ADD Publication by Rachel Chichester

ADDXI

ARCHITECTURE + DESIGN + DISCOURSE

CAL POLY SAN LUIS OBISPO COLLEGE OF ARCHITECTURE AND ENVIRONMENTAL DESIGN DEPARTMENT OF ARCHITECTURE

Faculty Editors: Tom di Santo Karen Lange Eric Nulman Editors in Chief: Rachel Chichester Bethany Gomes Student Editors: Julia Arria Edward Becker Russell Davidson Thomas Einspahr Vanessa Espino Brandon Herbst David Lee Naoko Miyamoto Eileah Monson Catherine Nguyen Elise Thelander Raymond Vuong Orion Watkins Cover Design: Russell Davidson

Published by: AeD Press Architecture Department College of Architecture and Environmental Design California Polytechnic State University San Luis Obispo, California 93407 United States www.arch.calpoly.edu

Copyright ÂŠ 2011, AeD Press / Cal Poly Architecture Department All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned. Errors or omissions will be corrected in future editions. Printed and bound in the United States of America. First edition, 2011 ISBN-13 978-0-9819771-8-8 ACKNOWLEDGMENTS We would like to thank Henri de Hahn, Department Head of the Architecture Department, for his continual support and encouragement.

Architecture Department One Grand Avenue San Luis Obispo, CA 93407-0282 www.arch.calpoly.edu

ADD XI

DEDICATED TO

DANIEL LEE PANETTA (1952 - 2011) &

DONALD KOBERG (1930 - 2010)

INTRODUCTION HENRI DE HAHN CAL POLY ARCHITECTURE DEPARTMENT HEAD STUDENT | Project | INSTRUCTOR In the late sixties the architectural project was no longer the center of the trilogy: student | project | instructor. The polemical and often defiant debates were confrontations between students and faculty, focusing more on how to denounce society through ideological and political slogans than setting in place ideas and relationships of space through drawing and making. The French educational system of the Ecole des Beaux Arts had reached its conclusion exposing the weaknesses of the traditional model of teaching: the prestige and authority of the master teacher as repository of knowledge, and the student as apprentice. Student | PROJECT | Instructor Barely twenty years later, the autonomy of the project - the architectural project par excellence, took center stage and returned Architecture to its legitimate authority as a field of inquiry characterized by its own language, grammar, syntax, and vocabulary. And yet, projects remained essentially self-referential and favored an ontological approach to the design process. Similar to the utopian architects of the 18th century, architectural drawings became Architecture. Galleries, architectural biennales, and publications celebrated architecture as a newly found commodity. STUDENT | PROJECT | INSTRUCTOR During the first decade of this new century, two ma jor changes affected the education of an architect. First, the democratization of design issues enabled architecture to return to its roots. From the creation of spaces and places, architecture once again reflected its role by providing a vision for new and complex modes of living; an ability to engage in a design conversation where one moved from what is objectively correct to what is subjectively appropriate. The second change, more profound and far reaching came from the digital revolution that linked the design of architecture with the making of architecture, combining the conceptual and technical in an unprecedented way. And so it seems timely for educators to consider afresh how the education of an architect is affected by these changes and how, within the university context, all schools of architecture must contribute to the process by which our students adapt to this new world. At Cal Poly, we have been very fortunate to have a legacy of anchoring the disciplinary design issues with a practical know-how of emerging techniques. We are proud of our polytechnic identity, one that has enabled generations of alumni to contribute meaningfully to advancing the causes of our profession. We are also fortunate to be part of a College of Architecture and Environmental Design where students and faculty continue to contribute through teaching and research to a cross-fertilization between five departments – a collaborative and interdisciplinary approach to the art of making that allows us to stand apart in the rich landscape of today’s architectural education. This year the department’s annual book Architecture + Design + Discourse, ADD XI, illustrates a shift more profound than simply 10 to XI. ADD XI has adopted a new format, richer, more robust and subtle in its ability to showcase the diversity of our students. A dynamic role between student | project | instructor had forged a new level of excellence that is exhibited in the students’ projects. The work in ADD XI represents a cross section of five years – the focused and tangential opportunities our students take during their tenure at Cal Poly. Within this rigorous education there are magical moments that you will discover as you read this book and I am pleased to see that our students’ projects constantly calibrate their understanding of what constitutes architecture. ADD XI could not have been conceived without an enthusiastic team of students and faculty colleagues. I am indebted to their heroic efforts. In addition to those in the architecture department, we owe thanks to our colleagues, the students and the administration across the college without whose support we would not be able to offer such a rich education to our students.

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CONTENTS 105

31 7

Beginning Design 2009-10 year represented a new curriculum for the Cal Poly freshmen. The former 105/106 shop based class, the 160 digital course, and 120 and 130 paths in visual communication were transformed into a single studio integrated sequence and supplementary lecture. All freshmen brought a laptop, a tape measure and a tackle box full of new found studio oddities. All participated in the same rigorous sequence of design exercises, including several exercises brought in from both of the previous tracks, but also a few new ones. In addition, the Architectural Engineering Department asked that we teach their freshmen as well, so despite the state resource issue lowering the size of the Architecture entering class to approximately 90, the 60 ARCE freshmen meant we had seven sections of Beginners. Embedded within the new pedagogy was a commitment to establishing a positive and collegial studio culture. The freshmen got keys to the hot labs, and worked there at night and on weekends. Group projects were included each quarter, with requisite stress on what team means in design. This was enabled only by a commitment on the part of the faculty: [the legendary] Jim Bagnall, Brent Freeby, Michael Lucas, JoAnn Moore, Bryan Ridley and Keith Wiley who modeled an unprecedented degree of cooperation and their own collegiality for the students. Fall presented an opportunity to begin with experience and representation, via seeing and sketching, photography, and gradual introduction of 2D software. 2D hybrids led to 3D expansions and spatial collages, and basswood model building. The quarter ended with traditional hand drafting introduced in the context of field measuring the Port San Luis Pier. Teams took on sections of the pier and recorded their day at the shore with watercolors, sketches, journals and field measurements [and a few sunburns]. The final 30 team model and sixty-foot drawings filled their first Berg Gallery show. Winter focused on setting, opportunity, design development, and concepts of site, beginning with a book that was excavated, sutured, and given an operational case. We used San Luis alleys and lost spaces for a SLO Slot Study, and ended with the paraSITEs contributing to various Building 05 settings and testing the limits of our wood and metal shop. Spring brought another first, participation in the annual Design Village design-build event. Digital skills were expanded with groups constructing virtual models and animations of classic California modernist houses by Schindler, Neutra, Wright and others. The year ended with a small comprehensive design project- their own studio classroom. In reflecting on the new yearâ&#x20AC;&#x2122;s curriculum and pedagogy, the Beginning Design faculty shared in peer reviewed publication of three papers at the 27th National Conference on the Beginning Design Student, The Write Stuff: Stealth Theory for Beginners, Triple Grounding, and Power[tools]:paraSITEs Progress, participated in a poster session with Peers on a Peer at the 13th CSU Symposium on University Teaching at CSU San Bernardino, and Michael Lucas presented [Teaching] An Embodied Architecture at the 8th International Qualitative Research Conference at Bournemouth University in the UK.

.01

DISCOURSE

INTERVIEW WITH FIRST YEAR PROFESSORS MICHAEL LUCAS, BRENT FREEBY AND JOANN MOORE

I’ve always thought first year is probably the most important course of study here at Cal Poly. As a former student of the first year program here, I know that I learned to take pride and joy in my work via my first year professors. The professors of first year are, in essence, dealing with a tabula rasa situation whereby they are instilling a sense of the basics, or foundation, of the next five years. What is your favorite part of teaching first year? Michael Lucas: First, I don’t agree we have a tabula rasa. These students today, even more so than the recent past, have had huge academic accomplishment and generally come in highly motivated to succeed. We need to build upon that. Their past accomplishments though are largely outside of the visual-spatial kinds of intelligence we need to establish as the core in design. In some ways, the classes that used to teach digital software are now accomplished in two or three workshop sessions, because the students have had great exposure if not to Photoshop or Illustrator, something similar that has lateral application- the learning curves are different now. Photography skills are very high. Similarly, some students have used Sketch-up, so that kind of modeling is already in place. Also, some high school programs have made great strides in what were formerly vocational courses in ‘drafting’; a former Morro Bay student asked if we had a 3D printer, because he had used one at his high school. I would say that says we don’t have so much tabula rasa –especially on the visual side, so much as deficit [or marginalizing] of spatial thinking. They have taken a vibrant world and largely been taught through a flat screen, in a removed manner, with too much thinking of buildings vs qualities and experience. We need to re-dimension that point of entry for full participation with head and heart and hands. I enjoy being with these students very much and especially seeing their growth over the arc of a single project and the year. Brent Freeby: The passion of the first year students is my favorite part. They are so eager to learn and absorb everything and anything we throw at them. I like to think that we help guide their substantial energy in a more design oriented direction. It is fantastic to light a small fire in a student and see them accelerate in your studio and beyond. Watching the development of students over their full five year tra jectory is an amazing perspective. JoAnn Moore: I disagree that we are dealing with a tabula rasa in the true sense. Our students come to us with strong impressions from their life experiences thus far. They have been exposed to so much via the Internet as well as courses in their schools that have introduced them to software and other digital media. I love teaching first year, witnessing the growth and understanding that is evident in each quarter; their ability to articulate and grasp complex design concepts is sincerely elating.

What skills do you hope your students take with them when they move to second year? ML: That they realize they are design ninjas [ok…agents of change] and that they continue their growth in critical questioning of the existing world and optimistic proposers of new worlds, testing and measuring each by all means available. JM: A form of creative courage. A willingness and excitement for exploring. A confidence and ability to articulate ideas. A set of tools that allows them to physically and verbally demonstrate their thinking.

The structure of the first year architecture program at Cal Poly has recently changed. I find the new structure to be most beneficial to the incoming students. What are the hallmarks or benefits of the new first year pedagogy? ML: I think the hallmark would be that students feel they are part of one important thing, have common projects and experiences to start, and to stress that design is an individual as well as a collaborative effort- the formal collaborations on team projects, but also the informal kind that emerges from studio culture. The 2009-10 class received keys to the labs for work on weekends and at night. We have frequent informal reviews and get people more comfortable speaking about the work. The Port San Luis Pier, paraSITE and Design Village efforts are intense assignments and only succeed by strong group dynamics and efforts.

We also added a writing component to the resuscitated ARCH 101. Weekly essays in the fall in real time during guest presentations get people used to thinking that essay- that is, informed critical opinion- is requisite as a tool in the profession and that writing should be an additional and natural form of description for us. Writing as a form of exploration is also encouraged. BF: I believe it is important as well that the perceived or actual superiority or inferiority of the old system from the student’s perspective is now completely gone. Additionally, coordinating projects allows us as faculty to use our individual strengths to the fullest in mini-seminars and lectures rather than each individually covering similar concepts to a greater or lesser extent. JM: They are a united entity; so many of the previous students had a very striated experience, rarely knowing students from other studios. Combining the projects has unified students and faculty. Students explore design with both two-dimensional and three-dimensional expression.

What is your teaching philosophy? Do you encourage the students to explore and experiment, or do you focus more on basic skills that they will need when they leave first year? ML: The simplest word would be our philosophy is developmental. We adapt what we see as needed to the students. We start incrementally and tend to challenge them as they get used to studio culture in a logarithmic manner. With the freshmen we have an obligation to build upon what they know and lead them into this new way of learning in a very visceral manner; I term this more broadly as ‘embodied learning.’ We want them to grow holistically, realizing questions that drive them forward within design, using the tools to help them answer them. I believe architecture is a ‘full contact sport’ and its sensitivity to what underlies the real is critical vs. impositions of weak cultural [including design] constructs. We are committed to teaching skills within the projects in real time and in real scale to show how they enable design method and judgment, vs. simply learning rote conventions. Things are too interrelated to keep thinking, tools and skills apart, and we have had to test as many efficiencies in the teaching and projects as possible. Of course the Cal Poly/Dewey ‘learn by doing’ creed is also part of the ‘active learning’ school of thought and with the social atmosphere of the lab culture we encourage viral lateral transfer of ideas that may be seen as ‘constructivist’ thinking. Fundamentally though, my own practice and research leads me to believe there is much from very liberal readings of phenomenology to inform our work. Emerging philosophical thinking in OOO [object oriented ontology, ideas also gathered under the term ‘speculative realism’] seem especially promising to me…but ask me after I’ve written about them in a year or two! JM: We fully encourage the students to explore and experiment while we implement the basic skills. We employ challenging design projects that are also a vehicle for teaching the skills of model making, drawing both technical and freehand, use of shop skills, critical thinking, research. Every facet of learning is incorporated.

A smaller point is the quarterly portfolio that requires a constant archiving, but ends in a hardcopy that the faculty use for grading- and documents the massive efforts. It is a great device to show their growth beyond the memory of individual projects.

Groups of three students use sites within our own architecture facility, a 1970s systems building/brutalist concrete hybrid. Sites assigned include hallway edges, stair landings, patio walls, work patios, covered exterior stairs and a massive covered stair court. The sequence of assignments builds from an initial recognition of site qualities through a similar set as addressed the Port San Luis Pier, except now there is a digital phase via Bonsai software added to the set, and an expanded visual set of joiner images, loosely based on the work of Gordon Matta-Clark, David Hockney and others.

During the analysis process, students are asked not merely to document the site conditions, but create temporary (less than a studio session) full scale constructs on the site that reveal an aspect of their particular site that a casual observer might not know. The process of these assemblages in action is documented photographically, and the architecture building is briefly filled with lines and diagrams in tape, string vectors and impromptu windsocks. Work is established and intended to change site, but may not permanently alter sites. The idea of program is intentionally vague, but teams are asked to acknowledge the student as determinate of scale, as participant with the work, potentially addressing common use such as repose or seating [without being furniture], pause points for conversation [without being rooms], devices that measure changing site based phenomena [without being windows or shades], or articulating/extending the building formal logic or spatial qualities. The synthesis drawings become the opportunity to transcribe the analysis in two dimensions into an initial study in Bonsai, leading to full-scale mock-ups. The work is constantly field tested and reinstalled, and again, groups are asked to consider adjacent new work being prepared. The overt instrumentality of the project programmatic intentions is a natural extension of the work done during the analysis phase and sets forward an understanding of the potential for the project to act as mediating element between an individual parasiteâ&#x20AC;&#x2122;s audience/observer and the environment. The continued development of the scheme via sketch, Bonsai, analog model and initial mockups includes a tally of materials and quantities. The leap from thinking of materiality to actual manifestation of materiality is the key challenge. The idea that detail may have a radically pragmatic origin, aid in assembling smaller components or modules, or be a highlight in terms of physical operation, all come into play.

Andrew Martin Laura Dellâ&#x20AC;&#x2122;anno Estefany Franco

Workshops in welding are offered, and the faculty and shop director are heavily engaged in smoothing the process of discovery. Several weeks of development lead to a final iteration that will be installed for the last week of winter classes. The night of installation is treated as a group event. This is another night that brings the whole cohort together in identity, and adds to the respect accorded them by the upper classmen.

Marki Becker Katie Schwall Jessica Labac

Kelly Kha Haley Coughlin Nick McCracken

Ethan Meier Sonia Huynh Monica Mader

Sean Davis Elizabeth Sippel SamanthaTrehearne

Clara Lee Kristin Stoyanova Shawna Peterson

Rohan Shah Mia Vejzagic Krisna Sorathia

PARASITE Professors Michael Lucas, Brent Freeby, Keith Wiley, JoAnn Moore, Bryan Ridley Ryan Grady Brian Murillo Aaron Landrith

Sergio Costa Lauren Parcel Victoria Nizoli

Adam Griffin Aaron Belzer Alexandra Prior Michael Vickery

PIER 2009-10 ARCH 131 First Year Class Professors Jim Bagnall, Brent Freeby, Keith Wiley, JoAnn Moore, MIchael Lucas

Phase one is an ‘Essential’ problem: not just looking at the pier as an object that can be measured. In using multiple tools and modes of descriptiontext, number, image, rubbings, memory- they were to find what the essences are that make up the pier as an experience. This also entails their producing a measured set of drawings for, and model of, the entire pier. In this setting, measurement has relation to their body, vs. an abstraction from a drawn precedent. The work is accomplished within thirty teams of four to six students each, with each team assigned to a forty to sixty foot segment along the length of the pier. The following phase, ‘Re-membering.’ is gathering measurements with each member of the team contributing to the requisite set. A study model is made and there are fittings to see how segments are aligned with adjacent groups and as a whole. This segues into the third phase of the project, ‘Projecting,’ developing an oblique projection based on the plan, section or elevation executed by the students. The fourth phase, ‘Expanding,’ is an interlude amidst the highly abstract scaled drawings executed at the drawing board-revisiting texture rubbings collected from the site. The first action is digital- scanning and placing selected two-inch square rubbings in a nine square composition. The second part entails a ‘dirty day’ of blowing up the two-inch square rubbings by proportion into 36 inch by 36-inch freehand charcoal drawings. This is executed on the grounds of the building and reminds the students that the standing drawing position and size of work attempted changes the perception of the ideas within the work. The final phases begin with an identification and selection of personal sub-sites as a part of the opportunities each segment suggests. This selection leads to a small intervention into the site, housing actions noted in the commonplace use of the pier recorded in the initial site visit. Team members are asked to coordinate within the larger site for relationships to the pier and with each other, and this produces initial studies that range from teams interested in integrating the entire team as one composition, to electing a shared path network with individual studies.

The idea of this new project was to build upon vernacular precedent, and a visceral local history and ecology. The current pier is a mixed-use facility housing a small commercial and recreational fishing fleet, floating docks, several restaurants, a wholesale fish market, and Coast Guard and harbormaster offices. It is home to a resident population of harbor seals, and elephant seals, and otters.

Phase 1 : literaryINTERVENTION

Phase 2 : conJOIN

To begin this project, students excavated space(s) from a solid form that consists of a series of planes (a book). We know what a book is used for and rarely challenge that convention as it might cloud the communication between text and reader. This project looks for new opportunities and requires proactive intervention. The exploration begins as follows: what if the book is allowed to communicate through methods other than its reliance on the interpretation of a sequential progression through lines of text? What if a new order is imposed within this seemingly relentless system of structure? What are the parameters for exploration save the dogmatic culture presented as such?

In this phase we used the idea of addition to begin an outward dialog that reflected and built upon the internal interventions the students had performed on their books.

The first exercise of this project is fundamentally subtractive and may be counterintuitive to the students. Each interruption into the original context should be precisely critical of it and grow deftly from it, specifically regarding the following criteria: letter, word, phrase, diagram, or item of the book; inside vs. outside of the book; legibility of the text vs. legibility of intent; binding vs. edge; direction and sequence.

There were three primary possible ways to respond: suture, the reconnection of elements which were separated by previous operations, frame, the visual enhancement of an element, and link, the connect of two conditions by employing a third idea.

The students were asked to engage in additive exercises that revealed and extended the specific conditions of their book and developed an expanded formal vocabulary. This exercise was approached with continued criticism of the previous interventions with regard to the existing conditions: inside vs. outside and the spatial/volumetric zones they imply or establish, boundary vs. enclosure, and direction and sequence.

Anonymous Erik Holliday

These fabrications, joints, points, and transitions sought to seamlessly support the notion of a connection between the book and the outside world while carrying out the dialog begun by the students’ interventions. Before constructing anything, students were asked to discern what the intervention was directing the joint to be. They worked with intentionality, allowing simultaneous perception of the intervention and the extension. Phase 3 : Grip+Slip

Anonymous

Lauren Parcel

The two previous phases were devoid of a context, with the exception of the books themselves and the students’ interventions. The third phase placed the books into a context – the edge of each students’ studio desk - and asked the students to respond to it directly as a catalyst in the design process. Each CASE became the book’s personal mediator between the book and the studio desk, or context, in which it resides. The students’ first task was to design a case for their book, using the ideas and forms developed in the previous phases. This involved transforming the individual attachments into a cohesive whole which engaged their book. It also involved three additional considerations:

Anonymous

Book orientation- the location of book in space. The creation of the CASE necessitated a final decision on how the book was oriented in relation to a ground plane. Slip- either the book or the CASE now moves, the other remains static.The case should allude to the movement and the void created by the displacement in a legible manner. Book siting- the book’s placement in relation to the edge of the studio desk. Just as the case acts as a receptacle for the book and responds to the interventions made in the book, it must also engage with the edge of the studio table.

SLIPCASE Professors Michael Lucas, Brent Freeby, Keith Wiley, JoAnn Moore, Bryan Ridley

Taylor Spivey

Nick di Paoli Brad William Laura Dellâ&#x20AC;&#x2122;Anno Nicole Sugihara

Allison Ball Nick Pa jak Lauren Parcel Wil Strickland Cameron Richards

Ethan Ma Ryan GradY Tanner Diaz Taylor Spivey Will Dimichelle Aaron Landrith

Clara Lee Kelly Kha Hallie Travis Angela Maxwell Cameron Hampstead

Luis Esparza Matt Kidd Angela Varela Amy Wilson Adam Griffin

DESIGN VILLAGE Professors Michael Lucas, Brent Freeby, Keith Wiley, JoAnn Moore, Bryan Ridley

Eric Lund Adam Strauss Jillian Keuhnis Monica Mader Andrew Jimanez

CAED has long sponsored a student club that conducts a three-day designbuild weekend, Design Village, in Poly Canyon adjacent to the main campus. Design Village is an open competition for student teams, typically drawing three hundred plus students in thirty to forty teams a year, primarily from California Community Colleges. The teams drop off their components at the throat of the canyon access on a Friday morning and must hike, roll, drag or cart their work back the two miles to the designated Village site. They erect their three day/two night dwellings with only the tools they walk in with- the canyon has no lighting and no power for the contestants. Judges evaluate the structures on Saturday morning, and give out awards on Sunday morning. The work starts with a hike to the conyon and students getting a sense of the slopes, ground strength, grassland, and winds, which regularly reach 25 mph. Students must consider rain, along with heavy fog as well as the Mediterranean sun. The initial phase asks students to reflect on what dwelling means- comfort, bounds, safety, etc. The first phase is individual student ideation, asking them to project themselves and site as one. While previous work had acknowledged the body, the Village assignment requires understanding of the awake and sleeping person, accounting of being on the ground or suspended above grade, and distribution of over one hundred pounds of live load from the students, and wind loads. The next phase asks teams of five to six students to again get into team design mode, and the designs this time stress re-use of materials from paraSITE, along with considerations for ease of assembly, weight, and transport. The challenges of weight vs. strength, accommodating several students and their chosen Village culture, and the group weight are critical. The typical projects attack weight via frame, membrane and fabric, with ingenious use of use of landscape fabric, recycled clothes, plastic bags, and rope.

Lilly Sippel Beth Schlacks Lizeth Benitez Camille Hardin Brianne Lundgreen

Mike Tam Aly Rodgers Aaron Belzer Phillip Sweeney Shawna Peterson

2 Second year is a watershed in the education of a student of architecture. The frame of reference of a second year student expands dramatically as they engage physics, statics, materials, methods of construction, systems, and history. Each of these prisms, whether social, political, theoretical or technical, focuses a different light on architecture and it is refracted into a thousand different rays. The role of second year design studio is to refocus the light and bring each of these issues to bear on the practice of architecture and the pursuit of multivalent proposals for the built environment.

Students in their second year of their design education discover that architecture is paradoxical. It is both process and product. It is both material (existing in the physical world) and immaterial (drawing from the world of ideas). It must simultaneously respond to interior forces (such as program and function) and exterior forces (such as culture, climate and context). It is created using both digital and analog media. It is both space and place. In the spirit of John Cage who wrote, â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s within the contradictions and ambiguities that we must find our work,â&#x20AC;? second year studio helps students confront these dualities and channel them into inspiration for their design proposals for a complex contemporary society.

Studio courses in second year synthesize the full-range of architectural issues by introducing site, program and constructional fundamentals. At the same time, student grasp of design techniques introduced in first year such as sketching, diagramming, orthographic projection, and digital tools are deepened and applied to their work. The expanded time frame of second year studio allows for the instruction of these techniques to be integrated into the development of design projects so that a dialogue is established between conception and execution. Students are encouraged to alternate between 2D and 3D techniques in order to build their language of design representation; in doing so they also establish a feedback loop between conceptual form and physical manifestation. To some observers, second year design may appear to focus on traditional forms, techniques, materials and building systems. The intentions for this approach are twofold. First, although advanced materials and digital tools allow great freedom in architectural form, it is also necessary for designers to understand parameters that can and should delimit most architectural projects. Second, it is crucial to make the relationships between material and fabrication, and between form and process apparent before students move to more complex digital studies and fabrication methods where these relationships become less visible. The instructors hope that a solid grasp of fundamental architectural approaches will provide the foundation for greater speculation in third, fourth and fifth year design studios.

.02

DISCOURSE AN INTERVIEW WITH PROFESSOR KENT MACDONALD

ADD Publication: To begin we would like to find out a little bit about yourself and your experiences. Where are you from originally? Kent Macdonald: I grew up in a middleclass suburb in the San Francisco Bay Area. My mother taught in the School of Social Welfare at Berkeley, and my father was an accountant in a construction firm in San Francisco. ADD: When did you first become interested in architecture? KM: As a boy, perhaps when I was 10 or so, I liked to design houses. I lived for the Sunday real estate section of the newspaper because there were floor plans of new houses for sale. ADD: Can you tell us your experience in University? KM: I went to Berkeley – where everyone in my family went. I began thinking I would be an art ma jor, specifically a painter. However, the wonderful thing about Berkeley is that you don’t have to declare a ma jor until you’re a junior – you get to dabble. And so I strayed into all manner of things. Film history, English literature, American history, German, and Scandinavian linguistics. I did not want to leave school – but finally had to because I was way over my fair share of units. I admire Cal Poly students – to declare a ma jor before you even get here, without knowing what the topic is all about – is a great leap of faith, an act of bravery almost. On the other hand, I wish the program (as a whole) would allow more exploration outside the ma jor. The GE business doesn’t really cut it. ADD: How did you get into architecture? KM: Once I left school, I realized that I had expended my passion for Old Icelandic and Norse mythology. I took a summer drawing course in architecture – the equivalent of our Arch 121 – at Berkeley. I loved it – I met my future business partner and pulled my first allnighters there – and applied to graduate school the minute the class was over. ADD: Would you say that your professional experience has influenced your teaching methods? If so, how?

KM: My professional life – prior to teaching full-time – was focused on affordable multi-family housing and community design. Each involved working with disadvantaged or special needs populations, such as the working poor or fragile elderly. It also entailed working on issues of smart growth, that is, sustainable planning at the regional or city level. When I taught fifth year, those were the topics of my studios. In teaching second year, I have had to broaden the scope of issues we tackle. And obviously, there’s much more emphasis on building up the students’ basic drawing and modeling skills, their knowledge of practical issues, and their formal dexterity. ADD: What kind of projects or exercises do you focus on? Why? KM: Given the diverse trends in contemporary design and the wideranging nature of the profession itself – there is no correct architectural style or design method that one can teach with absolute surety: people are all over the place in terms of their approaches and their stylistic predilections. So, I consider that the essence of my work as a teacher involves helping students find their own artistic voices – or more broadly even, their voices as people. To that end, I try to find a middleground between structured and open assignments. I err to the more open side, which is admittedly risky: sometimes the students make terrible decisions – and I suppose, so do I. On the other hand, I can truthfully say that the students’ work is their own, and I like the fact that their projects look different from each other. In the end I take a traditional view that one learns the art of designing buildings by designing them – rather than standins: a birdcage, say, or more abstractly, the meaning of life. Thus, second year in my studio begins with a building design project, not a building fragment nor a series of exercises, but a small shelter that grows in size and complexity over the course of the quarter. In second quarter, the single project is even larger, but with a tightly constricted envelope and site. At this stage, I also allow the students a bit of freedom regarding the program, giving them some say

in the matter of what exactly they’re designing. By third quarter, the students are designing free-standing buildings, with their own programs, within guidelines of course, on an open site. These projects are quite ambitious in terms of size and program complexity (indeed, the curriculum requires a “comprehensive project” in this quarter). In any event, “largeness” is a plus: there is plenty to sink your teeth into.

ADD: As the students enter Second Year, what do you expect their skill level to be? What kind of skills would you like the students to obtain by the time they progress into Third Year Architecture? KM: Every year is an important year in the students’ development, especially in the minds of the teachers of that particular year. I myself am quite positive second year is unique! Seriously, it plays a very vital role in the overall scheme of the students’ development. This is because, pedagogically, it’s a bit of a hybrid. On the one hand, it continues first year’s “skill building,” with an emphasis on basic drawing and model-making abilities, as it continues to introduce basic design issues of scale, proportion, and composition. On the other hand, it’s a transitional year. The students, after a rather structured first year with mostly short, focused exercises, are ready for a different kind of engagement with architecture. I think they want to feel as if they’re doing comprehensive, important work – not just calisthenics. And so, quarter by quarter, the projects in all classes of second year get longer and more complex – more building-like. The real ability of an architect, and what makes him or her different from other professionals in, say, engineering, is a general one: the ability to synthesize a lot of different types of information at once. This ability is the one that begins to be tested in earnest in second year, and it carries forward into third year and beyond. In order for that to happen, of course, the projects need to engage the students at multiple levels. That said, to answer the questions more directly, what I look for in a student

ADD: To further your students’ interest in architecture, what kind of extracurricular activities would you ideally include to help students relate to the “real” world? Do you and your studio travel to other cities in the course of the year? If so, what do you focus on? KM: Among the most important extracurricular activities are field trips. The local ones we’ve done have focused more on practice-related issues: we’ve visited building sites under construction, a cabinet shop, a lumberyard, as well as a couple of newly opened “green” buildings. In fall of 2010, the students proposed designs for the Vellum Furniture Competition; we selected one “winner” and had the design fabricated at a local woodshop. I’ve gone several times to San Francisco (including Oakland and Berkeley) and Los Angeles, including three bus trips with Robert Arens’s studios. The itineraries of these have included well-known buildings (among them

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the new Morphosis-designed federal building and DeYoung Museum in SF, the Cathedral of Light in Oakland, and Disney Hall and the Schindler House in LA). The bus trips, I should add, which last all day, have been great bonding experiences for the students, too. The trips have also included office visits to several well-known firms, among them HOK, BAR, Fougeron Architecture, and Aidlin Darling in SF, and Stephen Ehrlich, Pugh + Scarpa, and Marmol Radziner in LA. These visits are especially useful: the students get a sense of the firms as working environments – and they see that they’re not that different from the studios at school. They also get a sense of their personalities – and they see that these can be profoundly different, at least in so far as one can glean from a short show-and-tell.

in multiple formats (digital and analog modeling, hand and digital drawing, precedent studies, site analyses, etc.). We look at a lot of built work, augmented with the occasional reading. ADD: Lastly, why have you decided to teach second year? KM: I have taught in every year of the program at Cal Poly, including several years in the senior thesis. Each level has its advantages and challenges, but I’m extremely happy to be in second. The students’ level of enthusiasm – their yearning to be free! – is at its peak, and it is both a pleasure and a responsibility to nurture that drive: the students work extremely hard and are extremely demanding of my time and attention. I should work hard, too. ADD: Thank you very much!!

ADD: How do you strengthen your students’ understanding of architecture? KM: The lessons aim towards a comprehensive view of architecture. Even in second-year, I believe the students are served best by their being engaged at multiple levels at once; I prefer this to one that divvies up problems into discrete pieces. The students work at multiple scales and

(whether coming or going) might be said to relate to attitude: an open mind, a willingness to try, and patience: you don’t have to be Zaha Hadid or Bjarke Ingels in your second year of design school.

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A PLACE TO BE + Professor Art Chapman Professor Howard Weisenthal

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(d)

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(a) Ghazaleh Keshtgar (b) Jessica Moon (c) Charlie Delkeskamp

(d) Cindy Wong “Place To Be” (e) Cindy Wong “Courtyard” (f) Maddie Pfeffer

HILL HOUSE AT NAGASAKI HARBOR 20

Mason Hayes Professor Kent Macdonald

The Nagasaki Harbor House is conceived as a glass bar shrouded by a translucent shell, a threedimensional line that projects over the hillscape. It is a dwelling for an enigma, an unremarkable but lovesick woman awaiting her husband to return from overseas. The program includes a large master suite on the second floor, a bedroom for the womanâ&#x20AC;&#x2122;s child, living quarters for the au pair, a kitchen, dining room, a double-height living room, and a transitional atrium that serves as a chamber of separation between the public spaces on the first floor and the intensely private second floor. The program is inserted into an orthodox linear composition of 14 ten foot cubed modules. Vertical circulation cuts through the central atrium space, bursts through the two membranes, and asserts itself on the northern faĂ§ade as the motherâ&#x20AC;&#x2122;s perch, a place from which she may supervise her child playing in the garden below. Horizontal circulation is oriented outside of the primary glass shell, running the length of the house, and is protected by the translucent outer skin. This corridor terminates in a reaching, forlorn gesture that cantilevers out toward the sea. In section, the structure is anatomically layered in much the same way as the trees that dot the site, trees from which the structure derives its orientation on the property.

SOMA CHOCOLATES The disconnect between final product and raw material is a theme that has defined chocolate since its introduction to the western world. However, in small scale chocolate production, the cocoa bean has begun to retake its esteemed role in the process. This has led to a higher quality of life for harvesters and finer end product. This theme of unity and dsconnect was a powerful driver in the project. Through circulation and interlocking floor uses, anyone from a client to a cafe-goer can become more educated about the process of chocolate making. The project also encourages interaction between coworkers. Glass allows constant visibility, encouraging understanding and community in the office. The top two floors provide a modern living space for a family in the reemerging neighbourhood of South of Market. Although differing in use, the spaces are tied together with a horizontal aluminum skin based off of the cladding of surrounding buildings. As the floors gain elevation, they rotate in accordance with the sun. As they rotate, they penetrate a concrete bearing wall. The wall organizes the separate spaces and allows their tranformation from aluminum to glass. This rotation also allows light to enter from the roof and unite the floors. Contrasting the visual dislocation from the structure, the floors are also united with materiality, mullion spacing, stairs, and a perforated metal screen that wraps the building.

2010 Second Year Award Winner Kory Worl Professor Robert Arens

Santa Rosa Park is a peaceful but well-used park nestled between a busy road, residential homes, and commercial buildings. Once inside the park, one can enjoy its beautiful mountain views and light northern breeze. However, this park has lost its center. When driving past, one’s eyes move past the park as though it is not there. As new interests and needs come to the

SAN LUIS OBISPO FILM CENTER AT SANTA ROSA PARK 22

Elise Greska Professor Kent Macdonald

community, each activity is then “tacked on” to the park, leaving no clear direction or focus. There is no path connecting one activity to the other. Therefore, there is a need to re-connect the park back to its center, and also the park to the community. The SLO Film Center is a great way to re-organize the park and to connect the park to the San Luis Obispo community. A film center bridges the gap between multiple generations and interests, while also encouraging learning through the annual San Luis Obispo Film Festival and various classes. Upon studying what a film is at its core, I discovered that each movie or TV show is always an adventure that takes its viewer on a journey away from their everyday life. Throughout any film, one’s view of the characters or the plot is always shifting and changing as new events take place. I took this idea of film and applied it to the building itself. The film center became the “opening scene;” its hinge-like appearance opens up the park to the surrounding community. As a visitor journeys through the park and the building, they walk along designated avenues that connect points of interest to each other. The walls shift past the corner where it connects to the intersecting wall, creating an interaction of material and interest. One can also discover little “moments” where one can view the “film of life.” A small balcony will allows a visitor to stand just off a walking path and view the interaction of people in the lobby below.

Emmanuel Osorno Professor Kent Macdonald Process is about discovery and exploration. This house project is the result of three consecutive exercises in which programmatic elements varied significantly, influencing the design into its final form. The residence, which lies on a small slope overlooking the Nagasaki Harbor, is intended to house a small family of four: husband, wife, son, and au paire. The design consists of a central living area with extended sleeping quarters for the couple. In response to the characteristics of the site, the house maximizes the views towards the harbor and makes use of the topography to separate spaces by different floor heights. Additionally, the design draws from several Japanese traditions: flexibility of interior spaces to suit various uses, emphasis on indoor-outdoor relationships, and establishment of harmony with its, among others. The synthesis of all these elements result in a house whose spatial arrangement trigger residents and visitors to experience the house in various ways.

HILL HOUSE AT NAGASAKI HARBOR

SAN LUIS OBISPO ART CENTER A successful community center in San Luis Obispo should be able to integrate all members of the community and take advantage of its unique composition of families, retirees, and college students. Cultivating the arts is also important in any community wishing to provide opportunities for growth and outlets for creativity. Educating children about the arts is important because they learn refine their artistic techniques and make their creative expression more coherent.

Ayako Nishimura Professor Kent Macdonald

College students benefit from the arts as a creative outlet, while older adults maintain a healthy mind through engaging in artistic activities. Providing a central space for creative production would increase interaction between the isolated generations in the San Luis Obispo community. A craft center promotes artistry and imagination and provides hands-on activities that produce tangible results. The Santa Rosa Park community center houses craft and art workshops, galleries, classrooms, and other large multiuse spaces. The simplicity and sharpness in the design act as a blank slate, representing the potential for creativity. Wooden screens provide shade and vertical repetition to the façade, while large concrete planes cut through the repetition. Large panes of glass allow for select views into and out of the structure, taking advantage of the park’s great views of San Luis Mountain and Bishop’s

Peak. Trees and shrubs surrounding the building soften the hard edges and bring even more life to the park. The design consists of a separation of programs joined by a shared space in which the program is much more flexible and dependent on the users. The simple layout allows for flexibility and ease of circulation. Adaptability is key in a building whose use will undoubtedly change throughout the course of a day, a year, a decade. The large multipurpose room has large rotating glass doors, opening to a great view of San Luis

Mountain and expanding into the grassy hill of the park when desired. Flexibility also applies to the classrooms, which can open to each other, the playground, and the partially enclosed courtyard to create outdoor workshop spaces. The shared two-story space provides an atrium with an information desk, gallery space, seating, and circulation, while the second floor houses a café, outdoor seating with views, and office spaces that are screened from most users’ perspectives. Because much of the first floor space is not designated to a certain program, the adaptable area becomes subject to constant changes in the spaces surrounding it.

A WEEK IN THE LIFE 25

Trent Fredrickson Professor Troy Peters

The design of these three projects includes large forms that convey the idea of containment of thoughts through large structure, with elements exploding outward from the gaps representing spontaneity or randomness. My intention was to create a sense of closed, regular, well-defined spaces, but with interesting openings for circulation and views, which give an impression of the complex and unique process that my mind goes through during a typical week.

DISCOURSE

AN INTERVIEW WITH PROFESSOR TROY PETERS ADD: Where are you from originally? Troy Peters: I was born in Kansas City, Kansas but I grew up in Illinois around Chicago.

efficiency and then have the student work on the design, instead of designing a building and then trying to make it energy efficient.

ADD: When did you first become interested in architecture? TP: In 1995 when I was 32 years old. (You weren’t interested in architecture as a child?) No, not really, I mean I was always interested in buildings, but when I first went to college, I ma jored in mechanical engineering, and I had friends that were in architecture. This was at IIT, Illinois Institute of Technology, and I would visit them in Crown Hall. They were spending their time drawing with pen on a 24” by 36” sheet of vellum. they were filling the sheet with bricks, little bricks, perfect little bricks and if they messed up, they would start over. To me, this seemed ridiculous. I thought if that was what Architects did, then architecture was ridiculous. Later, after I graduated from college, I had a job designing grain elevators and I went to the Soviet Union. When I came back I needed something new to do and my dad had just retired from teaching so we decided to build a house on spec. I wanted to learn more about buildings and architecture, so I went to school at night. I took my classes at a community college and my professor was David Leary… he actually came here last year to exhibit a bunch of models that were made by students of his… anyway, he got me interested in all things architecture.

ADD: Have you worked for an architecture firm? TP: I’ve worked in 2 firms, one was in Chicago, and it was called ‘Design Bridge’ and we mostly did multi-unit buildings, usually they would have commercial space on the first floor and have 30-60 residential units and then I worked for another firm called Nathan Kipnis Architects and we specialized in solar houses. ADD: What kind of projects or exercises do you focus on? Why? TP: When I taught second year, right now I’m in third year, but I’m going back to second year… I like to start with small projects, they’re pretty easy I think for second years… I like to start small, one of the projects I do is, write about what they do during the week and then it will be write or do a diagram or a model of that and then make a building that they could live one week in… so they kind of build on each other. The other thing I did was a magician’s studio where first they learn a card trick and then they build a platform to perform the card trick on. The projects usually starts off small and get built upon. It makes every project important because if they blow off the first project it’s going to be hard to move onto the second and it allows them to understand the project more.

ADD: So, where did this all took place? TP: In Illinois, at a community college called College of DuPage. I took all the architecture classes I could there and then applied to go to graduate school. the University of Oregon was the only school I wanted to attend so it was the only place I applied to and I got accepted and I went there and now I’m here.

ADD: What do you expect from students coming into Second Year? TP: I expect them to be able to have some kind of graphic skills, so I don’t teach them how to draw or sketch but I would help them with layouts and graphic design a bit. I allow them to use the computer and hand draw, whichever, they are most comfortable with.

ADD: Would you say that your professional experience has influenced your teaching methods? If so, how? TP; Yes! The great thing about the houses that I first built was they were very energy efficient, so they hardy used any energy to heat, even though they were in Illinois. The bad thing was they weren’t Architecture, that came later. When I teach I start with energy

ADD: Students coming from first year, their work tends to be quite abstract, and you’re coming from this energy efficient background, do you try to somehow blend this together? TP: I try to… what I’ve tried to do recently was to have them start energy efficient building, to know the parameters of an energy efficient building so that instead of designing for energy, they

already know what they have to do for the energy efficient buildings and they can design a more architectural space instead of going from architecture and then trying to plug in energy, which I think makes a clunky building, they already know what they have to do, and then go design architecture. ADD: What kind of extra-curricular activities would you ideally include to help students relate to the “real” world? TP: I always visit the site. I’ve been trying to have the site in Los Angeles or San Francisco now. When I first started I didn’t really know where to bring people. I really like to do fieldtrips and get students out. ADD: I remember when you first came here, you got all your students to build a furniture piece that would be placed in their little retreat… TP: Well, I still have people build furniture. I’m doing a studio in collaboration with a landscape studio so that the architecture students can work with the landscape students. The first project we get them to do is to design and build a piece of furniture that will fit together… that is a 2 week project. ADD: How do you strengthen your students’ understanding of architecture? TP: Well, one of the exercises that I like them to do, is to pick some piece of architecture, whether it be a façade study or a place they feel comfortable, and try to recreate that, a model or some architectural way to try and get that feeling of that space and then take a space that they really like or a feeling that they really like and recreate that in their own projects. For example, I have had students take a walk down San Luis Obispo, and then pick buildings that they like the feel of, a building that they felt had a good urban space and try to recreate that feeling. The point is, I want them to have feelings about architecture and not think architecture as a style but as something that creates a mood or feeling and it doesn’t have to be a particular style.

CREEKSIDE COHOUSING COMMUNITY 27

Alyssa Miller Professor Troy Peters INTERACTION: I wanted to create a family oriented nationhood that would promote interaction within the community. I focused on providing spaces with varying levels of intimacy. The progression begins with the most public space in the middle of the site, the community center. From there the families are split up into successively smaller increments until the highest level of intimacy is reached. MODULARITY: My designs are based on modules because of the flexibility. There are two families in each housing unit. The families share the kitchen module and each have their own first floor module. There are six, second floor modules options, so the family can choose the one that best fits their family. The second floor modules can also be swapped so the house can grow to accommodate a growing family. SUSTAINABILITY: The community was designed with sustainability in mind. I chose materials that are functional, aesthetically pleasing and earn LEED credits. Grey water systems are incorporated into each building design, as well as solar panels that serve as the main energy source. I also used the SolarShoeBox program to create a passive solar building design.

SHIFT

How can a “shift” be applied to a multi-use building in order to encourage a sensuous experience and create a better quality architecture.

2010 Second Year Award Runner-Up In many under-developed cocoa producing countries, such as the Ivory Coast and Ghana, Kiley Feickert cocoa farmers determine the quality of the Professor Robert Arens

cocoa bean using a limited number of senses, mainly having to do with the beans appearance. However, when one hears the term “chocolate” the first sense that comes to mind is taste. This disconnection in the production process has begun to be bridged in certain instances. With the encouragement and resources from those like John Kehoe, flavor labs have been introduced in these under-developed countries in order to educate the cocoa farmers regarding techniques that better the quality of their product. Cocoa beans are now beginning to be judged not only on appearance, but on the taste of the chocolate that comes from these beans as well. This process has become more sensory than physical, yielding a higher quality product. If this shift can be interpreted in the architecture of a multiuse building that includes residential spaces, office and reception spaces, and a small-scale chocolate factory, a more sensory experience will result. In San Francisco’s SoMa District, this idea of shift is employed on an infill project in order to encourage interaction between different uses of the building and to lead in a community effort to transform the neighbourhood. This shift not only affects the interior interaction and spatial qualities of the building, but also becomes an interpretation of the typical San Francisco Bay. Upon approach from 8th or 9th streets, respectively, a different visual perspective is presented to individuals in order to draw them toward the structure. The geometry of the shift is derived from the back of the building to the north and the five foot setback from the building to the south. This geomentry creates a shifted floor plate that begins to pull away from the building to the north and causes the floor plate to push in from the building envelope along the south face. This push in creates a void within the envelope which provides space for a stair to rise two stories, and allows light to filter into the lower levels of the building. Providing interaction between multiple floors, the continuous stair also encourages the use of multiple senses while moving throughout the structure. When circulating, the sight of the production becomes present along with the aroma and sounds that come with production. This increased interaction creates an experience unsimilar to most buildings in San Francisco. Shift also applies to the cladding located on the exterior, and read from the interior of the building. The floorplates that protrude past the property line to the west (street side), create a shift in the predominantly glass skin, and become more expressive through the use of horizontal copper panels. The copper panels follow the subtle angle along the protrusion of floors 2-4 and are drawn into the space along the void behind the glass exterior. Although the footprint is a mere 20’x80’, a void, containing a stair, transcends three floors and creates a spatial experience that encourages users to interact with multiple levels, while stimulating the senses of its occupants.

Siddartha, the founder of Buddhism, once described the Buddhist philosophy as vast emptiness. This emptiness results when one breaks free from the cycle of reincarnation and achieves nirvana. Reaching such spiritual enlightenment requires the courage and patience to separate from the material world and pursue the eightfold path. The resident, a practicing Buddhist, recently made the decision to relocate far from mainstream society, to a secluded plot of land off highway 58. The house I created for the Buddhist focuses on allowing his lifestyle to complement and combine with his practice. On the site itself there are three large voids and four walls. The walls of the site provide stability and structure in opposition to the uncertain terrain shaped by the voids. The Buddhistâ&#x20AC;&#x2122;s home rests on piloti above a platform for meditation. Below both is a large cavity which serves as a reminder of the pure and empty mind achieved through meditation. Movement in and through the house is determind by this unnatural space below. The promenade forms a path back and forth across the void, literally represented in the plan by a break in the floor forcing the Buddhist to confront and become comfortable with the reality of his practice. The structureâ&#x20AC;&#x2122;s internal and external composition is determind by modernist principles. The break in the floor translates to the ceiling, causing a split and section to incline as the skin frees itself from the restrictive frame. Openings on the south side optimize a view away from the road, and openings in the ceiling allow indirect light to illuminate the interior and affect layout. Inside, the separate spaces are loosly defined by the single wall or an alteration in the skin and the few pieces of furniture are pulled in from the frame to free the plan. Modernism aides in the conscious creation of a home, which to many is a worldly possession, without it becoming materialistic. The Buddhistâ&#x20AC;&#x2122;s home consists only of necessities, organized to facilitate and encourage his practice.

BUDDHIST WITH MODERNEST TENDENCIES

Candence Bailey Professor Robert Arens

3 Third year students build on the foundation principles of design learned in the first two years of the Cal Poly program or the 2 year programs from which they transfer. Students are exposed to the complexities of building design regarding program, site, structure and the integration of conceptualization to formulate a story for how the project has evolved. Fall quarter has a focus on integrating site and building case study knowledge. Winter quarter has a focus on environmental systems integration and spring quarter is total building integration (comprehensive design) of structure, program, and skin.

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PHOTOSYNTHESIS Karen Wang and Edgar Carmarillo Professor Tom Fowler Photosynthesis is the chemical process of creating energy by absorbing light. Plant growth thus depends on the orientation of the light source. Chloroplasts are the sites where photosynthesis occur in plant cells. They consist of stacks of double-membrane disks called thylakoids to absorb sunlight and excite electrons. Developing the process of generating energy from absorbing light (photosynthesis), the multi-layered cladding system of the building controls light and reflects the wind pattern of the climate. The two towers mimic plant forms to maximize surface area (the amount of light illuminating the interior space) where each floor is staggered to increase sun exposure. The idea is that light can generate energy for transitional housing and the people that dwell in the towers.

The Re-Ligare Institute provides spaces to meditate, learn, and live and supporting spaces for those three main functions. The primary tower consists of larger spaces like lecture halls, spas, yoga classrooms, and public spaces. The secondary tower consists of more private functions like single resident occupancy rooms, staff offices, research rooms, and smaller classrooms. Service and garden spaces are distributed throughout both towers in 8’x9.5’x22.5’ shipping containers. There is an atrium space in each tower to provide open interior views. Bridging spaces provides horizontal circulation between the two towers. The cladding system shades light with laminated photovoltaic cells and expanded aluminum mesh between double glazed layers. On the south façade, PV films and expanded aluminum mesh are laminated to generate energy from direct sunlight as well as shading interior space. On the north façade, there are air-cavities in between the glass layers to assist ventilation and add additional thermal barrier. The east and west facades have aluminum mesh in between the diagrid structure to provide additional shading. The structure will integrate the space of the high line without intruding on it. An atrium space connects the high line to the Re-Ligare media center and the spaces above it. The walkways are structural components as well as walkways to the alternate tower. They do not serve program functions.

VIBRANT CLARITY Tao Li Professor Jim Doerfler

Vibrant Clarity is Toyota’s design ethos that challenges a long standing design paradox, to produce vehicles that are energized and dynamic, yet, at the same time, rational and ingenious. Vibrant Clarity is a synergy of two distinct values, “VIBRANT” refers to the forward-looking, vital nature of the new designs, and the feeling of the energy they impart to the customer, “CLARITY” stresses the rationality in the design equaion, the need to keep the design crisp, functionality intact, and its concept easy to interpret at a glance.

DISCOURSE AN INTERVIEW WITH PROFESSOR MARC NEVEU

ADD Publication: Where did you grow up? Marc Neveu: New England. ADD: Where did you attend college? MN: I have a professional architecture degree from Wentworth Institute in Boston, MA and a post-professional M.Arch and PhD from McGill University in Montréal, Quebec.

ADD: How many years have you been teaching at Cal Poly? MN: 2010-11 is my fourth year at Cal Poly. ADD: What is your favorite part about the 3rd year architecture at CP? MN: Everyone tells me, and I think I agree, that there is a particular energy in the third-year at Cal Poly. Most students, and even some faculty it seems, have a sense that it is the most important year after thesis and so many students have the expectation that they will need to work hard to get the most out of it. That said, I think each year offers rich and varied experiences. ADD: What are the main principles you strive to teach each quarter? MN: I don’t really focus on principles, a method, or technique. Rather, I hope to encourage students to see the familiar in an unfamiliar way. ADD: What is the most important part of the design process? MN: Self-awareness and the ability to represent it. I guess that’s two things? ADD: How would you describe your teaching style? MN: Evolving? I wish I could say Socratic, but I don’t think I am there yet. If you ask students they may tell you that I ask too many questions. This is sometimes true. I try not to act as designer or give students design solutions or a list of precedents. Rather, I try to encourage students to develop their own questions. This is, I think, a much more active way of teaching and, I hope, a much more valuable experience. ADD: What have you been researching/ writing about? MN: My research and writing has developed around two intertwined

topics: architectural pedagogy and the tradition of phenomenological hermeneutics. More specifically, I am currently working on book-length study on the origins of architectural education in 18th c. Venice. Topics of recent articles include the relationship between architecture and engineering in the tower projects of Myron Goldsmith, narrative identity in the exhibition spaces of Sverre Fehn, the temporality of Scarpa’s museum projects, the role of history in the Prato della Valle, and most recently a paper that compares and contrasts architecture influenced by the conversation around “affect of sensation” (through the writings of Deleuze) with a phenomenological perspective found in Merleau-Ponty’s writings. ADD: How have these topics and influenced the way that you teach? MN: The ma jority of my research investigates architectural pedagogy, at some level. Each of the architects above, for example, was also a professor. So, there must be some influence! I would say, though, that my approach to teaching has developed and is very much still affected by my research into Carlo Lodoli. Rather than propose a method or style for his students to imitate, Lodoli taught by narrating fables, an oblique approach that promoted the individualized development of his students’ interests. For Lodoli (and certainly me) a good professor is able to ask difficult questions and develop that same ability in students rather than simply act as an arbiter of taste or a producer of form. ADD: How has this writing influenced what you teach? MN: Well, what I teach is in large part determined by the curriculum and the Department Head. To address your question more specifically, the topics of the studios and seminars are very much borne from my own research interests. For example, I ran a seminar last year that was organized around four debates that were at once contemporary but also had a longer tradition. The intention of the seminar was two-fold. Th first was to engage students in a series of contemporary architectural issues. The

second was to understand these issues in a dialogical manner, thus making history and theory more active. Each student had to take a stand and defend his or her position. By framing the discussion with a longer lens through various readings, students were able to take a position vis-à-vis another’s. In other words, they could argue for a position that was more substantial than simply “I think.” ADD: How has this writing influenced you as a professor? MN: Similar to your last question, my research very much informs how I teach. The topics of recent studios deal with ideas around history: memory and memorialization, translation, interpretation, etc. Certainly the questions I ask to history and theory are readily apparent in the course topics I propose. I also think it is important that architects (and, yes, even architecture students) know how to write and speak well. On a very simple level, asking your own questions about design to others who have similar questions only makes your questions that much more rich. This, I think, is the value of scholarship.

MOBIUS HOUSE Kate Taylor-Keating Professor John Lange While creating a mansion on a cliff may seem to be a simple and unassuming task, this project stretched many of us beyond our usual design process. We had few requirements: incorporate a Euclidean grid of some sort, along with a Mobius form. In addition, the building had to be structurally rational. We were told by our instructor that no element should be added by accident. If we found that an addition created a problem, we were challenged to add the necessary pieces to stabilize or fix that particular issue, never to take anything away. This practice was particularly insightful, as it is standard for us as architects to want to plan everything out ahead of time. Being forced to allow freedom and change in our design challenged us to think outside the box and manipulate the structure as we went.

In my design, the floors served as a Euclidean grid, which I placed first, using quadrilateral shapes, and triangular shapes gesturing towards the cliff. The Mobius forms served as the canopy for the building. The applicator sticks and wooden post created the structural base for the design.

FAHRENHEIT 451 LIBRARY Tiffany Carlson Professor Marc Neveu This design takes place in the world of Fahrenheit 451, the novel by Ray Bradbury, where books are banned and firefighters are given the task of burning them. The building serves as both a memorial to fallen firefighters and a hidden library for secret dissenters. The design exists within a given narrative, and therefore express change over time. A monolithic concrete structure once housed a long corridor ending in a meditative light shaft, and deep inside its walls, a library sat hidden. However, both have been forgotten beneath a haze of television screens. Like the book from which it came, the building is a satire, questioning the replacement of genuine memory and knowledge for instantaneous culture.

PERFORMED PERFORMANCE Spring Development: Zach Crocker and Lauren Bordessa Winter Development: See above Professor Mark Cabrinha The project was originally started in the Winter quarter of 2010 by Dion Dekker. The project was run as any other quarter long design project and as such it stayed primarily within the schematic design phase. In the Spring of 2010, the project was handed over to Lauren Bordessa and Zach Crocker. Together we took on the work of Dion Dekkerâ&#x20AC;&#x2122;s project and continued to develop it, rethinking some of the beginnings of the project, but focused predominantly on moving from schematic design to design development, intending to flush out the project. The two quarter studio allowed us the time to develop a project far further than any other studio and the switching of projects allowed us to not only to work on a new project, presenting new design problems and a fresh look, but also gave us practice in the idea of collective work, not treasuring a single idea.

The question of the role of architecture seems to be constantly changing as times progress and culture constantly adapts. How should it relate to the natural world? How does it relate to the human? Given the diverse program of the Re-Ligare Institute, a center for the mind and body, paired with the neuro-biological research center, these questions become more and more evident as the polarities within human perception are exposed. On the one hand there is a scientific, hard-fact, quantitative understanding of the world around us. On the other there is a phenomenological, qualitative, perception of the world that every human experiences. Based on the program, these two forms of worldly explanation become apparent. By looking at them through the eyes

reciPOROSITY: Winter Development: Dion Dekker Spring Development: See below Professor Mark Cabrinha

The Re-Ligare Institute and Neurobiological Research Center combine together into a building organized around porous, semi-enclosed spaces that encourage the reciprocal interaction between scientists and visitors. A central research spine rises from artificial bioswales and overlooks spas, social gardens, and meditation spaces. The landscape seeps into the large atrium covered by an algae bioreactor glazing system. This sustainable algae system feeds on urban wastewater runoff and when the algae is mature, it is harvested for biofuel in the labs, nutritional drinks in the algae cafe, and massage oil in the algae relaxation spa.

of a performance we attempt to bring together these two necessary explanations of our daily lives, allowing for a conscious awareness of the natural world that surrounds us. The question of performance has long been explored through architecture. However, as of late the conversation has revolved around a machine-like performance for architecture. One that allows the efficiency of tectonics and building envelope to form architecture and respond environmentally. Albeit an important part of architecture and a certainly necessary one, an equally important component, the idea of performance like that of a theatre, has become lost. The focus of architecture has moved from the atmospheric space created by enclosure to the enclosure itself. No longer does the potential for architecture seem to be present, as it has been narrowly categorized into a single perception of scientific or quantitative discourse, allowing only for a machine-like performance. What if a building can encompass both a performance (theatre) and a performative (machine) understanding of architecture? Can architecture still be a place for the spontaneous to occur through an understood atmosphere? Can it be a stage for human interaction and scientific exploration?

This project is a fluid molding of landscape and architecture, connecting the environment and the built form integrating their relationships into one spatial experience. This building seeks to blend nature into the building, questioning what is inside and outside and how those exchanges take place within hinge spaces between the built and natural. Focusing on these spaces as points of interest creates a challenge of integrating nature and form, really blurring the interior and exterior. These blurred spaces bring opportunity for interaction with nature, people from Re-Ligare and Neurobiological, architecture and oneself. The site has a direct correlation to the building, as the building stems from the site. The site allows the building to be experienced and forces the user to interact with both the site and architecture. The site and the building interaction with the site creates opportunity for reflection, journey, and experience. The building begins inside the earth and breaks out to draw people in only to end back in the earth. Playing the role of architecture wedged into the earth, and the earth splitting open to allow for architecture.

At the neurobiological laboratories focus is on the biology of humans and nature, so it is appropriate that they become an integrated part of the landscape. Their need for privacy is also a defining factor in partially burying the building into the ground. The Re-Ligare is a very active public facility that acts as a node for people and activities. Its active program pulls it up out of the earth making a garden space and an obvious meeting point. The program of the Re-Ligare is split into four different buildings each signifying a different activity, the programs develop from the north to the south starting with meditation and worship, then to spa and hydrotherapy. These two buildings are quiet and meditative buildings signifying the mind and its relationship to nature. The next two building become the active buildings; the first for the theatre and the second for the exercise facilities, which constitutes the change from mind to social and from social to body. The connection of all of these buildings is the interconnecting spine, which runs roughly perpendicular to all four buildings and the research laboratories; this spine is the most underdeveloped part of this project and has the potential to become one of the most interesting and gravitational pieces. The spine will become the connection of both the Re-Ligare to itself as well as to thelaboratories making the two programs cohesive and functional.

BRIDGING THE VOID Winter Conceptual Design: Zach Crocker Spring Development: Lindsey Newman and Michael Batryn Professor Mark Cabrinha

FAHRENHEIT 451 LIBRARY

longitudinal study of the section through collage

For the Boston Film Festival, Boston City Hall was sliced into numerous sections in which we implemented a program and design. The integration of two sites creates a distinct void. Rather than disregard the site conditions given by the remains of the Boston City Hall, the void is instead used as the core of the design and a link to the program within the Boston Film Festival Theaters. The void itself becomes experiential with proportion changes in the floor, walls, and ceilings, which combine to produce dynamic movement enhanced by infiltrating light and its changes throughout the various hours of the day. In addition, it provides functionality as the primary source of circulation. During the past two quarters, we found that we were not only confronted with the task of learning about architecture, but were also exposed to a variety of other fields and media. Our exposure to different film techniques greatly influenced our thoughts on qualities of space. The importance of section and the emphasis on it guided the design process. Visiting the site in Boston allowed us to explore the nature of a place and required us to incorporate city planning and landscaping into our design for the first time. While being exposed to all of these new fields, we most importantly learned about the potentials of representation. We now know that architecture can be expressed in multiple ways and can always be more than one thing.

longitudinal section lookin south, void of qualities at night

Tao Li and Danielle Lieu Professor Marc Neveu

CONSTRUCT DUALITY

Huangyuan Chen Professor Mark Cabrinha The joint of two establishments: The Re-Ligare Institute and Neurobiological Research Center, is imagined as a refreshing place for both body and mind. It comprises spa facilities and research labs. The site locates in La Jolla, California, neighboring the renowned Salk Institute. A pedestrian walk way connects the Salk Institute to the new building. Responding to the topography, the building runs into a valley and opens its arms to embrace the view of the ocean. It is divided into the research and the relaxation portion. Outdoor plaza acts as share social space bridging the two. It is an attempt to construct a tensionless space. Large open space, transitional space and wide walkways are promoted with a purpose to slow down the circulation traffic. Double height space and bridge elements are utilized to raise spatial interests. The duality of the program is expressed through the building form. While the Neurobiological Center is read as heavy blocks emerging from the ground, the Re-Ligare Institute, on the other hand, occupies the void space defined by a wavy roof, which echoes the topography of the site. The grid shell roof is constructed in wood and covered by a translucent membrane. The warm color of the wood enhances the relaxing atmosphere of the spa area. The pattern of the grid shell is further extended onto the flooring of the plaza and the faรงade of the Neurobiological Research Center. It is rationalized as floor openings and faรงade pattern.

BYXBEE PARK Donna Mena Professor Terry Hargrave

Byxbee Park is part of an old landfill that has been closed down, with an active landfill right next to it, and a recycling center residing on the same site. My project is meant to be an informative piece that mimics the site hidden layers of old trash under its ground. The idea comes from the fact that visitors to the park are unaware that this park was once a landfill. With its green grass, and running river right next to it, its hidden past is pushed away from human eyes, and in retrospect from human knowledge. The projectâ&#x20AC;&#x2122;s intent is to make what is hidden visible to the human consciousness. I have designed a center for people who have committed crimes that jeopardize societies and natureâ&#x20AC;&#x2122;s wellbeing to be sent here in hopes of remedying their past and hope that their exposure to this place of unflattering reality would remedy their harmful ways and in theory cause them to change their attitude of how they approach their environment.

TESLA DESIGN STUDIO Scott McColl Professor Jim Doerfler

The Tesla Motors Advanced Auto Design Studio was designed to fit the unique needs of the startup auto company. As producer of all-electric cars, and a young startup, Tesla Motors has a desire to separate itself from the pack. The Tesla Design Center is about the interaction between person and car. It is about the relationships of designer to car, and car to user. The Building was designed to create and show these links. The vertical circulation was separated, with a ramp with auto traffic on one side, and a staircase with pedestrian traffic on the other. The space between these became the interactive space where auto meets user and designer. In these spaces are showrooms, design studios, offices, and public space. As a response to the need for transparency and public awareness, an atrium was created in the sectional space between the ramp and the staircase. This atrium allows light into all the spaces and opens up the building to its occupants, adding to the transparency and openness Tesla desires. Lastly, the skin responds to the programmatic spaces inside with three separate skins for each function.

MOTION & EMOTION

Steven Ni Professor Jim Doerfler Santa Monica is a premier location for an automotive design studio. Its proximity to Los Angeles, the birthplace of the freeway, gives automotive designers the history and the background of the automobile as the fixture in everyday life. Peugeot wants to look for a new market to break into and decides on reentering the American market after leaving it 20 years ago due to bad sales. This decision comes with great fear that the French auto maker will not be able to compete with the well established and well rooted Korean, Japanese, and until recently, domestic automakers. However, Peugeot believes with their new design leadership and philosophy they can succeed in adding another lucrative market to their portfolio. In order to reconnect with the general populace Peugeot will create an urban center in Santa Monica. This renewal will happen by developing a building that is pedestrian friendly in a not so pedestrian friendly area of Santa Monica. With this design studio a new spurt in pedestrian friendly development can create a more sustainable, iconic, and foot traffic friendly Santa Monica.

DISCOURSE AN INTERVIEW WITH PROFESSOR JIM DOERFLER

ADD: What first got you interested in architecture? JD: Building blocks and Legos when I was a child. ADD: Did you always know that you wanted to be an architect? JD: There was a particular moment when my family was all together for a holiday when I was about ten and my sister, after seeing what I had built with blocks remarked “Oh! You’re going to be an architect!” And I kind of thought about it and I thought, you know that wouldn’t be bad, I could do that! So I’ve known that I wanted to be an architect since I was about 10 or 11 years old. ADD: That’s really early. Where did you attend college? JD: For my undergraduate degree I went to the University of Hartford in Connecticut and I got my degree in architectural history, technically art history but with an architectural foundation. And then I went to Syracuse for my masters degree in architecture. ADD: So you grew up on the east coast and got your college education there. What did you do after graduation at Syracuse? How did you make the transition to teaching at Cal Poly? JD: After I graduated I went to New York City and worked there for 11 years. I worked for a couple of different firms, and I had my own practice for a few years. Then my wife and I made the decision to leave New York and move to Australia. We just went as an adventure. I didn’t have a job; we just sort of picked up and went to Australia ADD: How was the economy at this time? JD: Well the economy was really bad in California. We were actually considering coming to California at that point but the economy was not ideal for finding a job. That was back in the mid 90s and California hadn’t really recovered from the recession in the early 90s. So we put California on the bottom of our list for leaving New York. I had traveled to

Australia a few years before and I loved Australia, We decided on Sydney. The transition from New York, with over ten million to Sydney with four million was actually a big deal for us. It felt like a small city even though it is the biggest city in Australia. So we moved to Sydney and lived there for nine years, worked and had our son. In Sydney I worked for PTW, the firm that did the swimming pool in Beijing, and I worked for two small practices for a few years, finally starting my own practice in 2000. I also started teaching at the University of Technology in Sydney in 1998 basically full time. From that point on my job there kept on increasing, my practice kept on getting bigger and by 2005 I had 8 people in my practice and I was head of the department at UTS. ADD; Did you come to a point where you realized you either needed to teach or practice? JD: Yes definitely, it was hard to balance both jobs and my family. ADD; So you decided to teach? JD: A couple of jobs came up in New York in 2005 the same year I applied to teach here at Cal Poly. We were interested originally in moving back to New York so I sent out my resume for a few different teaching positions, though I ended up choosing Cal Poly in the end. ADD: What had you heard about Cal Poly, being from the East Coast? What was its reputation? JD: One of my best friends graduated from here with a bachelors and he is a really great architect. But I have to say that the reputation Cal Poly had when I was in school was a little bit ‘nuts and berries. It maybe wasn’t viewed as being as rigorous as the east coast schools. You get a very specific education coming out of those schools and here it seemed very loose. But in talking with my friend who graduated from here, he explained to me that you can really follow a track among professors and decide for yourself what kind of experience you get out of school. After teaching for a while I could see the value in that method, and I started to respect the school because of that.

ADD: Have you been teaching third year since you came to Cal Poly in 2005? JD: Yes. Every year except this year. ADD: What do you enjoy about teaching third year specifically? JD: Third year here is particularly interesting because it’s usually the first time the students are doing a reasonably large scale public building. Because of that it’s also one of the first times they’re doing a fairly detailed building program where they have to juggle a lot of different kinds of spaces in one project. When I taught at UTS in Sydney I was the students’ first instructor in their second year and I introduced them to a sectional building. We did designs of artist’s studios for local artists in town. So I’ve really been teaching third year and introducing students to intricate building programs since 1999. It’s something that I really enjoy because with my professional experience I was working on real buildings, so I would always try to get an interesting program with a theoretical overlay to it for the students to work on. ADD: Third year is often the year that students really break into the digital realm and start using more digital tools. Have you noticed a change between the digital aptitude of your students in the past and your students today? JD: Definitely, when I was talking about doing digital things in 2005 and 2006 I always got a ‘deer in the headlights’ look. Now I come in and I say, ‘Okay, we’re going to do a Rhino model and we’re going to digitize this, and we’re going to create a rib framework to support your skin.” And instead of 16 students not knowing what that meant, it’s now the opposite. Only a few students don’t have the experience. The ratio has really dramatically changed. ADD: Do you think there might be a point in the future where you’ll have to urge students to work less with digital tools and a little more with their hands? JD: I really like physical modeling especially in my spring quarter auto design center studio. We start with clay models inspired by the forms and process of automobile designers.

ADD Publication: To start things off, where did you grow up? Professor Jim Doerfler: I grew up in Connecticut. Out on the east coast.

DISCOURSE INTERVIEW WITH PROESSOR JIM DOERFLER CONTINUED

Learning the skill of how to make forms and being inspired by forms is really great. I also tell students you need to have a clear diagrammatic strategy; you need to produce sketches that really have the essence of your project in them. That becomes the touchstone, and when you go from there you have the flexibility to develop the building in a number of different ways while still staying true to an original concept. Even though I strongly push the digital skills I still believe there is a strong value in hand drawings. ADD: What are the main principles you strive to teach each quarter? JD: That there’s a concept to your building and that any solution you propose is not a right or wrong situation. That it’s a matter of how well you actually develop your building based on your ideas. There is no right or wrong way to approach a project. ADD: What are some of the differences between design in a professional practice and in school? JD: I think they’re closely related. In practice you have a little more of a handcuff in that you have a real budget and real parameters. In school I like to tell students we have a lot more flexibility with those particular issues. If a student proposes a 200 ft. cantilever I’m not going to go against that because we know it’s possible to build that. I don’t like to handcuff students as far as the creative or conceptual sides of things go. I think that’s what is really different about practice. ADD: Do you miss practicing? JD: Sometimes I do. I think that practice, academia and mentoring students is what I do. It’s the whole spectrum of what architecture is about to me. I remember coming here and my first review after being here a year I sat down with senior faculty and they said , ‘So, do you consider yourself an academic now?’ and I said, ‘No, I consider myself an architect still, I don’t separate academia from practice when it comes to architecture.’ The frameworks give you different kinds of freedoms but it’s all the same thing, I’m an architect.

ADD: Who are architects that you admire and why? JD: That’s a really big question how about architects I admire this week? ADD: Haha, Sure. JD: This week I’m working on precedent studies with my forth year studio and we’re doing sporting arenas so I’ve been looking at arenas lately. I really admire what Zaha Hadid has done with the swimming pool at the London Olympics. I have respected Zaha for a long time, even before she was building work; I thought she was really pushing the parameters of what can be done. I guess it depends on the week. I admire a lot of architects, from Zaha who’s about pushing the envelope and the theoretical side of things, to people like Kieran Timberlake who is doing a lot of research- based work. Although he might not be pushing form as much as people like Zaha, I have a lot of respect for what they’re doing in practice. ADD: How would you compare Cal Poly to the other universities that you’ve attended and taught at? What makes us different? JD: I think the fact that we’re a polytechnic is something that I feel really strongly is an asset for us and a particular direction that affects how we teach and how we produce our students. Syracuse was a little bit like a polytechnic because there was a culture of understanding buildings. I think you can compare that to Columbia or SCI-Arc who are, for the sake of argument, a little more loose in pursuing the art or the craft of building, they are a little more into the production of form and other strategies. That’s what makes us different and that’s what makes us strong. Professors at Cal Poly are able to embrace that stature, everything from the practical to the highly theoretical, and the students can find their place within that. They’re not forced by a particular curriculum or a particular group of faculty to produce one direction. That is one of our main strengths. We have students that can go to Princeton and students that can go work in construction. It’s a wonderful asset that we have. ADD: What do you hope students gain

from your class? JD: There are really two things I would like to have students understand when they come out of my studio. One is multitasking; you have to develop your program and form and balance all code and legal issues of the building at the same time. You can’t drop the ball on too many of those and come out with a real building project. The other thing I like to teach students is to be self critical; you have to develop your own self critical qualities so you can evaluate something and say, ‘Is it consistent with my concept or my diagram.’ If it’s not, does that mean I have to change my diagram or does it mean I’m not being true to what I really want out of this building process? I also hope students gain an enthusiasm and love of the profession. I wouldn’t do anything else. I love what I do. Even on the days when I’m not feeling so great or I’m low on energy I hope I can come in and talk to students and find that they’re excited about what they’re doing and I can convey my enthusiasm to them.

DYNAMIC WING 45

Brian Ng Professor Jim Doerfler Branding is an extension of oneself, whether it be a corporation, company, or individual. It is the translation of icons and symbols that is expressed through the media, i.e. advertisement, that is recognized and establishes the character of a single entity. Honda Motor Corporation is a leader and master in depicting their iconic presence. By studying their automobile design, I start to see a pattern in their work. The legacy of their pride is depicted in the expression of the “wing,” to soar above the competition and follow the founder’s dreams. The “power of dreams” is hence deeply embedded in the philosophy of the company. In this project I attempted to translate this characteristic into architecture. Using branding as a medium to express the ideas and aspirations of the automobile company, a design studio where Honda can happen. Thorough assimilation of site forces and environmental impact, as well as political coersion and marketing, drives the form of the building. Form now not only follows function, but form follows branding.

MOBIUS HOUSE 46

Tyler Thomas Professor John Lange By definition the Mobius strip is a continuous closed surface with only one side. Essentially, this form is a three-dimensional infinity sign. The basis of this project called for the exploration of the Mobius strip to discover the ways in which it can create habitable space by combining it with Euclidean [grid] geometric forms.

This additive method relied on intuition. Throughout the project I realized that I did not need to maintain a distinct vision for the result, rather discover the shapes and forms during the process of construction. While viewing the shapes folding into themselves I was able to articulate how they would function as I added structural supports. Being that the model was From the beginning of the exploration, it was made entirely of white materials an emphasis on highly recommended that these forms be lighting developed. discovered by working in three-dimensions. The process involved physically building a large-scale Contrary to our usual mode of operation in many white model in a constructive manner; meaning studios, we were challenged to explore ideas parts were only to be added, never subtracted. outside of the traditional design process, focusing I combined two interlocking Mobius strips to more on the development rather than the final create the core of the structure. By necessity, outcome. Though it was challenging to work in these sweeping curves, transforming from floors this mind set it was valuable in that it aided in the to walls to ceilings, required structural support. development of our conceptual understanding. Structural members were added in geometric patterns to sufficiently support the forms while defining physical space.

URBAN TEAR Luis Mejia and Grant Cogan Professor Tom Fowler The Re-Ligare mashup brings together the biological anatomy and therapeutic nature of the lung and the unifying process of amalgamation to produce a collection of spaces that reconnect users to a more authentic perception of self. In its efforts to reorient users, the Re-Ligare adopts from the High Line a green program, utilizing garden spaces to wrap in and around skin and program, acting as a unifying weave. Green ‘tears’ occur alongside the cushioned ETFE skin of the building, communicating an integration of the fabricated and organic.

The site is located in Manhattan between 10th and 18th, intersecting Chelsea’s High Line elevated park.

Protruding programmatic elements were a key unifying element between both projects, pre mashup. Understanding the High Line park as a green tear throughout the neighborhood of Chelsea, a vocabulary of tears and fractures was developed. Diagrammatically, the programmatic protrusions serve as punctures to a monolithic skin, which in its course of puncturing, stretches and eventually ‘tears’ the ETFE skin. Where the cushioned envelope separates and tears, vertical green space develops. These green tears serve as access points to meditative circulation and rooftop gardens, but also accentuate the forceful nature of the protrusions. Through a wrapping of green around the programmatic elements and tears, the ReLigare is activated as a much more dynamic structure through a unifying and progressive green narrative. Programmatic spaces inhabit reclaimed shipping containers, exploiting their directionality for focus and structure for economy. Faces from multiple containers are reconfigured and reinforced to create larger space. These spaces appear suspended in space as they free span, nesting between the structural steel diagrid of the Re-Ligare’s skin and structural circulation cores. This structural strategy reduces vertical intrusions and allows for large garden voids to take place between spaces, emulating the voluminous nature of the lung and the unifying shell of amalgamation. Tear spaces incorporate vertical garden systems to create a greenery that therapeutically connects users and practically serves as harvestable solar shading. Utilizing a basic membrane system supported by an exposed steel structure, users interact with both the industrial and organic as they walk throughout the building. The green cladding system also serves as an interface from the interior to an exterior, housing doorways to exterior rooftop gardens and balcony spaces. ETFE pillows patterned with a frit system inflate and deflate according to nearby heating and lighting demands, evoking a respiratory vocabulary to create an adaptable space. As an incredibly lightweight, cost-effective, durable, and recycled material, the ETFE system significantly reduces structural demands and volume.

The Re-Ligare houses program and greenery in a two-tower scheme, unified by three delicate tunnels. Circulation spaces incorporate a catwalk ramping system, allowing for a more staggered and meditative accessibility to adjacent roof gardens and interior spaces. Organized in a vertical scheme, spaces establish a ‘social-gradient’ from public to intimate that slowly reorients users towards a new perspective. Transition and preparation is heightened by a vertical ascension of space from body-oriented to mindoriented. All spaces are woven together by braids of greenery with large voids, serving as meditation gardens as users progress further in their journey.

EXOSKELETON 2010 First Place Winner of the American Institute of Architecture Students and the Modular Building Institute (AIAS/MBI) Student Design Competion Dion Dekker Professor Tom Fowler

The recycled shipping container is like a muscle, sliding along tracks attached inside an exoskeleton structure, creating reconfigurable spaces throughout the entire hotel. These reconfigurable spaces can be combined from single-containers into larger spaces, transformed into circulation paths, and relocated as deep shading devices for outdoor events. Tendonlike spaces provide the system for containers to slide. The exoskeleton rises over the earth as two expansive atriums that have shipping containers that form 9 ma jor program spaces and 9 hotel rooms with a special 9-number coding system for identifying the specific configuration possibilities of each container.

ON THE INSTITUTION OF ARCHITECTURAL EDUCATION I have always considered the phenomenon of one losing their glasses as one of life’s supreme ironies. How can someone who cannot see, possibly find something? Of course he or she can feel about, stumbling and sweeping frantically; but this, too often, can result in the inadvertent destruction of the precious item they were searching for. This situation can appear almost comical, but at the same time, frighteningly familiar. In my eyes, the institution of architectural education appears to have lost its glasses. Where does one place architecture within our contemporary world? To my understanding, architecture exists within a dynamic cycle among nature, man, and culture. The figure at left describes this relationship graphically. When I speak of nature I am referring to the intricate systems of interdependence that the natural world has developed in order to sustain itself. As for man, I perceive man as an animal, but a unique animal – one that begot culture. Here culture is understood as the monumental summation of both man’s greatest accomplishments and his greatest failures. Nature begot man, who in turn developed culture as a synthetic conception of nature. From culture comes architecture. Architecture is the physical manifestation of culture, existing within nature. These relationships operate in a chain, with nature relating to man, man relating to culture, culture relating to architecture, and architecture relating back to nature again. Architecture therefore must not purely be “the will of an epoch translated into space” as Mies van der Rohe argued, but must, in addition, respond to nature and its mandatory existence within it. Architecture must be critical of culture in order to advance it. This understanding of architecture directly affects my critique of architectural education. Institutions, despite their innate flaws, are always composed of individuals. This critique in no way refers to them – for it is they who have ability to inspire and encourage. What I am referring to is the disconnect between individual and institution. Architectural education has lost its glasses because it has proven unable to feel its way out of the very culture that created it. American values such as those of standardization,

competition, and comparison heavily influence how we perceive the ‘proper’ development of an architecture student – and therefore architecture. These values control architectural education, discouraging diversity, critical thinking, and exploration. As students we are taught how to produce buildings that perpetuate the current condition. This is the innate blindness of the institution, which is then manifested within the buildings we create. To become architects who seek to change the world, we must remove these deceptive values from our architecture. Criticality is the requisite for a truly progressive architecture. While these words may seem as a manifesto for dismantling architectural education, I argue that they are not. Through this conception, teachers contribute as resources for students; encouraging, inspiring, sharing, but never telling. This freedom will broaden students immensely, thereby broadening the architecture they seek to create. I understand that institutions, in dealing with such an immense number of students, fear the word freedom—yet for architectural education it is essential. Students must be allowed to explore what architecture is for them. The diversity of responses should be rewarded, not reprimanded. The freedom this creates will allow students to become more passionate about the world around them, and ultimately create a new architecture: an architecture that sees each building as both a chance to celebrate and reconfigure the institution it houses, an architecture that transcends triviality and deceptive values, an architecture of unobstructed visibility. This project was designed as a counseling center for troubled teens. The organization is based on Jeremy Bentham’s panopticon prison. In the panopticon, all cells exists surrounding a single gaurd tower. The gaurd can see all inmates, however, no inmates can see the gaurd. Since inmates cannot see when the tower is occupied, they begin to self regulate their behavior, whether or not a gaurd is there. Michel Foucault argues that our contemporary social structure of guilt and fear resembles that of a panopticon. Although not designed as a series of studios, this complex can easily be understood as an institution of architecture. Here, the students suffer under constant restriction and deceptive values. This is not a place designed for people to flourish -but rather to drive them to insanity.

Kory Worl Independent Study

RE-LIGARE INSTITUTE Spring Development: Kayla Chapman and Glen Chan Professor Mark Cabrinha

As the client for the 2010 ASCA Steel Competition, the Re-Ligare Institute is a wellness center for the body and mind which includes programmatic spaces for fitness, music performance, a full spa, and garden spaces, and research labs for scientists. Kayla Chapman and Glen Chan were asked to further develop a classmateâ&#x20AC;&#x2122;s design entry--from concepts to site integration and into the design development stage. This project first seeks to seamlessly integrate the Re-Ligare and Neurobiological Research Center by bridging the two programs with a steel shell structure, connected with a large shared atrium space. Because the two programs are separated by a valley in the site, this structural shell provides a bridge connection for Re-Ligare clients as they navigate through the different spaces of the project on the western facade, ultimately bringing them into a large shared atrium. This triple-height atrium also provides the programmatic hinge of the project, offering a public space for both scientists and clients of the Re-Ligare to interact, and a large social hall for performance events. With three separate entries to the Re-Ligare Institute and research center, this central atrium brings both spaces and users together. The site played an integral part of the design, resulting in the form of the building. The large cantilevered wing is made up of the void valley space found between the research labs and ReLigare administration wings on the opposite side of the site. A walkable roof garden is situated on the top floor, following the spine of the Re-Ligare program from the 4th floor above the exercise rooms down to the meditation space near the entry of the project.

Kristina Rakeshaw Professor Terry Hargrave Located on the former site of the Albany Bulb landfill, this womenâ&#x20AC;&#x2122;s center serves local women from the San Fransisco Bay Area who come from various abusive situations in attempts to remedy their pain. The bulb does not intend to solve their wounds, but to provide a safe haven in hopes they will gain more strength and understanding. It is not intended as a permanent escape, but as a temporary heterotopia. In order to heal, an abused women must have continuous interactions with the following: A space of many: The space of many is a space where abused women can interact with the public in a vulnerable yet powerful way. It is a space that is created and recreated by those that inhabit it. It serves as the nutrients and foundation for greater issues. Examples of functions that take place within the walls are massage therapy, yoga, a psychology office, a church, a solar wall, and a water wall. When the water wall and solar wall meet underground the life force of the bulb is created. Steam formulates in the center of the bulb, signifying a place of transformation. A space of few: The space of few is a space where women can interact with other abused women. Every space, every piece of furniture, and all activities are not intended for the individual, but rather the individual and another. It is a room of contrast, existing between one that is alone and one that is merely a face in the crowd. A space of one: The space of one is a space to be alone where the only person a women must be vulnerable with is herself. This takes places in an expansive wooden room where no eye can look in. This termporary space is intended to be filled with activities chosen by its inhabitant. It is not intended to be a home but a place of solace.

A SPACE TO HEAL

BACK TO THE LAND 52

Wendy Truong Professor Terry Hargrave

Starting off as dumping grounds for construction and demolition debris, nature has reclaimed the Albany Bulb from the elements of industrialization and turned it into an area of primal, post-industrial beauty, an effort to get back to its original state. The “Back to the Land” movement defines a migration from cities to rural areas, a group of people who decide to give up their worldly possessions and live a more simple life, with a close relationship to nature. Both the site and its inhabitants follow a path of reverse development going from functions of industrialization to a life closer to the natural environment. The Albany Bulb will be a place to foster a small community of “back to the land” followers from the adjacent cities. It will provide an area isolated from the hustle and bustle of the rest of the Bay Area, and encourage a lifestyle that lives off the grid and interacts directly with the environment without exploiting it.

BREAKING THROUGH THE BARCODE Cameron Northrop Professor Tom Fowler The barcode. A simple optical representation, collapsing and condensing raw data, then scanned to unlock a ballistic global network of information. The active transfer and kinetic nature of a network is expressed in this shipping container hotel architecture, with shipping container as an integral, moving art of a complex, large scale economic network and encompassing the idea of a global exchange.

The architecture is an optical representation of the bar code, which condenses raw data and becomes an integral part of vast global networks of information. The hotel project also seeks to embrace global interaction and the idea of chance meetings as new people and ideas come together. Recycled steel shipping containers are an integral component of the structural steel frame skeleton of the building. Utilized primarily for their structural strength, durability, and modularity, the containers provide economic and sustainable solutions for future hotel applications. This project has been created for the global nomadic traveler that is searching for information, exploring the sense of identity, and is interested in networking. As a new hub of activity, social interaction spaces and circulation are suspended within the structural steel systems of the building and break through the perforated barcode faรงade.

4 switzerland paris copenhagen florence japan rome waac san diego san francisco oakland los angeles metro los angeles professional san luis obispo (SOM) (thailand) (australia) (bauhaus)

.04

DISCOURSE

AN INTERVIEW WITH PROFESSOR DON CHOI

What is the role of the Japan program and how is it unique from other fourth year programs? Given Cal Poly’s location, I think that it’s important for our students and alumni to engage cultures on the Pacific Rim. And of course Japan boasts some of the most intriguing architecture of the 21st century, as well as a rich trove of historical buildings.

with physical models, using computers only for construction documents. In other words, the basic design process is different.

What experiences and knowledge do you think students gain from this program? The great lesson of any study abroad program comes from being immersed in an unfamiliar environment. In exploring the frenetic chaos What makes Japanese architecture different of Tokyo urbanism, students begin to feel that anything is possible. This experience, though, is from American architecture? In some ways, Japanese architecture and tempered by their visits to the Zen gardens of American architecture are becoming more alike Kyoto, which, I hope, show how profound effects – they are both integrated into global systems can be created from refinement and restraint. of people and information. At the same time, though, I think that the profession of architecture What influence or differences do you see in differs in Japan. For example, the design and students’ projects after or during the program? construction of houses in Japan is dominated In general terms, I think that students become by national, vertically integrated companies. more open-minded after seeing the variety Also, as we saw on the 2009 Japan trip, many of historical and contemporary approaches architecture offices still design almost entirely to architecture in Japan. I think, too, that they become more sensitive to their own particular perspectives. What do you expect students to learn from this program? For the design projects and seminar research, I place a considerable burden on the students to develop their own programs and define the relevant architectural issues. As students take this responsibility, they prepare themselves for the difficult process of developing their own fifthyear projects.

JAPAN

SHIBUYA MIDRISE Scot Bailey and Zachariah Copoulos Professor Don Choi

This mixed use development is located in the heart of the Shibuya district, one of the busiest districts in Tokyo, Japan. The project is composed of a basement level bar, open ground level, retail second level and residential units above. The volumes that house services in the residential units are expressed in the retail space and are used for storage, a changing room, and vertical circulation into the space. On the ground level, these volumes hang into the space to serve as displays. The bar is one large space, with a bathroom under the stairs. The ceiling is supported by structural glass beams, which also serve as lighting.

The housing is designed to be open space for the user. The services are all compressed either under the floor or into one wall of the unit. This allows the rest of the space to be open, and to be used for any activity. When folded open, the kitchen and bathroom become more intimate spaces. When they are not being used, their areas return to the open space of the unit. Each of these spaces houses its own utilities, which stack in the building.

Chigaidana, a historic Japanese shelving system, inspired the storage wall which provides spaces for all aspects of daily life: sleeping, cooking, clothing, bathing, entertainment, and display. The staggered floor plate of each unit allows a larger open space by compressing the service space when not in use. Staggering the main floor plate of each unit allows the units to have their own entry landing. Each unit has its own set of operable screens, allowing flexibility through varied levels of privacy, in addition to giving the building a constantly changing facade.

How did Paris influence you? Colin Waley: Personally, I became more aware of my limitations and expectations as a designer; the rest of the world doesn’t teach design the same way we do, so I had to become more flexible and open-minded. I also learned just how culturally American I am. Exposure to other cultures and ideas forced me to be more self-aware. What did you do outside of studio? Madison Detro: I took fashion design and painting courses at another university in Paris. I intend to work in fashion after I finish school, so living in Paris was a great opportunity to shift my focus more in that direction. I did modeling work throughout the year as well, which allowed me to gain insight into the Paris fashion scene. What do you now appreciate about architecture? Madison Detro: I love the quality of craftsmanship that is found in old architecture. There is beauty in the details that differs greatly from modern day construction techniques. Favorite building? Colin Waley: Favorite buildings in Paris are hard to pick out individually. It’s really the atmosphere of the whole city – the streets, blocks, bakeries, plazas and storefronts that is so enjoyable. I like La Grande Arche in La Défense. This modern city ‘gateway’ offers unique public space. Madison Detro: La Basilique du Sacre Coeur (Basilica of the Sacred Heart). It is such a unique church, made of white travertine and perched atop the only hill in Paris, overlooking the entire city.

PARIS FRANCE

The Paris program is an excellent cross-cultural opportunity for students to participate in a year long study aboard program in Paris, France. It is the most culturally immersive program that the Department offers in that there is no hand-holding on the part of the French faculty. All classes are taught in French by French faculty, and students truly learn to speak, read and write French. This program is a veritable exchange program, with the Department welcoming an equal number of French students for an entire academic year who enroll in fourth year design studios in San Luis Obispo, offering a cross cultural experience for the home students as well. The education of an architect within an academic environment has been a prerogative of the French educational system that established two fundamentally different learning environments: the polytechnic system of which Cal Poly is heir, and the Ecole des Beaux-Arts which the Ecole Nationale Supérieure d’Architecture (ENSA). Paris-Val de Seine emerged after several iterations since the founding of the Ecole des Beaux-Arts in 1819. To compare and contrast two educational systems will benefit one’s tenure at Cal Poly and introduce one to new sensitivities towards the art of doing a project (la projetation architecturale) and through an unambiguous emphasis of a theoretical underpinning of the design process (la theorie architecturale).

MULTI USE Will Reid Professor Dominique Pinon with Romain Rouseau and Philippe Roussel Many Parisian neighborhoods outside of the periphery are in need of redevelopment. In an attempt to increase density and improve the community, a corner lot was used for a multi-use center. The lot included a sports center, music hall, and office space. The design challenge opened up the idea of consolidating three functions into one uniform architectural concept, one that still would retain anonymity to the demands of each unit. The key focus was twofold: to keep the public space open and to promote interaction among the clientele. For this to happen, the design encouraged the creation of an open plaza space, with independent access points with entry/exit points for each structure. Typical for French design rules, multiple routes for circulation were required, resulting in the placement of stairwells within key structural locations. The design allows for three individual sections in the building, each interconnected by way of structural cohesion and access points. This allowed for connection and flow without changing the cultural requirement of separation and anonymity.

Fourth year architecture students are enrolled in the 2nd CYCLE MASTER course level at the ENSA. During their studies, Cal Poly students will interact with many French students as well as other foreign students (Italians Spanish, Swiss, Germans, English, and from Eastern Europe) working through the Erasmus Program of Europe. Furthermore, Cal Poly students are able to glean all that Paris has to offer regarding art, life, architecture, urban planning and an immersive experience into all things beautiful. Paris is a City that admires her past but is not afraid to step into the future. She re-creates herself constantly while understanding that hers is a “living” history. Students can immerse themselves in architecture dating from the time of Christ through to the 14th century “pan-de-bois” structures, the glory years of the French Renaissance and Enlightenment, the 19ieme siècle as well as Modern Architecture of the 20th Century, the Mitterrand “Grand Projets” of the 80s all the way up to the 21st Century. It is truly a beautiful City filled both as a museum of the past and an experience of the present.

The College of Architecture and Environmental Design (CAED) and the ENSA, signed an exchange agreement in 2002 (with appropriate extensions) to cooperate in the area of educational research in order to strengthen ties between the universities and to promote academic and cultural exchange.

DISCOURSE INTERVIEW WITH PROESSOR MARC JAY Architect M.A.A. (Royal Danish Academy of Fine Arts, Copenhagen 2005. Studies in Madrid, ETSAM (2001) With PLOT (2002-2003), Estudio Carme Pinos (2003- 2006), Project manager at BIG (Bjarke Ingels Group, Copenhagen) since 2006. WIth DIS since 2007. Founding Partner WEarchitecture 2009 (www.we-a.dk)

ADD: First of all, thank you for sharing your thoughts with us today.

There is an ideology surrounding Danish design, which includes both the idea and practice of quality through simplicity and materiality. In an age of digital technology, subjectively leading towards the development of a standard internationalism, can you comment on effects of digital tools (Rhino, Maya, Scripting, etc) found in both the international students you interact with at DIS and current international practices, as compared to both students and practices (including your own) in Denmark? MJ: It is difficult to do a comparison between Denmark and the US. You have SCI-Arc inspired offices and students in Denmark as well as “superdanish” inspired offices and students in the US. Trends are global and I have often had American US students with whom I agreed more than with my fellow Danish colleagues. But true, there is a predominant tendency towards a Danish modern architecture which is simple and expressive – minimalist, geometric acrobatics you might call it. American architecture is harder to categorize due to the size of the country and the amount of schools. But common for all of us is that 3d and scripting has made it possible to do a large quantity of complex geometric investigations in a very short amount of time. Furthermore both students and smaller practices are able to represent their projects in a way that, 10 years ago, was reserved only for large offices. I think that’s why you see so many young, up and coming firms all over the world. ADD: As a student at DIS, I observed a strong degree of emphasis on certain methods of architectural production that are not emphasized to the same degree at Cal Poly, namely a preference encouraging physical modeling techniques and enforcing the quality of programmatic solutions. These issues and related preferences impact every architecture school to a certain degree, however it is a high degree of cohesive emphasis at DIS that made these objectives standout. How would you characterize this educational mindset in comparison to other Danish schools of Architecture?

MJ: Model building is a very common tool in all schools of Denmark. I think it’s dangerous only relying on digital media for three-dimensional impressions. Inventing the computer did not make model building obsolete; it is just a new tool that gives us even more possibilities. When considering the position of physical modeling within one’s design process, I see this method of manifestation as the ultimate design proof. You can always find an interesting view in a digital model but the physical model gives you both the “goods and the bads.” You cannot cheat yourself.I think that the programmatic approach at DIS is a result of an administration that is very focused on functionality as a result of their work outside of the DIS academic environment. Personally, I find that the digital media has made it easy to make everything look good. ADD: Due to your exposure in both practice and education to many international students other than those from Cal Poly, are there certain areas of weakness in design or production processes you feel are specific to Cal Poly students?

Once home to the vicious Vikings that roamed the Northern seas, Denmark is now home to the most friendliest and happiest people in the world. The city of Copenhagen was a truly an amazing place to be for the year. Although the winters were cold and dark, with 5 hours of daylight, the city brought joy to my heart; there was never a miserable day. We drank øl under the sun and laughed without a care in the world. We learned the Danes’ fascination with lakrids, leverpostej, pølser, wienerbrød and we began to grow fond of these special delights as well. We learned to speak with all the muscles in our

DIS: København [Dk]

throat. It became a natural ritual to read the free newspaper on our daily commute, to work hard during the day and to stay up all night on the dance floor . We stayed up listening to the music, having a hygge time with our friends. The bonds grew stronger as we journeyed through Europe, on buses, trains, and planes for days and witnessed the aftermaths of the Icelandic volcanic eruptions, the terrible weather conditions that obstructed our travels, and the strikes that elongated our adventure abroad. It was an unforgettable year.

MJ: Cal Poly is such a big school with so many different students. Diversity and hard work might be my first thought when considering the positive aspects as I see it. I’m impressed that many of your students manage to do both classes, study trips, partying, and traveling in Denmark and Europe while at the same time are able to produce good projects. On the negative side, but that’s not specific for Cal Poly, I think that digital media and the internet has resulted in a generation of architecture students that do not always put sufficient emphasis on two-dimensional drawing and physical modeling. Swapping between media types often gives the best results. ADD: Lastly, as a practitioner and educator, what advice would you give to the current genration of architecture students soon to enter the workplace? MJ: Architecture is great. Enjoy and make sure always to have fun.

ABI

ABU

CNA

CNG

JOH

2009-2010 DIS students HA

EB AB Hayley Andersen SB

Edward Becker Ashley Bidwell Scott Brereton

Juan Olivarria Professor Marc Jay The site is located west of the city center at the location of the old Western Gate, in the diverse, young vibrant district of Vesterbro. The name “Vesterbro” literally translated means “Western Bridge,” and refers to the paved road leading into the city through the Western Gate. Vesterbro is the area of the bridge into the city of Copenhagen, which was a much smaller city at the time when the name was created. During the first examination of the area and our site, I was fascinated by the disconnection of cultures and lifestyles simply separated by a body of water. Having three diverse cultures surrounding the lake with no means of integration is a problem. Because a city thrives off of diversity I immediately resorted to this assignment as a way to go further than a thermal bath, and to try to connect both sides of the lake with not only a bridge, but an experience. Thinking of this assignment as an “experience” allowed the program to manifest itself. All of the spaces and forms created on this project are simply places for interaction, whether it be with the cold clean water on a hot Copenhagen summer day, or going to one of the bars, cafes or saunas with a close group of friends or business client.

JOL

AB AH MKE

Ali Burquist MKI Aaron Hales MMI Maggie Keasler MMR

Matt Kingstreet Michael Meizen Marcel Mercado

HARBOUR BATH

MKE

MKI

MMI

MMR

JOL

GM IM CNA

CNG Catherine Nguyen BO JOH James Oh AP JOL Juanito Olivarria MR

Giancarlo Milei Isshin Morimoto Cass Nakashima

Brian Overman Allison Pell Megan Repka

RS PT BV

Reece Satava Patricia Tse Brian Vargo

ARSENALVEJ ROW HOUSE Edward Becker Professor Susanne Anderson

Considering the formal repetition encountered in row house design, my scheme attempts to exploit the individualism of each inhabitant while creating a system that both responds to the local climate and addresses the idea of the “ornament” in contemporary design. Due to a dynamic water storage system integrated into the units structural core, each house is spatially different depending on the user’s water use habits .

SVIZZERA

IL RIVELLINO

Robert Nealan Professor Tom Di Santo In its creation the Rivellinoâ&#x20AC;&#x2122;s main purpose was to act as a line of first defense and a gateway to access the castle of Locarno by water. 500 years later we find a place of such importance in a state of decay. Run down and unmaintained for centuries, it has been hidden behind nowhistorical apartments and covered above with concrete for the grand use as a parking lot. My proposal seeks to rehabilitate the Rivellino to a state of its former glory in a modern manner, whereby the rooftop becomes inhabited by a simple structure of steel and glass that acts both as an art gallery and as the gateway to the Rivellino. Entering from this gallery, the interior space of the Rivellino has been severely altered from its cave-like state to a spiritual place of light and water. Acting as both an exhibit in its own right, the Rivellino becomes a jouney from the gallery above as the visitor progresses down the stairwell into a series of art exhibitions intermixed with aqueous architectural interventions. Upon exiting through the former entrance, the visitors find themselves in the courtyard, surrounded by the activity of a bustling bar and restaurant on the terrace above. On the levels above the bar students can be found laboring away in studio at their projects in parallel to a student gallery where the public can openly view and become involved in with the academic community.

EPISTEMELOGICAL SHIFT Farnoosh Rafaie + Hany Chen + Karen Wang + Tao Li Professor Tom Di Santo

As we begin to re-think the relationship between the user and the Rivellino, the opportunity to connect the individual to the community occurs through the visible layering of spaces. Where the visitor constantly engages within the centre through the arrangement of various programmatic spaces.

The intervention upon the pre-existing Rivellino LDV art gallery serves to bridge the ever expanding gap between the Locarno community and artists. Rather than an isolated application, the complex becomes a series of vignettes which draw the user through in ultimately reaching the Rivellino. Individuals experience the Rivellino as fragments, as each fragment provides the user an alternative perspective in understanding the whole.

FIRENZE ITALIA DISCOURSE

INTERVIEW WITH PROFESSOR JONATHAN REICH Most of the students that attend the CSU Firenze program experience a certain amount of ‘culture shock’; Italy is not only very different from America, it is also very different from the rest of Europe. The food, the customs, the language and the physical surroundings are all distinctly Italian. How do you think American architecture students differ from Italian students and why? One group is no smarter than the other, but they receive very different educations. Italian students are better educated historically and classically. However, that classical education is almost like baggage for some Italian students, while American students are blissfully naïve and are more willing to try new things. They are fearless and open, and less constrained in their willingness to learn. What is your teaching philosophy in regard to the CSU Firenze students? Do you encourage the students to explore and experiment, or do you focus more on a certain process of design?

The goal is for students to have a broad cultural education and at the same time get a more specific architectural education. What most American students can learn in a place like Florence is a certain urbanity, density, proximity and livability. They can learn about art and the integration of art with life, and about existing in a place that has a real sense of history. The focus of the school is also less of a polytechnic focus and more of an arts and humanities focus. Programs offered in Florence include art, literature, history, sociology, and film. It is a very good thing for the architecture students to interact with the other students and allow those other concentrations to influence their architectural work, and then to bring that experience back to Cal Poly with them.

Most of the students try to fit in as much traveling as they can while they are abroad. What are some of the most valuable places to travel to, architecturally or otherwise? Do you think that traveling broadens the students’ horizons and influences their design sensibilities in a valuable way? Italy offers a full spectrum of places to learn from, from ancient to modern. There is an incredible continuum in which one era influences another which influences another which continues down the line. In terms of urbanity, there is almost no possible urban idea or settlement pattern that hasn’t been tried somewhere in Italy. In America there are many as well, but they are spread out much further apart. In Italy there is a geographic concentration that enables you to visit them all within the year. There is not only a range of time but also a range of ideas. For instance, in Rome you can go from classical forum, to medieval streets, to baroque developments, to Zaha’s new museum, all within an hour. These time periods aren’t laid out like dioramas, but exist more like layers one on top of the other, and once you understand that you can begin to see the history in front of you.

STACK_SLIDE

Alyssa Redding, Jeremy Brunel, Roxanne Stewart Professors Paola Giaconia, Marco Brizzi, Achille Michellizi This group project was for the design of a fashion park between Foster’s new high-speed train station and a converted fashion museum. The program consisted of residential units for fashion designers, show rooms for designers, and commercial units (restaurants, bookstores, cafés, etc.) that appeal to the communitty at large. The first move that was made was to connect the two existing buildings with an axis. To the side of the axis facing the existing residential communitty, the site became an open park where the river was reintroduced to the site and the adjacent land sloped down to meet the waters edge. The other side of the axis was designated as built architecture, designed in conjunction with a landscape feature so the connection between built environment and landscape was not lost. There are two L-shaped modules used in the residential units that are flipped, pushed and pulled to create optimal shared green spaces and specific views. Grand views focus on the Duomo, back down to the retail and out to the Museum Plaza. A large opening is applied to the interior so that people walking through the commercial portion underneath the residentilal can experience the building’s overall composition.

SPACE BETWEEN Christo DaSilva, Bethany Gomes, Erin Oâ&#x20AC;&#x2122;Loughlin Professors Paola Giaconia, Marco Brizzi, Achille Michellizi

This project entailed the design of a fashion park: a fashion museum, piazza, and showrooms and housing for visiting designers. The site is a large area empty except for an abandoned train warehouse that will house a new fashion museum. The train lines, which are 5m higher than the city streets, create a pedestrian barrier within the city. A passageway passes under the train lines at the southeast corner of the site. View was an important element of the project. A ma jor pedestrian passageway through the site was framed to allow pedestrians walking along the southern end of the site to see the planned Norman Foster high-speed train station. The space between the station at the north end of the site and the old train warehouse at the southwest corner became a piazza, a fragmented landscape that contained the necessary program without losing the view of the station and at the same time connecting the train station to the historic city center. All masses were broken up to provide outdoor spaces and views in all directions. As much as possible of the warehouse was retained to be reused as the new fashion museum.

ROMA ITALIA DISCOURSE

INTERVIEW WITH PROFESSORS MARC NEVEU AND TOM RANKIN ADD Publication: What is your connection to Rome? Marc Neveu: My connection to Rome is somewhat tenuous. I’ve lived in Italy in the past and had visited the capital a number of times. While at Cal Poly, I helped to coordinate the Rome Program for a few years. When the issues of credit and financial aid forced the involvement of a Cal Poly professor, I offered to be that person. Tom Rankin: I first came to Rome after my undergraduate architectural studies, prepped in the lecture hall but then

overwhelmed by seeing great works of architecture in context and thirsty for more. With a combination of creative strategizing and compromise I was able to move to Rome and set up a life (and family) here. ADD: What do you think is the most valuable part of studying abroad for architecture students? MN: To see the familiar in an unfamiliar way. TR: Studying abroad quite simply “broadens” ones horizons, exposing students to different experiences and ways of thinking, leading them to rethink preconceived notions, all of which is positive. ADD: What do you hope your students gain from their Italian experience? MN: To see the familiar in an unfamiliar way.

TR: I think the most tangibly valuable part of it is exposure to compelling places, whether architecturally designed, vernacular or natural, recorded through sketches and photographs to which students will refer back throughout their careers. ADD: Rome can carry quite a culture shock for Americans, what do you feel are the main differences between the two cultures? MN: People are people. That said; differences do exist. Of course, Italians speak Italian and because most students who travel abroad do not speak to a level at which they are comfortable, they often insulate themselves from really integrating into the culture, Which I think contributes to a certain level of “shock.” Other differences exist such as going from a relatively rural existence to

73 an urban context. Many foreigners have commented on the relative disregard Italians have for public spaces. Graffiti, trash, excrement, etc., are all quite common in Roman piazze, less so in San Luis Obispo. TR: In Rome there is a big difference between rules and reality, a “flexibility” which is difficult for anyone from more rigid cultures to adjust to. There is also less gratuitous friendliness of the “have a great day!” type, but instead more reserved communication, at first glance even standoffish or gruff. Students who take the time to get beyond this where appropriate (and where linguistic barriers allow) will be rewarded with more sincere cultural exchanges. ADD: Many class trips are taken around Italy during the semester, what is your favorite place to visit?

MN: I am always happy when I return to Venice. There is no place in the world that compares. This past trip to Rome also brought me to places that I had never been. Paestum was overwhelmingly beautiful – more so than I could have imagined. The light there is impossible to capture. TR: I usually arrange three ma jor trips (south to Terracina and the Bay of Naples, north into Tuscany, and further north to the Veneto) plus a handful of day trips. Although I love them all, I get the most consistent thrills from Venice even after dozens of visits there. ADD: What do you love about Rome? MN: There is a lot to love. The specific but invariable color of buildings stands out. Being able to walk into the Pantheon on your way to somewhere else never gets old. Café (see below). Truly peppery

radicchio that only lasts for a few weeks but is then replaced by another potent offering. TR: Rome. ADD: Lastly, how do you take your coffee? MN: There are two “most-famous” cafes in Rome – Tazza d’Oro near the Pantheon and Sant’Eustachio near St. Ivo. I prefer not to choose. So, I like to buy coffee at Tazza d’Oro and drink it at Sant’Eustachio. At the café in Sant’Eustachio, however, there is no choice in how you take your coffee. You simply order a café. It arrives. You drink it. But, what arrives is an alchemical mystery of bitter black and sweet froth. TR: Cappuccino in the morning, espresso after lunch. The quantity of sugar varies, depending on my frustration level with Italy.

Located in the marginalized dross-scape of Rome, this ‘Center for a Green Economy’ is a place for people to recycle/reuse/resell used goods. The new building weaves between existing buildings, engaging them respectfully, and aims to celebrate the resilience of the industrial recycling community in place while reconnecting the area to the Tiber River. This site caters to mechanics, artists, hobbyists and students.

Rome’s Urban Re-use Center Valentin Pelayo Professor Tom Rankin Fall 2009

TRASHOLD THRESHOLD

Rome’s Urban Re-use Center Brian Harms Professor Tom Rankin Fall 2009 The goal of this project is to positively change the perception of “junk” from garbage, to objects with potential future uses, in an industrial and urban setting. This site will become home to a wide variety of material resources to be stored in modularshelving systems that can change depending on the current amount of materials needed to be stored. The juxtaposition of previously unwanted materials with an organizational system that efficiently stores and displays these materials changes the nature of these objects from “junk” to items with a potential future use.

The Campidoglio continues to be one of the more peculiar places in Rome. It has consistently been built upon since the Imperial Roman Empire and through the Holy Roman Catholic Empire. What is now the City Hall, Palazzo Senatorio holds evidence of that within each layer of its palimpsest-like construction. It was once the center of the world, the most important of all seven hills in Rome. It is one of Michelangelo’s greatest designs, but still hold parts of its extensive history. It is complex and peculiar. It is symmetrical, but at the same time not. It has 12 different ways of accessing the piazza, yet only one is predominantly used. The project designed for this sight is proposed as a series of interjections to bring attention to the wonderful oddities that make up the Campidoglio. These interjections unfold from one to the other, affecting and framing the movement through the piazza, opening up and uncovering the splendor that already existed.

Interjection at the Campidoglio Zac Crocker Professor Marc Neveu Fall 2010

THE ETERNAL CITY The disastrous earthquake left the block of mixed used buildings in desperate need of repair. The craftsmen, artists, designers and other previous inhabitants of this complex of buildings have been displaced and the site remains solely as ruins for several years. Time passes and the rebuilding process begins again with a grassroots movement by the former residents themselves. The resulting community is a network of artists’ studios built up from the found materials left over from the earthquake’s wreckage, turning what was before thought of as a catastrophe into the catalyst for a new and personalized form of living.

MOSAIC Artists’ Community Marcela Gutierrez Professor Marc Neveu Fall 2010

INTERVIEW WITH PROFESSOR HOWARD WEISENTHAL ADD Publication: Is there is a different teaching style or emphasis at the WAAC compared to Cal Poly? Howard Weisenthal: Yes, the two programs vary in many ways but I think the primary difference is that the students at the WAAC are expected to be more independent and individually accountable than the students at Cal Poly. For example, studio attendance cannot be easily monitored on a daily basis because the students from each studio are located throughout the building rather than a more traditional “one studio in one space” approach. However, the students are held accountable for their progress through formal mid-semester and final crits where they present to 5-8 faculty and guests. Additionally, because all projects are teamgraded, a high level of rigor and consistency is established for the entire program. Other differences include the vast array of electives

Washington Alexandria Architecture Consortium

WAAC DISCOURSE

available and an emphasis on experience. The effect of this process as well as theory, which leads process on student development to overall building development. is seen in the final projects, which demonstrate a high level of growthADD: How does the open studio based individual research, and the setup and accessibility to professors time spent working with a faculty influence the student’s work? member who can provide expert HW: The open studio allows students direction on a particular problem. to work more at their own pace, and faculty are not hovering or giving ADD: What kind of off-campus continual direction. Students can opportunities are presented to get feedback when they want it and students at the program? be uninterrupted during periods of HW: Located in Alexandria, VA, and critical concentration. Additionally, just 5 miles from Washington D.C., for more diverse feedback, students the opportunities for off-campus can request and schedule desk crits activities at the WAAC relate both from any faculty member. to the small town and to the nation’s capitol, and are too numerous to ADD: At WAAC students are given the mention. The entire East Coast option to choose a project without is also available for research knowing which professor is teaching. and exploration. Internships are How does this model affect the available, several national parks development of students? are close and international travel is HW: At the WAAC, the general easily accessible. approach requires that students develop their own project based on a list of very open-ended problem types. They also select a site and determine the scale of the project. After these proposals are received, studios are arranged by creating the best fit between project types and the faculty knowledge and

TUCKER AUTO MUSEUM Raymond Vuong Professors Jaan Holt and Carolina Dayer In 1948, Charles Preston Tucker developed the “ Car of Tomorrow” with an H-6 engine that is immortalized in a movie by Francis Ford Coppola. There are 47 Tuckers remaining today and this project is for the display of a small collection of the historic autos (three) and all of the original drawings. In addition to display, the cars need to be serviced and driven as well as allowing up to four cars (one visiting car) to be innovatively displayed. The site of this project is located in Old Town, Alexandria. The idea behind my project was to provide a surface mesh that would unify the building’s structure with its site, creating a playful notion of intersecting planes and a language that continues throughout the design. Part of the challenge when designing was incorporating the existing condition of an immediate eight foot drop that occurs from the street level. To address this condition, I provided stepped seating to allow visitors to enjoy the open showroom where these cars would be situated. This mesh was then separated into four volumes for each of the cars provided, creating their own grand space within the structure.

SHADOW THEATRE 78

Billy Bungartz Professors Paul Kelsch and Marcia Feuerstein Located in Alexandria, Virginia the project is a theater that showcases large-scale Indonesian shadow puppet performances. Set against the backdrop of a historical cemetery, the structure consists of both an indoor and outdoor theater, as well as a separate banquet hall space. The project’s overall form attempts to stitch together an edge condition where urban fabric meets open green space while the development of each sequential space explores the phenomena of light and shadow as they relate to gravity and levity.

UTOPIA 2.0 Derick Lee Professors Susan Piedmont-Palladino, Ellen Sullivan, David Lever Design of a mind and body center dedicated to reconnecting people with their authentic selves, others and nature.

AQUATIC CENTER The site for this project is located along the waterfront of the Potomac River in Old Town Alexandria. The specific site is at the intersection of S. Union St. and Gibbon St. After several visits to the site, it became apparent that this park is a heavily frequented area, specifically looking at foot and bike traffic. The views across the river are spectacular, and the park itself makes for a nice place to slow down and relax for a while. Apparently, it is also famous for being a dog park as well. So how should a building interact with this sort of landscape? In my opinion, it shouldnâ&#x20AC;&#x2122;t. Or at least as little as possible. Which is why I have positioned the ma jority of the building in the water. Not only does this minimize the destruction of the existing park, but it allows for an experience of the river that wasnâ&#x20AC;&#x2122;t previously available. It puts the person as close to the surface of the river as possible. As you walk out to the end of the structure, the views up and down the river are almost surreal. The position of the building was also an attempt to minimize the obstructing of views that occurs whenever a new building is constructed along a waterfront.

Stephen Helms Professor Don Swearingen

S A N F R A N C I S C O

In The City san francisco urban design internship 80

Laudan Siahpolo Growing up the Bay Area, I frequently visited San Francisco. I always enjoyed walking around various neighborhoods and looking out for views of the bay. These visits over the years have granted me a reasonable familiarity with the city’s pace of life and culture. However, living in San Francisco has provided me with a much more in-depth understanding of the city. During the past three months, I have had the pleasure to discover some of the city’s most vibrant areas. My fellow studio mate and I were fortunate enough to find a room in the Inner Richmond district of the city. From our room, we not only had a beautiful view of St. Ignatius Church but also a view of the trees in Golden Gate Park. On our way to downtown or to studio, we would often go through the park, passing the California Academy of Sciences and the DeYoung Museum. On the weekends, we lost much money to a particular Burmese restaurant, and we developed favorite coffee spots. When the internships began, I started taking the bus line right by my house.

next corner. As time went by, I took more notice of the names of various buildings—the Shell Building, the DeYoung Building, the Hearst Building—and began to greater appreciate San Francisco’s history. The tours in the beginning of the quarter also contributed to my increased familiarity of downtown. Visiting different public spaces, such as the Rincon Center, the Embarcadero Center, and Crocker Galleria, exposed me to areas I had previously overlooked. Visiting The City Club, located in an Art Deco building, later influenced me to pay more attention to the style-specific buildings in the financial district.

South Park, where my firm was located, was one area in particular that I had never previously explored. The area is certainly its own entity in the SoMa neighborhood. The residential scale of South Park made the area very welcoming. I was also surprised by the quality of the area around South Park. My mentor frequently visited a project site in the Mission Bay-Hunter’s Point area. He liked the area a lot and happily drove me around to give me a better idea of the neighborhood’s industrial character. I hope that others will get to On my way to work every morning, I walked enjoy the San Francisco I have. down Market Street. I came to take pride in the fact that I would know which building was on the

C A L I F O R N I A

SIX SKY COLLEGES The concept of the design was to create a dynamic living environment that feeds the body and the mind. The twisted six-story rectangles at 90 degrees create an iconic building form, the six colleges with six identities orieted north/south or east/west. Each college has a unique identity, allowing students to â&#x20AC;&#x153;discover themselvesâ&#x20AC;? within a like-mided community. The open structure and building with student life is open to the whole community giving an active transparent connectiont to Toronto. The idea was to give each individual college it own garden to encourage a more holistic lifestyle, learning to feed the body and mind. Program - 330â&#x20AC;&#x2122; tall, 27 floors - 560 beds: undergraduates, graduates, post-graduates, married students, faculty + administrative staff, visiting scholars 27,300 sq ft of public spaces: gym, gallery, learning spaces, theater, bar, cafe, lounge - 30,100 sq ft of green spaces: community + college gardens, performing space, urban farms

Orion Watkins Fougeron Architecture

P R O F E S S I O N A L

Irvine, CA Los Angeles, CA

San Diego, CA

The Professional Studio is a fourth year design studio/co-op experience that is a collaboration between the Architecture Department and an architectural firm. The goal is to offer a quarter long program that draws on the unique expertise of a firm in terms of both co-op work experience and design studio project. The Professional Studio immerses students in the life of an office and provides a design experience rich in the knowledge, constraints, and processes that inform and shape the firm’s work.

Key Program Principles/Qualities

—The design studio is taught by firm members and mentored by a Cal Poly Faculty member. —The studio project is based on a building type specialized in by the firm —The design process and presentation methods reflect those of the firm —Design solutions must be comprehensive in their scope —Design is undertaken as a team project —Students are paid during the co-op to defray The first Professional Studio was offered by the cost of participating in the program KTGY during the 2005-2006 academic year —The co-op provides students a comprehensive and involved 10 students. WATG joined for the and diverse set of professional experiences. 2006-2007 academic year and 16 students —The co-op assignments make connections/ participated. The 2007-2008 academic year parallels to the studio project as possible found five firms and 20 students participating in the program. This growth is a testament to the quality of the experiences provided by the firms and the enthusiastically positive response of the participating students. What was an exciting experiment has become an innovative educational reality.

S T U D I O S J. CRAIG VENTER INSTITUTE Corey Kawamoto, Sandra Kovacs, Juila Arria Professional Studio at ZGF Architecture Los Angeles, CA

The main spaces of the J. Craig Venter Institute consist of the wet research labs and digital biology labs. Along with the appropriate support spaces for these facilities, we were asked to include administrative offices, common areas for the building occupants, and on-site parking. In total, the building area totaled around 100,000 square feet.

To begin our design, we created 15 concept models and diagrams that respond to the site. Among the many ideas that we came up with, the more successful ones responded to the site topography and external site circulation, as well as a scheme with a small building footprint to create onsite green space. The building is programmed into two wings, one on the north for the wet research labs, and the western wing for the digital biology labs. We also designed the building to have a small footprint to maximize the open green space at the ground level.

The site is located north of the USC Health Science Campus, and is adjacent to the Zilkha Neurogenetic Institute on the same block. The most significant aspect of the site is a 30-foot elevation change from the south to the northwest.

K-12 21ST CENTURY SCHOOL Paul Hedgcock, Andrea Kimura, Michael Stone Professional Studio at LPA Inc. Irvine, CA

This project looked at developing a new school model for the 21st century and the role architecture can play in the educational environment. The initial focus of the project was the development of design concepts based on theories of learning in education. Through the project’s progression these concepts translated into potential curriculum, program, space planning, and ultimately the overall campus master plan. The organizing principal of the campus was on the concept of learning intelligences and learner’s ability to experience education in the different intelligences. Through various scales of interaction, the school encourages 21st century learners by adapting to various learning intelligences. The interactions differ for each student as they progress throughout the campus. Their classes represent three core intelligences: Visual, Kinesthetic, and Interpersonal. These intelligences were translated into three primary subject areas based on an arts curriculum: Visual, Performing, and Culinary. Working as a team, we placed ourselves into the positions of educators and school programmers and thought about what education meant. This project places a prominence on the thought that architecture, and design in general, doesn’t hold all of the answers, but can provide a dialogue between the built form and how people learn.

SAN PASQUAL ACADEMY Eric Namisniak, Christian Hertzog, Helen To Professional Studio at RNT Architects San Diego, CA

Because of the stark differences in the inhabitants of this site, master planning played a large role in the design process. Adjacencies of students, graduates and mentors determined the in-between spaces where these groups interact with each other. How these spaces layered on each other drove the intent of the project. Other programmatic elements were included at the master planning level such as an amphitheatre, library, athletic fields, staff housing, administration building and a student deck, but the graduate student and mentor housing was developed to a higher level of detail.

The San Pasqual Academy is a unique project providing a specific housing type to a high school for foster students. The foster students that attend this school are in a difficult situation growing up and making the transition to college and the real world. This project provides housing for students that have graduated from high school but are not yet ready to support themselves. They will live on the campus, but far enough away to not stay stuck in the younger atmosphere. The other programmatic element is housing for mentors that will live near the students. These mentors are mostly older people that provide guidance for the students and fill some of the parenting roles that are missing.

SAN LUIS OBISPO Jonathan Reichâ&#x20AC;&#x2122;s on-campus studio took design to the level of permanent built form. Their objectives were to create something that would benefit the campus and be implemented efficiently and effectively, while maintaining aesthetic appeal through a high level of detail. The final design, a sixty-foot long bench, was formed through the rigorous process of multiple individual and group charrettes. A coherent organization between the different teams within the class was challenging, but necessary to accomplish the design-build project. Constant communication enabled all members of the class to be involved in the construction of the bench system. Throughout the entire process the class was faced with real make-or-break issues, such as cost, feasibility, permits, and construction constraints. Their focus on materiality and environmental efficiency led to the generous donation of eco-friendly redwood from Big Creek Lumber. The studio was meant to give a real project experience within a studio setting, while creating an exciting and interactive work environment.

The Fourth Year Design Studio, High-Rise Architecture Revisited, led by Professor Ralph Roesling, participated in the international 2011 eVolo Skyscraper design competition. The studio emphasized architectural, structural and spatial development, responding to a specific site in San Diego, California. This project included a complex building program that was developed by each individual group. The studio took a field trip to San Diego and visited the professorâ&#x20AC;&#x2122;s office. The form of inquiry and methodology in this studio was Socratic. Basic and profound questions were asked about the nature of high-rise buildings. This translated into the objectives required in the eVolo Skyscraper competition brief. Design was finalized within the first few weeks of the quarter in order to allow enough time to develop the tectonics of each project.

The Fourth Year Interdisciplinary Design Studio is the studio containing both architecture and architectural engineering students. The focus of the design studio is the development of large scale urban projects based upon the ACSA/ AISC Steel Student Design Competition. The studio is led by Architecture Professors Thomas Fowler, Jim Doerfler and Mark Cabrinha and Architectural Engineering Professor Kevin Dong. The studio takes place in the Winter and Spring Quarters and features travel to an out of state city in the Winter Quarter and the opportunity to visit a steel fabricator and receive input on their projects from design professionals in Los Angeles during Spring Quarter. In the studio students have the opportunity to consult with international engineering firms such as Arup and Buro Happold on their design projects.

CALIFORNIA The Independent Study program done during fourth year incorporates a variety of different projects and students. Each study originates from a single student or team of students taking the initiative to learn more about the profession by working on project outside of or in place of studio. An advisor, typically a professor within the department, is signed on as the supervisor and mentor of the study. The student(s) must prove to the department that the project curriculum is worthy to qualify as an Independent Study. This program enables students to further develop and explore their design processes in a fashion that is unique and different from the typical studio environment, while still receiving critical feedback from faculty members. Students must learn to keep their own deadlines, pull resources without the support of a class and as well determine the nature of their research without any predefined syllabus. Fostering curioustiy and motivation, the Independent Study program is an outlet for studying an endless number architectural topics.

HYPERBLOCK

Sarah Jester Professor Tom Fowler Independent Study

Site: The site is located in the SoMa district of San Francisco, CA. The site is opposite the Transbay Terminal and the I-80 freeway ramp between 1st and 2nd Streets in San Francisco, CA.

Concept: San Francisco is bounded by the bay and can no longer continue to grow outward. In response, this mixed-use tower attempts to reinterpret the San Francisco neighborhood with residential units, green and community space, office and retail program, while connecting back into the existing urban context. Program: There is currently a huge number of shipping containers stacked useless in shipping ports across the globe. There is a need to repurpose the containers that are no longer ship-worthy, and their modular and structural properties create an exciting opportunity for low-cost housing and modular commercial lease space. On the residential side, the containers are bundled together into clusters of two storey residential modules. These modules are arranged into 5 possible unit configurations which vary in plan to create green spaces and can be reconfigured over time as programmatic needs change. The variability of the bundles allows green space, sunlight, and wind to puncture the depth of the units. On the commercial side, a similar system of bundles ties the office spaces together into larger floor plates to accommodate program. More bundles are suspended into the atrium space between the cores, containing retail for the building occupants as well as containing community destinations such as a museum and local art display space.

89 Circulation: Pedestrian activity can filter through the site and connect to existing pedestrian avenues which thread up to the core of the city. Escalators extend from the site to the adjacent Transbay Terminal and connect back up to the retail section of the tower. This urban connection continues along the trusses as shipping container vehiculars, allowing direct access to the public program. While the ground plane is very public, there is a strong distinction between public and private circulation. Since the program serves such a wide variety of users, the cores are separated as pods of vertical circulation to allow private access for both the residents and office employees. While maintaining privacy and security, the inward configuration of the cores allows for a sense of community and interaction between programs. Structure: Shipping containers are configured into structural bundles which hang off of the core, allowing for freedom and variability of open spaces. The cores are tied together with trusses which facilitate the vehicular public circulation system. The atrium space that is created by splitting apart the cores allows the variety of programs to exist in community with each other and the larger urban context.

BARRIO DE LOS PARACAIDISTAS 2010 Mock Firms International Skyscraper Challenge First Place Winner David Lee and Anthony Stahl Professors Marc Neveu and Ed Saliklis Independent Study This prototypical housing tower is the new urban framework for the future Mexico City and its people. By the hardcore abandonment of the current tower typology, this tower is seen as a vertical extension of the city. Robust with meaning, the tower’s function is to provide unlimited potential for new urban environments by both to preserving the City’s character while accelerating socialization and dwelling to new levels. Marked by constant evolution and change, Mexico City’s larger heritage is diverse and complex. On a smaller scale, the heart of Mexican community can be found at the traditional barrio and streeta physical connection between everyone and a place of interaction. Massive air pollution, lack of clean water and overpopulation, which has caused the disappearance of public space, are ma jor problems Mexico faces.

The project addresses both the larger issues of identity and the more personal-scale issues of dwelling and living. In the existing tower typology the barrio is non-existent, isolating and segregating its inhabitants. Furthermore, the tower’s meaning exists only as a foreign, singular and predefined object. This is opposite to the diverse nature of Mexico City and its people. The prototypical tower is therefore approached as an urban design solution. Mexico’s urban fabric is shifted vertically into a new threedimensional state. The mega framework is split into six massive moment frames allowing visual freedom and sunlight to reach deep into the tower. The street is continued up from the ground plane and weaves throughout the entire tower, connecting all of the residents and different neighborhoods. Main widened public roads connect to commercial program, ma jor parks and plazas. A new vertical metro connects the neighborhoods and links directly to the existing metro line beneath the site. The framework allows architecture within the

tower to develop over time, creating a dynamic composition of vertical neighborhoods. Subpublic and private spaces evolve organically, creating complex urban spaces similar to those of historic Mexico. The city fills the tower creating a vertical timeline of Mexicoâ&#x20AC;&#x2122;s culture and histories. A â&#x20AC;&#x153;vertical zoning codeâ&#x20AC;? was developed as part of the tower. This growth algorithm allows for proper ratios of built, green, and void space. Being placed throughout Mexico, the tower acts as a massive support system, an urban lung, filtering the water it gathers and cleaning the air around it. New housing forms emerge. Totally three-dimensional objects with infinite formal and spatial possibilities expands social interaction ranges from the more personal and immediate to a larger identification with the broader community by means of visual consciousness within the suspended neighborhoods. No longer a foreign living container, the tower is a dynamic place consisting of plazas, parks, and offshoots that work together to create a living and complex community habitat.

Barrio de los Paracaidistas is a true vertical beginning- a place of exploration and intrigue for future Mexico City to thrive.

KAOHSIUNG CRUISESHIP TERMINAL Charles Boyd, Ben Hait-Campbell, Vera Juul, Emily Kirwan, Steven Ni, Felipe Piris, Katherine Stuart, Megan Walker Professor Jim Doerfler Summer Studio

Response to Program The program has been divided into three parts; the Port Service Center, the Cruise Terminal and the Concourse. Each of these program components are placed in long bars that create a layering effect to the site. As connections are made to the city and the cruise ships, these bars respond to these forces and the building conforms like a fluid filling the container of the site. The space between the bars allows for horizontal movement and the flow of landscape elements through the building from the adjacent parcels. The circulation of people and vehicles through the site also penetrates the layers of the building, working their pathways under and through the bars to get to their appropriate destination. The form is united into one building by the atrium enclosure, stitching the two bars into one building. Overview This project for the Kaohsiung Port and Cruise Service Center sets out to resolve three basic conditions: strengthen the waterfront edge, mediate between the scale of the cruise ships and the city, intertwine the building to the adjacent parcels. While resolving these conditions, the project also creates a meaningful experience for both travellers and residents of Kaohsiung. This building becomes a focal point on the harbor with the intertwining forms of the program seen from across the harbor and the city, revealing the building organization. The layering of bars and three-dimensional arrangement of volumes reinforce the appropriate location of the program elements, a high quality passenger experience, integration of recreational and public experiences and views from many different points in the building.

The program is arranged as a series of bars that create spatial layers and give a striated effect as one moves from the city to the water. This edge condition to the city mediates between the scale of the large cruise ships, which are skyscrapersized (on their side), and the city fabric. This proposed design for the waterfront edge also integrates between the city fabric and the open spaces that are provided in the urban plan for the â&#x20AC;&#x153;Designated Cultural and Recreational Districtâ&#x20AC;? by using green space and water to establish a transition from building to landscape on the adjacent parcels. The landscape of the adjacent parcels continues the patterns formed by the building, but translates this into open space experiences; pathways, rolling hills and water. The waterâ&#x20AC;&#x2122;s edge is reinforced by a continuation of the structure of the concourse that transforms into sun shades and lighting powered by photovoltaics in the adjacent parks.

Urban Response

URBAN FLUIDITY

Pete Austin, Laura Mendoza, Marina Bourderonnet, Walt Busch, and Justin Schwaiger Professors Jim Doerfler, Tom Fowler, Mark Cabrinha, and Kevin Dong Interdisciplinary Studio

The main concepts of this project follow the idea of how an element can change its state and be at the same time unique and multiple. Steel is a material usually used in its rigid solid form. The goal of this project is to not only emphasize steel’s rigid quality, but also its fluidity. Steel’s fluidity is used to express a natural movement and connection to nature. Where the project connects to the city, steel’s rigidity is emphasized. We rarely get a chance to experience steel in its multiple states. Its rigidity allows for higher, stronger and lighter structures. Consequently, our perception of steel is shaped by the state at which we experience it, solid. Once steel is cast, it permanently replicates whatever molded it becoming locked into a static existence. But steel at one time must be a liquid because if not it wouldn’t be able to be cast and extruded into columns, beams or girders. Mind and body are dependent on each other to work properly. The human body is rendered useless without mind, while mind cannot act without the physical body. Steel’s equivalent of this dependency is solid and liquid; we’re dependent on steel’s liquid quality. At the same time we’re dependent on its rigid strength.

PULLING STRUCTURE: SKIN + BONE 95

George Foreman, Thomas Einspahr, Dago De Le Rosa, Kalen Turner Professors Jim Doerfler, Tom Fowler, Mark Cabrinha, and Kevin Dong Interdisciplinary Studio

The project is conceptualized as the public areas being pulled from a structural diagrid, defining the private areas. This gesture encourages the intermingling of public and private elements creating greater human interaction within the program and visually emphasizes the difference between public and private. To further emphasize the separation of public and private the public is clad in a metal mesh emphasizing fluidity while the diagrid is clad linear steel mullions emphasizing its rigidity. The public spaces form a bridge connecting the separate program elements and create the appearance of the public skin being pulled from the private structural bone. The diagrid then hits ground becoming a new type urban space inspired by the urban layers of the city of Chicago. The park combines Chicagoâ&#x20AC;&#x2122;s tradition of parks found in the Burnham plan and the urban street layers found on the Chicago River. The public space forms a connection between new towers and the urban tradition of the city.

BENCH PROJECT

Studio Concilio Professor Jonathan Reich

Studio Concilioâ&#x20AC;&#x2122;s main goal for the project was to bring human scale to the architecture building. The massive concrete structure does little to welcome students; it offers no place to congregate besides the dark, breezy stair court. The bench is constructed of redwood and steel angle iron. The cold concrete contrasts with the redwood, a warmer, more inviting material. The redwood was donated by Big Creek Lumber Company and is certified by the Forest Stewardship Council, an organization promoting sustainable logging practices. Through the aging process, the colors of the now vibrant redwood and grey steel will become inverted. The steel angle iron will rust with an orange patina, while the redwood will grey with age. The main priority was to create something that would leave the site in its original condition if and when the project needed to be removed. The bench therefore hangs off an existing retaining wall that surrounds the only green space in the architecture building. The project gave students insight into the construction process. Typically, students produce drawings, renderings and scale models of their designs. However, in Studio Concilio, students had the unique opportunity to partake in the actual construction of their design. After numerous weeks of construction due to countless setbacks ranging from poor weather conditions and a lack of a building permit, it is rewarding to see people enjoying the bench at different times of the day.

Studio Concilio: Cecile Bleux Jessie Blote Anna Bultema Milena Charlemagne Bryan Colosky Kristen Fowler Oscar Gutierrez Julio Hernandez Nhu Hoang

Avery Kant Carlos Regis Michael Shadle Tyler Stark Shanna Sullivan Garrett Sweeden Ian Tomitch Megan Walker Angelika Weissheim Alexander Zimmerman

With special thanks to Janet McCrary Webb, President, Big Creek Lumber Co. for donating all the FSC all-heart Redwood, and Charles Jourdain, president of the California Redwood Association, who spread the word of Studio Concilio’s need for wood.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

STAIR PROJECT

1. Julia Arria

Studio Project Winter 2010 Professor Jonathan Reich

This project proposes a much needed connection in the architecture building at Cal Poly, San Luis Obispo. Each student designed a stair connecting to a main pathway, as well as a bridge connection to the existing stairway on the other side of the elevator tower. Shown are samples of different students’ work, as they all propose unique and very detailed ideas.

2. Russell Davidson

3. Jen Agius

5. Rachel Chichester

4. Brendan Dwyer

WING_IT

1. Russell Davidson

2. Brendan Dwyer

3. Rachel Chichester

Studio Project Winter 2010 Professor Jonathan Reich Wings built by architecture students for the benefit of the American Red Cross. Inspired by a short story read in class, and the disaster in Haiti, Jonathan Reich’s winter studio designed and built life-sized wing sculptures to sell at the local farmer’s market in San Luis Obispo. All of the money was donated to Red Cross to help Haiti, and the construction experience was invaluable to the students. 4. Julia Arria

CAFE + DEAN’S ADDITION Studio Project Spring 2010 Professor Jonathan Reich

Jonathan Reich’s spring quarter class proposed yet another great addition to campus. This project is located at the Architecture Building in Cal Poly, San Luis Obispo. There is a need for more gathering and eating spaces in this area, as well as a late night cafe for the architecture students. The assignment was for each student to remodel the current Dean’s offices into a cafe and gallery for all students to enjoy, and to bring life to the adjacent Dexter Lawn. In order to achieve this, the Dean’s offices would be relocated into a new addition across the sidewalk, attached to the Engineering Building. This would also bring handicapped accessibility to that end of the Engineering Building, currently a dead area. The staff and the students would benefit greatly from this project and the cafe would provide food and drinks to everyone, even during the late evening. The gallery would provide extra critique space, and the ability to open up the gallery into the cafe would provide extra exposure to the public. Each student had a slightly different concept, but overall the idea was the same, and showed the potential value of a remodel.

1. Russell Davidson

2. Julia Arria

4. Ashley Tyra Elizabeth Hernandez

3. Matthew Cox 4

100

[ sky district ] FUSING THE DYNAMICS OF A CITY INTO A SKYSCRAPER A rapid increase in global population has prompted many new large-scale developments. Unfortunately, many rash decisions have been made during urban and architectural design phases. Typically, these developments are planned around auto circulation, requiring people to drive to their destinations. Likewise, typical skyscrapers are planned around elevators that stop at every floor. This model offers poor architectural design, consumes finite resources, and promotes a lazy way of life.

[Sky District] aims to correct the ma jor problems associated with the â&#x20AC;&#x153;Typical Model.â&#x20AC;? By organizing city blocks vertically, compelling views are captured, open spaces are created, high density is achieved and typical urban and architectural design flaws are solved over a small footprint. [Sky District] is planned around vertical public transit and employs design tactics in order to incorporate exercise into everyday life. Skip-stop elevators, attractive stairways, and escalators are located in well-lit open spaces that offer views of the city. This encourages walking, offers a pleasant experience as one circulates, and maximizes opportunities for public interaction. [Sky District] is a fit building that remedies urban and architectural design flaws, consumes less energy, offers an enjoyable experience, encourages inter-action and promotes a healthier way of life.

101

Thomas Shorey - Ryan Nevius - Baptiste Rouit Professor Ralph Roesling

LIFTED Kevin Farrow, Gabby Robinson, Rodrigo Robles, Justin Shareghi, Adrian Tulbure, Matt Wilkins Professors Gary Clay, Margot McDonald, James Mwangi, Gregg Starzyk nterdisciplinary Studio

102

In 2005, Hurricane Katrina devestated communities and changed the lives of New Orleans residents forever. Over five years later, residents still find themselves struggling to return to a normal way of life. LIFTED is an innovative dwelling designed by multidiscplinary team, Design Empathy, to weave seamlessly into a reviving New Orleans, maximizing its constraints and offering the resident an optimal dynamic living space. The project was designed within a $100,000 budget to meet hurricane and flood constraints and obtained a LEED-H platinum certification. Energy- and water-saving features such as Energy Star appliances, a solar hot water heater, low-flow fixtures, and a rainwater collection cistern were employed to conserve resourses and reduce utility costs. Other costeffective measures included standing seam roofing, bamboo flooring and the installation of hurricane shutters instead of expensive hurricane-proof windows.

In addition to its sustainable features, the home was designed to accomodate all types of disabilities as outlined by ADA and Universal Design standards. Accessible features include a wheelchair lift, fold-out tables, and a pathway from the wheelchair lift to the roof patio. Flood and hurricane safety were addressed by employing timber piles thirty feet below grade to anchor the house and hurricane shutters to protect windows. The requirement of a seven foot floor height minimizes flood damage, and the storage area under the front porch contains no mechanical equipment. The roof patio also serves as safe haven where flood victims can await rescue.

FLEXMOD SKYSCRAPER 2011 eVolo Skyscraper Competition Finalist Nick Ochoa, Sabrina Brenner, Michael Krause Professor Ralph Roesling

Reflecting the structure of plants, inhabitants are rooted to the earth and each other, providing opportunities for growth. Customizable program units reflect a flexiblemodular (flexmode) system. This system allows space to expand or contract per the needs of the individuals. Individuals become the curators of form and program. “You” becomes the seed for growth. Each inhabitant’s needs are met in an instance of community. Families flourish and the overall life of the building blooms. Public spaces are woven into the structure of this complex providing the necessary nutrients to support this thriving culture. Each programmatic piece collaboratively contributes to the integrated whole, thus cultivating a community.

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The exponential increase in the world’s population creates a need for housing in urban centers. This project addresses the idea of accommodating the ever-evolving needs of a community within a complex.

5 Recognizing the difficulty of predicting the future of a rapidly changing profession in a rapidly changing society, the Architecture Department does not promote any single idea about the discipline, any idiosyncratic design method, or a single design â&#x20AC;&#x153;style.â&#x20AC;? Rather the Department celebrates a variety of ideas culminating in the yearlong design sequence of fifth year thesis characterized by collegial diversity. In a class size of 160 students, coherence is established by a celebration of difference, within the department, within studios, and between students.

Collegiality is displayed in the un-edited all-of-fifth year shows and events, which display the research and design of the studios. There are five of these events across the year including; Vellum, a furniture design competition; To Be Determined, a show of abstracts of thesis research; Prime Cuts, a display of initial sections of thesis architectural projects or ideas; Detail, a display of the architectural development of thesis projects; and finally, the fulfillment of the degree program is celebrated in the Chumash Show, the results of thesis. The entirety of the degree program concludes in the Chumash Show, an event over Memorial Day weekend in which every fifth year student from every fifth year studio presents a fraction of their work from the year. The local chapter of the American Institute of Architects (AIA) juries the Chumash Show to choose their top five projects, which then become part of the AIA design awards program of the year. While each yearlong studio has a different emphasis, each of the nine studios challenges the students to demonstrate professional competency in the integration of architectural theory, principles, and practice. Students are encouraged to speculate on the current condition of the profession and how this amends their academic experience to date and the direction of their professional future. Students demonstrate their creative, organizational, and technical strategies through programming, systems integration, material selection, and research. While each studio presents a different facet of the profession from theory to typology, the whole represents an understanding of the diverse issues that confront the profession, each developing a professional sense of the values in architecture. The work of the following students exemplifies this diverse understanding, including highly researched topics developing issues of theoretical discourse, manufacturing processes, affective environments, transformative environments, and ecological solutions. The studios offer quality and diversity of academic and professional content, rigor, and relevance to the profession. The goal of each is to help student, both professionally and personally, adapt toand work successfully in the discipline of Architecture.

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BORDER CROSSING Ron Assa Professor Tom di Santo

Intervention The wall embodies a discreet history of politics in Israel; the removal of Palestinians will create Zionist Israel. As a form of Palestinian politics, the wall provides a gathering point for those included and excluded within the arbitrary border. Situated along the wallâ&#x20AC;&#x2122;s axis, the PLC building focuses on reconciliation between Hamas and Fatah and the divided Palestinian voice that they both represent through the simplified program of a meeting hall. The building reacts to the fundamental issue preventing a nonviolent solution: the misrepresentation of the people. Narrative The meeting hall is representative of the steps the Palestinians need to make in order for the status quo to change. As their efforts to achieve a unified voice come to fruition the second phase focuses on the necessary steps for Israelis and Palestinians to take individual political action through voting. Requiring Israelis to travel to the Eastern side of Jerusalem to participate in their democracy allows a connection to occur with the political process and its consequence. In essence the person is witnessing their decisions and its effects on the people. A visual connection is necessary because it does not carry the manipulated narrative of the news.

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Monument Collective change emanates from individual reflection. Removing ideology and agendas is the only way to move forward in a peaceful manner. The convergence of these disparate activities ensures a more heterogeneous demographic of political activists. The tubes act as entrances and gateways to politically differentiated areas. At the bottom the individuals are educated on their representatives and political agendas; at the top they are reconciled as they become democratic process - some vote and some initiate legisltion.

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PUBLIC MASS Michael Charters Professor Doug Jackson America lacks truly public space.

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Misunderstandings of conditions specific to the American lifestyle have resulted in an impotent form of quasi-social “public” space and despite a clear difference in social and urban conditions, public spaces in America continually attempt to mimic their European predecessors. Consequent, most of America’s “public” spaces lie vacant and unused. To architects and planners, the idea of public space is loaded with inherent function and meaning. It is assumed to foster social interaction, recreation, civic discourse and communal organization. In actuality, the term public space is loosely ascribed to any place of public habitation, with a particular emphasis on consumption. As a result, American public spaces tend to lack programmatic diversity as well as the architectural mechanisms necessary to provide these attributes. This ultimately results in limited hours of occupancy, social insularity, and excessive corporate interest. With increasing interest in urban living, it is time we support our cultural infrastructures with socially and civically engaging spaces that are relevant to 21st century American cities. With the contention that public space does not necessarily indicate an urban void, I propose a cultural center which achieves programmatic diversity, social encouragement, cultural immersion, 24-hour use, and minimal private interest.

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PHENOMENO [ECO] LODGE-ICAL Bianca Clayton Professor Tom di Santo This new generation of architectural designers has a number of pressing issues to deal with. In the face of climate change, it is of upmost importance that architects design buildings that are energy efficient and thoughtful in material selection. In California, designers have to take into account the imminence of severe droughts and degrading farmlands. The nearness of peak oil will affect every aspect of our lives, to what degree is still unknown. Could all of these upcoming calamities somehow been avoided? Of course, hindsight is 20/20, but it begs the question: Could these problems ultimately stem from manâ&#x20AC;&#x2122;s general lack of appreciation and/or awareness of the natural world around him?

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Can architecture be part of the solution, rather than fueling the problem? Yes it can. It needs to be thoughtful and tread lightly on the land. Designers need to create space that encourages stewardship of the natural world around us. It needs to step away from architectural design that focuses purely on the visual, and instead stimulate the other senses through nature and natural elements. The project explores how architecture can facilitate oneâ&#x20AC;&#x2122;s connection to the nexus between the man-made world and the natural environment through heightened phenomenological experiences that are equally restorative, sensual and invigorating.

stak block by oryzatech

site condition

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1. stak block 2. bolt 3. plywood 4. interior finish 5. floor level glazing 6. steel plate 7. beam 8. anchor 9. finish floor 10. sub floor 11. sill plate 12. pile 13. joist 14. weatherproofing 15. fiber cement panel

THE PRESENCE OF ABSENCE Tracey Coffin Professor Karen Lange

Thousands upon thousands of odors formed an invisible gruel that filled the street ravines, only seldom evaporating above the rooftops and never from the ground below. The people who lived there no longer experienced this gruel as a special smell; it had arisen from them and they had been steeped in it over and over again; it was, after all, the very air they breathed and from which they lived, it was like clothes you have worn so long you no longer smell them or feel them against your skin.

As humans evolved, bipedalism shifted our nose away from the most potent datum - the ground.

LATENT SPACE Architecture’s fascination with all things affectual was recently on display in the Matters of Sensation exhibit in the Artist’s Space in New York. This barometrically accurate exhibit curated works that challenged objective materialism and “[aspired] to produce effects on the body”.1 The resulting objects minimized spatial exploration to a study of material effects, focusing on situational and intimate relationships, while simultaneously minimizing the scope of our senses by designing solely for visual and tactile faculties.

Site study shifting the topography’s interaction with existing on-site odors.

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As a designer and scent enthusiast, I can’t help but feel slighted – aren’t we limiting the potential of “sensation” if we design for two senses? Maurice Merleau-Ponty posits that “with the first vision, the first contact, the first pleasure, there is initiation, that is…the opening of a dimension that can never again be closed, an establishment of a level in terms of which every other experience will henceforth be situated.”2 If sensation situates experience, then why is scent rendered architecturally taboo when it is so often associated with place and memory? Andy Warhol was so entranced by this phenomenon he decided to make a museum devoted to his notable life experiences.3 Rather than constructing a building, he created a catalogue of perfumes. When he wanted to remember an experience he would stop wearing the fragrance, archive it, then purchase a different one. Whenever he wanted to recall a place or feeling he would simply smell the corresponding perfume. Perfume is fascinatingly architectural as it is so often associated with issues of identity, boundary, scale, and time. Scents are both portable and grounded to a region. They can donate, merge, or embed identifying qualities. They can linger or disappear. Despite these natural parallels between olfactory and architectural issues, this relationship still seeks exploitation. This sensation remains elusive and its general disregard is often blamed on how bipedalism distanced our noses from scent’s most important datum – the ground – and, more importantly, how our inability to create a universal scent language has prevented us from simply talking about how and what we smell. PATTERN PERCEPTION How many odor categories do we need to make sense of the world?4 This question raised by psychologist and scent scientist Avery Gilbert, infers that a relationship between categorization and perception of scent exists. This relationship, although existent, remains obscured because empirical quantification of scent has yet to be defined, partly because the odor of molecules is merely a perception rather than a physical property. Scent still presents verbal-semantic limitations and some odors, despite their familiarity, fail to evoke a name or specific descriptive associations. It has been inferred that this language barrier also reflects sensory-perceptual limitations. Unlike, for example, the visual where there are acutely definitive descriptions such as turquoise, shiny, circular, etc., scent possesses elusive complexity for this reason, and our perpetual inability to universally categorize this sensation emphasizes our desire to uncover scent patterns. Diane Ackerman claims that we crave pattern because it pleases and rewards our complex minds.5 Pattern structures our environments and, as opposed to memorization, leaves space for imagination and association.

Wall study analyzing how varying opacities allow/ prevent how scent moves through space. Embedded within the wall were different spices whose smells were distributed and enhanced in correspondence to the amount of wind transferring through the fabric.

Wine glasses are designed to enhance smells, allowing them to be consumed before the wine itself. These models were formed from casts of wine glasses then collaged, creating a multiplicity of pockets that collected, enhanced, and moved scent.

Studio installation reinterprets fogged environments.

Site study model analyzing how form can begin to gather and contain scents on the site.

PROGRAMMING PERCEPT Such qualities of imagination and association become the basis of architectural space for this project and question how scent can expand our perception of immediate physical spaces. Layering a new series of baths upon the existing Sutro Bath ruins in San Francisco, the site systematically launders its occupants by drawing attention to issues that simultaneously reference scent behaviors (e.g. stagnate, imbue, aerate, etc.) while manipulating the nose’s relationship with the datum. The five behaviors presented synthesize, effloresce, imbue, aerate, and stagnate odor perceptions on the site. SYNTHESIZE: Transitioning from the asphalt covered parking lot onto the site, the synthetic qualities of tar and the materials that construct the city beyond the site form a boundary in direct opposition to the Pacific Ocean that defines its other bounding limit. This dichotomy between fabricated malevolence and autochthonous aromas invites the positioning of transitional programmatic functions. Beyond the mainstream odors associated with perfume, but remaining in the physical world of manmade places and materials of modern daily life, these spaces use the heat generated from computers to release latent scent qualities of naturally or synthetically imbued materials. With increased use, the odor characteristics of the space intensify and create micro-atmospheres and various spatial configurations at the scale of the individual.

the cleansing of clothes and a cleansing of the body. Both processes unfold in steamed spaces clouded by odors evocative of the nature of stripping and reapplying. Following these spaces are places to dry; clothes are steam dried by the reuse of bath steam while bodies enter light-drenched anosmic zones.

1. Gannon, Todd. Ouch or Ooooh? On “Matters of Sensation”. Log 17: 93 - 104. 2. Merleau-Ponty, Maurice. “The Chiasm”. In The Visible and the Invisible. 130-155. 3. Warhol, Andy. The Philosophy of Andy Warhol: From A to B and Back Again. New York: Harcourt, 1975. 4. Gilbert, Avery. What the Nose Knows. 24. 5. Ackerman, Diane. An Alchemy of the Mind. 55.

IMBUE: Base notes in perfumes are molecules that are intimately perceived. They emerge over longer periods of time, occupying less space than their complimentary compounds that quickly evaporate and disappear. They persist and embed within their wearer, fragrantly painting them with identity. AERATE: Smells decay in correspondence to their exposure to light and air. Divided into a gallery and exterior baths, these spaces remain exposed and vulnerable to change. Gradients of apertures invite and withhold climactic conditions that create passages that begin to conceal scent metaphorically suffocating the user, forcing them to rapidly move into programmatic spaces yielding the same lightness as a perfume’s top notes.

TOP The scents that are perceived immediately on application of a perfume. Head notes, or top notes, consist of small, light molecules that evaporate quickly. They form a person’s initial impression of a perfume.

MIDDLE The scent of a perfume that emerges just prior to when the top notes dissipate. The heart note, or middle note, compounds form the “heart” or main body of a perfume and act to mask the often unpleasant initial impression of base notes, which become more pleasant with time.

A A B B C C

E E

BASE The scent of a perfume that appears close to the departure of the middle notes. The base and middle notes together are the main theme of a perfume. Base notes bring depth and solidity to a perfume. Compounds of this class of scents are typically rich and “deep” and are usually not perceived until 30 minutes after application.

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STAGNATE: Our lack of scent language has diminished our olfactory descriptions to basic definitions such as good or bad. We often associate stagnation with the latter. Drawing on the existing bath ruins and their algae pools, this laboratory space contains and conceals the very smells it grows. Programmatically, this space is EFFLORESCE: Perfume can easily be linked to both a laboratory and an archive bottling extinct notions of identity, and our bodies and environments and imaginary odors. It also shifts the algae ruins act as a carte blanche awaiting their application. into the pools formed by the building topology Laundering creates these canvases for scent and, in attempt to isolate an open-pond algae growth although the process itself maintains a potent system that will re-oxidize and fuel the site. Both olfactory identity, the act of laundry has evolved programs contain associations of knowledge into a cleansing ritual enabling identity renewal. renewal, overpowering the stereotypical negativity These spaces progress in a series that involves both inherent to the idea of stagnation.

EMBRACING SPECTACLE Keith Houchin Professor Eric Nulman

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What if a theatre cared more about the performances that occur around it than in it; a public venue that encourages spectators and performers alike to engage in the architecture and contribute to their surroundings by producing and interacting with an every day spectacle. Approaching the design process with the goal of creating a spectacle, either through architecture or through the usersâ&#x20AC;&#x2122; interaction with the spaces surrounding the architecture, observations on what society views as a spectacle must be made. By providing both a place for spectacles to happen and create a spectacle in its own right, this venue can add another element for people to be fascinated with.

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CATALYTIC DYNAMISM: HARNESSING A MOVEMENT BASED ATMOSPHERE

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Matt Kendall Professor Eric Nulman

This project seeks to explore how movement can serve as the catalyst for a series of formal and material investigations, ultimately providing the framework for a more responsive architectural piece. Through an examination of pedestrian activity in an urban context, patterns will emerge to focus the course of a design intervention. These parameters will inform the spatial constraints of the physical piece by suggesting zones of public involvement. The proposed implementation will preserve the existing infrastructure of the site through an innovative, inclusive design strategy that will serve to reinforce existing relationships while simultaneously proposing an alternative perspective and usage, thereby redefining the behavior of the immediate public. The true appeal of this design will rest in its ability to produce an engaging atmosphere.

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INTEGRATED ECOLOGY Keith Rowe Professor Sandra Stannard

Water is a resource fundamental to the existence of human life. In the last several decades, rampant degradation of the world’s natural systems has led to an era of unprecedented accelerated climatic and environmental change. Among other things, this wild shift is affecting the availability and quality of usable water. Current management and use of water by modern societies has done fairly little to successfully regulate the usage of water nor to successfully promote conservation awareness in light of these changes, as illustrated by the worsening global water crisis. UN SecretaryGeneral Ban Ki-moon stressed the importance of this issue, calling it “as critical an issue as climate change itself.” Without usable water, there is no food, no sustenance, no basis for an economy or industry. Instead, as water becomes more scarce, it becomes the center of sociopolitical conflict.

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This project aims to integrate human and natural ecologies in order to educate the public about water cycles + alternatives to off-site wastewater management. Toward these ends, the project includes both public and private elements. The private aspect seeks to show, in action, how archtiecture can help create sustainable water cycles in a home environment. The public aspect (whether that be a cafe, spa, or plaza) facilitates a public presense and allows the building to create a dialog between the private workings of the project and the greater scope of the social community.

co-housing

living machine

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waterbar

ALTERNATE REALITIES AND THE PSYCHO-ARCHITECTURAL

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Paul Ruppert Professor Karen Lange If one reality links all human beings, regardless of gender, race, religion or other biological and physical factors, it stands to be the presence of a unique concept of reality itself—an individual psychology. Stemming from both biological and social forces, psychology (and in this case its abnormalities) “is both personal . . . (with a kaleidoscope of causes, ranging from the organic to the psychosocial), and is also articulated within a system of sociolinguistic signs and meanings.”1 It is in psychology, first and foremost, that environment and behavior are linked. Out of this link, between environment and behavior, social and biological, ideas of sanity and insanity develop. Society determines appropriate behaviors, shared perceptions, and standard biological states, among other psychological commonalities. Yet, hypocritically, society thus defines its own role in the definition and development of insanity. This place of power and self-definition allows society the ability to re-define insanity in light of selfinterest and proprietary advantage. A trend of marginalization follows, as society separates itself from the abnormal it defines and classifies. With society’s power over the definition of madness clear, the question arises as to whether or not environment holds a similar power over behavior. Environmental determinism argues for an environment’s ability to shape behavior, to, “create a different kind of environment, which methodically correct[s] the deficiencies of the community.”2 Thus, if the current system of societal control and marginalization is seen as deficient, architecture, and the environments it shapes, emerge as not only capable of, but responsible for contextual reevaluation. Architecture’s ability to shape behavior thus serves to rethink society’s marginalization of psychologies, creating a break from societal determination, and its replacement with the psychological—common psychologies are, of course, not limited to those seen as socially acceptable, rather, they reach towards marginalized behaviors and abnormalities, even within psychologically stable individuals. In addition, if social categorization of psychology is indeed rife with self-interest and proprietary concerns, individually defined abnormality reveals itself as a critical replacement. Thus, in its minimization of societal biases, the investigation of psychosocial abnormalities serves as logical starting point for architecture. Psychological abnormalities inform architecture, which in turn informs behavior. Marginalized behaviors

are explored for their ability to re-define the social. Moving contrary to societal conventions, architecture uses abnormal, fringe psychologies to define the social—the marginalized to reexamine the norm. Contained within the aforementioned marginalization of abnormal behaviors and psychologies is the root of the unique status they maintain in relation to society and architecture. It is, in fact, this very same marginalization—the interstitial existence of abnormal psychologies and their hosts both within and apart from society—which defines this relationship. Michel Foucault maintains “the madman’s privilege of being confined within the city gates: his exclusion must enclose him; if he cannot and must not have another prison than the threshold itself, he is kept at the point of passage. He is put in the interior of the exterior, and inversely.”3 Even given a fixed location, the madman still exists in the inbetween, shared humanity linking him to society, while behavioral and psychological differences actively separate him from it. Similarly, sociospatial institutions dedicated to the madman reproduce “values and social relationships of the wider world and yet manage at the same time to remain isolated in their particular ways from the society that created and supports [them].”4 Perhaps most importantly, the madman’s own mind may likewise mimic the aforementioned interstitial understanding of reality—as with neurotic abnormalities alien to the very nature of their subjects—trapped between two coexistent and simultaneous, yet conflicting psychological states. It is this interstitial relationship that serves to inform an architecture defined by a similarly peripheral relationship to its surroundings. The basis of psychological abnormalities in, and experience of, the madman is thus transcribed to the relationship between the architectural object and the context by which it is marginalized. Fortifying this understanding, and defining a shared vocabulary, is the repurposing of Gestalt ideas of perception to the realm of abnormal psychology; the figure-ground relationship presented as the primary governing factor for human perception, the environments and elements contained within said relationship perceived as either distinct elements of focus, or the background upon which said elements rest. To quote Thomas S. Szasz: In the terminology of Gestalt psychology . . . we shall be more interested in the ‘ground’ than in

Contained within this relationship is not only recognition of the social context as influencing psychology, but also a similar acknowledgment of psychological development and present psychological states as flexible to the point of complete inversion; context—social and architectural—becomes ground, and the individual—psyche and the architectural object—becomes figure. Ideas of figure-ground relationships in relation to feeling, speed, structure, and sensory perceptions apart from the visual present themselves as ways to understand architecture-psychology relations. The dialogue of open and occupied space, solid and void, interior and exterior serve to transfer this relationship to the architectural realm. Similar coexistence and perceptual reversal, defines these spatial interactions; interior and exterior, for example, can be alternatingly experiences, with certain spatial, material, and decorative moments highlighting their interchange. These moments of interchange make it clear that “figure and ground are conceptually reversible,” and thus, “that their roles are interdependent.”6 Just as environmental context and psychological abnormalities are interdependent, so solid and void, inside and outside, and proprietary and public should be understood. It is this shared relationship, of figure to ground, and its inherently varied yet interdependent nature that serves to link architecture and psychology, environment and madness. Again, it is through this common vocabulary that abnormal psychologies finally inform the physical structures—as well as constructed and inhabited psychologies—for an architecture of interchange, of the in-between and the interstitial.

In addressing the application of a figure-ground understanding of social context, the question becomes how to program an architecture of the in-between—of inversion. If the figure is understood as contextual reality, then the ground, as inverse, must be understood as non-contextual un-reality—in other words, the theater. If indeed, “the wildest and most moving dramas are played not in the theatre but in the hearts of ordinary men and women who pass by without exciting attention . . . ,”7 it follows that the theater itself should focus not on a falsification of an already insincere reality, but on unfiltered, unconscious reality itself. If this reality is recognized as theater’s shadow—the (albeit conceptual) unconscious force which traces its every move—it reveals itself as not only as the inverse ground to the object casting its influence, but also as a dynamic surface to be affected by the projection of the figure in question. Finally, an architecture of the interstitial, which frames and prompts inversion—of self and collective, interior and exterior, normality and abnormality, reality and fantasy—constructs the experience of the madman. The collective identity, and social reality of urbanity thus meets the individual uniqueness, and illusive reality of the theatrical, architecture serving as the vehicle for conceptual and perceptual reversal. It is this frame which at last defines a “background [which] is at once real and fantastic; creating a certain malaise and insecurity within the spectator,” with “characters . . . like fleeting shadows who make their presence visible on stage, but who never seem to become living beings, acting and reacting as men and women.”8 It is this understanding, of concurrent realities, theatrical and non-theatrical, projected and enlightened, rational and irrational, normal and abnormal, which finally offers a chance for the theater to serve as a vehicle for reality perception itself. The illusion of reality and reality itself come face to face, stage life and real life blur, the theater embracing irrationality and abnormality to become a catalyst for reevaluation of the human psyche.

1. Roy Porter, “Mind-Forg’d Manacles,” in Yanni, Carla. The Architecture of Madness: Insane Asylums in the United States. (Minneapolis: University of Minnesota Press, 2007), 2. 2. Yanni, Carla. The Architecture of Madness: Insane Asylums in the United States. (Minneapolis: University of Minnesota Press, 2007), 8. 3. Michel Foucault, Madness and Civilization: A History of Insnaity in the Age of Reason. Trans. Richard Howard. (New York: WintageRandom House, 1988), 11. 4. Charles E. Rosenberg, “The Care of Strangers: The Rise of America’s Hospital System,” in Yanni, Carla. The Architecture of Madness: Insane Asylums in the United States. (Minneapolis: University of Minnesota Press, 2007), 5. 5. Szasz, Thomas S. The Myth of Mental Illness: Foundations of a Theory of Personal Conduct. (United States of America: Paul B. Hoeber Inc., Medical Division of Harper & Brothers, 1961), 9–10. 6. Wayne Copper, “The FigureGrounds,” in Nesbitt, Kate. Theorizing a New Agenda for Archtitecture: An Anthology of Architectural Theory 1965-1995. (New York: Princeton Architectural, 1997), 305. 7. Jung, C. G. “New Paths in Psychology.” Two Essays on Analytical Psychology. (London: Princeton UP, 1966), 425. 8. Knapp, Bettina Liebowitz, and Anaïs Nin. Antonin Artaud: Man of Vision. (Athens, Ohio: Swallow-Ohio UP, 1980), 63.

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the ‘figure’. The ground is the historical and sociopsychological context in which hysteria appears as the figure . . . to be studied and comprehended. As varying the background in an experiment in visual perception may make an object appear, become intensified, or disappear—so it is with problems of so-called mental illness. When the social background of behavioral phenomena is treated as a variable, the phenomena of mental illness can be seen to appear, become intensified, diminish, or disappear. . . . changes in the ‘ground’ affect the perception—or perhaps in this case we may say the very existence—of the ‘figure’. 5

TRANSFORMATIVE LEARNING

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John Vierra Professor Doug Jackson Through time, our daily perception of space becomes conditioned changing our relationship with architecture from a conscious one into an unconscious one. This is problematic for architecture because it is through our daily experiences in the built world that we draw meaning and learn. The concept utilizes steel technology to de-familiarize architecture into renewed experiences creating an always changing stimulated environment. Transformative Learning, an elementary school located in Seattle WA, adopts steel technology taken from automated storage and retrieval systems used for providing fast access to material goods within highly compacted pallet warehouses and uses’ its system to de-familiarize architecture. A steel retrieval system moves along the south façade of the classrooms inserting and removing plug-in steel modules at the request of the class digitally. The modules can be programspecific, while others may adjust one’s view and perception of the outside world. As students go from quiet reading to art and crafts, for example, the classroom can change its daylighting, learning technology, and furniture configuration. When it is time for students to creatively express their artistic side a steel pod given that specific task can inspire and stimulate the kids anew. The school’s program is identified with the pods. When school is dismissed or on break the building could take on an entirely different meaning. At night, desks and chairs roll into unused classrooms and the steel retrieval system inserts adult functions such as media, gallery, and film to maximize the buildings resources.

Pod storage Steel unit load conveyor system Sky lights shaded by steel roof canopy

Retrieving space module

Running along curtain wall holding module securely in place

Active curtain wall: Once a pod is inserted, the Curtain Wall System (essentially a large bifold door) unlocks and the space becomes defamiliarized allowing the students to become actively engaged in the architecture day after day

HVAC: Plumbing

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Destination reached. Curtain wall bi-folds open

Elbow Connector Electrical box Metal Carriage Hydraulic Fork Mast-crane

Electric motor Metal cast frame

Running rail Guide wheels Wall Detail

Wall Detail

Retrieval System to Building Detail

Water Heating System

Shell Structure Incased Lighting

Shower Heads Shower Capsule Shower Kitchen

Air Flow Heating Diaphram w/ Integrated LCD Screens Primary Structural Chasis Kitchen Utilities Ventilation System Shower Drain

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Retractable Stairs

IRIS hybridizes the programmatic elements of kitchen and bath embedding the functions within a spherical object inside the home.

This design experiment questions the affects of daily life with a new concept of kitchen and bath space. Kitchen utilities condense and wrap around a sphere with washing, drying and storage options embedded around a showering capsule.

IRIS Cody Williams Professor Tom Fowler Independent Study

IRIS is inspired by car manufacturing processes. A steel structural chassis hybridizes with water heating and circulation systems . The kitchen, storage and washing modules bolt into the chassis allowing for aesthetic variations from minimalistic panels to more exotic surface manipulations. Color options and LED lighting mimic car industry tactics.

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IRIS nurtures sustainability by localizing the homes water systems minimizing the loss of energy transferred by utilizing heat loss and reusing energy generated from other liquid functions typically used in a home. Grey water is recycled between liquid functions inside the spherical object. While the minimization of space is not the primary objective, the reduction of material usage vs. traditional kitchen and bathing spaces has the potential of reducing the consumption of raw materials.

Projection in shower

I N D E X

01 p. 19

Moon, Jessica (A Place To Be)

p. 38

Crocker, Zach (Bridging the Void)

p. 46

Thomas, Tyler (Mobius House)

p. 13 ARCH 131 Students Fall ‘09 (Pier)

p. 24 Nishimura, Ayako (San Luis Obispo Art Center)

p. 36 Crocker, Zach (Performed Performance)

p. 52 Truong, Wendy (Back to the Land)

p. 71

p. 95

DaSilva, Christo (Space Between)

De Le Rosa, Dago (Pulling Structure: Skin + Bone)

p. 88-89

Jester, Sarah (Hyperblock)

p. 67

Rafaie, Farnoosh (Epistemelogical Shift)

p. 95

Turner, Kalen (Pulling Structure: Skin + Bone)

p. 92-93 Juul, Vera (Kaohsiung Cruiseship Terminal)

p. 70 Redding, Alyssa (Stack_Slide)

p. 78 Vuong, Raymond (Trucker Auto Museum)

p. 23 Osorno, Emmanuel (Hill House Nagasaki Harbor)

p. 48 Dekker, Dion (Exoskeleton)

p. 32 Wang, Karen (Photosynthesis)

p. 56 Discourse (Professor Don Choi)

p. 83 Kawamoto, Corey (J. Craig Venter Institute)

p. 98 Reich Studio, Winter 2010 (Various Projects)

p. 67 Wang, Karen (Epistemelogical Shift)

p. 12, 14 ARCH 132 Students Winter ‘10 (paraSITE & slipCASE)

p. 19 Pfeffer, Maddie (A Place To Be)

p. 37 Dekker, Dion (reciPOROSITY)

p. 15 ARCH 133 Students Spring ‘10 (Design Village)

02 p. 10-11

Discourse (Professors Brent Freeby, Michael Lucas, & Joann Moore)

p. 19 Wong, Cindy (Courtyard)

p. 34 Discourse (Professor Marc Neveu)

p. 19 Wong, Cindy (A Place To Be)

p. 43-44 Discourse (Professor Jim Doerfler)

04 p. 49

Worl, Kory (On the Institution of Architectural Education)

p. 60-61 Discourse (Professor Marc Jay)

p. 84 Kimura, Andrea (K-12 21st Century School)

p. 99 Reich Studio, Spring 2010 (Various Projects)

p. 81 Watkins, Orion (Six Sky Colleges)

p. 68 Discourse (Professor Jonathan Reich)

p. 83 Kovacs, Sandra (J. Craig Venter Institute)

p. 59 Reid, Will (Multi-Use)

p. 102 Wilkins, Matt (Lifted)

p. 72-73 Discourse (Professors Marc Neveu & Tom Rankin)

p. 103 Krause, Michael (FLEXmod Skyscraper)

p. 102 Robinson, Gabby (Lifted)

p. 21 Worl, Kory (SOMA Chocolates)

p. 39

Li, Tao (Fahrenheit 451 Library)

p. 83 Arria, Julia (J. Craig Venter Institute)

p. 76 Discourse (Professor Howard Weisenthal)

p. 90-91 Lee, David (Barrio de los Paracaidistas)

p. 102 Robles, Rodrigo (Lifted)

p. 33 Li, Tao (Vibrant Clarity)

p. 94 Austin, Pete (Urban Fluidity)

p. 62-63 DIS Copenhagen Class 20092010 (Various Projects)

p. 79 Lee, Derick (Utopia 2.0)

p. 100-101 Rouit, Baptiste (Sky District)

p. 29

p. 19

Bailey, Candence (Buddhist with Modernest Tendencies)

Delkeskamp, Charlie (A Place To Be)

03 p. 39 Lieu, Danielle (Fahrenheit 451 Library)

p. 57 Bailey, Scot (Shibuya Midrise)

p. 95

Einspahr, Thomas (Pulling Structure: Skin + Bone)

p. 67 Li, Tao (Epistemelogical Shift)

p. 94 Schwaiger, Justin (Urban Fluidity)

p. 106-107 Assa, Ron (Border Crossing)

p. 18-19 Discourse (Professor Kent Macdonald)

p. 38 Batryn, Michael (Bridging the Void)

p. 41 McColl, Scott (Tesla Design Studio)

p. 63 Becker, Edward (Arsenalvej Row House)

p. 102

Farrow, Kevin (Lifted)

p. 94 Mendoza, Laura (Urban Fluidity)

p. 80 Siahpolo, Laudan (“In the City”)

p. 108-109 Charters, Michael (Public Mass)

p. 47 Mejia, Luis (Urban Tear)

p. 94 Bourderonnet, Marina (Urban Fluidity)

p. 95

Foreman, George (Pulling Structure: Skin + Bone)

p. 85 Namisniak, Eric (San Pasqual Academy)

p. 102 Shareghi, Justin (Lifted)

p. 110-111 Clayton, Bianca (Phenomeno [Eco] Lodgeical)

p. 26 Discourse (Professor Troy Peters)

p. 36 Bordessa, Lauren (Performed Performance)

p. 41 Mena, Donna (Byxbee Park)

p. 103 Brenner, Sabrina (FLEXmod Skyscraper)

p. 71

Gomes, Bethany (Space Between)

p. 66 Nealan, Robert (Il Rivellino)

p. 100-101 Shorey, Thomas (Sky District)

p. 112-113 Coffin, Tracey (The Presence of Absence)

p. 28 Feickert, Kiley (Shift)

p. 32

Camarillo, Edgar (Photosynthesis)

p. 38 Newman, Lindsey (Bridging the Void)

p. 70 Brunel, Jeremy (Stack_Slide)

p. 75

Gutierrez, Marcela (The Eternal City)

p. 100-101

Nevius Ryan (Sky District)

p. 90-91 Stahl, Anthony (Barrio de los Paracaidistas)

p. 114-115 Houchin, Keith (Embracing Spectacle)

p. 25 Fredrickson, Trent (A Week In The Life)

p. 35 Carlson, Tiffany (Fahrenheit 451 Library)

p. 45 Ng, Brian (Dynamic Wing)

p. 78 Bungartz, Billy (Shadow Theatre)

p. 92-93

Hait-Cambell, Ben (Kaohsiung Cruiseship Terminal)

p. 92-93

Ni, Steven (Kaohsiung Cruiseship Terminal)

p. 70 Stewart, Roxanne (Stack_Slide)

p. 116-117 Kendall, Matt (Catalytic Dynamism)

p. 20

p. 22 Greska, Elise (San Luis Film Center at Santa Rosa Park)

Hayes, Mason (Hill House at Nagasaki Harbor)

p. 50

p. 50 Chapman, Kayla (Religare Institute)

Chan, Glen (Religare Institute)

p. 53

p. 42 Ni, Steven (Motion & Emotion)

p. 94 Busch, Walt (Urban Fluidity)

p. 74

Harms, Brian (Trashold Threshold)

p. 103 Ochoa, Nick (FLEXmod Skyscraper)

p. 84 Stone, Michael (K-12 21st Century School)

p. 118-119 Rowe, Keith (Integrated Ecology)

p. 19 Keshtgar, Ghazaleh (A Place To Be)

p. 40 Chen, Huangyuan (Construct Duality)

p. 51 Rakeshaw, Kristina (A Space to Heal)

Northrop, Cameron (Breaking Through )

p. 67 Chen, Hany (Epistemelogical Shift)

p. 84

Hedgcock, Paul (K-12 21st Century School)

p. 71 O’Loughlin, Erin (Space Between)

p. 96-97 Studio Concilio (Bench Project)

p. 120-121 Ruppert, Paul (Alternate Realities, PsychoArchitectural)

p. 57 Copoulous, Zachariah (Shibuya Midrise)

p. 79

Helms, Stephen (Aquatic Center)

p. 62 Olivarria, Juan (Harbour Bath)

p. 85 To, Helen (San Pasqual Academy)

p. 122-123 Vierra, John (Transformative Learning)

p. 27 Miller, Alyssa (Creekside Co-housing Community)

p. 47 Cogan, Grant (Urban Tear)

p. 35

Taylor-Keating, Kate (Mobius House)

p. 75 Crocker, Zac (The Eternal City)

p. 85

Hertzog, Christian (San Pasqual Academy)

p. 74 Pelayo, Valentin (Trashold Threshold)

p. 102 Tulbure, Adrian (Lifted)

p. 124-125 Williams, Cody (Iris)