Final Undergraduate Portfolio

Matthew DellehuntARCHITECTURE AND DESIGN [email protected] || 518-330-5162

THIS PORTFOLIO CONTAINS THE DESIGN WORK OF

Matthew D Dellehunt THE DESIGN WORK IN THIS PORTFOLIO WAS DEVELOPED FOR

The University at BuffaloSchool of Architecture and Planning

Fall 2011 - Fall 2014

Buffalo Lighthouse AssociationLighthouse Visitors Center

Spring 2014

Shakespeare in Delaware ParkSet DesignSummer 2014

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SCALE: 3/4"=1'

MENEFEE CABIN

CLARK + MENEFEE ARCHITECTS

CHARLOTTESVILLE, VIRGINIA

SUNY BUFFALOARC 442SPRING 2014PROFESSOR: ANNETTE LECUYERTA: PHILIP GUSSMANO

STUDENTS:

MATTHEW DELLEHUNTALEXANDER GRIEBELKIERNAN SMITHWILLIAM VAN DEUSEN

DRAWING NOTES

1.) FOUNDATION FOR PERIMETER WALLS

• 36 INCH WIDE X 12 INCH THICK SITE CAST CONCRETE STRIP FOOTING WITH 4 #5 REINFORCEMENT BARS• 36 INCH WIDE X 12 INCH THICK SITE CAST CONCRETE STRIP FOOTING WITH 4 #5 REINFORCEMENT BARS

2.) EXTERNAL WALL BELOW GRADE

• 8 INCH X 8 INCH X 16 INCH CMU WITH HORIZONTAL JOINT REINFORCEMENT 16” 0.C.• 4 INCH PERIMETER DRAIN TILE

3.) EXTERNAL WALL ABOVE GRADE

• 8 INCH X 8 INCH X 16 INCH CMU WITH HORIZONTAL JOINT REINFORCEMENT 16” O.C.• 3 INCH THICK AIR GAP• 2 INCH RIGID INSULATION• 4 INCH X 8 INCH X 8 INCH FIRED CLAY BRICK

4.) BASEMENT FLOOR

• 4 INCH THICK CAST IN PLACE CONCRETE SLAB • WIRE MESH REINFORCEMENT• 4 INCH THICK CAST IN PLACE CONCRETE SLAB

5.) FIRE PLACE

• 4 INCH X 8INCH X 8 INCH FIRED CLAY BRICK• 3-7 INCH AIR GAP• CLAY FLUE LINING• 2 INCH THICK RIGID INSULATION• 8 INCH X 8 INCH X 16 INCH CMU WITH HORIZONTAL JOINT REINFORCEMENT 16” O.C.

6.) GROUND FLOOR

• ½ INCH DOUGLAS FIR PLYWOOD• 2 INCH X 10 INCH I-JOISTS AT 16 INCH O.C.• BATT INSULATION• 2 INCH X 10 INCH TONGUE AND GROOVE FINISHED FLOOR• SITE CAST CONCRETE SILL WITH • WOOD FRAMED DOOR

7.) WINDOW AT GROUND STORY

• SITE CAST CONCRETE SILL• 8 INCH BOND BEAM LINTEL WITH 2-#5 REINFORCEMENT• WOOD FRAME DOUBLE GLAZED WINDOW

8. ) ROOF

• LAMINATED VENEER LUMBER, 16” O.C.• R-30 BATT INSULATION• ROOF SHEATHING, 1/2” PLYWOOD• METAL ROOFING• ROOF EAVE UNDERLAYMENT• WOOD FRAMING 2X4 (FLAT) 16” O.C.

Headed West

Tri-Con

Shakespeare in Delaware Park

Buffalo Lighthouse Association

Amplified

Inside_OUT

Palladio’s Flower

Ramping Separation

Construction Technologies

Hinge

Space Inverted

Ramping Separation

In a comprehensive studio, students were asked to design an Architec-tural Office in downtown Buffalo.

Ramping Separation began as a se-ries of parametric twists and shifts in a hexagonal form. It then evolved into a physical representation of this shift via the separation of studio spaces and all other essential programs. This happened two fold, through an off-set floor level of six feet, as well as separation in plan, situated on ei-ther side of a large enclosed atrium. The atrium houses the ramping sys-tem that allows for the transition to be on display, connecting the two spaces visually through the layers.

The building is structured through the use of Steel I beams and precast concrete slabs. The two halves of the building are further differentiated through two different framing meth-ods. The L shaped rear of the building is framed using a typical grid, while the curved studio space is structured on an expanding arched array of beams. As the building grows verti-cally, the atrium gets larger, consum-ing floor area in the studio spaces. This is to allow more light into the building and to create a sense of hierarchy on the upper studio floors, which house personal offices.

ARC 302Spring 2014Faculty: K. MackayBuffalo, NY

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Southwest corner of W Chippewa/Delaware

Southeast corner of W Chippewa/Delaware

Bu�alo 1923 Bu�alo 1949

Site Analysis

Studio / Front of house Structure

Atrium Structure

Services / Back of house Structure

The structuring for each space is with vertical steel I beams and connect to slightly smaller horizontal I beams that frame the pre-cast concrete �oor.

The Services space is also supported by the load bear-ing exterior walls and cores, making it so there is need for only one row of steel I beams.

Structural Framing N.T.S.

Environmental Performance Section

2. Smoke evacuation unit at top of atrium.

3. Operable windows in o�ces for fresh air ventila-tion.

4. Boiler & Chiller in basement.

1. Roof top Air handling unit.

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Matthew DellehuntComprehensive Studio

Kenneth MackaySpring 2014

Re-Submit

Scale 1/2” = 1’



Detailed Section Axonometric

2” Air Space

C.I.P Concrete

4” PolyStyrene Insulation

Interior Finish

Brick Facade

Hollowcore Concrete Planks

4” Concrete Finish

5/8” Vertical Rebar

Mesh Reinforcement



Street Corner / Interior Renders

Sketches of the massing were made in order to deliberate the offset floor heights and place-ment of the circulation cores. An exterior rendering and per-formance section illustrate the final product.

Section A-A Scale 3/32” = 1’

Section B-B Scale 3/32” = 1’



Sections

To Roof

To Roof

To Street

To Street

To Roof

To Roof

To Street

To Street

3/32” = 1”

3/32” = 1”

To Roof

To Roof

To Street

To Street3/32” = 1”

Combined

Studio / Front of house Structure

Atrium Structure

Services / Back of house Structure

The structuring for each space is with vertical steel I beams and connect to slightly smaller horizontal I beams that frame the pre-cast concrete �oor.

The Services space is also supported by the load bear-ing exterior walls and cores, making it so there is need for only one row of steel I beams.

Structural Framing N.T.S.

Environmental Performance Section

2. Smoke evacuation unit at top of atrium.

3. Operable windows in o�ces for fresh air ventila-tion.

4. Boiler & Chiller in basement.

1. Roof top Air handling unit.

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Re-Submit

HVAC Distribution Diagram

Supply Ducts

Return Ducts

Service Chase

Supply Water

Waste Water

A perspectival section shows the difference be-tween the studio fan and the L-shaped service bar.

Both the HVAC plan and structural diagram are color coded according to mechanics and areas that they support.

The models on the following page also illustrate these things through their materi-ality and color.

To Roof

To Roof

To Street

To Street

To Roof

To Roof

To Street

To Street

3/32” = 1”

3/32” = 1”

To Roof

To Roof

To Street

To Street3/32” = 1”

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2nd Floor

3rd Floor

4th Floor

Roof Plan

5th Floor

Roof Plan

Palladio’s Flower

A historical precedent study of Pal-ladio’s villas lead to the creation of a spatially interesting montage from which students were to extract a Visitors center/Library building for the Palladio site which they had.

Palladio’s Flower began with a study of Villa Barbaro. From there, the plan was taken and manipulated to create an architectural field. From this field, a series of field models were derived, making the field a complex three dimensional space. The field model was essentially four identical plains of the field drawing, colored, situated at different heights, and then manipu-lated according to color to connect them. (Blue folding in, red out, and yellow on itself, forming structure.)

From these models, a series of mon-tages were created, and placed into the site. Then the Library was realized from both the drawings and the mod-els. In order to minimize obstruction of the villa, the building was situated be-low grade, having only its flowering roof structure above, framing a view towards the villa, on its original axis.

ARC 202Spring 2013Faculty: D. MaherMaser, Italy

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The final field drawing shown to the left in gray was used to create the model in color.

The drawing above is of a photo overlay of the model and an image of the villa. It is drawn using a reductive charcoal tech-nique. This drawing inspired the building for the project.

Plan Level 1

Plan Level 2

Ground Level Plan

The photo to the left was titled “Reflectivity,” and inspired the mir-roring and symmetry of the library section of the buildings plan.

This photo is of the second field model shown below.

The montage drawing that inspired this model is pictured below, along with an interior perspective show-ing the axiality of the project.

The section furthers this idea by showing how only the sculptural flowers are the only things above ground, framing the view to the villa.

The original field model pictured to the right and left is composed entirely of four copies of the field drawing colored, and folded into one another.

Inside_Out

A residency/mixed use building re-sponding to the new UB Medical campus situated across the street. Two party walls on the site make ad-equate lighting a high priority.

Inside_OUT was created as a direct response to the new medical cam-pus. Certain things, such as the grand two story entrance, and their step-ping roof-scape, were responded to in our building. To maximize light exposure to the building, while still maintaining the required amount of units, we created a large rectilinear atrium in the center of the building. To then further the functionality of the space, all structure and services were also moved to the outside of the building, and run vertically within the structural facade.

The building was intended to be oc-cupied by the new workers or students at the medical campus. Doctors and nurses statistically live a healthier life-style than the average person, so we chose to make our additional pro-gram a public gym and healthy cafe, situated on first two floors of the build-ing. Finalizing the healthy theme, the facade was designed to resemble a tree, branching out from four central structures in the basement, allowing for the parking to be unobstructed. As the facade grows upward it shifts and separates to align with partition walls in units, making it easy for each space to have its own air handling unit on the exterior.

ARC 403Fall 2014Faculty: E. OzayBuffalo, NY

inside_OUTWith the site being located in close proximity to the University at Buffalo Medical Campus, as well as the medical district in Buffalo, the aim was to create housing for the medical students and pro-fessionals in the area. We also wanted to promote the healthier life style that most people in the medical field live, so a gym as well as a cafe for healthy eating were included in the program as well. The site posed a few challenges, such as there being two party walls, restricting light from getting to the back of the building. We cut a public court-yard in the building and made the units on the North and South sides duplex’s allowing maximum light into the spaces. We then began to look at structure in the environ-ment, and were very attracted to trees and how they grow, very strong at the base and lighter to-wards the top. We utilized this in the design of our facade, which would also act as our structure. The base is large and heavy, and as you move to-wards the top floors where the units are the “trunk” splits into “branches” allowing more light into the spaces.Another way to maximize getting light into the spaces was by creating greater floor to floor heights, but we didn’t want to do this in the tradi-tional sense of making the floors taller, so we moved the services from the inside to the outside. By including the air control and water supply and returns in the facade, we saved about two feet on the inside which would be normally taken up by a dropped ceiling. Air from the outside would be drawn into a blower/conditioner mounted in the facade and fed directly into the rooms, eliminat-ing the need for air ducts.

Matthew DellehuntEric Zeffiro

Senior Fall Studio 2014Erkin Ozay

Performance Section / Exploded Axon.3/16” = 1’

ACU

Hot Water Supply

Cold Water Supply

Section / Detail Axon1/8” = 1’

% Who Smoke % Who exercise at least 30 mins, 3+ days a week

4% 20% 58% 54%

% Who eat 5 servings of fruit & vegeta-bles, 4+ days a week

% Who ate healthy all day yesterday

60% 55% 66% 60%

Physical Health Index Healthy Behaviors Index

86% 81% 70% 63%

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Main Street Section1/4” = 1’

StructureServices

Ground Plan1/8” = 1’

Third Floor Plan1/8” = 1’

Partition Walls

Branching Out

Structural Axonometric

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FlatsDuplexsCommercial

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Studies of tree like structures were conducted as well as statistical research of doctors healthy lifestyle compared to the average individual.

A 1/4” = 1’ section model was created to show the build-ing’s facade and inter-workings in detail.





ACU

Hot Water Supply

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4% 20% 58% 54%



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Light studies and massing dia-grams were created to show our thought process for massing/lighting strategies.

The facade diagram above illus-trates the branching technique of the pieces, and also shows how the facade is used to align with partition walls in units.

A parti-diagram showing the increased space gained by put-ting the servicing on the exterior is shown.

The render above shows the reflection of the facade illus-trated as different colored concrete in the floor and ceiling. The render-ing also shows the vent system pres-ent in the facade for the personal air handling unit.

The facade is re-flected in the plan and extends out onto the sidewalk. This is also seen in the render above.





ACU

Hot Water Supply

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4% 20% 58% 54%



60% 55% 66% 60%


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A 1” = 1’ model and draw-ing were created to show the detail section of the facade/performance system.

Amplified

Buffalo is the city of friendly neigh-bors.Due to this, Buffalo has many festivals and open markets. Students were supposed to convert a once vibrant part of the city, into a large marketplace for the community. There were several required program pieces that students were asked to provide along with the market.

Amplified is a market project that is intended to question sound. Sound produced by the market, by the cus-tomers, the workers, and all other sources.

The project started out with a prec-edent study of historical markets. My personal study was of the Isfahan Gran Bazaar in Iran. From that study A module was to be gathered. My module was of the covered bazaar vaulted passageways. A module study of transformations was then created.

From there, the specifics of the pro-gram was dictated and I created a radial grid from the north east corner of the triangular site.Different program layouts were at-tempted to see which organization would prove most logical.

ARC 301Fall 2013Faculty: L. CentisBuffalo, NY

Building Proposal

1/32” = 1’

Mechanical Room

Back house / Stage storage

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Mechanical Room


1/32” = 1’N

Mechanical Room


Program Space Guideline (gsf) Market 9700 17043Market Admin 480 862

1000 1300Back House 5400 5752Café 2000 2910Theater 4000 0Outdoor Public Space 5000 5485Loarding area 2500 2499Parking 4500 12700Street Market 3000 3490 Total 37580 52041

Actual

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Performing Space Layouts1

No performing spacing illustrates how the market layout could be at its maximum capacity.

This layout may be best in high business periods, such as small business Saturday.

2

Having the performing space in the upper right corner, where the ceiling is lowest provides the most “en-closed” space for a performance.

This layout may be best for guest speakers and low volume perfor-mances where a more intimate space is necessary.

3

A central cat walk stage provides versatility for a performance, where the audience can be more im-mersed in the show.

This layout may be best for Fashion shows or bands with a singer.

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A central stage with designated seating for an audience allows for people to rest and enjoy the show, whilst not inhibiting the egress path.

This layout may be best for bands or shows where audience members may be older or incapable of stand-ing for long periods.

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A large stage butting up to the Back House allows for the moving of large props and equipment in and out of the bay doors throughout the show.

This layout may be best for plays and other performances requiring large set pieces and props.

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Small, evenly distributed stages across the concord allows for an exposition of sorts, where the trav-eling through the market from stage to stage, is informant or perhaps tells a story.

This layout may be best for exposi-tions or more creative pieces.

1/16” = 1’

Section A-A

1/16” = 1’

Section B-B

1/32” = 1’

Building Proposal

1/32” = 1’

Mechanical Room


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Mechanical Room


1/32” = 1’N

Mechanical Room


Program Space Guideline (gsf) Market 9700 17043Market Admin 480 862

1000 1300Back House 5400 5752Café 2000 2910Theater 4000 0Outdoor Public Space 5000 5485Loarding area 2500 2499Parking 4500 12700Street Market 3000 3490 Total 37580 52041

Actual

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34

56

BHBH

BH

BHBH

BH

Performing Space Layouts1

No performing spacing illustrates how the market layout could be at its maximum capacity.

This layout may be best in high business periods, such as small business Saturday.

2

Having the performing space in the upper right corner, where the ceiling is lowest provides the most “en-closed” space for a performance.

This layout may be best for guest speakers and low volume perfor-mances where a more intimate space is necessary.

3

A central cat walk stage provides versatility for a performance, where the audience can be more im-mersed in the show.

This layout may be best for Fashion shows or bands with a singer.

4

A central stage with designated seating for an audience allows for people to rest and enjoy the show, whilst not inhibiting the egress path.

This layout may be best for bands or shows where audience members may be older or incapable of stand-ing for long periods.

5

A large stage butting up to the Back House allows for the moving of large props and equipment in and out of the bay doors throughout the show.

This layout may be best for plays and other performances requiring large set pieces and props.

6

Small, evenly distributed stages across the concord allows for an exposition of sorts, where the trav-eling through the market from stage to stage, is informant or perhaps tells a story.

This layout may be best for exposi-tions or more creative pieces.

1/16” = 1’

Section A-A

1/16” = 1’

Section B-B

1/32” = 1’

The original module pictured above was transformed using nine separate operations to create the ad-ditional modules. Transformations such as bending, scaling, deconstruction, separation, warping, and substitution were used.

Pictured below is the plan for the market, administration, and cafe. All existing buildings on the site were kept in order to preserve the neigh-borhood. A cross-street parking lot was created and a meandering loading street was introduced to the southern side of the building for separate access to the loading area.

Sound Proofing - Experiments & Methods / Roof

Anechoic Chamber - A room designed to completely absorb reflections of either sound or elec-tromagnetic waves. They are also typically insulated from exterior sources of noise. This com-bination of both aspects means they simulate a quiet open-space of infinite dimension. Cham-bers such as these are typically used to measure the sound waves of machinery or products to help understand them better in an effort to improve/reduce the sound they produce. The chamber works by having many pyramidal RAM’s (Radiation absorbent material) along every surface. The cones help to deflect the sound waves, and absorb the rest through their porous (foam like) structure. I would use this method along the curvature of the ceiling, both through the theater and the market concourse.

Sound Curtain - A sound curtain is simply a heavy curtain that maintains its ripples when at its full length. This maintenance of ripples is extremely important because the curtain reduces noise through one of the best methods of sound reduction, Reflec-tion. The curtain reflects the sound waves at arbitrary angles, to dissipate them quicker. It also can be operable, both opening and closing spaces, allowing for temporary boundaries. This method has commonly been used in theaters and churches for centuries. I would use this method along the walls both in the theater and the market, and potentially use it along the ceiling as well. The curtain would just follow along the curvature of the ceiling, but adding additional reflection through its own curva-tures.

Sound Reflection Board - Sound Refection board is typically paneling that is corrugated or has holes in it to reflect or absorb the sound waves that it comes in contact with. The boards are usually made from wood with a cork or fabric beneath it to reduce the resonance. This method could be used on the walls vertically as seen below in the studio reflection panels or along the curvature of the ceiling as seen in the Faculty of Law at University of Sydney, Australia (created by FJMT). Their wood ceiling panels are clotted timber and backed with a mineral wool absorptive layer. This method was effective at reducing the static sound of the Law library.

Sound Method 1Sound Method 2Sound Method 3Sound Method 4

Market

Market Admin

Multifunction Room

Back House

Cafe

Outdoor Public Space

Loading Area

Parking

Street Market

Market

Market Admin

Multifunction Room

Back House

Cafe


Loading Area

Parking

Street Market

Market

Market Admin

Multifunction Room

Back House

Cafe


Loading Area

Parking

Street Market

Market

Market Admin

Multifunction Room

Back House

Cafe


Loading Area

Parking

Street Market

Market

Market Admin

Multifunction Room

Back House

Cafe


Loading Area

Parking

Street Market

Market

Market Admin

Multifunction Room

Back House

Cafe


Loading Area

Parking

Street Market

Program Space Guideline (gsf) Market 9700 14874 16206 14788 14752 14365 12937Market Admin 480 862 735 973 908 511 425

1000 1432 1367 1207 1449 1607 1167Back House 5400 5752 6112 5033 5679 5435 6179Café 2000 2910 3942 2436 3336 3624 3054Theater 4000 6429 4673 4520 5316 4829 4509Outdoor Public Space 5000 8897 5670 8828 8914 9796 12259Loarding area 2500 2499 3034 4293 2735 2735 2789Parking 4500 4896 6622 5758 5401 5267 5720Street Market 3000 3490 3680 4204 3536 3872 3002 Total 37580 52041 52041 52040 52026 52041 52041

InsideOutside

InsideOutside

InsideOutside Inside

Outside

InsideOutside

InsideOutside

Program Layout

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Elevations - Intersections - Renders

Grant Street - 1/32” = 1’

West Ferry Street - 1/32” = 1’

Hampshire Street - 1/32” = 1’

West Ferry/Hampshire Street - 1/32” = 1’

Grant/West Ferry Street - 1/32” = 1’

Grant/Hampshire Street - 1/32” = 1’

The sound condition to the market was also intended to go along the same grid as the program seen above. Model and plan diagrams of the sound conditions proposed are seen to the right. Vertical bars either amplifying the sound condition or reducing it are situated along the roof, which was vaulted to further the sound condition and to pay hom-age to the gran bazaar modules.

A site model and final physical model are pictured to the right. As well as deconstructive rendering, picturing the framing below.

Buffalo Lighthouse Association

Flynn Battaglia Architects ap-proached the Senenmut Chapter of Alpha Rho Chi, an Archirectural Fraternity in which I am a member. They requested a team of students to preform non-profit work through their firm for the Buffalo Lighthouse Association. This project was to cre-ate a visitors center situated on their property to the east of the lighthouse in downtown Buffalo, near the grain silos.

Flynn Battaglia provided our team with a historical precedent of Buffalo boat house which was present in the location in the early 1900s. This prec-edent was used as the base model for the visitor’s center. From there, many versions were created focus-ing on changing different aspects of the building.

The Final proposal related the histori-cal building with practices of Frank Lloyd Wright, whose architecture is prominent in the area. His idea of horizontality is expressed in the hori-zontal bar created to connect the double height garage space to the existing large shed on the site.

Alpha Rho Chi’s purpose for the proj-ect was to create base ideas and a presentation package with which the Buffalo Lighthouse Association could use to fund raise for future con-struction.

Spring/Summer 2014Buffalo, NY

Senenmut Chapter of Alpha Rho Chi

Lighthouse Committee

Second Floor PlanMay, 2014

Scale: 1/6” = 1’

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First Floor PlanMay, 2014

Scale: 1/6” = 1’

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A charcoal drawing of the proposal on site, as viewed from across the water in showing above.

Base plans of the ground and second floor as well as a perspective render-ing of the proposed solar panels and orientation.



Solar StudyJune, 2014

Potential Solar Square footage:

Maximum South Facing - 2924 sq ft Maximum West Facing - 520 sq ft

To approximate the average solar instilation, using just the south facing square footage, approximatly 232 m2 could anually net 858.4 kwh per day.

References: http://wnypeace.org/new/Images/Sunshine%20Report.pdf

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Realistic South Facing - 2500 sq ft Realistic West Facing - 250 sq ft

To approximate the average solar instilation, using just the westward facing square footage, approximatly 23 m2 could anually net 71.3 kwh per day. (Slightly lower avg. solar radiation than south facing.)

Therefore, the proposed building if fully solar equiped, could net approximatly 929.7 kwh per day at an annual average.



Solar StudyJune, 2014

Bu�alo averages 48% of possible sunshine

In the WNY area, insolation on a horizontal surface values range from 3.55 to 3.74 kwh/m2/day.

Western NY averages approx. 3 to 4 kwh/m2/day (3 to 4 sun-hours).

Summer values for WNY average 6 to 7 kwh/m2/day, and Winter averages in WNY are 0 to 2 kwh/m2/day.

Two interior renders of the sec-ond floor are pictured here. One showing the displays and views out towards the city, and the other showing the axiality of the bar, aligned with a view of the lighthouse.

The other information shown are excerpts from the solar study produced for the package to be presented to the Buffalo Power Authority. This information was to create a reasonably proposal to place alternate sources of energy on the building. Focus-ing on solar energy, studies were made showing the potential energy gained for the building with consideration for the pos-sible square footage of space to be equipped.

Shakespeare in Delaware Park

As an independent study, under the guidance of a faculty member at the University at Buffalo, I worked as part of her set design crew for the set of Shakespeare in Delaware park’s pro-duction of Henry V.

The set design for Shakespeare in Delaware Park took place in multiple steps. First planning and designing of the set walls was completed by figur-ing how many would be constructed and then how they would be cre-ated, using 4’x8’ plywood sheets and 2x4’s. In total there were six walls created, composed of twenty-six pieces, labeled A-Z. The walls were then painted for weather treatment. All items had to be weather proofed because they would be outside for the duration of the play. (About one month.)

Columns were also created out of hollow sonotubes. They were cut down the middle, slid into place, and then coated with many layers of concrete sealant (due to the fact that they were merely cardboard.)

The pieces were then marbled with a stylized pattern to represent blood, accented with gold leaf to shimmer at twilight.

Lastly, smaller props such as a can-non, chairs, and other objects were created for the set.

ARC 499 Summer 2014Faculty: K. TashjianBuffalo, NY

A cannon was 3D CNCed from laminated pieces of wood, and fit together to actually move and aim.

Tri-Con

As freshman, The University at Buf-falo has students create a full-scale build during their Spring Semester. For our class, we were given a material, and tasked with spanning the studio room (approx. 28 ft) while having the space to house at least eight people. We also were told we had to create our form by casting the space of the room and to be able to build/store/destroy our structure only with the eight members of the group.

Our team was given the material of concrete. From there we realized quickly that within our studio space, there were not many things to cast that would be structural, other than where the edge of walls met the ground. We preformed many test pours, in order to perfect the thin casting technique, while reducing the weight as much as possible, to al-low us to lift it.

To lighten the load of the build, we sifted the concrete mixes, removing all medium and large aggregate. We then replaced this aggregate by taking foam for insulation, cutting it into small pieces, and then blending it into a puree. This reduced the to-tal weight of the build by 60% while maintaining its structural integrity.

There were eight pieces in total, one for each member of the group, form-ing four completed arches. Each piece was infused with a 1/2” steel cable spine and a chicken wire mesh layer for stability.


This page is dedicated to a solo project I completed earlier in the semester before Tri-Con began.

This project was the recording of a space. (A nearby Church hall) The deconstruction of its cast pieces, then re-configuration of those negative space pieces, into a new object.

The whole set was paper pulp mached, then hand drawn as an inhabitable space.

This project involved many material studies to prepare us for the full-scale build, such as plaster pouring, paper mache, and the creation of a foam mold.

Each piece had a two foot long connection piece of wood/wire key-stone that was drilled with four holes to match with the piece across from it. Once in place, the two were bolted together.

Pictured above, the ta-pered nature of the shape is shown to increase stabil-ity and reduce weight, so that it may to be lifted.

Headed West

Headed West was a special Winter Session trip at the University at Buf-falo. Headed West started in Seattle, WA and ended in Phoenix, AZ, hitting every prominent Architectural and Urban work along the way. During the eighteen days, traveling by bus, hundreds of projects were seen.

In preparation for the trip, there was a Fall seminar class in which every stu-dent had to make five pages to be contributed to a trip guide book. Also each student had to make a presen-tation on two of those buildings in the class, as well as a presentation on the trip once at the site.

The Fall seminar class also focused on pen sketching. During the semi-nar students were required to sketch each week and submit their sketch-es, practicing for when the trip came. During the trip, students were told to sketch as much as possible, and to try and develop a style of sketching. There were times when everyone had to draw the same thing, or draw for a certain amount of time. Students then compared with one another, to help further our sketching skills.

Shown on the following pages are a few of my sketches at different sites along the trip, as well as un-edited photographs all taken by me (except the group shot that I am in.)

ARC 490Winter 2013Faculty: G. DelaneySeattle - Portland - San Francisco - Los Angeles - San Diego - Phoenix

The sketches on this page are of two missions, two projects in LA (HS #9 and Cathedra of our Lady of the Angels), and interiors of two different styles of churches in Berkeley, CA.

Each sketch varied in time length of 30 seconds to 5 minutes.

Photos include places such as, the Crystal Cathedral, The Getty Museum, Hyatt SF, and Palace of Fine Arts.

Space Inverted

The “Bundle Project” is a project that every student at The University at Buffalo must goe through. It is a project that starts with students cre-ating a “bundle” of objects, duck tapped together, then sliced in half on a band saw. Once cut, Students are to create a drawing of their bundle. From there, the students are to create a series of models using planer, linear, and solid techniques. This semester’s studio was highly fo-cused on model making and differ-ent techniques that were used to create them. Although a building was created as a visitor’s center for the Fort Niagara, it was a very rudi-mentary concept and was a sec-ondary focus.

The Models were created with pa-per, basswood, and carved wood. Secondary models were created by paper casting the carved wood model, creating the negative space, and basswood was used to connect each of those spaces.

The final model was then created completely out of masking tape, wound around the paper and bass-wood model. It was then cut to re-move. To solidify the model, a rubber spray coating was applied giving it the liquid black color.

ARC 201Fall 2012Faculty: M. RogersNiagara, NY

The Bundle drawing was created using a charcoal reduction technique, where the entire page is covered in charcoal first, then small erasers are used to sub-tract color where needed.

The colored diagram is to illustrate the concept for the linear model above.

The Planer model was created using multiple techniques, one for each section of the model spatially. The central space is a rectilinear fold. The end spaces are a curved fold, and the long connector space is an origami tessellation.

The Solid model was created cutting out a base shape from wood, then drilled with a hand drill many times, in multiple direc-tions. Once drilled, it was sanded until all hard edged were gone, until it resembed drift wood.

A figure ground paper diagram was created to simplify the bundle drawing.

The building was composed of; a the-ater space in the “boot” , a classroom, and gallery space, which opened up into the wall of the fort. The building also allowed visitors to exit on top of the wall as well.

Hinge

The first semester at The University at Buffalo is entirely hand drawing based. Students were to find an ob-ject that had motion in at least two directions. They were to then draw this object architecturally and in mo-tion. From there this motion was to be realized as a space created through human intervention. Furthering this idea, the student was to create a machine that accomplished a task through their motion.

My found object was a very old door hinge that was spring loaded. Shown on the following is the hinge drawing stationary and in motion.

My human motion was the sheer weight that one could have bend-ing down a flap to create shelter. Fur-thering that, the weight of a human bouncing up and down on a similarly spring loaded human scaled mech-anism was my final operation. It was intended to gather snow inside of it, through a raking motion created by bouncing.

This mechanism is shown on this page and on the last two pages.The human weighted structure is also shown on the last two pages.


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MENEFEE CABIN




STUDENTS:


DRAWING NOTES







4.) BASEMENT FLOOR


5.) FIRE PLACE


6.) GROUND FLOOR




8. ) ROOF


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MENEFEE CABIN




STUDENTS:


DRAWING NOTES







4.) BASEMENT FLOOR


5.) FIRE PLACE


6.) GROUND FLOOR




8. ) ROOF


PIERCE COUNTY

THE MILLER HULL PARTNERSHIP

UNIVERSITY PLACE, WASHINGTON

SUNY BUFFALOARC 442SPRING 2014PROFESSOR: ANNETTE LECUYERTA: PHILIP GUSMANO

STUDENTS:

MATTHEW DELLEHUNT

ALEXANDER GRIEBELERIC ZEFFIRO

DRAWING NOTES:

1.) FOUNDATIONS

A.) _____________ B.) ____________ C.) _____________

2.) COLUMNS AND BEAMS

A.) _____________ B.) _____________ C.) _____________

3.) GROUND FLOOR INT

A.) _____________ B.) _____________ C.) _____________ D.) _____________ E.) _____________

5.) BALCONY EXT

7.) ROOF 1

B.) _____________ C.) _____________ D.) _____________

ANTHONY GAROFALO

2.5 Inch Concrete Topping Slab

R-30 Rigid Insulation

Vapor Barrier

W/R-10 Rigid Insulation

4 Inches of Crushed Gravel

2 Inches of Concrete Topping With Radiant Heating System

4 Inches of Cast In Place Concrete

Long reinforcement:

Cast In Place Concrete

3 - #4 Bars at 12” O.C.


#4 Stirrups at 12 inches 0.C.

135 Degree Ties at Corners

_____________

4.) GROUND FLOOR EXT

A.) _____________ B.) _____________ C.) _____________ D.) _____________ E.) _____________


W/R-10 Rigid Insulation at Perimeter

2 Inches of Sand or Vapor Barrier

Raised/Access Flooring System


A.) _______ 6 Inch Concrete Slab

B.) __________Steel Railing along perimeter

6.) SECOND FLOOR INT

A.) _____________ B.) _____________ C.) _____________ D.) _____________

8 Inch Hollow Core Concrete Slab

Fabric Ceiling System



A.) _____________Sloping 8” Hollow Core Planks

8.) ROOF EXT

B.) _____________ C.) _____________ D.) _____________

1.5 Inch Metal Decking


A.) _____________Sloping Steel Framing

E.) _____________Attached _____________

9.) 2ND FLOOR CEILING

B.) _____________

C.) _____________

4 Inch Metal Stud Framing @ 16 Inches O..C

Suspended Fabric Ceiling

A.) _____________1 Inch White Faced Acoustic Tile

_____________

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PIERCE COUNTY




STUDENTS:

MATTHEW DELLEHUNT


DRAWING NOTES:

1.) FOUNDATIONS

A.) _____________ B.) ____________ C.) _____________


A.) _____________ B.) _____________ C.) _____________


A.) _____________ B.) _____________ C.) _____________ D.) _____________ E.) _____________

5.) BALCONY EXT

7.) ROOF 1

B.) _____________ C.) _____________ D.) _____________

ANTHONY GAROFALO



Vapor Barrier





Long reinforcement:


3 - #4 Bars at 12” O.C.




_____________


A.) _____________ B.) _____________ C.) _____________ D.) _____________ E.) _____________









A.) _____________ B.) _____________ C.) _____________ D.) _____________






8.) ROOF EXT

B.) _____________ C.) _____________ D.) _____________




E.) _____________Attached _____________


B.) _____________

C.) _____________




_____________

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PIERCE COUNTY




STUDENTS:

MATTHEW DELLEHUNT


DRAWING NOTES:

1.) FOUNDATIONS

A.) _____________ B.) ____________ C.) _____________


A.) _____________ B.) _____________ C.) _____________


A.) _____________ B.) _____________ C.) _____________ D.) _____________ E.) _____________

5.) BALCONY EXT

7.) ROOF 1

B.) _____________ C.) _____________ D.) _____________

ANTHONY GAROFALO



Vapor Barrier





Long reinforcement:


3 - #4 Bars at 12” O.C.




_____________


A.) _____________ B.) _____________ C.) _____________ D.) _____________ E.) _____________









A.) _____________ B.) _____________ C.) _____________ D.) _____________






8.) ROOF EXT

B.) _____________ C.) _____________ D.) _____________




E.) _____________Attached _____________


B.) _____________

C.) _____________




_____________

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PIERCE COUNTY




STUDENTS:

MATTHEW DELLEHUNT


DRAWING NOTES:

1.) FOUNDATIONS

A.) _____________ B.) ____________ C.) _____________


A.) _____________ B.) _____________ C.) _____________


A.) _____________ B.) _____________ C.) _____________ D.) _____________ E.) _____________

5.) BALCONY EXT

7.) ROOF 1

B.) _____________ C.) _____________ D.) _____________

ANTHONY GAROFALO



Vapor Barrier





Long reinforcement:


3 - #4 Bars at 12” O.C.




_____________


A.) _____________ B.) _____________ C.) _____________ D.) _____________ E.) _____________









A.) _____________ B.) _____________ C.) _____________ D.) _____________






8.) ROOF EXT

B.) _____________ C.) _____________ D.) _____________




E.) _____________Attached _____________


B.) _____________

C.) _____________




_____________

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Final Undergraduate Portfolio

Documents

inch x

inch cmu

inch tongue

inch wide x

inch thick cast

inch rigid insulation

inch thick rigid insulation

inch thick air gap