TEXAS TECH UNIVERSITY
used with out <carve o 3 : to cut into pieces o turkey>intransitive ve meat 2 : to work as a sculpto Composition •Pronunciation: \ käm •Function: noun •Etymology: Middle En Anglo-French compos tion-, compositio, from •Date: 14th century 1 a : the act or process arrangement into spec and especially into art arrangement of type f composition> (2) : the typographic character arranged for printing 2 a : the manner in wh b : general makeup <t composition of the cit qualitative and quanti chemical compound 3 : mutual settlement 4 : a product of mixing elements or ingredien 5 : an intellectual creat especially : a school ex essay b : a written piec considerable size and 6 : the quality or state 7 : the operation of for also : COMPOSITE FUN Cut •Pronunciation: \ k t\ •Function: verb •Inflected Form(s): cut •Etymology: Middle En •Date: 13th century transitive verb 1 a : to an edged instrument b to strike sharply with a (a ball) with a glancing reverse spin e : to expe tooth) through the gu 2 a : TRIM, PARE <cut o omissions <cut the ma ADULTERATE <cut the reduce in amount <cu 3 a : MOW, REAP <cut parts with an edged to HEW c (1) : to separate organization <cut them single out and isolate herd> d : to turn (as a <the driver cut the wh around or about : BYPA 4 a : to divide into seg INTERSECT, CROSS <o BREAK, INTERRUPT <c
LOCATION: NA
PROGRAM: NA
STUDIO 2
Abstract Pronunciation: \ab- strakt, ab- \ Function: adjective Etymology: Medieval Latin abstractus, from Latin, past participle of abstrahere to drag away, from abs-, ab- + trahere to pull, draw Date: 14th centur 1 a : disassociated from any specific instance <an abstract entity> b : difficult to understand : ABSTRUSE <abstract problems> c : insufficiently factual : FORMAL <possessed only an abstract right> 2 : expressing a quality apart from an object <the word poem is concrete, poetry is abstract> 3 a : dealing with a subject in its abstract aspects : THEORETICAL <abstract science> b : IMPERSONAL, DETACHED <the abstract compassion of a surgeon — Time> 4 : having only intrinsic form with little or no attempt at pictorial representation or narrative content <abstract painting> Analytical Pronunciation: \ a-n - li-tik\ •Variant(s): or an•a•lyt•i•cal \-ti-k l\ •Function: adjective •Etymology: Late Latin analyticus, from Greek analytikos, from analyein •Date: 1601 1 : of or relating to analysis or analytics; especially : separating something into component parts or constituent elements 2 : being a proposition (as “no bachelor is married”) whose truth is evident from the meaning of the words it contains — compare SYNTHETIC 3 : skilled in or using analysis especially in thinking or reasoning <a keenly analytic person> 4 : characterized by analysis rather than inflection <analytic languages> 5 : PSYCHOANALYTIC 6 : treated or treatable by or using the methods of algebra and calculus 7 a of a function of a real variable : capable of being expanded in a Taylor's series in powers of x − h in some neighborhood of the point h b of a function of a complex variable : differentiable at every point in some neighborhood of a given point Carve Pronunciation: \ kärv\ Function: verb Inflected Form(s): carved; carv•ing Etymology: Middle English kerven, from Old English ceorfan; akin to Old High German kerban to notch, Greek graphein to scratch, write Date: before 12th century transitive verb 1 : to cut with care or precision <carved fretwork> 2 : to make or get by or as if by cutting —often
PROGRAM: READING ROOMS
PROGRAM: ZEN TOWER
PROGRAM: GALLERY + LIVING
PROGRAM: PERFORMING ARTS SCHOOL + PIAZZA
PROGRAM: LCU WELCOME CENTER
PROGRAM: OFFICES + LIVING
15
LOCATION: BROOKLYN, NY
PROGRAM: ROBOT WORKSHOP
PARTNERS: QUOC TRAN
PARTNERS: MICHAEL OBOT + JOHN GARCIA
IST,ART, AND GALLERY ARTIST LIVE, WORK, AND E SPACE.
COMPETITION
LOCATION: LUBBOCK TX
INTEGRATIVE SYSTEMS
LOCATION: LUBBOCK TX
BUILDING INFORMATION
LOCATION: VERONA IT
STUDIO 6
LOCATION: DENVER CO
STUDIO 5
LOCATION: LUBBOCK TX
STUDIO 4
LOCATION: ARCHER CITY TX
STUDIO 3
LE INFILL
SELF-SYNERGISTIC CONSTRUCT
strakt, ab- \
used with out <carve out a career>
to divide (a deck of cards) into two portions (2) : to <cut us loose from the contract>
•Function: noun •Etymology: Middle English composicioun, from Anglo-French composicion, from Latin composition-, compositio, from componere •Date: 14th century 1 a : the act or process of composing; specifically : arrangement into specific proportion or relation and especially into artistic form b (1) : the arrangement of type for printing <hand composition> (2) : the production of type or typographic characters (as in photocomposition) arranged for printing 2 a : the manner in which something is composed b : general makeup <the changing ethnic composition of the city — Leonard Buder> c : the qualitative and quantitative makeup of a chemical compound 3 : mutual settlement or agreement 4 : a product of mixing or combining various elements or ingredients 5 : an intellectual creation: as a : a piece of writing; especially : a school exercise in the form of a brief essay b : a written piece of music especially of considerable size and complexity 6 : the quality or state of being compound 7 : the operation of forming a composite function; also : COMPOSITE FUNCTION Cut •Pronunciation: \ k t\ •Function: verb •Inflected Form(s): cut; cut•ting •Etymology: Middle English cutten •Date: 13th century transitive verb 1 a : to penetrate with or as if with an edged instrument b : to hurt the feelings of c : to strike sharply with a cutting effect d : to strike (a ball) with a glancing blow that imparts a reverse spin e : to experience the growth of (a tooth) through the gum 2 a : TRIM, PARE <cut one's nails> b : to shorten by omissions <cut the manuscript> c : DILUTE, ADULTERATE <cut the whiskey with water> d : to reduce in amount <cut costs> 3 a : MOW, REAP <cut hay> b (1) : to divide into parts with an edged tool <cut bread> (2) : FELL, HEW c (1) : to separate or discharge from an organization <cut them from the team> (2) : to single out and isolate <cut a calf out from the herd> d : to turn (as a steering wheel) sharply <the driver cut the wheel hard> e : to go or pass around or about : BYPASS <cut the checkout line> 4 a : to divide into segments <cut the cake> b : INTERSECT, CROSS <one line cutting another> c :
out <cut a groove> b (1) : to sing, play, or act for the recording of <cut an album> <cut a commercial> (2) : to sing or play (as a song or a track) for a studio recording c : to type on a stencil d : EDIT 1b <cut a motion picture> 6 a : STOP, CEASE <cut the nonsense> b : to refuse to recognize (an acquaintance) <they cut her dead at the party> c : to absent oneself from (as a class) d : to stop (a motor) by opening a switch e : to stop the filming of (a motion-picture scene) 7 a : to engage in (a frolicsome or mischievous action) <on summer nights strange capers are cut under the thin guise of a Christian festival — D. C. Peattie> b : to give the appearance or impression of <cut a fine figure> 8 : to be able to manage or handle —usually used in negative constructions <can't cut that kind of work anymore> 9 a : to yield or accord to another : GIVE <cut me some slack> b : to fill out and sign (a check)intransitive verb 1 a : to function as or as if as an edged tool b : to undergo incision or severance <cheese cuts easily> c : to perform the operation of dividing, severing, incising, or intersecting d : to make a stroke with a whip, sword, or other weapon e : to wound feelings or sensibilities f : to cause constriction or chafing g : to be of effect, influence, or significance <an analysis that cuts deep> 2 a (1) : to divide a pack of cards especially in order to decide the deal or settle a bet (2) : to draw a card from the pack b : to divide spoils : SPLIT 3 a : to proceed obliquely from a straight course <cut across the yard> b : to move swiftly <a yacht cutting through the water> c : to describe an oblique or diagonal line d : to change sharply in direction : SWERVE e : to make an abrupt transition from one sound or image to another in motion pictures, radio, or television f : to make a sudden transition or imaginative leap <the story cuts to 1917> 4 : to stop photographing motion pictures 5 : to advance by skipping or bypassing another <cut to the front of the line> — cut a deal : to negotiate an agreement — cut both ways : to have both favorable and unfavorable results or implications — cut corners : to perform some action in the quickest, easiest, or cheapest way — cut ice : to be of importance —usually used in negative constructions <his opinion cuts no ice with me> — cut it : to cut the mustard
om any specific instance <an difficult to understand : problems> c : insufficiently ossessed only an abstract
ity apart from an object oncrete, poetry is abstract> ubject in its abstract aspects tract science> b : CHED <the abstract geon — Time> sic form with little or no epresentation or narrative ainting>
- li-tik\ t•i•cal \-ti-k l\
in analyticus, from Greek yein
nalysis or analytics; g something into compouent elements on (as “no bachelor is th is evident from the ds it contains — compare
analysis especially in g <a keenly analytic
rved; carv•ing nglish kerven, from Old n to Old High German ek graphein to scratch,
ntury cut with care or precision
LOCATION: NA
v\
STUDIO 2
analysis rather than anguages> C le by or using the methods lus real variable : capable of Taylor's series in powers of borhood of the point h b of a ex variable : differentiable at neighborhood of a given
PROGRAM: NA
: to cut into pieces or slices <carved the draw (a card) from the deck e : to divide into 2 : to act without restraint <enjoyed cutting loose INVESTIGATION3turkey>intransitive OF INHERENT WITHIN A: SPLIT FOUND OBJECT THROUGH DIAverb 1 SYSTEMS : to cut up and serve shares f : ANALYZE, BREAK DOWN <any way at nightclubs> meat l LatinGRAMMATIC abstractus, from you cut it, we won> ARE THEN REFINED—IN cut3 one's teeth : to learn, do, or perform as a MODELING IN 2 DIMENSIONS. CONSTRUCTS of abstrahere to drag away, 2 : to work as a sculptor or engraver 5 a : to make by or as if by cutting: as (1) : CARVE beginning or at the start of one's career <an THROUGH TO EXTRAPOLATE ON Composition AN ITERATIVE PROCESS ere toDIMENSIONS pull, draw <cut THAT stone> (2)LOOKS : to shape by grinding <cut a actress who cut her teeth on television> diamond> (3) : ENGRAVE (4) : to shear or hollow — cut the mustard : to achieve the standard of THE INHERENT•Pronunciation: SPATIAL \ käm-p - zi-sh n\ QUALITIES WITHIN THE CONSTRUCT.
performance necessary for success — cut to the chase : to get to the point Differentiation Pronunciation: \- ren(t)-shē- ā-sh n\ Function: noun Date: 1802 1 : the act or process of differentiating 2 : development from the one to the many, the simple to the complex, or the homogeneous to the heterogeneous 3 a : modification of body parts for performance of particular functions b : the sum of the processes whereby apparently indifferent or unspecialized cells, tissues, and structures attain their adult form and function 4 : the processes by which various rock types are produced from a common magma Dissipate Pronunciation: \ di-s - pāt\ Function: verb Inflected Form(s): dis•si•pat•ed; dis•si•pat•ing Etymology: Latin dissipatus, past participle of dissipare, dissupare, from dis- + supare to throw Date: 15th century transitive verb 1 a : to break up and drive off (as a crowd) b : to cause to spread thin or scatter and gradually vanish <one's sympathy is eventually dissipated — Andrew Feinberg> c : to lose (as heat or electricity) irrecoverably 2 : to spend or use up wastefully or foolishly <dissipated the family fortune in reckless business ventures>intransitive verb 1 : to break up and scatter or vanish <the clouds soon dissipated> <the team's early momentum has dissipated> 2 : to be extravagant or dissolute in the pursuit of pleasure; especially : to drink to excess synonyms see SCATTER Fasten Pronunciation: \ fa-s n\ Function: verb Inflected Form(s): fas•tened; fas•ten•ing \ fas-niŋ, fa-s n-iŋ\ Etymology: Middle English fastnen, from Old English fæstnian to make fast; akin to Old High German festinōn to make fast, Old English fæst fast Date: before 12th century transitive verb 1 a : to attach especially by pinning, tying, or nailing b : to make fast and secure c : to fix firmly or securely d : to secure against opening 2 : to fix or set steadily <fastened her attention on the main problem> 3 : to take a firm grip with <the dog fastened its teeth in the shoe>
objectionably b : to place for <fastened the blame on the person>intransitive verb 1 : t fixed 2 a : to take a firm grip or ho attention Intuitive •Pronunciation: \in- tü- -tiv, •Function: adjective •Date: circa 1645 1 a : known or perceived by i apprehended <had an intuit sister's feelings> b : knowab <intuitive truths> c : based o intuition <intuitive response sense> d : readily learned or <software with an intuitive i 2 : knowing or perceiving by 3 : possessing or given to int intuitive mind> Iteration Pronunciation: \ i-t - rā-sh •Function: noun •Date: 15th century 1 : the action or a process of repeating: as a : a procedure of a sequence of operations successively closer to a desir repetition of a sequence of c a specified number of times met — compare RECURSION 2 : one execution of a sequen instructions in an iteration 3 : VERSION, INCARNATION < the operating system> Juxtaposition Pronunciation: \ j k-st -p - Function: noun Etymology: Latin juxta near more at JOUST Date: 1654 : the act or an instance of pla things side by side; also : the placed Offset Pronunciation: \ f- set\ Function: noun Date: circa 1555 1 a archaic : OUTSET, START b 2 a (1) : a short prostrate late the base of a plant (2) : a sma the base of another bulb b : branch (as of a family or race spur from a range of hills 3 a : a horizontal ledge on th formed by a diminution of it DISPLACEMENT c : an abrupt dimension or profile of an ob off by such change 4 : something that sets off to
s 01
s 01
s 02
s 02
p 02
p 02 p 01
p 01
DIGITAL INTERACTION THE DIGITAL WORLD IS CONTINUING TO DOMINATE OUR SOCIETY TO THE POINT THAT WHAT WAS NOT LONG AGO CONSIDERED CONVENTIONAL IS BECOMING THE UNCONVENTIONAL. HOW PEOPLE ONCE VIEWED TEXT IN BOOKS ARE NOW LOOKING TOWARD DIGITAL TEXT AS A PREFERRED MEDIUM IN GATHERING KNOWLEDGE. MY PROJECT CONFORMS TO THESE CHANGES RATHER THAN REJECTING THE IDEOLOGY OF THE INFORMATION GENERATION.
LOCATION: ARCHER CITY TX
STUDIO 3
PROGRAM: READING ROOMS
outoor public viewing space dictated by the caretaker
15
The project focuses on a chosen CHARACTER and how this character adapts to the fact that as society changes so does the roles of specific individuals within society. Therefore, the character (portrayed by a NATIVE AMERICAN)assumes the role as the CARETAKER of a digital library who spends his days on his computer constantly updating the servers with more digital text that can be viewed by the public. How the public views this text conforms to preconceived notions when thinking about viewing text on a screen. Any idea that concerns computing information follows a notion of personal space such as in offices with cubicles. The rooms in which the public can privately view images follows this idea with cubicles. However, land envelops the building to create an outdoor public space above the building where images are projected to the public at night. The idea of using land as a juxtaposition between these two very different projection spaces comes from the Native American characters necessity for LAND. Therefore it makes sense that the content of these IMAGES is dictated by the Native American allowing him to EXPRESS himself and display his personality to the public as a way to counteract against HIS BLEAK CARETAKER RESPONSIBILITIES.
ZEN TOWER
LOCATION: LUBBOCK TX
STUDIO 4
PROGRAM: ZEN TOWER
QUESTIONING WHAT A TOWER CAN BE LEAD TO THE DEVELOPMENT OF THE IDEA OF A TOWER THAT ENCLOSES SPACE IN SUCH A WAY THAT INTERACTION WITHIN THE SPACE IS CONVERTED IN THAT ONE DOESN’T PHYSICALLY ELEVATE IN THE TOWER BUT RATHER IS SPIRITUALLY ELEVATED. FURTHERMORE, A CONVENTIONAL OBSERVATION TOWER WOULD BE OBTRUSIVE ON THE SMALL LANDSCAPE OF URBANOVSKY PARK. THEREFORE INSTEAD OF ATTEMPTING TO DOMINATE THE LANDSCAPE, THE DESIGN SHOULD ALLOW THE TOWER TO BLEND IN WITH THE SURROUNDING CONTEXT.
N scale: 1’=1/8”
the BEST VIEWS in urbanovsky park are form the GROUND LEVEL and not an elevated point
plan
section
SENSIBLE INFILL
LOCATION: DENVER CO
STUDIO 5
PROGRAM: GALLERY + LIVING
THE CONNECTION OF ARTIST,ART, AND GALLERY IS DYNAMIC IN THAT THE ARTIST LIVE, WORK, AND DISPLAY ALL IN THE SAME SPACE.
Each gallery corresponds to an artist living directly above
deletion
living
The base of the apparatus becomes the living space for the artist used parts
core
The core of the building was derived from the negative space of the apparatus. The program was then attached to the core. top view of apparatus
APPARATUS The CONCEPT of the building was derived from the initial APPARATUS exploration through a certain biological object. Relevant characteristics of this object were extracted and in turn influenced the formal qualities of the building.
c
kinetic sculpture b
b
b
elevator
transparent
a
a
maintenance
office
shell office
storage
c
BASEMENT B basement scale: 1’= 3/32”
poles
floor plates+circulation
entr
anc
e
site
THE EXHIBITED ART BUILDS ON IDEA OF SUSPENSION FROM THE INITIAL BIOLOGICAL OBJECT. THE MECHANICS OF THE SCULPTURE ARE CONTROLLED BY THE ARTISTS.
a
c
c
c
c
artist 2 living
artist 3 living
slope
artist 2 work space
b
b
b
b
gallery 1
b
b
artist 3 work space
b
b
gallery 2
common area elevator
elevator
elevator
elevator
desk
lobby
a
a
a
a
a
a
a
a
cafe
slope
kitchen
gallery 3
artist 1 living
artist 1 work space
c
c
CAFE
G ground floor
c
GALLERY 2 second floor
c
GALLERY 3 third floor
LIVING 4 artist loft
gallery 2
1 2 3 4 5 6 7
2’x2’ ceramic tile steel plate glass panels steel frame rigid insulation batt insulation interior
1 2 3 4 5 6
2’x2’ ceramic tile steel plate rigid insulation steel frame sculpture mechanism ceiling
1 2 3 4 5 6 7 8 9 10
kinetic sculpture finished floor concrete slab metal decking W10x60 girder steel frame steel plate 2’x2’ ceramictile 1’ 6” steel post 8” steel post
gallery 1
1 2 3 section b
4 5 artist loft
third floor
second floor
ground floor
basement
1
2
3
4
5
6
7
6
section a
1 2 3 4
lobby
5 6 7 8
office
9 kitchen
10
artist 2 work space
artist 2 living
artist 1 work space
common area
gallery 3
artist loft
third floor
second floor
gallery 1
elevator
section c lobby
bathroom
cafe
ground floor
basement
PERFORMATIVE SYNERGY
LOCATION: VERONA IT
P
STUDIO 6
PIAZZA BRA MOLINARI
BE ER E GE LL AN DE XCH A E ZZ FOR PILAACE
PROGRAM: PERFORMING ARTS SCHOOL + PIAZZA
THE PROJECT IS CENTERED AROUND PERFORMANCE, STARTING WITH THE PERFORMING ARTS SCHOOL AND EXTENDING OUT INTO THE PIAZZA. PROGRAMMATICALLY THE TWO HAVE DIFFERENT NEEDS, BUT ARE LINKED THROUGH MATERIALITY AND PERFORMANCE. THIS NECESSARY SYNERGY BETWEEN THE TWO CREATES A JUXTAPOSITION OF CONTEMPORARY AND CLASSICAL.
43
4 WEEKS
PIAZZA ISOLO
THE IMPORTANCE OF THE PIAZZA IN VERONA IS BOTH SOCIAL AND ECONOMICAL FOR GATHERING AND EXCHANGING. WITH TWO PROMINENT PIAZZAS IN CLOSE PROXIMATION TO THE PROPOSED SITE, ONE CAN ASSESS WHAT MAKES A PIAZZA WORK.
PLACE FOR GATHERING
PIAZZA CONNECTION
-1 dressing rooms
ADIGE RIVER
INDOOR STAGES
ind inf oor steluen per el cing form ou an td ce oo r
pia gr zza st ound influ on fl en e oor cin g
GLASS STEEL STONE
INTEGRATION OF MATERIALS
OUTDOOR STAGE
1:200
0 public restrooms
1 offices
2 classrooms
al stage
floor plans
3 library/rehears
SCHOOL OF THE PERFORMING ARTS
PIAZZA stone pattern grass primary path grid deriving the grid through two important historical markers in relation to the site
IA
AS
ST
NA
.A
ST
EA T TH AN RO M
perpendicular view to roman theatre
transition area
St. anastasia projected area
RE
ADIGE RIVER
PROGRAM: LUBBOCK CHRISTIAN UNIVERSITY WELCOME CENTER LOCATION: LUBBOCK TX
BUILDING INFORMATION
CONSTRUCTION DOCUMENTS COURSE THAT REQUIRED THE REPRODUCTION OF AN ALREADY EXISTING BUIDLING IN LUBBOCK IN ORDER TO BETTER UNDERSTAND BUILDING INFORMATION MODELING 1
A7.0
7
6
5
PROGRAM USED: REVIT PRE-FINISHED 22 GA. GI. CAP FLASHING ON TREATED 2X BLOCKING
SANDBLASTED CONCRETE COLUMNS RE: STRUCTURAL
TYPE A FACE BRICK
1
PAINTED STEEL TENSION RING RE: STRUCTURAL
7
4
PRE-FINISHED GALVANIZED STANDING SEAM METAL ROOF CONTOURED TO DOME
3
PAINTED STEEL TENSION RING RE: STRUCTURAL
C.1 SANDBLASTED CONCRETE COLUMNS RE: STRUCTURAL
ALUMINUM DOORS AS SCHEDULED
North 1/8" = 1'-0"
1 Level 5 30' - 9"
Copy of Elevation 1 - c 1/8" = 1'-0"
WINDOWS AS SCHEDULED
2
ALUMINUM STOREFRONT AS SCHEDULED
PRE-FINISHED 22 GA. GI. CAP FLASHING ON TREATED 2X BLOCKING
SANDBLASTED CONCRETE COLUMNS RE: STRUCTURAL
WINDOWS AS SCHEDULED
Level 4 20' - 0" Level 3 16' - 8" Level 2 13' - 4"
Finish Floor 0' - 0"
TYPE A FACE BRICK
PAINTED GYP. BOARD CEILING
ZA
Date
Level 4 20' - 0" Level 3 16' - 8" Level 2 13' - 4"
Finish Floor 0' - 0" AIR GRILLES RE: MECH.
1
AIR GRILLES RE: MECH.
Section 1 1/8" = 1'-0"
1 A7.0
1
2
3
4
PRE-FINISHED GALVANIZED STANDING SEAM METAL ROOF CONTOURED TO DOME
5
6
D.2
PRE-FINISHED 22 GA. GI. CAP FLASHING ON TREATED 2X BLOCKING
7
E.2
PAINTED STEEL TENSION RING RE: STRUCTURAL SANDBLASTED CONCRETE COLUMNS RE: STRUCTURAL
PAINTED STEEL TENSION RING RE: STRUCTURAL
Level 5 30' - 9"
SANDBLASTED CONCRETE COLUMNS RE: STRUCTURAL
PRE-FINISHED 22 GA. GI. CAP FLASHING ON TREATED 2X BLOCKING
Level 4 20' - 0" Level 3 16' - 8" Level 2 13' - 4"
Level 4 20' - 0" Level 3 16' - 8" Level 2 13' - 4"
TYPE A FACE BRICK
TYPE A FACE BRICK
OPEN OFFICE
OPEN OFFICE
TYPE A FACE BRICK
2
South 1/8" = 1'-0" 2
Section 2 1/8" = 1'-0"
WINDOWS AS SCHEDULED
SANDBLASTED CONCRETE COLUMNS RE: STRUCTURAL
ALUMINUM DOORS AS SCHEDULED
ALUMINUM STOREFRONT AS SCHEDULED
WINDOWS AS SCHEDULED
3
Section 3 1/8" = 1'-0"
Z
Class Ti
Level 5 30' - 9"
Finish Floor 0' - 0"
TYPE A FACE BRICK
WINDOWS AS SCHEDULED
Finish Floor 0' - 0"
1
2
3
4
5
6
7
Z
225' - 8 3/4"
MEN
21 1' - 6
JANITOR
-4 5/8" 4'
-7 3/8" 5'
-4 5/8" 4'
3/8" 5'
4' - 4 7 5/8"
-7 3/8" 5'
5/8" 4'
5/8 5' - 7 4 3/8"
AL-1
" 4' -
'-5 4 3/8"5
3
OPEN OFFICE
D.2
E.2
AL-1 5' - 5
" 25/32
25/32 "4' - 4
3/8" 5' - 7
AL-1 5/8" 4' -4
3/8" 5' -7
AL-1 5/8" 4' -4
AL-1
3/8" 5' - 7 5/8 " 4' 4
3/8" 5' - 7
AL-1 5/8" 4' - 4 3/8 " 5' 7
2
Level 4 20' - 0" Level 3 16' AL - 8"-1 Level 2 13' - 4" 5/8" 4' -4
AL-1
3/8" 5' - 7 5/8 " 4' 4
A6.1
3
AL-1
AL-1
AL-2
4
- 4 3/8
" 5' - 7
" 4' 29/32
- 4 3/8
10' - 5 7/16"
" 2' - 11
1
2
3 2
Date
C.1
No.
1. C
2. G
3. W 4. Fo
3/82'" 6 1/2"
E.1 23' - 1 3/4"
4
ZACH GR
Class Time
OPEN OFFICE
Finish Floor 0' - 0"
69' - 5 17/32"
6
5
Section 2 1/8" = 1'-0"
19' - 7 15/32"
3
7
Section 3 1/8" = 1'-0"
N
1 A7.0
5601 19th Street; Lubbock, Texas 79407
Lubbock Christian University
Floor Plan 1 1/8" = 1'-0"
2
3
4
5
6
7 Level 5 30' - 9"
Designed by MWM Architects, Lubbock, Texas
New Welcome Center
23' - 1 3/4"
OPEN OFFICE
Level 4 20' - 0" Level 3 16' - 8" Level 2 13' - 4"
Date
Finish Floor 0' - 0"
1.26.11
2. Grid Columns
2.2.11
3. Walls
2.9.11
4. Foundation, Glass
5.Se
6.Int
7.Ge 8.Ch
R
No. Descriptio 1. Cartoon
2. Foundation, 3. Sections, Be
4.Roof, Wall Se 5.Check Set
Revisions No. Description 1. Cartoon
Z
D.1
A7.0 69' - 5 17/32"
31/32"
A6.2
1
3/8" 2' - 10 3/3 2"
AL-1
AL-2
AL-3
4' - 4
AL-1
8' - 0 11/16" 5' - 7
AL-1
AL-1
AL-1
-4 AL
AL-3
5' - 4 9/32" 4' - 4 3/8" 5' - 7 31/32" 4' - 4 3/8"
AL-1
3/8"
AIR GRILLES RE: MECH.
AL -4
AL-1
4' - 4 7 5/8"
-4
AIR GRILLES RE: MECH.
13/32 "
4' - 4 Floor Finish 3/8" 0' -5'0"- 8 7/8"
17
AL
AL-1 Section 1 1 1/8" = 1'-0"
AL-1
" 5' -
22
9
AL-1 4 3/8 1/24'" -
20
16
OPEN OFFICE
AL-1
LOBBY
8
Level 4 20' - 0" Level 3 16' - 8" Level 2 13' - 4"
2
COMM./ELEC.
AL-6 LOBBY
12
3/8"
AL-1
7/16"
BREAK ROOM
A3.1
JANITOR
AL-1
/32"4' - 6 21
New Welcome Center
-4 AL
3 A8.0
AL -5
4' - 4
3/8" 5'
30' - 9"
1' - 5
AL-1
AL-1
7/8"
4' - 4
8' - 0 11/16"
5' - 8 3/32"4' - 4 3/8" 2' - 10
" 13/32
19' - 7 15/32"
1
MEN
13 1' - 6
10' - 9 9/16"
43' - 5 11/16"
14
3
2' - 6
E.2
5
A7.0
5/8"
19
ROTUNDA
AL-1
3' - 8"
11
4
-8 Level 3/8" 5' 5 4' - 4
WOMEN
BREAK ROOM
4' - 4 3/8" 5' - 7 5/8" 4' - 4 3/8" 5' - 7 5/8" 4' - 4 3/8"
D.2
15
7
WOMEN
10' - 8 9/16"
4.13.2011
18
B.1
AL-1
AL-1
AL-1
AL-1
PAINTED GYP. BOARD CEILING
-4 AL
8:00 AM
7/16"
1 A8.0
151' - 8 15/16"
8' - 3 9/32"
6' - 4 3/8" 3' - 11 7/32" 5' - 10" 4' - 3 13/16" 6' - 4 3/8"
27' - 7 9/32" 26' - 10 19/32"
1' - 5
-5 AL
ZACH GRZYBOWSKI
AL -4
C.1
AL-6
ZG
10
3/8"
OPEN OFFICE
AL-6
2
AL-1
3/8" 5' - 8 5/8" 4' -4
AL-1
AL-1
AL-1
-5 AL
A6.2
Date
21/32 " 4' - 4
AL-3
5/8"
-4 AL
C.1
Class Time
3/8" 5' -6
AL-1
29/32 " 4' - 4
1
AL-2
-4 AL
AL -5
3/8" 5' -7
AL-1
6
AL-2
AL-3
AL-6
31/32 "
AL-1
3' - 8"
2' - 11
4' - 4
COMM./ELEC.
AL-1
5' - 7
27' - 6 29/32"
AL-1
OPEN OFFICE
AL-1
AL-1
AL-1
3/8"
Date
1.) THE CONTRACTOR AND SUBCONTRACTOR SHALL THOROUGHLY FAMILIARIZE THEMSELVES WITH THE CONTRACT DOCUMENTS AND SHALL IMMEDIATELY REPORT ALL QUESTIONABLE CONDITIONS TO THE ARCHITECT BEFORE STARTING THE WORK. 2.) REFER TO CIVIL, STRUCTURAL, MECHANICAL, ELECTRICAL AND PLUMBING DRAWINGS FOR ADDITIONAL INFORMATION. 3.) COORDINATE ALL PORTIONS OF THE WORK. 4.) REFER TO CIVIL DRAWINGS FOR THE ACTUAL FINISH FLOOR GRADE ELEVATION WHICH IS SHOWN AS ELEV.= 100'-0" ON THE ARCHITECTURAL DRAWINGS.
27' - 2 23/32"
Copy of Elevation 1 - c 1/8" = 1'-0"
-4 5/8" 4'
Clas
GENERAL NOTES:
43' - 2 7/8"
7
1 A7.0
-7 3/8" 5'
AL-1
AL-1
1/3
-4 5/8" 4'
A.1
42' - 10 5/8"
5' - 6
7 " 5' -
AL-1
AL-1
5' - 7"
4 3/8 2" 4' -
AL-1
AL-1
AL-1
AL-1
3/8"
5/8" 4'
"
4' - 4 3/8" 5' - 7 5/8" 4' - 4 3/8" 5' - 7 5/8" 4' - 4 3/8"
5/8" 4' -4
5' - 7
1/2 3/82'" - 6
10' - 8"
AL-1
5/8" 4' - 4 3/8 " 5' 7
3/8"
4' - 4
3' - 8"
3/8" 5' - 7
5'
3/8" 4' - 4
-4 5/8" 4'
5/8"
3' - 8"
5/8" 4' -4
AL-1
AL-1
AL-1
AL-1
3/8" 5' -7
-7 3/8" 5'
-7 3/8" 5'
10' - 8 9/16"
5/8" 4' -4
4 " 4' - 7 5/8
-4 5/8" 4'
4' - 4 3/8" 5' - 7 5/8" 4' - 4 3/8" 5' - 7 5/8" 4' - 4 3/8"
AL-1
3/8" 5' -7
7 " 5' - 4 3/8
10' - 9 9/16"
5/8" 4' -4
A8.0
AL-1
AL-1
3/8" 5' - 7
2
1
AL-1
5/8" 4' -4
19' - 7 15/32"
AL-1
3/8" 5' -7
4' - 4 3/8" 5' - 7 5/8" 4' - 4 3/8"5' - 3 21/32"
AL-1
4' - 4
69' - 5 17/32"
6' - 4 3/8" 3' - 11 7/32" 5' - 10" 4' - 3 13/16" 6' - 4 3/8"
A7.0 3/8" 5' - 7 5/8 "
10' - 8"
B.2
23' - 1 3/4"
A6.1 -
5' - 4 9/32" 4' - 4 3/8" 5' - 7 31/32" 4' - 4 3/8"
5/8" 4' - 4
AL-1
42' - 11 9/32"
4' - 4 3/8" 5' - 7 5/8" 4' - 4 3/8" 5' - 7 5/8" 4' - 4 3/8"
AL-1
23' - 1 3/4"
4' - 4 3/8" 5' - 7 5/8" 4' - 4 3/8" 5' - 3 21/32"
10' - 5 7/16"
A.2
69' - 5 17/32"
2
AL-1
1/2" 4' - 4 3/8" 5' -7
8' - 1 5/8"
19' - 7 15/32" 2' - 6
2.16.11
5.Sections, Beam
2.23.11
6.Roof, Wall Sections 7.Check Set
4.13.11
3.2.11
4
Section 4 1/8" = 1'-0"
ZG ZACH GRZYBOWSKI
8"X8" PRE-FINISHED METAL GUTTER
Class Time
8:00 AM
Date
4.13.2011
1 A9.0
OPEN CELL FOAM INSULATION AS SPEC.
Level 4 20' - 0"
3 A9.0
PARAPET FLASHING AS SPEC EXTEND UP WALL AND LAP OVER WD BLKING AND UNDER METAL COPING
A.1
REVEAL TYPICAL AT ALL ROTUNDA COLUMNS ROOFING AS SPEC ON R-22 RIGID INSUL. MECH. ATTACH TO METAL DECK
4" FIBER CANT CONT CONT. THRU WALL FLASHING WITH 1/4" 45 DEG. DRIP EXT. AND TUBE TYPE WEEPHOLES AT 24" O.C.
Level 4 20' - 0"
SANDBLASTED CONCRETE COLUMNS
5/8" TREATED CDX PLYWD ON 1/2" GYP SHEATHING
Level 3 16' - 8"
PRIMED AND PAINTED STEEL TENSION RING
Level 3 16' - 8"
ROOFING AS SPEC ON R-22 RIGID INSUL MECH ATTACH TO METAL DECK
CONT SEALENT PAINTED CONT SURFACE MOUNTED 22 GA. GI. COUNTERFLASHING Level 2 13' - 4"
Level 2 13' - 4" SOUND ATTENUATION BATT INSULATION
4 A9.0
FORTACRETE STRUCTURAL PANELS ON METAL STUD JOISTS STEEL TUBE
LAY-IN CEILING 5/8" GYP BOARD ON METAL STUD JOISTS
TYVEK VAPOR BARRIER ON 1/2" GYP SHEATHING
5/8" GYP BOARD ON METAL STUD JOISTS
2 A9.0
FLOOR FINISH AS SCHED. FACE BRICK TYPE "B" SOLDIER COURSES FINISH GRADE VARIES SEALENT ON CONT. EXP. JT. MATERIAL
BASE AS SCHED.
CONCRETE SLAB
FLOOR FINISH AS SCHED.
RADIANT FLOOR TUBING
CONCRETE SLAB RADIANT FLOOR TUBING
2" RIGID CLOSED CELL INSULATION AS SPEC.
2" RIGID CLOSED CELL INSULATION AS SPEC.
Finish Floor 0' - 0"
Section 6 3/4" = 1'-0"
Revisions No. Description 1.Cartoon 3.Sections, Beam
Finish Floor 0' - 0" CONT. THRU WALL FLASHING WITH 1/4" 45 DEG. DRIP EXT. AND TUBE TYPE WEEPHOLES AT 24" O.C.
2
BASE AS SCHED.
5601 19th Street; Lubbock, Texas 79407
5/8" GYP BOARD ON 6" METAL STUDS AT 16" O.C.
FACE BRICK TYPE "A" WITH BRICK TIES AT 16" O.C. E.W. BEYOND
42" HIGH 3 5/8" METAL STUD AT 16" O.C. GUARDRAIL
Lubbock Christian University
3 COURSES OF 3 5/8" CMU
NTED EXTERIOR GYP BOARD FFIT WITH CONT. 1" SOFFIT NT AT EDGES
5/8" GYP BOARD ON BOTH SIDES OF 4" METAL STUDS AT 16" O.C.
R-19 BATT INSULATION WITH VAPOR BARRIER TO INTERIOR FACE
Designed by MWM Architects, Lubbock, Texas
S
NDBLASTED CONCRETE LUMNS AND BEAMS
New Welcome Center
G
PRE FINISHED ARCHITECTURAL STANDING SEAM METAL ROOF AS SPEC ON ROOF MEMBRANE AS SPEC ON 5/8" FIRE TREATED CDX PLYWOOD ONM CURVED STRUCTURAL METAL STUDS
Date 1.26.11 2.23.11
3.Roof, Wall Sections
3.2.11
4. RCP, Details 5. Interior,Schedules
3.9.11 3.23.11
6.Check Set
4.13.11
VAPOR BARRIER AS SPEC. FILL CAVITY BELOW THRU WALL FLASHING WITH GROUT
VAPOR BARRIER AS SPEC.
3
Section 7 3/4" = 1'-0"
Wall Sections
1
2
4
3
5
6
7
Z
225' - 8 3/4"
19' - 7 15/32"
69' - 5 17/32"
23' - 1 3/4"
23' - 1 3/4"
69' - 5 17/32"
19' - 7 15/32"
Z
A.1
A.2
Class Date
W18X35
600S16
W18X35
2 600S16
2
W14X22
19-26K6
W16X26
HSS10X4X5/16 TENSION RING JOISTS
19-26K6
ENTRY CANOPY
AT 5'-0"
16 SP.
JOISTS AT 5'-0"
W14X22
W14X22
W16X26
Structural Framing_rotunda
W16X26
42' - 10 25/32"
W16X26
16 SP.
W16X26
W14X22
42' - 10 23/32"
W16X26
W14X22 W14X22
B.1
B.2 W14X22
W14X22 HSS1
W14X22
W14X22
W10X22
8-10KI JOISTS
W16X26
W16X26
W16X26
W16X26
W14X22
D.1
5'-0"
JOI 15-26K6
W16X26
AT 12 SP.
W16X26
W14X22
W14X22
W14X22
D.2
C.1
26' - 10 19/32"
JOISTS 8-10KI
137' - 6 1/32"
W12X14
W10X30
W16X26
JOISTS 8-10KI
W10X30
W12X14
W16X26
W10X22
W12X14
26' - 10 1/16"
W16X26
8-10KI JOISTS
27' - 2 29/32"
W16X26 /16 0X4X5 HSS1
W16X26
W12X14
27' - 8 3/16"
W16X26
C.1
FRAMING PLAN
16 0X4X5/
12 SP.
AT 5'-0 "
15-26K6 JOI
STS
STS
W16X26
W16X26
W14X22
W14X22
W18X35
43' - 3"
W16X26
W16X26
43' - 6 17/32"
ENTRY CANOPY
600S16
2 600S16
W18X35
2
No. D 1.Roof
2.RCP,
3.Chec
E.2
E.1 19' - 7 15/32"
1
1
69' - 5 17/32"
23' - 1 3/4"
2
23' - 1 3/4"
4
3
69' - 5 17/32"
19' - 7 15/32"
6
5
7
N
Framing plan 1/8" = 1'-0"
1
2
3
4
5
6
7
A.1
A.2 PAINTED EXTERIOR GYP BOARD CEILING SOFFITE
CEILING LEGEND
PAINTED EXTERIOR GYP BOARD CEILING SOFFITE
2' X 2' LAY-IN SUSPENDED TYPE I TILE CEILING 2' X 4' LAY-IN LIGHT FIXTURE RE: ELEC. LIGHT FIXTURE RE: ELEC. RECESSED LT. FIX. RE: ELEC HVAC SUPPLY AIR GRILLE RE: MECH HVAC RETURN AIR GRILLE RE: MECH.
REFLECTED CEILING PLAN
EXPOSE D:
OPEN OFFICE
PAINTED GYP BOARD CEILING/ SOFFIT UNLESS OTHERWISE NOTED REFERE NCE FRA
D: REF EXPOSE
MING
ERENCE
G FRAMIN
OPEN OFFICE
B.1
B.2
PAINTED GYP BOARD CEILING AND BEAM SURROUNDS IN ROTUNDA
PLASTER CEILING OVER SHOWER AREA
8' - 0" A.F.F. WOMEN 8' - 0" A.F.F.
8' - 0" A.F.F.
8' - 0" A.F.F.
LOBBY
LOBBY
C.1
BREAK ROOM
COMM./ELEC.
COMM./ELEC.
ROTUNDA
BREAK ROOM
C.1
PLASTER CEILING OVER SHOWER AREA
8' - 0" A.F.F. WOMEN
8' - 0" A.F.F.
MEN 8' - 0" A.F.F.
MEN 8' - 0" A.F.F. JANITOR
JANITOR
PAINTED GYP BOARD CEILING AND BEAM SURROUNDS IN ROTUNDA
D.2
D.1
D: REF EXPOSE
OPEN OFFICE G FRAMIN ERENCE
OPEN OFFICE EXPOSE D: REF ERENCE FRA
PAINTED EXTERIOR GYP BOARD CEILING SOFFITE
MING
PAINTED EXTERIOR GYP BOARD CEILING SOFFITE
E.2
E.1
1
2
3
4
5
6
7
N
PARTNERS: MICHAEL OBOT + JOHN GARCIA PROGRAM: OFFICES + LIVING LOCATION: LUBBOCK TX
TEAM BASED DEISGN PROJECT THAT NEEDED TO INCORPORATE STRUCTURE, PLUMBING, MECHANICAL, ELECTRICAL, AND BUIDLING ENVELOPE SYSTEMS. PROGRAM USED: archiCAD
OFFICE SPACE LIVING SPACE LOBBY OFFICE MAIL ROOM LOADING DOCK RESTAURANT/BAR
20,000 SQFT 4,000 SQFT 1,500 SQFT 500 SQFT 300 SQFT 700 SQFT 4,000 SQFT
TOTAL
31,OOO SQFT
SITE
14,400 SQFT
J
SIGNAGE
I
H
SIGNAGE
G
SITE
ALLEY
MAIN ENTRANCE
F
MAIL ROOM F
D
LOUNGE
C
RESTROOMS
COFFEE EXPRESS
SOLID FILL CELLS 8” CMU
ENLARGED PLAN CALLOUT
LOADING 2” EIFS
B
4 HR. FIRE RATING A
PROPERTY LINE
1
GROUND FLOOR PLAN 1/8” = 1’ 2
ALLEY 3
1
5
6
7
8
9
10
12
the design decision to push the building into the back corner of the site allowed the front to be open to the busy street corner allowing the interaction between the building and the public
H
CLOSET SPACE LIVING SPACE RESTROOM
G
F
24
2
24 x 7" = 14'
21
20
3
4
5
19
6
18
7
17
8
16
9
15
10
14
11
HALL SPACE
F
LIVING SPACE
1
23
22
12
13
D
VERTICAL TRANSITION
LIVING SPACE
RESTROOM
CLOSET SPACE
LOBBY SPACE
CLOSET SPACE
B
RESTROOM
LOBBY SPACE
C
A
2ND-3RD LEVEL FLOOR PLAN 1/8” = 1’ 1
2
3
1
5
6
7
8
9
10
9
10
J
OFFICE SPACE I
4’-5”
H
G
OFFICE SPACE F
4’-5”
VERTICAL TRANSITION 1
2
21 x 6 7/8" = 12'
21
20
19
F
3
4
18
5
17
6
16
7
15
8
14
9
13
12
10
11
D
OFFICE SPACE
RESTROOMS
C
CAT WALK
10
8
9
1
3
4
6
5
2
22 x 6 9/16" = 12'
7
2
1
9
8
7
6
5
3
10
4
B
ELECTRICAL CLOSET
22 x 6 9/16" = 12'
11
13
12
14
15
21
19
22
18
17
20
16
11 22
15
21
20
19
18
17
16
14
13
12
A
4TH-7TH FLOOR PLAN 1/8” = 1’ 1
2
3
1
5
6
7
8
1'-0"
CURTAIN WALL ELECTRIC TRAY BATHROOMS 11'-0"
6"
13'-6"
SECTION PERSPECTVE_living area
1'-3 3/4"
1'-4 1/2"
2-3
1
2
21
20
3
4
5
19
6
18
7
17
8
16
9
15
10
14
11
24
4-7
1
23
2
22
21
20
3
4
5
19
6
18
7
17
8
16
9
15
10
1
2
21 21 x 6 3/4" = 12'-0"
24
23
22
24 x 7" = 14'-0"
G
24 x 7" = 14'-0"
B
20
19
3
4
18
5
17
6
16
7
15
8
14
9
13
14
13
11 12
13
24 x 7" = 14'-0"
24 x 7" = 14'-0"
9
8
7
6
5
4
3
2
1
24 x 7" = 14'-0"
10
1
7
6
5
4
3
2
9
8
10
11
9
8
7
6
5
4
3
2
1
10
1
8
7
6
5
4
3
2
9
11
10
11
9
8
7
6
5
4
3
2
1
10
1
8
7
6
5
4
3
2
9
11
10
12
12
10
11
24 x 7" = 14'-0" 22 x 6 1/2" = 12'-0" 22 x 6 1/2" = 12'-0"
12
11
12
12
12
13
12
18
17
16
15
14
21
22
FRESH
20
22
21
20
19
18
17
16
15
14
13
12
EXHAUST
19
14
13
20
19
18
17
16
15
24
23
22
21
14
13
20
19
18
17
16
15
24
23
22
24
23
22
21
20
19
18
17
16
15
14
13
24
23
22
21
20
19
18
17
16
15
14
13
21
11
COOLING TOWER CHIMNEY
1’x 8” 1’ 6”x 1’ 6” 1’x 8”
3’x3’ DUCTS EXHAUST OUTAKE FRESH AIR INTAKE
BOILER
MECHANICALsystem
CHILLING UNIT
BEAM SYSTEM THROUGHOUT ENTIRE STRUCTURE W 10” X 8”
ROOF IS TAR WITH GRAVEL OVER SEVERAL A WATER PROOF MEMBRANE 6” SLAB CONSIST OF 3” STEEL DECKING
CANTLEVER OVERHANG STRUCTURE
W 16”X 7”
CROSS-BRACED BOX TRUSS SYSTEMS FOR LATERAL LOADS
W 7 5/8”X 3 3/16” CANTLEVER STILT SUPPORTS
W 24”X 12 3/4”
ALL EXTERIOR COLLUMNS
W 12”X 8”
ALL INTERIOR COLLUMNS
10” X10” HSS K
J
I
H
G
F
E
STRUCTURALsystem
D
03
C
B
04
04
A
12'-0"
11'-6"
11'-6" 3'-0"
2'-0"
12'-4"
4'-11"
11'-6" 2'-0"
11'-6"
3'-0"
11'-6" 11'-6" 2'-0"
13'-6"
13'-6"
8"
8" 1'-8 1/2"
6"
BAR
1'-4"
13'-6"
2'-0"
13'-6" 13'-6"
04
03
03
04
03
04 03
03
03
03
03
03
04
03
05
05
beginner
PARTNERS: QUOC TRAN
the project is an ideas competition established by the website suckerpunchdaily participated by myself and a partner.
intermediate
circuit board
LOCATION: BROOKLYN, NY
1
kin urban s
COMPETITION
PROGRAM: ROBOT WORKSHOP
advanced
1 2 3 4
labs/studios classrooms meet up rooms part storage
5 lecture room 6 administration/office 7 gallery/bar 8 store 9 restroom
2
1
1
8 3
6
5
1 3
6
7
6 9
9 4
3
9
32 1
system
a systematic approach was taken in order to determine the injecton of the main prgrammatic spaces {sudios/classrooms/meet up rooms}
meet up rooms
classrooms
studios
the unique urban context of brooklyn allowed for an interesting juxtaposition of materiality and form. the influence of technology and robotics through circiut boards is implemented into the form of the main programmatic spaces, while the urban context manifested itself onto the skin and facades of the lower program spaces
ll
ry
e or
e ll
st
ga
re
ha
u ct
le
basic horiontal layout spanning site
pinched and stretched for verticality and prominence over surrounding context
+ s e om ag to tor s re t s r pa
divided in two
n.
mi
ad
s
io
ud
st
top seperated into 3 parts bottom pulled down to accomodate program needs
hole punched though middle to allow transitions between rooms
me
stairs attached to exterior influenced by fire escapes prominent in the urban context
s
om
et
g in
ro
ms oo sr s a cl
s on ti si n a tr