architectural portfolio

PORTFOLIOJUSTIN KRUEMMEL

Spurred by a chronic curiosity, I discovered early in my academic career my interest in kinetic systems and spaces. It had been my belief that due to the nature of people sustaining desires of full custom-ization amongst their possessions that a solution should be provided in the same manner amongst the built environment that would allow for the user (or inhabitant) to continually manipulate spaces within a buildings contour. Eventually, the conceptu-alization and development of these spaces matured and reacted to user differentiations with the use of mechanically engineered elements. However at the same time, my conceptual developments translated ideas responding to the issues regarding the duali-ty between the modernization and state of nature. These two ideas served to mold my design agenda with an emphasis in reactive spatial configuration and adaptive systems that served both environ-ments. This agenda to merge these elements into a symbiotic environment has grown to be problematic, at least when one attempts to solve this problem us-ing a “cradle-to-grave” model as William McDonough and Michael Braungart discuss in their book, Cradle to Cradle. However, with the developments taking place among biological research and experimen-tation, there are potential solutions that have the ability to merge these evolved systems into becom-ing heavily involved in the increasing modernization of society. Subsequently, I have become immersed in

the formulation of Architectural adaptations with an absorbing fascination in bio-mimetic technologies. Bio-mimicry is defined as the study of structures and functions of biological systems in an effort to generate models for the application of design and engineering of devices, substances, processes, and systems. In addition, the formulation of a personal design methodology developed into the progression of the creation residing within a systematized lab, where variables become the entities that formulate and translate geometries and systems into finalized Architectures that are all products generated by conceptual hypotheses and generalizable methodologies. Consequently, my designs function through their development to gather and respond to variables of a given context and situation to enrich the experience and perception of those, human or not, inhabiting the space within and around the Architecture. Albert Einstein once said, “The world will not evolve past its current state of crisis by using the same thinking that created the situation” (Mc-Donough & Burngart, 2002), and although we have become a society claiming to be “green”, we still practice and reinvent processes that continue to inhibit any legitimate ecology between the built environment and the natural world. With that being said, the Emergence movement was formulated and is defined in the journal Emer-gence: Morphogenetic Design Strategies as, “…an explanation of how the natural systems have evolved and maintained themselves and set of models and processes for the creation of artificial systems that are designed to produce forms and complex behavior, and perhaps even real intelli-gence.” (p. 6). With the synthesis of modernization

“The world will not evolve past its current state of crisis by us-ing the same thinking that cre-ated the situations.” - Albert Einstein

and emergent technologies, the solutions to modernization problems may arise in a manner filled with composite materials and systems pro-viding appropriate services for their users and the contextual environment, thus creating an actual symbiotic relationship amongst the environment and humanity. For this reason, I intend to emmerse myself in the research and development of resilient and adaptive spacial structures based upon the syntheses of biological processes, morpho-eco-logical premises, and phenomenological asser-tions. I plan to communicate not only with others pioneering in the field, but also those who have the appropriate skills needed to complete the projects accurately with confident results. It is my goal to assist in the eventual global understand-ing and appreciation of biological systems in relation to the modernization of humanity in the realm of, not only Architecture, but all disciplines.

McDonough, W., & Burngart, M. (2002). The anatomy of transforma-tion. Retrieved from http://www.mcdonough.com/writings/anato-my_transformation.htm

Weintstock, M., Menges, A., & Hensel, M. (2004). Emergence: Mor-phogenetic design strategies.Architectural Design, 74(3), 6.

COASTAL CENTERMARITIME MUSEUM

THE JANSEN HOUSETHE ARKHAM HOUSE

THERMAL BATH AND SPA

MARINE EDUCATIONAL CENTER

MULTI-MODAL CENTER

DIGITAL SCULPTURECONSTRUCTION TECHNOLOGY





MULTI-MODAL CENTER


vision

COASTAL CENTER The project served as an introduction and exploration in the configuration of Architectural form and space configuration. The design did not necessarily focus on the phenomonological aspects of the design, rather streamlined design from a macro scale of the proposed Architecture. As the design transitioned from sculpture toward Architecture, the program was chosen as to what the sculpture would mature into to become an Architecture and manifest an experience within itself.

COASTAL CENTER SPAC

IAL EXPERIMENTATIO

N

The design went through spatial transformations within the architecture itself and among the ground condition thus reacting to the Architecture to accomodate for the programmatic needs and interaction of water among the spaces.

COASTAL CENTER SPAC

IAL EXPERIMENTATIO

N

MARITIME MUSEUMLOCATION: SAVANNAH, GA

The project proposed a museum that is located at the entrance to River St., which is a dense tourist district part of the downtown Savannah area that runs along the Savannah River. The museum provides shelter to, not only all of the historic relics related to the trade industry of the area, but an actual sail boat that was unearthed on site.

The conceptualization of the Architecture has been articulated to create an experience that mimics the raw emotions of the relentless waters of the oceans and tales that were told about the creatures within it.

HISTORIC M

ARITIME M

USEUM SAVANNAH, G

A

To achieve the essence of the power of the ocean along with the mystery perceived along with the environment, studies were taken in designing topological volumes that would become discrete notions of the chaotic environment.

HISTORIC M

ARITIME M

USEUM SAVANNAH, G

A

FIRST FLOOR

HISTORIC M

ARITIME M

USEUM SAVANNAH, G

A

GALLERY SPACE

VIEW LOOKING NORTH

SOUTH SIDE

HISTORIC M

ARITIME M

USEUM SAVANNAH, G

A

SECOND FLOOR





MULTI-MODAL CENTER


kineti

c

STRANDBEEST ARCHITECTUURClient: Theo Jansen

Theo Jansen is a kinetic sculptor whose focus lies in biomechanical ani-mals who are given abilities to interact amongs the environment and other artificial genomes he creates. The project involved the design of a residence for an artist of choice that stood to reflect the essence of their art in the design. The design served to not to abide by the laws of the artists designs, but to accentuate the sys-tems and processes used in the art within the building systems.

THE JANSEN HOUSE DEN HAAG

, NETHERLANDS

VIEW LOOKING NORTH

The study undertaken here involved analyzing a music piece that embodied the nature of the artist and their creations. The piece chosen was a track titled Arion by Blue States. The songs downtempo industrial percussion pushes the edge of a break down of tempo at each measure, yet it continually catches itself to continue its fluidity.


, NETHERLANDS

One of the skin systems created here was used to create literal shadow play among the in-terior spaces to add a monumental visual dynamic to the project. This dynamic was used to reinforce the essence of the creatures created by the client.

VIEW LOOKING NORTH

KINETIC SKIN DETAILSTHE JANSEN HO

USE DEN HAAG, NETHERLANDS

VIEW LOOKING WEST


, NETHERLANDS

PLANSKINETIC ROOF SYSTEM

The system developed here involved a kinetic louver system used to capture wind and transfer that energy through a fluid wave movement down the arms and into the axle. This system encases the entire roof of the residence. As the axle spins, so do magnets that work to charge a large battery supply to allow for the client to capture useful energy.

SYSTEM


, NETHERLANDS





MULTI-MODAL CENTER

DIGITAL SCULPTURECONSTRUCTION TECHNOLOGYico

nic

The Arkham House was a library designed for the Wall Street area of New York City that served to house collections of Gothic Art and Literature. In addition, the design had to adapt and respond to the building shell provided. The shell that was left was due to the previous building having been burned and what had remained was only the brute shell.

HOUSE FOR THE GOTHIC ARTS

THE ARKHAM HO

USE LOW

ER MANHATTAN, NY

VIEW LOOKING SOUTHWEST

The building sits in the financial district of Manhattan, while the structure is under conditions that are heavily manipulated by the surrounding buildings. The neighboring highrises block the majority of sunlight, therefore the sunlight reaching the interior of the building is attributed to the ambience given off of the facades of the northern and eastern surrounding structures.

THE ARKHAM HO

USE LOW

ER MANHATTAN, NY

The form finding of the Architecture articulated from the process of sculptural representation with found natural components as derived from the conceptual undertaking of the project. This experimentation led to different structural and spatial experiences that came to heavily influence design decisions through the final development. In addition, storyboarding through spacial sketching (on the left) served to drive experiential sequencing throughout the design.

THE ARKHAM HO

USE LOW

ER MANHATTAN, NY

READING ROOM

The conceptual undertaking drove the aesthetic to become very overwhelming and grotesque to serve as an icon to the city. With the program determining its own unique quality, the form presented itself through structural integration to create a presence of fantasy and ex-citement.

THE ARKHAM HO

USE LOW

ER MANHATTAN, NY

MAIN LOBBY

The interior quality of the spaces served the mem-bers by inviting them inside the interworkings of more than an Architecture, but a being. Every detail of the space has been worked to become an extension of fluidity within the space. The hypothesis being that the members would succumb to the metaphysical pres-ence of the Architecture.

MAIN LOBBY

PLANS

LIBRARY STACKS

THE ARKHAM HO

USE LOW

ER MANHATTAN, NY

EAST ELEVATION

NORTH ELEVATION

THE ARKHAM HO

USE LOW

ER MANHATTAN, NY





MULTI-MODAL CENTER

DIGITAL SCULPTURECONSTRUCTION TECHNOLOGYad

aptiv

e

The design guidelines given involved creating an art installation on a property in an area which had become an industrial deposit. The reaction that stemmed involved a sense of vengeance against humanity for its destruction of nature. The idea involved the merging of human curiosity into a resulting experience that would end in an overwhelming sense of confusion. This was created with the pushing and pulling of pathways from the top of the site to the bottom to have the user feel as if they are at the edge of tragedy, but what would continue to carry them would be there unrelenting curiosity. As they enter the bottom into the cave like space they would become lost within the maze of dense vegetation, thus resulting in a overwhelming sense of confusion and fear.

SECTION

ARCHITECTURAL INSTALLATION C

HARRETTE

PURITY

THERMAL BATH AND SPATHERM

AL BATH AND SPA UTAH LAKE, UTAH

The Thermal Bath complex was designed to harness passive systems to purify the bodies of those who inhabit its spaces. The complex has been designed to provide a rich experience where one can create a new moment in their lives through the process of purification.

PURITY

The Architectures conceptualization pulled from the idea of time and space to transcend the constraints the users “landscape”. This served as a determinent of the designed moments, but lead to a cohesive idea of achieving purity through a sense of timelessness.

THERMAL BATH AND SPA UTAH LAKE, UTAH

THERMAL BATH COMPLEX

The design of the site following the conceptualization of the Architecture continued along with the idea of the Archaic and the intention of reconnecting with primitive natures. The connection of the Architecture to the public became distanced, but allowed for the space to become part of a discovery.



MEDITATION SPACE

GREEN SPACE

STEAM ROOMS

LOBBY

THERMAL BATHS

BUILDING SECTION


BATH

THERMAL BATH SYSTEM

ADAPTIVE PANELIZATION

STEEL STRUCTURE

THERMAL POOL

WATER DELIVERY

The skin panelization was formulated to allow for the elements to penetrate the shell of the Architecture to heighten the senses already stimulated by the environment. The system was created to respond to wind and solar conditions at a macro and micro scale. At the macro scale, the panels would serve to open towards predominant wind directions, thus creating a patternized light effect within the spaces. In addition, at the micro scale the user is given the capability to interact with the system at any given location. The user is given the ability to override the systems control only at the specific location of that user to accomodate for qualitative and sensoral needs.

v

STEAM ROOM SYSTEM

GLAZING

SPACED PLANKING

FILTERED LAKE WATER

HOT COIL SYSTEM

The Steamroom uses a system which from which thermal water is filtered into the pool holding the water. From there the water is heated by the hot coils to cause the water to turn to steam. As the steam travels upward, it squeezes through the spaced planking, thus allowing for the temperature and humidity of the space to buildup. As this process continues, water is filtrated back on out to the lake, thus creating a recycled water treatment system.






MULTI-MODAL CENTER


versa

tile

TYBEE ISLAND GATEWAY The Tybee Island Gateway Bridge involved

the programming and designing of a complex intended to have the community become involved amongst affairs between natural ecosystem and the human environment. ETERNAL

AQUATIC EDUCATIO

NAL CENTER TYBEE ISLAND, GA

ETERNAL

McQueens Island contained not only rich ecology, but in depth and concealed history. With the program of the design revolving around marine wildlife, the elements chosen to drive the concept were derived from the marine life found at the site.

SITE

AQUATIC EDUCATIO


The conceptualization of the design focused on the biological elements of the site and the inter-action of those elements amongst each other. Spacial organization and formation were derived from morphological qualites of marine life and vegetation. The studying of the sites elements provided that with the eternal cycle of life and death, experimentation within the realm of evolution will never cease to persist

AQUATIC EDUCATIO


The bridge system was created to serve multiple programs among automobile traffic, locomotive traffic, bicycle and pedestrian traffic. The diagram to the left illustrates a section of the system and which programs occupy each bridged strand. Rather than combining all of the programmatic needs into one massed bridge system then dispursing each program back out towards its intended path, the design not only continues the original paths of each program, but enhances the experience of each bridged strand. The bridges are woven around each other and take use of a conceptual structural system that takes advantage of tension produced by structural bowing of members. Where members seem to almost intersect, they are buckled together to hold the bowing of the member in place.

TYBEE ISLAND GATEW

AY BRIDGE

AQUATIC EDUCATIO


LONGITUDINAL SECTION

LONGITUDINAL SECTION

AQUATIC EDUCATIO


The Architecture has been inspired by the evolution of primitives into an experiential entity. The form consists of two arching structures: Experiential and Serviced. The experiential space uses an atrium system that extend from the bottom floor up to translate the experience into an apparent transition of hierarchys (illustrated in the section and plans). With the helix structure of the Architecture the building systems have been implemented to be contained within the structure, therefore eliminating the intrusion within the experience.

BUILDING SYSTEMS

AQUATIC EDUCATIO


The procession of the public throughout the space was directed to educate people about the procession of biological growth among the marine life of the area and rare marine species. The procession followed in this sequence:

The BeginningBirthInfantryEarly DevelopmentMatured Development

AQUATIC EDUCATIO


COMPOSITE SKIN SYSTEM

MESHED APERTURE

WATER COLLECTOR

COMPOSITE SKIN

With the deformations applied to the skin of the building form, the space becomes conceived to allow for the collection of water and nesting of local wildlife. In addition, to the deformations serving the wildlife, the meshed openings allow for light to penetrate the interior. The building shell consisted of layers of Carbon Fiber to create a dense barrier and provide support for itself. The supports were to be created through the extra layering of material where structural elements were needed.

AQUATIC EDUCATIO


The structure system harnesses the use of an arched helix, while also holding the plumbing, ventilation, electrical, and elevator system. The elevator system consists of a track system and a gyroscopic balancing mechanism to allow for the travel of the pod throughout the winding structure.

AQUATIC EDUCATIO


AQUATIC EDUCATIO


biom

imeti

c





MULTI-MODAL CENTER


MORPHOLOGY

CHARLOTTE MULTI-MODAL CENTER This design is a proposal for a transit hub in the City of Charlotte, North Carolina. The hub serves the city by accomodating retail stores, restaurants, parking structures, office spaces, and bus and train terminals. With the city requiring the iconic nature of the design due to an overhaul of sustainable and aesthetic transformations taking place, the conceptual undertaking moved into a bio-mimetic aesthetic and structuring.

MORPHOLOGY MULTI-M

ODAL TRANSIT C

HARLOTTE, NO

RTH CARO

LINA

The site was located on the outskirts of the once industrial area of Charlotte, North Carolina. The projects context consisted of many different variables that were taken into consideration as the diagrams illustrate. These variables documented account for the information that was processed throughout the design. The formal characteristics unveiled demonstrate carefully each reaction to each one of these variables.

MULTI-M

ODAL TRANSIT C

HARLOTTE, NO

RTH CARO

LINA

SITE SECTION

Through understanding the sites context the conceptual pieces making up the Architecture were derived. Building systems were heavily focused upon to create oppurtunities for passive systems to become realized.

MULTI-M

ODAL TRANSIT C

HARLOTTE, NO

RTH CARO

LINA

SITE PLANENTRYWAYS

BUS STOP

STREET CAR

PARKING

RESTAURANT/RETAIL

PODIUM

ONE-WAY TRAFFIC

TWO-WAY TRAFFIC

URBAN ART PARK

MULTI-M

ODAL TRANSIT C

HARLOTTE, NO

RTH CARO

LINA

SITE S

ECTIO

N

The intent for construction is for the structure and envelope to be created through a three dimensional printing apparatus that has been fuzed with the capability of applying a number of components at each necessary step to ensure the integration of system elements. This allows for a quick and efficient construction that could vary the minimization of workers on site.

OPEN SPACE

OPEN WAITING AREA

CONCOURSE PLATFORM

VENTILATION AREA

BUS STATION

MULTI-M

ODAL TRANSIT C

HARLOTTE, NO

RTH CARO

LINA

CLOSED-CELL METAL FOAM: - A solid metal with cellular structures containing a dense amount of gas-filled pores

Characteristics:

- High stiffness - Fire resistant - High energy absorbance - Low thermal conductivity - Low magnetic permeability

ALGAE BIOREACTORS

CONCOURSE SHELL

STRUCTURAL BRIDGING

STRUCTURAL CAPILLARIES

The axon here represents how the systems work together and reveal their arrangement. The tentacle structural feature of the site consists of the metal foam material with an arrangement mimicing voronoi cellular grids to create strength and stability as seen in the detail section to the left.

STRUCTURAL CAPILLARIES

METAL FOAM

STRUCTURAL PORES

ELECTRICAL

PLUMBING

BRIDGING SYSTEMS INTEGRATION

MULTI-M

ODAL TRANSIT C

HARLOTTE, NO

RTH CARO

LINA

MULTI-M

ODAL TRANSIT C

HARLOTTE, NO

RTH CARO

LINA

METAL FOAM STRUCTURE

GLAZING

ELEVATOR

EGRESS

FOUNDATION

MULTI-M

ODAL TRANSIT C

HARLOTTE, NO

RTH CARO

LINA

Research was undertaken to determine appropriate methods for hybridization of biological systems and building systems. This section demonstrates the method by which a cullular structure would become implemented within the design.

STRUCTURAL BRIDGING

ALGAE MEMBRANE

STRUCTURAL CAPILLARY

* USED TO FILTER IN CO2 TO ALGAE MEMBRANE *

+ THERMAL BUFFER

+ LIGHT DIFFUSER

+ REDUCES AREA CARBON DIOXIDE

+ CAPABLE OF PRODUCING BIOETHANOL AND BIODIESEL

ALGAE BIOLUMINESCENT MEMBRANE

Used as a solar shading device for the public on the concourse and as a diffuser for the public inside of the concourse, the mem-branes contain algae to also create energy and reduce carbon dioxide for the trasport hub.

MULTI-M

ODAL TRANSIT C

HARLOTTE, NO

RTH CARO

LINA





MULTI-MODAL CENTER


expe

rimen

tal

The method of production involved the slicing of the geormetry from one axis. The construc-tion of the model simply worked through a process of stacking after running the entire model through structural dowel rods.

DIGITAL SCULPTURE RHINO

CERO

S

This project involved a process of contouring geometries through Rhinoceros software for the geometries to be transferred into a processing software that processes the form into layers from which the geometry can be revealed through the tooling of a CNC router machine.


CERO

S

AXON

With the development of a surface and form an implemen-tation of methods to produce the geometry, facetted forms serve as an optimized way to produce geometries. After the form has been panelized by a pattern, the flattening and labeling of the pieces must be applied. With the extension of tabs projected from the perimeter of each piece the form gains structural rigidity as it goes through construction. The model to the right provides an example of this as one can understand how the forms ge-ometry holds ture.


CERO

S

The development of this structure involved a simplistic topological geometry that had been captured by a grid system from which the structural location was derived. The system involved the interlocking of structural mem-bers


CERO

S

Incorporating a technique of folding involved with surface can create tectonic application among built architectures. However, the addition of structural elements can be used to rein-force this application in a manner of aesthetic production or stress reduction.


CERO

S





MULTI-MODAL CENTER


techn

ical

RENOVATION PROPOSAL The project required the documentation of the residence at its current state, while also providing documentation in regards to structure, assembly detail, elevation, and plans for the redesign. With the house being restructured and brought up to standards, the house was investigated thoroughly to create accurate documentation.

CONSTRUCTIO

N TECHNOLO

GY

9'-1

0"14

'-2"

2'-8

"

15'-9

"

6"

5'-9

"

6'-3

"

24'

WEST

EASTO

RIGINAL

24'

10'-9

1 2"1'

-11 2"

11'-7

"

26'-038"

5'-9

"8'

-31 2"

5'-9

"6'

-3"

40'-7"

23'-6

"

CONSTRUCTIO

N TECHNOLO

GY

24'

NORTH

WOOD FRAMING

BEDROOM

BEDROOM

LIVING AREA

UP

24'-8"

6'-834"

2'-1014" 3' 3'

1'-414"

1'-3 34 "

6'-7 34 "2'-7 12 "

2'-712"

3'-0 58 "

3' 3'

3'-2"3'-2"

DN

�ABINE�

A�NING

25'-10"

40'-7"

9'-178"2'-6" 2'-51

2"2'-6"

2'-7 12 "2'-6"

2'-6"

2'-5" 2'-4" 2'-6"

2'-6"2'-6"

2'-2"

3'-8 34 "

13'-10"

14'-2"13'-10"

10'-8"

10'-11"

14'-3 34 "

13'

10'-2"

14'-8"

9'-7"

4'

3'-1178"

3'-6"3'-4 12 "

3'-5 12 "

2'-114"

4'-9"2'-912"1'-8"9'5'-9"

1'-10 34 "3'-11"

8'-11 34 "3'-5"

1'-11" 7'-7" 10" 10" 15'-1178" 6'-2"

2'-7"7'-11 12 "

2'-1"6'-0 12 "

2'-1 12 "

4'-9"5'-8"

2'-8"

2'-778"

2'-6"

2'-8"

2'-8"

2'-8"

1'-1112"

1'-1112"

2'-8"

2'-11"

BEDROOM

BEDROOM

BEDROOM

BEDROOM

LOBB��LO�E� �LO�E�

BA��ROOM

FIRST FLOOR

FOUNDATION POSTS

BEDROOM

BEDROOM

LIVING AREA

UP

24'-8"

6'-834"

2'-1014" 3' 3'

1'-414"

1'-3 34 "

6'-7 34 "2'-7 12 "

2'-712"

3'-0 58 "

3' 3'

3'-2"3'-2"

DN

�ABINE�

A�NING

25'-10"

40'-7"

9'-178"2'-6" 2'-51

2"2'-6"

2'-7 12 "2'-6"

2'-6"

2'-5" 2'-4" 2'-6"

2'-6"2'-6"

2'-2"

3'-8 34 "

13'-10"

14'-2"13'-10"

10'-8"

10'-11"

14'-3 34 "

13'

10'-2"

14'-8"

9'-7"

4'

3'-1178"

3'-6"3'-4 12 "

3'-5 12 "

2'-114"

4'-9"2'-912"1'-8"9'5'-9"

1'-10 34 "3'-11"

8'-11 34 "3'-5"

1'-11" 7'-7" 10" 10" 15'-1178" 6'-2"

2'-7"7'-11 12 "

2'-1"6'-0 12 "

2'-1 12 "

4'-9"5'-8"

2'-8"

2'-778"

2'-6"

2'-8"

2'-8"

2'-8"

1'-1112"

1'-1112"

2'-8"

2'-11"

BEDROOM

BEDROOM

BEDROOM

BEDROOM

LOBB��LO�E� �LO�E�

BA��ROOM

CONSTRUCTIO

N TECHNOLO

GY SECOND FLOOR

WOODEN STRUCTURE PLAN

SHEATHING

FOOTING

STUD

8X8 CMU

ANCHOR BOLT2X8 EDGE BAND

2X8 JOIST

FOOTING

CONCRETE LEDGER

SILL PLATE

FOUNDATION DETAIL

CONSTRUCTIO

N TECHNOLO

GY

The proposed renovation project consisted of an accurate set of drawings from the previous design that were created after thorough measurements of the building were undertaken. Once the drawings of the original scheme had been completed, new drawings were creat-ed for the proposed renovation.

INTERIOR CEILING LEVEL

INTERIOR SECOND FLOOR LEVEL

ENGAGED COLUMNS

STUCCO

CMU FOUNDATION

FIXED WINDOW

DOOR

28'-2

"

10"

14'-9

"

11'-7"1'

24'-8 116 "

10"14'-9"

11'-7"1'

28'-2"

24'-8 116 "

INTERIOR CEILING LEVEL

INTERIOR SECOND FLOOR LEVEL

ENGAGED COLUMNS

STUCCO

CMU FOUNDATION

FIXED WINDOW

DOOR

WEST

EASTPRO

POSAL

INTERIOR CEILINGLEVEL

INTERIOR SECONDFLOOR LEVEL

ENGAGED COLUMNS

STUCCO

CMU FOUNDATION

FIXED WINDOW

11'-7"14'-9"

10"1'

28'-2"

CONSTRUCTIO

N TECHNOLO

GY

INTERIOR CEILINGLEVEL

INTERIOR SECONDFLOOR LEVEL

ENGAGED COLUMNS

STUCCO

CMU FOUNDATION

FIXED WINDOW

14'-9

"10

"11

'-7"

28'-2

"

40'-0 34 "

NORTH

SOUTH

STUCCO

FLOOR FINISH

INSULATION

GYPSUM BOARD

FLASHING

STUCCO

SHEATHING

GYPSUM BOARD

OSB PLYWOOD

THRESHOLD

DOOR

DOOR JAMB2X4 KING STUD

2X4 JACK STUD

CONSTRUCTIO

N TECHNOLO

GY

20'-7"

27'-1

9 16"

2'-7"

5'-7

"

6'-8

"

38'-1"

27'-1

9 16"

5'-7

"

2'-7"

WEST NORTH

DN UP

TOILET

SHOWER

SINK38'-05

16"

22'-7516

"

10'

15'-11316"

FIRST FLOOR

CONSTRUCTIO

N TECHNOLO

GY

UP

S

BREAKERREFRIGERATOR

STACKED WASHERAND DRYER

STOVE

SINK

SECOND FLOOR