medical, dental and physical therapy. The second level services the commercial kitchen and media centers. The third floor is the lounge and theatre level while the fourth floor is intended for recreation with a gym, swimming pool and open roof deck.

Spring 2010

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p TYPICAL RESIDENTIAL FLOOR

The residential layout utilizes minimal circulation space to provide the maximum amount of unit area. This allows for each unit to have its own exterior balcony. Each floor in the residential tower has two condominiums, one affordable unit and five typical units.

pInterior Perspective of Main Atrium/ Winter Garden pSite & Atrium Roof Plan

FINAL ELEVATIONS

BLENDING THE HISTORIC WITH THE MODERN One of the few requirements of the studio involved a fixed site with the detail of preserving the existing buildings historic facade. I used this restriction and tried to use it as an opportunity. It first began by establishing that I will use the footprint and levels of the existing structure with some slight modifications. The existing building stood 5 stories in which I used as my service and function levels. From levels 6 - 30 are my residential 3 story neighboorhoods. You can view these neighboorhoods in the section elevation below. The design is sort of like a podium style structure. If you look at the elevation to the fare right, I have enhanced the geometries of the winter garden. Because it is pushed back and elevated between buildings the space is very privatized and hidden in the urban fabric. The elevation to the bottom right displays the front view of the winter garden along with the open air deck. From this perspective you can see some of the tectonic qualities of the winter garden structure as well as the large columns of the tower above.

Spring 2010

West Elevation p

North Elevation p FU LL BU I LD I N G SEC T I O N

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East Elevation p

Spring 2010

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Detail of Curtain Wall Above p

p INTERIOR OF PRIVATE GREEN SPACE The goal in creating a common area at the southern facing corner of the building allows a place for residents to have a vegitated area with natural lighting with out having to travel very far. This glazed joint also running the entire height of the building aestetically connects the base (winter garden) with the tower. An additional perk is that natural light is dispursed throughout the circulation space on each floor, which can be hard to gain in an urban environment. PRIVATE COMMON AREASp A triple height space is located at the joint of the residence tower and allows for taller trees to be installed with helps create a sense of community and connection with the ground, within the verticality of the building.

Public Entry from Boylston Street p

Solar Study of the Atrium p

THE STRUCTURAL AND TECHNICAL

Section Detail (Reading Room) p

qEXPOSED STEEL In an attempt to create continuity from the ground to the roof, the glazing over the winter garden is visually connecting the service levels with the tower. By use of balconies throughout the tower - the slabs become extruded away from the mass of the building allowing for the structural steel beacing to have an exposed rigid connection over the entire exterior of the tower.

INTERIOR OF WINTER GARDEN

Spring 2010

SEC T I O N T H R O U G H H IS TO R I C FR O N T/ W I N T ER G AR D EN 1: 20

ST GE

p Surrounding Built Context Around the Building Site (West Elevation)p

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Spring 2010

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CDC STUDIO MEMBERS: Left to Right

Lagrange Street Private Entrance p

Erica Torres, Frank, Alex Siekierski, Aiva, Brian Duffy, David Stuhlsatz, Ed Bennett

ROOF DECK CONCEPT SKETCH

PERSPEC TIVE FROM ROOF DECK OVER THE WINTER GARDEN

PERSPEC TIVE FROM THE SECOND FLOOR DINING

THE INTENT WAS TO HAVE THE LARGE PROGRAM SPACES SURROUND THE ATRIUM GARDEN TO ALLOW FOR UNIQUE VIEWS AND FILTRATION OF NATURAL LIGHTING

FINAL DESIGN BOARDS & CONCLUSIONS Spring 2010

STUDIO CONCLUSIONS To quickly summarize my studio experience, I will begin by stating that it was thus far the best studio I have ever taken. Why you may ask! Well I was the only person in charge of my success. I dictated what type of building to explore and what to place inside of it. What it was constructed of and lastly, what assignments were due each class. It was awkward at first not having a list of items for next class. But in the end it allowed me to be my own boss. Essentially it forced me to be the decision maker. The futuristic retirement home in the sky was also something that I found to be interest, therefore I was very involved in my work. To further conclude, I received great benefit from watching my classmates explore and develop there own individual ideas.

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ARCHITECTURAL SKETCH PROBLEM 3 Alex Jeffrey Siekierski

SKA7303 Duration: 1 Day November 7th 2009 Instructor: Ian F. Taberner The Architecture Sketch Problem is a one-day design exercise intended to introduce students to alternative and/or fundamental methods of approaching the work of design. The work of the Sketch Problem is completed in a communal studio setting, where students work under the direct supervision of a group of critics, and will sometimes involve collaboration as a means of encouraging students to learn from one another in an interactive design process. The Sketch Problem is graded on a Pass/No Credit basis, with each student receiving an individualized written evaluation of his/her work.

GROUP 17 MEMBERS Andrew Byrne Emily Hildebrand Stephanie Lopez Kerri Mulligan Alaa Mohamed Raafat Alex Siekierski

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Photograph of Thoreau’s Origional Cabin

THOREAU’S RETREAT The client for this hypothetical project is a scholar of the writings of Henry David Thoreau who is seeking the quiet and solitude of a remote location to write and compose. The context of the site is outdoors in setting and natural in its location. The site is a two hour hike from the nearest accessible road and does not have access to a body of water or electrical supply. Our inspiration for the project can be found in the pages of “Walden”, where Thoreau speaks of the importance of morning. “The morning, which is the most memorable season of the day, is the awakening hour. Then there is least somnolence in us; and for an hour, at least, some part of us awakes which slumbers all the rest of the day and night.”“We must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn, which does not forsake us in our soundest sleep.”

Exploded Sketch of Thoreau’s Cabin

November 7th 2009

The central organizing principle of our design is the very awakening Thoreau writes of. The office / living space and the associated furniture are oriented to the southeast. We envision our client taking his or her seat at his or her desk each morning at taking in the beauty of each new day. When the sun fades into the horizon, we envision our client turning their chair around and altering their perspective inward. From this perspective, our client would ace the light and warmth of the fire, enduring the evening while awaiting the next sunrise. The home is envisioned as being self-sustainable. The roof structure is envisioned as a planted area, softening the amount of solar gain on the interior. The roof cantilevers outward to control the amount of direct penetration by the sun during summer months, while allowing for direct exposure of the larger southern mass in the winter months. The termination of the roof into grade on the north side of the site is envisioned as a catch basin for the water our client will need. The roof pitch breaks allowing south oriented solar pads to generate heat and electricity.

Siteplan Sketch of Thoreau’s Cabin

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Carving into the sloped site

Diagramatic Floor Plan

THE DESIGN PROCESS Through the efforts of all six team members brainstorming ideas. The sketches on this page was the selected design features from the collaborative pot of ideas. To quickly describe the groups design focus: it begins by utilizing the sloped size and burrowing the structure within it.

Division of interior and exterior space through an axis

Programmaticaly the layout above was chosen from six iterations, where this one was most appropriate with the utilities in the rear with an open plan to the south facing side. Corner window providing views outward for the poet to write at the desk. This also allows an abundance of natural light to enter the space.

Natural lighting was one of the final focuses which is brought into the structure through a large central skylight which allows light to be filtered onto the writing table.

Pre-defined geometry

Sloped roof to shade the tall summer sun and allow for the low winter sun to enter

Energy Conversion

Air Circulation

November 7th 2009

| Architectural Sketch Problem 3 | SKETCHPROBLEM 59

SYSTEM CONCEPT SKETCHES In the efforts of the design itself, our team wanted to create a small sustainable cabin. The contents of this page are some of the elements and systems in which the group decided upon. The drawings were all reproduced by myself for the purposes of this portfolio. The primary concerns were to collect rainwater and use it for cooling and heating. Secondly, electricity wanted to be maintained and produced on site. The cabin is for a poet and would not really be used during the evenings. This means that electricity is primarily needed just for the small kitchenette and stand up shower.

Solar water heating and cooling system

November 7th 2009

Rainwater harvesting system

Water collection and solar gain from glazing and the skylight above

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Firewood Area

Bath Room

Rainwater Collection Tank

Kitchenette

Open Bedroom/ Writing Studio

Southern Facing Facade with Large Exterior Deck Area

Short Section Through Building Showing Skylight

November 7th 2009

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RENDERING IN 3DSMAX 10

November 7th 2009

By creating the conceptual sketches into a BIM model with Autodesk Revit. Our team was able to extract CAD plans and elevations which were used on the laser cutter to produce the physical model. Another advantage of producing the BIM model is that we were able to export the model into 3D Studio Max. This was where materials and lighting was applied to produce the renderings that you see on this spread.

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Preliminary Parti-Diagram

GROUP 17 MEMBERS: Left to Right Alaa Mohamed Raafat, Alex Siekierski, Emily Hildebrand, Kerri Mulligan, Stephanie Lopez, Andrew Byrne

CONCLUSIONS As a one day experience I was very pleased the way in which strangers could come together to complete a common objective. It was a fun and exciting process in which everyone stated ideas and help out in the overall production of the deliverables. My larger roles were laying out the final board and direct the erection of the physical model. Also as one of the presenters of the concept, it gave me great experience in explaining a team concept which does not exist only my ideas. This was something fairly new to me and I feel that it was portrayed successfully. Unfortunately this was my last sketch problem and I will have to wait for the opportunity to do this on the professional side.

PHYSICAL MODEL

Preliminary Parti-Diagram

November 7th 2009

The Model Below was Created by Myself, Emily, Kerri & Andrew. It’s Scale is 1/2” = 1’-0”

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TU-BERLIN STUDIO | DUBAI METROZONE Alex Jeffrey Siekierski

CD7105 Duration: 12 Weeks Summer 2008 Instructor: Joachim Schultz This course introduces the concept of Building Information Modeling (BIM) with ArchiCAD 12 at its core. From within the BIM framework, students will learn and master the use of building components, navigate through the actively linked views of the building (plans, sections, elevations, details, perspective views, cutaway perspective views, renderings), compose a design presentation, and document a project for constructability/ construction. At the start of the course students will be challenged with modeling several complete building examples. Each project will emphasize, with increasing complexity, a BIM methodology for generating competent models for design explorations and for presentation. The course will culminate with the modeling and documentation of an approved project of the studentâ&#x20AC;&#x2122;s choice.

Dubai is one of the Largest Trading Ports on the Gulf of Arabia

Summer 2008

Man Made Islands off the Coast of Dubai, UAE

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BRIDGING THE SHEIKH ZAYED

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Summer 2008

DESIGN VOCABULARY Bridge Connection Passage Throughway Pedestrain Infrustructure Ramping Stiching Circulation Point of Vision

The Problem with the Sheikh Zayed Road

METRO STATION PROPOSAL After taking an academic excursion to Dubai city. I closely observed some interesting locations in various places throughout the city. With the emerging Metro lines through Dubai we used the proposed infrustructure of these lines to find valid sites for our studio. As I was driving down Sheikh Zayed Road I was overwhelmed by the scale of the highway and the astonishing towers that ran along both sides of the freeway! I wanted to pull of the road and take a minute to endulge in the scenery but after I exited the highway it seemed impossible to find parking.

Site Location on North Beach in Miami, FL

With this experiance I decide to choose Sheikh Zayed Road East as my site location. My goals of this project are to improve upon the road circulation and parking availability around the proposed location of the World Trade Center Metro Station. I took an approach as if I were a Civil Engineer and decided on building up the asphalt parking lots that are located on both sides of the freeway near the station. Secondly I created a four lane/two directional bridge that links vehicles and pedestrians to both sides! The parking garages suits tourists and commuters with ample spaces to leave ones vehicle and use the metro. I plan to remain Sheikh Zayed as it is without disturbing the flow of traffic and to impose a new infrustructure of circulation layered ontop of it.

Tower Plots, Dense Residential, Emirates Towers, Dense Mixed Use, Large Scale Asphalt Islands, World Trade Center

Building use types around the site

Future Metro Stations

Suitable Pedestrian Walking Limits (656ft & 1312ft)

Alex Siekierski

MIND MAPPING As a preliminary starting point I choose to create some vocabulary sections. Similiar to Mind Mapping I wanted to verbalize where I wanted certain building elements. In addition I also was trying to focus on combindeding pedestrians, cars, and trains.

Metro + Vehicles + People

Summer 2008

Southern Sectional Program Diagram

Eastern Sectional Program Diagram | Dubai Metrozone | DESIGNWORKSHOP 67

Summer 2008

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Target radius along the Sheikh Zayed Road

Stepping

Rail and Vehicular Circulation Before Bridging Random Crossing Ideas

Rail and Vehicular Circulation After Bridging

PEDESTRIAN CONNECTIONS My primary focus I am perusing in Dubai, is the connection between the pedestrian path and the new development of the metro stations, on Sheikh Zayed Road. Dubai is not currently a pedestrian city but after the metro becomes functional there will be an increased number of people walking the streets. The aim of my design is to help create a comfortable and walkable public connection that will pass over the Sheikh Zayed Road.

Site Location on North Beach in Miami, FL

Metro Bridging

Vehicular Circulation Before Bridging

Multiple Branches

Creating multiple pathways

GREEN PATHS LINKING PEDESTRIAN CIRCULATION As shown above, the design tapers away from the metro station platforms to create a larger area at ground level. This increased area provides many possible points of entry for the pedestrians, rather than a single point of egress with a stair. The curvilinear ramp slowly guides pedestrians up and over Sheikh Zayed Road. There are two air conditioned areas on each side of the structure that encloses the public green area. These conditioned spaces will have access to the green space and will be friendly for persons with disabilities, as well.

Summer 2008

Proposed sectional diagram indicating the primary objective

Due to the climate in Dubai, I have focused on a 200m radius around the metro stations.Within this 200m zone the pedestrains need a fast and comfortable way to travel to their desired destination. The skematic design on the left is shaped to widen the infrustructure of the movement of pedestrains. By extending the entry point to the boundaries of the bufferzone, it cuts down all distances into equal segements. In result the design can provide a quick and effective way to pass over the Sheikh Zayed road.

| Dubai Metrozone | DESIGNWORKSHOP 69

Summer 2008

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PRELIMINARY COLLAGE DEPICTING THE OVERALL IDEA OF BRIDGING My first iteration was inspired by the bridges of Calatrava and Otto. The minimalists use the material to express the architecture. I choose the use of a frame work with a tensile membrane for shading. Afterwards in my last iteration I wanted to maintain the vegetated ribbons which currently exist on the edges of the SZR. This greenery was then intended to seemlessly be taken over the freeway as a bridging element.

Sketch of the bridge with vegetated elements

The Idea of using solar panels to gather energy while providing shade for the users.

Adobe Illustrator plan generated from the sketch above

The site plan aims to circulate vehicles over and adjacent to the Sheikh Zayed Road. There shall be two lanes of traffic on each side with parking garages on both sides to allow commuters and tourists an area to park their cars and take the metro!

Proposed future green bridges over Sheikh Zayed Road

It was a later thought of adding a type of canopy that would allow for some protection from the sun. This would also allow for some type of water filtration system to be applied for the watering of the green bridges. I would imagine that vents would have to be applied in order to allow the updraft of the passing vehicles to flow through the membrane structure.

Summer 2008

ADDITIONAL CONCEPT |

| Dubai Metrozone | DESIGNWORKSHOP 71

MIAMI MODULAR HOTEL COMPETITION Alex Jeffrey Siekierski

VS664 Duration: 14 Weeks Fall 2009 Project Leader: Alex Jeffrey Siekierski Sponsor: Modular Building Institute, AIAS Design Challenge: The site selected for the new hotel is located at 6551 Colins Avenue in North Miami Beach, FL. Once the site of the Monte Carlo Hotel (built in 1948), the building was demolished in 2004 after standing vacant since the early 1990â&#x20AC;&#x2122;s. Plans for a new 20 story building were approved in 2005 but construction has yet to begin. With nearly 200 feet of beach front property, the site is a perfect location of a modern luxury hotel. The program challenges students to learn about modular building techniques and systems in the design of a modern and sustainable Miami Beach hotel.

GROUP MEMBERS Alex Siekierski Sylvia Williams Kyle Branchesi

| Miami Beach Hotel Student Competition | DESIGNCOMPETITION 73

Submission February 1st 2010

UNDERSTANDING THE SITE IS ALWAYS THE BEGINNING OF MY DESIGN PROCESS

The site itself is a beachfront property on Miami’s North Beach. There are some high-rise hotels adjacent to the vacant lot, along with a residential district across the canal. With views toward the ocean front from the rear side and Downtown Miami from the street side, our team wanted to design toward capturing these views.

View from the residential areas across the canal.

Throughout its history, Miami has developed into the cultural hot spot of Florida. Many people flock to Miami to experience the culture, the beautiful weather and the beaches that the city has to offer. Miami is a destination for the young, a group who demands change as quick as the next fashion statement. Hotels find themselves in an effervescent quest to offer the most luxurious and modern experience for their guests. As the demand and style of guests change, hotels need to be at the forefront to easily adapt to these changes. Modular construction looks beyond the current use of a hotel, to how the hotel will change and adapt in its future. Modular construction stimulates revolutionary techniques to replace standard units with interchangeable components. Various elements provide unique environments aesthetically appealing and structurally effective. A hotel succeeds by providing guests with unique experiences; every guest has a unique room and feel. No longer does modular simply mean to duplicate and stack. Our guest rooms and suites are all unique but constructed out of the same three modular cores. These cores are able to be constructed as any modular unit but simply arranged on site. Therefore the designer is free to entice each room with its own layout and ocean view. Each modular unit is accentuated by color to mirror Miami’s environment. As one approaches the hotel at a distance, visitors first become enchanted by the lively translucent skin. Once inside, the membrane reveals an innovative modular architectural style. Programmatically two towers are distinguished for guest rooms and guest suites situated above the platform served for public spaces on lower levels. The guest rooms units are designed as upscale apartments as it provide space for a living, dining and sleeping area. These spaces captivate unique moments for each individual. The modular units are designed to be adaptive and sustainable systems integrated into the evolution of the hotel. Within the core is a vegetated central atrium which allows natural light to filter all throughout creating a unique, balanced relationship with the environment. Along the main circulation path guests encounter stylish boutiques, a modern restaurant and bar as well as to the outdoors. What this hotel becomes is a hotel that truly opens up to the beach, providing adaptable spaces for the every changing clientele.

DESIGN NARRATIVE

Site Location on North Beach in Miami, FL

Paul Rudolph’s Government Service Center Boston, MA Design Case Study As a starting point we looked at this section of Rudolph’s public building and enjoyed the dynamic clearstory interior, with the stacking of spaces both above and below grade.

In order to jumpstart the 3D developement, the competition team began modeling the areas around the site, using SketchUp.

DESIGNING AT THE MICRO-SCALE

Bi-Leveling Sketch

Submission February 1st 2010

The intent of the competition was based on modular design with a focus on the Steel Industry. The design team began designing at the microscale inorder to develope the building blocks which would then be developed into a building. The images ont his page represent some priliminary sketches of the residential “pods.” This was a good conceptual beginning to understand how we wanted to units to connect to eachother. This exploration was a critical part of the DESIGN PROCESS because it allows us to develop our final pieces of the puzzle.

Joining the Units Idea 1

Unit Vertical Connections

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Joining the Units Idea 2

Submission February 1st 2010

| Miami Beach Hotel Student Competition | DESIGNCOMPETITION 75

PRELIMINARY DESIGN COLLAGE After sketching some collective design ideas on modularity, I decide to dive into the computer and get an idea of the scale we were aiming towards. The images on this page are a collage of rough geometries in order to get a sence of scale in relation to our site.

Units wrap around the corridor

Concept for an assembly of Modularr Units

Modular Unit Section

In order to stray away from rectalinear geometry I used inspiration from the Refract House at the 2009 Solar Decathlon. This L shape with balconies became our new building block.

Sectional Diagram of Ocean Side Spaces

THE DESIGN PROCESS AND FLARE OF MIAMI

Starting with flat rectangular floor plates and creating angular slices.

Submission February 1st 2010

Sectional Diagram of programming blocks Program was then places within the floor plates according to adjacencies.

The last step was to create a central void throughout the public and private levels.

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Stacking diagram of the modular pieces

ď °USE OF MODELING AS A DESIGN TOOL All Models are at 32nd inch scale. I was able to develop about 5 MASSING FORM iteration models which all were attempting to match the flashiness of Miami. The green model below was the final selection for a concept mass in which we would fill in with our modular pieces.

CONCEPT SKETCH MODEL All Models are at 32nd inch scale The idea behind this model was to use dynamic repetition. Not in a literal way but in a pushing and pulling method of the floor plates. The model takes the corridors and twists and turns them depending on the floor. This allows for unique balconies and structural advancements by using the weight of the building blocks for the support.

Submission February 1st 2010

| Miami Beach Hotel Student Competition | DESIGNCOMPETITION 77

Programming with different orientations of the modular pieces.

Section Program Diagram through the Skin

At this stage in our teams design process we decided to create more than one modular unit. The pieces then were configured differently depending on the intended program. The overall arrangements were intended as a concept to be load bearing. This allowed the design team to create irregular corridors and balconies on each floor independently.

Submission February 1st 2010

Rendering of the Digital Massing Model on the Site

Section through the updated Irregular Slabs The Tectonic Skin atound the Modular Units

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Updated Space Arrangement without the Tectonic Skin

Submission February 1st 2010

| Miami Beach Hotel Student Competition | DESIGNCOMPETITION 79

Entry Level including the Grotto to the Beach Front

Second Level displaying the Floor Below, Catwalks and Swimming Pool

THE INTERIOR & EXTERIOR CONNECTION

Close-Up of Tectonic Skin Concept and Space Planning Blocks

The two atrium floor plans above display the grotto through the entire public areas of the first three floors. This area was intended to attract visitors and pedestrians into the building by making a direct connection with the landscape outside and bringing it into the building. This interior landscape leads you directly to the ocean front in the rear of the building.

ď ąThe VIP Lounge

Submission February 1st 2010

A scenic environment to enjoy the views of Miami in the company of others.

Sustainable Features These images focus upon the integration of the natural landscapes into public and private gardens which help the building maintain operable temperatures.

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Submission February 1st 2010

| Miami Beach Hotel Student Competition | DESIGNCOMPETITION 81

THE MIAMI PROMENADE HOTEL

FINAL COMPETITION BOARDS

Submission February 1st 2010

The four boards on this page were the final iterations for the teams submission. I was in charge of producing the majority of the renderings and plans along with laying out the boards by category. 1 being the design essay, site introduction and modular concept. 2 being the building on the site and the primary floor plans. 3 being the overall feeling of the modular units and how they stack. Lastly, 4 being the overall layered and tectonic concept and integration of green spaces.

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BUILDING CONCEPT The four boards on this page were the final iterations for the teams submission. I was in charge of producing the majority of the renderings and plans along with laying out the boards by category. 1 being the design essay, site introduction and modular concept. 2 being the building on the site and the primary floor plans. 3 being the overall feeling of the modular units and how they stack. Lastly, 4 being the overall layered and tectonic concept and integration of green spaces.

Modular Units

ď °Adaptable

ď °Private Guest Unit

Penthouse Suite

A narrow elongated single unit used to provide a quaint private experiance.

Consists of two modular units joined in more than one unique fashion. Promoting a sense of community.

Submission February 1st 2010

| Miami Beach Hotel Student Competition | DESIGNCOMPETITION 83

HARVARD PLACE A Cultural Shopping Community 92 Western Avenue North allston, Massachusetts Programmed By: Alex Jeffrey Siekierski

“If you don’t know where you are going, you’ll end up somewhere else.” (Yogi Bera)

ARCHITECTURAL PROGRAMMING & CODES Alex Jeffrey Siekierski

TM7685 Duration: 14 Weeks Fall 2009 Instructors: William Melcher & Vernon Woodworth TAs: Sarah Mooney & Grant Scott This course presents a formal process for establishing the scope of a project and determining the performance requirements that a design must achieve. It explores the role of programming in bringing essential information about the way people use and respond to their environments to bear upon design decision making. The course introduces basic concepts of environmental esign research, including methods for surveying users and evaluating settings. It explores issues around communicating program information to designers, translating performance criteria into design, and promoting user participation in programming and design decision making. Included in the course is an introduction to code analysis, including the purpose and most important requirements of the Massachusetts State Building Code and the Architectural Access Board Regulations for new and existing buildings. Course lectures and class participation in the form of student researched code topics and class presentations will provide a strong base of knowledge for future code investigations. The instructor will provide practical guidance on how to deal with building inspectors and how to make sure serious code problems are identified and resolved before construction drawings are complete. SHOPPING MALL GROUP Alex Siekierski William Moore Andrea Bauer Brien Baker Stanley Chow Morel Orta

Before planting one prepares for best results by analyzing the soil and adding the prescribed nutients. Progamming is analogous: research and analysis results in the information describing what the site and program require. The Program prescribes the nutrients. If followed, good architecture has a good chance. (William Melcher)

THE PURPOSE of the program is to provide instruction developed by the Owner/User and Programmer to the Designer. This process requires research, analysis, synthesis and presentation. The outcome of this research is the information upon which the design decisions are based. It must be performed accurately so mistakes in the building design are not made. Pruitt Igo disaster designed in 1951, completed in 1954, destroyed in 1976. OUR JOB as programmers and architects is to understand the “other” people to define the issues that need resolution. We must know that “their” and “our” priority issues are not always the same. Programming is the most effective part of the design process to prevent mistakes before they happen. Assumptions must be acknowledged and tested whenever possible. ALLSTON LANDING NORTH Allston Landing North extends along Western Avenue on the north and along Cambridge Street between Soldiers Field Road and Windom Street.

INTRODUCTION STATEMENT As a current MArch BAC student, I spend last year working on my first national design competition. The site was located near Harvard Universities sports stadium. Our mission for the competion, was to create an elementary school which promoted community growth. With that I had to study the community of North Allston. The competition site is located about one mile away from my proposed programmed shopping center.

A BRIEF SITE DESCRIPTION This 50-acre site consists primarily of industrial, manufacturing (including biomedical), and transportation-related businesses, and includes a large warehouse abutting North Allston’s easternmost residential neighborhood. The transportation focus takes advantage of the regional access provided by the adjacency to the Massachusetts Turnpike.

Fall 2009

I found that from previous knowledge about the community that the large areas of vacant land would be a prime location to develope a NEW STYLE of shopping, for a rural neighborhood. Highway accessibility and public transit are by passing the site to promote great accessibility to visitors and residents. The overall image of Harvard University boarders various sectors of the site along with some of the residential fabic to create a unique location as well as opportunity to create a cohesive interation between university and community. The Charles River provides a solid edge which defines the area to be one of it’s own. The GOAL for my program is to create a convenient shopping center geared toward students and residents, linking the immediate infrustructure to the site as well as the overall Boston City, in an attempt to rejuvenate and expand a new shopping experience coined “HARVARD PLACE.” As I developed the program for the shopping center, Article 21 of the Boston Zoning Code provided the requirements to work with my site.

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Throughout the program process I found difficulties representing my actual shopping experience. I am not setting out to implement a grandious million square foot shopping mall. Rather I want to promote small business to flourish in a modular shopping experience. People can either connect to different structures from below grade or above. This presence is aimed at almost creating a work live community, with a mix of academic, commercial, and retail commodities.

Fall 2009

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92 WESTERN AVENUE ALLSTON, MASSACHUSETTS, PARCEL ID NUMBER: 2200298000, 2200300000, 2200299000, 2200109060, 2200301015 LAND OWNER: HARVARD RE / ALLSTON INC LAND VALUE: $25,144,600.00 EXISTING BUILDING VALUE: $3,119,700.00 FY2010 PRELIMINARY(ESTIMATED) TOTAL TAX DUE: FIRST HALF: $340,835.06 ARCHEOLOGICAL DATA: NONE FORMER SITE USE: INDUSTRIAL

MISSION STATEMENT The mission is to create a residential shopping experience which provides visitors an easily accessible site to escape the density of the metropolitan environment. The mission for Harvard Place is to create a melting-pot where education, culture, community, and nature are all working together to create a place for spending as well as for leisure, and outside activities to take place. Harvard Place will become the new center for Northern Allston and equally serve the needs of the neighbooring residences, Harvard University, and visitors. In lesser of a word; the intend is to create a natural park environment that is both for experiencing open space with a mixture of shops and domestic units.

92 WESTERN AVENUE NORTH ALLSTON, MASSACHUSETTS Allston’s buzz of activity and Brighton’s residential atmosphere complement each other nicely to give this area a somewhat suburban feel within Boston city limits. The area contains dozens of parks and other open spaces and has one of the lowest median age levels in Boston. With highly diverse demographics, a wide selection of shops and restaurants, and a large student population from the nearby Boston University and Boston College campuses, Allston is the “funkier” of the two neighborhoods. In exchange for shops and services, Brighton offers parks and open space, tree-lined streets, and a more family-oriented, “community” feel. Both are approximately 30-45 minutes away from campus by the “B” Green Line and various bus routes.

LAND COST TOTALS 

Parcel #,2200299000

Parcel #, 2200300000

Parcel # 2200298000

FOR ALL

5 PARCELS COMBINED

FY2009 Building value: $3,119,700.00 FY2009 Land Value: $22,024,900.00 FY2009 Total Value: $25,144,600.00 FY2009 Total Assessed Value: $25,144,600.00 FY2009 Tax Rates (per thousand): Residential: $42.52 Commercial: $108.44 FY2010 Preliminary(Estimated) Total Tax Due:First Half: $340,835.06

LAND COST CONCLUSIONS These properties were all recently purchased by Harvard University last January and has been since then gone into future planning for expansion. I feel that the numbers speak very clearly about the size of the land as well as the size of the finances involved. This desolate area was a prime location near the already developed Harvard campus and runs parrallel to the Charles River.

92 WESTERN AVENUE ALLSTON, MASSACHUSETTS,

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Parcel #,2200301015

Fall 2009

Parcel #, 2200109060

PARCEL ID NUMBER: 2200298000, 2200300000, 2200299000,2200109060, 2200301015 LAND OWNER: HARVARD RE / ALLSTON INC LAND VALUE: $25,144,600.00 EXISTING BUILDING VALUE: $3,119,700.00 FY2010 PRELIMINARY(ESTIMATED) TOTAL TAX DUE: FIRST HALF: $340,835.06 ARCHEOLOGICAL DATA: NONE FORMER SITE USE: INDUSTRIAL LAND/SITE AREA: 57,783.1599 SQUARE FEET 1.326 ACRES SITE PERIMETER: 1065’-11 3/16”

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Walking Route for Site Visit - September 27th - 2.3 hr duration

SITE VISIT CONCLUSIONS After taking the Redline in from South Boston, it seemed that this route of public transportation was going to get me closest to the site. Unfortunaty it was dissapointing that no trains run in close proximity of it. After taking a few hours to walk around the Cambridge and get a feel for the community on the other side of the river I walked around and through my site. I noticed that space began to open as I crossed the Charles river and larger structures bgan to appear due to Harvard University. The natural beauty of the river and the green spaces showed lots of people engaging in activity. But as I continued further and further from the river the atmosphere changed to having no life at all. Trucks were constantly running down Western Avenue and empty storefronts showed signs of economic struggle. These were the primary problems that I experienced and while visiting the site and soon after made it a goal to continue the Charles River atmosphere and continue it down Western Avenue. Walkable Distances of 5min, 12min and 22min

A: Ariel View of Entire Proposed Site

C: Adjacent Construction Area (Harvard Science Complex)

B: Ground Level View of Site

ALLESTON LANDING NORTH Views of surrounding context

D: View of a Near by Playground

E: View Down Rotterdam Street (Site on Right)

Fall 2009

F: View of Amly Street (Site)

Proposed Site

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92 Western Avenue, Allston

G: View of Site Overlooking Highway

| Architectural Programming & Codes | COURSEWORK 91 The district chosen should be easy to navigate from major pathways, including interstate highways coming from the east, west, north, and south, bus routes, and the south subway (green line). This accessible form of transportation is the furthest in reach from the proposed site. Taxi cab frequency is prodominant along western, river, and cambridge streets.

LANDMARKS The Shopping Center should be a community Landmark amounst many other landmarks confined by Harvar University and adjacent Allston sites. The current site is not utilizing itâ&#x20AC;&#x2122;s importance as an edge that borders the Charlkes River which is the break between Allston and Cambridge.

DISTRICTS Districts converging at the site unite a diverse group of people at once for the truest culture of western Boston. The districts consist of the Backbay (southeast) Brighton (West) Cambridge (North) Brookline (South).

NODES The location of the Shopping Center should also be within a node of activity for easy access to public transportation, taxis, authorities, and commercial establishments. The location is currently near vehicular nodes as well as public community nodes that are formed by the paths.

BOUNDARIES The North Allston district is well defined by many different forms of Boundaries, that visitors unfamiliar to the area would be able to identify with, when entering and leaving a neighborhood. While the Charles River is the most identifiable boundary to the district, the area is also contained by western avenue and river street.

EDGES Streets, waterways, districts, and highway edges help a person visualize and appreciate the differences and advantages of the site as compared with its surroundings. The primary edges being the Charles River and Western Ave/Cabridge St. are also visual guides for pedestrian orientation.

The Lynch Analysis Diagram

LYNCH ANALYSIS 5 ELEMENTS Fall 2009

PATHS

LYNCH ANALYSIS 92 WESTERN AVENUE NORTH ALLESTON This proposed site encompasses all five elements of Kevin Lynch’s “image of the city.” It is situated in a way that can be used for a mixture of programs. Landmarks are all spread out through the site. Large edges help aid vehicles and pedestrians with visual direction. These edges include Western Avenue, the Charles River, Mass Pike and secondary highways. The flat site is located between two pedestrian and vehicular nodes. Located just south of western avenue provides and opportunity for further development and community connectivity between Allston and future transit stations.

THE 5 ELEMENTS WORKING TOGETHER Image of a City

Fall 2009

When looking at all of Lynch’s five elements as a whole, it’s clear that the site is located within an urban fabric. By looking at the diagram we are able to see the make-up of many distinct edges, noides, landmarks, paths and districts, adding to the character of the city and the enjoyment of residents, tourists and daily city users, such as college students.

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After familiarizing myself with the concepts behind Kevin Lynchâ&#x20AC;&#x2122;s 5 elements of a city, and their interrelationship. I began to visualize how they all join to form a developing whole. This understanding of Lynch has given me a better awareness of the fabric of Allston.

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THE CONTEXT OF CULTURE The background for any project is the Context presented by the Historic, the Architectural, Social, Political, Economic, Historical, and Demographic forces. Without understanding the society, the people, the beliefs, and their history, one will design “blind”. Not understanding these forces may cause a building to be obsolete before it is “off the boards”. Allston Railroad Station about 1909

ARCHITECTURAL PRESENCE

Fall 2009

After walking through Cambridge from Central Square there was a very consistant language in the architecture of the common spaces in relation to the formal grid pattern of the residential streets. While moving forward across the edge of the Charles River I began to notice a change in the language of the architecture in relation to the landscape. More open space and flat landscape with the brick colonial architecture of Harvard University. The mixture of prodoninant edges, industrialization, university presence and resident house all provide for a different architectural feel to North Allston. Also the future master plans of Harvard University will effect the modernist better quality of life community developements.

Honan-Allston Branch of the Boston Public Library

FUTURE ARCHITECTURE Harvard Science Complex Behnisch Architekten is an architectural practice based in Stuttgart, Germany, with branches in Venice, California and Boston, Massachusetts.(Left) One Western Avenue (LEED Silver Certified) Residential Apartment/Dorm Building

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Proposed Green Arteries

Truck Routes

Bus Routes

a cartographic analysis to understanding the larger context of the site area. The maps displayed gave way to understand primary transportation routes, population densities and green spaces.

Existing Figure Ground Relationship

Land Use Relationship

PERFORMANCE REQUIREMENTS (PR’S) A PR is a specific statement of how a designed object must perform to meet a Goal. It is more specific than a Goal. It states the measurable level of function of doing rather than a quality of being. It is more specific than a Goal. Typically, three PRs per Goal is good average for Schematic Design. The word “performance” is also related to Specification terminology where an item is specified to meet a performance standard rather than be of a certain “proprietary” designation: ie. Anderson 400 series double hung window with Low E glazing and a Rvalue of 3.) VS how the window must perform.

PERFORMACE REQUIREMENT 2.1

Security is both needed indoor and outdoor. For the exterior spaces surrounding parks especially as well as other circulation around the built structures, many differnt forms of lighting will be considered to illuminate paths and areas to decrease the amount of crime.

PERFORMACE REQUIREMENT 3.3

Accessibility for individuals with disibilities is a design consideration that must be implemented into all instances that require ADA regulations to be met.

PROGRAMMING COURSE CONCLUSIONS

Fall 2009

THE VISION OF HARVAR PLACE THE INTENT OF THE PROJECT IS TO PROMOTE A GREATOR SENSE OF COMMUNITY IN ALLSTON, WHILE ALLOWING HARVAD UNIVERSITY, AND LOCAL BUSINESSES TO GROW. A SHOPPING COMPLEX IN THE FORM OF MATCHING THE RESIDENTIAL GRID WILL ALLOW REVENUE TO INCREASE AND PROMOTE A HEALTHIER LIFE STYLE THROUGH AN INCREASE IN OUTDOOR PUBLIC SPACES FOR ENGAGEMENT AND ACTIVITIES TO OCCUR.

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After completing the amount of rigorous work expected throughout the semester, I have gained a great deal of understanding that goes far beyond site analysis. I feel the Lych Analysis is a vidal tool that I took away from the course which summarizes all existing physical data that is effecting the immediate site as well as its surroundings. Other things that have become more important to look at before schematic design takes place are; the cultural context around the site, the political presence, the demographics of the area and the overall economy. These are all non-architectural related items which I have learned do effect the architecture you are designing and will in the end allow it to surve its intended functions.

SITE PLANNING & DESIGN Alex Jeffrey Siekierski

TM7421A Duration: 8 Weeks Spring 2010 Instructor: Robert Brooks This course identifies the principles and problem-solving approaches to site planning; it is divided into three sections: site evaluation, site/building relationship, and site design. Homework assignments further an understanding of the topics through analysis and application of principles. Class meetings will include presentations by the Instructor, quizzes, in-class exercises, and pin-ups and reviews.

Spring 2010

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Final Site Design for Project One

TM7421A SITE PLANNING & DESIGN The Boston Architectural College Assignment #1 – Site Analysis & Design

Site and Solar Analysis

INTENT A plan for revitalizing the Upper Basin of the Back Bay Fens has emerged from a long planning process involving a local design team, the Boston Parks Department, and public advisory committees. The approach is based on rejuvenating Frederick Law Olmsted’s 1879 plan for the area, adapting his original concept for a brackish wetland to a freshwater marsh. To regain 75% of the current land area of the upper basin for open water and marshland, the community gardens will be relocated off-site. The reed grass will be eradicated.

Site Area Massing Zones

The site design process is a pre-cursor to site analysis in studio. The images on this page display a three step process in which I explored in depth the ins and outs of the overall site context. The only difference from site analysis is that you create a master page containg all of the gathered information. This helps when trying to identify the next steps which are to choose a location of the structure and orient it in an intuitive way.

Google Maps Image of the Backbay Fens Site

Soil Types

Vehicular Circulation

Iteration Sketch Displaying the Placement of Structures

For this assignment you will apply principles and practices of slope formulas, grading and drainage, and site design. The hypothetical site poses issues that commonly confront the architect when trying to fit buildings, roadways, and parking lots into the land. You will use various grade change and drainage devices to address these issues. An important objective of this assignment is to understand that the process of grading design is accomplished through multiple iterations each resulting in unique consequences and finally a solution that is both practical and beautiful.

PROBLEM SOLVING The slope calculation portion of this course was about as hard as it got. I started by aligning the front of my structures parallel with the topography lines. Grading was something in which took the land and formed/molded it so that it controlled water flow in the correct direction. Lastly, the access road was designed with only a 2% slope for runoff and primarily also was parallel with the topography lines.

Iteration Design Options for Various Adaquate Areas

Site Planning & Design TM 7421A The Boston Architectural Center Spring 2010 Part II - Schematic Grading and Drainage Design

Final Site Plan for the Proposed Three Condos

Bi-Leveling of the three condos

Spring 2010

Site Design and code requirements are great starting points when first working within a project. These regulations help assist you in finding an appropriate location for the structure and access road. They give you specific dimensional distances in which can be applied to any site.

| Site Planning & Design | COURSEWORK 99

Spring 2010

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Earth Berm Detail

Retaining Wall Detail

Final Design Rendering using Revit 2010

Final Design Displaying the Flow Direction,Tree Placement, Walkways, and Roads.

Site Planning & Design TM 7421A The Boston Architectural Center Spring 2010 Part III - Final Design

Preliminary Design Sketch

Existing Conditions Survey Sketch

Topography Study

LANDSCAPE REFERENCE IMAGES As inspiration to my design I choose to use the two images above. The display clean geometries, with an interesting interation between the vegetation and the materials.

Spring 2010

CODE RESEARCH ADA Compliance As a part of the site design assignment. Our designs have to all be ADA compliant which mean having the appropriate amount of handicap parking spaces, run length of all ramps, and Blink markers on all sidewalks.

| Site Planning & Design | COURSEWORK 101

Spring 2010

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ď °FINAL CONCLUSIONS Overall the class was one of the most informative experience I have had. For the eight weeks I took the class each exercise used something from the previous one. As for the final design I feel that the continuous presentations in class were helpful for delivering ideas verbally and graphically. My design above uses the overall site and blends the black shaded preserved structures, with the newly designed Buddhist retreat. Creating axis points and establishing boundaries and placements of buildings and paths all go in to the technical process of the design. Creating water elements along with meditation areas create a tranquil environment for housing, learning and recreation. Site Planning & Design TM 7421A The Boston Architectural Center Spring 2010 Part III - Final Design Iteration

Spring 2010 | Site Planning & Design | COURSEWORK 103

Spring 2010

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DESIGN OPTIONS Before I arrived at my final design on the previous page. I provided two schemes which both reflected independent aspirations. The one above is keeps a lot of the site un-touched, and allows for a smaller cluster of buildings. Below we have a larger complex which utilized and accommodates more of the natural land.

DM3 ADVANCED AUTODESK REVIT 2010 2D/3D Alex Jeffrey Siekierski

VS630 Duration: 8 Weeks Spring 2010 Instructor: Gred Demchak , Erik Egbertson The Autodesk Revit parametric building modeler is a powerful building design and documentation system for architects, design-build teams, and other building industry professionals. In a parametric building model, every drawing sheet, every 2D and 3D view, and every schedule is a direct representation of information from the same underlying building database. Autodesk Revit offers substantial productivity, quality, and business benefits to designers seeking to improve how they use information technology to do their work.

Alex Jeffrey Siekierski Spring 2010

106 COURSEWORK | DM3 Advanced Autodesk Revit 2010 2d/3d Representation |

BlogZ Durign the first class I searched the internet for Blogs relating to Revit and Architecture. The Blog above was an excellent reference for visuals that display the most current advancements in the current world. Techniques and instructions for form creating within the program primarily were focused around the new “Conceptual Mass” function. This function was explored within the class and became used for creating parametric shapes that are free form and organic-like.

Parametric Modeling The newest feature of Revit is a points based modeling system that allows for complex geometries to be formed through points and lines. The above images show the working model to the left and the end result to the right.

Twisted Rectangular Mass

Conceptual Mass Work Plane Panelized Cone Shape

PROCESS The 3D form below was generated through a series of steps. Beginning with the creation of an organic form. From this for I divided its double sided surfaces into a grid like pattern. From this point I created a new family for a curtain wall panel. The panel was formed with a void in the middle. One the panel is saved I loaded it into the project file which has my form in it. The last step is applying the panel to the form.

Inverted Arch Connected Form with and Applied Custom Panel Family

Sweep Tool Controlled by a Length Parameter

Creating Adaptive Parameters for Table and Chair Family Linking of Geometries with Parameters

Glass “C” Channel Panel

Depth 0' - 5 1/2"

The above objects were first created as massings, then turned into forms which were given material properties. Furthermore the objects were embedded with parameters which were adaptive to particular needs. For instance, if the table above needed to be 6’ in diameter, not only will the table become larger but the diameter parameter will add additional chairs around the table at an equal spacing suitable for spacial comfort.

Thickness 0' - 0 3/4"

Thickness 0' - 0 3/4" Thickness 0' - 0 3/4"

Creating Nested Families

Design Options A slightly new feature in Revit 2010 is the ability to show multiple designs and options for a client within one BIM model. The two perspectives and floor plans shown, offer two variations for the exterior patio furniture.

Alex Jeffrey Siekierski Spring 2010

Length 2' - 0"

| DM3 Advanced Autodesk Revit 2010 2d/3d Representation | COURSEWORK 107

Detailed View of a Three Panel Area

Vertical Perspective Section

TURNING THE IMAGINED INTO A 3D REPRESENTATIONAL MODEL After learning how to create families and load them into a project to be applied in various ways, I choose to create a free-form that consists of a single mass that was divided by applying a grid to both sides of the geometry. Next I developed a curtain wall panel family with solid and void extrusions. These extrusions were hosted to the shape of the panel. When loaded onto the form the panel adapted itself to the organic form by restricting itself to each individual panel.

Alex Jeffrey Siekierski Spring 2010

Origional Custom Panel Family

Uppermost Floor Plan

ď ´Entourage was applied to a Revit Camera export to give a sence of perception and scale of the conceptual mass. This form can now be considered as the size of a large high-rise building. Building View From Street Level

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ACOUSTICS AND LIGHTING Alex Jeffrey Siekierski

TM369 Duration: 8 Weeks Spring 2010 Instructor: Robert Hogan (Lighting) & Jeff Fullerton (Acoustics) Environmental Systems 2: This course will begin by presenting lighting systems available to the designer, along with methods of light measurement and predictions of light levels useful during the design phase. We will review in detail specific light sources (lamps), light distribution techniques, light fixtures, and discuss methods of illustration for a lighting design. We will visit and analyze examples of various lighting designs. The second half of the course offers an introduction to architectural acoustics. Included will be the study of sound isolation, sound absorption, mechanical system noise and vibration control, and environmental noise control. The course will include exercises in the measurement of sound sources using a sound level meter, and will review available acoustical treatments and materials. We will also visit a facility designed for music performance and/or sound recording to study acoustical design strategies.

Spring 2010

110 COURSEWORK | Environmental Systems 2: Acoustics and Lighting | Assignment 1 Lighting Analysis As an assignment 1 exercise I chose to study the Mary Baker Eddy Library. I pass by this space often and enjoy seeing the materials and lighting effects that accentuate the building and main entry.

Day and Evening Site Photos

Site Location Map (200 Massachusetts Avenue, Boston, MA)

First Floor Entry Lighting Plan

Second Floor/ Roof Lighting Plan

Spring 2010

Building Rendering with Emphasis on Lighting Areas

Building Section Cut Through Main Entry | Environmental Systems 2: Acoustics and Lighting | COURSEWORK 111

Spring 2010

112 COURSEWORK | Environmental Systems 2: Acoustics and Lighting | Assignment 4 Final Lighting Study Analysis As assignment 2 where I analysed the enry lighting of the Mary Baker Library in Boston I decided to analyze another structure by Ann Beha Architects.

ď °Ground Level Reflected Ceiling Plan

Night Perspective Displaying Lighting Design Techniques

CONCLUSIONS Final Lighting Study Analysis It is the strength of the lighiting placement that allows for this structure to transform at night. The use of materials which are displayed during the day are enriched and expressed with the usage of several different types/techniques of light. The most effective is the use of translucent glass panels which allow light to pass through and give a browning coloration due to the materials on the interior of the dance studio. This design element along with industrial light fixtures allow for cost effectiveness of the material and artifical light selection.

First Floor Entry Lighting Plan

Spring 2010

Parallel Building View

| Environmental Systems 2: Acoustics and Lighting | COURSEWORK 113

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Spring 2010

SIMONS ROCK COLLEGE OF BARD Great Barrington, Massachusetts Architect: Ann Beha Architects Guth Award of Merit, IESNA, 2005

Situated on an old working farm in the woodlands of the Berkshires, Simon’s Rock College of Bard is the nation’s only college of liberal arts and sciences designed expressly for students of high school age. To expand the College’s unique program, Ann Beha Architects designed a new 50,000 SF Performing and Visual Arts Center. The Center includes two new theatres, a main-stage and a black box theatre, as well as rehearsal, dance studio, office, classroom and other support spaces. Visual Arts facilities include painting, drawing, print-making, and sculpture studios and electronic arts studio and photo labs. The architecture responds to the site’s natural features, the agrarian setting, and the school’s ambitions for a dynamic facility for teaching and performances. Bard College Site plan and Area of Focus

Building Schematic Sketch

Main Entry (Day Photograph)

Theatre Stage Exterior Door

USE TYPE: A bar with nighttime weekend music THE DESIGN STRATEGY & SUMMARY Room acoustics: Finishes were selected due to their location and function within multiple spaces. In the double height space where a band/DJ could take place – I choose to use specular surfaces behind the patrician walls were a band could play and on the opposite side of the room diffusive surfaces can be applied so that noise does not return toward the band. In all instances there is a large penetration in one of the walls for the serving counter which will allow for the passage of music to enter and be diffused in the kitchen. Ceiling decisions were made in the back of house where patricians are taken up 8” above the acoustical ceiling tiles. In the public areas and the kitchen a continuous GWB ceiling is used to prevent the noises from the ground floor from penetrating the above spaces. Flooring finishes were used in 2 various ways such that the dance floor would be wooden with adsorptive cushioning beneath. A floating concrete floor is also used in the lightly trafficked spaces.

Sound isolation Where walls bridged the public and private spaces I choose to create acoustical zones by running the walls completely from floor to ceiling (double height, while using various methods to seal the joints and attach the ceiling panel system efficiently to prevent any noise from entering the units above. The use of a separately built walls allow for a continues, mass in which vibrations can diffuse evenly over. The construction of these walls will be metal studs to provide additional stiffness to them. In all new walls rigid insulation is applied in a standard method to allow some noises to be diffused as well as passable.

Spring Spri rriing 2010 201 0 0

Mechanical sounds While analyzing the existing structural conditions of the space along with the proposed locations of the mechanical and electrical I choose to locate my mechanical area on the same side of the music would take place. This allowed me to use a continuous double height wall with an air cavity between it and the existing wall. The flooring surfaces in the mechanical room would be on springs and an elevated slab to reduce noise by vibration. Also an additional layer of GWB will be applied to all surfaces in the new mechanical room.

Building Elevations | Environmental Systems 2: Acoustics and Lighting | COURSEWORK 115

Spring 2010

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Perspective Displaying Primary Facades

Low-Noise Floor Assembly Wood, tile, ceramic or carpet floor QuietWood QuietFoam underlayment Structural subfloor QuietWood is a multi-layer engineered panel made up of plywood and proprietary viscoelastic damping compound.

First Floor Plan

System used on the public double height ceilings because it can be closely connected to the concrete slab above.

RSIC-DC04X2 Spaced 48"x48" OC

1-5/8" 20 Ga. STEEL TRACK

Gypsum Grid

Batt Insulaiton

5/8" Gypsum Board

PAC INTERNATIONAL, INC. (866) 774-2100 WWW.PAC-INTL.COM

Spring 2010

RSIC-DC04 @ 6' OC. with washer

System used on the inside of all double height walls to allow for the drop down ceiling over service areas. | Environmental Systems 2: Acoustics and Lighting | COURSEWORK 117

Spring 2010

118 COURSEWORK | Environmental Systems 2: Acoustics and Lighting |

ď °As an extra step that could be made. An additional glass panel can be applied to areas within the public space which resonate a lot of sound. ď °The Ideal Reverberation Time for the public space is about 1.5

Long Section through Entire Structure This Section indicates the various ceiling systems.

Perspective Displaying the Dropdown Ceilings over the Back of House Spaces.

Partial Height Partician Walls For vestibule, bar, host area, and eating division wall.

Spring 2010

CAC Goal For dropdown ceilings over the restrooms, kitchen, freezer, and storage rooms. The CAC should be 50

| Environmental Systems 2: Acoustics and Lighting | COURSEWORK 119

Spring 2010

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Location of the mechanical room and acoustical performance measures

Photgraph of the vibration diffusive base slab

Section Indicating the Core Space and Various Ceiling Heights

Location of the Various Ceiling Types

•

Various ceiling types were used depending on the type of wall was perpendicular to it, as well as differential heights that relate to the program.

•

One are that was not investigated at the 3rd and 4th floors were the curtain wall connections at those floors. What types of measures could be made here?

•

Lastly, floor materials and extra layers of GWB with the existing large masonry walls provided an adaquate space for acoustical comfort.

Spring 2010

CONCLUSIONS:

| Environmental Systems 2: Acoustics and Lighting | COURSEWORK 121

SKETCHUP I / 3D MODELING & ILLUSTRATION Alex Jeffrey Siekierski

VS650 Duration: 12 Weeks Spring 2008 Instructor: Dr. Mathias P. Hirche The theme of the course is based on a student competition, The Venice Architecture Biennale is hosting the competition. There will be four assignments throughout the duration of the course (the fourth beign the competition submission). The use of other CAD or modeling software is prohibited while the plug-renderer for SketchUp is allowed to be used for the competitive participation. The primary focus of the course is to develope a moderate grasp for using Googleâ&#x20AC;&#x2122;s Sketchup 6. SketchUp is an easy-to-learn yet extraordinary tool for developing 3D models and illustrations, from the conceptual stages of simple designs to complex and sophisticated projects. The course will introduce the application and follow a project-based learning approach, focusing on 3D form creation, modification and communication.

Front View of Project Site in Context

Back View of City Scape

Urban Developement

Zoom In of Site on Edge of the Shore

Back View of the City Scape 

Front View of Project Site in Context  Zoom In of Site on Edge of the Shore

Building Implemented June 2nd 2008 The function of the building we are to develope is freely selectable and can either be for the purpose of the competition or from another project that is in progress. An explanation of the buildings function is not required, but will be developed primarily for the exterior facades of the structure only. The interior is only to be worked further if areas of the exterior have transparencies. The presentation of the building must also be presented like the urban environment from task 1, without the use of textures and mappings! The use of components such as windows, doors and other architectural elements must be displayed in the same format.

Fall 2009

The course first began with the development of an urban environment, either fictional or none. I choose to develope the massings of a fictional urban plan. Streets and buildings were developed strictly as massings, with no materiality. An area within this context has been left un-developed for the exploration of the other course assignments to take place. As this city simply held the background for further work is, Should it really as simple as possible. The urban layout uses differentiation in the size of the buildings, with lack of detail. This sheet displays at least three different perspectives of this city. The graphical images also portray some lighting and shadows, but without texture!

| Tasks 3 and 4 | ArchiCAD 2/3D Design Representation | COURSEWORK 123

124 COURSEWORK | ArchiCAD 2/3D Design Representation | Tasks 1 and 2

Applying Material Fall 2009

July 7th 2008 Moving beyond task 2, by concentrating on the building itself, the use of SketchUp can help transform the unadorned structure into a more detailed architecture entity. A further development of the building with inplementation of textures, color, materials, textures, and fenestrations are all reasonable consideration to be added for task3. The illustrations for this task are to be colorful preferably with the help of SketchUp itself, but also by means of using Photoshop or other image processing programs. A processing with traditional analog presentation methods will be warmly welcomed. The aim is to have explored SketchUp’s entire spectrum of program possibilities. The software should not be regarded as the sole production component, but as one of many tools that can work as an aid for image production.

Ariel Perspective of the Building in the Urban Environment 

Presentation Graphics July 29th 2008 For the final task two boards were expected to show both the developement of tasks 1 and 2 along with further exploration of task 3 and then in addition some abstract images supporting the building in context. This would be to display it in the overall context of the city, as well as, the building as a more detailed component of it’s environment. The basic principle of task 4 is to have the possibility of selfpresentations. Unlike the competition which is an added element of the course, task 4 is a summation of the entire courses assignments. It also provides for a special emphasis on Layout, while allowing for drafting details of building to be accepted.

Artist Collage of the Building

The Structure with Components and Textures

Front View of Project Site in Context

ARCHICAD 2/3D DESIGN REPRESENTATION Alex Jeffrey Siekierski

VS664 Duration: 14 Weeks Fall 2009 Instructors: Alex Jeffrey Siekierski This course introduces the concept of Building Information Modeling (BIM) with ArchiCAD 12 at its core. From within the BIM framework, students will learn and master the use of building components, navigate through the actively linked views of the building (plans, sections, elevations, details, perspective views, cutaway perspective views, renderings), compose a design presentation, and document a project for constructability/construction. At the start of the course students will be challenged with modeling several complete building examples. Each project will emphasize, with increasing complexity, a BIM methodology for generating competent models for design explorations and for presentation. The course will culminate with the modeling and documentation of an approved project of the studentâ&#x20AC;&#x2122;s choice.

E-01 Elevation

E-04 Elevation

S-01 Section

S-02 Section

Sketch Renderings ď ą

PLANS/SECTIONS/ELEVATIONS

One of my favorite options in ArchiCAD 12 is the multiple rendering engines that allow for numerous amounts of renderings that look as if they were created by freehand. Similiar to Sketch-Up by Google, ArchiCAD had greator potential to provide more options for artistic renderings. This can help create a dynamic mixture of media for project presentations.

Fall 2009

All of the floor plans, elevations and section work in conjunction with each other. As I create a new wall in the first floor plan it automatically appears in the elevation/section. Same situation applies when creating or editing any object in the sections or elevations. This file linking is also applicable while in the 3-D views of the program. Also, in ArchiCAD 12 there is almost an infinite amount of style and display settings. One key feature that I found to be a unique tool, is the sun and shading settings which allow for a high quality of realistic representation for solar analysis.

Exterior Porch Perspective (Copperhead)

Technicolor Rendering Option

126 COURSEWORK | ArchiCAD 2/3D Design Representation |

Sketch Rendering (Koh_I_Noor Setting)

| ArchiCAD 2/3D Design Representation | COURSEWORK 127

ArchiCAD 12 makes file linking and updating extremely simple. These details were all created in the section elevations, where I zoomed into the appropriate locations and created a call out which then formulated a detail. After creating a sheet layout I simply dragged and dropped the detail files into the sheet and the annotation was automatically updated in the plans.

CONCLUSIONS Overall Impressions with ArchiCAD 12 Overall I found this course to be very beneficial for my technical education. I find that ArchiCAD 12 is a very quick and useful tool that can allow me to represent my design in a high quality to future clients. Not to mention edits and updates are easily linked overall and become very effortless to maintain. Unlike, AutoCAD if I wall needs to be moved or changed it must be made in all files that represent that wall. Lastly, the multiple rendering options is a very helpful way to get quick photo-like realistic images that portray your design ideas!

Fall 2009

CALLOUTS/DETAILS

Alex Jeffrey Siekierski

THE BAC PRACTICE ASSESSMENT Date: July 15th, 2010 7:00pm Location: Boston Architectural Collegeâ&#x20AC;&#x2122;s Practice Department Duration: 1.5 Hours Supervisor: Rich Peake

July 15th, 2010

130 PROFESSIONALPRACTICE | The BAC Practice Assessment |

July 15th, 2010

| The BAC Practice Assessment | PROFESSIONALPRACTICE 131

July 15th, 2010 132 PROFESSIONALPRACTICE | The BAC Practice Assessment |

July 15th, 2010

| The BAC Practice Assessment | PROFESSIONALPRACTICE 133

Practice Department 320 Newbury StreetÂˇ

Boston MA 021 I5

tel 617.585.0145 â&#x20AC;˘ practice@the-bac.edu

SUPERVISOR

INFORMATION

Jeffrey M. Millett, AlA

Alex Siekierski Student Name

Your Name

Practech-Solutions Group

Owner

Company

ASSESSMENT

Job Title

QUESTIONS

Describe the roles and responsibilities assumed by the student during this past year:

As Alex's practice mentor over the past year I met with Alex nearly weekly to review his independent practice activities.

Alex was responsible for all aspects of the projects and activities he

undertook including client contact and communications,

billing, documentation,

and design.

What achievements or milestones has the student reached this year!

Alex made it though a very touch economic climate and managed to gain a wide variety of professional experiences, without being fully employed the whole time. Alex is a "go_ getter who does not seem to recoil in the face of major obstacles or lack of prior experience. fl

He made

things happen, many many things, this past year, where many of his peers sat home and sulked about the all too woeful employment environment. What challenges and areas of growth do you see for the student in this coming year!

Alex has the tenancy to take on many challenges simultaneously, successfully complete accomplish.

perhaps more than he can

Though Alex's enthusiasm and self confidence are laudable, he may

find that prioritizing goals and focusing his energies will lead to greater success.

Though Alex has the

drive to strike off on his own practice in the near future, in the long run, his career will be best served by staying close to experienced professionals that he can learn the finer points of practice from.

RATING

SCALE

S-Excellent The best or one of the best in this category 4-Good Above average but not excellent 3 - Satisfactory Average when compared to others in this category 2-Poor Lacking in some important aspects or less than satisfactory I - Unsatisfactory lack of ability, failure to use it, or any other cause

N/A - Not applicable No opportunity to observe

PERFORMANCE

SKILLS

RATING

COMMUNICATION • Speaks with clarity and confidence • Writes clearly and concisely • Makes effective presentations • Exhibits good listening and questioning skills CONCEPTUAL/ANALYTICAL • Evaluates situations effectively • Solves problems/makes decisions

ABILITY

LEARNING/THEORY & PRACTICE • Learns new material quickly • Accesses and applies specialized knowledge

PROFESSIONAL QUALITIES • Assumes responsibility/accountable for actions • Exhibits self-confidence • Possesses honesty/integrity/personal ethics • Shows initiative/self-motivated • Demonstrates a positive attitude toward change TEAMWORK • Works effectively with others • Understands and contributes to the organization's goals LEADERSHIP • Gives direction, guidance and training • Motivates others to succeed • Manages conflict effectively TECHNOLOGY • Uses technology, tools, instruments and information • Understands complex systems and their interrelationships • Understands the technology of the discipline

WORK CULTURE • Understands and works with the culture of the group • Respects diversity • Recognizes political and social implications of actions

July 15th, 2010

ORGANIZATION PLANNING • Manages projects and/or other resources effectively • Sets goals and priorities • Manages several tasks at once • Allocates time to meet deadlines EVALUATION OF WORK HABITS • Professional attitude toward work assigned • Quality of work produced • Volume of work produced • Attendance and punctuality

Our thanks to the University of Cinannati for this scale.

134 PROFESSIONALPRACTICE | The BAC Practice Assessment |

& COMMENTS

(Required)

THE BAC EXHIBITION SPACE INTERNSHIP Alex Jeffrey Siekierski

Work Study Position Duration: 20 Weeks Summer 2009 Supervisors: Janet Oberto & Jim Field The two primary tasks given to me at the start of this internship involved: Generating accurate existing conditions documents of the first and second floors of the Boston Architectural College on Newbury street in Boston. This information was based on field measurements and existing floor plans from 1965. The documentation was then translated into a 3D computer generated model. Secondly, I was appointed as the aid to Jim Field with installing and de-assembling the various temporary exhibitions that were being displayed in the public gallery at the BAC.

Exterior Photograph of the BAC at the Corner of Hereford and Newbury Street

PRELIMINARY VISUAL ANALYSIS OF THE BAC GALLERY

Floating Concrete Tile Floor Assembly

The first two levels of Boston Architectural College’s 320 Newbury building, have a large portion dedicated toward public exhibitions. This flexible program element of the building corner engages the interaction of the institute with the community and also serves as a social hub within the school while sometimes being used as event reception space.

Summer 2009 - Present

Exterior Entries into the Public Gallery 

Second Floor Balcony Level Looking into the Gallery Space 

136 PROFESSIONALPRACTICE | The BAC Exhibition Space Aid |

Front Facade of the BAC

On-site Measurement Sketches of the Existing Dimensions

Example of Archived Construction Documents that were an excellent starting point for creating existing plans. The schools documents were from 1965 and provided the visual progression of the institutions program.

TRANSITIONING TOWARD AN EXITSTING CONDITIONS SURVEY The 2009 Gallery Floor Plans and Sections  I used a mixture of different digital medias in order to create a current existing conditions survey of the exhibition spaces plans, section and elevations. The primary digital modeling tool used was Autodesk Revit Architecture 2010 where the entire space was modeled in 3d. This allowed for further editing in programs such as Adobe Photoshop CS4, and additional external rendering programs.

Ground Level Gallery Space Partial Plan

Section & Solar Penetration Study  Sections were also used to analyze the depth that natural light would enter into the gallery space. The 3d model was also used to see where fixed lighting elements would be most effective for illuminating the works on display. Hereford Street Elevation

Short Section Through the Double Height Exhibition Space

Summer 2009 - Present

| The BAC Exhibition Space Aid | PROFESSIONALPRACTICE 137

Horizontal Section Perspective Displaying the Interior of Public Space. Both renderings to the bottom left display a portion of the ground level floor plate which shows the adjacent rooms, including the buildings main entry. Exterior Rendering Partial Floors 1 - 2

Renderings were something that the BAC wanted to use for the design process of each individual exhibition. These images were also useful for gathering funding when sent out to clients. The renderings were all generated by placing the Revit model into Google Sketch-Up and rendering with Vray/Maxwell.

Summer 2009 - Present

Circulation Design The evolution of wall placement for the IDEC show began with digital sketches. I was able to aid in some preliminary schematic design that were primarily based upon the program requirements for the showing.

Digital Sketches of a Interior Wall Arrangement for a Potential Showing The beauty of the concrete tile floor system was that it became a measurement tool for arranging various wall panel options. This provided for a quick display of multiple design options.

IDEC Rendering 138 PROFESSIONALPRACTICE | The BAC Exhibition Space Aid |

Summer 2009 - Present

| The BAC Exhibition Space Aid | PROFESSIONALPRACTICE 139

Track Lighting Diagrams of Existing Fixed Canned Lighting/Direction

LIGHTING DESIGN AND PHYSICAL CONSTRUCTION Example of Adaptable Track Lighting Systems  I used a mixture of different digital medias in order to create a current existing conditions survey of the exhibition spaces plans, section and elevations. The primary digital modeling tool used was Autodesk Revit Architecture 2010 where the entire space was modeled in 3d. This allowed for further editing in programs such as Adobe Photoshop CS4, and additional external rendering programs. The Importance of Arrangement and Grouping of Graphics Grouping is ideal when displaying work publicly. It allows for a collective appearance with focused areas. This is also a way to lead the viewers eyes through the project. Arrangement is similar except you might be focused on content and color which also helps to lead the viewer’s eyes.

The Importance of Wood Type and Physical Characteristics Dependent on the type of structure/assembly needed to be built, the selection of wood chosen was determined by it’s physical properties. Pine for example, takes screws quite easily in comparison to birch and pine is also a lot softer and sound absorbent.

Arrangement Sketch of Below

Flexible Gallery Areas

Full 12’ Display Wall The Green in the renderings became a great way to arrange the boards.

Color Selection/Theme and Theory Choosing the right color can be difficult because lighting can yield different shades of that color. It is good to choose complimentary colors which won’t become darkened while under diffused light.

Callout of Cas Hall Layout 1 1/8" = 1'-0"

www.The-BAC.edu/

Newbury Street Cascieri Hall Layout 1 Project number BAC 001 Exhibition Date 08.19.2009 A101 Author Drawn by Space Checked by

Checker Scale

Callout of Cas Hall Layout 2 1/8" = 1'-0"

www.The-BAC.edu/

1/8" = 1'-0"

Newbury Street Cascieri Hall Layout 2 Project number BAC 001 Exhibition Date 08.19.2009 A102 Author Drawn by Space Checked by

Checker Scale

1/8" = 1'-0"

LIFE SAFETY CODES

Summer 2009 - Present

The three floor plans on this page were design options that I created in Revit 2010 so that the BAC could see there limitations of guests within Cascieri Hall. This was needed so that fire and egress codes were maintained within the space. The goal was to maximize the number of tables (aka occupants) for a lecture in late September. After researching through the codes, a clear opening of 42 inches had to be created between all the furniture. This was mainly between the backs of the chairs. Either way, the options shown allowed the BAC to visualize where podiums, serving table and table arrangements could take place for the function.

140 PROFESSIONALPRACTICE | The BAC Exhibition Space Aid |

Callout of Cas Hall Layout 3 1/8" = 1'-0"

www.The-BAC.edu/

Newbury Street Cascieri Hall Layout 3 Project number BAC 001 Exhibition Date 08.19.2009 A103 Author Drawn by Space Checked by

Checker Scale

1/8" = 1'-0"

DIVISION OF CAPITOL ASSET MANAGEMENT Alex Jeffrey Siekierski

Internship Duration: 16 Weeks Spring 2010 Supervisors: Michael Williams, Ellen Whittemore, Deborah Carey Internship Job Description: Assist the Programming Project Managers in the production and implementation of building and master planning studies for Public Safety and Health and Human Services, as well as several specific building studies (Schriver, UMass Boston, & ETIC). The position requires planning, programming and design sensibilities, reviewing and editing skills, and the ability to research and compile study documents. Internship Conclusions: This internship was only 20 hours a week but I indeed felt like a full-time employee. Everyone there gave me equal opportunity to participate in meeting, go on site visits and work independently on projects and with some of the design consultants. I cannot put into words the experience and exposure I got out of working for the state. It is an entirely different type of responsibility and planning/management than a regular Architectural firm. Basically I went to meeting on the side of the client which was great because I got to witness the way in which the larger firms conducted and delivered the projects.

UMASS BOSTON MASTER PLANNING

SPACE UTILIZATION EFFORTS UMass Boston was the only project I work on throughout the entire internship. I was able to work closely with Goody Clancy on the production of graphics which diagrammed the current space usage of buildings. This 20 year master plan was at such a large scale that it became difficult at first to understand some of the basic planning stages, such as figuring out what spaces the academic departments use. The ironic thing about the entire experience is that I finished the Programming course at the BAC about a month before starting the internship, and in the end it was clear to see the large differences from the class and the real world. There are so many levels of programming I just could not believe it. Long-term, short-term, master planning, programming studies, contextual studies, rural studies, etc... I had no idea. I feel a firm could survive on only conducting programming studies. The most critical thing I gained from this experience was the start of the design process at a large scale does NOT begin with the site, but rather at the programming level. The program dictates what the design MUST reflect. UMass Boston was just the tip of the iceberg. I learned a lot from site visits to the campus to physically conduct space conditions surveys and to witness how the planning would effect the campus.

The Parking Levels

Winter/Spring 2010

One of the largest issues in the master plan of UMass Boston was the demolition of certain structures and the birth of others. This became difficult because of the parking which connected all the buildings on the main campus (See above). Therefore codes and fire regulations because very questionable when determining if the building stopped at the top of the parking structure or continued to the fouindation of it.

142 PROFESSIONALPRACTICE | Division of Capitol Asset Management | Architectural Programming Internship |

Winter/Spring 2010

| Architectural Programming Internship | Division of Capitol Asset Management | PROFESSIONALPRACTICE 143

This was the first time I used Micros oft project and it was valuable because of the meeting dates in which I input, ideally ended up effecting the overall project completion date. I never would have imagined that a meeting in February of 2010 could change a date in July of 2012. The excel sheet to the right also was a way in which departmental square footages were calculated.

This yellow diagram was used in a presentation with Goody Clancy concerning space planning for UMass Boston. I created these diagrams for two buildings on the campus. Floor by floor I referenced raw usage data for the general classrooms and separated the data graphically by indicating the usage during the day versus at night. This was helpful to see where potential departments could get relocated to at certain times of the day.

FERNALD CAMPUS | EUNICE KENNEDY SCHRIVER CENTER 200 Trepelo Road, Waltham, MA 02154

The Existing Problem with the Existing Conditions This project was a very small but unique situation for the states budget. The GOAL was to figure out the best way to use 8 million dollars of the states budget to renovate this building. Above are some small examples of the wear and tear this building presently has. Because of this it is currently unoccupied. From the programming side, the state was looking at relocating its new-born screening department into Schriver after renovations took place. My ROLE in this project was to look at new-born screenings current set-up and see if the square footage of schriver could possibly accommodate them. Secondly the other milestone was to create a cost estimate including multiple renovation variations. Another opportunity I had from this project was sitting in on cost meetings with Kling Stubbins. It was very interesting how the number crunching began in these meetings. One of the things I did was gather graphical information for the types of exterior wall and roof assemblies. It was excellent exposure to these different types of systems and just how much they would cost per square foot. In the end 8 million wouldnâ&#x20AC;&#x2122;t allow for new-born to move in so with the request of an additional 4 million, it became a possibility. Shriver Building Uniformat Option Analysis - OPTION March 16, 2010 Item No. A10

A20

Winter/Spring 2010

B10

Assembly

FOUNDATIONS A1010 Standard Foundations A1020 Special Foundations A1030 Slab on Grade BASEMENT CONSTRUCTION A2020 Basement Walls SUPERSTRUCTURE B1010 Floor Construction Raised Floor B1020 Roof Construction

B20

Exterior Closure B2010 Exterior Walls

Exterior Walls

Exterior Walls Exterior Walls Exterior Walls

144 PROFESSIONALPRACTICE | Division of Capitol Asset Management | Architectural Programming Internship |

| Architectural Programming Internship | Division of Capitol Asset Management | PROFESSIONALPRACTICE 145

Thursday | February 4th 12:00 Noon “Quality of Life in Communities” Some of the questions I will discuss are: * What makes public places work?

Speaker: Dr. Jack Spengler, Harvard University http://www.green.harvard.edu/

Title: SUSTAINABILITY and CAMPUS PLANNING Four Tree Guards and Four Bicycle Racks Commissioned Artist: Richard Duca Location: Honan-Allston Library Engineer: Robert M. Rumph Associates Client: The Friends of the Honan-Allston Library, Inc.

* Why do some public places continue to resonate in the public consciousness?

* Explore reasons for arts and cultural initiatives that may have failed

Thursday March 4 LUNCH TIME SERIES 12:00 PM Main Conference Room

For previous Mini-Series Material, visit: S:\DCP\KNOWLEDGE CENTER\UMASS Presentations

With ten years experience, Harvard’s Office for Sustainability has established innovative sustainable principles, building design and operation specifications that surpass LEED, and greenhouse gas (GHG) reduction goals and strategies. To foster more permanent change, programs were developed to foster behavior change, best practice exchange and organization learning. Currently, campus actions have been motivated by GHG mitigation through energy conservation and reduced carbon content of the energy supply. However, models are predicting significant changes in the intensity and frequency of weather events for the northeastern United States, necessitating that we consider “adaptation” as we plan our future infrastructure. Adaptation to climate change now becomes an aspect of risk management for DCAM.

* Why do some public spaces experience vandalism, grafÀti, or other forms of disorder, and others don’t? What causes the demise of civic space?

* How can innovative partnerships be fostered?”

Rethinking Buildings in the Shadow of Climate Change: Mitigation and Adaptation

Christina Lanzl of the Urban Arts Institute, Mass College of Art and Design will discuss: “Quality of Life in Communities” Public places are a stage for our public lives. They are the parks where celebrations are held, where marathons end, and where cultures mix. They are the “front porches” of our public institutions – city halls, libraries, and post ofÀces – where we interact with each other and with government. When cities and neighborhoods have thriving public spaces, residents have a strong sense of community; conversely, when they are lacking, they may feel less connected to each other.

This presentation will, hopefully, lead to a discussion of opportunities for DCAM to incorporate climate change mitigation and adaptation into its project assessments.

Talk will be held in the main conference room between 12:00 pm - 1:00 pm

University of Massachusetts Mini-Series, coordinated by Ellen Whittemore and Deborah Carey OfÀce of Programming

Representatives from Tsoi-Kobus will discuss:

GRAPHIC DESIGN UMass Mini-Series Lecture Posters After showing my supervisor my Segment One portfolio, I was asked to make a flyer for one of the lectures that was up and coming (see top right). Given this was a simplistic poster everyone around the office enjoyed it. This lead to creating the entire series of lectures. Graphic Design is something I feel Architects should have a hidden eye for because it is essential when displaying any and all drawings to a client for example. So for the last year or so (ever since I submitted Segment One) I have been looking and analyzing all layout of advertisements, text placement, sizes of images and proportions. I feel this has made me a better visual presenter of information. The flyers on this page are a few examples of the flyers I did for DCAM.

“CAMPUS MASTER PLANNING AT BOWLING GREEN STATE UNIVERSITY.” Campus Map, Bowling Green State University How can creative approaches to space allocation for departments, colleges and centers of excellence be used as a strategic basis for prioritizing and budgeting scarce capital? This is a case study for an ongoing master plan for a moderate size (15,000 FTE student) public residential liberal arts college for which $500M is required to remediate the 100+ campus buildings, many of which were constructed in the 60s and 70s. Capital availability over the next

Thursday | January 28th 3:00pm Main conference room George G. Mathey, AICP Principal, Dober Lidsky Mathey

Speaker:

Title:

About Tsoi-Kobus & Associates: TK&A has earned more than 100 design awards for our architecture, planning, and interior design work on behalf of premier clients throughout the United States and around the world. We have been recognized by Architectural Record magazine as one of the country’s “Best Managed Firms,” by Engineering News-Record as one of the top 500 design firms, and by Architecture magazine as one of the Top 50 Global Giants.

seven years is a fraction of this amount and so the institution needs a clearly focused strategy to prioritize which buildings to invest in while improving the quality, distribution and quantity of classrooms and teaching labs.

The Process of Programming

George G. Mathey, a key member of Dober Lidsky Mathey since 1986, became a principal at the firm in 2002. Mathey has successfully completed more than 120 college and university planning assignments, including campus planning studies and facility planning studies. He brings a particular strength in space utilization, space needs projection, and facility programming. While much of his work has been with liberal arts institutions, he has also been involved in numerous international projects over the past decade and collaborated with the firm’s largest research university clients, gaining a broad perspective of a wide range of campus planning and space needs issues. Mathey’s recent projects include campus planning for Carroll College, Lesley University, and Cyprus International University; space utilization studies for Cornell University; existing space analysis and space needs projection for the University of Massachusetts at Lowell, the Connecticut State University system, the Ohio State University, and the University of Hong Kong; and facility programming for the Graduate School of Education at Harvard University, the College for Women at Kuwait University, the new campus of the American University in Cairo, Egypt, and the sciences at Trinity College and Marist College. He is a member of the American Planning Association, the American Institute of Certified Planners, and the Society for College and University Planning.

This presentation will allow for questions regarding George’s programming process. It will be a wonderful opportunity to learn more about how we shape a building project during the Study process!

Thursday March 18 LUNCH TIME SERIES 12:00 PM Main Conference Room University of Massachusetts Mini-Series, coordinated by Ellen Whittemore and Deborah Carey OfÀce of Programming For previous Mini-Series Material, visit: S:\DCP\KNOWLEDGE CENTER\UMASS Presentations

Winter/Spring 2010

UMASS lunchtime Series

Winter/Spring 2010

In conjunction with Luciana Burdi, I conducted three Autodesk Revit seminars. The list of objectives for each of the classes is listed above. Primarily, the benefit of doing this was great experience toward my ambitions of becoming a professor. This was the first formal class I have ever taught and besides some of the computer issues, the individuals taking the class were able to get a basic crash course. The most valuable tools needed for the state employees were to have the ability to open and maneuver around the BIM model. This now allows them to find information freely. Secondly the knowledge to gather square footages was also very helpful for cost estimates. By using the newest version of Revit 2011 I was able to display some of the conceptual building methods along with how to build and drop in components.

146 PROFESSIONALPRACTICE | Division of Capitol Asset Management | Architectural Programming Internship |

Winter/Spring 2010

| Architectural Programming Internship | Division of Capitol Asset Management | PROFESSIONALPRACTICE 147

The Retrospective of Courthouse Design, published by the National Center for State Courts, is the only publication of its kind dedicated exclusively to courthouse architecture. The publication serves both the judiciary and design community as a comprehensive reference for future development efforts. The collection chronicles the major courthouse trends of the past decade and illustrates the architectural innovations and solutions sought in Salem Trial Courthouse addressing evolving judicial work environments. Goody Clancy Associates

John Adams Courthouse CBT Architects

Fall River Trial Courthouse Finegold Alexander + Associates Inc Worcester Trial Court Project

Plymouth Trial Courthouse Perry Dean Rogers | Partners Architects

Taunton Trial Courthouse Leers Weinzapfel Associates Architects, Inc.

My duties in this submission were to gather the required documentation from the six firms listed on this page and further develop the graphics to match the requirements. This consisted of using Photoshop and Illustrator to place labels, entourage, and hatch patterns. Beyond gaining experience in drafting presentation graphics, the largest benefit of this project was the exposure and one on one time I received with individuals from all six firms. I was able to conduct my own meetings freely in order to gather the required information for the submission. Each project was different and it was up to me to make sure we have accurate images which captures the design of the building, both interior and exterior.

3/3D STUDIO Alex Jeffrey Siekierski

Contract Employee Duration: 16 Weeks Spring 2010 Supervisors: R. Gabriel Zavala & Lidia Szydlowska My role for this firm was to assist in the production of drawings from schematic through construction documents using Revit 2010. I was contracted as a drafter to work remotely with the two principals. The project was my first introduction to an interior architectural project. The tenant fit-out was very sucessful after going through a few programming iterations.

The process of my first interior fit-out began with creating furniture groups within Revit. This groups or “pods” were then used to create sectors within the floor areas. The sectors were then further arranged and developed through iterations and changes given from the client. In all cases it began with a sketch that was turned into a manipulable 3D component.

Sketch by Gaberial Zavala 

LITLE & CO. OFFICE FITOUT Cross Point Tower II, 10th FLOOR 900 CHELMSFORD STREET LOWELL, MA 01851 Litle & Co. is a leading payment management and processing platform for businesses that sell goods and services directly to consumers. Litle & Co. provides transaction processing and consultative merchant services for cardnot-present and alternative payments.

Existing Space Conditions

Site Location in Lowell, MA | Project is on the 10th Floor of the middle structure.

Summer 2010

| 3/3D Studio Contract Project | PROFESSIONALPRACTICE 149

9 6

KEYNOTES - CONSTRUCTION

7 A1 A2 A3 A4

ALIGN 10' - 10 7/8"

CLEAR

11' - 7"

CLEAR

12' - 9 7/8"

18' - 7 1/2"

4' - 0"

14' - 7 1/2"

FEC3

PLATFORM GROUP

1045

A 2

1043

A11

DIRECTOR

A12

A 1

1048

O B

A2 1044 B

CLEAR

A18

A13 A14

10' - 4 7/8"

5. SEE HVAC, PLUMBING AND ELECTRICAL DRAWINGS FOR MISCELLANEOUS ITEMS PENETRATING THROUGH OR LOCATED ON THE WALLS OR FLOOR SLABS. PROVIDE CAULKING IN ANY ACCEPTABLE INDUSTRY METHOD TO MAKE THE PENETRATION COMPATIBLE WITH THE REQUIRED FIRE RATING.

6. ALL NEW SWITCH PLATES AND RECEPTACLES TO BE THE COLOR SPECIFIED ON THE POWER AND SIGNAL PLAN.

1040 UP

STORAGE

FEC6 D1

ALIGN 5' - 0" 13' - 5 1/2"

CLEAR

C 6

54' - 9 7/8"

1037

O 16' - 10 7/8"

CLEAR

7. DO NOT SCALE DRAWINGS, WRITTEN DIMENSIONS GOVERN. ALL PARTITION LOCATIONS SHALL BE AS SHOWN ON PARTITION PLAN. IN CASE OF CONFLICT NOTIFY ARCHITECT. PARTITION PLAN BY ARCHITECT TAKES PRECEDENCE OVER ALL OTHER PLANS.

FEC5

6' - 0"

9' - 7 1/8"

CLEAR

EQ.

13' - 7 1/4"

NIC

1038 B 5

B 5

UPS ROOM

8. ALL GYPSUM BOARD PARTITIONS SHALL BE TAPED AND SANDED SMOOTH WITH NO VISIBLE JOINTS.

BUILDING MECHANICAL

CLEAR

A 4

9. ALL PARTITIONS ARE DIMENSIONED FROM FINISH FACE OF GYPSUM BOARD TO FINISH FACE OF GYPSUM BOARD UNLESS OTHERWISE NOTED.

NIC

10. ALL DIMENSIONS MARKED "CLEAR" OR "CLR" SHALL BE MAINTAINED AND SHALL ALLOW FOR THICKNESSES OF ALL WALL FINISHES, U.O.N. DIMENSIONS NOTED "CLEAR" (CLR) OR "HOLD" MUST BE ACCURATELY MAINTAINED, AND SHALL NOT VARY MORE THAN ± 1/8" WITHOUT WRITTEN INSTRUCTION FROM ARCHITECT.

ENGINEERING POD 3/4

1028

11' - 3 7/8"

A2 1032

1036

PROJECT ROOM

1033

B A 2

DIRECTOR 1029

14' - 7 1/2"

18' - 7 1/2"

11' - 0 7/8"

1023

CLEAR

PROJECT ROOM

1027 B

1026

LUNCH ROOM 1034

CLOSET

1034B

19. TRIM THE BOTTOMS OF DOORS TO CLEAR THE TOP OF FINISHED FLOOR, AS APPLICABLE, BY 1/4" INCH MAXIMUM, UNLESS OTHERWISE NOTED. VERIFY SLAB CONDITIONS. TRIM EACH DOOR TO FIT CONDITION. WHERE RADICAL VARIATIONS IN FLOOR ELEVATION EXIST, DOORS SHALL BE ORDERED WITH BOTTOM STILE SIZED TO ACCOMMODATE THESE UNDERCUT CONDITIONS.

B A 2

A 2

CLEAR

11' - 4 3/4"

FEC9

CORRIDOR

5' - 0"

C 3

SMALL CONFERENCE

1011

A 2

2' - 3 3/8"

H 1

LARGE CONFERENCE ROOM 1016

13' - 8 3/8"

VP OFFICE A

1015 192 SF

H 1

A4.2

CORRIDOR 1012

13' - 8 3/8"

A18

A19

28. REFER TO MILLWORK SHOP DRAWINGS FOR SPECIFIC DETAILS OF COORDINATION BETWEEN DRYWALL/MILLWORK CONDITIONS. 29. PROTECT EXISTING DOORS, FRAMES, AND PARTITIONS TO REMAIN DURING CONSTRUCTION. 30. ELECTRICAL PANELS, FIRE HOSE CABINETS AND RECESSED OBJECTS OVER 16 SQUARE INCHES ARE TO BE WRAPPED IN WATERPROOF FIRESTOPPING MATERIAL ENCLOSURE TO MAINTAIN THE WALL RATING. 31. ALL WALL MOUNTED FIXTURES SHALL BE MOUNTED SO AS NOT TO PROTRUDE BEYOND 4" FROM THE FACE OF THE WALL AT A HEIGHT OF 6'-8" A.F.F. U.O.N.

VP OFFICE

1010 A9 2

A4.2

A11

TOWER II A8

MEN'S SHOWERS B

E.VP OFFICE 1013 220 SF

1014

4 A4.2

GYM

H 1

15' - 8 3/8"

CONSTRUCTION DOCUMENTS

TOWER III

ALIGN

24' - 2 1/4"

CLR

A4.0

4' - 11 1/8"

2' - 3 3/4"

1006

A 1

FEC10

1017 B

27. ENSURE THE INTEGRITY OF THE FIRE RATING AT ALL PENETRATIONS OF THE RATED CORE WALLS IS NOT AFFECTED OR INTERRUPTED

DIRECTOR

EXISTING WOMEN'S ROOM

EXISTING MEN'S ROOM

1019

A 2

A 2 A12

PROJECT ROOM

5' - 0"

26. PROVIDE BLOCKING AS REQUIRED AT LOCATIONS INCLUDING BUT NOT LIMITED TO: GRAB BARS, SHELVING, OVERHEAD CABINETS, SIGNAGE, TOILET ROOMS ACCESSORIES, AND WALL MOUNTED EQUIPMENT.

CLEAR

25. CONTRACTOR TO PROVIDE SHOP DRAWINGS FOR: GLAZING, MILLWORK, DOOR/FRAMES/HARDWARE, ALUMINUM, FRAMING FOR GLAZING, CARPET SEAMING, CEILING SYSTEM ITEMS, PAINTING ITEMS, LIGHTING FIXTURES, ITEMS AS REQUIRED BY SPECIFICATIONS

1003

A4.0

1005 B A2

13' - 2 1/2"

1021 B

24. ALL DOORS SHALL HAVE 1'-6" CLR. ON STRIKE/PULL SIDE OF DOOR. VERIFY AND ADVISE ARCHITECT OF EXCEPTIONS PRIOR TO CLOSING OUT PARTITIONS.

VESTIBULE

MAIL / STORAGE

1020

1002

CLR

ENGINEERING POD 1/2

10' - 11"

10' - 0 1/8"

DIRECTOR

CLEAR

1022

H 1

D B 22' - 5 5/8"

10' - 0 1/8"

DIRECTOR

PASSAGE LOBBY

1004 5

A17

7 A4.0

A1 H 1

23. ALL MILLWORK TO BE FASTENED TO THE PARTITION. PROVIDE BLOCKING FOR ALL MILLWORK NOT SUPPORTED BY SLABS OR ABOVE 4'-0" HT. ALL CONCEALED LUMBER & BLOCKING TO BE FIRE TREATED.

ALIGN

ENTRY

A4.0

June 30, 2010

21. DIMENSIONS LOCATING DOORS ARE TO THE INSIDE EDGE OF JAMB. U.O.N.

22. "ALIGN" MEANS TO ACCURATELY LOCATE FINISHED FACES IN THE SAME PLANE.

1018

1025

1024

Date Issued:

20. ALL GLASS SHALL BE CLEAR 3/8" LAMINATED SAFETY GLASS, UNLESS OTHERWISE NOTED. GLAZING TONG MARKS SHALL NOT BE VISIBLE. CLEAN AND POLISH ALL GLASS PRIOR TO PROJECT DELIVERY.

CORRIDOR

PROJECT ROOM

SMALL CONFERENCEB

A4.0

CLEAR

14' - 0 7/8"

10' - 10 7/8"

4' - 3 3/4"

5' - 0"

A4.0

17' - 2 3/4"

F 8 6' - 6"

FEC11 14' - 7 1/2"

CLEAR

18. ALL NEW FLOOR SLAB PENETRATIONS FOR PIPING SHALL BE FULLY PACKED AND SEALED IN ACCORDANCE WITH THE APPLICABLE BUILDING AND FIRE CODES.

1001

O 4' - 0 7/8"

14' - 0 1/8"

17. REFER TO ELECTRICAL POWER & SIGNAL PLANS FOR LOCATIONS OF SWITCHES AND OUTLETS.

ELEVATOR LOBBY

3 A4.0

TYP.

Project Number: 09-001.01

15. ALL WORK SHALL BE ERECTED AND INSTALLED PLUMB, LEVEL, SQUARE AND TRUE, AND IN PROPER ALIGNMENT.

A16

5' - 6 1/8"

A 2

SMALL CONFERENCE

Cross Point Tower II, 10th FLOOR 900 CHELMSFORD STREET LOWELL, MA 01851

16. REFER TO REFLECTED CEILING PLANS FOR SOFFITS, CEILING HEIGHTS AND PLENUM BARRIER LOCATIONS.

5 A4.2 FEC8

A 2

ENGINEERING POD 2/3 24' - 8 1/4"

8' - 6 1/2"

14. ALL EXPOSED GYPSUM BOARD EDGES TO HAVE ZINC CORNER BEADS.

1 A4.0

43' - 2 7/8"

B A1

CLEAR

22' - 6 7/8"

10' - 0 1/8" 10' - 0 1/8"

1028

FEC7 O

ALIGN

1035 A

ENGINEERING POD 3/4

LITLE & CO. OFFICE FITOUT

13. NOTIFY ARCHITECT IN WRITING OF ANY DISCREPANCIES OR CONFLICTS IN THE LOCATION(S) OF NEW CONSTRUCTION. UPON COMPLETION OF PARTITION CONSTRUCTION, NOTIFY THE ARCHITECT.

IDF CLOSET

1030

12. ALL DIMENSIONS TO THE EXTERIOR WINDOW WALL ARE TO THE INSIDE FACE OF SILL, U.O.N.

A 4

DIRECTOR

H 1

A 2

FRZ REF.

H 1

11. DIMENSIONS MARKED ± MEAN A TOLERANCE NOT GREATER NOR SMALLER THAN 2 INCHES FROM INDICATED DIMENSION, U.O.N. VERIFY FIELD DIMENSIONS EXCEEDING TOLERANCE WITH THE ARCHITECT. SECURE ARCHITECT'S APPROVAL.

BREAK ROOM

SMALL CONFERENCE

3d3studio.com 781. 710. 3261

0. ALL FLOOR CORING LOCATIONS ARE NOTED ON THE POWER AND SIGNAL PLANS. COORDINATE EXACT LOCATIONS WITH FURNITURE VENDOR. 1. REFER TO SHEET A5.0 FOR INTERIOR PARTITION SCHEDULE 2. REFER TO SHEET A4.4 FOR TYPICAL INTERIOR PARTITION FRAMING DETAILS 3. REFER TO SHEET A4.3 FOR CEILING AND FRAMING DETAILS 4. REFER TO SHEET A5.1 FOR DOOR, FRAME AND HARDWARE SCHEDULES

ALIGN

PRE-ACTION

K2 K2

60"x76" PAN LIFT

IDF CLOSET/8

NIC

A 4

P.O BOX. 914 Lynnfield, MA 01940

GENERAL CONSTRUCTION NOTES

6' - 0"

D 7

ELECTRICAL

A20 A21

1039 M

1041

28' - 7 3/8"

20' - 2 1/4"

A4.1

NIC

LAB

DATA CENTER

CLEAR

EQ.

NOTE: SEE DET. 1/SHEET A4.1 FOR DATA CENTER DIMENTIONS

1042

VENT ROOM

A19

D D

CORRIDOR

CLEAR

11' - 11"

A17

20' - 2 5/8"

A4.4

A16

1049

A 2

1046

ALIGN

NIC

NSS GROUP

Sim

NIC

A15

PROJECT ROOM

CLEAR

A14

ENGINEERING POD 5/6

61' - 3 1/8"

1047

14' - 7 1/2"

9' - 7 7/8"

11' - 1 1/2"

A/V CONFERENCE

11' - 0 5/8"

FEC1

STAIRS

A13

FEC4 A 2

10' - 2 7/8"

A8 A9

A 2

A10

10' - 0 5/8"

11' - 3 7/8"

PROJECT ROOM

FEC2

1050

17' - 2 1/4" CLEAR

PROJECT ROOM

PROVIDE AND INSTALL PORCELAIN STEEL WHITE BOARD (48”H x 48”W) WITH OAK PENCIL TRAY AND OAK TRIM MOUNTED AT 36” AFF. LOCATIONS: OFFICES, LARGE CONFERENCE ROOM. PROVIDE AND INSTALL PORCELAIN STEEL WHITE BOARD (48”H x FULL WALL LENGTH) WITH ALUMINUM PENCIL TRAY AND ALUMINUM TRIM MOUNTED AT 36” AFF. LOCATIONS: PROJECT ROOMS, SMALL CONFERENCE ROOMS. PROVIDE AND INSTALL A FULLY CEILING RECESSED MOTORIZED PROJECTION SCREEN. DA-LITE: TENSIONED ADVANTAGE DELUXE ELECTROL, 69”H x 92”W, HIGH CONTRAST DA-MAT SCREEN. PROVIDE AND INSTALL FULLY CEILING RECESSED, MOTORIZED ROOM DARKENING SHADES: MECHOSHADES BLACKOUT SERIES 0700, COLOR: 0711 DARK GREY. PROVIDE AND INSTALL SURFACE MOUNTED, NON-MOTORIZED, WINDOW DARKENING SHADES: MECHOSHADES BLACKOUT SERIES 0700, COLOR: 0711 DARK GREY. PROVIDE AND INSTALL NEW PLASTIC LAMINATE ON SUBSTRATE, TYPICAL FOR ALL WINDOW SILLS. SEE FINISH ALLOCATION PLAN FOR LAMINATE SELECTION. PROVIDE AND INSTALL NEW, 1-PIECE FIBERGLASS ADA TRANSFER SHOWER STALLS. ACCESSIBILITY PRO: MODEL APES3698BF625, INCLUDING OPTIONAL ACCESSORIES; WEIGHTED SHOWER CURTAIN, HANDHELD SHOWER KIT AND PRESSURE BALANCED VALVE. ALSO PROVIDE 1 WALL-MOUNTED FLIP BENCH & 2 CLOTHING HOOKS PER STALL. PROVIDE AND INSTALL NEW, FLOOR MOUNTED, STEEL TOILET PARTITIONS, DOORS AND HARDWARE. PROVIDE AND INSTALL 48” HIGH POLISHED MIRRORS WITH STAINLESS STEEL EDGE FRAMES FOR ENTIRE LENGTH OF WALL. MOUNT AT 36” A.F.F. PROVIDE AND INSTALL (2) 18” DEEP X ¾” THICK, FIXED SHELVES, PLASTIC LAMINATE ON PLYWOOD. MOUNT AT 66” A.F.F. AND 78” A.F.F. PROVIDE AND INSTALL 24” HIGH X ¾” THICK F.TREATED PLYWOOD BLOCKING INSIDE PARTITION TO ACCEPT FLAT TV WALL BRACKET. COORDINATE BLOCKING LOCATION WITH ARCHITECT’S POWER & SIGNAL PLAN. PROVIDE AND INSTALL FIRE EXTINGUISHERS AND FULLY RECESSED CABINETS WHERE INDICATED. SEE LIFE SAFETY PLAN FOR MFR. AND MODEL NUMBERS. CONTRACTOR MAY PROVIDE DOCUMENTATION FOR OTHER MANUFACTURERS AS EQUALS. PROVIDE AND INSTALL (1) PAN LIFT WITH A LIFT CAPACITY OF 2,000LBS AND A MINIMUM PLATFORM OF 52” X 64” MFR: AMERICAN CUSTOM LIFTS; MODEL: 48XLR2052. PROVIDE AND INSTALL RAISED ACCESS COMPUTER FLOORING SYSTEM, STAIRS AND RAILINGS. SEE FINISH ALLOCATION PLAN FOR MFR. AND MODEL. PROVIDE AND INSTALL 12”W x 12”D x 72”H DOUBLE-TIER METAL LOCKERS WITH FULL LENGTH HINGES, 14GA DOORS, STAINLESS STEEL RECESSED HANDLES, 4” TALL BOX BASES, BUILT IN KEY LOCKS AND A POWDER COAT FINISH AS MANUFACTURED BY ASI STORAGE SOLUTIONS INC., HADRIAN PRODUCTS, OR EQUAL. POWDER COAT FINISH SHALL BE SELECTED FROM STANDARD AVAILABLE COLORS. SEE PLAN FOR QUANTITY. PROVIDE AND INSTALL (1) STAINLESS STEEL ICE MAKER WITH INTEGRATED DRAIN, MODEL FIM35 AS MANUFACTURED BY FRANKLIN CHEF, OR EQUAL. THE CONNECTION TO DRAIN PROVIDED BY THE PLUMBER. PROVIDE AND INSTALL (1) NEW LITLE SIGNAGE USING THE SAME STAINLESS STEEL BACKPLATE AND PRINTED LOGO, STYLE, SIZE, AND COLOR AS THE EXISTING SIGN IN TOWER I RECEPTION. PROVIDE BACKING INSIDE STUDS AS REQUIRED, PRIOR TO INSTALLING GWB. REPLACE ALL EXISTING TOILET ROOM ACCESSORIES WITH NEW TOUCH-FREE ACCESSORIES INCLUDING: SOAP DISPENSERS AT EACH SINK, PAPER TOWEL DISPENSERS, HAND DRYERS, & TOILET-PAPER DISPENSERS. COORDINATE WITH BUILDING MANAGER FOR APPROVED MODELS. REPLACE ALL EXISTING TOILET ROOM PLUMBING CONTROLS WITH NEW TOUCH-FREE CONTROLS INCLUDING: LAVATORY CONTROLS AT EACH SINK, URINAL AND WATER CLOSET CONTROLS AT EACH UNIT. COORDINATE WITH BUILDING MANAGER FOR APPROVED MODELS. PROVIDE AND INSTALL 36”x48” HIGH POLISHED MIRRORS WITH STAINLESS STEEL EDGE FRAMES. MOUNT AT 42” A.F.F. PROVIDE AND INSTALL CHROME, STRAIGHT SHOWER CURTAIN ROD, WHITE X- LONG POLYESTER SHOWER CURTAIN, AND POWER GLIDE CURTAIN RINGS AT EACH SHOWER STALL (QTY. 4). MFR.: TARGET STORES.

A 9

1007

A15 B

CLOSET

1009A

UP UP

CONSTRUCTION PLAN

TYP.

A10

CORRIDOR

1009B B E 10

A 9

TOWER I

WOMEN'S SHOWERS 1008

LIMIT OF WORK A6

LIMIT OF WORK

A1.0

6/29/2010 11:29:32 PM

TYP. FOR ALL PERIMETER WINDOWS ALL 4 SIDES OF TENANT SPACE

1 A1.0

TOWER II FLOOR 10 CONSTRUCTION PLAN 1/8" = 1'-0"

16'

32'

Summer 2010

10th Floor Construction Plan

150 PROFESSIONALPRACTICE | 3/3D Studio Contract Project |

The sketch to the left consists of the proframming count in which we had to account for. It was a basic space plan sketch in which I always translated into Revit. Above is the construction plan for this 40,000SF fit-out. The location of the space is located between two buildings (see keyplan above).

Schematic Layout Sketch

P.O BOX. 914 Lynnfield, MA 01940 3d3studio.com 781. 710. 3261

11 A4.1

10 A4.1

DRYWALL PARTICIAN CONDITION AT SLAB LINE N.T.S.

A4.1

PERIMETER SEAL AT SMOOTH WALL OR COLUMN N.T.S.

A4.1

ENCLOSED COLUMN SEAM AT SLAB LINE N.T.S

PIPE PENETRATION THROUGH ACCESS FLOOR N.T.S.

A4.1

MOUNTING EQUIPMENT TO SUBFLOOR N.T.S.

COMMON HANDRAIL / GUARDRAIL APPLICATIONS N.T.S.

A4.1

EQ. 14

20' - 2 1/4"

Sim

EQ.

A4.4

9'-6" A.F.F ACT SYSTEM

Sim

2 9 A4.1

ACCESS FLOOR SEAL AT FASCIA / EXPOSED EDGE N.T.S.

A4.1

STEP ASSEMBLY CONSTRUCTION (POSILOCK SYSTEM) N.T.S.

3/8"

4' - 0"

3/8"

4' - 0"

0'-0" A.F.F FLOOR

3/8"

4' - 0"

June 30, 2010

A4.1

TYP.

DATA CENTER KEYNOTES LAB 4' - 0"

1' - 0 7/8" 2' - 0"

4' - 0"

CLEAR FLOORING CONTRACTOR SHALL SEAL CONCRETE (CLEAR EPOXY SEALER) SLAB AT DATA CENTER & LAB BEFORE INSTALLING RAISED FLOORING.

A4.1

60"W x 76"D (BASE) PAN LIFT (52" x 64" PLATFORM) 11

2' - 1 1/8" 4' - 0"

PROVIDE AND INSTALL STAIRS WHERE INDICATED IN EQUAL HEIGHTS.

PROVIDE AND INSTALL ALUMINUM FINISH FASCIA PLATES WHERE REQUIRED.

PROVIDE AND INSTALL 1 ¼” DIAMETER BRUSHED ALUMINUM HANDRAILS AND GUARDRAILS. INCLUDE ONE SECTION OF REMOVABLE RAILING AT PAN LIFT LOCATION.

1' - 11 3/8"

A4.1

MECHANICAL COORDINATION ITEMS 5. PROVIDE AND INSTALL ALUMINUM GRATE AIR TILES WITH INTEGRATED DAMPERS IN A BARE ALUMINUM FINISH. REFER TO MECHANICAL DRAWINGS FOR QUANTITY REQUIRED FOR PHASE 1 INSTALLATION AND ADDITIONAL QUANTITY FOR SUBSEQUENT USE BY TENANT.

UPS ROOM 1040 B 5

12' - 4 5/8"

4' - 5 1/4"

B 5

INSTALL TRANSITION STRIP AT EDGE OF VCT FLOORING.

6. PROVIDE AND INSTALL CC1250 PANELS TO INFILL FLOOR SYSTEM AT LOCATIONS OF THREE FUTURE CRAC UNITS. REFER TO MECHANICAL DRAWINGS FOR EXACT LOCATIONS AND UNIT DIMENSIONS. 7. PROVIDE AND INSTALL KOLDLOK 1010 FLOOR GROMMETS . REFER TO MECHANICAL DRAWINGS FOR QUANTITY REQUIRED FOR PHASE 1 INSTALLATION.

12' - 1 7/8"

3' - 7 5/8"

4' - 9" K2

8. PROVIDE 4 DOUBLE SUCTION CUP LIFTERS AND WALL BRACKETS. COORDINATE LOCATIONS WITH TENANT.

5 A4.1

C 6 INSTALL TRANSITION STRIP AT CHANGE IN FLOORING. SD TILE AT LANDING ONLY.

6/29/2010 4:21:54 PM

A 4

A4.1

FINISH: 1/16” THICK HIGH PRESSURE LAMINATE WITH INTEGRAL EDGE COLOR: NEVAMAR / GREY MATRIX MR 6001 FT INSTALL TRANSITION STRIP AT CHANGE IN FLOORING. VCT AT LANDING ONLY.

4' - 8 3/4"

A4.1

CLEAR

PROVIDE & INSTALL 5'-6" L SECTION OF REMOVABLE RAILING AT PAN LIFT.

TATE ACCESS FLOORS

MODEL: CONCORE 1250

D 7

1041

RAISED FLOORING SYSTEM GENERAL NOTES: 1. THE CONTRACTOR SHALL PROVIDE AND INSTALL A 20” HIGH RAISED, ELECTRICALLY GROUNDED, BOLTED STRINGER FLOORING SYSTEM THAT IS EQUAL TO:

8' - 8 7/8"

MFR.:

DATA CENTER

CONCORE / ALL STEEL STRINGER SYSTEM N.T.S.

1039

CLEAR

DATA CENTER & LAB TO RECEIVE 20” RAISED ACCESS FLOORING SYSTEM AS SCHEDULED. INCLUDE 50 TILES THAT ARE MODIFED WITH FACTORY INSTALLED KOLDLOCK GROMMETS. SEE 4/A4.1 FOR TYPICAL DETAILS.

Project Number: 09-001.01

Date Issued:

ELEVATION AT DATA CENTER GLAZING 3/8" = 1'-0"

A4.1

7' - 0"

VINYL BASE AS SCHEDULED

4' - 0"

Cross Point Tower II, 10th FLOOR 900 CHELMSFORD STREET LOWELL, MA 01851

1/2 CLEAR LAMINATED SAFETY GLASS, CHROME "U" GLAZING CHANNELS TOP AND BOTTOM. G.C. TO INSTALL 3M SECURITY FILM ON INTERIOR FACE OF ALL GLASS SURFACES AT THIS LOCATION ONLY.

2' - 0"

SILICONE SEALANT BUTT JOINTS (TYP.)

GWB OPENING

7' - 0"

A4.4

LITLE & CO. OFFICE FITOUT

CONSTRUCTION DOCUMENTS

INTERIOR ELEVATIONS AND ENLARGED PLANS AND DETAILS

NEW INFILL FROM COLUMN TO WALL.

A4.1

ENLARGED PLAN - DATA CENTER/LAB/UPS 1/4" = 1'-0"

Working remotely with another individual in Revit. We both utilized our strong areas and completed the Construction Set in rather good time. The sheets on this page are examples of details and callouts that I created.

1/2" GWB, PAINTED

CONC. SLAB

LIGHT GAUGE VERTICAL BRACING

(E2) 13/64" DIA. 1-7/8" MIN. EMBEDMENT DRIVE ON EACH DECK FLUTE

BOTTOM OF STRUCTURAL SLAB OR ROOF DECK- CONFIRM CONDITION IN FIELD

1 1/2" SUSPENDED DRYWALL GRID SYSTEM (ARMSTRONG)

SOLID WOOD BLOCKING MTL. CORNER BEAD (TYP.) TOP TRACK - ATTACH TO STRUCTURE ABOVE W/ POWER ACTIVATED FASTENER 1/8" DIA. 3/4" MIN. PEN @2'-0" O.C.

1 1/2"H X 1"W CHROME GLAZING CHANNEL AND GASKET GLASS AS SCHEDULED

1' - 0"

COVE LIGHT FIXTURE

MTL. STUDS AT 16" O.C. SIZE AS SCHEDULED

CONTINUOUS AXIOM KNIFE EDGE PERIMETER TRIM (WHITE) BY ARMSTRONG WITH FACTORY WELDED CORNERS

P.O BOX. 914 Lynnfield, MA 01940 3d3studio.com 781. 710. 3261

3"x4"X10 GA. STL. ANGLE TO SPAN 3 FLUTES MIN. WHERE BRACE RUNS PREP. OR OBLIQUE TO RIBS OF SLAB

(3) #8 TEK SCREWS (TYP. EACH ENDS)

DRYWALL BOTTOM TRIM AND CONNECTOR CLIPS BY ARMSTRONG

1' - 6" 2' - 0"

1/2" GWB, PAINTED

DETAIL AT GLASS WALLS 3" = 1'-0"

TYPICAL CEILING BRACING 3" = 1'-0"

A4.3

DETAIL AT KNIFE EDGE 3" = 1'-0"

PROVIDE REQUIRED WOOD BLOCKING

LIGHT GAUGE MTL. BRACING AS REQUIRED

EXISTING PERIMETER WALL

MIN.

WD. BLOCKING

MFR.'S RECOMM.

11 A4.3

SHADE POCKET PARTITION AS SCHEDULED

MIN. 5"

GWB ON SUSPENDED GRID SYSTEM

1' - 8"

PULL DOWN BLACK-OUT SHADE, ONE-PIECE SEAMLESS FROM 96" WIDE FABRIC, OVERLAP BOTH SIDES OF DRYWALL OPENING BY +/-2".

1/2" THICK GWB

V.I.F.

MFR.'S RECOMM. 3 5/8" MTL. STUDS @ 16" O.C.

1/4" DIA. MACHINE BOLTS @ WOOD BOX MOUNTING HOLES RECESSED PROJECTION SCREEN, MOTOR AND SWITCH

9'-6"

9'-6" AFF GWB

LITLE & CO. OFFICE FITOUT

FABRIC WRAPPED BOTTOM BAR

MTL. CORNER BEAD (TYP.)

TOP OF SILL ACCESS DOOR W/ CONCEALED HINGES & CATCHES (TYP.)

Cross Point Tower II, 10th FLOOR 900 CHELMSFORD STREET LOWELL, MA 01851

FINISH CEILING AS SCHEDULED SURFACE DOOR

10 A4.3

GWB CEILING 3" = 1'-0"

DETAIL AT RECESSED PROJECTION SCREEN 3" = 1'-0"

A4.3

SECTION THROUGH PULL DOWN SHADE AT EXTERIOR WINDOWS 3" = 1'-0"

Project Number: 09-001.01

DECK ABOVE MAX. 4' - 0" O.C. ACOUSTIC SEALANT (BOTH SIDES)

5/8" GWB UNDERSIDE OF SLAB / DECK 3 5/8" MTL. STUDS @ 16" O.C.

PARTITION - REFER TO PLAN

1/2" THICK GWB

1/4" PLYWOOD NAILER @ SHADE BOX

METAL CLIP ANGLE SECURE TO STRUCTURE ABOVE TYP. GALV. METAL HANGER WIRE

Date Issued:

June 30, 2010

MOTORIZED ROOM DARKENING SHADE SYSTEM. SEE FINISH ALLOCATION PLAN FOR PATTERN, STYLE & COLOR

9'-6" AFF

C.H. AS PER RCP

8'-6" AFF ACT SYSTEM AFF

1 1/2" SUSPENDED DRYWALL GRID SYSTEM (ARMSTRONG)

ACT. AS SCHEDULED

TAPE & SPACKLE INTERIOR 90 DEGREE CORNERS

GLAZING METAL CORNER BEADS TYP.

9 A4.3

GWB FURR-DOWN DETAIL 3" = 1'-0"

DETAIL AT MECHOSHADE - RECESSED IN ACT 3" = 1'-0"

A4.3

SUPPLY DIFFUSER OR RETURN GRILLE

A4.3

1/2" GYPSUM BOARD

TYPICAL DETAIL AT GWB HUNG CEILING 3" = 1'-0"

SPRINKLER HEADS TO ALIGN WITH EACH OTHER IN BOTH NORTH/SOUTH AND EAST/WEST DIRECTIONS WHERE THEY OCCUR IN A SINGLE SPACE. SIMILARLY FOR OTHER CEILING DEVICES.

HEAT OR SMOKE DETECTOR

CEILING GRID

ACOUSTICAL CEILING PANEL 2 1/2" MTL. STUDS TO DECK

SPRINKLER HEAD

CONSTRUCTION DOCUMENTS

EXISTING CLG SEE CEILING PLAN

1/2" GWB

EXIT SIGN

1 1/2" SUSPENDED DRYWALL GRID

COORDINATE FRAMING WITH PLACEMENT OF NEW LIGHT FIXTURE LOCATIONS

RECESSED LIGHT FIXTURE EQ

1/2" GWB PAINTED AND SEALED

2 1/2", 25 GAUGE METAL CONTINUOUS STUD TRACK

6/29/2010 4:22:07 PM

SPEAKER

8 A4.3

TYP. CEILING DEVICE LAYOUT 3/4" = 1'-0"

CEILING DETAILS

F. CLG SOFFIT SEE CEILING PLAN

USG ZINC CORNER BEAD

4 A4.3

A4.3

Summer 2010

| 3/3D Studio Contract Project | PROFESSIONALPRACTICE 151

Summer 2010

ď °10th Floor Axonometric View

In conclusion my first interior fit-out was a little challenging both technically and through communication difficulties. Working remorely was a very difficult thing to overcome and feel comfortble doing while there are strict deadlines. Because this was my first interiors project, it was very eye opening in terms of the process and technical detail of the space. The data center was something I did not design but annotated. It was great experience overall to work within a team and complete the agreed upon goals. The technical knowledge gain from using Revit 2010 was also great for my marketability in the profession. ď ´View of workstation Platform

152 PROFESSIONALPRACTICE | 3/3D Studio Contract Project |

NELSON BLACK COW Alex Jeffrey Siekierski

112 Beach Street Unit A, Boston, MA 02111 Tel: 617-778-7229 Starting Date: 06/14/2010 Position Title: Designer Supervisors: Bradley Black, Stacy Chambers

Job Description Summary: Participate, as a member of the project team, in all aspects of preparing complete and comprehensive architectural construction drawings and specifications and coordinate the documents with project consultants and contractors Essential Duties and Responsibilities: Participate with the Project Manager and/or Senior Designer, to understand and support project goals and objectives including but not limited to work plan, schedule and budget parameters. Research products and systems that accomplish the design intent. Assist in the preparation of conceptual design sketches that illustrate the architectural treatment of the project,develop concept statements and develop concept and presentation. During the construction phase assist in the preparation of document revisions such as addenda, bulletins and clarification sketches.

NELSON Founded in 1977, 400 Teammates in 36 locations, International locations. Under the direction of the Principal of Design, the NELSON Design Consortium is comprised of superior design leaders from architecture and interior, lighting and graphic design and strategies. The Consortium communicates on a regular basis to: Foster creative excellence, encourage sound business judgment and formalize NELSON’s aesthetic vision Create a platform for collaboration and knowledge sharing Identify emerging trends Provide staff mentoring and growth opportunities Continually refine NELSON’s quality

June 2010 - Present

BLACK COW ARCHITECTS Specializing in Corporate, Commercial, Retail and Industrial projects, Black Cow Architects, Inc. was established by Brad Black in 1999. Our mission is to provide full-service, cutting-edge design and the highest level of personal attention to our clients. Contact our dynamic and fun loving team!

154 PROFESSIONALPRACTICE | Nelson Back Cow

Nelson Back Cow | PROFESSIONALPRACTICE 155

BN 32

ZZ.1

DN 34 V U BN.1A

S 9

S.0 16 R 8

ZZ.A

EN 35

1.A

19.A

FN 10 36 40

CONFERENCE ROOM D 52 CONFERENCE ROOM B 51 PP

OFFICE 109

OFFICE 110

OFFICE 111

OFFICE 45

OFFICE 46

OFFICE 47

OFFICE 48

OFFICE 49

OFFICE 50

OFFICE 42

OFFICE 43

OFFICE 44

OFFICE 38

OFFICE 39

OFFICE 40

OFFICE 41

5' - 0"

PP PP

3/3 2"

5' -

4' - 3 3/8" 4' - 3 3/8"

OFFICE 74 -7

1/2 "

OFFICE 27

OFFICE 26

10'

OFFICE 35

OFFICE 34

29/32 "

12'

OFFICE 71

ACTIVE COLLABORATION ROOM 98 659 SF

-0

OFFICE 55

19' - 0"

OFFICE 73

26 4

4' - 3 3/32"

16' - 9 1/4"

4' - 3 5/32"

OFFICE 54

19' - 0"

IDF 81

27/32 "

STORAGE 80 OFFICE 70

HOTELING 104

QUIET 108

- 0"

PP 27/32 "

14'

9' - 11 3/4"

15'

-4

OFFICE 69 -

27/32 "

6' - 9"

4' - 0" 2' - 8 3/4"

2' - 8 3/4"

QUIET ROOM 102 OFFICE 68

9' -

- 0"

15'

-4

OFFICE 100 10' - 0"

10' - 0"

OFFICE 31

OFFICE 32

STORAGE 33 OFFICE 21

OFFICE 6

OFFICE 25

QUIET 107

10' - 0"

OFFICE 37

9' - 11 3/4"

QUIET ROOM 101

OFFICE 99

10' - 1 7/8"

10' - 0"

9' - 9 3/4"

OFFICE 22

OFFICE 23

OFFICE 24

OFFICE 30

OFFICE 29

STORAGE 28

8' -

HOTELING 103

- 0"

OFFICE 36

5 11 /16 "

-4 15'

10'

MAIL

STORAGE 65

OFFICE 58

PP PP

11/32

14'

Room 78

10'

- 0"

Room 77

15'

-3

15/16 "

OFFICE 61

OFFICE 67

PP PP PP PP PP

OFFICE 66 10'

- 0"

OFFICE 83

STORAGE 105

OFFICE 7

STORAGE 92

OFFICE 16

OFFICE 15

OFFICE 14

OFFICE 13

OFFICE 18

OFFICE 17

OFFICE 20

OFFICE 19

CONFERENCE ROOM A1 53

OFFICE 84

MA IL

OFFICE 64

OFFICE 12

OFFICE 11

OFFICE 10

OFFICE 9

OFFICE 8

CONFERENCE ROOM A1 106

ES.9 38

OFFICE 85

OFFICE 86 HS.1 12 43

OFFICE 87

OFFICE 88

OFFICE 89

6/26/2010 8:20:37 PM

CONFERENCE ROOM A1 90

Third Floor Plan Interior Fit-Up

BIOGEN GLOBAL HEADQUARTERS, WESTON, MA This was my first project with Nelson Black Cow. My responsibilities are to take the project from programming into construction document’s. First by taking the already existing core and shell, I imported it into Revit and began drafting out the schematic programming sketches. The current plans I am working on consist of the construction plan, reflected ceiling plan, life safety and power & communications plans. BN 32

CN 33

ZZ.1

DN 34 V U BN.1A

S.0 16

S 9

R 8

ZZ.A

EN 35

1.A

19.A

FN 10 36 40

PP PP

5 1/2" 9' - 7 1/2" 9' - 9 13/16" 0' -

16"

1' - 6"

5' - 4 13/

4' -

3' -

2' - 1"

5' -

9' - 11 27/32"

26 4

Room 97 999 SF

PP 7' - 7 1/4"

7' - 7 1/4"

PP PP PP PP PP

MA IL

ES.9 38

PP PP

HS.1 12 43

6/26/2010 8:21:10 PM

Fourth Floor Plan Interior

PP PP PP PP PP

June 2010 - Present

CN 33

In Revit 2010 this is the result of drafting using BIM software

June 2010 - Present

Example, of what I usually have to interpret and input into Revit Programming Sketch by David Stone

156 PROFESSIONALPRACTICE | Nelson Back Cow

The use of 3D graphics was an excellent design tool which helped us (the Designer) and the client come to a fast cohesive agreement on the program needed within the space.

Nelson Back Cow | PROFESSIONALPRACTICE 157 CONSTRUCTION LEGEND PARTITION NUMBER NOT IN CONTRACT (NIC) EXISTING WALL TO REMAIN NEW WALL

Room Name 101

ROOM TAG

PARTITION TAG

101

DOOR TAG

a licensed affliate

ROOM TAG

112 Beach Street Boston, MA. 02111

Nelco Architecture and Engineering, P.C.

DOOR NUMBER

ROOM NAME

Room name Room name 101

ROOM NUMBER ELEVATION TAG

1 A101

NEW CONSTRUCTION

VIEW REFERENCE

1 / A101

CENTERLINE

NEW CONSTRUCTION PARTIAL HEIGHT WALL

101

DOOR TAG

EXISTING TO REMAIN

WALL TAG

EXISTING DOOR TO REMAIN

BASE BUILDING COMMON AREAS NOT IN CONTRACT

NEW DOOR

Seal: FIRE EXTINGUISHER CABINET

FEC

NEW DOOR

1 DRAWING NUMBER DRAWING SHEET

S S

U U

V V

KEY NOTE

3 4

S.0 S.0

DRAWING NUMBER DRAWING SHEET CALLOUT AREA

ZZ.1

Seal:

ARCHITECT NELSON ARCHITECTURE AND ENGINEERING, PC 112 BEACH STREET BOSTON, MA. 02111 TEL: 617-778-7229 ENGINEERS

Ax-x

ELEVATION TAG

W W

627-778-7229 617-687-7666

EXISTING TO BE REMOVED

KEYNOTE TAG

R R

June 2010 - Present

SECTION TAG

1 A101

SIM

VANDERWEIL ENGINEERS 274 SUMMER ST. BOSTON, MA 02210 TEL: 617-423-7423

DETAIL DESIGNATION

INFRASTRUCTURE DESIGN, INC. 3 SQUIBNOCKET ROAD P.O. Box 14 FRANKLIN, MA 02038 TEL: 617-872-6765

ZZ.A

OWNER 19.A CONSTRUCTION KEYNOTES NO. DESCRIPTION

FN.8 GN 20

1.2

BOSTON PROPERTIES 800 BOYLSTON STREET SUITE 1900 BOSTON, MA 02199

21.4

CONSTRUCTION NOTES 36

ALL PARTITIONS ARE TYPE "3A" UNLESS NOTED OTHERWISE. PARTITION TYPE STANDARDS

22.3

TYPE 2 ON OFFICE FRONTS TYPE 3A ON SHARED WALL WITH ADJACENT ROOMS

LARGE CONFERENCE ROOMS

TYPE 3A ON ALL WALLS

CONFERENCE CENTER PERIMETER

TYPE 8 ALL WALLS (2 HOUR FIRE RATED)

LAW LIBRARY

TYPE 8 ALL WALLS (2 HOUR FIRE RATED)

Consultant:

COPY AREAS & HUBS

TYPE 2 ALL WALLS

IDF

TYPE 3 ALL WALLS

17E

DATA CENTER

TYPE 4A ALL WALLS

REFER TO PARTITION TYPES IN PLAN FOR FIRE RATING LABLE IN DOOR SCHEDULE. 20 MIN REQUIRED AT TYPE 4 & 4A, 90 MIN. REQUIRED AT TYPE 8 & 8A

ALL DIMENSIONS SHOWN ARE CLEAR DIMENSIONS FROM FINISHED FACE OF PARTITION TO FINISHED FACE OF PARTITION UNLESS NOTED OTHERWISE. MAINTAIN CLEAR DIMENSION TO TOLERANCE OF 1/8". NOTIFY THE ARCHITECT OF VARIANCE FROM THE DIMENSIONS SHOWN ON THE CONSTRUCTION PLAN. DO NOT SCALE DRAWINGS; WRITTEN DIMENSIONS GOVERN.

GENERAL CONTRACTOR TO COORDINATE WALK-THROUGH W/ ARCHITECT ONCE WALLS CHALKED FOR LOCATION APPROVAL PRIOR TO LAYING ANY STUDS.

Key Plan:

GLOBAL HEADQUARTERS | BUILDING 17 | FLOORS 3&4 133 BOSTON POST ROAD WESTON, MA

23.6

C:\Documents and Settings\asiekierski\My Documents\10.00314.00_Biogen_3rd & 4th Bldg 17_asiekierski.rvt

TYPE 2 ON OFFICE FRONTS W/ DOORS & SIDELIGHT TYPE 3A ON SHARED WALL WITH ADJACENT ROOMS

SMALL CONFERENCE ROOMS

STORAGE ROOMS TYPE 4 ALL WALLS (1 HOUR FIRE RATED)

22.3

PRIVATE OFFICES

181

180

179

23.8

23.9

ALL EXPOSED GYPSUM BOARD EDGES TO HAVE METAL EDGE BEAD.

ALL WORK SHALL BE ERECTED AND INSTALLED PLUMB, LEVEL, SQUARE AND TRUE AND IN PROPER ALIGNMENT. "ALIGN" INDICATES SURFACE FACES TO ALIGN.

ALL DOORS SHALL HAVE 1'-6" CLR. ON STRIKE/PULL SIDE OF DOOR. VERIFY AND REPORT TO ARCHITECT OF EXCEPTIONS PRIOR TO CLOSING OUT PARTITIONS. LOCATE DOORS W/ 6" CLEAR @ HINGE SIDE TO ADJACENT WALL.

TRIM THE BOTTOMS OF DOORS TO CLEAR THE TOP OF FINISHED FLOOR, AS APPLICABLE, BY 1/4" MAXIMUM, UNLESS OTHERWISE NOTED. VERIFY SLAB CONDITIONS, TRIM EACH DOOR TO FIT CONDITION, WHERE RADICAL VARIATIONS IN FLOOR ELEVATION EXIST, DOORS SHALL BE ORDERED WITH BOTTOM STILE SIZED TO ACCOMMODATE THESE UNDERCUT CONDITIONS.

PROVIDE BLOCKING FOR ALL MILLWORK NOT SUPPORTED BY SLABS OR ABOVE 4'-0" HT. ALL CONCEALED LUMBER AND BLOCKING TO BE FIRE TREATED.

10.

ALL FLOOR SLAB PENETRATIONS FOR PIPING SHALL BE FULLY PACKED AND SEALED IN ACCORDANCE WITH THE APPLICABLE BUILDING AND FIRE CODES. "ALIGN" MEANS TO ACCURATELY LOCATE FINISHED FACES IN THE SAME PLANE.

12.

FIRE EXTINGUISHERS SHALL MEET ALL APPLICABLE CODES. IF ADDITIONAL UNITS ARE REQUIRED PLEASE CONTACT ARCHITECT TO VERIFY EXACT LOCATIONS.

Client:

Description:

No:

By:

Date:

BIOGEN IDEC

Enter address here Project Title & Address:

CONSTRUCTION PLAN 17 E

Sheet Title: Proj. No.: 10.00314.00

7/13/2010 5:02:22 PM

1 A1-3E

THIRD FLOOR BUILDING 17 EAST CONSTRUCTION PLAN

Third Floor Plan East Construction Plan

1/8" = 1'-0"

Drawn By:

A1-3E

AJS

Checked By: Checker

P.M.:

ALL DIMENSIONS AND CONDITIONS MUST BE CHECKED AND VERIFIED ON SITE BY THE CONTRACTOR AND SUB-CONTRACTORS. THE PROJECT MANAGER SHALL BE NOTIFIED IN WRITING OF ANY DISCREPANCIES PRIOR TO PROCEEDING WITH THE WORK. © NELSON

DESIGN DEVELOPMENT This page contains the early stages of the Construction Plan; as you can see the plan had to be split at 1/8” scale. The title block, keynotes, legends and symbols have begun to be referenced onto the plan. This also goes for the Power Plan, Finish Plan and Reflected Ceiling Plan. CONSTRUCTION LEGEND PARTITION NUMBER NOT IN CONTRACT (NIC) EXISTING WALL TO REMAIN NEW WALL

T T

U U

V V

W W

20 20

2121

Room Name 101

R R

1 / A101

21.4 101 23

1i 1

FN.8GN

PARTITION TAG

DOOR TAG

112 Beach Street Boston, MA. 02111

Room name Room name 101

ELEVATION TAG

ROOM TAG

NEW CONSTRUCTION PARTIAL HEIGHT WALL

DOOR TAG

EXISTING TO REMAIN

WALL TAG

EXISTING TO BE REMOVED

KEYNOTE TAG BASE BUILDING COMMON AREAS NOT IN CONTRACT

NEW DOOR

22 22

BN.1A BN.1A

NEW DOOR

22.3 22.3

NELSON ARCHITECTURE AND ENGINEERING, PC 112 BEACH STREET BOSTON, MA. 02111 TEL: 617-778-7229

KEY NOTE

ENGINEERS

DRAWING NUMBER DRAWING SHEET

Seal:

ARCHITECT FIRE EXTINGUISHER CABINET

FEC

627-778-7229 617-687-7666

NEW CONSTRUCTION

VIEW REFERENCE CENTERLINE

EXISTING DOOR TO REMAIN

Nelco Architecture and Engineering, P.C. a licensed affliate

ROOM NAME

1 A101

21.4

101

DOOR NUMBER

ROOM NUMBER

S.0 S.0

ROOM TAG SECTION TAG

1 A101

S S

3 4

Ax-x

1.2

ELEVATION TAG

VANDERWEIL ENGINEERS 274 SUMMER ST. BOSTON, MA 02210 TEL: 617-423-7423

1 DRAWING NUMBER DRAWING SHEET CALLOUT AREA

1.A 1.A

1 A101

SIM DETAIL DESIGNATION

INFRASTRUCTURE DESIGN, INC.

3 SQUIBNOCKET ROAD P.O. Box 14 FRANKLIN, MA 02038 TEL: 617-872-6765

23 23

OWNER

2 CONSTRUCTION KEYNOTES NO. DESCRIPTION

BOSTON PROPERTIES 800 BOYLSTON STREET SUITE 1900 BOSTON, MA 02199

23.6 23.6

23.8 23.8 23.9 23.9 24 24

25 25

CONSTRUCTION NOTES 2.

ALL PARTITIONS ARE TYPE "3A" UNLESS NOTED OTHERWISE. PARTITION TYPE STANDARDS

PRIVATE OFFICES

TYPE 2 ON OFFICE FRONTS W/ DOORS & SIDELIGHT TYPE 3A ON SHARED WALL WITH ADJACENT ROOMS

SMALL CONFERENCE ROOMS

TYPE 2 ON OFFICE FRONTS TYPE 3A ON SHARED WALL WITH ADJACENT ROOMS

LARGE CONFERENCE ROOMS

TYPE 3A ON ALL WALLS

CONFERENCE CENTER PERIMETER

TYPE 8 ALL WALLS (2 HOUR FIRE RATED)

LAW LIBRARY

TYPE 8 ALL WALLS (2 HOUR FIRE RATED)

Consultant:

17W

STORAGE ROOMS TYPE 4 ALL WALLS (1 HOUR FIRE RATED)

7/13/2010 5:02:50 PM

C:\Documents and Settings\asiekierski\My Documents\10.00314.00_Biogen_3rd & 4th Bldg 17_asiekierski.rvt

COPY AREAS & HUBS

TYPE 2 ALL WALLS

IDF

TYPE 3 ALL WALLS

DATA CENTER

TYPE 4A ALL WALLS

REFER TO PARTITION TYPES IN PLAN FOR FIRE RATING LABLE IN DOOR SCHEDULE. 20 MIN REQUIRED AT TYPE 4 & 4A, 90 MIN. REQUIRED AT TYPE 8 & 8A

GENERAL CONTRACTOR TO COORDINATE WALK-THROUGH W/ ARCHITECT ONCE WALLS CHALKED FOR LOCATION APPROVAL PRIOR TO LAYING ANY STUDS.

ALL EXPOSED GYPSUM BOARD EDGES TO HAVE METAL EDGE BEAD.

ALL WORK SHALL BE ERECTED AND INSTALLED PLUMB, LEVEL, SQUARE AND TRUE AND IN PROPER ALIGNMENT. "ALIGN" INDICATES SURFACE FACES TO ALIGN.

ALL DOORS SHALL HAVE 1'-6" CLR. ON STRIKE/PULL SIDE OF DOOR. VERIFY AND REPORT TO ARCHITECT OF EXCEPTIONS PRIOR TO CLOSING OUT PARTITIONS. LOCATE DOORS W/ 6" CLEAR @ HINGE SIDE TO ADJACENT WALL.

PROVIDE BLOCKING FOR ALL MILLWORK NOT SUPPORTED BY SLABS OR ABOVE 4'-0" HT. ALL CONCEALED LUMBER AND BLOCKING TO BE FIRE TREATED.

10.

ALL FLOOR SLAB PENETRATIONS FOR PIPING SHALL BE FULLY PACKED AND SEALED IN ACCORDANCE WITH THE APPLICABLE BUILDING AND FIRE CODES. "ALIGN" MEANS TO ACCURATELY LOCATE FINISHED FACES IN THE SAME PLANE.

12.

FIRE EXTINGUISHERS SHALL MEET ALL APPLICABLE CODES. IF ADDITIONAL UNITS ARE REQUIRED PLEASE CONTACT ARCHITECT TO VERIFY EXACT LOCATIONS.

Key Plan:

GLOBAL HEADQUARTERS | BUILDING 17 | FLOORS 3&4 133 BOSTON POST ROAD WESTON, MA Client:

Description:

No:

By:

Date:

BIOGEN IDEC

6.7

Enter address here Project Title & Address:

CONSTRUCTION PLAN 17 W

Sheet Title: Proj. No.: 10.00314.00

Drawn By:

1 A1-3W

THIRD FLOOR BUILDING 17 WEST CONSTRUCTION PLAN 1/8" = 1'-0"

Third Floor Plan West Construction Plan

A1-3W

AJS

Checked By: Checker

P.M.:

PERSONAL EXPERIENCES 2009 SOLAR DECATHLON |156-158 FRANK LLOYD WRIGHT’S FALLINGWATER | 159-160 PERSONAL MODELING + DRAFTING STUDIO |161-162 ARCHITECTURAL PHOTOGRAPHY |163-166

SOLAR DECATHLON 2009, WASHINGTON D.C. Alex Jeffrey Siekierski

Dates Visited: October 9-11th, 2009 For three weeks in October 2009, the U.S. Department of Energy will host the Solar Decathlonâ&#x20AC;&#x201D;a competition in which 20 teams of college and university students compete to design, build, and operate the most attractive, effective, and energy-efficient solar-powered house. The Solar Decathlon is also an event to which the public is invited to observe the powerful combination of solar energy, energy efficiency, and the best in home design. The Solar Decathlon joins 20 college and university teams in a competition to design, build, and operate the most attractive and energy-efficient solar-powered house.

PURPOSE The Solar Decathlon brings attention to one of the biggest challenges we face—an ever-increasing need for energy. As an internationally recognized event, it offers powerful solutions—using energy more efficiently and using energy from renewable sources.

The 10 Solar Decathlon Contests for 2009: * Architecture — 100 points * Market Viability — 100 points 1.To educate the student participants—the “Decathletes”—about the benefits of * Engineering — 100 points energy efficiency, renewable energy and green building technologies. As the next * Lighting Design — 75 points generation of engineers, architects, builders, and communicators, the Decathletes * Communications — 75 points will be able to use this knowledge in their studies and their future careers. 2.To raise awareness among the general public about renewable energy and energy * Comfort Zone — 100 points efficiency, and how solar energy technologies can reduce energy usage. * Hot Water — 100 points 3.To help solar energy technologies enter the marketplace faster. This competition * Appliances — 100 points encourages the research and development of energy efficiency and energy produc* Home Entertainment — 100 points tion technologies. * Net Metering — 150 points 4.To foster collaboration among students from different academic disciplines—inThe Solar Decathlon has several goals:

cluding engineering and architecture students, who rarely work together until they enter the workplace. 5.To promote an integrated or “whole building design” approach to new construction. This approach differs from the traditional design/build process because the design team considers the interactions of all building components and systems to create a more comfortable building, save energy, and reduce environmental impact. 6.To demonstrate to the public the potential of Zero Energy Homes, which produce as much energy from renewable sources, such as the sun and wind, as they consume. Even though the home might be connected to a utility grid, it has net zero energy consumption from the utility provider.

CURIO HOUSE Sustainable, affordable, and adaptable.

Summer 2009

Our team has focused on these concepts throughout our project in our pursuit to design a positive energy residence that we call the 'Curio House'.

Alex Jeffrey Siekierski

Emerging from a year long collaborative design process that has included over 100 students, educators, and professionals, we have developed what we believe is a home that not only meets the needs of the Solar Decathlon competition, but also achieves our broader goals of social and economic sustainability. Curio.House is a concrete representation of our project goals that addresses both environmental and social concerns equally. Rather than serving as a 'final' solution, it is meant to inspire and empower the end user to question not only how the home is built, but also the impact of the daily activities that occur in and around that home. We hope learning about our house inspires you to continue learning about the larger goals of sustainability, how you live, and how you can lead others toward a more sustainable lifestyle.

160 INDEPENDENTEXPERIENCE | Solar Decathlon | Curio House |

Summer 2009

| Curio House | Solar Decathlon | INDEPENDENTPRACTICE 161

Central Partition Which Houses The Energy Usage Meter

Solar Panels Above and Vegetated Deck Area Near Rear Entry

Bamboo Sink with Bench

Main Entry Side

Rain Collection Cisterns Unique Slide Kitchen Island/ Dinning Table

FRANK LLOYD WRIGHT’S FALLINGWATER Alex Jeffrey Siekierski

Date Visited: Friday April 30th 2010 Alex Siekierski, Jeff Siekierski & Ray Siekierski

Fallingwater is the name of a very special house that is built over a waterfall. Frank Lloyd Wright, America’s most famous architect, designed the house for his clients, the Kaufmann family. Fallingwater was built between 1936 and 1939. It instantly became famous, and today it is a National Historic Landmark.

Summer 2009

| Frank Lloyd Wright’s Fallingwater | INDEPENDENTPRACTICE 163

My Visit to Fallingwater The opportunity arose when I was driving from Wilbraham, MA to Cincinnati Ohio with my father and uncle. Our reason was to go and support my brother who throws on University of Connecticut’s Track and Field Team. As we were driving through western Pennsylvania a light turned on and I pulled out the map spontaneously. The three hour detour has been everlasting sense.

The images above try to capture the essense of the structure and it’s ingagement of the landscape. To the left, the building looks like exposed ledge rock stepping over the stream below. To the right, Frank Lloyd Wright takes his trellis beam over the carport and bends it around a tree preserving it. Water Features One of the large benefits of having an oversized One of the biggest design elements was the integration of water into and around the residence. To the right is one of the reflecting pools located at the same level of the stream flowing by. This element looks regionsal and almost natural to the site. Other features include fountains and a

My father Jeff (Left) and his brother Ray Siekierski

PERSONAL MODELING + DRAFTING STUDIO Alex Jeffrey Siekierski

Designed & Built By: Alex Siekierski, Frank Messina & Sean Echlin Duration: 2 Days | August 2009 This course introduces the concept of Building Information Modeling (BIM) with ArchiCAD 12 at its core. From within the BIM framework, students will learn and master the use of building components, navigate through the actively linked views of the building (plans, sections, elevations, details, perspective views, cutaway perspective views, renderings), compose a design presentation, and document a project for constructability/construction. At the start of the course students will be challenged with modeling several complete building examples. Each project will emphasize, with increasing complexity, a BIM methodology for generating competent models for design explorations and for presentation. The course will culminate with the modeling and documentation of an approved project of the studentâ&#x20AC;&#x2122;s choice.

Summer 2009

| Personal Modeling + Drafting Studio | INDEPENDENTPRACTICE 165

The Modeling Table The plan & elevation above give an idea of size in relation to the custom built modeling table/horizontal flat file.

The Bedroom Digital Workstation One of the large benefits of having an oversized desk at my apartment, allowed me to have multiple monitors to enhance the efforts of my productity using multiple digital medias. Sketching was also a quick easy way to solve a design issue on the work surface in front of my screens.

The Home Studio Resources, model making material, lighting, drafting tools, and large table top spaces all allowed for our home studio to be a very efficient and conducive environment out side of the classroom to build and explore our designs. The L-shaped configuration with tack boards gave us easy access to whatever tools we needed, no less than an arms reach away. The small library stack also made an additional aid for some design

The table might not seem like much but it gave my roommate and myself enough flexibilty within a small space to work

ARCHITECTURAL PHOTOGRAPHY

Alex Jeffrey Siekierski

Cummulative Excursion Length: 7 Months During the Summer of 2008 Photographer: Alex Jeffrey Siekierski

During my under-graduate semester abroad I lived in Berlin Germany for seven months. Around my academic schedule there I was able to travel around Europe and the Middle East. During my excursions I was introduced to new cultures and structures in which I attempted to capture with a camera. At the end of my stay in Berlin I had visited 21 countries and 28 cities (see the list of countries below). TRAVEL EXPERIENCE: Dubai, Bilbao, London, Paris, Amsterdam, Brussels, Dublin, Cork, Barcelona, Rome, Florence, Vienna, Z端rich, Prague, Istanbul, Majorca, Jerusalem, Oslo, Stockholm, Riga, Krakow.

Summer 2008

| Photography Captured from My European and Middle Eastern Excursions | INDEPENDENTPRACTICE 167

Berlin, Germany

Z端rich , Austria

Summer 2008

Cork, Ireland

Prague, Czech Republic

168 INDEPENDENTEXPERIENCE | Photography Captured from My European and Middle Eastern Excursions |

Summer 2008

| Photography Captured from My European and Middle Eastern Excursions | INDEPENDENTPRACTICE 169

Paris, France

Thank You For Viewing My Portfolio