1styearportfolio_CaliforniaPolytechnic_urasakiA

PORTFOLIO ALEXANDER SEIFU URASAKI STUDIO NORMAN ARCH 131

CALIFORNIA POLYTECHNIC STATE UNIVERSITY, SAN LUIS OBISPO

FALL 2017

B I O G R A P H Y 0 2 W A R M U P P R O J E C T

03

S O L I D / V O I D 0 5 T E C T O N I C C U B E 1 3 S H E A R E D S H A P E S

19

D R A W I N G S 2 6 R E F L E C T I O N 3 5

Alexander Urasaki is a first year architecture stu d e n t fr om S anta Rosa, California. G rowing up in a fam i l y o f workers A lexander enjoys working with his hands i n or der to turn imaginary things into something con c r e t e .

Alexander works to always keep learning, and c ontinue to live his life using the movie “O ffice Sp a c e � a s his guide.

WA R M U P PROJECT F o c u s o n h i e rar c hy in o r d e r t o c r e a te a lay er ed lo o k t h r o u g h t he ov er all co m p o s i t i o n

Thr ough the process I ended up with a final project t h a t I would have thought impossible if just given the task i t s e l f . I n addition, this process abstracts any prior notion that I m i g h t hav e had in my mind. A s well as gently guiding me a l o n g t h e imit at ing scale of abstraction.

SOLID VOID T h e u s e o f d i agonal m o v e m e n t s t o s us pend g e o m e t r i c s h apes in or der t o e s t a b l i s h heir ar c hy w i t h i n a l a r g er v oid

Thr ough the inspiration of the artist P opova, my des i g n w a s infor med by the use of diagonals to create an overla p p i n g s pac e. I emphasized this diagonal movement through a s h a r p point gesture and how it penetrates into the void spa c e .

I t hink the most helpful thing about the design process g o e s bey ond the easing of initial panic. I think the true benef i t i s how it is able to break any preconceived notions or plan s . I n t he end y ou end up creating something that would be c omplet ely alien to you at the beginning.

B y c r eat ing f or ms wit h b o t h peak s and v alley s , i t a l m os t f or c es s ome o n e w to pic k up and tur n i t t o l ook ins ide. Fr ag m e n t the int er nal s pac e.

Invert what is considered solid and what is considered void.

N egative space of emptiness becomes the new interesting form of the same gesture.

E mphasize where s o l i d comes to a point. T h i s creates a gesture o f t h e solid form penetra t i n g into the void spac e .

I dis c ov er ed how light interacted with the form. B y opening up a rectangle in the middle of the cube, I found t h a t i t bounc ed light off the main diagnol piece, and around the c o r n e r, whic h added to the hierarchy of the diagnol gesture.

TECTONIC CUBE Emp h a s i z e e nd gr ain and d iff e r e n t wi d ths of wood to e x p r e s s d e p t h and in t e r s e c t i o n to f ur t her e n f o r c e h i e r ar c hy

By following the different steps of the design process I dis c ov ered new aspects, the gestures to focus on, an d t h e des igns to drop. A s I progressed, I could see the fra g m e n t s of what persisted in my design. The final design was a c ombination of these persistent fragments in a single model.

I n the tr ans i tion, my 3D form was compressed and forced i n t o t he s et 2D parameters. In the same way, the 2D design w o u l d be inf or med by my observations once I incarnated it in th e 3D model. By attempting to freeze this back and forth mo t i o n s omewher e in the middle I could create a central gesture.

P l a n n i n g was the k ey to k eeping g o o d c r a f t s mans hip on my final m o d e l . P l anning out y our c ut s p r e c i s e l y and ex ec ut ing t hem in t h e s h o p was c r uc ial to t he q u a l i t y o f the f inal wooden model.

SHEARED SHAPES T h e f r a g m e n tation of light a n d t h e r e f l e ction of m y s t e r i o u s c olor

Us ing the inspiration of James Turrell and S teven H o l l , a n d t he wa y that they bounce light off colored surfaces t o c r eate a mysterious color in a space, I focused on th i s i d e a of r ef lecting light and color within the planes of my c u b e .

In order to execute m y main concepts, it w a s necessary to focus o n controlling the view i n g experience by limi t i n g both the light and t h e v i e w in the form.

In s p ir a tio n is n o t somethi ng that comes to me i n a moment o f e p ip h a n y a fte r stari ng at a bl ank sheet of paper for hours.

Wh a t I h a v e fo u n d i s that the i nspi rati on for desi gn comes fr o m c o min g in to s tudi o every day and worki ng on sketches a n d s tu d y mo d e ls . Even i f these i nti ti al i deas end up goi ng n o w h e r e , it is th r o ugh worki ng thi ngs out thi s way that I was a b le to fin d s o me di recti on to go i n.

D R AW I N G S “I p r e f e r d r a w i n g to ta l ki n g .

D r a w i n g i s fa ste r an d i t lea v e s l e s s ro o m for l i es.�

-Le Corbusier

Five minute figure drawing without lifting up the pencil, switching figures every thirty seconds.

F o c u s i n g t h e t h e i m p o r t a nt l i n e s and connective tissue.

Te n m i n u t e s k e t c h o f c u b e s t u d y m o d e l s s t a c k e d t og e t h e r, o b s e r v i n g t h e i n t e r a c t i o n b e t w e e n po s i t i v e a n d n e g a t i v e s p a c e .

B lin d c o nt our s wi t h t i me l i mi t a n d u s in g o ff hand f or ce you t o f oc u s o n m o s t impor t ant l i nes.

I t hi n k t h e g o a l o f t h e f i r s t q u a r t e r w a s t o b r e a k a n y pr ec o n c e p t i o n s a n d r e d e f i n e w h a t i s s c h o o l o r e v e n wha t i s a r c h i t e c t u r e . T h i s w a s d i s o r i e n t a t i n g a t f i r s t , but o n c e I a c c e p t e d t h e d e c o n s t r u c t i o n o f m y p r e v i o u s i dea s , i t w a s e x c i t i n g , t o c h a n g e m y w a y o f t h i n k i n g a n d pr ec e i v i n g t h i n g s . I n a d d i t i o n , w i t h e a c h p r o j e c t , I f e l t mys e l f l e a r n i n g m o r e a n d m o r e a n d u n d e r s t a n d i n g m o r e abo u t t h e d e s i g n p r o c e s s a n d h o w i d e a s a r e g e n e r a t e d .

In addition to this rewiring, my skills and craftmanship i mp r o v e d w i t h e a c h p r o j e c t a s I l e a r n e d m o r e t o o l s o f des i g n . A s I r e f l e c t b a c k o n w h a t I a c c o m p l i s h e d t h i s qua r t e r, I a m e x c i t e d t o c o n t i n u e m y l o n g r o a d a h e a d and l e a r n f r o m e v e r y p r o j e c t a l o n g t h e w a y.

CALIFORNIA POLYTECHNIC UNIVERSITY, SAN LUIS OBISPO

WINTER 2018

PORTFOLIO STUDIO BROCKETT ARCH 132

ALEXANDER SEIFU URASAKI

B I O G R A P H Y 0 5 H U M A N S 0 6 S L I P C A S E 1 6 T E T H E R 2 8 S K E T C H E S 4 2 R E F L E C T I O N 4 5

Plug the bathyspher e Stum ble thr ough the poplar gr ove Contem plative sponge

01 HUMANS frag mentation of m ulti- dir ectional ve cto r m ovem ent of neck in r elation to sh o u l der s

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Repr es e n ta ti o n o f th e ges t ur al a n d c o n s tru c ti v e

( ii)

C2

P r ogr es s ion o f re p e ti ti v e fo l d s o f m o d u l ar uni t

S equence of how garment’s geometry reacts to the movement, bendi ng acti on of the neck

D e - f r ag men ta ti on S ca rf A f ut ur e o f s ty l e th a t e mp h a s i z e s th e m ov em en t o f th e h u m a n b o d y ra th e r t han it s f o rm

02 SLIP CASE th e u se of light and m or e im por tant d a rk i n or der to dictate the per ception o f i n te r ventions and the intr icate space th e y cr eate

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P rogressi on of verbi age through col l ages

1 0 S ec t ion dr aw i n g s c re a te b a s e fo r p e n d raw i ngs of sl i pcase’s g eom et r ic s ec t io n s a n d e l e v a ti o n s

Ver sion one of sl i pcase, focusi ng on t he mechani cal reacti on to the di scovery of a f or ced vi ew i ng experi ence Ver sion two i mproved by the dynam ic collision morphs i nto pensi ve fi gure aw ai ti ng t he next change to i ts form

P roj ect becomes a constantl y chang ing f or m as tectoni cs are bei ng shi fted and drop ped

E x c a v a ti o n s o f b o ok bri dge and create hi dden spaces prompti ng i n te ra c ti o n

03 TETHER th rou gh the tum bling geom etr y of trap e zoids and sliding diagonal move m ent r eveal the ver ticality of sp a ce

S eat d i a g o n a l s l i d i n g m o v e me n t w hen s at r ev e a l s a p e rtu re . Wh e n w e i g ht i s lif t ed o ff, s e a t re tra c te d a u to m a t i cal l y m as k in g a p e rtu re .

A nthropometri c draw i ng to estab lish understandi ng of scal e of our pr oject P l ace-mat draw i ng of group brai nstormi ng

1’’=1’

PLAN_arch 132-08_prof brockett_winterl 2018 SITE 329

12 3/4” 0”

16” Closed

25” Open

S PAT I A L V O L U M E _ a r c h 1 3 2 - 0 8 SITE 329

COMPONENT A

1’’=1’

COMPONENT B

CRITICAL DIMENSIONS_arch 132-08_prof brockett_winterl 2018 SITE 329

C ut-l i st draw i n g f or com ponent s and dai l y w ork f low schedule needed for com plet ion

As-Built dr awings o f el e va t ion and s ec t io n 1’’=1’

E L E VAT I O N _ a r c h 1 3 2 - 0 8 _ p r o f b r o c k e t t _ w i n t e r l 2 0 1 8 SITE 329

If I wer e to br eak down m y tim e spent thi s quar ter I would say 30% was spent pur suin g s om e stable idea, and the r est was, oh no, s om ethi ng has gone ter r ibly wr ong and now I m us t fi nd s om e way to salvage m y pr oject into somethi ng that is at least not em bar r assing. I kind of l i k e thi s tension. However it does pr esent the danger of becom ing stuck thinking. Fr om this I l eaned the im por tance of just m aking som e kin d of action. M aybe this action would r es ul t i n som ething am azing or m aybe it woul dn’ t, but at least I gave m yself the oppor tunity for s om ethi ng to happen. I think the lar gest thing I hav e l ear ned is that you have to do this. An idea does n’ t s i m pl y develop all at once, r ather you m us t s i t dow n and sketch, and m ake decisions, and do thi ngs y ou think you would r egr et, and in the e nd y ou w i l l cr eate som ething you couldn’t have i m agi ned i n the beginning. To m e ther e’s som et hi ng r el i ev i ng about this. It takes away the pr essur e of w ai ti ng for som e m om ent of cr eative genius . Ins tead I c an sim ply go to wor k and tr ust som eth i ng w i l l c om e out of it.

CALIFORNIA POLYTECHNIC UNIVERSITY, SAN LUIS OBISPO

18

20

ICEBERG_CHENG RESIDENCE_HIVE

ALEXANDER SEIFU URASAKI

NG

RI

SP

ARCHITECTURE

PORT FOLIO STUDIO BRACCO ARCH 133

DESIGN VILLAGE_PRECEDENT_SNACKS

Plug the bathyspher e S tumble thr ough the poplar gr ove Contem plative sponge

B I O G R A P H Y 0 7 D E S I G N V I L L A G E 0 8 P R E C E D E N T 2 0 S N A C K S 3 0

R E F L E C T I O N 5 2

Alexander Ur asaki is a fir st year ar chite c tur e student fr om Santa Rosa, Califor nia. H av i ng gr own up in a fam ily of wor ker s Alexander enj oy s wor king with his hands in or der to tur n i m agi nar y things into som ething concr ete. Alexander w or k s to always keep lear ning in all aspects of hi s life, and continue to live his life using the m ov i e “ Office Space� as his guide.

alexander seifu urasaki

DESIGN VILLAGE_arch 133-01_prof bracco_spring 2018

CALIFORNIA POLYTECHNIC UNIVERSITY, SAN LUIS OBISPO

ARCHITECTURE

STUDIO BRACCO ARCH 133

DESIG VILLA

With minimal construction and minimal waste, design and build a structure that is designed towards the ritual of construction and movement. In doing so, establish an understanding of full scale construction, drawing to communicate, collaboration, and minimal waste architecture.

Understanding the necessities of habitation, both in the real and the cultural/ ritualistic nature of the question of dwellings.

GN AGE

alexander seifu urasaki

Vernacular of the folded plane in order to create both space and thickness.

DESIGN VILLAGE_arch 133-01_prof bracco_spring 2018

DESIGN VILLAGE

ANGULAR GEOMETRIES

Radial gesture in order to draw someone deeper into the central area of the dwelling from the entrance while simultaneously addressing the issue of wind.

Define community through central dwelling as well as branching off into more private areas.

Formal language of folds allows for easy transportation and rigid structure once deployed.

alexander seifu urasaki

The origami logic of a structure that enables a light quick installation of an unfolding verbiage.

DESIGN VILLAGE_arch 133-01_prof bracco_spring 2018

DESIGN VILLAGE

TEAM BISON HUNTER/ICEBERG

1A

FRAME AND PLANE/ RECTILINEAR LANGUAGE

FOLD AND SEAM CREATES STRUCTURE

GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE DECIDE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE DECIDE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE

1B GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE DECIDE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE GENERATE

THURSDAY 04.12.2018

Skin the couch Chad Miller Alejo Favero Corbin Cook Kaustabuex Das

Measure out panels

Cut out the overhead structure Alex Urasaki Chad Miller Elliot Robinson

Cut out the overhead panels

Cut holes into seams Mereck Palazzo Alex DeLaCruz

Cut holes in seams Mereck Palazzo Alex DeLaCruz

Alex Urasaki Chad Miller SUNDAY 04.15.2018

Score standing seams MONDAY 04.16.2018

Elliot Robinson Mereck Palazzo

Dillin Ambrose Alejo Favero Karan Mehta

[ FA Alejo Favero Erica David Elliot Robinson

Corbin Cook Dillin Ambrose Karan Mehta Kaustab Das

Alex DeLaCruz Karan Mehta Kaustab Das

TUESDAY 04.17.2018

Work on interior lighting

Elliot Robinson Alex Urasaki Chad Miller Karan Mehta Mereck Palazzo Corbin Cook Dillin Ambrose

WEDNESDAY 04.18.2018

Mereck Palazzo Karan Mehta Erica David

Erica David Alejo Favero Alex DeLaCruz Kaustab Das

Alex Urasaki Dillin Ambrose Alejo Favero Kaustab Das

Chad Miller Corbin Cook Elliot Robinson

Detailing and structure test THURSDAY 04.19.2018

alexander seifu urasaki

Corbin Cook Erica David

Chad Miller Erica David Crobin Cook Alejo Favero Dillin Ambrose

Entire Group Effort

Measure out the

structure

Alex Urasaki Chad Miller Alex DeLaCruz

Alex Urasaki Chad Miller Erica David Elliot Robinson

DESIGN VILLAGE_arch 133-01_prof bracco_spring 2018

Alex Urasaki Alex DeLaCruz Dillin Ambrose

Cut out overhead panels

Elliot Robinson Mereck Palazzo FRIDAY/SATURDAY 04.13/14.2018

FA B R I C AT I O N W O R K F L O W _ a r c h 1 3 3 - 0 1 _ p r o f b r a c c o _ s p r i n g 2 0 1 8 GROUP 01 - KITE

Measure out overhead panels Elliot Robinson Erica David Mereck Palazzo

Entire Group Effort

1.5 10.5 189

AB] RICATION

WEEK DAY HOUR

1C

1F

Apertures create both thickness and allow for light to enter space.

4.21

alexander seifu urasaki

DESIGN VILLAGE_arch 133-01_prof bracco_spring 2018

1E

The angular geometries continue the fracturing of light as it enters .

Through the reflection of the geometric language of the overhead structure into the floor as well, create a complete fractile interaction.

1D

ICEBERG alexander seifu urasaki

DESIGN VILLAGE_arch 133-01_prof bracco_spring 2018

INSTALLATION

1G

alexander seifu urasaki

SNACKS_arch 133-01_prof bracco_spring 2018

01. STRUCTURE SHOULD BE A DRIVER. STRUCTURE AND AESTHETIC ARE INTERWOVEN 02. BE EXTREMELY METICULOUS. STRUCTURE AND MATERIALS/ CARE FOR FABRICATION. 03. YOU LEARN A LOT FROM FULL SCALE MOCK-UPS 04. BEING POLITE AND RELATING. SURROUND YOURSELF WITH CONTRACTORS WHO ARE INVESTED IN THE PROCESS 05. LOOK AT DETAILS AND MATERIALITY 06. UNDERSTAND WHAT YOU BELIEVE AND SHOW THAT THROUGH YOUR PROJECT

alexander seifu urasaki

PRECEDENCE_arch 133-01_prof bracco_spring 2018

STUDIO BRACCO ARCH 133

PRE CEDE

Understanding the evolution of domestic space through the transposition of industrial materials and mechanical systems into the domestic world.

IC O HN ISP B EC YT IS O L PO N LU A I N SA OR Y, LIF SIT CA IVER UN

ARCHITECTURE

NT Through the research and analysis of a project of existing architecture, gain a better understanding of what is successful and why. Further this investigation via the comparative deconstruction of two relating architects, culminating with the formal presentation of these discoveries.

2A

alexander seifu urasaki

“Small, California-based architectural practice dedicated to the rapprochement of the human and the machine.”

PRECEDENCE_arch 133-01_prof bracco_spring 2018

WES JONES

JONES PARTNER ARCHITECTURE

2B

United States Military Academy at West Point University of California at Berkley Harvard Graduate School of Design Teaching Assistant of Peter Eisenman Holt Hinshaw Pfau Jones 1993 Jones Partner Architecture

“Consequently, advances are not made through forced innovation, but through honest analysis of the specific project requirements and pragmatic implementation of the indicated “solution.” To this end, J,P:A maintains a continuing program of research, both in the academy and in the field, to provide itself with the widest range of inspiration and the surest ability to judge its results”

2C

alexander seifu urasaki

“The necessary repair and stabilization of the damaged slope required the construction of extensive new retaining walls that became the foundation platform and lowest level of

PRECEDENCE_arch 133-01_prof bracco_spring 2018

CHENG RESIDENCE SILVERLAKE, LOS ANGELES, CA

JONES PARTNERS ARCHITECTURE

SMALL LANDSLIDE IN THE DOWNSLOPE BACKYARD

BUSY ARTERIAL THROUGH THE CENTER OF SILVERLAKE

LOS ANGELES COUNTY

Silverlake Califonria

PRO

“JUKEBOX” LO

/dek

OGIC ALLOWS FOR “SAMPLING”

7B

7A

“The resource of a much larger dwelling are thus able to be accommodated in the much smaller structure.”

alexander seifu urasaki

PRECEDENCE_arch 133-01_prof bracco_spring 2018

CHENG RESIDENCE alexander seifu urasaki

PRECEDENT DIAGRAMS_arch 133-01_prof bracco_spring 2018

alexander seifu urasaki

PRECEDENT DIAGRAMS_arch 133-01_prof bracco_spring 2018

alexander seifu urasaki

PRECEDENCE_arch 133-01_prof bracco_spring 2018

alexander seifu urasaki

PRECEDENT DIAGRAMS_arch 133-01_prof bracco_spring 2018

alexander seifu urasaki

PRECEDENT DIAGRAMS_arch 133-01_prof bracco_spring 2018

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RESIDENCE DIAGRAMS

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A1. PROGRAM A2.ORGANIZATION A3.CIRCULATION A4.SITE ANALYSIS A5.STRUCTURE/CLADDING

alexander seifu urasaki

PRECEDENCE_arch 133-01_prof bracco_spring 2018

01. EVERY LAYOUT HAS A GRID BEHIND IT. START BROAD, GET SPECIFIC, END BROAD. 02. MIRCO-FONT CAN BALANCE OUT GRAPHIC DESIGN. CREATE A HIERARCHY OF DIFFERENT SIZES. 03. FINE DASH LINE. EVERYONE LIKES A GOOD DASH LINE 04. COLOR AS A TOOL TO CONVEY MEANING IN DIAGRAMMING 05. EVERYTHING IS ABOUT COMPOSITION. DENSITY AND VOID 06. ARCHITECTURAL STYLE IS NOT AESTHETIC, BUT RATHER INFORMED BY THE WORLD VIEW OF THE ARCHITECT. 07. MECHANICAL SYSTEMS OFFER INTERESTING SOLUTIONS TO ARCHITECTURAL PROBLEMS

alexander seifu urasaki

SNACKS_arch 133-01_prof bracco_spring 2018

NIC SPO I CH TE S OB Y I L PO N LU A NI SA OR Y, LIF SIT CA IVER UN

ARCHITECTURE

SNAC

Analyze the cultural and geometric identities of popsicles in order to establish a vernacular that becomes the design driver for an on campus popiscle stand. Create a structure on the site in between building 14 and building 21 that allows for the selling and consumption of popsicles, while not interrupting the already existing through traffic.

Through the formal language of colliding geometries create a form that interacts with both the horizontal and vertical aspects of the site.

STUDIO BRACCO ARCH 133

KS

alexander seifu urasaki

The intersection of the geometry rather than its overlay creates the need for over site integration and form, not as sculpture, but as a threshold for the movement through the

SNACKS_arch 133-01_prof bracco_spring 2018

CALIFORNIA POLYTECHNIC UNIVERSITY

SAN LUIS OBISPO

The first material of architecture is the space in which it is built. Without the acknowledgment of the space in which it occupies architecture becomes a clause that cannot stand alone.

The aesthetic of architecture becomes an answer to the site, and therefore the answer does not exist outside the question.

VIA THE FORMAL LANGUAGE OF COLLIDING GEOMETRIES AND THE APPLIQUÉ OF THE POPSICLE FORM WORK. ESTABLISH A MECHANICAL VERNACULAR IN WHICH THE GENERATION AND CONSUMPTION SYSTEMS BECOME ONE.

alexander seifu urasaki

The focus is then taken to the space in-between what is already considered architecture.

The formal building become a frame for the space that they do not occupy.

SNACKS_arch 133-01_prof bracco_spring 2018

C

D

PRIMARY PURPOSE OF CIRCULATION

CONNECTIVE TISSUE BETWEEN THAT WHICH IS DEXTER AND THAT WHICH IS NON-DEXTER alexander urasaki

SECTIONS_arch 133-01_prof bracco_winter 2018

AS-BUILT DRAWINGS

PLAN_CROSS SECTIONS N 2

A

1

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SECTION B

SECTION C

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alexander seifu urasaki

2018 alexander urasaki

S N A C K S _ aH Or cR IhZ O N1T3A L3S-I T0E1E_L EpMrEoN Tf S b_ arr cah c1 c3 3o- 0_1 _sp p ring 2018 rof bracco_winter

U T S ME E N ELE M L E A E L NT L O TA RIZ N O O H I Z LE R B O H IA E UP L C A B OC I P UN NT S

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BUILDING 14/BUILDING 21 CALIFORNIA POLYTECHNIC UNIVERSITY, SAN LUIS OBISPO

VERTICAL SITE ELEMENTS _arch 133-01_prof bracco_winter 2018

333”

A5 377”

385”

01 02

JUNE alexander urasaki

DIURNAL RHYTHMS_arch 133-01_prof bracco_winter 2018

2

DEC.

377”

333” 385”

03 04

A6 A1. HORIZONTAL SITE ELEMENTS A2.PROGRAM A3.SUN AND ENVIRONMENT A4.DIURNAL RHYTHM A5.VERTICAL SITE ELEMENTS A6.CIRCULATION

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SEPT./MAR.

alexander urasaki

alexander urasaki

SUN AND ENVIRONMENT_arch 133-01_prof bracco_winter 2018

A3

CIRCULATION _arch 133-01_prof bracco_winter 2018

alexander urasaki

alexander urasaki

SITE FORM AND ORGANIZATION _arch 133-01_prof bracco_winter 2018

04 04

03 03

02 02

01 01

A2

5:00 PM 5:00 PM

8:00 AM 8:00 AM 12:00 PM 12:00 PM

A4

HIVE

alexander seifu urasaki

SNACKS_arch 133-01_prof bracco_spring 2018

POPSICLE ANALYSIS

6.12

HIVE

alexander seifu urasaki

SNACKS_arch 133-01_prof bracco_spring 2018

[ACT] UALIZATION

SITE INTEGRATION

Site integration creates a “packing problem” between two buildings.

The mechanical vernacular allows for the generation and consumption systems to become one.

6.10

HIVE

alexander seifu urasaki

alexander urasaki

alexander urasaki

SNACKS_arch 133-01_prof bracco_winter 2018w

alexander urasaki

SNACKS_arch 133-01_prof bracco_winter 2018w

SNACKS_arch 133-01_prof bracco_winter 2018w alexander urasaki

SNACKS_arch 133-01_prof bracco_winter 2018w alexander urasaki

SNACKS_arch 133-01_prof bracco_winter 2018w

SNACKS_arch 133-01_prof bracco_spring 2018

CLADDING MODEL

6.07

PERSPECTIVE 01

PERSPECTIVE_arch 133_studio bracco_spring 2018

alexander seifu urasaki

SNACKS_arch 133-01_prof bracco_spring 2018

ALEXANDER SEIFU URASAKI

PERSPECTIVE 02

2

1

2

PLAN

o_spring 2018

AKI

1

A

A

CROSS SECTION

CROSS SECTION_arch 133_studio bracco_spring 2018 ALEXANDER SEIFU URASAKI

alexander seifu urasaki

SNACKS_arch 133-01_prof bracco_spring 2018

A

A

TRANSVERSE SECTION HIVE

LONGITUDAL SECTIONS_arch 133_studio bracco_spring 2018 ALEXANDER SEIFU URASAKI

ON SITE

6.07

HIVE

ale ax l eaxnadnedr esr esi feui f u r ua rsaaskai k i

S NDAECSKI G SN _ aV r cI L h L1A3G 3E - 0_1a_r pc rho 1 f 3b3r -a0c1c _o p_ rsopfr ibnrga c2c0o1_8s p r i n g 2 0 1 8

MECHANICAL VERNACULAR

6.07

HIVE

ale ax l eaxnadnedr esr esi feui f u r ua rsaaskai k i

S NDAECSKI G SN _ aV r cI L h L1A3G 3E - 0_1a_r pc rho 1 f 3b3r -a0c1c _o p_ rsopfr ibnrga c2c0o1_8s p r i n g 2 0 1 8

HYBRID MODEL

6.07

alexander seifu urasaki

SNACKS_arch 133-01_prof bracco_spring 2018

01. THE PRIMARY MATERIAL OF ARCHITECTURE IS SPACE. IMPORTANT TO DOCUMENT THE SPACE OF THE SITE. 02. DIAGRAMS SHOULD SHOW SOMETHING YOU WOULDN’T ALREADY KNOW BY LOOKING AT IT. 03. ACCENT COLORS AND LINE WEIGHT 04. HOW DO YOU CREATE SPACE? 05. SITE INTEGRATION/ HOW DO YOU ADDRESS THE GROUND PLANE 06. THRESHOLD/ THICK THIN PHASE CHANGE 07. DEVELOPMENT OF SECTION DETAIL

alexander seifu urasaki

REFLECTION_arch 133-01_prof bracco_spring 2018

Final quarter 1st year became the most intimidating. Although you have the tools supplied from the initial two quarters the ever encroaching due date of moving on brings with it a lack of confidence, in terms of the questioning of whether or not you will be able to make the jump to the type of work you see in upper year shows. That being said, and with this thought in mind, I think I gained the most out of this quarter in terms of understanding the benefit of truly becoming a student of architecture, by realizing the wealth of knowledge and philosophies present outside of those just in the studio. There was this almost momentum of a perpetuating crush on one architect, and their ideologies, leading to a obsession on learning everything I could from them, before branching off onto another obsession with a different vernacular of work.

In this transition to the next step, I hope to carry on this momentum to develop my own world view and justifications necessary to inform new projects.

INDEX

1A STUDIO BRACCO DV TEAM. Alejo Favero, Alexander Urasaki, Chad Miller, Corbin Cook, Dillin Ambrose, Elliot Robinson, Erica David, Kaustab Das, Karan Mehta, Mereck Palazzo, Moises De La Cruz 1B STUDIO BRACCO DV TEAM. Alejo Favero, Alexander Urasaki, Chad Miller, Corbin Cook, Dillin Ambrose, Elliot Robinson, Erica David, Kaustab Das, Karan Mehta, Mereck Palazzo, Moises De La Cruz 1C STUDIO BRACCO DV TEAM. Alejo Favero, Alexander Urasaki, Chad Miller, Corbin Cook, Dillin Ambrose, Elliot Robinson, Erica David, Kaustab Das, Karan Mehta, Mereck Palazzo, Moises De La Cruz 1D STUDIO BRACCO DV TEAM. Moises De La Cruz 1E STUDIO BRACCO DV TEAM. Elliot Robinson 1F STUDIO BRACCO DV TEAM. Chad Miller

alexander seifu urasaki

INDEX_arch 133-01_prof bracco_spring 2018

1G STUDIO BRACCO DV TEAM. Erica David

2A PARTNERS: JONES ARCHITECTURE. El Segundo.

New York: Princeton Architectural Press, 2007 2B JONES PARTNERS ARCHITECTURE. “CHENG RESIDENCE / SILVER LAKE / CALIFORNIA.” Cheng Studio / JONES,PARTNERS:ARCHITECTURE, 2013, www.jonespartners.com/chengresidence/.

2C JONES PARTNERS ARCHITECTURE. “CHENG RESIDENCE / SILVER LAKE / CALIFORNIA.” Cheng Studio / JONES,PARTNERS:ARCHITECTURE, 2013, www.jonespartners.com/chengresidence/.

0A Google Maps. (2017). Google Maps. [online] Available at: https://www.google.com.au/maps/@23.3394728,150.5201386,12z?hl=en [Accessed 18 Oct. 2017].

3A JONES PARTNERS ARCHITECTURE. “CHENG RESIDENCE / SILVER LAKE / CALIFORNIA.” Cheng Studio / JONES,PARTNERS:ARCHITECTURE, 2013, www.jonespartners.com/chengresidence/.

3B Google Maps. (2017). Google Maps. [online] Available at: https://www.google.com.au/maps/@23.3394728,150.5201386,12z?hl=en [Accessed 18 Oct. 2017].

3C PARTNERS: JONES ARCHITECTURE. El Segundo.

New York: Princeton Architectural Press, 2007 4A JONES PARTNERS ARCHITECTURE. “CHENG RESIDENCE / SILVER LAKE / CALIFORNIA.” Cheng Studio / JONES,PARTNERS:ARCHITECTURE, 2013, www.jonespartners.com/chengresidence/.

4B PARTNERS: JONES ARCHITECTURE. El Segundo.

New York: Princeton Architectural Press, 2007 4C PARTNERS: JONES ARCHITECTURE. El Segundo.

New York: Princeton Architectural Press, 2007

5B Jackson, Doug. SOUPERgreen!-- Souped up Green Architecture. Actar, 2017 6A Jackson, Doug. SOUPERgreen!-- Souped up Green Architecture. Actar, 2017 6B JONES PARTNERS ARCHITECTURE. “CHENG RESIDENCE / SILVER LAKE / CALIFORNIA.” Cheng Studio / JONES,PARTNERS:ARCHITECTURE, 2013, www.jonespartners.com/chengresidence/.

7A JONES PARTNERS ARCHITECTURE. “CHENG RESIDENCE / SILVER LAKE / CALIFORNIA.” Cheng Studio / JONES,PARTNERS:ARCHITECTURE, 2013, www.jonespartners.com/chengresidence/.

7B JONES PARTNERS ARCHITECTURE. “CHENG RESIDENCE / SILVER LAKE / CALIFORNIA.” Cheng Studio / JONES,PARTNERS:ARCHITECTURE, 2013, www.jonespartners.com/chengresidence/.