Architecture at ASU | Spring 2020 Student Catalog

SPRING 2020

UNDERGRADUATE/GRADUATE

Catalog

Architecture ARIZONA STATE UNIVERSITY HERBERGER INSTITUTE FOR DESIGN AND THE ARTS THE DESIGN SCHOOL

“I miss seeing you all.” Those were the first word from Marcia Ibarra after we watched a video of our last studio meeting – a rammed earth workshop – before spring break. We were about two weeks into remote studio and you could sense some of the students were feeling a bit weary, as was I. After seeing all of the work presented in this catalog, I am invigorated and motivated. Along with her corps of TAs Elena turned the battleship of ALA 124 on a dime and turned a 200+ student studio remote.

Students in the second year continued to produce work

Welcome

of quality, week-after-week with seemingly no disruption.

In response to all the zoom time, Vi Ho, a third-year student went analog for her final presentation, drawing all of her work by hand. Designing an architecture school, students in the Gould Evans studio suddenly had a lot more to consider. Michael Underhill, with no internet at home (seriously!) soldiered on with the 3+ students to develop a solid foundation in drawing and technology.

The integrated studio run by Tom Hartman, continued to be integrated. Max and ROTO’s studio with Ramsey Canyon ended on Earth Day with fifty-three Nature Conservancy staff / volunteers, architects, landscape architects, artists, scientists, and grad students sharing in a zoom review. And, Catherine and Felipe somehow ran a remote design-build studio!

What you are now holding in your hands is physical token of thanks for a semester that ended virtually. Thank you to all of our incredible staff, Faculty, and to you as students for making Spring 2020 better than it should have been.

MARC J. NEVEU, PHD Architecture Program Head

Undergraduate

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Contents

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02

PAGE 174

04

PAGE 324

Graduate

03+

05

06

IP

PAGE 395

PAGE 479

PAGE 412

PAGE 503

1st Year

ALA 124

01

DESIGN FUNDAMENTALS II PROFESSORS: Amanda Ahlman / Elena Rocchi

Students: Bailey Crawford, Brooklyn Barricman, Chi-Imela Onyenso, Claudelle Duarte, Emily Salinas, Hannah Melvin, Jackson Zahn, Jadyn Anderson, Joshua Cho, Keaton Kadel, Krzysztof Zolnierczyk, Madison Hicks, Megan Wahlman, Samira Abdi, Sean Sime, Yifan Zhang

ALA 124

BAILEY CRAWFORD

BROOKLYN BARRICMAN

5

ALA 124

ALA 124

CHI-IMELA ONYENSO

CLAUDELLE DUARTE

7

ALA 124

ALA 124

EMILY SALINAS

HANNAH MELVIN

9

ALA 124

ALA 124

JACKSON ZAHN

JADYN ANDERSON

11

ALA 124

ALA 124

JOSHUA CHO

KEATON KADEL

13

ALA 124

ALA 124

KRZYSZTOF ZOLNIERCZYK

MADISON HICKS

15

ALA 124

ALA 124

MEGAN WAHLMAN

SAMIRA ABDI

17

ALA 124

ALA 124

SEAN SIME

YIFAN ZHANG

19

ALA 124

ALA 124

01

DESIGN FUNDAMENTALS II PROFESSORS: Christa Delsandro / Elena Rocchi

Students: Ariana Jackson, Benjamin Nagy, Brandon Dale, Chance Breeggemann, Chanell Barrett, Cheyenne Harris, Christian Gomez Villalobos, Ciarra Downing, Isabel Jensen, Jesse Campuzano Alvarez, Keinen Davis, Lakisha Tenorio, Luis Granillo, Miguel Guzman, Nabil Said, Nunzil Shukh, Patricia Albunan, Santiago Chavez

ARIANA JACKSON

21

ALA 124

ALA 124

BENJAMIN NAGY

BRANDON DALE

23

ALA 124

ALA 124

CHANCE BREEGGEMANN

CHANELL BARRETT

25

ALA 124

ALA 124

CHEYENNE HARRIS

CHRISTIAN GOMEZ VILLALOBOS

27

ALA 124

ALA 124

CIARRA DOWNING

ISABEL JENSEN

29

ALA 124

ALA 124

JESSE CAMPUZANO ALVAREZ

KEINEN DAVIS

31

ALA 124

ALA 124

LAKISHA TENORIO

LUIS GRANILLO

33

ALA 124

ALA 124

MIGUEL GUZMAN

NABIL SAID

35

ALA 124

ALA 124

NUNZIL SHUKH

PATRICIA ALBUNAN

37

ALA 124

ALA 124

SANTIAGO CHAVEZ

ALA 124

01

DESIGN FUNDAMENTALS II PROFESSORS: Elizabeth Furguson / Elena Rocchi

Students: Adrianne Barajas, Aileen Aguayo, Alexia Gonzalez, Antonio Flores, Bailey Davis, Christina Melgoza, Elijah Sandrali, Genesis Gonzalez, Ivona Connelly, Jacob Bickers, Janeth Baeza, Jared Morris, Jessica Calabrese, Jose Lara Padilla, Justine Lavilla, Luis Brito, Mihwa Namvula, Moloud Tahmasebi, Sebastian Ugland, Tyler Ross, Victoria Churchillo

ALA 124

ADRIANNE BARAJAS

AILEEN AGUAYO

41

ALA 124

ALA 124

ALEXIA GONZALEZ

ANTONIO FLORES

43

ALA 124

ALA 124

BAILEY DAVIS

CHRISTINA MELGOZA

45

ALA 124

ALA 124

ELIJAH SANDRALI

GENESIS GONZALEZ

47

ALA 124

ALA 124

IVONA CONNELLY

JACOB BICKERS

49

ALA 124

ALA 124

JANETH BAEZA

JARED MORRIS

51

ALA 124

ALA 124

JESSICA CALABRESE

JOSE LARA PADILLA

53

ALA 124

ALA 124

JUSTINE LAVILLA

LUIS BRITO

55

ALA 124

ALA 124

MIHWA NAMVULA

MOLOUD TAHMASEBI

57

ALA 124

ALA 124

SEBASTIAN UGLAND

TYLER ROSS

59

ALA 124

ALA 124

VICTORIA CHURCHILLO

ALA 124

01

DESIGN FUNDAMENTALS II PROFESSORS: Alisa Hernandez / Elena Rocchi

Students: Adrisel Bustamante, Alexandro Medina, Amber Andrade, Amber Andrade, Bailey Albinio-Madanay, Bailie Walter, Benjamin Smith, Brianna Lindner, Daniil Hristuic, Dominic Jacovo, Jairo Garcia, James Anderson, Jason King, Jennifer Lemus Perez, Joshua Moyer, Julian Garcia, Kaelan Bizardie, Kevin Taylor, Osmar Valenzuela, Samantha Andrade, Shirin Pramod Karunakaran

ALA 124

ADRISEL BUSTAMANTE

ALEXANDRO MEDINA

63

ALA 124

ALA 124

AMBER ANDRADE

BAILEY ALBINIO-MADANAY

65

ALA 124

ALA 124

BAILIE WALTER

BENJAMIN SMITH

67

ALA 124

ALA 124

BRIANNA LINDNER

DANIIL HRISTUIC

69

ALA 124

ALA 124

DOMINIC JACOVO

JAIRO GARCIA

71

ALA 124

ALA 124

JAMES ANDERSON

JASON KING

73

ALA 124

ALA 124

JENNIFER LEMUS PEREZ

JOSHUA MOYER

75

ALA 124

ALA 124

JULIAN GARCIA

KAELAN BIZARDIE

77

ALA 124

ALA 124

KEVIN TAYLOR

OSMAR VALENZUELA

79

ALA 124

ALA 124

SAMANTHA ANDRADE

SHIRIN PRAMOD KARUNAKARAN

81

ALA 124

ALA 124

01

DESIGN FUNDAMENTALS II PROFESSORS: Nathan Mcneilly / Elena Rocchi

Students: Parker Biertzer, Angela Martinez, Cheng Nam Ho, David Martinez, Dominic LaMora, Duha Hasan, Jackson Payne, Jammie Nguyen, Jeramy Widener, Johnathan Siskron, Kyle Vance, Lucy Yang, Madelynn Napierkowski, Nicholas Sierocki, Rei Karki, Ruby Hayes, Sean Young, Shania Rumph, Tyler Simpson

ANGELA MARTINEZ

83

ALA 124

ALA 124

CHENG NAM HO

DAVID MARTINEZ

85

ALA 124

ALA 124

DOMINIC LAMORA

DUHA HASAN

87

ALA 124

ALA 124

JACKSON PAYNE

JAMMIE NGUYEN

89

ALA 124

ALA 124

JERAMY WIDENER

JOHNATHAN SISKRON

91

ALA 124

ALA 124

KYLE VANCE

LUCY YANG

93

ALA 124

ALA 124

MADELYNN NAPIERKOWSKI

NICHOLAS SIEROCKI

95

ALA 124

ALA 124

PARKER BIERTZER

REI KARKI

97

ALA 124

ALA 124

RUBY HAYES

SEAN YOUNG

99

ALA 124

ALA 124

SHANIA RUMPH

TYLER SIMPSON

10 1

ALA 124

ALA 124

01

DESIGN FUNDAMENTALS II PROFESSORS: Yanela Nunez / Elena Rocchi

Students: Abdallah Hunaiti, Ahmed Nakhal, Ana Solis Andrad, Carder Mehr, Charles Hutchins, Erich Ansems, Jesus Mendivil, Julissa Velasquez, Lana Sadeldeen, Lisanne Andr Layugan, Mary Sikora, Nicolas Olivas, Preston Lohr, Ryan Thomas, Valeria Ramirez, Zachoary Whiston

ABDALLAH HUNAITI

10 3

ALA 124

ALA 124

AHMED NAKHAL

ANA SOLIS ANDRAD

10 5

ALA 124

ALA 124

CARDER MEHR

CHARLES HUTCHINS

10 7

ALA 124

ALA 124

ERICH ANSEMS

JESUS MENDIVIL

10 9

ALA 124

ALA 124

JULISSA VELASQUEZ

LANA SADELDEEN

111

ALA 124

ALA 124

LISANNE ANDR LAYUGAN

MARY SIKORA

113

ALA 124

ALA 124

NICOLAS OLIVAS

PRESTON LOHR

115

ALA 124

ALA 124

RYAN THOMAS

VALERIA RAMIREZ

117

ALA 124

ALA 124

ZACHOARY WHISTON

ALA 124

01

DESIGN FUNDAMENTALS II PROFESSORS: Siddhartha Rajesh Verma / Elena Rocchi

Students: Alanarose Duran, Ali Mcauliff, Anthony Persampire, Deandra Jones, Emily Jones, Eryk Ostrowski, Gabriel Albino, Ielyzaveta Ivantsova, Jamie Biersach, Kevin Lopez, Lily Anderson, Maricielo Berdiales, Marilee Hansen, Nicholas Wetzel, Patrick Boll, Sofia Perez, Troy Becker

ALA 124

ALANAROSE DURAN

ALI MCAULIFF

121

ALA 124

ALA 124

ANTHONY PERSAMPIRE

DEANDRA JONES

123

ADE 124

ALA 124

EMILY JONES

ERYK OSTROWSKI

125

ALA 124

ALA 124

GABRIEL ALBINO

IELYZAVETA IVANTSOVA

127

ALA 124

ALA 124

JAMIE BIERSACH

KEVIN LOPEZ

129

ALA 124

ALA 124

LILY ANDERSON

MARICIELO BERDIALES

13 1

ALA 124

ALA 124

MARILEE HANSEN

NICHOLAS WETZEL

13 3

ALA 124

ALA 124

PATRICK BOLL

SOFIA PEREZ

13 5

ALA 124

ALA 124

TROY BECKER

ALA 124

01

DESIGN FUNDAMENTALS II PROFESSORS: Udit Shah / Elena Rocchi

Students: Aneesa Daas, Angel Villalba, Asa Champ, Ashley Ontiveros Madriz, Atllas Hopkins, Avery Moric, Christopher Jocoby, Daniela Crapuzzi Ruiz, Jacob Masny, Julien Delmonico, Kace Johnson, Kathy Ramirez, Kyla Daniel, Makayla Dickerson, Maria Gomez Perez, Mason Barker, Pedro Preciado, Steven Brune, Thomas Vodika, Zoe Cano

ALA 124

ANEESA DAAS

ANGEL VILLALBA

13 9

ALA 124

ALA 124

ASA CHAMP

ASHLEY ONTIVEROS MADRIZ

141

ALA 124

ALA 124

ATLLAS HOPKINS

AVERY MORIC

143

ALA 124

ALA 124

CHRISTOPHER JOCOBY

DANIELA CRAPUZZI RUIZ

145

ALA 124

ALA 124

JACOB MASNY

JULIEN DELMONICO

147

ALA 124

ALA 124

KACE JOHNSON

KATHY RAMIREZ

149

ALA 124

ALA 124

PEDRO PRECIADO

STEVEN BRUNE

151

ALA 124

ALA 124

THOMAS VODIKA

ZOE CANO

153

ALA 124

ALA 124

01

DESIGN FUNDAMENTALS II PROFESSORS: Brandan Siebrecht / Elena Rocchi

Students: Ali Qassab, Arath Barrios, Dianne Weidow, Erin Forstner, Jaden Liu, Marisay Oliva , Victoria Doidge, Willem Kemper

ALI QASSAB

155

ALA 124

ALA 124

ARATH BARRIOS

DIANNE WEIDOW

157

ALA 124

ALA 124

ERIN FORSTNER

JADEN LIU

159

ALA 124

ALA 124

MARISAY OLIVA

VICTORIA DOIDGE

161

ALA 124

ALA 124

WILLEM KEMPER

ALA 124

01

DESIGN FUNDAMENTALS II PROFESSORS: Aishwarya Ubhe / Elena Rocchi

Students: Adrian Plaza, Alex Berrelleza, Andrew Hart, Christian Perez, Courtney Martinez, Kari Andreasen, Megan Hochmeyer, Payton Azhocar, Pilar Arteaga, Sebastian Houseknecht

ALA 124

ADRIAN PLAZA

ALEX BERRELLEZA

165

ALA 124

ALA 124

ANDREW HART

CHRISTIAN PEREZ

167

ALA 124

ALA 124

COURTNEY MARTINEZ

KARI ANDREASEN

169

ALA 124

ALA 124

MEGAN HOCHMEYER

PAYTON AZHOCAR

17 1

ALA 124

ALA 124

PILAR ARTEAGA

SEBASTIAN HOUSEKNECHT

17 3

ALA 124

2nd Year

` ALA 226

02

DESIGN FUNDAMENTALS IV INSTRUCTOR: Brayra Lara

Students: Carlos Alonso, Ryan Berry, Raul Carranza, Hayden Dudley, Harding Eddie, Ronda Gargog, Taylor Hemmet, Mingguang Li, Juan Orozco, Jenna Petre, Gregory Pieroni, Jorge Pinalla Patarroyo, Carlos Trujillo, Kenneth Velasquez

ALA 226

RYAN BERRY

The pictured structure is derived from a bus terminal’s

columns.

Initially,

it

predominantly

displayed four arms that increased in width as their height increased. I twisted and extended the arms, beginning to form spaces and walls. The spaces have no specific function but offer varied interactions related to their percentage of enclosure, privacy, and exposure. More importantly though, the column offers a unique circulation journey that truly defines the structure. The journey starts with the opening under exterior crossing arms. A central spiral staircase allows for travel to two raised platforms.

Much like the arms from the original column, the circulation pattern widens with height and becomes cantilevered steps from the exterior wall above the second platform. Finally, as you reach the top balconies, the tunnels follow an even wider radial path. The journey is a change in width that results in a variety of light and structural experiences.

17 7

ALA ALA 226226

RAUL CARRANZA RAUL CARRANZA

Everything started byby Carlo Everything started with with aasimple simplecolumn column Carlo Scarpa. After After having having to to model model aa column, column, then then II Scarpa. performed aa series of operations operations that that gave gave my my performed series of structure spatial attributes.

I tried to keep some of structure spatial attributes. I tried to keep some of the original the original column column features features and and itit turned turnedout outtotobe be magnificent. As magnificent.

As we we progressed progressed on on the theassignments, assignments, we had hadtotoexplore explorecirculation circulation within structure we within ourour structure and and it took me time to figure out what would most fit it took me time to figure out what would most fit my my structure finally I came to a conclusion that structure and and finally I came to a conclusion that stairs stairs could be beneficial more beneficial my structure.

As could be more for myforstructure.

As stairs stairsimplemented, were implemented, it allowed people to explore were it allowed people to explore not not only the inside but also the outer elements of the only the inside but also the outer elements of the structure. After After exploring exploring the the elements elements required, structure. required, my structure started to to look look like like aa lookout lookout tower. tower. my structure started Materialityisissomething something that that is is going going to to Materiality to give give “life” “life” to my structure but that is for another time. my structure but that is for another time.

ALA 226

HAYDEN DUDLEY

SECTIONAL AXON

This is a column by Enric Miralles transformed into a space through different verbs, some such as to split, to hinge, to extend, and so on. Using this I transformed a rather plain column into a much grander space focusing on the relation of circulation throughout a building. The core of the building being the Beating Heart, with a giant hanging stone within the middle of the space giving it a monolithic feeling of its presence anywhere throughout the structure.

The heart also controls light throughout the space casting a shadow in whichever direction the sun isn’t. The space serves as a connection to something greater, to create a heavy atmosphere with small reaps of lightness throughout, almost to a point of suffocating.

17 9

ALA 226

HARDING EDDIE

Originating from a column that is complex in physical form, I focused re-shaping the columns form into a geometric structure. There are multiple levels of horizontal planes that offer free relaxation for the users. A staircase placed in the center of the structure allows users to flow from floor to floor.

I boke my structure into three main elements, the foundation, the stairs/floor planes, and finally the wall system. I imagine this space is used for individuals dealing who are busy that need to get work done, focused on a task, a place of work.

ALA 226

RONDA GARGOG

Sever. Displace. And light. These were the main concepts throughout my process. Starting from William Bruder’s column located at Burton Barr Library in Phoenix, I first pretended I was a ninja and used my imaginary column to sever the center column.I displaced every other piece by sliding it out. Hollowing out the column, I was left with a small yet tall tower where one could enter and just look up.

In this case, you experience the calming experience of light as it shines down throught the holes at the top. It’s a hidden treasure in the forest.

As you’re hiking around a snowy forest, you see the jungle gym. Bringing you back to your childhood, you climb up to the first landing and see an old man sitting on a bench. You climb up to the second floor and walk down the tunnel to where an old couple is standing. As they gaze out the large window, you follow in suit and watch the snow as it falls, gently and gracefully. You turn around and race up the stairs passing a girl. As you reach the top, you see all around you. This world is reality, not just light.

181

ALA 226

TAYLOR HEMMET

KEY DEVELOPMENT #10

KEY DEVELOPMENT #9

This project was one of the many done during the period of online studios. This time period was very challenging and it was difficult to find motivation through a screen everyday. This project represents a column turned into an inhabitable space. We were suppose to transform the column with an action and then create a space whithin it. My original column was a column deisgned by Zaha Hadid, which means natural, organic shapes. The column was very hard to replicate in a computer modeling and the shapes all turned out funky. I didn’t love the projects given this semester or the online aspect but sometimes you just gotta go with it.

ALA 226

JUAN OROZCO

The project began with the original column by Enric Miralles. After various transformations that focused on the circulation and the atmosphere of spaces, I was able to create this structure. This is a space of observation where one is able to ascend through the structure through a circular ramp that is suspended by metal branch-like structures. Once arriving at the top, one is met with an area of reflection and observation of how light interacts with colors. The branch like structures penetrate the building to hollow out points where light may enter and give different feelings due to the position of the sun.

183

ALA 226

JENNA PETRE

The origin of my design derives from three rectangular columns by Alvaro Siza. Throughout the semester, I made various alterations to these columns to arrive at a habitable space. The structure keeps the overall rectangular geometry of the original columns. There is the main stairway to enter the building. From there, one has the option of traveling upwards to the top or lower to the ground level.

The only windows on the corners. The windows are skinny and begin at the ground and travel to the roof. He makes the interior of the space quite dark.

Additionally, there are two skylights on the building, one allowing a user the ability to walk inside. The experience of the building focuses on the walls. The path follows the wall upwards, leaving a large open center in the middle of the building. I primarily see this building being used in an urban setting like a museum or exhibit.

ALA 226

GREGORY PIERONI

My structure was developed based on the original column located at the Dulles International Airport designed by Eero Saarinen. Standing 48 feet tall, the new structure contains 5 unique spaces for individuals. A series of wooden beams span from the back and bend to intersect one another to form a wall that allows for a captivating interaction between light and the interior space. An entire face of the building is left open to allow for natural elements to become part of the building experience. The roof acts as an outlook point that gives a 360-degree view of the surrounding area. Saarinen developed the original column with a forward sloping design, I wanted to counteract that by placing a curved concrete wall opposite to the original column that acts as a brace. The new structure allows for a very open and inviting atmosphere that captures the aspects of the original column and building quite well.

185

ALA 226

JORGE PINALLA PATARROYO

A prominent envelope is the main focal point of the structure, this vault extends from the ground to a height of 48’, to then cover the interior architecture lengthwise, subsequently descends and inter-closes itself, touching the ground again. This structure provides shade inside for most of the day, as well as keeping the temperature low. Its narrow tubular shape allows redirection and flow of the wind through two protruding openings at the ends. These apertures perform to perceive the first light of day and sunsets in such a way that frame the exterior landscape—alluding to time, an ‘outlook’ in the morning, ‘instance’ at noon when the sun reaches its zenith, and ‘precedent’ when the sun shines through the structure’s rear opening. This space houses multiple levels that break in and break out as one ascends the ramp system extending 30’ in height. Its highest point offers a ground area for observation points from an elevated view.

ALA 226

CARLOS TRUJILLO

REPEAT

ROTATE 5

6

This structure was created from a water tower column located in Portugal. The water tower was designed for a university in Portugal and was designed by Alvaro Siza. To turn water tower into a modern structure, I used Richard Serra’s verbs. To arrive at my product I had to search for inspiration.

Some of the sources of inspiration for this project were derived from modern Japanese architecture and the famous architect James Turrell.

ASS TW

187

ALA 226

KENNETH VELAZQUEZ

The project started out as a column designed by Peter Zumthor. After a series of operations and exploration of space, circulation, and tectonic I came up with a structure with multiple spaces. The column turned into a multi-story building that could be used for multiple purposes. There are multiple openings available for sunlight to enter the spaces. The space shown is the top floor which is meant toserve as a performative ambiance. There is a private aspect of the space that allows for people to perform actions in front of a secluded audience. The overall bulding is supposed to be multi-purpose and attractive to a person in an urban environment.

` ALA 226

02

DESIGN FUNDAMENTALS IV INSTRUCTOR: KarĂ­n Santiago

Students: Muataz Al Sabti, Spencer Betts, Lilly Bryant, Jaden Cole, Alberto Escudero, Miguel Estrada Briceno, Kevin Evaristo, Noah Glynn, Erick Hernandez, Andrew Kitts, Isayra Martinez, Magdalena Mayer, Ryan Mayer, Carlos Moreno, Fernando Moreno, Saafir Newton, Ignacio Ornelas, Nevina Plummer, Terry Porter, Denise Ramirez, Signe Tyler, Ananth Udupa, Gabriella Van Buren, Kevin Wright

189

ALA 226

MUATAZ AL SABTI

The idea for this design started by looking at the unique columns of the Dulles International Airport in Virginia. The columns are designed in a way to be spread out around the outer perimeter of the Airport and be the only support for the entire ceiling. A scaled down model of the column was created. The model was then twisted to arrive at the initial concept of the design. The twisted column was then opened up and transformed into a space that allows for more features to be added. The space was then broken down into four levels, and a basement with footings was added for structural support. The final organic design of the building allows it to interact with light and reflect it through out the entire structure. The spaces within the structure are interconnected in a way that gives the visitor and interactive experience and allows them to feel the organic shape of its walls.

ALA 226

SPENCER BETTS

This is a building I made derived from the staircase column Banco de Londres. I came up with this building by transforming, moving and deleting elements that were already existing to the structure.

I turned the top platform into a cone shape to make a destination for the stares. The fifth platform was turned around and part of it was stretched at an angle to make another platform. For the fourth platform I bended and pulled it to make an open hallway. I expanded the third platform to wrap along the whole building to make a huge walkway. I turned the second floor and extended the front half out to make a board walk of some sorts. The first platform was then pulled to the ground to make the entrance.

The little platform on the side was then extruded to the fourth floor for circulation. Thank you.

19 1

ALA 226

JADEN COLE

This project challenged us to transform and create a space from a preexisting column. My original column was from Le Corbusier’s Maison du Bresil.

The building had to fit within the designated 24’x36’x48’ site. From the original column, I rotated, copied, and stretched parts to create an inhabitable space. Circulation in the form of ramps were added so that people could travel to the higher levels. To frame the building, walls were extruded. These walls divided the ramps which creates the choice of traveling outside the building walls or inside the walls. I wanted to create a walkable space that allows people to view the landscape and reflect on the nature around them.

ALA 226

ALBERTO ESCUDERO

The goal of this assignment was to create space from a column. In order to do this, we had to transform the column several times in order to create the spaces.

I wanted to create spaces that were separate from each other but still felt connected somehow. The thing that connects all the spaces is the circulation and light. The spaces are meant to feel open while still being confined to the parameters of the assignment.

Several of the elements within the structure are taken from the original column and repurposed.

For example, the panels on the outside, were used to provide shade, now they are used to disrupt light and create an interesting light pattern.

The spaces are meant to be bright, warm, and welcoming, and the design of the structure is supposed to get the attention of people as they walk past. The ground floor is mostly open and mainly consists of stairs that lead up to the first space.

19 3

ALA 226

MIGUEL ESTRADA-BRICENO

Hello, my name is Miguel Estrada. Every student was given their own column that created by very famous people. I was assigned the steel cross column by Mies van der Rohe. Through many series of operations, I created what you can see in the image above. I used the cross shape to create a building that is the focus of the space I created. In this space, you can make your way to the center and look up to have a beautiful view of the sky. When creating this space, I was really basing my work off James Turrell’s skyspaces around the world. On the outside of the building, I created an environment for the people who are waiting for their turn to see the sky through the circle frame at the top of the building. Overall, I created this space to give people an experience with nature and provide them with the benefits of experiencing nature.

ALA 226

KEVIN EVARISTO

The evolution of this project started with the Obelisk column by Alvaro Siza Column called “The Smithsons Obelisk”. This column was placed outside London, England at Cowshed and haybron. Before starting creating a column I needed to choose some operations and in this case it was split and expanded.

The way I started with this column was by using Rhino and rotating Mr.Siza on column 180 degrees.

Then I did a cross cut and a vertical cut to the column and expanded the column to reach 24’ by 36’ and an elevation of 48’. At this point a structure was created and stairs were added inside and outside the structure in order to show connection from foor to foor. A three step foor was added on the bottom and a roof on the top. Illustrator was used in order to play around with the line weight and use some personal illustrations in order to make the project look a little better.

19 5

ALA 226

NOAH GLYNN

Drawing inspiration from a column located at Mies van der Rohe’s Villa Tugendhat, the structure illustrated above offers refuge from a mass of water.

Visitors to the structure may swim through the entry located at the base of the structure and utilize the vertical circulation located across from the entry.

While submerged on the ground floor, visitors can enjoy views of the sky from within each of the tubular forms. On the upper floors, visitors find shade within the structure or rest outside, situated far above the water below. The synthetic form of the structure plays within the field of symmetry in unexpected ways, while a repetitive circulatory pattern weaves visitors between interior and exterior spaces. The resulting structure exists rather unnaturally within open waters and creates several spaces apart from and in unity with the surrounding natural environment.

ALA 226

ERICK HERNANDEZ

The journey of this project began with a simple object, which was a column. The original column, which has now endured through multiple complex transformation, was created by Carme Pinรณs.

Through the cycle of this project we looked at how we could transform this column in order to affect its circulation, the light that would enter the structure, and the tectonic by the end. The processes that I decided to use to transform this column are stretch, extrusion, and scaling. By the end we ended up with a structure that we were able to describe using a multiple of drawings which included floor plans, axonometric drawings, exploded axons, and perspective. In this drawing we have a perspective from the third floor looking towards the first floor.

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ANDREW KITTS

Evolving from a column originally designed by Enric Miralles, this cliff-side observation tower focuses on providing the user with uniques spaces and spectacular views. The three story tower cantilevers balconies over the cliff, giving the user a feeling of suspension. Space focuses on lounging and outward observation, while the circulation leads the observer to the top. Tectonically, the building is very light. The bottom level is mostly glazed in order to maintain outward views, while the second and third levels are open terraces with railings. Originally, the column consisted of four seperate steel members supporting a roof. Throughout the process, those columns were cut, joined, and extended which created the main core of the structure. The other forms followed an exploration of space that considered how people move, sit, relax, and spectate, with a focus on a beautiful natural environment supporting this context.

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ISAYRA MARTINEZ

The structure evolved from a column designed by Enric Miralles. The Column went through a series of operations, including split and rotate. Then a skin was placed on the columns and spaces were created inside the stucture to allow circulation within the space. Then, tectonics were added to the stucture to make it more structural. The structure created in an open space with 3 different levels where people can interact with one another. People can move through the space with the multiple stairways placed inside the space.

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MAGDALENA MAYER

Based on the columns designed by Peter Zumthor in the Steilneset Memorial, this building was designed similarly by contrasting the heaviness of the structure with a light exterior cladding system.

The exterior structure is visible from the inside and outside while the materials which divide the outside from in are stretched along the structure’s shape, similar to a sail. Rather than being flat, the building’s first floor is sloped upwards to allow users to immediately feel elevated within the space. Within the building, there is a main assembly area at initial entrance, along with seven smaller program areas to create more intimate and separate functions.

Three types of circulation are available throughout the building, with one main elevator connecting all seven program areas vertically. This building is very versatile since it can be used as a gathering space for many, but can also allow smaller groups to occupy the space comfortably.

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RYAN MAYER

The purpose of my building was to create a vertical, PERSPECTIVES practical space that closely represents the original column which I derived my design from. The circulation of the building is restricted to the interior of the building, while the usable space is kept on the exterior of the building. The building itself is very angular and contains complex geometry, this system was extracted from the Smithson Obelisk at Sommerset Farms. The human movement pattern would be accomplished with a main elevator in the center of the building, and stairs or escalators crossing the spaces. The building’s structural and spatial relationships would seem very complicated and simple at the same time. This is because of the arrangement of the circulation and the shape of the building. Many horizontal and vertical relationships make my building unique and productive.

SECTIO

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FERNANDO MORENO

The intention of this space was to merge the interior of the space with its exterior. For example, in this space, a combination of stairs, ramps, and an elevator allow people to move around the space, where each floor is uniform with one another. The use of light is well compacted as perforations are added through both sides of the building, letting small but a sufficient amount of light. A facade consisting of titanium panels located at the center of the space also attract light for the space, making it solar and cost efficient. The rooftop is a small space that allows for people to go up and enjoy the scenery of the surrounding environment, or even simply sit down on the steps provided all around and relax. The four small structures at the front of the structure are designated to be small balconies for people to relax in, and enjoy the scenery while reading a book or simply to relax in, while the canopies at the roof of the balconies provide solar protection while at the same time being exposed to sufficient light.

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SAAFIR NEWTON

For my structure I focused on how it interacted with the ground because they had the best relationship out of ground, sky, and surrounding environment. On the main portions of the structure under the stairs and main space I put circular steel beams to support the structure in these areas. The beams do not stop right at the ground but extend into the ground slightly. The first axonometric shows a vertical section cut and the second axonometric shows the horizontal cut.

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IGNACIO ORNELAS

My project is based on a column designed by James Stirling, with many modifications to the original column that led to the development of my design. In my design, I made it into a building that is designed for people to come in and relax on their breaks or time off. There are 3 floors that are accessible to people with the help of the stairs that go up to each floor. The building is also not fully enclosed, I designed it like this so natural light and air come into the building and it won’t be as hot in it. There is a circular opening at the top of the building that is giving sunlight to the third floor.

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NEVINA PLUMMER

Over the course of the second half of semester two, we have been exploring how to make a column into a building through a series of transformations.

Although the process to get to a final structure was filled with many trials and errors, the result is incredibly rewarding. I feel that through this project I have grown in my understanding of the design process and also honed some of my skills when it comes to creating architectural drawings. With my project, I wanted to create a space that could be enjoyed by many people. By creating a pavilion, I fulfilled that goal because, in my mind, it would be centrally located in a park. The pavilion itself has two levels, the ground floor serving as an entrance and exit, while the upper level serves as a “lookout� area, or simply an area to relax. The top of the structure is enclosed with a semi-transparent glass material, so that light is able to enter the space. The bottom area remains open so that people feel as if they are connected to the outside while inside the structure.

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DENISE RAMIREZ

The theme of this project, in my experience became exploration. I was given a Le Corbusier column that was entirely concrete, and dense. For the beginning, I wanted to add some space, and airiness. I took this inspiration the whole journey. I began by severing the column, rotating it, and adding some openings in the middle of the top and bottom section. In order to maintain the original essence of the enclosed column, however, I ensured to keep the material consistent, as well as smaller details, such as the rounded corners.

The exterior is the result of exploration of light, whereas the interior is the exploration of circulation.

These spaces channel traffic and move it up. The top level is the star of this space. This area is to be filled with natural sunlight, hence the absence of the roof, and be treated as a viewpoint for its surrounding topography.

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SIGNE TYLER

The

structure

is

theoretically

composed

of

reinforced concrete which forms the slabs of each floor and the columns supporting both the stepped platforms and columns that support it. This allows for the outer skin of the building to be composed of metal that can be shaped however needed to fit the model without compromising the structural integrity of the entire structure. The building meets the ground on a decline, as individuals are meant to descend into the space before they climb their way to the top. This alternation of flow will increase the effect intended in the last assignment.

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ANANTH UDUPA

To begin an investigation with a column intrinsically defines the purpose of any following transformation.

A column’s purpose is to support, a solid uplifting a negative space for inhabitation. Yet, questioning the premise of this definition ultimately begs the question, what is inside of a column. This project takes Enric Miralles’s exterior column from the Scottish Parliament building and inverts the notion of solid supporting void by the act of opening.

I went about the visualization of this idea by defining weight, taking the positive and hollowing it into a void and adding material to the negative. Influenced by the path of light, there was also a shift in importance to the different parts of the original column, taking away emphasis from a central concrete column and placing it onto two supporting metal poles introducing a movement upward. This motion of following the light defined the basic program to be a collaborative one, functioning as a meeting place for the community.

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GABRIELLA VAN BUREN

The final design of this project was derived entirely from a column which happened to be assigned at random.

Many transformations were appied to

develop what was originally a column supporting a building into an entirely new structure. Initially, the column was made of cencrete with steel reinforcement bars, and contained a metal piece at the top (which connected the column to the rest of the building). After severing and resizing the preliminary column, these pieces of rebar became structural columns within the final design, and part of the metal was stretched certically throughout the structure to create a central pilaster. To create the open spaces in the final edifice, portions of concrete in the original column were removed, and part of the structure was expanded horizontally to allow for more space. In the included illustration, the project is represented as a two-point perspective within a mountainous desert landscape

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KEVIN WRIGHT

The last several weeks I have been exploring a pair of columns created by Carme Pinos. We started by putting the different elements through various iterations. I used rearrange, twist, remove, and mirror to create a new space. After that, I built upwards using the same envelope replicated by the partitions surrounding the original columns. This can be seen in the image above by the four levels of leaf shaped walls making up the exterior shell. The center structure focuses on how movement through the space from floor to floor functions vertically, and also has bridges running horizontally to each interior space found in the exterior walls. The final space consist of several intimate areas accessed by a center structure hanging from the exterior walls.

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02

DESIGN FUNDAMENTALS IV PROFESSOR: Claudio Vekstein

Students: Jeremy Arena, Andrea Brophy, Allyssa Chiarello, William Chung, Giovanni Cozzolino, Ethan Eles, Sofiya Gaffke, Savannah Gries, Jingyl Gui, Qin Hao, Sadie Henson, Alyssa Keen, Kayla Kokullis, Simen Kristiamsen, Shawn Locus, Rachel Martinez, Elizabeth Michaels, Grace Miller, Yubo Qiu, Hailee Rother, Madison Stoddard, Isheanesu Tendayl, Valerie Valles, Justin White

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JEREMY ARENA

Piercing from the side of hill, this public monument is nestled in the heart of a wooded park, a secret treasure to be explored by its visitors. Each level of this structure introduces new views to be captured and micro spaces to inhabit. Entering from the upper portal, one is greeted by sweeping gateways that lead either to a pinnacle look out, a divided view to the east, or down to the lower, larger floors. These larger spaces are full of light and open air, yet contained enough to accommodate small public classes of art or physical fitness. With no direct program, this folly offers enough spaces for everyone to discover their own inspirational purpose within its open walls. A pathway through a park creates peace of mind, and as this spire intrudes one of these paths, it enhances this peace of mind and directs the thoughts to creativity.

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ANDREA BROPHY

This structure originated from a column designed

by Carlo Scarpa, which was symmetrical and gave off an illusion of being deceptively light, it was hard to tell if the column had structural or ornamental purpose. With very close attention to detail there was a balance between technical and tectonic aspects. While designing this project I kept a balance between negative and positive space, much like the original base of the column did. I wanted to emphasize the contrast between the mass of the concrete and the delicate beams of light. Looking at the building from the outside it feels as if each floor is being held up by these columns of light, as you see people moving up and down them giving the illusion of walking on air. Each level is made of concrete, a very solid and heavy material, but the circulation is meant to feel light and effortless.

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ALLYSA CHIARELLO

The project began as the study of a column by Enric Miralles at the Olympic Archery Range in Barcelona. After a series of transformations, spaces were generated and the structure became livable as a collection of both private and public spaces.

Enclosed (private) spaces are primarily for living while open (public) spaces are for playing. At the center of each level exists the public space, while the private ones radiate from it. This radial nature is similar to that of the elements that the loft spaces hang from. The structure’s radial and open-aired nature ensure that the surrounding views are captured from the inside as well as the outside.

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WILLIAM CHUNG

Starting from a column by Affosnso Reidy, creating a habitable space was the main goal.

Using a descriptive verb list from Richard Serra, I decided to ‘join’ and ‘slide’ my column. This would eventually become the walls of my space.

Through multiple iterations and alterations to that initail space; I felt that this current structure kept influences from the host column while keeping true to the program of the structure. Experiencing light is the main program, this is accomplished through different openings and voids placed throughout the whole structure. Each opening is unique in the way it is angled and placed. A space at noon will be lit up completely different at sunset and that’s the point. The solid concrete build creates an industrial yet elegant feeling, and the lightness in color allows for light to really bounce off the walls.

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GIOVANNI COZZOLINO

The idea behind this project was to take an existing column that was assigned to each student and build off of it to create an original space. Torres de Satelite by Luis Barragan was the original column that was assigned to me. I wanted to create a space that allowed for people to have a new experience on each level of the building. On the first floor I wanted a space that was closed off to the outside but spacious enough to allow for people to move freely. On the second level I opened up the space and gave the viewers a different perspective of the area surrounding the building by adding a curtain wall on the East and West wings of the second level. For the third level I decided to close off the space again and only give the option for the individual to look in or out of the space from the South side of the building by the use of a bridge that connects the wings together. For the exterior I wanted to use thin steel that allowed for a sturdy skin but wasn’t overbearing and gave off the feeling of the building being light.

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ETHAN ELES

We started out the second half of this semester by being given a column from a piece of architecture.

We had to use a set of verbs created by Richard Cera and we had to apply these verbs to the given column.

After we applied these verbs to the column, we were asked to start creating circulaiton inside of the structure that we designed. I struggled a lot with this project because it is was very hard to create a smooth transition between spaces while also complimenting the structure itself. Several iterations had gone by and I started to think of a program for this structure so I could start to create something that makes sense.

After thinking about the shape of the structure I finally had an idea where it might be placed, It is in the shape of a cactus so I thought there would be no better place for it than the desert. The program for my structure will be a desert observatory that you can hike to and enjoy the sunset or sunrise, and during the day you can expereince the way light comes through the building.

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SOFIYA GAFFKE

Sweet silence surrounds as the fresh mountain air wisps through you and dances along the sweet grass that follows your eyes to the entrance. In front the stairs lead towards the large opening that’s walk you through a massive space. Art surrounding with nothing but beautifully painted landscapes mounted along the walls. To the right, a circular window portrays the best painting in the room, a landscape where you can see the movement of the clouds, the swaying of trees, and the life of critters around. As one moves through the space, a ramp twirls into a second floor where a different view can set in. Looking over the railing on the second floor, people may observe those below as if they were ants mingling amongst one another. Lastly, a steep staircase brings you to the highest vantage point of the building, the roof is opened where the environment can seep into every aspect, and light travels through. The building carries twists and turn your head all the way up which creates the imagination of what one can do with a few simple inspirations, but the peace comes when the interaction with the building is envisioned and a viewer can simply observe different groups of people in different views.

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SAVANNAH GRIES

For studio this semester I had created an outdoor space that allows users to enjoy the natural climate.

This space is made of concrete and steel. It was originally called the pigeon house and was occupied by birds. My intentions were to open it up and change the dynamic. While the column is minimally occupied, I wanted it to be used exteriorly. The spaces were created with the intent of the structure being used not only from the inside, but from the outside as well. The column had created space that can be used for shade, viewing, or even sitting and enjoying the surrounding nature.

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JINGYL GUI

Evolving from a column originally designed by Smiljan Radić, this is a four-story building. I hope that the whole building is immersed in the surrounding space and designed with this concept, so you can see that the building has a lot of outdoor spaces, and the walls of the indoor space are mainly made of glass. This building has a lot of stairs, which makes the building highly mobile, and you can find ways to different spaces from this space.

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QIN HAO

My original column was at Mestizo Restaurant by Smiljan Radic. By changing it, it looks built in the park, surrounded by the river, and the family will go to play nearby. It is more like an art gallery, which is convenient for people to watch. The outside is a wall made of glass, and you can clearly see the inside. The spiral staircase, inside is a column made of steel column.

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SADIE HENSON

In this project we took a column and transformed it into an inhabitable space. I started from the columns at Maison du BrĂŠsil by Le Corbusier in Paris, France.

I wanted to stay true to the materiality and weight while adding a new element of light and invitation.

I opened the middle to create room for platforms to move through the space. There are three defined spaces within the new area, each having their own series of platforms. I wanted to create an interactive space that engaged the user to explore as they travel. I imagine this being a place for contemplation and exploration. Because the original column was quite heavy, I cut out the pillars and added the large window to create a more inviting space.

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ALYSSA KEEN

This structure, dubbed the Tower Gallery, is an art gallery intended to showcase the beauty of the surrounding landscape. The Tower Gallery would be able to offer 360 degree views from its different levels. An inviting, open floor plan allows for easy flow as one enters from the lobby and begins to leisurely climb the spiralled ramp (or ride in the glass elevator to the roof and walk your way down).

The tower is shielded by a wire mesh, an homage to the Zaha Hadid Serpentine Sackler Gallery column from which it was derived, helps shelter the visitors from harsh sunlight and is also meant to be seeded with local flora to help establish its goal of being a civic work of art. The lobby of the Tower Gallery has circular resting points that also mark the spots where the foundations’ pillars rest. Since the interior is encased in a glass wall, light is free to fall and play against the building, casting shadows on the floors or ground which further adds to the mercurial aesthetic of the building; exploring the building at different times of the day or even different times of the year will create new views and shadows.

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KAYLA KOKULIS

Based on the Alison and Peter Smithson’s Obelisk, the modification of the original column led to the development of the following structure. The base of the structure remains burrowed into the earth to grant additional stability, while the column’s natural tectonics combined with a series of curved elements allow for the utilization of vertical space.

The circulation of the structure begins at ground level, traveling upward in a spiral until the individual reaches the peak. In short, the structure heavily relies on the connection between the ground and sky. In terms of space, the structure provides two essential areas on its bottom level – one enclosed while the other provides access to the stairs and other spaces.

The path of travel weaves within and around the building, the final top platform only accessible by interacting with the structure, climbing the tectonics to reach the highest point.

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SHAWN LOCUS

Carlo Scarpa was the inspiration for this project, he was renowned for architecture that incorporated intricate geometric patterns, in some instances used for tectonics and others merely articulation. Similarly, the structure I’ve assembled relies on sophisticated stylized tectonics to support and stabilize its mass.

This space might be best described as an interactive sculptural observatory, a environment that is both complex horizontaly and verticaly in relation to human interaction.

Over the past two years at ASU I have had a variety of conversations with many talented professors guiding my studios who ask “ What is the practical purpose of my architectural explorations ?� The only answer I have at the moment is that the creative process has inspired me to dedicate myself to a pursuit that is igniting prosperity in all aspects of my life, for the moment thats practical enough.

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RACHEL MARTINEZ

This

structure

originated

from

the

column

constructed by Carme Pinรณs in Barcelona. Located at the Mercado de la Boqueria. The transformation has come a long way, what was once a column is now a fully functioning structure. It displays space, circulation, and tectonics. There are 5 distinct spaces that one can move about. The space connected to the ground where they can see through the stairs, which also allows light to come in. The main stairs move people from the ground floor to the upper levels of the structure, a slide and a bridge on top.

The main entrance columns go into the ground for structural support, and reaches up to the upper two structures, holding those up. I hope to see people using this space to gather, spend time together, enjoy the views, relax and have fun.

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ELIZABETH MICHAELS

In Le Corbusier’s orginal design for the columns of Chandigarh, the column serves many functions for the building itself. A column joined with several others acts as an architectural polmenade, an entry passage into the interor courtyard, and support for the roof line. Indiviually, it functions as columns do, a support vechicle for the infrastructure. When considered as an aesthetics piece, it is a sculptural form that casts textured shadows off of the raw concrete capitols as they round up to the roof. When studying the raw concrete, it is a texture that would be wonderful to touch. Using the capitols in repeating rows, and creating pass throughs that are similar to the orginal column, you would be able to interact with the texture on either side.The space would offer a place to enjoy the exterior enviroment, a indoor-outdoor arrangement. The different levels act as sun shades and frame views of the surrounding areas as you move up levels. Moving from one side to the other allows the ability to get as little, or as much sun as desired.

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GRACE MILLER

These structures are green-house-like garden centers where people can walk through for observation. Visitors enter from either ground floor doorway, a spiral staircase transitions to the second floor, and stairs move higher to the third floor, which contains two rooms. Here there is a skybridge, which incorporates horizontal movement. Overhead wood beams separate an upper greenhouse area.

The building’s relationship with the sky prioritizes light, as the top has mullions and a glass enclosure, resembling a greenhouse that would allow a large amount of light to enter. The building’s footprint is streamlined, and sits atop a concrete slab and strip footing. The overall topography resembles one that could be found at a public park with gently sloping hills and valleys covered by grass. The building consists of concrete walls, including those on the interior. Glass is present on the top, within the windows, and makes up the envelope of the skybridge.

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YUBO QIU

The research object is the first floor column of the Corbusier Marseille, France. The column is made entirely of unprocessed concrete. After cutting, rotating, and changing the size of the object, the current building is formed. The original pillars are made of concrete, which is particularly heavy. After the operation, I changed the material, the original pillar became the main body of my building, and the appearance looked like a twin tower.

Relative to the effect of color, I prefer the black and white lines, which is why I chose this view.

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HAILEE ROTHER

The space originated from a column in Parc Del Colors by Enric Miralles. Standing 48’ high, the structure in made up of 5 floors, each focussing on a different sense. I strived to create a place where whimsy meets curiosity. Users are encouraged to play, while interacting with their surroundings to gain a deeper understanding of the 5 senses.

Through light, nature, unconventional instruments, community, and materiality, one is able to discover a new definition of play. The perforations throughout the structure serve to connect the interior and exterior, as well as a connection between each floor.

Even though the space is broken up into smaller areas, this is a place for community to flourish.

ALA 226

MADISON STODDARD

This structure began as a simple and delicate columnar pair designed by Carlo Scarpa at the Venezuela exhibit of the Venice Biennale. After bending, twisting, repeating, and rotating the column on a single axis, the final structure resulted in an outdoor space designed to interact with its environment. This space is meant to be open air and climate, with large panels creating an enclosure and the removal panels to focus in on the views of the mountains that it is located in. The circulation mainly focuses vertically. To mirror the original operations of the column, the circulation upwards maintains the organic nature and curvature of the rest of the structure. This is shown through curved staircases, ramps, floors, and ceilings.

However,

there are horizontal separations of space as well that represent the simplicity and concept of the original column.. These include more spaces dedicated to views, walls, galleries, gathering spaces and the top level on the exterior.

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ISHEANESU TENDAYL

I was initially assigned the column that clads the bank of London in Argentina. The large column is a prime example of brutalist architecture. In order to make the column an inhabitable space I created an enclosure by adding two more columns and folding them. I then decided to close the remaining openings with glass and an endearing space was created, characterized by the contrast in materials between the heavy concrete mass and the delicate glass. For pedestrian circulation a ramp was added.

It would snake around the entire structure, allowing for beautiful views as one would move around the building. I freckled both the interior and exterior parts of the structure with smaller spaces and within the structure, a central elevator would provide quick access between the floors and even the to the crown of the building, designed specifically for gazing at the vastness of the city the would surround the structure.

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VALERIE VALLES

This project focuses on transforming an existing column into an original structure that implements critical design thinking. The original columns designed

by Carlo Scarpa were studied at great lengths in order to capture their structural elements and design characteristics in my structure. Transforming the oiginal columns required many iterations and design operations that not only expand on their original qualities but also begin to translate a new space to inhabit. Other aspects of this project included communication of spatial relationships, illustrations of tectonics, and highlights of experiences within the structure. The overall concept of the structure is to be a private living space in a secluded area in which users could create their own experiences in. The structure is composed of small intimate rooms and open spaces to give variation in atmospheres and emphasis spatial relationships. The function of light is emphasized through various openings and windows to further enhance the experience of the structure.

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JUSTIN WHITE

The project started with a water tower that was designed by Ă lvaro Siza Vieira. The idea was to take this structure and elaborate on it, and the goal was to end with a structure. By using processes, we learned in class my structure ended with many floors and depth compared to the original water tower. This structure interacts with light by having many open spaces, and the setting is on a mountain side within the desert. This structure is something people can explore, and see the world around them at different elevations. The materials of the structure are raw metals and concreate to simplify the look of the structure. The project started with something as simple as a water tower and has over time become a usable and unique structure of our own creation.

` ALA 226

02

DESIGN FUNDAMENTALS IV PROFESSOR: Sara Yehia

Students: Alexander Solis, Alexandra Berk, Alondra Cuevas, Amir Simms, Anthony Gagliano, Christian Mays, Christina Staab, Daniel Marshalsay, David Struening, Gerardo Beas, Jacob Reed, Jona May Lim, Josh Einen De Joya, Juliana Reyes Gonzalez, Khanh Nguyen, Kirsten Schwantes, Lacee-Dynae Skinner, Logan Thompson, Millan Mognett, Negar Khani, Philip Leveque, Shonda Woody, Wesley Brittain

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ALEXANDER SOLIS

The dynamics and aesthetics of this building is one of a relaxed state of being. One will visit this space for a vacation or simply a little get a way.

The structure was inspired by a column assigned from Le Corbusier. The pillars and walls of the first floor were designed with the retention value of not allowing the water to shake the foundation or to allow the constant banging of waves to bring it down. The octagon shapes on the sides of the upper floor walls were designed as a method to bring light in during the dark with a little aesthetic. For many this place may be a home or a way to make business, but to the designer it is all imagination.

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ALEXANDRA BERK

The inspiration for this project came from a staircase and columns by Lina Bo Bardi. The beauty of the staircase comes with the connection and flow from the ground to the second floor. When creating a space from these stairs, it was important to design a structure that allowed a similar flow. In the project, the stairs became the space a person would occupy.

The connection between the sky and different types of spaces were explored. In some cases there are light tunnels that allow light to bounce off and create interesting spaces, and in other cases there are open balconies and ramps that allow ample light and large spaces.

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WESLEY BRITTAIN

Exterior Perpectives For my semester (Cont.)

project, I performed multiple

operations provided from the list created by Richard Serra. The original column consided of a wide flange with two supporting beams extruding from near the top into the floor. These beams were repeated downwards along the wide flange, and then the entire structure was tilted on its side to form a staircase.

Multiple landings were added, along with columns to help with structural support. the original supporting beams that were protruding from the sides were reflected back inwards to help form the structures relationship with the ground. Thin poles were placed along the sides of the staircase for added saftey and aesthetic purposes.

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AMIR SIMMS

This column was a process derivative of a column created inside of the Lighthouse Vox, By Mies Van Der Rohe. The column was constructed on the basis of two operations, or verbs, that transformed the column. My transformations allowed for the column to expand and open up into a space that can further be filled circulated with addition of floors, stairs, central elevator, etc. The column reaches its true integrity of a building over the idea of a column with the shown relation of the building to the ground ansd to the sky. Tectonic piece are in place below the “Earth� displayed as concrete slabs and footings for the walls and base of the building to be situated, along with a roof being added. The image above has walls removed to better exemplify the interior space.

The building can be accessed from ground level, and can be traveled from the first to the top level via either steps on the bottom floor or the central column that acts as an imaginative elevator.

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ANTHONY GAGLIANO

Welcome to the jungle, no pun intended. Standing on four steel columns, with concrete floors and rooves, the structure above was meant for the observation of the forest. The design was inspired

by Frank Lloyd Wright’s columns within the Johnson Wax building. Wright’s design of these columns was to evoke a sense of being surrounded by trees in a forest with the dendriform shape of the columns. So, when designing my structure, I wanted to preserve Wright’s idea of being surrounded by trees within a forest. In short, I conjoined four of the original columns, multiplied the bundle by four to make four separate bundles, increased the height by twenty feet, then added three levels of floors with an elevator to access each floor. With a height of nearly fifty feet, the structure finds itself among the trees, surrounding any inhabitants within the space as its predecessor was originally intended.

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CHRISTIAN MAYS

15 EXPLODED AXONOMETRIC

The configuration of my path throught the structure is mostly directional towards one location. With a series of ramps, stairs, and ladders one can effectivly reach the top starting at the bottom. At each level there is minimal horizontal movment. however, much of the movement is down in the vertical path ways. Right in the center of the structure is a horizontal path leading outside the structure. The quality of light through out this space is plentiful with two large open doors on either side of the structure. In addition, the atmosphere is very spacious with most of the walls in the shape of a triangle and connecting at a 155 degree angle.

It took several to transform the given column into this 22 by 35 by 47 foot light controling abstract space. Some of the operation used included to bend, to split, to remove, and to open. With the general shape of Enric Miralles’s column in mind, the similaries can easliy be drawn between his and mine.

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CHRISTINA STAAB

Exterior Perspective

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DANIEL MARSHALSAY

This project started off with inspiration from a Carlo Scarpa column. With transformations and focused considerations on circulation, atmosphere of spaces and interaction with light this structure emerged.

This is a space of observation, the open pass through gives it a light feeling in space not a solidified volume but almost a breezeway. It provides an area to focus views for reflection. This space does not in the same respect hide its tectonic presence. Having a steel skeleton and truss system completely on display yet thin and not overtaking matches with the rest of the non-imposing features of the structure.

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DAVID STRUENING

EAST/WEST SECTION

NORTH/SOUTH SECTION

12 SCALE 1/8”= 1’-0”

The start of the project started with a column of Carme Pinos. With several operations and transformations, a structure surfaced. This structure creates spaces to be explored always wanting to move upwards. Every level is different due to the unique shape of the building. The two sets of stairs give two different experiences of movement. Due to the exterior looking heavy, louvers were added around the structure. On the roof floor, the space is only surrounded by louvers giving 360 views.

ALA 226

GERARDO BEAS

NORTH/SOUTH SECTION

EAST/WEST SECTION

For my project I took inspiration from a staircase created by Clorindo Testa for the Banco de Londres en Buenos Aires, Argentina. Our assignment was to take a column and turn it into our own structure. My structure has 5 large spaces and 8 smaller spaces in the second and fourth floors. The construction for the final structure came from geometric shapes and small spaces that I salvaged from prior iterations of this project. I stacked the geometric shapes on top of each other to stay inside the dimensions given to us and placed the smaller space in the exterior space of the second and fourth floors to let them act as their own separate spaces while still working while the larger space. This structure’s purpose is to give people a place to see the exterior world from differen

JACOB REED

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JONA MAY LIM

This building is a redevelopment of a column by Enric Miralles. The overall process involves various transformations and configurations while keeping some of the elements and the character of the original column. The idea behind the design is to capture the lightness of the original column by creating a light facade around the building and exposing heavy material. The light facade is the repetition of pipe columns on the other side of the building and using heavy material (concrete) for the rest of the building.

There is an opening to the sky inside, also, there are no glass windows or doors in the building. The idea behind this is to contrast the heavy materials by keeping the whole building open. This will give the users light and easy feeling of the space. Lastly, tdifferent levels of the building are connected by a continuous ramp. This ramp will allow the users to experience every corner of the space as they continue to move towards the last floor.

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JOSH EINEN DE JOYA

The project we were given is to take a column and transform it into a compositional structure with the use of several action verbs. For this assignment, I was given a column from the Museum of Modern Art in Brazil by architect, Affonso Reidy. The original column has the shape of the letter C. I transformed the column so that it could accommodate more space by adding volume and thickness. I laid the column flat and decided that it could work as floor levels. My building structure took the form of the outer edges of the original column which was the C shape. The building could be seen as a museum because of its circulation and its materiality. The building has a repetitive circular motion that enables the user to experience the entire space. The material I opted for is a concrete finish with wood flooring to give a simple feel to the space.

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JULIANA REYES

This interior perspective view shows the interior of my structure that was created. The structure was created with the influence and transformation from an original column found in Spain by Enric Miralles.

Exterior Perspective This interior

displays how the inside has floor levels

that are surrounded by railings. The outside of this structure is enclosed. However, the inside is open in the center so people in different floors have access to view the interior and different levels of spaces.

The structure and floors are held by the walls and columns that were placed on the perimeter. This space is open to allow movement to happen between people walking and moving to different vertical floor spaces. The different assignments along the way helped develop the different elements found in the final project. Overall, this project started from a simple column and evolved into a space.

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KHANH NGUYEN

My project takes inspiration from Enric Miralles’s columns within the High Performance Center for Gymnastics in Alicante, Spain. The structure went through many transformations, including splitting, rearranging, enlarging, and hollowing out. The resulting structure consists of one large cylindrical space that has four occupiable levels, an elevator directly across, and two other supporting columns.

Pathways in the middle connect the elevator to each platform on the respective levels. With two options for vertical mobility, the circulation leads up to the accessible rooftop. The final structure is an airy, open space with axial configuration.

Due to the long windows on each floor and the lack of covering from the sides at the center of the space, there is plenty of exposure to natural light.

The roof space is entirely exposed, but still functions as a ceiling for the space below. Lastly, the vertical arrangement of the functional spaces allow for a nice elevated view of the surrounding environment.

ALA 226 ALA ALA226 226 KIRSTEN SCHWANTES

KIRSTEN KIRSTEN SCHWANTES SCHWANTES

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LACEE-DYNAE SKINNER

The structure was inspired by the fundamental groundwork of The Bank of London located in Buenos Aires, Argentina. The reinforced columns have curves, jagged and drilled geometric patterns that give a sculptured look. The Bank of London building is known for “brutality� architecture which originated in Europe and developed in Argentina between 1950-1960. The columns themselves had a distinct use of dimension and shapes that work together with the light, open spaces, and application of materials.

To create the space, the columns at the bank were operated and arranged to create a new structure.

Based off of the one point perspective section the view shows a spatial organization of how to move throughout the designed space. The different floors encompasses different spatial patterns and space that weave around and through the building through the different directions of staircases and elevators

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LOGAN THOMPSON

My project is derived for the column that Radic designed in a restaurant called mestizo. I created this project by applying two verbs from Richard Serra�s list of verbs. The two verbs I choose to use is to cut and to repeat. by doing this I created a space on the inside that then allowed people to enter into the building. Once I had that done I was able to connect the space by a ramp, and levels that where inspired by the Guggenheim museum. I wanted to create a space where people could enjoy a good mix of outdoor and indoor space. the outer shell would be made of perforated metal and the structure would be of polished concrete

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MILLAN MOGNETT

RENDERED MODEL

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NEGAR KHANI

This structure is designed by combination of a rectangular and a diagonal shape to create several spaces inside and outside of it. The rectangular shape is the main part of the structure which has three floors. Each floor is 12 feet high. Entrance to the building is from north side on first floor. there is a steel staircase in the first floor which, lead to second floor. The second floor is divided into different spaces. It has 2 balconies which the main balcony is on the north side and the other smaller balcony is diagonal shaped on the east. Third floor is also the same except the diagonal shaped balcony being on the west side of building.

The diagonal shaped space on outside is created by small steel ribbed structure which is connected to the rectangular enclosed space. The front side of the structure is covered or designed with tall steel columns. These steel columns are meant to limit the amount of light coming into the building.

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PHILIP LEVEQUE

This is the perspective render of my building. There are numerous materials. The main materials of the building are marble, concrete, and alabaster. There were numerous iterations throughout the year that created this final result. My building is located on ancient Greek Theater. I intended it to be located in some sort of ancient setting. I was inspired by the Ancient Greek theaters that were discussed in class.

The original structure was creating using columns by the famous architect Le Corbusier. The columns were from the Palace of Assembly in Chandigarh, India. I transformed the columns with two verbs. Our instructors gave us two verbs that would transform the columns. I chose the verbs to bend and to rotate.

Then, I had to create circulation and tectonics within the spaces. I creataed numerous stair cases and tectonic features.This is how I resulted in the final iteration above.

ALA 226

SHONDA WOODY

ILLUSTRATED PERSPECTIVES

14

The Project I had to do was to transform my original column to a building that has to have space and circluration. Then illustrated to an environment of where it should be. My building above is a look out tower and can be placed in monumental place.

It has 6 floors and the entire column is made out of concrete. With that I add so called concrete blade walls, so air can flow in and out of the column.

3rd Year

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ADVANCED ARCHITECTURAL STUDIO I PROFESSOR: Scott Murff

Students: Carlee Allen, Nicholas Becerra, Shelby Ben-Shalom, Zelda Cole, Maeghan Doherty, Connor Glass, Xintong He, Vi Ho, Jessica Hollock, Yasmine Kattan, Ryan Mackey, Cheyenne Mcgrath, Susannah Montgomery, Justine Palmer, Robert Stein, Laura Stueve, Mckenzi Wilson, Yiming Xu

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CARLEE ALLEN

I see a library as a place where people can go to better themselves. Whether you want to learn something new, enhance your computer skills, find a new book to read or need a safe place to hang out with friends, a library can be that place for the community. With plenty of light, plants and warm wood accents this library design aims to create a comfortable environment that encourages learning and self improvement. There are quiet study spaces inside and outside of the building separate from the group study spaces, private classrooms, a children’s area and a cafe that can operate outside of library hours. Located on Tempe Town Lake, a large deck helps tie the library to the water and invites pedestrians to participate in the library and explore what more it has to offer.

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NICHOLAS BECERRA

A library is a consistently evolving learning environment. My vision of the lakeside library, which is located on Tempe Town Lake, is to create a welcoming environment that is not only about learning. This structure’s form was created by pushing all of its service spaces, which included extended learning classrooms and a lecture hall, to the exterior of the form to allow for one large, fluid space. This creates a multi-use area that gives individuals of all ages the opportunity to relax, learn, or engage with their community. Following this form, I created two exterior spaces on its east and west faces. To the west I have designed a large outdoor covered seating area that extends onto the lake. Then, to the east, I have designed an outdoor enclosed reading space that has views of the lake.

Incorporating these ideas gives the community more activities to enjoy on the lake.

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SHELBY BEN-SHALOM

When presented with a library in the beginning of the semester, I was immediately excited to create a space for the public. I wanted to create a rather monolithic and cinematic piece of architecture. I wanted to take advantage of the prime location on Tempe Town Lake. The main stacks and a small reading room gradually step up over the main pathway and over the lake. There are views of Papago, “A” mountain, and north Tempe. The facade pulls away at certain points along the main stretch near the entrance. This provides views to the north without having direct sun coming into the building. I chose to rise above the pathway because it is a heavy traffic area and I didn’t want to reroute the path.

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ZELDA COLE

This public library, located along Tempe Town lake frames the views of its surroundings to provide the community with an inviting and attractive space to gather. The design reflects different elements nature and sustainability. The layout provides different members of the community the necessary spaces they need to come together, be productive, learn and grow. The project prioritizes well-designed community space to create open outdoor user areas on the water. The site has a variety of aquatic and landscaped elements that work together to revitalize the common access space to the site’s surroundings.

The project explores the use of water to restore wetland riparian areas around and within the site to promote biodiversity and stormwater management.

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MAEGHAN DOHERTY

The design of a library on Tempe Town Lake is one that brings together community and knowledge.

The site borders Tempe Center for the Arts to the West and Tempe Town Lake to the North; it is this connection to art, knowledge, and nature that makes this space so unique.

Creating a walkable roof allows previously unusable space to be given back to the community was the most important aspect of the project. An outdoor space that is available for activities such as picnics, meeting people, and studying with views over the lake and mountains. In addition, by creating an internal courtyard the space opens itself up to nature, allowing natural light to disperse through the space.

This library connects individuals to each other by bringing individuals back to a mixture of nature, knowledge, and art. It is this connection that brings a stronger community together.

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CONNOR GLASS

My vision for this Library, located on Tempe town lake, was to introduce a locale where people from diverse backgrounds can come together and enjoy a multitude of uses contrary to a typical library’s function. In addition, I wanted this communal space to incorporate a sense of escape from the “concrete Jungle” that the city of Tempe is slowly growing towards by including concealed yet directed views to natural components like water, grass, and trees.

A major influencer for conception of this library was the notion of paying homage to the nearby Mill Avenue bridge just west of the site by creating a structure that gestures to Tempe Town Lake through a large Cantilever which resembles a notional bridge pointing directly at another environmental preservation in Tempe, Papago Park.

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XINTONG HE

The Circle Bay Library, located along the south side of Tempe Town Lake, is more than a place of knowledge,

it also

fosters community by

encouraging people to come together. Libraries should not only be places that provide access to information, but they also deserve to be vibrant and welcoming places that offer a rewarding experience to their users. The circular form of the library creates an atmosphere that is enveloping and protected, but also open in to the surrounding landscape that consists of the adjacent park area, downtown Tempe and the mountains beyond. The facade is comprised of a dynamic mixture of glazed and solid vertical panels that constantly frame and reframe views to the landscape. By extending the roof a large shaded terrace is created that is both reading and social space that offers users a privileged connection to the lake and its surroundings. At the same time, the library’s center is an inwardly focused courtyard that offers a sheltered and intimate outdoor reading space to the library patrons.

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VI HO

With the library understood as the community’s “living room,” I started this design challenge with changes I would want as someone who frequents libraries in search for a productive study environment. The necessity of a reading room was apparent in the design. The reading room space is circular with stacks reaching the ceiling and radiating from the center of the room. The form of the building follows that same curvature as tangents of a circle, carving away at the edge of Tempe Town Lake without disrupting established procession routes.

Tall wooden columns formed the staggered facade in keeping with an atmosphere of warmth, welcome, and transparency. The north facing courtyard adds outdoor provisions for reading and enjoying the view of the water. This studio project was done by hand with black ink and watercolors in an effort to step away from our technology dominated lives at the moment.

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JESSICA HOLLOCK

What is a library, and what characteristics define the library in today? As our relationship to information has changed, libraries have adapted by broadening their range of services and outreach to better serve their communities. Libraries serve diverse constituencies. They are places that bring together people of different ages, different cultures and different socio economic backgrounds. As such, libraries are vital centers of information, education and opportunities for their patrons. My library design reflects this vision of the library as a center of community. The architecture is an assemblage of forms that exposes and expresses the different spaces and services that make up the library. These multiple pieces come together to make up the library as a whole while retaining their sense of uniqueness.

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YASMINE KATTAN

A library is an institution of knowledge and a connecting center for people from all walks of life.

The goal for this library is to establish a spot where individuals can connect and learn from each other. It is designed in a way to promote these values. When entering the library, the first core area is engulfed by windows showing the North side view of Tempe Town Lake. This is designed to be a well lit area for patrons to sit and have discussions, as well as browse book selections. The bright and natural views help promote a serene and timeless feeling that encourage friendly connections to inspire and teach others new ideas. In addition, the main space connects to different support areas such as staff desk, coffee shop, restrooms, etc.

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RYAN MACKEY

Libraries are no longer places for books, but rather they are places for people and have evolved to foster community through the common pursuit of knowledge. My proposed library envelopes the user, creating a large open space connecting users to each other and to the surrounding landscape.

The circular form heightens the sense of connection between different groups, without any one group being separated whether they are adult, children or young adult. While the design is focused on connecting different users, it also recognizes the difference among the groups and how they will occupy the space. The design provides a variety of spaces that allow users to choose the places they feel most comfortable. At the center of the library lies a courtyard that provides a sheltered and intimate space for users. The courtyard compliments the large waterfront patio which is designed to create opportunities for interaction among patrons, as well as, with the landscape.

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CHEYENNE MCGRATH

Libraries, often seen as forgotten spaces of learning and wisdom, in reality are essential institutions that allows access to information to be available to everyone. These spaces should be designed as vital and exciting places that draw people to them as centers of learning that offer a sense of community.

This library is located along Tempe Town Lake, just East of Tempe Center for the Arts, which is one of the most popular attractions in the Valley drawing people from across the region to this site. The library is designed to be a focal point for activity that capitalizes on both the activity present at the site and its natural features to create an institution that blends community space and library.

Providing a dynamic, warm and inviting space, Tempe Beacon Library encourages users to linger, and in doing so develop a love of learning that will enhance their futures and that of the community.

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SUSANNAH MONTGOMERY

A library is a place where people of different backgrounds and life experiences can come together to form a community. This space is designed to reflect the diversity within a community and all the ‘subcommunities’ within it. Each group has their own needs and provide unique perspectives. It is only when these subcommunities come together that their full potential as a whole can be seen. This library creates a safe third space that embodies the community through design, programming, and art. There is a large forum room that is to be used for nonprofit fundraisers, community events, political forums, and other programs that serve the community. The façade tells the stories of these subcommunities in America through Morse Code perforations on metal sheets. This visible history is encoded because it can be difficult for those on the outside to understand what these communities have gone through, but it has opened up opportunities for people in the future.

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JUSTINE PALMER

The Neighborhood Library The vision for this project was to create a place for the community to come together as one, while also providing multiple experiences to enjoy alone or with others. A library is an important place, but books are not the only source of knowledge. One can gain knowledge from people around them, experiences in their lives, and the internet. The idea of also making a place for everyone and anyone, no matter the age. These ideas help the project because one can embrace the community while also enhancing individuality. I wanted to create a place that can feel comfortable and gives a sense of home.

I achieved this vision by the design of the form, with the multiple pieces that split the form, represents the many available opportunities. And by bringing the pieces back together which makes the form continuous, represents the multiple ideas and people coming together as one.

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ROBERT STEIN

Portico library is proposed to be more than just a place to read books. It is a place for the community to gather under a porch-like environment to escape the brutal Arizona sun. The interior is nestled under a sweeping roof, bordered by floor-to-ceiling structural glass that opens up to panoramic views of Tempe Town Lake. Users can expect to enjoy a variety of seating options and work stations adjacent to the lake-views, as well as, touches of nature nestled into the interior of the main space. A coffee-shop featuring a walk-up window and bar allows anybody in the area to utilize the amenity. The lake-side patio is fully covered by the roof structure and is adjacent to an infinity edge water feature to create a unique, cooled environment, open to the community. Portico library will be a 3rd space for people to do as they please in a comfortable, waterfront environment.

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LAURA STUEVE

A library is an area in which you can go to escape.

A place of refuge and haven. The idea for my library is just this. A place in which you can go to focus, to disregard the struggles of everyday life for the time you are there. A library should be a space open to the public, inviting to all. Because the paths near Tempe Town Lake are quite high-volume, I wanted a way to make my library open to the public, not just through the doors, but looking inside as well. With this, the entire North side is surrounded by glazing looking outwards towards the area walked by many. With the many windows, my library connects you to the environment while occupying the space inside. The windows let ample amounts of light in so you can remain motivated while working.

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MCKENZI WILSON

When I think of a Library, I envision a flexible, adaptable, and diverse space. Libraries today have become spaces that respect their environment and the needs of their community thus challenging what a library can be. Since this project is situated along Tempe Town Lake, I wanted to emphasize the water, highlighting its importance to Arizona historically.

Where there is water, there is life. By pulling the Library towards the lake, I was able to address the natural desire to connect with the water. The Library in return respects the site by adapting through push/ pull notion where the user space is drawn out towards the water. There is a curtain wall in the North to accommodate the views of Papago and Camelback.

The user can interact and engage with the Library through a kinetic faรงade of aluminum chainmail links that embody the movement of water.

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YIMING XU

As society and our relationship to information has changed so too have libraries. Libraries are no longer just places where books are available for people to use or borrow. Libraries are now community centers, that provide access to information but also job training, early childhood education, continuing education for adults and more. My design recognizes the importance of the library to its community by providing an environment that supports their interest in education. The north facing windows allow daylight to fill the main library space, as well as, provide views to the lake and mountains in the distance. By extending the building roof, large outdoor rooms are created that provide shade and encourage people to gather, creating a vibrant civic space. Even if people do not enter the library, they can enjoy these outdoor spaces, and events sponsored by the library. In that way, the architecture supports a vision of the library as a vital civic institution that provides access to information while creating community.

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ADVANCED ARCHITECTURAL STUDIO II PROFESSOR: Joe Pritchard

Students: Brooke Burdge, Chiara Censorio, Luis Duarte, Sarah Hickey, Jacob Jones, Jingran Li, Olivia McKay, Carlos Miramontes, Josh O’Dwyer, Maria Palma, Jake Rosenberger, Kinich Ruiz, Dale Saltwater, Jacob Sobelman

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JACOB JONES

Purposefully, libraries are repositories of knowledge: robust places where individuals gather to learn new things and grow in their sense of community. Further, as a building, they are a framework for intentional views, vistas, and other visual interactions, and have a unique opportunity for exterior-interior integration, all for the educational and contextual benefit of users. A library that synthesizes these truths will exist on a site with gentle topography and desert vegetation/landscape, situated next to a lush pond ecosystem. Its additional program includes an inhabitable roof. Through framing desert views, blurring interior and exterior, and organizing people and program along axes, with such a site, DUNE takes shape. DUNE will synthesize necessary truths about libraries within its context of the desert site to produce an experience both inside and outside the architecture that has the opportunity to link and educate users to the landscape and world they live in.

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KINICH RUIZ

A library doesn’t have one designed function.

The function of a library is everything.

A library will function differently for every individual.

A library should be a way to: find refuge escape from the reality of the everyday dive into an endless pit of information discover a new meaning connect with nature have fun be human

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MARIA PALMA

A library consists of a place where people, of all different ages, can go to in order to gain more knowledge, about almost any topic they may think of, by doing their research on their own and at their own pace, since the library provides everyone a huge variety of different books and online sources. This library is made up of multiple different areas, thoughtfully arranged in a way for visitors to be able to realize whenever they make a transition from one section of the library to the other, even though there are not many walls to divide these different areas. Designed this library with the goal of creating an open space with wide windows going from the top all the way to the floor, so it creates an experience of connection with the outside atmosphere without the need of leaving the library.

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JACOB SOBELMAN

The Swirling Stone Library

Jacob Sobelman A library has always been—and always will be—a

place for people to learn new things. Libraries can also be a great way to bring the community together. Unfortunately, separating the programs of a library into the three given categories of public use, collection, and staff support spaces only works in theory. In practice, there is much overlap between programs as they are put into use.

Instead, the separation of programs comes from the recategorization of programs into public community learning spaces and private staff and business spaces. While the public and private spaces are programmatically separated, they are not physically separated by any barrier to offer easy workerpatron interaction. The building surrounds a circular atrium which illuminates the building with natural sunlight and brings life into the space as it connects the building and its patrons to the nature of the park in which it resides.

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LUIS DUARTE

The Wash Library

Placed above an existing wash, this library attempts to re­think the aesthetic function of a wash. Without eliminating the existing functions in the landscape, the building high­lights and frames the wash, creating curiosity and awe towards nature. The black and white theme is meant to help your eyes in quickly getting used to the building’s layout. Once you arrive at the lobby, you can see everywhere you are allowed to go. These colors also allow a person to transition easily from outdoor to indoor.

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BROOKE BURDGE

I had never thought about what a library meant to me or maybe how it’s function has evolved overtime, but case study after case study I developed a new understanding of what a library means to me.

This design process has changed my mindset and challenged me to design a building that communities would want to visit, not just a place to come to check out a book for a research project. In my design, I focused on the community aspect creating a space where people want to bring their family and friends to enjoy nature, learn about their surroundings with the science center, or even let their pets run around in the dog park with beautiful views of the surrounding buttes. The organic roof structure is symbolic of the landscape, representing the neighboring pond but also representing the topography of the park. Nearly every room has a view towards Evelyn Hallman Park where you can sit and enjoy the views and take a step away from the busy city life.

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JAKE ROSENBERGER

Organic structure encasing a site. A library answers only to those who seek it out, and yet calls to no one. To change this, the library is constructed to call outwards, to say that it exists. A library is constructed as a closed space, but this inhibits its purpose. So the library shall not have a roof, be open to the world.

Unfortunately, the world is unforgiving and brings weather and pestilence. For this, the library will be protected. The flow of water and air match one another, creating a balance, mirroring movements.

Taking from this concept, the library will be modeled with open ends, and no wasted space.

A library is empty headspace, a limitless ideology.

The new library model is an empty room, and one chair.

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DALE SALTWATER Dale S. 3rd Year

For 3rd Year Studio, I am designing my own library in the site of Evelyn Hallmark Park. I chose my design to be as open as possible, focusing on views and transparency. These design decisions co-incited with the truths that I focused on: Ever-growing knowledge and resources, Ever-changing program functions and the goal to make the library safe and public to all users. The secondary program of my project is a wildlife resources center, where it will hold adoptions, training sessions, classrooms spaces, and an outdoor care area for local wildlife on the site.

I chose to focus on nature and the belief that we work alongside it, we care for it and it cares for us. From these ideas, we learn respect, strength, responsibility, knowledge, generosity and compassion. Not only for ourselves, but for others. This is what I want my library to teach.

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SARAH HICKEY

This library, Estrella Library, has my beliefs about what libraries are embedded in its name and identity as a building. Estrella, meaning star in Spanish, speaks to the fact that libraries should be places to foster illumination and enlightenment.

This

library is seemingly oriented like a compass rose, to symbolically represent the encompassing of the meaning and significance of libraries in the past, present, and future. The libraries meaning is to serve as an incubation space for reasoning, to develop the scientific method, and is intended to uphold academic integrity, serving as a guide (like the compass rose) to navigate and chart out the course of one’s life.

The additional 5,000 SF of space in Estrella Library serves as Collaborative Reasoning Zones, set at the pinnacle of the library to metaphorically represent the pinnacle of learning being the engagement of groups with one another. People at the pinnacle of education ultimately share and receive the information they and others have gathered and conclusions they have come to in a transparent, open manner through effective communication and active listening.

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CHIARA CENSORIO

Libraries are commonly known as a safe environment where everyone who enters into a library is treated equal, and also where people’s individual needs and goals can be achieved. Libraries are used by a variety of people which includes teens, families, students, senior citizens, and everyone in-between.

Every person that enters into their local community’s library preveive the library in their own unique way.

In my opinion, a library is a place where people go to escape from the many stresses of life. A library is a place to focus on yourself and get whatever you need done and achieve a goal that you have set for yourself. A library to me is also seen as a place where you can freely ask questions without simply feeling judged and receive assistance in finding answers.

This makes the library a safe haven for personal development. No matter what stage of life a person is in, the library, to me, is seen as a place to learn, study, and develop.

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JOSH O’DWYER

A library is a vessel for the passing of knowledge.

It must be approachable, easily understood, and readily accessible to all so as to remain the center of education, innovation, and of lifelong learning.

Above all, a library must be functional. In order to better serve and to be serviced, the spaces within the Creosote Public Library are positioned along an x and y axis. This simple layout not only allows for clear circulation and unobstructed lines of sight, leading to a better supervised and safer learning experience, but it helps to create a unifying sense of connection between its spaces and its patrons. The shimmering reflection of the sun off of the nearby pond’s surface projects a calming natural element onto the ceiling.

This and the other references to the outside, help to remind the patrons of our connection to nature.

This library utilizes various forms of technology to efficiently allocate and relocate reference materials, while also advocating for alternative modes of education.

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uilding program, The library, as a building program, , adaptable center of the wth regardless must be an ageless, adaptable center

OLIVIA MCKAY for intellectual growth

, be it physical or online. flexible and efficient, regardless of the ed areas for any patron, location in which it exists, be it physical or online. easing, promoting mental or the duration of their Thus, the design must be flexible and efficient, ces will be of utmost providing legibly integrated areas for any patron, entric projects, especially as well as aesthetically pleasing, promoting mental nature, continue to rise learning communities. peace in the inhabitants for the duration of their considerate to multiple studies. tactile, audial, visual) Collaborative spaces will be of utmost providing media for ev- as teamwork-centric projects, especially necessity, Access to outdoor thosestudy of interdisciplinary nature, continue to rise g is pivotal to the library’s in prominence across all learning communities. nly thrive and continue All areas must be library easily The must also be considerate to multiple brary can evolve techno-

methods of learning (i.e. tactile, audial, visual)

The and ideal be inclusive to them, providing media for evlibrary now and preference. Access to outdoor study eryofneed and forever is areas and natural lighting is pivotal to the library’s both adaptable success; the guests will only thrive and continue and accessible to everyone visit if this is the case. All areas must be easily for all; deserves an serviceable, so that the library can evolve technoexcellent spaceas needed. logically in which to The ideal grow. library ofThenow library, as a building program, must be an Olivia McKay ADE322 Pritchard, s.2020

and forever is adaptable center for intellectual growth ageless, both adaptable regardless of the location in which it exists, be it and accessible physical or online. Thus, the design must be flexible and efficient, providing legibly integrated areas for all; everyone deservesforanany patron, as well as aesthetically pleasing, excellentpromoting space mental peace in the inhabitants for the duration of their studies. Collaborative spaces will be in which to of utmost necessity, as teamwork-centric projects, grow. especially those of interdisciplinary nature, continue

to rise in prominence across all learning communities.

Olivia McKay ADE322 The library must also be considerate to multiple Pritchard, s.2020 methods of learning (i.e. tactile, audial, visual) and be inclusive to them, providing media for every need and preference. Access to outdoor study areas and natural lighting is pivotal to the library’s success; the guests will only thrive and continue to visit if this is the case. All areas must be easily serviceable, so that the library can evolve techno-logically as needed. The ideal library of now and forever is both adaptable and accessible for all; everyone deserves an excellent space in which to grow.

ADE 322

03

ADVANCED ARCHITECTURAL STUDIO II PROFESSOR: Amit Upadhye

Students: Alan Estrada, Alexis Santana, Alonzo Cabrera, Amadeus Cruz Hernandez, Annie Torgersen, Brett Corell, Daniel Levato, Daniela Narentes, Ian Clouse, Jazmin Hidalgo, Jordan Marshall, Kennedy Frazier, Megan van Horn, Meriel Vogliotti, Mhamad Ali Alaaeddine, Rigoberto Berber, Yasmine Ben Abdelkader

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Papyri Canyon Library

ALAN ESTRADA

Section Two

0

32

Libraries are no longer repositories for books; they have changed, rethought and redesigned. Libraries now provide a range of different services, using a multitude of media, and reach a more diverse audience than ever before. What is a library?

Hi I’m Alan, a third-year student. This semester we did a case study on libraries. My library starts with the papyri. The papyri is where knowledge was stored. Knowledge enhances our thinking, but it also protects and shelters us. The papyri were rolled up and stored for centuries. Since a long time past the papyri was compressed which makes it difficult to unfold. So, the idea developed from there. To the unrolling and twist of a piece of paper and the same piece of paper was used to create the buildings within the papyri. There are two buildings with different environments, the west building is mostly a social space and the east is mostly a quiet/study space. In this section one can appreciate how it’s cut in between the canyon which the buildings create and how the papyri shell is cut.

ADE 322

ALEXIS SANTANA

Arizona is a state which is enclosed by mountain ranges. Nature and landscape are a big part of everyday life for residents and should be considered by designers to incorporate nature and functionality together. Located in Scottsdale, Arizona the central library rises from the ground to replicate the vast mountain ranges across Arizona as it drastically changes direction, elevation, and space. The central library opens itself up to a grand opening to welcome residents through this grand courtyard that is flooded with natural light. The ground level acts as a large space for studying or gathering in groups to educate one another, as the basement level is the main space that holds all the books and individual study rooms. As you get farther up towards the second and third floors, you are introduced to the viewing room. Suddenly you are on top of the grand opening of the central library and have a beautiful view of Scottsdale.

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ALONZO CABRERA

Alvord Library, site in Laveen, Arizona, is extended beyond what is known as Alvord Lake. The idea behind the design is a stack of messy books piled up defining numerous amounts of interior and exterior spaces within this library, thus shaping its form.

This Library consist of 24,000 sqft. Towards the east side of the building, private study rooms and a deck that extends onto the lake were designed giving astonishing views of the Alvord Lake and the South Mountain. The second floor consists of a small portion of books stacks but also a terrace that overlooks the Lake and onwards past Baseline Rd. The building sits on an earth mound with earth berms surrounding it which keeps cooler and reduces carbon emissions while minimizing traffic noises.

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AMADEUS CRUZ HERNANDEZ

Fusion Library takes its name from the fusion stemming from a reader’s interpretation of a writer’s words and the reader’s personal life experiences; ultimately, creating new knowledge and a new idea.

I was interested in the concept of misinterpretation because despite as strategic and precise a writer intends to be with their words— there will always be a disconnect between a writer and a reader.

Misinterpretation

is

inevitable;

readers

are

easily moved and influenced by life experiences.

Instinctively looking in plan view, I began with a rectangular volume that makes up level one— symbolizing a well-structured, ordered and uniform idea of a writer. This idea is then delivered in the form of a book. A reader then interprets the book and the idea is now skewed, as is symbolized by level two. Arriving at the final form of the library, the fusion of the building represents the fusion created from a reader’s new knowledge that is based on interpretation— that which differs from the writer’s initial idea.

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ANNIE TORGERSEN

The idea for this Library began with the idea of how gaining knowledge affects us. Knowledge would be incomplete without these two dualities of values and visions and thus it was important that both the library form and program encompass these ideas. The initial form began as two enclosed spaces divided by a center void space that highlights both the tension and interdependence of the three levels. Level one contains learning materials that enable one to take in the knowledge. Level two is an open-air terrace garden providing opportunities to ponder on knowledge received. Level three contains programs that enable one to express ideas gained from acquired knowledge via audio, literary, and visual recording studios and centers. While each level has a distinct program, they are tied together by four light wells that extend throughout the space.

These light shafts represent the flow of knowledge in all its stages, from the internalizing and pondering to unique individual expressing and sharing.

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BRETT CORELL

The Pan Library is based on the concept of Pangea.

The Ancient Greek “Pan” meaning all or whole, and “Gaia” meaning land. This library is situaded on an open desert, providing beautiful views of the landscape, and the feeling of transporting from the city life to an entirely different isolated world. The form was developed by connecting each program of the library to one central location, much like how all of our continents today started as one large supercontinent. The bridges and pathways inside the library are based on the idea of traveling across land/ sea to explore the different cultures of our world. A special aspect of this library is the art gallery/exhibit space on the second level that will display works or art and historical pieces from around the world that will change monthly.

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DANIEL LEVATO

Located in Phoenix off South 24th Street and East Fremont Road. The Library is called South Mountain Library and has a net square footage of 25,000. The idea behind my building is pulling out a book from the bookshelf that defines a new space. The goal of this project is to bring together the diverse assortment of people to create a fellowship with others, as a result of sharing common attitudes, interests, and goals. To accomplish this, the form is made up of interlocking books. These new spaces that are created obtain the resources and services needed to make opportunities for supporting literacy, and education.

The facade is made up of copper directional louvers, and standing seam metal roof that meets the ground.

On the second floor this library features a maker space for hands-on learning.

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DANIELA NARENTES

The Nest Library, the library’s concept is based on wisdom and its connection to knowledge. Wisdom, the ability to apply that knowledge in which you gain, to a greater scheme of life. An owl was the main focal point for the parti of my project. Coming from Greek Mythology, Athena was the goddess of wisdom, her symbol, and representation being depicted as an owl. The purpose of my library was to develop wisdom through knowledge of all ages. My program innovation for this design was to include a tutoring center for students. Knowing that Arizona’s public schools are ranked low because they do not have the resources or funding to adequately service the community, and the site in which the library is located at has low-income families, I wanted to allow for an area in my library for students to receive help to further their education.

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IAN CLOUSE

After doing a case study of current libraries and figuring out exactly what does and does not work, my goal was to use the knowledge learned to create a functional and inviting space that allows for change. Change in the meaning of awareness or awakening of an individual, resulting in an awakened intellect. With this idea, the concept around this library became “Enlightenment.� The purpose is for people to find their true selves and to allow for the awakening of the mind. The form of the library is dictated by how the mind works through the process of enlightenment or awakening. The form illustrates how the mind processes thoughts in a scattered manner and then proceeds to make sense of them to coincide and flow with one another. The space is for one to be immersed in the acceptance of searching and learning, of growth and expansion. By walking through the building and experiencing its configuration one is able to find ground, knowledge, awareness and a deeper understanding.

ADE 322

JAZMIN HIDALGO

A library is a place that most will associate with a silent exploration of knowledge. However, there is not any one way in that people are guaranteed an experience. Can a library be a useful tool to many different individuals if it is only meant to be experienced in one way? This library, located in Phoenix, brings you in under the cantilevered second story, welcomes you through the entry courtyard and encourages further exploration with its unusual form. It provides space with a variety of experiences. Whether one prefers the buzz of the outdoors, or basking in sunlight coming in through a window while having a casual discussion, or maybe the stillness of a dim and cosy quiet room, anyone should be able to find a space that suits them and allows them a space that encourages learning that they may not have access to otherwise.

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JORDAN MARSHALL

Polis Library, located on East Silverstone Drive in North Scottsdale, Arizona, derives its name from the Greek word “Polis”, meaning a place that values knowledge, wisdom, and cultivates a sense of community. These two concepts, knowledge and community, became the driving force behind the library’s design. Polis has a binuclear plan, which strongly articulates the procession that the user experiences as they travel throughout different parts of the building. The library becomes the physical manifestation of the impact of knowledge and community upon an individual: it elevates, expands, and transforms. As you travel further up through the library, the spaces become increasingly communal, housing meeting rooms, the conglomerate of stacks, and an outdoor patio and stage that serve as a music venue. In contrast, the ground floor spaces showcase the individual, housing private reading nooks, computer training areas, and hot desks.

Dynamic and expressive, Polis is a space that draws together community and encourages reflection.

ADE 322

KENNEDY FRAZIER

Books that vary in multiple sizes and thicknesses still reach the same goal of giving knowledge to an individual. Peoria United Library is located in Peoria, AZ surrounded by residential housing and an elementary school, along with a park, up North.

The form of the library started off as numerous ways books can be placed and stacked on a bookshelf. It then had its outline to create the form of the library.

The library respects the sun’s path by having “movable” louvers. That way, one can stay protected and still enjoy the view of nature on the North side where the terraces are located. While there are fixed louvers on the East side that transition from horizontal to vertical.

The inside of outside parts of the building balances out well for giving individuals a place to relax and have the choice on how they would like to enjoy their experience on gaining knowledge within the Peoria United Library.

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MEGAN VAN HORN

As the user approaches the Desert Oasis Library, they are met by the thirty-foot-high rammed earth walls that protect the south and west sides of the building from the Arizona sun. Before entering, they approach a copper gate of the same height.

Within that gate is housed a smaller, human- sized gate, this becomes the user’s first point of contact with the building. Inside the gate are large mesquite trees engulfed by the glass windows of the reading rooms. Upon entering the library, users are met with an open floor plan reading room and stacks. Heading north, another wall of windows welcomes patrons to views of the surrounding desert behind an undulating study counter. Nestled into the west wall are the meeting rooms, restrooms, and staff areas.

The library is inspired by an oasis in the desert, providing protection and nourishment. The tension caused by the contrasting south-west and north walls mimics the tension between being enveloped by an oasis and wandering the desert. the courtyard, and witness the contrast in material.

ADE 322

MERIEL VOGLIOTTI

The spiral cast-in-place staircase located on the ground floor signals a slowness to the procession.

The grand concrete staircase is a heavy presence in the cafĂŠ area that draws the attention of the user.

Passing from the ground level to the second level is a social act, to watch and be seen. As one ascends the steps, the line of sight to the second and third level staircases is unbroken, giving a legibility to the procession within the building. The linear metal staircase is light and floats in the middle of the double height library space. The staircase is wide and open to the floor above to unite the second and third levels into one large room. The final staircase nestled among the bookstacks on the third floor performs as a dark tunnel that leads the user to a floodlit space.

The wooden stairs are encased to further separate the space of the library to the spaces for yoga and meditation located on the top floor. The liminal experience of passing through the dark staircase is meant to draw the individual into an introspective inner space before arriving at the top floor.

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MHAMAD ALI ALAAEDDINE

Knowledge is very valuable. Represented by libraries, it is one of the main forms of democracy that should exist in every society. It started with the first human being on earth on an endless adventure.

Its value, just like gems, never diminishes. It only increases day by day. Inspired by Aquamarine stone, a local gem attributed to the valley in Phoenix, Desert Gem library stands tall in the middle of the desert to create an oasis of knowledge for those in need, and a creativity wave that brings out the best of its visitors, making the community a better place to live in.

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RIGOBERTO BERBER

The

Phoenix

Central

Library

is

located

in

Downtown Phoenix. This library acts as the main library in Phoenix, with over 16 other libraries in the surrounding area. The inspiration behind the structure of the building came from books being a symbol of knowledge. The act of turning over a new page symbolizes a new beginning and learning from the past. The lines running across the roof of the building are the lines of the text in the book, which are represented as sky lights. The second page to the right of the building serves as an overhang for the libraries book drop-off. When you first walk in, you enter through the children’s section, and walk through the teen section and finally come to the main area of the library, which holds a majority of the books. As you walk through the Phoenix Central Library, one can notice words in multiple languages shown on the floor, which are projected from the sky light.

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YASMINE BEN ABDELKADER

The upheaval means a sudden change or a disruption.

A disruption that comes from the movement of the earth which then creates a beautiful mountain. This library reflects the mountains surrounding it, with the movement of its roof, making it blend in with the earth and connecting it to its nature. Books come from the earth, they fulfill us with knowledge and they uplift us with new information.

The upheaval library is a place where a person can get away from the loud and busy outside world. It is a place of quiet and mindfulness. A place where you can grab a book and sit in the openness of the courtyard while in the shade, enjoying a nice evening with the sound of the birds while enjoying a great book. It is a library full of wonders, with a place to have coffee and to relax in the audio library. A small library dedicated for the audiobooks.

The upheaval library is a sanctuary protected from the heat of the sun and connected to the shapes of the earth.

ADE 322

03

ADVANCED ARCHITECTURAL STUDIO I PROFESSORS: Maria Salenger / Eric Watson

Students: Mohamed Al-Thaher, Erin Bascom, Chase Beazer, Tyree Dalgai, Cristina, Garibay, Rafael Gonzalez, Brandon Grenda, Nicholas Kalas-Hernandez, Cesar Lopez-Rodriquez, Rita Momika, Sutton Oneill, Solana Pearson, JM Pugat, Mia Salazar, Alexandra Shott

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MOHAMED AL-THAHER

This project is situated along the canal front in Tempe,AZ between Apache Blvd and McArthur Drive. The building acts as a social bridge between the suburban neighborhoods to the north of the site and the urban neighborhoods to the south of the site. The project houses a library as its main program, as well as a full bar and strategy gaming lounge as its secondary program. The building also acts as an activator for the canal walk which it faces, encouraging people to utilize the canal walk at all times of the day. The design is an exploration of how the elements of architecture such as a wall, a lobby, or a chair impact the experiential quality of the building, and how the experiential quality can impact the social possibilities. It considers how the building could serve patrons of a bar as well as a public library and how that intersectionality creates alternative social dynamics.

ADE 322

ERIN BASCOM

This public library is located just East of Price Road on Apache Blvd in Tempe, AZ. This library spans two triangular shaped lots that follow a canal. The Northern building (shown above) is adjacent to the bordering neighbourhood and houses traditional library services. Connected by an elevated breezeway is the Southern building which borders the busy street and houses public-oriented services. Among these is a cafe that allows users to eat on site as opposed to traveling far off-site to find food. Glazing was dictated by view-orientation. To allow visitors the ability to focus, escape the busy street-scape, and find an immersion in nature within a developed area, all views are either oriented towards the adjacent canal or inwards, to the courtyards and atriums on the site. More than half of the site is dedicated to native vegetation to encourage ecologically-focused development in the area and increase the quality of life for users and staff. Materiality was chosen for both its structural and atmospheric qualities.

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CHASE BEAZER

With a growing need for craftsman this library is designed for makers. This library is comprised of two volumes supported by timber and metal framing.

The outreaching saw tooth roof draws you in to the protected interior. Focused on building science, the library is orientated along a northern axis taking advantage of indirect light to brighten but not heat the interior spaces. The southern volume focuses on construction education by providing resources for the next generation of skilled tradesman. Upward reaching stacks are accessed by a computer controlled retrieval system. Forces of weather helped determine the material palette. Metal roofing and board form concrete comprise the exposed material.

Oiled walnut covers the roof creating a warm feeling against the rough concrete. The volumes mimic a river passing by a mountain though the valley of the sun.

ADE 322

TYREE DALGAI

Library spaces are often meant for learning, studying, or reading on your own, but in this library it supports and urges people to become more of a community and socialize in addition to gaining knowledge. The library brings residents, visitors, students, and others in the area together to help each other, or to share thoughts, opinions, or ideas on any subject. With the building located on the East side of State Route 101 on Apache Blvd, in Tempe, AZ, there are many houses and apartment complexes that are scattered nearby in need of a central social space. One of the main attractions this building provides is an indoor/ outdoor cafĂŠ connected to the library. You can enjoy a coffee or smoothie while reading a book from the library or socializing with other visitors. This 20,800 square foot library invites everyone and that is what a community

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CRISTINA GARIBAY

Located in the Victory Acres neighborhood in Tempe, Az, Victory Library and Community Center provides local and non-local individuals with the opportunity for cultural enrichment. Driven by vertical and horizontal user circulation, Victory Library acts as the communal ‘space in between’ for the private residences to the north and the public to the south of the site. Guided by a central structural spine, Victory Library holds various opportunities for educational enhancement with spaces such as a meeting room, computer lab and study room along with dedicated spaces for children, young adults and adults. Family and culturally oriented, the integral Community Center provides youth with learning opportunities such as a tutoring room, classroom, and multi-purpose activity spaces. Both buildings envelop a central courtyard space that holds an outdoor performance stage to be used for communal gatherings/performances.

ADE 322

RAFAEL GONZALEZ

A park that lays at the edge of the east side of Tempe, AZ, claims for a relationship with its surroundings.

The Esquer Library lifts from the ground to provide a clear circulation flow and work as an adapter through the site. Opening wings to the main points of the compass, gives the user an opportunity to generate a deeper connection for the neighborhood, public transit, park, and a future commercial/ residential project. In the efforts of accommodating the library within the park, the proposal expands the park into the site, giving it 330,000 sf in total. The library is lifted 12 ft, while the east and west wing slope down to interact with the landscape of the park and allow it to climb up the structure itself. This is with the intention to show how a library is in reality a small portion of the park that serves as meeting point for communities around the area.

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BRANDON GRENDA

The River Side Library was designed to help meet the social and economic needs of the local community of north east Tempe, AZ. After conducting a demographic study of the region, it was noted the local community severely lacked in both food and self-care services. In response the library provides a community market with raisable platforms that could be used to form booths and tables. Business and resident involvement helps promote the local economy, improve accessibility to crucial services, and increase community interaction. Book stacks, computers, and a theater room are in the north wing and a multipurpose community room is in the west wing. Pathways along the native desert landscaping develop the relationship between the canal and library, creating an inviting, natural space that flows along the established walkway of the canal. The space is visible both along the main road of Apache to the south of the site and the suburban homes to the north.

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NICHOLAS KALAS-HERNANDEZ

Mesa Apache Public Library is designed to fit into the natural landscape that would have been growing here had it not been for the city development. The library is located in a neighborhood with many social and economic barriers, so it is designed to bring technology to people who may not have access to it in their own homes. The building uses rammed earth walls and varied volumes to evoke imagery of the natural Arizonan mesas, with day lighting designed to emphasize its materiality while not allowing too much heat to enter the buildings. Nature surrounds the building, with courtyards being designed specifically to allow use of books or technology within a more natural setting out of doors. The entire site also acts as a pedestrian thoroughfare between the neighborhood to the north and light rail to the south.

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CESAR LOPEZ-RODRIGUEZ

The idea for this library originated from a simple concept guiding light, while taking inspiration from tessellation patterns that occur within the exoskeleton of the native prickly pear cactus. The main structure consists of an 18,000 sf library with a multitude of indoor/outdoor spaces. I strived to design an environment in which play and learning could interact. Through the experimentation and control of tessellation openings in the ceiling, users are guided through the library from the loudest group-focussed areas, to those that are more secluded; geared towards learning and reflection.

ADE 322

RITA MOMIKA

This new neighborhood focused library was designed to create an environment where various age groups within the community can find a safe space to thrive.

Semi-solid building waiting to be unfolded. The space becomes infused with human beings’ energy, thus forming a permanent connection between the nearby community and the space. Walking between the enclosure of the two wings, people experience stepping into a hidden open space leading to the main entrance. Not only a focal point designed for the community, but an urban space for excellence, a core for the social life of the community to be extended to the newly developed canal trail that is made safer and more usable.

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SUTTON ONEILL

Situated at the corner of Apache Boulevard and Price in Tempe, AZ, is a new branch library that will work with three main ideas to establish site character: shelter, community, and passage. Berms rise up out of the flattened landscape to envelop the library, creating new natural views and ensuring that the atmosphere within the site is calming in contrast with the busy roadways to the east and south. Key walkways were established to connect the residents of La Victoria to the north, light rail and roadway commuters to the south, and park visitors to the west. Wrapped around the main buildings is a public farmers market and cafe built for a community without many public restaurants. The library is built with rammed earth bearing walls and glulam-timber beams spanning across the sloped roof; a structural system which leaves the interior space just as open and inviting as do the multitude of windows of the building’s perimeter.

ADE 322

SOLANA PEARSON

I call this design “Expansion” because a library is a place to expand one’s knowledge. The library I designed on Apache Boulevard, east of the 101 freeway, houses over 18,000 square feet of modernized library space with a large multipurpose meeting room and large teen and family areas. I have burrowed the library into a hill to block out noise from the freeway which allows for a new practice of what would otherwise be an unused rooftop. This new walkable hill allows for a more elevated experience while also turning the building entries into courtyards that connect interior spaces to exterior spaces. I have also designed a more recreational aspect to this library; a 7,150 square foot regulation-sized basketball gym for the enjoyment of the community. This incorporates a physical aspect of the library allowing for the expansion of the demographic of people who will enter the library.

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JM PUGAT

What the Nexus library seeks to accomplish are these three main ideas: bridging the gap between the community and the rest of the public by providing flexible spaces for any events such as book clubs, cultural events, life skills classes and more; re-arranging the way knowledge is distributed through books and culinary experiences that helps celebrate the community’s diverse culture; and balancing the use of technology and nature through sustainable design, materials, and its futuristic aesthetic.

Natural ventilation, rainwater cycle, photovoltaic panels, smart glass, and hydroelectric powered turbines assist in meeting the sustainability criteria.

The library is divided up into two buildings, the private reading and public space. To link these two together, kinetic glass doors on both buildings open up to the plaza and the garden, making these two the nexus between the spaces.

ADE 322

MIA SALAZAR

El Barrio Library is located on the border of Tempe and Mesa, AZ along Apache Boulevard at the 101.

It resides amongst a long-standing neighborhood known as La Victoria, or Victory Acres. In a majority Latino community such as this, it is common for the people to be neglected in terms of redevelopment opportunities and safety from the city, but members often find peace in such an area as Equer Park, more specifically the skate park residing within. As a focus on the young adults and children, El Barrio Library is designed with the conceptual and physical representation of a skatepark and the energy it exudes. This aspect inspired the inclusion of a music and art gallery space which extends into the exterior multi-use skatepark and event space. The library functions are split between two buildings for acoustical control: the north building conforming to spaces with less noise; the south building to spaces with higher noise levels. Within this library, the members of the community, who were so often left alone, have a space to exist on their own terms.

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ALEXANDRA SHOTT

Surrounded by six schools within two miles of the site, The Apache Library acts as a bridge that aims to bring kids from the east and west sides of the 101 freeway together. The building acts similarly at a smaller scale, physically bridging urban Tempe to the south with the residential neighborhood to the north. The library is also bound to the east by the Tempe Canal. By placing the main entrance to the east, visitors are encouraged to interact with the canal, whether that be a simple glance on their way up through the entrance, or a more intentional interaction by sitting along the water in the desert landscaping that surrounds the building. The library features dedicated classroom space for afterschool programs, as well as a greenhouse to provide kids and the rest of the community with a more handson learning experience. Part of the classroom space opens up to the outside, allowing for farmers markets or other events to be held in a shaded environment.

4th Year

4/6

ADVANCED/ ARCHITECTURAL STUDIO IV PROFESSORS: Catherine Spellman / Felipe Mesa

Students: Boyana Bobanovski, Zachary Bursi, Quiara Caguiat, Lamarra Carter, Nicholas Coverdale, Michael Felix, Alexandra Flores, Sean Gaspar, Omar Gonzalez-Nava, Lindsey Griffith, Julien Gutierrez, Erika Hannon, Carolina Haros, Henry Hunter, Isiah Jones-Lane, Kakob Klein, Devon Leonard, Oran Lindsey, Yanet Martinez, Arielle Mason, Mollie Melbourn, Jui Prafulla Nimdeo, Grandon Ray, Cody Short, Breeana Smith, Kyndra Trevino-Scott, Hemanth Kumar Yerra, Ke Zhang, Cody Zimmerman.

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ADE 422/622

ADE 422

BOYANA BABANOVSKI

[Disclaimer: Orange Build video script] This is a pencil.

This is a paper.

This is a design.

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ZACHARY BURSI

These are students, faculty, and campers.

So.... What if you put all this together?

This is a Design Build Studio.

ADE 422

QUIARA CAGUIAT

Architecture is a profession.

Professionals learn by doing.

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LAMARRA CARTER

Musicians play music.

Doctors treat patients.

And we, architects.... We design and build.

ADE 422

NICHOLAS COVERDALE

“Design build” may be a new term but the concept isn’t!

As our professor loves to say, design build is....

“Something that used to always happen back in ancient times.”- Catherine Spellman

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MICHAEL FELIX

And still happens today!

Just check out this book if you don’t believe us....

ADE 422

ALEXANDRA FLORES

Design is quite a process.

And it’s even trickier to build.

Yet, “Drawing and modeling is as important as building.”- Felipe Mesa Because, that’s what archiecture is!

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SEAN GASPAR

Here at ASU, we do plenty of drwaing but, “We want our graduates to be prepared.”- Steven Tepper So it is time to build!

ADE 422

OMAR GONZALEZ-NAVA

We will have to work closely with: the site, the client, the budget, materials, environment, ecosystems, beauty, inclusivity, durability! “If we do them the right way, we can make a better world.�- Jason Schupbach But I mean, no pressure right....?

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LINDSEY GRIFFITH

A great place to start is at Camp Tontozona!

ADE 422

JULIEN GUTIERREZ

ASU owned, accessible to students.

With a non-profit organization and significant history.

All in need of new amenities.

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ERIKA HANNON

Plus, the natural context inspires our design rules.

The orange hues for our color palette.

“In the area we are building, it’s a very kind of rusty orange color.”- Catherine Spellman

ADE 622

CAROLINA HAROS

And a triangular grid for: Strength, structure, versatility, and modularity.

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HENRY HUNTER

Oh, not to mention, they would love to have us there, too!

“I’m really excited about the College of Design involvement.”- Grady Gammage

ADE 622

ISAIAH JONES-LANE

Our first project Forest Place will be:

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JAKOB KLIEN

Modular, flexible, adaptable, triangular, stable, light and strong, permeable and ecological.

ADE 622

DEVON LEONARD

A place to: Gather, view, climb, eat, play, learn, rest, sleep, and enjoy the forest!

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ORAN LINDSEY

All within: eight triangular bays, 23 platforms of different heights, two climbing walls with several trees and held together by columns and connections.

Quite beautiful isn’t it? If I say so myself.

ADE 622

YANET MARTINEZ

In a project like this, it’s details (connections) that matter.

“How to turn a corner in real life is super important.”- Marc Neveu

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ARIELLE MASON

Galvanized steel joins together: Foundations, columns, beams, struts, and platforms all made of wood! (and technically a bit of concrete as well....)

ORANGE | DESIGN BUILD ADDRESS LINE 1 ADDRESS LINE 2

ADE 422

TEL: XXX. XXX. XXXX EMAIL: GENERICEMAIL@ASU.EDU

MOLLIE MELBOURN TOWER ELEVATION NOTES

ALL VERTICAL BARRIORS BETWEEN PLATFORMS REMOVED FOR CLARITY REFERENCE DETAIL REFERENCE TYPICAL STRUCTUAL TOWER ELEVATION FOR COLUMN AND BEAM SIZING LOCATION AND CONNECTION DETAIL

4'-1"

3'-0"

3'-0"

GUARDRAIL CONNECTION TO TOWER 04

BEAM TO TOWER 06

BEAM TO TOWER 04

BEAM TO TOWER 04

6'-0"

6'-0"

6'-0"

1'-6"

BEAM TO TOWER 06

BEAM TO TOWER 04

1'-6"

4'-1"

GUARDRAIL

4'-1"

3'-0"

GUARDRAIL

GUARDRAIL SEE DTL 08 / A4.01 GUARDRAIL CONNECTION TO TOWER 06

VERTICAL LOUVERED SCREEN SEE DETAIL 07 / A4.01

GUARDRAIL CONNECTION TO TOWER 06

GUARDRAIL

GUARDRAIL CONNECTION TO TOWER 04

VERTICAL LOUVERED SCREEN SEE DETAIL 07 / A4.01

TONTOZONA FOREST PLACE

04

6'-0"

Scale: 1/4" = 1'-0"

GUARDRAIL CONNECTION TO TOWER 05

/

BEAM TO TOWER 03

BEAM TO TOWER 03

BEAM TO TOWER 03

BEAM TO TOWER 03

BEAM TO TOWER 03

BEAM TO TOWER 03

4'-6"

GUARDRAIL CONNECTION TO TOWER 06

B1 A

B1 A

B1 A

B1 A

Scale: 1/4" = 1'-0"

03

1'-1 3/4"

1'-1 3/4"

TOWER 07- ELEVATION C

TOWER 07- ELEVATION B

Scale: 1/4" = 1'-0"

02

NOT FOR CONSTRUCTION OR BIDDING

A4.01

4'-1" 5'-7"

BEAM TO TOWER 03

B1 A

1'-1 3/4"

B1 A

TOWER 08- ELEVATION A

GUARDRAIL

3'-0" 1'-6" 1'-6"

BEAM TO TOWER 03

4'-6"

9'-0"

BEAM TO TOWER 03

1'-6"

4'-1"

3'-0"

GUARDRAIL

GUARDRAIL SEE DTL 09

GUARDRAIL CONNECTION TO TOWER 05

1'-1 3/4"

05

3'-0"

Scale: 1/4" = 1'-0"

ISSUED FOR DESCRIPTION

1'-6"

6'-0"

GUARDRAIL SEE DTL 09 / A4.01

TOWER 08- ELEVATION B

JOB NO: 2001 DATE 09/22/2017

1'-6"

06

B1 A

1'-6"

Scale: 1/4" = 1'-0"

B1 A

6'-0"

TOWER 08- ELEVATION C

B1 A

GUARDRAIL

B1 A

B1 A

1'-1 3/4"

AZ-260 Payson, AZ 85541 B1 A

TOWER 07- ELEVATION A

Scale: 1/4" = 1'-0"

01

A3.03 TOWER ELEVATIONS 4/28/2020 10:18:13 AM

We prepared: technical drawings, official construction documents and manuals!

Everything needed to jump from drawing to building!

“The famous, you know, getting your hands dirty.”

- David Grapsas

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Professor

FELIPE MESA

With a little supervision, (thanks to The Design School shop) and material donations + purchases.

“Getting materials into students’ hands really helps.”- Andy Byrnes We can start: chopping, sawing, sanding and drilling!

ADE 622

JUI PRAFULLA NIMDEO

Before we get ahead of ourselves, there’s some hurdles to clear first.

Building comes with complexities: funding, changing timelines, unforeseen issues and liabilities, especially dealing with a university....

But, don’t worry, we have a plan!

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GRANDON RAY

The plan is Orange Build.

Private non-profit organization is in the works for insurance purposes.

It really comes down to....�Starting it like you would any traditional company.�- Michael Groves

ADE 622

CODY SHORT

And, on money.... In the Forst Place project it’s going to cost about 70K. (Yeah oof, I know....)

But.... We have a plan for this too!

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BREEANA SMITH

We can: write grants, use GoFundMe, and network with industry and community partners.

“You’re really looking to make that as mutually beneficial of a relationship as possible.”- Phil Horton

Professor

CATHERINE SPELLMAN

We already have support from Tonto Creek Camp, The Construction Zone and ASU.

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KYNDRA TREVINO-SCOTT

Also, these projects take preparation.

BUT.... We’ve thought about this too.

We are designing in advance, getting future projects lined up.

Like “The Entrance” project!

ADE 622

HEMANTH KUMAR YERRA

With all this planned out, I think we are pretty serious.

We want to build at ASU and this is the way to get our start!

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KE ZHANG

“People who are studying architecture want to build something.”- Catherine Spellman

ADE 622

CODY ZIMMERMAN

So... We will build this Design Build Program together!

[Disclaimer: Orange Build video script]

04

ADVANCED ARCHITECTURAL STUDIO IV PROFESSORS: Gould Evans_Farling . Herring. Shepherd

Students: Salvador Benitez, Miguel Ceniseros, Allison Edwards, Allison Fernandez, Haodong Gong, Andrisda Maulsi, Jasmin Sophia Moreno, Brayan Munoz, Noah Otero, Melissa Quinones, Alisa Santiago, Philip Shults, Andrew Talero, Erik Vejar, Weicheng Wang, Shajie Zeng

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ADE422

SALVADOR BENITEZ

Freedom? Collaboration? Connection? Display?

What do these words mean? What promotes these elements and what would impede them? How can we combine these elements in equilibrium? What makes a school a school? What makes Architecture...

Architecture? I believe that a school and education in general should, in someways, include collaboration, cooperation

and

appropriation.

Specially

in

higher learning establishments, for schools are the epicenters of change and growth in the world. Change will either live or die within these walls. However all this talk about change would not even be possible without the inclusion of the city into its ideals. In an attempt to bridge values and ideals, I set a goal to merge turmoils of the city and my observation of a place, and a school of architecture to better lives and shape the future for a better tomorrow.

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MIGUEL CENISEROS

The new School of Architecture for Arizona State University transitions from the enclosed studio spaces to the openness of the site. This connection promotes curiosity through connection to the Rio Salado. Two parallel rectangular volumes are situated prependicular to the site. At the core, lies a large forum central to both the buildings to enhance community interaction within the natural environment. The floors are divided into stacked programmatic zones that are connected by an exterior stairway that emphasizes communication in the common circulation space. The ground floor contains lecture halls and shops. The upper floors consist of classrooms, a library and a digital lab. The upper most volumes house open­ -plan studios for architecture. The levels are repeated in approximate size on the upper levels, but shifted to the ground floor to provide a different experience or perspective depending on your location, capturing views of the Downtown Phoenix skyline to the north or Rio Salado to the south.

ADE 422

ALLISON EDWARDS

This School of Architecture located in downtown Phoenix focuses on framing the view of the city and surrounding community in an effort to develop a deeper understanding of context. Every person sees the same thing differently and it is the responsibility of designers to recognize the perspectives of others.

The structure of the building works to show the community the school and for the students to see the community providing a way to view social interactions that often go unnoticed. The grid like structure gives the opportunity for the view and movement in the building to constantly change.

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ALLISON FERNANDEZ

What role does community play in an architectural education? In providing transparency of the design process to the public, students would learn there is importance in process work and not just the final material they produce. Getting people involved in the process of a design is a way to build the story of a project. Those who return each week during their commute would get to see the transformation a project takes with every iteration and begin to build their own connection with each design. At the end of the semester when students present their work in its final form, the community would be welcomed to join, and anyone who had been able to view the work in it’s entirety throughout the semester would be able to recall the design in its previous forms and feel as if they had a small part in the making of it.

ADE 422

HAODONG WONG

SoA_The concept for the entire building design is that every single floor is accessible to the public. The inner pathway at the ground level directly leads to 1st Avenue in Downtown Phoenix, turning the inside of the building into part of the street. The wall at the street is designed with peeking holes to allow people to see inside of the lecture room, increasing the interaction between the school and the public/ pedestrians. The design is intended to encourage the public to become part of the lectures.

There is a big metal sphere at the 4th floor, which is the computer lab. Its facade reflects the surrounding urban environment, creating effects like the Cloud Gate in Chicago. At floors 7 through 13, the city and the public are connected to the students. Only the studios are enclosed spaces, arranged along walkways open to the atmosphere.

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ANDRISDA MAULSI

Redesigning the School of Architecture means reflecting, researching, and representing a new and better vision of what education should be. Located in what was formerly known as Nuestro Barrio, a historical Spanish neighborhood in Downtown Phoenix, ASU’s new School of Architecture will provide pedagogical experience not only for students but also for the public. Preservation of the site’s rich history and the exchange of ideas between students with people and the environment surrounding the school are some of the outcomes of SOA reinvention.

Five different buildings can be found on the site. All of them combined will contribute to the learning experience

for

ungraduate

(sophomore-senior)

and graduate architecture students. An elevated walkway along South 8th Street frames different views of the site and city while it connects all buildings and providing shade. Angled facades along with openings under canopied spaces on the first floor allow the fabric of the site to merge into the world of architectural pedagogy.

ADE 422

JASMIN SOPHIA MORENO

The way I have processed design thinking for my final studio this semester has been quite different and revolutionary. For I have focused on smaller ideas that can be easily glanced over if not being vigilant. I learned to focus and trust the process itself and work through feeling of doubt, scaling down and revaluating the significance of what is important to me. Scale, value, mobility, transition and public interaction are some of the notions I tried to look deeper into than I ever had before. I’ve learned that the process is far more rewarding than the end product. That as a designer, we sometimes rush to a final model due to several factors and we lose sight of what the goal is that we are trying to work towards.

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BRAYAN MUĂ‘OZ

As we travel and explore a place, we gather information. We break it down, analyze it, transform it, and interpret it in different ways. This was the principle explored for the development of a new School of Architecture. It is not just a place for students, but an archive of information gathered over time. A place for the analysis and transformation of information. However without the explorers (the students), the school cannot function, and without a place to explore the students cannot function. So just as the students are connected to the school, so is the school connected to the site. And over time, as the context around the school evolves, and the students gather more and more information, the school also evolves both internally and externally.

ADE 422

NOAH OTERO

03 synthesis model

This semester started with searching for “lost items� of Phoenix. At the time I did not know that I too was lost. Over the past two years in the architecture program, I found myself struggling with the constant urge to restart my projects every two days. I knew that I had the capablties to produce better work than what I had, but I continously felt a block in creativity.

This semester was no different, 30 hours before our final review I threw away everything that I had and started from scratch. It took me two years (12 hours before my final review) to figure out why I continously have the urge to restart a project. I was searching for my worth in my performace in the program. I let fear take over and freeze me. The fear of failing...the fear of not living up to an expectation...the fear of being lost...

So when you ask what the new design school should look like it should be a place that blurs the line between a school and the idea community - internal and external community. I say this because community is what got me through the program.

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MELISSA QUINONES

This proposed Arizona State University School of Architecture will serve 600-1,000 undergrad and graduate students from 3rd to 6th year. The project is located on 7th and E Sherman St in the Mexican American historic neighborhood of Nuestro Barrio part of Central City South in Phoenix, Arizona.

The goal of this project is to have the School of Architecture become part of the neighborhood by emphasizing the history, respecting the existing scale of the neighborhood and creating spaces around instruments that bring the public and students together. The base of this project is a neutral grid structure from which modular spaces within will be built around programs that serve the existing community and incoming architecture students. The hope is that this neutral structural grid with modular interior spaces will allow the School of Architecture to be flexible and continue adapting to the future.

ADE 422

ALISA SANTIAGO

In this School of Architecture, it heavily focuses on nature from every possible angle. Windows surround the spaces so that one may never miss a view whether it is the city or the river. The topography was the organizational grid for the entire project and all built aspects fall under the constraints of the topography.

The needs and awareness of the environment are important to teach our students to better improve our world. Not only that, but the school provides the capability to include and teach the community about their environment. Inside, sunlight is a main feature. As the building breathes and compresses underneath the changing sun, the windows filter the harsh Arizona rays.

Within this building, all are included, welcomed, and appreciated for when we take care of ourselves, we take care of the Earth.

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PHILIP SHULTS

A common theme throughout the last semester of the Undergraduate Architecture Program is changing the way we look at the world. We all have different perspectives of the world that we apply in different ways. Our work is a reflection of our persectives and signifies our growth and improvement. As our perspective evolves, so does our work. My work has evolved to bring emphasis on the varying perspectives we all have. My last two projects focused on the dynamics of sunlight. It created a framed view using light, shadow, and color that shifts as the sun moves across the sky. People traveling in and out of the frame breathe life into it and forces us to develop a broader sense of everything that we can and cannot see.

ADE 422

ANDREW TALERO

The new School of Architecture is located south of ASU HIDA’s Grant Street Studios. The site is connected to the Warehouse District by a sliver of landscape alongside the rail switch. The unique extension of the site presents an opportunity for art installations that reflect the history and art of the local community. The landscape creates shade in a harsh warehouse context. The building design connects the studios and shops to the local neighborhood and offers a welcoming place to gather and discuss architecture.

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ERIK VEJAR

The School of Architecture is a place of ideas and innovation. In the past we have struggled to expose our works with others around the community.

Creating collaboration spaces would encourage interaction and help inspire the public. In the site, sat train tracks running east to west that were used in previous years when Union Station was operating.

Exposing the tracks created a sense of connection from old to new that would also produce a circulation path. The project is separated into four masses to distinguish programs within the site and to create inbetween spaces. The entrance is a tunnel that frames the School of Architecture. As you move towards the end of the site, it becomes more intimate; with spaces like the exhibit and archive area. The idea of the exhibit space is to create a feeling of being out and open but being able to still be private and hold events with a more direct crowd.

ADE 422

WEICHENG WANG

The new School of Architecture is located in Downtown Phoenix and is part of the ASU campus. On the east side building, along the sidewalk, the openings in the wall transform to provide an opportunity for the public to rest and interact with the students in their space beyond the wall. These openings also attract public interest to explore the School of Architecture further. The space between two buildings at the first floor holds routine exhibitions or lectures for both student and public to learn from the architecture masters at the street edge.

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SHAJIE ZENG

The concept of the project is to bring nature into the School of Architecture. It is to create an indooroutdoor connection in the Design School. It is a way to bring student and faculty back to nature, and also take the natural environment into the building.

Because our site is located in Downtown Phoenix, we need to provide more functions in the limited space. As the building height increases, the green spaces are added between the gaps of each floor and between units. The entire project is the combination between the artificial and nature. The idea is to have studios, office, and exhibition, all as separate spaces and to use the elevated green space as the walkway to connect spaces.

ADE 422

04

ARCHITECTURAL STUDIO IV PROFESSOR: Marc J Neveu

Students: Brandon Sheih, Brendan Bogolin, Brennan Richards, Carly Tomko, Dellan Raish, Jesse Martinez, Joshua Morin, Lydia Kennedy, Marcia Ibara, Nasrynn Chowdhury, Reed Doolan, Rongting Jin, Ryan Mohn, Salma Osuna, Stephen Adrian, Yoselin Godinez.

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BRANDON SHIEH

Roden Crater is a space foreign to this world. My only experience with this space left my mind in awe and my senses in a muddle. The illusion that is Roden Crater is composed of the sky that enters your room, noise that enters your ears from unknown places, and dead silence. I haven’t experienced dead silence and it is something I have been craving ever since I visited the Crater. Implementing this phenomenon into the project was a crucial part of the design process. Construction workers, students, and archeologists were thought to be the main occupants of this setting, but it wasn’t designed for them, it was designed for their interactions. The center (the gathering space) provides a trading center for words and actions while enjoying the outdoors. The edge (the units) of the project is for alone time and rest.

ADE 422

BRENDAN BOGOLIN

This semester we were privileged with visiting Roden Crater and then tasked with designing itinerant housing for the it. Roden Crater is surrounded by an expansive open landscape. This lack of development results in minimal light pollution. Thus, the crater has a stunning view of the night sky. It was important that my design did not allow unnatural light into the landscape or the sky. In my design, I enclosed all the spaces that would need copious unnatural light to function. These bright spaces include the kitchen, bathrooms, and laundry. The remaining spaces could function in dim unnatural light after the sun goes down. These dim spaces include sleeping, dining, and gathering. This connects the visitors to the natural sky and allows the indoor spaces to blend with the outside without leaking unnatural light.

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BRENNAN RICHARDS

This project centered around views of the Painted Desert and visual connections between community space and resting space. With a remote site it was necessary to dig a new well and use solar power to be completely off grid. Access to the site is provided by an extension from the existing road. Wanting to have 5 units that faced into a central community space but did not block views to the desert I went with an octagon form. Each unit contains two bedrooms, two bathrooms, utility space, and an outdoor deck. The roof plane reacts to these programs by shielding the outdoor deck. The central community space has seating for twenty people, a public work space, kitchen, laundry, and outdoor decks. The visual connection between the community and resting spaces was intentionally designed for a clear connection between them to encourage community interaction.

ADE 422

CARLY TOMKO

Looking out from the rim of Roden Crater, the horizon surrounds you. The world appears as series of planes interacting with one another and intersecting at various points. This notion was the inspiration behind this design. I viewed the design as a series of planes and sought to further explore how these planes would interact with one another to create a space that echoed the feeling of looking out at the vast landscape from Roden Craters rim. The structure of the design would primarily be made of load bearing board form concrete with most of the glazing facing true south to utilize passive heating strategies throughout the seasons. The project features a central indoor/ outdoor community space with a skyspace, and upper deck observatory.

The units each have operable skylights above the beds to star gaze and aid in cross ventilation. The proposed site would have views of Sunset Crater and Humphrey’s Peak.

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DELLAN RAISH

Roden Crater exists on a timeline with no ending or beginning. The challenge was to accommodate and provide dwelling on a site with no infrastructure, and to last over the timeline of thousands of years. The project was orientated towards visible crater views, and separated sleeping and living programs into two linear bars. These buildings knuckle in order to adapt to site conditions and create an enclosed courtyard space for gatherings. Rammed earth is used as exterior walls to use a sustainable approach in connecting the building to the site as well as encourage thermal massing.

ADE 422

JESSE MARTINEZ

Inspired by James Turrell, we decided to follow in the artist’s footsteps and rediscover the sky with our own projects. At the beginning of the semester we learned what it really meant to “dwell”. However, we were not able to fully understand this concept until we visited Roden Crater. At Roden Crater, we were able to enter every installation designed

by James Turrell and “dwelling” almost became natural. We realized the importance of dwelling and self-actualization. Structures such as the ones at Roden Crater are very spiritual and have a big impact on anyone who enters? It is almost as if you are awakening and seeing the simplicity of the world around you in that moment. James Turrell showed us that you do not need to travel through space to discover the sky and stars.

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JOSHUA MORIN

Site Plan 1/64” = 1’

This semester’s studio was much different than any others I’ve taken. Being able to go and visit Roden Crater made it all worth it. And having the opportunity to produce work that James Turrell wanted to see and possibly have produced really drew me in and kept me engaged. We were tasked with designing off grid housing for 20 people, Construction workers, Students, Archaeologists, or anyone else that would be visiting the Crater. The biggest factor we needed to take in consideration was utility access, water, sewer, and power. This played into site choosing the site. When starting to design I wanted to take a functional / practical approach so that the building could be easily reproduced and used in other locations around the crater.

ADE 422

LYDIA KENNEDY

The experience of visiting Roden Crater is a memory I will cherish forever. My last studio was one of my favorites, not only because I was able to experience Roden Crater for myself, but because my peers and the faculty involved made it one of my most positive studio experiences. Architecture has taught me more about myself than I thought possible. We always talk about how we learn to design, but never how that learning has affected us. Architecture has taught me how to persevere, take criticism, stand up for myself, and admit when I am wrong. I am grateful for the technical skills I have learned over the past four years, but I am most thankful for the person I have become through my college experience and studying architecture.

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MARCIA IBARRA

The project focuses mainly on bringing in a community into the living area, considering the people staying there would be living there for the same reasons, in this case, Roden Crater. Inspired by monasteries, the shared bedrooms are lined up around the courtyard on the north, south and west sides, leaving the east side for the communal area.

These different sections are connected by a hallway, influenced by cloisters, that follow the perimeter of the courtyard. The hallways are used to connect the rooms to the courtyard and as a way to get around the building. The courtyard has a fireplace in the middle, for people to gather around and spend time together and the fire place is surrounded by gardens where people can grow food for them to eat when they are staying there together.

ADE 422

NASRYNN CHOWDHURY

The proposed structure fulfills three acute criteria in regard to Roden Crater, a single instance of its prospective siting. The first, the nature of nonpermanent architecture, is addressed through the deliberate omission of concrete and the consequent use of a steel screw pile foundation. The second, its multiple itinerant user groups, necessitates a high degree of flexibility within the living spaces. And lastly, the heavily restricted and difficult access to the site itself leads to the reconsideration of traditional building methods of on-site construction, and instead to the application of mass timber prefabrication.

In the spirit of Habraken: Dwellings cannot be the product of designers.

But dwellings can be the result of Ordinary people making decisions about Things made by specialists And who, by so doing, Create.

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REED DOOLAN

The intent of this project was to utilize nature in its simplest form. Located outside Flagstaff Arizona, temperature and climate play a huge role in the material and wall construction choice. The scope of work entails a 20-40 occupant dwelling.

Construction workers, students and archeologists would

occupy

the

residence

intermittently

throughout the year. This is an off the grid site so power would be mainly supplied by a southern solar array and a backup diesel generator. A main focus was to provide a space that allows the occupants to gather outside of their room and build relationships during their stay.

ADE 422

RONGTING OSCAR JIN

Like a photographer using their camera to frame a view, artists using their canvas to frame their image, and James Turrell using the space to frame sky, the design in this project is to frame the nature by architectural elements. In our site, the south and west sides have great views, and the entire landscape has become the canvas for us to composing our frame in the nature. This project is providing you a frame with a focus on the landscape, for residents to experience the nature and contemplate in the nature.

Keep the focus and get rid of everything else, people start losing the experience of space and the sense of distance. The frame and focus minimize the sense of scale and move the landscape much closer to the spectator with an immersive experience.

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RYAN MOHN SEPTIC TANK

BBQ

FIRE PIT

WATER

SOLAR PANEL CAR CANOPY

SITE PLAN

TRASH

NORTH

SCALE = 1" = 50'-0"

Designing in a remote and harsh climate creates many problems including access, water, power, building material, and waste. It is important for architects to not only have a unique design be aware of these issues and know how to solve them. I think architects should be looking into solving the problems before the start of the building design. This design process is interesting because you shift your way of thinking and the decisions you make start to influence your design.

ADE 422

SALMA OSUNA

The connection of the user to the environment is one of the most crucial aspects at Roden Crater; therefore, in my project I created different ways to frame the vast landscape. My goal was to transform these windows and openings into only one picture, an ever-changing one. To achieve this, I used two different types of roofs, one being the butterfly roof and the other being a shed roof. Other elements I took under consideration were the walls and windows. It’s fascinating seeing how different the same landscape can look with different dimensions, placements, and perspectives of these viewports. These elements helped me create different experiences from the interiors. Another way I connected the user to the environment was by the topography. I placed my units and communal space all perpendicular to the topography lines, creating a very interesting shape.

Offsetting each room created a slightly different perspective to the landscape.

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STEPHEN ADRIAN

This studio was a great experience and I am grateful to be closing out my undergrad program working with Turrell and everyone involved with the Roden Cater project. I have produced a lot of great work over the years here at ASU and the Design School, but this was by far the most fulfilling project to date.

It is an incredible opportunity to have this level of involvement with a high-profile project and a wellknown individual such as James Turrell. It was also an opportunity for me to explore the role I want to take on in design, and it gave me a better understanding of how I want to approach architecture in the future.

Overall, I have met many great architects, designers, and artists throughout my time here, and I could not have asked for a better experience. I look forward to utilizing the knowledge I have gained in the years to come.

ADE 422

YOSELIN GODINEZ

The Roden Crater studio has made a positive impact on the way I design. I gained a new perspective and took an appreciation for the land and nature that exists in a site. This semester has been quite memorable since we had to adapt halfway through and figure out how best to communicate our design with current situation at hand. This studio definitely got me thinking about the meaning of a dwelling and the purpose of our design. Whether that be to frame a view, provide comfort, or create a space for the community to thrive. I am so proud of the improvement I’ve made from last year to this year.

I have a long way to go since there is so much more knowledge for me to gain, but I took so much away from this studio. I’m thrilled that I can take so much from this studio here at ASU for future projects.

ADE 422

04

BARRETT HONORS THESIS PROFESSOR: Renata Hejduk

Student: Lauren Bennett

ADE 422

LAUREN BENNETT

PSYCHOLOGICAL SAFETY

PHYSICAL SAFETY

STUDENT WELLNESS Through the study of Biophilic Design, Crime Prevention Through Environmental Design, and Maslow’s Hierarchy of Needs, this thesis investigates how physical characteristics of a space influence human behavior and proposes Architectural Natural Measures to reduce opportunity for a school shooting. These measures are intended to be a cost effective and holistic alternative to conventional, highly visible security measures that often have an adverse effect on student perception of school safety.

ADE 422

04

BARRETT HONORS THESIS PROFESSOR: Marc J Neveu

Student: Evan Parish

ADE 422

EVAN PARISH

How can we best retain the cultural content of great architectural works against the passage of time, social change, environmental transformation, and disaster? Throughout the semester, I have examined various strategies of historic conservation through the specific case of the cathedral of Notre-Dame de Paris, in order to determine the approach best suited to preserve the legacy and identity of the cathedral. The preeminent set of principles of historic conservation, the Venice Charter, reflects a very static understanding of historic structures; which, in my opinion, would not be suitable express the historical legacy of Notre-Dame. Rather than attempting to replicate that which was lost, in pursuit of accuracy over authenticity, we should continue the living legacy of Notre-Dame. In rebuilding the lost roof and spire, I believe we should seek to reiterate rather than replicate.

3+ Year

ADE 512

05

ADVANCED ARCHITECTURAL STUDIO II PROFESSOR: Michael Underhill

Students: Kasiana Beja, Robert Busse, Kerri Clayton, Angela Coriell, Long Do, Nancy Hamilton, Faustin Kapelemba, MacKenzie Krall, Yuanyu Liu, Faith Mcgee, Anthony Okins, Aja Panicker, Anne Raphael Raphy Chummar, Arik Spaulding, Michael Stears

397

ADE 512

KASIANI BEJA

One of the greatest stories of the Jewish religion is the story of Moses leading the Jews across parted seas and dry deserts to receive the word of God upon Mount Sinai. Temple Mayim is a testament to this story of freedom. The flow of the Red Sea is emulated in the curvilinear rooflines outlining the synagogue’s east-facing glass façade. Set atop a mountain in Paradise Valley, the temple overlooks the Sonoran Desert towards Jerusalem.

The modernity of the Temple Mayim’s exterior is blended with tradition in the grandeur of the arched sanctuary space crowning the building. The lower levels contain library, classroom, office, and social spaces for congregation members, including a versatile outdoor balcony lush with desert plant life.

ADE 512

ROBERT BUSSE

This LDS church design recreates a design that has been copied for so long, giving more life and space to a church usually so packed and closed in.

The church gives you views usually not considered and separates itself from the old by having a unique layout and new textures. It has all the amenities required while giving the attendees a more open feeling while walking through. This allows them not just to attend the church but stay there and enjoy the company of others.

399

ADE 512

KERRI CLAYTON

My name is Kerri Clayton and I am from Baltimore, Maryland. The concept behind my church design is an Episcopal Church that serves as a center for worship and togetherness in the Scottsdale area.

This space allows for the indoor areas to be used at all times whether holding classes, a Sunday worship, or a meeting in the conference room along with the multiuse spaces outside the church that can be used almost year-round in the Arizona climate.

ADE 512

ANGELA CORIELL

Place of Worship is a project based in South Mountain Village at the corner of Central and Broadway.

Positioned in between a residential neighborhood and an inactive Transit Center, this project poses to establish a vibrant garden of reflection to the surrounding community, and provide a point of Sonoran pride in South Phoenix. The eight-acre botanical garden would be an admission-free park and truly an oasis among the desert; all plants on-site are native to Arizona and are designed as a xeriscape pallette. Many programs within the site exist including a lake, a Desert Meadow, a visitor’s center, as well as a possible location for a farm-to-table restaurant.

But the true jewel of the project is the main Chapel; a 12,000 square foot nondenominational facility is cast in concrete and fashioned with selective areas with wood accents and exposed structural beams. This sanctuary is dedicated to teaching and providing a place for silent meditation and inner reflection in the eyes of nature.

40 1

ADE 512

LONG DO

“When you realize nothing is lacking, the whole world belongs to you� - Lao Tzu The Ascension Zen Temple sits atop a mountain in north Apache Junction at the edge of Tonto National Forest. It focuses on creating a complete meditative user experience; the garden trail, zen hall, stone garden, reflective pond, and tea house facilitate a mindset of letting go and living in the moment. The harmony between built form and nature emphasizes our connection with with the Earth. Rather than a typical temple with a Buddha statue at center, Ascension has a circular window that captures the essence of Buddha in the form of the sky, mountains, and living beings. Behind the vertical slats of the building skin are suspended Buddha statues that cast shadows which shift with time and light.

Attaining complete zen is a difficult and evershifting pursuit, therefore, Buddha is represented in a way that reflects this state of flux.

ADE 512

NANCY HAMILTON

Our Lady of Guadalupe Catholic Church in Queen Creek, Arizona is fundraising at this time. The assignment for ADE 512 Core Architectural Studio II was to design a church. After talking to Marina Martinez of Our Lady of Guadalupe, I found out that they needed seating for at least 400 people, a dining hall, and 20 classrooms. I intended to fulfill her requests so I designed all three buildings. The site plan reflects all three plus an additional classroom, garden, and parking. I choose the materials for the buildings from The Reference Room in Phoenix, Arizona. Throughout the process, I had instruction from Professor Michael Underhill and input from various students in the class. With their aid, I was able to use the iterative learning process of The Design School to my advantage. Thus, I fulfilled the requirements of both the classroom assignment and Our Lady of Guadalupe Catholic Church. I thank both for the opportunity to do so.

40 3

ADE 512

FAUSTIN KAPELEMBA

For this project we’re asked to design a church in the studio. For this project I went with a Baptist/ Pentecostal denomination. The site is locate in north phoenix, between Northern and Glendale Ave. the site is 1.19 acres. I chose this because our church had a project to buy a lot near the area. It was an opportunity to create something on that site to present also to my church for a potential building idea or project for the future whenever the church will be able to build its own building around the area, or decide to move completely from the northern phoenix area. Overall, I learned a lot about acoustic and the sound in general. It’s not just about the mixing board that define the sounds in church, but the acoustic and the layout of the building. This was a great project for me, because i had to research a few things about structures also implementing what I have learned so far in all of my structures classes.

ADE 512

MACKENZIE KRALL

The Piestewa Peak Nature Center for Reflection and Prayer is a non-denominational green space for individuals to reconnect with nature as well as to themselves and their beliefs. The reflection space is located on the North-Eastern edge of Piestewa Peak, connecting multiple trailheads to the local neighborhood. The two-story structure is lifted using steel I-beams, reinforced concrete as well as exposed wooden beams on the interior. Nature encompasses each aspect of the building as the site is lifted away from the ground to allow for the natural desert landscape to continue to thrive. A green roof also allows for the native desert plants to influence the hall as the plants that were displaced due to construction will be replaced. The sanctuary is to give appreciation to nature and allow visitors a place to express themselves and reconnect to their intentions.

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ADE 512

YUANYU LIU

This semester studio project is to design a church.

My project is located in camelback mountain. My inspiration comes from the tough landscape features of Arizona, and the environment is abstracted into the form of the building. At the same time, I hope that through the constantly changing form of the building, the sound reflection of the hall space will be affected to achieve the acoustic design. I try to ensure that users can better feel the magnificent scenery of camelback mountain and also combine the artificial landscape with natural landscape. The church will become a landmark in the surrounding area of camelback mountain. It will become a public space for local residents to visit. I believe this will be a special experience.

ADE 512

FAITH MCGEE

My Name is Faith McGee, I consider myself an artist and love to design, this is what drove me to become an Architect. I grew up in Payson AZ and I am the oldest sibling of six. This is my project The Sonoran Church of Christ. The design pays tribute to its location the Sonoran Desert. The Sanctuary space is designed around having great Acoustics and playing with natural lighting. The windows you see in the picture above has colored walls behind them. When the sunlight comes into these windows the light hits these colored walls and reflects those colors into the space inside. I chose the colors Red, green, blue, yellow and orange. Each of these colors were chosen to make you feel a certain way. Red makes you feel warm and energized. Green represents life, growth, and refreshed. Yellow gives the feeling of hope and light. Blue gives a sense of calmness, and coolness, also makes you feel relaxed and safe. Orange is inviting, safe, warm, and secure. These colors also are the colors of the desert.

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ADE 512

ANTHONY OKINS

In the center is the building.

The desire to build from nothing to nothing.

In between, the lines and circles converge and for a moment the blueprint is seen.

The fleeting construction a hint of eternity.

ADE 512

AJA PANICKER

Religion provides direction in people’s lives. As a Hindu, I learned the religion’s philosophies, including stories of Buddha reaching enlightenment under a Bodhi tree. Buddhism branches from Hinduism and is prominent in most of South and Eastern Asia. Through meditation and prayer, people show reverence for Gautama Buddha and his teachings.

The religion has been embraced by people from other cultures, becoming a strong symbol of finding peace within ourselves. The Bodhi Temple brings the Buddhist community together to learn their scripture and practice meditation; being in the company of one another creates an uplifting atmosphere. The site is beautified with various fruit trees and has a stunning view in the south of the Sierra Estrella mountain range, but the most significant element of the design is the abstract tree trunk symbolizing the fig tree Buddha sat under, allowing one to feel as if they can reach enlightenment through peaceful meditation.

40 9

ADE 512

ANNE RAPHAEL RAPHY CHUMMAR

Every Sunday morning brings a sense of joy in a Catholic’s mind. Church, a place where you can finally go to and pour out your heart after a week of the worldly chaos. This church was designed in such a way as to enhance that experience, where you can be one with God. A sanctuary space, large enough to accommodate 365 people with plenty of room for after mass activities and play space around to help connect everyone, 4 classrooms to help the kids of the community learn more about Catholicism, a confession room where one can relieve themselves through the holy sacrament of Confession and ample parking space for every visitor.

ADE 512

ARIK SPAULDING

The one thing that unifies almost all religions is prayer.

Prayer often takes place in a location dedicated for one religious group or another and most often it is indoors. Challenged with the task to create a space where communities can come together. This site is located in between two different sprawling housing developments works to create a sense of space and belonging to any visitor walking the site.

A valley is formed by the juxtaposition of the two buildings. This in turn creates a plaza where prayer and individualized worship can take place inside and outside of the two main buildings. All of this is with the intent to provide a outdoor space for people to come together using both nature and prayer.

411

ADE 512

MICHAEL STEARS

Centered under a grid of solar panels, this contemporary church design separates the sacred and supporting spaces with an open courtyard. These separate spaces have juxtaposed transparencies yet still have and immediate an intimate connection to each other, blurring the lines between interior and exterior space.

5th Year

ADE 522

05

ADVANCED ARCHITECTURAL STUDIO II PROFESSOR: Thomas Hartman

Students: Matthew Anderson, Bryan Esparza, Chi-Lun Lee, Inseon (Sunny) Lee, Saber Lyman, Avinash Mangukiya, Anood Mantsch, Nathan McNeilly, Cynthia Nyirinkwaya, Ele Paul, Travis Rosenlieb, Udit Shah, Rielly Smith, Charlotte Taylor, Yuandi Wang, Cody Yazzie

ADE 522

MATTHEW ANDERSON

Firefighters are bombarded with a plethora of chaos and trauma. While talking with firefighters from a fire station in Los Angeles California, this was brought to my attention. It became apparent that in order to design my building in such a way that would have a positive impact on those who worked here, I needed to focus the design on balancing this daily trauma with a healthy environment. For this purpose, I focused on creating a courtyard space through which all routes in the building would pass.

This courtyard space that contains various green walls, natural light and a water feature, would also serve as a day room or break area, a gym, a training room, and an outdoor barbeque area. By creating this central space, firefighters would be led to pass through this inherently healthy space and hopefully enjoy a “moment of pause�.

415

ADE 522

BRYAN ESPARZA

“In the presence of nature, a wild delight runs through the man, in spite of real sorrows. Nature says, -- he is my creature, and maugre all his impertinent griefs, he shall be glad with me.�

Ralph Waldo Emerson was extremely familiar with the peace nature could bestow on those whom could connect with it. Similarly, my site visit to the base of the southern side on South Mountain was pleasantly filled with encountered moments of stilling serenity.

While many other aspects like programming, response time, privacy, and community outreach were also key design-drivers, because firefighters deal with life-threatening situations and often times witness traumatic scenes throughout their careers, I felt the responsibility to integrate moments of repose within my design for Fire Station 62. Ultimately, the hope is that they too will be able to enjoy the beauty of nature and carry with them an enduring tranquility.

ADE 522

CHI-LUN LEE

Fire Station 22 is located on Broadway Road in South Phoenix. Like the fact that fire stations are strongly functional type building, this project is aimed to provide functional programs for firemen and at the same time, to serve as a second home for firemen to connect and relax. To achieve the goal, the apparatus space and the public space are facing the busy Broadway Road while the living section is located on the south side of the site. Therefore, firemen are able to keep their privacy and being not disturbed in the living section but also available to access to apparatus space quickly in terms of any emergencies. The entire project is shaped into a U shape with a square in the center to allow firetruck to easily goes in and out in a single direction. The square also serves as a border and connection between the private and public sections of the whole building.

417

ADE 522

INSEON LEE

Fire Station #9 is located in Midtown Phoenix, Arizona. Given programs of the fire station #9 are organized by its functions by the balance between the public and private realms. Building skin is used to determine what is public or private by using different materials. Transparent concrete panels are used for semi-private and private spaces and are capable of doing more than one thing; it blocks the direct sunlight while bringing in the natural light, aesthetically pleasing and becomes a guidance for users. Glazing is used in spaces for public such as the public entry and public art gallery. Multilayered materials provide an experience of the building for users and fulfills the tension between the need for privacy and the impulse toward community.

Different functions of different spaces, materials and layers become a functioning or unified whole, the fire station #9.

ADE 522

SABER LYMAN

Fire Station 62 located on the south side of South Mountain has many amazing features and elements to work with. The importance of this fire station being where it is, to support the growing community and maintain access to the nature preserve surrounding the site. Maintaining the natural landscape as much as possible was very important. Having two separate buildings, one for the fire trucks and one for the fire men but keeping a cohesive purpose as one operating system was done by having a single roof that overhangs both buildings. The living quarters is raised above the ground to minimize obstruction of the naturally flowing water during monsoon season and also floats above the wash to show respect to the watershed that is replenished from the South Mountain water flow.

419

ADE 522

AVINASH MANGUKIYA

Fire station 22 is located in the south Phoenix. The structure is a wrap-around courtyard space where a sense of private space created in the fire station for firefighters. Application of concepts like biophilia, automation louvered system, and NetZero energy inside the station that creates the structure more efficient and sustainable with mental stress factor, the courtyard space in the center which is wrapped around by the structure warp’s around it. This warp around concept helps the fire station add contrast to its surroundings, through mimicking mountain ranges in the elevation. The structure is more of an attractive place for the community to engage with.

There is an upcoming future expansion of light rail on the east side of the site, hence bringing in more visitors to the south phoenix and adding development to the regions.

ADE 522

ANOOD MANTSCH

The approach for designing Novus Fire Station 8 is practical and functional. The triangular shaped site defines the placements of programs and spatial arrangements that includes simple geometric spaces.

Considering the nature of firefighting which exerts a lot of tension and strenuous activities and irregular working hours. The goal is to design a sanctuary which will also serve as a healing home. While its outer spaces celebrate nature, materiality, form and structures, the inner spaces are well articulated through a sequence of scale, light and views. Also, the narrative strategy is clear, powerful and suggestive.

This project started with a simple concept inspired by the shape of the site in combination with the nature of firefighting. Being that the site is much wider on the east end, this informed the placement of the apparatus bay to allow for the wide turning radius of fire trucks. This is a design that embraces dynamic spaces while at the same time creating serene areas.

421

ADE 522

NATHAN MCNEILLY

Fire Station 62 is located on an undisturbed site at the base of South Mountain in Ahwatukee Arizona.

The site is adjacent to a trailhead and will soon be mostly surrounded by suburban development. The duality between desert mountain and suburban fabric greatly informed the material, program, and orientation of the project. With the objective of blending into the earth all the elements that touch the ground are made of an earth tone tinted concrete while all secondary elements of the sky, float above.

A multi-use community center was added to the program to bring community members on site with the firefighters. The cant, seen in plan, was done to orient the views of firefighter living spaces to that of the mountain to provide a moment of tranquility when not in an emergency. A rooftop deck furthers this gesture providing a place to rest outside just above the desert floor.

ADE 522

CYNTHIA NYIRINKWAYA

This project is about providing a fire station that allows firefighters to have comfort and privacy at their workplace. Given the fact that firefighters spend most of their time at a fire station it felt necessary to design a space that would make them feel at home.

The fire station is located in South Phoenix on corona avenue and has an outdoor area dedicated for community outreach. Its interior space allows firefighters to access the apparatus bay quickly from the living quarters and dormitories. It also has rest areas as well as a training area for firefighters.

The training area is located on the second floor of the fire station which comprises of a training track, a fitness and training room. The second floor also gives a beautiful view to the surrounding and it is only accessible to firefighters.

423

ADE 522

ELE PAUL

Fire Station 62 is located right beside the Sonoran Preserve, and a recreational hiking spot. The ecology and hydrology pose are key determinants in the orientation and placing of the fire station. They pose as site concerns that inform design challenges of the project. The design objectives of this project is to blend the building into the landscape with the building mass mimicking the topography of the site.

The project considers the relationship between the landscape placement and the constraints of the construction implementation. The project is sectioned off into two programmatic structures. The first is the practical sector that houses the apparatus bay, whilst the second is the private sector which includes the administrative and living quarters of the fire station. Both the practical sector and the private sector are presented by rose tinted concrete. The public element of the project presents a perforated copper faรงade.

ADE 522

TRAVIS ROSENLIEB

This project explores the intersection of public service and community center. It serves as an avenue for enhancing my own technical skills and growing my architectural vocabulary in pursuit of creating high performance spaces which serve and foster flourishing in the communities around them.

425

ADE 522

UDIT SHAW

A Fire station is a mixed-use structure. It has functions of living work and public space. This makes it an odd mixture of programs. In this project, the challenge was to build the best fire station possible and my motto was “function follows design.�

The travel distance is reduced to provide a quick response for the firemen during emergency. Private space is provided for the firemen within the public institution so that they have a space to call home.

The design also responds well to the context. This project can be built in an efficient, sustainable and economical way.

ADE 522

RIELLY SMITH

Fire Station No. 62 is located near the Sonoran Preserve at the southern base of South Mountain in the Ahwatukee Foothills. The form was inspired by the alluvium fans of the mountain and their influence on the surrounding ecology and hydrology. The Corten steel roof stretches over the station, blending it into the desert landscape. By mimicking the cycles of the site, it channels, diverts, and collects water for the station and wash. The courtyard is a central element to the program by providing a decompression space for fire fighters. During the cooler months, the doors fold open to ventilate the interior. Rain results in water coming down from the mountain which is then channeled between stilts under the courtyard and into the wash. Water is collected from the roof gutter into a silo at the end of the station. These event celebrates the desert rainwater from above and below.

427

ADE 522

CHARLOTTE TAYLOR

For this semester’s Fire Station project, I choose the NOVUS Station 8 site. I put most of my focus on the fire fighters and made my design decisions based around them. The residential side is placed in the largest portion of the site, allowing plenty of space to be together or alone. For times of reflection after traumatic experiences, a central courtyard has been placed and connected to offices for onsite therapists where these fighters can spend time processing and recovering. The feeling of being in nature has been proven therapeutic, so lots of natural sunlight and plant life have been brought inside or in view of the building. The purpose of these decisions was to make this home away from home feel like a safe and secure place for each team member rather than a reminder of the difficulties of their chosen profession.

ADE 522

YUANDI WANG

The initial inspiration for my fire station design is something simple and straight forward. I was thinking about trying to make a simple box that would be able to represents the shape of simplicity and efficiency. The massing shape is my key moving force and I really enjoy working towards from my massing to my program and the entire design.

From the previous research, case study and field trips for fire station study I learned that programs play an important role in the whole station design.

Making a simple box definitely help me works well on the project and by following the program I would be able to play with my massing and design ideas.

This experience is special for me since I have never designed a building have such a program heavy type in general. I feel like the program for this project should be the first thing we focus on and I wish I had work on it more at the beginning of this semester.

429

ADE 522

CODY YAZZIE

Fire Station #22 located in South Phoenix on Central and Broadway. With tall masonry walls open to its surrounding community and to the public. Fire station #22 is to design a space for our brave fire fighters who help protect and service their community. This fire station welcomes the public with open doors that provides training with the fire department. The layout of the fire station allows fire fighters to have their own living quarters on the ground level and their dormitories on the second level with a private deck. The design of the building allows fire fighters to have easy access to the apparatus bay in seconds.

The station provides a kitchen, break room, fitness room, and private amenities for our fire fighters. This project is to help bring the community together, with natural landscape and a safe environment.

ADE 522

05

ADVANCED ARCHITECTURAL STUDIO II PROFESSOR: Philip M Horton

Students: Aakarsh Kushalappa Kuppanda, Aishwarya Gnaneshwar, Anna Utter, Ariel Medina, Cole O’Brien, Jacob Cluff, Juan Luis Fernández Valenzuela, Kendall Place, Lester Graham, Mark Hernandez-Schilling, Rachel Frail, Rayven Cannon, Shristi Ojha, Slade Sheaffer, Smriti Jain, Tylor Kerpan, Vaishali

43 1

ADE 522

AAKARSH KUSHALAPPA KUPPANDA

The site, located in South Phoenix, is an area with a diverse community and history. Presently the area suffers from a lack of public investment. A Light Rail extension adjacent to the site may help, but additional public space that supports the existing community is needed. Fire Station #22 not only serves the community’s emergency response needs, but it belongs to, and gives back to the existing community. To achieve this the Fire Station is comprised of zones: Apparatus Bay, working space, living space, and community space. The firefighter’s living quarters are placed to the East, facing the residential

neighborhood.

Community

spaces

are located on the West of the building towards the more active corner of the site, extending into outdoor public park space which the firefighters and the community can use together. These active spaces help firefighters engage and connect with their community beyond the traditional relationship of emergency response.

ADE 522

AISHWARYA GNANESHWAR

Leadership, involvement and influence are the mantra of this fire station located in South Phoenix. With rich cultural history, Phoenix’s relatively small MexicanAmerican and African-American populations were rooted South of the Rio Salado. Keeping this in mind, the location of fire station also caters to the needs of transportation with a major transit center and upcoming light rail along Central Avenue.

The concept developed by splitting the station’s functions, with varying heights of the building. The contemporary building is designed with a simple form and materials of masonry for the apparatus bays and wood cladding for the living quarters and service areas.

The fire station not only stands tall in the community with a tower, but also operates as a focal point for participation in community events. The glass tower signals the location of the fire station as the “22” glows as a beacon at night. .

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ADE 522

ANNA UTTER

61% of Firefighters deaths are caused by cancer.

One of the leading solutions is a decontamination zone to intervene right after the firefighters return from calls. Tempe Station #8 was designed with this focus of decontamination. Providing architecture with a common purpose allows for firefighters to take necessary steps in removing harmful carcinogens and provides a sense of calm relaxation.

The entire station was built with their health and safety in mind, in conjunction with outdoor spaces and sunshine, it provides a sanctuary for these brave men and women to live. The goal of Fire Escape is to reconnect firefighters with nature, as well as a quality decontamination system, in hopes to prevent these brave individuals from losing their lives in the process of protecting all of ours. Calming interiors, outdoor environments, and peace of mind create a true escape for the firefighters.

ADE 522

ARIEL MEDINA

Situated at the foot of the South Mountain Park Preserve, the site for Station #62 poses challenges and opportunities. The topography of the site is wild in spots where a rise in the ground can give way to a steep slope down. Talking to people from the adjacent community, concerns were expressed about how a project would disturb nature and its processes occurring within the site. So, the path became to design a station that had harmony with nature, with the fire station program elevated to allow deer, coyote, and small mammals to pass. The building envelope also emphasizes the idea of participating with the natural ecosystem. The facades can host bird species and desert fauna. A desert green roof helps mask the building from Bursera Peak, accessed by the neighboring trail. Cooling needs for the station are met through radiant cooling, and concealed outdoor air units. Station #62 focuses on how a fire station can coexist with the desert, connecting firefighters to the recreation activities they support.

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ADE 522

COLE O’BRIEN

The design proposal for Fire Station 8, located in Phase IV of the NOVUS Innovation Corridor, seeks to re-evaluate the existing master plan for Phase IV as well as role that fire stations play in our growing cities. The redesign of master plan seeks to realign implementation with the values for the site: promoting mass transit, supporting athletics facilities, and creating useful, diverse outdoor space.

In this process of redesign, the fire station has been relocated to within an office building in a bid to explore how public infrastructure might be reimagined in a more urbanized fabric. The massing of this multi-use structure seeks to celebrate the arrival sequence of the fire engine through a careful “carving” away of the office building itself.

This

subtraction

creates

intentional

moments

of interaction in an overall design that carefully addresses both integration and separation.

ADE 522

JACOB CLUFF

Station 22 is fire station to be located in South Phoenix on the cross-streets of Central and Broadway. Along Central, a light rail extension is planned, bringing more activity in the area and giving more of a presence to the station. This added presence in the community requires a community amenity in addition to the living and work spaces to the day to day operations of a fire station. The community amenity took form as an interior space for community gatherings and exterior shade.

The form of the firestation was created using the dimensions of an apparatus bay and splitting it into two parts; program and circulation. These two parts became the rhythm ordering the project. In order to deal with the climate, a double roof was supported over the main building to shade it. The material used is Compressed Earth Block as a reference to traditional fire houses while having a lower carbon footprint and providing thermal massing to the building.

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ADE 522

JUAN LUIS FERNĂ NDEZ VALENZUELA

Fire stations have long service live and accommodate very diverse functions. These intricate functions must be approached by strategies that ensure rapid response from the fire team, and a design that preserves the health of firefighters and the community they serve. Fire station #9 looks to establish those strategies: an efficient layout that connects to the adjacent Phoenix Firefighters Association across Columbus Ave. Integrating spaces like community areas, gallery, fitness room, a library and a terrace allow pedestrians and association members to connect in one holistic space. Solar energy is a strong strategy in this project, and a central patio with a solar chimney promotes air flow and natural cooling to the core areas of the fire station. On its main façade, the sun will inscribe the word PHOENIX over the apparatus bay doors as an homage to the brave firefighters who serve the community.

ADE 522

KENDALL PLACE

Firehouses consist of apparatus bays, living quarters and a community component. My approach was to focus on the living quarters, specifically the dormitories. The current standard for a dormitory is a small, cold, clinical room. The dormitory is one of the most important functions of the firehouse. Rather than designing the space like a clinic, or a high performance building, how do you make a building that explores the idea of home? I was inspired by the pitched roof of a traditional home paired with the use of standing seam metal roofing, white stucco and brick that is seen on many homes throughout Midtown.

Adjacent to the firehouse is the Neighborhood Backyard, a community multi-use space designed to mimic the idea of your own backyard. It includes a community garden, a half court, and open field that can be used for neighbors and families to congregate.

My approach to rethink the traditional firehouse is a sanctuary that firefighters and community are proud to call Firehouse #9.

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ADE 522

MARK HERNANDEZ-SCHILLING

‘Desert Oasis’ is designed to connect the fire station with the landscape on the Southern slope of South Mountain. The project is raised above the ground allowing for wildlife and rainwater to freely flow through site. The project provides a place for firefighters to cool off following emergency calls in the desert heat, while also providing a haven for hikers climbing Bursera Peak. Sustainability is a focus of the design, which uses gabion walls and precast concrete for thermal mass in the apparatus bay and ventilated facades of weathered steel panels. Shade and shadow are key to the building and outdoor spaces. Butterfly roofs control sunlight, support a photovotaic array, and harvest rainwater to underground cisterns. The outdoor room supports Technical Rescue Training and safety courses for hiking, mountain biking, and other activities along the trail that passes through the site.

ADE 522

RACHEL MARIE FRAIL

“Unification” is an experience of nature and the links between community servants and the people they serve. The site features a public park with a retention area to serve the densifying Midtown community and combat the abundance of existing hardscape.

The structure is characterized by twisting precast concrete columns carrying a cross-laminated timber structural floor and roof system. Whenever the desert is blessed with rain, these precast columns direct water from the roof into the retention area below. The program is separated into the ‘house’ and ‘shed’. In addition to being a structural element, the precast concrete columns also serve to shade the façade of the ‘house’ on the east and west. Large overhangs on the south of the ‘house’ and ‘shed’ assist in creating passive cooling strategies for the summer months while inviting light in the winter months. Unification seeks to join public amenity and public service through the integration of a public park and community center with Fire Station #9.

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ADE 522

RAYVEN ALEXIS CANNON

Research into what the daily life of firefighters is like, I not only found out that firefighters do more than work, train and attend to the public in the fire station, but the fire station is their second home in which they sleep, eat and shower as well. This project focusing on creating an accommodating and comforting environment for the hardworking men and women of emergency rescue service with the acknowledgement and maintenance of a separation between public and private spaces. Firefighting teams are able to interact with the community on the public first floor. The second floor transitions into the private spaces of firefighters’ sleeping quarters and eating area while also featuring a view down into the apparatus bay that also provides borrowed light to the bay spaces. Transparency and separation connects and divides spaces throughout the fire station.

ADE 522

SHRISTI OJHA

With a motive of creating a project that provides respite from the urban desert context, the fire station seeks to create peaceful, quiet, cool spaces.

The introverted building does not attempe to draw attention. Spaces and apertures for light are carved from the mass of the building. The windows are shaded from direct sunlight while allowing relflected and diffused light to enter.

Dramatic spaces are revealed as you walk below grade through the canyons and inner courtyards.

The East wing of the fire station, which is a memorial museum, opens onto Columbus Avenue encouraging pedestrians to meander and ramp down into the public courtyard. This minimalist structure symbolizes peace and honor to fire fighters who lost their lives during rescue. The overall motive of the fire station is to give respect and a sense of pride, along with a peaceful environment to the fire fighters who rigorously risk their lives to protect others.

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ADE 522

SLADE SHEAFFER

My proposal for Phoenix Fire Station 9 is as much a community project as it is an efficient fire station, being located across the street from the Phoenix Firefighters Association. To foster positive interaction between firefighters and the community, the building includes a multi-use court, climbing wall, museum space, art gallery, and naturally cooled courtyard – all publicly accessible. The climbing wall doubles as a training tower and is hosted by an evaporative cooling tower, which cools the courtyard and interior lobbies of the building. A second tower serves as a solar chimney, evacuating air from the apparatus bay where vehicles and equipment are stored. Air services are provided through a porous floor plate, supported in turn by cantilevering trusses. This truss superstructure creates a cohesive façade for the entire building while shading the south-facing street front. Overall, the station provides a flexible and adaptable platform intended to serve current and future needs of both firefighters and the community.

ADE 522

SMRITI JAIN

Fire Station #8 in the NOVUS Innovation Corridor focuses on an empathic process which considers users, environment, society and culture, and other contextual influences by taking advantage of climatic elements, using efficient construction techniques, structural solutions and various active + passive comfort strategies that work together in making the design inclusive. To achieve optimization, this approach bolsters initial programmatic zoning and directs hierarchical circulation. The idea is to use site-based data to determine access points for different users of the fire station and to map their probable circulation, then working on a layout that allows unobstructed and quick circulation for all users – especially firefighters responding to an emergency call. Special emphasis was placed on engaging the public and encouraging community involvement without disturbing critical emergency response functions.

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ADE 522

TYLOR KERPAN

Fire station #8 in Tempe supports the new NOVUS Innovation Corridor. The building is designed to change throughout the day, the year, and to evolve over the 50+ year life of a fire station. The dorms feature moveable partitions with pocket doors, that carry the lockers and allow firefighters to control privacy and community. This will encourage comradery as well as respecting the privacy of a fire fighter. Atrium spaces allow the firefighters to connect to nature and each other in these outdoor spaces. These spaces will change through the seasons. The public face of the station is microperforated copper within a triple-pane glass system.

This facade will always have a pristine copper look.

The private side will consist of exposed copper panels that will weather and patina over time.

ADE 522

VAISHALI

Fire Station #22 is about light, biophilia and moments of interaction. First responders need space to relax and de-stress, so indoor spaces are extended into outdoor rooms. Place for interaction, for both firefighters and the neighborhood are focal spaces.

Firefighters spend a lot of time in dangerous and stressful situations, so the fire station needs secure places for rest and reflection. The surrounding neighborhood needs a community hall that can connect residents with urgent medical services. The public presence of the fire station provides a source of security and civic pride. Open spaces like the park, training spaces, and community event space for all can bring firefighters and the community together.

Future expansion space has also been identified for the future public investment.

ADE 522

05

ADVANCED ARCHITECTURAL STUDIO II PROFESSOR: Marlene Imirzian

Students: Rothi Bhattacharyya, Tirrell Dandridge, Amalia DeSardi, Andrea Fernando, Oriana Gil Perez, Alisa Hernandez, Brittany Hester, Srinidhi Krishnan, Atziry Madera Sabido, William Okpi, Kruti Patel, Abdulrahman Shogair, Pratima Tatikonda, Aishwarya Yadavally.

ADE 522

ROTHI BHATTACHARYYA

A very form-led design, the project follows a very strong functional narrative through its clear delineation of spaces. The two main blocks – the apparatus bay and residential quarters – are joined by a flex area intended for mixed use and living.

The form of the “flex” is a direct interpretation of the torsion of the muscles when people stretch and relax. “Purpose” in the living acts as a link between the functions of the fire station and the public. The sculptural form acts as “movement” and gives direction to the flow of spaces and functions, allowing for swift response and action from the firefighters as a response to emergencies. Materials and structures work in tandem to perform as a single entity with a strong purpose.

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ADE 522

TIRRELL DANDRIDGE

Fire station 22 located on the south east corner of Central and Broadway is designed with a dynamic floor plan in focus and programmed in a way to not only bring the fire station and the community together with its wide range of amenities that allows for community involvement and education, but it also serves as a comfortable home for the firefighters providing everything they need to relax when they aren’t out being superheros. The dorms to the south of the building branch out without a courtyard in the center featuring a private pool and jacuzzi. North of the building is zoned for offices when it’s time to get to work. The training center is located to the west of the building near the kitchen, so the future superheros in training can eat and join the rest of the team when it’s time to take a break. Fire station 22 brings security, is a safe place, and brings the community together.

ADE 522

AMALIA DESARDI

First responders, specifically fireman, are committed to helping others in their local community during tragic times and often are self sacrificing their safety for the lives of others. As my brother is a fireman back home, I have seen the affects of a tragic call on him and his team. Therefore, I rooted my design around five major influences: 1. First Responder 2.

Union Hall 3. Family 4. Physical Health 5. Mental Health. With these in mind, the design was driven to provide space to ground the fireman in nature and natural light to promote a healthy mind and body.

As an architectural language moving forward, I used large massing and carvings to bring in natural light. The large gesture of the arch acts as a light well to bend light throughout the space. And the carving provides the opportunity for a small indoor courtyard. Midtown Fire, Fire Station #9 is located E Columbus Ave and N3rd Street, directly situated across from Phoenix Fire Union Hall. It was an intentional gesture to situate the station’s entrance to directly face the Union Hall.

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ADE 522

ANDREA FERNANDO

This Fire station is situated in south Phoenix near edwith a usable surface area of approx. 23000 square feet. The design focuses on the desire to stabilize and restore the well-being of the fire fighters by providing patios, gardens and other recreation areas where they can relax and help relieve stress.

Another important feature of the design is to engage community providing them valuable insights on how the area functions and understanding the critical issues around them. The building can be divided into three zones: apparatus bay, post intervention unit and humane area. The first floor consists of apparatus bay, offices and other common spaces and the second floor which is dedicated for sleeping.

Firemen socialize in their living room with a view of the south mountain and a beautiful garden.

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ADE 621 ADE 522 ADE 621

ORIANA GIL PEREZ

ORIANAGILGILPEREZ PEREZ ORIANA

When think about fire stations we think about When we think about fire stations think about When wewe think about fire stations wewe think about the brave services that the firefighter provides, their the brave services that the firefighter provides, the brave services that the firefighter provides, theirtheir strength, and their compromise to help help others, but strength, and their compromise others, strength, and their compromise to to help others, but but we neverstop stop think about their mental health we never toto think about their mental health we never stop to think about their mental health

and how event throughout their affects and howeach each event throughout their shift affects and how each event throughout their shiftshift affects them.

This fire station is located in Tempe Arizona them.This This station is located in Tempe Arizona them. firefire station is located in Tempe Arizona and desires toto use architecture and design aa tool and desires to use architecture and design as aas tool and desires use architecture and design as tool tototo support firefighters’ mental health.

Embracing support mental health.

Embracing supportfirefighters’ firefighters’ mental health.

Embracing

natural sunlight into the rooms, open spaces, and the natural sunlight into the rooms, open spaces, and the natural sunlight into the rooms, open spaces, and the use of a courtyard and views to the landscape use of a courtyard and views to the landscape that that

use of a courtyard and views to the landscape that

give mental breaks breaksbetween between the programs of fire the fire give the programs of the givemental mental breaks between the programs of the fire station. station.

station.

453

ADE 522

ALISA HERNANDEZ

“I would like to start out by saying that this semester has been the hardest one of my educational career.

Not only due to the current circumstances, but also by the level of seriousness and integration this project required. Fire Station No. 08, is a project that considered and integrated a realistic approach to a structural system, a strict spacial program, and mechanical systems. The site is located in an area that is undergoing development for ASU in Tempe, AZ. My approach for the project included a very deep connection to the view corridors as a sense of “reaching out” to the community. This approach translated beautifully, since it also reflected what the role of a fireman in a community is, to reach out and care for the immediate community surrounding them.

Following this concept, the rest is just history. All in all, I feel very proud of the progress and constraints that challenged me as a designer this semester.”

ADE 522

BRITTANY HESTER

I had site 62 which is on South Mountain in Ahwatukee. It has beautiful views of South Mountain and the Estrella Mountain range. For my concept I wanted to focus on the views and the trail that runs through the site. So the apparatus bay is facing south and focused on the surrounding developments, with a mezzanine that acts as a balcony looking south and can be used for training. The living and admin portion of the building is focused on the South Mountain with the views directed north. There is a grand window in the living area, the dorms are upstairs with a balcony looking down at the living area so they get some natural light and so they are not isolated. The community center reaches out towards the trail where it marks the start of the trail head and also can be used for educating the public on safe outdoor activities. The community center also has a balcony that gives you a view of both South Mountain and the southern end of the Estrella mountain range while also creating a different perspective of the trail.

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ADE 522

SRINIDHI KRISHNAN

The

site for the fire station is located in South

Phoenix, surrounded by various commercial and residential activities. It is located at the intersection of Broadway and South-Central Ave which are roads bustling with traffic throughout the day. The design focused on providing users maximum ease to carry out their daily operations with comfortable living and sleeping areas. The spaces within the building were designed with careful consideration of the mental and physical wellbeing of the fire fighters.

The building makes use of the surrounding view corridors by having patios which project outwards overlooking the mountains. The building makes use of climate responsive and sustainable materials like The EIFS wall systems with copper cladding which blends with the backdrop of South Mountain. The role of community also plays an important function in the design, wherein the spaces for social interaction and relaxation is created for the public, where they can escape the scorching heat in summers.

ADE 522

ATZIRY MADERA SABIDO

Fire station 62 is located near South Mountain in Phoenix, Arizona. The concept is to mainly facilitate all the functionality for emergency response and serve the surrounding residential community as well as the trails of South Mountain Park. The design is layered to function for living, working and a space for community; but separating private vs public. The spaces are designed to take advantage of the great views, the native landscape and space for outdoor actives. Shou Sugi Ban, is a tradition Japanese technique, that provides protection from rot, water, and insects. Charred wood was used in order to salvaged wood surface and give it a new meaning.

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ADE 522

WILLIAM OKPI

Considering that the occupants of the fire station will be on a twenty four hours shift, and living most of their daily life in and the station, I considered it important to create conducive living and working spaces. With huge floor to ceiling windows for the offices and sleeping quaters that open up to a central green space/courtyard, occupants of Novus 8 firestation will feel right at home.

For this project, the general design strategy was to create volumes that follows the triangular shape of the site. in terms of functionality, the most important consideration for the layout was to map out enough space to accommodate the huge turning radius of fire trucks. So the apparatus bay is situated East of the site which is t the wider end of the triangle. The living area is next to the apparaus bay and consists of two levels: the offices and gym on the ground floor while the kitchen and sleeping areas are located on the second floor.

Knowing that fire stations are public infrastructes that interface regularly with the public, it became necessary to include a public space in the project.

ADE 522

KRUTI PATEL

Human centric approach, the main drive for the architectural solutions & Spatial arrangement in the project, aimed at providing maximum quality for the work environment & helping the employees to ease fatigue & stress, as well as to deal with being sequestered from the outside world. The activities are juxtaposed in such a way that it captures sensation of movement by creating sequence of spaces like public to semi-public to private. Moreover, the community space will act as a link between public and the fire fighters enhancing their presence. The passive green building technology is employed, which emphasizes natural lighting and ventilation to explore the practice of energy efficiency.

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ADE 522

ABDULRAHMAN SHOGAIR

My project is a fire station located in Tempe with an area of 68,000 S FT. The challenge with this site was its complicated triangular shape. However, this complex site has shaped my concept. I decided to take the land shape and apply it to my project. I took this idea a step further by dividing the shape into three triangles based on my program functions, the dormitories area , the living area and the apparatus bay. Each triangle is pointing in different directions to symbolize how the fire station reaches out to the community in all directions. Finally, the triangular shape represents equality and strength , with the equal angles and the stability a triangle makes.

ADE 522

PRATIMA TATIKONDA

The design intends to create a relationship between the Phoenix Fire fighters Association and the proposed Fire Station. Community Area designed to have visual connection with the adjacent Fire fighters Association. Programming of the building done to correspond to the hierarchical arrangements of spaces and their uses. Spaces organised such that firefighters have easy access to the apparatus bay from their daily activity areas. Apparatus activities separated from the other activities in the site to have clear segregation of zones. Administration Area developed to act as a barrier between the public and private zones within the site. Viewing area on the second floor allows firefighters to relate to all the activities going on within the site. Materials and strategies developed with the intent to interconnect with the adjacent Firefighters Association apart from improving the building performance.

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ADE 522

AISHWARYA YADAVALLY

“ Sunshine all the time, makes a dessert �

The site being on at the foothills of the south mountain gives an abundance of design opportunity with regards to the existing natural view of the wash on the east and mountains towards the north. The main entry to the site is through the south of the site through chandler blvd. The concept of the fire station is informed by the site and its topography.

It is also about considering the technicalities of a fire station where time and movement of trucks and firefighters play the most crucial role. This bought me to a point where the zoning of the site became the most important aspect of the design. Apart from the zoning and topography another main important thing that drove my design is the climate of Phoenix.

The hot dry arid climate in Arizona required me to consider various shading techniques for the glazing on the south and west and also horizontal trellis shading for the windows in the east and north of the building.

ADE 522

05

ADVANCED ARCHITECTURAL STUDIO II PROFESSOR: Edmundo Soltero

Students: Adrian Castro Martinez, Christopher Fernandez,Douglas Lusson,Henry Erives Quintana,LaDawn Bentley, Quentin Miller, Samuvel B. ThanaEdison, Shasta Percival, Shreyank Vadel, Siddhartha Rajesh Verma, Skye Gillson, Spencer Mitchell, Tejaswita Bhardwaj, Tiffany Hartono, Vishakha Tuljapurkar, Yanela Nunez Ventura

463

ADE 522

ADRIAN CASTRO MARTINEZ

Fire station #62 finds itself in the middle of a growing up class suburban community and an alluring desert landscape that constantly morphs. the site blends into the desert undisturbed by its immediate context. for the station to have a synergetic relationship with the site, the natural and cultural environments should influence it.to address these, there could be a series of insertions into the landscape influenced by the forces in the site. these insertions will be the central spine of the fire station, guiding program, circulation, services, and structure. The insertions will take the form of retention walls and work with the topography to organize the 3 different programs. the site orientation to the south will require the insertions to shade themselves and due to the wind drafts from the mountain, the insertions will open to let the building breathe. the insertions should allow the community to interact naturally with the site.

ADE 522

CHRISTOPHER FERNANDEZ

Fire Station as a Trail Head. The south mountain site has two existing trail entrance locations and in placing the fire station directly on the trail it will become part of that existing system it allows for its current users to mingle with the new fire fighters that inhabit the site. By separating the programs of the station, it enforces the idea of the station becoming a trail head. By doing so, creating more destinations in the trail system that aids in the fire fighters becoming a part of the shared environment. Between the four major programmatic buildings there would be a physically connecting feature. The buildings will have a fabric shade structure that would break up the heights of the buildings while creating a unique shaded path below. As the trail progresses through the site, the farther from the station campus the path gets sparser, showing the slow progression into a more built environment.

465

ADE 522

DOUGLAS LUSSON

A rugged hiking trail and wash - etched over time - transverse the eastern half of the site and serve as a reminder of the destructive forces of humans and nature.The design response seeks to preserve, leverage and co-exist with nature. Buildings required to touch the earth shall be of the earth, while others shall float above. Walls are made of rammed earth from local soils to be climate responsible and subordinate to the natural terrain. Large overhangs from the copper vented roof assembly shade openings, while monuments and clear story windows flood spaces with natural light and ventilation. The floating structures are surrounded by decks to facilitate the rapid responses to calls and engagement with the public. A multipurpose training center and community space, openings, lookouts and outdoor spaces maximize sensory experiences and celebrate the Sonoran Desert, while private balconies and architectural features provide a respite from the stressors of the job.

ADE 522

HENRY ERIVES QUINTANA

This is a fire station with the intention to understand both sides of the private and the public. Their needs could be just an open space that has different objects that have multiple uses. These objects can just be a simple thing that provided shading, sitting, water, and flexibility. This flexibility is in order to create spaces that is not forced upon the user but are adapted into it. The reason I want to create this connection with the community is because of the history of South Phoenix. So this space instead of being a formal space, I want it to become an informal space. Why informal because this is a common space to see in south phoenix. That’s the community aspect of the fire station but the programmatic take into account how firemen work and how they need a separated space in order to fulfill their duties. So when thinking of both the best parties, the best thing is to have a separated circulation and have a cored area where both share the space.

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ADE 522

LADAWN BENTLEY

A fire station is an integral element in the location it serves. It embraces the neighborhoods, the urban edge, the businesses, and most of all, the people in the community. The new Midtown Fire Station #9 is in the heart of the financial district, near Osborn Road and Central in the downtown Phoenix. The concept for this fire station is to extend a “welcoming hand to the community.� The Midtown community is about coming together, sharing our neighborhoods, and embracing the nearby businesses. Fire stations help make connections within a neighborhood and embrace each other in unknown times of need, sickness, and resiliency. They are the key to citizen engagement. As a public entity serving the community, a fire station engages the community, educates the public, and provides specialized training. Therefore, an essential first aid clinic is a necessary feature to implement into to help people with minor injuries since firemen are on duty twentyfour hours a day.

ADE 522

QUENTIN MILLER

The idea behind this fire station’s architecture was to create peace and relaxation in one’s daily chaotic and unpredictable life. The station also sits right next to a popular hiking trail that leads to the mountains.

These hikers will be the ones who can interact and experience the architecture of the building. The covered patio on the ground floor was designed for the public or for the firemen to gather and meet or train in this space. At one end of the covered patio is a secluded room with a fireplace that allows for a person or persons to meditate or reflect. Along with that up on the second floor another covered patio has beautiful views of the mountains looking North West. Inside will be a living wall that exists up on the Captains exterior wall and another desert garden placed across the interior entrance of the gym. This building is designed to give the fire fighters a place zen and relaxation.

469

ADE 522

SAMUVEL B. THANAEDISON

The site chosen for this project is station 9 in midtown phoenix. Since the site falls under the transit oriented development, it has its constraint of following the site setback by 6 feet abutting the road for better accessibility and approach between the built structures and the pedestrian circulation, hence architecture has been used as the bridge to connect the pedestrian path along with the fire station through different phases of design development.

The site is connected by roads on all 4 sides, so the core functions can be gathered on the centre and pedestrian circulation can happen along the roads.

Having the apparatus bay as a main functional area and placing rest of the functions around it, creates a natural open space at the centre of the site which resembles the concept the agora.

ADE 522

SHASTA PERCIVAL

Nested at the base of South Mountain, Fire Station 62 realizes the importance of water to both fire fighting and its desert location — For it is water that firefighters use to save lives, and water that activates the site through its many washes. Water introduces a new sensory experience to the desert, intensifying the scent of creosote, enhancing the quality of light, and bringing rare sights and sounds to the area.

Fire Station 62 aims to celebrate water as the link between its occupants and the site, as well as its enhancement to the desert’s sensory components.

Low, sloping roof lines enable the fire station to both collect rain water and give it back to the site’s delicate ecosystem. The fire station program, coupled with a visitor’s trailhead pavilion, will enable firefighters and the community to build a closer connection with nature and each other.

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ADE 522

SHREYANK VADEL

Urban security is not simply a matter of policing: it is directly related to the quality of public spaces and their ability to attract people onto the streets.

The site is located in the South Pheonix, which is known for its criminal activities . Public spaces are connected to collective identity, everyday life, and the ways that we interact and meet one another. So I briefly describe my concept as Eyes on the street and tried to formulate a program which merge with the fire station, juxtapose the activities in such a way that it creates nautural survellience by developing sequence of spaces which resolves the issue at ctiy level. understanding the complexities of fire fighters along with danger which they hold with themselves, the idea of the project also resembles the importance of fire fighters to the community by connecting public ares with private via semi private.

ADE 522

SIDDHARTHA RAJESH VERMA

I was inspired by a floating cloud, casting a shadow on our site in Tempe, AZ. The firemen in their fire trucks are like little man-made clouds which shower water/ rain wherever required. Our site number is 8, therefore, I call it “Cloud 8 Firestation.�

It gets pretty hot in Arizona and firefighters are fighting fire so the idea is to balance their lives with all other natural elements using passive cooling techniques, and create an oasis for their physical and mental wellbeing.

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ADE 522

SKYE GILLSON

The stage is set, a signal has rung, performers run to their positions and start their first scene of their enactment of their show. Loud noises ring out, lights flashing, and all chaos is breaking out for a split second. The audience is in disbelief in what is happening and can’t help but watch what happens till the scene comes to an end. The next scene begins with the audience getting a close look at an iron monster with flashing lights and load roar but no intent to harm, but wait, there people riding that monster. This is what the audience will portray the hero to be; that is just what is described today as our firefighters, riding an iron monster to assist those who are in need. Their stage is always set ready for a show, no matter if there is an audience or not. The City of Tempe is pleased announce the Performance Ready Fire Station on the Novus development site.

ADE 522

SPENCER MITCHELL

With the growth of the city this fire station needs to focus on two things: The fire fighters ability to prepare and handle high rise fires and, to handle the stresses of thier jobs. This space can be used and adapted to meet the needs of many purposes.

What my project has to offer is the ability to train for high rise fires. The different hights and slopes and overhange porches will help with the different challenges that they might fiace. The different spaces in and out of the building will also help with training.

This fire station also has a place for rejuvenation for our fire fighters. These areas allow for fire fighters to relax and gather themselves. There are private and common places where they have the space to rejuvenation. This space also creates a unique for other training.

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ADE 522

TEJASWITA BHARDWAJ

The concept is to disassociate public areas from the main functional building to ensure minimum interruptions in day to day activities of a fire station.

In the case of emergency/ duty call, firemen get a window of 60 seconds to prepare and head out of the station. This is a very small window and to maximize the time optimization, the public spaces are segregated from the main functional areas. Another reason and a challenge was to bring in community engagement in the fire station. Trained battalion of the fire station can engage into some community activities wherein the main function would be to treat the fire station community area as a teaching space for fire drills, fire evacuation, first aid, etc. This community engagement area can be used for various other activities to incorporate some fun sessions in the space. Therefore, the concept runs around separating public and private areas by incorporating community interaction space/ training area.

ADE 522

TIFFANY HARTONO

I wanted to create a place where the firefighters can find some peace despite their hectic work life.

I started by separating the more public programs from the private using different floor levels. I also separated the mechanical and storage rooms from the living spaces by locating them on the west end of the apparatus bay while the public and private programs are located on the east, to prevent the harmful pollutants from being tracked back into their living spaces. The private sectors are located on the second floor to separate the personal living spaces from the louder public spaces. I arranged the program of the second floor in a courtyard style so that there was a private gathering space for the firefighters. The winding pathway of the western landscape structure creates instances of privacy with the rectangular concrete and rammed earth veneer planters, creating an outdoor semi-private space for the firefighters

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ADE 522

VISHAKHA TULJAPURKAR

When we think of fire station few words that come to our mind are sacrifices, growth, change and support. These words struck me as well while doing research and case studies I did for this problem. So, these words have been my focus and helped me to come up with a story that I want to tell through the design of this fire station. Fire station is a support system of society they are available and always are prepared for any situation. While being support for everyone the people who are behind all this our action heroes must scarify so many things, they are always at risk of losing life and loved ones. They know and understand feelings of losing loved once.

Despite that, they are doing their duties. From all this they are growing and changing. Any event in one’s life leads them to learn a lesson. From all these experiences we develop and try to adopt positive changes to lead a better life.

ADE 522

YANELA NUNEZ VENTURA

Firefighters could be considered real-life heroes; they are human beings who constantly expose themselves to stressful events, to serve and help their community. Unfortunately, all this risk and heroic action comes with consequences. Prolongated stress is part of their lifestyle, and research has shown that stress is a silent and lethal killer that may cause cancer when it reaches chronic levels. Despite these discoveries, very little to no attention to the mental strength of the users is paid by codes and fire station’s design guides. These guides are focused in architectural programs that provide firefighters with facilities to maintain their physical strength, and no physical spaces are destined to the mind training. The main goal of this architectural project is to design a Fire Station that performs efficiently for emergency response but also provides firefighters the spatial conditions to help them mentally recharge and get ready for their next battle.

6th Year

ADE 622

06

ADVANCED ARCHITECTURAL STUDIO II PROFESSORS: Michael Rotondi / Max Underwood

Students: Tarek Attar, Jennifer Churchia, Aditya Pramod Dalal, Avinash Dewangan, Eric Dibella, Alaa el Anba, Michaela Greene, Kodi Jahfetson, Olufela Joda, Megha Khandelwal, Nhu Le, Yesenia Leon, Mitchell Maxfield, Monique Paulis, Rikkie Pedregon, Donnella Quijano, Jazmine Salley, David Shirk, Brandan Siebrecht, Prachi Sugandhi, Aishwarya Ubhe, Vlad Vermesan

481

ADE 622

TAREK ATTAR

This site is a geographical dime that represents a treasure map of natural jewels. The design intervention’s goal is to go beyond the Natural Concervancy’s mission at Ramsey Canyon, AZ. If, preservation of such recources and habitat is their intention, then how can design enhance their vision?

The concept and masterplan launched smoothly after discovering that the site is a perfect location for a local water collection, storage, managment, and an ancient filtration system that depends simply on naturall processes. What if the creek were a necklace of ponds that trancend Ramsey canyon into a natural resiovore, regional water filter, and local attraction?

Focusing on architecture that seemingly disappears as visitors go deeper into nature is the startegy while, giving clear cues to go deeper by following the ponds, where people wittness different threasholds, habitats, and experiences along the way. This will extend the Concervency’s resposibility towards water, habitat, and people.

ADE 622

JENNIFER CHURCHIA

The Ramsey Canyon Nature Conservancy project aims to support the mission of fire management, water restoration, and species protection through enhancement of the existing features. In order to preserve and celebrate the natural landscape, the interventions proposed in the project are carefully tucked into the topography so guests can forget about the built environment as they go deeper into the canyon, where architecture is the lightest. In order to minimize disturbance to the native plant and animal ecology, the new compact earth sheltered Visitor Center provides a functional duality - to support the program of the Center and create a overlook to pause and contemplate. The structure relates vertically to the mountain and horizontally to the cascading network of ponds below that flow into the San Pedro River Basin. By respecting the nature of the canyon and enhancing what already exists, guests will be left with a newfound appreciation for all that Ramsey Canyon has to offer.

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ADE 622

ADITYA PRAMOD DALAL

Life Unfolding This semester’s Studio started with me working on my own on the storyboarding and creating videos. It was a very fun process because it was all about creating a story rather than thinking about an architectural solution. The second half of the semester I joined hands with Yesenia Leon who I thought had a similar perspective on nature as I. ‘Life Unfolding’ is a journey of self-discovery, reflection and which would make you think about the way we perceive and experience nature. The main idea was to use nature as an architectural tool for creating spaces because we believe that the power of nature is the ultimate one and it has to be respected no matter what. Using old wooden logs, broken twigs, jute ropes, rocks, stream .

ADE 622

AVINASH DEWANGAN

Technology and its vast usage among generations of people has shaped our social-economical life, it has also changed the way we learn, inform, behave, socialise or even communicate. It has become an important tool to explore problems but on the other hand it is also making people less critically involved in general tasks as they are getting disconnected with nature. Nature has a unique phenomenon of growing, healing, creating, innovating, evolving with the power to transform our lives by infusing all our senses. What if as a community we create a unique connection of nature and technology by influencing the way we learn about things. What if we create Architecture as a living organism responding to nature, inhabitants and wildlife. This unique connection can be a new way to evoke consciousness, curate curiosity, learn, discover, find connections and inspirations in nature. A place where anyone can be a scientist just by opening their consciousness, looking deeply in nature and with a desire to learn.

485

ADE 622

ERIC DIBELLA

Welcome to Ramsey Canyon 2070. A place to enhance user’s understanding of the vast and diverse ecological zones as seen throughout the canyon.

Utilizing the existing path and stream as guidance, users are given an enhanced experience through material interventions like wood, gravel and grass.

This was a crucial step in allowing the user to get “lost” as they make their way up the path.

Our first move to start this journey was to relocate the parking to the base of the mountain at another property. A new trail would be created to take guests to the visitor’s center. Ramsey Canyon has different ecological

zones

already

present

throughout

(marshlands, meadowlands and grasslands) and where the stream currently pools, the ecological web is apparent. Enhancing these already existing features, allows the ecological web to flourish; in each zone comes with different life and new discoveries.

ADE 622

ALAA EL ANBA

Take a Step Back When visiting Ramsey Canyon for the first time, I noticed that human had a high physical impact on nature. To keep up with the Nature conservancy statement philosophy, I decided to minimize human impact on nature by creating an elevated path throughout the canyon. At any given time, you have two different paths to choose from going in or out of the trail. Along the elevated path you can find different moments where you get to interact with animals from the canyon, trees, as well as another human being visiting the canyon like: social interaction intersections, bird feeders, up close birding experience, little escapades, and multiple seating areas around the trail. With these little changes I tried to manage human interference with nature to as little as a 20% while leaving nature thrive.

487

ADE 622

MICHAELA GREENE

Nestled at the intersection of diverse ecology and a captivating history Ramsey Canyon Nature Conservancy is designed with exploratory learning at its heart. The lower site is home to parking, a bicycle share, hike-in campsites, and a trailhead connecting the lower site to the preserve. Climbing up towards Ramsey Peak visitors discover the green space and visitor center. Stripped back to its historic floors and some existing walls, the newly redesigned visitor center frames a courtyard mirrored by a new addition. This addition is built into the wall of the canyon, allowing the roof to become an extension of the canyon itself. The existing visitor center holds a lobby, a small market, and an administrative lounge.

The addition is home to a reconfigurable space with moving panels that can display educational materials or exhibits for various events. Branching from the courtyard into the canyon the main trail extends into memory and challenges trails paired with landmarks throughout the canyon.

ADE 622

KODI JAHFETSON

The cubic root of 2070 is derived as three being the number of structures being placed on the site, the cubic root is derived from the roots of a tree as a tree is what gives life to us all and 2070 is the year of the futuristic outlook on the state of Ramsey Canyon. Presently we all know Ramsey Canyon as a world class birding destination. But it is only open during the day and I believe it is missing out on a big opportunity to explore the ground, treetops and atmosphere at night. Embarking on a journey through Ramsey Canyon at night, gives you a whole new perspective of how its ecosystem works. Through the use of selecting the correct architecture and calculating formations, the resulting product is an A-Frame, treehouse and lookout tower that captures the nighttime characteristics of Ramsey Canyon.

489

ADE 622

OLUFELA JODA

Our objective was to create a mindful and immersive experience for visitors within Ramsey Canyon preserve, while paying attention to the site ecology and its layered relationships. Our Ramsey creek intervention involves slowing the water flow and creating more ponds to revitalize the creeks riparian ecology. To enhance the trail we have introduced gravel, timber and grass to the existing earth path to change the topography and experience on the rail. The new visitors center is designed to give a full experience of the breathtaking views within the canyon without being intrusive. We have also designed an urban streetwear line which takes inspiration from specific species native to the Ramsey Canyon. This line could be a valuable source of income and outreach to The Nature Conservancy Ramsey Canyon Preserve. The line also takes the conservation conversation into the public realm because urban streetwear is a fundamental part of our modern lifestyle.

ADE 622

MEGHA KHANDELWAL

Ramsey Canyon’s unique geographical location makes it the one with the most diverse flora and fauna. The overlap of history and this uniqueness makes Ramsey canyon perfect for more human interventions in the canyon through trails. This is exactly opposite to my proposal for the future of Ramsey Canyon. Instead of adding more human experience, I imagine subtracting these human interventions and make this all about wildlife. I realized the need to control humans in the natural ground, to give wildlife more freedom. This missing experience will be provided by the Nature’s Interpretation center in the start . In the canyon people will use the elevated stops hiding around to observe the wildlife around. They will travel between these stops and will spend minimum time on the ground. This will make the wildlife more accustomed to the canyon and will have a greater sense of place.

49 1

ADE 622

NHU LE

Ramsey Canyon Preserve is becoming one of the few, last places where people from all walks of life can experience being in nature just as our ancestors.

In order to re-establish this age-old connection, digiNature repurposes technology to strengthen the bond through immersive learning and interaction through both analog and digital means. Throughout the Preserve, small structures act as passageways and resting places for all living organisms that visit Ramsey Canyon. Using the least amount of materials as possible, each birdFLY respectfully touches its surrounding landscape. The thin structure slowly disappears as nature takes over. Aiming to shift the human Egolistic mindset to one that understands we are part of the same Ecology, birdFLY allows people to take on different roles in nature, to be able to empathize with the many flora and fauna that we often overlook. This birdFLY in picture portrays the experience of a bird’s flight.

ADE 622

YESENIA LEON

This project was very special to me as I was able to integrate several of my interests together.

Ideas of play, movement, physical, emotional and spiritual well-being, mindfulness and the attempt to reconnect people and nature. As I look at my life as a young architecture student, I’ve noticed that we tend to be sitting the majority of our day and constantly overworking. This project was a reminder to everyone to give ourselves time to explore, “be wild� and detach from our daily routines from time to time. It is also a reminder that the more opportunities we have to be in places like this beautiful project that my boyfriend, Aditya Dalal and I designed together, Life Unfolded, with rock walls, swings, reflection points, intention and listening towers, that we will be able to reconnect with nature, ourselves and with our friends and family..

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ADE 622

MITCHELL MAXFIELD

Ramsey Canyon is known for being a unique place where diverse ecosystems come together as they migrate to and from their seasonal homes. My project took cues from the canyon to create a space where the transient wildlife and visitors could create a new “home away from home� together, and through the process learn from each other of their own unique roles within nature. Its overall form and materials will be shaped by those that temporarily reside there. The exterior shell is composed primarily of fallen branches, but will further be improved upon by birds, ground squirrels, and visitors as they dress the shell to fit their needs. Likewise, the floor is made of rammed earth which is carved by the stream as it traverses passed it. This pavilion will grow with the canyon, and seemingly vanish into the existing landscape as it ages with the seasons.

ADE 622

MONIQUE PAULIS

The

Preservation

and

Research

Center

was

developed by asking how can we combine nature with man-made in an organic and symbiotic way?

How can we make something that will leave a positive mark now and still be used by our animal hosts long after humans are gone? How can you educate people without lecturing them and foster a natural curiosity? The answer was a structure that would be almost completely open, containing interactive and experiential sound rooms to amplify the sounds of nature and provide a sensory education that encourages learning as visitors simply go through the procession of the site. The center was created with all inhabit-ants, both human and animal in mind.

It is designed to be left open and allow all who want to en-ter. Animals have free reign to come and go through the spaces as they please and many have special touches to accommodate our animal hosts.

Thus, creating an environment for all to con-gregate and reconnect in a way that has become lost.

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ADE 622

RIKKIE PEDREGON

The memory pavilion lets you share your experiences with one another, whether it be a bird that was found by chance or a conversation with a loved one you wish to have forever. Ramsey Canyon then acts as an archive of human-nature connections, using augmented technology to transcend our act of storytelling and memory. Thin, tube-steel and cable blend with nature over time, allowing flora and fauna to occupy the structure as it sees fit. With younger generations being raised entirely within a digital environment, we begin to wonder, “What is our future relationship with nature?� Ramsey Canyon preserve is becoming one of the few, last places where people from all walks of life can experience being in nature just as our ancestors. In order to reestablish and re-imagine this age-old connection, digiNature re-purposes technology to strengthen the bond through immersive learning and interaction through both analog and digital means.

ADE 622

DONNELLA QUIJANO

Our connection to nature is vital to our health and happiness as it relaxes, rejuvenates and inspires us. There may be times in our life where our ability can limit our physical activity and we lose those opportunities to enjoy nature. Grandparents relish the opportunity to see grandchildren light up in discovery. What a wonderful opportunity they have to share the love of nature and teach the value of the resource it provides. Ramsey Canyon is the perfect preserve to introduce and share nature adventure.

With enabled paths for a variety of fitness levels, Ramsey Canyon welcomes all. From the upper deck of the visitor center, the higher trails can be easily accessed. The bridge to the mountain side trail looks like a fallen log with protective pine needled branches protecting the people on either side. Vines cover these branches, attracting butterflies all around.

From the bridge the creek can be seen up and down the canyon allowing visitors to see Ramsey Canyon’s diverse and unique beauty.

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ADE 622

JAZMINE SALLEY

With the help of a multi-faceted approach of nature and technology, The Nature Conservancy Ramsey Canyon Preserve can foster an agency for nature with new and existing visitors. When it comes to “nature,” we have an idealized notion of what we think it should be, and not accepting for what it is.

In order to shift our own perspective of nature, we must shift our visual perspectives and experience nature through “nature’s eyes.” The first approach, is adding images and videos to the current website, captured by cameras within the preserve. The next approach is an app that will allow users to explore Ramsey Canyon through the senses, and capture photographs and videos from various perspectives. The last approach is an immersive sensory experience, that will utilize the content from the website and the app. Visitors will experience the sights, sounds, smells, etc. of the different layers within the ecosystem of Ramsey Canyon.

ADE 622

DAVID SHIRK

In my Ramsey Canyon project, I looked for ways that the Nature Conservancy could expand their healing of nature to include humans. I identified four aspects of human health that can be made whole through the connection of nature. They are, physical, social, subconscious, and spiritual. Each space is designed to enhance the connection with nature while helping the visitor find ways that nature heals them. Shown here is the Spiritual Garden. The spiritual garden is quiet space meant for reflection. The implementation of the labyrinth provides a space for meditation but also to help facilitate discussion. It helps participants face each other, eliminating sides which has proven to help participants feel respected and bring down any boundaries individuals may have with one another. The tree at the center of the circle prevents you from arriving at the destination. This represents our everlasting search and quest for understanding and healing.

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ADE 622

BRANDAN SIEBRECHT

This project aims to develop a stewardship with nature, by creating a deeper relation-ship through firsthand experiences and hands-on involvement.

By redesigning the visitor center, this project brings an awareness to the local ecology and reconnects the community to the natural world. A stewardship offers a way for the visitors to give back, by placing a memory stick with three types of functions: a stick that grow over time, a seed stick that can be planted, and a carving stick that allows visitors to leave a lasting memory. A new infrastructure along the hiking path that allow for the placement of the sticks. Over time, the sticks will form a new surface that allows people to sit with the memories. While marking memories, people will simultaneously perform an act of stewardship by creating a deeper relationship with the place. Each individual stick will benefit the nature conservancy by encouraging new growth and adding sentimental value.

ADE 622

PRACHI SUGANDHI

Adventure travel is not always about riding waves and ascending heights, sometimes it’s about heading inside, to explore the realm of our inner worlds.

Some come here for healing, either the healing of the heart or the healing of the body. As they quiet themselves, as they walk in nature, as they listen to their own breath and thoughts more deeply, they grow a sense of stillness and clarity. When you are mindful of something, you are concentrated on it and the power of mindful concentration can help you see things as they really are, and you discover the nature of interbeing. These spaces are smartly designed for us to keep looking out at the forest and connect to the mother-earth to create space for transformation and self-healing. Let us let go of who you think you are supposed to be and embrace who you are.

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ADE 622

AISHWARYA UBHE

Every tiny thing in Nature works together to maintain an equilibrium to sustain life on earth.

It’s about time we accept that.

This design is a journal about self-awareness.

My emotional journey into Ramsey Canyon which led to self-discovery.

My vision for the preserve is to create moments of sensory experiences throughout the trail to achieve multiple

ecological

interactions

which

would

heighten our sense of Nature as we move forward on the journey.

ADE 622

VLAD VERMESAN

The Tower of Nature is a place of human exploration at the foot of the Ramsey Canyon, and it includes a lobby, visitor center, museum, accommodation, restaurant, conference center, indoor gardens and penthouse restaurant. As part of the architectural design, the possibilities of parametric design were experimentally explored to mimic Nature’s genius.

The phyllotactic shape is designed not only to harness light and maximize sun exposure, which can be harvested for energy, but also to provide stability thorough branching further from the core and anchoring on a vast surface of the sloped terrain. The exoskeleton, with its hollowness and organic style, is inspired by microscopic bird bones, symbolizing lightness, continuous reshaping and recycling.

Serving as a model of a new type of integrative, eco-friendly habitat, the tower also serves as a metaphorical vision of a growing vertical habitat in the Canyon.

Independent Projects

ADE 622

06

GRADUATE INDEPENDENT PROJECTS PROFESSORS: T. Agami Reddy + Paul Coseo

Student: Abdullah Ali A Aldakheelallah

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ADE 622

ABDULLAH ALI A ALDAKHEELALLAH

The objective of this study is to propose a pragmatic and useful framework that would improve the outdoor thermal comfort, by being able to evaluate and select minimally invasive urban heat mitigation strategies that could be applied to the existing urban settings in the hot-arid area of Phoenix. The study started with an evaluation of existing microclimate conditions by means of multiple field observations cross a NorthSouth oriented urban block of buildings within Arizona State University’s Downtown campus in Phoenix. The collected data was evaluated and analyzed for a better understanding of the different local

climates.

Furthermore,

three

mitigation

strategies were analyzed to the Urban Canopy Layer (UCL) level, an increase in the fraction of permeable materials in the ground surface, adding different configurations of high/low Leaf Area Density (LAD) trees, and replacing the trees configurations with fabric shading.

ADE 622

06

GRADUATE INDEPENDENT PROJECTS PROFESSOR: Wanda Dalla Costa

Students: Rhonda Harvey, Selina Martinez

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ADE 622

RHONDA HARVEY

I explored the concept of Cultural Sustainability focusing on the well-being of individuals within Native

communities,

specifically

the

Navajo

community. There is so much beauty and knowledge that exists in the traditional teachings and practices of Navajo culture. These are some of the significant cultural elements that I explored in my design.

• Designing with the summer solstice and winter equinox • Understanding the four sacred directions • Understanding the Navajo Hogan – cosmological significance, materials, functions, etc.

• Connection to the sky, stars, constellations • Designing with nature, respecting the land • Utilizing natural materials (wood, earth, rock) • Using colors and textures that are significant to the culture • Using the land and vegetation as a color palette This is a living project that I plan to continue throughout my professional career.

ADE 622

SELINA MARTINEZ bachia

Indigenous cultures notably share a commonality of SELINA MARTINEZ - SPRING 2020

seeing themselves in relation to nature versus above or against it. Keystone species within ecosystems often have a big impact on their environment when their populations thrive, evolve, expand, or diminish.

Cultural keystone species expand on this and are innately interconnected in a culture’s lifeways, foodways, ceremony, and worldviews and often contextualize the roots of one’s indigeneity through nature. This exploration is a study into how cultural keystone species can influence, inform, and direct design on a multiplicity of levels within existing infrastructure in the Yaqui Guadalupe community.

Prioritizing the survival of Yaqui communities, culture,

and

knowledge

around

health/food

sovereignty. to develop a vision that responds to the demands, needs, and hopes of the next generation of Yaqui’s to come.

ADE 622

06

GRADUATE INDEPENDENT PROJECTS PROFESSOR: Thomas Hartman

Student: Jules Byers

ADE 622

JULES BYERS

The intent of this project is to cross-pollinate dynamic qualities, pulled from exhibition design, with conventional systems in order to create a platform for dialogue and critique of common practices.

It consists of a methodology for questioning conventions, by first identifying the, “SNAFU�, then exploring design solutions through a surrationalist lens. The method is applied to three projects: a mobile gig rest-stop, an interactive suburban stripfarm, and flexible parking lot housing. Each of the projects presents a conceptual design exploration.

They highlight flaws in the current systems as a basis for dialogue in order to work towards a shift in the convention. The projects conclude with a series of more in-depth questioning of the conventions in a greater context.

ADE 622

06

GRADUATE INDEPENDENT PROJECTS PROFESSOR: Philip M Horton

Students: Dalal Altassan, Nathan Hays, Niti Patadia, Oishwarya Sarkar

ADE 622

DALAL ALTASSAN

Riyadh is the largest Saudi city by population, landmass, and density. Because of the hot, arid climate it has little, irregular rain, dry winds, and high evaporation rates that result in a scarcity of freshwater and reduced vegetation throughout the region. This affects air pollution and contributes to urban heat island, and a great amount of energy consumption during the summer. While there are projects in Riyadh that are LEED certified, clients and business developers are not using local firms, architects or local resources to lead these designs.

The lack of local knowledge and training about sustainability is concerning, as well as the loss of vernacular architecture which Saudi Arabia was known for. There are no Living Building Challenge (LBC) projects, therefore, this project will explore opportunities to design to a passive, LBC standard by combining vernacular architecture with 21st Century technology.

513

ADE 622

NATHAN HAYS

This project introduces an online tool to help architects realize biomimetic solutions in their designs. The search aspect utilizes inherent multifunctionality of biological adaptations as a way to reframe design problems and identify fruitful solution spaces in biology. Architectural search terms are translated to biologized functions and linked to multifunctional strategies in nature. From there, architects can access biological information related to adaptations they find, diagrams explaining how key scientific principles and relationships can be preserved and translated to functional and sustainable solutions, and downloads in the form parametric scripts, BIM families, plugins, and computer languages that make translations from natural phenomena to mediums we can design with. The site encourages contribution and dialogue to deepen the sophistication of these translations, promoting a better understanding of natural systems while developing languages to better communicate and design with them.

ADE 622

NITI PATADIA

Many Tribal Nations have housing shortages and limited development opportunities within their community. This project draws inspiration from centuries’ old Diné traditions of corn harvesting and utilization followed by the people of the Navajo Nation. This study recommends a design and material system that follows a similar closed-loop process using the Circular Economy model. The community’s existing infrastructure can support housing solutions that are economically, socially, and environmentally sustainable. The proposed design follows the circle of life recognized in Diné culture, representing the circulation of the sun within a traditional female Hogan. Value can be added by supporting dwelling expansion based on family growth. Traditions are enhanced through social integration and materiality.

The culturally tactile building materials not only promote values of the community, but they also create opportunities for farming, manufacturing, and facilities management.

515

ADE 622

OISHWARYA SARKAR

This project creates a methodology to help evolve simple building structures of common suburban Phoenix typologies, like commercial strip centers, single-family houses, and industrial warehouses, to provide innovative sustainable services and act as keystone species to the existing Desert ecosystem.

Keystone species usually maintain a hierarchy to its ecological family with their services. By studying this hierarchy, we can attempt to design for functions which will enhance the community without quantitatively calculating parameters and results.

Along with these typologies, the project works with five different site conditions to address the urban geography, including the abandoned Hohokam and active SRP water canals which create corridors for species migration.

The Sonoran climate can

support species interaction through these and other ecological corridors. The project showcases a possible vision for a desert city that is more connected for all living species.

ADE 622

06

GRADUATE INDEPENDENT PROJECTS PROFESSOR: Marc J Neveu

Student: Mohammad Alrajhi

517

ADE 622

MOHAMMAD ALRAJHI

The current learning environment in Saudi public schools has been only promoting a teachercentered approach to learning since 1925, with no consideration of the theories behind how kids of different ages learn variously. Rethinking the learning environment in Saudi Arabia, highlighting a new design model of elementary schools, has led to the notion that the design of a flexible space that encourages and nurtures learning can develop the full individual. This type of learning environment can meet diverse needs and desires to stimulate curiosity in the kids to learn through several scenarios.

This project integrates novel concepts that transform schools to be a vibrant center of the community, assure abundance in ways of learning, provide equal daylight, and design multi-age learning methodology. The architectural features used in the project create a language between shapes, colors, light, and shadow that boost kids’ interest to move passionately in between the school zones.

ADE 622

06

GRADUATE INDEPENDENT PROJECTS PROFESSOR: Milagros Zingoni

Student: Xioatian Wu

519

ADE 622

XIOATIAN WU

The rapid development of urbanization often associated with stress. Stress became one of the sources of people feeling unwell. It has also been growing among college students due to undergoing major changes in their lives. For instance, the survey conducted in spring 2019 at Arizona State University (ASU), one of the largest public universities in the US, 64.8% of students expressed overwhelming anxiety in the past 12 months.

The thesis introduces the notion of mindfulness architecture through sensory experiences and takes from the urban design strategy “urban acupuncture” to propose interventions on campus to release students’ stress and promote wellbeing through a loop of mindfulness architecture interconnected spaces. This is carried out at multiple scales, from spaces of individual experiences to communal experiences to serves campus “acupoint” towards helping students reduce vulnerability to mental health issues.

Design Excellence Award Winners

Spring 2020 Design Fundamentals IV Sara Yehia Josh Einen De Joya Claudio Vekstein Hailee Rother KarĂŹn Santiago Signe Tyler Brayra Lara Kenneth Velasquez Architectural Studio II Eric Watson and Maria Salenger Cesar Lopez-Rodriguez Scott Murff Rob Stein Joe Pritchard Brooke Burdge Amit Upadhye Annie Torgersen Architectural Studio IV Melissa Farling, Krista Shepherd, and Aaron Herring Brayan R Munoz Marc J Neveu Dellan Raish Catherine Spellman and Felipe Mesa Boyana Babanovski, Zachary Bursi, Quiara Caguiat, Lamarra Carter, Nicholas Coverdale, Michael Joshua Felix, Alexandra Flores, Omar GonzalezNava, Julien Gutierrez, Erika Hannon, Henry Hunter, Jakob Jona Klein, Mollie Melbourn, Grandon Ray, Breeana Smith, Ke Zhang Barrett Honors Thesis Lauren Bennett Advisor: Renata Hejduk Core Architectural Studio II Michael Underhill Long Do Advanced Architectural Studio II Thomas Hartman Nathan McNeilly Marlene Imirzian Abdul Shogair Philip M Horton Rachel Marie Frail Edmundo Solterro Shasta Percival Advanced Architectural Studio IV Max Underwood and Michael Rotondi Max Underwood and Michael Rotondi

Nhu Le and Rikkie Pedregon Brandan Siebrecht

Advanced Architectural Studio IV Catherine Spellman and Felipe Mesa Sean Gaspar, Lindsey Griffith, Carolina Haros, Isaiah Jones-Lane, Devon Leonard, Oran Lindsey, Yanet Martinez, Arielle Mason, Jui Prafulla Nimdeo, Cody Short, Kyndra Trevino-Scott, Hemanth Kumar Yerra, Cody Zimmerman Graduate Independent Project Nathan Hays Advisor: Philip M Horton

Jason Schupbach Director, The Design School

Credits

Marc J. Neveu, PhD Architecture Program Head

Graphic Design Pascale Vonier Faculty Aaron Herring Amit Upadhye Brayra Lara Catherine Spellman Claudio Vekstein Edmundo Soltero Elena Rocchi Elizabeth Brack Eric Watson Felipe Mesa Harvey Bryan Jack DeBartolo Joe Pritchard KarĂŹn Santiago Krista Shepherd Marc J. Neveu Maria Slaenger Mark Ryan Marlene Imirzian Marlin Addison Max Underwood Melissa Farling Michael Rotondi Michael Underhill Muthu Ramalinga Paul Zygas Philip M Horton Renata Hejduk Sara Yehia Scott Murff T.Agami Reddy Thomas Hartman Victor Irizarry

Staff Benjamin Bednarz Christy Brown Corie Cisco Jacklyn Collens Jesus Orozco Julian Silva Kalani Pickhart Madelyn Paz Margaret Murphy-Tillis Mark Fromeyer Mini Maestas Molly Isbell Natalia Estrada Raymundo Cabrera Samantha Perkins This publication was made possible by the support of the Architecture Partners Program.

180 Degrees AIA Arizona ARCHSOL CESO Construction Zone David Brotman DLR Group Gould Evans Holly Street Studio PHX Architecture Susanne Rothwell Ryan Companies Studio MA Todd & Associates