graduate portfolio - john mccampbell

J o h n M c C a m p b e l lG r a d u a t e P o r t f o l i oR I S D M A r c h [ 2 0 1 3 ]

John C. McCampbell7 Valle Drive /153 Transit StreetBatavia, New York 14020 /Providence, Rhode Island [email protected] / [email protected](585) 409-4273

Websites:musicforarchitecture.blogspot.com

Table of Contents

00 [Resume]

01 [Fall 2010] Design Principles Professor Nick Depace Manual Representation Professor Kelly Wilson

02 [Winter 2011] Performance Rendering Thomas Jonak

03 [Spring 2011]

Architectural Design Principles Professor Silvia Acosta

04 [Fall 2011]

Urban Design Principles Professor Jim Barnes

05 [Winter 2012] Ecuador Design Build Professor Olga Mesa

06 [Spring 2012]

Providence Train Station Professor Jim Barnes Foundational Topics in Design Computation Professor Joy Ko

07 [Fall 2012]

Avante Garde Never Gives Up Professor Mikolaj Szoska

08 [Professional Work]

Schwartz/Silver Architects

Nevin Associates

Big Tree Furniture

Down to Earth Approach

09 [Personal Work]

Sculpture Drawing

Resume

Education:

Rhode Island School of Design, Providence, Rhode IslandGPA: 3.586 (current)Master of Architecture (M.Arch), 2013 Candidate

State University of New York at Buffalo, Buffalo, New YorkGPA: 3.861Bachelor of Arts, Art History major, Architecture Minor, May 2009Honors: Randorf Scholarship for Art History Excellence (3 students annually)Tau Sigma Honor Society, MemberDean’s List (every semester)

State University of New York at Purchase, Purchase, New YorkCourse work in Sculpture and Fine Arts

Experience:

Darwin D. Martin House, Buffalo, New York, 2007 - 2010Educate visitors on Prairie Style architecture; organize tour schedules.

Down to Earth Approach, Los Angeles, California, May 2001 - August 2007Performed on international tours including the Van’s Warped Tour 2006; co-wrote songs for two albums; released two albums internationally, Another Intervention, August 3, 2004, Come Back to You, July 7, 2007, through Vagrant Records.

Internships:

Schwartz/Silver Architects, Boston, Massachusetts, June 2012 – September 2012Design development and research for an expansion project at Princeton University. Responsible for test fits of existing building, project renderings, weekly meetings, and the development of a 3d computer model. Website: http://www.schwartzsilver.com

Big Tree Furniture (Master Craftsman Steven Oubre), East Aurora, New York, June 2011 – August 2011Worked on several restoration projects for the Darwin D. Martin House in Buffalo, New York Website: http://www.wordworth.com/big_tree.htm

O-AT-KA Milk Products Co-Op. Inc., Batavia, New York, June 2009 – August 2010, June 2011 – August 2011, Salary EmployeeResponsible for design of various large expansion projects, direct communication with equipment vendors, plant supervisors, and project architect. Website: http://www.oatkamilk.com/

Nevin Associates, Beloit, Illinois, June 2010 - August 2010, Salary EmployeeWorked on a series of process and instrumentation drawings (PID) for a major plant renovation. Worked directly under Bharat Bhatt, the company’s principle engineer.

smartDESIGN Architecture, Batavia, New York, May 2007 – August 2007Drafting and design work on residential and commercial projects. Website: http://www.smartdesignarchitecture.com/

Assistantships:

Peter Tagiuri, RISD Fall 2011Teaching Assistant for World Architecture. Ran a discussion group with twenty students to review readings, work on projects, and prepare for exams.

Jonathon Knowles, RISD Spring 2012Process and instrumentation drawings for RISD power plant. Analysis and documentation of RISD’s main power plant and construction of working drawings for the operators in the plant.

Anne Tate, RISD Fall, 2012Super Teaching Assistant for all six sections of Urban Design Principles. Responsible for the organization of student work, mediating between faculty and the student body, and final book formatting.

James Barnes, RISD Fall, 2012Providence Infrastructure research assistantship. Research for a future article on the development of Providence, Rhode Island’s infrastructural components, with map-making, analysis, and documentation citing for a final publication.

Applicable Skills:

Autocad, Revit, Rhino, Illustrator, Photoshop, Python (scripting), Grasshopper, V-Ray, Arduino, Adobe Premier, Final Cut, Apple iMovie, office experience, hand-drafting, model-making. 00

Design Principles [Core Studio] Professor Nick DePace

Around the year 1952, American art critic Harold Rosenberg described the canvas as “an arena in which to act.” The methodical approach to architectural design espoused in Design Principles allows Rosenberg’s canvas to become El Lissitzky’s Proun, “the station where one changes from painting to architecture.” Wayfinding explorations in the x,y, and z coordinates produce work that alternates between the product and the prototype continuously. Drawings and models court the words documentation and developmental in an ongoing attempt to construct a logical system of expression and functionality. On the first day, each student was assigned a knot, and a piece of rope. The semester project was to maintain the functionality of the original knot throughout material changes and environmental conditions.

01 [Fall 2010]

01

Views of the first paper-folding exercise (Woven Module)01

Diagram of the order of operations for tying the rolling hitch knot

Diagram of standard application of rolling hitch knot around a ring

These sketches detail a series of early models that relied on soaking paper strips in a mixture of glue and water to create images of the knot that would describe its process of implementation.

Early diagrams and sketches01

Sketch of the completed knot around a metal ring

The intention of Design Principles is to allow each student to investigate a systematic approach to developing an architectural language. Through drawing and model-making, we began to understand the logic behind our assigned knot; what its functionality allowed and prohibited. These early investigations led to architectural extrapolations, derived from the original knot, but allowing for inhabitation and a greater degreee of spatiality and user function.

[Process]

Diagram of hand usage during tyingEarly diagrams and sketches

01

Sectional diagram of the module connection

[Hanging Model]

After the system of connection was established, each phase of the project tested the durability and functionality of the system, its limits. The first model had to be suspended, which brought up issues of gravity, how the form would respond to this force.

Detail of connection Six modules aggregated

Transparent diagram of connection

01

Final hanging model

01

The second model involved attaching the figure to an unrelated ground. This process tested the adaptability of the design and our ability to integrate.

Model plan

Model elevation Diagrams of figure/ground connection

[Figure/Ground Model]

01

Diagrams of figure/ground connection Final ground model

01

[First Material Change]

The third model was a full departure from the previous variations. The site was conceived as an equal representation of the project driver. The mechanisms used while working in bristol were adjusted to enable stepping throughout the form. This was carried on by terracing the site, enabling an integration between the site and proposal.

Model elevation and section Site plan projection

01

First chip board modelSite plan projection Aerial View

01

[Final Model]

The final version of the model was constructed out of heavier chip board. The system had to adapt to this change, since bending was no longer an option. The weaving aspect was disgarded in favor of a network of slotting.

Model section

Plan and sectionSection and connection diagram

Section and elevation01

Final chip board modelSection and elevation

01

Manual Representation [Fall, 2010] Kelly Wilson

While the current profession dictates computer-aided design, drawing by hand is not archaic. It is the personal connection from the hand to the pencil to the paper that triumphs over the keyboard. Heightened levels of sensitivity that allow you to feel line values in real time. In this studio, we explored perspective, drawing techniques, and working through plan and section. It is the precurser course to Digital Representation, where the same techniques are applied to computer drafting and modeling.

01 [Fall 2010]

01

Blind contour still-life drawing

01

Diagramatic drawings of water in vessels

Manual Representation should be viewed as the intellectual counterpart to Design Principles. The later involved inference on the part of the student to decide what something could represent; whereas, Manual Representation involved diligence in interpreting what the eye could actually see. The core idea behind this studio was not to interpolate, but to interpret. The objects did not change in scale or proportion. We were allowed to use drawing to depict them in ways the eye could not.

[Analysis]

01

Ground Plan Aerial View

Section S-4 Section S-2

Elevation Section S-4 Section S-301

Plan and perspective of a fictive space

01

Model drawings

01

Performance Rendering [Winter Session 2011] Thomas Jonak

This project is a design for an upscale mixed-use building featuring rainwater collection, the development of low-energy systems to implement its reuse within the structure, and the establishment of a harmony between building systems and the user’s experience within the structure. The layout is a 13,000 sq. ft. square structure with a central courtyard, periphery walkway and rooftop garden. A restaurant and retail stores were located at the ground level, with office space in the upper levels. Framing the exterior walk were four isolated structural corners, angled away from the inner structure. These corners supported a tensile skin of solar panels, sloped to direct rainwater towards catch basins located at the ground level. These four skins were woven at 90 degree angles producing a pavilion with a central opening over the courtyard.

02 [Winter 2011]

02

Section through proposal

02

Original building renderingsSection through stairwell

02

Project renderingsOriginal building renderings

02

Architectural Design [Spring, 2011] Silvia Acosta

(Studio-wide Collaboration)

Architectural Design was a collaborative project that brought all 70 students together to design and construct a project in Pawtucket, Rhode Island. We began the semester working on individual projects and slowly moved towards a floor-wide consensus on the final project: a community garden and gathering place.

03 [Spring 2011]

03

Site plan

03Project photographs

Elevation view of the river side pavilion

Preliminary project renders

03

South elevation of garden space

West elevation of garden space

East Elevation of lower pavilion

North elvation of terraced walkway and lower pavilion

West elvation of lower pavilion with outdoor fireplace

03

$ $ $ $ $ $

$ $ $ $ $ $

03

$ $ $ $

$ $ $

$

time required to build & set

cost of materials

effort required to dig & build

$ $ $ $

$ $ $

$


cost of materials


$ $ $ $ $ $

$ $ $ $ $

$

time to fabricate & manufacture

cost of additional materialsbeyond wood members

amount of work that isin-house prefabrication

amount of work that ison-site construction

skill level required to craft

skill level required toerect

03Joinery connections

$ $ $ $

$ $ $

$


cost of materials


Architectural Design [Spring, 2011] Silvia Acosta

(Personal Work)

The individual work completed for the Architectural Design studio involved proposing a buildable work of architecture, that could be constructed within the limits of a semester. We began working individually with a site on the opposing side of the Blackstone River in Pawtucket, RI, and eventually tackled the site the full studio would engage. During this transition, we began pairing into smaller groups of four, eventually forming one larger group from each of the six sections. This work details the output that developed prior to the full studio collaboration.

03

Mirror Study03

The first proposal site was located on the opposite side of the Blackstone River. It was a long, narrow plot that we were to fill with a program. Dividing the site into a grid allowed for a rhythmic placing of both sculptural and function structures. The program was still a public garden, but the dynamic sloped roofs allowed the catchment feature to become visual, and a part of the artistic expression. To encourage usage, a public walking trail (1/4 mile) was placed at the perimeter.

[Front Street Proposal]

Riverside elevation

Ground plan

Preliminary site model03

Ground plan & sections of main gathering space

Site sections Preliminary model of main gathering space

Preliminary model of garden and public theatre

03

Alternative proposal plan for main structure

Study Model

Model of garden beds with seating feature

03

Site plan study modelsOutdoor furniture proposals

03

Urban Design Principles [Fall, 2011] James Barnes

(Project 3)

The Jewelry District of Providence, Rhode Island has a rich history of early industrialism. Its original layout consisted of smaller shops and manufacturing. As the industry has waned, so has the neighborhood. Recently, Brown University has begun developing the area into a medical campus. The resultant area has become a hetrogeneous mix of larger and smaller properties. This studio project was to propose living spaces for three different interests: students, visitors, and senior citizens. Each new proposed building had to satisfy an occupancy requirement of 50 persons, and a design challenge to integrate itself into the existing site.

04 [Fall 2011]

04

Site migration map

04

Site plan showing connection to new pedestrian bridge Migration diagram

Migration studies

04

1917 NOLI MAP

EXISTING BUILDINGS

PROPOSED NEW (APPROX.)

Proposed (Approx.)

1917 Noli Map

Existing buildings

Site plot

Diagram of project componentsProposal models

04

The idea of mapped memory was the driver for this proposal. Beginning with maps of the site during the early 1900s, the intention was to mix old building scale and new scale. Since the existing buildings were much larger than their historic counterparts, the proposal was to use the three new programs to mediate between these different forms. The idea of having a site migration that resulted in the current placement of structures allowed a formal language. Sweeping, migratory paths allowed the new structures to have curves, and to catch the historic forms at various levels. When viewed from the top of the proposed hotel, one could view a 150 year history being held in suspension.

[Process]

(50 beds minimum)

The decision to have a community of retired persons living amongst students and visitors to the city presented interesting opportunities within the overall design. Since there was an existing building bisecting the site, it seemed logical to use that structure as a privacy screen; however, the reappropriation of the building’s rooftop as a public park accessible to all three new projects allowed for complete integration. Consequently, the retirement community could be as involved as they felt comfortable with the security of a private dwelling space close at hand.

[Retirement Community]

Building diagram

1917 structures

Proposed forms

Ground floor

Second floor04

Third floor

Fourth floor Rendered views04

(50 beds minimum)

The logical location for the hotel was at the site’s highest point. The ambitious site plan would be completely visible from the top floors of the hotel, which were designed as public spaces. Since the entire proposal was centered around the idea of a site’s memory and its present reality, the hotel was designed with a historic look. Referencing such precedents as the Providence Biltmore, the hotel was to function as the icon on the site, which would preside over the mash-up occuring below.

[Hotel] Restaurant

Ground Floor

Gym

Kitchen

Entry Conference Room

Conference Room

Conference Room

Building diagram

1917 structures

Proposed forms

Top floor

Third Floor04

Rendered views04

(50 beds minimum)

The student living center was considered as an integral part of the Providence, Rhode Island Knowledge District, which is centered on Brown University’s medical campus. The street side looks out on a parking garage, which was problematic; consequently, it was necessary to handle the street directly and design the structure as a large glass facade. The idea was to plant trees reaching to the height of the facade and use them as directors to the street below, diverting people away from the less desirable views. The relation was between activity within the building and activity at the street.

[Student Living]

Building diagram

1917 structures

Proposed forms

Ground plan

04

Rendered viewsFirst Floor Second Floor04


Project 2

The first project of the semester involved a fictive neighborhood. Our task was to divide the space, to give a 1,200 square foot plot of land for each student in the studio. From there, we would each design a single, mixed-use building, considering issues of access and connectivity between the various structures. In order to begin understanding the spatial opportunities, I chose to place a series of images within the larger neighborhood space to look for networking options.

04 [Spring 2011]

04

Site networking generator plans

04

The forming of the building was based on musically-derived ideas. The building was situated on the corner of two-way intersection. Each floor represented a musical mapping of one of the other three buildings on the intersection, with the fourth floor being a response. By translating proportions and lengths into intervals and durations, a playable, performative structure was created.

[Musical Mixed-Use]

Project renderings Site model04

UP

DN

UP

DN

UP

Ground plan

First Floor

Second Floor

Third Floor

Parking RetailSpace

Building Model

04


Project 1

The first project of the semester dealt with site analysis. We were given the city of Providence and instructed to define the location of greatest interest. Working in a group of three, we began to investigate the issue of flux within a given time frame. We wanted to locate the area that saw the greatest rise and fall of inhabitants throughout the week. Kennedy Plaza, the public bus station, is located downtown at the business district. It brings in a massive increased during the work day, but is completely empty by six at night. The major element that we chose to focus on was a series of public accessways through the major business buildings, which did not function as a truly public space. It was our hope that once these spaces became a part of the urban fabric, the distinctions between a bus user, a business person, and a pedestrian would be blurred; as would the issues of public and private space.

04 [Spring 2011]

04

Elevation and plan of greatest area for integrated private and public space:Kennedy Plaza (a bus depot) and the Providence skyline

04

Long section through Kennedy Plaza and the public fare

04

Imposed Urban Block

After imposing a regular grid along the north/south axis, new concepts of the urban block developed.Each new block contained some public and private spaces, and the importance of finding their connectivity emerged. Above and below represent density maps, which where used to determine thegreatest areas of opportunity for these connections between publc and private.

Private space

Large public room

04

Visitor’s Pavilion, Pile, Ecuador [Winter Session, 2011] Olga Mesa

Objective: Construct an information space for the people of Pile that will celebrate the town as a center for the fine hat weaving of Panama hats.

Response: Using native materials, we designed and constructed a simple structure that greets visitors with a sloping roof and represents the weave of the hats through its floor and wall patterning.

05 [Winter 2012]

05

05

Project photographs

SectionFloor Plan

05

05

Project photographs

Providence Train Station [Spring, 2012] James Barnes

The SOM designed Providence Train Station exists within the city as a singular component of a failed urban plan. The master plan conceived by SOM was not inacted in its totality, which cut off the station from the greater downtown area. Our proposal had to address these issues and design a new station. The project required that we pay attention to urban connectivity, designing a new station that would be intergrated into its urban condition.

06 [Spring 2012]

06

Demolition or Alteration

Proposal (Approx.)

Key Structures

Music and Performance

Rhode Island State House

Veteran’s Memorial Auditorium Rental Property (demo)Fire Station (Altered)

Woods Gerry Gallery

Christian Science Church

Connection between the existing sources of culture and the proposed structures was critical to the development of the project. Since the main project driver was the establishment of a downtown music school, it made sense to connect that new space to older educational institutions.

[Site]

Mary K. Hail Music Mansion

06

[Form & Function]

Site map (preliminary)06

The first proposal for the Providence Train Station was based on two drivers: formal considerations that reflected its location, and functional aspects of the surrounding buildings. It was important to find a way to foster a greater sense of community and to express that desire formally in the new proposal.

The Cove

Early proposal for site

Train station

Public theatre

Perspectie sketches

Early layout of space functionsDiagram of uses

06

Train station

Site proposals (formal)06

Form test models

06

Original station prototype

Test folds Aperatures

Original test of station entry

[Train Station Proposal]

Ground Plan

Section

Aerial view

The first train station did not have to incorporate a secondary program; consequently, the design had a greater formal presence. It was designed to reflect a simple idea of a building that made two gestures: one to the Rhode Island State House, and the other to a large apartment building behind the station. This was achieved by a simple v-fold, which allowed control over the heights and angles of each wing. Dividing the v-fold’s fulcrum point into solids and voids allowed for aperatures for the letting in of natural light.

06

Detail view of aperatures

View from under the roof

Site plan06

[First Site Proposal] Taking the larger site into consideration, the gestural quality of the train station changed. It was reoriented to face the new proposed music school, which was located to the West of the station. The intention of the project began to emerge as a relationship between these two public buildings. The first proposal shows this idea in the raised ‘head’ of the station.

Site plan

Sections

Ground plan (train station)06

First proposal site model

06

[Final Site Proposal]

50 -

100

300

- 350

200

- 250

250

- 300

1 - 5

0

350

- 400

The final proposal utilized scripting to design the curved structures. Recordings of incoming trains were played against the sounds of big band jazz, which yielded competing sound waves. These where then transfered into visible waves and oriented along the site. This produced a visual quality of tension, or interplay amongst the two proposals. It also provided a formal language for the proposal in total.

Sound wave analysis (durational)

Section through school

06

Diagrams of site exchange

Diagram of transformation from script to form Train station variations

06

Section

Ground plan of site

06

Project rendering

06

Foundations in Computational Design [Spring, 2012] Joy Ko

The purpose of the is course was to learn to use python scripting in Rhino. Our projects involved having a detailed understanding of how scripting actually works, and applying that knowledge to a useful end.

06

06 [Spring 2012]

Scripted spiral tower based on sun anglesDiagrams of fin variations

07

Avant Garde Never Gives Up [Fall, 2012] Mikolaj Szoska

Film offers many opportunities for representation. Working through architectural and urban ideas within this medium provides alternative solutions. The cinematic ideas of narrative, point-of-view, duration, and transition cross over into architectural thought. Completing these short films helped to develop an understanding of how space actually performs.

07

07 [Fall 2012]

05

Film still from The Dead End

07

The Dead End (2012) A short film about several mannequins locked up in a shut-down store. They are not aware of this reality.

07

Evolution of Form (2012) These frames are taken from our first film, which used photo-grams and photo-montage.

07

Making Cities is Easy (2012) The city is made up of blocks and people. This film reduced the complexities of the city to these two components.

07

This film depicts a performance by two people under a flexible material. The lighting system was run by an arduino microcontroller that responded to the distance of the material.

07

[Duke Ellington School of the Arts]

The final project for the Avant Garde studio was not prescribed. Since we were allowed to come up with a project relatable to the short films, I chose to analyze the film “Black and Tan Fantasy”, by Duke Ellington and apply the analysis to an addition to the Duke Ellington School of the Arts.

Diagrams of the movements in Black and Tan Fanatasy Site plan with proposal (diagrammatic)

07

Proposal plans

Formal study of proposal

07

Project model Layout optionsRepresentations of Black and Tan Fantasy

07

Interior renderings

07

Exterior rendering

07

Schwartz/Silver Architects, Boston, Massachusetts, 2012

I worked with a small group on an expansion proposal for Princeton University’s Humanities department. The project involved re-use of Green Hall, with several addition options. The major challenge of the project was creating a compelling argument to demolish the 1960s addition of a vivarium at the East side of Green Hall. Much of the work I was involved in dealt with test fits to prove the inefficiency of that building. I was also responsible for constructing a 3D model and several renderings of the final proposal.

08

08 [Professional Work]

Green HallPRINCETON UNIVERSITY

Schwartz/Silver ArchitectsSeptember 6, 2012

19281950196319882003

Basement Total

503 GSF9,940 GSF

540 GSF1,637 GSF

+12,620 GSF

19281950196319882003

1st Floor Total

19,267 GSF801 GSF

+20,068 GSF

19281950196319882003

2nd Floor Total

1,451 GSF417 GSF

5,346 GSF

+1868 GSF

19281950196319882003

3rd Floor Total

7,403 GSF417 GSF

+7,820GSF

Additions to 1927 Building +42,376 GSF

Green HallPRINCETON UNIVERSITY

Schwartz/Silver ArchitectsSeptember 6, 2012

Section

Section through existing structure

Historic additions Project renderings

08

TANKER RECEIVING

TRUCKTANKER

JUICE STORAGE

20,000 GALHFCS20,000 GAL

CIPS

CIP

R

CIPS

CIPS

INS

ULA

TED

& H

EA

T TR

AC

ED

FV-4

CIP SUPPLY

NC

100 GPM

JUICE STORAGE

20,000 GAL

CIPS

20,000 GAL

LT100

TE100

LT101

TE101

TE102

PI105

PI106

LT103

TE103

LT102

FV-1 FV-2 FV-3

GLYCOL SUPPLY

GLYCOL RETURN

& HEAT TRACEDINSULATED

PI104

HV

-120

HV-121

HV-122 HV-126

HV

-124

HV

-130

HV-125HV-129

HV

-128

PI107

TANKERTRUCK

PI101

PI103

INSULATED& HEAT TRACED

FM 100

FT

FM101

FT

FM 102

FT

FM 103

FT

HV-131

HV-132

HV-133

HV-134

POTABLEWATER

PI108

FM 104FT

PI102

HV-123

HV-135

AIR SUPPLY90 PSIG

POTABLEWATERSUPPLY

PI110

PI109

V-307

V-304

V-301

CIP BY-PASS LINECIP SWING

3"

2"

8450 GAL.TANKSTORAGESUCROSE

CHECK VALVE

FT3

FE4

3"HEAT TRACE & INSULATE

HEAT TRACE & INSULATEOUTSIDE

7.5HP, 250RPMVIKING MODEL LL4124B

MS502

P-110

INSIDE

HEAT TRACE & INSULATE



HV-157

3"

1.5"

CV-111

PI111

PI112

LT104

TO BATCH TANKSHFCS SUPPLY

LINE #1


LINE #2201

SUPPLY TO BATCH TANKSJUICE CONCENTRATE LINE 1

LINE #2


LINE #1201


LINE #2


LINE #1201


LINE #2


LINE #1201

TO BATCH TANKSSUCROSE SUPPLY

LINE #1

CIP SUPPLY

CIP RETURN

CHECKED BY

CliffstarCorporation

FONTANA, CA

FILE NAME:

TYPE OF DRAWING

DRAWN BY:

REV.NO.

REV.NUMBER OFSHEETS:

REF. DRAWING

DATE:APPROVED:

SHEET NO.

DESCRIPTION

DRAWING NUMBER:

PROJECT NO.

DATE REV.BY

CHECKEDBY

1304-101-01

1

P&IDEXISTING JUICE CONCENTRATE RECEIVING& STORAGE SILOS

NA1304-10

1304-101-01

P & I D

MJC 07-31-10PROJECT NO. NA1304-10

PRELIMINARYNOT FOR CONSTRUCTION

CLIFFSTAR P.O. NO. 4500512507

TWINCO - PO31028 REV. G DATED 10-28-03

FOR GREER, S.C. PLANTDUNKIRK, NY

DWG NO. 1304-101-01

Nevin Associates, Beloit, Illinois, 2011

Working directly under the company head, Bharat Bhatt, I prepared all of the working process and instrumentation diagrams (PIDs) for a juice company expansion. These drawings would be used for the construction of the systems as well as for maintenance after they were up and running.

08

TANKER RECEIVING

TRUCKTANKER

JUICE STORAGE

20,000 GALHFCS20,000 GAL

CIPS

CIP

R

CIPS

CIPS

INS

ULA

TED

& H

EA

T TR

AC

ED

FV-4

CIP SUPPLY

NC

100 GPM

JUICE STORAGE

20,000 GAL

CIPS

20,000 GAL

LT100

TE100

LT101

TE101

TE102

PI105

PI106

LT103

TE103

LT102

FV-1 FV-2 FV-3

GLYCOL SUPPLY

GLYCOL RETURN

& HEAT TRACEDINSULATED

PI104

HV

-120

HV-121

HV-122 HV-126

HV

-124

HV

-130

HV-125HV-129

HV

-128

PI107

TANKERTRUCK

PI101

PI103


FM 100

FT

FM101

FT

FM 102

FT

FM 103

FT

HV-131

HV-132

HV-133

HV-134

POTABLEWATER

PI108

FM 104FT

PI102

HV-123

HV-135

AIR SUPPLY90 PSIG

POTABLEWATERSUPPLY

PI110

PI109

V-307

V-304

V-301

CIP BY-PASS LINECIP SWING

3"

2"

8450 GAL.TANKSTORAGESUCROSE

CHECK VALVE

FT3

FE4

3"HEAT TRACE & INSULATE

HEAT TRACE & INSULATEOUTSIDE

7.5HP, 250RPMVIKING MODEL LL4124B

MS502

P-110

INSIDE




HV-157

3"

1.5"

CV-111

PI111

PI112

LT104


LINE #1


LINE #2201


LINE #2


LINE #1201


LINE #2


LINE #1201


LINE #2


LINE #1201

TO BATCH TANKSSUCROSE SUPPLY

LINE #1

CIP SUPPLY

CIP RETURN

CHECKED BY


FONTANA, CA

FILE NAME:

TYPE OF DRAWING

DRAWN BY:

REV.NO.


REF. DRAWING

DATE:APPROVED:

SHEET NO.

DESCRIPTION

DRAWING NUMBER:

PROJECT NO.

DATE REV.BY

CHECKEDBY

1304-101-01

1

P&IDEXISTING JUICE CONCENTRATE RECEIVING& STORAGE SILOS

NA1304-10

1304-101-01

P & I D




TWINCO - PO31028 REV. G DATED 10-28-03

FOR GREER, S.C. PLANTDUNKIRK, NY

DWG NO. 1304-101-01

TO FILTERS 1 & 2, AND LINE #2REFERENCE DWG NO. - 1304-301-01

LT

LE

SC

M

BATCH TANK BT-4(OLD BATCH TANK BT-2)

6,000 GALLONS

BATCH TANK BT-3(OLD BATCH TANK BT-1)

6,000 GALLONS

BATCH TANK BT-2(OLD HOLD TANK HT-1)

6,000 GALLONS

BATCH TANK BT-1(OLD HOLD TANK HT-2)

6,000 GALLONS

LT

LE

SC

M

LINE 1JUICE CONCENTRATEB-10

2 OF 4

LINE 2JUICE CONCENTRATEC-10

2 OF 4

LINE 3JUICE CONCENTRATED-10

2 OF 4

INGREDIENTS VALVE GROUP

PROCESS WATER

(OLD SUCROSE LINE)HFCS SUPPLY

TO BATCH TANKS LINE #2

G-10

103







LT

LE

LT

LE

FROM FILTER 1C-1

301

FROM FILTER 2C-1

301

CIP SUPPLYFROM VALVE NO. V20908

G-1

401

(LINE DISCONNECTED) TO LINE 1 BATCHING SYSTEM

FROM ADMIX SYSTEMF-10

401

SC

M

SC

M

(OLD HFCS LINE)SUCROSE SUPPLY

TO BATCH TANKS LINE #2

B-10

103

BY OTHERBY CUSTOMER



TO CIP RETURN PUMPCIP RETURN

NO. P20902

D-1

4 OF 4

LINE 3JUICE CONCENTRATED-10

103

LINE TAGS LEGENDCOLOR LEGEND

CIP CIRCUIT # 8 - JUICE CONC. TRNSF. LINES

CHECKED BY


FONTANA, CA

FILE NAME:

TYPE OF DRAWING

DRAWN BY:

REV.NO.


REF. DRAWING

DATE:APPROVED:

SHEET NO.

DESCRIPTION

DRAWING NUMBER:

PROJECT NO.

DATE REV.BY

CHECKEDBY

1304-CIPCIRCUITS #7 & 8

3 0F 4

4

CIP CIRUIT # 7JUICE CONC. TANK T-103 (TYP.)CIP CIRCUIT #8 JUICE CONC. TRNSF. LINES (TYP.)

NA1304-10P & I D




1304-CIPCIRCUITS #7 & 8

NEVIN ASSOCIATES

DUNKIRK, NY

THIS DRAWING IS ONLY FORTHE CIP CIRCUIT USE

SHEET 3 OF 4

Process and Instrumentation drawings

08

Big Tree Furniture, East Aurora, New York, 2011

I was responsible for the re-creation of six clothesline posts —which sit nested in between the restored pergola and Toshiko Mori’s Eleanor and Wilson Greatbach Pavillion —and the piano bench for the main unit room of the Martin House. The Darwin D. Martin House clothes line posts functioned more as sculptures in the landscape. They were rarely used to hang clothes. SInce the posts are meant to remain outside year round, each of the six posts are built of cedar and heavily coated to resist Buffalo winters. A final coat of paint was applied before they were set out on their concrete bases. They are located at the heart of the current site configuration, surrounded by the Martin House, the pergola, the carriage house, and Toshiko Mori’s visitor’s pavilion.

08

1910 photograph Restoration photograph

08

6116"

MDF BOX FRAME

(6-1/16"X2-1/16"X5-1/4")

514"

CUTS FOR LEG BASES

(2"X2.5") W/ LENGTH BASED

ON DESIGN CHOICE BELOW:

CUTS FOR LEG BASE

MOULDINGS (1-3/4"X2-1/4") W/

LENGTH OF 7'-0" (ALLOWS

1'-0" MARGIN OF ERROR)3"

112"34"

12"

2'-6"

21316"

3-1/4"

LEG BRACE:

TOP - 3"X1/2"X2'-6"

SIDES (2) - 2-3/4"X1/2"X2'-6"

BRACING (2) 3/4"X1-1/2"X2'-6"

234"

78"

biscuits (10 and 20) at mitered corners of moulding.interior oak is mitered and attached with brads and a glue up to plywood box

front view of moulding split for stretcher to sit

corner detail for intersection of trim and stretcher w/ added block for grain match under routed detail

2"

2'-6"

12"

1"

12"

1034"

12"1"

134"

2"

112"

1'-2"

4'-0"

112"

2'-2" 7"

314"

1'-014"1'-558"

11"

1516"

78"

2116"

7"12"34" 212"

214"

134"

Construction drawings for the piano bench08

Piano bench prior to finishing

08

Clothesline posts installedPrior to final staining

08

Sealed posts Clothesline posts installed

08

Down to Earth Approach [2001 - 2007] Vagrant Records

It became apparent during my second year at SUNY Purchase, that the only logical decision for me was to drop out. I had as great a chance of success as a sculpture major in college, as I did being a musician out of college. The decision seemed simple. My bandmates and I packed up our Western New York lives and moved to Los Angeles. After several years of day jobs in and around Hollywood, we were signed to Vagrant Records and released two albums internationally. We toured to promote these albums for four years, including playing the entire 2006 Vans Warped Tour.

08

Another Intervention (2004) Come Back to You (2007)

08

Personal Work [Sculpture]

Sculpture has been an important part of my creative life. It is a great way to work abstractly in a spatial manner. These works were completed for my admittance into RISD.

09

09 [Personal Work]

Rust Tree (2009) Found objects - rusted tin ceilings, machine parts, and barbed wire.

09

Railroad Nkisi Nkondi (2009) Found objects - railroad ties, chain, machine parts, cloth, nails, pulleys

09

Those who interact with the Nkisi Nkondi sculptures made in the Congo region of Middle Africa will often drive nails or spikes into the body and head to expel evil spirits from their village. In this sculpture, the nails symbolize an effort to reconnect with materials. The simple act of nailing hand made nails into railroad ties can reacquaint one with quality and durability, which may expose the cheapness of modern products.

09

Still-Lifes (2009) The ability to capture a scene through drawing implies a much deeper reading than the eyes can do on their own. By drawing, we are interpreting an image through the rhythms of our body as we make marks on the page. We are forced to ask questions about three-dimensionality that would normally be taken for granted; taking on issues of how light affects a material, how clarity decreases over large expanses, and how large-scale scenes are experienced as we move through them. Developing an intimate relationship with these issues enables a greater sensitivity in architectural design.

09

J o h n M c C a m p b e l lC o p y w r i g h t [ 2 0 1 3 ]

graduate portfolio - john mccampbell

Documents