En[act]: the Book (Caswell's Version) by Jasmine Lin

EN[ACT] Performance at California Western Law School S t u d i o J a z | C a s w e l l E s p i n o z a a n d J a s m i n e L i n | S p r i n g 2 0 22

Acknowledgements

Table of Contents

Chloe Chou

Aidan Shelloe

Stacey White

Studio White (Winter/Spring 2022)

Studio Financial Sponsors

Taylor Design

Mode Associates

Simon Thomas, Teresa Endres,

Lake | Flato

Marcus Simons, Rachel Hole

Design Collaborators

Reviewers

Lake|Flato:

Ailis Murray, Edwinson Chan,

Ryan Yaden, Sam Rusek, Allison Peitz,

Umut Toker, Brent Freeby,

Adam Martin, Adie Hailat

Carmen Trudell, Ansgar Killing

Introduction

Problem Description

Site Understanding

Campus Master Plan

EN[ACT]

In Reflection

Bibliography

Appendices

CHAPTER 1

INTRODUCTION EN[ACT] is a performing arts center located in Logan Heights, San Diego and is part of our proposed campus master plan of Cal Western School of Law. The new campus development plans on serving 1,000 graduate law students. The campus proposal is composed of a combination of mixed-use academic and residential buildings. Our project serves to make theater more widely available, especially to those that may not be aware of theater or have less opportunities to experience it. This book illustrates our approach to developing a performing arts center that brings together the Barrio Logan community and law students within a larger university campus.

Executive Summary The California Western School of Law (CWSL) is currently located in downtown San Diego, California, however they plan to relocate within the San Diego area as the current buildings and locations are undesirable due to lack of space, noise, lack of cohesive campus. In aligning with their goals to provide a campus more connected with the community as well as a rigorous curriculum that encourages empathy, Barrio Logan was chosen as the location for the new campus. The new campus is located just north of the US-Mexico border and was chosen to create a more connected interface between the students and the clients they are serving, most of which are falsely incarcerated and asylum-seeking. Since the law students will be providing pro-bono services for the local community, this requires a safe, comfortable, and approachable campus. To foster this environment, our project is designed to serve as a public performing arts center that encourages the greater community to visit the campus through theatre programming and serve as a transition between the campus and Barrio Logan. The book starts with a description of the problem, moves into analysis of the chosen site, reviews the proposed master plan, and finally describes the final project within the campus. The next chapter expands on the background of Cal Western Law School, its goals, and the scope of work. CWSL is a non-profit law school that plans to represent the state’s diverse society and serve 1,000 students. As previously mentioned, part of the curriculum requires students to provide pro-bono services for the falsely incarcerated and asylum-seeking people of San Diego through their law clinics. The chapter also explains the causes and statistics of mass migration (resulting in asylum-seeking statuses) as: crime and violence, environmental degradation, elite indifference, poverty and poor economic opportunity. The research data has shown that natural disasters, homicide rates, high poverty rates, and elite indifference have resulted in migration from Latin America to the United States. As a result, the goal is to make the campus welcoming for clients in need of pro bono legal services. The chapter finishes with a summary of different sites in the San Diego area that could meet the needs of the law school, the students, and their clients. These areas are Chula Vista, Mission Valley, Barrio Logan, and Downtown San Diego. Barrio Logan was selected as the final site for the campus due to its proximity to the primary community that may require services. As a result, Chapter 3 focuses on site analysis and research. It contains information on community context, demographics, and environmental conditions on and around the site in Barrio Logan. Initially, the Barrio Logan community grew due to the creation of a major commercial seaport and railroads which provided a housing boom in the area. The spirit of the community today is due to the early twentieth-century migration of the Mexican families. Barrio Logan has become a vibrant and artistic neighborhood, with a variety of colorful murals located throughout the area. In terms of climate, San Diego’s climate is very pleasant with most of the hours in the year falling into the human comfort zone. As a result, some key passive design strategies are sun shading, internal heat gain, and solar direct gain for heating and cooling in the climate. In conclusion, Chapter 3 supplies site understanding that was fundamental to the development of the campus master plan. EN[ACT]: Performance at California Western Law School

Chapter 4 focuses on the goals during campus planning and also illustrates the ideals of a campus plan: appropriate human scale, logical wayfinding, transitional zones, biophilic design, and environmental design. Based on these goals, the campus master plan features central nodes and buffer zones to create a sense of community and safety on campus. Further, the plan will include local fruit trees and native plants to enhance the air quality, well-being of the students and their clients, and food insecurity. The streets lining the campus also feature transitional areas to encourage interactions between the students and the surrounding Barrio Logan. This is accomplished by following the street planning outlined in the Barrio Logan Community Plan. Overall, this chapter focuses on goals for ideal campus to community building, safety, and well-being. Chapter 5 focuses on the individual building aspect of the project. In pairs of two, groups designed a building that offers services in support of the campus and greater community. En[act] is situated near the northwest corner of the master plan to take advantage of the steady flow of public pedestrians from the nearby transit center as well as Barrio Logan. The main program of En[act] is to be a performing arts center and features a proscenium theater, lecture hall, offices, dining, bar, multiple lobby spaces, study rooms, rehearsal rooms, and private practice rooms. This chapter details the project’s purpose, program distribution, design intentions, and formal influences. The chapter ends with visuals of the project, including site context, floor plans, site sections, interior and exterior renders, and diagrams explaining various features of the building. The rest of the book includes an individual reflection on the project, as well as an appendix of all process work leading up to final development.

Design Process and Project Phases The design process began with collective research of the client and site, followed by individual design exploration before being finalized in student pairs. Initial research was guided heavily by the underserved populations that would occupy the project with a particular emphasis on immigrant demographics. These demographics were studied in the context of economics, criminal activity, climate desirability, climate hostility, and more to understand why people immigrate into the United States and to better understand the people using the project. Research was also invested in the qualities of a good law school and college campus. This research was bolstered by the physical site visits to San Diego. On these visits, San Diego, specifically downtown and Barrio Logan, was experienced firsthand. This includes but is not limited to engagement with locals, site documentation, and personal observation. The data collected and firsthand experience was taken by the collective to create “How Might We...” design statements to guide the design process of Cal Western’s Campus. Over the course of double quarter, each project was developed in three design stages: Conceptual Design, Schematic Design, and Design Development. Conceptual Design was defined by the individual’s exploration of different programs within a law school. This is known as a “moonshot” that played with what truly makes a law school and investigated what issues might be prominent and need resolving such as mental health or language barriers. As the “moonshot” developed, building massings were generated to start to see what building forms could potentially capitalize on passive design strategies. Alongside the development of the “moonshot,” the master plan for the campus itself was iterated in small groups, trying to capture the qualities of an ideal campus. Simple extrusions and street organization shaped the beginning of Cal Western’s reimagined campus. From there, it was beneficial to explore how one massing might fit into the campus context, and where it might be. EN[ACT] began with initial massings that sought to acknowledge the sun and wind of San Diego as well as “moonshots” that explored language barriers through performance and made hard skills more accessible through program like a vocational school. These two concepts were taken and refined through review from peers, mentors, and faculty. These concepts were elaborated upon in the second phase of design. Schematic Design puts the concept into practice. EN[ACT] was explored in two iterations, one focusing on a performance venue and the other focusing on the vocational work. It was developed primarily through section, with a desire to welcome immigrants and foster community between them and the law students who serve them. During this phase the two ideas developed on their own before coming 2

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together to become a single project. The vocational schools became service spaces for the theater and the project as a whole functions as a home for the arts on campus while also making theatre more accessible to the immediate community. The performance space manifested in a proscenium theater that is sculptural and raised to the second floor while vocational studios stay on the ground floor, constructing set pieces, costumes, and lighting design. As the schematic design developed, it became more detail oriented. Façade, floor, and wall assemblies became important aspects of the design with special attention to acoustics and electric lighting. The final design phase was the final push to a completed project. Design development brought forth final design challenges that required resolution such as the structural grid and building face. The building’s relationship to its campus context was properly evaluated, creating set backs in the building face in acknowledgement of neighboring Studio KaLe and the campus quad. Design development also integrated the building’s systems such as the air based displacement ventilation system, acoustical cloud, and two unique structural systems. The project utilizes these systems to enhance the performance of the theater while also serving the occupants with outdoor terrace spaces and private program on the upper floors. Efforts at the end of this phase were focused on the construction of a final physical section model and completion of the project’s representation.

CHAPTER 2

PROBLEM DESCRIPTION LEGAL EDUCATION AND THE CAL WESTERN SCHOOL OF LAW California Western School of Law (CSWSL) California Western School of Law is currently located in downtown San Diego and is the City’s oldest law school. It was founded in 1924. They currently occupy three buildings on Cedar Street on the northern end of downtown near the I5 freeway. They have approximately 670 law students with planned expansion to up to 1,000. They are an independent, not for profit, that offer four degree pathways. The school is committed to providing a rigorous legal education to a diverse student body with an emphasis on experiential learning through simulations and community clinics that serve underserved clients in the areas of criminal, immigration, trademark, legal aid, and internet law. In their new location, the California Western School of Law are hoping to reflect their school motto through the campus experience. Rethinking the physical presence of the overall campus location can act as a catalyst in better serving the immigrants justice, protection, and upliftment to aim towards a brighter future. The approach to better serving the at-risk communities requires interventions integrating legal education practices and a sense of empathy towards human migration and civil rights. The Cal Western School of Law is playing a crucial role in serving the evolving communities of San Diego and providing high quality education to shape future lawyers. Aiming to represent the state’s diverse society, California Western Law School is training ethical, compassionate, and competent future lawyers and hopes to aid the underserved populations. With 41% of the 2021 student being ethnic minorities and 59% women, Cal Western attracts a diverse population that aims to better the world around them. Cal Western offers scholarships and grants to students ranging in socioeconomic status opening the doors to lower income applicants. To create a college community unified with its local community, the site is in Barrio Logan, San Diego, a neighborhood who is currently facing challenges that students could offer legal advice for. Cal Western prepares its students to focus on immigration law and criminal justice by placing them in clinics located near the school to obtain practical work experience while working towards their degrees. Locating the campus in a community of those who lack legal aid gives students a greater opportunity for creating change. Cal Western offers its students many class courses, clinical programs and community law interventions which encourages students to give back to the community in which they are located.

Legal Education The educational requirements to practice law in the State of California consists of several processes and requirements with varying academic standards to be met. While the California Bar Examination is the ultimate milestone to obtaining licensure to be an attorney, the traditional educational requirement entails obtaining a JD (Juris Doctor) degree from law schools registered by the State Bar (California-accredited) or approved by the American Bar Association (ABA). The JD takes three years to complete which follows the EN[ACT]: Performance at California Western Law School

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pre-legal education of College Level Equivalency Programs Examinations or at least two years of college in any given major. The most typical undergraduate majors choosing this path in California obtain a four-year bachelor’s degree in English, Business, or Political Science. This does not limit other majors to take up the JD program as an academic path to achieving licensure as an attorney. The state bar of California summarizes the following legal education options for eligibility to obtaining licensure -

Three or four years of study at a law school accredited by the American Bar Association (ABA) Four years of study at a State Bar-registered, fixed-facility law school Four years of study with a minimum of 864 hours of preparation at a registered unaccredited distance-learning or correspondence law school Four years of study under the supervision of a state judge or attorney A combination of these programs

The academic process requires a guided approach with mentorship; from graduate school all the way to becoming a practicing attorney. CWSL offers a variety of courses to cover ground on theoretical knowledge and practical application. Some of the traditional courses are offered based on the year’s curriculum. These are split into three years

First Year Curriculum -

Foundational year with special emphasis on legal analysis, research, and writing to explore opportunities. The academic year is split into trimesters, some of the courses include  Civil Procedure  Contracts  Legal procedures  Torts

Second and Third Year Curriculum -

Competitive Advocacy Program California Innocence Project Pro Bono and Public Service Honors Program

The ethos of legal practice can be found in academic initiatives that are taken up by the law school to shape lawyers that are rigorous workers, empathetic citizens, through the experience of obtaining a law degree at Cal Western School of Law. Experiential Learning programs such as law clinics, paralegal services, advocacy programs, community law projects etc. Aid in enhancing the legal education aspects that mostly pertain to minimum formal education requirements.

Mass Migration and Underlying Causes One of the primary areas that students dedicate time to on this campus are the experiential learning clinics that deal with issues of social justice and give the students an opportunity to interact with real clients. Given the schools focus on immigration related issues, the following research was completed to gain an understanding of the San Diego community and those clients the students would ultimately be working with. Research focused on five primary immigration related issues: crime and violence, environmental degradation, poverty and economic opportunity and immunity and elite indifference. Each gave us a basic understanding of why large populations are moving into the US and what needs to be done to create a desirable, welcoming environment.

Crime and Violence -

Comparisons between crime, specifically homicide rate, and rate of asylum seekers (per 100,000) in the countries listed While not definitive, in general countries with higher homicide rates also see more asylum seekers moving to the US

Environmental Degradation

The upperclassman curriculum includes two important milestones which are the STEPPS program and the Clinical Externship Program. STEPPS includes a client-attorney simulation set up to practice law earlier in the educational years. Some other courses include  Constitutional Law I  Criminal Procedure I  Evidence  Legal Scholarship Training Seminar  STEPPS  Torts II

CSWL also focuses on clinics and assistance programs to provide opportunities for externships, and simulation-based learning. The pro-bono programs excel in bridging the gap between the academic world and real time problems. Trial law is another essential part of the program to practice communication and real time delivery of arguments. Some of the Clinical Programs include -

Attention to the mass effects of natural disasters on populations, and the # of people displaced by environmental disasters; categorized by the worst natural disaster in the country Natural disasters have played a significant role in the displacement of large populations There is evidence that many of the countries with the most asylum seekers in the US have also experienced high population displacement from natural disasters

Poverty and Economic Opportunity -

Poverty rates have been shown to be exceedingly high among the countries studied. Some correlation between Poverty/the lack of economic opportunity among countries and asylum seekers can be seen with some countries but not all. Poverty rates are even among the countries studied, but countries with the highest rates of asylum seekers also tend to have higher poverty rates.

Access to Law Initiative

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Higher Education

Impunity and Elite Indifference

We studied the rates of infant mortality to see if that too was an underlying cause There is a slight trend between infant mortality rate and # of asylum seekers, however some countries with few asylum seekers still see extremely high infant mortality rates.

Comprehensive Findings

Every place of higher education has multiple physical and environmental characteristics which make it successful. Finding those common trends in campuses across the country was the first step towards designing a new campus for Cal Western School of Law. We looked at schools that served anywhere from 800 to 20,000 students with a wide variety of disciplines and consolidated our findings to create a strong starting framework to begin master planning. We were able to narrow down the characteristics of an ideal campus to the following:

Community and Safety -

The identified causes do a decent job of describing some of the reasons people are seeking asylum in the US, however there is one outlier that sticks out in multiple databases. Brazil features similar numbers to the countries with the most asylum seekers but sends very few people to the US. With a GDP ($1,434.08 Billion) nearly 33% higher than the next closest country in Central and South America, (Mexico, $1,076.16 Billion), Brazil remains appealing to people despite the ongoing issues.

  

Asylum Seekers vs. Poverty Rate

Asylum Seekers vs. Homicide Rates Country

Country

Measure Names Poverty Rate

1800 0.9

Asylum Seeking Population

0.7

Data from "Refugee Data Finder." The UN Refugee Agency, (2020).

1200

Rate Of Asylum Seek..

0.5

800

Poverty Rate

1000

Data from "Poverty Headcount Ration at National Poverty Lines." The World Bank, (2020).

0.3

400

Data from "Refugee Data Finder." The UN Refugee Agency, (2020).

0.4

600

Asylum Seeking Population

50 1400

Poverty Rate 0.6

1200

1000

30 800 25 600

Homicide Rate Data from "Citizen Security in Latin America." Igarape Institute, (2018).

Organization



400

0.2

Homicide Rates Per 100,000

0.8 1400



Measure Names Homicide Rates Per 1..

1600

Rate Of Asylum Seekers Per 100,000

1600

Rate Of Asylum Seekers Per 100,000

1800

Rate Of Asylum Seek..

United States

Chile

Argentina

Panama

Paraguay

Uruguay

Brazil

Bolivia

Peru

Dominican Republic

Costa Rica

Belize

Guyana

Colombia

Mexico

Ecuador

Nicaragua

Honduras

Venezuela

Guatemala

El Salvador



Environmental Disasters

Asylum Seekers vs. Infant Mortality Rate

Increase building density (while maintaining a human scale to provide spaces for students as well as the community. Provide clear and consistent indicators of where important programs are located and how to access them Provide clear pedestrian circulation routes using a consistent visual language and scale to provide a connection between all spaces Provide universal access to make areas easy to traverse for people of all physical types

Country

Country Measure Names

22 20

12 800 10 600

Infant Mortality Rate

1000

Wildﬁre

9M 1400

Infant Mortality Rate

Storm

1600

Data from "Refugee Data Finder." The UN Refugee Agency, (2020).

Flood

10M

Asylum Seeking Population

1400

1200

Earthquake

Rate Of Asylum Seek..

Rate Of Asylum Seekers Per 100,000

1600

Environmental Disaster- ..

1800

Infant Mortality Rate

Data from "Infant Mortality Rate from 2009 to 2019 (in deaths per 1,000 live births)" Statista, (2021).

1200

1000

800

4M 600

Accessibility and Transportation

Asylum Seeking Population

8M Population Displacement 2015-2020

1800

Rate Of Asylum Seekers Per 100,000

 

United States

Chile

Argentina

Uruguay

Paraguay

Brazil

Bolivia

Peru

Dominican Republic

Colombia

Costa Rica

Belize

Guyana

Mexico

Ecuador

Nicaragua

Honduras

Venezuela

200

0.0 Guatemala

0.1

0 El Salvador

200

Integrate the campus with the surrounding community through open design and community-based activities that interact with the general population. Provide transparency at the ground floors to maintain “eyes” on the street. By creating access to emergency response stations that alert authorities of criminal activity along the campus circulation routes to provide security. Supply adequate even lighting throughout campus, including those to academic functions and campus housing.

Data from "Refugee Data Finder." The UN Refugee Agency, (2020). Environmental Disasters Data from "Climate Knowledge Portal." The World Bank, (2021).

 

Easy access for walkways to create a safe space away from traffic or clear spatial integration of pedestrian walkways within traffic routes. Integrate bike routes throughout campus that tie into the community bike circulation system

400

400 2M

4 200

200

Argentina

Chile

Paraguay

Panama

Bolivia

Uruguay

Brazil

Dominican Republic

Peru

Colombia

Costa Rica

Guyana

Belize

Mexico

Ecuador

Nicaragua

Honduras

Venezuela

Guatemala

United States

Chile

Argentina

Uruguay

Paraguay

Brazil

Bolivia

Peru

Dominican Republic

Colombia

Costa Rica

Guyana

Belize

Mexico

Ecuador

Nicaragua

Honduras

Venezuela

Guatemala

EN[ACT]: Performance at California Western Law School

0M El Salvador

0 El Salvador

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Resources

Downtown San Diego

   

Campus should include spaces for informal learning such as spaces to study or for student support services in a single location. Provide spaces that can be shared / accessed by the broader community. should act as multipurpose spaces for students and community members to both enjoy and be able to use as recreational spaces as well. Resources for education should include financial aid, career advisors, access to studying with professionals, and disability resources. Resources should provide functions that help support student success even in the non-academic side, for example such as a childcare center.

Downtown San Diego: Downtown San Diego was attractive because it is the current location of the Law School, and students would have access to its social scene, law firms and the San Diego County Superior Court. However, it was narrowly decided against as the density of the buildings required was not considered viable for all uses.



Ultimately, Logan Heights was selected. This is a predominantly Hispanic community, which could make the campus more convenient and approachable to Hispanic individuals served by the Latin American Institute of Law and Justice. Additionally, it is the closest location to downtown San Diego and has access to public transportation. Moving forwards, our studio deemed this area’s relatively high crime rate and large unhoused population as matters that required careful attention.

Logan Heights

Site Selection -



The studio researched four potential sites: Chula Vista, Mission Valley, Downtown San Diego, and Logan Heights. Each site was researched in terms of their relevant community boundaries, natural resources, social attributes, people, built environment, and heritage, in order to determine which location seemed most fitting for a future campus community. This information was aggregated into a single exhibit and presented to the studio partners with voting taking place to determine which location would best serve the institutional needs. Some of the assets and disadvantages of each location are as follows:

Chula Vista



Chula Vista was an attractive location because of its proximity to the US-Mexico border, making this location convenient for immigrants served by the Latin American Institute of Law and Justice. However, it was ultimately not selected because of its lack of public transportation, which isolated it from other law resources in downtown San Diego.

110

120

130

140

90 60

100

Mission Valley 40

110



The Mission Valley proposal incorporated the law school campus into SDSU’s Mission Valley campus expansion. Some advantages to this proposal included that it was well connected to downtown San Diego by public transportation and that it would have access to SDSU student culture. However, it was not selected because it was the furthest away from the US-Mexico border, potentially making it inconvenient for law clients living in Mexico, and because it lacked the existing infrastructure and vibrancy of an existing more downtown site.

110

100

EXISTING TOPOGRAPHY

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CHAPTER 3

Demographic Distribution

SITE UNDERSTANDING 

San Diego has a distinctive cultural identity from Hispanic populations from over sixty years. Historically, the area became prominent from industrial jobs, and there was a significant increase in San Diego’s Mexican population due to the 1910 Mexican Revolution. Alongside the prevalent Hispanic and Latino population, 42% of San Diego’s residents are white, 16% are Asian residents, and Black or African American residents make up 5% of the population. The median age is around 26.8 years. Overall, the culturally vibrant community consists mostly of local families that need a catalyst to revitalize the sense of physical connection that drives socio-economic and employment growth.



In Logan Heights, the annual median income varies with an average income of $52,944. The total median income lies below the average at $40,310, primarily belonging to demographics under 25 and over 65. The total working population of Logan Heights consists of 51,093 people, 73.9% of which are above the poverty level with an additional 22.9% below the poverty level. The average Barrio Logan household lives on an annual income 45% less than the rest of San Diego.



San Diego is currently ranked as having the seventh worst ozone pollution in the country. With a median AQI, or Air Quality Index, of 64, this city reports only 73 days of good air quality throughout the year while the remaining 292 days record air quality that is moderate or unhealthy for sensitive groups.



Average annual solar radiation value of 6.13 kilowatt hours per square meter per day (kWh/m2/day)



The availability of water in Logan Heights is limited due to its lack of precipitation and large population. Annually, it receives approximately 12 inches of rain per year, mostly seeing clear and sunny days. Logan Heights also experiences an average humidity of 69% per year with the most humid month being July and the driest being January. Given its context in southern California, Logan Heights and the rest of San Diego

Contextual Understanding Population Poverty 

The total population of Logan Heights, also known as Barrio Logan, is 58,408, with around a 5% population increase annually. The community makes up about 4% of San Diego’s total population of 1.4 million people.

Community Context



The initial neighborhood of Barrio Logan grew due to the development of a US Naval Base in 1898 in San Diego. Later, the creation of a major commercial seaport and the railroads also provided a housing boom in the area. This brought many diverse groups to the area, including African Americans, Japanese Americans, Filipino Americans, and Italian Americans. However, the spirit of the community today, known as the “Logan Heights Experience” (aka The Heights, Logan, La Logan, Barrio Logan, etc.) is due to the migration of the Mexican families which began around 1900. They came from all parts of Mexico, including Baja California, Sonora, Chihuahua, Sinaloa, Durango, Michoacan, Zacatecas, etc. The population growth of Mexican families would continue up to the 1950s. In 1956, the placement of Interstate 5, the Coronado Bridge, and deliberate changes in zoning patterns (from primarily residential to mixed-use industrial) devastated Logan Heights by removing economic viability and decreasing property values. In both aspects, Logan Heights residents felt uninformed and unable to voice objections or opinions on the expansion of San Diego, and to this day, families still feel a deep sense of loss. However, in the late 1960s, the residents of Logan Heights came together to oppose the construction of a sub-station under the San-Diego-Coronado Bay Bridge by the California Highway Patrol. Through incredible will and commitment, the land was turned over to the community and later became Chicano Park. The community’s tenacity, spirit, and determination to preserve Barrio Logan as a vibrant, culturally rich, and united community continues on and can be seen today in their Barrio Logan Community Plan.

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Air Quality

Insolation

Water Availability

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rely on imported water from northern California or the Colorado River through the 242-mile-long Colorado River Aqueduct. Still, Logan Heights and San Diego produce 10% of their own drinking water through the desalination of ocean water.

Resource Availability

Climate Desirability



Barrio Logan’s climate is one of the most desirable in the United States. Its location on the waterfront ensures comfortable temperatures, breezes, and humidity throughout the year. Average temperatures fall between 50° F and 77° F, most of which are approaching the California Energy Code Comfort model which calls for indoor dry bulb conditions around 68°F (20°C) to 75°F (23.9°C).



Barrio Logan is organized in a manner that prioritizes its residential and commercial communities. In the Barrio Logan Community Plan, the commercial and residential zones are the heart of the community and are framed by major streets and key sight lines. The development of these zones is driven by multi-family development, but are restricted by the large, industrialized zones. Near the waterfront, land is reserved for heavy industrial and military development, primarily the San Diego Naval Base. The industrial and military development of the land has forced awkward circumstances on the existing community as some residents find themselves living next door to a boat building yard. This shows a relative disregard for the existing community present before the industrial development. Additionally, the proximity of the Naval Base has sparked development that further imposes on the Barrio Logan Community such as a need for naval lodging. Barrio Logan has been forced to adapt and integrate these waterfront industrial conditions.

Resource Availability  Logan Heights benefits from coastal air and its proximity to the Pacific Ocean. The coastal winds can easily be utilized in passive design strategies for individual buildings as well as energy generation for the city as a whole. Offshore wind and hydroelectric farms have enormous potential in powering the city but have received push back from the city power suppliers like San Diego Gas & Electric Company. Gas and electricity are provided by the San Diego Gas & Electric Company. SDG&E has substantial investment in the Barrio Logan community. One of the utility’s major power stations in the San Diego region is in Barrio Logan. This station is identified as the Silvergate substation, located west of Harbor Drive at Sampson Street.

Land Use

The site is located adjacent to the I-5 and the Coronado Bridge, making it a hub for vehicle transportation. Through the site, there are two modes of public transportation that circulate. Trolleys and buses run alongside bicyclist lanes. There are anticipated road improvements to enhance mobility and connectivity in the community such as the Draft Mobility Element that is meant to make walking, biking, and public transit more attractive in the city, including Barrio Logan. The Draft Mobility Element will work alongside the developing land use of the community to create a more vibrant and accessible neighborhood through the growth of the community’s interconnections.

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Ecosystem Understanding

Topography

Soil

· The site is effectively flat and continues this way to the bay to the west and south, elevation increases well beyond the site boundary to the north and east. Balboa Park is built on top of a hill while it spreads out into the many canyons that stretch from it.  

Soil is primarily composed marine and nonmarine, poorly consolidated, fine- and-medium-grained, pale brown sandstone = weak soil conditions Close proximity to Rose Canyon fault= earthquake and liquefaction prone area but occupiable

Vegetation

     

Intense urbanization means no native plants are present and little landscaping Coastal proximity means future plans to preserve vegetation in waters (algae and marine grasses) to preserve small sea creatures in the area Despite the lack of rainwater, the coastal climate can support many types of succulents, such as the artichoke agave or the Mexican fence post cactus. Various wildflowers can also strive here such as the Arroyo Lupine, the Goodding’s Verbena, the Bush Anemone, as well as Texas Sundrops. Several types of trees can successfully live in this climate such as the Chaste Tree and Pheonix Mesquite. In the right conditions, San Diego can be quite lush as we can see in Fern Canyon in the San Diego Zoo and Balboa Park.

Climate

· San Diego has a diurnal swing of about 35 degrees Fahrenheit with a mean temperature of about 65-70 degrees. This puts San Diego in the comfort zone for a major portion of the year: June to November. · Design Strategies that are effective in the climate are internal heat gain and solar direct gain. Sun shading is important as well for higher sun angles. · San Diego’s wind direction, strength, and temperature are influenced by the nearby Pacific Ocean and primarily comes from the northwest.

Wildlife

Birdlife is the most prominent, almost non-existent wildlife beyond this Nearest wildlife is 3.5 miles away in a canyon: coyotes, deer, and other mammals Six miles south of the community is a habitat for rare/endangered birds 430 bird species in the area, half are seasonal (in San Diego County) Infrastructure and dumping waste have contributed to decreased biodiversity especially in north and central bay of San Diego (location of Barrio Logan is central bay) o Oil spills, ship waste, etc. · Ocean life includes dolphins, otters, and sea lions, as well as fish and crustaceans but much less diverse · · · · ·

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

Campus Planning Best Practices

CHAPTER 4

CAMPUS MASTER PLAN

Upon analysis and review of other universities, it was concluded that important qualities that exist for a campus plan to be successful must be reflected. Our project seeks to prioritize the experiences of the Law students and Latin American immigrants who will predominantly be utilizing these campus spaces. On the other hand, we also wish to create a transitional experience from the public to private through landscaping features that introduces biophilic design. Furthermore, the qualities and characteristics of a campus plan that are of greatest interest to our project include: (1) responding to environmental and cultural context, (2) implementing transitional spaces, (3) introducing biophilic design, and (4) continuity of design that encourages sense of community. The best practices we have outlined for our site and project include:

How Might We Goals Community

Biophilic Design   

How might we reflect global context within local design? Globally, how might we respond to humanitarian issues such as immigration and mass incarceration through quantitative research and qualitative application? Locally, how might we design as “apart” of the community rather than “a part” from it, both visually and spatially? Additionally, how might we create a strong campus environment and identity while still welcoming those in need?

Implementation of vegetation – including deciduous trees and shrubs with an emphasis on those that provide food Landscape design that seeks to engage communities Landscape and vegetation that encourages health and wellbeing of project’s users

Transitional Spaces Clients -



How might we design to promote student physical and mental well-being through the organization and development of spaces for both student and community interaction?

Service

Creating transitions within the campus in order to encourage interaction between students as well as indoors and outdoors Important in order to create distinctions between spaces These transitional spaces seek to create dynamic buffers within a space to elevate the user’s experience.

Sense of Community



How might we emphasize the architect’s and law student’s responsibility to serve through building design?

Site



Creating central nodes or quads that allow for various student or regional communities to cross paths and engage with one another Provide buffer zones for students to study or rest between classes Provide landscape features whilst implementing seating that enables people to sit and engage in conversations

Utilize unique site conditions as well as environmental factors to create a safe and accessible place for learning?

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

Campus Comparatives

Environment and Cultural Context

Implementing design strategies to address site climate conditions and ground context like surrounding buildings or soil types Understanding the cultural context of where a project resides and how to contribute in a respectful way Encouraging community engagement with local communities

A Nolli map is a figure ground drawing that aided us in developing our campus plan. These plan drawings help to distinguish private, semi-private, and public places from each other and clearly differentiate space from mass using black and white to represent the area being studied. We used several Nolli maps to help inform us of the flow of spaces on our campus and identify the ideal qualities of a law school campus. Some of the specific campus functional elements we would like to emulate were determined to be on these nine campuses:

Georgetown Law School



This school was chosen for its centralization and walkability in the Washington D.C. area. The campus provides its students with living facilities (such as childcare, a fitness center, and housing for 300 students) to support students’ educational excellence. This is in addition to the classrooms, clinic spaces, and an expensive library. The proximity to national buildings and public transportation also encourages immersion into the extracurricular activities that D.C. has to offer.



The campus is comprised of mostly historic buildings with lots of green open space between buildings. The WWC is the hub for all student life which holds common spaces, classrooms, clinics, and dining facilities.



The school’s closeness to the urban setting, along with its inclusion of greenery and proximity to Central Park provides easy access to city activities and nearby law firms. While located in a large, bustling context, the silver LEED certified campus itself contains a smaller plaza within to create a threshold between the campus and the city.

Harvard Law School

Fordham Law School

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Studio Jaz |Caswell Espinoza and Jasmine Lin

Duke University School of Law

University of Oregon Law School



Students are expected to live off-campus, while the law school features many sheltered outdoor spaces for students to relax and study. Its clinic wing is designed as a separate law office that fosters trust between law students and clients because it offers a space to meet confidentially.



This campus creates community through large library reading areas as well as “living rooms” for student and teacher interaction. It utilizes large grassy lawns for social spaces and provides housing for graduate students and their families on campus.



The buildings on this campus create pockets of public space that are more sheltered than the general public realm and are oriented towards a shared courtyard with other buildings.

Notre Dame Law School

New York University Law School



The school is a unique campus as it is a series of buildings nestled in the city itself and centered around Washington Square Park. It is very well integrated into the city and fosters experiences in which school and city life intertwine.



The central location of the university primarily gives students access to the mental health services. There are several green spaces available in the form of courtyards for studying and gathering. Its circulation system is also robust as the campus is broken up into four buildings with separate educational functions linked together with shared courtyards.



The ample green spaces on the 20-acre campus function as “living rooms” to encourage community and gathering and are used as outdoor classrooms on occasion. The school is further surrounded by the forests of the state park, giving students access to nature as they make their way through the intensive law curriculum.

Stanford Law School

Lewis and Clark Law

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

Campus Comparatives -

Campus Resiliancy

While the term community most frequently refers to a group of people or a tangible location, the abstract definition spans beyond physical reach. When compiling the campus master plan, reflecting the conceptual community surrounding our site was imperative to the proposal’s success. With a site located in Logan Heights, our master plan was faced with the challenge of being a point of transition to the more urbanized Gaslamp district as well as the lower density community of Barrio Logan. The campus serves as a major threshold between Downtown and the future developments planned for Barrio Logan. The project is based on a series of transition zones that required attention; by focusing on scale, density, and circulation we were able to propose a seamless shift that melds two communities into one.

The Scale

With the Barrio and Downtown in mind, buildings were designed following the idea that the campus alludes to the infrastructure around it. The master plan gradually shifts from five story structures in the southwest corner of the site to a larger scale of up to nine story structures on the northeastern side of the site.

The Density

Similar to the transition in scale, density played a significant role in designing the campus master plan. The lack of accessible public realm was a primary concern in the initial design phase. The proposed campus plan allows for the street condition to adhere to its surrounding context while the site itself remains inviting for members of the surrounding communities to experience and inhabit.

Resiliency refers to a site’s ability to weather adverse conditions (both immediate disasters and long-term stresses) while maintaining a high level of functionality and safety for all its residents. In our era, a primary test of resiliency is a site’s response to the challenges posed by climate change. As a coastal site in a drought and fire-stricken state, our campus will be particularly at-risk. The central concerns include sea-level rise and flooding, increasing temperatures, and decreasing precipitation. Although in the most catastrophic climate scenarios our site may simply become uninhabitable, we have pursued resiliency strategies that will ensure its functionality under many circumstances. Some primary strategies are outlined as follows: - Addressing Sea-Level Rise and Flooding: Our buildings avoid placing primary or essential functions in below-grade spaces, so that flooding events do not damage or inhibit campus activity in the long-run. - Implementation of bioretention swales? - Addressing Increasing Temperatures: - Reducing urban heat island effect with extensive site vegetation, cool roofs, and rooftop gardens. - Increasing tree canopy on street edge and internal campus quad to give community greater access to shade in extreme heat. Addressing Decreasing Precipitation: - Use of building-level water capture and reuse of graywater to reduce strain on municipal water systems. - Extensive native-plant landscaping to reduce campus irrigation needs. - Addressing Unreliability of Energy Access - Reducing energy needs (and thus reliance on potentially spotty energy grids) by taking advantage of appropriate building-scale and site-specific passive strategies. - Site design with awareness of solar access to increase natural daylighting in each building. - Extensive on-site solar generation to reduce loads on city grid and provide an independent energy source. Many of the measures described here are very physical and architectural. While these may help preserve life and increase physical comfort, the campus also takes measures to address social and communal resiliency. By providing spaces for justice-oriented law education and pro-bono practice, as well as non-academic programs (such as markets, greenhouses, daycares, and more), the campus works towards lifting the community and putting the neighbors in a better situation to recover following a disaster. The conjunction of architectural and social interventions embodied in our campus to support making Barrio Logan more resilient in the face of the challenges to come

The Circulation

The selected campus site provides a bridge between varying existing hardscapes like pavers, concrete, asphalt, and decomposed granite, with a goal of maintaining and enhancing the overall ground plane moving forward. Following the requirements defined in the Barrio Logan Plan, all major throughfares will consist of sidewalks ranging between ten and fourteen feet accompanied by planting strips and class I and class II bike lanes.

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

CHAPTER 5

EN[ACT] Project Purpose -

EN[ACT]: Performance at California Western Law School

En[act] is about bringing people together from diverse backgrounds. It is meant to bridge the gap between two unique, potentially disparate parties to spark dialogue and foster lasting community. This is necessary to enhance the relationship between the law school and those they serve because mutual understanding improves collaboration and unity. In prioritizing performance, the project provides a medium through which people can share a universal experience whether you are a student, client, or local community member. In more direct relation to the law school, performance plays a key role in a lawyer’s success. This is seen through mock trials and other rehearsals which give law students the charisma and social presence they need to command a courtroom. En[act] takes these skills and gives them to all occupants to foster community and legal success.

Studio Jaz |Caswell Espinoza and Jasmine Lin

Project Program

Performance Goals

The project’s program is defined by its commitment to the proscenium theater, dedicating most square footage to performance and the support thereof. This space also can function as a didactic lecture hall to be used by the law students for more traditional lectures. On the third floor, there is also a smaller theater that overlooks the campus quad and can also be converted into a didactic lecture hall. The main theater seats around 550 while the smaller theater seats around 150. In support of the large venue, there are several rehearsal and private practice rooms that vary in size to accommodate a variety of performance types. Due to the loud nature of the building, there will be multiple quiet study rooms and outdoor balcony spaces to provide reprieve as well as a rooftop café on the upper floors. In relation to the greater campus context, an active lobby and dining space is on the ground floor, and the form itself opens to the quad. The neighboring academic and community-based buildings contrast our own project as they accommodate the students’ more professional and personal needs. The artistic and social needs of the students and community are supplemented by our project.

The project’s EUI target is 27. Our current EUI is 25.8. Due to the situation of our building within the campus, we don’t have large amounts of solar heat gain due to our neighboring tall building to the South shading us. As all of our theater support programs are placed on the exterior of the building, they have high daylight autonomy. Further, due to the skylight and separation of the theater from the floorplates, light is also delivered internally to the programs and walking areas as well. The theater is acoustically separated with a thick structurally isolated, mass wall with entry vestibules. The theatre is surrounded by other uses that provide supplemental acoustic separation, from traffic and other campus noises.

Block and Stack

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

Formal Influences -

Detailed Site Plan and Site Section

Our theater form was influenced by the swinging dress of the ballet Folklorico dancers. We chose this as the influence as we wanted it to connect back to the Mexican community and culture of Barrio Logan. The large form in the center of our project drives the rest of the building. It plays with daylight, reflecting light down to circulation spaces and making it more experiential.

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

ACOUSTICAL CLOUD

SOLAR HEAT GAIN

Acoustical panels reflect sound back towards the audience, adjusting their height to accommodate specific performances

Heat gain in the building is mitigated by neighboring projects, shading the southern face

DISPLACEMENT VENTILATION

An air based system ventilates the theater, air is supplied through the floor and returned at the ceiling

ACOUSTIC INSULATION

The large air gap between the exterior face and the theater massing provides acoustic separation

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

ACOUSTICAL CLOUD

CAMPUS VIEWS

Acoustical panels reflect sound back towards the audience, adjusting their height to accommodate specific performances

The project opens up to the heart of campus for internal views, taking inspiration from New York’s Highline

DISPLACEMENT VENTILATION

An air based system ventilates the theater, air is supplied through the floor and returned at the ceiling

NATURAL VENTILATION

Wind from the prevailing north-west direction ventilates the lobby space

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

Furnished Floor Plans

COSTUMES 18

796 SF

2 DN

METAL WORKING

28 1623 SF

10 UP

WOOD WORK

BACKSTAGE

20 1638 SF

LIGHTING

BAR AND CONCESSIONS

21 1031 SF

9 1

Floor 1 1/16" = 1'-0"

1 0'

EN[ACT]: Performance at California Western Law School

16'

32'

64'

Floor 2 1/16" = 1'-0"

7 8'

16'

32'

64'

Studio Jaz |Caswell Espinoza and Jasmine Lin

1 UP

4 UP

9 1

Floor 3 1/16" = 1'-0"

EN[ACT]: Performance at California Western Law School

9 1

16'

32'

64'

Floor 4 1/16" = 1'-0"

7 16'

32'

64'

Studio Jaz |Caswell Espinoza and Jasmine Lin

Structural

9 1

Floor 5 1/16" = 1'-0"

EN[ACT]: Performance at California Western Law School

7 16'

32'

64'

Studio Jaz |Caswell Espinoza and Jasmine Lin

The large air gap between the exterior face and the theater massing provides acoustic separation Circulation

Thermal and Ventilation Systems The building ventilation system is air and HVAC ducts are located within all of the floor assemblies throughout the building. Air as a system was chosen due to the needs of the main proscenium theater which requires large amounts of ventilation and fast temperature changes. In the main theater, there is displacement ventilation through the floor to allow for a high rate of air change while still being relatively silent for the theater acoustics. Further, our main ground floor passageway that is expected to have high pedestrian traffic is oriented in the direction of the prevailing winds to allow for natural ventilation.

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

Detailed Wall Sections

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

Exterior and Interior Vignettes

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

Final Poster

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

Final Poster

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

CHAPTER 6

IN REFLECTION Double quarter has been an extraordinary learning experience and I could not be more grateful. My time in Studio White has been so much fun and so rewarding. I was able to spend a lot of time working with professional architecture firms, familiarize myself with more professional softwares, and learn from my amazing peers and studio professor. Working with my partner Jasmine has made my time with EN[ACT] so much fun and productive. We have designed a building that we really fell in love with, taking the time to make it beautiful, technical, and everything inbetween. Our roles as architects evolved so far beyond what is was fall quarter, and we have been able to tackle some of the complex issues we were presented with at the start of Winter Quarter. An old teacher of mine often said that “complex problems require complex solutions.” The statement itself is easy enough to understand and seems to categorize the world in two: the complex and the simple. Most issues can be understood as complex especially on a large scale such as issues like poverty and racism that remain unresolved; smaller scale problems require less dynamic and more straight forward solutions like those most people encounter on a day-to-day basis. My hunger can be fixed by eating. If I don’t like my job, then I can quit and find a new one. In an architectural context, design challenges and responsibilities can be compartmentalized in the same way. For example, a budget could require complex scrutinizing and decision making while a space that is too small could simply be made bigger. When it comes to the role of the architect within the civic realm, the issue of humanitarian aid is most definitely understood as complex with many facets like climate change, politics, and culture. There are many benefits and detriments of humanitarian architecture, so it cannot be understood simply as a good or bad thing. However, it can be said that a great responsibility seems to have fallen solely on the architect to resolve the issue of immigration and other effects of natural disasters as a result of climate change. This is a large ask for any person or profession so why is there a reliance on architects as opposed to professionals in the humanitarian fields? As I ask myself this question, I find myself answering with another: who else? Who else could tackle such a complex issue with serious empathy and intent? Architects design for people of all kinds and strive for improvement, comfort, understanding, and equitability. It should be the role of the architect to receive and house displaced peoples who are looking for refuge. However, I also believe that the architect can only do so much in the name of humanitarianism. Architects are not responsible for all of humanities actions and should act in their respective communities to properly design and connect with people. In an architect’s place of work, he or she should focus on serving the local people in need as they can more effectively be related to and communicated with. This keeps the work personal and effective while both simplifying the complex responsibility of architects and minimizing unwanted western influence in other parts of the world. Nikki Linsell in her essay Designing Like You Give A Damn – About What Exactly? Exploring the Ethics of ‘Humanitarian’ Architecture, illuminates some of the drawbacks of humanitarian architecture such as western architects’ belief that they have a justifiable place in “targeted ‘vulnerable’ [communities]” in the age of international architecture. Intervention is not always wanted or conducted in a culturally sensitive way. Linsell likened this foreign intervention to vigilante super heroism. Even Kate Stohr in her pro-humanitarian Design Like You Give A Damn acknowledges that projects can be lacking in client-architect relationships as illustrated in the New Gourna Village project in Egypt where villagers were unhappy. This major overextension points to the massive responsibility that needs to be managed. If architects turn their focus to their own communities, the intervention will be more impactful and welcomed.

EN[ACT]: Performance at California Western Law School

Local intervention is nothing new to architects, and it is naturally and rightfully celebrated. I think that making an impact in a community that is familiar and welcoming is beneficial to those being served and is most often done so faithfully to culture and clients. Such work is easily visible in the projects by Sabo Mockbee’s Rural Studio in Hale County, Alabama. Mockbee and his students serve the community around them by building for those in need and have been quite successful with projects like “Butterfly House” and “Yancey Chapel” that accommodated and housed the community while teaching students and utilizing locally sourced and recycled materials. If we start to view humanitarian issues through the same lens that Mockbee views his own community, it would greatly simplify the actions that architects need to take. It would paint the complex issue as a simple one: people who need homes. If architects view immigrants and any other person in the community as a person in need of help and a place to stay, it would be so much easier to handle in a meaningful way. Designs could accommodate specific differences between old and new communities and integrate the design into the greater site. Such actions on the appropriate scale would have an impact that could be felt around the globe as each architect took up their responsibility in their own community. This is not to say that humanitarian architecture abroad and architecture-as-aid is a bad thing. It is very admirable to see architects taking on such a great responsibility in hopes to serve people of all kinds. In no way is wanting to help underprivileged people a bad or inherently wrong thing. I believe that it is a far too big and complex issue to be solely delegated to architects today. It requires cooperation between all of humanity and an evaluation of outside factors like climate change and politics. The documentary Climate Refugees described the issue in the context of political definitions that revolved around climate change. A refugee is someone that is fleeing a country due to mistreatment or a disregard for human rights. This definition in the eyes of most governments does not include people fleeing climate change. This is an example of how architects can show compassion regardless of circumstance and act accordingly. It also illustrates how underlying problems can contribute to other ones, and that actions should be taken to minimize their negative impact. Climate change, for example, encourages architects to pay more attention to things like embodied carbon and the sustainability of the built environment. Ultimately, immigration and civic intervention is a complex issue that requires a complex solution. The response can begin by taking a simplified approach in which architects respond on a more local scale as it is their responsibility to serve their community and develop the built environment for those in need as well as everyone else. Helping others is never a bad thing but can be done most efficiently at the personal level. Architects should work towards this goal while also working to diminish the larger issue. After working on my own project for six weeks, I stand by my beliefs that architecture is most effective at the personal level, but I find myself needing to define personal. I have been designing for a community that I am removed from and cannot directly relate to. How is that personal? That is not to say that I have done a poor job designing in a thoughtful or meaningful way, but that good design is empathetic. Humanitarian architects around the globe all are acting on their empathetic motives to help others in the same way Sabo Mockbee does in his own community. To paint it as a simple problem: people need help. So, good people (or architects in this case) are going to respond. I will continue to strive for personal and empathetic design while working to meet the needs of those I’m helping. In doing so, I might step outside of my comfort zone and embrace the complexity that is good design. Simplifying complex problems is definitely helpful, but there must be a point in the development of a project at which it is impossible to do so.

Studio Jaz |Caswell Espinoza and Jasmine Lin

BIBLIOGRAPHY Anderson, Dave and Timothy Hursley, directors. Rural Studio: Love Stories. YouTube, YouTube, 19 June 2015, https://www.youtube.com/ watch?v=704hR8KLCf0&ab_channel=RuralStudio. Accessed 5 Jan. 2022. “Barrio Logan Demographics.” Point2, https://www.point2homes.com/US/Neighborhood/CA/San-Diego/Barrio-Logan-Demographics.html#:~:text=What%20is%20the%20population%20of%20Barrio%20Logan%3F&text=There%20are%2058%2C231%20residents%20 in,born%20citizens%20account%20for%2013.81%25. “Cal Western School of Law.” California Western School of Law, https://www.cwsl.edu/. “Chicano Park: National Landmark, Local Treasure.” National Landmark, Local San Diego Treasure, https://www.sandiego.org/articles/ parks-gardens/chicano-park.aspx. “Cross Ventilation.” 2030 Palette, http://2030palette.org/cross-ventilation/. Dean, Andrea Oppenheimer, et al. “Introduction.” Rural Studio, Princeton Architectural Press, New York, 2002, pp. 1–13. “Direct Gain: Glazing.” 2030 Palette, http://2030palette.org/direct-gain-glazing/. “Direct Gain: Heat Storage.” 2030 Palette, http://2030palette.org/direct-gain-heat-storage/. Harbor 101 Barrio Logan Community Plan - San Diego. https://www.sandiego.gov/sites/default/files/legacy/planning/community/ profiles/pdf/cp/cpblfull.pdf. “Logan Heights - San Diego History Center: San Diego, CA: Our City, Our Story.” San Diego History Center | San Diego, CA | Our City, Our Story, https://sandiegohistory.org/journal/1983/january/logan/. Logan Heights Historical Society: Memory Album. https://www.sandiego.gov/sites/default/files/legacy/planning/community/cpu/ barriologan/documents/pdf/barriologanmarketanalysis1208.pdf. “San Diego Native Plant Guide.” Eco Minded Solutions, 26 Mar. 2019, https://ecomindedsolutions.com/san-diego-native-plant-guide/. “Shading Devices.” 2030 Palette, http://2030palette.org/shading-devices/. Stohr, Kate. “100 Years of Humanitarian Design .” Design like You Give A Damn: Architectural Responses to Humanitarian Crises, Metropolis Books, London, , 2007, pp. 33–55. United States, Congress, Office of General Counsel, and Office of General Counsel. 2020 Code of Ethics and Professional Conduct, The American Institute of Architects, pp. 1–5.

EN[ACT]: Performance at California Western Law School

Studio Jaz |Caswell Espinoza and Jasmine Lin

APPENDIX

EN[ACT]: Performance at California Western Law School

MUSEUM OF CONTEMPORARY ART Denver, CO Building Analysis by Vera Alekseyeva, Kevin Du, Caswell Espinoza, and Izzy Hoffman

Vera Alekseyeva, Kevin Du, Caswell Espinoza, Izzy Hoffman | ARCH 341-02 | Studio Ponitz | Fall 2021 1

TABLE OF CONTENTS

STORY

SITE

SPACE

SKIN

STRUCTURE

CIRCULATION

SYSTEMS

REFLECTION

REFERENCES

01 STORY Museum of Contemporary Art Denver, CO

PROJECT DESIGN TEAM: ARCHITECT: Adjaye Associates CLIENT: Museum of Contemprary Art Denver MECHANICAL/PLUMBING ENGINEER: M-E Engineers Inc. STRUCTURAL ENGINEER: Martin/Martin Inc. GENERAL CONTRACTOR: Mortenson: Construction and Real Estate Development

ARCHITECT PROFILE: Adjaye Associates approach design from the inside out, with a prioritization of the client’s needs and the sequence of spaces. The approach also aims to enrich the daily life of the inhabitants as well as relationships between the individual and community. These concepts as well as an emphasis on sustainability, materiality, and collabortaion define most of the firm’s projects such as the Smithsonian National Museum of African American History and Culture and the National Cathedral of Ghana. The MCA Denver also exhibits these design decisions, visible in the flexibility of program, attention to height and volume of space, and natural lighting.

BAP Analysis: MCA Denver | Adjaye Associates 6

PROJECT BACKGROUND: A major mission of this museum was to create a civic project that recognized art in both its historical and current contexts. The site before the building’s construction was constantly changing and the clients wanted something stable, something that would last and celebrate art in the city of Denver beyond the opening date in 1996. The building was to be as memorable as a piece of art itself. Alongside the celebration of art comes the celebration of the community, and Sue Cannon and others were set on making the museum a place to inspire people and promote diversity.

Vera Alekseyeva, Kevin Du, Caswell Espinoza, Izzy Hoffman | ARCH 341-02 | Studio Ponitz | Fall 2021 7

02 SITE CLIMATE: Denver, Colorado’s temperate climate is comfortable with mild highs and lows in the summer months and colder winter months that welcome snowfall. The city gets a lot of sunshine and about 8 to 15 inches of rainfall per year. Denver’s climate is largely due to the city’s altitude at 5,280 feet above sea level, which is why it is call the “mile high city!”

REGIONAL RESOURCES SITE PLAN

BAP Analysis: MCA Denver | Adjaye Associates 8

PSYCHROMETRIC

WIND ROSE

TEMPERATURE

3D SUN CHART

Vera Alekseyeva, Kevin Du, Caswell Espinoza, Izzy Hoffman | ARCH 341-02 | Studio Ponitz | Fall 2021 9

03 SPACE

0’

8’

16’

32’

GROUND FLOOR PLAN

BAP Analysis: MCA Denver | Adjaye Associates 10

64’

SECOND FLOOR PLAN

0’

8’

16’

32’

64’

EAST-WEST CROSS SECTION

Vera Alekseyeva, Kevin Du, Caswell Espinoza, Izzy Hoffman | ARCH 341-02 | Studio Ponitz | Fall 2021 11

04 SKIN Facade Composition

SKIN: The nature of the skin allows for the MCA Denver to be understood as a “building within a building” because of its layered facade. The building is clad in glass and MonoPan paneling to regulate lighting and thermal comfort. The series of double-paned windows diffuses natural light to evenly illuminate the gallery spaces during the day and to emit a subtle glow from internal artificial lighting at night. Natural lighting is a driving force in the design of the skin, and it is supplemented by several sky lights.

BAP Analysis: MCA Denver | Adjaye Associates 12

OPAQUE WALL

DOUBLE-PANED GLAZING WITH MONOPAN PANELING

SKIN DIAGRAM

Vera Alekseyeva, Kevin Du, Caswell Espinoza, Izzy Hoffman | ARCH 341-02 | Studio Ponitz | Fall 2021 13

04 SKIN Facade Analysis

PERFORMANCE: This analysis of the building envelope’s performance is conducted solely by looking at the skin while neglecting interior walls. This provides an understanding of the performance of the glazing and ManoPan in daylighting and its subsequent impact on the building. The MCA Denver Annual Sun Exposure is 8% and Spacial Daylight Autonomy is 9%. This means it receives a relatively low amount of direct natural lighting which is optimal in a museum. The skin is performing as intended to limit and diffuse direct sunlight. The northern face receives the most daylight throughout the year with the eastern face also receiving many hours of sun.

BAP Analysis: MCA Denver | Adjaye Associates 14

NORTH-EAST FACE

NORTH-WEST FACE

SOUTH-EAST FACE

SOUTH-WEST FACE

Vera Alekseyeva, Kevin Du, Caswell Espinoza, Izzy Hoffman | ARCH 341-02 | Studio Ponitz | Fall 2021 15

05 STRUCTURE

STEEL SYSTEM: The Museum of Contemporary Art, Denver utilizes a steel structural system to resist vertical and horizontal loads. The system transfers vertical loads through wide-flanged colums to the foundation, and lateral loads are resisted by a series of moment frames. This structural system is optimal for a building like the MCA because of its necessity of open space for exhibitions. A moment framing system also allows for daylighting, which is largely incorporated in the building’s design. The steel members direct all loads to a concrete foundation in the basement.

BAP Analysis: MCA Denver | Adjaye Associates 16

VERTICAL ELEMENT HORIZONTAL ELEMENT

STRUCTURAL DIAGRAM

Vera Alekseyeva, Kevin Du, Caswell Espinoza, Izzy Hoffman | ARCH 341-02 | Studio Ponitz | Fall 2021 17

06 CIRCULATION Movement

EXPERIENTIAL CIRCULATION: The main entrance in the north-east corner of the building ushers people towards the exhibits and evolves into the primary circulation path of the museum. The circulation of the building is gradual and organized to fully utilize the natural daylight from sky lights. Vertical spaces synergize with the circulation to create vertical spatial connections and guide visitors through the different floors.

BAP Analysis: MCA Denver | Adjaye Associates 18

VERTICAL MOVEMENT HORIZONTAL MOVEMENT

CIRCULATION DIAGRAM

Vera Alekseyeva, Kevin Du, Caswell Espinoza, Izzy Hoffman | ARCH 341-02 | Studio Ponitz | Fall 2021 19

06 CIRCULATION Life Safety

EGRESS: Vertical experiential elements double as key exits and exit access in the case of an emergency. Central locations for each stairwell take people back to the first floor and thus to three exits. These exits discharge into the public realm of the northern and eastern streets.

BAP Analysis: MCA Denver | Adjaye Associates 20

EXIT ACCESS

EXIT EXIT DISCHARGE

EGRESS DIAGRAM

Vera Alekseyeva, Kevin Du, Caswell Espinoza, Izzy Hoffman | ARCH 341-02 | Studio Ponitz | Fall 2021 21

07 SYSTEMS

MECHANICAL ANATOMY: The placement of mechanical systems is dictated by the central, intersecting sky lights. These lights are prioritized and uninterrupted. The hydronic, ventilation, and other systems stretch throughout each portion of the building, stemming from the central mechanical room on the roof.

EUI ANALYSIS: The MCA Denver is recognized as Gold Leadership in Energy and Environment Design and is continually working to reduce its carbon footprint. Still, the building is heavily reliant upon mechanical heating and could benefit from passive design strategies such as a utilization of thermal massing. The program of the MCA informs the design decisions to rely less on items like natural ventilation.

BAP Analysis: MCA Denver | Adjaye Associates 22

MECHANICAL ROOM DISTRIBUTION TRUNKS

SYSTEMS DIAGRAM

Vera Alekseyeva, Kevin Du, Caswell Espinoza, Izzy Hoffman | ARCH 341-02 | Studio Ponitz | Fall 2021 23

REFLECTION Throughout the quarter, we have been studying the Museum of Contemporary Art in Denver, CO. There are many elements that we studied including the story, site, structure, circulation, systems, and skin of the building that each allowed us to practice systems thinking. We look forward to applying this type of thinking to our future projects at Cal Poly as well as our careers in the professional world. A driving feature of this building are the sky lights and openings between floors which allow for a connection between interior floor and sky. These sky lights are intentionally positioned to guide circulation and provide soft lighting so as not to disturb the art. Furthermore, the building’s skin of sandblasted, double-glazed panels with an exterior layer of greytinted glass and an interior layer of clear glass provide unique diffused lighting to benefit the rotating exhibits. Researching the glazed areas of our BAP project informed us about materials, sunlight, and the connection between the outdoors and indoors. These design concepts of lighting as a driving force and open, interior visual connections can be applied to projects of our own in the future. Studying the MCA Denver also encouraged us to think about how to design a building that better engages with both itself and its program. Visual and circulatory connections create interaction between floor levels and begin to dictate the organization of each floor. This organization utilizes a main core that consists of a set of experiential stairs, an elevator, and restrooms which takes on multiple roles including movement, ventilation, egress, and more. The simple layout of interior walls provides versatile spaces for a variety of exhibits and organized circulation between. The roof offers a reprieve from the exhibits and is a much more social space distinct from the rest of the building. Analyzing the design decisions of David Adjaye has revealed new ways to consider flexible programs and how people engage with both art and each other. Simple moves like openings in the floor or removing interior walls can be reminiscent of very clear design intentions. The technicality of the building also challenged us to think more logistically and offered a unique perspective on the implementation of systems. For example, the mechanical systems were constrained by skylight placement and were implemented accordingly in three distinct sections to enhance circulation and protect visual connections. Similarly, the skin strategically filtered light that entered the building to help tell the story of the artwork. The inner workings of these topics were new and complex, yet the BAP provided an opportunity to explore and learn about systems before implementing them in our future projects. We are so excited to see how the BAP will help us improve our work moving forward!

BAP Analysis: MCA Denver | Adjaye Associates 24

VERTICAL MOVEMENT CAFE

SOLAR GARDEN

VERTICAL ELEMENT HORIZONTAL ELEMENT DOUBLE-PANED GLAZING WITH MONOPAN PANELING

EXIT

INTEGRATED SECTION DRAWING

Vera Alekseyeva, Kevin Du, Caswell Espinoza, Izzy Hoffman | ARCH 341-02 | Studio Ponitz | Fall 2021 25

REFERENCES Annotated Bibliography Adjaye Associates. “Museum of Contemporary Art / Adjaye Associates.” ArchDaily. March 19, 2012. https://www.archdaily.com/214197/museum-of-contemporary-art-adjaye-associates Space Systems Adjaye Associates. “Museum of Contemporary Art, Denver.” Adjaye Associates. 2007. https://www.adjaye.com/work/museum-of-contemporary-art-denver/ Story Space Circulation Black Roofing Inc. “MCA Denver’s Primary Roof as Work is Being Performed.” 2007. Construction photo Christian Schittich. “Museum of Contemporary Art Denver.” Museum Buildings Construction and Design Manual. 2016 Colorado Geological Survey. “Energy Resources.” Colorado Geological Survey. 2020 https://coloradogeologicalsurvey.org/energy/#:~:text=Colorado%20has%20abundant%20energy%20 resources,and%2C%20increasingly%2C%20renewable%20sources Site Denver Water. “Collection System.” Denver Water. 2021. https://www.denverwater.org/your-water/water-supply-and-planning/collection-system Site

BAP Analysis: MCA Denver | Adjaye Associates 26

Detail. “Museum in Denver.” Detail-Online. 2008. Empress. “Understanding Coagulation, Sedimentation, Filtration and Disinfection in Public Water Systems.” Empress LLC. February 7, 2017 Site Ken Schroeppel. “Blast from the Past: Museum of Contemporary Art Denver.” February 7, 2007. Construction photos Kiel Moe. “Museum of Contemporary Art.” Integrated Design in Contemporary Architecture. 2007. MCA Denver. “History & Mission & Sustainability Update.” MCA Denver. 2020. https://mcadenver.org/ Story Site Systems Olivia Espinoza. “Musuem of Contemporary Art.” October 23, 2021. Interior photos Ryan Raymund. “David Ajaya in Denver.” The Plan Architecture & Technologies in Detail. 2008. Tanisha Bharadia. “Museum of Contemporary Art Denver, USA by David Adjaye: USA’s First LEED Certified Contemporary Art Museum.” Rethinking the Future. https://www.re-thinkingthefuture.com/case-studies/a4032-museum-of-contemporary-art-denverusa-by-david-adjaye-usas-first-leed-certified-contemporary-art-museum/ Skin Visit Denver. “Weather & Climate Info.” Denver: The Mile High City. https://www.denver.org/about-denver/denver-resources/weather/ Site Vera Alekseyeva, Kevin Du, Caswell Espinoza, Izzy Hoffman | ARCH 341-02 | Studio Ponitz | Fall 2021 27

Manifesto: Drawing a Line in the Sand An old teacher of mine often said that “complex problems require complex solutions.” The statement itself is easy enough to understand and seems to categorize the world in two: the complex and the simple. Most issues can be understood as complex especially on a large scale such as issues like poverty and racism that remain unresolved; smaller scale problems require less dynamic and more straight forward solutions like those most people encounter on a day-to-day basis. My hunger can be fixed by eating. If I don’t like my job, then I can quit and find a new one. In an architectural context, design challenges and responsibilities can be compartmentalized in the same way. For example, a budget could require complex scrutinizing and decision making while a space that is too small could simply be made bigger. When it comes to the role of the architect within the civic realm, the issue of humanitarian aid is most definitely understood as complex with many facets like climate change, politics, and culture. There are many benefits and detriments of humanitarian architecture, so it cannot be understood simply as a good or bad thing. However, it can be said that a great responsibility seems to have fallen solely on the architect to resolve the issue of immigration and other effects of natural disasters as a result of climate change. This is a large ask for any person or profession so why is there a reliance on architects as opposed to professionals in the humanitarian fields? As I ask myself this question, I find myself answering with another: who else? Who else could tackle such a complex issue with serious empathy and intent? Architects design for people of all kinds and strive for improvement, comfort, understanding, and equitability. It should be the role of the architect to receive and house displaced peoples who are looking for refuge. However, I also believe that the architect can only do so much in the name of humanitarianism. Architects are not responsible for all of humanities actions and should act in their respective communities to properly design and connect with people. In an architect’s place of work, he or she should focus on serving the local people in need as they can more effectively be related to and communicated with. This keeps the work personal and effective while both simplifying the complex responsibility of architects and

minimizing unwanted western influence in other parts of the world. Nikki Linsell in her essay Designing Like You Give A Damn – About What Exactly? Exploring the Ethics of ‘Humanitarian’ Architecture, illuminates some of the drawbacks of humanitarian architecture such as western architects’ belief that they have a justifiable place in “targeted ‘vulnerable’ [communities]” in the age of international architecture. Intervention is not always wanted or conducted in a culturally sensitive way. Linsell likened this foreign intervention to vigilante super heroism. Even Kate Stohr in her pro-humanitarian Design Like You Give A Damn acknowledges that projects can be lacking in client-architect relationships as illustrated in the New Gourna Village project in Egypt where villagers were unhappy. This major overextension points to the massive responsibility that needs to be managed. If architects turn their focus to their own communities, the intervention will be more impactful and welcomed. Local intervention is nothing new to architects, and it is naturally and rightfully celebrated. I think that making an impact in a community that is familiar and welcoming is beneficial to those being served and is most often done so faithfully to culture and clients. Such work is easily visible in the projects by Sabo Mockbee’s Rural Studio in Hale County, Alabama. Mockbee and his students serve the community around them by building for those in need and have been quite successful with projects like “Butterfly House” and “Yancey Chapel” that accommodated and housed the community while teaching students and utilizing locally sourced and recycled materials. If we start to view humanitarian issues through the same lens that Mockbee views his own community, it would greatly simplify the actions that architects need to take. It would paint the complex issue as a simple one: people who need homes. If architects view immigrants and any other person in the community as a person in need of help and a place to stay, it would be so much easier to handle in a meaningful way. Designs could accommodate specific differences between old and new communities and integrate the design into the greater site. Such actions on the appropriate scale would have an impact that could be felt around the globe as each architect took up their responsibility in their own community. This is not to say that humanitarian architecture abroad and architecture-as-aid is a bad thing. It is very admirable to see architects taking on such a great responsibility in hopes to serve people of all kinds. In no way is wanting to help underprivileged people a bad or

inherently wrong thing. I believe that it is a far too big and complex issue to be solely delegated to architects today. It requires cooperation between all of humanity and an evaluation of outside factors like climate change and politics. The documentary Climate Refugees described the issue in the context of political definitions that revolved around climate change. A refugee is someone that is fleeing a country due to mistreatment or a disregard for human rights. This definition in the eyes of most governments does not include people fleeing climate change. This is an example of how architects can show compassion regardless of circumstance and act accordingly. It also illustrates how underlying problems can contribute to other ones, and that actions should be taken to minimize their negative impact. Climate change, for example, encourages architects to pay more attention to things like embodied carbon and the sustainability of the built environment. Ultimately, immigration and civic intervention is a complex issue that requires a complex solution. The response can begin by taking a simplified approach in which architects respond on a more local scale as it is their responsibility to serve their community and develop the built environment for those in need as well as everyone else. Helping others is never a bad thing but can be done most efficiently at the personal level. Architects should work towards this goal while also working to diminish the larger issue.

Caswell Espinoza

Esrawe Studio + Superflex

ARCH 352-05

ARCA Wynwood Design Center Miami, Florida

Studio White Winter 2022

SLAB GALLERY MATERIAL DIALOGUE LOBBY 13,100 SQFT

PERFORMANCE

PROGRAM

The ARCA Wynwood Design Center transforms an existing structure to showcase a journey of materiality. The interior is a neutral space to prioritize the materials themselves. Contrarily, the facade is modular and intricate; it is reminiscent of currency and its color and mathematic sequence. There is power in the exterior skin as it is inviting and helps activate the space. The photgraphs the architects had taken also capture the immediate context of graffiti.

The building acts as a multipurpose reatail and exhibition space that invokes a cultural experience. The retail space is untraditional and laid out in a manner that encourages the discourse around art, culture, and design. On the upper floor, there is a story of materiality and spaces for designers to meet with their clients.

https://www.archdaily.com/967587/arca-wynwood-design-center-esrawe-studio-plus-superflex?ad_source=search&ad_medium=projects_tab https://interiordesign.net/projects/arca-unveils-wynwood-miami-showroom-by-esrawe-studio-and-superflex/

Caswell Espinoza

Boll Architekten

ARCH 352-05

Cultural Center Bottrop Bottrop, Germany

Studio White Winter 2022

FORUM FOYER THEATER LIBRARY 13,100 SQFT

PERFORMANCE

PROGRAM

The Cultural Center Bottrop extension is dissolved into two primary structures around a central courtyard to create an inviting, active public space. It can be understood as “two pavilions in the park.” The corridor that connects the two structures also acts as a liason between the outdoor spaces, creating a visual relationship that can bring outdoor program inside. It also houses unique programs like a theater and library to accommodate learning about new things.

The building functions as a cultural center with flexible space in addition to an extension of the existing August Everding Cultural Centre. It serves the public through its program where it hosts exhibitions, workshops, and the like as well as its form opening up to a courtyard.

https://www.archdaily.com/963198/extension-cultural-center-bottrop-boll-architekten?ad_source=search&ad_medium=projects_tab https://architekt-boell.de/projekte/kulturzentrum-bottrop

TABLE OF CONTENTS 1_Story: Written Description of Final Project 2_Final Presentation or Poster 3_Final Project Images Justin Caswell Espinoza cespin16@calpoly.edu Jasmine Lin clin57@calpoly.edu ARCH 352-05 Sudio White Winter 2022

4_Integrated Site + Building Section Drawing 5_Site + Structure + Skin + Space + Circulation 6_Systems Integration Report 7_Design Process 8_Precedents 9_Written Reflection

1_STORY: WRITTEN DESCRIPTION OF FINAL PROJECT What makes this project meaningful, interesting, relevant, powerful, and inspiring? What is the central guiding concept that drives your decision-making process for this project?

Caswell Espinoza | Jasmine Lin

Law as Performance Project Location: San Diego, CA Program: Performance and Vocational Theater Tech, Education Gross Square Footage: 100,000 sqft Within the proposed scool’s campus, our project incorporates a large performance space combing theatre and vocational programs. The two will work together in a complementary manner in which the vocational programs can serve the performance venue through set construction, light design, and costume fabrication. Together these spaces are meant to bring together both the law students and their clients in order to spark dialogue. This discourse will build community and combat language barriers to foster a rapport between them. In the context of the campus as a whole, the program welcomes both parties by becoming a destination. It activates the students’ campus without prioritizing one party over the other. With its vibrancy and ambition, it becomes the heart of campus.

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2 Winter 2022

2_FINAL PRESENTATION

Caswell Espinoza | Jasmine Lin

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3 Winter 2022

3_FINAL PROJECT IMAGES

Caswell Espinoza | Jasmine Lin

building massing with precedent callouts

mass-glass context model

program block and stack diagram

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4 Winter 2022

3_FINAL PROJECT IMAGES (CONT’D)

building floor plans

Caswell Espinoza | Jasmine Lin

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5 Winter 2022

3_FINAL PROJECT IMAGES (CONT’D)

Caswell Espinoza | Jasmine Lin

exterior vignette from campus quad

lecture hall interior vignette

lobby interior vignette

theater interior vignette

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6 Winter 2022

4_INTEGRATED SITE + BUILDING SECTION DRAWING

Caswell Espinoza | Jasmine Lin

ACOUSTIC CEILING

ARTIFICIAL LIGHTING

A large, live performance venue requires a convex ceiling in addition to acoustic paneling to frame the space

Performance venues require dark rooms with controlled lighting

STEEL STYSTEM

A steel structural system allows for 36’ bays and flexible performance spaces

VERTICAL LOUVERS

In response to strong southern sunlight, vertical louvers are in place to dilute direct sunlight while the floor plates shade from high sun angles in the summer

MECHANICAL SYSTEM

An air based mechanical system is optimal for such a large space, bolstered by natural ventilation in the EW direction

INTEGRATED BUILDING SECTION Caswell Espinoza | ARCH 307 | Studio White | Winter 2022

PROPOSED REVISED BUILDING SECTION 0'

16'

32'

64'

Caswell Espinoza | ARCH 307 | Studio White | Winter 2022

section cutting through theater and vertical circulation

section with additional passive strategies and future design steps

section cutting through lobby and vocational studio spaces

section with additional passive strategies and future design steps

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7 Winter 2022

5_DESIGN FOR SITE How does the project respond to this specific climate, and available resources, and why? How does the project respond to this specific community and cultural context, and why? How does the project respond to the ground and adjacent buildings, and why?

Caswell Espinoza | Jasmine Lin

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8 Winter 2022

In designing for site in this project, there is an emphasis on the climate conditions, existing communities, and the proposed college campus. San Diego has very nice weather year round and a prevailing wind direction from the north-west. Building orientation and height is in response to the southern sunlight and wind direction to reduce energy use and provide necessary ventilation ifor specified program. In regards to the community and context, the project assists the transition from Downtown to Barrio Logan in buidling height and human scale. It also opens up to the campus to create a more inviting and immersive experience for students and visitors. In doing so, the building is inviting and active on the street level for all occupants of building whether they be law students, clients, or existing community members.

natural ventilation diagram

ideal campus collage illustrating features of a quality school campus

site climate research

sunlight response diagram

5_DESIGN FOR STRUCTURE What is the primary structural material and system (steel frame, mass, timber, etc.) and why? What is the basic configuration of the structural system in plan and section, and why? What special spaces might require a long span structural system, and why?

Caswell Espinoza | Jasmine Lin

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9 Winter 2022

The primary structural material is a steel frame to span large spans in performance and workshop spaces while also creating a simple yet flexible structural grid. The grid is compiled of several 36’ by 36’ bays easily visible in both plan and section with special configurations in both performance spaces. On the ground floor, the proscenium theater demands a large span that requires deep steel trusses that can evolve to also have program related use such as grid iron for artificial lighting and set flies. The smaller, flexible performance space requires deeper members to allow for a cantilever on the upper floors. The structure has opportunity to evolve and become a larger, sculptural element more integrated in the broader building design.

proposed structural evolution

PROPOSED REVISED BUILDING SECTION Caswell Espinoza | ARCH 307 | Studio White | Winter 2022

structural grid in plan

structural framing diagram

5_DESIGN FOR SKIN What is the desired relationship between interior and exterior environments, and why? What is the basic material pallette for the building exterior, and why? What is the basic skin configuration and mass-to-glass ratio for each building face orientation, and why?

Caswell Espinoza | Jasmine Lin

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10 Winter 2022

The relationship between interior and exterior is primarily expressed through the transparency of the lobby space which is mostly glass to create levels of transparency to draw people in and create interaction between the project and the campus quad. This glass facade in addition to a textured, mural-like facade on external walls activates the quad and pays tribute to the Latin culture of the law school’s clientele. The skin is inspired by the ARCA Wynwood Design Center, utilizing colorful tiles to create an interesting skin with depth. This is contrasted by the simplicity of the southern-facing facade which utilizes vertical wooden slats to control direct sunlight.

ARCA Wynwood Design Center facade and wooden louvers

exterior view from quad with textured facade

ARCA Wynwood Design Center photographed at night

5_DESIGN FOR SPACE How are spaces organized and sized in relation to their program, each other, and circulation, and why? How are spaces designed to harness and control daylight, and why? How have you allocated space for services such as restrooms, mechanical rooms, and storage, and why?

Caswell Espinoza | Jasmine Lin

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The spaces and programs are organized in a way to facilitate the production of performances. The theater is a very large, six story height space with a fly tower and mezzanine seating adjacent to the triple height backstage space for moving large set pieces between the workshops and the stage. The workshops are organized vertically around a freight elevator for easier transportation of theater tech equipment. They are also on the eastern side of the building to utilize natural ventilation and make workshop spaces safer. More public spaces are kept on the ground floor on the south side to utilize daylighting and maintain an active public realm. Reharsal and office spaces are on the higher floors, and the building has one main mechanical and plumbing core next to the elevators.

site plan

organization by program

5_DESIGN FOR CIRCULATION What is the experience of approaching from the edge of the site and entering the building, and why? How do vertical and horizontal circulation worth together to create a network of movement, and why? What method(s) of conveyance is used to move air, heat, water, and waste through the building, and why?

Caswell Espinoza | Jasmine Lin

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12 Winter 2022

There is a greater circulation is the context of the campus as a whole. The approach begins from Newton Street or from either Downtown or Barrio Logan as one first enters the campus. These streets are all very active, wide, and pedestrian friendly. The individual project’s approach is from the quad and continues through the lobby space into the theater or cafe. The horizontal circulation is supplemented by vertical cores of experiential and egress stairs that carry throughout the whole building. In terms of the mechanical circulation, an air based system ventilates the building and was selected because of the large volume of some spaces. The safety and success of some workshop spaces are also dependent on a quality air based system.

mechanical systems and distribution in section

horizontal and vertical circulation in plan

6_SYSTEMS INTEGRATION REPORT

Caswell Espinoza | Jasmine Lin

EXECUTIVE SUMMARY

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13 Winter 2022

ACOUSTIC CEILING

ARTIFICIAL LIGHTING

A large, live performance venue requires a convex ceiling in addition to acoustic paneling to frame the space

Performance venues require dark rooms with controlled lighting

STEEL STYSTEM

A steel structural system allows for 36’ bays and flexible performance spaces

VERTICAL LOUVERS

In response to strong southern sunlight, vertical louvers are in place to dilute direct sunlight while the floor plates shade from high sun angles in the summer

MECHANICAL SYSTEM

An air based mechanical system is optimal for such a large space, bolstered by natural ventilation in the EW direction

INTEGRATED BUILDING SECTION Caswell Espinoza | ARCH 307 | Studio White | Winter 2022

PROPOSED REVISED BUILDING SECTION 0'

16'

32'

64'

Caswell Espinoza | ARCH 307 | Studio White | Winter 2022

My project is primarily driven by the program of a proscenium theater and related vocational/theater tech classrooms. Most of the massing decisions came out of necessity and internal relationships between program but were still strongly influenced by an understanding of structure and energy use. Some of the most effective passive design strategies in San Diego are natural ventilation and sun shading as observed in Lab 1 and are implemented to reduce EUI and inform structural decisions. Lab 2 and 3 also guided decisions regarding constrained floor to floor heights and window-wall ratios to minimize energy use impact. The structural system selected is steel to accommodate large spans required of performance and rehearsal venues. A steel system also provides an opportunity to combine it with unique features of a theater like grid iron in the fly tower as well as elevated catwalks for technical support. I am excited to see how the structural system can evolve to incorporate a sculptural roof element that can more directly acknowledge other conditions such as passive and mechanical systems. My partner and I intend to take our passive strategies (like vertical louvers on southern windows and cross ventilation on the lower floors) a step further with the sculptural element to diffuse natural daylight into the building and catch storm water. These systems will inevitably need to be supplemented with mechanical systems because of the sheer volume of certain spaces like the theater, so an air-based system was selected as a radiant or hydronic system would not be efficient. An air-based system also provides increased air circulation in spaces that need it like a woodshop. This system is based in the floor below the theater and is heavily supplemented by a shared campus power plant. These systems are beginning to be integrated in the section in the floor poche and glazing and are being further elaborated upon in the section revision. Moving forward into spring quarter, we are excited to dive deeper into the project than we’ve been allowed in just two weeks. We want to focus most of our attention on the structural system and how it can bleed into the other aspects of the design. The revised section shows these design goals and how they might be implemented. I am so ready to continue development on our project in the second half of double quarter!

6_SYSTEMS INTEGRATION REPORT (CONT’D)

In response to strong southern sunlight, vertical louvers are in place to dilute direct sunlight while the floor plates shade from high sun angles in the summer

DAYLIGHT

N-S Section 1/16" = 1'-0" INTEGRATED

The building is an L shape and oriented such that the southern face is blocked by neighboring buildings and the top floors provide shading. It also has wood louvers to provide shading. The western face is open to the street for friendliness and we are proposing flexible steel facade elements to block the western sun. The flexible steel facade will also serve to block summer sun angles around the whole building (especially the western and southern directions) while allowing in sun during the winter as seen in the diagram.

This building has a high efficiency variable air volume (VAV) HVAC system to handle high ventilation needs of the vocational programs like welding as well as the large theatre space. Due to the fast reqponse needs of these programs, the entire building will have an air system. The mechanical plant is located underneath the theatre and is distributed throughout the building by air ducts which are located in the ceiling assembly. These items are highlighted in the diagram. Further, the energy to run the system is provided by a campus central plant, as part of the master plan.

The orientation of the building allows for the lobby and main circulation to be filled with eastern light to create a bright welcoming experience. The southern facade has vertical louvers to block direct light2022 while White | Winter still allowing in diffused daylight into educational spaces. The top massing features a sawtooth roof to allow in northern light into the smaller theatre/lecture hall to create a space with bright diffused daylight. Further, the building width is only 72’ in the educational/office side to allow for all programs to have access to daylight and not create any dark interior spaces.

The project uses a steel structural system to accommodate large spans in the theater. The structural grid is composed of square, 36’ by 36’ bays excluding the performance venue which will utilize deep steel trusses to span the required distances. Such trusses will also be used to accommodate cantilevers on upper floors. The system is primarily continuous and regular.

rooted in neighborliness and transition.

BUILDING SECTION

Caswell Espinoza | ARCH 307 | Studio

STRUCTURAL SYSTEM

The predominant wind direction of Logan Heights is from the north-west, behind the building. The wind is pulled in through the lower floors to ventilate the heavily populated lobby and workshop spaces. These floors are intentionally open to pull air in through operable glazing and exhaled through southern facing, louvered windows. Air flow opens into the quad of the campus to assist the ventilation of the school as a whole.

14 Winter 2022

HVAC SYSTEM

SOLAR RESPONSE

FORM/MASSING

VERTICAL LOUVERS

The building’s mass and orientation are guided by respect for its context. The project site in a college campus and a transition zone between Downtown and Barrio Logan demands a great attention to building height and orientation. The taller, heavier mass is to the north towards downtown, while the lighter end is oriented south to assist in the transitionary experience from one part of San Diego to another. Furthermore, the L-shape of the building opens to the college campus to create a more welcoming experience to the occupants and a more human-scale approach. Ultimately, the massing is

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NATURAL VENTILATION STRATEGIES

INTEGRATION DIAGRAMS

Caswell Espinoza | Jasmine Lin

6_SYSTEMS INTEGRATION REPORT (CONT’D)

EUI ANALYSIS

Caswell Espinoza | Jasmine Lin

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15 Winter 2022

Performance Model Current EUI Performance

Optimal EUI Performance EUI Goal from

The building performs at a low EUI mostly due to optimized systems (such as high effeciency air systems, LED lighting, and a shorter operating schedule) and low WWR. The most important factors (from Lab 3) that decrease EUI were a low WWR and lower amount of floors (or shorter floor to floor height.) As seen in Lab 2, L shape typologies perform relatively well as long as they are not above a certain height (around 5 stories). Our building performs well as the WWR is low on most of the faces of the building as the largest massing (theatre) requires no glazing. However, the tall height of the building and the large floor to floor height increases the EUI and due to the programming, the height will not decrease which will be a challenge to maintain the low EUI in the future. Further, the other sides (western and southern) will have more glazing in the future, but there will also be structural facade to provide shading to mitigate the heat. We are looking to continue refining massing, facade, and mechanical systems to decrease EUI.

6_SYSTEMS INTEGRATION REPORT (CONT’D)

STRUCTURAL GRID / ORGANIZATION

Caswell Espinoza | Jasmine Lin

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16 Winter 2022

When drawn in plan, the project’s structural grid is simple and effective. Its regular nature makes it practical and easy to manage program within. This grid and strategy were implemented throughout the design process as we tackled the merging of two unique programs in performance and vocational practices. We prioritized the relationships between program in the design and utilized consistency in structure to make this more feasible. Moving forward, we plan to evolve the structure to become a more integrated part of the building that ties form, sun shading, program, and structure all in one as per our revised section drawings. A large flexible roof piece will be utilized to shape the building in addition to assisting performance functions like lighting and acoustics. Simultaneously, it will function as a solar shading device and stormwater catchment for the limited rainfall of San Diego.

7_DESIGN PROCESS

Caswell Espinoza | Jasmine Lin

ENVIRONMENTAL DEGRADATION

Anjali Beekam | Cas Espinoza | Christian Gibson | Nancy Padilla

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17 Winter 2022

BIKE ROUTES

Which environmental threats are most aggressive in causing population displacement in Central and South America? Goal- To identify the factors leading to most immediate threat to the environment in Central and South America Audience- governing systems in San Diego

TROLLEY ROUTES

NATURAL DISASTERS IN CENTRAL AND SOUTH AMERICA

WATERFRONT PARK

GASLAMP DISTRICT

I-5

environmental degradation and its impact on immigration THE CIVIC THEATRE

USS MIDWAY MUSEUM

POLICE DEPARTMENT FIRE DEPARTMENT

THE NEW CHILDREN’S MUSEUM

SEAPORT VILLAGE WASTE TREATMENT MCA SAN DIEGO

ASSET MAPPING ANALYSIS: DOWNTOWN SAN DIEGO

BUILT ENVIRONMENT & HERITAGE Caswell Espinoza | Christian Gibson | Nick Goldschmidt | Noelani Maylad

nulli map law school campus precedents

asset mappying analysis of downtown San Diego landmarks

PETCO PARK

7_DESIGN PROCESS (CONT’D)

Caswell Espinoza | Jasmine Lin

post-it note adjacency study

mass-glass cardboard massing

iterative cardboard massings

iterative foam massings

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18 Winter 2022

7_DESIGN PROCESS (CONT’D)

Caswell Espinoza | Jasmine Lin

lego program massing iterations

NORTH FACING SECTION 0’

4’

8’

16’

32’

64’

SCALE: 1/16” = 1’-0”

iterative trace paper sections

section iteration exploring cinema theaters

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19 Winter 2022

7_DESIGN PROCESS (CONT’D)

Caswell Espinoza | Jasmine Lin

digital model in campus context

physical mass-glass model

campus map

performance space interior vignette

programmatic relationships in section

physical model in campus context

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20 Winter 2022

7_DESIGN PROCESS (CONT’D)

Caswell Espinoza | Jasmine Lin

21 Winter 2022

Studio White

23. CLASSROOMS 24. STUDY 23

25. FLEX OFFICE

16. PRINTING 17. STUDY 21

18. ACADEMIC SUPPORT 19. FLEX OFFICE 20. AMAZON GO 21. CLASSROOMS

22. DINING & STUDENT LIFE

16 22

south-west isonometric

outdoor dining space and distant performance venue

19 20

11. LANGUAGE PERFORMANCE CENTER

12. GATHERING 13. MOOT COURT 12

14. TOUCHDOWN 15. CLASSROOMS

6. LANGUAGE PERFORMANCE CENTER SUPPORT 8

7. CONFERENCE 7

8. ADMIN OFFICE 9. FLEX OFFICE 6

10. TOUCHDOWN

9 10

1. LANGUAGE PERFORMANCE CENTER 2. LANGUAGE DIALOGUE 2

3. REHEARSAL

4. CLASSROOMS 5. FOYER 4

FLOOR PLANS SCALE: 1/16” = 1’-0”

entry sequence and performance venue in section

floor plans

7_DESIGN PROCESS (CONT’D)

process work by Jasmine Lin

Caswell Espinoza | Jasmine Lin

Studio White

22 Winter 2022

8_PRECEDENTS

Caswell Espinoza | Jasmine Lin

Studio White

23 Winter 2022

ARCA Wynwood Design Center

Cultural Center Bottrop

Morpheus Hotel

The textured facade influenced the welcoming, murallike building face.

The program and organization in plan influenced early stages of the design process, merging culture and performance.

The impact of the form and structure inspire the interior experience shaped by the veil-like roof structure.

Kent State University College of Business Administration

Stade Jean-Bouin

Offices of Damiani-Holz & Ko.

This stadium is a driving factor in the course of determining a building form that utilizes a complex roof system.

The wooden slats of this project are visible in our project’s solar response on the southern face.

by Esrawe Studio + Superflex

by Perkins&Will

The openness and sectional relationships of program create a sense of desired connectivity.

by Boll Architekten

by Rudy Ricciotti

by Zaha Hadid Architects

by Modus Architects

9_WRITTEN REFLECTION

Caswell Espinoza | Jasmine Lin

Studio White

24 Winter 2022

How would you describe your studio’s project brief, in your own words? How did your instructor design and organize the studio to aid your development of this work over ther quarter?

Studio White is designing a college campus for a law school in Logan Heights, San Diego. As part of this design, we aim to reduce building footprints and be in considerate of the existing context. Within the campus plan, each group is designing on a proposed footprint in hopes that all of our projects will come together as a complete campus. This design was influenced and organized by Stacey through steps of research, reflection, and iterative modelling. It was very helpful having structured assignments to assist the design process and encouraged me to use my hands, cardboard, and trace paper. I spent a lot of time drawing and redrawing over those drawings to finally land in my many building designs. We also were structured by reviews which was both helpful but also frustrating when it came time to start over for the next one. It was an overall successful studio that I was very glad to participate in. Reflect on the state of your design project at the midpoint of the Two Quarter Studio, drawing upon the feedback you received in reviews, discussions with your studio instructor, and your own evaluation of your work. What do you feel are the project’s current strengths and weaknesses?

I am quite happy with where I am at the midpoint of this two quarter design studio. I restarted my project twice, essentially developing three unique buildings which took a lot of energy but was also super fun and informative. In the final three weeks of the quarter, we merged with partner, and I have been working with Jasmine Lin. We took the aspects of each of our projects to produce a new start on a building together, designing in Revit. This has been super exciting and a great learning experience for me. That aside, our project could benefit from a more engaging form and a better integration of building systems. Still, there is strength in the program and relationship to the entirety of campus. Reviewers found charm in my project’s playfulness in section, but sometimes found a lack of consideration for human scale.I am so excited to be able to take the criticism received in reviews and apply it to my project in spring quarter! What are some questions you need to answer, or decisions you need to make in order to move your project forward in Spring?

There are many questions that Jasmine and I still need to answer. We need to reevaluate and establish what we truly want our theater space to be and how that relates to the vocational and theater tech studios. We also need to look at how we can successfully evolve our structural system to become multi-functional, merging with mechanical and programmatic functions. We will also likely need to reconsider some of our basic design decision like the location of some programs and vertical circulation cores. The list can go on, but I will say that we could further our project in every dimension. We have a good start and are prepared to develop what we’ve started this winter. Did ARCH 307 lectures and/or labs influence your thinking or approach in your design studio project this quarter? If so, how?

Yes, many lectures had an influence on our design. Identifying which passive design strategies are most successful in our location is alsways helpful in deciding how to approach daylighting and ventilation. Tech has also shed light on the floor plate and floor to floor height. We have paid extra attention to what is in the floor poche and what a good floor to floor height might be for a specific program and how that relates to our project’s EUI. Within the tech lectures, there has also been a few shining precedents that seemed to apply to our project with strategies that we could implement ourselves. The most important aspect of tech might have been the integrated section and project report. It forced Jasmine and I to look at our project and identify which systems are the best fit and how they can be implemented. It is nice to see tech work hand in hand with studio to make a more cohesive project.

9_WRITTEN REFLECTION (CONT’D)

Caswell Espinoza | Jasmine Lin

Studio White

25 Winter 2022

Did the ARCH 307 Integrated Section influence your thinking or approach in your design studio project this quarter? If so, how?

Yes, the section encoruaged the tackling of many techinal issues in our studio project. It, at the very least, identified what systems are incorrect or just not a good fit for a project. In being able to see what worked and what didn’t, it will be that much easier to continue development in the spring. It also is a good way to apply tech to a project that it hasn’t already been applied to. Rather than a precedent project, we got to look at and struggle with the systems ourselves. I hope to find more succes in a new integrated section next quarter. Did Common Hour presentations and pin-ups influence your design studio project this quarter, or contribute to your education more broadly? If so, how? Do you have any suggestions for improving Common Hour in the Spring, or in future years?

Pin-ups and common hour had minimal impact of my studio project. Honestly, pin-ups mostly make me feel self conscious about my work rather than encouraging me to learn from others. I generally feel a lot harder on myself during a pinup, but it is nice to get to see other students and their work. Common hour is much more enjoyable. I was particularly a fan of the professors’ getting to speak on something they are passionate about. In this way, I got to know the faculty a bit better, even the studio professors I had never taken. They are educational, personal, low-stakes and enjoyable. There are always takeaways, some more applicable to your project than others. I think that is representative of what architecture is, always unique and passionate. I would love to see more common hours like the ones we had this quarter in the future. Were there other outside influences that informed your design studio project this quarter? This could be other courses you were taking this quarter, previous courses, the Hearst Lecture Series, or things outside of school such as art, current events, personal experiences, etc..

The largest outside influence on my studio project was my personal experience with theater and performance. My whole life I performed in local and school productions, and it has been really helpful in designing a performance venue. It is that much easier to visualize occupants, function, and the many feelings and interactions that will be felt there. I also have worked as an assistant director for local productions so I have experience working with actors and professional administration. My desogn process is also heavily informed by our studio field trip to visit the site. There is nothing quite like seeing the site in person and experiencing it in a physical way. The context, community, and development are all easy to hear about, but are totally different to see and feel. We have been trying to design with empathy this quarter, and the site visit has been quite helpful. One final influence was the television show How to Get Away With Murder. It is a rather embarrassing example, but it has assisted in my understanding of law students and how they would occupy a space and communicate with their clients. Of course, I take it with a grain of salt because not everything on TV is true, but it could be a little bit realistic. Overall, I have influences for each aspect of the project, and they each have had a postive impact in the design process.

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LOCATION:

DESIGN STRATEGIES: JANUARY through DECEMBER 45.5% 1 Comfort(3986 hrs) 28.1% 2 Sun Shading of Windows(2464 hrs)

COMFORTABLE NOT COMFORTABLE

32.73° North, 117.17° West, Time Zone from Greenwich -8 TMY3 722900 WMO Station Number, Elevation 13 ft RELATIVE HUMIDITY

COMFORT INDOORS 93%

San Diego Lindbergh Field, CA, USA

Latitude/Longitude: Data Source:

LEGEND

90 100%

.028

5 Direct Evaporative Cooling(0 hrs) WET-BULB 6 Two-Stage Evaporative Cooling(0 hrs) TEMPERATURE 7 Natural Ventilation Cooling(2213 hrs) DEG. F 80 8 Fan-Forced Ventilation Cooling(0 hrs) 9 Internal Heat Gain(1539 hrs)

25.3% 17.6%

.024 80

DEW POINT TEMPERATURE, DEG. F

10 Passive Solar Direct Gain Low Mass(0 hrs) 11.5% 11 Passive Solar Direct Gain High Mass(1005 hrs) 12 Wind Protection of Outdoor Spaces(0 hrs) 13 Humidification Only(0 hrs)

PLOT:

14 Dehumidification Only(0 hrs) 15 Cooling, add Dehumidfication if needed(0 hrs) 70 16 Heating, add Humidification if needed(0 hrs)

COMFORT INDOORS

Hourly

Daily Min/Max

All Hours

Select Hours

1 a.m.

JAN

12 a.m.

through

All Months

Select Months through

DEC

JAN

1 Day

1 Hour

1 a.m.

1 Month

2 92.6% Comfortable Hours using Selected Strategies (8111 out of 8760 hrs)

TEMPERATURE RANGE: 10 to 110 °F

Display Design Strategies

Fit to Data

Show Best set of Design Strategies

40 30 10 10

.020

70 .016

.012 60

.008

.004

20 10 0 30

Click on Design Strategy to select or deselect.

50 60 70 80 DRY-BULB TEMPERATURE, DEG. F

Target EUI and other energy requirements refer to the performance of the building, outlining goals to be achieved through design.

90 60%

80%

90%

3 High Thermal Mass(0 hrs) 4 High Thermal Mass Night Flushed(169 hrs)

1.9%

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HUMIDITY RATIO

PSYCHROMETRIC CHART California Energy Code

Dry Bulb Temperature in Downtown San Diego throughout the year, showing general weather and comfortable temperatures.

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Back

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The psychrometric chart illustrates dry-bulb temperature and humidity per hour of the year to highlight which times are most comfortable. This chart also offers design strategies to help achieve a comfortable temperature in a building when it is uncomfortable outside.

EUI & CLIMATE ANALYSIS DESIGN

DOWNTOWN SAN DIEGO Caswell Espinoza | Studio White | Winter 2022

Factory on the Earth Ryuichi Ashizawa Architect & Associates Johor, Malaysia SUN SHADING This passive design strategy is the most effective in maintaining a comfortable temperature during hotter times of the year in San Diego. Providing shade is a simple yet effective way of making a building more comfortable. 44th Street House Joseph Hurley Architects 44th Street, Seattle, WA, USA PASSIVE SOLAR DIRECT GAIN Thermal massing and internal heat gain is an effective strategy at keeping a building warm by absorbing heat throughout the day. Simple moves like a darker floor make this strategy easy to implement.

Morerava Cottages AATA Arquitectos Hanga Roa, Easter Island, Chile NATURAL VENTILATION Natural ventilation is a great way of utilizing the climate conditions of the site to cool a building. Cross ventilation and stackventilation can both be used to move air across, up, and out of a space. Institute of Environmental Sustainability Solomon Cordwell Buenz

Loyola University, Chicago, IL, USA INTERNAL HEAT GAIN Internal gains refer to the heat produced by equipment, systems, and people. This heat can be kept in the building to create a warmer temperature.

Wind rose illustrating the prevailing wind direction and wind speeds of Downtown San Diego.

EUI & CLIMATE ANALYSIS DESIGN

DOWNTOWN SAN DIEGO 3D sunpath chart at existing California Western School of Law. Visualizes the movement and placement of the sun throughout the year with corresponding Dry Bulb Temperature data.

Caswell Espinoza | Christian Gibson | Nick Goldschmidt | Noelani Maylad

TEAM MATRIX GABY GUEVARA CASWELL ESPINOZA STACEY WHITE PHOENIX, AZ 100,000 SQFT TARGET EUI: 27

EUI: 44 kBtu/ft2/yr Total S.F.: 210211 S.F. (210.2% of Target S.F.) # of Stories: 10 F.F. Height: 14 WWR: 0.357 S:V Ratio: 45:1000 90:1000 Put your notes here

EUI: 44 kBtu/ft2/yr Total S.F.: 200588 S.F. (200.5% of Target S.F.) # of Stories: 9 F.F. Height: 14 WWR: 0.357 S:V Ratio: 45:1000 79:1000 Put your notes here

EUI: 46 kBtu/ft2/yr Total S.F.: 173392 S.F. (173.3% of Target S.F.) # of Stories: 9 F.F. Height: 14 WWR: 0.357 S:V Ratio: 49:1000 100:1000 Put your notes here

EUI: 41 kBtu/ft2/yr Total S.F.: 188460 S.F. (188.4% of Target S.F.) # of Stories: 9 F.F. Height: 14 WWR: 0.357 S:V Ratio: 45:1000 Put your notes here

EUI: 41 kBtu/ft2/yr Total S.F.: 202140 S.F. (202.1% of Target S.F.) # of Stories: 9 F.F. Height: 14 WWR: 0.357 S:V Ratio: 44:1000 Put your notes here

EUI: 39 kBtu/ft2/yr Total S.F.: 260460 S.F. (260.4% of Target S.F.) # of Stories: 9 F.F. Height: 14 WWR: 0.357 S:V Ratio: 39:1000 Put your notes here

EUI: 43 kBtu/ft2/yr Total S.F.: 215782 S.F. (215.7% of Target S.F.) # of Stories: 9 F.F. Height: 14 WWR: 0.357 S:V Ratio: 106:1000 48:1000 Put your notes here

EUI: kBtu/ft2/yr Total S.F.: 185926 S.F. (185.9% of Target S.F.) # of Stories: 9 F.F. Height: 14 WWR: 0.357 S:V Ratio: 47:1000 77:1000 Put your notes here

EUI: kBtu/ft2/yr Total S.F.: 107446 S.F. (107.4% of Target S.F.) # of Stories: 9 F.F. Height: 14 WWR: 0.357 S:V Ratio: 63:1000 50:1000 Put your notes here

SUMMARY As we explored, Gaby and I had a variety of results regarding EUI. We found that it was influenced by many factors including building form, glazing, and floor to floor height. Floor to floor height was the most influential when determining the EUI. Gaby explored more forms with extrusions while I investigated forms with more courtyard and atrium spaces. One problem that we both should work to fix in further development is attention to square footage since our iterations were far to large. This might look like fewer floors or larger atrium spaces in the bigger picture. Either way, it is our understanding that a smaller floor to floor height is the most important factor in lowering a building’s EUI.

INDIVIDUAL MATRIX CASWELL ESPINOZA STACEY WHITE

PHOENIX, AZ 100,000 SQFT TARGET EUI: 27

SUMMARY

In my own exploration, I was able to come to the same conclusions. A smaller floor to floor height is best for reducing EUI. Of two buildings with similar square footage, the building with more floors had a lower EUI which is also an indication of the significance of floor to floor height. At the same time, between two similarly sized buildings, the smaller EUI belonged to the building with a U shape instead of a more simple rectangular form. This indicates that a greater amount of glazing or surface are could contribute to a lower EUI.

INDIVIDUAL STUDY 1 CASWELL ESPINOZA STACEY WHITE

PHOENIX, AZ 100,000 SQFT TARGET EUI: 27

STUDY SUMMARY

TOTAL S.F.: 101898 S.F. (101.8% OF TARGET S.F.) # OF STORIES: 11 F.F. HEIGHT: 12 WWR: 0.621 S:V RATIO: 83:1000

This study yielded an EUI of 28. This study explored a form with an atrium and investigated the impact of a short floor to floor height. This study was the most successful as the EUI was only one unit away from the target. It can be understood from the study that a shorter floor to floor height will lower EUI as it is less space that needs to be conditioned. At the same time, the WWR and S:V Ratio appear to be directly related to EUI efficacy as lower EUI tends to follow lower WWR and S:V Ratio.

INDIVIDUAL STUDY 2 CASWELL ESPINOZA STACEY WHITE

PHOENIX, AZ 100,000 SQFT TARGET EUI: 27

STUDY SUMMARY

TOTAL S.F.: 102532 S.F. (102.5% OF TARGET S.F.) # OF STORIES: 19 F.F. HEIGHT: 18 WWR: 0.355 S:V RATIO: 78:1000

This study yielded an EUI of 34. This exploration exaggerated the number of stories and floor to floor height while removing the courtyard space. It appears that the number of stories has little impact on the EUI as 34 is not particularly higher than the other studies. However, it can be said that the drastic increase in floor to floor height greatly increased the EUI. I believe that the building’s tall floor heights are some what balanced by the low WWR and S:V Ratio to keep a relatively tame EUI.

INDIVIDUAL STUDY 3 CASWELL ESPINOZA STACEY WHITE

PHOENIX, AZ 100,000 SQFT TARGET EUI: 27

STUDY SUMMARY

TOTAL S.F.: 99754 S.F. (99.7% OF TARGET S.F.) # OF STORIES: 11 F.F. HEIGHT: 14.5 WWR: 0.75 S:V RATIO: 80:1000

This study yielded an EUI of 36. I wanted to make the floor to floor heights less extreme in this study to highlight the effects of the other factors. Doing so reinstated the minimal impact of the number of stories as this iteration had a worse EUI than the previous iteration with 19 stories. The WWR saw a pretty large increase in the study, and thus an increase in EUI. Larger glazing percentage on as building could make the space more susceptible to things like overheating which require more energy to make comfortable.

TEAM MATRIX GABY GUEVARA CASWELL ESPINOZA STACEY WHITE SAN DIEGO, CA 100,000 SQFT TARGET EUI: 27