Collective Works_Spring 2012

1 AR 280 Spring 2010: Site Orders Instructor: Kelly BairProject 2: Mapping Site/Constructing Ground Students: Andre Gharakhanian, Brian Hardy, Colin Winchell

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Colin Winchell

28

Integrate[d] Housing _ Studio 3A _ Fall 2010

38

Progressive Burial Grounds _ Studio 2B _ Spring 2010

50

Pacific Rim Culinary Academy _ Studio 2A _ Fall 2009

60

Cafe Oro _ Studio 2A _ Fall 2009

70

Synthesized Displacement _ Studio 1B _ Spring 2008

80

Museum of Tolerance Renovation _ Studio 4A _ Fall 2011

Piazza Padella _ Studio 4B _ Spring 2012

16

4

Steel Competition _ Studio 3B _ Spring 2011

Tibernacky Residence4954 Meridian Street

Los Angeles, California90042

Project Managers:Brittany Clark

Brittney DillonRenel Etniel

Colin WinchellCourtney Power

Design Firm7500 N. Glenoaks Boulevard

Burbank, California91504

86

92Transversed Towers _ Studio 3A _ Fall 2010

Van De Kamps Rehabilitation Center _ Studio 1A _ Fall 2007

100Eroded Conduits _ Studio 2B _ Spring 2010

114Tjibaou Cultural Center Construct _ Materials and Methods _ Fall 2009

122Eames House Intervention _ Design Communications 2 _ Spring 2008

130Found Space _ Studio 1B _ Spring 2008

Construction Documents _ Professional Practice 1 _ Spring 2010

136

Tjibaou Cultural Center Case Study _ Studio 2A _ Fall 2009

108

Piazza PadellaRome, ItalyStudio 4BWoodbury University - Study Abroad ProgramInstructor: Paulette SingleySpring 2012

Concept: Temporal ConvergenceProgram: Public PiazzaFocus: Roman CulturePartner: David Hurtado

During a semester studying abroad in Rome, Italy, it became quickly evident that Rome exists as a series of stratified lay-ers. These layers express centuries of architecture, art, and history both above and below ground. Through a seemingly everlasting cycle of construction, renovation, demolition, and restoration, the inhabitants of the city are constantly flooded with an immense amount of history and culture. As more of Romes ruins are discovered, they quickly become a spectacle within the city. A mere tourist attraction which can only be gazed upon, rather than physically interacted with. This lack of human contact with the ruins has caused the ruins, and the city for that matter, to become stagnant. A threshold lies between the ruins and the rest of the city, keeping the ruins preserved, but ultimately placing Rome into a frozen state. By eliminating this threshold, Piazza Padella allows for the individual to interact with a series of ruins creating an autonomous and idiosyncratic experience. By placing an outdoor museum through the center of the piazza, users are able to physically touch spolia re-appro-priated from throughout Rome. This museum cuts through the piazza according to public thresholds which exist on the Nolli Map of Rome, cementing it into its own past. As the piazza steps above the museum, moments of reflection both onto the city and into the museum allow the occupant to place themselves physically and historically within Rome. This action of placing oneself into the history of the city allows for a more concise understanding of Rome as a complex system of stratified layers.

Piazza Padella:Temporal Convergence

Context Plan

Open Air Enclosed Immersed

Piazza Padella becomes a monument which users can both gaze upon and interact with.

Sunken Ruins

Largo di Torre Argentina Roman Forum Piazza Padella

Enclosed Ruins

ImmersedRuins

Open Air Enclosed Immersed

Via Dei Banchi Vecchi

Via Del Pellegrino

Via Di Monserrato

Via D

ei Ca

rtari

Via

Larg

o

Via

Cerri

Via Delle

Prigioni

Via Braveria

Lungotevere Dei Sangallo

Vicola

Della

Scim

ia

Via De

i Gonf

alone

Via Giulia

Via Giulia

Piazza Padella

Zoomed Site Plan

By immersing the museum into the piazza, users are able to physically interact with the ruins.

Piazza Circulation

Museum Circulation

22

1

1

Zone 1 (+0m)

Zone 2 (+2m)

Zone 3 (+5m)

Zone 4 (+10m)

11

2

3

3

4

4

Museum Building

Existing Church

Leisure Platform

Museum

Restaurant / Bar

Vantage Point

School Addition

Existing Ruins Integrated Into Museum

Zones Created To Esstablish Hierarchy Within Piazza

Organizational Geometry Is Morphed By Museum

Museum Acts As Circulation Datum Within Piazza

Zone 1 (+0m) Museum Circulation Museum Building

Zone 2 (+2m) Piazza CirculationExisting Church

Leisure Platform

Restaurant / Bar

Museum

Vantage PointSchool Addition

Zone 3 (+5m)

Zone 4 (+10m)

Paving Pattern Responds To Morphed Organizational Geometry

Program Zones Organized Along Datum

River Zone

-8 meters

Museum Zone0 meters

Main Piazza Zone

+4 meters

+10 meters

Viewpoint Platform Zone

Via Dei Banchi VecchiMuseum EntranceVia Giulia

Main PiazzaMuseum Exit

Viewing Platforms

Lungotevere

+20 meters

Longitudinal Section

River Zone

-8 meters

Museum Zone0 meters

Main Piazza Zone

+4 meters

+10 meters

Viewpoint Platform Zone

Via Dei Banchi VecchiMuseum EntranceVia Giulia

Main PiazzaMuseum Exit

Viewing Platforms

Lungotevere

+20 meters

As the piazza steps above the museum, it creates vantage points both inward and outward.

Moments of reflection allow users to place themselves physically and historically within Rome.

Stairs connecting tiered zones create both paths of circulation and moments of spectacle.

Museum of Tolerance RenovationLos Angeles, CAStudio 4AWoodbury UniversityInstructor: Mark Owen / Philip RaFall 2011

Concept: Adaptive GrowthProgram: MuseumFocus: Digital Representation

180

180

The Museum of Tolerance is in desperate need of being flipped both vertically and longitudinally. This is to say that it does not function as it currently exists. This flipping is achieved by demolishing the cladding and plates within the building. The existing footprint is maintained and reclad using monolithic glass. This glass serves as a ghost of the existing, paying homage to the original Museum of Toler-ance. The large cantilevers are supported by a branch-like truss system which serves as the skin of the exhibit spaces and conference centers. A recessed frosted glazing system provides enclosure as well as visual separation of the exhibits from the public. In the center of the building is a large atrium. This atrium is the same proportions as the existing rotunda, however, it is twisted and offset as a physical representation of the flipping and rotating of existing program. This atrium serves as the main vertical circulation for the building. When the user enters the building, they are given the option to take the elevator to the floors above, or utilize the sculptural atrium as a means of vertical circulation and interaction. In addition, each floor consists of a large open space around the atrium, encouraging a large amount of social interaction and collaboration. The atrium acts as a thermal chimney which, due to a relatively open floor plan, pulls heat from every floor and exhausts it out the top of the structure. A tessellated waterscape is located on the ground floor, acting as skylights for the administration space below. This allows for the underground spaces to have a large amount of natural daylight and thermal insulation. Re-cessed behind the trusses, a series of glass facades serve as the main enclosure of the building. These glass facades are frosted which allows for a relatively opaque and monolithic building during the day, and a completely transparent and lightweight structure at night. Furthermore, different colors are used to highlight different programmatic spaces at night, allowing for the building to be activated and interactive at all times. The atrium serves as the main structural support of the building. Four large cantilevered box trusses create the exhibit spaces, as well as the conference centers. These trusses are suspended in tension and then tied back to the atrium, where the load is carried to the ground. The existing columns are then repurposed to support the floor plates and provide secondary vertical load transfers. Rather than using conventional column and beam structure, the floors are suspended by branch-like welded steel plates, which mimic the boughs of a tree. This language is then carried into the facade of the building, acting as the struts within the trusses.

Museum of Tolerance:Adaptive Growth

North/South Materiality Flipped

Public/Private Zones Blended

Public/Private Zones Flipped

180

180

Public Pavilions Created

Public/Private Zones Flipped Public/Private Zones Striated

Lighting/Water Systems

Executive Conference Center

Multi-Purpose Room

Relocated Exhibit Space

Main Entrance

Relocated Offices

Existing Parking

Circulation System

Environmental Control System

Skin/Enclosure System

Museum Concealed During the Day

Ground Floor Plan

Main Entrance

Security Checkpoint

Kitchen/B.O.H. Cafe

Cafe Entrance

Restrooms

Rooftop Garden/Pavilion

Cultural Resource Center

Relocated Exhibit Space

Cafe

Relocated Offices

Existing Parking

Open Floor Plans Allow For Versatile Usage of Space

Spiral Atrium Creates A Central Spine Through The Musem

Exhibit Exhibit Exhibit Exhibit

ExhibitExhibit Entrance

Restroom

Exhibit

Restroom

Museum Plan

Structure Becomes An Icon Within Los Angeles

Interior Spaces Create Moments Of Release Within Museum

Executive Conference Center

Rooftop Garden/Pavilion

MechMech

Terrace Plan

Steel CompetitionDowntown Los Angeles, CAStudio 3BWoodbury UniversityInstructor: Daniel RabinSpring 2011

Concept: Inside vs OutsideProgram: Homeless Assistance CenterPartners: David Hurtado, Luis Salas

The goal of the steel competition is to create a Homeless Assistance Center In Downtown Los Angeles, that utilizes an interesting approach to steel structure. Our facility employs the homelessness assistance strategy by the Housing First program and its affiliations with Beyond Shelter specifically. The shelter acts as a transitional stage for its occupants. It acts as a referral service that seeks to aid homeless people with their reintegration back into society by assisting in find-ing permanent housing. It deals with a wide range of demo-graphics, focusing on non-drug abusers and others who are focused on getting out of Skid Row. The first step in the Hous-ing First program is crisis intervention, and this is a step that our facility will primarily focus on. Crisis intervention pertains to the homeless demographic that is seeking refuge as a means of stabilizing their lives. People undergo treatment for addiction, abuse, etc. and are then introduced to our facility for temporary housing. This transitional period may last anywhere between one month and one year depending on the needs and progress of each person. Architecturally, the facility is to be determined by the program. It consists of a Solid vs void relationship in which we utilize large voids through the structure as a means of creating framed views and apertures for light. A fifty-fifty relationship is established as a method of transitioning from being constantly outside, to a balance between inside and outside. In other words, in order to ease a homeless persons transition from being con-stantly outside, to being constantly inside, we have created a facility in which that person has a choice to either spend their time indoors or outdoors.

Steel Competition:Homeless Assistance Center

Circulation Study Model

Solid/Void Study Model

Formal Study Model

Conceptual Circulation Study Model

Circulation Void Study Model

Refined Circulation Model

Refined Circulation Study Model

Circulation Study Model

Exterior Circulation Model


Organizational Study Model

Labrynthial Study Model


Bridging Study Model

Refined Solid/Void Study Model

AB

C

D

E

F

G

H

J

K

L

M

12

34

5 67 8

9 10

Crocker St.

DINING

KITCHEN

SERVICE ENTRANCE

B.O.H. STORAGE

ADMIN

STORAGE

MEDICAL OFFICE

MEDICAL CLINIC

S. South Pedro St.

E. 6th S

t.

Ground Floor Plan

N0 10 20 40

12

34

5 67 8

9 10

A

B

C

D

E

F

G

H

J

K

L

M

First Floor Plan

N0 10 20 40

JOB TRAINING

HOUSINGSTORAGE

CAFETERIA MEZZANINE

HOUSING

EXTERIORJOB TRAINING

EXTERIORHOUSING

271

287

303

319

335

0 5 10 20

A B C D E F G H J K L M

0 10 20 40 0 10 20 40

271

287

303

319

335

0 5 10 20

A B C D E F G H J K L M

0 5 10 20

Exterior Spaces are Adapted to Individual Needs

Entrance Void Displays the Duality of Interior and Exterior Spaces

Interior and Exterior Spaces are Blended Together

Accordion Door

Cafeteria Mezzanine

Exterior Housing

Exterior Job Training

Job Training

Housing


Cafeteria Mezzanine

Housing

Auditorium

Exterior Housing


Accordion Door

Cafeteria

Cafeteria Mezzanine


Auditorium

Interior Housing

Exterior Housing

Job Training

Exterior Housing

Interior Housing

Corten Steel Cladding Offers Varying Opacities

Integrate[d] HousingDockweiler Beach, CAStudio 3AWoodbury UniversityInstructor: Eric OlsenFall 2010

Concept: Porous BlendingProgram: Multi-Family Housing

Submitted for d3 Housing Competition

In response to the increasing population within downtown Los Angeles, it has become evident that multi-family housing is the future of the city. With this, multi-family housing will soon spread past urban downtown and to the beach and suburban communities, eliminating single-family beach front homes. Located at the end of Imperial Highway, Integrate[d] Housing is situated atop the Hyperion Treatment Plant and consists of twenty-five units. The structure bridges across the street and lands on a barren dune under ownership of LAX. It takes these two previously undesirable and forgotten spaces, and transforms them into desirable beach front property. The entrance to the structure is located on the dune side, where a spiral ramp leads up to the parking decks. From these parking decks, an individual is able to access their front doors via a private staircase leading to their unit on the floor above. The units vary from a studio, to a two bedroom unit, and a three bedroom unit with the pos-sibility for a live-work unit. In the center of complex, a large vertical staircase allows access to the parking levels as well as providing spaces for the occupants to interact. On the dune side of the complex there is another staircase descend-ing the northern facade and providing access to various semi-public decks. These decks allow for panoramic views of the beach as well as a pleasant interaction with nature as it is near the Blue Butterfly Preservation. Integrate[d] Housing is wrapped in a high-performance environmental skin which utilizes the constant off-shore breeze, creating passive cool-ing as well as creating a series of framed views of both the beach and the arriving and departing air-traffic. A series of wind turbines are located on the top of the structure, taking advantage of the off-shore breeze in order to provide energy for the complex.

Porous Blending:Integrate[d] Housing

Double Spiral Car Ramp

Exterior Stairs/Public Pavilions

Elevator Core

Semi-Public Stairs/Gathering Spaces

Elevator Core

Elevator Core

Perspective Section

Units

Parking

Parking

Parking

Units

Units

Units and Parking Alternate between levels.

Program Organization

A series of vierendeel trusses (used at the residential levels) are held using a series of large eleva-tor chases.

Structure

Vehicles use a spiraling ramp. Pedestrians use a series of eleva-tors and stairways to gain entry to units on the parking levels.

Circulation

A high performance skin allows for passive cooling throughout the structure as well as framed views of the beach and air-traffic.

Environmental Skin

Each component comes together to create the housing complex.

Collective Whole

West Elevation

0 6 12 24

Three Bedroom UnitScale: 1/8 = 1-0

Two Bedroom UnitScale: 1/8 = 1-0

One Bedroom Unit/StudioScale: 1/8 = 1-0







UP

UP

UP

UP

UP

UP

UP

UP

UP

DW

N

UP

UP

DW

N

UP

UP

UP

UP

UP

UP

Three Bedroom UnitTwo Bedroom UnitOne Bedroom/Studio Unit

Unit Level Plan

0 6 12 24

Transverse Section A0 6 12 24

Structure acts as a Beacon at Night

View from Dune Side of Vista Del Mar

Transverse Section B0 6 12 24

Large Voids offer Framed Views of Airplanes

Units Accessed via Parking Levels

Environmental Skin

Living/Kitchen/Balcony



Parking

Parking

Parking

Stair/Plumbing Core

Perspective Section

Bedrooms

Parking

Parking

Parking

Bedrooms

Bedrooms

Progressive Burial GroundsDebs Park, Los Angeles, CAStudio 2BWoodbury UniversityInstructor: Kelly BairSpring 2010

Concept: Phasing DeathProgram: Cemetery

0- 5 Slope

6- 10 Slope

11- 15 Slope

16- 20 Slope

21- 25 Slope

26- 30 Slope

0- 5 Slope

6- 10 Slope

11- 15 Slope

16- 20 Slope

21- 25 Slope

26- 30 Slope

0- 5 Slope

6- 10 Slope

11- 15 Slope

16- 20 Slope

21- 25 Slope

26- 30 Slope

0- 5 Slope

6- 10 Slope

11- 15 Slope

16- 20 Slope

21- 25 Slope

26- 30 Slope

Progressive Burial Grounds takes a different approach to the way in which a cemetery operates. The dead change location periodically parallel to the amount of decomposi-tion that has occurred. Throughout the site there are five different burial types. The newly deceased are placed ei-ther in a concrete clad natural burial plot within the ground or a wall plot located within the loculi. After one year in a ground plot, and two years in a wall plot, a significant amount of decomposition has occurred. At this point, the remains are moved to a smaller plot either located within columbaria (wall plot) or a small inurnment plot (ground plot), depending upon the location of the original remains. after another year has passed (two years for columbaria) the majority of the remains will be bones and at this point the bones are cremated and placed into a small overhead plot where they will reside indefinitely. In order to achieve this cyclical progression formally, a series of modular volumes exist within the site to facilitate these different burial types. The sloped spaces in between these volumes facilitate natural burial plots (Phase 1) while the main circulation side is constructed of the loculi (Phase 1). The supporting members located along the volume serve as the columbaria (Phase 2). The overhead plane is riddled with divets that hold small inurnment plots (Phase 3) that are visible from both above and below the volume. These volumes flank the main circulation through the site as well as stack on top of one another to create the chapel and memorial space. As the volumes step up the hillside they grow in width in order to facilitate the administrative spaces which are surrounded by a series of stepped gardens.

Phasing Death:Progressive Burial Grounds

Graded Slope Study

Existing Slope Study

Site Plan Detail

0 12 24 48

Loculi (Phase 1) Columbaria (Phase 2)

Module SectionSite Plan N0 30 60 90

Inurnment (Phase 3) Light Well Gabion Wall

Year One (Phase One)

0 4 8 16

Gardens

Chapel/Memorial Space

Offices

Restrooms

Loculi (Stage 1)

Columbaria (Stage 2)

Natural Burial (Stage 1)

1

11

1

2

2

3

3

4

4

Gardens


Offices

Restrooms

Loculi (Stage 1)



1

11

1

2

2

3

3

4

4

Gardens


Offices

Restrooms

Loculi (Stage 1)



1

11

1

2

2

3

3

4

4

Entrance SectionNBurial Plan

0 30 60 90

Year Fifty (Phase Two)

0 15 30 60

Chapel Section

Gabion walls containing inurnment plots. (Phase 3)

Overhead Modules

Large loculi (Phase 1) and colum-baria (Phase 3) offering vertical support. Gabion retaining walls.

Supporting Structure

Regraded earth (Phase 1) and main circulation spine.

Circulation

Year One Hundred (Phase Two)

0 15 30 60

Pacific Rim Culinary AcademyHollywood, CAStudio 2AWoodbury UniversityInstructor: Mark OwenFall 2009

Concept: Fusion/Parts to a WholeProgram: Culinary Institute/Restaurant

Auditorium150x50x30

Restaurant100x50x12

Library80x40x15

Learning Kitchen70x50x12

Lounge80x40x10

GardenVarying

Seminar Space35x30x10


Admin Space35x30x10

Food Storage25x20x12

Public Restroom25x20x10

Locker room50x20x10

Locker room50x20x10

Skin System

Program

Circulation

Structure

Cooking is an artform that combines various ingredients to create one cohesive idea. The common strategy of the design and the culinary institute is this fusion of ideas. Programmatic elements are defined as the ingredients of the project and come together to form a cohesive idea from various different elements. These ingredients are tied together using a skin system that defines each space accord-ing to the quality of light needed by the space and unites them together when wrapping the auditorium. The library acts as the main vertical circulation of the building and also the ingredient that links all of the different programmatic elements together. When these ingredients (the program elements and the skin system) come together they create a new idea that no longer represents each individual ingredi-ent but the project as a whole.

Fusion:Pacific Rim Culinary Academy

Auditorium150x50x30

Restaurant100x50x12

Library80x40x15

Learning Kitchen70x50x12

Lounge80x40x10

GardenVarying



Admin Space35x30x10

Food Storage25x20x12

Public Restroom25x20x10

Locker room50x20x10

Locker room50x20x10

Skin System

Program

Circulation

Structure

Locker Room

Locker Room

Auditorium Entrance

Auditorium

Auditorium Entrance

(Mezzanine)

Auditorium

Library Library

Seminar Space

Seminar Space

Administration

Library

Garden

Lounge

First Floor Plan Longitudinal SectionN

0 3 6 9

0 3 6 9

Locker Room

Locker Room

Auditorium Entrance

Auditorium

Auditorium Entrance

(Mezzanine)

Auditorium

Library Library

Seminar Space

Seminar Space

Administration

Library

Garden

Lounge

Locker Room

Locker Room

Auditorium Entrance

Auditorium

Auditorium Entrance

(Mezzanine)

Auditorium

Library Library

Seminar Space

Seminar Space

Administration

Library

Garden

Lounge

Locker Room

Locker Room

Auditorium Entrance

Auditorium

Auditorium Entrance

(Mezzanine)

Auditorium

Library Library

Seminar Space

Seminar Space

Administration

Library

Garden

Lounge

High Performance Glazing Gives Privacy During the Day

Second Floor Plan Third Floor Plan Roof Plan 0 9 18 36

Transverse Section0 4 8 16

Structure Illuminates the Street at Night

Structural Physical ModelDownward View of Library

Cafe OroMetro Gold Line, Highland Park, CAStudio 2AWoodbury UniversityInstructor: Mark OwenFall 2009

Concept: SynthesisProgram: Train Station Coffee Bar

The goal of this project was to create a counter style caf located on the perimeter of the existing Metro Gold Line in Highland Park, California. The site is the dividing line between business and residential zones in Highland Park and therefore serves as the central hub to various walks of life. The trains are constantly running with people of many ethnicities and all ages using it at different times of the day. Due to this, I felt compelled to create a coffee bar that would remain open at all hours of the day. With trains coming in every ten minutes, it allows for the perfect rest stop for business people and students to collaborate. The caf is constructed of a series of triangle trusses that are cantilevered off of the posts of the existing gazebo. The concrete bar and seating creates this idea of the ground literally extending up toward the steel trusses above, with the two systems reconciling around one another creating the bathroom. Here, concrete walls are enclosed within a large triangle truss with a large steel pivot door. In addition, a series of solar panels are located across the top of the truss system, creating a green energy structure and minimalizing the impact of the architecture on the community.

Cafe Oro:Train Station Cafe

View from Street

Photovoltaic Panels

Triangle Trusses

Sheet Metal Rain Screen

Seating/Cafe Longitudinal Section

0 4 8 16

View of Bathroom and Cafe Bar

Floor PlanN0 5 10 20

Transverse Section 0 4 8 16

View of Cafe illuminated at Night

Program Organization/Circulation Aerial Street View of Physical Model0 6 12 24

Displacement ProjectHollenbeck Park, Boyle Heights, CAArchitecture 10BPasadena City CollegeInstructor: Coleman GriffithSpring 2008

Concept: Synthesis - Divergence vs. IntegrationProgram: Rehabilitation Center/Free Medical Clinic

30

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The external reference is an idea that is taken out of the sci-entific or physical world that is used as a means of deriving a conceptual idea. For this I researched tsunamis and the way in which they interact with the surrounding water and land. By studying the ways in which tsunamis propagate and move through the worlds ocean i was able to construct a concept and a series of conceptual rules loosely based on the behavior of tsunamis. When a large earthquake happens in the depths of the ocean it creates a series of waves in a 360 degree pattern around the fault line. These waves propell themselves outward change shape and pat-tern according to the surrounding land. Due to its massive surface area the waves gain energy and speed as the flow through the ocean creating a massive wave face once it reaches land. Synthesis is achieved when two opposing ideas, influences, or objects merge together resulting in a new whole. When a tsunami approaches land, there is a drawback and a push forward that combine to create this synthesis. As a project, my design is striving to achieve this synthesis in the community. By building a free clinic in the park, it encourages people from around the community and LA to come back to Boyle Heights in order to get help (draw back). They no longer have to travel longer distances to get medical help. In an opposing fashion, the structure will also be home to a drug rehabilitation center. This rehab center is meant to take the people who have been poisoning the community and push them back out into the LA area (push forward). When these two ideas combine, the create a new space that allows people from opposing needs and ideals to come together in this places of synthesis.

Displacement:Drug Clinic/Rehab Center

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RehabilitationVan De Kamps Bakery, Atwater, CAArchitecture 10APasadena City CollegeInstructor: Deborah BirdFall 2007

Concept: Seductive Reach

The goal of this project was to create an entry hall for a rehabilitation center in between the two existing buildings of the Van De Kamps Bakery. Program was limited to a canopy system and a series of meeting spaces. In my design I decided to combine the two ideas into one flowing project. By utilizing my concept (seductive reach) I was able to manipulate the canopy system to create an overhead plane as well as wall and floor planes in order to draw the viewer into the project through bending and twisting spaces. By creating perforations and using different opacities on the system, I utilized light to create both private and public spaces as well as creating circulation paths.

Rehabilitation:Van de Kamps Rehabilitation

Center

Longitudinal SectionSite Plan

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Canopy Evolution & Manufacturing

The perforations in the canopy were created using a graphic that read Van De Kamps which I then used as a template for the perfo-rations in the canopy itself.

Rear Photo-Composite

Aerial View of Physical Model

Siedlung Housing StudyStudio 3AWoodbury UniversityInstructor: Eric OlsenFall 2010

Concept: Transversed Towers

The objective of the Siedlung Housing Study was to investigate the programmatic qualities associated with multi-family housing. We were given a fictitious site and then asked to create a housing facility consisting of twenty-five units through a series of diagrams and study models. My investigation lead to the idea of Transversed Towers. This concept came from the idea of taking a single tower, and pulling it apart into three separate towers. With this, certain units would bridge the two towers creating a private walkway linking the towers. Due to the fact that certain units bridge between multiple towers, the elevators within each tower would work on a skip stop system, and open to each individual loft. The bottom two levels of the structure are large public spaces that include a lobby and several gallery spaces. The project was designed in order to be integrated into a dense urban site such as Downtown Los Angeles as a means of creating vertical housing for the future of urban living.

Transversed Towers:Siedlung Housing Study

View of Project Integrated into Downtown LA

Transverse/d/ Towers

Lofts

20 Units

Project Awaiting Approval

Unit Size: 400 - 1600 Sq Ft

/b/ Design

Los Angeles, Ca

Elevator Chases Floor Plates Suspended From Chases Steel Framed Around Floor Plates

Bridged-public Pavilion

Glass Hung From Steel Curtain Wall

Public Pavilion/complex Admin

Elevator

Elevator Stop

Bridged Unit Circulation

Loft Circulation

Singular Tower

Private Residence

Bridged-private Residence

Program Organization

Study Model Progression

Investigation 1An exploration into stacking and offsetting as a means of creating private space.

Investigation 2The idea of stacking is altered by using varying program heights and depths.

Investigation 3Stacks transformed into a series of vertical towers.

Investigation 4Vertical towers reduced to two single towers and several horizontal bars.

Investigation 5Towers adapted to intro-duce formal aspects.

Investigation 6Form introduced to horizon-tal organization.

Transverse/d/ Towers

Lofts

20 Units

Project Awaiting Approval

Unit Size: 400 - 1600 Sq Ft

/b/ Design

Los Angeles, Ca

Elevator Chases Floor Plates Suspended From Chases Steel Framed Around Floor Plates

Bridged-public Pavilion

Glass Hung From Steel Curtain Wall

Public Pavilion/complex Admin

Elevator

Elevator Stop

Bridged Unit Circulation

Loft Circulation

Singular Tower

Private Residence

Bridged-private ResidenceInvestigation 7Horizontal form investi-gated further.

Investigation 8A further exploration into horizontal stacking of program bars.

Investigation 9Program arranged into vertical stacks with small bridges linking the towers.

Investigation 10Density of program decreased and form introduced.

Investigation 11Form is refined and given more detail and materiality.

View of Downtown LA from Within a Unit

Physical Model DetailProject Situated on Bunker Hill

Structure Allows for Complex Light Qualities

Site MappingDebs Park, Los Angeles, CAStudio 2BWoodbury UniversityInstructor: Kelly BairSpring 2010

Concept: Eroded ConduitsPartners: Andre Gharakhanian, Brian Hardy


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As a group we focused on three primary ideas: topography, slope, and erosion. We were most interested in the way these three principles worked as a system rather than as individual site properties. We began by mapping the major erosion points within the site as we perceived them. These major points of erosion were broken down into two separate categories: water erosion and a combination of foot traffic/animal paths and water erosion. These paths were then carved out of the contours with a v shape representing the water erosion and a u shape representing the combination erosion. Next a series of vector lines were created as a means of tracing the slope of the site. These vector lines served as the radii of the circles, therefore, as a circle became larger, the slope became more drastic in rela-tion to the surrounding circles. This allowed both for a study of the slope relationships and the way in which water would move through the site. In order to further illustrate the way in which water would act within the site, a series of vectors with arrows were mapped to show major water paths across the site according to our mapping of both the slope and the topography. Engaging the site or looking at it in section it is apparent that there is a steep slope in which inhabitants must traverse. To demonstrate this presence of the erosion paths and severe changes in slope, the sections are created by a series of cuts every ten feet in the site that are then layered on top of one another. This slope rises a little more than 200 feet over a distance of 600 feet, which equates to a one foot rise for every three feet horizontally. This characteristic can be seen in the short sections where every ten foot section is clearly distinguishable. The physical model became an integral part of illustrating these three principles. The topography is represented through vertical contours with the major erosion points cut into the edges. As a means of demonstrating slope and hydrology, a series of lights were placed at major intersections and points of pooling. These lights reflect and refract across the edges of the acrylic in a similar way to which water would pool and erode the site. The wiring for the lights was the traced across the back of the base, tracing the water paths in the same way that was done in the hybrid map. These water/wiring conduits culminate in the parking lot, which is both the starting point and the ending point of the entire site.

Eroded Conduits:Site Mapping Study

Detail of Hybrid Map


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Hybrid Map of Site Conditions

Vertical Contours Represent Topography of Site

Cuts Illustrate ErosionLights Illustrate Pooling

Wiring Behind Plexi Illusrates Water Flow

Tjibaou Cultural Center Case StudyStudio 2AWoodbury UniversityInstructor: Mark OwenFall 2009

Focus: Layers and Veneers

Ground Floor Plan

Diagrammatic Floor Plan

Tjibaou Cultural CenterRenzo PianoColin Winchell

Ground Floor Plan

Diagrammatic Floor Plan


This case study was devoted to discovering latent qualities within our respective precedents. I chose to investigate the Tjibaou Cultural Center, designed by Renzo Piano. When taking an in depth look into the project I discovered several intriguing aspects. The double shelled facade of the tjibaou cultural center serves as an exquisite replication of the native huts of the indigenous people of new caledonia. However, the double shell itself is not the main facade of the building. Behind this impervious double shell is a curtain wall of glass louvers imposed within steel framing. My purpose with this case study was to take this screen and study its attributes. I first removed the outer shell from the structure and reversed the material qualities of the double shell. The opaque wooden slats became transparent and the transparent curtain wall became opaque. In doing this, the viewer is given an opportunity to see the complete facade by break-ing down the two shells. Secondly, i investigated the way in which light interacts with the space. The wooden slats make for dynamic lighting in the main space, varying depending upon the time of year. I studied the way the light would interact during the summer solstice and the winter solstice. This was then translated into large wedges of plexi that would represent the level of light protruding into the space as well as the angle in which the light enters the space.

Case Study:Tjibaou Cultural Center

Ground Floor Plan

Diagrammatic Grid Plan

0 20 40 80

0 20 40 80

Transverse Section

Pavilion Section0 15 30 60


Form/Structure/Screen The double shelled facade of the Tjibaou cultural center serves as an exquisite replica-tion of the native huts of the indigenous people of New Caledonia. However, the double shell itself is not the main facade of the building. Behind this impervious double shell is a beau-tiful facade of glass louvers imposed in steel framing, These circular walls of glass give a beautiful view through the wooden slats of the double shelled structure surrounding it. How-ever, one never quite catches a glimpse of this glass facade due to the matrix of wood on the double shell. My purpose was to take this screen and remove it from the structure itself. In addition, I reversed the material qualities of the both structures making the opaque trans-parent and the transparent opaque. In doing this, the viewer is given an opportunity to see the complete face of the glass louvered walls. By making the double shell into a single two dimensional diagram placed in the existing site grid in front of the main structure, the shell then becomes simply a reference as to what it was before and accentuates the simplicity of the main structure.

Unfolded Facade Model

Unfolding Diagram

Tjibaou Cultural CenterRenzo Piano

Colin Winchell

Layers/Veneers

The location of the Cultural Center allows for very dynamic lighting conditions through out

the year. The structure faces southeast allow-ing for light to pour in each morning. By study-

ing the way in which light enters the main struc-tures of the center, I discovered that depending upon the different time of year, light flooded the space in very different ways. The image on the

far left shows the way light enters the space at twelve noon during the winter equinox. It

enters with a relatively low penetration angle completely floods the room. The image in the

middle portrays the way in which light enters the space at twelve noon on during the sum-

mer equinox. The angle at which the light en-ters the space is much higher than that of the winter creating a different sense of light within

the space. By combining the light rays into the same space in the solid for of a diagrammatic physical model, one is able to see the way in

which the light differs depending upon the time of year. By making the light into a solid mate-

rial, it becomes more of a concrete view and the interaction between light becomes much

more clear while still maintaining the inherent qualities represented by the transparent acrylic.

Tjibaou Cultural CenterRenzo Piano

Colin Winchell

Layers/Veneers

The location of the Cultural Center allows for very dynamic lighting conditions through out

the year. The structure faces southeast allow-ing for light to pour in each morning. By study-

ing the way in which light enters the main struc-tures of the center, I discovered that depending upon the different time of year, light flooded the space in very different ways. The image on the

far left shows the way light enters the space at twelve noon during the winter equinox. It

enters with a relatively low penetration angle completely floods the room. The image in the

middle portrays the way in which light enters the space at twelve noon on during the sum-

mer equinox. The angle at which the light en-ters the space is much higher than that of the winter creating a different sense of light within

the space. By combining the light rays into the same space in the solid for of a diagrammatic physical model, one is able to see the way in

which the light differs depending upon the time of year. By making the light into a solid mate-

rial, it becomes more of a concrete view and the interaction between light becomes much

more clear while still maintaining the inherent qualities represented by the transparent acrylic.

Light Study during Summer Solstice Light Study during Winter Solstice Composite Light Study Model

Tjibaou Cultural Center ConstructWoodbury Campus, Burbank, CAMaterials And MethodsWoodbury UniversityInstructor: Eric OlsenFall 2009

Focus: Steel JoineryPartners: Alan Chan, Aris Keshishian, Cevak Satourian, Sophia Avila

In Materials and Methods, we were given a case study of an existing building and then asked to interpret the material and structural systems inherent within the project in the form of a construct. Our specific building was the Tjibaou Cultural Center, by Renzo Piano. The building is based on a wind driven ventilation system. Through studying the structure, I learned that metal is a material that has infinite possibili-ties of fabrication and design. We also had to work with wood which was much easier to work with. Wood is more forgiving and easier to sand and fabricate. The building itself consists of custom casted metal pieces that were very intricate. The cost of us getting these pieces custom casted was going to be extremely expensive so we took advantage of a water jet machine and cut out the pieces and welded them together ourselves. The metal connections were modeled in 3D first then broken down and cut on the water jet machine. These pieces were then sanded to a fine finish. Then they were then assembled together and welded in place and ground once more. The large wood posts where then attached to these joinery pieces and held in place by the horizontal steel plates. Finally the wooden slats were added to complete the construct.

Steel Joinery:Tjibaou Cultural Center

Construct

View of Center Supports of Construct

Detail of Steel Footing

Detail of Wooden SlatsDetail of Steel Bracing

Transverse Section 0 4 8 16

Exploded Axon

Joinery Detail

Manufacture

Fabrication

Assembly

A water jet is used to cut the sheet metal into a template for the joinery.

`

The joinery is then com-bined with the wood and anchored into the concrete, completing the construct.

Eames House InterventionCharles and Ray Eames House, Malibu, CAArchitecture 12BPasadena City CollegeInstructor: Kelly BairSpring 2008

Concept: Excavation

The goal of this project was to create an intervention of the space between the two existing buildings that make up the Eames House in Malibu, CA by using either a stranded or tiled structural system. This system would then be deployed in order to create a seating and gallery space that could be occupiable from both the first and second floors. It began with the investigation of an external reference which would then manifest itself in a way that would create the desired space. A study of the structural qualities of spongy bone was done in order to gain initial design elements used to create the facade of the project. This study helped to give an idea of a stranded system that I would eventually use to create a tiled system connecting the two main goals of the project into one. My Preliminary step in the project was to develop a series of curves that would define the final facade of the project. Once the facade was designed in a two-dimensional manner, the shapes placed strategically on the facade were extruded through the perpendicular vertical face. These zones were then excavated out of the existing structure to create the spaces within the project itself.

Excavation:Eames House Intervention

Perspective View of Eames House with Courtyard Intervention

Facade Design Existing Structure Extrusion Excavation

Spongy Bone Lifted Diagram Generated Diagram

Precedent Study

Construction Technique

Voids Illuminate at Night

Floor Plan0 1 2 4

View of Interior Seating Space

Longitudinal Section0 1 2 4

Perspective Section

Found SpaceArchitecture 10BPasadena City CollegeInstructor: Coleman GriffithSpring 2008

Concept: Cube Excavation

Spatial DiagramColin Winchell

Arch10B

Found Space or Forgotten Space is space that one comes across on an everyday basis without realizing the full potential of the space. In this project we were asked to analyze a found space and derive a series of shapes that make up the space. These analytical spaces were then extracted and taken into the digital world and intersected with each other in various ways. The extracted spaces were then placed within a cube and subtracted from the cube in a way that is inherent to the found spaces. The spaces I investigated called for specific sharp angles and intersec-tions that would interact with one another in a similar way to the way these spaces are found in the real world. This cube was then contoured, laser-cut, and spaced on dowels as a means of generating a new artifact of forgotten space.

Found Space:Cube Excavation

Full Extracted Space

Extracted Street Space

Extracted Slope Space

Spatial DiagramColin Winchell

Arch10B

Found Space

1 Space SubtractedFound Spaces 2 Spaces Subtracted

Interior View of Cube

3 Spaces Subtracted

Top Cube Axon Bottom Cube Axon

Excavated Cube Contoured Cube Subtracted Space

Construction DocumentsProfessional Practice OneWoodbury UniversityInstructor: Guilio ZavoltaSpring 2010

Partners: Brittney Dillon, Brittany Clark, Courtney Power, Renel Etniel

This space is designed as an open floor plan and is organized according to a datum or central axis which the spaces then rotate and shift off of for a choreographer. Requirements: open floor plan, multipurpose and functional spaces, light accentuations, translucent materials, single pitch roof, multi platforms which will be divided by levels and stairs according to a hierarchy.

Danc

e Stud

io/ Li

ving R

oom

Kitch

en

Bed

and

Bath

18" = 1'

Cov

ered

Car

port

Cov

ered

Car

port

Patio

Cour

tyardMain

Ent

ranc

e

Priva

te E

ntra

nce

20'

20'

15'

15'

17'

11'

10'

10'

10' ' 01

(har

dwoo

dflo

oring

)

(har

dwoo

dflo

oring

)

(mar

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oard

floor

ing)

A.100

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SCHEMATIC DESIGN

DATE

A.100

10001JOB NO:

ISSUE

CONSTRUCTION DOC 05.03.10

7500 GLENOAKS BOULEVARDBURBANK, CA 91510

PAGE NUMBER:

PAGE TITLE:

NO.

01

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

14

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

Professional Practice was a semester long class in which we designed a simple house on a given site and were then asked to generate all of the construction documents for that house. We went through the entire design process including schematic and conceptual design and then created full scale construction documents containing detailed plans, sections, and wall details for specific instances within the structure. I found working on the wall details to be the most exciting part of the deisgn process. It was very interesting to zoom in and specify every nail and screw that went into one small portion of the building. When working in studio its very easy to ignore these details and it was refreshing to be able to spend time on the little details.

Professional Practice:Construction Documents

Site Plan

N0 2 4 8

This space is designed as an open floor plan and is organized according to a datum or central axis which the spaces then rotate and shift off of for a choreographer. Requirements: open floor plan, multipurpose and functional spaces, light accentuations, translucent materials, single pitch roof, multi platforms which will be divided by levels and stairs according to a hierarchy.

Danc

e Stud

io/ Li

ving R

oom

Kitch

en

Bed

and

Bath

18" = 1'

Cov

ered

Car

port

Cov

ered

Car

port

Patio

Cour

tyardMain

Ent

ranc

e

Priva

te E

ntra

nce

20'

20'

15'

15'

17'

11'

10'

10'

10' ' 01

(har

dwoo

dflo

oring

)

(har

dwoo

dflo

oring

)

(mar

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floor

ing)

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SCHEMATIC DESIGN

DATE

A.100

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ISSUE

CONSTRUCTION DOC 05.03.10


PAGE NUMBER:

PAGE TITLE:

NO.

01

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

14

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

BATT INSULATION IN STUD CAVITY (R-13)

3/4" DOUBLE PANED GLASS

ALUMINUM WINDOW FRAME

3/4" PLYWOOD

1/2" CONCRETE PANELS

1/2" ANCHOR BOLT

2" X 4" SILL

#4 REBAR

3 /4" PLYWOOD

1/16" LINOLEUM

1 /2" X 3" BASEBOARD PAINTED

CONCRETE FOOTING

5 / 8" GYPSUM WALL BOARDPAINTED

5 / 8" GYPSUM WALL BOARDPAINTED

SILL PLATE

HEADER

3/ 4" PLYWOOD

1 /2" CONCRETE PANELS

2" X 6" ROOF JOIST

3" RIGID ROOF INSULATION

1 /2" SLATE SHINGLES

ALUMINUM WINDOW FRAME

4'-1 1

/4"4'-

4"2'-

4 5/8"

11 3/

8"2'-

8 7/8"

585'

570' 2" X 6" FLOOR JOISTBATT INSULATION IN FLOOR JOIST CAVITY (R-13)

3'

14'

CONCRETE PANELS 1/2"

PLYWOOD 3/4"

THERMAL INSULATION IN STUD CAVITY(R - 13)

GYP. BOARD 5/8"

SILL 2X4"

ROOF JOIST 2X8"

572'

DOUBLE PANED GLASS 3/4"

PAPER

HARDWOOD FLOORING 3/4"

SILL 2X4"

PLYWOOD 3/4"

5'-2

"

#4 BAR

2X4 SILL

2X4 FLOOR JOISTS

BATT INSULLATION

1'-6"8"

2X4 RIM JOIST

TOP PLATE 2X6"

SILL 2"X4"

WINDOW FRAME 2"X4"

TOP PLATE 2"X4"

ROOF JOIST 2"X6"

PLYWOOD 3/4"

SLATE SHINGLES 1/4"

CUSTOM CURTAIN WALL

6'-0

"6'

-0"

RIGID ROOF INSULATION

WINDOW FRAME 2"X4"

565'

MARLEY BOARD FLOOR 4 1/2"

1'-8"

#4 REBAR

CONCRETE FOOTING

PLYWOOD 3/4"

8"

BATT INSULATION IN FLOOR JOIST CAVITY (R-13)

2X6 FLOOR JOIST 16" O.C

8"

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Wall Sections

DATE

A.600

---JOB NO:

ISSUE

DATE 03 23 10


PAGE NUMBER:

PAGE TITLE:

NO.

01

Wall Section (C.P.)SCALE: 3/4" = 1'-0"15

Wall Section (C.W.)SCALE: 3/4" = 1'-0"6

Wall Section (R.E)SCALE: 3/4" = 1'-0"10

WINDOW FRAME 2X4

WINDOW FRAME 2X4

ROOF JOIST 2X6

TOP PLATE 2X4

CUSTOM CURTAIN WALL

PLYWOOD 3/4

RIGID ROOF INSULATION

SLATE SHINGLES 1/4

SILL 2X4

2X6 FLOOR JOIST 16 O.C.

CONCRETE FOOTING#4 REBAR

Wall Section

MARLEY BOARD FLOOR 4 1/2PLYWOOD 3/4BATT INSULATION IN FLOOR JOIST CAVITY (R-13)

2 X 4 SILL

DOUBLE PANE GLASS

SEALANT

METAL FASTENER

ALUMINUM FLASHING

0 6 12 24

1% SLOPE

DOUBLE PANE GLASS 3/16"SEALANT

WINDOW FRAME 2X4

ALUMINUM FLASHING

SEALANT WINDOW FRAME 2X4TOP PLATE 2X4

ROOF JOIST 2X6

METAL FASTENERALUMINUM FLASHING

DOUBLE PANE GLASS 3/16"

1% SLOPE

SEALANT

METAL FASTENERALUMINUM FLASHING

DOUBLE PANE GLASS 3/16"WINDOW FRAME 2X4WALL STUD 2X4WALL STUD 2X4

WALL STUD 2X4

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Details

DATE

A.700

---JOB NO:

ISSUE

DATE 03 23 10


PAGE NUMBER:

PAGE TITLE:

NO.

01

Curtain Wall Meets Roof Detail (C.W.)SCALE: 3" = 1'-0"5

Window Sill Detail (C.P.)SCALE: 3" = 1'-0"14

Bathroom Floor Detail (C.P.)SCALE: 3" = 1'-0"13

Marley Board Floor Detail (C.P.)SCALE: 3" = 1'-0"15

Curtain Wall Structural Detail (C.W.)SCALE: 3" = 1'-0"6

Plan of Curtain Wall Meets Corner (C.W.)SCALE: 3" = 1'-0"7

Window to Sill Detail (R.E.)SCALE: 3" = 1'-0"7

2 X 6 SILL

2 X 8 SILL

STUDIO FLOOR (SEE DETAIL)

5 1/4"

1 1/2"

1"

3/8"

9 1/4"

STEEL CABLES

STEEL STRINGER

STEEL COLUMNS

STEEL BOLTS

STEEL BASE

3/ 4" PLYWOOD

5 /8" HARDWOOD

2 X 4 STUD

1 /4" STEEL PLATE

CANTILEVERED HARDWOOD TREAD

GYP. BOARD 5/8"

HARDWOOD FLOORING 3/4"

PLYWOOD 3/4"

PLYWOOD 1/2"

CONCRETE PANEL 1/2"

WOOD BALUSTER

DOVE TAIL JOINERY

2 X 6 SILL

6"

5 /8" PLYWOOD

3 /4" FINISHED HARDWOOD FLOOR

2 X 6 JOIST @ 16" O.C.

2 X 6 DOUBLE HEADER

FOOTING

2 X 14 STRINGER

2 X 10 LEDGER

2 X 6 JOIST

R30 INSULATION

5/8" PLYWOOD3/4" HARDWOOD



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DETAILS

DATE

A.702

10001JOB NO:

ISSUE

CONSTRUCTION DOCS 05.03.10

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

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

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


PAGE NUMBER:

PAGE TITLE:

NO.

01

STAIR TO MARLEY BOARD FLOOR DETAIL (R.E.)SCALE: 3" = 1'-0"15

BEDROOM RAILING DETAIL (C.P.)SCALE: 3" = 1'-0"13

CANTILIEVERED STAIR DETAIL (C.W.)SCALE: 3" = 1'-0"6

BALUSTER STAIR DETAIL (B.C.)SCALE: 1 1/2" = 1'-0"14

KITCHEN TO STAIR DETAIL (B.D.)SCALE: 3" = 1'-0"6

2 X 4 SILL

DOUBLE PANE GLASS

1/8 VINYL PERFORMANCE SURFACE

1/8 VINYL PERFORMANCE SURFACE

SEALANT

3/8 TOP PANEL SUB-SURFACE: SEMI-FLEXIBLE

CONCRETE PANEL 1/2

1/2 LOWER PANEL SUB-SURFACE: SEMI-FLEXIBLE

PLYWOOD 3/4

PLYWOOD 1/2

METAL FASTENER

1X3 WEAVE STRINGERS CLEAR SOUTHERN PINE

2X4 STUD

1X3 WEAVE STRINGERS CLEAR SOUTHERN PINE

GYP. BOARD 5/8

1/2 RUBBER SUSPENSION PADS

CANTILEVERED HARDWOOD TREAD

6MM POLYETHYLENE DAMP PROOF MEMBRANE

STEEL PLATE 1/4

6 CONCRETE SLAB

HARDWOOD FLOORING 3/4

ALUMINUM FLASHING

Floor Detail

Stair Detail

0 3 6 12

0 3 6 12

Name : Colin Winchell

: Woodbury University School of Architecture - Projected Graduation: Spring 2013

Education

: Jonfonya Design: Intern: June 2010 - January 2011

Architectural Experience

: 3D Modeling - Rhinoceros 4.0 + 5.0, Grasshopper, Revit 2012 Drafting - Autocad 2012, Revit 2012 Rendering - Vray, Maxwell Render, Artlantis Animation - Autodesk Showcase, Unity 3D Adobe - Illustrator cs5, Photoshop cs5, InDesign cs5

Computer Literacy

: 818-522-0598Phone Number

: [email protected] [email protected]

Email

: 2921 Henrietta Avenue La Crescenta, CA 91214

Permanent Address


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-Henry David Thoreau

If you have built castles in the air, your work

need not be lost; that is where they should be.

Now put foundations under them.