CPP ARC 2015 by CPP ARC

California State Polytechnic University Pomona Department of Architecture

California State Polytechnic University, Pomona Department of Architecture A year of studio projects, lecture work, research, events, and theses

Cover image: Manny Zermano

CONTENTS CH A IR â&#x20AC;&#x2122; S NOT E

IN T RODUC T ION

NEU T R A PRIZE 2015 NO ON L EC T URE SERIE S TOPIC S T UDIOS / EL EC T I V E S

10 12

Loose Fit Tight Wrap 14 Wine + (PRECAST) Design (in the 21st Century) 16 Bobby Brooks Disney Imagineering Studio 18 ENV China Summer Study Abroad Program 20 The Heresy of Function 22 New Institute for the Study of Jazz 24 Preservation and Adaptive Reuse 26 Spaceport LA 28 Carbon Neutral Design Studio 30 Fourth Year Design 32 Form-Active 34 A-Typical Craft - Digital Design 36 Architecture and Historic Preservation 38 Harada House Landscape Rehabilitation 40 Spring Lake Camp Site Design 42 Digital Fabrication 44

FOUNDAT ION

Introduction to Architectural Design I Introduction to Architectural Design II Second Year Design I Second Year Design II Second Year Design III Introduction to Architecture Design I The Future Primitive Hut Intermediate Architectural Design Studio

T ECHNOLO G Y

Third Year Design I Comprehensive Studio I Comprehensive Studio II Architectural Design I Architectural Design II Environmental Control Systems Animation Design Methods Building Construction Sequence Structures Sequence

SENIOR PROJEC T / G R A DUAT E T HE SIS

48 50 52 54 56 58 60 62 64

66 68 70 72 74 76 77 78 79 80

Catalyst Design 82 Utopias 86 Housing - Degree project 90 Infrastructures 94 Graduate Thesis Project 98

PRO G R A M S

102

A DMIS SION

103

CREDI T S

106

CHAIR’S NOTE Simply stated - at CPP ARC we prepare students to become architects. To do this, we balance the aspirational with the pragmatic. We educate students to understand the profession as it exists today and help them to imagine what it might become. Our disciplinary concerns are not about servicing conventional architectural practice but to give students the necessary grounding for them to advance the profession. In our lecture courses and studios, we guide students to look to technique, to material and structural possibilities, to digital technology and fabrication, to the principles of sustainability, to the expressive potential of architectural representation, to research and precedents, and to the pragmatic constraints of construction in order to generate appropriate architectural responses to particular situations. Students are also asked to balance these disciplinary concerns with all manner of aesthetic and moral value judgments, based on their own biases and those fostered by the faculty.

Having students understand the cultural and aesthetic biases that shape the “profession”, as well as having them understand how “professional” knowledge has been constructed, is central to being able to create progressive architecture. At CPP ARC, students typically begin a design project by evaluating the constraints and opportunities of their design “project” (typically a building, but possibly something smaller, or less concrete, or more expansive). They then develop a formal and material response that is appropriate to the culture that the “project” is being designed to exist within. It is through our disciplinary focus and our emphasis on understanding the cultures we inhabit that we advocate for “architecture’s broader purpose, its public significance, its role in creating sustainable environments, and its provision of service to society.” The work showcased in this publication is but a small sample of all that we do well at Cal Poly Pomona. Sarah Lorenzen Chair and Professor

INTRODUCTION Cal Poly Pomona’s Department of Architecture’s position within the diverse design culture of Los Angeles allows a multi-layered exchange of ideas through events, lecture series (including the Neutra Prize), and juried presentations of student work. The department is also fortunate to have extensive resources with which to illustrate the history of Southern California architecture, such as the Neutra VDL House and archival collections from Raphael Soriano, Craig Ellwood, Donald Wexler, and Richard Neutra. This book comprises recent studio projects, lecture work, research, and theses projects. The work demonstrates CPP ARC’s design strengths, professional knowledge base, and its strong polytechnic foundation. The work encompasses a large variety of project types and attitudes about architecture promoting debate, experimentation, and creative exploration throughout the curriculum. The book is organized into four sections: Topic Studios, Foundation Studios, Technology Courses, and Senior Project / Graduate Thesis. These four sections are major elements of the department’s architectural education. Topic Studios, in particular, provide a platform for multifaceted research and discussion within and beyond the department of architecture. Many involve cross-disciplinary interactions with other departments and colleges in order to push architecture beyond its traditional boundaries. Foundation courses concentrate on the core and logic of the discipline. Technology courses show the interaction with the physical environment in which architecture takes place. Senior Project / Graduate Thesis section showcases the students’ culminating design projects.

Marc Schulitz Editor Assistant Professor

Although this book shows only a small portion of the work being produced at CPP ARC, it effectively represents the vibrant disciplinary debates taking place at the school.

NEUTRA PRIZE The Richard J. Neutra Medal for Professional Excellence is awarded by the Department of Architecture in the College of Environmental Design at California State Polytechnic University, Pomona. The award is in recognition of the many contributions Mr. Neutra made to the practice of architecture in the areas of research and design. The intent, as articulated by Richard Neutra’s family is to “keep alive the memory of Richard Neutra by rewarding individuals who have dedicated their careers toward researching and developing new environments in which to work, live and play”. 8

Established in 1980 the Neutra Prize has been given to prominent architects and landscape architects as well as to individuals outside of these professions that have made enduring contributions to environmental design and public policy. The award guidelines encourage the recognition of individuals who have “advocated the opening of wider and more serious channels of communication between the professions of Architecture, Landscape Architecture and Urban and Regional planning.” In addition, the guidelines favor an individual “whose research and/or project development has made a contribution to the body of knowledge related to environmental design.” In this manner, the award guidelines are prescient in stressing the interdisciplinary nature of environmental design, a value we promote to our students as they prepare for professional practice.

1980 Konrad Wachsmann

1995 Frances H. Dean

1981 Raphael Soriano

1996 Albert Frey

1982 Harwell Hamilton Harris

1997 John T. Lyle

1983 Garrett Eckbo

1998 Glenn Murcutt

1984 Ralph Rapson

1999 Al Gore (VPotUS)

1985 Erich Schneider-Wessling

2000 Rafael Viñoly

1986 Lawrence Halprin

2001 Kim Abeles

1987 Ray Kappe

2002 Samuel Mockbee

1988 Kisho Kurokawa

(posthumous award)

1989 Herman Hertzberger

2004 Sim Van der Ryn

1990 Roberto Burle Marx

2007 Ilze & Grant Jones

1991 Renzo Piano

2011 Thom Mayne

1992 lan McHarg

2012 Tadao Ando

1993 Moshe Safdie

2014 Michael Rotondi

1994 Jamie Lerner

2015 Enrique Norten

2015 NOON LECTURE SERIES The 2015 Noon Lecture Series in the Department of Architecture was made possible by the Henry Woo Lecture Series Fund.

Winter Quarter

Spring Quarter

Fall Quarter

TOPIC STUDIOS / ELECTIVES Katrin Terstegen

Loos e Fit T ig ht Wr ap

Robert Alexander ARC Mikhail Gershfeld CE

Wine + (PREC A S T) De sig n (in t he 21s t Centur y)

Irma Ramirez ARC Andy Wilcox LA

Bobby Brook s Disney Imag ineering Studio

Irma Ramirez ARC Courtney Knapp URP

ENV China Summer Study Abroad Prog r am

Frank Clementi Sarah Lorenzen

The Here s y of Func t ion

Dennis McFadden

New Ins t itute for t he Study of Ja z z

Barry Milofsky

Pre s er v at ion and Adapt ive Reus e

Marc Schulitz ARC Mikhail Gershfeld CE

Spacepor t L A

Pablo LaRoche

C arbon Neut r al De sig n Studio

Luis Hoyos

Four t h Year De sig n

Marc Schulitz

Form-Ac t ive 3 4 Michael Fox

A-Typic al Cr af t - Dig it al De sig n

Lauren Weiss Bricker

Architec ture and His toric Pre s er v at ion

Lauren Weiss Bricker ARC Keiji Uesugi LA

Har ada Hous e L ands c ape Rehabilit at ion

Juintow Lin

Spring L ake C amp Site De sig n

Behn Samareh

Dig it al Fabric at ion

Katrin Terstegen

ARC 401/405

LOOSE FIT TIGHT WRAP The studio investigated problems and potentials of interstitial spaces – unprogrammed spaces that form a threshold between highly specific areas but also have the potential to become destinations in their own right. Rather than prescribing a fixed program, these spaces allow for activities and program to emerge organically and unexpectedly. We investigated how these spaces can be shaped and organized to allow for ad-hoc uses to emerge, and simultaneously studied their boundaries – both against the core and as the building’s envelope against the city. This envelope can either engage its content as a “tight wrap” or a “loose fit” determining the way the building is perceived and its program made legible on the exterior. Subsequently, the studio followed two trajectories: the design of the interstitial space (from the inside out) as well as the design of the shape and skin of the building (from the outside in).

In seeking to explore the opportunities of this approach, a concert hall located on Wilshire Boulevard in Westwood was used as program and site of the investigation. Few other building programs have more specificity than a concert hall’s auditorium, governed by acoustical and other technical requirements that almost entirely predetermine its shape. Leaving its design to the respective experts, we took an existing auditorium and transplanted it into the project, leaving it with an immutable, empty core, and designing the building around it.

Kyat Chin Alejandra Ramirez

Robert Alexander ARC Mikhail Gershfeld CE ARC 401/405

WINE + (PRECAST) DESIGN (IN THE 21ST CENTURY)

Necils Lopez

While the wine industry in California adapts to changing climatic, economic, and geographic pressures, the architectural technologies and landscapes aiding in its production must also adapt. This joint course was offered by the Department of Architecture and the Department of Engineering; it explored the use of precast concrete in building types associated with wine production in Southern California. Over the course of the quarter, students traveled to places characterized by a diverse set of growing conditions, climates and topographies. They were then asked to develop a site-specific project for a winery and education center on the campus of Cal Poly Pomona utilizing and optimizing precast concrete systems in their designs. The experience of seeing, smelling and tasting along with their newfound knowledge of the potential of precast concrete systems was key in the development of a new type of wine education environment. This building type was tailored to the climate and culture of Southern California and Cal Poly Pomona.

Isa Mattia Karina Spassova Adrian Newcomb Yanelli Monjaras Arielle Mascarinas

Irma Ramirez ARC Andy Wilcox LA ARC 401/405

BOBBY BROOKS DISNEY IMAGINEERING STUDIO This course is an interdisciplinary studio and collaboration between the College of Environmental Design (ENV) and Walt Disney Imagineering (WDI) in which students from Architecture and Landscape Architecture work in collaboration with members of the WDI creative cast. The topics and teaching methodology are based on the creative storytelling culture of Disney, designed to make a studio in which students visualize cities of the future founded on local cultures of the City of LA. The studio project, Ofrendas to the City, was inspired by the Day of the Dead Celebration, a ritual of immense significance to the Mexican people, and one that has come to have a larger mass impact. The Day of the Dead is a cultural event that celebrates death and the dead in various ways: familiar or personal, communal or public, and respectful yet humorous and lighthearted. The event gained mainstream value because of the very universal and shared status of death, one which all human beings inevitably face. In this ritual, people build altars as a way of venerating the dead and therefore recognize and ultimately accept it as a natural part of life. As such, it serves as a unifying ritual of the living with strong elements of construction of place, human interaction, and meaning/ respect for the past. The idea of an Ofrenda within this studio context is both a private and a public act, and it is one that occurs at different scales: in the private domain of the house to the public domain of the city.

Lam Chi

It can also be a formal or informal act and has deep personal and collective meaning. As such, it has the potential of bringing people together in the common spaces of the city and presenting shared values within the myriad individual or communal representations of offering. The resulting projects explored themes of cultural resistance, history

Irma Ramirez ARC Courtney Knapp URP NCUT: IZhang Bo

ENV CHINA SUMMER STUDY ABROAD PROGRAM

Qin, Ke Wang, Biao Yassar Khadour ARC 401/405

The ENV China Program is is an intense travel and study experience and an interdisciplinary collaboration between the College of Environmental Design Disciplines and North China University of Technology. The studio focuses around issues of cultural and historic themes that address the fastpace development in China and its impact on historic quarters in Beijing. Student Project Statement: The Restorative City, Sichahai Beijing. Shichahai is a network of pocket parks that support personal and community health, sustenance, social gathering, memory and storytelling, and emotional reattachment to the natural environment. This network accommodates both tourists and local residents in order to foster intercultural understanding and common ground. The goals of the design project are to enhance the hutongsâ&#x20AC;&#x2122; cultural identity by creating diverse gathering spaces that combine natural and human elements, and to develop views and vantage points as way finding elements to bridge the connection from the Hutongs to the central axis and drum and bell towers.

CPP Students: Zenas Guo Alan Hu Joseph Jamoralin Lorena Jauregui Artuno Ortuno Julianne Pineda Eddy Solis NCUT Students: Mutsawashe Chipfumbu Cindy Feris Vanessa Lin Serge Umurinzi Mary Wang Cinnamon Zhang

jin dynasty 1115-1234

pocket spaces

beihai park yuan dynasty 1271-1368

jingshan park

ming dynasty 1368-1644

Frank Clementi Sarah Lorenzen ARC 401/405

THE HERESY OF FUNCTION Through a series of experiments we developed architectural prosthetics to apply function to existing civic or sacred structures. These augmentations created complete, if however incongruous, symbioses of function and meaning.

Our fundamentalist-modernist forefathers exalted rational usefulness over the itchy visceral prurience of feeling. Their dictates demanded that form should follow function exclusively. Their edicts excoriated those guilty of the transgression of ornament. Members of the Bauhaus saw their factories as monuments and freeways as their plazas.

Yet monuments persist exactly because they provide something other than utility. From the Eiffel Tower, to the Statue of Liberty, to our own Hollywood Sign; from New York’s Grand Army Plaza to the Ka’aba in Mecca, monuments provide a locus wherein people attach memories and beliefs. Useful buildings only augment our naked inabilities, mechanically— whereas monuments extend our understanding, metaphysically.

Manny Zermano Parker Ammann

Our studio assimilated the mechanical and the metaphysical. We researched the individual significances embodied in renowned monumental structures and identified their intended and evolved cultural value. We then proposed and crafted proper programs and constructs that were grafted back onto the existing structures in order to press these symbols into more mundane service: “A Cyborg Rushmore.”

Dennis McFadden

ARC 401/405

Vincent Nguyen Kevin Nicholson

NEW INSTITUTE FOR THE STUDY OF JAZZ The Studio explored program-driven public buildings through the design of a new Institute for the Study of Jazz in the demanding context of Occidental College. The structured coherence of a small college campus, of which Occidental is representative example, exists in a balance between continuity and change, memory and aspiration. Each new building is an opportunity to reconsider the balance of the whole through the transformation of an individual part. The 35,000 SF program, although modest in size, contained a rich diversity of spaces, from small individual practice rooms to a stepped recital hall. The complexity of the program required students to consider program-driven design strategies that established relationships in plan and section as a starting point for generating a formal language. At the same time, the sloping site, bounded on two sides by existing buildings of historical significance to the College, demanded a formal and spatial strategy that responded to external forces. Initial exercises included the analysis of a variety of university campuses with an emphasis on how they have evolved over time, and a one-week charrette design of a freestanding recital hall on the site. This charrette exercise allowed the students to concentrate on the centerpiece of the larger program as well as actively test the site. Design explorations for the final project, once past the initial program organization studies, were heavily focused on movement, sequence and hierarchies of campus public space. In a final studio charrette near the end of the quarter, the students developed large-scale wall section sketch drawings as a prelude to finalizing their material selections and the design of the exterior wall surfaces.

Barry Milofsky

ARC 401/405

PRESERVATION AND ADAPTIVE REUSE Through the adaptive reuse of the Bullocks Department Store in downtown Los Angeles, the course introduced the contemporary practice of historic preservation for buildings. Emphasis was placed on information that will be applicable to the treatment of the buildings in the United States. Students had the option of exploring reuse as a Boutique Hotel, Music School or Mixed Use Live/ Work development. The lectures and field trips emphasized several themes: 1) Regulatory aspects that affect the practice of preservation in architecture; 2) American (and Western U.S.) preservation practices, with an emphasis on historic districts, including the variety of methodologies available for the documentation of the cultural and physical history of the site; 3) Appropriate treatments for historic sites and buildings; 4) Design issues in historic preservation; 5) Application of these issues in the area of community revitalization; and 6) Adaptive Reuse as a preservation tool.

Allyson Bradford Denise Nguyent

Marc Schulitz ARC Mikhail Gershfeld CE ARC 402

SPACEPORT LA As we are entering an epoch of space travel, the search for an adequate architectural expression for the gateway to outer space has begun. The studio focused on the design of a spaceport in the south of the Antelope Valley for sustainable space transportation solutions. Just as airplanes and space planes need to be designed with a minimal amount of material, a sustainable design approach in architecture needs to consider the same criteria. A planeâ&#x20AC;&#x2122;s elegance is determined solely by performance and aerodynamics. Architectural expression can be developed out of the buildingâ&#x20AC;&#x2122;s performance in the same manner. Principles of space vehicle and airplane design were incorporated and adapted to the architectural and structural design. This course was a collaborative effort of the Departments of Architecture and Civil Engineering.

Vincent Nguyen Isabel Mattia Kyat Chin

Pablo LaRoche

ARC 402

CARBON NEUTRAL DESIGN STUDIO Sustainability and the road to carbon neutrality involves many variables, usually grouped in three broad dimensions: social, economic and environmental. In this 8th edition of the Carbon Neutral Design Studio students considered these variables in their design of a net zero energy multifamily building, a challenge that has seldom been addressed. Their goal was to address this challenge and design a sustainable, low-cost, innovative, and locally responsive net zero energy building that responded to neighborhood scale. Students participated in the PERFORM 2015 Building Design Competition and one of the students won the second prize. The buildingâ&#x20AC;&#x2122;s energy performance was a major focus of this competition, so this was an opportunity for students to develop strong performance-based analysis skills using state-of-the-art digital tools when appropriate.

Hayden Moore Benjamin Tunigold Jessica Radparvar Alejandra Ramirez

Luis Hoyos Sarah Lorenzen Allyne Winderman

FOURTH YEAR DESIGN

ARC 403

The studio and the associated lecture course provided a theoretical and practical survey of the field of urban design with an emphasis on the role of the designer in the shaping of the built environment in terms of architecture and landscape design. The courses worked together to explain the complex social, environmental, economic, aesthetic and political/ regulatory forces that affect the choices designers face in contemporary practice. Students completed assigned readings and writing assignment (for the lecture course) in addition to conducting urban design research, a master plan and a final design proposal. Student teams were asked to design a mixed-use retail and entertainment project which included a hotel, restaurants and night clubs on a parcel in West Hollywood, CA.

Leh Shyu Kao Liang Sebastian Zeberle Jonathan Orquiz

Marc Schulitz

FORM-ACTIVE

ARC 499

The seminar was centered on the exploration of space, structure, and force. The course investigated different geometries and translated them into architectural design solutions that are formactive, meaning that the form solely determines its stability. The logic of forces and structural assembly can be utilized to generate design strategies that are spatially compelling and extremely efficient. Efficiency becomes more and more important as demand in resources keeps rising; availability of material decreases and the limitations of a material’s life-cycles oblige architects to seek intelligent design solutions. Between the poles of form-finding and form-giving, students establish a mindset to adequately and responsibly design complex geometries.

1.87’

2.75’

0.88’

7.10’ 7.10’

3.40’ 3.40’

3.32’ 3.32’

1.78’ 1.78’ 5.10’ 5.10’

10.50’ 10.50’

Elevation Elevation A A 1/2” 1/2”=1’-0” =1’-0”

Elevation Elevation BB 1/2” 1/2”=1’-0” =1’-0”

44 AA 33

55 66 77

BB 22

CC 11 D D EE

G G

Plan Plan 1/2” 1/2”=1’-0” =1’-0”

Prespective Prespective

AA AA BB

BB CC

CC D D D D

G G

FF G G

Plan Plan 1/2” 1/2”=1’-0” =1’-0”

.083’ .083’

.76’ .76’

.083’ .083’

.71’ .71’

.083’ .083’

.54’ .54’

1.54’ 1.54’

1.10’ 1.10’

.09’ .61’ .61’ .083’ .083’.09’

1.09’ 1.09’

1.22’ 1.22’

.083’ .083’

1.06’ 1.06’ 3.34’ 3.34’

.64’ .64’

1.04’ 1.04’

1.20’ 1.20’

5.21’ 5.21’

1.45’ 1.45’

1.46’ 1.46’

.083’ .083’

1.39’ 1.39’

7.36’ 7.36’ 8.17’ 8.17’

1.46’ 1.46’

1.26’ 1.26’ 1.54’ 1.54’

.083’ .083’

1.35’ 1.35’

.70’ .70’

1.39’ 1.39’

.87’ .87’

44 33

Abigail Robles Pedro Cuin

11 55 77

33 44

55 66 77 88

Plan Plan 1/2” 1/2”=1’-0” =1’-0”

1.41’ 1.41’ .89’ .89’

1.00’ 1.00’

.083’ .083’

Materials 3.05’ 3.05’

.083’ .083’ .083’ .083’

.59’ .59’

1.46’ 1.46’

.083’ .083’ .35’ .35’

1.12’ 1.12’

.11’ .39’ .39’ .083’ .083’.11’

.84’ .84’

.21’ .083’ .083’.21’

.46’ .46’

.43’ .43’

.97’ .97’

.74’ .74’

.95’ .95’

.71’ .71’

.083’ .083’

.96’ .96’

.63’ .63’

1.03’ 1.03’

.71’ .71’ 2.56’ 2.56’

1.26’ 1.26’

4.77’ 4.77’

.73’ .73’

.083’ .083’

1.44’ 1.44’

4.66’ 4.66’

5.03’ 5.03’

4.28’ 4.28’ .53’ .53’

3.43’ 3.43’

.56’ .56’

.61’ .61’

4.51’ 4.51’

.083’ .083’

8.72’ 8.72’ 7.55’ 7.55’ cd cd

.63’ .63’

.45’ .45’

.083’ .083’

1.11’ 1.11’

.65’ .65’ .49’ .49’ .66’ .66’

.083’ .083’

1.20’ 1.20’ .93’ .93’

.60’ .60’

.65’ .65’

bc bc

.75’ .75’

.41’ .41’ .50’ .50’

.083’ .083’

Wood Wood 33.99 33.99 ft ft

Screws Screws ++ Washers: Washers: 94 94 Wood: Wood: 76.73’ 76.73’ Metal Metal Rod: Rod: 30.0’ 30.0’

.083’ .083’

1.29’ 1.29’

.94’ .94’

4.75’ 4.75’

ab ab

.083’ .083’

Wood Wood 42.74 42.74 ft ft

Daniella Martinez Yanelli Monjaras

1.21’ 1.21’ 1.38’ 1.38’

.76’ .76’

.083’ .083’

.80’ .80’

1.57’ 1.57’

1.02’ 1.02’

1.34’ 1.34’

1.29’ 1.29’

3.72 3.72

1.14’ 1.14’

1.35’ 1.35’

8.81’ 8.81’

6.13’ 6.13’

.083’ .083’

1.30’ 1.30’

.083’ .083’ .53’ .53’

.083’ .083’

.62’ .62’

.083’ .083’

A5 BAG OF BARS WITH CUTS

A5 BAG OF BARS WITH CUTS Abigail Robles Pedro Cuin

Abigail Robles Pedro Cuin

1. side view 2. close up view 3. close up view 4. side view 5. side view 6. side view

A4 TENSILE

Michael Fox

ARC 452

A-TYPICAL CRAFT - DIGITAL DESIGN The aim of the course was to develop the skills necessary to explore, think about, and design in a digital world with a responsive approach to both materiality and craft. The course provided both theoretical and practical foundations in the technological tools necessary for the physical modeling of systems derived from digital craft. We took an in-depth, and very hands-on approach to various ways of building as a means of extending the standard architectural palate. Areas that were covered include a 3-D cumulative approach to laser cutting, fiberglass, and glass fiber reinforced concrete. Within the framework of this course, design processes and methodologies were developed to give students the practical confidence to explore such systems of building in future design explorations

Natalie Kester Luis Camacho Ryan Keenan Noel Vasquez

Lauren Weiss Bricker

ARC 460

ARCHITECTURE AND HISTORIC PRESERVATION The objectives of the course were the following: 1) develop a familiarity with the principal theories and practices of historic preservation, from antiquity to the present time; 2) understand the range of factors that influence the physical interpretations of historic buildings, including those buildings from the recent past; 3) study Californiaâ&#x20AC;&#x2122;s built environment including its range of works of architecture and urban planning as a laboratory for developing a close understanding of artistic, cultural and social factors that shaped its places and inform strategies for preserving them; and 4) develop an ability to exercise critical thinking in the collection, analysis, and explanation of architectural evidence.

Po-Hsiang Fang Leh Shyu

Lauren Weiss Bricker ARC Keiji Uesugi LA ARC 469

HARADA HOUSE LANDSCAPE REHABILITATION Riverside Metropolitan Museum owns the Harada House, a 1911 house in downtown Riverside made famous as the site where the courageous Harada family fought for their right – and the rights of all American citizens to own property and enjoy the rights and freedoms of all American citizens and residents. The Museum also owns the neighboring Robinson House, a contributor to a local historic district. The Museum asked Cal Poly Pomona’s architecture and landscape architecture students to develop design concepts to rehabilitate the Harada House garden and create a new visitors center in the Robinson House. The course goal was to provide an opportunity for students to identify and explore a subject of interest and apply it to their concept for the Harada House visitor center. The course was divided into two parts: Part One was a study of the Harada House and contextually relevant information allowing students to obtain a strong grasp of the site and its history. Part Two involved the development of a plan for how the Harada House can serve as an inspirational place for the public to learn about critical national issues related to civil and individual rights, democracy, immigration, assimilation, and citizenship.

Kevin Easterling

A’

SECTION ELEVATIONS 0

B’

10FT

Juintow Lin

ARC 499

SPRING LAKE CAMP SITE DESIGN In Spring 2014, the College of Environmental Design was asked to work for the Parks Forward Commission to develop an alternative lodging system to increase the interest in camping as our population becomes more diverse, with particular attention to millennials. The driving initiative was to provide the design for a cabin which was to be a prototype for an alternative lodging solution for the California State Parks. The designs generated by graduate architecture students in ARC503/L explored innovative designs for a re-interpretation of the â&#x20AC;&#x153;Californianâ&#x20AC;? lodging experience. At the core of the design challenge was the need to balance issues of culture, sustainability, mobility, and construction. As a follow up to this project, Sonoma County Parks requested to place several of the student designed cabins in their main campground in Santa Rosa. In Spring 2015, students from multiple disciplines within the College worked on the site design and finalized detailed building design for the cabins. Students worked to create the best camping experience possible through the placement of cabins for optimal shade, interior/furniture layout, ADA accessibility for the cabin and path of travel, as well as study of wind flow through and around units.

See more info at revampthecamp.com

Benjamin Tunigold Hayden Moore

Behn Samareh

ARC 499

DIGITAL FABRICATION The primary focus of this class was to explore different means and methods of digital output and automated fabrication. The students explored milling, routing, 3-D printing, etc., as well as Computer Numeric Control (CNC) output systems. Additionally, the class examined processes for design reproduction as well as systems of assembly and spatial installation.

Kyle Ng Gloria Betancourt Alyssa Kinney Christina Younger

FOUNDATION

Robert Alexander

Int roduc t ion to Architec tur al De sig n I

Robert Alexander

Int roduc t ion to Architec tur al De sig n II

Axel Schmitzberger

S econd Year De sig n I

Axel Schmitzberger

S econd Year De sig n II

Pablo LaRoche

S econd Year De sig n III

Mitchell de Jarnett

Int roduc t ion to Architec ture De sig n I

Katrin Terstegen

The Future Primit ive Hut

Hofu Wu

Intermediate Architec tur al De sig n Studio

Robert Alexander Behn Samareh Audrey Sato Ruth Oh

INTRODUCTION TO ARCHITECTURAL DESIGN I

Steven Chodowrisky Andrea Dietz Graham Ferrier ARC 102

Armando Bermudez Eduardo Martinez

In this exercise students explored basic architectural design using their interpretation of a Tower House and two space studies as a basis for transformation. Students were asked to analyze the qualities, boundaries and dimensions of their previous projects and create three different and separate spaces for contemplation without wifi or cellular-enabled devices. Each of these different spaces was to vary in size and character and to be made from different materials. As an effort to introduce negotiation and collaborative design into the studio, students were also asked to coordinate the design of the bases of their models to form one continuous landscape. The final project was then evaluated both as an individual work and as a collaboration.

Robert Alexander Behn Samareh Audrey Sato Ruth Oh

INTRODUCTION TO ARCHITECTURAL DESIGN II

Steven Chodowrisky Andrea Dietz ARC 103

After a series of several case study investigations, students in this studio were asked to design a small retreat for an architect based on Le Corbusier’s “le Petit Cabanon” (1951-1952). Students chose one of the construction methods that was studied previously in class and used it as the basis for their final design projects. The final structure was not to exceed 150 sqft. The brief for this project called for the architect/resident to design a space where they could sleep, draw, and daydream. In addition, the design was to accommodate storage for clothes and other items, as well as a small water closet. Students’ designs were discussed and evaluated under the following three categories: their investigation of wall and material construction, the function of built-ins and use of space; and the students’ 2-D and 3-D representations of space and construction methods.

First Floor First

Floor

Second Floor

Roof Garden

Kleon Tran

1’ :1/2”

Index 1. ROOF GARDEN

2. EXTERNAL SECOND FLOOR MECHANIC 3. “FREEST FACADE” 4. BALCONY 5. SLIDING WALL

2. 5.

Concept The goal behind this design was to create the most use of material and space in a multitude of options and choices with the power of mechanic gimmicks and gadgets. Through the ideas and qualities of verticality, versatility, and transformation, the house provides the user the ability to change the practical and visual aesthetic to how the user sees fit. The architecture is within the reach of the user’s abilities.

Kleon Tran ARC 103L Robert Alexander

Axel Schmitzberger Alex Pang Hunter Knight Tina Chee

SECOND YEAR DESIGN I

Ilaria Mazzoleni Jose Herrasti ARC 201

In ARC 201 students were introduced to a sequence of interlinked studies focusing on the subjects of site treatment, site documentation, site observation, and programming of a site. Students learned basic principles of organizing spaces to be used by people. For this, they followed a set of exercises documenting objects in architectural tradition, analyzing these objects and interpreting them. Through this process, students adopted additional skills necessary to arrange architectural objects on and in relation to a site, design and develop a small site specific program for public use in a specific context. The final result was an architectural proposal for a observation point and cafe on a step hillside in the Mulholland Scenic Park corridor.

Franco Mellone Edgar Sanchez

Axel Schmitzberger Alex Pang Poala Vezzuli Mtchell DeJarnett

SECOND YEAR DESIGN II

Nadim Itani Jose Herrasti ARC 202

Building on design principles learned in Second Year Design I, students adopted additional skills necessary to arrange architectural programs, design and develop a mid-sized architectural building for public use in an urban context. The final result was be an architectural proposal of a toy museum in Downtown Los Angeles.

A1 A2

A3 A4 A5 A6

B1 B2

C2 B5

Trevor Kaufman Prianka Kuttappa

plan

1/8” = 1’ - 0”

+72’

+48’

long section 1’=1/8”

+36’

+24’

+12’ +9

+9’

choose labeling terms +- 0 +/-0’

-12’

section

1/8” = 1’ - 0”

arc 202L : exercise 03 :

A. Pang : winter 2015 :

Pablo LaRoche Juintow Lin Mitchell De Jarnett Barry Milofsky

SECOND YEAR DESIGN III

Graham Ferrier Jose Herrasti ARC 203

Anna Budzinskaya

Students were asked to understand the conditions, principles and issues that are considered in architectural design, especially to achieve buildings with reduced environmental impact, and with a special emphasis on net zero energy and water consumption. The development of an architectural design project was used as a framework to explore the use of new materials, construction technologies, and sustainable design strategies for high-performance buildings that approach net-zero energy use. This was accomplished through the design of a Residential Environmental Science Campus at 29 Palms adjacent to Joshua Tree National Park, designed in collaboration with the Joshua Tree Science Campus Committee. Two projects from each studio were selected to participate in a competition supported by the California Sustainability Alliance.

Mitchell de Jarnett

ARC 501

INTRODUCTION TO ARCHITECTURE DESIGN I This is the first of two courses designed to be the foundation of the M.Arch architectural design program. As the beginning of a general Introduction to the study of architecture, the course concentrates on the development of ordering abilities in two and three dimensions. The class is founded on the belief that in the study of architecture, it is best to begin with core principals and work toward specific applications. Architecture is a slippery subject. It is replete with contradictions and often defined by its imprecision. As such, architecture is one of the last refuges of the polymath. This tendency towards intellectual fluency across a broad range of interests is probably a pre-requisite for becoming a successful architect. The architectural profession requires its adherents to make sense of the manifold contradictions embedded in the social, formal, and material contexts that make up our world. The ideas offered here allow us to see architecture not as the design of discrete objects, but as an ongoing process in which we engage ourselves. These ideas allow an architect to influence the development of social organizations through the design of the spatial constructions which house them. In its broadest definition, this process of â&#x20AC;&#x153;making architectureâ&#x20AC;? does not terminate with the initial construction campaign; it continues as the space is continually altered, marked, tattooed, and changed by the very condition of inhabitation. We as architects involve ourselves in a process that started long before us and will continue long after.

Roland Argomaniz Gloria Betancourt

Katrin Terstegen

ARC 502

INTRODUCTION TO ARCHITECTURE DESIGN II THE FUTURE PRIMITIVE HUT The studio investigated the idea of the Primitive Hut – the most elemental and archaic form of architecture. The question of what constitutes the beginning of architecture has fascinated and occupied theorists and architects throughout history – from the Renaissance up to the 20th century - and is still relevant today. This interest in the elemental, which has informed the work of architects such as Louis Kahn and Le Corbusier, and its relation to the future of architecture, was the underlying theme of the studio. We studied the idea of the Primitive Hut through texts which include MarcAntoine Laugier’s An Essay on Architecture and Adolf Loos’ Principles of Cladding and use case studies of buildings by Mies van der Rohe to explore how this most essential model of architecture has continued to be relevant throughout history and to the present day. For the main project of the studio, the students designed a simple structure for Chicago’s lake front and used this as an opportunity to apply the ideas we explored for the Lakefront Kiosk Competition, part of the Chicago Architecture Biennial of 2015.

The studio was accompanied by readings and a field trip to Chicago. Great emphasis was placed on acquiring and developing skills of drawing and representation, including collage and model making (both physical and digital), as well as analytical drawings. Students were also encouraged to draw on resources for history, theory, and precedents.

CHICAGO ARCHITECTURE BIENNIAL LAKEFRONT KIOSK COMPETITION

The 30 x 30 Kiosk exp Chicago architecture b the grid as organizing design of the kiosk to o grid organizes the syst The grid’s module mat countertop to form a so frame.

The solid core uses pr curtain wall system to e folding metal doors on panel system open up shelving system, also i as a storage area for th amenities repeat them the kiosk, allowing two kiosk at once.

The open frame trellis void form. It extends a overhang that defines customers and vendor forgoes the separation and vendor in a more c it creates a space that near.

The open frame then e kiosk a large void com kiosk a strong presenc while note making the overwhelming. Vendor modular lettering into t by the design team, to and draw customers in the kiosk’s open frame onto its own surfaces a surface. At night and d kiosk would be illumina the grid beside the lake

This celebration of the of architecture that wou as the Chicago Archite community.

Nicole Giustino Erin Day

1 FORMATION DIAGRAM

TEAM: CAL POLY POMONA MARK PERDIGUERRA, KATRIN TERSTEGEN

ECTURE BIENNIAL K COMPETITION

T VIEW

POMONA RRA, KATRIN TERSTEGEN

Hofu Wu

ARC 503

INTERMEDIATE ARCHITECTURAL DESIGN STUDIO Joshua Tree National Park is a place of sublime natural beauty. The extreme climate of the Sonoran and Mojave Desert area is formidable and uncompromising. The studio project was to design the Residential Environmental Science Campus for Joshua Tree National Park, a facility that accommodates 224 highschool students on multi-day science education trips with overnight sleeping accommodations, dining hall, classrooms and ancillary facilities. A Joshua Tree National Park Residential Environmental Science Campus would enhance the studentsâ&#x20AC;&#x2122; overall learning experience and serve the unmet current and future capacity of park and community partners who focus on environmental education. A distinct campus location allows students to have more freedom to explore with a high degree of safety and security. A campus environment helps build a strong sense of community for groups, and allows for a greater sense of ownership and personal responsibility to be divested to the students. This campus also allows instructors to educationally reinforce students throughout their stay, without the distractions that exist in other developed areas.

ROOF GARDEN

COOL TOWER

NIGHT FLUSHING OPERABLE WINDOWS

THERMAL MASSING

Brie Jones

TECHNOLOGY 64

Marc Schulitz

Third Year De sig n I

Kip Dickson

Comprehensive Studio I

Kip Dickson

Comprehensive Studio II

Michael Fox

Architec tur al De sig n I

Luis Hoyos

Architec tur al De sig n II

Pablo LaRoche Hofu Wu

Environment al Cont rol Sy s tems

George Proctor

Animat ion De sig n Met hods

77 65

Marc Schulitz Michael Fox

Building Cons t r uc t ion S equence

Gary McGavin Marc Schulitz

St r uc ture s S equence

Marc Schulitz Nadim Itani Marta Perlas Alex Pang

THIRD YEAR DESIGN I

Barry Milofski ARC 301

The design project topic was an observation facility located in a protected nature preserve. The facility is intended to be used mostly as a lookout for scientists, and it will occasionally be available to hikers. Based on the given topic students generated impromptu design vignettes that amounted to a series of design alternatives. New building design elements were sequentially explored for design potential, always with the constraint of â&#x20AC;&#x2DC;technicalâ&#x20AC;&#x2122; accuracy, e.g. a stair must work, a ramp is ADAcompliant, the skin of the building achieves closure, a roof drains water, etc.

Eric Ton Poyun Chang

Kip Dickson Irma Ramirez Nadim Itani Marta Perlas ARC 302

COMPREHENSIVE STUDIO I The studio aims to augment the studentâ&#x20AC;&#x2122;s knowledge of contemporary production of housing. The topics were the application of specific construction materials and systems in relation to tectonics, expression, and affordability; working knowledge about the dwelling, its internal order, relevant dimensional limits and ranges; an ability to inter-relate multiple dwellings; and a social understanding of how architectural design affects the human environment. These goals were approached through an emphasis on analysis of the cultural and physical context of the city; the individual living unit and the communal space; the study of typology and precedent; and the ability to draw and model relations between contemporary formal concepts and historical shifts or adaptations. The related lecture course provided a historical and technical overview of the field with an emphasis on the evolution of urban multi-family environments. Department faculty and invited guest lecturers discussed the role of the architect as designer working in a complex and highly regulated environment. Specific lectures addressed historical types, design guidelines, landscape design for housing and the development of building codes.

Noel Vazquez

Kip Dickson Irma Ramirez Nadim Itani Marta Perlas ARC 303

Juan Pablo Onate

COMPREHENSIVE STUDIO II The ARC 303 Studio served as a point of integration of a range of technical classes in the architecture curriculum. The studio utilized the multi-family housing design that was developed in ARC 302/302L during the winter quarter and advanced the individual students design to a more detailed level demonstrating the students’ understanding of construction materials, construction processes, structural systems, electrical, plumbing and HVAC systems. The final product simulated a typical professional design development (DD) package. The quarter consisted of a series of weekly exercises focusing on structure, HVAC, Plumbing, Lighting and Fire Life Safety that were formatted on 24”x 36” sheets and folded into the collective DD package at the end of the quarter. Students were expected to use the outcomes of these exercises as a simulation of input provided by an outside consultant in the real world. Supporting faculty members provided lecture content and guidance to the students in each of these areas and acted as their consultant for questions. The final set of documents more fully described the project developed in ARC 302 but emphasized how related systems are brought together though orthographic images and diagrams. Understanding the integration of conventions of contemporary housing construction was to be stressed however all decisions were to be made with the intent of understanding and advancing sustainable building practices within the context of more standardized housing construction.

2' - 4" 119' - 3" 13' - 3" 4' - 4"

20' - 10 1/2"

8' - 11"

6' - 9 1/2"

15' - 9 1/2"

4' - 8 1/2" 2' - 5 1/2" 6' - 11"

5' - 11"

5' - 7 1/2"

4' - 3"

6' - 5"

20' - 5"

5' - 6"

12' - 1 1/2"

24' - 11 1/2"

11' - 5 1/2"

8' - 11 1/2"

5' - 1"

6' - 0"

7' - 7"

5' - 0"

7' - 4"

11' - 11"

19 SF 147

BEDROOM 2

3' - 4"

122 SF

143

142

821

51 SF

18 SF

121

622

133

BEDROOM 2

BALC

621

726

122 SF

219 SF

23 SF 131

132

5' - 2 1/2"

7' - 9"

6' - 8 1/2"

130 UP

25' - 9 1/2"

11' - 4"

3' - 10 1/2" 6' - 0 1/2"

5' - 2 1/2"

4' - 4"

3' - 5"

9' - 9 1/2"

41' - 6"

Consultant Address Address Phone Fax e-mail

MICHAEL CONSTRU 3801 W. TE POMONA, MFOX@CS

4' - 4 1/2"

103' - 0"

4' - 1"

8' - 0 1/2"

7' - 7" 12' - 8"

169 SF 127 CL 1

126

523 20 SF

123

DN UP

125

18 SF 128

LIVING ROOM

BEDROOM 2

522

524

316 SF

6' - 8 1/2"

Descrip

8" EXTERIOR CMU WALL

W-2

DOUBLE 2X4 SOUND WALL WITH STAGGERED STUDS

W-3

12" CONCRETE WALL

W-4

MECHANICAL WALL

W-5

2X4 INTERIOR WALL

W-6

METAL PANE WALL

W-7

6" PLUMBING WALL

W-8

STRUCTURAL EXTERIOR PLASTER WALL

153

WALL LEGEND 1/4" = 1'-0"

142 SF

116

15' - 2 1/2"

W-1

213 521

2' - 6" 4' - 0" 4' - 6 1/2" 4' - 3" 3' - 9 1/2"

19' - 0"

BEDROOM 1

124

CL 525

6' - 0 1/2"

13' - 10"

5' - 8" 4' - 5"

47 SF

527

625

51 SF

BR 2

623

5' - 6 1/2"

LIVING ROOM

251 SF

BR 1

624

CL 2

824

BR 2

118

15' - 11"

178 SF

142 SF

169

721

526

23 SF

WORK ROOM

WALL LEGEND

131 SF 129

54 SF

216 823

144

825

176

921

CL 146

528

627 30 SF

119

3' - 0" 3' - 4"

178

162 SF

145

HOFU WU MECHANIC 3801 W. TE POMONA, HWU@CP

13' - 6"

922

23 SF 177 BEDROOM 2

120

300

12' - 1"

CL 2 174

626 122 SF

822

15' - 7"

17 SF

51 SF

28 SF 122

BEDROOM 1

DN 7' - 2"

215

BEDROOM 1

54 SF

47 SF

171

923

827

CL 2

924

BR 1

9' - 6"

BR 2

925

BALC

CL 1

134 SF

12' - 3 1/2"

BR 1

5' - 6 1/2"

152

172

Consultant Address Address Phone Fax e-mail

No. 9' - 7 1/2"

628

722

117

738

BEDROOM 2

BR 1

28 SF

173

13' - 6"

5' - 0"

77 93 SF

CL 1

30 SF

927 121 SF

214

724

BEDROOM 1 3' - 11 1/2"

4' - 0"

BALC CL

828

170

14' - 11"

23' - 6"

10' - 7 1/2"

BALC

MARK SCH STRUCTUR 3801 W. TE POMONA, MSCHULIT

OPEN TO BELOW

9' - 9"

926 31 SF 175

UNIT 4 BELOW

3' - 6 1/2"

KIP DICKS MAIN PRO 3801 W. TE POMONA KADICKSO

Consultant Address Address Phone Fax e-mail

4' - 4"

4' - 0"

10' - 0"

6' - 3"

10' - 3"

13' - 0"

16' - 6 1/2"

12' - 2"

6' - 0"

2 A8.01

BALC 3' - 6"

OPEN 3' - 7"

10' - 6"

11' - 6"

9' - 8"

361 SF

3' - 9"

MECH SHAFT

ELEV EL 2 OPEN 15' - 0"

RM-2

4' - 1" DN

1421 190 SF

Consultant Address Address Phone Fax e-mail

DINING ROOM

3' - 11"

4' - 8 1/2"

GAME ROOM

179

7' - 4"

9' - 8" G5

25 SF

CATWALK

3' - 11 1/2"

182 OPEN

2' - 0" 1321 267 SF

1422

1423 84 SF 23

WORK ROOM UP

4' - 0"

PANTRY

KITCHEN

203

BR 1424 47 SF

37 SF

30 SF

5' - 9 1/2"

107

728 12 SF 11' - 6"

8' - 6"

CATWALK

122 SF

110 CL

107 SF

1324

1221 187 SF

1322

196

WORK ROOM

221 118 SF 11' - 6 1/2"

13' - 7"

193 SF

PR 1224

9 BEDROOM 1

1425 173 SF

1426

KITCHEN

222

4' - 11"

7' - 6"

9' - 11"

2' - 0"

BR 2

G2 7' - 7 1/2"

1122 277 SF

1323

CL1

4 3

225

WORK ROOM

4' - 2 1/2"

8' - 0"

4' - 11" 6' - 6"

9' - 7 1/2"

LAUNDRY CL

33 SF

1023 34 SF

1022 195 SF

223 47 SF

826

KITCHEN

LIVING ROOM

179 SF

BR 1

224 47 SF

LIVING ROOM BEDROOM 1

1223

BR 2

12 SF 5' - 10"

5' - 0"

75 UP

CL 2 10 226

175 SF 6' - 6 1/2"

KITCHEN

6' - 2 1/2"

114 SF

1123

3' - 2 1/2"

1124 195

CATWALK

16' - 6"

164 SF

172 SF

1 A4.01

128 SF 6' - 6"

KITCHEN

6' - 0"

16' - 6"

1021 DN

1121

1222

112 79

11' - 7 1/2"

LIVING ROOM

227

40' - 1"

11' - 6 1/2"

BEDROOM 2

LIVING ROOM

10' - 0"

LIVING ROOM

3' - 0"

1 A5.02

7' - 3"

9' - 6 1/2"

2' - 0"

A4.01

45' - 3 1/2"

JPONATE@CS

3' - 11 1/2"

2' - 2 1/2"

24' - 0"

2' - 6" 4' - 0" 4' - 11 1/2" 4' - 6"

19' - 0"

4' - 0"

JUAN PABL

PASADENA SECOND PLA

4' - 4"

31' - 0"

110' - 0"

Project number Date

8 1 Q

Drawn by Checked by 0'

LEVEL 2 1/8" = 1'-0" P

A2.

16'

Scale

Michael Fox

ARC 504

ARCHITECTURAL DESIGN I The design project topic is an observation/research facility located on Mt. Wilson. The facility is intended to be used mostly as a lookout for scientists, and it will occasionally be available to hikers. While we focused on technical concerns this term, we expected students to also maintain a high standard of design thinking and care. The course is run in conjunction with ARC 321 structures. This course focused on structural and environmental issues that serve as design tools for 504L.

Alejandro Vexler

Luis Hoyos

ARC 505

ARCHITECTURAL DESIGN II The students designed a 14-unit apartment building in Pasadena, CA, for the current market and took into account the zoning and building codes and the social, aesthetic and environmental considerations uncovered during the case study research. The project was divided into several stages: Site analysis Zoning, codes and constructability Massing and stacking alternatives Project development. Schematic proposal (mid-term review) Further project development Final project proposal. Production of final drawings and models. Structural concept and framing plans

Inna Teplyahova Kevin Easterling

6' - 0"

31' - 0"

30' - 0"

25' - 0"

TYP.

20' - 6"

18' - 0"

22' - 3"

BIKE STORAGE

8' - 6" TYP.

1/16" = 1'-0"

TRASH

PARKING LEVEL PLAN

MECH

10' - 0"

30' - 0"

10' - 0"

10%

20%

10%

Pablo LaRoche Hofu Wu ARC 331

ENVIRONMENTAL CONTROL SYSTEMS

ARC 332

Sustainable architectural design includes varied issues: site, indoor environmental quality, energy, light, materials, and water. The architect must understand these principles to integrate them and design environmentally sensitive buildings. An understanding of the concepts of solar geometry, thermal comfort, the effects of climate in buildings, the thermal performance of buildings, the fundamentals of daylight and electrical light, and acoustics are important for appropriate integration of these control mechanisms in buildings. Architects are not required to perform the tasks of mechanical or electrical engineers; however we must understand the basic principles to control design outcomes and become a team leader in the making of architecture. Special emphasis was placed on understanding energy in buildings, heating and cooling systems and the reduction of CO2 emissions to reduce impact on Climate Change.

S S H HO OU US SE E S HOUSE

By the year 2020 all new residential construction in California has to be net zero energy. In addition to labs, quizzes and exams students had to developed a practical project in which they selected an iconic mid-century Southern California house to transform into a net zero energy building. They first had to Bioclimatic analyze theStrategies home in itsUsed current state andZero compare it to a code Proposed to get to Net Bioclimatic Used to itget tosustainable, Net Zero compliant building. ThenStrategies tothatmake all necessary modifications to AsProposed previously mentioned, the house hasthey some had qualities make slightly but no where near net zero. Below we have mentioned, the will be using that to acheive zero.sustainable, but no where near net zero. As previously thestrategies house haswe some qualities make itnet slightly improve itsillustrated performance and go beyond code to achieve net zero energy. Below we have illustrated the strategies we will be using to acheive net zero.

Proposed Bioclimatic Strategies Used to get to Net Zero

As previously mentioned, the house has some qualities that make it slightly sustainable, but no where near net zero. Below we have illustrated the strategies we will be using to acheive net zero.

Switchingold oldinefficient inefficientwindows windowstoto 1.1.Switching ClearDouble DoublePane PaneLow Low-E-Einsulated insulatedFiberglass/ Fiberglass/Vinyl Vinyl Clear Frame Frame

1. Switching old inefficient windows to Clear Double Pane Low -E insulated Fiberglass/ Vinyl Frame

Allwindows windowsand anddoors doors are are operable operable when when cooling cooling is is 2.2. All neededtotoallow allowNatural Natural Ventilation, Ventilation, also also aa Code Code miniminineeded mum whole house fan: 2CFM/sq.ft and Smart Thermomum whole house fan: 2CFM/sq.ft and Smart Thermostat or occupant controlled stat or occupant controlled 3. Overhangs along eastern side to provide shade 3. side to provide shade 2. Overhangs All windowsalong and eastern doors are operable when cooling is

needed to allow Natural Ventilation, also a Code minimum whole house fan: 2CFM/sq.ft and Smart Thermostat or occupant controlled 3. Overhangs along eastern side to provide shade

ble Pane Low-E Insulated

e Pane Low-E Insulated Brie Jones

fan: 2CFM/sq. ft. (Smart d)

n: 2CFM/sq. ft. (Smart Pane Low-Etank Insulated ater heater with 5 Solar

er heater tank with 5 Solar h2CFM/sq. Performance Insulated Shades ft. (Smart

Performance Insulated Shades facade

4. Upgrade to super insulation 2.0 times current code R-values. It will be added to the walls in North, East 4.and Upgrade to super 2.0 times code West sides andinsulation also the roof. This current also includes

R-values. It will be added to the walls in North, East and West sides and also the roof. This also includes

4. Upgrade to super insulation 2.0 times current code

5.Roof will be a cool roof, flat with a low slope in a light material to reflet sunlight. 6.The floors be slab 5.Roof will bewill a cool roof,onflatgrade, with aunheated, low slopebut in aWITH light carpet, there is currently material to reflet sunlight. tile with rugs.

6.The floors will be slab on grade, unheated, but WITH carpet, there is currently tile with rugs.

George Proctor

ARC 456

ANIMATION DESIGN METHODS Computation, digital technology, and the information environment has become ubiquitous, and found in all aspects of architecture. However, the knowledge, skills, procedures, and conceptual frameworks for design study, and data-driven design, are in perpetual transformation and growth. All students of architecture are expected to keep pace with this dynamic topic, even while the subject remains a specialized body of skills, knowledge and thought.

Nicole Widjaja

Marc Schulitz Michael Fox ARC 341

BUILDING CONSTRUCTION SEQUENCE

ARC 342

The Building Construction Sequence introduces the student to the basic principles of architectural materials and construction. Topics covered include soils, foundations, walls, roofs doors, windows and enclosure systems. The course centers around construction, building components, and systems investigated through case studies. Students research the properties of building materials through experimental exercises that involve the design and execution of specific objects using a set amount of materials. Students learn the concepts of preparing working drawings and specifications.

Gary McGavin Marc Schulitz ARC 321

STRUCTURES SEQUENCE

ARC 322 ARC 323 ARC 424

The Structures Sequence introduces students to the theories of structural designs and the relationship between structure, form, function and economics. In a laboratory-based learning environment students analyze structure systems and investigate the determination of forces, stresses and deflections. They explore the connection between geometry and structural strength. As the sequence proceeds, wood, steel, masonry and concrete are introduced. Students investigate each material’s structural BRIDGE FAILURE CALCULATIONS properties, its inherent structural concepts and its typical construction systems. In all courses we use experiments to visualize structural behavior. BEFORE

52 lb

Maximim Load:

AFTER

P = 9 bricks x 2.3 kg/brick x 2.2 lbs/kg = 45.54 lbs

Plus extra lbs: 6lbs + 45.54lbs = 52lbs

Assuming that: 1. The bridge is supported only by the edge of the table, and thus the edge of the table is the reaction points. 2. Load P is a point load and not an uniformly distributed load. 3. The weight of the bridge itself is negligible or it is equal to zero.

Note: These assumptions are not true, but we will assume them for simplification purpose.

BRIDGE FAILURE CALCULATIONS

We have: V max = 52lbs/ 2 = 26lbs M max = 52 lbs x 15in x 1/12 = 65 ft-lb

Maximim Load: P = 9 bricks x 2.3 kg/brick x 2.2 lbs/kg = 45.54 lbs Plus extra lbs: 6lbs + 45.54lbs = 52lbs

DIAGRAMS: SHEAR (V)

(Shear is divided by two because the bridge is symetrical and the load is applied at the center) MOMENT (M) 65 ft-lb

Deflection

We have:ecause our bridge behaved loke a big ho V max = 52lbs/ 2 = 26lbs M max = 52 lbs x 15in x 1/12 = 65 ft-lb Failure member

Reason for failure: Because our bridge behaves like a big hollow beam, its behavior is very similar to that of a beam. The total stress at the maximum moment can be calculated in the entire section of the bridge. The failure, however, occurred on the top member of the beidge, which failed in compressio, and not in tension as we had anticipated in part D.

1.5 in

1/32 in

Calculation of stress on the entire section on the bridge. Approximat area of 1 triangle: 1.5 in x 3 X 1/32 =0.141 in² Entire sectional area: 19 x 0.141 in² = 2.679 in² fc= 52lbs / 2.679 in² = 19.410 lbs/in²

Failure member

The outer-most members was exposed to a high stress than this, because the bridge behaves as a beam, we can say that the longitudinal section and the horizontal shear look as follows. Also, the higest shear occurs ar the very top, and it is directly proportional to the highese shear vertically, we can say that.

Longitudinal Elevation

The stress in the upper member thus is: fc=P/A = 26 lbs / (1.5in x 3 x 1/32 in) = 184.9 lbs/in² (Ultimate compressive strength of the paper.) Section Modulus: fc = M/S ; S= M/fc = 65 ft-lb x 12 in/ft /(19.410 lb/in²) = 40.2 in³

Conclusion

Considering that the relationship of the ratio of the weight of the bridge versusthe weight supported by the bridge. We could have add some more weight to our idea of layering triangular tubes by adding layers and make our bridge larger in the vertical direction. Some reinforcement in the center where the bridge was holding the bridge would have help. Also we must add that working in group is sometimes hard but at the end if you pull thru the difficulties good friendships develop.At the end we all enjoy and learn doing this types of projects.

ARC- 322 Structure Project #01 Bridge

WHOLE BRIDGE FAILURE STILLS

BEFORE

Po-Hsiang, Fang

Thao Nguyen

Bem Gi Kim

Juan Pablo Onate

Hana Lemseffer

Robert Polo

52 lb

Po-Hsiang Fang

BRIDGE FAILURE CALCULATI

BemGi Kim Hana Lemseffer

Maximim Load:

AFTER

Thao Nguyen

P = 9 bricks x 2.3 kg/brick x 2.2 lbs/kg = 45.54 lbs Plus extra lbs: 6lbs + 45.54lbs = 52lbs

Assuming that: 1. The bridge is supported only by the edge of the table, an 2. Load P is a point load and not an uniformly distributed lo 3. The weight of the bridge itself is negligible or it is equal

JuanPabloOnate

Note: These assumptions are not true, but we will assume the

BRIDGE FAILURE CALCULATIONS Maximim Load: P = 9 bricks x 2.3 kg/brick x 2.2 lbs/kg = 45.54 lbs Plus extra lbs: 6lbs + 45.54lbs = 52lbs Assuming that: 1. The bridge is supported only by the edge of the table, and thus the edge of the table is the reaction points. 2. Load P is a point load and not an uniformly distributed load.

We have: V max = 52lbs/ 2 = 26lbs M max = 52 lbs x 15in x 1/12 = 65 ft-lb

DIAGRAMS: SHEAR (V)

(Shear is divided by two because the bridge is symetri and the load is applied at the MOMENT (M) 65 ft-lb

SENIOR PROJECT / GRADUATE THESIS 80

Michael Fox

C at aly s t De sig n

Daniel Lawrence

Alexander Ortenberg

U topia s 86

Kristy Yeh

Alex Pang

Housing - Deg ree projec t

Kateryna Bilyk

Axel Schmitzberger

Infr a s t r uc ture s 94

Alejandro Rodriguez

George Proctor Dennis McFadden

Gr aduate The sis Projec t

Courtney Embrey

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Michael Fox

CATALYST DESIGN

Senior Project

This course guided the student through the initial research phase of the senior project sequence. Students explored a selected architectural project following guidelines for project type, development and presentation. The Spring Quarter focused on the development of a comprehensive architectural design project demonstrative of the individual studentâ&#x20AC;&#x2122;s proficiency in multiple aspects of the design process. The independent design projects are meant to reveal an understanding of programming, human behavior, context, conceptual design, integration of structural and environmental systems, design development, and verbal and visual presentation.

A B C D E F Fitting Room

Employee Lounge

Retail Space

Ramp Down

H Cafe

I J K

Level 4 1/8" = 1'-0"

A B C D E

Customer Lounge

Final Storage

Open To Below

Ramp Down

-7' -0"

G H

I J K

Level 3 1/8" = 1'-0"

A B C

Employee Bike Maintenance

Small Part Storage

E F Open To Below

Open To Below

Ramp Down

Open To Below

H I J K

Level 2 1/8" = 1'-0"

A B C

Unloading Area

Parking Elevator

D E

F Shipping and Recieving

G H

Retail Storage Stopping Area 1

Employee Bike Storage

I J K

Ramp Up

Level 1 1/8" = 1'-0"

2 3

A107

34 35

2 A107

A B C

Car Elevator

D Robotic Parking

E F

Daniel Lawrence

G H I J K

1 5

2 3

Level -1 1/8" = 1'-0"

34 35

Senior Project

Daniel Lawrence

INTENSE CYCLES INTERNATIONAL HEADQUARTERS Like most major cities, Los Angeles is constantly changing. Neighborhoods and regions develop while others decline. Currently, the city is seeing a densification of the downtown core. Los Angeles, notorious for seemingly infinite sprawl, is in the process of reversing this in many areas. Low one- and two-story buildings are being replaced with mid- and high-rise buildings. Parking lots and empty spaces devoid of buildings for decades are seeing new life as new development takes over. Parallel and inevitably tied to this trend of densification is the fate of the cities manufacturing spaces. Los Angeles, traditionally a city of making, is full of factories and warehouses. Fueled by a direct connection to the port and the capital of a major city, this typology has come to dominate many areas of the sprawling city. Factories lying within the city core are being pushed out, as land is bought up for retail and housing. Very soon there will no longer be a space for the sprawling industrial building that have made up a large part of the cityâ&#x20AC;&#x2122;s urban fabric for decades. If manufacturers want to keep their place in the city, industrial spaces will a have to be rethought. As the city densifies, factories too must densify. We can no longer afford the space that a traditional factory demands. Instead we must fit our factories into the spaces that a dense city provides. Cleaner, more automated technology is making this increasingly more possible. I am proposing to build a vertical factory on a tight site maximizing its footprint while still providing flexible, useful spaces required for a building of this type. This building will serve as an investigation of the possibility of building a vertical factory within a set of very tight constraints as seen through the lens of a bicycle manufacturing facility. Los Angeles has never been a particularly bicycle-friendly city. In a in a city as progressive as Los Angeles, alterative modes of transportation should be thriving; however, quite the opposite is happening. Automobile remains the primary mode of transportation for most. Congestion is only getting worse. There is a clear problem at hand and the city is aware. Los Angeles is making an effort to aid this problem. The city is making great efforts to promote alternative transportation. Current trends are moving toward a denser, more walkable city core. Measure R, a new tax has been implemented is bring in money that the city is using toward expanding the metro system and converting select streets to multi-use corridors through the downtown area. Despite the adversity, Los Angeles has a small but strong cycling culture has increased steadily in popularity over the last couple years. The urban cyclist population is growing downtown. Bike-safe corridors have been opened up through the city center. The social climate is ideal for further support from the bicycle industry to continue to fuel the flame.

Alexander Ortenberg

Senior Project

UTOPIAS This section of Senior Project 2015 investigated the concept of Utopia and its implications to architecture. The practice of architecture as a modern profession can be traced to the Renaissance revolution. So can the notion of Utopia, with Sir Thomas More’s famous novel written in 1516, some fifty years after Leon Battista Alberti’s De Re Adificatoria. The two products of early modernity are based on similar philosophical principles. The concept of Utopia is predicated on the belief that the existing social order is problematic—and, therefore, a rational critique of its flaws can lead to a formula for a better and happier world. The basic idea behind the project of architecture presupposes that there is an identifiable problem, that it is possible to solve it through design, and that architectural intervention brings improvement. The approaches taken by students ranged from highly polemical and theoretical interpretations of utopia and dystopia to extremely practical projects of modest size—once again, any architectural project engage some level of utopian thinking. Whether the project was on the theoretical side or on the practical side of the studio, the requirement of a high level of technical resolution—code, structure, and construction—where uniform. The critical edge of utopia can be maintained only when it argues that the ideal world is within reach, and when there is a possibility to isolate a limited number of problems within the existing order. Accordingly, polemical architecture achieves its goal when it requires just one leap of faith, while presenting the rest of the design as commonsensical and buildable.

Kristy Yeh

Senior Project

THE FINAL RESTING PLACE An ample permanent and attractive resting place for our dead, seems to be the last great necessity of our city. - Elias W. Leavenworth, dedication of Oakwood Cemetery, Syracuse, N.Y. 3 November 1859

Kristy Yeh

The traditional approach to cemetery design that provides for underground interment and the entombment of ashes in above-ground structures has become a target of criticism from progressive urban planners and landscape designers. Cemeteries require strict maintenance of the land that deem a proper burial in addition to maintaining a suitable appearance for the visitors. Cremation, though having been around for ages, have alternatively begun to address concerns regarding the necessity of funerals in relation to the costs associated with burial, and the need for memorialization. Some public opinion believes cremains should not be held in a cemetery, but taken home or scattered elsewhere. It is also noted that, while losing the sacral status with visitations becoming increasingly rare, cemeteries occupy valuable open spaces that could be used much more efficiently for recreation and other public uses. It also goes without saying that, considering the growing water crisis, the maintenance of lavishing green lawns - that popular culture associates with the cemetery - is also very unsustainable. Dedicating such public land to invest in much needed resources for something not commonly visited would seem absurd. While sharing these concerns, I also realize that the cemetery begs to differ on its relevancy to society. Despite cemeteries occupying important landscapes and the rising popularity of cremation among people who are more alienated from traditional rituals surrounding death, there are still Americans that possess strong ethnic, racial, and religious ties that look to the older traditions with the funeral. Michel Foucault mentions in his writing, â&#x20AC;&#x153;Of Other Spacesâ&#x20AC;?, that cemeteries are realized utopias and the utopian aspect of cemeteries - the kind of perfectly organized, strictly controlled truths - is of particular interest in that I believe, therefore, that any suggestion to a drastically different cemetery design from these preconceived - if culturally constructed - notions would amount to an unrealistic utopia. The project would instead acknowledge these cultural sensitivities to enhance the existing cemetery design. The project will then appropriate a revision to burial practices regarding land use by hosting an arts complex to revive the spirit of the cemetery landscape once exhibited, holding that memorialization still has its place in cemeteries and the necessity to provide permanent spaces for the dead.

Alex Pang

Senior Project

HOUSING - DEGREE PROJECT In the culminating project individual agenda supersedes collective agenda. It is the rare project in which a student can tailor program and site to suit his/her individual architectural interests. In this light the project is secondary to the meta-project, which is to survey, question, affirm and further one’s architectural values and understandings. Housing as Degree Project can be both benefit and detriment. On one hand, the program frames the project in reality, lending not only substance but also push-back. On the other, housing’s considerable and highly-formulated constraints can potentially hold back architectural ambition. To avoid such pitfalls a housing seminar is folded into the class to teach housing through three critical understandings. I. Housing is typology-driven. Building and (often corresponding) unit typologies are well honed across contextual, cultural, economic, climatic divides and over a long period of time. Projects generally conform to existing formulations in categories of: building type, unit type, access strategy and site strategy. II. Housing is fine-grained. And fineness allows greater dexterity. Kazuyo Sejima’s Gifu Kitagata Apartments (1996) and its companion Metropolitan Housing Studies highlight that in designing housing, manipulation/operation most readily occur on a sub-unit level. Additionally, through shuffling and re-aggregation Sejima rendered the standard unit obsolete and permutation the norm. III. Housing’s fundamental requirements - light, air and privacy highlight the importance of negative space and therefore require careful calibration of figure/ground relationship. A well-negotiated figure/ground should ideally achieve thinness of figure to purvey light and air and sufficient separation to ensure privacy.

Kateryna Bilyk

Senior Project

MID-CITY SFR DEVELOPMENT IN PURSUIT OF AUTONOMY No less than the skyscraper serves as the preeminent icon of American commercial aspiration, the suburban tract home emblemizes par excellence the American domestic vision rooted in the Jeffersonian agrarian ideal that “as few as possible shall be without a small portion of land”. Suburbia, a phenomenon largely developed in the post-war years as a response to a demand in density, was built upon values of “economic prosperity, family togetherness, ownership of a single family home, and a leisure lifestyle”- or, otherwise known as the American Dream. The ideology of achieving the house and the land of one’s own projects itself as the desire to be the king of one’s castle – to live within one’s own fortress. A dilemma wrapped in irony emerges in the physical embodiment of the ideology of the Dream. It presents itself as a freedom to castle of one’s own, forging opportunity of individuality and specification – a full ownership of one’s house and land. However, it is rigidly regulated and controlled through the zoning laws that prescribe both the ingredients and the outcome of the personalized dwelling and its environment – conformity tramples personality. What remains or emerges from such juxtaposition of ideology to physicality is the condition of controlled autonomy and ordered variability. The project embraces and accentuates conditions of control and autonomy, following a set series of regulating laws that nest within one selves and operate on multiple scales at once. The interest and the ultimate question lies in the scope of such operations – in pursuit of the possible limit of scalar nesting and the degree to which control is applied in production of autonomy. The testing ground for such investigation is a 12-acre lot, located at the intersection of Fairfax Ave and Venice Blvd in Mid-City, Los Angeles. The experiment is placed upon a development that is currently under construction on the site with 60 typical Spanish-style 2,500 sqft 2-story tract homes. The project adopts the product program and also proposes 60 2,500 sqft houses on 5,000 sqft lots yield.

Kateryna Bilyk

Axel Schmitzberger

Senior Project

INFRASTRUCTURES The infrastructure senior projects were designed to respond to issues of mobility and service. In the time frame of twenty weeks the students develop a project with the approximate size of 60,000 sqft in the Los Angeles area. They assess sites and massing, detailing the programmatic needs, the architectural possibilities as well as tectonic necessities. While conjuring associations with physical networks for transportation, communication or utilities, the term “infrastructure” has gained expanded importance in a variety of fields. Adopted in the 1970s by urban planners, infrastructure has now taken on a more formulaic meta-definition based on often obscure and abstract technical and economic logics. Alternatively we can distinguish between soft infrastructures and hard ones - the first describing the social, political, governing organizational systems, the latter referring to technical, built, transportation backdrops. Nowadays, responding to the complexity and the formulaic nature of observation, it seems to be necessary to untangle infrastructure from the traded notion of building or organization type and relate it to an architecture of geography. David Gissen insists that “its [geographical] architects do not simply reject the ideology of design. Rather, at its most incisive, geography takes on a more meta role - as part of a technique that articulates and distributes the potential of architectural authorship within an intellectual territory.” (Gissen, 2011).

Alejandro Rodriguez

Instead, infrastructural mapping becomes a process of generating not only factual maps, but also maps of possible actions, tending to provide a larger potential than the modernist enclave of form and production, adding trans-formative potential by investing in the agency of its constituent actors. Critical here is the identification of the agents, whether they are seen as individuals, institutions, factories or political parties. The scale of resolution is in direct relationship to the disposition of the agent, its latency, propensity or property.

The studio attempted to negotiate current operations and mechanics of society that remain untreated as architectural entities. Most of them are architecturally anonymous due to their simple, practical, often repetitive format, utilitarian expression and flexible use. They are industrial objects, results of industrious pragmatism. While the term â&#x20AC;&#x153;industrial architectureâ&#x20AC;? implies a tradition of architectural invention and representation, the term remains understated within the capitalist context.

Senior Project

ROBOT HOUSE The factory is the great mediator of man and machine, the heart that must guide the complex and paradoxical relationship of “the brain” and “the hands”. 1) If this is truly the case, we might need to question the architectural archetype of manufacturing. With advanced technology, one can no longer postulate that the factory must be relegated into being a purely horizontal construct; a necessity when dealing in the realm of human labor. The relationship of man and machine is symbiotic in nature; one seemingly can’t exist without the other. Now, thanks to the advent of automated manufacturing, machines no longer seem to require a human presence to operate; the worker is threatened to be completely replaced in the manufacturing process. 2) Despite great advances in mechanization, it is important to consider the place of the laborer in an increasingly mechanized society. Ultimately, the factory of the future must become a reasonable hybrid of human and mechanized manufacturing. If architecture has to do with place and machines have to do with motion, 3) then the factory must be the unifying component that attempts to reconcile the permanent and grounded with the transitory and placeless. This project aims to take the generic and grounded programmatic elements that compose the factory (production, support and storage) 4) and redefine them, thereby intersecting them with the specific and transitory programs that have to face the scrutiny of human occupation and new robotic manufacturing criteria. Furthermore, the architecture and the structural components of the spaces must be designed to account for the relentless ebb and flow of the manufacturing process and the humans and machines that take part in it. Sources:

Metropolis (1) “End of Work” PBS (2) Escape from the Revolving Door: Architecture and the Machine – Robert McCarter (3) Peter Testa – Hardware and Software Architecture (4)

Alejandro Rodriguez

George Proctor Dennis McFadden Thesis Project

GRADUATE THESIS PROJECT Architectural education, importantly, provides a setting for students to explore architectural thought, procedures, and products, and to overcome preconceptions about architecture that may have been influenced by a lifelong immersion in physical environments that are absent of design thought; such is the state of our world. This journey of discovery is, ideally, delightful for both the student of architecture and their thesis faculty advisor. The M.Arch Thesis Project is intended to be an independent exercise; in part providing evidence the student has mastered the discipline of architecture. Importantly, the Thesis Project also provides the student with a platform for exploring specific interests, and a position for how an architect operates within this set of interests. The Thesis Project requires curiosity, objectivity, intellectual integrity, and passion, which must be supported with personal dedication, conviction, intellectual rigor, and a strong work ethic. Central to the design thesis project is the notion that a student has dedicated his or her critical thinking skills to a real or hypothetical problem, has investigated improvements to known methods, procedures, and products in architecture, or framed a position for architecture from personal curiosities about human environments, buildings, and urbanism. While the built world of the normative provides a pragmatic platform for any Thesis Project investigation, architecture and human environments also exist in various states of perpetual reconfiguration, ripe for discovery, analysis, and exploration of potential. Part and parcel to the Thesis Project investigation, students must survey the landscapes of their chosen thesis subject, and undertake design research to develop findings from which they can formulate a personal and comprehensive understanding of architectureâ&#x20AC;&#x2122;s role, and its making, within their chosen area of study.

Courtney Embrey

Architectural practice has undergone significant transformation over the last 20 years, given the explosion in digital technologies for design, information space, communication tools, the networked world, and more informed consumers. These phenomena reach far beyond the discipline of architecture, certainly having impacted the student of architecture well before commencing their training. This generation of graduating architects simultaneously benefits and is compromised by technology, at times making the tasks of the Thesis Project, both onerous and fascinating.

Thesis Project

ECONOMIES OF [URBAN] SCALE Distinct urban conditions can be identified as consequence of the technology-based, global economy. One of these conditions, the hub, is an important typological model for the innovative industry because it encourages the transaction of ideas—with the logic that proximity equals synergy. This study is motivated by the spontaneous nature of small-scale entrepreneurial ecosystems that evolve in the urban fabric and aims to exploit this phenomenon based on a new platform of growth. No longer defined by utility, transit hubs will become the ordering platform for the economy. By inserting a network of ‘tech objects’ along a railway system new territories for economic growth will be revealed. Governed by an active form of growth protocol, a stream of object forms with a devised ‘kit of parts’ with a set of interdependencies between modes of transit and the economy will be managed. Counterpart to industrial economies of the past, an architecture idiosyncratic of the post-industrial economy is conceivable. To make coherent a multiplicity of uses, the ‘tech objects’ will be singular geometric forms with specificity and detail given to each that will be based on use. The order of operations will begin with an inscribed two-dimensional shape and depart for a three-dimensional manipulation determined by spatial or programmatic needs. The intersection of a proposed Los Angeles metro station and an airport automated people mover will serve as the prototype for this thesis. It will provide for the transient population a program that disaggregates modes of transit with office, domestic and public space.

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Courtney Embrey

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PROGRAMS The Department of Architecture (CPP ARC) offers two degrees: a five-year Bachelor of Architecture (B.Arch) program and a three-year First Professional Master of Architecture (M.Arch I) degree (advanced standing is available for students with an architectural background). Both the undergraduate and graduate architecture programs are accredited by the National Architectural Accrediting Board (NAAB). As a professional program in architecture, we advocate for the broader purposes of architecture, including its public significance, its role in creating sustainable environments, and its provision of service to society through graduates who are responsible professionals, motivated by a sense of civic engagement. Our mission is to: • Promote design excellence, environmental sustainability and social responsibility. • Conduct professional degree programs that exceed national standards. • Expand connections and services to the University and the greater community. • Create a supportive environment for students, faculty, and staff. • Make architecture education available to under-represented communities.

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CPP ARC is one of the most competitive programs in the United States. The popularity of our programs is based on our reputation for excellence in design instruction, for teaching the technical aspects of architecture, and for our learn-by-doing ethos. To underscore our popularity we can point to our admissions numbers: our undergraduate program receives between 1,500 and 2,000 applicants for 120 places, and our graduate program is also highly selective. We also benefit from our highly diverse student body and faculty, and from our ranking as the most diverse architecture school in the country. CPP ARC is highly respected by outside groups such as the architectural accrediting agency NAAB, the architecture rankings magazine DesignIntelligence, and by the firms that hire our graduates. In its last review of our program NAAB described CPP ARC as being at the forefront of architectural education with its focus on urgent real world problems. DesignIntelligence lists our program in their Top 20 Architecture Schools in the United States and in their Top 5 Architecture Schools in the West. We are also listed in DesignIntelligence’s Top 10 programs nationwide for Construction Methods & Materials and in their Top 10 programs nationwide for Sustainable Design Practices & Principles. Architectural firms describe our students as excellent designers that also have a comprehensive knowledge of building systems.

ADMISSION Bachelor of Architecture (B.Arch) The Bachelor of Architecture degree is offered in a five-year curriculum, which focuses on the design laboratory. The studio sequence consists of four segments: a three-year basic core, three quarters of topic studios, an urban design studio, and a two-quarter long culminating senior project. Lecture classes in architecture theory and history, human behavior, professional practice, programming, sustainability, building technology, structures, codes, and digital media are closely coordinated with the studio sequence, and students are expected to demonstrate their knowledge of these areas in their design projects. The undergraduate program in the Department of Architecture is considered to be “impacted,” that is, many more students apply than can be accommodated each year and a supplementary admissions process is required by the University and the Department; all candidates must meet regular University admission standards as well as additional standards required by the Department of Architecture such as a 3.2 minimum GPA for transfer students. For further information about University requirements for “impacted” programs, please refer to the University website for freshmen and for transfer students. As a result of state impaction requirements, applications are usually only accepted from October 1 through November 30 for the following academic year; only a small number of non-resident and foreign students are admitted to the B.Arch. program. In accordance with University policies for student affirmative action, women, minorities, and disabled persons are especially encouraged to apply.

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Master of Architecture (M.Arch) The Master of Architecture program accepts students from varied academic backgrounds, including non-design disciplines. Applicants are admitted conditionally, subject to completion of up to 100 prerequisite units, before beginning the final 52 units of the program. For students with no previous study in architecture, two years of intensive prerequisite course work precedes the final three quarters of the Master of Architecture program. Students holding a nonprofessional bachelor of arts or bachelor of science degree, with a major in architecture, may be able to complete the required prerequisite course work in one year, before beginning the final four quarters, or 52 units, of the Masterâ&#x20AC;&#x2122;s program. Students in the M.Arch. I program may select one of three concentrations: Sustainability, Healthcare or Historic Preservation. In addition to offering specialized courses, faculty conduct research in which graduate students may participate. The programs are enhanced by related course offerings in the Departments of Landscape Architecture and Urban and Regional Planning, and the John T. Lyle Center for Regenerative Studies, as well as by university owned facilities including the Neutra VDL Research House, the Lyle Center for Regenerative Studies and the ENV Archives Special Collections. For admission to the Master of Architecture program an applicant must have received a baccalaureate degree and have attained an overall undergraduate grade point average of at least 3.0. An applicant who does not meet these criteria may be admitted on a conditional basis if evidence of compensating qualifications can be furnished. Students may enter the Master of Architecture program in the fall quarter only. The Graduate Program accepts non-resident and foreign students.

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Master of Interior Architecture The Department of Architecture offers a program of study that leads to the degree Master of Interior Architecture. The Master of Interior Architecture is a professional degree (M. INT. ARCH.) and is accredited by the Council for Interior Design Accreditation. The primary goal for the Master of Interior Architecture program is to provide an opportunity for individuals with a minimum of a bachelorâ&#x20AC;&#x2122;s degree to pursue a rigorous program of part-time study that prepares them to enter the field of interior design incorporating the highest standards of professional practice. The program particularly serves career-change students seeking to fulfill a lifelong dream of becoming interior design professionals. This program is offered collaboratively by Cal Poly Pomona and UCLA Extension. At Cal Poly Pomona, the program is offered through the College of the Extended University. Most of the classes are taught at UCLA Extension facilities in Westwood in Los Angeles.

CPP Admissions Website https://secure.csumentor.edu/ If you are applying as a foreign student, please contact the Foreign Student Advisor in Admissions and Outreach at (909) 869-5299.

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CREDITS College of Environmental Design Michael Woo, Dean of the College of Environmental Design

Department of Architecture Sarah Lorenzen, Chair of the Department of Architecture George Proctor, Associate Chair Kip A. Dickson, M.Arch Graduate Coordinator

Administrative Coordinator Rocky Sanchez Juliana Morales Huizar, Support Assistant

Full-Time Faculty Robert Alexander, Assistant Professor Lauren Weiss Bricker, Ph.D, Professor, Director, ENV Archives-Special Collections Kip Dickson, Professor, Graduate Coordinator of the Department of Architecture Michael Fox, Professor Luis Hoyos, Professor Pablo La Roche, Ph.D, Professor Denise Lawrence, Ph.D, Professor, Graduate Coordinator for Regenerative Studies Juintow Lin, Associate Professor Sarah Lorenzen, Professor, Chair of the Department of Architecture Gary McGavin, AIA, Professor, Director of College of the Extended University Programs Alexander (Sasha) Ortenberg, Ph.D, AIA, Professor Axel Schmitzberger, Professor George Proctor, Professor Irma Ramirez, Professor Marc Schulitz, Assistant Professor Katrin Terstegen, Assistant Professor Hofu Wu, Arch.D, FAIA, Professor

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Lecturers German Aparicio Orhan Ayyuce Steven Chodoriwsky Frank Clementi Mitchell de Jarnett Andrea Dietz Ana Escalante-Lenz, AIA Graham Ferrier Mikhail Gershfeld Omar Garza Jose Herrasti Nadim Itani Jeff Landreth David Maestres Dennis McFadden, FAIA Duane McLemore Ehsaan Mesghali Barry Milofsky, AIA Ruth Oh Alex Pang Marta Perlas, AIA Behn Samareh Allyne Winderman, FAIA Nathan Wittasek To learn more about the educational and professional experience of the faculty visit: https://env.cpp.edu/arc/faculty

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Editorial Team: Marc Schulitz Katrin Terstegen Saba Salekfard, Student Editor

Acknowledgments: This publication would have not been possible without the efforts of the faculty, the students and the Cal Poly AIAS, especially: Saba Salekfard, Lauren Weiss Bricker, Sarah Lorenzen, and everyone collecting materials Book design by Marc Schulitz

This book was funded in part by the generous support of Mrs. Juliana Terian (Architecture â&#x20AC;&#x2122;80)

CPP ARC ÂŠ Copyright California State Polytechnic University Pomona, College of Environmental Design, Department of Architecture First Printing, 2016 All rights reserved by individual authors who are solely responsible for their content. No part of this work covered by the copyright may be reproduced or used in any form by any means graphic, electronic, or mechanical, including recording, taping, or information storage and retrieval systems without prior permission of the copyright owner. Printing: Graphic Communication Services, Cal Poly Pomona Printed in the United States

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