Segment 1 Portfolio

ANDRE A. VASCONCELOSSEGMENT I PORTFOLIO FALL 2007 - FALL 2010

curriculum vitae

ObjectiveSecure an entry-level designER-drafter position in a design firm with room for growth.

Education

● College: SEP. 06 TO PRESENTBoston Architectural College, candidate for Bachelor of architecture degree

● University: JAN. 01 TO DEC. 01Unip, Universidade Paulista, Såo Paulo, Brazil. Major in architecture and urban design

Summary of Skills● Design:Experience includes renovation projects involving designing and management, RENDERINGS, selection of finishes and materials, pROJECT documentation.

● Software:Fluent in Mac and Pc operating systems, AutoCAD, Sketch-Up Pro, Keynote, Adobe Illustrator and InDesign.

● Managerial:Make decisions in a timely manner, awareness, team work skills and communication skills.

● Languages:Fluent in Portuguese and English.

Experience

● INDEPENDENT PRACTICE 10 LINCOLN STREET street, SOMERVILLE, MA JUL. 10 to MARCH 11

$350,OOO RESIDENTIAL DESIGN, JOB INCLUDES, MANAGING ALL PHASES OF PLANNING, DESIGN AND CONSTRUCTION, communicatION with client AND CONTRACTOR, generate CONSTRUCTION documentation and sketches, responsible for selection of finishes and materials.

● INDEPENDENT PRACTICE 10 LINCOLN STREET street, SOMERVILLE, MA DEC. 09 to SEPT. 10

$250,OOO RESIDENTIAL DESIGN, JOB INCLUDES MANAGING ALL PHASES OF PLANNING, DESIGN AND CONSTRUCTION, communicatION with client AND CONTRACTOR, generate CONSTRUCTION documentation and sketches, responsible for BUDGET, selection of finishes and materials.

● Bay State Design: Auto CAD Drafter 70 Tower office park, Woburn, MA Jul. 07 to May 08 Interpret site sketches to convert them into lease exhibitions, zoning drawings, lease amendments and ultimately construction documents for the expansions of the telecom industry nationwide.

InterestsMinimalist architecture, urban design, landscape design, music and video production.

ANDRE A. VASCONCELOS 10 Lincoln street, Somerville, MA. 02145, Home: [617] 718 2818 Cell: [617] 800 6418 [email protected]

mailto:[email protected]

mailto:[email protected]

THIS PORTFOLIO IS A RESULT OF SEGMENT I FOR THE BACHELOR OF ARCHITECTURE CURRICULUMAT THE BOSTON ARCHITECTURAL COLLEGE.

EVOLVING MANIFESTO

If architecture is a feeling, I would rather be senseless.

If architecture is an art,I would rather not be artistic.

If architecture is a science,I would rather not be a scientist.

If architecture is organization, I would rather be disorganized.

If architecture is order, I would rather embrace chaos.

Architecture is the translation of human evolution,Therefore I must be part of it.

INTRODUCTIONINDEX : DRAFTING | STUDIOS | WORK

SUMMARYSEGMENT I PORTFOLIO FALL 2007 - FALL 2010

p. 1-4

FREE HANDINSTRUCTOR: NATALIE WATSON Fall 2006 VARIOUS PROJECTS

This class was an introduction to free-hand drawing. The most valuable lesson I learned in this class was how to visualize an object and trust my eyes to draw a picture. This eye trust that I have gained through Natalie is going to stay with me for the rest of my life.

P.1

DAVID

HERMAN MILLER “THE RIPPING SKIN” “THE BATH”IN CLASS MODEL

HOMEWORK “THE ECSTASY”HOMEWORK IN CLASS MODEL

DESIGN PRINCIPLESINSTRUCTOR: RICHARD GRISWoLD spring 2007 MIDTERM AND FINAL PROJECTS

Design Principles was an introduction to the study of architecture based on various types of 20th and 21st century buildings and readings. The most valuable lesson learned in this class was the ability to express ideas in a form of diagrams. The image on the left is my midterm project. It diagrams a capsule as to how my education as well as my interests will lead to prosperity in the architectural field. The image on the right is my final project in this class. It represents a diagram of all the material covered in this class. My conclusion was that the design principles class is the DNA of the architecture curriculum of Boston Architectural College. It is the school’s DNA because it deals with imminent modern design and the BAC so far has consistently shown to me as a designer how to critically think in these terms.

P.2

MIDTERM FINAL

SKETCH-UPINSTRUCTOR: LEWIS WADSWORTH Spring 2007 THE FARM MUSEUM PROJECT

For my final project in this class I proposed a museum situated in a farm land which I named the Farm Museum. This project involved not only a 3D model but an incorporation of a real landscape. The main idea of this proposal was to bring art and culture to a rural setting therefore expressing my desire to un-monopolize and un-conglomerate the urban setting thus distributing culture throughout the countryside.

AERIAL VIEW I

WEST ELEVATION

AERIAL VIEW II

P.3

SKETCH

NORTHEAST MAINE

This idea in my opinion would be a solution to traffic issues as well as a means of bringing interest for everyone. Design wise this museum incorporates the local landscape in an attempt to hide itself. The circular shape was chosen as an attempt to improve walkability in various levels of the building as well as to make a shape that is not alien to nature.

FRONTAL PERSPECTIVE

HAND DRAFT PERSPECTIVEINSTRUCTOR: DAVE HARRISON Spring 2007 FINAL PROJECTS

PERSPECTIVE B

PERSPECTIVE C

A B C

PERSPECTIVE A : INTERIOR NARIWA MUSUEM, JAPAN | DATE 1993-94 | ARCHITECT TADAO ANDO

PERSPECTIVE B : EXTERIOR NARIWA MUSUEM, JAPAN | DATE 1993-94 | ARCHITECT TADAO ANDO

PERSPECTIVE C : EXTERIOR PULITZER FOUNDATION FOR THE ARTS, USA | DATE 1997-2001 | ARCHITECT TADAO ANDO

In this class Professor Dave Harrison, head of the Interior Design program at the Boston Architectural College. Mr. Harrison was a great mentor who helped me comprehend all there is in measured perspective. He took the time to explain concepts using real life examples. The knowledge acquired in this class was immensely beneficial to my career in the field of architecture, as a designer needs to be able to think three dimensionally.

P.4

PERSPECTIVE A

p. 5-9

A1INSTRUCTORS: TRAVIS BRIDGES | TOM COLLINS SPRING 2007 DREAM SPACE

The dream space project was based on the reading Black Vernacular - Architecture as Cultural Practice by Bell Hooks. Hooks talks about how architecture could be if anything relating to architecture was just a matter of desire, in other words, how architecture could be without economical, practical, governmental or cultural constraints. This reading is based on a little girl impoverished by her family’s economical situation. She imagines her dream house being constrained by her desires and nothing else. We were assigned to respond to the reading by creating a model that reflected our personal desires for a space. This project was a blank canvas in the sense that we did not have to incorporate surroundings, location or cultural constraints.

I based my design on a resting butterfly. My design is composed of three members: right, left and central, which are all proportionally balanced. Each member represents a political party. This design is a critique on our societal inequalities. I am not sure if this reading would be necessary if wealth and opportunity were equally distributed.

“...TO DESIGN A SPACE BASED ON DESIRE, WITH NO LIMITATIONS OR CONSTRAINTS. A PLACE WITH NO SENSE OF NECESSITY.”

P.5

MODEL

SKETCHES

A1INSTRUCTORS: TRAVIS BRIDGES | TOM COLLINS SPRING 2007 COLOR STUDY - MANUFACTURING/ARCHITECTURAL

The color study project was a study between the correlation of colors in the car manufacturing industry in comparison to the architectural industry. I was assigned to analyze the Hummer - the Mini Cooper and the Federal agency for the environment in Dessau, Germany.

LET’S BE SMARTSix standard airbags: Smart technology knows which airbags need to inflate when, and at what speed and force

Advanced Head Protection System (AHPS II). Two airbags that are technically not airbags. Call them sausages. They extend from A-pillar to C-pillar on both sides of the car. They protect all passengers’ heads and stay inflated longer than conventional airbags to keep protecting in the event of multiple impacts.

Rear Roll Hoops and reinforced A-pillar and frame for added rollover protection

Four standard airbags: Smart technology knows which airbags need to inflate when, and at what speed and force

Side thorax airbags in the sides of the front seats that protect the bodies and the heads of the driver and front co-pilot

Advanced crumple zones re-channel forces around the passenger compartment rather than through it

The latest generation 4-channel Anti-lock Braking System (ABS). Vented in front, solid in back. Brake surface area is larger than the classic Mini’s entire wheel.

High-tech CBC, EBD and DSC braking systems. Features too intensive to go into and short-change here. Be sure to visit MINIUSA.COM to learn the full story.

Flat tire monitor: Alerts driver the moment a tire’s revolution rate changes, indicating tire integrity has been compromised

Side-impact door beams are massive and, well, protect against side impact

Engine designed to break away from its mounts in a head-on collision to protect the legs of the driver and front co-pilot

LET’S SWEAT THE DETAILSHere’s a quick reference list of the most notable standard features on a MINI. Some we haven’t mentioned yet. And some are too good not to repeat.

MacPherson strut front suspension w/ multi-link rear suspension

Multifunction steering wheel

Electro-hydraulic, engine-speed-sensitive, power steering

Front and rear anti-roll (stabilizer) bars

Flat tire monitor

Driver/co-pilot seat-mounted, side-impact airbags

Center-mounted speedometer

Steering column-mounted tachometer

Anti-lock Braking Systems (ABS)

Driver and co-pilot airbags – Supplemental Restraint System, with “smart” dual-threshold, dual-stage deployment

Corner Brake Control (CBC)

Electronic Brakeforce Distribution (EBD)

Split fold-down rear seats for expandable cargo space

Side-impact door beams with interlocking anchoring system

Engine Immobilizer with coded driveway protection

Climate controlled glove box

Air conditioning with microfilter and air-recirculation

Remote entry, including 2-step unlocking and trunk release

Speed-sensitive intermittent windshield wipers

Power windows with “one-touch” down operation

Service interval indicator with miles-to-service readout

Anti-theft CD audio system with AM/FM radio, six speakers, presets, auxiliary input ready, satellite radio ready and pre-wired for 6-disc CD changer

Optional center armrest

Advanced Head Protection System (AHPS II)

Rear windshield wiper

WARRANTY*

At MINI, our commitment to quality and customer satisfaction is clearly demonstrated by a 4-year/50,000-mile New Passenger Car Limited Warranty, and a 12-year/unlimited-mileage warranty against rust and corrosion perforation.

FULL SCHEDULED MAINTENANCE IS STANDARD*

MINI also wants to ensure the proper performance of your vehicle, so we offer full maintenance as standard for 3 years/36,000 miles.

ROADSIDE ASSISTANCE PROGRAM*

The MINI owner experience continues out on the road. You are only a toll-free phone call away. MINI’s Roadside Assistance Program is available 24-hours a day, anywhere in the U.S., Canada and Puerto Rico. The program offers towing, lock-out service, on-site assistance and even custom computerized trip routing services. And for a nominal fee, the MINI Service Card extends this service after the New Passenger Car Limited Warranty for as long as you wish.

*For a list of terms and conditions for all the good stuff above, visit MINIUSA.COM

Use this key (not the kind that unlocks doors) to find out which feature is for which model:

LET’S FORGET ALL OUR ASSUMPTIONS ABOUT CARS

MINI COOPER MINI COOPER S

MINI COOPER CONVERTIBLE MINI COOPER S CONVERTIBLE MINI COOPER

MINI COOPER S MINI COOPER CONVERTIBLE MINI COOPER S CONVERTIBLE

MINI. LET’S MOTOR.®

©2005 MINI, a division of BMW of North America, LLC. The MINI name and logo are registered trademarks. BR0002-05

©2006 MINI, a division of BMW of North America, LLC. The MINI name and logo are registered trademarks. BR0001-06

MINI COOPER MINI COOPER S

MINI COOPER CONVERTIBLE MINI COOPER S CONVERTIBLE

MINI. LET’S MOTOR.®

Find a MINI Dealer at MINIUSA.COM

2007 H2 SUV SPECS & PERFORMANCE DATA

8,600 lb.

6,400 lb.

2,200 lb.

6,700 lb.

203.6 in.

81.7 in.WITH STANDARD

ROOF RAILS

81.2 in.

69.4 in.

122.8 in.

9.9 in.

25.8º

40.8º

39.6º

20 in.

16 in.

32 gal.

8,600 lb.

6,400 lb.

2,200 lb.

6,700 lb.

203.6 in.

79.2 in.

81.2 in.

69.4 in.

122.8 in.

9.7 in.

25.8º

40.8º

39.6º

20 in.

16 in.

32 gal.

8,600 lb.

6,400 lb.

2,200 lb.

6,700 lb.

203.6 in.

81.7 in.WITH STANDARD

ROOF RAILS

81.2 in.

69.4 in.

122.8 in.

10.8 in.WITH STANDARD REAR

AIR SUSPENSION ENGAGED

27.5ºWITH STANDARD REAR



AIR SUSPENSION



20 in.

16 in.

32 gal.

BASE MODEL H2 ADVENTURE H2 LUXURY

GROSS VEHICLE WEIGHT RATING (GVWR) NOTE 5

CURB WEIGHT

PAYLOAD, MAXIMUM NOTE 6

TRAILERING, MAXIMUM NOTE 7

VEHICLE LENGTH (WITH REAR TIRE CARRIER)

VEHICLE HEIGHT NOTE 8

VEHICLE WIDTH (EXCLUDING MIRRORS)

TRACK WIDTH

WHEELBASE

GROUND CLEARANCE

BREAK-OVER ANGLE

APPROACH ANGLE

DEPARTURE ANGLE

WATER FORDING DEPTH

VERTICAL SCALING HEIGHT

FUEL TANK CAPACITY

2007 H2 SUV SPECS & PERFORMANCE DATA

17” chromed wheelBlack roof rack crossbars (STD. ON ADVENTURE SERIES)

Chrome roof rack crossbars (STD. ON LUX SERIES)

Soft cargo carrier (REQ. ROOF RACK CROSSBARS)

Hard cargo carrier (REQ. ROOF RACK CROSSBARS)

Canoe/load stop (REQ. ROOF RACK CROSSBARS)

Roof basket (REQ. ROOF RACK CROSSBARS)

Roof-mounted bike carrier (REQ. ROOF RACK CROSSBARS)

Fork-mounted bike carrier (REQ. ROOF RACK CROSSBARS)

Ski/snowboard carrier–4 or 6 pair (REQ. ROOF RACK CROSSBARS)

Roof-mounted off-road lampsLow profile light barRoof rail handlesFront hitch-mounted portable winchWinching accessory kitBrush grille guard (STD. ON ADVENTURE SERIES)

Black wrap-around brush grille guardChrome wrap-around brush grille guardBlack tubular tail lamp guardsChrome tubular tail lamp guards Grille guard-mounted off-road lampsBlack tubular assist stepsChrome tubular assist steps (STD. ON LUX SERIES)

Removable “U” stepsChrome hood handlesChrome fuel door with locking gas capChrome hood latchesChrome retrieval loopsChrome tow loops

Chrome louverChrome air ventsHitch coverHitch-mounted step-to-roofBody color grilleTrailer hitch & ball mountsNeoprene seat coversMudder seat coversCustom carpet floor mats (STD. ON LUX SERIES)

Rubber mudder floor mats (STD. ON ADVENTURE SERIES)

Cargo area matCargo area linerRod Hall shocksPerformance exhaustVehicle coverMagnetic truck shieldsClear Cover ProtectionFirst aid and tool kit (STD. ON ADVENTURE SERIES)

Engine block heaterTrailering convenience packagePortable ARB freezer/fridgePortable air compressorTruck Vault® secure cargo drawerTactical mountain bikeWheel locksHUMMER Adventure KitFront Hitch ExtenderXM Radio

2007 H2 SUV EXTERIOR COLORS 2007 H2 SUV INTERIOR COLORS

BLACK YELLOWALL TERRAIN BLUEMETALLIC

PEWTERMETALLIC

WHEAT EBONYONLY AVAILABLE ON H2 LUXURY

BIRCH WHITE SLATE BLUEMETALLIC

TWILIGHT MAROONMETALLIC

H2SUV2007

SAUERBRUCH HUTTON ARCHITEKTEN | FEDERAL AGENCY FOR THE ENVIRONMENT | 2005

2006 HUMMER COLOR BROCHURE 2006 MINI COOPER COLOR BROCHURE

The relationship found between the Hummer and the Mini was the difference in size. The bigger car had very similar color when compared to the smaller one. Both offered bright colors and I believe the reason for this similarity is the lifetime of the product which in this case is a car. Cars are only meant to last a decade or so therefore car designers can be more concerned with an attractive rather than durable product.

On the other hand, when it comes to a building it is safe to choose more complementary color tones because a building, unlike a car, can last hundreds of years. Therefore my study incorporated complementary colors in a fashion where even the brightest colors could complement each other, thus producing a very effective way to develop either pleasing manufacturing products or works of architecture.

P.6PIXELS COMPLEMENTATION PALETTES

A1INSTRUCTORS: TRAVIS BRIDGES | TOM COLLINS SPRING 2007 2D/3D TRANSFORMATION MIDTERM

Study for an Unexecuted Wallhanging, 1926.

“Layer after layer of civilized life seems to have veiled our directness of seeing. We often look for an underlying meaning of things while the thing itself is the meaning.” -Anni Albers

P.7

UNEXECUTED WALL HANGING -ANNI ALBERS METAMORPHOSIS - WEEK 1 RHYTHM - WEEK 2

For the 2d|3d transformation project I was asked to transform a two dimensional piece of art, Annis Albers’ Unexecuted Wall Hanging, into a three dimensional space. When I first saw this piece I immediately saw the influence of the Bauhaus School of Design. I got this notion from the orderly linear pace of the elements within the piece. After analyzing it with more care, I was able to see an alternating rhythm. Going deeper I saw that the piece most likely went through a process of metamorphosis, which started with the renunciation of old methods created by all artistic movements in history.

The Bauhaus was in search of new methods of design and eventually disseminated the modernist movement. My initial investigation left me with two main ideas; Product and Metamorphosis. Product is defined as something produced by human effort or by nature. Metamorphosis is defined as marked to complete change in appearance, character or form. The completion of my initial assignments led me to the idea of a rhythm. Rhythm is defined as a visual tempo or beat, the principle of design that refers to a regular repetition of elements of art to produce, the look and feel of movement. Rhythm is often achieved through careful placement of repeated components which invite the viewer’s eye to jump rapidly or glide smoothly from one component to the next.

Alternating rhythm examples are: ABC-ABC-ABC-DEF-DEF-DEF-ABC-ABC-ABC-DEF-DEF-DEF |

ABA-CDC-ABA-EFE-ABA-CDC-ABA-EFE | ABCD-DCCBBA-ABCD-DCCBBA |

DEFORMATION CONCEPT - VOIDS AND MASSES FINAL MODELPATTERNS VOIDS AND MASSES

A1INSTRUCTORS: TRAVIS BRIDGES | TOM COLLINS SPRING 2007

P.8

My analysis of this piece started with darkness through transformation into form and structure. I also saw how each layer of Albers’ piece was purposefully positioned to translate rhythm. After realizing the alternating rhythm of the piece I developed diagrams that revealed the voids and masses within it. I chose to work with one of my diagrams that best captures this alternating rhythm. The next step was to produce a bas-relief model study. In looking at my chosen diagram, I saw a floor plan. In this floor plan I wanted to explore the beauty of free forms.

SKETCHES, BAS-RELIEF MODELS & COLLAGES

So I used this floor plan as a base for my models. However, I wanted to eliminate the rigidity of the straight lines. To do this, I distorted the lines, and as a result created the free forms in the bas-relief. From the 2D bas-relief model study I went ahead and fully developed 3D model studies. With purity and beauty in mind, I was able to produce my final 3D model that shows mass against spaces. In conclusion, one can contract and filter old ideas to fit into our present time in relation to design and sometimes even promote ideas for the future.

DEFORMATION CONCEPT - HARDLINE

2D/3D TRANSFORMATION MIDTERM

A1INSTRUCTORS: TRAVIS BRIDGES | TOM COLLINS SPRING 2007 2D/3D TRANSFORMATION FINAL

The studio A1 final project was a continuation of the 2d|3d midterm project. This time around we were given a pre-determined site in which I was able to maneuver in any shape I wanted while respecting the site’s dimension constraints. My approach was to continue the deformation solution applied on the midterm phase of this project. Only now I applied to the land in the site and as a contrast I kept a very rectilinear building to host the art-piece. Part of this assignment was to display the Alber’s piece which I did very expressively, the reason being very simple. The Bauhaus School of Design and the Modern Movement as a whole were interested in social change and the democratization of social achievements . In my view, this project encompassed that idea, because the art would be exposed to everyone and not confined inside a particular place.

P.9

FINAL MODELHARDLINE AND CONCEPTUAL SKETCHES

3D MODEL

p. 10-13

A2INSTRUCTORS: scott culey | nathan allen FALL 2007 pathway PROJECT

The Pathway Project started with the reading of chapter 5 of Alice In Wonderland. The assignment was to read and interpret the chapter and then create something based on our understanding. After much struggle reading this chapter I developed feelings about it which I attempted to describe in words: confusion, delusional, metamorphic, mutant, surreal, superficial, fiction, fairytale and complexity. I created a painting in an attempt to convey those feelings. I wanted to capture the exact moment when an idea is born. Early on, we were also asked to create a collage to help us gather, organize and describe our thoughts on chapter 5.

P.10

COLLAGEPAINTING

The next step of the assignment was to interpret my reaction, which in my case was the painting. After carefully analyzing the painting, I found myself focusing my attention on its motion, which explicitly show sinuous curves at the end of each overlaying of color. For the following step we were asked to create two models of this interpretation of our original creation. This time I developed diagrams that focus on the painting’s variable and linear strokes.

A2INSTRUCTORS: scott culey | nathan allen FALL 2007 pathway PROJECT

Going forward we were asked to proceed with this study, however, now we had to use planar elements. With the planar elements, I was again seeing the motion of the sinuous curves in the painting. These became ramps in the landscape. Further along in the study I chose to work with the diagonal strokes seen on the last layer of covers in the painting which provide a more literal, visual observation.

P.11

PROGRESSION OF MODEL AND SKETCHES

SKETCHES PLANS, ELEVATIONS & SECTIONS FINAL MODEL

My final model successfully shows the progression from interpretation to realization then from analyzing to developing the finaL product. The path of discovery was my final concept, which came about through Alice’s confusion which led her to discover new things along her path.

A2INSTRUCTORS: scott culey | nathan allen FALL 2007 ritual | ceremony PROJECT

For the Ritual/Ceremony Project I was assigned to develop an olympic awards podium. I originally wanted to have a submarine-type stadium that would travel the world so games could be held in different locations as needed. I came up with that idea based on the shape of an extruded Olympic medal. My instructors were opposed to this idea and asked me to revise and refine my project and construct something of a smaller scale. I started to investigate the significance of the Olympic emblem, which signifies the unity of the world. It means continents, all countries, all people of the earth coming together to practice and be part of healthy, constructive competition. The design embodies the

P.12

COLLAGE & SKETCHES OF THE ORIGINAL IDEA, THE STADIUM

SKETCHES OF THE OLIVE TREE, A PAINTING I BASED ON A WREATH, SKETCHES AND MODEL OF THE PODIUM APPARATUS

continents within a greater circle which resembles the planet earth. This shows the unification of all earth’s inhabitants. Based on this concept of unity, I designed a podium, which reflects the overlapping rings of the emblem. In my further research of the original olympic ceremonies, I came across information on the significance of the olive wreath in the Olympic games. The Olive tree was viewed by the ancient Greeks as a symbol of abundance, glory and peace. Olive wreaths were used to crown the victors of friendly games and also the victors of bloody war, as emblems of benediction and purification.

A2INSTRUCTORS: scott culey | nathan allen FALL 2007 ritual | ceremony PROJECT

P.13

I decided that I wanted to include aspects of the olive wreath and tree in the award ceremony, as they played such an important role in the early games. I did so by designing a podium apparatus. My apparatus design is an attempt to not only resemble the olive tree, its leaves and its components but also to incorporate its sustenance and symbolism. I based it on the strong characteristics and the beauty of an olive tree.. The split trunks of the tree will hold a semicircular shape which signifies the wreath, sending a message to those who may experience it. The message is: the wreath and its significance depends on the powerful sustenance of its provider, the tree itself. In this combination, the users of this space would immediately conceptualize the importance of this ceremony.

PAINTING OF PODIUM AND APPARATUS FiINAL 3-DIMENSIONAL COMPUTER MODEL OF PODIUM AND APPARATUS FINAL MODEL

The 2 main aspects of my podium and apparatus are the Olympic emblem and the olive wreath. The three dimensional model shows the two “trunks” in the back and the “wreath” - which crowns the winners in the front. This version of the apparatus needed to be changed as it was too sterile and did not stay true to the essence of the tough, organic characteristics of the olive tree and wreath. I went back to a look which more closely resembled the tree and wreath. The final model was made of wire weaving in and out similar to the windy trunk of the olive tree.

3D APPARATUS TRAILS

p. 14-23

THE GLASS HOUSE | NEW CANNAN, CONNECTICUT, USA | 1949 | ARCHITECT - PHILIP JOHNSON

For this project I was assigned to reproduce plans, sections and elevations of Philip Johnson’s Glass House. I then investigated the site and its surrounding environment. Next we were asked to make various diagrams on our findings: the interior, the site, the site’s circulation and its architectural meaning. The most important of all my findings in this investigation was Philip Johnson himself. He was an interesting person trying to express his persona through architecture. In resume, the Glass House is a combination of many ideas. I discovered that the main Glass House concepts are derivative of Mr. Claude Nicholas Ledoux’s utopian ideas, which are: aesthetics rule over function and eclecticism. The house’s main design motif is derived from minimalist shapes developed by Supremacist artist Kashmir Malevich. The symmetry comes from Mies Van Der Rohe’s influence of aesthetical proportions pleasing to the human eye. The asymmetry is derived from the Athenian Acropolis. The circulation is derived from symmetrical systems found in the Baroque plan and also in the early modernists’ work. Other design features were consequently chosen by Philip’s lifestyle, personal influences and life experiences. I believe that the house is so very rectilinear because of his sexual preference. The key influence in the design of this house is Supremacism.

INSTRUCTORS: MATT MORONG | CHAUNCEY HERMAN SPRING 2008 GLASS HOUSE INTERVENTION PROJECTB1

P.14

THE GLASS HOUSE

WEEK 2 : THE HOUSE DIAGRAM | INTERIOR PERIMETERS IN RELATION TO EXTERIOR

VIEW NUMBER 3

VIEW NUMBER 4

VIEW NUMBER 2 VIEW NUMBER 5

VIEW NUMBER 1

SPACE DIAGRAM

WEEK 2 : THE HOUSE DIAGRAM | EXPLODED AXOM PARTS

WEST WALL

SOUTH WALL SLAB FOUNDATION

PRE-CAST CONCRETE STEPS

FLOOR PLAN

STRUCTURAL I-BEAMS

FLAT ROOF

NORTH WALL

CHIMNEY

EAST WALL

WEEK 1 : THE HOUSE INVESTIGATION |PLAN | SECTIONS | ELEVATIONS | PERSPECTIVE

PLAN

SECTION A

SECTION B

SOUTH ELEVATION

EAST ELEVATION

PERSPECTIVE

BUILDING - THE GLASS HOUSE | LOCATION - NEW CANNAN, CONNECTICUT, USA | YEAR - 1949 | ARCHITECT - PHILIP JOHNSON

WEEK 3 : THE ENVIRONMENT INVESTIGATION |SITE RELATIONSHIP DIAGRAM | INDOOR SPACE VS OUTDOOR SPACE

VOID

MASS

CIRCULATION

STRUCTURE

NATURAL RING

P.15

LAND DECLINE

WEEK 4 : SPACIAL SITE INVESTIGATION | IDENTIFY SPATIAL PERIMETERS AND THEIR RELATION TO THE OUTSIDE.

INDOOR | OUTDOORCONVERSATIONS

CIRCULAR EXTENSIONS=

OVERALL PLANAR AREA

IN PLAN

OVERALL PLANAR AREA IN SECTION

FOCAL POINT OF THE SITE = THE LAKE

WEEK 4 : SPACIAL SITE INVESTIGATION | PART II IDENTIFY SPATIAL PERIMETERS AND THEIR RELATION TO THE OUTSIDE.

After analyzing the circulation, the structure, the relationships between manmade structures and nature, the focal points of the site and the historical precedents Mr. Johnson was influenced by , I began my process of intervention. It began with the desire to replace the brick chimney with Chaux, because it is one of Ledoux’s preferred materials. Chaux is the white substance left after heating limestone used in making cement. Another reason I changed the material from brick to cement was for structural purposes. Form rules over function and I believe there is a function to the form itself. Forms are meant to bring humans spiritual relief or at least a sense of belonging. The rectilinear shape of the Glass House is austere, hard and lacks softness. The rectilinear man made shape of the house contrasts with the organic surroundings. I believe by reducing its angularity I developed a more harmonious relationship with the natural setting. I also started investigating the concepts involved in the glass house, mainly Suprematism and Minimalism.


Palladian circulation EXTRUSION LEDOUX’S INSPIRATION

EXAMPLES OF KASIMIR MALEVICH SUPREMACIST PAINTINGS

P.16

PAINTINGS I CREATED BASED ON GLASS HOUSE CONCEPTS

WEEK 5 : SUPREMACIST PAINTINGS INVESTIGATION | RESEARCH LEDOUX INFLUENCE ON UTOPIAN THEORIES + SUPREMATIST PAINTINGS

In art, purity refers to the degree to which a color is free from being mixed with other colors, for example, lacking nothing essential to the whole. The whole can be perceived as beautiful therefore beauty is essential to a modernist composition based on Suprematism. Lastly, simplified forms such as squares and circles are representatives of purity. The circle resembles no boundaries; there is no end or start. It represents the whole and the whole is never-ending. It is complete. The whole is the greatest in importance, degree, significance, character or achievement. The whole is full or entire, brought to completeness or to perfection. I thought the circle was the most powerful form, so in turn I decided to use it for this project.

Suprematism is geometric abstract art, painting and sculpture that emphasize extreme simplification of form. Another example of simplification in art and architecture is Minimalism. Minimalism is the deletion or reduction of anything that isn’t essential, to have only what is necessary, and nothing more. Minimalists have ideas tied in with purity, which is another element of Suprematism, and humbleness.


THE INTERVENTION

EXTERIOR PERSPECTIVE

SECTION DETAIL

FIREPLACE INTERVENTION PERSPECTIVE

EAST SECTION

INTERIORPERSPECTIVE

EAST ELEVATION

INTERVENTION TOP VIEW

TOP VIEW OF EXISTING

WEST RAMP

LOUNGE AREA

INDOOR BUSH

DINNING ROOM AREA

SOUTH RAMP

SCULPTURE

KITCHEN AREA

FIREPLACE

BATHROOM

EAST ENTRANCE

FLOOR PLAN

OFFICE

NORTH RAMP

BEDROOMART

INDOOR NATURAL RING

P.17

The whole is full and sonorous. A loop is a completed course of time. It represents the integrity of the wholeness of the circle, because like the circle it is complete, constant and undivided. Prior to my intervention all elements inside the space seemed to orbit the circular shape of the chimney. Now, all the elements belong to the whole. All elements do not exceed a certain height so there are clear views through the site (an idea pertaining to Acropolis). This aspect of the space did not need revision. I noticed that by having this house raised to a certain level on the horizon, it almost created a sensation of floatation, so I decided to increase that sensation by trying to hide the brick base elevation by creating an angle near the ground sort of resembling the shape of a saucer. The glass house is only a conceptual habitat, not a functional one. With that in mind we need to realize that the brick house, Johnson’s creation which is beside the glass house, is part of the glass house. By looking at Johnson’s decision it seems that he wanted to experience the site with one eye open and another closed. The geometry of my intervention works as planets orbiting the sun. The house is the sun and the people are the planets. The open eye is only limited by the brick house although the fence serves as a spacial warning in relation to the exterior. The final intervention is a correspondence pertaining to all aspects of human nature, as well as one’s physical, intellectual, and spiritual development.

FINAL WEEK : SUPREMATIST PAINTINGS LED THE FINAL INTERVENTION DESIGN TO EVOLVE INTO A RECIPROCAL LANGUAGE OF UTILITY AND FORM.


The Boat House project was an intentional intervention on Boston’s Charles River. We were instructed to visit and document the location in order to develop the project based on our perceptions. Synthesis - The boat house project achieves human habitat enhancements by reconfiguring existing aspects of the site and composing new developments for the greater good.

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SKETCHES

INITIAL PROGRAM - THE CHARLES FLOATING 3D ELEVATOR INITIAL MODEL - EXTERIOR TO RESEMBLE PADDLES SCIENTIFIC INVESTIGATION OF SOUND AND WATER PROPAGATIONVANTAGE POINTS AND SUN PATTERNNOISE LEVELS - BREAK DOWN

Analysis - After a period of investigation of the site I saw a lack of management of sound expelled from heavy traffic on Storrow Drive which contours at least 99% of the section studied of the park. So I decided to explore this idea and perceive a solution to this problem.

SKETCHES

INSTRUCTORS: MATT MORONG | CHAUNCEY HERMAN SPRING 2008 B1 THE BOAT HOUSE PROJECT

Concept - The concept is based on Isaac Newton’s discoveries on sound waves, where he studied how sound waves pass through a hole as an example and become more hollow creating “valleys” from one wave to the next. Based on these valleys I chose to mimic the sound waves derived from the source ( Storrow Drive ) passing through a “wall” with holes (The Esplanade) reaching the location (the Charles River) of my boathouse.

Design - My design is a descendent of the musical element called the triad.

EXISTING DECK

EXISTING ACCESSES

EXISTING PATH WAY

LOUD VIBRATION

SOFT VIBRATION

DISRUPTIVE ROAD NOISEPARK | LIFE ASPHALT | DEATH SONOROUS TRIAD CONCEPTSITE COMPLEXITY

INTERPRETATIONS + OBSERVATIONS:

Science - When subjected to 45 decibels (db) of noise, the average person cannot sleep. Hearing loss begins at 85 db. Prolonged exposure to noise ranging from 45 db to 85 db can cause lack of sleep, indigestion, heartburn, irritability, ulcers, high blood pressure and heart disease. One burst of noise, as from a passing truck, is known to alter endocrine, neurological and cardiovascular functions. Distance diminishes the effective decibel level reaching the ear. Thus moderate auto traffic at a distance of 100 ft (30 meters) rates about 50 decibels.

Sound movement - Sound can travel in a straight line of direction in the simplest situation, however sound waves also suffer reflections, bending and scattering in more complex cases.


P.19

The triad is a group of three notes having a specific construction and relationship to one another. They are constructed on three consecutive lines or three consecutive spaces. Each member of the triad is separated by an interval of a third. The triad is composed of a root, third, and fifth. In my design the first line of walls (the walls closest to the road) relates to the root, the second wall to the third note, and the third wall to the fifth. The walls of the building go in opposite directions, generating a harmonious relationship also found in harmonics in musical terms. The frequency produced by the harmonic triad produces what is called the fundamental frequency, where a sound source is vibrating, reflecting, bending or scattering in halves, in other words producing an octave which relates to the symmetry used in the building. Lastly, the building is rotated 180 degrees opposed to the “receiving filtered valley waves from Storrow Drive” creating a silent shock reaction up to about 100 ft of its boundaries. Initially I wanted to provide an entire fluvial metro-type elevator that would allow visitors and residents of Boston to connect from the Museum of Science to Harvard and loop back to the other side of Mass Ave. My instructors thought my idea was too broad for this project and I had to work within the immediate location. I thought the building should be away from Sorrow as much as possible for sound purposes and I thought of four ways to accomplish it.

HARVARD

ZAKIM BRIDGE

STORROW LAGOON

M I T

BOSTON FINANCIAL BUSINESS DISTRICT

SITE ANALYZING | PROPOSED ANALYSIS

CONTINUOUS PATH ALIGNMENT WITH PRUDENTIAL AN INTERSECTION ADVANCING CITY GRID:


P.20

P.21

PROPOSED SITE

COLLAGE

PROPOSED PLAN

SOUND ATMOSPHERE

DRAFT MODEL FINAL MODELTRIADE SECTION

I decided to incorporate the intersection idea with the alignment with the Prudential. The Prudential was important because to me it is the most iconic building in Boston.


P.22

UNDERGROUND AND ROOF PLANS SOUTH ELEVATION FLOOR PLAN SECTION AND WEST ELEVATION

SKETCHES CHARCOAL PERSPECTIVE


BOAT HOUSE PERSPECTIVE

P.23


p. 24-40

P.24

B2INSTRUCTORS: MIKE PERHAM | SEOK FALL 2009 PROJECT 00 | TECTONICS

This project started with three different figures. We were supposed to interpret them and to work with them based on descriptive, functional and fundamentally tectonically sound reasons. Figure number 1 was a section illustration. Figure number 2 was a skeleton . Figure number 3 was an arrangement of insect wing x-rays in a rotation order.

I started with figure number 1 which was more rectilinear and easier to interpret. I dissected the main elements of the design in search of a reduction of members and then I saw an intersection-like shape. The section detail volume expressed an intersection of planar and cubic elements that is composed primarily around the square connector. This connected joinery intersection was my interpretation of this exploration. I eliminated this figure because I saw no challenge and it was too obvious.

PROJECT 00 | STUDIO B2

Author : Andre Vasconcelos

SECTION DETAIL X-RAY STRUCTURE NATURAL PATTERN

In search of basic elements I discovered this pattern in which I will investigate and develop.

The Xray figure is simply structural.it seems to me there are vertical and horizontal members connecting to an organic member to form a structure. this will be the basis of my concept.

The natural “wings” has a incredible s e n s e o f t r a n s p a r e n c y a n d movement. I will try to explore these ideas to form a concept.

1 2 3

1Saturday, February 14, 2009







1 2 3








1 2 3


SECTION DETAIL SKELETON X RAY WING VOLUMETRIC X RAY WINGVOLUMETRIC SKELETONVOLUMETRIC SECTION 3 SCALES SECTION 3 SCALES SKELETON 3 SCALES X RAY WING

SECTION DETAIL INTERPRETIVE MODEL X RAY WING INTERPRETIVE MODELSKELETON INTERPRETIVE MODEL

Number 2 was the skeleton. I made one set of interpretations deriving from object | complexity | pattern | volume. This figure is simply structural. It seems to me there were vertical and horizontal members connecting to an organic member to form a structure. This was the basis of my concept. The X-ray volumetric exploration was very informative, only after giving a third dimension to a planar figure I was able to discover other possibilities, At this point I integrated the structural characteristics of this figure and invested it in the natural pattern figure.

Number 3 was the Cell which I call the natural pattern, although it was intentionally arranged by someone. I also made one set of interpretations deriving from object | complexity | pattern | volume. The natural “wings” have an incredible sense of transparency and movement. I have tried to explore these ideas to form a concept. Conceptually the wings, when seen in volume form, can be interpreted as multiple objects. Once again I dissected the structural elements, then the translucent patterns. After those steps I integrated the constructional characteristics from the Xray figure and was then able to envision functional purposes for it. Conclusion : A progression of rational and intentional steps can lead us to something greater than life.

P.25

Conclusion: Adding a third dimension to a planar figure allows the viewer to interpret it differently.The Greek word tekton refers to the ability to construct something. One begins with a creation of a unit to an assembly of units. If one gives purpose to a unit, one can transform units unto architecture.

BONE STRUCTURE ABSTRACT PAINTING (X2) X RAY WING NATURAL PATTERN ABSTRACT PAINTING (X2)


P.26

The tectonic models investigation led me to better understand the materials I was working with as well as an approximation to my final design proposition The tectonic investigation led me to develop a system partitioned in three components based on the skeleton developments. In addition this tectonic system was later integrated on the natural pattern developments which generated a very interesting final product.

SKELETON MODEL INVESTIGATION

X RAY WING NATURAL PATTERN MODEL INVESTIGATION

SKELETON SKETCH

X RAY WING NATURAL PATTERN SKETCH


P.27

=

SKETCHES 3 DIFFERENT SCALES FINAL MODEL

TECTONIC ASSEMBLY TECTONIC SYSTEM

My final product was a device designed to aid singers during a recording session. The design would fit like a helmet and would benefit one’s studio performance by improving hearing. Looking at different scales this apparatus could be used as a prison cell, or at a much larger scale, as a full blown building.


The Arnold Arboretum project started with a field trip. The experience was very compelling. Among a great variety of exotic trees and bushes the park in general is very big, well organized and clean. It makes you forget the city for a while. Within the Arboretum I noticed a rapid transit of people and animals. Some people seemed familiar with the site while others seemed like they had never been there. I also noticed that people seemed to have different interests which made the experience a little awkward. Some people just walked, while others jogged, skated, roller bladed or biked. There were also animals (dogs) that simply went as they pleased intertwining around the paths (accompanied by their owners, of course.) The assigned site is adjacent to Peters Hill, which is a focal point because it is an intersection of three paths. I found Peters Hill disproportional to the human scale. The site has some unresolved issues such as transit and size.

P.28

First week during my visits I noticed that people were moving at different speeds. The very slow explorer would almost hesitate before taking another step or photo. On the other hand, the fastest biker would cut an slow to moderate explorer off so quickly that if they came from behind in the same direction as an explorer it would suddenly create a drag noise right next to them. My design approach was to find order to these issues of size and traffic while minimizing the use of land for my architecture. The solution I found was to separate interest, the fast and the slow, the unfamiliar and the familiar. I attempted to address this issue through several different designs, before settling on the final design.

ARNOLD ARBORETUM SITE 3D ANALYTICAL SKETCH

B2INSTRUCTORS: MIKE PERHAM | SEOK FALL 2009 PROJECT 01 | Arnold Arboretum project

ANALYTICAL SKETCH

UNDERGROUND INTERSECTION

P.29

My first design attempt was to broaden Peter’s Hill intersection without damaging the integrity of the park. I intended to do this by recessing an underground facility contouring the path. This design would provide visitors with a sort of balcony on the rooftop of the facility. The facility would be split into halves connecting the underground. My instructors did not readily accept this idea, so I developed a new design solution. There would be a tunnel in the centerline of the path with the intention of separating the traffic patterns into a more organized system. This time around my instructors were starting to accept my intentions for the project, although they still were not satisfied. I took a step back into the tectonic patterns I had created in project 00 and I decided to literally incorporate it into this project. Once again, the proposed solution was not still settling well with my instructors. I decided to investigate a completely revolutionary concept that had the amenities broken up sparsely on the site with a number of smaller items. This solution came closer to meeting their expectations.

UNDERGROUND FACILITYFACILITY PLANSITE

CHAOS ORDER

SITE - TECTONIC COLLAGEFACILITY PLANSITE INTERSECTION - FACILITY DESIGN TO CONTOUR PATH


P.30

SOLUTION: My final design not only separates the fast and the slow but also demonstrates the tectonics idea broken up into smaller portions. It ultimately manages the traffic issue with an overpass. The elevated pathways would allow the eyes of the visitors observing nature to be level with the trees thus providing the visitor with a more engaging experience. Their experience would be improved by a closer relation to the trees and park. The experience of all visitors: nature observers, bikers, and runners, among many others, would be improved with the new division of interests leading to more privacy and comfort of all traffic patterns.

FINAL MODEL3D MODEL

SKETCHES


P.31

This project started when I received the coordinates from my instructors such as location, size and duration of the project. My initial approach included various site visits for documentation, in which I noted existing elevations, setbacks, tree patterns, traffic issues, etc. My findings were helpful: I saw a place submerged in the sublime.There is a sense of awe in the look and feel of this part of Boston’s Chinatown. It feels obscure and looks random. My analysis incorporated current social and economical census data of the city of Boston in comparison to Chinatown’s. Finally, a short investigation on Chinatown’s history and my findings were:

Reproach of other local ethnic immigrant groups from the past.

Unequal social and financial status per capita when compared to the average Bostonian.

The families living in Chinatown walks on average twice as much as the average family in Boston’s metropolitan area.

The average Bostonian drives on average twice as much as the average person from Chinatown

Visuals - Chinatown looks horizontal when compared to the local financial district in Boston. Also, the financial district looks colder and less warm than the predominant brick in Chinatown.

B2INSTRUCTORS: MIKE PERHAM | SEOK FALL 2009 PROJECT 02 | CHINATOWN PROJECT

HISTORICAL TIMELINE PRECEDENTS & WEALTH DISTRIBUTION

PROJECT SYNTHESIS - After interpreting all my studies I made the design decision to respond to some of the issues found in my studies. My design decisions were to interlock, to integrate and to create a mysterious atmosphere to reflect my first subliminal perceptions.

Design approach - Step 1: divide site in equal parts. Step 2: Search for a mathematical order of proportions. Step 3: Subdivide the order of proportions into equal parts. Step 4. Separate the order of proportions in the center to design distribution. Step 5 (final step): to transfer all program assignment information given by instructors.

URBAN ANALYSIS INTERLOCK CONCEPT | INTEGRATION URBAN PROGRAM

BUILDING PROGRAM SKIN STUDY

P.32


P.33

TRIPARTITE PROGRAMATIC BUILDING CENTRAL ARTERY PROGRAM - INTERLOCK CHINATOWN AND BOSTON REDESIGNED CIRCULATION

FRONT LATERAL 1

GROUND LEVEL LEVEL 1 LEVEL 2 LEVEL 3

LATERAL 2 BACK

My instructors challenged me to resolve the program differently and I did. The prior program revolved around the central grid, so I developed a new program around the optimal circulation of the building, an idea received well by my peers.


Architecturally we were asked to bring our tectonic developments from project 00 and 01 consequentially into this project. With the interior program being finite I began to analyze the skin of the building in ways that expressed my sentiments. For example, the interlocking, the integration, the aesthetic feel of sublimity and the tripartite resolution are all elements legible to the exterior program. My design perimeters were;

1 To interlock the financial district and Chinatown; -By creating a space for activities such as finance, theater, artist studios, art galleries, a cafe, etc...

2 To integrate the walkability factor of the locals as well as visitors and neighboring districts; - By creating a path that travels through the exterior of the building connecting both Hudson street and J F Fitzgerald Road.

3 To design an interior program that literally responds to exterior relationships. I organized the activities of the interior of the building to respond to the exterior environment. Then I made each facade legible from the exterior. I organized the activities of the building, for example, making the façade of the building more active to respond to the activity of the street as opposed to a less active side of the building adjacent to the Jiznga restaurant. This way the building would be readable from the exterior as well.

4 The overall design coupled with my tectonics would evoke a sense of awe and obscurity that imminently relates to my impressions of the site. I projected regularity of shapes instead of a symmetrical composition and odd compositions of masses and voids that speak of my theory tectonically.

My aim was to create the sublime in a built form.

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INITIAL SKETCH TECTONIC DEFINITION TECTONIC DEFINITION ASSEMBLY 3D ASSEMBLY


P.35

TECTONIC EVOLUTION

SKIN TRIAL - EXTERIOR RESPONSIVENESS

My instructors were pushing me to go beyond my initial developments so I did. After bringing to class my skin module model, they asked me to work with my concepts and explore new ways of constructibility. I spent a week trying to push myself to go beyond these boundaries and I figured how my original tectonic was brought up from project 00 and how it had developed as I continued to respond to my instructors and my own ideas for this project.

I worked on a trial for a building envelope (skin) which was well received in class, however I did not stop there. Indeed I created an entire dynamic facade for my interior program.

SKIN MODULE MODEL


P.36

FINAL TECTONIC DEVELOPMENT

1. 2 3

FINAL TECTONIC PRODUCT

This dynamic facade was a big step in my view to where I wanted to bring this project. My instructors although well receptive of my interlocking concept as well as my new developments still asked me to improve my building’s skin to make a clearer statement on all façades. I took two more steps to find what I thought I was looking for. I brought the tectonics to my interlocking concept and then I sharpened it by minimizing the structure and maximizing the functionality of the building.


After interplaying all my concepts I came to this modular design that incorporated my interlocking tripartite facade.

P.37

ROOFTOP

3RD LEVEL 1ST LEVEL

GROUND LEVEL2ND LEVEL FLOOR PLANSMODULAR BUILDING ENVELOPE


FINAL DESIGN - ELEVATIONS

HUDSON PERSPECTIVEJFF ROAD PERSPECTIVE

HUDSON ELEVATIONJFF ROAD ELEVATION

BACK ELEVATIONFRONT ELEVATION

HUDSON BACK ELEVATION PERSPECTIVEJFF ROAD BACK ELEVATION PERSPECTIVE

P.38

SECTIONSMODEL

OVERVIEW

HUDSON SECTION

J. F. F. ROAD SECTION

3D SECTION


OFFICEARTISTS’ LOFTP.39

ARENA

Building interior program details were

Ground1. entrance

2.admissions

3.gallery loft

4.WC (man-woman)

5.mechanical room

6.storage room

7.fire scape

1st level1. lounge

2.loft cafe area

3.performance arena

4.theater

5.gallery loft

2nd level1. main circulation

2.artist loft area 1



3rd level1. lounge area

2.office manager room

3.associates office

4.kitchen


FINAL PERSPECTIVE

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p. 41-66

WORKSUPERVISOR | Ronald Jackson 2007 - 2008 4G TELECOM EXPANSION PROJECT

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JOB DESCRIPTION : INTERPRET SITE SKETCHES AND TRANSLATE THEM INTO A DIGITAL FORMAT [CAD] ARCHITECTURAL DESKTOP

My first architectural / engineering office experience was very rewarding. Working at Bay State Design helped me understand important trades in the architectural profession. One such trade was working in a team of professionals. My participation was in the team of engineers to help them translate their engineering solutions into a graphical representation. That was a good challenge for my level of development in the profession. I worked at Bay State Design, Inc. from early 2007 until the beginning of the financial recession early 2008. I was an integral part in a draftsman’s team composed to produce an entire corporate expansion.

P.42

JOB DESCRIPTION : INTERPRET SITE SKETCHES AND TRANSLATE THEM INTO A DIGITAL FORMAT [CAD] ARCHITECTURAL DESKTOP

WORKSUPERVISOR | Ronald Jackson 2007 - 2008 4G TELECOM EXPANSION PROJECT

INDEPENDENT PRACTICESUPERVISOR | KENNETH SAVOIE 2009-2011 BASS HOUSE PROJECT

NARRATIVE | Since beginning work on this house in November of 2008, I have been developing new skills as well as improving old ones. These skills relate to both carpentry and architecture. I obtained and improved carpentry skills during a series of activities that took place in this house, some of which are the restoration of hard wood flooring in the kitchen, installation of a casement window, tiling, and the demolition and construction of walls all the way from studs to plaster. As an architect I planned the layout for the renovation in both the kitchen and bathroom, and later I planned a complete redesign of this house including a second floor addition. This house is the summer home of Mr. & Mrs. Read. They share a passion for Victorian style houses, however, for their summer house they wanted something functional and exiting. In their second home they wanted to expand functionality and improve their vantage points. While the Cape style home is common in the immediate neighborhood, just several blocks away on Bass Rocks there are extraordinary houses with exponential architectural value. The budget for this project was extremely limited and I had to come up with creative ideas in order to overcome monetary constraints. This project took me to a new understanding of architecture. I have had the incredible opportunity to have open minded clients that respected my design decisions and that helped me achieve success without external interference.

82 Bass Avenue is a small Cape Style house located two blocks west of Good Harbor Beach in Gloucester, MA. The house sits on a generous lot west of Cape Ann Coffees, the local coffee shop. To the North lies a small shopping complex that includes a CVS Pharmacy as well as a Super Stop & Shop. To the west of 82 Bass Avenue there is residential dwelling and to the south is Bass Avenue itself which consists of residences and small local businesses.

Start | Since beginning work on this house in November of 2008, I have been developing new skills as well as improving old ones. These skills relate to both carpentry and architecture. I obtained and improved carpentry skills during a series of activities that took place in this house, some of which are the restoration of hard wood flooring in the kitchen, installation of a casement window, tiling, and the demolition and construction of walls all the way from studs to plaster. As an architect I planned the layout plans for the renovation in both the kitchen and bathroom, and later I planned a complete redesign of this house including a second floor addition.

ORIGINAL SOUTH FACADE

AESTHETICSVOLUMES HEIGHT CONSTRAINTSOLAR GAIN | INHIBITION SOUND CONTROL

Design Initiation

This house is the summer home of Mr. & Mrs. Read. They share a passion for Victorian style houses, however, for their summer house they wanted something functional and exiting. In their second home they wanted to expand it’s functionality and improve their vantage points. While the Cape style home is common in the immediate neighborhood, just several blocks away on Bass Rocks, there are extraordinary houses with exponential architectural value. The budget for this project is extremely limited and I had to come up with creative ideas in order to overcome monetary constraints.

Clients : Mr. Michael & Misses Kathleen Read Date : July 2009 To PresentLocation : 82 Bass ave., Gloucester, Ma. 01930 Architect : Andre VasconcelosJob description : Beach House renovation | addition

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82 Bass Avenue is a small Cape Style house located two blocks west of Good Harbor Beach in Gloucester, MA. The house sits on a generous lot west of Cape Ann Coffees, the local coffee shop. To the North lies a small shopping complex that includes a CVS Pharmacy as well as a Super Stop & Shop. To the west of 82 Bass Avenue there is residential dwelling and to the south is Bass Avenue itself which consists of residences and small local businesses.

This project is taking me to a new understanding of architecture. I have had the incredible opportunity to have open minded clients that respected my design decisions and that helped me achieve success without external interference.

SITE

STAGE 2

STAGE 3

Schemes

STAGE 1

BASS FISH

JOB DESCRIPTION : BEACH HOUSE RENOVATION-ADDITION | LOCATION : GLOUCESTER MA | DATE JULY 2009 TO PRESENT | ARCHITECT : ANDRE VASCONCELOS | CLIENT : MR. READ & FAMILY

P.43

LOCAL SATELLITE IMAGE SITE SATELLITE IMAGE SITE ZONING

82 BASS AVE - FRONT - SOUTH EAST

1Wednesday, October 29, 2008

ORIGINAL HOUSE

INSPIRATION SCHEME 1 SCHEME 2 SCHEME 3 SCHEME 4 program

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THE BASS FISH

1ST FLOOR = PUBLIC

2ND FLOOR = PRIVATE


SOLAR GAIN | INHIBITION VOLUMES HEIGHT CONSTRAINT SOUND CONTROL AESTHETICS EXPLODED AXON.

P.45

Ç√

MARKET RESEARCH

SITE INVESTIGATION

PLANNING

DESIGNING

MAKING CONNECTIONS

MAKING DECISIONS

COMMUNICATING

COORDINATING

FOLLOW-UP

knowledgeNotable Learning Outcomes | Establishing credibility with the client through research and analysis of the local real estate market to establish budget guidelines that are in line with market conditions and property values. * Applying knowledge and understanding of site considerations affecting building orientation and envelope design.

* Engaging with client to develop clear design guidelines and renovation objectives. * Generating close working relationship with municipal building officials, contractor and subcontractors. * Increasing effective communication skills with all project stakeholders

* Managing construction, project budget and requisition process.

The Bass House project strived to be sustainable in some aspects, for example, the roof type, windows and doors, heating and cooling, I have selected are all energy efficient . The framing / structure of the addition was 70% assembled with engineered lumber, 60% of all insulation in the building is (R40) to help reduce temperature swings considerably, the insulation used was soy foam. The overall house design uses a passive solar design which helps with energy loss and the roof top manages the water runoff back in the yard by the omission of traditional gutters with help of an extended eave that pushes the water out to the yard.


Financial management was critical at times, we went $60,000 over budget due to change orders, unexpected construction costs and construction delays. Today this property has over a quarter of million dollars invested in it and another quarter million dollars for home acquisition, giving us a total investment of $600,000. The house market has seen a substantial downturn in the United States. However, there are multiple multimillion dollar houses in a quarter mile radius from our location. Overall this journey was rewarding to say the least.


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ThE BASS HOUSE FINAL PERSPECTIVE

P.47


CONSTRUCTION STARTS DAY 1 DAY 2 DAY 3 DAY 4 DAY 5 DAY 6

DAY 7 DAY 8 DAY 9 DAY 10 DAY 11 DAY 12 DAY 13



A time line period of construction...


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month 2 month 3 month 4

month 5 month 6 month 7

A time line period of construction… progression from the 2nd month to the 7th month.


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A time line period of construction… progression from the 7th month to beginning of summer 2011.

interior under construction interior - first floor interior - second floor

EXTERIOR 1 - southwest EXTERIOR 2 - detail EXTERIOR 3 - northeast


P.50

INDEPENDENT PRACTICESUPERVISOR | DIGIORGIO + BRACCIOTI 2010 - 2011 STONEHAM HOUSE PROJECT

The Stoneham project is a single family residence designed for the Leone’s family. This project came about by the Leone’s visit to Good Harbor beach in the summer of 2010. They saw my work; the Bass house, during our conversation I introduced the idea of letting me design a house for them. Interestingly, the Leone’s were looking to purchase a house in the suburbs of Boston for about a year and according to them, they were somewhat disappointed. The Leone’s were skeptical of my idea at first but later decided to purchase land and to custom build a home for themselves. As an ideal financial and practical solution, they purchased land and contact me to help design their home. As we started discussing the design expectations and possibilities I introduced my personal mentor from the Boston Architectural College. Ken Savoie to professionally assist them instead. A little time went by and the Leone’s contacted me to take charge on the design. Following this event I asked Len Charney. The head of the Practice Department at the Boston Architectural College for help. I was looking for professional assistance. Len then teamed up Peter Braccioti and Dom DiGiorgio both members of Practice. We soon started a proficient team. Design-wise I had been studying the site and I had already developed three concepts. These concepts were later analyzed by the team and I was asked to choose one concept I liked the most. I thought each concept had a strong point about them so I came to the idea of combining all three concepts into one. This concept I called the HYBRID CONCEPT.

JOB DESCRIPTION : SINGLE FAMILY - NEW CONSTRUCTION HOUSE | LOCATION : STONEHAM MA | DATE JULY 2010 TO PRESENT | ARCHITECT : ANDRE VASCONCELOS | CLIENT : LEONE & FAMILY

SITE

SCHIAPPA CR.

CONSERVATION LAND

CHUCK FAIA , CIVIL ENGINEER PREPARED

TOPOGRAPHIC DRAWING FOR LAND ACQUISITION WITH

FOOTPRINT PROPOSAL.

TOPOGRAPHIC - ORIGINAL FOOT PRINT LAYOUT LOCAL SATELLITE IMAGE

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ZONING ORIENTATION


LEDGE CONSTRAINT SUN PATTERN SITE CLUSTER

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CONCEPTS: I II & III

CONCEPT ITHE INTENTION WAS TO PROVIDE A MORE RECTANGULAR DESIGN - TO REDUCE CONSTRUCTION COST AND TO RELATE TO CLIENT’S INTEREST FOR A COLONIAL APPEARANCE HOME

CONCEPT IIITHE INTENTION WAS TO PROVIDE A MORE DYNAMIC DESIGN - TO ADD ARCHITECTURAL VALUE

CONCEPT IITHE INTENTION WAS TO PROVIDE A MORE FLEXIBLE DESIGN - TO INCORPORATE AN ARCHITECTURAL LANGUAGE WITH THE LAND


P.53

P.54

CONCEPTS: I II & III

CONCEPT I42* COUNTER CLOCKWISE

1,250 sq. f. FIRST FLOOR

CONCEPT II25* COUNTER CLOCKWISE


CONCEPT III15* COUNTER CLOCKWISE



Our design team evaluated good aspects of the three design concepts and we pushed forward a new design that encompasses ideas from tree concepts in which I called the HYBRID CONCEPT.

P.55

HYBRID CONCEPT PLAN HYBRID PLAN - CONCEPTUAL STAGE


HYBRID CONCEPTDIGIORGIO | BRACCIOTTI & VASCONCELOS

PROPOSED FOOT PRINT LAYOUT SKETCH - THE HYBRID CONCEPT PLAN PROPOSED FOOT PRINT LAYOUT

TOTAL LIVING SPACE 2,625 SQ. F.

00

HYBRID CONCEPTPETER | DOM & ANDRE

TOTAL LIVING SPACE 2523


HYBRID CONCEPT

Our architectural team responded diligently to the family’s needs based on a family’s wish list. Our design team had major difficulties with conservation setbacks and an extensive ledge in a very prominent area in the front yard. We carefully analyzed the situation in order to properly establish an interior program that was expected by the Leone’s. Based on a series of circumstances and rational decision making, we made room even for the clients emotional perceptions of themselves.

P.56


00

HYBRID CONCEPTPETER | DOM & ANDRE

TOTAL LIVING SPACE 2523

PROPOSED BUILDING PROGRAM PROPOSED FLOOR PLAN

DR

AW

N B

YAN

DR

E VASC

ON

CEL

OS

RE

-IS

SU

E08

.09.

08

ISS

UE

08.0

8.08

CLI

EN

TM

R.

MS.

LEO

NE

25 C

LEVEL

AN

D A

VE.

EV

ERET

T, M

A,

0214

9 PH

ON

E: 6

17 3

1227

40

IND

EP

EN

DE

NT

PR

AC

TIC

EBO

STO

N A

RC

HIT

ECTU

RAL

CO

LLEG

E U

ND

ER S

UPE

RVIS

ION

OF

FACU

LTY

PR

OJE

CT

CO

NTE

MPO

RARY

SIN

GLE

FAM

ILY

HO

ME

PR

OJE

CT

NO

.24

5.17

0

A

DE

SC

RIP

TIO

NFI

RST

FLO

OR P

LAN

GREAT ROOM295 F!

KITCHEN300 F!

DRIVEWAY

D

D

NOTE:36" FIRE PROOF STEEL DOORREQUIRED

817

E0044

SMOKE DETECTOR

& CO2 DETECTOR

H. DETECTOR

H. DETECTOR

W

W

D

D

MULTI-ROOM130 F!

OFFICE100 F!

FOYER180 F!

BATH40 F!

D

D

TWO CAR GARAGE545 F!

NOTE:M08 VSE VELUX SKYLIGHTTOTAL OF (2)

W W

W

W

W

W W W MARVIN ULTREX45 DEGREE DOUBLEHUNG BAYS

W W W

FIRST FLOOR PLANScale: 1/4" : 1' - 0'

A2

DECK475 F!

DINNING182 F!

22' 0"

35' 6

"18

' 6"

8' 0

"

7' 6"8' 0"

10' 0

"10

' 0"

26' 9"

18' 0

"

4' 10"

11"

26' 0

"

5' 0

"

6' 0

"

20' 6

"

10' 5" 5' 0"

7' 0

"5'

6"

3' 0"

7' 6

"

11' 6"

11' 6

"

19' 6"

15' 0

"

14' 3"

28' 4" 12' 0"

8' 0

"20

' 6"

11' 6" 5' 6" 5' 6"10' 0"

27' 3"

6' 6"6' 6"4' 6"6' 0"

14' 0

"

62' 0

"

67' 9"

28' 0"

4' 9"

26' 8"

4' 10"

28' 6"

02

WINDOW SCHEDULE

DOOR SCHEDULE

ROUGH SIZE UNIT SIZE

D

10'W X 8'H 9' 11 1/2" X 89 1/2"

D 61b CLOPAY GARAGE DOOR

STONEHAM FIRE DTP.

H. DETECTOR TOTAL OF (2)

TOTAL OF (2)SMOKE

DETECTOR

TOTAL OF (1)CARBON MONOXIDE

GENERAL NOTES

W 45 DEGREE DOUBLE HUNG BAYS

4' 6"

3' 0

"

3' 6

"3'

10"

2' 6

"3'

2"

2' 6

"2'

6"

2' 6" 2' 6"

13' 3"

NOTE: ALL WINDOWS MUST LINE-UP

3' 8"

11' 0

"7'

0"

4' 0

"

NOTE:LAND LEVEL SPLIT 4F HEIGHTROSE BUSHES OR DWARFAUSTRIAN PINES REQUIREDIN ADDITION TO LANDSCAPING

LAWN AREA

LEDGE AREA

D 61b

D 61b

3' 6

"

LAUNDRY 60 F!

N

W W

MARVIN INTEGRITY DOUBLE HUNG (WOOD ULTREX WINDOWS)

MARVIN INTEGRITY FRENCH DOORS (WOOD ULTREX DOOR)

3' 0 1/2"W X 4' 0 1/4"H

W

2' 11 1/2"W X 3' 11 1/4"H

ITDH3648 TOTAL OF (1)

3' 0 1/2"W X 6' 4 1/2"H

W

2' 11 1/2"W X 6' 3 3/4"H


W ITDHT3616T TOTAL OF (16)

NOTE: TRANSOMS COMBINATION

3' 0 1/2"W X 1' 4 1/4"H

3' 0"W X 1' 4"H

TOTAL OF (1)

6' 6 19/32"W X 6' 5 11/16"H

SAMEW W W

W

W

W

ITDH3676ITDHT3616T

THERMA-TRU FIBER CLASSIC MAHOGANY

7' 5"

32' 6"

59' 9"

3' 0"W X 6' 8"H

2' 11 1/2"W X 6' 7 1/2"H

IIFD30 65XR

TOTAL OF (22)


6' W X 6' 8"H 5' 11"W X 6' 7 1/2"H

D IOFD6065XXL

TOTAL OF (2)

IOFD6065XXL

15' 3"

IOFD6065XXL

9' 6

"3'

0"

3' 6"


TOTAL OF (2)

35 1/2"W X 79 1/2"H36"W X 80"H

D E0044interior door

35 1/2"W X 79 1/2"H36"W X 80"H

D 817fiberglass ext.

TOTAL OF (2)

TOTAL OF (2)

E0044D

D 817

VENT

3' 0"3' 0"3' 0"

3' 0"

17' 9"

2' 0

"

3' 0"3' 0"3' 0"

3' 0

"3'

0"

3' 0

"3'

0"

W W

3' 0" 3' 0" 3' 0" 3' 0" 3' 0" 3' 0"

3' 0" 3' 0" 3' 0"

4' 6"

E0044

GENERAL CONTRACTOR

NOTE: ALL WORK AND MATERIALS SHALL BE PERFORMED AND INSTALLED IN ACCORDANCE WITH THE CURRENT EDITIONS OF THE FOLLOWING CODES AS ADOPTED BY THE LOCAL GOVERNING AUTHORITIES.

NOTE: ALL OPENINGS MUST BE CHECKED PRE-ORDERING WINDOWS AND DOORS, BE RESPONSIBLE FOR THE SAME.

3' 6"11' 6"

3' 0

"3'

0"

3' 0

"

21' 0"

PAVERS140 F!

STORAGE

42" RAILING

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676

ITDH3676

ITDH3676

ITDH3676

ITDH3676

ITDH3676

NOTE: FRAMING DESIGN CALLS FOR NOMINAL:

2 X 6 WALLS, 12" DEPTH LVL ALL HEADERS, 12" TJI FLOOR JOISTS, 12" DEPTH DOUBLED LVL BEAMS,1/2" STRUCTURAL PLYWOOD UNDERFLOOR

GENERAL CONTRACTOR TO VERIFY AND INSTALL ALL BEAMS AND FLOOR JOISTS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODES

GAS VENTLESS FIREPLACE

8' 0

"

12' 6

"3'

6"

MUDROOM + STR.107 F!

6' 0

"

GENERAL NOTES

DR

AW

N B

YAN

DR

E VASC

ON

CEL

OS

RE

-IS

SU

E08

.09.

08

ISS

UE

08.0

8.08

CLI

EN

TM

R.

MS.

LEO

NE

25 C

LEVEL

AN

D A

VE.

EV

ERET

T, M

A,

0214

9 PH

ON

E: 6

17 3

1227

40

IND

EP

EN

DE

NT

PR

AC

TIC

EBO

STO

N A

RC

HIT

ECTU

RAL

CO

LLEG

E U

ND

ER S

UPE

RVIS

ION

OF

FACU

LTY

PR

OJE

CT

CO

NTE

MPO

RARY

SIN

GLE

FAM

ILY

HO

ME

PR

OJE

CT

NO

.24

5.17

0

A

DE

SC

RIP

TIO

NSEC

ON

D F

LOO

R P

LAN

3' 0"

NOTE:PULL-DOWN ACCESS TO ATTIC (TYP.)

9' 0"

SECOND FLOOR PLANScale: 1/4" : 1' - 0'

A3

34' 0"

SMOKE DETECTOR

10' 0

"

38' 6

"

14' 5"

21' 0

"4'

0"

14' 5"

22' 0

"3'

6"

4' 6

"

5' 0"

8' 0

"

5' 6"1' 9"3' 0"6"3' 0"1' 9"5' 6"13' 0"

24' 6

"

38' 6

"

03

WINDOW SCHEDULE

DOOR SCHEDULE

31 1/2"W X 79 1/2"H32"W X 80"H

D CLOSET DOOR

TOTAL OF (5)

35 1/2"W X 79 1/2"H36"W X 80"H

D E0044 TOTAL OF (5)

STONEHAM FIRE DTP.


TOTAL OF (3)SMOKE

DETECTOR

CARBON MONOXIDE

GENERAL NOTES



GENERAL CONTRACTOR TO VERIFY ALL BEAM AND JOISTS SIZES, PROVIDE BEAM CALCULATIONS TO BUILDING INSPECTOR AND INSTALL ALL BEAMS AND FLOOR JOISTS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODES

SMOKE DETECTOR

10' 5

"

SMOKE DETECTOR

14' 11"

17' 6"

17' 6"

11' 6

"11

' 6"

9' 0

"

4' 0"

3' 0"

3' 0"

12' 0

"

7' 6"

2' 6"

3' 0

"

3' 0

"

3' 0

"3'

0"

3' 0

"

5' 6

"3'

6"

5' 8

"5'

6"

3' 6

"

3' 6

"

15' 6

"

11' 1

1"

11' 5

"

W W W

W PICT.

W

D E0044

D E0044

D E0044

D E0044

GARAGEROOFTOP

KITCHENROOFTOP

3' 0"

5' 5

"7'

1"

6' 0

"

1' 8

"

7' 1" 5' 2"


VENT

GUTTER

48' 11"

15' 0"

GUTTER

12' 4"


W PICTUREFOYER WINDOW



3' 0 1/2"W X 4' 0 1/4"H

W

2' 11 1/2"W X 3' 11 1/4"H


TOTAL OF (2)

3' 0 1/2"W X 6' 5 11/16"H

SAME

TOTAL OF (1)


ITDH3648

ITDH3648

ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

1' 10 1/2"W X 3' 0 1/4"H

W

1' 9 1/2"W X 2' 11 3/4"H

ITDH2236MASTER BATH

TOTAL OF (1)

ITDH2236

W W W ITDH3648

ITDH3648

ITDH3648

14' 0

"5'

6"

3' 3"8' 0"2' 7"

2' 6

"

3' 0" 3' 0" 3' 0"

W PICT.

3' 0"3' 0"

3' 0"3' 0"3' 0"

3' 0

"3'

0"

3' 0

"3'

0"

3' 0" 3' 0" 3' 0" 3' 0" 3' 0" 3' 0"

1' 10"

CO2

65 1/2"W X 79 1/2"H66"W X 80"H

D CLOSET DOOR HALLWAY

TOTAL OF (1)

JELDWEN PRE-HUNG DOORS (SOLID WOOD DOORS) unless specified otherwise

NOTE: ALL EXTERIOR DOORSMEET OR EXCEED ENERGY STAR COMPLIANCE

NOTE: ALL WINDOWS MEET OR EXCEED ENERGY STAR COMPLIANCE PERFORMANCE RATING:Complies with ANSI / AAMA / NWWDA 101 / I.S. 2!97, 101 / I.S. 2/NASF!02 and AAMA / WDMA / CSA101 / I.S. 2 / A440!05.

GIOVANNI'S BEDROOM

203.5F!

MASTERBEDROOM

231F!

MASTERBATHROOM

78F!

HERS 37.5F!

HIS 45F!

HIS 15F!

HERS 15F!

VICTORIA'S BEDROOM

219.5F!

HALL92.5F!

SHAREDBATHROOM

84.5F!

DOUBLE HEIGHT

FOYER

HV

AC

N

3' 0

"

5' 5

"

4' 6"

P.57

TOTAL LIVING AREA 1,495 sq. f. FIRST FLOOR

TOTAL LIVING AREA 1,130 sq. f. SECOND FLOOR


Final evaluation prior proceeding forward - The design team came up with design tweaks for a more finite solution. Our final solution inquired the area of the second floor plan with an addition of a cantilever “skirt” around the perimeters of the house., this would allow better circulation and furniture placement. built upon the HYBRID CONCEPT so the owner could proceed to bidding processes. Out of an evaluation of budgetary constrains as well as zoning constraints, overall economy, high efficiency and practicality. The HYBRID CONCEPT we believe is an immediate rational response to all issues related to this project


PROPOSED SECOND FLOOR PLANPROPOSED FIRST FLOOR PLAN

P.58


PRECEDENTS AESTHETICSThe client intention was to relate to the immediate neighborhood as much as possible - they requested a modern house with a Colonial Style appearance to fit-in in this existing setting.

SKETCH - INITIAL FRONT FACADE SKETCH - POSTERIOR FRONT FACADE

PRECEDENTS - END OF THE CUL-DE-SAC PRECEDENTS - ACROSS OF THE STREET PRECEDENTS - FIRST HOUSE OF THE STREET

P.59

ELEVATION DESIGN PROCESS - ONE TO ONE PROCESS BETWEEN DESIGNER AND CLIENT OPENED AN OPPORTUNITY TO SOME ATYPICAL COLONIAL APPEARANCE.

TRIAL ITHE INTENTION WAS TO PROVIDE A MORE RECTANGULAR DESIGN - TO REDUCE CONSTRUCTION COST AND TO relate to CLIENT’S interest FOR a COLONIAL APPEARANCE HOME

TRIAL IIT H E I N T E N T I O N WA S T O P R O V I D E FUNCTIONALITY TO THE ATTIC


perspective 1

perspective 2

roofing design option#3[protruded bedrooms]

south

Monday, December 13, 2010

TRIAL IIITHE INTENTION WAS TO PROVIDE A MORE CONTEMPORARY DESIGN INFLUENCE

TRIAL IVT H E I N T E N T I O N W A S T O P R O V I D E FUNCTIONALITY TO THE ATTIC AND STILL KEEP A CONTEMPORARY INFLUENCE


01

northsouth

eastwest

south north

eastwest


P.60

ELEVATION DESIGN PROCESS - ONE TO ONE PROCESS BETWEEN DESIGNER AND CLIENT OPENED AN OPPORTUNITY TO SOME ATYPICAL COLONIAL APPEARANCE.



south



south



south


P.61

ELEVATION DESIGN PROCESS - ONE TO ONE PROCESS BETWEEN DESIGNER AND CLIENT OPENED UP AN OPPORTUNITY TO SOME ATYPICAL COLONIAL APPEARANCE.

TRIAL VTHE INTENTION WAS TO SATISFY THE CLIENT’S DESIRE OF A FUNCTIONAL ATTIC AND A MORE TRADITIONAL AESTHETICS

TRIAL VITHE INTENTION WAS TO IMPROVE TRIAL DESIGN NUMBER 5

TRIAL VIITHE INTENTION WAS TO IMPROVE TRIAL DESIGN NUMBER 6


P.62

FINAL ELEVATION - TO BUILD A BASILICA ROOF-LINE THAT TRANSCENDS SOME MOTION TO THE OTHER VOLUMES AS IF THEY WERE EXTRUDING OUTWARDS ON THEIR OWN.


05

SOUTH ELEVATIONScale: 1/4" : 1' - 0'

A5

NORTH ELEVATIONScale: 1/4" : 1' - 0'

A5

EAST ELEVATIONScale: 1/4" : 1' - 0'

A5

WEST ELEVATIONScale: 1/4" : 1' - 0'

A5

ROOF PLANScale: 1/4" : 1' - 0'

A5

+/- -2'

+/- 0'

+/- 3'

+/- 5'

+/- 8'

+/- 9'

+/- 18'

+/- 19'

+/- 28'

+/- 27'

+/-33' 6"

NOTE:SEWER CONNECTIONEVERY 1' : 1 5/8" PITCH; ASSUMINGINVERSE AS 30F AWAY FROM HOUSE

+/- 183'-0" A.S.L.

FIRST FLOOR PLAN ELEVATION

+/- 181'-0" A.S.L.

GARAGE FLOOR ELEVATION

+/- 178'-0" A.S.L.

STREET LEVEL ELEVATION

+/- 175'-0" A.S.L.

BASEMENT FLOOR ELEVATION

+/- 192'-0" A.S.L.

SECOND FLOOR PLAN ELEVATION

+/- 200'-0" A.S.L.

SECOND FLOOR PLATE ELEVATION

+/- 208'-0" A.S.L.

ROOF LINE ELEVATION

N

A 5

E

A 5

S

A 5

W

A 5

NA 5

N

A 5

S

A 5

W A 5

E

NOTE:FABRAL 1-1/2" SSR

24 GAUGE STEEL METAL ROOFING

NOTE:LIMESTONE PORTICO

NOTE:PERMEABLE PAVEMENT

NOTE:CEMENT PAVERS

NOTE:COMPOSITE DECKING

WATER RUNOFF

WATER RUNOFF

AZTEK BOARDSALL CORNERS

& JOINTS

JAMES HARDIECEMENT BOARD

SIDING

3242 3242 3242 3242 3242 3242PICT.

SPECIALTY

BAY

1836

3236

817

STONE CLADDING APPROX. 600 SQ. F.

GUTTERS

INSULATED CLOPAY TRADITIONAL SERIES

GARAGE DOORSTOTAL OF (2)

STEPHENSONSTANDARD 4 SIDEDCUPOLA MODEL 48-C (BROSCO P.B331)

A9 1

A9

2

GENERAL NOTESGENERAL CONTRACTOR TO VERIFY ALL DIMENSIONS ON SITE AND SHALL NOT RELY ON DRAWINGS, CONTRACTOR SHALL INSTALL ALL MATERIALS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE MASSACHUSETTS BUILDING CODES,SUB CONTRACTORS SHALL NOT PERFORM WORK IN CASE OF ANY UNCERTAINTY. GENERAL CONTRACTOR MUST NOTIFY ARCHITECT AND ONWER IN WRITING - IN CASE OF DISCREPANCIES,ALL WORKMEN SHALL BE RESPONSIBLE FOR THEIR WORK.

3242

3648 3648 3648 3648

61B 61B3676 3676 3676 3676

6065XXL 6065XXL

3648

3676

6065XXL

3676 3676 3676

6065XXL 3676 3676 3676 3676 3676

3648 3648 3648 3648 3648

3676 3676 3676

PICT.

3676 3676 3676 3676 3676 3676

THERMA-TRU

DE

SC

RIP

TIO

NEL

EVATI

ON

S

DR

AW

N B

YAN

DR

E VASC

ON

CEL

OS

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-IS

SU

E08

.09.

08

ISS

UE

08.0

8.08

CLI

EN

TM

R.

MS.

LEO

NE

25 C

LEVEL

AN

D A

VE.

EV

ERET

T, M

A,

0214

9 PH

ON

E: 6

17 3

1227

40

IND

EP

EN

DE

NT

PR

AC

TIC

EBO

STO

N A

RC

HIT

ECTU

RAL

CO

LLEG

E U

ND

ER S

UPE

RVIS

ION

OF

FACU

LTY

PR

OJE

CT

CR

AFT

SM

AN

SIN

GLE

FA

MIL

Y D

WEL

LIN

G

PR

OJE

CT

NO

.24

5.17

0

A

SEPT. 11:30 AM SEPT. 6:30 PM

SEPT. 3:30 PM SEPT. 8:30 AM

SEPT. 2:30 PM

05


A5


A5


A5


A5


A5

+/- -2'

+/- 0'

+/- 3'

+/- 5'

+/- 8'

+/- 9'

+/- 18'

+/- 19'

+/- 28'

+/- 27'

+/-33' 6"


+/- 183'-0" A.S.L.


+/- 181'-0" A.S.L.


+/- 178'-0" A.S.L.


+/- 175'-0" A.S.L.


+/- 192'-0" A.S.L.


+/- 200'-0" A.S.L.


+/- 208'-0" A.S.L.

ROOF LINE ELEVATION

N

A 5

E

A 5

S

A 5

W

A 5

NA 5

N

A 5

S

A 5

W A 5

E





NOTE:CEMENT PAVERS


WATER RUNOFF

WATER RUNOFF


& JOINTS


SIDING

3242 3242 3242 3242 3242 3242PICT.

SPECIALTY

BAY

1836

3236

817


GUTTERS




A9 1

A9

2


3242

3648 3648 3648 3648

61B 61B3676 3676 3676 3676

6065XXL 6065XXL

3648

3676

6065XXL

3676 3676 3676

6065XXL 3676 3676 3676 3676 3676

3648 3648 3648 3648 3648

3676 3676 3676

PICT.

3676 3676 3676 3676 3676 3676

THERMA-TRU

DE

SC

RIP

TIO

NEL

EVATI

ON

S

DR

AW

N B

YAN

DR

E VASC

ON

CEL

OS

RE

-IS

SU

E08

.09.

08

ISS

UE

08.0

8.08

CLI

EN

TM

R.

MS.

LEO

NE

25 C

LEVEL

AN

D A

VE.

EV

ERET

T, M

A,

0214

9 PH

ON

E: 6

17 3

1227

40

IND

EP

EN

DE

NT

PR

AC

TIC

EBO

STO

N A

RC

HIT

ECTU

RAL

CO

LLEG

E U

ND

ER S

UPE

RVIS

ION

OF

FACU

LTY

PR

OJE

CT

CR

AFT

SM

AN

SIN

GLE

FA

MIL

Y D

WEL

LIN

G

PR

OJE

CT

NO

.24

5.17

0

A



SEPT. 2:30 PM

05


A5


A5


A5


A5


A5

+/- -2'

+/- 0'

+/- 3'

+/- 5'

+/- 8'

+/- 9'

+/- 18'

+/- 19'

+/- 28'

+/- 27'

+/-33' 6"


+/- 183'-0" A.S.L.


+/- 181'-0" A.S.L.


+/- 178'-0" A.S.L.


+/- 175'-0" A.S.L.


+/- 192'-0" A.S.L.


+/- 200'-0" A.S.L.


+/- 208'-0" A.S.L.

ROOF LINE ELEVATION

N

A 5

E

A 5

S

A 5

W

A 5

NA 5

N

A 5

S

A 5

W A 5

E





NOTE:CEMENT PAVERS


WATER RUNOFF

WATER RUNOFF


& JOINTS


SIDING

3242 3242 3242 3242 3242 3242PICT.

SPECIALTY

BAY

1836

3236

817


GUTTERS




A9 1

A9

2


3242

3648 3648 3648 3648

61B 61B3676 3676 3676 3676

6065XXL 6065XXL

3648

3676

6065XXL

3676 3676 3676

6065XXL 3676 3676 3676 3676 3676

3648 3648 3648 3648 3648

3676 3676 3676

PICT.

3676 3676 3676 3676 3676 3676

THERMA-TRU

DE

SC

RIP

TIO

NEL

EVATI

ON

S

DR

AW

N B

YAN

DR

E VASC

ON

CEL

OS

RE

-IS

SU

E08

.09.

08

ISS

UE

08.0

8.08

CLI

EN

TM

R.

MS.

LEO

NE

25 C

LEVEL

AN

D A

VE.

EV

ERET

T, M

A,

0214

9 PH

ON

E: 6

17 3

1227

40

IND

EP

EN

DE

NT

PR

AC

TIC

EBO

STO

N A

RC

HIT

ECTU

RAL

CO

LLEG

E U

ND

ER S

UPE

RVIS

ION

OF

FACU

LTY

PR

OJE

CT

CR

AFT

SM

AN

SIN

GLE

FA

MIL

Y D

WEL

LIN

G

PR

OJE

CT

NO

.24

5.17

0

A



SEPT. 2:30 PM

05


A5


A5


A5


A5


A5

+/- -2'

+/- 0'

+/- 3'

+/- 5'

+/- 8'

+/- 9'

+/- 18'

+/- 19'

+/- 28'

+/- 27'

+/-33' 6"


+/- 183'-0" A.S.L.


+/- 181'-0" A.S.L.


+/- 178'-0" A.S.L.


+/- 175'-0" A.S.L.


+/- 192'-0" A.S.L.


+/- 200'-0" A.S.L.


+/- 208'-0" A.S.L.

ROOF LINE ELEVATION

N

A 5

E

A 5

S

A 5

W

A 5

NA 5

N

A 5

S

A 5

W A 5

E





NOTE:CEMENT PAVERS


WATER RUNOFF

WATER RUNOFF


& JOINTS


SIDING

3242 3242 3242 3242 3242 3242PICT.

SPECIALTY

BAY

1836

3236

817


GUTTERS




A9 1

A9

2


3242

3648 3648 3648 3648

61B 61B3676 3676 3676 3676

6065XXL 6065XXL

3648

3676

6065XXL

3676 3676 3676

6065XXL 3676 3676 3676 3676 3676

3648 3648 3648 3648 3648

3676 3676 3676

PICT.

3676 3676 3676 3676 3676 3676

THERMA-TRU

DE

SC

RIP

TIO

NEL

EVATI

ON

S

DR

AW

N B

YAN

DR

E VASC

ON

CEL

OS

RE

-IS

SU

E08

.09.

08

ISS

UE

08.0

8.08

CLI

EN

TM

R.

MS.

LEO

NE

25 C

LEVEL

AN

D A

VE.

EV

ERET

T, M

A,

0214

9 PH

ON

E: 6

17 3

1227

40

IND

EP

EN

DE

NT

PR

AC

TIC

EBO

STO

N A

RC

HIT

ECTU

RAL

CO

LLEG

E U

ND

ER S

UPE

RVIS

ION

OF

FACU

LTY

PR

OJE

CT

CR

AFT

SM

AN

SIN

GLE

FA

MIL

Y D

WEL

LIN

G

PR

OJE

CT

NO

.24

5.17

0

A



SEPT. 2:30 PM

05


A5


A5


A5


A5


A5

+/- -2'

+/- 0'

+/- 3'

+/- 5'

+/- 8'

+/- 9'

+/- 18'

+/- 19'

+/- 28'

+/- 27'

+/-33' 6"


+/- 183'-0" A.S.L.


+/- 181'-0" A.S.L.


+/- 178'-0" A.S.L.


+/- 175'-0" A.S.L.


+/- 192'-0" A.S.L.


+/- 200'-0" A.S.L.


+/- 208'-0" A.S.L.

ROOF LINE ELEVATION

N

A 5

E

A 5

S

A 5

W

A 5

NA 5

N

A 5

S

A 5

W A 5

E





NOTE:CEMENT PAVERS


WATER RUNOFF

WATER RUNOFF


& JOINTS


SIDING

3242 3242 3242 3242 3242 3242PICT.

SPECIALTY

BAY

1836

3236

817


GUTTERS




A9 1

A9

2


3242

3648 3648 3648 3648

61B 61B3676 3676 3676 3676

6065XXL 6065XXL

3648

3676

6065XXL

3676 3676 3676

6065XXL 3676 3676 3676 3676 3676

3648 3648 3648 3648 3648

3676 3676 3676

PICT.

3676 3676 3676 3676 3676 3676

THERMA-TRU

DE

SC

RIP

TIO

NEL

EVATI

ON

S

DR

AW

N B

YAN

DR

E VASC

ON

CEL

OS

RE

-IS

SU

E08

.09.

08

ISS

UE

08.0

8.08

CLI

EN

TM

R.

MS.

LEO

NE

25 C

LEVEL

AN

D A

VE.

EV

ERET

T, M

A,

0214

9 PH

ON

E: 6

17 3

1227

40

IND

EP

EN

DE

NT

PR

AC

TIC

EBO

STO

N A

RC

HIT

ECTU

RAL

CO

LLEG

E U

ND

ER S

UPE

RVIS

ION

OF

FACU

LTY

PR

OJE

CT

CR

AFT

SM

AN

SIN

GLE

FA

MIL

Y D

WEL

LIN

G

PR

OJE

CT

NO

.24

5.17

0

A



SEPT. 2:30 PM

P.63


ELEVATIONS AND ROOF PLAN

DR

AW

N B

YAN

DR

E VASC

ON

CEL

OS

RE

-IS

SU

E08

.09.

08

ISS

UE

08.0

8.08

CLI

EN

TM

R.

MS.

LEO

NE

25 C

LEVEL

AN

D A

VE.

EV

ERET

T, M

A,

0214

9 PH

ON

E: 6

17 3

1227

40

IND

EP

EN

DE

NT

PR

AC

TIC

EBO

STO

N A

RC

HIT

ECTU

RAL

CO

LLEG

E U

ND

ER S

UPE

RVIS

ION

OF

FACU

LTY

PR

OJE

CT

CO

NTE

MPO

RARY

SIN

GLE

FAM

ILY

HO

ME

PR

OJE

CT

NO

.24

5.17

0

A

DE

SC

RIP

TIO

NBASEM

ENT

FLO

OR P

LAN

BASEMENT FLOOR PLANScale: 1/4" : 1' - 0'

A1

01

PROPOSEDINFILTRATION SYSTEM

30' X 7' REFER TO TOPO

10" THICK CONCRETE (TYP.) FOUNDATION WALL

CONTRACTOR SHALL DEFINE CHANGES IF ANY NECESSARY

WALL PLATE ATTACHED

WITH SIMPSON HURRICANE TIES

BLOCKING

TJI- I JOISTSCONTRACTOR TO VERIFY SIZING

MINIMUM DEPTH REQUIRED 11 3/4"

STEEL I-JOIST OR TRIPLE LVL'SCONTRACTOR TO VERIFY SIZING

MINIMUM DEPTH REQUIRED 11 3/4"

(TYP.) LOLLY COLUMN 3.5" DIA. BOTTOM PLATE BOLTED TO SLAB & TOP PLATE

BOLTED TO LVL BEAM ABOVE

COLUNM BASEFOR DECK ABOVETOTAL OF (9)

40°BUILDING IS 40 DEGREES COUNTER CLOCKWISE FROM SCHIAPPA CR. AXIS

GARAGE SLAB545 F!

BASEMENT1460 F!

D

36" W. STAIRCASE

WINDOW SCHEDULE

DOOR SCHEDULE


6' W X 6' 8"H 5' 11"W X 6' 7 1/2"H

D IOFD6065XXL TOTAL OF (3)

STONEHAM FIRE DTP.


TOTAL OF (3)SMOKE

DETECTOR


GENERAL NOTES

H. DETECTOR

SMOKE DETECTOR

CARBON MONOXIDE

SMOKE DETECTOR

26' 6

"8'

9"

18' 6

"

19' 6"

22' 0"

13' 3"5' 6"10' 0"5' 6"11' 6"

20' 6

"

8' 0

"

28' 3"

7' 9"32' 6"

D

D

WALK OUT PATIO

12' 0

"

SLAB /PAVERS475 F!

PAVERS140 F!

+/- 183'-0" A.S.L.


+/- 181'-0" A.S.L.


+/- 178'-0" A.S.L.


+/- 175'-0" A.S.L.


3' 1/2"W X 4' 1/4"H

W

2' 11 1/2"W X 3' 11 1/4"H


W

NOTE:WINDOW CENTERED WITH BAY WINDOW ABOVE

NOTE:PAVED AREA

8' 0"


MARVIN INTEGRITY DOORS (OUTSWING FRENCH DOOR)

HVAC

95% EFFICIENCY ECONAR GEOTHERMAL A/C AND HEATING SYSTEM - PREPARED BY EAST COAST GEOTHERMAL,LLC464 HIGH STREET, CLINTON, MA 01510. CONTACT INFO. 888-GEO-ENGY

ESTIMATED NEARLY 60% REDUCTION OF HEATING ENERGY COMSUPTION AND 75% REDUCTION OF COOLING USAGE WHEN COMPARED TO CONVENTIONAL NATURAL GAS SYSTEMS

IOFD6065XXL

IOFD6065XXL

IOFD6065XXL

ITDH3648SMOKE

DETECTOR

D E0044

35 1/2"W X 79 1/2"H36"W X 80"H

D E0044BASEMENT ACCESS


TOTAL OF (1)

45' 7"

18"

NOTE:FROST LINE INSULATION

18" AWAY FROM SLABMINIMUM REQUIRED




10" THICK FOUNDATION WALLS, 12" DEPTH TJI FLOOR JOISTS, 12" DEPTH DOUBLED LVL BEAMS,12" STEEL BEAM ON SPANS OVER 30F (IF NECESSARY)

GENERAL CONTRACTOR TO VERIFY INSTALL ALL BEAMS AND FLOOR JOISTS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODES

6' 0

"

3' 6

"

10' 6

"

12' 6

"

12' 0

"8'

0"

67' 9"

N

7' 0"12' 1"

8' 0" 12' 3"11' 11"

9' 1

0"6'

3"

10' 4

"9'

11"

8' 3" 6' 0" 6' 0"

2' 6

"

ISSUE10.15.10

CLIENTMR. MS. LEONE25 CLEVELAND AVE. EVERETT, MA, 02149. PHONE: 617 3122740

PROJECTSINGLE FAMILY DWELLING

PROJECT NO.245.170

DRAWN BYAV

DESCRIPTIONTITLE SHEET - GENERAL CONTRACTOR NOTESSATELLITE IMAGE OVERLAY & PERSPECTIVES

INDEPENDENT PRACTICEBOSTON ARCHITECTURAL COLLEGE UNDER SUPERVISION OF FACULTY TITLE

TITLE SHEET

N

CODE COMPLIANCE

ALL WORK AND MATERIALS SHALL BE PERFORMED AND INSTALLED IN ACCORDANCE WITH THE CURRENT EDITIONS OF

THE FOLLOWING CODES AS ADOPTED BY THE LOCAL GOVERNING AUTHORITIES.

SHEET DESCRIPTION

TS - TITLE PAGEA1 - BASEMENT PLAN

A2 - FIRST FLOOR PLAN

A6 - FRAMING PLAN

A11 - SECTIONS, DETAIL

A3 - SECOND FLOOR PLANA4 - ATTIC PLANA5 - ELEVATIONS

A7 - FRAMING PLAN CONT. A8 - FRAMING PLAN CONT. A9 - FRAMING PLAN CONT.A10 - FRAMING PLAN

E12 - ELECTRICAL PLANS

SINGLE FAMILY PROJECT - ASSESSORS MAP 7 AS LOT 412A - LOT D (TOTAL PLOT AREA = 32,125 SQ. F.) (TOTAL LIVING AREA = 2623 SQ. F.) FIRST FLOOR PLAN = 1493 SQ. F. | SECOND FLOOR PLAN = 1130 SQ. F.)

COORDINATION

STRUCTURAL

MECHANICAL

ELECTRICAL

PLUMBING

DATA

OTHER_________

GEN. CONTRACTOR NOTES DO NOT SCALE DRAWINGS

CONTRACTOR SHALL VERIFY ALL PLANS AND EXISTING DIMENSIONS AND CONDITIONS ON THE JOB SITE AND SHALL IMMEDIATELY NOTIFY THE ARCHITECT IN WRITING ON ANY

DISCREPANCIES BEFORE PROCEEDING WITH THE WORK, SHALL BE RESPONSIBLE FOR SAME.

LOCUS - SATELLITE IMAGEScale: 1" = 20' - 0'

T

LOT D 32,125 SQ. F.

BUFFER ZONE

SCHIAPPA CR.

00 20 80 40

LEDGE

RETAINING WALL

INFILTRATION SYSTEM

FRONTAL PERSPECTIVE

REAR PERSPECTIVE

RENDERINGSScale: N/A

T

LEDGE

ZONING SETBACKS

BUFFER ZONE

20F10F

10F

P.64

DR

AW

N B

YAN

DR

E VASC

ON

CEL

OS

RE

-IS

SU

E08

.09.

08

ISS

UE

08.0

8.08

CLI

EN

TM

R.

MS.

LEO

NE

25 C

LEVEL

AN

D A

VE.

EV

ERET

T, M

A,

0214

9 PH

ON

E: 6

17 3

1227

40

IND

EP

EN

DE

NT

PR

AC

TIC

EBO

STO

N A

RC

HIT

ECTU

RAL

CO

LLEG

E U

ND

ER S

UPE

RVIS

ION

OF

FACU

LTY

PR

OJE

CT

CO

NTE

MPO

RARY

SIN

GLE

FAM

ILY

HO

ME

PR

OJE

CT

NO

.24

5.17

0

A

DE

SC

RIP

TIO

NFI

RST

FLO

OR P

LAN

GREAT ROOM295 F!

KITCHEN300 F!

DRIVEWAY

D

D

NOTE:36" FIRE PROOF STEEL DOORREQUIRED

817

E0044

SMOKE DETECTOR

& CO2 DETECTOR

H. DETECTOR

H. DETECTOR

W

W

D

D

MULTI-ROOM130 F!

OFFICE100 F!

FOYER180 F!

BATH40 F!

D

D

TWO CAR GARAGE545 F!


W W

W

W

W

W W W MARVIN ULTREX45 DEGREE DOUBLEHUNG BAYS

W W W


A2

DECK475 F!

DINNING182 F!

22' 0"

35' 6

"18

' 6"

8' 0

"

7' 6"8' 0"

10' 0

"10

' 0"

26' 9"

18' 0

"

4' 10"

11"

26' 0

"

5' 0

"

6' 0

"

20' 6

"

10' 5" 5' 0"

7' 0

"5'

6"

3' 0"

7' 6

"

11' 6"

11' 6

"

19' 6"

15' 0

"

14' 3"

28' 4" 12' 0"

8' 0

"20

' 6"

11' 6" 5' 6" 5' 6"10' 0"

27' 3"

6' 6"6' 6"4' 6"6' 0"

14' 0

"

62' 0

"

67' 9"

28' 0"

4' 9"

26' 8"

4' 10"

28' 6"

02

WINDOW SCHEDULE

DOOR SCHEDULE


D

10'W X 8'H 9' 11 1/2" X 89 1/2"

D 61b CLOPAY GARAGE DOOR

STONEHAM FIRE DTP.


TOTAL OF (2)SMOKE

DETECTOR


GENERAL NOTES

W 45 DEGREE DOUBLE HUNG BAYS

4' 6"

3' 0

"

3' 6

"3'

10"

2' 6

"3'

2"

2' 6

"2'

6"

2' 6" 2' 6"

13' 3"


3' 8"

11' 0

"7'

0"

4' 0

"

NOTE:LAND LEVEL SPLIT 4F HEIGHTROSE BUSHES OR DWARFAUSTRIAN PINES REQUIREDIN ADDITION TO LANDSCAPING

LAWN AREA

LEDGE AREA

D 61b

D 61b

3' 6

"

LAUNDRY 60 F!

N

W W


MARVIN INTEGRITY FRENCH DOORS (WOOD ULTREX DOOR)

3' 0 1/2"W X 4' 0 1/4"H

W

2' 11 1/2"W X 3' 11 1/4"H


3' 0 1/2"W X 6' 4 1/2"H

W

2' 11 1/2"W X 6' 3 3/4"H


W ITDHT3616T TOTAL OF (16)

NOTE: TRANSOMS COMBINATION

3' 0 1/2"W X 1' 4 1/4"H

3' 0"W X 1' 4"H

TOTAL OF (1)

6' 6 19/32"W X 6' 5 11/16"H

SAMEW W W

W

W

W

ITDH3676ITDHT3616T

THERMA-TRU FIBER CLASSIC MAHOGANY

7' 5"

32' 6"

59' 9"

3' 0"W X 6' 8"H

2' 11 1/2"W X 6' 7 1/2"H

IIFD30 65XR

TOTAL OF (22)


6' W X 6' 8"H 5' 11"W X 6' 7 1/2"H

D IOFD6065XXL

TOTAL OF (2)

IOFD6065XXL

15' 3"

IOFD6065XXL

9' 6

"3'

0"

3' 6"


TOTAL OF (2)

35 1/2"W X 79 1/2"H36"W X 80"H

D E0044interior door

35 1/2"W X 79 1/2"H36"W X 80"H

D 817fiberglass ext.

TOTAL OF (2)

TOTAL OF (2)

E0044D

D 817

VENT

3' 0"3' 0"3' 0"

3' 0"

17' 9"

2' 0

"

3' 0"3' 0"3' 0"

3' 0

"3'

0"

3' 0

"3'

0"

W W

3' 0" 3' 0" 3' 0" 3' 0" 3' 0" 3' 0"

3' 0" 3' 0" 3' 0"

4' 6"

E0044

GENERAL CONTRACTOR

NOTE: ALL WORK AND MATERIALS SHALL BE PERFORMED AND INSTALLED IN ACCORDANCE WITH THE CURRENT EDITIONS OF THE FOLLOWING CODES AS ADOPTED BY THE LOCAL GOVERNING AUTHORITIES.

NOTE: ALL OPENINGS MUST BE CHECKED PRE-ORDERING WINDOWS AND DOORS, BE RESPONSIBLE FOR THE SAME.

3' 6"11' 6"

3' 0

"3'

0"

3' 0

"

21' 0"

PAVERS140 F!

STORAGE

42" RAILING

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676ITDHT3616T

ITDH3676

ITDH3676

ITDH3676

ITDH3676

ITDH3676

ITDH3676




GAS VENTLESS FIREPLACE

8' 0

"

12' 6

"3'

6"

MUDROOM + STR.107 F!

6' 0

"

GENERAL NOTES

DR

AW

N B

YAN

DR

E VASC

ON

CEL

OS

RE

-IS

SU

E08

.09.

08

ISS

UE

08.0

8.08

CLI

EN

TM

R.

MS.

LEO

NE

25 C

LEVEL

AN

D A

VE.

EV

ERET

T, M

A,

0214

9 PH

ON

E: 6

17 3

1227

40

IND

EP

EN

DE

NT

PR

AC

TIC

EBO

STO

N A

RC

HIT

ECTU

RAL

CO

LLEG

E U

ND

ER S

UPE

RVIS

ION

OF

FACU

LTY

PR

OJE

CT

CO

NTE

MPO

RARY

SIN

GLE

FAM

ILY

HO

ME

PR

OJE

CT

NO

.24

5.17

0

A

DE

SC

RIP

TIO

NSEC

ON

D F

LOO

R P

LAN

3' 0"


9' 0"


A3

34' 0"

SMOKE DETECTOR

10' 0

"

38' 6

"

14' 5"

21' 0

"4'

0"

14' 5"

22' 0

"3'

6"

4' 6

"

5' 0"

8' 0

"

5' 6"1' 9"3' 0"6"3' 0"1' 9"5' 6"13' 0"

24' 6

"

38' 6

"

03

WINDOW SCHEDULE

DOOR SCHEDULE

31 1/2"W X 79 1/2"H32"W X 80"H

D CLOSET DOOR

TOTAL OF (5)

35 1/2"W X 79 1/2"H36"W X 80"H

D E0044 TOTAL OF (5)

STONEHAM FIRE DTP.


TOTAL OF (3)SMOKE

DETECTOR

CARBON MONOXIDE

GENERAL NOTES



GENERAL CONTRACTOR TO VERIFY ALL BEAM AND JOISTS SIZES, PROVIDE BEAM CALCULATIONS TO BUILDING INSPECTOR AND INSTALL ALL BEAMS AND FLOOR JOISTS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODES

SMOKE DETECTOR

10' 5

"

SMOKE DETECTOR

14' 11"

17' 6"

17' 6"

11' 6

"11

' 6"

9' 0

"

4' 0"

3' 0"

3' 0"

12' 0

"

7' 6"

2' 6"

3' 0

"

3' 0

"

3' 0

"3'

0"

3' 0

"

5' 6

"3'

6"

5' 8

"5'

6"

3' 6

"

3' 6

"

15' 6

"

11' 1

1"

11' 5

"

W W W

W PICT.

W

D E0044

D E0044

D E0044

D E0044

GARAGEROOFTOP

KITCHENROOFTOP

3' 0"

5' 5

"7'

1"

6' 0

"

1' 8

"

7' 1" 5' 2"


VENT

GUTTER

48' 11"

15' 0"

GUTTER

12' 4"


W PICTUREFOYER WINDOW



3' 0 1/2"W X 4' 0 1/4"H

W

2' 11 1/2"W X 3' 11 1/4"H


TOTAL OF (2)

3' 0 1/2"W X 6' 5 11/16"H

SAME

TOTAL OF (1)


ITDH3648

ITDH3648

ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

W ITDH3648

1' 10 1/2"W X 3' 0 1/4"H

W

1' 9 1/2"W X 2' 11 3/4"H

ITDH2236MASTER BATH

TOTAL OF (1)

ITDH2236

W W W ITDH3648

ITDH3648

ITDH3648

14' 0

"5'

6"

3' 3"8' 0"2' 7"

2' 6

"

3' 0" 3' 0" 3' 0"

W PICT.

3' 0"3' 0"

3' 0"3' 0"3' 0"

3' 0

"3'

0"

3' 0

"3'

0"

3' 0" 3' 0" 3' 0" 3' 0" 3' 0" 3' 0"

1' 10"

CO2

65 1/2"W X 79 1/2"H66"W X 80"H

D CLOSET DOOR HALLWAY

TOTAL OF (1)




GIOVANNI'S BEDROOM

203.5F!

MASTERBEDROOM

231F!

MASTERBATHROOM

78F!

HERS 37.5F!

HIS 45F!

HIS 15F!

HERS 15F!

VICTORIA'S BEDROOM

219.5F!

HALL92.5F!

SHAREDBATHROOM

84.5F!

DOUBLE HEIGHT

FOYER

HV

AC

N

3' 0

"

5' 5

"

4' 6"

DR

AW

N B

YAN

DR

E VASC

ON

CEL

OS

RE

-IS

SU

E08

.09.

08

ISS

UE

08.0

8.08

CLI

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DE

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NATT

IC L

AYO

UT

ATTIC LAYOUTScale: 1/4" : 1' - 0'

A4

04

31 1/2"W X 41 1/2"H

W

WINDOW SCHEDULE

DOOR SCHEDULE

32"W X 42"H

71 1/2"W X 41 1/2"H

W

72"W X 42"H

SPECIALTY(1 right triangle) (1 left triangle)


TOTAL OF (1)

TOTAL OF (2)

STONEHAM FIRE DTP.


TOTAL OF (1)SMOKE

DETECTOR


21' 0"

10' 0

"

38' 6

"

21' 0

"4'

0"

48' 11"

15' 0"3' 0"6' 11"13' 0"

24' 0

"

38' 6

"

10' 1

1"

15' 0"

3' 6

"

3' 6

"

6' 11"

3' 0"9' 0" 9' 0"

W

W SPECIALTY WINDOWS

SMOKE DETECTOR

SPRAY FOAMAREA R40

SPRAY FOAMAREA R40

ATTIC590 F!

13' 0"

3' 0"



ITDH3648

NOTE:STEPHENSON STANDARD 4 SIDED CUPOLA 48-C 28"X 28"X 42" (TYP.)



ITDH3648

GENERAL NOTES




N/A

ROOF OVERHANG PERIMETR

N

DE

SC

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ECTR

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& M

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LEVEL

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E12

GENERAL NOTES

GENERAL CONTRACTOR TO VERIFY ON SITE AND INSTALL ALL MECHANICAL & ELECTRICAL EQUIP. ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODES ADOPTED BY THE LOCAL AUTHORITIES. GENERAL AND SUB CONTRACTORS TO PERFORM THE WORK AND BE RESPONSIBLE FOR THE SAME.

$

$

$

$

$

$

$$

$

$

$

$

$$

$

$

$

$$

$$

TV CABLE

$

$

DISHWASHER

$

$$

$$ $$

$

$$

$

$

HEAT/ACTHERMOSTAT

$ WASHER & DRIER

$

$ $

ELECTRICAL LEGEND

5" DIA. RECESSED LIGHTING

$$

$

3WAY

3WAY

3WAY

EXTERIOR LIGHT FIXTURE

OUTLET

THERMOSTAT HEAT/AC

BATHROOM FAN

$

$

HEAT&COOL.EQUIP.

WATERMAIN LINE

200AMPSELECTRICALPANEL EQUIP.

GASMAIN LINE


E


E

ATTIC PLANScale: 1/8" : 1' - 0'

EBASEMENT PLANScale: 1/8" : 1' - 0'

E

$

$

$

$

$

MECHANICAL LEGEND

GAS LINE

WATER LINE

FLUORESCENT CLOSET FIXTURES

$$

RECOMENDATION

DESIGNER'S RECOMMENDATION FOR FIXTURES IS A MINIMUM OF 75% OF LIVING AREA TO HAVEL E D ( LIGHT-EMITTING DIODE)LIGHTING TECHNOLOGY TO REDUCE OVERALL ENERGY CONSUMPTION AND HEAT FLUCTUATION

PROJECT DOCUMENTATION PART I


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8

ISS

UE

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8.0

8C

LIE

NT

MR.

MS.

LEO

NE

25 C

LEVELA

ND

AVE.

EVER

ETT,

MA,

02149

PH

ON

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617 3

122740

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OF

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.245.1

70

A09

FRAMING PLAN - WEST SECTION Scale: 1/4" : 1' - 0'

A9

9' 8"10' 3"12' 3"

9'

2' 0"

7' 0"

1'

7' 10"

1'

5' 4"

FRAMING PLAN - CROSS SECTIONScale: 1/4" : 1' - 0'

A9

11' 9" 8' 0" 12' 0" 5' 11" 6' 5" 6' 6"

12" STEEL I-JOIST SIZING AND QUANTITY

TO BE VERIFIED BY CONTRACTOR

(TYP.) STEEL LOLLY COLUNM3" DIAMETER TOP AND BOTTOM

PLATES ATTACHED BY MANUFACTURE'S RECOMMENDATIONS

CONCRETE FOUNDATION WALLASPHALTIC DAMP PROOF & POLYSTYRENE

FOAM BOARD MINIMUM 1/2" THICK ALL FOUNDATION WALL

BELOW GRADE

INFILTRATION SYSTEM PIPING

NOTE:CUPOLA MAY BE ADDED

AFTER PROJECT'S COMPLETION

LOW BEARING WALL

27' 8"

1' 6"

A9 1 A9

2

GENERAL NOTES

GENERAL CONTRACTOR TO VERIFY ALL BEAM AND JOISTS SIZES, PROVIDE BEAM CALCULATIONS TO BUILDING INSPECTOR AND INSTALL ALL BEAMS AND FLOOR JOISTS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODESPERFORM THE WORK AND BE RESPONSIBLE FOR THE SAME

LOW BEARING WALL

5' 11"

P.65

06

FRAMING ISO ILUSTRATIONScale: 1/4" : 1' - 0'

A6

FOUNDATIONS SLABMINIMUM 12" REQUIRED

FOUNDATION WALL10" THICK CONCRETE WITH

12" JOIST LAP

WALL RIM2 X 12 I-LEVEL LVL

2 X 6 LUMBER

ALL RIM JOIST 2 X 12 LVL'S

ALL VERTICAL MEMBERS2 X 6 INCLUDING

WALL PLATES, KING JACKSCRIPLE JACKS

ALL HEADERS 2 X 12 LVL'S

2 X 12 RAFTERS16" OC

PLUMB CUT SIMPSON U-HANGER TIES

WITH DOUBLE SHEAR NAILING

I-LEVEL 2 X 12 TJI FLOOR JOIST


6 X 6 OPENING WITH 2 X12 LVL COLAR TIES


I-LEVEL TJI CEILING JOISTS


2 X 12 RAFTERSBIRDS BEAKLAP CONNECTION

LOOKOUT18"

KNEE WALL2 X 6

FLASHING COVERED BY

SLATE SHINGLE NON-OPERABLE WINDOW

DE

SC

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OM

ETR

IC F

RAM

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LEVEL

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GENERAL NOTES


2 X 6 WALL STUD @16 OC1/2" STRUCTURAL PLYWOOD UNDERFLOOR/SHEATHING12" DEPTH LVL ALL HEADERS, 12" TJI FLOOR CEILING JOISTS, 12" DEPTH DOUBLED LVL BEAMS,12" DEPTH RIM JOIST LVL BEAMS,12" LUMBER ROOF GABLE DESIGN W/ LVL COMBINATION AROUND PERIMETER OF STRUCTURE 12" DEPTH STEEL (IF ANY NECESSARY)

HAND NOTES

07FRAMING ISO BASEMENTScale: 1/4" : 1' - 0'

A7

FRAMING ISO FIRST FLOORScale: 1/4" : 1' - 0'

A7

CEMENT SLAB8" MINIMUM DEPTH REQUIRED

INFILTRATION SYSTEMSEE DETAILS ON

TOPOGRAPHIC DIAGRAM

DECK FRAME

DE

SC

RIP

TIO

NFR

AM

E IS

OM

ETR

IC P

LAN

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08

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EN

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25 C

LEVEL

AN

D A

VE.

EV

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17 3

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40

IND

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8' 0

"

GENERAL NOTES



08FRAMING ISO FIRST FLOOR CEILINGScale: 1/4" : 1' - 0'

A8

FRAMING ISO SECOND FLOORScale: 1/4" : 1' - 0'

A8

FRAMING ISO 2ND FLOOR CEILING & ROOFScale: 1/4" : 1' - 0'

A8

FIRST FLOOR CEILING FRAME

NOTE: FRAME EXTENDS 2 FEET BEYOND WALL PERIMETER

NOTE: FRAME EXTENDS 2 FEET BEYOND WALL PERIMETER

SECOND FLOOR CEILING FRAME

CUPOLA MINI VALEY SECURED BY COLLAR BRACING

ROOFTOPS ISOMETRIC DRAWING

FRAMING

DE

SC

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TIO

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OM

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LEVEL

AN

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17 3

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GENERAL NOTES



09

FRAMING PLAN - BASEMENT TO FIRST FLOORScale: 1/8" : 1' - 0'

A9

FRAMING PLAN - FIRST FLOOR TO CEILINGScale: 1/8" : 1' - 0'

A9

FRAMING PLAN - SECOND FLOOR Scale: 1/8" : 1' - 0'

A9

FRAMING PLAN - SECOND FLOOR CEILINGScale: 1/8" : 1' - 0'

A9

FRAMING PLAN - ROOF TOPS Scale: 1/8" : 1' - 0'

A9

7" RISE

12" RUN

4" RISE

12" RUN

7" RISE

12" RUN

GENERAL NOTES

NOTE:STEEL I-JOIST11 3/4" DEPTH

CONTRACTOR TO INSPECT

LENGTHS ON SITE

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LEVEL

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5.17

0

A

9' 0

"11

' 0"

12' 0" 8' 0" 12' 0"

10' 0

"10

' 0"

8' 0" 6' 0" 12' 6"

10' 0

"10

' 4"

6' 8

"

19' 11"13' 10"

18' 5

"14

' 6"

11' 6

"

12' 0

"12

' 0"

13' 3" 7' 8" 5' 0" 8' 1"

NOTE:TRIPLE I-LEVEL LVL,

OR (COMPARABLE)11 3/4" DEPTH

CONTRACTOR TO INSPECT LENGTHS

ON SITE




ON SITE




ON SITE

NOTE:ROOFING

COVERAGE ESTIMATED AS

3,350 SQ. F.


2 X 6 WALL STUD @16 OC1/2" STRUCTURAL PLYWOOD UNDERFLOOR/SHEATHING12" DEPTH LVL ALL HEADERS, 12" TJI FLOOR CEILING JOISTS, 12" DEPTH DOUBLED LVL BEAMS,12" LUMBER ROOF GABLE DESIGN W/ LVL COMBINATION AROUND PERIMETER OF STRUCTURE 12" DEPTH STEEL (IF ANY NECESSARY)

FRAMING CONTRACTOR TO VERIFY ALL BEAM AND JOISTS SIZES ON SITE, THE DESIGN BEAM CALCULATIONS CALLS FOR MINIMUM 40 PSF LIVE LOAD & 10 PSF DEAD LOADS. INSTALL ALL BEAMS AND FLOOR JOISTS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODESPERFORM THE WORK AND BE RESPONSIBLE FOR THE SAME

12X16 TJI COUNT ARE ESTIMATED AS 110 UNITS PER FLOOR

12X16 LVL COUNT ARE ESTIMATED AS 40 UNITS PER FLOOR

DO NOT RELY SOLELY ON THIS ESTIMATION

8' 9

"26

' 8"

18' 6

"

34' 0" 27' 3"

1' 4

"

2'

2'

11' 6" 13' 9"

NOTE:SHEAR LOAD STABILIZER

+/- 35 DEGREESALL CORNERS

15' 6

"11

' 2"

11' 2

"

11

GENERAL NOTES

GENERAL CONTRACTOR TO VERIFY ALL BEAM AND JOISTS SIZES, PROVIDE BEAM CALCULATIONS TO BUILDING INSPECTOR AND INSTALL ALL BEAMS AND FLOOR JOISTS ACCORDING TO MANUFACTURERS SPECIFICATIONS AND ALL APPLICABLE BUILDING CODESPERFORM THE WORK AND BE RESPONSIBLE FOR THE SAME

DE

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LEVEL

AN

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IND

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AFRAMING SECTION DETAIL - WEST ELEVATION

Scale: 1/2" : 1' - 0'

A11

FOOTING

CONCRETE FOUNDATION WALLASPHALTIC DAMP PROOF & POLYSTYRENE

FOAM BOARD MINIMUM 1/2" THICK ALL FOUNDATION WALL

BELOW GRADE

LVL 11 3/4" DEPTH

R 19 FIBER GLASSINSULATION ON WALL

AND CEILINGS

LVL 11 3/4" DEPTHWINDOW HEADERS

2 X 6 LUMBER 16" OCTROUGH OUT FRAME

UNLESS OTHERWISE SPECIFIED

WALL PLATE

3/4" I-LEVEL UNDERLAYMENTSTRUCTURAL PLYWOOD

NAILED TO FLOOR JOISTS(ALL FLOORS)

LVL 11 3/4" DEPTH

1' 4"

2 X 10 RAFTERSWITH BIRD'S PEAK

ASSEMBLY

SOY FOAM INSULATION R 40FOR BOTH SIDES OF LOWER ROOFTOPS

2 X 6 KNEE WALL

2 X 10 RAFTERSWITH BIRDS BEAK

ASSEMBLY

2 X 12 RIDGE

2 X 10 DECK FRAME

(TYP.) 4" X 4" X 9' COLUNM

2 X12 RIM JOIST

SLAB

GRADE

8' 0

"1'

9'

0"

1'8'

0"

1'5'

0"

1'7'

0"

- 5'-0" A.S.L.

BELOW GRADESLAB LEVEL ELEVATION

3'-0" A.S.L.

TOP OF FLOOR ELEVATION

0'-0" A.S.L.

GRADE LEVEL ELEVATION

1'

13'-0" A.S.L.

TOP OF FLOOR ELEVATION

22'-0" A.S.L.

TOP OF ATTIC FLOOR ELEVATION

36'-0" A.S.L.

ROOF TOP - HIGHEST ELEVATION

27'-0" A.S.L.

AVERAGE ELEVATION

1' 6"

ROOF OVERHANG ALL BUILDING

GARAGE SLAB SECTION DETAIL Scale: 1 1/2" : 1' - 0'

A11

8"

1' 4"

9"

BASEMENT SLAB SECTION DETAIL Scale: 1 1/2" : 1' - 0'

A11

CONTINUOS REBAR

VERTICAL REBAR 48" O.C.

REBAR MID SPAN

REBAR 3" BELOW TOP

12" CONCRETE SLAB

COMPACTED GRAVEL

5/8" ANCHOR BOLT

11 3/4" TJI JOIST

3/4" STRUCTURAL ENGINEERED PLYWOOD

1/2" DRYWALL

SHEAR WALL TYP.

SIDING

TYVEK VAPOR BARRIER

1/2" OSB PLY.

8" M

IN.

1' 0

"

ASPHALTIC MEMBRANE BELOW GRADE

1' 4"

1' 4"

18" FROST LINE SUPER TUFF-R POLYISOCYANURATE RIDIG FOAM INSULATION

10"

10" THICKNESS CONCRETE FOUNDATION WALL

METAL DRIP CAP

1' 6

"

COMPACTED GRAVELUNDER 8" CONCRETE SLAB

GENERAL NOTES



PROJECT DOCUMENTATION PART II


P.66

HYPOTHESISACADEMIC ONLY::::LEN CHARNEY:::: THE DIRECTOR OF THE PRACTICE DEPARTMENT AT THE BOSTON ARCHITECTURAL COLLEGE CHALLENGED ME TO ACADEMICALLY CONVEY THE STONEHAM PROJECT WITH NO REAL-LIFE CONSTRAINTS OTHER THAN THE SITE CONSTRAINTS.

PERSPECTIVE

SOUTH ELEVATION

NORTH ELEVATION

AERIAL PERSPECTIVE

WEST PERSPECTIVE

EAST ELEVATION

FOOD


THE END

Documents

Segment 1 Portfolio