Resume and Portfolio

PERSONALLETTER OF INTEREST 1

RESUME 2

ACADEMICSTUDIO PROJECT 4

SKETCHBOOK 20

PROFESSIONAL McDougal Architects 24

Anderson Porter Design 28

INDEPENDENT COMPETITIONS 34

FREELANCE PROJECTS 36

Rodney Cudmore

936 Centinela AveSanta Monica, CA 90403

tel: 310-424-0207

[email protected]

To Whom It May Concern,

I recently completed my M.Arch. thesis in Boston and am seeking full time employment in a progressive architecture firm. I hope to find a position that will allow me to take on the challenge of projects with a high degree of complexity in order to develop profes-sionally. I am currently located in the Los Angeles Area.

Before attending architecture school, I worked in the construction industry, building custom homes. I started as a laborer, but soon took on the role of site supervisor for a residential renovation. During this time I also completed a certificate in construction project management by attending courses at night and on weekends.

I also have experience working in architecture offices on a variety of projects. In my previous position at Anderson Porter Design, I learned a great deal about zero energy design using a super-insulated building envelope and the application of photovoltaic panels. I was able to participate in design decisions as well as developing the info-graphics for communicating the concepts of the development.

Having experience in both construction and architectural design, makes me better able to communicate with contractors, engineers and clients. Since I have knowledge of building systems, methods and materials, I am able to assess the ‘buildability’ of details from a contractor’s perspective.

I can supply references upon request. Please let me know if you think my skill set would be an asset to your company.

Best Regards,

Rodney Cudmore LEED AP

Boston Architectural College - M.Arch. - 09/07-05/12 (Graduation Pending)

University of Toronto - B.A. (Hons.) - Architectural Design - 09/99-05/04

Autodesk Revit Associate + Professional Certificates 2011

LEED AP Building Design + Construction - Member 01247469

Construction Project Management Certificate - George Brown College 2005-2007

Glassman Bailey Travelling Scholarship - Paris 2009Awarded based on an essay and portfolio submission

Graphic Design - Adobe CS5 PhotoShop, Illustrator, InDesign

Drafting and BIM - Autodesk AutoCAD + Revit

Generative Modeling - McNeel Rhinoceros, Grasshopper 3D

Media Production - Sony Vegas Pro 11

ALGODE 2011 - International Student Collaboration - Japanese Tea House Design

Dingbat 2.0 2010 - Los Angeles Forum for Architecture and Urban Design - Re-Inventing the Dingbat Typology

Junior Designer 02/12 – 05/12 Anderson Porter Design, CambridgeCommunicated with client representative and participated in site meetings

Produced project manual and permit setCreated and implemented an office technology update strategy

Graduate Level Teaching Assistant 09/08 – 01/09 Boston Architectural College, Boston Established leadership role and mentored students

Evaluated student performance in a critical and constructive mannerResponsible for maintaining office hours and meeting with students

Intern Architect 10/07 – 05/08 McDougal Architects, Inc., Boston Contributed to construction documents and made changes

Communicated with clients and consultantsManaged time efficiently to satisfy deadlines

Site Supervisor 06/04 – 04/06 G.E.S. Construction, Inc., Toronto Planned and Scheduled Sub-contractorsSupervised laborers and prioritized tasks

Estimated quantity of material required and placed orders

Ambar Residence - Tarzana, California, 2012 - Developed schematic design options for renovation

Mirza Residence - Mississauga, Ontario , 2012 - Prepared drawings and 3D visualization for basement renovation

Mozayyan Residence - North York, Ontario, 2007 - Prepared permit proposal for addition and renovation

King Residence - Toronto, Ontario, 2006 - Prepared permit proposal for new driveway and parking area

Evans Residence - North York, Ontario 2004 - Prepared Permit Drawings for 2-story addition

ACADEMIC

Using this section of “Son-nets to Orpheus” by Rilke, this project explores notions of Di-rectional Transformation and phenomenal transparency.

There is a complex relation-ship between the original Ger-man words “uberhaupt uber-steht” which mean “is about all about” (uber = about). Rilke uses a pun to compare ‘physical survival’ and ‘exis-tential existence’ (or transcen-dence?) in both words.

“ANTICIPATE ALL FAREWELLS, AS IF THEY WERE,

BEHIND YOU, LIKE THE WINTER YOU JUST WEATHERED.

BECAUSE AMONG ALL THE WINTERS THERE IS ONE SO ENDLESS WINTER,

THAT, OVERWINTERING IT, YOUR HEART PREVAILS ALTOGETHER.”

Masters Studio C:Concrete ThinkingBoston Architectural CollegeFall 2010Instructors: Kevin LossoDuration: 12 weeks

This studio explores the ma-teriality of concrete, using the typology of the crematorium as a design premise.

One of the most influential factors on the immediate site is the presence of many ma-ture trees of various species. Different trees, depending on whether they are coniferous or deciduous will create differ-ent site conditions seasonally. The fall colors of the decidu-ous trees are golden, brown, and deep red, whereas the conifers do not change. This means that although some as-pects to the site are constant-ly changing, others remain constant.

The most compelling aspects of the site can be assessed sectionally. The changes in el-evation create a distinct sepa-ration of the different 'ground planes' This condition is in-teresting because in order to connect to another ground plane, one must redirect their gaze above or below the typi-cally horizontal plane that one has become accustomed to using in order to understand the surrounding environment. Also, some of the cemetery's largest trees are located in close proximity to the site. The changes in topography allow various relationships to the height of these trees, which can be as tall as eighty feet high. Being at the top of the hill changes one's view of these important elements around the site.

Picrasma Quassiodes

Davidia involucrata

Cedrus Libani

The spaces were arranged to al-low for parallel movement through each system, as one of the as-pects of the poem reflected the fact that awareness of other reali-ties actually facilitates the trans-formational process.

ENTRY PORTS

REMEMBERANCE

SPACE

WAITING A

REAS

CHAPEL SPACES

ENTER

EXIT

The project challenges the notion of indoor and exterior, by separating the traditional part of the building enve-lope into different zones. The tubes, where the services will be held will be environmen-tally conditioned, while the in-terstitial spaces will be shel-tered from the elements, but will not be conditioned space.

The formal expression of this project explores the place of the inhabitant amongst the structure. The idea of the wall dissembled allows for the in-habitation of interstitial spac-es and the reinterpretation of poche space.

P - Porte CochereC - Chapel SpaceW - Waiting AreaR - Remembrance SpaceA - Ancillary Spaces

The form of the tubes was based on the concept of cre-ating joined, not separate spaces. The profile is an ad-justed pentagon, which al-lowed for interesting intersec-tions with the adjacent tubes, and the desired sweeping height of the interior spaces.

ROTATE MAIN SUPPORTS

BUILD INNER AND OUTER FABRIC

The four chimneys in the proj-ect are sculptural elements that are made of concrete and precast off-site. Using a form-work ‘machine’, The process will allow a high degree of differentiation of parts, while using a common formal lan-guage. Once placed on site, the top is cut to become flush with the building skin.

LOCATE SPACERS BUILD SPACERS

PLASTIC FLEXIBLE WASHER

TEFLON FABRIC

6” PLASTIC SPACER W/ REMOVABLE FLEXIBLE

FLANGES, FOAM RIMAND STEEL CORE

LIGHTWEIGHT CONCRETEW/ FIBERGLASS ADMIXTURE

HHS STEELSTRUCTURAL FRAME

Formwork Section Detail

In order to explore the mate-riality of concrete, two meth-ods of concrete design are utilized in order to address the different design goals of each component. The foundation and tube bases are poured in place and some of the form-work is left in place, exposing the method of construction to the users.

Rendered Wall Sec-tionShowing Materials

WHITE BATT INSULATION

POLYURETHANE WALL PANELACTING AS VAPOUR BARRIER

1/2” GALVANIZED STEEL BOLT FASTENNED WITH NUT

CAULKING

3/4” STEEL REBAR

LIGHTWEIGHT CONCRETEPOURED IN PLACE

EPOXY SEALANT

WEATHER BARRIER

EXPANDED STAINLESS STEEL OUTER SKELETON

1/2” GALVANIZED STEEL BOLTANCHORED WITH EPOXY ADHESIVE

1/16” COPPER FLASHING/W/ DRIP EDGE

2” ROUGH TIMBER FORMWORKSANDED AND STAINED

4” RIGID INSULATION

1/2” THREADED ROD ANCHORFASTENNED WITH NUT

VAPOUR BARRIER

Wall Section Detail

The upper portions of the enclosures are a custom composite wall solution of expanded polished stain-less steel skeleton with soft, translucent polyurethane panels fastened to the inte-rior. The finishes used in the project reflect the site as well as the idea of overwintering. The wood form is made of red oak, a tree found in close proximity to the site. The col-ors of the deciduous trees in autumn are inspiration for the polyurethane inner panels of the tubes, to evoke the idea of overwintering.

The structural system will at-tempt to maintain the design intent of the project. In order to do so, the cantilever effect of the pathways must be pre-served through strategic use of structural members. The base supporting elements are constructed of concrete and introduce a new design lan-guage into the project, juxta-posing rectilinear elements with the polymorphic forms of the ‘tubes’. These load bearing elements are used as foundations on which to bear the horizontal steel members.

12’

44’ 28’

34’

CO

LUM

N A

POURED CONCRETE BEARING WALL

POURED CONCRETE BEARING WALL

Shear Wall

12’

40FT UNIFORM LOAD

35FT UNIFORM LOAD

WIDE FLANGE STEEL GIRDERMIN 12” BEARING ON WALLS AND MOMENT CONNECTIONS

Load Upper Level W1 = [Dead Load + Live Load + Self Load] x Safety Factor = [(130cu.ft. x 100lb/cu.ft.) + (80lb/sf x 260sf )+ (26ft. x 12 lb/Lf )] x 125% = [13,000lbs + 20,800lbs + 312lbs] x 1.25 = 43 Kips of Force

Load Lower Level W2 = [Dead Load + Live Load + Self Load] x Safety Factor = [(110cu.ft. x 100lb/cu.ft.) + (80lb/sf x 220sf )+ (22ft. x 12 lb/Lf )] x 125% = [11,000lbs + 17,600 + 264] x 1.25 = 36 Kips of Force

Total Load WT = 43 + 36 = 79 Kips

Critical Buckling Load of Column A [W10x12]Effective Length of Column Fixed at Both Ends = 12ft x 0.5 = 6ft w third point bracing

PCR = π2 E I / L2 = (9.86) (29.6 x 106 lb/in2 ) (2.2 in4 ) / 5,184 sq.in.= 124 Kips

Therefore, the selected W10x12 Column is sufficient to support the load.

Different than a traditional crematorium, the building functions are not hidden, but rather open to view. This de-cision is based on the Rilke’s view that knowledge is a means by which on can gain peace of mind. These con-siderations result in a very porous and sublime design while accommodating ancil-lary spaces in adjacent sup-porting structure. Light is filtered through the various layers and openings, reflect-ing off the various materials, creating interesting patterns and colors. One can see in the crematoria in the lowest level, the effects of this.

Sketchbook France, 2009

PROFESSIONAL

Rear Elevation

Transverse Section

McDougal Architects

Principal: Beth McDougal

Address: 151 Pearl St. 3rd Floor Boston, MA 02110

Duration: 9 Months

Position: Intern Architect

First Floor Plan

My responsibilities included making changes and coordinating plans, sections and eleva-tions and making some design decisions.

Slesar Residence | Main Floor Plan

I was responsible for producing all construction documents from given hand sketches.

Harrington Residence | SketchUp

I produced these images in order to present two different options to a client.

Supervisor: Brian Anderson

Address: 875 Main St. Suite 200Cambridge MA02139

Duration: 4 Months

Position: Junior Architect (temporary)

INDEPENDENT

This project maintains the spatial relationships of the traditional Tea House, but deconstructs the whole into fragments. The boundaries of public/private and interior/ex-terior are expanded into fields of gradual change.

This strategy uses the idea of the Japanese fan to create ad-justable space. It establishes two entrances, and a rotation-al circulation.

The structural strategy is to use a system of hinged frames that support the interior and exterior skins. The geometry of the system is based on a 1:2 trapezoidal grid, an interpretation of the traditional tatami mat arrangement

CONTRACTED EXPANDED

The canopy is an adjustable envelope that can expand based on the twisting capa-bility of the material. The form could rise from the ground, as an extension of the land-scape. The model shows straight pieces of wood, how-ever, the intent is to twist the wood along its length. An al-gorithm could be developed that associates width, length and rotation of each piece.

Ambar Residence 2012

Tarzana, California

Documentation of Existing Conditions and Renovation