Moonbot Studios

M O O

N B O T

S T U

D I O S

M O O N B O TS T U D I O S

C H I L D R E N ’ S C E N T E R

MAGGIE BOGGSLOUISIANA STATE UNIVERSITYWWW.MAGGSBIE.TUMBLR.COM

801 CROCKETT STREETSHREVEPORT, LOUISIANA71101

SENIOR CAPSTONE PROJECT

INTRODUCTION

FOCUS TOPIC OVERVIEW

BUILDING AND SITE STUDY

PRECEDENT STUDY

PROGRAM REQUIREMENTS

DESIGN SOLUTION

FOCUS AND SPECIFICATIONS

REFERENCES

ACKNOWLEDGEMENTS

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INTRODUCTION

IDEA FOR THESIS

As an Interior Design and Fine Art student, exploring many options of merging these two fields into one cap-stone project was a priority for me. I want to create spaces that enhance creativity and innovation; what better than an illustration and animation studio? Growing up in the area of Shreveport, Louisiana led me to develop interest in the newly started company of Moonbot Studios and William Joyce, the founder of the company. Wil-liam Joyce has written many children’s books including Rolie Polie Olie, Santa Calls, and George Shrinks. I want to create a space that inspires creativity in the people of Moonbot as well as the public. Moonbot Studios is a “interplanetary creative expedition of Story and Art,” presented as a digital animation and development com-pany. Headquartered in the Inter Tech Science Park in Shreveport, La, Moonbot will support the growing film, television, and digital interactive media industries in Louisiana and worldwide, by combining the incredible talents of its team and the generous entertainment industry incentives in Louisiana. Moonbot is a place where narrative experience is transformed and told across multiple platforms. (Moonbot.com)

PROBLEM STATEMENT

Shreveport and Bossier City, LA are two adjacent towns in need of developing a better sense of identity of cul-ture. As a growing area, it is important to encourage the artistic talent of the citizens so that they invest time and energy into developing a better artistic environment fort he area. There are currently additions and renovations of spaces taking place to accomplish this in Shreveport/Bossier, and I plan to solve this problem by designing a space that will accomplish the goals of the city and increase the knowledge of the changes that are taking place in the area.

INTRODUCTION

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MISSION STATEMENT

The design of the space will be a mixture of public and private areas. It will be whimsical, creative, and inspire innovation in the employees of Moonbot as well as the public who visit the children’s creative center. This will be executed through various deign strategies of color, light, and component design. The goal of this space is to create a space that Shreveport has never seen before.

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A large portion of the senior capstone project was to incorporate a facet of interior design to focus on. The first week of this project consisted of researching three different facets that I was interested in pursuing further. For my project, I knew that I wanted to emphasize creativity and inspire the occupants of the structure, yet wasn’t quite sure which area to focus on to best accomplish that task. I chose to research sustainable design, compo-nent design, and way finding in design.

Out of these three topics, I chose and developed it further throughout the entirety of the year. As each topic is introduced and buildings are researched, I found which focus best suit Moonbot Studios.09

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SUSTAINABLE DESIGNSustainable design (also called environmental design, environmentally sustainable design, environmentally conscious design, etc.) is the philosophy of designing physical objects, the built environment, and services to comply with the principles of economic, social, and ecological sustainability. Sustainable architecture is the design of sustainable buildings. Sustainable architecture attempts to reduce the collective environmental impacts during the production of building components, during the construction process, as well as during the life cycle of the building (heating, electricity use, carpet cleaning etc.) This design practice emphasizes efficiency of heating and cooling systems; alternative energy sources such as solar hot water, appropriate building siting, reused or recycled building materials; on-site power generation - solar technology, ground source heat pumps, wind power; rainwater harvesting for gardening, washing and aquifer recharge; and on-site waste management such as green roofs that filter and control stormwater runoff. This requires close cooperation of the design team, the architects, the engineers, and the client at all project stages, from site selection, scheme formation, material selection and procurement, to project implementation. Sustainable architects design with sustainable living in mind. Sustainable vs green design is the challenge that designs not only reflect healthy processes and uses but are powered by renewable energies and site specific resources. A test for sustainable design is — can the design function for its intended use without fossil fuel — unplugged. This challenge suggests architects and planners design solutions that can function without pollution rather than just reducing pollution. As technology progresses in architecture and design theories and as examples are built and tested, architects will soon be able to create not only passive, null-emission buildings, but rather be able to integrate the entire power system into the building design. In 2004 the 59 home housing community, the Solar Settlement, and a 60,000 sq ft (5,600 m2) integrated retail, commercial and residential building, the Sun Ship, were completed by architect Rolf Disch in Freiburg, Ger-many. The Solar Settlement is the first housing community world wide in which every home, all 59, produce a positive energy balance. An essential element of Sustainable Building Design is indoor environmental quality including air quality, illumination, thermal conditions, and acoustics. The integrated design of the indoor environment is essential and must be part of the integrated design of the entire structure. ASHRAE Guideline 10-2011 ad-dresses the interactions among indoor environmental factors and goes beyond traditional standards.

LEED RATING SYSTEM

LEED, or Leadership in Energy and Environmental Design, is redefining the way we think about the places where we live, work and learn. As an internationally recognized mark of excellence, LEED provides building owners and operators with a framework for identifying and implementing practical and measurable green building design, construction, operations and maintenance solutions.

LEED, OR LEADERSHIP IN ENERGY AND

ENVIRONMENTAL DESIGN, IS REDEFINING

THE WAY WE THINK ABOUT THE PLACES

WHERE WE LIVE, WORK AND LEARN.


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With nearly 9 billion square feet of building space participating in the suite of rating systems and 1.6 million feet certifying per day around the world, LEED is transforming the way built environments are designed, constructed, and operated --- from individual buildings and homes, to entire neighborhoods and communities. Comprehensive and flexible, LEED works throughout a building’s life cycle.

LEED certification provides independent, third-party verification that a building, home or commu-nity was designed and built using strategies aimed at achieving high performance in key areas of human and environmental health: sustainable site development, water savings, energy efficiency, materials selection and indoor environmental quality.

Developed by the U.S. Green Building Council (USGBC) in 2000, the LEED rating systems are developed through an open, consensus-based process led by LEED committees. The next update of the LEED rating system, coined LEED 2012, is the next step in the continuous improvement process and on-going de-velopment cycle of LEED.

WHAT LEED MEASURES

SUSTAINABLE SITES Site selection and development are important components of a building’s sustainability. The Sustain-able Sites category discourages development on previously undeveloped land; seeks to minimize a building’s impact on ecosystems and waterways; encourages regionally appropriate landscaping; rewards smart trans-portation choices; controls stormwater runoff; and promotes reduction of erosion, light pollution, heat island effect and construction-related pollution.

WATER EFFICIENCY Buildings are major users of our potable water supply. The goal of the Water Efficiency category is to encourage smarter use of water, inside and out. Water reduction is typically achieved through more efficient appliances, fixtures and fittings inside and water-conscious landscaping outside.

ENERGY AND ATMOSPHERE

According to the U.S. Department of Energy, buildings use 39% of the energy and 74% of the elec-tricity produced each year in the United States. The Energy & Atmosphere category encourages a wide variety of energy-wise strategies: commissioning; energy use monitoring; efficient design and construction; efficient appliances, systems and lighting; the use of renewable and clean sources of energy, generated on-site or off-site; and other innovative measures.

MATERIALS AND RESOURCES

During both the construction and operations phases, buildings generate a lot of waste and use large quantities of materials and resources. The Materials & Resources category encourages the selection of sus-tainably grown, harvested, produced and transported products and materials. It promotes waste reduction as well as reuse and recycling, and it particularly rewards the reduction of waste at a product’s source.

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ACCORDING TO THE U.S. DEPARTMENT OF ENERGY, BUILDINGS USE 39% OF THE EN-ERGY AND 74% OF THE ELECTRICITY PRODUCED EACH YEAR IN THE UNITED STATES.

INDOOR ENVIRONMENTAL QUALITY

The U.S. Environmental Protection Agency estimates that Americans spend about 90% of their day indoors, where the air quality can be significantly worse than outside. The Indoor Environmental Quality category promotes strategies that improve indoor air as well as those that provide access to natural daylight and views and improve acoustics.

LOCATIONS AND LINKAGES

The LEED for Homes rating system recognizes that much of a home’s impact on the environment comes from where it is located and how it fits into its community. The Locations & Linkages category en-courages building on previously developed or infill sites and away from environmentally sensitive areas. Credits reward homes that are built near already-existing infrastructure, community resources and transit – in locations that promote access to open space for walking, physical activity and time outdoors.

AWARENESS AND EDUCATION

The LEED for Homes rating system acknowledges that a home is only truly green if the people who live in it use its green features to maximum effect. The Awareness & Education category encourages home builders and real estate professionals to provide homeowners, tenants and building managers with the education and tools they need to understand what makes their home green and how to make the most of those features.

INNOVATION IN DESIGN

The Innovation in Design category provides bonus points for projects that use innovative technolo-gies and strategies to improve a building’s performance well beyond what is required by other LEED credits, or to account for green building considerations that are not specifically addressed elsewhere in LEED. This category also rewards projects for including a LEED Accredited Professional on the team to ensure a holistic, integrated approach to the design and construction process.

REGIONAL PRIORITY

USGBC’s regional councils, chapters and affiliates have identified the most important local en-vironmental concerns, and six LEED credits addressing these local priorities have been selected for each region of the country. A project that earns a regional priority credit will earn one bonus point in addition to any points awarded for that credit. Up to four extra points can be earned in this way.

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COMPONENT DESIGN

Component design involves custom designed pieces in a interior space. This can include: light fix-tures, furniture, desk system, millwork, casework, etc. The Interior Designer must create all of the drawings and specifications for making and assembling the components. Furniture in fashion has been a part of the human experience since the development of non-nomadic cultures. Evidence of furniture survives from the Neolithic Period and later in antiquity in the form of paintings, such as the wall Murals discovered at Pom-peii; sculpture, and examples have been excavated in Egypt and found in tombs in Ghiordes, in modern day Turkey. Casework is a term used to describe commercial grade cabinets. These cabinets differ from resi-dential kitchen cabinets by their materials. Casework is made of plastic laminate (Formica, Wilsonart) or melamine. Institutional casework is specified in the health care and educational industries. Casework is not limited to cabinets, it includes custom millwork. Examples of millwork are nurses stations, reception desks, etc. Casework also includes custom fixtures, and retail fixtures, like the store fixtures you see in a Verizon Wireless store, be it the live phone islands, the cash wraps where the cash registers are, or just the wall dis-plays and television displays throughout the store. There are multiple divisions of casework. Most common is likely division 6 and division 12 casework. This consists of schools, hospitals, laboratories, etc. The cabinets and counter tops made with laminate casework are sturdy, long-lasting, and permanent. WAYFINDING IN DESIGN

Wayfinding encompasses all of the ways in which people and animals orient themselves in physical space and navigate from place to place. Historically, wayfinding refers to the techniques used by travelers over land and sea to find relatively unmarked and often mislabeled routes. These include but are not limited to dead reckoning, map and compass, astronomical positioning and, more recently, global positioning. Urban planner Kevin A. Lynch borrowed the term for his 1960 book Image of the City, where he defined wayfinding as “a consistent use and organization of definite sensory cues from the external environ-ment”. In 1984 environmental psychologist Romedi Passini published the full-length “Wayfinding in Archi-tecture” and expanded the concept to include signage and other graphic communication, clues inherent in the building’s spatial grammar, logical space planning, audible communication, tactile elements, and provision for special-needs users.

This term is also used in reference to parking management strategies that help drivers find parking garages.

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ACCORDING TO THE U.S. DEPARTMENT OF ENERGY, BUILDINGS USE 39% OF THE EN-ERGY AND 74% OF THE ELECTRICITY PRODUCED EACH YEAR IN THE UNITED STATES.

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BUILDING AND SITE

Once the idea for the project was determined, finding the right building for a new location for Moonbot Studios was imperative. I wanted the studio to be located in a building in Shreveport’s central building district as well as a building that stood beautifully on its own. The Central Fire Station stood out in both of these aspects and fit the square footage requirements. I was not only drawn to the exterior aesthetics of the building, but the interior had strong, industrial ceilings on both floors. On the first floor, the ceiling is concrete with beautiful concrete beams. The second floor was originally covered with a drop ceiling over a historical truss system.

I knew the current aesthetics of Central Fire Station would enhance the design I planned to place in the interior, and thought it had a lot of potential to become something innovative, yet still hold true to Shreveport’s aesthetic needs. I contacted local contractors and gathered existing plans and elevations. I then visited the building and documented its current state with photographs. This chapter introduces the existing structure. 17

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SHREVEPORT, LOUISIANA Shreveport is the third largest city in Louisiana. It is the principal city of the third largest metropoli-tan area in Louisiana and is the 109th-largest city in the United States. It is the seat of Caddo Parish and extends along the Red River (most notably at Wright Island, the Charles and Marie Hamel Memorial Park, and Bagley Island) into neighboring Bossier Parish. Bossier City is separated from Shreveport by the Red River. The population was 218,021 at the 2010 census, and the Shreveport-Bossier City Metropolitan Area population exceeds 535,000.[2] The Shreveport-Bossier City Metropolitan Statistical Area ranks 117th in the United States, according to the United States Census Bu-reau.

Shreveport was founded in 1836 by the Shreve Town Company, a corporation established to de-velop a town at the juncture of the newly navigable Red River and the Texas Trail, an overland route into the newly independent Republic of Texas and, prior to that time, into Mexico.

Shreveport is the commercial and cultural center of the Ark-La-Tex, the area where Arkansas, Loui-siana, and Texas meet. Many people in the community refer to the two cities of Shreveport and Bossier City as “Shreveport-Bossier.” By the 1910s, Huddie William Ledbetter - also known as “Lead Belly,” a blues singer and guitarist who eventually achieved worldwide fame - was performing for Shreveport audiences in St. Paul’s Bottoms, the notorious red light district of Shreveport which operated legally from 1903-1917. Ledbetter began to de-velop his own style of music after exposure to a variety of musical influences on Shreveport’s Fannin Street, a row of saloons, brothels, and dance halls in the Bottoms. Bluesmen Jesse Thomas, Dave Alexander, and Kenny Wayne Shepherd and the early jazz and ragtime composer William Christopher O’Hare were all from Shreveport. Shreveport was also home to the Louisiana Hayride radio program, broadcast weekly from the Shreveport Municipal Auditorium. During its heyday from 1948–1960, this program spawned the careers of some of the greatest names in American music. The Hayride featured names such as Hank Williams, Sr. and Elvis Presley, who made his broadcasting debut at this venue.

In 1963, headlines across the country reported that Sam Cooke was arrested after his band tried to register at a “whites-only” Holiday Inn in Shreveport. In the months following, Cooke recorded the civil rights era song, “A Change Is Gonna Come.”

SHREVEPORT WAS NAMED AL ALL AMERI-

CAN CITY IN 1953, 1979, AND 1999


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In 1969, the avant-garde band The Residents was probably formed in Shreveport. The coming of riverboat gambling to Shreveport in the mid-1990s spurred a “revitalization” of the downtown and riverfront areas. Many downtown streets were given a face lift through the “Streetscape” project, where brick sidewalks and crosswalks were built and statues, sculptures, and mosaics were added. The Texas Street Bridge was lit with neon lights, that were met with a variety of opinions among residents. Shreveport was named an All-American City in 1953, 1979, and 1999.

The Louisiana Boardwalk was built in 2004 along the Bossier side of the Red River. Many outlet stores, restaurants, Bass Pro Shop, and a movie theatre are located at the Boardwalk. Major forms of transportation in Shreveport are car or bus, and occasionally taxi. There is a bus system that runs through Shreveport/Bossier and is named SporTran.

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CENTRAL FIRE STATION

The Central Fire Station stands on a busy corner of downtown Shreveport at 801 Crockett Street. An example of the mixing of stylistic elements, which was popular during the early twentieth century eclec-tic period in architecture, the station is most influenced by the Italian Renaissance and Beaux Arts styles. The two story, stucco over brick building was erected in 1922. Because of its prominent corner location, the Central Fire Station has two highly articulated elevations and is meant to be viewed at a three-quarter angle. Features of the Italian Renaissance style found on the structure include:

1. Rectangular massing defined by spreading roof which resembles the tripped roof of an Italian Renaissance palace. This roof consists of a flat, tarred middle section surrounded by a pitched, green tile skirting roof.

2. A series of square and rectangular shaped teas relief panels surrounded by bands of green glazed bricks. The rectangular panels depict griffins and urns, while the square panels display shields.

3. Overhanging eves supported by an elaborate entablature. The entablature’s architrave strip and frieze consist of bands of green glazed bricks separated by a molding strip. The entablature’s cornice is ar-ticulated in two stages. Its lower stage is composed of a band of egg and dart molding. The upper stage con-sists of large elaborately cast medallions which alternate with sunburst ovals. Beaux Arts features present on the exterior include a water table composed of green glazed bricks surmounted by a cast concrete band and a series of prominent cartouches mounted at the entablature level along the main façade and on the buildings corners. Other important decorative features found on the building include:

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orthographic view

historic central fire station

THE CENTRAL FIRE STATION’S FLAMBOYANT DESIGN AND MONUMENTAL MASS MAKE IT ONE OF THESE ECLECTIC GEMS. CONTRIBUTING TO THE FLAMBOYANCE OF THE DESIGN ARE THE STRUCTURE’S OVERHANGING EAVES, GREEN TILE SKIRTING ROOF, DISTINCTIVE ENTABLATURE, OVERSIZED CARTOUCH-ES, AND THE USUAL SEGMENTAL ARCH ARCADES.

A. Unusual segmental arch shaped arcades containing recessed windows and doors. Some of the arches are one story in height, while others are two stories tall. B. Owl sculptures punctuating the roof line at each corner C. The use of glazed bricks on one engine room interior wall.

Architect: Clarence W. KingContractor: W.H. Werner TheCentralFireStationislocallysignificantintheareaofarchitecturebecauseitisonetheland-mark buildings which contribute to the distinctive architectural character of Shreveport’s central business district. Until fairly recently Shreveport was Louisiana’s second largest city. Its Central Business District is still regarded as second only to New Orleans in terms of its architectural quality. One of the factors contrib-utingtothedistrict’svisualcharacterisitssignificantcollectionofbuildingsreflectingtheinfluenceoftheearly 20th century eclectic movement in architecture. Of the approximately 500 downtown buildings which appear to be at least 50 years old, only eighteen or so are truly grand, free-standing, monumental, and highly styled architectural gems. Of these, approximately a dozen display elements of eclectic revival styling. The CentralFireStation’sflamboyantdesignandmonumentalmassmakeitoneoftheseeclecticgems.Contrib-utingtotheflamboyanceofthedesignarethestructure’soverhangingeaves,greentileskirtingroof,distinc-tive entablature, oversized cartouches, and the usual segmental arch arcades which impart a visual energy to the fenestration.

The Central Fire Station has been unused for about 10 years, and it is important to keep up the build-ing in order to keep Shreveport’s architectural history alive. Placing Moonbot Studios in this building will help preserve the historical sites of Shreveport and move it forward.

THE CENTRAL FIRE STATION’S LOCALLY

SIGNIFICANT IN THE AREA OF

ARCHITECTURE BECAUSE IT IS ONE THE LANDMARK BUILDINGS

WHICH CONTRIBUTE TO THE DISTINCTIVE ARCHITECTURAL CHARACTER OF

SHREVEPORT’S CENTRAL BUSINESS DISTRICT.

current interior, 1st floor

current truss system on second floor

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current view of central fire station, entablature detail, and facade plaque

current view of firetower

EXISTING ELEVATIONSelevations from architect LeBlanc and Young showing current exterior elevations. top view shows northeast and bottom view shows northwest.

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EXISTING ELEVATIONS

ENGINE ROOMFF ELEVATION

GARAGEFF ELEVATION

SOUTH EXITEXT WALK ELEVATION

SECOND LEVELFF ELEVATION

DORMITORYCEILING

DINING ROOMCEILING ABOVE

ACOUSTICAL TILES

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northwest elevationscale 1/16”-1’

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northeast elevationscale 1/16”-1’

southwest elevationscale 1/16”-1’

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EXISTING ELEVATIONS


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northwest to southwest section and northeast to southwest section. scale 1/16”-1’


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EXISTING FLOOR PLANS

ground floor planscale 1/16”-1’

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second floor planscale 1/16”-1’’total sq. ft. 6,390

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FIRE TOWER

tower first floor planscale 1/4”-1’

total sq. ft. 225

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tower second floor planscale 1/4”-1’

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16'-6"

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16'-612"

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tower third floor planscale 1/4”-1’total sq. ft. 272

tower fourth floor planscale 1/4”-1’total sq. ft. 272

FIRE TOWER ELEVATIONS


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northeast and north-west

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southeast and south-west elevationsscale 1/16”-1’

DAYLIGHTING STUDIESThese daylighting studies show how the sun hits Central Fire Station on December 21, June 21 and March 31 at 9 A.M., 12 P.M., and 4 P.M. The surrounding buildings are also shown to demonstrate when the building is shaded.

December 21 at 9 A.M., 12 P.M., and 4 P.M.

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March 31 at 9 A.M., 12 P.M., and 4 P.M.

June 21 at 9 A.M., 12 P.M., and 4 P.M.

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interior studies

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PRECEDENT STUDIES

Studying exsisting illustration and animation studios as well as similar corporate offices was necessary prior to beginning the programming stage of design. In this chapter, each studio is broken down by adjacencies and spacial relationships. Other factors, such as, aesthetics, materials, lighting and furniture was also studied in order to determine what works in a creative studio environment.

The precedents in this book are not the only precedents studied; rather, they are the studios I felt successful. Although not all are necessarily animation studios, they are all studios that are looking towards innovation as well as a unique habitat for their employees to work in.41

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PIXAR STUDIOS

EMERYVILLE, CALIFORNIA AIAawardwinningarchitecturefirm,BohlinCywinskiJackson,withGarcia+FranciacontributingtothefinishandfurnishingsscheduledesignedPixarStudiosinEmeryville,California.The15-acresiteisanchoredbya218,000sfbuildingthesimultaneouslypayshomagetogrand,sellframestructuresandEmeryville’smodestmasonrybuildings. Pixarwasfoundedin1986byStevejobsofApplefame,whichinspiredthedesignforthisstudio.Hehasanallconsumingpassionfordesign.Hewasconcernedwiththedurabilityofthebuildingandthatitwouldstillbeintactandattractiveinthefuture.Jobsalsostipulatedsuchprerequisitesasalappool,soccerfield,basketballcourt,andfitnesscentertokeepanimatorshappy,andwell,animated.

Theywantedatypeof“corporatecampus”withasenseofcraftandaloft-typeenvironmentaswellasdesignlongevity.Theylookedhardattraditionalbuildingmethodsintheneighborhoodaswellascasestudyhouses,earlyBauhausandEichler.Theresultwasacombinationofbrickandsteel-frametechniqueswithexpansivegriddedwindowwallsnodsbothtotraditionalandmodernicons.

“HE WAS CONCERNED WITH KEEPING

ANIMATORS HAPPY, AND WELL, ANIMATED.”

Pixar floor plan

library

PIXAR STUDIOS

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SPACE Sq. Ft. PERCENTAGE ADJACENCY1. ATRIUM 1,300 SF 13% 6,4,2 2. THEATRE 600 SF 6% 3,13. SCREENING ROOM 500 SF 5% 2,14. LOUNGE 400 SF 4% 5,1,35. OFFICES 6000 SF 60% 4,6,76. CAFÉ 480 SF 5% 1,3,47. FITNESS CENTER 750 SF 7% 5,3 TOTAL 10,030

SPACE Sq. Ft. PERCENTAGE ADJACENCY1. RECEPTION 1600 SF 26% 2,32. PRODUCTION ROW 520 SF 9% 3,1,43. FEATURE WALL 224 SF 4% 1,2,4,5,64. PRESIDENT'S OFFICE 750 SF 12% 2,3,55. EDIT SUITES 2160 SF 36% 4,3,66.CONFERENCE ROOM 800 SF 13% 5,3 TOTAL 6,054

SPACE Sq. Ft. PERCENTAGE ADJACENCY1. ENTRY 200 SF 4% 2,32. LOBBY 900 SF 18% 1,3,53. RECEPTION 200 SF 4% 2,4,54. OFFICE 910 SF 18% 8,55. INFERNO 414 SF 8% 2,46. CONFERENCE 580 SF 12% 5,77. KITCHEN 300 SF 6% 6,8,48. EDIT ROOM 400 SF 8% 9,7,69. PRODUCTION 370 SF 7% 8,1010. COMPUTER ROOM 500 SF 10% 11,411. MECHANICAL 160 SF 3% TOTAL 4,934

SPACE Sq. Ft. PERCENTAGE ADJACENCY1. LIBRARY N/A N/A N/A2. LOUNGE N/A N/A N/A3. STORY ROOM N/A N/A N/A4. SKYLIGHT N/A N/A N/A5. BALCONY N/A N/A N/A6. CONCOURSE N/A N/A N/A7. ATRIUM N/A N/A N/A8. MAIN STORY ROOM N/A N/A N/A9. TERRACE N/A N/A N/A10. SKYLIT CORRIDOR N/A N/A N/A

DESCRIPTIONCenter of the building with 16 tables, small and largecenter towards the front of the building, large and spacial2 locations on either side of theatre; theatre type seatingby atrium and café, center location, easily accessible with various furnishngslarge and surrounds the middle, group type areas. in the center by atrium and loungelocated by offices, and where it is not necessarily seen

studio artwork,atrium, lounge room,atrium, and entrance to campus

DISNEY ANIMATION

BURBANK, CALIFORNIA Robert A.M. Stern built this corporate studio with the vision of, “taking place in some fantastic city in the future.” The 243,000 sf animation building now houses well over 500 animators and administrators on disney’s “campus” in Burbank, California.

The building combines the exuberant celebration of the freedom that modern technology gives new designers. Integrating technology with consumer fantasies, the building arrests the sense while accommodat-ing rational functions.

TheinteriorwasbuilttolooklikeStern’sownoffice;abigloft.Italsotakesinspirationfromthebackstageoffilmstobetheplacewheredesignerswork.Theinteriorsaresimple,broadcorridorsforthedisplay of work in progress, enclosed production and meeting rooms, and acres of work space, whose black insulation paper studded with metal brads resemble a clear night sky.

“TAKES PLACE IN SOME FANTASTIC CITY IN THE

FUTURE.”

site plan and atrium

DISNEY ANIMATION

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DESCRIPTIONFloor plans not numbered but it can be seen that the spaces that are drawn on a grid. The grid is interruptedy larger conference rooms that act as gathering spaces. The suites of executive offices breaks from the clear orderthat controls most of the building to create a diagonal slice at the westernedge, ancored by Roy Disney's office

various images of disney animation

FRAMESTORE NY

NEW YORK, NEW YORK Framestore NY was in need of a creative studio space in order to sell their company, so they hired David Howell’s firm. Howell chose not to show any tech based artistry in the design, because it didn’t sell well in their last office. Instead of using the technical side of design that is prevalent in Framestore’s digital studios, Howell chose to show the opposite. He focused on the comfort of Framestore NY’s clients that might spend days or weeks there. The elevator opens to an open reception area that’s more living room than antechamber, with residential furniture, walnut veneered details and prime south-facing vinyl banana colored faux leather.

Howell retained some key, century old elements, oiling the pictorial columns and staining the oak floor, but he juxtaposed them with contemporary architectural tour de force; a 60 ft. long white board feature wall that twists and jabs as it makes its way from front to rear. This structure not only encloses the racks of computer edit suites but also energizes the central circulation that starts immediately behind reception.

Even though this was created in the 90s, it still holds true to creativity and innovation 15 years later.

edit suites

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DESCRIPTIONlarge with lounge, home-like furniture and reception deskin open spaceseen from all areas in studioprivate, large office with desk and 2 guest seats3 different rooms with desks, tables and group desksprivate, towards the back with clients walking along feature wall

reception, workstation, lounge, conference

CLICK 3X

SANTA MONICA, CALIFORNIA Click’sproductionoffice lies inSantaMonica’sBergamontStationartscomplex,acollectionofindustrialbuildingsconvertedintoartgalleriesandspacesforartsrelatedtenants.

Thisspecialeffectsstudiothatproducesdigitalanimationsforfilmsaswellastelevisionprogramsandcommercials.Whereresidentialwaterheaterswereoncemanufactured,therenowexistsasmallvillageofmetal,wood,andcorrugatedfiber-glassstructures,eachcontainingadistinctfunction.Flankedbyarowofcorrugatedfiberglasssheathedperimeterexecutiveofficesontheeastsideofthebuilding,thefreestand-ingstructuresaredispersedasymmetricallythroughoutthelong,narrowbuildingshell,creatinganinternalstreetscapeofboldquirkyforms.“Interiorviews,”saythearchitects,“areintendedtoextendtheentirelengthofspace,visuallyconnectingbothsolidsandvoids.” Thecenter,freestanding,irregularshaped“inferno”unit,whereClick’scomputerwizardsdotheirthing,dividestheinteriortwodiscretebutinterconnectedprecincts,eachanchoredbyaloungearea.Eachquirkyelementcomestogethertounifythespaceintoacreativeenvironment.

conference and reception

“EACH QUIRKY ELEMENT COMES TOGETHER TO

UNIFY THE SPACE INTO A CREATIVE

ENVIRONMENT.”

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DESCRIPTIONEnters into lobby, can see the large infernosee the inferno and receptioncorner of the lobby, can see infernohallway with 6, by edit roomlarge and in the center of all interesting circle also placed in the center surrounded by sculptural wallsopen, and by office areasinteresting circle also placed in the center surrounded by sculptural wallsgroup desk seating, in the cornerlong shaped, in the back by offices and kitchenplaced in back corner

inferno views, exterior view

ASTRAL MEDIA

MONTREAL, QUEBEC AstralMediarelocatedapproximately350employeesto4floorsintheheartofactionindowntownMontreal.Thegoalsofthislargescaleprojectincludedelaboratingnewfurniturestandards,fittingupflexiblemeetingspacesandoptimizingemployeeinterconnectivityinacontemporary,energeticandversatilework-ingenvironment.

Basedontheclients’fourdifferencebusinessunits(radio,television,advertising,anddigitalmedia),ourconceptwasinspiredbykeybroadcastingindustrywordssuchasinfluence,communication,movement,andexchange.Theconceptplaysonthecontrastbetweenthemediumandthemessageandmanifestsitselfbymeansofundulatingandpixelatedgraphicinterventions. Theproject’smainchallengeconsistedinguidingtheclient’stransitiontowardayouthfulandmod-ernimageandaccommodatingalargenumberpreviouslydispersedemployeesinasingleopenandstandard-izedspace.

Asidefromworkstations,theyfittedupamainreceptionarea,variousmeetingspaces(conferenceandmeetingrooms,agora,etc.)aswellascommonservices(diningroom,lounge,cafe,copycentre)oneachfloor.Inordertocreaterhythmandgradationthroughouttheplayful6,000m2space,eachfloorwasidentifiedwithitsowncolorandlevelswerelinkedbyacentralclassstaircase.

AstralMedia’snewflexible,functionalandbrightpremisesprovideahumanworkingexperienceandfavourcommunicationbetweenemployees.

conference

“OUR CONCEPT WAS INSPIRED BY KEY BROAD-

CASTING INDUSTRY WORDS SUCH AS

INFLUENCE, COMMUNI-CATION, MOVEMENT, AND EXCHANGE. THE

CONCEPT PLAYS ON THE CONTRAST BETWEEN

THE MEDIUM AND THE MESSAGE AND MANI-

FESTS ITSELF BY MEANS OF UNDULATING AND

PIXELATED GRAPHIC INTERVENTIONS.”

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views of the entrance, break room and graphic wall

hallway with desk

DENSTU LONDON

LONDON, ENGLAND

THE BRIEF“We were approached through project managers Interactive Space work on the offices for Dentsu London, one of the most exciting creative agencies in the UK. The building is an award winning development by Amanda Levete which the Dentsu team have already christened the “spaceship: (Tokyo HQ is the mothership!).

Our brief was to create an interior which was sympathetic to the curvaceous exterior of the building and provided a high-tech Japanese minimalist environement within which they can create their future magic. In addition to the main agency studio spaces there was a need to incorporate space for Attik, an associated multi-award winning branding agency as well as the European head office functions.”

THE SOLUTIONDentsu London is a fast growing business akin to a start-up but with the solid foundations and backing of exsisting blue chip clients from around the globe. The decision to co-locate the Attik business in London (relocating to Leeds) meant the solution needed to encourage integration and cross-fertilisation between the two groups. In addition, the European HQ team were moving from separate offices in Mayfair so this would be the first opportunity for the business to function out of a single location.

From a strategic perspective, the top floor penthouse space provided an ideal main boardroom and conse-quently we located the main reception area on the 5th floor to simplify the client journey and provide space for Dentsu Europe. The 4th floor was retained as the main creative studio hub, while Attik have their own space on the third floor, which includes an exhibition space and padded meeting room, along with a shared canteen and library space. The decision to locate these shared facilities adjacent to the Attik team was to encourage social engagment and speed up integration of the business.

They developed a scheme that took inspiration from sources as a disparate as Star Trek, Spitfires, Buckminster Fuller and Eriko Horiki’s massive paper sculptures and followed a neutral pallet with mostly white and grey interspersed with the vibrant green used in floor finishes of the building’s common parts. The existing building is very energy efficient and utilizes a chilled beam AC system with integral low energy lighting, so there was a conscious decision to have everyone working in an open plan, agile way so there were no offices and only the bare minimum of closed meeting rooms. The 4th floor studio space has a fantastic energy and creatie buzz with freestanding pods for collaborative brainstorming.

conference

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various views of the space

“OUR BRIEF WAS TO CREATE AN INTERIOR WHICH WAS SYMPA-THETIC TO THE CUR-VACOUS EXTERIOR OF THE BUILDING AND PROVIDED A HIGH-TECH JAPANESE MINIMALIST EVIRONMENT WITHIN WHICH THEY CAN CREATE THEIR FUTURE MAGIC.”

PONS AND HUOT

PARIS, FRANCE

The project accommodates the headquarters of two companies in Paris- PONS and HUOT- with totally fifteen executives. Consequently the unit has seven individual rooms for each director and one open-space-office for the remaining eight clerks. In addition, there is one (divisible) meeting room, a common recreational room, a kitchen, restrooms, and, at the special request of the patron, lush vegetation all over the main space.

The base for the construction was a rotten industrial hall built in the late 19th century with a steel framework typical for the period. It is rumored that Gustave Eiffel realized it.

To start with, the hall was completely restored. A new self-cleaning glass roof was fitted. The whole substance of the building was put back into the original state.

The fact the protect consists of an insertion of a wooden unit in solid oak 1.7 m high, 22m long and 14m wide. The entire program is embodies therein. Each individual workplace is incised into the wooden upper surface and covered by a “telephone’- dome in Plexiglas. The four lateral surfaces contain archives, cloak-rooms and the kitchen. Completely embedded in the body are the meeting room, the recreational room, and the restrooms. The remaining space is taken up by technical transmission systems (computer, electricity, air condition, heating and water) and also by 18.3 m of soil, the bed for eight Ficus Panda trees.

Neither entrance hall nor reception were implemented, since visitors are guided by a peripheral path system leading to all pertinent rooms. The individual offices are situated on both galleries.

seating and desk system

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various views of the space

THE BASE FOR CONSTRUCTION WAS A ROTTEN INDUSTRIAL HALL BUILT IN THE LATE 19TH CENTURY WITH A STEEL FRAMEWORK TYPICAL FOR THE PE-RIOD. IT IS RUMORED THAT GUSTAVE EIFFEL REALIZED IT

PROGRAM

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After the building, precedents and client/user needs were established, the programming stage began to take place. In order to develop the correct square footage and usage of space, many factors had to be considered. Firstly, I organized the spaces that I wanted to incorporate and then matched them with ADA and IBC com-pliancy requirements for Shreveport, Louisiana. I then developed occupancy tables and determined what was necessary to meet code and user/client needs.

The program was created not only out of necessity of code, but was also derived from the mission of the project. I wanted to create a public space that taught children to accept and develop creativity. I also wanted the adults that visit the space to further explore their childhood desires to explore. As this chapter unfolds, the program demonstrates many aspects of functionality in an interior environment of this genre.

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PROGRAM TABLE

The program is based on user client needs; this section introduces the breakdown of spaces. The needs were determined by inter-viewing the clients in their current space in Shreveport, LA. herein starts the schematic design process with bubble diagrams and blocking.

SECOND FLOOR Sq. Ft. Percentage Sq. Ft. per Occupant Total Occupants entry/reception 511 sf 8% 15 17 (normally about 5)Office (general) 1022 sf 16% 100 25exec. Office 639 sf 10% 100 6"Dark Room" 639 sf 10% 100 3Theatre 447 sf 10% 15 up to 38Official Conference 639 sf 4% 15 17Break/Lounge 320 sf 15% 15 21kitchen 128 sf 5% 15 9library 383 sf 6% 100 3story room 320 sf 5% 15 21clean room 64 sf 1% 200restrooms 320 sf 5% 1 per 40 1 for eachoverall circulation 639 sf 5% TOTALS 6,390 100% 45 on average

FIRETOWER Sq. Ft. Percentage Sq. Ft. per Occupant Total Occupants digital playroom 722(4) 100% 20 36 TOTALS 722 100% 36

FIRST FLOOR Sq. Ft. Percentage Sq. Ft. per Occupant Total Occupants

snack bar 411 sf 7% 50 3movie theatre 1176 sf 20% 15 40ticket booth 58 sf 1% 1projection 116 sf 2% 1cashier/ gift shop 352 sf 6% n/a 2storage 118 sf 2% 300informal "gallery" 411 sf 7%snack bar lounge 411 sf 7% 15 27digital playroom(not firetower) 588 sf 10% 20 30library lounge 882 sf 15% 50 35restrooms 470 sf 8% 1 per 75 3 for eachclassroom 588 sf 10% 20 30storage 59 sf 5% 300

overall circulation 588 sf 10%

TOTALS 5,880 100% 169

THE FIRST FLOOR IS DESIGNED TO BE A

PUBLIC SPACE TO INSPIRE CREATIVITY IN CHILDREN AS WELL AS

ADULTS. THE MOVIE THEATRE, DIGITAL PLAY-ROOM, CLASSROOMS,

AND LIBRARY GIFT SHOP SERVE AS AREAS FOR THE OCCUPANTS

TO LEARN AND DEVELOP

IMAGINATIVE IDEAS.

CODE REQUIREMENTS

MEANS OF EGRESSOccupancy Type: B- Office; A-3 Library/Gallery; A-2 Movie Theatre Occupancy Load: 250 per floor: 1st- 169 2nd- 45 person/sq. ft.: on chart sq.ft./floor: on chart

Exit Width: 4.74’ or 5’Number of Exits: 4 on first floor, 2 on second

CODE REQUIREMENTSMinimum Remote Distance: 75 ft.Diagonal Distance: 115’1/2 Diagonal Distance: 57.5’

Dead End Limit: 50 ft.Common Path Limit: 75 ft.Travel Distance Limit: sprinkled- 200 ft non-sprinkled 250 ft. (A) 300 ft. (B)

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TOTALS 5,880 100% 169

THE SECOND FLOOR SERVES AS THE STUDIO “HOME” FOR MOONBOT’S EMPLOYEES. IT IS DESIGNED TO GIVE THEM EVERYTHING THEY NEED TO DESIGN WHILE WITH ENOUGH BREATHING ROOM AND LOUNGE AREAS SO THAT THE EMPLOYEES FEEL COMFORTABLE AND CAN LET GO AND BE AS CREATIVE AS NECESSARY IN ORDER TO BE SUCCESSFUL.






TOTALS 5,880 100% 169

PART OF THE DIGITAL PLAYROOM IS LOCATED IN THE EXISTING FIRE TOWER. THE PLAYROOM CONSISTS OF DIRTT WALL SYSTEMS INBED WITH TOUCH SCREEN APP SCREENS SO THAT CHILDREN CAN PLAY VIRTUAL GAMES IN ADDITION TO THE LIBRARY EXPERIENCE IN THE MAIN BUILDING

BUBBLE DIAGRAMS

bubble diagrams are created to experiment with adjacencies and begin space planning.

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BLOCKING/SPACE PLANNING

THESE STUDIES SHOW SPACE PLANNING

WHERE EACH ROOM IS DRAWN WITH

A SCALE AND THE SQUARE FOOTAGE IS

MEASURED TO MATCH THE PROGRAM.

space planning for studio

planning for studio

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space planning for creative center

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DESIGN SOLUTION

After much research on functional requirements, Spring 2012 was reserved for designing the interior of Moon-bot Studios. The focus for the project was decided upon component design due to the necessity of custom furni-ture to fit such a unique space. Each space was considered with much emphasis on design aesthetic in order to achieve the space’s concept witch is addressed in this chapter.

The Design Solution was resolved over a 90-day period and then consolidated into an organized format to pres-ent to the client.

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DESIGN SOLUTION

the project management timeline was created the first week of the spring semester. here, each phase of the design solution was planned out with each due date kept in mind.

DESIGN SOLUTION

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DESIGN SYNTHESIS

CONCEPT“If life is enjoyed, does it have to make sense?” This quote is taken from the 2012 Oscar winning short film, “The Fantastic Flying Books of Mr. Morris Lessmore,” animated by Moonbot Studios in Shreveport, LA. The concept of Moonbot Studios, an illustration and animation studio, is to enhance the creativity and in-novation of the employees while giving them a space that they can call a second home.

The concept of the new Moonbot Studio space originates from the process the employees use to illustrate and then animate. All ideas are first started by hand by artists and are then brought into the digital world. Moonbot describes themselves by saying, “Tired of Earth? Gravity getting you down? In this day and age, there are few who explore the depths of time, space, and the imagination. However, somewhere between the lunar core resides a collective endeavoring to persevere.”

The new Moonbot will be a large studio space that builds upon the fact that employes essentially “live up there.” It will be based upon the feelings a child or adult has while reading a fictional fantasy story; where one is fully emerged in fantasy that he or she feels as if they are another character in the story. It will be created as if a person is actually inside of one of William Joyce’s movies or books and walking around a scene.

various scenes and sketches from Bill Joyce

and Moonbot Studios that inspired my design.

DESIGN SYNTHESIS

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MOONBOT STUDIOS WON A 2012 OSCAR FOR THE BEST SHORT ANIMATED FILM, “THE FANTASTIC FLYING BOOKS OF MR. MOR-RIS LESSMORE.” THE FILM WAS DIRECTED BY WILLIAM JOYCE AND BRANDON OLDENBURG AND IS AN “ALLEGORY ABOUT THE CURATIVE POWERS OF STORY.” THE CONCEPT OF THE FILM WAS INSPIRED BY BOTH THE WIZARD OF OZ AND HURRICANE KATRINA.

CONCEPTUAL SKETCHES

the beginning stages of the design space began with conceptual sketches taken from inspi-ration from “The Fantastic Flying Books of Mr. Morris Lessmore” and other illustrations and animations by William Joyce and the Moonbot Studios team.

THIS IS A EARLY QUICK SKETCH TO DETERMINE HOW THE THEATRE EN-

TRANCE WOULD WORK WHILE STILL LETTING IN

DAYLIGHT FROM THE EXTERIOR WINDOWS THAT

SHOW THE BUILDING’S HISTORY

COVERED WALKWAY LEADING TO DIGITAL

PLAYROOM

THIS SKETCH SHOWS THE WINDOWS ALONG THE

THEATRE WALL SIDE

CONCEPTUAL SKETCHES

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FURNITURE DESIGN SKETCHES FOR THE LIBRARY. FURNITURE TO BE MADE FOR ADULT AND CHILD SIZED

Component Furniture ideas for children’s creative center

RECEPTION AREA SKETCH WORKING OUT DETAILS

OF LOGO MILLWORK WALL THAT IS MADE OUT OF

2X4 STAINED KNOTTED REDWOOD. ALSO SHOWS

CUSTOM DESIGNED RECEPTION DESK.

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secondary view of concep-tual sketch showing windows and reception desk built of sheet metal layered on a frame with different wood countertop material

BUILDING EXTERIOR AND SITE

THE EXTERIOR OF THE BUILDING IS DESIGNED

TO PRESERVE THE ORIGINAL HISTORIC ITALIAN AND BEAUX

ARTS STYLE THAT CONTRIBUTES TO

THE DISTINCTIVE CHARACTERISTICS TO

SHREVEPORT’S CENTRAL BUILDING DISTRICT.

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1. credit bureau of the south 2. common st. 3.

parking 4. crockett st. 5. parking 6. Central fire sta-

tion 7. parking 8. aban-doned building 9. fire

tower 10. AC american college 11. providence

house 12. fairemont busi-ness building

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BUILDING EXTERIOR AND SITE

THE DETAILS IN THE ENTABLATURE ARE PRESERVED, AND THE GARAGE ON THE FACADE IS REPLACED WITH WINDOWS TO MATCH THE SECOND STORYHISTORIC ARCHED WIN-DOWS. THE FIRETOWER IS USED FOR A DIGITAL PLAYROOM AND A COVERED WALKWAY IS INSTALLED LEADING FROM THE CREATIVE CENTER TO DIGITAL PLAYROOM.

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covered walkway leading to digital playroom

entablature detailing

ENTRANCE/RECEPTION

CONFERENCESTORY ROOM

EXECUTIVE OFFICES

THEATRE

ANIMATORS' DESK

ARTISTS' DESK

LIBRARY/ LOUNGE

KITCHEN/ BREAK ROOM

LIBRARY

CLEAN ROOMADMIN WRR MRR

ADMIN

PROJECTION

STORAGE

ENTRANCE/RECEPTION

MOVIE THEATRE

SNACK BAR LOUNGELIBRARY

GIFT CASHIER

GALLERY

CLASSROOM

CLASSROOM

WRRMRR

PLAYROOM

CONCESSION

THEATRE EXIT

STORAGE

STORAGE

ENTRANCE/ TICKETS

PROJECTIONTICKETS

OPEN TO BELOW

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FLOOR PLANS

SHOWN IS THE GROUND FLOOR PLAN

FOR THE CHILDREN’S CREATIVE CENTER. ALL SQUARE FOOTAGE OF

PROGRAM, CODE COM-PLIANCES, AND AES-

THETICS CONSIDERED. THE CONCEPT IS CAR-RIED THROUGH IN THE FLOOR PLAN WITH THE

MIXTURE OF CIRCLE AND SHARP ANGLE, CREAT-ING FORCED PERSPEC-

TIVE THAT “DOESN’T MAKE SENSE” IN ORDER

TO INSPIRE CREATIVITY.

the digital playroom also functions as a museum and

lounge that parents and chil-dren can read as well as play

around the various exhibits that take place in this room. they can exit and enter the firetower, which consists of

digital app screens that they can play on

theatre seats 85 with 3 handi-capped seats

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KITCHEN/ BREAK ROOM

LIBRARY


ADMIN

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ENTRANCE/RECEPTION

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GIFT CASHIER

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CLASSROOM

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CONCESSION

THEATRE EXIT

STORAGE

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PROJECTIONTICKETS

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FLOOR PLANS SHOWN IS THE SECOND FLOOR PLAN OF MOONBOT STU-DIOS. HERE, THE SPACES ARE DIVIDED BY FUNCTION AND PLACED ADJACENTLY ACCORD-ING TO NEED. AS LOUNGE SPACE IS VERY IMPORTANT FOR THIS STUDIO, IT IS CREATED TO LOOK LIKE A RESIDENTIAL LIVING AREA THAT UTILIZES THE HISTORIC WINDOWS WHERE LIGHT CAN BE ACCEPTED.

the lounge area is raised 18” to create a separation of space from the working area.

executive offices are large and gain much daylight from the existing windows

story room and artist/anima-tors offices are left in open areas in order to unify the lounge, story, and office spaces so that is more like a living space rather than office space. it also encourages col-laboration among employees.

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REFLECTED CEILING PLANS THE REFLECTED CEILING PLANS WERE DESIGNED

TO INCORPORATE A VARIETY OF LIGHTING TYPES TO CREATE AN

INTERESTING, BRIGHT, AND INSPIRING SPACE IN BOTH THE CREATIVE

CENTER AND STUDIO

amber pendants hang at different lengths across the

playroom. this creates a play-ful feeling with circular lights

to match the aesthetic

movie theatre RCP shows cove lighting hidden under

acoustic panels

form us with love lighting installation over snack bar. circular pattern was formed

from a grid and followed the golden ratio in order to

determine spacing

form us with love lighting installation over library

showing wiring.

CREATIVE CENTER RCP

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REFLECTED CEILING PLANS

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SECTION CUTS AND ELEVATIONS

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northwest to southwest section

northeast to southwest section

85

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SECTION CUTS AND ELEVATIONS

detail of studio millwork made from grey stained clear alder 2x4 lumber

5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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the gift shop contains a custom cashiers desk, custom wall millwork,

and shelving with gifts for sale.

GIFT SHOP

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87

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diagonal walls to accent the entrance with backlit light-block walls in order to attract customers.

MOVIE THEATRE ENTRANCE

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the centrally located snack bar is designed to cater to

customers of the library, movie theatre and digital

playroom. this view shows the form us with love lighting

installation, custom couch, and dining tables. different

types of seating are used here to match the mixed use

building.

SNACK BAR

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the library/lounge is designed for children and adults to sit, read, and discover creativity. this view shows custom modular sating as well as form us with love lighting installation.

LIBRARY/LOUNGE

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the entrance involves custom millwork logo wall, custom

reception desk that can also function as a bar when moon-

bot studios holds company gatherings.

STUDIO ENTRANCE

ENTRANCE/RECEPTION


EXECUTIVE OFFICES

THEATRE

ANIMATORS' DESK

ARTISTS' DESK

LIBRARY/ LOUNGE

KITCHEN/ BREAK ROOM

LIBRARY


ADMIN

PROJECTION

STORAGE

ENTRANCE/RECEPTION

MOVIE THEATRE


GIFT CASHIER

GALLERY

CLASSROOM

CLASSROOM

WRRMRR

PLAYROOM

CONCESSION

THEATRE EXIT

STORAGE

STORAGE

ENTRANCE/ TICKETS

PROJECTIONTICKETS

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91

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located directly next to the lounge area. interface carpet flooring squares create an interested color pattern juxtaposed by bright red and orange fly pendant lamps

ARTIST/ANIMATORS DESKS

ENTRANCE/RECEPTION


EXECUTIVE OFFICES

THEATRE

ANIMATORS' DESK

ARTISTS' DESK

LIBRARY/ LOUNGE

KITCHEN/ BREAK ROOM

LIBRARY


ADMIN

PROJECTION

STORAGE

ENTRANCE/RECEPTION

MOVIE THEATRE


GIFT CASHIER

GALLERY

CLASSROOM

CLASSROOM

WRRMRR

PLAYROOM

CONCESSION

THEATRE EXIT

STORAGE

STORAGE

ENTRANCE/ TICKETS

PROJECTIONTICKETS

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the break room kitchen is designed to mix a residential style kitchen and a commer-cial studio space in order to accomplish a home-like feel-

ing for employees.

the rug, chairs, counter tops, and light fixtures are de-

signed to create interesting pops of color balanced with

neutral walls and an interesting window view

BREAK ROOM KITCHEN

ENTRANCE/RECEPTION


EXECUTIVE OFFICES

THEATRE

ANIMATORS' DESK

ARTISTS' DESK

LIBRARY/ LOUNGE

KITCHEN/ BREAK ROOM

LIBRARY


ADMIN

PROJECTION

STORAGE

ENTRANCE/RECEPTION

MOVIE THEATRE


GIFT CASHIER

GALLERY

CLASSROOM

CLASSROOM

WRRMRR

PLAYROOM

CONCESSION

THEATRE EXIT

STORAGE

STORAGE

ENTRANCE/ TICKETS

PROJECTIONTICKETS

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93

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ON the lounge couch is a built-

in component that attached to the raised concrete floors which exposes the hardwood flooring below.

BREAK ROOM LOUNGE

ENTRANCE/RECEPTION


EXECUTIVE OFFICES

THEATRE

ANIMATORS' DESK

ARTISTS' DESK

LIBRARY/ LOUNGE

KITCHEN/ BREAK ROOM

LIBRARY


ADMIN

PROJECTION

STORAGE

ENTRANCE/RECEPTION

MOVIE THEATRE


GIFT CASHIER

GALLERY

CLASSROOM

CLASSROOM

WRRMRR

PLAYROOM

CONCESSION

THEATRE EXIT

STORAGE

STORAGE

ENTRANCE/ TICKETS

PROJECTIONTICKETS

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the story room involves a custom seating system with a dropped wooden ceiling that enhances the story boards. inside the ceiling system is cover lighting. the seating is designed to enhance

collaboration and comfort

STORY ROOM

ENTRANCE/RECEPTION


EXECUTIVE OFFICES

THEATRE

ANIMATORS' DESK

ARTISTS' DESK

LIBRARY/ LOUNGE

KITCHEN/ BREAK ROOM

LIBRARY


ADMIN

PROJECTION

STORAGE

ENTRANCE/RECEPTION

MOVIE THEATRE


GIFT CASHIER

GALLERY

CLASSROOM

CLASSROOM

WRRMRR

PLAYROOM

CONCESSION

THEATRE EXIT

STORAGE

STORAGE

ENTRANCE/ TICKETS

PROJECTIONTICKETS

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95

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the covered walkway leads to the digital playroom that used to stand as the firetower. the pathway is made from stained concrete lined with POTT outdoor ground lights. the stairs are designed diagonally as well as the covered walkway to create a playful and exciting mood for the occupants.

COVERED WALKWAYPR

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CIRCULATION AND CODE DIAGRAMS CIRCULATION DIAGRAMS

DEMONSTRATE THE PATH THAT EMPLOYEES

AND OCCUPANTS ENTER, EXIT, AND

CIRCULATE THE BUILDING

97

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CODE DIAGRAMS DEMONSTRATE ADA COMPLIANCE AND MEANS OF EGRESS ACCORDING TO IBC 2009. CODES WERE CONSIDERED VERY EARLY ON IN THE PROJECT. THE BLUE LINES SHOW THE DIS-TANCE WIDTH WHICH MUST NOT EXCEED 57.5’ ACCORDING TO CENTRAL FIRE STATION’S DIAGONAL DISTANCE.

ADA COMPLIANCEACCESSIBLE MEANS OF EGRESSMEANS OF EGRESSADA COMPLIANT RESTROOMSEXIT DISTANCE

ENTRANCE/RECEPTION


EXECUTIVE OFFICES

THEATRE

ANIMATORS' DESK

ARTISTS' DESK

LIBRARY/ LOUNGE

KITCHEN/ BREAK ROOM

LIBRARY


ADMIN

PROJECTION

STORAGE

ENTRANCE/RECEPTION

MOVIE THEATRE


GIFT CASHIER

GALLERY

CLASSROOM

CLASSROOM

WRRMRR

PLAYROOM

CONCESSION

ENTRANCE/RECEPTION

STORAGE

STORAGE

ENTRANCE/ TICKETS

PROJECTIONTICKETS

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“IF LIFE IS ENJOYED DOES IT HAVE TO MAKE SENSE?”

CONCEPT

Moonbot Studios is a “interplanetary creative expedition of Story and Art,” present-ed as a digital animation and development company. Headquartered in the Inter Tech Science Park in Shreveport, La, Moonbot will support the growing film, televi-sion, and digital interactive media industries in Louisiana and worldwide, by com-bining the incredible talents of its team and the generous entertainment industry in-centives in Louisiana. Moonbot is a place where narrative experience is transformed and told across multiple platforms. (Moonbot.com) The concept of Moonbot studios is derived from scenes in the short film, “The Fan-stastic Flying Books of Mr. Morris Lessmore.” One line in particular states, “If life is enjoyed, does it have to make sense?” The new Moonbot will be a large studio space that builds upon the fact that employes essentially “live up there.” The design of the space will be a mixture of public and private areas. It will be whimsical, cre-ative, and inspire innovation in the employees of Moonbot as well as the public who visit the children’s creative center. This will be executed through various deign strategies of color, light, and component design. The goal of this space is to create a space that shreveport has never seen before.

MO

ON

BO

T

ST

UD

IO

S

“THE CENTRAL FIRE STATION’S FLAMBOYANT

DESIGN AND MONUMENTAL MASS

MAKE IT ONE OF THESE ECLECTIC GEMS.

CONTRIBUTING TO THE FLAMBOYANCE OF THE DE-

SIGN ARE THE STRUCTURE’S OVERHANG-

ING EAVES, GREEN TILE SKIRTING ROOF, DISTINC-TIVE ENTABLATURE, OVER-

SIZED CARTOUCHES, AND THE USUAL SEGEMENTAL

ARCH ARCADES.”

CENTRAL FIRE STATION

Shreveport and Bossier City, LA are two adjacent towns in need of developing a better sense of identity of culture. As a growing area, it is important to encourage

the artistic talent of the citizens so that they invest time and energy into developing a better artistic environment for the area. There are currently additions and renovations of spaces taking place to accomplish this in Shreveport/Bossier, and I plan to solve

this problem by designing a space that will accomplish the goals of the city and increase the knowledge of the changes that are taking place in the area

The Central Fire Station stands on a busy corner of downtown Shreveport at 801 Crockett Street. An example of the mixing of stylistic elements, which was popular during the early twentieth century eclectic period in architecture, the station is most influenced by the Italian Renaissance and Beaux Arts styles. The two story, stucco

over brick building was erected in 1922. Because of its prominent corner location, the Central Fire Station has two highly articulated elevations and is meant to be

viewed at a three-quarter angle.


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SITE PLAN SCALE 1/64”-1’

NORTHEAST EXTERIOR ELEVATION SCALE 1/8”=1’

NORTHWEST EXTERIOR ELEVATION SCALE 1/8”=1’

CHRIST THE KING

BUSINESS TOWER

PROVIDENCE HOUSE

CREDIT BUREAU OF THE SOUTH

COMMON STREET

CROCKETT STREET

N<

CENTRALFIRE STATION

BOARD LAYOUT

ENTRANCE/RECEPTION


EXECUTIVE OFFICES

THEATRE

ANIMATORS' DESK

ARTISTS' DESK

LIBRARY/ LOUNGE

KITCHEN/ BREAK ROOM

LIBRARY


ADMIN

PROJECTION

STORAGE

ENTRANCE/RECEPTION

MOVIE THEATRE


GIFT CASHIER

GALLERY

CLASSROOM

CLASSROOM

WRRMRR

PLAYROOM

CONCESSION

ENTRANCE/RECEPTION

STORAGE

STORAGE

ENTRANCE/ TICKETS

PROJECTIONTICKETS

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3/4" STAINED HARDWOOD

6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"

3/4" PLYWOOD BACKING

1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"

3/4" STAINED HARDWOOD TYP.

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

STAINED HARDWOOD TYP.

3/4" PLYWOOD BACKING TYP.

1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

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6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"


1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"


POLYURETHANE FOAM

MAHARAM UPHOLSTERY



1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

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6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"


1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"


POLYURETHANE FOAM

MAHARAM UPHOLSTERY



1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

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6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"


1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"


POLYURETHANE FOAM

MAHARAM UPHOLSTERY



1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

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6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"


1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"


POLYURETHANE FOAM

MAHARAM UPHOLSTERY



1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

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6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"


1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"


POLYURETHANE FOAM

MAHARAM UPHOLSTERY



1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

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MO

VIE

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EA

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E E

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RA

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GIF

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HO

P

LIB

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AN

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SN

AC

K B

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CREATIVE CENTER FLOOR PLAN SCALE 1/8”=1’

REFLECTED CEILING PLAN SCALE 3/16”=1’

99

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ENTRANCE/RECEPTION


EXECUTIVE OFFICES

THEATRE

ANIMATORS' DESK

ARTISTS' DESK

LIBRARY/ LOUNGE

KITCHEN/ BREAK ROOM

LIBRARY


ADMIN

PROJECTION

STORAGE

ENTRANCE/RECEPTION

MOVIE THEATRE


GIFT CASHIER

GALLERY

CLASSROOM

CLASSROOM

WRRMRR

PLAYROOM

CONCESSION

ENTRANCE/RECEPTION

STORAGE

STORAGE

ENTRANCE/ TICKETS

PROJECTIONTICKETS

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6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"


1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"


POLYURETHANE FOAM

MAHARAM UPHOLSTERY



1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

LIGHT BLOCKS COUNTERTOP

2x4 LUMBER BACKING TYP.


BOLT CONNECTING METAL SHEET TO LUMBER

METAL SHEET

METAL SHEET CONNECTOR

2X4 COUNTERTOP SUPPORT

3'-712"

2'-512"

1'-914"

1114"

612"

7'-734"

10'-434"

4'-212"

8'-814"

2'-1"

1'-9"1'-6"

6"

9'-0"

8'-1012"

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6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"


1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"


POLYURETHANE FOAM

MAHARAM UPHOLSTERY



1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"





METAL SHEET



3'-712"

2'-512"

1'-914"

1114"

612"

7'-734"

10'-434"

4'-212"

8'-814"

2'-1"

1'-9"1'-6"

6"

9'-0"

8'-1012"

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6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"


1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"


POLYURETHANE FOAM

MAHARAM UPHOLSTERY



1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"





METAL SHEET



3'-712"

2'-512"

1'-914"

1114"

612"

7'-734"

10'-434"

4'-212"

8'-814"

2'-1"

1'-9"1'-6"

6"

9'-0"

8'-1012"

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6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"


1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"


POLYURETHANE FOAM

MAHARAM UPHOLSTERY



1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"





METAL SHEET



3'-712"

2'-512"

1'-914"

1114"

612"

7'-734"

10'-434"

4'-212"

8'-814"

2'-1"

1'-9"1'-6"

6"

9'-0"

8'-1012"

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SECTION CUT SCALE 1/8”=1’

STUDIO FLOOR PLAN SCALE 1/8”=1’

STUDIO REFLECTED CEILING PLAN SCALE 3/16”=1’

STA

INE

D H

AR

DW

OO

D

HA

RD

BO

AR

D B

AC

KIN

G TY

P

AD

JUS

TAB

LE S

HE

LVE

S

LIGH

T BLO

CK

DO

OR

PIV

OT (K

NIFE

) HIN

GE

STAINED HARDWOOD

HARDBOARD BACKING TYP

ADJUSTABLE SHELVES

LIGHT BLOCKDOOR

PIVOT (KNIFE) HINGE

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6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"


1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"


POLYURETHANE FOAM

MAHARAM UPHOLSTERY



1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

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6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"


1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"


POLYURETHANE FOAM

MAHARAM UPHOLSTERY



1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

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ST

UD

IO K

ITC

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N

WA

LK

WA

Y T

O D

IGIT

AL

PL

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RO

OM

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UD

IO L

IBR

AR

Y/

LO

UN

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6'-714"5'-7"

1'-6" 1'-6"

5'-814"

1'-10"

1'-2"

3"


1/4" BENDYWOOD

LIGHT FIXTURE

POLYURETHANE FOAM

MAHARAM UPHOLSTERY

1/2" PLYWOOD

2 X 4 TIMBER TYP.

BLOCKING

6'-912"

1'-6"

2'-034"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-434"

4'-214"

1'-8"1'-5"


POLYURETHANE FOAM

MAHARAM UPHOLSTERY



1/2" PLYWOOD

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"





METAL SHEET



3'-712"

2'-512"

1'-914"

1114"

612"

7'-734"

10'-434"

4'-212"

8'-814"

2'-1"

1'-9"1'-6"

6"

9'-0"

8'-1012"

PRO

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ENTRANCE MILLWORK DETAIL

SECTION CUT SCALE 1/8”-1’ DIGITAL PLAYROOM ELEVATIONS SCALE 1/8”-1’

MAGGIE BOGGSSENIOR CAPSTONE PROJECTID 4755

FOCUS

06

FOCUS AN

D S

PEC

IFIC

ATIO

NS

FOCUS AND SPECIFICATIONS

This chapter fully realizes the component designs that were specifically designed for Moonbot Studios as the capstone project’s focus. The focus was developed at the same time as the design solution and documents throughout.

Lighting, materials, flooring, upholstery, furniture and miscellaneous items used in the building are also found in this chapter. 103

FOC

US

AN

D S

PEC

IFIC

ATIO

NS

FF&E AND LIGHTING SCHEDULE

FF&E AND LIGHTING SCHEDULE

105

SPEC

IFIC

ATIO

NS

NUMBERITEM MANUFACTURER ROOMC-‐1 BARSTOOL COALESSE SNACK BAR, KITCHEN BREAKC-‐2 CLASS CHAIR STEELCASE CLASSROOMC-‐3 BRIGHT COUCH BLASTATION ENTRANCE/RECEPTIONC-‐4 CONFERENCE CHAIR COALESSE CONFERENCEC-‐5 STORY ROOM COUCH CUSTOM STORY ROOMC-‐6 BUILT-‐IN COUCH CUSTOM LIBRARY/LOUNGEC-‐7 ALLY MODULAR SEATING HERTEL & KLARHOEFER THEATRECA-‐1 WONKY CABINET CUSTOM KITCHEN BREAK ROOMD-‐1 CASHIER DESK CUSTOM GIFT CASHIERD-‐2 RECEPTION DESK CUSTOM ENTRANCE/RECEPTIOND-‐3 ARTIST AND ANIMATOR'S DESK CUSTOM ARTIST/ANIMATORSF-‐1 CIRCLE LOUNGE CHAIR CUSTOM LIBRARY/DIGITAL PLAYROOMF-‐2 SNACK COUCH CUSTOM SNACK BAR, KITCHEN BREAKT-‐1 DINING TABLE COALESSE SNACK BART-‐2 CLASS TABLE STEELCASE CLASSROOMT-‐3 CONFERENCE TABLE COALESSE CONFERENCEPR

OD

UC

ED B

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C-1

ENEA CAFE STOOL The Enea Café Stool, designed by Spanish designer Joseph Llusca, delivers simple, uncluttered and contem-porary style. It has an optional back for added back support and three optional heights to accommodate any café area and gathering space.

COALESSE www.coalesse.comSPAIN 1998 / JOSEP LLUSCA10 Day Rapid10 Delivery Available On Select ModelsEnea cafe stools are available in three height options and with or without a back.Complete seating line with tables and chairs also available.Frame available in black gloss, white gloss, and silver metallicSeat and back available in molded polypropylene, wood, or upholstered.9 plastic colors available for seat and backSCS Indoor Advantage™ Gold Certifiedlevel™ 1 certified94.4% Recyclable / 30.1% Recycled Content

MATERIALS AND FINISHESwhite gloss, upholstered seat

ROOM LOCATIONsnack bar, kitchen and break room.

C-2

C-1

107

SPEC

IFIC

ATIO

NS

C-2

KART NESTING CHAIR The Kart family of chairs offers solutions for a wide-range of settings, including classrooms, multi-purpose areas, cafeterias and much more.

USA 2001 / 5D Studio

Chicago Anathaeum Good Design Award IDSA Furniture: Bronze Award Best of Neocon: Most Innovative Best of Neocon: Gold Award IDEA seating : Gold Award IIDA ACCLAIM : Gold IIDA ACCLAIM: Most Innovative IIDA Apex Award OfficeInsight: Most Excellent Product Neocon 2002: Design Best of Show Communication Arts: 1998 Design Annual

With its refined styling, patented four-star base, pneumatic height adjustment, and adjustable back tension, the Kart chair is the ultimate in style and performance.

Starting List Price $672

STEELCASEwww.steelcase.comRAPID10 10 DAY DELIVERY AVAILABLE ON SELECT MODELSOffered with or without armsPowder coat base optionsNon upholstered or upholstered seatNon upholsterd seat offered in black and greySCS Indoor Advantage™ Gold Certified100% Recyclable / 41% Recycled Content

MATERIALS AND FINISHESvaries by room

ROOM LOCATIONclassroom, reception, artists’ and animators’ desks

C-3

DUNDER COUCHDunder is an extendable modular sofa that adapts easily and elegantly to the setting in which it is used. Dunder modular seating consists of five different sections – middle, corner, left-hand end unit, right-hand end unit and footstool. Dunder is also available as an easy chair.

BLASTATIONwww.blastation.comStefan Borselius 2010Modules may be linked together Also available as an easy chair and footstool

MATERIALS AND FINISHESSteel frame with no-sag springs. Moulded polyurethane with fabric or leather cover. Chromed underframe. Plastic feet.

MEASUREMENTSSeat height 400Overall height 740Overall width 850Seat depth 600Overall depth 850Weight, kg 30-33

ROOM LOCATIONreception, conference

C-4

C-3

109

SPEC

IFIC

ATIO

NS

C-4

SW_1 GUEST SEATING USA 2010 / SCOTT WILSON & MINIMALSW_1 is a comprehensive conferencing collection for the creative class. Designed by Scott Wilson and MINIMAL, it is a clear alternative to the generic conference room, and created to enhance social connectiv-ity, help foster collaboration, and provide participants the freedom to change postures and positions while remaining entirely engaged in their meetings. SW_1 is lounge-inspired conference furniture that features a lowered-height table with a conference lounge chair creating a hybrid collaborative space that’s part confer-ence/part lounge. The remaining elements in the line: standard and occasional height tables, low-and high-back lounges, and conference height chairs, support all of the settings that are utilized during the knowledge creation process (i.e. socialization, learning, collaboration, and focused activities). To complement the SW _1 collection is the all-new Power Pod, is a design-conscious, portable power source and accessory tray all in one.

COALESSEwww.coalesse.comLow back lounge, high back lounge, and conference chairsConference-lounge provides ergonomic comfort, enabling a more relaxed “lean back” postureSwivel return mechanism optional on loungeConference chair available on glides or casters9 knit color options

MATERIALS AND FINISHESCoalesse offers DesignTex, Maharam and Steelcase in our graded-in program. Please also check the Coa-lesse COM database.Click on the swatch to view each category of available surface materials. Mouse over a swatch for an en-larged view.

ROOM LOCATIONexecutive offices, conference

C-5

BUILT-IN COUCHThe built- in couch is made from the concrete floor and the exposed wood flooring below. It is covered with polyurethane foam and upholstery.

CUSTOM This was designed by me, specifically for this room as part of the focus of the project.

MATERIALS AND FINISHESmaterials are shown to the right and are ordered from Maharam

ROOM LOCATIONbreak room lounge

C-6

5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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stripes 463980Paul Smithmaharam

layers vinyard largehella jongerius

004 taupe/crimsonmaharam

repeat dog ringhella jongerius

003 coralmaharam

C-5

111

SPEC

IFIC

ATIO

NS

C-6

STORY ROOM COUCHThe story room couch serves as a collaborative space that many employees can sit on while sharing ideas. It is a causal seating, yet non-traditional way to form a couch that still allows the space to be open.

CUSTOMThis was designed by me, specifically for this room as part of the focus of the project.

MATERIALS AND FINISHESUpholstery is listed to the left, the frame is made from 1x3 lumber peices out of a grey stained red alder hardwood.

5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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repeat dog ringhella jongerius 003 coralmaharam

the firm 465999sarah morris003 uniquemaharam

5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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CA-1

WONKY CABINETThe Wonky Cabinet is made to be playful, colorful, yet functional. Each of the cabinet are designed where the doors open up to a parallel door although the are placed diagonally.


MATERIALS AND FINISHESThe wood is a knotty red alder hardwood with a grey stain. The doors are from LightBlocks and are specified to the left. The hinge used is a European hinge so that it is not seem from the outside.

5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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113

SPEC

IFIC

ATIO

NS

grey stained red knotty alder hardwood

studio standardstulip, blue diamond, zin-nic, and blimeylightblocks

cabinet model

D-1 D-2

CASHIER DESKThe cashier desk is a simple desk to function similar to the reception desk to the right.


MATERIALS AND FINISHES The aluminum sheet metal covers the interior frame with the lightblocks to the right serving as the countertops.

aluminum sheet metal

blue diamondlightblocks

5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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D-1

115

SPEC

IFIC

ATIO

NS

D-2

RECEPTION DESKThe reception desk is designed to function as a desk, where the red table top is standard and the green top serves as bar height for when Moonbot holds social fucntions.


MATERIALS AND FINISHES The aluminum sheet metal covers the interior frame with the lightblocks to the right serving as the countertops.

aluminum sheet metal

hybiscuslightblocks

5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCTPR

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yellow applelightblocks

5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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F-1

CIRCLE LOUNGE CHAIRThe circle lounge chair is created for children and adults, built in two different sizes.


MATERIALS AND FINISHESThe chair is made from stained red alder, bendywood, and upholstery.

ROOM LOCATIONLibrary and digital playroom

millerstripealexander girard

textiles of the 20th centurymaharam

stained red alder

5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

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1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

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2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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F-1

117

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NS

5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

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/ #3

PG 114/ #2

PG

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/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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F-2

SNACK BAR COUCHThe snack bar couch is designed to fit inside the circular snack bar area.


MATERIALS AND FINISHESThe exterior frame of the couch is built out of 1x3 red alder lumber and various upholstery shown.

ROOM LOCATIONSnack Bar Lounge

5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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hallingdal kvadrat

750, 600, 549, 563,and 432

F-2

119

SPEC

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millerstripealexander girardtextiles of the 20th centurymaharam

stained red alder

5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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5'-7"

1'-6" 1'-6"

5'-814"

1'-434"

1'-2"

3"

6'-912"

1'-6"

1'-7"

3"

5'-514"

4'-312"

1'-5" 5'-0"

6'-412"

1'-9"

12'-512"

2'-6"

9'-8"

9'-5"

14'-634"

3"

1'-8"

3'-0"3"3'-43

4"

4'-214"

1'-8"1'-5"

14'-10"

5'-512"

3'-0"

12'-834"

1'-6"1'-1"

3'-534"

17'-812"

15'-934"

2'-012"

9'-512"

2'-512"

1'-1"

3'-712"

3'-712"

2'-512"

1'-914"

1114"

612"

1'-6"

6"

9'-0"

8'-1012"

4'-0"

1'-0"

3'-0"

PG

119

/ #4

1'-9"

2'-1"

80°

42°

10'-434"

8'-814"

PG 119 / #4

6'-714"

PG 119 / #4

PG

115

/ #3

PG 114/ #2

PG

113

/ #2

2'-014"

2'-6"

2'-914" 1'-91

4" 1'-7"3'-03

4" 1'-614"

1'-712"

2'-912"

1'-712"111

4"2'-1134"

1'-714"1'-53

4"3'-3"1'-51

2"

1'-734"

2'-812"

2'-6"

11'-934"

62°

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T-1

ENEA LOTTUS TABLEEnea Lottus, designed by the Barcelona-based design trio Lievore Altherr Molina, offers a full range of options from chairs to stools to tables. The collection is suitable for many applications including meeting spaces, cafeterias, and more. It brings a simple and clean design aesthetic to live/work settings. Competi-tively priced, versatile, and user-friendly, Enea Lottus offers increased opportunities for the creation of work settings that are both casual and collaborative COALESSEwww.coalesse.comTables come in 4 height optionsAvailable in black, white, silver, and brown paint colorsOffered in a variety of top sizes and shapes, including rectangle and squareTable tops have a very thin, modern profile.SCS Indoor Advantage™ Gold CertifiedTops made of durable phenolic material, with either wood veneer or laminate top choice.

MATERIALS AND FINISHESwhite

ROOM LOCATIONlounge kitchen, snack bar

T-2

T-1

121

SPEC

IFIC

ATIO

NS

T-2

AKIRAUSA 2006 / Christian Cornelius

Akira is a user-friendly, multipurpose table for active spaces. Akira flips and nests, so you can set it up, move it, or take down a room-full without trouble. Akira stores compactly. And Akira can adjust in height, so that if you need a slightly taller table, Akira can fit you.

STEELCASEwww.steelcase.comRAPID10 10 DAY DELIVERY AVAILABLE ON SELECT MODELSL-base or T-base optionFixed or flip optionCasters or glidesAluminum or Powdercoat base finishSCS Indoor Advantage™ Gold Certified34% Recyclable / 71% Recycled Content

Environmental

SCS Indoor Advantage™ Gold certified for indoor air quality. The program tests and certifies products for compliance with USGBC LEED EQ4.5 (furniture and seating). level™ 1 certified. According to BIFMA, the level™ conformance mark ensures a comprehensive, inde-pendent and impartial assessment of the environmental and social impacts of a product’s manufacture. level makes it easy to identify products that have been evaluated against a consensus-based, multi-attribute sus-tainability standard.

ROOM LOCATIONclassrooms

T-3

E-TABLE 2A conference table that seamlessly integrates technology and beauty. COALESSEwww.coalesse.comUSA 2001 / JEFF CRONK10 Day Rapid10 Delivery Available On Select ModelsLaminate or wood veneer top.Edge options.Drum, laminate, veneer, and aluminum base options.Utility bay.level™ 1 certifiedSCS Indoor Advantage™ Gold Certified42% Recyclable / 72% Recycled Content

MATERIALS AND FINISHESwood veneer

ROOM LOCATIONconference

L-1

T-3

123

SPEC

IFIC

ATIO

NS

L-1

FORM PENDANTSThe idea behind form pendants for Design House Stockholm is simple. Three glass pendants are blown in Bauhaus shapes- a circle, rectangle, and triangle. They are indended to be grouped as installations, encour-anging users to explore the interplay between shapes.

FORM US WITH LOVEwww.formuswithlove.com

MATERIALhand blown glass pendant lamps

ROOM LOCATIONlibrary, cashier, snack bar

L-2

FL/Y SUSPENSION LAMPMade in Italy by Kartell

The FL/Y - Icon hanging lamps are a luminous surprise - like light, airy bubbles of soap, iridescent in the reflection of the light. Made in transparent methacrylate in all the colors of the rainbow, they are available individually, but are suitable for hanging in groups of three or more, to enhance their delicate chromatic variations. 7.3 feet of cable. Y-LIGHTINGwww.ylighting.comFree Shipping. Price Guarantee. Easy Returns. It’s good to shop at YLighting.At YLighting, we are so confident that the FL/Y Suspension Lamp will make you happy that we offer a 100% Satisfaction Guarantee and our 100% Price Guarantee. What’s more, we also offer Free Shipping on orders over $50.

MATERIALS AND FINISHEScolors: red, orange, yellow

ROOM LOCATIONartist’s desks, snack bar

L-3

L-2

125

SPEC

IFIC

ATIO

NS

L-3

MUFFINSLine: MUFFINS

Designer: DESIGN STUDIO - Lucie Koldová, Dan Yeffet

Available executions: BAS

Description: Muffins lamps are born of the notion of combining oak and blown glass. They are produced in the European Union in Czech Republic and the design quality highlights the excellence of the materials and savoir-faire of choice producers. This series of Iamps creates a unique atmosphere through the glass varied tones and tints, while retaining a complete functionality.

BORKIZwww.brokiz.cz

MATERIALamber

ROOM LOCATIONdigital playroom, reception, kitchen

L-4

LYTESPAN - ALYCON LED SMALL CYLINDER TRACK LIGHTThe Alcyon LED Small Cylinder Track Head from Ltyespan by Lightolier is designed around the finest white LED’s and thermally engineered for Superior optical performance. Delivering light equal to most MR16 lamp sources, the Alcyon is available in a range of beam spreads for lighting flexibility and is dimmable. Interchangeable optic sold separately.

Features:

Electronic power supply included.Dimmable with compatible Low Voltage Electronic Dimmer (see specification sheet).365° horizontal rotation and 0-90° vertical pivot.Installation Note: Not compatible with extension wands or slope ceiling adapters.

Must use Prospec Track Adapter (sold separately) for use with Prospec Track. Y-LIGHTINGwww.ylighting.comFree Shipping. Price Guarantee. Easy Returns. It’s good to shop at YLighting.At YLighting, we are so confident that the FL/Y Suspension Lamp will make you happy that we offer a 100% Satisfaction Guarantee and our 100% Price Guarantee. What’s more, we also offer Free Shipping on orders over $50.

ROOM LOCATIONscattered throughout

L-5

L-4

127

SPEC

IFIC

ATIO

NS

L-5

VENTOPOP PENDANT LIGHTDesign by Arturo Alvarez, 2010.

In an homage to the Pop Art movement of the 1960s, Arturo Alvarez presents the wildly popular Vento series in a unique color combination. Produced in extremely limited editions of only 500 units, the Vento POP is available as a table lamp and suspension in two sizes as well as a wall sconce.

Every Arturo Alvarez stained glass diffuser is handcrafted one-by-one by trained artisans in limited series. Each Arturo Alvarez original is yours alone; no two pieces are exactly the same. Following the painstaking production process, Arturo Alvarez himself engraves his signature and the series number onto the finished diffuser, certifying that the craftsman has exceeded Arturo’s personal standards for quality. Arturo Alvarez does not manufacture lights; they create original works of art whose beauty is optimized by illumination.

Y-LIGHTINGwww.ylighting.comFree Shipping. Price Guarantee. Easy Returns. It’s good to shop at YLighting.At YLighting, we are so confident that the FL/Y Suspension Lamp will make you happy that we offer a 100% Satisfaction Guarantee and our 100% Price Guarantee. What’s more, we also offer Free Shipping on orders over $50.

MATERIALN/A

ROOM LOCATIONstudio bathrooms

L-6

POTT PENDANTS AND FLOOR LAMPSThe Alcyon LED Small Cylinder Track Head from Ltyespan by Lightolier is designed around the finest white LED’s and thermally engineered for Superior optical performance. Delivering light equal to most MR16 lamp sources, the Alcyon is available in a range of beam spreads for lighting flexibility and is dimmable. Interchangeable optic sold separately.

Features:

Electronic power supply included.Dimmable with compatible Low Voltage Electronic Dimmer (see specification sheet).365° horizontal rotation and 0-90° vertical pivot.Installation Note: Not compatible with extension wands or slope ceiling adapters.

Must use Prospec Track Adapter (sold separately) for use with Prospec Track.

THE POTTERY PROJECTwww.thepotteryproject.com

ROOM LOCATIONconference, break room

FL-1

L-6

129

SPEC

IFIC

ATIO

NS

FL-1

PERFORMANCE PLUSCATEGORY Commercial HardwoodITEM NUMBER ESP5250 Shell WhiteSPECIES WalnutFORM PlankSIZE Varying Lengths: 10 - 48 in x 5 in x 3/8 inEDGE DETAIL/END DETAIL Micro Edge / Micro Ends

ARMSTRONG COMMERCIAL FLOORINGwww.armstrong.com

MATERIALS AND FINISHESshell white

ROOM LOCATIONstudio flooring

CT-1

FRESH START CARPETProduct Number: 13857101854Product Construction: Tufted Textured LoopSoil/Stain Protection: Protekt²®Antimicrobial Treatment: (AATCC 138 Washed) (AATCC 174 Parts 2&3) Intersept®Yarn System: Post-Consumer Content Type 6 NylonYarn Manufacturer: AquafilDye Method: 100% Solution DyePost-Industrial: 50% - 50%Post-Consumer: 29%Total Recycled Content: 79% - 79%Product Specifications U.S. MetricTufted Yarn Weight: 24 oz/yd2 814 g/m2Machine Gauge: 1/12 in 47.2 ends/10 cmPile Height: .18 in 4.6 mmPile Thickness: .119 in 3 mmStitches: 10.3/in 40.55 ends/10cm

INTERFACE FLORwww.interfaceflor.com

ROOM LOCATIONartists desk, executive offices, snack area

CPT-2

CT-1

131

SPEC

IFIC

ATIO

NS

CPT-2

ACCENT FLANNELProduct Number: 137116500Product Construction: Tufted Cut PileSoil/Stain Protection: Protekt²®Antimicrobial Treatment: (AATCC 138 Washed) (AATCC 174 Parts 2&3) Intersept®Yarn System: Type 6 NylonYarn Manufacturer: AquafilDye Method: 100% Solution DyePost-Industrial: 57% - 57%Post-Consumer: 5%Total Recycled Content: 62% - 62%

Product Specifications U.S. MetricTufted Yarn Weight: 24 oz/yd2 814 g/m2Machine Gauge: 1/10 in 39.4 ends/10 cmPile Height: .187 in 4.7 mmPile Thickness: .153 in 3.9 mmStitches: 10.33/in 40.66 ends/10cmPile Density: 5647 Total Thickness: .28 in 7.11 mmSize: 19.69 in x 19.69 in 50 cm x 50 cm

MATERIALS AND FINISH6500 Red/charcoal

INTERFACE FLORwww.interfaceflor.com

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RECYCLED BLANKET RUGFrom our favorite Dutch design duo Tejo Remy and Rene VeenHuizen comes an awesome reclaimed mate-rial rug to cozy up to. Made from recycled blankets, the rug takes cuddly comfort and turns it into a great example of recycled design that your toes will love. Tejo Remy spoke at our Reclaiming Design event on the issues of reclaimed materials in design, and this is a shining example of turning potential trash into great design treasure.

TEJO REMY AND RENE VEENHUIZENwww.remyveenhuizen.nl

ROOM LOCATIONlounge kitchen

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allyDesign: Hertel & Klarhoefer 2O12

AllyAlly is an easy-chair/section sofa where the chairs can be used individually or linked together as a sofa. Moulded polyurethane foam. Inner frame of styrofoam and wood. Frame in Stainless steel. Built in magnetic linking.

Seat height 380Overall height 670Total width 600Seat depth 500Total depth 850Weight kg 9,4

box 1OO. S-296 22 Åhus. Sweden. Tel:+46 (O)44 249O7O. Fax: +46 (O)44 241214. e-mail: [email protected] www.blastation.se

ALLY MODULAR SEATINGAlly is an easy-chair/section sofa where the chairs can be used individually or linked together as a sofa.

HERTEL AND KARHOEFER www.blastation.com

MEASUREMENTS Seat height 380Overall height 670Overall width 600Seat depth 500Overall depth 850Weight, kg 9,4

MATERIALS AND FINISHESMoulded polyurethane foam. Inner frame of styrofoam and wooden. Frame in Stainless steel. Built in magnetic linking.

ROOM LOCATIONStudio Theatre.

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Works Cited

Binggeli, Corky, Pat Greichen, and Maryrose McGowan. Interior Graphic Standards. Hoboken: John Wiley & Sons, 2011. Print.

“Click 3X Opens Haunt Music Video Division.” Post 1 Aug. 2008. Print.

Cohen, Edie. “Pixar, Inc.: Bohlin Cywinski Jackson Draws up a Bay Area Studio for the Powerhouse Ani-mation House.” Interior Design 1 May 2002. Print.

“CONTEMPORIST.” CONTEMPORIST. Blog. Web. 1 Feb. 2012. <http://www.contemporist.com>.

“DISNEY CHANNEL: A FRESH-FACE FACTORY; Property’s a Launching Pad for Multitalented, Mom-approved Icons.” Advertising Age 11 Dec. 2006. Print.

Geran, Monica. “Splendid Prospects: Enhanced Views to Central Park Enrich the Pleasures of a Manhattan Apartment Designed by Shelton, Mindel.” Interior Design 1 May 1988. Print.

Gorman, Jean. Detailing Light: Integrated Lighting Solutions for Residential and Contract Design. New York: Whitney Library of Design, 1995. Print.

“Maharam.” Maharam. Web. 29 Apr. 2012. <http://www.maharam.com/>.

Miller, Judith E., and James E. Groccia. To Improve the Academy: Resources for Faculty, Instructional, and Organizational Development. San Francisco, CA: Jossey-Bass, 2011. Print.

“Moonbot.” Moonbot. Web. 29 Apr. 2012. <http://moonbotstudios.com/>.

“Thepotteryproject.co.uk.” Thepotteryproject.co.uk. Web. 29 Apr. 2012. <http://www.thepotteryproject.co.uk/>.

“USGBC: U.S. Green Building Council.” USGBC: U.S. Green Building Council. Web. 29 Apr. 2012. <http://www.usgbc.org/>.

ACKNOWLEDGEMENTS

MOONBOT STUDIOSBRANDON OLDENBURGfor the opportunity to work for such interesting and innovative clients in a college setting

BOGGS AND POOLE CONTRACTINGHENRY BOGGSfor the contact and documents for central fire station as well as mentor on component de-sign and cabinet materials

CENTRAL FIRE STATIONLEBLANC AND YOUNGARCHITECTSfor providing existing drawings of the building

LOUISIANA STATE UNIVERSITY INTERIOR DESIGN FACULTYJUN ZOUPHILIP TEBBUTTMATT DUNNT.L. RITCHIEfor direction and guidance over 4 years in order to design such an in depth interior environment

Documents

Moonbot Studios