Nataly Hakopian Portfolio 2025

NATALY HAKOPIAN SELECTED WORKS

NATALY HAKOPIAN

natalyhakopian@gmail.com 626-733-5905

www.linkedin.com/in/nataly-hakopian-376842262

EDUCATION

CALIFORNIA STATE POLYTECHNIC UNIVERSITY, POMONA

August 2020 - May 2025 Bachelor of Architecture

WORK EXPERIENCE

June 2023- September 2023

KESS PROJECTS

As an Interior Design Intern I gained hands-on experience in creating detailed furniture plans that balanced functionality with aesthetic appeal. I supported the material selection and sourcing process, carefully aligning choices with project goals and client preferences. My role also involved coordinating with vendors to manage sample requests and ensure material availability, contributing to the smooth progression of each project.

Additionally, I crafted PowerPoint presentations for client meetings, showcasing project concepts and design proposals.

SKILLS

SOFTWARES

Rhinosceros 6.0 / 7.0

Revit

VRAY (Rhino)

Grasshopper

Twin motion

Lumion

Photoshop

Illustrator

Indesign

HANDS-ON

MODEL MAKING USING

Foam core, museum board, laser cutting, 3D printing, concrete, sketching

PAINTING

Oil paint, acrylic, watercolor

ABOUT

Nataly Hakopian is a fifth-year architecture student at Cal Poly Pomona University. She enjoys both leadership and collaborative settings and values the importance of constructive feedback from peers and professors to refine her skills continually. Driven by a passion for architecture and creativity, she appreciates the final outcome of her work as well as the design process. She believes that there is always room to learn and grow. Nataly easily adapts to new programs and techniques and prioritizes organization/ time management across all her projects. She is eager to bring her academic knowledge into a work setting, where she can apply her learning and gain hands-on experience in the field. Nataly looks forward to working on projects that challenge her to think creatively and develop innovative solutions. She is confident that this experience will contribute meaningfully to her professional and personal growth.

This multi family housing project was designed to cater to both public and private needs. The organization of the program was based on the different types of experiences each side of the site provides. The train station side of the site offers public spaces, such as civic space and retail, accommodating the general public. On the other hand, the Poinsettia street side includes live work units, which indicates a more private space. Green space is included for both public and private courtyards. The lobby is placed in the back of the site inviting residents/ potential residents to walk through the project. The parking was strategically placed towards the back of the site to keep people away. Another design consideration that influenced the project was rotating stacked units to allow ventilation and daylight. To further enhance the distribution of natural light, the units were pushed back on almost every floor, resulting in a terracing effect. When looking at the plans more closely, it becomes apparent that the units intertwine, differing from what is seen in the elevation. This results in various unit options promoting inclusivity by accommodating different classes of people and provides flexibility for residents to choose the space that best suits their needs. In plan one could see units extending past the podium trying to blur the line of where the podium starts and ends. The rotation of the program also carried its way onto the ground floor, framing the courtyards and directing traffic. I also took that idea of blurring the space over and under the podium by pushing unit walls down into retail space. These pop out units are placed at the courtyards. A series of 4’ by 4’, 8’ by 4’, and 8’ by 8’ windows were used to make up the facade. The 8’ by 8’ windows are either clear glass, frosted glass, completely metal, or the frame of the window alone. The transparency of these windows depended on the program behind them. For example, retail spaces facing the public courtyards were more transparent compared to the private courtyard. As for the units, they were assigned the 4’ by 4’ and 4’ by 8’ windows. Something these windows allowed me to do was give an illusion of where the retail becomes units. By pushing the “resident windows” down into retail and pushing the larger windows up into units the blurring began. Placing a civic space that encourages creativity and interaction was important for this project. The lack of green space in Santa Ana was immediately addressed by placing two large green spaces. An indoor civic space that caters to art lovers was placed right at the entrance from the train station. This art center will allow people to paint, pottery, ceramics, lecture, and display art. I’d like to imagine outdoor green space slowly being taken over by visitors and residents' artwork. Lastly, the project sharing the promenade has a civic space catered to music, allowing for visitors to see and hear art in our projects.

PODIUM FLOOR PLAN

UNIT PLANS

MULTI-PURPOSE STADIUM

CALIFORNIA STATE POLYTECHNIC UNIVERSITY, POMONA

This multi family housing project was designed to cater to both public and private needs. The organization of the program was based on the different types of experiences each side of the site provides. The train station side of the site offers public spaces, such as civic space and retail, accommodating the general public. On the other hand, the Poinsettia street side includes live work units, which indicates a more private space. Green space is included for both public and private courtyards. The lobby is placed in the back of the site inviting residents/ potential residents to walk through the project. The parking was strategically placed towards the back of the site to keep people away. Another design consideration that influenced the project was rotating stacked units to allow ventilation and daylight. To further enhance the distribution of natural light, the units were pushed back on almost every floor, resulting in a terracing effect. When looking at the plans more closely, it becomes apparent that the units intertwine, differing from what is seen in the elevation. This results in various unit options promoting inclusivity by accommodating different classes of people and provides flexibility for residents to choose the space that best suits their needs. In plan one could see units extending past the podium trying to blur the line of where the podium starts and ends. The rotation of the program also carried its way onto the ground floor, framing the courtyards and directing traffic. I also took that idea of blurring the space over and under the podium by pushing unit walls down into retail space. These pop out units are placed at the courtyards. A series of 4’ by 4’, 8’ by 4’, and 8’ by 8’ windows were used to make up the facade. The 8’ by 8’ windows are either clear glass, frosted glass, completely metal, or the frame of the window alone. The transparency of these windows depended on the program behind them. For example, retail spaces facing the public courtyards were more transparent compared to the private courtyard. As for the units, they were assigned the 4’ by 4’ and 4’ by 8’ windows. Something these windows allowed me to do was give an illusion of where the retail becomes units. By pushing the “resident windows” down into retail and pushing the larger windows up into units the blurring began. Placing a civic space that encourages creativity and interaction was important for this project. The lack of green space in Santa Ana was immediately addressed by placing two large green spaces. An indoor civic space that caters to art lovers was placed right at the entrance from the train station. This art center will allow people to paint, pottery, ceramics, lecture, and display art. I’d like to imagine outdoor green space slowly being taken over by visitors and residents' artwork. Lastly, the project sharing the promenade has a civic space catered to music, allowing for visitors to see and hear art in our projects.

SECOND FLOOR PLAN

SCHOOL OF ARCHITECTURE

CALIFORNIA STATE POLYTECHNIC UNIVERSITY, POMONA

The intent of this project was to create easy circulation through the plinth while offering freedom of choice in the tower. The plinth is composed of two programmatic strips that guide circulation paths. It integrates seamlessly with the site, blurring the boundary between the two: the site becomes the plinth, and the plinth becomes the site.

Approaching the project from the parking garage, visitors encounter a courtyard framed by the overhangs of the gallery and the tower. Despite their visual and spatial connection, the plinth and tower serve distinct purposes. The plinth, grounded and solid in form, houses a fabrication lab, model shop, and café on the first floor. The second floor features a lecture hall and gallery space. The tower accommodates a lobby, seminar rooms, studios, and office spaces, prioritizing flexibility and user interaction. A key design feature is the contrasting materiality of the two elements. The plinth’s robust concrete form provides a stark contrast to the tower’s delicate, twisting facade. This facade is composed of fabric panels that span the tower’s height and can be adjusted by occupants. These “exterior curtains” allow the building to respond dynamically to programmatic and environmental conditions. Occupants can manipulate the panels to create private or public spaces, enabling rooms to transition seamlessly between openness and seclusion.Access to the tower is provided through the first-floor plinth beneath the overhang or via the second floor cafe, which overlooks the cafe below, fostering visual and spatial connectivity between the two levels.

SUBTERRANEAN FLOOR PLAN

MODEL SHOP

FABRICATION

LOBBY

GALLERY

LECTURE

SEMINAR

GROUND FLOOR PLAN

LONGITUDINAL AND TRANSVERSE SECTION

Alexander Pang

Nataly Hakopian

CPP/ARC

Alexander Pang

Nataly Hakopian

FACADE FLEXIBILITY

GALLERY CAFE FABRICATION LAB MODEL SHOP STUDIO

PROGRAM

SEMINAR LOBBY LECTURE ADMINISTRATION

HORIZONTAL CIRCULATION VERTICAL CIRCULATION

AND CIRCULATION DIAGRAM

APPROACHING PLINTH FROM PARKING

Alexander Pang Nataly Hakopian

PLINTH RENDER

SCIENTIST RETREAT

MOUNT WILSON, LOS ANGELES

The proposed site, located on a hill in Mount Wilson, Los Angeles, is accessible to both cars and pedestrians via paved roads. Due to its elevation changes, the site features two access points that informed the organization of programs. The layout was designed using a grid system that groups related functions together while incorporating curves and angles for a softer aesthetic. The two site roads were strategically utilized, the upper road provides access to parking and a meeting deck, while the lower road connects to a ramp leading to the lower level. Privacy was a key consideration in this project, ensuring that residents can enjoy their private spaces while accommodating visitors on the site. The left block of the program contains private living spaces, including a living room, a kitchen nook, a powder room, and a private deck on the first floor. The lower level houses private bedrooms, bathrooms, closets, storage, and a laundry area. The right block includes a research lab, an office, parking, an ADA restroom, and a public viewing deck with a cantilever. Residents can easily transition between living and working spaces; for instance, they can exit their private living area on the first floor and cross over to the research lab or office. The lab also connects to the public viewing deck, allowing scientists to host demonstrations or invite guests for lessons. Glass elements are strategically incorporated into spaces like the living room, kitchen, and bedrooms to maximize natural light and create a comfortable living environment.