© 2020 Austin Willis, Kansas State University All rights reserved. No part of this document may be reproduced in any form without written permission of the copyright owner. This document was generated for educational purposes and not for profit. It is not for distribution outside of fulfilling the educational requirements of assigned coursework and the author’s personal use. Every effort has been made to properly cite all source material.
Monastic Retreats Project Framework
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position. Place Desert Site Retreat
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51 52
regulation. Environmental Analysis Code Analysis ASU Planning Principles Orange Mall and Campus Core ASU Architectural Principles ASU Student Pavilion
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43 45 47
program. ASU Site Relationships Outline Program
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31 31 33 37
site. ASU Tempe Campus Selected Site - Option 1 Alternate Site Options
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typology. Problem Statement Multicultural Center WWU Multicultural Center KSU Multicultural Center
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9 11 13 15
process. Hermitage Retreat Domestic Abuse Shelter
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59 61 63 64 65 66
spaces. Space Analysis
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culmination. Conclusion
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Figure Credits
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CONTENTS
introduction.
TABLE OF
1
introduction.
3 | INTRO
MONASTIC RETREATS This year in our architecture studio, we have been tasked with writing a book that outlines a final project of our choice. That project must be located in the northern half of Tempe, Arizona, and it must be a building that follows the principles of a monastic retreat. The project I have chosen is a multicultural center on the Arizona State University campus. This book serves as the framework for that project, where I gathered all relevant information to start designing the building. In no way is this book exhaustive, as I will continually be researching and informing myself on the subject at hand. Instead, it will serve as the foundation for next semester as I move into the design process.
Monastic Retreats
One might question what a multicultural center has to do with a monastery as it may not seem evident at this point; however, below is an excerpt from the project prompt that was given that better explains the realities of the monastery on this project: In this section of fifth year we will be exploring the concept of retreat as it is embodied in the built environment. As a catalyst for discussion, we will be examining the MONASTERY, a building that provides the foundation for a community of individuals who have retreated from secular society to a common location for the purpose of creating a greater connection to and gaining a greater understanding of God. Although we may think of monasteries as a component of a particular religion, in fact a wide variety of world religions have followers who choose to dedicate their lives, or a portion of their lives, to the study of their faith in this type of environment. Similar to the monastery, the projects and research you undertake this year will explore the concept of retreat, but from a variety of perspectives and at a variety of scales. Working within this framework, you will develop an individual final project centered on a program and agenda of your own that critically responds to the social and cultural needs of a particular place. My objective is to design a project with similar retreat ideas to a monastery. The focus on monastic retreats has been centered around the Cistercian monks—catholic monks and nuns who follow the Rule of Saint Benedict. This catholic order has a few design principles that I find useful for this project—interior focused buildings, spaces with specified functions, the cloister (courtyard), the cloister wrapped by walkways, innovative construction techniques, light-filled gathering areas, and many more. It is my responsibility to incorporate those ideas into the design of the multicultural center as I move forward.
Figure 1: Tempe Town Lake View of Tempe Town Lake with Hayden’s Butte, Hayden’s Mill and a building in the new Rio Salado district in the view.
INTRO | 4
5 | INTRO
PROJECT FRAMEWORK This book has multiple chapters that together create the project framework for my final thesis project. The book is structured so that you gain a background in my design philosophy first and other overarching ideas before moving into the meat of the multicultural center, with each chapter getting more and more specific about my project until the conclusion of the book. There are eight more chapters following this one, some only a couple pages and some much longer than that. The following chapter, Position, is documenting the four position statements that I wrote this semester that served as prompts to think more deeply about my architectural philosophy. Each statement is written in its entirety, followed by a reflection on how my thoughts have changed or stayed the same since writing each statement. Each statement follows a central theme of the semester. We would have a few readings a week and two class discussions about the topic before writing our position statement. The Process chapter goes into the two most recent projects I completed in this studio and analyzes the good and the bad aspects that will serve as the best learning moments for my final project. In no way am I required to copy exact elements from those projects, only meant to take lessons away before my last design project. The Typology chapter introduces the problem statement and the multicultural center as a building type. It then goes into two precedent studies that are superb examples of multicultural centers on college campuses. Site lays out my decision-making process in selecting the best location for the project. I first go into essential characteristics that I was looking for when deciding, then discuss the chosen site location, finally show the alternate site locations, and list the positives and negatives of each of those locations. The Program chapter outlines all of the spaces that will go into the multicultural center, with relationship diagrams showing how each of these spaces will relate. Regulation serves as a catchall location for the rules that must be followed. It is organized from most broad to most specific, starting with environmental issues that deal with building in Arizona as a whole. It then moves into code and zoning for the city of Tempe, followed by the ASU planning principles. Each subheading gets more specific about my project’s exact location, with the end of the chapter holding a precedent analysis of the newly built Student Pavilion building across the pedestrian mall from my site location. Spaces goes in-depth into each program area, highlighting as much information as possible for each room. Finally, Culmination holds the conclusion that wraps up the book, followed by figure credits. Overall, this book is an in-depth explanation of my process to gather enough information to design the ASU Multicultural Center.
Figure 2: Old Main View of Alumni Lawn and Old Main on the Arizona State University Campus. Old Main is an iconic building for the University and the oldest building remaining on campus.
INTRO | 6
position.
PLACE Designing for place is always relevant in the world of architecture as place is rooted in the context of all areas—where significant buildings nestle harmoniously into their surroundings. Kenneth Frampton, author of Towards a Critical Regionalism, offers his idea of designing for place, critical regionalism, as a way to combat modern architecture. He criticizes modern architecture’s disregard of context and suggests that regionalism is the best approach because it generates designs that follow the basic principles of architecture’s past. However, the correct way to design for place is by focusing on what the people of that specific place are looking for—not just creating a building that must fit within the visual aesthetic of the surrounding built environment. People are the most crucial aspect of place-based design because the purpose of architecture, at its core, according to architect Paul Rudolph, is “to help man forget his troubles, and enrich his spirit.” Dennis Alan Mann, author of Between Traditionalism and Modernism, compares these two ideas to show the contrast, suggesting that architecture is best when there is a marriage between traditional and modern schools of thought. In the combination of ideas between Rudolph and Mann, the real purpose of designing for place comes to fruition—to create architecture for the people using modern building techniques and technology. Designing for place emphasizes people’s experiences instead of focusing on superficial characteristics— such as materiality or style. Santiago Calatrava’s Oculus at the World Trade Center is the epitome of modern place-based design. The appearance stands out amongst the city, but its design is rooted in the site’s history and tragedy—with the form symbolizing a dove taking flight and rising from the ashes (Fig. 1). The building is also oriented to create a distinct beam of light down the center of the building at precisely 10:28 am on September 11th each year—the exact time that the North Tower collapsed in 2001. Downtown Manhattan has suffered dramatically since the attack on the Twin Towers, and the city wanted architecture that would help revitalize the area while bringing people back into the neighborhood. The Oculus building at the World Trade Center proves that place-based design can come from various aspects, both physical and metaphysical, that together show a building that is designed for place.
Reflection
Throughout this semester, I have continually seen how highly designed and thoughtful, modern buildings have been designed for place. I was discouraged thinking that the mainstream idea of place-based design is that a building must visually match the surrounding context in order to be designed for place. Maybe 9 | POSITION
that truly is the mainstream school of thought, but I have seen great examples of buildings rooted in place that also stand out visually amongst the other buildings. My struggle has been trying to interpret the meaning of ‘fitting into context’ and whether it is expected that architecture must visually fit in order to actually fit. I now see that many other aspects can root a building in place. The form could be influenced by existing pedestrian circulation through the site that creates a radical form, unlike the neighboring buildings; however, the flow might be precisely what that location needs. The architecture could be a colorful building that is precisely what people in the neighborhood wanted—even if it is currently filled with red brick buildings. There are so many ways that meaningful architecture can relate to place without looking like all the other buildings in the area.
Figure 3: WTC Oculus Santiago Calatrava’s Oculus at the World Trade Center is rooted in place through the symbolism of the form, even though it does not appear to match the surrounding buildings in the city.
Also, as I have thought about this topic, I have concluded that all exquisite pieces of architecture in the history of civilization have done something out of the ordinary to become an iconic architectural piece. They could be small changes or substantial changes, but they all did something innovative during their creation to be considered a great piece of architecture today. Many buildings that were considered ‘firsts’ of their time define what it means to design for the neighborhood or region that the building is located.
POSITION | 10
DESERT Designing in the Sonoran Desert has proven to be a completely new problem. While there are many unique aspects to consider in this process, the environment is the most important to me. In the desert, the difference between a successful building and an unsuccessful one comes down to how well it minds all characteristics of the environment, including physical and metaphysical aspects. Lawrence Cheek, author of The Making of the Arizona School, listed the issues and opportunities of Arizona: “dramatic landscape, brutal heat, a deceptively fragile environment, and cultural traditions that are at once profoundly deep and veneer-thin.” The terrain, temperature, and ecosystem must drive the design of all buildings in the desert. Because of this, I think that my design philosophy will begin to shift this year to be more conscious of the environment. However, breaking away from the standardization of desert materials is of utmost importance to me as well. The ability to use desert materials such as rammed earth and weathered steel are incredibly intriguing to me. Architects can use these materials in the desert without pause because of their compatibility with the surrounding environment (fig.1). Rammed earth and weathered steel have become the material of choice for modern architects in the desert. The relationship between desert architecture and innovative materials will be important to my research this year, as I would like to try new ideas outside of the typical modern desert materials. Will Bruder, an Arizona architect, describes his architectural philosophy, which directly describes where I intend on shifting my philosophy towards: “I want to combine the natural environment with expressive, creative use of structure and materials.” My goal is to find other innovative materials that are compatible with the desert vernacular as I move forward. A design that does not challenge some facet of the architectural status quo is incomplete in my eyes; therefore, I will be looking for qualities that respect the desert environment as well as spark the catalyst for change in the designed environment.
Reflection
This semester has taught me so much about designing in the desert and the Sonoran Desert in particular. This position statement was written during my first project, the hermitage retreat. I was happy with how the project turned out, but I felt like something was missing as it fits right into the canonization of modern desert architecture, and I did not want it to do so. My thoughts on finding innovative materials are still valid; however, I desire to push it further than that in the final project this year. I am now beginning to understand the poetics of designing in the desert, and I can see that it is so much more than materiality that makes a building suitable for the desert.
11 | POSITION
Upon reflecting on the first project of the semester, I knew that I needed to step outside of what I thought was typical desert modern architecture and search for the answer to what better architecture would be. In the second project, I abandoned the materials that I used previously to find what worked in my mind. The final design resulted in a colorful building that matched no other structure seen in the desert. Materials were appropriate, but it did not look like neighboring buildings. However, after that, I have realized that it is not only about materials that make a desert building fit into the desert. Different famous desert buildings take on different materiality approaches; however, there is only one constant between all these buildings that allow the poetics to take place in the design—the sun. I have realized that unique desert architecture can take on many forms and materials; instead, it is how they interact with the harsh sun that makes them superb buildings or not. The interaction with the sun should be like a ballroom dance between the building and the intense sun. The rules are stringent, the timing and precision must be perfect, but an excellent architectural design can occur within these strict set of rules. Those that exploit the requirements that the sun places on the architecture are the ones who are genuinely designing award winning desert buildings .
Figure 4: Tucson Mountain Retreat DUST Architect’s Tucson Mountain Retreat is a modern example of a building that bases the form, materiality, and orientation off the surrounding context of the Sonoran Desert.
POSITION | 12
SITE The site of an architectural project is the key element that connects a building back to the greater context of the area. Without site, there would be nothing for an architect to react to when designing. The basic understanding of a site is not solely limited to its topography, but, according to Andrew Pressman, also in the “history, culture, natural material resources, and all types of infrastructure” surrounding the chosen parcel of land. Looking to the nearby context is vital in making a rich architectural idea that is rooted in place—without the need to relate to the materiality and form of nearby buildings. Vegetation, climate, and good views— among many other things—are all design influences that pull from the site in addition to topographic changes. In the past, I was skeptical of place-based design because I did not want to design the same way that others do. However, introducing different design ideas that are influenced by the site will help relate the building without making it look generic.
Figure 5: Interdisciplinary Science Architekton’s building, the Interdisciplinary Science and Tecnology 7 building at ASU, based the facade design off the structure of a Saguaro Cactus.
13 | POSITION
Architect Rafael Moneo says, “architecture necessarily changes the condition of the site.” He implies that architecture’s role is to enhance the existing site, echoed by Pressman, who says, “architecture should contribute to, rather than fit in with, its surroundings.” My ideas on site design align with Pressman’s because I believe that abstract ideas can form concrete realities,
such as the idea that the ribs on a saguaro cactus could inform structure and shading in an architectural intervention. One example of a building trying to tackle this design challenge is the Interdisciplinary Science and Technology 7 building on the Arizona State University campus, by Architekton (Fig. 1). The saguaro cactus inspires the precast concrete panels of the façade and its ability to self-shade in the desert heat—although the cactus motif may not be inherently visible upon first glance at the building. Moving forward in my design process, I plan to incorporate new ways to deepen the relationship with the site. The story of how a modern building is deeply rooted in site, even though it may not first appear that way, will form a substantial project that will withstand the trends of time in ways that generic, superficially designed buildings cannot.
Reflection
I keep going back to Pressman’s quote stating that site consists of “history, culture, natural material resources, and all types of infrastructure” as an idea to live by when thinking about design. Before this, I had no realization that site meant much more than the topography on the plot of land. Especially in an urban context, many sites are strictly flat pieces of land with absolutely nothing existing on the parcel you intend to build on. Therefore, site as a surrounding condition is incredibly relevant in making design decisions. The history and culture of the area could also inform a design that is important to the overall urban fabric. All of the previously mentioned buildings in the position chapter are designed with history and culture in mind. The Calatrava Oculus building was selected because of its symbolism surrounding the history of the site. The Tucson Mountain Retreat reenvisions cultural traditions for building in the desert and places a modern twist without appearing too out of place. Natural material resources can help decide what material should be used for the project or inspire forms based on these materials. In Arizona, copper is the most produced and exported material, supplying much of the US’s overall copper each year. Therefore, copper as a building material is inherently much more rooted in site than any other material can be in Arizona. Copper is one of the main reasons people first settled in Arizona and can create a great building envelope. In the case of the Interdisciplinary Science and Technology 7 building, natural material resources inspired the design of the facade panels. While the building does not use the saguaro cactus as a physical building material, it is inspired by the iconic natural resource that informs the design of the building’s facade. Therefore, even when speaking of materiality, it can relate to the site more than initially imagined. It can go that extra step to reinforce why a material was essential to the building’s design.
POSITION | 14
Figure 6: Maggie’s Center West London The Maggie’s Center by Richard Rogers focuses on creating a calm and peaceful place for the inhabitants, even though it is located in a very busy area.
15 | POSITION
RETREAT People rely on retreats as a beneficial force in their daily lives; however, Merriam-Webster’s definition does not accurately represent how people use the word today. They define a retreat as “an act or process of withdrawing especially from what is difficult, dangerous, or disagreeable.” Although this definition highlights the word’s most common use, it lacks the sense of enrichment that society associates with retreats. It currently portrays a submissive connotation due to the inclusion of ‘withdrawing’ in the definition—meaning to take back or retract. In reality, people associate retreats with a place for personal enhancement or serenity while also offering protection from the outside world— not a place of withdrawal due to failure. The new definition must include both factors, the betterment and the safety of people, to fit into the context of modern society. I define the current use of the word retreat as ‘a place offering favorable opportunities or conditions to counteract what is difficult, dangerous, or disagreeable.’ This definition now suggests that a retreat is a location for personal enrichment that strengthens the occupants’ position in the world.
The focus on place indicates that a location can be a physical or mental space, meaning that architecture is essential to a physical retreat’s overall experience. Ken Worpole, an architectural historian, states that “architecture allows us to shelter in space… if the spaces it creates are calm and beautiful, places in which being can become an act of meditation or inhabitation of a sensuous richness.” People can be at some of their most vulnerable moments when in need of a retreat; therefore, thoughtful architecture is imperative to the experience’s positive outcome. One example of a successful retreat is Maggie’s Center West London, by Richard Rogers (Fig. 1). This hospice care center uses bright finishes to energize the space’s inhabitants while also blocking the outside world from tampering with the retreat. Famous architects design every Maggie’s Center because they believe that good design leads to improved morale and self-worth. Architecture is essential to supporting retreats, as the spaces around evoke emotions that will either enhance or diminish the role of reflection in a person’s life.
Reflection
I continue to believe that spaces play a huge role in the success of a person’s retreat. In all instances, when people decide to retreat, they are very particular about the chosen place that they do so. This place can be a building or a natural landscape, but the selection process is intentional nonetheless. Retreats require that people go somewhere—even those who have the unique ability to reach a zen level where they can achieve the feeling of retreat through traveling into their mind. The location that they choose to do so is still intentional, even if it is in a room of their home. Those who do not have the unique ability to achieve retreat within their typical environment will be looking for that special place to give them favorable opportunities or conditions—architecture steps into that void. The reason why I appreciate the Maggie’s Center’s so much is because I know the entire idea is centered around designing a retreat for their patients—which means they will enjoy spending time in these buildings. As I stated earlier, retreats have to feel like a removal from the status quo, which makes the Maggie’s Center’s so successful. Those that get the opportunity to spend their time in these facilities feel grateful for the thoughtfully designed spaces that take their needs and their emotions into account in the design process. Typical architecture does not match this level of craft. That is why I am excited to explore the ideas of retreat in my final project and design a beautifully crafted space that causes people to feel like they have reached a retreat.
POSITION | 16
17 | POSITION
Endnotes 1: Kenneth Frampton, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance,” in The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster (New York: The New Press, 1998), 17–34. 2: Paul Rudolph, “Regionalism in Architecture,” Perspecta 4 (1957): 19. 3: Dennis Alan Mann, “Between Traditionalism and Modernism: Approaches to a Vernacular Architecture,” Journal of Architectural Education 39, no. 2 (Winter 1985): 15. 4: Lawrence W. Cheek, “The Making of the Arizona School,” Architecture 91, no. 5 (2002): 89. 5: Will Bruder as cited in Allen Freeman, “Reinterpreting Regionalism: Arizona,” Architecture 73, no. 3 (1984): 119. 6: Andrew Pressman, Designing Architecture: The Elements of Process (New York: Routledge, 2012), 46. 7: Jose Rafael Moneo, “The Foundation of Architecture,” Archis 7 (1993): 60. 8: Pressman, Designing Architecture: 49. 9: “Definition of RETREAT,” Merriam-Webster, accessed October 10, 2020, https://www.merriam-webster.com/dictionary/retreat. 10: “Definition of WITHDRAW,” accessed October 10, 2020, https://www. merriam-webster.com/dictionary/withdraw. 11: Ken Worpole, “A House at the End of Life,” in Modern Hospice Design: The Architecture of Palliative Care (New York: Routledge, 2009), 10.
Figure 7: Hayden Library Entry The entry to Hayden Library in the middle of Hayden Lawn.
POSITION | 18
process.
Figure 8: Hermitage Exterior Front elevation of the hermitage retreat, built with copper, rammed earth, concrete and glass.
HERMITAGE The hermitage was the first architectural project that we did this semester. The goal was to design a weekend retreat for a college professor to research and write a book. Based in the middle of the Sonoran Desert, the focus was to create an intimate relationship between the professor and the desert where she will be spending her time. Through this project, there were multiple aspects that I focused on to create the final design—rooting the building into the place and maximizing the ritual use of the space.
Contextual Relationships
The placement on the site and the orientation of the hermitage was of great importance to the overall idea. The building must respond to the surroundings to be usable since it has no air conditioning. While most places have air conditioning, this project allowed me to gain a deep understanding of how the desert works and the best way to make it a comfortable place to live. Another successful idea that came from this project was the materiality that helped root the building in place. Copper is an essential resource for the Arizona economy and one of the main reasons people first settled in the state. Tied with the rammed earth walls, the materiality pays homage to the context. However, through research and questioning my thoughts on architecture, I now understand that the visual aspects are a small portion of what it truly means to design for site. Moving forward, I expect this project to help inform my decisions when I design, making sure I focus on metaphysical site conditions that will root the building in place much more than if I were to focus only on physical aspects. 21 | PROCESS
SITE AREA
S W E I V N I A T UN O M NT
E
EXISTING HOUSE
Figure 9: Hermitage Site Area The hermitage retreat is located within a clearing in the natural landscape, making sure not to harm any of the existing rock outcroppings or saguaro cacti.
R Y PA H T
Figure 10: Hermitage Orientation The hermitage retreat was oriented in a way that maximizes views to the valley and distant mountain ranges. It also blocks views to the nearby house on the property and harsh sunlight from the south. The entry pathway wraps around existing conditions, making the approach gradual while also making sure not to harm the desert characteristics.
PROCESS | 22
Experiential Ideas
The day-to-day experience of the hermitage centers around the professor and what she is there to do. Everything is designed to enhance her time spent working on her research. At only 200 sf, the retreat is minuscule; therefore, the space had to be efficient and offer her the essentials while also inspiring her to do her work. The retreat is arranged along a strong axis that all the spaces branch from, making flow incredibly simple through the building. Although at a small scale, the idea of clear and defined circulation will prove to be essential in my final design project of the year. To work around the building’s small size, the circulation axis was placed on the exterior to free up interior space. The axis is protected by the facade, allowing for a microclimate that increases comfortability around the building, while also blurring the line between interior and exterior space.
Figure 11: Hermitage Floor Plan The floor plan of the hermitage retreat emphasizes the circulation axis with the different spaces branching from it.
23 | PROCESS
Moving forward with my final design project, there are a few key lessons that I will take from this project that need to be improved on when implementing in the future. The relationship between indoors and outdoors needs to be pushed much further to emphasize the importance of outdoor living. Many people expect to spend time in comfortable outdoor areas in Arizona; therefore, pushing that idea will be incredibly relevant. I will also aim to design the interior of a building for the people that are using it. I will need to focus on the importance of all aspects at every scale and which decisions will best fit those inhabiting the space.
Figure 12: Hermitage Pathway The circulation pathway of the hermitage retreat is protected by the building envelope while still being outside.
Figure 13: Hermitage Kitchenette The kitchenette space in the hermitage highlights the different interior materials used—all having relevance to the local tones and materials of the desert.
PROCESS | 24
Figure 14: Shelter Front Facade The front facade of the domestic abuse shelter is meant to blend in with the surrounding tonalities while also using materials that are not what is ordinarily seen in Gilbert.
DOMESTIC ABUSE SHELTER The next project that we did was a Domestic Abuse Shelter for young mothers in the city of Gilbert, Arizona. The building serves women between the ages of 16-21 who are mothers and suffer from domestic violence. Gilbert is a suburb of Phoenix; therefore, it has faced the same fate as many Phoenix suburbs do—many of the buildings are finished in the same white or salmon-colored khaki walls and tile roofs. In order to blend with its surroundings, the shelter had to take on some of these physical attributes to ensure that it does not stand out among the streetscape. This project was a great exercise in designing for a community. To date, this is the most socially charged project that I have worked on—with most projects being museums or homes. Since we focused on the community as much as possible, I was able to enhance my ability to immerse myself in the needs of these women and children to come up with a necessary solution. A vast amount of research was put in to understand how these women feel as they arrive to a shelter like this, proving the necessity to comprehend all the needs they have. While I will never know these women’s emotions or even go through the same thing they are, finding the need for empathy to help as much as possible has proven to go a long way in this project. Passion and empathy prove why I would care so much about a project that does not directly affect me personally—and I intend to use that passion and empathy in future designs.
25 | PROCESS
Figure 15: Shelter Site Plan The plan of the shelter is wrapped around a central courtyard that is protected from the public street view.
Figure 16: Shelter Courtyard Facade The shelter has a bright and vibrant interior facade color scheme to make the building more cheerful for both the mother and her child.
PROCESS | 26
Figure 17: Shelter Gathering Space The gathering space of the shelter is bright and open, allowing the mother’s to always see their children in the space.
Figure 18: Shelter Playroom The playroom uses bright colors, a climbing stair, and padded cubbies to create a special room for the children to enjoy playing in.
Empowerment was the single greatest principle that I focused on when designing this space. Creating a sense of ownership fuels the healing process for somebody who is not sure what is theirs anymore. From the exterior, the building has a visual interest in the perforated metal blocks resting on the stone base; however, the ideas were toned down and muted to allow the building to blend. It has unique characteristics, but overall, it is meant to match materials to surrounding buildings. In the central courtyard, those same bedroom blocks are bright and colorful, with different colors on each block. The different colors were chosen for various reasons—to create a sense of ownership for the mothers who can take pride in the distinct color they inhabit and for the children to have a cheerful space to play while also identifying their bedroom. The children are the most important thing for these mothers; therefore, creating an enjoyable building for the kids also helps the overall sense of empowerment. The dining and living room space is the main gathering area where the mothers and their children will spend time. The table is directly off the kitchen to allow for family-style meals to gather and learn from each other. The staircase is next to the dining room and is a floating perforated metal stair that provides a high degree of visibility through the stairs while also offering protection as a person moves between floors. The living room is flanked on two sides with large glass openings that provide views to nicely landscaped areas and children playing in the courtyard. Creating this high degree of visibility was incredibly important to the mothers as they spend their time relaxing. Directly off the living room is the kid’s playroom which is designed to inspire the children to have the most fun they can while living in this uncertain situation. The last thing that the mothers need is for their kids to have a bad time while they are trying to heal. The space is bright and colorful to meet the children’s needs while also offering educational value. The form of the climbing steps and slide are based on the weathering lines of the desert hills and canyons of Arizona. Therefore, not only does the playroom offer a fun place to spend time, it also offers educational value to the children in their time spent here. Through the design of these spaces, I have focused my thoughts on how to best help serve a community. As I move into my final project, the lessons from this shelter will be of great value when I take on the new challenge of designing for a group of communities that will be given a collaborative space to use together. The amount of detail and depth in my research will need to go far beyond what I did for the shelter to prove that I have educated myself enough to form a robust design solution to the problem we are currently facing.
27 | PROCESS
PROCESS | 28
typology.
Figure 19 ASU DEMOGRAPHICS
Black 3.48% Two+ 3.73%
Other 19.4% White 47.9%
Asian 7.02% Hispanic 18.5%
Figure 20 MALE:FEMALE RATIO
Female 42.9%
Male 57.1%
Figure 21 INTERNATIONAL RATIO International Students 16.2%
Domestic Students 83.8%
Figure 22 LGBT+ RATIO LGBT+ 10%
Heterosexual 90%
31 | TYPOLOGY
PROBLEM STATEMENT Arizona State University has one of the country’s largest student populations, and it is continually growing. This large population is incredibly diverse and continues to become more diverse as the years go on. There is currently no building that focuses on the wellbeing and promotion of their minority students, which is a big problem for the university administration. As time has progressed, more and more universities nationwide have built multicultural centers to advance and better serve minorities. As one of the most diverse universities nationwide, ASU students, faculty, and staff have all begun to demand the construction of a multicultural center on their campus to recognize the minority students. ASU will have a substantial social dilemma the longer they go without building a multicultural center. This project aims to resolve this problem and design a center to go on the ASU campus. The center will benefit all students, focusing on improving the lives of students who are gender, racial, and sexual orientation minorities on campus. There is a problem with perceived safety for these students, and this center strives to become a safe retreat for all who need it. This multicultural center will go to show all current, past, and future students that Arizona State University cares about all the success of all their students.
MULTICULTURAL CENTER This building serves college students to create a safe, welcoming, and helpful environment for minority students on their campus. Multicultural centers are judgment-free zones where students can find solace in communities that they relate to the most— whether based on gender, race, or sexuality. They provide a home for the fight against discrimination and a place to celebrate the diverse backgrounds of all students on the greater campus. In a country that is heavily controlled by white men, many minority students feel as if they do not belong on their respective college campuses. A multicultural center acts as a starting point to help garner success and happiness for students of all backgrounds. Arizona State University has one of the country’s largest student populations and one of the most diverse communities. The white student population is 47.9% of the overall student body, meaning that a majority of students are of an ethnicity other than white.1 However, there is no multicultural center for all of these students to call home. There are seven Student Coalitions on campus that are the parent organization of hundreds of student-led groups.2 The office locations for these Coalitions is continually changing, and they need a permanent space. Because many students rely on the Coalitions during their time at ASU, these organizations need a permanent home in a unified building.
Importance
This project type is essential to the University because of how many people it positively affects. Students and faculty alike have been pushing for the University to build a multicultural center on campus—even going as far as requesting a standalone building and not just a few offices in an existing building. A student group called The Multicultural Solidarity Coalition has been leading the charge for a multicultural center, through the development of a detailed plan of what is needed in a multicultural center at ASU.3 They have created a petition with nearly 5,500 signees that requests the construction of a multicultural center on campus.4 I have been interested in and fighting for social justice for a long time now. I believe that all people should have the same opportunities to succeed in this world, and I want to do my part in the fight to make that happen. This topic is what I have wanted to work on for many years now, and I am incredibly excited to get to work on it. In the time we are now living in, there is a heightened focus on the rights of all minorities. Sparked by the rise of the Black Lives Matter Movement, Me Too, Pride, and so many other social organizations, there is no greater importance than creating positive change in our society. I hope to do my part in helping push for that change.
Retreat for a Community
Minority students face an uphill battle in the world of higher education. They must enter a system built upon the success of those who do not look or identify the same way they do. Universities are highly oiled machines that run very well for those that do not have to worry about discrimination in their everyday life. Currently, there are minimal resources on campus to help these students feel like they belong. Providing a space for these underrepresented communities is essential to their wellbeing and success at Arizona State University.
Retreat
“a place offering favorable opportunities or conditions to counteract what is difficult, dangerous, or disagreeable.”5
This new building type will serve as a retreat space for the students on campus. With a variety of community and personal based experiences, each student will be able to have the experience they are looking for in the multicultural center. Whether each student wants to create a ‘stronger together’ mentality through peer interaction, or they want personal reflection and exploring one’s own culture, they will have a space in the center that best suits them. With a new permanent building, social injustice will be at the front of the discussion for positive change at the University. Multicultural centers create a safe place for minority students to go while also acting as a beacon for needed change.
TYPOLOGY | 32
Figure 23: WWU Multicultural Center The Western Washington University Multicultural Center exterior view showing the shading screen.
WWU MULTICULTURAL CENTER6 Project Details
Gross Square Footage Location Architect Project Completion Date
Project Vision
31,000 sf Bellingham, WA Opsis Architecture RMC Architects August 2019
The Multicultural Center Addition, located prominently in the heart of the campus, is a transformational project expressing the University’s commitment to diversity, equity, and inclusion. As the new home for student ethnic groups and marginalized communities, it supports these growing populations and engages the campus understanding of multiple cultures and awareness of intersectionality. The design locates the Multicultural Center on top of the existing bookstore and encloses a formerly windswept courtyard to create a new entry to the Viking Union. The expansion unifies three separate buildings, forming the Student Union with a new lobby connecting the building horizontally and vertically. The Multicultural Center’s location above the renovated bookstore creates panoramic views of Bellingham Bay, the Performing Arts Center Plaza, and remnant woodland of the Old Main Quadrangle. The addition’s orientation and expansive windows draw the natural world and campus connections into the interior experience.
33 | TYPOLOGY
Inspiration
Honoring its sense of place on the ancestral Coastal Salish land, the Multicultural Center’s layered and textured façade alludes to the weaving traditions of the Salish Tribes and the fabric of ethnically and culturally diverse student groups on campus. The woven bronze skin is comprised of profiled metal panel with applied Z-metal strips to texturize the façade. The Z’s extend beyond the building to infill the sunscreen that not only filters sunlight but functions as a privacy screen for student groups. Students were directly involved in the selection of materials, finishes and graphics to create an interior experience that reflects their values, the comfort of home and the unique spirit of the campus. Graphic identity and student imprint walls are integrated throughout, drawing from the color palette and patterns of the natural environment. The Multicultural Center’s lobby-level entry is defined by an inviting mass plywood stair framed by a graphic backdrop. The stair is crafted to appear as if carved out of a solid piece wood, forming a social stage with generous landings and bridge to the Multicultural Center.
Figure 24: WWU Axonometric An exploded axonometric view of the new portion of the WWU Multicultural Center being placed on the existing walls of the campus bookstore.
TYPOLOGY | 34
Program
The Multicultural Center program creates a new home for the Ethnic Student Center (ESC) and four centers under the AS Student Advocacy and Identity Resource Centers (the Blue Resource Center; Disability Outreach Center; Queer Resource Center and Womxn’s Identity Resource Center). The ESC is made up of 19 different clubs, all working together to affirm identities, build a sense of community, and cultivate leadership. The purpose of the four centers of the Student Advocacy & Identity Resource Center is to provide information, advocacy, activities, and peer education to Western students.
Figure 25: WWU Interior (Opposite Top) The front desk area to the Ethnic Student Center located on the second floor of the WWU Multicultural Center. Figure 26: Work Room (Opposite Bottom) A student work area located in the WWU Multicultural Center. Figure 27: WWU Lobby Space (Below) The lobby space inside of the WWU Multicultural Center, showing the staircase that leads up to the Ethnic Student Center Offices.
35 | TYPOLOGY
The plan strategically places service and office blocks to create a circular spatial flow that maximizes the perimeter windows for social areas, meeting and study spaces, and project workspace. The resource library promotes the intersection of racial, cultural, and sexual identities, providing students a safe meeting place for learning and socializing. The multi-purpose room and dance studio hosts student group cultural activities while providing students’ informal space for traditional cultural expression. The social common and kitchen area support daily lunch gatherings to formal events with dramatic views of Bellingham Bay. All spaces were designed with flexibility in mind to easily adapt to changing needs throughout the academic year and to address programmatic needs as campus expectations evolve.
TYPOLOGY | 36
Figure 28: Kansas State MCC Exterior view of the KSU Multicultural Center, showing the front entry as well as the relationship to the Student Union.
KSU MULTICULTURAL CENTER7 Project Details
Gross Square Footage Total Project Cost Location Architect Project Completion Date
Project Vision
13,000 sf $6,000,000 Manhattan, KS Hollis + Miller Architects November 2020
Students, faculty, and staff will come together for reflection, education, and action at this new multicultural center, located in the heart of campus. Kansas State University’s more than 30 multicultural organizations, serving around 4,000 students, will have a home on campus where they can meet and invite their peers to be immersed in cultural experiences. This new facility will bring an urban feel to the existing campus fabric, while staying true to the native Kansas materials already established. The multicultural center encourages pedestrian interaction, creating natural pathways from the rest of campus. This space will impact the entire campus, giving these vital student organizations the space they need to enrich lives and advance student success, diversity, social justice and inclusion. 37 | TYPOLOGY
The Kansas State University Multicultural Center is a brandnew building—with the grand opening happening recently in mid-November 2020. Although they had the grand opening, the building is still not currently accessible for students due to COVID-19 restrictions. Because it is inaccessible, the space has yet to be occupied; therefore, I interviewed two people involved in the creation of the Multicultural Center to get an understanding of the intentions of the space. The following information is highlights from these two interviews that will be beneficial to the project.
MULTICULTURAL CENTER PLANNING GROUP OUTCOMES10
Mary Tolar, MCC Planning Committee Member8
2. There are students at K-State who do not feel welcome, comfortable, or that they belong.
Mary Tolar was one of the co-chairs of the Multicultural Center Planning Committee. This committee was charged with getting the campus community’s support and input for the building. The planning process happened before any designs or architects were considered. There was a desire to have a space for minority students to have a sense of belonging and a space that was theirs. The building is also supposed to be a bridge for all students to come together and advance their cultural understanding through reflection, education, and action— honoring cultural experiences while still providing a welcoming environment to all. While the building does have assigned spaces for use, the building was intentionally designed as shared space because then people must interact with others and better their understanding of each other.
Ishita Banerjii, KSU MCC Project Architect9
Ishita Banerjii is the Hollis + Miller project architect of the Kansas State University Multicultural Center. Ishita worked very closely with the Multicultural Student Foundation Group as well as various student groups to design this building. Through working with the students, she found that they wanted a building that is open and inviting to all communities on campus and to engage with the sidewalk—enhancing the foot traffic into the building. Her research lead to what she called the four necessities of a multicultural center—food, dance, music, and rituals. The students wanted informal meeting spaces that could function for the four ritualistic practices. The building has rooms for dancing and music practice, a communal kitchen, meeting rooms, classrooms, offices, and informal social areas. All of these spaces are meant to create a meaningful building for those that use it. Ishita talked about the positives and the negatives of the building that helped create the program for my project. When asked about any spaces that students desired that did not make it into the building, she explained the importance of a library in the multicultural center—even expressing sadness that they did not have the space to fit a library. She also mentioned that the students wanted an outdoor roof deck to spend time in nature while also spending time at the Multicultural Center.
1. The center needs to be a space for coming together.
3. All students, faculty, and staff need greater cultural awareness and engagement to prepare well for and succeed in their professional, personal, and civic lives. 4. A center is one component of the needed infrastructure to advance diversity, inclusion, and social justice at K-State. 5. A center offers the opportunity to coordinate, promote, and integrate existing efforts and build new ones. 6. A center demonstrates the value the university places on diversity, inclusion, and social justice. 7. A center communicates a welcome, supportive, and enriching environment for the recruitment and retention of diverse faculty and staff as well as students.
TYPOLOGY | 38
Figure 29: KSU MCC Axonometric Axonometric view of the basement and first floor of the Kansas State University Multicultural Center.
39 | TYPOLOGY
Endnotes 1: “How Diverse Is Arizona State University - Tempe?,” October 11, 2020, https://www.collegefactual.com/colleges/arizona-state-university/ student-life/diversity/. 2: “Student Coalitions,” Student Coalitions | EOSS Forms, accessed November 1, 2020, https://eoss-forms.asu.edu/student-engagement/ coalition-info. 3: “Multicultural Solidarity Coalition,” Facebook, accessed November 1, 2020, https://www.facebook.com/multiculturalsolidaritycoalition. 4: “Get ASU to Support Minorities by Building a Multicultural Center!,” Change.org, accessed November 1, 2020, https://www.change.org/p/ arizona-state-university-get-asu-to-support-minorities-by-building-amulticultural-center?fbclid=IwAR3XYt8Lq-FG2sLq0dd9BoMKIELSyCk SfVfPzIJliftJBi6v9dvjUMIGK8s. 5: Definition by Austin Willis, not a definition from a dictionary. 6: “WWU Multicultural Center,” Opsis Architecture, 2019, https://www. opsisarch.com/project/wwu-multicultural-center/. 7: Morgan Maxwell, “Kansas State University Multicultural Center,” Hollis+Miller (Hollis+Miller, June 23, 2020), https://www.hollisandmiller. com/portfolio/kansas-state-multicultural/. 8: Mary Tolar, personal interview by author, December 1, 2020. 9: Ishita Banerjii, personal interview by author, November 9, 2020. 10: “Social Justice: Multicultural Center Planning | Initiatives,” Kansas State University, 2017, https://www.k-state.edu/president/initiatives/ multicultural-center/.
TYPOLOGY | 40
site.
4
2 3
Figure 30: Campus Map A map of the ASU Tempe Campus with the four site considerations marked. All four were considered and the positives and negatives of all were weighed to make the final choice of site.
1
ASU TEMPE CAMPUS The new multicultural center must be on the Arizona State University campus in a public location that lies along a busy pedestrian walkway. Sensitivity of the site selection process is vital because it cannot appear that the University is pushing the building into an undesirable location, as if saying a multicultural center is not essential for the students. Therefore, locating the center along a major pedestrian mall is ideal. The new building must also be located near other programmatically relevant buildings, such as the Memorial Union or the School of Social Transformation at Wilson Hall—the home of all the courses related to race, gender, and sexuality. Between all the site locations, there were a few aspects that all had in common: In a centralized location on the Arizona State University Tempe Campus. Along a major circulation path including streets, pedestrian malls, and quads. Near related buildings of importance Requires removal or relocation of minor existing site conditions—although no building demolition
43 | SITE
Centralized Location
While the Arizona State University Tempe Campus is one of the most populated campuses in the country, there are still high traffic areas and low traffic areas dispersed throughout campus. The importance of a multicultural center demands that it be located in a centralized, important location among the campus fabric. If it were to be built on the campus edge, it would become way less accessible and therefore, portray that ASU does not care about the importance of a multicultural center. Because of the cultural sensitivity behind this typology, a centralized location was the most crucial factor in selecting a site.
Along a Major Circulation Path
Arizona State University has many busy streets, pedestrian malls, and quads surrounding and running through campus. Foot traffic is essential to bring students into the facility and retain them long enough to become a ‘home on campus’ as is desired for the building. If it were to be placed along a hard to find street or sidewalk, it could hamper the center’s success as students would not be able to find it. If placed along any of the busy pedestrian malls1—Cady Mall, Orange Mall, Forest Mall, Hayden Mall, Tyler Mall, and Palm Walk—the building would have the best chance to become a successful addition to campus.
Near Important Buildings
Symbolically, a multicultural center has become a way to differentiate universities on their dedication to the students. In the polarized world we now live in, there is no way for a university to deny the social impact that a multicultural center can have. If the building is not placed near other buildings of higher symbolism or importance, it could be taken as an ingenuine excuse for a building. Because it is essential to locate near other valuable buildings, I identified possible contenders that would make good companions with the new multicultural center—Memorial Union, Hayden Library, Student Pavilion, Wilson Hall, and Old Main. Memorial Union is the University’s Student Union, situated in the center of campus at the intersection of five pedestrian malls.2 Hayden Library is the central library on campus and located directly across from Memorial Union. The Student Pavilion is a brand new building next to Hayden Library that holds event rooms, student workspaces, organizations, and other vital necessities for the gathering of students.3 Wilson Hall is the home to The School of Social Transformation, which holds all of the classes on African American Studies, Asian Pacific American Studies, as well as Women and Gender Studies.4 Old Main is the oldest building on campus, home to the Alumni Association, and one of the poster buildings for the University.5 It is often the building that graces the cover of brochures and other promotional material for the University.
SITE | 44
SELECTED SITE - OPTION 1 401 E Orange Street, Tempe, AZ 85287 33°25’5.05”N, 111°56’1.29”W Area = 16,000 sq ft The goal of this site will be to connect to the Memorial Union, creating an extension of the public space along Orange Mall. The base site is 16,000 sf—touching the exterior staircase of Memorial Union and the west wall of Sun Devil Hall. The total area includes the 2nd floor terrace of the Memorial Union, opening up the possiblity for further integration in design.
Figure 32: Site Image (Opposite Bottom) A picture standing in the loading dock drive and looking north towards the site.
Positives • Between the Memorial Union and Sun Devil Hall • Along the Orange Pedestrian Mall • Across from the new Student Pavilion • Near School of Social Transformation • Modern building context allows for more freedom in design • 2011 University Master Plan lists this area as a key location for future development6
Figure 33: Site Map (Below) A map of the Site with the overall dimensions labeled between the base site and the proposed larger site that merges with Memorial Union.
Negatives • Large scale existing bicycle parking is located on the site • Pedestrian circulation route to Business Building runs through site—must be considered
Figure 31: Site Image (Opposite Top) A picture standing near the Student Pavilion and looking south towards the site, including Memorial Union.
Student Pavilion
Outdoor Terrace
150’ Stairs
107’
92’
Murdock Hall
Site Location 16,050 sf base
Memorial Union
45 | SITE
Loading Dock
Bicycle Parking
Sun Devil Hall
Creativity Commons
25,900 sf total
SITE | 46
Payne Hall
Positives • Located near the School of Social Transformation • Located along Forest Mall
Option 2
Wilson Hall Orange Mall
Farm Education Building
Moeur Building yA
Negatives • Eliminates existing plaza area • No relation to other nearby buildings
Gamm
33°25’6.62”N, 111°56’13.09”W Area = 7,600 sq ft
Forest Mall
Option 2
Wes
ALTERNATE SITE OPTIONS
Option 3
Positives • Located near the School of Social Transformation • Located along Orange Pedestrian Mall
Wilson Hall Orange Mall
Option 3 Moeur Building Interdisciplinary A
33°25’5.18”N, 111°56’7.93”W Area = 9,000 sq ft
Negatives • Eliminates existing landscape • Cuts off major pedestrian pathways
Memorial Union
Option 4
33°25’17.05”N, 111°56’0.84”W Area = 8,500 sq ft Positives • Located next to Old Main and Alumni Lawn • Located along University Drive Negatives • Eliminates a large portion of Alumni Lawn • Not located on pedestrian mall
Option 4 Alumni Lawn
Health Service
University Club
Durham Hall
Old Main
Piper House
Figure 34: Site Options A series of maps with the other site options outlined and labeled.
47 | SITE
Endnotes 1: “Orange Mall Green Infrastructure Project,” ASU Virtual Tour, January 5, 2018, https://tours.asu.edu/tempe/orange-mall-greeninfrastructure-project. 2: “Orange Mall Green Infrastructure Project.” 3: “Student Pavilion | Arizona State University,” accessed December 4, 2020, https://eoss.asu.edu/student-pavilion. 4: “School of Social Transformation,” accessed December 4, 2020, https://sst.asu.edu/. 5: “10 Oldest Buildings on ASU Campus - The State Press,” accessed December 4, 2020, https://www.statepress.com/article/2015/11/ oldest-buildings-asu-campus-tempe-downtown-phoenix. 6: “ASU 2011 Master Plan,” ASU Office of the University Architect, November 4, 2014, https://cfo.asu.edu/architecture-design.
Figure 35: ASU Students A group of ASU students walking down Palm Walk. The University has a diverse student population; therefore, the need for a multicultural center is essential.
SITE | 48
program. 49 | PROGRAM
PROGRAM | 50
ASU SITE RELATIONSHIPS
HAYDEN LAWN
The multicultural center is located in the central campus core, near many other important buildings including Memorial Union, Hayden Library, and the new Student Pavilion. This location was also chosen because of the close relationship to Wilson Hall, which holds the School of Social Transformation—where all of the classes on race and gender studies are taught on campus.
HAYDEN LIBRARY WILSON HALL
STUDENT PAVILION
ORANGE MALL
MULTICULTURAL CENTER
SUN DEVIL HALL
MEMORIAL UNION
Figure 36: Site Relationships Pedestrian Mall Direct Connection Key Connection Primary Space Major Relationship Minor Relationship
51 | PROGRAM
MCCORD HALL
LOBBY SPACE
SOCIAL NOOKS
SOCIAL AREA
KITCHEN
COMMUNITY
PROGRAM ANALYSIS
BREAKOUT BREAKOUT BREAKOUT BREAKOUT BREAKOUT BREAKOUT PRACTICE ROOM
SERVICE ADMIN
LIBRARY
Figure 37: Program Diagram The program is broken down into three major elements—community, administration, and service. Community is the most public space and service is the least. Within the community space, The individual rooms have varying public/private relationships with the darkest orange being most public and the lightest orange the most private.
Within the multicultural center, a majority of the rooms are community-based spaces. This center as a place for community to gather is essential to the success of the building, which relies on the connections students make with their peers. PROGRAM | 52
COMMUNITY Lobby Space
1,000 nsf
This space includes the reception desk, information counter, and comfortable seating for students to gather and relax upon entry to the building.
Social Nooks
1,000 nsf
Dispersed areas with a variety of tables, chairs, comfortable seating, and other elements for students to gather with friends and socialize or do schoolwork.
Social Area
3,000 nsf
Centralized area with high visibility and connectivity for students to gather with friends and socialize or do schoolwork. Flexible furniture should allow the space to double as an event area for social gatherings sponsored by the greater Multicultural Center.
Kitchen
400 nsf
The kitchen will be used by different organizations to cook food for meetings or social events. It will primarily serve as a cooking kitchen, not a warming kitchen.
Prayer Room
180 nsf
Neutral room for prayer and meditation. Should include shoe storage outside of the room.
Library
Librarian’s Office
1,000 nsf
120 nsf
Used to store cultural resources for student research and cultural exploration. Should include bookcases and resource desk. Office space with the librarian’s desk, lockable storage, and 2 chairs for guests to the office.
Classroom
3,600 nsf
(6) at 600 nsf each; these are used for classes or club meetings for any of the Coalitions. These must include moveable tables and chairs that can seat up to 26 students and a large monitor.
Practice Room
1,000 nsf
This is used for large club meetings or for music/dance rehearsals for any of the organizations. There should be a rubber floor and acoustic insulation is a necessity.
Exterior Entry Seating
Covered outdoor seating near the entry of the building that has a direct relationship to Orange Mall.
Exterior Courtyard
Centralized courtyard enclosed by the building mass, should have plenty of seating, tables, and shade for occupants to comfortably spend time outside. Desert plantings should also be intermixed in the overall courtyard design.
SUBTOTAL
53 | PROGRAM
11,300 nsf
14,800 gsf
EXTERIOR COURTYARD
BREAKOUT ROOM
PRAYER ROOM
PRACTICE ROOM
BREAKOUT ROOM KITCHEN
SOCIAL AREA
LIBRARY
BREAKOUT ROOM
LOBBY SPACE
BREAKOUT ROOM LIBRARIAN’S OFFICE
EXTERIOR ENTRY SEATING
Figure 38: Community Relationships Physical Connection Nearby Adjacency Buffered Connection Primary Space Secondary Space Tertiary Space
PROGRAM | 54
ADMINISTRATION Diversity Office
240 nsf
Coalition Office
2,800 nsf
Counselor’s Office
SUBTOTAL
800 nsf
3,840 nsf
(2) at 120 nsf each; offices for the diversity employees who work on discrimation-related issues and recruitment. It should include a desk, seating for 2 guests, and ample storage. (7) at 400 nsf each; These are the offices of the Coalitions that should include a desk, seating for 2 guests, and ample storage (4) at 200 nsf each; offices for counselors trained in discrimination because of race, gender, and sexuality. Should include the counselor’s desk, 2 chairs for visitors, and comfortable seating for meetings with students. 5.030 gsf
SERVICE Maintenance
100 nsf
Tool storage for upkeep and maintenance of the building.
Janitorial
300 nsf
(3) at 100 nsf each; 1 janitorial closet per floor.
Storage
600 nsf
(6) at 100 nsf each; 1 closet per classroom. Movable furniture from the public areas to be stored here when not in use.
Restroom
1,200 nsf
(3) at 400 nsf each; should include 6 water closets, 4 lavatories, and 2 drinking fountains per restroom.
Stairs
960 nsf
(2) at 160 nsf per floor per egress.
Elevator
240 nsf
(2) at approximately 40 nsf per floor; 2 elevators required per ASU building guidelines.
Mechanical
1,400 nsf
SUBTOTAL
4,800 nsf
6,300 gsf
Total Net Square Feet
20,040 nsf
Grossing Factor
1.305
Total Gross Square Feet
26,130 gsf
55 | PROGRAM
PRACTICE ROOM
BREAKOUT ROOM
BREAKOUT ROOM BREAKOUT ROOM COUNSELOR’S OFFICE
EXTERIOR COURTYARD
DIVERSITY OFFICE
BREAKOUT ROOM
COALITION OFFICES
SOCIAL AREA
Figure 39: Courtyard Relationships Physical Connection Visual Connection Buffered Connection Primary Space Secondary Space Tertiary Space
PROGRAM | 56
regulation.
12 AM
COLD
COLD
8 PM COOL
4 PM
COMFORTABLE
WARM
HOT
SWELTERING
COMFORTABLE
12 PM 8 AM VERY COLD
VERY COLD
COOL
COLD
4 AM
HOT
12 AM
JAN
FEB
MAR
APR
Figure 40: Average Hourly Temperature The average hourly temperature is color coded into bands. The shaded overlays indicate night and civil twilight. Very Cold Cold Cool Comfortable Warm Hot Sweltering
32°F - 45°F 45°F - 55°F 55°F - 65°F 65°F - 75°F 75°F - 85°F 85°F - 95°F 95°F +
MAY
JUN
JUL
COLD
AUG
SEP
OCT
NOV
DEC
ENVIRONMENTAL GUIDELINES1 Tempe, Arizona, is located in the Sonoran Desert; therefore, it has a sweltering climate for a large portion of the year. Thus, wind and shade are two very important aspects that help extend the comfortable time frames in the region. There is a tiny window of time that people can comfortably sit in the direct sunlight, so through proper environmental guidelines, the climate can become bearable in and around buildings much longer in the year. Tempe’s cool season lasts around three months in the year—from November 20th to February 26th. The sweltering season lasts about 3.5 months, with hot times lasting even longer than that, in each year—from May 28th to September 19th. It gets so hot during this time frame that temperatures tend to exceed 110 degrees for an average of over 30+ days each year. A shift in wind direction each day causes the diurnal temperature shifts that allow people to withstand the morning and evening hours. The wind blows from the north during the day, bringing in warm air, and blows from the south at night, bringing in the cooler breeze.
Insulation Requirements2
Roof Insulation - Entirely Above Deck Exterior Wall Insulation - Mass Walls Exterior Wall Insulation - Metal Framed Exterior Wall - Below Grade The Frost Line in the Tempe area is 0”-2”
R - 25ci R-5.7 ci R-13 or R-5 ci None Required
Other passive systems should be taken into account when designing in the Sonoran Desert as the insulation requirements are only a minimum, and not the standard of environmentally friendly buildings or the standard of Arizona State University.
59 | REGULATION
W
H
Figure 41: Shade Line Diagram
Building Shading3
Roughly approproate overhang dimension W can be calculated by selecting the shade line factor (SLF) from the table below and inserting in the formula: W(overhand dimension) = H / SLF
Shade Line Factors for Phoenix Region (latitude 33.5°) Window Faces
Shade Line Factor
East
0.8
Southeast
1.4
South
3.6
Southwest
1.4
West
0.8
Overhang Types
Horizontal Shading • Most effective on southern exposure • Louvers allow hot air to escape Vertical Shading • Most effective on east and west exposures • Slanting towards the north reduces heat transmission. Eggcrate Shading • Most effective in hot climates on east and west exposures
Figure 42: Sun Shading Different possibilities for sun shading devices. Horizontal, Vertical, and Eggcrate shades are all shown here.
REGULATION | 60
CODE ANALYSIS4 Occupancy Classification
As specified in Chapter 3 of the 2018 IBC in section 304, this project, in its entirety, falls under “Educational occupanices for students above the 12th grade.” Business Group B No Incidental Uses
Construction Type
As specified in Tables 601 and 602 of the 2018 IBC, this project must have 2 hour fire-resistant Exterior Bearing Walls. It must also have 1 hour fire-resistant nonbearing exterior walls that are within 30’ of another building. Building Type III-B (Sprinklered)
Allowable Height and Area
Allowable Height (Table 506.2 of 2018 IBC) Allowable Stories (Table 504.4 of 2018 IBC) Allowable Area (Table 506.2 of 2018 IBC)
75 feet 4 stories 57,000 sf
Occupancy Calculations
Occupancy load is specified by the 2018 IBC in Table 1004.5 Lobby Space – 1,000 nsf / 15 nsf 67 occupants Social Nooks – 1,000 nsf / 15 nsf 67 occupants Social Area – 3,000 nsf / 15 nsf 200 occupants Kitchen – 400 nsf / 200 gsf 3 occupants Prayer Room – 180 nsf / 15 nsf 12 occupants Library – 1,000 nsf / 50 nsf 20 occupants Librarian’s Office – 120 nsf / 150 gsf 3 occupants Breakout Room – 3,600 nsf / 20 nsf 180 occupants Practice Room – 1,000 nsf / 20 nsf 50 occupants Diversity Office – 240 nsf / 150 gsf 3 occupants Coalition Office – 2,800 nsf / 150 gsf 25 occupants Counselor’s Office – 800 nsf / 150 gsf 7 occupants Maintenance – 100 nsf / 300 gsf 1 occupants Janitorial – 300 nsf / 300 gsf 2 occupants Storage – 600 nsf / 300 gsf 3 occupants Mechanical – 1,400 nsf / 300 gsf 7 occupants TOTAL OCCUPANCY 653 occupants
Plumbing
Minimum plumbing fixture count specified by the 2018 IBC in Table 2902.1. Water closets are not split between male/female uses because all restrooms in the facility will be gender neutral restrooms; therefore, the overall count will be split between floors. Water Closets - (652 occupants/50) + 1 15 toilets Lavatories - (652 occupants/80) + 1 10 sinks Drinking Fountains - (652 occupants/100) 7 fountains Service Sinks 1 sink
61 | REGULATION
Parking Garage
Parking Garage
Site
Parking Garage
Parking Garage
Zoning
The majority of the ASU campus is zoned under the R1-6, Single-Family Residential zoning type; however, this is due to preexisting zoning from the city before the University existed. The city has elected to leave the official zoning as is—while allowing the University to use the land however they wish. Because of this, all city zoning laws are null on campus property, with the official rules being described by the University in their extensive documentation on ASU Design Guidelines.
Figure 43: Parking and Bicycle Pathways Map of the ASU campus with the project site and parking garages labeled. Bike pathways are the orange lines, with no allowed bike access to the central campus core. Red dots denote bicycle parking near the site, accessible via the bike pathways or walking the bike down no-access routes to your destination.
Parking
Parking on the ASU Campus is determined by existing parking lots and structures only. Due to limited campus space, ASU will not be adding further parking as new buildings are completed.
Design Standard5
The minimum building envelope standards shall be adhered to: Roof Insulation Exterior Wall Insulation Exterior Glass Solar Heat Gain Coefficient Window to Wall Ratio (WWR) Total WWR East WWR South WWR West WWR North
R - 30 (min.) R-25 (min) Maximum reflectance - 15% .30 or less 25% 10% 30% 10% 30%
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ASU PLANNING PRINCIPLES7 EIGHT DESIGN ASPIRATIONS FOR A NEW AMERICAN UNIVERSITY6
The ASU Design Guidelines are driven by four major planning principles that relate to their eight design aspirations for a New American University. These planning principles help direct the University forward in their decision-making process: foster change, connect people, embody sustainability and resiliency, and inspire commitment.
1. Leverage Our Place ASU embraces its cultural, socioeconomic and physical setting.
2. Transform Society
ASU catalyzes social change by being connected to social needs.
3. Value Entrepreneurship
ASU uses its knowledge and encourages innovation.
4. Conduct UseInspired Reseach
ASU research has purpose and impact.
5. Enable Student Success
ASU is committed to the success of each unique student.
6. Fuse Intellectual Disciplines
ASU creates knowledge by transcending academic disciplines.
7. Be Socially Embedded
ASU connects with communities through mutually beneficial partnerships.
8. Engage Globally
ASU engages with people and issues locally, nationally and internationally.
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Foster Change ASU has continually focused on creating a place that inspires people to take risks and reimagine their lives as they want them to be. “ASU has created a community that is as porous, open and diverse as the region itself. And ASU has inspired a new standard for teaching and discovery by encouraging us all to work together to achieve change in our world.” They imagine these planning principles to help accommodate future changes to the campus, with plenty of room for creativity to further push their focus on change, risk, and innovation. Connect People The density of the ASU Tempe Campus is a huge part of its overall experience. “During class change, pedestrian traffic on its central malls can rival that of a New York City street. The compactness of the campus and the concentration of its foot traffic provide a unique opportunity to make it a living billboard, to make ASU visible.” The connectivity of all buildings, courtyards, and malls make the University unique, and that uniqueness must be highlighted. Embody Sustainability and Resiliency ASU has been a national leader in sustainable design initiatives for higher education. They have fully committed to furthering their sustainability by implementing multiple sustainable requirements for all new buildings, including implementing solar panels on the roof of all buildings on campus. The Carbon Neutrality Action Plan is striving for net-zero carbon emissions by the year 2025 on all of their campuses. Inspire Commitment A campus that exhibits a high degree of design care, enhances the quality of life, and supports a healthier lifestyle can help recruit and retain top students, faculty, and staff. This will then help to build a strong base of alumni support to provide future campus enhancements.
ORANGE MALL AND CAMPUS CORE8 Orange Mall is the primary pedestrian experience and social gathering space on campus, particularly between Palm Walk and Cady Mall. The removal of service traffic off of Orange Mall west of the Computing Commons will allow a redesign for more unstructured social interaction, movable seating, shade structures, and events space—expanding the Union’s outdoor social space. New buildings along Orange Mall should create a discernable street wall, an academic and social “Main Street” with an active, porous ground floor plane that creates a transition between indoor and outdoor space, and areas to congregate.
Figure 44: Student Pavilion Exterior view of the Student Pavilion and Orange Mall. The mall is being updated to include multiple areas for student interaction.
Central Campus encompasses the entire range of architectural program found on campus, including both the oldest buildings and some of the newest. This area lacks a cohesive identity, and the geometric planning principles that form the basis for the campus’ plan break down in several areas. Brick facades are perhaps the one constant in this part of campus, although the color of brick used varies drastically. Any future buildings in this part of the Tempe Campus should incorporate brick, referencing other buildings along the same pedestrian mall to determine an appropriate color selection.
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ASU ARCHITECTURAL PRINCIPLES9 Architectural guidelines for campus have been created to incorporate sustainable design and give greater guidance on development for the University. The guidelines are architectural principles common to all campuses. Figure 45 PARTI DIAGRAMS
Active Building Edge Include spaces at the ground level that are highly visible and encourage people to engage the building through programmed space, display space, open study lounges, or transparency into teaching spaces/labs. Pedestrian Friendly Edge Massing should be broken up to acknowledge the pedestrian scale and create a pleasant experience. Provide some transitional articulation of the ground floor that differentiates it from the building above. Reinforce Open Space The legibility of campus malls and quads are dependent on the form of the surrounding buildings. Buildings should have a relatively vertical edge fronting onto primary malls or designated quads. Reflect Neighboring Materials New structures should harmonize with existing buildings. A building’s context should inform its design, with common elements such as massing, scale, proportion, datum, rhythmic elements, and materiality helping to unify the campus. Porosity at Ground Level Opening up the ground floor of buildings creates the opportunity for easier circulation, memorable spaces, and cross-pollination of disciplines—emphasizing the purpose of the ‘shadow network’ on campus. Create Exterior Gathering Spaces Providing suitable gathering areas for students to congregate outside of buildings is essential to creating active pedestrian malls and encouraging discussions outside the classroom environment. Central Courtyard Courtyards provide a strong organizing element for a building allowing external circulation, landscape, internalized daylighting, microclimates, and multiple passive cooling opportunities.
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ASU STUDENT PAVILION10 Project Details
Gross Square Footage Total Project Cost Architect Project Start Date Project Completion Date
75,000 sf $39,900,000 Weddle Gilmore Black Rock Studio HGA Architects & Engineers March 2016 August 2017
Figure 46: Student Pavilion Exterior view of the Student Pavilion by HGA, viewed from Orange Mall, looking to the north. This example of a building on the ASU Campus is one of the most recent buildings completed on campus, and directly across Orange Mall from the Multicultural Center site.
Project Vision
The ASU Student Pavilion is a hub of student life and hands-on sustainability engagement on the Tempe campus. Designed as a net-zero energy building, the Pavilion produces as much energy as it uses each year, complementing the larger university goal of climate net neutrality and sustainable building systems. It is an advancement of ASU’s pioneering commitment to sustainability and is now the university’s first and Arizona’s largest net-zero energy building. The 74,653-square-foot space houses student organizations and student government offices, classrooms, a student success center, and a 1,200- seat multi-purpose event space. As a gathering space for the campus community, the ASU Student Pavilion stands as a living example of the Sun Devil spirit of innovation, leadership, and sustainability for years to come.
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Student Organizations
Figure 47: Student Pavilion Interior view of the Student Pavilion by HGA, taken inside of the lobby space.
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As a hub for engagement, the space houses Undergraduate Student Government (USG) and the Programming and Activities Board (PAB). The inclusion of these organizations aims to provide students greater access to resources and programming support in a unique workspace that fosters collaboration benefitting the entire community. USG represents the students’ concerns and needs to the ASU Administration, the Arizona Board of Regents, and the State Legislature. USG advocates for college affordability, voter registration, and ensuring that students have a voice. PAB plans and delivers a wide array of activities and signature events. The organization is committed to increasing engagement and providing all students the best ASU experience through innovative programming and involvement opportunities.
Endnotes 1: Yu Media Group d.o.o., “Tempe, AZ - Detailed Climate Information and Monthly Weather Forecast,” 2020, https://www.weather-us.com/en/ arizona-usa/tempe-climate. 2: “Building Energy Codes Program: BECP,” Building Energy Codes Program | BECP, 2020, https://www.energycodes.gov/. 3: B. J. Novell, “Passive Cooling Strategies: Semantic Scholar,” Semantic Scholar, January 1, 1983, https://www.semanticscholar.org/paper/ Passive-cooling-strategies-Novell/db03ac6cb063827b03e8ecde53a 7af6c13c176f8?p2df. 4: “2018 INTERNATIONAL BUILDING CODE,” ICC Digital Codes, 2018, https://codes.iccsafe.org/content/IBC2018. 5: “ASU Project Guidelines,” ASU Office of the University Architect, November 4, 2014, 20, https://cfo.asu.edu/architecture-design. 6: “ASU 2011 Master Plan,” ASU Office of the University Architect, November 4, 2014, 50, https://cfo.asu.edu/architecture-design. 7: Ibid, 51-53 8: Ibid, 76-94. 9: Ibid, 28-29. 10: “Student Pavilion | Arizona State University,” accessed December 4, 2020, https://eoss.asu.edu/student-pavilion.
Figure 48: Student Pavilion Interior view of the Student Pavilion by HGA, taken inside of a student collaboration space.
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spaces.
LOBBY SPACE - 1000 NSF Uses 20' - 0"
This lobby space will be the first area people see upon using the multicultural center’s main entrance. It will hold all the general information needed for the students to access and serve as a space for them to socialize and spend time.
Users
The primary users of this space will be minority college students that belong to one of the seven Cultural Coalitions on campus. Other, non-minority students are also welcome, although the focus is to make the minority students feel at home. There will also be at least one building staff member located in this space to work the reception/information desk.
50' - 0"
Adjacencies
The lobby space should be adjacent to the vertical circulation of the building in order to access the other floors. It may also have a variety of meeting rooms located adjacent to the lobby space. Restrooms and one of the janitorial closets should be nearby.
Furnishings + Fixtures
There will be one large desk for the receptionist to work at, with locking in-desk casework and open shelving for informational resources. There also must be a variety of seating options including comfortable seating and tables with chairs. Per ASU Guidelines, all fabric should be patterned instead of solid and darker patterns preferred to lighter patterns. Tabletops should be laminate or solid surface with poly or rubber table banding preferred.
Qualities Figure 49: Lobby Space Plan (Above) Floor plan of the lobby space layout with dimensions and reception desk. The lobby space will be connected with other main circulation spaces, making it appear much larger.
The lobby should be light and bright with easily cleanable surfaces throughout. Natural ventilation is encouraged, but mechanical ventilation should be included as well. The space should feel large and welcoming, with tall ceilings and intriguing architectural detail.
Codes + Standards Figure 50: Gates Hall (Right) Lobby space of the Bill and Melinda Gates Hall at Cornell University. It is a smaller space that leads up to larger open areas on the second and third floor.
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The lobby space must be ADA accessible, including automatic door openers on exterior entry doors and restrooms. It should also include a proper ADA height desk space at the reception counter to accommodate an employee or guest in a wheelchair. There must also be designated ADA tables in the lobby space.
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SOCIAL NOOKS - 1000 NSF Uses
The social nooks will be relief areas along public circulation paths for students to gather and socialize or do schoolwork.
Users
The primary users of this space will be minority college students that belong to one of the seven Cultural Coalitions on campus. Other, non-minority students are also welcome, although the focus is to make the minority students feel at home.
Adjacencies
The social nooks should be adjacent to major circulation pathways for students to spend time with their friends. Can be dispersed throughout the building on any floor.
Furnishings + Fixtures
A variety of furniture to be used in social nooks with an emphasis on comfortable seating, including lounge chairs, sofas, booths, and tables. Per ASU Guidelines, all fabric should be patterned instead of solid and darker patterns preferred to lighter patterns. Tabletops should be laminate or solid surface with poly or rubber table banding preferred. Figure 51: College Avenue Commons by Arkitekton (Right) Social seating area along a major circulation path within the building. This building is at ASU; therefore, will serve as a good precedent for multiple aspects.
Figure 52: Social Nook Plan (Below) Floor plan of one social nook layout with dimensions and furniture.
Qualities
The nooks should be light and bright with easily cleanable surfaces throughout. Natural ventilation is encouraged, but mechanical ventilation should be included as well. The spaces should feel centrally focused on themselves; however, they should be highly permeable to public circulation.
Codes + Standards
ADA accessible tables should be distributed throughout the social nooks to allow all people to use the space as they desire.
16' - 0"
50' - 0"
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SOCIAL AREA - 3000 NSF Uses
This will serve as the main gathering area for users to spend their time in the multicultural center. Students and staff will be able to relax and converse with others in this area. It will also have the ability to host large social events in the evenings and on the weekends.
Users
The main users of this space will be minority college students that belong to one of the seven Cultural Coalitions on campus. Other, non-minority students are also welcome, although the focus is to make the minority students feel at home.
Adjacencies
The social area will serve as the central node for the entire project. All other public rooms will have a relationship to this space, with the private rooms located further away. The staircase and elevator will lead to this space and a variety of community and administrative spaces. The main circulation will lead to the social area and branch off it to the other rooms.
Furnishings + Fixtures
A variety of furniture to be used in the social area with an emphasis on comfortable seating, including lounge chairs, sofas, booths, and tables. Per ASU Guidelines, all fabric should be patterned instead of solid and darker patterns preferred to lighter patterns. Tabletops should be laminate or solid surface with poly or rubber table banding preferred.
Qualities
The social area should be light and bright with easily cleanable surfaces throughout. Natural ventilation is encouraged, but mechanical ventilation should be included as well.
Codes + Standards Figure 53: Seat Arrangements (Above) A variety of seating arrangements that can be used in the social area.
Figure 54: AMS Nest (Right) Large gathering area inside the AMS Nest by DIALOG Architects. Seating, circulation, and rooms all branch from this central space.
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All public doors into and out of the space should have ADA automatic door openers. ADA accessible tables should be distributed throughout the seating areas to allow all people to use the space as they desire.
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KITCHEN - 400 NSF Uses
Different cultural organizations will use the kitchen for cooking meals for meetings and other cultural events. It will allow one group to cook per mealtime if they desire. Food storage will be temporary for same day use only.
Users
The main users of this space will be minority college students that belong to one of the seven Cultural Coalitions on campus. Other, non-minority students are also welcome, although the focus is to make the minority students feel at home.
Adjacencies
The kitchen should be adjacent to the social area, allowing the users to flow into the space following the conclusion of cooking meals. It should also be on an exterior wall to allow proper venting of the appliances.
Furnishings + Fixtures
Cabinetry with plenty of storage and counter space needs to be in the kitchen, with a refrigerator, double ovens, gas range, electric range, microwaves, and a commercial vent hood.
Qualities
The kitchen should be free-flowing and bright. It should have easily cleanable surfaces throughout with stainless steel appliances. Single panel cabinet doors will allow for a smooth finish that is easily cleanable.
Codes + Standards
All areas of the kitchen are to be ADA accessible, with proper spacing to allow a wheelchair into the area with a 5-foot turning radius either in the kitchen or right next to it. Figure 55: Kitchen (Above) An open galley kitchen space on the edge of a large open room. The lowered ceiling plane adds variety to the experiences while still allowing a continuous view into the larger area.
Figure 56: Kitchen Plan (Right) Floor plan layout of the kitchen space with dimensions, cabinetry, and appliances spaced accordingly.
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DBL. OVEN
REF.
EXHAUST HOOD
6' - 6" 6' - 0"
16' - 0"
3' - 0"
25' - 0"
GAS RANGE
ELEC. RANGE
PRAYER ROOM - 180 NSF Uses
12' - 0"
This will serve as a public prayer space for all people who wish to use it. There will only be individual prayer happening, with no organized prayer to take place in this room.
The main users of this space will be spiritual minority college students that belong to one of the seven Cultural Coalitions on campus. Other, non-minority students are also welcome, although the focus is to make the minority students feel at home.
15' - 0"
Users
The prayer room should be in a more private area of the building, allowing peace and solitude while in use. It should also be located nearby the restroom that holds the foot wash station for those that wish to wash their feet before prayer.
1' - 2"
Adjacencies
3' - 0"
Furnishings + Fixtures
No furniture will be inside the space as this may start to form notions of which religion should use the space most. Outside of the room should be cubbies for shoes for any person who wishes to pray without their shoes.
Figure 57: Prayer Room Plan (Above) An open room that allows for all types of prayer, with shoe storage on the exterior.
Qualities
The room should feel tranquil with minimal ornament and a neutral color palette, allowing any person to use the space for any form of prayer they may wish to do.
Figure 58: Prayer Space (Below) Wood-clad prayer space by Debartolo Architects allows for great acoustical qualities in a quiet space.
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LIBRARY - 1000 NSF Uses
The library will store cultural resources, including books and periodicals, for students to check out and further their knowledge for academic or personal reasons. It will also serve as a place for the students to study or work on schoolwork in a quieter environment.
Users
The main users of this space will be minority college students that belong to one of the seven Cultural Coalitions on campus. Other, non-minority students are also welcome, although the focus is to make the minority students feel at home.
Adjacencies
The library should be located near the main circulation pathway and near the building’s main social gathering area.
Furnishings + Fixtures
Bookcases and tables for students to sit at will be the space’s main furnishings. Mixing taller stacks with lower bookcases should allow high visibility for the staff throughout the area. A checkout desk with cabinetry for storage should also be located in the room. Figure 59: Library Plan (Above Right) Floor plan of a library with stacks, tables for working, and a checkout desk.
Qualities
The library should be very bright and open, allowing high visibility through the space and on the reading material itself. Ambient natural light is recommended in the library, but no direct sunlight as it will speed up the book deterioration process. There should be some element that uses a warmer material to make the space feel more welcoming instead of sterile.
Codes + Standards Figure 60: Weigel Library (Below Right) Permeable library space that opens into a larger area with high visibility throughout the entire library.
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The checkout desk should have room for ADA wheelchair accessibility for guests and employees. Tables and aisles should also be ADA accessible.
46' - 6"
24' - 0"
4' - 0"
12' - 0"
4' - 0"
12' - 0"
2' - 6"
3' - 6"
10' - 0"
3' - 6"
3' - 6"
3' - 6"
36' - 6"
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LIBRARIAN’S OFFICE - 120 NSF Uses
The librarian’s office is the permanent space for the multicultural center’s librarian to conduct their work.
Users
The librarian is the primary user of this space, with guests being possible; however, they are infrequent. Student employees may also enter the room to ask questions of the librarian.
10' - 0"
Adjacencies
The office will be directly connected to the library, with visual and physical connectivity being a must.
4' - 0" 5' - 0"
12' - 0"
Furnishings + Fixtures
Figure 61: Office Plan (Above) Floor plan of an office with a large desk and storage with two chairs for guests.
Figure 62: Office (Right) Modern office space with high visiblity into the hallway and bright finishes.
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Typical office furniture will exist in the office, emphasizing open shelving to store books and other physical elements that the librarian may need. A desk chair and two guest chairs are necessary.
Qualities
The office should be bright and permeable with a welcoming appearance to guests while also including the librarian’s necessary space to conduct their work.
Codes + Standards
The desk should be proper ADA height with adequate legroom for a librarian that could be in a wheelchair.
CLASSROOM - (6) AT 600 NSF 18' - 0"
Uses
The classrooms will serve as classrooms for cultural learning and meeting rooms for coalition organizations. The rooms will be able to be reserved for whatever use is necessary.
Users
MONITOR
Classrooms should be dispersed around the building; however, they should all be located off major circulation paths or the main social area. One storage closet should be connected to each of the classrooms for furniture storage.
34' - 0"
Adjacencies
MONITOR
The main users of this space will be minority college students that belong to one of the seven Cultural Coalitions on campus. Other, non-minority students are also welcome, although the focus is to make the minority students feel at home.
Furnishings + Fixtures
Stackable tables and chairs will be used in the classrooms to allow for complete customization of the space as needed per class/meeting. Tables should be on wheels, and the tops should fold vertically to enable them to be stored if necessary. Chairs should be lightweight and stackable.
Qualities
Rooms should be bright and spacious, with artificial lighting being the primary way to light the rooms, although if natural lighting can be achieved, it should be. Tables should be neutral in color, with chairs offering pops of color in the space.
Codes + Standards
Proper aisle spacing should be preserved at all times with the need for ADA accessibility and proper egress remaining necessities.
Figure 63: Breakout Room Plan (Above) Floor plan of a typical breakout room with tables and chairs for a group meeting or a small class.
Figure 64: Classroom (Below) Modern classroom with flexible furniture that can be moved around for different purposes, depending on the desire for the space.
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PRACTICE ROOM - 1000 NSF Uses
The practice room will be the primary location for cultural dance and song to be practiced before performances. The room needs to be highly flexible to allow for all types of uses, including uses with furniture and uses without. There will be no performances in this room as it is only used for practicing for performances that will happen elsewhere.
Users
The main users of this space will be minority college students that belong to one of the seven Cultural Coalitions on campus. Other, non-minority students are also welcome, although the focus is to make the minority students feel at home.
Adjacencies
The practice room should be easily accessible; however, it should not be located directly off primary circulation paths or the social area unless a buffer is provided to create the necessary privacy from the most public spaces.
Furnishings + Fixtures
The walls should have floor-to-ceiling mirrors on a large portion of the space to allow dancers and musicians to see themselves as they practice.
Figure 65: Dance Room (Above) Dance room with large amounts of natural light, bright finishes, and mirrors that help students learn new routines.
Qualities
Rooms should be bright and spacious, with artificial lighting being the primary way to light the rooms, although if natural lighting can be achieved, it should be.
Figure 66: Classroom Plan (Right) Floor plan of the classroom with tables and chairs for a group meeting, large class, or lecture.
44' - 0"
MIRRORS
MIRRORS
MIRRORS
MIRRORS
MIRRORS
24' - 0"
MIRRORS
83 | SPACES
EXTERIOR ENTRY SEATING
5' - 0"
The main users of this space will be minority college students that belong to one of the seven Cultural Coalitions on campus. Other, non-minority students will occupy the space as well, with the area serving as a break from the heat for all people on campus.
Adjacencies
The outdoor seating will be directly adjacent to Orange Mall and the multicultural center’s main entrance.
4' MIN.
Users
6' - 6"
The outdoor seating will serve as the linkage point between Orange Mall and the multicultural center’s main entrance. It will allow anybody to sit and socialize, study, or relax in a shaded area along a major campus circulation path.
5' - 0"
Uses
Furnishings + Fixtures
Outdoor tables and chairs should be dispersed around the seating area.
7' - 0"
Qualities
The most crucial part of this outdoor seating is the shade. It will offer a welcoming feeling for all people to step out of the heat.
Figure 67: Seat Arrangements (Above) A variety of seating arrangements that can be used in the exterior areas.
Codes + Standards
Proper circulation sizing from Orange Mall to the main entry should be observed, with the main doors having automatic door openers that follow ADA standards.
Figure 68: Covered Commons (Below) College Avenue Commons by Architekton, with a shaded, outdoor area that can be used when it is not too hot.
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EXTERIOR COURTYARD Uses
The outdoor courtyard will bring the natural environment into the center of the building while also allowing natural light to fill spaces that would not usually see the benefits. It will also serve as another space for students and staff to spend their time socializing or studying.
Users
The main users of this space will be minority college students that belong to one of the seven Cultural Coalitions on campus. Other, non-minority students are also welcome, although the focus is to make the minority students feel at home.
Adjacencies
The courtyard should be adjacent to major circulation paths on the level that accesses the courtyard. On levels with views into the courtyard, but no physical connection, offices and breakout rooms should line the courtyard to allow natural light into the spaces.
Furnishings + Fixtures
Outdoor furniture and shading structures should be used to allow a pleasant space for students to spend their time. Built-in seating can be used to enable more permanent, edge defining space in the greater outdoor area.
Qualities
The area should be shaded, with the use of filtered light being a necessity. The space needs to have natural vegetation to help bring the natural desert environment back into the building.
Codes + Standards
Occupancy loads of the courtyard must be accounted for when calculating the building’s proper egress, with all fire and safety standards remaining intact inside the courtyard space.
5' - 0"
5' - 0"
Figure 70: Seat Arrangements (Right) A variety of seating arrangements that can be used in the exterior areas.
85 | SPACES
4' MIN.
6' - 6"
7' - 0"
Figure 69: Covered Couryard (Above) Student Pavilion by HGA, with a shaded, outdoor area that can be used when it is not too hot.
DIVERSITY OFFICE - (2) AT 120 NSF Uses
Diversity and Inclusion offices are the location of diversity employees who work on discrimination-related issues on campus and recruit and retain minority students to the university.
Users
Each office will be home to one of the diversity employees, the respective space’s primary user. Guests to their offices are semifrequent; therefore, the offices may hold more than one person at a time.
10' - 0"
Adjacencies
There are no necessary adjacencies for the Diversity Offices; however, they should be located in easy to find areas for other staff and students to locate if needed.
Qualities
The office should be bright and permeable with a welcoming appearance to guests, while also including the necessary space for the diversity officer to conduct their work.
Codes + Standards
The desk should be proper ADA height with adequate legroom for anyone in a wheelchair.
4' - 0" 5' - 0"
Typical office furniture will exist in the office, emphasizing storage for any materials the employee may need, including research and legal materials. A desk chair and two guest chairs are necessary.
12' - 0"
Furnishings + Fixtures
Figure 71: Office Plan (Above) Floor plan of an office with a large desk and storage with two chairs for guests.
Figure 72: Office (Left) Modern office space with high visiblity into the hallway and bright finishes.
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COALITION OFFICE - (7) AT 400 NSF Uses
Each Cultural Coalition will have its own coalition office where they will do the administrative work required to run the coalition and store all resources necessary to run the coalition.
Users
Primary users will be coalition administration employees, with guests being frequent additions to the space, both staff and students.
16' - 0"
PRINTER
Adjacencies
Coalition offices should have high visibility in the building, allowing students and faculty to find the coalition they are looking to speak with. They must be located near the main circulation areas while also preferring to be located next to the building’s main social space.
25' - 0"
Furnishings + Fixtures MAIL CUBBIES
Typical office furniture will exist in the office, emphasizing storage for any materials the employee may need, including research and legal materials. A desk chair and guest chairs are necessary. Printers, mailboxes, and other resources should be included in each office.
Qualities
The office should be bright and permeable with a welcoming appearance to guests, while also including the necessary space for the coalition to conduct their work.
Codes + Standards
The desk should be proper ADA height with adequate legroom for any person in a wheelchair. Figure 73: Coalition Plan (Above) Floor plan of an office with a large desk and storage, two chairs for guests, and a seating area for interaction with visitors.
Figure 74: Office (Right) Modern office space with high visiblity into the hallway and bright finishes.
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COUNSELING OFFICE - (4) AT 200 NSF Uses
These will serve as the location for Counseling Service’s discrimination-based counselors for the university. Each counselor will be trained in handling discrimination-based counseling that focuses on race, gender, and sexuality.
Users
Counselors and their patients will be the primary users of each space, as well as any friends, family, or law enforcement that may need to get involved in a discriminatory case.
Adjacencies
The counselor’s office should be easy to locate while also being semi-private to allow students the privacy they desire while seeking counsel.
12' - 0"
Furnishings + Fixtures
Qualities
The office should be bright and permeable with a welcoming appearance to guests, including the counselor’s necessary space to conduct their work.
16' - 0"
Typical office furniture will exist in the office, emphasizing storage for any materials the employee may need, including research and legal materials. A desk chair and guest chairs are necessary, with comfortable seating also being important to each office for the patients to sit or lay on if they choose to do so.
Codes + Standards
The desk should be proper ADA height with adequate legroom for any person in a wheelchair.
Figure 75: Counselor’s Plan (Above) Floor plan of an office with a large desk and storage, two chairs for guests, and a seating area for interaction with visitors.
Figure 76: Counselor’s Office (Left) Cozy office space with natural lighting and a modern home-like feel.
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RESTROOMS - 400 NSF Uses
These will be gender-neutral restrooms for guests to use while in the building.
Users
All building users will have access to the restrooms.
Adjacencies
Restrooms should be adjacent to major circulation paths to allow for easy access.
Furnishings + Fixtures
Each bathroom will include six toilets, four sinks, and two drinking fountains. There will be full height walls between stalls with doors instead of typical restroom stalls to enhance privacy.
Qualities
The restrooms should be light and bright throughout with high visual and physical connection to the circulation path to increase the sense of safety in a gender-neutral area. All surfaces need to be easily cleanable.
Codes + Standards
There should be one ADA accessible stall per restroom that follows all ADA requirements. Figure 77: Restroom (Above) Modern restroom with a wide walkway to allow for free flowing into the restroom from both sides of the room.
Standard Fixture Spacing: Water Closet: 18”-22” to side wall from CL 36” min. clear in front 18” min. to adjacent fixture Lavatory: 18-22” to side wall from CL 30” min. clear in front 18” min. to adjacent fixture
18' - 0"
21' - 0"
Figure 78: Restroom Plan (Right) Gender-neutral restroom layout with high visibility in and out of the room.
89 | SPACES
STAIRS Uses
Used to circulate vertically through the building.
Users
All of the building users will have access to the stairs.
Adjacencies
Should be adjacent to the lobby space and the primary circulation through the building.
Qualities
Open and airy staircase with a visual connection between floors. The stair should act as an object in space that will attract people to circulate through them—a statement piece.
Codes + Standards
All IBC and ADA standards must always be followed. Figure 79: Staircase (Below) Large staircase that serves as circulation as well as a seating element for students in the College Avenue Commons by Architekton.
SPACES | 90
MAINTENANCE - 100 NSF Uses
10' - 0"
The maintenance room is the primary storage room for all tools needed to maintain the building following the construction.
Users 10' - 0"
Access to this space is granted only to maintenance workers.
Adjacencies
There are no necessary adjacencies, although the maintenance room should not be located adjacent to the main social space or the courtyard.
Figure 80: Maintenance Plan (Above) Floor plan of the maintenance room with large amounts of casework for tool storage and open areas for equipment.
Furnishings + Fixtures
Cabinetry and shelving to hold necessary tools are essential.
Qualities
Proper artificial lighting is required with no windows allowed.
Codes + Standards
All IBC and ADA standards must always be followed.
JANITORIAL - 100 NSF Uses
10' - 0"
10' - 0"
JAN. CART
The janitorial rooms will store necessary cleaning supplies for building janitors to use.
Users
Access to this space is granted only to janitorial staff.
Adjacencies
There are no necessary adjacencies, although janitorial should not be located adjacent to the main social space or the courtyard.
Furnishings + Fixtures Figure 81: Janitorial Plan (Above) Floor plan of the janitorial room with large amounts of casework for cleaning supplies and open areas for equipment.
Cabinetry and open shelving to hold all necessary cleaning supplies are essential.
Qualities
Proper artificial lighting is required with no windows allowed.
Codes + Standards
All IBC and ADA standards must always be followed. 91 | SPACES
STORAGE - 100 NSF Uses
10' - 0"
Storage is used to store excess tables and chairs while not in use.
Staff members will only access the space if they need to transfer tables and chairs in or out of the room.
Adjacencies
The storage rooms should be adjacent to each of the classroom areas to allow for storage of chairs and tables.
10' - 0"
Users
Furnishings + Fixtures
One wall of shelving is necessary, with the rest of the space left open to allow chair and table storage
Qualities
Figure 82: Storage Plan (Above) Floor plan of the open storage room used for storing tables and chairs while not in use.
Proper artificial lighting is required with no windows allowed.
Codes + Standards
All IBC and ADA standards must always be followed.
MECHANICAL - 1400 NSF Uses
The mechanical room will house all mechanical equipment needed for the building.
Users
Maintenance staff are the only people with access to this space.
Adjacencies
The mechanical room should be in a private area away from public access. It needs to be located against an exterior wall with direct access to the exterior.
Furnishings + Fixtures
Mechanical systems to be specified by engineers.
Qualities
Proper artificial lighting is required with no windows allowed.
Codes + Standards
All IBC and ADA standards must always be followed. SPACES | 92
culmination.
CONCLUSION Throughout this book, I have outlined the framework for my final studio project. Next semester, I will begin designing the multicultural center as well as continuing my research into the topic where I will produce another book at the end, with all the relevant information expanded on with more depth on each topic. This framework will serve as a jumping point to dive headfirst into the challenges of designing a multicultural center. With this book, I have only started to scratch the surface of the information needed to create a well-rounded project, and I cannot wait to further my knowledge even more on the topic. My goal was to create an overall understanding in this book of my ideas to move forward. As time goes on, my thoughts are continually shifting as I form my own ideas on architectural philosophy and necessary social change. The collision of architecture and social change is what excites me the most, as they are the topics that consume the majority of my thoughts. I like when architecture has a social purpose—one that is meant to better the lives of those who inhabit it, one that helps people get out of whatever situation they are stuck in, and one that transforms the perception of those who have been oblivious to the issues surrounding our world. A multicultural center is not only a want for Arizona State University but also a need. All students in every university around the world should feel as if they belong. Nobody should fear what might be said or done to them every time they step foot outside their home. Discrimination is a huge issue that must be fought against in all facets of life. This building may only serve as a small piece to the overall puzzle; however, it can be the defining aspect for a community to take on the challenges of fighting against racial, sexual, and gender discrimination. We live in a defining moment in time that up until this point has seen rising tensions and increased partisanship around the country and the world. That boiling point has finally been reached, and people are demanding change everywhere. While I do not know the answer to solve the issues our world faces, I cannot look back at my life and realize that I did nothing to try and help where I could in this time. Architecture is such a small aspect of this world and only one facet to the issues we are now facing; however, if done correctly, it can contribute to tipping the scale in the direction of equality for all. I am looking forward to my final semester of architecture school, where I can combine my passions of architecture and social justice to create something that would have the possibility to do good in this world.
95 | CONCLUSION
Figure 83: Hayden Library Students sitting in Hayden Lawn. Hayden Library is a beloved building on campus and a prime example of an iconic building that pushes the architectural principles in a positive direction.
CONCLUSION | 96
FIGURE CREDITS 1 Introduction
Figure 1: “ASU Alumni,” Twitter (Twitter, March 27, 2019), https:// twitter.com/ASU_Alumni.
Figure 2: Everton Cavalcante, IC2E - Past Editions, 2015, https:// conferences.computer.org/IC2E/2021/ic2e-history.html.
2 Position
Figure 3: Dan Howarth, “Calatrava’s World Trade Center Oculus Photographed by Hufton + Crow,” Dezeen, November 3, 2016, https://www.dezeen.com/2016/08/29/santiago-calatrava-oculusworld-trade-center-transportation-hub-new-york-photographshufton-crow/.
Figure 4: Nico Saieh, “Tucson Mountain Retreat / DUST,” ArchDaily (ArchDaily, May 8, 2013), https://www.archdaily.com/370237/ tucson-mountain-retreat-dust. Figure 5: “Interdisciplinary Science and Technology 7,” Business and Finance, August 24, 2020, https://cfo.asu.edu/ISTB7. Figure 6: “Design With Empathy: An Exhibit Honoring Maggie’s Architecture of Cancer Care,” ArchDaily, September 12, 2014, https://www.archdaily.com/547453/design-with-empathy-anexhibit-honoring-maggie-s-architecture-of-cancer-care. Figure 7: Arizona State University, “7 Places to Visit on ASU Tempe Campus,” Medium (Medium, August 9, 2018), https:// arizona-state-university.medium.com/7-places-to-visit-on-asutempe-campus-a6b90e3d6dc1.
3 Process
Figure 8: Figure by Author Figure 9: Figure by Author Figure 10: Figure by Author Figure 11: Figure by Author Figure 12: Figure by Author Figure 13: Figure by Author Figure 14: Figure by Author Figure 15: Figure by Author Figure 16: Figure by Author Figure 17: Figure by Author Figure 18: Figure by Author
4 Typology
Figure 19: Figure by Author Figure 20: Figure by Author Figure 21: Figure by Author
97 | CONCLUSION
Figure 22: Figure by Author Figure 23: “Images of the MCC,” VIKING UNION | Western Washington University, accessed December 1, 2020, https:// vu.wwu.edu/mcc/images. Figure 24: “Images of the MCC,” VIKING UNION | Western Washington University, accessed December 1, 2020, https:// vu.wwu.edu/mcc/images. Figure 25: “Images of the MCC,” VIKING UNION | Western Washington University, accessed December 1, 2020, https:// vu.wwu.edu/mcc/images. Figure 26: “Images of the MCC,” VIKING UNION | Western Washington University, accessed December 1, 2020, https:// vu.wwu.edu/mcc/images. Figure 27: “Images of the MCC,” VIKING UNION | Western Washington University, accessed December 1, 2020, https:// vu.wwu.edu/mcc/images. Figure 28: Figure by Author Figure 29: “Kansas State University,” Gallery | Multicultural Center, accessed December 1, 2020, https://www.k-state.edu/diversity/ multicultural-center/gallery.html.
5 Site
Figure 30: Figure by Author Figure 31: Figure by Google Earth Figure 32: Figure by Google Earth Figure 33: Figure by Author Figure 34: Figure by Author
Figure 35: “Online Student Community,” Student Community | ASU Online (ASU Online), accessed December 1, 2020, https:// asuonline.asu.edu/students/community/.
6 Program
Figure 36: Figure by Author Figure 37: Figure by Author Figure 38: Figure by Author Figure 39: Figure by Author
7 Regulation
Figure 40: Figure by Author Figure 41: Figure by Author Figure 42: Figure by Author Figure 43: Figure by Author
CONCLUSION | 98
Figure 44: “Student Service Facility Projects,” Student Services Facility Projects | Arizona State University, accessed December 1, 2020, https://eoss.asu.edu/student-services/facilities. Figure 45: Figure by Author Figure 46: “Arizona State University - Student Pavilion,” HGA, 2019, https://hga.com/projects/arizona-state-university-studentpavilion/. Figure 47: “Arizona State University - Student Pavilion,” HGA, 2019, https://hga.com/projects/arizona-state-university-studentpavilion/. Figure 48: “Arizona State University - Student Pavilion,” HGA, 2019, https://hga.com/projects/arizona-state-university-studentpavilion/.
8 Spaces
Figure 49: Drawn By Author
Figure 50: Igor Fracalossi, “Bill & Melinda Gates Hall / Morphosis Architects,” ArchDaily (ArchDaily, November 10, 2014), https://www.archdaily.com/565115/bill-and-melinda-gates-hallmorphosis-architects?ad_source=myarchdaily. Figure 51: “ASU College Avenue Commons,” Architekton, accessed November 21, 2020, http://www.architekton.com/asucollege-avenue-commons. Figure 52: Drawn By Author Figure 53: Drawn By Author Figure 54: Karen Valenzuela, “AMS Nest / DIALOG + B+H Architects,” ArchDaily (ArchDaily, July 16, 2020), https:// www.archdaily.com/773797/ams-nest-dialog-plus-b-plus-harchitects?ad_source=myarchdaily. Figure 55: “amstelcampus_230412_05,” Contemporist, accessed November 20, 2020, https://www.contemporist.com/amstelcampus-by-oiii-architects/amstelcampus_230412_05/. Figure 56: Drawn By Author Figure 57: Drawn By Author Figure 58: “Prayer Space,” architectmagazine.com, September 10, 2018, https://www.architectmagazine.com/project-gallery/prayerspace. Figure 59: Drawn By Author Figure 60: A Clear Vision: The Paul Weigel Library of Architecture, Planning, & Design Has a New Home,” Kansas State University Libraries 6 (January 5, 2018). Figure 61: Drawn By Author Figure 62: “Catalyst for Geiger A Private Office and Open Plan Furniture Collection for the Modern w...: Modern Office Interiors, Private Office Design, Private Office Furniture,” Pinterest, July 25, 2020, https://www.pinterest.com/pin/329607266453066554/. Figure 63: Drawn By Author
99 | CONCLUSION
Figure 64: “Modern Classrooms; Gadgets, Gizmos and Coding,” MDR, May 22, 2019, https://mdreducation.com/2019/05/21/ modern-classrooms-gadgets-gizmos-coding/. Figure 65: “Zeru Table Ideas,” Zeru Table Ideas, accessed November 20, 2020, https://www.zerukorestaurant.com/. Figure 66: Drawn By Author Figure 67: Drawn By Author Figure 68: “ASU College Avenue Commons,” Architekton, accessed November 20, 2020, http://www.architekton.com/asucollege-avenue-commons. Figure 69: “Arizona State University - Student Pavilion,” HGA, accessed November 21, 2020, https://hga.com/projects/arizonastate-university-student-pavilion/. Figure 70: Drawn By Author Figure 71: Drawn By Author Figure 72: “Catalyst for Geiger A Private Office and Open Plan Furniture Collection for the Modern w...: Modern Office Interiors, Private Office Design, Private Office Furniture,” Pinterest, July 25, 2020, https://www.pinterest.com/pin/329607266453066554/. Figure 73: Drawn By Author Figure 74: “Office Design Project - Creative and Natural Workspace Ideas,” Archi, July 15, 2019, https://www.archiliving.com/31562/office-design-project-creative-and-naturalworkspace-ideas/. Figure 75: Drawn By Author Figure 76: “The Psychology Group’s Feature on FreshPractice. Design,” The Psychology Group Fort Lauderdale, October 22, 2019, https://thepsychologygroup.com/featured-on-freshpractice/. Figure 77: “Old Construction Has Been Remodeled and Converted into the Main Building of Aalto University,” HomeDSGN, January 21, 2018, https://www.homedsgn.com/old-constructionremodeled-converted-main-building-aalto-university/. Figure 78: Drawn By Author Figure 79: “ASU College Avenue Commons,” Architekton, accessed November 20, 2020, http://www.architekton.com/asucollege-avenue-commons. Figure 80: Drawn By Author Figure 81: Drawn By Author Figure 82: Drawn By Author
9 Culmination
Figure 83: “Arizona State University Shuts Down Confucius Institute,” The College Post, August 31, 2019, https:// thecollegepost.com/arizona-university-closes-confuciusinstitute/.
CONCLUSION | 100