Student Portfolio

ContentsSite Mapping and Modeling 38Studio 2b - Mark Ericson

Long Distance Bus Terminal 44Studio 2b - Mark Ericson

Architectural Intervention 54Studio 3a - Michael McDonald

Experimental Density 60Studio 3a - Michael McDonald

Boat House 72Studio 3b - Maxi Spina

Materials and Methods Final 78Materials and Methods - Daniel Rabin

Project Mako 82Professional Practice - Giulio Zavolta

Hand Drawings 2Studio 1a - Jose Parral

01: Binary Operations in Design 10Studio 1b - Philipp Bosshart

Design Communication 16Design Communication 1+2 - Philipp Bosshart + Marcel Sanchez

Garment Case Study 22Studio 2a - Linda Chung

MOCA Pavillion 26Studio 2a - Linda Chung

Drawing Dissection/Site Documentation 34Studio 2b - Mark Ericson

1

2

Hand DrawingsStudio 1a - Jose Parral

Can the design process provide us with solutions other then those that are preconceived? What would happen if the human body was the basis to all scaler investiga-tions in design? How can these investigations provide a bodily intervention?

3

Studio OrganizationStudio 1a - Jose Parral

On the first day of studio, all of the students walked into a room with a stack of desks at the center, but otherwise empty. Then Jose Parral explained that the first assignment was for each of the students to formulate an intelligent studio space desk arrangement. With no design experience outside of Marine Corps problem solving, I figured the space would need to suit the needs of both the 1a and the 2a students who will be using the space. The division was clear in what I saw as the ‘flow’ of the space. After that, I injected the room with rows of desks.

4

Plan with Desks

Axon with Desks

Axon of FlowPlan of Flow

Section with Desks

Intense Vs ExtentsStudio 1a - Jose Parral

To understand the scaler needs of architecture, the designer starts with the human body. This exercise demanded that each student map a basic activity, in my case a jumping jack. We were asked to map that motion, and create a differ-ent type of drawing based representation then we had previously been familiar. I decided that mapping the force properties present during the motion would need to become one drawing, while the extensive properties would become the second. Once completed, I decide to combine the drawings to express both what I called the ‘intensive and extensive’ properties of the simple motion of a jumping jack.

5

Hybrid

Extensive

Intensive

Jumping Jack Motion

6

7

8

Human Intervention - Idea HelmetStudio 1a - Jose Parral

This was my first project where I put a legitimate effort into not forming a solution prior to any kind of investigation. My instructor would come to my desk knowing he would be doing some serious design coaching to break the problem/solution mindset I had been ingrained with by the Marine Corps. He urged me to just explore the geometries of the square, and find relationships in scalar differences and alignments. Of course I couldn’t completely divorce myself from my bad habits and ended up with a matrix of scales and densities. From that matrix a loose pattern was formed through layering the matrix components in a type of ‘figure eight’. After that patterning exer-cise, I needed to investigate an ‘intervention’ to the human body. I chose to intervene in human communication by creating a helmet meant to express a need to communi-cate when in a group setting. When the helmet was worn by the user, and the user needed to express themselves, they would then pull the cord attached to the helmet therefore lighting up the light strand wrapped around the helmet’s base.

9

Top View Perspective

Side View

10

01: Binary Operations in DesignStudio 1B - Philipp Bosshart

How can looking at a series of basic sections influence the design of an object? Can that object operate as space? Will providing the sections standardize the design?

11

12X-Ray SectionGiven series of sections

01: Binary Operations in DesignStudio 1B - Philip Bosshart

Binary systems are chiefly characterized by consisting of two main elements. In this case, I have adapted the binary system to allow for a continuous bifurcation in design decision making. Initially, the sections provided were seen consistently as being either a void or a solid. Then they began to shift to the left or right, and became elevated or lowered. This design process allows for both an inside space and outside space to coexist in the same instance, and for multiple pathways to emerge in all directions. The tendency that the structure lends itself to is parkour, or free running, which is simply the sport of violating intended boundaries pathways in a gymnastic fashion.

13

1 5 10Plan

Section

14

Top View

15

Side View

16

Design CommunicationDesign Communication 1 + 2 - Philipp Bosshart + Marcel Sanchez

How can different design ideas be communicated across different mediums? What is possible when these mediums get combined to explore new concepts?

17

18

Design Communication 1Philipp Bosshart

The communication of design can be a troubling subject even for the most weathered of designers and architects. This class quickly covered a wide array of communication methodologies and strategies. Various drawing skills used in two and three dimensional methods and media of representation were introduced. Methods of perception, technique, composition, critical evaluation and presentation were studied through representational assign-ments. Emphasis was placed on orthographic projection and documentation and constructed hard line drawing techniques.

19

North Elevation

South Elevation

First Floor Plan

Second Floor Plan

Four

th Fl

oor P

lan

Section A

East Elevation East Elevation Surface Explosion

South Elevation Surface Explosion

North Elevation Surface Explosion

Prospective Veiws

North Elevation

South Elevation

First Floor Plan

Second Floor Plan

Four

th Fl

oor P

lan

Section A

East Elevation East Elevation Surface Explosion

South Elevation Surface Explosion

North Elevation Surface Explosion

Prospective Veiws

20

Design Communication 2Marcel Sanchez

This second Design Communications class focused on the production of ren-dered and built objects. Initially the class was given an incomplete set of eleva-tions and sections to interpret the design of a house. Once a new design was inferred, that design was digitally created, rendered, and ‘unfolded’. We looked at modulating acoustic wall tiles in an attempt to create a simple object that could be patterned differently through the rotation of the tile.

21

22

Garment Case StudyStudio 2a - Linda Chung

When looking at structure and modulation through the lens of a precedent found in fashion, what can be achieved? How can these strategies be applied to our own processes of design?

23

24

Modulation Overlap

Module Construction

1 2

43 5 6

1 2

43 5 6

1 2

43 5 6

Garmet Case Study Studio 2a - Maxi Spina

Sandra Backlund’s “Blank Page” collection is interesting for varying reasons, but this piece in particular puts on display techniques normally outside of Backlund’s design pallet. The entire design is constructed by aggregating a single module across the human shape with minimal deviation. This system of modulation is orthogonal in nature, and only allows modules to pivot at either a 45 degree angle or 90. The seams of this project are derived from the overlap that occurs when the pieces of each module are fastened together by a form of surface applied adhesive. Each of the modules are comprised of several small folded paper forms. The depth seen in this dress is the result of the many overlapping paper forms, and their internal creases interacting with changing light conditions. Outside of the papers natural rigidity, the modules do not provide any kind of structure against the human body, but are fixed to some sort of undergarment.

25

Module Grouping Module Group

Module GroupPlacing - Front

Module GroupPlacing - Back

Section ThroughModule Group

26

MOCA Pavilion Studio 2a - Linda Chung

How can the application of learned methodological design processes from fashion apply to architecture? Can intelligent modulation be made to incorporate a structural language inherent in its design?

27

28

Origami Exploration Studio 2a - Linda Chung

After researching Sandra Backlund’s “Blank Page” collection, some structural, organi-zational, and aesthetic ideas about modulation and folded objects became known. Taking these ideas and transforming them into something that can be later used to investigate structural modulation was the next step in the exploration process. Through these folding exercises, the paper began to create and influence ‘space’, making the next step in the design strategy possible.

29

Central Piece of Module

Connection Point

MOCA Pavilion Studio 2a - Linda Chung

The previous garment study led to the exploration of different geometries and origami influenced module formations. When these modules are aggregated to suit the sites natural circulatory tendencies and programmatic restrictions, then the Pavilion was able to take shape. The module itself was formed by its need to tie into adjacent modules while still providing the idea of a partially enclosed space. The module is composed of four smaller ridged primitive shapes that are derived directly from the origami exercise which draws inspiration from the Garment Case Study.

30

Module - Front

Module - Side

Module - Axon

Central Unit

Overlap Connection

Site Plan

N

Ticket Boot

Sculpture Gallery 1

Sculpture Gallery 2

Transitional Space

31

Circulation

Long Section Short Section

Plan

32

Perspective View

33

Top View

34Drawing Dissection

Drawing Disection/Site DocumentationStudio 2b - Mark Ericson.When looking at site through the eyes of drawing precidents, what can be acheived? How can these stratigies be applied to our own processes of documen-tation?

35

Drawing Disection/Site DocumentationStudio 2b - Mark Ericson

Starting with a drawing precedent to dissect, I looked at what the drawing was attempting to accomplish. My drawing precedent, ‘Creek Forts’ by Dilip Da Cunha is exploring the idea of explaining a site via sequential sections across a field of graphic snippets relevant to the site environment. I took the drawing apart in that same way, drawing attention to the categorical breakdown of a site, and how a series of sections can influence the construction of information in a drawing. When applied to a new site, in this case the LA Zoo parking lot, the method-ologies learned from the precedent dissection lead to a type of drawing that would have otherwise been not considered. With the breakdown of categorical site elements spread throughout the gird, and sections describing sectional information, the new drawing both lends itself the aesthetic qualities of Cunha while still maintaining a relevance all of its own.

36

Sketch of Site

Sketch of Dissection

Sketch of Dissection

37New Site Analysis

38

Site Mapping and ModelingStudio 2b - Mark Ericson

How can mapping abstract events, objects, and conditions, on a site change the archi-tectural perception of that site?

39


Following the dissections of site and site environment, the class was given three sites, of which I ended up with the intersection of Broadway and Caesar Chavez in downtown Los Angeles. The first step in the extraction of site data was to determine the most dominant geometries that create the site and neighboring site influences. Through iterative modeling and sketching, a geometric solution was found with enough precision to accurately document the site further, while leaving out minute details that would otherwise be a distraction to the data that would be documented.

40

Study Model 1

Study Model 2

Study Model 3

41

Site Sketch

Site Sketch

Study Model 1

Study Model 2

Study Model 3

42Site Analysis - Drawn Site Analysis - Built


Taking the geometries derived from the most resolved study model, I then physically modeled the site in those geometric sections, produced the topographical data, and documented environmental elements found on the site. These elements include mapping an old tunnel, water runoff directions, street light locations, wind di-rection, noise, pollution levels from the 101 freeway, plant life, per-existing structures, historical conflicts, and the flow of traffic. Once the model was fully populated with the physical annotations, I produced a drawing of the model.

43Site Analysis - Built Detail

Site Analysis - Drawn Detail

44

Long Distance Bus TerminalStudio 2b - Mark Ericson.When building on the site mapping per-formed in project two, how can a bus terminal directly relate to the site? How does circula-tion behave when the large turning radius of a bus spans large portions of the site?

45

46

Circulation Geometry -Perpendicular to Road

Circulation Geometry -New Bus Routes

Circulation Geometry -Built Site Relationships

Combined Circulation Geometries

47

Sectional Model Supporting Circulation Sectional Circulation Drawing

Long Distance Bus TerminalStudio 2b - Mark Ericson

My site, at the corner of Broadway and Cesar Chavez, is situated in an area plagued with historical tension and a sloping landscape. To be able to construct an efficiently functioning bus station while becoming relevant to the site, one must address both the physical land while recognizing the surrounding communities in a significant manner. The methodology employed for the development of this project was taken completely from site examination and study. When the site as a whole had been analyzed, a site extract was performed to examine any geometries that could be derived from the site and its community. Once completed, the extract then became the template which guided the development of programmatic organiza-tion as well as the overall form of the building.

48

Sectional Study

Sectional Study

49

Bus Terminal Final

Bus Terminal Study

Bus Terminal Study

50

Bus Terminal SiteWith Single Line Sections

A

A

Section A 1/16”=1’

BB

Section B 1/16”=1’

CC

Section C 1/16”=1’

Ticket Booth

1

Waiting A

rea

2Restroom

3Restaurant

4

Driver Lounge

5

Offices/D

ispatch

6N

ews Stand

7

Retail Concessions

8B

icycle Parking

9C

ar Parking

10Storage

11

1

1

10

9

9

9

8

8

8

3

3

3

6

5

4

4

7

2 2

2

11

Hybrid Section

Hybrid Section

51

52

Section Model Hybrid

Section Model Hybrid -Drawing Only

53

54

Architectural InterventionStudio 3a - Michael McDonald

What kind of structure can be constructed as an architectural intervention? How do space restraints complicate or change this idea?

55

Work/Cook/Eat

Living/Storage

Sleep/Bath

Work/Cook/Eat

Living/Storage

Sleep/Bath

Work/Cook/Eat

Sleep/Bath

Living/Storage

Unit 1+2Unit 1

Unit 2

SleepingWork Dinning Cooking

Storage

Living

Bat

hroo

m

SleepingWork Dinning CookingStor

age

Storag

e

Living

Sleeping WorkDinningCooking Living

Bathroo

mBath

room

Sleeping WorkDinningCooking

Sto

rage

Living

Bathroom

Work/Cook/Eat

Sleep/Bath

Living/Storage

Work/Cook/Eat

Sleep/Bath

Living/Storage

Work/Cook/Eat

Sleep/Bath

Living/Storage

Work/Cook/Eat

Sleep/Bath

Living/Storage

Work/Cook/Eat

Sleep/Bath

Living/Storage

Work/Cook/Eat

Sleep/Bath

Living/Storage

Sleeping

WorkDinningCooking

Storage

Living

Bathroom

Cafe

56

57

58

Architectural InterventionStudio 3a - Michael McDonald

The project is intended to accommodate two live/work apartments for visiting fellows at the Woodbury San Diego campus. Each unit is approximately 1,000 sq. ft. and accommodates regular programmatic activities found in housing. The idea behind the formation of my housing units comes from the San Diego campus itself. The San Diego campus is a re-purposed factory made university. I intended the housing to be re-purposed from time to time depending on the needs of the University. When a fellow is present, then the housing will be used as such; but if no

fellow is present then the spaces can be utilized by students as team competition studio space. The process for the generation of the form was purely diagrammat-ic, while the production of the project itself was solely model based. That led to a more tangible idea of human to space relationships as opposed to drawing and configuring space based on known human acceptable specifications.

59

60

Experimental DensityStudio 3a - Michael McDonald

What typologies best suit the LA area? How does urban sprawl affect housing? How can we cor-rect/reverse the negative affects of urban sprawl through new typologies?

61

62

Typology Study ModelsRoofscape Study Model

Persistent Relevance Studio 3a - Michael McDonald

Los Angeles is a city plagued with a vast urban sprawl. The 3B final project on housing is focusing on bringing the density of downtown LA into the suburbs. Site two, located adjacent to the metro station at the intersection of Exposition Boule-vard and Farmdale Avenue, is perfectly situated alongside one of LA’s main mass transit lines while still being deep in the cities suburbs. The typology chosen to bring this density to the suburbs is a multiunit courtyard/slab hybridization. The gen-eration of this hybridization took place because when in densely populated areas a courtyard home can provide privacy for a family and a break from the frantic pace of everyday city life while the slab clearly separates the commercial identity of the site from the residential.

63

Circulation Study Model

Typology to Form Diagram

64

Figure Ground

65

Roofscape Geometry Diagrams

1 5 15 30

OPEN TO BELOW

DOWN

DOWN

UP

UP

UP

UPDOWN

UP

UP

1 5 15 30 60

OPEN TO BELOW

DOWN

DOWN

UP

UP

UP

UPDOWN

UP

UP

1 5 15 30 60

66

Plan - Ground Level Plan - Second Level

Long Section

1 5 15 30

OPEN TO BELOW

DOWN

DOWN

UP

UP

UP

UPDOWN

UP

UP

1 5 15 30 60

OPEN TO BELOW

DOWN

DOWN

UP

UP

UP

UPDOWN

UP

UP

1 5 15 30 60

OPEN TO BELOW

DOWN

DOWN

UP

UP

UP

UPDOWN

UP

UP

1 5 15 30 60

67

Plan - Third Level Plan - Roof Level

Short Section

68

Long Section Through a Single Unit

Short Section Through a Single Unit

Single Unit Sectional Model

Single Unit Sectional Model

69

70

71

72

Boat HouseStudio 3b - Maxi Spina

Can a primitive shape be modulated to provide a structural system? Can that structural system still house a large open program?

73

74

75

Long Section1/8”=1’

Short Section

Long Section

Long Section 1/4”=1’

Short Section 1/4”=1’

Long Section1/8”=1’

Short Section

Long Section

Long Section 1/4”=1’

Short Section 1/4”=1’

Boat HouseStudio 3b - Maxi Spina

Boolean shell operations can offer a different kind of structure then a typical ‘post and beam’ methodology by providing a type of structure that is inherent in a primitive shape. For my shape, a pyramid, I started by configuring a two dimensional triangular fractal over the unfolded bounding box. In that fractal, I found that some portions overlap providing a pattern that would become primary structure, while the fractal lines would be the secondary structure. The study model attempted to read the complex language of the fractal and its patterns, although was not perforated enough to allow for the function of the boat house program. In the final model the primary structure was not only built around the envelope of the boat house, but triangulated in the interior as well to provide room enough for the boats to traverse the slip unadulterated. The original bounding box for the project was eroded away at some portions of the project by boolean operations, while other portions were made to reinforce the bounding box idea.

76

Long Section

Short Section

77

78

Materials and Methods FinalMaterials and Methods - Daniel Rabin

How can wood be used in a way that it either rarely or never is? Can this methodology lead to other discoveries about the material?

79

Materials and Methods FinalMaterials and Methods - Daniel Rabin

Our group chose wood as our material for Materials and Methods because we felt that although it may be the most common material used in construction, it is also the most overlooked. Wood’s grain allows it visual texture, to bear massive loads, span wide gaps, and to flex when cut into thin sheets. This kind of duality in the nature of wood needed to be explored in our final project. Our group decided to CNC a or-thogonal frame from a 3/4” sheet of plywood and cap it by a circular overhead. After these frames were created, we weaved single ply furniture veneer through the frame entirely on all four sides. We decided that we would not use any fasteners besides the

ones necessary to attach the weaving elements. The entire structure is held togeth-er by the weave. The orthogonal portions display the regular weave operating as the frames bonding agent, while the circular overhead show how far the weave can be pushed without catastrophic failure. All in all, our project succeeds in exhibit-

ing the duality of the nature of wood made possible due to its granular quality.

80

Perspective View

Exterior of Joints

Interior of Joints

81

Exploded Axon of Assembly Front View

Top View

4954

E. M

ERID

IAN

PRO

JEC

T M

AKO

DATE

1JOB NO:

ISSUE

DATE 04 27 2012

The drawings and specifications and designsrepresented hereby are and shall remain theproperty of the Architect, and no part thereof shallbe used or reproduced for any purpose other thanthe specified project for which they have beenprepared and developed without the writtenconsent of the Architect

Written dimensions shall have precedence overscaled dimensions. The Contractor shall verifyand be responsible for all dimensions andconditions on the jobsite and report anydiscrepancies to Architect.

The drawings and specifications indicate thegeneral scope of work and required technicalperformance of the building systems and do notnecessarily indicate or describe all the workrequired for full performance and completion ofthe construction contract. Based on the scope ofwork indicated Contractor shall furnish all itemsrequired for the proper execution of the project.

7500 GLENOAKS BOULEVARDBURBANK, CA 91510

PAGE NUMBER:

PAGE TITLE:

NO.

01

KARIM SNOUSSINICK WILKINSSAMVEL SIMONYANGEORGE RIVERATIM NELSON

PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

COVER PAGE

K.N.S. G.T.

82

Project MakoProfessional Practice - Giulio Zavolta

What is the most legible way to produce construction documents? What does the industry demand of practicing architects today?

83

585

580

575

570

565

CutFill

FIN. GRADE572

FIN. GRADE572

20'-0

"

40'-0"

20'-0"

20'-0"

20'-0

"

40'-0

"

40'-0"

30'-8

"

32'-6

1/2

"

30'-8

"

28'-8

1/2

"

UP

UP

UP

3'-0"

3'-0

"

13'-0

"

15'-0"

Retaining Wall

Retaining Wall

4954

E. M

ER

IDIA

N

PR

OJE

CT

MA

KO

SITE

DATE

A-100

1JOB NO:

ISSUE

DATE 04 27 2012

The drawings and speci�cations and designsrepresented hereby are and shall remain theproperty of the Architect, and no part thereof shallbe used or reproduced for any purpose other thanthe speci�ed project for which they have beenprepared and developed without the writtenconsent of the Architect


The drawings and speci�cations indicate thegeneral scope of work and required technicalperformance of the building systems and do notnecessarily indicate or describe all the workrequired for full performance and completion ofthe construction contract. Based on the scope ofwork indicated Contractor shall furnish all itemsrequired for the proper execution of the project.


PAGE NUMBER:

PAGE TITLE:

NO.

01


DEVELOPMENT

SITE SECTIONSCALE: 1/8" = 1'-0"13

SITE PLANSCALE: 1/8" = 1'-0"16

K.N.S. G.T.

84

2 x

10 F

.J. @

16"

O.C

.

2 x

4 F.

J. @

16"

O.C

.

2 x 6 F.J. @ 16" O.C.

FIN. FLOOR572.50"

FIN. FLOOR573.50"

FIN. FLOOR572.50"

FIN. FLOOR573.00"

101

104A

107A

107B

105A

106 108A

102A

104B

101D 101E 101F

101A101B101C

11'-0" 8'-0"5'-6" 5'-6" 7'-1"

4'-7 3/4" 8'-2 3/4" 14'-1 1/2"

13'-6

"6'

-4"

20'-2

"

40'-0

"

20'-0"

4'-0"

7'-1"

5'-0

"6'

-8"

7'-8

"

17'-7 1/2"3'-10 3/4"4'-5 1/2"

19'-1

0 1/

2"

14'-3

"

1'-0

1/2

"

10'-0

"

2'-1

1/4

"

3'-0"

1'-0"

2'-1 1/2"

3'-1 3/4"

4 1/

2"

1'-10

1/4

"

1'-2"

2"

SLOPE 10:7SLOPE 8:7

SLOPE 1':10'

2 x

10 R

.J. @

16"

O.C

.

2 x

6 R

.J. @

24"

O.C

.

2 x 6 F.J. @ 16" O.C.

2x10 @ 16"O.C.

2 - 2x6 HDR

2 - 2x6 HDR

2 - 2x6 HDR

2 - 2x10 HDR 2 - 2x6 HDR2 - 2x6 HDR2 - 2x6 HDR

4x12

No.

1

2 - 2x8 HDR

3 - 2x10 HDR

3 - 2x10 HDR

2 - 2

x10

HD

R

2 - 2

x10

HD

R

2 - 2x6 HDR2 - 2x6 HDR2 - 2x6 HDR2 - 2x10 HDR2 - 2x6 HDR

2 - 2x8 HDR

2 - 2x8 HD

R

2 - 2

x8 H

DR

2 - 2x6 HDR

4954

E. M

ER

IDIA

N

PR

OJE

CT

MA

KO

DATE

A-101

1JOB NO:

ISSUE

DATE 04 27 2012

The drawings and speci�cations and designsrepresented hereby are and shall remain theproperty of the Architect, and no part thereof shallbe used or reproduced for any purpose other thanthe speci�ed project for which they have beenprepared and developed without the writtenconsent of the Architect


The drawings and speci�cations indicate thegeneral scope of work and required technicalperformance of the building systems and do notnecessarily indicate or describe all the workrequired for full performance and completion ofthe construction contract. Based on the scope ofwork indicated Contractor shall furnish all itemsrequired for the proper execution of the project.


PAGE NUMBER:

PAGE TITLE:

NO.

01


FLOOR & ROOF FRAMING PLAN

FLOOR PLANSCALE: 1/4" = 1'-0"5

ROOF FRAMING PLANSCALE: 1/4" = 1'-0"7

FLOOR FRAMING PLANSCALE: 1/4" = 1'-0"13

ROOF PLANSCALE: 1/4" = 1'-0"15

K.N.S. G.T.

135

107

90152

90

107

135

152

85

TOP OF PARAPET

590.97'

TOP OF CLOCK

585.92'

BOTTOM OF CLOCK

580.67'

TOP OF DOOR

579.03'

FIN. FLOOR

572.50'

TOP OF ROOF

588.97'

FINISH GRADE

CONC. FOOTING ANDFOUNDATION WALL

2x10 FLOOR JOIST

58" PLYWOOD

SLATE TILE

VALSER QUARZITE FACESTONE TILE (VERTICAL)

3/4" PLYWOOD

1" THICK WOODCLOCK NUMBER

DBL. GLAZEDALUM WINDOW

1" THICK WOODHOUR HAND

1" THICK WOODMINUTE HAND

INT. STUCCOSMOOTH FINISH5/8" TUPE 'X' GYP. BD.

2x10 CEILING JOIST

FRONT DOOR SECTIONSCALE: 3/4" = 1'-0"5

A-106A

8

A-106A

6

A-106A

5

86

WINDOW SILL DETAILSCALE: 1 1/2"" = 1'-0"1

SILL GASKET

20 GA. GALV. MTL.FLASHING

CONTINUOUS WALL

2x6 P.TRTD. WD. SILL

ANCHOR BOLT

STONE TILE

34" PLYWOOD SHEATHING

2x10 FLOOR JOIST

CAULKING

CONT. SEALANT

34" PLYWOOD SUBFLOOR

HARDWOOD FINISHED FLOORING

DBL. GLAZED WINDOW

INSULATION BATTING

WINDOW FRAME

WINDOW HEAD/JAMB DETAILSCALE: 1 1/2"" = 1'-0"2

2 2X10 HEADER BEAMS



2x6 NAILING SURFACE SUPPORT

CAULKING

WINDOW FRAME

DBL. GLAZED WINDOW

STUCCO

58" GYPSUM BOARD

2x6 CEILING JOISTWITH INSULATION BATTING

CONT. SEALANT

WINDOW SILL DETAILSCALE: 1 1/2"" = 1'-0"1

SILL GASKET

20 GA. GALV. MTL.FLASHING

CONTINUOUS WALL

2x6 P.TRTD. WD. SILL

ANCHOR BOLT

STONE TILE


2x10 FLOOR JOIST

CAULKING

CONT. SEALANT

34" PLYWOOD SUBFLOOR

HARDWOOD FINISHED FLOORING

DBL. GLAZED WINDOW

INSULATION BATTING

WINDOW FRAME

WINDOW HEAD/JAMB DETAILSCALE: 1 1/2"" = 1'-0"2

2 2X10 HEADER BEAMS



2x6 NAILING SURFACE SUPPORT

CAULKING

WINDOW FRAME

DBL. GLAZED WINDOW

STUCCO

58" GYPSUM BOARD

2x6 CEILING JOISTWITH INSULATION BATTING

CONT. SEALANT

9 1/

2"

10'-9

1/4

"11

"7'

-9 3

/4"

10 1

/4"1'-1

1 1/

4"

23'-0

3/4

"

6"19'-0"

6"

20'-0"

3'-1

0 1/

2"1'

-3"

4954

E. M

ERID

IAN

PRO

JEC

T M

AKO

DATE

1JOB NO:

ISSUE

DATE 04 27 2012

The drawings and specifications and designsrepresented hereby are and shall remain theproperty of the Architect, and no part thereof shallbe used or reproduced for any purpose other thanthe specified project for which they have beenprepared and developed without the writtenconsent of the Architect


The drawings and specifications indicate thegeneral scope of work and required technicalperformance of the building systems and do notnecessarily indicate or describe all the workrequired for full performance and completion ofthe construction contract. Based on the scope ofwork indicated Contractor shall furnish all itemsrequired for the proper execution of the project.


PAGE NUMBER:

PAGE TITLE:

NO.

01


MEZZANIE STAIR SECTION SCALE: 1/2" = 1'-0"9

MEZZANIE

A-105B

STAIRS

K.N.S. G.T.

Project MakoProfessional Practice - Giulio Zavolta

Although design is not the central aspect of this class, my group worked to de-sign a wide array of detail conditions into the project. From tall and wide windows, to floor elevation changes, every group member had an opportunity to document a unique detail of the project. The space is meant to operate as a live/work home. A gallery/living room has floor to ceiling windows to allow for indirect natural light to fill the space at the entrance; while the bedroom and bathroom are at the rear of the building to allow for greater privacy.

87

Documents

Student Portfolio