Architecture at ASU | Fall 2020 Student Catalog

FALL 2020

UNDERGRADUATE/GRADUATE

Catalog

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

Déjà vu, all over again.

We were not supposed to be here. We were supposed to have an exhibition, in person, and hand out the catalogs from last year, this year. But, this is 2020.

There are events that give all of our lives collective perspective.

I am old enough to have been affected by the Space Shuttle Challenger explosion, with Christa McAuliffe on board, as I watched live from my elementary school classroom in New Hampshire. I was also sitting in a classroom – learning Italian while working on my PhD in Montréal – when I heard the news of planes crashing into the World Trade Center in New York.

Both moments seemed to define a collective time. We all know where we were when it happened and there was a “before” and an “after” each. Travel protocol changed after 9/11, but we still traveled. Foreign policy was affected, but then normalized to some extent. This year seems, somehow, different. So many

Welcome

diverse and singular events have combined over the past twelve months that it does not feel like we will ever “go back to normal.”

To say it has been a year of change is almost meaningless. In the past year, we have endured a pandemic, witnessed the murder of George Floyd (and too many others) and the social unrest that followed, and either engaged in, or tried to ignore (or both), our nonsensical national politics. Within all of this, we asked you all to focus on your education, while on zoom.

President Crow has commented that, “We are not weathering a storm. We are in a new environment.” Ever the optimist, it is an encouraging outlook. We will return to studio, classrooms, and our offices. How we work, teach, and learn, however, may not be the same as it was a year ago. I am excited for our future. I too am optimistic.

This catalog is the result of collective work of over 700 people.

I would like to thank all of our students, faculty, and staff for your tremendous work, perspective, and resiliency over the past months. It is amazing to see all you have accomplished!

MARC J NE V EU, PHD Ar chitec ture Pr ogr am Head

Undergraduate

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Contents

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Graduate

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1st Year

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DESIGN FUNDAMENTALS I PROFESSORS: Stephen Adrian & Elena Rocchi

Students: Alan Calzadillas, Jose Carrazco, Morgan Coombes, Maribel Damazo Alvarado, Jack Desanti, Rodrigo Enriquez, Derick Jomari Estrella, Jazmine Guerrero, Sofia Lomeli, Joseph Peace, Keegan Robbins, Roberto Rueda, Ruth Ruiz-Torrejon, Kyria Teachout, Samuel Urbieta, & Bernardo Villalobos

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ALAN CALZADILLAS

This semester has been a really good experience for me as a design student, despite the situation we are all facing. I have tried nothing but the best in order to make this semester a good one because I know this is how I will reflect onto the professors and my fellow students. This semester has taught me lots of cool things about my creativity and the limits I can reach. My potential has reached a very high standard when talking about creativity and design thanks to this class and not only speaking about this class, but it has also helped me with my other classes I am attending. The projects for design this semester were challenging but had many learning experiences to provide as well. It has been a long journey from August up until now but I feel like my classmates and I have achieved our goals of learning the basics and firmly grasping the topic of design.

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MARIBEL DAMAZO ALVARADO

As I started this course I was curious and interested to see how much I would enjoy this class. Seeing the different techniques and ways that buildings are built fascinates me. Architecture has changed my perspective in many ways. When it comes to architecture many people think of building statues designs but for me I think of detail, creativity, and impact. Architecture allows me to express who I am though my ideas. It has helped me work on my time management and my creativity skills to think deeper. Architecture is a detailed process of work and it has help me understand that with patience and persistence anything is possible. Architecture has change the way I view and understand things, all the hard work you put into creating a design is worth the effort.

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JACK DESANTI

This semester being my first semester in college, I was uncertain how it would play out, especially since it was primarily online due to the pandemic. I couldn’t have been more wrong that the class would not be as good as other years. Due to it being online it was very restrictive what I could show or do with students or the teacher, but we all managed to get through it in our own way. Although you may not properly see it in my stick models, I’ve come a long way from day one of drawing shapes to now where I was able to create a structure based off a model I had made. I also think the positive experience I had was only made possible through the professors. I can’t say for sure how other professors would have been, but mine gave me feedback when I needed it, helped me for when I didn’t understand something, and was great just for conversing sometimes. Overall the class made me learn things I never knew to do before the course, and hopefully that will continue into the near future.

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RODRIGO ENRIQUEZ

This Fall 2020 Semester I have experience what it means to become an individual, what it means to go explore and develop new ideas. What it means to let a divine mischievous boy spark with ideas, hopes‌and dreams. This semester has brought an understanding of my capabilities, my weaknesses and my biggest accomplishments. This semester I have experience the worst, the best, both the super exciting day under the stars, and the depressing rainy days alone and cold. This has been a tough year for my wellbeing -- for the flame that roams free, however It has brought me closer to the people who I can trust the most. I truly understand where I belong, where my effort and my energy belong to, and where my love belongs. All of my love‌

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JAZMINE GUERRERO

My first semester in design school has been a dream, every project was a challenge that I enjoyed doing.

Throughout the semester, my TA and professors have shown me how to view design in different ways and open up my mind about the world around me. They have helped me learn how to express my creativity the best I could and to keep going. I’m glad to be a part of design school, everyone I met and all the experiences I’ve had are incredible. I can’t wait for what’s next!

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SOFIA LOMELI

My first semester at the design school has been full of countless trips across campus to the studio, filling up my sketchbook, and developing beautiful friendships with my peers. I had no expectations for how I would spend my first few months at university, but I feel I have learned a great deal about the fundamentals of design and myself. I have noticed I view my surroundings differently ever since I started to find new things in the spaces I always walk through, on and off-campus. It has aided my design process a great deal. Sometimes all you need to do is look at something from a different angle. By doing so, you can create an entirely different idea, an entirely different world. Everything you need is right in front of you. You just have to look!

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JOSEPH PEACE

This semester taught me many things. I learned how to design. I learned how to manage my time. Most importantly, I learned that architecture is what I truly want to do for a living. When I was working on projects, I was enjoying my time. Many times I did not feel that I was working, but rather, creating. This is extremely important to me because my previous major was quite the opposite. I did not want to do anything because it was not capturing my interest.

This resulted in my switch to architecture. There were definitely times where I felt stuck on projects, but this caused me to want to figure out what was wrong, rather than giving up and losing points. Even though this semester was different because it was online, I would not change a thing.

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ROBERTO RUEDA

My experience in design fundamentals has been nothing but positive. This semester has been great and has completely changed the way I see design now. At the beginning of the semester, I struggled with abstraction because I was overthinking every step I made. Once we got further into the course, I began to stop overthinking what I was designing, and it helped me start my designs earlier. I was also given valuable advice from my TA and professors that have helped me when creating my designs and models. In conclusion, I really enjoyed this class as well as the projects, and I look forward to the remaining studios in this program.

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RUTH RUIZ-TORREJON

I genuinely enjoyed the class because it opened my eyes to the different ways in which you can see architecture. I used to see architecture as just buildings, but I now know that architecture can be anything from a line to any space.

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KYRIA TEACHOUT

Even though this semester wasn’t what I expected it to be, it was still an awesome learning experience.

Design Fundamentals was one of my favorite classes because of how much interaction we were able to have. When it was becoming really challenging to stay engaged and willing to learn, I think that the professors and TA’s were really helpful. I also loved hearing my other classmate’s ideas for each project because it helped me think about other perspectives on design. When I went to make my own art pieces better, I had a new and different way of looking at it. This project was especially fun because I got to create a whole new space.

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SAMUEL URBIETA

In my first semester of architecture, I learned a lot about the process and about myself as well. I have always considered myself to be a mathematical and methodical person which I found advantageous at times, yet there were still techniques we used in projects that went contrary to my nature. We were always being reminded to break the rules if you had a good enough reason to, but I always wondered, “What is good enough?” I strived to obey every single rule, and I emulated the examples while creating my own projects. I was so concerned with doing it correctly for a good grade that I wasn’t necessarily adding my own touch. Throughout the semester I became more comfortable, however. I found myself improvising and breaking a couple rules, and I’m able to look back at those works with a lot of pride because I see myself in them.

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BERNARDO VILLALOBOS

This semester has been one of the most interesting but intense semesters due to the pandemic. Many things changed but didn’t stop the class from being very interesting and engaging. I’ve learned a lot throughout this semester especially the significance of time management and how to cope with stress.

Many of these projects take time and effort to execute, but are always enjoyable. I am not always sure if my projects are good enough but something this semester has taught me is that mistakes sometimes are the light to new ideas. In particular this project that I have chosen to display, I started off with a sketch but as I started making it things fell apart. I just let my ideas flow and put the sketch to the side and came up with a final project that I liked more.

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DESIGN FUNDAMENTALS I PROFESSORS: Christa Delasandro & Elena Rocchi

Students: Maikel Aharonov, Sari Alyhya, Dylan Davis, Xavier Delpino, Fiah Doe, Shelby Glenn, Meri Hunt, Yara Khair, Tabarak Khaleefa, Tate King, Lovaughn Lynch, Jaziel Munoz, Marcos Najera, Lilian Parkhurst, Caleb Vogel, Amanda Youwanes

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SARI ALYHYA

It’s an empty dark room with a color black on the wall and dark gray on the floor. This room has something special, as you can see on the paper there is a square in the ceiling, the idea of this Square is to get an encaustics from the sunlight that changes whenever the sun moves. For example, when is the time in the morning it’s going to me in the wall, in the evening it will be on the floor with different picture or encaustic. It’s an art from nature, any pictures can be made from the sun light by using panels on the ceiling.

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XAVIER DELPINO

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SHELBY GLENN

Natures reflection—the intention of my micro space was to include aspects of each of nature’s four forces: earth, wind, fire, and water. The space is intended to be susceptible to the natural forces at work around it, thus notably introducing the force of wind, allowed by the open floor plan of the space. The overhang connecting the two reflective platforms will be overgrown in vines, symbolic of the earth. Wind and fire will be present in the centralized columns connected to the overhanging vines. Pillars of fire will move up the middle of the pillars, while a sheet of water encloses them and flows down the outside. The platforms, similarly to a mirror, are designed to be a reflection of the overhanging sky and surrounding elements.

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YARA KHAIR

When I was thinking of designing this micro-space, I wanted to give the user somewhat an experience of the outside nature, but still be protected by walls. I curated the final design through the extraction of a previous project which made me think differently and reveal my creativity in ways that school previously never had done before. As I began to sketch, I envisioned ways to make the experience I desired in my mind come to life. The final design I came up with includes two benches on opposite ends of the room connected by two logs which extend over a garden.

When seated on the bench, fit for multiple people for sociability, the vast window reveals the outdoors and allows for much natural light to come in. I created this experience of a garden like aesthetic, which usually is an outside setting, indoors to present a new idea in the way we define the purpose of spaces.

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LILIAN PARKHURST

This was my first stick model for this class, and I really enjoyed making it. It is a little simplistic, but this was also the first time I’ve ever made a basswood model.

While I was making it, I learned some techniques that helped me keep the model from falling apart during its construction, and those definitely helped me on my other models. If I had to make this again, I would try making the smaller rectangle portion separately. I had some trouble with gravity pulling down that part of the model while the glue was drying, and I think that would be easier to avoid if I initially made this in two pieces. Overall, I think my first basswood model came out pretty great, and I felt a lot more confident in my modeling work afterward!

ALA 121

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DESIGN FUNDAMENTALS I PROFESSORS: Allison Edwards & Elena Rocchi

Students: Ben Abercrombie, Natasha Alexander, Elizabeth Bejarano, Ingrid Chavez, Alec Dominguez, Roberto Esqueda Quintana, Michelle Estrada, Dakotah Huddleston, Payson Lynch, Xavier Mendoza, David Moore, Jesus Nava, Meghan Parker, Mario Pierce, Richard Roberto, Jazmin Salas, Becky Salazar, Savannah Shelabarger, Mayson Smith, Lexi Snyder, Jacob Steinkamp, and Adoniram Urias

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BEN ABERCROMBIE

Initially, I had expected my first semester at college to be flashy and exhilarating. I was let down, but only in that regard. The time that the pandemic freed up allowed me to be more precise on each of my projects and work longer at my job. It allowed me to more deeply reflect on the principles that will form the foundation of my career in architecture. Essentially, it helped me to realize that, like the supposed letdown of the first semester, that design does not have to be flashy or exhilarating to be elegant, powerful, and environmentally minded.

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NATASHA ALEXANDER

Throughout my semester, I realized that my preconceived ideas towards Design were only a small portion of what it turned out to be. There are so many different aspects that, before this term, I didn’t think much about—for example, there were multiple lessons that taught me the importance of positive and negative space, light and shadows, composition, etc. I am grateful for the opportunity to learn from outstanding professors, TA’s, and peers. I feel confident in saying that I am excited to continue my path in Design because it really is something that I enjoy learning. This journey is just getting started.

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ELIZABETH BEJARANO

First semester as a design student honestly felt like home to me. For the first time, school felt fun, I was actually excited to learn. Even though the projects would take several days to complete, I found myself getting lost in the process and just simply enjoying what I was creating. It was eye opening to discover that even despite how long I was working, I never rushed the project or settled for satisfactory.

Something that I learned about design is to never strive for completion. I no longer look at projects as a grade, now I see them as a hands on learning opportunity. This is how I know that I have found my passion within design.

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INGRID CHAVEZ

Reflecting on the first semester in this architecture class I have learned a lot. I have learned to see everything around me as not what they represent but as objects. I have learned to view places or objects from different perspectives, this causes them to look completely different. How you decide to look at something can change what it really represents.

Design is about exploring, it is about creativity and making whatever you want. Exploring and creating happens when we have an open mind and do whatever we want without rules and expectations.

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ALEC DOMINGUEZ

I am new to the Herberger School of Design and Design Fundamentals helped me transition into this college with ease. After taking a lot of STEM courses this class was very refreshing and allowed me to start thinking creatively. Previously in other courses I would skim over the material, pick out what was necessary and memorize. This design course actually taught me to slow down, analyze, and really break down a space and idea. In the beginning I understood the elements of Design fairly well but when we started to cover the principles as well is when I had to actually slow down and process what was going on. The same goes for the drawing and the modeling sections of the course. I picked one up fairly easily and the other took some time. While this course taught me alot about Design, I actually learned to be more patient.

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ROBERTO ESQUEDA

This semester was great. I came in nervous like anyone, not knowing what to expect, and it was COMPLETELY worse than I expected. Well that’s what I thought when they gave us our first assignment.

I had no idea what to think. They wanted us to choose the most important line, and me being an overthinker, I was there for a while choosing between two, but once I got it done. Things became easier for the next assignment, and the assignment after that. I had fun doing school work for once, and even though I barely got sleep, it was an amazing time going to the studio and lectures with the professors. This semester was a real life changer, and I am glad to say that I like what I am doing so far for my degree in architecture.

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MICHELLE ESTRADA

Space, to me, has always been led by my fingertips and the reach of my arms. The light that is drawn in, and shadows that bleed out, I feel it all as if it were myself. It’s funny to think that I see best when my eyes are closed, but it’s true. Because I don’t see, I feel.

In studying design, I have found this feeling to be a language, one whose words linger on the tips of my fingers.

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DAKOTAH HUDDLESTON

I went into this class with a lot of previous architecture knowledge from high school. However that knowledge was auto-cad based, so I loved the hands-on projects as it was a great way to be able to see your projects from different angles, shadows, shapes and so much more than that of a computer screen.

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PAYSON LYNCH

From the beginning of the semester to where I am now, I truly believe I have a greater understanding on the concept of design. I have been able to learn how to think more abstractly, in a way that helps me recognize that the elements of design are ever present in daily life, as well as how to make designs that are reminiscent of a something, rather than an exact recreation. And one of the biggest takeaways I’ve kept with me is the impact design has in everyday life. Design is greater than an aesthetic, it is supposed to add to and improve life, with function at the forefront.

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XAVIER MENDOZA

During my first semester in design fundamentals I tended to have a great time in this class. Compared to my other classes I’ve taken in college this one was my favorite because I have always been inspired to be a designer and now I have the chance to learn all that I can to achieve my goal. This class has taught me a lot of what it’s like to be a designer in many ways such as the way we see objects and places. This class changed my whole perspective of how I see the world and gave me a deeper meaning of what design actually is or even seeing how extraordinary a simple line can be. In addition this class allowed me to bring my full potential of what I can achieve and I’m glad I had all the amazing professors to help, especially my TA. I enjoyed this course so much and I can’t wait to move on and see what the future holds for me through these next year of college.

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DAVID MOORE

My first semester at ASU has been one of the more fun years I have had. Even though I had to spend most of it at home, having a class that was based on the career I wanted to major in made it so much better. It was the first time I had ever had a class that had to do with design, and it had changed my view on everything. I now look at things with a perspective that focuses on shapes, spaces, lighting, repetition, asymmetry and more. Even the photos that I take on my phone have gotten better because I have a better understanding about the space around me.

I also learned that one of the better ways to create something is to not have a plan, or to just let your imagination take over. I realize that there is no need to put restrictions on yourself.

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JESUS NAVA

My semester this year was a unique experience especially because I had my first college semester done mostly online. It didn’t matter what the circumstances were, I still learned so much from being part of this class. I had the opportunity to express and show some of my work. This class by far was my favorite class this semester. I learned to see the world around me with new eyes, see everything from a designers point of view. I really enjoyed being in the process of working on my projects. It kept my hands and mind active. Most of the time I would just let my mind wonder and see what it comes up with without having a plan which I think led to my better projects. I’m ready for next semester!

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MEGHAN PARKER

This semester I learned to look at the world from a different perspective, as everything is not as simple as it seems. I learned that a point is more than a dot on a page, and a line is more than a continuation of a point. I have learned that points, lines, and simple shapes make up everything we see. I also learned about the design principles, and how they are able to control and unify a design. All of what I have learned this semester have built the foundation for which my career will only continue to grow from.

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MARIO PIERCE

Learning design, I now look at things such as buildings more differently. At first glance, it was just a building that looks cool and is better when it has more complexity. After learning more and more about design, simple and complex defined more and now I understand both are strong approaches and definitely impact how I see the work. Also, simple in my opinion wasn’t as strong enough as a complex design, but now see it as strong and powerful, and in some cases even better than a complex design. As a first year student, I have learned so much more like drawing and creating a floor plan, and a site plan, and building models.

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RICHARD ROBERTO

Throughout this course I have experienced a lot of learning opportunities, some that stretch beyond design. Firstly, I have learned to practice the elements of design and how to apply what I have learned to my work. I realized from the lectures and assignments that design truly inhabits our lives in every aspect.

This has opened my eyes to the extent that design reaches into the world. In addition to learning about design, the structure of the course has taught me important skills like time management, discipline, and patience. I look forward to applying these skills and everything I have learned in the class to further my education as a designer.

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JAZMIN SALAS

This semester I learned a lot. I learned the minimum stress that architects go through, the many cuts they get because of the Xacto knife, and the time it consumes which is a lot. Also, I learned my limits, I learned how to create an idea from an idea from an idea etc... I also learned the many different types of design that creates our world, creates the beautiful buildings we see everyday, the outstanding ideas architectures get from the simplest things. I learned that there is no limits in design, so one should never be scared to let their mind wander with ideas, because at the end of the day, that is what creates beauty.

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BECKY SALAZAR

This semester I have learned to view the world around me in a new perspective, where I see each object in a new light and am able to redefine them in my own terms. I find greater meaning behind each individual position, color, texture and as a result, the world around me is a lot livelier and more complex that I originally presumed it to be. I have learned to see beauty in emptiness and have come to appreciate the simplicity but purposeful action of drawing a point or a line. Playing close attention to detail while I design has allowed me to take into greater consideration the precision and purpose I incorporate into each cut, each sketch and placement of any material within my projects. But most importantly, I have learned to explore as I design and have come to appreciate both the process and the final product.

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SAVANNAH SHELABARGER

This semester I have learned how to look at the world around me as a designer. I am now able to differentiate between what occupies a space and the space that comes from an object. Through the basic principles of design, I have been able to imagine and construct new designs into existence. It is amazing how quickly simple design elements can become so grand in the scheme of an overall design. I learned to trust the process. I would learn first by reading and then actually apply the things that I learned in my projects and it really shows. I feel like I grew one step closer to my dream of being an architect, but also grew in who I am as a person along the way.

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LEXI SNYDER

Through my semester in Design Fundamentals I grew immensely as a designer and a person. Each Friday, the lectures taught me so much and caused me to look at the world differently. I enjoyed being exposed to new ways of thinking and interpreting the world. I feel as though the projects in this class also challenged me greatly and caused me to rethink my preconceptions about design. One of my favorite projects was creating a pavilion of my own and drafting it by referencing a previous project I completed. I loved being challenged to look at my own work in different ways.

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JACOB STEINKAMP

Throughout the semester I have learned to adapt to online learning. Although it was nothing I’ve done before, I was still able to learn a lot and enjoy it. I learned different ways of seeing a building in new and inspiring ways. I learned to appreciate the design process and to give myself time for it.

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ADONIRAM URIAS

Hello fellow classmates and future students. 2020 was probably the hardest year I’ve ever experienced in school. Not only were we battling separation in the country from racial injustice, we also had to deal with a Global Pandemic that caused around 12 million people to lose employment. The biggest thing I learned from this semester is that regardless of how much you wish to withdraw from a course due to stress or life complications. We have to remind ourselves to breathe and form a great relationship with your TA and professors. Because without them, I 100% would have not completed this semester, so thank you Allison for being an awesome TA and thank you to Professor Kelley, Rocchi, and Zarnoch for giving me light at the end of the tunnel when I thought I was ready to give up. Ill forever be thankful.

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DESIGN FUNDAMENTALS I PROFESSOR: Carmen Krebs & Elena Rocchi

Students: Alan Almanza, Nathaniel Browner, Jo Calanog, Joel Cruz, Sierra-Nicole Grunwald, Serena Kaji, Zwe Htet, Chessa McDaniel, April Nabors, Trace Patterson, Fernando Uribe

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ALAN ALMANZA

Reflecting back on the projects we’ve done this semester I’ve learned things like not looking at a space as it is now but finding its beauty through the concepts of design elements and principles. It was a hard process in the beginning in the aspect of thinking with an abstract mentality. However, the experience was fun and very informative. Nonetheless, I had fault in often stressing on finishing assignments through the lack of time management skills on my behalf. I often get the feeling that I could be doing better but due to the many circumstances and changes, I wasn’t able to finish in time oftentimes. However, through the passing of every project, I learn that design takes time, and sometimes you have to come up with an idea and then just go with the flow of what you’re feeling. As well as probably tossing your design in the air to find a different perspective.

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NATHANIEL BROWNER

Over the course of this semester I have learned tons about the design process that goes into all forms of architecture. At the start, the projects were fairly simple and helped give us experience with the concepts that we would learn throughout the course.

Over time, these projects scaled in complexity even though they were mostly up to the interpretation of the student. I found Assignment 7 to be the most entertaining because it was a floor plan draft of the Sky Space location on the ASU campus. I have previous experience with hand-drafting, so I found this project to be the most enjoyable. Overall, this course did an excellent job at giving students an understanding about design and architectural practices.

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JO CANALOG

My first semester studying as an architecture student has definitely been an enriching experience, thanks to the guidance of the professors and TAs, as we were constantly challenged to explore our surroundings and expand our ideas. Having taken art classes in high school, I was already familiar with the principles of design taught to us in section one, but it always felt like I was learning something new ever since the first lecture. Each project or section usually had its own way of forcing me to step out of my comfort zone and approach my ideas from a different perspective – sometimes they worked out well and other times they didn’t, but I learned that’s all just part of the process. Looking back, it feels rewarding to see how we progressed from identifying lines and shapes to creating forms and presenting our own ideas through models.

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SIERRA-NICOLE GRUNWALD

On my very first day in ASU’s Architectural Studies Program, I sat down ready to learn about art, history, science, math, engineering, culture...everything an architect needs to know, and yet I was faced with the simple question from Professor Elena Rocchi, ​“What do you ​see​?”

Though I perceive the abstract lines and shapes of any object, as architects are trained to do, I also​ see​my past experiences reflected in my projects.

For instance, I live in an area that is closely tied to nature, and where I have some of my most amazing memories. Now I constantly find myself tying all elements of nature: trees, water, cliffsides, open skies, etc. from my chicken-scratch sketches to my megalithic models.

This simple question of, “​What do you s​ee​?”,​has profoundly impacted my mentality and designing because this question has illuminated my own experiences and admiration of nature around me forevermore.

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SERENA KAJI

This semester I’ve learned and completed a lot that I thought I would’ve never been able to achieve. In assignment 1 I didn’t comprehend how important lines are to design. Any line connects two points and I think that is very crucial to note. As we progressed through assignments the principles of design became more clear to me. Some were hard to comprehend and differentiate, such as transition and alternation.

Some were easy to complete, such as balance and contrast. My favorite assignment would probably be assignment 8. What made it easier is that we had already composed the space we just had to put it to work. I thought it was really fun to create something out of a vision we had earlier on in the year. It was amazing to see different creations that didn’t just stick to the plan. I also thought it was creative that we scaled ourselves to the size of our creation.

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ZWE HTET

For most of the projects, I would have a basic idea in mind and a rough planning process to go along with it. However, experimenting and exploring along the design process allowed me to unveil a more interesting structure hidden in my initial design. Most of these projects took a lot of small components that come together in the end, which required a great deal of craftsmanship. As I am not that skilled in crafts, it was fun challenging myself to make cleaner cuts.

The most interesting project for me would be the excavation and the basswood models as it pushed us to be more creative. If we were told beforehand that the excavation project would be used as a foundation for the basswood, we would have resorted to a more basic foundation, thus the basswood model would be easier to make and the result would be less interesting overall.

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APRIL NABORS

My work reflects my knowledge over the course of this semester. The more I learned, the more passion and dedication I put into my work. I have leaned structure, time management, and critical design skills through this course and the work I have produced is the product of that. Each project was more difficult than the last, yet even more intriguing. I find that the harder the projects got, the more I enjoyed putting in the work to complete it. This semester has taught me that it isn’t about the grade, while that is still important, but it was more about showing your passion and creativity for architecture through the work you produce, while still abiding by the guidelines of the project. While I was a bit difficult and time consuming, the outcome of the hard work and perseverance was more than worth every hour I spent putting them together.

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TRACE PATTERSON

My first semester as an architectural studies major was an extremely enlightening and exciting experience.

Transferring into this degree from my previous two years as a Biology student was everything I could have hoped. My peers, professors, and TA’s have all played a vital part in my experience this semester discovering what design is and what it can be. Going into this degree, I was most excited about the creation of an object or a structure. I wanted to jump headfirst into my studies and learn everything I could as fast as I could. I quickly learned that design isn’t just a jump from point A to B; design is a process where the end result has meaning and evokes emotions in its viewers. Thanks to the community’s help throughout my experience, I understand what it truly means to be a designer.

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FERNANDO URIBE

My first year as an architecture student was vastly different than when I was an engineering student.

The experience was more mentality and spiritually stimulating. New ways were introduced to myself on how to see and interpret the world around me.

I learned everything is composed of the basic fundamental principles and learned to be able to create a presence with your projects. My projects required many late nights. At times redoing some aspects of them due to little things just not feeling right. However, these late nights and little changes have led my projects to be the best that they can possibly be. The professors have also been guiding us through these projects and have taught us not to really see them as projects, but rather as a way to express ourselves.

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01

DESIGN FUNDAMENTALS I PROFESSORS: Inseon Lee & Elena Rocchi

Students: Saud Alharbi, Ronak Bhakta, Dawson Bienz, Jason Cullen, Michaela Fifield, Christopher Ha, Jacob Hollingsworth, Ron Krieg, Trevor Lee, Leonardo Marin, Santiago Parra, Vania Rodriguez-Aguilar, Deandre Ware, Maryssa Wentworth, Az-Lee Wilbon, Kaden Woodruff, Juan Zaragoza

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SAUD ALHARBI

My micro space as a relaxation area where people come to gather around a fountain. The space also has a small cafeteria to provide snack and drinks while people hanging out there.

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RONAK BHAKTA

The reason why I chose this design is because I wanted something simple. Less is more.

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DAWSON BIENZ

Design is that of seeing not only what IS, but what could BE. In my basswood model, I approached the assignment with the idea of an inspired ‘shade structure’ of sorts. This time, however, I decided to let the creativity flow out of me rather than try to direct it into a planned design. This differed from my previous models and I believe it allowed for a more unique and thought-provoking composition. Thus, what resulted was a creation that was beautiful in the sense that it had no real direction, and the design managed to follow its own path.

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JASON CULLEN

Working with the previous section to create the micro space for section 2 really opened my eyes to what I could create from just a bunch of lines. There were a few different sketched up ideas and settled with the final one that was drafted. I wanted to create a space with different environments in just a small area. My 1st person vision was an open box you can walk into, with water on both sides as you enter.

Then as you walk back out, it’s a rocky environment.

This allowed me to leave the imagination up to the person of what the previous environment was before walking into the box.

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MICHAELA FIFIELD

Design is a process not a project. For all of the models I was assigned to create this semester I decided to just do whatever came to mind. Whatever I felt like in the moment. I let the design be a process instead of a concrete idea I wanted to represent and what I ended up with proved to be better than if I had stayed with a concrete idea. The model I chose to display is my favorite because it was the first of the basswood models I did and I had no clue what to do or where to start so I just started putting pieces together and this was the result. The way I chose to angle it and where it’s located in the picture makes it seem like it could actually exist in reality which was my overall goal.

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CHRISTOPHER HA

Design does not come in one shape. It’s like water..

It adapts and takes its form within whatever environment it may be. You get to see the creativity that flows through each form of design.

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JACOB HOLLINSWORTH

Seeing artistically is not to look or glance, but to examine.

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RON KRIEG

My design started with a picture and evolved into a model throughout the semester. From that picture, I created an abstract using shapes and colors. With these shapes, I then created a micro space. Next, I took a perspective from that space and converted it into continuous lines. From there, I cut out a design into sheets of butter board and gave it form by using woodensticks.

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TREVOR LEE

My design for the microspace explains confinement and feeling trapped. As we all know COVID-19 has limited our lives from being able to go out or even to just see our families. During the microspace process I was confused as to what I was doing and how I would execute it. As I was closer to finishing my project I saw it from so many more aspects than what I did when I started. My microspace depicts what it “feels like” being contained and quarantined. The microspace is a closed in box with only one way to go in and out. As you are inside the microspace you see that there is a platform just above ground level that lets you think you can go up and away but in reality you are stuck. The pillar nearest to my body in the picture is taller than me and I am 6’2. It is supposed to be taller than most to make you feel weak like when you are sick.

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LEONARDO MARIN

Design is more than appearance , it’s it functionality.

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SANTIAGO PARRA

My design for the basswood project came merely from a break during my assignment. After spending 8 hours straight on the first 2, I took a breather to play some Modern Warfare on the PS4. In the opening screen an audio visual appears that is similar to my design. After viewing it, I knew I could replicate it and did so with following the rules, so thank you video games for inspiration.

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VANIA RODRIGUEZ-AGUILAR

This model was designed to create a space where every angel is a different view. This is because design is a unique experience, everyone sees it different.

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DEANDRE WARE

Originally my design started off as a 2D sketch of a floor plan. Through the use of butter board, that sketch was then made physical, this gave me the opportunity to find different ways I could rotate and flip my butter board cut out making something new of my creation. After finalizing my butter board I brought the creation to life with a 3D basswood stick model.

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MARYSSA WENTWORTH

Design is so achievable, yet so simple.

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AZ-LEE WILBON

It’s not just about how your design looks, but how your design flows.

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KADEN WOODRUFF

My design is a small mountain side home that is designed to take advantage of views. It also turned out to look like it had stilts, so I positioned it over water as another feature.

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JUAN ZARAGOZA

This project aided me into thinking of new fresh and creative ideas to incorporate into my work. Design is displaying your creative thoughts and different perspectives to convey meaning or purpose.

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01

DESIGN FUNDAMENTALS I PROFESSORS: Patricia Molina & Elena Rocchi

Students: Jocelyn Bianco, Andrew Davis, Ian Dodd, Vidal Duarte, Andrea Garcia, Samantha Lock, Trevor Naylor, Selena Nguyen, Chase Overby, Elias Page, Adriano Ribaudo, Alyssa Robinson, Leslie Romo, Mihika Roy, Arik Sells, Cameron Terrell Jones, Isabella Tran-Castrillo, Landon Wiens,

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JOCELYN BIANCO

Exploring the functionality between an internal and external process through design, helped me develop an understanding of systems. Learning that my model is conceptualizing a structure’s behavior, I was able to learn first-hand, my first representation of a system. Architecture in itself is conceptualizing ideas.

Aspiring to get to that point of developing designs, learning how to change the drive of each of these systems and how these visual factors can perform specific functionality, was the first step to seeing the bigger picture. Capturing different properties and essential details helped develop the character and expression I was looking for so that my model could be understood. In the realm of referencing architecture, the association of sequence, error, constraints, and relationships between concepts is what has paved the building blocks to my understanding of the fundamentals of design.

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ANDREW DAVIS

For my microenvironment project from section two, I created one of my favorite designs from the entire semester. I created a space with a large overhang which is intended to be suspended similar to the way the roof of sky space on the ASU campus is held up.

Down below there is a water feature which comes down from the canopy above. There is meant to be a cutout with water falling from all four sides (running down large glass panels) into the fountain down below. I believe this space would be best if it was located near an entrance/exit of a building because it would create a smooth transition from outdoors to indoors. The acoustics of water falling from 10 feet may be too loud, so I designed the water to run down glass walls rather than falling. This would help to reduce the noise and prevent splashes from wind.

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IAN DODD

My new extrusion made of the Basswood sticks are meant to take the original stairways of the original excavation and make them a believable modern style viewing area. As you walk in through the boxier square section in the back of the model you will meet a slanted “glass� display made for optimal viewing from it. I came up this design because I wanted a space where people could feel one with nature while still having the comfort of their own homes. It is meant to serve as a connection but still a barrier between you and the world around you while still having the home-like qualities in the back. While working on this design I felt it was important to include sections all around the model that could represent windows and give a translucent view into and out from the inside of the model.

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VIDAL DUARTE

This Microenvironment that is in 3/4 scale (3/4” = 4’) describes a space made of polished black and white marble, with pools of water at the foot of cubic black marble steps, leading into large and small basins.

On mirrored sides of the Microenviornment are double slabs of white marble, rectangular supports that stand in close pairs to the left of the small basin, and inside the large, mirrored to the other side of the space. These supports hold up a ceiling that is staggered slightly, the lower end hanging over the large basin while the higher rests above the raised floor that the basins are excavated out of. The overall dimensions of the space is 40’ X 30’ X 17’ / 18’, the latter height of which is due to the rise in the ceiling.

This space was inspired by the Barcelona Pavilion, with its marble walls and flat ceiling in conjunction with it’s water features.

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ANDREA GARCIA

Oh the places design can take you.

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SAMANTHA LOCK

The stick model I created was my favorite project we did in the class, mainly because I was visually able to construct and build a model of my choice. I enjoyed the freedom that came with the assignment because my model looked like a space I imagined, where people could live in and walk through. I also liked the concept of using sticks to construct a model because it was easier and less time consuming. When I started the stick model I remember making multiple sketches of a plan that I wanted to implement into my model.

Hence, this was extremely helpful because I was able to plan and map out where I wanted particular sections to be. The butter board helped me to gage where sections were and identify different areas of my model. Overall I really enjoyed this project and learned a lot on what designing and constructing a model needs.

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TREVOR NAYLOR

My

model/microenvironment

is

supposed

to

represent a section of a strip mall. Running horizontally through the middle would be the lower level and the sticks perpendicular to it would represent the bridge connecting the two shops. On the top and bottom, representing the backside, are ramps that lead up to both of the sores and the sticks included in that part represents an awning that would go over the ramp. Each awning though are different sizes and cover different amounts of area. The two rectangular areas would represent the actual shop itself and both have entrances from both sides. The whole microenvironment doesn’t happen to have a border around it and this is because I wanted to represent how this would be just a part of a larger scale strip mall.

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SELENA NGUYEN

This is an explored micro-space created with basswood sticks on top of an excavated butter board model. The basswood sticks were placed in a way to complement the butter board model, but also be able to be taken out to create a completely new micro-space that can stand on its own as a new designed space. The butter board micro-space model helped guide my design choices and served as my inspiration in completing this project. I really wanted to explore the use of space and angles with the basswood sticks, placing them in various directions that would make it interesting to the eye.

This project was very liberating and very enjoyable for me because it allowed me to look at things in various perspectives. If you were to turn this model in various ways, it would transform to a completely new space and allow you to see many new things.

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CHASE OVERBY

The microenvironment in section 2 I believe was my favorite project yet. With the freedom of materials and larger scale to work with I believe I was able to get more inspired. The microenvironment is an outdoor area most likely located in a park or inside of a plaza. The large pillars on either side of the space are elevators in order to take you to and from either floor. The bottom floor is the entrance to the space as well as the more spacious of the two.

The second floor allows you to get a better view of the surrounding area as well as some displacement between you and the people below. The large water feature in the middle of the space connects the visitors with something to view, as well as dividing them from people on the other side of the space. The water flows over a large clear glass plane allowing for some transparency but the water still disrupts the view to the other side.

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ELIAS PAGE

In this stick model it depicts a great interpretation of how my semester of design has been going so far.

I wanted this stick model to look very good and a well put together space. My stick model took around 3 hours to complete, I crafted this with care and a vision of what I wanted it to look like. Throughout my design process I experimented with the stick in many different ways. I altered them putting them upright and angled in various different ways. I struggled finding the right glue that dried quick and didn’t make a huge mess. I finally found a perfect glue that gave me everything I needed. This glue gave me exactly what I needed to construct this beautiful creation. I really enjoyed crafting this project and I can’t wait for the next semester to dive even deeper into all of these cool projects.

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ADRIANO RIBAUDO

Enter a luxurious hideaway where one can put aside the exasperations of daily life. Nestled above a quaint, European city, this destination features only the most relaxing elements. The lounging area is complete with abundant and comfortable seating and a fire pit as its centerpiece. This site also includes an infinity pool complete with an utterly breathtaking view of the buildings below that will certainly leave guests awestruck. Let us not forget the water slide for added fun. So, if you are searching for a romantic evening with a loved one or an exciting day in the sun, search no further because I guarantee this hotspot is for you.

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ALYSSA ROBINSON

Throughout this course I have gathered the tools to see, rather than simply look.

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LESLIE ROMO

Great design cannot simply be created out of obligation. There must be passion and dedication for the real work to be completed.

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MIHIKA ROY

The Micro-space is made in the shape of a tunnel but is a walk-in library with narrow benches and racks.

I’ve made the materials for the library glass, stone, and bricks. That way, the structure would be intact and not break off.

The Micro-space is not a huge structure even for the real world, since it’s a walk-in library I’ve made it small but life-size. There are supposed to be a lot of small structures like this that’ll cover a large area with the only difference that they all will be different.

I’ve made a walk-in library but more such structures with other purposes can be made such as motels, coffee houses, baths, etc. This is a structure made while purely keeping in mind just four people at a time, that way the atmosphere of the library will be maintained and it won’t be overcrowded. The library does not have a roof as it’s supposed to be located in an ideal climate with no chances of precipitation.

Even if by any chance rain occurs, the roof can be covered with tent cloth.

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ARIK SELLS

The microenvironment I created is an indoor seating and relaxation space embedded/extruded down into the floor. Behind the seating area is a black marble wall that doesn’t reach the ceiling and is meant to bring emphasis to whatever is in front of it. On top, you have 2 windows to have that natural light to balance out the dark materials being used. People can walk down the steps and have a seat for which they can wait, think, read, chat, watch people go by, eat a snack, etc. I decided to create this because I really like spaces that feel comfortable once you’re actually occupying them.

I feel that people feel safe when they are compressed but not too compressed by things. While I was sketching my space, I was already envisioning it as if I were already standing within it. For the overall design, I went for a more modern, slightly woody look; using the black marble as well as wood. This space can be built anywhere from inside a library to the inside of a coffee shop to the inside of a home. Overall, I’m happy with the microenvironment I produced.

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CAMERON TERRELL JONES

The process may seem tedious, but it’ll be worth the beautiful outcome.

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ISABELLA TRAN-CASTRILLO

The purpose that I envisioned for my microspace was for it to be a viewing room of sorts. The room would be mostly empty except for a seating area and maybe 1 or 2 art pieces at the max hung about on the walls. The room is of a good size so there would be a lot of negative space to draw the viewer’s attention to the art pieces within the space. I chose forms of concrete and a brick pattern with more texture just so the space is not completely boring. Some might think the textures would distract from the pieces of the art and yes they would, but since there are only a couple pieces in the space to focus, a little distraction is not so bad. The materials of the bench would be wood and concrete, and the cut square around the bench would be a slightly different shade of concrete. I included the floor section so that the viewer would feel separated from the art but also confined so they know their only purpose is to view (even though it’s already labeled a viewing room). Ideally, art pieces that are industrial would fit the theme of the microspace best.

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LANDON WIENS

Modeled from guidelines based on a past project, the butter board model crafted a space, guided by the theme of excavation. The project made from 20 individual cut 8x8 sheets of butter board, exemplified the design principles of line, shape, and form, and featured an extruding oculus from the top layer of board. To further explore the space, tasked with a new objective of extrusion, I assembled a basswood structure that emphasised the lines and shapes that were previously created in the butter board model. The intricate three dimensional structure formed an entirely new space, and was achieved by experimentation of overlapping sticks. Overall this project pushed me, a novice designer, to explore new ways to create a structure with little to no driving idea or purpose, and design a space solely through the process of experimentation.

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01

DESIGN FUNDAMENTALS I PROFESSOR: Shristi Ojha & Elena Rocchi

Students: Alexa Beal, Mariana Flores, Lauren Geiselhofer, Nathanael Iwinski, Kanthikan Kanjana, Justen Long, Ty Robinson, Angel Sagaste, Corwaun Clark, Raquel Colmenero, Leilani Fuentes, Joshua Jones, Akanksha Srivastava, Marcus Tilmon,

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ALEXA BEAL

With this stick model I did not have anything planned out, instead I just started gluing sticks together and placed them where I thought they fit the best. The more and more I explored, the easier it felt to place the sticks. I tried to place them in a way that would create a nice balance to the structure, but also not be too repetitive. A lot of the sticks actually go under part of the model, which enabled it to be turned upside down, but also removable. Overall I wanted to create a stick model that did not mirror the universal structure of everyday buildings, but formed a more unique and non traditional layout.

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MARIANA FLORES

With my knowledge and imagination, I was able to gather all my ideas and put them into not just one but several other projects throughout this semester.

Every single new project we had assigned, my mind would get to work and start thinking of numerous different designs as I have always wanted to have the best ideas out there. Even though completing architectural classes through a dormitory due to the pandemic can get old, I kept myself motivated and made my projects fun. For me, working on projects has been sort of a therapy and a passion that I get to do as my homework. I can spend hours and hours working on models and thinking about how to improve myself and I will not notice 8 hours have gone by. It is a great feeling knowing that my homework is something I look forward to do because I enjoy doing it..

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LAUREN GEISELHOFER

When creating this space I wanted to create somewhere you can sit outdoors with friends and get some shading. I’m from Arizona so I was going in with the idea of an outdoor seating area with shade so it can help keep people cool and out of the sun.

I reflected on some outdoor areas I had been to in the past and looked at my butter board models and picked on what I thought would create a unique outdoor space. I ended up creating an outdoor awning that had a section of it going higher with an opening for some light . Underneath the awning I added a small square that is a splash pad for kids and families to cool off. In the winter the splash pad can be covered and converted into a nice fireplace.

Overall I really liked how this turned out and I’m super proud

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NATHANAEL IWINSKI

When we were told to excavate our Butterboard squares, I immediately imagined a pool. As the project developed, I noticed the entire construction always made sense to me. When I constructed the wooden canopy to complete the project, I found I wanted to create a space that wouldn’t impede the poolside experience, but improve it, offering privacy and cover from the elements (sun, rain, wind). I wanted the cover to balance over the excavation and be simple enough to stimulate an aesthetic nature. The canopy begins in the deepest area of the excavation and quickly offers an arm to support the covering which is now evenly distributed. I used as few materials as possible to minimize the complexity; I believe that the easiest way to understand an art is to make it simple so all viewers can understand and enjoy.

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KANTHIKAN KANJANA

While composing this model, I looked deeply into the butterboard project prior to this and the endless possibilities that will create a little space. As I began to imagine an environment in which this space will occupy, everything began to fit together. Nothing was pre-planned but the ideas came together as if I have been to this place in real life. The inner section has an interesting design to it as I laid the sticks in a way that it would be slanted. The building will provide shade, while enhancing the natural environment around it. I wanted this model to be simple yet fitting. Fitting with the environment which surrounds it and what it would be used for. As a student in design class, I believe that everything we decide to add onto our work has a purpose. To me, I made this project to connect people to each other and to our surroundings.

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JUSTEN LONG

The project began with excavating butterboard squares, where two different excavation, independent each other were formed. The idea then developed as I began placing sticks on top of the excavation.

With numerous iterations, I began exploring three dimensionality of form and space. This model is not a result of a preconceived idea but rather a reflection of iterations and explorations that I went through in the process.

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TY ROBINSON

When I was building this model, I wasn’t sure what I wanted to make or how it fit into the real world. I ended up with a structure, and made interpretations on how the space could be occupied after. To me, this space could be used as maybe a stage that’s half opened where people can perform. It can be a center ground for practice and has a balcony to overlook the area. I think the simplicity of the design allows for more possibilities and can be used in a number of areas. I see it as more of a foundation, that when decided on what the space will be, can be further refined to make it what it is.

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ANGEL SAGASTE

When I began the process of creating my microspace environment, I began by brainstorming of a large interior space that will be of very good use. I knew I wanted my axonometric space to be a place where people can go to create, but also to think in. From the start, I had in mind a large table to be able to design at, but also an area where someone can go to in order to relax and brainstorm new ideas. After drafting many different sketches of possible spaces, I ended up with two different rooms in my space. I did this because I wanted the thinking space to be quiet, so it couldn’t be connected with the designing space.

The first room in my axonometric is a large table for surface area to be able to construct. My second room is composed of three separate seating areas for brainstorming and collaborating.

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CORWAUN CLARK

My design has been greatly inspired by the works of Clarence w. Wigington. He created many works but I focused on his water towers with observation decks that honored nature while respecting it’s untainted beauty. I believe great design should create a shared feeling of astonishment and joy, no matter the space; therefore, I constructed a model that would improve my happy place. My happy place is a construction of boulders that sit against Lake Michigan in my hometown. At dusk, the air sings as each wave caresses a rock while the seagulls quiet themselves. The space becomes a sanctuary from the bustling city a few miles away. The components of my plywood model reflect that space that sits above the coastline. I wanted to create a space that felt like an intrusion on the natural world instead of new spaces separated by thick walls; therefore, the space is designed to only be sat in. Those who rest in the space should feel safe from falling into the lake since there are guard rails placed around each beam.

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RAQUEL COLMENERO

My spaces start just by making a shape, and from there, we move on to creating a space. The process is long, but I have learned once you just bit the bullet and go for it, you will create something extortionate.

For my microenvironment, I just wanted to make a room that can be added to a part of the house; little did I know that I was living in the exact replica of what I was designing. For my butter board/ stick models, I didn’t have a set mindset of what I wanted to do; the end result was what defined what each project was meant for, and I’m happy I didn’t describe it before because it would have been more stressful. At the end of the day, you can make the space whatever you want; it doesn’t have to have a specific meaning; it could be whatever you imagine it to be.

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LEILANI FUENTES

Over the course of these projects we focused a lot on transforming the previous space into something new.

Finding a way to make them all somehow connect.

When I was making my micro-space I had in mind the idea of a garden. Somewhere peaceful where a student can go to study while being surrounded by nature. The space is meant to feel open, the walls built out of fences so that the people inside can get a view from outside the structure. I wanted my structure to be clean and a hint of a geometric factor.

I decided to use this to my advantage and model the space in the butterboard project. Using the butter board project I was able to come up with the basin wood stick model. One of the models includes a lot of pyramid type forms to which I wanted to imagine as buildings in a plaza that can be transformed into a sitting area or perhaps a shopping store. Another I saw a bridge used to cross a ravine. And lastly the base of a greenhouse. Going back to the ideas of nature and a garden the model reminds me of a

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JOSHUA JONES

In my designs, I attempt to bring simplicity to projects that could be interpreted into complex obscurity. Sometimes we forget that we are not designing for other designers, but for people who know nothing of it. I feel it is always important to incorporate past designs into our future, as to connect and learn from our predecessor’s mistakes and feats. Accessibility and functionality are most important to me, as I constantly think about how someone might interpret and use the space I have created. I also enjoy the use of simple shapes and forms to describe space and convey meaning. What I tend to find most difficult is balancing design and functionality, as they tend to, more often than not, comply with one another. Amazing design is created by balance, and sometimes things don’t work, so the more we try, and the more we fail, the closer we get to finding that balance.

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AKANKSHA SRIVASTAVA

This is a space I created thinking of an aquarium. It is a very simple design that will allow humans and sea creatures to interact without disturbing one another.

This aquarium has three sections; this is o prevent the disturbance of the natural order while still keeping all the animals alive. The largest one is for deeper sea creatures such as sharks and whales. The small wide tank is for smaller fishes that live higher than 30 feet, the bottom of the tank has sea plants but I didn’t have any pictures of sea plants, so I added grass from my garden outside. The long tube-like tank is for humans. This will allow us to look at the sea life from different levels without disrupting the animals. Even though we brought the sea creatures to our human world, we should still consider how to make heir stay as natural as possible, that after they are no longer in need of human care, they can easily adapt back to the ocean.

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MARCUS TILMON

Throughout this project I was pushed to think outside the box. Not only was this achallenge for me but I feel like I did a great job. This model is my first model I did. Learning from my peers I have been continued to tweak and adjust my model before the super pin up. Learning from my peer’s new ideas and different ways to expand on my models helps tremendously. Several times I have thought and looked at project and try adding them to my project as well. This only helps my project in the long run.

This model is only going to get better overtime especially learning from multiply trial and errors There was only one hard rule that it had to be no more than two inches which made it interesting.

But all the other freedom helped my mind expand on things tremendously. All in all this project was a absolute blast and I really enjoyed it.

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01

DESIGN FUNDAMENTALS I PROFESSORS: Udit Shah & Elena Rocchi

Students: Benjamin Miller, Edgar Camacho, Junior Lee, Vanessa Ihrke

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BENJAMIN MILLER

For this assignment we had to make an axonometric microspace. I took a lot of inspiration from James Turrell’s skyspace on campus. I envisioned a bench with a fountain and a hanging ceiling over top. The ceiling had a hole in the center over the bench and would feature plants hanging down from the ceiling.

This was a challenging assignment because it was the first time we had to come up with an actual space that would serve a real purpose. Also on top of that we had to make it an axonometric space which could become kind of confusing with the 3 dimensional aspects. Although, I really enjoy doing the drafting style projects on the vellum because they start out very confusing with the different construction lines all over the place but the finished product is always so clean and crisp. I always feel proud at the end.

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EDGAR CAMACHO

This semester has been everything I have been expecting, an unforgettable first year of Architecture.

My creativity, passion, and love for design shows in my Section 3 Microenvironment project. I designed a Community Center for the youth to have easier access to technology, science, art, music and meeting new people. While also designing patio space and roof space for people to read books, relax, communicate, share, or just enjoy our beautiful weather. A way to enjoy patio spaces and weather is when green nature is present. I placed trees all around my microenvironment and also created a vine shade which makes wind sound like music, heat less hot and welcomes singing birds to add on to our relaxation. Throughout this semester I have learned that every design starts with a dot or a line, a shape isn’t just a shape, a “simple” building isn’t simple at all, every design creates space and so much more. I am extremely grateful for my Professors and my T.A. that has put in extra effort every week.

JUNIOR LEE

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VANESSA IHRKE

This semester has taught me that spaces can be abstract; either simple or complex. In design, you may have a general direction of the path you will want to take, or it may evolve as you continue through the construction process. For this particular stick model, I did not begin with an envision of what I thought I might make, and I had not thought about what the purpose of the space would be. I allowed my mind to simply build and explore the different possibilities. After I found an environment to place my model in, the use of it became clearer. My stick model is designed to be a place for contemplation and reflection. The simplicity of my design allows for the surrounding environment to give the model more importance.

ALA 121

01

DESIGN FUNDAMENTALS I PROFESSORS: Srujana Tatikonda & Elena Rocchi

Students: Chloe Calkins, Kayden Robertson, Margaret Kreyling, Shawn Riegel, Zahraa Shaker, Abigail Loar,Sultan Abudawood, Faith Hendricks, Alfredo Martinez, Aja Shaw

ALA 121

ALFREDO MARTINEZ

These stick models were based off of a section, elevation, and floorplan etched unto butter board, a type of posterboard. We were asked to elevate these boards and envision a space that a person can walk into. I intended these spaces to be utilized for thought and self awareness. A chance to look within. Hence why some of the models are symmetrical, they mirror themselves as they too are looking within. However I did not want every model to be symmetrical, as that would have been bland and boringly uniformal.

I added additional planes that didn’t necessarily correspond to the rigid base of the models. To further these models I decided to create sloped roofs as a way to contrast the right angled design present in each one. This is a space to contemplate and ponder on whatever plagues the users mind.

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ZAHRAA SHAKER

The sticks assignment was one of the most interesting projects. I had no idea what and how I want to start, laid down all the sticks that I got and looked at my butter board thinking I can start from just creating flat lines to start with just a base and go on so I did and came out with all of what I have in the pictures above. I found out it is very easy to just no overthink the assignments because there is not right or wrong answer, we can just be creative, imagine and create a model of your imagination. Make it happen just how we have it pictured in our mind but at the same make it to make sense to people who are going to explore it.

For my first semester I learned to be simple because there is beauty in simplicity. Also make It simple but significant�;Don Draper�.

ALA 121

AJA SHAW

For my stick models I enjoyed creating a protruding design using the previous assignment. I didn’t plan what I was making beforehand and I just went where the design took me, creating things I didn’t expect.

This design is the most square compared to the other three models I created. But what I really love is how this stick model works with the model from the previous assignment (which you can’t see here) and creates a well rounded piece. Also, the photo I took of this model is my favorite by far because it looks like you’re walking up to a huge building even though it is just a bit bigger than my hand. After doing this project and learning so much, I’m so excited to see how I’ll do next semester.

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LAUREN SWARTZ

Working with the basswood sticks for this project brought a new level of abstraction and challenge to my thinking process. I used two different strategies while designing these models; in the first two models I focused on designing a very strong base for my stick models by using any balance I could find in the butterboard models or alternating between squares as in the first model. This approach—since it was more practical—encouraged me to focus more on adding elements that would add depth to my design.

For my other model I focused on finding balance in the upper levels of my stick model design. This approach was much more abstract and forced me to focus on the model overall and the purpose that the stick model would serve. Overall I enjoyed this project a lot and I learned more about how I approach new tasks and my process while creating.

ALA 121

SULTAN ABUDAWOOD

Here is my plan with the sticks I built it as a big museum with a wonderful view. The plan will have a view of a garden with a beautiful lake. I wanted to make something that is very huge and look very great for a museum. Furthermore, it has grid ceiling that helps when it rains so it does not stuck above the building. I made an entrance that is with a nice view of the interior design and the architecture building that is historic. There will be a fountain in the view, with a nice walking area with a palm trees from both sides, and sitting benches for families to enjoy the nature and environment. Lastly, the museum has a very large park in front of it that invites a big population of people.

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SHAWN RIEGEL

A design can never be complete, it can always be expanded upon

ALA 121

ABIGAIL LOAR

As design students in the making, we were given the opportunity to create a micro space using a previous art project we completed earlier in the semester.

Using that piece of art, which only consisted of colorful shapes, I envisioned a whole new piece of art, one that I was able to turn into a three dimensional space on paper. My idea of this micro space was a water fountain of some sort. Its intentions are to bring peace to those who visit it. This odd, yet attractive space lures people in to enjoy its beauty and uniqueness while taking in all the nature it brings forth. This kind of space would be seen in public environments such as parks, downtown attractions, museums, etc. Its sole purpose is to make anyone feel welcome and calm; those who may be struggling with hard times in life might just need to come visit this piece of art to enjoy some fresh air and the soothing sound of water camly streaming through this system all hours of the day

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FAITH HENDRICKS

These stick models are extrusions from a previous model we had done. I made my stick model a pavilion to admire and appreciate what is around you. To make the space more than a boring square I had designed the roof of this space to be slanted upwards towards the sky to make the sky feel bigger to those who choose to occupy the space.The slant in the roof makes it feel as though the occupants are being pulled into the nature around the pavilion. Although the design is simple it allows for the occupants to focus more on the company around them. Whether that be other people or just the nature surrounding them.

ALA 121

01

DESIGN FUNDAMENTALS I PROFESSOR: Vaishali & Elena Rocchi

Students: Jordan Allred, Brayan Aparicio, Gilbert Armenta, David Eftimov, Erika Lara, Amber Lyons, Israel Mutach, Kaya Razzo, Angel Ruiz, Owen Sullins, Francisco Valencia, Sophie Aprotosoaie-Kardos, J Alberth Galvan Rivera, Emily Grippe, Grant Kuffler, Jake Netter, Leah Norton, Jasmine Perez-Regalado, Zoe Purcell, Chalsea Segarra, Kai Williams, Mckenna Wilson

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JORDAN ALLRED

This past semester has really been an eye opening one for me. There were many things that I had not realized about design. There is so much more to design than I had previously thought. For example, A simple line can do more than show shape, depending on how you look at this line, it can create depth and perspective which really can open up the mind for both the designer and the viewer. While designing this project, I was very unhappy with how it was turning out and it seemed a bit to bland for me. With the simple rotation of two of the pieces, what I have now was created. In doing this I believe it really open up the space which was being offered and truly had an impact on the overall composition of the project.

I am grateful for what I have learned in this semester and I hope to be able to learn much more in the following years.

ALA 121

BRAYAN APARICIO

Over the course of the semester I have learned that design is all about creativity and spirit. Everyone has different pieces of works and they all have different inspirations. You will be able to note how much time and effort someone put into their projects.

Additionally, I have learned the basic principles of design along with the terms elevation, scale, design process, etc. It has been a really fun experience. All the projects present a new challenge that requires you to brainstorm, plan, and create in a timely manner.

When creating my project the first thing I had to do was getting familiar with using an exacto knife.

It was important that I learned how to cut straight using a straight edge because when our assignments are graded our craftsmanship is heavily taken into account. After enough practice you will be able to complete the assignments in a timely manner.

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GILBERT ARMENTA

In this semester, I’ve learned a lot about design fundamentals and different ways to use and view design through different aspects of life. Due to the circumstances of this semester, I’ve been going through different states of my mind which has also played into my designs and the way I approach my work. Through the principles of design that were taught to us during the semester, and since it is so fresh in my memory, everywhere I seem to go I notice different aspects of contrast, balance, repetition, alteration, transformation and transition.

Through the craft of the assignments and projects that were given this semester, I definitely appreciate and respect the devotion that is needed to go into every detail of every part of a design, I wish I was in different circumstances to really have used all my time to focus on schoolwork, however I will take all of this into consideration next time around. I’m really looking forward to my future in the field of design.

ALA 121

DAVID EFTIMOV

This semester introduced design and its beauties, I remember we were first introduced to the basics – line, shape and points. After the first 3 or 4 classes I had started to perceive the world differently, I started to see the world around not as a building, but as connected lines and shapes, which then helped me with my projects and making the best out of them.

After that we were introduced to Emphasis, Balance and Contrast, which helped me see spaces in different aspects, I was challenged to explore my imagination even further more. Throughout the whole class I was able to push myself to be more brave, more confident with my work. Even though COVID-19 was a huge obstacle for everyone, we succeeded in helping each other, I’m also grateful for my professors and my TA’s that supported all of us and helped us get our imagination out in such hard times.

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ERIKA LARA

This semester I learned that design is a process that begins with an idea, a concept or a dream. That reality is based on how we see the world and that design is how we express our realities based on our life experiences. Furthermore, I learned how our environment influences or perspective and helps our ideas evolve. This semester I was re-introduced to the principles and elements of design, how they can be utilized to create composition much like the ingredients of a recipe. I now understand the difference between art; that is utilized to express an artist point of view and design; which is an idea with a specific purpose that starts as fiction and is a continuous work in progress. Finally, I learned to let go of pre-determined notions, allow for change and let the spirt in my design determine the finish product.

ALA 121

AMBER LYONS

“Design is not a style, we want it to last for generations, making our creations sustainable.”

Ask yourselves what mark do you want to leave on this world and can I pass this down for future generations? Think in terms of Cradle to Grave, where it might end up after it’s use. What I have learned is that good design is intrinsically sustainable.

As a designer, we must question ourselves and do the required research to achieve a certain level of ecological sustainability. Section three of ALA121 was one of my favorites since it made us “evolve” the spaces we had imagined. For assignment 10, I wanted my elevated stick design to be somewhere in nature in a high place. Maybe it is a tiny house to escape the congested city, to be able to see the stars clearly without being engulfed by surrounding lights. This is a place where you can take in mother earth’s beauty with no distractions.

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ISRAEL MUTACH

At the beginning of this semester, I knew very little about design. I thought that design was just colors and furniture inside a house. However, as we were advancing toward the end of this semester, I realized that design is more than just colors and furniture.

Design is contrast, emphasis, balance, shape, size, texture, transformation, even the maneuver of an object is a design. I have come to understand that design is in everything that we see. I also learned that making a design requires a lot of patience ,and inspiration could come from anywhere. When I was making some of my stick models, I was stuck about halfway through them; and stared at them for at least thirty minutes. It wasn’t until I decided to listen to music that I found my inspiration. Sometimes, I find my inspiration in simple things like talking and playing with my little nephews. Overall, design is everywhere in our daily lives even when we do not see it.

ALA 121

KAYA RAZZO

Throughout the semester, I learned and also was able to experience so many different things in different perspectives I never noticed before. ALA121 taught me to look at everything differently and to see what is unable to be seen. To think and view objects and structures differently than one normally would. I learned that in every design, there are principles such as contrast, balance, and emphasis, as well as repetition, alternation, transition, and transformation.

These principles don’t just appear on a design, they take time and consideration to be able to find these specific details. Design is a challenging process and there are so many steps to it which take a lot of patience. The process of design is not simple, in fact, the design process is much more complicated than it appears. Designers see everything differently because they are constantly exploring and looking for new ways of seeing. Design is everywhere and there is much more to it that meets the eye of an individual.

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ANGEL RUIZ

My stick model was a vision of a college or university study space. I personally prefer small study spaces that can hold few people because with less people there seems to be less distractions. The environment I chose to take the photo was in front of a college’s building to show that my space will sit around an academic surrounding. I felt that this model stood out because I had more of a connection with it and it had more meaning to me. An important thing I have learned throughout this semester is to put yourself into the model but not physically, spiritually. That’s why my quote for assignment 12 is “A great design is shown through the designer’s spirit”.

ALA 121

OWEN SULLINS

This semester, I learned that great design takes perseverance and patience. From hours of cutting and tracing to multiple sketches in our notebooks, design is a lengthy and difficult process. Great design is not just original, it is also innovative. Great designers see the world differently from others because they are constantly searching for improvements within our society. One person may see a building, while a designer sees the contrast, balance, and emphasis of lines and shapes that make up that building. The repetition of brick pavers that make up the walls, the transformation of the interior as the sunlight brightens and dims throughout the day. These characteristics are what designers see while regular people see a normal house. Understanding and loving these principles unlocks a secret world: the world of design. Although this semester has been unlike any other, my experience with design has allowed me to see the world in a different and exciting way.

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FRANCISCO VALENCIA

In the previous semester, while learning the basics of design, I learned about finding patience within me to complete a project to the best of my ability.

Design comes different to every person which creates a sense of complication and difficulty when completing any design project. The pressure of creating something already created frustrated me.

Learning patience helped me find design within me to create something, not “new�, but rather creating something honest to myself regarding design. Design is within us; we just need to find it.

ALA 121

SOPHIE APROTOSOAIE-KARDOS

I have dreamed about becoming an architect since I was seven years old, and after so many years of waiting for the moment to really learn about design, this experience was truly amazing. In the beginning of the semester we learned about the design principles, this new knowledge has completely changed how I look at the world around me. Now I realize that everything built or designed has a purpose. I also learned that my work does not always have to be literal, abstract art gives people more creative freedom and a chance to interpret the piece in their own way. One of the biggest takeaways from this semester though, is that a preconceived or predesigned idea is not always more creative or unique than the designs and compositions that can be created through exploration. I cannot wait for the coming semesters to learn more about architecture and design.

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J ALBERTH GALVAN RIVERA

This semester was my first time at ASU, I came to the design schooling with the hope of expanding my knowledge on design and art. Throughout my first semester at the design school I learned how to see design in a whole new way and how design affects humanity. I would say that the best part of the semester was having an in-person interaction with the James Turell ASU Skyscape: Air Apparent which is located on the ASU Tempe campus. I learned how and why recycled materials are used for some design build, on are assignment 11 we use recycled materials to create a model for a space where people can interact with the environment. Not only did I learn how to see design in a whole different way but I also learned how to create great communication with other peers in my studio and how another person’s view of your design can help improve an idea.

ALA 121

EMILY GRIPPE

Over this past semester I have learned the significance of space. From our first assignment of the year where we were instructed to capture space through a picture, to our most recent where we were responsible for actually building our own space, I am now able to understand the detrimental role of space in all aspects of design. Space is often misconstrued as nothing, however it seems now that it is everything. The space we create as designers means everything to whatever is meant to occupy that space. Experiences, relationships, and interactions take place in these spaces, giving them so much more meaning than I ever could have imagined. I have learned to value space and use this appreciation to create more spaces that encourage life. Most importantly, I now understand that as designers, what we are most lucky to have at our disposal is the limitless potential of space.

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GRANT KUFFLER

During my first semester at Arizona State University I was able to unlock the key to understanding how important design is and how to see it. The most valuable piece of information I learned was to see lines in almost every single item and structure. I believe this has the most value to a design student because it opens up the mind to see new and exciting characteristics in the world. Just after weeks I was able to comprehend design abilities and factors that surround us everyday and made me want to research how design affects buildings such as weight distribution or aerodynamics. Another interesting fact I learned was to dissect how a design is made and imagine the thought process the designer had to go through even if it is just a sketch on paper.

These abilities further enhance my understanding as a design student and makes me want to further my career in architecture.

ALA 121

JAKE NETTER

Switching to Environmental Design from Biomedical Engineering was a big jump for me, but it was the best decision I could have possibly made. I not only learned, but I loved what I was learning and I have never experienced that before. This class taught me how to exercise my creativity and to unleash it into my work. Now I never look at the world the same, there is always a design principle hidden in reality.

This specific assignment taught me that restrictions are not always a burden. Instead, I worked with what I had keeping the principles in mind and created a unique structure, inspired by Frank Gehry and the Guggenheim Museum. The finished result looks nothing like the museum, but that building showed me design can be crazy, but satisfying. The location of this picture was intended to be a place of relaxation and wonder, which I think I captured effectively. My position inside the structure is to further portray this concept, emphasizing abstraction and creating many answers.

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LEAH NORTON

Over the course of the semester, I had surprised myself with all of the new techniques and design elements that I had learned. I started off not knowing much, just some of the basic principles of design, and now I feel that I will take a lot of the new design elements with me throughout my time here at ASU. This assignment happened to be one of my favorites, because I felt that we were able to express a lot more creativity and personality through the models. Out of all of my three models, this is the one I decided to choose, because I feel that it explores the creativity needed but you are also able to see a story through it in nature.

ALA 121

JASMINE PEREZ-REGALADO

Over the last semester, my knowledge of Design and Art has extremely evolved. My perception and understanding of the outside world and nature has completely changed. I now stop and try to understand why certain things are the way they are and the impact it has in our daily lives. Before, I would just walk past things and though it was cool looking but being able to observe more and understand it really is something extraordinary.

I have learned that what we see and what we like can be used as inspiration in the projects we were assigned. One thing that I learned while creating models and Micro Environments was that creativity is extremely important. Getting inspiration and being able to dream big and actually create that image in our minds into something physical really is so satisfying. This semester was an extreme eye opening experience and I plan on still learning more throughout my college career.

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CHALSEA SEGARRA

When creating this design there were a lot of things I kept in mind, like what I wanted it to be and what kind of shapes I want to incorporate. And finding out what I wanted it to be was a little harder in the beginning but as soon as I started getting all the pieces going I knew exactly what it was. The whole structure is very open is shaped as has eight sides making it like an octagon. It would be like a canopy and with a slanted roof so when you walk into the structure your view of the pond would expand. It’s also got two benches built in on the left and right. I imagine it on the edge of the water so if one wanted to they could try to fish from it, I’m not certain there are fish there could be. You never know.

ALA 121

KAI WILLIAMS

As a brand new student of architecture this semester, I was not expecting to find how important the act of reading was. Our professors were adamant that we read as an essential activity throughout the semester.

I grew up with my face in books from sunrise to sundown, so reviving that thirst for literature was an important element in my micro-environment.

Creating somewhere intimate to enjoy a book was integral to my design as well as my overall journey in learning about design. My micro-environment is rather small, like a nook in which to curl up and get lost in a novel. A small fountain surrounds a greenwalled column and organic textures and materials are tied together with wooden walls. The space can also be shared amongst small groups to share the togetherness of reading. This space was a way for me to share this lesson in literature through design.

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MCKENNA WILSON

Throughout this last semester, I feel as if I relearned what art really means. I learned that designers can look at something so simple, yet it can become so complex when our creativity gets involved. We use what we see as inspiration. I feel that the most important thing I learned this semester is that inspiration can come from anywhere or anything.

I never would have thought last year that I could visualize so many different outcomes from a single composition of sticks and glue. A quote that was said in one of our lectures really sticks with me was “We must learn to hear with our eyes and see with our ears.� Designers must not only gain inspiration from what they see, but how sounds or other senses make us feel and where they make our minds go as well. Now to me art, architecture and every aspect of design is all about creating new realities from simple compositions.

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01

DESIGN FUNDAMENTALS I PROFESSORS: Siddhartha R Verma & Elena Rocchi

Students: Kalina Artherholt, Paul Baiya, Jacob Carl, Elvis Castaneda, Christopher Conover, Homero Dena, Mariela Diarte, Braden Distel, Victoria Garcia Ojeda, Holly Hames, Kristina Hayden, Jacob Heinkel, Opec Hynds, Alexander Katsirebas, Morgan Rumsey, Maria Del Carmen Lopez-Velazquez,

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KALINA ARTHERHOLT

Going into my first semester of college during a pandemic brought along challenges that I didn’t expect. I had to shift my way of learning and the adjustment was difficult, not to mention the loss of a social life, and being stuck at home. But despite these challenges, I grew. I learned more about myself and was proud of the work I had accomplished within such a seemingly short frame of time. Being an architectural student has allowed me to express myself through a number of projects that have shown my growth as the semester progressed. I have appreciated the lessons, the work, and the outcome of every class. I’m happy that I’ve taken my first step towards my major, knowing that one day I will look back and reminisce on my first step into the next chapter of my life.

ALA 121

PAUL BIAYA

Design fundamentals has been a great experience for me. I have a wealth of work experience that motivates me to become an architect. This class gave me a preview of how I will work in the future. I enjoyed drawing, graphic representation as methods of seeing, and problem solving. Conversely, it helped me understand how space works, around us.

Throughout the process, I learn to be thorough and pay attention to details. Especially, to understand the content of the space and the ability to comprehend the buildings and its elements. The diversity of several projects taught me how to manage time. Throughout the projects, it has been busy and challenging at the same time because I have never before endeavoured in crafting. As an architect, one needs to design new buildings and the spaces in them. Ultimately, it was really epic spending time developing new ways of using materials and also using the element of art.

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JACOB CARL

Although

starting

freshman

year

in

college

during a pandemic was something that I was not expecting, I learned many things this semester that I will cherish and use in the future years to come.

Design Fundamentals taught me how to manipulate my thoughts into thinking as a designer. Before this course, I would not put as much thought into my work, leaving it to be the bare minimum. After completing this course, I have learned that patience and understanding can allow me to achieve above and beyond. I can now use this new knowledge to excel in my architectural path and I look forward to being hands-on in creating complex structures that can one day come to life. Overall, I learned to see the world in the eyes of a designer and cannot wait to continue my architectural studies at ASU and watch myself grow into the aspiring architect that I dream of becoming.

ALA 121

MARIA DEL CARMEN LOPEZ-VELAZQUEZ

In the process of becoming a designer, my ideas have changed throughout the semester in various aspects of seeing. As each day began, I started to see buildings from a different perspective and try to acknowledge the principles within them. The use of primary and secondary principles made me recognize the small things within each aspect of an area, for example, the repetition within the design, or the alteration within a specific area. Things I would not normally see as a regular person, what helped me so much comprehend each type of principal, was looking at structures for a couple of minutes and processing all the features it has to offer. Within those features I started to put pieces together. I created my own ideas and incorporated all the principles towards it.

As well as being able to add some details that can make it look more of a micro space, the semester has truly opened my mind to notice factors that a normal person could have not figured.

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CHRISTOPHER CONOVER

By halfway through my senior year in high school, I was excited and ready to move to ASU to start my journey to become an Architect. Once the end of March was here I was still pretty excited that everything would be over just in time to go to ASU. With the global pandemic still raging, I definitely had to adapt in so many ways. The last semester of high school was pretty much just cancelled so I never got a chance to get used to all the new ways of learning. This semester I had to learn how to do everything from the comfort of my own home. That has always sounded easier said than done. Less personal interaction with TA’s and Professors, and ALOT of technical difficulties. But even though this semester at ASU has been quite difficult, I think I’m finally getting the hang of it and am excited to start my second semester of Architecture at Arizona State University.

ALA 121

HOMERO DENA

When we were doing Assignment 01, I remember thinking, “I don’t understand this”, “I don’t know how to interpret it,” and “I don’t know WHY I’m moving these lines around.” I was frustrated. I was lost. I even considered switching majors because the “Artistic” point of view was not for me. However, as we began the second assignment about the foreground, middle ground, and background; something clicked. I was mesmerized at seeing how the professors made their photograph appear 3D by using different shades of color. My interest was piqued, I was curious to learn how a person could do that. As the class progressed through the semester, we began learning about how we could transform our ideas on paper into small models and the importance of helping the environment by using recycled materials for our models. I can not wait to learn something new and beautiful next semester.

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MARIELA DIARTE

As expected for first year students attending university/collage, this semester has been at many times rough, stressful, and tiring. My personal experience has pretty much been that, but not completely. I struggled with the many changes this year has bought about due to the pandemic. Being quarantined, taking all online courses, risk of being infected, risk of losing love ones. An endless worry.

Thankfully, I have been able to overcome these challenges in the past months. I have worked hard to maintain myself together because I am passionate about this profession. I have learned from amazing different perspectives, that have influenced and allowed me to grow not only as a student but as a person. I have begun to see the progress in myself and my work, from what I have been taught.

Therefore, I believe it is okay to have those bad days, because you will also have those good ones that keep you going and excited for what is next.

ALA 121

BRADEN DISTEL

The (many) hours that I have spent in the studio this semester have been the most rewarding hours of my life. While the work can be tedious at times, it is always worth it in the end; taking a lot of time and patience to produce work that I am genuinely proud of. Even though this semester was conducted virtually, I feel that it has opened my eyes to the world of design in a way that I could never have imagined. Through this newfound perspective, I have enjoyed watching myself grow every day during my first semester here at ASU and seeing that growth reflected in my design work has been enlightening. Every day I experience more and every day my spirit grows; always striving to be the best designer I can be.

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VICTORIA GARCIA OJEDA

This semester I learned a ton about the career I wanted to pursue and reinforced my love for designing and creating. From the beginning, I started changing my perspective of buildings and designs from my own room to buildings around campus and town. This semester, each project progressively got more arduous and more time consuming, but each one taught me something new, from following instructions and carefully cutting each slim of paper at a 1/8� to starting my basswood structure from the base first then attaching more wood where necessary. As the class pursued, I noticed my work ethic, planning, and performance have progressed.

I have learned to view things uniquely and design using any material. Not only have I learned about my career and the tasks required, but about myself and what I can achieve. I am excited to see what insight projects in the future have in store.

ALA 121

HOLLY HAMES

A lot of my designs are asymmetric and are done in a simplistic style. A lot of time was spent making sure that my projects were well crafted and easy to look at. I took a lot of care in cutting and adhering my models so that they would be durable, but not messy looking. Rulers were used to get the lines straight and achieve the crisp defined edges that I was going for. I needed to be patient and dedicate long periods of time to completing the assignments and models for this class.

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KRISTINA HAYDEN

When I tried to explain my work this semester to my family, I told them “I took a photo of a space and dissected it, then abstracted it. Then I abstracted the abstract and continued to abstract the next abstract; each time making an original design.” With each abstraction/new design, I felt an excitement and contentment as I worked. The original photo I used was of the walkway and portico of the West Hall at the ASU Tempe campus. After abstracting that photo into a Josef Alber’s square, I then abstracted it further by analyzing the photo for transition through contrast. It was that abstraction that I chose to turn into a 3D axonometric draft, which developed into a mall food court. The final assignment to create a model from recycled products was where I was able to breathe more life and realism into my mall food court design.

ALA 121

JACOB HEINKEL

My work this semester was inspired by the relationship between people and the natural world.

While learning about the design process I began investigating how humans would interact within an outdoor space and how they would affect it. A lot of my work is also inspired by balance and symmetry which I hope gives a sense of tranquility within the design. Through the exploration of the elements and principles of design I created work that felt more like a piece of art rather than a structural draft. I think that one of the most important functions to design is the beauty that it adds to our world. And in the future I hope to continue my investigation into how humans and their environment can become mutually beneficial to create a greener Earth.

155

ALA 121

OPEC HYNDS

Coming to ASU and majoring in the architecture field has been a super fun and exciting experience. For this semester I have learned a lot from the professors.

I really enjoyed all the projects that they gave me, and in this semester I have learned that design can be whatever you want it to be. It was different to do zoom lectures in the dorms, but it later on became easy to adapt to that new lifestyle. Doing projects was the main highlight for me this semester. I definitely enjoyed projects 10 and 11 because I got the chance to build models of my work. It feels great to build models because that’s my real passion as an architect major. There’s nothing better than getting your hands dirty to make models. The projects overall helped me stay busy and I enjoyed interacting with my classmates which made the experience exciting.

ALA 121

ALEXANDER KATSIREBAS

This semester focused on many things, it was a task in itself. My work is based off of what I imagined everything to be. I saw things a certain way and that’s how I depicted them in my projects. There is depth to what I did and it’s difficult to understand even for me sometimes. This has been a stressful semester and I am happy to present my work to you.

157

ALA 121

LAZLO MONTANARO

This semester I learned a lot about the design process and architecture. Throughout each section I had to challenge myself to think and see images in several different ways. Then to create those images in my own designs. Throughout this semester one key thing I took away was how many levels there were to a picture or design. There are so many elements to a design, when someone looks at a picture or design they might not be thinking about all of the small details that the artist or designer thought of when they were making it. When I was creating my designs for a project I took a picture and turned it into a 3D object. Never had I thought before how many spaces or designs you could create from just a picture.

This past semester has really been an eye opener for me.

ALA 121

MARIA DEL CARMEN LOPEZ-VELAZQUEZ

This semester I have learned a lot about design.

Every time I go outside I start thinking about the thought process that goes through the designer. The first section projects I started I ended up restarting right before the super pinup because I knew I could find a better space that I wanted to go off of and I knew that with this space I would be able to expand more as a designer. When I restarted I was also more careful with my craft. I was more patient and I appreciated the projects more. When we moved onto the second section I really enjoyed drafting.

Remember being really at peace and happy. In the third section it was really difficult to cut the butter board and i even ended up cutting a chunk of the tip of my finger off and after that I did not start on the project until 2 days later. After i got past the shock of missing a piece of my finger i started making all the cuts on the board and I really enjoyed it because i couldn’t really get in my head about it. I really enjoyed all of the sections and I really saw growth in myself as a designer.

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ALA 121

MORGAN RUMSEY

I have always wanted to be a designer, ever since elementary school. This semesters projects have truly broadened my perspective on what it means to be a designer as well as all of the work it entails. When I step outside, or even into my own bedroom, I see a completely different world than I did three months ago. I notice how lines and shapes interact to create spaces within the man made and natural environment surrounding them. I have also learned to consider my impact and function with a space. Being able to create these spaces has truly been a mind expanding experience, one which I look forward to continuing in my college career.

ALA 121

01

DESIGN FUNDAMENTALS I PROFESSORS: Cody Yazzie & Elena Rocchi

Students: Luis Alamo, Ricardo Alarcon, Christopher Becerra Mejia, Kailey Carty, Marlene Castillo, Ana Colin, Daniel Deputy, Nicholas Froelich, Victor Hernandez, Jordan Johansen, Remy Nelson, Ana Olave, Dorismar Perez Lopez, Nicolas Roodettes, Danielle Russell, Ashley Thornton.

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ALA 121

LUIS ALAMO

The stick model was by far my favorite project that has been assigned to us since there was so much freedom in order to do anything that you wanted to do. It was sincerely fun, and it was something that I would enjoy doing on my own time since it felt like it was my own idea and as much creativity as I would have liked. I had no idea what I would want to do, and I just kept going as I was creating my project.

I did although try to make some type of building or so I thought I wanted to do which definitely got frustrating after some time. From there on I started to understand that having an idea of what I would have wanted to do will not be the very best option I sat down and started to just let my mind free and started to understand that I should not have something in mind with what I would try to craft and just try to use the space and use the sticks with how I was proceeding with the project.

ALA 121

RICARDO ALARCON

The reason why I decided to create this wooden structure because I envisioned a place people can go and hangout that also is art. As you can gain many perspectives from either elevation that are each unique. I enjoyed this assignment because it taught me about structure while I also got lost in this project has started to connect different sticks together. On the other hand some stick wouldn’t hold up because the glue wouldn’t dry or I needed more structure which then would make it look very unorganized. As for this figure when I first started it what came to my mind was a jungle gym for adults where they can just sit down inside of the structure or anywhere on it. As it is interactive with all the other pieces that they all rely on one another to keep each other up.

It just amazes me how I was stuck at the beginning and then came up with a structure that I would truly hang out in real life much like sky space on the ASU Tempe campus.

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ALA 121

CHRIS BECERRA MEJIA

This microenvironment was inspired by previous work I have done. Since I am a framer and have seen lots and lots of design, I thought I could also apply what I’ve seen into creating my own design. At first, I did not know what to create because it was a simple 2D drawing. However, after some sketching, I had an idea about what I wanted to create. This microenvironment I had in mind was a cornered patio or outdoor area of some sort. I wanted it to be a sort of closed and enclosed environment. In that case, I added a few walls to show that it was connected to something like a house and the rest would be an open environment. I thought of making two rock columns in the middle for aesthetic viewing and support of a structured roof. In the middle was a paved walkway to either the structure or the open environment depending which pathway was walked.

I plan on designing many things in the future and this assignment helped me a lot on the drafting aspect of design.

ALA 121

KAILEY CARTY

This assignment was the first of the semester that I really immersed myself in the design process and let go of my tendency to overthink things. We were encouraged to do whatever to the space that we felt compelled to do. Add more layers? Rearrange them entirely? Anything that would help us break away from operating on a singular idea and allow ourselves to explore our designs without limiting ourselves. I went into this project with a pretty clear idea of what I wanted to do, and only planned on executing that idea. After I finished my model, it felt very boring to me. It was clearly something that I saw as work, not design or the product of creative freedom. I was still limiting myself. So, I rearranged it entirely and allowed myself to separate from the original idea.

In doing so, I found a configuration that I was really proud of, and I finally felt like I had actually designed something.

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ALA 121

MARLENE CASTILLO

I liked the project of the stick model because the experience I had that I was able to structure my own design. I have my own vision and it is still a sculpture and it definitely unique, it has its own structure. It may be simple it may be similar but I can only visualize my idea. This structure can have a. lot of ways that can look different with adds on, like the person who has it in their patio can customize the inside of it like however they want. This a roof that I build for a outside patio that has a whole outside patio with a grill area and a fire pit. Perfect for a moment for a family and friends. This roof is also open for the same reason that people like the light or they like the view of just the stars. And, also if they don’t like for it to be uncovered they can cover it with fabric. It is perfect for a space like that for the structure.

ALA 121

ANNIE COLIN

This project represents the idea of an amazing structure. It all started with a picture full of random squares, after staring at it for quite a while it became a completely different thing in my head. It started as a modern home, and then it took a twist and became a park with strong lines and a really define celling. I wanted people to be wordless as soon as they saw it.

Design to me can be many things. It can be a feeling, a word, a color. It really all depends on what you are feeling that specific day. If you are feeling sad or down, you will find a sad perspective on things maybe the color blue will find you. On the contrary if you are feeling amazing and full of life, you’ll see that a simple shape can make you feel ecstatic.

167

ALA 121

DANIEL DEPUTY

My space consists of a wall separating stairs leading and a set of chairs. In the corner of the perpendicular wall there is a couch. The space is similar to that of a basement. Since it is underground and there are no windows to warm up the space I’ve imagined there to be thick carpet to keep the floor warm. The reason why is tile and hardwood tend to get cold in a basement. I have imagined the use of the space to be for reading and a relaxing space. Since it is a place that works best when it is quiet. I would have sound proofed the ceiling to keep noise out from people above. I would have the walls be a cool color like blue because it makes a room feel larger. Also cool colors make people feel calm and refreshed.

ALA 121

NICHOLAS FROELICH

When I think about the work I did on the stick model assignment in section three I seem to always come back to the aspects of design we discussed in class like lines, shape and contrast. Looking at my models I noticed an evolution from paper to excavation to 3D environment. Throughout these evolutions I see myself not only adapting to the challenge at hand but also adapting for my ideas. I see the assignments not really as a constraint but a guideline and helping hand towards my ideas to make these environments.

I see this also applies to the ideas of line, shape and contrast. We learned the basics of these abstract ideas using general themes and interpretations to get a basic grasp on them but after seeing and working on these assignments I understand a bit more about utilizing them within my given projects and micro environments.

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VICTOR HERNANDEZ

This is assignment was one of my favorites of the semester because it brought me back memories of when I would take drafting in high school. The later classes involved model building which was something I found relaxing and fun. The big difference of then and now was the resources I had back then, the class had a 3D printer and laser cutter which was very helpful when working on different projects. I am aware ASU has a handful of different resources but sadly this year with COVID-19 things are a little bit more complicated. This assignment was originally supposed to be an indoor sitting area but after implementing the sticks it changed to a gazebo.

There are also some concepts I originally had such as a pond at the deepest part of the butter board, but I could not find a way to represent that. Overall, this class was a joy and makes me excited to continue my studies in architecture.

ALA 121

JORDAN JOHANSEN

The stick model is heightened from the foundation, as the foundation elevates the entire structure as if the structure levitates. Levitation is what I strived for the structure, which would be placed above a lake or the ocean. Although those aren’t the only locations, another spectacular location would be on a mountain, or placed on a cliffside. As the model’s design is simple, but unique its possibilities are endless. As the model is flipped upside down, it generates a completely new design or even on its side. It’s crazy how one simple design can develop into multiple different designs as well. For those reasons, I developed a simple design that can be repurposed for countless different purposes. As I stated before the possibilities are endless. That is why this model is so unique, the model doesn’t have a single purpose, it has multiple. I developed a greater understanding that simple is alright in a design, as long as it is adaptable to work well in the given situation.

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ALA 121

REMY NELSON

The stick model assignment was among my favorites of the semester. It is an amazing thing to continue to build upon a design because it pushes you to continue to rethink how the design is interpreted, and use that new information to add on to it and make it new. You should never be satisfied with the very first design; if you stop at the first design of a thing you may never know the true potential of the design. In this instance, each of the excavations had an image of my mind of how they were to be looked at, but when I began to add on to them they became something new and then, when the stick models and the excavations were separated, they were made new again. Design is moldable like that; new designs are infinite in number if we are only brave enough to find them.

ALA 121

ANA OLAVE

In section two our final assignment was to create our own microenvironment inspired by a previous assignment. My environment ended up being a memorial of some sort, mainly because of the way it was set up. As you approach it, there is a three walled room with no roof, inside of here there is a walkway against each wall. The lower level is a seating area, I got this idea from the seating area I saw next to Sky Space in Tempe for a different assignment, I really liked that the seating was lower into the ground as it reminded me of a conversation pit. The lowest level of my microenvironment is a pool of water, I considered making it a garden but felt that the water would be a better fit. The highest point of my space was also a three walled room with no roof, this room would be the actual “memorial� area, inside there could be pictures, mirrors, names, etc. This room would be missing the opposite wall as the bigger three walled area. This assignment was no doubt my favorite, I believe I did my best with it and I am very happy with how it turned out.

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DORISMAR PEREZ LOPEZ

This is my stick model. I love that we used our butter board models to create these sticks models. This project was definitely one that took a lot of time and patience because you have to wait for the glue to dry but it was definitely one of the projects that I enjoyed the most. Seeing this model first in a 2D way with the butter boards turned into a 3D with the stick was another aspect that I really enjoyed about this project and overall I really enjoyed all the projects from Section 3. This model was the play my favorite out of the three I feel because it looks the cleanest.

I feel like we also had a lot of freedom with our assignment which was another plus. Another thing that I really enjoyed was that it didn’t have to look perfect. I feel like the professors wanted it to look abstract.

ALA 121

NICOLAS ROODETTES

I initially imagined this microspace as a metro station.

When I was young, I lived in Washington, D.C. and the energy of taking the metro is a really distinct memory of mine. The two opposing arches would each connect to a descending staircase leading from aboveground. The pattern that I used was from the detailing of an arcade cabinet, but I reinterpreted it as the granite or marble surfaces of the train station.

The outermost lines were meant to be a border along the (unseen) train tracks that I imagined as a retractable rail that would extrude from the ground as trains passed. The long piece in the center was a planter intended to divide the sides of the doorway between coming and going people. The commute is a very sacred, yet ignored, time, so a well-designed environment would be an improvement to that aspect of daily life.

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ALA 121

DANIELLE RUSSELL

The elegant picture of my microenvironment above represents a space I would not have discovered without the exploration and abstract of building with my sticks. The Build-up of sticks in an unplanned form really brought the value of design to my knowledge. I found that a lot can be discovered in the abstract because new ideas can be discovered without the struggle of knowing where to begin.

When you first enter the microenvironment you have a sense of fresh air because of the outdoor aura.

Then, when you look around you notice the detail.

The slanted sides give dimension to the micro space.

The perpendicular sticks represent solid pathways to admire the surroundings. Depending on your angle you can see the arch-like figures to present an environment for a people-friendly space. The most interesting representation to the model is that there is not just one. There is an enormous amount of perspectives of just one given space like the one I have created.

ALA 121

ASHLEY THORNTON

My Professors challenged my class to build our models without preconceived ideas of what it should look like and that’s something I focused on with the model I’ve chosen. I ended up flipping and turning it in all directions until I discovered what purpose I wanted my space to serve. I like to imagine my basswood sticks as a doorway rather than a structure.

In order to hold the outside frame up, the sticks intersect directly behind the door frame closing off the entrance and exit into that space. This door now leads into an imaginary space built by the minds of its visitors. If I were to visit this space, I would walk through the door into a quiet place away from the chaos and distractions of the busy world around me.

I would visit every good place I could imagine and stay for as long as I can.

2nd Year

ALA 225

02

DESIGN FUNDAMENTALS III PROFESSOR: Tom Hartman

Students: Victoria Doidge, Duha Hasan, Madison Hicks, Ielyzaveta Ivantsova, Ali Mcauliff, Shirin Pramod Karunakaran, Valeria Ramirez, Johnathan Siskron, Benjamin Smith, Jeramy Widener, Jason King, Nabil Said, Dianne Weidow

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ALA 225

VICTORIA DOIDGE

My project is on the Nelson Fine Arts Center with the program To Be in a Large Group, which usually a big space that can occupy different actions and events.

The Nelson Fine Arts Center at the Tempe campus is a very open space, especially in the courtyard area between the east and west buildings. People tend to occupy this area for different events. However, this space is not very useful during the day due to the lack of available shade in the warm climate.

The addition of this arch-based shade structure encourages people to occupy the space throughout the entire day. This structure is also moveable to accommodate to the needs of the people. With each different location of the structure, it will encourage large groups to meet and interact, but also still keep the Nelson Fine Arts Center an open area.v

ALA 225

DUHA HASAN

A place to study is a space that is quiet and peaceful, where the student is able to focus on what’s important. As James Turrell’s Skyspace and the Diane and Bruce Hall Skyspace garden are made for tranquility, I thought it best to insert my graft on this landscape. The dome shape is made to break the rigidness of the buildings that surround the site while the materiality conceals the space, especially when glanced at from afar. I am able to achieve this by adding reflective glass to the exterior of the dome structure and a mirror to the exterior of the entryway. I placed my graft onto the landscape with the entryway facing the Biodesign buildings so that individuals inside the space can enjoy more of the nature scenery while working.

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MADISON HICKS

When creating my design for this space, a lot of thought went into how I could effectively recreate a dog park on a smaller scale. I truly wanted to keep the idea I had initially when creating my collage of combining indoor and outdoor elements. My topic for this project was a place for animals. I chose to focus on pets, more specifically dogs, since dogs are the pet of choice among ASU students. The trellis roof structure meant for plants to grow on it was a great way to provide natural shading. The inner structure is very basic and simple. I feel that the large openings and the plant-based roof structure are enough to catch the eye of many people without being too hard on the eyes. The chain-link fence surrounding it is to allow dogs to be in this off-leash with the supervision of the owners.

ALA 225

IELYZAVETA IVANTSOVA

10st parking garage at ASU is open to so many possibilities. The first thing that I would add to the 10st parking garage to make it more visually appealing, as well as more environmentally friendly, is a vertical garden. Adding a vertical garden to the parking structure is going to increase shading, maximize limited space, enhance visual appeal, obtain a higher crop yield, grow more plants, reduce the impact of the urban environment, create a microclimate and improve air quality and your health. While adding a vertical garden is a great idea in the day time when there’s plenty of sunlight, once the sun goes down the parking structure would be a perfect place for a drive in movie. By placing a screen on the 4th level, it makes a perfect place for a drive-in movie when the parking spots aren’t being used.

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ALA 225

ALI MCAULIFF

In this GRAFT I created a hangout/lookout spot that overviews Saguaro Lake. This structure would be unique for the fact it has all glass walls while mounted on a cliff hanging over water. I made two built in standing binoculars as my technology for this piece as it seemed fitting for its location. I also made a table so people can enjoy just hanging out up there watching the sunset. I would imagine the users of this structure to be teens cliff jumping, families hanging out, etc. This would sit along the highest jumping cliff; I made a staircase going down to the roof of the structure so it allows for a safer execution for those who choose to jump as they would now have zero chance of hitting a rock on the cliff side.

The bottom staircase would be taking the place of an existing path but making it more secure, the top staircase would follow the natural sloping terrain with handrails.

ALA 225

SHIRIN PRAMOD KARUNAKARAN

Ardence was developed with the idea of wanting to break the exclusivity and expense of experiencing the wonders of performative art. I wanted to be able to create a space that would help to “display” the talent and passion that goes into these productions while also providing an opportunity for much of the community that might not have the means to experience events of similar scale. The graft was also created to be a reminder that you don’t need extravagant set-ups or a big stage to “display” your talent. It would be a space that would be open to anyone and everyone from all walks of life to create and share their passions.

185

ALA 225

VALERIA RAMIREZ

Four identical quads in a pinwheel formation gives each pod an isolated feel within the community of pods. The purpose of this project is to give students a place to retreat and take a breath from the daily fast paced college life. The materials and colors used in the project are meant to blend in with the existing building without taking away from its unique personality. The small size of the rooms are made to accommodate one student at a time comfortably. The full window walls on either extreme are to open up the space to natural light much like the host building does. The doors for each room face away from each other in order to keep with its theme for a Place to be Alone. The quads are placed under the overhangs of Coor Hall so as to not disturb the breezeway or any of the existing structure.

ALA 225

JOHNATHAN SISKRON

What does design mean to me‌I remember getting asked similar questions throughout the semesters, but for some reason the answer always changes. One aspect of my answers that always remains constant is how design is more about pushing one’s imagination rather than designing itself. Anyone can come up with a design, and any talented designer can come up with something special, but it takes a certain individual, a certain special designer, to really take the actual meaning of that job title and push the design to the limit. Anyone can be satisfied with one iteration and call it a day, but it takes passion and determination to not be satisfied and to keep going, because no one design is perfect, and there is always room for improvement. So, design for me is more about myself, my motivation, and my desire to succeed and produce work I can be proud of.

187

ALA 225

BENJAMIN SMITH

The concept for this project is mostly meant to camouflage with the rest for the building, still keeping to the calm and quiet atmosphere of the central patio; while also creating a focus in the center and on nature and how it interacts with the world. In order to do this the fountain in the center was changed into a circular shape and a funnel was added to the roof of the patio, this would create a focus point for light to come in and illuminate the surrounding area, and allowing students to watch the rain fall down from the funnel into the pond during storms. In doing this the students can enjoy the sun light without enduring the Arizona heat and enjoy the rain without getting soaked.

ALA 225

JERAMY WIDENER

The Sweet Acacia Tree (Acacia Farnesiana). Widely admired for its bright colors and fragrant scent, this tree really highlights the five senses. The pollen clusters make it visually appealing and its size is ideal for providing cool temperatures under its shade. The Sweet Acacia also offers us a number of principles that we can implement into design. Its branches and stems create flexible stability, the leaves for filtering harsh UV rays and heat, and its variety of color changes throughout the year camouflage the tree into its surroundings. The Acacia trees beauty and practicality offer designers more than just a piece of southwestern landscape.

189

ALA 225

JASON KING

Contour model of Camelback mountain, hand cut at 1�=1000’ scale. Made from cardboard stacked on top of each other, with lines taken from a contour map from the internet and printed out to use as a template

ALA 225

NABIL SAID

A lot of careful planning was taken into effect when designing the addition to the structure. My topic was a place to work in my most relatable working process was a mechanic shop. Designing the structure I added individual work spaces where mechanics can rent out their own booths. Due to the structural integrity I decided to add additional floors. I decided to create a ramp that will run on and off from the parking structure to the south side parking to create easier accessibility. So the final design was made it is a simple ram that will run the vehicle Open to private works spaces In addition create a fun environment where workers can actually kick back and enjoy watching their builds come to life. Incorporating all of this the original structure being a parking lot was not affected one bit and is still a complete full-size parking structure with complete sustainable solar panels on the top level.

191

ALA 225

DIANNE WEIDOW

Arizona State University boasts four distinct campuses spread across the Valley of the Sun, each housing an array of architecturally unique, multiuse structures. But one in particular, the Peralta Hall on the east Mesa Polytechnic campus, stood out as the perfect host to graft my circular, nest-like pods, providing an optimal location for short-term occupation.

Inspired by courtyards and streets set a glow with glistening white string lights, these two private pods are meant to stand out from a distance and entice occupants near. From their third-story vantage point, visitors are rewarded with unbounded views toward the rugged Superstitions by day and need only glance up to orient themselves amongst the cosmos by night.

ALA 225

02

DESIGN FUNDAMENTALS III PROFESSOR: Eric Watson

Students: Chance Breeggemann, Ivona Connelly, Bailey Crawford, Aneesa Daas, Makayla Dickerson, Alanarose Duran, Jairo Garcia, Julian Garcia, Megan Hochmeyer, Brianna Lindner, Jaden Liu, Avery Moric, Ahmed Nakhal, Nicolas Olivas, Jackson Payne, Daniela Crapuzzi Ruiz, Kyle Vance, Angel Villalba, Lucy Yang

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ALA 225

CHANCE BREEGGEMANN

In this project I designed a graft to attach to a host building on campus. I implemented aspects of the host into my design for a seamless transition and designed unique three-dimensional seating into the walls and floor of the space to create the ideal relaxation space for students. Staying true to the design of the host while experimenting with materials, lighting methods, locations, and a multitude of designs lead to a surprisingly simple yet comfortable result.

ALA 225

IVONA CONNELLY

Design is a concept that can be seen in many different perspectives. The creativity flows from individuals and their preferences. It’s a unique idea that no one but the designer can see. The act of designing is another form of expression of one’s self and it’s beautiful. The collage made represents a creative mind flow while studying and how an individual’s mind can think a million thoughts and combine them.

The mind is a powerful tool and enables us with the ability to conceive thoughts to create beautiful works of art. Design is a window to the soul; it shows the designers internal thought process and desires for the world.

195

ALA 225

BAILEY CRAWFORD

When thinking about natural phenomena, on may recognize something large in this world we are curious about, such as the sky or a dust storm. What if we could create a space where these wonders could be studied? This graft is constructed based on the Hayden Library at Arizona State University.

What makes this host space unique is that the library is completely underground, allowing for a quiet environment away from sound. Constructing a building above ground on each side of the library would complete the space. Both grafts are made of transparent material on ž of the sides, as well as the entire roof. This allows for a space where students can study the sky during the day and the stars at night.

Relative to a place to study natural phenomena, the clear sides allow for a safe environment to be right in the eye of an Arizona monsoon.

ALA 225

ANEESA DAAS

As a location for my program of display, I feel this graft’s coexistence with Skyspace complements one another. I wanted to absorb the elements of Skyspace; the suspended roof, the configurations of light, and the geometrical symmetry, into my graft.

The graft serves as structural perimeter of Skyspace, but doesn’t necessarily take any attention away from the space, but rather it adds on to the mysticality of Skypsace. At first glance, the addition may be reduced to simply being congruent glass sheets surrounding the structure, however, its transparency provides my intentions of display. In a way, it mimics a sort of art gallery that is specifically designed to contribute to Skyspace. I wanted to accentuate the materiality of Skypsace and how it materializes the surroundings. I feel that my graft corresponds to how it uses Skyspace as display while also contributing its own entity of display.

197

ALA 225

MAKAYLA DICKERSON

My name is Ma’Kayla Dickerson. For my graft, I designed a place to help people. What that means to me is a place for college students to go and receive guidance. This could be from a mentor, tutor, coach, therapist etc.

Each enclosed space has two swings and a foldable wall attached. The space is 5’ 9” x 5’ 9”, which is comfortable enough to sit across from someone.

I added an extra feature that allows the users to extend the wall an extra 2’ creating a more open feeling and control.

ALA 225

ALANAROSE DURAN

All design students work hard daily to get their desired outcome for each project they are assigned.

There are times where students need a break from staring at their projects for long hours and need some time to PLAY. As you walk through the Design Buildings located in Arizona State University in Tempe, you see many students working on their projects and working diligently. Though, sometimes working on one project all day and night can be tiring. Within the Design Buildings in ASU, there is no place for the students to play and have some leisure time away from studio work.

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ALA 225

JAIRO GARCIA

The Farmer Education Building reminds me of a book with a hard cover. The exterior is real solid like a prison or a corporate building, you’d expect to step into something familiar. Walking into the Farmer Education Building, is walking into another space.

The soft toned lighting by the shaded sky, and the tenderness that the ferns give off is very welcoming and lovely. Because you have to walk into the middle of the building to then get to a room, you’re instantly aware of the entire space and all of its functionality.

Like a juicy book with all the details. With many spaces to wander and relax from within, it’s easy to come back here like it’s your favorite coffee shop.

ALA 225

JULIAN GARCIA

I designed this structure of a place with animals in the heart of Arizona State University, the Hayden Library lawn. By lifting the field creating a space underground where animals can stay as well as birds and other various smaller animals on the field for students to feel connected with the more natural environment. Hayden Library is a place you go to study and pick up a book to educate yourself, except you would be picking up an animal to learn from. This structure I designed is meant for students to be able to learn and observe animals to be able to feel closer to the natural world to promote a learning space as well as a relaxing one.

The largest structure is there to provide a sense of shade for the field as well as a water collecting source.

When it rains the roof like establishment would catch the water, filter it and be a water source for not only the animals but the underground library as well. This is my place for animals.

201

ALA 225

MEGAN HOCHMEYER

For this grafting project my program was a space for a children’s imagination. Knowing that a fun space could incorporate a slide and some cool stairs I created this lofted space to ensure it would be used for children and young adults to come relax and feel connected to this space. I chose to include a giant skylight to have it let in light and in order for the space to be lit with natural lighting. I also put a slide on the top floor so it would draw the users attention right away when they enter the space. I mainly wanted this to be a fun yet creative user friendly space.

ALA 225

BRIANNA LINDNER

A space filled with light offers a new experience to campus users by providing a new atmosphere that encourages communication, connection, and interaction. The graft benefits the Lattie F. Coor building by effectively organizing patron movement and usage, and creates a cooler interior environment by reducing the access of sunlight to the roof of the classrooms below. The interior space of the graft is organized to allow users to collaborate in larger groups, as well as individual or small groups. By incorporating a series of trellises and a mister system across the large windows, the space naturally cools itself without the need for a central cooling system.

The plants growing from the walls and trellises naturally filter the air and offers a sense of escape from the surrounding city and campus.

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JADEN LIU

The program given is a “place to think great thoughts”; thus, the reason why I chose Skyspace. The site is located near “three of the most sophisticated science facilities on Earth.” This unique architectural masterpiece intended to combine the pragmatic concerns of climate, safety, comfort, accessibility, and 24-hour access. The thoughtfully placed design on the ASU campus not only leads in direct sunlight from the open top, but allows for visitors of all kinds to enjoy the peaceful and enclosed space. Once the sun sets, the bold and vivid light-show appears via the hanging square located above the metal walls; therefore, fabricating an eccentric statement.

This prompts us to imagine how to produce a space that makes Skyspace an even more momentous structure. By keeping all distinctive features of what makes Skyspace outstanding, the additional design not only demonstrates geometric forms, but it also keeps an austere and pure appearance.

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AVERY MORIC

One of the most unique spaces on campus is Lattie F. Coor Hall due to its special opportunity to engage students from all parts of campus. The overhung space on Forest mall is perfect for a communal place for display. My project is a multi media display space to promote community and creative discourse in view to all at ASU. The space is confined within the hall’s existing columns in order to give it a special place and not disturb the existing modes of transport, but to rather harness them. The space allows the exhibition of 3D, 2D and digital works with accommodation for outdoor events and larger installations. The design aims to feel comfortable within ASU but it’s possibilities are daring and made to entice.

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AHMED NAKHAL

The proposed design would encourage the space to be used as a place for performance, where anyone can go and perform to their heart’s content to be seen from various vantages. With a viewing gallery above and translucent materials, onlookers can watch from above or below, or even take part in the performance with an easily accessible ladder. The use of translucent materials allows for staff members occupying the office spaces around “Dead Square” to watch the performances through their windows.

To increase the visibility of the location to passersby, aesthetic elements have been incorporated to encourage the curious minds to discover the location by utilizing features that seem alien to the parent structure to promote displays that broadcast performances.

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NICOLAS OLIVAS

A stroke of genius can come at a moments notice, or it can build through a long process of steps and deliberation. There is no real answer to how to find inspiration or an idea and in many cases it is a matter of being in the right place at the right time. Regardless, we continue to try and emulate such an environment where one can feel creative, find inspiration, go through trial and error, to find that ‘stroke of genius’.

What better place to accomplish this than on ASU campus, more specifically surrounded by students of art. music, and more in the Nelson Fine Arts Center.

In a space that emphasizes on flow of th0ught and movement through its lighting and textures, ones ideas can never feel stagnant. That is the purpose of this graft.

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JACKSON PAYNE

The proposed design would encourage the space to be used as a place for performance, where anyone can go and perform to their heart’s content to be seen from various ASU’s population has already proven to be active during social movements, and thus are familiar with protests. Hayden Lawn, a central green space on campus, has already served as a protest space thanks to its central location and high foot traffic. With this graft, Hayden Lawn gains a small network of multi-use spaces, which can be broken up into two types: the amphitheater and the two workspaces. These different structures each address one facet of social movements. The ‘louder’ matter of protesting is covered by the amphitheater, and so it has flared walls like a megaphone in order to literally project voices. The ‘quieter’ matter of listening, discussing, and planning is addressed by the two workspaces. discuss the current movement(s).

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DANIELA CRAPUZZI RUIZ

My graft’s main purpose is a space used for reading, relaxation and studying with the help of plants. My graft not only includes actual plants, it also includes glass walls, a water feature, humidifiers, green walls, nature sounds and more. All of these together are some aspects of Biophilic design, which leads to a comfortable environment for students. When I visited my host building, I realized that it has a beautiful courtyard in the middle with a water fountain and lots of plants, the only problem was that it had just a few benches which were uncomfortable after sitting on them for a while. That is why I decided to include my space right above the courtyard with studying and reading areas, where students can go and relax with the help of nature. My graft is a suspended space between the third and fourth floors with two entrances which are located on the third floor balconies. My graft is a suspended space between the third and fourth floors with two entrances which are located on the third floor balconies.

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KYLE VANCE

The new Hayden rock gym is located in the heart of ASU’s campus near the Hayden library. Because of its location, this geometric space can be seen by hundreds of students passing by daily. The graft is attached to the south-east walls of the Hayden courtyard with no major disruptions to the existing space. Only small trees and tables were removed.

The depth of the courtyard also made it an ideal location for this tall rock-climbing space so the graft is merely peeking above the courtyard, rather than a large extrusion competing with existing structures.

The host building and graft complement each other.

This provides a space where students can exercise their body after spending many hours exercising their mind in the library.

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ANGEL VILLALBA

My GRAFT, place to play a game, sounds like a fun place to hang out in. This would exist right underneath the bridge, as if the bridge became a 3-story building with the game room being its first floor. It has a straight hallway for coming in and out of either side of the bridge but there are 3 rooms that may catch your interests as you walk down: videogames, boardgames, and table games. This place would also contain a balcony to the bridge for being in the outdoors and perhaps play some card games. With the addition of the balcony, it allows more access to the bridge from those coming from the ground floor and the GRAFT. The main purpose of this program is to provide relaxation and entertainment for students to take their minds off of projects, and also more accessibility to the existing bridge as well as the design buildings.

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LUCY YANG

It’s impossible to stop the ever-ticking time, and sometimes it feels as if life is walking away faster than we can catch up, taking opportunities, memories, and experiences with it. In these moments, it seems that the only way to relieve the stresses of reality is to—step out of it.

With this kind of thinking, I approached my prompt, “a place to hide”, as a place to hide from reality, both physically and mentally.

Structured like a fractal, parts of the space are hidden in plain sight as the outer shell attracts most of the attention from the “alternate reality” spatial elements that stretch deep into the host, Gammage.

As a visitor combing through each space, each one invokes an experience that is irresistible to step away from- successfully taking your mind off of the harsh reality that awaits outside.

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DESIGN FUNDAMENTALS III PROFESSOR: Marco Rosero

Students: Patricia Albunan, Amber Andrade, Payton Azhocar, Brooklyn Barricman, Maricielo Berdiales, Alex Berrelleza, Patrick Boll, Steven Brune, Alexia Gonzalez, Cheng Nam Ho, Isabel Jensen, Deandra Jones, Angela Martinez, Jesus Mendivil, Shania Rumph, Sean Sime, Megan Wahlman, Zachary Whiston

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PATRICIA ALBUNAN

The vision for this project was to create a place for display. The inspiration for this project comes from the structure of the human rib cage. The Social Sciences building at ASU houses a cast of one of the oldest pre-human skeletal remains, named Lucy. This building was created to offer a mix of classrooms, offices, and research space; however not many people are aware of Lucy. This skeletonlike structure will provide a place to display one of the oldest human remains. In efforts to continue the skeleton theme, the structure of this is supposed to replicate the form of ribcage. Within the structure is a long platform that crosses a fountain. Both ends of the platform lead to a display case.

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AMBER ANDRADE

To learn how to examine and understand a form is what I have learned this semester in design school. In my image you will see a drawing from my final project, I took Gammage theater at ASU and transformed it into a place for play. This was challenging because I did not want to lose the main focus of Gammage. In my design, we will continue to leave the show space for the show however you will see two domes on both sides of Gammage these are play spaces. To me, a place to play is crazy and bizarre, with lots of things going on and many different things to do. That is exactly what I have brought to the Gammage theater.

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PAYTON AZHOCAR

The graft is a place for two things to come together within the 10th Street Parking Garage. It consists of two rammed earth promenades that trace the existing circulation of the host. With each level, the walls of the graft recede and walls of translucent fabric take their place. The promenades merge at the fourth level of the structure and replace the former top floor of the parking garage with a solely pedestrian space.

A large fabric tunnel leads into a synthesized garden filled with sculptural fabric and native vegetation. At the center, a communal and cloudlike seating area allows the user to gather and sink into the common ground while surrounded by the materials of the earth and sky

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BROOKLYN BARRICMAN

ASU’s Secret Garden has been a place of tradition for many years. The Secret Garden is a courtyard formed

by Dixie Gammage Hall and West Hall and holds many memories. The Secret Garden has been host to many gatherings since it was built in the 1940’s. In its early years it was largely used by students exiting the locker rooms. In the 2000’s, beautiful weddings were held in the courtyard. The garden has lost its appeal to the students of Arizona State due to its secluded location. This hidden sanctuary holds the potential to bring students together in a new inclusive way. By adding a place for large groups to gather, the beauty of the Secret Garden can be enjoyed by students and visitors once again.

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MARICIELO BERDIALES

At college, both students and teachers have a lot of stress during the day. The purpose of the graft is to de-stress the people who pass through this place. To achieve this idea, I had to include certain elements such as the sound of falling water, modifying the ceiling heights, and materiality. I also had to consider the structural aspect, so I included some beams on the inside of the graft to provide support to the pressure of the water that is on top.

I chose the Hayden Library as the host, specifically, the space between the stairs and the library entrance.

This graft serves as a connection between these two spaces. By making the ceiling on a slope, it makes the space on one part of the graft smaller and the other wider. Also, placing the middle wall diagonally helps to make this idea more evident.

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ALEX BERRELLEZA

This project came to me inspired by “The House of Music” by Architect Mario Cucinella. The House of Music is a combination of two programs: Concert promotion and musical teaching. My program is also a combination of two concepts. The first one being a place to think great thoughts about music and also a place where your musical creation can be heard by others. And it is located in the James Turrell Skyspace area. The space is constructed of five circular buildings with small studios in the center of each. Each building has entries from the outside as well as a three-foot-wide aisle that connects each building from the inside. The roof is constructed of an upside-down cone or “V” shape, that can project the music being created in the inside of each studio to the outside. To conclude, everything is put together by a frame that surrounds the space.

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PATRICK BOLL

The concept of the structure was a place to encounter a natural phenomenon. I decided to focus the structure on the movement of the sun and bring the sun’s movements to human scale. As humans we have become numb to the sun and its movements throughout the day, alot of us don’t know the path the sun will take that day. The structure puts these movements of the sun under a magnifying glass to be able to feel and see the sun’s movement throughout the day. The sun chamber focuses the light of the sun and magnifies the movements for easier observation by the viewer. This allows the viewer to be able to easily interpret the movement of the sun. The structure highlights many of the sun’s critical paths and points in its journey throughout the sky. The structure’s simple geometry pulls the audience to investigate the interior and relies on the complex geometry of the sun’s movement to precisely focus the light.

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STEVEN BRUNE

This is my graft project for Hayden Lawn. I have placed it to be centrally located in the middle of the lawn to help give it more of the symmetrical feel.

Program of my graft is a place to make something, and instead of something physical I went with ideas and non-physical relationships. Here is a place to make friends, enjoy the outdoors, play music in the 360-degree auditorium. Clubs can host events or meet and greets inside. The graft is mostly lifted to greatly increase the amount of usable area outside, and to make it stand out from the rest of the surrounding buildings. There is a massive shade canopy that lays over the graft inspired by the desert cactus, with the grooves blocking light for the rest of the building while still allowing some light by. Overall I believe this is a great addition to ASU.

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ALEXIA GONZALEZ

The purpose for this project was to provide and emphasize on the fact that resting is important for everyone. As designers we are constantly inventing, creating, and imagining new ways to improve a space or objects, but the thing is that we stay up working late with no rest. Resting is going to help us get better ideas and refreshes our mind. Often when inventors do not rest, they start to run low on energy that is, getting new fresh ideas. Which is why I created a space for inventors to rest. Since my program was a place to invent something, and by creating a new space for this group of people, we can see that inventing comes in all types of form not just in a physical form. So, when inventors start to rest, they are able to integrate those new ideas into their new projects.

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CHENG NAM HO

I hate waking up on Monday mornings.

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ISABEL JENSEN

For our final project, we were given a word or phrase and were asked to create our own little world based on the program. I was given “a place to work.� When I was brainstorming about my world, I realized that a place to work can be different for every person, and how much the modern work environment has changed in the last couple hundred years. For this project I wanted to produce collages to capture two opposing sides, futuristic and archaic. Futuristic is the modern workspace with large windows, technology, and art, with open or collaborative spaces, making it an energetic and inviting place to work (as shown in diagram 2). The archaic side is dull, full of rows of assembly lines and machinery like in the industrial revolution. It is very sterile with a lack of color or excitement.

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DEANDRA JONES

This design, the BioDome, is grafted centrally on top the Farmer’s Education Building on the ASU campus.

An elevator acts as the single entrance into the space as it stretches from the first-floor courtyard of the Farmer’s building and continues upward into the center of the dome stopping on the first level. As users travel upward, they will be met with light, something a bit unfamiliar in the windowless Farmer’s building.

Inside the space, there are shelves wrapping around its entirety. Situated on the shelves are numerous plants and vines that give users the feeling of walking through a greenhouse. It is “A Place for Plants”. If and when the plants begin to overcrowd the user, a spiral staircase welcomes them to level two of the BioDome where they are free to walk around and enjoy the 360-degree view of the campus below. The BioDome is the perfect space for relaxation and viewing.

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ANGELA MARTINEZ

While trying to figure out the best possible way to demonstrate the generous characteristic of Hayden Lawn on the ASU Tempe campus, it was best to approach this through a section perspective, in order to show the two levels above ground and below.

This section for connectivity and its relationship to campus shows how anyone can walk onto this inviting space and use it as their own comfortably.

Some might go on the lawn that opens up to campus and it is not an inconvenience, while others prefer a more quiet and private area in the lower level court.

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JESUS MENDIVIL

The first half of the semester we were given a program from which we would create and develop ideas for. The program that I received was called a Completely dark place. I first struggled to think of a space that’s user friendly while also staying true to my program. As the first half came to an end, we were given a choice of sites on the ASU campuses to choose from. The site that I decided to go with was the Biodesign Landscape w/ James Turrell Skyspace.

I decided to choose this site because as I developed my program into a graft, I saw the opportunities that the site presented. I saw the James Turrell Skyspace as a complete opposite of my program and it made me think of Ying and Yang or a balance of opposites.

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SHANIA RUMPH

This Axonometric derives from the Farmers Education Building structure by Edward L. Varney used as a host building for my graft. The graft project is new space that is evolved from a sentence that gives context to a new structure. This building has four floors with an open court in the center.

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SEAN SIME

The concept of my graft building is “A Place with Animals”. The idea for the structure is to transport people into a new environment, completely different from Arizona. When people experience this new environment, they get to see the animals of that environment and how they interact with their homes.

People who enter are made to feel like a guest in the space, but it is also a place to relax and to be curious about the animals in their “natural habitat”.

When people come into the space, they walk along the boardwalk in order to wander in the structure without disturbing the area. The elevated boardwalk floats people through the new environment, giving them a new and unique perspective over the animals and plants. This path, with benches on the edges, meanders you through the trees and then out into the opening on the other side.

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MEGAN WAHLMAN

“A Place for Display” explores the relationship between the user and how the user sees the space.

The space is enclosed by a cubic, glass structure.

From the inside, the user is surrounded by various forms of displays. It is not until one stands on the outside and discovers that the space itself is one large exhibition. It presents the ability to be seen both from the exterior and interior. It also highlights the use of perspectives structurally and through the user’s eyes.t

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ZACHARY WHISTON

If we were to ask ourselves, “what does it mean to debate?” We would be greeted with multiple different answers. Some would say, “It means to discuss political issues” while others might say, “It is to find solution inside of a problem or question”.

Whatever your answer may be, it requires two or more parties to come together and meet in the middle to discuss and understand each other’s point of view. That is why I chose to place this space in the middle of ASU’s Design North and Design South’s building extending the already existing bridge. This space allows students and faculty from either side to come together and discuss anything and everything.

Understanding different perspectives and sharing ideas. Through this image, we see that when people come together, they can shine so bright even if outside world is dark.

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DESIGN FUNDAMENTALS III PROFESSOR: Julianna Sorrell

Students: Pilar Arteaga, Arath Barrios, Luis Brito, Zoe Cano, Luke Edgewater, Luis Granillo, Cheyenne Harris, Kace Johnson, Emily Jones, Jared Morris, Mihwa Namvula, Marisya Oliva, Ashley Ontiveros Madriz, Nicholas Sierocki, Tyler Simpson, Bailie Walter, Joshua Cho

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PILAR ARTEAGA

The most common animal seen on campus are birds, but the most common pet is a dog. Which is why when I was given the program of creating a place for animals, I decided the best thing would be to create a place for the most common pet on campus. Hence the idea of a dog park came up. A secluded area would be best, where a barking dog wouldn’t bother students too much but also a well-known spot so, many students can visit. The secret garden between Dixie Gammage Hall and West Hall is that ideal spot.

Having the dogs where the deans’ offices are located will offer them a sort of stress reliever every time, they look out their window because dogs just give a sense of comfort. Plus, now students will have something to look forward to while they’re waiting for their next class.

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ARATH BARRIOS

For the graft, I decided to add a Pavilion type of structure onto Hayden Lawn. The addition is supposed to follow the program: A place to play. The Pavilion gives the user a unique feeling/experience of being inside and outside at the same time. The addition should encourage the user to use this place to experience the mist or fog effect. The structure intends to be a place where you can sit and relax before class starts without having to worry about Tempe’s extreme heat.

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LUIS BRITO

The main idea of this project was to create a gallery space with design throughout different time periods, in order to allow students to physically experience different types of design throughout the years.

My main topic was a place to be seen, and I felt that my location, being Skyspace, already met that criteria. The goal was to add a complimentary piece to Skyspace without taking away from it. I chose these images (south elevation and section) to display because they effectively show detail corresponding with materials and dimensions without having to use words. The overall image was also able to take up an entire page in the presentation, creating an overall better visual.

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ZOE CANO

A special place to me as a designer this semester would be the exploratory opportunity of the NFAC art museum. This is a place to experience contemporary art without having to leave campus, a getaway of sorts. My addition of The Enchanted gallery to the art museum at the nelson fine art center will give an opportunity to the community to encounter magnificent Arizona natural phenomena in an exposed interior gallery space. It was important to create an interior gallery that felt as though it was an exterior because when I was on site, I felt the urge to stay outside to explore the wonderful views, but the intense Arizona climate made the time spent outside limited. That’s when The Enchanted galley came to be.

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LUKE EDGEWATER

A place to think greater thoughts is not as easy as it is in a city that is up all night and crowded during the day. Although it is difficult, my graft separates you from the heavily populated areas but still allows you to be on campus. This is focused more toward students that want a space that does not feel like they are on campus but instead on an open space to clear the thoughts of a college student. The design and building was intended to correlate towards nature and an open environment to allow free thought.

Which will motivate students to use the space to work. It’s a more spiritual green design will allow you to be inspired and have the alone time for your thoughts to flow better as well as reduce the urban heat island by the green life on top of the structure for cooling.

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LUIS GRANILLO

This is an explosion view of a maze-like structure, with staggered walls, which is intended to be grafted into the location of the Nelson Fine Arts Center, on the ASU Tempe Campus. The purpose of this space is to give local artists a platform, but more importantly to give artistic chaos a place in an otherwise nonchaotic location like the Nelson Fine Arts Center.

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CHEYENNE HARRIS

For this project, I was given the prompt of creating a place of work. The site that I had chosen was the secret garden, located between West hall and Dixie Gamage hall. I thought of what a place of work would look like in this space. I added larger paved areas for seating along with grass space to accommodate anyone seeking to work outdoors. I had added a garden to bring some color into this space, which also would bring work to gardeners. With the garden added, I had wanted to utilize the food being produced so I had created a small building on the existing open platform for users to take the produce and have their own outdoor kitchen. This would bring people together for their own work reasons, along with being reminded of when the space was filled with people when West hall was a dorm building.

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KACE JOHNSON

This project is focused on creating independent spaces for individuals in a group orientated location.

The concept is a group of buildings designed to allow users some alone time, either with themselves or a small group, on Hayden Lawn. There are 6 additions: 3 spheres and 3 ellipsoids. The spheres are intended for a single user to read, study, or do yoga, while the larger ellipsoids are meant for a small group of people to work on projects, have lunch together, or group study. Each building has its own program, and no two buildings’ interiors look the same. When the building is occupied, the once translucent glass becomes opaque for privacy, signifying that the building is in use. A projection can be cast on the newly opaque walls, allowing the space to transport the user to where ever they please or to display homework at a larger scale.

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EMILY JONES

On the left side of the collage there is a high society world that transitions through a door into a place for children’s imagination. I wanted to have two separate worlds to represent the contrast between the spaces.

The right side of the collage represents the child’s ability in this space to freely express themselves, create, and enjoy themselves. For example, on the right side I wanted to let the children’s imagination have no limit, so there is a rain cloud raining light bulbs and a child holding an umbrella that is actually a rocketship.

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JARED MORRIS

The architect that resides in these hands brings forth his design creativity with 2 years of experience in The Design School at ASU. Learning the profession details day by day. Burdened with a disgustingly strong work ethic, He will be the first to come in to start and be the last to leave because of the phrase “ I just need one more piece “ . Through his hands he brings projects into the mind of his viewers through the process of sketchIng and model making. Engaged in creating a connection through architecture and the environment surrounding him. Can effectively communicate design ideas and solutions.

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MIHWA NAMVULA

A simple solution to an overlooked problem. All it takes to enhance the Secret Garden on the ASU campus is to design a water garden. Since this hidden treasure is located between Dixie-Gammage and West Hall, many overlook the relaxing spot. Those that do enter the garden, remain on the outer edge.

Add a water system feature to the unused fireplace to draw more people into the heart of the garden. This not only creates a multipurpose space but welcomes all on campus to relax and take a break from the fastpaced college lifestyle.

In the monsoon season, the water collects, and the waterfall runs. In the winter season, the fireplace can provide warmth to anyone looking to enjoy the outdoors in the colder months. The vegetation will bring life to the gabion walls like the water brings life to the plants.

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MARISYA OLIVA

For this project I took this as an opportunity to create a graft that would not only be visually pleasing, but also beneficial to its host structure.

An all-glass gallery placed right above the Dance Laboratory located next to Galvin’s Playhouse in the Nelson Fine Arts Center. The graft would have glass that possessed reflective properties to imitate the colors of the sky to add color to the neutral-toned host while also allowing for the sun to create shadow play with the metal pattern found on the exterior surfaces. In the same breath, the interior would have a 32-foot-long, 10-foot-wide gallery overlooking the dance studio down below; where other dancers could quietly observe those performing or simply use the space as a place to barre and stretch.

A place filled with light to create mesmerizing silhouettes inside and outside of the structure.

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ASHLEY ONTIVEROS MADRIZ

Accept constraints. Strive for better. Let the design come naturally. These were the words that I kept in mind while designing my graft: S. H. Walkway.

I borrowed the name for my graft from my Host’s acronyms of H. B. Education Farmer Building, but most of the work I did for the graft is some aspect of Farmer camouflaged and made into my own. A place to study is easy to read but easy to miss the procession of thoughts and emotions happening at a place so significant. My goal was to enlighten students with the question: “how will you study campus, or things above and below, given the liberty?” In all of my techniques, I hope to inspire students to study, feel, and move through my graft.

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NICHOLAS SIEROCKI

A place to invent follows a code of specifics that are often similar to an education space. This place stimulates students in a high energy, sometimes stressful way that can have a repetitive nature. My Peralta Hall graft aims to add a layer to the program of the original site buildings. It requires a user that is willing to transform the program of invention into reinvention. It uses light, composition and location to remove oneself from the original program of Peralta Hall. The user can experience relaxation, and low stress where they can meet, and or, study with others. The user is in the graft to reinvent their personal energy, or any part of their experience from Peralta Hall. Thank you, Nick Sierocki.

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TYLER SIMPSON

Within the Gammage theater at ASU, digital integration is already a part of the building as much as can be considered normal for a theater. The tickets, lights, microphones, and info-boards all utilize digital aspects to function the way they can.

The aspect of the theater left largely untouched by digital influence is now the performances themselves.

The environment required for live and digital performances are considerably different, enough to make their merging unfeasible without alteration.

Sets are physically interacted with in plays, so building them to be physically therefor actors while allowing digital manipulation of their visuals necessitates a new construction method. My system of set design allows the rudimentary construction of a set with cubes that, with the help of a position tracking symbol built into their design, are clad with a digital skin that will turn them into the desired environment.

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BAILIE WALTER

For the graft, I decided to add a Pavilion type of structure on to Hayden Lawn. The addition is supposed to follow the program: A place to play. The Pavilion gives the user the unique feeling/experience of being inside and outside at the same time. The addition should encourage the user to use this place to experience the mist or fog effect. The structure is intended to be a place where you can sit and relax before class starts without having to worry about Tempe’s extreme heat.

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JOSHUA CHO

This structure’s idea and design were mainly inspired by our modern architecture style, which focuses on simplicity in both form and design. Modern architecture’s main characteristics, such as basic shape, clean lines, and glass usage, were applied to develop this building. The primary intention of this building was for any art students that attend ASU. Furthermore, the addition of this building to Design building South could allow the students to have more abundant space to develop their designs and ideas.

This area offers more personal time for their work to progress better.

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DESIGN FUNDAMENTALS III PROFESSOR: Steve Valev

Students: Samira Abdi, Aileen Aguayo, Gabriel Albino, Jadyn Anderson, Sabrina Arabi, Alixandria Arguello-Vengoechea, Parker Biertzer, Kaelan Bizardie, Adrisel Bustamante, Jessica Calabrese, Asa Champ, Courtney Martinez, Desmond Smith

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SAMIRA ABDI

The idea of my project was to create a place for children’s imagination. I had to make my space where it was comfortable for a child to imagine whatever they wanted. When tasked with this project I had the difficulty of deciding whether or not a “child” referred to young humans or if it was to be metaphorical.

Taking that into account I decided to build a space where not only young children and ASU students would occupy, but a space that an adult could visit and “release” their inner child.

The building I decided to recreate was Lattie Coor Hall. A tall blue sky scraper like building that had an opening at the bottom which welcomed light and wind. I had to make this already existing space a place where people could occupy and let their imaginations run wild. The existence of this space was to create a comfortable place to imagine.

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AILEEN AGUAYO

My project was based on creating a “place for work.” The Biodesign Landscape w/ James Turrell Skyspace area captured my attention when looking for a host building. The idea for this graft started from brainstorming what an ideal workplace would look like; a space where one can be comforted with nature, be able to roam around without feeling trapped and enclosed and the ability to have an area to self-re¬flect. I focused on incorporating the surrounding environment to give it that naturalistic feel without changing the original purpose of the space. The type of “work” that would take place here would be to help and improve one’s mental health. The overall shape of the graft would contain geometrical shapes to give it that contrasting look to the organic feeling within the landscape. People can roam this space freely with no distractions from the outside world.

ALA 225

GABRIEL ALBINO

This space is meant to be a place to hide. The space is hidden in plain sight, taking on the aspects of the lawn above and the library below. However, in the place to hide there is a more comfortable, natural ambiance in regard to temperature, light, and privacy. With the walls excavated into the ground and the lawn naturally forming over top of the North/South/East/ West walls, the overall functionality of Hayden Lawn remains unchanged. The concept addition provides students with a place to get away from the stresses that surround them and a chance to self-reflect. The sharp exterior is meant to ‘protect’ those within, while the ones within have a Zen experience.

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JADYN ANDERSON

My program for this project was a place to study.

Automatically my brain went to a quiet and contained space. I wanted to provide a space not only for work, but also inspiration. With those ideas in mind, I created the Thorson Building. The building is to be placed in Hayden Lawn directly above the entrance to the underground portion of the library. The form is two spheres on top of each other. The first floor is full of desks and chairs, with natural light coming in only from a narrow, floor to ceiling window along the south side. From there, students could walk upstairs and find a completely different space. This second sphere is to be made completely out of glass and provide a 360° view of Hayden lawn. In the center of the room there is an area for relaxation, equipped with soft chairs and couches.

ALA 225

SABRINA ARABI

This graft is half-buried within the area surrounding Skyspace. The interior of the graft is a hidden garden with a waterfall that flows out to the exterior. This tiny hidden oasis is intended for one occupant at a time to care for. It is a small world where one can go to relax and rest from a long, hot day on campus. From afar, the ground seems continuous, camouflaging the graft with the surrounding area. As you approach the graft, you see a ladder that you must climb down to enter this lush underground garden.

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ALIXANDRIA ARGUELLO-VENGOECHEA

Starting this project with the program; A PLace to Be Alone, my first thought in designing this space was a place to be alone with what?

Obviously a space to be alone with yourself, but being alone has a different meaning to different people. I chose to make it a space to be alone with either peace of mind or fears pertaining to loneliness.

These two general categories are reflected in the design of the space to allow users to find what their relationship to loneliness is as well as either enjoy the comfort of the loneliness the space provides or be forced to reflect on what they fear about being alone.

I wanted my design to remind the user that they are alone and force them to look inward.

ALA 225

PARKER BIERTZER

The space that I designed was a place to invent something. There are two main requirements for a space to promote creativity and inventiveness: it must have a welcoming aura where ideas can flow freely and give the user a sense of calm throughout their design process. In my case, the form of the graft resembles something of a soft, cocoon-like structure that creates an environment for the inventor to be alone with their ideas and create. Features like the sunken lounge area in the entrance or the semicircular shape of stained glass facade create a sense of calm in the guest. The graft is located on the Nelson Fine Arts Building due to the contrasting styles of the host building and the addition. Bringing the geometric style of the Nelson Fine Arts Center together with the organic, circular style of my addition creates a very interesting design juxtaposition.

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KAELAN BIZARDIE

The previous assignments starting with the host building has me thinking way more than I would actually think towards a building. Its function it has to its environment and how it is used by society.

Designing my own graft was challenging as I had to come up with a designed space that represented a “place to debate”. Although I had grown mentally of thinking more ways than one, as I had so many ideas but I didn’t seem to put it all on paper or the computer. Having “A Place to Debate” was not my first choice, because everyone else seemed to have chosen their topic, as I was watching everyone quickly respond. I was probably the second to the last to choose a topic, so I quickly picked the first topic that was available. Im confident to say that my choice was a good one because it really had me thinking of ways to represent a place to debate. And how convenient to choose that topic with an actual debate going on in the real world.

ALA 225

ADRISEL BUSTAMANTE

The study of the Host Building which is the Interdisciplinary Science and Technology Building II had a light weight feeling. It used a mixture of material to give it this balance as if the structure had no harsh or soft material and the transparency of the building was provided by the texture of the building. It then came to the conclusion that the exterior was to be left untouched and a sphere/ semi circle should not be incorporated. Rather create this honeycomb pattern to represent climbing between the interior furniture. I wanted to create a climbing texture for the interior of the building in order not to rearrange the characteristics of the building such as the exterior since it is quite transparent already.

I wanted to keep everything inside solid and create this fabric representing this honeycomb pattern and shaping itself to this pronounced interior material to create a balance between the two.

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JESSICA CALABRESE

The whole concept is to have a space where people are able to experience water like never before; at different levels, with different behaviors all integrated in one place. I felt the secret garden captures the same idea of having an isolated space that reveals a display of water. This space is meant to define an area for people to experience water with all of their senses at different levels of the building.

To begin, people enter an acoustic, underground pathway that is filled with sounds of water contained within the walls which leads people up to the “secret� center courtyard outdoors. Here there is a beautiful display of channels filled with water that are then recycled back into the building walls to reduce water waste. These channels are only filled when it rains and all lead to the same main channel that feeds an underground water feature.

ALA 225

ASA CHAMP

My idea given to me during this project was, “place to think great thoughts”. The reason that I ended up picking James Turrell’s sky space is because a key part of my graft is keeping your eyes engaged and moving around in order to stimulate the mind and invoke great thoughts. Sky space is a wonderful place because it already forces the user to look somewhere that I feel we do not pay enough attention to, the sky. My graft adds a portion to the structure, allowing light to then be viewed one more different way, going from almost complete dark to light with some obscured views. It is a chance to oppose the whole point of Sky Space, without taking anything away from his whole play on light.

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COURTNEY MARTINEZ

ASU’s Hayden Lawn seemed like the perfect place to host my graft, a stage, because it is central to campus and can easily gather an audience. However, I felt that it was a little too straightforward. The stage design is fairly simple, so I wanted the surrounding area to add more character to it, so I decided to place it in the Myrtle Avenue parking structure. Placed halfway into the garage and halfway to the outside, passersby are able to view the stage from below while an audience in cars on the second floor can view the performance at eye level. The final model is built in Rhino. The curved shape of the stage serves to draw the eye up and through the glass pod which holds the concert performers.

ALA 225

DESMOND SMITH

The location of the graft to host is the Social Sciences Building of ASU in Tempe. I chose to do a place of long-term occupation. A place of Worship for many is an intimate place where one can possibly find peace, salvation or clarity. A House of prayer can last many years, even centuries. I find it fitting that this graft shall be a place of worship that is grafted onto an existing structure that serves to teach the sciences of social structure and cultures.

The graft itself is designed to draw the user to its beauty and inspiring height. It is purposefully lifted off the ground so that the user will feel the sensation of being closer to whoever or whatever they worship.

I chose not to hide this structure but instead to make it obvious and stand out. This place is meant to be inclusive of all and not to direct a theme to one faith.

ALA 225

02

DESIGN FUNDAMENTALS III PROFESSOR: Maria Lozada

Students: Brandon Dale, Julien Delmonico, Daniil Hristiuc, Ariana Jackson, Dominic Jacovo, Liyette Layugan, Carder Mehr, Christina Melgoza, Carlos Mendez Gradillas, Ali Qassab, Sebastian Ugland, Yifan Zhang, Krzysztof Zolnierczyk

ALA 225

BRANDON DALE

For this project I had to come up with a space to debate so I wanted to go for a brutalist colosseum type space. Something that utilized the competitive and cutthroat nature of debates so I created a space that has a stage in the middle that is surrounded by stone seating. With the space being cut into the ground of the courtyard of Peralta Hall, the rest of the courtyard is able to be included in the functionality of the space. The other important aspect of the space is the lighting. It is in the shadow of Peralta Hall which helps the speaker and audience stay cool in the desert sun.

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JULIEN DELMONICO

This graft on the myrtle parking garage at Arizona State University’s Tempe campus was created with the intention to be a place for children’s imagination.

The idea is for students who have children to have the option to drop their kids off at a playground / daycare right on campus while they head to classes for the day. This 15,525 cubic sq ft building has a very open floor plan that allows for kids to play and release energy, while still being creative and using their imagination. I decided to make this building a jungle gym of sorts so that the kids could really dive into their own imaginations. When I was a kid I was most imaginative while playing around at parks, and pretending the ground was lava. I created most of my stories in my head while playing around in an environment similar to this.

ALA 225

DANIIL HRISTIUC

Developing upon my 3rd assignment, this is the resulting graft for “a place to invent.” The host building was chosen due to its location pertaining to the campus. Located on the Forest Mall, Lattie F. Coor Hall was ideal for locating my graft, as I wanted it to overlook a high trafficked area. My intentions were that the people occupying the space could draw inspiration for their innovations from the potential users/beneficiaries of their inventions.

This lead me to incorporate the overhang into my graft, which is the main feature. The overhang is the open studio space, intended for flexibility of how it is furnished. Large glass windows surround most of the studio space, which allows for maximum natural illumination and a great view of the inventor’s target audience. Stowed away towards the back are three private studio spaces, as well as access to the roof.

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ARIANA JACKSON

The graft I created is an addition to James Turrell’s “Air Apparent: Skyspace.” The graft keeps the same form that skyspace does. It’s perfectly square and it’s made of the same material. With elevations of 20x20x20, this graft sits below Skyspace. The program of this graft is “A Place With Water.” Water comes from the seating area in the graft and flows directly into a square opening in the middle. Below the opening are solid and hollow concrete shapes that help amplify the sound of the water when it hits the objects.The sound of the water is meant to sooth individuals who choose to go below skyspace to relax and enjoy the area.

ALA 225

DOMINIC JACOVO

The project began as an abstract representation of a program assigned to us halfway in the semester which would then be designed as a graft being added onto a building in ASU. I was assigned a place to study. My initial thinking was creating a space where you can study with nature in a cool, quiet environment having the sounds and smells of water and plants to help relieve stress as you’re studying.

During the process, I decided to design a dome structure into ASU’s “Secret Garden” located within Dixie Gammage Hall/West Hall being the perfect place for students to study in a quiet environment.

This project follows the theme of keeping it “secret” where it can’t be seen from across the campus. Inside the dome, contains a flexible, movable floorplan of desks giving students the chance to move their desks around to either study individually or with others.

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LIYETTE LAYUGAN

The purpose of this hallway compounding to Coor Hall is to showcase whatever there is to be seen, whether behind the glass walls inside the hallway or what is projected onto the glass walls. There is no “one-use” of the space as it is multi-purpose and up to interpretation. There are many factors that affect the use of the space, such as the weather conditions, the season, the time of day, etc. When the hall is not being used at night, it can also function as a source of light as it can be used to project color-changing lights to spice up Forest Mall. A key feature of the space is located on the corner of the inner wall and the floor where there are projectors that project anything—images, videos, etc.—onto the outer wall.

As the primary material is glass, there are limitations to the space such as weight capacity.

ALA 225

CARDER MEHR

While this Image may not seem like it is some big architecture project, I’ll be the first to tell you it isn’t.

So, let me tell you what it actually is, it is a place to be alone. This was for a graph project where you had to make a space using a collage. I found this project to be my favorite and I had the most fun making it. I enjoyed creating a space that didn’t really make total sense but at the same time it made the most sense to me. I felt this project was very personal, explorative, and would love to do it again.

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CHRISTINA MELGOZA

This structure was inspired with the help of past assignments. Due to West Hall being the location where the secret garden is my intentions where to create a structure with another “secret” pathway that lead to the entrance. The shape of this glass box has no intentions of being invisible. It’s meant for pedestrians walking by to notice it. These large windows are created out of red glass making it a unique building on campus. Its use is created for ASU students, faculty or for whoever discovers the way in.

ALA 225

CARLOS MENDEZ GRADILLAS

This project began as a tesseract that you could teleport into and took several iterations to simplify into this very minimalist design. Simplifying things proved to be a challenge. It seems easier to make something complex but finding something simple that I was happy with was tough! I definitely learned to be more patient with my work and to explore the tips and suggestions made by professors and critics, which ultimately helped me simplify my project.

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ALI QASSAB

My project is based on the host building of Nelson’s Fine art located in ASU campus. The addition to the host building is following the program of a place to study whilst being alone, since I want the GRAFT and the host to be interdisciplinary. The Nelson Fine Arts Center includes three dance/movement studios, four rehearsal/acting studios, and a design studio. The building that I want to add gives a indoor outdoor experience since it is mostly built out of glass and wood. I believe that the best way a student can study is when connected to nature. The building should be used as a way of changing the typical study environment and incorporate somewhere on campus next to your class where you still feel at home but is still connected to campus and classes. I want to connect both buildings because they serve the same purpose, teaching and learning.

ALA 225

SEBASTIAN UGLAND

My GRAFT is based on the theory of Yin and Yang.

The material of the black structure is black marble from the exterior, but once inside, it is completely black. There are steel beams supporting the glass dome. You enter the structure through the opening on the sides of the black marble material which wraps around into an opening to go into the dome.

Inside the black structure has amazing art and a large seating area that are huge white steps. It has an amazing view of the interior of the dome . Inside the dome, there is a small pond, benches, and a concrete walkway that leads directly to the center of the dome where you will see a large purple tree. Above the dome are some arches that has lighting that turns on during the night to keep the tree in the spotlight and brighten the GRAFT. There is also lighting inside the black structure to keep the art and view perfect.

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YIFAN ZHANG

My design purpose is to make a place helping others.

I believe it should also be a place to calm ourselves down in the busy college life. My target visitors are college students, and I wish this place can become a peaceful station for them to help others or solve problems between or after classes. It is not only a place for students who need help, but also a platform for students who want to relieve anxiety and help themselves. Students can find a balance between themselves and the world here.

ALA 225

KRZYSZTOF ZOLNIERCZYK

This graft addition was designed based on the program, a place to think great thoughts. The design of the graft is intended to camouflage into the existing host structure and provide the user and host a beneficial space where to retreat and explore their minds. By using the materials of the host structure, and utilizing the existing staircase, the graft building does not obstruct the current function of the host building. The main glass window wall of the graft building faces the north direction to minimize sun exposure in order to reduce thermal heating of the interior of the space.

ALA 225

02

DESIGN FUNDAMENTALS III PROFESSOR: Katherine Dudzik-Smith

Students: Bailey Albinio-Madanay, James Anderson, Lily Anderson, Erich Ansems, Janeth Baeza, Adrianne Barajas, Jamie Biersach, Antonio Flores, Hannah Melvin, Benjamin Nagy, Eryk Ostrowski, Christian Perez, Pedro Preciado, Emily Salinas, Moloud Tahmasebi,

ALA 225

BAILEY ALBINIO-MADANAY

When I think about a place to make art, I think about a tattoo parlor. A tattoo parlor is a place to make art, but instead of putting a design on paper and using drawing materials, it is on the human body.

In my collage, my inspiration comes from Asian culture. With being an Asian American, I wanted to express my culture through my collage. In Asian culture, all tattoo pieces that people get tattooed on them tell stories or legends that have been told from generations about the culture. With Asian traditional tattoos, they all have meanings. For example, spiritual symbols that are often used as a sort of charm for protection as well as symbolizing devotion. There is also dragon and koi fish tattoos, they symbolize wealth and prosperity. And samurai warrior tattoos represent honor and moral code, while geisha girl tattoos stand as a symbol of fertility, good fortune, and tradition.

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JAMES ANDERSON

This is an east elevation drawing of the Design South building of ASU. The yellow portion on the left part of the second story is the insertion of a balcony. This will provide a workplace for students to enjoy in an outdoor setting, while also relieving stress by having birds and butterflies around the space. It is essential that the Design South students have outdoor settings like Design North to work and relax between classes as well as have a place to put skateboards for the ease of students to go to class. The balcony is designed on this portion of the building since it faces Design North creating a further interaction to the campus while having space to do so. In all, the incorporation of a balcony would add to the building and make it a better place for students to learn while improving the overall aesthetics of the building.

ALA 225

LILY ANDERSON

The building I chose to add onto is the Nelson Fine Arts Center and my topic is, “A place for a child’s imagination. I decided to add a kids interactive museum as an extension to the original structure. I chose not to camouflage my building to the original but extend the idea of the arc from the music building built by Frank Lloyd Wright and the Nelson fine arts built by Antione Predock both trying to keep the same form throughout campus. The building is merged between two parts of the art center but will only be seen in the main museum area on the north side. The feeling of the room is supposed to feel free to expression and imagination. Everything in the room will be interactive for the kids to form and manipulate the structures to what they choose.

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ERICH ANSEMS

This project sets out to create a moment of peace for the busy students at ASU. Located on Hayden Lawn, this wonderful water Zen garden is a place to escape the chaotic life of a college student and seek mental clarity. This space is made for viewing different perspectives of the world around us. Heading down the stairs into Hayden Library underneath the lawn, you are greeted with something much different than the skylight which existed prior. Now, a section of the ceiling will be replaced with a glass skylight covered with several inches of water, allowing those in the library to look up and see the world above them through a thought-provoking, aquatic filter.

Those walking by Hayden Lawn from above can now use stepping stones to navigate their way across the garden to one of several viewing platforms.

ALA 225

JANETH BAEZA

ASU Gammage is a place filled with light and darkness it is a place where people can tell stories, express their passion for the arts and stimulate your imagination. It is a place where people can gather and step away from their daily lives. With this project I plan to add more to Gammage that will allow people to view light in a different way. I plan to create a place filled with light Where people can stop by before or after the show and enjoy a light experience.

I plan to make the structure stand out from the rest of Gammage to attract attention. The glass material will allow people to see this light experience from both outside and inside of Gammage. The light experience would add color to the surrounding environment.

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ADRIANNE BARAJAS

This collage is supposed to represent the type of spaces or rooms I strive to design. I believe a space to be more impacting to a person’s life than many assume. Finding that balance between our fast paced technology lifes and a nature filled life can allow a person to feel free and more grounded. My goal is to facilitate the experience of belonging and serenity in the users experience. Creating a space that allows the viewer to slow down and breathe. Architecture should be functional but I also believe it should be emotionally powerful.

ALA 225

JAMIE BIERSACH

In the space itself I picture students walking out of their modern structured classrooms into a greenhouse path, a place where they can learn and continue their scheduled day while taking a moment to appreciate nature. I see it as a relaxing place where two worlds merge, structured civilization, and the natural world. The long open tunnel passing through Lattie F. Coor hall would be transformed into a glass walled greenhouse, extended from the entrance and as a facade on the front wall, the glass enclosed greenery would extend upwards to the roof. I imagine light passing through and shining on the plants while also creating a cool shaded space towards the center of the hall. Tables and benches would be scattered throughout to allow for workspace and somewhere to relax. This merging of worlds would be a place for people and ideas to come together.

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ANTONIO FLORES

In 1962, H.B. Farmers education building was the tallest building at ASU. It is one of two buildings on campus with an interior courtyard that opens to the sky. There is a shade screen that covers the open patio. The courtyard creates a cool climate that is filled with tropical plants. I chose to create an addition to H.B. Farmers because the courtyard area can provide more space. I created a space on the 3rd floor over the courtyard. During the school year the courtyard can be filled more often than usual. The addition provides an open space to escape from the class environment. Creating an open space on the 3rd floor would allow more room for people to gather, socialize, make announcements or just escape class briefly for cool air. The addition was designed to be open to allow light and cool air to pass.

ALA 225

HANNAH MELVIN

Nearly 23 percent of all undergraduate students are parents, and 43 percent of those are single mothers.

Parents should not have to choose between receiving an education and being a parent. By adding a place for children to play while their parents learn, we can not only provide parents with the opportunity to better their education, but also increase the likelihood that more parents will be willing to pursue their education without hesitation. The addition to Coor Hall at ASU will serve as a place for parents to drop off their children while they study or attend class. Coor Hall is one of many ideal locations for this addition because of its proximity to key parts of the campus such as the MU and Hayden Library.

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BENJAMIN NAGY

The collage was the first step in creating an addition to the Design North and Design South. It was created to capture the feeling and essence of the structure as dictated by the program; a completely dark place. As another bridge between Design South and Design North, this addition to Design North aims to provide a space of complete darkness for students and others to detach and isolate themselves from any stresses that might be found outside the doors of this structure. Providing a space where one has their sense of sight taken, I hope to achieve a sort of sensory deprivation that aids the users of the space to be left alone with just their thoughts. Although darkness is often thought of as foreboding and lonely, this space represents darkness with mystery and as part of new beginnings.

ALA 225

ERYK OSTROWSKI

I based my design from Peralta Hall which is based in the Polytechnic Campus. The Peralta Hall and ASU Polytechnic Campus as a whole is focused on research and development. I noticed a lack of communication and push to share new developments. I choice to design a place to share these ideas. My extension to Peralta Hall would be an ideal place to make a Place to Inspire new ideas.

Polytechnic Campus is lacking an area to share and express their thoughts and research. I planned a visit to the site in which I found myself enjoying being in the courtyard. The courtyard was surround at three sides by the building with one opening. I choice to make my extension there between the two sides of the building so that I could connect my building two the courtyard. I learned about how people move through and around the building which inspired me to make a stairway a major part of my overall design.

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CHRISTIAN PEREZ

A person does not go a day without making something, whether that is a project, a coffee, or just about anything. Although, most of our work or lifestyle now includes creating digitally, there is always a need for a space that we can physically create with our hands. This graft will sit in between the breeze hallway which is opened up to create a breezeway in the building. The purpose of the space is for students to have access to a unique and explorative working space that will motivate or inspire them. The reason for this is for people to experience working in a space that is dull, poorly lit, or lackluster. A person could make a drawing, painting, sculpture, personal project, or a conversation in the space. For the most part, the space could be used to create anything.

ALA 225

PEDRO PRECIADO

Air Apparent by James Turrel is a space where visitors, ASU students, and alumni alike can come and relax at the Skyspace structure to observe the playfulness of light. The cover on top illuminates during sunset to give a lightshow unlike any other.

The structure itself is perforated, allowing light to pass through its walls. Though, you have no power over your experience at Air Apparent. What I plan to do is change that. I want to create a place where you, the visitor, plays with darkness. And instead of sitting by and watching the natural world do its wonders, it is up to you to interact with the structure and create your own experience. One where you have to interact with and change the shape of the structure by rotating its walls. A place where you create your own lightshow, and play the natural game of light and dark.

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EMILY SALINAS

There is something about nature that draws one in. Whether it be a field of flowers or a simple hill that draws one in, to relax against it. This graft is somewhat replicating that said ‘hill.’ The landscape is lifted from the earth, as if it was planted. This said hill is a seasonal graft. During the summertime, many people usually like to sit in the shade to get away from the heat. If it were to get too hot, people may go inside to cooldown, the cold earth shading them from the scorching temperature. If it were beautiful weather, people may choose to lay against it instead.

To add more of the concept of nature, plants will be aligned at the top, making it stand out to the busy life that goes on around it.

ALA 225

MOLOUD TAHMASEBI

A Place to be alone has been designed for daily users of the host building to experience different senses by being alone in spaces with different feelings. Being surrounded by nature has always been a valuable pleasure to humans. By bringing nature inside the graft, the opportunity is provided to the users to take advantage of being alone in nature in a modern building. This nature-oriented environment can play a therapeutic role for the user by providing a shallow walk-in pool. The water movements and rain sound help the place to create an environment for the user to relax, concentrate, and be alone with his or her thoughts. Also, a small floating glass room is located at the end of the graft where users can sit and be alone with their thoughts and enjoy the view.

3rd Year

ADE 321

03

ARCHITECTURAL STUDIO I PROFESSOR: Michael Underhill

Students: Miguel Estrada Briceno, Alyssa Keen, Andrew Kitts, Kayla Kokulis, Philip Leveque, Daniel Marshalsay, Isayra Martinez, Rachel Martinez, Magdalena Mayer, Ryan Mayer, Ignacio Ornelas, David Struening, Logan Thompson, Signe Tyler, Ananth Udupa, Kevin Wright

ADE 321

MIGUEL ESTRADA MIGUEL ESTRADA MIGUEL ESTRADA BRICENO

295

ADE 321ADE 321

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ADE 321

ALYSSA KEEN

The “Fillmore Gardens�, a proposed design that houses up to 12 bungalow inspired units located in the historic Garfield District, offers a way to add much needed greenery into the area and offers residents a way to interact with the surrounding neighborhood through its vegtable garden.

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ANDREW KITTS

11th & Roosevelt challenges the paradigm of multifamily living. Taking up just 3 parcels of land in bustling downtown phoenix, the complex boasts 8 1450 SF+ units in what would usually be 3 single family lots. Surronding context was a priority in design, taking into account the materiality of the rest of the neighborhood. The arrangement of the complex ensures that density does not discount personal space or privacy. Each unit provides 3 bedrooms, a 2 car garage, and generous outdoor space. The best qualities of the two extremes that are “single family living,” and “apartment living” have been molded into one concept that prioritizes quality of life in an area that has been diseased by urban sprawl.

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KAYLA KOKULIS

Our building location on the corner of 10th and Filmore provided many challenges. Given the constraints of our 0.3 acre lot, along with various building codes and HOA requirements, I settled for a twelve-unit apartment complex with three distinct courtyards, and a common room for the residents to share. With the ASU downtown Phoenix campus nearby, this complex would be ideal for college students, as they can simply walk to campus, and any nearby businesses. To incorporate the Bungalow style of the surrounding houses, I utilized brick for the lower levels, wood siding for the second level, and shingles for the roofing. Private balconies give residents personal outdoor space, while the courtyards and common room allow for various interactions between tenants.

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PHILIP LEVEQUE

“Form Follows Function,� said the famous architect Louis Sullivan. Following this concept shown above, I created this multi-unit complex. The site is located at North 8th Avenue and West Roosevelt Street.

After a thorough analysis of the site, I spotted three important factors on this site that would greatly influence the design of my building. The first is how my building coordinates with the sun. I discovered, in order to optimize the amount of sunlight and shading throughout the day, I will direct my building east. The parking situation was obvious on the site because there was an existing street that I would utilize for parking. Lastly, I wanted my building to face and compete with the highly acclaimed PRD 845 design, located directly across the street. The reason behind this decision being purely due to the nature of my ego, as a designer and as an Architect.

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DANIEL MARSHALSAY DANIEL MARSHALSAY DANIEL MARSHALSAY

In this multi-family dwelling project my aim was to In this multi-family dwelling project my aim was was to to In this project aim bridge amulti-family gap of the dwelling conveniences of my a typical single bridge a gap of the conveniences of a typical single bridge a gap of thethat conveniences a typical single family home and of a high of density high rise family home and and that that of a ofhigh density highhigh rise rise family home a high density building in an infill lot near downtown Phoenix. With building in anininfill lot near downtown Phoenix.

WithWith building an infill lot near downtown Phoenix. the site’s proximity to downtown and walkable nature the site’s proximity to downtown and walkable nature the site’s proximity to downtown and walkable nature as well as the current push for younger families to as well as the current pushpush for younger families to to as well as the current for younger families live more centralized, it was necessary to consider live live moremore centralized, it was necessary to consider centralized, it was necessary to consider all of the types of people who could be inhabitants all ofallthe of people whowho could be inhabitants of types the types of people could be inhabitants of the project. For this reason I incorporated units of the project.

For this reason I incorporated unitsunits of the project. For this reason I incorporated of sizes ranging from a studio of three hundred fifty of sizes ranging fromfrom a studio of three hundred fifty fifty of sizes ranging a studio of three hundred square feet upato a four bedroom family home with square feet up to four bedroom family home with square feet up to a four bedroom family home with twenty six hundred square feet. twenty six hundred square feet.feet. twenty six hundred square

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ISAYRA MARTINEZ ISAYRA ISAYRAMARTINEZ MARTINEZ ADE 321

Given site located locatedininthe thedowntown downtown Phoenix area Given a site Phoenix area off ofofRoosevelt Rooseveltand and8th8th street with of off street with an an areaarea of 17,043 Given a site located in the downtown Phoenix area 17,043 My design is centered the SF. My SF. design is centered aroundaround makingmaking the complex off of Roosevelt and 8th street with an area of 17,043 complex than different the surrounding townhomes different the than surrounding townhomes like PRD. SF. My design is centered around making the complex like PRD. The reason for this is to add variety to the The reason for this is to add variety to the area since different than the surrounding townhomes like PRD. area since the context is focused on box architecture. the context is focused on box architecture. I wanted to The to reason for this is to add and variety the area since I wanted add angles to my design big to windows add angles to my design and big windows for light and the context is focused on box architecture.

I wanted to for light and circulation. My complex are named circulation. My complex are named The Desert Triangle add angles to myTownhomes design and with big windows The Desert Triangle a total offor 12light and Townhomes with a total of 12 units on site. There are circulation.

My complex are named The Desert units on site. There are 6 units which are 3 story Triangle 6 units which are 3 story while the remaining 6 are 2 whileTownhomes the remaining 2 story.

All including 2 with6 aare total of 12 units on site. There are story. All including 2 private balconys located on the private balconys located thewhile 2nd and 3rd floor. 6 are 2 6 units which are 3 on story the remaining 2nd 3rd floor.

The northern their The and northern townhomes havetownhomes their own have private story.

All including 2 private balconys located on the own private parking thoseshare on the south share parking those onwhile the a parking lot 2ndwhile and 3rd floor.

Thesouth northern townhomes have their aalso parking lot also inclusing guest parking.My biggest inclusing guest parking.My biggest focus was own private parking while those on the south share focus was working withofthe of to thecreate building working with the angles theangles building the to a parking lot also inclusing guest parking.My biggest create private balconys. privatethe balconies. focus was working with the angles of the building to

create the private balconys.

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RACHEL MARTINEZ

Inspiration originated from wanting to keep a neighbourhood feeling like a neighbourhood. When designing a Multi-Family Housing unit, especially in a Historic District, you come across many challenges.

One of which is being confined to height restrictions.

Ideas have changed throughout this project and I have ended up with three 2-story buildings each containing multiple units within. Incorporating materials that embody the community and allowing children and adults to gather in an outdoor community space enhances the feeling of a neighbourhood.

Almost all units have their own privacy with their personal backyards or front porches and are yet still able to join together. Providing views onto the main road and neighbouring areas empowers people with a sense of safety and community. In working through this, there are different floor plan layouts allowing multiple types of families or singles to inhabit the spaces. It is a community space for all.

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MAGDALENA MAYER

After understanding the site’s perimeters within

NORTH-SOUTH SECTION

the existing context, I then began to explore how I could make an interesting design with the given constraints. It was important to incorporate the existing low roof lines of the area. I limited my overall roof height to 30’ so the project did not overpower the existing neighborhood. Finding a way to create a porch atmosphere, seen in the surrounding context was important, while not having to reflect the exact design. In order to accomplish this, I began creating voids and offsetting the volumes which represented the residential units. As a result, I was able to create a very unique courtyard which balanced the private and common space quite beautifully, and gave the opportunity for private patios and roof decks.

Creating a sense of identity for the individual unit owner was important for the project to be successful.

Each of the 13 units are unique to its location and function within the project. Privacy and individuality were key factors that drove my project, and allowed the units in the end to work as a cohesive system.

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RYAN MAYER

The two biggest intentions I had for my project was to create privacy and community. The privacy was achieved by keeping the unit circulation vertical and allowing top-to-bottom ownership, which allowed for front or back yards and private balconies. The community aspect is achieved by the shared space in the middle of the units. This common area is meant to incorporate trees, grass, and natural light in the interior of the project, and away from the bustling street life. The interior of this complex is designed to allow the residents to live in community with each other. The community space is both used as a common area, and also provides individual front or back yards for each resident, creating a sense of individual ownership. These two intentions were well addressed and thought out during the design process. This multifamily housing proposal works with the surrounding context and provides an accurate solution to creating high density housing while confronting the issues of privacy and ownership for the resident.

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IGNACIO ORNELAS

Coming into my third year of the architecture program I did not know what to expect since classes and studio were all going to be taught through Zoom. I was hoping things would get back to normal halfway through the semester but unfortunately it did not. This still didn’t stop my peers and me to look down on the year and stop designing. For our last assignments, I was given a Site for multi-family housing and had fun designing it. My Design is in the Garfield Historic district of downtown Phoenix.

This is one of the oldest districts in Phoenix and is at the canter of many outgoing things to do in the downtown area. Above you can see a snapshot of the exterior of my design that holds 14 units. I decided to go with this design because of the surrounding homes and also the way it fits in nicely due to the fact that the design is not over done.

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DAVID STRUENING

This Semester we worked on a Multi-Family housing unit. The project’s location is near downtown Phoenix.

Due to its location, I decided I wanted the views to angle towards downtown. Therefore, I turned it 15 degrees. Each Unit has there own garage except for two that will use the guest parking provided. Five of the Units have an inner courtyard that provides more natural light for the units and gives them a private outdoor space to be used; however, the owners want to. Several bungalows surround the neighborhood with pitched roofs, which let me decide to give my project the same style to incorporate it in the area.

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LOGAN THOMPSON

This year my favourite project was creating a multifamily housing. This project helped me to understand and explore new styles of architect. I have learned the power of a case studies and what it can do for your project. While designing this housing I was able to use information that I had learned from two case studies I had done in the semester. With each new case study my knowledge continues to expand allowing me to become a better architect.

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SIGNE TYLER

TE 4 : 11th Street and Garfield

NE TYLER

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For this project I wanted to create a living space that honored the historic community it is located in as well as reflect Arizona’s deep roots and connection to the rich culture before the development of what is now Phoenix. The design is intended to be built upon and grow with the families that may reside inside as well as the developing needs of the metropolitan area

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ANANTH UDUPA

Political, physical and economic actions therefore include shaping spaces and creating relationships between objects, forms and meanings in the city. This transformation unfolds over time within a process of addition, substitution and overlapping, and in doing so produces discrepancies, fragments and erasures within an existing urban fabric, thus obstructing the formulation of one unique, absolute and indisputable spatial narrative that can encompass the totality of the urban form.” –Simmone Pizzagelli, “Spaces, Poetics,

and Voids” Erasure functions mechanistically to sustain an expanding urban fabric, especially in metropolitan Phoenix. This project aims to intersect the erasing with the erased. Motifs of local highway construction and the Historic Sacred Heart Church, a demolished symbol of the displaced LatinX communities in the mid 20th century, are used to develop a low-rise residential urban infill housing project located in Metropolitan Phoenix.This project houses 14 units, with 4 commercial spaces on the first floor.

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KEVIN WRIGHT VIN WRIGHT ADE 321

KEVIN WRIGHT

Third year Architecture Studio has been a an amazing

Third year architecture studio has been an amazing

experience that pushed us into the world of multi-

experience that pushed us into the world of

family housing. I feel we are able to take the skills

multifamily housing. I feel we are able to take the skills

andArchitecture knowledge gained through theafirst two years Third Studio an amazing and year knowledge gained through thehas first been two years

of exercises and apply them the toreal potential real world of exercises and apply them to world of experience that pushed uspotential into world multi-

projects.

This we semester wea worked projects.

This semester worked on great dealaofgreat deal on

family housing. I feel we are able to take the skills

floorplans. included fundamentals floorThis plans.

This learning includedthe learning the fundamentals

and knowledge gained throughthrough the first of light and movement requirements both two years

of light and movement requirements through both

and utility spaces.

Some issues many of living exercises and apply them tothat potential real world living and utility spaces.

Some issuesmay that many may overlook were though through by students in our projects.

This semester we threw worked a great dealin on overlook were thought by the students our studio. These issues would include parking and trash.

studio.

These issues would include and trash. floor plans.

This included learning theparking fundamentals Each project attempted shows us new strategies and project attempted shows us new strategies and of challenges light Each and movement requirements through both faced by designers today. challenges faced by designers today.

living and utility spaces. Some issues that many may overlook were thought threw by the students in our studio. These issues would include parking and trash.

Each project attempted shows us new strategies and challenges faced by designers today.

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ARCHITECTURAL STUDIO I PROFESSOR: Thomas Hartman

Students: Sofiya Gaffke, Anthony Gagliano, Jingyi Gui, Qin Hao, Negar Khani, Elizabeth Michaels, Saafir Newton, Gregory Pieroni, Nevina Plummer, Yubo Qiu, Jacob Reed, Juliana Reyes Gonzalez, Lacee-Dynae Skinner, Christina Staab, Madison Stoddard, Justin White

ADE 321

SOFIYA GAFFKE

Apartments lack a sense of community as the intricacy of designs turn into mazes that cause residents to never truly see one another. Thus, leading to no community which can be detrimental to the quality of living. Especially with today’s dilemmas where community is scarce and a support system is unseen. To combat this issue, I designed a various walkway system for my apartment building. The walkway system crosses over from one building to the other to reach the apartment, but as you cross the walkways you have the ability to be acquainted with other residents as the walk the adjacent walkway.

Additionally, an outdoor space is implemented on the top and bottom of the complex to bring residents together in various ways. Crecer; which means to grow, was the word of inspiration for this project.

My goal was to create a place of dwelling that could grow a fruitful community which enhances the quality of living.

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ANTHONY GAGLIANO

For my final project this semester I had the challenge of configuring parking within a multi-family living site, which was a first for me. Instead of having some large parking structure, I decided to use tandem parking which opened the space up more, making movement of people and cars more fluid. Also, the buildings on the site are each their own units, each having one residence living in each. The buildings differ in height and rooftop terraces, only half which have rooftop terraces. The different heights and the orientation of the buildings is to accommodate sunlight.

ADE 321

JINGYI GUI

This is a two-story residential building. The architectural inspiration is the flowers in the city. The feature of this building is a large area of green space.

Each unit has floor-to-ceiling windows on two sides, which provide great lighting. The first floor is planted with shrubs to avoid direct sunlight and provide privacy. In the middle of each household group is an independent garden, and the outdoor parking space is away from the garden part so that the residents are immersed in nature.

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QIN HAO

This project is two independent buildings and surrounds each other. On the second floor, there are independent spaces. It is based on my thinking after the epidemic. During the epidemic, people fled the neighborhood one after another, looking at the outside world through glass windows, integrating architecture into nature, letting birds and insects sing in the world of human whistle, and residents interacting with nature through sustainable lifestyles to build the future together.

Secondly, when the scope of activities is suddenly reduced, when the entire building becomes our only activity space, the apartment is not only a place to sleep, but also undertakes activities, office, study, leisure and other functions, it should be a variable Multifunctional space.

ADE 321

NEGAR KHANI

This project offers a variety of floorplans and unit sizes to fit everyone’s needs. From a low-income single individual to a larger family or a high-income family, they can find a suitable floorplan to match their lifestyle. Each level consists of 7 units separated by the partition walls that can be removed with minimum effort to combine the units together and extend the 2 small units into one bigger unit. Floorplans are drawn carefully so that they are efficieent and acceptable either in the smaller version or the mixed version.

People can buy smaller units to start with, and buy the neighboring unit later and combine them.

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ELIZABETH MICHAELS

A new complex of multi-family units is situated in an established single-family residential neighborhood not far from Downtown Tempe. The site of 18 twostory townhouses is directly adjacent to the Tempe canal, with expansive views to the south-east. Two rows of 9 units conforms to the parcel’s wedge shape, allowing for much of the development’s common areas and guest parking to be conveniently placed in the center, equally accessible from every unit.

All floor plans have 2 bedrooms, 2 bathrooms, and front facing patio on the upper level. 3 townhouses grouped together form blocks that provide each other shade and privacy at the ground level living areas. The larger townhouse floor plan also has a flex room off of the upper-level patio. Canvas sails at the front upper patios create architectural interest from the front elevations which providing added privacy from neighboring patios. Units are accessible from the front door, through the garage into the interior space, or by back patios via a walkway.

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SAAFIR NEWTON

The Bend is located in an industrial district within Tempe. The project location is essential to the design. The high end three story apartment has a corrugated metal sheet exterior and large floor to ceiling windows that offer a view of the Indian Bend Wash. The project incorporates numerous elements of the environment which gives the feeling of nature inside and out. The interior contains a tree that extends through the top three levels while ivy covers the exterior. The ultimate goal of The Bend project is to create a building that is geared for the future while maintaining the look and feel of the location.

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GREGORY PIERONI

The arch is a timeless piece of architecture that allows for the creation of this studio apartment complex. The site lies just beside the Indian Bend Wash creating remarkable eastern facing views. Each studio unit is 360 square feet but packs in a full kitchen, dining room, 3/4 bath, office, living room, and bedroom.

Everything fits because of the efficient and multi-use shelving and furniture such as fold-out tables and a murphy bed the reveals a sofa when stowed away.

Everyone gets their own patio space and the entire eastern face of each unit can be opened to make the interior and exterior one. Immediately found on the exterior of the building is a bike path that can lead the user from the unit to nearby groceries and the ASU campus just 1.5 miles away.

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NEVINA PLUMMER

This semester we were given the task of creating multi-family housing that would be beneficial for now and the future. I chose to create townhouses because they offer a community feel with enough separation to give families a sense of privacy. One of my main focuses was to imagine spaces that could be enjoyed by all sorts of people. I wanted both introverts and extroverts to have their own space in this community, so I created patios within the units and a shared community space above the parking. This project has made me think a lot about the importance of making spaces that are not only functional, but also bring people together. Togetherness was at the heart of my project and my goal is to always create places where people can interact and feel comfortable.

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YUBO QIU

The site is located in Phoenix and is a large residential area. The main type of building in the area is a detached single-family building. Most of them need to be renovated. In order to better integrate into the community, the architectural appearance does not want to be too different from the existing context.

At the same time, I think the area lacks greenery and plants. I think the biggest issue that Arizona needs to solve is climate. Dust storms, heat island effects, dry weather, etc. These can all be solved with enough green space. At the same time, an accessible green space can regulate psychology and release pressure.

I want to build a building that can hold 12 units, has enough parking spaces, and has a large green courtyard.

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JACOB REED

The main focus of this project is to focus on the relationship between light, building and landscape.

I wanted to focus on creating units that had equal exposure to light, views and landscape. Every unit has access to bedroom patios that have a direct view of landscape and full access to sunlight. Every unit has a floor-to-ceiling window that spans a significant length in order to bring light into the living areas. I wanted to focus on providing a significant amount of public amenity / garden space for residents to enjoy outside of their units. By placing a garden area directly in the middle of the site, as well as trees and landscape all around the exterior, residents are able to always be around landcape.

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JULIANA REYES GONZALEZ

For this housing project, I decided to create housing units that were connecting townhomes. With this project I wanted to create housing units that people could live inside and feel as if they are in a community.

I wanted to create a community within a community.

The townhouse units are located in the downtown Garfield Area and I decided to make them a gated community to fit this aspect of a community. My main focus within this project was to allow and provide different sizes and floors to people when picking a unit to live in. With my project called Ten Townhomes I am able to provide people with parking within their property as well as giving them a back courtyard to relax and have privacy. Overall, my connecting Ten Townhome Units offer a variety of size and floor plans to the community to grow and flourish.

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LACEE-DYNAE SKINNER

Located in the Garfield District on 1125 E Taylor Street, Phoenix Arizona is a 0.47 acres of land that was selected for a housing project model. The plot of land allows a zoning permit of R5 which is an equivalent height restriction of forty feet or four stories maximum. As you can see in the image presented the land is located along a neighborhood street and a dirt patch area that is empty between the homes in the area.

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CHRISTINA STAAB

Site T-1 is a 1.39-acre lot located in Tempe, Arizona.

The site sits right next to the Tempe canal and is surrounded by various neighborhoods as well as public, social, and educational areas, making it a great place for student and family living. The completed site project includes 11 housing units and space for a maximum of 39 residents. To accompany the residents, the lot contains 34 parking spaces, 16 bike rack spaces and socially distanced amenities including a club house, a pool, and a gym which all have a view of the canal. The housing units consist of 2 floor plans, a 3 bed by 3 bath 1-story and a 3-4 bed by 3-4 bath two-story, each measuring 27�x48�.

This project has a main focus of sustainability and features per-unit gardening, interactive floor plans, and environmentally friendly units while remaining functional with embedded Covid-19 guidelines.

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MADISON STODDARD

Finding home on the Indian Bend Wash in Tempe, Arizona, this urban multi-family housing development aims to solve programming issues and create a nuanced residential space. Programming issues in mind during this design were accessible and thoughtful parking, amenity display and attraction, noise reduction, and security. A variety of developments were put in place to tackle these issues, while maintaining a sense of originality and freshness to the design. Some programming issues were solved symbiotically, that of amenity accessibility being a part of the daily routine from entering/leaving the building directly conquers a means for security.

Furthermore, considering the unique opportunity of a desert oasis view and the natural contour of the wash, this housing development is built to permit distanced views as well as seamlessly integrate the landscape with the design.

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JUSTIN WHITE

This semester started with simple unit designs, and ended with us constructing an entire housing structure. This project began with each student being given a few options for a site, and I chose the east Tempe location along Apache Blvd. and the Tempe canal. Part of the project was doing research about the code requirements and limitations like setbacks, height limits, and parking. The goal of the project was to create a residential collective housing structure that would fit around the surrounding environment that was already built. My plan with this project was to bring the community together with a large community center in the center of the project and a community garden. This semester gave me a better perspective about what needs to go into a larger scale project like this housing assignment.

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03

ARCHITECTURAL STUDIO I PROFESSOR: Darren Petrucci

Students: Carlos Alonzo, Andrea Brophy, Giovanni Cozzolino, Ethan Eles, Sadie Henson, Erick Hernandez, Fernando Moreno, Jenna Petre, Camilo Pinilla, Hailee Rother, Isheanesu Tendayi, Carlos Trujillo, Valerie Valles, Kenneth Velasquez

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CARLOS ALONZO

My goal with this project was to introduce housing that is easily adaptable, defines a distinct relationship between public and private spaces, and also works within the confines of the original big box. This housing project takes cues from the Atelier 5 designed project Halen Estate, where the relationship between public and private spaces is directly addressed. The units within my housing project are unique in that their width does not surpass 10 feet. This approach allows me to create long narrow housing within the original big box, where I am able to create open courtyards and public/private spaces along each unit. The final result is narrow row houses that provide every resident with the choice of inhabiting a private or public space within their very own unit.

ADE 321

ANDREA BROPHY

In this adaptive reuse project, I took an existing big box and transformed it into residential housing, adding this new component to the urban mall. One of the biggest challenges was designing a way to unite residential and commercial aspects into one idea. I perforated the big box to introduce light and air, creating a more livable space and then took the interstitial space between the boxes and placed that object in the parking lot. This lets in light and air as well as increasing the surface area for storefronts compared to the previous design. In the process, these courtyards were discovered which not only provide a green space but also introduced a better connection of circulation in the area. These courtyards can be ever changing, exhibit-like spaces that adapt with the community, defined boundaries with undefined potential. This design connects retail and residents to transform a shopping plaza into a neighborhood.

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GIOVANNI COZZOLINO

This project revolved around the idea of Adaptive Reuse and how we could implement housing in an abandoned storefront building. At the start of this project we were given three different sites to choose from. I chose the Stein Mart located on Cactus & Tatum in Paradise Valley. Each site had different setbacks we needed to consider and overcome by our final design. Our first task was to develop a site analysis report of the site we had chosen.

Once we completed the report, it was then time to begin creating a new space that reshaped the idea of traditional apartment complex design. As well as complimented the surrounding amenities of the site.

This Gave way to new possibilities for how storefront buildings can be utilized after being shut down.

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ETHAN ELES

This semester in studio we were given three different sites to choose from and we were told for all of them we would be creating a low-rise high-density adaptive reuse building. I chose site one which is a Stein Mart that is going out of business. The challenge was to keep as much of the big box as possible including the structure. Since we are in third year this was the first time, we were actually asked to create a building and think about things from the scale of a door knob to the scale of the entire building. My objective for this project was to provide the surrounding area and residents a place where they can enjoy the outdoors while still having all the amenities of the city life in one cohesive building.

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SADIE HENSON

An adaptive reuse project taking a big box store and transforming it into a multi-unit housing project.

Inspired by the isles of the former grocery store, I divided the big box into 5 bands and extended them into the parking area. From there adding programming for retail spaces, housing units, and green spaces. Using the bands to create areas for green space and walkways through the site. Under the original structure of the big box is a shaded summer garden with retail and at the other end a sunny winter garden. I wanted to create a community based complex that focuses on providing an all inclusive, sustainable environment with an emphasis on connection and gathering spaces.

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ERICK HERNANDEZ

Abandoned big boxes have become a bigger issue all over Arizona and as we have an increase in online consumption, they are just going to become even more common. The issue that comes now is what do we do now with this empty box that has no value. A potential solution that we can do is called adaptive reuse, which gives the empty box another program.

The re-selected program turns the commercial unit into a housing development project. My proposal turns the empty box into a housing complex which includes a total of 36 2-person units. My main goal was to conserve as much of the big box as I could, this included using the beams and roof as the framing of my housing. Another goal of mine was to establish a differentiating relationship between the public and private spaces for the residents living in the housing.

The red spot above showen is the public space that can be used by consumers who shop at the mall, while the green spot showcases the more private sector for the residents.

FERNANDO MORENO

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JENNA PETRE

The origin of my design derives from the original trusses of the big box. I placed walls where the truss structure is creating a checkerboard-like design.

Another driving factor to my checkerboard design was the limited light inside of the big box store. By cutting holes throughout the roof to the ground level, more natural light can come into the units. There are units located in the front of the big box as well as ones inside of it. There are units on the ground level and second level. Each second-level unit has a staircase that is either private or shared with one additional unit. The experience of the building focuses on the courtyards. Each unit looks into a courtyard that is either private or shared with one additional unit.

The goal behind this project is to create housing in a public space while still maintaining the element of privacy.

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CAMILO PINILLA

This adapt and reuse proposal is based on modifying a vacant lot of approximately 32 thousand square feet at a shopping center in Tempe, AZ. Adjusted to locate low-rise residences on the site, the empty box was then opened to create a communal space among two rows of two-story units. Such rows of housing were duplicated outside the box to provide the same program but at a smaller scale. A total of 26 residential units (10 one-bedroom one-bath and 16 two-bedroom one-bath) were integrated to address the two most prominent household groups in the area. More than 50% of the original roof was kept and adapted to provide shading in public spaces and hold solar panels that power nearby amenities.

The last step was to enclose the units with retail to wrap all the programs together and activate the spaces with a mixed-use mentality of providing more than one primary function ensuring the presence of people who go outdoors or use the public facilities on different schedules.

ADE 321

HAILEE ROTHER

The adaptive-reuse housing project focusses on connecting the existing amenities and individuals back to a big box structure that was once overlooked and out of scale. The project serves as a connecting ribbon throughout the entire strip mall, while breaking down the overwhelming faรงade of the original big box. Being guided towards young professionals, the housing itself is quite minimalistic since the site overall is providing living spaces for the residents. A market and co-working space revitalize the existing structure to promote individuals to fulfill several daily needs all in one location. The project connects with greenspace through the front, back, and middle of the site to guide residents and visitors into the commercial area, while leaving space for nature that once was lacking. A goal of the project is to promote community for the residents and any visitors that may come along.

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ISHEANESU TENDAYI

The studio project for this semester focused on adaptive reuse. As a class we aimed at repurposing big box retail buildings that would have outlived their original purposes for housing and other functions. When faced with this challenge I attempted to integrate spaces which are typically separated due to their distinct functions. Like an elegant dance, the private and public spaces were fused together in some instances and drawn apart in others - the connection between the two concepts was my focus. Ultimately, the result is a seamlessly coordinated complex on a site determined by the area of an existing “big box�.

ADE 321

CARLOS TRUJILLO

Shokibo is a project that revolves around the concept of creating a variety of dwelling spaces throughout an assortment of scales. The project is located in Scottsdale, Arizona and is an adaptive reuse project that reuses an empty big box store for housing. This project harnesses the big box structure to create housing with a variety of scales. What makes living in Shokibo a great experience is all the lighting, shading, and courtyard spaces created by the varying scale of the homes. Overall, the project was inspired by the Moriyama House in Tokyo, Japan and applied within a big box store and a much hotter climate.

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VALERIE VALLES

The thesis of this project was to create a new typology for housing that is placed with in an old retail “big box”. Rather than demolish the empty “big box” and create a typical housing unit in its place, the goal was to create a new environment that not only combines housing and retail but also transforms the preconceived notions of “big boxes”. My project specifically aimed to insert this new typology in a shopping plaza in northern Phoenix where two existing fronts were merged: the residential front and the retail front. Through various operations, the two fronts were merged while integrating the existing structure of the “big box” within the project.

Overall, this project has taught me the importance of challenging current ideas that in turn lead to new conditions within architecture. As I continue my studies in architecture, I hope to discover new challenges that create new environments.

ADE 321

KENNETH VELASQUEZ

An adaptive reuse project of an empty big box which incorporates a residential atmosphere into the realm of a small shopping mall gives possibilities for the development of a new language in the Southwest urban setting. With this taken into consideration, I designed a housing complex in the middle of a mall in Paradise Valley. This project attempts to create a distinction of spaces between the complex and its surrounding mall. Being that this area is surrounded by various amenities, it would provide a great place to live for the suburbanites of Phoenix; therefore, providing access to these amenities is essential to the success of the project. By introducing a weaving roof that also spills out of the confines of the original big box I am able to create a distinction between the private, semi-private, and public realms that should be included in the juxtaposition of the shopping mall and housing complex.

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03

ARCHITECTURAL STUDIO I PROFESSOR: Katherine Dudzik-Smith

Students: Alexandra Berk, Wesley Brittain, Allyssa Chiarello, Alondra Cueves, Harding Eddie, Alberto Escudero, Kevin Evaristo, Ronda Gargog, Noah Glynn, Taylor Hammett, Jona May Lim, Grace Miller, Denise Ramiraz, Kirsten Schwantes, Shonda Woody

ADE 321

WESLEY BRITTAIN

The Nest is a veteran and PTSD focused nightly shelter for those experiencing homelessness. The building is orientated so that the front entrance faces away from the noisy and unsafe 19th Ave, and instead faces the North-East mountains. Within the main building there are facilities open to both those staying at the shelter and the surrounding community. These facilities include social workers, mental and physical doctors, a veterinarian’s office with kennels, and a children’s daycare. To minimize the chances of a PTSD attack occurring, an open central artery runs through the building. This is to remove any feelings of claustrophobia and to allow natural light to flow into what would otherwise be interior rooms. Curtain walls of glass allow light to flow into the rooms themselves. A central courtyard is used to minimize the usage of hallways, and what hallways remain are widened and include recessed doors, again to minimize PTSD attacks. .

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KEVIN EVARISTO

This image is part of assignment four, “Collective Housing

Project�

from

the

class

ADE321

Architectural Studio. The base of this project was to create a homeless center in which we had to show the program, policies and floorplans of our building.

This image represents one ot the section cuts made on the project. In which the program Revit ws used to create the section and the program Enscape was used to create the render image. The decision of this section was made for viewers to have a better perspective of how the buidling will look from the inside and the outside.

ADE 321

RONDA GARGOG

Oasis (n.)- something that provides refuge, relief, or pleasantness in the midst of a difficult, troubled, or hectic place or situation This is what I had in mind when designing my homeless shelter. I wanted it to be a safe place.

Furthermore I wanted to escalate the design by adding sustainable qualities. On the roof I added a gutter system that would lead to a rain basin and store water.On the outside, I used weathering steel to easily combat the harsh rays of the sun. And I wanted to create a place of healing. From rain chains to a basketball court, I found ways to help the residents because at the end of the day, we are all trying to create a dwelling where people can not only survive but experience all that life has to offer.

TAYLOR HAMMETT

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JONA MAY LIM

This project is my proposed housing for the North West Phoenix Site. This site will serve as a nightly shelter and food distribution source for those who need support. This low-barrier shelter is a twostory-high building that will accommodate 130 people of different genders and ages. This shelter also includes a few services such as Medical Clinics, Vet Clinics, Bike repair station, Religious group, and a team of representatives that will help and assist the clients. The goal of this shelter is to restore a sense of dignity for those who are permanently or temporarily displaced by designing humane spaces that will help lift and give people hope.

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SHONDA WOODY

For my last project of the semester, is the Northwest Phoenix site, where I have created a community campus that serves the existing population of homeless living area by Northwest phoenix. It is in N 19 Ave and cholla St, surrounded by neighborhoods and communities, which is a low-barrier environment that is open space campus, about two-story high.

Home for those who seek shelter, and helping to maintain or restore ties, also to make them feel safe and welcome once they approach the building.

They can come eat, shower, and have some drop off donation by the public and a volunteering services with the community.

ADE 321

ALEXANDRA BERK

My

project

focused

on

creating

permanent

supportive housing for those formerly or currently experiencing homelessness. The site is located in downtown Phoenix, with decent walkability and location for the housing units, but the size of the lot was challenging since it is long and narrow. To solve this problem, I created a series of compression and expansion throughout the unit buildings that allows residents to walk from one side to another and opens into larger green spaces. Each green space will serve a different purpose, such as a playground for children, a grill area, or community garden. Connecting the different buildings are above ground walkways that help to create shade on the ground floor. In order to keep people housed and provide support, there are indoor community spaces and computer rooms to help them find job opportunities. There are also on site social workers to provide guidance.

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ALLYSSA CHIARELLO

The project centers on the idea of housing as a human right, not a privilege, for the formerly homeless and their families. A permanent supportive housing model is utilized, where supportive social services are offered additionally and on-site. Residents are not deterred based on their mental or physical disabilities.

The layout of the units creates a collective neighborhood feel, complete with quick access to community green spaces for every resident. A sense of individual front and backyards attempts to heighten a sense of ownership and pride.

Internally, the project includes 36 2BD, 2BA units and 24 3BD, 2BA units in order to cater to the spatial needs of families. An abundance of community areas— including green spaces, lounges, a computer room, meeting spaces, social services offices, a gym, kid’s playroom, and rooftop garden— meet the needs and wants of every family member and cultivate a healing environment.

ADE 321

ALBERTO ESCUDERO

The purpose of this project was to design permanent housing and healing spaces for people who are currently homeless or at risk of being homeless.

The site we were given is in south phoenix and is owned by UMOM, which is an organization that already has several homeless shelters and focus on helping homeless people get back on their feet. For the project, I focused on creating a project that feels welcoming to all and focuses on building a strong sense of community between residents of the project and surrounding houses. This was done in order to solve the problem of NIMBY (Not In My Back Yard).

I also connected the site to nature to create a natural, safe, and healing environment in the project. Another focus was to provide homeless families with a safe and permanent place to live, and provide as much support as possible.

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NOAH GLYNN

Apilar Flats is a high density, 60-unit permanent dwelling project located on an existing open site in South Phoenix. The project is designed to house families recovering from addiction and offer on-site social services and community spaces to effectively support those in need of a stable and safe home.

Individuals are expected to express a desire to work towards sobriety and attend community support groups. While the path to recovery varies from person to person, it is the goal of the project to combine community and housing programs in order to enable families to combat drug and alcohol addiction.

ADE 321

GRACE MILLER

The collective dwelling project is a homeless shelter located in Phoenix. Inspired by Eva’s Phoenix youth shelter in Toronto, the project aims to provide an inclusive, open-campus housing solution for those in the Phoenix area at risk of, or already experiencing, homelessness. Amenities are provided on site that allow residents to be safely and equitably housed in a manner that evokes prde. Pictured, an atrium atop a piloti elevated structure allows for light as well as views of nearby South Mountain.

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DENISE RAMIREZ

Subsidized housing with emphasis on independent living, with a strong sense of community and sustainability. The goal is to provide permanent living for homeless while decreasing their chances of falling back into homelessness. The complex is made up of strategically placed shipping containers that make up the floors, walls, and ceilings. This lowers costs, thus allowing larger budgets for other special features. Essential services are provided on-site, such as counseling, post office, and classrooms with computer areas. On-site jobs will also be provided for responsible tenants, in order to combat the difficulties of finding a job when recently homeless.

This community will comfort those who lacked security.

ADE 321

KIRSTEN SCHWANTES

Proposal for homeless shelter located within Southern Phoenix among Jones Avenue and 9th Street. The Shelter supplies permanent supporting housing for families experiencing homelessness or at risk for being homeless. The shelter focuses on nurturing a sense of community to families who many have lost that amidst their journeys of finding proper and affordable housing. Many on-site programs are included to ensure residents are able to feel at-home, well-taken care of, and not forgotten.

These programs include two large greenspaces such as a beautiful inner courtyard that features native landscaping and gardens, and a rooftop garden which holds garden beds and outdoor eating. The rooftop garden connects to the community lounge where residents can find a relaxing, light-filled space where they can enjoy food and company from fellow residents, classrooms where families and children can learn and have access to computers, and a family park and social worker offices.

ADE 321

03

ARCHITECTURAL STUDIO I PROFESSOR: Beau Dromiak

Students: Muataz Al Sabti, Jeremy Arena, Ryan Berry, Spencer Betts, Raul Carranza, Jaden Cole, Josh Einen De Joya, Hayden Dudley, Shawn Locus, Christian Mays, Juan Orozco, Amir Simms, Alexander Solis, Gabriella Van Buren

ADE 321

MUATAZ AL SABTI

The Peal is a luxury high rise senior living. Designed with pandemic concerns as top consideration. It consists of two neighborhoods and 375 units. Each unit includes additional storage cabinets in common areas, in case tenants carry memorabilia when moving from a larger house. Additional large storage units in the garage may be rented if needed.

Circulation is contained within each neighborhood in case of isolation. Individual units are more spacious than typical high rise apartments considering that tenants may spend more time than usual staying home. However, there are more amenities than a typical high rise available for tenants, which includes outdoor areas, mini golf, dog park, community pools, running track, and more. Amenities are made so that they are also inviting for family members and grand kids when visiting. In conclusion this a luxury senior living with design for specific needs. Thus, all amenities, services, large units are made with the premium price paid by tenants in mind.

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JEREMY ARENA

A typical morning walk around the neighborhood, only 20 something stories in the air with sweeping desert views and the growing phoenix skyline at your back. This serene experience sets Horizon Gardens at Barrister Place apart from any other senior living community in the Valley. All unit floors are thoughtfully designed with an active and social daily life in mind, with a mix of personal and shared gardens, patios, and walkways right outside each moderately sized living space. A variety of communal spaces make it hard to stay inside your home; whether it be the cozy, common living rooms on each floor, the expansive wine bar library, an 18hole mini golf course, the rooftop cocktail lounge, or the South Mountain Preserve view from the pool, life here is joyfully shared among friends and family.

Connection to the surrounding city and all of life’s necessities is right out the front door, keeping life engaged and convenient.

ADE 321

RYAN BERRY

Waving Sun Integrated Living is an alternative senior living facility in Phoenix, AZ that encourages intergenerational and inter-capability interaction amongst

its

residents.

Typical

apartments,

independent living, assisted living, and memory care units are dispersed throughout the two buildings to facilitate varied social exchanges. A bridge between the two buildings lets the neighborhoods across from each other mingle with one another in an open and inviting space. Amenity levels for every four residential levels allow for socialization between the different floors. Every unit has a balcony that is staggered to allow for communication vertically and horizontally between units. These design features aim to maximize the amount of interaction between different social groups in the city of Phoenix and the building, thus maximizing the residents’ living experience. The ability to isolate by unit and by floor while still allowing for socialization at a distance maintains this living experience even in a pandemic.

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ADE 321

SPENCER BETTS

Bright Choice is an upscale retirement midrise community with four different neighborhoods. Bright side is located in the Friendship Village campus near Southern road in south Mesa. The building is three stories high. First floor has amenities such as dinning hall, bowling alley, sports bar, individual movie theaters, gym, library, pool and a casino room.

Second floor has livable units reserved for high risk tenants. Each unit has a full bathroom and a kitchen.

Amenities are two kitchens, cafe and a bar. Third floor consists of units both one bedroom one full bathroom, and two-bedroom one full bathroom. Both second and third floor have walkable balconies that loop around the building. This retirement midrise was designed around the Covid-19 pandemic and can be easily tuned into a post pandemic retirement community with less restrictions. The building is all about sustainability from the sun. On the roof there are solar panels and openings to where sun can shine into every unit for natural lighting for the occupants.

ADE 321

RAUL CARRANZA

My building’s name is Alliance Village. The name was originated from my project’s concept which is to unite the community and prepare for another possible pandemic. I was asked to design independent senior living apartments that were flexible during a pandemic and I tried to do it by implementing nana walls to expand residents’ private spaces.

Furthermore, there are 8 units per floor which I used to create private neighborhoods. In addition, the residents have the flexibility to have a stroll around the floor and not having to leave their building since each floor has a circular circulation. This project was based on a real-life problem and therefore, designing a safe place for residents was crucial. I tried my best at accomplishing a perfect size for the resident units and at developing a unique design to try and/or prevent the spread of any contagious virus.

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ADE 321

JADEN COLE

SunRise Community is a high-rise senior living residence in downtown Phoenix, Arizona. One of the goals of the SunRise building was accommodating pandemic-like situations; the entire building can be isolated while residents can maintain quality of life.

SunRise Community aims to create an engaging, social, and enjoyable senior living community that provides wellness, enriching amenities, and connections to nature and neighbors. The public spaces offer amenities that promote wellness, such as the gym and the spa, and amenities that promote creativity, such as the art room and the workshop. Residential neighborhoods offer a variety of floorplans. There are also several places to host family and friends such as the community pavilion on each residential floor. Public green space on each level integrates the desert environment into the vertical space. SunRise community is the perfect place to sit outside and enjoy a new day.

ADE 321

JOSH EINEN DE JOYA

The High-Rise Tower is situated in Downtown Phoenix on a historical site with a total buildable area of 45,900 sq ft. The focal point of the design is centered around the response for the current pandemic situations. The establishment of “neighborhood” spaces and numerous amenities allows for the adaptation of the residences living within the site.

Social gathering spaces were implemented into each level of the neighborhood and is inspired by the remarkable architecture of the ziggurat. This was done in response to an inevitable lockdown phase during the pandemic. Another important feature of the high-rise is the separation of two major zones, the public and private. This permits the efficiency of the organization and circulation of the programs.

Finally, the high-rise introduces sustainable elements that help progress Downtown Phoenix’s objective of a net zero carbon emission goal by uniting nature and architecture in to one form.

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HAYDEN DUDLEY

Greenrose is a high-rise project for senior living located in downtown Phoenix. The project is built around operating during a pandemic and the best methods of improving the resident experience during these times. With the pandemic shutting down typically accessible things within these projects such as access to the outdoor environment, access to community spaces, and ruining the efficiency of the design of the buildings. Keeping these in mind Greenrose revolves around three core pillars of community, environment, and efficiency trying to address the way that the pandemic attacks these elements. Designing around implementing green spaces all throughout the building as well on private balconies the lack of environment will be much better managed. Every floor can operate as its own microcommunity for an extended duration of time with access to diners and open speaking space. Lastly the design is meant to offer many ways to travel through it to prevent unnecessary bottlenecks.

ADE 321

SHAWN LOCUS

Futuristic might come to mind when viewing this highrise residential interior. Perhaps, unexpectedly the origins of my semester’s methodology reside within past time and technique. Two specific inspirations, Price Tower by Frank Lloyd Wright and the dynamic paintings of Zaha Hadid. Price Tower taught me awareness of how to begin to set up unorthodox geometries by way of repeating forms over a grid.

Utilizing this technique allows for a radical departure from typical architectural floor plan shapes, while being comprehensible to a novice. Zaha Hadid found her style first through creation of abstract paintings, then reinterpreting them into physical architecture. I performed the reverse, generate a three-dimensional space then reduce it to a painting. Some of the necessity for journeying this path arrived because of the lack of knowledge of photo realistic rendering programs. Ultimately It worked out for the best, manifesting an unconventional design aesthetic.

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CHRISTIAN MAYS

My project is call Breathable Density. It aims to reimagine what flexible design could look like for seniors in a post pandemic world. The goal is to address three major problems that might occur in future pandemics: A reduction in exposure to natural light, isolation loneliness, and a lack in physical movement. What if we created buildings that were breathable and open to the outdoor environment, instead of being completely closed off? Through the use of integrated outdoor community spaces, Balconies that allow residents to connect, and units with flexible spaces and movable walls, a vertical neighborhood formed. This project aims not only to address senior living in tall buildings, but to reimagine a new standard of living, with a strong focus on improving quality life in a future pandemic.

ADE 321

JUAN OROZCO

Barrister Bridges is a unique retirement experience full of connections—a community where generations thrive and intertwine within the city. Barrister Bridges puts you in the realm of Downtown Phoenix, an ever growing community that appreciates culture, history, and excitement. You’ll be just a walk away from historic Barrister Building and be a shuttle ride away from countless entertainment opportunities, as well as a wealth of dining and community network.

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AMIR SIMMS

Hi, my name is Amir and this is my Senior Living High Rise design for my studio. I had a lot of fun getting to learn the diligent processes of tackling big projects as such. For this assignment, we were asked to analyze a location hardly occupied in downtown phoenix, create a workplan for each step of the process which we kept track of, and document our research and design ideas to allow us, the students find a creative way to articulate our thinking to an audience that has never heard of this project before. The name of my Senior Living High-Rise is “New Beginnings”. This building ultimately received this name through the experiences set in place at my location, side by side with the idea that those hopefully visiting or even moving into my High-Rise are starting a new chapter in their life that they can’t wait to begin here.

ADE 321

ALEXANDER SOLIS

Sliced Heights is a very cozy place many may call home. When walking around town you will clearly see this high-rise above all else. While mainlining CDC guidelines in regard to the pandemic, Slice Heights has a place for everyone! You may be the sporty individual. Sliced Heights has your game lounge! You may love to just socialize; well, your new home has a whole Level devoted to a social cafĂŠ for all who dwell there. If you are the movie guru or maybe just an art enthusiast, Slice Heights has that for you!

Last but not least, we host the greatest and largest State of the Art Olympic sized pool in the Downtown Phoenix area! You are just a signature away from the best days of your life! Join the movement to a modernly traditional place of living.

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GABRIELLA VAN BUREN

In this high rise residential building, offset terraces allow the residents to experience openness and connection to the building’s surrounding. The size of these exterior spaces gives the members of the community the opportunity to dwell in an urban environment while retaining spacious outdoor property, with some units offering full size backyards.

These units account for pandemic considerations by allowing the residents to experience the outdoors while on a floor wide lockdown. The building is located in close proximity to many downtown Phoenix attractions, including the Talking Stick Resort Arena, Chase Field, and the Phoenix Opera House.

Though members of the community can

walk to a variety of services, as well as the Phoenix Valley Metro Rail, they still retain their own private outdoor space within their units. Urbanism truly meets outdoor space in this one of a kind high rise residence.

4th Year

ADE 421

04

ARCHITECTURAL STUDIO III PROFESSORS: Elena Rocchi & Peter Guthrie & Susanne Schaal

Students: Mohamed Al-Thaher, Shelby Ben-Shalom, Alonzo Cabrera, Amadeus Cruz Hernandez, Tyree Dalgai, Cristina Garibay, Brandon Grenda, Vi Ho, Nicholas Kalas-Hernandez, Daniel Levato, Olivia McKay, Susannah Montgomery, Sutton Oneill, Mia Salazar, Megan Van Horn, Sarah Zagoury

ADE 421

MOHAMED AL-THAHER

This project, titled ‘The Parasite’, is an exploration of the most obvious, yet most impactful boundary detected on ASU’s Tempe campus- the austere walls.

The project intends to blur that harsh boundary by creating a bridging space between inside and outside in place of the walls, allowing engagement between students who are traditionally welcomed by the building and those who are not. A primary structure of scaffolding, a secondary structure of platforms and staircases, and a tertiary structure of programmed spaces are all enclosed by an exterior curtain to make up this ‘parasite’ which is hosted onto the wall. Implemented on the master plan scale of campus, this intervention creates a series of ‘noman’s lands’ where social interactions can take place among students of variable disciplines. The Parasite leaves off with a question; How

can

the

idea

of

parasiting

socially

interactive spaces onto existing hosts encourage interdisciplinary collaboration?

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ADE 421

SHELBY BEN-SHALOM

The masterplan created for this semester includes the areas of campus that often go overlooked, or underlooked. The blank facades of buildings old and new can be reimagined as empty, digital canvasses.

A new movie showing, an online concert, a virtual aquarium, and new art installations from the ASU Art Museum can now be spread acorss the campus. By selecting areas that both have an empty facade and that are in high traffic areas of university occupants, the campus life can be enhanced. All screens are outdoor locations so this also can adapt to a postcovid world. Picking various buildings creates a new space for the ‘b(uilding) p(lace) s(pace)’ discussed in studio. Rather than focusing on one confined area of campus, this addition of screens across campus will give ASU a new experience without the heavy cost and time of construction. Utilizing pieces of the past to create an enhanced future will improve Tempe.

ADE 421

ALONZO CABRERA

The elevation view from the project is shown to portray the concept of objects on water. A platform on water is used to accomodate new uses throughout the Tempe Lake and also making installments onto the ASU to create this masterplan accross the university.

These platforms provide several uses through green space and using the lakes advantage to bring water to the surface. When these sitting platforms come together, it creates almost like floating cities creating several green spaces, pushing the boundary of what a new life can look like in a different environment to create an enjoyable and sustainable community, simply providing another form of human habitat.

Since these platforms are movable and towed onto a site, there is an opportunity to accomodate new spaces around ASU creating a more enganing environment across disciplines. A platform on water or making installments onto ASU campus offering plenty of green spaces or new uses is a way to imagine a future campus in a University.

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AMADEUS CRUZ HERNANDEZ

The project is located on ASU Gammage Parkway, the site where Victory Village, a temporary trailer housing development, existed 70 years ago. The project detects the boundaries of dwelling on a university campus, collaboration and performance in an exterior space, and the interaction between a ‘homo-luden’ and a passerby; through the exploration of verticality, mobility, circulation, isolation, and field of vision. Arriving at a masterplan that creates intersections of performers and spectators across campus, this project works as a continuation of ASU Gammage, providing an exterior performance billboard that opens a relationship between a ‘manat-play’ and a passerby. The project understands mobility and verticality by creating a space where architecture is the vehicle; a space where dwelling units are detachable from the stationary supporting structure. The concept of performance in this project is the understanding that ‘life is the making itself;’ in this sense, the project itself begins to perform.

ADE 421

TYREE DALGAI Section_2

ASU is well known for being innovative, but it could be known for so much more. Agriculture is a key element for most architecture designs today. It provides a sense of nature and peace that can only be found outside of a city. It is something that ASU needs based on the location the campus is set in. Arizona is visualized by two things: a desert landscape and 26

CATEGORIE

ASU “the party school”. This reputation that not only represents Arizona but ASU as well needs to change.

In doing so, adding an organic architectural design to campus is going to be a great first step to achieving that new reputation. This structure, The ASU Pathway, is a project that is not only for the students, alumni, nor parents of ASU students but for newcomers that have never experienced Arizona before. Perspective is a huge factor when it comes to a new design and this new perspective can change the look of ASU for future years to come. As a school voted top school in innovation, it’s time to live up that name earn a new one. ASU the top school of sustainability.

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CRISTINA GARIBAY

Tasked with imagining a future campus beyond present day restrictions, this project titled ‘Windows as Doorways’ takes an existing historic building such as Old Main whose exterior has remained constant since its initial construction and removes its windows.

In their place, a phenomenon of insertion occurs with the placement of variously shaped objects such as a tube slide, cone, variously sized tubes, and an object that mimics the function of a telescope meant to enhance the user experience both in the interior and exterior of Old Main. This act of insertion through the opening of a window alters Old Main’s function to allow a unique access of sky, view, light, sound and play to its interior creating a space within a space located at the site of the window opening. It is a concept that can be applied to any building across ASU’s campuses and challenge current societal norms towards built structures and a view into how existing buildings can be repurposed in the future.

ADE 421

BRANDON GRENDA

The city of Tempe is ever growing and at its heart lies the Arizona State University campus. However, both the city and the campus are running out of ways to expand. Here, the Tempe Social Connection project seeks to give a new opportunity for expansion while keeping the city connected and traversable. The project entails creating an elevated tram system.

Along the route, a series of elevated platforms will be constructed. These platforms give way for new developments and uses, allowing the city to grow upwards on top of them rather than spreading outwards. The Master Plan begins on ASU campus where the first stretch of the tram system runs along Cady Mall, connecting buildings across campus, then continues on to Tempe proper. Suspended above roadways, the tram system functions without interfering with existing pedestrian and vehicle travel. The project offers a new way to travel throughout Tempe, connects buildings, and offers room for more development.

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ADE 421

NICHOLAS KALAS-HERNANDEZ

Can architecture live, and conversely, can it die?

What is architecture, when all that remains of it is arguably a corpse, a shell of its former self? What if architecture were ageless, undying, by virtue of the fact that it never lived before? Can architecture exist without having ever truly lived?

I like to think of ruins like giant hulking corpses.

Stone and concrete existing like fossils to be not just discovered and documented, but to be explored, lived in, used for a new purpose by those who find it.

And when that ruins’ new inhabitants leave, it returns to its former state, waiting to be used again.

I set about creating a space on ASU which captured this feeling; a third space, between the shared walkways and individual major’s buildings. A space which was designed to belong to no one, and thus anyone, for any purpose at any given moment, but only temporarily. In the long term, this would be repeated across the campus to help break down the barriers between majors.

ADE 421

DANIEL LEVATO

Found in the Arizona archive, the Memorial Union has kept its core values of creating community, celebrating

diversity,

and

fostering

human

development since the 1950s. Further explored through Uchronia, D’invenzioni, Tempe interrupted, and Lapsus imaginis to reimagine the master plan for the new American university. Continuing these values, I invented a landscape of objects I call appliances that address the isolation of buildings.

Elaborating upon the use of representational meaning. Ten structure types inhabit the campus over one year. Parts transported from off-campus storage facilities. Then unloaded from the trailer to carts and assembled. Object #4 no longer a kitchen prep table, now called Culinarian. Creates a kitchen that helps make connections on a big campus, where students might never get a chance to interact outside their major. Sparking interest from students and faculty through aromas. Sharing this space you feel compelled to make a social effort face to face.

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OLIVIA MCKAY

Void, n. Meaningless, useless, or empty; nothingness.

No-thing-ness, the inverse of existence. It never was, never will be. Set design is structuring a void in such a way that the viewer is convinced of its existence as a proper Place rather than a collection of walls that looks like one, and it’s been said that architecture is designing sets for people’s lives. The premise of this project is to combine these concepts: define physical voids through architecture and let the viewer inhabit that space while questioning the reality of their metaphysical surroundings, blurring the boundaries between “the mother of arts,” the theatrical, and the philosophical.

The plan is to build an interactive, reflective walkthrough

experience

guiding

the

viewers

through the “big questions” to insinuate the formulation of their own worldviews; presenting views and constructing voids so they can investigate their views and see their voids. The program is [a] reflection.

ADE 421

SUSANNAH MONTGOMERY

This installation creates ‘weird strips of chaos’ in Tempe Town Lake through a series of islands. The project reinvents the limits between bridges from an inaccessible waterscape into a place of civic refuge.

It gives a sense of identity to ASU while connecting disciplines and dissolving boundaries. There will be a ritual of removing all the art from ASU art museum and placing it in the lake. The building loses its program, a form of ruinification. The building becomes an architectural palimpsest, developing a new altered life to accommodate a sustainable innovation center. The art from the museum is now placed on an island, placing a piece of campus in the water. This unfolding civic drama reflects this idea “the measurements of space and the events of its past.”

The islands begin as ruins, each being overtaken by agriculture. The lake becomes a productive body uniting art, agriculture, and sustainability in a highly accessible area, giving the local citizens and students a greater sense of place through the development of this third space installation.

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ADE 421

SUTTON ONEILL

Project Uchronia, otherwise known as “The Farm� detects the boundary between our current urban society and the agricultural past. Instead of working to bridge all the disciplines at Arizona State, the farm works to grow the community through the shared labor of love in tending to the massive rural and recreational space. Working together to grow ourselves, our knowledge, and our farm.

As a suspended structure on top of campus, the site creates new spaces to work and play, as well as provides new access points into buildings across campus. Uchronia is perched above them all, using the buildings and columns as support for the massive utilitarian structure. By utilizing water efficient crops and water friendly technology (Drip Irrigation, Hugelkultur, Xeriscaping) we can actively support our farm in the desert. In our current time of massive societal change, people are getting out less and staying in more. So why not learn to fend for ourselves again?

ADE 421

MIA SALAZAR

The site lies amid the Tempe Municipal Building. The photo from the University Archives becomes the basis of the project because of its inverted-pyramid form. The pyramids, those of which are learned as lone ancient burial grounds, become a point of symbolism. At the metaphysical level the pyramid is a sign of self-and soul integration. The floors contain a multitude of the following: workshop, mural spaces, library, galleries, observatory dome, etc. The fourth floor connects three pits to create an outdoor-indoor space. Providing protection for both human and natural life, this space becomes a cultural synchronized vision and a center where complex lives and perspectives become one. The designed space is one that is interchangeable and movable in a sense that its design can be utilized in multiple areas around the world to create community and sense of self allowing increased opportunities for education across disciplines and reimagining the New American University.

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ADE 421

MEGAN VAN HORN

This project seeks to expose the boundary between indoors and outdoors at ASU. It is an intervention in which corners of certain buildings on campus-Matthews Center is seen here as an example-- are partially demolished and transformed into semioutdoor spaces for the gathering of students across disciplines and the gathering of solar energy and water via shade structures. An architectural kit of parts including the aforementioned shade structures influenced

by

classical

columns,

exaggerated

stairs, and larger adjustable shade structures, is implemented into the demolished area to create space for students to interact and learn from one another. This intervention provides students with a welcoming halfway point for studying, relaxing, and use as a classroom and can be integrated across campus at the corners of buildings with potential to bridge the outdoors and the indoors.

ADE 421

SARAH ZAGHOURY

In Invisible Cities, Italo Calvino suggests that “memory is redundant: it repeats signs so that the city can begin to exist.” By altering reality, it is possible to recreate an invisible city that is simoultaneus to the existing one. The Ice Cube’s project integrates the past, present and future bringing upon the opportunity for the ASU community to reimagine, in a fun and innovative way, what Tempe was like and what it could be. As an ‘outdoor museum,’ a series of cubes are displaced in front of historical buildings as the Hayden Mill to tell the story of Tempe and its becoming throughout the years. By projecting the present and envisioning a future in third spaces, they freeze memories to adapt the past with daily life. The project’s aim is to form a sense of belonging with innovation, and attract people to venture “outside” the campus to learn by enjoying creative atmospheres.

ADE 421

04

ARCHITECTURAL STUDIO III PROFESSORS: Rick Joy & Claudia Kappl & Max Underwood

Students: Erin Bascom, Angel Caldera, Ian Clouse, Zelda Cole, Rafael Gonzalez, Xintong He, Jingran Li, Cesar Lopez-Rodriquez, Jordan Marshall, Rita Momika, Alexandra Shott, Annie Torgersen, Meriel Vogliotti, Mckenzi Wilson, Yiming Xu

ADE 421

ERIN BASCOM

From the beginning of the discussions around a new MOCA Tucson, a set of juxtapositions became apparent. These juxtapositions, or areas of tension, include history and modernity, permanence and variability, orchestration and exploration. The wall has a rich tradition in Arizona, and specifically Tucson. The new MOCA Tucson will engage the wall and all its inherent tensions and juxtapositions as a means of pushing boundaries and abandoning the notion of neutral planes. Each space is organized to emit different atmospheric conditions which will allow artists and curators to enrich collections. The new MOCA exists as a “Village Behind A Wall.� This wall, which folds in and around the site to frame the programmatic needs of MOCA also folds into the site to allow for non-ticked public amenity. The notion of a wall as a barrier or obstruction crumbles as pockets of public program are interwoven.

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ADE 421

ANGEL CALDERA

This reimagined Museum of Contemporary Art aims to develop the framework and structure for the movement of people, light, music, and climate within its walls. This is achieved through the creation of spaces that move and mimic the flow and speed of their users, openings that allows light and music to move from space to space, and an “openness” that breaks the barrier between the indoor and outdoor experiences. An implementation of active spaces and programs will develop an active community and surrounding landscape, as both spill into the large openings, walkways, and windows. A “Moving MOCA” invites families, individuals, and artists to move and dance to their own beat as they navigate themselves through galleries, media labs, workshops, dance rooms, and much more with the noises of the courtyard, the desert wind, and live music pouring in.

ADE 421

IAN CLOUSE

Situated in the heart of Tucson, the Menlo Park neighborhood has a long rich history, which has grown into the city’s most vibrant Mexican barrio.

While focusing on the idea of culture and place, the new Museum of Contemporary Art will build upon and enrich the heritage of Menlo Park and the families which live there. Building upon a local Mexican barrio tradition of enclosed courtyards, the museum is organized around four linked Art Courtyards, which create a series of unique places of public interaction with artists, locals and out of town visitors within the museum’s open community environment. The vision of the new MOCA showcases this important relationship between art and people, bringing them together to enrich the culture of Tucson and the heritage that belongs to this city.

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ADE 421

ZELDA COLE

This new design for MOCA Tucson works to connect members of the community together. The design serves as a pathway through the neighborhood, connecting residents to local businesses. Large windows look from these pathways into the gallery spaces to invite the community to view art from beyond the walls. This pathway encourages community members to incorporate art into their daily lives. The design provides double-height galleries, artist studio spaces, art labs, outdoor patios, and a rooftop restaurant. The native wildflower gardens connect visitors to the rich history of Menlo Park. These gardens extend throughout the block and encompass surrounding buildings to diminish boundaries and invite the community in. The butterfly ramada roof shades large public outdoor space and collects rainwater to be stored and used in the garden. The new MOCA serves as a gathering place for artists, children, and residents, to enjoy and promote connectivity.

ADE 421

RAFAEL GONZALEZ

The Museum of Contemporary Art Tucson expands its current vision as an incubator and connector for art and community life by utilizing public space as its new concept. While still focusing primarily on contemporary art, MOCA migrates to the Menlo Park district, respecting the architecture of the historic Menlo Park, while being inclusive and Modern. My new vision for MOCA combines the idea of a protective fortress and open drive thru museum. Taking inspiration from the Colonial mission outposts that were first established in Tucson, the new MOCA is first a protective fortress. To combat the idea that a fortress is enclosed and not inviting to the public, the new MOCA building deconstructs itself to enclose a new open public art square, which encourages everyone, either on foot and in their cars, to stop, meet people, and get involved with the arts and their community.

395

ADE 421

XINTONG HE

My vision for MOCA Tucson is to create a welcoming community center, a flexible art space, which becomes a public living room for the neighborhood.

On sunny days, the large overhanging roof provides shade and environmental comfort. MOCA’s visitors can pause and relax from their busy daily lives in the cafÊ or landscaped sculpture courts. The heart of the new MOCA is a flexible main gallery, which can remain one large exhibit space, or be subdivided with with the large doors into a series of smaller galleries, event or performance spaces. The adjoining art hall and art lab are organized similarly and connected to landscaped courtyards.

ADE 421

JINGRAN LI

“MOCA Comes to You” is a mobile pop-up contemporary art museum which travels throughout Tucson’s neighborhoods each year. It is an evolving “Art place” attracting people to come to learn about their local community, engage with each other and have fun discussing, learning and making contemporary art. Thus stimulating people to explore what MOCA is? and what Contemporary Art is? Like great art MOCA Comes to You, enriches your community connections, shifts your consciousness, and ultimately the way we live our lives.

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ADE 421

CESAR LOPEZ-RODRIQUEZ

The idea for this project originated from a simple but key element. Creating a space that can act as a community hub around MOCA, where social interactions are interwoven with art. In the goal to help rethink what art is, and the ways in which it can be experienced. Focusing on providing certain social benefits that might not be as easily accessible otherwise. My vision for MOCA is one that focuses on paying homage to some of the forgotten traditions left from the historic barrios that make Tucson. As a means to bring spaces that in addition to the galleries and services found within MOCA can also bring a special character to the community that can often be missing. Spaces that can turn MOCA into true third space.

ADE 421

JORDAN MARSHALL

In this adaptive reuse design, MOCA Tucson is transformed into a hive, an exploratory center where the community builds relationships with one another around the collective act of making and sharing art.

Users feel warmly invited into the museum by the abundance of natural light that peaks through the galleries and falls along the warm wooden floors, which contrast the cool toned concrete walls. Visual communication between different chambers build a sense of hive like connection, as users wander through the space in an informal procession.

Programs including the outdoor cafe, reading area, community maker space, and the scenic rooftop patio, continuously draw users back to the museum to relax and hang out in their free time. The hive’s design allows for the ability to go back and forth, creating a new network of connections and inviting fellowship. Teeming with life, MOCA Tucson is the place where a stranger becomes your neighbor.

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ADE 421

RITA MOMIKA

It is crucial for museums in the 21st century to be a safe local space intertwined and inseparable from local realities and issues. Exploring a new built MOCA Tucson made by and for the community. To serve not only as a home for art but a community center that supports all types of events and raises awareness on on-going and forgotten social issues. Transformed into an open adaptable space containing an above ground and underground floor, the design itself allows for all forms of interaction through art, social engagement, and community involvement. The multi-use space is centered and created for and by the people. An adaptable space that accommodates to smaller events, medium sized events, and larger events all happening simultaneously.

ADE 421

ALEXANDRA SHOTT

This project is an adaptive design of the existing Museum of Contemporary Art in Tucson, Arizona.

The vision is a museum where creation is met with observation and active participation in the creative process is encouraged through programmatic elements such as an art lab, rooftop garden, and outdoor kitchen. The building honors the institution’s playful maker culture in these spaces as well as through a fun, colorful facade. On an opening night, the building’s butterfly doors open up, exposing the main gallery and the life inside to the surrounding community. With an open connection to the outdoor plaza, the museum’s program can seep outside to encourage community members to take part in the creative process of making art. In many ways, whether through painting the plaza, making art on the rooftop or in the artlab, this adaptive design of the MOCA Tucson becomes a place of active participation, and allows every visitor to leave feeling like they too are an artist.

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ADE 421

ANNIE TORGERSEN

MOCA Tucson’s vision is providing space for “creative solutions to the problems of today and tomorrow” while “spurring dialogue” and “fostering empathy” for the “changing world we live in”. The Re-Design reminds visitors of the world beyond their own context. Nature seeping into the museum gives context to the art within, posing the question ‘What does this mean for my life and community?’

The building itself urges for activism with new additions of wind cooling towers, thermal mass wall, rainwater collection, and solar panels contributing to a net-zero facility that leads by example. Green walls insulate the interiors, continuing the presence of nature throughout the museum. Parallel elements of nature remind the viewer of the broader world and highlights the importance of the artist’s message.

These messages of activism and awareness cannot be contained within one building but are intended to impact the viewers and motivate them beyond the visit.

ADE 421

MERIEL VOGLIOTTI

This adaptive reuse proposal of Tucson’s Museum of Contemporary Art aims to preserve the building’s historical past as a fire station while implementing an adaptive design that can better respond to the changing needs of the museum’s programs and rotating galleries. The project considers the institution’s role and significance within the local community as a locus of creation and explores how its architecture can further cultivate its vibrant and diverse maker culture. Unconventional spaces found within the museum provide the opportunity for dialogue and creative interaction between individuals of different backgrounds. This new vision for MOCA looks to incite curiosity in every visitor by affording new perspectives to help bridge the gap between the making of art and the public.

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ADE 421

MCKENZI WILSON

MOCA Tucson, a contemporary art museum located in downtown Tucson, Arizona, strives to inspire new ways of thinking through cultivation, exhibition, and interpretation of contemporary art. However, how does one experiencing this space actually cultivate, exhibit, and interpret the space? It is through the everyday interaction of people amongst people, the art, and the building itself that I have come to reenvision MOCA Tucson as a place of encounters.

Key design strategies of transparency and flexibility allow space to be manipulated so that a multitude of interactions within MOCA can be addressed.

The revitalized structure into a contemporary art museum recognizes a past where the structure once functioned as a local fire station. By reusing elements of the existing building, MOCA Tucson re-envisioned will not only reflect on its past history but will build upon its local framework of Tucson by understanding and catering to the needs of many interactions.

ADE 421

YIMING XU

Tucson is a meeting place for artists and visitors from all over the world. My vision of MOCA aims to create a place where Nature and Art can be combined to inspire creativity and connect both global visitors and the local community. Approaching MOCA, visitors immediately enter a desert garden surrounding the museum, and then arrive under a large, sheltering roof. Welcomed in the cooling shade which blocks the sunlight and protects visitors, similar to local desert animals who often hide in caves to avoid the heat of the day. Stepping inside the new MOCA the visitors find three main galleries surrounding an inviting oasis courtyard which is full of beautiful local native plants.

The folded roof creates an unfolding spatial sequence inviting visitors to explore the museum, it’s the various galleries, hands on art making workshops, meet friends, or simply pause from their hectic lives and relax and reconnect with both Art and Nature.

ADE 421

04

ARCHITECTURAL STUDIO III PROFESSORS: Abigail Hoover & Christina Noble

Students: Kinich Ruiz, Sarah Hickey, Ryan Mackey , Carlee Allen, Solana Pearson, Yasmine Kattan, Alexis Santana, Jazmin Hidalgo, Yasmine Ben Abdelkader, Daniela Marentes, Connor Glass, Kennedy Frazier, Brett Corell, Nicholas Becerra, Dale Saltwater

ADE 421

KINICH RUIZ

THEATRE OF THE SUNFLOWERS

THE IDEA OF PERFORMANCE CAN BE AS SIMPLE AS A SUNFLOWER FOLLOWING THE SUN TO SHOW ITS DEVOTION. EXPRESSING JOY THROUGH THE ACT OF MOTION. CREATING A SPARK OF VITALITY THAT RADIATES OUTWARD AS A REACTION. JUST LIKE HUMANS DO. BECAUSE AT THE END OF THE DAY, WE ARE ALL SUNFLOWERS.

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ADE 421

SARAH HICKEY

The name for my building, “Symbiosis,” is inspired by my architectural thesis. My thesis is that this theater’s patrons and artisans are dependent on the community of Roosevelt Row. Also, the community of Roosevelt Row is dependent on the arts and theater community. When I searched for how to graphically convey a symbiotic relationship, my investigations led me to an infinity symbol. To me, an infinity symbol represents the entanglement and interdependence of two entities. The curves in the building’s form and ramps are abstractions of a symbiotic infinity loop. The ramps resemble the theatrical procession that can occur inside the Blackbox theater. Along this procession, there are moments that a visitor experiences, which transports them into the role of a performer in a choreographed movement. These momentary, ephemeral views emphasize programs occurring inside the building and emphasize moments outside that showcase Roosevelt Row’s beautiful, distinctive qualities.

ADE 421

STUDENT RYAN MACKEY NAME

How can there be an Arts District without artists?

This question is what inspired the Bridge Theatre to be more than just a space to house the arts but also a place to house the artist. The building is designed with various apartment configurations that allow artists of all kinds to live and create in their homes.

The design also takes into account the importance of the site to the neighborhood, as it is used for events such as First Fridays, and maintains a large public space with ample seating and plenty of shade. At the top of the building sits a flexible space that can be used as a black box theatre or it can be transformed to hold any number of events with a nice view of Downtown Phoenix.

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ADE 421

CARLEE ALLEN

Performers thrive and grow from having an audience.

Downtown

Phoenix’s

Art

District

highlights Roosevelt Row on First Fridays with performances and art exhibitions in addition to the murals showcased every day for visitors of the area.

Spectate was designed with the intention of giving everyone a chance to be a part of the performance when they visit the restaurant, rooftop bar or moving up and down by stair or elevator while on your way to see a play in the theater. Windows that line the different levels of the building let passersby get a glimpse into what the building has to offer and invites everyone in with an open, flowing ground floor. The ground floor gives ample space for impromptu performances on First Fridays while providing shade and a shop to promote local artists.

This also improves walkability through downtown.

With its red curtain façade and variety of things to do and see, it’s undoubtedly where you want to go for a performance.

ADE 421

SOLANA PEARSON

Inspired by my time working for ASU’s Grady Gammage Memorial Auditorium and the facade of the Nelson Atkins Museum, I wanted to create an inviting epicenter for Roosevelt Row. This design features an art gallery, a 250 seat theater, a restaurant with a full bar and outdoor patio seating, and a rooftop bar. Made to make celebrations exciting and safe, the rooftop bar and restaurant are very spacious to allow for adequate distancing. The location of this design in Phoenix’s Roosevelt Row district inspired me to create interactive elements. Some of those elements are a 90-foot vertical opening to the firstfloor gallery, which allows for a hanging art piece that can be viewed from all 6 floors of public space, and a balcony on the west side of the building that allows guests to interact with a mural. This is why I have chosen to call this design, The Mural.

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ADE 421

YASMINE KATTAN

Roosevelt Row is a place where people can go to express themselves. This art district, nestled in part of Downtown Phoenix, is a creative hotspot. With such a unique environment, I decided to design a multipurpose theater where everyone is welcomed.

The design flow of this theater is unique in a way that one can access the space no matter which direction they enter from. Additionally, it features a surrounding copper facade exterior that pays tribute to Arizona’s copper mining history.

In order to take advantage of the great weather, there is a variety of outdoor seating across the property for public use. During performances, audience members can choose an array of ways to enjoy the experience. For instance, they can choose the outdoor amphitheater seating, the second floor look out, or even from any available rooftop space.

No matter what occasion, this outdoor theater can host a complete variety of entertainment all day long.

ADE 421

ALEXIS SANTANA

Wanting to bring forth the past into the present, I wanted to put focus on the Romain amphitheater in a modern-day setting. Downtown Phoenix Metropolitan Amphitheater (DPMA) brings that historic feeling of being immersed within the event as it is only within a reaching distance. The site is occupied by the 246-seat amphitheater and three buildings: a gathering space, a library, and a back of house/office space for workers and performers. This space is meant to pull in and attract an audience for any reason whether that’s to attend an event at the amphitheater, catch up on reading within the library, or give a small presentation in the gathering building.

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ADE 421

JAZMIN HIDALGO

Transient Theater Roosevelt Row is a hub of artists and performers in Phoenix. The audience interacting with popular murals and the local artists on first fridays could be said to be a performance in and of itself. I hoped to be able to capture the essence of that interaction between artists and their audience by creating a building that encouraged exploration and interaction.

With plenty of public space and stages available for use during first friday, I hope to break that fourth wall between performers and spectators.

ADE 421

YASMINE BEN ABDELKADER

Downtown Phoenix is a beautiful city famous for its art district. It is a continuously evolving urban canvas that has become nationally recognized for its arts, culture and small locally-owned businesses.

This project allows people to enjoy the beauty of Roosevelt while watching a performance.

The focus of this design combines public and private spaces by providing both outdoor and indoor performance spaces, encourages art viewing and keeps Roosevelt’s beauty in art and vibrancy.

Performance is also movement. It is movement of the body, sound and light. The ramp that is wrapped around the building shows movement of people going up and down the ramp from the street.

To reflect the beauty and art surrounding the area, multicolored glass fins are placed on the third and first floor of the building. These colors would then be reflected by the sun all over the building, creating a colorful interior while looking through them to the streets and enjoying the art.

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ADE 421

DANIELA MARENTES

Roosevelt Row is an art district located in downtown Phoenix in which the art and cultural events take place. Inspired by the murals surrounding the area, as well as the significance behind the murals, the concept for my design was based on art being a form of communication, expressing one’s throughs and feelings. One significant contribution to my design was having a walkable mural alley, showcasing artwork. An area where individuals can create or view something that expresses themselves through art or a message they find important to state. The form of my design came from the idea that art is not consistent, rather it changes constantly. Since Art is under-taught, I wanted to apply art rooms into my building allowing for people of all ages to find their creative side. I also included a gallery in which they can view art from others and themselves. Express Theatre is a place where many individuals can express themselves through art and be captivated by art.

ADE 421

CONNOR GLASS

This underground, orange grove inspired theatre derives inspirations from the roots of the local artist community located in downtown Phoenix on the infamous Roosevelt Row. This historically rich location has been known as the backbone of the southwest region for the successful citrus economy dating back as far as the late 1800’s as well as being popular in modern times for its uniqueness of selfexpressionism. As a lover of history, I felt obligated to teach future generations the value of our early beginnings that ultimately led Phoenix natives to be attuned to nature and accepting of the arts making philosophy, culture, and individuality a staple of this area’s sociology. Some defining characteristics of this theatre include an indoor orange tree menagerie, a slow trickle waterfall, abundant exhibition space, a submerged beer garden, an underground theatre, a large central glass elevator, interior balcony, and a green roof.

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ADE 421

KENNEDY FRAZIER

Roosevelt Row as we all know and love, is growing as we speak. To keep the diversity between artists, performers, and civilians, the theatre was created for multipurpose uses while bringing more life to Roosevelt Row. The southwest corner of the building gives it a warm, welcome feeling for people walking on Roosevelt Row. While being fully functional during the day, the building becomes art itself at night. With its LED light and wall light features, it brings a flashy feel but also still fits in with the community by its displayed art and outside movie theater.

ADE 421

BRETT CORELL

Roosevelt Row is a walkable arts district in downtown Phoenix home of impressive murals, galleries from renowned artists, restaurants, shops, and more.

Obscura on Roosevelt is based on the concept of camera obscura, where an outside image is flipped and projected through a tiny opening in a wall onto a screen. The form of the theater is designed with the outside image, Roosevelt Street as the performance, placed above the indoor image, the proscenium theater. The outdoor stage is open to the public for various performances, watching the sunset, or views of street performances. Upon entering the building, street views from outside as well as local films are projected on the interior walls, giving an immersive experience for patrons while they wait for a show.

Being able to watch performances and the city from this building smoothly connects it to the historic Roosevelt district of Phoenix.

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ADE 421

NICHOLAS BECERRA

Unison Theatre is designed to invite all that would love to experience the culture of the performing arts.

Located at the corner of Roosevelt and 2nd Street in Phoenix, Arizona, this five-story building works to welcome artists to flourish in Roosevelt Row. To utilize the site’s current theme of a public space, I created an indoor-outdoor approach with a public landscape along with an exterior performance space for those performing during First Fridays. Upon entering the building, your experience continues with each level dedicated to a different art discipline. A large gallery space, dance classrooms, a cafe with a spacious outdoor terrace, and a 250 seat proscenium-style theatre with great lobby spaces. Lastly, it houses dedicated classrooms and studio spaces. While enjoying these interior performances, you can view performances occurring on the street through the open staircase and large curtain walls, making this building seamlessly connect to Roosevelt Row.

ADE 421

DALE SALTWATER

This semester I designed a performing arts theater called The Praesidium. My site will be located at the corner of N 2nd Street and E Roosevelt Street in Phoenix, Arizona. The goal of my design was to add shade as well as maintaining the local art murals that already inhabited part of the site. My final goal was creating views through the transparency of the building. There is a total of 4 stories, including 2-story theater seating, 4-story proscenium theater space, an outdoor art walk, an outdoor event space and two secondary building functions: an outdoor bar/patio and small coffee shop. The building uses sustainable materials inspired by St. Ann’s Warehouse in Brooklyn, New York. My design mentality for the interior was form follows function.

As for the exterior, the organic-shaped roof and front-face façade protect the inner structure and allow for exploration of sunlight.

ADE 421

04

ARCHITECTURAL STUDIO III PROFESSOR: John Douglas

Students: Mhamad Ali Alaaeddine, Chase Beazer, Rigoberto Berber-Arias, Brooke Burdge, Luis Duarte, Alan Estrada, Jessica Hollock, Jacob Jones, Cheyenne Mcgrath, Joshua O’Dwyer, Maria Palma, Justine Palmer, JM Pugat, Jake Rosenberger, Jacob Sobelman, Robert Stein

ADE 421

MHAMAD ALI ALAAEDDINE

TreeLife is a luxurious apartment complex that emphasizes both comfort and accessibility. The inspiration of the project is derived from the site itself. Located on the north side of the 202 freeway near Tempe Town Lake, the site is bounded by the freeway, the railroad, and the light rail. Numerous bridges hovering above the Salt River to connect the South to the North, became the inspiration of a new living space. Stacking up units on top of each other, to create central courtyards, as well as numerous atriums, allowing light to reflect from one floor to another, in addition to exposed bridges that connect the units to the cores, ended up creating the very complex Tree of Life.

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ADE 421

CHASE BEAZER

This project was inspired by the many different architectural styles and construction methods of the six bridges spanning Tempe Town Lake. Reaching out towards the lake this multi-family project will provide housing for hundreds of Tempe Residence.

Open floor plans, plenty of storage, and an incredible amount of private outdoor space provides its residence with a high-end living experience. This project can be broken down into three sections. A central core which includes most of the residence amenities including a gym, day care, coffee shop, lobby, mail storage, and many multi-purpose rooms. The four lower cantilevered structures are comprised of 185 studio units. These lower buildings provide its residents with secure outdoors spaces on their rooftops. Including an infinity pool, park, tennis courts, and solar storage. The upper floating mass houses 170 2-bedroom units. All with amazing views of Tempe and the surrounding area.

ADE 421

RIGOBERTO BERBER-ARIAS

Hello, my name is Rigoberto Berber-Arias, and I am a fourth year Architecture Major, and Digital Culture Minor. This semester, we explored the Rio Salado River and its potentials for a 350-unit residential complex, that could house up to 500 individuals.

To allow for such an increase of people on the site, while still maintaining vast open spaces to the public, I built a series of towers that tapered off every two levels. This formed a large dense tower towards the back and smaller more sprawling towers down the site. Allowing the benefits of both a tall and small building. The biggest attraction is the bridge that splinters off over the lake. This bridge houses the gym, pool, and daycare facility.

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ADE 421

BROOKE BURDGE

This year our studio was challenged to design a

five-hundred-person

housing

facility

along

Rio Salado, north of Downtown Tempe. Located between Loop-202 freeway and the Salt River sits 5 separate housing buildings and a daycare facility that extend their views out towards the river. My vision for this project was to utilize the views of the river and Downtown Tempe that residents could enjoy whether they were inside their apartment or using the complexes amenities. Each building stands three stories tall with a mixture of studio and two-bedroom units, along with a multipurpose room on each level.

However, the central building was designed to bring residents together with its lobby, outdoor pool area, second level gym, and its rooftop deck on the third level. With the design of multiple housing dwellings, it produces multiple private and public courtyards encouraging outdoor activities by both residents and the community to enjoy along the Salt River.

ADE 421

LUIS DUARTE

The Spines Apartments are located on an irregular shaped lot, wedged in between the Red Mountain Freeway and the North Center Parkway exit, in Tempe, AZ. The main intent of this project was to draw inspiration from the site’s intense noise and create an appropriately looking building. Secondary influences include the Papago Buttes, Saguaro cactus, and the many nearby circulation methods.

While the exterior was made to appear “busy”, the interior spaces are meant to be community oriented and safe. The second floor of the structure acts as the ground floor for the residential areas, while the actual ground floor (as well as two underground levels) house the garages and storage areas. The sustainability aspect of this project is focused into two main parts, the reuse of discarded concrete pieces, and the mitigation of solar heat gain.

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ADE 421

ALAN ESTRADA

This semester we did a case study on the Tempe town lake. The questions that came to mind was if land is the only place to build? I believe water is also a place to build and/or across it. My project takes place across the Tempe town making a connection with the north and the south. The project also interacts with the Tempe Town Lake Rural Road Bridge and the project was designed to create a light rail stop for the public and/or tenants. This project’s purpose was to make a connection with the north and south to create a united area where people can be at. I also wanted to create a place where the tenants can comfortably live in and enjoy. Such as getting up from bed and look out to the reflection of the sun onto the lake, seeing how the world adapts and evolves.

ADE 421

JESSICA HOLLOCK

The FourShore Apartment Complex has one goal, and that is to feel like home. With that comes privacy, resources, and community. From materials to space layout, there is all that helps our residents feel at home while at the ForShore Apartments. The unique split design between four buildings prevents crowdedness and creates opportunity for views beyond imagination. Our buildings come fully equipped with workout rooms, daycares, multipurpose rooms, a resident pool, and a leasing office to assist in any of your needs. The large areas of landscape are great areas for you to get to know the people around you and immerse yourself in the ForShore way. So come on down to ForShore Apartments and stay at a place with opportunity and longevity.

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ADE 421

JACOB JONES

“Boundary� is a modern housing development situated along the Rio Salado, north of Tempe.

Entrenched

between

the

bustling

Loop-202

freeway and the serene Salt River, two apartment complexes give life to the dusty strip through elevated walkways, river views and interaction, and robust green courtyards. By producing two separate locales, an eastern 2-bedroom complex and a western studio complex, parking and access are centralized between

them,

and

interaction

between

the

complexes, the river, and the surrounding context is encouraged. Each complex consists mainly of multilevel residential buildings, surrounded by smaller additional buildings connected through rooftop walkways and patios. The blended architecture of open walkways and private courtyards and dwelling places seeks to highlight views, facilitate interaction and connectivity, and help to continually establish the ever-growing sense of place found in Tempe and the Salt River.

ADE 421

CHEYENNE MCGRATH

Located just North of Tempe Town Lake, Center @ 202 Apartments emphasizes comfortable living with ease of access to many popular public hotspots, such as, Tempe Town Lake and Arizona State University.

Being able to house 500 residents and sitting at four stories tall, individuals have convenient elevator access to an underground parking garage, as well as shared indoor communal spaces. When reflecting upon what makes a successful Apartment complex, outdoor resident amenities and spacious floorpans are the attracting features of this design. Some of the amenities that Center @ 202 offers are an oversized pool, a dog park, a daycare facility located within the lobby, rooftop seating, and public gathering spaces, just to name a few. Furthermore, gated security separates resident space and the general public all the while access to a new Valley Metro Light Rail station is less than a three minute walk away.

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ADE 421

JOSHUA O’DWYER

Due to the various modes of transportation intersecting within our site, a sense of motion and connectivity is what defines it. In a way, this happens to embody the essence of life: in constant motion while seeking to connect. Bridgeview Apartments hopes to embrace that essence while helping to facilitate those connections. The structure’s gentle curve conforms to the site while taking advantage of the views and sun opportunities. The various programs are positioned to allow for ultimate functionality and for optimal air circulation. The existing roads and pathways are redirected and integrated into the design, but never fully terminate.

The goal of Bridgeview was to create a sanctuary that was intimate yet open, secure yet accessible, functional yet fun, and a place for people to come and go and to live their lives. Lines of motion usually lead to a destination; I wanted these lines to lead people home.

ADE 421

MARIA PALMA

Based my project all within one area on the North side of the Tempe Town Lake, South side of the chosen site. With a total of two hundred single occupancy, and one hundred and fifty double occupancy dwelling spaces, I decided to opt for dividing the multiple program areas required into five different buildings instead of all in one building. Designed four equal buildings and a main one, which besides including shared laundry rooms, a multi-use room, and both single occupancy and double occupancy dwelling spaces as the other four, the main building also includes the lobby entrance, daycare facilities, and a on the third and highest floor, a fitness facility.

All five buildings have two access points to the underground level, where the parking garage can be found as well as the storage rooms. Each building has its own area for its resident’s storage room.

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ADE 421

JUSTINE PALMER

Desert Oasis Apartments Located on the Northside of Tempe Town Lake is a central location for anyone looking to live in Downtown Tempe. One can feel connected to their surroundings with the views of the Salt River, “A” mountain, events happening at Tempe Center of the Arts, and Tempe Beach Park. But while also feeling that they are in their own private space. The interior courtyards give one a space to enjoy nature and natural light, while also giving residents a space to enjoy themselves or others that live in the building.

This apartment has all the amenities one could ask for, a gym, daycare, pool access, rooftop garden, outdoor athletic area, multi-use rooms, and even security to help them feel safe. There are two layouts for each of the double and studio units, this provides the tenants a space unique to them without it being the same as everyone else’s.

ADE 421

JM PUGAT

Knowing the potentials that the site has to offer, the Environ Mixed-Used Complex creates two types of environments: one environment includes apartments that are positioned looking outward, which intends to create a calm and private atmosphere, while the other environment intends to create a more interactive atmosphere by having the apartments face each other. Private spaces such as the private gardens as well as community balconies and facilities, require key card access to enter. The public space on the other hand, is located on the main floor so that the stores, restaurants, and the plaza can be accessible to all. Reaching up to five stories, the complex is a combination of five buildings that are connected by a series of bridges while having it raised up on a fourteen feet high platform to help preserve and reinvigorate the ground floor while addressing the issues of flooding.

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ADE 421

JAKE ROSENBERGER

A site that has a shell and a purpose for its walls.

A ribbon of solar panels in the form of paneling flows through the site, broken in different places by openings for light and new materials. The panels flow to the ground, turning into a walk way, then growing to the sky to create a canopy, but still utilizing the sun. The panels form the site and from them come buildings, square by nature, working in harmony with the ribbon. The central space a landscape flowing with the ribbon, creating seating and a pool area. A gathering place and a central space. The site sits on the river, also taking shape with the ribbon, flowing in a way that the ribbon could not. So the ribbon means to make its own understanding of this site, growing and changing with the structures, staying only when needed, openings and revealing the sky when not.

ADE 421

JACOB SOBELMAN

On the North Path of Tempe Town Lake lies a project known as the Tree of Life by Marilyn Zwak, which designates an area on the lakeside undergoing tree reintroduction. This became both the inspiration for my design as well as the location.

All of the common spaces sit on the east side of the site, while the units extend out towards the west side, similar to the branches of a tree extending from its trunk. The U-shaped configuration of these common spaces creates a large courtyard filled with amenities for the residents to enjoy.

Moving from the shoreline towards the freeway, each subsequent branch of units doubles in height to provide as many units as possible with the best views of Tempe Town Lake and its surroundings.

The first branch contains only studio units while the second and third branches contain an alternating configuration of studios and two bedroom units.

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ADE 421

ROBERT STEIN

Shore House Apartments are intended to create a resort-style atmosphere on the shore of Tempe Town Lake. In designing each unit and space thereafter, I thought about what I would be comfortable living in as well as other people’s personal perspectives. The overall shape of the building works to enhance the waterfront property rather than dominating it which is why it subtly bends with the shape of the lake.

Considering sustainable practices, I incorporated open air hallways, minimal building materials, solar power, deep overhangs, and shade facades on the south facing portion of the structure. With such close proximity to public transit, Mill Ave., and other amenities, this project is sure to be everlasting.

3+ Year

ADE 511

03+

CORE ARCHITECTURAL STUDIO I PROFESSORS: Scott Murff & Brayra Podeyn

Students: Nicole Algien, Rawa Awad, Sarah Ayoobi, Tanner Baranski, David Canonic, Jeremy Card, Chia-Kang Chang, Andres De La Rocha, Tessa Desroche, Alexis Diaz, Destiny Dicks, Lylaine Flores, Grace Goodrich, Jamis Guy, Mia Hammerstrom, Brady Hettinger, Austin Lind, Julia Lopez, Jonathan Maranville, Cassie Martinez, Christy Nilan, Dan ONeill, Jared Pratt, Alejandro Raya-Ibarra, Clara Reiss, Helen Ross, Kyle Ryder, Tayler Sartin, David Tanner, Devi Sri Sudha Unnava

ADE 511

NICOLE ALGIEN

Brown’s Ranch Trailhead Gateway serves as a passageway that guides people out of the city and into a vibrant desert landscape. The facility is comprised of a series of separate structures that integrate under an expansive roof structure.

As guests walk along the concrete path, the form diverges to provide a choice between the long hiking trails to the left and the short trail to the right. The folded shade structure is designed to reveal the vast landscape ahead by steadily rising and widening as guests reach the end of the path.

The facility is organized into highly public spaces and moderately public spaces. The buildings used for large gatherings and events follow along the main pathway and contain unobstructed views that immerse guests into the desert. The moderately public spaces are aligned with the pathway leading to longer trails, allowing guests to have easy access before entering the site.

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ADE 511

RAWA AWAD

The Browns Ranch Gateway is a place of intersection between nature, people and form. The structure is designed to study the relationship of comparable and opposite forms in addition to the impact of spaces they create. Inspired by the continuous movement formed by a circle, a path was created by the intersection of two circular shapes but varying dimensions. In contrast, a sharp directional path defines the two entrances to the site. The wide and directional entrance welcomes those committed to quickly pass thru and into their nature journey. Whereas those entering the curved path are able to experience a multi - directional walkway leading them from one vantage point to another. Both vastness and intimacy can be experienced as one moves along the shaded corridor. The individuality of these elements can be experienced as they work together to complement each other’s unique qualities. All of these elements create an opportunity for reflection, refuge, and gathering before or after a hike.

ADE 511

SARAH AYOOBI

This project is designed as a gateway that merges nature with architecture, materials and experience.

The project offers viewers a place to pause and be oriented to the landscape in a deep and appreciative way. Elements and materials used in this structure show a reflection of landscape, merging with landscape. Even though each building has its own use and purpose, yet they all sit in a curved line facing the center amphitheater and a large roof grouping them together.

This design allows viewers and users to experience every part of the gateway because of the circular shape of it. It is a place to observe and hang out. This is a welcome place for people when they enter and lead them towards the trails.

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ADE 511

TANNER BARANSKI

This project consisted of reimagining a trailhead facility for a popular hiking area in northern Scottsdale. The integration of the facility will be fusing architecture with the landscape. Using a clustered design arrangement derived from a desert wash. The facilities walkways will constrict upon entering and then decompress into the vast landscape behind. This will encourage the user to explore one of the many hiking trails ahead. Using the mountainous terrain inspired a simplified form of each the buildings. Each having differing heights, angles, and spaces that relate back to the landscape.

Reacting to the randomized nature of a desert will also be supported by unique viewing points. The viewing points have been created as long vertical windows. This was to help regulate unwanted light into the spaces while providing clear views of the landscape. The separation of which helped generate personal snapshots of the landscape beyond for the users.

ADE 511

DAVID CANONIC

The radiant and ever-changing desert was the inspiration and driving force behind my design concept for the Browns Ranch Desert Gateway Project. The simple form of a circle was the catalyst of my project’s final design. The arching gateway and contrasting pathway lent itself to the desert landscape as a symbiotic structure. The building’s tiered plateau styled roof structure blends with and mimics the distant mountainous landscape perfectly.

The functionality of the individual spaces coupled with the views of the desert gives this structure its warmth and cohesive design purposeful meaning.

This radiant desert gateway is the culmination of this semester’s dedication to applying a cohesive design strategy and meaningful design through storytelling.

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ADE 511

JEREMY CARD

Brown’s Ranch Trailhead is a gateway to the McDowell Sonoran Preserve where visitors and residents can explore the wilderness of Arizona.

As a gateway, the project is intended to serve as an introduction to the site that compliments, but does not detract from the natural beauty of the environment. This project reflects the site through its referencing of the site’s natural features; namely the color, materials and forms that are presented through the flora and geologic features found in the landscape. Metal siding is allowed to rust, evoking the colors of the iron rich rocks around the site.

Concrete is an earthen material whose color and texture reference back to the granite outcroppings that are features of the surrounding site. Finally, the project acknowledges the need for shelter and shade given the intensity of the desert environment. A large fabric shade structure encompasses the project sheltering the large series of outdoor user spaces that are a key elements of the program.

ADE 511

CHIA-KANG CHANG

The entrance of Brown’s Ranch Trailhead in my opinion should be open and eye-catching. The Trailhead’s organic shape is informed by the shape of the land, movement of wind and the defining presence of light within the desert. The openings in roof allow sunlight to penetrate into the structure and interact with the concrete floor and weathered steel of the supporting structure.

Brown’s Ranch Trailhead is a gateway to natural preserve that protects the diversity of the desert landscape and ecology. The project makes significant use of glass so that occupants remain connected to the landscape as they wandering through the structure.

The project’s spaces are highly transparent, blurring the line for occupants between architecture and desert landscape, encouraging the perception that the focus of the facility lines outside the structure in the desert beyond.

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ADE 511

ANDRES DE LA ROCHA

Arizona’s desert landscape has always been one of the most remarkable and recognized ones throughout the world. The beauty of the desert itself has been one of its main attractions all year round, bringing many tourists from everywhere around the globe. So I wanted to emphasize that in my project. The project’s main focus and inspiration is the site’s landscape. I wanted the structure to be situated where the desert topography would be the focal point. This structure would be an isolated oasis away from the city in order to unwind and have your senses stimulated. It will highlight the outstanding views every rendition of the walls provide and you will experience the landscape in different ways. Its material was chosen due to the fact that I wanted the observatory to be a part of the landscape rather than obstruct the site. They are influenced by findings throughout its site and the desert landscape itself to have a homogeneous feel with its surroundings.

ADE 511

TESSA DESROCHE

Located within the vast desert sprawl of the Sonoran Preserve lies a trailhead that appears as an extrusion of soil rather than a built object. It stands as a tool for understanding the landscape’s unique formations through a deeper lens. The angular geometry of the site’s mountainous terrain coexists with fluid systems of trails that guide pedestrians through the space. The structure’s program is defined by this duality between organic and geometric forms. A winding shade structure splits the trailhead in half and acts as the entity that connects users from the parking lot, through the structure and into their outdoor activities. Rather than distract from the views, the trailhead immerses users in the natural characteristics already inherent in the landscape.

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ADE 511

ALEXIS DIAZ

BrownĂ­s Peaks provides an entryway that leads visitors through the jagged angles of its buildings and towards the trail system of the McDowell Sonoran Conservancy lands. The pathway brings organization to the series of clustered buildings, which face multiple directions. These buildings are oriented based on their surrounding landscape to provide scenic views of nature. The form was created to be its own landmark in a place with many surrounding mountains. The geometric pointed roofs emulate peaks in the landscape but contrast enough to be recognizable. The triangular roofs are a part of the building and provide shade along the pathway benches. The shaded spots serve as rest areas from which to view the surrounding nature. A recessed glass wall invites visitors into the interpreterĂ­s center, offices, and event center. Finally, the choice of rusted steel for the material helps bring about a sense of place to environment.

ADE 511

DESTINY DICKS

When I was within the brainstorming stages of my design, I knew I didn’t want the event space to take away from the natural elements that the Ranch had to offer.

Although I wanted the event space to stand on it’s own, the key component of my design was to enhance the user’s experience when introduced to the landscape. My intent was to blur the lines between nature and architecture in a modern and minimalistic way. I want it to be intriguing to the eye, while still not distracting from the environment itself.

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ADE 511

LYLAINE FLORES

The Clustered Sun Facility is proposed to be a pathway entrance for users to enjoy the Arizonian landscape. The facility is designed to provide interior and exterior views of specific dessert views.

The interior is designed with various areas to gather the community and host events. The V shaped roof is propped up on various beams and increases in height as the user goes into the building. This is a way to guide the user throughout the facility and indicate where the trails begin. Under the roof visitors can enjoy various seating areas that provide desert views. This project is meant to provide a broken boundary between the landscape and the building, but it is also meant to complement the landscape through a clustered building design. The material used promotes being environmentally friendly and it also helps the facility to stand out from the site.

ADE 511

GRACE GOODRICH

My design for the trailhead buildings at Brown’s Ranch in Scottsdale, Arizona is called “Radiating Views.” For this design, a set of buildings and pavilions come together to form a gateway between city and nature. The layout is based on concentric circles and lines radiating from the center. This circular form emphasizes its surroundings by providing views in all directions, revealing the dramatic vistas of Cone Mountain, Brown’s Mountain, and Cholla Mountain.

Each space expands outward, gesturing towards the landscape, and a pathway leads out to the trails on the northwest side. Rusted steel is the predominant material in the design, which will weather naturally over time and blend well with the rocky desert terrain.

The other principal material used is concrete, of which the heaviness creates a sense of roundedness and connection to the earth below.

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ADE 511

JAMIS GUY

In the sprawl of the Phoenix Metro Area there is a vast expanse of open space to be found at the McDowell Sonoran Preserve in Scottsdale. A reprieve from the ordered chaos of the city for the balanced chaos of the desert. The SPRAWL trailhead is set to mix itself into its environment and provide a place to gather; to learn, congregate, plan and reflect. We come together to communicate and connect and then expand our horizons, literally and figuratively. Fanning out touches of humanity; education, stewardship, and community. With education at the center, for with education we can be better stewards of nature and our relationship and can also communicate more effectively to leave a better world from the one we started with.

ADE 511

MIA HAMMERSTROM

As a gateway into the desert, this building structure is meant to provide a duality in function between the hiking trails present at Brown’s Ranch and the event potential this site holds. The sprawling views of the surrounding desert are heightened by the split of the building into two sections. This allows for the main central focus of Brown’s Mountain and the hiking trails ahead to become apparent as you move through the central path created between the two buildings. This is further amplified by the curved roof covering the amphitheater at the end of the structure, as it is shorter at the entrance and raises as you move throughout to truly provide unobstructed views of the surrounding desert and a covered space to avoid the sun and rain. The building layout also creates a clear distinction between visitors using the site for event purposes and for hiking, which allows for limited distractions.

455

ADE 511

BRADY HETTINGER

My project seeks to create an environment that unifies the forms of the buildings and the natural surrounding landscape. The project is embedded within the landform of the site. Visitors are brought into and under the landscape to be opened up to an expansive view of the McDowell Sonoran Preserve.

By having the structure built underneath the landscape there is a greater difference in temperature change beneath the shaded areas allowing for maximum coolness for visitors. The curve of the architecture was designed to create a centralized gathering area that connects the edge of city living with a gateway to the surrounding desert. The unique arc form directs vistors to their preferred destination whether it be the hiking trails, bike trails, or the horse trails.

ADE 511

AUSTIN LIND

The primary goal of this project was to create a space for people to be able to leave behind the city, relax, and meditate within the natural environment of Brown’s Ranch. The space is a social environment where one can prepare for a hike, or wind down and relax after. It is a space for people to be able to fill in and enjoy, while still keeping the straightforward trail access for those eager to begin their hike. The amphitheater was placed directly in the central courtyard of the space to bring people around it, allowing for performance, speeches, and learning.

The structure is bent along a curve, creating a full view of Brown Mountain from any point inside of the interior area. The view of the mountain and the environment around it was the biggest draw to the site and it is always in frame when using this facility.

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ADE 511

JULIA LOPEZ

Life in the desert seems to not exist. However, under the ground a multiplicity of beings inhabit the apparently invisible. The desert represents the last place where fragments of mystery are preserved.

The presence of activity in such hostile territory reveals a matter of looking deeply and investigating closely. Brown’s Ranch Trailhead, explores these underground fragments by integrating into the landscape through a series of simple cuts into the topography thus creating paths that connect to the existing network of trails which then generates a dialogue between natural and artificial. The program is defined by a linear axis that divides the site into four segments, each working as an independent entity, whilst also connecting them and bringing natural light to their subterranean spaces.The new trailhead creates a calm backdrop and reads as a quiet seemingly mysterious landscape treatment that invites the visitor inside.

ADE 511

JONATHAN MARANVILLE

The trailhead project is defined by an angular vocabulary of forms which reflect the angular forms of the surrounding desert. These forms are further refined in response to solar exposure and the need for shade as a key component. The program is organized around a main path diagonal to the structures, and a lesser path perpendicular to the first. Highly public functions such as the amphitheater, interpretive center and event space can be found along the main path, whereas more private functions such as restrooms and staff facilities are found along the lesser path. Materials include slightly purple volcanic rock, blond granite from the site, blond brick, and turquoise and quartz tiles. Steel elements are painted using the same palette. Trees and asymmetric roofs provide targeted shade, while strategically placed pylons and plantings provide additional orientation.

These elements aim to reflect the local environment in a unique and elegant manner.

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ADE 511

CASSIE MARTINEZ

The passage, the gatekeeper, a place to meet and prepare before heading off into the desert to explore.

A shaded reprieve, a place to sit and enjoy the journey youÕve just been on. The Desert Crossing is recognizable as a place to explore, a place to relax before and after your desert exploration.The materials speak to the desert, earth wraps around the buildings, making it known that it belongs there.

The timber roof, plays with different heights, pouring over the edges to create shade where needed.The Desert Crossing reacts to the site, placing itself at the perfect location before exploration. It is a cluster of buildings, responding to each view. Angled to give the visitor the best experience of the desert, even while inside. The views are uninterrupted by other buildings, connecting you to the landscape at all times.

ADE 511

CHRISTY NILAN

Fusing architecture with landscape The Trek Trailhead creates experiential architecture that unfolds for visitors, forming a unique transition leading to a vast desert landscape where little precipitation occurs. To understand place, you must become one with the space by leaving the city of your comfort and going into the wilderness of your intuition where nothing exists, only you and nature surrounded by silence. The only objective is to live for the moment and capture the heart and spirit of YOURSELF.

461

ADE 511

DAN ONEILL

I began sorting through the parti options and programming uses for the Browns Ranch Trial head, and was able to incorporate all of the elements of current design yet re-envision a gateway to the McDowell-Sonoran Preserve that is more creative and adaptive to future needs of the community and their families.The model I created is an evocative representation of a gateway that transcends between the built and natural environments. Moreover, it provides a shelter to prepare for gathering and dispersing.It is also an important historical symbol that creates space and time to be conscious of the work that was done by those whose lives are linked to ours, so that we can live prosperous lives.I became mindfully aware of the site, and was able to envision a future that includes additional space for collaboration, educational outreach, family celebrations, as well as researching wildlife, flora and fauna.

ADE 511

JARED PRATT

Any Sonoran Desert landscape invites a unique perspective to its subtle beauties. A landmark such as Brown’s Pavilion would invite hikers, cyclists, and explorers alike to experience these subtle beauties under the comfort of sheltering overhangs. Dynamic dividing walls isolate and define each space. The subtle changes in roof and wall designs focus each user to a unique desert experience. Framed by materials with similar environmental hues and textures, each window from the pavilion captures the natural colors of local mediums and wildlife.

Providing a place for gathering and meditation, Brown’s Pavilion offers a pleasant opportunity to reunite us with community and nature.

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ADE 511

ALEJANDRO RAYA-IBARRA

This gateway structure to the Brown’s Ranch Trailhead serves as a dramatic transition between city and landscape. The project focuses the occupant on different moments within the surrounding landscape by creating framed views using a combination of mass walls and angled roofs. This powerful framing of the landscape, draws the occupant through the structure and focuses then on the landscape beyond.

The project uses a material palette of board formed concrete for the massed walls and weathered steel for the roof structure to further echo its surroundings.

These materials are chosen to have the structure fit into the landscape by not taking focus from the views.

Furthermore, in using weathered steel, in time it will be influenced by the elements in how it will change.

Concrete too, while strong, will eventually be subject to wearing down. Ultimately, this will emphasize that all things are at the mercy of nature.

ADE 511

CLARA REISS

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calls

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systems.

Open, spacious pathways create distinct wayfinding to the gateway’s exit trails, and soft tones blend the structure to its encompassing scape.

Atrium channels (like those found in the event space pictured on the right) force users to stall and navigate their curves to spot views framed in those spaces, like walking the site’s trails. The roofline parodies the sprawling and overlapping desert ground cover found in the area, allowing the trees within the atrium cuts to protrude out, drawing the user outside of the space to the trails and the eye skyward.

While the gateway acts as a shelter to the outdoors, affording relaxation and shade, it uncovers ways to return the landscape inside, bending itself to the neighboring environment, reintegrating its simplicity into nature.

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ADE 511

HELEN ROSS

CIRQUE du SOUL / Circular arrangements symbolize connection, community, storytelling, timelessness, the infinite, movement and wholeness--qualities that enrich and nourish the soul.The focus is on a multipurpose usage and maintaining the strong physical and emotional connection the community has with the current space. The contained design of the structures in a circular arrangement provides a strong organic and aesthetically pleasing juxtapositional counterpoint to the sprawling natural beauty of the desert landscape beyond. The circular arrangement facilitates easy ingress and egress to the surrounding landscape while passing through a serene and aesthetically pleasing transition area which also allows easy, collaborative interactions between the users in each adjoining structure. This unique gateway program serves to blend environmentally with the natural hues and colors of the desert foliage while the choice of hemp material for the roof and building structures constructed of concrete reinforced with bamboo also leave a small environmental footprint.

ADE 511

KYLE RYDER

The “Portrait of Light” trailhead serves as a gateway to Brown’s Mountain and the 30,000 acre McDowell Sonoran Preserve. In a place where precipitation can be intermittent, there is a dense amount of flora and fauna. The diverse range of vegetation is appreciated through cuts in the roof, allowing the sun to dynamically paint the flora and fauna onto the structures. As users approach the trails, they pass into the facility where a curved concrete path directs them to a series of rooms, each of which, orients the viewer to different moments within the desert landscape. Passing these rooms, you will notice the structure is made of carefully selected site stone to incorporate the geology of the Sonoran Preserve. In addition, the rusted metal finish for the roof maintains consistent with the rugged desert terrain.

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ADE 511

TAYLER SARTIN

This structure acts as a gateway, welcoming users to the trails and directing their attention to the expansive views of the landscape, amplified by way of the direct pathways and the angled roof. The linear building layout and the circular roof form are meant to be simple shapes that create an interesting and dynamic contrast to one another. The L-bar layout frames the mountain ranges in the distance and provides panoramic views from each building while the simple form does not distract from the landscape.Overall, the main theme of the structure is complimentary contrasts. The simple, regular form of the structure reveals the dynamic, irregular form of the landscape, encouraging an appreciation of the organic complexity of the landscape. At the same time, the fluidity of the landscape reveals the rigidity and structure of the gateway site, creating a conversation between the man-made and the natural.

ADE 511

DAVID TANNER

This trailhead project provides a gateway to the rest of the Brown’s Ranch area. As you approach, you are guided through, along a clear path. Benches direct you along this pathway onto the trails. Each program blends with the landscape with their rammed earth exteriors. As you enter the complex, you are met with a broad view of the landscape beyond, encouraging you to take on the vastness of the desert. Continuing through, you encounter more benches and tables to sit and rest, as well as the various program entrances. As you exit, you are led to the trailhead of the various paths you may choose to take out into the broader Ranch area. Overall, this trailhead is meant to be welcoming, yet encourage you to venture out into the desert and see the beauty this environment has to offer.

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ADE 511

DEVI SRI SUDHA UNNAVA

Disguised perception is a desert gateway project which gradually transitions a person from city to desert landscape. I tried to create a mirage using a straight entryway, clustered floor plan, natural materials and varying roof heights.The project’s entryway hides what’s beyond, while the clustered arrangement and elevated amphitheater provides diverse range of views to the surrounding Sonoran Desert.The project uses a palette of materials that are intended to reflect the materiality of the surrounding.

These materials include stone and rocks taken from the site, earthen plaster walls, gravel, glass and wood.Multiple, inclined, overlapping roofs shades the area and creates a sense of lightness while enhancing the occupants view to the desert as they open-up towards the landscape beyond.In addition to the roofs, the buildings are positioned to shade all user spaces even from the harshest midsummer western exposure.

5th Year

ADE 521

05

ADVANCED ARCHITECTURAL STUDIO I PROFESSOR: Felipe Mesa

Students: Stephen Adrian, Arik Spaulding, Jesal Vaniawala, Purva Parikh, Carly Tomko, Nancy Hamilton, Brennan Richards, Henry Hunter, Nenwe Geeso, Venkat Bathina, Andrew Talero, Erik Vejar, Allison Edawards, Mallory Payne, Sai Sreelekha Gandikota, Nivedita Venkataprasad, Rongting Jin, Edgar Duran

ADE 521

STEPHEN ADRIAN

The Crystal Bridge at the Myriad Botanical Gardens, located in Oklahoma City, OK is a tropical biostructure that is 224 feet long and 70 feet in diameter.

Construction materials are concrete, steel, and over 3,000 transparent polycarbonate panels. The tropical plants are curated along a meandering path that directs the user from end to end where they also find gallery spaces, classrooms, and offices, among others.

Proposal 1: The expansion sits directly adjacent to the existing bridge, introducing a transverse environment to that of the existing tropical one: an arid desert environment. The program offers a “natural� procession through the open space from end to end. A desert environment in a location such as Oklahoma City poses environmental challenges, primarily temperature challenges. The climatic systems provided will maintain the space all year round while offering education experiences and opportunities for many different audiences.

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ADE 521

ARIK SPAULDING

Proposal 2: Continuing its existing interior structural forms of 7 tri-cord trusses to create the rib structure in this expansion will create a continuous language that connects the current building to the expansion.

Allowing the site to be less obstructed and the interior can continue on focusing on developing an educational space to encourage students and individuals to learn and become engaged within the space. The new ecosystem for this proposal would be for a mangrove forest as they are located around the world and have very interesting and unique attributes that allow them to live in harsh conditions.

ADE 521

JESAL VANIAWALA

The front range Built by Allan Pendreigh is located in the Royal botanical garden, Edinburg, Scotland.

Built in 1967 the green house has an area of 25,140sq feet (420ft x 60ft) and height of 40ft. It consists of 5 interlinked greenhouses consisting of Arid Land House, Tropical high canopy, Tropical Aquatics, Lowland Tropics and Conserved plants. The green house is made up of Glass, Tensile cables, Steel trusses, Concrete (beams and columns) designed in a way that the supporting structure was completely external in order to maximize incident light and protect it from corrosive conditions found in plant houses. The span is achieved by using steel members of high tensile steel, with stainless steel suspension roads and aluminum glazing bars...

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ADE 521

PURVA PARIKH

Proposal: The proposed greenhouse is constructed in a way that it creates a central public plaza with rainwater harvesting canopies connecting 4 different green houses, the location of the greenhouse is chosen in a way that the existing green spaces remain intact. As the existing greenhouse has prominent geometry the main structural system is kept intact, changing the steel members holding the glasses into wood. The proposed greenhouse will contain areas for wedding photoshoot as the existing greenhouse is significantly used for that hence giving different places, along with conserving endangered Fynbosbiomes of South Africa. Further, the space will also contain information on conserving different Biomes that are on the verge of extinction, hence educating the visitors.

ADE 521

CARLY TOMKO

The Hortus Botanicus of Leiden is the oldest botanical garden in the Netherlands and one of the most influential gardens for progressing medicinal research with use of plants in the 15th century. The Wintergarden greenhouse was added in 2000 to store tropical and subtropical plants in the winter when temperatures outside dip too low for them to survive, as well as, housing alpine trees and carnivorous plants year-round. The building is a 40’x132’ rectangle and measures 44’ tall. The building is constructed following a grid system of galvanized steel columns placed every 12’ along the perimeter of the greenhouse with a series of 3’x5’ window panes making up the façade.The most unique feature of this greenhouse is a long walkway on the third floor that looks over the plants within the greenhouse taking you above the canopy of trees that lay below. In 2016 the Wintergarden had undergone a remodel in which the famous spiral staircase up to the walkway was removed due to safety issues with its structure...

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ADE 521

NANCY HAMILTON

Proposal: The expansion was inspired by the idea of reintroducing a new cylindrical greenhouse with a spiral ramp leading up to the walkway and extending the walkway out to connect the two buildings. The building would have a diameter of 40’ and lie directly across the river from the existing greenhouse (about 25’ apart). The expansion would preserve flora from the savanna biome which faces many threats due to climate change causing fires that devastate the land as well as illegal logging for many of the endangered plants that exist only in this biome. The central part of the building would house endangered trees such as the famed baobab. The procession up the spiral ramp mimics the trek from a low altitude in the African savanna to a higher elevation starting with a walk through the tall grasses and cycads of the plains, next you see the innumerable flowers found at higher elevations before reaching the top to seeing the diverse medicinal plants this biome has to offer.

ADE 521

BRENNAN RICHARDS

The Lucile Halsell Conservatory is situated within the San Antonio Botanical Garden. Designed by Emilio Ambasz, the 90,000 sqft conservatory was envisioned as a series of secular temples embedded in a dream landscape. Five geometrically simple volumes, housing a seasonal exhibit, fern grotto, tropical room, desert room, and palm collection.

Atop each collection is a glass roof, supported by aluminum space frames.

Proposal 1: Connecting to the existing courtyard, opening into two circular volumes, the first matching the diameter of the adjacent fern grotto, and the second being closer in size to the existing palm house. Plants like the amazon water lily, rafflesias, bromeliads, and orchids sit inside and around two large pools. A ramped path provides access to the upper level; situated on the outer wall, is a deep bench for sitting and observing the space. The roof is a contemporary combination of the other forms on the site, sitting atop a space for quiet reflection.

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ADE 521

HENRY HUNTER

Proposal 2: In creating my expansion, I chose to extend lines from Ambasz’s design creating two new spaces. These two spaces will house an aquatic ecosystem specifically around the everglades. One of the rooms will house above water plants such as red mangroves, white water lilies, sawgrass, and bladderwort. While the other room is an underwater system that houses coral reefs and kelp forest. This expansion proposal will house currently endangered plants and provide better circulation past the main entrance.

ADE 521

NENWE GEESO

The Zurich Botanical Garden Glass Houses, located in Zurich, Switzerland, were built in 1972 by Hubacher Issler architects and landscape architect Fred Eicher.

With a total area of 22,180sq ft, the greenhouse domes are divided into three botanic collections, Tropic lowland (10,380sqft), Savanna arid areas (6650sq ft), and Subtropic mountain forest (5150sq ft). In 2011 to 2013 the domes underwent reconstruction by architects Haerle Hubacher to better sustain the quality of the structure in order to better protect and preserve the inhabiting ecosystems. The structure is now made of double acrylic glass panes and ETFE foils with a ventilated space to eliminate condensation and stabilize inner foils. Today the green houses are utilized by the University of Zurich for research and educational purposes, as well as, a city landmark for tourists and locals...

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ADE 521

VENKAT BATHINA

Proposal: The focus of this expansion is on the existing entrance that is used to access the main domes. Leaving the existing pond and entrances in the same position, an expansion of a 65’ diameter, a total area of 3,320sq ft, is used to create a fourth dome.

The expansion houses the endangered ecosystem of water lilies, water poppy, marsh marigold, and sacred lotus while providing an amphitheater space to allow visitors to gather whether for leisure or educational purposes. Enclosing the space with a similar dome like structure and material allows for the ecosystem to flourish and provides space for future ecosystem expansion. The dome structure will integrate photovoltaic glass within the double glass panes to result in a distributed energy system capable of obtaining the necessary energy for self consumption operation. The fourth dome accomplishes this by providing an environment suitable for the ecosystems while recovering electric energy to cover needs of its companion structures.

ADE 521

ANDREW TALERO

The Muttart Conservatory, located in Edmonton, Alberta, was built in 1976 and designed by Peter S. Hemingway. There are five pyramids laid out proportional on the site. The four main pyramids contain 700 species of collected flora from around the globe. The 5th pyramid acts as a skylight to the center plaza. The central courte was designed to access all pyramids and their programs. The four pyramids are named by their climates: Temperate, Arid, Tropical, and a Feature biome that completely changes throughout the year to provide different events. The materials used to construct the pyramids were concrete, steel and glass. In order to support the structure and height of the pyramids, steel beams and trusses were used‌

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ADE 521

ERIK VEJAR

Proposal: The expansion of the Muttart conservatory explores an endangered ecosystem ravaged by global climate change. As Earth’s average temperature rises the Tundra is being affected heavily by the crisis.

The expansion explores the diverse and rugged landscape and brings a small part of the Tundra to Edmonton for everyone to experience. The tectonics follows the current structure with current steel mullion and storefront windows on the slopes of the pyramids. The topography of the expansion digs into the Earth to create a glacier and river system on sloped grade. The elevated walkway uses glass on the floor and handrails to allow for high visibility of the ecosystem of canyons, low lying plants, water and ice.

ADE 521

ALLISON EDWARDS

Shinjuku National Garden Greenhouse is located in one of Tokyo’s largest and most popular parks.

The modern greenhouse (2,700m2) became an environmental conservation greenhouse for over 2,700 endangered species. The design of the building’s shape completely derived from the influences of the sites undulating features and the needs of the botanical collection. The structure consists of a steel frame, transparent double glazing, concrete columns and foundation. The designs unique single layer lattice connects a triangular frame to distribute the force in three dimensions and evenly transfer weight to the pillars, the curvature of the roof helps reduce the heating load in the winter, a large vertical glass wall on the south side is provided to bring in the room temperature without accumulating heat, and the newly incorporated technical systems help reduce the air conditioning load and incorporates cooling tubes for plants susceptible to heat…

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ADE 521

MALLORY PAYNE

Proposal: The expansion is located immediately to the left of the existing greenhouse, proximity allows a greater connection between the existing and proposed. The geometry, structure, and technical systems were greatly influenced by the existing structure, the 2012 build addresses the existing conditions, and needs of the botanical data.

Following the steps of the Architect, Mr.Shinozaki, we pulled from the geometry of the site and needs of our new botanical collection to derive the best shape and size for the proposed expansion. To reinforce the goals of the Shinjuku National Garden greenhouse we chose to further our focus on endangered species and pulled the botanical collection from Japan’s red-list of endangered species with a focus on the native Highland Forest environment. To improve the conditions for the botanical collection we incorporated a new watering system that works with the interior architecture and mimics a natural downstream of water.

ADE 521

SAI SREELEKHA GANDIKOTA

The project is a proposal for an expansion to the existing Botanical Garden located in Wales,United Kingdom. The proposed expansion is a Geodesic Dome structure, spread about an area of 5000 ft 2 fabricated in metal and glass. A variety of plant species which are required to be preserved in the local culture viz. Ghost Orchid, Wood Calamint, Common Juniper, Arran Juniper, Monkey Puzzle Tree etc‌

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ADE 521

NIVEDITA VENKATAPRASAD

Proposal: This expansion better accommodates members and visitors while improving horticultural operations.The new building will house a new entrance, study area. Visitors will be able to watch horticulturists working on flower and plant exhibits.

All the plant species that are chosen to be grown inside the new expansion are endangered within the United Kingdom region. This will help in saving a significant amount of energy by creating a controlled artificial environment for plants chosen from other regions.

ADE 521

RONGTING JIN

SA1 tunnel connection

The project began by studying Gordon Wilson’s SA1

Princess of Wales Conservatory, located in the Kew Gardens in the suburbs of London, United Kingdom.

The current conservatory holds 10 different

SA2

SA2

ecosystems, ranging from different climatic and

SA3

SA3

living conditions. Since it has an extensive collection, the current compact steel and the concrete building SA1

is quite large. Aside from its outstanding composition of programs, perhaps the most interesting part of the building is its stepped and staggered pyramidical forms that follow the surrounding landscape‌

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ADE 521

EDGAR DURAN

Proposal: For our project, after carefully studying the existing conditions of the conservatory, we intend to follow the same form principles as architect Gordon Wilson did. With the improvement of technology and a consideration for sustainability, we propose timber as a replacement for steel, and bigger glass panels that would allow for more sunlight to penetrate the botanical collection. The new botanical collection is Desert Medicinal plants, which is an addition to the current climatic zones, and It serves as an opportunity for people to come and use this building simultaneously as an educational space.

ADE 521

05

ADVANCED ARCHITECTURAL STUDIO I PROFESSOR: Amit Upadhye

Students: Abdulaziz Alghamdi, Kasiani Beja, Kerri Clayton, Long Do, Faustin Kapelemba, MacKenzie B. Krall, Yuanyu Liu, Parastoo Lotfi, Holden Matonak, Anthony Okins, Aja Panicker, Dellan Raish, Kritika Sharma, Sumedha Singh, Michael Stears, Anshuli Vaidya, Ruiming Zeng

491

ADE 521

ABDULAZIZ ALGHAMDI

The gathering at Maple is an extension of the original Moriyama house in Tokyo, Japan. This projects aims to create a new attraction at the vibrant area of Tempe downtown, which is highly visited by residents and visitors of Tempe. In addition, the extension has been achieved by taking fundamentals of Moriyama house in consideration, and creating an architectural design where synanthropy can be applied among humans and other species. To achieve that successfully, the design has been through a methodology of designing and testing with alternatives. In conclusion, the project was designed to serve the users as cafĂŠs and restaurants at the first floor, where the second and third floor mostly used as offices.

ADE 521

KASIANI BEJA

Corbusier pushed architecture into the 20th century by introducing The Five Points of Architecture to our society through the design of Villa Savoye. By adapting Villa Savoye and The Five Points to the Sonoran Desert, this project demonstrates that Corbusier’s concepts can also transcend space. This desert rendition incorporates a greenhouse second skin with automated glass panes that close to trap heat in the cold winter and open to the summer desert winds. The roof carries a water reservoir which stores water pumped up by wind turbines resting on four extended pilotis. Water is released through turbine-containing pilotis as a source of energy when there is no wind. The house is raised on a grid of pilotis surrounded by a rammed earth wall to decrease the footprint on the desert land. The wall’s facade introduces synanthrope by incorporating thin ledges to encourage movement by lizards up the wall to the risen human-level while they bask in the dessert sun.

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ADE 521

KERRI CLAYTON

11/30/2020

_PV22232.JPG

Alvar Aalto’s Muursatsalo Experimental House focused on the variety of materials and interacting with the surrounding nature of Finland. Upon placing and expanding the Experimental House I played with the idea of indoor/outdoor living and how to utilize the three-hundred-plus nice days that we have in the desert. I choose a site on Camelback Golf Course and played with the idea of expanding the existing building into a golf club house, using materials such as rammed earth, copper, brick and steel. These materials tie into the natural colors and elements found in Arizona. The main focal point of my design was creating open and free flowing spaces to allow people to move throughout the building and be able to have an enjoyable experience both within the building and outside.

ADE 521

LONG DO

The Watering Hole is a nature conservatory that is located adjacent to the ranger station at South Mountain Park Preserve. The project serves to raise awareness about the importance of protecting nature through education and outreach efforts. The several large tree-like structures bring attention to the importance of water conservation by letting rainfall flow from one petal to another. This rainwater is ultimately collected in the underground cistern inside the rotunda. The rotunda is immersive space where projection mapping provides an audio/visual experience that can place the user into some of the most exciting moments in nature: a thunderous monsoon, migrating with birds, or close-up looks at the new beginnings of insects & animals. Outside, the buildings are embraced by a large canyonlike courtyard that is home to a Monarch Butterfly Garden. This living wall provides food (Milkweed) and shelter that promotes the resurgence of this endangered species.

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ADE 521

FAUSTIN KAPELEMBA

hi, my name is faustin Kapelemba I am in the MAR 3 plus. It has been a journey this semester learning about the architects who are perceived to “masters in architecture and their influences�. To better understand the concepts of architecture one has to look back through the history to see what works and what did not work, to be able to change the present.

With the fast pace of the new world people (architects) have lost the sense of reality and functions; after learning from some of the houses and building these architects had to deign/ build in there time i would say. For example i had to study and research Oscar Niemeyer. His work for me is clean and poetic to follow also it functional for both the habitent and natural. Looking at the house he designed for himself in Rio de Janeiro, casa das canoas. I have always been drawn to curvature designs, studying this house gave me a new preception of curves and how to make it work in my designs.

ADE 521

MACKENZIE B. KRALL

Influenced by the current state of the world and the global pandemic, The Schindler House Revival’s design is intended for small gatherings and events for those moments in our lives that are too important to be put on hold. The Schindler House Revival is a contemporary interpretation of the original RM Schindler House by Rudolf Schindler, (1921). Located near the base of Maricopa Counties Mummy Mountain, The Revival incorporates several of the original elements of the house -- an open floor plan, multiple courtyards, communal living in addition to construction features such as tilt-up concrete, slit windows, fireplaces, and fluidity from one room to the next. The design goal is to create an open-concept floor plan that dissolves into the outdoor courtyards with large windows and doors, high ceilings, grand staircases, and versatile gathering spaces. The connection to nature showcases several ‘living’ details that allow users an up-close and personal connection to the local flora and fauna, allowing for coexistence between users and the environment.

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ADE 521

YUANYU LIU

This project is the Nordic Pavilion of the architect Sverre Fehn at the Venice Biennale in Italy. We moved the Nordic Pavilion to the desert of Arizona.

It is well known that just like human beings, the characteristics of each building are only suitable for a specific natural and human environment. So if the Nordic Pavilion is moved to Phoenix intact, then this building is doomed to death. Therefore, our task is to transform the Nordic Pavilion according to Arizona’s natural climate and human environment. My work starts with spatial extension, lighting conditions and respect for nature. I use steel structure reinforcement, the use of shading systems and the arrangement of indoor plants to achieve my goal. At the same time, the rich elements on the building form are added, such as the influence of vertical traffic on the inside.

This project is a challenge, but also a very interesting studio project that focuses on logical thinking.

ADE 521

PARASTOO LOTFI

The Nordic pavilion on the Grounds of the Guardini in Venice is building which was designed to embody a Nordic presence. Designed by Sverre Fehn. A series of beams run out at right angles from the back wall and are supported upon a massive two-meterhigh beam that is held up from the concrete wall on the east and the solitary “Y� column on the west. For the expansion, I removed the tree in the Y structure shape and drag those arms one to the west and the other one to the south like my arms open to the river, by this dragging I wanted to show how nature is important and this time Nordic pavilion is hugging the river and make two new spaces, one is the cafe and the other one is the library. I pulled the sloping roof from South to the North to bring the north sun in my site. One of the arms of my building, by closer it gets to the river the lighter it gets. I wanted design my building in a way to celebrate the river in each view , try the expanding view as much as I can so I have a big opening view on the south,

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ADE 521

HOLDEN MATONAK

Based on studies of the Simpson-Lee House by Glenn Murcutt and a local site at the base of Camelback Mountain, it was time to design a house with the essence of Simpson-Lee House with a Phoenix lens.

With harsh south and west sun, thick walls replaced the thin ones of the original Australian home. To add mass to the roof, a sod roof was implemented but thinned out at the edges to keep the feel of the original. Eastern shade devices create a pleasant patio and allow a large amount of glass for mountain views and cross-ventilation when opened. A driveway to the basement garage allows for retaining walls to have perches and nesting areas for small animals to call home.

ADE 521

ANTHONY OKINS

Sand Tank House 2020.

Outer Phoenix, Arizona. Bureau of Land Management landscape of the Sand Tank Mountains.

The Sonoran Desert asked for a “secular monastic” house and studio with a “minimal tough simplicity.”

Ethos: “It is only with the heart that one can see rightly; what is essential is invisible to the eyes.”

Antoine de Saint-Exupéry

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ADE 521

AJA PANICKER

The Muuratsalo Experimental House by Alvar Aalto explores various materials and how it interacts with its surroundings over time. The first two modules allowed a deeper understanding of the construction of the building and its adaptation to the Finnish landscape. The design used the landscape to protect itself from the wind while also embracing the forest around it. Bringing the building into Arizona’s Sonoran desert required vast changes in the materiality of the building and how it would develop a connection with its new landscape. In the final two modules, the new design allows the structure to connect itself within the earth using a basement expansion for geothermal heating and cooling pumps and has nature embracing the structure with a sod roof and hill to protect it from the solar radiation while also creating a relationship with the user and their environment. Having nature embrace the structure, it fulfils the prospect of adapting to Arizona’s climate.

ADE 521

DELLAN RAISH

The goal was to strip the preconceived notions of Architecture and to objectively look at the precedents in their context and adapting them in a different context altogether. This project proposes expansions, modifications, and adaptive reuse to create a new architecture that adapts to the ecological forces of the 21st century in the Sonoran Desert of Arizona.

Expansion of the Barcelona Pavilion is located on the existing Nina Mason Pulliam Rio Salado Audubon Center site. This center is home to the focused synanthrope, over 200 species of birds.

The expansion of Barcelona Pavilion on this site gives visitors a place to rest and escape from the Sonoran Desert heat; merging with trees from the surrounding landscape to give our synanthrope a new home. Both humans and wildlife benefit in this refuge using passive heating and cooling methods ranging from rammed earth thermal massing, south facing horizontal louvers, and photovoltaic shading.

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ADE 521

KRITIKA SHARMA

Moriyama house presents to us the perfect unison of simplicity and complexity. An extremely interesting design by SANAA that translates within it both, the scale of a city’s planning and the micro requirements of a residence. Bringing the idea of minimalism from a densely populated city in Japan to a hospitality based design project in Arizona posed a number of interesting challenges that required looking at architecture and its understanding in various parts of the world through a finer lens.

Proceeding with the original intention of ‘sharing’ that the project encapsulated, I decided to convert it into a Bed and Breakfast for hiking enthusiasts near the famous Cholla trail. The idea of blurring the lines between private and public, inside and outside were furthered in the re-imagination of the project by providing a stimulating landscape with a rich bosque of trees that function as a highlight synanthropic element.

ADE 521

SUMEDHA S. SINGH

Set on a desert land parcel dotted with large mature Palo Verde trees, the Light Well House is nestled -much like a pin-wheel- between three courtyards in a private housing locale in Nauni Valley Ranch, Paradise Valley. The Light Well House, is an extension of the original RM Schindler house in California, United States. The RM Schindler house was originally a co-dwelling and the expansion of the initial project houses the same concept. The premise for choosing to situate the building amidst the green spaces was to preserve the existing nature and synanthropic habitat while enjoying the natural setting in close proximity of the habitable areas.

505

ADE 521

MICHAEL STEARS

The Norman Fisher House by Louis Kahn is a beautiful mastery of light, scale, and craftsmanship.

Organized by served and servant spaces, these two volumes of program delicately and purposefully meet at a rotated corner to create the connection.

My rendition of this project, entitled: “Rubble Hill�, is located in Cave Creek, Arizona. The connection between the two volumes transforms into not only a passage of horizontal program but to a connection of the vertical program between the spaces. Instead of the designer having control over the spaces intended for creation, this project allows nature in its current state to dictate what form these spaces will take.

This will allow the occupants of this space a closer connection to not only the nature around them but also speaks to coexistence between humankind and nature. Where nature is no longer the conquered, but in turn, the respected.

ADE 521

ANSHULI VAIDYA

Our brain is conditioned to perceive and be drawn towards objects and images that strike a chord with a preconceived memory or thought. To uproot Villa Savoye, an iconic structure from Paris, designed by Le Corbusier in 1929, and place it in Arizona was not the real challenge of the studio. The real task was to uproot it from our minds such that it was altered to suit the climatic conditions of Arizona, keeping the design principles like pilotis, ribbon windows, and flat roof terrace intact.

The structure, originally designed as a house was now modified into a Community and Recreation Centre, that serves as a platform for shared interests, personal development, inclusiveness, and therapeutic benefits. The cause is augmented by supporting the design with principles of Biophilia and Neuroscience.

The community vegetable garden is the crux of the design which is instrumental in providing the community and synanthropic spirit along with a courtyard, modelled to stimulate cross-ventilation.

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ADE 521

RUIMING ZENG

Here is my project. This is my rending part. I use the collage style on it. The cactus is the main characteristic. There is a garden in front of the house and a huge window on the façade. I just borrowed the design from Das canous house. I use the trees as a barrier to divide the site and neighborhood. So the tree is a kind of natural boundary on this site.

There is a swimming pool on the north side. A smaller size is next to it. Is for children¡¯s use. Plaza is here. I use pebble as the main material on it. There are some vegetations on south side. Some of them are kind of palm trees and cactus. And the building itself is on the middle of the site. As you can see the road is on the west side of the building. So the car can entry to the building from the north part all the way down to the south, and there is a humper head next to the garage. The cars can turn around over there.

ADE 521

05

ADVANCED ARCHITECTURAL STUDIO I PROFESSOR: Elizabeth McLean

Students: Omar Gonzalez-Nava, Hannah Chavez, Angela Coriell, Allison Fernandez, Salem Malibary, Banning Mucha, Patrick Simpson, Alexandra Flores, Anne Raphael Raphy Chummar, Faith Mcgee, Shreegouri Katakol, Alisa Santiago, Philip Shults, Morteza Aminian Toosi, Carla Callejas, Patricia Molina, Daya Nikolic, Iryna Demianiuk

509

ADE 521

OMAR GONZALEZ-NAVA

Barnes Towers is an adaptive reuse project of a 1969 concrete structure with a brick faรงade that is in Boise, Idaho at Bose State University. It was originally used for an all-women dormitory composed of seven floors, with storage on top of the roof. Barnes Towers is located between the University and of the city along Capitol Boulevard in which city planners valued in the 1920s having no obstruction of view along the road towards the Capitol Building. Our goal was to have a passive approach and to give back to the city to create a public program in which students from the University and others can come together to learn in a collaborative, library environment. This adaptation improves natural ventilation and passive heating within the existing structure. As well as the renovation of outdoor paving with brick pathways throughout the landscape and interior for a more inviting experience.

ADE 521

HANNAH CHAVEZ

Barnes Towers as a case study to re-think 1969 architecture to adapt to the 21st century has been an informative experience. Research, contextual forces, building logics, and having a sustainable approach, play an effective role in the kind of architecture that will be necessary to support higher education in the 21st century. With the adaptations, Barnes Towers provides for the well-being of people with the reduction of energy through passive design, diverse collaborations through a public program, design for change with a flexible layout, passive survivability, integration, and community engagement. Architecture is constantly growing and adapting to modern technology. The improvements of Barnes Towers have been designed through building preservation for a better community and learning system.

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ADE 521

ANGELA CORIELL

Water Filter / Storage / Pump

First Flush System

To: Flushing, Hand Washing & Irrigation

Travelstead Hall is a unique and challenging project that does not fail as time moves onward.

Any modifications to the existing building should have intention and be meaningful in the light of its history and campus significance. As we look to the 21st Century Learning Landscape, academic facilities need to be flexible to meet new means of education; and in terms of higher education, should help propel students into success and aid them as they develop their aspirations of our future. Architecture is one of the few mediums that can help this process the greatest. Along with meaningful buildings and programs, the ways we construct, and design need to be intentional as well, especially when it means we can breathe new life into our existing world.

ADE 521

ALLISON FERNANDEZ

A key part of University of New Mexico campus design, Travelstead Hall was the turning point that began the shift away from the Pueblo Revival style that existed elsewhere on campus. Built in 1963 Travelstead Hall is one of several buildings that make up the education complex, all of which were designed by Max Flatow and his firm. It stands center and performs as the connecting piece of the complex. Travelstead specifically stands out among the other buildings with its unique form and featured stained glass wall.

When the neighboring administration building was demolished in 2001, Travelstead adapted to take on its program, but other than this relocation it lacks a defined program of its own. This proposal to expand on Travelstead would bring purpose back by revitalizing it into a student success center and make it more accessible, as well as implement sustainable features that were overlooked during its initial construction.

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ADE 521

SALEM MALIBARY

Built in 1964 at Stephen F. Austin State University, the Gladys Steen Hall was built to accommodate a rapid growth in student enrollment while providing security to the female students it originally housed.

It has seen a transformation over time as it is now used as a co-ed facility and has also become a hub for student events. To accommodate the growing needs for 21st century education, we are proposing an expansion that bridges social engagement, productivity,

and

relaxation

with

economic

sustainability. In this six-stage expansion, the Steen Hall will see a transformation not only to the building itself, but also, to the surrounding area by creating new external opportunities for external social engagement. The focus of the expansion, however, is the addition of three bands that bridge the two towers of Gladys Steen Hall together. These bands will support programs that cater to the needs of students in the 21st century with amenities such as: study, recreation, event, and commercial spaces.

ADE 521

BANNING MUCHA

The Gladys Steen Hall at the Stephen F. Austin State University in Nacogdoches, Texas is an outdated residence hall that was built in the 1960’s for female students following WWII. It was built as part of a campus expansion to accommodate a growing student population. Since then, it has seen an evolution in use, becoming an event hub on the expanded campus, but does not have the programs to fit this new capacity. The two towers of Gladys Steen Hall have great potential for evolution as their structural system allows their interior programs to be easily rearranged and the facade reconfigured.

There is also an opportunity for dialogue between the two towers. By bridging them together, new spaces are created to increase social engagement between students and cater to the contemporary learning environment. These bridges not only address the Steen Hall’s evolving needs since WWII, but also provide the framework for flexible space that will adapt to needs of the future.

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ADE 521

PATRICK SIMPSON

In approaching this case study, we began by asking ourselves: “Is this building still serving the needs of the students and faculty of UC Berkeley sixty years after its construction?�

Our proposal intends to answer this question through a series of studies of the forces, logics, and strategies that informed the development of the original project compared with the forces, logics, and strategies that develop the 21st century academic environment.

The current long-range plan for the UC Berkeley campus has specified the need for additional facilities to address a deficit in square footage for all the needed functions on campus. Due to limited space on campus as well as limited expansion opportunities in the city of Berkeley, the strategy of infill and connection of facilities is paramount to fulfilling university needs for the next twenty years of development.

ADE 521

ALEXANDRA FLORES

The Cesar Chavez Student Centre at UC Berkeley is a historic campus building. It has seen many public gatherings and protests and has gone through renovations over the years to accommodate the changing needs of the school. Being in the Bay Area, Berkeley experiences beautiful weather year-round.

Originally serving as a dining hall with an open floor plan, the Cesar Chavez Student Centre had plenty of connection to nature and natural light. As the building was renovated, much of that area was closed off and compartmentalized to provide office space, creating an unhealthy work environment for the building’s occupants. Through the addition of light wells, rainwater collection, geothermal, and PV systems, and an expansion to the building, the proposed renovation’s aim is to bring back a stronger connection to nature, encourage health and productivity, and provide multi-functional public space, as well as promote interactions between students and professors of different disciplines.

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ADE 521

ANNE RAPHAEL RAPHY CHUMMAR

Carver Hall is a university building. Collaboration and relaxation spaces were added to the building in this proposal. These spaces use biophilia to promote collaboration and ideas, to boost morale, and allow students and staff to de-stress. An added balcony is cut into the building at the third floor. This balcony is a place for staff and students to enjoy lunch and enjoy the fresh air. An indoor collaboration space with indoor green walls to help bring nature and fresh air into the space is added at the fourth floor.

The final addition to the building is a new design for the roof. A glass greenhouse is designed so that the roof can still be enjoyed in winter. An outdoor space with green roof allows students and staff to enjoy the outside and have a place to relax and enjoy the view of central campus and the lake to the south.

ADE 521

FAITH MCGEE

Carver Hall is a university building. Collaboration and relaxation spaces were added to the building in this proposal. These spaces use biophilia to promote collaboration and ideas, to boost morale, and allow students and staff to de-stress. An added balcony is cut into the building at the third floor. This balcony is a place for staff and students to enjoy lunch and enjoy the fresh air. An indoor collaboration space with indoor green walls to help bring nature and fresh air into the space is added at the fourth floor.

The final addition to the building is a new design for the roof. A glass greenhouse is designed so that the roof can still be enjoyed in winter. An outdoor space with green roof allows students and staff to enjoy the outside and have a place to relax and enjoy the view of central campus and the lake to the south.

519

ADE 521

SHREEGOURI KATAKOL

For this renovation project of H. B. Farmer Building, the focus was to create a more adaptable space for an unpredictable future and provide for students and the community in an unbounded manner. With research and analysis of this building, the idea was to propose renovations under the lenses of Biophilic and sustainable design so that this project will bring inspiration for years to come.

ADE 521

ALISA SANTIAGO

In the renovation of the H. B. Farmer Building, we learned very quickly that the entire operation of this building will no longer adequately preform due to COVID-19. Considering the challenges, the H. B. Farmer Building faces in its future, the mission had become clear: to create a space that can adapt for an unpredictable future and provide for the students and community in an unbounded manner. Within careful research and analysis of the building, in order to keep the existing building’s integrity and a newfound strength to give it future longevity, the building must be renovated under the lens of Biophilic Design. This choice of connecting people to nature through biophilic design results in connecting people to each other. Thus, the H. B. Famer building will bring inspiration for years to come.

521

ADE 521

PHILIP SHULTS

The Social and Behavioral Sciences Building is an incredible piece of architecture that seamlessly integrates with the pedestrian circulation built into the CSUDH campus. The horizontal circulation featured in the building is one of its most influential design logics. The building was designed to allow students to pass through easily, while also providing space to circulate within the building itself. Its unique design makes it an inseparable part of the campus and a wonderful design challenge to work with. Our main goal with its expansion addressed the students that decide to remain in the building for extended periods of time. The lack of shade structures on the ground floor makes it difficult for students to find places to relax and appreciate the architecture. The original design included such structures that unfortunately, did not make it into the final design. I believe our expansion allows students to comfortably remain in the building and appreciate the rest of its design.

ADE 521

MORTEZA AMINIAN TOOSI

The case study building for this project is the Social and Behavioral Sciences Building of California State University Dominguez Hills (CSUDH), located in Carson, CA. This building was designed by Architect A. Quincy Jones and built in 1972. The process included studying the existing building and its external contextual forces, analysis, identifying the main logics behind its design and existing deficiencies, designing the proposed expansion with a sustainable and bioclimatic approach while considering 21st century educational needs, and developing the details of the expansion; all in order to give a second life to the building.

The proposed expansion focuses on three main subjects: Developing the sunken garden level by designing new shaded study/gathering spaces for students; Designing access to the lower garden level for both disabled and non-disabled users; Giving a second life to the exterior facades by making minor modifications to the architectural elements such as window shades, railings, and stairs.

523

ADE 521

CARLA CALLEJAS

The existing Carlson Education Building (CEB) hosts classrooms, office spaces, and a library for the Education majors at the University of Nevada, Las Vegas. Originally opening in 1972, the CEB currently lacks the design frameworks for integration, wellbeing, change, energy and discovery to fit the 21st century learning landscape.

The addition of a double-height community space and renovation of the library activates the first floor with a flexible learning space that accommodates occupants of the CEB, students of surrounding disciplines, and guests of community partnership events. The addition of outdoor garden spaces on the second floor also introduces more flexible, open spaces. Carving into the building with these additions allows for passive ventilation and a connection to the southwest garden while maintaining the thermal control provided by Brutalist style and cast-in-place construction. Through this proposal, the goal is to foster community and the new age of learning through flexible learning space and reinforcing student collaboration to fit the 21st century learning landscape.

ADE 521

PATRICIA MOLINA

The existing Carlson Education Building (CEB) hosts classrooms, office spaces, and a library for the Education majors at the University of Nevada, Las Vegas. Originally opening in 1972, the CEB currently lacks the design frameworks for integration, wellbeing, change, energy and discovery to fit the 21st century learning landscape.

The addition of a double-height community space and renovation of the library activates the first floor with a flexible learning space that accommodates occupants of the CEB, students of surrounding disciplines, and guests of community partnership events. The addition of outdoor garden spaces on the second floor also introduces more flexible, open spaces. Carving into the building with these additions allows for passive ventilation and a connection to the southwest garden while maintaining the thermal control provided by Brutalist style and cast-in-place construction. Through this proposal, the goal is to foster community and the new age of learning through flexible learning space and reinforcing student collaboration to fit the 21st century learning landscape.

525

ADE 521

DAYA NIKOLIC

Failing to sustain itself as an exclusive, faculty-only building for social events, the University of Washington Club is in need of a new breath of life.

The University of Washington Club Reopening project aims to transform the building into an attractive and inviting place for each group of campus visitors: students, faculty, community, and businesses, while providing a comfortable, sustainable, and inspiring environment that stimulates research, innovation, and collaboration with allied industries.

Revamping the club into an experimental community center

that

incorporates

a

flexible

planning

framework, connects the campus internally and with its broader context to encourage collaboration and practical experience, and introduces more sustainability

features

is

a

response

to

the

latest trends in education and future campus development plans.

ADE 521

IRYNA DEMIANIUK

Failing to sustain itself as an exclusive, faculty-only building for social events, the University of Washington Club is in need of a new breath of life.

The University of Washington Club Reopening project aims to transform the building into an attractive and inviting place for each group of campus visitors: students, faculty, community, and businesses, while providing a comfortable, sustainable, and inspiring environment that stimulates research, innovation, and collaboration with allied industries.

Revamping the club into an experimental community center

that

incorporates

a

flexible

planning

framework, connects the campus internally and with its broader context to encourage collaboration and practical experience, and introduces more sustainability

features

is

a

response

to

the

latest trends in education and future campus development plans.

6th Year

ADE 621

06

ADVANCED ARCHITECTURAL STUDIO III PROFESSOR: Ian Dickenson

Students: Shasta Percival, Rayven Cannon, Adrian Castro Martinez, Oriana Gil Perez, Srinidhi Krishnan, Nathan McNeilly, Inseon Lee, Jacob Cluff, Cole O’Brien, Brittany Hester, Avinash Mangukiya, Anood Mantsch, Ariel Medina, William Okpi, Cody Yazzie, Ele Paul, Kendall Place, Travis Rosenlieb, Andrea Fernando

529

ADE 621

SHASTA PERCIVAL

RAINscape aims to empower the community of Ciudad Nezahualcรณyotl with water and waste management solutions paired with social housing.

This project transforms infrastructure from largescale public entity into that of smaller, more localized community-based systems through collective intervention. Residents are provided with prefabricated components made from recycled plastic, allowing them to easily self-assemble and create their own social housing community along the existing roofscape. Shared housing is mixed with a network of celebratory objects designed to collect, filter, store, and supply rainwater to the new and existing community. Infrastructure components serve programmable purpose, signifying the status of rainwater resources while also encouraging behavioral awareness. This system also allows nodes to bridge and connect across the city context to form a new network around shared infrastructure at a larger scale. Through collective benefit and ownership, this project explores practical forms of collaboration that can result in social change.

ADE 621

RAYVEN CANNON

When starting this social housing project, two questions came to mind. What is luxury? And What is a basic human right? In Mexico, luxuries and human rights can be defined very differently as compared to luxuries and basic human rights in the United States. The goal is to place a social housing community in a well-established neighborhood so those who live in the community will have access to the same opportunities as those who already live there. Roma Norte is a historically well-established neighborhood that would provide opportunities for growth and hope for a new future. These social housing communities will all have the same DNA make up having a kitchen, lounge, recreational center and technology lab. This social housing community caters to different size families allowing space for multi-generational, nuclear and singlefamily households. Allowing the residents, the luxury of choice as well as providing the basic human rights of access to a better life.

531

ADE 621

ADRIAN CASTRO MARTINEZ

Social housing is a platform that provides economic, social, and ecological stability. In Mexico, this platform houses the rural to urban migrant workers at their arrival to the city, but the space does not afford the various forms of relating to the environment. La traza (lot system) and the “efficient� public infrastructure provide a set of constraints that underpin the community to grow around the street, the alley, and the first-floor business as their spaces of exchanges.

Another scenario in this landscape could provide a different set of relationships (infrastructure and services) based on the internal processes and values allowing individuals to express their diverse modes of benefiting from space. Social housing developments could work as a poly-node system that grows along with the community, providing confluent points at various scales; the influence on the broader community, the nodes where the community exchange ideas, values and benefits and the relationships of domestic and communal(public).

ADE 621

ORIANA GIL PEREZ

Re-imagine housing components, an approach to address affordability. The idea is to transform housing, explode it into single pieces or components and spread them around the city. The city would become your home by getting what you can afford or what you need. I am proposing to divide the common components of a home, bedroom and bathroom, kitchen, living room, laundry room, and offer a typology that allows you to acquire what you really need while offering the flexibility to rent and generate economic asset from the spaces that are yours but your are not using, for example I own a bedroom, bathroom and a kitchen, I will rent the kitchen while I do not use it. Flexibility, affordability, the city is your home.

533

ADE 621

SRINIDHI KRISHNAN

The design proposal consists of an affordable housing community located in the alcadia of Xochimilco, Mexico City. Xochimilco is an ecologically sensitive area which was well known for its unique biodiversity, chinampas (artificial floating islands), extensive lakes and canal systems. Currently with increasing urban sprawl and illegal development of houses on reserved forest area, there is a risk of the water systems drying up and loss of the distinct ecological conditions of Xochimilco. The design proposal seeks to address some of the challenges in this region and allows for circular development of housing communities. The site it is located in, consists of dense indigenous vegetation. The materials used for the construction is timber from the site. The houses rest on a wooden platform with pontoons which facilities the structure to float during floods and rest on land otherwise. The housing is arranged in a clustered fashion to promote social interaction and create a close-knit community experience. Smaller units of clusters open up to larger open spaces as an extension of the residential spaces outdoors, thus weaving all units together.

ADE 621

NATHAN MCNEILLY

With the current lack of adequately sized, centrally located, affordable housing in Mexico City, no building should remain vacant and be allowed to deteriorate.

This proposal utilizes the numerous earthquake damaged buildings in the city and provides a strategy to populate them with affordable housing. This idea was explored at Condominio Insurgentes, an abandoned high rise in central Mexico City. Instead of prescribing program and space to occupants, furthering the homogenization of the way we dwell, bathroom and kitchen cores are placed throughout the structure allowing residents to create and expand their home as they see fit. A structural bracing frame wraps the building reinforcing it to prevent collapse or further damage while allowing for infrastructure like circulation, water, waste and electricity to be easily reintegrated. This process facilitates flexible future construction as residents expand across the floorplate and into the space frame creating an ever growing and changing building.

535

ADE 621

INSEON LEE

In Mexico City, territorial inequality is a major problem. There is no room for working-middle class people who have migrated from the rural to urban area. However, empty lots represent 20% of the residential land stock in Mexico. Housing being a basic human right - vacant lots can provide home for people and territorial inequality can be glued with something meaningful to people in Mexico, home.

The architecture response for different vacant lot sizes is: self-structured modular units, that can give individual households the flexibility to grow or reduce with family changes, adaptability to join or disjoin to different locations and an identity through customizable building skin designs. Different units are joined through a triangular open structure attached to each unit, providing the opportunity for an open social platform; such as horizontal and vertical pathway and community garden. A place for interaction and joy.

ADE 621

JACOB CLUFF

In Mexico, there is a housing shortage. The government’s response has been to provide loans to the private sector who is then responsible for building units. The housing that emerges from this system is on the peripheries of cities and lacks essential infrastructure and access to education, work, or cultural opportunities. This is a problem because the users of this housing are in need of such opportunities. Housing needs to reflect these needs, and it can do it in part by decentralizing this model of practice and insert housing into the city on vacant or underused parcels to take advantage of the existing infrastructure and opportunities. By using a small scale model, housing can be more flexible in what it provides and also explore new methods of housing. In this project, Co-Living has been explored to see what it can provide to the community in which it is built.

537

ADE 621

COLE O’BRIEN

My Fall 2020 studio project explores a new solution for social housing in the streets of Mexico City.

The proposal is based on the historical connection between Mexico City’s housing and markets – ranging from the migration of Oaxacan craftspeople to the erection to Vecinidades housing, to the proliferation of Tianguis (street markets.) Despite multiple threats, the city’s market culture has persisted and remained a vital part of the city’s lifeblood, providing income to over half of the city’s residents and serving marginalized areas. This proposal, recognizes this important ecosystem, as well as the roles of self-expansion, co-ownership and social organization in economic upward mobility for these merchants and their families. This manifests as a literal framework to house these families in the underutilized streetscapes between, above, and beside Mexico City’s existing streetscapes. Within this framework, a self-expanding system of housing, market and support spaces can organize and prosper.

ADE 621

BRITTANY HESTER

Break

systematic

poverty

through

the

built

environment by integrating society, culture, values, and community. To do this integrate the community from the very start of the project to give the residents a voice and stake hold in their community. Create a shared environment with the traditional ejidos as an inspiration for a shared community that incorporates trade of goods and services. Blur the lines between public and private, while also reinventing the roles of domestic duties across the community.

The ground level of all units will be public and house limited services that can help break the poverty cycle such as education centers, medical centers, daycares, and community centers. The second level will be a shared space with all units, a courtyard that spans across all units. Units will also have private balconies but have the option to open their homes to the shared courtyards.

539

ADE 621

AVINASH MANGUKIYA

There is a global condition where there is a polarization is happening throughout the world. People who have economic stability can stay in the central part of the city whereas the other lower income generating families have ended up in the peripheral region of the city. They are away from the resources and are need of it. They need to travel to the center for the amenities and livelihood for that process and this causes stress on the current infrastructure.

This type of condition can be observed in the Mexico City. The population staying there in need of livelihood travel daily 2-3 hours hence bringing in congestion and stress on to the already stressed infrastructure. In Future there will be need of more efficient transportation integrated with horizontal and vertical transportation infrastructure (like air metro and air taxi). transportation will be more efficient and ready for urban air mobility in 2035, how we can utilize the core of the infrastructure to pack affordable housing and successfully provide people with mobility and a co work environment within the same structure.

ADE 621

ANOOD MANTSCH

Using adaptive-reuse strategy to transform the abandoned Condominio Insurgentes 300, located in Mexico City, into a mixed-income housing composed of temporary and permanent attainable housing units and market rate units. Known as the “Women Day Center�, this housing project will have its own counseling services and personal development programs, and temporary attainable housing units.

Close Collaboration with the government helped subsidize 120 units of the existing building. The bottom level will be the commercial and services floor. The first two levels will be the temporary attainable units transformed to accommodate underprivileged women and their children. From the fourth floors and up, everything will be turned into a mixed-income housing.

The Women Day Center represents a long-term solution as it will operates for fifty years.

The building will be initially funded by partnering with the government. The program and building maintenance will be funded by generating revenues from the market rate units, advertisements on the building, donations, goods sold, and the attainable units’ rental fees.

541

ADE 621

ARIEL MEDINA

There are 5 million inhabitants in Mexico City living in poverty. A majority are families where their dwelling is cramped and susceptible. Social housing only works in traditional economic systems. Many have no formal income. There are existing markets (Tianguis, individual selling) that they sell in. So, the proposal aimed at utilizing such informality to offset poverty for such impoverished inhabitants of CDMX. The site chosen was Sacramento, CDMX, a post-industrial and a central location to provide critical infrastructure. The project gave up its ground floor so that the community may benefit from the new regreened site and the informal markets (providing permanence) that exist and are critical.

The second and third levels are residential homes for impoverished families. They benefit from the project by being given the market to participate in, space accommodating those who sell. The proposal begins with a plea to consider that informal can be better especially in Mexico.

ADE 621

WILLIAM OKPI

The Xochimilco Social Housing project serves two purposes. Due to the exploding population and poverty in Mexico City, many unplanned or poorly designed illegal settlements keep taking root in different parts of the city and the Xochimilco world heritage site is not spared from the encroachment.

Rough estimate puts the population of people living in shanty houses in this area at about 94 thousand residents. As CDMX is already facing serious housing crisis, ejecting all these people from the heritage site will create more problem for the city.

So, on one hand, the purpose of this housing proposal is to provide affordable and conducive living quarters for residents living in deplorable conditions in on this historic land. This proposal will be situated on series of islands at the edge of the site and this brings me to the second purpose of this proposal. The housing project will act as a clear boundary for the heritage site, prevent further encroachment into the land and help clean up the contaminated canals.

The development will incorporate the famous Chinampas - floating gardens - which will not only serve as some form of employment and provide income for residents, but will also help to preserve the history of the land.

543

ADE 621

CODY YAZZIE

What’s the most critical factor dealing with social housing in Mexico City? This was the most important question throughout semester. Throughout the history of mankind, there are a set of basic human needs that we have. Shelter, being one of them, then access to resources like food and water. Throughout time the kind of competition or allocation of those resources has been challenged by certain external factors and so one being, the fact that only people with economical needs have access to certain resources or based upon people class status or other kinds of socially created sets of criteria that started to bear heavily on people’s ability to able to access shelter and able to access to clean water, and this is kind of epitomize in challenges that have been occurring in Mexico City. Because the perversion of clean water as an index of the infrastructure that doesn’t exist. Has been kind of, one of the most prevalent forms that has caused difficulties there. My project is in Xochimilco, Mexico. My design proposal is, I will design a model that allows my project to coexist in balance with the surrounding environment. Design in different ways, able to integrate like water capture reclamation, energy production and for the Indigenous people of the Nahuatl Tribe who are living on the site.

ADE 621

ELE PAUL

Rural to urban migration has had a significant impact on housing trends in Mexico. Mexico City has experienced massive population growth, pushing affordable housing development for the working class into the city’s periphery.

This

thesis

proposes

the

re-examination

of

zoning policies in housing today. It recognizes homeownership’s financial implications and offers zoning as a tool to legitimize homeownership for upward mobility. The social and cultural fabric determines the existing forms of living. Zoning is realized as a symbolic representation of residence, whereas the proposed architectural design adheres to the use patterns. The onus on self-management is reduced by introducing solutions that address dysfunctional services and infrastructure.

545

ADE 621

KENDALL PLACE

Social housing within Mexico City needs some serious attention and even bigger solutions. My approach was to create a diverse community in the middle of the vibrant Mexico City by blurring the lines of the socioeconomic and ethnic divisions by bringing the very famous hipodromo of Mexico City to the public spaces of the site. The push and pull of the existing building mixed with the irregular geometry of the social housing units, leaves negative space that becomes an extension of the landscape.

The idea is that these spaces become occupied regularly creating this sense of community and camaraderie among both the social housing residents and surrounding community. I designed the avenues to be wide enough to be public, rather than just a pathway to your front door. Again, to welcome the surrounding community into the social housing neighborhood, reminding them of the equality of space that exists in between.

ADE 621

TRAVIS ROSENLIEB

My project focuses on a proactive strategy of implementing a design informed by local indigenous practices in an effort to create a resilient social housing

model

which

simultaneously

affords

residents a space in which to flourish and acts as a model for the regeneration of historic wetlands along their border with Mexico City’s dense urban development.

547

ADE 621

ANDREA FERNANDO

Neza is one among the biggest slums in the world.

The site has dense compact conditions and is an informal community. In Mexico 16 percent of older adults suffer from neglect or abuse. Keeping the older generation in mind the project was designed.

The project has design for mixed age groups because it will be beneficial for all generations living in the community and senior residents living in such space benefit fighting dementia to regulating blood pressure that come from social contact with younger generations. Twelve houses together form a community and share a common courtyard space so that everyone there is connected. Flexibility was one of the strategies that was adopted while designing the houses there because housing is an ever changing phenomena. Even if the houses are custom made it needs a dimension of flexibility. In conclusion, the residents feel a sense of belonging to the space.

ADE 621

06

ADVANCED ARCHITECTURAL STUDIO III PROFESSOR: Claudio Vekstein

Students: Tirrell Dandridge, Bryan Esparza, Lester Graham, Alisa Hernandez, Chi-Lun Lee, Quentin Miller, Cynthia Nyirinkwaya, Yanela Núñez Ventura, Pratima Tatikonda

549

ADE 621

TIRRELL DANDRIDGE

HEALING FRIDA. The Diego and Frida Casa Estudio is the framework of the psychological and phys-ical effects of material with a focus on disability and rehabilitation, leading to the redesign of Frida’s house. Departing from Juan O’Gorman’s original functionalist design by handling architectural features or objects as entities, so as with every pass-through space and anything that becomes activated by interac-tion through Frida’s eyes or by touching, affecting her entire persona and well-being. Carefully treating objects and material as entities beyond its limits, helped redesign the home with empathety to the physical and mental needs, by joining the two studios with an entire new ground level, including a shared courtyard, accessible studio space for Frida, embedded patterns to match Frida’ s bold style, a new master bedroom for the couple to sleep in, a larger shared kitchen and fami-ly/dining room for gatherings. Although Frida endured lifelong pain her art and self-portraits not only conveyed that pain, but also beauty, power, strength, color and grace, now embodied in her new home.

ADE 621

BRYAN ESPARZA

BAJO LA MANTA- THE PERPETUAL PALIMPSEST OF SHADOW AND CLOTH. Taking on the challenge of drawing from, and building on, the architecture of metaphor, the foundation of my work lies, in large, within the intersection

between

poetics,

object-oriented

ontology (OOO), and culturally specific architecture by using metaphor as the common operative.

Composed through repetition, the explorations are attempts to develop a theory and design framework that could treat all forms of building as having intrinsic value within their own cultural contexts, without unreasonably biasing one form over the other. The result is a transgression of time through the spirit of a place. From Felix Candela’s Iglesia de la Virgen Milagrosa, to Juan Diego on the hill of Tepeyac, and finally Coatlicue and Huitzilopochtli of Coatepec- transcribed, translated, transposed, and transformed- each is the other, like a bloom of shadows from a solar eclipse.

551

ADE 621

LESTER GRAHAM

THE CYCLE OF LIFE. Two major structures with similarities are Zicalda de Tax and Twin Temples.

There we see how agriculture, architecture and spirituality play a big role in Mexican society.

The cycle of life is part of life. But is also part of architecture. In Aztec culture there was a connection between spirituality and nature. Many spiritual teachings say everything is connected. As with the Aztecs, every-thing was related or connected and helped with the circle of life, agriculture, water and spirituality were deeply connected on their world.

The sacrifice of the human body on the temple would have blood drip down to the steps, but casted up to the sky by a serpent. From there it is sent to give energy to the sun to give life. Following that, the serpent brings sunlight to the earth to help produce agriculture. Al-so, blood in their culture is similar to life as it relates to water. With this being transition, it allowed the flow of life to continue.

ADE 621

ALISA HERNANDEZ

TRANSVERSALITY, RAJISMO, AND MASKING. The National Museum of Anthropology by Pedro RamĂ­rez VĂĄzquez, housed with thousands of pre-Columbian artifacts, it is a true reflection of Mexican culture and persona. The transversal counterclockwise movement which visitors trail daily, reflect a true journey through history (time) and the spatial qualities (space) of the museum, creating an instant tie to the Aztec calendar - Calendario del Sol, in the prominent Sala Mexica.

Deeper into the main metaphor, sub-metaphors emerge, such as Rajismo and Masking, terms coined by Octavio Paz, revealing that in strength lies silence and resilience, along a contrast between the masking, fragility and adversity through time and space. In response, the architecture of the existing building begins to acts as a mask (filtered personality) towards the external world, while protecting and shielding new cultural/recreational programs (unfiltered personality) in the lower levels.

However, Rajismo (paths into the building) transvers the building as a reminder that in weakness there is strength.

553

ADE 621

CHI-LUN LEE

COLOR TRANSITION AND ARCHITECTURAL BOUNDARIES. Color is an integral element of the world, not just in the natural environment but also in the man-made architectural environment, and always played an important role in human evolutionary history. The environment and colors are perceived, and our brain processes and judges what it perceives on both objective and subjective basis. Color is a sensory perception, and, like any sensory perception, it has symbolic, associative, synesthetic, and emotional effects.

This project aims to analyze the color research and theory of Josef Albers, and how he put into practice the different color transition—hue adjacency, hue contrasting, hue complement. And also, by reviewing the reading: The Metaphor of The Eye, to understand how to develop metaphor in an abstract idea to architectural design: The color transition in Homage to Square Series of Josef Albers, as a metaphor of architectural boundaries in Casa Barragan.

ADE 621

QUENTIN MILLER

HEART OF THE UNIVERSE. Throughout the ancient Mesoamerican people lived a vibrant and saturated culture through rituals and traditions practiced and performed through their day to day life. A couple of rituals and traditions emphasize the Conchoros Dance, the Voladores ritual, and the Momoxtli. All three rituals/traditions refer to the heart as the key to existence, well-being, life, and to the universe.

The heart is the tie to everything the heavens, earth, and the underworld, the link to the spirit world and our physical world, gives the universe life and keeps it functioning. The new building hosts a multitude of functions like concerts, fairs, exhibits, music festivals, Mesoamerican traditions, and rituals, along with other outdoor festivals. It will be the place of gathering, community, and a revival of cultures. Also, a place of a plurality of narratives and stories that can create a beautiful multi-colored and multi-narrative fabric that will make aware of the indigenous principles, values, and community.

555

ADE 621

CYNTHIA NYIRINKWAYA

THE DOUBLE LIGHT. Originally, the Rufino Tamayo Museum by Mexican architects Teodoro González de León and Abraham Zabludovsky was built to showcase the paintings of Mexican painter Rufino Tamayo as well as the numerous temporary art paintings he has collected over the years. Using this as a base for my transformation of the museum I decided to refer to Rufino Tamayo artwork. I let one of the paintings called “Hombre Feliz” guide the dissection and reassembling of the museum. I chose that particular painting as it shows the use of the double light of the moon and the sun in it.

That showcases Rufino Tamayo’s interest in the Mesoamerican cosmogony. In the painting, the happy man is in the dark representing the moon and the source of light comes from the sun. I applied this principle it in the museum by letting the sun rays determine the light and dark spaces, which I later dissected and reassembled.

ADE 621

YANELA NÚÑEZ VENTURA

THE BRIDGE BETWEEN THE “PLOT” AND THE “FABLE”. The project evolved as a series of abstract procedures based on the analysis of The Vasconcelos Library by Alberto Kalach in comparison to the ancient city of Teotihuacán and the philosophical investigations of Paul Ricoeur. An opportunity for better integration between the building and its surroundings was identified. Following Paul Ricoeur’s definition of composition, Mexican Public Architecture could be identified as a bridge that interlaces the “plot” (everyday life: eating, walking, reading, breathing) with the “fable” (experiential: the spiritual, the memories, the feelings and the rich culture that characterizes Mexico). By the introduction of complementary programs to the existing conditions, while inspired by the categorization of books, the program divides itself into nonfiction or “plot” [a food market in the ground level], and fiction or “fable” [an art and culture hub], to further enhance the site richness and as a platform to link with the cultural future of the community.

557

ADE 621

PRATIMA TATIKONDA

VISUAL TUMULTS, POLYANGULARITY AND PERCEPTION. With the intention to understand the dimension of fiction in architectural built environment, my research focused on reiterating the idea of perception through the ideology of the avant-garde muralist David Alfaro Siqueiros. Siqueiros’ idea of polyangularity was aiming to bring dynamicity in his murals by considering the viewer in movement. The aim is to comprehend his notion of height, depth and perspective manifested in his revolutionary murals.

Taking forward the purpose of building La Tallera in the first place, as a workshop intended to build collaborations and experiment techniques of mural making - the aim is to create a space for creative placemaking to engage community and artists within architectural

futurity.

Considering

architectural

fiction as a narrative through space, the act of bringing the art production into the community itself sets up the plot by creating an experience for the viewer to build their own perception of space in time.

ADE 621

06

ADVANCED ARCHITECTURAL STUDIO III PROFESSORS: Diane Jacobs & Benjamin Mullings & KarĂŹn Santiago Students: Matthew Anderson, LaDawn Bentley, Samuvel Benhursha Bernadsha ThanaEdison, Tejaswita Bhardwaj, Rothi Bhattacharyya, Christopher Fernandez, Rachel Frail, Aishwarya Gnaneshwar, Tiffany Hartono, Mark Hernandez-Schilling, Smirti Jain, Tylor Kerpan, Aakarsh Kushalappa Kuppanda, Douglas Lusson, Saber Lyman, Atziry Madera Sabido, Spencer Mitchell, Vaishali, Shristi Ojha, Kruti Patel, Udit Shah, Slade Sheaffer, Abdulrahman Shogair, Rielly Smith, Charlotte Taylor, Vishakha Tuljapurkar, Anna Utter, Shreyank Vadel, Siddhartha Rajesh Verma, Yuandi Wang

559

ADE 621

LADAWN BENTLEY

Our eco-resort is based in Catano, Puerto Rico, in which the location is adjacent to a natural wetland and conservation area. Our project experience is based on the concept of ‘Neighbor,’ ‘Nature,’ and ‘Nurture.’ As a ‘Neighbor,’ we included the local community and incorporated in the native Taino culture throughout the master plan. Through ‘Nature,’ we brought in the idea of connecting the project to reviving the native flora and flauna of the wetlands. In ‘Nurture,’ we used a creative method of revitalizing the existing buildings and assimilating modern buildings. Our master plan provided a ‘raising up of earth’ to mitigate the flooding of the site in which the north side rose up above the natural elevation and the south side provided a biosponge area to collect the access water. Our ‘cut and fill’ technique placed new and existing buildings either above or under the ground. Lighwells were inserted to create monuments and circulation paths. In following indigenous design methods, we included two plazas, a wooden Cemi structure to greet the community of Catano, and the hotel room pods had oculus window viewing to the sky.

ADE 621

MATT ANDERSON

La escuela Teodoro Roosevelt sits on a plot of land that was once wetland. Allowing our site to once again become a wetland was a critical move for our project. This caused water to encompass many of the old cmu buildings on the site. Although the original 18 structures are still utilized they retain a consistent architectural language as strategic elements are stripped from them leaving ruins throughout the wetland. Also, by having all new construction elevated to touch the site only lightly we are allowing natural

processes

to

continue

unobstructed.

Circulation is also elevated off the wetland to reduce footprint. Experiences with water are celebrated throughout the project.New structures are added to the site utilizing bamboo as a natural faรงade and roof material. Thus, as bamboo and concrete elements come together an obvious contrast between new and old is apparent. A boardwalk that brings eco-tourists from the east continues through the site and is pulled up to rest atop buildings. This boardwalk becomes a major link tying important elements to the wetland.

561

ADE 621

SAMUVEL BENHURSHA

We begin our personal hero’s journey by exploring the auditorium. The auditorium draws people in and puts it’s guests on the path. From there our hero’s journey gets their call for adventure by going to the neighboring abandoned building used as the market hub for artisans. Because every good journey starts in a bar, right? Our hero’s move through this realm of indigenous craft makers. There they are inspired to take on the challenge of change. The Sky bridge stimulates the essence of the journey they take by having the clear movement and flow. The distractions of the view are every present. For those who cross their challenge will gain a companions of knowledge as they move through the different spaces of the museum. As our new hearos leave the museum they will see Martin Brumbaugh as the journey that was taken to give back to the people what was once there.

ADE 621

TEJASWITA BHARDWAJ

The project is based in Catano, Puerto Rico and is therefore called Catanoville which is an inclusion of ecovilla, restaurant, education center, glamping site, distillery, other support functions and Commu nity Led Emergency Mangaement (CLEM) services. It focuses on the association between wellbeing, natural environment and tying it up with the community engagement. The programs ae designed to unite with one another and inviting nature in it’s spatial agency. The programs shall make an informed spatial arrangement to support the other cognitive functions.

The building forms and surfaces are designed in order to provide more opportunities for minimising energy consumption and maximising self-regulation.

The adaptive re-use approach that we took for this project is a mix of parasite and juxtaposition, depending on the program the structure is serving.

The existing structures are utilised to support CLEM functions which are integrated with other programs, such as distillery and restaurant.

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ADE 621

ROTHI BHATTACHARYYA

It has ben an amazing journey with my teammates Rielly and Vaishali, this semester and special thanks goes to Diane, Karin, and Ben for bearing with our strange ideas and my sudden barrage of “one last question”s.

The intent was to connect the users and the building itself to the outside while “bringing the outdoors in”, an idea influenced by the outgoing nature of Puerto Rican inhabitants. This conception led to a three-tier gallery all around, while keeping it’s identity intact on the inside, and rediscovering itself as a reward to the senses and a program for multiple purposes.

From conceptualization to the fine tuning couldn’t have been done without the unique inputs of each other. This design of the Martin Brunbaugh reimagination is exemplary to my experience in teamwork which was a slightly better understanding of how design in an actual firm might progress.

ADE 621

CHRISTOPHER FERNANDEZ

This semester we worked in groups of three to create a large scale site in the heart of Puerto Rico to revitalize a an old school and adapt the area to work with both the community and educate the community on the marsh land that surrounds the site. The part that I was given a chance to work on was a center for comunity engagement and mingling Site Plan 1” = 50’-0”

N

between the public and private spaces of the site.

This center for both entertainment and food lies at one of the main entrances of the site to both invite those who are traversing near by and those who love within the boundaries of the site to connect. This entrance lies at one of the other parts I was given the pleasure to work on, a large reclaimed conservation area that once was filled with residential homes. With the reclaiming of the spaces demolition was necisary, however leaving key aspects of the existing walls will now create points for the wildlife of the area to help thrive and create points of gathering for those who will now traverse through this new nature perserve.

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ADE 621

RACHEL MARIE FRAIL

“Plus is Greater Than Divide” focuses on the unifying links of the “inbetween”, spaces of transition and spaces of common ground. The strategy focuses on eliminating borders to establish fluid connections between the plaza and adjacent structures, interior and exterior, private and public, formal and informal.

As a reimagining of the traditional Spanish arcade, the “inbetween” offers a moment of reprieve from the social contract, where one is neither included nor excluded in space. Instead, users experience a succession of transitional spaces open to the public, sheltered from the elements, inviting the user to slowly acclimate their senses. “Plus is Greater Than Divide” seeks to unify through its connective nature impacting the physical and the social environment of Puerta de Tierra.

Special thanks to teammates Yuandi Wang & Slade Sheaffer.

ADE 621

AISHWARYA GNANESHWAR

Resilient Fenix is the rebirth of Martin Brumbaugh School in San Juan, Puerto Rico. As a group, Doug, Shreyank and I pushed the hard line on the origins of the school. By making the building more transparent, we seek to welcome the community into spaces to awaken new beginnings. The project translates into an intervention that respects the existing structure but adds value through the insertion of flora elements.

Flora brings about an innate connection that human beings subconsciously seek with the rest of life. It unfolds the narration according to a sequence of flora across the site without missing the opportunity to provide the already driven identity of Puerto Rico, featuring a purpose of culture and identity of the people and spatial unity designed to explore nature.

The strong green spaces on the site leads us to the botanical garden, building a gateway to community learning, engaging activities and play.

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ADE 621

TIFFANY HARTONO Education Center Water Collection Water Collection New Construction/Adaptation

2 ve l Le - 0" 10'

1 ve l Le- 0" 0'

Education Center/CLEM Circulation

Welcome Center/Exterior Exhibition

Addition Subtraction Circulation

The main concept for this project is a preservation and expansion of nature. The master plan, designed in coordination with Christopher Fernandez and Kruti Patel, lets nature and the new/old built environment blend in a harmonious manner. All of the existing structures in the Education Center and Community Lead Emergency Management facilities will be adapted and reused for the new programming. This is designed by strategic subtractions and additions to the existing structures to create new connections and experiences. Underground water silos will collect rainwater from the new roof structures and redistributed for use on site along with emergency water storage. In the hopes of creating a selfsufficient site as well as creating a source of energy during times of emergency, solar panels will be installed on the roofs of the taller buildings for energy distribution throughout the site, along with an emergency storage on site.

ADE 621

MARK HERNANDEZ-SCHILLING

For our design, we will explore the idea of blurring the lines between nature and urban life. We will interconnect the living nature of the island and unnatural infrastructure to exist together in a mutually symbiotic relationship. Our Master Plan to achieve this involves more access to nature both in the preserve and in site. We have plans such as letting nature grow over and around buildings to optimize their space and design sustainable buildings that will benefit rather than hinder the nature around them.

We will create more access and activities within the preserve for both locals and tourists, as well as maintain space for wildlife to remain prosperous. We will pull nature into our site as much as we can and blend it with our program to the point that no matter the view, one cannot decipher what is meant to be natural or unnatural.

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ADE 621

SMRITI JAIN

Inspired by the existing meditating feeling of the site at Catano, the project is a series of sensory experiences highlighted through light, shade, water, reflections, sound and smell.

Since this was an adaptive reuse project we not only adapted the existing buildings but also the natural elements. One such element is the existing floodplain which helped us divide the site into patches of water and greenery. Also, Historically, the site was a wetland which is why we decided to give the site back to the wetland. The existing buildings were strategically stripped with structure intact to either blend them into water patches or let nature take over them in green patches. Additionally, all new structures are pulled 2’ above ground to leave the site for the wetland.

The project is an interweaving of old ruins and new bamboo structures together to create a meditating pathway full of sensory experiences.

ADE 621

TYLOR KERPAN

E W Section

N S Section

Located in Catano, Puerto Rico, adjacent to a wetland, our eco resort was to create a holistic experience concentrating on the ‘Neighbor’ by involving the local community & Taino culture, ‘Nature” through reviving the flora and fauna of the conservation areas and ‘Nurture’ by creating modern techniques with indigenous methods to build a resilient zone against the calamities of Catano. By using the cut and fill technique we were able to create a bio sponge on the south of the site and then used the dirt to wrap the existing school buildings helping us “raise the wetland”. Lightwells were inserted throughout the North of the site to create moments in the building and in the circulation paths. Taino culture is embraced at the entrances of the two major plazas. At the North is a wooden crown like structure to greet the community of Catano. The south has a Taino Cemi constructed from thatched wood which acts as a gathering point for the visitors as well as a threshold to move into the wetland.

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ADE 621

AAKARSH KUPPANDA

Located in Puerto Rico, this project creates a holistic experience concentrating on the ‘Neighbor’, ‘Nature’ & to ‘Nurture’. This mixed-use development consisting of an eco-resort, education center, housing, microdistillery, restaurant and a community-led emergency facilty, has been organized and inspired by the indigenous Taino culture.

The wetlands of Catano was a place where porosity & fluidity governed the locality. Therefore, the wetlands were raised & used as the main architectural element to embellish the natural condition, creating a community within and around this natural embellishment.

Entering from the South, visitors reach a junction branching to the eco-resort, eco-villas & an iconic gateway(inspired by the Taino Cemi-god) that invites visitors to be swallowed into the wetland, taking them to the education center. The north gateway(inspired by the Taino Chief’s crown) greets the community to the site. On the West & South, the raised wetlands disintegrates to shade the eco-resort.

ADE 621

DOUGLAS LUSSON

Resilient FĂŠnix is the rebirth of the Martin Brumbaugh School in San Juan, Puerto Rico. Natural flora from different regions of the island is used to develop a sense of identity and place. The resulting resilience helps the community to bounce back from the perils impacting the island. The lower level is left intact to initiate a dialogue on the dark history of colonial education, while walls and floors are removed as you ascend to create transparency to welcome all members of the community and awaken a new beginning. The added porosity along with transpiration and shading by the flora provides a comfortable respite on hot days, while thermal masses gently release energy to warm chilly nights.

Our diverse group from different times, places and cultures soon learned to set aside individual interests and egos to focus on intentionality, the sharing of ideas, responsibilities and engage in healthy debates.

The end product, as one judge put it, “a group project that spoke in one voice.�

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ADE 621

SABER LYMAN

Researching the site and its context for the initial mapping exercise, our group made a discovery of an expression used in Puerto Rico. Comparing people to the Yagrumo Tree, specifically to its leafs, stating that a person was two faced. Although typically used in a negative connotation, this idea of the leaf having two different sides (One side of the leaf being green and the other being a silvery white) but being of the same entity was very intriguing. Further pushing our research into the culture and how the Puerto Rican people live with this dichotomy everyday, even shaping their identities. I wanted to create a Master Plan that guides our project to showcase the notion of a dichotomy and how it connects people to its history, culture and each other.

ADE 621

ATZIRY MADERA SABIDO

Catanoville was designed tying up the community and the environment. Our site had an incredible potential, and we decided that nature was what connected this allied spatiality. Spaces should investigate nature in a way that they unite with one another. It was approached in a way that spaces had direct connection to nature and this way become part of the education that was offered throughout the site. The program shall respect their respective purpose, but also support other cognitive functions.

We designed the spaces to have a flexibility to serve its functions and serve as a space for emergency when needed. The adaptive re-use project was approached to fulfil the wellbeing of the community and support through Architecture while maintaining the natural environment and educate about it.

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ADE 621

SPENCER MITCHELL

We begin our personal hero’s journey by exploring the auditorium. The auditorium draws people in and puts it’s guests on the path. From there our hero’s journey gets their call for adventure by going to the neighboring abandoned building used as the market hub for artisans. Because every good journey starts in a bar, right? Our hero’s move through this realm of indigenous craft makers. There they are inspired to take on the challenge of change. The Sky bridge stimulates the essence of the journey they take by having the clear movement and flow. The distractions of the view are every present. For those who cross their challenge will gain a companions of knowledge as they move through the different spaces of the museum. As our new hearos leave the museum they will see Martin Brumbaugh as the journey that was taken to give back to the people what was once there.

ADE 621

VAISHALI

This design project started with mapping exercise where

I

researched

about

culture,

art

and

demographics of San Juan. This group project (Rielly, Rothi and myself) in the Studio was to bring together multiple perspective and ideas on the site.

The design development was an evolving process.

All of our ideas came together to rise to the concept “Bridging“.

Our focus is on bridging, literally and metaphorically, the demographics of Puerta De Tierra. Through this concept, we are introducing a “Bridge” between the regional “Identity” to a resilient one. While the internal architecture and cultural essence of the School building is intact, we add a resilient layer of Bamboo, Timber and concrete introducing a novel Identity to the project to withstand future calamities.

The galleries in the form balconies is one of the traditional design element inspired from the Puerto Rico. We wrapped it around the old school building to give new identity as well as a connection element.

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ADE 621

SHRISTI OJHA

The island of Puerto Rico continues to suffer from natural disasters leading numerous buildings to be damaged and abandoned. The enormous number of abandoned buildings in the Island is a pressing issue and this project deals with exploring possibilities of provoking development in surrounding abandoned buildings while renovating one building. The building , the floating plaza and the connecting bridge compels movement towards the direction of other abandoned buildings, stimulating increased traffic in those directions. The building also intends to evoke the idea of enhancing and exhibiting the beauty, an ordinary building is holding. With minimal disruption to the original structure, the bamboo screens wrapping the facade are seen as flexible, replaceable elements. The project is not a result of predetermined ideas but rather a reflection of iterations and explorations.

ADE 621

KRUTI PATEL

The Idea is to restore wetlands by increasing biodiversity, relocate communities to better places and increase the local economy and create joyful spaces for the locals as well as tourists. Because the hurricane was not just a natural disaster, it was also an emotional disaster for many people. To allow people to be in nature all the time, every space is connected with water, green, and natural light.

To add Biophilic qualities we used native plants to filter water and for building exteriors wherever you go throughout the sites. To welcome surrounding community people, Open flexible covered and semicovered spaces were created where they can gather, celebrate, do parties and ceremonies and gather for major discussions. Circulation goes through the different levels to show different views to people especially towards the wetland and letting nature and the new/old built environment to blend in a harmonious manner with having an emphasis on sustainability through reusable water and energy.

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ADE 621

UDIT SHAH

For our design, we will explore the idea of blurring the lines between nature and urban life. We will interconnect the living nature of the island and unnatural infrastructure to exist together in a mutually symbiotic relationship. Our Master Plan to achieve this involves more access to nature both in the preserve and in site. We have plans such as letting nature grow over and around buildings to optimize their space and design sustainable buildings that will benefit rather than hinder the nature around them.

We will create more access and activities within the preserve for both locals and tourists, as well as maintain space for wildlife to remain prosperous. We will pull nature into our site as much as we can and blend it with our program to the point that no matter the view, one cannot decipher what is meant to be natural or unnatural.

ADE 621

SLADE SHEAFFER

+>÷

This

simple

equation

illustrates

our

fundamental belief that it’s better to unite than divide. After intensively studying and mapping the city of San Juan, and inspired by Puerto Ricans’ love of public spaces, we created the “inbetween,” a transitional public space defined by a contemporary colonnade. This space is characterized by our tree column, a device that plays off of traditional European arcades found throughout San Juan, provides shade, collects rainwater. and provides planters for vegetation. Additionally, the project slices open an existing abandoned elemtary school with a complex past, repurposing the building and blending its borders with the new public plaza. The result is a multifunctional exhibit, community center and dynamic public space that gives back to the people of Puerto Rico.

Special thanks to my excellent teammates Rachel Frail & Yuandi Wang.

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ADE 621

ABDULRAHMAN SHOGAIR

This project is a great example of adaptive reuse.

We faced many challenges that were surmounted and in the end reflected beautifully on the project. By utilizing natural resources as building materials, we were able to create experiences and moments on the site that connect visitors to nature.

Water channels were pulled into the site in order to help create bio-pools. Bamboo and concrete were used not only as structural but also asthetic elements. However overall I feel the biggest benefit of the semester was having a great team to work with.

ADE 621

RIELLY SMITH

It is the ambition of this project to enhance the culture and identity of Puerta De Tierra, Puerto Rico. The studio started with the creation of individual city maps which evolved with the ideas and passions of our group. In the collaborative design process of Rothi, Vaishali, and myself, we developed the concept of bridging that tied all our perspectives together.

Through the act of bridging, the architecture will provide a sense of resiliency and connection to place.

The Martin Brumbaugh Elementary school site was once a mark of Americanization. This dominance of identity is now a pivoting point to create a new one.

The school is reprogramed into a museum of identity and an activate transitioning space. A wrapping gallery is now the balcony that views the city and its people while blurring the lines of what is inside and out. Elements of juxtaposition and layered materials of bamboo, timber, and concrete create a new dialog between existing buildings and new ones.

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ADE 621

CHARLOTTE TAYLOR

This project was worked on by a team of three: Udit Shah, Mark Hernandez, and myself.

For our design, we will explore the idea of blurring the lines between nature and urban life. We will interconnect the living nature of the island and unnatural infrastructure to exist together in a mutually symbiotic relationship. Our Master Plan to achieve this involves more access to nature both in the preserve and in site. We have plans such as letting nature grow over and around buildings to optimize their space and design sustainable buildings that will benefit rather than hinder the nature around them.

We will create more access and activities within the preserve for both locals and tourists, as well as maintain space for wildlife to remain prosperous. We will pull nature into our site as much as we can and blend it with our program to the point that no matter the view, one cannot decipher what is meant to be natural or unnatural.

ADE 621

VISHAKHA TULJAPURKAR

Architecture helps in creating the identity of space and People celebrate this identity by using the space.

Understand Puerto Rico and its people. We tried to look at and mapping the morphology of architecture, history, and people. The notion of being very extreme was evident in climate, social structure, architecture approach majorly in old San Juan and new San Juan of Puerto Rico. We explored the idea of two extremes or opposites which lead us to Yagrumo leaves.

Yagrumo leaves have two faces, silver, and green.

The two faces of leaves are indicators of climatic change as well. The Leaves morphology was further used to create the structural grid for the project. The experience of heavy and abandoned buildings is now a more open and welcoming space for socialization.

Opening buildings in different quadrants to create experiences and weaving the building with the surrounding environment was the focus.

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ADE 621

ANNA UTTER

The Yagrumo Approach was derived from my teammates and myindividual investigation of the Puerto Rican people and life in San Juan. Weeach came to the conclusion that the Puerto Rican people perpetually have onefoot in both the United States culture and Puerto Rican. We saw a similarity betweenthe identity of the Puerto Rican people and the duality of the Yagrumo leaf; a Yagrumoleaf has two different colored sides and a strong spine holding the extent ofthe leaf’s great size. Our adaptive reuse design for the Esquela MartinBrumbaugh building was inspired by this Yagrumo approach we derived. Thebuilding is split to show the two faces of the leaf, creating two differentapproaches for the north and south side, supported by a strong core and clearcirculation. This building was designed to emulate the dichotomy that all PuertoRican’s live within. The goal of this design was to break open the building andgive it back to the resilient people of San Juan to learn, grow, and enjoyfreely.

ADE 621

SHREYANK VADEL

Our master plan was to create an integrated compound consisting of the school, the gas station, two commercial buildings and an adjacent warehouse.

Fences are removed and openings enlarged to connected to the housing and future development on the south shore through a pedestrian corridor. The 3D site plan shows the relationship of the buildings, the play of elevations and our efforts to interject passive cooling designs. The school was a monolithic box similar to the adjacent masses. We strategically removed walls and floors while preserving the core structural elements to curate desired porosity and terraces for planting. We constructed a catwalk to the second floor to reestablish circulation at upper levels. This creates a sense of peril producing biophilic benefits similar to the presence of flora. The site plan illustrates the grand plaza as it defines the procession into the school from any point of entry to the site. Comfortable gathering features were provided throughout to facilitate interactions.

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ADE 621

SIDDHARTHA RAJESH VERMA

CATANOVILLE

WELCOME CENTRE & SCHOOL The picturesque land of Puerto Rico has suffered from natural disasters which has been getting worse with the rising sea level. The country is under great economic stress and finding its cultural identity. There exists an enourmous potential for eco tourism, and also volunteer tourism to help rebuild the community as our site is located right next to an eco reserve which sees a large influx of migratory birds in the area. The design for the welcome centre evolves from a birds nest, using bamboo as the primary structural material and tensile roof being the secondary structure with solar panels as the tertiary skin. The roof tops of existing structures on the site are used as aeroponic farms and glamping sites.

ADE 621

YUANDI WANG

In-Between spaces The main idea is to creates connections between each buildings and the plaze. The initial idea is inspired from the European plaza with the colonnade surrounding it and creates an unique atmosphere and brad new environment for people to interact with.

The individual colonnade express multiple different funcitons and aesthetic, and when you look towards the colonnade from different angle, you will find different aesthetic feeling, like the rendering above shows, under the colonnade feels like you are udner rainforest trees and even gothic arches atmosphere.

The colonnade not only have the aesthetic feeling for people, there’s environmental friendly function like storage and transfer rain water and also provides a place for green leaf planting and other green vegetation.

Design Excellence Award Winners

Fall 2020 Design Fundamentals I Thomas Hartman Shirin Pramod Karunakaran Eric Watson Brianna Lidner Marco Rosero Patrick Boll Julianna Sorrell Bailie Walter Steve Valev Desmond Smith Maria Lozada Daniil Hristiuc Katherine Dudzik-Smith Moloud Tahmasebi Architectural Studio I Michael Underhill Daniel Marshalsay Thomas Hartman Nevina Plummer Darrren Petrucci Hailee Rother Katherine Dudzik-Smith Alberto Escudero Beau Dromiak Josh Einen De Joya Architectural Studio III Elena Rocchi & Peter Guthrie Sutton O’Neil Max Underwood Erin Bascom Abigail Hoover & Christina Noble Kinich Ruiz John Douglas J. M. Pugat Core Architectural Studio I Scott Murff Julia Lopez Brayra Podeyn Tessa Desroche Advanced Architectural Studio I Felipe Mesa Allison Edwards & Mallory Payne Amit Upadhye Michael Stears Elizabeth McLean Salem Malibary & Banning Mucha Advanced Architectural Studio III Ian Dickenson Cole O’Brien Claudio Vekstein Bryan Esparza Karìn Santiago Samuvel Benhursha Bernadsha Thana & Edison Spencer Mitchell Diane Jacobs & Ben Mullings Smriti Jain & Matthew Anderson & Abdulrahman Shogair

Philip M Horton Interim Director, The Design School Marc J Neveu Architecture Program Head

Credits

Graphic Design Pascale Vonier Faculty Abigail Hoover T Agami Reddy Amit Upadhye Beau Dromiak Brayra Podeyn Claudio Vekstein Catherine Spellman Darren Petrucci David Graspas Diane Jacobs Dongwoo Yeom Elena Rocchi Elizabeth McLean Eric Watson Felipe Mesa Ian Dickenson John Douglas Julianna Sorrell KarĂŹn Santiago Katherine Dudzik-Smith Marc J Neveu Ben Mullings Marco Rosero Maria Lozada Marlin Addison Max Underwood Michael Underhill Paul Zygas Peter Guthrie Renata Hejduk Scott Murff Steve Valev Tom Hartman

Staff Christy Brown Corie Cisco Jacklyn Collens Jesus Orozco Kalani Pickhart Madelyn Paz Margaret Murphy-Tillis Mark Fromeyer Mini Maestas Molly Isbell Raymundo Cabrera Samantha Perkins Taryn Landis Advising Matthew Ransom Anna West This publication was made possible by the support of the Architecture Partners Program.

180 Degrees ARCHSOL CESO Construction Zone David Brotman DLR Group Gould Evans John Carter PHX Architecture Susanne Rothwell Todd & Associates