Portfolio of Lance Arevalo

LANCE AREVALO

SCI AR C | FALL 15 - SPRING 21

CONTACT lancelancejohn@gmail.com +1 551 574 6880

STATEMENT

The nature of SCI-Arc in my education demanded a lot of rethinking on how to see the world. I came to SCIArc both as a departure from fine arts studies with the start of a focus on what the school saw in architecture.

In the beginning, there was an attempt to have a back and forth conversation between the two, however, as semesters passed through, a different way of working emerged.

Aside from the demanding hours and rigor that SCI-Arc upholds upon its students, my experience with the core students goes beyond the education in technical knowledge in drawing and model making.

Of course there is a beauty in those means of working, but with beauty there needs to be a gaze and that gaze specifically is what I learned the most in SCI-Arc.

As simple it may sound, the way I work evolved through a practice of looking both at other peoples work but also at my own. Careful reading not only trains the eye into great attention with detail, but it also is the start for curiosity. The more you look, the more you know.

Moving forward, I look forward to discovering what I’ll produce from everything I’ve digested.

6 LA Forms of Writing H.O.M.E

AS

TABLE OF CONTENTS

STUDIO 8

22

36

49

174

182

190

194

4A N-Plex Home

3B Library Assemblies II

3A Tower Assemblies I

2B Theatre Objects to World II

AS Environmental Studies I & II

AS Tectonics

AS Design Development

AS Construction Documents

Position

Interrogation

Posture

Apertures

SCI Arc Expansion

Olive Tower

BMW Welt Redesign

1421 Robertson Blvd

76

96

114

128

2A Tesla Facility Objects to World I

1B Center for Arch Objects II

1A Geometry Objects I

4B Phi Foundation Vertical Studio

Circulation

Mass & Interior

Mass

Box Operation

210 LA History of Arch & Urbanism II A Secret Letter

144 LA Art History II Adrian Villa Roja

VS 146

154

166

2A Visual Studies III

2B Visual Studies II

1B Visual Studies I

6

7

FORMS OF WRITING H . O. M . E .

L A N C E

“Back in my day, you move out to an apartment that’s already designed for you. What you have to design is the layout of your furniture. That’s it.

And even with shopping for furniture, you’re limited with the choices of what’s available in the furniture store. After you buy the furniture, you have to worry about it being delivered on the time when you’re not out and about doing your errands. You live in apartment for a year or two then find a new one.

With rent increasing every year, it’s impossible to live in the same place where you lived in when you were 21. Forget about living in a house you designed all by yourself. In those times, it was impossible.”

Hannah’s grandfather words resonated to her the night before her flight to San Francisco and felt lucky to be living in the year 2055 where rents and mortgages doesn’t exist so no matter how expensive a city, it is possible to live anywhere you want.

However, just because you can live anywhere you want, it doesn’t mean any city is going to be the right fit.

possible. You don’t worry about being eliminated in this world, you’re worried about living for too long.”

The dream of having your own house has never been easier thanks to this super house. All you need to buy is a lot, get the dimensions registered on the database and that’s it. With the super house, everyone’s their own architect regardless of experience in design.

All the experience you need is the experiences you’ve had in your life which are programmed from answers you give to the operating system. They call it, the housing that orchestrates your maximum existence, or H.O.M.E.

So how does it work?

H.O.M.E consist of four technologies that target the four senses of the human being (excluding taste) and one amplified technology that targets the “sixth” sense, their instinct. Electrooculography for sight, advanced touch technology for the touch, olfactometers for smell, synthesizers for the ears. The sixth sense are based on the result of all four technologies to generate what the user needs, want and fears. If your body will benefit a long walk from the bedroom to the kitchen, H.O.M.E. will detect this from your body and will automatically extend the path in between the bedroom and the kitchen. On the other hand, if you all of a sudden you need to sit from being exhausted from standing, H.O.M.E will automatically regenerate itself to create a perfect chair for you to sit in the right place you need to be. If you’re afraid of spiders, spiders will not exist in your home. If you’re afraid of bombs, the house will equipped itself into indestructible material.

The aftermath of ISIS resulted in a better technology for the security of the human race in their own houses. With the havoc, not only were people concerned of their physical security, but their emotional, psychological and spiritual security. Houses are no longer safe. Anything can happen. The well being of the inhabited of a house

All of these technologies are jam packed in was pushed to level that no one ever imagined it the form of beads because H.O.M.E is designed to would reach. operate in a system based on fractals or expanding

In 2050, developers have created a su- symmetry. With this simple yet complicated system, per house that will make the inhabited feel safe the H.O.M.E. is constantly designing itself as it listens to

The invention of H.O.M.E not only transformed the notion of a residency, but it also created a big impact on where people are choosing to live. Since a H.O.M.E is personalized in great detail to an individual, it’s programmed to choose the right area it needs to be grounded in.

“Welcome to the H.O.M.E. headquarters in Queens, New York. How may I help you?”

“I’m actually here to find a new city to live in,” Hannah answered the computer.

“May I ask why? This question is being asked to help you find the better fit for your H.O.M.E.”

“I’m about to graduate from college and I don’t know, I guess, it’s time grow out of New York. I heard a lot of great things about California so I was thinking I could find a job there.” she answered with hesitation.

“To begin, we would like to ask a few questions that would create the best personalized area for your H.O.M.E. What is the most comfortable weather for you?”

“Preferably NorCal weather. I’d still want to wear my scarves and boots.”

“Can you tell me about your family?”

“Well they’re all in Orange County. I want to live near, but not too near like Los Angeles. Just take Los Angeles out of the options.”

“Do you have patience for traffic?”

fic.”

“I don’t mind traffic, if it isn’t Los Angeles traf-

“Are you an outgoing person, if so, do you enjoy nature?”

“I like going to art museums and bars at night.

I’m not really into hiking or forrests.”

The results were San Francisco, Berkley and Sacramento. For her, San Francisco was the one.

Once landed in at San Francisco Airport, Hannah took the cab to the address of the lot that she had bought herself that had a dimensions of 4,500 square feet. It was a perfect space for here H.O.M.E. to inhabit and it was definitely bigger than

How you get to your H.O.M.E. is easy.

H.O.M.E. comes in the form of beads that are like seeds. You can either throw the seeds on your lot and it will instantly grow your H.O.M.E, your can wash the beads with your clothes so that once you walk into your lot, the beads in your clothes will already be detected by the ground once you step in.

Electrooculography is a technique for measuring the corneo-retinal standing potential that exists between the front and the back of the human eye. Measurement of eye movements is done by placing pairs of electrodes either above and below the eye or to the left and right of the eye. If the eye moves from center position toward one of the two electrodes, this electrode sees the positive side of the Retina and the opposite electrode sees the negative side of the retina. potential difference occurs between the electrodes. The recorded potential is a measure of the eye’s position.

She liked the smell of Tobacco without the stench of a cigarette. It was almost an impossible aroma because she wanted it to smell clean.

Thanks to olfactometers, it detected this from Hannah and created that smell. An olfactometer is a device used for producing aromas in a precise and controlled manner and through the data base, it can create any mixture of aromas ever existed that would perfectly suit the owner’s needs and want for comfort.

The advance synthesizers technology, H.O.M.E. could a detect the type of sound that her body wants and could also design the space for better acoustics by itself to really reach Hannah’s needs in terms of her ear. With that, Hannah started hearing her the Best Coast to commemorate her move to the West.

H.O.M.E revolutionized the definition of one’s lifestyle as it eliminated the risk of harm to anyone and this was all because of the technology that were built under the motivation of a better life for everyone.

In the year 2020, there was a great outcry on how technology is ruining the sanction of human beings and even nature. Everyone thought technology was ruining people’s lives, but now it become its home.

CLAIRE PHILIPPS

A R E V A L O

Moving out and being on your own for the very first time is one of most challenging obstacle in the life of span of human beings. In 2050, the challenge presents different dilemmas than it was in the 2010’s.

to your well being: it’s always regenerating itself.

H.O.M.E. understands that as human beings, we constantly change and our space needs to be in the same pace even if it’s just slight change of window sizes, or big changes like having a bigger living room.

I n p re p a rat i o n fo r o p t i o n s t u di o s a n d t h e i nd e p e nde nt t h e s i s p ro je c t, t h e l a s t s t u di o i n t h e co re s e q ue nce a s ks s t u de nt s to de ve l o p p o s i t i o n s w i t h i n t h e di s ci p li nar y do ma i n o f a rc h i te c t u re. Th e s e may i n c l u de t h o u g ht s o n fo r m a n d mate r i a l i t y, do me s t i c i t y a n d co l l e c t i vi t y, i ns t r ume nt s a n d te c h n i c s, fo r mat s a n d re p re s e nt at i o n , and o t he r co nte mp o ra r y s e n s i b i l i t i e s.

R at h e r t h a n s t a r t i n g fro m s c ratc h , s t u de nt s d e ve l o p t h e i r i de a s i n di a l o g u e w i t h a n o t h e r a u t h o r by f i r s t c l o s e l y mo de l i n g a b u i l di n g o f t h e i r c h o i ce. Th e y co nt i nue to ma ke co p i e s a n d de vi at i o n s at a n o t h e r s c a l e, o n a ne w s i te, a n d w i t h a di ffe re nt p ro gra m, to gra du a l l y a r r i ve at a n i n de p e n de nt p o s i t i o n . I n co mp a r i n g t h e mo de ls and t h e i r co r re s p o n di n g i ma g e s, s t u de nt s’ c h o i ce s to co py o r t ra n s fo r m, to re p ro du ce o r e di t o u t, b e co me p e rce p t i b le, e ve n , at t i me s, o r i gi n a l. Th e s t u di o gi ve s r i s e to a var i e t y o f o p i n i o n t h ro u g h l i ve de b ate s, ro u n d- t a b l e s, a n d co m mu n i t y di a l o g u e s.

ANNA NEIMARK

4A | FALL 2019

N-PLEX HOME POSITION

10

11

Starting a position.

Th e s t u d io sta r ted w i th a si mp le assignment : make a list of your f avo r i te b u i l d in gs. As a co l l ec ti ve, our list s will b e d iluted to our own per s o n al p re cedent. D espi te i ts mo num ent al st at us, t he Syd ney Op era by J or n U l t zo n h o u se wa s n o t a ch o i ce wit hin my c lassmates and end ed up i n my h an d s to wo r k w i th .

4 A S T U D I O :

Sydney Opera House Original Plan 1’= 1/32”

:

L A N C E

R e g ard l e ss o f h ow mu n da n e i t was, it was im p or t ant for me to find wh at i nte re s te d me w i th th i s pro jec t and p rod uc t ively fixate on it. I t is wi t h t h is ap p roa ch I wo u l d h o n e my voice for a p rod uc t ion t hat req uires a po s it i o n . At th e en d, a n el evati o n al ex p er ience of a silhouet te, an iconi c si l h o u e t te i n th i s, wa s my to o l o f c hoice. This inc lud es an ex p lorat ion of t h e b as e i n w h i ch th e mo n u ment sit s.

P O S I T I O N S

A R E V A L O

Th e c h o i ce to wo r k w i th th e Syd ney Op era House was a p osit ion in i t se lf.

N P L E X H O M E

Sydney Opera House Model Plan 1” = 1”

Sydney Opera House House Plan 1’ = 1/6”

12

13

4 A

Sydney Opera House Original Elevation 1’= 1/32”

:

L A N C E

Sydney Opera House Original Section 1’= 1/32”

P O S I T I O N S

A R E V A L O

Original Section

S T U D I O :

Original Elevation

N

Recreated Section

Sydney Opera House Model Elevation 1” = 1”

Sydney Opera House Model Section 1” = 1”

P L E X

Recreated Elevation

H O M E

House Elevation

Sydney Opera House House Elevation 1’ = 1/6”

House Section

Sydney Opera House House Section 1’ = 1/6”

S T U D I O :

:

N

P L E X

H O M E

House Plan

P O S I T I O N S

A R E V A L O

4 A

Sydney Opera House

L A N C E

15 14

S T U D I O :

P O S I T I O N S

A R E V A L O

4 A

:

N

L A N C E

17 16

P L E X

H O M E

Floor Plan Site Plan

S T U D I O :

P O S I T I O N S

A R E V A L O

4 A

:

N

L A N C E

19 18

P L E X

H O M E

Section 1 Elevation 1

S T U D I O :

P O S I T I O N S

A R E V A L O

4 A

:

N

L A N C E

21 20

P L E X

H O M E

Section 2 Elevation 2

M a s s, i nte r i o r i t y, gro u n d, a p e r t u re a n d a r t i c ulat i o n co n s t i t u te e n du r i n g, e vo l vi n g i s s u e s t h at t h e di s c ip li ne o f a rc h i te c t u re co nt i n u e s to a c t i ve l y i nte r ro g ate a n d c hange.

Wh i l e t h e s e i s s u e s re c u r ove r t i me, s t a k i n g a co nte m p o ra r y p o s i t i o n a b o u t h ow t h e y a re exp re s s e d a n d u lt i m ate ly co n s t r u c te d p rovi de s t h e o p p o r t u n i t y to p u r s u e n e w te r r i to r i e s.

Wh at do e s i t me a n to b e co ntex t u a l a n d h ow d o e s o n e wo r k t h ro u g h i nte r ro g at i o n ? Si t u ate d i n Ba rce lo na, Sp a i n , a c a re fu l s t u dy wa s do n e i n co mp a r i s o n to o t he r s t u di o s. N o t o n l y do e s t h i s p ro je c t re vo l ve s a ro u n d a no t i o n o f c u l t u re, b u t a l s o a p ro gra m t h at b e g s to a s k t he de s i gn to re t h i n k p ro gra mmat i c s o l u t i o n s.

MAXI SPINA

3B | SPRING 2019

LIBRARY ASSEMBLIES II INTERROGATION

24

25

S T U D I O :

The main key for this site in Barcelona is its connection to a historical train station. Along with its past life, the interrogation is acted upon with a c o n s i d e r a t i o n o f i t s f u t u r e . W h a t i s t h e a p p r o a c h t o b r i d g e t h e s e t w o ? Fo r this project, it is the underlying geometry from project lines that mere suggestions to the rich details that wrap around the structure. With a rigor like this, a field of lines dictates not only form but also shared program.

:

A L L Y

L I B R A R Y

V I A L U T

3 B

Interrogate to integrate.

I I

A R E V A L O

W I T H

A S S E M B L I E S I N T E R R O G A T I O N

L A N C E

:

Digital Collage of Site

Interior Diagram

Construction Lines Study

:

A L L Y

V I A L U T

L I B R A R Y

A S S E M B L I E S

W I T H

S T U D I O :

I I

A R E V A L O

3 B

:

GROUND PLAN

Scale= 1:400

Site Plan

Urban Axon

I N T E R R O G A T I O N

L A N C E

27 26

N

28

29

3 B S T U D I O :

V I A L U T

4

4

L I B R A R Y

4

A L L Y

4

3

: A S S E M B L I E S

W I T H

3

3

5 2

I I

A R E V A L O

1

FLOOR PLAN Library Level 1 Scale= 1:200

I N T E R R O G A T I O N

L A N C E

:

PROGRAM 1. Study Rooms/Charging Stations 2.Archive Stacks 3. Reading Area 4. Open Stacks 5. Study Cubicles

:

A L L Y

L I B R A R Y

A S S E M B L I E S

+27m

W I T H

+42m

V I A L U T

S T U D I O :

+15m

I I

+9.5m

A R E V A L O

3 B

:

+21m

SECTION 1 1:200

Long Section

I N T E R R O G A T I O N

0m

L A N C E

31 30

+31m

:

A L L Y

V I A L U T

L I B R A R Y

I I

:

I N T E R R O G A T I O N

Section Chunks

A S S E M B L I E S

W I T H

S T U D I O :

Long Elevation

A R E V A L O

3 B

L A N C E

33 32

:

A L L Y

V I A L U T

L I B R A R Y

A S S E M B L I E S

W I T H

S T U D I O :

I I

A R E V A L O

3 B

:

SECTION CHUNK 2 1:250 SECTION CHUNK 1 1:250

Interior Interior

I N T E R R O G A T I O N

L A N C E

35 34

Th e fi r s t s t u di o o f t h e t h i rd ye a r co re s t u di o s e q u e n ce l o c ate s t h e i de a o f a rc h i te c t u re at t h e i nte r s e c t i o n o f va r i o u s s ys te ms o f i n fo r mat i o n : fro m te c h n i c a l to c ult u ra l, fro m vi s u a l to t a c t i l e. St u de nt s co n s i de r t h e us e s o f p re ce de nt a n d a nte ce de nt i n t h e i r wo r k , w h i l e t h e m ai n i nve s t i g at i o n exa mi n e s t h e p a r t i c u l a r i mp a c t o f t he b ui ld i n g e nve l o p e a n d i t s mate r i a l a n d g e o me t r i c a l de te r m i nat i o n s o n s i te a n d a Ta l l b u i l di n g fo r m, a n d t h e c a p ac i t y to u s e t ra n s fo r mat i o n a s me t h o do l o gi c a l to o l to g ui d e a r i g o ro u s a p p ro a c h to de c i s i o n ma k i n g.

Th e a c t o f de s i gn i n g l o n g i s mo re t h a n a re p i t i o n o f s p a ce s. D i vi s i o n o f s p a ce s b e co me a co mp l ex q u e s t i o n to a s k w h e n e l e me nt s s u c h a s mate r i a l i t y a n d te c to n i c s are i nvo l ve d. A ma s s i ve p ro je c t l i ke t h i s l e ave s a n i n dex o f p o s t u re t h at a ffe c t s b o t h t h e u s e r a n d t h e co ntex t.

D WAY N E O Y L E R

3A | FALL 2018

TOWER ASSEMBLIES I POSTURE

38

39

Among all studios, a tower project asks for greater consideration with t h e g r o u n d . Fa c t o r s s u c h a s i t s u r b a n c o n t e x t , i t s m a s s i v e s i z e a n d p r o g r a m matic needs all tie into a complex pool that is not easy to dive into. Howe v e r, t h e a p p r o a c h i n t h i s p r o j e c t c h o o s e s t o t a c k l e t h e i d e a w i t h i n d i f f e r e n t p e r s p e c t i v e s . Q u i t e l i t e r a l l y, h a v i n g s e v e r a l b u i l d i n g s t h a t s h a r e s e v e r a l r e l a t i o n s h i p s w i t h e a c h o t h e r w h e t h e r p r o g r a m m a t i c a l l y o r t e c t o n i c a l l y, b u t also to produce different solutions of posturing the architecture in the site.

S T U D I O : T O W E R

M I C H E L L E

3 A

K A N

Multiple postures, transparent connections.

A R E V A L O

A S S E M B L I E S

W I T H

: :

L A N C E

I P O S T U R E

Located in Bunker Hill

40

41

on

nd

nt

Massing Evolution

K A N M I C H E L L E

The two towers are set apart through a subtle slip to create new openings. From this, through operations of “wiggling” or rotation, the mass of the podium gets destructed. This leaves an effect of a footprint of the towers that ultimately creates vertical openings.

The whole massing gets deconstructured through a rigor of the “wiggle” operation. The moves are based on straight forward relationships between the towers and the podium and are heavily based in plan. As a result, the massing becomes productive on creating negative spaces for opportunities in circulation.

The massing is pushed further in attempt to reconstruct the massing through hunting for new relationship of the pieces that were fragmented along the way.

Reorganizing these figures not only create new forms through joining together, but because these figures were once negative spaces from the operations, the whole massing is defined through these fingerprints.

4 - Reconstruction

2 - The “Wiggle” The two towers are set apart through a subtle slip to create new openings. From this, through operations of “wiggling” or rotation, the mass of the podium gets destructed. This leaves an effect of a footprint of the towers that ultimately creates vertical openings.

3 - Deconstruction The whole massing gets deconstructured through a rigor of the “wiggle” operation. The moves are based on straight forward relationships between the towers and the podium and are heavily based in plan. As a result, the massing becomes productive on creating negative spaces for opportunities in circulation.

The massing is pushed further in attempt to reconstruct the massing through hunting for new relationship of the pieces that were fragmented along the way.

Reorganizing these figures not only create new forms through joining together, but because these figures were once negative spaces from the operations, the whole massing is defined through these fingerprints.

T O W E R

The development starts with two towers rising next to each other sharing a common plane.

Furthermore, they are held by a podium at the ground level for extra space and possible moves for structure.

4 - Reconstruction

S T U D I O :

ey dium vel nd or

1 - Twin Tower and Podium

3 - Deconstruction

3 A

xt to ng a

2 - The “Wiggle”

Outside Circulation The ground provides different entries way for different levels and directions.

A R E V A L O L A N C E

The massing is pushed further in attempt to reconstruct the massing through hunting for new relationship of the pieces that were fragmented along the way.

Outsidenot Circulation Reorganizing these figures only create new forms through joining together, but The ground entries for different levels and were onceprovides negativedifferent spaces from theway operations, the whole Hotel because these figures directions.

Office massing is defined through these fingerprints.

P O S T U R E

Hotel Office

Program Division Atrium Retail

Outside Circulation The ground provides different entries way for different levels and directions.

4 - Reconstruction

:

The whole massing gets deconstructured through Mass vs Core a rigor of the “wiggle” Each of the parts have its own designated core ciruculation.

There is a operation.

The moves are total of 5 Core stairs and elevators with the middle one has a the based on straight grand lobby. forward relationships between the towers and the podium and are heavily based in plan. As a result, the massing becomes productive on creating negative spaces for opportunities in circulation.

Hotel Office

I

m Division m

Program Division Atrium Retail

A S S E M B L I E S

W I T H

:

have its own designated core ciruculation. There is a airs and elevators with the middle one has a the 3 - Deconstruction

M I C H E L L E

T O W E R

:

A S S E M B L I E S

W I T H

K A N

S T U D I O :

A R E V A L O

3 A

I

:

P O S T U R E

L A N C E

43 42

Elevation Section

M I C H E L L E

T O W E R

:

A S S E M B L I E S

W I T H

K A N

S T U D I O :

A R E V A L O

3 A

I

:

Plan 1

Plan 2

P O S T U R E

L A N C E

45 44

M I C H E L L E

T O W E R

:

A S S E M B L I E S

W I T H

K A N

S T U D I O :

A R E V A L O

3 A

I

:

P O S T U R E

L A N C E

47 46

Chunk 2 Chunk 1

Th e l a s t p a r t o f t h e co re s t u di e s i n my a rc h i te c t ure s t u di o exp l o re s p ro b l e ms a n d s o l u t i o n s w h e n t h i n k i ng a b o u t t h e i n s i de o f a s p a ce. Sp e c i fi c a l l y, t h e s t u dio fo c us e s o n i n de p t h mate r i a l co n s t r u c t i o n a l o n g s i de i t s ove rall s p at i a l q u a l i t y a s a n i nte r i o r. Th e re s u l t i n g p ro je c t s t ar t s w i t h de s i gn i n g a n u n fo l de d o p e ra b l e b ox t h at h a s i t s own s e t o f r u l e s to fu n c t i o n . Th e n ex t fo c u s i s a mate r i al s t ud y to b e a p p l i e d to t h e b ox.

Th e ma i n p re mi s e o f t h e p ro gra m i s to de s i gn a s p a ce fo r a t h e at re, w h i c h co mp a re d to p re vi o u s s t ud i o s, fo c u s e s o n r i c h i nte r i o r de t a i l s a n d co n s i de rat i o n s.

MIRA HENRY

2B | SPRING 2018

THEATRE OBJECTS TO WORLD II APERTURES

50

51

A D D E E N

O B J E C T S

W I T H

:

When thinking of space as a box, the conversation and means of working is vastly different from a constructed mass. Boxes require a way of thinking that involves not only tectonic feasibility but also physical limitat i o n s . H o w e v e r, i t i s t h e s e l i m i t a t i o n s i n w h i c h t h i s p r o j e c t a t t a c k s . P h y s i cal limitations are tackled from the point of view of time and the act of opening a box is an architectural act. It produces an opening to unravel a sur face that hints what is inside the box. An aper ture mixed with interior elements is an opening for ideas.

T O W O R L D

A R E V A L O

T H E A T E R

Iterations

I I : A P E R T U R E S

L A N C E

S T U D I O :

S H A H A R

2 B

A n i n t e r i o r, of an aper ture.

:

O B J E C T S

A D D E E N

S H A H A R

T H E A T E R

W I T H

S T U D I O :

T O

W O R L D

A R E V A L O

2 B

I I

:

A P E R T U R E S

L A N C E

53 52

Composition Study Operable Box

54

55 15 1/2”

15 1/2”

7 1/4” 7” 6 3/4”

2 B

4”

S T U D I O :

4PLY CREAM

T H E A T E R

4PLY WHITE MUSEUM

:

S H A H A R

8 1/2”

1” DRAFTING TAPE

A D D E E N

2PLY WHITE MUSEUM

15 1/2”

W I T H

T O

A R E V A L O

O B J E C T S

ZINC WHITE & IVORY WHITE

8 1/2”

I I

L A N C E

W O R L D : A P E R T U R E S

15 1/2”

4”

Unrolled Box

56

57

A D D E E N W I T H

O B J E C T S T O W O R L D

A R E V A L O

:

An exciting par t of the studio that was absent from the previous studios is the production of image making. Star ting with a precedent that is solely based on what is being presented, almost ignoring the spatial qualities of the image, an open ended assignment gives room for creative exploration. This material study explores lines as cuts on a material, lines in which are traced from random lines on a wood texture. Alongside, a collaboration with a fellow student was a first in the whole studio sequence and this added an extra element to both the project and the production.

T H E A T E R I I : A P E R T U R E S

L A N C E

S T U D I O :

S H A H A R

2 B

A n i n t e r i o r, of an aper ture.

:

O B J E C T S

A D D E E N

S H A H A R

T H E A T E R

W I T H

S T U D I O :

T O

W O R L D

A R E V A L O

2 B

I I

:

A P E R T U R E S

L A N C E

59 58

:

O B J E C T S

A D D E E N

S H A H A R

T H E A T E R

W I T H

S T U D I O :

T O

W O R L D

A R E V A L O

2 B

I I

:

A P E R T U R E S

L A N C E

61 60

Interior

Exterior

:

O B J E C T S

A D D E E N

S H A H A R

T H E A T E R

W I T H

S T U D I O :

T O

W O R L D

A R E V A L O

2 B

I I

:

Interior Model

A P E R T U R E S

Interior Model L A N C E

63 62

64

65 8.03”

6”

Butt joint inwards of deformed top face

Fold side face inwards to the direction of Bottom Face

2 B

Butt joint outwards of default adjacent side

5.25”

S T U D I O :

4 Ply Cream Museum Board

Leave corner expose

Butt joint inwards of adjacent side face

T H E A T E R

Bottom Face

Y

:

A D D E E N

9.0” 1 Ply Chipboard

O B J E C T S

135

90

X 90 4 Ply Cream Museum Board

4.6”

Butt joint inwards of adjacent face

T O

Fold side face inwards to the direction of Bottom Face

W O R L D

A R E V A L O

W I T H

Fold side face inwards to the direction of Bottom Face

X

S H A H A R

90

Rectangular Fold 94.6 Corner left exposed

Triangular Fold corners left exposed

I I

Note: Apply tacky glue evenly to all sides except of the sides of the Triangular Fold & Rectangular Fold

9”

Y

:

1 Ply Chipboard

A P E R T U R E S

L A N C E

Rectangular Fold corners left exposed

Triangular Fold

85 Butt joint outwards / on top of all adjacent faces

0.97”

0.73”

5.28”

5.25”

Exterior Developed Surface

In collaboration with Addeen Shahar

Posture I teration

:

O B J E C T S

A D D E E N

S H A H A R

T H E A T E R

W I T H

S T U D I O :

T O

W O R L D

A R E V A L O

2 B

I I

:

A P E R T U R E S

L A N C E

67 66

Envelope Study Incorporating felt as a third material for the envolope

I I

e enu e ue

enu

e Av love rdal uns m

S. D S. B urns i

de A ven

ue

uir A ven

S. C och ran Av

S. C

W O R L D

idge

r

ley D

T O

:

A P E R T U R E S

Site Context

O B J E C T S

S. R

:

A D D E E N

T H E A T E R

W I T H

S T U D I O :

A R E V A L O

S H A H A R

2 B

S. Cloverdale Avenue

Wilshire Boulevard Wilshire Boulevard Wilshire Boulevard

S. Cochran Avenue

S. Dunsmuir Avenue

S. Burnside Avenue

S. Ridgeley Dr

L A N C E

69 68

:

O B J E C T S

T O

W O R L D

I I

:

A P E R T U R E S

Section B

A D D E E N

S H A H A R

T H E A T E R

Section A W I T H

S T U D I O :

Second Floor

A R E V A L O

2 B

Ground Floor

L A N C E

71 70

:

O B J E C T S

A D D E E N

S H A H A R

T H E A T E R

W I T H

S T U D I O :

T O

W O R L D

A R E V A L O

2 B

I I

:

A P E R T U R E S

L A N C E

73 72

Final M odel Material Prototype

74

75

2 B

S H A H A R

T H E A T E R

Classrooms Reception

Small Theatre

:

A D D E E N

Lounge

S T U D I O :

Large Theatre

Core Elevator

O B J E C T S

W I T H

Classrooms

I I

L A N C E

Classroom

W O R L D

A R E V A L O

T O

Fire Stairs

:

Wide Hallway

Cafe

Narrow Hallway

Storage

Atrium

Program Diagram

A P E R T U R E S

Large Theatre

Ju mp i n g o ff t h e exp l o rat i o n o f ma s s i n g fro m t he f i r s t ye a r o f co re s t u di e s, t h i s s t u di o t a c k l e s o n de t a i l i n g p ro gra m l e a r n i n g t h e vo c a b u l a r y w h e n draw i n g a rc h i te c t urall y. Th e i de a o f c i rc u l at i o n i s a l s o t a c k l e d t h ro u g h d i agram s w h e t h e r p ro mi n e nt i n draw i n g s o r t h e mo de l i t s e lf.

G i ve n t h at t h i s a s s i gn me nt i s i nt ro du ce d a s a re s e a rc h fa c i l i t y fo r a u to mo b i l e s, t h e re’s a n ex t ra s e ns i b i li t y i n p rovi di n g s p a ce a n d c i rc u l at i o n fo r te c h n o l o gi e s.

KAREL KLEIN

2A |SFALL 2017

TESLA FACILITY OBJECTS TO WORLD I CIRCULATION

78

79

2 A S T U D I O :

A project that has unique guidelines in the program required the project to consider materializing circulation. This way of working interprets interior decisions as exterior solutions. This project in particular leans tow a r d a o n e t o o n e r e l a t i o n s h i p b e t w e e n t h e i n t e r i o r a n d t h e e x t e r i o r. O b jects, fields and vectors are architecture elements seen as tools in this way of working.

Field

O B J E C T S

A R E V A L O

2D OBJECT

:

L A N C E

F A C I L I T Y

Circulation materialized.

T E S L A

Object

T O W O R L D :

2D FIELD

2D VECTOR

C I R C U L A T I O N

Ve c t o r

S T U D I O :

T E S L A

F A C I L I T Y

:

O B J E C T S

A R E V A L O

2 A

L A N C E

81 80

T O

W O R L D :

Final M ass Process Final Grid from Precedent

C I R C U L A T I O N

S T U D I O :

T E S L A

F A C I L I T Y

:

O B J E C T S

A R E V A L O

2 A

L A N C E

83 82

T O

W O R L D :

C I R C U L A T I O N

S T U D I O :

T E S L A

F A C I L I T Y

:

O B J E C T S

A R E V A L O

2 A

L A N C E

85 84

T O

W O R L D :

C I R C U L A T I O N

S T U D I O :

T E S L A

F A C I L I T Y

:

O B J E C T S

A R E V A L O

2 A

L A N C E

87 86

T O

Site Study

SCALE 1” - 64’ Site Plan, Plan A

W O R L D :

N

Massing on Site

C I R C U L A T I O N

88

89

2 A S T U D I O : T E S L A :

A R E V A L O

-Environmental Research -Mechanical Research -Characterization Research -Large prototyping

F A C I L I T Y

DESIGN

L A N C E

ADMIN

-Offices -Reception -Library -Archiving

O B J E C T S

-Material Lab and Testing

PUBLIC SPACES

T O

-Material Lab and Testing ADMIN

-Offices -Reception -Library -Archiving

PUBLIC SPACES

C I R C U L A T I O N

-Environmental Research -Mechanical Research -Characterization Research -Large prototyping

W O R L D :

DESIGN

S T U D I O :

T E S L A

F A C I L I T Y

:

O B J E C T S

A R E V A L O

2 A

L A N C E

91 90

T O

W O R L D :

C I R C U L A T I O N

S T U D I O :

T E S L A

DESIGN STUDIOS MATERIAL LABS TESTING AREAS

:

O B J E C T S

T O

W O R L D :

C I R C U L A T I O N

LARGE PROTYPYING FOR CLAY MODELS

F A C I L I T Y

A R E V A L O

2 A

L A N C E

93 92

94

95 A

B

A

B

2 A

1 11

S T U D I O :

10

5

2 6

T E S L A

2 1

4

11

7

9

5

F A C I L I T Y

6 5

8 3 3

3

8

9

3

2 6

4

2

A R E V A L O

9 4 1

5

7

9

5

2

1

1

6 8

1

9

3

O B J E C T S

3

:

8 3

L A N C E

9

A

B A

B

PROGRAM LEGEND 1 LARGE PROTOTYPING 2 MATERIAL LAB 3 TESTING AREA 4 OFFICE PROGRAM LEGEND 5 CONFERENCE ROOM 6 WASHROOM 1 LARGE PROTOTYPING 2 MATERIAL LAB 7 JANITORS CLOSET 3 TESTING AREA 8 KITCHEN/LOUNGE 4 OFFICE 5 CONFERENCE ROOM 9 CAFE 6 WASHROOM 10 STORAGE 7 JANITORS CLOSET 11 RECEPTION 8 KITCHEN/LOUNGE 9 CAFE 10 STORAGE 11 RECEPTION

R

PROGRAM LEGEND 1 DESIGN STUDIO 2 CONFERENCE ROOM 3 LIBRARY 4 WASHROOM 5 STORAGE

N

LEVEL 2

SCALE = 1/16” - 1’0”

W O R L D :

N

B

T O

A

+64’0” LEVEL 1

SCALE = 1/16” - 1’0”

+64’0”

R

+38’0”

R

+35’0”

L3

+24’0”

L3

+24’0”

L2

+12’0”

L2

+12’0”

L1

+0’0”

L1

+0’0”

SECTION B

SCALE = 1/16” - 1’0”

SECTION A

SCALE = 1/16” - 1’0”

C I R C U L A T I O N

R

Th e s t u dy b e gi n s w i t h a t a s k o f co n s t r u c t i n g a gi ve n a rc h i me de a n s h a p e t h ro u g h c a l c u l at i ve o p e rat i o n s und e rs t a n di n g t h e p re mi s e o f a s ys te m w h e n de s i gn i n g. Fro m t h e 2 D i n fo r mat i o n , a p hys i c a l mo de l c a n b e c re ate d by l a s e rc u t t i n g t h e i n fo r mat i o n o n mu s e u m b o a rd a n d fo ld i ng t h e gi ve n s u r fa ce s. A fra me mo de l i s co n s t r u c te d to f ur t he r s t u dy t h e ma s s i n g i n i t s p ro p e r t i e s a s a s p a ce.

Th e s t u di o exp a n ds a rc h i te c t u ra l vo c a b u l a r y t h ro u g h exa mi n at i o n o f p ro gra mmat i c, s t r u c t u ra l a n d fo rma l o rde r i n g s ys te ms fo r i nve s t i g at i o n s o f i nte r i o r i t y. St ude nt s a re exp e c te d to p ro p o s e a de s i gn o f t h e Lo s Ange l e s Ce nte r fo r Arc h i te c t u re a s a fi n a l.

DAV I D R O S S

1B | SPRING 2017

CENTER FOR ARCHITECTURE OBJECTS II MASS & INTERIOR

98

99

1 B A R C H : O B J E C T S

L A N C E

F O R

Coming from the first semester of my SCI-Arc education, 1B takes the newly discovered skills and tools to the next level of application. This app l i c a t i o n s t a r t s w i t h a c a r e f u l p r e c e d e n t s t u d y, u n d e r s t a n d i n g d e t a i l s t o b e later materialized. Grid lines is, and has always been, an architecture ele ment that lives in ever y work. This project challenges it by making a physical interpretation that not only hints the mass as both an object and architecture piece.

C E N T E R

A R E V A L O

S T U D I O :

The grid between, t h e m a s s a n d i n t e r i o r.

I I : I N T E R I O R

S T U D I O :

C E N T E R

F O R

A R C H

A R E V A L O

1 B

:

O B J E C T S

L A N C E

101 100

I I

:

Precedent Study

I N T E R I O R

Fo r m S e l e c t i o n

S T U D I O :

C E N T E R

F O R

A R C H

A R E V A L O

1 B

:

O B J E C T S

L A N C E

103 102

I I

:

I N T E R I O R

Frame Study Mass Study

S T U D I O :

C E N T E R

F O R

A R C H

:

O B J E C T S

I I

:

I N T E R I O R

Intersection 2 Grid Inside

Intersection 1 M ass and Frame A R E V A L O

1 B

L A N C E

105 104

106

107

1 B S T U D I O :

5 EXHIBITION 6 ARCHIVE

PLAN 3

C E N T E R

2

B

F O R

A

A

A R C H

3

L A N C E

A R E V A L O

B

1

:

7

O B J E C T S

5

8

8

A

A

I I

B

:

B

2nd Story

\w

\

1.M ass and Frame

1.M ass and Frame

2.Bookshop 3.Lecture 4.Exhibition

2.Bookshop 5 EXHIBITION 7 OFFICE

PLAN 2

3.Lecture 4.Exhibition

5.Archive

5.Archive

6.Admin

6.Admin

I N T E R I O R

1st Story

108

109

1 B S T U D I O :

4 LECTURE HALL

PLAN 4

C E N T E R

B 6

F O R

A

A

5

A R C H

A R E V A L O

B

L A N C E

6

:

4

O B J E C T S

5

A

A

I I :

B

3rd Story

4th Story

\

\

1.M ass and Frame

1.M ass and Frame

2.Bookshop

2.Bookshop

3.Lecture

3.Lecture

4.Exhibition

4.Exhibition

5.Archive 6.Admin

5 EXHIBITION 6 ARCHIVE

PLAN 3

5.Archive 6.Admin

I N T E R I O R

B

110

1 B S T U D I O : C E N T E R

4

4

P4

6

6

5

7

P3

5

A R C H

P3

7

5

P2

P2

:

3

1

P1

1

O B J E C T S

L A N C E

5

F O R

A R E V A L O

P4

1

P1 9

I I :

Section A \

1 LOBBY 3 BOOKSHOP 4 LECTURE 5 EXHIBITION 6 ARCHIVE 7 OFFICE

SECTION B

Section B \

1.M ass and Frame

1.M ass and Frame

2.Bookshop

2.Bookshop

3.Lecture

3.Lecture

4.Exhibition

4.Exhibition

5.Archive

5.Archive

6.Admin

6.Admin

I N T E R I O R

Y URE HALL BITION HIVE CE AGE

ON A

111

S T U D I O :

C E N T E R

F O R

Massing Model

A R C H

A R E V A L O

1 B

:

O B J E C T S

L A N C E

113 112

I I

:

I N T E R I O R

Section Model

Th e s t u dy b e gi n s w i t h a t a s k o f co n s t r u c t i n g a gi ve n a rc h i me de a n s h a p e t h ro u g h c a l c u l at i ve o p e rat i o ns und e rs t a n di n g t h e p re mi s e o f a s ys te m w h e n de s i gn i n g. Fro m t h e 2 D i n fo r mat i o n , a p hys i c a l mo de l c a n b e c re ate d by l a s e rc u t t i n g t h e i n fo r mat i o n o n mu s e u m b o a rd a n d fo ld i ng t h e gi ve n s u r fa ce s. A fra me mo de l i s co n s t r u c te d to f ur t he r s t u dy t h e ma s s i n g i n i t s p ro p e r t i e s a s a s p a ce.

Th e s t u di o exp a n ds a rc h i te c t u ra l vo c a b u l a r y t h ro u g h exa mi n at i o n o f p ro gra mmat i c, s t r u c t u ra l and fo rma l o rde r i n g s ys te ms fo r i nve s t i g at i o n s o f i nte r i o r i t y. St ude nt s a re exp e c te d to p ro p o s e a de s i gn o f t h e Lo s Ange l e s Ce nte r fo r Arc h i te c t u re a s a fi n a l.

BETTY KASSIS

1A | SFALL 2015

GEOMETRY OBJECTS I MASS

116

117

1 A :

Mass Study G E O M E T R Y

The main technique that was practice in the beginning of my SCIArc education was not the technical tools but my eyes. A rigor amount of p r o d u c t i o n a n d c r i t i q u e s f o r c e s t h e e y e t o a c t u p o n c u r i o s i t y. E a c h s t u d e n t comes in with their own unique background of exposure and skills, but everyone starts their first semester in SCI-Arc to first see architecture diff e r e n t l y. A n e w e y e i s t h e f o r m u l a n e e d e d w h e n c o m i n g u p w i t h i d e a s . T h i s project in particular in which mass created in careful geometry asks the students to consider every single decision in operation as well as compositional decision when it comes to presentation.

:

L A N C E

S T U D I O

A R E V A L O

D E S I G N

Introduction to mass.

O B J E C T S I : M A S S

Frame Study

118

119

1 A D E S I G N

A R E V A L O

S T U D I O

Top View

: G E O M E T R Y

RHOMBITRUNCATED CUBOCTAHEDRON

4”

Lance Arevalo/1A Fall 2015

:

L A N C E

1” 2”

O B J E C T S I :

Isometric View

M A S S

RHOMBITRUNCATED CUBO

Lanc

Side View

D E S I G N

S T U D I O

:

G E O M E T R Y

A R E V A L O

1 A

:

L A N C E

121 120

O B J E C T S

Tr a n s f o r m e d F r a m e Tr a n s f o r m e d M a s s

I :

M A S S

122

123

1 A D E S I G N :

A R E V A L O

S T U D I O :

L A N C E

G E O M E T R Y

TRANSFORMED RHOMBITRUNCATED CUBOCTAHEDRON Lance Arevalo/1A Fall 2015

O B J E C T S

Isometric View

I : M A S S

D E S I G N

S T U D I O

F i n a l Tr a n s f o r m a t i o n

:

G E O M E T R Y

A R E V A L O

1 A

:

L A N C E

125 124

O B J E C T S

Iterations

I :

M A S S

126

127

1 A

60.27°

D E S I G N

60.27°

60.27°

60.27°

S T U D I O :

1” 2”

TRANSFORMED RHOMBITRUNCATED CUBOCTAHEDRON

4”

G E O M E T R Y

Lance Arevalo/1A Fall 2015

60.27°

L A N C E

A R E V A L O

Top View

60.27°

60.27°

60.27°

: O B J E C T S I :

Side View

TRANSFORMED RHOMBITRUNCATED CUBOCTAHEDRON 1” 2”

4”

Lance Arevalo/1A Fall 2015

M A S S

Iterations

Th i s s t u di o p re s e nt s a n o p p o r t u n i t y to wo r k wi t h Ph i , a ma jo r e me rgi n g a r t s o rg a n i z at i o n i n M o nt re al, Canada i n t h e i r de ve l o p me nt o f a n e w a r t s ce nte r. B y t he i r own de s c r i p t i o n : “ t h e Ph i e co s ys te m i s n ow ma de u p o f t he Phi Fo u n dat i o n fo r Co nte mp o ra r y Ar t, t h e Ph i Ce nte r, St ud i o Ph i a s we l l a s n u me ro u s p a r t n e r s h i p s w i t h l o c a l a nd i nte rn at i o n a l c u l t u ra l i n s t i t u t i o n s.

I n o rde r to exp a n d t h e i r o p e rat i o n s a n d p u b li c p re s e n ce, Ph i h a s a cq u i re d a s i gn i fi c a nt gro u p o f b u i l d i ngs and o p e n s p a ce i n t h e ce nte r o f Ol d M o nt re a l w h i c h — wi t h b u i l di n g s dat i n g to t h e 1 7 t h ce nt u r y — i s o n e o f t he o ld e s t u r b a n a re a s i n N o r t h Ame r i c a . I n t h e n e a r fu t ure, t he y w i l l b e u n de r t a k i n g a ma jo r a rc h i te c t u ra l i nte r ve nt i o n o n t h i s s i te. I n p re p a rat i o n fo r t h at, a n d by way o f exp and i n g t h e i r ra n g e o f i ma gi n e d p o s s i b i l i t i e s, Ph i i s i nv i t i ng s e ve ra l a rc h i te c t u re s c h o o l s i n Ca n a da a n d i nte r n at i o nally to co n du c t de s i gn s t u di o s o n t h i s to p i c. Th i s i s o ne o f t he s t u di o s.

Wi t h a fu n de d t r i p to vi s i t M o nt re a l, i t i s co ord i nate d w i t h a p a ra l l e l gra du ate s t u di o at t h e U n i ve r s i t y of I lli no i s at Ch i c a g o w h i c h w i l l t rave l to M o nt re a l at t h e s a m e t i m e.

I t wa s a l s o co i n c i de d w i t h a vi s i t fro m a Ca n a di a n uni ve rs i t y, c re at i n g a n o p p o r t u n i t y fo r s t u de nt s to i nte rac t wi t h o t h e r i n s t i t u t i o n s.

ANDREW ZAGO

4B | SPRING 2020

PHI FOUNDATION VERTICAL STUDIO BOX OPERATION

V E R T I C A L

S T U D I O

:

P H I

F O U N D A T I O N

A R E V A L O

4 B

L A N C E

131 130

:

B O X

O P E R A T I O N

132

133

4 B : P H I F O U N D A T I O N

L A N C E

S T U D I O

A R E V A L O

V E R T I C A L

Operation: Boxed Phi

The position that this project is making comes from the point of view of a box. It wants to put the idea that the craft of a product box is a formula that solves the given intention of the foundation. When one thinks o f a p r o d u c t b o x i n t h e i r h a n d s , o n e c a n a l s o i m a g i n e t h i s a s p a c e i n i t s e l f.

A p a p e r b o x i n p a r t i c u l a r, h a s a s e n s i t i v i t y w i t h f o r c e a n d i n t h i s c a s e , t h i s heavy force is the existing structure. As a result, because paper interacts with pressure, a calculated transformation can be explored in this interrogation.

: B O X O P E R A T I O N

Studies of the physics of a paper design

134

135

4 B V E R T I C A L

A R E V A L O

: F O U N D A T I O N

H owe ve r, yo u do n’t n eed mu l tip le walls to c reate mult ip le sp aces. A singl e wa l l c an al s o c reate a n atmo sph er i c d ivision. This op en sp ace c an c reate d iffere nt p o s s i b i l i t ies a n d i n th e ca se o f this p rojec t, t his is t he most id eal. A flex ib le spa ce t h at c an a dj u st to di f ferent a r t wor ks will c reate more p ossib ilit ies for t h e foun d at i o n . G iven h ow dy n a mi c a n d comp lex t he ex ist ing site is, it may b e a los s of o p p o r t u n i t y to si mpl y create si n gle walls and leave t he organizat ion as is.

Wh e n t h i n k i n g a b o u t a p a p e r b ox a s a n a rc h i te c t u ra l o p e rat io n, i t ’s i m p o rt a nt to s e e t h e l i mi t at i o n s a s p ro du c t i ve fo r mu l at i o n s. Th e l i mi t at io ns o f a p ap e r b ox re l i e s h e avi l y o n h ow a p ro du c t b ox i s c ra f te d. E l e me nt s s u c h as lam i nat i o n, p u n c t u re, i n s e r t i o n a n d fo l di n g c a n mate r i a l i ze i t s e l f i nto t h e s c a l e o f arc hi te c t u re e s p e c i a l l y i n a p ro je c t t h at i s b e i n g p re s e nte d by Ph i .

P H I

L A N C E

S T U D I O

Th e re are co nventi o n a l mea n s when it comes to c reat ing sp aces in arc hite c tu re. Di vi s io n o f spa ces th ro u gh a wall c an c reate new sub sp aces. The relati o n s h ip b e t ween th e spa ces, a h a l l way for ex am p le, c an b e a sp ace in it self. Th e re sul t o f t h is m eth o d i s th e a u to mat ic im p ulse to merge t he walls in b et ween th e se s p ace s. S pati a l l y, th ere i s n o not visib le d ist inc t ion b et ween sp aces A, B a nd C .

: B O X O P E R A T I O N

Al l o f t h e se meth o ds co n si der walls as sur faces. I t und er st and s t hat a si ng l e s u r f ace in i tsel f ca n create a sp ace t he comp lexit y of a c losure. I n a sens e, c reat i n g wal l s in di f ferent l o cati o n s in a sp ace is a way of wor k ing t hrough sp e c i f i c i t y in a p ro gra m. B u t i f o n e wo u l d t hink of t hese walls as sur faces of a b ox a l on g w it h it s o perati o n s, th e a rch i tec t ural p rob lem c an b e d r iven in a d iffere nt d i rec t i o n t h at ca n be mo re pro du c ti ve.

Plan View

Section View

136

137

4 B P H I F O U N D A T I O N

A R E V A L O

LEVEL 1

:

L A N C E

S T U D I O

Operation: Boxed Phi

V E R T I C A L

LEVEL 2

This act of working through the operations of a paper box for an architectural problem bleeds itself to its contextual notions as well. The visit to Montreal presented the studio with the understanding that the history o f t h e c i t y r e m a i n s p r o m i n e n t t o t h i s d a y. T h e i d e a o f p r e s e r v a t i o n c a n b e 2 a p p l i e d t o p r o d u c t b o x e s . O p e r a t i o n s o f d i s p l a y, u n f o l d i n g a n d l a m i n a t i oBASEMENT n which are ultimately a way of working through sur faces, limits the production of a new structure. In conjunction with the existing site, thinking through sur faces will create new spaces star ting with the existing.

: B O X O P E R A T I O N

BASEMENT 1

BOX SOLUTION FOR AN ARCHITECTURAL PROGRAM --- PROGRAM DISTRIBUTION --- MATERIALIT

Levels Seperated

Noli plan of Site

138

139

S4

4 B V E R T I C A L

S4

S T U D I O

S3 OFFICE EXHIBITION

WASH

:

A R E V A L O

OFFICE S3

P H I

OFFICE

S2

EXHIBITION

OFFICE

OFFICE

S1

L A N C E

F O U N D A T I O N

WASH

ENTRY

S2 1’ 5’

10’

OFFICE 20’

BASEMENT 2

Basement

ENTRY S1

1’ 5’

10’

20’

BASEMENT 2

: B O X

L2

LIBRARY

O P E R A T I O N

RESIDENTIAL

L1

RESIDENTIAL

CAFE/LOBBY

B2 ENTRANCE EXHIBITION B1

Section 1 1’

5’

10’

Elevation

20’

SECTION 1

140

141

S4

4 B V E R T I C A L

STUDY ROOM

S4

STUDY ROOM

S T U D I O

S3 LIBRARY STUDY ROOM

STUDY ROOM STUDIO

S3

:

LIBRARY

COAT ROOM

P H I

S2

STUDY ROOM STUDIO

RESIDENCE

RESIDENCE CAFE/LOBBY

F O U N D A T I O N

A R E V A L O

STUDY ROOM

COAT ROOM

L A N C E

S1

S2

RESIDENCE

RESIDENCE 1’ 5’

CAFE/LOBBY

10’

20’

LEVEL 1

Level 1

S1

1’ 5’

10’

20’

LEVEL 1

: B O X

AUDITORIUM

L2

LIBRARY

O P E R A T I O N

RESIDENTIAL L1

RESIDENTIAL

STUDY

B2 STUDIO

HALLWAY

ENTRANCE

EXHIBITION B1 STUDIO

STUDIO

Section 2 1’

5’

10’

Elevation

20’

SECTION 1

142

143

S4

4 B V E R T I C A L

S4

S T U D I O

S3

:

A R E V A L O

AUDITORIUM

P H I

S3

S2

F O U N D A T I O N

AUDITORIUM

L A N C E

S1

1’ 5’

10’

20’

S2

BASEMENT 1

Level 2

S1

1’ 5’

10’

20’

:

BASEMENT 1

B O X

AUDITORIUM L2

O P E R A T I O N

L1 STUDY

STUDIO

LIBRARY

B2 OFFICE OFFICE EXHIBITION B1 STUDIO

WASH

STUDIO

Section 3 1’

5’

10’

Elevation

20’

SECTION 3

144

145

ART HISTORY II

L A N C E

It’s a normal phenomenal for questions to pop up when looking at art pieces. However there’s a difference between creating straight forward questions that can easily be answered by the curator, compared to a questions that will never have a right answer no matter who you ask including even the artist. The Theater of Disappearance of Adrián Villar Roja located in the MOCA Geffen takes this question and answer differently. Through it’s carefully orchestrated exhibition, it builds up to a question that seems to already have answered itself.

driven by curiosity but it’s also as a mean of necessity. It’s almost some sense of primitive instinct to approach the light as quick as possible with impulse.

As you approach this first piece that is placed in the middle front, you’ll notice that the container is not even trying to be freezer, it is an actual freezer.

It it’s reminiscent of a local deli freezer where food is stored for you to choose and order from. There is food in this container, but it is mixed with various things, things that generally don’t mix: steel wires, yams or sweet potatoes, rocks and twigs are among the most prominent. It’s no doubt the composition was thought through as corners and spaces are activated by these materials however, there’s no denying that these materials are disturbing to see together no matter how interesting they’re laid. Due to the darkness in the exhibition, the light is exhilarating the details in the chosen materials not for specificity, but for their condition: it’s looks and feels dirty.

It’s uncanny that the whole warehouse is in darkness. As you enter from the tinted front door, your first sight lays on the white banners that somewhat tell you something in the nature of,“Hold on, talk to the staff first” because it takes some time for you to digest such a dark place. A staff approached will approach with a flashlight asking for your ticket but remind you that there’s an area in the exhibition where the ground is a step down with no warning. This is going to have a sig- As you continue walking, the floor has nificance not only towards your safety, but a significant changed from smooth white cement to uneven part of the whole exhibition. hardened soil. There are various human scale rocks

You’ll enter with a chilling feeling. From scop- scattered throughout the space that compliment ing the whole exhibition at first glance, the walls that are this ground because they share the same rough texpainted in dark blue amplify it. As it is a warehouse with ture and earthy neutral tones. The variety circulate high industrial ceilings, these walls have the luxury to around irregular shapes and different combinations reach high. In fact, some of the pieces are taking ad- of layered rocks that mimic the ground on earth. In fact, the pieces inside of the lit containers live within vantage of the height as well. the same palette as well. This ties the whole exhibi In any exhibition, you’re driven to first look at a tion into this underground environment. piece that you’re personally driven meaning that it can differ from person to person. Mix this with darkness,

The contemplation is now becoming much apparent as you continue along the only objects that has light in the room, the containers. They’re filthy not because of dirt or stains, but rather this feeling of filth comes from the fact that the materials mixed together, ethically, shouldn’t be together. Some of the containers have dead fish with a sneaker including some robotic toy while others have bones of humans with pieces of meat and a metal piece. To a human’s mind, this is even filthier because these containers are something we use for storing food to be preserved, a fridge. There’s surrealism with it because these fridges are actually on with the fridge light brightly lit, the buzzing sound prominent and some of the fridge doors being open wide as if it’s telling to reach for what’s inside.

The step that the staff had warned about can be seen as see as the first step from the whole experience. You’ll notice that the not a lot of people, or even yourself, did not listen to the staff and tripped.

See this step as part of the layers just like the layers of the ground. The exhibition reflects this with its several independent walls in the middle and the difference in soil. Noticing that the rocks that live in several layers, we’re getting a glimpse of the specific layer of the ocean. Is the “The Theater of Disappearance” asking us what we’ve done to it or is it telling us what we did?

K AV I O R M O O N

A R E V A L O

The Theater of Disappearance of Adrian Villar Roja at MOCA Geffen

The staff in the beginning did mention something unusual: she insisted to use flash photography.

As muscle memory in visiting museums, you’ll convince yourself that you just might’ve misheard what she said however, there were several people holding over their phones as they scan through pieces with the flash on. Right off the bat, this interaction seems to copy a submarine underwater with its light hovering over the sea ground. Along with the dark gigantic blue walls and darkness, this somewhat verified the whole premise.

Bu i l di n g o n t h e p re vi o u s t wo s e me s te r s o f vi s u a l s t u di e s, t h e co u r s e fo c u s e s te c h n i c a l l y o n a dva n ce d s u rfa ce mo de l i n g a n d me t h o ds o f di gi t a l re n de r i n g. Wo r k i n g fro m p hys i c a l a r ra n g e me nt s a s t h e p o i nt o f de p a r t u re, an e mp h a s i s i s p l a ce d o n t h e a b i l i t y to i de nt i fy a n d t ra n s l ate c r i t i c a l c h a ra c te r i s t i c s a n d de t a i l s i nto a di gi t a l e nvi ro n me nt. Tro p e s o f t h e s t i l l l i fe g e n re, n a me l y t h e s u b je c t o f p l u mp fr u i t a n d l o o s e l y dra p e d c l o t h a re mi n e d fo r t h e i r te c h n i c a l c h a l l e n g e s a s we l l a s t h e i r vi s u a l a cce s s i b i l i t y a n d p l ayfu l n e s s. Cl o s e at te nt i o n i s p a i d to t h e p ro ce s s of ma p p i n g co l o r s, tex t u re s a n d p at te r n s w i t h i n t h e s ce n e i n o rde r to e n g a g e i n p ro b l e ms o f s u r fa ce a r t i c u l at i o n a n d t h e s p e c i fi c i t y o f at mo s p h e re. “Ba n a n a s ! ” Al o n g w i t h a cr y fo r fr u i t, t h e t i t l e o f t h e co u r s e a l s o we l co me s a n at t i t u de o f wa c k y exce s s a l o n g t h e way.

MIRA HENRY & JENNY WU

2B | SPRING 2018

VISUAL STUDIES III

V I S U A L

S T U D I E S

A R E V A L O

2 B

L A N C E

149 148

I I I

V I S U A L

S T U D I E S

A R E V A L O

2 B

L A N C E

151 150

I I I

Rendering Photo Reference

V I S U A L

S T U D I E S

A R E V A L O

2 B

L A N C E

153 152

I I I

Rendering Model

Co m i n g f ro m a p a s t s e m e s te r o f un d e r s t a n d i n g f i g ure s in te r m s o f t h e i r p l a n a n d s e c t i o n a l vi e ws, t h i s co ur s e i nt ro d u ce s a m a n i p ul at i o n o f t h e s e s ys te m s t h at b e co m e s t h e co n s e q ue nce o f a t ra n s fo r m at i o n co m b i n i n g c h e s s p i e ce s. As a n i nt ro d uc tion o f gra s s h o p p e r to fo r m ul ate m ove s o f t ra n s fo r m at i o n w i t h i n line a r p ro p e r t i e s, s t ud e nt s a re ex p e c te d to h ave a 3 D p owd e r pr int o f t h e i r m o d e l to b e l ate r m o l d e d a n d p ro d uce a n ex a c t co py t h ro ug h t h at m o l d.

DAV I D E S K E N A Z I & A L F I E K R O E T Z

2A | FALL 2018

VISUAL STUDIES II

156

157

V I S U A L

A R E V A L O

2 A

L A N C E

S T U D I E S I I

Chess Study

Combined Chess Piece

158

159

V I S U A L

A R E V A L O

2 A

L A N C E

S T U D I E S I I

Tr a n s f o r m a t i o n 1

Tr a n s f o r m a t i o n 2

160

161

V I S U A L

A R E V A L O

2 A

L A N C E

S T U D I E S I I

Tr a n s f o r m a t i o n 1 R e n d e r e d

Tr a n s f o r m a t i o n 2 R e n d e r e d

162

163 SILICONE (PART I)

1

3 1/2

CLAY

1/4

1/2

1/4

SILICONE (PART 1)

3D POWDER PRINT

1

1/2

SILICONE (PART II) 1/2

SILICONE (PART II)

1/2

FORMCORE

SILICONE (PART III)

B

D

1/2

2 3/4

3 1/2

4

4 1/2

5 1/4

1/2

1/2

C

1/2 1/2

4 3/4

F

1/2

3/4

3

5.

Remove the 1/2” formcore formwork.

L A N C E

FORMCORE

FORMCORE

SILICONE (PART I)

3D POWDER PRINT 1/2 2 3/4

C

B

D

B 1/2

4 1/2

1/2

1/2

1/2

1/2

3/4

3

A

C

I I

3/4

D

SILICONE (PART III)

1/2

1/2

1/2

CLAY

4

SILICONE (PART I)

SILICONE (PART II) 3D POWDER PRINT

S T U D I E S

Carefully seperate the pieces of the silicone casting mold and remove the 3D powder print.

1/2

V I S U A L

1/2

4

A R E V A L O

1/2

1/2

1/2

2 3/4

3/4

3/4

2 A

1/2

F

1/2

1/2

1

3 1/2

1/2

V I S U A L

A R E V A L O

2 A

S T U D I E S

L A N C E

165 164

I I

Vi s u a l s t u di e s i nt ro du ce s s t u de nt s to n e w me t ho d s o f de s i gn i n g t h at a re exp l o re d o u t s i de o f s t u di o b u t s t i ll re l e va nt to t h e p ra c t i ce. I n t h i s fi r s t co u r s e o f Vi s u a l St ud i e s, s t u de nt s w i l l wo r k w i t h a b o t t l e t h at w i l l b e ma n iup late d t h ro u g h R h i n o. G ra s s h o p p e r i s i nt ro du ce d a s me a ns o f co n s t r u c t i o n l i n e s to b u i l d t h e g e o me t r y o f t h e b o t t le.

Th e s e draw i n g s a re fo c u s e d o n te a c h i n g s t u de nt s o f s e e i n g draw i n g s i n di ffe re nt s vi e ws a n d u s i n g i t a s a to o l fo r ma k i n g de c i s i o n fo r t h e ove ra l l co mp o s i t i o n . Th e fi n a l t ra n s fo r mat i o n w i l l b e 3 d p r i nte d i n p owde r to s h ow the d e t a i l i n g e o e mt r y a n d c u r ve r t u re.

D WAY N E O Y L E R

1B | SPRING 2017

VISUAL STUDIES I

A R E V A L O

1 B

V I S U A L

L A N C E

169 168

S T U D I E S

I

170

171

V I S U A L

A R E V A L O

1 B

L A N C E

S T U D I E S I

Tr a n s f o r m a t i o n

Tr a n s f o r m a t i o n

172

173

V I S U A L

A R E V A L O

1 B

L A N C E

S T U D I E S I

R e n d e r e d Tr a n s f o r m a t i o n

Th e c a mp u s at S c i -Arc i s exp a n di n g. Yo u r fi r m has wo n t h e co mmi s s i o n to de s i gn a n d p ro c u re t h e co ns t r uc t i o n o f t h e n e w S c i -Arc exp a n s i o n p ro je c t w h i c h w i ll re fu r b i s h t wo exi s t i n g wa re h o u s e s at M ate o St a n d S ant a Fe Ave. Bu i l di n g 1 i s a 5 - s to re y (5 0 ,0 0 0 s q u a re fe e t ) ware h o u s e w i t h p r i ma r y o r i e nt at i o n s fa c i n g s o u t hwe s t and s o u t h e a s t. Bu i l di n g 2 i s 1 - s to re y (1 2 ,0 0 0 s q u a re fo o t ) ware h o u s e w i t h p re do mi n a nt o r i e nt at i o n s i n t h e n o r t h / s o ut h di re c t i o n .

S c i -Arc h a s a cq u i re d t h e n e w b u i l di n g s fo r thi s p ro j e c t w i t h t h e k n ow l e dg e t h at t h e c a mp u s l ayo u t w ill b e b i s e c te d by t h e 4 t h s t re e t ove r p a s s. Co n s e q u e nt l y, S c i -Arc h a s a s ke d yo u to s u b mi t a co n ce p t fo r a n ove ra l l c am p us ma s te r p l a n . I n yo u r ma s te r p l a n , yo u s h o u l d co n s i d e r how to avo i d fra gme nt at i o n o f t h e b u i l di n g s o n c a mp us by p rovi di n g a s a fe a n d p l e a s a nt co n n e c t i o n . I n a ddi ti o n, yo u s h o u l d co n s i de r s i te dra i n a g e o f t h e exi s t i n g c a mpus and p a r k i n g l o t by p ro p o s i n g me t h o ds to mi t i g ate s to r mwate r r u n o ff. Fi n a l l y, yo u s h o u l d i de nt i fy l o c at i o n s fo r p o te nt i al o u tdo o r g at h e r i n g p l a ce s, n o te t h at t h e s e o u tdo o r s p ace s may re q u i re a me t h o d o f p ro te c t i o n fro m ex t re me we at he r co n di t i o n s de p e n di n g o n t h e c l i mate w h e re t h e b ui ld i ng i s l o c ate d.

J A M E Y LY Z U N

AS ENVIRONMENTAL SYSTEMTS I & II

SCI ARC EXPANSION ENVIRONMENTAL SYSTEMS

176

177

Urban Planning

Program Division

The climate location designated for this project is London, England.

London poses the unique issue of torrential rain downpours while offering few, limited glimpses of sunlight throughout the year. Because of this issue, the facade of this structure will have to be utilized in both active and passive forms. The vertical louvers allow for drainage during a typical rainy day in London. The flexibility that their operability provides means that on dark cold evenings they can be closed to maintain the heat level on the interior of the building. Alternatively, these vertical louvers can be adjusted to act as sunshades on the few bright and sunny days which Londoners may encounter.

Program Core

A R E V A L O

While the project originated based off the need for a cafeteria, the upper floors house additional classrooms to take some strain off of the SCI-Arc original campus building. Additionally, the two upper floors have been designated and designed for temporary student housing. Accounting for the fact that the majority of SCI-Arc students live far from campus and commute, only a small program of the building has been dedicated to temporary housing.

Temporary Living 8,000 sqft

Class Rooms 8,000 sqft Class Rooms 8,000 sqft

Temporary Living 8,000 sqft

Plan 4

Total Sqft =56,000 sqft with 5 levels and a basement

Core Gym 10,000 sqft

& I I

AS 3031: Environmental Systems II - Lance Arevalo, Isabelle Joannides, Michelle Kan, German Diaz, Ali Senbas, Adiel Dairabay

I

Th e cl i mate l o cati on d esignated for t his p rojec t is Systems II - Lance Arevalo, Isabelle Joannides, Michelle Kan, German Diaz, Ali Senbas, Adiel Dairabay AS 3031: Environmental Lo n d o n , En gl a n d. Lo n do n p oses t he unique issue of torre nt i a l ra i n dow n po u rs while offer ing few, limited glimp se s o f su n l i ght th ro u gh o u t t he year. B ec ause of t his issue, t h e fa ca de o f th i s stru c ture will have to b e ut ilized in b ot h an d a c ti ve fo r ms. Th e ver t ic al louver s allow for d rainage d u r in g a t y pi ca l ra i ny day in Lond on.

S Y S T E M S

Main Lobby 10,000 sqft

E N V I R O N M E N T A L

L A N C E

A S

Section

In terms of the orientation of the project, based on the attached sun path diagrams, the southeast facade is subjected to the most sunlight. In an Legend effort to address this, the louvers on the southeast facades of the building are 2 inches longer in their extension away from the building. This adjustment ensures less glare for the classrooms and dorm rooms on this side of the building.

178

Envelope Design

Before implenting the “Fins” (January 1)

179

into an overall 6 hours.

o u t t h e stru c tu re. Fro m center, t hey are 2 feet ap ar t wit h a t h ick n e s s o f 2 i n ch es,

After implenting the “Fins” (January 1)

After implenting the “Fins” (January 1)

S Y S T E M S

L A N C E

Before implenting the “Fins” (January 1)

E N V I R O N M E N T A L

Through the sunlight analysis, we’ve discovered that there is a strong abudance of sunlight exposure throughout the building. Around 90% of the building will get 8 hours of sunlight. While this exposure from Envelope Design the sun brings natural light, exposure these long start bring heat. will this bring discomfort to alsoTh ro uingh th eNot suonly n l i ght a nalysis, we’ve d iscovered t hat Through the sunlight analysis, we’ve discovered theisuser experience, it will theex p t hfor e re a stro n g a bubut n da n cealso of demand sunlight osure hroughthat there is at strong abudance of sunlight exposure throughout the building.

HVAC system to generate more energy.

These are the o u t t h e bu i l di n g. Aro u n d 90% of t he b uild ing will get 8 Around 90% of the building get 8 hours of sunlight. While this exposure from wentackled carefully when it came with thewill hissues o u rs that o f su l i ght. Wh i l e th i s exp osure from hebrings sunnatural b r ings thet sun light, exposure these long start design of the envelope. to also bring in heat.

Not only will this bring discomfort n at u ral l ight, expo su re th ese long st ar t s to also b r ing in for the user experience, but it will also demand the envelope in which call “Fins” h e at. NThe ot o n l y w i ldesign, l th i s br i n g dwe iscomfor t ,for t he user ex- more energy. These are the HVAC system to generate span from half the of the first floor to the tip of the that we tackled carefully when it came with the p e r i e n ce, bu t i t w i l l a l so demand t he HVACissues system to genstructure with a total length of 75 feet.

The orientation design of the envelope. e rate m o re en ergy. Th ese a re t he issues t hat weThet ac k led envelope design, in which we call “Fins” , of the fins are perpendicular to the building to not only care f u l l y w h en i t ca me w i th the d esign of tspan he from envelop half the ofe. the first floor to the tip of the have a consistent over all design, but also optimize thestructure with a total length of 75 feet. The orientation best shading Th e envel o pe desithe gnstructure. , i n whicFrom h we c all “Fins”, sp an of the fins are perpendicular to the building to not only all throughout center, have a consistent f ro m are h al2f feet o f th e f with i rst af lthickness o o r to tof he2 tinches. ip of t he st r uc t ure over witallh design, but also optimize the they apart best shading all throughout the structure. From center, a l e n g tThe h oresult f 75 feet. e o rtransformed i entat ion the of t he fins er pwith en-a thickness of 2 inches. of this Th design they areare 2 feetpapart The result of this design transformed the dsunlight icu l ar to th e bu di n g totonbe o t exposed only have a consistent overexposure fori lbuilding by sun exposure for building to be exposed by sun overall alinto l d eans ign, bu6 thours. a l so o pti mi ze t he b est shad sunlight ing all t hrough-

A S

A R E V A L O

Fa c a d e D e s i g n

I & I I AS 3031: Environmental Systems II - Lance Arevalo, Isabelle Joannides, Michelle Kan, German Diaz, Ali Senbas, Adiel Dairabay

AS 3031: Environmental Systems II - Lance Arevalo, Isabelle Joannides, Michelle Kan, German Diaz, Ali Senbas, Adiel Daira

180

181

A R E V A L O L A N C E

S Y S T E M S I

B y h av i n g th e r i ght ca l c ulat ion of t he cooling, heati n g an d water treatment a l o n g t he ad d it ional offset to t he s cal e, it h el ps to h ave a response t hat has flex ib ilit y. The co n n e c t i o n s bet ween th e A HU wit h t he Cooling Tower and t h e C h il l er i n th e ba sement a re connec ted in t he mid d le o f t h e s pa ce to u se th e system as p ar t of t he ex p er ience of t h e s p ace. Th ese du c ts were d esigned wit h sp ec ific aest h e t i c s t h ro u gh o u r gro u p w i t h t he p romise to use ever y s i n g l e s ystem i n co n stru c ti o n of arc hitec t ure. Ult im ately t h is cre ates a mo re pl ea sa nt and interest ing sp ace for t he

E N V I R O N M E N T A L

I n o u r desi gn fo r th e ex tension for SC I-Arc foc used o n an i n n ovati ve desi gn fo r the ac t ive system. Energy and at m o s p h ere i n a bu i l di n g a re a major p ar t in our d esign d e ci s io n s. Th e go a l i s to create a comfor t ab le environment k n owi n g th at we w i l l be o ccu pying t he sp ace for long h o u rs. D u e to th i s, i t ’s i mpo r tant to op t im ize energy consumption.

A S

H VA C D e s i g n

Passive and Active Systems

& I I

AS 3031: Environmental Systems II - Lance Arevalo, Isabelle Joannides, Michelle Kan, German Diaz, Ali Senbas, Adiel

Th e s e mi n a r jo i nt a re a s o f i nve s t i g at i o n a re Te c to ni c s – u n de r s to o d a s a rc h i te c t u re’s mate r i a l a n ato my and i t s e ffe c t s - a n d Pe r fo r ma n ce – l a rg e l y co n s i s t i n g o f te c hni c al, te c h n o l o gi c a l a n d c u l t u ra l e nvi ro n me nt a l di me n s i o ns. The c l a s s fo c u s e s p re do mi n a nt l y o n t h e c u r t a i n wa l l – par t i c ul a r l y o n i t s fo r ms o f a r t i c u l at i o n a n d mo de s o f a s s e m b ly.

Th e c u r t a i n wa l l “c a n b e b ro a dl y de fi n e d a s t h e n o n- lo ad b e a r i n g b u i l di n g e nve l o p e t h at t yp i c a l l y h a n g s l i k e a c urt a i n fro m a s t r u c t u ra l fra me.” Si n ce i t s i n ce p t i o n i n t he Ba u h a u s i n D e s s a u, G e r ma ny, t h e c u r t a i n wa l l h a s e vo lve d i nto a h i g h l y p e r fo r mat i ve e n c l o s u re s ys te m a n d range s i n t h i c k n e s s a n d n u mb e r o f l aye r s a cco rdi n g to a e s t he t i c de s i re s a n d c l i mate de ma n ds. As a te c to n i c co n ce p t i t o c c u p i e s t h e te r r i to r y t h at i s ma de p o s s i b l e by fra me s t r uc t u re s, w h i c h i s a te c to n i c a l te r n at i ve to l o a d- b e a r ing s o li d wa l l s, a n d a ddre s s e s b o t h t h e “fre e p l a n” a n d t h e “ f re e fa c a de”, t wo o f Le Co r b u s i e r ’s fi ve p o i nt s.

RANDY JEFFERSON & MAXI SPINA

AS TECTONICS

BMW WELT REDESIGN AS TECTONICS

184

185 PANELIZATION AND ENVELOPE ARTICULATION OF DOUBLE CONE PANELIZATION OF DOUBLE CONE

ENVELOPE ARTICICULATION OF DOUBLE CONE

THE FACADE CONSISTS OF THERMALLY BROKEN MULLION/TRANSOM SYSTEM. THE ROOF MAINLY COMPRISES AN INSULATED METAL DECKING WITH REAR VENTILATED ALUMINUM CLADDING AND PHOTOVOLTAIC CELL UNITS SOLAR PV SYSTEMS USE CELLS TO CONVERT SUNLIGHT INTO ELECTRICITY. WHEN LIGHT SHINES ON THE CELL IT CREATES AN ELECTRIC FIELD ACROSS THE LAYERS CAUSING ELECTRICITY TO FLOW. A 28-METER DOUBLE CONE SUGGESTING A ROTATING HYPERBOLA DOMINATES THE STRUCTURE. A CLOUD-LIKE ROOF IS SUPPORTED BY A TRIANGULAR LATTICE STRUCTURE OF HOLLOW STEEL SECTIONS. HOT AND COLD WATER PUMPED THROUGH WELDED PROFILES IN A CLOSED LOOP HEAT THE BUILDING IN WINTER AND COOL IT IN SUMMER

THE DOUBLE CONE CONCLUDES AT THE SO-CALLED RING BEAM, WHICH EVENLY DISTRIBUTES THE LOAD FROM THE ROOF AND TRANSFERS IT TO THE GROUND VIA THE OUTER FACADE. ALTHOUGH THE ROOF AND DOUBLE CONE FORM A SINGLE PIECE IN TERMS OF STATICS, THE DOUBLE CONE ALSO FUNCTIONS AS A KEY SUPPORT FOR THE 16,000 M² ROOF STRUCTURE.

A1 PHOTO-VOLTAIC PANELS

WATER CIRCULATING LAYER

DT1

STAINLESS SHEETS

PHOTO-VOLTAIC PANELS

STRUCTURAL RING BEAMS

PANELIZATION AND ENVELOPE ARTICULATION STAINLESS SHEETS OF WINDOW WALL

PHOTO-VOLTAIC PANELS

PRE-FABRICATED HOLLOW-SECTION STEEL

A1 SPACE TRUSS BRACING

PANELIZATION OF WINDOW WALL

ENVELOPE ARTICICULATION

THE OUTER CLADDING FROM THE GLASS, ARE PERFORATED STAINLESS SHEETS THAT PROVIDE SOLAR SHADING TO THE STRUCTURE. THE GLASS ENVELOPE HELP MAINTAIN THE SURFACE TEMPERATURE AT A COMFORTABLE LEVEL AS A MODULAR GLAZED UNIT WITH TWO LAMINATED UNITS INWARD AND A SINGLE UNIT OUTWARD. THESE GLAZED UNITS ARE CLAMPED INTO A SPECIFIC FABRICATION OF HOLLOW STEEL MULLIONS THAT FEATURE DIAGONALS TO ACCOMODATE THE BENDING.

THE MAIN FACADE, ON THE OTHER HAND, IS CONCIEVED THROUGH MODIFIED POST-AND-BEAM SYSTEM. LEANING TEN DEGREES OUT OF THE VERTICAL, THE POSTS ARE BENT AT A HEIGHT OF 7.50M WHICH HELPS THE VERTICAL WARPING OF THE ROOF AND HANDLE THE ELASTIC BENDING OF THE POSTS. IN RESULT, THIS ELIMINATED THE NEED FOR MOVEMENT JOINTS.

I BEAMS (IPE 300)

A1 Bd. 2 ROLLERS

A2 Bd. 2

PRE-FABRICATED PHOTO-VOLTAIC PANELS HOLLOW-SECTION STEEL

DT1

STEEL FRAME

SPACE TRUSS BRACING SYSTEM

SOLAR SHADING

A2

DT1 Bd. 1

DT1 Bd. 2

A2 STAINLESS SHEETS

ISONOMETRIC VIEW DOUBLE CONE CONNECTION TO ROOF

PHOTO-VOLTAIC PANELS

SPACE TRUSS BRACING SYSTEM

GLASS LAMINATED SAFTEY GLASS

SOLAR SHADING

DT2 Bd. 2

PRE-FABRICATED HOLLOW-SECTION STEEL

SINGLE-PANE TEMPERED SAFTEY GLASS

A1 Bd. 1

PRE-FABRICATED HOLLOW-SECTION STEEL

SOLAR SHADING

DT2 DOUBLE CONE

ROLLERS PRE-FABRICATED HOLLOW-SECTION STEEL

WINDOW WALL UNDERFLOOR HEATING/COOLING

GLASS

A2 Bd. 1

ISONOMETRIC VIEW LARGE CHUNK

A3

DOUBLE CONE WINDOW WALL

A3 Bd. 1

SECTION THORUGH DOUBLE CONE STAINLESS STEEL SHEET

SOLAR SHADING

3 MM, FIXED TO A FRAME SYSTEM OF STEEL SETIONS, GRADE EN 1.5501, SURFACE BLASTED WITH GLASS BEADS

HOLLOW-SECTION STEEL 300/100 MM

A3

ISONOMETRIC VIEW LARGE CHUNK

GLASS

ISONOMETRIC VIEW WINDOW WALL CONNECTION TO ROOF

2 X 6 HEAT STRENGTHENED GLASS + 16 MM CAVITY + 8 MM TOUGHENED SAFETY GLASS

A3 Bd. 2

SINGLE-PANGE TEMPERED SAFETY GLASS

SOLAR SHADING

3 MM PERFORATED STAINLESS STEEL SHEET, PARTIALLY OPENABLE FOR MAINTENANCE ON 100/50 MM ANGLE PROFILES

ESG GLASS: SEAMED EDGES, DIMENSIONALLY ACCURATE GROUND EDGES

LAMINATED SAFETY GLASS

EUROSAFE VSG GLASS: WITH AMPLIFIED RESISTANCE, SAFETY OR HEAT RESISTANCE

PRE-FABRICATED HOLLOW-SECTION STEEL 300/100 MM

UNDERFLOOR HEATING/COOLING

SINGLE-PANE TEMPERED SAFTEY GLASS

GLAZED UNITS

LAMINATED SAFTEY GLASS

UNDERFLOOR HEATING/COOLING

PRE-FABRICATED HOLLOW STEEL

PRE-FABRICATED HOLLOW-SECTION STEEL 300/100 MM

STEEL FRAME

SINGLE MODIFIED MULLION

FINISHED FABRICATED MULLIONS SINGLE MODIFIED MULLION

PRECEDENT STUDY: BMW WELT ENVELOPE SYSTEM: STEEL SHEETS & MODULAR GLAZED UNITS ON PERFORATED STEEL FRAME

ISONOMETRIC VIEW DOUBLE CONE CONNECTION TO GROUND

FINISHED FABRICATED MULLIONS

PRECEDENT STUDY: BMW WELT ENVELOPE SYSTEM: STEEL SHEETS & MODULAR GLAZED UNITS ON PERFORATED STEEL FRAME

STEEL CASING

BOARD 2 TECTONICS & MATERIALITY AS3302 ADDEEN SHAHAR_BORJA LOPEZ_KEVIN ARAMBULA_LANCE AREVALO

BOARD 1

TECTONICS & MATERIALITY AS3302 ADDEEN SHAHAR_BORJA LOPEZ_KEVIN ARAMBULA_LANCE AREVALO

T E C T O N I C S

L A N C E

ALUMINUM CLADDING

A S

A R E V A L O

SPACE TRUSS BRACING SYSTEM

186

187 PANELIZATION AND ENVELOPE ARTICULATION OF DOUBLE CONE PANELIZATION OF DOUBLE CONE

ENVELOPE ARTICICULATION OF DOUBLE CONE

THE FACADE CONSISTS OF THERMALLY BROKEN MULLION/TRANSOM SYSTEM. THE ROOF MAINLY COMPRISES AN INSULATED METAL DECKING WITH REAR VENTILATED ALUMINUM CLADDING AND PHOTOVOLTAIC CELL UNITS SOLAR PV SYSTEMS USE CELLS TO CONVERT SUNLIGHT INTO ELECTRICITY. WHEN LIGHT SHINES ON THE CELL IT CREATES AN ELECTRIC FIELD ACROSS THE LAYERS CAUSING ELECTRICITY TO FLOW. A 28-METER DOUBLE CONE SUGGESTING A ROTATING HYPERBOLA DOMINATES THE STRUCTURE. A CLOUD-LIKE ROOF IS SUPPORTED BY A TRIANGULAR LATTICE STRUCTURE OF HOLLOW STEEL SECTIONS. HOT AND COLD WATER PUMPED THROUGH WELDED PROFILES IN A CLOSED LOOP HEAT THE BUILDING IN WINTER AND COOL IT IN SUMMER

THE DOUBLE CONE CONCLUDES AT THE SO-CALLED RING BEAM, WHICH EVENLY DISTRIBUTES THE LOAD FROM THE ROOF AND TRANSFERS IT TO THE GROUND VIA THE OUTER FACADE. ALTHOUGH THE ROOF AND DOUBLE CONE FORM A SINGLE PIECE IN TERMS OF STATICS, THE DOUBLE CONE ALSO FUNCTIONS AS A KEY SUPPORT FOR THE 16,000 M² ROOF STRUCTURE.

A1 PHOTO-VOLTAIC PANELS

WATER CIRCULATING LAYER

DT1

STAINLESS SHEETS

PHOTO-VOLTAIC PANELS

PANELIZATION AND ENVELOPE ARTICULATION OF DOUBLE CONE PANELIZATION OF DOUBLE CONE THE FACADE CONSISTS OF THERMALLY BROKEN MULLION/TRANSOM SYSTEM. THE ROOF MAINLY COMPRISES AN INSULATED METAL DECKING WITH REAR VENTILATED ALUMINUM CLADDING AND PHOTOVOLTAIC CELL UNITS SOLAR PV SYSTEMS USE CELLS TO CONVERT SUNLIGHT INTO ELECTRICITY. WHEN LIGHT SHINES ON THE CELL IT CREATES AN ELECTRIC FIELD ACROSS THE LAYERS CAUSING ELECTRICITY TO FLOW. A 28-METER DOUBLE CONE SUGGESTING A ROTATING HYPERBOLA DOMINATES THE STRUCTURE. A CLOUD-LIKE ROOF IS SUPPORTED BY A TRIANGULAR LATTICE STRUCTURE OF HOLLOW STEEL SECTIONS. HOT AND COLD WATER PUMPED THROUGH WELDED PROFILES IN A CLOSED LOOP HEAT THE BUILDING IN WINTER AND COOL IT IN SUMMER

PHOTO-VOLTAIC PANELS

A1 RING BEAMS STRUCTURAL

ENVELOPE ARTICICULATION OF DOUBLE CONE STAINLESS SHEETS THE DOUBLE CONE CONCLUDES AT THE SO-CALLED RING BEAM, WHICH EVENLY DISTRIBUTES THE LOAD FROM THE ROOF AND TRANSFERS IT TO THE GROUND VIA THE OUTER FACADE. ALTHOUGH THE ROOF AND DOUBLE CONE FORM A SINGLE PIECE IN TERMS OF STATICS, THE DOUBLE CONE ALSO FUNCTIONS AS A KEY SUPPORT FOR THE 16,000 M² ROOF STRUCTURE.

PHOTO-VOLTAIC PANELS

PRE-FABRICATED HOLLOW-SECTION STEEL

DT1

WATER CIRCULATING LAYER

STAINLESS SHEETS

PHOTO-VOLTAIC PANELS

STRUCTURAL RING BEAMS

A1 Bd. 2

PRE-FABRICATED HOLLOW-SECTION STEEL

STAINLESS SHEETS

PRE-FABRICATED HOLLOW-SECTION STEEL

A2 Bd. 2 PHOTO-VOLTAIC PANELS

A2

A1 Bd. 2

SOLAR SHADING

A S

SPACE TRUSS BRACING SYSTEM

DT1 Bd. 2

ISONOMETRIC VIEW DOUBLE CONE CONNECTION TO ROOF

PRE-FABRICATED HOLLOW-SECTION STEEL

A2 Bd. 2

GLASS

A2

L A N C E

SOLAR SHADING

SOLAR SHADING

DT2 Bd. 2

PRE-FABRICATED HOLLOW-SECTION STEEL

PRE-FABRICATED HOLLOW-SECTION STEEL

DT1 Bd. 2

ISONOMETRIC VIEW DOUBLE CONE CONNECTION TO ROOF

SOLAR SHADING

DT2

T E C T O N I C S

A R E V A L O

SPACE TRUSS BRACING SYSTEM

GLASS

DOUBLE CONE SOLAR SHADING

DT2 Bd. 2

WINDOW WALL

PRE-FABRICATED HOLLOW-SECTION STEEL

PRE-FABRICATED HOLLOW-SECTION STEEL

UNDERFLOOR SOLAR SHADING HEATING/COOLING

GLASS

DT2 DOUBLE CONE

ISONOMETRIC VIEW LARGE CHUNK

WINDOW WALL

A3 GLASS

SECTION THORUGH DOUBLE CONE STAINLESS STEEL SHEET

3 MM, FIXED TO A FRAME SYSTEM OF STEEL SETIONS, GRADE EN 1.5501, SURFACE BLASTED WITH GLASS BEADS

SOLAR SHADING

ISONOMETRIC VIEW LARGE CHUNK

UNDERFLOOR HEATING/COOLING UNDERFLOOR HEATING/COOLING

UNDERFLOOR HEATING/COOLING

A3

HOLLOW-SECTION STEEL 300/100 MM

SECTION THORUGH DOUBLE CONE STAINLESS STEEL SHEET

SOLAR SHADING

3 MM, FIXED TO A FRAME SYSTEM OF STEEL SETIONS, GRADE EN 1.5501, SURFACE BLASTED WITH GLASS BEADS

GLASS

2 X 6 HEAT STRENGTHENED GLASS + 16 MM CAVITY + 8 MM TOUGHENED SAFETY GLASS

HOLLOW-SECTION STEEL

A3 Bd. 2

300/100 MM

SOLAR SHADING

3 MM PERFORATED STAINLESS STEEL SHEET, PARTIALLY OPENABLE FOR MAINTENANCE ON 100/50 MM ANGLE PROFILES

PRE-FABRICATED HOLLOW-SECTION STEEL

GLASS

2 X 6 HEAT STRENGTHENED GLASS + 16 MM CAVITY + 8 MM TOUGHENED SAFETY GLASS

SOLAR SHADING

300/100 MM

A3 Bd. 2

3 MM PERFORATED STAINLESS STEEL SHEET, PARTIALLY OPENABLE FOR MAINTENANCE ON 100/50 MM ANGLE PROFILES

PRE-FABRICATED HOLLOW-SECTION STEEL 300/100 MM

SINGLE MODIFIED MULLION

FINISHED FABRICATED MULLIONS SINGLE MODIFIED MULLION

ISONOMETRIC VIEW CONE CONNECTION TO GROUND

DOUBLE FINISHED FABRICATED MULLIONS

PRECEDENT STUDY: BMW WELT ENVELOPE SYSTEM: STEEL SHEETS & MODULAR GLAZED UNITS ON PERFORATED STEEL FRAME PRECEDENT STUDY: BMW WELT ENVELOPE SYSTEM: STEEL SHEETS & MODULAR GLAZED UNITS ON PERFORATED STEEL FRAME

BOARD 2 ISONOMETRIC VIEW DOUBLE CONE CONNECTION TO GROUND

TECTONICS & MATERIALITY AS3302 ADDEEN SHAHAR_BORJA LOPEZ_KEVIN ARAMBULA_LANCE AREVALO

BOARD 2

TECTONICS & MATERIALITY AS3302 ADDEEN SHAHAR_BORJA LOPEZ_KEVIN ARAMBULA_LANCE AREVALO

188

189 PRIMARY STRUCTURE STEEL SHEETS & MODULAR GLAZED UNITS ON PERFORATED STEEL FRAME

SPACE TRUSS BRACING SYSTEM

THE BMW WELT SHOWCASES A VARIETY OF ENVELOPE SYSTEMS THAT IS TRYING TO ACCOMODATED ITS WIDE SPAN AND MASSIVE WEIGHT. IN RESULT, THE BUILDING UTILIZES DIFFERENT COMPONENTS TO THAT WORK TOGETHER TO SOLVE NOT ONLY THE TECTONICS BUT WHILST ALSO MAINTAINING THE AESTHETICS OF THE BUILDING. THE SPACE TRUSS BRACING SYSTEM SERVES AS THE BACKBONE OF THE CLADDING OFF THE ROOF AND DUE TO ITS CUVING, SEVERAL HEIGHT CHANGES WITHIN THE BRACING IS PRESENT TO HOLD THE CURVES. THE MAIN FEATURE, THE DOUBLE CONE, SUPPORTS THE SPACE TRUSS BRACING SYSTEM WITH IT’S STEEL FRAMING. IN ITSELF, 17 RING BEAMS ARE WRAPPED TO MAINTAIN THE INTEGRITY OF THE DOUBLE CONE CREATED A TRIANGULATED SYSTEM FOR THE GLASS AND STEEL SHEETS.

PRIMARY STRUCTURE

INSIDE THE MAIN PREMISE OF THE BUILDING ARE 11 SCATTERED STUCTURAL CONCRETE COLUMNS THAT ARE PLACE TO SUPPORT THE SPAN OF THE SPACE TRUSS BRACING SYSTEM.

STEEL SHEETS & MODULAR GLAZED UNITS ON PERFORATED STEEL FRAME

SPACE TRUSS BRACING SYSTEM

LASTLY, THE WINDOW FRAME HAVE NO STRUCTURAL COMPONENT TO IT AND SERVES AS A FOOTPRINT OF THE BUILDING. THE BENDTHE BMW WELT SHOWCASES A VARIETY OF ENVELOPE SYSTEMS THAT IS TRYING TO ACCOMODATED ING DESIGN IS A FEATURE THAT HELPS MAINTAIN ITS CONTINIUTY AS PART OF A FACADE. ITS WIDE SPAN AND MASSIVE WEIGHT. IN RESULT, THE BUILDING UTILIZES DIFFERENT COMPONENTS TO THAT WORK TOGETHER TO SOLVE NOT ONLY THE TECTONICS BUT WHILST ALSO MAINTAINING THE AESTHETICS OF THE BUILDING. THE SPACE TRUSS BRACING SYSTEM SERVES AS THE BACKBONE OF THE CLADDING OFF THE ROOF AND DUE TO ITS CUVING, SEVERAL HEIGHT CHANGES WITHIN THE BRACING IS PRESENT TO HOLD THE CURVES. THE MAIN FEATURE, THE DOUBLE CONE, SUPPORTS THE SPACE TRUSS BRACING SYSTEM WITH IT’S STEEL FRAMING. IN ITSELF, 17 RING BEAMS ARE WRAPPED TO MAINTAIN THE INTEGRITY OF THE DOUBLE CONE CREATED A TRIANGULATED SYSTEM FOR THE GLASS AND STEEL SHEETS. INSIDE THE MAIN PREMISE OF THE BUILDING ARE 11 SCATTERED STUCTURAL CONCRETE COLUMNS THAT ARE PLACE TO SUPPORT THE SPAN OF THE SPACE TRUSS BRACING SYSTEM. LASTLY, THE WINDOW FRAME HAVE NO STRUCTURAL COMPONENT TO IT AND SERVES AS A FOOTPRINT OF THE BUILDING. THE BENDING DESIGN IS A FEATURE THAT HELPS MAINTAIN ITS CONTINIUTY AS PART OF A FACADE.

DOUBLE CONE

A S

STRUCTURAL CONCRETE COLUMNS

T E C T O N I C S

A R E V A L O

DOUBLE CONE

L A N C E

STRUCTURAL CONCRETE COLUMNS

SPACE TRUSS BRACING SYSTEM

PRIMARY STRUCTURE OF THE BMW WELT, LAST PART OF THE ASSEMBLY

DOUBLE CONE

HOLDS THE VERTICAL AND LATERAL LOAD OF THE ROOF

STRUCTURAL CONCRETE COLUMNS

SPACE TRUSS BRACING SYSTEM

11 COLUMNS FOR ADDITIONAL BRACING FOR THE ROOF

PRIMARY STRUCTURE OF THE BMW WELT, LAST PART OF THE ASSEMBLY

DOUBLE CONE

WINDOW WALL

HOLDS THE VERTICAL AND LATERAL LOAD OF THE ROOF

NO STRUCTURAL SYSTEM, SERVES AS FOOT PRINT OF BUILDING

STRUCTURAL CONCRETE COLUMNS

11 COLUMNS FOR ADDITIONAL BRACING FOR THE ROOF

WINDOW WALL

NO STRUCTURAL SYSTEM, SERVES AS FOOT PRINT OF BUILDING

WINDOW WALL

SINGLE MODIFIED MULLION

WINDOW WALL

FINISHED FABRICATED MULLIONS

SINGLE MODIFIED MULLION

FINISHED FABRICATED MULLIONS

PRECEDENT STUDY: BMW WELT ENVELOPE SYSTEM: STEEL SHEETS & MODULAR GLAZED UNITS ON PERFORATED STEEL FRAME PRECEDENT STUDY: BMW WELT ENVELOPE SYSTEM: STEEL SHEETS & MODULAR GLAZED UNITS ON PERFORATED STEEL FRAME

BOARD 3 TECTONICS & MATERIALITY AS3302 ADDEEN SHAHAR_BORJA LOPEZ_KEVIN ARAMBULA_LANCE AREVALO

BOARD 3

TECTONICS & MATERIALITY AS3302 ADDEEN SHAHAR_BORJA LOPEZ_KEVIN ARAMBULA_LANCE AREVALO

Th i s co u r s e i nve s t i g ate s i s s u e s re l ate d to t h e i m p le me nt at i o n o f de s i gn : te c h n o l o g y, t h e u s e o f mate r i als, s ys te ms i nte grat i o n , a n d t h e a rc h e t yp a l a n a l yt i c a l s t rate gi e s o f fo rce, o rde r a n d c h a ra c te r. Th e co u r s e i n c l u de s a re v i e w o f b a s i c a n d a dva n ce d co n s t r u c t i o n me t h o ds, a n alys i s o f b u i l di n g co de s, t h e de s i gn o f St r u c t u ra l a n d M e c h ani c al s ys te ms, E nvi ro n me nt a l s ys te ms, Bu i l di n g s s e r vi ce s ys te ms, t h e de ve l o p me nt o f b u i l di n g mate r i a l s a n d t he i nte grat i o n o f b u i l di n g co mp o n e nt s a n d s ys te ms. Th e i nte nt o f t h i s co u r s e i s to de ve l o p a co h e s i ve u n de r s t a n di n g o f how a rc h i te c t s co mmu n i c ate co mp l ex b u i l di n g s ys te ms fo r t he b u i l t e nvi ro n me nt a n d to de mo n s t rate t h e a b i l i t y to d o c ume nt a co mp re h e n s i ve a rc h i te c t u ra l p ro je c t a n d Ste ward s h i p o f t h e E nvi ro n me nt.

A s e r i e s o f b u i l t c a s e s t u di e s w i l l b e p re s e nte d by t h e i n s t r u c to r s a l o n g w i t h vi s i t i n g p ro fe s s i o n a l s i n t he fi e l d w h o a re exp l o r i n g n e w p ro je c t de l i ve r y me t h o d s.

Th e s e c a s e s t u di e s w i l l b e s h ow n i n � de p t h w i t h co ns t r uc t i o n p h o to gra p h s, 3 D re n de r i n g s, a n d te c h n i c a l drawi ngs a n d de t a i l s. Pe r t i n e nt s p e c i fi c to p i c s fo r t h e co u r s e wi ll b e h i g h l i g hte d i n e a c h p re s e nt at i o n , w i t h a fo c u s o n t he e vo l u t i o n o f b u i l di n g de s i gn fro m co n ce p t to b u i l d for m .

PAV E L G E T O V & S C O T T U R I U

AS DESIGN DEVELOPMENT

AS DESIGN DEVELOPMENT OLIVE TOWER

D E S I G N

D E V E L O P M E N T

A R E V A L O

A S

L A N C E

193 192

QR Code for Final Video

Th e co u r s e fo c u s e s o n a dva n ce d me t h o ds o f p ro j e c t de l i ve r y a n d co n s t r u c t i o n do c u me nt s i n co r p o rat i n g d i gi t a l te c h n o l o gi e s a n d i nve s t i g at i n g n e w mo de l s fo r li nk i ng de s i gn a n d co n s t r u c t i o n p ro ce s s e s. I t i nt ro du ce s B ui ld i ng I n fo r mat i o n M o de l i n g a s o n e o f t h e to o l s fo r re a l i gnm e nt o f t h e t ra di t i o n a l re l at i o n s h i p s b e t we e n t h e p ro je c t s t ak e h o l de r s. Us i n g a s i n g l e u n i t re s i de nt i a l b u i l di n g l o c ate d i n Lo s An g e l e s, s t u de nt s w i l l a n a l yze a n d de ve l o p t he arc hi te c t u re by c re at i n g a de t a i l e d 3 d di gi t a l mo de l a n d a s e t o f 2 d co n s t r u c t i o n do c u me nt s s p e c i fi c a l l y t a i l o re d fo r t he de s i gn c h a l l e n g e s o f a s i n g l e u n i t re s i de nt i a l p ro je c t. Le c t u re s a n d s i te vi s i t s to fa b r i c ato r s a n d co n s t r u c t i on s i te s w i l l fu r t h e r i n fo r m s t u de nt s o f te c h n i c a l do c u me nt at i o n me t h o ds fo r p ro je c t s t h at a re o p e rat i n g o n t h e fo re f ro nt o f de s i gn a n d co n s t r u c t i o n te c h n o l o gi e s to date.

PAV E L G E T O V & K E R E N Z A H A R R I S

AS CONSTRUCTION DOCUMENTS

1421 ROBERTSON BLVD AS CONSTRUCTION DOCUMENTS

196

197

1421 ROBERTSON BLVD

A R E V A L O

Description

Date

LANCE AREVALO KYLE TOMOSADA ISABELLE JOANNIDES

COVER SHEET

G-0.0

D O C U M E N T S

L A N C E

No.

C O N S T R U C T I O N

NOT THAT DEEP LLC

A S

KIM KARDASHIAN WEST & KANYE OMARI WEST

198

199

120' - 0 1/2"

1 1

A

A-4.1

B

A-3.3

C

15' - 0"

15' - 0"

D

E

15' - 0"

7' - 6"

F

G

15' - 0"

15' - 0"

15' - 0"

D.1

E.1

F.1

7' - 6"

7' - 6"

7' - 6"

7' - 6"

H

J

15' - 0"

15' - 0 1/2"

7' - 6"

WA-A

1421 ROBERTSON BLVD

PROPERTY LINE

WA-B

SETBACK

01

UP

67 .67 °

15' - 0"

02

COFFEE SHOP

WA-D

213 528 SF

111.1 213.1 WA-D

112.1

WA-A

UP

03

WA-D

UNIT 2 GALLERY

WA-D

112 663 SF

CENTRAL PLAZA

WA-A

LOBBY

WA-A

212 1794 SF

UP

WA-B

04

212.1

1

NOT THAT DEEP LLC

212.3 15' - 0"

WA-D 51.0

A-3.4

0°

212.2

15' - 0"

UNIT 3 GALLERY 113

WA-D

05

Description

Date

A-3.2

ENTRANCE 1

UP

113.1

WA-A WA-A WA-A

114.1 WA-D

6° 6.0 11

GARAGE BELOW

SOUTH ENTRANCE

UP

07

WA-A

WA-D

6.1

7' - 6"

1

1 A-4.9

211.2

7' - 6"

UP

15' - 0"

114 Not Enclosed

06 7' - 6"

UNIT 4 GALLERY

PROPERTY LINE

WA-D

211.2

SETBACK

KYLE TOMOSADA

08 7' - 6"

8.1

WA-A

15' - 0"

WA-B

59' - 0"

LANCE AREVALO

7' - 6"

UP

211.1

15' - 0"

7.1

A-4.10

ISABELLE JOANNIDES

7' - 6"

PROPERTY LINE

09

FIRST FLOOR PLAN N

1 A-3.1

ALCOTT STREET

1

FIRST FLOOR PLAN 1/8" = 1'-0"

A-1.2

D O C U M E N T S

15' - 0"

L A N C E

No.

1

WA-A

WA-D

120' - 0"

613 SF

SETBACK

A R E V A L O

213.2

WA-D

S ROBERTSON BLVD

1 2

C O N S T R U C T I O N

15' - 0"

WA-D

A S

111 698 SF

A-4.2 A-4.3 A-4.4

KIM KARDASHIAN WEST & KANYE OMARI WEST

NORTH ENTRANCE

UNIT 1 GALLERY

200

201

1421 ROBERTSON BLVD 120' - 0 1/2"

H

15' - 0 1/2"

15' - 0"

F

15' - 0"

E

15' - 0"

D

15' - 0"

C

15' - 0"

B

15' - 0"

1 A-4.1

A

KIM KARDASHIAN WEST & KANYE OMARI WEST

15' - 0"

A R E V A L O

NOT THAT DEEP LLC

THIRD FLOOR PLAN 23' - 0"

No.

Description

Date

LANCE AREVALO KYLE TOMOSADA ISABELLE JOANNIDES

1

ELEVATION 3

NORTH ELEVATION

3/16" = 1'-0"

A-3.3

D O C U M E N T S

L A N C E

SECOND FLOOR PLAN 12' - 0"

C O N S T R U C T I O N

A-1.4 ROOF 33' - 11"

A S

J

G

202

203

1421 ROBERTSON BLVD A

B

1 A-4.2

C

D

E

F

G

H

A R E V A L O

BATHROOM

BATHROOM

132 148 SF

134 140 SF

NOT THAT DEEP LLC

UNIT 4 LIVING

UNIT 3 LIVING

A-1.3 LEVEL 3 23' - 0"

UNIT 1 WORKSPACE

UNIT 2 WORKSPACE

121

122

904 SF

831 SF

UNIT 3 WORKSPACE

UNIT 4 WORKSPACE

123 819 SF

124 851 SF

No.

Description

Date

A-1.1 LEVEL 1 0"

UNDERGROUND PARKING 12472 SF

BASEMENT -11' - 0"

LANCE AREVALO KYLE TOMOSADA ISABELLE JOANNIDES

PLASTER ON CONCRETE WITH GYPSUM INTERIOR

LONGITUDINAL SECTION

CONCRETE - CIP - 6" INTERIOR - 5" PARTITION (2-HR)

WALL TYPES LEGEND 1/4" = 1'-0"

1

LONGITUDINAL SECTION 3/16" = 1'-0"

A-4.1

D O C U M E N T S

L A N C E

A-1.2 LEVEL 2 12' - 0"

C O N S T R U C T I O N

A-1.4 ROOF 34' - 0"

A S

KIM KARDASHIAN WEST & KANYE OMARI WEST

15' - 0"

204

205

ROOF MATERIAL C CHANEL

A-1.4 ROOF 33' - 11"

1421 ROBERTSON BLVD

I-BEAM GYPSUM WALL BOARD CEILING

WOOD FLOORING GPYSUM - CONCRETE FLOOR SLAB

THIRD FLOOR PLAN 23' - 0"

A R E V A L O

2 X 8 JOIST

No.

Description

Date

INSULATION SECOND FLOOR PLAN 12' - 0"

STEEL COLUMN GLASS CURTAIN WALL

CONCRETE FOUNDATION FIRST FLOOR PLAN -4 15/32"

LANCE AREVALO KYLE TOMOSADA ISABELLE JOANNIDES

WALL SECTIONS 1

WALL SECTION 1 3/8" = 1'-0"

2

WALL SECTION 2 3/8" = 1'-0"

A-4.3

D O C U M E N T S

L A N C E

SUBFLOOR

C O N S T R U C T I O N

NOT THAT DEEP LLC

A S

KIM KARDASHIAN WEST & KANYE OMARI WEST

STEEL CROSSBEAM

206

207

CURTAIN WALL 3/4" WOOD FINISH

SEALED GLAZED UNIT

FOUNDATION DAMP PRROFING TO FINISH GRADE

CURTAIN WALL ALUMINUM SILL EXTENSION

1 1/2" GYPCRETE 1/2" ACOUSTIC MAT

1" RIGID INSULATION

FIRE CAULK JOIN 5 PLAY CLT PANEL

1421 ROBERTSON BLVD

CURTAIN WALL ATTACTMENT/ DEFLECTION CLIP

SNAP CAP PRESSURE PLATE DRAINAGE PATH

3" CONCRETE SLAB

WATERPROOF MEMBRANE

FORMED METALBASE RIGID INSULATION

GEO GRABRIC WRAP FILL CAVITY INSULATION

EXTERIOR GRADE 6 MIL POLYTHEYLENE UNDER ENITRE SLAB

4" DRAIN PIPE

CAPILLARY BREAK

KIM KARDASHIAN WEST & KANYE OMARI WEST

WATERPROOFING MEMBRANE

2X8" WOOD STUD

A R E V A L O

3/4" WOOD FINISH

CURTAIN WALL ALUMINUM SILL EXTENSION

FIRE CAULK JOINT

5 PLAY CLT PANEL

Date

CURTAIN WALL

1 1/2" GYPCRETE

1/2" ACOUSTIC MAT

Description

3/4" WOOD FINISH

1 1/2" GYPCRETE

1/2" ACOUSTIC MAT CURTAIN WALL ATTACTMENT/ DEFLECTION CLIP

5 PLAY CLT PANEL

FILL CAVITY INSULATION

WATERPROOFING MEMBRANE

LANCE AREVALO

2X8" WOOD JOIST

2X8" WOOD STUD

I BEAM

KYLE TOMOSADA ISABELLE JOANNIDES

I BEAM

STEEL BRACING FASCIA BRACKET FASCIA PANEL 2 1/2" ROLLER TUBE

CHAIN STAINLESS STEEL

EXTERIOR DETAILS

A-6.1

D O C U M E N T S

L A N C E

No.

C O N S T R U C T I O N

NOT THAT DEEP LLC

A S

3/4 STONE SURROUND

208

209

COMMERCIAL BUILDING

ROOF

LIVE WORK BUILDING

ROOF

KIM KARDASHIAN WEST & KANYE OMARI WEST

A R E V A L O

No.

Description

Date

EXTERIOR WALL

EXTERIOR WALL INTERIOR WALL

LANCE AREVALO GROUND INTERIOR WALL

KYLE TOMOSADA ISABELLE JOANNIDES

PROJECT GEOMETRY OVERVIEW

A-0.1

D O C U M E N T S

L A N C E

CURTAIN WALL

C O N S T R U C T I O N

NOT THAT DEEP LLC

A S

CURTAIN WALL

1421 ROBERTSON BLVD

210

211

HISTORY OF ARCH & URBANISM II

L A N C E

Architectural materials whether they’re written or created graphically, unfolds ideas into our present world. This results into an involvement not only a historical discourse but also inspire ideas that have potential to be relevant in the field of designing space. However, rarely do we see narratives of what it is truly like to be an occupant. Rather asking how civilians occupied the spaces but the more interesting question is, how do civilians utilize architectural drawings into their daily lives? Nowadays, architectural work are liked on social media that become an aesthetic to an individual. Architectural material becomes closer to a visual experience disregarding its initiative to be tangible space. This image (image 2) is a great example of how an architectural drawing was perhaps used out of its context but efficiently used nonetheless; it’s a letter.

A postcard is a popular use for architectural works even for today. Shops in museums and in historic architectural landmarks always have it available with an image of the landmark you’re visiting where the back is a space for writing letters. In the image, you can tell that this is a post card. At first glance, the flatness will throw you off. It’s extremely flat, almost so flat that it’s like reading a piece of writing, a paragraph specifically. In fact, the image itself actually does have writing in it. Putting aside what the context of the actual text to someone who doesn’t speak the language, the decision to have a writing on a piece of a drawing almost immediately puts the image itself in a flat picture frame. What the image contributes to the picture is whole different story.

into it despite its extreme flatness. The use of hatching is used throughout in a clear set of rules. Hatching is created through a series of a repetition of lines whether it may be diagonal, horizontal or vertical.

Through the density of these lines, you’ll soon eventually achieve a sense of spatial quality. Furthermore, given with a certain guideline within yourself orchestrating these lines through what you’re representing, the difference in amounts and types will create a hierarchy within the image. In the case of this image, it’s conveying spatial qualities of various areas.

We can see that the windows have a very dense amount of lines, creating a deeper abyss. It’s almost like a hole into a dark world. These hatches are keen when talking about this letter that the image maybe trying to conceal. In a true great architectural drawing, hatches have more variety. This one has almost a few amount of variation and the only prominent ones are from the window, from what seemed like a door and the open spaces on top of the dome.

These windows are so heavily hatched, with the process of making hatches, that repetition of lines, you can only imagine how much frustration that had expressed just get that dark hatch.

The image itself is interesting because it’s divided into almost three parts in a longitudinal aspect.

The bottom part from which seems to be the facade which holds two stories of the structure, the pediments although are narrow if considered space can still be considered as one as it may act like a buffer between the other two spaces, and the domes that

To really understand this “letter”, one may need to look at these three spaces separately. Our “introduction” has this suggestion of a flow where it seems to be a cutting sectional plane of the roof.

Your eyes will follow these curves and make you observe what’s being contained in this upper space.

As you follow along that curvature of the roof starting from the upper left, you will pass by those sectional cuts that have dark dense hatches. It’s almost like whoever sent it, is beating around the bush and just like an introduction paragraph, enters you of what’s to come.

If you continue along within the upper space, you’ll notice a lot of ornamentations in which are hatched in this almost regular grid. It’s not as dense as it only has an equal amount of horizontal and vertical lines which creates several squares. However, continuing along, despite the fact that they’re straight forward, there’s several of them. In some sort of logical sequence of three to one to five. It perhaps may not have a direct correlation on sentences are sequenced, but sentences also that sense of patterns when it comes to nouns, articles and a verb.

The buffer mentioned earlier, is stationed in a static placement. Squinting your eyes, it’s just a line but when you look even more closely, the details are actually rich. The details have vertical lines that seem to also ever so slighting push along the outer edge of this pediment creating a bacon like shape on these details. You can find a similar shape in the bottom part of the image and similar line work in the upper space. It almost mimics the notion of cause and effect; this divider is a middle point between these two parts where almost like where the question and answer happens. If you want information in a letter, this where you skim to.

The lower space is prominent because of the bacon like structures. They are incredibly weird as it seems to be wanting to be a column but in re-

the ideal design for a tangible structure. In result, this moment is what pushes the whole image into the abyss of the world of fiction. It is meant to be read in a different way than what we usually assume a column would do and thus, it puts this image even closer to that letter category. The other aspects of the lower space have a variation of design qualities as well whilst these bacon like columns seem to divide them vertically. Move your eyes like you’re reading a letter, these can be seen as spaces between words.

Reading it from left to right (just like a letter), there are rectangles that not necessarily windows as it has just horizontal hatches. After repeating this design twice in which again, are divided by these bacon like column, is an actual window hatched so vigorously that gives depth. Continuing along, is another pair of those rectangles with horizontal lines but this time, skinnier than the ones in the beginning. We then enter this space where a pediment seem to be stationed similar to the rectangles but an additional detail of an ornament hatched similarly to the ornaments to the upper spaces.

At this point, this image has created a building. The site, the use, the context can all be assumed in different ways but in a way, this image signed up for that ambiguity. Rather than compiling historical context in which would answer these questions, it may be more beneficial to perceive the graphic potential it contains just as it is. It already lives in a fictional environment with unusual properties. This isn’t a building, it’s a letter, a letter that was structured architecturally.

Today, architectural drawings have evolved more into an exclusive discourse within just architects.

Drawings are becoming more a prominent feature in architectural work despite its intended use of giving information for actual construction. This image can be seen an example of this in which the image lives in a fictional world that has the ability to communicate to anyone, not just an architect.

That leaves the question, what is this letter in particular actually communicating? In the end, maybe only an Italian would know. English speakers, it’s probably a secret letter.

MARIKKA TROT TER

A R E V A L O

A Secret Letter

and the domes that are on the roof which can be considered in a way, the top story. Stories are also told in letters, and letters also have three parts, the introduction, the content and the conclusion. Coincidence? I think not. There is text in the upper left corner of the image. This image needs to be read as if it’s a letter to right just like a letter.