2012 portfolio

D A N I E L C A R R

ARCHITECTURE

PORTFOLIO

DEPOE BAY WINERY AND pg 5

NETWORKING CENTER

DESERT PREFAB pg 15

PREFAB DWELLINGS AT SEA RANCH pg 9

HAND GRAPHICS pg 25

COMMUNITY CENTER MODEL pg 29

BOULDER HOTSPRINGS + pg 1

PLACE BASED EDUCATION

STRUCTURES HAND MODELING pg 31

FURNITURE pg 33

CONTEMPORARY ART MUSEUM pg 21

BOULDER HOT SPRINGS +PLACE BASED EDUCATIONCENTER Daniel CarrBoulder, Montana2012ARCH 558

1

1 - LOBBY2 - RECEPTION3 - STORAGE 4 - CAFE5 - BATHROOMS6 - KITCHEN7 - MECHANICAL8 - WOMEN’S CHANGING ROOM9 - MEN’S CHANGING ROOM 10 - JANITORS CLOSET11 - MESSAGE ROOM12 - RESTING ROOM13 - SAUNA14 - STEAM ROOM15 - AMPHITHEATER16 - OUTDOOR POOL17 - HOT POOL18 - COLD POOL19 - INDOOR POOL

1

23

46

7

5 5

12

18 17

19

7

16

11

8

9

710

15

12

13

14

16

SITE PLAN1” = 100’

2

VERTICAL CIRCULATION DIAGRAMLOWER LEVEL

VERTICAL CIRCULATION DIAGRAMUPPER LEVEL

STRUCTURAL DIAGRAM

HVAC DIAGRAM

1 - OFFICE SPACE2 - MEETING ROOM3 - LIBRARY COMPUTER CENTER4 - DINNING HALL CLASS ROOM SPACE5 - BATHROOMS6 - KITCHEN7 - PAVILION - MIXED USE SPACE8 - VERTICAL HOUSING9 - GIRLS SHOWERS. 10 - LAUNDRY FACILITY11 - BOYS SHOWERS12 - HOUSING 13 - MECHANICAL

2 3

1 155

13 6

7

8

4

139

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1112

12

12

12

12

12

12

MATERIAL DIAGRAM

BOARD FORMEDCONCRETE

RECLAIMEDTIMBER

RECLAIMED CONCRETE

LOCAL STONE MASONRY

STEELFRAMING

3

WALL SECTION A1/4” = 1-0’

Anodized Aluminum CopingWaterproof MembraneAngle Iron Bolted ConnectionSoil Plug Plants3” Washed Stone Soil SubstrateFilter SheetWater Drainage SystemMoisture Mat MembraneRigid Foam InsulationVapor Barrier6” Composite SlabWide Flange Beam12” Concrete Column2x4 Reclaimed Barn Wood Facade2x2 Vertical Wood Nailer BoardRock Fiber Sheeting6” Rigid Foam Thermal Insulation6” Concrete Wall3x3 Wood Plate on Counter BattensAngle Iron Bolted ConnectionDrop Ceiling for HVAC System1x2 Reclaimed Barn WoodDouble Glazing Window24”x24” Stone Tile3” Concrete SlabRadiant Floor Heating3/4” Inpact-Sound InsulationSeparating Layer6” Reinforced Concrete SlabWide Flange Beam12” Concrete ColumnDrop Ceiling for HVAC System1x2 Reclaimed Barn WoodDouble GlazingWood Framed Sliding Door2x6 Wood Decking4” Concrete SlabCrushed Aggregate6” Rigid Foam Thermal Insulation24”x24” Stone Tile3” Concrete SlabRadiant Floor HeatingSeparating Layer3” Rigid Foam Thermal Insulation4” Reinforced Concrete Slab2” Thermal Break3” Crushed AggregateConcrete Footing8” Concrete Foundation2” Thermal Break3” Crushed AggregateConcrete Footing

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45

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9

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10 11 12

13

4

Gas Infused Shock1x2 Vertical Wood Siding2x2 Horizontal Wood Nailer4x4 Tube Steel ColumnDouble Glazing Sliding Door3” Composite Concrete SlabSteel DeckingWide Flange BeamSteel Cable Cross Bracing6x6 Wide Flange column12” Concrete Pillar

1X2 Slated Wood Roof Panels2” C Channel BeamLow Sloping Double GlazingSpider Connection 3” C Channel BeamWide Flange BeamOperable Hinging Wall System

WALL SECTION B1/4” = 1-0’

11 -

22 -

3

3 -

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4 -5 - 5 6

6 -7

7 -

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8 -

DEPOE BAY WINERY &NETWORKING CENTERDaniel Carr, Cameron WalkerDepoe Bay, Oregon2011ARCH 551

5

THE CONCEPTAfter an initial apparatus design, we realized

that what had been created was a method for

relabeling wine based on personal experience.

These experiences were then able to be shared

with the community at-large. Furthermore,

these shared experiences were then able to

be edited by a personal filter based on one’s

own biases. In addition, there was a tangible

resultant form that emerged from the evaluation

of one’s own experiences. We felt the idea of

tangible, editable and shareable experiences

to be a powerful one, and that this idea should

help drive our winery design. The apparatus

design seemed to be begging for a community

of fellow wine enthusiasts which would be linked

by a physical and digital network.

Our design concept is to create a network,

comprised of shared experiences that both

bounce between one node and another and

aggregate at a common source. Yet

there must be an impetus for such activity to

occur within this network. We feel that this

can be accomplished by means of creating a

framework for the network, in both a physical

and metaphysical sense. As with any network,

there must be a genesis; a beginning physical

step to the driving idea. In this case we wish to

accommodate the network by starting with the

source: The winery.

01Cross section dd

02Site on the Organ coast

03Depoe Bay, Organ

04Site plan

01

02 03 04

6

7

01

02 03 04

02Lower level Plan

04Upper level Plan

06Model series

01 Section aa

03 Mid level Plan

05Section cc

118

02

Rendering of courtyard spaceRendering of interior tasting room looking over the networking facilities

Rendering of wine bar

03

THE

SE

A R

AN

CH

THE SEA RANCH

LOT 39 B

BY DANIEL CARR

CALIFORNIA THE SEA RANCH LOT 39 B

PANO 1

PANO 2

PREFABRICATED DWELLINGS AT THE SEA RANCH

THE

SE

A R

AN

CH

THE SEA RANCH

LOT 39 B

BY DANIEL CARR

CALIFORNIA THE SEA RANCH LOT 39 B

PANO 1

PANO 2

PREFABRICATED DWELLINGS AT THE SEA RANCH

PREFAB DWELLINGSDaniel CarrSea Ranch, California2011ARCH 551

Prefabricated dwellings at Sea Ranch was an

effort to design an efficient approach to devel-

oping a 20 acre lot that would contain 52 hous-

ing units. Sea Ranch is located on the coast of

California north of San Francisco. Getting to Sea

Ranch involves a rigorous venture on highway 1

that winds along the coast. With such a com-

mute the energy use of transportation to and

from the site would be extensive if on site con-

struction was used for the entire development.

My answer to that problem was prefabricated

modules that would be shipped to the site fully

finished. By using this strategy, on site con-

struction time would be dramatically reduced.

My design also utilizes a site built package that

would arrive on site as a kit of parts with every-

thing pre cut and ready to assemble.

9

THE

SE

A R

AN

CH

THE SEA RANCH LOT 39 B10 ACRESMASTER PLAN DIAGRAM1” = 50’

10

13

PREFAB SYSTEMSBUILT OFF SITE MODULAR SERIES 3

THE

SE

A R

AN

CH

VARIOUS CONFIGURATION DIAGRAM

HANGER DOOR OPEN HANGER DOOR CLOSED

DESERT PREFABDaniel CarrNew Mexico2011ARCH 525

Designed for a remote site on Park Springs

Ranch, In New Mexico, this 1,500 sq. ft. home

essentially uses a hybrid of construction meth-

ods. Consisting of site built masonry walls that

take advantage of the local stone found on site,

prefabricated modular units that are factory built

and shipped to the site, along with an elevated

rain roof that will arrive on site as a kit of parts.

Access to the site is rigorous adding complexity

to the design problem.

My design is highly influenced by Marmol

Radziner Prefab and their approach to prefabri-

cating homes. Influenced by their ideas of steel

framed modules that are built and finished with

everything preinstalled in a factory then trans-

ported to the site, thereby reducing on site as-

sembly time. I find this strategy very compelling

for such a remote site that would create a lot of

transportation time and energy each day going

to and from the site. With fully finished modules,

the on site assembly time could be narrowed

down to a couple days.

The strategy of using masonry walls will allow

the modules to be placed a short distance

away creating a space for air circulation. The

modules then can have fully glazed exterior

walls from floor to ceiling on the south and west

facades with a fairly maintained temperature.

The masonry walls will act as thermal masses,

protecting the modules from direct sunlight in 01Early schematic sketch

15

01

17

the hot desert environment. Placing slight open-

ings throughout the masonry walls will allow

the spaces inside to experience a full array of

daylight. These openings would also act as ap-

ertures framing views looking out. The masonry

walls will also help integrate the house into the

site.

The house opens up to views of the mountain

ranges and a creek that runs through the Ranch

to the north and east of the site. The two bed-

room two and a half bathroom house is broken

up into three separate masses comprised in

an L shaped plan. By separating the spaces it

expands the indoor and outdoor living concept

of a desert house. The separations acting as

breezeways will also help to frame sight lines

looking out over the Ranch while on the covered

decks. Concrete is used to hardscape around

the pool and fire pit to visually weigh down the

courtyard.

There are 9 interior modules and 5 exterior

01 Section

02 Plan

03 Elevation

deck modules. The dimensions of the largest

modules are 12 feet by 20 feet. The modules

are divided into these smaller dimensions so

they can be transported to the site and lifted

into place. Steel frames and SIP inserts are

used to construct the modules with rusted steel

paneled siding and everything pre installed.

When the modules arrive to the site they are

lifted onto pillars, bolted together, then welded

down to the pillars creating a permanent

structure. Once in place the deck modules are

bolted together and the frame for the elevated

rain roof will be erected. Corrugated steel roof

panels are then applied to finish the house.

Responding to the desert environment ranging

from freezing winter evenings to hot summer

days. Energy efficient ways of maintaining com-

fortable living conditions have been incorporat-

ed into the house. Solar panels derive a portion

of the power needed for the house. Concrete

floors act as a thermal mass that absorbs heat

from the sun during winter days and radiates

18

01

1

2

3

45

6

7

8

1 Entry2 Living Room3 Kitchen / Dining4 Master Bedroom5 Library6 Studio7 Guest Bedroom8 Pool

02

03

N

8

01Exploded perspective showing the site built elements with the modules and roof system.

02Cross Setion showing showing passive strategies.

19

1 3D View 14

that heat back into the house at night. During

summer months, the floors cool off at night and

provide a stable temperature during the day.

Triplepaned glass is used providing additional

insulation against the heat and cold. There is

cross ventilation through both axis of the house

and pools surrounding the house are used to

cool the air. When breezes come in contact with

the water it produces evaporation that lowers air

temperature.

The double roof construction protects against

direct sun and reduces heat gain by providing

an air space between the two roofs. The rain

roof on top is very minimal and has no need for

insulation. The gutter directs water into the pool

on the south side of the house were the water

then will overflow into a cistern to the east of the

house to collect and reuse gray water for toilets

and irrigation. All exterior materials are non-

combustible and can withstand the harsh desert

environment.

02

4

1

32

5

6

1 Predominant winds2 Microventilation3 Reflection4 Cross ventilation5 Water evaporation6 Microventilation

01

36 37

OBJECTIVEThe primary focus of this project was to analyze the needs of a large scale modern art gallery in the Chelsea art district of New York City. The art scene in New York is Unique because they have the large scale modern art museums, as well as, an abundance of small mom and pop galleries littering the Chelsea cityscape. We were directed to comprehensively combine the program elements of both styles of gallery and also urged to engage or utilize the High Line (a raised urban park on an old elevated rail track) adjacent to our site.

Contemporary Art MuseumDaniel CarrNew York2010ARCH 456

PROCESSMy motive was to design for the fluidity between public and private spaces. Within the metropolitan environment of New York City, private spaces are only found within a space. I designed for an architecture that would unite and distinguish contradictions, made up of rigidity and suppleness, linearity and undula-tion, there for achieving an encounter between opposites.

21

36 37

OBJECTIVEThe primary focus of this project was to analyze the needs of a large scale modern art gallery in the Chelsea art district of New York City. The art scene in New York is Unique because they have the large scale modern art museums, as well as, an abundance of small mom and pop galleries littering the Chelsea cityscape. We were directed to comprehensively combine the program elements of both styles of gallery and also urged to engage or utilize the High Line (a raised urban park on an old elevated rail track) adjacent to our site.

Contemporary Art MuseumDaniel CarrNew York2010ARCH 456

PROCESSMy motive was to design for the fluidity between public and private spaces. Within the metropolitan environment of New York City, private spaces are only found within a space. I designed for an architecture that would unite and distinguish contradictions, made up of rigidity and suppleness, linearity and undula-tion, there for achieving an encounter between opposites.

22

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title unknownby Jaehyo Leestainless steel nails, bolts, & wood91”x26”x17”

“Still, Untitled”by Pae WhiteCotton & Polyester ThreadedLarge

“Curcuit”by John Gradeglazed ceramic backed with gypsum polymer laminated to corn based resin & marine net9’3”x24”x24” each panel

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“On Either Side”by Berni Searlepigmented inkjet print39 1/4” by 78 1/4”

“Untitled”by Lee Bontecouwelded steel/ porcelain/ wire mesh/canvas/ wire 7’x8’x6’

“Collector”by John Gradewood80”x80”x10”

“Distracting Distance, Chapter 16 (RGB)by R.H. Quaytmansilkscreen, gesso on wood24 3/4”x40”

“Piece of Barbara”by Jim Lutestempera & oil on linen78”x56”

“Triangular Theme- Nine Moving Lines II”by George Rickeystainless steel, unique56”x25”x29”

title unknownby Jaehyo Leewood36”x36”x12”

“Yellow,Red,Orange”by Clive Smithoil on canvas48”x70”

“Still Life with Liqueur Bottle”by Pablo Picassooil on canvas32 1/8”x25 3/4”

Lower Level Floor Plan

1 Lower Level Gallery2 Lecture Hall / Performance Space3 Mechanical Room4 Storage

CHELSEA MUSEUM OF CONTEMPORARY ART, NEW YORK CITY BY DANIEL CARR

Street Level Floor Plan

1 Entry2 Lobby3 Reception Area4 Coat Check5 Gift Shop / Book Store6 Storage7 Gallery8 Video Gallery

Level 2 Floor Plan

1 Gallery2 Office Space

High Line Level Floor Plan

1 Gallery2 Exterior Sculpture Gallery3 Cafe / Bar

Level 4 Floor Plan

1 Gallery2 Class Room3 Office

Level 5 Floor Plan

1 Gallery2 Studio Space3 Lounge4 Exterior Balcony

Level 6 Floor Plan

1 Educational Space2 Reception Space3 Office4 Meeting Room5 Storage

Level 7 Floor Plan

1 Restaurant2 Exterior Balcony

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www.autodesk.com/revit

Scale

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ConsultantAddressAddressAddressPhone





1/16" = 1'-0"

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Issue DateProject Number

No. Description Date

1/16" = 1'-0"1 Section 10


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“A Museum is a place of memory, composed of material and immaterial entities that document cultural events. Objects placed to-gether, often for reasons that may be subjective and accidental, political or scientific, reveal the history and adventure of humanity. A museum is an anthology of materials, removed from everyday circulation by people or institutions, initially put together as a private gallery of fetishes, to be contemplated according to obsessions or process of power; it is a col-lection of things whose placement in an architecturally defined space, on both the exterior and the interior, removes them from the world to pre-serve them and render them atemporal. It is a process of “abstraction,” in that the object is disengaged from its function and exhibited as an image, demonstrative of a period or a tendency, a personal or a collective event. The resulting passage from experienced to historicized reality turns the museum into a place of limbo where figures both new and old wander about and are functionally equivalent and indistinguishable.”

Germano Celant


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Section AAScale 1/16” = 1’

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ConceptMy motive is to design for the fluidity between public and Private spaces. Within the metropolitan environment of New York City, private spaces are only found within a space. This is an architecture that unites and distinguishes contradictions,made up of rigidity and suppleness, linearity and undulation, there for achieving an encounter between opposites. I choose to leave the gallery floor plans open for the unpredictable art world to define the space within as well as the environment that art can display. The long horizontal ramps transform the vertical circulation through the full height of the galleries into a horizontal journey that allows views into the galleries and out toward Manhattans wonderful views.

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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


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Germano Celant


Not to Scale






BB CCAA

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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


Level 6 Floor Plan


Level 7 Floor Plan


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1/16" = 1'-0"

7/26

/201

0 2:

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1 PM

Unnamed

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CheckerAuthor



1/16" = 1'-0"1 Section 10


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7/26/2010 12:51:08 PM

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Scale 1/32” = 1’

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Scale 1/32” = 1’

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Germano Celant


Not to Scale






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7/26/2010 12:55:08 PM

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7/21/2010 11:51:15 AM

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7/26/2010 11:51:54 AM

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7/26/2010 11:43:32 AM

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7/26/2010 12:43:20 PM

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7/26/2010 12:48:57 PM

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7/26/2010 12:55:08 PM

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7/26/2010 12:52:51 PM

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7/26/2010 12:57:23 PM

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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


Level 6 Floor Plan


Level 7 Floor Plan


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7/26/2010 11:45:25 AM

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TPRODUCED BY AN AUTODESK STUDENT PRODUCT


Scale

Date

Drawn By

Checked By

Project Number






1/16" = 1'-0"

7/26

/201

0 2:

16:3

1 PM

Unnamed

Owner

Project Name

CheckerAuthor



1/16" = 1'-0"1 Section 10


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7/26/2010 12:51:08 PM

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1 2

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1

1

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2

34

56

7 7

6

1

7

7

1

6

6

8

68

1

1

1

12

2

Scale 1/32” = 1’

1

1

2

3

3

Scale 1/32” = 1’

1

1

3

3

3

2

2

Scale 1/32” = 1’

1

1

1

1

1

2

2

3

3

4

Scale 1/32” = 1’

1

1

2

3

3

3

3

3

4

4

5

Scale 1/32” = 1’

2

1


Germano Celant


Not to Scale






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Proj

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Dra

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1'-0

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7/26/2010 12:55:08 PM

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7/21/2010 11:51:15 AM

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7/26/2010 11:51:54 AM

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7/26/2010 11:43:32 AM

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7/26/2010 12:43:20 PM

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7/26/2010 12:48:57 PM

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7/26/2010 12:55:08 PM

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7/26/2010 12:52:51 PM

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7/26/2010 12:57:23 PM

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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


Level 6 Floor Plan


Level 7 Floor Plan


UP

UP

UP

UP

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1/3

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7/26/2010 11:45:25 AM

A102

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T



Scale

Date

Drawn By

Checked By

Project Number






1/16" = 1'-0"

7/26

/201

0 2:

16:3

1 PM

Unnamed

Owner

Project Name

CheckerAuthor



1/16" = 1'-0"1 Section 10


PR

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UC

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BY

AN

AU

TOD

ES

K S

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EN

T PR

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1/3

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1'-0

"

7/26/2010 12:51:08 PM

A102

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Scale 1/32” = 1’

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Scale 1/32” = 1’

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1


Germano Celant


Not to Scale






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7/26/2010 11:43:32 AM

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7/26/2010 12:52:51 PM

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7/26/2010 12:57:23 PM

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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


Level 6 Floor Plan


Level 7 Floor Plan


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7/26/2010 11:45:25 AM

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Date

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1/16" = 1'-0"

7/26

/201

0 2:

16:3

1 PM

Unnamed

Owner

Project Name

CheckerAuthor



1/16" = 1'-0"1 Section 10


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7/26/2010 12:51:08 PM

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7 7

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1

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Scale 1/32” = 1’

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3

3

Scale 1/32” = 1’

1

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Scale 1/32” = 1’

1

1

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2

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3

4

Scale 1/32” = 1’

1

1

2

3

3

3

3

3

4

4

5

Scale 1/32” = 1’

2

1


Germano Celant


Not to Scale






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-

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Proj

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Dra

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1'-0

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7/26/2010 12:55:08 PM

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7/21/2010 11:51:15 AM

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7/26/2010 11:51:54 AM

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7/26/2010 11:43:32 AM

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7/26/2010 12:43:20 PM

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7/26/2010 12:55:08 PM

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7/26/2010 12:52:51 PM

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7/26/2010 12:57:23 PM

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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


Level 6 Floor Plan


Level 7 Floor Plan


UP

UP

UP

UP

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1/3

2" =

1'-0

"

7/26/2010 11:45:25 AM

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Scale

Date

Drawn By

Checked By

Project Number






1/16" = 1'-0"

7/26

/201

0 2:

16:3

1 PM

Unnamed

Owner

Project Name

CheckerAuthor



1/16" = 1'-0"1 Section 10


PR

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UC

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BY

AN

AU

TOD

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K S

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1/3

2" =

1'-0

"

7/26/2010 12:51:08 PM

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1 2

2

1

3

4

4


1

1

2

2

34

56

7 7

6

1

7

7

1

6

6

8

68

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Germano Celant


Not to Scale






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39

PROCESSMy design process was intensively model based. Through numerous model variations the design devel-oped into a program consisting of the contemporary arts museum and an art school for the community of the Chelsea district. The programs are separated by 19th street. I choose to leave the gallery floor plans open for the unpredictable art world to define the space within as well as the environment that art can display. The long horizontal ramps transform the vertical circulation through the full height of the galleries into a horizontal journey that allows views into the galleries and out toward Manhattans wonderful views.The design problem asked us to choose three pieces of art from museums in New York and design individual galleries for each piece. The three that I choose are shown above and the galleries I designed for them are shown in the renderings.







“Triangular Theme- Nine MovingLines II”by George Rickeystainless steel, unique56”x25”x29”



“Fission”by Bridget RileyTempera on Composition board35”x34”



























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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


Level 6 Floor Plan


Level 7 Floor Plan


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Germano Celant


Not to Scale






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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


Level 6 Floor Plan


Level 7 Floor Plan


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1/16" = 1'-0"

7/26

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Project Name

CheckerAuthor



1/16" = 1'-0"1 Section 10


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Scale 1/32” = 1’

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Scale 1/32” = 1’

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Scale 1/32” = 1’

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Scale 1/32” = 1’

2

1


Germano Celant


Not to Scale






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7/26/2010 12:57:23 PM

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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


Level 6 Floor Plan


Level 7 Floor Plan


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1/16" = 1'-0"

7/26

/201

0 2:

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Unnamed

Owner

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CheckerAuthor



1/16" = 1'-0"1 Section 10


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Scale 1/32” = 1’

1

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Scale 1/32” = 1’

2

1


Germano Celant


Not to Scale






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7/21/2010 11:51:15 AM

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7/26/2010 12:57:23 PM

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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


Level 6 Floor Plan


Level 7 Floor Plan


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7/26/2010 11:45:25 AM

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Scale

Date

Drawn By

Checked By

Project Number






1/16" = 1'-0"

7/26

/201

0 2:

16:3

1 PM

Unnamed

Owner

Project Name

CheckerAuthor



1/16" = 1'-0"1 Section 10


PR

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"

7/26/2010 12:51:08 PM

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1 2

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1

1

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34

56

7 7

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1

7

7

1

6

6

8

68

1

1

1

12

2

Scale 1/32” = 1’

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3

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Scale 1/32” = 1’

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1

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3

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2

2

Scale 1/32” = 1’

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1

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Scale 1/32” = 1’

1

1

2

3

3

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4

5

Scale 1/32” = 1’

2

1


Germano Celant


Not to Scale






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7/26/2010 12:57:23 PM

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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


Level 6 Floor Plan


Level 7 Floor Plan


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1/16" = 1'-0"

7/26

/201

0 2:

16:3

1 PM

Unnamed

Owner

Project Name

CheckerAuthor



1/16" = 1'-0"1 Section 10


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Scale 1/32” = 1’

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4

Scale 1/32” = 1’

1

1

2

3

3

3

3

3

4

4

5

Scale 1/32” = 1’

2

1


Germano Celant


Not to Scale






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7/21/2010 11:51:15 AM

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7/26/2010 11:43:32 AM

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7/26/2010 12:43:20 PM

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7/26/2010 12:55:08 PM

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7/26/2010 12:52:51 PM

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7/26/2010 12:57:23 PM

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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


Level 6 Floor Plan


Level 7 Floor Plan


UP

UP

UP

UP

DN

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Proj

ect n

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1/3

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1'-0

"

7/26/2010 11:45:25 AM

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Scale

Date

Drawn By

Checked By

Project Number






1/16" = 1'-0"

7/26

/201

0 2:

16:3

1 PM

Unnamed

Owner

Project Name

CheckerAuthor



1/16" = 1'-0"1 Section 10


PR

OD

UC

ED

BY

AN

AU

TOD

ES

K S

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EN

T PR

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PR

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k.co

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1/3

2" =

1'-0

"7/26/2010 12:51:08 PM

A102

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BY

AN

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UC

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1 2

2

1

3

4

4


1

1

2

2

34

56

7 7

6

1

7

7

1

6

6

8

68

1

1

1

12

2

Scale 1/32” = 1’

1

1

2

3

3

Scale 1/32” = 1’

1

1

3

3

3

2

2

Scale 1/32” = 1’

1

1

1

1

1

2

2

3

3

4

Scale 1/32” = 1’

1

1

2

3

3

3

3

3

4

4

5

Scale 1/32” = 1’

2

1


Germano Celant


Not to Scale






BB CCAA

AA


DN

UP

DN

UP

--

-

Scal

e

Proj

ect n

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Dra

wn

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vit

1/3

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Level 2 Floor Plan




Level 4 Floor Plan


Level 5 Floor Plan


Level 6 Floor Plan


Level 7 Floor Plan


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1/16" = 1'-0"1 Section 10


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Germano Celant


Not to Scale






BB CCAA

AA


39

PROCESSMy design process was intensively model based. Through numerous model variations the design devel-oped into a program consisting of the contemporary arts museum and an art school for the community of the Chelsea district. The programs are separated by 19th street. I choose to leave the gallery floor plans open for the unpredictable art world to define the space within as well as the environment that art can display. The long horizontal ramps transform the vertical circulation through the full height of the galleries into a horizontal journey that allows views into the galleries and out toward Manhattans wonderful views.The design problem asked us to choose three pieces of art from museums in New York and design individual galleries for each piece. The three that I choose are shown above and the galleries I designed for them are shown in the renderings.





































Advanced GraphicsDaniel Carr2011ARCH 563

Advanced graphics placed an emphases on

tone of line drawing and water coloring. My

freehand rendering skills have continued to

develop over the past years. I enjoy learning

new technics and applying them to my own.

25

This course opened a window to a whole new

world for me. It began in the UK and as time

went on our travels progressed farther from the

familiar. The different cultures and languages

were few among the many peripheral experi-

ences that we came across. One thing that I

gained from this experience is an understand-

ing or a beginning to understand how to ap-

proach architecture from a designers point of

view and the best way possible to capture the

work within a perspective drawing or photo-

graph.

The Third and fi nal design for this se-mester was a youth hostel with the site located in Porto, Por-tugal. The site had an existing structure on it which I chose to incorporate into my design. Using the ex-isting facade and foot print I designed with respect to the sur-rounding structures.

Foreign StudiesUK & EuropeDaniel Carr2010ARCH 414

The Third and fi nal design for this se-mester was a youth hostel with the site located in Porto, Por-tugal. The site had an existing structure on it which I chose to incorporate into my design. Using the ex-isting facade and foot print I designed with respect to the sur-rounding structures.

27

28

The Baltic Sea Retreat was one of three designs through out the semester. The problem asked us to locate an island on the Bal-tic Sea between Stockholm, Swe-den and Helsinki, Finland. The island I chose was interesting in the sense that it resembled two islands with a slight connection between them. My motive was to span the two mass’s of con-necting them with a cabin retreat. The cabin has an open fl oor plan to utilize the 600 square feet of

29

Community CenterDaniel CarrButte, Montana2009ARCH 354

StructuresDaniel Carr2009ARCH 243

The Nothstine structural model was a group

project that was completed with the help of

Scott Beans and Will Uebelacker. The assign-

ment was to study the structure used in Garo-

falo Architects design.

31

FurnitureDaniel Carr2011ARCH 448

This cocktail table was derived from an idea

of experimenting with framing technics. After

multiple full size prototypes this final design

had evolved. Its made from walnut wood that

I laminated together. Steel plates are inserted

in the wood to reinforce the elbows of the legs.

Cables are in place for tension reasons. When

pressure is applied to the table the legs want to

fall outward allowing the cable to hold them in

place. The glass top has a 42 inch diameter.

33

2200 W. Dickerson St. #48 - Bozeman, MT 59718 e:[email protected] Mobile (208)220-6516

DANIEL TYLER CARR

Objective

2200 W. Dickerson St. #48 - Bozeman, MT 59718 e: [email protected] Mobile (208)220-6516

Experience Bitnar ArchitectsJanuary 2011-Present. Architectural Intern Involved in designing and developing a 20 acre PUD. Drafting schematic design sets, design development sets and construction document sets. 3-D studios (digital and physical models), Material Library, Product Research. Organizing presentations for competition proposals.

LeClair Construction2008-2010. Carpenter Framing townhouses and condominium complexes. Landscaping - grading, irrigation, sod, fencing. Prepping and finishing concrete patios, driveways and sidewalks.

Volcko Construction2007-2008. Carpenter Custom framing of 5000+ sq. ft. houses in River Rim and Teton Springs subdivisions. Log and timber framing.

Legacy Custom Homes2005-2007. Carpenter Custom framing of single family housing. Rough framing, finish framing, hard wood flooring, tile, masonry, sheet rock, concrete.

Education Bozeman, MontanaMasters of Architecture2011-2012. Montana State University

B.A. Environmental Design2007-2010. Montana State University

Associate of Applied Science Civil Engineering Technology2005-2007. Idaho State University

Skills Computer Software · Illustrator · Photoshop · InDesign · Acrobat · PowerPoint · Excel · Word · 40 wpm · Land Desktop · Revit 2008-2012 · ArchiCAD · 3D Rhinoceros · AutoCAD (2-d & 3-d) · SketchUp · 3D Max Design ·

Studio Experience · Schedules · Materials Library · Detail · Illustration · Freehand Sketch · Graphite Renderings · · Programming · Conceptual Design · Space Planning · Perspective · Product Research · LEED · · Model Making · Construction & Fabrication · Media & Presentation · Cost Estimates ·

Qualities · Research Skills · Analytical Thinking · Communication Skills · Problem Solving · Technical Literacy · · Computer Literacy · Teamwork & Leadership · Honest · Logical · Time Management · Interactive ·· Information Management · Independent · Adaptable · Productive · Sustainable · Responsible · · Organized · Loyal · Motivated · Confident · Energetic · Positive · Professional · Determined · Rational ·· Flexible · Dependable · Eager · Sensible · Friendly · Courteous · Multicultural · Courageous · Creative · · Compassionate · and most importantly Architecture is my Passion ·

Recognition &Certification

2009 Lowell & Mary Springer ScholarshipMSU AIAS Scholarship 2009

Build on professional experience working with technology and talented designers

W.A.Q.T.C. (Western Allience for Quality Transpertation Construction) Certified2008-2011

Bozeman, Montana

Pocatello, Idaho

Bozeman, Montana

Bozeman, Montana

Teton Valley, Idaho

Pocatello, Idaho

References Available Upon Request

2012 portfolio

Documents

furniture pg

boulder hotsprings pg

hand graphics pg

sea ranch pg

community center model

contemporary art museum

shared experiences

cameron walkerdepoe