PORTFOLIO
YUFAN GAO
CONTENT
Chapter 1 - The Absence Introduction Weaving the Woven Fire No Escape Chapter 2 - Frame of Curiosity Aromatic Maze This is (not) a... Broadway Junction - Metropolitan Nature Broadway Junction - Video Essay Chapter 3 - Public Space of Solitude Glow in the Park Le Harve de Quay Chapter 4 - Time and its Spatial Trace A Room of Blue Made of A Piece of Broken Glass Advance / Retreat No Shoes Required: Shifting Sand Scapes; Drifting Dream Dunes Israeli Lounge Chapter 5 - Selected Professional Work CUC Middle School A Raindrop’s Journey Menschel Residence Maier Residence Hazel Path
CHAPTER 1 THE ABSENCE
INTRODUCTION
The journey started with fibers and yarns. Through the immersive
and meditative process of textile making – from materials hardly grabbable with fingers to objects one could inhabit – ideas were spatialized. It eventually occurred to me that these objects became a “place” with traces of the inhabitant – the very traces of existence emphasizes the absence. I continue to search for and capture this in my work.
My interest lies in the expanded field of sculpture, an interdisciplinary
approach towards the making of place whether it be real or speculative. I advocate for public space of solitude and contemplation. Through the lens of art installation, landscape architecture, and architecture, I explore the qualities of place that can arouse curiosity and imagination, as well as influence meaningful experiences and connections. At various scales, I attempt to transform site via minimal intervention, while acknowledging time and its spatial trace. My work is an act of framing and seeding possibilities.
WEAVING THE WOVEN
Sullivan Galleries, School of the Art Institute of Chicago, Chicago, IL 2012 Weaving with objects - baskets, rocking chairs, toys Advisor: Nick Cave Are we more often surprised by how long we can remember or how soon we can forget? Weaving a woven structure is like being aware of awareness, remembering of remembrance. Colorful moments are mixed together, giving a neutral tone from afar and becomes more vivid once activated. Fighting against the loss of memory, I thread through every tangible gap between warps and wefts, only to build a space that I can never enter again. The isolated absence becomes a completed vision of all I have missed.
WEAVING THE WOVEN
FIRE NO ESCAPE
Sullivan Galleries, School of the Art Institute of Chicago, Chicago, IL 2013 Weaving with objects, multimedia installation Advisor: Nick Cave Leaving city X, I took with me a visual vocabulary of the elevated rails, the endless fire escapes, the dreaded tunnel, the stained glass window, the fast delicate passing scene through the train window‌ to depict the placeless light and shadow, to later recall to mind the long forgotten moment when lives were pressing so close to me, yet so far away.
FIRE NO ESCAPE
FIRE NO ESCAPE
CHAPTER 2 FRAME OF CURIOSITY
AROMATIC MAZE
Fisher Hill Reservoir, Brookline, MA 2014 Harvard Graduate School of Design Instructor(s): Anita Berrizbeitia & Luis Callejas This is a maze with ephemeral hints, varying aromatic blossoms. This is a garden of surprise as one can stumble upon a new door, a hidden room, and layers of framed views. This a place of adventure as one can climb hills over walls and stroll through windows.
AROMATIC MAZE
AROMATIC MAZE
THIS IS (NOT) A…
Jardins de Métis / Reford Gardens, Québec, Canada 2017 Design competition Temporary garden At a distance, the installation appears as a floating garden pronounced by a white wall backdrop. As one draws closer, a jungle gym emerges as the primary structure of these elements, as well as a mediator of experiences. The recreational jungle gym was adopted for it being an iconic centerpiece in early playgrounds. Here, it supports 50 different species that bloom over the span of the festival, chosen for their aromatic, tactile, acoustic, and visual interests. Through sensorial guidance, people can climb and crawl through the jungle interacting with these plants at unexpected/unfamiliar angles and distances. Between the jungle gym bars are varying open spaces and seating that encourage social exchange. As a unique surprise, at the core of the structure is a grand room referencing a herbarium or a salon-style museum. It is accessed by crossing under the bars and beneath suspended wall panels that split the installation into two distinct spaces. Where there is an elevated plant on one side, a portion of it is displayed on the other, such as a flower, a leaf, a stem, a bud, etc. Plants penetrate the wall through carefully curated small openings within a wood frame conveying a museum setting. While the jungle encourages active play, the museum draws people’s attention to the minute detail, revealing the intricacy and delicacy of individual plants as living art.
BROADWAY JUNCTION -
East New York, Brooklyn, NY
METROPOLITAN NATURE
2015 Harvard Graduate School of Design Instructor(s): Ken Smith with Distinction There are features of Broadway Junction that people commonly regard as eyesores that can be valued as or transformed into unnatural urban nature. The elevated railway as a piece of infrastructure creates a complete “ecology” of place. People navigate through the city following distinct mental landmarks. When one sees something seemingly familiar from past experience, but not exactly as expected, it travels in the brain back-and-forth between conscious and subconscious realization. The prolonged process of recognition induces curiosity and engagement, which might then lead to a sense of connection. The design intervention attempts to create a place that could register in people’s consciousness, entering their mental map of the city in a way that is fun, lively or even surreal. Through minimal interventions, uncanny infrastructural oddities are transformed into impressive urban nature.
Existing Condition
BROADWAY JUNCTION METROPOLITAN NATURE
Existing Condition
BROADWAY JUNCTION METROPOLITAN NATURE
Existing Condition
BROADWAY JUNCTION METROPOLITAN NATURE
1
2
5
a. Broadway Junction Station b. East New York Station c. Discarded railway d. Partially discarded structure e. Old train latform f. Discarded factory building
1. Cascades 2. Reflection pool / ice-skating rink 3. Ramp under discarded railway 4.Forest hill 5. Orchard - expanded grid 6. Field of walls 7. Ramp through discarded structure 8. Sloping Loop 9. Platform-converted planters 10.Elevator
c a
d
b
e
e
f
3
4
6
7
9 8
10
BROADWAY JUNCTION -
East New York, Brooklyn, NY
METROPOLITAN NATURE
2015
VIDEO ESSAY
Harvard Graduate School of Design Instructor(s): Ken Smith with Distinction The project examined the role of framing as a means to alternate our way of seeing, nuance our perception of place, and formulate a statement. The video was captured through the lens of see-through mirrors, which was a conceptual and technical driver of the design process. The mirrors broke down the vanishing point created by the repetitiveness of the structure, and integrated everything into a horizon-less and bound-less space.
CHAPTER 3 PUBLIC SPACE OF SOLITUDE
GLOW IN THE PARK
Fairmount Park Reflection Pool, Philadelphia, PA 2017 Design competition Temporary art installation and event pavilion The reflection pool is transformed into a three-dimensional, multi-sensational water experience. The installation is comprised of alternating fountains of water and light; squares of pool, squares of landing; rooms of water, rooms of light. The reflection pool divides the night into a side of gathering and a side of solitude. In between the existing fountains of water, a video projection of water textures is displayed onto an elevated horizontal plane, thus forming a ‘fountain of light’. Beneath each plane is a platform bridging across the pool for people to congregate. Standing amidst the flowing light, the experience is accentuated by various sounds of water (a river stream, an ocean tide, pouring rain, etc.) emanating from a hidden speaker source. The vertical structure supporting the horizontal elevated planes is to be a light-weight steel frame system concealed by sheer and translucent panels of curtain fabric along the sides of the reflection pool. The interplay between alternating panels, fountains, and projections present a dual experience. From one side (Elevation 1), the pool can be interpreted for celebration with views of people gathering beneath light-filled canopies of water. On the opposite side (Elevation 2), the pool suggests solitude with direct views only of water fountains and the shadows and voices of the crowds faintly seen and heard beyond.
ELEVATION 2
PLAN N 0 10’ 20’ 40’
Horticulture Center
Centennial Arboretum
existing fountain and reflection pool
elevated projection plane w/ projector & speaker below ELEVATION 1
GLOW IN THE PARK
SECTION 1
SECTION 2
LE HARVE DE QUAY
Port of Le Havre, Le Harve, France 2016 Harvard Graduate School of Designd Instructor(s): Michel Desvigne & Inessa Hansch with Distinction De Quay is a vast, tranquil place in between the harbor and city of Le Harve. The vastness compresses everything happening in the harbor and city into a thin line between the sea and sky. The emptiness leaves room for full expression of the constantly changing light and color. The project aims to preserve the quality of the emptiness, exploring an alternative approach towards public open space. Massive landscapes are created and altered through subtle interventions, framing possibilities and engendering growth.
LE HARVE DE QUAY
The project is characterized by the existing breakwater structure at the harbor and an invisible 6.25 meter grid - the underlying guide for reconstructing the entire city atop post-WWII rubble. Gentle topographic changes are framed by breakwaters, in juxtaposition of a visible 6.25 meter grid. From a distance they are masses of water, sand, meadow, and concrete. Realized within each material is a sea garden of seaweed with a buoyant grid, sand beach secured by poles, sunken garden with mowed pockets, and plaza of posts at varying heights.
LE HARVE DE QUAY
Individuals are related to space through movement. For instance, walking along gentle slopes towards the water, people descend with the sea horizon gradually being brought up to eye level and eventually vanishing. At the end of the slope, people can hear and smell the sea with a framed view of the sky. An individual’s feeling of proximity to the sea is indeterminate. Without any specific program or function, but emptiness. What is being brought to the center of the public space is the site’s history, the passage of time, transient natural phenomena and individual perception of place.
CHAPTER 4 TIME AND ITS SPATIAL TRACE
A Room of Blue
MacLean Center, School of the Art Institute of Chicago, Chicago, IL
Made of
2012
a Piece of
Kinetic sculpture - glass, gear motor, turntable bearing, projector
Broken Glass
ADVANCE / RETREAT
Cape Cod, MA 2014 Harvard Graduate School of Design Instructor(s): Pierre Belanger & Sergio Lopez-Pineiro Teammates: Christopher Reznich, Richao Li, Wendy Wang
ECO(NOMI/LOGICAL)
ADVANCE / RETREAT
1:1,000 10 y physical:
temporal:
temporal:
physical:
1:100,000,000 100,000 y
with Distinction
Falmouth Technological Park
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FLOW / MEDIATION
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FLUID / ENVIRONMENT
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ECO(NOMIC/LOGICAL)
TRACE / WATERSHED
GLACIER / FORMS
ADVANCE / RETREAT
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PRECONDITION / UNCERTAINTY
TRACE / ERASURE
EMERGENCE/ OCCUPATION
SUCCESSION / DECAY
ADVANCE / RETREAT
The intervention is an attempt to mediate the natural processes of erasure and render demolition occupiable. The assumption is that there is value in the space of decay. There is value in waiting for emergent processes; value in slow, patient retreat; and value in what’s left behind.
ADVANCE / RETREAT Varying both spatially and temporally from the vast [glacial] to the minute [particle], land is the physical inscription of advancing and retreating flows. This constant movement results in a successive layering of erasures and traces that define the past’s future.
their relationships to built material, specifically to create new vegetal patterns that would outlive the infrastructures themselves. Walls create wind-barriers; Foils focus rainwater; Mirrors reflect sunlight into dark interiors; and the Cap admits that some problems can’t be solved by focusing flows.
GLACIER / FORMS Glaciers are an example of slow flow. They carve out particular landforms and leave deposits that preprogram ecological services for the immediate and far future. Fertile glacial till makes rich agricultural land; outwash gravel deposits are valuable construction materials; and kettle ponds actively filter groundwater.
SUCCESSION / DECAY As these infrastructures are deployed, we are inviting the vegetal takeover of spaces where plants were previously suppressed. Wind barriers create new seed banks; redistributing rainwater encourages plant diversity; sunlight opens interiors to more than just the typical mosses and molds; and capping a site freezes its condition into the future. When our infrastructures are coupled with tactical subtractions (i.e. the removal of windows, doors, walls, etc) vegetal invasion softly accelerates the decay of these sites, blurring the line between landscape and the built environment.
TRACE / WATERSHED Accumulating over time, the physical and chemical environmental flows trace their own patterns into the land. The ecosystems we inhabit are the product of how ecological flows (wind, water, light, and nutrients) have interacted with historical and geological flows. ECO(NOMIC/LOGICAL) When comparing the scales of time of human environmental changes to geological and ecological changes, our actions appear aggressively immediate. These changes include not only development and construction, but abandonment and demolition. On our particular site - the Falmouth Technological Park at the edge of the Laurentide terminal moraine - current economic operations range from a hockey arena and a newspaper, to landfill and gravel mining, to chemical manufacturing and research on autonomous underwater vehicles. Our only assumption is that this current landscape of economic flows will inevitably change in the future, opening the question how these buildings and sites will be treated once made obsolete. FLUID / ENVIRONMENT To that end, we acknowledge economic retreat as an opportunity to reconsider our relationship to the natural processes that change landscapes. We are surrounded by mechanisms and forces of constant change, which we seek to co-opt to render their power explicit. FLOW / MEDIATION The infrastructures that we’ve designed - walls, foils, mirrors and caps - are low-tech interventions that redirect and focus environmental flows in
EMERGENCE/ OCCUPATION To occupy decay is to actively participate in the process. Because typically forceful, immediate demolition is replaced with a relatively long-term mediated decay, questions of evolving values are embedded in the management strategy. Considering the far future, we must thus assume that the agencies responsible for the site’s maintenance will change. If the spaces can be monetized, they probably will be; if not, the sites will stay in a state of permanent transition. As long as the infrastructures are deployed, a condition of informality will persist, as their spatial density prevents most formal programs. This reinforces the value of individual agency - the use value for picnickers and squatters and informal collective gathering. TRACE / ERASURE This project is an attempt to put our actions into context. Individual footfalls turn into paths, trickling streams turn into rivers, and tiny roots topple buildings. The decision of what gets erased and what persists is made independently, but cumulatively. PRECONDITION / UNCERTAINTY Varying both spatially and temporally from the vast [glacial] to the minute [particle], land is the physical inscription of advancing and retreating flows. This constant movement results in a successive layering of erasures and traces that define the past’s future. We know we are today’s glacier. What we don’t know is exactly how our actions will precondition the future.
NO SHOES REQUIRED:
Design Miami Entry Pavilion, Miami, FL
SIFTING SAND SCAPES,
2015
DRIFTING DREAM DUNES
Design competition Temporary art installation Teammates: Nelson Byun, David Pearson, Seejia Ho Two children ran round and round a sand box filled half with black sand and half with white sand. By the end of the hour all was grey and I could not turn it back again. The project is a continuously changing landscape that figures DesignMiami/ as both a temporal event and a lasting institution. Parametrically tuned tubes of various diameters couple with a timekeeping device over 2000 years old, the hourglass, to produce a generative landscape that changes throughout the day and the event in both size and color.
NO SHOES REQUIRED:
The use of different colored sand specifically calls to the rich colors and
SIFTING SAND SCAPES,
warm beaches of Miami. Sand is both a sign of leisure and of resilience. The
DRIFTING DREAM DUNES
sandbag is re-appropriated for seating revealing new uses for a simple yet crucial component of Miami’s hurricane season. The sand from above held in a uniform grid structure, finds its way to the white concrete surface at different speeds resulting in a ground plan of subtly random, yet uniform dunes. A crane, a Miami fixture, suspends ‘the sandbox’ in a form reminiscent of the adjacent tents. By reinterpreting the hourglass through contemporary tools, layers of time and form register both an intellectual and playful exchange of DesignMiami/ attendants. A series of tubes at the northeast are timed with the work week while at the center a larger mound develops timed to the 10 day event period provoking multiple visits to witness the changing nature of the installation. As fairgoers engage the installation the colored sand mixes, further removing the sand from its initial state of uniformity.
entrance
entrance
entrance
path
path
path
COFFEE REF.
GSD panel, typ. COPIER
sandbag seating, typ.
ISRAELI LOUNGE
John F. Kennedy Center for the Performing Arts, Washington, DC 2018 Design competition Art installation and interior renovation
The proposed design for the Israeli Lounge aims to achieve monumentality via ephemerality. Beams of light shine vertically through a field of dispersed gold planes, casting onto the ground shadows of the 22 Hebrew letters. The letters are aligned at the center of the room, each slightly rotated in plan to coincide with the varying vantage points along its periphery. A seating bench gently peels from the bottom of the walls for observing, resting, and conversing. A light shelf peels from the top framing the illusion of an evening sky. The letters were implemented in the design of the room to represent the historical and contemporary spirit of Israel. Hebrew is spoken by over 9 million people worldwide and serves as the primary agent of Jewish scripture, liturgy, law, as well as linkage of culture. Furthermore, Hebrew epitomizes the miracle of Israel as its revival from a dead language has no parallel in history. For a thousand years, Hebrew has witnessed the Jewish diaspora and the long journey of its people back home. The dispersion of gold planes is emblematic of the Jews living beyond Israel – navigating through shifting historical circumstances and constant cultural exchanges, while still maintaining a distinct sense of cultural self. The light that unifies the dispersed forms into the body of Hebrew letters implies the coalescing of the Jewish people.
ISRAELI LOUNGE
SHAPE IS FRAGMENTED AND DISPERSED VERTICALLY, WHILE MAINTAINING SHADOW OF HEBREW LETTER
DIRECT LIGHTING
BEAM OF LIGHT
FRAGMENTS - MADE OF METAL ARE ACCURATELY LASER CUT AND SUSPENDED BY WIRE AT CURATED HEIGHTS WITH THE AID OF ARCHITECTURAL SOFTWARES
SUSPENSION WIRE
FRAGMENTS CASTING SHADOW OF HEBREW LETTERS IN ROOM
METAL (GOLD) PLANES
OUTLINE OF SHAPE TO CAST SHADOW
ADDITIONAL FRAGMENTS, OUTSIDE BEAM OF LIGHTS, TO VISUALLY STRENGTHEN EPHEMERALITY OF DISPERSED PLANES
SHADOW OF HEBREW LETTER 1
2
KAF
YOD
TET
3
HET
ZAYIN
VAV
HE
DALET GIMEL
BET
A LEF
LIGHT ABOVE
ENTRY TO KITCHEN & PANTRY
BENCH SEATING
BAR
SECTION
SECTION
TAV
DIRECT LIGHTING
SHIN
RESH
QOF
TSADI
PE
AYIN SAMEKH NUN
MEM LAMED
INDIRECT LIGHTING
SUSPENSION WIRE METAL (GOLD) PLANES
BENCH SEATING
BAR
CHAPTER 5 SELECTED PROFESSIONAL WORK
CUC MIDDLE SCHOOL
Beijing, China 2018 Design competition Campus gate, entrance plaza, main lobby, library interior First Prize (currently in construction)
CUC MIDDLE SCHOOL
A Raindrop’s Journey
Cambridge Science Fair, Cambridge, MA 2018 Michael Van Valkenburgh Associates Mural Painting
Menschel Residence
Nantucket, MA 2014 Michael Van Valkenburgh Associates Private Garden
Menschel Residence
Maier Residence
North Haven, ME 2015 Michael Van Valkenburgh Associates Private Garden
HAZEL path
Mount Auburn Cemetery, Cambridge, MA 2016-2018 Michael Van Valkenburgh Associates A woodland sanctuary garden for natural burial with the deceased names inscribed on glacial boulders
WASHINGTON TOWER
A
Backfill with Planting Soil, Mix with FiberSoils' Turfgrid 3610GF at the Rate of 1 LB / 10 SF, Refer to Specifications Typ
:1
A5
A16
B32
B35 1.67:
A17 A18
1
178
C2
M4
A30
B77 B72
B85
170 Elevation
Stepping Stone & Mulch Path
C
154
LOT 22
TF 156.8
Slope A
Plan
D
4 L502
Boulder Type B with No Anchor, Refer to Geotech Eng Dwg
B L300
Existing Tree 12 Note: This Plan Represents an Estimated Number and Location of Anchors, Toe Slope Boulders, etc. Number and Locations of Anchors to be Verified in Field by Geotechnical Eng + Landscape Architect Post Boulder Selection 6" Swale
T39 6"
Slope B
Hazel Path
3 L502
1
1' Swale
B
Ex
Boulder Type A, Beyond
0 4' 8' Scale: 1/8" = 1'-0"
isti
ng
2:1
Scale: 1/8"=1'-0"
MEX
Existing Grade
L.O.W.
Limit of Work Txx xx"
EX-PS
A# A#
Boulder Type A, Refer to Sheet L110
2-4 L502
Boulder with Shared Helical Pile, Approx 2 Boulders per Helical Pile
3 L502
Boulder Type B, B# Existing B# Subgrade Refer to Sheet L110
2-4 L502
Boulder Set On Shelf with Toe Slope Boulder
2 L502
Boulder Type B Stacked, Refer to Sheet L110
2-4 L502
Boulder with No Anchor
4 L502
Boulder Type C, Refer to Sheet L110
3A L504
B# B# B#
Existing Lot Marker to Remain and be Protected.
C#
M#
Future Proposed Monument. NIC. Foundation to be Installed per Geotech Spec by Contractor.
M#
Proposed Monument. Design by Others. Monument to be Furnished by Owner. Contractor to Install.
Existing Contour
Site 100 Section Scale: 1/4"=1'-0"
Proposed Contour
3 Swale Underdrainage L501 Swale Leaching Basin
Landscape Underdrainage 3-4 L505
2 L505
Plan
B
Boulder with Helical Pile Anchor
3
Varies
Existing Subgrade
1:1
Stepped / Terraced Excavation, Refer to Earthwork Specifications
B
2 L502
Boulder Type B, Set On Shelf with Toe Slope Boulder, Refer to Geotech Eng Dwg
2 L502
Boulder Type B, Beyond
Existing Swale, Depth Adjusted
4 L501
1 L501
3 L501
2%
Swale Underdrainage
3 L501
4
Helical Pile, Refer to Geotech Eng Spec, Location Determined in Field by LA and Geotech Eng
10 '-0 Min "
Screw Pin Shackle, Refer to Spec
Section
185 Elevation
Detail
Scale: 1/2"=1'-0"
Stepping Stone & Mulch Path
Planting Soil on Steep Slope, Refer to Specifications (S4)
1.75% 176.5
Existing Path Sign to Remain and be Protected Tombstone Protection Zone, Refer to Spec. Soil On Top to be Removed by Hand
3 L504
Boulder with One Helical Pile per3.2:1 3 Boulder L502
Existing Tree to Remain and be Protected, See SP200
Existing Tombstone or Monument to Remain and be Protected
B
Existing Burial Lot Extents NOTE: Work Within Burial Lot is Not Allowed Without Permissions from Owner and Landscape Architect. If Permitted, All Work Shall be Performed by Hand Only.
Existing Grade
A
Mulch
Scale: 1/2"=1'-0"
INITIALS INITIALS
Boulder Type A or Boulder Type B, Refer to L110 for Boulder Schedule
REVISIONS:
DATE
REVISIONS:
DATE
175 Elevation Existing Grade 170 Elevation
165 Elevation
2%
Plan Boulder with No Anchor
A
Boulder Type A or Boulder Type B, Refer to 180 L110 for Boulder Elevation Schedule
Elevation
NOTE: Sections are shown for general relationships and information only, and are not to be used for construction. Refer to Sheet L100 for Layout. Refer to Sheet L502 for Boulder Anchoring and Stabilization B Section Plan & Techniques
DATE 02.21.2018 DATE
Not for Construction 100% Bid Documents
DRAWING TITLE:
ries
Va .5:1,
>3
CURRENT ISSUE: 100% Bid Documents
CURRENT ISSUE:
6"
TP
LOT XXXX
Amended Soil, Refer to Specifications (S3)
A
3 4" Cable, Length adjusted in Field
1" Ø Galvanized Eye Bolt, Refer to Geotech Eng Spec
190 Elevation
Detail
Meet Existing Grade at Base of Existing Tree, Typ
BOULDER ANCHOR LEGEND:
LANDSCAPE ARCHITECTURE GENERAL LEGEND:
16'
Helical Pile Below, Refer to Geotech Eng Spec, Location Determined in Field by LA and Geotech Eng 195 Elevation
N
Gra
de
Boulder Anchor Reference Plan
1
Boulder Type A or Boulder Type B, Refer to L110 for Boulder Schedule s arie 1V 3.5: 1:1~
Myrtle Path
(194) 3.4:
Pin top stacked boulder w/ 1" Ø SS Pin, Set with Non-shrink Grout. Quantity of Boulders to be Pinned Shall be Confirmed in Field by Geotech Eng
Pin top stacked boulder w/ 1" Ø SS Pin, Set with Non-shrink Grout. Quantity of Boulders to be Pinned Shall be Confirmed in Field by Geotech Eng
B L310
(195) Existing Dry Well, Swale and Drainage components to be reset as required per plans
Detail
A
10"
Proposed Tree
Section
Scale: 1/2"=1'-0"
6"
Myrtle Path Grading Represent Finish Grade, Refer to Sheet L501 for Subgrade Plan
Existing Subgrade
B-Stone, 6" Min, Refer to Geotech Eng Spec
Boulder Type A or Boulder Type B, Refer to L110 for Boulder Schedule
B L200
REVIEW: DRAWN BY: CHECKED BY: REVIEW:
Boulder Set On Shelf With Toe Slope Boulder
2
PY B L100
Nitsch Engineering Survey: 2 Center Plaza, Suite 430 Nitsch Engineering Boston,MA 02108 Center Plaza, Suite 430 Tel:2 617.338.0063 Boston,MA 02108 Fax: 617.338.6472 Tel: 617.338.0063 Fax: 617.338.6472
PROJECT MANAGER: ARCHITECT: N/A
Roadway Subgrade to Meet Base of Existing Tree, Typ
IT O FC A
Existing Grade
PROJECT MANAGER: DRAWN BY: ARCHITECT: N/A CHECKED BY:
Toe Slope Boulder, Refer to Geotech Eng Dwg
Elevation
T37
C
not to be used for Bench Slope as construction. Required to Set Toe Refer to Sheet L100 for Stone, Scarify Surface of Soil Layout. Refer to Sheet s rie Va L502 for Boulder :1 Anchoring and Stabilization ~ 1.5 1:1 Plan & Techniques
Toe Slope Boulder 165 Below, Elevation Refer to Geotech Eng Dwg
LOT 390
LIM
LOT 593
B87
LOT 3282
Boulder Type A or Boulder Type B, Refer to L110 for Boulder Schedule
Pin top stacked boulder w/ Backfill with Planting 180 1" Ø SS Pin, Set with Elevation Soil, Mix with Non-shrink Grout.NOTE: Quantity FiberSoils' Turfgrid of Boulders to be Pinned Sections are shown3610GF for at the Rate of Shall be Confirmed in Field 1 LB / 10 SF, Refer to by Geotech Eng general relationships and Specifications Typ 175 information only, and are Elevation
Mulch Path
2%
NO
M10
Mountain Ave
2%
.
.W
L.O
A36
A35
MEX
1 L501
MEX
LOT 2573
LOT 8192
T38 4"
Swale Leaching Basin,B
Swale Underdrainage, Typ
H ROSE PAT
155
E
RIM:153.7
B86
Michael Van Valkenburgh Landscape Architect: Associates, Inc. Van Valkenburgh 231Michael Concord Avenue Associates, Cambridge, MAInc. 02138 Concord Avenue Tel:231 617.864.2076 Cambridge, MA 02138 Fax: 617.492.3128 Tel: 617.864.2076 Fax: 617.492.3128 Owner's Geotechnical Consultant: Owner's Geotechnical Haley & Aldrich Consultant: 465 Medford Street, Haley & Aldrich Suite 2200 465 Medford Street, Boston, MA 02129 2200 Tel:Suite 617.886.7400 Boston, MA 02129 Fax: 617.886.7600 Tel: 617.886.7400 Fax: 617.886.7600 Survey:
Existing Subgrade
Section
165
161
156
B88 B84
UD
3 L501
D
166
163
EUD
TH
157
INV In: 151.5
2 Erosion Control SP200 Coir Log
Existing Grade
3 L504
MEX 3 L501
EUD
%
RIM:156.5
UD
158
A34
Swale Underdrainage
PA
LOT 3266
2.0
159
A33
4A L501
MY
INV In: 166.1
1.75% INV Out: 172.5 LIMIT OF CANOPY 166.0 RIM:169.2
4B L501 UD
A28
RIM:163.0
160
DI 10
LE
RT
2.0%
T16 3.5"
A32
MEX
164
RIM:159.5 B82
B70 DI 8 B74
12%
DI 9
B80 B81
3 Boulder Type A, TP L502 BT Beyond (171.0)
B52
:1
s
Pin top stacked boulder w/ 1" Ø SS Pin, Set with Non-shrink Grout. Quantity of Boulders to be Pinned Shall be Confirmed in Field by Geotech Eng
185 Boulder Type A or Elevation Boulder Type B, Refer to L110 for Boulder Schedule
TOMB 184
B51
M6
T24 4"
T15 16"
A27
UD
M8
B78 B79
Meet Existing TF 171.8 Grade at Base of Existing Tree, Typ
A39
190 Elevation
B44
1.5
167
B73
A29
162
A
B61 RIM:171.4
TF 171.5
M7
2.0%
B75 A31
B83
8%
168
1:1
SLOPE B
TF 160.6 3 Typ L501 Scale:Riser, 1/4"=1'-0"
B50
B49
DI 7
B
TT (177.3)
T14 8"
B71
Pipe SiteHDPE Section
B48 MEX
169
B76
RIM:174.3
B58
UD
177
183
B59
DI 5 RIM:177.4
A38
C1
UD
DI 6
A26 10%
179
180
A37
B60
175
HAZEL PATH
181
182
TF 181.6
2:1
A21
A20
A19
Va
1.5
Toe Slope Boulder, Refer to Geotech Eng Dwg
195 Elevation
Plan
A
T28 12"
B42 B43
B40 3 Boulder Type B45 A, L502 T5BeyondB46 24"
B47
A22 B53
A24
A23
B57
Existing A25 Subgrade
B38
A11
176
C3
RIM:180.8
UD
RIM:183.9
B69
A12
1:1
UD
T23 30"
B36
B54 B55
B62
B68
DI 4
T12 24"
B63
B65 B64 B66 B67
186
B37
B23 B25
B28
B33
TT (193.4) BT (191.5)
B24
174
A6
T8 Type B with A10 Boulder 15"Helical PileB21 Shared Anchor B22
3
SLOPEL502 A
A14 ting GraB31 A13 de A15 B34 B30 B29 B27 B26
Exis
0
B13
B12
~
B-Stone, 6" Min, Refer to Geotech Eng Spec
T27 12" T26 12" B39 B41
17
M53.4
MEX
B9
B10
B14
B19
A9
T24
B16 B15 6" Swale A7
A8
B20
171
B11 B8
B17 B18 T9 3"
T11 24"
Amended Soil, Refer to Specifications (S3)
173
T13 36" LOT 4709
LOT TT (193.4) 1556 BT (192.5) TT (193.4) BT (192.6)
184
B7
B1
A4 A3 TF 191.0
T25 15"
T24 10"
1:1 Toe Slope Boulder Below, Refer to Geotech Eng Dwg
HAZEL PATH HAZEL PATH
Proposed Tree
MEX
(195)
188
B6
Myrtle Path
Varies
OP Y
OF CA N
Boulder Type B, with No Anchor, . Refer toW Geotech L.O. Eng Dwg
4 L502
Mount Auburn Cemetery Owner & Client: 580 MT. Auburn Street, Mount Auburn Cemetery Cambridge, MA 02138 MT. Auburn Street, Tel:580 617.547.7105 Cambridge, MA 02138 Fax: 617.876.4405 Tel: 617.547.7105 Fax: 617.876.4405 Landscape Architect:
rie
:1
Vegetated Slope
Hazel Path
T3 15"
Owner & Client:
Bench Slope as Required to Set Toe Stone, Scarify Surface of Soil
T30 10"
. L.O.W
LIM
IT
MOUNTAIN AVE
Existing Tree 5 T2 6"
B5
B2
B4
4 Boulder Type A, Beyond L502
190
T10 8" B3
Slope A
Mountain Ave
TT (193.4) BT (191.6)
PY NO CA Existing Tree 8
B
A L310
Varies
OF
IT
LIM
A T1 10" L300
60°0' Refer to Geotech Eng Spec
Existing Tree 13
172
Existing Tree 10
A L200
580 MT. AUBURN STREET, CAMBRIDGE, MA 02138 580 MT. AUBURN STREET, CAMBRIDGE, MA 02138
Boulder Type A or Boulder Type B, Refer to L110 for Boulder Schedule PY
CANO T OF
LIMI
A A1 A2 L100
Existing Grade
Boulder Type A or Boulder Type B, Refer to L110 for Boulder Schedule
Approximate Extent of Existing Tree Canopy, Typ. Contractor to VIF.
Not for Construction
DRAWING TITLE:
BOULDER DETAILS SITE SECTIONS SCALE:1/4" =1'-0"
Detail
L502 L401
02.21.2018
HAZEL path
WASHINGTON TOWER
Approximate Extent of Existing Tree Canopy, Typ. Contractor to VIF.
Owner & Client:
T22 12"
L401
A
.
.W
OF
B
L401
CA
NO
D
PY
L403
190
191
W.
L.O.
1:1
171
175
0 17
LOT 390
H ROSE PAT
L.O.W.
PATH
LOT 3551
LOT 2573
L.O
.W
. LIM
IT O FC A
NO
A36
154
D
LOT 593
B87
A35
MEX
LOT 3550
11%
A
T38 4"
CHECKED BY: PROJECT MANAGER: ARCHITECT: N/A
Roadway Subgrade to Meet Base of Existing Tree, Typ
B
155
E
B85
INITIALS
DRAWN BY:
T37
LOT 3266
LOT 8192
REVIEW:
MEX
ANTH
167
165
162
EUD
TH
B88 B86
B84
D
EU
RIM:153.7
Swale Underdrainage, Typ
166
164
163
%
156
INV In: 151.5 MEX
PALM AVE
Swale Leaching Basin,B
MEX 3 L501
PA
EUD
MEX
LIMIT OF CANO PY RIM:169.2
MEX
157
MEX
INV In: 166.1 INV Out: 166.0
Nitsch Engineering 2 Center Plaza, Suite 430 Boston,MA 02108 Tel: 617.338.0063 Fax: 617.338.6472
AMAR
UD
Survey: T36 42"
B52
4B L501
161
RIM:156.5
UD
TLE
R MY
2.0
159
A34
RIM:163.0
160
DI 10 A33
4A L501
158
Swale Leaching Basin, A
M9
T16 3.5"
A32
2.0%
TT (164.3) BT (155.0)
TF 153.6
B82
BT (171.0)
B51
LOT 5953
T29 20"
TP
M6
T24 4"
T15 16"
A27 A28
DI 8 B74
12%
RIM:159.5
B80 B81
A29
B70
UD
DI 9
B78 B79
TT (164.3) BT (156.0) B83
A39
TF 171.5
M7
2.0%
B72
M8
3 L501
HDPE Pipe Riser, Typ TP TOMB 4273
8%
B61 RIM:171.4
TF 171.8
168
1:1
B73
B75
TF 160.6
TP TOMB 4272
DI 7
169
A30
B77
SLOPE B
A31
SLOPE C
C1
UD
RIM:174.3
B49
B50
TOMB 184
T14 8"
B71
T18 6"
B60
A20
Haley & Aldrich 465 Medford Street, Suite 2200 Boston, MA 02129 Tel: 617.886.7400 Fax: 617.886.7600
B44
TT (177.3)
B46 A19
176
179 C2
A23
B58
UD
B76
T17 8"
Ornamental
B59
DI 5 RIM:177.4
A38
A22 B53
A24
DI 6
A26
10%
M4
B54 B55
B57
A25
A37
180
181
182
B69
HAZEL PATH
A21
T12 24"
172
UD C3
177
M3
BS 183.25
TF 181.6
178
1.75%
RIM:183.8
RIM:183.9
183
UD
1.75%
5% 1.7
RIM:183.7
DI 2
RIM:180.8
UD
DI 3 DI 1
B48
B43
B45 B40 T5 24"
B47
173
1.75%
LOT 4666
B36
B62
B68
DI 4
A11
T23 30"
1:1
184
B63
B65 B64 B66 B67
186
A12
Owner's Geotechnical Consultant:
T35 8"
T28 12"
B42
B23 B25
PY
NO OF CA
.
A18
1
188
B38
L.O.W
A17
1.67:
TS 191.5
190
B24 A13
174
6
18
TT (193.4) BT (191.6)
B37
B28
B33
LIMIT
T32 14"
T27 12" T26 12" B39 B41
B19
A9 B21 B22
B30 B29 B27 B26
B32
B35
1 L503
Granite Stair
B31
A15 B34
A16
B15 B14
A7
A10
T8 15"
A14
B13
B12
B10 A5
A6
B16
A8
B20
.
7 B8
T11 24"
SLOPE A
M5
B9
TT (193.4) BT (191.5)
TT (193.4) BT (191.7) TT (193.4) BT (191.4)
B11
LOT 4709
LOT TT (193.4) 1556 BT (192.5) TT (193.4) BT (192.6)
LOT TT (193.4) 1 BT (192.5)
TT (193.4) BT (192.4)
184
TF 179.6
B17 B18 T9 3"
Michael Van Valkenburgh Associates, Inc. 231 Concord Avenue Cambridge, MA 02138 Tel: 617.864.2076 Fax: 617.492.3128
T34 6"
T25 15"
T24 10"
B7
B1
TF 191.0
LOT 2
LOT 4323
T31 10"
T3 15"
B6
B4
T13 36"
T21 27"
LOT 4228
B5
L.O.W
188
LIM
IT
189
MOUNTAIN AVE
T20 36"
5
M2
T30 10"
T2 6"
B3
A4 A3
18
TF 181.0
LOT 3287
Landscape Architect:
T10 8"
O
B2
18
%
12
A FC
C
580 MT. AUBURN STREET, CAMBRIDGE, MA 02138
IT
MEX
LOT 554
PY
NO
LIM
T33 18"
T1 10"
C
LOT 3
M1 LOT 4
A1
A2
L402
E
L403
L.O
TF 186.9
Mount Auburn Cemetery 580 MT. Auburn Street, Cambridge, MA 02138 Tel: 617.547.7105 Fax: 617.876.4405
PY
CANO T OF
LIMI
PY
LOT 22
TF 156.8
M10
LOT 4202
LOT 3282
LOT 4236
T39 6"
Myrtle Path Grading Represent Finish Grade, Refer to Sheet L501 for Subgrade Plan
HAZEL PATH
LOT 4249
Existing Dry Well, Swale and Drainage components to be reset as required per plans
LOT 4356
N 0
L.O.W.
Limit of Work Txx xx"
EX-PS
TP
Existing Tree to Remain and be Protected, See SP200 Existing Path Sign to Remain and be Protected Tombstone Protection Zone, Refer to Spec. Soil On Top to be Removed by Hand Existing Lot Marker to Remain and be Protected.
Existing Tombstone or Monument to Remain and be Protected
LOT XXXX
Proposed Contour
0.00%
Percentage and Direction of Down Slope
TF XX.XX
Top of Foundation for Monument
Top/Bottom of Tomb
A# A#
Boulder Type A, Refer to Sheet L110
2-4 L502
TS/BS XX.XX
Top/Bottom of Step Elevation
(TT/BT XX.XX)
B#
Boulder Type B, Refer to Sheet L110
2-4 L502
Rim XX.XX
Rim Elevation of Drainage Structure
MEX
Boulder Type B Stacked, Refer to Sheet L110
2-4 L502
(00.00)
Existing Spot Elevation
B#
B# B# B#
Boulder Type C, Refer to Sheet L110
3A L504
M#
Future Proposed Monument. NIC. Foundation to be Installed per Geotech Spec by Contractor.
3-4 L505
Proposed Monument. Design by Others. Monument to be Furnished by Owner. Contractor to Install.
2 L505
M#
C#
Existing Contour 100
Existing Burial Lot Extents NOTE: Work Within Burial Lot is Not Allowed Without Permissions from Owner and Landscape Architect. If Permitted, All Work Shall be Performed by Hand Only.
Meet Existing Grade
00.00
Proposed Spot Elevation
Swale Leaching Basin
HP
High Point
Landscape Underdrainage
3 L501
Low Point
The Contractor shall ensure that all erosion control measures are in place and functioning prior to placement of fill materials. Refer to SP100 and Specifications.
2.
The Contractor shall layout and stake elevations of all site elements for approval by Landscape Architect. This includes but is not limited to the path, proposed boulders and proposed monuments.
3.
The Contractor shall be responsible for positive surface drainage in all areas. All newly graded ground surfaces shall be finished in uniform grades and sloped in such a manner as to drain properly and be free of depressions that cause areas of standing water. The Contractor shall report any conflicts with this requirement to the Landscape Architect for resolution prior to final grading operations.
Proposed and Existing Grading Connection Mark 4 L501
LP
1.
HDPE Pipe Riser Phase Two VSPZ Fence. Keep in Place Until Directed to Remove or Adjust
3 L501 1 SP200
4.
When rough grading is complete, the Contractor shall give the Owner and Landscape Architect notice for on-site review prior to starting an finish grading or soil profile placement. The Landscape Architect reserves the right to make minor adjustments to rough grading without incurring additional cost to the project.
5.
For grading work around existing gravestones, lot markers, and plot curbs (elements): a. Take extreme care to protect elements from damage. b. Inspect all elements and wherever foundations are exposed, raise the surrounding grade to bury exposed foundations, using topsoil or fill, as appropriate, and create a smooth transition. c. Elements with exposed foundations are not identified/located on the Drawings. Contractor shall visit site to determine extent of work required.
4
8
16 FEET
REVISIONS:
GRADING NOTES:
GRADING LEGEND:
LANDSCAPE ARCHITECTURE GENERAL LEGEND:
DATE
d. The soil depth is shallow over the tops of crypts. Grading work shall be performed by hand in these areas. 6.
When proposed grades meet existing, blend grading to provide smooth transitions between the new work and existing work. Ponding and low points will not be accepted.
7.
Site grading as shown represents intent for finish grade. The contractor shall inspect the site and accept it as he finds it. The contractor shall inform the landscape architect of any discrepancies and shall resolve conflicts before proceeding.
8.
The Contractor shall provide protections necessary to prevent damage to existing improvements indicated to remain in place and existing improvements on Owner's property. The Contractor shall restore damaged improvements to their original condition, as acceptable to the Landscape Architect and the Owner.
9.
The extent of protection fences and erosion control measures are shown on the Drawings but the contractor shall include as part of his/her bid an additional 25% of the total linear footage shown on the Drawings for fencing and erosion control.
CURRENT ISSUE:
DATE
100% Bid Documents
02.21.2018
Not for Construction
DRAWING TITLE:
GRADING PLAN SCALE:1/8" =1'-0"
10. New swale shall be staked out on site by Contractor for review and approval by Landscape Architect. Landscape Architect to set final leaching basin rim elevation in filed. 11. Refer to Geotechnical Engineering drawings for slope stabilization techniques.
L200