A
georgia pogas SELECTION OF WORKS
YEAR..................................................................................2018-2020 EMAIL...........................................GEORGIA.POGAS@GMAIL.COM PHONE.....................................................................(317) - 968 - 0739 LOCATION...........................................LOS ANGELES, CALIFORNIA
A TABLE
Georgia recently graduated from the University of California, Los Angeles, Architecture and Urban Design program, where she earned her Master of Architecture degree. The pages that follow contain a selection of works that exhibit her affinity for playfulness in both architecture and in representational techniques that seek to re-examine and reposition design tropes.
OF
2 - A WELCOME CENTER.........................................................P. 19 3 - A HOUSE TURNED DORM..................................................P. 27 4 - A GUEST HOUSE.................................................................P. 37 5 - A COUPLE OF PIZZA HUT PATENTS..............................P. 43 6 - A MUSEUM OF ROADSIDE ARCHITECTURE..................P. 49 7 - A FIRE STATION WITH A LIBRARY...................................P. 57 8 - A SPORTS CLUB..................................................................P. 65 1
CONTENTS
1 - A LIFE ON THE BACKLOT..................................................P. 3
0
2
PROJECT SITE...............................UNIVERSAL CITY, CALIFORNIA COLLABORATOR................................................MICHAEL DEPREZ 3
BACKLOT
INSTRUCTOR...............................................................NEIL DENARI
THE
YEAR........................................................FALL 2019 - SPRING 2020
ON
In pursuit of the formal heterogeneity found in a manufactured city, the working method became a kit of parts to develop a catalog of episodic massing. We looked closely at methods of filmmaking as architectural precedent and reference to make formal and aesthetic decisions. These episodes merge together to form a network of housing and shared programs that loosely fit within the existing grid. This project analyzes and evokes entertainment without explicitly claiming it as the sole ambition.
LIFE
With the introduction of housing on the backlot, the boundary between the real and the simulated is further confounded. Through the use of the super-generic, the city fragment, and the graphics of media, the project suggests a new and radical condition of living.
PROJECT BRIEF 1.0 This year-long Research Studio asked for the development of mid-rise housing within 400m of an LA Metro station in compliance with SB50 requirements. The design must consist of at least 75% housing, and must utilize mass timber construction. Our project chose to work at a semi-urban scale and developed a 150m x 150m site adjacent to the Universal City/Studio City Metro station.
A
Film studios play an important role in Los Angeles’ culture and history, and in turn occupy a significant amount of real estate. A Life on the Backlot asks, what if the spectacle of simulated cities that exist on studio backlots could merge with the functions of a real city? In this way, Universal City was the perfect site to explore the intersection of film and city infrastructure.
1 FIGURE 1.1 Southeast site isometric 4
FIGURE 1.2 - Site plan 5
A
LIFE
ON
THE
BACKLOT
6
UNIVERSAL CITY / STUDIO CITY
FIGURE 1.3 The “Facade Attachments” borrow a formal strategy from an existing typology that is common elsewhere on the backlot and at other studios. FIGURES 1.4-1.5 Both “Craggy Plazas” are designed for filming, and are important episodes in the project where studio culture most intensely meets the residential and public programs. The use of chartruese and Yves Klien blue are used for the practicality of filming and as a reference to a media aesthetic.
7
UNIVERSAL STUDIOS LITTLE EUROPE (LEFT); WARNER BRO
A
FIGURE 1.6 - This block of lifted housing consists of a sawtooth facade and an occupiable billboard, a typology that exists in both the city and backlot context.
LIFE
FIGURE 1.7 - The “Long Line” lifted housing follows the linearity of the street below and looks to filming technique as a method of producing infrastructure that does not exist at Universal. It’s shape was informed by the long tracking shot in Spectre’s opening scene and plays off the existing “Falls Lake” green screen. FIGURE 1.8 - This midrise tower reaches the max height limit in an effort to match the surrounding office towers.
ON THE BACKLOT 8
FIGURE 1.9 - Site section 9
A
LIFE
ON
THE
BACKLOT
10
FIGURE 1.10 - At ground level are two destination plazas that serve the dual purpose of public space and, at times, an active film set.
11
A LIFE ON THE BACKLOT
FIGURE 1.11 - A chartreuse network of connective catwalks provide entry to housing and allow for circulation even when the ground plane is being used for filming.
12
FIGURE 1.12 The craggy plazas in particular utilize a featureless-ness design strategy, a radical gesture of neutralizing that creates a simulation of urbanity.
FIGURE 1.13 The plazas have been designed with intentional blankness to offer flexibility in anticipation of potential filming opportunities.
FIGURE 1.14 The design process of the plazas involved observing how the building might look onscreen, then adjusting to make spaces wider and the overall form more layered.
13
A LIFE FIGURE 1.15 Featurelessness of Central Craggy Plaza and Long Line lifted housing in everyday use.
ON THE FIGURE 1.16 View of the Central Craggy Plaza occupied for filming.
BACKLOT FIGURE 1.17 Central Craggy Plaza seen through common camera aspect ratios.
14
FIGURE 1.18 - Central Craggy Plaza occupied for filming 15
A
LIFE
ON
THE
BACKLOT
16
FIGURE 1.19 - Facade attachments housing street view FIGURE 1.20 - Linear housing rooftop occupied for filming
17
A LIFE
FIGURE 1.21 - Housing lifted above the existing studio datum FIGURE 1.22 - Street entrance view as seen from Lankershim Boulevard
ON THE BACKLOT 18
PROJECT BRIEF 2.0 This sectionally driven Comprehensive Studio focused on steel construction and the role of the atrium as a shaper of public space. It provoked questions of porous boundaries and observed the relationship between center and edge in the context of a welcome center.
A WELCOME
When organized, the various programs that inhabit a welcome center can be sorted into four groupings of shared similarities: multi-purpose, public resources, recreation, and administration. Each block of grouped program intends to maintain a reading of individuality through the use of distinct colors and organization in order to ease identification. Some blocks gently deviate from the grid resulting in a loose-fit appearance that conveys a sense of relaxed playfulness. While each block possesses an outward appearance of autonomy, they are connected at moments of overlap. All blocks are hinged together by modest atria and vertical circulation, which then form a new program at the center of the site for both public and private uses. Some blocks situate themselves on top of others in order to allow for a permeable edge underneath them. Meanwhile, others burrow into the ground to support the blocks above and serve as a secure yet public extension of the program.
CENTER
YEAR............................................................................WINTER 2019 INSTRUCTOR.................................................................KEVIN DALY PROJECT SITE.....................................WESTLAKE, LOS ANGELES
19
2 FFIGURE 2.1 Physical model
20
1
2
3
4
5
6
7
8
10
9 127'-8"
19'-3"
A
B
C
93'-1"
D 40'-0"
73'-8"
E
F
G
H
I
30'-7"
FIGURE 2.2 - Lower level floor plan
21
58'-3"
48'-5"
A
1
2
3
4
5
6
7
8
10
20'-2"
9'-0"
A
19'-7"
B
WELCOME
30'-2" 9
105'-6"
C
77'-7"
D
E
48'-6"
F
G
H
I
29'-4"
8'-3"
30'-4"
CENTER
FIGURE 2.3 - Ground level floor plan
58'-3"
22
1
2
3
4
5
6
7
8
10
9
A
31'-6"
50'-7"
B
C
D
E
F
H
35'-4"
G
I
127'-11"
FIGURE 2.4 - Third level floor plan
23
A
1
2
3
4
5
6
7
8
10
A
B
WELCOME
9
C
D
E
F
G
35'-4"
H
I
127'-11"
CENTER
FIGURE 2.5 - Fourth level floor plan
24
FIGURE 2.6 - Exploded wall assembly section 25
A
WELCOME
CENTER
26
PROJECT SITE...................................LOS ANGELES, CALIFORNIA
27
DORM
INSTRUCTOR.............................................BENJAMIN FREYINGER
TURNED
YEAR............................................................................WINTER 2020
HOUSE
Three boxes of varying sizes tightly wrap around a set of disparate volumes. Their tabs and flaps play an active role, in some instances serving as architectural features, while in other cases functioning as props or structure supporting the volumes underneath. The boxes have been folded inside-out, resulting in typical exterior finishes lining the interior instead. However in one instance, the largest box folds back out, imitating the vernacular of a traditional gable and exposing a panel of standing seam. What appears to be the roof of one household, actually belongs to multiple, acting as a Trojan horse that satisfies the neighborhood by emulating a false sense of domesticity while also satisfying the city by functioning as multifamily housing.
PROJECT BRIEF 3.0 The Advanced Topics Studio, “Boxes, and How to Live in Them with Other People� utilized the formal device of a box and its six planar sides to produce a house for a new kind of family. By using a method of unfolding, new means of domestic inhabitation emerge.
A
This house is designed to accommodate multiple short-term tenants who are in need of a more affordable or temporary home. The plan embodies a dorm-like layout, grouping similar programs together. Many of the programs employ the use of movable partitions in order to allow for flexible arrangements that accommodate to the needs of different renters.
3 FFIGURE 3.1 Front elevation
Elevation 01
0
4
8
16
28
01
04
03
02
01
04
03
FIGURE 3.2 Roof plan
02
FIGURE 3.3 First level plan
29
A
01
HOUSE
04
03
02
TURNED
01
04
DORM
03
FIGURE 3.4 Second level plan 02
FIGURE 3.5 Third level plan
30
Folded Prop 01
Folded Prop 02
Folded Prop 03
Fold-y Flaps 01
Fold-y Flaps 02
Resting Flap 01
Resting Flap 02
Small Tabs 01
Small Tab 02
Tab Detail Condition
FIGURE 3.6 - Inventory of flaps and folds
31
A HOUSE TURNED DORM
Unfolded Box Isometric
FIGURE 3.7 - Unfolded isometric
32
FIGURE 3.8 - Longitudinal section 02
33 0
4
8
16
A HOUSE FIGURE 3.9 - Longitudinal section 03
0
4
8
TURNED
Section 04
16
DORM FIGURE 3.10 - Section 04
34
FIGURE 3.11 - Unfolded section 01 35
A
HOUSE
TURNED
DORM
36
PROJECT BRIEF 4.0 My role in the project included design development, presentation drawings, and post-production editing.
A GUEST
This compact guest house was designed to fit snugly in the backyard of a Brooklyn home. It achieves its small footprint by overlapping five primitive figures and utilizing a Swiss-army knife strategy on the interior. Its Venn-Diagram-like organization emerges from an interest in Set Theory, which deals with collections of objects, or sets. When applied to the Guest House, it creates a duplicity and juxtaposition of program. Despite its size, the space was designed with flexibility in mind by including movable partitions and retractable furniture. On the exterior, a set of attachments puncture the house in order to curate views and lighting in the interior.
HOUSE
YEAR..........................................................................SUMMER 2019 OFFICE......................................................BUREAU SPECTACULAR TEAM....................................JIMENEZ LAI AND MICHAEL DEPREZ
37
4 FFIGURE 4.1 View from the backyard
38
FIGURE 4.2 - Roof plan
12'-3"
9'-0"
7'-7"
9'-6"
7'-2"
3'-0"
7'-4"
"
'-6
38 5'-0"
1'-11" 13'-3"
"
'-3
10
FIGURE 4.3 - First level plan
39
A GUEST HOUSE
FIGURE 4.4 - Exploded axonometric
40
FIGURE 4.6 - View from the carport 41
A GUEST
INTERIOR
FIGURE 4.7 - Interior view
HOUSE 42
43
PATENTS
COLLABORATOR................................................MICHAEL DEPREZ
HUT
INSTRUCTOR....................................................GARRETT RICIARDI
PIZZA
YEAR............................................................................SPRING 2020
OF
For the “Telescopic Roof Vehicle Attachment,” we claim: The ornamental design for a telescoping roof that functions as an attachment to a food truck or mobile food preparation vehicle. The roof attachment mechanically adjusts to a raised position when stationary or lowered position when in motion, serving as wayfinder, branding and chimney.
COUPLE
For the “Telescopic Wayfinding Roof Patent,” we claim: The ornamental design for a telescoping roof that operates as a wayfinder for a pizza fast food chain, in which the roof mechanically adjusts to its context in order to be spotted within a significant radius.
PROJECT BRIEF 5.0 This seminar titled “Pending: Architectural Patent Office,” explored the novel, practical, intellectual and technological application of architectural patents now. A new set of architectural patents were produced by evolving an existing one.
A
With the intent of retaining the Pizza Hut patent’s novelty and identity, we sought to create a set of alternate designs for a Pizza Hut that activates the roof with more exaggerated purpose. Both designs combine the Pizza Hut roof with the readymade technology of the telescoping tower or pneumatic mast. We have developed two related patents: one working with a brick-andmortar restaurant and the other relating to trends of mobility in fast food service.
5 FFIGURE 5.1 Brick and mortar elevational collage 44
FFIGURE 5.2 Front and side elevation of brick and mortar patent at the lowest height condition
FFIGURE 5.3 Front and side elevation of brick and mortar patent at a mid-height condition
FFIGURE 5.4 Front and side elevation of brick and mortar patent at the maximum height condition 45
A COUPLE
FIGURE 5.5 Front and side elevation of the food truck patent at the lowest height condition
OF PIZZA
FIGURE 5.6 Front and side elevation of the food truck patent at the second height condition
HUT PATENTS FIGURE 5.7 Front and side elevation of the food truck patent at the maximum height condition 46
FIGURE 5.8 Brick and mortar street perspective collage
47
A COUPLE OF PIZZA HUT PATENTS FIGURE 5.9 Food truck elevational collage 48
AWARD.......................................................................SEMIFINALIST 49
ARCHITECTURE
COLLABORATOR................................................MICHAEL DEPREZ
ROADSIDE
COMPETITION.................................WALT DISNEY IMAGINATIONS
OF
YEAR..............................................................................2020 ENTRY
The project was conceived by the UCLA AUD Team and created for the 2020 Walt Disney Imagineering’s Imaginations Design Competition. This project is the sole property of Walt Disney Imagineering and all rights to use these ideas are exclusive to Walt Disney Imagineering. The competition is a way for students and recent graduates to showcase their talents and for Walt Disney Imagineering to identify new talent.
MUSEUM
Located in North Hollywood, the Museum of Roadside Architecture gathers these oversized and absurd objects from past and present, consolidating them into an inventory of curios to peruse. The pieces seem to have spilled out of a giant toy box, leaping off the facade, frozen in motion as they sprawl through the city. The museum houses exhibits and the grounds feature a simulated road trip through replicas of some of LA’s most memorable roadside attractions. The two sides of the building facing the freeway are wrapped by a billboard-like facade to advertise its presence, utilizing the same pop techniques as roadside vernacular. A visit to the museum educates, entertains, and sparks discussion about the importance and status of roadside attractions in a culture that should be progressing away from automobile-centric transportation.
PROJECT BRIEF 6.0 Participants were required to create an installation in a location of their choice, that celebrates and educates the community about an iconic part of the site’s history.
A
A critical part of Los Angeles’ history resides in roadside architecture. An ice cream cone that serves ice cream, a hot dog that sells hot dogs: the architecture becomes both an advertisement and a light-hearted joke. As roadside architecture begins to fade from memory, it is important to revisit these forgotten tokens of history.
6 FFIGURE 6.1 Isometric view
50
F
FIGURE 6.2 The west elevation faces the Hollywood Freeway. Like many billboards that populate the streets of Los Angeles, the characters that occupy the facade act as signifiers that peak passerby’s curiosity while also advertising the building’s functional purpose.
F
FIGURE 6.3 Both sides of the north elevation intend to announce the program of the building. The right side uses a densely populated crowd of characters to capture the eyes of fast-moving travelers while the left-hand side employs a bold typeface for a concise reading of what lies inside.
51
A MUSEUM
F
FIGURE 6.4 Opposite of the freeway, the east elevation is most visible to the surrounding neighborhood. While it embraces a more minimal expression due to its adjacency to the neighborhood, it still embodies a sense of playfulness with an oversized sign and a view of the hamburger.
OF ARCHITECTURE
F
FIGURE 6.5 The south elevation opens out onto a village of roadside attractions. The over-scaled objects seem to leap off the facade, inviting guests to delight in their strange otherworldliness.
52
F FIGURE 6.6 - First level floor plan
53
A MUSEUM OF
FIGURE 6.7 - Section cut through the ride loading area
ARCHITECTURE
F
54
FIGURE 6.8 - The site consists of a decorated museum with an outdoor landscape of replica roadside oddities that are scattered like toys spilling out of their toybox. 55
A
MUSEUM
OF
ARCHITECTURE
56
LIBRARY
57
A
PROJECT SITE.........................................GLENDALE, CALIFORNIA
WITH
INSTRUCTOR......................................................ANDREW KOVACS
STATION
YEAR............................................................................SPRING 2019
FIRE
This project seeks to reimagine Glendale Fire Station 29 and the adjoining Montrose Library by lending itself to postmodern methods, particularly those used at Reedy Creek, in order to create a distinction between the two programs and to emphasize their presence in their context. In this way, the front facade becomes a crucial device to articulate importance and function. Each piece on the facade builds a language that signifies its function, i.e. large columns and pediment to convey an institutional building, or bright red brick tower to signify a fire department. The use of color not only helps bring attention to two important community resources, but also exudes liveliness in order to be more welcoming than daunting.
PROJECT BRIEF 7.0 The Fire Station Studio mapped and took inventory of fire departments across Los Angeles, in an effort to observe fire department vernaculars and their common programmatic adjacencies. Each project worked at the scale of the building and the scale of a masterplan, in order to incorporate an additional program and to rethink the civic role of the fire station.
A
The fire station is an often overlooked and unimaginative public building, which in turn denies its civic duty by camouflaging itself into its context. However, some fire stations, such as Disney World’s fire station, Reedy Creek Emergency Services by Venturi Scott Brown, choose to pronounce their presence through the use of color, patterns, and form to dramatize the vernacular of typical fire stations as a method to convey its importance and role in the city.
7 FFIGURE 7.1 Elevation physical model 58
FIGURE 7.2 - The back of the building maintains a quieter facade as it faces away from the street towards the neighborhood. 59
A FIRE STATION WITH
FIGURE 7.3 - The highly decorated front facade borrows techniques from postmodern precedents to help express its function and bring awareness to its civil presence.
A LIBRARY 60
F FIGURE 7.4 - First level floor plan
61
A FIRE STATION WITH A
FIGURE 7.5 - Second level floor plan
LIBRARY
F
62
FIGURE 7.6 - Library facade 63
A FIRE STATION WITH
FIGURE 7.7 - Fire station facade
A LIBRARY 64
INSTRUCTOR......................................................ANDREW KOVACS PROJECT SITE.................................BUNKER HILL, LOS ANGELES
65
CLUB
YEAR............................................................................SPRING 2018
SPORTS
Each grid is influenced locally by its specific program, and globally by the anchor programs situated on the bed of columns. This generates a column gradation throughout the plan, which inherently produces a forest-like field of columns with varying clearings and densities consisting of structural, cosmetic, and programmed columns.
PROJECT BRIEF 8.0 This Core Studio used the gym as a way of interrogating the relationship between structure and program organization. With a focus on plan, structural systems were required to contribute to a larger architectural concept as it relates to activity distribution.
A
The column grid, a simple structural solution, has been glorified as a symbol of freedom, flexibility, and order, however, the typology of an athletic club disputes this notion. By unevenly distributing a variety of columns across a field, this sports club seeks to forgo the normative column grid to produce a new gym typology. Rather than deploying a standard field of columns across the site, each program is treated as an individual object that orders its own grid. Each microfield of columns is arranged within the confines of the site to create a larger, misordered and misaligned field of columns, in response to structural need, use, and privacy. This misorder reverses the role of program and structure: the once ordered column grid is now misordered and obedient to that of the program, which is now prioritized and ordered.
8 FFIGURE 8.1 -
Interior/exterior relationship collage
66
FIGURE 8.2 - First level floor plan
67
A SPORTS CLUB
FIGURE 8.3 - Roof plan
68
51'-5" 6'-0"
11"
42'-2"
65'-10"
16'-0"
40'-0" 2'-6" 5'-5"
4'-2" 3'-6" 5'-1"
5'-1"
9'-2"
4'-3" 3'-1"
3'-0"
4'-0"
18'-8"
12'-0"
12'-6"
6'-0"
6'-10" 1'-3" 6'-7"
3'-0"
4'-0"
5'-6"
7'-0"
5"
16'-0"
17'-0"
7'-0" 10"
6'-3"
16'-0"
17'-0"
7'-1"
13'-3"
17'-1" 199'-8"
31'-7"
12'-10"
13'-6"
17'-0"
16'-0"
12'-10"
2'-0"
2'-0"
5'-11"
5'-11"
5'-6"
293'-2"
7'-7"
46'-5"
17'-0"
16'-0"
15'-7"
9'-1"
10'-2"
17'-2"
3'-8"
16'-0"
14'-11"
17'-0"
13'-10"
20'-0"
17'-0" 31'-7" 12'-10" 3'-0"
16'-5"
32'-2"
2'-0"
17'-7"
19'-11"
2'-0"
4'-0"
15'-6"
6'-0"
23'-2"
3'-0"
4'-0"
6'-0"
16'-0"
15'-8"
17'-0"
16'-5"
5'-11"
16'-5"
12'-10" 46'-5" 10'-3"
4'-0" 2'-0"
2'-0"
7'-5" 12'-0"
6'-0"
8'-6"
10'-3"
8'-2"
9'-3"
7'-3"
5'-3"
8'-9"
4'-7"
1'-7"
2'-0"
9'-9"
9'-0"
12'-8"
10'-8"
1'-0"
11'-0"
4'-5"
12'-2"
4'-5"
25'-0"
8'-7"
13'-2"
15'-2"
11'-0"
10'-6"
5'-6"
8'-6"
5'-6"
9'-6"
49'-11"
20'-6"
30'-0"
21'-6"
22'-0"
21'-0"
5'-6"
40'-0"
17'-6"
6'-0"
8'-3"
1'-0"
13'-2"
11'-2"
6'-0"
8'-8"
99'-10" 220'-0"
FFIGURE 8.4 Field of columns structural grid 69
32
A
326'-9"
50'-9"
7'-4"
1'-0"
42'-6" 2'-0"
45'-5"
11'-5"
7'-0"
2'-0"
11'-7"
2'-0"
9'-11"
2'-2"
7'-3"
3"
6" 8"
5'-0"1'-0" 6'-6"
4'-11" 3'-8"
6'-6"
6'-3"
6'-1"
54'-1"
5'-6"
9'-7"
25'-6"
7'-6" 5'-6"
3'-9"
8'-6"
1'-0"
3'-0"
15'-2"
17'-9"
1'-0"
100'-1" 9'-0"
1'-5"
34'-1"
7" 8" 1'-0"
32'-8" 1'-9"
4'-11"
6'-7"
3'-4"
17'-1"
19'-11"
1'-6" 1'-0"
3'-1"
7'-1"
2'-0"
1'-6"
45'-0"
4'-9"
SPORTS
6'-0"
8'-0"
6'-0" 2'-4"
3'-7"
5'-0"
7'-0" 3'-1"
8'-0"
35'-11"
40'-0"
39'-0"
22'-3"
21'-2"
22'-3"
22'-3"
293'-5"
49'-6"
62'-8"
12'-6"
10'-3"
29'-11"
62'-6"
13'-2"
54'-0"
18'-6" 6'-3" 7'-7"
8'-9"
13'-3"
17'-8"
12'-0"
123'-1"
17'-7"
13'-4"
24'-2"
37'-1"
16'-7"
CLUB
23'-5"
24'-2"
18'-8"
28'-5"
37'-11"
12'-4" 33'-10"
10'-1"
51'-11"
39'-5"
12'-2" 36'-7"
23'-0"
70
F FIGURE 8.5 - Cross section perspective 71
A SPORTS CLUB
F FIGURE 8.6 - Site oblique 72
F FIGURE 8.6 - Rooftop track and tennis court collage 73
A SPORTS
F FIGURE 8.7 - Exterior entrance collage
CLUB 74
THANK YOU
YEAR..................................................................................2018-2020 EMAIL...........................................GEORGIA.POGAS@GMAIL.COM PHONE.....................................................................(317) - 968 - 0739 LOCATION...........................................LOS ANGELES, CALIFORNIA