Alex Martinson Segment 1 Portfolio BAC

Alexander Ross MartinsonSegment 1 Portfolio

Master of Architecture CandidateJanuary 3, 2012

Education

The Boston Architectural College Boston, Massachusetts Master of Architecture Candidate August 2011 – Present

Ball State University Muncie, Indiana Bachelor of Science in Architecture August 2002 – December 2009 Awards: Academic Honors in Writing, April 2008 ICMA Design Competition Finalist, April 2004

Software Proficiency

AutoCAD 2010•Google SketchUp 8.0 with various •rendering plug-insAdobe Creative Suite 5, including •Photoshop, InDesign and IllustratorCOMcheck, U.S. Department of Energy •Code Compliance SoftwareMicrosoftOffice2007•

Personal Interests

Residential Architecture•Graphic and Web Design•Marketing•Playing Golf•Playing Trumpet•

Alexander Ross Martinson96 Westwind Road #305 Dorchester, MA 02125

Phone (317)557.3089Email [email protected]

Website www.armartinson.net

Professional Experience

US Architects - Yorktown, IndianaProject TechnicianJanuary 2008 - July 2011

Led Sahm Golf Course Clubhouse design •team.

Principal project designer Developed concept, program and organization Worked with colleagues to create renderings and plans

Managed production of the Ball Memorial •Hospital Facility Cost Center Plans.

Cataloguedfloorplansforhospitalbilling. Measured building spaces when changes occurred. Tracked changes in AutoCAD and Excel spreadsheets.

Generated construction documents for •variousprojects,includingfloorplans,elevations, wall sections, mechanical plans, electrical plans, plumbing plans and various details.Designed mechanical, plumbing and •electrical systems for single-story buildings.Created“Blueprints,”thefirm’se-newsletter•and wrote content monthly.Designednewfirmwebsite.•

Moore Ruble Yudell - Santa Monica, CaliforniaArchitectural Design InternJuly 2005 - December 2005

Collaboratedwithofficecolleagues,•clients and artists during in-house design workshops.Generated drawings for millwork bidding.•Built digital models and physical models of •varying scales.Redesignedfirm’smodelshop•

Table of Contents

Academic Projects:

Broad Ripple Arts Center 06CAP Satellite Facility 10Auditorium 14Studio Desk 18Restaurant and Chocolatier 20Mixed-Use Highrise 24Surf Shelter Prototype 30Cassette Tape Deconstruction 34Electric Luminaire 36

Independent Projects:

Benfold Residence 38NOSoA Competition 42New Harmony Competition 50

Practice Work:

PracticeEssay 57La Loma Residence 58UVa South Lawn Project 62Innovation Connector 64Golf Course Clubhouse 66Crystal Flash 68PremierAutoCenter 70MeridianServices 74FirstMerchantsBank 78Muncie Music Center 82Community Storage 84

Broad Ripple Arts CenterArch202 - Spring 2004 - Brian Hollars - 10 Weeks

When visiting the given site in Broad Ripple, a small area of Indianapolis known for culture and nightlife, I was charged with the task of discovering feelings, ideas, and spaces. The two sides of the area spoke to me as the most crucial aspects of BroadRipple’s existence.Commercial and industrial businesses both call Broad Ripple home and both rely on a delicate balance to survive. With this duality, a design concept began.

Programmatically, the design statement called for both display/performance spaces as well as hands-on workshop spaces. Splitting the two sections down the middle was the logical answer, and this split created an opportunity to develop a grand entryway and main “spine” of the building. With a glass roof and glass ends, the main corridor is open to the outside world, embracing the sky and river scenery present on the site.

Performance spaces were placed on the west side of the building, while hands-on spaces were placed on the east side. This allowed for the hands-on workshops to have natural lighting for most of the day to promote both a better work environment as well as promoting a more eco-friendly design. Saw-tooth edges ofthedesign’seastsidehearkenbacktotheold industrial warehouses found in the area.

Using concrete masonry units as the primary material, this design challenged the idea that masonry must be vertical and horizontal. The west wall of the main chamber slants to the west while the surrounding exterior walls sup-port it. The generous glass roof features op-erable panes that open to ventilate the facility throughout the year.

While it is true most people visit Broad Ripple to shop, visit bars, or partake in the arts, the industry in the background keeps this relation-ship alive. In an all-encompassing sense, the people of Broad Ripple keep the community richandactive,thusretainingBroadRipple’sstatus as a cultural and artistic epicenter in Central Indiana.

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First Floor Plan Second Floor Plan

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Building Section : Not to ScaleBlack marker on vellum

Exterior PerspectiveBlack marker on vellum

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Wall Section : Not to ScaleBlack marker on vellum

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CAP Satellite FacilityArch301 - Fall 2004 - Lohren Deeg - 8 Weeks

On the lower west side of Manhattan lives the Highline, an abandoned elevated rail line now converted into a linear park. Running for over a mile, the Highline twists its way through Manhattan only to come to an abrupt stop at the corner of Gansevoort and Washington Streets. This is our site, a site deep in the heart of the Meatpacking district. This district, de-spite its past and namesake, is evolving into an area of trendy elegance and high fashion. Thus, there is a merging of industrial past and simplistic present. It is in the joining of these ideas that this design began.

Programmatically, thebuilding’sgoalwas tohouse undergraduate and graduate level archi-tecture studios and the peripheral classrooms along with hostel-style living spaces, a book-store,facultyofficesandpresentationspacesfor College of Architecture and Planning satel-lite campus. My design process began with a sitevisitduringafieldtriptoNYCfollowedbya series of sketches and study models. With such a strong horizontal element as the High-line present on the site, continuing its empha-sis into the design felt crucial.

Countering this interaction, large steel struc-tural elements were introduced, creating a level of tension. This structural detail was translated to the façade, creating a unique op-portunity to study positive and negative sur-faces. Utilizing two distinct sizes of structural members, a private roof garden was created behind the atrium core of the building.

ThesiteattheHighline’sterminusisshallow,surrounded by buildings of industry almost a century old. This design starts narrow on the firsttwofloors,hiddenbytheraisedrailway,and gracefully expands over the Highline to provide presence for the ending of the historic transit system. Without the use of steel, the cantilevered space over the Highline would be a bulky and brutal obstruction. Using the vertical steel trusses lightens up the visual ap-proach to the building from the Highline.

SiteImages(Left):

1: Looking towards site from across street2: View down the Highline showing shops3: Highline terminus, our true site

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In order to enter a building on the site, I chose to create an entrance under the Highline itself. With that inmind, I exploreddifferentmassing options, starting with an L-shaped building and then a se-ries of smaller masses. Both of these options proved too small for the program.

The next option I explored was stepping the building back, fill-ing the entire site on the ground level and then stepping back the facade perpendicular to the High-line. This proved less effectivebecause of a lack of interaction with the Highline.

The final option I explored wasusing the entire site and then cantilevering space out over the Highline to increase building area. This idea seemed to engage the Highline and its future occupants by creating an overhang of pro-tection from the elements. This idea translated into the final de-sign.

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Concept Elevation Sketch depicting hori-zontality of the High-line and the matching elements on the build-ing beyond.

Study Models exploring massing possibilities

RefinedConceptModel

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FinalDigitalModel(above)andFinalPhysicalModel

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AuditoriumArch302 - Spring 2005 - Stephen Kendall - 8 Weeks

At the core of anthroposophy lies a staunch belief in the symbiosis of education and na-ture, a communion between our experiences aspeopleintoday’sworldandthetraditionsof a simpler time. Waldorf schools across the world hold this philosophy as the chief tenant in their instructional programs. It is from this idea of an education in touch with the natu-ral environment that this design’s conceptstems.

Nature of all kinds stems from some type of seed; seeds are the beginning, the building blocks that trigger a natural reaction. This design likewise began with a seed, a central point that informs the consequent geometry. Foundatthebuilding’sheartistheseatingandstage space, a space inspired by the Culture Center in Tokorozawa, Japan. This space is surrounded by a arc-shaped lobby, connect-ing the entrances to the small sitting nooks and further to the back stage prep areas.

Bringing nature inside is a key extension of anthroposophy’s educational core. To ac-complish this, natural elements are used both inside and outside of the structure. Quartzite and local timber provide a warm, inviting aura, while a trickling water wall spanning the back of the lobby soothes the soul and quiets the surroundings.

Precedent and Material Study Images:

1: Culture Center in Tokorozawa, Japan2: Stone ideas, quartzite and sandstone3: Wood ideas, cherry and walnut

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Initial concept sketch showing a funnel-like en-trance and massive curved walls to isolate the audience.

Refined concept sketch with more definedspaces. Connecting tunnel to neighboring building appears in this sketch to provide stu-dent access. This idea was dropped in favor of a simple wall reaching out towards the build-ing. Front walkway begins to form.

Finalfirst(above)andsecondfloorplans

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FinalPhysicalModel(aboveandright)andInteriorPerspective,blackmarkerandgraphite

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Studio DeskArch395 - Spring 2005 - Kevin Klinger - 6 Weeks

Digital fabrication and mass customization are becoming a familiar face in the architec-tural world, both leading to faster and more precise construction. Our ability to enter data into a computer and generate a multitude of possibilities in mere minutes versus hours has increased theproductionofmany firmsandcorporations. Changes to a design can be made instantlywith lesseffort thaneverbe-fore,allowingforcustomizationatmoreeffec-tive costs while still maintaining the concepts of mass production and interchangeability.

The studio desk here was an experiment in this emergingfield.Designedtotheheight,widthand depth specifications ofmultiple people,the design can be changed to conform to its user. The criteria for each user was input to a spreadsheet that allowed my partner and me to change the desk simply by entering new numbers into the design. The process began with sketches and smaller scale prototype models, one of which utilized the laser cutter to cut the components. In this instance, the laser cutter was a stand-in for the much larger CNC router.

The full-scale prototype seen here was built to my specifications, allowing for maximumcomfort whether I work sitting or standing at the desk. At the base, the footrest was angled for placement of my feet at the angle I found most comfortable. Once the CNC router milled the components, I acquired the car-riage bolts, washers, lock nuts, glue, sanding materials, and polyurethane and began the assembly process. The actual assembly was a very brief process, followed by several days ofsandingandsealingthewood. Oncefin-ished, I moved the desk into my design studio and used it for the remainder of the academic year, even continuing to use it at home for several years.

FinalDeskImages(Left):

1:Backofdeskpriortofinishingwood2:Frontviewoffinisheddesk3: Desk being used in studio

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Concept Sketches

Study Model, foam core

RefinedStudyModels,matte board

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Restaurant and ChocolatierArch402 - Spring 2006 - Rod Underwood - 6 Weeks

Attempting to reduce the cost of materials and detriment to the environment, almost all materials used in this design are native to In-diana. The exterior facades are mainly ochre pattern quartzite. The secondary facade is composedofglassandtwodifferenttypesofIndiana Limestone. The possibility of utiliz-ing recycled materials with this project is very high, as the pattern of the facade is composed of varying hues and textures.

Programmatically, the building features dining space, kitchens for pastry and chocolate pro-duction, a chocolate bar, banquet space, of-ficesandrestrooms. Theshipping/receivingarea was placed behind the chocolate kitchen for easy storage and shipment.

Site Visit Photos:

1: Existing site conditions2: Historic building across street from site nowhousingretailshopsandoffices3: Historic building across street from site4: Facade of neighboring bank

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Conceptually, this design creates a building that is interactive both inside and outside. Ramps allow access to terraced spaces, each with a garden-like atmosphere for sitting and simply enjoying the outdoors. These green roofs provide a level of recovery for the land on which this building would be built. This minimizes the level of drainage from the roof and the building’s impact on city drainagesystems.

Most of the green roof spaces are one foot in depth to accommodate small growth plants. To further the goal of a sustainable design, the shipping/receiving room and pastry kitchen both have clerestory windows, allowing for daylighting opportunities.

Located on the terraced spaces are trees, which require a larger depth in order to sur-vive. Because of this, large “bowls” dip into the spaces below, creating a safe growing en-vironment for the trees.

MaterialPrecedent(above)andsubsequentMaterialStudy

Concept sketch exploring solid ver-sus void, shading devices and roof elements.

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StructuralSystemDiagram(above)andExteriorRenderings(belowandright)

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Mixed-Use HighriseArch402 - Spring 2006 - Rod Underwood - 10 Weeks

Formyfinaldesignstudioproject,Iwantedtofocus on a building type I had not yet worked with: the skyscraper. I chose a site in India-napolis at New York and Ohio Streets, a site at the southern tip of the Massachusetts Av-enue Arts District, an area known for local art and music as well as local restaurants. Aim-ing to bring together local businesses, artist and residents into one community, the design conceptsIworkedwithfocusedthebuilding’sfacades on both the Mass Ave. Arts District and the University Park, located across from the site on New York Street.

Located directly next to the Regions Bank building and one block northeast of Chase Tower, the site chosen catered to a new struc-ture exceeding forty stories. However, the Mass Ave. district is historic, with its buildings being between two and six stories. To bridge thesetwodifferingproportions,Istartedwitha six-story base, stepping the body of the building back to preserve the human scale. Going up the building, I added niches every ten stories to bring relief to the glass facade. Both of these concepts started in differentconcept massing models and evolved into two sketches.

Combining both concepts into one parti, I built a more detailed scale model with neigh-boring buildings. Changing the small niches into large voids, the building became too separated, each side attached only with thin “walkways.”Thebuilding’sbasebecamean-gled, a choice that also split up the site and created odd voids around the building. I re-verted back to the previous niche idea, which reinforcedtheconceptofdifferent“sectors,”a lower business layer, a middle layer for artist lofts and galleries, and a top residential layer. The based returned to an orthogonal block, stepping back from New York St. to create a park area, linking the site with University Park and with the green roof areas created on the base. The six-story based maintains the material palette and proportions of the Mass Ave. district, but is broken up with areas of contemporaryglassfacades.Thefinalphysi-cal model and drawings bring together all the concepts and ideas for a 52-story highrise community.

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Site Visit Photos:

1: Existing site looking towards the Regions Bank building and the Chase Tower beyond2: Sculptures at end of Mass Ave.3: Historic buildings along Mass Ave.4:Historicofficebuildingacrossthestreetfromsite5:Historicofficebuildingacrossthestreetfromsite6: Close-up of windows

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When I did analysis of my chosen site, I looked at the major factors thatplayed in to the facility’spos-sible success. Connection to Mas-sachusetts Avenue as well as the park catty-cornered to the site. It was important for the design to focus views on both locations, but also important for the design to al-low appropriate daylighting for art-ists and businesses to work well with minimum utility impact.

Above is the downtown analysis diagram I created to better under-stand the relationships of some key factors in Indianapolis. The site, currently a parking lot, is a prime location...twoblocksfromthecity’scenter, two blocks from the City Market and two blocks from Me-ridian Street, a main artery through Indianapolis.

To the left are concept sketches I created to explore different formsand views from the site. I originally wanted to created a courtyard on the north side of the building but decided that might create an unset-tling pocket of turbulent air.

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To explore ideas further, I built a series of study models, the first of which is seenabove. This concept seemed to focus at-tention on Mass Ave. but turned its back on downtown. It also didn’t take humanscale into consideration on an appropriate level. The large rectangular masses feel overwhelming and monolithic.

The next model attempted to taper as it moved upwards, but again felt too large and overbearing. Even the pockets of space between the “wings” feel too large and vacant. The final design eliminatedthese eliminated the vacant spaces but maintained the idea of tapering. The key factor was the base. The concept mod-els only gave the occupant three stories at most to feel comfortable at the base before a large mass was presented to them. The final design incorporated a seven-storybase that aligned better with the surround-ing buildings.

Another idea I explored was the use of glazing with built-in louvers. These special triangularlouvers(diagram,left)reflectthehigh angle heat of summer sun to help cool the building and allow the low angle heat of winter sun to enter and help heat the build-ing. The louvers also allow for daylight to enter with or without the heat radiation.

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0’ 50’ 100’ 200’

North Elevation East Elevation

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Final Physical Model

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Surf Shelter PrototypeArch314 - Spring 2007 - Tim Gray - 6 Weeks

Designed to be a temporary living unit for one or two people, the surf shelter is located right on the Pacific coast. Programmatically, thestructure called for a small kitchen, surfboard storage, a sleeping area, and small bathroom. With amaximum footprint of 10’x15’ and amaximumheightof18’,thechallengewastoprovide all required spaces without any ex-cess.

Being familiar with the popular nature of the shed roof in Northern California, I chose to start my basic design concept with that in mind. The shed roof helps minimize the ef-fects of wind coming in from the ocean. From afloorplanperspective,Idecidedthatbegin-ning with the maximum footprint and carving away as needed would be the most logical firststep.Itwasgivenintheprojectstatementthat outside spaces such as decks would not count towards the collective footprint size. I carved out a deck at the door and used this deckasaplace forshoweringoffaftersurf-ing. The design has two levels, connected by a ladder on the south side of the structure. Stairs would be too cumbersome for this de-

Concept Sketch

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sign,takinguppreciousfloorspace.Structurally, the shelter was traditional wood framingwith an exterior stucco finish. Withsuch a small structure, interrupting the struc-ture to provide windows and doors seemed detrimental, yet necessary. To solve this prob-lem,Iusedwindowsthatfitbetweenthe16”on center studs, allowing for the structure to maintain continuity. To explore the structure, I builta1”=1’-0”physicalmodel,whichhelpedme better understand how the shelter would be built. Due to the climate and cabin-like qualities of the shelter, allowing in as much sunlight as possible was a necessity. The large southern windows achieve this goal.

floorplanscale:1/4”=1’-0”

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west elevationscale:1/4”=1’-0”

south elevationscale:1/4”=1’-0”32

Final Physical Model detailing the structure. Basswood, foamcore and cork

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Cassette Tape DeconstructionArch314 - Spring 2007 - Tim Gray - 4 Weeks

The project concept was straightforward: choose a simple machine and deconstruct it as to understand its function. Then, create a series of drawings illustrating how the piece goes together. With a life-long love of music, the simplemachine that came tomind firstwas the cassette tape.

Now a defunct technology, the cassette tape was a mainstay of music from the 1970sthrough to the 1990s. Within the casing, the supply and take-up reels feed the magnetic tape back and forth between two guide roll-ers. The pressure pad at the base of the outer casing presses the tape gently against the play head on the tape deck as the tape streams by.

This project allowed me to go inside a small machine and measure parts to understand its function better. I also learned a lot about cre-ating an exploded axonometric drawing with this project.

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Electric LuminaireArch373 - Spring 2007 - Glen Switzer - 4 Weeks

Innovative material use, light play, subtlety, and glow all came together with hand crafting to create a unique piece with an Eastern aura. Initially, resin was to be used to create the side panels, but this was deemed counter to our goal of an eco-friendly product. Instead, using paraffin wax and wood, the structurebecame fairly simple, bound together with twine connections at all four corners. Leaves from the assigned site were incorporated in the side panels, rooting the luminaire with the site. With the materials used, the texture is im-perfect, but provides subtle variances in the lighting conditions.

The luminaire creates a soothing, warm glow while providing enough light to enjoy a good book. My partner and I worked in tandem during construction, seen in the photos to the right. Below, the complete luminaire is seen atthespecifiedsite,havingsurvivedaspringthunderstorm.

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Benfold ResidenceIndependent Project - Spring/Summer 2009

Concept Sketches exploring material texture and programmatic layout.

When close family friends James and Cynthia Benfold purchased a large plot of land along the White River in Delaware County, they asked me to design a new home for them andtheirthreechildrenthatwouldreflecttheirpersonal style as well as connect with the sur-roundings. Natural and inviting local materials were considered to be essential in the design process, with local Indiana wood products and patterned quartzite playing key roles. I began my design process by gathering infor-mation from the Benfolds and drawing some basic spacial relationship sketches. These ledtoexteriorsketchesandfinallytofinishedplans. To aid the whole Benfold family in un-derstanding the layout of their new home, I created several computer renderings of both the exterior and interior of the home.

The Benfolds were looking for a residence that featured a large kitchen, dining room, and family room for entertaining family and friends. The focus of this large gathering space is a large stone chimney, separating the dining room from the sitting room above. In the op-posite corner, large floor to ceilingwindowsframe a view down the White River.

Upstairs, the Benfolds wanted the bedrooms to face towards the woods, while they pic-tured the hallway and den opening up to the north. Situatingall thesecondfloor spacesover the garage and kitchen guaranteed views down the river from the master suite and den, whilealsoallowingdiffusednorthern light toenter the spaces. Placing clerestory windows along the north side of the upstairs hallway allows for indirect northern light to enter and washdownthearchedhallceiling.Onthefirstlevel,thefloorheightchangesthreefeetfromits lowest in the family room, to its highest in the sitting room and library. This occurs due to the natural topography of the site. Choos-ing to leave most of the natural variation alone creates a visual separation of spaces while also providing unique opportunities to con-nect each space.

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Entering into the family room and dining space is more dramatic having the space sunk three feet below the entry foyer, and allows for a better view of the space below. Following the topography also allows for the residence to have a dining room tower element, which ex-tends above the family room yet does not add considerableheighttothefirstlevel.Thisfur-theremphasizesthesecondfloor’sviewdownthe White River.

The stairs to the second level are hidden back beyond the sitting room to allow the family pri-vate access to and from the upstairs. Whether Mr. and Mrs. Benfold are entertaining friends, or their daughter is having a sleepover in the family room, this stair location provides a less public stairway connecting the second level with the kitchen.

RefinedConceptSketchcarryingover the established “L Shape” and tower dining room element.

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FinalExteriorRenderings,front(above)andbackofhouse

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FinalInteriorRenderings,entryanddiningroom(above)andupstairshallway

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NOSoA CompetitionIndependent Project - Summer/Fall 2009

With its unique cultural variety and abundant natural resources, the Greater Sudbury re-gion of Ontario is poised for success on both the national and international level. To break through, the Northern Ontario School of Ar-chitecture (NOSoA) and the city of Sudburyshould have a piece of architecture that is as unique as the region it calls home. NOSoA will link not only people of the community to-gether, but also people to their environment. A school of architecture should be a model for design students and the community to fol-low; a beacon of creativity and an example of community interaction and environmental un-derstanding. These ideas are the seeds from which this design concept sprouted.

Located centrally at Elm and Elgin Street, the school is organized to allow many areas to re-main open to the public.. The drawing studio,theatre, galleries, and manufacturing are lo-catedonthegroundfloor,allowingeasyac-cess for both NOSoA architecture students and members of the community. These spac-es all branch off of a large glass atrium; acentralcorethatfloodsthespacebelowwithample daylight.

At the base of the atrium is a Living Machine, a special collection of native plants that cleansandrenewsthebuilding’swastewater,contributing to NOSoA’s sustainability. Thesystem starts inside, connects to the garden space on the south side, and returns inside to complete the cycle. Continuing the goal of sustainability,theatrium’ssouthernwindowshave louvers to mitigate sunlight, each with a built-in solar panel to generateelectricity.

Withthewoodindustryinastateofflux,theconstruction spaces at NOSoA would al-low master woodworkers to reach out to the community and teach their art. The dedicated construction gallery would be a place to dis-play this artwork. Opposite this gallery is a universal gallery, displaying both architecture student work and work from local artists. The retail space, with its art supply store and cafe, connects to this gallery, together creating apublic lounge space.

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While the ground level is public, the top three levels are designed to be more private, hold-ing the undergraduate studios and class-rooms, library, and the graduate studio and offices. Faculty offices are located immedi-ately adjacent to the undergraduate studios, connecting students with faculty from every year level. Each of these levels features out-door roof gardens with native plants, helping tolessenthebuilding’srainwaterrunoff.Run-offthatdoesoccuriscollectedandfunneledintothebuilding’sLivingMachine.

Bringing the traditional lumber and mining in-dustriestogether inthisdesignwasthefinalobjective. The building features wood and copper prominently, in curved interior railings and exterior tiles respectively, while stone and steel add simple, clean accents. These ma-terials are all local to Northern Ontario, and using them not only connects NOSoA with its heritage, but also begins a cycle of resource education and creativity.

Material Precedents:

Using a material that would hold up to the harsh Cana-dian winters was crucial to the success of this design. Natural metal shingles, like copper and zinc, manufac-tured aluminum panels and various stone products were all considered during the design process. These im-ageshelpedinspirethefinaldesign.

Final Exterior Rendering looking at the building from the northeast.

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Starting with an understanding of the site and how pedestrians move around Sudbury, Ontario, I started with sketches of how people would enter the building. From those sketches, I began organizing spaces programmatically (top, left) sketching oversketches with marker and trace paper. I then worked with a part-nertodeveloptheconceptdrawingoftheexterior(bottom,left).

Once I moved forward from the design development phase, I gen-erated building sections to understand how spaces interacted witheachother(imagesbelow).

To the left is a diagram of the special louver system used above the atrium space. They are self-operating and are equipped with photovoltaic cell for generating electricity.

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FirstFloor(above)featurespresentationspaces,galleries,awoodshopandmetalshop,apubliccomputerlabandfoodcourt.SecondFloor(below)featuresthefirstofthreeundergraduatestudiospaces,facultyoffices,classrooms,presentationspacesandthefirstfloorofthelibrary.

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ThirdFloor(above)featuresundergraduatestudiospace,facultyoffices,classrooms,academicadvisoryof-fices,arooftopterraceandthesecondfloorofthelibrary.FourthFloor(below)featuresundergraduateandgraduate studio space, classrooms and two rooftop terraces. Suspended walkways connect both sides on the Second, Third and Fourth Floors.

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NorthernFacadeRendering(above)andMainAtriumRendering

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FirstFloorLibraryRendering(above)andMainGalleryRendering

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New Harmony CompetitionIndependent Project - Summer 2010

Bubble diagram and site concept sketch to study spatial relationships. This sketch established the “central hall” parti.

Buildingairflowdiagram

The town of New Harmony was founded upon principles of both unity and community; a socialist experiment that brought people to-gether and treated them fairly and justly. In the same way, this design for the Bicentennial House brings together the built environment and the natural environment so they func-tion harmoniously. The three main tenets of this design, reclaiming used materials, use of renewable materials and use of recyclable materials, come together to allow for greater efficiency,lowerenergyusageandahealthierliving environment.

REclaim:

All around Indiana, there are structures that have fallen into disrepair. Facilities that are no longer used and pose potential safety hazards if left to rot and collapse. This design for the Bicentennial House features use of materials from these old, abandoned facilities. Old barn siding, both wood and metal, can be used to clad this house. Old bricks from churches, houses and commercial buildings can be used to clad this house. These reclaimed materi-als would cost nothing and would then lower the building cost of this house. Using these materialswouldkeepthemoutoflandfillsandalso lower use of new building materials, both outcomes helping the environment.

REnew:

Many building materials are pulled from the earth and once removed, they are no more. Utilizing materials that can be renewed, grown again, helps the environment and makes a home more sustainable. This design replaces some standard building materials with choic-es that can be renewed. Instead of using tra-ditionalfiberglassinsulation,thisdesignusessheep’swoolinsulation.Thismaterial,inaddi-tiontobeingrenewable,offersmoreinsulationvalueper inchof thickness,doesnotoffgasharmful chemicals and can be installed with no special safety equipment. Wood studs, while a traditional material, are renewable. The exterior walls are 2”x6” studs to allow for a higher insulation value. This creates a more efficienthome,whichlowersenergycosts.

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Massing Study Model

RefinedMassingStudy Model

Materials Study Model

Using resources that are not building materi-als is crucial as well. Aligning the home in a North-South orientation allows access to sun-lightduringspecifictimesofday.Thekitchen,dining room and master bedroom are located on the east side to capture morning sunlight. The computer room, other bedrooms and ga-rage are located on the west side to capture evening sunlight.

Aligning the home in a North-South orienta-tion also allows for better natural ventilation. With the wind primarily from the West, placing windows and doors on both sides of the main hallway allows for moving air to pass straight through the home, bringing in fresh air. Above the main hallway, vents allow hot air to es-cape, which further reinforces the draw of air through the home.

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0’ 2’ 6’ 10’

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Floor Plan Key:1: Great Room 6: Master Suite2:DiningRoom 7:Den3: Garage 8: Bedroom 24: Laundry Room 9: Hallway5: Kitchen 10: Bedroom 3

Floor Plan

Lastly, over the great room, there is a green roof area. Utilizing a soil replacement, this system is tremendously lighter than load-ing the roof with dirt. By planting a garden on the roof, water runoffismitigatedandtheinterioriskeptcooler.Thisareacanbe used to grow food or simply for decorative plantings.

REcycle:

If materials cannot be renewed or grown again, using materials that are recycled or are recyclable is the next best choice. This design replaces standard asphalt shingles with a metal standing seam roof. This roof system is both made from recycled metal and is fully recyclable later in time. Hardie Panel systems used in this design are created from industry by-products including wood pulp and sand. These panels do not require painting, which lowers cost and introduction of harmful chemicals. Both these materials are far more durable than their non-recycled counterparts, which lowers the overall life cost of this home.

Front ElevationScale:1/8”=1’-0”

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Rear ElevationScale:1/8”=1’-0”

Community Build Diagram. The com-munity comes together to build a house for a family and in turn that family helps the next.

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HouseFramingRendering(above)andInteriorRenderingsofGreatRoom(below)andHallway(right).

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Typical Wall Section

0’ 1’ 2’ 4’

Community-Based Construction Project

Community is the glue that binds New Harmony together. Much like the unity of recycling, reusing, and reclaiming, the unity of people in a community can strengthen it. This design for the Bicentennial House advocates community volunteering to be built. When a family moves to New Harmony and chooses to build this house, the community kicks into action, joining with that family to build the new home. When another new family moves to New Harmony, the previous family then becomes part of the construction team. This not only lowers building costs substantially, but also bonds the community together, creating relationships that will last a lifetime.

Construction industry leaders in Southern Indiana would volun-teer to lead teams of local residents in the construction process. With all labor volunteer-based, the cost of this home would drop dramatically, allowing for budgeted money to be spent in oth-er areas of the project. This volunteering, coupled with use of many free, reclaimed materials, would bring down the cost of this 2,000 SF house dramatically. Direct involvement of orga-nizations like Habitat for Humanity would occur and help fur-ther drive this project. The more houses of this design that are built, the more vibrant New Harmony will become. Because the optionsofreclaimedmaterialsareendless, thevarietyoffinalproducts is endless!

Three environmental tenets merge with one small step of volun-teering to create a next generation of New Harmony. These prin-ciples have been a part of the town since its founding and bring-ing them back to the foreground will invigorate New Harmony and stimulate economic and social growth. All because families decided to help other family live out their shared dreams.

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Practice

Myfirstpracticeexperiencewasduringmyundergraduateinternship.Iwasfortunateenoughtoreceiveanofferfrom Moore Ruble Yudell, Architects and Planners in Santa Monica, California for my six-month internship. While in Califor-nia, I worked on several design teams, worked with artists, architects and clients, built physical and digital models on various teams and learned a lot about client relations. Well-known for their designs around the world, Moore Ruble Yudell was an eighty-personfirmfullofideasandexperience.Ateveryopportunity,thedesignteammemberswouldaskmyopinionandencouragemyinputduringmeetingsanddiscussions.Iworkedonsomehigh-profileprojectsincludingworkatUniversityof Virginia and the University of California Berkeley, as well as in Santa Monica and around California. This experience has helped form my personal design aesthetic. But with all the “designing” going on during my internship, there was a large part of my knowledge left lacking. When I returned from California and to school, I started to struggle with the practical aspects of architecture. In my searchforapositionwithanewfirm,astrongbackgroundinconstructiondocumentationanddetailingwasakeycriterion.Iwasstillpursuingmyundergraduatedegree inarchitectureandalsowassearchingforafirmthatwouldworkwithmyschoolschedule.ItwasatthispointIfoundUSArchitects.ThestaffatUSArchitectsworkedonawidevarietyofprojectsincludingmedicaloffices,retailspaces,cardealershipsandrepairfacilities,industrialfacilities,conveniencestores,offices,churches and restaurants. Above all, however, was the experience in detailing and construction documentation that caught myattention.WhilemuchsmallerthanMooreRubleYudellatonlysevenpeople,theteamatUSArchitectaffordedmetheopportunity to learn much more about the practical side of design, the wall sections, the mechanical and plumbing plans andthecoderesearch.HereIhadtheopportunitytospecifymaterialsandfixtures,workwithprojectarchitectstoresolvedetailing issues and still utilize my design training and rendering background. Thesetwoexperienceshavegreatlyinfluencedmyknowledgeofarchitectureasanacademicendeavorandasaprofession.Whileinschool,ItooktheknowledgeIgainedfrombothfirmsandappliedittovariousprojects.Mydesiretoexplore independent projects was originally based solely on design but now takes strongly into account the practical aspects oftheindustry.Understandinghowinsulationimpactsenergybillsandhowairinfiltrationnegatesinsulationvaluesishuge.Learning about water damage and how to prevent it was crucial. The knowledge of construction has been pivotal in my Ma-terials and Methods class while my design experience has been pivotal in forming sound arguments in my Design Principles class.Ibelievethatanexceptionalarchitectmustbewell-rounded,havingafirmunderstandingofdesign,aestheticsandspatial relationships while also fully understanding the detailing of built conditions. I could not have asked for a more well-roundedexperienceinthefieldthusfar. This month, I begin a new chapter of professional experience as an Assistant Job Captain with Group One Partners hereinBoston.Thefirmworksmainlyonhospitalityprojects,somethinginwhichIdonothaveexperience.Iamlookingfor-wardtolearningaboutthisnewfieldandworkingwiththeteamonlargerprojects.Thefirmemploysthirtypeopleandfeelsvery much like a hybrid between Moore Ruble Yudell and US Architects. They are practical but appreciate good design. I am excited about this opportunity and am looking forward to making an impact on the architecture community here in Boston.

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La Loma ResidenceMoore Ruble Yudell, Architects + Planners - 2005

Located in an exclusive land preserve just out-side Monterey, California, the La Loma Resi-dence was designed by the residential team at Moore Ruble Yudell. Due to local environ-mental requirements, the Santa Lucia Pre-serve limited the architecture firms that candesign and build homes in the area. These firmswereselectedbasedupontheirsensitiv-ity to environment in their designs.

The Santa Lucia Preserve and other areas in northern California are special in their respect for environment. No trees on any home site here may be removed, relocated or harmed during the presence of construction crews, nor can any trees be removed due to the structure. All houses here must conform to the natural environment, angling past trees and shifting with the topography.

Programmatically, the design separated the master suite from the other bedrooms, allow-ing for guests to have a private “wing” during their stay. Both the master suite and guest suite converge into a central living space where the kitchen and library are located. This central core spills out onto a patio overlooking thePacificOcean.

During my work on this project, I met with the designteamregularlyanddiscusseddifferentideas. I created renderings, seen here, to aid theclientinhisunderstandofthehome’sspa-tial relationships. The home was completed in 2008.

Images courtesy of Moore Ruble Yudell

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Imagesofthecompletedhome.MasterSuiteHallway(above,left).CourtyardviewtowardsMasterSuite(above,right).Viewofhomefromdriveway(below).

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Imagesofthecompletedhome.MasterSuite(above,left).DiningandLivingRoom(above,right).ViewfromcourtyardintomainLivingRoom(below).

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UVa South Lawn ProjectMoore Ruble Yudell, Architects + Planners - 2005

The University of Virginia expanded its under-graduate facilities into previously undeveloped territory on campus. With undulating topog-raphy and natural surroundings, the University wanted a building that was contemporary yet maintained traditions laid out by Thomas Jef-ferson. Our design team met with faculty and administrators from the University and held a two-day workshop that brought together cli-ents and architects in a collaborative effortaimed at solving a unique design problem. I participated in this workshop by providing design ideas from a student’s perspective,bringing forward ideas of what the end users of this building might need.

The client had several goals for the project. The building was to feature a rotunda, there must be a pedestrian connection across the main road to the historic South Lawn and the view to the South from buildings north of our site must not be blocked. Our team devel-oped a design that kept the building open to its surroundings while simultaneously limiting its height, allowing for the view south. To aid both University faculty and our design team, I built a series of foam massing models. The project was completed and open for the fall semester 2010.

Images courtesy of Moore Ruble Yudell

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Innovation ConnectorUS Architects - 2008

Located at the gateway to Downtown Muncie, the Innovation Connector is an “incubator” bringing small businesses together. Providing shared resources such as conference rooms, IT support, fax and copy machines, and a large training room, the Innovation Connector offerssmallbusinesses thatare juststartingup the opportunity to decrease overhead and competemoreeffectively.Workingintandemwith several key players in the Muncie/Dela-ware County area, US Architects led the de-signteamfortheincubator’snewfacility.Theclient’smaingoals inmoving locationswereto gain a large, open lobby space for greet-ing business clients, to gain a training room capable of seating at least 60, and to focus on energyefficiency.

Toaccomplish the client’s goals, ourdesignteam used a simple parti. Splitting the de-sign down the middle, we placed the lobby and training room right in the center with all secondary spaces branching off from thiscore. The training room angles to face the White River to the east. The lobby features a curving bulkhead, which creates two lower areas, one for sitting and the other for the re-ceptionist. Usingenergy-efficient lightswithself-dimming sensor controls greatly reduces thebuilding’selectricityconsumption,helpingboth the environment and the businesses that rent space at the incubator.

To aid the Innovation Connector board of di-rectors in understanding the spacial relation-ships, the other members of the design team asked me to develop a computer rendering of theinterior,specificallythelobbyspace.Dur-ing this process, I developed a concept for the receptionist’sdeskand,withassistancefromalocalinteriordesignfirm,developedthecol-or and material palette.

Images courtesy of US Architects

Project Images:

1: Building exterior facing White River2: Reception Desk3: Training Room looking out to White River4: Rendering of Lobby space5: Finished Lobby space

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Golf Course ClubhouseUS Architects - 2009

When the City of Indianapolis was interested in updating several of its golf courses, they contacted T&W Corporation for assistance. Having a relationship with T&W that spans two decades, US Architects was called upon to develop design ideas for the new club-house at Sahm Golf Course on the north side of Indianapolis.

Based on the site for the new clubhouse, the client wanted the building to angle, aligning with the parking lot and with the tenth hole. Programmatically, the client wanted the Pro Shop, Snack Bar, and Banquet Hall to face outward toward the tenth hole and the forest beyond. The cart storage needed to be close totheparkinglotaswellasthefirstteebox.When returning carts, the client wanted pa-trons to pass through the Pro Shop on their way to leave, helping to increase sales of sun-dry items and snacks. The banquet hall was envisioned as a place to hold private parties as well as golf tournament luncheons. Lastly, the restrooms and locker rooms needed to be connected to the lobby for easy access during regular business hours and during banquets.

To organize all the spaces the client needed, I started with simple bubble diagrams over the existing site. To provide the views the client was looking for as well as create an angled building that is receptive to the site, I estab-lished a “Golf Hall” along the western side. This connects the banquet hall with the rest of the building, providing it with a private cor-ner and a grand entrance for gala events. The “Golf Hall” also allowed for considerable day-lightinfiltrationintothebanquethallviaclere-story windows.


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Twodifferentdesignconcepts,onecontemporaryandothercolonial,utilizing the same preliminary layout. Each design features a large, open entry space and “Golf Hall” connecting to the banquet hall.

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Crystal FlashUS Architects - 2009

Crystal Flash Petroleum wanted to create an inviting interior atmosphere for their new con-venience stores in Fishers and Noblesville, Indiana.Takingcuesfromcoffeeshops,gro-cerystoresandUSArchitects’previouscon-venience store experience, my task was to develop an interior color and material palette that met these objectives.

I started with a physical model using estab-lished Crystal Flash colors of red and white and adding new earth tones. This was not ex-actly what the client was hoping for. The client wanted rich tones and textures to be featured, something we successfully achieved by using dark, mahogany-stained wood trim, slate tile behind the food service areas, and rustic red brickaroundthecoffeebar.Thecolorpaletteis warm and subtle, yet features a bold yellow andgreen.Overthesalesfloor,theceilingiscoffered,addingdepth.

Once the color and material palette was as-sembled, I, along with other members of the design team, met with the client to discuss, and ultimately approve, the chosen scheme. Following approval, I created the floor plan,reflectedceilingplan, and interior elevationsfor the construction documents.

On this project, I had the opportunity to learn aboutmaterialspecificationandworkedwiththe client directly to select materials that evoked the feelings for which they were look-ing. This was also one of my most detailed renderings from any project, academic or pro-fessional. This taught me patience and honed my ability to work with a strict deadline as well as some new Photoshop techniques.


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Study Model Images:

1:Viewfromfrontdoortowardscoffeebar2: View from front door towards cashier and food service area3: View from front door towards coolers

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Premier AutoUS Architects - 2010

Aclient’sbrotherownsPremierAutoCenters,a chain of auto repair facilities in Indianapolis, Indiana. So when he wanted to expand his company, he contacted US Architects per a recommendation from his brother. We called on our past experience with auto dealerships and repair facilities to create a new location for Premier.

Thecompany’scolorsareredandgreen,sothe project architect and I decided to incorpo-ratethegreenintothebuilding’sfacade.Witha beige split-face block base, the green was added in bands through the EIFS above the block. The EIFS was brought down into the block to differentiate the entry. To developthe two-story waiting room, the project archi-tect and I worked with a local interior designer with retail experience.

One of the challenges with this project was getting the zoning boards approval. The entry elements were originally designed to be pan-eled with Aluminum Composite Material. The zoning board would not allow it as they felt itwould reflect toomuch light. Amattefin-ished, textured material was required and we decided on EIFS for the remaining elements of the facade.

Images courtesy of US ArchitectsFinishedwaitingroom(above)andFinalRendering(below).

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Finishedgaragespace(above)andcompletedexterior(below)priortolandscapingthispastspring.

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Panel "B" Surface Mounted K9049

Item Wattage CB Phase CB Wattage Item1 CONTACTOR (MONUMENT SIGN) 260 20 X 20 762 CONTACTOR (EXTERIOR LIGHTING) 23 SHOP LIGHTING NORTH/MEZZ. 1124 20 X 20 840 SHOP LIGHTING MIDDLE 45 SHOP LIGHTING SOUTH 840 20 X 20 500 SHOP CEILING FANS 67 BREAK ROOM/OFFICE/RR LIGHTING 1120 20 X 20 1064 SHOWROOM LIGHTING 89 SHOWROOM OUTLETS 720 20 X 20 720 CASHIER OUTLETS SOUTH 10

11 CASHIER OUTLETS NORTH 720 20 X 20 900 OFFICE/WAITING RR OUTLETS 1213 BREAK ROOM/RR OUTLETS 900 20 X 20 540 SHOP OUTLETS EAST 1415 SHOP OUTLETS STAIRS 360 20 X 20 360 PHONE BOARD OUTLET 1617 SHOP OUTLETS NORTHEAST 360 20 X 20 360 SHOP OUTLETS NORTHWEST 1819 SHOP OUTLETS WEST 360 20 X 20 540 SHOP OUTLETS SOUTH 2021 WATER COOLER/DISPENSER 1200 20 X 20 720 SHOWROOM WINDOW OUTLETS 2223 X 2425 X 2627 X 2829 X 3031 X 3233 X 3435 X 3637 X 3839 X 4041 X 42

A B C

phase A: 5.55 KVA 46 amps Square D NQOD 120/208phase B: 6.04 KVA 50 amps 3 phase 4 w MAINphase C: 3.68 KVA 31 amps 225 A Panel

Panel "A" Surface Mounted K9049

Item Wattage CB Phase CB Wattage Item1 AIR CONDITIONER 3480 40 X 50 4800 WELDER 23 3480 I X I 4800 45 AIR COMPRESSOR *VERIFY* 1440 25 X 20 1800 * VERIFY* AIR DRYER 67 1440 I X I 1800 89 RADIANT WEST 1200 20 X 20 1656 OHD OPERATOR 10

11 RADIANT EAST 1200 20 X I 1656 1213 FURNACE 1200 20 X 20 1656 OHD OPERATOR 1415 WATER HEATER 4500 50 X I 1656 1617 4500 I X 20 1656 OHD OPERATOR 1819 EXTERIOR GFCI OUTLETS 540 20 X I 1656 2021 MEZZANINE OUTLETS 540 20 X 20 1656 OHD OPERATOR 2223 GRINDER PIT 2880 30 X I 1656 2425 X 20 1656 OHD OPERATOR 2627 X I 1656 2829 X 20 1656 OHD OPERATOR 3031 X I 1656 3233 X 3435 X 3637 X 3839 X 4041 X 42

A B C

phase A: 19.88 KVA 166 amps Square D NQOD 120/208phase B: 21.14 KVA 176 amps 3 phase 4 w MAINphase C: 18.44 KVA 154 amps 225 A Panel

LIGHTING SCHEDULECODE DESCRIPTION MANUFACTURER MODEL #

A2x4 RECESSED FLUORESCENT FIXTURE W/ (2) T8 32W LAMPS COOPER-METALUX 2RDI-232SLS-UNV-EB81/PLUS-U

B 3-BULB VANITY LIGHT. SELECTED BY OWNER. $150.00 ALLOWANCE PER FIXTURE.

C 2X4 FLUORESCENT HIGH BAY LIGHTING FIXTURE COOPER-METALUX 2HE-632-UNV-EB82/PLUS-U

D OUTDOOR WALL SCONCE, 120V BESA LIGHTING 307457-K1

E SERVICE CEILING FAN. NuTONE PFC56WH

EF 110 CFM EXHAUST FAN. CARPENTER TO PROVIDE BLOCKING AS REQUIRED.

NuTONE QTXEN110

EMEMERGENCY FIXTURE. WIRE INTO NEAREST AVAILABLE CIRCUIT AHEAD OF ANY LOCAL SWITCHES.

LITHONIA ELM618

EX EXIT FIXTURE. WIRE INTO NEAREST AVAILABLE CIRCUIT AHEAD OF ANY LOCAL SWITCHES.

LITHONIA LHQM-S-W-3-G

F 6" DIMMABLE FLUORESCENT CAN LIGHT. COOPER-PORTFOLIO SIMILAR TO C61126-2D-6251-LI-WF

G DECORATIVE PENDANT LIGHT. SELECTED BY OWNER. $300.00 ALLOWANCE PER FIXTURE.

H 4' INDUSTRIAL STRIP LIGHT. (2) T8 32W LAMPS. COOPER-METALUX SNF-232-UNV-EB1/PLUS-U

W WALL PACK. BLACK. COOPER-LUMARK MHWP-FC-250-MT-BK

NOTE:E.C. TO SUPPLY ALL FITTINGS AND ACCESSORIES AS REQUIRED TO MAKE A COMPLETE INSTALLATION.

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Meridian ServicesUS Architects - 2010

For this project, our team at US Architects worked in tandem with a local interior design firm. TheclientcametoUSArchitectsafteracquiring a building neighboring their main of-fice.Inneedofmajorrenovation,thebuildingalsodidn’tfitinwiththeotherbuildingsontheMeridian Services “campus.” Using matching brick and EIFS colors , I designed an entry el-ement and exterior face-lift to tie the building in with its brothers, the rendering of which is seen below.

For the remainder of the project, I worked heavily on the construction documents, con-tinuouslybouncingideasoffoftheinteriorde-signers, the general contractor and the client. WeaddednewADA-compliantrestroomsoffthe waiting room and reconfigured the staffwork areas and exam rooms.

I learned a lot about remodels on this project. Measuring existing conditions was very im-portant on this job as with any remodel. The hardest part was working with a set of draw-ings that didn’t reflect the building’s currentcondition, as it was older than a previous re-model.


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Finishedwaitingroom,staffbreakroomandstaffworkroom(allbelow).Workingwiththe interior designer, we developed a rich, colorful interior for the waiting room and work-spaces that made patients feel more comfortable.

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First Merchants BankUS Architects - 2010

Having a long-standing relationship with US Architects, First Merchants Bank came di-rectlytothefirmwhentheywantedtoreno-vate and expand their Madison Street branch in Muncie, Indiana. I worked directly with the project architect and the client on developing alookthatmetthebank’scorporateidentity.

The existing front entrance remained and was reclad with brick to better accentuate the en-try. For client and local zoning approval, I cre-ated the rendering below. Once approved, I worked with the project architect on creating the construction documents and specifying materials, primarily the brick, EIFS, roofingand interior materials.

This renovation added new drive-up bays, re-strooms, storage, a break room and IT closet. I learned a lot about document coordination on this project as it was a remodel and all de-molition changes had to be chased through the set many times. I enjoyed the opportu-nity to specify materials on this project. The branch remained open throughout all con-struction, and was completed in June 2011.


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RenderingofFinalDesignapprovedbyFirstMerchantsBank(below,left).CompletedprojectasseenfromthesidewalkalongMadisonSt.(below)ThefinalEIFScolorwasactuallyslightlylighterthanoriginallyplanned.

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Muncie Music CenterUS Architects - 2011

When the Muncie Music Center wanted to build a new facility for its retail store and mu-sic lesson studios, they approached US Ar-chitects and asked us to develop some ideas for a downtown building. I was asked by our principalstodevelopapreliminaryfloorplanandelevationsandthen,followingtheclient’sapproval, I created several exterior renderings of the proposed building. The client wanted a building that fit into the downtown fabric,so we created a two-story space above the showroom with lowered roof heights for the education and tenant spaces. Taking cues from other local buildings, I used two colors of brick with a neutral EIFS color between them. The tenant and education spaces were pre-dominantly red brick while the blonde brick was used mostly on the showroom piece.


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Community StorageUS Architects - 2011

When the owner of Community Storage ap-proachedUSArchitectstodesignanewofficebuilding for a newly-acquired storage facility, both thefirm’sprincipalswereoverwhelmedwith work. As the client was a repeat client, they wanted to work with him again and as-signedmetheproject.Forthefirsttime,Ihadthe opportunity to work directly with the client and design, specify and document an entire project.Fromthefloorplansandelevations,to wall sections and electrical systems, I com-pleted the entire project on my own, with a principal always there to ask questions.

Specifying all the materials was very informa-tive because I had to understand local zoning regulations. Noblesville, Indiana would not al-low any “shiny” materials on the elevations of the building, so metal paneling or siding was not an option. It also gave me the opportu-nitytodesignabuilding’sstructureforthefirsttime, from the foundation to the roof framing.

Below is the rendering I created for the client andzoningapproval. Belowright is thefin-ishedoffice,nowoccupiedbystaffaswellasboxes, locks and tape for sale.


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Panel A Surface Mounted J10081

Item Wattage CB Phase CB Wattage Item1 Showroom/Vestibule Lighting 576 20 X 20 400 Garage/Restroom Lighting 23 Exterior Lights 680 20 X 20 1080 Vestibule/Storage Outlets 45 Showroom/Restroom Outlets 1080 20 X 20 720 Garage Outlets 67 Telephone/Data Board Outlet 360 20 X 20 180 Air Handler 89 Electric Wall Heater 1500 20 X 10

11 Electric Wall Heater 1500 l X 20 1500 Water Heater 1213 Heat Pump 1200 20 X 20 1200 Well 1415 Heat Pump 1200 l X l 1200 Well 1617 X 1819 X 2021 X 2223 X 2425 X 2627 X 2829 X 3031 X 3233 X 3435 X 3637 X 3839 X 40

A B

lead A: 6.68 KVA 55.6 amps Square D NQOD 120/240lead B: 7.70 KVA 64.2 amps single phase 3 w MDP

200 A Panel

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Alex Martinson Segment 1 Portfolio BAC

Documents

Transcript of Alex Martinson Segment 1 Portfolio BAC