Ashley Morales's Portfolio 2020

ASHLEY MORALES

MAJOR IN ARCHITECTURE MINOR IN GENDER & SEXUALITY STUDIES CALIFORNIA STATE POLYTECHNIC UNIVERSITY, POMONA

TABLE OF CONTENTS FALL 2020 ARTIST COSPLAY SITE MAPPING WRITER’S RETREAT CENTER SPRING 2020 SMALL LOT SUBDIVISION MULTI-FAMILY HOUSING COMPLEX FALL 2019 SCIENTIST RETREAT TOWER

FALL 2020 INSTRUCTOR WENDY GILMARTIN ARTIST COSPLAY: AMANDA WILLIAMS After studying Amanda Williams and her work with mapping and studying identity in a community framework, I approached the composition of my assembly studies by re-interpreting my identity. The laces are from a disassembly exercise of a tennis shoe. I treated them as sewing material, imagining them not as laces but as threads. I recreated the boundaries of the town my family is from, Chiantla, Guatemala, and placed it within the grid of our neighborhood in Los Angeles. The grid of the city contrasts the varying directions and landscapes that make up my family’s town. The threads are reimagined as my building material, also a note from Williams’ work, to express my identity and heritage in a new way.

The threads draw my family’s Guatemalan town on a quilt made up of fabric shapes that follow the boundary of our town in Los Angeles. It sits in a warped state in reference to the landscape of our small town. The composition also expresses how our culture now lives within the bounds of an American grid.

This exercise allowed me to integrate my identity into my project, calling on my heritage and community as Amanda Williams does for many of her art pieces.

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9a

BREATHE

SUPPORT

GRACE

LEAP

ARABESQUE

FAITH

LEAN

LENGTH

WINGS

STRETCH RIGHT

ATTITUDE

EPAULE

INDIFFERENCE

9a

10

STRETCH LEFT

REACH

START

ASHLEY MORALES ASSIGNMENT 1.2 ARC 4011L

10a

LACE PIECES FROM PREVIOUS EXERCISES

WINNETKA IS CHIANTLA IS ME

FALL 2020 INSTRUCTOR WENDY GILMARTIN SITE MAPPING 56347 SHANNON RD, LANDERS, 92285

This assignment was in preparation for the final project, a writer’s retreat center in Landers, California. My background research began with studying Amanda Williams’ study of maps and overlays to convey new understandings, as well as introducing markings of history in non-traditional ways, to confront the viewer with important information.

My index of information of the site included a color palette from images of the site, research on the indigenous people that once lived on the land, the Chimeheuvi, the Yuhaaviatam, and the Maarenga’yam, as well as constellations visible on the site. By introducing historical information of Joshua Tree found on National Parks Service and other websites summarizing the history of the desert in white, in combination with information provided by the tribes in brown, the map is meant to provide two frames of history laid on top of each other.

This site map is meant to provide the most important information as a precedence to a design approach that will act as an acknowledgment of and reparations to the indigenous people that were violently displaced from this land.

INDEX OF INFORMATION OF THE SITE

“Intrinsically, it is of little import who exercised sovereignty in this tract: to all purposes it was empty.”

free land and the chance to start new lives. The spirits of the Serrano, the Chemehuevi, and the Cahuilla are still with us By 1913, all of the natives were gone from the Oasis of Mara. In the 1930s, homesteaders came seeking

1769-1823 - COLONIZERS COME IN CONTACT

... old Rush came , cattlemen, and miners came to , the G ers the desert. In 1849 In the late 1800s, ex plor

1848 - TR REA EATY OF GUADALUPE ADA HIDALGO LGO

FR F R E When warfare with the Mojave broke out in 1867, the Chemehuevi were forced to leave

1866 866 - 32 DAY Y WAR the slaughtering slau of native men, women, ome and children

THIS IS LANDERS

FALL 2020 INSTRUCTOR WENDY GILMARTIN THE LANDERS WRITING RETREAT CENTER

BETWEEN THE SOUTHERN N I A A COLLABORATION AMD AND NATIVE PEOPLE OF C A L I F O R

T L A WRITING C E

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E R S RETREAT E R

To address such historic and valuable land, I approached this project by focusing on its important context and history. In previous assignments, I researched the land’s history as Indigenous territory and the timeline in which it became private land. The Chemehuevi and the Serrano people of the San Bernardino Band of Mission Indians occupied and cared for this land before being forced out by white settlers. Because this property is now under private ownership, I considered what it would look like if the designer(s) took a community approach and invited Native people to participate in the design process.

I set up a handbook that would be an example, as well as a collection of artifacts, of what this process would look like. At a time where representation matters most, with allyship at the center, it was essential to study how to approach these communities and sustain a healthy partnership where the final result would benefit the Native people who once lived here.

The handbook acts out this process from an architecture firm’s perspective. From visiting the site, to planning the process, to outreach and community work, the handbook is meant for architects to seriously consider and easily integrate community design into their current processes. It shows how universal art mediums could challenge our complicity with colonization and reimagine new solutions. It is a call to action, as well as a reminder of how important the current movement is today.

The handbook can be found here.

COVER OF HANDBOOK

c o m m u

MAKING A STRONG AND POSITIVE IMPRESSION ON THE COMMUNITY IS THE NEXT STEP. THERE ARE MANY APPROACHES TO COMMUNICATING TO RESIDENTS, SUCH AS FLYERS ON BULLETIN BOARDS AND AROUND TOWN, SOCIAL MEDIA, AND PHYSICAL POST-CARDS DELIVERED TO PEOPLE THAT MAY BE INTERESTED. MOTIVATING PEOPLE TO BECOME PART OF A LONG, STRENUOUS PROCESS IS ONE OF THE TOUGHEST TASKS, BECAUSE YOU WANT TO INSURE THE TEAM REPRESENTS THE POPULATION AND THE TRIBES.

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AN ONGOING PROCESS. NOT A FEW-STEP PROCESS. ANTI-RACISM. REPARATIONS. COMMUNITY. JUSTICE.

RECOGNIZE THAT ON THIS LAND, LANGUAGES WERE ERASED, CULTURES BURNED AWAY, AND PEOPLE EXPELLED THROUGH VIOLENCE AND DISEASE.

FAMILIAR.

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IS IS IS IS IS IS

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IT IT IT IT IT IT

COMMUNITY DESIGN REQUIRES ANY PERSON TO REFRAME YOUR WORK IN SOCIAL JUSTICE, C O M M U N I T Y , AND HUMANITY FRAMEWORK TO FREE OURSELVES WITH COLONIZATION, AND RE-ORIENT OURSELVES TO DESIGN WITH EACH OTHER IN MIND, AS OPPOSED TO FOR THE FEW. (CAPITALISM IS COLONIZATION’S DEAR FRIEND.)

CONFRONT SILENT PREJUDICES YOU HAVE OF GROUPS OF PEOPLE, WHETHER BASED ON RACE, GENDER, SEXUALITY, ETHNICITY, ETC.

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HOW DO YOU BENEFIT FROM COLONIZATION? HOW HAVE YOU BEEN COMPLICIT TO IT’S DESTRUCTION?

WE MUST DECOLONIZE OURSELVES IN ORDER TO BE A PART OF A COMMUNITY PROJECT SUCH AS THIS.

d e c o l o n i z e

D E C O L O N I Z A T I O N IS AN ACT AGAINST WESTERN IDEOLOGY AND SYSTEMS OF POWER. DECOLONIZATION CHALLENGES EVERYTHING WE KNOW TO CREATE A MORE EQUITABLE AND INCLUSIVE EXISTENCE.

ARCHITECTURE IN HISTORY HAS BEEN AN ACTIVE TOOL FOR COLONIZATION, IMPERIALISM, AND ELITISM.

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A PROJECT LIKE THIS WILL BE UNSUCCESSFUL IF THERE IS NO AWARENESS IN THE DANGER AND VIOLENCE THAT COLONIZATION HAS HAD ON BLACK, INDIGENOUS, AND PEOPLE OF COLOR AROUND THE WORLD ACROSS THOUSANDS OF YEARS. COLONIZATION IS ROOTED IN INDIGENOUS PEOPLES’ EXPERIENCES WITH OPPRESSION, AND IS A SYSTEM WE BENEFIT FROM AS WESTERNERS.

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ONE OF THE MOST IMPORTANT STEPS IN A PROCESS LIKE THIS, IS THE INTERNAL WORK EACH MEMBER MUST DO TO DECOLONIZE ONESELF.

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BE MINDFUL OF LANGUAGE, ACCESSIBILITY, AND WORDING. IT IS BETTER TO BE DIRECT AND HONEST, THAN PROMISE THINGS THAT WILL NOT COME TO FRUITION.

PAGES FROM HANDBOOK

SPRING 2020 INSTRUCTOR GIOVANNI FRUTTALDO SMALL LOT SUBDIVISION 4521 W MELBOURNE AVE, LOS ANGELES, 90027 This studio focused on the design and challenge of building housing in different areas of an urban city. This project is a small-lot subdivision set in Los Feliz, Los Angeles. It is three separate houses, with at least two bedrooms in each home, and a roof deck. My inspiration was to make each home slightly different from each other, whether it was their bedroom views or their easy access to outdoor spaces, and maximizing the living spaces.

Apertures are scattered throughout the facades to bring in natural light and opportune views as one travels through the space. Circulation is kept against the exterior walls, with an aperture at each landing. Glass boxes in each house opens the communal spaces to natural light and unobstructed views. Outdoor patios and decks continue to connect the interior with exterior.

The context of the area is simple, two-story farm-style houses in various colors and green space. These houses are constructed of fiber-cement board lap siding to mimic the surrounding homes, and metal roofs with hidden gutters to use modern construction.

MELBOURNE AVE. SITE PLAN

SITE PLAN

Axonometric

AXONOMETRIC

UNIT 3 FLOOR PLANS

OUTDOOR SPACE

GUEST ROOM

KITCHEN & DINING

UP

UP

GARAGE

LIVING SPACE

1

OUTDOOR SPACE

3

BEDROOM

UP BEDROOM

DN

2

OUTDOOR SPACE

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UNIT 3 FLOOR PLANS

LIGHTING PLANS WP

WP RANGE GFI

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GFI

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GFI

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TV

FLOOR 1

FLOOR 2 LEGEND R

RECESSED LIGHTS

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PENDANT LIGHTS

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CEILING INCADESCENT R

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WALL INCADESCENT LOW WALL LIGHT

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SC

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LINEAR LIGHT

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SINGLE POLE SWITCH R

3D

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3

THREE-WAY SWITCH

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DIMMER SWITCH

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DUPLEX OUTLET R

R

WP

WATERPROOF OUTLET

3

TV

3

TELEVISION OUTLET

FLOOR 3

LIGHTING PLANS

ROOF

MECHANICAL PLANS CONDENSORS

FRESH AIR

W P AIR FRESH

EXHAUST 9’-0”

RETURN

9’-0” 8’-0”

8’-0”

RETURN

Washer

Dr

9’-0”

TV

FLOOR 1

FLOOR 2

LEGEND FRESH AIR

RETURN

AIR HANDLER

11’-0”

UP TO ROOF

AIR CONDENSOR D

DROPPED CEILING SOIL VENT PIPE SUPPLY DUCT/VENT 12’-0”

FLOOR DRAIN

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FD

8’-0”

DN UP TO ROOF

FD

FLOOR 3

ROOF DECK: DRAINING

MECHANICAL PLANS

R

2X12 FLOOR JOIST @ 16” O.C.

3

2X12 GIRDER

2 3/4” PLYWOOD SHEATHING OVER 2X6 SHEAR WALLS @ 16”O.C.

24” CONCRETE SLAB ON GRADE STRONG WALL

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SHEAR 2X12 JOIST GIRDER CONCRETE FOUNDATION

FRAMING DIAGRAM

METAL ROOF 1/2” PLYWOOD SHEATHING 1.5” RIGID INSULATION PLYWOOD SHEATHING BATT INSULATION 1/2” GYPSUM BOARD WEATHERPROOF BARRIER GUTTER FLASHING

FIBER CEMENT BOARD LAP SIDING VERTICAL RUNNERS

MASTER BATHROOM

INTERIOR

HALLWAY

1/2” GYPSUM BOARD 3/4” HARDWOOD FLOOR 1/2” ACOUSTIC MAT BATT INSULATION 1/2” PLYWOOD

TILE FLOOR GROUT CEMENT MORTAR WATERPROOFING

A. METAL ROOF WITH CONCEALED GUTTER

FIBER CEMENT BOARD LAP SIDING VERTICAL RUNNERS VENTED AIR SPACE 1.5” RIGID INSULATION DRAINAGE MAT WEATHERPROOF BARRIER 3/4” PLYWOOD SHEATHING

2x6 @ 16” O.C. WOOD FRAME CAVITY INSULATION BATT INSULATION 1/2” GYPSUM BOARD

INTERIOR

B. FIBER CEMENT BOARD - EXTERIOR WALL

D. FLOOR COMPOSITION DETAIL

FIBER CEMENT C BOARD VERTICAL T RUNNERS 1.5” 5 RIGID INSULATION DRAINAGE MAT WEATHERPROOF BARRIER 3/4” / PLYWOOD SHEATHING

INTERIOR

1/2” GYPSUM BOARD SILICONE 3/4” HARDWOOD FLOOR 1/2” ACOUSTIC MAT

METAL FLASHING 2X6 SOLE PLATE ANCHOR BOLT

CONCRETE SLAB ON GRADE CAST-ON WEATHERPROOFING

FIBER CEMENT BOARD LAP SIDING VERTICAL RUNNERS VENTED AIR SPACE 1.5” RIGID INSULATION ION DRAINAGE MAT WEATHERPROOF BARRIER 3/4” PLYWOOD SHEATHING FLASHING WITH DRIP SELF-ADHERING MEMBRANE

E. FOUNDATION 1/2” GYPSUM BOARD

INTERIOR

C. WINDOW HEADER

BUILDING DETAILS

WEST ELEVATION

A

B

D

C

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BUILDING SECTION

SPRING 2020 INSTRUCTOR GIOVANNI FRUTTALDO MULTI-FAMILY URBAN HOUSING 7450 SANTA MONICA BLVD, WEST HOLLYWOOD, 90046 Located in West Hollywood along busy Santa Monica Boulevard, this multi-family urban housing complex would be another example of modern housing in the area. It is a podium building, with commercial space on the bottom, and apartment units on the top. The program required eight studios, eight one-bedrooms, and eight two-bedroom units. The overall form was created by drawing a wide, sharp cut through the center of the site parallel to Vista Street to create a courtyard layout. There are only two levels to restrict the imposition of the new project in a rather quiet and low-level neighborhood. The individual, small buildings that make up the complex remain recta-linear, with voids and spacing to create balconies and room for landscape.

The volumes are broken into small buildings to create spaces for landscape and privacy between users. They also allow for more sunlight to reach the lower levels and their private decks. The units remain compact to encourage users to use their outdoor space and the garden in the courtyard. This project remains in its abstract form.

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LV D SITE AXONOMETRIC

SANTA MONICA BLVD.

BUS STOP

PROPERTY LINE

COMMERCIAL SPACE 1653 SF

COMMERCIAL SPACE 1687 SF

PROPERTY LINE

COMMERCIAL SPACE 2082 SF

PROPERTY LINE

UP

LOBBY 1244 SF

COMMERCIAL SPACE 660 SF

NV ISTA

UP

TRASH ROOM 150 SF COMMERCIAL ADA PARKING STALL 9’X18’

COMMERCIAL STD PARKING STALL 8’-6”X18’

COMMERCIAL STD PARKING STALL 9’X18’

COMMERCIAL STD PARKING STALL 9’X18’

COMMERCIAL STD PARKING STALL 8’-6”X18’

COMMERCIAL STD PARKING STALL 9’X18’

COMMERCIAL STD PARKING STALL 9’X18’

COMMERCIAL STD PARKING STALL 8’-6”X18’

COMMERCIAL STD PARKING STALL 8’-6”X18’

COMMERCIAL STD PARKING STALL 9’X18’

COMMERCIAL STD PARKING STALL 8’-6”X18’

COMMERCIAL STD PARKING STALL 8’-6”X18’

COMMERCIAL STD PARKING STALL 9’X18’

COMMERCIAL STD PARKING STALL 8’-6”X18’

COMMERCIAL STD PARKING STALL 9’X18’

ST.

ELECTRICAL ROOM 192 SF

COMMERCIAL STD PARKING STALL 8’-6”X18’

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TY LI PER

PRO

PROPERTY LINE

GROUND FLOOR PLAN 1/8” = 1’-0”

GROUND FLOOR PLAN

PROPERTY LINE

Washer Dryer

Washer Dryer

UP

PROPERTY LINE

DN

Washer Dryer

PROPERTY LINE

Washer Dryer

Washer Dryer DN UP

Washer Dryer

Washer Dryer

Washer Dryer

Wa s Dry her er

Washer Dryer

r she W a er Dry

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T PER

PRO PROPERTY LINE

FIRST RESIDENTIAL FLOOR PLAN 1/8” = 1’-0”

FIRST RESIDENTIAL FLOOR PLAN

FALL 2019 INSTRUCTOR ROBERTO SHEINBERG SCIENTIST TOWER RETREAT VETTER MOUNTAIN, ANGELES NATIONAL FOREST

This project required a public ramp and a space for two astrologists to stay and research for varying periods of time on the top of Vetter Mountain. It was important to follow code, ADA requirements, and serve the surrounding, isolated environment.

It has several components to consider and two different clients, the scientists and the public.

What takes priority, and is the most important aspect to consider in a project in isolation like this, is the nature and surrounding views. Since the tower could either be inhabited or empty for long periods of time, I thought to focus on the public ramp first. I believe the public should feel welcome to the site and like there’s an equality between themselves and the scientists. Therefore, I began to play with the concept of transparency and allowing visibility between the two groups. In this way, they feel more connected and interactive, while also allowing clearer views of the surrounding environment. There is still tension, however, in an imbalance between the tall and enclosed tower with the subtle and open ramp and meeting space.

SITE PLAN

SITE PLAN

MODEL

OFFICE & RESEARCH

PUBLIC RAMP ENTRANCE

PRIVATE RAMP

FIRST FLOOR PLAN

THIRD FLOOR PLAN

A

BEDROOM & CLOSET

KITCHEN & DINING

LIVING ROOM

B

BEDROOM & CLOSET

STORAGE

SECOND FLOOR PLAN

FOURTH FLOOR PLAN

FLOOR PLANS

WEST ELEVATION

NORTH ELEVATION

ELEVATIONS

SECTION A NORTH-FACING

SECTION B WEST-FACING

SECTIONS

VIGNETTES: VIEW FROM TOWER TO PUBLIC RAMP, FROM PUBLIC PLATFORM TO TOWER