SCI-Arc_Portfolio by Hiroto

Hiroto Tanabe

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Hiroto Tanabe

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SCI-Arc

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Hiroto Tanabe

Contents Education: M.Arch 1, Sounthern California Institute of Architecture

7 - 204 P

205 - 292 P

293 - 350 P

351 - 373 P

Contact: hiroto_tanabe@sciarc.edu

Having completed the 3rd year of the Master degree of Architecture 1 at Southern California Institute of Architecture, Hiroto is currently residing in Los Angeles, California. Before starting his architectural studies at Southern California Institute of Architecture, Hiroto had various fields of study such as Art and Design, Material Science, Architectural Lighting Design, Industrial design management and Design Engineering in Helsinki in Finland, Stockholm in Sweden and Tokyo in Japan, respectively. Having had the experience in Art, Science and Engineering background, Hiroto believes that atmospheric, well-executed spatial quality with inventive challenge engaged in the project execusion is essential for both enhancing human’s well-being and urban context and for establishing distinctive identities for communities and brands.

SCI-Arc

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While technologies ensure the rational side of essential qualities for accuracy and precision, human’s sensitivity remains imperative. The sensation of hearing the spring water run unseen in a distance, of feelind the texture of daily objects, of perceiving and curating aesthetics are unique to each unit given his specific experience and memories. And with the help of technologies that offer infinite productivity, unlimited imaginations can be realized for shaping the future. With my gratitutde to all the instructors I met in the past year, this portfilio comprises school work of my three years in SCI-Arc’s M.Arch 1 program, the production of descriptive drawings, precedent analysis and scripting using Python, Processing and Grasshopper and etc, as well as the sensitive side such as the design process of a Bathhouse that contains multiple sensual qualities in it and that of an imaginary details that pretend to be an architecture that patch the in-between space. My entire three years of work built a solid foundation to continue working on combining technologies and sensitivity by looking for the seen and unseen, the obvious and unobvious issues that can be applied to conncet cities, culture and people. 6

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1 Design Studio

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Individual

DS5000(13) Vertical Studio Synthesis Landscape

Facts on the Screen /Fact on the Ground -Cartography

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Time of Alternative Facts

Instructor: David Ruy Teaching Assistant: Tucker van Leuwen-Hall

With the rise of alternative facts, it has become clear that whether or not a statement is believed depeds far less on its veracity than on the conditions of its “construction“ - that is, who is making it, to whom it’s being addressed and from which institutions it emerges and is made visible. - Bruno Latour

Typically, we do site research and then design something for that site. However, this is a studio where the site research part of the semester will become the project itself. We’re going to do individual field research (you’ll select your own site) and also learn how to use GIS (Giographic information systems). We’re going to make unconventional maps and experiment quite a bit with how we construct a site through linguistic and visual descriptions. But most of all, we’re going to think critically about how we construct facts about a site and develop procedures for doing so. It will have to reckon with what your selected site will become because what’s a fact today may not be a fact tomorrow. Further, the most enduring facts about a site are often the ones we construct.

2021 Spring Semester

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Starting from the interrogation What is the site model?

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A map is a representation of what to see the world in specific way.

Mercantilism map

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From time to time, people are looking at the map in a different way.

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Mapping is a observation of the site.

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The map is the collective layers of information. Reference to the botanical museum which collects species of shapes, colors, names, tracking history, location, geneological identification, and just to name a few.

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Encaging the botanical species

Trimming the figures represent the details of species such as a section of stem, flowers and structures.

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The curiousity of discovery has been making a industry. The botanical museum is collecting the piece of plants that is cut off from the ground and become a sample that is not showing the entire world of ecosystem and environment. Because there is a lot of physical property which is not suitable for keeping them alive inside of the observation space. However, the digital space enables to collect the physical data instead and eliminate those property issues and environmental adjustment with not removing the information as needed. Resource from Oakland Governmental Report: https://www.bing.com/search?q=root+systems+of+prairie+plants&cvid=49c4cb6a063f4857833b2be3374 48e92&aqs=edge.1.69i57j0l2.7167j0j4&FORM=ANAB01&PC=U531

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Targeting site: Bluff Creek Trail

Playa Vista

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Taking a photograph is a capture of the present moment. The presence is a bridge of past and future.

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3D Lidar Scanner capturing the site

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3D Scannered Recomposed Site

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Taken Picture

Taxonomy

Worldwide Distributuion Map

The number of discovery

Sampling

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Seasonality

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Sampling

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3d Scaned Data goes beyond any kinds of intellectual property with sufficient information

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Context of the past

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8000 years of history in Playa Vista

Tongva Tribe

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Tongva’s dwelling

Primitive Space

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8000 years ago

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Presence over the screen

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Individual Project

DS1711 (01) Architectural Technology Studio 1

Vertical Studio Instructor: M.Casey Rehm

The departure of this project, the given site was in the middle of the desert, neighboring the city. And this was as a condition of tabla lasa to rethink the integrated city-planning to redefine what is possible for the future city as a pragmatic environment for execution of the architectural and infrastructural, strategic masterplan to make the human’s life better, smart, efficient, integrated and productive way of designing the lively platform.

The space is servicing for comfort as well as representing a complex aesthetics. The light filtering through the gigantic thermal mass and thousands of pipes and ducts authorizes the spatial relationship between light and shadow, creating the privilege moment. Since the location is in the middle of the desert, the essential requirement for housing is to provide the residents with protection from the severe sunlight, moistureless and intense heat weathering condition as well as control for the livable environment and amplifying spatial diversity.

2020 Fall Semester

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View to the Desert Housing

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View tothe balcony side - From the South

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Automated Building Design Strategy

Python Code for Automation

6 units for Living

In this housing project, I set up 6 units for living and 6 units for a Laboratory where you manage the data center and the energy resources in daily life.

Using the Python script, the units were automated to articulate the each functional element into a single residnetial platform.

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Floor Area

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Separation wall and Division of Space

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Configuration of building

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Original site - Mojavi Desert

By using the cycle gen, it comes out these two merged images, and then combines them into one image.

Neo City - Solar Harbor and Powerplant on Desert

CycleGAN Architecture

Image from https://modelzoo.co/model/mnist-svhn-transfer

Sliced images for Cycle GAN

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Original map of Harbor Merged map with Desert and Harbor

Merged map with Desert and PowerPlant

Original map of Powerplant

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Overall site map

Hiroto Tanabe

Area for scaled up

Planning the Site In order to design the site, it needs to think about the lifeline such as the electricity, gas, water and energy resources. These distribution comes from external oursource. Some energy can be transfered from under the ground and some cooling system is performed by massive thermal mass to support inhabitation environment. Algae is a key for the project to play a multiple tasks: reducing the temperature from the sun light, gaining the energy, edible material for human’s vegitable.

Geothermal Energy connected to the residneces directly to pump up the heated/ cool water from under the ground to circulate the water to balance the inside of the building more comfortably.

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Urban Illumination

Gigantic Thermal Mass

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Interior for residence 80

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Interior for residence 82

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Interior for residence 84

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Team Project: Pui Yu (Sunny) Cheung

DS1120 2GA Architectures Integration Exhibition and Chair Factory Vertical Studio Instructor: M.Casey Rehm

Like how some of the industrial buildings in the nineteenth century offered an important fieldof experimentation for architecture. The Vitra Campus located in Weil am Rhein offers not only a space for production and exhibition but is itself a museum of architecture in which each building is both an object and is part of the field at the same time. It becomes a manifestation of the company ‘s brand identity of blurring and reducing the boundaries between contemporary and tradition; between ordinary objects and designer products; between aesthetics and functions.

Correspnding to Vitra’s brand ethos of promoting diversity in design, this project imagines a space that comprises both ah exhibition space and factory space, challenging the mutual relationships between homogeneity and heterogeneity as in figure vs ground and object vs field. It also explores the spatial implications of containing both autonomous and humanistic activities. It is neigher a field with objects nor an object within a field, but a field as objects or objects as fields.

2019 Fall Semester

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Oblique axonometric drawing, representing the building as an object hybritizing into the field - the surrounding landscape and with other factories.

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Site Plan

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Homoterogeneity vs Heteromogeneity While a factory space is supposed to be homogenerous and exhibition space is supposed to be heterogeneous, this project explores the hybrid of homogenerous and heterogeneous space as in a field as objects or objects as fields. As such, it starts from grids which are repetitive and identical. While grids, altogether form a field, by adding profiles to it, they become figural objects that contain solid and void. Groups of profiles containing subtle variations among them offer each unit a discrete identity and heterogeneity in general. By scattering rotating 12 figural units with similar but different arrangement of profiles, and aggregating them, they become a field of cubes again that one cannot tell the difference between one another.

Mid term Review

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Diagram of grid strategy

Diagram of figure composition

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Left: Chunk of model Right up: Interior 96

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Right down: Interior with stairs 97

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Longitudinal section 98

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Ground Floor Plan 100

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Second Floor Plan Gateway

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1/250 Physical Model

Section figurative Diagram 102

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The process of Heteromogeneity to Homoterogeneity

Heteromogeneous Section + Homoterogeneous Top

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The longitudinal and horizontal continuity in plan address the homogeneous, systematized, and non-figural inner landscape while every section has a different figural condition.

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1/50 Chunk Physical Model

1/50 Chunk Physical Model - Inside 108

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1/50 Chunk Physical Model - Inside

1/50 Chunk Physical Model - Inside 110

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Rendering of Hetemogenerous moment

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Indivudial Project

Ds1121 2GB Studio Architecture Intervention Mexico City Mexico Floor Area: 500,000sqft Instructor: Alexis Rochas

The departure of the project comes from the urban context of Mexico City with the surrounding environment. When the architecture is taken place into an urban environment, architecture no longer becomes just an object but an enhancer to generate the urban activity. The lattice structure for the envelop will become not merely the facade of the building but also the urban pocket in each void to reconcile the extension of urban context. This lattice structure is composed of 7’ x 11’ rectangular module. 2 in 1 floor and entirely modularized as a basic formula of this project. Depending on the depth of this module system, the way its use creates flexible planning. One is a pocket of library, one becomes public balcony, another might be a workshop place or independent study room as well as student’s accommodation. These pockets of environment is the key element to sustain the relationship between miro and macro scale in Mexico City.

Ciudad Casa De Arte: Mexico City Mexico

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Plan: 4th floor 116

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Plan: 8th floor Gateway

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View from a balcony

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Sun light bouncing the grid shader toward the lecture hall

Helix Stairway for the celemonial moment and reception as a University

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Brise soleil becomes a living space for studnets

Rigidity of vertical grid walls + Fluidity of internal open space

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Elevation

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North-side Section

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South-side Section

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Indivudial Project

DS1101 1GB Studio Fundamental Architecture 2 Fossilizing Bathhouse Downtown LA Floor Area: 25,720 sqft Instructor: Margaret Griffin Teaching Assistant: Chenming Jiang This project is an introduction to the description of mass and void within an enclosed area and the interaction between public and private space. The idea was to create a featured structre that was for society, as the exterior rectilinear shell represents an interpretation of dundamental volume of urban bathhouse. On the other hand, the inteorior space constitutes the public bathhs connected to the physical interaction of exterior shell. In so doing, a seires of interior volume are created by a solid form of the profile lines. The process of evolutions defines the areas where the pool water spontaneously alocated within the context of a space.

Mass and void are fundamental sources of creating a concept of space for architecture. Here the void space will be a primarily space where the visitor mainly focus on to come and entertain such as pool area, gathering hall and main entrancem just to name a few. The configuration of tracing line of creature represent the internal space that constitutes the public baths connected to the physical interaction of exterior shell, in so doing, a series of interior volume are created by a solid form of the profile lines.

2019 Spring Semester

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Trajan Bathhouse - Precident Study

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Figure and Ground - Amber

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The ideosyncratic figural void becomes a space. Emprisoning the objects address the mass-and-void relathinship.

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Tracing the lines of the cofiguration of these living creatures applying to the mutational process.

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Volume Study

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Sectional Study

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Case Study 04

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Case Study 09

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Space of space

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Space of space of space

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Section model - Figure-Graund composition

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Axonometric view

Top view

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Jacuzzi

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Locker Room

Private Room

Toilet

Veranda Entrance Reception

Clab House

Play Room Private Room

Cafe

Cafe Cafe

Patio Space

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1st floor

2nd floor

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Section 1

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Section 2

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Elevation 1

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Elevation 2

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Interior looking down from the 2nd floor

Interior view from 1st floor

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Physical Model - 1/100

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Indiv idual Project

DS1100 Fundamental Design Studio 1 Civic Center Living and Public space Instructor: David Eskenazi

The project started from working with a piece of paper. We explored with a paper’s physical property and behaviour. We traced the configuration of each behavior of paper to get the formal language to apply to the design of architecture.

Each paper has a different property such as weight, thickness, stiffness, flexibility, bendable or non-bendable, less density as well as high density sheet - those property differentiate how it behaves in a specific way. Through the paper’s materiality, we play with gravity to maximize the diviersity of spatial representation. The paper’s characteristic can apply to another material for the building scale. Printing paper can also act in a different way in a human view.

The material representation is a essential design process such as from paper to ink, ink to texture, texture to 3 dimentional volume, and volume to the skin of walls.

The project was divided into 5 sessions:

1. Site Survey

2. Misfit

3. The Room - volume

4. The Patch - surface

5. Civic Building

2019 Fall Semester 2018 Fall Semester

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The room - Volume The project, “room“ introduces to the problem of containment and enclosure. The room is a single room (consider the pantheon) or many. We encounter the issues and terms such as scale and proportion, flush and plush, and transition and threshold, as they negotiate edge and surface. This project 2 is a set of three architectural problems. They have shared histories and references within architecture. We will be asked to develop their own positions. The problems will be completed in a staggered order. This will promote a shared discussion across a range of outcomes that will inherently engage newly acquired skills and develping conceptual thinking at different moments.

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Material Study 1

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Material Study 2

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Hight map - Material Study

Applied to the in-printed texture onto the different material of paper

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Ulin Kraft Paper

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2 Visual Study

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1GA Visual Studies

Instructor: Kristy Ballet Mathew Au

The project explored the interactive between the stroke, the gesture and the line in both digital and physical world. As a process of the project, the gesturing in VR creates a active and lived drawing in 3-dimentional space directly. From the outcome, the traced model becamea physical model through the 3d-printing, and then pour the molding material with this 3d-printed outcome in the cup to reconfigure the shape of object out of resin afterwords.

Throughthe process, these visualization is addressed with rendering and visual interpretation to represent the issue of lines and volume. It is also crucial to discuss about the precision and abstraction as a piece of artifacts. How it needs to be precise or be abstract can define the output to be aesthetic and also determine the limitation of mass and limitation in gravity out of digital physical fabrication.

2018 Fall Semester

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Resin molding process

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Resin outcome

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Iced object

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Grasshopper operation accumurating circles according to the figures of iced resin

Figure ground compostion

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Colour coding to the motif of staircase

Elevation

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VS 4101 Visual Study

Instructor: Anna Neimark Mathew Au

The project performs the transforming typefaced, in which composed of Le Romain Du Roy designed by Lois Simmonean and Rochefort was the starting point. By utilizing two letters, hybritizind process creates the new intersection through the boolean operation providing it with an idea of where the boundary of human recognition to the letter forms could be.

Aiming of this project is to explore how to output the result from a series of possible transformation and making a decision out of them. It may go either beyound the legibility or within the legibility.

2019 Spring Semester

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Teammate: Pui Yu (Sunny) Cheung

VS4120 Visual Studies Gesamtkunstwerk - Working Drawings

Instructor: Davyn Weiser David Eskenazi Robot House : Curime Bartliner Teaching Assistant: Cameron McCormick The departure of transformation of furniture pieces from Magis Design Collection through manipulating a various parameters with the seminar specific scripts, enables this project to seek to work between multiple-media and explore the interaction between the intended deisgn by the design, producing the viewer”s perception as well as what and how the creators design the viewer”s intention. Refering the works from Richard Artschwager’s sculpture which mimicked the forms of furniture utilizing synthetic materials.

This project utilize a texture mapping on various gesture and platforms of media with both 2d and 3d compositions via images and videos to address the legibility / illustration. This playful procedure makes possible arrangment of parts through rigging and dropping in a user-defined environment. Vitra and Formica material catalogues will be used for texture mapping, shifting legibility between geometry and image.

2019 Fall Semester

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Frame by fram animation

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Inlay composition vs Physical asset 230

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Shooting and posing Gateway

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Teammate: Yuto Gregory Yokomizo, Hiroto Tanabe, Pui Yu (Sunny) Cheung

VS 2735 Visual Study Draw The Line

Instructor: Devyn Weiser Curiime Batliner

Draw the Line 2 visual Studies elective explores playful modes of drawing at the convergence of digitality and analogicity. Linked to post-digital visual culture, projects exploit the tensio between abstraction and figuration, identification and deception, materiality and immateriality.

The departure of our project was to use the letter “U“ as the base geometry to draw lines. This is cook book demonstrates the variety of possible outcomes in composition, and output that arise utilizing a Staubuli Robot equiped with Montana Marker Pen. Despite of limitations, drawing with robot enhances productivity, provides unlimited possibilities on the design with definite preciseness. The letter “U“ drawn using a Montana ink pen with a split nib.

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Scale

One Character One Color One Marker tip Vary Scale

The robot arm achieves a precise control of motion which goes beyond that of a human. Understanding the boundary between changeable and unchangeable factors is the design source for collaborative work with Robot Arms. In this first excercise, we changed the scale of the base geometry. As we had assume, the Robot arm followed the trajectory that we programmed. Interestingly, “U“ has a certain curvature in the character that creates a variety of diameters, which produced as a result, a variety of curves as we changed the scale.

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Marker Tip

One Character One Color Three Marker tips 2mm Fine, 15mm Standard, 30 mm Broad Vary Thickness

In the second exercise, same scale of the letter is adapted across each drawings. Rather, various marker tip sizes were used. The angles of curvature vary as the sizes of marker tips change the way it curves in different scale.

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Color

One Character One Multi-line tip 30mm Broad multi-line Multiple Colors

A split end, same marker tip for all of our compositions were used. Color gradient is created through the precise location where the pen is located from the beginning of each drawings.

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Teammate: Shayantani Mukherjee, David Ma, Julie Riley

VS 2660 Visual Study Forms of Transmission

Instructor: Anna Neimark

Forms of transmission in art and architecture have often relied on notes. In this field, notes proliferate - sticky notes in the margins ofdrawing sets, footnotes at the bottom of texts, annotations in the spec books, note taking in the classrooms and taking note in the galleries. Notes focus our attention, bringing nuance and context to all forms of work and communication. They reference precedents, specify materials, instruct machines, and transmit knowledge. This class will dwell on case studies in notational transmission, paying close attention to the codes and symbols woven into the fabric of the page, the quilt, the wall, and the web. This is a collaborative work on a series of exercises that play with the particularities of signs & Symbols & noise, craft & technique, and material & medium specificities. Class time will be composed of faculty presentations, group discussions, and textural production.

2020 Spring Semester

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Letter for modeler

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Detail Drawing

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The detail of every single component matters for modeling

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Actual Window described in texts

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Rendering according to the texts

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Final Project - Concept

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Final Project - Concept

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Final Project - Concept

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Final Project - Concept

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Final Project - Concept

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Final Project - Model

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“+“

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Teammate: Shayantani Mukherjee, David Ma, Julie Riley

VS 2637 Visual Study A Radical Thing Instructor: Kordae Jatafa Henry This is the project to serve as an incubator to imagine a speculative product advertisement in the year 2030. In films like Blade Runner, or Her adverts fill the world and become an importantaspect of exposition for the film. And in the real world, works such as Alisha Wormlsey Alexandra Bell, and Hank Wills Thomas begin to re-imagine advertisements as an art practice in society today. The work will begin to speculate on near-future objects in which topics such as communication, energy storage, transportation can begin to be re-imagined in the next industrial revolution. Using 3D tools, students will gain experience in speculative design thinking, industrial design modeling, product lighting, and custom post production methods. The final project will be a product advert that will be designed to promote a speculative design entirely made from 100% Biodegradable plastics.

Using Moi, you have a choice of taking your existing objects and transforming those models through a plethora of methods such as: Mirroring, transforming, slicing, booleaning, merging, interverting etc. - all it into a new obects. It was a process of birthign a new object from an old one. You can leverage assets, ideas and computer power all to produce one project animation.

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Original Object - Measurment

Moi - modeling

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Moi - modeling

Rendering with finger print

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3 Architectural Science

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AS3100 Materials and Techtonics

Teammate: Mariam Aramyan, Zihan Gao

Instructor: Pavel Getov TeachingAssistant: Sadvi Jayanth

Regarding the indivudual project, The proposal of the state-of-the-art apparatus was focusing on the folding system which enables to move flexibly in accord to what is required in each situation. The proposal was about the shading system for the interior. When the sun comes into the room, the shading system that is applied paper folding, origami reacts the light and heating temperature and automatically open to shut out the sun light.

The Group Work was about the facade system. Specifically our group got the chance to investigate Seagram Building in New York designed by Mies Van Der Lohe. First we researched about the building’s background, detail, structural system and material use for each architectural elements; envelop system, middle of the exterior wall, finishing, and covered material with structure and etc.

After the survey, we proposed a developped facade system. Instead of using a glass on the grid, the mullion system out of voronoi grid to optimize the size of glass and efficiency of construction and improvement of aestheticity to the social influence of the high-rise building.

2018 Fall Semester

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AS3100 Material and Tectonics

Proposal - Unit Shading System

Origami Folding methods

Joint system will be needed

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Insulation for glazing

AS3100 Material and Tectonics

Research 1: Schematic approach - Unit Design

Figure1 is shown that this is the application of Miura-ori which is invented by Japanese astrophysicist, Koryo Miura in 1970. The basic creasing method is to form a tessellation of the surface based on mountain and valley line consisting of parallelograms: if you look closely at the one direction of the surface, the creases lie along straight lines, with each parallelogram aligning the mirror reflection of its neighbour across each crease. (Figure 02) In the other direction, the creases zigzag, and each parallelogram is the translation of its neighbour across. Consequently the mountain lines take place from the valleys from one zigzag path to the next, which enables to make it shrinkable and expandable. Therefore, it is mandatory to discover the relationship between angles and distribution of each edge point so as to comprehend the method of this folding behaviour.

Proposal - Unit Shading System

Origami Folding methods

Joint system will be needed

ETFE

Hiroto Tanabe

Air flow

Insulation for glazing

Research 1: Schematic approach - Unit Design

Fig01: Miura-ori

Fig02: Miura-ori

Fig01: Miura-ori

Fig02: Miura-ori

Façade system over the glass FIg09: Functional system

ETFE Air flow

Façade system over the glass FIg09: Functional system

FIg10: Motion of the shading

FIg04: Angle difference creates the geometric behavior

FIg03: Angle difference creates the geometric behavior

FIg10: Motion of the shading

FIg03: Angle difference creates the geometric behavior

FIg04: Angle difference creates the geometric behavior

Research 2: Volumetric approach -From surface to volume Figure05 is shown that the relationship between the longitudinal distance and the angle. According to the research 1 and this figure 05, the issue of this geometric patterns creating the deformable structure is that when they have a volume in each surface some parts cannot apply to this deformation due to the connection of overlapping the edge and distarbunce of the transformation by touching the line of the volumetric surface and etc. Therefore the research by Tomohiro Tachi categorized three edges consisting of this Fig06: Miura-ori structures enables this structure to construct successfully. However, if it becomes real architecture, there are FIg05: Relationship between longitudinal distance angle a single still many issues to and realize it; in the cornerunit with hall needs to move plus at some point needs to be closed in so doing the cover of the hollow parts require the different shape of the cover to be precisely sealed.

Research 2: Volumetric approach -From surface to volume

FIg05: Relationship between longitudinal distance and angle in a single unit

FIg07: Feasibility with thick panels creating the same geometric pattern

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FIg07: Feasibility with thick panels creating the same geometric pattern

Fig06: Miura-ori

Figure05 is shown that the relationship between the longitudinal distance and the angle. According to the research 1 and this figure 05, the issue of this geometric patterns creating the deformable structure is that when they have a volume in each surface some parts cannot apply to this deformation due to the connection of overlapping the edge and distarbunce of the transformation by touching the line of the volumetric surface and etc. Therefore the research by Tomohiro Tachi categorized three edges consisting of this structures enables this structure to construct successfully. However, if it becomes real architecture, there are still many issues to realize it; the corner with hall needs to move plus at some point needs to be closed in so doing the cover of the hollow parts require the different shape of the cover to be precisely sealed.

FIg08: Foldable ETFE Sheets for shading

FIg11: system overforthe window FIg08:Shayding Foldable ETFE Sheets shading

FIg11: Shayding system over the window

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AS3130 AS Practice Environment Graduate

Instructor: Michael Folonis

Turtle Space Architects

T.S.ARCHITECT

elements; envelop system, middle of the exterior wall, finishing, and covered material with structure and etc.

Teammate: Mariam Aramyan, Pui Yu Cheung, Christian Cononico, Zirong Zhao 2020 Fall Semester

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Turtle Space Architects Project Proposal

Group 4 Mariam Aramyan Pui Yu Cheung Christian Cononico Hiroto Tanabe Zirong Zhao

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November, 23rd 2020 Prospective Client 960 E 3 rd St Los Angeles, CA 90013

Introduction The Turtle Space Architects is a non-profitable organization committed to designing

Dear Mr. Smith,

for humanity and to promoting the well-being of the community. The Los Angelesbased Architectural practice, consisting of professionals of different backgrounds,

The T.S. Architects’ team enjoyed meeting with you and discussing your upcoming project at 621 Pacific Street

is dedicated to a collaborative studio culture which integrates technological design

in Santa Monica. We would like to take the opportunity to thank you for considering T.S. Architects for your

thinking with an humanistic design approach to accomplish the desired design goal

new multi-family and furnished duplex.

with clients. Although we offer specialty in the design and build of affordable housings and portable housing systems, we had designed two for single-family residences in

We believe that we would work out a design strategy with you on how to enliven the house through bringing

the City of Santa Monica and four duplex projects in the City of Los Angeles with

the nature closer by you, as we are aware of your preference of being close to nature while requiring a high

great considerations of health care, environmental impact and cost effectiveness.

level of privacy within the residence. By designing w ith nature, T.S. Architects create architecture of enduring

Besides projects in Los Angeles, we also had experience designing and managing

value for people and the planet. Each project is a unique architectural expression that responds to client

projects located in China, Japan, Hong Kong and Russia. Our experience in

needs, site specificities, local climate, and new ideas. With a dedication to a collaborative studio culture, we

affordable housing projects brings value to other projects through a unique cost-

design for abd wutg humanity while advocating the utilization of technology to enhance our everyday living

effective approach by using an unique program that we created and have been

experience by exploring cost-efficient and environmentally friendly materials.

adopting throughout the design process to ensure minimal waste of building materials and to reduce building costs.

This particular project is focused on a rigorous crafting of quietly designed building and space. The site requires an immersive design process and a creation of a deep and meaningful relationship between the future living space and its surroundings. The site also has an incredible degree of access to nature and the

Our designs range from compact space and portable application to large scale of

local flora and fauna of the Pacific coast. We have ideas on how to maximize privacy while simultaneously

building. We stribe to bring the cutting edge technology to deliver the experience that

supporting the protection and wellbeing of local ecologies on your site. And with our previous experience,

provides users with argumented infrastructure to transform the new way of lifestyle

we are confident to help reduce the overall project costs through our streamlined, cross discilinary integrated

as well as the improvement of human’s comfortness for quality of life. Besides, we

design approach.

really take into consideration a universal call for action to end poverty, protect the planet as we attemp to increase the use of environmetally friendly materials to follow

We look forward to discussing this project with you further,

the purpose of SDGs (Sustainable Development Goals by United Nation General

Sincerely, Mariam Aramyan Pui Yu Cheung Chrisrian Cononico Hiroto Tanabe Zirong Zhao

Assembly Advocated in 2015) in our design direction. Our aim is to ensure that all people enjoy peace and prosperity, and is designed for government to work together with society, which is not sole task of one or the other.

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Scope of Architectural Services The Tutle Space Architect’s Basic Services are composed of these 5phases

Scope Of Work

following described and include customary structural, mechanical, and electrical engineering service. Services are Supplemental or Additional Services.

Address:

621 Pacific Street, Santa Monica, 90405

Property Square Footage:

5,863 Square Feet

Zone:

Proposed Property Type: Proposed Building Type

Property Boundary Description: Assessor’s ID Number:

R-2

Pre Schimatic Design, the Entitlement Process has been confirmed with the exisitng site. We and developer will submit a formal proposal, conceptual design

2 Single Familt Units

Approx. 3,000 sqft (Unit A)

package, and various environmental and technical studies to the local planning de-

Approx. 1500 sqft (Unit B)

partment in order for the project to be:

Pacific & 6th Street 4685-254-952

0.0 Pre Design Services: Entitlements:

i. Formally reviewed against in-place zoning regulations, the

planning code, and local laws and initiatives;

Project Program

ii. Tested to ensure there are no major negative environmental

impacts;

The proposed project in Santa Monica is a duplex of roughly 4,500 sqft. One unit will be the residence of the owner, with the other as a single family rental. Both

iii. Reviewed by other relevant city agencies for sign off and approvals;

iv. Socialized with the local community to gain feedback and receive

Units will consist of two bedrooms, one kitchen, one living room, one office, two full bath-

buy-in and support. Types:

rooms, and an attached garage.

Rezoning

The scope of work will require the testing of soil, as this is being built on a new lot. The

new construction will consist of two energy efficient residential units with shared yard and garden space.

Utility approvals

Zoning variances

Landscaping

It is the responsibility of the Owner to provide the Architect with the full program, and it is the responsibility of the Architect to ensure the project is delivered completely and accurately.

Road approvals

When the project successfully makes it through all of the above, it

should receive a final approval from the local board of supervisors or city/town council. 10585 Santa Monica Blvd Los Angeles,CA/90025

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Scope of Architectural Services

1. Schematic Design Phase Services

2.2 The Architect shall consider the relative value of alternative materials, building

1.0 The Architect shall coordinate its services with those services provided by the

systems and equipment, together with other considerations based on program, aes-

Owner and the Owner’s consultants. The Architect shall be entitled to rely on (1) the

thetics, and any sustainable objectives, in developing a design for the Proect that is

accuracy and completeness of the services and information furnished by the Owner

consistent with the Owner’s schedule and budget for the Cost of the Work.

and (2) the Owner’s approvals. The Architect shall provide prompt written notice to the Owner if the Architect becomes aware of any error, omission, or inconsistency in

2.3 Based on the Project requirements, the Architect shall prepare Design

such services or information.

Docuents for the Owner’s approval consisting of drawings and other documents appropriate for the Project and the Architect shall prepare and submit to the Owner an

1.1 As soon as practicable after the date of this agreement, the Architect shall

estimate of the Cost of the Work prepared.

submit for the Owner’s approval a schedule for the performance of the Architect’s services. Once approved by the Owner, time limits established by the schedule shall

2.4 The Architect shall submit the Design Documetns to the Owner, and request

not, except fr reasonable cause, be exceeded by the Architect or Owner. With the

the Owner’s approval.

Owner’s approval, the Architect shall adjust the schedule, if necessary, as the Project proceeds until the commencement of construction.

3. Construction Documents Phase Services 3.0 Based on the Owner’s approval of the Design Documents, the Architect shall

1.2 The Architect shall assist the Owner in connection with the Owner’s responsi-

prepare for the Ownwer’s approval Construction Documents consisting of Drawings

bility for filing documents required for the approval of governmental authorities having

and Specifications setting forth in detail the requirements for the construction of the

jurisdiction over the Project.

Work. The Owner and Architect acknowledge that in order to construct the Work the Contractor will provide additional information, including Shop Drawings, Product Data, Samples and Other similar submittals, whichthe Architect shall review in accor-

2. Design Development Phase Services

dance with Section 4.4.

2.0 The Architect shall review the program and other information furnished by the Owner, and shall review laws codes, and regulations applicable to the Architect’s

3.1 The Architect shall incorporate the design requirements of governmental au-

services.

thorities having jurisdiction over the Project into the Construction Documents. 2.1 The Architect shall discuss with the Owner the Owner’s program, schedule,

3.2 The Architect shall submit the Construction Documents to the Owner, update

budget for the Cost of the Work, Project site, and alternative approaches to design

the estimate for the Cost of the Work and advise the Owner of any adjustments to the

and construction of the Project. The Architect shallreach an understanding with the

estimate of the Cost of the Work, take any action required and request the Owner’s

OWner regarding the Project requirements.

approval.

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Relevant Projects

110 CHATTANOOGA ST DUPLEX

HOUSE I

Location: San Francisco, US

Location: Los Angeles, CA

Type: Residence

Type: Residence+Art Studio

An urban, modern two-unit townhouse. Construction is a 3-story wood frame structure

HOUSE I, a multifaceted art studio and residential compound for a pair of professional

over a concrete basement/garage. The design/build strategy also allowed an incredible

visual artists, a painter and a photographer. The arrangement reorganizes the property

amount of design freedom during construction, with details being worked out continuously

(inclusive of the original home) into nine bays, each of which is assigned a different activity.

through construction.

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Fee Structure

Reimbursable Expenses

Base Service Fee

Transportation & Travel

Project Phase

Percentage

Fee

Design Development (DD)

10%

$18,650

Schematic Design (SD)

Construction Documents (CD)

Bidding and Negotiations (B&D)

Construction Administration (CA) Total:

20% 45% 5%

20% 100%

Transportation & Travel fees will require additional service charges, and will

accommodation costs for air travel.

$37,300 $83,925

include fuel and parking costs for personal vehicles, as well as ticket and

Communication & Shipping

$9,325

$37,300

$186,500

Photocopying additional documents and shipping will be of additional ser vices, and charges will vary based on urgency and package dimensions.

Drawings, Documents, & Renders

(Renderings are NOT included in our fees)

Renders: Additional Service Fee Position

Rate

Junior Designer I

$80/hr

Principal

Junior Designer II Design Intern

Asministrative Assistant

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$500

$350-$650

Exterior - Residential

Exterior - Commercial (Large)

$180/hr

$60/hr

Exterior - Commercial (Small) Interior - Residential

Interior - Commercial

$16/hr

$200-$650 $500-$1650 $200-$500

$250-$1000

Floorplans

$33/hr

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Service

$25-$350

Physical Models

$500-$3000

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Teammate: Kaita Saito, Lauren Hanna, Daniela Cadavid

AS3140 AS Advanced Project Delivery Instructor: Pavel Getov Kerenza Harris Assistant Teacher: Angelica Lorenzi

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Teammate: Henry H Yang, Zac Williams

AS2526 Throwback Instructor: Dwayne Oyler TeachingAssistant: Tucker van Leuwen-hall The Digital Prototype (after COVID) is the project simply putting the intention of conveying the same degree of reality as you would if you were building the physical prototype. The objective is not to set out in a new direction, but rather to further develop, refine, and detail the prototype in ways that will naturally distinguish it from the other groups. It is the development of a “digital prototype“ aimed at creating both detailed drawings as well as a renderings as convincing as the built prototype. It should consider every aspect of the built piece:

- appropriate thicknesses - connections - full enclosure - structural considerations - proper lighting - the reflections off the glass - the spectrum of colors and distortions that come from the use of real glass block -weld marks - the finish of the steel work - the grind marks - the base that it sits on - the surrounding environment - the look of the silicone - its imperfections (this will be especially important in conveying a sense of reality)

We also accumulate a set of architectural “details“ for their glass block wall. While the drawings may explore creative methods of organizing the drawings, the intention is to work strictly within the conventions of architecture detail drawings. The primary role is communicate assembly, materiality, dimensions, and all relevant tectonic information. Sections should

2020 Spring Semester

be the primary drawing method. In other words, just the facts.

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4 A rc h i t e c t u r a l History

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The Lawn at War

HT Introduction to Contemporary Architecture Hiroto Tanabe

This section, “The Lawn at War” in the book, Domesticity at War (Dec.,1991) introduces the

1GA HT2100 Introduction to Contemporary Architecture Instructors: Jeremy Lecomte Assistant Teacher: Masha Hupalo

people’s life and the political aspect in US during the war time through the everyday-life position of the lawn for the habitants. During the WW2, the lifestyle in US periodically changed to keep up with the nation’s manifesto and to protect people’s life safety and peaceful life from the influence of the war. “Lawn” was one of the elements that represent the people’s engagement to the nation’s affair in their daily life; The lawn was initially regarded as a battlefield in a way that in the political aspect, the lawn became a part of government’s propaganda as a tool in adver-

The assignment was about the reading comprehension through the article, ‘‘The Lawn at War” in 1991. Speaking about how the lawn was used during the WW2 in terms of the range of use by People, military, public and social place.

tisement to cast the argument; the photo representing the death of mosquito to reminiscent of plane-crash footage comparing to Japanese soldiers and Kamikaze was a good example. On the other hand, dedication to the house front was a sort of mentally linking to the contribution to the national movement. Because enrolling the existence of the lawn was a national symbol as vital as a flag. Simultaneously, having a green garden is a great benefit for the therapy in so doing that dealing with garden gives people gain a primitive pleasure. Therefore, the lawn in war was vulnerable to be targeted by medical war as in spreading disease epidemics and so on. To summarize, these two aspects of lawn, the meditation wise and the battlefield was represented during the WW2, while before the Cold War began, the lawn became a standard property for people as a green carpet including a family’s furniture such as aluminum porch, an aluminum slide, a doll carriage and just to name a few and to have a role of representation of democracy.

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1GB HT2101 History of Architecture and Urbanism 1 Book room at Wimpole Hall Architect: John Soane Instructors: Marrika Trotter Teaching Fellow: Liz Hirtch

The assignment was about writing an ekpharisis about the selected photograph. My chosen picture was Wimpole Hall designed by John Soane. Initially there was zero information and required to start to write it as it can be seen. Then we researched each picture and gained the information and summarize them. For the final project, we combined the first impression and second analytical observation into one constructive and integrated documentation for the ekpharasis essay.

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2GA HT2120 History of Architecture and Urbanism Diptycn Instructors: Marrika Trotter Teaching Fellow: Liz Hirtch The assignment was about writing a ekpharisis about the selected photograph. My chosen picture was a salon space designed by Eileen Gray. Her first house seductively beautiful and elegant. Lovely equipment was elusively expressed in the furnishing to trick the space and the daily activity. This essay was trying to capture each moment of observation to carefully bring up the character. The title “Diptych“ is created to emphasize the jaxtaposed moment of trick and reality in the space making a eventual and playful ecstasy.

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