Midterm PowerPoint – Generator Renovation

Generator Building Renovation Project
IND 5615 | Building Systems
Professor Katie Rothfield
Midterm Presentantion
Jacqueline Failer
Katie Brown
Sabrina Ocner
Part I: Research
• Paul Cejas Architecture Building Research
• Paul Cejas Architecture Building Photographs
• Processes and Methods
• Case Studies
• Interviews
• Summary of Ideas
Paul Cejas Architecture Building Research
Project Identification
Building name: Paul Cejas School of Architecture
Location: 11200 SW 8th St. Miami, FL 33199
Year designed/planned: 1999
Year construction completed: 2003
Size: 102,000 sq. ft.
Architects: Bernard Tschumi Architects
& BEA International (Joint Venture)
Client: Florida International University School of Architecture
Consultants: Structural Engineer – BEA International
Civil Engineer - CAP Engineers
Mechanical Engineer – Tilden Lobnitz Cooper (TLC)
Landscape Architect – Charles A. Alden
Paul Cejas Architecture Building Research
Design Intent and Architectural Features
The Paul L. Cejas (PCA) Architecture complex at Florida International University is a hub of student
creative activity. Completed in 2001, it was designed by Bernard Tschumi Architects, its principal being
a renowned Swiss architect. According to FIU’s School of Architecture (SOA) website, the yellow and
red tiled building is speculated by many to be an homage to either Antonio Gaudi or the setting Florida
sun. The concept was based on Tschumi’s idea that “Architecture can generate interaction”
(http://www2.fiu.edu/~soa/cejas/press_release.htm). In essence, the building was designed to
encourage social and cultural connection.
The PCA complex is comprised of an administration building, the Generator, the student
workshop/studio building, an auditorium building topped by an outdoor terrace, and an open courtyard
connecting them all together. We will be renovating the interior spaces of the Generator, which is the
central gathering space holding the student gallery, two critique rooms (rooms 240 and 340), and a large
multipurpose space (room 341.)
According to Bernard Tschumi’s team, “The building must act as a generator, activating spaces as well as
defining them” (http://www2.fiu.edu/~soa/cejas/architecture.htm). The School of Architecture space
as a whole is comprised of three generators and two “sober wings” made of concrete, which house
the studios and offices. The area of palm trees behind the main generator, is considered the
“landscape architecture” generator. Tschumi’s idea was to bring together these different types
of buildings in such a way that Florida International University brings together cultures.
Paul Cejas Architecture Building Research
The interior of the Generator has many problem areas, outlined by room-type. Before we began our
research, we identified these problem areas:
I. Gallery (140)
• It lacks a true “museum” quality, and it has the potential to feel much more “special” than it
• Many works end up on the floor due to a lack of exhibit space.
• There are inadequate lighting systems in place for the change between daylight and evening.
II. Critique Rooms (240 & 340)
• The glare is unbearable, especially during the late afternoon hours, as the window-wall faces
• Due to the glare, the heat transference is uncomfortable as well.
• There is inadequate seating and table-space.
• The A/C ducts make a great amount of noise, and in combination with the concrete floors, this
creates a major acoustic issue during critiques.
Paul Cejas Architecture Building Research
III. Multipurpose Room (341)
NOTE: The issues in this room are very important to remedy, as this space is used for meetings and
gatherings of stakeholders and advisory-board members, student-organizations, and visiting
professionals, including panel/critique judges. This space must represent the dynamic and
contemporary nature of FIU’s School of Architecture.
• The carpet is very thin, dirty, and worn…and the color is unappealing.
• Immediately upon entering the space, guests are greeted by a hulking six-foot rectangle directly
in front of the door.
• The glare is unbearable all day, as floor-to-ceiling windows face north, east, and west.
• Since there are many strange openings in the room (to be discussed and addressed in detail later
in the project) which lead to the gallery, noise pollutes the space and often banging and talking
can be heard.
• The elevators make a lot of noise.
• The strange angles of the space seem to bounce the noises around, rather than absorb them.
• The walls are all white, adding to the glare.
• The lighting is merely there, it does not make the space more appealing.
Paul Cejas Architecture Building Photographs
(Reading Room - Rm. 341)
This awkward large
“block” stands in front
of the door and takes
up too much space and
is visually unappealing.
The combination of
track lighting, A/C vents,
and recessed lighting is
insufficient, and
placement is too high.
Vertical blinds do not
control the glare and they
are not cleaned very often.
They are also visually
The furnishings are a
combination of pieces
from different places;
they are not unified and
look sloppy.
The carpet is very worn
and stained. Additionally,
it is difficult to clean or
replace because it is in
large strips instead of
small tiles.
The strange shape of
the room gives off
odd acoustic
qualities for the
varying uses of
the room.
Paul Cejas Architecture Building Photographs
(Critique Rooms - Rm. 240 & 340)
The HVAC system is
very loud, contributing
to the poor acoustic
quality of these rooms.
The afternoon glare is
compounded by the
white walls. There are no
shading devices present.
This also causes the crit
rooms to get very hot.
The track lighting looks
dated and is too high to
move if necessary.
There are either too
few or too many chairs
in the rooms at any
given time. There is no
design continuity.
The pin-up space needs
to be maximized some
how. A place for
professors to write notes
is also necessary, as these
rooms are classrooms.
The A/C vents are very
loud, and sometimes
they cause the
room to be
Paul Cejas Architecture Building Photographs
(Critique Rooms - Rm. 240 & 340)
The gallery does not give
a feeling of pride in the
students’ work. There
are too many pieces on
the floor, and appears to
be thrown together.
The Space may be
maximized by adding
different types of
display systems.
Chairs are needed for
guests, students, and
Vertical blinds do not
control the glare and they
are not cleaned very often.
They are also visually
These blocks are visually
unappealing. Perhaps
they could contain
information on the
students whose work is
being presented.
Again, the elegant,
modern gallery is lost
in the disorganization.
The different schools
should have their work
The track lighting is
insufficient. Perhaps
acoustics and
lighting can be
Processes and Methods
Proposed Methods
To achieve our goals and objectives, research must be done to determine what needs to be done and
Student and administrative interviews must be conducted, as these people are the true users of the
Interviews with architects or those involved with the project may help answer important questions.
Current architectural plans must be analyzed to help determine interior design limitations and
Case-studies involving the renovation of other college galleries and workspaces must be analyzed
and compared, to further learn about limitations and opportunities or spark a new idea.
Furniture brands, ecologically-sound materials, acoustical diagnostics and products, etc. must be
researched to find the best fit for the budget.
During research, be sure to include as many sustainable features in furniture, fixtures, and/ or
equipment choices.
Processes and Methods
Actual Methods
This is the order in which we actually conducted our research, and how we plan on proceeding. We:
Researched the building and the goals and concept of the Architect.
Took photographs of each space.
Conducted loose case-studies involving the renovation of other college galleries and creative
workspaces, noting novel ideas and design plans and issues.
Interviewed faculty members, stakeholders (department heads and dean), the facilities manager, and
students from each school regarding their opinions concerning the utility of all generator rooms.
Analyzed architectural drawings and simplified them for future use.
Researched furniture brands, choosing some that are very functional and environmentally sound,
and others that were innovative and creative. We also researched some space-saving and design
options. Sustainable products will be selected whenever possible.
Will develop floor plans, 3D models, elevations, choose definitive furniture and finishes, and
anayze the budget for accuracy.
Processes and Methods
Available Resources
Needed Resources*
 Site tours
 List of “stakeholders” and contact information
for those willing to participate
 Student interviews
 Administration interviews
 Contact information for architect associates or
someone involved in the building/planning
 Other stakeholder interviews
 Set of architectural plans
 Personal point of view
 Tour of rooms in which we are denied access
 Personal digital images
 What are the limitations as far as the
stakeholders and faculty?
*Currently, we have received all of the resources we
deemed necessary at the inception of this project.
Processes and Methods
 Full project overview with research, concept statement, etc. on project board and PowerPoint
 Plans (Floor, RCP, FF&E only)
 Elevations
 3D model(s) of new spaces and special student-designed features
 Materials/furniture choice board including sustainable choices
 Budget analysis
Case Studies (Workspaces and Critique Areas)
1. Aftermodern Gallery
Year construction completed:
San Francisco, CA
May, 2009
8,500 square feet
Sand Studios (Larissa Sand, Principal)
Larissa & Jeff Sand, Sand Studios
DK Design
o Design Intent
The Aftermodern Gallery, a renovated 1940’s warehouse, has become part of a multifunctional
facility housing the gallery, studio spaces, and apartments. The concept revolves around a
studio/living culture and combining innovation and conservation; the design was created from the
“urban environmentalism” outlook of the architects and clients. Sands saved as much of the
existing building elements she could, and used natural and recycled products in place of those she
could not salvage. Additionally, she introduced “new elements that complement the building’s
humble character.”
Case Studies (Gallery Renovation & Design)
(Aftermodern Gallery)
o Architectural Features | Problems & Solutions
Its existing loft-like appearance contained many windows and skylights, which offered great
amounts of natural light. Sculptural steelwork, fabricated by Sand Studios, minimalist plaster walls
are the signature elements of the space. She removed existing partitions and drywall to reveal the
structural concrete and wood beams, and added floating ceiling structures for the new systems
equipment, and added wood flooring made from repurposed gymnasium floors. Additionally, she
maximized space by creating a second floor in the high-ceilinged space.
Sand Studios also specializes in doors, hardware, and lighting, so there were many products for her
to add to her new space. Many of the doors have special pivot-hinges to space and enhance its
transformative quality. The gallery walls are also self-pivoting, moving a full 90 degrees to change as
the gallery installations dictate. (http://www.sandstudios.com/afterModern.html 10-31-10)
Case Studies (Gallery Renovation & Design)
(Aftermodern Gallery)
o Images and Notes
These images show a most innovative idea for maximizing
space. The pivot walls actually increase the square footage
of the display space, yet take up only three inches of depth.
We would like to implement some sort of pivot wall, similar
to those shown. (http://www.sandstudios.com/afterModern.html 10-31-10)
Case Studies (Gallery Renovation & Design)
2. Yale Sculptural Gallery
Year construction completed:
Environmental Consultants:
General Contractor:
New Haven, Connecticut
September, 2007
62,000 square feet
Kieran Timberlake and Associates
Yale University
Atelier Ten
Shawmut Design and Construction
o Design Intent
The newly renovated Sculpture Gallery at Yale University, a LEED Platinum-rated building, is now a
unique four-story art studio. The bottom floor is used as the gallery space, and the other three
floors are designated for parking. The goal of the design was to incorporate the gothic style of
architecture of the Yale campus, while giving it a contemporary spin.
(http://greensource.construction.com 11-1-10)
Case Studies (Gallery Renovation & Design)
(Yale Sculptural Gallery)
o Problems & Solutions | Images & Notes
According to John Stoller, an associate of Kieran Timberlake Associates, it was important for the
design team to “make the envelope do as much as possible so that the mechanical systems could do
as little as possible;” they wanted to change the interior mechanics of the building
(http://greensource.construction.com 11-1-10). As a solution, the gallery was surrounded by a large
curtain wall that would transmit natural light, but still insulate the building’s core. Other
architectural features include large, open transformational gallery space with ample storage and
multiple ways of configuration to accommodate the rotating sculpture and installation shows, and
display walls that hang on a pulley-system.
The hanging partitions, also
demountable, are a great idea for
transforming space as the displays
change. The perpendicular walls
direct and pull the viewer to each
exhibit piece as a story. This
would work particularly well
in the gallery.
Case Studies (Workspaces and Critique Areas)
3. Wong Doody Advertising
Culver City, CA
Shubin & Donaldson Contemporary Architects
Wong Doody Advertising
DK Design
o Design Intent
Wong Doody is an advertising/media/PR firm with offices in Seattle and Los Angeles. They chose
Shubin & Donaldson (S&D) to design the interior of their newest office, located in Culver City, CA.
As in all of their offices, they wanted the space to convey the image of the modern company as well
as their values.
The key concepts were “1) a democracy of ideas, 2) having fun, 3) continuous improvement, 4) the
development and cultivation of relationships with clients and colleagues, and 5) that the space
reflect the quality of work that Wong Doody produces.” (www.fastcompany.com 10-31-10)
Case Studies (Gallery Renovation & Design)
(Wong Doody Advertising)
o Problems & Solutions | Images & Notes
In response to their needs, S&D created multi-functional spaces such as conference rooms, “war
rooms” (rooms where ideas are discussed and debated), editing bay, storage space, library, and most
importantly, open workstations. The workspaces contain concrete flooring, skylights, recessed
fluorescent lighting, and cork flooring throughout the remaining spaces. The walls of the war
workrooms are multifunctional in that they are clad in idea-inducing materials such as cork, dry
erase, and chalkboard paint, all of which are tools for brainstorming, teaching, learning, and
We admire their use of “ideainducing” materials like cork,
dry erase, and chalkboard
paint. We definitely want to
permanent writing surface in
the critique rooms. Some
writing boards are also
magnetic and interactive.
Case Studies (Workspaces and Critique Areas)
4. Performance Capture Studio
Year construction completed:
San Francisco, CA
January 2009
120,000 square feet
Kanner Architects & Lorcan O’Herliby Architects
ImageMovers Digital, Kanner Architects & Lorcan
O’Herliby Architects
o Design Intent
A former aircraft hangar located in San Francisco was converted into a film production studio and
architectural firm. The 120,000 square feet Hamilton Air Base closed in 1976, and was restored
years later. The space was designed for the collaborative work of ImageMovers Digital and the two
architecture firms: Kanner Architects and Lorcan O’Herliby Architects. The concept of this project
is a “strange loop,” a term often used in filmmaking to portray a continuous movement in a
storyline that returns to the same moment it began.
Case Studies (Gallery Renovation & Design)
(Performance Capture Studio)
o Architectural Features | Problems & Solutions
They developed a flexible, adaptable display wall made with 11-by-17-inch “flags” that display
images of their current projects. The images are printed on magnetized vinyl and can be easily
mounted and demounted. The wall is also comprised of cork material made from recycled plastic,
where artists can pin-up their work for discussions. This wall system brings together the different
departments to engage in collaborative work in a non-linear format. Additionally, strategically
placed curvilinear nodes further promote collaboration and enhance the experience. This intricate
wall system serves as a strong way-finding device to move visitors through the space easily and
efficiently. It also allowed for the addition of a suspended blackout curtain for flexible horizontal
light control in the different workstations.
For this program, the architects needed to consider an easy way to orient visitors and guide them
through such a large the space; they needed to control the amount of daylight penetrating the space
for the editors and animators working there, but at the same time keeping the interiors as open
as possible. They also considered sound control issues for a productive working
environment. (http://www.designmind.co.za/profiles/blogs/incredible-architecture-of)
Case Studies (Gallery Renovation & Design)
(Performance Capture Studio)
o Images and Notes
This studio utilizes a variety of conceptual and transformative ideas for showcasing
projects. The walls are made of multiple materials and allow for many different ways to
display pieces of work. (http://www.archdaily.com/55686)
Each group member interviewed a stakeholder (a department head), three students (one from each
school), and a faculty member. We also met with the dean and facilities manager as a group. We asked
questions about their opinions regarding the utility of the space.
I. Stakeholders
IV. Other:
Janine King (Interior Design)
Marta Canaves (Landscape Architecture)
Brian Bergwall (Associate Dean of Arch.)
Patty Ruiz (Facilities Manager)
II. Faculty
Phil Abbott
Katie Rothfield
Sarah Sherman
III. Students
Karissa Mason
Ryan Correia
Jaime Soto
Marcela Arbelaez
Ismabys Senra
Isis Fumero
Mario Rojo
Mohammed Elsayed
Summary of Ideas
Each respondent’s answers were recorded and analyzed, and the common points were recorded. These
commonalities are as follows:
Each respondent mentioned that the acoustics (in every room) need improvement due to the HVAC
system not being insulated enough, but funding and preserving the intent of the space may be an issue.
The gallery lighting needs improvement, possibly spot lighting or track lights. Student work in the gallery
needs some sort of transformable display system, but needs to take into account the storage space and
must fit there. The walls of all rooms (unanimously) need to stay light-colored, as are most gallery and
pin-up walls. The heat and glare in 240, 240, and 341 are especially an issue. Another major issue is the
amount of pin-up space in room 341. While the system they have in place now works, it is an eye sore; a
common comment is there must be a better way to increase space.
The furnishings were also an issue that was brought up several times. Common thoughts were that the
multiple types or furnishings look like a mixture of different collections. The studio is very short on
chairs because many have been moved to any of the referenced rooms. Obviously, the number or types
of seating are inadequate. Many respondents also mentioned the need for carpeting instead of concrete.
Ultimately, the four biggest issues are:
1. Glare in rooms 240, 340, and 341
2. Lighting system needs improvement or more variety
3. Pin-up space needs to be increased
4. Acoustic improvement
Part II: Program
• Gallery (Rm.140)
• Critique Rooms (Rm. 240 & 340)
• Reading Room (Rm. 341)
• Materials and Furnishings Options
Gallery (Rm. 140) Program
Added storage space (possibly same size as existing)
Pivot walls (quantity: 4, varying sizes) will add 68 sq. ft. of pin-up space.
Walls – use homosote (as is already being used) and keep white. We believe that adding
carpeting and acoustical clouds to the room will be sufficient for acoustical improvement.
Small groupings of seating , lounge or ottoman-like, (quantity: 4 to 6). To be placed around
the structural pin-up blocks.
Carpet tiles throughout – made of recycled content and in a dark array of colors to mask wear
and tear.
Pivot shelving
– to be designed
– pivot 90 degrees from floor, student work display
Acoustical ceiling panels – hanging/floating (acoustical cloud), so as not to disrupt openceiling condition
Suspended and track lighting that allows multiple lights to be “strung” and moved as displays
Critique Room (Rm. 240 & 340) Program
Pivot walls (quantity: 1 or 2 @ 3 sq. ft., located in middle of north and south walls to increase
surface area.)
Walls – use homasote (as is already being used) and keep white. We believe that adding carpeting
and acoustical clouds to the room will be sufficient for acoustical improvement.
Seating – Stackable chairs (quantity: 15) and meeting tables (quantity: 2 , foldable)
Carpet tiles throughout – made of recycled content and in a dark array of colors to mask wear
and tear.
Pivot shelving
– to be designed, located on east and west walls (depending on space after pivot walls
– pivot 90 degrees from floor, student work display (for architecture students)
– mounted @ 2 ½ feet from floor.
Acoustical ceiling panels – hanging/floating (acoustical clouds), so as not to disrupt openceiling condition
Suspended and track lighting that allows multiple lights to be “strung” and moved as displays
White multifunctional (interactive, magnetic, etc.) white-board attached to wall (4’ x 6’)
Multipurpose/Reading Room (Rm. 341) Program
Pivot/accordion wall (quantity: 1) located on the east wall wall to increase surface area (12 sq.
ft.), made of homasote) Remove large pin-up block.
Seating – Stackable chairs (quantity: 40)
Meeting tables (quantity: 8, foldable, with storage dolly)
Carpet tiles throughout - made of recycled content and in a dark array of colors to mask wear
and tear.
Pivot shelving
– to be designed, located on east and west walls (depending on space after pivot walls
– pivot 90 degrees from floor, student work display (for architecture students)
Acoustical ceiling panels – hanging/floating, so as not to disrupt open-ceiling condition
Track lighting that allows multiple lights to be “strung” and moved as displays change
White (interactive, magnetic, etc.) white-board board attached to wall (4’ x 6’) with wallmounted projector
Room 341 - Chair Option #2 - Herman Miller “Caper Chair”
To develop a better solution for hard-working, multiuse spaces,
Herman Miller built on its extensive work chair research base and
applied it to secondary seating. The result, the lively Caper chair,
was designed by Jeff Weber of Studio Weber + Associates, using
universal design principles to create one seating product that
accommodates the diversity of people, tasks, and behaviors in a
multitude of work areas.
Weber believes that design is "the connective tissue" between
people and the environment, and that the quality of that design-whether of a building or a chair--profoundly effects the quality of
life. The Caper chair, he says, achieves its high level of
performance and comfort by "using standard materials in novel
ways." The Caper family provides all this at an affordable price.
"Too much good design seems expensive," Weber says. "I
wanted to break that cliché.“
Chairs used as secondary seating in spaces like conference,
project, training, and multipurpose rooms have traditionally been
designed for some other purpose. They have lacked important
capabilities - easy mobility, light scale, compact footprint, and
simple-to-use adjustments.
General Dimensions
stacking chair
height: 32.5 in.
width: 17.5 in.
depth: 16.5 in.
multipurpose chair
height: 32.5 in.
width: 17.75 in.
depth: 17.5 in.
Each Caper chair is 100% recyclable
and made of 21% recycled material.
Because all Caper chairs, including the
multipurpose chair, weigh about half as
much as competitive models, fewer
materials and less energy are required
for their manufacture. Caper chairs
adhere to McDonough Braungart
Design Chemistry (MBDC) Cradle to
Cradle Design Protocol and are
GREENGUARD certified and may
contribute to LEED credits.
Room 341 - Chair Option #1 - Howe’s “40/4 Chair” by David Rowland
Since 1951, Rowland’s “40/4” chair it has been
honored with numerous design awards and is
exhibited in MoMA and design museums all over
the world. the chair is renowned for its unsurpassed
stacking and handling qualities combined with an
elegant and spare aesthetic and superior ergonomic
features. A favorite of specifiers, 40/4 can be
dressed to suit absolutely any application – in
practical plastic resin, finely-crafted wood veneers to
elegant leather upholstery.
Taking a genuine interest in their surroundings is
deeply ingrained in HOWE’s strategic thinking.
Their long-lasting, space-saving and multi-usage
furniture solutions means fewer resources needed;
and thus fewer affects on the environment,
contributing to their overall LEED-credit.
General Dimensions
stacking chair
height: 30 in.
width: 19.25 in.
depth: 21.25 in.
Stacked chiars (40)
height: 57 in.
width: 36 in.
LEEd contribution
recycled material
recyclable after use
saving energy
Green energy only
saving paper
FSC accredited
Room 240, 340, and 341 - Work Table Option #1
Casala’s “Tavo” Folding Table
General Dimensions
stacking chair
Length: 63 in.
width: 30 in.
height: 30 in.
Casala’s Tavo table is slender, stable, and
available in a several varieties and finishes. It
can be stacked, rolled, folded, or stored. This
makes the Tavo table perfect not only for
meetings and training sessions, but for spaces
that have regularly changing arrangements.
If desired, the Tavo table can be specified with
sustainable veneer tops.
Gallery Furnishings - Herman Miller Eames Wire Chair and Wire Table
Chair - General Dimensions
height: 32.75 in.
width: 19 in.
depth: 21.25 in.
Having achieved success with their plywood and molded plastic chairs, Charles and Ray Eames challenged
themselves to make a reasonably priced, strong but lightweight, quality chair out of bent wire.
Introduced in 1951, it was an immediate hit. Distinctively, unmistakably Eames, the wire chair has stood the test
of time and is as popular today as it was half a century ago.
Wire only. Wire with a one-piece leather seat pad. Wire with a criss-cross two-piece leather pad (the "bikini"). The
seat and base are chrome, and the leather pads are available in a range of colors.
Glide choices. Standard glides feature a durable plastic bottom and can be ordered with felt bottoms to protect
bare floors; both styles tilt slightly to help with leveling.
The matching wire table makes a great companion piece.
Table - General Dimensions
height: 10 in.
width:15.5 in.
depth: 13.25 in.
Room 240, 340, and 341 - Work Table Option #2
Herman Miller – Everywhere Table
These tables work anywhere you decide to use them, so it's logical they'd be called Everywhere tables.
Two traits give them their anywhere versatility.
Fine lines—a refined, single aesthetic means they complement any space, bringing unity and visual
calm. No boundaries—a simple kit of top shapes and leg styles can be combined in nearly limitless
ways. And if these choices aren't enough for you, feel free to create your own because Everywhere
tables are easy to customize.
General Dimensions
height: 22-48 inches
width: 24-84 inches
depth: 18-42 inches
Feel Better. Work Better.
Everywhere tables with adjustable height give you
an easy and ergonomically sound way to vary
posture throughout the day. As one of the
performance tables in our Thrive portfolio, all the
Everywhere tables are designed to help people
work safely, effectively, and comfortably.
Adaptable to Change
Everywhere tables adapt to big changes and
small ones. Whether you're moving or
reconfiguring, use Everywhere tables in different
ways to make the most of a new space—or an
old one.
Rearrange the tables—without disrupting power
applications—to change a conference room to a
training center. Move grouped tables to single
workstations to accommodate new employees.
Or group tables to support impromptu
Nearly Limitless Choices
Begin with your table shape—even a shape you design.
Choose your finish, then select from among several leg
styles and finishes. Then choose a height—standard,
adjustable, or standing. Choose casters or glides. Add
power and data with Connect inserts which allows for
easy access to power and data.
Everywhere tables are made of 67 percent
recycled materials and are up to 27 percent
recyclable at the end of their useful lives. They
are also GREENGUARD certified.
You can even specify tops that flip, so that the tables can
be nested for efficient storage—perfect for education
The simple kit of 15 parts also provides
environmental benefits: Not only is replacing
components easy on you, but replacing a part
instead of an entire table is easier on the
Workshop Design Flatmate
A contemporary interpretation of the classic secretary's flatmate: At
only 12 cm depth, functional equipment and connections for a
portable computer, the graceful furniture a complete workstation.
flatmate has a working area lighting, the interior is fully configurable
and behind the narrow side doors hide your folders.
These are inspiration images, from which we developed our “wallfolding” shelves for model-display. Our version will be very durable
and will have legs that touch the floor for added support.
polished clear acrylic
stainless steel fittings
This suspended transparent table maximizes space. It's cantilevered
design allows chairs to be placed anywhere around it. The table can be
hung from the wall or ceiling by stainless steel cables and fittings. It
provides a contemporary modern atmosphere.
Designer: Uli Kutschka (United States)
Manufacturer: salamander-design (United States)
Part III: Architectural Plans
• Gallery (Rm.140) Floor Plan and RCP
• Critique Rooms (Rm. 240 & 340) Floor Plan and RCP
• Reading Room (Rm. 341) Floor Plan and RCP
Gallery (Rm.140) Floor Plan
Gallery (Rm.140) Reflected Ceiling Plan
(We only added acoustic clouds and suspended lighting fixtures only; our researchis not yet complete.)
Critique Rooms (Rm. 240 & 340) Floor Plan
Critique Rooms (Rm. 240 & 340) Reflected Ceiling Plan
(We only added acoustic clouds and suspended lighting fixtures only; our researchis not yet complete.)
Reading Room (Rm. 341) Floor Plan
Reading Room (Rm. 341) Reflected Ceiling Plan
(We only added acoustic clouds and suspended lighting fixtures only; our research is not yet complete.)
(These are not in order yet, we are keeping a list until the end.)
http://www.sandstudios.com/afterModern.html 10-31-10
http://greensource.construction.com/projects/0807_YaleSculptureGallery.asp 10-31-10
www.fastcompany.com 10-31-10
http://www.greenwichlibrary.org/blog/library_news 10-31-10
http://goldwaterlibrary.typepad.com 10-31-10
http://www.designmind.co.za/profiles/blogs/incredible-architecture-of 11-1-10
http://archrecord.construction.com/projects/interiors/archives/09_Performance-Capture-Studio/default.asp 11-1-10
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