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upper west side landmark
This building, constructed in 1927, saw several minor repair
programs over the past 80 years. Unfortunately these repairs
were executed improperly or without understanding of the
cause of the deterioration evidenced in the facade. By the time
work began on the building much of the terra cotta ornament
evidenced serious cracks, nearly 60 percent of the lintels were
deflecting, and the masonry showed full height cracks at both
sides of nearly every corner. Surprisingly, the majority of the
structural steel above grade remains in excellent condition. Only
three spandrel beams at the sixteenth floor and two bulkhead
beams require replacement, along with the reinforcement of
several adjacent columns. Below grade however, we are currently
proceeding with repairs to thirteen severely deteriorated
perimeter columns. Because of the building’s age, material types,
and its location within a proposed historic district, all repairs,
when possible, are being made in place and all replacements
are being made in kind. Over the past year we have restored
the majority of the facades, with only the steel repairs and roof
replacement remaining.
1. bird’s eye view of building prior to repairs 2. cracked facebricks due to lintel corrosion and deflection 3. cracked facebricks due to lintel corrosion and deflection 4. cracked facebricks and deteriorated mortar at corner quoin 5. overturning bulkhead wall 6. full height corner cracks due to uneven thermal expansion 7. extreme masonry cracks due to underlying beam corrosion 8. cracked sill due to water infiltration and steel corrosion 9. severe loss of steel section due to water infiltration and corrosion 10. severe loss of steel section due to water infiltration and corrosion 11. corroded steel angles at terra cotta cornice 12. spalled and delaminating terra cotta banding 13. cracked terra cotta banding 14. cracked terra cotta cornice
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1. building mobilized for repairs 2. suspended scaffolds during repairs 3. general repair notes 4. terra cotta repair detail 5. limestone patching color tests 6. brick samples 7. cleaning samples 8. repointing and brick replacement at exterior parapet 9. corner reconstruction detail 10. marking repairs at terra cotta cornice 11. steel repairs inside terra cotta cornice 12. lintel and brick replacement 13. steel column prior to waterproofing 14. steel column shored during repairs 15. repointed and cleaned terra cotta 16. repointed, patched, and cleaned terra cotta 17. new terra cotta replacement sections 18. terra cotta patches 19. terra cotta patch
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n o h o l a n d m a r k
This small cooperative building in the Noho Historic District
came to us with a serious problem. In the middle of the night a
four-foot section of the cast iron watertable fell off the building
and landed in the middle of the entry stair. As part of the
repair program, we further examined the existing conditions at
the building to determine if any other components were in or
near failure mode. We discovered the biggest issues at the cast
iron storefront and at the wood cornice, both of which relied
on decades of paint to compensate for severely deteriorated
substrates. After removing all coatings from the street facade,
we restored the wood cornice, filling in several smaller areas that
were missing original material. We replaced the delaminating
brownstone sills in kind and applied fresh paint to the brick
in a historically accurate color. We worked with an artisan to
fabricate replacement sections for the watertable, to create
new ornamental florets for those that were missing from the
column capitals, and to secure the remaining elements. Most
of the column capitals required extensive, careful repairs that
considered both the needs of the historic district and the co-op
board’s finances. In the end, we restored the building to rave
reviews while protecting its unique character for years to come.
1. location of fallen cast iron watertable 2. interior brackets and backup masonry behind cast iron watertable 3. bridge installation prior to beginning repairs 4. deteriorated cast iron storefront at second floor 5. deteriorated masonry coating, sills, and metal lintel caps 6. south facade repair notes 7. delaminating brownstone sill and failing masonry coating 8. cast iron watertable repair detail 9. deteriorated cast iron column capital with masonry fill 10. missing floral ornament at deteriorated cast iron column capital 11. missing scrollwork at deteriorated cast iron column capital 12. missing top plate at deteriorated column capital 13. deteriorated stone lintel and sheet metal lintel cap
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1. cast iron paint stripping test 2. wood paint stripping test 3. stone paint stripping test 4. new stone samples 5. cast iron replacement section 6. new cast iron installation 7. new cast iron installation 8. cast iron ornament replication 9. cast iron repair 10. finished cast iron storefront 11. finished cast iron column capital 12. finished cast iron dentils 13. finished stone and metal lintel 14. finished cast iron storefront 15. finished wood cornice 16. finished wood cornice 17. finished cast iron storefront with repaired wood windows
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upper west side landmark
In New York City, the Department of Buildings requires facade
inspections every five years for all buildings six stories or higher.
As a restoration firm, we regularly perform these inspections
for both new and existing clients. This 40 story building in
the Upper West Side recently needed a report to satisfy this
requirement. Through scaffold inspections from the highest
roof level to the ground, observations through binoculars, and
examinations from adjacent roofs and terraces, we determined
the existing condition of the facades. I compiled a report of
these items, designated as “SWARMP” or “Safe With a Repair
and Maintenance Program,” which we submitted to the DOB, the
co-op board, and the managing agent. Recently we performed
a series of probes at the facades, to determine the causes of the
observed conditions. The majority of the deteriorations result
from the quality of the original construction. The brick ties at
several locations appear to be installed incorrectly, if at all. More
importantly though the waterproofing at multiple locations is
unsealed, unadhered, improperly formed, and wrinkled. This
along with significant mortar accumulation prevents the cavity
from draining as intended, which causes the cladding materials
to deteriorate. Facade repairs are currently scheduled to begin
in the Spring of 2013.
1. flexible masonry tie embedded in mortar joint but not attached to structural column 2. corrugated masonry tie not attached to either structural column or brick cladding 3. flexible masonry tie embedded in wall cavity 4. thin gauge corrugated masonry tie and dovetail slot of structural column 5. heavy mortar accumulation and improper drainage of cavity causing vertical cracks of brick cladding 6. overlapped waterproofing without sealed seams 7. waterproofing not sealed or adhered to substrate 8. waterproofing at steel shelf angle missing end dams
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mil ler hul l par tnership
For my third and final co-op internship I chose a medium sized
firm with a regional style and focus on community-based, publicly
funded, and educational projects. I crafted many types of models
for design exploration, problem solving, and client presentations.
The largest and most complex of these, the UCSD model,
actually began as a light model but served as a working model
for developing the atrium spaces and solar shading systems. The
models for UCSD, Bellevue Community College, and Edgewood
City Hall all required a puzzle like construction. By minimizing
adhered joints and maximizing mechanical ones, I altered the
models as needed while saving significant quantities of time and
material by not starting anew. I built the Edgewood model for a
very successful public presentation where we unveiled the overall
design and sustainable strategies based on LEED guidelines. A
simple, yet clean model for the LOTT water treatment facility
helped convey the project’s overall design and scale relative to
the larger than average site. Even the smallest models, for a
Japanese Community Center and the addition to the University
of Michigan’s Architecture Building, proudly became part of
winning proposal packages by effectively demonstrating multiple
design solutions.
1. bellevue community college, study model 2. bcc 3. bcc 4. ucsd engineering building, atrium sail study 5. ucsd, atrium skylights study 6. ucsd atrium 7. ucsd offices 8. ucsd atrium ceiling 9. ucsd entry 10. edgewood city hall, presentation model 11. ech 12. ech, offices 13. ech, during assembly 14. ech 15. lott water treatment facility, schematic model 16. lott 17. lott 18. lott
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v o a a s s o c i a t e s i n c
To broaden my understanding of architectural practice, I chose
for my second co-op a large firm that practices mostly in the
commercial sector. During my first quarter I collaborated on
the schematic design and design development of a mixed-use
condo tower in Miami, Florida. During my second quarter I
assisted with the schematic design and design development of
several hotels in the Chicagoland area. I helped prepare for client
meetings, consultant meetings, and worked with local zoning
boards on project appearance and compliance issues. I also
assisted with the master planning of a large development, which
involved several hotels, a conference center, numerous retail
spaces, and a variety of residential buildings, in the nearby town
of Hinsdale. As with other projects, I created a wire frame 3D
model over which a co-worker rendered the proposed design.
Late in my internship I attained the privilege of working on an
educational project. We prepared a multi-scheme proposal for
developing the edge of Case Western University’s campus into
a dynamic mixed-use area. Shortly before I left came the high
point of my internship when I found out we won the project.
1. rendering, le meridian hotel and conference
center 2. elevation, le meridian 3. first floor plan,
le meridian 4. rendering, hotel and conference
center near o’hare airport 5. rendering, alternate
for le meridian hotel and conference center 6.
site plan, two hotels near o’hare airport 7.
master plan, case western university campus edge
development 8. master plan section, case western
university 9. master plan, case western university
10. rendering, master plan of hinsdale development
11. master plan of hinsdale development
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nowesn i ck a rch i tec t s
For my first co-op I chose to work at a residential firm just north
of Chicago. My initial goals in architecture involved starting my
own firm and an internship here provided key insight into such a
choice. Due to the small size of the office, I worked very closely
with the owner and project manager on proposals and projects.
During my first quarter, I helped develop restoration, renovation,
and addition drawings for one of the oldest homes in Winnetka,
dating from the late 1800s. I visited the site, met with the clients,
and drafted the necessary drawings for the extensive work we
intended to perform. While planning future projects, I visited
with new clients, performed preliminary tasks, and met the
construction crew associated with our office. During my second
quarter, I focused mainly on a private residence located further
north in Lake Forest. This home required a significant addition
to the original structure, an addition to the garage, the design of
a separate guesthouse, and a coherent development of the site.
Throughout my stay I also worked on smaller projects such as
custom furniture and cabinetry designs for our clients.
1. multiple additions to private
residence, lake forest 2. new
butler’s quarters over garage,
private residence, lake forest 3.
custom dining chair 4. custom
dining chair 5. custom dining
chair 6. custom dining chair 7.
private residence, winnetka 8.
private residence, winnetka 9.
private residence, winnetka 10.
private residence, winnetka
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an appalachian arts project
For my master’s thesis I explored how community, education,
and cultural appreciation relate to artistic creation. I selected
a very distinct type of common art, Appalachian folk art,
to demonstrate that these concepts extend well beyond
museums, universities, and the typical sources of cultural
knowledge. Through combining the roles and methodologies
of four essential institutions: the art center, school, museum, and
library, I developed a project that would utilize their strengths
while mitigating their weaknesses. A main facility in Front Royal,
Virginia anchors the project, rooting it at the top of Shenandoah
National Park, an important gateway to the Appalachian region.
Portable workshops in custom designed trucks allow rotating
artisans to travel throughout the region, teaching the history
and methods of their craft. To access a broad audience, these
trucks dock at numerous satellite stations with varying degrees
of development: a full platform and gallery in urban locations,
a partial shelter in smaller towns, and a mere utility hookup in
rural areas. By showcasing the artists’ backgrounds and making
their techniques more accessible, this project will emphasize the
importance of the creative process over the final product of it.
1. primary and secondary views from front royal station 2. iteration of truck sail 3. iteration of multi-truck circulation 4. iteration of truck sail structure 5. first floor iteration of front royal station 6. diagram of truck movement within shenandoah national park 7. diagram of truck movement during summer season throughout appalachia 8. illustration of truck supergraphic 9. front royal site model 10. single truck rural configuration 11. single truck small town configuration 12. multi-truck urban configuration 13. front royal station bay model 14. truck model 15. truck model 16. front royal station model
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t r o i a m u s e u m
The intent of this project stemmed from a real competition
for a museum near the archaeological site of Troy. Without a
secure location designed to display the treasures found at the
site, Turkey may never be able to claim the countless artifacts
currently scattered throughout the developed world. The
museum, designed using the metric system, sits along the only
road to and from the ruins. The exhibit rooms, facing southwest,
flow chronologically from Troy 1 through Troy IX. Smaller, more
precious items rest in jewelry style display cases embedded in the
entrance corridors, while the larger artifacts sit in open galleries.
Intricate wooden screens, typical of the local architecture, give
form to the molded ceramic tiles that clad the exterior, and
which would be produced by a local ceramic company involved
in the actual museum competition. Perforated metal panels
shield the galleries and outdoor sculpture garden from the
intense sun, while a rooftop terrace provides both event space
and a stunning view of the Aegean Sea beyond ancient olive
groves. In an anonymous poster session held at the end of the
quarter, a panel of five judges decided on the winner of the
studio competition, me.
1. site plan showing troia
archaeological site in green and
proposed museum site in blue 2.
bus stop concept 3. gallery entry
corridor displays 4. first floor
plan 5. second floor plan 6.
exterior ceramic tile rainscreen
cladding 7. atrium rendering 8.
entry drive rendering 9. site plan
10. section through theatre, atrium,
gallery, and sculpture garden 11.
section through entrance, atrium,
gallery, and rooftop terrace
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v i o l i n w o r k s h o p
Over the course of eight weeks I developed this model of a
live/work space for a violin craftsman, located in Bellevue,
Kentucky. The design emerged using several unusual methods:
model only, section only, and with brief production periods. I
made several quick study models during Monday charrettes
based on a specially selected song, a specific piece of art, or an
excerpt on architectural theory. During the remainder of the
week, I created a section model, which further expanded on
the ideas from Monday. Each section represented eight feet
of the project site and could not be modified after the weekly
critique on Friday afternoon. During the quarter my design
evolved significantly from a simple, wood framed storefront to
a very organic envelope. Eventually bamboo or a similar, highly
flexible, high strength plant would form the structure for both
the walls and floor, while more typical building systems would
weave between the canes. The upper floor would provide a
living space for the craftsman. The lower floor would house the
violin showroom, workshop, and any necessary storage areas.
1. entry, first slice 2. living space, second slice 3. living space and workshop/ showroom, first through third slices 4. workshop, first through fourth slices 5. living space and workshop, fourth slice 6. workshop, fifth slice 7. storage area, sixth slice 8. storage area, sixth slice 9. covered patio, sixth slice 10. living space and storage area, first through sixth slices 11. living space and storage area, seventh slice 12. workshop, third slice 13. backyard, eighth slice 14. violin maker’s workshop and living spaces, first through sixth slices
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renderings and explorations
On my own I explore ideas for housing, museums, and small
commercial spaces. Most potential sites do exist, but are only
vaguely referenced in the designs. The commercial and civic
concepts generally occur within city limits or along developed
neighborhood streets. Most of the housing concepts find
inspiration in the unused portions of urban rooftops or in
isolated, rural areas. The Rooftop Squat, which takes advantage
of an otherwise poorly used space, represents the most
developed concept in the series. Multiple sections form each
unit, each section with several components: roof, wall, and
floor, all sized to be transported on a flatbed truck. On site
a hoist can lift the components to the roof for assembly. In
one iteration, recycled plastics form the shell of the modular
structure; extruded and filled with insulation, the sections key
and clip together for stability. In another iteration, recycled
plastics and organic materials merge to form the shell of the
modular structure, but this time constructed in a much more
typical, layered fashion.
1. light study cincinnati 2. modular sections of
rooftop squat 3. rooftop squat assembled 4.
rooftop squat section 5. rooftop squat partial
elevation 6. rooftop squat section 7. rooftop
squat detail 8. reflection study 9. urban infill
first floor plan 10. urban infill perspective 11.
rooftop modern site plan 12. rooftop modern
first floor plan 13. rooftop modern perspective
14. gallery displays concept 15. forest
house site plan 16. forest house first floor
plan 17. jay pritzker pavilion millenium park
chicago 18. watercolor study, crosley tower
cincinnati 19. shadow and highlight study
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