SERENITY a
v i s u a l
n a r r a t i v e
francisco oliva jr.
COASTAL SERENITY a visual narrative of the Baja California coast
A thesis presented to the undergraduate faculty of The Newschool of Architecture and Design In partial fulďŹ llment of the requirements for the degree of Bachelor of Architecture By Francisco Oliva June 2017 San Diego, CA
3 // Title Page
© 2017 Francisco Oliva All Rights Reserved 4 // Copyright Notice
Abstract Serene - the state of being calm or tranquil; a title of honor or respect. Coastal serenity is when a person is in sync with their own sensory perspective of the coast. The coast in many ways represents tranquility through the water, serenity through the sand, enlightenment through the sun, and views when all these elements combine. The research for this thesis began with the California coast and its protector the California Coastal Commission. The commissions mission to have authority on the marine and terrestrial resources. The research then led to an observation of the Baja Coast Mexico, same ocean and land but different typologies and limitations. The Baja Coast went through a period of vast development in which developers constructed towers and high rises that created a metaphorical wall. A wall that divided the public beach’s nature to people. Therefore, this thesis proposes challenging the verticality of these developments through an architecture that is more in sync with the landscape and pushes the envelope of vernacular and contemporary Mexican architecture. Thus becoming an architecture of Coastal Serenity.
Figure 1.0
COASTAL SERENITY a visual narrative of the Baja California coast
A thesis presented to the undergraduate faculty of The Newschool of Architecture and Design
By
Francisco Oliva
Approved by:
Michael Stepner Undergraduate Chair
Date
Tom Mulica Studio Instructor
Date
7 // Signatures Page
This book is dedicated to you...
I
II
Introduction to the Baja Coast
Architectural Strategies & Methods
Baja Coast Map & Context 14 - 15
Thesis Essay 30 - 31
Thesis Statements 17
Architecture Strategies 32 - 37
Introduction 19
Thinking of Verticality Differently 32 - 33
Intention 21
Creating Public Spaces 34 - 35
Development 22
Manipulating the Site 36 - 37
Approach 24
Coastal Imagery 38 - 39
Background 27
California Coastal Commission 41
Baja Coast Imagery 14 - 27
Rational, Scope, & Summary 42 - 43
13
Contents
29
Title Page 3 Abstract 5 Signatures 7 Dedication 9
10
III
IV
Introduction to the project
Coastal Serenity
Case Studies 46 - 51
East Elevation 66 - 67
Luis Barragan Cuadra San Cristobal 46 - 47
Facade Elements 69
Ricardo Legorreta Hotel Hacienda Cabo San Luca 48 - 49
Ground Floor 70 - 71
Miguel Montor Departamentos Leon 50 - 51
Second Floor 72 - 73
Site Rosarito Baja California 54 - 55
Section 74 - 77
Schematic Design 56 - 63
West Elevation 78 - 81
45
65
Renders 82 - 93
Contents Statement of Learning 95 Bibliography 96 - 97 Acknowledgments 98 - 99
11
Chapter One
Introduction to the Baja Coast
13 // Chapter One
P
Rosarito, Baja California, Mexico 40 miles from U.S. border
PaciďŹ c Ocean
Figure 2.0
Illustrated partial map of the city of Rosarito Mexico, 40 miles from the United States border. Chosen area for observation and research.
Thesis Statement The strict building laws provided by The California Coastal Commission provides a particularly unique visual experience to its users, unobstructed miles of coastline with minimal developments. This thesis observed that with the Baja California coast where this condition does not exist and a vast development of high rises up against the shore line have occurred. This has caused the visual experience of the coast to be blocked.
Problem Statement The visual experience of the Baja California coast has become interrupted over the past few decades due to high rise constraints erected along the coast. The coast represents a sere state for beach goers, road drivers, and observants but with these coastal obstructions the serenity is slowly disappearing.
Critical Position The experience of the coast, particularly in Baja California, is being blocked by unnecessary number of high rises along the shore line. The coast experience needs to be evident and open to the public, one’s experience can no longer be deďŹ ned by the spaces in between high rises. Coastal serenity can be achieved by learning from the building laws of the California Coastal Commission; limiting the height of building, allowing for public beach access throughout buildings, and giving full ocean views from the majority of spaces possible back to the public.
17 // Thesis Statements
118 8
Introduction The Baja California Coast went through a recent development period in which developers constructed towers and high rises up against the shore line. The problem with these developments is that they created a metaphorical wall of concrete housing that divided the public beach and nature from people. The wall of concrete developments also interrupted the vast scenic route that drives people from the Tijuana Shores to the Ensenada Shores. The coast represents a serene state for beach goers, road drivers and observants but with these coastal obstructions the serenity is nowhere to be found. The developments emerged due to the lack of strict buildings laws in the region; laws that could limit height, building area, and footprints. This thesis will seek to intervene in the Baja Coast by adopting buildings code ideas from the California Coastal Commission; codes that will limit building height, area, and footprint. By doing so the outcome of the intervention will be a typology that challenges the verticality of these developments and achieves increased public areas.
Image 2.0
Baja California coast, Punta Bandera
19 // Introduction
20 0
Intention The intention for this thesis was to achieve a design that challenged the verticality of the developments in the Baja California coast. Focusing on an architecture that works with the topography; exploring the issues of blocked views at street level, and maintaining or creating more public access to the beach. The architecture will mix vernacular, holistic, and modern Mexican architecture such that the project ďŹ ts with in the context of Baja.
Image 3.0
Baja California coast, Rosarito Beach
21 // Intention
Development The developmental process of the study revolved around the coast, researching the California Coastal Commission as a basis on which to focus. The study was again redirected into focusing on the experience of the coast and one’s sensory perception of it; the unifying factor of the coastal experience with the users. The manner in which the project developed in space and form, would encourage an arrangement that clariďŹ ed their importance to the symbolic role of the coast.
Image 4.0
22 // Development
Baja California coast, Downtown Rosarito
223 3
Approach The approach of this thesis is to focus on an architecture that employs a combination of patterns and spaces. These patterns and spaces would provide opportunities for outdoor spaces of pause, rest, and recreation. The conditions of the site would not limit the form but encourage it to address certain features of the site.
Image 5.0
Baja California coast, Downtown Rosarito
Background Many views in northern Baja California feature both sea and skeleton. Up and down the PaciďŹ c Coast from the Tijuana border to Ensenada, the concrete-and-steel frames of half-completed luxury towers stretch up into the sky (Semuels, 2010, p.5). Luxury high rise developments have proven to not be effective in this coastal region. Examples of these non effective construction can be seen as one drives down the coast; with many of them in mid construction abandonment and others with evident maintenance issues. Baja California has distinct characteristics that are not being portrayed in these types of developments; not in their construction, design, or typologies.
Image 6.0
Baja California coast, Punta Bandera
27 // Background
Chapter Two
Architectural Strategies & Methods
29 // Chapter Two
Image 7.0
Baja California coast, Rosarito
Thesis Essay This thesis investigates the Baja California coast and the background of the developments along the coast. The Baja California coast went through a vast development period in which developers constructed towers and high rises up against the shore line. The problem with these developments is that they created a metaphorical wall of concrete housing that divided the public beach and nature from people. The wall of concrete developments and half built skeletons also interrupted the vast scenic route that people drive from the Tijuana Shores to the Ensenada Shores. Concerns about this issue expressed by locals were published in an article by the L.A. Times: “It paints a picture of a depressed economy, depressed conditions. It doesn’t make it look like a happy place to go live or vacation.” (McNeil, 2010, p.4). The emergence of these developments was in part due to the limited building codes offered in this region. This thesis will seek to intervene in the Baja coast by adopting building codes from the California Coastal Commission; codes that will limit building height, area, and footprint. The California Coastal Commission uses the Coastal Act to enforce regulations on developments in the coastal region and beach cities. The research of the Coastal Act extracted articles 2 and 6 of the act to adopt into architectural strategies for the project. The architectural strategies will inform the shape and program with three main themes: thinking of verticality differently, created public spaces within a private space, and manipulated the site without privatizing.
A study of architectural strategies informed the thesis on ways to address form, program, and landscape. Addressing these issues through independent studies fortified the structure of the project, in addition case studies grounded all these strategies on a built level. Luis Barragan’s “Cuadra San Cristobal” built in 1968 informed the thesis on Barragan’s fluidity, boldness, and minimalistic approach to architecture. Cuadra San Cristobal plays with geometry balancing the inside outside perspective of the user. Barragan mixed geometries, nature, color, and light to create spaces of serenity throughout the property; these spaces of serenity informed the thesis on ways of approaching landscape and public space. Another influential case study is Ricardo Legorreta’s “Hotel Hacienda del Cabo” built in 1972. Legorreta played with the idea of integrating his architecture into the landscape without overshadowing it. Legorreta’s Hotel Hacienda influenced this thesis’s approach to form and landscape. The hotel’s units are separated and are integrated within the landscape, allowing for each to have full ocean views. The thesis was influenced by Miguel Montor’s “Departamentos Leon” built in 2016, with his elegant use of materials. The architect’s apartment complex uses a material pallet of concrete and brick. The concrete floor plates are made evident from floor to floor as the brick pattern is interrupted. These floor plates move and shift becoming balconies, landings, or overhangs depending on the form’s needs. This thesis challenged the verticality of the Baja California developments with a low rise resort development that adopted building codes from the California Coastal Commission and mixed architectural strategies from findings and case studies resulting in a project that achieves costal serenity. The thesis project broke down wall barriers allowing full views from the road through the coast, allowing public beach access, incorporating the architecture with the landscape, and bring back costal serenity to Baja California.
31 // Thesis Essay
Thinking of verticality differently Exterior conditions of the site do not limit the form but encourage the program to address certain features of the site.
32 // Strategies
Blocking Privatization The intermediate space can become the dominate space, and be capable of organizing a number of spaces about itself.
Figure 3.1.1
Figure 3.1
Figure 3.2.1
Figure 3.2
Figure 3.3.1
Figure 3.3
Horizontality The two spaces as well as the intermediate space can be equivalent in size and shape to form a linear sequence of spaces.
Sensory Perception The intermediate space can itself become linear in form to link two spaces that are distant from each other or join spaces that have no relationship to one another.
Utilizing Topo for Public The radial conďŹ guration has linear paths extending from or terminating at a central common point.
Figure 3.4
Figure 3.4.1
Inclusive Spaces The straight path is the primary organizing element of the form. It can be segmented, intersect other parts, or have branches to accommodate program and circulation.
Figure 3.5
Figure 3.5.1
Spaced Out Program To avoid the creation of disorienting paths, an order among the paths of the form will be established. Figure 3.6
Figure 3.6.1
Creating public spaces within a private space The form employs a combination of patterns and spaces. These patterns and spaces provide opportunities for outdoor spaces of pause, rest, and recreation
35 // Strategies
Manipulating the Site Without Privatizing The manner in which spaces can be arranged clarify their importance to the symbolic role of the coast maximizing views and it’s relationship to the people.
36 // Strategies
Views that Connect The central space of the form is large enough in size to gather people and accommodates a secondary space to ďŹ t the program.
Figure 3.7.1
Figure 3.7
Figure 3.8.1
Figure 3.8
Figure 3.9.1
Figure 3.9
All Paths of Movement The nature of the site conďŹ gures a path that plays with the form and adds a spatial organization that serves as a visual counterpoint and organic views.
Oblique Forced Views An oblique approach that redirects the path to enhance the perspective and sequence of approach.
Architecture is an art when one consciously or unconsciously creates aesthetic emotion in the atmosphere and when this environment produces well being. -Luis Barragรกn
Image 8.0
Baja California coast, Rosarito
California Coastal Commission The California Coastal Commission uses The Coastal Act as an enforcement instrument over the coast and beach cities. The Coastal Act is composed of ten chapters, the research for this thesis focused on chapter three “Coastal Resources Planning and Management Policies”. Chapter three is composed of seven articles: (1)General, (2)Public Access, (3)Recreation, (4)Marine Environment, (5)Land Resources, (6)Development, and (7)Industrial Development. https://www.coastal.ca.gov
Article (6) Development (section 30251) states that: “The scenic and visual qualities of coastal areas shall be considered and protected as a resource of public importance. Permitted development shall be sited and designed to protect views to and along the ocean and scenic coastal areas, to minimize the alteration of natural land forms, to be visually compatible with the character of surrounding areas, and, where feasible, to restore and enhance visual quality in visually degraded areas.” California Coastal Act of 1976, Ch. 1330.
Article (2) Public Access (section 30212) states that: “Public access from the nearest public roadway to the shoreline and along the coast shall be provided in new development projects except where (1) it is inconsistent with public safety, military security needs, or the protection of fragile coastal resources, (2) adequate access exists nearby, or (3) agriculture would be adversely affected.” California Coastal Act of 1983, Ch. 744.
41 // Coastal Act
Image 9.0
Baja California coast, Rosarito
Rational for the study The Baja California coast is in need of a new typological redirection; one that moves away from the high rise typology being used today. One can see the negative visual impact that these towers and skeletons of towers cause as you drive down from Tijuana to Ensenada. A new direction of small manageable typologies could convey a view of the coast that moves past these high rises and skeletons obstructing coastal serenity.
Scope of the study The scope of the study will focus around the architectural strategies that where previously mentioned. With three main objectives: thinking of verticality differently, creating public spaces within a private space, and manipulating the site without privatizing. All of which will inform the form generation and the way the site will be manipulated.
Summary of the study This thesis is meant to further investigate the Baja California coast with a background understanding on the California Coastal Commission. Studying speciďŹ c examples found in the Baja coast in the form of high rises and skeletons of these high rises, that cause a visual interruption of the experience. Building upon this research it will direct the scope of the study into the direction needed to design an architectural typology that will ďŹ t into the Baja Coast. An architecture that will engage the surroundings, the views, the people, and the experience of the Baja California Coast.
43 // Study Methods
Chapter Three
Introduction to the project
45 // Chapter Three
Figure 4.0
46 // Case Studies - Barragan
Cuadra San Cristobal Location: Mexico City, Mexico Year: 1968 Architect: Luis Barragan
Cuadra San Cristóbal influenced the thesis through the way Luis Barragan created emotional architecture full of art and poetry. The geometric abstraction used by Barragan in color pallets, shapes, and nature give this project a sense of deep experimentation. Barragan plays with the geometry of the project to change one’s perspective of being inside or outside; through the structure, walls, overhangs, and nature. “This use of water as a device for continuity is a masterful way to bring a sense of calm and add an ever-changing texture and life force into the grounds.” (Bostjan, 2017, p. 3). The project itself is composed of four different living space: the main house, the staff quarters, guest house, and an independent apartment. The estate is adorned by fountains and serene zones, an equestrian zone with a pool for the horses with the idea that the horses could roam around the estate freely. Barragan achieved a fluidity, bold, and minimalistic approach with his geometry and use of materiality.
47 // Case Studies - Barragan
Figure 5.0
48 // Case Studies - Legorreta
Hotel Hacienda Cabo San Lucas Location: Cabo San Lucas, Mexico Year: 1972 Architect: Ricardo Legorreta
Hotel Hacienda del Cabo by Ricardo Legorreta used the landscape of Cabo to integrate the architecture of the landscape without overshadowing it. (legorretaleggoreta.com, 2017). Legorreta wanted to design separate units for the hotel that were hidden within the topography of the site. The units were designed to camouflage with the sandy beaches of Cabo with angular concrete walls, each unit with its own oasis of local vegetation. The architecture as part of the landscape provided full ocean views from each unit. Legorreta influenced the thesis in his way of addressing the individual units, using the landscape and topography of the site. The project also influenced the way units can be arranged in the thesis to provide full ocean views to each unit.
49 // Case Studies - Legorreta
Figure 6.0
50 // Case Studies - Montor
Departamentos Leon Location: Leon Guanajuato, Mexico Year: 2016 Architect: Miguel Montor
Miguel Montor is a Mexican architect known for his tasteful use of materiality. Montor uses typical building materials for Mexico to create the elegant facade of this apartment complex. The minimal material mixture of concrete, brick, and fenestration inspired this thesis. The concrete floor plates create a poetic interruption of the brick facade; these same concrete floor plates shift and expand to create balconies, stair landings and motion through the building. “An important component of the project was the use of materials that were low in maintenance and with a low global impact.” (ArchDailyMexico, 2017, p. 4). Montor was able to capture an elegant use of a materiality pallet pulling and pushing to create this project.
51 // Case Studies - Montor
Site & Schematic Design
53 // Introduction to project
Rosarito Baja California, Mexico 40 miles from U.S. border
350 ft 300 ft
Pacific Ocean
Figure 7.0
Figure 8.0
3 ft 3 ft 11 ft
Schematic Design The initial schematic design embodied the elements found in the case studies. The way Legorreta treated each unit to fit within the context of the site, Barragan’s way of introducing geometry to create serene settings, and Montor’s treatment of materials. The units for this thesis were generated through the research of the design strategy “Oblique Forced Views”, an oblique approach that redirects the path to enhance the perspective and sequence of approach. The three units aggregate to follow this oblique design, the aggregation creates a sequence of buildings that create a path through the project. To avoid the creation of disorienting paths, an order among the paths of the form will be established. The manner in which the spaces are arranged clarify their importance of the coast by maximizing views and the relationship of the people on street level.
57 // Schematic Design
11 ft
South West Isometric Depicting spacial conditions of the site, paths, and form.
Figure 9.0
59 // Schematic Design - Iso
Schematic Ground Plan Depicting spacial conditions of the site, paths, form, and landscape. Figure 10.0
Ground Floor The schematic ground floor depicts six entrances, three of which are public entrances created through the opening in between the buildings. The three buildings in the street facing facade are the Lobby, building “A” with rooms, and building “B” with rooms. The floor plan illustrates a restaurant with a pool in close proximity to the ocean, a gymnasium for leisure, as well as the rest of the room buildings.
60 // Schematic Design - Ground Floor
Schematic Second Plan Depicting spacial conditions of the site, paths, form, and landscape. Figure 11.0
Second Floor The schematic second floor depicts the roofs of buildings “D” and “E” utilizing them as public spaces of leisure to enjoy the Pacific Ocean views. Unlike the ground floor the entrance to the second floor rooms is through the east facing facade; the entrances enable both east and west facades of the building to be in constant use.
62 // Schematic Design - Second Floor
Chapter Four
Coastal Serenity - Final Design Task
65 // Chapter Four
106
East Elevation
Figure 12.0
105
104
103
102
101
Facade Elements -Terracotta rain screen as main facade element -CMU stack bond blocks as inďŹ ll -Terracotta cylinder privacy screen -Concrete columns and partition walls -Terracotta tiles on top of concrete partition walls -Glass panels bonded into concrete for balcony
69 // Final Design Task - Facade Elements
Final Design Task Ground Plan Depicting spacial conditions of the site, paths, form, and landscape. Figure 13.0
Ground Floor The ground floor depicts six entrances, three of which are public entrances created through the opening in between the buildings. The three buildings in the street facing facade are the Lobby, building “A” with rooms, and building “B” with rooms. The floor plan illustrates a restaurant with a pool in close proximity to the ocean, a gymnasium for leisure, as well as the rest of the room buildings.
70 // Final Design Task - Ground Floor
Lobby
Final Design Task Second Floor Depicting spacial conditions of the site, paths, form, and landscape. Figure 14.0
Second Floor The schematic second floor depicts the roofs of buildings “D”, “E”, and partial “C” utilizing them as public spaces of leisure to enjoy the Pacific Ocean views. Unlike the ground floor the entrance to the second floor rooms is through the east facing facade; the entrances enable both east and west facades of the building to be in constant use.
72 // Final Design Task - Second Floor
Recreation Public Space
Recreation Public Space
Recreation Public Space
Recreation Public Space
Section - Elevation
Figure 15.0
West Elevation
Figure 16.0
Final Design Task Render Depicting a sunset atmosphere and Lobby. Figure 17.0
82 // Final Design Task - Lobby Render
Final Design Task Render Depicting the entrance at the highest point of the topography. Figure 18.0
84 // Final Design Task - Lobby Entrance
Final Design Task Render Depicting the restaurant and pool area. Figure 19.0
86 // Final Design Task - Pool & Restaurant Render
Final Design Task Render Depicting the atmosphere of walking through the paths, forms, and landscape. Figure 20.0
Final Design Task Render Depicting the ocean views from a baloncy. Figure 21.0
Final Design Task Render Depicting the atmosphere of walking through the paths. Figure 22.0
Statement of Learning Coastal Serenity embodied my love for Baja, which has had a special place in my heart ever since I was a child. Coastal Serenity was about telling the story of the Baja coast by narrating through images and drawings. The thesis achieved the goals set since the beginning through the architectural strategies; a project that ďŹ ts within the landscape of the area, that challenges the verticality, plays with the idea of the wall of developments, allows public beach access and full ocean views. The visual narrative part of the project was effective by raising the issue through the contextual imagery of Baja. Jury reviews revolved around the intent of the project, with critiques on whether the thesis had a relevant architectural issue and what could be done as an end result. By developing the thesis, I was able to address the issue of the verticality of these developments and the ways of implementing Mexican construction in a contemporary way. Coastal Serenity could be used to start a conversation that is not currently happening, a conversation that needs to happen in Baja.
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Bibliography
Cardenas, D., Valenzuela, K., Sánchez, D., Cruz, D., Alarcón, J., & González, J. (2016, November 16). Miguel Montor. Retrieved June 14, 2017, from http://www.archdaily.mx/mx/office/miguel-montor Ching, F. D. (2015). Architecture: Form, Space, and Order (Third ed.). New Jersey: Wiley et Sons. Cuadra San Cristóbal. (2015, November 11). Retrieved June 14, 2017, from http://www.architravel.com/architravel/building/ cuadra-san-cristobal/ HOTEL HACIENDA CABO SAN LUCAS. (n.d.). Retrieved June 14, 2017, from http://legorretalegorreta.com/en/proyectos/hotel-hacienda-cabo-san-lucas/ Montor, M. (n.d.). Departamentos Leon . Retrieved June 14, 2017, from http://cargocollective.com/miguelmontor/Departamentos-Leon Mutlow, J. V. (2002). Ricardo Legorreta, architects. New York: Rizzoli. REGLAMENTO DE LA LEY DE EDIFICACIONES PARA EL MUNICIPIO DE PLAYAS DE ROSARITO, BAJA CALIFORNIA. (2003, February 23). Retrieved June 14, 2017, from http://www.rosarito.gob.mx/vi/index.php/ayuntamiento-de-playas-de-rosarito/ transparencia/transparencia-ayuntamiento/transparencia-ayuntamiento-articulo-11/transparencia-ayuntamiento-articulo-11-fraccion-16/transparencia-ayuntamiento-articulo-11-fraccion-16-reglamentos/reglamento-de-la-ley-de-edificaciones-para-el-municipio-de-playas-de-rosarito-baja-california/ Semuels, A. (2010, April 15). Baja California luxury developments go from boom to bust. Retrieved June 14, 2017, from http://articles.latimes.com/2010/apr/15/business/la-fi-baja-bust16-2010apr16 State of California - Ca. Coastal Commission. (n.d.). California Coastal Commission. Retrieved June 14, 2017, from https://www. coastal.ca.gov/ Torres, G. (2009, August 10). Rosarito Properties. Retrieved June 14, 2017, from http://www.rosaritoproperties.net/2009/08/03/ baja-developers-halt-is-this-a-sign-of-good-things-to-come/#more-67
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List of Images & Figures
Oliva, F. (Photographer). (2017). 1.0 Cover Page [photograph]. La Jolla, CA. Oliva, F. (Photographer). (2017). 2.0 Punta Bandera Viewing Point [photograph]. Rosarito, BC. Oliva, F. (Photographer). (2017). 3.0 Rosarito High Rise [photograph]. Rosarito, BC. Oliva, F. (Photographer). (2017). 4.0 Downtown Rosarito Towers [photograph]. Rosarito, BC. Oliva, F. (Photographer). (2017). 5.0 Downtown Rosarito Towers [photograph]. Rosarito, BC. Oliva, F. (Photographer). (2017). 6.0 High Rise Skeleton [photograph]. Rosarito, BC. Oliva, F. (Photographer). (2017). 7.0 Abandoned High Rise Shell [photograph]. Rosarito, BC. Oliva, F. (Photographer). (2017). 8.0 Abandoned High Rise Shell Panoramic [photograph]. Rosarito, BC. Oliva, F. (Photographer). (2017). 9.0 Abandoned High Rise Shell [photograph]. Rosarito, BC. Oliva, F. (Illustrator). (2017). 1.0 High Rise Illustration [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 2.0 Map of the city of Rosarito [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 3.1 Architectural Strategy Illustration [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 3.2 Architectural Strategy Illustration [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 3.3 Architectural Strategy Illustration [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 3.4 Architectural Strategy Illustration [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 3.5 Architectural Strategy Illustration [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 3.6 Architectural Strategy Illustration [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 3.7 Architectural Strategy Illustration [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 3.8 Architectural Strategy Illustration [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 3.9 Architectural Strategy Illustration [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 4.0 Case study Luis Barragan [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 5.0 Case study Ricardo Legorreta [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 6.0 Case study Miguel Montor [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 7.0 Rosario Site Map [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 8.0 Schematic Design Concept [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 9.0 Southwest Isometric [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 10.0 Schematic Ground Floor Plan [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 11.0 Schematic Second Floor Plan [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 12.0 East Elevation [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 13.0 Ground Floor Plan [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 14.0 Second Floor Plan [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 15.0 Section [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 16.0 West Elevation [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 17.0 Lobby Render [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 18.0 Entrance Render [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 19.0 Pool & Restaurant Render [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 20.0 Walkway Atmosphere Render [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 21.0 Balcony View Render [drawing]. San Diego, CA. Oliva, F. (Illustrator). (2017). 22.0 Walkway Atmosphere Render [drawing]. San Diego, CA.
Acknowledgments This thesis book could not have been possible without the love and support of my family (Mom, Dad, Melissa and Andrea). Tom Mulica my thesis professor and great advisor. My lovely friends for their love and design advise (Heba, Daniela, Ana, Marynnes, and Mo). My NewSchool classmates and professors. I wish you all a long and happy life. Thank you.
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