Architecture at ASU | Spring 2021 Student Catalog

SPRING 2021

UNDERGRADUATE/GRADUATE

Catalog

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

As this shortened semester wraps up altogether too quickly, I am trying to find some distance to reflect a bit on what has been an incredible year. Putting this catalog together — our third —allows for an overview and perhaps some insight.

Welcome

It is interesting to read through the descriptions of the ALA 122 work. Each of those students, as well as our three plus students, have begun their entire ASU career in a remote teaching modality.

You can read thee struggles and hear how they overcame them, in their texts. I reflect back on my own first year in architecture school and can’t imagine having done that remotely—granted, we did not use email yet! I also think about our graduating students. I had the pleasure of working with many of the ADE 422 students in my first year at ASU. They, and our ADE 622 students, will complete their degrees and walk at graduation in a very different way than expected. I was very much looking forward to being with all of our graduates to join them in celebrating their accomplishments. Graduation at ASU is at a scale like no other university and it is really a joyous moment.

Still, we have made lemonade. A number of faculty—from second year through grad—taught at ASU, but were living elsewhere.

This opens up a whole new set of opportunities for both students and faculty. Recorded lectures were watched, and re-watched, at a pace comfortable for each student. We are launching an online degree – something I did not think possible when I arrived. Even this catalog that you will soon hold in your hand is the result of a cancelled exhibition. All of the work from the students in the Design Justice Initiative has led to a rethinking of the curriculum, as well as the potential outreach that will expand the scope of what we, as a program, will be able to accomplish collectively.

Many people are using the word “resiliency” these days. It is defined as the ability to recover, often quickly. It implies a return to a previous state. I think we are past that. I am more inclined to use the word “transform,” because that is what we really have had to do, and will continue to do. I am optimistic!

As I said in the fall, 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, transformation, and imagination 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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1st Year

ALA 124

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DESIGN FUNDAMENTALS II LECTURE PROFESSOR: Elena Rocchi

Stephen Adrian: Jason Cullen, Victoria Garcia Ojeda, Alexandra Handl, Yara Khair, Rachel Omiecinski, David Reyes, Ruth Ruiz Torrejon, Akanksha Srivastava, Kimberly Salas, Kyria Teachout, Bernardo Villalobos, Kai Williams Bernadsha ThanaEdison: Alan Calzadillas, Andrew Dobson, Benjamin Miller, Billy Pena, Christopher Conover, Dawson Bienz, Faith Hendricks, Gabriel Marcott, Guanhui Liu, Holly Hames, Ian Dodd, Kalina Artherholt, Lawahidh Alshuraida, Leonardo Marin, Maikel Aharonov, Marcus Tilmon, Maryssa Wentworth, Mia Austin, Ronak Bhakta, Serena Kaji, Shawn Riegel, Sidney Mccallum, Steven Rubly, Zachary Rajapakse, Zayla Jacobsen Caitlin Covarrubias: Edgar Camacho Acosta, Ana Colin, Branden Douglas, Israel Mutach, Selena Nguyen, Elias Page, Nicolas Roodettes Allison Edwards: Saud Alharbi, Micheal Brown, Kailey Carty, Corwaun Clark, Raquel Colmenero, Macy Flanary, Sierra Grunwald, Jacqueline Hogan, Erika Lara, Ron Krieg, Omar-Gonzales Nava: Elizabeth Bejarano Ronting Jin: Abigail Loar, Andrew Davis, Arik Sells, Elvis Castaneda, Jake Steinkamp, Jesus Nava, Jo Calanog, Lauren Geiselhofer, Meghan Parker, Opec Hynds, Tayoni Jordan, Victor Hernandez Vaishali Kalra: Jordan Allred, David Eftimov, Nicholas Froelich, Andrea Garcia, Jordan Johansen, Moira Mason, Xavier Mendoza, Jose Mendoza Romero, Ben Abercrombie, Nathaniel Browner, Jacob Carl, Jaren Deiulio, J Alberth Galvan Rivera, Emily Grippe, Jacob Hollingsworth, Payson Lynch, Savannah Shelabarger, Francisco Valencia Carmen Krebs: Santiago Parra, Uor Fawzi, Vidal Duarte, Vania Rodriguez-Aguilar, Ricardo Alarcon, Alan Alamanza, Lilian Parkhurst Krutiben Patel: Alexandra Beal, Andres Anguiano, Jack Desanti, Leslie Romo, Paul Biaya, Roberto Esqueda Quintana, Samuel Urbieta, Travis Gingrass, Zahraa Shaker, Sofia Lomeli, Trace Patterson, Jordan Sutherland, Braden Distel, Ashley Thornton, Alfredo Martinez, Jazmine Guerrero Brennan Richards: Alexa Nunns, Jeremy Claro, Joel Cruz, Jordan Black-Jarrell, Landon Wiens, Mariana Flores, Mihika Roy, Mobina Haq, Monique Rios, Sari Alyahya, Aja Shaw, Grant Kuffler, Jocelyn Bianco, Lexi Snyder, Michaela Fifield, Nathan Busse, Remy Nelson, Savannah Noble, Sultan Abudawood, Veronica Garcia Alisa Santiago: Abdulhamid Al-Adawi, Angel Sagaste, Chessa McDaniel, Christopher Becerra Mejia, David Moore, Maria Uzcategui, Morgan Rumsey, Sophie AprotosoaieKardos, Zwe Htet Meian Ye: Kaden Woodruff

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JASON CULLEN

The axon I made was of my assignment seven project depicting multiple levels of a small environment.

To me, The first floor was an area where someone could look at paintings of animals and different areas of nature. For the second floor, I imagined an area for animals to roam around on the garden that’s connected to the 3rd floor here birds or animals can go between the two and out of the structure through the hole in the roof. I was talking to my TA about what this was and got inspired by his idea to connect the top 2 floors but with my own personal design. I see a lot of my flat section views and floor plans in 3D and doing this axon helped me imagine my drawings better from the later assignment eleven.

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VICTORIA GARCIA OJEDA

This project was challenging. It is an axonometric of the hut we created earlier in the semester. This assignment made me think in a way I was not used to, I had an infinite amount of sketches trying to find the best way to create it for my final product.

When I look at this project, I take a step back and really like what I see. It shows me the potential I have and generates the goals I want to achieve in the future as an architect. Every single project this semester was a learning experience as they all consisted of different challenges including emotion, deep thinking, and perseverance. I look forward to the challenges in the future this project and prior projects have prepared me for.

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ALEXANDRA HANDL

The drafted space is a three-story microenvironment measuring thirty-four feet long and twenty two feet wide. The axonometric projection allows a view of all three spaces and how they interact. The flow upwards for humans is a ladder that allows for minimal invasion to the flora and fauna on the second and third floors above. A large opening between the second and third floors creates an aviary for the flora and fauna to intermix with little interruption. This conceptional project highlighted the extent to which spaces, whether a single room or entire building, should be designed with consideration of the existing elements and how they will function to unify the area.

“Design is thinking made visual”

–Saul Bass

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YARA KHAIR

This project expanded my drafting skills as I was challenged to create an axonometric microenvironment that had multiple stories stacked on top of each other. The environment I chose to create was a place with a program meant for meditation/relaxation.

This project represents a big step into designing floors that relate to each other as I had to think about certain aspects of the building such as material, the thickness of walls, etc in relation to the end goal of the program. It has influenced my design perspective as I had to find creative ways to get from each floor while letting go of preconceived ideas (such as not using ladders or stairs). Also, I learned the techniques of creating parallel lines on the X, Y, and Z-axis in a 30/60 degree perspective. I am excited to continue to expand my knowledge on drafting and architectural concepts overall as I progress through my years at ASU!

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RACHEL OMIECINSKI

While creating my microcospace, I had a bit of trouble creating the panels on the first floor. At first, I wasn’t sure how I would be doing three stories because my first level was already quite small. I thought to make the second and third levels bigger than the first and protrude out in different ways. The second floor is further back than the third, it sits in the middle of the first floor but expands outwards more than the first floor. This floor being fauna, I pictured it to have vines and flowers growing all throughout the room once you entered. When you look at the third floor, it looks as if the second floor is going up inside it but it just appears that way because the second floor isn’t as long as the third. The third goes out over the second and first floor and is the fauna floor which I pictured rocks and gravel in this room for an animal.

I really enjoyed this project because it caused me to think outside the box in creating all three layers and I believe my work has started to show a lot of improvement since the first semester.

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DAVID REYES

This assignment is an axonometric depiction of a building I designed. We were tasked with drafting our building at a reasonable scale and depicting three different levels within the building. In addition to showing the different levels, we were tasked with depicting the method one would take to reach the different levels. The building is originally inspired by a hat design where I interpreted the curving joints of the hat as tectonic angular structure. I imagine my structure residing within a public park where people could enjoy nature within the shade it provides and move into the upper levels to find a garden and bird habitat. The design at the top of the building allows it to stand out from its surroundings and be easily identifiable.

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RUTH RUIZ TORREJON

My microenvironment project is about a space that makes you feel comfortable and welcomed. I wanted to make the space for someone who needs a place to think or to collect their thoughts. I wanted it to feel like you could be there for hours just relaxing and exploring. This project has influenced my design perspective because instead of only focusing on how the designs look, it has helped me focus on the individuals who would enter the space and how it would make them feel when inside. If I was to design a space, I would rather it focus on the people rather than the way it is designed.

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AKANKSHA SRIVASTAVA

The is a structure I designed to allow different types of nature to interact and co-exist. This consists of a first floor that is designed for human consumption as a resting space. The second floor consists of grass that represents the flora of the environment. The last floor is a space consumed by the birds adding to the fauna of the environment. All these floors together show a human-made ecosystem that helps connect us, humans, that have moved away from nature to slowly closing the gap between the separate environments.

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KIMBERLY SALAS

One of the most important things for me when it comes to assignments like the Hut is for it to feel cohesive and comfortable without compromising the aesthetic side of the design. I believe that after working on projects like this, the perspective on how I see architecture and design has changed so much, to the point of seeing beauty in places that I wouldn’t have appreciated before, every line and curve and shape, has a purpose and thanks to design I can begin to understand that.

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KYRIA TEACHOUT

This semester was a huge challenge because a lot of our projects involved creating abstract designs from different environments. For this axonometric drawing, I had to take the hut project and create a whole new space with meaning. At first, it was difficult coming up with a great design because I was overthinking way too much. That’s when I realized it’s okay to not always have an explanation for why we design something the way it is. Sometimes, design is just trying new ideas and discovering what works best in a space.

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BERNARDO VILLALOBOS

The microspace, a place full of interaction, a connection with both the landscape and structure. In this project, I designed a space for my chosen animal to be able to interact in which were monkeys. I chose specific textures to be added towards the microspace as well as accessible entries for the monkeys. This project shows how interactions affect a design, this microspace was accommodated towards the interactions I thought monkeys would have and implemented those specific thoughts into the microspace. There is no such thing as bad design as everyone has their own thoughts and ideas. Everyone has their own way of interacting and experiencing spaces and that is what makes design unique.

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KAI WILLIAMS

My hut that I designed was a personal challenge.

The program is that of a greenhouse, meant to be a dome enveloping a jungle. The outside reminds me of a sort of cocoon, wrapping itself around the frame of the hut. The curved lines in a way represented me straying from a brand-new student of design to a young designer who wanted to bring more spirit to their work. My previous designs last semester were much simpler, and trying to represent growth and problem-solving in a design produced the work I have decided to display. My original idea for the hut was much showier and I believed there could be more than just attaching material directly to the frame in the grandest way possible. I believe this hut changed my perspective in the way that doing the most intricate or complex thing is not necessarily designing. I assumed my hut was supposed to be flashier, but design is functionality and efficiency. Ultimately, I was glad I could accomplish that in this structure.

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ALAN CALZADILLAS

When I was creating my hut, I wanted to make it a two room which is a diverse area where everybody was welcomed to be inside and a great spot for sightseeing, where also was very comforting and closed out from nature but not too much.

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ANDREW DOBSON

In my hut design, i wanted to create an open, welcoming space that included an outdoor pavilion type structure, with a walkway through the middle with seating. My inspiration would come from numerous public parks and seating areas around Portland Oregon. This is a place where people could visit to relax, but also still feel connected to the natural world through openings in the pavilion as well as dense vegetation on the inside as well.

ALA 124

BENJAMIN MILLER

For the axonometric drawing we had to imagine a space for humans, flora and fauna. My first story is a place where humans can enter the building, they can take the stairs up to the second story which is home to the flora. It is a grass floor with a tree growing into the third story above. People can take a ladder to access a perforated metal platform on the third story where they are surrounded by glass with a large opening for birds to fly in an out to access the tree branches.

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BILLY PENA

For this project, the design I wanted to emphasize, was the idea of bringing the outside in. I did this by having an open ceiling 3rd floor where the flora grows celestially and abundantly. The 2nd level invites any and all desert amphibians into the warm desert environment, where both levels can be accessed by elevator. The bottom floor incorporates materials and patterns that can emulate and natural environment while being inside.

ALA 124

CHRISTOPHER CONOVER

When designing my hut, I was thinking about how I could make sure there’s enough natural light without it being so simple. So, I added some extra shadows to make it more complex. Imagining this hut, I was thinking it should be in the water, with the ocean coming up halfway to the balcony. The balcony/porch is held up by a single triangular piece connected to the base.

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DAWSON BIENZ

With my microenvironment, I was really trying to achieve a space in which people could explore and get in touch with nature. With pathways, this helps someone to follow a certain procession through the area. However, by also omitting many walls, and including many natural elements, it is really up to the observer to pursue what they please in this space.

So, this perfect balance of freedom and direction allows any person to feel comfortable here. Overall, this assignment was very enlightening to me as a designer, as I learned how to create a unique space in which the needs of many different groups of people could be met!

ALA 124

GABRIEL MARCOTT

In the aspects of design, I found in this project that I really wanted to capture the essence of less is more to create an intriguing piece of art. When looking at my model from first glance it can be seen as simple but, the closer one looks at the details the craftsmanship and story become more to life.

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HOLLY HAMES

For this assignment, I wanted to keep the design simple. The exterior of the model included a lot of intersecting panels and edges, and I decided to highlight the opening and add in a brick detail to the interior.

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IAN DODD

I wanted to tell a story when creating my axon. I hope each person viewing takes it as their own and can be brought into the same world I was in when making it.

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KALINA ARTHERHOLT

I wanted a sense of simplicity when creating my hut, so I focused on one shape to fill my space. Starting with the base and the tectonics, I began with a square.

From there, I wanted to bring in some smaller details, which I envisioned as seating within the hut. I then went in with some more detail around my tectonics.

I wanted my hut to allow people to recognize the individual features that create the overall space. So while it may look detailed, I feel that by breaking it down into simple shapes, it gives the sense of simplicity and creativity.

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MAIKEL AHARONOV

The Axon on the right shows the three layers of my space. I really enjoyed working on the project because I developed this space without a preconceived idea.

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MARCUS TILMON

When creating and designing my hut I wanted to think of some sort of outdoor space. Back in Rockford, Illinois where I am from we have a theater that opens up in the summer and the roof moves into a cool design. This theater was in the back of my mind when creating this project.I took the basis of the thater back home and made my own changes and made it how I thought would look the best. My outcome was very successful and I am very happy on my project.

ALA 124

MARYSSA WENTWORTH

The design of my hut was already in my head before we started, I knew exactly where in the busy city life i would imagine it and exactly what I wanted it to look like inside down to the sounds that would be echoed throughout. While the building itself isn’t large, it was part of the point I was trying to prove. That just because something is small and may not seem like it belongs there, it can end up being an adventure or something more for every person.

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MIA AUSTIN

For the interior of my hut, I wanted my space to be an oasis. A place that brings calmness and provokes thoughts. I kept my materials/textures to a minimum with a stone structure and natural pool. This year has taught me the endless possibilities a space can have, and this project allowed me to create I have envisioned.

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RONAK BHAKTA

I wanted something simple with my microenvironment.

I wanted for whoever was inside of this space to enjoy high ceilings and open spaces.

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SERENA KAJI

When creating my version of a hut, I imagined how the audience would interact with the space. I wanted to make sure the design would be accessible for everyone. I imagined a sort of gallery or museum with a structure unlike any other. Not only would the experience be lasting for my audience, but the structure would impact their experience as a whole.

ALA 124

SHAWN RIEGEL

For my building, I wanted to include different forms of natural materials in order to provide for a unique environment. Each floor includes a different type of natural experience: landscape, flora, and fauna.

The first floor contains a grassy base, which would extend from the outside. The second story includes a rocky floor, as well as walls decorated with leaves and greenery. For the final floor, I wanted to include a unique animal, so I decided to house otters. Their exhibit includes a small pond, land, and rocky walls.

I wanted to include a different setting for each floor, offering a unique experience for visitors.

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SIDNEY MCCALLUM

My hut was heavily influenced by my appreciation of natural elements and light. I envision my hut as a structure blended in with nature. The columns wrapped with overgrown vines hiding a smooth, ancient marble. I visualize the ceilings covered in moss leading up to a square sky light, that slowly illuminates sections of the space. The space is used as a resting place, possibly at the end of a hike. A place to admire and to feel at ease. I am very happy with the results of the model.

ALA 124

ZAYLA JACOBSEN

Designing this space, I wanted to create a form that guided the user to the following level. The sloped walls act as a pathway to the next floor, separating the exits from the main room. My goal was to keep the separation of the floors straight forward, keeping each floor experience individual and unique.

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ALSHURAIDA LAWAHIDH

In aspects of design, this project was my favorite one that i wanted to capture. When looking at the different levels of this of this axon, you can see how each level represent a different environment , it would be really interesting and fun to have it in real life.

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EDGAR CAMACHO ACOSTA

It has been without a doubt an incredible experience being at The Design School. My creativity, passion, and love for design is shown in my Section 2 Assignment 6: The Hut. I designed a small open space for the public with the purpose of being a landmark or a meet-up location. I imagined people meeting up at my building before going to do whatever they were planning to do. Having my structure at a centric location so anyone can be pickup, dropped off, carpool (leave their vehicle to go with someone else), meet your date, meet new people while you wait for someone and so much more. It is a simple design, but I believe that the purpose it carries is unique and promotes unity. An enormous thank you to my T.A. and my Professors for your passion and support.

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ANA COLIN

My name is Ana Colin, I am from Chihuahua Mexico meaning that I am used to colorful and bright designs. Architecture has always been one of my biggest passions. Understanding that architecture is in everything we do, we see and feel design, and that is the most important reason why architecture is very important! This project was dedicated to us understanding the space that surrounds us. In the process I understood that thinking about details is important to really give your best.

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BRANDEN DOUGLAS

For this Ecosystem assignment, I took inspiration from the previous hut assignment to begin designing this project. I wanted to select materials that would work cohesively to blend the environments between the three levels. The first level features a beautiful white marbling floor with pebble tiles along the walls, contrasted by a black marble stones covering the floating steps. My main objective while designing this structure was to create a seamless transition between each floor. As you reach the second floor, a small waterfall flows from the third story down through a glass paneling in the floor of the second story. The second level also has a garden, because of my waterfall and tree elements I decided to leave three fourths of the ceiling open. The final level of the Ecosystem will contain chameleons enjoying themselves in the trees and water. In order to connect the second and third story, I made the floor of the third story completely of glass.

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ISRAEL MUTACH

I had just lost a family friend when working on this project. This loss inspired me to create a place in remembrance of young lives taken too soon.

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SELENA NGUYEN

With the use of the floor plan of one of my precious projects, from it I created a new space, the drafted axonometric. It incorporates flora and fauna into three levels. I wanted to create a space that not only supported flora and fauna but also allowed people to walk through and have an experience. This new space would allow people to walk through a bamboo garden, see a pond of turtles and enjoy a small waterfall feature. I was inspired by the ideas of japanese gardens and it was the main influence in the creation of my project.

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ELIAS PAGE

I wanted to create a beautiful three-story home that utilizes green spaces to build connection between each floor. The first floor incorporated a green wall to soothe the mind and provide a space that people can relax and enjoy themselves. The second floor is a garden room filled with many different plants and a beautiful deck to watch the sunset. The final floor includes a green pasture for pet sheep to play.

So far, architectural design has been truly awesome, I have learned so much in such a little amount of time and have widened my knowledge in design, but also in creativity.

ALA 124

NICOLAS ROODETTES

This project was interesting because I have a much easier time envisioning 3D models and understanding the direction I want to take it in. This one in particular went through a lot of evolution, especially after I needed to clad it, but I’m happy with the final product I found; I like that it’s balanced between something sleek and something sturdy like a carapace.

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SAUD ALHARBI

Design is seeing a living potential in a space.

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MICHEAL BROWN

My microenvironment is called “AZ twenty93’”. It’s inspired by a unique tour through Antelope Canyon I experienced. Infused with futurist ideas like having bridges connecting plateaus for future tourists to sight see. I picture my microenvironment to be a quick view into Arizona’s Future

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KAILEY CARTY

This semester has undoubtedly been the most challenging of my academic career thus far. So much has happened over the past months, both personally and globally, that balancing school, work, and family has become next to impossible. Despite this, I am very grateful that our professors at the Design School continue to hold us to a high standard and push us to think and act like designers despite the exhausting circumstances. Design is much harder work than others tend to expect, so it is even more important that we work hard during this time to prove ourselves and show what heights we can reach even in adversity.

ALA 124

CORWAUN CLARK

This project became fun once I was challenged to recreate the arches in my original sketch. My mind was ecstatic as it found new areas within my imagination. This led to the re-engineered beams and hexagon structure. After the Skeleton of my design was constructed, I began to clad the exterior in order to emphasize the joints between each corner. Once I added texture to the project, I felt a great sense of accomplishment along with a new perspective on shape, function, and form.

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RAQUEL COLMENERO

“It’s not about the greatness as an architect, but your compassion.”

– Samuel Mockbee

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MACY FLANARY

Landscape architecture initially interested me because I wanted a job where I could work outside and be in the environment throughout my career.

However, it has now transformed how I see both the built and the natural environment. It has changed how I see the world.

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SIERRA GRUNWALD

As of May 2021, I have officially completed my first year as an architecture student at ASU, how exciting!

In the midst of the coronavirus pandemic, this academic school year has proven to be incredibly challenging but has also proven the perseverance of my fellow peers, not only within the Herberger College, but ASU’s community as a whole. With this in mind, I can’t wait to see what will become of us in our future professions.

For me personally, my first year at the Herberger College has taught me to think so far outside of the box, that it’s almost ridiculous how creative one can be! Additionally, this year has taught me to seek inspiration in the most unlikely places, to develop that inspiration, and to hold firm in your work despite what others may say.

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JACQUELINE HOGAN

Although this was only my first semester studying architecture, I have already learned so much from these past few months. What really stood out to me was the idea of context and formulating complex designs from simple thoughts or sketches. I used to think that architecture and design stemmed from one initial idea and stayed that way until completion.

Obviously, that is not the case as proved through this semester. My hut project derived not from the idea of creating a hut, but instead from the structure of a hand crafted hat! The project went from a hat, to a hut, then finally to a three story micro environment suitable for both humans and animals alike. I was completely unaware that this progression would occur, but it led me to trust and appreciate the process of design. One simple idea can formulate into a million different projects and designs, and that is truly inspiring to me.

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ERIKA LARA

Architectural design allows me to express my thoughts and give purpose to my creativity

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RON KRIEG

This year has provided me with yet another way of viewing my environment. From it, I’ve learned how to apply what I see to my design process which is something I’ll take with me through the rest of my career.

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ELIZABETH BEJARANO

This axonometric drawing is a continuation off of a previous assignment, in which students were instructed to make a three-dimensional “hut.” The first floor of this assignment is a direct reflection of the hut’s floor plan. After the first floor was drafted, the next two floors were designed without the constraints of the original floor plan. It was also instructed that the building created, specifically the third floor, had to be designed to withhold a certain animal species. This axonometric drawing was constructed with the intent that birds would occupy the third floor, hence the taller ceiling. The textures used in this project were, in order from first floor to the last floor; concrete, sand, and wood. The concrete was the same texture as the hut, the sand texture was chosen to slowly blend the building into a desert landscape, and the wood texture was specifically chosen for the birds.

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ABIGAIL LOAR

“Architecture and architectural freedom are above all a social issue that must be seen from inside a political structure, not from outside it.”

–Lina Bo Bardi

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ANDREW DAVIS

“To create, one must first question everything.”

–Eileen Gray

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ARIK SELLS

Architecture takes time. I realized this since the start of the year. Drafting needs practice and precision especially if it is axonometric, like the draft I did.

For this draft, I had to figure out how I wanted to represent what was inside, outside and what I wanted the eyes to see. I had to keep in mind what this space was going to be. Each floor level has a totally different environment. I wanted the space to be covered in stone, surrounded by greenery. The space has two openings that act as entry ways, one for humans and one for birds. I took it for myself to complicate this project by including the width of the walls. Once I saw the end results, I knew it was worth all the time and effort I put into it. I consider this project to be one of my favorite projects I’ve done.

It wasn’t easy nor difficult, you just need to manage your time.

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ELVIS CASTANEDA

I enjoyed the process of creating my own micro space.

I wanted my hut to look as if it was a mini-museum of many textured walls, with various openings that made it seem abnormal but the point was to allow the exterior light to create shadows within the interior space. In one of the images that show the front view of the hut, you can see the emphasis on the shadow and light in the space which I believed was very interesting. The lighting allowed the camera to capture the shadow of my hut outline coming along with an eye-view perspective it gave a chance for others to experience the interior space. During my axon drawing, I thought of making a simple space with some features inside, as the first floor is portrayed as a small room with a little structure in the middle where people can walk through. The second floor was supposed to be a space where there is landscape present as in one of the boxes I did add landscape texture. Lastly, on the last floor, you can see two pillars make up an ecosystem for birds.

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JESUS NAVA

This project is very special to me because it is the first physical model of my collegiate architecture career. I enjoyed every second of being in the process because I kept designing and new ideas would flow into my mind. Although this model is quite simple I believe it is well executed. As I was designing this space, I wanted this space to be a place where one can come home to their family after a long day of work and enjoy quality time with their loved ones in their modern home.

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LAUREN GEISELHOFER

When creating my hut I was inspired to design a place that is peaceful, elegant, enchanting, and surrounded with greenery. I used the entrance as a focal point, adding multiple layered walls to create depth and dimension as you walk in. I used my grass textures to create a grass chandelier hanging from the highest point at the entrance. I added a source of light on a lower level that opened to a flower patch, appealing to various design elements When walking to the outdoor area/ flower patch I used a gem inspired texture, emulating a feeling of elegance and brightness. I enjoyed this project because it helped me to branch out and try new things while exploring and creating design and the impact on space and feeling.

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MEGHAN PARKER

This project allowed me to design an interior space within a hut that was originally based on a hat. This project holds a special place in my heart, as it is one of the first models of my collegiate architecture career that was designed entirely by me and based off of my own ideas. As I was designing this space, I wanted it to be where anyone could go to relax, enjoy their surroundings, and have a quiet moment by themselves. In order to do this, I added benches along the walls of the structure. I also included biophilic elements in the form of green walls intermixed with stone. On the ceiling of the structure, I created a cut out in order to allow natural light to fill the space. I also added a mirror that reflects light onto the floor of the hut in different ways depending on the time of day.

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OPEC HYNDS

When working on the design of the hut I was very intrigued about how it would feel like to be a part of the hut if I was to stand next to it or inside it. I wanted my hut design to be settled at a public park. Therefore, people can walk past it, look at it and feel the need to approach the hut to have a better understanding about how the space is to be interacted with. The process of making my hut was fairly easy to make because of my drawings I planned out before, which made it clear to me on how to create the model. In the end I was proud of myself for how my vision in my head turned into a clear physical idea. Projects like the hut shows how passionate I am about architecture and that I really enjoy what I do.

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VICTOR HERNANDEZ

2021 has been a big year for me as a student and a person. Design is something I have always kept close ever since I first started high school and took my first drafting class. I took these classes all of high school and I never felt like it would take me to where I am now. My first year of the architecture program is ending and now feel confident this is something I see myself doing for the rest of my life. Section two has had some of my favorite projects so far. My hut is a space where I see me and friends hanging out at for hours. I wanted to make an open space that can be used for multiple different purposes. I left two big openings, one as the door and one as a skylight, I did this so I can incorporate as much outdoor lighting as I could.

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DAKOTAH HUDDLESTON

This semester has been full of various emotions. And all I can say is WOW. I’m extremely glad I enjoyed this program, as coming in with previous experience of architecture, this program helped change my perspective on landscape and interior architecture as a whole. However it definitely helped me grow as a person and an architect, as it helped me see different perspectives and angles on works of mine and others, whether that be flat or 3-dimensional work itself.

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JO CALANOG

For the interior of my hut, I wanted to design a comfortable space where people could freely play around or relax. I hoped to create the sense that people still felt connected to the outdoors when they stepped inside so I searched for more natural materials like wood, stone, and concrete. However, when I put these textures together, the space felt too enclosed and overbearing despite my hut having a large opening in its ceiling. To enhance the sense of openness I also chose to incorporate a “see-through” texture using shadows created by the dappled light from the trees in my backyard. Though I can’t say this is my best work, I did feel pretty satisfied when I completed the assignment because it made me see how much a space can transform through the use of different textures and materials. Overall, I had fun playing around with the material and creating different compilations to find what I thought looked best.

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TAYONI JORDAN

At the beginning of my first year in design school, I could not see the purpose of the activities we were assigned. As I go into my second year, I realized those assignments shaped my understanding of design. Though I determined my major years ago, I did not know how such simple concepts could add to making a beautiful project. With each piece building on each other, I have grown to appreciate perseverance and found joy in the process rather than only the completed work.

I take pride in the projects displayed because it shows me how much I’ve progressed. Had I been asked a year ago to produce original structures, they would lack basic design principles. Learning to understand the space of your work is arguably the most important aspect of creating it. Moving into my second year of the program, I am grateful that I had the opportunity to be taken out of my comfort zone to become a better designer.

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JACOB STEINKAMP

I enjoyed working on projects 5, 6, and 7. Creating the model was a difficult task and I had to remake it because I am unable to store it properly in the dorm. I like the idea of selfies museums so I incorporated that into assignment. I had a lot of fun with assignment 7 and was really happy with how it turned out.

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JORDAN ALLRED

One of my favorite projects as it allowed me to truly express myself. Overall this space represents what is hidden, what is seen, and what is yet to be discovered.

This year brought many discoveries I found about myself and it has made me eager to uncover more things about the way I see design.

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DAVID EFTIMOV

For Assignment 6 I tried to mix something modern with something traditional. I picked marble for the modern part and then for the floor I created a mosaic made from a traditional bulgarian brodery but instead on clothes I used it as an interior element. The people which I included are my friends and they are performing a traditional dance called “ruchenitza’’.

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NICHOLAS FROELICH

Overall this semester has been an amazing experience allowing me to see and design in different ways I never thought I could. From magazines and presentations, all the way up to full topographical models and wooden structures this semester has taught me a lot of things about construction patients and time management. Especially in the assignment I have listed above assignment 6 was one of the largest projects I had taken on in a long time but through the work and time I put in I feel as though my final product was something I could be proud of.

That feeling of accomplishment was something that drives me to create and draw in my free time. I feel as though I’ve learned so much in such a little time and I’m very thankful for everything.

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ANDREA GARCIA

This semester has been a tough one, but I did not let that take away my motivation to finish the year.

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JORDAN JOHANSEN

Here is the work for assignment_7, as well as a headshot. “The design process isn’t simple, it’s complex. Complex, but simple, its ideal process doesn’t develop within preconceived ideas, but the process of design. As a design begins, its final design isn’t always the ideal thought as the design began.

The magnificence of the design process, isn’t its ideal thought may never be the same as the final product.”

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MOIRA MASON

This semester was both really challenging and really fun. I learned a lot about drafting and design especially in this project. I had to try a couple of times to make everything line up and to get the drafting right. I liked this project a lot because of how much I was able to learn but also how we had to incorporate nature into our designs as well.

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XAVIER MENDOZA

My experience for design and fundamentals was great this year was probably the most fun I had creating all of these new projects. In addition I had a great time interacting with all the professors and even my TA they all have been a great help this semester. Furthermore my favorite assignment from this semester was building the hut from a hat model we created. I found this assignment to be most entertaining because our creativity was shown the most through these models. Overall this semester was very fun and had me working a lot and now I cant wait for my next studio class.

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JOSE MENDOZA ROMERO

The purpose of this space is simply to give people a place to relax, a place to be. I created the interior of the hut inspired by what I consider very relaxing and even when opposing, well combined textures.

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BEN ABERCROMBIE

The best designs happen when you become a part of the environment.

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NATHANIEL BROWNER

Levels upon levels with each their own unique story and character. From a human creation to the bounties that come from the plants above. Even the birds perch along the edges and fly through the sky.

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JACOB CARL

Hello everyone! I am super excited to share one piece of work I have created over the past semester.

This is the inside of my hut, where I was able to experiment with dramatic lighting, different textures, and overall think as a designer would.

Personally, I love the minimalistic and modern style of design, but I can’t wait to experiment with other styles and themes. After putting in so much effort and patience in my work, I was able to see the dramatic growth I have already accomplished since the beginning of the school year. I have gained so much knowledge in Design Fundamentals II, and I am eager to see what other amazing works of art I can create in the near future!

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JAREN DEIULIO

This semester has been a semester of growth. I feel like my craft has improved and my spirit is starting to show in my work. I am more confident and I am starting to grow a sixth sense for design. I am happy with the work I have done and I am excited about future projects. Under the circumstances of this previous and current semester with COVID-19, moving into a dorm, and the new experiences with online learning in my freshman year of college, I feel like I have accomplished many things and I have put in my full effort into the semester.

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J ALBERTH GALVAN RIVERA

The Experience provided to me this semester and past semesters by Arizona State University has been amazing, I have met new people with the necessary safety precautions, and I have also broadened my horizons on different ways of seeing design while learning new skills to help me in my professional career path. The professors at ASU have made these semesters’ experiences exciting with all the different ways of being involved. The image I included in the top view of a hut model that we created was derived from a previous assignment. The image is representing a cladded floor for the hut while still allowing the viewer to see the tectonics of the object.

The hands-on aspect of the projects at the Herberger Institute for the Design and arts its weekly project it has kept me intrigued and excited for what comes.

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EMILY GRIPPE

While this has been an unprecedented semester, my learning experience throughout this course has been more than I could have hoped for. I often find that it is when we are faced with the most adverse of conditions that we are challenged enough to grow and adapt through acceptance. One of my favorite quotes relating to these circumstances is this: “Wanting a positive experience is a negative experience, but accepting a negative experience is a positive one”. This assignment as well as this year have inspired me to continuously grow and adapt to whatever situation I am in for the greater purpose of following my passions of design.

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JACOB HOLLINGSWORTH

Being a designer in today’s environment takes responsibility and discipline to meet our populations demands.

Everywhere

from

working

with

the landscape to skyscrapers requires much sustainability to protect and enrich our Earth’s climate. Together, as future Architects we will require much needed adaptable working environments to ensure our future is here tomorrow!

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PAYSON LYNCH

“Design is not a single object or dimension. Design is messy and complex.”- Natasha Jen. Looking back on this semester’s work, I’ve found assignment 6 to be my favorite, not just because it felt the most individualized, but it was also the most rewarding. Being able to clad the interior of my hut, I found that my work finally felt transformative and immersive -- truly like a real space. I think it’s important to recognize how each project builds off one another to create a cohesive final project, even if in the moment some assignments feel incomplete, in the end they all work together to form the end design.

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SAVANNAH SHELABARGER

My experience for design and fundamentals was great this year was probably the most fun I had creating all of these new projects. In addition I had a great time interacting with all the professors and even my TA they all have been a great help this semester. Furthermore my favorite assignment from this semester was building the hut from a hat model we created. I found this assignment to be most entertaining because our creativity was shown the most through these models. Overall this semester was very fun and had me working a lot and now I cant wait for my next studio class.

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FRANCISCO VALENCIA

Light will come within, to shine in design.

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SANTIAGO PARRA

When designing my hut, it was quite confusing at first but became easier as the walls began to build. I started form the floor plan then built upwards, some areas were harder than others, but it wasn’t till about 60% of the way built is when it started “making sense”. It was a project that started rough but ended well and made me quite happy.

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UOR FAWZI

I went into these projects with no thought as to where it would start and where it would end. There were no expectations and absolutely no limitations to the grandiose possibilities. Fortunately, I crossed the finish line with uniquely intimate spaces that I believe could be shared with others who are as appreciative of the openness and expressiveness in the world that I tried to convey in the hut and its microenvironment.

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VIDAL DUARTE

The Hut of my design was made to express very deep human emotions. I wanted to make something that would be a cave for a city environment and was inspired by the Aztec creation myth, in which humans first emerged from caves stretching deep into the earth. Inside are monolithic stone walls to invoke a feeling of smallness that curve around and spill one into a large stone atrium, with a sail-like opening above followed by modular steps of roofing, making a rounded top to the large stone room. It’s intended use was to provide a big, heavy, silent room amidst a city where echoes of the people inside would fill the space and come spouting out of the top.

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VANIA RODRIGUEZ-AGUILAR

When creating these projects I imagined a space that was open, free, and calming. allowing for nature to sleep through giving a comforting feel.

It was not an easy task to create these projects, but it was an amazing experience. Being able to create an environment that was calming was an exciting experience.

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RICARDO ALARCON

What I enjoyed most about this project was getting to create my own public space. At first it was a challenge to put together but I found better techniques to slit the paper as the structure followed along with it. As the main purpose was to achieve shadows that run through your hut. I feel like I made it pop out even more once I was able to use certain textures that give off the feeling of relaxation. I would say most of my motivation came from skyspace on campus and thought to myself how would that look if I were to put my own touch on it.

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ALAN ALAMANZA

This is my axonometric drawing that incorporates an open concept, a biophilic design that takes into consideration the wellbeing of the foxes involved.

This concept came to be as a result of my floor plan from a different project, where we designed a hut from a hat we designed earlier in the semester.

There were ideas that I couldn’t figure out how to incorporate into this design but I’m happy with the end result.

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LILIAN PARKHURST

I thought this project was neat because of how I had to transform a previous project, a hat, into this new one, a hut. It was kind of difficult to do because my hat is very curvy, so I had to decide how I wanted to represent that with linear constraints. Since my hat was based on a circle, and because it already had these equally placed divisions, I decided to base my hut on a 10-sided polygon. This was not very easy to do, and I had to redo a few parts that had ripped during construction, but along the way, I found better ways to connect the pieces together.

Overall, I liked this hut project. I feel like there are some places where I could have done better, like keeping the sides of the hut more equivalent, but I also am glad that I was able to make this in the first place. It was fun trying to connect the pieces without glue or tape, and it was satisfying to see the cladding bring it all together in the end.

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ALEXANDRA BEAL

My model revolves around the idea of a biology building for ASU. The bottom floor is an area for homework and coffee while looking at fish in the center of the space. Once you go to the second floor, there are vines and bridges to walk across and peer out the open floor windows to see ASU from above.

At the very top, one can sit in the grass and enjoy a pond with fish and look up at a variety of birds on perches from above.

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ANDRES ANGUIANO

This assignment was given to us to explore how a space previously created could be expanded upon.

Criteria for the expansion was to make the spaces connected, from the human experience to the addition of natural elements through flora and fauna. The first level is an open gallery space with areas left open for future installations and a bench to seat visitors.

A stairwell towards the back of the space leads up to the second floor, an indoor-outdoor garden space.

Looking up from second floor I envisioned a slatted roof to allow for fauna to pass into the structure and interact with the flora below. Giving the space the open feeling of an atrium.

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JACK DESANTI

Designing a space from scratch was one of the newest and most difficult things for me to begin to understand. With this assignment I was able to utilize texture to discover how to transform the space that I had created from my own head.

It was a very interesting project for me as it made me think about what is inside a space you designed solely based on a shape. I ended up finding nature in the shape, and the movement in the walls and floor as I went on through the project. It was very interesting to see my final product.

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LESLIE ROMO

Upon beginning this project, I had no idea what I would create. I struggled for quite some time until I made a realization: sometimes, it’s not about where you take the project but rather where the project takes you. Envisioning myself within my space and thinking about where the sun would shine if I shifted one piece of paper in place of another is what really allowed me to bring my space to life. Experimenting different things from various perspectives allowed me to escape my preconceived ideas and create something entirely new that I had never before imagined.

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PAUL BIAYA

I started to reconstruct the hat by using ½ wide strips of Bristol board. While reconstructing, I simply construct. Then I decided to reduce my hat scale because it was too large and reconstructed with different scales. Afterward, I try to construct the joints of the structure so it can connect easily. At the end, I decided to add more Bristol strips and so it can structure stability. However, it turned out into a simple construction.

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ROBERTO ESQUEDA QUINTANA

This semester has been really different from last semester. I have grown a lot and I am always surprised to see what next assignment I am going to be given. I never really get bored from this class.

If anything, it’s a rush of creativity! I sit there for an hour contemplating what I really want to create and finally just start. And it’s that process that I go through every time that lets me know architecture is what I want to do. Sometimes I may feel like my work isn’t as good as it should be, but when I reflect on it I just know it was a moment of wanting to be perfect about it. I personally feel if a person isn’t frustrated with their work then they will never really grow in their area of work. For me it just wants me to push harder and to be a better designer in my eyes and not in the eyes of others because in the end it is what I create that I want to enjoy and be proud of. This semester has really set those ideals into my mind and I am grateful for being able to undergo this experience of reflection and growth.

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SAMUEL URBIETA

I really enjoyed this project, because it was one of the first times where I fully understood the abstraction process. I really appreciated a lot more of the architectural structures that I saw in public after doing this project. We began with absolutely no preconceptions and pasting strips of paper together to construct a hat. They all looked like chaotic messes and it made no sense initially, but we then sketched abstractions of the hat. Then we sketched a structure out of the abstraction, and afterwards we created the model. The link between the hat and the model is so distinct, but the derivation is also clear.

I really learned a lot from this project, and I’m very proud of my work.

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TRAVIS GINGRASS

My design includes a space meant to be to act as a space to relax in as well as a place for observing nature. I choose to clade the interior of my hut with white marble in order to give the design a clan aesthetic, as well as drawing inspiration from marble used in world famous buildings.

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ZAHRAA SHAKER

Challenging assignments, At first it was difficult to begin but I learned it is way much easier to just DO IT! I didn’t give up I had to redo my assignments couple of times until I was satisfied. The most challenging part was making it through this semester over the internet I feel everything would have been more enjoyable if it was in person with many classmates sharing out ideas.

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SOFIA LOMELI

This project made me see how far my creativity could take me by starting with one idea, such as starting with a hat, to a simple hut, and then creating it into a structure and into much much more. For this assignment, I had the chance to explore different ideas and found that changing the simplest of elements such as a line or an angle can create something else entirely. I tried to take every opportunity I could to create welcoming spaces and add my own personal flair in my work and make it my own. I hope to continue on this journey in developing my craft while also maintaining a strong sense of spirit.

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TRACE PATTERSON

This structure contains geometrically interesting extrusions surrounded by a simple base, with a large welcoming entry point. The viewing windows are used to show how an inorganic shape frames and emphasizes an organic landscape. An organic landscape can sometimes be overwhelming and contain a wide variety of components that may overwork the brain losing and defocusing the attention of the viewer. Through this project, inorganic shapes and viewing points contrast the organic landscape heightening the emphasis on the landscape. Through the viewing points, a section of the landscape can be focused on to celebrate certain aspects of the land. These openings are meant to face East and West. The windows welcome and say goodbye to the sun as it spans over the landscape, giving its first and final light throughout the structure.

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JORDAN SUTHERLAND

The evolution that we followed with our hut was one of my favorite parts of the semester. Our building started as a tectonic set of bones and became a space I would want to inhabit. Once we were able to take inspiration from our hut and transform it into a drafted plan was when I truly learned my love for drafting. There is something about the preciseness of the tools and the exact measurements that is very soothing. For me, architecture exists in the perfect harmony between math and art. From this assignment, I learned that connecting floors in an unconventional way was much more difficult than I expected. This was the first assignment that I felt “clicked” for me. It’s purpose was obvious and I was impressed with the ability I possessed. This was one of my favorite assignments in this class.

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BRADEN DISTEL

In this project, I had the opportunity to study lighting, textures, and the human experience through the design of a micro-environment. Although a challenge at first, I am very proud of the project, which is a result of many iterations and many hours in the studio. Every day I continue to improve my craft and focus all my energy on self-improvement.

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ASHLEY THORNTON

My favorite part of designing interiors is exploring the potential programs of the space. The motive behind every space tells a story and holds memory of the variety of people who experience a design. I created my interior by visualizing a first person point of view from within the structure because, upon completion, I want every space of mine to feel as if I could walk into it. I used an image of a single shelf of library books and duplicated it to achieve the wall of books that I wanted inside the library. I chose to line the shelves with a continuation of the herringbone flooring to create a flow from the pinnacle of the room to the entrance and draw visitors towards the shelves. If I were to visit this space I would be entering a quiet place away from the chaos and distractions of the busy world around me.

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ALFREDO MARTINEZ

This place is open to all, available to all meant to be a place of thinking and reflection. Standing at the monotonous brick walls, meant to evoke the classic “another brick in the wall”. The hope is to evoke this theme, and have users try to be different, to be the opposite of that. This work encourages users to be different, to not be like everyone else.

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JAZMINE GUERRERO

This semester was a really great learning experience, I faced many challenges while trying to complete my projects, but I always found a solution to it and was happy with the outcome. I thank my TA for helping me improve with my assignments and giving me good feedback. My first semester in architecture was great and I’m ready for what’s to come next year, great professors and fun/challenging projects made the semester a great experience. Design school is great, I’m thankful for the experience.

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ALEXA NUNNS

The greatest thing that I have learned this year is how to see as a designer. By seeing using all of my senses and without any preconceived notions, I am now able to perceive my environment differently than before.

This has also benefited my sketching abilities, as I am learning to connect what I see and experience to paper. I cannot wait to see what the future holds for me and my education!

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JEREMY CLARO

This semester I decided to change my major to architecture because I felt that I wasn’t pursuing a career I truly wanted to be involved in. Of course, this put me at a disadvantage because I had to become accustomed to the design process, fundamentals, and proper drafting techniques of a “level 2” class when I had not taken the required prerequisite, being a disadvantage when compared to my peers. However, this “disadvantage” motivated me and allowed me to realize the expectations I must fulfill to create an adequate design. Seen as each new assignment required a different skill for completion. Although it may seem daunting, these assignments have helped me reevaluate my understanding of architecture and rediscover my passion for it. I am thankful for the experience and the growth it has invoked, I am also thankful for the resources provided to me.

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JOEL CRUZ

The greatest challenge I have encountered this semester was avoiding pre-conceived notions. I noticed that in avoiding these notions, I was giving myself more freedom as a designer, which usually adds to a better design. It was a struggle to avoid these notions, but what I have realized is that flexibility is a necessary trait, in order to adapt and change to conflicts that may be presented through the design process. These challenges helped me to change my rugged thinking and integrate new solutions into my projects, which in hindsight, was always better than my previous planned or preconceived notions going into an assignment.

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JORDAN BLACK-JARRELL

This semester has been a broadening journey. I have experienced new ideals and have widened my perspective in many ways. I no longer see design as this stagnant discipline with a criteria. Instead, I have learned that design is far from stagnant and is always changing. Pushing the boundary of what we see and delving into deeper meanings. I feel this semester has strengthened my eye and mindset of an architect to be.

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LANDON WIENS

As a novice designer, axonometric drawings always amaze me. Through a relatively simple process of drawing with an angled viewpoint, the axonometric communicates complex spatial atmospheres. In this project, I aimed to create a program for the hut I modeled in a previous assignment. Inspired by the upper openings of my previous model, I set out to create an aviary that connected humans with our feathered friends. I was challenged by the complexity of my hut; however, I met this challenge and produced an assignment I was not only proud of, but surprised by! This semester challenged me to find inspiration in simple ideas and to design without preconceived notions. At the beginning of the semester I was frustrated that one of our projects was to blindly create a hat on top of our heads. It seemed like an arts and crafts hour. To see that the hat evolved into this extraordinary space is a lesson in itself. I grew immensely as a designer this semester, and I am driven to continue to learn!

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MARIANA FLORES

This semester has not only taught me the principles of architecture, but also taught me dedication, patience, discipline and determination. I am so grateful for the people I have met living in the dorms of Best Hall, the classmates I got to know through zoom, the most helpful TA’s, and most importantly the inspiration that my professors have given me. I cannot wait to see what the future holds for me in this major, the opportunities that I will receive, the challenges I will overcome, and the people I will connect with.

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MIHIKA ROY

One of the best things that has happened to me for the spring semester is the fact that I was finally in the US soil and able to witness the Studio experience for the first time. I’ve always wanted to design and create things in a certain environment, however, due to the pandemic, we didn’t have many options except for the studio which was one of the best experiences in my life. I hope to see much more of my days spent in that room creating and designing things for the future.

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MOBINA HAQ

“Creativity is allowing yourself to make mistakes.

Art is knowing which ones to keep.”

— Scott Adam The more I let go of the preconceived ideas, the more my assignments became challenging and fun. I made a lot of mistakes and all of them became portals that led me to discover new methods to explore, incorporate different geometric angles and shapes in my work, and enjoy the process with fascination as it evolved.

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MONIQUE RIOS

“My Buildings will be my legacy. They Will speak for me long after I am gone.”

–Julia Morgan

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SARI ALYAHYA

I believe that getting ideas from an architect is invaluable, especially when they sees things in a different way.

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AJA SHAW

My clad hut was intended to be an airy sculpture gallery. In the center there, you can see a large floating waterfall. The purpose of this angled waterfall is to separate the light in the square hut and cast shadows over some of the sculptures. Which I was able to capture by taking this picture from a very low angle. I set up a circular ring light to represent the sun shining through the hut’s opening. I even had the tip of the waterfall cover part of the “sun” to show how it splits the light.

If you were to walk into my structure on a warm day there would be a massive waterfall above you and many sculptures to look at. As you walk around you can choose to stand in the shaded or sunny parts of the building. The fountain creates a nice humidity that manages to cool you as well. While you may feel protected by the metal walls and the sounds of the fountain reverberating back, there still exists this feeling of being in the natural outdoors.

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GRANT KUFFLER

My name is Grant Kuffler and I am currently in the ASU Architecture program as a transfer student.

I believe this year has been a struggle for most students becasue of the current pandemic, but I have found that I have more spare time to reflect and improve on my work as a student. The axon project was able to bring out my creative side as a design student and helped me further my interest as an architect. Working over Zoom may be a struggle at some points, but on the other hand, it has taught me to work independently and thoroughly as I am able to reflect on all of my past projects and critique them myself from a different point of view.

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JOCELYN BIANCO

Progressing towards the end of my second semester at ASU, I am excited to learn how to conceptualize a structure’s true purpose while also being able to interpret it with my own spirit. This has not only been the most valuable experience to me but when learning fundamentals, has allowed me to explore my preferences when becoming a “designer”. We can all create things but a design in perspective has endless purposes that allow connection to these systems.

Being paved with all of our experiences, learning, and creations I can say that I have the confidence to one day create, using these essential skills to differentiate the association of good design and great design.

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LEXI SNYDER

My name is Lexi Snyder. I am a freshman in the architecture program at Arizona State University.

Although this school year was a lot different than I expected, I still was able to develop as a designer.

The axon project I completed in my studio class was my favorite because it allowed me to have more freedom in what I created and I learned how to design without being restricted by my own preconceived ideas. Working over zoom this year wasn’t ideal, but I believe it helped me gain the skill of being able to adapt to any situation.

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MICHAELA FIFIELD

My name is Michaela Fifield and I am a freshman at ASU. This axon drawing is probably the project I am most proud of from my freshman year so far. It took a lot of brainpower to figure out the correct scaling and how to move from one floor to the next while also managing the different angles and which wall was behind another. But overall I am extremely happy with the results and the time I spent on each little detail definitely paid off. I wanted to do something that I knew would be different from everyone else’s work and I believe I accomplished that. This school year was definitely not what I expected it to be, from the architecture program to the school itself, but I believe I’ve found a passion in architecture and a place to let it thrive at ASU.

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NATHAN BUSSE

My name is Nathan Busse. I am currently a transfer sophomore here at ASU. I am currently enrolled and studying Architectual Studies, while minoring in Sustainability. This year has definitely been hard for students due to the fact that we are all through zoom. Not being in person makes it tremendously more difficult to learn the subjects we care for. Yet it definitely has made me become a better note taker and a harder worker.

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REMY NELSON

This semester is not what I’m sure many of us were expecting, but I think its unique challenges were what this new class of design students needed. I can’t even begin to express how many out of the box ideas I’ve seen in my studio class alone. I think that when we are forced to be in an unusual situation, we begin to think unusually. In the case of design, this can be an incredible thing. In the case of this project, it’s amazing what students can come up with when given the freedom. Each layer stacked is an opportunity to express oneself in a new way yet they all maintain their cohesiveness. I think that it beautifully summarizes the events of this past year.

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SAVANNAH NOBLE

My name is Savannah Noble and I am a freshman at ASU. This semester had taught me a lot about design what it isisto Savannah be a designer. Being a student Myandname Noble and

I am a lot about design and what it is to be a desig this semester, It was intimidating at first. I quickly architecture semester, It was int learned thatprogram design is notthis as scary as it may appear from the I was able to grow a designer as scary asoutside. it may appear fromas the outside. I this semester in many ways. Assignment 7 was some manyofways.

Assignment 7 was some of my fa my favorite work this semester because this was project I finally tomysee my creat the where project where I finally started started to see creative vision come out.

With thisme semester being online, online, it also allowed to learn howit to ada also allowed me to learn how to adapt to any situation me in the future. that transferred into the architecture program

quickly, which I know will benefit me in the future.

oble and I am a freshman at ASU. This semester had taught me to be a designer. Being a student that transferred into the ter, It was intimidating at first. I quickly learned that design is not he outside. I was able to grow as a designer this semester in ome of my favorite work this semester because this was the see my creative vision come out. With this semester being n how to adapt to any situation quickly, which I know will benefit

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SULTAN ABUDAWOOD

I had a very nice experience doing these assignments and learning many new things that will benefit me in the future. This semester was very special because we had to take it as an online student due to COVID-19 and there are some positive and negative impacts from taking it virtually. As shown above, assignment 07 was one of my best assignments this semester because it shows the building from a different perspective also the details I added resulted in a better-looking outcome, the textures gave it another look which gave it more clarifying details reflecting my perspective.

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VERONICA GARCIA

“Talking about music is like dancing about architecture.”

–Steve Martin

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ABDULHAMID AL-ADAWI

Looking at my site that melts structure, geometry, and phenomena together. You can see two lozenge shapes that represent dunes with geometric shapes.

I imagined the small triangles as the constant sand movements from the dunes. Moreover, the textured path represents the travelers’ way through the desert which comes close to both my hut structure and the tree which both are ways for them to rest.

The texture, shadows, and the tree added a nice touch to the site which allows you to imagine being on the site yourself.

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ANGEL SAGASTE

While transforming my hut into my microenvironment, I found it somewhat difficult due to the fact that my hut didn’t have much dimension. My hut was mostly square on the outside but had lots of details within it. After a long time drafting ideas for my microenvironment, I came up with my first floor taking the shape of the hut and then building out from there as new floors were built above it. On the first floor I decided it should have the same characteristics my hut was intended for, a place to socialize and escape from the world for a bit. The second floor I created to be meant for flowers and greenery, full of grass and herbs. Finally for my top floor I made it for wildlife such as birds to roam free.

I also created a clear tunnel coming out of the room from the top and re-entering from the bottom for birds to see the outside. While creating all my levels of my microenvironment, I was still taking into account my original idea of my hut, a place to relax, the different levels you choose to go to just depend on if you like the quiet, greenery or wildlife.

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CHESSA MCDANIEL

By taking a close look at my hut, one should recognize the sharp, seemingly random, edges near the top of the structure. Through mimicking nature, I was able to come up with a design that reminded me of the beautiful aggressiveness that icebergs possess. As you can see, the edges do not reach the top of the hut because the nature of icebergs is to grow and retract rather than stay a stagnant element, leaving room for constant change. From there, choosing the textures of marble walls and dark wood floors was strategic in order to pull you into an experience of a classy and sleek design.

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CHRISTOPHER BECERRA MEJIA

This hut was a representation of my hat design. My first attempt at my hut was unsuccessful because the way I structured it was not stable. This is my final attempt at it, and I really enjoyed the process of making it. I tried to incorporate a pattern on one side of the hut to signify some beams in the edges of the wall and the interior made of stone walls and a green wall. This design has made me realize how much one can express ones idea and imagination to create another and it is simply amazing.

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DAVID MOORE

While Making the micro environment, I let my instincts take over. My hut was a bit simplistic, and no ideas came to mind when the hut was being transferred to paper. It was a bit frustrating at first, but finally I decided to just draft the hut geometrically on vellum and let an empty mind take the rest. About three hours later I came up with the draft that is shown, and the ideas finally started to flood in. I decided the lowest floor should contain natural elements in a tamed manner, since it is for humans. The second floor is to be groomed, with plants still regulated by people but still growing in natural ways. The top floor seemed like the perfect fit for wilderness. I specifically made it for birds since it is the top floor. Here there is less control from people and more room for the wild to be wild.

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MARIA UZCATEGUI

My hut was derived from the idea of designing a space that I envisioned myself being surrounded by things that I love. That something special that I love is natural light and biophilic design. I always try to incorporate some sort of aspect of nature into the ideas and work that go into my projects. This space to me, is supposed to embody the idea of comfort and serenity.

With the use of water texture on the walls, I was able to create a space that makes you feel like you can unwind and release feelings. I wanted the main light opening to be the focus of the interior space and this was achieved by creating a triangle like corner from two connected walls.

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MORGAN RUMSEY

When creating this space I intended it to be an area of observation of the natural world. The entrance consists of a trellis for the natural world to grow on and does not have a defined floor. Once one enters the space there is a large window for light to enter.

Aside from the window, the interior is cladded with aluminum which reflects the entering light and illuminates the space. By magnifying this element within the space, a person within the space can focus on the appreciation of a single thing and eliminate the distractions of the world around them.

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SOPHIE APROTOSOAIE-KARDOS

Looking at my model, you can see a sharp point at the top which guides a spectators eyes up to the sky. During the day, the stars on the window create a beautiful composition of shadows on the cave floor and the entryway while functioning as a place to relax and take away all the stresses of daily life.

This structure, which I imagine would be built in the center of a city, allows its visitors to see the stars at night, in a place where you cannot always see the stars due to the lights and pollution. The textures of water, rock, and crystal add the finishing touch which would give you the true experience of nature wherever you are.

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ZWE HTET

My hut was heavily inspired by the ASU Skyspace

by James Turrell. The hut consists of two sections, connected by a small opening. The square structure hanging on the edge of the hut would serve as a spotlight along the walkway. When the sun shifts positions along the day, the ‘spotlight’ would move as well. At a certain point, the ‘spotlight’ would land on the opening, hopefully sparking the curiosity of the visitors to venture into the second section of the hut.

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KADEN WOODRUFF

The assignment for this project was to create a structure inspired by the shape of a hat made in the previous week. Along with following the shape of the hat, this model was inspired by the angular sides of a spaceship, and trying to use as little horizontal and vertical surfaces as possible. The space is relatively small, so the idea was that it would be used as a small coffee shop or food stand with outdoor seating directly outside the large entrance.

2nd Year

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02

DESIGN FUNDAMENTALS IV LECTURE PROFESSOR: Claudio Vekstein

Students: Bailey Albinio-Madanay, Jadyn Anderson, Sabrina Arabi, Alixandria Arguello-Vengoechea, Janeth Baeza, Brooklyn Barricman, Jacob Bickers, Parker Biertzer, Patrick Boll, Luis Brito, Makayla Dickerson, Madison Hicks, Daniil Hristiuc, Dominic Jacovo, Hannah Melvin, Mihwa Namvula, Shirin Pramod Karunakaran, Kyle Vance, Bailie Walter

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JADYN ANDERSON

Originally, my column was from a project by famous architect Carme Pinos. The column had a “T” shape with beautiful, strong curves. In order to start becoming a building, I took the two ends of the “T” and bent them inwards. I then extruded those bend pieces downwards and upwards to create the main spaces of my building. Some creative splitting and extruding brought forth the ramps, exterior windows, floors and ceilings. However, additions like the railings and interior window clips are what bring this building to life. I envision this space as being one in constant, flowing motion. People are constantly going up and down the ramps while taking in the interior window views. I intend for this building to be surrounded by greenery, with a tree placed perfectly inside the right interior space. The materiality is a rough, concrete exterior with warm, cedar wood interior. The inside should almost glow from an outside perspective.

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SABRINA ARABI

The main form of circulation is through the curved ‘floating’ staircases. These floating staircases are supported by a metal stair stringer supporting the stairs from the bottom and attaches to the next floor. This design achieves an elegant, simplistic, yet unique look perfect for the building’s aesthetic. There are 6 levels, which mean 6 different spaces for the user to occupy. Each level is connected/supported by twisted columns that intertwine, these columns are scaled appropriately to match each levels needs of support. There are 6 horizontal spaces that can be used for a number of things as the length and width of each space ranges from 15 to 30 feet. The vertical elements of the building, like the columns and stairs, offer a better experience of the space. The stairs are the symbolic spine of the building, but just as the staircase provides a physi-cal connection, it also provides a visual connection.

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JANETH BAEZA

I was assigned a stair project by Lina Bo Bardi. First, I isolated my column and then created my building from a series of operations. My building is currently in the development process. More details need to be added in order to emphasize its function. I plan on adding a stair railing as well as door and window openings. I also plan to add more to the space under the overhanging right side. The hanging building above will provide shade for the seating area they plan to create below. As of now my vision is set on this building be more of a residential building, however further development of the building may change its function. I also viewed this building as being an office space. Throughout my building there are stairs that wraps around and through the building which allows people to move around the space in a different way.

This also allows the people inhabiting the building to step outside and interact with the outside world as they move from one area of the building to another .

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BROOKLYN BARRICMAN

I present Torres de Satélite by Luis Barragan in Cuidad Satélite district of Naucalpan, Mexico State, Mexico. Luis Barragan collaborated with other artists Mathias Goeritz and Ignacio Díaz Morales to complete the campaign. The tallest of the triangular structures’ measures 170 feet and the shortest 98 feet. The group of five sculptures have two white towers and the other three are red, yellow, and blue. The “columns” are placed on an island of a roadway. The Torres de Satélite sculpture was established as the symbol of the newborn and modern Cuidad Satélite. Operations are performed on the sculpture to create a new iteration of the structure. First, the towers are bundled together towards the front of the roadway island, keeping a close range to one another. Bundled at the front, only the primary-colored towers are twisted. This connects to the meaning and design of the sculpture by placing emphasis on the primary prisms.

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JACOB BICKERS

My project comes from the column located on the Bank of London in Buenos Aires, Argentina.

The original column was beautiful the way it was, therefore I wanted to distort it as least as I could.

I performed a handful of operations to the original column to get to this point. Some of these operations were rotating the column to lay on its side, a bend to the column to give it a half circle shape, and finally mirroring it over to create a perfect circle from above. I then added stairs and different levels to make the space more vertical. I imagine the space to be an urban jungle. What I mean by that is the space open in the middle is full of trees and other greenery to create a “forest”. I then imagine the building itself to be in the city and a place for people to escape to nature at varying heights and see the city through all of the glass windows.

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PARKER BIERTZER

This semester really challenged me in the best way possible, especially the final project. The first part of the semester we used existing buildings to practice our computer modeling and to see certain design metaphors that we would find useful later. In the second half of the semester we would use our knowledge from our work on existing buildings and use it to turn a column into an occupiable space. The sequential nature of this class gave us the tools to turn something ordinary into something remarkable.

Above are two exploded axonometric sections displaying the occupiable space of my building.

These give viewers a better spatial reference than a regular axonometric view from the outside and allows them to get a more intricate understanding of the building through the section cuts.

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PATRICK BOLL

The original column was by Oscar Niemeyer and was in The Three Power Square in Brasilia, Brazil.

The original column was sliced and bent to form the exterior form, then the interior of the existing column was manipulated to create spaces and circulation throughout the tower. Materiality and structure were added to the column to finish the tower. The tower has different levels of spaces and circulation that goes up to the top of the tower with different paths.

There are apertures throughout the tower on all sides, so throughout the day the sun can penetrate in and dance throughout the interior to create light and shadow within the spaces. The tower allows people to observe nature at different level and get above the tree line. As time continues nature will make the tower part of nature by allowing plants to encroach and enter the tower, the exterior of the tower will begin to weather, and exterior will begin to be consume by wild vine growth. The tower, nature and humans can coexist is the similar spaces throughout the observation tower.

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LUIS BRITO

This project’s original structure comes from the Alison and Peter Smithson Obelisk located at Shatwell Farm in Somerset. With the use of the several operations, beginning with splitting and opening parts of the structure, in order to create more interior space.

This was then followed by the use of extrusions, in order to create the walls and floors. There are three levels not including the ground plane. Stair cases are located at the base and wrap through the inside of the structure allowing access to each of the floors.

Allowing light to interact with the structure was a main idea throughout the design process. With the clear roof and permeable outer walls light is able to easily access the building. The purpose for the building is to be able to look out and observe the landscape. With the building being located on a farm with a beautify view of the landscape, the 4 open side panels along with the clear roof, allows for a clear observation area.

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MADISON HICKS

This building is based on the columns designed by Carlo Scarpa for the Ca’ Foscari building in 1936.

The column was originally completely made of wood with different pieces having different hues to them. I designed this building to stay true to the nature of the original column while also adding new elements to it as well. This structure is meant to not be enclosed by any walls, but instead by fencing to welcome the idea of resting outdoors. The flow of the building encourages the idea of people coming together and taking a moment to enjoy the view outside of the structure. I wanted to make it so that this can be constructed and used in almost any open space from local parks to a forest’s outskirts. With these recent circumstances keeping people indoors, I wanted to create a space where people can feel welcome outdoors.

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DANIIL HRISTIUC

This project is a development upon Carlo Scarpa’s column from his Banca Popolare di Verona. Through a series of operations, I was able to contort the column into the present space; the column itself serves as the main structure and shape, with various forms of glass serving as the main method of enclosure. Working with the column to get the desired configuration, I realized the inhabitable space should be designated for offering an experience by translating throughout the space. In the end, the overall experience is aimed at recreating the event of space travel: starting from our planet, Earth, leaving our atmosphere, and moving through space to eventually reach another planet. The idea was that, although there are main appointed areas at different levels throughout the interior, the spaces for circulation in between them should add to the experience, rather than present an obstacle to get through. The intended location for this site would be within a large city, where people can come to take a pause from their own reality.

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DOMINIC JACOVO

This project started with Carlos Scarpa’s column and beam at the Borgo condominium in Contrá del Quartiere in Vincenza, Italy. After several iterations with the original column using the operations: repeat and bundle I was able to create the skeletal of the new designed “building”. Next I added further operations of stretching, rotating, and scaling to further create a spacial structure and begin on the envelope of the building. For the envelope,I decided to extrude the east and west sides of the building to create a building feature similar to the Inntel hotel in Zaandam, Netherlands as well as create multiple terraces for additional space. In terms of space, I wanted the first two floors to be both an outdoor and indoor experience when walking into the building.

For circulation, the building is met with three stairs: a u-turn stair for the entrance, an exterior zig-zag like stairs for the next levels and a straightforward staircase to connect to the top level.

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HANNAH MELVIN

This building was created from a column taken from the Museum of Modern Art in Rio de Janeiro. The column was repeated several times, rotated and mirrored to result in the following space. This space is meant to be a place for meditation and reflection.

There are three levels to the space beginning underneath the structure and stairs leading up to the second and third level. As you move up the space, the movement becomes more restrictive and the spaces become more enclosed.

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SHIRIN PRAMOD KARUNAKARAN

Originating from the columns in the Burton Barr Central Library by Will Bruder Architects, the space was formed through a series of disciplined and symmetrical yet organic transformations. It sits nestled amongst the dense trees of a temperate secluded from the chaos of urban life. The idea behind the space was to create a sculptural landmark that helped accentuate the beauty of the natural environment providing users with new perspectives that would otherwise go unnoticed. Users begin their experience on the forest floor by exploring the exterior spaces cocooned by the wooden massings.

They will then be greeted by the steel pathways that ribbon through and around the structure in a whimsical yet controlled manner promoting users to enjoy the unconventionality of their movement through the space. The pathway leads them through the various levels of the forest ultimately arriving at the glass treehouse space. Here, users will be amongst the tree canopies where users can experience a 360 degrees view of nature in its truest form.

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KYLE VANCE

My original column can be found at the Dulles Airport in Washington D.C. by Eero Saarinen. After a series of repetitions and bends, this building was formed. This three-story building interacts with the exterior light through narrow vertical slits in each of the floors. This makes an interesting setting for users and the art it exhibits. The sweeping motions of the roof provokes movement. 3 sets of stairs make it easy to move to each new level.

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BAILIE WALTER

Throughout the semester, we looked at existing architecture to better understand the finite details of what makes a building. We then moved out studies to an assigned column again, taking time to understand the little details. Bringing that new understanding, we manipulated our columns to create a new element.

We were carrying that element and starting a new space. We then took that space and added the needed details that we had learned about at the beginning of the semester to create a realistic building. When I made my space, I happened upon an ample roof space. I enjoyed how the protected area felt because of the panels’ tilt that also resulted in an ample platform space at the bottom. When creating the circulation, I wanted it to be a fluid movement. When you entered an area, it would not be interrupted by movement. overall, I enjoyed this project a lot and am happy about how it turned out.

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02

DESIGN FUNDAMENTALS IV PROFESSOR: Karin Santiago

Students: Kaelan Bizardie, Zoe Cano, Aneesa Daas, Julien Delmonico, Victoria Doidge, Antonio Flores, Luis Granillo, Duha Hasan, Kace Johnson, Jaden Liu, Joshua Moyer, Ashley Ontiveros Madriz, Eryk Ostrowski, Jackson Payne, Terry Porter, Valeria Ramirez, Sean Sime, Phetemany Simmalavong, Tyler Porter, Ryan Thomas, Megan Wahlman

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ZOE CANO

The structure came to be from the studies of Álvaro Siza; specifically a water tower at The University of Aveiro in Portugal. The original water tower was taken and transformed into a multi-functional structure with interior and exterior spaces that are to be accessed at different heights resulting in panoramic views. As you enter the space you are faced with a large staircase to travel up to the inhabitable spaces. While the staircase is the only circulation path the user can visit each level with ease and allow them to get an understanding of each level. This process for me was to create a new structure while maintaining the stereotomics of the original in a new light.

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ANEESA DAAS

Frank Lloyd Wright designed columns for the Johnson Administration Building. This structure’s design elements are adapted from this column known as, “dendiform”, a label given by Wright himself which translates to “tree shape”. The movement through this structure relies on circular ramps that extend throughout the interior of the building. Each ramp connects to the next while also providing accessibility to the platforms that define each space. This ramp was adapted from a similar concept in Frank Lloyd Wright’s Solomon R. Guggenheim Museum building. This allows for a circular movement while also representing key features from Wright’s original column.

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VICTORIA DOIDGE

This habitable column is unique due to the original column’s clover-like shape and the column tapering from bottom to top. As you travel from the first level all the way to the fourth level located at the top of the column, the floor area decreases, but the space increases due to the different formations of the exposed inner wall. To properly move and experience the space, I wanted to incorporate a staircase that would guide the user through the column but still respect its overall composition. I incorporated a staircase that encompases the exterior and maintains the original clover-like shape of the column. As the user moves through each level from bottom to top, the stairs follow the shape and taper, making the user move in the shape of the column itself. This element of the staircase gives a new perspective to the new column’s space and provides the user with a new experience at each level.

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LUIS GRANILLO

The above model is a space I created based off a comlumn designed by Le Corbusier. To create the space I took the original column and cut it in half.

Then I decided to expand that half to double the size of the space and meet size requirements. All in all, the column turned into a four story space with a rooftop level that can be used for star gazing.

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DUHA HASAN

The column can be approached from one of the four corners created by the space with a strong emphasis on external entrances. There is a strong relationship between the exterior and the interior of the space because the area is not enclosed as much by walls.

The column itself has its own exterior/ interior relationship from the smaller spaces created within the walls of the column. The first floor is the ground floor, which is raised up to bring the user closer to middle of the structure and allowing the individual to look up and witness the height of the column. The staircase begins at the component of the column whose wall has not been stretched. The stairs lead the user up to the second, third, and fourth floors.

Excluding the main floor, the area of these floors increasingly grow bigger as the individual ascends to the next floor. The more they go up, the closer the user will feel the relationship between the structure and the sky.

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KACE JOHNSON

This assignment focused on a single column from Peter Zumthor’s Steilneset Memorial. Through multiple operations, taking the original 4-by-4 lumbers and rescaling them, extruding them, and repeating them, I created a wooden structure that allows users to continue to feel the sense of the outdoors while shaded by large sheets of metal. Thin walkways that do not follow the typical path of an average building and a lack of solid walls enhance the overall experience within the building. The ground floor leads up to the top floor via a stair path that wraps around the structure while ramps lead users from the top to the middle floor. By using the column as a base as well as a similar rail to Zumthor’s original building, I was able to expand on the structure as a continuation of his work rather than creating a new concept.

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JADEN LIU

The column above is a hyper focused part of the Mies Van Der Rohe Cross Steel Column. It originates from the Barcelona International Exposition Pavilion and is considered to be a “cruciform” pillar that is fabricated by bolting together four L-shaped metal profiles. The column pictured expresses the notion that in relation to the building, it will dynamically impact the surrounding area. Moreover, the insides of the column extend upwards from its core in order to connect itself to the top of the pavilion. The bottom of the column fastens to the ground through an anchor at the column’s center that is fixed at the site. The concept of incorporating steel elements into the column and exposing the metal exterior brings a unique spice to the pavilion that is unlike any other.

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ASHLEY ONTIVEROS MADRIZ

At this moment in time, I learned that design continues to be polished. polished A day after I modeled this image, I had suggestions to enhance the form to become more like Mies column. Elegant in the simplicity and repetition. My confidence didn’t falter because I knew it was an opportunity for a better design. design My building means to reflect the Mies Villa Tugendhat column: a simple cruciform column with no capital or base. In many of my iterations, I operated with repetition to define a wall as the array of columns. These walls still separate one space from another but also become shading devices with a more dynamic nature. nature The glass is complimentary.

The city setting helped me understand that a program, site, the people, and living nature makes a building a building. Instead of adding doors and windows, I added steel garden beds filled with agave, yucca, and all sorts of desert plants because greenery contrasts the bare, grey city and welcomes people to enter this building, searching for a change.

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ERYK OSTROWSKI

This semester I learned how to be proficient in Rhino and Illustrator. From the work I have done this semester, I liked assignment six the most. In that assignment I designed part of The Scottsdale Civic Center Library. The library is seated on hill with a ramp running up along the side of the building.

Fourteen columns run along with the wall of the building to hold up the metal roof which creates shade. A I-Beam is in the center of the column for structure support that runs under the concrete path down to the foundation held together with long bolts.

The wall is seated on a concrete footing.

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JACKSON PAYNE

This concept is based off of Enric Miralles’ columns from the Scottish Parliament Building. The method of circulation for this structure is a staircase wrapped around the exterior, connecting the vertically separated spaces from the outside. The shape of the staircase is determined by the exterior of the structure, rather than a linear or spiral organization.

Thus, no set of steps is the same, removing the repetitive experience often associated with the back-and-forth or round-and-round motions of the aforementioned staircases.

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VALERIA RAMIREZ

The structure holds three spaces within a half-circle.

Two Opposite sides are open to the light and should never face the sundirectly, to avoid direct sun. All three of the spaces are above the ground, giving those a perfect view for the sunset and sunrise.

Thick walls separating each area from one another creates a bit of privacy. The structure was created by connecting the two extermities of the roof with a slab. Then that space was divided into three to give each section a smaller and more intimate feel. The space is meant to be an atmosphere to relax in and admire the outide world from above.

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SEAN SIME

The original column, the Pèrgoles de l’Avinguda d’Icària, was designed to mimic trees and to be able to shade the pedestrians down below. Much like the column, this structure will have roots in nature, giving a natural atmosphere, while also keeping the geometric and modern aesthetic that the original column possesses. The columns continue to mimic trees, giving a tree house effect to the structure; with the columns protruding into the spaces much like and an old overgrown tree. Much like a tree, a person has to climb up into the structure. The path of circulation consists of ladders and a bridge, which create a zig-zag pattern across the whole structure.

Each level can be accessed from the level below by ladders on either side of the structure. The two lower spaces are connected by a bridge that allows people to pass from one side to the other. The main spaces of the structure are elevated off the ground and suspended in the air by multiple poles on either side of the construction.

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TYLER SIMPSON

The column I was given was designed by Enric Miralles for the Parc Des Colores in Spain. I chose one specific column design out of many differing iterations within the park. The tripod design I did land on had the most potential for being a good blank slate. Despite the simplicity, the column still does interact with viewers directly by guiding their eyes upwards with the shape and structure of the legs.

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RYAN THOMAS

On both side of the structure I created, stand two, towering Corten steel walls that pro-duce an opening for the coming and going of visitors. While one wall is solid the other consists of horizontally laid Corten poles that produce interesting shadows within the structure. As visitors enter, they are greeted with ample natural lighting and a clear connection to the outside due to the glass curtain walls. The frst stairway is on the left as you enter, and each platform continues to spiral up. The second and fourth platform both extend out of the structure.

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02

DESIGN FUNDAMENTALS IV PROFESSOR: Sara Yehia

Students: Aileen Aguayo, Amber Andrade, Erich Ansems, Payton Azhocar, Maricielo Berdiales, Steven Brune, Bailey Crawford, Alanarose Duran, Genesis Gonzalez, Atllas Hopkins, Ariana Jackson, Deandra Jones, Liyette Layugan, Marisya Olivia, Nicholas Olivas, Nicholas Sierocki, Ana Solis Andrade, Kevin Taylor

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AILEEN AGUAYO

The project started from analyzing a given column and transforming it to a building by using operations.

This original column contained three different pieces and it was made out of concrete and rebar: it was a very simple and orthogonal column. Through these operations, I was able to configure parts of the column to create this habitable space pictured above in a section perspective view. I wanted to keep some original components, which can be demonstrated from the tall columns within the structure. The implementation of stairs helped carry the circulation throughout the building very effectively. This space was made for human interaction at different levels within the building along with the enclosement at certain sections of the building.

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AMBER ANDRADE

I have always wanted to study architecture, growing up I thought architecture was just making a floor plan and that became a house. I never would have thought that I would be taking a column and transforming it not into a house but a piece of art. Above is my image from my column assignment transformed into my own building. I really enjoyed this semester because it showed me more things that I can do to make my own art. This building is my representation of the yin and yang in building form, with light shining throughout one end of the building and the other with much less light and smaller. Architecture can be strict and straight forwards or it can be curvy and light and fun.

That is what this semester has taught me.

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ERICH ANSEMS

This project started as a spatial exploration of a column constructed by Frank Lloyd Wright, one of America’s most well-known architects. The original column defied the principles of structural elements for the time, and I wanted the structure I developed to maintain that character. The center upright is nearly unmodified from Wright’s design. I started by tilting the column to the side approximately thirteen degrees, making it seem as though it would be impossible to support itself. Then I added more column uprights for support and platforms for people to walk upon. The curved staircases connecting each level are capped by a perforated wall not only for support, but to introduce interesting, sharp shadows into an otherwise round and soft structure.

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PAYTON AZHOCAR

This space, derived from the heavy concrete columns in Le Corbusier’s Unite d’habitation, is merged with the light, air, and water of the surrounding environment. It may serve as a built path along which rainwater travels and transforms the space.

The steel facade of the building is stretched over the top floor, providing shade, shelter, and a means of collecting and guiding water over the building.

While this process is not easily seen from the top floor, it is heard in the small pings of rain drops falling into the steel panel. The resulting built waterfall creates a temporary partition of water on the bottom floor along with the occasional instances of tranquility and security that come with rain.

Staggered partitions and small vertical slits cut into the side of the large spaces allow light and air to flow into the building freely. Alternating moments of retreat and openness throughout the spaces of the structure create an interchanging and merging of the built and natural environment.

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MARICIELO BERDIALES

The change from the original column to this structure is very evident and original. To obtain this result, I had to apply different processes, starting with iterations in which I bent, twisted, and split the column, followed by an implementation of stairs that join these two towers giving it a sense of union but at the same time, of separation. I wanted to make this building a relaxing and comfortable place so that people can go and have a calming day. To achieve this purpose, I also considered it convenient to include a roof garden, in which people can go and reconnect with nature in the open air while still being connected to the structure.

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STEVEN BRUNE

In our project 12, we needed to take a column that we’ve been assigned and transform it into a new column to create occupiable space. I got the column of Le Corbusier building the Cemal Emden- Maison du Brésil. With a set of operations, I transformed it into something new. The path that I took when transforming it was twisting the beam in a 360-degree motion which created an organic curve with the column around the beam. I then rotated and stretched the beam. The idea of my creation is that the beam is now the column, creating a spiraling ram around the column. This curving structure provides a ramp for circulation, shaded cover, and spaces.

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BAILEY CRAWFORD

After expanding, splitting, moving, and twisting, an inhabitable building was constructed from a once basic column. The flow of this structure, created by the stairs that wrap around the center of the column, follow a fairly standard pathway that allows for a smooth transition between each of the five spaces.

Made out of the overall center portion of the space inside of the column, the spaces themselves are more repetitive than the surrounding area. The landings alternate in means of how long each is on the way up in order to add contrast to the overall structure. The area in between is connected in a way that the overall structure flows together, but separate enough to add uniqueness in order to make this space stand out from surrounding buildings. The way the spaces are made up consists of flat platforms in between each of the sections of stairs.

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ALANAROSE DURAN

The greatest products can come from the simplest thoughts. In the beginning, these spaces were only three tall simple columns. With such simple columns, it was a challenge to modify it into something outstanding and different from the original. Through a lot of time and effort, it has been transformed into a wonderful space for people to hang out and socialize. The transformation from the original to the final product included a lot of duplicating, bending, and twisting. This goes to show that even with the simplest thoughts can make great outcomes.

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ATLLAS HOPKINS

“I see music as fluid architecture.”

–Joni Mitchell

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ARIANA JACKSON

The project shown was made out of one straight column with a circular lock on top. I expanded and bent the column, then I took the circular lock from the top and expanded and pulled them down. There were originally three parts to the circular lock on top. I took the parts and I expanded and flattened them to make the floors. The stairs are circular to follow the flow of the floors. The railings for the stairs were made from the original column. The beams holding up the roof and stairs were also made from the original column, and the wall shown in the back of the structure is from the original column as well.

For the wall, I expanded it, flattened it, and then I curved it to make it the shape it is now. On the right is an exploded axonometric of my structure and on the left is the structure intact and whole.

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DEANDRA JONES

This concept was developed from an original column by Mies van der Rohe. This interpretation was constructed by a series of operations. Those operations being rotation and split. The original column was a very simplistic and elongated structure and was split four ways. The split formed interior spaces and exterior spaces that were very open and full of possibility. Throughout the operations, the integrity of Mies’ column was maintained and the resulting concept shared a similar solid nature to that of Mies’ column. This concept was very concrete and firm and I felt it best if the materiality matched it. I felt that it should be made of a stronger, earthy texture, such as stone, with slight semblances of glass.

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LIYETTE LAYUGAN

The A Tower by Studio Anne Holtrop was the foundation of the structure I created. It had a bizarre shape which I wanted to highlight in my project. I took inspiration from this organic aspect of the column and created a habitable space reminiscent of this trait. The walls of the building remind me of a canyon as they become narrower and wider as one walks through them. As seen in the building, the hallways become narrow, only allowing one person to go through at a time. This form of procession to enter certain spaces suggests that the mood created by the overall space is more solemn and less hasty, leading to the conclusion of using the space as a museum. It can be somewhere one can showcase art such as paintings, installations, or sculptures, to name a few. Along with the art within the structure, where I imagine the structure located is in the middle of a field, possibly on a hill to enhance the serenity intended for the space to embody.

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MARISYA OLIVA

Throughout the duration of this second semester, we were asked to use a column and, through the use of transformations, turn it into a building. This newly designed structure pictured above gained its inspiration from a uniquely shaped, concrete tower that is part of the Scottish Parliament Building. The originality of the column is maintained through the triangular pattern on the front as well as the angled features on the left that are seen in the balcony design. Inspiration was also drawn from a concept Frank Lloyd Wright’s Taliesin West dabbles in: compression and release. The release concept is accomplished through the use of transparent glass, allowing its viewers and visitors breathable space while enclosed in the firmness of the concrete. It is a space made for human interaction or private time spread amongst four levels, each joined together by an exterior staircase.

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NICOLAS OLIVAS

This perspective gives a further glance into how the space may be inhabited and used in terms of a proper building. Given that each level has a different available space for anyone who enters it, each floor can vary in its use. From the lower levels one can imagine a group setting or multiple objects occupying the area but as you go further up with less space maybe it is more for an individual, couple, less crowded use.

The bottom floor is almost completely open to any point of entry for people to occupy the area or pass through. The middle floors include majority glass windows to allow natural light in through the entire space and to avoid the sense of an entirely enclosed structure. Once you step onto the top floor you exit the main space and into an open roof for fresh air and a rail overlooking the landscape.

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NICHOLAS SIEROCKI

A building always has some form of inspiration before it is designed and brought into the real world.

For my building, the inspiration was a singular column by the spanish architect, Enric Miralles. The building accepts and uses its stereotomic nature to create a series of similar floors with both interior and exterior spaces. These spaces flow without interruption, giving the user a clear path to navigate the building inside and out. The large solid structure accepts most of its light from circulation openings and a large glass panel located at the top opening which gives a unique light experience on the third level. Experiences in the interior and exterior spaces bring together the idea of connectivity between our built world and the natural world while keeping the user in a relatable and comfortable area.

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ANA SOLIS ANDRADE

This building’s roots were once a column.Through stretching, bending, displacing, cutting, adding, and removing it turned into what I call this building “Balance Out”. Balance out is inspired by the Yin and Yang belief. Opposites balance each other and harmonize through the differences. One side of the building touches the ground while the other side touches the sky and meets in the middle for the transition of power. Through the spiral of steps on the building human beings can move throughout the building.

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KEVIN TAYLOR

The original structure created by Enric Miralles, Parc dels Colors in Mollet del Vallès, the column was connected to a series of intricate columns that continued throughout the landscape. The main purpose of the column was to be connected to the ground and the sky. To keep the patterns the walls of the column were hinged inward to make the foundations of the future space. The main focus was using the patterns of the wall to interact with light. The column has two main parts, the outer and inner wall.

The outer was cut into sections and offset to create movement on the outside of the column. The column was then rotated to its side and repeated in a circular motion creating the silhouette of the structure.The whole structure is symmetrical and mirrors through the center. The section showcases the structure of life and shows how a person will interact with the entire space. The stairs are created in the center of the whole structure that connects all floors.

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02

DESIGN FUNDAMENTALS IV PROFESSOR: Jacob Gulinson

Students: Chance Breeggemann, Jessica Calabrese, Lucy Yang, Jonathan Siskron, Daniela Crapuzzi Ruiz, Luke Edgewater, Carder Mehr, Kathy Ramirez, Dianne Weidow, Patricia Albunan, Sebastian Ugland, Adrian Plaza, Samira Abdi

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CHANCE BREEGGEMANN

This building references a column by Allison and Peter Smithson located in a field in England. The original column is a simple wooden beam triangle frame. The structure was transformed in multiple ways, including cladding the exterior to create an enclosed space and creating openings at the base of the structure. Then, a second floor is added with a ladder for access, and a balcony is placed outside the building in the second floor. A new opening is then made on the second floor, allowing the user to view the surrounding prairie. This structure is meant to create a sense of curiosity within the user, encouraging movement from the bottom floor up.

The atmosphere of the upper floor is one of whimsy.

The wooden structure with ladder access, simple construction, and incredible views pulls from the users sense of childlike wonder. Furthermore, the shadows cast on the tall walls from the open roof tie together the sense of wonder and fulfilment in one beautiful moment.

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JESSICA CALABRESE

The original column Jessica based her project on is two tall and thin columns closely related to one another. Jessica found the relationship between the original linear columns to be compelling as she bent and arranged them to appear in a criss cross shape that is mirrored through its section cut. The project is heavily defined by its mountain landscape as the circulation through the space is meant to provide the viewer an experience with nature and light. As they advance through the space there is a gradual exposure of the outside view and light creating a special experience for the viewer. The viewer begins in an enclosed space with only a single beam of light shining through the ceiling and completes their exploration being surrounded by nature and sunlight.

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LUCY YANG

Mostly a horizontal space, this fluid yet simplistic form consists of 2-3 floors that are wrapped and twisted with sun-shading louvers. As the inspiration comes from Alvar Aalto columns, the essence of organic forms and an inspiration from streams and trees are something that I hoped to portray in my space.

However, my space is inverted form of the inspirations.

Alvar Aalto’s columns are straight and orthogonal, but my space is far from that. The louvers display a twisting motion around the elliptical space and the circulation sweeps back and forth, from the interior to the exterior, from top to bottom- creating an everlasting sense of movement.

What was originally two cylindrical columns wrapped in a thin fibre, is now two circular open spaces enclosed in a habitable wrap.

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JONATHAN SISKRON

This model shows a space transofrmed from two original columns. Through actions like bending and stretching the original, straight edged forms became fluid and almost defy gravity as the twist in unison.

From here, the spaces were further altered in order to create a suggestion of motion and movement throughtout the piece, supported buy the individual openings and paths that one could experience. The stairs and balconies begin to suggest this column has become more than just a structural member, more than just a solid void of positive space, and through the semester what was once a boring concrete cast has transformed into a piece that could be seen as a fluid, inhabitable space.

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JONATHAN SISKRON

The space I created derived from wanting to have different environments and atmospheres as the user travels through the space. The bottom of the space is centered around a downward extrusion into the ground; with a relatively high “ceiling” that makes the user feel small.

The spaces above, center more around the light that comes through the many structural openings into these relatively secluded areas.

The highest space is open to the sky but has crossing structural beams, just above the users heads, that give off a different view of the sky depending on where you are situated underneath the beams.

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DANIELA CRAPUZZI RUIZ

My space developed from a column by Scarpa’s Vicenza apartments. After a process of operations such as repeating and splitting, I ended up with a brand new column, which was later on modified to create five completely different structures. While creating the space, I was inspired by the experiences that people would have when crossing from one structure to the other, as well as focusing on factors such as light, shadow and air flow. The goal was to create a place where people would interact with the structures, while also enjoying the comfortable setting. Moreover, I included some circulation features, such as ramps and stairs, due to the fact that some structures include a second floor and some are positioned at different levels.

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LUKE EDGEWATER

In this project, it was to show and describe both space and circulation but more so I pulled pictures to show the section of the project. Originally this design began with iterations of different operations such as split, rotate,ect. From that, I had to work with creating space that people can circulate through.

This furthered my thought process of the structure.

Then created a perspective image that demonstrates how the inside space is. As well as bring some experience to the structure itself to feel how it is to be inside the space of the whole structure. I then also have the main image show people interacting within the structure, as this also shows how people will circulate in the space. In all the portion of the project I am illustrating is the section so you can have a better sense of the inside as well as the outside of the entire project.

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CARDER MEHR

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KATHY RAMIREZ

The building is praised for its sense of movement and space which is something I wanted to keep throughout my design. The building is located in Virginia and the airport itself is separated from the surrounding city given its purpose. For my design I wanted to change the location and have it overlook a canyon. To maximize its intent I added levels to allow different vantage points to look from and to allow multiple visitors at once. All the levels have the same ending point but starting points that start with the building. This was designed to create the illusion of tension between the building and its levels, as if the building was leaning forward and pulling the levels with it. The top layer would feature a semi transparent floor that would allow a view to the area below. Between the top layer and the third layer is an area that would house plants natural to the environment as a special feature. All this combined would add to the view that would be visible from any of the platforms

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DIANNE WEIDOW

My intent was to maintain bold and confounding shapes to pay homage to the stunning and overtly tectonic Teatro Cervantes (TC) by Ensemble Studio—the life-giver of my structure. I envisioned a modern home based on and the antithesis of TC. I reversed the order of materials and performed multiple functions to arrive at an equally incongruent style of architecture that capitalizes on its height, light palate, and engaging shadows. Occupants are protected by the heavy concrete and metal structure, while still exposed by the numerous glass-filled walls.

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PATRICIA ALBUNAN

This column is located inside the Bank of London of South America in Buenos Aires. This building was designed by Clorindo Testa and SERPA. This SCALE: 1/16”=1’

column is very interesting because it not only is used as a structural element but it also holds an important design aspect. It changes the space in a way where it allows people to move through the space vertically. A spiral staircase wraps around the column and it gives people access to the various floors. This column is made out of a precast concrete material. In the axon drawing, only one floor is shown; however, the column reaches the height of about 5 floors. This column creates a spacial relationship with the building.

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SEBASTIAN UGLAND

The Neue Staatsgalerie designed by James Stirling and Michael Wilford was constructed between 1979 and 1984. The site itself is a gallery that occupies car space right below the structure. It is seen to be designed as a first stage of Post-Modernism and combines elements of modernism and classicism, which incorporates references to the Altes Museum in Berlin. Natural and warm elements of sandstone and travertine contrasts with green steel framing and pink and blue steel handrails. The most popular aspect about this sight is the open-top rotunda, which encompasses an enclosed space of the sculpture garden. A public footpath leads visitors through the site that can help tourists go to higher elevations in the site. The concrete column helps maintain structure of the building and is known for a place where people gather. There is a diagonal faced roofing at the top, which also helps maintain sturdiness and help become visually aesthetic to incoming visitors.

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ADRIAN PLAZA

The original column is at Burton Barr Central Library in Phoenix Arizona and it was originally designed by Will Bruder. When I was first assigned the column I enjoyed how unique and interesting it was when I had first looked at it. I wanted someone to feel the same way I did when I had first looked at the column but of course in my own type of design. Making my column into a building I made the most unique thing about my column the support structure to help keep the building up while making my space inside of the column with balcony’s and windows to help see outside of my building. The material I picked for the building was concrete to keep it similar to the original column.

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SAMIRA ABDI

The Bank of London in Buenos Aires is a column that provides space to not only walk about but also a space that invites light. The cuts in the column are so precise and large up close, that they can be operable spaces themselves. There are three entry paths through the column and into the main building.

As the column stands tall the legs not only provide an entry but footing as well. The entire column functions as a tunnel of shading and light. The Y shaped column creates an atmosphere that allows people the freedom to feel a welcoming aura within what little space is provided. Upon entering the thresholds of the footing columns that hold the entire structure together it is evident that looking up at the openings is the main highlight of the tour.

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02

DESIGN FUNDAMENTALS IV PROFESSOR: Taz Khatri

Students: James Anderson, Lily Anderson, Adrianne Barajas, Brandan Botev, Asa Champ, Brandon Dale, Julian Garcia, Alexia Gonzalez, Cheng Nam Ho, Megan Hochmeyer, Isabel Jensen, Jesus Mendivil, Benjamin Nagy, Emily Salinas, Benjamin Smith, Jeramy Widener, Jackson Zahn

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JAMES ANDERSON

This is my project 13 axonometric section after reiterating the building many times. It eventually took a very unique form and is used as a place to look at a view, giving different directions and elevations surrounding the building. The walls have metal panels with concrete floors, and steep staircases in order to get to the top of the building. Throughout the day, the building offers interesting shadows and and space underneath the building as well as two spaces on two different stories for people to explore. The building utilizes columns to support the structure all around the perimeter of the space.

Overall, after playing with the building for nearly two months, it is interesting to see how it turns out in the end. The staircases are new additions to the building, and gives a safer alternative to reaching the spaces above rather than walking on metal tubes. In all, the building occupies a uncommon building shape and structure, but is purposeful with all the additions and extractions over the past weeks.

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LILY ANDERSON

The structure I created started as the base of my column. The original shape was an X I split in half and rotated 90 degress to create more space at different angles. The Structure is made of concrete panels, about 8 inches thick. The structure is 2 stories and can be entered through the center on the bottom.

This space is meant to feel calming and scenic. The top floor is a look out and opens to a sunroof letting plenty of leight into the building.

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ADRIANNE BARAJAS

In this section perspective one can get a glance at the enviorment which I created. The seperation between the bottom floor along with the connection provided by the stairs. Additionally in this cut one can see the organization of the second floor and they way it transitions from the shade into the green roof. This cut also displayes the various skylights on the second floor allowing light onto the lower level. These skylights are made from frosted glass allowing the light to reflect but not allow the users at the bottom see through the glass. I chose this image from my project to express the way in which the user could experience my column. A mixture between the cold, heavy concrete and the outdoors.

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BRANDAN BOTEV

The model shown above is the outcome of my Project 11. In this project I created a space from the iterations that I performed on my column. The final product was a multiple leveled space which included outdoor and indoor space within the project. The lower level has a sculptural piece which creates an outdoor space that does not have walls. There are then stairs on each side of the outdoor space which both lead up to the upper part of the project where there is an indoor space where art can be displayed. In the upper part there are also two windows on either side of the space which allow the users of the space to look out either side to enjoy the elevated views from the space.

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ASA CHAMP

This project was a long and arduous process but the final product came out spectacularly. Taking a simple column that someone else has designed and working through many design iterations to get all the way to a building is rewarding. Watching the progress throughout this project has kept me going this semester. We began with getting a column from an architect and replicating it. Then we took the copy we made and began messing with it, stretching it, and twisting it among other things. Then we began to form our structure and once we had a foundation for our final idea, we set out to make a beautiful building.

It was interesting incorporating the column into the building while still keeping true to the original column. Blending open and closed spaces, making sure the whole building flowed and fit together as a building instead of a bunch of separate rooms merged together. The whole process has brought a new way of thinking to me and I will definitely use it in the future if I am ever stuck in the design process.

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BRANDON DALE

The image that I chose as a representation of my work comes from a project where we turned a column into a space with the capability of interaction. I stretched the height to about 48 feet to create the final product.

I then cut out a semi circle shape out of the back wall of the column where the original bracing that was placed throughout the column was. Viewing decks were added where the cut outs were as well as to the top of the column. This is where the revolving elliptical staircase allowed the main amount of circulation about the space to naturally go. I really made sure to stick with the spirit of the original column by utilizing interesting curvature and odd geometrical shapes while still maintaining symmetry.

Overall I thoroughly enjoyed exploring this project and trying to solve how to turn such an odd column built of unique geometrical shapes, into a space that could be circulated through.

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JULIAN GARCIA

For how my project first began to be I was given the column first designed by a young talented architect by the name Lina Bo Bardi. Her column was constructed in a museum as a staircase with four columns and a center column that held it all together.

When creating a space for such a project I wanted to look into Bardi’s work and wanted to accumulate some inspiration of her style architecture and it was very minimalist but poetic. So doing my best to create and fabricate a space and building I wanted to include a way the structure would be able to play with shadows and light of the sun as well as how it connected with its environment. This is how I came up with my space from the original column.

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ALEXIA GONZALEZ

My original column was the Towers of Satellite City which is located in the city of Satellite district of Naucalpan, Mexico State. The towers were designed by the architects: Luis Barragan and Mathias Goeritz.

For project ten, I choose to cut the original column in half and to join the end of the triangular shape left corner to the other second half right corner.

Then, I also created more sides to enclose the open spaces, and bend one side. As a tall narrow column I decided to make it shorter and wider for following assignments and that was going to create more space inside for people to use this space. In addition, I also made a second level to this column. Meanwhile, for a circulation I created this circular path that leads to the second level for people to walk into. The point of this is to give a feeling of welcome, but the final will include a new opening as a new circulation

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CHENG NAM HO

This is an axonometric exploded diagram to show the details and new spaces created from the original column. The columns are grouped in sets of five, connected with concrete cross-beams to provide rigidity. The column creates a dynamic appearance; through the column, there are massive rounded rectangular shapes that perfectly combine with concrete and create a unique texture.Without the concrete column, the whole building will present itself as a simple glass box; creating the column combines modernism and brutalism perfectly and creates a new piece of artwork. This inspires me with the possibility of combining different architecture styles in the future.

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MEGAN HOCHMEYER

In this exploded axonometric you can see the paths that go up in a spiral motion to the highest level in this column. At each level there are railings along with openings that allow the users to interact with the surroundings beyond the column alone. The boating windows (the circular openings) create a unique shape for light to enter the column as well since it is placed at a higher elevation than the other openings.

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ISABEL JENSEN

In this project, we were assigned a column by a famous architect, and asked to transform it using given set of commands. My column started as large rectangular column that was several stories high.

Using the list, I split the column down the center almost all the way down, and then opened it up and bent the top over. Then, I duplicated the column around itself to create a larger space. The addition of the balcony or platform above gave the space more dimension and provided a use to the top of the structure. This is a section perspective drawing of the space.

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JESUS MENDIVIL

The space follows a linear path where one follows the stairs to the far left to continue up, once there they head over to the top floor where they can site see their surroundings. When finished at the top floor they follow the stairs leading down to the far right to reach the end, once done they do a u-turn and follow the path they came from to exit. Visitors have the option to go through the tunnel as well to have a different experience. The only connection between the spaces are the staircases that lead them to new spaces and to old ones once they are done with the experience. The first floor plan shows the overall floorplan of the space. The other three floor-plans represent different floors of the space, the second being of the highest floor, followed by the mid floor of the pillar and tunnel. The last floorplan is of the ground floor with the platform to the farthest right and the wall that is holding the stairs to the far left.

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BENJAMIN NAGY

Located in the Aula Baratto in Venice, this column was designed by Carlo Scarpa. The entire column is made from wood with the exception of the metal base, hinges, and hook for the swinging door. The column was very intricately designed so that every wood piece was made to fit together perfectly and intersect eachother seamlessly. There is a central spine that runs the height of the column and splits at the top to meet the ceiling. Through various transformations I was able to take the original column and create spaces for people to inhabit. The column is now a big arch that allows for a space inside. The once vertical doors and support beams have been rotated to their side adn placed on either side of the arch to create two platforms at different heights.

The closed door of the lower platform offers a larger space while the other platform features an open door that hangs downward and acts as a third wall and shade for the spaces underneath.

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EMILY SALINAS

There are two glass spaces at the top along with a stairway that goes up three floors. The cross sections in the middle are connected to each space so it is easily accessiable to whoever. There is also access to the top of the cross so people can interact and walk through-out the paths. There are four windows on each floor on each section of the space.

This is my section cut in half with how I imagine people would use the spaces. There is no one on the last floor, however, there are people on the next three. The top space is the glass section with people looking out the glass. The third floor is a man standing next to the window while the second floor is a bench with a few people sitting. I want-ed to make sure the people are scaled proportionally so they are the correct size in the space. It also shows the stairs going through multiple floors all the way to the top section. However, the section to enter the glass section is currently cut off.

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BENJAMIN SMITH

For this project our class was asked to take a space we had crafted from a pillar we had model previously and now turn this space into a building of its own.

The pillar I initially modeled was made up of four arms that spread out from a central rectangular pillar and reached up into the roof. To create the space the arms of the pillar were folded down and stretched to different lengths around the central rectangular pillar. To complete this space and finally turn it into a building three thin walls were put up between the stretched arms to create an enclosed space and one gap was left to create an entrance into the space.

On top of this stairs were added to give access to the roof floor and railings were created on the roof to keep individuals safe. All of this is show through an exploded sectional axonometric drawing of the finalized building.

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JERAMY WIDENER

This is a space meant to be an experience. It is a subterranean structure where the roof is flush with the Earth’s surface, while the remainder of it is underground. It is a series of concrete columns with a plexiglass roof and glass partition walls, roughly 8ft tall and 35ft wide. The main source of light comes in through the oculus opening of the roof, the frosted plexiglass filters the rest of the light.

The space is flooded with light when the sun is at its peak. Visitors can walk freely through the space by entering down into it using the stairs (not shown).

The glass walls and symmetry create this mirrored feeling that, in theory, makes the space seem bigger.

The function of this structure is really subjective, it is what visitors make of it and how they choose to interact with the space.

ALA 226

JACKSON ZAHN

My building design was derived from the Renzo Piano Pavilion. I attempted to incorporate the same style and materiality of the original column which was a reinforced concrete pillar, two beams made from douglas fir that extruded from the building to the column, and multiple glass overhangs held by steel frames. As for the program of my building, the central focus is the observation deck. This deck can be accessed from directly underneath using the spiral staircase, as well as a hallway located on the north face of the observation room.

One of the key components of my design was the amount of entrances for light to enter the spaces, including a geodesic dome resting directly above the observation deck. The high ratio of transparent elements to opaque materials opened up a majority of the spaces integrated within the building, which accompanied the function of the structure.

ALA 226

02

DESIGN FUNDAMENTALS IV LECTURE PROFESSOR: Brad Lang

Arath Barrios, Alex Berrelleza, Jamie Biersach, Joshua Cho, Maria Gomez, Perez, Rei Karki, Brianna Lindner, David Martinez, Christina Melgoza, Avery Moric, Jared Morris, Ahmed Nakhal, Jennifer Lemus Perez, Ali Qassab, Elijah Sandrali, Angel Villalba, Sean Young, Yifan Zhang

ALA 226

ARATH BARRIOS

The structure follows the repeated geometry of the column iteration. However, the geometry is then messed with by expanding, rotating, and stretching.

The original and repeated capital of the column creates the “floors”. The shaft of the columns are stretched, and now “supports” the entire structure.

Space is divided into 5 levels. The 5th level, which is the roof, provides an amazing view of the surrounding environment.

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ALEX BERRELLEZA

This structure was initiated with the column “Water Tower at Aveiro” by Alvaro Siza that is located in the University of Aveiro in Portugal. The Column was then modified to create a new structure where viewers can explore and enjoy. The first operation applied to this column was to hinge at a 90-degree angle and duplicate the columns to fit into the boundaries provided. From there, five spaces were created by shifting the water tank at different heights. The spaces created were both open and enclosed and were then connected using stairs and ramps to lead the viewers on a journey through and around the construct. At the bottom of the structure is a reflective pool that allows for a pleasant view to complement the structure.

ALA 226

MARIA GOMEZ PEREZ

The design for this building originated from the chimney column loacted in Le Corbusier’s City of Radiance. The design is lightly inspired by the style of brutalist architecture because there aren’t many twisted shapes or circular pieces in the design.

Although this building had to consist of the elements of that column, the produced building is exposed unlike the original column. Walls are “formed” but with thin long columns with various amounts of spacing in between. Bigger spacing between these thin columns allow the building to create a path to spaces/ different environments in the ‘building.’

Even though the objective was to create one path to multiple spaces, the interesting part is one can still fit through the small spacing and explore the spaces through their own free will.

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BRIANNA LINDNER

This structure was created through a series of operations performed on the original space: The High Court in Chandigarh, India by Le Corbusier. What started as a three column system is now a grid of multiple columns as well as levels in which a user can experience. Because Corbusier tends to use heavier, more solid materials, especially concrete, I felt that this space would best be represented as a concrete material with the addition of softer wood poles as a form of enclosure and guidance throughout the space.

Movement through the space successfully allows for a different experience within each level depending on the height of the floor above, the placement of the columns in regards to the path, and the type of light being received. The atmospheric quality of the space can be defined as airy and tectonic, while the way the building touches the sky is very grand and heavy.

ALA 226

CHRISTINA MELGOZA

Human circulation in this space is central to this architectural structure. The structure itself is enclosed with numerous columns that can be found in the Barcelona Pavilion made by Mies Van der Rohe. It is a four floor structure enclosed within these columns. This structure is designed with openness in mind for the individual flow through the chandelieresque appearance allowing for the optimal amount of natural light to pass through and evoke a warm presence amongst the columns.

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AVERY MORIC

This building was initially derived from the columns of the Neue Nationalgalerie by Mies van der Rohe.

The manipulations began by stretching and tearing the cruciform shape in order to begin to create a structure. Further transformations to create space, organization, and structure were done by orthogonal transformations and extrusions. The transformation decisions were made in order to stay true to the design philosophy behind the original column while still being adventurous and exploring new shapes and spaces. The building consists of a fluid raised ground floor and then a central vertical staircase that allows many viewing angles and spaces along the way up and serves as a spine for the movement of the building. The structure is made of cast iron with concrete platforms and stainless steel staircases that pay homage to the original.

ALA 226

ANGEL VILLALBA

The original columns that Enric Miralles had created were designed to be organic and life-like structures as that of a tree. I wanted to continue that flow into the project using operations that relate back to the columns. It can be viewed as a gothic, tower-like structure and reads very tectonic from all those elements in place. By reusing the existing elements from the original columns, it gave inspiration in placing structural elements and circulation of human movement. The materials were also decided by the existing metal and wood from the columns therefore, the stairs and floors are made of wooden planks while the rest of the tectonic is made of steel. From entering the building on ground level, to the very top floor providing the best, maximum view of the horizon, it would certainly provide an unique climbing and viewing experience as you explore through each floor and different spaces of the building.

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SEAN YOUNG

My column originally comes from an Enric Miralles and Benedetta Tagliabue building known as the Santa Caterina Market located in Barcelona, Spain.

Enric designed and constructed these columns to be organic and lifelike similar to that of a tree. Composed of both concrete and steel the original structure connects the ground to the sky via a truss system supporting the geometric form and new material and fluidity of the building it connects. Through my iterations I attempted to operate off of a semiorganic structure created through Miralles original work, modifying the column to further mimic that of semi-organic nature of the physical column. It went through a series of rotation, arranging, removing, stretching, repeating, and twisting to come to a final iterative form in which space was then modified again to lower its density and allow for further circulation and movement.

ALA 226

YIFAN ZHANG

There are five floors in this structure, each floor is supported by the column set. The path wraps around outside of the structure from the lowest to highest.

The spaces are connected by the paths and the vertical columns in between. The path is constituted by stairs and horizontal platforms with handrail along it. People can view the columns and the vertical spaces from many perspectives while going through the path. The beams are also used as a part of support to the fourth and fifth floors.Every floor has a glass outer wall with a wood-like structure above. They provide safer places for visitors while maximizing the viewing from all perspectives.

ALA 226

02

DESIGN FUNDAMENTALS IV PROFESSOR: Natalie Severy

Students: Adrisel Bustamante, Santiago Chavez, Andrew Hart, Charles Hutchins, Emily Jones, Angela Martinez, Courtney Martines, Ali Mcauliff, Christian Perez, Anh Pham, Pedro Preciado, Mary Sikora, Desmond Smith, Moloud Tahmasebi, Zachary Whiston, Krzystof Zolnierczyk

ALA 226

ADRISEL BUSTAMANTE

One sided perspective view is seen from outside the space, its meant to demonstrate how one can approach the space from an outside view. As the space is transparent the movement of circulation is seen. The circulation can be seen using each of the five levels included in the building this is to accommodate the usage of the indoor and outdoor spaces.

A balcony seen at the top of the main transparent space is used for interaction of the space though the main entrance can provide that the rooftop is created for nature to get involved. Natural resources is an advantage when it comes to the space as it provides dependency for light and rain.

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SANTIAGO CHAVEZ

One sided perspective view is seen from outside the space, its meant to demonstrate how one can approach the space from an outside view. As the space is transparent the movement of circulation is seen. The circulation can be seen using each of the five levels included in the building this is to accommodate the usage of the indoor and outdoor spaces.

A balcony seen at the top of the main transparent space is used for interaction of the space though the main entrance can provide that the rooftop is created for nature to get involved. Natural resources is an advantage when it comes to the space as it provides dependency for light and rain.

ALA 226

CHARLES HUTCHINS

The images above show my space in the second to final phase of development. All that is needed to be added is tectonic or material. The image on the left is a perspective view of the entire space while the image on the left is a section cut down the middle to show the interior. People are added to show scale. My space was originally three beams, each at a 10-degree angle, crossing one another to form a larger column. The first change I made was to make each beam stand straight up. From there I stretched each beam outwards and connected them all. Sections along the two outer original beams were then removed to form outdoor balcony spaces.

The remaining parts of the beams create five indoor spaces, each connected to each other by a bridge like structure. Stair cases are added so one can move freely between floors of this space.

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EMILY JONES

The exploded museum on the right demonstrates how the building is connected. Each part of the building has a significant purpose to make sure the museum is successful. The panels connected to the building help the museum self shade and save money on cooling during the summer months. The panels and windows also give the museum precise lighting.

The columns in the building support the main load and also give an homage to the original column project. This drawing was the last drawing I had done for project 12. The building is fully developed in this phase and is missing just a few key details from project 13. Each level of the building gives the user plenty of space to admire the art and efficiently get through the museum. Circulation throughout the building is effortless because there are four elevators and a staircase.

ALA 226

ANGELA MARTINEZ

This dome shaped building functions as a place where people can go and unwind from the busy city life, to a quiet sanctuary in nature. Usually when you think of a structure some imagine a rectangle building with a few floors, generally not a dome.

Domes usually have better circulation and keep temperatures even throughout the space. Using different concrete textures on the bottom floor and concrete panels, it not only makes the foundation of the structure more solid, it is also seen in most forms, textures, and colors which satisfy the aesthetic and functional requirements of modern architecture.

Moving on to the top floor, there’s a glass opening which reveals the beauty of the mountains hidden behind the structure. The two pillars crossing at the top of the building create the dome shape.

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COURTNETY MARTINEZ

This space derived from a column designed by renowned architect Zaha Hadid. She originally designed this curvy structure to support the Serpentine Sackler art gallery social space. In order to make the column an inhabitable space, I scaled it up to 48 feet and divided the space vertically into four floors. To achieve the current state of the column, now building, I also removed outer cladding from the column and flipped it 180 degrees for a wider base. The exploded axonometric drawing exposes the circulation of the building, highlighted in pink color. Upon entering the building, visitors can take an elevator up to the fourth floor. The only staircase in this space is on the fourth floor. The staircase leads to the third floor, where a person can occupy the terrace all the way around the building. I then went on to create light openings and entrances to support and encourage human use with a repetitive rectangular pattern on the first floor and a large front entryway.

ALA 226

ALI MCAULIFF

Above is a 3D axonimetric drawing of the building I created based off the progressive series of my obscured column. When constructing this building, I wanted to keep as many natural ele-ments from my original column as possible, and after project 12, deemed this building most effi-ciently used as a commercial work office given its uniqe shape. In this space I am in the process of finishing building custom rooms for each floor, adding logistical construction details, and assigning materials.There are eight floors, two main cylindrical structures, two core stairwells, connecting pas-sage/walkway, and waterfall feature.

On every floor there are bathrooms, conference rooms, cubical space, lounge spaces, and more! This space allows for optimal human circulation with a great 360 degree view.

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CHRISTIAN PEREZ

This space was created from various applied operations from the Torres de Satelite designed by Luis Barragan.

In particular the columns were followed operations, such as split, rotate, cut, and join. This section perspective exposes most of the interior of the space.

The elevating pathing is to promote non-linear human movement that allows for all angles of the interior space to be explored. This design makes it so that people walk in a zigzag motion to get from one space to the other. The goal was for this space to be used as a public space which required an open floorplan. At the end of main triangular space there are stairs that connect the first floor to the second floor. The implementation of the stairs allow for the public space to have a vertical and horizontal experience for its program. The staircase also follows the existing triangular form that is in place.

At the top of the stairs, there is pathing that interlink the two intersecting spaces on the second floor to the rest of the space. There are grand opening to let in natural light into the space at each end of the main spaces.

ALA 226

PEDRO PRECIADO

I envision my space as a method of admiring the natural world atop a mountain. The interior serves to frame different scenic views of the surrounding natural world. The image above represents my vision for what I imagine the circulation inside my space to be. People are meant to enter through the left and move forward through the structure. It’s at this stage of development when I decided to imitate my circulation to that of a tree. The trunk being the entrance to the structure while the rooms at the end serve as branches to different views of the surrounding environment.

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DESMOND SMITH

This semester’s challenge was to provide a solution to a space using the constraints of a pre-defined spatial object. The pre-defined shape provided was a simple yet efficient design. It was a cylindrical column with a flared top portion. During the process of transforming the column’s shape, I chose to keep the basic attributes while exploiting the efficiency of spaces provided by its basic form. What resulted was a structure with maximized spatial usage while addressing sustainability issues. The main floor of the building is meant to serve either as active use or retail space. As the spiral stairs or tube elevator takes you higher, it will pass level 2 which houses residential use. The 3rd level is purposed for a green space which is a self-sustaining environment with trees, running water and maximized window placement to absorb sunlight. Another Floor above will house more residential space while the final 2 floors will be dedicated to active use and green space.

ALA 226

MOLOUD TAHMASEBI

The configuration of the path in this building forms a circular path as a whole. The main entrance to the building is by stairs which connect the site to the underground or the first floor. After entering the first floor and exploring around, the semi-circular staircase allows for vertical circulation to the upper levels. After relaxing the mind and the eyes on the second floor, the only door on the floor takes the user to the outside staircase. The stairs to the third floor are located on the exterior wall of the second floor.

The stairs end up on the terrace of the third floor where a viewpoint is provided for an uninterrupted outside view. After entering the third floor from the patio and enjoying the view, the indoor stairs go up to the fourth floor, where there is enough space to walk or sit around and enjoy the scenery. After entering each room, the circular glass and walls invite people to circular horizontal moves around the spaces. Each space is connected to another one only by indoor or outdoor stairs.

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ZACHARY WHISTON

As shown, this exploded axonometric drawing illustrates the circulation within the space of my building. To access each floor, one must take the stairs located on both sides of the three-story building.

These two stairwells not only allow numerous people to go up or down the building but also creates an alternative exit incase a fire is on one side of the building blocking the stairwell. The second and third floor have balconies allowing those on the inside to step out and enjoy the views of their surroundings and/or get a breath of fresh air. With the exterior of the building being made up entirely out of reflective glass, the inside allows natural light onto the floors while keeping the heat from the sun out. This will make the atmosphere feel cool and bright inviting whoever is on the outside to come inside. Two doors are then placed at the bottom of the center piece allowing two points of entry/exit. This ensures that guests who inhabit the space are free to enter and/ or exit smoothly.

ALA 226

KRZYSZTOF ZOLNIERCZYK

The space above is an evolution from Alvar Aalto’s column from the Villa Maria. By preforming modifying operations, which include flip, remove, scale and join to begin transforming the original column to occupy a greater space while initializing the basic idea of creating a building. The next phase was adding stairs into the space for user circulation and allowing vertical movement. Currently the space is in its pre-tectonic phase with light elements of initial structure. Within this space, there are four floors for users to experience, each floor offering a different amount of light visibility and exposure form the outside environment to push users to explore all aspects of the space.

3rd Year

ADE 322

03

ARCHITECTURAL STUDIO II PROFESSOR: Darren Petrucci

Students: Spencer Betts, Raul Carranza, Josh Einen De Joya, Harding Eddie, Ronda P. Gargog, Jingyi Gui, Taylor Hammett, Qin Hao, Alyssa Keen, Kayla Kokulis, Daniel Marshalsay, Rachel Martinez, Magdalena Mayer, Ryan Mayer, Nevina Plummer, Alexander Solis

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RAUL CARRANZA

The name for my project is Southwest Preschool.

The concept for this project was originated by the location of the site. I wanted to take advantage of the landscape that was found there which in my case was a Margaret T. Hance Park and merge the building with the landscape. Apart from integrating the landscape into the building, I had to take the Montessori pedagogy into consideration. After taking everything into account, my design included a green space that acted as a “secured park” for the children and a second level was included to provide a unique and playful experience. These two spaces were connected through a sloped surface that allowed the building to create this folded plain. The scattered classrooms on the second floor are like pavilions that create a maze for children to play but also to learn from the natural environment.

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JOSH EINEN DE JOYA

The Blanket House Kindergarten is a single story multi-building parti that integrates the site’s natural features as part of the learning curriculum by allowing it to form the building form. The conceptual idea is based off the blanket house that children do where they take two structural components that hold a blanket on top and have a space where they occupy in the middle. The space in the middle would be the exterior classrooms while the structural components would be the building that houses the interior classrooms. Sliding glass doors blur the boundary between the interior and exterior and allows the children to have a bigger classroom.

The preschool uses the Montessori pedagogy which teaches children by learning from a more hands on perspective. The design of the preschool enhances this teaching method by giving the kids the opportunity to play with the site itself.

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HARDING EDDIE

Reggio

Emilia

pedagogy

is

student-driven,

encouraging students and teachers to collaborate in safe environments. In Reggio Emilia teachers are just as much a student as the children, constantly evolving teaching styles, creating stronger teacherstudent relationships. The student’s environment is the “Third Teacher” in Reggio Emilia philosophy emphasizing that Architecture creates ideal learning spaces. Placing a Reggio Emilia pedagogy is ideal for this site offering exclusive outdoor environment compared to the neighboring Phoenix metropolitan area.

Reggio

Emilia

pedagogy

stresses

the

importance of the environment to a developing child.

Meaning, the dialogue between the Architecture and landscape will create both exterior and interior classrooms. Open spaced classrooms will create small communities within the walls of the school. The communal space that is encompassed by the two “L” shaped programs will also create private learning environments.

ADE 322

RONDA P GARGOG

Located in North Scottsdale, this site is surrounded by numerous single family homes and the site is approximately 5.5 acres. Also there is one large wash that divides the site into two halves.

Looking at the program, this Reggio Emilia preschool would follow many principles. The first is that the environment is the third teacher and that from this, a child should have the ability to dictate their own learning. The next major principle is the use of ateliers for projects and a piazza as a place of gathering and displaying their work. Once the work has been presented, a library should be placed where work can be archived and referred to in the future.

Hence, by combining these two concepts together, I decided to create the Desert Discovery Preschool.

One of the major ideas is the juxtaposition of artificial green landscape inside the perimeter of the school compared to the harsh desert landscape outside of the school. Furthermore the school itself would consist of lines as pathways and hexagons as spaces.

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JINGYI GUI

This is a kindergarten design based on Waldorf education and urban site. The design is inspired by the integration of the kindergarten and the adjacent park, and the windows are inspired by cheese. the rooms with different orientations are created according to the different directions of the landscape and sunlight, the bubble-shaped windows in the higher part help to let in light, while the lower part has a concave design, which allows the children to be alone and safe with the outside world. The cloud installation in the direction of the park can also be used as an outdoor classroom for children. The most interesting part of the whole building is the circular space in the middle that can be changed. There are doors that can be opened in both directions so that space can be adjusted to form different functions of space. The whole kindergarten provides a lot of different spaces for children to play.

ADE 322

TAYLOR HAMMETT

One large principle the Reggio Emilia pedagogy focuses on are the 3 teachers: the parent, the teacher and the environment. Many Reggio campuses focus on uniting all the teachers to allow the students to succeed. The location in which we were to create this Reggio campus is urban and has many resources to take advantage of such as the Burton Barr Library, the Margaret T. Hance Park with the Japanese Friendhip Garden and some unique cultural centers.

The site itself has a historical firehouse situated on the east part of the lot, which is an interesting asset to take advantage of. It is important when building a new urban building to consider its relationship and context to the exisitng members of the site as well as how to go about creating an effective and cohesive experience for those habiting the site.

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ALYSSA KEEN

Inspired by the existing washes found on the site, the Waldorf Ripple was designed as a biophilic space to help reinforce the concepts of the Waldorf pedagogy and honor the existing landscape. To utilize both sides of the site, I decided to split the school along the largest wash so that the offices and administration activities would be on the left, while the childrens’ classrooms and play places were on the right. In order to create the Ripple, I started drawing and overlapping ellipses that radiated outwards from where I imagined the morning breaths would occur.

The different bands within my ellipses then began to inform me on how to develop the landscape and skylights of the buildings. By focusing on creating a landscape that flows indoors and out, the Waldorf Ripple allows the child to safely and confidently explore, learn, and generally be immersed in the nature around them.

ADE 322

KAYLA KOKULIS

The

Montessori

pedagogy

emphasizes

the

importance of community and social contribution through an environment prepared for hands-on learning. Educators firmly believe that children absorb information through experience rather than traditional learning methods. Our site lies in the middle of a flood zone, with several washes running through it. These washes support a variety of different plant life, which are commonly found in the surrounding neighborhood. Together, the program and site create a building that promotes the selfeducation mindset of the Montessori pedagogy, focusing

on

community-building

and

positive

social interactions within the natural environment.

The structure maintains a connection with the surrounding neighborhood, yet acts as a microcosm for those inside.

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DANIEL MARSHALSAY

Creating a space which enhances the growth of a child’s sense of self and emotional intelligence while nurturing their age-appropriate developmental needs, is paramount to a successful preschool.

The site has many factors that are distinct advantages, the walkability of the area invites a sustainable approach, and a culturally rich and diverse learning experience can be tapped into.

The existing firehouse is transformed into something new by extruding it across the site as with the bands. Then by deflecting the roofline, the scale of the building is reduced to the scale of a child, also by deforming the rigid orthogonal bricks of the firehouse into curved organic forms synonymous with the Waldorf Pedagogy, a method of circulation that allows you to slip between the thresholds of the programmatic bands seamlessly is created.

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RACHEL MARTINEZ

The Hedge is a Montessori school located in Phoenix. It connects yet protects the children from their surroundings by framing the landscape into a play and learn environment. The school acts as a living “hedge”, seamlessly enabling and empowering the children to operate in the living world. Coming to The Hedge means protecting our school and students from outside visitors, while still connecting them to those elements and eachother. From classroom to classroom the children may see one another through glass walls and slot gardens, promoting the pond between themselves and their environment. The context encourages a self-taught ecosystem. A child may play, work, learn, and interact with their peers, teachers, and environment all while safely being in the confines of the school ground. At The Hedge, we dovetail our classroom learning with our outside experiences.

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MAGDALENA MAYER

The School House aims to incorporate the childhood development process into the architecture. A focus of the project was to create an environment that becomes more sensitive to the scale of the child. In order to achieve this, each classroom was designed as if it were a small house, and create an easily relatable environment for the child to thrive within. Three scales were then incorporated within the design process: the scale of the child, the classroom, and the community. Next, an active learning environment was provided with shared outdoor kitchens, to emphasize the importance of the domestic environment. In order to encourage fluid forms of play, gardens, water features, and stone climbing walls were designed to give children the chance to learn through discovery. As these scales emphasize the development process architecturally, the spaces created within provide an active environment that engages students to develop crucial skills they will carry with them throughout life.

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RYAN MAYER

The goal of this Kindergarten is to capitalize on the exisiting connections that this site has to nature and open space. This was achieved by creating significant spaces around each of the washes in order to take advantage of the natural landscape. The classrooms and program spaces are easily accessible to the outdoor environment. Keeping with the Waldorf Pedagogy, larger program spaces for activities such as theatre, art and cooking, are important to encourage group collaboration. Multiple surface materials such as concrete, granulated rubber, grass and dirt are all used to provide multiple play experiences for the children. The desert wash compliments the building by providing a close, cool, natural environment for the children to enjoy. The program is arranged to create a unified environment inside the complex that blends the natural and built.

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NEVINA PLUMMER

The Wash is a preschool desgined with the Reggio Emilia pedagogy. The school is located on a site in Scottsdale that has a large wash running through the center. The shape of the wash influenced the shape of the building. By connecting the two main program spaces with a bridge across the landscape, the wash becomes a piazza. The wash gives the students an opportunity to explore nature through the rocks, branches and sand found at the bottom. By making the wash the centralized area of the school, it becomes a place for teachers and students to gather.

The children will be constantly connected to the wash while inside and outside the building, further enhancing the concept of the third teacher. The Reggio Emilia pedagogy utilizes the concept of the enviorment as the third teacher in a child’s education.

The Wash Preschool emphasizes the importance of children learning in nature, and is a wonderful space for them to explore.

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ARCHITECTURAL STUDIO II PROFESSOR: Amit Upadhye

Students: Jaden Cole, Hayden Dudley, Alberto Escudero, Negar Khani, Andrew Kitts, Isayra Martinez, Juan Pablo Orozco, Jr., Gregory Pieroni, Yubo Qiu, Juliana Reyes Gonzalez, Lacee-Dynae Skinner, Christina Staab, Ananth Udupa, Gabriella Van Buren, Kenneth Velasquez

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JADEN COLE

0

40

This Montessori school project focuses on creating connections. There is a large gathering platform located over the wash on the site that serves as a levelator. All the students from each class, no matter their background or age can come to this platform.

This platform also provides a unique experience to interact with the natural environment on the site.

Trees poke through the platform and students can study and play with the tops of the trees. Underneath the platform students are protected from the sun and can play in the natural environment. Having a place to have schoolwide connections is what cements this Montessori school in this site.

ADE 322

HAYDEN DUDLEY

An urban montessori project in downtown phoenix focused on the division of spaces with a strong emphasis placed on the central courtyard. Spaces are clearly defined as roles throughout the project with a separation of those spaces between children and faculty. Along with that is the central courtyard tying to project together as one collective whole being the main attracting force. Trees are sprawled around the project trying to create a deeper connection between nature, the tree, and the child interacting with the tree. So that in the future the children will feel grateful to those trees, for surrounding them, protecting them, from the sun, from the sound, from the surroundings. The courtyard serves as the main point for the children, connecting every classroom, being overlooked by the upper deck, and acting as its own private little natural environment.

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ALBERTO ESCUDERO

The focus of my project was to design a preschool that embodies the philosophy of the Reggio Emilia school system. This project is located in downtown Phoenix near the Burton Barr library. There is a building on the site, which was one of the challenges I had to work with. I decided to keep the building and turn the majority of it into a large open space for children to play and interact with each other. I created a large opening in the existing building and planted a tree that grows straight through it. I did this to show how a child can break away from the conditioned mind and become whoever they want to be. This opening also allows natural light to get into the space to provide a sense of warmth. The idea of the overall preschool is to have a school come out of the old firehouse and transition into a nice and colorful place for children to learn and grow together.

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NEGAR KHANI

The connection with nature and use of large environment is highly beneficial for the emotional health of children, this preschool has a large main area with interior garden which allows children to play freely with flexible furniture to enjoy their natural learning process. Different geometric and shape of classrooms are important for thinking process. This preschool has different shapes and size of classrooms with recyclable children size furniture.

Children spend most of their time in the gardens, they grow vegetables in the school and help to cook a meal. In this preschool they learn how to be involved with nature and use sustainable materials.

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ANDREW KITTS

Located at the base of the Phoenix Mountain Preserve, Piestewa Preschool was designed as a modern Montessori preschool that recognizes the important relationship between child, parent, community, and environment.

Designed to engage the child with their natural surroundings, the building is angled to enhance the views of the southern mountains and the Tatum Wash to the west.

The facility was inspired by the working lifestyle of the adjacent residential neighborhood, which is comprised of desert ranch estates that raise horses and livestock. The inclusion of an onsite barn that houses small animals allows the children to experience a preschool that thrives on the importance of work - a critical Montessori element.

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ISAYRA MARTINEZ

Looking at the floor plan layout, I was inspired by the branches of the trees when I first visited the site, I started doing research and found that the first school was taught under a tree and went off the idea of branches since students are constantly growing, evolving and adapting to new environments. I wanted the preschool to be a seed from which they grow, learn from and experience. The entrance is located off of Legacy Boulevard, which includes staff parking and a drop off area. The school is split up into different buildings; 2 buildings for 0-6 year old learning, one for the cafeteria and another for the library and administration. I was also inspired by the slopes of the mountains seen from the west side of the site. I also took the sun and wind into account when designing the roofing while also providing plenty of shade to the outdoor areas.

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JUAN PABLO OROZCO, JR.

Saguaro Blossom School is a Waldorf preschool that immerses children into the desert landscape to learn through exploration, play, and connection to the natual environment. The desert is a place that constantly has life day and night, so the goal was to create a campus that coexists with its surroundings.

Located in a residential area in North Scottsdale, the school reflects upon the surrounding mountain ranges and connecting to the wash basins that run through the site. The school is designed to be an extension of their own home in order to create a mix aged environment where students can colloborate and learn from their peers and setting. The Waldorf pedagogy focuses on learning through work so located on site is a garden where children can learn how to cultivate based upon native cultures. Other features include a eurthymic hall, art studio, and library which are all lined with glass to eliminate the feeling of being closed off and emphasize the constant connection to nature.

ADE 322

GREG PIERONI

The Legacy of Montessori was developed around the idea of peace because that is a key element within the Montessori philosophy. A quote from Jenny Formon, a lead primary school teacher at a Montessori school, stated; “What we think peace is… to be patient and gentle, to not interrupt.” The goal of the project was to develop buildings while disturbing as little of the existing foliage. From nature comes a great amount of calmness and the incorporation of that atmosphere within the buildings themselves was essential not only for the students but the staff as well. Materiality was paramount because this project is meant to blend in rather than stand out and interrupt the site it resides on. Rather than remove the students from the beautiful site by placing them in polished and modern buildings, I wanted to place them within the environment to boost creativity and nurture a sense of wellbeing.

271

ADE 322

YUBO QIU

When designing the Preschool, the first consideration was child safety. How to let children learn and grow in a safe and warm space. The reference was made to the Chinese Siheyuan, an old-fashioned courtyard building. Put Play Ground and Greenhouse in the middle of the yard. Greenhouse is for children to learned grow organically. After doing Sun Path research, the roof was redesigned to give children a better sun environment.

ADE 322

JULIANA REYES GONZALEZ

The site for the project is an urban site which was located in Phoenix, Arizona. The site was located near dowtown where it happens it be next to Margaret T. Hance Park. The area in which the Waldorf Preschool Project was to be done is a great located because there aren’t any preschools or kindergarden classes nearby making it the ideal place to establish a preschool. The project design was to create a preschool which had factors from the Waldorf Pedagogy to be a space where children can explore both indoor and out. The main inspiratation for the for the design of this Waldorf Preschool came from tree view from the site to Hance Park just north.

The tree was the inspiration to design a preschool that can grow with the children within guide them through their early lives.

273

ADE 322

LACEE-DYNAE SKINNER

This urban edge site has a nice two acre lot size; adjacent to the Phoenix Mountain Preserve. The goal was to design a Waldorf pedagogy inspired preschool.

The

Waldorf

pedagogy

promotes

exploration of play, connection to the outdoors and imaginative thinking for children. The approach design to the preschool was mindful of the site characteristics by understanding the landforms and nature that impacted the site. The main inspiration to the design was the rocky paths and shapes towards the Tatum Wash. The integration of rock to the land, the freedom of movement between the rocks and the uniqueness of the individual shapes helped inspire this ‘Rocky Edge’ Preschool design. Connecting the design to the environment creates an exploration of circulation to play.

ADE 322

CHRISTINA STAAB

This semester of my Junior year in the architecture program at ASU, I designed a proposal for a Montessori pre-school on an urban site in Phoenix, Arizona. The driving purpose behind my design was to create spaces that incorporated the 3 pillars of Montessori learning: sensitive periods for learning, a prepared environment, and independence and discovery. I also designed my pre-school to form a community amongst the people who dwell in the environment. The pre-school consists of a student, teacher, and parent wing, which then all connect in the center of the school forming space for inclusive community interaction. Lastly, another core concept of Montessori is connecting the children whit the outdoors. I designed the south end of the school to open up to the outdoor play area for the students to experience the indoor and outdoor areas in unison.

The community center in the middle of the school is also outdoors and the 3 spaces for Montessori leaning are structured with floor-to-ceiling exterior glass walls to enhance this connectivity as well.

275

ADE 322

ANANTH UDUPA

This project connects the space for a child to the desert through researching indigenous knowledge systems, namely the Ak-Chin O’odham Native tribe, and regional materiality. The program of the proposal follows the reggio emilia pedagogy which emphasizes project-based learning through arts and craft as well as the environment functioning as a third teacher. The post WWII schooling methodology was developed in Italy and incorporated central piazzas and programmatically overlapping spaces wherein children can interact and play. This school takes these notions put forth by the pedagogy and translates it into a sonoran perspective, specifically through a found object: the jumping cholla. Decoding the structural makeup of this skeleton helped understand and define the liminal space within the proposed site, which uses patterning in various scales from play spaces, building orientation and garden areas.

ADE 322

GABRIELLA VAN BUREN

This preschool was designed based on the Reggio Emilia principles of self-drected, project based learning and the utilization of nature and the outdoor environment as a teaching element. It is located near the Phoenix Mountain Preserve off 40th Street, and features a large central courtyard, a second level playground with an unreachable cactus garden, and native vegetation throughout the building and site.

Students will have the ability to view the preserve from their classrooms and take walks with their teachers through the preserve.

277

ADE 322

KENNETH VELASQUEZ

Tela Preschool, my proposal for a Reggio Emilia preschool, embodies the principles of motor development,

nature,

art,

collaboration,

and

permeability. Located in an urban edge site near the Phoenix Mountain Preserve, the campus embraces the desert landscape and the mountainous terrain that stretches beyond the site. The classroom is designed for children to learn from each other’s work, the instructor, and nature. With that in mind, there are areas for display, collaboration, and observation of nature both under and above ground. Important design features include stairs to improve a child’s motor skills, sliding doors for learning experiences across spaces, and a mezzanine that provides nature observation in an exposed and intimate setting.

Overall, the campus proves to be dynamic with a focus on permeable spaces, art surfaces, collaborative learning environments, and components for motor skill development; all while embedding children into the natural desert landscape that is unique to the site.

ADE 322

03

ARCHITECTURAL STUDIO II PROFESSOR: Naomi Frangos

Students: Miguel Brecino, Allysa Chiarello, Alondra Cuevas, Philip Leveque, Jona May Lim, Shawn Locus, Grace Miller, Saafir Newton, Ignacio Ornelas, Jacob Reed, Kirsten Schwantes, Valerie Valles, Shonda Woody, Kevin Wright

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ADE 322

MIGUEL BRECINO

I came into this semester really confident, but it all changed when I met my new studio professor, Naomi Frangos. Before I met her, I was content with my work ethic, but once we started this semester’s project, I learned that I had to get rid of my old work ethic because it only got me average level work. Naomi taught me how to push myself past that average level work by showing me that my first idea is never the best, and that a project can always be improved. This semester’s studio consisted of a lot of redos, and I didn’t like it at first, but it really taught me that the only way to improve a project is to test every little thing out. I feel like I have gotten a better work ethic now because I have gained new knowledge on what it takes to make a good project. I can now see myself improving dramatically in the future because of this new work ethic.

ADE 322

ALYSSA CHIARELLO

Aligned with the contours of the site that expands from the mountain beyond it, this Reggio Emilia preschool, “Discovery Circuit,” emerges from the earth; It imagines how the building can intertwine with the unique desert landscape to emphasize the principle of ‘environment as the third teacher’ by connecting each of its artistic-based learning circuits to the surrounding environment.

Throughout this semester’s preschool design project, I learned how to properly iterate and go through the design process. I learned how to analyze site and program and respectively and blend them into an architectural work without ignoring the merits of either. I’m very grateful for the experience I’ve had this semester and these are tools that I am eager to take with me into any future project.

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ADE 322

ALONDRA CUEVAS

This semester we were able to design a preschool that aligned with a pedagogical approach and within a context of a given site. I had the opportunity of creating a Montessori based school in an urban context. To fit such a large program in a small site had its difficulties and to combat that I decided to take advantage of the vertical space. Overall there are three levels. The context and pedagogy were taken into account within every aspect of the design.

For instance, when considering materials, wood was used as much as possible instead of heavy materials like concrete. This was to avoid contributing to the urban heat island effect, and also it is a well used material in Montessori schools for its durability and safety. The rooms have a lot of open space within them and the children are able to choose from three outdoor spaces: courtyard, deck, and roof garden.

Overall, this project taught me how important context is and how important it is to learn about who you are designing for.

ADE 322

PHILIP LEVEQUE

Last semester, I experienced numerous issues in my courses such as: connecting key elemental features together, lack of organization, and rushing my assignments. I came to the realization that to progress further I must fix these problems. I was struggling from my lack of organization and thought less about the important features of the given program and site. This semester, I’ve taken a new approach and noticed significant improvements in my work. Now, when I work on an assignment, I focus heavily on the given program and site. I look for existing elements that can be utilized. I do not rush out the design like I did in the past, instead I work meticulously and take every aspect into full consideration. In the future, I intend to work harder and continue evolving my skills. I want to perfect my abilities and become a master in the field of architecture.

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ADE 322

JONA MAY LIM

This semester I was given the opportunity to explore the principles of Waldorf pedagogy. Throughout the process, I have learned to be constantly conscious of the users’ needs and character. One way to achieve this is by embedding myself in programmatic research to fully understand its principles and objectives. This research guided me in configuring the various spaces to embody the principles of Waldorf education and to create a variety of experiences for the children. I’ve also learned that using different design lenses through which to analyze and interpret the program are crucial in creating specific experiences for users. Because of this, it is important to constantly evolve your work to achieve the overall purpose of your design. Lastly, I learned that responding to people’s needs, empathy and passion are key to purposeful design.

ADE 322

SHAWN LOCUS

This past semester has been the most productive and challenging so far in my college career, due in part to finding a balance between pure aesthetic artistry and necessary functionalism. Up until recently, I found myself primarily focusing on the elaborate sculptural configurations of a building both internal and external. Now, I realize that formal expression is irrelevant if the human experience is forced into the environment with negligible consideration. The most stunning building in the world with an inadequately functioning

scheme

can

be

inconsequential

compared to a crudely manufactured structure that exceeds its created purpose. Moving forward, I intend to take a step back in my design process and examine the fundamentals for how to: organize a floor plan or section, create efficient circulation, propose plausible engineering, consider texture and materiality, implement nature thoughtfully, and develop strong programmatic gestures.

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ADE 322

GRACE MILLER

This semester I completed a building proposal titled Unity Sprouts Preschool. Researching the Reggio Emilia educational approach inspired this design for an oasis in downtown Phoenix where children aged 0-4 may plant the initial seeds of their socialization and development.

The school wraps around a central piazza where children of the Reggio pedagogy learn to sprout the seeds of their education through this miniaturized landscape that alters the geography of Arizona to the scale of their bodies. It is treated as a stage for the performance of creative activities and ecologybased learning. The development of this proposal allowed me to attempt design through the eyes of a child, and it grew to be a difficult yet fulfilling task.

ADE 322

SAAFIR NEWTON

This semester for me was easily the hardest one yet.

Taking online classes begins to take its toll. Yes, it is easier to just turn on a computer to go into class, but it is harder to stay focused for a long period of time.

I started to find ways to stay focused and I think that became very helpful for me, and I will continue to do this going forward. As the semester ends I feel relieved to take a break from school but at the same time I am excited for the next semester. Seeing the progress I’ve made in 3 years makes me want to put forth more effort and continue designing. I feel that my studio Professor Frangos has aided me in the way I approach design, so now every move I make is done with a purpose and there is good reasoning backing it up. I will continue to use the things she taught me so that I can further excel in the world of architecture.

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ADE 322

IGNACIO ORNELAS

For the Spring semester of 2021, I did not think that we would still be stuck at home learning through zoom. That does not take away from the way I grew as an architecture student, this semester I learned about how to analyze and design depending on the site one is given. This helped me grow as a student studying architecture because now I design with the thought of analyzing the site and its surrounding context. I learned to better my time management more than last semester due to each studio check-up we had every class. I’m grateful to the professors that endured this semester of technical difficulties and long periods of staring at a screen for the Spring 2021 semester. For the future semester, I hope that studio is back in person for the remainder of my future senior year that way I can have the full experience with my classmates.

ADE 322

JACOB REED

Throughout this semester, I have learned many things about myself as a person and as a student, as well as the way in which I approach design. Through the many group projects, I learned a lot more about what it takes to collaborate and work towards a goal with your peers. Through the individual final project, I learned not only about how young children learn, but also about how I myself learn. I found this experience not only to be worthwhile, but also very necessary in my growth as an individual and as an architecture student. I look forward to learning more about myself, design, and the many many things that come with being an architect. I hope that the last year of studio brings me new challenges, new relationships, as well as new perspectives in regards to how I go about with my design career.

289

ADE 322

KIRSTEN SCHWANTES

The Whimsical Nest Waldorf Preschool resides within the edge of the mountain range. The preschool emphasizes

Waldorf’s

pedagogical

principles:

importance of nature, homelife, self sufficiency and emotional development within a child’s education.

These specific learning paradigms are enforced through the intertwinement of these principles and how they relate to the relationship between the external and internal world of a child. Importance of nature and home-life are especially intertwoven within the classrooms of the preschool where nature enters into the domestic atmosphere of the classroom environment. Through variatios in elevation that the building allows, the child can experience heights they have never experienced before and feel as if they are atop a mountain much like the ones they can view from a distance. The child learns from the proximity to nature and external environment, but also feels at home in the nest of the classroom and the intimate niches wihtin it.

ADE 322

VALERIE VALLES

This project is an early education school inspired by the Reggio Emelia pedagogy is in central Phoenix.

The goal of this project was to transform the urban site into an internalized learning environment in which each child can create their own unique learning journey. Following the Reggio Emelia pedagogy, it was important to design a school that would stimulate the many expressions of a child, promote collaborative learning amongst children and teachers, and celebrate the documentation of children’s work and learning progression. From this project, I learned that manifesting a concept into a physical space that supports and emphasizes the concept requires a level of thinking that I have never experienced before.

Despite the challenges of synthesizing a pedagogy and site conditions into a project, I am excited to have learned a new skill. I look forward to strengthening this skill in future projects.

291

ADE 322

SHONDA WOODY

This Semester was different from other studios.

Starting with group work case study analysis of well know schools that are different from typical schooling was challenging. However, the group research was building up our knowledge of how each school developed specific types of learning: Reggio, Waldorf, and Montessori, from creating program inventory and relationship diagrams, to drawing illustrations and creating a building that represents one of those schools. With the questions what, when, where, why, and how to everything you do of making one of those schools pedagogies. Working on sites that have small to large open spaces with different environments and settings: urban, neighborhood, and edge conditinos, was very interesting for developing our design proposals.

ADE 322

KEVIN WRIGHT

This semester was interesting dealing with different types of preschools and the philosophies that guide how they educate their students. I personally feel that free form play and thinking would positively affect a child’s growth in the early years of their life. I think some of the principles regarding exploration can be applied to my own learning ethic and work and help with creativity. I feel our studio meshed together really well and we all made solid gains under the tutelage of professor Frangos. This semester, a lot of us have finally hit stride with different CAD and BIM software programs. One of the hardest parts is getting what is in your mind onto paper. I look forward to applying this new knowlethe challenges of next year’s design studio.

ADE 322

03

ARCHITECTURAL STUDIO II PROFESSOR: Elizabeth McLean

Students: Isheanesu Tendayi, Christian Mays, Wesley Brittain, Alexandra Berk, Carlos Alonso, Amir Simms, Kevin Evaristo, Gerardo Beas, Jeremy Arena, Muataz Al Sabti, Carlos Trujillo, Jenna Petre, Noah Glynn, Sofiya Gaffke, Ryan Berry

ADE 322

ISHEANESU TENDAYI

Architecture can foster meaningful interactions between people, and between people and place.

Within

the

traditional

Montessori

pedagogy,

themes of community, self-discovery, independent learning, and respect for the natural world, weave through the built environment to promote a holistic early education. Through careful consideration of the built vs unbuilt environment, driven by a strong sense of place, the Neighborhood School I’m proposing values a well rounded education and examines ways that design can marry traditional and progressive aspects of the pedagogy, coupled with a biophilic approach, to create a new space for the child—A space of boundless imagination, firmly rooted in place, at the scale of the house, street, and neighborhood.

295

ADE 322

CHRISTIAN MAYS

My project is called Expanding Discovery. It aims to create a diverse learning and activity environment that incites play and exploration through a gradual transition between indoor and outdoor spaces. The concept focuses on spatial qualities that stimulate a flexible interplay between student’s own initiatives, curiosity, learning, and play on one side, and activities that are organized by the teachers, and provide a sense of security and care on the other.

By developing responsive spaces that support experiential learning, students and teachers can seek out and switch between a multitude of different settings and qualities according to the project, working method, and subject at hand.

ADE 322

WESLEY BRITTAIN

This preschool was designed within the context of a neighborhood site and was based on the values of the Waldorf pedagogy. The design goal of the project is to create a flexible learning space for the children that emphasizes the importance of outdoor play and experiences. In order to strengthen the bond between the inside and outside, the buildings are equipped with large windows and form a semi-circle around the outdoor courtyard. This provides the children with great views of the desert landscape, even when they are doing indoor activities. The site is also shaped in order to create an isolated atmosphere, away from the unpleasant street noises to the south.

297

ADE 322

ALEXANDRA BERK

This project focuses on designing a preschool that caters to children from infants to four years old under the Reggio Emilia pedagogy. This pedagogy places a strong emphasis on a studio-based education with many communal spaces for the children to come together from all ages to learn and explore. The site is located in Scottsdale, Arizona which sets a strong backdrop of neighborhoods and communities. In order to meet these needs, two buildings were designed that are shaped to frame the outdoor piazza space where the children will play, learn, and interact with the world around them. The main classroom building is set up with an indoor communal studio, the atelier, that each of the classrooms open up to.

The goal is to encourage interaction across the classrooms. A Reggio Emilia approach strongly emphasises that the classroom and learning happen everywhere, so large expansive doors that open up entirely help to blur the lines between indoor and outdoorto dissolve the boundaries of the classrooms.

ADE 322

CARLOS ALONSO

My design proposal for a montessori based preschool within a neighborhood context aims to reflect key concepts that make up the montessori method, those concepts being the ‘prepared environment’, ‘freedom within limits’, and the ‘scale of the child’. By providing a space that is catered to the child while also staying consistent with the montessori approach, children are able to learn and discover at their own pace while developing their independence and self autonomy.

299

ADE 322

AMIR SIMMS

Within the bounds of the Waldorf pedagogy and creative thinking comes Planting Seeds Pre-school.

In this design, there are a lot of the same things that we all can remember constantly attracting us back to school for 5 days a week as a child. In my approach, the architecture is unique in the idea of community, with the central playground placed in the middle as the heart of the campus. Along with the second playground for those looking for a bit more independence, and plenty of free space in the classrooms, this architecture allows for the students to create their own image of what they truly love about school.

ADE 322

KEVIN EVARISTO

This studio project is located on a small urban site in Phoenix, Arizona. The intention of this project is to research the Waldorf education system and design a Waldorf school. The site area is limited, so I propose a two-story building to accomplish all the requirements for this project. A main goal for this project is to be able to create an abundant open green space for kids to be able to interact with one another. A building shading system is designed with a biophilic approach to provide a comfortable exterior environment, in the hot Arizona climate.

301

ADE 322

GERARDO BEAS

The objective of the project was to create a preschool in an urban setting, Downtown Phoenix, that would allow the Montessori pedagogy to succeed.

The main aspects I took from the Montessori pedagogy to influence my design were: community, independence, and structure. After reviewing these aspects from Montessori, it was time to focus on the architectural approach. For this phase of the design process I decided to focus on a simplified and readable design and set-up, the safety of the children, and creating a centered space where all the children can interact with one another. The biggest influence for the project is Fuji Kindergarten in Japan. I gravitate towards the interaction between the structure and nature, the feeling of community created by the shape of the building, and the ability these aspects allow the children to move around and discover without fear.

ADE 322

JEREMY ARENA

Located in the growing downtown Phoenix area, Little Sparks Preschool finds its home on the southern border of the Margaret T. Hance Park, directly across from the Burton Barr Central Library.

The project reuses an old brick firehouse and grows from it in a way that responds to the values of its context, adding the encompassing sense of place.

The school emulates the Reggio Emilia pedagogy, an education method that emphasizes the importance of a child’s imagination and curiosity, both of which being primary drivers in the educational direction.

As kids learn and grow, this pedagogy believes that there are 100 different languages that children may use to express themselves, a key driver the design of the project. There are four core areas that cater to performance, action, discovery, and exploratory based languages, all of which have a natural flow from one to another.

303

ADE 322

MUATAZ AL SABTI

Palm Ville is in Downtown Phoenix and is part of Margaret T. Hance Park near Burton Barr Central Library. The location is crucial to the design. The two-level Montessori school is made mostly of concrete and glass. The design adapts to the Phoenix environment and fully utilizes the sun light and wind.

Classrooms are separated by two greenhouses. The purpose of the greenhouses is to allow students to plant their own food and watch it grow through the classroom windows. Toddler and infant rooms are totally separated in the design by a playground. The playground runs from the north to the south side of the building. The school design gives students an indoor-outdoor experience and allows them to interact with the environment.

ADE 322

CARLOS TRUJILLO

Montessori pedagogy school in Phoenix, Arizona tackling

the

harsh

desert

environment.

This

project uses multiple frames of light to encourage students to discover and play. In the same manner, the project also uses scale to inspire the students to play around the school to further encourage learning through discovery. The project also focuses on using sustainable strategies such as varying building heights, closely bunched structures, and different scaled windows to combat heat and create a new educational environment.

305

ADE 322

JENNA PETRE

Nature Point is a preschool that follows the Reggio Emilia pedagogy. The school is designed with the key aspects of the Reggio Emilia approach in mind including a focus on the environment, connection, flexibility in spaces, and relaxation areas. Children are encouraged to explore their ‘100 languages’ described in the Reggio Emilia approach, throughout their school day. Surrounding the site are beautiful mountain views creating an incredible sensory experience for the children. Outdoor spaces are connected to each classroom providing a variety of spaces on the campus. Children can roam about the school freely and explore every space since it is enclosed on the exterior. This creates a small community-like atmosphere where the children can feel safe and be creative.

ADE 322

NOAH GLYNN

Sun Bowl Preschool serves the Waldorf pedagogy and is placed on an edge site in Paradise Valley.

The design emphasizes crucial elements of the Waldorf pedagogy like group activities and nonstandard learning environments. Although the image presented is only a portion of the project’s entirety, it emphasizes a few basic components of the design: the length of one side of the building is bermed to insulate the structure and dampen noise from within. A central courtyard, nicknamed the Sun Bowl, connects two program spaces containing classrooms, administrative spaces, and a kitchen area. Large square windows and skylights invite natural light into the structure, and spaces are created within the window frames for individual seating. The materiality of the design is influenced by the rich color palette of Arcosanti and the structure derives inspiration from other concrete/rammed earth structures.

307

ADE 322

SOFIYA GAFFKE

The journey begins with inspiration from a dying cactus. The holes slowly show the light peeking through to the other side of the skeleton. Where the light touches, life takes its place. The insects who have made their homes to the birds that have grabbed dinner for their babies. Nature influences nature to keep moving. To keep growing. The preschool design considers the interconnectivity the skeleton holds within as well as the potential air flow it can filter a space. It gives a chance to bring attention to kids of the Waldorf pedagogy that nature can influence many things around you. The revolving door that keeps moving. Just like nature, you too must keep moving to learn and grow further.

The goal is to push the imagination children hold onto and let it freely move within a safe space where anything is possible.

ADE 322

RYAN BERRY

Arco Altura is a Reggio Emilia inspired preschool design for a rectangular lot in Phoenix. The structure is built around a partially covered central courtyard, much like townhouses surrounding a piazza in Italy. Each of the rooms is designed with the scale of a child in mind yet given extra space to make reoccurring rearrangements feasible. A single point of entry through the southwest corner leads children, teachers, and parents towards the center. The freeform structure drops from 22 feet high to create a 7-9-foot ceiling in the piazza. This structure, made of aluminium sheets covered in a white polyurethane membrane, shades rooftop activity spaces across the building. In addition, it is sloped towards the center of the piazza such that when it rains, water is collected by a fountain on ground floor. High variability in built environment sparks curiosity and creativity throughout the kids’ attendance.

ADE 322

03

ARCHITECTURAL STUDIO II PROFESSOR: Jason Boyer

Students: Andrea Brophy, Giovanni Cozzolino, Ethan Eles, Anthony Gagliano, Sadie Henson, Erick Hernandez, Elizabeth Michaels, Fernando Moreno, Camillo Patarroyo, Denise Ramirez, Hailee Rother, Madison Stoddard, David Struening, Logan Thompson, Justin White

ADE 322

ANDREA BROPHY

In my design I wanted to connect classrooms with the outdoors, allowing the children to have visual connectivity and see their peers as role models, use natural and organic materials, and encourage the children to have space to roam freely and learn through discovery. While designing the overall site plan I tried to keep the child’s perspective in mind, creating a sequence of spaces that act like exhibits, as the children move through the site, turning corners and opening doors they are met with changing environments –indoor, outdoor, high ceilings, low ceilings, different textures, and materials, as well as different elevations. I think by creating this sense of discovery through different spaces in the site it follows the Walldorf philosophy that the learning process is not just about thinking but about feeling, doing, experiencing, and most importantly playing.

311

ADE 322

GIOVANNI COZZOLINO

I designed the Desert Providence preschool located in Scottsdale, AZ. The focus of this project was to create a school that followed one of the three pedagogies: Waldorf, Reggio Emilia, and Montessori.

I decided to follow the Waldorf approach. That being said, I wanted to design a school that was fun and free flowing. I wanted the children to explore and make new discoveries about their school. The teachers here have complete freedom on how they would like their classroom to look and where they would like to teach the children. Each classroom is also tailored to the age groups that will be attending the school. Overall a very open and fun environment for any child to learn and explore.

ADE 322

ETHAN ELES

This Semester we were given a project to design a preschool based on our given site and a certain pedagogical approach. I chose Montessori education and a neighborhood context for my site. My goal is to provide the surrounding community a Montessori preschool that allows the children to experience the desert environment at a young age through an indoor outdoor experience created by the architecture.

313

ADE 322

ANTHONY GAGLIANO

Located on the EDGE Site (9202 North 40th Street, Phoenix, AZ 85028), my preschool design takes advantage of most of the buildable site. With an administrative building to the east of the site, it creates a single threshold in which you can enter the site. With one main corridor in the administrative building, you can access staff offices, the library and infant nap room to the right, and you can access more staff offices, the infant room, and the kitchen to the left. Once you get through the reception threshold, you enter the main part of the preschool campus.

Each classroom is distributed and designated to each age group of kids (infant through 5yrs.). With each classroom comes a private backyard space. What makes this project is the central courtyard in which all the classrooms orient themselves towards.

ADE 322

SADIE HENSON

Creo is a waldorf based preschool in the DC Ranch neighborhood. Surrounded by mountains and desert landscape, I wanted to connect the children with their environment and create a structure that left the washes uninterrupted for exploration. The waldorf pedagogy encourages creative thinking, independence and exploration of their surroundings.

The school is intended to foster a community that is home-like, where kids can learn through imitation, experience of diverse sensory impressions and movement. The building’s organic shapes and unique play features encourage the children to engage with new experiences. Kids are able to create their own play within the space and unique elements like looking glass nooks give them a new perspective of the ground. Natural materials and a direct connection to the site gives kids a chance to create their own sense of place. Giving unique views and orienting the buildings above the washes, the kids get to experience life within their surroundings.

315

ADE 322

ERICK HERNANDEZ

The Note School is a project where we were given a schooling approach within a certain site. In this case the school was implemented into a neighborhood site and uses the Montessori schooling approach.

My approach to this challenge was to allow for light to be a medium of the children’s creativity, the façade allows for a connection between the outdoors and indoors which wouldn’t limit the play a child may have.

ADE 322

ELIZABETH MICHAELS

The Reggio Preschool on the ‘Edge’ Site in Phoenix is a new construction project housing up to 110 students. Following the Reggio preschool pedagogy, the building’s design principles center around enhancing the core principles of student-centered, self-guided curriculum. The natural environment considered the ‘Third Teacher’, plays a predominant role as the site perimeter faces or touches part of the nature preserve to the east and south. The nature preserve topography raises sharply over a short distance, creating a beautiful backdrop of available views from the east, south, and west sides of the new building.

Student play spaces, the library, and classrooms have been situated on the south and west sides to enable expansive views to the hills and creek bed. The front of the building faces the main access road and connects site access to the building. Roof over hangs and a walkway canopy connects the pedestrian hiking trail access from across the street, through the parking lot, and to the sides of the site encouraging students to be self-motivated to explore and create projects about the natural flora and fauna around them.

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FERNANDO MORENO

The focal point of this project was to integrate the Montessori pedagogy in the preschool classroom with nature by bringing the classroom outside, and using the surrounding context to create a learning experience for young children. A series of programs are made in order to help children connect with nature, whether it be by using a ramp for play and views towards the adjacent landscape, or using a water tunnel running through the site to use as a play and learning area. Montessori intends for children to be independent individuals capable of learning at their own pace, and with this project, I wanted to address the connection that exists in both the classroom and the outdoor environment, and designing the space so that the outdoor space is utilized as an outdoor learning environment and playspace.

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CAMILLO PATARROYO

My proposal integrates the Montessori pedagogy in an urban setting, giving children the opportunity to explore their interests in a safe and supportive setting. At the same time, expanding the relationships between the teacher, the child, and the environment.

The program consists of two pairs of classrooms, two for the 15th-month-old to 3yld, and two from 3yld to 6yld. Each set shares a bathroom, and the 15th old classroom shares a nap room located in the middle of the two. The classrooms include modular bookcases that enclose and designate learning environments, and such can be arranged to the teacher’s liking. The 15th-month-old classroom has a fixed padded raised structure that helps infants develop their motor skills.

In contrast, the 3yld to 6yld classroom has a doubleheight space where children can climb and connect with their surroundings and serve other purposes. All furniture is scaled to the children’s height, allowing them to perform tasks independently, which creates a sense of confidence, competence, and curiosity.

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DENISE RAMIREZ

Early childhood has proven to be fundamental in children, therefore we must carefully craft each preschool to fit the needs of children. In this project, I take the influence of the environment, the concept of connectivity, and the power to dictated one’s education, in order to create an open pre-school that allows children to run free, while learning about themselves. The project is based upon Reggio Emilia early children education principles and located in a suburban context. The site contains three washes running North to South, which allows for unique design

opportunities.

Classroom

pods

create

intimate, shadowed spaces while the central piazza encourages connectivity. Reggio Emilia states the third teacher is the environment, which is present throughout the site. The goal is to allow children to have fun while learning about nature, discovering their interests, and creating lifelong relationships.

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HAILEE ROTHER

The Kindle Preschool is a Waldorf focused education in the urban setting of Downtown Phoenix. Waldorf education focusses heavily on a home-like environment, and Kindle Preschool uses the emblematic image of a gabled roof from the existing firehouse to connect this idea with the child and follows that geometry throughout the project.

Delicate veils are placed over the top of the structure for shade and layering throughout, creating different experiences for the children through various heights, transparencies, and outdoor spaces. Kindle Preschool is not just a second home for the students, but also the community. The site opens to the surrounding area and welcomes outsiders for events, clubs, and fundraisers in adaptable community spaces. Children can be challenged, play, and grow alongside their peers, parents, and surroundings at a preschool designed for the children to feel right at home in a unique urban setting.

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MADISON STODDARD

Sitting at the edge of the Phoenix Mountain Preserve lies Cultivate, a pre-kindergarden educational institute that has adopted the Waldorf education teaching style. Focusing primarily on relationship to oneself, others, and nature, as well as sensitivity, and openness, Cultivate takes the nuances of a Waldorf education and integrates them into a community for young humans to learn, grow, play, experience, and wonder as if in the comfort of their own home.

Soft scapes and desert native landscaping were two driving points of materiality, adopting the Waldorf principle of respect to nature and humanism. The design structure was driven by an open community room and a seamless entry-exit-play design to ease child-parent separation anxiety. Early childhood learning tools were integrated into the architecture by circulating the layout around a grand kitchen, limited hard edges, and a large gathering space upon entrance of the building.

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DAVID STRUENING

This semester we were tasked with incorporating home and play into the child’s learning experience by designing preschools based on our assigned pedagogy. I included nook spaces to encourage play and allow the observation of nature from the classroom. In the Waldorf pedagogy, one of the core values is the complete human development - that is supported in the child friendly classroom kitchens.

They can contribute to the preparation and clean up of their own meals alongside their teachers.

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LOGAN THOMPSON

This year my favorite project was creating a design for a preschool. 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 preschool 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. I also really enjoyed designing something with my daugher in mind.

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JUSTIN WHITE

Our project for this semester was to create a preschool that followed one of three different pedagogies. Each pedagogical approach had different values and principles to incorporate into the project. I decided on the Montessori Method and was given an urban site within downtown phoenix. This urban site is surrounded by amenities like Hance Park and Burton Barr Library along with an existing firehouse on the site that I reused within my preschool. I picked three main features to follow throughout my preschool design, which were unique play spaces, adaptive classroom designs, and mixed aged classes. This semester taught me how to design at the scale of a child, adaptive reuse, and how to utilize the spaces around a project.

4th Year

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04 06

ARCHITECTURAL STUDIO IV PROFESSORS: Catherine Spellman & Felipe Mesa

Students: Mhambad Ali Alaaeddine, Carlee Allen, Nicholas Becerra, Yasmine Ben Abdelkader, Rigoberto Berber-Arias, Ian Clouse, Tyree Dalgai, Alan Estrada Sanchez, Christina Garibay, Connor Glass, Rafael Gonzalez, Brandon Grenda, Jacob Jones, Ryan Mackey, Rita Momika, Joshua O’Dwyer, Justine Palmer, Solana Pearson, Alexis Santana, Annie Torgersen, Megan Van Horn, Meriel Vogliotti, Mckenzi Wilson, Yiming Xu, Sarah Zagoury Students: Tirrel Dandridge, Christopher Fernandez, Tiffany Hartono, Smriti Jain, Vaishali Kalra, Yanela Nunez Ventura, Vishakha Tuljapurkar

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MHAMBAD ALI ALAAEDDINE

This is ASU’s Polytech Campus.

This is a garden.

These are vegetables.

This is a site.

Our site.

Choosing Orange Studio this semester was definitely the best decision I made. The idea behind it is what forced me to go after something I have never seen previously during my architectural journey. It gave me the opportunity to watch the process of construction day by day with every step and every decision that needed to be taken. Experiencing the construction or execution of a project is definitely different than designing it and I am glad I had the chance to see how the process goes before i graduate from my program.

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CARLEE ALLEN

Where concept comes to life.

Together, Students, Academic professors And, Professionals Choosing to be part of Orange Build was about getting to see firsthand what the architecture process really entails. I am happy we got to listen in on the conversations having to do with design details, budget, scheduling and the necessary conversations between disciplines so that everyone is on the same page. We were able to choose what area of the process we wanted to be part of and in the end got to see the pieces come together. It has been rewarding.

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NICHOLAS BECERRA

Make up Orange Build, A design build studio.

Orange Build, is an Exceptional, Multi-scaled, Orange Build Design Studio was a great overall learning experience. From having two professors and a mixture of the fourth year and graduate students, the opportunities to learn were endless. Not only were we able to view a real-life architectural build, but we as students were able to be a part of the construction from start to finish. Being a part of professional meetings and actually seeing the work on-site was exactly why I chose this studio. Our jobs as students were to create construction documents, digital models, and various hand-crafted, scaled models. I was lucky enough to construct two 3”=1’ models and I couldn’t have enjoyed it more.

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YASMINE BEN ABDELKADER

Collaborative, Learning experience.

This semester, Taking on the timely topic of Outdoor Classrooms.

This is a classroom.

This semester was a great learning experience for me.

I had the chance to learn more about real life projects and got to understand the steps that go through an architectural project. It was a great experience, and I am glad I chose Orange Build as my studio for this semester. I wish it was all in person but nevertheless it was joyful and engaging.

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RIGOBERTO BERBER-ARIAS

An outdoor classroom Made of nine modular 12’x12’ bays, Steel, With a triangular structure This semester focused on collaborative, hands on, real world teaching - unlike any other semester before. Being part of the Design build studio was by far the best decision I’ve taken, because of the amount of knowledge it granted me. Throughout the studio we examined the project from start to finish.

This included reviewing design drawings, creating different scaled models, to actually being on site and learning from the amazing trades people. By far the most hands on experience I’ve ever had.

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IAN CLOUSE

And C-channel screens.

It is permeable, with great airflow, And its modularity means It can be built in many locations So how’d we end up here, This semester has been structured as a completely different experience than anything prior. The Orange Build studio, structured as a “design build studio,” has been more collaborative and team based. We have had the chance to fully observe the process of how a structure is built from start to finish. From starting with the permitting process and seeing the construction documents, to seeing the existing site get demolished and footings being placed. It definitely has not been a typical design studio format, but it has been a very humbling and rewarding experience to best encompass the work done through this process.

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TYREE DALGAI

Let’s take a look.

Why an outdoor classroom you may ask?

Three reasons: Creating an Orange Build experience for students A shade structure for the community garden My experience throughout the ASU Orange Build Project this semester has been very helpful in so many ways. It opened up my eyes to new perspectives of what goes into a project and what the different processes are along the way. When told we would be helping with an outdoor classroom at the beginning of the semester, I knew that the semester would be filled with many new experiences. I got to work on scaled models, learn safety through OSHA training, see first-hand what it’s like working on a construction site, and be able to excel in my communication skills with various group members on zoom. This semester can be summarized as being very insightful of not just the project design but also the behind-the-scenes aspects that are all very important to consider.

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ALAN ESTRADA SANCHEZ

And COVID-19, Making outdoor classrooms necessary Like everything And plans had to shift.

This was a unique semester that provided us with a learning experience. Our design/build studio had us collaborate with our peers in various aspects. Our schematic designs involved us to study a site, pick a suited place to design, then develop the project together. We studied plans, elevations and sections to create physical models of the project in different scales. We had to go through OSHA training and learn the safety precautions in a construction site.

Being able to see the construction process was a great experience and the PCOR meetings have been first hand experience on how a construction meeting is, seeing how different organizations manage a project was great. The design/build studio has been a great learning experience that provided us with a variety of activities.

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CRISTINA GARIBAY

Building outdoor classrooms On ASU campuses Has been considered before. Arizona has great weather.

There are 300 sunny days a year…and many of them are not too hot...

After spending the fall semester completely at home, I was pleasantly surprised to have the opportunity to participate in a studio in person, especially being my last studio in my undergraduate experience. Orange build has given me insight into the construction process and everything prior to the actual construction. Things don’t always go as planned but I’m definitely very thankful for everything I’ve learned throughout this whole experience.

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CONNOR GLASS

Why not build Open-air, Outdoor, Classrooms?

Have no fear, Orange Build studio was a fun and inclusive opportunity to understand the collaboration between both architectural and construction disciplines. The scale in which this student run, faculty facilitated studio was operating at demonstrated the elaborate machine that our future careers will happily be a part of. Additionally, it’s great way to end four years of design learning at Arizona State and proper farewell with appropriate responsibility from the design institute. Thank you for all the memories that I will carry with me the rest of my life, and to the amazing innovators I’ve met along the way: it’s been real and it’s been fun, but it ain’t been real fun. Go devils.

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RAFAEL GONZALEZ

That’s why Orange Build is here!

With a lot of great support from Members of ASU And the professional community. Ed Soltero, The Orange build has been an experience like no other. I really enjoyed the opportunity we were given to participate in a design-build studio. It was an amazing experience full of engagement and collaboration with professionals in the field. The ability for Undergraduate and Graduate students to work in a team also gave us an opportunity to push for a common goal that will provide ASU new spaces that will be impactful for the students. In my opinion, this studio has taught me how this profession could be in the professional world.

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BRANDON GRENDA

and boom, a studio project was born Setting up Orange Build Took some time... and a lot of it My semester began with working in the Autocad group to draw the new class pavilion and document two case studies. The work gave me a newfound appreciation for the importance of organizing and communicating plans as a group as well as the work that goes into creating and maintaining a schedule for a real world project. Next, I moved on to the scale model team. We collaborated on site documentation and building schedules in the workshop. All in all, while very different, I feel this semester’s experience will help dramatically when I begin working with a firm.

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JACOB JONES

And we are still not finished yet Prior to and during this semester, There was meeting, after meeting Discussions of logistics of forming a nonprofit Conversations about risk management.

The experience of studio this semester in Orange Build has been one of flexibility, modularity, and learning. I have learned much while engaging in real-world processes, and collaborating expansively with many people within our studio and outside it. The goal of the work this semester is equally as inspirational and beneficial, as an outdoor classroom is innovative and could be extremely necessary, regardless of the future. Our time this semester has given me new perspective on the field of architecture, and given me a much needed change of pace when compared to the traditional studio structure.

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RYAN MACKEY

Procurement Professional licensure General contracting Planning and permitting ADA compliance This semester was completely different than most, having spent a majority of my time in the prototyping shop and on site for the beginning of the construction process and very little time designing on my computer. Orange Build was a breath of fresh air, except for all the sawdust, in comparison to the previous studios because it allowed us to see what happens after the design process. Overall, the studio was a good choice not only for the new experiences but because it also allowed me to leave my house.

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RITA MOMIKA

Funding Client meetings Schematic design Design development Construction documents 2020 will be remembered as the year education broke free of the four walls of our school buildings and embraced the air outside. Our approach this semester was multifaceted and interdisciplinary. It included creating “how-to” resources, frameworks and strategies designed to help our university plan their outdoor infrastructure. We set up this outdoor learning initiative as a collective impact project, and from our launch in early January it has grown more rapidly than any project we have previously worked on. The creative capacity in all of us to innovate and adapt has never been more on display than during this pandemic and it helped remind us as architects that we are always ready to recover, redesign and restart when necessary.

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JOSHUA O’DWYER

Submittals Project reviews….

Oh yeah and more meetings And some significant assistant from professionals Architect This studio has been immensely effective for it’s offered me the opportunity to understand what’s actually involved in the overall architectural process.

I’ve also been reminded of something that I often tend to forget; architecture revolves around people.

I now realize that architecture perfectly symbolizes life: nothing is certain and there are many obstacles, but in the end, it’s not for us, it’s for those that come after. Orange Build has strengthened my passion and has eased the uncertainty I’ve had for my career. It has reminded me of why I love architecture; it allows one to design the future, to perceive something that doesn’t exist and to imagine what could be.

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JUSTINE PALMER

Structural Engineer Electrical Engineer Civil Engineer Once ready for permit A Design Build company This semesters Orange Build Studio was my favorite of all the studios I have had in my past four years at the Design School. I was able to get firsthand experience as to what goes into creating a project from the initial design all the way to the day of groundbreaking to start the building process of the design. Seeing this side of Architecture has reminded me of how much I love it and why I chose to go into this career. I am so thankful that I was able to join this studio and get to see the whole process firsthand. Thank you, Catherine and Felipe, for this opportunity.

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SOLANA PEARSON

Core Construction Joined the team to: Price everything and finalize the budget Set the schedule Basically, Control the building of the project This Design-Build studio has granted its students many opportunities that are unique from other studios. The opportunity I took the most advantage of was to grow my skills as a model builder in the woodshop where we built 3 different scaled models of the outdoor classroom and entrance pavilion that Orange Build created for ASU’s Polytechnic Campus.

I worked with teams to build two 3”=1’ models, having to remake our first one that suffered a tragic fate during transportation. I also was given the chance to be a project manager during our second model build and have enjoyed expanding my knowledge in a leadership position. Overall, this experience was like no other, and I loved it.

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ALEXIS SANTANA

AND Most important to Orange Build Participate in Creating a fantastic Educational experience for the Students With a lot of first hand Experience of the construction process Being a part of Orange Build made me realize the importance of creating a design and the build of construction. Working within the design team and construction team really shows how important it is to communicate with each other. I’ve always been on the design side of things and I’ve loved the process entirely. Finally working within the construction industry made me realize how important it is and amazing to see how connections between materials are made.

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ANNIE TORGERSEN

These are all the people they work with Who: Installed a fence Demo’d the site, Trenched, Over excavated, Participating in the Orange Build Studio has been a fascinating and beneficial experience to wrap up my education at ASU. Collaborating with industry firms on a current project offered a unique learning opportunity to a studio setting. Feeling the burnout of senior year, switching the focus to observing funding discussions, participating in the dynamic design method, and documenting the construction process, offered a fresh perspective to life as an architect. The reality of the project helped bridge the connection between conceptual ideas and technical necessities. Recognizing all the other parties involved in the design project opened my eyes to the need for communication and flexibility throughout the process.

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MEGAN VAN HORN

Dug footings, Poured foundations, Erected structural steel, Routed conduits, Painted steel, This studio was very refreshing and provided a realistic sense of what it means to be an architect day to day. Getting to sit in on meetings and observe the construction process is an integral part of the profession that I hadn’t had the chance to experience in school until this studio. Building scale models of this project first in the studio was an awesome exercise not only in the understanding of the project but the building up of our team. I’m excited to see this studio continue and teach students about the collaboration and connection that architecture requires.

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MERIEL VOGLIOTTI

Installed lights, And fans Phew that’s a lot of hard work!

But that’s only part of The overall process.

The Orange Build studio has been an incredibly enriching experience that has provided an accurate outlook into the architectural profession meanwhile still allowing one to learn as a student. The structure of this studio differs from that of traditional design studios as it focuses on a collective effort rather than individual design decisions, which can put pressure on an emerging designer. I believe that working in teams provided a space that was not only productive and innovative, but one that was also welcoming to questions and experimental ideas.

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MCKENZI WILSON

Before construction started, Students became OHSA-10 certified We presented Case Studies And looked at constraints.

The Orange Build Studio was a semester full of collaboration. We experienced a project go from concept to a built structure, which was not only educational but also fulfilling. Working on a studio project as a class rather than individually was unlike any studio I have been a part of previously. This studio was focused on the design build process and it influenced my thoughts on what an architect can do and be. I hope this is a learning experience that every student at Herberger gets the chance to partake in.

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YIMING XU

We made Mock Models At different scales 3”=1’ 1”=1’ 1/8”=1’ It is a really good experience for me to work on the Orange Build project. Instead of leaning something on the book, learning things from the real project is much more meaningful for me. Although I am far away from the US now, it is satisfying to see the photos from the site. I also learned how to cooperate remotely in group activities, this will be very helpful for my future work. I am very grateful to my team members who help me a lot and I also very grateful to the professor for taking us to experience such a meaningful lesson.

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SARAH ZAGOURY

We got so good at model making we even made some parts again…

We designed Schematic designs For future projects We Developed Construction Drawings Working on the Orange Build project has been an amazing experience, being able to learn about what the Architecture world is really like. Having to collaborate with my awesome teammates, building real models, working with a construction team and seeing the project break ground, has really prepared me for the future. I’ve enjoyed this studio and am thankful for working with such amazing people and professors. I cannot wait to grow and continue learning as a designer.

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TIRRELL DANDRIDGE

And made virtual REVIT models thanks to the help of JP Barkenhagen.

We attended PCOR meetings, Even though they were on Monday mornings…

Out of all the studios in my ASU career, Orange Build has been the most unique and engaging of all. This studio took collaboration to a different level I was not expecting, especially in the global pandemic’s restrictive

environments.

Learning,

teaching,

collaborating and production still prevailed and was just as successful in producing results compared to the traditional in-class studio. I think the key word for this experience is “flexibility.” Technology has given me more confidence in how productive entities can be when face to face interactions cant take place.

Flexibility keeps clients and other stakeholders happy.

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CHRISTOPHER FERNANDEZ

We Observed and Documented everything.

Every.

Single.

Thing.

Documented.

Documentation is the key to being organized.

Knowing and being able to refer back to original plans or be able to refer to past moments is very important for the future work we will have.

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TIFFANY HARTONO

Orange Build Accomplished a lot this semester.

We learned a lot too.

We learned that architecture is a complex process Involving many people and many steps Clients It has been an interesting studio experience. Our focus has largely on the “build” aspect of our design/build studio. Working on the models gave us a lot of time and experience to understand how each piece of the structure connects. The schematic designs allowed us some time to explore our own ideas, challenges, and constraints of designing our own project. Working in teams gave us the chance to collaborate with our peers. The PCOR meetings were informative in how architects collaborate with different disciplines to organize and manage a project. This studio has been a valuable learning experience outside of the usual design studio.

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SMRITI JAIN

Budgets Sites Constraints Design Structure and Construction This studio was a perfect experience we needed before graduating as it focused on on-site work, documentation, collaborating with multiple teams.

All this together provided a much-needed exposure that we don’t get in regular studios. I still missed the part where we work on designing something in detail – expected in a master’s curriculum. I believed we will be designing too on the side along with all the amazing site work initially which didn’t happen.

Overall, I loved the experience and learned a lot of new things this semester.

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VAISHALI KALRA

Not to mention: coordinating all this This semester, like real world architects, The students participated in the entire process of watching the design come alive.

We got to understand the process.

The Orange Build Studio was a unique experience which not only gave us the opportunity of developing a construction document but also broadened our horizon by the means of site visits. The Collaborative environment was fostered by multiple stakeholders - students with varying levels of experience coming together with Industry professionals under the guidance of professors. This studio has imparted a holistic perspective and helped me inculcate interpersonal skills and teamwork in addition to technical proficiency.

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YANELA NUNEZ VENTURA

By the way, They’ve asked us To do their entrance pavilion.

Participating in the Orange Build Studio has been an experience full of engagement and collaboration between several stakeholders participating in the current project. Undergraduate and Graduate students, Professors, Contractors, and Logistic Teams have been working together towards a common goal of building something impactful and beneficial for the ASU community. Personally, this semester has helped me develop leadership skills and teamwork strategies that will help me better integrate into the architecture profession.

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VISHAKHA TULJAPURKAR

So the Students Whats their take on this semester?

Being able to go on site and see the project develop from design to construction.

Orange build studio focused on collaboration and developing design projects to understand the construction of an ongoing project. The change in design approach due to the COVID19 pandemic is all over the world. The process of understanding construction drawings, how the proposal is passed through different stages, and finally able to observe the construction on the construction site inspired me.

The orange build studio was a great experience and learning opportunity for me such as collaboration, observing construction on-site, and designing emphatically.

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ARCHITECTURAL STUDIO IV PROFESSOR: Kiel Moe

Students: Olivia McKay, Brooke Burdge, Angel Caldera, Sutton O’Neill, Jessica Hollock, Daniel Levato, Dale Saltwater, Sarah Hickey, Susannah Montgomery, Cesar Lopez-Rodriguez, Mia Salazar, Luis Duarte, Cheyenne McGrath, Zelda Cole, Robert Stein, Nicholas Kalas-Hernandez

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HERE (AND THERE, NOW & THEN)

Studio Brief, in Brief 1. As a team of four, design and situate a building consisting of eleven identical rooms, built of monomaterial walls 2. Explicate the terrestrial basis of that building, focusing on uneqeual exchanges, environmental load displacements, and underdevelopment that occurs through architecture.

3. Develop a 200-page nonlinear graphic novel that describes the terrestrial basis of your team’s building.

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OLIVIA MCKAY

2019

[TEAM 1]

2020

Our studio was, of course, tasked with the composition of a cohesive piece of architecture made only of 11 rooms, with the interesting requirement that the rooms had to be as identical to each other as possible. Given this prompt, our group produced a base room: a three-dimensional, L-shaped tromino complete with requisite five openings, or apertures.

The tromino and its apertures are arranged in such a way that the room, when constructed, would be accessible to human foot traffic near regardless of its rotation. Keeping in mind the necessity of the rooms’ identicality, we wanted to design a base room as versatile as possible to achieve variety alongside the uniformity.

The arrangement of the rooms upon the black soil of our site includes three different iterations of the base room: original, vertical, and mirrored, with the third being reflected across an axis instead of rotated somehow.

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BROOK BURDGE

[TEAM 1]

Within the small town of Two Guns, AZ, our team was intrigued by the isolated parcel of land containing black dirt upon which our building is located. The black dirt originated from volcanic activity on our site millions of years ago and erosion from the Kaibab Sea that once flooded the state of Arizona. Upon in depth research of our site’s geological history, we discovered that our soil condition was not the best, thus prompting our buildings design to incorporate helical piles. Our team was challenged to solely use one material for the entire design, due to the complex wall angles, but resorted to the use of CLT panels due to their durability and ability to change its appearance through numerous techniques. It was then we decided to use a charring technique to the exterior facade to replicate the historical site beneath it, that viewers are able to look at from both inside and outside of our building.

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ANGEL CALDERA 1878

[TEAM 1]

2019

1929

1929

HELP

HELP

HELP

1971

1971 HELP

1971 HELP

1878

HELP

HELP

Our site has been no stranger to violence, turmoil, and tragedy. Whether it’s the death cave fire that took the lives of several Native Americans, the burning of the original trading post building that rooted the town, or Rimmys Store’s more modern fire that spread across the current ghosttown, the town has cycled between it’s fiery destruction and slow rebuilding.

Our proposed project suggests we use the Japanese method Shou Sugi Ban which is a traditional technique to charr wood to repel water, prevent sun damage and make it rot and insect resistant. The screams and crackling of past fires are utilized as inspiration for the final treatment of our wood panels on our site, connecting our project to it’s cursed history and blending our building above the black sand beneath.

We chose to burn the wood intentionally before historical trends burn it down for us.

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SUTTON O’NEILL

[TEAM 1]

2065

All good things come to an end, find another use, or fade away; “dust to dust” as they say. And that’s no exception for our site and the tumultuous history left behind in Two Guns, Arizona. A Kampground with black soil sits vacant; stone ruins where storefronts once stood sit idly, destined to crash to the ground.

Legends of gunfights between rivals, businesses built and burned to the ground, and memories made on family roadtrip pitstops all reside here. From a Native American battleground to one of the toughest towns in the old west, and once even a Route 66 attraction, our site has taken on many lives and always found new uses among changing times. The needs of the people who inhabit our site give it meaning. And one day, too, our construction will meet its end, but that’s alright; maybe the coyotes can give it a new life.

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JESSICA HOLLOCK

[TEAM 2]

The history and culture in Wickenburg, Arizona is best represented in our site in the form of using adobe bricks as our main material for the construction of our building. This unique process of making adobe is all located on site and uses the soil excavated from our foundation process. This image spread represents the stage of adobe brick being formed by using a hydraulic press and machine automation to then emerge almost completely dry for stacking.

While using adobe in our construction to represent traditional earth building, it was also being used as an educational tool to teach students about adobe brick construction and explain thermal processes on our specific site. Our choice in material for our construction doesn’t stop at adobe walls, it then goes on to use timber, rammed earth, and float glass as more natural and eco-friendly resources in the rest of our construction.

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DANIEL LEVATO

[TEAM 2]

2022

2022

2017

2017

Falls City, OR

2017

2017

Wickenburg, AZ

Found in Wickenburg Arizona, a brown sight is home to an aggregation of eleven identical rooms.

Further explored through the specifically generic, construction ecology, and non-linear perspectives.

What else might cause architecture to appear today? Our purpose was inclusivity therefore, there are no hierarchical structures, inviting everyone into interdependence with each other and cherishing and nurturing our connection to the earth. Interaction and collaboration occur both inside and outside the building. Aiming to break the “third wall” that separates us from one another while also allowing for individuality through the use of permanent and temporary courtyards. Orienting our buildings on the site in such a way as not to disturb the surrounding wildlife. The image spread represents some of the unequal exchanges that occur from the construction process. For the timber roof to be completed the ecology of an area further away is interrupted.

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DALE SALTWATER

[TEAM 2]

Our

building

incorporates

two

methods

of

sustainable heating and cooling through the use of a Trombe Wall system and two exterior Solar Chimneys. Both of which can be used to create an updraft of air circulation throughout our apertures.

At night, our adobe brick walls are used as a thermal mass to trap heat and disperse evenly, lowering our reliance on unrenewable sources of energy. This will allow our building to cut down energy usage that may come from any unequal exchanges. The Trombe Wall system is made up of phase change, blackpainted aluminum, timber framing, a rolling system and glass. Our Solar Chimneys are composed of the same materials, saving costs on transportation. Our Trombe Wall is unique, as it acts as a heating and cooling method as well as the sliding door system to enter the space. With these sliding doors, we create smaller courtyards that change as the door changes.

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SARAH HICKEY

[TEAM 2]

This semester, our studio group worked in collaborative teams to create buildings and to narrate the stories of the people and world systems involved in creating, constructing, using, and demolishing our buildings. In my group with Jessica, Dale, and Daniel, we created a small village of 11 similar units near Wickenburg, Arizona, on an old brownfield site, which was previously polluted. The building units’ goals are to passively heat and cool the occupants and learn sustainable systems by thinking about our building’s lifecycle. During this process, we uncovered knowledge about our site’s past, scientific quantities that were later applied to our construction, and the hidden unequal exchanges that can emerge from the architectural process. For one of the sections that I was working on, my book page (as depicted above) reveals our Wickenburg site’s future and what the dwelling units’ interiors may look like in the year 2070.

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SUSUNNAH MONTGOMERY

[TEAM 3]

During the design of a specifically generic space, the terrestrial phenomenon that is a building must be studied so that no part of the construction ecology is taken for granted and all systems are visible. All aspects of the process of building are being accounted for within the design process. This involves thinking about the building across time and spatial planes.

Terrestrial mapping of the flow of materials within these systems are often invisible in architectural documents such as plans and sections. Following these systems reveals many of the unequal exchanges of material, labor, or negative repercussions of unsustainable human influence that occur to construct and maintain a building. With this book, correlation of moments in time, materials, and the evolution of people and program are represented in a new way that describes the building as a world system.

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CESAR LOPEZ-RODRIGUEZ

[TEAM 3]

Describing our generically simple project would be impossible without first introducing the concept of terrestrial design. One that is grounded on people, processes, and time. With the goal to better understand what was, what is, and what will come.

We often overlook the ramifications of miniscule elements within our design, without realizing the catastrophic implications they may hold.

Our project was grounded on a very strict principle, creating a design as minimally invasive to the terrestrial and construction ecology that could stand the test of time, being able to accommodate different uses and programs within its lifetime. All while showing the temporal connections between our site’s history, both physically and politically, as well as the social impact our building will have as it transforms and steadily degrades into a ruin.

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MIA SALAZAR

[TEAM 3]

13.8 billion years ago

2020 you know we’re on historic land? it all started...

*bark bark*

GENERAL LAVALLE, ARGENTINA

One action can affect everything around a person.

This is seen in the reference of Richar McGuire’s graphic novel, “Here.” A generic design may seem just that—generic; however, contains a multitude of components that cause chain reactions and experiences at the blink of an eye. The term terrestrial refers to that relating to Earth. This book presents itself as haphazard initially, yet, at a non-linear perspective, leads readers through the terrestrial design of a multi-purpose building from the creation of the world to the end. From the grounds outside General Lavalle, Argentina, the attributes of this building’s life narrates the experiences of laborers, materials, nature, program, and more through graphics and research among four members learning that neither time nor design is linear.

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LUIS DUARTE

[TEAM 3]

I have learned about many different faces of architecture this semester. Our project was located far from the normalities of the US, instead, our site was placed in a rural area of the second world country Argentina. Needless to say, this required heavy research and delving into the many chains that feed the process of architecture. Along the way, I learned about concepts such as emergy, unequal exchanges, and capitalist overreach. I have also gained knowledge about real world examples where these concepts have happened. In the world of architecture, it is easy to misunderstand the design process as a local manifestation of ideas, but becoming aware of the long reaching, terrestrial relationships needed to sustain this practice, makes for a much more humane and habitable design.

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CHEYENNE MCGRATH

[TEAM 4]

The Kahala Koves is composed of oceanside studio rentals occupying a little less than an acre of land in the city of Oahu, Hawaii, nicknamed “The Gathering Place.” Existing and connecting as 11 identical units placed under the same shell, these spaces share shaded ‘koves’ which simultaneously creates a disconnect for users to walk freely in between public and private spaces. All the while, the floor to ceiling windows and bi-foldable glass doors are effortlessly drawn into the space to cater to the Hawaiian breezes and Coastal sunsets. Totaling 22’ in height and just over 1700 Sq.Ft., each unit is also dependably equipped with its own set of Solar Panels. These multi-functional spaces are contingent upon the desired program; to watch the rain under the shaded gable roof during a stormy evening in, or to enjoy a warm cup of coffee in the Koves on a chilly Fall day. These spaces are sure to enamor a sense of belonging because to connect Kahala Koves is to connect the people.

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ZELDA COLE

[TEAM 4]

The construction of Kahala Koves utilizes a fastgrowing invasive Albizia tree species as the main construction material for our building. The lightcolored wood is used for structural elements and cladding. These albizia trees are abundant on the island of Oahu. The trees sourced for our building come from a cluster along the Waiakeakua stream located a few miles from our site. Large albizia trees range in size from sixty to a hundred feet and block sunlight from native species. Removing invasive albizia trees provides the opportunity for the reforestation of native fauna. These albizia trees are cut and transported by a local organization, Malama Tree Care.

The harvested wood is brought to Wahiawa Design Lab, an on-island facility to treat, dry, and prep the wood for construction. Our construction team is made up of community members that are dedicated to building a structure that lasts for centuries.

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ROBERT STEIN

[TEAM 4]

Kahala Koves is a place where people can gather together and celebrate the gifts of life. Located in Oahu, Hawaii, this ocean-front property is not just home to anybody. Some people might use the space as a farmers market as shown in the picture. Others might want to use it as a place to celebrate a wedding.

People can also use it as a vacation rental or even go as far as living in it full-time. What makes Kahala Koves so adaptable is that it is a series of 11-units, all identical to one another under the same roof. Most buildings are designed for one program but, that is certainly not the case with ours. This group project taught us not only how to work together but, how to design for other groups of people and the trail of prosperity and destruction that this one object can leave behind.

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NICHOLAS KALAS-HERNANDEZ

[TEAM 4]

Based on current trajectories, sea level rise has become an inevitability which must be considered and planned for. Only with extremely drastic changes to the world’s economic systems can this be avoided, and even if that task is undertaken some lands will still likely be lost to the sea for a long time.

Predictions of the future are always only one outcome in a list of infinite possibilities. The further they predict, the more they are predicated on future actions which they assume will be taken. Even still, it is interesting to consider what may become of what we build on the coasts today. Fully submerged building materials such as wood have been documented to last several centuries, and it could very well be possible that our proposal on the shores of a Hawaiian island might be preserved for centuries by the very same thing that renders it unusable.

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04 06

ADVANCED ARCHITECTURAL STUDIO IV PROFESSORS: Aaron Herring & Krista Shepherd

Students: Shelby Ben-Shalom, Kennedy Frazier, Xintong He, Jazmin Hidalgo, Yasmine Kattan, Jingran Li, Daniela Marentes, Maria Palma, JM Pugat, Jake Rosenberger, Kinich Ruiz Students: Anood Mantsch, Rayven Cannon, Ele Paul

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SHELBY BEN-SHALOM

This semester kicked off by looking at the pedagogy and physicality of other architecture schools through case studies. After analyzing different colleges and how they operated, I decided to create a school that would eliminate the hierarchy of the student-professor relationship. Basing this off of research and also personal experiences with professors, I wanted to create a new space that would allow for a better engagement of not only the students and professors, but also the community and the site. Bridging the gap between an industrial area and a riparian area was also a point worth my attention.

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KENNEDY FRAZIER

This board shows a general idea of how the Architecture School of Movement & Adaption would be. The main goal of this project was to practice pedagogy with how the School of Architecture would be within the space of Central and Southside of Phoenix. My thesis revolved around people’s experiences and how they then create them into art and building forms. The architecture school is built to adapt to its environment so it doesn’t fully disrupt the Salt River nearby and is welcoming to the public.

This space will be used for architecture students, construction management students, as well as the public. The reason all these different types of people are gathered in one space is for other individuals to connect and learn other people’s experiences to expand the knowledge of their own to help people within their careers. If the School of Architecture decided to grow and move its location elsewhere, this building can adapt to become anything the public would need or like it to be.

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XINTONG HE

I was interested in the concept of suspended space, which is space below the existing bridge. It creates a connection between the environment and the people.

The board shows my design of the building form as bridges over the highway that creates this suspended space. The bridge form frames the whole area including the highway and the public space for the community.

It is safe for the students since it is also an open area that is not inside the school. It also is the highlight of the site. I think the experience of being in the School of Architecture is way more important. The three masses are a representation of the program. As you walk through these, you will be able to see the view of the city and the mountain. Along with the horizontal facade, both views would not be interrupted since they are so high above the ground. The stair between the two buildings acts as a place not only for entering or circulation but also for resting and sitting. There are slot spaces located on the first two floors of the building, where water is integrated. They are open areas to the outside environment.

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JAZMIN HIDALGO

My thesis for this semester was centered around memory, or to be more specific, the absences and void in memory. The crescent moon shape is meant to symbolize that void. I challenged myself to conceptualize a building in a section view to focus on implications from what isn’t shown, this idea meant to reflect this theme of voids and gaps of information.

The educational program of this building is meant to take place during later hours of the day, rather than the early morning and afternoon. This choice is to accommodate those who may not have a typical day schedule, or find their best hours of productivity to be out of the norm. The south building is geared towards day time and non class related use, with plenty of nondedicated studio and shop space for students to work outside of class time, as well as a library upstairs. On the contrary, the northern building is where you would find studio classrooms and lecture halls as well as a print and computer lab and an exhibition space, with the actual class programming taking place at night.

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YASMINE KATTAN

Pedagogy is a “method and practice of teaching, especially as an academic subject or theoretical concept.” For students, learning and teaching can be delivered in many different ways. In this project, I wanted to construct a space that was both relaxing and inspirational to elicit the utmost practice of pedagogy from students using the space. The name of this proposal, “Window Frames”, focuses on the work that is happening in each space. There are many different programs at this school including: architecture, film, art, etc. where students can find inspiration all around them. This design project came about from the absence of presence of different concepts and themes, such as mystery, suspense, indoor and outdoor environments.

The circular shape of the building creates a sense of suspense as the patron’s vantage point is limited by the curve of the structure. The relationship between indoor and outdoor spaces are crucial to pedagogy. Having seating available under the bridge, on the lake, and around the site gives students choice of surroundings.

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JINGRAN LI

A growing organic center, using the surrounding natural environment to build a new site and place the program in nature. Using public shared space and a bridge as connectors to link each building in series and explore more possibilities in the educational function space.

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DANIELA MARENTES

Often Architecture schools are very traditional, you spend most of your time in a studio, researching online, to then work on a final presentation. I wanted to be able to change this by designing a school that spends most of its time doing on-site research. Students will visit their site and then be able to go to students in the three other programs that co-exist with the architecture program, that being Sociology, Women and Gender Studies, and Gender Neutral/ Sensitive Design. Discussing their findings of the community with these three programs, they can learn how they can use this information gained to develop their project. The architecture school will have open studios, to allow students to socialize. The building will be used as a resource, to develop the material they need for a final presentation. Meeting rooms for students will be used to discuss their findings as well as talk about their future design. A library will provide material for further research to develop their understanding. The overall curriculum is meant for students to be able to design spaces that allow marginalized groups to experience safe spaces.

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MARIA PALMA

Designing on the South side of the river, on both high points surrounding the ponds, I envision my design to have an organic appearance by blending with the site. By having multiple areas, the project will give the illusion of walking through the raw site while walking through the design or by it. Many people are used to attending school in either busy cities or towns. By people attending a work place where the scenario is very different from what they’re used to and are exposed to on the daily, I believe it allows for more creativity and a better designing/thinking process, it provides a different perspective. Although at first glance it may seem like the site has multiple inconveniences, such as not having many spacious flat areas where the water doesn’t meet and being kinda difficult approaching the site from different areas, it’s interesting to find a way around it where an inconvenience can be used to make the design more interesting by working around it.

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JM PUGAT

The intent of the school is to help provide a proper foundation for students to learn from one another through freedom of practice. While being required to build on both sides of the river, the buildings on the north and the south cantilever over the river.

However, its connection to one another terminates so that there will be less disruption to the natural landscape. Looking closely at the configuration of the interiors, the studios in the north and the classrooms in the south includes partition walls that allows the space to be separated or connected to one another for collaborative purposes. Stepping back to look at the whole site, an exhibition plaza is placed on the north while an open park and restaurants are included in the south so that both the community and the students can have a chance to connect with one another.

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JAKE ROSENBERGER

Artificial intelligence learning in design and architecture Automated

Design.

Teaching

the

artificial

intelligence of the future how to build for themselves, and how to build for what was humanity. The human component has been rendered useless, and has long since passed. A simple mesh of the physical world, and a reality created within it, created to teach the reality of design. Walking through the “New Architectural Office” you will see screens moving on their own, pens nonexistent, feeding information to a site in real time. AI learning would incorporate still physical learning, as this is necessary when dealing with the physical world, so these stations would be set up around the site, accessed by passageways through the landscape.

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KINICH RUIZ

Chaotic

yet

organized.

Incomprehensible

yet

insightful. Architecture school has been a place of self-growth and the spark for uncovering an identity that was once sheltered due to fear of failure. Fear of not being able to defend yourself against the upper echelons of a hierarchical system. Resulting in the strength to stand up for what you believe in and tackle any task without fear of failure.

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ANOOD MANTSCH

My thesis proposal is an open architecture school that is inspired by Neo-dadaism. The site is located at the Salt River in South Phoenix. It offers a new vision for the Architecture School where a hands-on teaching method is taking place and is adapted to the students’ needs and designed by them. The program balances between research and performance with a focus on workshops and fabrication. Opportunities exist for collaboration between the Herberger Institute of Design and Art and T. Denny Sanford School of Social and Family Dynamics. The broad concept is inspired by Robert Rauschenberg’s White Painting, 1951. The concept is to create open and empty indoor and outdoor spaces that will slow down the students and help them explore unpretentiously. This pedagogical approach will assist them in finding their own identities and give them a sense of accomplishment. Also, having them involved in solving the current social issues locally and internationally, they will graduate not only to be architects but also to be “Citizen Architects”.

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RAYVEN CANNON

From my own curiosity and interest in technology, I began to explore how it could connect an architectural school to an already thriving community. How could technology connect the two? Traditionally when people hear the word technology, they associate it with software or electronics. Today, I am redefining the word technology. In the left image, seven technologies are highlighted for the everyday human life that could help an architectural school thrive and connect with the community. Those technologies are the streets, light rail, bike path, buildings, vegetation, water, and walking trails. Lastly highlighted are the locally owned industrial shops within the south Phoenix community.

These technologies will help connect and create a talent pipeline for the architectural school, and in turn creating a local resource. On the right images, areas for students to sit and recharge in an outdoor space.

In the middle image, a gallery invites the community to connect with the school and the students. Lastly, a collaborative studio promotes working together freely to share ideas.

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ELE PAUL

The

Architecture

of

Transition

becomes

the

architecture of passage, transitioning from one state, condition, subject, a place to another. The pedagogy lies in the in-between of the field. It examines the physical, social, and psychological effects of transition.

The site is located in the South-Central Region of Phoenix, recognized as the edge of the city with a majority Latino population. The site is adjacent to a riparian habitat expanding the relationship between humans and nature. A modular system allows for all building components to be disassembled, reused, replaced, and recycled limiting impact on the site.

Scaffolding integrates seating, shade, storage, swings, foldable furniture, and a trellis system. Raised flooring can adapt to any landscape. The modular principle supports

multipurpose

programs:

classrooms,

exhibition space along existing trails. Waste is reduced with prefabrication and assembly by students and community members. The pedagogy of the school realizes itself as community development, as there is no community development without education.

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04 06

ADVANCED ARCHITECTURAL STUDIO IV PROFESSOR: Harvey Bryan

Students: Alonzo Cabrera, Amadeus Cruz Hernandez, Brett Corell, Chase Beazer, Mohamed Al-Thaher Students: Ariel Medina, Lester Graham, Aakarsh Kuppanda

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ALONZO CABRERA

The Margaret T. Hance park serves home for the fifth largest city in Downtown Phoenix. The full vision for the park is yet to be realized, due to the lack of funding, water features at the park were eventually shut off, vegetation did not survive, and number of amenities were never developed. The goal of the studio is to redevelop Hance Park into a into a vibrant urban park and signature destination that becomes a catalyst for positive change in the community by the use of upcycling architecture by integrating wind turbine in a highly sustainable manner. Amadeus and I designed a central shading structure with a integrated cooling tower to maximize comfort during those hot summer days. A concave in the landscape was designed to fully trap cool air within these gathering spaces and circulation under the shading pavilion. On the canopies, Thin-film Photovoltaic Panels are added for renewable energy. Within the site plenty of vegetation and a water feature were arranged for total comfort of the space.

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AMADEUS CRUZ HERNANDEZ

The full vision of Margaret Hance Park has yet to be realized. There are various challenges associated with the park today including a lack of identity and a lack of adequate infrastructure and amenities. As a design group, Alonzo and I identified the proposed masterplan by !Melk and Hargreaves, and designed a shade structure that would integrate into the masterplan. The shade structure is designed with an understanding of the Phoenix climate and sun path.

To avoid heat, retractable canopies provide shade as they stem from cooling towers that create passive cooling for the surrounding concave exterior space.

Battling the current solid waste problem, we utilize the circular economy approach by emphasizing upcycling through the repurposing of wind blades.

The wind blades become essential in the design of the shade structure as they become the boom which houses the sails when fully retracted. Portions of the wind blades also provide dispersed seating areas throughout the shaded gathering spaces.

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CHASE BEAZER

Upcycling, the act of reusing and recreating the material or object into something of greater value. Wind blades are often buried or shredded for recycling. This design aims to use the blades extensive engineering and structural abilities to create a covered temporary event space. As outdoor events grow in popularity so does the need for temporary event spaces. This space can easily be transformed for a weekend farmers market or art show. Being able to see a wind blade up close will be a constant reminder to the community of the benefits of solar and wind energy and our individual responsibility to green energy.

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MOHAMED AL-THAHER

This project is conceived from the concept of repurposing wind turbine blades. To repurpose means to instill a new function into an otherwise discarded object, and so this project seeks to take ninety foot tall wind turbine blades and give them a new purpose. Margaret T. Hance Park, the site of a revitalization project, gives its spaces to the revitalization of these wind blades. In this instance, the blades are being repurposed as structural hosts for pop up markets. The structure provides the sellers with adequate space to set up their booths. The structure also provides the walkway with shade, while crossing through from east to west.

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BRETT CORELL

For the revitalization program of Margaret Hance Park, The Park Pavilion is intended for performances, events, and for daily use. Located southeast of the Burton Barr Library, this pavilion will include a main stage, back of house, a waterfall feature, an LED light show, and a structure composed of recycled wind turbine blades.

During the daytime hours, or when there is no performance/event, the wind turbine blades will be turned facing north to create an open pavilion for people to walk about. When an event is taking place, the blades will be rotated facing east/west to create a backdrop. To maximize the use of the blades, they will be used as the roof structure that will house the lighting. Portions of the blades will also be used as planters placed around the pavilion.

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ARIEL MEDINA

The Cloud is meant to be an iconic gateway for Margaret T. Hance Park as described in their master plan. Our design focused on the premise of upcycling our client’s wind turbine blade for other possible applications. This design shows our client that their turbine blades can be upcycled as critical elements for architectural projects.

Based on the strength and tension capabilities of the blades, we decided to make the case that these blades could be structural columns. The Cloud provides shade to the heavy traffic area of Central Avenue. Achieved by the fabric material that creates the circular shapes at the top. At night the design can be utilized as a gathering place, with lighting shows and projections that turn the project’s role into an art installation. The Cloud speaks to our client that their blades should not end up in landfills and can be part of everyday design for society.

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LESTER GRAHAM

The Cloud is meant to be an iconic gateway for Margaret T. Hance Park as described in their master plan. Our design focused on the premise of upcycling our client’s wind turbine blade for other possible applications. This design shows our client that their turbine blades can be upcycled as critical elements for architectural projects.

Based on the strength and tension capabilities of the blades, we decided to make the case that these blades could be structural columns. The Cloud provides shade to the heavy traffic area of Central Avenue. Achieved by the fabric material that creates the circular shapes at the top. At night the design can be utilized as a gathering place, with lighting shows and projections that turn the project’s role into an art installation. The Cloud speaks to our client that their blades should not end up in landfills and can be part of everyday design for society.

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AAKARSH KUPPANDA

Located at Hance Park in Phoenix, this Performance Pavilion is a project proposed for the park on Repurpose Architecture. The brief was to use wind blades (that are at their end-of-life) and give them a new purpose in Architecture. Being a part of the Revitalization Program of the Park, the concept was to create a multi-purpose pavilion not only intended for the occasional performance/events but also for daily use as a space for recreation. The waste wind turbine blades are cut into large sections to create a stage backdrop that rotates to close during performances and would rotate to open allowing views through when no events are taking place.

The remaining portion of the blades are cut into smaller sections, bolted together horizontally and hung from a space frame (enclosed by a translucent acrylic covering) to create a ceiling & roof housing ambient and stage lighting. This pavilion includes a main stage, secondary stage and a back of house hidden behind a water-wall feature.

Independent Study

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VI HO

This independent studio project explores the different dimensions of sacred architecture and its relationship to how identity is formulated in architectural narratives, the concept of discovery, and thepost-colonial implications of someone else telling your story. This studio begins by studying analogs of sacred architecture and the guiding design principles of each “type” of structure; in essence, a study of what makes the structure sacred. Focusing on the Cham temple tower ruins in central Vietnam, the question of what narrative sacred architecture takes on in the process of a deliberate misreading is explored. Referencing the way in which French scholarship takes precedent in the documentation of Cham architecture, this studio project serves as an allegorical device in investigating misreadings of sacred architecture. An exercise in narrative construction, it is revealed that 400 years into the future, an unknown archaeologist “discovered” Cham temple ruins in what was formerly Phoenix, Arizona.

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04

BARRETT HONORS THESIS

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ERIN BASCOM

A community-based methodology of healing is developed to enable the regenerative co-development of the Salt River watershed in recognition of the value brought to the Phoenix Metropolitan area by the Salt River. Development strategies associated with the colonization and the industrialization of Phoenix in the 1800s produced new infrastructure to control rivers and lakes to overcome the fluid, irregular, and sometimes damaging patterns of natural water systems. These practices permanently altered the natural water systems of central Arizona.

Before the river can be healed; however, we must first heal our relationship with the river and with each other. What once served as cultural, spiritual and physical anchor for the valley, may be re-established as an integral part of daily life. This thesis argues for codependent cultural and ecological regeneration,

MAX UNDERWOOD & PAUL COSEO

and its necessity for sustainable urban development.

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YASMINE KATTAN

SPRING 2021 DESIGN SCHOOL CATALOG

82

My Barrett Honors thesis is about observing how architecture creates mystery and suspense investigating Alfred Hitchcock’s 1954 film Rear Window. In analyzing two specific movie sequences, I was able to break down the elements of the architectural set design to elicit a sense of mystery and suspense. The goal was to test the spatial construction of and observing the feeling of those themes in architecture through the creation of four movies. Public and private locations of Tempe Campus were architecturally significant locations, such as the Secret Garden, the bridge at the Design School, Tempe Town Hall, and my apartment. In rewatching the movies I made, I noticed something: while in search of locations, I chose areas such as corridors, staircases, and hallways. These are spaces that generally impede a clear vantage point of view

RENATA HEJDUK & ELENA ROCCHI

in architecture. Overall, I have learned that movies and cameras are significant tools architects can use to start designing a project and inject ideas using narrative as a starting point.

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JORDAN MARSHALL

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Sem etIncreased tortor consequat awareness id ofporta bothnibh the problems venenatis and cras.opporutnities A diam maecenas of thesed fashion enim industry ut. Eget becomes nunc scelerisque the basisviverra for shifting mauristhe in aliquam cultural

WARREN SCOTT MURFF

mindset sem fringilla. and habits of the modern day consumer.

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ALEXANDRA SHOTT

My Lorem undergraduate ipsum dolorhonors sit amet, thesis consectetur titled, Theadipiscing Architect as elit, a Civic sed do Practitioner, eiusmod tempor is a product incididunt of myutexperience labore et working dolore magna on a project aliqua. forQuisque a low-income id diam community vel quam. of color Enim and nulla thealiquet realization porttitor that Ilacus did not luctus haveaccumsan the tools to tortor be able posuere. to design Sed odio in a way morbi that quis ensured commodo. equity Amet for its tellus residents. cras adipiscing It investigates enim eu how turpis equitable egestasand pretium civic impact aenean.can Orci be advanced eu lobortis in the elementum field of architecture nibh tellus through molestie.the Semper reimagining feugiat of nibh common sed pulvinar architectural proin approaches. gravida hendrerit In order lectus to draw a. Inideas est ante andinconcepts nibh. Sit from, amet the luctus thesis venenatis examines lectus dimensions magna fringilla of equitable urna and porttitor civic practice rhoncus.within Massa thetempor discipline nec of creative feugiat placemaking, nisl pretium as fusce it features id. Egestas well established maecenaspractices pharetra in equitable convallis design. posuere.Through Odio utthe enim investigation blandit volutpat of several maecenas case studies volutpat. of Donec the work adipiscing within various tristique design risus disciplines, nec feugiat the in fermentum following concepts posuere of urna. the work Ut faucibus were identified: pulvinar Cultural elementum Asset integer Mapping, enimCo-Creation, neque volutpat Process ac. Elit Over ut Product, aliquam purus Arists sit as Assets, amet. Sem andet Fostering tortor consequat Community id Agency. porta nibh The venenatis architectural cras. A approaches diam maecenas which sed were enim reimagined ut. Eget nunc through scelerisque an equitable viverradesign maurislens in aliquam borrow

MARIA ROSARIO JACKSON

from sem fringilla. these concepts in their development.

ADE 422

JACOB SOBELMAN

Around 50,000 children with autism turn 18 every year in the United States, and nearly 90% of autistic individuals lose access to the services they have relied on throughout their entire lives. My hope is that architecture can provide a place for adults on the autism spectrum to learn how to eventually live and work independently in the future. By implementing certain design features and design criteria to minimize the sensory overload issues commonly experienced by individuals with autism, we can create a safe space for learning for young adults on the autism spectrum. My research has led me to design what I proudly call Next Steps Living and Learning Center.

A variety of activities on campus such as culinary training, fitness, fine arts, and vocational learning classrooms give young adults on the autism spectrum the necessary foundations to succeed on their own

MARIA ROSARIO JACKSON

once they enter the neurotypical world.

409

ADE 422

MCKENZI WILSON

Before construction started, Students became OHSA-10 certified We presented Case Studies And looked at constraints.

The Orange Build Studio was a semester full of collaboration. We experienced a project go from concept to a built structure, which was not only educational but also fulfilling. Working on a studio project as a class rather than individually was unlike any studio I have been a part of previously. This studio was focused on the design build process and it influenced my thoughts on what an architect can do and be. I hope this is a learning experience that every student at Herberger gets the chance to partake in.

CATHERINE SPELLMAN & FELIPE MESA

3+ Year

ADE 512

05

CORE ARCHITECTURAL STUDIO II PROFESSOR: Michael Underhill

Students: Nicole Algien, Tessa Desroche, Alexis Diaz, Destiny Dicks, Lylaine Flores, Brady Hettinger, Austin Lind, Jonathan Maranville, Olivia Mendoza, Dan O’Neill, Jared Pratt, Clara Riess, Kyle Ryder, Tayler Sartin, Devi Sri Sudha Unnava

ADE 512

NICOLE ALGIEN

Desert Apartments is located at the NWC of 10th and Fillmore Street in Phoenix, Arizona. This site is in the Historic District of Garfield, which consists of mostly single family homes. The challenge for this project was to design a multifamily residential dwelling that is new and innovative, yet compatible with the neighboring bungalow style houses. I saw this as an opportunity to focus on placemaking for the historical context as well as the desert landscape.

The architectural features present throughout the neighborhood, including gabled roofs and front porches drove the design. Using a series of porches, balconies and bifold Nana Walls, my intent was to blur the line between indoor and outdoor living spaces, immersing residents into the desert environment and extending the place in which they dwell. The historic references, native desert plants and connections to dwelling create a sense of place, home and security for families living in the city.

413

ADE 512

TESSA DESROCHE

San Pablo Villas, an experimental housing project named in honor of the historically rooted San Pablo Barrio once encompassing the neighborhood, was driven by an emphasis in private versus public green space. Although communal public areas sound positive in theory, the end result when placed within the context of urban sprawl typically remains unused and attracts loitering. The simple unit shells address the issue of over-finished, yet unaffordable housing typologies and provide dwellers with practical spaces to mold into their own idea of home, placing value on each user’s belongings. 20 units were configured into the 1.3 acre triangular site around the perimeter while the central negative space outlined a continuous street for circulation.

The experimental typology within San Pablo Villas challenges surrounding housing models because of the simplicity, affordability and focus on cultural differences of each user.

ADE 512

ALEXIS DIAZ

The Vista al Canal (View of the Canal) is uniquely orientated to face the canal along with the green space in the center. This is helped with added balconies and glass walls to give a wide viewing experience. The site comprises of both private and public yards to help push the neighborly feeling while still giving some privacy when wanted. The front yards and porch provide a connection with the street and neighborhood. Bike racks and sidewalks also help make the site more bikeable with its connection to the Tempe Canal.

415

ADE 512

BRADY HETTINGER

Vivendo en Tetris embodies the historical art district by working with local florists and landscape designers allowing them to showcase their style of art within the community’s landscape. Vivendo en Tetris bridges together the sites characteristics, old and new, bringing the exterior form to match the single-family style housing in its multi-residential housing form. Residents should look to enjoy its privatized entries and personalized spaces while also being immersed into its own community brought together by a center courtyard atrium and many other amenities including office spaces and a lounge area that includes firepits and a pool table. Vivendo en Tetris attempts to preserve the history of the district while also looking to make a strong presence in the future.

ADE 512

AUSTIN LIND

McArthur’s End is a multifamily housing project that is built along the canal in tempe. The project is oriented to face the canal and provide a view of it to all housing, as well as the green space that is in the center. There are a total of 20 units, ranging from roughly 1-2,000 square feet. The units that are placed along McArthur are the largest, and are designed to open the project up to the old neighborhood rather than just close it out completely.

These units are designed for small families that enjoy biking, spending time outside, and nature.

417

ADE 512

JONATHAN MARANVILLE

Challenges in downtown Phoenix include dealing with the heat island, revitalizing without hurting affordability, and at this particular site, meeting the requirements of a historic district. Guidelines are to respect surroundings without imitating them.

In the spirit of preservation, the existing house remains. A proposed name is Fillmore Canyon, due to an excavation allowing street-facing buildings to be just one level above grade, blending with the mostly single-story neighborhood. The solar cycle is carefully studied, with structures showing a sheltered, reflective face to the overhead summer sun, a transparent or absorptive face to the lowangled winter rays, and rooftop solar panels. Canyon spaces create a microclimate. Housing needs are addressed with eighteen units on just four lots.

ADE 512

OLIVIA MENDOZA

Kensington Image provides an intergraded view of the neighborhood which connects the existing single family bungalow style residences with the newer contemporary multifamily construction. Each unit encourages the livability of the outdoors as they extend the living quarters into the patio spaces with Nana Walls or patio doors. All units have ample windows to provide passive lighting to each unit.

While units enter from every side of the property in order to provide safe livability to the residences, all units provide private entries.

419

ADE 512

DAN O’NEILL

The Spring 2021 511 Core Architecture Studio was guided through the process of designing a multifamily housing complex within the envelope of downtown Phoenix, at 846 N. 8th Avenue, designated R5 Zoning and requiring 18-25 units. I designed a project that was thoughtful of the past use of the site, is relationally proportional to recent development projects, and creates desirable condominium homes in an area of Phoenix seeing a demand for housing.

Many considerations for security, sight-lines from street and units, secure & adequate parking, as well as storage for bikes, mopeds and recreational items. The units range from 737 sq. ft. to 1,981 sq. ft. and include a variety of floor plans, such as a 1 level studio, a 4 story unit and penthouse units with rooftop gardens. Special consideration was given to the exterior, with an attempt to create a “townhouse” feel, rather than embrace the monolithic garden/ resort style apartment that has been the past standard.

ADE 512

JARED PRATT

Preserving history and embracing the talents and culture of the community, the Revita Homes multifamily development encircles all demographics of individuals. The life of Mesa grew from the roots of an ancient irrigation system. This same concept formed the foundation for much of the design decisions. A transitional elevation change throughout the project allows each participant to become part of the structure and the design. Eighteen unique floor plans (studio - 2 bed Luxury) ensure that each resident is offered a distinctive connection to the spaces in the community and in their dwelling. Its centralized community space embraces the arts and focuses on Mesa’s goals for enhanced neighborhoods. The subtle lines and angles found in the layout of the units provide a contemporary approach to incorporating the classic low slope gable roofs and unique private spaces for each resident to enjoy.

421

ADE 512

CLARA RIESS

A balanced myriad of individuality, community, form modernity, and natural material, “Juncture” realizes a unique niche in the housing market enticing owners towards multifamily housing. Smart space articulation offers owners the personal comforts of traditional housing with the communal benefit of multifamily solutions and augments these models with sweeping views from roof top gardens and embedded green energy technology. Slow crushed granite driveways and oversized stone slab walkways make the community a leisurely retreat . The largest edge of the site plan connected to tempe canal is left untouched to respect the canals natural tendency for gathering and movement and to draw owners out.

Enveloping sections of the site mold modern cul-desacs for communal moments compounded by glass pockets in each floor plan refocusing users back to the surrounding community. Cascading planters are highlighted with exposed wide flange beams bringing form back to the seemingly floating spaces.

ADE 512

KYLE RYDER

For our multi-family studio project this semester, I designed a dwelling that focuses on natural light and community. This 27-unit development features a range of one to two bedrooms units, offering different views and layouts. With a focus on community, I added a large gathering space centralized around the development. This space has viewing up to the roof with a glass opening allowing for natural light to illuminate. Additionally, on the first floor is a gym, adding to the overall amenities of the space. Every unit has large glass walls, allowing for optimal sun access. Amongst these glass walls are the most vital parts of the units organized, including the bedrooms and living spaces. With units that serve singles and families, the development appreciates the idea of comfortable living and luxury.

423

ADE 512

TAYLER SARTIN

DESERT GARDENS The focus of this multifamily residential project is an emphasis on the neighborhood as a community and as a dwelling and the incorporation of nature into the site and the building itself. The idea of nature taking over the architecture is explored, making it appear as though the project is alive. There is a variety of units, inviting different types of families into one united community. There is a strong focus on the central shared green space where the residents will feel safe and embraced by the landscaping. The line between the private patio and the public green space is blurred, making this center space an area where residents can gather and spend time with each other without feeling like they are intruding on anyone’s privacy. The building form itself is made up of extending lines and planes. This simple, orthogonal building form contrasts with the organic, evergrowing landscaping surrounding it, emphasizing the idea of complimentary contrasts.

ADE 512

DEVI SRI SUDHA UNNAVA

“Views” is a 17 unit multi-family dwelling, on an acre wide triangular plot adjacent to Tempe Canal.

Respecting the flat topography of the surrounding neighborhood, I designed single story northwestern units and then scaled up to 3 stories on the southeastern side. The cascading roofline, the use of neutral and natural colors acts as a mirage to blend the apartment well with the sleepy neighborhood.

The residents can get best possible views of sunrise, sunset, far off mountains and canal. A 50 foot wide central communal alley has a garden zone and a pool zone for the residents to gather. Major portion of the hardscape is made up of compacted gravel and brickwork, and aids in the absorption of rain water.

There’s also a huge sand box area for a pet park in the entrance of the community.

ADE 512

05

CORE ARCHITECTURAL STUDIO II PROFESSOR: Katherine Dudzik Smith

Students: Rawa Awad, Tanner Baranski, Jeremy Card, Chia-Kang Chang, Andres De La Rocha, Grace Goodrich, Jamis Guy, Mia Hammerstrom, Julia Lopez, Cassie Martinez, Esther Ng, Christy Nilan, Alejandro Raya-Ibarra, Helen Ross, David Tanner

ADE 512

RAWA AWAD

The Roosevelt Courtyard is a place of cultural intersection

between

the

old

and

the

new.

Deconstructing the cultural layers resulted in highlighting unique design elements. The structure celebrates specific arch forms found within the bungalow homes shaping the local community architecture history while also embracing new design aesthetics. Each unit is centered around the courtyard and has direct access to the community it creates. The courtyard is housed on the second floor. Within the space, light wells illuminate planters found on the ground floor which grow tall trees to shade the three floors above. The third and fourth floor resident’s experience cascading views of the space and hanging vegetation. Nine unit designs ranging from 1-2,500 sq feet make up the 22 total units within the structure. Shared rooftop gardens as well as private apartment balconies are distributed through the space creating for various forms of enjoyment and interaction amongst the residents.

427

ADE 512

TANNER BARANSKI

Ninety Adjacent is located in Tempe within large neighborhoods of residential housing. The semienclosed project aims to draw in the surrounding community with large green spaces. Consisting of eighteen units the project follows an L-shaped layout with a mid-century modern aesthetic. The units follow a stacked and rotated configuration allowing each their own unique viewing point, large patios, or ample green space to take advantage of. In addition, large store front windows and long running floor materials have been embedded to blur the lines between inside and outside. The adjacent canal has been highlighted with sunset views from units, a pool, pergolas, a firepit and access to the bike trial that it follows. The project’s landscaping incorporates desert plants that will be tied in by planters surrounding each unit. While also, offering undesignated grass areas for the residence to utilize.

The nearby light rail and canal trail makes this site very bikeable.

ADE 512

JEREMY CARD

A sense of dwelling lies in the person utilizing a space whether that space is interior or exterior.

The site at McArthur Drive in Tempe, AZ offers tenants the interior and exterior places to dwell.

The plan is designed around a community centered neighborhood where one can engage with other residents from their own property, or the community spaces located throughout the site. With direct access to the canal system, residents will traverse over a Tempe town lake inspired path through a community space and out to enjoy the rest of Tempe.

With being community based, the units complement the existing single-family structures surrounding it without being a distraction upon the neighborhood.

With multiple bedrooms to studio space units, community spaces within the middle of the site, and a welcoming feeling to all, Dwell at McArthur is a great place for anyone to call home.

429

ADE 512

CHIA-KANG CHANG

San-Ho The purpose of the project is to gather artists, designers in the historic Garfield history district, and create more green space within the area also enable weekly events or conferences.

The form of the building is inspired by the traditional housing in Taiwan, called “San-Ho-Yuan”. It was designed for the big families in agriculture society back then. There is always a big courtyard providing spaces for drying clothes or crops, but in this project, the function of the courtyard transformed into a green space for multiple uses. The central part of the building is another interesting alteration, Taiwanese often uses it as a place to make prayers to gods or ancestors, is now a small community library which can also hold events indoor while summer.

The residents there are like a big family, the big courtyard is able for them to interact more, and contribute to the district in a cultural way.

ADE 512

ANDRES DE LA ROCHA

The pandemic has had an impact in all of our lives, especially those who struggle mentally and feel socially isolated. So I decided to design a place where I could bring together the community and explore the benefits of creating residential environments that would help to alleviate loneliness and social isolation amidst the pandemic.

I approached my design through the lens of environmental psychology, exploring the parameters of biology and social connectivity as means to forge connections with residents, neighbors and passersby.

Hema aspires to serve as a prototype for future housing projects that make importance in social inclusion, connection and wellbeing.

431

ADE 512

GRACE GOODRICH

ROja is a multifamily housing development in the Historic Garfield District of downtown Phoenix.

Inspired by the Spanish word for red, a play on the row house layout of the units, and a nod to nearby Roosevelt Row, the walkable arts district, ROja features red tones of the corten steel roofs and red clay tiles throughout on paths and porches, and draws from Spanish influence throughout the Historic Garfield District.

The development consists of 3-bedroom and 2-bedroom two story townhomes with private yards, as well as 1-bedroom flats and studios. Floor-toceiling windows, lightwells, and porous screen walls strike a balance between light and shade. Residents can gather on the rooftop deck and around a mural celebrating Phoenix, and greenery is an integral element in both the private and shared spaces. Vines trellis the lightwells, and planters line the pathways, yards, and patios.

ADE 512

JAMIS GUY

Reciprocity A Gift, A Duty, Capture the warmth of light, Absorb its energy, Put it to good use Every gift is layered within itself, More complex when pulled from its silo Added to the cacophony of societal beliefs and requirements, It becomes our duty to look at all the facets Every angle from which to derive forms If we aren’t creating something that speaks to the human spirit, What’s the point?

This project was with Reciprocity as a guiding principle.

A

thought-experiment

when

not

constrained by “what is known”, and instead by what “could be” when the values of those who have been here for thousands of years are applied. The Three Sisters; Corn, Beans, and Squash, are the epitome of Reciprocity, each feeds a need of another and is fed by the other. My goals were to find reciprocal ways of designing that focused in on many perspectives.

433

ADE 512

MIA HAMMERSTROM

As the city of Mesa is very progressive, I wanted my apartment complex design to focus on the issues of sustainability and reducing the suburban sprawl throughout the Phoenix metropolitan area.

Each townhouse is designed in order to provide residents with a private outdoor space to gather with friends and family. Furthermore, each townhouse is provided with an additional outdoor space, adjacent to the communal areas of the complex, to enhance the overall sense of community throughout the site.

This complex features a stormwater retention garden at the center of the site, which provides a communal space for residents to gather, as well as a means for collecting excess rainwater that would otherwise be wasted. In addition, the complex is paved using pervious concrete which allows for heat mitigation and supplementary water retention.

ADE 512

JULIA LOPEZ

Projecting architecture and urban solutions with important social implications. Architecture must respond to the needs of the neighborhood and its users, but seek to create mechanisms that allow social traditions to be perpetuated over time. Located within the Garfield Historic District in Phoenix, a place rich in history and known for its local artisans and craftsmen, we began to design and explore urban dwelling. With this project, the attempt was to create social activation through three strategies.

One, the creation of a craftsman workshop where the community is welcome to come and learn new skill sets from the local artisans. 2: agricultural recovery and 3: neighborhood cooperation; seeing the neighbor as family. The 17 units designed within the site are meant to create unintentional encounters and make users coincide with their neighbors and thus establish traditional social dynamics and contribute back to their community.

435

ADE 512

CASSIE MARTINEZ

Located in the historic Phoenix neighborhood of Garfield, Brillmore is a new style of living. It is located on 10th Street and Fillmore in a neighborhood filled with historic bungalows.

Brillmore invites those to come to the city and experience the best of both worlds, privacy yet close to the liveliness of Phoenix. Brillmore offers large unit sizes with a flex space, parking directly by the front door, large windows to allow lots of natural light in, and a community garden. The patio space speaks to the historic bungalows of the area, creating a safe neighborhood where you know your neighbors.

Brillmore is located near public transportation, directly in front of a designation bike path, and easily walkable to downtown Phoenix, allowing for minimized car use.

Brillmore is a modern style of living, a spacious sanctuary in the middle of the city.

ADE 512

ESTHER NG

This project is located within the Garfield Historic District, and aims to embody the historical and cultural richness that defines the neighborhood. A double-story courtyard style residential dwelling, it contains 19 units each with a unique personalityrarely are two units the same. The idea of the courtyard living encompasses the neighborhood atmosphere of getting to know your neighbors, and fostering a familial intimacy between residents. The central green spaces and the fountain element of the courtyard aims to bring families and individuals together, while community spaces like the terrace garden and the reading rooms provide solitude and quiet for those who seek it.

The Llamativo is inspired by North African, Mediterranean,

and

Spanish

architecture,

incorporating contrasting light and dark hues, neutral tones and a splash of pattern and color. As a district that has nurtured many families over the years, it is only appropriate that it enriches this tradition.

437

ADE 512

CHRISTY NILAN

Heritage Waters is a multi-family residential dwelling which strives to connect with the first settlers of Mesa, the Hohokam society. The advanced craftsmanship of the large-scale irrigation system we know here in the Phoenix area created a legacy, culture, and tradition for this society. Heritage Waters is a dwelling space where individuals, families, or others can create their own culture, build their own meaningful traditions, and create a lasting legacy.

The development consists of studio units, onebedroom units, and two-bedroom units with a total of twenty-one units. The studio units include a private front porch and back patio creating a more desirable space. The one- and two-bedroom units have garage parking access in addition to a shared balcony space creating a more welcoming and friendly environment. The site includes additional parking for guests, gathering spaces for events of all types, a bike path and green space for play.

ADE 512

ALEJANDRO RAYA-IBARRA

For this design, I wanted to create units that have a work from home space which is kept separated from the private living spaces. I accomplished this by drawing inspiration from Villa Savoye. The first floor for all units consists of a home office space; whereas the second floor consisting of the living space is cantilevered above to create that distinct separation between the spaces. I went with this design choice due to the events of last year; with the pandemic, our homes became our places of work and/or schooling.

Additionally, the living space was lifted off the ground to provide a grander sense of privacy for the occupants. Furthermore, the usage of window walls in the work space and ribbon windows in the private spaces connected the units to the outside world.

439

ADE 512

HELEN ROSS

The Village by the canal is a medium density multifamily townhouse complex that is nothing like traditional units. The unique triangular-shape and fairly flat lot poses interesting design challenges.

The neighborhood has beautiful features; a small rock park adjacent to the proposed plan and a simple, yet elegant white stucco church a few doors down. Stately palm trees, the quaint park--as well as the Salt River Project canal lends a very calming, rejuvenating, yet energizing ambience. A promenade parallel to the canal and its duck inhabitants imbues the community with charm, hospitality and personality. This program will fit wonderfully in this solidly established community of modest homes sheltering families who have been dwelling here for generations. We are proposing progressive, modern and sustainable design .

ADE 512

DAVID TANNER

Quartier on Third In an effort to accommodate a myriad of lifestyles and situations, this multi-family housing project offers single, roommate, and family living. With a new ASU campus being built in nearby downtown Mesa, this site can accommodate students looking to live close by without having to live on Main Street.

There is ample parking on site, but with Mesa’s excellent bikeability, the site offers plenty of bicycle parking for those who prefer to get around that way.

Another important consideration for the project was the popularity of working from home due to the Coronavirus pandemic. Live/work units are available with street accessible office space. Community space fills the common area between the two structures of the project, providing space for kids to play, to sit and read or visit with neighbors, or just enjoy being outside. While accommodating their needs, residents can feel a sense of community in this project.

5th Year

ADE 522

05

ADVANCED ARCHITECTURAL STUDIO II PROFESSOR: Thomas Hartman

Students: Abdulaziz Alghamdi, Kerri Clayton, Sai Sreelekha Gandikota, Nenwe Geeso, Omar Gonzalez-Nava, Yuanyu Liu, Parastoo Lotfi, Patricia Molina, Daya Nikolic, Anthony Okins, Mallory Payne, Dellan Raish, Ruiming Zeng

443

ADE 522

ABDULAZIZ ALGHAMDI

The New Academic Building is designed as a replacement of the old Wilson Hall, which is considered to be demolished. The design concept aims to build a new landmark in such a vital location that links the most important pedestrian pathways on campus. To achieve this, the main building functions are elevated to the upper levels so the building can touch the ground briefly, and creates shading shelters under the building. In addition, a significant amount of transparency and connectivity between the inside and outside of the building is considered in designing the facades, taking in consideration the challenges and characteristics of Arizona climate.

ADE 522

KERRI CLAYTON

The location of this building is a hot spot, where students are entering campus, walking to class, socializing, etc. but one way or another the chance of passing by this location is high. The new building will feel transparent to the users and faculty and students walking past. The building will host many of the academic support on the first three floors as well as breakout spaces. The third floor will feature an outside patio that will allow students that are not taking classes within the building to still utilize the space. The upper floors are focused on academic support, hosting many conference rooms, research labs, and computer labs. Students can move fluidly through the building. This new building will blend with the rest of campus as the materiality will have many similarities featuring concrete, copper, large glass windows, etc.

445

ADE 522

SAI SREELEKHA GANDIKOTA

A fine fusion of traditional Indian desert architecture with a modern interior, and amenities. When it comes to designing a program in a very hot place like Tempe, considering the climatic conditions becomes a priority. Through proper research on elements that can provide great ventilation and prevent the heat from entering the building, introduced me to an amazing element called “Jali” (aesthetic perforations in the wall creating a pattern). This element is an added attraction to the functionally sound design, The spaces not only fit the program perfectly, but also are very content in providing a good learning environment to the students. All the office spaces, classrooms and laboratories are perfectly placed to avoid distraction. The space-planning also serves the post pandemic world’s necessities.

ADE 522

NENWE GEESO

Acknowledging

the

circulation

patterns

and

surrounding disciplines of its ASU Tempe Campus site, the new academic building serves as a transverse connection to the different realms. Programmed for students and faculty use, the building accommodates by allowing the users to define their own flex space.

The first level is divided into four fragments. This allows the ground level to draw people in as they pass by, via multiple entry points. As a user moves up to the second, third and fourth levels, the building connects the initial fragments and becomes whole. In the heart of the building, access is made available to terraces that overlook the courtyard and circulation below. Outdoor terrace space is also available on the outer edges of the building, providing a connection to the surrounding green spaces. The influence from the surrounding context is integrated within the design to create an environment that makes not only students and faculty, but anyone who passes by want to experience the building.

447

ADE 522

YUANYU LIU

My project is located on the ASU Tempe campus. My main concept is to divide the building into two parts and provide shade for the sidewalks passing through it. According to the surrounding environment, my internal functions are also targeted. I designed a large vertical public space in the best view to the north. People can use vertical three-dimensional traffic to enhance connection here. In the south, my shading system can also ensure that the building can be protected from direct sunlight in different seasons. The overall design language is dominated by curves. I want to use the setbacks of each floor to blur the boundary between the building and the site. Therefore, in the final design, I hope to retain the main roads that pass through it, and increase the publicity of the building while smoothing the internal circulation of the building.

ADE 522

PARASTOO LOTFI

The design objective for this project was to design a new academic building on ASU’s Tempe campus at the Wilson hall location. In my plan I have a domestic inner courtyard that has been designed to become a modern and peaceful secret garden which is used as a pathway from west to the east, that contains abundant greenery and seating areas.

The purpose of the rooftop terrace is to attract students and staff by providing an effective placemaking amenity; a location with a unique view to the new green space. It can be used for meetings and events. The building facades respond to Arizona’s unique climate conditions by using doubleglazed skin on the South with horizontal aluminum louvers to reduce sun exposure and on North façade with vertical aluminum louvers. The East and West are designed as a rainscreen flex brick façade to provide more shading for the interior spaces.

449

ADE 522

PATRICIA MOLINA

Located at the existing Wilson Hall location on ASU’s Tempe campus, the project is marked by a perforated, copper metal panel envelope to provide daylighting control along the perimeter of the project. The envelope opens along featured spaces of the project revealing the auditorium and outdoor spaces such as the 3rd floor terrace looking out at Danforth Chapel and Hayden Lawn. The terrace, covered by a corrugated copper overhang, allows flexible outdoor space for students and staff while providing protection from the harsh summer climate.

Inside, a centralized ramp system extends through the length of the building weaving occupants through classrooms, open workspaces, and the outdoor areas. Above the ramp system, skylights are provided to allow light into the core spaces.

ADE 522

DAYA NIKOLIC

Composed of seven concentric circles with different radii, an organic form clad of striated copper reminiscent of a Sonoran Desert rock formation emerges. The curves soften the sounds inside the building, making it a good place for studying and reflection. Sound waves dissipate as they wrap around the building, shielding the interior from loud outside noise. Situated in a hot and dry climate on Arizona State University’s Tempe campus, the building acts as a shading structure as most of the building floats above the ground supported by concrete columns.

The building merges with the trees on site acting as an extension of the tree canopy. Weather sensors on the outside of the building monitor the temperature and level of sunlight, and like a plant, open windows and turn interior shading louvers when appropriate.

The automated window system supplements the under-floor air system with natural ventilation.

451

ADE 522

ANTHONY OKINS

Avionics ASU Polytechnic Campus Student Union Expansion Moonlight through copper lightwell and onto copper bands running the length of the building.

The copper bands indicate the degree of separation between true north and magnetic north.

The building as resonant instrument.

ADE 522

MALLORY PAYNE

The Wilson Hall Re-invention proposal reflects Arizona State University’s core value of innovation and the history and materiality at the core of its Tempe campus. The design stems from ASU’s desire to foster change, connect people, and inspire commitment. The proposal responds to the adjacent architecture, landmarks, greenspaces, and public space. The building performance responds to Arizona’s unique climate conditions in attempt to embody sustainability and resilience. The design reuses some of Wilson halls demolition material and introduces new terracotta rainscreen to reduce sun exposure, reflected heat and glare. Transparency and permeability at the ground plane creates a more inviting experience for the users. Active collaboration and engagement are at the core of the program, with intermediate touch-down spaces and adaptable seating to foster interaction among students and staff.

453

ADE 522

DELLAN RAISH

The goal of the project was to elevate the program above the ground plane, eliminating mass for open pedestrian circulation. This reinforces the university’s masterplan and connects campus ‘nodes’ to climate controlled pathways. Replacing the existing Wilson Hall with a new academic program requires consideration for surrounding campus buildings height and scale, most importantly the adjacent Dansforth Chapel. The project splits into two, avoiding the university utility tunnel, and opens up as shaded exterior space to Hayden Lawn and Dansforth Chapel. Passive cooling is implemented on west and south facades by utilizing large sun tracking louvers and a second building skin to minimize direct solar gain. These shading systems ensure maximum pedestrian comfort even in extreme summer solstice conditions.

ADE 522

RUIMING ZENG

My project concept is the ramp. The building uses the ramp as a way to connect to the site and to create outdoor spaces for activity. There are two ramps with green space on them. People can sit and take a break in that space. I chose brick as the primary material for the building skin. It’s a good material for absorbing the heat from outside and maintaining a cool temperature inside the building.

For the west façade, I set up the windows with angles for shading purposes. During the sunset period, this solution would be an effective way to block the harsh sunlight from the West and make the people more com-fortable inside the building. The ballroom space is placed partially underground to provide the necessary height for the space, but this strategy also permits a sloped garden that allows outdoor activities and connects the ballroom to the surrounding site. The primary structural solution is concrete columns and beams, with trusses for the large-span ballroom space.

ADE 522

05

ADVANCED ARCHITECTURAL STUDIO II PROFESSOR: Marlene Imirzian

Students: Edgar Duran, Salem Malibary, Holden Matonak, Faith McGee, Purva Parikh, Brennan Richards, Alisa Santiago, Kritika Sharma, Arik Spaulding, Michael Stears, Jesal Vaniawala, Erik Vejar, Nivedita Venkataprasad

ADE 522

EDGAR DURAN

Considering

the

connecting

surrounding

disciplines

of

pathways

and

the

the

site,

Academic building carefully serves as a magnet that connects these adjacent conditions on ASU’s Tempe campus and brings them into the project. With the use of pre-oxidized weathering steel and perforated screens as a skin, the building is also able to link to its desert environment, while also using the screens as a shading method that protects the areas that are most affected from the Arizona sun. Through its careful consideration of its surroundings, the building is capable of framing the most important views around it by the incorporation of angular glazing walls and the use of terraces that extrude out to these powerful points.

Overall the building studies the stellar site inf luences that make that specific point a HUB, and considers these moments as connectors that inf luence the building in order to carefully integrate well in its context.

457

ADE 522

SALEM MALIBARY

The Student Center is the first phase of the new proposed project in the ASU Tempe campus. The project going to replace some of the academic buildings and create a central green space on the campus. The student center is going to replace Wilson Hall which located in Orange Mall street, an important pathway on the campus. The replacement would change the Wilson Hall function from being an administrative and academic department of the College of Liberal Arts and Sciences to a generic academic building with different usage to serve different types of users.

The Student Center has three main objectives: experiencing, connecting, and noticing. It is a building that has a minimal footprint that connects with the central green space with its own multipurpose space.

The building serves different users with a variety of spaces with different privacy levels. The building considers the current and future challenges.

ADE 522

HOLDEN MATONAK

A mixed use building with classrooms, research labs, testing rooms, and office spaces located on the Arizona State University - Tempe campus at the current Wilson Hall. The main approach is to add more green space to the current Hayden Lawn for a much larger student green, Terraced green roofs allow for students to lounge outside as well as sightsee the campus from a new angle. The interior allows for views of the green roofs and a covered walkway allows for additional shaded outdoor east to west movement around Orange Mall.

459

ADE 522

FAITH MCGEE

This project is set on ASU’s polytechnic campus.

This project has a lowered garden space that helps match it with the rest of campus. Each building on campus uses similar materials and does well in creating a desert aesthetic for outdoor space for students and staff to enjoy. This knew student union is created to match the rest of campus while also standing uniquely on its own. Each space is designed to have great views of its outdoor space while also having in mind the harsh climate sun. vertical surface of the building has been studied and have various shade and screen structures to protect from the sun while also giving windows to views that will help people enjoy each space. The lowered garden is to allow a clear view through the site to the field on the other side. The garden space gives alternative ways of cooling down. Unglazed Terracotta tiles are watered down with their own sprinkler system allowing the hot sun to beat down on the tiles and allow evaporative cooling to naturally cool down the space for people to enjoy.

ADE 522

PURVA PARIKH

Considering the green spaces in the surrounding and the location of the site the building is designed to enhance the moments around and in the building.

It provides multi-level open terraces that extrudes connectivity at different levels to the central plaza of the building. Focusing on two main aspects: connectivity and interaction the building enhances in creating interesting interactive spaces along with allowing a visual connectivity across the building.

Furthermore, the use of terracotta as an external finish harmonizes the structure with its surroundings, while metal screens on the south and west facades shield the interior from the harsh light. Over all the building not only integrates with the context but acts as a connector to all the surrounding activities as well as acts as a prime core for interaction, circulation and integrating of all the required functions within it

461

ADE 522

BRENNAN RICHARDS

This semester I designed a new student union for the ASU Polytechnic Campus. In studying the site, I was fascinated by the strategies used in the building materials and landscape. Specifically, I was interested in the desert wash that runs from East to West through the site. The site also has stunning views, so the focus of my project became visual and physical connections between the existing site, the wash, and the views of the surrounding area.

I accomplished these connections using a central courtyard that was defined by existing circulation paths. This courtyard funnels pedestrians into a central overlapping space, shown in the rendering above. This space sits next to the wash, allowing people to visually and physically connect to it. I also framed several specific views on the East facade of the building, looking out to the mountains. Lastly, I tied in the existing site materials using solid and perforated corrugated metal screens on the facade.

ADE 522

ALISA SANTIAGO

With a quickly changing world, it becomes very easy to forget the history of the grounds we walk as we place new steps among them. As designers, it is our mission to pay attention to these stories, bring forth how they connect, and to bring forth the importance of that connection. This project kept that in mind by designing the new Wilson Hall at ASU’s Tempe campus around the 90 year old Danforth Chapel.

With the chapel as the feature of the design, all are directed to it in view and by nature creating the definition of the space. Through this design, this focus on connection was seen in multiple ways: by connecting the new to the historic, by connecting Wilson Hall to the occupants of the campus, and by connecting the occupants of the campus to nature.

Connection brings multiple benefits to life but most of all, connection brings life together.

463

ADE 522

KRITIKA SHARMA

The extension of the Student Union at the ASU Polytechnic campus was not only an opportunity to observe the campus itself but also come up with a space that, as a student, was a personal experience to design. The concept of the building started with the development of an interactive space between the existing and the new Student Union. The major highlight of the building was a floating roof over the front entrance which would frame the building and the interactive space while providing shade during the harsh summer months. All the facades in the building have been treated with vertical louvers and perforated screens which were a common element throughout the campus. The lounge spaces serve as an extension to the interactive space seperated by a curtain wall which would encourage student to observe and be part of any university event taking place in the ineractive space.

ADE 522

ARIK SPAULDING

Drawing inspiration from existing ASU polytechnic buildings on the campuses. This concept utilizes a 30x30 structural grid which will help with both the cost and efficiency of the building while also being a continuation of the design language of the poly campus. With Student engagement at the core of this design for a new student union building. Flexibility for future growth as well as a flexibility within the 30x30 system offers new opportunities for students to relax, connect, learn, and play near nature of the desert arboretum locates south of the site. An Abundance of greenery is embedded into the design to soften the rigidity of this building structure.

Alternating slated shading screens (inspired by Al Beadle) within its exterior skeleton shades the building reducing the energy consumption while adding an additional texter of light and shadow onto the walls and floors of this design.

465

ADE 522

MICHAEL STEARS

“The SU” Situated on the Arizona State University Polytechnic Campus, this Student Union incorporates different environmental strategies such as large-scale water collection and natural sun shading from desert trees. The imposing roof floats over a series of dynamic spaces that are not only made special in the horizontal plane but the vertical plane as well.

These open spaces are designed to portray a sense of peace and transparency all while inviting a sense of movement and collaboration.

ADE 522

JESAL VANIAWALA

Acknowledging the Student Union and the adjacent vehicular access attempted to build an axis which connects them. A central court connects the axis, bookstore and the cafe, creating a lively environment for all students to read and enjoy. In order to provide shade through the trees, I angled my Ballroom towards the green axis on the south side of the site. Creating open terraces on the north façade that connect individual spaces and allow users to experience both the indoor and outdoor environments. The entire campus has a clear architectural vocabulary, which makes all of the buildings look the same. I attempted to use similar vocabulary and materials in my construction. Using perforated metal screen as a skin on the East and West façades to cover the most vulnerable areas but still connecting to the outside world. Overall, the structure serves as a focal point for the entire campus, blending in with the existing architecture.

467

ADE 522

ERIK VEJAR

ASU Polytechnic Campus is a growing space.

Enclosed by a garden of desert landscape that offers beautiful views and spaces for respite. In a growing campus community we wanted to expand on the Student Union, that accompanies its functions but also acts as its own program. An entrance to the existing student union framed the center walkway which allows for a courtyard to act as a connection and breezeway. An influence to the site was a retention wash to the South. To create an intimate connection, the ballroom was placed on the southern end to allow users to capture the nature and views of the wash. The building envelope continues with the existing archictectural language of new construction.

Within the site, eixist these view corridors that frame the mountains in the distance, the wash, and courtyard connection.

ADE 522

NIVEDITA VENKATAPRASAD

This is an intergrated design project located in Polytechnic Campus ASU. This design characterizes the energy, site, and climatic, formal, construction, programmatic, regulatory, economic, and social aspects of a project as primary parameters for design. The total area of the building is arpund 34,000 sq.ft and it is a design with building performance multiple, often complex, contexts that condition contemporary architecture. The material used is exposed brick supported with steel columns and beams. The vertical louvers placed on the external wall enhances the climatic energy and also provides aesthetic appearance.

ADE 522

05

ADVANCED ARCHITECTURAL STUDIO II PROFESSOR: John Douglas, FAIA

Students: Allison Fernandez, Nancy Hamilton, Henry Hunter, Rongting Jin, Faustin Kapelemba, Shreegouri Katakol, Banning Mucha, Aja Panicker, Patrick Simpson, Sumedha Singh, Carly Tomko, Anshuli Vaidya

ADE 522

ALLISON FERNANDEZ

Replacing what is currently known as Wilson Hall, this new building features a large atrium space enclosed with a curtain wall system that will bring light inwards and allow activities occurring on the ground floor to be viewed from the floors above.

The first floor is composed of a flexible event space made up of movable tables and chairs to serve as a casual hangout spot for students and faculty when no events are set up. Surrounding this space are study rooms accessible to students who prefer the privacy of working in an enclosed space. The upper floors contain classrooms, conference rooms, as well as office spaces. The second and third floors have a balcony in their Northeast corner for users to enjoy shaded outdoor spaces with a view outward onto the lawn to the North.

471

ADE 522

NANCY HAMILTON

A symmetrical approach became the major design solution for the Tempe Campus building to replace Wilson Hall. After sketching a few designs it was decided that a combination of two initial designs could become one design.

The building has a ground floor circulation that includes Ted’s Hot Dogs and a kitchen for catering for events to take place in the garden that is adjacent to Danforth Chapel.

The building consists of classrooms, computer labs areas, and faculty offices.

It has three staircases and two elevators that fit the occupancy requirement.

Students can gather under the building for comfort during the hot summer months and on the roof during the winter when the weather in Arizona is cooler.

ADE 522

HENRY HUNTER

For this project I wanted to keep the same language as the buildings that are currently on ASU’s Polytechnic campus. This is what determined my use of concrete and steel along with the building mass and orientation. By orienting the courtyard to the west, it directly relates to the existing courtyard for the current Memorial Union, connecting the two.

Also, the overlapping floors provides each floor with exterior space and natural shading. The floors are arranged with public on the ground floor, to semipublic, to private as you move up each level.

Window placement was modified to allow each office to have a window and to flood natural light into the public space while regulating light in the ballroom and conference areas. Steel louvers are strategically placed on certain openings to control and reduce direct solar heat gain. By implementing these strategies, it significantly improved the energy footprint.

473

ADE 522

RONGTING JIN

This project intends to be the post-pandemic academic building located at the existing Wilson Hall site at ASU Tempe Campus. While questioning myself about the essential meaning of building at the beginning of the design process, I wonder how this pandemic, which brought us to the internet and detached people from the community, would have changed the way we use and experience architecture.

It is crucial to maximizing a post-pandemic academic building’s comfort by maximizing the fresh air, natural light, and green space inside an architecture.

Simultaneously, it enhances the air movement between the indoor and outdoor spaces, and we have more open circulations and public shared space in this building. We can bring more natural elements coming into the architecture. It is also used as a passive design strategy that cools down space, encourages people to walk instead of using elevators, and brings people back together in a comfortable environment.

ADE 522

FAUSTIN KAPELEMBA

Arizona State University has its own projection on how they want their buildings to look like This semester for my project, I had the opportunity to propose a building concept for ASU polytechnic campus located in Mesa, Arizona. The site has history, it’s a renowned area that was once used by the military. I approach my design by first looking at what is on campus and second by the surrounding areas. Since the campus is surrounded by housing, I wanted to design a building that can serve the students, administrative and the community. My concepts were structured around the skin/envelop of the building. Reasoning behind it, wanted to provide comfort to the building also to the people who will be using the building on daily bases. Since the orientation of the site looked in the center of the campus where shading is needed. Having a envelop that can provide those shading to my building was very important to me while coming up with the building concept.

475

ADE 522

SHREEGOURI KATAKOL

The design approach is a response to the sun path.

It’s an attempt to break the building into smaller inter connected boxes with different heights to shade each other.

With circulation and open spaces in the centre towards the north side and taller units around, the central open space is shaded throughout the year.

The staggered open terraces on each level act as collaborative/interaction spaces with greenery.

Having a green/open space in the centre also helps in purifying the air and enhance natural ventilation in the project. South, east and west faces of the building are treated with sun shading elements, but not completely opaque to diffuse the light into the interior spaces.

This project is an attempt to create a new hangout space for students on the campus.

ADE 522

BANNING MUCHA

This redevelopment of Wilson Hall on the ASU Tempe campus aims to provide safe learning environments in a post-pandemic world. With a focus on natural ventilation, this design seeks to merge indoor and outdoor spaces. The building is divided into two structures, forming a wind tunnel in between that increases natural ventilation into the buildings.

Classrooms and office walls open up to exterior terraces, creating outdoor spaces when desired.

The open structure allows mechanical ventilation to easily aid in the building’s cooling needs. Copper panels are used to shield glazing from the sun as well as to create private, yet permeable enclosures along the exterior terraces.

477

ADE 522

AJA PANICKER

For ASU’s Tempe campus, the design approach was to make a structure that would benefit students and faculty. As a student, I have found that I enjoyed being outside before my class began. I also felt happier and more engrossed in lessons where the activities were outside. The objective of this design was to incorporate nature to enhance the learning experience. I considered various options of outdoor garden and patio spaces, how the materiality of the structure adapted to Arizona’s climate, and how to adapt it to the Tempe campus. For the outdoor patio space, the shading provided by the roof allows users to have a pleasant experience during summer. In the winter, the space is filled with light and embraced with warmth. Having the outdoor space will provide a calm and resourceful location for students to rest and for various events that may be held for the department’s use.

ADE 522

PATRICK SIMPSON

In implementing a pavilion-style multi-building scheme, this design iteration for the Arizona State University Polytechnic Campus embodies the ideas of community, inclusion, and connection by engaging the site at the ground level with landscaped plazas and arrival corridors. With vertical circulation spread across the site for distributed access to the second level, visitors and occupants alike ascend to encounter a north-facing semi-circular patio that is shaded by steel tube portal frames and opaque and translucent roof modules that are both adding to and reinforced by the forms and structure of the pavilion buildings containing the separate programmatic uses.

Providing

both

separation

and

connection

simultaneously and furnishing several white-box flexible spaces that can adapt to changing campus needs allows this design solution to accomplish many of the project goals relayed by the campus architect and to accommodate a growing student population by further defining a central campus gathering space.

479

ADE 522

SUMEDHA SINGH

The main concept of the project is to integrate the project and the ASU, Tempe campus, both at the site and formal level. The design demonstrates a scale akin to a public building on the outside and the inside explores the didactic nature of space by creating a humane scale apt for an engaged student community.

In relation to the location, the proposed new campus building connects with the existing pathways on the site and brings them in to promote integration between students and the building on a street level.

The volumetric boxes propose permeable spaces between the departments, and this helps generate visual connection between themselves as well as with the surrounding campus buildings and areas.

I attempted to turn the building itself into a public space, transparent and accessible, dynamic and vibrant, that ties in with the surrounding urban fabric and becomes part of the network of public spaces existing in the campus.

ADE 522

CARLY TOMKO

The Polytechnic campus is adjacent to Phoenix Mesa Gateway Airport and several schools for aviation and aerospace studies.

The inspiration for the exterior of the new student union derived from looking at the surrounding airplane hangars and finding a way to create one that was suitable to be the new campus hot-spot for students and faculty. The goal was to design a building that will breathe new life into the campus and attract prospective students to choose it as their main campus.

The central courtyard was designed with various planters and a green-wall to house date palms or other plant varieties for agricultural research and enjoyment for all other users.

481

ADE 522

ANSHULI VAIDYA

Academic Building in Arizona State University, Tempe Campus The new Academic Building is at the focal point of the Tempe Campus and acts as nexus for various locations on the campus. The set of design constraints ranged from site, program to the context. Materiality and the language for this structure needed to be in tune with the other buildings on campus.

The design parameters chosen for design were predominantly Passive design strategies which includes

Evaporative

cooling,

Orientation,

Vegetative cooling, and Courtyards for cross ventilation. Interesting view corridors like the Hayden library and Memorial Union zone on the East and Dixie Gammage and Music Building on the West, governed the axial orientation of the building.

Biophilic design principles were incorporated to ensure better learning and growth for the students.

ADE 522

05

ADVANCED ARCHITECTURAL STUDIO II PROFESSOR: Beau Dromiack

Students: Stephen Adrian, Venkat Bathina, Kasiani Beja, Carla Callejas, Hannah Chavez, Angela Coriell, Iryna Demianiuk, Long Do, Allison Edwards, Alexandra Flores, MacKenzie Krall

485

ADE 522

STEPHEN ADRIAN

Integrative and transformative spaces have been prominent topics of architecture for quite some time, however, it’s rare to see such spaces be holistically successful. Arboria Hall, the outstanding name chosen for this project proposal, is a multifunction educational building located right here on ASU’s Tempe Campus.

Replacing what is currently Wilson Hall, the goal of this comprehensive project was to design a space that incorporates programmatic elements of multifunction, office, instructional, and several other purposeful functions. From the moment you find yourself walking through the site, you are completely immersed in the experience that is Arboria Hall. From the dense Arboretum to the south of the building and the subtly yet unavoidable suggestion to interact with the landscape before entry, to the transformative spaces throughout each floor that provide unique learning and office experiences, Arboria Hall is the gateway to the reinvented development of the western portion of ASU’s Tempe campus.

ADE 522

VENKAT BATHINA

The main motive of design is to get people together.

The design process is done accordingly to maintain that transparency between a building and its surroundings. The permeability maintains the strong connection between the building and the pathways around the structure. The nodal points around the building are being encapsulated by the design and going along with the strong usage of pedestrian’s usage and curvilinear shape of the building helps more people to interact and increases the value of the design. Activating the nodal points around the site and continuing the design strategy along the pathway to make it alive by design is the motto behind my thought process.

487

ADE 522

KASIANI BEJA

A versatile void in an academic building provides an opportunity to turn an empty space into an optimal learning and working environment that is functional during any unforeseen circumstance. During a pandemic scenario, the use of outdoor voids allows students and staff to continue using campus facilities because they have alternative areas to work in where they can social distance. Classrooms are strategically placed next to large outdoor terraces with operable walls that bring airflow into the space for passive cooling and health considerations. During nonpandemic times, the natural sunlight and air in the voids and the use of plants encompassing these voids creates a space that is mentally stimulating to boost comfort, creativity, and learning. The Versatile Void provides ASU with an opportunity to turn nothing into anything that its students and employees need.

ADE 522

CARLA CALLEJAS

While the polytechnic campus is known for innovation in technology and engineering there is a lack of a centralized space or in other words a core. The core design proposal reflects the need on the polytechnic campus to engage and attract students by providing spaces where interaction can occur. The major goal of the project is to convey object, place and structure. The building itself start acting as the object and the attraction to draw in the students to the site. While in the site you discover a courtyard space which starts making up the place where any type of events can be held. The structure is exposed to express the existing architecture. The combination of these three goals starts creating a place that will help refine the future of the campus.

489

ADE 522

HANNAH CHAVEZ

‘Interchange’ transforms the existing 1955 Wilson Hall building into a mix-use building located on the Tempe Campus at Arizona State University. My mission for this project is to create a collaborative space that integrates all disciplines at Arizona State University with a flexible and sustainable approach.

The Interchange provides for the well-being of students, faculty, and the public with the reduction of energy through Terra Cotta louvers, spatial experience, light, vertical farming, and a flexible layout. Therefore, community engagement is an important factor within Interchange and can provide an increase in innovation, exposure, networking, and diverse collaborations. Given these points, the growing project of Interchange has been designed through the transformative building for a better community and learning system.

ADE 522

ANGELA CORIELL

Play at Poly is a 64,000 square-foot multipurpose addition to the Arizona State University Polytechnic Campus. Currently, the campus is isolated and students aren’t provided a place that they can engage with others outside of an educational setting.

It’s been shown in multiple studies and handfuls of testimonials that play is a crucial component to innovation and creativity and can actually increase productivity. The design aims to foster a sense of exploration and enjoyment by providing highly flexible spaces for students to escape stress and forge connections with their peers. This design also serves to encourage exciting corporate events and professional networking within a casual space. The design features angled clerestory beams, faceted geometry, large north-facing glazing systems, motorized projection walls, adaptable mezzanine spaces, and massive hydraulic aviation doors that open the architecture into a community piazza. Take a break and come play at Poly!

491

ADE 522

IRYNA DEMIANIUK

The proposed project – a new academic building on the Tempe Campus – is intended to explore and challenge permeable density of the built environment.

The purpose of the project is to create a Sponge Building – a porous mass with an internal skeleton that will let people and the environment go through and absorb functions to stay relevant and resilient.

After taking into consideration the context of the site, current trends in the transformation of education and workspaces, the initial program requirements were blended with the newly added functions to increase density on the site and attract new groups of users and visitors. The structure of the building and its envelope follow the idea of visual and physical permeability and pull students, faculty, businesses, researchers, and wanderers inside while inviting them to come together and collaborate.

ADE 522

LONG DO

A creative mind is a rested mind. The Retreat at the ASU Polytechnic Campus is an expansion of the student union and aims to bring balance to the busy lives of students, faculty, and the community by providing spaces to destress. The the project creates winding nature pathways that strongly contrast the existing desert landscape found around campus. Imagine tall pine trees and abundant shade that stitches together lounge spaces with other programmatic elements of the site. Since individuals may find respite differently, there are various public and private spaces for adventure, solitude, or group activity. The Hill Pavilion is a focal point of the project that provides activities like reflection, a colorful walking-over-water experience, gathering around a campfire, or simply cloud watching on a hilltop. These spaces intend to boost life on campus by encouraging people to stay when visiting a ballroom event, or making everyday life more relaxing to those immersed in classes, business meetings, and student organizations.

493

ADE 522

ALLISON EDWARDS

The expansion of ASU to the Polytechnic campus was an attempt to further make the city the school, but this did not come to full fruition. The Polytechnic campus is home to engineering innovation and exploration, but falls short in connectivity. INTERSPACE - the idea of the space between - prompted the form and program of the new student union proposal on the Polytechnic campus. Interspace utilizes VR technology to showcase new explorations and studies within the school. Connecting the learning pedagogy of ASU to the city. Circulating around the organic form is the typical functions of the student union enclosed in rectilinear forms. This allows all users to experience people experiencing the Interspace.

ADE 522

ALEXANDRA FLORES

This

project

addresses

the

figurative

“wall”

created on campus and the separation of people and buildings by discipline, as well as the issue of learning fatigue. It breaks the wall by providing a large amount of program and space for people from all over campus to come, being for everyone and not limiting it to a specific school. It is also full of light and outdoor space, and features plenty of places for people to rest and take a break including a cafe - to combat learning fatigue. People can come here and have interactions they may not have otherwise had, opening the door to new conversations, innovations, and discoveries.

495

ADE 522

MACKENZIE B KRALL

The HUB, a 40,000 sq.ft. innovation center is located in the heart of Arizona State University’s Tempe Campus. The goal of the space is to bring all four corners of campus together in an attempt to build a stronger community and push the boundaries on what students and alumni can achieve when they work together. ASU has been #1 in innovation for the past six years and to continue to be the best, the campus as a whole needs to become more innovative. The purpose of the space is to capture the attention of students, staff, and alumni and encourage connection, community, and the merging of great minds. By creating a stronger community, each member of the campus is welcome to The HUB, regardless of major or distinction, to learn, teach, inspire and ultimately innovate. The HUB’s unique and distinctive off-axis A-frame design is captivating, encouraging, and welcoming for all ASU community members to explore and capture the creative essence of the space.

6th Year

ADE 622

06

ADVANCED ARCHITECTURAL STUDIO IV PROFESSORS: Michael Rotondi & Max Underwood

Students: Matthew Anderson, LaDawn Bentley, Samuvel Bernadsha ThanaEdison, Tejaswita Bhardwaj, Rothi Bhattacharyya, Adrian Castro Martinez, Jacob Cluff, Andrea Fernando, Aishwarya Gnaneshwar, Mark HernandezSchilling, Brittany Hester, Tylor Kerpan, Inseon Lee, Douglas Lusson, Saber Lyman, Atziry Madera Sabido, Avinash Mangukiya, Nathan McNeilly, Quentin Miller, Spencer Mitchell, Cynthia Nyirinkwaya, William Okpi, Kruti Patel, Shasta Percival, Kendall Place, Travis Rosenlieb, Abdulrahman Shogair, Charlotte Taylor, Anna Utter, Shreyank Vadel, Yuandi Wang, Cody Yazzie

ADE 622

MATTHEW ANDERSON

Farming the Future I believe the main difference between farming now and one hundred years from now is a stronger relationship between farmer and the natural world.

This project seeks to find a way to define that relationship. The setting is the lower Verde River floodplain located within Cottonwood, Arizona.

Building on a rich history of farming and education, a research center is built on the historic footprint of my aunt and uncle’s ranch that overlooks the valley to the North and East. Research is conducted on a small-scale version of the farmland that is maintained at the center of the facility. As farmers, researchers and residents of the valley involve themselves in understanding better ways to farm, a culture of empathy will begin to develop. As all seek ways to benefit their neighbor, human and not, this pattern of care will grow, eventually spilling out of the valley itself, and on.

499

ADE 622

LADAWN BENTLEY

‘Farming of the Future’ is a landscape and urban planning approach that uses indigenous Lo-TEK philosophies to help restore the ecology of the Verde River Watershed in Cottonwood, Arizona in 2100. With the depletion of river water, the current paradigm of the watershed is in peril. Using the three pillars of sustainability, it connects the community to the land, provides public access to recreation, and restores the riparian ecosystem for future generations. Woven like pieces of a quilt, the regenerative biome of the riparian habitat area is intertwined into diverse social and natural habitats of tall meadows, wetlands, woodland thickets, mixed perennial meadows, and young woodlands shrubs with new walking and biking trails. Vacant lots within the farmlands also foster new areas for restoration.

Based on American Indian storytelling, it is a renewal of spirit, illustrates the sacredness of water, and is the unifying force for everyone: humans, animals, birds, insects, plants, and air.

ADE 622

SAMUVEL BERNADSHA THANAEDISON

O Man of virgin wind. You lust for ‘morrow you cannot see, Brought riches nigh, kept dearth afar.

And spelled death for all but me.

They say I am heartless. Untamed and benighted, My wide expanse. Too daunting to behold. But who they are and have become? Was once granted my wisdom. What is this shame, this indignity? For a Mother was ravaged by her kin!

Tell me, my Friend, can’t they see? My order is in simplicity. My complexity Is savage, and cowing.

But everyone is equally free. What they make is still a part. Cancerous but still apart. Can you not bring together? What can they and I do apart?

We can grow further. Then ever we have before. All as peasants and farmers. A world azure and gold.

Leave our crumbling cocoons. And emerge renewed and whole. The Arbiter, King, and peasant. Shall farm for evermore.

501

ADE 622

TEJASWITA BHARDWAJ

Water forest is in Cottonwood, Arizona and is surrounded by water bodies such as Verde river and a cottonwood ditch, used for irrigation purposes.

Biodiversity being the most important catalyst of the water forest and is supported by programs such as grazing ground for the existing animal sanctuary, seasonal crop maze and waffle garden with three sister crops. All these programs are supported by agroforestry to keep the soil healthy and create a microclimate that enhances water collection through moisture. An Eco-school that consists of interactive classrooms that investigate nature. Its tilted roof celebrates and collects rainwater as inspired by the hydrophobic surface of the lotus leaf. A bridge over the cottonwood ditch with a mesh like structure that collects water in the dry season, inspired by the hydrophilic surface of a desert beetle. Its first floor has a farmer’s market, and the second floor allows for forest bathing.

ADE 622

ROTHI BHATTACHARYYA

I believe in the incumbent nature of all living organisms and their need to live together. The very concept of a social norm has been born from raising human beings to a pedestal as a superior species, but we are at the end of the day a mammal with a place in the ecosystem; ephemeral and with a duty to live and support. This design explores the arteries of such a debatable but arguably utopian ecosystem where interdependence is among the animals, nature, and bacteria to farm and regrow any environment to its maximum potential through bacterial growth and repopulation of a riparian environment. This project further delves into the concept of farming and attempts to re-imagine it as a process of symbiosis rather than a typical process to be factually used the exact same way everywhere. This is an exploration into life.

503

ADE 622

ADRIAN CASTRO MARTINEZ

The proposal for the Future Farming Center is to solve the global issues, we might face in the future, and the plan is to create a sustainable farm center that will educate people on how to do sustainable farming and how to build a self-sustaining community. It will also meet the high demand of food in the future and produce a lot of crops through hydroculture farming.

Enough food will be distributed to the cottonwood area. The center will give people a healthy lifestyle opportunity by letting guests stay at the farm center for a few days to learn about sustainable farming.

It will also enrich the community through active learning programs, sustainable agricultural practices and historic appreciation.

ADE 622

JACOB CLUFF

In the face of ecological disaster, we need to find new ecocentric ways of living. Communities looking to make this shift can look to the ideas of Radical Localism, which values resiliency and local responsibility, as a way of creating an ecocentric society. Such a culture would fit well with Cottonwood, which faces its own unique ecological issues, because of its independent and decentralized character. The first step to creating an ecocentric radical localism would be to create shared farms on vacant lots near existing residences. Over time, lifestyles, culture and economies would grow up around these farms.

As they do, infill would be added incrementally to support this culture of sustainable living. As this shift to an ecocentric way of life continues, we can see a future where our built environment becomes denser and contracts, allowing more space to be given to the integration of the natural environment.

505

ADE 622

ANDREA FERNANDO

The proposal for the Future Farming Center is to solve the global issues, we might face in the future, and the plan is to create a sustainable farm center that will educate people on how to do sustainable farming and how to build a self-sustaining community. It will also meet the high demand of food in the future and produce a lot of crops through hydroculture farming.

Enough food will be distributed to the cottonwood area. The center will give people a healthy lifestyle opportunity by letting guests stay at the farm center for a few days to learn about sustainable farming.

It will also enrich the community through active learning programs, sustainable agricultural practices and historic appreciation.

ADE 622

AISHWARYA GNANESHWAR

Farming the future projects aims at effectively using methods and techniques efficient for future generation, by making recreational land uses compatible in a sustainable community. The project enhanced me to look into growing life through algae and volvox colonies. The possibilities of growing microalgae as renewable energy source becomes important .When algae are grown on buildings it transforms the static building into a living one, recycling its own waste water. The site located in Cottonwood, Arizona gives a history of agricultural uses and the soil helps in cultivating crops. The light weight structures of varied sizes produces algae based on the climate which is made of fabric exterior, a middle layer of wood and inner pipes.

Algae production provides shade as well as act as a light source, plays a role in rain water harvesting using storm water cistern supported on columns and Arizona is a place to cultivate them.

507

ADE 622

MARK HERNANDEZ-SCHILLING

4 Micro Farming Typologies The site for this project is in Cottonwood, Arizona.

This area is a farming community. What is being envisioned here, is bringing people back to nature through micro farming. Being able to rehabilitate empty land in between the micro farms, as well as open space on the one acre micro farms. Enabling people with the skills necessary to survive and live off the land. As well as being able to produce organic foods and raise organically feed livestock. The goal is to design multiple micro farms on a one acre lot that allow people to grow and raise livestock on a small scale. As well as utilizing Green Architecture, permaculture, Agroforestry, which all will play a vital role in the design of the micro farms.

ADE 622

BRITTANY HESTER

For this project I wanted to focus on the importance of our relationship with nature and how we can continue to improve how we interact with the environment. My concept is, create a symbiotic relationship between people and nature with the help of the built environment. To do this the idea of land ownership and parcels are dissolved creating a more natural environment. A hexagon was used to start the organization of the site and by connecting the points on the hexagon a flower like formation formed and shows us how everything is connected.

At the edge of each point a structure is placed with a specific purpose such as a farmer’s market, education center, and a bird watch. In between these flower pedals is where crops, flowers, and other plants are farmed. Centered on the site is where everything comes together to show how important a symbiotic relationship is.

509

ADE 622

TYLOR KERPAN

With the intention to challenge the current model of retirement living, an “aging in place” continuing care model with a holistic approach focusing on social, physical, an emotional well-being. A multigenerational network gathering and sharing resources,

knowledge,

and

most

importantly,

stories. Radical retirement. Burgeon. The concept begins with the individual and their dwellings. The housing typologies are designed to increase natural interaction with the community through shared areas and paths or the “mews”. As these units are prefabricated modular unit, it allows for variations through the addition or subtraction of modular bedrooms. The site is an extension of Cottonwood, rather than a destination unable to respond to its community. Cottonwood trees start to inform the use of space as well as social interactions within the site to develop community. The site is comprised of these housing units, a school, research facilities, and yes of course, farming.

ADE 622

INSEON LEE

In North America, agriculture and deforestation accounts for maximum desertification. Damaged soil releases water and carbon dioxide in the air causing climate change and increase in temperature account for up to 50% reduction in runoff from the Verde River system. Biodiversity and agroforestry can create healthy soil, absorbing carbon dioxide, releasing water vapor into the air, creating microclimate and bringing water to mitigate climate change. Expanding from the existing forest to the near vacant, Water Forest adaptively reuses the building’s existing structure to create the Eco School, an interactive ecological learning space for children, and the Bridge Farmer’s Market that bridges over the cottonwood ditch. The building is designed to celebrate water; it’s tilted roof allows for water to fall in the middle to be collected to give back to nature and spread behavior awareness of the importance of our Nature and water.

511

ADE 622

DOUGLAS LUSSON

“Small Farm as a Change Agent” provides a new narrative that small farms are something worth caring about. It provides a sustainable program that is environmentally sound in regenerating nature, socially responsible in combatting environmental inequalities and economically viable in focusing on the cultivation of people as one of its most valuable crops. It’s an affinity space for those interested in growing natural medicines, advancing technology in agriculture and organizing small farms through coops so they have the knowledge, capital and resources to compete. Farmers share their gift of knowledge and the biophilic benefits of nature, and people provide their financial support to farms so they can thrive. In the end, it’s the use of architecture to keep small farmers on their land to provide for the long-term stewardship of agricultural soils in an industry facing the challenges of climate change.

ADE 622

SABER LYMAN

Our story is of human history and the connections we had, have and will have; with each other, with Nature and with water. These connections have slowly disappeared just like most of riparian habitats in Arizona. The Verde river will see a 25% decrease in the amount of water flowing through it within the next 100 years. Yet Cottonwood and local farmers are trying to save it, through community events and outreach programs. The architecture we design is to help create spaces that can help them educate and reconnect with those lost connections. Bringing them back to each other and with Nature. Incorporating different regenerative practices such as Agroforestry to help revitalize the soil and riparian habitat while providing an income source for the community.

513

ADE 622

ATZIRY MADERA SABIDO

Nature has always been a place of peace and perseverance, and reward. The act of working the ground, planting, growing, and raising is a way to cultivate the mind. The proposal of On Farm is a restorative as reconnection with nature, the wellbeing of present and a catalyst form of change for future generations. The goal is to create a place of equilibrium and diversity that enhance each other, inviting visitors and the community.

Offering a friendly and engaging space that offers multifunctionality and a flexibility to promote healthy lifestyles, partnership with the land and allows to observe and open the mind to how ecosystems work, while ensuring that efficient daily work is performed the community garden and glamping area give the opportunity to engage in the farming activities and the activities that the site provides. A place not only to restore Nature, but restore yourself.

ADE 622

AVINASH MANGUKIYA

The idea is to develop new ways of farming in which a variety of technologies can be used to make farming more sustainable and efficient. The future of technology will investigate and monitor the characteristics of the environment. However, the application and implementation of this data and Technologies with the current system is a challenge, hence the proposal of a new network of a nanobots grid system can be a part of the solution. This Network of Nanobots acts like an organism that channels through the ground, hence terraforming it.

Farmer’s Hub has processed this information relayed by the technology all over the valley and processes it and simplifies for the community to better understand the approach to the farming and adaptation of technologies with experimental AI farms, nanobots and autonomous robots. This hub connects digitally with people all over the world where the crowd can experience upcoming technology and evolution within the Cottonwood Watershed

515

ADE 622

NATHAN MCNEILLY

Currently, we are far removed from the selfdestructive cycle of the production, consumption and waste of our food and other goods. As global populations continue to rise this problem will only compound itself. The future of farming must address this disconnection and attempt to reintegrate these processes into the communities we reside in. This project does this using contextually specific experimental agriculture zones to guide a place-based childhood education program. The architecture is modular and flexible in nature allowing for use and program to shift over time, giving the community the ability to easily grow their facilities as they see fit. A regenerative zone utilizes a previously contaminated site for a recycling/upcycling center.

This facility acts as a materials library for the town, providing essential building materials to allow for various flexible pavilions to be constructed and expanded across the valley to support the various education and agricultural programs.

ADE 622

QUENTIN MILLER

Situated in the Verde Valley, nestled up against the Verde river in Cottonwood Arizona, the Verde House sits partly on a farm and partly on the Verde river riparian watershed. My mission for this project is to advance farming techniques through Ai robotics and technology. This technology will assure future generations of the Cottonwood area of food securities who are facing extreme and unpredictable climate change. My vision for the future is to see the Cottonwood area with an abundance of food, and a restored riparian watershed of the Verde River. To accomplish this task, the projects design is built off of the concept of sustainable intensification through Ai farming and vertical farming. The project is designed to be an educational center for farming, a museum of native cultures and their farming techniques, as well as innovative design that will push the boundaries of future farming techniques and technology.

517

ADE 622

SPENCER MITCHELL

This project creates a new kind of neighborhood and way of awareness by: 1.

Making room to be aware of the life that is around us and where it comes from

2.

Rethinking our homes and involve farming

3.

Creating a community of blue skies.

The first way room has been made is by remove most of the vehicular traffic from the neighborhood. The second way room has been made is by blurring the boundary of outside and inside. We now have a new kind of space for different kinds of farming and living. People will see that food does not come from the store but from the earth. Homes have been moved closer together and raised, placing the personal, private lives of people above, allowing one to feel and experience the blue skies. You we get a community of people who realize that they are not alone.

ADE 622

CYNTHIA NYIRINKWAYA

The Future Farming center is a high-yielding, selfsustaining farm that provides healthy food and adequate education on sustainable farming to the Cottonwood community. To solve the global issues, we might face in the future, our plan is to create a sustainable farm center that will educate people on how to do sustainable farming and how to build a self-sustaining community. It will also meet the high demand of food in the future and produce a lot of crops through hydroculture farming. Enough food will be distributed to the cottonwood area. The center will give people a healthy lifestyle opportunity by letting guests stay at the farm center for a few days to learn about sustainable farming. It will also enrich the community through active learning programs, sustainable agricultural practices and historic appreciation.

519

ADE 622

WILLIAM OKPI

In regard to climate change, rapid urbanization and increasing population density, my approach to designing the farm of the future is to create a farm or a farming community that is resilient. My research into this topic led me to explore the concept and practicality of Vertical Indoor Farming. Unlike traditional farming practices, this method of farming uses much less water, occupies less space, yields more produce and is independent of the outside environment. With these positive attributes, I felt that it is important to give vertical indoor farming a serious consideration as one of the farming methods of the future. Since this method of farming does not require soil, I experimented with lifting the farm several feet above ground as this will free up the land for other purposes like creating more space to raise farm animals or create spaces for social activities.

ADE 622

KRUTI PATEL

The goal is to provide the experience of understanding the comprehensive evolution and importance of any species working together to maintain the balance of the ecology and ultimately those species play a major role in future farming. Through using Organisms made from bacteria, showing the experience that we are holding something small and now that small something is holding us, designed by nature. We are forcing species to be connected to other species and establish new relationships into nature. Our project gave us a different perspective on life, introducing a whole new world of possibility around how we can design and make things. Instead of processing brick, concrete steel to make Organisms and give demonstrations about farming, we will show the strength of living organisms using bacteria, algae, fungi, and yeast to make the Organism and the entire Organism will be the opportunity of learning, experiencing and celebrating Nature.

521

ADE 622

SHASTA PERCIVAL

Farming in the year 2100 is circular. We must reconnect

our

agricultural

and

architectural

processes alike with returned knowledge of production, consumption, and waste. This project envisions the Verde River Valley as the home of a new type of place-based education system focused on sustainable farming methods of the future. Our specific expertise as architects joins that narrative by focusing on the socio-ecological mods and hacks which facilitate the ways in which this future community thrives. At the center of the concept is the recycling center, where materials throughout the community are given second life. The public plays a role in upcycling old farming materials into architectural building components for use by the community. Planes of recycled materials form the architectural expansions and farming pavilions throughout Cottonwood. This project acts as a laboratory for climate-responsive communities and as a bridge between rural + urban agriculture.

ADE 622

KENDALL PLACE

“No matter how old we are or what challenges we live with, life is about continuing to grow.”

This unique multi-generational farming community is being designed for year 2100. The goal is to create a self-sustaining farming community within the Verde River Watershed comprising varying levels of care, research, and experience. Burgeon challenges the current model of retirement living.

It is an aging in place continuing care model with a holistic approach focusing on social, physical, and emotional well-being. A multi-generational network gathering and sharing resources, knowledge, and most importantly, stories. Farming and gardening facilitate a reconnection with the outdoors and is used for therapy as well as other Nature-based wellness approaches such as ecotherapy. This makes farming a large part of the residents’ everyday life, ensconcing them within the larger ecosystem of their community while also increasing the quality of their day-to-day life – A new life in the Verde Valley.

523

ADE 622

TRAVIS ROSENLIEB

In 2100 the Verde River Valley is a tipping point in the future of farming. At the center of that future are Cottonwood’s youth and elders. We envision one possible future which sits at the intersection between innovative agriculture, civic engagement, and global education. Our project imagines the architectural contributions at key sites throughout the valley which support a day in the life of the people thriving in that future. We focus in particular on those instances where architecture sustains and amplifies a place-based education program for local youth. We see this form of education as vital to fostering intergenerational dialogue and vibrant community spirit. The integration of multiple farming methodologies and the incorporation of student exchange programs allows our project to act both as a laboratory for the climate-responsive communities of the future and as an ideological bridge between the rural + urban worlds.

ADE 622

ABDULRAHMAN SHOGAIR

To solve the global issues we might face in the future, our plan is to create a sustainable farm center that will educate people on how to do sustainable farming and how to build a self-sustaining community. It will also meet the high demand of food in the future and produce a lot of crops through hydroculture farming.

Enough food will be distributed to the Cottonwood area. The center will give people a healthy lifestyle opportunity by letting guests stay at the farm center for a few days to learn about sustainable farming.

It will also enrich the community through active learning programs, sustainable agricultural practices and historic appreciation. Finally, we are planting awareness and principles not just crops.

525

ADE 622

CHARLOTTE TAYLOR

The Cottonwood Retreat is placed about 100 years in the future where personal development and hobbies have become an important part of our culture. Our society, currently, has glorified the workaholic mindset and is facing the repercussions of such a work ethic. In the next 100 years, individuals have overcome this mentality through better management of work-life balance and putting more focus on personal development. A way this has been done is by pursuing interests outside of a career and developing fulfilling hobbies. The Retreat sets the individual up for success whether they are looking to start a new hobby or develop a current one. All guests are encouraged to spend time during their stay in any of the fields, orchards, gardens, or parks.

Whether it is actively participating in their care or spending time wandering through them.

ADE 622

ANNA UTTER

The intention of Burgeon is to challenge the current model of retirement living. Burgeon allows farming and gardening to facilitate a reconnection with the outdoors that is used for therapy as well as other nature-based wellness approaches, ensconcing them within the larger ecosystem of their community while also increasing the quality of their day-to-day life.

An Aging in Place Continuing Care model with a holistic approach focusing on social, physical, and emotional well-being. Our vision for farming of the future is a multi-generational network gathering and sharing resources, knowledge, and most importantly, stories. Burgeon is a self-sustaining farming community within the Verde River Watershed comprised varying levels of holistic care, research facilities designed to improve the quality of life, and a community based in nurturing one another. Burgeon strategically combines these concepts to create both a social and environmental ecosystem of care and new life in the Verde Valley.

527

ADE 622

SHREYANK VADEL

Adapting Technology and working together The Future of Farming Moving Forward with agriculture technology, Understanding is important.

As Agriculture evolves, Farmers need to be aware of and understand the technology to manage and make decisions with the best information available. Farmers need to embrace the opportunities that fit their operations. The development of new technologies as well as its adaptation and implementation are going to be keys to the future success for all those involved in the industry.

“The Question is not if a farmer is going to Adopt the Technology, but how and when they are going to Adopt the Technology”.

ADE 622

YUANDI WANG

Beginning with our Farming the Future board game, our group followed the idea of letting Nature take over the development of the farm and ultimately restore it. We have surprise weather event cards that played a big role in deciding the points each player earned and lost. When we moved to the Farming the Future project, we researched and found the benefit of using agroforestry, which matched with our initial idea to bring back the natural environment to the local farms and living environment for animals, farmers and local plants. The architectural idea we provide, maximizes the effect of bringing back Nature, blending the boundaries of indoor and outdoor, continuing the agroforestry forest on the east side of the site and focus on the natural materials and the idea of an open space to create an abstract and sustainable environment and building.

529

ADE 622

CODY YAZZIE

Farming the Future Sharing and extending tribal agriculture wisdom.

Before colonization, Indigenous people were hunters, gatherers and farmers. Although many Indigenous tribes were from all over North America, they had many skills and experiences with the land and one of their surviving skills was farming. Look back on how Indigenous people used to farm is totally different from what it looks like in today’s society.

In my project, I designed two separate structure, one for living space and the other one is for the gathering space. Both structures are curved into a circle with a circular roof. The rooms for the farmers have different views, looking out at nature and the space between the rooms is an outdoor open spaced that is surrounded by the natural environment. The gathering space is an outdoor public space where the farmers come together to spend time cooking and eating together as a family.

Independent Study

531

ADE 622

RIELLY SMITH

This project is an exploration of my interests in adaptive reuse at the urban scale. My research started with a broad study of reuse architecture from around the world to better understand this phenomenon. From these lessons learned, I set out to find where this trend might be emerging in my home state of Arizona. The clues lead me to Phoenix in the historic neighborhood of Eastlake Park. Here, there are rich layers of history, from the produce industry to civil rights to neon motels. What this project aims to demonstrate is how adaptive reuse can reactivate spaces in this diverse neighborhood. Through shade and light, activities driven by the community will follow. Several design actions of adding, connecting, bridging, aggregating, and sheltering reconnect the neighborhood to its heritage. The five interventions facilitate reuse and public amenities while giving opportunity and identity back to the community.

THOMAS HARTMAN

ADE 622

SHRISTI OJHA

A city is defined by people and their various activities.

There is often a lack of interaction in road centric developments and results in dull urban spaces.

Phoenix is an example of a road centric development that struggles to achieve a vibrant public realm.

The project is focused on activating the public realm with provisional urbanism in order to create a permanent future that prioritizes people over cars. It intends to provide interactive spaces for the communities of the future by enhancing pedestrian access and prompting movement and activity to stimulate retail in street level. The project identifies 1st street of downtown Phoenix from Washington street in the South to Roosevelt street in the North to be developed as a retail corridor that will accommodate different levels of street retail. It is also the corridor that accommodates various events year-round.

PHILIP HORTON

533

ADE 622

SLADE SHAEFFER

PHX Bike Gardens is a drastic ‘bikeatecture’ proposal to encourage and catalyze urban cycling in the Phoenix Metro. Deployed along with a simple kit-ofparts infrastructural system, the project addresses the fragmented nature of multi-use paths along Phoenician canals. Of several identified sites of canal path discontinuities, the intersection of Camelback Road & the Arizona Canal was chosen for a more developed intervention. Beyond simply replacing the site’s existing billboard and linking the canal paths, the structure creates a public space defined by a series of hanging, concentric ramps that slowly guide users to a viewing platform. Overhead canopies funnel wind downward past vegetated racks and into a sculptural concrete bowl that retains the cooled air, creating a shaded microclimate. The bowl also serves as an acoustic wall and public amphitheater that can host movies and concerts. Ultimately, the project serves less as infrastructure and more as an

PHILIP HORTON / O. VALLERAND

invitation for life on two wheels.

ADE 622

COLE O’BRIEN

My independent project occupies nine locations along the 800-mile-long Arizona Trail. Inspired by the ruins of nearby abandoned mines, my research examines the effects art and structure have on spatial experience and relationship with natural landscapes.

Historically, movements such as Romanticism and ‘Parkitecture’ have suggested a landscape that is impossibly invulnerable to human destruction. The reality of Arizona’s landscapes, however, is a vast patchwork of scars caused by ranching, resource extraction and human-caused climate change.

Instead of acknowledging this destruction, today’s Arizona Trail purposefully masks or outright avoids it. Despite this blindness, the trail today is on the verge of critical water, energy and shadeproviding infrastructure necessary to support future life on the trail. My independent project explores how this inevitable infrastructure might exist as an architectural form of storytelling to reveal the

FELIPE MESA

narratives of human impact on Arizona’s landscape.

535

ADE 622

UDIT SHAH

How to humanize the living conditions on the International Space Station: A game for creativity and learning.

Humans have inhabited space since the 1960s, onboard multiple space stations. However, their living environment only assessed the minimal requirements for survival. This project replaces the current model known as the “spam in a can” with a “quality of life” model that provides requirements not just to survive but thrive.

From the structured interview of astronaut Cady Coleman, issues of disorientation through human posture and psychological anguish are understood.

To address these stressors, a clear set of principles of designing are developed into a game under the guidance of Dr. Lance Gharavi of the Interplanetary Initiative.

This game provides solutions for disorientation by defining the human posture, and options for

ELENA ROCCHI

personalization that humanizes the volume.

ADE 622

ALISA HERNANDEZ

Centerpoint 204: A Frontier of Flux, studies the dialogue between the point and the line in relation to the fluxual unfolding of the daily users. Located in the binational region of San Luis, AZ, USA, and San Luis Rio Colorado, Sonora, MX, the point, Monument 204, or Centerpoint 204, served as a point of origin for the initial unfolding of the city. The line, or the borderline, represents a presence of interruption to the once binational flux between the San Luis region. The interruption stretches beyond international political matters into the physical, environmental, and overall divided ambiance. This thesis aims to study and further question the spatial perception of a borderlander in relation to the line and how this transcends beyond the architectural limitations of the border---line. I’d like to express my deepest gratitude to my amazing thesis mentor, Elena Rocchi, co-chair, Francisco LaraValencia, and my dearest uncle, head of security and pedestrian safety in the City of San Luis Rio Colorado,

ELENA ROCCHI

Sonora, Miguel Eduardo Llamas Valtierra.

537

ADE 622

RACHEL FRAIL

In response to stagnant wages and the increasingly high cost of living, many individuals have started to think creatively about living on the road. This is happening all over the world, fueled by a shift of values and social change, which are emergent, self-correcting, self-regulating, and empowered by instant communications and internet connectivity.

CONOMAD proposes a series of community structures designed to address the needs of the nomadic community – specifically two nomadic vehicle dwelling individuals: Katie Carney and Novel Kulture. The project explores architectural solutions, programmatic solutions, and technologybased solutions to address these users needs and connect the existing community of vehicle dwellers.

Throughout the process of studying the vehicledwelling nomad, the project revealed that sometimes the solution to a design problem is not a building at all. But instead, a new architecture founded on co-

MAX UNDERWOOD & O. VALLERAND

creation, temporality, and inclusion.

ADE 622

BRYAN ESPARZA

Building Bonds | Aesthetics of Empathy Within this body of work, aesthetics is regarded as an expressive form of communication between objects and empathy as the degree of affinity for one object to “listen” to and “embody” another object. Object is anything that cannot be reduced to what it is or what it does, metaphor is the operative that enables the coupling of two objects into a new compound object, and vicarious causation is the accumulation of the retroactive effects each object has left in or gained from the other. Therefore, at its core this is an investigation into the mechanisms of the powerful connections that allow people to experience their environment in a deeply meaningful way and how to build those spaces through the concept of an aesthetics of empathy. So far, numerous resources suspect me to believe these investigations could be fruitful in practice towards an ethno-inclusive

CLAUDIO VEKSTEIN

architecture.

539

ADE 622

CHI-LUN LEE

Boundaries, Transitions at Convalescent Space The boundary between life and death, metaphorically, is a curtain that prevents humans from seeing through, provoking people’s curiosity to discover the reality on the other side. The hazy transition between life and death is the only blurred image we can see; it has also influenced myth, religion, philosophy, literature, and civilization, as well as great human works of art, music, and architecture.

This project aims to study on what the architectural boundaries and transitional spaces’ physical and psychological effects on humans’ convalescence or assisted living processes. The purpose of the project is to design a prototype of convalescent space or institution for elder people to live with dignity in their final years by researching Josef Albers’ paintings, Homage to Square, and Luis Barragan’s architectural work, particularly his house in which

CLAUDIO VEKSTEIN

he went through his final journey of life.

ADE 622

PRATIMA TATIKONDA

Stimulus of Social Justice

CLAUDIO VEKSTEIN

Social Injustices being an unconcealed part of society, have worsened the spatial and structural inequalities that marginalize access to shared communal resources. To address persistent societal concerns, art as a form of expression in social and political contexts is crucial to bridge the gap between the past and the future. With the inclusion of radical arts in built environments, social change can be mobilized by impacting user cognition. The project is located in Cuernavaca, adjacent to La Tallera, former house studio of the avantgarde muralist David Alfaro Siqueiros. The proposal revisions public space as a built environment that can connect, inform and provide a shared space for dialogue and advocacy. The aim is to conceptualize and configure a contemporary civic space with the muralist’s take on the evolution of progressive humane futurities. By addressing disparities through equitable supportive environments, there is hope for meaningful transformation within the society.

541

ADE 622

SRINIDHI KRISHNAN

Informal Settlements of Xochimilco

CLAUDIO VEKSTEIN

The scope of this project is limited to the study of informal sector development in the Alcaldia of Xochimilco, Mexico City. Xochimilco is an ecologically sensitive area with unique biodiversity, extensive lakes, artificial islands or Chinampas, and canal systems. Due to unsustainable forms of informal development on ecologically reserved lands, pollution and exploitation of water sources, there is a major threat to the biodiversity, Chinampas and the lake systems. Preservation of this unique biodiversity might require a change in the current forms of urban development, to become sensitive to the local conditions and promote a symbiotic relationship between community and nature. This project seeks to address the challenges faced by informal communities, while involving them in the preservation of the sensitive ecosystem of Xochimilco. It aims to create a model for sustainable, equitable, livable communities which enhance the ecology of Xochimilco in the Chinampa zone.

ADE 622

ORIANA GIL PEREZ

I am forever thankful for the unconditional support my mentor Milagros Zingoni has given me throught out my education. This thesis work is the result of my passion, the collaboration between people of The University of Oriente UDO in Venezuela, ASU, Univeristy of Tennesse, community of Volcadero and the American embasy in Venezuela that granted this design and build project in Guanta, Venezuela.

Architectural education prioritizes the rewards and recognition of architects, rather than of serving as a catalyst for social change. I believe architecture and design have the power to create significant community-led change in underdeveloped countries.

This study addresses the discrepancy between what an architect thinks the user needs and what the user really needs. Build agency through design. The use of community participation leverages design education to empower independent design thinkers and makers and creates a symbiotic relationship between the

MILAGROS ZINGONI

designers and the members of the community.

Design Excellence Award Winners

Spring 2021 Design Fundamentals II Claudio Vekstein Karìn Santiago Sarah Yehia Jacob Gulinson Tazmine Khatri Brad Lang Natalie Severy

Daniil Hristiuc Ashley Ontiveros Madriz Kevin Taylor Jessica Calabrese Adrianne Barajas Avery Moric Christian Perez

Architectural Studio II Darren Petrucci Amit Upadhye Natalie Frangos Elizabeth McLean Jason Boyer

Jingyi Gui Ananth Udupa Kirsten Schwantes Jeremy Arena Hailee Rother

Architectural Studio IV Kiel Moe Catherine Spellman & Felipe Mesa Krista Shepherd & Aaron Herring Harvey Bryan Scott Murff (Barrett Honors)

Olivia McKay, Sutton O’Neil, Brook Burdge & Angel Calder 2021 Orange Build Studio Xintong He Brett Corell Jordan Marshall

Core Architectural Studio II Katherine Dudzik-Smith Michael Underhill

Christy Nilan Jared Pratt

Advanced Architectural Studio II Thomas Hartman Marlene Imirzian John Douglas Beau Dromiack

Abdulaziz Alghamdi Edgar Duran Rongting Jin Iryna Demianiuk

Advanced Architectural Studio IV Max Underwood Michael Rotondi Catherine Spellman & Felipe Mesa Krista Shepherd & Aaron Herring Harvey Bryan Elena Rocchi (Independent Project)

Tylor Kerpan, Kendall Place & Anna Utter Tejaswita Bhardwaj & Inseon Lee 2021 Orange Build Studio Anood Mantsch Aakarsh Kuppanda Udit Shah

Philip M Horton Interim Director, The Design School

Scott Murff Tazmine Khatri Tom Hartman

Marc J Neveu Architecture Program Head

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

Credits

Graphic Design Pascale Vonier Faculty T. Agami Reddy Amit Upadhye Beau Dromiak Brad Lang Claudio Vekstein Catherine Spellman Darren Petrucci Dongwoo Yeom Elena Rocchi Elizabeth Brack Elizabeth McLean Felipe Mesa Jack DeBartolo III Jacob Gulinson Jason Boyer John Douglas Harvey Bryan Karìn Santiago Katherine Dudzik-Smith Kiel Moe Marc J Neveu Mark Ryan Marlene Imirzian Marlin Addison Max Underwood Michael Underhill Muthu Ramalingan Naomi Frangos Natalie Severy Paul Zygas Renata Hejduk Sara Yehia

Advising Anna West Matthew Ransom Christy Brown Corie Cisco This publication was made possible by the support of the Architecture Partners Program.

180 Degrees ARCHSOL Construction Zone David Brotman DLR Group Exyte Gould Evans Holly Street Studio Jason Boyer John Carter LGE Design Build PHX Architecture Todd & Associates