Tony Avila | SCI_Arc Portfolio 2015-18 by Jose (Tony) Avila

PORTFOLIO Jose Avila

SCI_ARC PORTFOLIO

JOSE AVILA

SCI_Arc 2015-2018 joseaviladesign@gmail.com (925) 293.6479

JOSE AVILA

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CONTENTS

STATEMENT 3 RESUME 5 4B VERTICAL STUDIO 7 4A DESIGN STUDIO 21 3B DESIGN STUDIO 41 3A DESIGN STUDIO 61 2B DESIGN STUDIO 77 2A DESIGN STUDIO 99 TRANSFER STUDIO 117 CONSTRUCTION DOCUMENTS 123 FACADES + COMPLEX ARCHITECTURE 129 DESIGN DEVELOPMENT 135 TECTONICS I 149 3A VISUAL STUDIES 157 2B VISUAL STUDIES 161 2A VISUAL STUDIES 173 TRANSFER VISUAL STUDIES 177 OOO & ARCHITECTURE 181 DIAGRAMATIC IMAGINARY 185 ARCHITECTURE THEORY 189

JOSE AVILA

AB(EX)STRACTION COPOSITION 0016

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STATEMENT

Drawing and building have been a lifelong love of mine. From an early age, I dreamed of building and spent hours at my grandfather’s desk drawing the world I wanted to live in. Architecture is a natural love of mine. The ability to shape the world around us; to command materials to manifest one’s idea of space is the most fulfilling experience that I know. Before transferring to SCI_Arc I spent two years as a designer in the San Francisco Bay Area designing high density multi family housing in California and the Hainan Island of China. Though my experience was incredibly rewarding and I was able to design my first tower project at the age of 23, I felt that my work had become stagnant and I was not truly grasping my full potential as an architect; not to mention the work was relatively conventional. I had read many accounts that SCI_Arc was the best design school in the united stated and amongst the top in the world. I want to have a greater, more influential impact on the built environment and attending SCI_Arc felt like a necessary step in gaining the ability to do so. After completing my first year at SCI_Arc starting with the 2A Studio I’m beyond satisfied with my decision. I’ve learned to take stronger stances on issues within the discourse of architecture and speculate it’s future. I am interested in architecture that deals with parts and a deep connection with the ground. Reflecting on the work that I have produced at SCI_Arc, the manner in which a building touches the ground has been an outstanding issue. Quite often the work has been driven to be a singular autonomous object planted on its site. To reconcile its relationship with the earth it must reshape the topography around it. It must carve paths and dig burrows and give one the ability to experience the underside of a project. I have two projects that interest me greatly and reappear constantly in my work. My first project is the exploration of architectural fields and their influence on ground. That is to say how, tectonics, grids, objects, and paths influence the ground and reshape context to accommodate architecture. My second project is the heart of programming. Every building has a central idea. Buildings of significance often position a large central chamber within a mass and carve rooms out around it. I am interested in how contemporary architecture can embody the social and political aspirations of a design and embody it within the heart of a building.

JOSE AVILA

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JOSE AVILA

SELECTED WORKS 2013-2016 joseaviladesign@gmail.com (925) 293.6479 EDUCATION 2010-2013 Diablo Valley College Associates Degree in Architecture 2015-2019 Southern California Institute of Architecture Bachelor of Architecture Candidate PUBLISHED WORK SCI_ARC NAAB Archive Fall 2015: 2A Studio project featured as one of the top 3 projects in the Fall 2015 2A foundation studio. SCI_ARC NAAB Archive Spring 2016: 2B Studio project featured as the best project of the Spring 2016 2B core studio. PROFESSIONAL EXPERIENCE 2018 Tom Wiscombe Architecture Design Intern Spring + Summer 2018 Internship 2017 Tighe Architecture Design Intern Summer 2017 Internship 2013-2016 Studio T-sq., inc. Designer

Full time designer NOTABLE PROJECTS Saravy Villa Wenchang Parcel 43 Sanya Beauty 5 Warm Springs Boulevard Master Plan Redwood City III SKILLS Rhino, Grasshopper, Vray, Adobe suite, AutoCAD, Revit, Sketch Up, Maya, Laser cutting, 3D Printing, Model Building, Wood Shop certified, CNC Milling Contacts Tom Wiscombe tom_wiscombe@sciarc.edu Mike Nesbit studio@mikenesbit.com Patrick Tighe patrick@tighearchitecture.com Devyn Weiser devyn.weiser@testaweiser.com

JOSE AVILA

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4B VERTICAL STUDIO

ADVANCED STUDIES: PART TO PLAY SPRING 2018 INSTRUCTOR: DEVYN WEISER STUDIO TEAM: TONY AVILA ERIK VALLE JAVIER BENAVIDES The studio speculates on the syntax of multiple, non-correlated, digital and physical architectural parts. Through composition/ non-composition projects will develop new coherences that are neither dialectical nor differential. While retaining a level of disciplinary specificity and legibility this contingent model playfully harnesses the discrepancy between digital and physical processes. The first half of the studio roduced a range of drawings and models using ‘phygital’ workflows — that taken together focus on new ways of seeing. For the second half of the studio, students may continue speculating with representational techniques; and/or develop an architectural proposal. Composition to Compositing Moving from composition to compositing, the studio investigates imaging workflows beyond the limitations of conventional 3D modeling. The technique of ‘volumetric compositing’ brings together fragmentation/explosion and unification/implosion to produce geometrically and volumetrically coherent objects. With a multiplicity of points of view and matrices of vision, the studio invents new modes of vision out of the collapse of earlier representational models. Defamiliarizing the ways in which images and objects are constructed and perceived these modes of seeing, that include the non-human (i.e. machine vision) have the potential to provoke a post-digital aesthetics for art and architecture. Project Overview Selected works of James Stirling will be the starting point for the project. Taking up where Stirling’s Roma Interrotta left off, the studio will use his ‘set pieces’ as object trouvé — parts, tropes and devices that may be revisioned within a new ontological and representational framework. Stirling’s ‘dark archive’ uniquely supports an in-depth exploration of an architecture of quasi-autonomous parts. Students will propose a design project to test these architectural systems against a loose programmatic and site framework from one of Stirling’s relatively unknown masterworks.

JOSE AVILA

James Stirlingâ&#x20AC;&#x2122;s Braun Factory & taxonymy of parts Melsungen, Germany 1993

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STIRLING’S “GAME”

LINING INTERIOR

We began by analyzing the Braun Factory in Melsungen, Germany by James Stirling. Being a facility dedicated to the production of plastics for medical use, we contemplated the scale and relationship of parts. Stirlings factory inspired us to speculate on future organizations of large scale production facilities based on the same parts and purposed for future technologies. The diagram of Stirling’s factory is a ring road bisected by a long concrete wall with administrative and production facilities on either end. On one side of the ring road, stirling created a large open green space with a pond. On the other side, parking, shipping and distribution spaces where tightly fitted together within the boundaries of the ring road.

STUFFING EXTERIOR

STUFFING

BREAKING

Initial Diagrams: Defining a “new game” with Stirling’s parts.

Our initial work explored alternative ways of viewing Stirlings original parts and redefine the rules of his game. We tried a total of six strategies of occupying the ring road and what those interactions are in relation to the outline. The first scheme looked at stuffing the ring with objects, the second lined objects around the exterior of the ring road, the third involved various moments of intersecting the road and then breaking the ring and allowing parts to spill out. The final two schemes are a hybrid of both lining the interior and exterior of the ring situating the parts to be parallel and perpendicular to the ring road.

JOSE AVILA

4/122 Views from a matrix of one composition using a â&#x20AC;&#x153;stuffingâ&#x20AC;? technique. Images display a gradual thickening of outlines and graphic hatches and fills. Parts are liberated from gravity and the meaning of their graphic code awaiting interpretation.

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JOSE AVILA

Selected Composition

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JOSE AVILA

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TESLA FACTORY PROPOSAL

After midterm the project was grounded on two different factors that do not often happen at the same time, one being phasing and the other, programming. Phasing is addressed through the dissolving of the existing Tesla factory, on the other hand programming is indexed with graphic technique. Our initial move is to superimpose the ‘Ring Road’ on the site. Through the graphic we interpreted the drawing as a dense bundle of mechanical and circulatory infrastructure., which integrates the disperate buildings on the existing site. This strategy allows cars, supplies, and workers to move around the complex more efficiently tying in the mechanics of the assembly line to be the basis for the formal narrative of the factory complex. After this initial move other facilities can be added over time at Tesla’s discretion. The animation illustrates the gradual phasing of one possible scheme over the next decade. 15

JOSE AVILA

Factory Campus Phasing Diagrams

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PHASING

Phase I: With the circulatory system in place, the first phase would be the insertion of a factory bar building approximately 4,000 feet long and capable of housing 4 assembly lines and auxiliary spaces to store and maintain machinery. In addition, the bar would include a showroom and house the Tesla headquarters executive staff. At this phase, the existing factory would still exist below, providing support to the megastructure.

Phase II: In the second phase, the derelict portions of the old factory are removed, leaving an abundance of open space. With the desire for cleaner chemicals, better plastics, and a variety of stamping machines for luxury and consumer grade cars, the insertion of a polymer + stamping facility and an engineering / chemical treatment plant are inserted into the project to fulfil these needs. The architectural parts are plugged onto the road where they are most optimal in terms of orientation and access to infrastructure.

Phase III: In the third phase, an administrative tower, storage depot, and treatment facility are built. Almost all of the existing factory has been removed and replaced with open space. In this stage, the new factory provides approximately 8 million square feet with a footprint 30% smaller than the existing 4.8million square foot factory.

JOSE AVILA

Building Instantiation: Showroom Choisy View + Model

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Building Instantiation: Polymers and Stamping Depot Cavaleir + Choisy Views

JOSE AVILA

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4A DESIGN STUDIO

AMIGAA: POSITIONS FALL 2017 INSTRUCTOR: TOM WISCOMBE

The final studio in the core sequence introduces students to independant thinking and integrative design through an open yet defined framework. With one food in core and one pointed towards thesis, the pedagogy is based on culminating all previous core studios by charging the students with constructing a disciplinary position and formal agenda as it relates to advanced notions of Precedent, Tectonics, Aesthetics, & composition. This Four-fold foundation is intended as an underlay for students to think about and produce a multi-dimensional architectural proposal. The studio, as a whole, works on the same project and site with different trajectories within this framework according to the guidence of each instructor. This provides an experimental platform for students to test ideas and their execution, with the crafting of a position having as much currency as the crafting of the project and its representations. The four-fold will consist of Precedent, Tectonics, Composition, and Aesthetics. These are four of the many fundamentals of architecture and design that you have been exposed to in some degree. The platform being laid out here is intended as an infrastructure for each student to form thoughtful and imaginative ideas that address and consolidate this four-fold into substantial projects. To be clear, these four shouldn’t ultimately be treated as isolated items to check off a list. Like the “Writing Tip” above, these topics are alluded to, folded into, and distributed with specificity and intent in any good work of architecture. Your job is to unify these into a coherent project.

JOSE AVILA

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DOMESTICATED BUNKERS

“The geometry is no longer affirmatory, but eroded, worn. The right angle is reduced, supressed, in order to make the structure resistant to capture. The mass is no longer grounded in the earth, but centered upon itself, independent, capable of movement and articulation. The architecture floats on the surface of an earth that has lost its materiality.” … “They herald a new architecture that is founded no longer on man’s bodily proportions, but on his capacity for thought; an urbanism in which the simplified analyses of social conditions are finally transcended, allowing the habitat to be intimately joined with the hidden possibilities contained within the individual being.” -Virillio, AP 7, March 1967

JOSE AVILA

Surreal Bunker-like Objects in a Landscape

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PRE-DESIGN

My project draws its precedents from the works of Claude Parente and Paul Virilio. From Virilio I draw the notion of the sunken monolith withdrawn from its context. Geometry that appears eroded and worn and the right angle reduced. An architecture that transcends the notion of human scale and urbanism,allowing the habitat to be intimately joined with the hidden possibilities contained within the individual being. What does that mean in the context of a house? From Parente, I am interested in the notion of the oblique. A non traditional plane of dwelling habitable by humans. By tilting the ground, space becomes active and the subject becomes more aware of their presence in space as gravity bares down on them. The oblique activates while the horizontal neutralizes. Iâ&#x20AC;&#x2122;m interested in exploring where this idea can enhance the experience dwelling. Can it transcend circulation and activate a programmatic function? What happens when part of the the living room is on an oblique, how can it be used? Furthermore I am curious of the relationship between ground and monolith and how they interact with one another. For Perente, the oblique was a formal agenda which physically expressed movement and instability, making the body more aware of its position in space. The oblique is an inclined plane which creates a habitable surface that could double as a shelter. The oblique has the power to activate every surface of an object. ( __ & | = +) vs. ( / & \ = X). The oblique becomes habitable circulation and disrupts the classic orthogonal system. The question I seek to solve in my project is exploring the dichotomy Claudeâ&#x20AC;&#x2122;s work focuses on the effects of the oblique but discards poche. By reintroducing an internal element which defies the extents of the shell a second reading of space can emerge from the interstitial space. This active oblique juxtaposed with a neutral figural space serves as occupiable circulation while simultaneously activating the poche this space also begins to be subdivided by the figural liner.

ECEDENT

NTIC WALL BUNKERS ANDY FRANCE

Sectional Analyses of Atlantic Wall Bunker

JOSE AVILA

Massing Model

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Storage Dwelling Space Common Space Bathroom Circulation

Stairwell

Entry Port

Top: Program Diagram Bottom: Circulation Diagram

JOSE AVILA

5 4 3 2 1

0" 16'-

90 .0 °

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7" 37'UP

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Level -1

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Roof Plan

JOSE AVILA

LIGHT GAGE CAST IRON PLATE FINISH WATERPROOF MEMBRANE ¾” PLYWOOD LAMINATE E. P. S. FOAM INTERIOR FLOOR FINISH

LIGHT GAGE CAST IRON PLATE FINISH

LIGHT GAGE CAST IRON PLATE FINISH DOUBLE PANE GLASS WINDOW

LIGHT GAGE CAST IRON PLATE FINISH LIGHT GAGE PERFORATED CAST IRON PLATE FINISH LIGHT GAGE CAST IRON PLATE FINISH STRUCTURALLY INSULATED BLOCKS (S.I.B) The primary mass of the house is constructed by an assembly of super components made of structurally insulated blocks (S.I.B’s). These blocks are constructed by laminating expanded polystyrene with structurally laminated wood. The blocks are C.N.C Milled and robotically wire cut then laminated off-site. The S.I.Bs are then delivered and bolted together on the construction site. This construction method allows for complex building form with integrated structure and high insulation values. Similar to S.I.P’s this method of construction is superior to traditional wood framing due to the methods high insulation value and 94% increase in structural value.

COMPOSITE BACKDROP The composite backdrop element of the landscape consists of a translucent structural wall with a laminated background image of a foreign context.

FAUX ROCKS The faux rock wall contains the garage of the house, concealing the front door with a “Bat-cave” entrance. These rocks are constructed with similar methods employed by outdoor holywood set designs.

CUTAWAY INTERIROR REVEAL

Top: House with Cyclorama Landscape Bottom: Pull - Apart Tectonics Diagram

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GRAFTING REALITY

We live in a time where what we perceive as reality is dependent on the information we receive. Information that is easily and quite often manipulated. Reality is a fabrication of the human mind. Therefore we have the power to fabricate our own context.The cyclorama is the new piano nobile, an alternative to separating the house from the street, the cyclorama separates the house from its context. It separates the reality of the dwelling from the reality of the world, both delirious constructs of the human mind. The duplex breaks the contemporary housing typology by combining a multi room dwelling space into a singular space. By creating a vast singular space, dwelling is able to be flexible and arrange itself based on a range of possible configurations. Poche is expanded in order to contain auxiliary space. The ultra thin walls of modernism are inflated in order to obscure the reading of interior/ exterior relationships. As a bunker, the exterior mass no longer reveals the essential components of the home. Apertures become narrow to reduce connection to the outside world, these openings serve the purpose of distributing natural light and providing controlled views in which the dweller may see out but one cannot see in. The home is no longer a shelter from nature, it is a shelter from men. Modernism promoted ideas of lightness, transparency and connection. The rapid growth of digital technology people are constantly connected even when secluded. The mind no longer has a place to disconnect. Subject to these conditions, the individual has become a prisoner behind glass walls where every action is recorded by a snapchat or twitter post.

JOSE AVILA

3. A

-5' - 4"

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CONCEALED PARKING

COMPOSITE BACKDROP

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32 Level -1

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PLAN | LEVEL -1

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PLAN | LEVEL 1 Entry / Shared Living Space

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2. 4.

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Upper Units

PLAN | LEVEL 2

Roof Plan

PLAN | LEVEL 3 ROOF PLAN

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/(9(/

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SECTION A

SECTION LONG SECTION

Section A - A

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COMPOSITE BACKDROP

JOSE AVILA

LEVEL 3 40' - 0"

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SECTIO

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LEVEL 3 40' - 0"

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LEVEL 2 26' - 0"

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SECTION B

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LEVEL 3 40' - 0"

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Model Photo

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Model Photo

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3B DESIGN STUDIO

AMIGAA: Articulation and Tectonics II SPRING 2017 INSTRUCTOR: HERWIG BAUMGARTNER STUDIO PARTNER: ERIK VALLE

Issues of site, program, structure, environmental systems and materiality are present in every architectural problem, but they serve more as constraints and requirements than as architectural issues unto themselves. Instead, mass, interiority, ground, aperture and articulation constitute enduring, evolving issues that the discipline of architecture continues to actively interrogate and change. While these issues recur over time, staking a contemporary position about how they are expressed and ultimately constructed provides the opportunity to pursue new territories. One could argue that it is the constant reexamination of these issues that engenders change in architecture, moving it forward as a speculative project. Students are expected to articulate, explore and defend a position about AMIGAA (much the same way one would do in thesis). In order to be persuasive they must possess a sophisticated and developed building repertoire to effectively communicate that position as architecture. While we might be interested in conceptual or abstract work, the efficacy of architecture is best expressed as a physical act of building. The work of the studio will work against constraints and problems, taking an unabashed pride in the development of innovative and powerful architectural designs. The vast majority of architecture as an assemblage of discrete building elements is both fundamental and unavoidable. Beyond the inescapable, physical fact of how architecture is constructed, a disciplinary preoccupation with the nature of part to whole relationships (as first articulated by Alberti in De re aedificatoria, 1452) has been pervasive, confounding and enduring. From the compositional rules dictated by classical doctrine to the elementarism of modernism, from the collage techniques of the â&#x20AC;&#x2DC;postâ&#x20AC;&#x2122; to the pervasive, fluid continuity of the parametric, the nature of part to whole relationships continues to drive new understandings of the assembled architectural object.

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THE UN-FRIENDLY ALIEN

The project began with an exploration of mid century modern dwellings. Studying the plans of John Lautnerâ&#x20AC;&#x2122;s Segel House led to the generation of new spaces by extruding plans and creating slight distortions through glitch effects and scaling. Through this generation of new masses, the original plans have new spatial potentials when read as sections or elevations. In the end several of these modified plans were redeployed as massing primitives. The massing of our project addresses the problem of part to whole relationships through an aggregation of glitched extrusions which form a greater whole yet maintain their autonomy. These pieces maintain that autonomy through gaps and seams across between each part. The advantage of forming the building from a series of components rather than a single mass is that various programs can be clustered and organized within the parts and be kept separate from others. That is to say, the building could be read as an aggregation of 5 separate buildings with specific programmatic and performative qualities rather than one. This allows the qualities of space and infrastructure to be highly specific to the needs programmatic spaces. The massing addresses its context in several ways. By creating a bar building with several cantilevered appendages, the library maintains a prominent street edge along Bancroft way while also providing a permeable, sheltered public space on the western side of the site. Each of the appendages house one of five major program elements along with itâ&#x20AC;&#x2122;s respective auxiliary spaces. At the heart of the project lies the central program: the book stacks and central circulation. The bar building along Bancroft houses a cafe along the street edge and a social space above. Facing west is the gallery space for exhibition of art and film. The central appendage facing southwest houses reading rooms and the main lobby. The southern appendage contains the auditorium and more reading spaces. Above the central stacks and main bar rest the administrative space where librarians and researchers keep their offices.

JOSE AVILA

Top: Massing process Bottom: Urban gestures

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45 %$1&52)7 :$<

'85$17 $9(

Top: Site Axon Bottom: Site Plan

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352'-9" 28'-0"

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ACCESIBLE PATH OF TRAVEL

BANCROFT WAY A

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PARKING ENTRANCE

DURANT AVE

Level 1

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352'-9" 28'-0"

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Building section | Illustration of the relationship between nexus, armatures, and vertical circulation within the building heart.

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JOSE AVILA

Top: Massing model within context. Bottom right: Massing model west elevation. Bottom left: Physical chunk model.

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OPACITY CONTROLLED WINDOWS MITIGATE GLARE AND DIRECT SUNLIGHT BY ADJUSTING TO SOLAR DATA GATHERED BY SENSORS LINING WINDOWFRAMES.

F.R.P. INSULATED PANELS WITH GLOSSY AND MATTE FINISHES CREATE BOTH REAL AND FAKE SEAMS ON BUILDING FACADE.

2X4 LIGHT GAGUE STEEL STUDS 16" O.C. 5/8 GYPSUM BOARD F.R.C PANELS 6" INSULATION PANEL 24 R.H.S. STRUCTURAL FRAME 4X6 LIGHT GAGUE STEEL CLADDING FRAME ALUMINUM APERTURE FRAME GLAZING 8" CONCRETE SLAB

METAL DECKING W16 STEEL GIRDER

WATERPROOF MEMBRANE RADIANT HEATING AND COOLING MAINTAINS COMFORT LEVELS WITHIN THE LIBRARY AND ALSO REDUCES THE AMMOUNT OF DUCTWORK STORED WITHIN BUILDING FLOORPLATES.

5/8" GYPSUM CEILING FINISH 24 R.H.S. STRUCTURAL FRAME EXTRUDED ALUMINUM APERTURE FRAME

Building Tectonics and Envelope.

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Top: Radian heating and cooling Bottom: Natural ventilation

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Lighting strategies

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Top: Section Model Interior Bottom: Section Model Exterior

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Section Model Detail Photo: Nexus

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3A DESIGN STUDIO

ARCHITECTURE & TECTONICS FALL 2016 INSTRUCTOR: DAVID FREELAND STUDIO PARTNER: LISA LIANG

The first studio of the third year core studio sequence locates the idea of architecture at the intersection of various systems of information: from technical to cultural, from visual to tactile. Students consider the uses of precedent and antecedent in their work, while the main investigation examines the particular impact of the building envelope and its material and geometrical determination on site and a tall building form, and the capacity to use transformation as a methodological tool to guide a rigorous approach to decision making. By studying the specificities of the tall building envelope, students are exposed to the tight dependency existing between serial determinations - of both geometric and material order- of the outermost surface, and the spaces it encloses, its surroundings and its iconographic performance in today metropolis.

JOSE AVILA

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TOP DOWN DESIGN

Starting at the tectonic level of the project. The towers effects must be considered at the micro slcale. By delaminating a tartan grid of various tectonic systems, the depth of the curtain wall produces a high grain facade which changes in depth as one moves arround the tower. This resists the static nature of the corporate tower and produced a dynamic identity. The high grain reading of the facadeâ&#x20AC;&#x2122;s bris soleil also varries in density to increase solar protection where it is most needed on the curtain wall. The grid which was initially intended to define the behavior of the tectonic systems was then abstracted and deployed over the entire facade. Applied to a basic extrusion , the grid begins to unfluence the direction and angle of shears at the corner of the tower thus influencing the character of the overall massing. The towers of the reforma district have a wide variety of characteristics in their curtain walls. Some hide behind exposed structure, while others shade themselves with deep awnings and solid walls. Constrained by site restrictions and shallow envelope they create elegant variations in depth through shade and shadow. However despite these attempts to differentiate themselves from their neighbors, they all share the common monolithic nature and seriality of the conventional high rise typology. Our proposal however challenges this notion of monolithic seriality through the tectonics of the curtain wall. Instead of exposing the vertical and horizontal subdivisions of the towerâ&#x20AC;&#x2122;s interior, we deployed ours at an angle which distort the legibility of the interior. The not orthogonal grid then delaminates from the face of the curtain wall creating a bris soleil which provides a high range of varying shadows to the curtain wall in order to create an implied variation in depth. This helps to dissolve the flatness of the tower faces and subtly blurr its profiles. The same logic of the Bris soleil was then applied to the towerâ&#x20AC;&#x2122;s massing in order to create actual relief in the massing, giving the tower the appearance of a stack of descarte interlocking objects. These reliefs also allowed for slippage in the massing to occur the same way it does in the louvers of the bris soleil. These reliefs occur where there is an intersection between a private owned/ public occupied (po-po) space in the tower and the bris soleil. They are occupy-able semi outdoor spaces which enable the public to observe the city and peer into the various spaces of the tower challenging the The slippage created by relief allowed us to increase square footage on certain areas of the tower maximizing occupy-able floor space within certain parts of the program. Formally the registration of the tower as being a set of interlocking descarte elements further enhances our idea of reducing the monolithic mass of the tall building typology..

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Curtain wall detail cassette

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$//80,180 %5,6 62/(,/ /29(5 >'(37+ 5$1*(6 @

[ *$85' 5$,/ # $%29( 6/$%

) [ 5,(1)25&(' &21&5(7( &2//801

35( 7(16,21(' &21&5(7( 6/$% 5($5 02817(' */$66 &857$,1 :$//

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[ (;758'(' $//80,180 08//,21

Corner detail

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Chunk detail at ground level

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Chunk details

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Ground Level Lobby + Retail

Typical Office Level

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Typical Hotel Level

Restaurant Level

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Section

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Elevation

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GREEN SPACE/ OPEN SPACE SKY DECK OUTDOOR SPACE PASEO DE LA REFORMA

ROADS

2 1

7 3

1 6 2 5 4

Urban context/ movement diagram

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Hotel South Egress Stair North Egress Stair

Sky Deck

Office

Retail

Lower Egress Stair

Retail Egress Exit

Hotel Egress Exit

Parking

Lobby Egress Exit

Program & Circulation

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Tower Model Elevation

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Tower Model Elevation

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2B DESIGN STUDIO

BUILDING TO WORLD: GROUND AND ENTRY SPRING 2016 INSTRUCTOR: ANNA NEIMARK

The 2B studio is the fourth in the sequence of seven studios that constitute the core of the undergraduate B.Arch curriculum. It follows the lessons of previous semesters by designing material form in close relationship to techniques of drawing and modeling. This studio expands from building purely abstract massing models to constructing materially specific models. This shift necessarily addresses building constraints—such as material size and thickness, structure, and finish— which, in turn, produce interesting limits and problems of translation between digital and physical media. To intensify this exchange, this studio tackles the form and finish of the interior as its starting point. Referencing Gottfried Semper’s and Adolf Loos’s work on cladding and its principles, exercises build up from inside outward, adding material and structural layers, fattening corners, and plastering finishes. This studio is a precursor to the 3rd year, which enlarges the scale of the models to include structural, mechanical, and environmental systems. The program of 2B centers on two cinema halls, each presenting a kind of center or an internal world within one singular building. Public spaces connect these interiors and contribute to the construction of the overall form, apertures, and ground articulation of the building in its site. Situated in an urban environment, the project brings together multiple constituencies, addressing public space, traffic flow andsite accessibility.

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THE ECCENTRIC CORNER

When we imagine boxes, we usually envision a six sided container composed of 90 degree corners. The brief we were given was to perform two wall transformations on a small box then render the transformed box onto the original box in order to create two creases which could either be left as false corners or modified to create additional sides/corners within the box. The prospect of creating new or false corners was interesting to me because I had never really considered the idea of a false corner. I prefer true qualities over implied ones. This led me to interrogate the definition of a corner in order to find a way to create a true corner from a false one. By definition: â&#x20AC;&#x153;a corner can be described as the meeting of two surfaces or edges.â&#x20AC;? Based on that definition we are able to identify the angle of a corner anywhere between zero and 360 degrees. This definition also allows us to completely remove corners as well since we can produce continuous surfaces that extend beyond two dimensions; such an operation can be achieved through filleting. Typically the extents of a box share some form of continuity or material relationship. However, my box challenges the composition of the typical room by defining a space utilizing four autonomous corners. These four corners in and of themselves create their own distinct problems in construction and articulation of finishing.Each one is defined by a material and corner property and each one creates a new condition when interacting with its neighboring corners.

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Marble crawling down from its place on the wall to lay with the shag carpet.

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The onyx created an acute angle with itself while interacting with the plaster wall at an obtuse angle and the floor at 180 degrees.

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R= 1/2"

3 2

82 4 R= 1/4"

Developed Surface Drawing: Front

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5 1/2" 1 3/4"

180°

69°

207°

4 2 1/4"

10"

4 90°

84°

10"

153°

Developed Surface Drawing: Back

5 1/2"

DOUBLE 1/8x1/4 INCH STUDS 1/8 INCH APART

DOUBLE 1/8x1/4 INCH STUDS 1/8 INCH APART, LEADING STUD ROTATED 14 DEGREES

DOUBLE 1/8x1/4 INCH STUDS 1/8 INCH APART, LEADING STUD ROTATED 69 DEGREES

DOUBLE 1/8x1/4 INCH STUDS AT 180 DEGREE CORNER

MATERIAL REMOVED FROM SUBSTRAIT

WALL FILLET (SEE RADIUS ON ADJACENT WALL)

JOSE AVILA

Something between a model and a drawing

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Top: Exhausted drawing... Bottom: Two amorous boxes, parts spread wide.

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Top: Rescaling of box/ further studies of flattening effects of reality due to introduction of lines in real world. Bottom: Theater interior emergant of two scaled and unfurled box interiors.

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FROM BOX TO THEATER

[Supergraphic: Combination of plan, section, and elevation. A drawing which displays an excessive amount of information; many layers are embedded and may not be visible at certain distances, requiring the viewer to look closer in order to extract information.] I created the supergraphic in order to push the limits of a single drawing’s ability to represent tectonic elements and their assembly in relation to the whole of the room. Here plan, section and elevation are combined. What do the rooms share with the original model? Both boxes share a scalar relationship with the model’s materiality. The boxes grid was assigned a scale of 1”=16’ grid which was used to subdivide the structure and organize the elements within the cinema hall. By scaling the grid along with the materials in the box, the materiality of the space within the cinema hall becomes estranged from its typical scalar qualities . For example printed marble veins become absurdly massive, and the fibers of the carpet gain the diameter of small ropes. How do they Contrast? While the materiality of the space may appear irrational, the structural articulation becomes the only source of logic that holds this space together. The previously mentioned 16’x16’ grid provides a reasonable structural module for concrete columns and it’s a number that can be subdivided into multiples of 2’ making it perfect for the insertion of 4x8 panel modulations to subdivide the massive materials. What do both of the drawings share in common? Both drawings are completely identical in their scale, development, and graphic representation. They share the same grid, structure, material scale, and line wight. However this connection causes the reading of the smaller room become strange as line weights become almost too big to describe their information, and materials render so massively that they become almost illegible. It’s hilarious!

JOSE AVILA

1 16'-0"

2 16'-0"

3 16'-0"

4 16'-0"

5 16'-0"

6 16'-0"

7 16'-0"

EXIT

EXIT 16'-0"

2'-0"

175'-4"

16'-0"

10 175'-4"

16'-0"

11 16'-0"

12 16'-0"

EXIT

16'-0"

14 16'-0"

15 30'-0"

16'-0" 3'-4" 3'-4" 3'-4" 5'-3"

3'-4" 5'-8"

38'-2"

EXIT

0'-0"

16'-0"

EXIT

24" O.C.

40'-0" 77'-1" 109'-2"

16'-0"

Room reimagined as a 600 seat cinema hall

16'-0"

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1 16'-0"

2 16'-0"

72'-1" 13'-1"

16'-0"

30'

16'-0"

24" O.C.

16'-0"

6 16'-0"

63'-9"

EXIT

7 4'-0"

EXIT

2'-8" 20 20

16'-0"

16'-3"

34'-0"

8'-6"

4'-2"

27'-8"

0'-0"

16'-0" 20

3'-4"

3'-1"

3'-8"

4'-2"

16'-0"

30'

16'-0"

80'-3"

16'-0"

Room reimagined as a 100 seat cinema hall.... aww isnâ&#x20AC;&#x2122;t it so cute?

16'-0"

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Site Plan

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Ground Level

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Level 2

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Level 3

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Level 2

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Section 2

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Elevation: Main Street

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Elevation: Chapel Avenue

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2A DESIGN STUDIO

FORMWORKS: SITES AND CONTEXTS FALL 2015 INSTRUCTOR: ERICK CARCAMO

The 2A Core Design Studio foregrounds the disciplinary problem of directing a given program or “brief ” towards the production of a work of architecture. The students are introduced to techniques for moving beyond abstract models towards the “fleshing out” of an architectural diagram (particularly as drawn in plan and section) as a material, functional artifact on a site. The studio approaches this problem through the idea of formal, material and programmatic density, as expressed through the resolution of multiple scales of program, spatial organization and formal articulation within a tight building envelope. It advances the students’ previous work on massing and interiority by introducing building to ground relationships, more sophisticated methods of organizing interior space in relation to massing, and formal articulation, particularly as it relates to entry and aperture. These architectural issues are addressed through the precedent analysis and subsequent design of a slab or bar-type building housing a multi-functional research and educational institution in a rural setting. The slab building is an exemplary expression of the technological, social, and urban transformations that shaped the emergence of modern architecture. In its paradigmatic form, Le Corbusier’s Unité d’Habitation, the slab building can be understood to represent both Le Corbusier’s specific program of the Five Points (and their development in his urbanism and postwar work), as well as broader ambitions of the modern period that continue to inform the production of contemporary architecture. Among these are the rethinking of the relationship of thebuilding mass to the ground, the expression (and suppression) of internal organization and environmental performance on the facade, and the dense arrangement of multiple program types and circulatory systems in a manner that analogously suggests the internalization of the complex, multi-functional nature of the city within a single building form. Unlike other archetypal forms such as the tower and the mat, the slab can be understood in terms of both vertical and horizontal extrusion, representing the simultaneous expression of both the vertical “stacking” of floors or multiplication of ground that in part defines the nature of modern urbanism, and the linear corridor or “street,” associated with the traditionally horizontal organization of urban space.

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MIT Baker House Massing

100

Typical Units

Living Unit Subdivisions

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PRECIDENT ANALYSIS

Alvar Aalto’s Baker House in Cambridge Massachusetts was built in the late 1940’s while he was a professor at MIT. With a demand for high density housing from the school and Aalto’s desire for high quality living, the Baker House was designed with a serpentine footprint in order to maximizing the length of the north facade providing more area for units to have a good view of the Charles River. By orienting all of the units on the north side of the building, Aalto was also able to place all of the public and auxiliary spaces on the south facade facing the MIT campus. What was most intriguing about this design was Aalto’s use of circulation and shared space to serve as mediation between two radically different programmatic organizations within the same building. When observing the plan of the project one can see that the residential side of the project follows a strict succession of dorm rooms however the circulation changes dramatically as elements of the auxiliary space shift. Implementing such a strategy in a future project with conflicting programmatic elements could create the new and exciting possibilities for circulation and social space.

North Facade: Dormatory Units

South Facade: Auxillary & Circulation

101

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102

Baker House Sliced and Reconfigured

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103

Translation to physical model.

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104

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ENTER THE VOID

Reflecting on the explorations of the MIT Baker House and its utilisation of the space between conflicting programatic elements I came to decided to use the strategy in a design for an arts school. The program called for a facility that contained dorms/ studios and institutional space. This configuration was to serve as an arts school situated in the desert outskirts of palm springs. The site is completely flat and completely exposed. Residential needs were inserted into one bar and institutional elements into another. By colliding the two bars together and carving out a void where they overlapped, a unique space was created to serve as a buffer between the two elements. The lattice structure seen in the sectional model defines the space by creating a physical manifestation of the overlapping grids which organizes the two building elements. I chose to celebrate the circulation space because it is the most utilized portion of any building. Itâ&#x20AC;&#x2122;s an area that is occupied by all users within a space therefore it should be the most unique. The void is a celebration of the tension between students and faculty; visitors, and residents.

105

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106

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107

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DN UP -18'-0"

-18'-0"

Level -1

108

0'-0"

-18'-0"

0'-0"

Ground Level

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+20'-0" +10'-0"

UP +10'-0"

UP UP

+15'-0"

DN +15'-0"

Level 2

109

+20'-0"

+30'-0"

Level 3

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+30'-0"

UP +38'-0"

+42'-0"

Level 4

110

+40'-0"

DN DN

Level 5

+50'-0"

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Residential Mediative Circulation Institutional Space

111

Programatic massing diagram displaying the relationships between residential and institutional space.

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112 Section 1

Section 2

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113 Section 3

Section 4

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114 South Elevation

North Elevation

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115 East Elevation

West Elevation

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116

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TRANSFER STUDIO

DESIGN SEMINAR: MUTATION/ ITERATION SUMMER 2015 INSTRUCTOR: HEATHER FLOOD

117

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118

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PARAMETRIC DOME

This project introduced the idea of parametric articulation in the traditional architectural form of the dome. Utilizing grasshopper to articulate the structure of the dome we were able to create varying pochet to and texture.

119

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120

An example of shifting hierarchy in color as form is experienced through space and time.

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121

JOSE AVILA

122

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CONSTRUCTION DOCUMENTS

ADVANCED PROJECT DELIVARY SPRING 2018 INSTRUCTORS: PAVEL GETOV + DAVID ROSS PARTNERS: JAVIER BENAVIDES JELVIS JAO ERIK VALLE The course focuses on advanced methods of project delivery and construction documents incorporating digital technologies and investigating new models for linking design and construction processes. It introduces Building Information Modeling as one of the tools for realignment of the traditional relationships between the project stakeholders. Using a single unit residential building located in Los Angeles, students will analyze and develop the architecture by creating a detailed 3d digital model and a set of 2D construction documents specifically tailored for the design challenges of a single unit residential project. Lectures and site visits to fabricators and construction sites will further inform students of technical documentation methods for projects that are operating on the forefront of design and construction technologies to date.

123

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Architect: Tony (Jose) Avila joseaviladesign@gmail.com Javier Benavides javibeolys@gmail.com Jelvis Jiao jelvisjiao@gmail.com Liz Van Dyke lvdvandyke@gmail.com Erik Valle erik_r_valle@yahoo.com

Consultants: ‐ ‐ ‐ ‐ ‐

BUILDING ISOMETRIC VIEW North-East

BUILDING ISOMETRIC VIEW North-West

No.

Description

Date

Owner : Bobby Tarantino Project : 1101 South Robertson 3D VIEWS Project Number

Project number Date Drawn by

BUILDING ISOMETRIC VIEW South-West

Scale

Checker

A‐0.2

4/2/2018 19:53:16

Checked by

124

A-3.1 1

Architect: ---

Tony (Jose) Avila joseaviladesign@gmail.com

1 A-4.2

Javier Benavides javibeolys@gmail.com

Jelvis Jiao jelvisjiao@gmail.com

Liz Van Dyke lvdvandyke@gmail.com 0' - 0"

Erik Valle erik_r_valle@yahoo.com

1' - 5 31/32"

17' - 11"

7/8" / 1'-0"

Consultants:

TRASH ROOM

MAIL ROOM

‐

5' - 8"

87 A-3.4

3' - 0"

‐

76 5' - 8"

‐ ‐

‐ 1

A-3.2 55' - 7 3/4"

55' - 7 3/4"

20' - 9"

A-4.5

LOBBY

GALLERY

PATIO

37' - 8 3/4"

No.

Description

Date

3' - 0"

57 1 A-4.1

A-4.5

A-7.3

CAFE RESTROOM

A-7.3

RESTROOM

D 1

A-5.0 16' - 0"

16' - 0"

A-4.5

27' - 0"

20' - 0"

Owner : Bobby Tarantino

4' - 0"

16' - 0"

99' - 0"

15' - 6"

3' - 0"

15' - 6"

1 A-7.3 73 2

Project : 1101 South Robertson Level 1

A-3.3

Project number

Level 1 3/16" = 1'-0"

Drawn by Checked by

Scale

Construction Document Package Sheets: Work produced in Autodesk REVIT 2018

Project Number

Date

A‐1.1

Checker

3/16" = 1'-0"

4/2/2018 19:54:17

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A-4.5

A-4.2

A-5.0

1 Architect:

Level 5 53' - 0"

Tony (Jose) Avila joseaviladesign@gmail.com Javier Benavides javibeolys@gmail.com Jelvis Jiao jelvisjiao@gmail.com Liz Van Dyke lvdvandyke@gmail.com

Level 4 43' - 0"

Erik Valle erik_r_valle@yahoo.com

Consultants: ‐ ‐

Level 3 31' - 0"

‐ ‐ ‐

Level 2 18' - 0" No.

Description

Date

Level 1 3' - 0" Ground Level 0' - 0"

--16' - 0"

20' - 0"

27' - 0"

16' - 0"

83' - 0"

Owner : Bobby Tarantino Project : 1101 South Robertson North 3/16" = 1'-0"

Elevations Project Number

Project number Date Drawn by

Checker

A‐3.1

Scale

3/16" = 1'-0"

4/2/2018 19:55:06

Checked by

125

A-5.0

A-4.2

7 Architect: Tony (Jose) Avila joseaviladesign@gmail.com

99' - 0"

---

82' - 0 1/4"

Javier Benavides javibeolys@gmail.com

Level 5 53' - 0"

Jelvis Jiao jelvisjiao@gmail.com

10' - 0"

Liz Van Dyke lvdvandyke@gmail.com Erik Valle erik_r_valle@yahoo.com

Level 4 43' - 0"

Consultants:

3' - 6" 12' - 0"

‐

6' - 11"

---

53' - 2 1/2"

‐ ‐

Level 3 31' - 0"

‐ ‐

7' - 3"

13' - 0"

3' - 0"

15' - 0"

Level 2 18' - 0"

No.

Description

Date

7' - 0"

42' - 0 1/2"

Level 1 3' - 0"

5' - 8"

Ground Level 0' - 0" 6' - 8"

11' - 0"

Basement -7' - 0"

Owner : Bobby Tarantino 16' - 9 1/2"

15' - 2 1/2"

27' - 0"

20' - 0"

16' - 0"

4' - 1 1/4"

Project : 1101 South Robertson

99' - 1 1/4"

Longitudinal Section

Section 1 3/16" = 1'-0"

Project number

Project Number

Date Drawn by Checked by

Scale

A‐4.1

Checker

3/16" = 1'-0"

4/2/2018 19:55:52

JOSE AVILA

6 Level 5 53' - 0" Architect: Tony (Jose) Avila joseaviladesign@gmail.com

ROOF TERRACE

Javier Benavides javibeolys@gmail.com Jelvis Jiao jelvisjiao@gmail.com

PARTIAL PARAPET WITH RAILING Level 4 43' - 0"

2 A-4.6

Level 4 43' - 0"

Liz Van Dyke lvdvandyke@gmail.com

Level 4 43' - 0"

STRUCTURAL ROOF DECK

Erik Valle erik_r_valle@yahoo.com

Consultants: ‐ 4 A-4.7

RESIDENTIAL TERRACE

‐

Level 3 31' - 0"

‐

Level 3 31' - 0"

‐

1 A-4.6

‐

1 A-4.7

C.M.U STRUCTURAL WALL

4 A-4.6

Level 2 18' - 0"

E.F.I.S FACADE WALL TYPE 2

Level 2 18' - 0"

3 A-4.6

No.

Level 2 18' - 0"

3 A-4.7

E.F.I.S FACADE WALL TYPE 2

Description

Date

E.F.I.S FACADE WALL TYPE 2

2 A-4.7

C.M.U LOW WALL WITH STUCCO FINISH

Level 1 3' - 0"

12" POST TENSIONED CONC. SLAB

Level 1 3' -POST 0" 12" TENSIONED CONC. SLAB

12" POST TENSIONED CONC. SLAB

Ground Level 0' - 0"

Level 1 3' - 0"

Ground Level 0' - 0"

Owner : Bobby Tarantino CONC. FOUNDATION WALL

Project : 1101 South Robertson Basement -7' - 0"

Basement -7' - 0"

CONC. FOOTING

Wall Sections

Basement -7' - 0" CONC. FOOTING

CONC. FOOTING

Project Number

Project number Date Drawn by

Section 4 1/4" = 1'-0"

Section 5 1/4" = 1'-0"

Checked by

Section 6 1/4" = 1'-0"

Scale

A‐4.5

Checker

1/4" = 1'-0"

4/2/2018 19:56:01

126

3/4" CEMENT PLASTER FINISH 5/4 DECKING WATERPROOF MEMBRANE Level 4 43' - 0"

2x12 BAND JOIST

E.I.F.S PANEL

R30 INSULATION Level 2 18' - 0"

5/8" GYP. R5 INSULATION

Architect: Tony (Jose) Avila joseaviladesign@gmail.com Javier Benavides javibeolys@gmail.com Jelvis Jiao jelvisjiao@gmail.com Liz Van Dyke lvdvandyke@gmail.com Erik Valle erik_r_valle@yahoo.com

Consultants: ‐ ‐ ‐

Section 5 - E.I.F.S PARAPET 1" = 1'-0"

Section 4 - ROOF DETAIL 1" = 1'-0"

‐ ‐

6 WATERPROOF MEMBRANE 3/8" PLY. WD. SHEATHING

MTL. RAILING

ALLUMINUM GAURDRAIL

R5 INSULATION

No.

Description

Date

5/8" GYP. BD.

SINGLE PANE GLASS WINDOW-WALL SYSTEM

1/2" ANCHOR BOLT

Level 3 31' - 0" E.I.F.S PANEL

LIGHT GAGUE STEEL FRAME

3/4" SHEATHING Level 2 18' - 0"

6" MTL. STD.

POST TENSIONED CONCRETE SLAB

WATERPROOF MEMBRANE

Owner : Bobby Tarantino

PLYWOOD SHEATHING

Project : 1101 South Robertson

WOOD SOFFIT

Details Section 4 - WALL RIBBON DETAIL 1" = 1'-0"

Section 4 - DECK OVER OFFICE 1" = 1'-0"

Project number Drawn by Checked by

Scale

Construction Document Package Sheets: Work produced in Autodesk REVIT 2018

Project Number

Date

A‐4.6

Checker

1" = 1'-0"

4/2/2018 19:56:04

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CONCRETE FLOOR FINISH Architect:

3/8" CAULKING

INTERIOR

Tony (Jose) Avila joseaviladesign@gmail.com

EXTERIOR FLOOR FINISH

Javier Benavides javibeolys@gmail.com

WATERPROOF MEMBARNE Level 2 18' - 0"

POST-TENSIONED SLAB

Level 3 31' - 0"

Jelvis Jiao jelvisjiao@gmail.com Liz Van Dyke lvdvandyke@gmail.com Erik Valle erik_r_valle@yahoo.com

EXTERIOR Consultants: ‐ ‐ ‐

Section 5 - BALCONY DETAIL 1" = 1'-0"

Section 5 - WINDOW WALL DETAIL 1" = 1'-0"

‐ ‐

#4 REBAR

No.

Description

Date

8"x8"x16" C.M.U LOW WALL

7/8" CEMENT PLASTER FINISH Level 2 18' - 0"

12" POST-TENSIONED CONCRETE SLAB

EXTERIOR

Level 1 3' - 0" #4 REBAR INTERIOR

Owner : Bobby Tarantino Project : 1101 South Robertson Details Project Number

Project number

Section 5 - LANDSCAPE WALL DETAIL 2 1" = 1'-0"

Date Drawn by Checked by

Scale

A‐4.7

Checker

1" = 1'-0"

4/2/2018 19:56:07

Section 6 - STRUCTURAL WALL DETAIL 3 1" = 1'-0"

127

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3 Level 5 53' - 0"

Architect: 2 A-7.3

Tony (Jose) Avila joseaviladesign@gmail.com Javier Benavides javibeolys@gmail.com Jelvis Jiao jelvisjiao@gmail.com

0' - 5"

3' - 3 1/2"

Level 4 43' - 0"

2' - 9 3/4"

Level 4 43' - 0"

Liz Van Dyke lvdvandyke@gmail.com Erik Valle erik_r_valle@yahoo.com

Level 4 43' - 0"

Consultants:

Level 3 31' - 0"

‐

Level 3 31' - 0"

‐

Section 7 - Callout 2 1/2" = 1'-0"

Section 7 - Callout 1 1/2" = 1'-0"

‐ ‐

3' - 11 3/4"

Level 2 18' - 0"

6 A-7.3

3' - 5 3/4" 0' - 6 3/4"

‐

No.

Basement -7' - 0"

1' - 0"

Description

Date

Section 7 - Callout 3 1/2" = 1'-0"

---

Level 1 3' - 0" Ground Level 0' - 0"

Ground Level 0' - 0"

R 2'

- 6"

DOWN

51 A-7.3 3 A-7.3

Basement -7' - 0"

Owner : Bobby Tarantino

4 A-7.3

Project : 1101 South Robertson Interior Enlarged Plan and Elevations ‐ Stair

---

Project number

1 1/4" = 1'-0"

Section 7 1/4" = 1'-0"

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

Project Number

Date Drawn by Checked by

Scale

A‐7.3

Checker

As indicated

4/2/2018 19:56:37

Basement -7' - 0"

JOSE AVILA

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FACADES + COMPLEX ARCHITECTURE

COMPLEX ENVELOPE DESIGN SPRING 2018 INSTRUCTORS: RANDY JEFFERSON

This course investigates issues related to the process of moving a complex concept to physical reality and focuses on understanding Technology, Materials, Systems, their Integration, the important factor of Cost, the Client, the Design Team and the Contractor. The course focuses on the details related to the development of a complex concept, moving from a sketch idea through a process of exploration, research, invention and intervention, the application of advanced building systems, technology and construction techniques and the methodology of communicating the requirements of the technical design to the contractor. Students will investigate issues pertaining to complex structures, building envelopes and materials, building systems generally and their integrated relationship to the design and construction of complex architectural projects. Through a series of lectures and individual assignments, specific architectural precedents will be researched and discussed.

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Chunk Detail Zone Residentail Aperture F.R.P Panel System

North Elevation

130

7.0 0.1

8.0 0.1

7.0 0.1

F.R.P. CLADDING SYSTEM CONCRETE ON MT. DECKING WATERPROOF MEMBRANE PRIMARY STRUCTURE PANEL CONNECTION BRACKET PANEL INTEGRATED INSULATION INTERIOR FLOOR ASSEMBLY

SCI_ARC SP18 Detail Chunk

AS 2522 - COMPLEX FACADES Peel-Away

DESIGNER | JOSE (TONY) AVILA INSTRUCTOR | RANDY JEFFERSON

PALM SPRINGS ART SCHOOL

FACADE CHUNK PEEL-AWAY

SCALE : 1/8" - 1'-0"

2.0

SCI_ARC PORTFOLIO

COMPLEX ENVELOPE DESIGN

This course was taken advantage of to redesign the facade system of a previous project from 2A. The first step was to identify a chunk of the building which would be redesigned and articulated, introducing a primary structural system, secondary structure, interior finishes, insulation, waterproofing, and exterior finishing. A unitized paneling system was selected which utilizes an exterior mounted insulation system with integrated waterproofing and finishing. As a precedent to this proposal, the San Francisco MOMA project by Snohetta was carefully studied and referenced for connection systems and methods of fabrication. Finishes The exterior system is an F.R.P system with a rough lightgrey finish made to resemble smooth concrete. Window systems are designed with similar connection systems as well in order to simplify installation. Advantages/ Disadvantages The advantages of this type of system is the expediency of installation and reduction of on-site fabrication. However the disadvantages are fabricating numerous custom panels since the geometry of the project has numerous irregular surfaces and corners.

Building Structure Insulation Panel Waterproofing F.R.P Finishing

F.R.P PANEL FINISH

WATERPROOFING

INSULATION

PRIMARY STRUCTURE

Facade Layers

SCI_ARC SP18

AS 2522 - COMPLEX FACADES

DESIGNER | JOSE (TONY) AVILA INSTRUCTOR | RANDY JEFFERSON

PALM SPRINGS ART SCHOOL

FACADE LAYERS

SCALE : 1/16" = 1'-0"

6.0

131

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GYP. INT. FINISH LIGHT GAGUE MTL. STD.

132

FLOOR FINISH CONC. ON MTL. DECKING W18 STEEL JOIST 1/8" DOUBLE PANE INSULATED GLASS ALUMINUM MULION STEEL WINDOW FRAME H18 STEEL MEMBER GYP. INT. FINISH LIGHT GAGUE MTL. STD. F.R.P. FINNISH MOISTURE BARRIER RIGID INSULATION WATERPROOF GASGET PANEL CONNECTION BRACKET MOISTURE BARRIER

Wall Section Details

AS 2522 - COMPLEX FACADES

DESIGNER | JOSE (TONY) AVILA INSTRUCTOR | RANDY JEFFERSON

PALM SPRINGS ART SCHOOL

SCI_ARC PORTFOLIO

SCI_ARC SP18

AS 2522 - COMPLEX FACADES

DESIGNER | JOSE (TONY) AVILA

PALM SPRINGS ART SCHOOL

INSTRUCTOR | RANDY JEFFERSON

133 A

SCI_ARC SP18

AS 2522 - COMPLEX FACADES

Panel Details

DESIGNER | JOSE (TONY) AVILA INSTRUCTOR | RANDY JEFFERSON

A-A

PALM SPRINGS ART SCHOOL

DESIGNE

AS 2522 - COMPLEX FACADES

PANEL DETAIL

INSTRUC

B-B

SCALE : 1/4" - 1'-0"

8.0

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DESIGN DEVELOPMENT

DESIGN DOCUMENT ANALYSIS DEVELOPMENT FALL 2017 INSTRUCTORS: PAVEL GETOV + SCOTT URIU PARTNERS: JAVIER BENAVIDES JELVIS JAO LISA LIANG RAINA LIN ERIK VALLE

This course investigates issues related to the implementation of design: technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. The course includes a review of basic and advanced construction methods, analysis of building codes, the design of structural and mechanical systems, the development of building materials, the integration of building components and systems, fire/life safety and ADA planning, and the introduction of sustainability measures. The intent of this course is to develop a cohesive understanding of how architects communicate complex building systems for the built environment and to demonstrate the ability to document a comprehensive architectural project and demonstrate Stewardship of the Environment.. A series of built case studies will be presented by the instructors along with visiting professionals in the field who are exploring new project delivery methods. These case studies will be shown inâ&#x20AC;?depth with construction photographs, 3D renderings, and technical drawings and details. Pertinent specific topics for the course will be highlighted in each presentation, with a focus on the evolution of building design from concept to built form. In addition, topics such as leadership, project delivery methods, and project cost control, including life cycle cost analysis will be covered in order to introduce students to the larger social and economic context of design documentation. The primary part of our work will develop into a set which will contain different views, chunks, components, sizes, descriptions, energies, systems, vantage points, transparencies, materials, colors, scales, and so on.

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F.R.P SYSTEM EXUS FIRE EXIT STAIR ARMATURE COLUMN TUBE TRUSS SYSTEM

LANDSCAPE STRUCTURE PARKING STRUCTURE FOUNDATION SLAB

136

Building Mega - Chunk

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137

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TUBE TRUSS SYSTEM STAIR CORE

138

PARKING STRUCTURE BASEMENT FOUNDATION FOUNDATION SLAB

Building Primary Structure

SCI_ARC PORTFOLIO

LIGHT GAGUE STEEL F.R.P MOUNTING TRACKS

139

Building Secondary Structure

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OPACITY CONTROLLED WINDOWS MITIGATE GLARE AND DIRECT SUNLIGHT BY ADJUSTING TO SOLAR DATA GATHERED BY SENSORS LINING WINDOWFRAMES.

F.R.P. INSULATED PANELS WITH GLOSSY AND MATTE FINISHES CREATE BOTH REAL AND FAKE SEAMS ON BUILDING FACADE.

2X4 LIGHT GAGUE STEEL STUDS 16" O.C. 5/8 GYPSUM BOARD F.R.C PANELS 6" INSULATION PANEL 24 R.H.S. STRUCTURAL FRAME 4X6 LIGHT GAGUE STEEL CLADDING FRAME ALUMINUM APERTURE FRAME GLAZING 8" CONCRETE SLAB

140

METAL DECKING W16 STEEL GIRDER

WATERPROOF MEMBRANE RADIANT HEATING AND COOLING MAINTAINS COMFORT LEVELS WITHIN THE LIBRARY AND ALSO REDUCES THE AMMOUNT OF DUCTWORK STORED WITHIN BUILDING FLOORPLATES.

5/8" GYPSUM CEILING FINISH 24 R.H.S. STRUCTURAL FRAME EXTRUDED ALUMINUM APERTURE FRAME

Building Wall Section Chunk

SCI_ARC PORTFOLIO

Architect: VITAMIN DD, Tony Avila joseaviladesign@gmail.com

Javier Benavides

javibeolys@gmail.com

Jelvis Jiao

jelvisjiao@gmail.com

Lisa Liang

lisaliang95@gmail.com

Raina Lin

rainalin966@gmail.com

Erik Valle

erik_r_valle@yahoo.com

RIGID FOAM PANEL WITH F.R.P. FINISH WATER PROOFING MEMBRANE 6 “ RIGID INSULATION

2 X 6 LIGHT GAUGE STEEL STUDS

Consultants: Structural Engineer:

NOUS ENGINEERING, INC Mathew Melnyk Energy Consultant:

TRANSSOLAR INC Wolfgang Kessling Energy Consultant:

JBOHN ASSOCIATES John Bohn Architect:

STEEL PLATE HOOK

STUDIO ANTARES Pavel Getov Architect:

18” STEEL PIPE

BAUMGARTNER + URIU B+U, LLP Scott Uriu

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STEEL RODS

BERKELEY PUBLIC LIBRARY

H 24 STEEL FRAME

3/4” GYPSUM BOARD

7/8” HAT CHANNEL GUTTER

2 X 4 LIGHT GAUGE STEEL FRAMING

Date: November 6, 2017 4:17 PM Scale:

Title:

ROOF DETAIL Sheet:

A 1.12

Roof Chunk Detail

JOSE AVILA

F.R.P. FACADE PANEL

FIBERGLASS SHEATHING

H24 HOLLOW SECTION

RIGID INSULATION

18” STEEL TUBE

LIGHT GAUGE STEEL

142

GYSPUM BOARD

8” CONCRETE FLOOR SLAB

CORRUGATED METAL DECKING

FLOOR SLAB PLATE

WELDED FLANGE JOINT

I - BEAM

CEILING GYSPUM BOARD

Wall Chunk Detail

SCI_ARC PORTFOLIO

Architect: VITAMIN DD, Tony Avila joseaviladesign@gmail.com

Javier Benavides

javibeolys@gmail.com

Jelvis Jiao

jelvisjiao@gmail.com

Lisa Liang

lisaliang95@gmail.com

Raina Lin

rainalin966@gmail.com

Erik Valle

RIGID INSULATION

erik_r_valle@yahoo.com

2 X 6 L.G.S.

Consultants: Structural Engineer:

DOUBLE GLAZED WINDOW SYSTEM

NOUS ENGINEERING, INC Mathew Melnyk Energy Consultant:

GLAZING MULLION

TRANSSOLAR INC Wolfgang Kessling Energy Consultant:

LIGHT GAUGE STEEL

JBOHN ASSOCIATES John Bohn Architect:

FACADE PANEL CONNECTION

STUDIO ANTARES Pavel Getov Architect:

WATER PROOFING MEMBRANE

BAUMGARTNER + URIU B+U, LLP Scott Uriu

1/2” ALUMINUM FRAME / SHADOW BOX

143 BERKELEY PUBLIC LIBRARY

FLOOR FINISH

8” CONCRETE FLOOR SLAB

CORRUGATED METAL DECKING

WELDED CONNECTION JOINT

LIGHT FRAME

GYSPUM BOARD Date: November 6, 2017 4:17 PM Scale:

Title:

WALL TO FLOOR CONNECTION Sheet:

A 1.14

Aperture Chunk Detail

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AUDITORIUM

Level 2

Auditorium Location + Access

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145

Auditorium Plan

Auditorium Section

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F.R.P FINISH LIGHT GAGUE STEEL INSULATION STEEL TUBE WIRE HANGER GYPSUM CEILING STEEL HOLLOW SECTION WINDOW MULLION WINDOW WALL SYSTEM

146

WINDOW WALL SYSTEM FIBER BOARD FINISH WATERPROOFING L.G.S. FRAME INSULATION

WINDOW WALL SYSTEM FLASHING PANEL CLIP F.R.P. SYSTEM

WATERPROOFING INSULATION L.G.S.FRAME STEEL TUBING

Building Envelope Details

CONCRETE ON MTL. DCK. W24 STEEL JOIST W18 STEEL JOIST

SCI_ARC PORTFOLIO

DRAINAGE SYSTEM F.R.P FINISH LIGHT GAGUE STEEL WATERPROOFING INSULATION STEEL TUBE LIGHT GAGUE STEEL GYPSUM CEILING

147

CONCRETE ON MTL. DCK. W24 STEEL JOIST W18 STEEL JOIST WIRE HANGER GYPSUM CEILING FINISH

Building Envelope Details

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SCI_ARC PORTFOLIO

TECTONICS I

TECTONICS + MATERIALITY FALL 2016 INSTRUCTORS: MAXI SPINA + RAMIRO DIAZGRANADOS PARTNERS: ERIK VALLE

Tectonics I is the first of three courses in which students begin to analize the descrete elements that compose building envelope systems. By analizing the nuts and bolts of a project we were able to gain insight on how to develop our own projects on a tectonic level. This project in particular looks at the San Francisco Federal Building by Morphosis and disects the various conditions of itâ&#x20AC;&#x2122;s double skin facade. Sutents were asked to identify a component of the building envelope and propose an alternatuive claddingng methid based on performative qualities. 149

JOSE AVILA

The perforated stainless steel panels of the San Francisco federal building are problematic to the solar mitigation of the curtain wall system. Made entirely of stainless and galvanized steel, the heat transfer from the double facade to the floor plates create an undesirable affect on the internal climate of the tower. The other problem this facade creates in its fabrication is the excessive carbon emission produced. As a solution we propose the application of a wood based facade system. General Papameters Facade Area

128,957 sf

Individual Panel Dim

26.8 sf

Total Panels

4812 Panels

Original Facade Perforated Stainless Steel Porosity Avg. S.F. Per Panel

90% 26.8sf

Price Per Sf.

150

$25

Weight Estimated Total Cost

$3,223,925

Option 2 Fritted plastic Porosity Avg. S.F. Per Panel

90% 26.8sf

Price Per Sf.

$12

Weight

.5 lbs. sqft.

Estimated Total Cost

$1,547,484

Option 3 CNC Milled Wood Panel Porosity Avg. S.F. Per Panel

60% 26.8sf

Price Per Sf. Weight

$10 2.8 lbs. sqft.

Estimated Total Cost $1,225,092 Option 1 Fritted Glass Porosity Avg. S.F. Per Panel Price Per Sf. Weight

90% 26.8sf $70 6.5lbs. sqft.

Estimated Total Cost $9,026,990 Mega-Chunk & Cost Analysis

SCI_ARC PORTFOLIO

7'-4"

7'-4" 7'-4"

7'-4"

3'-8"

3'-8" 13'-0"

3'-8"

7'-4"

3'-8"

Reinforced concrete

Facade Assembly.

3'-8"

7'-4"

151

3'-8"

Extruded alluminum window wall

Galvanized Metal Frame

Perforated stainless steel panels

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Perforated stainless steel panels

Galvanized metal tube frame

Extruded alluminum operable window frame Double pane window wall

Reinforced concrete slab & beam

152

Raised floor system

Galvanized metal catwalk system.

Building envelope chunk: Back

SCI_ARC PORTFOLIO

Panel frame support

Perforated stainless steel panels

Operable facade servo

Reinforced concrete slab & beam

Extruded alluminum operable window frame

153 Double pane window wall

Raised floor system

Galvanized metal tube frame

Building envelope chunk: front

Porosity Avg. S.F. Per Panel

60% 26.8sf

Price Per Sf. Weight

$10

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2.8 lbs. sqft.

Estimated Total Cost $1,225,092 Option 1 General Papameters Fritted Glass Porosity Avg. 90% sf Facade Area 128,957 S.F. Per Panel 26.8sf Individual Panel Dim 26.8 sf Price Sf. $70 Panels Total Per Panels 4812 Weight 6.5lbs. sqft. Estimated Total Cost

$9,026,990

Fritted glass provides a wide range of solar mitigation. Original Facade A good range of fritting patterns can be applied to both General Papameters Perforated Stainless Steel programmatic spaces alter the solar exposure of specific within theAvg. tower while providing90% a unique aesthetic. Porosity Grasshopper scripts using 26.8sf solar128,957 data are used Facade sf to locate S.F. PerArea Panel areas of extreme solar exposure. This data is then used to Individual Panel Dim 26.8 Price Per $25 increase theSf. intensity of fritting where it issfneed most. Total Panels Weight

Estimated Total Cost

154

4812 Panels

$3,223,925

Option 2 Original Facade Fritted plastic Perforated Stainless Steel Porosity Avg. 90% Porosity Avg. 90% S.F. Per Panel 26.8sf S.F. Per Panel 26.8sf Price Per Sf. $12 Price Per Sf. $25 Weight .5 lbs. sqft. Weight Estimated Total Cost $1,547,484 Estimated Total Cost $3,223,925

Graphic plastic is a prime alternative to fritted glass beOption cause it is3significantly lighter and cheaper than glass. Option 2 in at less than .20 lbs per square foot and Plastic weighs CNC Milled Wood Panel Fritted plastic costs $12 per square foot which makes it a strong candiPorosity Avg. 60% date. With the use of 3Form polymers Porosity Avg. 90%a wide range of S.F. Per Panel can be embedded 26.8sf in the plastic itself. custom graphics S.F. Per Panel 26.8sf of overlaid hatches Our Priceproposal Per Sf. is to create a series $10 Price can Percreate Sf. larger tessellated figures $12 on the facade. which Weight 2.8 lbs. sqft. Weight .5 lbs. sqft. Estimated Total Cost $1,225,092 Estimated Total Cost $1,547,484 Option 1 Option 3 Fritted Glass CNC Milled Porosity Avg.Wood Panel

Porosity Avg. S.F. Per Panel S.F. Per Panel Price Per Sf.

90% 26.8sf 60% 26.8sf $70 $10 6.5lbs. sqft.

Price Per Sf. Weight Weight lbs. sqft. Estimated Total Cost 2.8 $9,026,990 Estimated Total Cost $1,225,092

CNC Milled wood offers a sustainable solution to Option the 1 SF Federal Building. Resin coated plywood screening Fritted Glass can be CNC milled to create variation in porosity based on both aesthetics qualities. Standard Porosity Avg. and performative 90% panels can be run through a mill and shipped to the site S.F. Per 26.8sf where theyPanel can be easily worked with and altered. Price Per Sf.

$70

Weight

6.5lbs. sqft.

Estimated Total Cost

$9,026,990

SCI_ARC PORTFOLIO

FACADE RE-DESIGN

Panel variations.

Combined Panel Types

By fabricating an alternative screening system utilizing Accoya wood products the SF Federal building would have a facade with a significant reduction in heat transfer, and would be made with a more sustainable material with a carbon emission of nearly zero. The new proposed facade system utilizes 3 different CNC routed wood panels with varying degrees of perforation as opposed the galvanized steel currently installed. Utilization of this system would significantly reduce heat gain and provide a greener alternative. Each panel is pre cut offsite and shipped to the federal building by local trucks. The panels are then carried in bulk by crane up to their respective level. From there, a simple “C” extrusion is used to connect the wood panels to the galvanized steel tubes. Each of the Panels are able to be installed by hand. Wood, as opposed to pre-fab steel also allows for on site modifications reducing the need for custom pieces. CNC Milled wood offers a sustainable solution to screening the SF Federal Building. Resin coated plywood can be CNC milled to create variation in porosity based on both aesthetics and performative qualities. Standard panels can be run through a mill and shipped to the site where they can be easily worked with and altered. Material weighs in at 2.08lbs per square foot and costs $10 per square foot. Unlike fritted glass and plastic, perforated wood costs the least, can receive up to 80% porosity, and does not require additional structure. Performatively, perforated wood mitigates heat transfer from the facade’s outermost layer to the tower’s slab, providing an additional layer of thermal insulation. Perforated wood goes beyond the performance of fritted glass and plastic because it provides enough porosity to allow airflow between envelope layers.

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3A VISUAL STUDIES

DOMESTIC LANDSCAPES SPRING 2016 INSTRUCTOR: FLORENCIA PITA

This class began by observing and repurposing the work developed for the exhibition ‘Italy: The New Domestic Landscape’ curated by Emillio Ambaz in 1972 and displayed at MoMA in New York. The exhibition presented the work of prominent and novel Italian designers such as Superstudio, Archizoom, Gae Aulenti, Mario Bellini, Gaetano Pesce, Ettore Sottsass, ect. The contentsof this exhibition were arranged in two catagoris: Objects and Environments, as they were presented at the MoMA exhibition. After that initial research we developed our own series of Objects and Environments, we looked at everyday objects of the domestic realm, as well as everyday environments that transform the ordinary domestic into extraordinary landscapes. The output of the class was a Miniature model similar to the one developed by Superstudio for MoMA’s Exhibition.

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158

Infinate space of the domestic landscape.

SCI_ARC PORTFOLIO

159

Landscape Developed Surface Drawing

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160

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2B VISUAL STUDIES

TECHNOLOGIES OF DESCRIPTION 2 SPRING 2016 INSTRUCTOR: DAVID FREELAND

The 2B visual studies course is the last in a sequence of required seminars that introduce students to techniques for describing architectural form and ideas. At a technical level this course will augment the suite of software introduced in previous seminars by introducing computation based drawing and modeling techniques. Students learn how scripting can be deployed to expand organizational and formal possibilities. Managing large numbers of parts and coordinating their interrelationship will be developed at the scale of the drawing and model setting the stage for an understanding of buildings as complexly integrated systems with calibrated effects, both visual and performative. Anchoring the seminar will be a discussion of the history of perspective and the possibility of creating a new perspectival subject: the object. Readings and lectures will reflect on the abstract detachment of orthogonal projection (objective) versus the spatial engagement of projective geometry (subjective) and speculate on unusual, hybrid projections. Using computation students will develop techniques for projecting interior environments into objects.

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162

Figure and depth described through variations of tone and line density.

SCI_ARC PORTFOLIO

LINEWORK

This course began by exploring the representation of graphic elements through the subtle variation of line. We began by generating variations of hatching in a composition as an introduction to grasshopper. Itâ&#x20AC;&#x2122;s quite fascinating to see the emergence of forms through the slightest offset in line work. We then proceeded to create increasingly complex patterning and representation of depth with academic shadows and highlights. This was achieved by introducing color to the line work to create more explicit differentiation between descriptive elements. Finally the patterning was projected onto a three dimensional object in order to challenge the graphic order of the surface. In this particular case we used a cube. I was particularly interested in the possibilities of challenging depth and reading of edges on objects. In my final cubes I worked with the possibility of getting the cube to express implied corners in order to imply more complex geometry. In another study I worked on the continuation of interwoven line patterns to produce continuations and graphic relationships of patterns around the cube.

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164

Figure described through difference in line direction.

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165

Figure described through very subtle line variation.

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166

Shape and pattern created trhough varying hatch pattern density and direction.

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167

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Projection of hatch pattern onto three dimensional cube. Study No. 01

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169

Projection of hatch pattern onto three dimensional cube. Study No. 02

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Projection of hatch pattern onto three dimensional cube with three dimensional releif within pattern. Final Model.

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2A VISUAL STUDIES

TECHNOLOGIES OF DESCRIPTION 1 FALL 2015 INSTRUCTOR: MIRA HENRY + JENNY WU

The 2A visual studies course is the intermediate step in a sequence of required seminars that introduce students to techniques for describing architectural form and ideas. At a technical level this course will augment the suite of software introduced in previous seminars by introducing computation based drawing and modeling techniques. Students learn advanced modeling techniques in Rhino and Maya. These techniques will be doployed in the replication of complex surface geometry produced through studies in drapery. This visual studies course explored the nature and aesthetics of fabric. By paying close attention to the fine creases and folds generated through drapery we examined the possibilities of these elements as architectural space. Drapery has long been a fascenation for renaesance artists like Rafael, DaVinci and many others in works of sculpture and painting. Working with Mira Henry and Jenny Wu our class performed a series of excercises exploring the possibilities of new surfaces to be studied through architectural form. The class used this prompt as a motive to explore the relationships between analog sculpting and composing of fabric, photography, and the reproduction of photography with digital modeling and media tools.

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174

Original Photograph

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175

Model and rendered replica with contours.

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TRANSFER VISUAL STUDIES

2D REPRESENTATION SUMMER 2015 INSTRUCTOR: RAMIRO DIAZ-GRANADOS

The Transfer Program is a six week curriculum aimed at assisting new students in developing both the conceptual and the technical skill-set necessary to thrive in the Undergraduate Program at SCI-Arc. The objective of the design seminar is manifold in nature. Firstly, we will be exploring the use of digital processes to advance the design and construction of architectural objects. Secondly, we will be developing logics of technique to correspond with conceptual investigations. In terms of digital processes, the design course will use rhino in combination with grasshopper to generate three dimensional forms that will be physically output using CNC (computer numerically controlled) equipment, primarily a laser cutter. In terms of the relationship between technique and concept, an iterative design process will be deployed that allows students to refine their form-making approach through a modeling feedback loop. Finally, each student will be exposed to the culture of SCI-Arc and its values as an educational institution. This includes expectations regarding work-ethic, intellectual integrity, and impassioned dialogue. Caustics are a concentration of light, such as sunlight, reflected off of a surface. The word caustic, in fact, comes from the Greek καυστός, burnt, via the Latin causticus, burning. A common situation where caustics are visible is when light shines on a drinking glass. The glass casts a shadow, but also produces a curved region of bright light. In ideal circumstances (including perfectly parallel rays, as if from a point source at infinity), a nephroidshaped patch of light can be produced. This project explored the formal qualities of caustics projections by photographing artificial caustics created by thermoformed surfaces reflected on a black surface. smoother more drap-like surfaces tended to create less crisp edged when lights was projected on them. However the most elegent were troduced by those with more eccentric qualities.

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Rendered Caustic Sphere

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CAUSTIC STUDIES

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Grasshopper Visualized Data

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OOO & ARCHITECTURE

ARCHITECTURES RELATIONSHIP WITH CONTEMPORARY THOUGHT FALL 2017 INSTRUCTOR: GRAHAM HARMAN

In a recent critical essay Patrik Schumacher makes a severe critique of the ongoing dialogue between Object-Oriented Ontology (OOO) and architecture. Schumacher claims that OOO has had a negative influence on the SCI-Arc design style, that OOO has not been strict enough in excluding certain styles that he thinks ought to be excluded (such as neo-minimalism), and finally, that OOO adds nothing to architectural theory that was not already added by the philosophy of Gilles Deleuze. Though Graham Harman likes Schumacher personally, he disagrees with nearly all of Schumakerâ&#x20AC;&#x2122;s remarks. In this class we asked ourselves what the possible implications of OOO are for architecture, as well as the broader question of the relation between architecture and theories drawn from other disciplines. The first two class periods where about philosophy, since we needed to understand the basics of two influential 20th century philosophers: Heidegger (the most important influence on OOO), and Deleuze (since Schumacher claims that OOO is simply ripping off Deleuzeâ&#x20AC;&#x2122;s concept of the virtual). For the remaining eight weeks, we looked at writings by architectural theorists, many of them former or current SCI-Arc faculty.

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“Speculative Realism is growing out of a frustration that architecture is increasingly justified solely by its relations and not by its own particular and anonymous qualities. “ -Mark Foster Gage, Killing Simplicity: Object-oriented Philosophy In Architecture

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Throughout its time, Architecture has been the composition of objects with the intent to create a new phenomenological experience. From ancient dolmens made of massive stacked stones to complex aggregations of glass and steel as seen in Renzo Piano’s Centre de Pompidou; these spaces have become increasingly complex and composed of ever increasing sophisticated materials and systems. From stone to steel, these structures not only express incredible amounts of ingenuity, they also create a powerful phenomenological effect through their collection of parts. As the discipline and practice march on through time hand in hand the expression of these assemblies have been debated upon heavily. Perhaps reminiscent of the monolithic nature of our ancestors, many contemporaries are in favor of the building that expresses itself as a whole, using Deleuzian ideas interested in flows, intensities, and the processes operating beneath of beyond things than in the things themselves. Architects such as Patrick Schumaker and Gregg Lynn area in favor of expressing building systems as continuous surfaces and gradients of lights and apertures. On the other hand architects such as Mark Foster Gage and Tom Wiscombe turn to Object Oriented Ontology (OOO) as a means for viewing their work and perceiving the world around them. Harman’s work focuses on the depth of objects within the world of speculative realism. To Harman, one must hold that individual entities are the ultimate stuff of the cosmos. Objects according Graham can neither be overmined or undermined but rather exist in a world where they exist as a bundle of qualities, qualities that cannot be accessed simultaneously. This means that our understanding of the whole can never be fully accessed aesthetically. Tom and Mark capitalize on the perplexing nature of objects in their work in a number of ways both revealing and concealing the parts and their relationships to each other both arriving at quite different conclusions in their most recently completed projects. What makes their projects so diverse is the difference in scale and inclusion of tectonics in the work. Both architectures use built objects to express a fictional reality; to create objects larger than human scale and hide traces of how they are built. This interaction between large fic-

tional objects and allowing for the discreteness of parts to come into play hails an interesting way of articulating architecture as opposed to parametricism. What makes the interaction of strange discrete objects stronger than parametricism architecturally speaking is that it allows idiosyncratic moments to occur when placing essential elements such as doors and windows. This harmony between necessity and expression is what makes works that are ontologically flat strong as works of architecture. The essential is not subordinate to the architecture. Tom’s work expresses ideas of OOO through formal strategies, addressing problems of massing and the organization of space within an architectural project. Tom uses three major strategies in his work for producing buildings that express an idea of otological flatness.The first is placing objects in a sack, by doing so, several discrete elements become a whole when wrapped in a membrane-like envelope. Through this method only parts of the object’s inner qualities are revealed on the exterior, giving hints to an inner world. Through sacking objects, the inner spaces can remain autonomous from each other, morphing into a whole rather than blending. Architecture becomes more like a soup and less like a puree. This alludes to Harman’s notion that objects always have qualities that are withdrawn from from our perception. The second is the use of super components. By dividing the building into a series of massive, out of scale objects, unexpected parts of the building gain their own autonomy and free themselves from the whole. This emphasizes the idea of objects having part to part relationships rather than part to whole where components are subordinate or erased in favor of the whole. This is achieved through the introduction of seams on the envelope of the building. The seams themselves begin to take on qualities that are different from the skin of the project. These seams contain figural qualities that are not derivative from any other system, by doing so their autonomy is reinforced. The most intriguing method however is the application of tattoos. The tattoo is yet another autonomous object that exists on the surface of the building causing misreadings of the object’s silhouettes. These tattoos are notably autonomous from the whole as well. They are solid surfaces and materials embedded underneath the surface of the house. By having figures exist on top of other figures, new combined forms with their own characteristics appear. Tom’s work has a strong, conscious relationship to flat ontology and OOO, however one would argue that the parts that actually make the parts he expresses are undermined and hidden. As amazing as the work is, it must

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OOO & ARCHITECTURE FALL 2017 INSTRUCTOR: GRAHAM HARMAN

still be built from primarily conventional materials and practices. One could ask if these features of the building could be brought into the foreground and addressed in his architectural language. Mark’s work on the other hand seeks to grapple with the the object and the objects which compose it, however he does this in a much stranger way. The figures become less abstract and more literal. Both revealing and withdrawing from the whole of the project. Mark’s work seems to come from a lineage based on gothic cathedrals, there bau relief sculptures and patterns ornament the surfaces of stone structures. Mark’s work takes on a stranger quality by revealing only parts and incomplete silhouettes of familiar objects. This captures only fleeting glimpses and qualities which aggregate the whole. Parts are separate but never completely fuse together. In his Helsinki Guggenheim, familiar objects such as Hello Kitty dolls, Totoro, bugs and other figures line the walls of the house. The objects which compose the facade and interior are bound together by two things, materiality and panelization. In terms of materiality, it is important to point out the significance of white in architecture. Since modernism, it has been the color of dematerialization. By applying white to the entire building, the components lose their individual material characteristics and become purely spatial and figural. The grid on the other hand regulates scale and proportion, fragmenting wholes and expressing objects a s warps on surfaces. Mark is in favor to the strangeness of architecture, he does not believe that the whole should be validated by it’s parts, parts that are subordinate to concerns within the practice of architecture such as LEED accreditation, and sustainability. Nor should they be defined by their program. Mark criticizes Rem’s Venice Biennale exhibition because it did not show any singular work of architecture. He believes that focusing on the components of building undermines the whole. In his essay Killing Simplicity Mark Foster Gage writes, “Fundamentals, did not show any singular works of architecture for their discrete qualities nearly nearly 2,500 year old notion. Instead, Koolhaas exhibited collections of parts and systems that compose architecture, echoing Leucippus.” p.99 However it is doubtful to imagine that ignoring building elements hidden away from the conceptual finish surface of a building is any better. It is a shame to ignore all the Ibeams, mullions, doors, windows, ect. in favor of a piece that delivers affects like a stage set.

Although Koolhaas did not show any complete piece of architecture, it is possible that his intention was misunderstood. The point that he tried making was that the parts which compose architecture have interesting qualities which should not be neglected in architectural design. That is to say a building can have interesting qualities with the door and stair in mind, rather than simply punching a hole in the facade to reveal an aperture. If a table can be an object, the so can a door or window. Their existence as an aggregation of parts should not be forgotten. Architecture frequently loses sight of balancing a gestalt and over designing individual elements. Perhaps it is a growing pain of digital fabrication and remnants of modernism that create this imbalance in design. Tom and Mark share an interest in expressing a fictional world in their works, making large jax and tesseracts or bundles of guns and babies, both ways of articulating space are incredibly fascinating, however architecture becomes flimsy when the world it creates becomes flimsy and artificial like a movie set. Although OOO does not allow for things to be reduced to their parts it is also a missed opportunity to give an object more depth and hidden qualities if its inner qualities were not completely ignored. Comparing it to Graham’s example of the table. The table may be made out of wood and express some qualities of wood, however it is not reducible to being simply wood. On the contrary, it’s shape comes into play and various other features, however the qualities of wood are always there and perceived aesthetically. OOO had influenced some incredible works of architecture, celebrating a part to part relationship of things however, a more productive conversation should be made regarding the actual parts that make the architecture and less so about the fictional parts. WORKS CITED Gage, Mark Foster. “Log.” Log, no. 33, 2015, pp. 95–106., static1. squarespace.com/static/57eab262ebbd1a8cb0a1ff08/t/57f68e5746c 3c4bd014f3961/1475776103890/GAGE_Killing%2BSimplicity_2. pdf. Gannon, Todd, et al. “The Object Turn: A Conversation.” Log, no. 33, 2015, pp. 73–94., static1.squarespace.com/ static/57eab262ebbd1a8cb0a1ff08/t/57f68e5746c3c4bd01 4f3961/1475776103890/GAGE_Killing%2BSimplicity_2.pdf. Wiscombe, Tom. “Project.” Towards a Flat Ontology, no. 3, 2014, pp. 34–43., files.cargocollective.com/598962/Towards_a_Flat_Ontology_Wiscombe.pdf.

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DIAGRAMATIC IMAGINARY

EXAMINING WESTERN DIAGRAMS SPRING 2017 INSTRUCTOR: MELISSA LO PARTNER: JAVIER BENAVIDES

Often mistaken for a basic tool of reduction, the diagram is a flexible form of argument â&#x20AC;&#x201C; and one of the subtlest means of understanding the cultural assumptions that are brought to bear on the production of knowledge. This course moves through a chronological series of case studies, from Antiquity to the present, in which theologians, philosophers, artists, novelists, naturalists, theoretical physicists, logicians, linguists, and art historians employed visual notation to shape and reshape their relationships to reason and materiality, nature and epistemology, word and picture. 185

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Our diagram illustrates a cloud of possible descriptions of what a diagram is and or what it could mean in the context of our class discussions. Each of the definitions swarm around a suggested object representing the true nature of the diagram. This object is only suggested and not explicitly drawn because it has no absolute form. Like many words, itâ&#x20AC;&#x2122;s definition is easily deconstructed by critical thought. Yet, like dark matter, this concept has gravity and unperceived presence in the center of our class conversation. A light source representative of our lectures and critical discussions illuminate the object and swarm producing two shadows. The first one is the literal shadow of the concept of the Diagram. This shadow represents the objective reality. Within this shadow is a collection of diagrams covered within the class. Superimposed over the shadow is another shadow of the swarming definitions. Within this superimposed shadow, definitions of the diagram which have endured the tests of time are overlaid on a collage of referenced diagrams. It is on this plane that diagrams related to critical scrutiny through the examination of historical references viewed in class are filtered and cast over the shadow of objective reality. The descriptive language is contemporary and referential to the works of Julie Mehretuâ&#x20AC;&#x2122;s Cairo diagram in the way it overlays so many different images and perspectives to create an emergent aesthetic. It also creates an aesthetic similar to Demon in the Diagram by Matthew Ritchie. However, instead of creating an aesthetic through abstract color and form, the dense overlay of drawings and descriptions create an a composition which obscures information. We believe this is lack of legibility best describes the understanding of what a diagram is because time and application have obscured the clarity of its definition.

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DIAGRAM OF DIAGRAMATIC THINKING SPRING 2017 INSTRUCTOR: MELISSA LO

When creating our diagram, we wanted to focus our attention on the interpolation of historical ideas of diagramming and the classes initial definitions of the nature of a diagram. We brought into the fore the list we had created the second week of class, primary diagram references from each lecture such as The Relation of Propositions by Juan Celaya, works cited by Erwin Panofsky’s Perspective as Symbolic Form,

systems without cluttering the drawing or the reader’s understanding of systems with unnecessary detail. Perhaps it was intended for the squeamish, or those who could not handle the image of human gore. Hans von Gersdorff ’s Feldbuch der Wundartzney (Strasburg, 1519) create a magnificent rendering of many different types of battle wounds which could be sustained on the battlefield. Like a visual table of contents, this description of multiple scenarios rendered all at once can facilitate What we had observed from our class discussions the location of needed information. was that the majority of western diagrams tend to fall within four general categories: instructional, categorical, The comparative diagram highlights the similarities descriptive, comparative. Instructional diagrams such and differences between it’s contents. Usually organized as Panofsky’s diagrams illustrating the construction into a matrix or some type of field, similar elements of perspective images produce an idea of how 3 are grouped and placed in relation to other similar dimensional space can be produced on a flat surface by groups. Comparative diagrams mostly seem to occur in illustrating a relationship of viewpoints and horizon the scientific fields such as biology and chemistry. The lines. The categorical diagram typically separates and Chemical Heritage Foundation’s Present-day IUPAC organizes cyclical data and arrays it in a way that the Periodic Table of Elements (2017) is exemplary of this viewer can simultaneously view the relationship between concept in the way in which it categorizes a taxonomy elements. For example Herrad von Landsberg’s Hortus of elements and groups them based on atomic mass and deliciarum illustrates 7 maidens representing the liberal neutron count. This organization gives the viewer an arts. Each maiden is inscribed within a circle and each immediate understanding of all known elements in the of those circles are inscribed within a greater circle. This known universe and their relationship to one another. represents both their autonomy and their unity within the school of the liberal arts. Our concept contrasts this drawing by keeping the definitions formed by the class unbound since they had not yet critically examined and compared to the diagrams of the lectures. Descriptive diagrams such as the anatomical drawings of Johannes de Ketham display a beautiful reduction of anatomical elements and human bodies in a way which describes the relationship between various anatomical

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ARCHITECTURE THEORY

EXAMINING POSITIONS WITHIN THE DISCIPLINE FALL 2016 INSTRUCTOR: TODD GANNON

This course takes a general look at multiple points within the contemporary discourse of architecture. By looking at a number philosophers, theorists, and practitioners, this course exposed students to various positions within the discourses of theory, politics, philosophy, technology, abstraction, and representation within the discipline of architecture. Students were then asked to take their own position and defend it within a small discussion group of peers and faculty. This chapter contains a collection of my favorite discussion topics. Within these essays, I have inserted my assessment and position. 189

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Artistic Production FALL 2016 INSTRUCTOR: TODD GANNON

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Michael Fried and Clement Greenberg both criticize alternative forms of art in modern society. Fried in particular criticizes minimalist art. In His writing of Art and Objecthood he states that “[Minimal Art] seeks to declare and occupy a position” p. 116 Greenberg’s essay talks about the bohemian exodus from high society. He writes “Courage was needed for this, because the avant-grade’s emigration from the markets of capitalism to Bohemia meant also an emigration from the markets of capitalism, upon which artists and writers had been thrown by the falling away of aristocratic patronage.” p.7 This essentially means that art has moved away from the influence of the high society and sought new territory in the realm of the common man. This has generated a disconnect between the audience that views and judges the work. Greenberg goes on to describe the decline of art and concludes “this can mean only one thing: that the avant garde is becoming unsure of the audience it depends on -- the rich and the cultivated.” p.11 However both Krauss and Benjamin talk about art which has become more accessible to society as a whole. By adopting a more inclusive role, art can begin to reflect and influence society. Benjamin observations that the new aesthetics of art in the form of film have the ability to form habits in people through distraction. He states “the film makes the cult value recede into the background not only by putting the public in the position of the critic, but also by the fact that at the movies this position requires no attention. The public is an examiner, but an absent minded one” pg.14 This changes the role of the critic because now he must look at the judgements of his peers, the masses, because they now hold the ultimate authority in judgement of the work. The critic must now assess

the masses, not the medium being viewed. Perhaps the critic’s role is to become the voice of reason when society has gone astray in its judgement of art; a sort of sheppard. On the other hand when work becomes exclusive, it is able to maintain a high level of sophistication. Frieds comparison of Op art and Modern Art is a prime example. It’s quite difficult assess which direction is more beneficial for the advancement of art. On one hand, Art can be curated and refined by a high society of sophisticates. This would ultimately leave historians with a collection of highly curated pieces. However, on the other hand, the entropy of Art controlled by the masses produces some incredible pieces which may have not have developed beyond infancy due to the particular taste of a single critic. For the sake of this essay one would argue that despite the many atrocious pieces produced by the masses, there are a few that that are able to flourish in this environment and grow into something that can become looked back on by critics and allow them to truly assess the values of our time. One would also be mindful of the role of social media in our time. This condition of media controlled by the masses which bolsters the trajectory of art uncurated. It seems that art is moving dominantly in the direction written by Kraus and Benjamin. This shift means that the art critic must begin to asses the masses and not Art.

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REPRESENTATION FALL 2016 INSTRUCTOR: TODD GANNON

Jenks argues a case for the representation of extra-architectural content. He is interested in the difference of visual codes between eastern and western cultures when reading such content. He believes that it is within this mode of representation that architecture gains a level of cultural and social identity. Furthermore he goes on to look at how different architectural forms change perceptually over time. He states however that mixed metaphors are stronger when defining architectural form. In his words “A mixed metaphor is strong, as every student of Shakespeare knows, but a suggested one is powerful. In architecture, to name a metaphor is often to kill it, like analysing jokes.” -Jenks p. 61 Both Venturi and Eisenman, however seem to support the concept of autonomous form. Freeing architecture from any notion content outside of the built environment. For example: Ducks. Architecture without literal meaning creates content with greater depth through its organization of space and material. Venturi states in the first chapter of Complexity and Contradiction in Architecture “I like elements which are hybrid rather than pure, composing rather than clean, distorted rather than straightforward” p. 22 What he means it that architectural forms derived from their organizational and spatial needs composed based on contradictory needs creates a richer environment. In another of his essays written with Denise Scott Brown called On Ducks and Decoration they write “it is alright to decorate construction, but never construct decoration.” p.44 His stance could not be any more obvious. Backing Venturi on the side or autonomous form would be Eisenman. In his analysis of the Maison Dom-ino, Eisenman writes “As a plan and a section diagram, Domino seems rather simple and straightforward statement.

Perhaps for this very reason- it s apparently extreme clarity- it is often taken as an icon and a structural paradigm, an example of the potential of the then new technology, a prototypical unit expressing ideas of mass production, repetition, and so on.” p.191 To Eisenman, the content of architecture has substantial richness of its socio-political context in the mere method of its form and production. I’m on the side of Eisenman and Venturi. Pitted against a constantly transforming context, architecture should not bare the responsibility of representing its function through metaphor. Instead it’s ambiguous form allows it to adapt to changing demands. With a meaning that is not defined by it’s form but rather it’s organization of abstract form and material composition, architecture can remain timeless. 191

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THE POLITICS OF SPACE FALL 2016 INSTRUCTOR: TODD GANNON

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Koolhaas’ writings address the social and spatial patterns of the metropolis and its exploitation of technology. What it has created is a social and cultural structure which he calls “the culture of congestion” a vast number of people cramped together in a very small area by means high density building. It’s in this close proximity that Koolhaas believes created the emergence of new social and spatial structures. For example the Downtown Athletic Club, a tower housing a grand variety of sports uses and unexpected proximities. Like boxing rings, mens locker rooms, and oyster bars. Its situations like this that create potentials for new forms of social order. Tshumi’s text looks at influential ideas in architectural theory from outside influences like Kant, and Einstein. Examining the zeitgeist of an era, he draws observations of organizational patterns in architecture. He describes these metaphorically as the Pyramid and the Labyrinth, or in other terms, architecture as an object and the understanding of architecture as a theoretical paradox. It seems to him that the “labyrinth” is under more observation than the physical aspect of architecture. By neglecting that which is perceived by spatial emersion, a whole series of conversations are missed. He believes that both systems need to be embraced in order to create effective architecture, Alan Sherindan’s Discipline and Punish reflects mainly on Jeremy Bantham’s panopticon and the physiological effects it had on its inmates. In relation to a broader discussion he was interested in the deployment of spatial organization based on military and disciplinary institutions on public spaces. Sheridan concludes however that “it is merely a solution to a technical problem; but, through it, a whole type of society emerges.” p.208 It creates an environment where we always feel watched

by our peers and disciplinary entities. He doesn’t necessarily see this a bad thing, the organization of this space has also been inverted to allow the individual to observe the vastness of their environment. Robin Evans was one of the most interesting to me because he discusses the organization of domestic architectural space as a matrix in which all spaces are interconnected in a way which symbolizes family interaction. Like Tschumi, he expresses a non ocularcentric perspective of architectural space. Instead spatial proximity, materiality, and climate greatly affect space. Another interesting point he makes is in the disconnect of spatial organization in pre modern times versus the portrayal of it in art and performance; figures always seem disconnected. In contrast to modern architecture, classical architecture neglected spatial matrices and focused on ocularcentric space, by that I mean space heavily decorated. However, modernity brought about an era in which the perception of space was neglected and its occupation was prioritizes. A prime example of this would be Adolf Loos’ Villa Muler verses Palladio’s Villa Rotonda. Volumetrically, Loss placed rooms in a logical relationship with one another while Rotonda relies heavily on formal organization with no clear articulation of the specific use of each room.

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TECHNOLOGY IN ARCHITECTURE FALL 2016 INSTRUCTOR: TODD GANNON

The projects featured in this week’s readings exhibit a change in the reliance on efficiency and modulation on which modernity had depended for many years. With the rise of digital technology and advances in building material, architecture is now moving in a direction that relies on spatial effect as opposed to post war utilitarian need. Both Deleuze and Kipness foreground the discussion by referring to the painting methods and sensations emulated by the work of artists such as Duchamp and Bacon. In works created by Bacon, pure sensation through abstraction is deployed in order to provide the framework for his compositions. In architecture similar methods have begun to influence the generative concepts of a project. For example the reading of solid objects within a milky translucent volume have been proposed and built by Zumthor and Koolhaas. In Terence Riley’s writing of light construction he talks about the tension created between viewer and object. Koolhaas’ proposal for the bibliotheque nationale, according to Riley “proposes ‘phenomenal transparency’ as an abstract, theoretical sense of transparency derived from skillful formal manipulation of the architectural facade.” p.12 This tension between formal interior and ephemeral exterior creates a phenomenological experience that could not have been feasible without the technology developed within in the last 30 years. It is strange however that the constant advocacy for sustainability has failed to discourage building that relies on such an excess in artificial material. Instead more power and resources are needed to drive these designs and furthermore operate them. Consumption of these resources are furthermore only justified by the need for space and objects that have affect. Marcelo Spina and Georgia Hljich touch on materiality and suggestive sensations in the reading of

buildings. Wiscombes’ “seams” and resin forms create smooth monolithic forms with suggestive texture at a scale which can’t be physically felt through human touch because the scale is much greater, however by simply viewing the object texture and a feeling of touching and feeling the forms every contour is felt sensationally. Architecture today, with it’s utilization of digital technology and synthetic material discourages the simplicity and often authenticity of traditional material in exchange for obscurity and estrangement in order to create a sensational effect on the subjective view of the occupant.

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