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TarunHari
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SCI-Arc
2013-18
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4B Vertical Studio
An Urban Rooftop
AN URBAN ROOFTOP Reviving Culver City
The goal of this project was to design a contemporary office building over a 800 car parking structure. In designing, the relationship to the neighborhood was taken into consideration. The building form consists of pieces that look similar but are distinct in their own way. The aim of the project was to design it so as to create views to different parts. The steps extending at the front invite the site to the building.
Instructor: Eric Owen Moss Partner: Adrienne Ott
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4B Vertical Studio
An Urban Rooftop
Process diagrams showing the evolution of form. In generating it, the main constraint was using the existing column grid and core that are part of the parking garage.
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4B Vertical Studio
An Urban Rooftop
A truss System was created to hold the form together.
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4B Vertical Studio
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An Urban Rooftop
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4B Vertical Studio
An Urban Rooftop
Plan A
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4B Vertical Studio
An Urban Rooftop
Plan B
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4B Vertical Studio
An Urban Rooftop
Section A
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4B Vertical Studio
An Urban Rooftop
Section B
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22 ROOFTOP OFFICE - CROSS SECTION Culver City CA
4B Vertical Studio
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An Urban Rooftop
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4B Vertical Studio
The Tower/Cain and Abel
THE TOWER/CAIN AND ABEL Reviving Culver City
The goal for this project was to design a tower adjacent to the cactus tower. The relationship between the cactus tower and the proposed tower was a very important idea in the design. The program of the tower is mix used. It conists of lounging spaces, conference spaces and a restaurant. Formally it is composed of four “legs� that face different directions and are composed of slats that not only allow light but also increase ventilation
Instructor: Eric Owen Moss Partner: Adrienne Ott
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4B Vertical Studio
The Tower/Cain and Abel
Design Process Diagrams
Program + Truss System
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Exterior Metal Panel Cladding
Pods
Light Shelves/Shading Device
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4B Vertical Studio
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The Tower/Cain and Abel
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4B Vertical Studio
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The Tower/Cain and Abel
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4B Vertical Studio
Plan A- Rooftop
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The Tower/Cain and Abel
Plan B
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4B Vertical Studio
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The Tower/Cain and Abel
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4A - Studio AMIGAA Positions
An Urban Air B&B
AN URBAN AIR B&B
Challenging the conventions of living This project is not one house but five houses. It serves as an air-bnb for five groups of people and challenges the conventional prototype in which the occupants and tenant like their privacy. It is composed of a pealed landscape that creates liquidity. The site is situated in the heart of palm springs next to the border that separates the dry, arid desert. Climate was taken into consideration. The conventional enterance to a site is bottom up, in this project however one enters the building top down by entering the elevator shaft first. This was done to encourage interaction at the upper ground. The houses are fully glazed on every corner creating a sense of transparency. There are curtains on the perimeter that can be operated from inside
Instructor: David Ruy
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4A - Studio AMIGAA Positions
An Urban Air B&B
Towards Mountain Range
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Site Tennis Court Pool
Site Analysis
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4A - Studio AMIGAA Positions
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An Urban Air B&B
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4A - Studio AMIGAA Positions
Lower Ground
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An Urban Air B&B
Upper Ground
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4A - Studio AMIGAA Positions
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An Urban Air B&B
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3B - Studio AMIGAA Arch&Tect II
A New SCI-Arc
A NEW SCI-Arc An evolving institution
SCIarc(Southern California Institute Of Architecture) is an institution home to some of the finest architects in the world. It is composed of 500 students who are passionate about what they do and is led by world-renowned architects. The existing building was constructed on a train depot. Originally the intention was to design a building without walls, one in which all the studio spaces are open which allows for better collaboration between the various programs. The “new” SCIarc is an extension to the existing building and is located adjacent to the old SCIarc. The overall form is very spherical in nature compared to the existing building. However the small pieces that form the aggregation are very linear in nature which provides an “aesthetic” connection to the existing building. It is composed of three floors. The first floor - accommodates the administrative spaces and the supply store, which was done so that materials and supplies can be loaded easily. The second floor - is composed of the studio spaces, which are “open” in order to encourage collaboration. The third floor - encompasses the various fabrication spaces such as the 3D print lab and the woodshop. In order to let in maximum daylight into the building and to reduce energy consumption,the façade is composed of an aggregation of L’s that are composed of apertures
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Instructor: Herwig Baumgartner Partner: Katelynn Williams
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3B - Studio AMIGAA Arch&Tect II
A New SCI-Arc
Original Micromorphology- The Oval Reverse Boot
Studio
Studio
Presentation Spaces
Circulation
STUDIO
LOBBY
STUDIO
CLASSROOM
STUDIO
PIN-UP/REVIEW SPACE
STUDIO
Aggrigation forming a part to whole relationship
Studio
Second Level Plan- Circulation
Studio
entation Spaces
SUPPLY STORE
Circulation
LOBBY
ADMIN STUDIO
LOBBY
Fabrication Shops Area: 15917.3103 sq.ft STUDIO
AUDITORIUM
ADMIN
CAFE
CLASSROOM
STUDIO
PIN-UP/REVIEW SPACE
Classrooms Area: 33267.99 sq.ft
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STUDIO
Studio Spaces
Ground Level Plan - Circulation
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3B - Studio AMIGAA Arch&Tect II
A New SCI-Arc
Occupancy Group: Educational Classroom area:20 net Shops and other vocational rooms:50 net Fully Sprinklered Group A1- Type II A Total Net Area: 116,000 sq.ft Total gross Area (+35% circulation): 156,600 sq.ft
STUDIO
LOBBY
Level 4 Fabrication Shops Area: 15917.3103 sq.ft
STUDIO
CLASSROOM
STUDIO
PIN-UP/REVIEW SPACE
STUDIO
Level 3 Classrooms Area: 33267.99 sq.ft
FIRST FLOOR
Second Level Plan
Level 2 Studio Spaces Area: 31975 sq.ft
level 1 Administration Area: 32800.8838 sq.ft
CEREMONY SPACE SUPPLY STORE
LOBBY
ADMIN
OUTDOOR SPACE
AUDITORIUM
ADMIN
CAFE
GROUND FLOOR
Ground Level Plan
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Egress Diagram
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3B - Studio AMIGAA Arch&Tect II
A New SCI-Arc
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9
4
1
5 UP
UP
3
9
9
9
1. Lobby 2. Auditorium 3. Sci_arc Supply Store 4. Graduation space 5. WR
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3B - Studio AMIGAA Arch&Tect II
A New SCI-Arc
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8
DN
DN
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8
6 6
7
8
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6
6. Studio Spaces 7. Clasroom 8. Presentation spaces 9. Courtyard spaces
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3B - Studio AMIGAA Arch&Tect II
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A New SCI-Arc
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3B - Studio AMIGAA Arch&Tect II
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A New SCI-Arc
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3B - Studio AMIGAA Arch&Tect II
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A New SCI-Arc
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3B - Studio AMIGAA Arch&Tect II
A New SCI-Arc
2
3 2
3
2
5
4
1 4
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1. Auditorium 2. Studio spaces 3. Presentation spaces 4. Courtyard Spaces 5. Fabrication shop
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3B - Studio AMIGAA Arch&Tect II
Computer Lab
A New SCI-Arc
Classroom
Auditorium
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3B - Studio AMIGAA Arch&Tect II
A New SCI-Arc Computer Lab
Classroom
Auditorium
Heating/Cooling
OUTDOOR SPACE
Air Flow
CAFE
Daylighting
Computer Lab
ADMIN
LOBBY
AUDITORIUM
SUPPLY STORE
Classroom
ADMIN
Auditorium
GROUND FLOOR
CEREMONY SPACE
N
Silly Reference
0
Insulation: roof 10 cm, walls 10 cm
1
Double glazing Auditorium
1
0
1
1
0
1
Set temperature 25 °C
2
1
0
1
Mech vent with 50% HR, 35 m³/hP, COP 5
1
0 0
1
Lighting
1
0 0
1
1
OUTDOOR SPACE
0
Heating/Cooling
0 0
1
1
2
3
4
Heating
Cooling
A/C Heating
A/C Cool + Dehum
AUDITORIUM
SUPPLY STORE
CAFE
Air Flow
1 1
2
Lap top and reduced standby
Daylighting
0
2
Infiltration
Heating/Cooling
ADMIN
ADMIN
Air Flow
LOBBY
Daylighting
CEREMONY SPACE
N
Air Flow
Heating/Cooling
GROUND FLOOR
Daylighting
Silly Reference
0
Insulation: roof 10 cm, walls 10 cm
1
Double glazing
1
0
2
1 1
0
1
Infiltration
2
1
0
1
Set temperature 25 °C
2
1
0
1
Mech vent with 50% HR, 35 m³/hP, COP 5
1
0 0
1
Lighting
1
0 0
1
Lap top and reduced standby
1
0 0
1
1
2
3
4
Heating
Cooling
A/C Heating
A/C Cool + Dehum
ADMIN
LOBBY
AUDITORIUM
SUPPLY STORE
CAFE
OUTDOOR SPACE
0
ADMIN
ENCLOSED
SEMI-ENCLOSED
GROUND FLOOR
CEREMONY SPACE
N
Silly Reference
0
Insulation: roof 10 cm, walls 10 cm
1
Double glazing
1
0
2
Infiltration
1 1
2
Set temperature 25 °C
2
Mech vent with 50% HR, 35 m³/hP, COP 5
1
0 0
1
Lighting
1
0 0
1
Lap top and reduced standby
1
0
0 0
1
0
1
1
0
1
1
0
1
Professor: Herwig Baumgartner, Dr. Wolfg Tarun Hari&Kaitlyn Williams Transsolar WorkShop
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2
3
4
Cooling
A/C Heating
A/C Cool + Dehum
ADMIN
ADMIN
LOBBY
AUDITORIUM
SUPPLY STORE
CAFE
OUTDOOR SPACE
Heating
OUTDOOR SPACE
ENCLOSED
GROUND FLOOR
CAFE
CEREMONY SPACE
N
AUDITORIUM
SUPPLY STORE
SEMI-ENCLOSED
0 LOBBY
Silly Reference
1
Double glazing
1
0
1 1
0
1 ADMIN
2
ADMIN
Insulation: roof 10 cm, walls 10 cm
1
0
1
Set temperature 25 °C
2
1
0
1 CEREMONY SPACE
2
N
Infiltration 1
0 0
1
Lighting
1
0 0
1
Lap top and reduced standby
1
0 0
1
Silly Reference 0
1 Heating A/C Heating
Professor: Herwig Baumgartner, Dr. Wolfgang Kessling Tarun Hari&Kaitlyn Williams Transsolar WorkShop
GROUND FLOOR
Mech vent with 50% HR, 35 m³/hP, COP 5
2
3
4
Cooling A/C Cool + Dehum
0
Insulation: roof 10 cm, walls 10 cm
1
Double glazing
1
0
2
1 1
0
1
Infiltration
2
1
0
1
Set temperature 25 °C
2
1
0
1
Mech vent with 50% HR, 35 m³/hP, COP 5
1
0 0
1
Lighting
1
0 0
1
Lap top and reduced standby
1
0
0 0
1
1
2
3
4
Heating
Cooling
A/C Heating
A/C Cool + Dehum
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3A - Studio AMIGAA Arch&Tect
An Urban Skyscraper
AN URBAN SKYSCRAPER Blending in New York
The high rise typology poses a unique design challenge due to its vertical growth. This studio is about designing a skyscraper in the midst of New York City. The cite is located at the corner of 10th avenue and 30th streets, intersecting the city and highline. Its 200 foot by 400 fooot dimensions are defined by an exterior corner condition on one side and an interior corner condition on the other side. Located at the intersection between phase 1 and phase 2 of the highline and in phase 1 of the new Hudson yards complex. There is a direct connection between the highline and the south east corner of the new Hudson yards complex. The site is characterized by the existing highline
mid rise which are cantilevered. To create a sense of continuity in the vertical stacking, the corner condition was an important aspect. The corners were trimmed by extrusions. The skin is composed of horizontal striations placed carefully a intervals which provides a sense of relief in contrast to the vertical stacking. As the highline is iconic in New York, an imporant element taken into consideration is how it intersects the podium that is accentuated by a figure ground relationship.
Instructor: David Freeland
structure and right-of-way, which extends through the site connecting phase 2 of the highline with the city at large at 30th street. Designing a skyscraper has its costraints, the biggest constraint is that it has to have a vertical core that goes through the center. Throught history the traditional skyscraper has been a monolith. In this project, the aim was to break away from it. This is seen from the “shifting floor plates� located in the
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3A - Studio AMIGAA Arch&Tect
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An Urban Skyscraper
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3A - Studio AMIGAA Arch&Tect
An Urban Skyscraper
Floor Plate (SAP)
Mullions
Floor Plate (SAP) Floor plate (Spec)
Structural Fin Mullions
Floor plate (Spec)
Structural Fin
Floor Plate (L’oreal))
Skin (Grey Silhoutte) Skin (Figure Ground)
Floor Plate (L’oreal))
Skin (Grey Silhoutte) Skin (Figure Ground)
Girder
Isometric Chunk
Isometric Chunk
Beams
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78 Girder
C
3A - Studio AMIGAA Arch&Tect
An Urban Skyscraper
C
A
B
C
D
F
B
E
D
A C
B
A
Plan B- Low Rise Typical
A
B
C
D
E
F
Plan D - Highrise Typical
A
C
B
D
E
F
F
D
E
D
C
B
A
Plan C - Midrise Typical
A
C
B
D
F
E
F
E
D
C
C
B
A
Plan B- Low Rise Typical
A
B
C
D
E
F
B
Plan A- Street Level
A
B
Plan A- Street Level
A
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3A - Studio AMIGAA Arch&Tect
An Urban Skyscraper Urban Landscape
Corner Condition
Coach
SPEC
SAP a& L’oreal
Urban Landscape Program Distribution
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3A - Studio AMIGAA Arch&Tect
An Urban Skyscraper
A
B
C
D
F
E
D
C
B
A
Urban Landscape
Plan D - Highrise Typical
A
C
B
D
E
F
F
D
E
D
C
B
A
Corner Condition Plan C - Midrise Typical
A
C
B
D
F
E
F
E
Coach
D
C
C
SPEC
B
A
Plan B- Low Rise Typical
A
B
C
D
E
F
SAP a& L’oreal
Program Distribution
Serial Plans
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90 B
Plan A- Street Level
2B Studio Obj To World II
THE MODERNIST INSTITUTE OF LOS ANGELES (MILA)
DESIGN STUDIO 2B | FRAMEWORKS, PROGRAMS | SPRING 2015
Smeans tudio 2B works as a research laboratory for exploring programming as a of generating organizational models and conceptual narratives for architecture. This demands on an understanding of how what we do see and determine as architects affects what we don’t see or don’t determine as architects and vice versa. Simply put, the formal choices an architect makes impact the range of behavioral outcomes a building affords.
Primary to this study is an investigation into the relationship between architectural form and cultural action. Cultural action should be understood as the flows of people and the distribution of functional uses. By focusing on methods of organization, the aim is to engage in processes that can affect traditional systems of order and transform them into renewed models of spatial interaction. In exploring the role of programming in architecture, the aim is to propose an organization for a culinary institute in downtown Los Angeles and its corresponding material form. The institute is focused on culinary production where students are taught the skills of the discipline in kitchens, labs and other specific spaces that are further explained in the program sheet that shows a program that includes instruction and related activities, such as a market, food storage and a restaurant. Instructor: John Southern Media: Maya, Rhino, Adobe creative suite
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2B Studio Obj To World II
THE MODERNIST INSTITUTE OF LOS ANGELES (MILA)
The four Micro-morphologies below were used to create the Macr-Morphologies. The Macro-Morphologies were trimmed by a 90’ by 90’ bounding box to create abstract forms that could potentially evolve into a building. A Macro-Morphology was then chosen to explore interiority. Yellow represents the interior of the abstrct form.
Totem
‘L’
Doughnut
Slab
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Auditorium (40,000 CFT)
2B Studio Obj To World II
THE MODERNIST INSTITUTE OF LOS ANGELES (MILA) Academic
Library (15,000 CFT) Television production studio (12,000 CFT) Computer lab (4000 CFT)
www.ModernistInstituteOfLA.edu
Vegetarian food fabrication lab (18,000 CFT) Wet
Food storage (10,000 CFT)
Dry
rooms (15,000 CFT) Seminar roomsSeminar (15,000 CFT) Student lounge & lockers (12,000 CFT) Building facilities storage (3000 CFT) Auditorium Auditorium (40,000 CFT) (40,000 CFT)
Test Kitchens (96,000 CFT)
Tarun Hari
Storage
“Re-Name”
The ModernistInstituteOfLA (MILA) focuses on experimental Vegetarian culinary science. food fabrication lab (18,000 CFT) Vegetarian food will be cooked primarily. The kind of food made will be delecSeminar rooms (15,000 CFT) ious and at the same time be affordable. Students who join have the option of learning a variety of cuisines. Auditorium (40,000 CFT)
“About Us”
Academic Public
Academic
Wet
Wet
Television production studio (12,000 CFT) Television production studio (12,000 CFT) Computer Computer lab (4000 CFT)lab (4000 CFT)
fabrication lab (18,000 CFT) Vegetarian foodVegetarian fabricationfood lab (18,000 CFT) Test Kitchens (96,000 CFT)
Library (15,000 CFT)
Welcome to the modernist food institute Of LA. A place which gives you a holisStudent lounge & lockers (12,000 CFT) tic approach to Modernist cuisine. You will have the chance to experiment Administration (10,000 with CFT) Lobby (4500 CFT) food scientifically. You will get the opportunity to learn Modernist cuisine. Market (15,000 CFT) Test Kitchens Test Kitchens (96,000 CFT) (96,000 CFT) Dining hall / Cafe (36,000 CFT)
“The Place”
The building is divided into two parts, the first two levels are for the public and Television productionthat studio (12,000 CFT) the rest of the building is Private.The main space will be the test kitchens Exhibition space (6000 CFT) will be located at the enterance so that the public can buy food at a lower price Computer lab (4000 CFT) Vegetarian fabrication lab (18,000 CFT) Food storage (10,000 CFT) Vegetarian food fabricationfood lab (18,000 CFT) as the food being sold is being tested. The ground level will have administrative Restrooms (8000 CFT) Seminar rooms (15,000 CFT) facilities storage (3000 CFT) rooms (15,000 CFT) activities and social activities. The second floor will have the Building moreSeminar academic programmes such as the seminar rooms and the third floor will have the private Circulation (30,000 CFT) Auditorium labs. Other storage facilities will be placed in between the main programmes. Auditorium (40,000 CFT) (40,000 CFT)
Dry
Main Storage
Dry
Dining hall / Cafe (36,000 CFT) Public
Public
“Re-Group”
Dining hall CFT) / Cafe (36,000 CFT) Dining hall / Cafe (36,000
Other program Test Kitchens Test Kitchens (96,000 CFT) (96,000 CFT)
Main
Administration Administration (10,000 CFT) (10,000 CFT)
Lobby (4500 CFT) ProgramMain Distribution by Type and Lobby Volume (4500 CFT) 1/32” = 1’-0” Market (15,000Market CFT) (15,000 CFT)
Main: Test kitchens, Lobby, Student lounge Television production studio (12,000 CFT) Television production studio (12,000 CFT) Academic: Seminar rooms, Auditorium, Library, Computer Lab, Television/Prospace (6000 CFT) Exhibition spaceExhibition (6000 CFT) Computer Computer lab (4000 CFT)lab (4000 CFT) duction studio, Student lounge Food storage Food storage (10,000 CFT) (10,000 CFT)
Program Distribution by Micromorphology 1/32” = 1’-0”
Diagrammatic axonometric 1/32” = 1’-0”
Dining hall CFT) / Cafe (36,000 CFT) Dining hall / Cafe (36,000 Restrooms Restrooms (8000 CFT) (8000 CFT)
Restrooms Restrooms (8000 CFT) (8000 CFT) Building storage (3000 CFT) Building facilities storagefacilities (3000 CFT)
Experimentation: Culinary science lab, Sensory Lab
Circulation Circulation (30,000 CFT) (30,000 CFT)
Circulation Circulation (30,000 CFT) (30,000 CFT)
Wet: Meat and fish fabrication rooms, Frozen storage Dry: Dry ingredient storage, Restrooms
space (6000 CFT) Exhibition spaceExhibition (6000 CFT) Restrooms (8000 CFT)
Circulation (30,000 CFT)
Library (15,000Library CFT) (15,000 CFT) Total buiding interior (335,500 CFT) lounge & lockers Student loungeStudent lockers (12,000 CFT) (12,000 CFT) The following programs will be offered at our institute: International cuisine& proAdministration Administration (10,000 CFT) (10,000 CFT) gram (Vegetarian/Non- vegetarian), Artificial meat cuisine program(Food that Lobby (4500 CFT) Lobby (4500 CFT)
1/32” = 1’-0”
Food storage Food storage (10,000 CFT) (10,000 CFT)
Administration (10,000 CFT) Lobby (4500 CFT) lounge & lockers Student loungeStudent & lockers (12,000 CFT) (12,000 CFT) Storage Market (15,000 Building storage (3000 CFT) Building CFT) facilities storagefacilities (3000 CFT)
“Programs Offered” / “Curriculum”
is made to look like meat), Pastry making program, Culinary science, Culinary Market (15,000Market CFT) (15,000 CFT) Given Program entrepreneurship
Exhibition space (6000Library CFT) (15,000 CFT) Library (15,000
Other program Other program
Total buiding Total buiding interior (335,500interior CFT) (335,500 CFT)
Administrative: Offices, Building facilities storage and equipment room Other: Exhibition space
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Given Program Given Program 1/32” = 1’-0” 1/32” = 1’-0”
Programby Distribution Type and Volume Program Distribution Type and by Volume 1/32” = 1’-0” 1/32” = 1’-0”
Programby Distribution by Micromorphology Program Distribution Micromorphology 1/32” = 1’-0” 1/32” = 1’-0”
DiagrammaticDiagrammatic axonometric axonometric 1/32” = 1’-0” 1/32” = 1’-0”
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2B Studio Obj To World II
THE MODERNIST INSTITUTE OF LOS ANGELES (MILA)
10.
11.
9.
+1 6.
3’
0’
5.
0
Sources that sell produce Global customer flow Private Public
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Local customer flow
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2B Studio Obj To World II
THE MODERNIST INSTITUTE OF LOS ANGELES (MILA)
Seminar rooms (15,000 CFT)
ACADEMICS
Auditorium (40,000 CFT)
cademic
Library (15,000 CFT) Television production studio (12,000 CFT) Computer lab (4000 CFT)
Vegetarian food fabrication lab (18,000 CFT) Wet
Dry
Storage
PRIVATE 86.85’
Food storage (10,000 CFT)
Student lounge & lockers (12,000 CFT) Building facilities storage (3000 CFT) 2.
Public
Exhibition space (6000 CFT)
Test Kitchens (96,000 CFT)
Main
FOOD
Administration (10,000 CFT) Lobby (4500 CFT)
Diagrammatic axonometric 1/32” = 1’-0”
Market (15,000 CFT) Dining hall / Cafe (36,000 CFT) Restrooms (8000 CFT)
Circulation (30,000 CFT)
program
Program Distribution by Type and Volume 1/32” = 1’-0”
T.V PRODUCTION
MARKET& STORAGE
53.07’
PUBLIC 4.
Program Distribution by Micromorphology 1/32” = 1’-0”
8. 5a.
5b. 0’
6.
Key: 1. Auditorium 2. Seminar Rooms 3. Exhibition Space 4.Outdoor T.V Prodn. Space 5. Test Kitchens 6. Market+Lobby 7. Restrooms 8. Storage 9. TV Prodn. 10. Veg. Fabrication Lab 11.Cafe/Dining 12. Library &Computer Lab 13. Lockers 14. Dining Hall&Cafe 15. Building facilities storage
The Modernist Institute Of Los Angeles is an institute in which students can learn about the modernist cuisine. It is situated in the heart of the fashion district located in Downtown LA. Emphasis was placed on the organisation of program. The main programs are the test kitchens and the auditorium. What is unique about the building is that the T.V production located at the ‘heart’ and is and outdoor space that makes it very unconventional. The mesh on the outside/the skin is a universal natural light source as it wraps around the building. Certain parts of the mesh melt into the building that allows the occupants to interact with it.
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2B Studio Obj To World II
THE MODERNIST INSTITUTE OF LOS ANGELES (MILA)
A
A
2.
1
A
1
1.
6.
2a.
2.
2a.
1. 0’ 5b.
10. Key: 1. Auditorium 2. Seminar Rooms 3. Exhibition Space 4.Outdoor T.V Prodn. Space 5. Test Kitchens 6. Market+Lobby 7. Restrooms 8.BStorage 9. Veg. Fabrication Lab 10.Cafe/Dining 11. Library &Computer Lab 12. Lockers 13. Dining Hall&Cafe 14. Building facilities storage
B
-2.4’ 2b.
2b. 5c.
1’
B
8. 12. 7. 10.
Key: 1. Auditorium 2. Seminar Rooms 3. Exhibition Space 4.Outdoor T.V Prodn. Space 5. Test Kitchens 6. Market+Lobby 7. Restrooms 8. Storage 9. Veg. Fabrication Lab 10.Cafe/Dining 11. Library &Computer Lab 12. Lockers 13. Dining Hall&Cafe 14. Building facilities storage
2’
Key:
5a.
8.
6.
1. Auditorium 2. Seminar Rooms 3. Exhibition Space 4.Outdoor T.V Prodn. Space 5. Test Kitchens 6. Market+Lobby 7. Restrooms 8. Storage 9. TV Prodn. 10. Veg. Fabrication Lab 11.Cafe/Dining 12. Library &Computer Lab 13. Lockers 14. Dining Hall&Cafe 15. Building facilities storage
Section B 1/8’’=1’
6. Section B 1/8’’=1’
Plan 2 1/8’’=1’ Ground Plan 1/8’’=1’
Ground Plan 1/8’’=1’
12.
7.
Plan 2 1/8’’=1’
A
A
0’
0’
7a.
7a. 7b.
8.
8.
15’
7b.
12’
2.
Open to belo
15.
B
2.
B 5a.
Key: 1. Auditorium 2. Seminar Rooms 3. Exhibition Space 4.Outdoor T.V Prodn. Space 5. Test Kitchens 6. Market+Lobby 7. Restrooms 8. Storage 9. Veg. Fabrication Lab 10.Cafe/Dining 11. Library &Computer Lab 12. Lockers 13. Dining Hall&Cafe 14. Building facilities storage
15.
5b. 11. 5a.
Key: 1. Auditorium 2. Seminar Rooms 3. Exhibition Space 4.Outdoor T.V Prodn. Space 5. Test Kitchens 6. Market+Lobby 7. Restrooms 8. Storage 9. Veg. Fabrication Lab 10.Cafe/Dining 11. Library &Computer Lab 12. Lockers 13. Dining Hall&Cafe 14. Building facilities storage
Section A 1/8’’=1’
5b. 11.
Section A 1/8’’=1’
Plan 1 1/8’’=1’
Plan 1 1/8’’=1’
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2B Studio Obj To World II
THE MODERNIST INSTITUTE OF LOS ANGELES (MILA) THE MODERNIST INSTITUTE OF LOS ANGELES (MILA) | PHYSICAL MODELS
Material Experimentation ( Mesh)
1/16 Section Model
1/8 Section Model
1/16 Massing Model
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2B Studio Obj To World AP I
A Boys And Girls Club
DESIGN STUDIO 2A | FORMWORKS, SITES AND CONTEXTS | FALL 2014
This studio is a continuation and expansion of the fundamental issues of architec-
ture first introduced in the first and second studios (1A & 1B) of the first year core sequence. The emphasis of the studio is on the development of disciplinarily informed frameworks and sophisticated techniques for design processes, outcomes and discourse. After studying overarching and/or contingent organizational strategies in significant architectural precedents, the studio will conclude with the design of a small institution (boys and girls club) on an urban site with intelligible organizational interrelationships. of form, geometry, site conditions, context, and program. There is a strong emphasis on the understanding of solid/ void relationships, delineation, and choreographing movement through space.
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1. Abstract forms: The forms generated emerged from a cube. Various techniques such as pushing/pulling, pinching Xetc. were used to explore and create a variety of possible forms. Two forms were chosen and 3D Printed to proceed to the next step. 2. Process: The form chosen is the cube that is twisted with soft edges. It was then multiplied, manipulated and positioned carefully to create the skin. 3. The Boys+Girls Club: This is a club that caters to children. There are various activities. The buildings are connected via bridging. A special charateristic is that when planometric cuts are made each cut is unique. Instructor: Erick Caracamo Media: Maya, Rhino, Adobe creative suite
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2B Studio Obj To World AP I
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A Boys And Girls Club
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2B Studio Obj To World AP I
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A Boys And Girls Club
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2B Studio Obj To World AP I
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A Boys And Girls Club
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2B Studio Obj To World AP I
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A Boys And Girls Club
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2B Studio Obj To World AP I
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A Boys And Girls Club
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2B Studio Obj To World AP I
Plan A
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A Boys And Girls Club
Plan B
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2B Studio Obj To World AP I
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A Boys And Girls Club
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2B Studio Obj To World AP I
A Boys And Girls Club BOYS+GIRLS CLUB | RENDERINGS | MODELS
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1B Conceptual Strategies For The Physical World
LACA (Los Angeles Center For Architecture)
DESIGN STUDIO 1B | CONCEPTUAL STRATEGIES FORTHE PHYSICAL WORLD | SPRING 2014
Progressing into the
second semester of the foundation sequence, this studio serves to develop analytical and conceptualstrategies that direct notions of spatial ordering systems and architectural form. A series of evolutionary and interrelated projects involving various media (both digital and physical) will serve to guide the students toward an understanding of sophisticated notions of spatial compositions and material considerations. 1. Plan: This project starts with the formal analysis of a historical precedent, the aim is to construct the assigned plan through a series of carefully calibrated drawings that align its programmatic, structural, and formal ordering systems. 124
Instructor: Mira Henry Media: Rhino, Adobe creative Suite
Emphasis is placed on conceptualizing the precedent’s formal organization through clearly measured and annotated regulating grids and lines. 2. Figure: Transformation of Formal Analysis, this part of the project focuses on a particular point of complexity, discontinuity, or instability in the formal analysis and elaborates on the geometric systems that generated this condition in a new figural building fragment. Extending the planometric studies from the first exercise into three dimensions, the formal concepts are constructed through section and physical model. 3. Field: Multiplication of Figure,
the aim is to recompose a new whole from their isolated fragment through distribution of the fragment into a differentiated field. First studying the potential of overlaps and adjacencies between parts. A variety of spatial conditions are developed through continued control and manipulation of the systems of geometry that generated the fragment. Emphasis is placed on creating concentrations of solid and void while maintaining an equal balance between the two, prefiguring the central programmatic and spatial challenges of the building to be designed. 4. Los Angeles Center for Architecture (LACA): This concludes the studio with the design of an architecture archive and exhibition space.
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1B Conceptual Strategies For The Physical World
LACA (Los Angeles Center For Architecture)
RE
CONSTRUCTING
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CONSTRUCTED
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1B Conceptual Strategies For The Physical World
Figure 1
LACA (Los Angeles Center For Architecture)
Figure 2
Figure 3
FIgure in field
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1B Conceptual Strategies For The Physical World
LACA (Los Angeles Center For Architecture)
B
0
A 4
A 8
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Section A Level 1
1. Archive 2. Exhibition 3. WC 4. Bookstore 5. Storage 6. Cafe 7. Kitchen 8. Lobby 9. Lecture Hall 10. Offices
B
+1
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A
1
1. Archive 2. Exhibition 3. WC 4. Bookstore 5. Storage 6. Cafe 7. Kitchen 8. Lobby 9. Lecture Hall 10. Offices
Section B
Level 2
1. Archive 2. Exhibition 3. WC 4. Bookstore 5. Storage 6. Cafe 7. Kitchen 8. Lobby 9. Lecture Hall 10. Offices
B
+2
Level 3
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A
A
The form of LACA was constructed using two methods. The first method uses cones to subtract volume. The second method puls and pushes levels to create a sense of dynamism.
6
1. Archive 2. Exhibition 3. WC 4. Bookstore 5. Storage 6. Cafe 7. Kitchen 8. Lobby 9. Lecture Hall 10. Offices
9
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The central lobby is surrounded with glass walls. This is Wdone to create a sense of transparency.
B
Program: 1. Archive 2. Exhibition 3. Restroom 4. Bookstore
6. Cafe 7. Kitchen 8. Lobby 9. Lecture Hall
5. Storage
10. Offices
3D Print- Site massing model
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1A Material Strategies For The Physical World
This course serves as an introduction to the fundamental means and manners of working spatially and abstractly.
The territory of architecture is as broad as the world around us, it can be thought of at a global environmental scale, or at the size of cities and planning, transportation and infrastructure, buildings and structures, and even down to the smallest objects that surround us. Whatever the size of architectural intervention, there are fundamental aspects of space, form and experience that traverse all scales. A robust ability to manipulate form towards desired
A Small House
intent will be the focus of this studio. A series of exercises in various media (both digital and physical) will serve as an introduction to the relationships between form, space, geometry, light, and effect. The exercises are organized as a catalog of formal and spatial geometric investigations that will be built upon each previous project during the semester. While the exercises are succinct, the entire semester’s body of work will be thought of as one continuous project.
Instructor: Bryony Roberts Media: Rhino, Adobe creative Suite
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1A Material Strategies For The Physical World
A Small House
Axon
Elevation
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1A Material Strategies For The Physical World
A Small House
Transformation 1
Transformation 2 136
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1A Material Strategies For The Physical World
A Small House
A Small
House
T
his project concludes the semester with the design of a small house. The aim is to design a space that accomodates a group of activities (sleeping, viewing art, meditating, lounging and working) within a small area. In order to determine the organization of spaces, acoustics was taking into consideration. The meditation and working spaces are located at either end in order to creat appropriate environments. Apertures were created to compliment the various activities. The aperture for the meditation space faces greenery. The aperture for sleeping however faces the sky. The cite is situated in downtown LA. It was chosen mainly because of its proximity to nature.
The cite is located next to the LAPD headquarters in Downtown LA
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1A Material Strategies For The Physical World
A Small House
Sleeping Art
Meditate
Sleep
Lounge
Work
Sleep
Sleeping Art
Meditate
Sleep
Lounge
Work
Sleep
Other Activities of the day
Working Meditation
Sleeping
Lounging Sleep
Other Activities of the day
Other Activities
Meditation
Meditation
Sleep
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Other Activities
Meditation
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Level 1
Level 1
1A Material Strategies For The Physical World
A Small House
Sec
Section B Level 1
Section D
B
Level 1
Section D
Section B
A
Section D Meditation
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C
Outdoor Lounging
Level 2
Level 2
Level 1
Level 1
Working
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A
D
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Lounging
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PLAN 1
C Meditation
Level 2
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Outdoor Lounging
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Section A
Level 2
Working
Section C
C
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A
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Lounging
Level 1
Level 1
PLAN 1 PLAN 1
C
C
B B
Section A
Section C
Level 2
Level 2
Level 1
Level 1
A Art Room
A
D
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PLAN 2
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Level 2
Section B
Level 2
Section D
C
A
C
Art Room
Tarun Hari
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D B
Roberts Studio, 1A Fall 2013
A
D
Level 1
Level 1
PLAN 2 Meditation
Section B
B
C
Section D
A
PLAN 2
D
D
Lounging
Tarun Hari
B
Roberts Studio, 1A Fall 2013
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PLAN 1
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Meditation
B
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Outdoor Lounging Working
C
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Outdoor Lounging
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Working
D
143
D
1A Material Strategies For The Physical World
144
A Small House
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Design Development
STA AY
APPLIED STUDIES DESIGN DEVELOPMENT F ALL SEMESTER 2016 201
The New SCI-ARC Los Angeles, California Architects Group 3 Stacy Han Tarun Hari Alex Hays Angelo Franchesco Yosephine Anglingdarma
The new addition to the SCI-Arc campus will be located alongside the current SCI-Arc building in the Arts District in Downtown Los Angeles. The building itself is comprised of an aggregate of base objects derived from vases. Using the intersections of these forms to create gaps the architects were able to create entryways and a basis for natural ventilation. The gaps also created opportunities for other archi-
tectural possibilities. The atrium a main feature in the buildings design was a result of one of these opportunities. Light is brought into the building through an independent system of apertures that were placed in the faรงade in groups to optimize the use of natural light. The purpose of the building is to attract architecture students and faculty as well as to facilitate the educational experience of instructors and their pupils.
The building will enclose studio space with fabrication shops near by. Studio space will also be within earshot of the auditorium so that students will have easy access to lectures. The atrium
Instructors: Scott Uriu Pavel Getov
STAAY Alex Hays, Yosephine Anglingdarma, Angelo Franchesco, Stacy Han, Tarun Hari
Consultants:
Los Angeles, California
The New SCI SCI-ARC
ARUP Jamey Lyzun NOUSE Matthew Melnyk
A0.0 Cover sheet Brief Project Description
SCALE NO SCALE
PROJECT 0001
188
SHEET NUMBER
A 0189 .0
GENERAL NOTES
SYMBOLS
STA AY Architects Group 3: STAAY Stacy Han Tarun Hari Alex Hays Angelo Franchesco Yosephine Anglingdarma Applied Studies3040 Design Development Fall Semester 2016
CONSTRUCTION NOTES
ABBREVIATIONS
Instructors: Scott Uriu Pavel Getov
The New SCI-ARC Los Angeles, California
Consultants ARUP: Jamey Lyzun NOUSE: Matthew Melnyk
A0.1 GENERAL NOTES
SCALE NO SCALE
190
PROJECT 0001
SHEET NUMBER
A0.1
191
Structural System
1
Post and Beam System
Images
Details
Advantages
1) Structurally this is a strong system as the structure is supported by posts that are spaced apart 2) Buildings with this system have high ceilings and large spaces 3) Tiber is used in constructing this and is usually dense. This makes it more fire resistant
Dis-Advantages
1) In constructing it, large amounts of timber is required which need to be moved from the factory. This requires special equipment 2) As there are less structural elements involved, the construction has to be precise 3) The timber over time can potentially rot. There are also various pests such as termites that can contribute to the decay
STA AY Architects
2
Space Frame
1) Light weight steel framing can be erected faster than timber frame 2) There is a high degree of accuracy as it is factory produced and is transported to the site in sections 3) Steel framing is strong and doesnt have the risk of rotting like timber
1) Steel framing costs more than timber 2) There is sound pollution during constructon 3) They are comlex structures that can be difficult to engineer based on the geometry of the building
1) They are very precise and manufactured to factory sandards 2) They are lightweight which reduces shipment costs. This also reduces the time of transportation 3) This can be used in most roofing systems. 4) As they are made of metl usually,this makes them fire resistant 5) They an be recycled and are more environmentally friendly It
1) Cost of labor increases as skilled labor is required to erect the metal trusses 2) Unless insulation is integrated, the roof is not sound proof 3) Metal is prone to rusting faster
Group 3: STAAY Stacy Han Tarun Hari Alex Hays Angelo Franchesco osephine Anglingdarma Applied Studies3040
Truss
4
Reinforced Concrete Shear Wall
5
Curtain wall
6
Solar Panels
Consultants ARUP: amey Ly un NOUSE: Matthew Melnyk
1) They require a smaller area for erection 2) They can be constructed faster which minimises labor costs 3) They are light weight which results in cheaper tranportation 4) Stiffness is a big factor here 5) It reduces lateral forces 6) It is great in earthquake prone zones and upon impact reduces damage
1) Daylight is a big factor here. Especially in california where ther is an abundance of it 2) Glass with various tints can let in different amounts of daylight 3) Modular curtain wall designs make it more cost effecient 4) There is a variety of curtain wall designs that can be chosen for specific aesthetical reasons
1) Investing in a good PV system can reduce energy costs in lieu of the 2020 net zero goal 2) Solar energy is available all over the world 3) The climate in California is very hot and dry which results in increased use of airconditioning. Solar panels generate electricity to balance out the energy requirement
1) This lets in natural light that can replace artificial lights during the day 2) In cold climates it lets heat in 7
Instructors: Scott Uriu Pavel Getov
1) The system does not help in supporting loads as it is very light 2) Increased amount of glazing leads to an increase in energy requirements 3) They need to be mainainted and cleaned regularly especially in california which is very dense 4) Propper drainage should be taken into consideration otherwise damage to the structure could occur
1) Although they are energy effecient,it is very expensve to install it and maintain 2) In California solar energy is available year round, however in many places the amount of solar energy generated fluctuates 3) Storing energy is expensive and requires space
The New SCI-ARC Los Angeles, California
3
Design Development Fall Semester 2016
1) When it is sunny, an abundance of light is let in which could be bad for human comfort 2)Skylight shafts need to be ealed properly so as to avoid leaks
Skylights
A5.2 Envelope Choices
8
Fabric Membrane (Rubber)
192
1) They are made of recycled materials that make them environmentally friendly 2) Using a material like rubber for the membrane is good for waterproofing 3)The roof lasts longer as they protect a building against water and also fire 4)The weight of rubber is relatively less which means the cost of transportation decreases
1) Rubber roofs are complex and need to be installed by a professional 2) Other elements of the building pose a threat to the roofing 3)Rubber can be damaged due to external conditions such as extreme climate such as snow/hail
SCALE NO SCALE
PROJECT 0001
SHEET NUMBER
193 A5.2
Material
STA AY
Advantages
Details Water
GFRC (Glass Fiber Reinforced Concrete)
1
1) Lighter weight- the concrete is cast in thinner parts which makes it 75% lighter 2) Flexural Strength- They have a strength of about 4000 psi and have a good strength to weight ratio 3) Costing- GFRC doesnt cost as much and equipment costs around $10,000 4) Durability-It lasts longer and decreases about 40% of its initial srength before aging
Drainage Cavity (3.5’’) Drainage Plane
Sheathing
Air Movement and vapor diffusion
Insulation Wallboard
Cladding
4
Architects
Framing
Group 3: STAAY Stacy Han Tarun Hari Alex Hays Angelo Franchesco osephine Anglingdarma
A.C Ridge
Cleat
Structural Carbon Steel
2
A.C Sheets
Gusset Plates
1) High Tensile+Compressive strength 2)Very Rigid 3)Lighter than structural members in reinforced concrete 4) Great heat and electrical conductor 5) Thermal expansion is half of aluminium- this is great for the hot weather in California
Applied Studies3040
Instructors: Scott Uriu Pavel Getov
1
Mullion Glass Panel
Untopped hollow core slab
Pre-cast concrete
4
Welded angle connector
Reinforcing bar ties between slab
Bearing Pad
5
Masonry Blocks
Plasterboard Air tightness Inner Leaf
Consultants ARUP: amey Ly un NOUSE: Matthew Melnyk
1) Can be easily moulded 2)High stength and compression 3)High acoustic insulation 4)Permeable in water 5) High fire resistance
1) Heavy 2)High compression 3)High resistance to weathering 4) Easy to cut to size 5) High fire resistance
2
Insulation Wall Ties
Outer Leaf
Stone
6
Brick
7
8
Plastics
194
1) Very durable and strong 2) High tensile and compressive strength 3) High impact resistance, this is good for regions that are eartquake prone 4) High fire resistance
1) Heavy and durable 2) Has a high resistance to weathering 3) It is very impact resistance, this is impprtant in earthquake rthquake prone zones 4) High fire resistance
1) It is very strong and has low stifness 2) High degree of tranparency 3) If it catches a flame, rather than igniting it, it will melt instead 4) Recyclable
The New SCI-ARC Los Angeles, California
Exterior Glazing
3
Design Development Fall Semester 2016
1) Variable tensile strength based on the type of glass 2)Non Corrosive 3)Non Combustable 4)Hight heat conductor 5) Has a low thermal expanision
3
A A5.3 Material Choices
SCALE NO SCALE
PROJECT 0001
SHEET NUMBER
195 A5.3
STA AY Architects
Type B Classrooms 7524.2 (+/- 1e-06) sq.ft Factor: 20 gross Load: 376
Type B Cafe 8443.2 (+/- 1e-06) sq.ft Factor: 200 gross Load: 42
Type B Supply Store Level 2 6277.7 (+/- 1e-06) sq.ft Factor: 50 Load: 125 Type B Supply Store Level 1 4797.3 (+/- 1e-06) sq.ft Factor: 50 Load: 95
Type B Classrooms 4613.4 (+/- 1e-06) sq.ft Factor: 20 gross Load: 230 Type B Classrooms 4905.4 (+/- 1e-06) sq.ft Factor: 20 gross Load: 245
Type A3 Offices 5187.6 (+/- 1e-06) sq.ft Factor: 50 Load: 103
Group 3: STAAY Stacy Han Tarun Hari Alex Hays Angelo Franchesco osephine Anglingdarma Applied Studies3040 Design Development Fall Semester 2016 Instructors: Scott Uriu Pavel Getov Consultants ARUP: amey Ly un NOUSE: Matthew Melnyk
The New SCI-ARC Los Angeles, California
Type B Classrooms 3288.9 (+/- 1e-06) sq.ft Factor: 20 gross Load: 164
Type B Supply Store 4120.8 (+/- 1e-06) sq.ft Factor: 50 Load: 82 Type B Basement 4193.8(+/- 1e-06) sq.ft Factor: 500 Load: 8
A6.0 Egress
SCALE NO SCALE
196
PROJECT 0001
SHEET NUMBER
A6.0197
STA AY Architects Group 3: STAAY Stacy Han Tarun Hari Alex Hays Angelo Franchesco osephine Anglingdarma Applied Studies3040 Design Development Fall Semester 2016 Instructors: Scott Uriu Pavel Getov
The New SCI-ARC Los Angeles, California
Consultants ARUP: amey Ly un NOUSE: Matthew Melnyk
A.6.2 Fire Code/Analysis
SCALE NO SCALE
PROJECT 0001
198
SHEET NUMBER
A6.2199
December 7, 2015
2
1
3
4
5
6
7
8
9
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11
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APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2015
Instructors: A
Scott Uriu Pavel Getov
GROUP 3 GROUP MEMEBERS
B
Consultants: ARUP Jamey Lyzun NOUSE Matthew Melnyk
C
D
The New SCIarc
F
G
H
I
Los Angeles
E
Fire/Code Analysis
SCALE 1’0” = 1/16”
DR AWING REVISIONS: NO.
J
200
DESCRIPTION
DATE
1
DESIGN DEVELOPMENT
09/21/15
2
DESIGN DEVELOPMENT
09/28/15
3
DESIGN DEVELOPMENT
10/05/15
4
DESIGN DEVELOPMENT
10/19/15
5
DESIGN DEVELOPMENT
10/26/15
6
DESIGN DEVELOPMENT
11/02/15
7
DESIGN DEVELOPMENT
11/16/15
8
DESIGN DEVELOPMENT
11/23/15
PROJECT 0001
K
SHEET NUMBER
201 A6.2
STA AY Architects Group 3: STAAY Stacy Han Tarun Hari Alex Hays Angelo Franchesco osephine Anglingdarma Applied Studies3040 Design Development Fall Semester 2016 Passive Heating And Cooling
PV Array
Prevailing Wind
Solar Radiation
Instructors: Scott Uriu Pavel Getov Consultants ARUP: amey Ly un NOUSE: Matthew Melnyk
Heated Thermal Mass
Thermal Updraft
Daylighting
The New SCI-ARC Los Angeles, California
Thermal Chimney
Solar Radiation
A6.3 Environmental Systems Analysis
SCALE NO SCALE
202
Humidity
Radiation
Sun Path
Wind Rose
PROJECT 0001
SHEET NUMBER
203
A6.3
STA AY
Elevator Cores and Egress (CIP concrete) Total sq.ft = 110,392.876 sq.ft Cost per sq.ft = 80$ Total Cost = 110,392.876×80 = $8,831,360
Architects Floor Slabs (CIP concrete)
Group 3: STAAY Stacy Han Tarun Hari Alex Hays Angelo Franchesco osephine Anglingdarma
Total sq.ft = 119,551.621 sq.ft Cost per sq.ft = 80$ Total Cost = 119,551.621×80 = $9,564,129.68
Precast Panels (Complex)
Applied Studies3040
Total sq.ft = 67,090.975 sq.ft Cost per sq.ft = 100$ Total Cost = 67,090.975×100 = $6,709,097.50
Design Development Fall Semester 2016 Instructors: Scott Uriu Pavel Getov
Precast Panels Frame (Steel) Total sq.ft = 114,860.965 sq.ft Cost per sq.ft = 40$ Total Cost = 114,860.965×40 = $4,594,438.60 Shell Cost Elevator Cores
$8,831,360
Floor Slabs
$9,564,129.68
Precast Panels
$6,709,097.50
Apertures (Aluminium)
Precast Panels (Frame)
$4,594,438.60
Total sq.ft = 152,207 sq.ft Cost per sq.ft = $30 Total Cost = 152,207×$30 = $ 244,566,210
Apertures (Complex Glazing)
$ 9,725,750
Apertures (Aluminium Frame)
$ 244,566,210
Interior Skin
$ 24,935,273.80
Structure (Primary+ Secondary)
$ 174,709
Total
$ 309,100,967.4
Interior Skin (Precast concrete) Total sq.ft = 249,352.738 sq.ft Cost per sq.ft = $100 Total Cost = 249,352.738×$100 = $ 24,935,273.80
Construction Cost (Brick+Mortar) 5 100
× Shell Cost = $15,455,048
Price per sq.ft Construction cost Area
=
$15,455,048 827,447.665 sq.ft
= 18.7 $/sq.ft
The New SCI-ARC Los Angeles, California
Apertures (Complex glazing) Total sq.ft = 38,903.4 sq.ft Cost per sq.ft = $250 Total Cost = 38903.4×$250 = $ 9,725,750
Consultants ARUP: amey Ly un NOUSE: Matthew Melnyk
Structural Steel (Primary Structure) Cost per lf = $90 Total Cost = Basement Structure = 414lf×12 = $4,968 I Beams = 117lf×1373 = $160,641 Exterior Beams = 35lf×260 = $9,100 Total =$ 174,709
A6.5 Preliminery Opinion Of Probable Cost
SCALE NO SCALE
PROJECT 0001
204 Landscape
SHEET NUMBER
205 A6.5
Outline Specification
STA AY Stacy Han Tarun Hari Alex Hays Angelo Franchesco osephine Anglingdarma
Facade Panels - 003491
Rain Gutter - 076213
Structural Beam - 051200
Thermal - 007200
Wall Studs - 054000
Waterproof - 071316 Membrane Structural Deck - 053123
206
207
STA AY Architects Studio Space
Classrooms
Auditorium Classrooms Classrooms
Applied Studies3040
Supply Store Basement
Group 3: STAAY Stacy Han Tarun Hari Alex Hays Angelo Franchesco osephine Anglingdarma
Admin
Design Development Fall Semester 2016 Instructors: Scott Uriu Pavel Getov
122.29
122.29
66.15
46.15
89.24
132.49
89.24
66.15
43.15
Consultants ARUP: amey Ly un NOUSE: Matthew Melnyk
The New SCI-ARC Los Angeles, California
132.49
31.15
46.15
43.15
31.15
16.15
16.15
A3.0 Section
SCALE NO SCALE
PROJECT 0001
208
SHEET NUMBER
A3.0 209
STA AY
GFRC Panels
Waterproofing
Insulation
Architects Group 3: STAAY Stacy Han Tarun Hari Alex Hays Angelo Franchesco osephine Anglingdarma
Corrugated Metal Deck
Secondary Structure
Applied Studies3040 A5.6
Design Development Fall Semester 2016 Instructors: Scott Uriu Pavel Getov
A5.6
The New SCI-ARC Los Angeles, California
Consultants ARUP: amey Ly un NOUSE: Matthew Melnyk
Window
A5.0 n
Primary Structure Beam
SCALE SCALE NO N O SSCALE CALE
HVAC PROJECT P ROJECT 0001 0001
210
NUMBER SSHEET HEET NUMB NUMB
A5.0 211
STA AY Architects A5.0
Group 3: STAAY Stacy Han Tarun Hari Alex Hays Angelo Franchesco osephine Anglingdarma Applied Studies3040 Design Development Fall Semester 2016 Instructors: Scott Uriu Pavel Getov
The New SCI-ARC Los Angeles, California
Consultants ARUP: amey Ly un NOUSE: Matthew Melnyk
A5.1 e
n
SCALE NO SCALE
212
PROJECT 0001
SHEET NUMBER
213 A5.1
STA AY Architects Group 3: STAAY Stacy Han Tarun Hari Alex Hays Angelo Franchesco osephine Anglingdarma Applied Studies3040 Design Development Fall Semester 2016 Instructors: Scott Uriu Pavel Getov
The New SCI-ARC Los Angeles, California
Consultants ARUP: amey Ly un NOUSE: Matthew Melnyk
A5.6 St ct
et i
SCALE NO SCALE
PROJECT 0001
214
SHEET NUMBER
A5.6 215
Total Lamp Lumens Beam Lumens Beam Efficiency Field Lumens Field Effi ciency Spill Lumens Luminaire Lumens Total Effi ciency Total Luminaire Watts Ballast Factor
Environmental Systems II AS 3031 | Environmental Systems II | Profs. Ilaria Mazzoleni and Russell Fortmeyer | Lighten Up | Spring 2016
CUBICLE Group 9: Alex Hays | Anvitha Boloor | Tarun Hari | Wan-Hsuan Kung
of trees, walls, columns, signage from the ground or horizon tal surface.
N.A. (absolute) 642 N.A. 1361 N.A. 351 1712 N.A. 29.74 1.00
Flush in-grade luminaires with stainless steel construction. Diffused tempered glass.
Diffused Uplighting (in walls)
Quality: Even distribution of light in the space above the light Use: Outside the cubicle, illuminating the circulation paths
Acoustic room qualities NARROW ROOM ACOUSTICS
LARGE ROOMS WITH HIGH CEILING
INCLINED WALLS
The original space where the review gallery will be located is in the central area of the southern California Institute of Architecture. The SCI-Arc building had been an industrial warehouse and boasts high ceilings. Immediately surrounding the space where the review gallery will be installed are, a café, and on the opposite side, vending machines. Both of these areas adjacent to the space produce a lot of noise. In addition, there are exposed HVAC ducts just overhead. The noise from the café, the HVAC and the vending machine put together with concrete surfaces that surround the space, combine to create an acoustic environment which is far from Ideal. The lighting in the review area is also a bit of a problem. Not only are there not enough lights, but they are placed too far from task level. The goal of this project is to transform this space into a review area where students can have their work critiqued by their instructors, and class - In mates, in an environment where the work can be seen at its best, and where the criticism can be easily absorbed by all the participants of the review. order to do this the original space will be reorganized into smaller spaces. These spaces will be in the shape of truncated pyramids. Angled walls provide good sound diffusion enabling a good listening environment. These spaces will be up lit by recessed LED lighting in the walls which will provide comfort able diffuse lighting. The student work will be lit by narrow LED flood lights. This combination of lighting will provide both direct and indirect lighting and will do this with relatively low power expenditure.
Review Space
The acoustic environment in large rooms is sometimes experienced like at a railway station. This is connected to the fact that it is difficult to concentrate due to the relatively high noise level. The sound levels should be reduced such that the sound masking effect from the relevant noise is still present while the spreading of sound is limited too.
Sound abosorbers need to be placed as close to the sound source as possible. Hence the abosorbing materials are placed on the side.
Scenario 1: Review
Lighting
Materials >> 1 feet light source located away from wall
Type IV Very Short N.A. (absolute) N.A. (absolute) 262 N.A. N.A. 14 19.2 1.00 0.48 91.39 (0H, 82.5V) 91.39 (0H, 82.5V) 91.36 (34.9%Lum) 91.36 (34.9%Lum) Non-Cutoff
Fabric Panels
Wall Washing:
Recessed Wall Light with Tempered Glass
Characteristics IES Classification Longitudinal Classification Lumens Per Lamp Total Lamp Lumens Luminaire Lumens Downward Total Efficiency Total Luminaire Efficiency Luminaire Efficacy Rating (LER) Total Luminaire Watts Ballast Factor Upward Waste Light Ratio Max. Cd. Max. Cd. (<90 Vert.) Max. Cd. (At 90 Deg. Vert.) Max. Cd. (80 to <90 Deg. Vert.) Cutoff Classifi cation (deprecated)
Quality: Even illumination on a vertical surface. Use: To highlight the walls exterior of the cubicle and hence reflected onto the circulation space in the room. Wall Washing
Acoustic barrier
Acoustical Performance: NRC 1.0 Flammability: ASTM E84 Class A Material Composition: A blend of recycled cotton and cellulose fibers Health: Completely safe, non-toxic and non-carcinogenic
30°
Accent Lighting:
CrossPoint Sound Absorbing Fabric is an acoustic wall covering that is engineered to be sound absorbent and is ideal for applications within the entertainment, corporate, institutional and hospitality environments. The acoustical fabric is made of a recycled polyester blend fiber for its inherent stain resistance, durability and easy maintenance. Cork board
Quality: Even distribution of light on the object Use: Inside the cubicle, illuminating the pin wall.
Small Scale Floodlight with Mounting Canopy
Accent Lighting
Diffused Uplighting: Intent: Designed for directional or indicator lighting, uplighting of trees, walls, columns, signage from the ground or horizon tal surface. Flush in-grade luminaires with stainless steel construction. Diffused tempered glass.
Diffused Uplighting (in walls)
Quality: Even distribution of light in the space above the light Use: Outside the cubicle, illuminating the circulation paths
CorkBoard
JelinkCorkGroup cork panels with acoustical and insulating qualities is thick enough for push pins. Acoustical cork tiles are multipurpose, ideal as wall and ceiling coverings, perfect as bulletin boards from one panel to a whole wall, excellent sound/heat/cold insulator. Surface is treated with wax to repel dust and grime.
OSB sheets 0.4” thickness
Wood structure with Posi-Stud 11” thickness
Fabric panels 4”x4“x1”
Cast concrete
Pin-up wall Corkboard hung on wood and OSB sheets acting as absorptive material for the cubicle and forming a convinient pin up surface. Corkboard being a sound absorbing material is used to eliminate sound reflections to improve speech intelligibilty, reduce standing waves and prevent comb filtering, paintd with water based matte paint for long durability and low VOC (volatile organic compound) in white creating a blank canvas for the students to pin up their drawings and work. Light Fixtures
Jury Seating Light foldable plastic chairs covered with fabric and rubber stoppings for noise reductions.
Section Scale: 1 =1/8”
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Acoustic room qualities LARGE ROOMS WITH HIGH CEILING
Acoustical Performance: NRC 0.2 Scenario 2: Gallery Flammability: ASTM E84 Class B Material Composition: Cork is processed into sheets by adding a resin to hold the particles together
Classroom
Colored fabric panels creating ambient mood in the exterior of the jury cubicle held up by OSB sheets in the interior helping with the acoustics and its inclination.
6”x6“x0.5”
5’’3’ avg eye height
4Hx4V 5534.935 0H0V 25.6 25.6 59.9 59.9 N.A. (absolute) N.A. (absolute) 642 N.A. 1361 N.A. 351 1712 N.A. 29.74 1.00
Cut-Section
Intent: to achieve even illuminate on a vertical surface, side to side and top to bottom. The luminare is placed at one-quarter of the distance from the surface. Spacing between luminares varies from one-quarter to one-half of the wall height depending on the luminare.
Intent: to illuminate an object to focus attention on it. The illuminare is ideally located so that it produces light about 30 degress from vertical, which is generally agreed best for art.
Characteristics NEMA Type Maximum Candela Maximum Candela Angle Horizontal Beam Angle (50%) Vertical Beam Angle (50%) Horizontal Field Angle (10%) Vertical Field Angle (10%) Lumens Per Lamp Total Lamp Lumens Beam Lumens Beam Efficiency Field Lumens Field Effi ciency Spill Lumens Luminaire Lumens Total Effi ciency Total Luminaire Watts Ballast Factor
Inclined walls have both a sound spreading and sound concentrating effect. The sound spreading effect is achieved by inclining the wall in proportion to other walls and the ceiling. In general, the walls inclined by more than 6 degrees ensure an excellent sound diffusion.The most effective diffusion is obtained by applying several angles.
NARROW ROOM ACOUSTICS
INCLINED WALLS
Luminaire Lumens Downward Total Efficiency Total Luminaire Efficiency Luminaire Efficacy Rating (LER) Total Luminaire Watts Ballast Factor Upward Waste Light Ratio Max. Cd. Max. Cd. ( 90 Vert.) Max. Cd. (At 90 Deg. Vert.) Max. Cd. (80 to 90 Deg. Vert.) Cutoff Classifi cation (deprecated)
Review Space
Scenario 1: Review
Small Scale Floodlight with Mounting Canopy
Scenario 1: Review
Characteristics NEMA Type Maximum Candela Maximum Candela Angle Hori ontal Beam Angle (50 ) Vertical Beam Angle (50 ) Hori ontal Field Angle (10 ) Vertical Field Angle (10 ) Lumens Per Lamp Total Lamp Lumens Beam Lumens Beam Efficiency Field Lumens Field Effi ciency Spill Lumens Luminaire Lumens Total Effi ciency Total Luminaire Watts Ballast Factor
Classroom
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will N.A. do this with relatively low powe
Classroom
Acoustic room qualities LARGE ROOMS WITH HIGH CEILING
N.A. 14 19.2 1.00 0.48 91.39 (0H, 82.5V) Lighting 91.39 (0H, 82.5V) 91.36 (34.9 Lum) 91.36 (34.9 Lum) Non-Cutoff
Wall W
Recessed Wall Light with Tempered Glass
Characteristics IES Classification Longitudinal Classification Lumens Per Lamp Total Lamp Lumens Luminaire Lumens Downward Total Efficiency Total Luminaire Efficiency 4 H xLuminaire 4V Efficacy Rating (LER) Accen 5534.935 Total Luminaire Watts 0 H 0Ballast V Factor 25.6 Upward Waste Light Ratio 25.6 Max. Cd. 59.9 Max. Cd. ( 90 Vert.) 59.9 Max. Cd. (At 90 Deg. Vert.) N.A. Max. (absolute) Cd. (80 to 90 Deg. Vert.) Classifi cation (deprecated) N.A. Cutoff (absolute)
642 N.A. 1361 N.A. 351 1712 N.A. 29.74 1.00 Small Scale Floodlight with Mounting Canopy
Diffused
Characteristics NEMA Type Maximum Candela Maximum Candela Angle Hori ontal Beam Angle (50 ) Vertical Beam Angle (50 ) Hori ontal Field Angle (10 ) Vertical Field Angle (10 ) Lumens Per Lamp Total Lamp Lumens Beam Lumens Beam Efficiency Field Lumens Field Effi ciency Spill Lumens Luminaire Lumens Total Effi ciency Total Luminaire Watts Ballast Factor
NA
Acoustic room qualities
The acoustic environment in large rooms is Soun sometimes experienced like at a railway sta- LARGE ROOMS WITH HIGH CEILING place tion. This is connected to the fact that it is diffisourc cult to concentrate due to the relatively high abos noise level. The sound levels should be on th reduced such that the sound masking effect from the relevant noise is still present while the spreading of sound is limited too.
Light Fixtures
Scenario 2: Gallery
Materials Fabric Panels
Light Fixtures
Scenario 2: Gallery
The acoustic environment in large roo sometimes experienced like at a railwa tion. This is connected to the fact that it cult to concentrate due to the relative noise level. The sound levels shou reduced such that the sound masking from the relevant noise is still present wh spreading of sound is limited too.
Acoustical Performance: NRC 1.0 Flammability: ASTM E84 Class A Material Composition: A blend of recycled cotton and cellulose fibers Health: Completely safe, non-toxic Materials and non-carcinogenic
Section Scale: 1 =1/8”
CorkBoard 6”x6“x0.5”
Cross oint Sound A sor ing a ric is anFabric Panels acoustic wall covering that is engineered to be sound absorbent and is ideal for applications within the entertainment, corporate, institutional and hospitality environments. The acoustical fabric is made of a recycled polyester blend fiber for its inherent stain resistance, durability and easy maintenance.
Section
Cork board
Scale: 1 =1/8”
OSB sheets 0.4” thickness
Wood structure w 11” thickness
Fabric panels
4”x4“x1” Acoustical Performance: NRC 1.0 Flammability: E84 C CastASTM concrete Material Composition: A blend of rec cotton and ce Health: Completely s and non-carc
Cross oint Sound A sor ing a ric acoustic wall covering that is engineere
sound absorbent and is ideal for applic Acoustical Performance: NRC 0.2 Flammability: ASTM E84 Class B within the entertainment, corporate, inst al and hospitality environments. Material Composition: Cork is processed into The acoustical fabric is made of a re sheets by adding a polyester blend fiber for its inheren resin to hold the resistance, durability and easy mainten particles together
Floor Plan
N
Scale: 1 =1/8”
Cork board
elin Cor Group cor panels with acoustical and insulating qualities is thick enough for push pins. Acoustical cork tiles are multipurpose, ideal as wall and ceiling coverings, perfect as bulletin boards from one panel to a whole wall, excellent sound/heat/cold insulator. Surface is treated with wax to repel dust and grime.
A Flexible Use Of Space The cubicles provide for a wide range of uses. Although the cubicles were designed to provide an optimal space for reviews, reviews happen relatively rarely, so the design must remain flexible, and be open to other uses. When not being used for reviews the acoustic and lighting characteristics of these spaces make for a good classroom environment. These eclosed spaces also act as temporary sleeping quarters for students who need to catch up on a little shut eye.
Floor Plan Scale: 1 =1/8”
246Scenario 3: Sleeping Area
N
A Flexible Use Of Space The cubicles provide for a wide range of uses. Although the cubicles were designed to provide an optimal space for reviews, reviews happen relatively rarely, so the
Acoustical Performance: NRC 0.2 Flammability: ASTM E84 C Material Composition: Cork is proce sheets by add resin to hold t particles toge
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elin Cor Group cor panels with acoustical and insulating qualities is thick enough for push pins. Acoustica cork tiles are multipurpose, ideal as wall and ceiling coverings, perfect as bulletin boards from one panel to a
Environmental Systems I
Environmental Systems I
Area of density where wind collides
Instructors: John Bohn
The aim of this course was to generate point clouds of energy in different forms. This was done to make the intangeble, tangeble. In creating it the human boidy was used.
Areas where the flow of wind subsides
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Energy Composite
Wind Simulation
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Infrared/Heat Chart
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Automated Design Intelligence
Automated Design Intelligence
THE PROCESS – DETECTING VALLEYS
THE PROCESS – SALT EXTRUSION
Instructors: Michael Casey Rehm
Partners: Shilpa Sushil, Emre Turan, Tarun Hari, Ivy Chan, Yichao LI The aim of this project was to create complex and colorful geometry using a bacteria that feeds on salts that degrade infrastructure and produces pigments.
THE PROCESS – SLOPE DETECTION ON 3D SCAN
THE PROCESS – PORES AND INJECTING THE PIGMENT
THE PROCESS – COLORATION
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BACTERIAL PHENOMENON-1
THE MODULE
SALT EATING BACTERIA - PSEUDONOMAS
https://health-innovations.org
BACTERIAL PHENOMENON-2
COLORING BACTERIA - SERRATIA MARCESCENS
https://health-innovations.org
PIGMENTAION ON AGAR NUTRIENT PLATE
AGGREGATION
SERRATIA MARCESCENS PIGMENTATION
http://
.tg
.net/
AT MICRO LEVEL
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1-SALT
3-PORES
2-SALT HARDENING
4-COLORATION
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Tectonics+Materiality
Tectonics + Materiality
Instructors: Maxi Spina, Ramiro Diaz Granados Partners: Hengxuan Cui, Htoo Khant, Poorva Garg
170’
Exterior Glazing (10’’)
EXTERIOR FACADE SYSTEM Dry Wall Panel Holder Precast Concrete Panels
Wall Finish (Paint) Thermal Insulation
Cavity Insulation (Unfaced fiberglass bats) Precast Concrete Panel Connection Insulation (3.78”) Gypsum Board (0.63”)
Precast Concrete (10”)
Precast Concrete Panel
The facade consists of precast concrete panels that were assembled in a continuous spiral that wraps around the building. The facade had to be so precise in order to fit all the panels perfectly. In order to make the building more sustainable “high replacement concrete mix designs were used”. Two examples of the designs are a) using 50% of fly ash instead of cement and b) using 50% slag replacement instead of cement. A total of 656 panels were used which weighed a total of 4 million pounds. The square footage of the building is 180,000 sq.ft.
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BIRDS EYE AXONOMETRIC
DRY WALL SECTION
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Suspension From Structure Above
Cold rolled ‘U” channel support grid. Powder coat finish
15.8’’
Turnbuckle, Powder coat finish
Custom Steel Ceiling Suspension clip. Powder coat finish
1’’ by 1’’ cell welded wire mesh panel. Powder coat finish.
WORMS EYE AXONOMETRIC
258
MESH CEILING SUSPENSION SYSTEM (SECTION DETAIL)
MESH CEILING SUSPENSION SYSTEM (DETAIL)
North Facade
South Facade
East Facade
West Facade
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Visual Studies - Technologies of description 2
T
his seminar will develop and investigate the notion of proficient geometric variations, using time and motion capture, in digital design at a high level of complexity, so that questions towards geometrical articulation, accuracy and performance can begin to be understood in a contemporary setting. Animation tools inherently introduce time, not only as a simulated â&#x20AC;&#x2DC;physics engineâ&#x20AC;&#x2122; with its attributes, but also as a generator of geometry; these can easily trace and capture individual pieces of time tracing successive phases of motion. During this digital era, there is an obsession of reproducing a highly defined, hyper real Computer Generated Images with the use of new digital tools, i.e. smooth surfaces, seamless transitions of tectonics; technology has allowed for a finer grain resolution and these tools give designers a much higher range of control between representing reality and digital world. Conversely, in popular video game culture, design and CG Animated cinema, the emergence of voxels and pixels has introduced another level of geometrical characterizations, based on a low-tech look by using a high-tech tool. In this project A pixelised form is generated using vectors extracted from motion captures. It is then represented both in 2D as well as an animation. Instructors: Eric Caracamo, Matthew Au Media: Rhino, Adobe Illustrator, Adobe afteraffects, Adobe Photoshop, Mental Ray Group Members: Jennie Sun, Young Sun, Htoo Khant
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The image above is a motion capture of A video. To create vectors, points were plotted on the grid from various body movements.
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Pixelised abtract form An array of vectors by duplication
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Vector render from animation
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RGB render from animation
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White Alpha from animation
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Z Depth render from animation
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Visual Studies - Technologies of description
VISUAL STUDIES | 2B | TECHNOLOGIES OF DESCRIPTION
TStudies his course forms the continuation of the Visual core sequence, beginning with VS 4011:
Fabrications and Delineations, offered in the spring semester of the first year of the BArch program. It expands on the use of representational tools to emphasize formal clarity in the construction of curves, curving surfaces and their intersections through systems of regulation, annotation, and rendering. The assignments focus on building precision and intentionality in architectural drawing and digital modeling and developing a critical sensibility to the inherent bias in each medium of representation. In this section of the course, the spiral stair will be used as a lens to develop formal and representational techniques. The geometry of the spiral stair contains both corners that articulate steps and smooth surfaces that define a continuous space. The aim is to analyze historical examples of spiral stair stereotomy (the cutting and assembly of stone blocks) and develop drawing techniques for constructing complex curvature. These analytical drawings will be the basis of a designed formal translation that creates a new stair figure. Managing a balance between stair parts and figural whole will extend to the final renderings. Instructor: David Freeland Media: Rhino, Adobe Illustrator, Adobe Photoshop, Mental Ray
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Axis of transformation
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Tulip Staircase (Unfolded Staircase rise 285 and run)
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Tulip Staircase (Axon)
Tulip Staircase (Section cut)
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SPIRAL BOUND | STAIRCASE TRANSFORMATION
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Staircase Transformation (Axon)
Staircase Transformation (Section Cut)
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VISUAL STUDIES | 2A | TECHNOLOGIES OF DESCRIPTION
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SPIRAL BOUND | STAIRCASE TRANSFORMATION
Figure extracted from transformation axis (Render 1)
Figure extracted from transformation axis (Render 2) 291