Arch 101 Final Portfolio Example

F INAL PO R TFOLIO

Fall 2022, ARCH 101 Architecture Design Studio City College of San Francisco

A4: Stereotomy Monolith

p. 20 - 25

A5: Personal Space: Mondrian Study

p. 26 - 35

A6: Mondrianville

p. 36 - 49

Lines, Line Weights, & Line Types A1

As our first assignment while learning Rhino, the class was tasked to create a catalog of lines utilizing varying line weights, types, and colors. Reflecting the specificity of the assignment, requiring that all the lines used be listed, my final catalog is clear and easy to read. I achieved this through using a simple rule where simple shapes are repeated and offset increasingly further apart.

The skills learned in this assignment (drawing in Rhino, organizing line types and colors by layers, and cataloging important information) can be applied in future projects. Not just for using drawing tools, but knowing which information needs to be communicated for clients and colleagues, as well as how to effectively show them the information.

STRENGTHS WEAKNESSES

- Is simple and easy to understand.

- Colors work well with use of line weights, reflecting the increasing offset.

- The informational categories line up neatly and next to the line they are referencing.

- The typed information is forced to squeeze into a tight space due to the nature of how the text is organized.

- One of the line type’s information is not lined up with the rest of the typed information due to the placement of the line that it is referencing.

- Learning how to draw and organize information using Rhino.

- How to present information to clients and colleagues in a clear and effective manner that is also aesthetically pleasing.

- The colors used may not be accessible to the masses due to contrast.

- Overly thin lines with small dashes and details may also be unreadable.

OPPORTUNITIES RISKS

Mapping: Reinforced Racism A2

Taking drawing and visual communicating in Rhino to the next level, this assignment encourages us to tell a story through three maps. In this case study of Oakland, California, I explain how the city serves as a prime example of how many cities in the United States are affected by racist and classist zoning made in the middle of the twentieth century. I achieve this by creating a visual essay where I compare and contrast the Home Owners Loan Corporation’s real estate value assessments of Oakland neighborhoods in 1937 with a map of the city’s freeway network in the 1970s and a map of the city’s current racial demographics using U. S. census data.

Home Owners Loan Corporation Redlining (1937)

Majority race demographic map (2019)

MINOR STREETS

MAJOR STREETS

“ThemainaspectsofthemapsIamcomparingarethephysicalmobilityoftheindividualin relationtothebuiltenvironment,andtheirsocioeconomicmobilityasaresult.Inaddition todifferentlineweightstorepresentdifferenttypesofpassageways,Iamusinghatched circlestorepresentthemagnitudeofimmediateeffectsthatcamewiththeconstruction ofOakland’sfreeways.Thelargerthecircle,thelargertheeffect.Theeffectsrangefrom residencesdestroyed,tofamiliesdisplaced,tothenumberofthroughstreetsdemolished.“

FREEWAYS FREEWAY EFFECT AREA

Redlining of 1937

LEGEND:

A - GRADE

B - GRADE

C - GRADE

D - GRADE

Thinking about how I would need to tell this story through maps made in Rhino, I kept in mind how I would need to separate different information into their proper layers. Not only does this keep all my information organized, as I learned in A1, but this also helps me easily duplicate information needed for other maps. The [COPY] and [MOVE] commands proved immeasurably useful and time efficient in this assignment. These tools helped me created a visually strong compare and contrast relationship between all three of my maps, keeping everything properly aligned and scaled.

Where the Freeways were built (1970s)

In this map of the project, I introduce my own graphic to represent my subjective opinion of how much the freeways built effect the surrounding city blocks, as it plays a critical role in how I make my argument. Using hatched circles, I use the size of the circle to represent various effects caused by the freeways. This includes environmental effects like sound and pollution, and the amount of homes and people displaced. A critique of this use of graphics is that the sizing is not based on an exact metric but rather my own opinion. Moving forward, I should research primary data to better reinforce my arguments.

Another critique of the hatched circles is that they visually compete with the rest of the information on the map, such as the street grid. I may improve on this by exploring different hatches and their scaling and perhaps color as well.

Racial Division Today

LEGEND: WHITE ASIAN HISPANIC

BLACK

In this final map of the project, I introduce what city planners have done to help remedy the effects caused by mid-century redlining and freeway construction. The major difference would be the removal of the Cyprus Viaduct that carved out rows of West Oakland neighborhood blocks. Now a wide avenue with green space, I should have used a different line type than to visually categorize it with the other MAJOR STREETS on the map. This would have made this major change in the neighborhood easier to highlight on the map.

WEST OAKLAND (1970s)

CYPRUS VIADUCT CONSTRUCTION

WEST OAKLAND (PRESENT DAY)

MANDELA PARKWAY (FORMER CYPRUS VIADUCT)

STRENGTHS WEAKNESSES

- The maps are rich with information.

- The iconography is consistent.

- Some symbols are subjective and not based in actual data.

- Some hatches and line types visually compete with each other.

- Further exercising how to effectively communicate ideas visually through Rhino.

- Exercising how to do preliminary research in the beginning stages of projects.

- Certain hatches and lines may not be visually accessible.

- Finding reliable data and information requires more time.

OPPORTUNITIES RISKS

Multi-view Drawing A3

This is where 3D modeling is introduced. The goal of this assignment is to create three forms, with at least one oriented oblique, and create a multi-view drawing. The resulting drawings should be able to show the physical relationship with a human figure. As the requirements for what the shapes need to be are loose, I have very simple and freely-formed shapes. As I sketched what kind of shapes to make, I decided that I wanted the shapes large enough to make a person feel a slight sense of enclosure while still being an open space.

PRELIMINARY ELEVATION SKETCH

PRELIMINARY ELEVATION SKETCH

Modeling in Rhino did take some getting used to, however I ended up really enjoying the interface. Having multiple views while modeling and being able to reference back and forth is very helpful.

Using the skills learned in the previous two assignments, I apply line type organization to complete the final drawings.

An issue that arose was my improper use of line weights. At first, I tried to stick to the rule of keeping lines of elements closer to the front with thicker lines and those farthest from the front with thinner lines. This resulted in my forms appearing hollow and confusing to understand. To improve it, I reserved the thicker lines for all the forms’ profile edges. This made the drawings easier to understand by better establishing the over all shape of each form.

AXON

STRENGTHS WEAKNESSES

- Information is clear and easy to understand.

- Proper use of line weights.

- This is an exercise where I take all the skills I learned in the last two assignments and apply them in an architectural drawing, through plan, elevation, and axonometric views.

- Dashed construction lines can get convoluted and compete with the forms.

- Though not used in this assignment, sizing one’s drawings to proper scales for certain page sizes is important to keep in mind.

OPPORTUNITIES RISKS

Stereotomy Monolith A4

This project continued to push the class’ 3D modeling exploration and ended with the first physical model of the semester. With a partner, I was to create a form through additive and subtractive modeling using a cuboid as a base. The only requirements were that we use at least two oblique cutting planes, at least two projections to either add to or subtract from the base form, and to try not to directly model something already in existence.

SUBTRACTIVE STEPS

Starting off with an irregular cuboid rather than a perfect cube, my partner opted to only use subtractive designing. After applying two cutting planes, my partner fashioned a nonagonal pyramid and, I, a cube to use as our subtractive projections. We experimented with how the projections would effect the form by penetrating through the center of it and just partially.

PROJECTIONS USED IN SUBTRACTION

MULTI-VIEW DRAWING AND SCALE

In a rather reversed way of designing, we established the scale of the resulting form after we finished designing it. Without a specific use in mind, we aimed to create moments where the form would hang over the user, as well as to partially surround them.

UNROLLING SURFACES

Keeping in mind the scale that we want to have our form in, we begin to unroll it in order for us to laser cut and build our model. In order to get the right scale and to make the most efficient use of the material given to us, we unrolled our form into three separate pieces. We also added construction tabs, keeping in mind how the three pieces would fit together.

UNROLLED PIECES FOR LASER CUTTING

FINAL MODEL

After successfully laser cutting the pieces needed, we built the model. Once built and paired with our given scale figure, we were pleased to see that we scaled our form just right. One can explore the form through its sharp apex cantilevering above them, as well as entering the oculus created by the subtracted pyramid projection.

My partner decided to highlight contrast between form and void in our model by spray painting the oculus silver and the remaining surfaces gold, resulting in a playful shimmer when shown under a light source.

FRONT VIEW

OCULUS - FRONT VIEW

STRENGTHS WEAKNESSES

- The communication of the design through drawings is thorough and clear.

- The relationship of the form to the human body is clear and interesting.

- A strong and interesting conversation between form and void in the final model.

- The model was slightly difficult to assemble due to the nature of it’s acute angles.

- This is the first project that simulates an (almost) entire design project from ideation to final model.

- The use of the laser cutter opens many possibilities in how to create a model.

- Risk of inefficient utilization of material when laser cutting.

- Free form ideation without revision puts final design at higher risk of being based in the designer’s inherent biases.

- Free form and playful ideation can have interesting and surprising outcomes.

OPPORTUNITIES RISKS

LEFT VIEW

Personal Space: Mondrian Study A5

The Personal Space Project served as the first opportunity for the class to do a deep dive into the Design Process, taking the steps we took in the Stereotomy assignment and adding our own artistic interpretations to execute a design.

The goal of this project was to create a personal space that served a specific function while using the painting Broadway Boogie Woogie by Piet Mondrian as a basis of inspiration and analysis. I was to analyze the painting through a series of digital drawings done in Rhino, and then use those drawings as inspiration create a threedimensional space occupying a space no bigger than 20 cubic feet.

As I thought about the kind of space I wanted to create, I was inspired by the very concept of Mondrian’s painting being a rigid and rectilinear abstraction of American Jazz music. This concept inspired me to apply a similar concept to my design. Just as Jazz is heavily improvised, musicians responding to each other in real time, so is every entity in the universe in some way. Instead of creating a form that was an improvisational rationalization of music, it will be a rationalization of nature and the universe as a whole.

This concept will eventually lead me to design a meditation garden.

Piet Mondrian Broadway Boogie Woogie 1942-43

ZONES OF HIGH DENSITY SINGULAR BLOCKS IN RELATION TO DENSITY ZONES

Areas within the painting that contain the majority of colorful elements create balance between areas of white space. I used these zones as a framework for movement.

With an exception of four, most of the singular blocks exist within the high density zones.

I projected these blocks onto three faces of a cube, finding where they intersected with certain elements, to create windows.

WALKWAYS WALLS & WINDOWS

MULTI-BLOCK UNITS IN RELATION TO DENSITY ZONES

With an exception of two, most of the multi-block units (blocks with a singular block within them) exist within the high density zones.

After projecting these blocks onto the faces of a cube, I extruded them into each other to create forms out of where they intersected. These forms became lanterns.

COLUMNS AND ROWS REINFORCING DENSITY ZONES

The multicolored columns and rows that reach the edges of the painting bound the high density zones.

I used these columns and rows as a basis of the overall structure of the garden.

LANTERNS CANOPY

As the concept revolves around this idea of a structure serving as a rationalization of the universe, the structure is sited on an incline with its walkways rigidly wrapping around a tree. Its canopy stretches its columns to compensate for the elevation change. Its haphazardly placed panels seem to offer shelter from the elements as they spontaneously occur. Some beams and columns of the canopy even exist not for support to the overall structure, but simply because there had to be a panel in that specific place and needed support.

In this garden, one can meander along the inclining walkway and note these moments where the structure moves to meet the ground, turns to respect a tree, and extends to offer shelter. In doing so, they may be inspired to reflect on the magnitude of presence they have on the world around them.

AXONOMETRIC AUXILIARY COLUMN

FINAL PHYSICAL MODEL

At this stage of the project, I brought my design into the physical world. After making some test models to decide how I wanted to constructed the garden, I opted for using the laser cutter to cut all of the panels and walkways. By utilizing the laser cutter, I was able to build the garden relatively quickly and neatly.

MODEL PHOTOGRAPHY

Taking the experience I gained from taking photos of the Stereotomy project, I took photos of this model with the goal of highlighting the experience of being in the garden, as well as highlighting specific details. These experiences and details are highlighted not just by certain camera angles, but by effective use of shadow and contrast.

STRENGTHS WEAKNESSES

- The model is neat and clean.

- Though the concept in abstract, the connection between the final design and its inspiration is clear.

- Use of multi-view drawings effectively show the scale and program of the design.

- The drawing analysis of Mondrian’s painting can be seen as too literal

- This is my first attempt in siting my design on a site with a change in elevation.

- Though there is artistic value, the final design is not practical nor accessible to everyone.

- I used this project as an opportunity to explore an abstract and unconventional idea.

OPPORTUNITIES RISKS

Mondrianville A6

Just as each previous assignment has had an added level of complexity from the last, this one adds the challenge of working on a larger team and picking an actual site for our projects.

In this final project, the class was to create teams in order to combine their Personal Space projects to create a Mondrianville. This Mondrianville was to be sited on campus in such a way that facilitated various experiences of movement, assembly, and other qualities such as spiritual, observational, and playful.

The first challenge was picking which projects would compliment well with my meditative garden. These would ultimately be a spa and an observatory. Together, we were to find a way to create the required experiences through responding to each other’s projects and the site in the best way possible.

1st Interpretation:

I didn’t really see an abstract image from first glance, so I decided to trace over the long vertical and horizontal lines that sometimes stretched from one side to of the canvas to the other.

Jerz Mallari: Mondrian Study

2nd Interpretation:

Second glance I started to notice the larger solid rectangles as people that comes in different shapes and sizes. As I considered them as people I also came to an idea that maybe the canvas is a room itself and that it contains a gathering of people.

THE SPA - Nancy Munoz

THE OBSERVATORY - Jerz Mallari

After picking a team, we were tasked with picking a site for our eventual Mondrianville. One of the goals our team had was to honor the unique functions of each other’s projects, as they all brought something special to the table. Keeping this in mind as we toured the given sites, we found it difficult to satisfy the OBSERVATORY’s need for a clear view of the sky, the SPA’s need for privacy, and the GARDEN’s need for a high vista.

SITE F

NEW SITE, F, THAT THE TEAM HAS PICKED OUT BY SHIFTING AND RECONSTRUCTING THE BORDERS OF SITE C.

SITE F STRETCHES FROM THE BOTTOM OF THE AMPHITHEATRE TO THE TOP OF THE HILL/ CLOUD CIRCLE ROAD.

This is how we happened upon picking our own site, “F”. The site had walkways that we could use as a spine for movement in and out of our project, a dramatic change in elevation, and a nook nestled between and below walkways of fast moving foot traffic. Though the steep site did pose some risks, we were up to the challenge.

SITE F

NEW SITE, F, THAT THE TEAM HAS PICKED OUT BY SHIFTING AND RECONSTRUCTING THE BORDERS OF SITE C.

SITE F STRETCHES FROM THE BOTTOM OF THE AMPHITHEATRE TO THE TOP OF THE HILL/ CLOUD CIRCLE ROAD.

SITE ANALYSIS AND DESIGN CHALLENGES

As part of the project, we needed to analyze the site. During this stage, we took into account what challenges the site posed and how our project would address them.

Some questions that arose were:

“How is the wind going to effect the users of the SPA?”

“In what way are the existing walkways helping our goals? How are they harming them?”

VEHICULAR CIRCULATION

Cloud Circle is split into two parts: Road and Parking. This road is regularly occupied by cars parked at its curb from morning to night. The wide open space in from of the amphitheater is sometimes active with skaters, bikers, and other vehicles.

SUN & WIND

The site receives a good amount of sunlight but gets a little chilly in the afternoon as it gets less exposure from to the sun due to the Student Union building’s height, and the wind blows from the Northwest to the Southeast.

“How do we encourage assembly in a fast foot traffic area?”

“How will the existing buildings effect viewers of the OBSERVATORY?”

GROUND

The site’s surrounds are bounded by Cloud Circle, the Rosenberg Library, the CCSF Wellness Center, and the Student Union. The site slopes down from the main road and the amphitheater specifically is confined by the smaller set of stairs on the left and the bushed on the right. Another smaller set of stairs splits the amphitheater in half. The majority of the top half of the site is capped by multiple trees.

PEDESTRIAN CIRCULATION

The Sidewalk between the site and Cloud Circle is regularly used by students and passersby. In the middle of the site is a paved pathway from the wellness center and the sidewalk that links the rest of CCSF’s infrastructure.

Below the amphitheater is a wide circular open space that is sometimes active with skater, vehicles, and students. The amphitheater itself is occasionally used by pedestrians.

Initially, we placed our units onto the site in a manner that best suited their respective functions without any regard for the spaces between. This, in tandem with the existing fast moving traffic paths of the site, resulted in a program that failed to facilitate gathering and a sense of place.

Because preserving the functions of our individual units was an important goal for our team (i.e. preserving privacy, vistas, etc.), we avoided creating enclosure between our units through connecting each unit’s circulations. Taking inspiration from the “Publicly Owned Public Opened Spaces” (POPOS) field trip, we situated our units onto the site in a staggered manner so that even though they aren’t connected, their placement infers enclosure in the space between them. Using this as a base, a new gathering space is created, digging into the existing terrain between our units. As a result, we were able to add more seating and, by adding a supergraphic on the floor anticipating the desired path into the new gathering space, we were able to visually subdivide the space for smaller gatherings.

An additional step we did to enhance the feeling of enclosure was imposing THE OBSERVATORY partially into the main through walkway. This visual and spacial presence will encourage slower movement through the newly created gathering space.

OVERALL PROGRAM

RELAXATION

To better accommodate THE SPA’s need for privacy into the busy site, it is situated in a corner bordered by paths of fast moving traffic. In addition to the bamboo screens and planters built into THE SPA, additional tall and thick vegetation line the exterior.

PLAYFUL

Moments of play can be found in THE SPA’s top level hot tub and lounge and THE OBSERVATORY’s observation net.

THE OBSERVATORY has an roofless observation deck to allow for its use as an observatory.

EATING

Taking advantage of the already existing terraces as a open-air eating space, THE OBSERVATORY’s lower floor program as a general hangout area offers a slight sense of shelter to the space.

SPIRITUAL

THE GARDEN’s meandering paths and ramps seemingly responding to the landscape it is exposed to encourages slow movement for meditation and self-reflection.

THE GARDEN

OBSERVATIONAL

Having the highest occupiable level in the entire complex, THE GARDEN offers expansive views of the entire amphitheater. The sense of height is exaggerated by the steep change in elevation. As shown in its roofless observation deck, THE OBSERVATORY offers unobstructed views of the sky.

FAST & SLOW

The already existing pathways on the site (Cloud Circle sidewalk, Student Union walkway, and Amphitheater stairs) allow for fast movement. Imposing THE OBSERVATORY into the Student Union walkway, along with the existing terraces and the addition of the new gathering space allows for slower movement within the complex.

ASSEMBLING

With the space nestled between the three units and a steep incline, we expanded the walkway leading from the rightmost stairs to the Student Union into a large gathering space.

Using a yellow super graphic anticipating a desired path into the new space, we created subdivisions for smaller gatherings.

VISUAL STORYTELLING THROUGH MULTI-VIEW DRAWING

Once our design was finalized, we had to visually communicate it. Applying everything we’ve learned in the class of how to make architectural drawings in Rhino, along with knowledge from previous classes, we created our drawings with the intent of showing scale, function, and highlighting key elements.

SOUTH ELEVATION

VISUAL STORYTELLING THROUGH

DIGITAL PERSPECTIVES

Taking advantage of Rhino’s built-in ray tracing capabilities, we created rendered perspectives of our overall project. Just as our digital paraline drawings, we focused on showing scale, function, and circulation throughout the spaces. This was achieved through postproduction work in Photoshop.

SITE MODEL MAKING

Due to the nature of our steep site, building a clean site model effectively representing change in terrain proved to be difficult with the allotted time. Despite, the challenges, the team pulled through, thinking of creative ways to physically tell our story: fashioning trees out of sticks and wire, shrubbery out of trace paper, and utilizing the laser cutter whenever possible.

STRENGTHS WEAKNESSES

- Unique design due to unique circumstances.

- Clear drawings and graphics that effectively communicate the design

- The site model lacks in cleanliness and fails to effectively convey the qualities of the site.

- The team didn’t allot enough time for make various iterations. More options should have been explored.

- This is the first large scale project I’ve done that was larger than a single story house.

- Learning how to digitally model terrain is an important skill as most sites are not perfectly flat.

- Learning how to effectively communicate with team members and stay on track.

- Keeping all files necessary for sharing in a team project organized can be difficult.

- Making sure all team members are on the same page can be difficult.

- Inefficient use of model making material is of concern when certain materials are not recyclable.

OPPORTUNITIES RISKS