crystal portfolio 2010

Desig nRe j u v e n a t i o n s

A. RENDERINGS 1. DESCRIPTION OF CLASS

2. CHAPEL OF ST. IGNATIUS

3. FALLING WATER

4. CHAPEL OF NOTRE DAM

5. VILLA SAVOYE

B. INTERNSHIP SAVANT INTERIOR DESIGN 1. DESCRIPTION OF INTERNSHIP

2. OBJECTIVE, ROLES AND DUTIES

3. PHILOSOPHY OF SAVANT

4. EXAMPLE OF CLIENTLE WORK

C. WORK EXPERIENCE 1. DESCRIPTION OF JOB

2. ROLES, TASKS, AND DUTIES

3. FAUX FINISHES

4. MAGAZINE "CASTLE ON THE PRAIRIE"

D. INTERIOR DESIGN 1. DESCRIPTION OF INTERNSHIP

2. OBJECTIVE, ROLES AND DUTIES

3. PHILOSOPHY OF SAVANT

4. EXAMPLE OF CLIENTLE WORK

E. COMPUTER SOFTWARE

F. COMMERCIAL ART

TABLE OF CONTENTS

Table Of Contents

Crystal Gnemi's Portfolioio

F.Commercial Art.

B. Internship C.Work Experience

A. Renderings

D. Interior Design

E. Computer Software

For my introduction of Architectural Foundation Class, I studied Benedict’s theories on build-

ings. The following pages are my perceptions of Ionic buildings using Benedict’s principles. My

perceptions were made by doing research on famous buildings and making sketches, render-

ings, and critiques on them.

Description of the course Introduction to Architectural Foundations I ( 4 ) Fall 2010

An introductory design studio directed toward the development of spatial thinking and the

skills necessary for the analysis and design of architectural space and form. This course is based

on a series of exercises that include direct observation: drawing, analysis and representation

of the surrounding world, and full-scale studies in the making of objects and the representa-

tion of object and space. Students are introduced to different descriptive and analytical media

and techniques of representation to aid in the development of critical thought. These include

freehand drawing, orthographic projection, paraline drawing, basic computer skills, and basic

materials investigation. Prerequisite: Approval from the Dean of the School of Architecture and

Urban Planning.

Renderings, Sketches, and Critiques of Ionic Buildings

PHILOSOPHY OF ARCHITECTURE

SKETCHES, DRAWINGS, AND LITERATURE1.Chaple of

St. Ignatius

2.Falling Water.

4.Villa Savoye

5.Casa Milla

3.Chapel of Notre Dam .

6.GuggenheimMuseum.

MICHAEL BENIDIKT’S THEORIES OF DESIGNREALNESS

• Ifarchitectureisaboutsomething,it’saboutbeingreal.~ProfessorDeanGaunt

• “Realnessbecomesanobservablequalityamenabletosomelevelofconceptualformulation.“

• “Humanfactsreverberatewithmeaningbuttheobjectsthemselvesstandfornothing.”p.10

• ”Whatsomethingis,isdistinctfromwhatitcommunicates.”p.14

• “Tofindmeaninginarchitecture,onemustberemovedfromanyauthenticrealityandsetonatheatricalcourse

that leads to abandoning an architecture that belongs to the realm of things which words, signs, and symbols

refer,foranarchitectureofciphersthemselves.”p.14

PRESENCE: A PERCEPTUAL MATTER• Presenceisimpliedasacertaintautness,attentiveness,andemptiness.

• “Abuildingwithpresenceisnotapologetic,butassertsitselfasarchitecture,havingarighttobethere.Itsat

temptisnotgettingawayfromthehereandnow.”p.36Thebuildingstandspreciselywhereitneedstobe.p.36

• “Wellconstructed,thoughastemporaryasabird,andclean,thoughitspaintmaybepealing.”p.36

• Ithasacoherentappealtoallthesenses.p36

• “Edgesaredistinctjustascontoursaredistinct.”p.36

• “Abuildingwithpresenceisattentivetoourpresence.Immenselypatient,it“fallstohand”asHeideggerputit,

dimensionedandhingedjustso,itmeetsusexactly.Itwaitsforourreturn.”p.36

SIGNIFICANCE: A COGNITIVE MATTER• Icon:standingthetestoftime.Abuildingthatseemstohavealwaysbeenthere.

• “ABuildingissignificancearesignificanttosomeone,ratherthanbeingsymbolicofsomething.”p.38

• Significancecorrespondsbetweentruehistoryanditshistoricity.

• “Abuildingisgivenhistoricalsignificanceoverandaboveitsformaltimelinessonlyifitbringstolightthe

genuinehistory–humanornatural-ofitssiteandthecircumstancesofitsconstruction.”p.38

• “Somethingthathassignificanceisbuiltovertimebysomeoneratherthanarrivingallbutready-madeby

strangers.”p.48

MATERIAL• Materialshouldrevealall…seizeonthegenuinelyuniqueproperties.

• “Materialityreflectsourintuitionthatforsomethingtoberealitoughttobemadeofstuff.”p.44

• “Amaterialisadecoywhenitdisplayssomebutnotallthequalitiesofthematerialwetakeittobe.”p44

EMPTINESS: SILENCE, CLARITY AND TRANSPARENCY• Emptinessmayberesoundwithoutsound,maybefilledbyitspotentialtobefilled,andmakeopenwhatis

complete.”p.52

• “Abuildingshouldbedirectyetsomehowconfiding.”p54Itshouldnotbestraightforward–“Pickme”“Pickme”.

• Emptiness/maisthegapbetweensteppingstones,inthesilencebetweenthenotesofmusic,inwhatismade

when a door slides open, when a child’s swing reaches the point of neither rising or falling and is momentary

weightless.”

Clouds shadow the sky at Seattle

University’s Chapel of St. Ignatius

many days of the year; yet light dances

through the skylights which are il-

luminated through geometric shapes

of brilliant colors of artificial lights.

The inspiration of the colored light

that complement geometric surfaces

camefromthe“sevenbottlesoflight

inastonebox.”Thecoloredglassand

paint further echo the hued lights,

which change with the earth’s seasonal

stance.

The University of Washington archi-

tecture graduate Steven Holl designed

thisamazingconcretechapelto

enhance the worship service and make

a contribution to St. Ignatius Loyola, a

Jesuit priest. Though some observers

visualizetheinfluencesofLeCorbusier

through the use of eerie light filtering

the building, Holl’s personal signature

can be seen along the angular corners

that rest amidst the curves. This en-

hances the spiritual experience as light

consumes the building.

A trade mark of Holl’s buildings is the

“stone and feather”technique.He

Steven HollCHAPEL OF ST. IGNATIUS

Steven HollCHAPEL OF ST. IGNATIUS Seven Bottles of Light 1967

The drawing on the left is the reflection pool of a cross and the drawing on the right is the front entrance of the Cha-pel, which displays geographi-cal shapes of light. Both were rendered with white charcoal on grey textured paper. The watercolor of the bottles was done by Steven Holl.

plays with the weight of the build-

ing by placing heavy concrete slabs

againstalightzincroof.Thisgives

the illusion of them being as light as

a feather.

Frank Lloyd WrightMill Run, Pennsylvania1934-1937 Falling Water, the masterpiece of the

20th century architect, Frank Lloyd

Wright, is said to be Wright’s, most

magnificent work. Custom-built for

the Kaufmann family as a retreat in the

secluded forests of Western Pennsylva-

nia, the home is a most dramatic display

of geometry, drama, substance, and

awareness of the spectacular space.

FrankLloydWrightsolemnizedthe

powerful surroundings by creating an

environmentwherethe“homeisnature

–natureishome’equation.”–FLW2In

fact, the home appears to be just as

much a part of the environment as the

rocks and trees encompassing its soul.

The building chameleons the land-

scape on which the home intertwines,

cantilevers over Bear Run on gigantic

concrete slabs, floats over a narrow

stream cascading down the hillside, as

well as encompasses the glass with its

steel support beams.

The interior also displays a natural set-

ting. While inside the home cavities, the

hard and fast lines between outside and

inside disappear because of its massive

widespanofwindowsandhorizontal

The drawing on top is the famous view of the house resting over the water falls. It was rendered in pen on white paper. The draw-ing on the left is the same view. It was rendered in charcoal pen-cil on velum. Below is a picture of the back staircase, which was rendered with graphite on velum.

lines. It is as if the outside becomes

inside and the inside goes outside.

Because the home has the tendency

to fit within nature, it shouts, “I be-long here!” It contains a presence

that Benedict would describe as being

“unashamedly aware of itself and assertively claims its territory.” Being that the home belongs with na-

ture it distinctly shares the same trends

of nature. This was Wright’s means of

ensuring that the structure has signifi-

cance and will forever has a place in

history.

Even greater than significance and

presence, Write wanted to design a

building where man was forced to

adapt to nature. According to Edgar

Kaufmann, Jr., perhaps Write cre-

atedfallingwateras“agreatinclusive

agency through which humankind

adapted the environment to human

needs and, reciprocally, attuned hu-

man life to its cosmos; amid continual

changes architecture could keep human

life more natural and nature more

humane.”Fallingwater:AFrankLloyd

Wright Country House

FALLING WATER

Le CorbusierVilla Savoy, 1929Poissy (Suburb of Paris), FranceIn the midst of the Poissy orchards five

miles away from the city of Paris France

rest a country home, Villa Savoye. The

homeportraysan“internationalstyle”

anda“machineforlivingideal”which

was channeled by the characteristics

of the homes’ architects Le Corbusier.

The international modern identities that

can be seen in the home are functional

forms, volume, balance, and lack of

ornamentation. These qualities were

a contradiction of its time; and conse-

quently the building was not accepted

as an ionic building until many years lat-

er. What makes the Villa Savoye an ionic

building is how the building appears to

be simplistic but yet is visually stimu-

lating. The simplicity of the building is

denounced by a white rectilinear box of

similar sides, which has no true frontal

façade. The lack of a frontal façade was

Le Corbusier means of making no hesi-

tation of where things should be placed.

The strong presence is revealed by a

dynamichorizontallineofwindowsthat

wraps around the entire rectilinear box.

The other implication of a strong pres-

ence is how Le Corbusier introduced a

since of volume rather than mass. The

VILLA SAVOYE

“The house is a box in the air, pierced all around without interruptions, by long windows. No more hesitations about

architectural play of space and mass.” Le Corbusier. Precisions

VILLA SAVOYE

weight of the white rectilinear box rests

on a dark green base and white slender

columns. Because the base blends in

with the grass, it appears as though all

its weight rest on the slender tiny col-

umns and therefore the building seems

light as if it is floating in the air.

Howthebuildingfunctionsasa”

machineforthelivingideal”isanother

distinctive characteristic of Le Corbusier.

Le Corbusier focused on making the

form of the building to match its func-

tion rather than having the form follow

traditional aesthetics. Ironically, the

home did not have the comfortable ap-

titudes for the owners Pierre and Emilie

Savoye lifestyle, which was probably

because the home was too simplistic.

Although the villa may not have ac-

commodated comfort or practicality,

concepts incorporated by the architect

are useful and still used in twenty-first

Century designs.

All Three Drawing were rendered on grey textured paper with white and Black Charcoals. The picture on the top left cor-ner is the back of the house. Underneath is a picture of the court yard and to the right is a picture of the floating staircase.

Guggenheim MuseumNew York City, 1943 -1959In the midst of the business of New York

City, nature is swept along the corners

of New York City.

Solomon R. GUGGENHEIM MUSEUM

“My daddy use to tell me that Frank Floyed Write designed the Guggenheim Museum with a big sky light so that God

could look down and see the wonderful art pieces.” ~ When in Rome

Solomon R. GUGGENHEIM MUSEUM

Chapel of Notre Dam du Hautby Le Corbusier

CHAPEL OF NOTRE DAM du Hautby Le Corbusier

All Three Drawing were rendered on grey textured paper with white and Black Charcoals. The picture on the top left corner is the front of the house. Under-neath is a picture of the court yard and to the right is a picture of the side of the Chapel which looks like a Silo. This view also reveals the geometric shaped win-dows that were used to flood light in a mysterious way.

CASA MILAAntonio GaudiCasaMila,1852-1926Barcelona, Spain The seashores of Barcelona, Spain, no

doubt inspired Antonio Gaudi’s sculp-

tor like architectural creation. Sand

dunes, cliffs, caves, and sea weed laced

beaches describe the unconventional

1323 sq meter apartment building

known as Casa Mila. Due to its flora

and organic appearance the building is

nicknamed“LaPedrera”whichmeans

“StoneQuarry”.Thismassiveapartment

was made especially for Pedro Mila I

Camps who was known for his flamboy-

ant life style.

Unlike the norm of architects, Gaudi

broke away from the typical traditional

schemes by molding natural stones

into loose organic, flowing curvilinear

forms. The organically designed build-

ing makes Casa Mila seem as though

it is alive. The building breaths, takes

flight, dances, sings, and smiles. Gaudi’s

inspiration for baroque curvilinear lines

is prominently apparent in the exterior

white limestone façade which switches

from concave to convex edges and has

voids and concavities. The combinations

of these lines in this weaving pattern

mimic the pattern of waves on Barce-

lona’s sea shore or the curvature path of

a spine.

Using living forms was a technique

that Gaudi used to further the sensation

of a building being alive. Other façade

features reveal this kind of living forms

such as the black iron railings which

are designed in a rib pattern and the

columns that look like bones.

Not only did Gaudi meddle with the

architectural features but he also med-

dled with the function of the building so

that the building would be a place for

liberating stress through exercise. On

the top of the building, Gaudi cleverly

designed the area with walking paths

that are positioned between sandstone

play structures that are designed to look

like candy. Even the chimneys, which

dominate the roof top, are fashioned in

this surrealistic sculptured manner.

In the interior and atrium, a floral

aesthetic apparel over whelms the

space. Green plants surround the space

of the atrium from the ground floor to

the open tundra of the top floor. To

support this plant life, plant holders

were custom designed to linger along

the sides of steps and along balconies.

Inside these plant holders are green ivy

that gravitate down the walls and stairs.

The ceiling of the staircase also orien-

tates towards this floral apparel by its

faux finish floral design of pastel colors.

Another distinctive quality of Gaudi’s

designs is how he overlaps similar struc-

turesofdifferentsizestoemphasize

depth. In the Catenary arches under

theterraceofCasaMilà,differentsizes

of brick arches overlap one another in a

hallway. The hallway is not very long but

because of the use of overlapping the

eye is fooled to believing the hallway is

much bigger.

These organic shapes mixed with the

flair of baroque curvilinear lines helped

influence the Spanish Art Nouveau

movement. The flaunting personality of

the Casa Mila will be remembered for its

temperate building that houses life and

is a life of its own. The marvel of the

building will make critics wonder if the

architect,AntonioGuadi,wasa“genius

oramadman”.

The drwaings emphasis how Gaudi employed depth in the Casa Mila.The drawing above is the stair-case inside the atrium, which was rendered with black and white charcoal on grey textured paper,The drawing on the right right is the entrance of Cat-enary arches under the ter-race of Casa Milà. The drawing was rendered with white char-coal on black textured paper.On the right is a picture of the atrium from the-bear-den.com

INTERIOR DESIGNFunctional, Appealing, Branding

1.Design Duties

2.Design of Liv-ing Spaces.

4.Faux Finnishes

5.Structural De-signs & Details

INTERIOR DESIGN INTERNSHIP WITH SALVANT DESIGN

DESINGER FOR TECHNIQUES DESIGN

3.Computer Skills.

6.Magazine De-sign

Objective 1. – I made selections on furnishings and negotiated with sales representatives.

Objective 2. – At meet-ings,Ianalyzeddiscus-sions, voiced my opinion, and answered questions.

Objective 3. – I incorpo-rated my design knowl-ege in a work setting.

Objective 3. – I applied my computer skills.

Objective 4. – I imployed communicational skills.

Objective 5. - I observed marketing and buisness managing techniques

1. ASSISTED IN THE FURNISHING DESIGN PROCESS I selected and voiced my opinion on fabric and furnishings from the Library, Design Center, G-street Fabrics, and tradition house that would be suitable for the client’s style.

2. OBSERVED AND PARTICIPATED IN CLIENTELE MEETINGS IwentwithLornaGrosstoclientelemeetingsandanalyzedthedifferentquestions and opinions she addressed to the various needs of the client.

The clientele meetings that I participated in include:a.) CSWE – A presentation for a prospective client.b.) Mathis – A presentation for an ASID promotion that gave advice on what Mathis can do to make her parlor appealing for her style and sell ready. c.) Ridley - A presentation that consists of a furniture plan and a presentation book of items selected for the space.

3. INTEGRATED MY INTERIOR DESIGN COLLEGE EXPERIENCE FROM MONTGOMERY COLLEGE WITH THE WORK WORLD I applied my knowledge of the elements of design while drawing. I sketched a one point perspective by using a perspective grid. Iutilizedmy3Dauto-deskskillstodrawamultiplepointperspectivefortheRutledge’sclients.AndthenlaterIrenderedthedrawingw/watercolorandcolor pencils. I drafted on Auto-desk a furniture plan for the Rutledge clients. I came up with innovative furniture plans for the Ridley’s living room by drafting it on Auto-desk. My ideas where critiqued by Lorna Gross then later I en-hanced it on Auto-desk for the Ridley’s presentation.

4. ENHANCED MY COMMUNICATION SKILLS I answered the office phone, answered question, and put it on hold. At the Design-Center, I addressed different textile and fabrication ques-tions to the representatives. While attending consultation meetings, I introduced myself to clients of-fered my opinion when it was appropriate.

5. ILEARNEDHOWTHEDESIGNERUSESMARKETINGTECHNIQUES,BUSINESSMANAGEMENT, AND BUSINESS PROCEDURES THROUGH MY HANDS ON EXPERI-ENCE IN THE DESIGN BUSINESS I noticed how Lorna Gross manages her business by home, how she or-ganizesherlibrary,howshepresentsherideastotheclient,howshedeterminesabudgetforherclient,howshegetsdiscountsw/differentmanufactures,howshe’sa one source designer.

Internship - Roles and Duties

I served as an interior design assistant for Savant Design to complete the internship requirements for Montgomery Col-

lege in Rockville Maryland. As Lorna Gross’ intern, I assisted in making an interior space look aesthetically appealing and func-tional for theclient’spersonalstyleaswellas “encouragepro-ductivityandembodyacompany’sbranding.”(2)Iincorporatedwhat I learned in my Interior Design classes at Montgomery Col-lege, to design appropriate solutions for an interior space. Using my design training I inovative designs for a clients’ furniture plan as well as drew elevations and perspectives, which became an instrument to help the clients in vision the space.

I attended several clientele meetings and briefings with po-tential clients with Lorna Gross at the client’s home or office. The meetings provided the client with different design options that helped serve to provide the best strategies for the client’s inte-rior space. One of the options that we provided was a furnishing book that contained five different selections of one furnishing. The different choices allowed the client to choose one that best suited their interests and it allowed them to have a voice in the matter. This was also a tool to help the client feel like they are part of the design process.

To select the proper furnishings for the clients, such as fabric, drapperies, furniture, and lighting, I went to the design center in Washington DC, G-street Fabric in Rocville Maryland, and other distributors in the DC district.

I also performed different task in Savant Design office such as: Ifiledfurnituredocumentsintocategorizes,organizedthefabric,and formatted a presentation book. In the process of formatting the presentation book, I cut out copies of the furniture selected for the clients design and pasted it onto a black poster back-ground to make the items more presentable.

INTERNSHIP

“AtSAVANTInteriorDesign,

We believe that beauty doesn't have to be sacrificed for comfort. You really can have it all. We com-

bine comfort with couture, creating harmonious interior design. SAVANT's “signature” design is based on theuse of timeless pieces and relies heavily on texture, pat-tern, and unique accoutrement. This helps ensure that your space is warm, unforgettable, and captures your essence. Our clients describe our style as "sophisticated, but in-viting" and we avoid overly fussy design, preferring to compose spaces that are interesting and fresh. SAVANT Interior Design also recognizes that our clients havebusy schedules. We strive to make the design process smooth and seamless, accommodating our clients lo-cated in the Washington metropolitan area, as well as therestoftheworld.“

~LornaGross

PHILOSOPHY

Lorna Gross: Mission Statement Salvent Interior Design is about:

- Coutour and Comfort- Composing Harmony

“SAVANTInteriorDesignaddresses

issues concerning movement through

space, color, texture, spatial composi-

tion, and the effect of aesthetics on

mood.SAVANTrecognizesthatour

clients have busy schedules, so we strive

to make the design process as smooth

and seamless, as possible. We believe

that your space should be beautiful, as

well as functional. Most of our design

is eclectic, fusing a variety of influ-

ences. We believe that spaces are more

interestingthisway.SAVANT“signa-

ture”spacesarewarmandinvitingand

incorporate unique accents and ac-

coutrements that help us tailor to your

individualpersonalityandstyle.”For more information

(301)[email protected]

4800HampdenLane,Suite200Bethesda,MD20814

Internship: Savant Interior Design Supervisor: Lorna Gross Rutledge Residential Home

Task: I drew a perspective of a living room portrait in Auto-Cad and then rendered it in watercolor. The painting was displayed in the show case at Neo Con East 2007, a design expo

held at the Baltimore Convention Hall.. Task: I selected furniture from the Design Center, designed a fur-niture plan and made a 3D model of the Rutledge Living Room 3D Architectural Autocad.

INTERNSHIP

Perspectives of the Rutledge Family Rm

Floor Plans and Perspectives

The three perspectives of the Rutledge Living Room was drawn on a 2007 version of 3D Archi-tectural Autocad. It was done by drawing the Floor Plan and Fur-niture of the Rutledge basement totheactualdimensionsizesandthen I drew 3d images of the fur-niture and placed them into the floor plan and raised the walls.

CONSTRUCTIONFunctional, Appealing, Branding

UNIVERSITY

Employer: Nick GnemiJob Description: Designer

SKILL OBTAINED

The following pages shows my work experience in design, constructon, and faux finnishes. Con-

struction has been a great influence in my life that has geared me toward pursuing architecture.

As the daughter of an architect and builder, I grew up helping my dad with construction projects.

Construction has been a huge part of my life throughout my childhood. When I was young I even

inadvertently used construction terminology reciting a Bible verse. My version of John 14:1 went like

this:

“In mFather’s house are many mansions. If it were not so I would have told you. I go to repair [rather than prepare] lace for you…”

Whilehelpingmydadbuildandrefurbishstructures,Irealizedthedynamicsthatconstructionand

design have in creating an architectural masterpiece. Through design and order, a space that is

insignificant and disorderly becomes fashioned into a building that has significance and order.

JOB DESCRIPTION: Design a residence in the fashion of ‘Old World’ style.

1. DESIGNED THE FAÇADE AND FLOOR PLAN OF THE HOME

I assisted in the design of the floor plan layout on AutoCAD, I assisted in the selection of

the windows, designed window placement, and chose what type of stone would look aesthetically

best

2. DESIGNED NICHES, INCOVES, AND ARCHES

Using 3D AutoCAD in the 2007 version, I designed a ‘Castle on the Cloud’, a structure that

hangs over the kitchen cabinets. I made stencil designs for the shapes of niches for the builders to

follow, and I coordinated with the contractor, Walter Reed, while the house was in the 2x4 stage to

build structural beam elements in the great room area.

3. STAINED AND REFURBISHED THE WOODWORK

I went to Sherwin Williams and fabricated my own custom stain color for cherry wood and

then had the workers match the cherry stain for maple wood. The doors were cherry surrounded

by maple trim. I removed stain and varnish from woodwork that workers had applied incorrectly. I

stained the woodwork with stroke free strokes.

4. DESIGNED PATTERNS FOR THE MARBLE FLOORING, TRAVERTINE AND TRAVERTINE SHOWER

SURROUND

I selected the marble and travertine. I placed the marble tile on the floor for the marble

layer.

5. PAINTED AND FAUX FINISHED WALLS

Ifauxfinisheda14”x22”barrelCeilingtosimulatewheat,Ifauxpaintedthediningovalroomceil-

ing to simulate an underwater appearance. As well as I faux painted the lower level ceiling and the

diningwallswithapearlglaze.

WORK EXPERIENCE

TECHNIQUESDESIGN2006-2010

Employer: Nick Gnemi

Job title: Designer and Artist

GREAT ROOM PRIOR TO ARCHES

GREAT ROOM AFTER ARCHES

Problem: The client wanted open spaces as well as hav distinction between each room. My first

solution was to make the beams lower but that wasn’t unusual enough for the clients. So we cal-

loborated with designing a double arch.

FAUX FINISHING THE ARCH TO APPEAR LIKE MARBLE

FAUX FINNISH

The painting above reveals my faux finish work of the dining room oval ceiling. My goal was to

make it appear as if the viewer is underwater. When the light is turned on the painting appears to

be splashing.

Below was my first attempt on trying to make the dining room oval ceiling look like water. I

discovered that the ripple affect wasn’t working because when looking up, the perspective view

made the painting appear to be distorted. So I repainted it to look like a whirlpool underwater.

1ST ATTEMPT_RIPPLE AFFECT

2ND ATTEMPT_WHIRL POOL AFFECT

FAUX FINISH

CASTLE ON THE CLOUDS

AUTO DESK DRAWINGS OF kITCHEN

CASTLE ON THE PRARIE

THE MAGAZINGEInspiration, Admiration, Respect

In a magnificent autumn recital, the Flint Hills orchestra performs a stunning concerto, the last spectacular performance before a prairie range lulls to sleep. The Kansas sun, low in the sky, emits rays of brilliant sunshine across gentle hills, peering deep into valleys, casting shadows upon sturdy blades of rust colored tall grasses and tender stems of golden wheat fields. Ablaze with brilliant hues of color, the grains dance with the wind’s mesmerizing rhythm.

Across the terrain, jagged and rounded stones rest upon the gentle hills, warmed by the Indian summer. Adorning the stage, flowers twirl adornments of petals in a lively tango. Ovals of blue water ripple an arrangement of melodic waves, a sophisticated waltz. Gleaming blue skies give way to a pyro light show with explosions of dazzling prisms of salmon and orange-pink hues. Wisps of white and silver clouds skip across the sky. Soon the shadows will deepen, the blazing sky will darken, but for the moment a magical performance, a prairie serenade.

Castle on the Prairie

The Colors and Textures of Kansas Prairie Gives a Performance

In an autumn recital, the Flint Hills performs a concerto

Prairie in Design

The Inspiration of the Prairie ThemeThe inspiration for the Castle on the Prairie is based on my admiration of God’s breathtaking Flint Hill’s scenery in eastern Kansas. By incorporating the prairie theme into the interior design, my objective is to capture the autumn prairie as the sun radiates the day’s last golden beams onto the hilly terrain.

Newsletter, Volume 1March, 2010

Photo by Dave LeikerAutumn in Greenwood County, Kansas

The surprisingly unique design is quite different than the predictable.The interior space portrays this magnificent Kansas prairie in sunset intertwined with the rich ostentatious design of Roman medieval architecture. The unique surprise design, different than the predictable prairie style house associated with Kansas, resembles a 16th century majestic stone castle. Derby, KS, townspeople, where the house is located, have nicknamed the home, ‘The Castle House’, but the rightful title, The Castle on the Prairie, best describes the home.

In meeting my objective to wed prairie with castle, I brought in diverse textures and incandescent colors that are the backdrop of the Flint Hills, especially the radiant colors that the prairie reflects when the sun is casting golden beams onto the landscape.

The intermingling of designs

Castle on the Prairie

The townspeople have nicknamed the home, ‘the Castle House’, but its rightful name is ‘the Castle on the Prairie’.

Crystal Gnemi, March 2010

The Great RoomVenitian Plaster of Rusty Gold

The Great RoomOn the great room walls, I lightly applied Venetian lime-based plaster to provoke the sensational beauty of a ripe wheat field blowing in the wind as the sun drops from the sky. The gentle movement of the texture represents the delicacy of a brittle stem of wheat sucked of its nutrients. I then applied tints of color that resemble amber waves of grain wich cast forth peaceful multi-toned almond and flax colors.

The Barrel Ceiling The barrel ceiling, gently rounded like the slopes of the Flint Hills, has a thicker texture, echoing the vibrancy of the sturdy wind driven tall grasses of the range. Painted with five different shades of rusty gold, the colors inflame the room with brilliant luster.

The Dining Room Amidst the panoramic scenery of the prairie, a pond for thirsty cattle shimmers with bronze highlights amongst the twinkling shades of deep blue water. The dining room inverted tray oval ceiling personifies the pond, alive with ripples of soft waves. The walls, alive with glossy stripes of blue repeat the ponds’ thirst quenching satisfaction.

Incorporating the Flint Hills in the Interior

In the interior, the Kansas Prairie performs a concerto.

The Dining RoomShimmering in Silver Blue Glaze

The Parlar RoomI painted a lustrous salmon on the parlor walls to bring to mind the array of color found in a sky at sunset. An inset gothic shaped bench alcove, whichI designed, denotes the spiritual aspect of the prairie, and a yet to be made stained glass window over the top of the alcove a meditation of God’s creation.

The Powder RoomBrown tones highlighted by copper tints, which I applied in a faux finish of the powder room walls imitate the palette of the prairie rocks mirroring the sun’s brilliance. The lower level basement bathroom wall texture, fashioned from tissue paper, also reflects the brown hues of the stones.

The Parlar RoomLustrous Salmon GazeIncorporating the Flint Hills in the Interior

An array of sunset colors luster the parlor walls.

Diane Cook and Len Jenshel Long Horn Cattle, Salina, Kansas

Silver Blue Magna Salmon Wheat Deep blue Flax

The Powder RoomBrown Tones with Copper Tnts

Arch Doorway Beverage Center

The Dining Room

The KitchenProblem: The walk-through beverage center, which was positioned between the kitchen and foyer, made the foyer longer, which caused a traffic jam.

Solution: To help with the traffic flow, I proposed to either make the pantry larger so that three arched entrances could be added or eliminate the walk-through beverage center and use cabinetry instead. By making the pantry bigger, the view of the Great Room would be eliminated; so the owners chose the open pantry solution. Being that the beverage center was going to be open, I designed a turret structure over the cabinet to make the space extraordinary unique. Appearing to be floating over the cabinets, the structure is a tribute of the lofty clouds in the Kansas sky, which gives it its title, the castle on the cloud.

Shimmering in silver blue Glaze


Floating peerlessly, rests the Castle on the Cloud.

Gothic with Gothic Arch with Gothic Gothic with Arch

The Walk-Through

Gothic and Arch Beverage Center

Castle on the Cloud

The Great Room, Dining Room, and NookTwo sets of double horizontal arch beams on either side of the great room space reflect the rounded movement of the barrel ceiling while defining the dining room and breakfast nook of the great room. The spacing between the arch beams enhances the appearance of the beams as dominant architec-tural features. The beams appear to loook heavy like granite yet they appear to float in the air like the castle on the cloud niche, portraying the feeling of the vast prairie sky line

Originally the carpenters constructed single horizontal arch beams, how-ever, the small amount of separation of the single arch from the ceiling created a distraction. In addition, the ceilings appeared to be low compared to the expansive tall barrel. To remedy the optical trouble, I added another arch beam under the dining room arch and did the same under the breakfast nook beam.

The Great RoomThe Marble BeamIncorporating the Flint Hills in the Interior

Mimicking granite rocks, the beams arch across the room.

Castle on the

Prarie

The Nook The Marble Beam


The intricate pattern displays the flower’s gentle beauty.Kitchen NookThe textures and the shapes of the breakfast nook walls illustrate the rough textures of the prairie but yet it highlights the gentle beauty of the prairie’s flowers.

The StencilThe pattern was inspired by a rug in a scandinavian design. The repetition of the pattern is similar to the Moorish geometric designs.

Indoor WaterfallWater trickling down a rock will be heard in the foyer when the cascading faux rock waterfall that suspends above the curved staircase is finished. These harmonious sounds of trickling water will add to the sense of prairie life.

Depicting the prairie’s creeks and rocks, the waterfall will bring an aura of invigora-tion and refreshment to the home. I created the waterfall from rebar, chicken wire, special pond and pool foam, and concrete. The basin of the 3 tier waterscape devel-oped a leak, so the basin had to be removed and will be replaced by a fiber glass basin. In the future the basin will contain the appearance of rocks and the waterfall will contain variegated colors to resemble natural rocks.


A flowing waterfall resonates a splash of a trickling stream

The Great Room’s FireplaceThe yet to be completed fireplace that will dominate the great room wall will be built with natural pattina marble that replicates the marble floor of the foyer. A sustainable element, natural gas will fuel the fire.

Above the fireplace I have designed a marble arch, mimicking the arches of the adjoining windows, which symbolizes the connection of the prairie and rolling Flint Hills range to the big Kansas sky. Within the arch will be a large mirror, reflecting the colors of the room as well as the fires in the fireplace.

The mantle, also finished in marble, is suspended by a rounded thick baluster on both sides. The balusters bring an element of old world décor mixed with the prairie theme, the shape resembling a torch.

The fireplace, when lit, will crown the room, with the flames of the Prairie.


The indoor bonfire flickers onto the great room walls.

The Great RoomVenetian Plaster with Flax Tones

Current Fire placeVenetian Plaster with Flax Tones

Gothic NicheIn the foyer, an inset gothic shaped bench alcove denotes the spiritual aspect of the prairie. On top of the gothic alcove is a reversed gothic design in the shape of a diamond that will have a stainless glass window that portrays a meditation of God’s creation. The foyer gothic shaped alcove became the most prevalent feature when entering the parlor and foyer from the garage. The alcove provides a great place for an intriguing design.


The gothic niche denotes a spiritual aspect of the prairie.

The Pouderr RoomBrown tones with copper tints

The Parlor RoomLustorous Samon Glaze

Different Designs of the bench alcove Gothic Bench

INTERIOR DESIGNFunctional, Appealing, Branding

UNIVERSITY

School: Montgomery collegeLocation: Pensacola, Florida

SKILL OBTAINED

I attained my preprofessional A.A. degree in Interior Design. As an Interior Design student, I

learned how to make an interior spaces pleasing and comfortable for my clientle.

TRAINED SKILLS:

I studied interior design skills such as: fundamental design, drawing, color, space planning,

historical topics, professional business practices, and material fabrication such as: fabrics, lighting,

drapperies, wall treatments, and floor treatments.

INTERIOR DESIGN

FLOOR PLANS, ELEVATIONS, SECTIONS, PERSPECTIVES

Balla Mist Hotel.

Senators Suite

Stadium

“Near the horizon where the aquamarine glaze of the Atlantic meets the sky, sails a Portuguese ship billowing towards new Mediterranean discoveries.”

~ Crystal Dawn Gnemi

THE AMBASSADOR SUITE

UNIVERSITY

School: Montgomery CollegeInstructor: Ron Hollbrook

OBJECTIVE OF THE RESIDENTIAL CLASS

The objective of the Residential Class was to further the class’ knowledge of a historic pe-

riod. We did this by choosing a historic period and writing an extensive research paper about it. In the

research paper we had to write about the intricate details of design, the major architects of the time,

and things that influence it such as government, climate, and location. Once we obtained the equivalent

information needed, we had to incorporate the historic style into a design for a senator’s master’s suit.

MEETING THE CRITERIA:

ThisdesignisaboutthePortugueseManuelinestlyeofthe16thcentury.Toobtainproper

information of the period, I went to the Montgomery College Library and found books on Portuguese

kings, Captain Vasco da Gama and Captain Pedro Álvares Cabral, agriculture, architecture, and furniture.

In the architecture books, I made close observations towards the carvings, vaulted ceilings, and tile work.

In the furniture books I looked closely on the types of wood, fabrications, carvings, legs, and ironwork.

For my design, I created bubble diagrams for furniture placement, sketched a perspective, drew two

elevations and floor plan, designed tile in a moisac pattern, and selected historical furniture and furnish-

ings.

DETAIL OF THE STYLE:

The style is known as Manueline due to King Manueline who reign during 1490 until 1520. This

phase is equivalent to the gap between gothic and the renaissance era. During the time of King Manu-

eline, the Portuguese were conquers of the sea. They ported other countries on their docks, exported

andimportedtrades,anddiscoveredknewlands,oneofwhichwasBrazil.Becauseoftheirseafaring

ways, they became wealthy and received cultural influences from the different countries particularly its

neighboring countries, England, France, and Africa. Their architecture reveals these influences of com-

merce countries; flaunts off royal and seafaring motifs; and makes contributions towards holy Catholi-

cism and Moorish beliefs.

The Ambassador Suitein Manueline DesignSeafaring, Royalty, Naval

ARCHITECTURAL FEATURES

Some of the grandiose features of the Manueline style, which I incorporated in my

design, are revealed throughout the space. In the bathroom, Moorish mosaic tiles climb the

walls from floor to midpoint. Water spouts out of swan iron faucets. Two columned mirrors

with maritime seashells over it center a seafaring doorway to give the entrance hierarchy. To

continue the feeling of hierarchy, a naval globe carving frames the bathroom doorway in a

swaging design like a throne. In the hallway braided crown molding, twisted pillars, scroll-

work of balusters, sea faring details, and heavy overlays of window treatments sets the tone

for a master’s suite that is deserving of fine royalty.

The Ambassador’s SuiteSeafaring, Royal, Naval

SOUTH East ELEVATION A-2Master Bath

SCALE IS REDUCED

SENATOR’S BATHROOM SUITE _ Manuline Style

MOORISH TILE

The Senator’s Bathroom Suite is based off a design of Portuagal Moorish ar-chitecture. The picture on the left is a design I created of tile that was based off of the Moorish patterns of geo-metric shapes which reveals the influ-ence of the Muslim culture in Portugal.The elevation drawing shown below dis-plays the sea faring relief detail of a mirror framed with shells and the scroll work in the doorway of a world globe as Portu-gal was the gateway to the world and re-vealed the power of the sea faring dynasty.

The Ambassador’s SuiteSeafaring, Royal, Naval

SOUTH East ELEVATION A-1Master Bedroom

SCALE IS REDUCED

SENATOR’S BEDROOM SUITE

UNIVERSITY

School: Montgomery College, Rockville, MD

Instructor: Professor Matthews

OBJECTIVE OF THE RESIDENTIAL CLASS

In a collaboration of teamwork, my team designed the interior structure of a hotel within an empty

(except for columns and plumbing) existing building. The interior space consists of a hotel lobby, a

lounge, two restaurants, two offices, a storage room, and bathrooms.

MEETING THE CRITERIA:

In the design process my team met the specified criteria of square footage, designed a blueprint

for structural elements such as an aquatic water feature, and researched sustainable material specifica-

tionsthatutilizedorganicmaterialssuchaspebbles,cork,bamboo,twigs,naturalwovenfabrics,and

stones.

The entire space fulfills the design tasks, making use of the space, while at the same time bringing

insustainableorganicqualitiestothesetting,utilizingthecorestructuralfeaturesinplace.

THE BALI MIST HOTELRefreshing, Calming, Renewal

Copyright All rights reserved by maasha

The Bali Mist HotelRefreshing, Calming, Renewal

SOUTH ELEVATION A-1LOUNGE WATER FEATURE

NORTH ELEVATION A-2LOBBY RECEPTION DESK

TEXTURED GLASS

DRY WALL

ELECTRICITY CAVITY

PLASMA TV

WATER

TEXTURED GLASS

wATER CAVITY

SECTIONLOUNGE Lounge Detail

DRY WALL SOFFET

NATURAL TWIG FACADE

PLASMA TV

TEXTURED GLASS

water Cavity

SUSPENDED CELING TILES

PEBBLE FACADE

light

THE BALI MIST HOTELInterior Design Floorp[an Drawings

WEST ELEVATION A-3RESTAURANT BAR, SCALE IS REDUCED

NORTH ELEVATION A-4RESTAURANT BAR, SCALE IS REDUCED

lighting plan A-3RESTAURANT BAR, SCALE IS REDUCED

# DESCRIPTIONA-1 LOUNGE WATER FEATURE A-2 RECEPTION DESKA-3 BARA-4 RESTAURANTA-5 GARDEN

furniture plan A-3RESTAURANT BAR, SCALE IS REDUCED

THE BALI MIST HOTELInterior Design Floorp[an Drawings

A-1

A-3

A-4

A-1

A-2

A-5

UNIVERSITY

School: University of KansasInstructor: Thomas Greggory

OBJECTIVE OF THE ENVIRONMENTAL GRAPHICS

The objective of Environmental Design course was to develop teamwork as well as to make so-

lutions for way finding. Graphical and architectural approaches were used to solve way finding problems,

which were insightfully implemented through slide shows of visual illustrations and during discussion

time when students shared their opinion about the slide show. TEAMWORK ROLES:

These different methods of design were put into practice as students were placed into teams

for the entire semester to develop different alternatives for solving the major traffic jams at the Jay Hawk

Memorial Stadium. As a member of a team, we learned how to build reliable relationships with other

teammates and learned that working together is better than working solo.

Given that the class was opened to non-architecture students, the teams had people with all

kinds of capabilities and backgrounds such as interior designers, photographers, illustrators, graphic

designers, and architects. Even though there were all these different talents, my team was able to har-

monizeeachother’scontributionstomeetthemaingoal.Asaresultofharmonizingpeople’stalents,we

were able to spread our ideas and get more than the ordinary accomplished

TEAMWORK RESULTS:

What I discovered when working in a team is that the final result of our assignment was stron-

ger than what we could have done individually. As a team player, I observed how teamwork allows less

developed concepts to get vetoed and more mature concepts to be able to become successful. Not

only does this save time but it also saves effort and allows one to focus on what is truly important. I

also observed how teamwork enables one to think past one’s normal spectrum because it enables one

to build ideas complemented by another’s. This can be compared to a Mason laying bricks. Each brick

that he lays is part of a layer that becomes a full façade and subsequently each person’s idea becomes a

foundation for another person’s idea and the end result is a cascade of ideas.

“Themosteffectiveteamworkisproducedwhenalltheindividualsinvolvedharmonizetheir

contributionsandworktowardsacommongoal.”_NDT

THE MEMORIAL STADIUMWayfinding, Navigation, Traffic Flow

“Coming together is a beginning; keeping together is progress; working together is success.”

bu Henry Ford

Memorial Stadium

WAY FINDING

COMPUTER SKILLSFloor plans, Elevations, Sections

COMPUTER SKILLS

FLOOR PLANS, ELEVATIONS, SECTIONS, PERSPECTIVES

1.3d AutoDesk.

2. Revit

3.3d Max

Intellectual, Modern, SophisticatedSchool: Montgomery College

Instructor: Steiner

Task: For this studio, I designed a floor plan and a 3d image of an office building

on Auto-Cad. I was not able to import any items into Auto-Cad because

the professor wanted to see how well the class knew how to draw

in 3d. I drew everything from scratch such as window frames, doors, and

office furniture

OFFICE BUILDINGE

Office BuildingIntellectual, Modern, Sophisticated

Revit Computer ProgramElevations , Sections, & Floor Plans

“If architecture is about something, it’s about being real.” ~ Micheal Benidict

SECTIONS

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AreaAssembly

Description Family Width

112 SF ExteriorWalls

Basic Wall 0' - 6"

47 SF ExteriorWalls

Basic Wall 0' - 6"

2 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"

134 SF FoundationWalls

Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 0' - 6"

36 SF ExteriorWalls

Basic Wall 0' - 6"

62 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 1' - 0"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 1 7/8"


Basic Wall 0' - 6"


Basic Wall 0' - 6"

119 SF CurtainWalls

CurtainWall

112 SF CurtainWalls

CurtainWall

694 SF CurtainWalls

CurtainWall





Wall Schedule

AreaAssembly




37 SF ExteriorWalls


388 SF CurtainWalls

CurtainWall

227 SF CurtainWalls

CurtainWall

623 SF CurtainWalls

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629 SF CurtainWalls

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Basic Wall 0' - 6"



641 SF CurtainWalls

CurtainWall



240 SF CurtainWalls

CurtainWall



265 SF CurtainWalls

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595 SF CurtainWalls

CurtainWall




Basic Wall 0' - 6"


Basic Wall 1' - 0"

85 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"

Wall Schedule

AreaAssembly












860 SF Partitions -Drywall w/Metal Stud








270 SF Basic Wall 1' - 0"1591 SF Exterior

WallsBasic Wall 1' - 1 7/8"

1180 SF Basic Wall 1' - 0"1317 SF Basic Wall 1' - 0"274 SF Basic Wall 1' - 0"1112 SF Partitions -

Drywall w/Metal Stud









Basic Wall 0' - 11 5/8"


Basic Wall 1' - 0"


Basic Wall 0' - 11 5/8"






Basic Wall 0' - 11 5/8"

















1046 SF Ext. Wall -BrickVeneer w/Stud














660 SF CurtainWalls

CurtainWall

89 SF CurtainWalls

CurtainWall

620 SF CurtainWalls

CurtainWall

54 SF CurtainWalls

CurtainWall

533 SF CurtainWalls

CurtainWall

91 SF ExteriorWalls


55 SF ExteriorWalls

Basic Wall 0' - 6"




Basic Wall 1' - 0"


Basic Wall 0' - 6"

Door Schedule

Level Height Width CountFamily and

TypeAssembly

Code Thickness

Level 1 7' - 0" 6' - 0" 1 Double-Glass 1: 72" x84"

C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"

Level 1 7' - 0" 2' - 8" 1 Single-Flush: 32" x 84"

C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"

Level 1 7' - 0" 2' - 6" 1 Single-Flush Vision:30" x 84"

C1020 0' - 2"


C1020 0' - 2"


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Area Schedule (Rentable)

Name Number Floor Finish Base Finish North Wall South Wall East Wall West WallCeilingFinish

UnboundedHeight Level Coments

Entryway 1 Floor:Generic -12"

Foyer 2Office 3ClassRoom

4

ClassRoom

5

ClassRoom

6

ClassRoom

7

Janitor'sCloset

8

Bathroom 9Bathroom 10StorageRoom

11

Auditorium 12ClassRoom

13

ClassRoom

14

ClassRoom

15

ClassRoom

16

Foyer 17Bathroom 18Bathroom 19Office 20

Room ScheduleArea Count Level Name Number Perimeter Upper Limit

Not Placed 1 Not Placed Room 1 Not Placed Not PlacedNot Placed 1 Not Placed Room 2 Not Placed Not PlacedNot Placed 1 Not Placed Room 3 Not Placed Not PlacedNot Placed 1 Not Placed Room 4 Not Placed Not PlacedNot Placed 1 Not Placed Room 5 Not Placed Not PlacedNot Placed 1 Not Placed Room 6 Not Placed Not PlacedNot Placed 1 Not Placed Room 7 Not Placed Not PlacedNot Placed 1 Not Placed Room 8 Not Placed Not PlacedNot Placed 1 Not Placed Room 9 Not Placed Not PlacedNot Placed 1 Not Placed Room 10 Not Placed Not PlacedNot Placed 1 Not Placed Room 11 Not Placed Not PlacedNot Placed 1 Not Placed Room 12 Not Placed Not PlacedNot Placed 1 Not Placed Room 13 Not Placed Not PlacedNot Placed 1 Not Placed Room 14 Not Placed Not PlacedNot Placed 1 Not Placed Room 15 Not Placed Not PlacedNot Placed 1 Not Placed Room 16 Not Placed Not PlacedNot Placed 1 Not Placed Room 17 Not Placed Not PlacedNot Placed 1 Not Placed Room 18 Not Placed Not PlacedNot Placed 1 Not Placed Room 19 Not Placed Not PlacedNot Placed 1 Not Placed Room 20 Not Placed Not PlacedNot Placed 1 Not Placed Room 21 Not Placed Not PlacedNot Placed 1 Not Placed Room 22 Not Placed Not Placed611 SF 1 Level 1 Room 7 99' - 7 1/32" Level 1791 SF 1 Level 1 Room 6 111' - 11

9/16"Level 1

740 SF 1 Level 1 Room 5 108' - 1011/32"

Level 1

1276 SF 1 Level 1 Room 4 144' - 15/16"

Level 1

1561 SF 1 Level 1 Room 3 174' - 87/16"

Level 1

239 SF 1 Level 1 Room 10 70' - 7 9/32" Level 1196 SF 1 Level 1 Room 9 69' - 0 7/32" Level 187 SF 1 Level 1 Room 8 37' - 4 5/32" Level 12426 SF 1 Level 1 Room 2 220' - 10

13/16"Level 1

103 SF 1 Level 1 Room 11 46' - 8 5/8" Level 1358 SF 1 Level 1 Room 1 92' - 11

27/32"Level 1

13049 SF 1 Level 1 Room 12 856' - 17/32"

Level 1

15983 SF 1 Level 2 Room 13 893' - 9" Level 21186 SF 1 Level 2 Room 14 139' - 4 5/8" Level 2741 SF 1 Level 2 Room 15 108' - 10

1/2"Level 2

791 SF 1 Level 2 Room 16 111' - 1111/16"

Level 2


1/16"Level 2


1/8"Level 2

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2 SF ExteriorWalls

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36 SF ExteriorWalls

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62 SF ExteriorWalls

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Basic Wall 0' - 6"


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119 SF CurtainWalls

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112 SF CurtainWalls

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37 SF ExteriorWalls


388 SF CurtainWalls

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227 SF CurtainWalls

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623 SF CurtainWalls

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641 SF CurtainWalls

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240 SF CurtainWalls

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265 SF CurtainWalls

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595 SF CurtainWalls

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85 SF ExteriorWalls

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Basic Wall 0' - 6"


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Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


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Basic Wall 0' - 11 5/8"


Basic Wall 1' - 0"


Basic Wall 0' - 11 5/8"






Basic Wall 0' - 11 5/8"































660 SF CurtainWalls

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89 SF CurtainWalls

CurtainWall

620 SF CurtainWalls

CurtainWall

54 SF CurtainWalls

CurtainWall

533 SF CurtainWalls

CurtainWall

91 SF ExteriorWalls


55 SF ExteriorWalls

Basic Wall 0' - 6"




Basic Wall 1' - 0"


Basic Wall 0' - 6"

Door Schedule


TypeAssembly

Code Thickness


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


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C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


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C1020 0' - 2"


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4

ClassRoom

5

ClassRoom

6

ClassRoom

7

Janitor'sCloset

8


11


13

ClassRoom

14

ClassRoom

15

ClassRoom

16




9/16"Level 1

740 SF 1 Level 1 Room 5 108' - 1011/32"

Level 1

1276 SF 1 Level 1 Room 4 144' - 15/16"

Level 1

1561 SF 1 Level 1 Room 3 174' - 87/16"

Level 1


13/16"Level 1


27/32"Level 1

13049 SF 1 Level 1 Room 12 856' - 17/32"

Level 1


1/2"Level 2

791 SF 1 Level 2 Room 16 111' - 1111/16"

Level 2


1/16"Level 2


1/8"Level 2

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Basic Wall 0' - 6"

47 SF ExteriorWalls

Basic Wall 0' - 6"

2 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 0' - 6"

36 SF ExteriorWalls

Basic Wall 0' - 6"

62 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 1' - 0"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"




Basic Wall 0' - 6"


Basic Wall 0' - 6"

119 SF CurtainWalls

CurtainWall

112 SF CurtainWalls

CurtainWall

694 SF CurtainWalls

CurtainWall





Wall Schedule

AreaAssembly




37 SF ExteriorWalls


388 SF CurtainWalls

CurtainWall

227 SF CurtainWalls

CurtainWall

623 SF CurtainWalls

CurtainWall

629 SF CurtainWalls

CurtainWall




Basic Wall 0' - 6"



641 SF CurtainWalls

CurtainWall



240 SF CurtainWalls

CurtainWall



265 SF CurtainWalls

CurtainWall





595 SF CurtainWalls

CurtainWall




Basic Wall 0' - 6"


Basic Wall 1' - 0"

85 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"

Wall Schedule

AreaAssembly
































Basic Wall 0' - 11 5/8"


Basic Wall 1' - 0"


Basic Wall 0' - 11 5/8"






Basic Wall 0' - 11 5/8"































660 SF CurtainWalls

CurtainWall

89 SF CurtainWalls

CurtainWall

620 SF CurtainWalls

CurtainWall

54 SF CurtainWalls

CurtainWall

533 SF CurtainWalls

CurtainWall

91 SF ExteriorWalls


55 SF ExteriorWalls

Basic Wall 0' - 6"




Basic Wall 1' - 0"


Basic Wall 0' - 6"

Door Schedule


TypeAssembly

Code Thickness


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"






4

ClassRoom

5

ClassRoom

6

ClassRoom

7

Janitor'sCloset

8


11


13

ClassRoom

14

ClassRoom

15

ClassRoom

16




9/16"Level 1

740 SF 1 Level 1 Room 5 108' - 1011/32"

Level 1

1276 SF 1 Level 1 Room 4 144' - 15/16"

Level 1

1561 SF 1 Level 1 Room 3 174' - 87/16"

Level 1


13/16"Level 1


27/32"Level 1

13049 SF 1 Level 1 Room 12 856' - 17/32"

Level 1


1/2"Level 2

791 SF 1 Level 2 Room 16 111' - 1111/16"

Level 2


1/16"Level 2


1/8"Level 2

Rock_A_Bye

Scale

Date

Drawn By

Checked By

Project Number






10/3

/201

0 9:

03:0

1 P

M

4A101

ProjectSchedules

Rock_A_Bye

Student Center

CheckerAuthor


Project Number

Wall Schedule

AreaAssembly



Basic Wall 0' - 6"

47 SF ExteriorWalls

Basic Wall 0' - 6"

2 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 0' - 6"

36 SF ExteriorWalls

Basic Wall 0' - 6"

62 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 1' - 0"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"




Basic Wall 0' - 6"


Basic Wall 0' - 6"

119 SF CurtainWalls

CurtainWall

112 SF CurtainWalls

CurtainWall

694 SF CurtainWalls

CurtainWall





Wall Schedule

AreaAssembly




37 SF ExteriorWalls


388 SF CurtainWalls

CurtainWall

227 SF CurtainWalls

CurtainWall

623 SF CurtainWalls

CurtainWall

629 SF CurtainWalls

CurtainWall




Basic Wall 0' - 6"



641 SF CurtainWalls

CurtainWall



240 SF CurtainWalls

CurtainWall



265 SF CurtainWalls

CurtainWall





595 SF CurtainWalls

CurtainWall




Basic Wall 0' - 6"


Basic Wall 1' - 0"

85 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"

Wall Schedule

AreaAssembly
































Basic Wall 0' - 11 5/8"


Basic Wall 1' - 0"


Basic Wall 0' - 11 5/8"






Basic Wall 0' - 11 5/8"































660 SF CurtainWalls

CurtainWall

89 SF CurtainWalls

CurtainWall

620 SF CurtainWalls

CurtainWall

54 SF CurtainWalls

CurtainWall

533 SF CurtainWalls

CurtainWall

91 SF ExteriorWalls


55 SF ExteriorWalls

Basic Wall 0' - 6"




Basic Wall 1' - 0"


Basic Wall 0' - 6"

Door Schedule


TypeAssembly

Code Thickness


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"






4

ClassRoom

5

ClassRoom

6

ClassRoom

7

Janitor'sCloset

8


11


13

ClassRoom

14

ClassRoom

15

ClassRoom

16




9/16"Level 1

740 SF 1 Level 1 Room 5 108' - 1011/32"

Level 1

1276 SF 1 Level 1 Room 4 144' - 15/16"

Level 1

1561 SF 1 Level 1 Room 3 174' - 87/16"

Level 1


13/16"Level 1


27/32"Level 1

13049 SF 1 Level 1 Room 12 856' - 17/32"

Level 1


1/2"Level 2

791 SF 1 Level 2 Room 16 111' - 1111/16"

Level 2


1/16"Level 2


1/8"Level 2

Rock_A_Bye

Scale

Date

Drawn By

Checked By

Project Number






10/3

/201

0 9:

03:0

1 P

M4A101

ProjectSchedules

Rock_A_Bye

Student Center

CheckerAuthor


Project Number

Wall Schedule

AreaAssembly



Basic Wall 0' - 6"

47 SF ExteriorWalls

Basic Wall 0' - 6"

2 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 0' - 6"

36 SF ExteriorWalls

Basic Wall 0' - 6"

62 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 1' - 0"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"




Basic Wall 0' - 6"


Basic Wall 0' - 6"

119 SF CurtainWalls

CurtainWall

112 SF CurtainWalls

CurtainWall

694 SF CurtainWalls

CurtainWall





Wall Schedule

AreaAssembly




37 SF ExteriorWalls


388 SF CurtainWalls

CurtainWall

227 SF CurtainWalls

CurtainWall

623 SF CurtainWalls

CurtainWall

629 SF CurtainWalls

CurtainWall




Basic Wall 0' - 6"



641 SF CurtainWalls

CurtainWall



240 SF CurtainWalls

CurtainWall



265 SF CurtainWalls

CurtainWall





595 SF CurtainWalls

CurtainWall




Basic Wall 0' - 6"


Basic Wall 1' - 0"

85 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"

Wall Schedule

AreaAssembly
































Basic Wall 0' - 11 5/8"


Basic Wall 1' - 0"


Basic Wall 0' - 11 5/8"






Basic Wall 0' - 11 5/8"































660 SF CurtainWalls

CurtainWall

89 SF CurtainWalls

CurtainWall

620 SF CurtainWalls

CurtainWall

54 SF CurtainWalls

CurtainWall

533 SF CurtainWalls

CurtainWall

91 SF ExteriorWalls


55 SF ExteriorWalls

Basic Wall 0' - 6"




Basic Wall 1' - 0"


Basic Wall 0' - 6"

Door Schedule


TypeAssembly

Code Thickness


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"






4

ClassRoom

5

ClassRoom

6

ClassRoom

7

Janitor'sCloset

8


11


13

ClassRoom

14

ClassRoom

15

ClassRoom

16




9/16"Level 1

740 SF 1 Level 1 Room 5 108' - 1011/32"

Level 1

1276 SF 1 Level 1 Room 4 144' - 15/16"

Level 1

1561 SF 1 Level 1 Room 3 174' - 87/16"

Level 1


13/16"Level 1


27/32"Level 1

13049 SF 1 Level 1 Room 12 856' - 17/32"

Level 1


1/2"Level 2

791 SF 1 Level 2 Room 16 111' - 1111/16"

Level 2


1/16"Level 2


1/8"Level 2

Rock_A_Bye

Scale

Date

Drawn By

Checked By

Project Number






10/3

/201

0 9:

03:0

1 P

M

4A101

ProjectSchedules

Rock_A_Bye

Student Center

CheckerAuthor


Project Number

Wall Schedule

AreaAssembly



Basic Wall 0' - 6"

47 SF ExteriorWalls

Basic Wall 0' - 6"

2 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 0' - 6"

36 SF ExteriorWalls

Basic Wall 0' - 6"

62 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 1' - 0"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"




Basic Wall 0' - 6"


Basic Wall 0' - 6"

119 SF CurtainWalls

CurtainWall

112 SF CurtainWalls

CurtainWall

694 SF CurtainWalls

CurtainWall





Wall Schedule

AreaAssembly




37 SF ExteriorWalls


388 SF CurtainWalls

CurtainWall

227 SF CurtainWalls

CurtainWall

623 SF CurtainWalls

CurtainWall

629 SF CurtainWalls

CurtainWall




Basic Wall 0' - 6"



641 SF CurtainWalls

CurtainWall



240 SF CurtainWalls

CurtainWall



265 SF CurtainWalls

CurtainWall





595 SF CurtainWalls

CurtainWall




Basic Wall 0' - 6"


Basic Wall 1' - 0"

85 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"

Wall Schedule

AreaAssembly
































Basic Wall 0' - 11 5/8"


Basic Wall 1' - 0"


Basic Wall 0' - 11 5/8"






Basic Wall 0' - 11 5/8"































660 SF CurtainWalls

CurtainWall

89 SF CurtainWalls

CurtainWall

620 SF CurtainWalls

CurtainWall

54 SF CurtainWalls

CurtainWall

533 SF CurtainWalls

CurtainWall

91 SF ExteriorWalls


55 SF ExteriorWalls

Basic Wall 0' - 6"




Basic Wall 1' - 0"


Basic Wall 0' - 6"

Door Schedule


TypeAssembly

Code Thickness


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"






4

ClassRoom

5

ClassRoom

6

ClassRoom

7

Janitor'sCloset

8


11


13

ClassRoom

14

ClassRoom

15

ClassRoom

16




9/16"Level 1

740 SF 1 Level 1 Room 5 108' - 1011/32"

Level 1

1276 SF 1 Level 1 Room 4 144' - 15/16"

Level 1

1561 SF 1 Level 1 Room 3 174' - 87/16"

Level 1


13/16"Level 1


27/32"Level 1

13049 SF 1 Level 1 Room 12 856' - 17/32"

Level 1


1/2"Level 2

791 SF 1 Level 2 Room 16 111' - 1111/16"

Level 2


1/16"Level 2


1/8"Level 2

Rock_A_Bye

Scale

Date

Drawn By

Checked By

Project Number






10/3

/201

0 9:

03:0

1 P

M

4A101

ProjectSchedules

Rock_A_Bye

Student Center

CheckerAuthor


Project Number

Wall Schedule

AreaAssembly



Basic Wall 0' - 6"

47 SF ExteriorWalls

Basic Wall 0' - 6"

2 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 0' - 6"

36 SF ExteriorWalls

Basic Wall 0' - 6"

62 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 1' - 0"


Basic Wall 1' - 0"


Basic Wall 1' - 0"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"




Basic Wall 0' - 6"


Basic Wall 0' - 6"

119 SF CurtainWalls

CurtainWall

112 SF CurtainWalls

CurtainWall

694 SF CurtainWalls

CurtainWall





Wall Schedule

AreaAssembly




37 SF ExteriorWalls


388 SF CurtainWalls

CurtainWall

227 SF CurtainWalls

CurtainWall

623 SF CurtainWalls

CurtainWall

629 SF CurtainWalls

CurtainWall




Basic Wall 0' - 6"



641 SF CurtainWalls

CurtainWall



240 SF CurtainWalls

CurtainWall



265 SF CurtainWalls

CurtainWall





595 SF CurtainWalls

CurtainWall




Basic Wall 0' - 6"


Basic Wall 1' - 0"

85 SF ExteriorWalls

Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 0' - 6"


Basic Wall 1' - 0"

Wall Schedule

AreaAssembly
































Basic Wall 0' - 11 5/8"


Basic Wall 1' - 0"


Basic Wall 0' - 11 5/8"






Basic Wall 0' - 11 5/8"































660 SF CurtainWalls

CurtainWall

89 SF CurtainWalls

CurtainWall

620 SF CurtainWalls

CurtainWall

54 SF CurtainWalls

CurtainWall

533 SF CurtainWalls

CurtainWall

91 SF ExteriorWalls


55 SF ExteriorWalls

Basic Wall 0' - 6"




Basic Wall 1' - 0"


Basic Wall 0' - 6"

Door Schedule


TypeAssembly

Code Thickness


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"


C1020 0' - 2"






4

ClassRoom

5

ClassRoom

6

ClassRoom

7

Janitor'sCloset

8


11


13

ClassRoom

14

ClassRoom

15

ClassRoom

16




9/16"Level 1

740 SF 1 Level 1 Room 5 108' - 1011/32"

Level 1

1276 SF 1 Level 1 Room 4 144' - 15/16"

Level 1

1561 SF 1 Level 1 Room 3 174' - 87/16"

Level 1


13/16"Level 1


27/32"Level 1

13049 SF 1 Level 1 Room 12 856' - 17/32"

Level 1


1/2"Level 2

791 SF 1 Level 2 Room 16 111' - 1111/16"

Level 2


1/16"Level 2


1/8"Level 2

SCHEDULES

Graphic Design Process: Part 1 - Create computer drawing

Graphic Design Process: Part 2 - Create interior design floorplan to add furniture and design to original computer graphic drawing.

GRAPHIC DESIGN

Graphic Design Process: Part 3- Place interior design floorplan over original computer drawing.

Graphic Design Process: Part 3- Place interior design floorplan over original computer drawing.

ST MARY’S

FLOWVENTAirflow, Solar Heat, Solar Energy

DERBY, KSSUMMERVELOCITYF/S

9.9

7.94

598

4.02

2.06

0.1

DERBY, KSSUMMERSPEEDF/S

26.4

21.1

15.8

19.5

5.27

0.1

THE OBJECTIVEResting on the land known from

themovie“TheWizardofOz”,residesanexisting residential stone front home, the Castle on the prairie, in Derby, Ks. A gust of prairie wind seems to never refrain itself from continuously blowing on the home. Though the home owners enjoy this breezeduringthetimeswhentheyhavethe windows and doors open, they are unaware if their house is over cumbersome withit.Theirgoalistousethisbreezeasan advantage for ventilation without blow-ing the house over. Because the homeown-ers are conscience about being green, they

appointed me to help them determine if they need to make the ventilation flow bet-ter or if they need to make any improve-ments at all.ll.

MEETING THE CRITERIATo help the home owners determine

what to do, I made an analyses of the home that monitored how the exterior air temperature, air speed, thermal comfort, and ventilation impacted the performance of its interior environment. I incorporated weather conditions during the time when the clients are most likely to have their windows and doors open, which is in June

when the heat and wind is most extreme. These analyses were made by making a model of the home and then by solving a simulation of the speed chart and tem-perature model. To make my analyses clear andprecise,Imadehorizontalevaluationsof the floor plan and vertical evaluations of the portion of the house that I thought might be a hindrance to airflow or reveal good airflow such as the barrel ceiling and the parlor.

EAST WIND_ GREAT ROOM PERSPECTIVEZ velocity in the X axis

The arrows in the following pictures reveal the summer’s wind coming from the East direction. The warmer areas reveal the wind speed strength. Being that the wind is coming from the East, the only wind flow in the great room will be from the wind flowing from the East entryway as will as the northern windows of the nook. The wind is able to exit through the greatroom walls. Notice how the wind is blowing away from the kitchen.

WESTWIND_GREATROOMPERSPECTIVE_ZvelocityintheXaxisNotice how the wind is blowing towards the kitchen

BASEMENT FLOOR PLANSCALE:1/8"=1'-0"

2A1

NORTH

FIRST FLOOR PLANSCALE:1/8"=1'-0"

1A1

NORTH

DOOR SCHEDULE

WINDOW SCHEDULE

3A5

2A5

4A5

220

227

JUNESUMMERWEATHER_EAST&WESTWINDDIRECTION

CASTLE ON THE PRARIE WITH STANDS THE GUST OF KANSAS WIND

203: PARLOR206:ENTRY207: CHILDS ROOM219: MASTER ROOM220: KITCHEN221: GREAT ROOM222: NOOK223: GARAGE225: 2 GARAGE227: DINNING

“I love the overall structural integration of the two arts, architectural design and commercial art. By em-bedding art in every aspect of design, I conceptualize

the idea from an inspiration, and pursue the flow of the inspiration into the realization of the design as a piece of

artwork.”

Crystal Gnemi

PHOTOGRAPHY

WATER COLOR, ACRYLIC, CHARCOAL, OIL

UNIVERSITY

School: Pensacola Christian CollegeLocation: Pensacola, Florida

SKILL OBTAINED

I have had three semesters of equipped training in the studies of Commercial Art. As a Com-

mercial Art student, I learned how to express my creativity as a communicational tool for advertisement.

I designed visual forms that incorporated the embodiment of brand images for commercial and interior

purposes.

TRAINED SKILLS:

I was equipped with proper skills and techniques of foundational design such as: drawing,

painting, and computer usage under the tutoring of currently employed Commercial Art illustrators.

DETAILS OF DRAWING AND PAINTING SKILLS:

I drew images of still life, photos, people, logos, and illustrations.

Irenderedwithseveralmediasuchasanink,graphite,cantecrayons,andblack&whitechar-

coal pencils.

I rendered with different applications such as hatching, pointilism, circling, and smudging.

COMMERCIAL ARTDesign, Drawing, Rendering

WATER COLOR OF VENICE, ITALY

The Purple HeartSacrifice, Freedom, Love

Saturday, July 28, 2007 Cheryl Ganser, describes her gratefulness towards the Purple heart oil painting. She writes on Bryan's Alive Day the first anniversary of Bryan's injuries:

"Wow I don't even know where to place my emotions today. One year ago today I got the call that Bryan had been injured. That phone call still resonates in my ears. I can hear it like I am hearing it again for the first time. I was so happy to wake up in his arms today. We still don't know exactly what is going to happen in our lives but we have a direction. Bryan is doing so well walking and getting around. He is still in pain and we were hoping he would be off the narcotics by now but I guess it will come later. I am so thankful that he is alive and after being here a year we are so thankful that he has his legs. I have a vast array of feelings today from happiness, to sadness, to an overwhelming urge to cry, to relieved that there is an end in sight. We have been so much in the past year that most days I am not sure how we got through it. Today is about celebration, today is about love, and today is one of the best days of my life. I had a painting made for Bryan from the girl who lived upstairs. It came yesterday and it exceeded my expectations. She did an excellent job of capturing the flag and the Purple Heart medal. In an artistic sense it somewhat explains what we have been through

and the sacrifice that he has made. It is beautiful and he loved it as well."

PURPLE HEART"It has allways been the soldier who has made the sacrifice"

PointelismGirl Blowing BubblesBubbly, Breezy, Brisk

PencilBoy with FrogBoyish, Energetic, suspicious

White & Black Charchoallady on the BenchCharming, Lovely, Enchanted

Cross Hatch with InkFiddlerJolly, Friendly, Pleasant

Black & White OilsPumpkinMonochromatic, Intensity, Hue

Black & White OilsplutoMonochromatic, Intensity, Hue

Black & White OilsSealMonochromatic, Intensity, Hue

Black & White OilsGarillaMonochromatic, Intensity, Hue

PointelismRuthLoyalty, Abiding, Foreigner

PencilBald EagleLife, Liberty, Pursiut of Happiness

OilTeddy BearFuzzy, Cuddly, loveable

OilPresident Ronald Regan Patriotic, Conservative, Charismatic

Water ColorStill LifeFuzzy, Cuddly, loveable

PHOTOGRAPHYDepth of Field, Composition, Focus

UNIVERSITY

School: University of KansasLocation: Lawrence KansasClass: Arch 618 ARchitectural PhotographyInstructure: Professor Jackson

SKILL OBTAINED

Abasiccourseinblackandwhitephotographyintendedtoenablethestudenttoutilize

photographyroutinelyasamediumforvisualization,documentationandpresentationofimages

usefulfordesign.Itisorganizedinrelationtothecontrolsoftherollfilmcamerasothatassign-

ments reinforce the understanding of this tool and its creative possibilities.

TRAINED SKILLS:

Experiences include making photograms, developing black and white film, printing black

and white images, mounting and presenting prints, photocopying, photographing buildings and

architectural models, photomontage, high contrast graphics effects and an introduction to color

materials. Enough technical information is included for the student to pursue black and white pho-

tographyonhis/herowntothedesiredlevelofproficiency.

Eligibility:

ST MARY’S

PHOTOGRAPHYDepth of Field, Composition, Focus

BUDIG HALL

crystal portfolio 2010

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