zachary garman portfolio

Z a c h a r y G a r m a nPortfolio

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08.06.2014 PRELIMINARY DRAWINGS

C o n t e n t s

Recycle Bicycle Factorypage 1.1 - 1.9

Early Workpage 2.1 - 2.3

Introductionpage 0.1

Archaeo Institute & Inhabitable Bridgepage 3.1 - 3.3

Functionalismpage 4.1 - 4.3

Base Rampartpage 5.1 - 5.9

Real World Experiencepage 7.1 - 7.3

Limbe Health Complexpage 6.1 - 6.9

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I n t r o d u c t i o n

IntentThis book portrays what I believe to be the best example of myself as a designer throughout my four and a half years of studying architecture at Philadelphia University. Based on my personal reflections of the work that I’ve done as a student, I’ve organized this portfolio into several chapters.

ChaptersThe book begins with the Recycle Bicycle Factory, which was done at the end of my third year at Philadelphia University. I believe this project contributes heavily to my identity as a designer, and helped to define what I would consider to be the climax of my architectural education experience.

The book then moves to a chapter covering my projects that were done only in the first half of my time at Philadelphia University. These are projects that I am proud of for the concepts and emotional qualities that they embody, or, for even just the quality of design media that I produced. Yet, they do not have the tectonic, technological, or systems development of some of my later work.

Next, the book covers two projects: the Inhabitable Bridge and the Archaeo Institute. These two early projects are important to me because

for a long time I considered them to be my best projects. However, knowing what I do now, as I look back on them I see areas where I could have improved them.

My portfolio then covers a few projects that are similar to each other by the style that they are done in; what these projects have in common is that they are heavily driven by functional requirements or that they take inspiration from modernist ideas including how form can follow function. These projects represent another side to me as a designer.

The book then covers a recent project, Base Rampart, which challenged me to delve deeper into building systems design than I had before. Although this project is significant, I think it represents a time when was too focused on objective design issues, and the design suffered from that in qualitative ways.

However, I then show The Limbe Health Complex, which was completed in my most recent semester at Philadelphia University, and, is a project that represents an understanding that I have achieved about my work, and an understanding of what makes my best work so.

The last chapter is a brief look at some of the work that I have done outside of Philadelphia University in real world scenarios.

Recycle Bicycle Factory Row House (Functionalism)

0.1

sketches from Inhabitable Bridge

R e c y c l e B i c y c l e F a c t o r y

Location: Philadelphia, PA, Callowhill neighborhood, just north of Center CityProgram: 30,000 s.f. of manufacturing, retail, and offices for the Recycle Bicycle company headquartersClass: Design VI for ArchitectureInstructor: Brian Johnston, AIA LEED APSemester: Fall 2013

ReflectionCompleted at the end of my sixth semester at Philadelphia University, this project was the climax of three years of architectural study. Many experiences with different design exercises, a growing body of technical knowledge, and searching to understand architecture’s subjective nature made up a busy and challenging academic experience. However, after completing Recycle, I had finally created a project that represented a broad comprehension of scientific and technical issues, as well as achieved the qualities that make it meaningful beyond the creation of a simply functional building.

OverviewThe project was a 30,000 s.f. facility for a Philadelphia based folding bicycle company, including manufacturing, retail, and office space. Part of what makes this building unique is its location next to the

Reading Viaduct, an old elevated rail line that runs through north Philadelphia. There is interest to redevelop this currently unused piece of infrastructure into a pedestrian/bicyclist park and thoroughfare. So, the building, sited on a triangular site with an east-west road through the center, has two fronts, with commercial retail along its east facade on 11th Street, as well as along the elevated Viaduct along its west side.

ConceptThe idea behind the design was to create a building that showed the same type of energy and movement that would be happening alongside it on the Viaduct. This movement and energy is created using a facade made of HDPE plastic planks arranged in a shifting pattern. In addition, the building’s programmatic masses of retail, manufacturing, and office space shift and shear against each other in plan, building onto the energy that happens on the facade. This energy hails the energy of speeding bicyclists as they fly by along the Viaduct thoroughfare and embraces the modern city, as well as the company’s role as a bicycle manufacturer in that city.

1.2 Recycle Bicycle Factory

Site Plan: The building is located on a challenging, yet opportunistic site, with the elevated Reading Viaduct to its west, 11th Street to the east, a bisecting Wood Street, and a triangular footprint.

11th Street Elevation: Recycled HDPE plastic panels layered over glass or steel-stud curtain walls arranged in a horizontal motion create facades that are inspired by the bicyclist energy of the Viaduct thoroughfare.

Reading Viaduct Elevation: Variances in HDPE panel densities delineate entrances to retail spaces, create more transparency for the manufacturing floor, or create strip-like windows in other programs.

Site Plan, Elevation, and Longitudinal Section 1.3

Longitudinal Section looking

west: The building both

bridges and underpasses

Wood Street, to allow for

better building circulation.


Interior Perspective within the manufacturing floor (Viaduct -14 ft Plan) from the south end looking north

Plan and Interior Perspective 1.5

Upper Level Plan: Southern offices, northern retail, overlooking vegetated roof

Viaduct +14 ft Plan: Southern offices, northern retail, overlooking manufacturing floor

Viaduct -14 ft Plan: Main manufacturing floor

11th Street Level Plan: Northern retail, southern shipping, packaging, and inspection


Detail A (from Cross Section)Cross Section, through northern half of building, facing north

Tectonic Details 1.7

Detail B (from Cross Section) Detail C (from Cross Section)


Model of Northern Half of Building: (Model Scale: 1/4”=1’0”)

Models 1.9

Model of Northern Half of Building, additional views: (Model Scale: 1/4”=1’0”)

Wall Section Model from western exterior wall: Building butts up directly against existing Viaduct retaining wall (Model Scale: 1/2”=1’0”)

E a r l y W o r k

ReflectionThe following projects are works that I am proud of for the conceptual and expressive qualities that they embody. Born out of my early semesters at Philadelphia University, they do not have the technical developments of later work, but, they were part of a rigorous process in my early academic career that placed emphasis on understanding subjective decision-making.

Vladimir Kush Painting GalleryAs my first experience working within the virtual world of 3D modeling, this second year visualization class prompted me with the task of designing a small museum for the work of an artist of our choosing. I chose the contemporary Russian surrealist, Vladimir Kush, whose work beckons viewers to step away from reality and into the world of make-believe. In addition, Kush’s work shows people how things can be perceived differently depending on how one looks at them.

The museum is sited on a hilltop, away from the city, and stands as a beacon of the imagination, where one can step into Kush’s world of make-believe, temporarily leave their hectic and busy life of reality behind, and reflect on the notion that perhaps some things about real life can only be found in a world that does not exist.

Measurement ArchThis second year project, which placed emphasis on developing skills in hand drawing and modeling, was to design an “arch” located at a crossroads

somewhere in Philadelphia’s Fairmount Park system that interacts with a force of nature in some way. In my case, that force of nature was the wind, as two grand sails, connected to a mast, can slowly be revolved by the wind. As the sails and the mast revolve, they rotate a divider within the arch that determines which way pedestrians go as they enter the arch and the crossroads. The Measurement Arch, for Fairmount Park wanderers, depicts the ideas of sailing with the wind and free-spirited exploration.

Illumination DeviceThe culmination of my first semester as a design student at Philadelphia University, following a series of abstract Bauhaus style design exercises, the Illumination Device prompted me to create an art installation that uses light to convey a particular mood.

Watergrass PhiladelphiaIn my fifth semester at school, my semester was anchored around extensive research on the current conditions and future issues of urban infrastructure. Watergrass Philadelphia is a project in which I was to develop a program proposal for a community initiative that can help solve one of Philadelphia’s issues of urban infrastructure: water management. Philadelphia’s combined sewer system contributes to the pollution of its rivers, the Schuylkill and the Delaware, and this community initiative combines the concepts of water management and permeable surfaces with public parks and vacant property redevelopment.

Watergrass Philadelphia; proposal image for a community program in South Philadelphia to implement a community initiative to convert vacant lots into public parks that implement storm water management and absorption strategies

2.1

2.2 Early Work

Measurement Arch: sectional axonometric (right)lower and upper level plans (top left); conceptual

circulation model (bottom left)

Vladimir Kush Painting Gallery: entry sequence perspective (right); top floor view

(top left); conceptual sketch and poem (middle left); the five chosen paintings of

Kush to be displayed sequentially throughout the museum (bottom left)

Illumination Device, shown in dark context

Vladimir Kush Painting Gallery, Measurement Arch, Illumination Device 2.3

A r c h a e o I n s t i t u t e & I n h a b i t a b l e B r i d g e

ReflectionThese two projects are grouped together because they both occurred within the early part of my academic experience, and, although there are things about them that I think would be better accomplished if I knew what I knew now, for a long time, I considered them to be my best projects.

Archaeo InstituteLocation: Philadelphia, PA, Glendinning Rock Garden, along Kelly DriveProgram: lecture, gallery, laboratory, archive, and reception/lobby for the public visitation of an ancient, underground sun-temple and professional archaeological researchClass: Design III for ArchitectureInstructor: Chris Stromberg, LEED APSemester: Fall 2011

This project happened in my third semester. It was a rigorous challenge to conceptually develop an archaeological artifact of some kind, and then continue to design its tributing archaeological institute. I developed the idea of an ancient, sub-terranean sun temple, discovered underneath Philadelphia’s Glendinning Rock Garden. Accordingly, the accompanying “archaeo” institute’s design takes inspiration from the qualities of the sun, becoming somewhat of an extension of the original sun-temple itself. In addition, another driving aspect in the design of the institute were the qualities of archaeology itself.

Inhabitable BridgeLocation: Philadelphia, PA, bridging Callowhill and Chinatown neighborhoodsProgram: pedestrian/bicyclist bridge, and the Philadelphia Rail History Museum, including gallery and cafeClass: Design VI for ArchitectureInstructor: Brian Johnston, AIA LEED APSemester: Spring 2013

Occurring two semesters after the Archaeo Institute, the Inhabitable Bridge was my first experience sharing design responsibilities within a collaborative team. Working with another architecture student and an interior design student, we developed a pedestrian and bicyclist bridge that transports people from the southern termination of the Reading Viaduct (the same Viaduct of Recycle Bicycle Works), across the Vine Street Expressway, and then gradually down to street level, placing traversers at a bustling street corner just blocks from Philadelphia City Hall. In addition, the bridge, within its span, houses the Philadelphia Rail History Museum, an interior space that honors Philadelphia’s railroad history, not the least of which is the Reading Viaduct.

My design partners and I conceptualized a bridge that leaps from one relaxed, calm, yet with building energy, urban feel, across a sundering chasm, into a completely different, vibrant, center city Philly feel. The project was entered into the ACSA/AISC Steel Competition, and was selected among our peers’ projects as a class finalist.

Archaeo Institute: View of the Institute’s lecture space, with gallery space shown beyond; this view was constructed with a physical model.

3.1

Inhabitable Bridge: Conceptual rendering inside of the Philadelphia Rail History Museum, which is housed within the span of the bridge; this view faces the north and the southern end of the Reading Viaduct.

3.2 Archaeo Institute & Inhabitable Bridge

Archaeo Institute: Arranged to the left are several models that were developed early in the conceptual process, speaking about the qualities of the subterranean temple (bottom left) and the characteristics of archaeology and how they interact with the site (top left). Above is a view of the institute’s top floor lecture space and two exterior views.

Archaeo Institute, Inhabitable Bridge 3.3

Inhabitable Bridge: Leftmost images depict early conceptual

thoughts, while the images to the right display the long,

sweeping arches that become the final form.

F u n c t i o n a l i s m

ReflectionThe projects shown in this section of the book stand out from many other projects in my portfolio because, as opposed to projects that I think tend to be very emotionally driven, and have strong formal elements, this part of my portfolio, because of the aspects of the design problems, such as budget or technical needs, follow more of the form- follows-function tradition.

Row HouseThis project was to create a series of row homes at a site in downtown Philadelphia, near Rittenhouse Square. With the intended users being young professionals, I wanted to create a design that visually and actively engages the streetscape and the city life. However, contrary to many existing row homes, I wanted to create an interior space that brings in great amounts of natural light, to create blissful airiness that also achieves a privacy and relief from the busyness of urban life.

Geo-Versal Relief ShelterStrong technical and cost performance factors drove the function-driven design of this project. The shelter can be quickly and easily deployed, utilizing a structure of interlocking pvc pipe in a structurally efficient and lightweight geodesic-type frame. The dome shape also allows for maximum thermal efficiency. A multi-layed and operable skin of a water-

repellent nylon shell; over the pvc structure; over an air gap; and finally over a pvc-node suspended plastic membrane with packable cell pockets, allowing users to stuff the cells with site-found insulation material, keeps people safe in emergency situations in climates ranging from cold to hot and wet to dry. In addition, a rooftop vent allows for a heat source to be had inside the shelter. The entire structure weighs less than 200 pounds, and costs less than $500.

Single Bullet Exhibit Mapping DeviceWorking for Philadelphia University’s Single Bullet: Arlen Spector and the Warren Commission exhibit committee, a classmate and I designed an exhibit device that allows people to analyze a map of the John F. Kennedy assassination site and different theories as to how the assassination was executed. This device was part of a Philadelphia University exhibit and interdisciplinary collaboration that captured the attention of Philadelphia news media.

Beach CottageThis quick visualization project was an assignment to take an existing residential floor plan and extrude it into a design of my choosing. I like the basic geometries and inornate assemblies of modernist architecture, and, having been given an orthogonal and rectangular plan to work with, I was inspired by modernist traditions.

Beach Cottage: (left) Interior perspective upon entering the beach cottage, displaying the double-height interior living space; lots of glazing and light blue brick walls create a contemporary, bright, beachside cottage in the modernist tradition

4 .1

4.2 Functionalism

Row House: Above is a section perspective through the row house: Bedrooms, garage, and driveway are to the back, along quiet Manning Street. An elevated porch, kitchen, and dining space are sheltered by a cantilevering living room and rooftop deck along busier Rittenhouse Square Street.

Row House, Geo-Versal Relief Shelter, Single Bullet Exhibit 4.3

Geo-Versal Relief Shelter: An emergency shelter designed to keep people safe throughout Earth’s broad range of environments.

Single Bullet Exhibit Mapping Device: This device uses sliding panels that each contain a map, which describes the details of a JFK

assassination theory. These layers can be slid over a base map of Dealey Plaza for visitor analysis.

B a s e R a m p a r t

Location: Rampart Reservoir, rural Colorado, ten miles northwest of Colorado SpringsProgram: outdoor resort, hot shot firefighter training facility, and wildfire relief center, 13,500 sfClass: Design VIII for ArchitectureInstructor: Tom Kirchner, AIA, LEED AP BD+CSemester: Spring 2014

ReflectionThis fourth year design project paired me with a fellow architecture student to design a disaster relief facility and outdoor resort, set in rural Colorado. This was a notable project for me because I was able to effectively work in a collaborative situation to design a project that went beyond some of the technical depth of my previous work. However, looking back on the completed project, I feel that, because my partner and I were so focused on providing solutions for objective issues, we did not allow the design to achieve the emotional and meaningful qualities of some of my work, and in this area I am disappointed with the project. Nonetheless, after its completion, it provided me with a learning experience that later went into my understanding of what makes my best work so.

OverviewThis unique program is a year-round, rural vacation spot serving family style users to youth trips and Boy Scout outings. In addition, the site is an education and training headquarters for hot shot forest firefighters. The site is made up of several cabin-type living units across the site, and one central building that provides site administration, fire-fighter training, and guest services. However, following wildfire and mass evacuation, Base Rampart houses disaster refugees, providing for short, ten day or less stays in most cases, and long-term housing for those who have had their homes destroyed.

ConceptBeing assigned to a rural location near Colorado’s Rampart Reservoir, my partner and I selected a site that takes advantage of a hilltop view to the body of water. Aiming to create an outdoor experience that allows visitors or refugees to connect with nature that they may not in their daily lives, we developed a site plan that decentralizes human interaction and allows people to focus more on the amenities of the natural location. In addition, because of the building’s disaster program, off-grid resilience is important. Passive solar design with thermal mass and buildings that are burrowed into the hillside minimize the building’s energy needs in this cool climate.

5.1

Section Model: Photographs of project section model. Model depicts central building of Base Rampart. (Model Scale: 1/2”=1’0”)

5.2 Base Rampart

Site Plans: This page shows project site plans, depicting Base Rampart’s location along a ridge at the western part of the Reservoir. The location on this southwestern sloping site was chosen to capture views, achieve a location of prominence, and to harness southern solar radiation.

Site and Parti 5.3

Parti Diagrams: Both the central amenity building, as well as the five housing buildings are made up of rectangular forms that maximize gains from passive solar design. In addition, staggering the forms along the northwest-southeast contour lines minimizes grade changes with the buildings and makes accessibility easier to achieve. In addition, southward glazing, as part of the passive solar system, allows for views down the hillside to the reservoir and other hilltops.

5.4 Base Rampart

Site Program: During disaster use, Base Rampart deploys tent-like emergency shelters to increase the amount of people it can provide shelter for. In addition, site accessibility and circulation is achieved by aligning the scheme along the contours and climbing the hill at oblique angles.

Program 5.5

Central Building: The goal of the central building is to provide a headquarters for fire

fighter education and training, as well as Base administration, and visitor and refugee

amenities.

5.6 Base Rampart

Sections: These are the two basic section types. The general scheme is shown on the bottom, with rectangular masses that capture southern views and radiation, and burrow themselves into the northern hillside. The top section depicts the vertical circulation corridors (which only occur in the central building), which were conceptually thought of as moving from one level on the hill to the next, and carry a roof form that is an extrusion of the hill, to emphasize the idea of walking up or down the hill (see parti diagrams, page 5.3).

Three Exterior Enclosure Types: Opposite page, from left to right:

1.) opaque wall burrowed into the earth at western, eastern, and

northern edges 2.) translucent wall along southern

facades to capture views and radiation

3.) circulation corridor in central building with vegetated roof

Section and Exterior Enclosure Types 5.7

5.8 Base Rampart

Central Building Section Model: (Model Scale: 1/2”=1’0”)

Section Model and Systems 5.9

Reflected Ceiling Plan, Egress Diagram, Ventilation Diagram: This project delved more deeply in building systems than projects in the past, designing even to a quantifiable level our HVAC system, lighting system, acoustic system, and off-grid wind power system. In addition, greater attention to egress, access, and plumbing fixture codes characterized this project.

L i m b e H e a l t h C o m p l e x

Location: Limbe, MalawiProgram: for-profit health complex including emergency, non- emergency, administration, education, and tenant clinic spaceClass: Design IX for ArchitectureInstructor: Chris HarnishSemester: Fall 2014

ReflectionFollowing the completion of Base Rampart, I was interested in reflecting upon my previous work, and, in particular, on the qualities that made my best work so, and how those projects differ from less appreciated projects. In addition, I had the opportunity to intern at a midsize architecture firm over the summer of 2014, and I was able to experience professional architecture, providing me with an opportunity to critique my current skills and abilities against the profession I would like to make a career of, and analyze how my design process in school differs from that in professional firms. Based on these fortunate experiences, I entered my fifth and final year at Philadelphia University and the Limbe project with the goal to innovate my schematic workflow and develop my skills of design development and my understanding of construction documentation and specification.

OverviewFollowing research on the Malawian site’s cultural and climactic environment, as well as the characteristics of a qualitatively healing environment, I strove to provide a scheme for Jason Blanchard, CEO of the Malamulo Hospital for a high-quality health care facility to serve primarily wealthy, expatriate citizens, but would provide funding for regional free-care clinics. In addition, throughout the project, I was interested in a self-driven design process that allowed me to efficiently define a design solution, upon which I could focus on its development, and eventually construction documentation and specification as the semester went on.

ConceptMr. Blanchard requested an iconic design and stressed the importance of a healing environment. Therefore, the design proposal strives to incorporate both the global and local aspects of the Limbe program, taking inspiration from both local vernacular as well as global trends in architecture, to appropriately represent the complex’s commitment to local free-care clinics alongside its participation in global standards for highly technological and top quality medical care. In addition, to create an environment that fosters healing, beyond its functional programmatic requirements, the scheme encourages an interaction and connection to the outdoors.

6.1

Final Site Plan: Long, tapered forms that align themselves with the existing site contours ground the complex into the site, showing how the complex values the site and the local area. Moreover, the building forms are arranged so that outdoor spaces are shaped in between them, emphasizing user interaction with the outdoors.

6.2 Limbe Health Complex

Site Plan: These pages show the work that I did after several days of schematic design and thought. Although what I am showing here is undeveloped in terms of precision and accuracy, working in this medium of free-handedness and looseness allowed me to most efficiently develop a quality idea that is both technically and artistically thought out. From this point, I now have a scheme and a goal for which I will work to achieve as the design develops.

Conceptual Scheme 6.3

Small Scale Site Plan: The site’s location within a void of development and up on a hill relative to Donduzu Road stresses the importance of the complex’s design and iconography, as it is in a location that will be able to be seen from many places.

Cross Section

Porch Elevation

Schematic Development 6.5

Elevation and Section: As the design developed, and I developed the buildings more precisely, I was striving to include elements of Malawian vernacular, as seen in the brick construction, as well as global vernacular, with more high-technology glazing and PTFE roof membrane.


Final Site Plan

Final Site Plan, Diagrams 6.7

Programmatic Strategy: Grouping related programmatic buildings together allows for critical circulation to be grouped together under the same roof; however, less critical circulation between less related programmatic elements allows people to venture outside of the circulation porches and across outdoor hub spaces.

General Site Strategy: Long narrow buildings with lots of exterior wall space create a strong connection with the outdoors.

Vehicular Circulation

Site Phasing


Conceptual Site Model: (Model Scale: 1/32”=1’0”)

Model, Diagrams, Tectonic Section 6.9

Tectonic Cross Section: This section shows the building’s steel column structure with soil stabilized brick veneer. The custom glulam roof frame, into which the PTFE membrane is attached, bears on a custom column capital, which is intended to provide a moment connection between the glulam and the column. Furthermore, the building enclosure is characterized by the strong use of soil stabilized brick, with netting clerestories that are easily stitched into a fabric seam in the PTFE membrane.

Interior Program and Exterior Enclosure Types

Roof Design

R e a l W o r l d E x p e r i e n c e

ReflectionI’ve been fortunate to have had some opportunities to apply my skills outside of my academic curriculum in real world scenarios. I’ve found that these experiences have given me opportunities to act professionally and do professional work for others, have given me insight on how to interact with clients, and have been opportunities to take real world responsibilies.

The Collaborative, Inc.Over the summer of 2014, I had the opportunity to intern with The Collaborative, Inc., a midsize architecture firm in Toledo, Ohio. This experience gave me the opportunity to see how architectural projects are handled in the professional world, especially in terms of how workflows differ between academia and professionalism. In addition, by spending much of my time in the construction documentation phase, I gained experience using and understanding of the construction documentation process, picked up on contractor-architect-consultant communication protocol, and built comprehension of BIM technology.

Trinity Lutheran Church Interior RenovationI was very lucky to have had the opportunity to do some work for Trinity Lutheran Church in Monroe, Michigan, a historic church in my hometown. I knew some of the church committee members, and I was

asked by them to design a proposal for an addition to the rear of their sanctuary to include handicap accessible restrooms and quiet room space. This experience gave me the opportunity to use my design skills and act professionally with real clients. In addition, I strove to touch the church lightly, trying to create an addition that creates an identity for itself, yet pays respect to the traditional architecture of the church, which was very important to the committee.

7.1

Trinity Lutheran Church Interior Renovation; (above) sketch of one idea for the sanctuary church renovation; (opposite page) a plan of one of the schemes that I designed, which the church committee seemed to like the best.

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E

F

PROJECT TITLE

12'-0" 3'-0" 12'-0" 3'-0"17'-4"3'-4"

63'-0"

2'-8" 7'-0" 2'-8"

2'-4" 3'-5"

7'-0

"2'

-8"

7'-0

"7'

-6"

41'-4

"

2'-8

"7'

-0"

7'-6

"

4'-0"

D1A1.01

C1A1.01

C6A1.01

E5A1.01

C3A1.01C LWALL

D6A1.01

D3A1.01

A1A1.02

A2A1.02

A4A1.02

A6A1.02

0" FIN. FLR.


1/8" / 1'0"≈ 4'-8" O.C.

D1A1.01

C1A1.01

C6A1.01

E5A1.01

C3A1.01

D6A1.01

D3A1.01

D1A1.01

C1A1.01

C6A1.01

E5A1.01

C3A1.01

D6A1.01

D3A1.01

0" FIN. FLR.


SCALE: 1/8" = 1'-0"


SCALE: 1/8" = 1'-0"



SCALE: 1/8" = 1'-0"


SCALE: 1/8" = 1'-0"



SCALE: 1/8" = 1'-0"



SCALE: 1/8" = 1'-0"


SCALE: 1/8" = 1'-0"



7.2 Real World Experience

The Collaborative, Inc.: The drawings shown on these pages are a majority of a small set of documents that I created for a roofing project while I was working at The Collaborative, Inc.

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TCI JOB NO. 106274

APPROVED

SHEET TITLE

SHEET NO.

A1.02A1.02A1.02A1.02

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CHECKED

XXX

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KEY PLANN.T.S.


DETAILS

Lucas Co. Eng.Lucas Co. Eng.Lucas Co. Eng.Lucas Co. Eng.Re-Roof ofRe-Roof ofRe-Roof ofRe-Roof ofExst. Bldg.Exst. Bldg.Exst. Bldg.Exst. Bldg.

#Site Address1#Site Address1#Site Address1#Site Address1#Site City#Site City#Site City#Site City, , , , #Site State#Site State#Site State#Site State

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PROJECT TITLE

1'-11 7/8"

ASHPHALT SHINGLES OVERROOFING FELTS - TYP.

EAVE ICE GUARD MATERIAL.EXTEND BEYOND INTERIORWALL SURFACE AS SHOWN

METAL DRIP EDGE -CONTINUOUS

TREATED 2X8 FASCIAWITH ALUM. CLADDING-CONTINUOUS

METAL VENTED SOFFITPANELS ATTACHED TOBOTTOM CHORD OFTRUSS

TREATED 2X6FRAMING - TYP.

EXISTING STEEL JOISTTO REMAIN

EXISTING ROOF AND DECKTO REMAIN

PRE-ENGINEERED WOODTRUSS

CONTINUOUS METAL DRIPFLASHING

1/2" TI-11 PLYWOOD-PRIMED AND PAINTED

12

4

1'-6"

5/8" ROOF SHEATHING

EXISTING CMU TOREMAIN

ANCHOR BOLT. REFER TOSTRUCTURAL DRAWINGSFOR ADDITIONAL INFORMATION

ICE GUARD - 24" MINIMUM

1'-6"

ASHPHALT SHINGLES OVERROOFING FELTS - TYP.

EAVE ICE GUARD MATERIAL.EXTEND BEYOND INTERIORWALL SURFACE AS SHOWN

METAL DRIP EDGE -CONTINUOUS

TREATED 2X8 FASCIAWITH ALUM. CLADDING-

CONTINUOUS

METAL VENTED SOFFITPANELS ATTACHED TO

BOTTOM CHORD OFTRUSS

EXISTING STEEL JOISTTO REMAIN

EXISTING CMU TOREMAIN

EXISTING ROOF AND DECKTO REMAIN

PRE-ENGINEERED WOODTRUSS

TREATED 2X6 WOOD TRIMW/ ALUM. CLADDING -

CONTINUOUS

12

4

5/8" ROOF SHEATHING

ASPHALT SHINGLES

(2) TREATED 2X10 BLOCKING-CONTINUOUS

EXISTING STEEL JOIST TO REMAINTYPICAL

PRE-ENGINEERED WOOD TRUSS@ 24" O.C.


EXISTING ROOF DECK, INSULATION,& ROOF MEMBRANE TO REMAIN


METAL DRIP EDGE

VENTED METAL SOFFIT -WHITE

ALUMINUM CLAD 2X6 RAKE BOARDPREFINISHED - COLOR SELECTEDBY ARCHITECT

2X4 INFILL FRAMING@ 24" O.C.

5/8" ROOF SHEATHINGWITH 15# FELT UNDERLAYMENT

EXISTING CMU WALL TOREMAIN UNLESS NOTEDOTHERWISE

ANCHOR BOLT. REFER TOSTRUCTURAL DRAWINGSFOR ADDITIONAL INFORMATION

ASPHALT SHINGLES

METAL DRIP EDGE

VENTED METAL SOFFIT -WHITE

ALUMINUM CLAD 2X6 RAKE BOARDPREFINISHED - COLOR SELECTED

BY ARCHITECT

(2) TREATED 2X8 BLOCKING-CONTINUOUS


EXISTING ROOF DECK, INSULATION,& ROOF MEMBRANE TO REMAIN

EXISTING STEEL JOIST TO REMAINTYPICAL

5/8" ROOF SHEATHINGWITH 15# FELT UNDERLAYMENT

PRE-ENGINEERED WOOD TRUSS@ 24" O.C.

2X4 INFILL FRAMING@ 24" O.C.

EXISTING CMU WALL TOREMAIN UNLESS NOTED

OTHERWISE

ANCHOR BOLT. REFER TOSTRUCTURAL DRAWINGS

FOR ADDITIONAL INFORMATION


SCALE: 1" = 1'-0"

A6 ROOF DETAILA1.02 SCALE: 1" = 1'-0"



A1 ROOF DETAILA1.02

The Collaborative, Inc. 7.3

C o n c l u s i o n

Reflection The time that I have spent at Philadelphia University studying architecture has been a journey. With just one semester left until graduation, I feel as though my education has led me to an understanding of my work and the subjective nature of the creativity of architecture. Moreover, a growing body of technical knowledge throughout my educational experience has helped me to create projects that are increasingly relevant and portray a greater preparation for the architecture profession. Lastly, recent years at Philadelphia University and extracurricular opportunities have helped me to be critical of my educational experience, and shape my educational endeavors to help prepare myself for the profession that I would like to make a career of.

00.1

early process sketches from Limbe Health Complex

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SHEET TITLE

SHEET NO.

A1.01A1.01A1.01A1.01

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XXX

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KEY PLANN.T.S.




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PROJECT TITLE

12'-0" 3'-0" 12'-0" 3'-0"17'-4"3'-4"

63'-0"

2'-8" 7'-0" 2'-8"

2'-4" 3'-5"

7'-0

"2'

-8"

7'-0

"7'

-6"

41'-4

"

2'-8

"7'

-0"

7'-6

"

4'-0"

D1A1.01

C1A1.01

C6A1.01

E5A1.01

C3A1.01C LWALL

D6A1.01

D3A1.01

A1A1.02

A2A1.02

A4A1.02

A6A1.02

0" FIN. FLR.


1/8" / 1'0"≈ 4'-8" O.C.

D1A1.01

C1A1.01

C6A1.01

E5A1.01

C3A1.01

D6A1.01

D3A1.01

D1A1.01

C1A1.01

C6A1.01

E5A1.01

C3A1.01

D6A1.01

D3A1.01

0" FIN. FLR.


SCALE: 1/8" = 1'-0"


SCALE: 1/8" = 1'-0"



SCALE: 1/8" = 1'-0"


SCALE: 1/8" = 1'-0"



SCALE: 1/8" = 1'-0"



SCALE: 1/8" = 1'-0"


SCALE: 1/8" = 1'-0"



zachary garman portfolio

Documents

site address1

site city

0a3 low roof framing

0a5 high roof framing

0c6 west elevationa1

floor plana1

0e5 north elevationa1

0c3 east elevationa1