UCLA A.UD Works [2014-2015] by Victoria Shingleton

victoria shingleton UCLA A.UD Works [2014-2015]

about Victoria Shingleton received her Bachelor of Arts in Architecture from Clemson University in May 2014. In her undergraduate education, she took advantage of the Clemson School of Architecture’s Fluid Campus, studying abroad in Genoa, Italy and New York City. Victoria is passionate about architecture education and conducted research with a team of students to re-assess the undergraduate curriculum at Clemson University. She also worked to incorporate architecture into elementary education in South Carolina, and her team’s Kids in Architecture Workshops earned a National AIA Component Excellence Award for Outstanding Overall Program in Public Affairs and Communications. Victoria is currently pursuing her professional degree in architecture as a M.Arch I Candidate at University of California, Los Angeles. This portfolio documents her work completed during the 2014-2015 academic year at UCLA’s Department of Architecture and Urban Design.

unitized abstractions layered curvature modular sustainability

gaunt elasticity

unitized abstractions Course : A RC H & U D 4 11_Intro ducto r y Desig n Studio Te rm: Fal l 2 01 4 Cri ti c : A ndre w Kovacs Te am: Vi c tori a S hi ngleto n, B enjamin Ko lder

unitized abstractions In analysis of Santa Maria de Santes Creus (1174-1314), a grid is imposed over the entire church which it adheres to on all axes. The individual vault is divided into 36 individual units, 20 containing parts. Because the vault is symmetrical on two axis, the units are reduced to 6 different types which are rotated and repeated. Unitized abstractions create a vault â&#x20AC;&#x153;compositionâ&#x20AC;? through a collaboration of objectivity and subjectivity. The fundamental form of the vault is then recombined within the 20-space grid of the original quadripartite vault so that edges of each unit must connect. [(Number of Unit Sides) * (Number of Unit Orientations)] ^ (Number of Possible Spaces) Since each unit has up to 24 possible orientations and 20 possible spaces, there were originally over one trillion possible outcomes. To narrow down possible outcomes, rules of robust value judgments are imposed to create vault rearrangements in which more massive units are supported by less massive units and the curvature continues when connecting units. When the 20 rules limiting connection are applied, the number of possible outcomes is reduced to eight. The vault composition of parts are unrelated to its original tectonic, and in place of structural rationality, the success of the resulting composition is determined by its likeness of vault characteristics. The eight rearrangements are evaluated based on how well they hold the corners of the grid, the mass of the top in comparison to the bottom, and continuation of curvature between units. From the 8 rearrangements, there are two rearrangements which best meet the criteria for vault-likeness, and the difference between the two depends on the orientation of one unit.

Boundary

411_Church Geneology // Shingleton + Kolder

1 1

Grid

2x2

2x4

4x3.5

2x2

4x4

2x4

2x3

4x3

2x3

4x3

2x3

4x3

2x3

4x3

2x3

4x3

2x3

2x2

4x2

2x2

Zoning

Sub-Division

411_Church Geneology // Shingleton + Kolder 14'-0"

14'-0"

7'-0"

28'-0"

7'-0"

28'-0"

7'-0"

28'-0"

7'-0" 14'-0" 7'-0"

7'-0"

28'-0"

7'-0"

28'-0" 14'-0"

7'-0"

28'-0"

14'-0" 7'-0"

7'-0"

28'-0"

14'-0"

3'-6" 7'-0"

7'-0"

14'-0"

7'-0"

28'-0"

Reflected Ceiling Plan 14'-0"

12'-0"

7'-0" 28'-0"

21'-0"

28'-0"

21'-0"

28'-0"

21'-0"

14'-0"

28'-0"

21'-0"

12'-0"

28'-0"

21'-0"

7'-0"

35'-0" 7'-0"

1 1 1

1 1 1 1 1 1 1 1 1 1

Boundary

1 1 1

1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1

2A 4A 2A

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

Matrix

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1

2A 4A

3A 3A 3A

3A 2A

Sub-Division

Vaulting Axonometric

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1

Unit D

Unit F Unit C

Unit B

Unit F

Unit A

Unit E

Unit D

Unit C

Unit B

Unit A

Unit E

Unit D

Unit D Unit B Unit A

411_Vault Separation // Shingleton

Unit C

Unit A

Unit B

Unit C

24 Possible Orientations 4 Connecting Sides

24 Possible Orientations 5 Connecting Sides

4 Total

Unit D

Unit E

Unit F

24 Possible Orientations 4 Connecting Sides

4 Total

2 Total

Unit Type

Edge must connect to edge. Two of the same unit cannot touch. Two of the same unit cannot have the same orientation. Four Unit As are always on bottom. Two Unit Bs are always on top. Two Unit Bs are always on bottom. Four Unit Cs are always on top. Two Unit Ds are always on top. Two Unit Ds are always on bottom. Two Unit Es are always on top. Two Unit Fs are always on top. Units C,D,E,F cannot have original orientation. Units A,B can have original orientation once within grid. Units D,E,F cannot have original space within grid. Units A,B,C can have original space within grid. Top corners must be Unit B or Unit C. Two Unit Bs are always in opposite corners. Two Unit Cs are always in opposite corners. Pattern cannot produce symmetrical vaults.

411_Rules of Connectivity // Shingleton

Rules of Arrangement

C+B

D+B

B+A

A+B

C+B

B+A

D+A

A+D

C+E

F+B

E+D

C+F

D+C

E+F

D+C

C+E

E+C

D+E

E+D

B+A

C+F

F+C

Vertical Connection

A+D

Horizontal Connection

A+C

Horizontal Connection

Method of Connectivity

Rearrangement_01 411_Vault Compositions // Shingleton

Rearrangement_02

Rearrangement_03

Rearrangement_04

Rearrangement_05

Rearrangement_06

Rearrangement_07

Rearrangement_08

411_Vault Compositions // Shingleton

Rearrangement_02 Plan

Rearrangement_05 Plan

layered curvature Course : A RC H & U D 4 12_B uild ing Design Stud io Te rm: Wi nte r 2 01 5 Cri ti c : Nari ne h M i rzaeia n Te am: Vi c tori a S hi ngleto n, Peter B o ldt

layered curvature The dwelling of a patriarch, systematically constructed by the Fali people, is comprised of teleuks grouped together so that program exists inside and outside of these circular modules. In analysis of the plan of a Fali village, relationships between modules are determined by openings in the circles. Planametric grids are derived from the four distinct groupings. The circular geometries radiate outwards at increasing increments to measure the relationship between modules. Three-dimensionally, each grid is read as a topography. Rather than additive construction, the perimeter of the site boundary is extruded, and the circular geometries are carved out so that the void is consumed by mass. 4! = 1 * 2 * 3 * 4 = 24 The four grids are stacked and rearranged in elevation to create matrices. With four arrangements and four levels, a study of twenty-four possible volumes is conducted to understand the relationship when the grids are extruded so that the circles connect between layers and are subtracted from the mass. The project takes an interest in cultivating a series of layers which regulate various increments of the building in plan, section, and elevation so that the edge and center as organizational notions become important considerations. The general mass is derived from a series of curved and circular profiles which are extruded between horizontal datums. In plan, each concentric layer of curvature contains or organizes a different element â&#x20AC;&#x201C; edge of slab, guardrail, exterior enclosure, and interior atrium. In section, the interior circular profiles contain different programmatic elements â&#x20AC;&#x201C; garden, hangar, vertical circulation, and studio space. They are both structural, consisting of loadbearing walls, and transparent in areas, creating a visible connection between programs on different floors. This simple layering sensibility works to encapsulate outdoor spaces within the building.

412_Fali Village Relationships // Shingleton + Boldt

Teleuk Rotation

25 21 6

10 9

13 12

A 1

25 21 6

7 B

10 8

16 13 12

Teleuk Groupings

412_Grid to Matrix // Shingleton

Grid to Matrix_Radiating Geometries

A B C D

B C D A

C D B A

D A B C

A C D B

B D A C

C B A D

D B C A

A D C B

B A C D

C A D B

D C A B

A C B D

B C A D

C D A B

D A C B

A B D C

B D C A

C B D A

D B A C

A C B D

B A D C

C A B D

D C B A

Void Consumed by Mass

412_Post-Production Studio // Shingleton

Parking Garage Plan

RECEPTION

GARDEN HANGAR

First Floor Plan

STUDIO

OFFICE

412_Post-Production Studio // Shingleton

Second Floor Plan

STUDIO

OFFICE

Third Floor Plan

412_Post-Production Studio // Shingleton

Section As

Section B

Section C

412_Post-Production Studio // Shingleton

Hangar Perspective

modular sustainability Course : A RC H & U D 4 42_B uilding Clima to lo gy Te rm: Spri ng 2 01 5 Cri ti c : A l an L oc ke Te am: Vi c tori a S hi ngleto n, Aaro n G utier rez, Peter B o ld t, Bri an D aughe r t y, Al yssa Ko ehn

modular sustainability Located in a valley in Canyon Country, the site is bounded by the Angeles Forest Mountains to the north and south, limiting the daylight in the valley and creating strong west-to-east valley winds. High summer temperatures make shading a priority, guiding the decision to build near the existing trees on the north side of the road. To make the site more sustainable and self-sufficient, a large edible garden is planned on the south side of the road to provide food for the artists and surrounding community members. The 4500 square foot project consists of six artist studios. Two studios are located within the main building which also houses the kitchen, meeting space, bathroom facilities, and two administration offices. The main structure of the building is comprised mostly of sustainable materials. The loadbearing walls are CrossLam panels, a composite building component made from recycled timber. The insulation is comprised of 75% recycled material which provides an affordable and environmentally responsible alternative to plastic and foam insulators. Four vacant shipping containers which currently occupy the site are retrofitted to house four individual studios, reducing the need for new construction on the site. Each unit is rotated and carefully placed beneath the existing trees to take advantage of sun angles and wind direction through the site. The resulting spaces between modules create communal outdoor areas which provide a connection between modules, as well as to the main building. Ventilation needs are served by pitched roofs which encourage rising hot air to move towards the crest of the roof. There, operable windows can be used in summer months to allow the hot air to escape. Various shading devices were utilized based on the siteâ&#x20AC;&#x2122;s exposure to sun. South facing facades employ horizontal louvres to diffuse the light and provide shade. In the summer months, these louvers provide shading against a high, hot sun, and in the winter months, enable light to penetrate the studios before setting behind the mountains. Similarly, on the east and west facades, vertical louvres enable early morning and afternoon light to deflect into the interior, but block the hot midday sun.

HORIZONTAL LOUVRES ON SOUTH FACADES

STUDIO MODULES

INDIVIDUAL WORK SPACES SHARED COMMUNAL AREAS

SHADED SKYLIGHTS LIGHT LOUVRES PV PANELS

MAIN BUILDING

VERTICAL FINS ON EAST AND WEST FACADES

SHARED STUDIO SPACE SUPPORT SERVICES

442_Studio Complex // Shingleton, Gutierrez, Boldt, Daugherty

Site Perspective

PARKING

COMMUNAL SPACE

STUDIO MODULES

COMMUNAL SPACE

MAIN BUILDING

EXISTING TREES

WATER TANKS GARDEN

LIVING SPACE

STUDIO

Site Plan

WORKSHOP

BATHROOM

OFFICES

EXTERIOR DECK

STUDIO

OFFICE

ENTRANCE WALKWAY

OFFICE

STUDIO

MAIN ASSEMBLY SPACE

442_Main Building // Shingleton + Gutierrez

Main Building Floor Plan

SUNBENDER SKYLIGHT SHADE

WATERPROOF BARRIER

PRE-FORMED EDGE DETAIL/FLASHING 18MM PLYWOOD SHEET RIGID FOAM INSULATION PRESSURE TREATED TIMBER SUPPORT BARRIER VAPOR BARRIER 12MM PLYWOOD SHEET TIMBER FIRRINGS TIMBER JOISTS PLASTERBOARD TIMBER TOP PLATE

INSIDE GLAZED HEAD

ECO STUCCO FINISH COAT ECO STUCCO BASE COAT FIBERGLASS MESH

INSIDE GLAZED HORIZONTAL

RIGID FOAM INSULATION COMFORT MINERAL WOOL BOARD

INTERIOR LIGHT SHELF KAWNEER INLIGHTEN

PLASTIC BARRIER CROSS-LAMINATED TIMBER FROM STRUCTURELAM PRODUCTS ZERO VOLATILE ORGANIC COMPOUND INTERIOR FINISHING PAINT

DOUBLE PANE LOW-E GLASS PPG SUNGATE 400 PASSIVE

LIUXI’S WALLET 3/4” BAMBOO

ALUMINUM FRAMING

3/4” PLYWOOD SHEET TIMBER FLOOR PLATE SILL

2X4 SLEEPERS 1” PLASTIC MEMBRANE 12” CONCRETE

Typical Loadbearing Wall Section

Typical Curtain Wall Section

Main Building Wall Sections

WORKSHOP / STUDIO

STUDY

LIVING

PATIO, ON GRADE LIVING

STUDY

WORKSHOP / STUDIO

442_Studio Modules // Boldt + Daugherty

Studio Module Floor Plan

OPERABLE CLERESTORY WINDOWS

PHOTO VOLATAIC PANELS INSTALLED WHERE APPROPRATE STANDING SEAM METAL ROOF

HIGH EFFICENCY DOUBLE PANE LOW-E CASEMENT WINDOW

WATER PROOFING BARRIER PLYWOOD SHEATHING RECYCLED DENIM COTTON INSULATION

SALVAGED SHIPPING CONTAINER STRUCTURE HORIZONTAL SHADE STRUCTURE SOUTH FACADE VERTICAL FINS ON EAST / WEST FACADE HORIZONTAL WINDOW OVERHANG

HIGH EFFICENCY DOUBLE PANE LOW-E CASEMENT WINDOW

RECYCLED DENIM COTTON INSULATION OPERABLE AWNING WINDOW ALONG BASE

ZERO VOLATILE ORGANIC COMPOUND INTERIOR FINISHING PAINT

POLISHED CONCRETE FLOORING IN FLOOR RADIANT HEATING SYSTEM

RAINWATER STORAGE

FIBER BATT INSULATION

Studio Module Section

gaunt elasticity Course : A RC H & U D 4 0 1_Techno lo gy Co re Te rm: Spri ng 2 01 5 Cri ti c : M ohame d S har if Te am: Vi c tori a S hi ngleto n, Felipe Her nandez, D ok yung Ki m, Aar ynn Jo nes

gaunt elasticity The Krefeld Villas, Haus Lange and Haus Esters, are often considered Mies’s most compromised works. Appearing as solid walls with punched openings, the two residences are a form of “skin and bones” architecture in which one cannot actually see the bones that exist behind the skin. This project sets window, wall, and concealed frame in a tectonic tension evocative of an emaciated, anorexic body whose thin skin is stretched over its carcass to signal the presence of a frame within. This gaunt elastic character was triggered by Mies’s unfulfilled hope for bigger windows than he was able to utilize in 1930 and is achieved by retaining a modicum of the surface area of the brick veneered wall around the opening on which to push. Seeking to expose the steel structure, the instinct to “suck in” the brick veneer allows the façade to be considered as a literal fabric. The veneer remains taut with the window frame, and the frame becomes the component which facilitates the literal gauntness of the façade. The position of the windows work to pull the skin tight around the bones. In transition from fabric back to brick, the original English Bond pattern gradually morphs as the façade curves. Like Mies drew each individual brick in elevation, each individual brick is drawn in plan and modeled three-dimensionally, row by row, to ensure its placement. When adding thickness to the gaunt surface, the rectangular bricks have difficulty turning corners. To create smoother transitions, the depth of the brick gradually decreases at the corner. By concavely stretching the brick veneer from a modular thickness to the thinness of tile, the window is simultaneously released as an object that teeters between interior and exterior while registering the presence of the steel frame behind it. Within the wall, layers of material remain the same but are transformed elastically while the window frame remains constant in size and depth. In section, there are three wall conditions – a cut through two windows, through window and brick veneer, and through the continuous brick surface. As in plan, the wall is pulled in at its midpoint. To support the curvature of the brick structurally a paneling system is applied to accommodate for secondary systems which include interlocking metal cleats, metal wire mesh, and anchors at specific points between floor planes. On the interior, the drywall lined-medal stud flexes in response to the inward force.

Second Floor Plan

First Floor Plan

401_Krefeld Villas // Shingleton + Hernandez

Haus Lange Floor Plans

Haus Lange Corner Section

401_Unrolled Elevation // Shingleton, Hernandez, Kim

Top: Room to Window Size Relationship

Bottom: Unrolled Elevation Model (Museum Board)

401_Models at 1” = 1’ // Shingleton, Hernandez, Kim

Krefeld Villa Wall Section Model (Museum Board, Acrylic)

Elastic Veneer Surface Study Model (3D Print)

401_Fabric Facade // Shingleton, Hernandez, Kim

Elastic Veneer Model (Lycra, Basswood) - Original Surface Condition

Elastic Veneer Model (Lycra, Basswood) - Gaunt Surface Condition

F2 F2 F4

F4 F6

F5 F3

F4 F1

F3 F3

F4 F6

F2 F2

F6 F5

F3 F4

401_Manipulating Forces // Shingleton, Hernandez, Kim

Elastic Veneer Manipulating Forces

Elastic Veneer Surface Study Model (3D Print)

PANEL A1

PANEL D1

PANEL C1

PANEL D3

PANEL A2

PANEL D2

PANEL C2

PANEL D4

PANEL B

401_Paneling System // Kim

Brick Veneer Panel System

PANEL A1

PANEL C1

PANEL D4

PANEL A1

PANEL B

PANEL A2

PANEL B

PANEL D4

PANEL A2

12" x 8" STEEL BEAM

12" x 3" STRUCTURAL STUD

1" WOOD WINDOW FRAME STEEL ANGLE LINTEL RIGID INSULATION BATT INSULATION 1/2" GYPSUM BOARD ADJUSTABLE WIRE TIE 3/8” STEEL REBAR VAPOR SELANT METAL MULLION METAL WINDOW FRAME

401_Inside the Wall // Hernandez

Krefeld Corner Section Plan

12" x 8" STEEL BEAM

12" x 3" STRUCTURAL STUD

10" x 2-1/2" STRUCTURAL STUD

8" x 2-1/2" STRUCTURAL STUD

6" x 2" STRUCTURAL STUD 4" x 2" STRUCTURAL STUD 3-5/8" x 2" STRUCTURAL STUD 3-1/2" x 1-3/8" STRUCTURAL STUD 2-1/2" x 1-3/8" STRUCTURAL STUD

1" WOOD WINDOW FRAME STEEL ANGLE LINTEL RIGID INSULATION BATT INSULATION 1/2" GYPSUM BOARD ADJUSTABLE WIRE TIE INTERLOCKING METAL CLEAT 3/8” STEEL REBAR VAPOR SELANT METAL MULLION METAL WINDOW FRAME

Gaunt Corner Section Plan

ROOFING DOVETAIL ANCHOR

FLEXIBLE ANCHOR

12" x 8” STEEL BEAM

STEEL ROOF DECKING RIGID INSULATION

WIRE TIE

12" x 8” STEEL BEAM

2" AIRSPACE

12" x 4" METAL STUDS

WOOD WINDOW FRAME

STEEL ROOF DECKING RIGID INSULATION 12" x 8” STEEL BEAM

BATT INSULATION

FLASHING 12" x 4" METAL STUDS

FLEXIBLE ANCHOR

12" x 8” STEEL BEAM

STEEL ROOF DECKING RIGID INSULATION

INSULATION

ROOFING DOVETAIL ANCHOR 12" x 8” STEEL BEAM WIRE TIE 2" AIRSPACE 12" x 4" METAL STUDS

2" AIRSPACE

GLAZING BRICK VENEER STEEL WINDOW FRAME BATT INSULATION BRICK VENEER

TRAVERTINE SEAT

RIGID WALLBOARD

WOOD FRAME

8" x 2" METAL STUD

RIGID WALLBOARD

12" x 4" METAL STUD

WOOD FLOORING

STEEL ANGLE

STEEL ROOF DECKING

12" x 4" METAL STUD

WOOD FLOORING

STEEL ANGLE FLASHING

12" x 4" METAL STUD

ADJUSTABLE WIRE FRAME

GLAZING 1/2" GYPSUM BOARD WOOD FRAME

WOOD FRAME RADIATOR

RADIATOR

WOOD FLOORING

CONCRETE FOUNDATION

EARTH

Window and Window Condition

401_Inside the Wall // Hernandez

BRICK VENEER

STEEL WINDOW FRAME

Window and Wall Condition

Krefeld Wall Sections

FLASHING

Wall and Wall Condition

RIGID INSULATION 12" x 8” STEEL BEAM

12" x 8” STEEL BEAM

WOOD WINDOW FRAME

RIGID INSULATION

2" AIRSPACE

RIGID WALLBOARD

12" x 4" METAL STUDS

BATT INSULATION

1/2" GYPSUM BOARD

BATT INSULATION

BRICK VENEER PANEL

GLAZING

INTERLOCKING METAL CLEAT

ALUMINUM WALL TIE

BRICK VENEER PANEL

INTERLOCKING METAL CLEAT 8" x 3" METAL STUD

RIGID WALLBOARD

STONE WINDOW SEAT

INTERLOCKING METAL CLEAT

BRICK VENEER PANEL INTERLOCKING METAL CLEAT

RIGID WALLBOARD

8" x 3" METAL STUD 12" x 4" METAL STUD

12" x 4" METAL STUD

1/2" GYPSUM BOARD

BRICK VENEER PANEL

2" AIRSPACE

INTERLOCKING METAL CLEAT

12" x 4" METAL STUD

ALUMINUM WALL TIE

2" AIRSPACE

BRICK VENEER PANEL

8" x 3" METAL STUD

2" AIRSPACE

FLASHING

3/8" METAL MESH BAR

WOOD FRAME

12" x 8” STEEL BEAM

12" x 4" METAL STUDS

STEEL WINDOW FRAME

TRAVERTINE SEAT

STEEL ROOF DECKING RIGID INSULATION

12" x 8” STEEL BEAM

2" AIRSPACE FLASHING

12" x 8” STEEL BEAM

STEEL ROOF DECKING

INSULATION

12" x 4" METAL STUDS

FLEXIBLE ANCHOR

FLEXIBLE ANCHOR STEEL ROOF DECKING

ROOFING DOVETAIL ANCHOR

WOOD WINDOW FRAME 1/2" GYPSUM BOARD BRICK VENEER PANEL

GLAZING TRAVERTINE SEAT

MULLION 3/8" METAL MESH BAR

BRICK VENEER PANEL

CONCRETE FOUNDATION

RADIATOR METAL STUD TRACKS

RADIATOR

WOOD FLOORING CONCRETE FOUNDATION

METAL STUD TRACKS

EARTH

Window and Window Condition

WOOD FLOORING CONCRETE FOUNDATION

METAL STUD TRACKS

EARTH

Window and Wall Condition

Gaunt Wall Sections

Wall and Wall Condition

401_Model at 3” = 1’ // Shingleton + Kim

Elastic Surface with Punched Windows Model (MDF, Plywood)

Co n ta c t 824 Hilgard Ave, Suite 208 Los Angeles, CA 900 24 vshingleton@g.ucla.edu 864.245.3384