M. ARCH STUDENT WORKBOOK 2 0 1 7
UNIVERSITY
OF
CALIFORNIA
BERKELEY
A200A FUNDAMENTALS ARCHITECTURE THE
A 2 0 3
OF DESIGN I
ANIMAL
HOUSE 6
INTEGRATED DESIGN STUDIO
A 2 0 1 ARCHITECTURE URBANISM CLAIMING CONTINUOUS
OF STUDIO THE 22 CITY
CONTINUOUS CITY : NON-STANDARD D E V I A T I O N THE OF
A200B FUNDAMENTALS ARCHITECTURE SAN
DIEGO
DESIGN
OF II
BREWERY
14
26
ARCHITECTURE FULFILLMENT 30
CONTINUOUS STRANGER
CITY, FINGER
34
F I R E H O U S E
62
FOOD
BUILDING
66
THE ALAMEDA MARINA
70
A204B
THESIS STUDIO ANOTHER HAIRBALL PROVOCATION—CAN A BUILDING BE A THESIS? 66 TWO TEN
_______ _______
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S L I G H T L Y ( U N ) FA M I L I A R
74
A 2 0 2
GRADUATE OPTION STUDIO WHAT NOW 38 THE HUACAS OF LIMA, PERÚ: A RC H A EO LO G I CA L SITES AS ANCHORS FOR URBAN R EVITA LIZ ATI O N
A205B 42
ALL TOGETHER NOW : RESTAURANT STUDIO DU CAFE / UN CAFE 46
STUDIO ONE BIO-INSPIRED DESIGN AND FABRICATION 80
TOM J. BURESH PROFESSOR AND CHAIR OF ARCHITECTURE UNIVERSITY OF CALIFORNIA, BERKELEY
Architecture is both a lens into and a product of mutable cultural forces. Berkeley Architecture asks students to situate their work at the intersection of these forces and imagine human activity, material specificity and spatial potentialities. UC Berkeley’s first architecture classes were taught in 1903. Later, in 1959, the College of Environmental Design was established initiating, in an academic setting, a necessity for collaboration among architects, landscape architects, and urban planners. The department today is composed of leading architects, artists, historians, engineers, theorists and sociologists dedicated to the notion that the challenges facing the built environment demand interdisciplinary labor and experimentation rooted in artistic, social, and ecological values. The college is located in the San Francisco Bay Area where students and faculty are influenced and inspired by the region’s rich history and diverse peoples. Even so, students have ample opportunity to experience and learn from other locations as exemplified by recent excursions to Germany, Mexico, Singapore, and China to name but a few. We believe the juncture of global and local is critical to understanding architecture’s positions in the landscape of current ethical and ecological concerns. Of equal importance, our department attracts students from the US and all over the world who participate in lectures, seminars and work on projects from the intensely fundamental to the provocatively speculative. This pamphlet is but a brief glimpse into the thoughts and workings of Berkeley students and faculty, yet offers the promise of architecture futures imaginatively examined.
FACULTY
A NEZAR MARK ANDREW
ALSAYYAD ANDERSON ATWOOD
B R. GARY BLACK JEAN-PAUL BOURDIER GAIL BRAGER LAUREL BROUGHTON DANA BUNTROCK TOM BURESH
F
C
DARELL HARRISON
LUISA CALDAS CHRIS CALOTT JASON CAMPBELL GREG CASTILLO MARCO CENZATTI ERIC CESAL RAVEEVARN CHOKSOMBATCHAI RENEE CHOW MARY COMERIO GALEN CRANZ MARGARET CRAWFORD RODDY CREEDON C. CRYSLER
G DANELLE MARIA PAZ
SARAH DAVIDS DE MONCHAUX DI NAPOLI DUBOVSKY
E FRIDA
GUTHRIE GUTIERREZ
H
D RENE NICHOLAS WILLIAM ANTHONY
FIELDS FRAKER
I LISA
ESCOBEDO
HIRSCHMAN
IWAMOTO
O
J DAVID
2017
DAVID
ORKAND
JAEHNING
JAMES NEYRAN
P K KEITH
RUDABEH KEITH ELEANOR
U
R L RAYMOND JENNIFER
LIFCHEZ LY
M AJAY MANTHRIPRAGADA W. MIKE MARTIN TOMAS MCKAY
SUSAN
UBBELOHDE
RAEL RAY
W
S CHARLES STET STEFANO SIMON ANDREW METE DAN KYLE
TATE TURAN
PRARKRAVAN PLYMALE PRIES
KRUMWIEDE
RONALD MARY-ANN
T
SARAH SALTER SANBORN SCHIAVON SCHLEICHER SHANKEN SONMEZ SPIEGEL STEINFELD
WILMER
Z MIA
ZINNI
8
9
THE H O
ANIMAL U S E
A200A
ELEANOR PRIES RONALD RAEL KYLE STEINFELD
FUNDAMENTALS OF ARCHITECTURE DESIGN I
MICHAEL JOHNSON
The education of an architect begins with the establishment of a basic spatial literacy through the definition and use of operations and tools. The completion of projects which culminates in the formation of a thesis. In this spirit, our semester opened with a project that manifested as a series of related operations that introduce strategies and themes that will echoed in the projects that followed. The architectural operation is an exercise narrowly focused on a distinctive design issue which encompasses techniques of production and representation, spatial and geometric experiments, human scale and various understandings of the human figure, and material explorations. Through acquiring competency in the sort of operations that architects use in the conceptualization of their work, we can begin to understand architecture as a practice based discipline, and come to the realization that is not through rumination, but “only through an operation that an architect can exercise a design decision.� The Animal House explores the making of a thesis in the process of shaping inhabitation.
10
MICHAEL JOHNSON
11
REAGAN LAUDER
12
TARA SHI
13
MARSHALL GIFFORD
14
JIE CHEN
15
JENNA FROWIN
16
1/32” = 1’-0”
17
SAN DIEGO B R E W E R Y A200B
DANELLE GUTHRIE RUDABEH PAKRAVAN
FUNDAMENTALS OF ARCHITECTURE DESIGN II
CASE STUDY DIAGRAMS OF TORR KAELAN, BETH EL SYNAGOGUE, GEISEL LIBRARY BZ ZHANG YANG LIU MATTHEW PALMQUIST
The 200b studio is the second part of an integrated three semester introductory design curriculum which focuses on the fundamental design skills necessary for the development of an architect. Through a series of exercises, the development of a single design project and a travel component, an understanding of architecture and the process of design continues to be challenged by engaging the concerns of program, site, and the tectonics of making architecture. The studio began with the analysis of architectural precedents all located in San Diego, which exposed the students to range of possibilities in the craft of building, historically relevant and contemporary, and were visited on a studio trip to San Diego. The project for the semester was sited in San Diego, the capital of craft breweries in the United States. It will expand on the beer making certification program at San Diego State University, and modeled after the Brewing Science Laboratory at UC Davis. Concerns of scale, social and spatial relationships, modularity, materiality and structural systems all played a role in the development of the work.
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MEG ANDERSON
1 /1 6 SC ALE
19
MATTHEW PALMQUIST
20
BZ ZHANG
21
JORDAN CAYANAN
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23
24
25
CLAIMING THE CONTINUOUS CITY A201
RENEE CHOW FRIDA ESCOBEDO FRIEDMAN VISITING PROFESSOR
ARCHITECTURE OF URBANISM STUDIO This studio engaged in discourses on the ways we design places: about connections as well as separations, about the contextual as well as the iconic, about the civic and collective as well as the individual. The objectives of the studio revolved around developing knowledge (what do we think of), generative practices (what do we think with), in parallel with the ability to propose critical formal frameworks and argue for them. These arguments have to be 360-degrees taking on the complexity of issues that form every project: cultural, contextual, tectonic, economical (in a resource sense), and so on.
XIAOKANG FENG
There were design exercises on form attributes, case studies in places and practices in parallel with a design project — all directed toward understanding how we design for the long game of urbanism. The studio’s focus was on SoMa (South of Market) in San Francisco. Each part of the semester contributed to propositions about how discrete actions build a legible identity for this part of the city.
26
XIAOKANG FENG
27
MELISSA SANDOVAL
28
29
CONTINUOUS CITY : NON-STANDARD D E V I A T I O N A201
RAVEEVARN CHOKSOMBATCHAI FRIDA ESCOBEDO FRIEDMAN VISITING PROFESSOR
ARCHITECTURE OF URBANISM STUDIO Standard Deviation in Mathematics describes a measure or quantity obtained by a calculation to indicate the extent of deviation for a group as a whole. In this studio, we identified such deviation as an indicator that is capable of revealing both the needs and the desires of its citizen. We observed and explored physical deviation qualitatively through means and methods of architectural representation. The studio investigated and explored a city as a complex physical and spatial entity — specifically where the physical evidence reveals the tensions and negotiations among all sorts of players that made up the city. An edge — a vestigial block of San Francisco in the “Dog Patch” Area was selected as a site for a multi-use building.
NAN XIA
Each student was asked to zoom-in to a specific part of the whole proposal and imagine its materiality, its light, its acoustics, its temperature, and spatial quality. They were asked to think at different scale from a city to an urban block, to a building, and to a room in a domestic space.
30
NAN XIA
31
KRISTIN DEMARCO
32
33
T H E ARCHITECTURE OF FULFILLMENT A201
JAMES TATE
FRIDA ESCOBEDO FRIEDMAN VISITING PROFESSOR
ARCHITECTURE OF URBANISM STUDIO
AMY LOUIE
Our investigation was located within the proposed “Coliseum City” redevelopment area in Oakland, California. Not dissimilar from other contemporary American cities, “Coliseum City” is one of multiple peripheral centers that exists within a larger city whose own physical and conceptual limits are not easily definable. It’s an area whose major structures and infrastructures are the products of twentieth century planning and urban development. Architecture, as a discipline, was founded on and developed around human values. Both physical and digital environments place humans at the center of their organizational diagram. Both buildings and digital products and services are targeted toward human perception; physical environments depend on direct experience and digital environments depend on mediated experience. Increasingly, non-humans, inhabit these two environments. In some cases, non-humans are the primary occupant of a building. What does this mean for architecture? Additionally, when a new building is realized somewhere in the world today, it will be primarily experienced on the internet or television through digital media.
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AMY LOUIE
35
HAIKANG LIU
36
37
A201
CONTINUOUS CITY, STRANGER F I N G E R
MARK ANDERSON FRIDA ESCOBEDO FRIEDMAN VISITING PROFESSOR
ARCHITECTURE OF URBANISM STUDIO
MATTHEW TURLOCK
Based on opportunities developed in the city-building phase and its discussion, each individual, proposed a program and then designed a building-scale project within the design density of the previously developed construction along Market Street. Each individual design within this city context had its own internal program imperatives and authorial objectives, as well as having contextual responsibility within its surrounding city constraints and opportunities. Types of individual program focus included public building spaces such as galleries or performance halls; Housing; Transit stations or infrastructure buildings. Individual programs were identified in group discussions about what this piece of city construction suggests or needs. We will be good citizens (what does this mean!?).
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MATTHEW TURLOCK
39
LOGMAN ARJA
40
41
W H AT N OW A202
RENEE CHOW
GRADUATE OPTION STUDIO
JONAH MERRIS
When the AIA CEO wrote that our profession is “committed to working with President-elect Trump to address the issues our country faces”(11/9/16), many angry responses challenged the letter’s author as well as the norms of “business as usual.” This election is indeed a catalyst for the profession and for academia to engage in discussion on what architects can contribute to the struggle. In the forming of our everyday environments, Trump’s development organization is no different from so many public and private groups that build our cities. Our towns are cluttered with singular, self-referential projects that contribute little back to their surroundings — in either social, cultural, or environmental terms. Now is the time to open a civic discourse on the way we design places: about connections as well as separations, about the contextual as well as the iconic, about the civic and collective as well as the individual. Rather than declare a personal “idea” and how it is fulfilled, the studio practiced to discuss how architecture works, how it is read, what it contributes to others, and how it builds larger places.
P01
42
JONAH MERRIS
04
UP
UP
03
02
UP
01
0’
8’
43
YEGANEH SHAMS
44
45
A202
RENE DAVIDS
THE HUACAS OF LIMA, PERÚ: ARCHAEOLOGICAL SITES AS ANCHORS FOR URBAN R E V I TA LI Z AT I O N GRADUATE OPTION STUDIO
HUIYAO CHEN
The huacas of Lima present an opportunity to re-establish their historic function as unifying public spaces connected by urban paths reminiscent of the ancient Inca trails, a strategy which could provide a network of much needed open spaces and community facilities while ensuring municipal investment in Lima’s archaeological heritage. Inspired by the Unidades de Vida Articulada (UVA), or Articulated Life Units, a new urban typology developed in the neighborhoods of Medellín, Colombia to create space for public meetings, sports, recreation, cultural activities, and community participation, including day care centers, communal kitchens, classrooms for children and adults, small libraries, even laundromats. The studio project focused on the design of a circuit linking the huacas of Lima’s Magdalena Vieja district, renamed Pueblo Libre or “Free Town” in 1822 after the Peruvian War of Independence, with a rich architectural and cultural history.
46
HUIYAO CHEN
47
HANWOOK KIM
48
49
A202
LAUREL BROUGHTON FRIEDMAN VISITING PROFESSOR
ALL TOGETHER NOW : RESTAURANT STUDIO DU CAFE / UN CAFE
GRADUATE OPTION STUDIO
MICHAEL BEGGS SPENCER COLLOM RYAN CONROY EMILY GALLIVAN CHRIS GOMEZ LIZA KARIMOVA SUNYOUNG KWON HONGLIN LI ALISA NADOLISHNY JING QIAN JAMES SKARZENKI KATIE UBBEN VICKY WANG ZHAOXUAN WANG
In this the studio, the contemporary term restaurant is used broadly in the beginning— suggesting everything from the worlds of fine dining to food cart at once; this allowed for the development of our own definition. We considered the elements or parts that make up the material system of a restaurant from spatial relationships to communication devices to the plate itself. In a system, each element is contingent upon the next, thus creating a micro world of experience. We might ask: What parts make up a restaurant? What is the bare minimum? Must we define a space? Do we need a wall? A floor? What actions define a restaurant space? Can the gestures or rituals be separated from the objects? Are gestures and rituals designed? What elements are provisional or stage the potentials for use or ritual? And finally, what is it to serve architecture?
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F I R E H O U S E A203
DANELLE GUTHRIE WITH R. GARY BLACK LUISA CALDAS
INTEGRATED DESIGN STUDIO The Oakland Fire Department began as an all volunteer crew in the 1800’s, with horse drawn carriages stored in any available structure. As the City developed, so did reprotection, and in 1869 the first Firehouse was constructed.
ADRIANA URBISTONDO
Three major disasters in the late 20th century were substantial challenges to the Department- most recently the Ghost Ship Fire in 2016. After each of those disasters, the Fire Department has re-evaluated how to better serve its community, and developed new special operations units and facilities. The Department realized the need for a community based emergency preparedness and response program to empower citizens to become more self-sufficient in emergency and disaster situations. CORE (Communities of Oakland Responding to Emergencies) focuses on multihazard training open to anyone in the community and incorporates preparedness and response to earthquakes, res, severe weather, chemical accidents and terrorism. The new special operation units and equipment, and community programs require improved facilities to house them, and the Studio Project took on the challenge of developing a rehouse which incorporates these current needs.
56
CHRIS GOMEZ (BELOW)
A
C
B
Ground Floor
30’
15’
10’
57
ADRIANA URBISTONDO
58
59
FOOD
BUILDING
A203
RODDY CREEDON WITH R. GARY BLACK LUISA CALDAS
INTEGRATED DESIGN STUDIO
PABLO HERNANDEZ
The project for the semester was FOOD BUILDING, a mixeduse urban building in San Francisco organized around the common subject urban food. The site is a vacant lot adjacent to the San Francisco Conservatory of Music on Franklin Street between Hickory and Oak. The site lies at the nexus of Hayes Valley, Mid-Market and Civic Center. Respectively, these neighborhoods are local centers for food, technology and many of the City’s premier civic and cultural institutions. The primary elements of the program include a large, flexible ground floor for food/market/hall/urban room, a vertical urban farm using the Skygreens system from Singapore and commissary kitchens for local food entrepreneurs to rent and use in production of food. Collectively, the programs touch upon all aspects of the food cycle from growth through consumption. The program is relatively direct, and the variables somewhat limited. The goal was to move quickly through the planning phases of the project so that there was ample time to study and describe the material effects of the project, which is the great opportunity of design.
60
PABLO HERNANDEZ
1’=3/16” Long Section
1’=3/16” Long Section
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SABRINA [TSAI-JUNG] SHEN
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THE M A
ALAMEDA R I N A
A203
SUSAN UBBELOHDE WITH R. GARY BLACK LUISA CALDAS
INTEGRATED DESIGN STUDIO
ERNESTO REMENTIALLA
The Alameda Marina, located on 43 acres of Alameda’s northern waterfront between the Oakland/Alameda Estuary and Clement Avenue, is over 100 years old and faces significant repair and maintenance challenges. After a decade of planning activities, a master-plan for development transforming the Marina from industrial uses into a mixeduse and residential district is in the final approval stages. Current residents will need to re-locate. Loisos + Ubbelohde, an architectural and consulting firm, have been talking about developing shared facilities. This project assumed that a joint-venture between businesses can lease a discreet parcel of the existing marina consisting of public tidelands properties belonging to the City of Alameda. Sited between a rebuilt wall on the water and two existing buildings to be used by DOER, the new building will house approximately 20,000 sf of new offices, fabrication and shop areas, meeting spaces, and seminar rooms, some specific to each business and some shared.
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ERNESTO REMENTIALLA
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LAWRENCE LAZARIDES
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A204B
MARK ANDERSON
A N O T H E R H A I R B A L L P R OVO CATI O N — CAN A BUILDING BE A THESIS? THESIS STUDIO
HSIN-YU CHEN
In order to produce a thesis within a building design project, we worked through and discuss a number of normative steps commonly understood within the architecture profession as a professionally responsible design process. We analyzed and worked through some of these assumptions and understandings as potential avenues for development of an individual thesis investigation. Through these studies, productions of work, and seminar discussions, we worked together as active seminar discussants seeking to help each of our colleagues thoughtfully articulate: 1) A building design project to be pursued as a thesis project; 2) A thesis statement defining a personally committed intellectual investigation and context guiding the design process as well as framing its critical evaluation; and 3) Set the project and the thesis statement into context with the historical and contemporary discourses of architecture theory and practice and the broader physical, social, and intellectual contexts within which architecture and building design operate. Then, in this context, each student designed a building, as a thesis project.
70
HSIN-YU CHEN
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ANNA PANGESTU PHE
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TWO ______ A204B
ANDREW ATWOOD
TEN ______
THESIS STUDIO This thesis seminar is the third part in a three part series of thesis seminars. The two previous seminars, titled “Not _ _ _ _ _ _ ” and “The _ _ _ _ _ _ ”, both used a simple fill in the blank statement as a point of departure. In each case, the blank form of the title provided a structure for the course but left the content of the course blank for the students to “fill in”. Beside the title, each course was organized around a series of longer fill in the blank statements that asked students to develop their thesis topics within the boundaries of the course’s format.
EDWIN O’BRIEN
This course will double the number of formats used in the earlier courses by offering two new fill in the blank statements. Two _ _ _ and Ten _ _ _ . Like other years, students are asked to supply a topic for the seminar and mine the potential of the topic when modified by the number 2 or 10. Or. 2 and 10…
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EDWIN O’BRIEN
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ESTHER MACKENZIE
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S L I G H T L Y (U N) FA M I LIA R A204B
NEYRAN TURAN
THESIS STUDIO
ALBERT OROZCO
This relationship between the familiar and the unfamiliar merits closer attention when one considers its renewed significance within contemporary architecture and urbanism. On the one hand, one can speculate on the relevance of unfamiliar interpretations of what is considered to be familiar—i.e. ordinary, banal—architectural attributes such as “typical plans,” suburban tract homes, curtain walls, mechanical systems, balloon-frame constructions, or big-box warehouses and other forms of commonplace architectural production that would be understood with a renewed rigor. On the other hand, in an attempt to expand our disciplinary imaginary, one can contemplate on the use of familiar architectural strategies on what is considered to be unfamiliar within a disciplinary setting and bring them into architectural consciousness. Accordingly, the territorial geometries of agricultural and resource extraction fields, barns and grain silos, expanded infrastructures of resource and matter, and geological layers of the earth would draw a particular attention. In both formulations of the (un)familiar, we are enabled to project renewed interpretations regarding architecture’s engagement with the world through its own specificity. This thesis seminar focused on the architectural potentials of the (un)familiar as it offers unconventional relationships between realism and abstraction.
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KRISTEN TOO
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ALBERT OROZCO
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A205B
BIO-INSPIRED DESIGN AND FA B R I CATI O N
SIMON SCHLEICHER
STUDIO ONE Building on the positive experience of the previous year, Studio One 2016-17 focused once again on the topic of Bio-inspired Design and Fabrication and thereby venture out into the unchartered territories between architecture, engineering, and biology.
BARRAK DARWEESH GEORGIOS KONTOMINAS HAO ZHENG HEEWON LEE IOANNA TATLI TAEWOOK KANG YUANFANG LU YUEPENG LI XIANGYU AN
The main goal of the studio was to gain knowledge from the analysis of living systems to find solutions to problems, create new inventions and innovations, and transfer this knowledge to building and architectural systems. Even though nature cannot be directly copied, the living world can provide architects and engineers with a wealth of analogues and inspirations for their own creative designs. The basic motivation behind the transfer of biological solutions to technical applications is the assumption that optimized biological structures have been developed in the course of 3,8 billion years of evolution that could also be significant and convincing in technical developments. Nature has numerous of “ingenious solutions� available that can often be understood intuitively. However, it is seldom easy to explain the underlying mechanism, and in particular to explain how these principles can be applied to technology. It is this discrepancy that makes the field of bio-inspired design and fabrication so relevant for the future.
84 16’-4” 8’-2”
16’ 8’-2”
Bending Rigidity The first idea sketch was about the form of wrapping a super-lightweight structures that serves as an envelope for the greenhouse. The area where the two edges meet is wide at the top, narrow at the center, and wide again at the bottom. These continuous openings become vents and doors, respectively.
Laminated Fibe r-glass Vent
Door Door
Envelope
Design Orientation Profile curves for creating the form are derived from a part of the circles.
Plant-pots
Pedestal
Build the basic NURBS Surface In order to make the form that can be fabricated, we have re-built the surface into eight strips wrapped around. In order to make a shape that can be fabricated, we have re-built the surface into eight strips made of single curves that wrap around.
16’-4”
8’-2”
Form-optimization Simulation to optimize bendable strips with kangaroo grasshopper.
8’-2”
85
M. ARCH STUDENT WORK IS A PUBLICATION PRODUCED BY THE UNIVERSITY OF CALIFORNIA COLLEGE OF ENVIRONMENTAL DESIGN DEPARTMENT OF ARCHITECTURE © 2018, THE REGENTS OF THE UNIVERSITY OF CALIFORNIA, BERKELEY © OF THE WORKS, THEIR AUTHORS © OF THE TEXTS, THEIR AUTHORS © OF THE LAYOUT AND DESIGN, KELSEY BESS COHEN © OF THE PHOTOS, KELSEY BESS COHEN + JEREMY FERGUSON ALL RIGHTS RESERVED NO PART OF THIS PUBLICATION MAY BE USED OR REPRODUCED WITHOUT WRITTEN PERMISSION FROM THE UNIVERSITY OF CALIFORNIA BERKELEY COLLEGE OF ENVIRONMENTAL DESIGN, ARCHITECTURE DEPARTMENT. ALTHOUGH EVERY EFFORT WAS MADE TO FIND THE COPYRIGHT HOLDERS FOR THE IMAGES AND ILLUSTRATIONS USED, WE APOLOGIZE THAT IN SOME CASES IT WAS NOT POSSIBLE. THIS PUBLICATION WAS PRINTED AND BOUND BY BRANDES PRINTING COMPANY, BERKELEY, CALIFORNIA, UNITED STATES. FOR MORE INFORMATION PLEASE USE THE ADDRESS OR PHONE NUMBER BELOW. DEPARTMENT OF ARCHITECTURE UNIVERSITY OF CALIFORNIA, BERKELEY 232 WURSTER HALL #1800 BERKELEY, CA 94720-1800 TEL: (510) 642-4942 WWW.CED.BERKELEY.EDU