chris hainer portfolio

C h r i shainerA P o r t f o l i o o f W o r k

T h e d a t a t h e s e n s e s g a t h e r h a s a s t r u c t u r e w h i c h , t h r o u g h p e r c e p t i o n , a l t e r s o u r u n d e r s t a n d i n g . A c h a n g e i n t h e a t m o s p h e r e o f a s p a c e l e a d s d i r e c t l y to a c h a n g e i n u n d e r s t a n d i n g . S u c h c o n d i t i o n s a r e c r e a te d by a r c h i t e c t u r e y e t m o s t o f t e n t h e y a r e n o t t h e m s e l v e s d e s i g n e d o r i n v e s t i g a te d . W h a t i s n e e d e d a r e m e t h o d s o f s t u d y i n g , c o m p o s i n g a n d t r a n s m i t t i n g t h e s e q u a l i t i e s i n o r d e r to u n d e r s t a n d a n d c r e a te a t m o s p h e r e s t h a t a d d to a r c h i t e c t u r e i n s te a d o f b e i n g c o i n c i d e n t a l .

A g r a p h w h i c h m a p s t h e s e n s e s o v e r a s e q u e n c e a l l o w s t h e s t r u c t u r e to b e r e v e a l e d . T h i s to o l w a s u s e d to a n a l y ze a v a r i e t y o f s e q u e n c e s i n a r e l a t i v e l y o b j e c t i v e m a n n e r.

W i t h t h i s n e w u n d e r s t a n d i n g t h e s e q u e n c e s c o u l d b e r e m i xe d i n to n e w s e q u e n c e s—a f o r m o f c r e a t i o n . A s y s te m f o r c r e a t i n g a n d ex p e r i e n c i n g s e q u e n c e s w a s t h e n c o n s i d e r e d a n d t h e f i n a l s t e p i s to d e s i g n u s i n g a g r a p h a s a g u i d e .

Chrishainer

sensory MappingGraduate thesisFall 2008

Outdoor | Indoor

Roof Door Isolation Door Sit

Light: Natural | Arti�cialPopulation

Peaks and Valleys

8 1 1 2

1sec 2sec 3sec 10sec 20sec 30sec 40sec 50sec 60sec 70sec 80sec

42

810

6

73º

84º

980 cd/m

20 cd/m

Brightness / Visual Contrast Vsual Density / Visual Pattern Smell Intensity / Quality Loudness / Signal vs. Noise Haptic Texture / Temperature Spacial Scale / Ease of Movement

Outdoor | Indoor

RoofPortal Portal Sit


Peaks and Valleys

8 20 5 15 2


42

810

6

71º

700 cd/m 500 cd/m20 cd/m


Outdoor | Indoor

Door Portal Stairs Above Isolation PortalViewportViewportViewportViewport


Peaks and Valleys

3 3 5 3 4 2 1


42

810

6

63º

73º

860 cd/m 650 cd/m 750 cd/m 500 cd/m 570 cd/m 450 cd/m


Outdoor | Indoor

Tra�c Stairs Door Door Stairs


Peaks and Valleys

10 4 1 12 6 1


42

810

6

60º

700 cd/m

70º

600 cd/m 450 cd/m 550 cd/m


Outdoor | Indoor

Portal Product Tra�cTra�c Sit


Peaks and Valleys

30 5 25


42

810

6

73º

600 cd/m

65 dB

720 cd/m

55 dB

550 cd/m

63 dB

740 cd/m


Outdoor | Indoor

Door Water Portal Sit


Peaks and Valleys

4 1 2

1sec 2sec 3sec 10sec 20sec 30sec 40sec 50sec 60sec 70sec

42

810

6

78º

950 cd/m

74º

500 cd/m 50 cd/m 400 cd/m 600 cd/m 400 cd/m


Outdoor | Indoor

RoofPortal PortalViewportDepthAbove

IsolationOut of place

SitWaterPortalDoorPressPushPull

Tra�cProduct

Viewport

Light: Natural | Arti�cialPopulation 8

(Outside) (Inside)(Natural) (Arti�cial)

20 5 15 2


42

810

6

1-10

1-10

Decibels (dB)

1-10

Volume (cubic ft.)

cd/m2

Fresh - Musty

ºF

500 cd/m2

Brightness / Visual Contrast

Brightness Visual Contrast

Vsual Density / Visual Pattern

Visual Density Visual Pattern

Smell Intensity / Quality

Smell Intensity Quality

Loudness / Signal vs. Noise

Loudness Signal vs. Noise

Haptic Texture / Temperature

Haptic Texture Temperature

Spacial Scale / Ease of Movement

Spacial Scale Ease of Movement

Brightness / Visual Contrast Visual Density / Visual Pattern Smell Intensity / Quality Loudness / Signal vs. Noise Haptic Texture / Temperature Spacial Scale / Ease of Movement

Brightness measured as an average amount of light hitting the eye.

Contrast is the amount of di�erence between areas of the scene.

DescriptorsVisual Density is a measurement of the amount of information within the scene.

Visual pattern is a measurement of the randomness vs. order of the scene.

A subjective measurement of the amount of smell within a space.

A subjective measurement of the smell type based on a range from fresh to musty.

The decibal level of the scene.

Is the audio within the space a clear signal or background noise.

A measurement of the amount of texture, whether skin contact or variation in the ground plane.

Temperature using 72ºF as the comfortable baseline.

Scale of a space with from co�n at 1 and open �eld at 10.

Ease of movement from going down a slide at 1 to climbing a mountain at 10.

All values graphed as a 1-10 scale with absolute measurements given when possible.

Scale

Time Scale

Vertical Scaled Color Scaled0............................. ................................10

Images @1 frame/second

NOT UNDER INVESTIGATION







ExpEriEncE

Memory

Iconography

Mood

Aesthetics

Purpose

Ears

Eyes

Body

Nose

Tongue

Loudness

Signal vs. Noise

Brightness

Contrast

Order

Complexity

Texture intensity

Temperature

Ease of movement

Scale

Humidity

Smell intensity

Smell quality

Taste intensity

Taste quality

contExtual GivEnsSensory experiences are always below danger thresholdGravity’s pull is a constant 9.8 meters/second2

72º Fahrenheit is considered an achievable and comfortable temperatureHumidity is moderate and never reaches extremes

statEmEnt of subjEctivE qualitiEs takEn as GivEns How to rEad GrapHs

pErsonal GivEnsComfortable shoes and clothing are being wornAll senses are considered equalI belong in the space being recordedI have a motive for being in the space—I’m not just wanderingI do not face accessibility issuesI am moderately physically fitI am about 5’ 10” tallI am moving through spaces unaccompaniedMood is not consideredI am in my 20sI am from the Midwest

It is realized that any investigation is limited by context and personal subjectivity. As much as possible the reading is considered an average experience, not a specific one. By acknowledging the givens that go into a reading of a spacial sequence the designer gains an understanding of themselves, the context and those that do not fit the givens. Commonly Discussed

Phenomena PerceptionSensory Elements Non-SensoryPhenomena

Portal Product Tra�cTra�c SitPortal Product Tra�cTra�c SitTra�c Stairs Door Door StairsTra�c Stairs Door Door StairsDoor Water Portal SitDoor Water Portal SitDoor Water Portal SitDoor Water Portal SitTra�c Stairs Door Door StairsTra�c Stairs Door Door StairsDoor Portal Stairs Above Isolation PortalViewportViewportViewportViewport

Portal Product Tra�cTra�c SitPortal Product Tra�cTra�c SitTra�c Stairs Door Door StairsTra�c Stairs Door Door StairsDoor Water Portal SitDoor Water Portal Sit Door Water Portal SitDoor Water Portal SitTra�c Stairs Door Door StairsTra�c Stairs Door Door StairsDoor Portal Stairs Above Isolation PortalViewportViewportViewportViewport

Door Water Portal SitPortal Product Tra�cTra�c SitRoofPortal Portal Sit

Door Water Portal SitPortal Product Tra�cTra�c SitRoofPortal Portal Sit

Door Water Portal SitDoor Portal Stairs Above Isolation PortalViewportViewportViewportViewportPortal Product Tra�cTra�c SitDoor Portal Stairs Above Isolation PortalViewportViewportViewportViewport

Door Portal Stairs Above Isolation PortalViewportViewportViewportViewportPortal Product Tra�cTra�c Sit Roof PortalPortalSitDoor Portal Stairs Above Isolation PortalViewportViewportViewportViewport

REMIX 1GEntlE risE - quick fall - rEpEat

Using the combined height as the link between pieces to provide a matching form. Overall quality is gentle while there is more small scale variation within each sense quality.

AtMosphERIc REMIX usinG rEal world atmospHErEs to crEatE nEw, controllEd compositions

REMIX 2abab - a b a b - abab

Using a basic pattern of a high intensity section followed by a low intensity section, a composition is formed through repetition and length adjustment.

REMIX 3smootH transition

Sections are linked with as little variation as possible in each sense to form a smooth transition and composition.

Outdoor | Indoor

Door Portal Stairs Above Isolation PortalViewportViewportViewportViewport


Peaks and Valleys

3 3 5 3 4 2 1


42

810

6

63º

73º

860 cd/m2 650 cd/m2 750 cd/m2 500 cd/m2 570 cd/m2 450 cd/m2


Sensorial Experience

Graphic Form

Transfer

Sensorial Experience

Translation / Compression

Translation / Decompression

For over a thousands years mankind has been using the perspective drawing as a means of conveying the visual sense of architecture. �is is due in large part to a dominance of the eye in the act of understanding in Western thinking. Reaching back to Plato, who believed sight to be the only sense that could reveal the deeper truth of world, in order to know one must see. �is Ancient Greek idea was reinforced through the fact that the visual image has been relatively easy to transmit compared to images of the other senses. A visual image can be copied without too much effort, even by hand, but the other senses have been ephemeral events without reliable means of communication. Whether the eye is preferred or not, the true power of the visual image has been its transferability. One can translate a sight into an image, take that image anywhere and it will still communicate the original sight with little loss of fidelity. It is only recently that Western thought has begun to ackowledge the full range of senses as an integral component of understanding. Recent philosophies such as phenomenology and existentialism put a premium on experience as a whole and it is through these conepts that architects have begun to examine the senses in a holistic fashion. �is new attention has been limited, however, by the inability to represent the senses through the dominant visual image or to convey them in any other form for that matter. What is needed is a perspective drawing for all of the senses and a way to re-experience those senses. �is conveyance of the senses would involve several stages. �e first stage is the translation of the senses into a graphic form. �e product of this allows for information on all of the senses to be transmittable. After this transmission, in order to experience the various senses another translation into their original states is required. �e key to making this system effective is in the translations. A level of compression is involved in the first step due to the translation into a visual format. When the second translation takes place, the information is decompressed. �e effectiveness of this scheme is reliant upon the fidelity of these translations. If too much information is lost in the first translation, then the graph loses value as a commication scheme; if too much is lost in the second translation then the sense experience will not bare enough resemblance to the original and will communicate incorrectly.

Vision

smell

Brightness

texture

sound

Viewport

spacer

The ability to selectively link together different senses into one atmosphere is facilitated through the creation of separate Sense Panels for each of the senses. A set of these panels encloses a Sense Space and a series of these spaces can be sequenced together. To allow for senses to overlap between Sense Spaces, spacers of a smaller size can be inserted, moving a Sense Panel in between two boxes.

panelEach panel has a unique sense quality, from a level of brightness to a quality of smell.

spaceCombining multiple sense panels together creates an enclosed sense space. This space houses a distinct atmosphere.

sequenceBy continuing to chain sense panels together, multiple sense spaces are created in a sequence.

sensory intervention

atmosphere model

P r o g r a m

• A r t m u s e u m r e p l a c e m e n t

• A l o n g s e c o n d a r y a x i s o f U I U C c a m p u s

• 5 0 ,0 0 0 s q f t o f g a l l e r i e s

• E d u c a t i o n , o f f i c e , a n d s to r a g e f a c i l i t i e s

• S c u l p t u r e g a r d e n

S o l u t i o n

To a c c o m m o d a te t h e i m p o r t a n t a x i s , t h e f o o t t r a f f i c t h r o u g h t h e s i t e , a n d t h e d i s t r i b u t i o n o f b u i l d i n g s i n t h e a r e a , t h e p r o g r a m i s b r o ke n a p a r t a n d d i s t r i b u te d o n a c r o s s t h e s i t e . S u n ke n g a l l e r i e s a r e c o n n e c te d b e l o w g r a d e by a c i r c u l a t i o n r i n g a n d r e c e i v e a c o n t r o l l e d a m o u n t o f n a t u r a l l i g h t . A b o v e g r o u n d t h e g a l l e r y v o l u m e s d e f i n e s m a l l e r s c a l e d s p a c e s w h e r e s c u l p t u r e c a n b e d i s p l a y e d . T h e g a l l e r y b oxe s r e a d s o m e w h e r e b e t w e e n b u i l d i n g s a n d l a n d s c a p e b e c o m i n g s c u l p t u r a l i n t h e i r o w n w ay w i t h o u t d e t r a c t i n g f r o m t h e a r t w o r k d i s p l a y e d .

Chris hainer

UiUC art MUseUM2nd Grad StudioWinter 2008

M i l i t a r y A x i s F o o t Tr a f f i c B u i l d i n g A xe d S i t e E d g e s S t r e e t s & Pa r k i n g

E n t r i E s o n E a c h E n d o f t h E s i t E g i ve t h e m u s e u m a m o m e n t o f g r a n d e u r to e n t i c e v i s i t o r s .

G a l l e r y s p a c e s b e l o w g r o u n d a r e l i t b y a v a r i e t y o f s k y l i g h t t y p e s , a d j u s te d to s u i t e d i f f e r e n t l i g h t l eve l s . Conve r se l y the c i rcu l a t i on space ma in ta i ns a s u b te r r a n e a n f e e l w i t h m o m e n ts o f n a tu r a l l i g h t v i a s u n ke n c o u r t y a r d s .

Cl ass i Ca l im age

n at ur a l l ight ing

P r o g r a m

• R e s t a u r a n t , V i e w i n g To w e r, Ya c h t C l u b , r e s t r o o m s , Pa r k

• S o u t h C h i c a g o a l o n g L a ke M i c h i g a n

• F o r m e r s t e e l m i l l s i t e n o w p r a i r i e l a n d

• O n l y m i l l r e m a i n s a r e 1/2 m i l e l o n g x 3 0 ’ t a l l c o n c r e te ‘o r e w a l l s ’

• A d j a c e n t l a n d w i l l b e r e d e v e l o p e d i n to 5 0 0 a c r e c o m m u n i t y

S o l u t i o n

T h e c u r r e n t m i x o f n a t u r a l g r o w t h a n d o l d s t e e l m i l l r e m n a n t s c r e a te s a u n i q u e c h a r a c te r f o r t h e s i t e . To ke e p t h i s s e t t i n g i n t a c t , t h e b u i l d i n g s r e s t g e n t l y o n t h e l a n d .

f o r a u n i q u e d i n i n g ex p e r i e n c e , t h e r e s t a u r a n t i s s u n k to w a te r l e v e l b e l o w a g e n t l e h i l l . T h e y a c h t c l u b m i r r o r s i t s m a r i n a c o n tex t w i t h a n u n d u l a t i n g r o o f a n d t i l t e d c o l u m n s . T h e v i e w i n g to w e r r e l a t e s to t h e h i s to r y o f t h e s i t e w i t h a l a r g e s t e e l s c r e e n r i s i n g o u t o f t h e g r o u n d a g a i n s t o n e w a l l w i t h a s t a i r i n s i d e .

Chris hainer

UsX site new Life1st GrAd studiofAll 2007

E ac h b u i l d i n g i s d E s i g n E d w i t h t h E v i E w i n m i n d. T h e v i e w i n g to w e r s e t s u p a s e q u e n c e o f p e r s p e c t i v e s t h a t c u l m i n a te s a t t h e to p w i t h a f u l l p a n o r a m a . T h e r e s t a u r a n t c r e a t e s a f o c u s e d v i e w o u t t o t h e l a k e f o r p a t r o n s a n d a h i g h p o i n t t o l o o k o u t f r o m f o r v i s i t o r s o n t o p . T h e y a c h t c l u b p u t s m e m b e r s o n t h e w a te r, b l u r r i n g t h e l i n e b e t w e e n i n s i d e a n d o u t s i d e .

steel monu ment

int im ate v ie w

on water

P r o g r a m

• E x h i b i t i o n C e n te r

• R e p l a c i n g C o b o H a l l i n D o w n to w n D e t r o i t , M I

• 1 m i l l i o n s q f t o f e x h i b i t s p a c e

• S e c o n d a r y f a c i l i t i e s o f m e e t i n g r o o m s a n d b a l l r o o m

• N e e d e d to a d d r e s s m a j o r h i g h w ay t h r o u g h s i t e

S o l u t i o n

L o w e r i n g t h e ex h i b i t h a l l b e l o w g r a d e a n d s p l i t t i n g t h e r e s t o f t h e p r o g r a m i n to s m a l l e r b l o c k s a b o v e h e l p s t h e c e n te r f i t i n to t h e c i t y g r i d a n d c r e a te a n a c c e s s i b l e p a r k s p a c e a l o n g t h e r i v e r ’s e d g e .

T h e ex h i b i t h a l l f l o o r, i t s c e i l i n g , a n d t h e p a r k l e v e l a r e u n i q u e l a n d s c a p e s a l l o w i n g f o r e a c h to s e r v e i t s f u n c t i o n . T h e f l o o r s l o p e s a t m o m e n t s to c r e a te o n e s t a i r- f r e e t i e r e d s p a c e , t h e c e i l i n g u n d u l a te s to l e t i n l i g h t a n d h o l d s t r u c t u r e , a n d t h e p a r k l e v e l c r e a te s a n a t u r a l b a c kd r o p f o r t h e c i t y.

Chris hainer

Convention Center4th uG studioWinter 2007

Restrooms Loading CoatCheck

Parking Shops

Meeting Rooms

Concourse Food

Exhibit Hall

Restrooms Loading CoatCheck

ParkingShopsMeeting Rooms

Food

Concourse Exhibit Hall

C U R R E N THIERARCHY

PROPOSEDHIERARCHY

C U R R E N T P R O G R A MPRIMARYExhibit Hall

SECONDARYMeeting RoomsConcourseFood area

TERTIARYRestroomsCirculationLoading/UnloadingCoatcheckParkingshops

PROPOSED P R O G R A MPRIMARYMeeting RoomsFood areaShopsParkingCommercial

SECONDARYExhibit HallConcourse

TERTIARYRestroomsCirculationLoading/UnloadingCoatcheck

REORGANIZING THE PROGRAMAll program elements currantly serve the exhibition space. This creates a situation in which these elements are under-utilized when the exhibition hall is not being used.

To increase the usefulness of Cobo Center, the hierarchy of program must be reorganized.

I propose making the exhibition space a secondary element to others that may be used by visitors and residents at any time.

C U R R E N TM A S S I N G

A L T E R E DM A S S I N G

COMMSPACE

M E E TSPACE

F O O DSPACE

S E R VSPACE

SMALL HALLS

MEETING ROOMSFOODCOURT

DINING

COMMERCIAL

LARGE HALL

P R O G R A MDISTRIBUTION

COMMERCIAL

dens i t y/ use

t h E h i g h w a y r u n n i n g t h r o u g h t h E s i t E n o w prov ides an appropr ia te ent r y to downtown Detro i t . Add i t iona l l y, t h e h i l l r i s i ng towa rd th e sou th c re a te s a p l ac e o f r e s p i te f ro m t h e b u s y n e s s o f a c o n v e n t i o n a n d a h i g h g r o u n d to v i e w t h e c i t y f r o m.

L o w e r l e v e l e x h i b i t h a l l

t r A n s i t i o n / J u X t A P o s i t i o n

W N E S W

a

aa

a M e e t i n g r o o m sb H i g hwayc M a i n C o n c o u r s ed r i v e r

c

b

d

M a i n C o n c o u r s e D o w n to w n Pa r k H i l lC i t y g ate way

o b j e c t i v e s

A n i n t e n s i v e s t u d y o f s ke tc h i n g a s a m e a n s o f a n a l y z i n g a n d s t u d y i n g a r c h i t e c t u r e . C l a s s v i s i t e d m a n y c o n te m p o r a r y a n d h i s to r i c a l b u i l d i n g s w i t h i n a n d a r o u n d t h e c o u n t r y o f S w i t z e r l a n d i n o r d e r t o w i d e n o u r v i e w o f a r c h i t e c t u r e a n d i m p r o v e o u r s ke tc h i n g a b i l i t i e s .

T h e a r e a s o f s t u d y i n c l u d e d b a s i c d r a w i n g , s e c t i o n s o f b u i l d i n g s a n d a f i n a l p r o j e c t d r a w i n g a n d a n a l y z i n g a p a t h t h r o u g h t h e c i t y o f Z u r i c h u s i n g p l a n , s e c t i o n , a n d p e r s p e c t i v e .

Chris hainer

swiss sketCh toUrstudy AbroAdsummer 2006

l i v i n g u n i t s a r E d i v i d E d i n t o p r i vat E s pa c E s , c o m m u n a l s p a c e s , a n d a n i n b e t w e e n s p a c e . E a c h a r e a i s d e f i n e d by i t s v i s i b i l i t y t o t h e u n i t a n d to t h e ex te r i o r.

l i g h t a n d v i E w a r E c o n t r o l l E d v i a i n t E g r at E d l o u v e r s , s l i d i n g p a n e l s a n d c l e r e s to r i e s . I n t e r i o r w i n d o w s a l l o w s f o r m a x i m u m l i g h t p e n e t r a t i o n a n d a m e d i a t e d

p r i v a c y b e t w e e n r e s i d e n t s .

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P r o g r a m

• B a t t e r e d Wo m e n’s S h e l t e r

• D o w n to w n To l e d o

• H o u s i n g f o r w o m e n a n d c h i l d r e n

• Fa c i l i t i e s f o r c o u n s e l i n g

• S p a c e f o r h e a l i n g

• S e c u r i t y

S o l u t i o n

To a l l o w i n a s m u c h l i g h t a s p o s s i b l e a n d to e n h a n c e s e c u r i t y, t h e l i v i n g u n i t s a r e i n to w e r s a b o v e g r o u n d l e v e l .

I n o r d e r to e n c o u r a g e s o c i a l i n t e r a c t i o n t h e s c h e m e i s s e t u p l i k e a c i t y, w i t h r e s i d e n t s i n t e r a c t i n g o n a s m a l l s c a l e w i t h i n l i v i n g u n i t s , t h e n c o m i n g d o w n f r o m t h e to w e r s to i n t e r a c t w i t h l a r g e r g r o u p s a n d r e c e i v e c o u n s e l i n g .

C o n s t r u c t i o n

B u i l d i n g s t r u c t u r e a n d m e c h a n i c s w e r e l a t e r w o r ke d o u t i n h i g h d e t a i l .

Chris hainer

women’s sheLter3rd uG studiofAll 2006

Pro

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dent

: Chr

is H

aine

rU

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ame:

CS

HA

Orig

inal

Dat

e: 1

1/06

Dat

e R

evis

ed: 0

3/07

/07

Lab

Inst

ruct

or: L

arse

n

03.01

1. Elevator Shaft2. Plumbing in water walls3. Ductwork running supply and return4. Cooler tower5. Telecommunicatio and electricity lines6. Loading dock7. Boiler room with boilers, chillers, and associated water pumps8. Air intake unit9. Meter, transformer, Switchgear room.

12

4

3

5

8

7

9

6

Pro

ject

: She

lter f

or B

atte

red

Wom

en, T

oled

o

Mec

hani

cal A

xono

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ric

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dent

: Chr

is H

aine

rU

niqu

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ame:

CS

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inal

Dat

e: 1

1/06

Dat

e R

evis

ed: 0

3/07

/07

Lab

Inst

ruct

or: L

arse

n

03.01

1. Elevator Shaft2. Plumbing in water walls3. Ductwork running supply and return4. Cooler tower5. Telecommunicatio and electricity lines6. Loading dock7. Boiler room with boilers, chillers, and associated water pumps8. Air intake unit9. Meter, transformer, Switchgear room.

12

4

3

5

8

7

9

6

Pro

ject

: She

lter f

or B

atte

red

Wom

en, T

oled

oS

truct

ural

Axo

n 1/

32” =

1’

01.01

Stu

dent

: C

hris

Hai

ner

Uni

que

Nam

e: C

SH

AO

rigin

al D

ate:

11/

06 D

ate

Rev

ised

: 1/0

7LA

B In

stru

ctor

:Lar

sen1. 5”x10” Girders

2. 4”x8” Beams3. 10”x10” W section Columns4. 12”x12” W section Columns5. Concrete Stair6. Foundation7. Footing

1

2

3

4

5

6

7

Pro

ject

: She

lter f

or B

atte

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Wom

en, T

oled

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onne

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n D

etai

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= 1

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01.04

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: C

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SH

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7LA

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Detail A1. Concrete Slab2. Steel Decking3. 10”x10” W Section4. Steel Base Plate Welded to Column5. 12”x12” W Section6. 4”x8” W Section7. 5”x10” W Section8. Steel Plate for Moment Connection

Detail ABeam joint, Girder joint, and Column Splice

1

2

3

6

5

87

4

Detail B1. Concrete Slab2. Steel Decking3. Column welded to thick plate leveled with mortar, then bolted to foundation.4. Concrete Foundation Wall5. Beam sits in Notch6. 4”x8” W Section Beam7. 10”x10” W Section Column

Detail BColumn to Foundation

7

3

4

65

1

2

P r o g r a m

• U n i v e r s i t y h e r b a r i u m

• Wo o d e d h i l l o u t s i d e o f t h e U n i v e r s i t y o f M i c h i g a n

• O f f i c e s , l a b s , l i b r a r y, c o l l e c t i o n , a n d a u d i to r i u m

• E n c o u r a g e v i s i t o r s

S o l u t i o n

S i n c e t h e b u i l d i n g w a s to h o u s e a c o l l e c t i o n o f p l a n t s p e c i m e n s m y g o a l w a s to r e l a t e t h e d e v e l o p m e n t o f t h e b u i l d i n g to t h e g r o w t h o f a p l a n t . f r o m t h i s t h e c o n c e p t o f t r o p i s m — t h e g r o w t h to w a r d o r a w ay f r o m s t i m u l u s — w a s t a ke n . I a t t e m p te d to g r o w t h e b u i l d i n g by m a k i n g i t r e a c t to t h e s t i m u l u s o f t h e s i t e a n d o f t h e p r o g r a m n e e d s .

A n a d d i t i o n a l f o c u s w a s o n t h e ex p e r i e n c e o f m o v i n g t h r o u g h a n d a r o u n d t h e b u i l d i n g . T h e f e e l i n g o f d e l v i n g i n to t h e g r o u n d u p o n e n t r y w a s c o n t r a s te d w i t h t h e f e e l i n g o f r i s i n g a b o v e w h e n g o i n g to a n o f f i c e .

Chris hainer

U of miChherbariUm2nd uG studioWinter 2006

A s e r i e s o f g a r d e n s l e a d s t h e v i s i t o r a r o u n d t h e s i t e , w i t h t h e h e r b a r i u m a l w ay s v i s i b l e a t t h e c e n te r.

3

C

1/16” = 1’

1/16” = 1’2

1/16” = 1’1

NORTH

NORTH

NORTH

D

A

B

KEYa Collectionb Auditoriumc Lobbyd Librarye Archive Storagef Greenhouseg Entry Tunnelh Mounting

a

bg

f

h

e f

g

abc

f

g

ac

t h E h E r b a r i u m d i g s i n t o i t s w o o d E d s i t E b e f o r e i t s o f f i c e s s p r o u t u p to w a r d s t h e s u n , s h a p e d t o a l l o w v i e w s a n d p r o v i d e a n o v e r h a n g t o s h a d e w o r k a r e a s .

s plit lE v El s in thE a rchi v E a llow for l ight to f i l te r down to the l ower l eve l s . A connec t ion bet ween d i f f e r e n t p l a n t t y p e s i s a l s o f o s t e r e d ; i m p o r t a n t a s r e s e a r c h e s a r e r e p u t e d t o b e v e r y s e g r e g a t e d i n t o t h e i r s p e c i a l t y.

E n t r y

A r c h i v e s

Te r r a c e

A u d i to r i u m

L o b by

L i b r a r y

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gu ided mov ement

P r o j e c t

I w a s a b l e to f o l l o w t h e B o l a n d B u i l d i n g ’s p r o g r e s s f r o m a n e a r l y p l a n n i n g s t a g e a l l t h e w ay to ‘C o r e a n d S h e l l ’ L E E D c e r t i f i c a t i o n d o c u m e n t a t i o n . T h r o u g h o u t t h i s p r o c e s s I w o r ke d h e a v i l y o n c o n s t r u c t i o n d o c u m e n t c h a n g e s , a t t e n d e d m e e t i n g s w i t h t h e d e v e l o p e r a n d e n g i n e e r s , a n d e v e n t u a l l y c o m p l e te d m u c h o f t h e L E E D d o c u m e n t a t i o n .

Chris hainer

Boland Building+leedConCept Design groupsummer 2008

a d E v E l o p E r h a d r E q u E s t E d a c o n t E m p o r a r y d e s i g n a n d a v i s u a l p r e s e n c e a l o n g a b u sy s t r e e t . T h i s wa s t h e f i n a l o p t i o n p re s e n te d to t h e c l i e n t a f te r s eve r a l r o u n d s o f i n t e r n a l c r i t i q u e s . D e s i g n a n d r e n d e r i n g s w e r e d o n e by m y s e l f w i t h f e e d b a c k f r o m a d e s i g n e r a l o n g t h e w ay.

Chris hainer

faCade stUdiesConCePt desiGn GrouPsummer 2008

stree t presenCe

0806-011

7.17.08HIGH POINTE CHURCH

FACADE OPPORTUNITY E

o n e o f s e v e r a l s t u d i e s f o r t h e c o l o r scheme and ent r y opt ions fo r a church i n d e v e l o p m e n t w i t h i n t h e f i r m .

fa c a d E r E n o vat i o n s t u dy f o r a s t r i p m a l l . G i v e n a b a s i c s ke tc h o f w h a t the c l i e n t wan ted, I deve l oped the f ac ade i n to a r e a l i s t i c a n d a t t r ac t i ve i m ag e (w i t h A u to c a d d r a w i n g s )

I w o r ke d o n a v a r i e t y o f o f f i c e p l a n d o c u m e n t a t i o n , a s w e l l a s r e t a i l s p a c e c o n s t r u c t i o n s e t s i n c l u d i n g f u l l e l e c t r i c a l , m e c h a n i c a l , a n d p l u m b i n g i n f o r m a t i o n . I w o u l d s t a y o n p r o j e c t s a s t h e y w e n t t h r o u g h c h a n g e s f r o m t h e c l i e n t s , u p d a t i n g l a y o u t s a n d p r o p o s i n g b e t t e r o p t i o n s .

Chris hainer

PLans+ doCUmentsConCePt desiGn GrouPsummer 2008

A mArketing quAlit y s ite pl An composed f rom the CAD drawings for a p r o p o s e d r e s i d e n t i a l d e v e l o p m e n t .

EGYPT VALLEY AVENUE

RYAN COURT

PDF created with pdfFactory trial version www.pdffactory.comPDF created with pdfFactory trial version www.pdffactory.com

161.32 ACRES

151.35 ACRES

141.32 ACRES

130.85 ACRES

120.83 ACRES

111.44 ACRES

100.72 ACRES NATURE

TRAIL

NATURE TRAIL

90.83 ACRES

80.9 ACRES

70.8 ACRES

60.97 ACRES

40.89 ACRES

50.86 ACRES

30.75 ACRES

20.6 ACRES

10.72 ACRES

192.0 ACRES

170.82 ACRES

180.73 ACRES

RYAN VALLEY

RYAN VALLEY DRIVE

W h i l e w o r k i n g f o r t h e r e s i d e n t i a l d e s i g n f i r m , I h a v e b e e n i n v o l v e d i n a w i d e v a r i e t y o f t a s k s f r o m t h e c r e a t i o n o f f l o o r p l a n s to m a k i n g d r a w i n g c h a n g e s , to r e n d e r i n g e l e v a t i o n s , s i t e p l a n s a n d p e r s p e c t i v e s f o r m a r ke t i n g .

Chris hainer

FaCade studiesImage DesIgn, LLC2004 - Present

ConstruCtion dr Awings Composed for A r e s i d e n t i a l p ro j e c t . T h e ove r a l l p l a n wa s d i c t a te d by t h e d e s i g n e r, w i t h m a n y o f t h e d e t a i l s l e f t u p to m y s e l f .

t wo rEndEring variations of a 3d modEl d o n e f o r m a r k e t i n g p u r p o s e s . T h e m o d e l w a s a c c u r a te l y b u i l t o f f o f t h e c o n s t r u c t i o n d r aw i n g s f o r t h e m o s t r e a l i s m .

render ingsTw o r e n d e r i n g v a r i a t i o n s o f a 3 D m o d e l d o n e f o r m a r ke t i n g p u r p o s e s . T h e m o d e l w a s b u i l t o f f o f t h e c o n s t r u c t i o n d r a w i n g s f o r a c c u r a c y.

6 1 6 . 4 4 6 . 3 4 5 3

csha ine r @gma i l .com

Chris hainer