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kamen tall architects

upper west side landmark

This building, constructed in 1927, saw several minor repair

programs over the past 80 years. Unfortunately these repairs

were executed improperly or without understanding of the

cause of the deterioration evidenced in the facade. By the time

work began on the building much of the terra cotta ornament

evidenced serious cracks, nearly 60 percent of the lintels were

deflecting, and the masonry showed full height cracks at both

sides of nearly every corner. Surprisingly, the majority of the

structural steel above grade remains in excellent condition. Only

three spandrel beams at the sixteenth floor and two bulkhead

beams require replacement, along with the reinforcement of

several adjacent columns. Below grade however, we are currently

proceeding with repairs to thirteen severely deteriorated

perimeter columns. Because of the building’s age, material types,

and its location within a proposed historic district, all repairs,

when possible, are being made in place and all replacements

are being made in kind. Over the past year we have restored

the majority of the facades, with only the steel repairs and roof

replacement remaining.

1. bird’s eye view of building prior to repairs 2. cracked facebricks due to lintel corrosion and deflection 3. cracked facebricks due to lintel corrosion and deflection 4. cracked facebricks and deteriorated mortar at corner quoin 5. overturning bulkhead wall 6. full height corner cracks due to uneven thermal expansion 7. extreme masonry cracks due to underlying beam corrosion 8. cracked sill due to water infiltration and steel corrosion 9. severe loss of steel section due to water infiltration and corrosion 10. severe loss of steel section due to water infiltration and corrosion 11. corroded steel angles at terra cotta cornice 12. spalled and delaminating terra cotta banding 13. cracked terra cotta banding 14. cracked terra cotta cornice

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1. building mobilized for repairs 2. suspended scaffolds during repairs 3. general repair notes 4. terra cotta repair detail 5. limestone patching color tests 6. brick samples 7. cleaning samples 8. repointing and brick replacement at exterior parapet 9. corner reconstruction detail 10. marking repairs at terra cotta cornice 11. steel repairs inside terra cotta cornice 12. lintel and brick replacement 13. steel column prior to waterproofing 14. steel column shored during repairs 15. repointed and cleaned terra cotta 16. repointed, patched, and cleaned terra cotta 17. new terra cotta replacement sections 18. terra cotta patches 19. terra cotta patch

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n o h o l a n d m a r k

This small cooperative building in the Noho Historic District

came to us with a serious problem. In the middle of the night a

four-foot section of the cast iron watertable fell off the building

and landed in the middle of the entry stair. As part of the

repair program, we further examined the existing conditions at

the building to determine if any other components were in or

near failure mode. We discovered the biggest issues at the cast

iron storefront and at the wood cornice, both of which relied

on decades of paint to compensate for severely deteriorated

substrates. After removing all coatings from the street facade,

we restored the wood cornice, filling in several smaller areas that

were missing original material. We replaced the delaminating

brownstone sills in kind and applied fresh paint to the brick

in a historically accurate color. We worked with an artisan to

fabricate replacement sections for the watertable, to create

new ornamental florets for those that were missing from the

column capitals, and to secure the remaining elements. Most

of the column capitals required extensive, careful repairs that

considered both the needs of the historic district and the co-op

board’s finances. In the end, we restored the building to rave

reviews while protecting its unique character for years to come.

1. location of fallen cast iron watertable 2. interior brackets and backup masonry behind cast iron watertable 3. bridge installation prior to beginning repairs 4. deteriorated cast iron storefront at second floor 5. deteriorated masonry coating, sills, and metal lintel caps 6. south facade repair notes 7. delaminating brownstone sill and failing masonry coating 8. cast iron watertable repair detail 9. deteriorated cast iron column capital with masonry fill 10. missing floral ornament at deteriorated cast iron column capital 11. missing scrollwork at deteriorated cast iron column capital 12. missing top plate at deteriorated column capital 13. deteriorated stone lintel and sheet metal lintel cap

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1. cast iron paint stripping test 2. wood paint stripping test 3. stone paint stripping test 4. new stone samples 5. cast iron replacement section 6. new cast iron installation 7. new cast iron installation 8. cast iron ornament replication 9. cast iron repair 10. finished cast iron storefront 11. finished cast iron column capital 12. finished cast iron dentils 13. finished stone and metal lintel 14. finished cast iron storefront 15. finished wood cornice 16. finished wood cornice 17. finished cast iron storefront with repaired wood windows

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upper west side landmark

In New York City, the Department of Buildings requires facade

inspections every five years for all buildings six stories or higher.

As a restoration firm, we regularly perform these inspections

for both new and existing clients. This 40 story building in

the Upper West Side recently needed a report to satisfy this

requirement. Through scaffold inspections from the highest

roof level to the ground, observations through binoculars, and

examinations from adjacent roofs and terraces, we determined

the existing condition of the facades. I compiled a report of

these items, designated as “SWARMP” or “Safe With a Repair

and Maintenance Program,” which we submitted to the DOB, the

co-op board, and the managing agent. Recently we performed

a series of probes at the facades, to determine the causes of the

observed conditions. The majority of the deteriorations result

from the quality of the original construction. The brick ties at

several locations appear to be installed incorrectly, if at all. More

importantly though the waterproofing at multiple locations is

unsealed, unadhered, improperly formed, and wrinkled. This

along with significant mortar accumulation prevents the cavity

from draining as intended, which causes the cladding materials

to deteriorate. Facade repairs are currently scheduled to begin

in the Spring of 2013.

1. flexible masonry tie embedded in mortar joint but not attached to structural column 2. corrugated masonry tie not attached to either structural column or brick cladding 3. flexible masonry tie embedded in wall cavity 4. thin gauge corrugated masonry tie and dovetail slot of structural column 5. heavy mortar accumulation and improper drainage of cavity causing vertical cracks of brick cladding 6. overlapped waterproofing without sealed seams 7. waterproofing not sealed or adhered to substrate 8. waterproofing at steel shelf angle missing end dams

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cooperative internships

mil ler hul l par tnership

For my third and final co-op internship I chose a medium sized

firm with a regional style and focus on community-based, publicly

funded, and educational projects. I crafted many types of models

for design exploration, problem solving, and client presentations.

The largest and most complex of these, the UCSD model,

actually began as a light model but served as a working model

for developing the atrium spaces and solar shading systems. The

models for UCSD, Bellevue Community College, and Edgewood

City Hall all required a puzzle like construction. By minimizing

adhered joints and maximizing mechanical ones, I altered the

models as needed while saving significant quantities of time and

material by not starting anew. I built the Edgewood model for a

very successful public presentation where we unveiled the overall

design and sustainable strategies based on LEED guidelines. A

simple, yet clean model for the LOTT water treatment facility

helped convey the project’s overall design and scale relative to

the larger than average site. Even the smallest models, for a

Japanese Community Center and the addition to the University

of Michigan’s Architecture Building, proudly became part of

winning proposal packages by effectively demonstrating multiple

design solutions.

1. bellevue community college, study model 2. bcc 3. bcc 4. ucsd engineering building, atrium sail study 5. ucsd, atrium skylights study 6. ucsd atrium 7. ucsd offices 8. ucsd atrium ceiling 9. ucsd entry 10. edgewood city hall, presentation model 11. ech 12. ech, offices 13. ech, during assembly 14. ech 15. lott water treatment facility, schematic model 16. lott 17. lott 18. lott

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v o a a s s o c i a t e s i n c

To broaden my understanding of architectural practice, I chose

for my second co-op a large firm that practices mostly in the

commercial sector. During my first quarter I collaborated on

the schematic design and design development of a mixed-use

condo tower in Miami, Florida. During my second quarter I

assisted with the schematic design and design development of

several hotels in the Chicagoland area. I helped prepare for client

meetings, consultant meetings, and worked with local zoning

boards on project appearance and compliance issues. I also

assisted with the master planning of a large development, which

involved several hotels, a conference center, numerous retail

spaces, and a variety of residential buildings, in the nearby town

of Hinsdale. As with other projects, I created a wire frame 3D

model over which a co-worker rendered the proposed design.

Late in my internship I attained the privilege of working on an

educational project. We prepared a multi-scheme proposal for

developing the edge of Case Western University’s campus into

a dynamic mixed-use area. Shortly before I left came the high

point of my internship when I found out we won the project.

1. rendering, le meridian hotel and conference

center 2. elevation, le meridian 3. first floor plan,

le meridian 4. rendering, hotel and conference

center near o’hare airport 5. rendering, alternate

for le meridian hotel and conference center 6.

site plan, two hotels near o’hare airport 7.

master plan, case western university campus edge

development 8. master plan section, case western

university 9. master plan, case western university

10. rendering, master plan of hinsdale development

11. master plan of hinsdale development

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nowesn i ck a rch i tec t s

For my first co-op I chose to work at a residential firm just north

of Chicago. My initial goals in architecture involved starting my

own firm and an internship here provided key insight into such a

choice. Due to the small size of the office, I worked very closely

with the owner and project manager on proposals and projects.

During my first quarter, I helped develop restoration, renovation,

and addition drawings for one of the oldest homes in Winnetka,

dating from the late 1800s. I visited the site, met with the clients,

and drafted the necessary drawings for the extensive work we

intended to perform. While planning future projects, I visited

with new clients, performed preliminary tasks, and met the

construction crew associated with our office. During my second

quarter, I focused mainly on a private residence located further

north in Lake Forest. This home required a significant addition

to the original structure, an addition to the garage, the design of

a separate guesthouse, and a coherent development of the site.

Throughout my stay I also worked on smaller projects such as

custom furniture and cabinetry designs for our clients.

1. multiple additions to private

residence, lake forest 2. new

butler’s quarters over garage,

private residence, lake forest 3.

custom dining chair 4. custom

dining chair 5. custom dining

chair 6. custom dining chair 7.

private residence, winnetka 8.

private residence, winnetka 9.

private residence, winnetka 10.

private residence, winnetka

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university of cincinnati daap

an appalachian arts project

For my master’s thesis I explored how community, education,

and cultural appreciation relate to artistic creation. I selected

a very distinct type of common art, Appalachian folk art,

to demonstrate that these concepts extend well beyond

museums, universities, and the typical sources of cultural

knowledge. Through combining the roles and methodologies

of four essential institutions: the art center, school, museum, and

library, I developed a project that would utilize their strengths

while mitigating their weaknesses. A main facility in Front Royal,

Virginia anchors the project, rooting it at the top of Shenandoah

National Park, an important gateway to the Appalachian region.

Portable workshops in custom designed trucks allow rotating

artisans to travel throughout the region, teaching the history

and methods of their craft. To access a broad audience, these

trucks dock at numerous satellite stations with varying degrees

of development: a full platform and gallery in urban locations,

a partial shelter in smaller towns, and a mere utility hookup in

rural areas. By showcasing the artists’ backgrounds and making

their techniques more accessible, this project will emphasize the

importance of the creative process over the final product of it.

1. primary and secondary views from front royal station 2. iteration of truck sail 3. iteration of multi-truck circulation 4. iteration of truck sail structure 5. first floor iteration of front royal station 6. diagram of truck movement within shenandoah national park 7. diagram of truck movement during summer season throughout appalachia 8. illustration of truck supergraphic 9. front royal site model 10. single truck rural configuration 11. single truck small town configuration 12. multi-truck urban configuration 13. front royal station bay model 14. truck model 15. truck model 16. front royal station model

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t r o i a m u s e u m

The intent of this project stemmed from a real competition

for a museum near the archaeological site of Troy. Without a

secure location designed to display the treasures found at the

site, Turkey may never be able to claim the countless artifacts

currently scattered throughout the developed world. The

museum, designed using the metric system, sits along the only

road to and from the ruins. The exhibit rooms, facing southwest,

flow chronologically from Troy 1 through Troy IX. Smaller, more

precious items rest in jewelry style display cases embedded in the

entrance corridors, while the larger artifacts sit in open galleries.

Intricate wooden screens, typical of the local architecture, give

form to the molded ceramic tiles that clad the exterior, and

which would be produced by a local ceramic company involved

in the actual museum competition. Perforated metal panels

shield the galleries and outdoor sculpture garden from the

intense sun, while a rooftop terrace provides both event space

and a stunning view of the Aegean Sea beyond ancient olive

groves. In an anonymous poster session held at the end of the

quarter, a panel of five judges decided on the winner of the

studio competition, me.

1. site plan showing troia

archaeological site in green and

proposed museum site in blue 2.

bus stop concept 3. gallery entry

corridor displays 4. first floor

plan 5. second floor plan 6.

exterior ceramic tile rainscreen

cladding 7. atrium rendering 8.

entry drive rendering 9. site plan

10. section through theatre, atrium,

gallery, and sculpture garden 11.

section through entrance, atrium,

gallery, and rooftop terrace

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v i o l i n w o r k s h o p

Over the course of eight weeks I developed this model of a

live/work space for a violin craftsman, located in Bellevue,

Kentucky. The design emerged using several unusual methods:

model only, section only, and with brief production periods. I

made several quick study models during Monday charrettes

based on a specially selected song, a specific piece of art, or an

excerpt on architectural theory. During the remainder of the

week, I created a section model, which further expanded on

the ideas from Monday. Each section represented eight feet

of the project site and could not be modified after the weekly

critique on Friday afternoon. During the quarter my design

evolved significantly from a simple, wood framed storefront to

a very organic envelope. Eventually bamboo or a similar, highly

flexible, high strength plant would form the structure for both

the walls and floor, while more typical building systems would

weave between the canes. The upper floor would provide a

living space for the craftsman. The lower floor would house the

violin showroom, workshop, and any necessary storage areas.

1. entry, first slice 2. living space, second slice 3. living space and workshop/ showroom, first through third slices 4. workshop, first through fourth slices 5. living space and workshop, fourth slice 6. workshop, fifth slice 7. storage area, sixth slice 8. storage area, sixth slice 9. covered patio, sixth slice 10. living space and storage area, first through sixth slices 11. living space and storage area, seventh slice 12. workshop, third slice 13. backyard, eighth slice 14. violin maker’s workshop and living spaces, first through sixth slices

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renderings and explorations

On my own I explore ideas for housing, museums, and small

commercial spaces. Most potential sites do exist, but are only

vaguely referenced in the designs. The commercial and civic

concepts generally occur within city limits or along developed

neighborhood streets. Most of the housing concepts find

inspiration in the unused portions of urban rooftops or in

isolated, rural areas. The Rooftop Squat, which takes advantage

of an otherwise poorly used space, represents the most

developed concept in the series. Multiple sections form each

unit, each section with several components: roof, wall, and

floor, all sized to be transported on a flatbed truck. On site

a hoist can lift the components to the roof for assembly. In

one iteration, recycled plastics form the shell of the modular

structure; extruded and filled with insulation, the sections key

and clip together for stability. In another iteration, recycled

plastics and organic materials merge to form the shell of the

modular structure, but this time constructed in a much more

typical, layered fashion.

1. light study cincinnati 2. modular sections of

rooftop squat 3. rooftop squat assembled 4.

rooftop squat section 5. rooftop squat partial

elevation 6. rooftop squat section 7. rooftop

squat detail 8. reflection study 9. urban infill

first floor plan 10. urban infill perspective 11.

rooftop modern site plan 12. rooftop modern

first floor plan 13. rooftop modern perspective

14. gallery displays concept 15. forest

house site plan 16. forest house first floor

plan 17. jay pritzker pavilion millenium park

chicago 18. watercolor study, crosley tower

cincinnati 19. shadow and highlight study

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