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ADD 9 Architecture + Design + Discourse

California Polytechnic State University, San Luis Obispo 2009








Copyright Š 2009 by AeD Press/Architecture Department, College of Architecture and Environmental Design, California Polytechnic State University, San Luis Obispo. All rights reserved. Printed in the United States of America. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned. And no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise arising from the contents of this publication. For information regarding permission(s) write to: California Polytechnic State University College of Architecture and Environmental Design Architecture Department 1 Grand Avenue San Luis Obispo, CA 93407 ISBN 978-0-9819771-0-2 Printed and bound by LuLu, Inc. This book was first published in the United States of America and printed by LuLu, Inc. Copies of this book are available for sale at Cover Design: Danny Thai Student Editors: Sarah Dapper, Tucker Huey Student Designers: Olga Apolinarska, Edward Becker, Elyse Benson, Kevin Bussett, Bianca Clayton, Tracey Coffin, Lauren Lee, Bonnie Miller, Justin Reinhart Faculty Advisors: Tom di Santo, Karen Lange, Eric Nulman

ADD 9 ADD 9 Architecture + Design + Discourse

Architecture + Design + Discourse

California Polytechnic State University, San Luis Obispo 2009 California Polytechnic State University, San Luis Obispo 2009































5 4 3 2 I

6 7 8-9


10-11 34-35 56-57 84-85 108-109





































10-33 34-55 56-83 84-107 108-133





Architecture + Design + Discourse (ADD_9) in the second iteration by faculty and students to document the work produced at the Architecture Department, College of Architecture and Environmental Design (CAED), Cal Poly, San Luis Obispo. Mentored by faculty members of the Publication Committee, a new cohort of students took on the responsibilities to continue this emerging tradition. Through this publication they feature projects that contribute to the current architectural discourse of what constitutes Architecture in an ever-changing world. ADD_9 is also the pretext to announce the department’s creation of Architecture and Environmental Design Press (AeD Press); a forum that exemplifies an architectural education based on the identity of the Ecole Polytechnique. Finally, the Architecture Department is celebrating its 45th anniversary, and the combination of all three events is significant enough for us to want to share our enthusiasm with the public. We are confident that the content of this publication demonstrates our commitment to the art of architecture and we invite the reader to join us in celebrating the achievements of our students. Beyond this year’s thematic organization based on the scale of projects, ADD_9 presents the department’s approach to architecture education; one that finds its locus between art and science, poetry and a culture of construction, and design and project. While these dialectics are inherently polytechnic in their tradition, the conceptual pairing of design and project is in academia often a source of perennial debate. Architects do not design, they project; and yet they cannot project without the tools of design. Design is rooted in the Italian word designare –to draw, a process of hand, eye and mind coordination that remains at the center of our discipline. This practice is engrained in our daily gestures and constitutes a mode of production that has enabled architects to envision works of art. For over a decade, a radical shift from analog to digital modes of representation has ushered new systems of notations into the design process, and students have wholeheartedly embraced them from representational techniques to digital fabrication. As a result, the digital approach of designare has heightened the sensory and visual experience of architecture; yet, at the same time, has developed too often into a celebration of form making that has little to do with fundamental ideas of an architectural project. This approach suggests that more ‘complicated’ and less complex geometrical design ideas and three-dimensional digital models are now the status quo of many architectural schools and our department is not immune to this trend.

Projects are didactic opportunities for the study and experimentation of concepts but, above all, the notion of an architectural project points towards an ability to project a model of life, structure those ideas into space, and give them appropriate form. Historically, within the cultural and social aspirations of our discipline, the architectural project has been defined as an interface between program, function, and the value of usage. Faculty teaching in the design studio sequence – almost every faculty member within the Department – understands that the practice of ‘making’ a project remains for students a daunting proposition. Question such as: How does one motivate students to set in place an architectural argument, articulate a position, explore concepts and test ideas in an informed way, are critical to both the teaching objectives and students’ learning outcomes. To negotiate these seemingly conflicting sets of constraints is key to the department’s pedagogical philosophy, and the students’ work presented in this publication is evidence of their abilities to test and successfully push these boundaries within the freedom entrusted by their faculty. ADD_9’s thematic approach charts the department’s interest in finding a balance between design and project, and in its ongoing re-assessment of the above questions, each of the presented student projects reflects personal and team engagement in contributing to this debate. I wish to also note that the Publication Committee’s strategy to insert faculty discussion as a prelude to the students’ work bears much resonance in understanding the selection of the students’ work. I wish to thank wholeheartedly the entire Publication Committee for their tireless effort in crafting such a fine publication. To the students, who are the purpose of our interest in serving in academia, I applaud their talent, perseverance, and vision to project an architecture of our times. To my faculty colleagues, accept my admiration for your sensitivity and ability to nurture the next generation of thoughtful architects. Finally, to all readers, I invite you to enter at any point into this publication, enjoy its content, and I ask you to be mindful that Architecture in its fullest sense gains its letters of credentials by being both memory and communication.

Henri T. de Hahn Architecture Department Head




ADD: Architecture + Design + Discourse is an annual publication documenting the work and happenings of the Cal Poly Architecture Department, first issued as ADD_8 in 2008. ADD aims to be a unique type of academic publication. Conceived as a heuristic device to better understand our own work and how the work relates to the discipline of architecture, the book attempts to frame a conversation about the work products and flush out opportunities to explore further or to reconsider current design approaches. Additionally, the book offers a glimpse into our geographically isolated Department for professionals, academics, and potential students. Although we recognize the inherent limitations of the book, we hope that it will promote refection and critical discussion within the Department and spark a discourse amongst the academic community. While the last issue framed the external influences on the student work – Vellum Furniture Competition, Solar Decathlon, Poly Canyon, study abroad programs, student life, studio field trips, faculty writings – and the various architectural “styles” produced within the Department, ADD_9 is all about Product and the influence of project “size” on the depth of the student’s architectural investigations. This book is not a comprehensive study or a yearbook but rather a reflection on a small subset of student work amongst the 2000 projects produced each year from 850 undergraduate students during a three quarter academic year and within a five-year professional degree program. The 100 projects included in this issue were self-submitted by students in response to a department-wide call for projects.

We would like to thank, first and foremost, Henri de Hahn for encouraging a critical discourse within the department and providing new opportunities for students to present their projects in the public realm. Also, the faculty who participated in the roundtable discussions, including Mark Cabrinha, Don Choi, James Doerfler, Gary Dwyer, Tom Fowler, Doug Jackson, Chandrika Jaggia, John Lange, Michael Lucas, Kent MacDonald, Margot McDonald, Marc Neveu, Troy Peters, Stephen Phillips, Sandy Stannard, Howard Weisenthal, and Barry Williams. Alumunus Danny Thai for his cover design. The students who produced the book, including Olga Apolinarska, Ed Becker, Elyse Benson, Kevin Busset, Bianca Clayton, Tracey Coffin, Sarah Dapper, Tucker Huey, Lauren Lee, Bonnie Miller, and Justin Reinhart. The students whose projects are included. And lastly, thank you to the anonymous donor who contributed generously to the publication.

In reviewing the submitted work we recognized that within each student year level there was a broad range of project sizes and that the project size rather than year level appeared to determine the type and depth of the architectural investigations. The broad range and rich mixture of student work is a reflection of the design faculty’s multi-valent interests – a desired quality within the Department – and the relaxed approach to inter-studio coordination. The work was subsequently organized by size of project – largest to smallest - with the categories X-Large, Large, Medium, Small, X-Small. After dividing the projects into five size categories, we began examining the work with the design faculty members through a series of roundtable discussions in hopes of discovering singularities, commonalities, design approaches, or particular qualities found within each size category. Excerpts of these conversations serve as an introduction to each subset of projects to frame the work’s contribution in broader terms and to instigate further discourse


In the Architecture Department



students; making CAED the smallest college at Cal Poly


The Cal Poly Architecture program is ranked




of students graduate within six years

in the nation in 2009 by DesignIntelligence

in tuition amongst other architecture programs in the nation at $5,043

architects nationwide graduated from Cal Poly

Amount of faculty who are registered architects


In California,


architects graduated from Cal Poly

Miles to Papa, Papua New Guinea:





8.7::4.2 Out of State Bay Area


6.4::21.8 San Joaquin Valley

9.8::16 Central Coast


Other CA Counties


San Luis Obispo

Cal Poly

Los Angeles

20::25.3 San Diego



Architecture Department




MC: To begin, I don’t think scale means size. I see ‘large scale’ in terms of the ability to work across multiple scales, of embodying an urban vision while considering the human dimension. SP: I think these projects exhibit a fascination with technology and an optimism about what technology can do for a city. Rachel’s project displays a belief in technology as an emblem of power to counteract the natural environment (earthquakes). Sustainability is an afterthought—you have to question the sustainability of a project that uses so much concrete and glass on an enormous scale. Katsu’s project displays an enormous interest in technological prowess, where the building takes over the entire city and moves through the streets. MC: Katsu’s housing and the sponge both approach architecture as a growth or catalyst that addresses the area surrounding the site. Rachel’s project is a refuge from the city.

Mark Cabrinha is an Assistant Professor and teaches third year design and digital fabrication.

James Doerfler is an Associate Professor and teaches third year practice and design.

TP: Rachel’s tower gets visually broken up into smaller pieces, while Bonnie’s housing (4.08) doesn’t have as grand a gesture and Ryan’s housing tower is more an aggregate of the units and doesn’t integrate the large and small scale. MC: Sean’s project raises the issue of appropriateness. It looks like this incredible cultural facility...and it’s a farmer’s market. There’s an identity conflict between local green interest and a desire for expressive, cutting edge architecture. TP: Architecture is always trying to solve a problem, but it seems like it always comes down to a skin, and we’re never really sure what the skin is and how it’s detailed. I imagine this to be a very climatically uncomfortable place. The gesture and technological expression overshadow its basic everyday use.

Troy Peters is an Assistant Professor and teaches second year practice and design.

Stephen Phillips is an Assistant Professor and teaches fifth year design and architecture history.

SP: A lot of architecture today has become decorated skins because the architects don’t have the expertise to realize it structurally, and that’s where it falls into your critique. But should architecture students at this stage in the journey even focus on solving problems? To assert that the world has problems that architects must solve is an error in thinking. In my view, the research agenda is developing an architectural skin and structure, and critiquing the project’s appropriateness as a market is beside the point. It’s similar to Katsu’s fascination with the skin. When a skin is applied so uniformly in a huge gesture that encompasses so many different types of program, you have to question whether there’s a relationship between form and function. MC: At what scale are these projects most effective—the urban scale, building scale, or detail? Or are they most effective as a

disciplinary scale? SP: Katsu’s project is least effective at the urban scale. It’s a fascinating building, though. TP: But how many architects in history have been successful at urban scale? SP: I agree. Dealing with cities at the level of infrastructure is exciting but prone to failure, because they try to do too much. JD: Urban projects by their nature are more complex and their scope gets beyond an individual student’s ability to develop an effective project. The mixed-use projects have a high degree of complexity, but at some point they have to throw out the program to get on with the project architecturally. SP: So is the large-scale urban project still a viable research agenda for a thesis project? JD: I think we’re seeing a focus on a particular aspect of the project. Katsu focuses on the skin technology, while Rachel weaves a theoretical program through a building and explores how it affects building structure and form. Other projects have dropped an aspect of those complex issues to create interesting projects in their own right for particular reasons. SP: Program is not well considered at this school—it doesn’t drive the conversation. I still think that Rachel’s program is the weakest part of her building. It becomes a

symbol of technological prowess, but it’s an empty building. San Francisco’s main library is quite sophisticated and able to survive an earthquake. Do we need a building dedicated solely to earthquake survival? MC: But the project didn’t end there. The building has pre, during, and postquake conditions. Post-quake is the most interesting. It’s the idea that the high-rise has a life beyond the quake, so while its structure is all about the surviving a quake, the program is about its ability to regenerate the city. SP: I question whether we’ve pushed architectural technology far enough. Rachel’s red section is a telltale. It demonsrates a strong belief in 20th century technologies on one hand, while Sean and Katsu’s go beyond that technology but don’t succeed because they’re vague. But I agree with Jim that we as an institution should be aware of cultural and political issues and what we’re saying about them.

MC: We’ve been talking about scale, complexity, and gesture. San Francisco’s Transbay Terminal is not utopian, and tries to integrate a number of aspects—urban design, transportation, cultural hub. Our discussion has been all over the place because we’re asking our students to touch on all of these scales. SP: I agree. We ask a lot of students when we ask them to hone urban issues down to building affect and detail. MC: The successful projects aren’t perfect in every scale, but they do cut across all scales. This conversation reveals that as architects, we aren’t satisfied with looking only at the large urban scale.

SP: Our school doesn’t prepare students to do urban research and really understanding an urban site. We never see a series of diagrams that show understanding about the urban site—Rachel’s diagrams are post-facto. TP: I agree. At critiques, we tend to focus on certain scales and ignore other scales. We always address the building scale, but who spoke to the student about room layout and detailing? Most of the critique was probably about the section and where it fit into the urban environment. 10:11


FR E QU E N CY RACHEL GLABE C abr i nh a, D oerf ler, Fow l er, K i l l i ng, Fifth year

A seismological research and monitoring facility capable of withstanding the largest possible earthquake, and outfitted with the latest prediction technology would be of great value to San Francisco. This adaptive facility responds to and accommodates the unique challenges presented by the San Francisco site: a liquefaction zone prone to intense shaking in the event of an earthquake. The tower has the ability to function as a safe zone during an earthquake. During the prequake period, this tower provides the public with educational lectures/seminars to assist with the preparation process. Double height, strengthened safe zones act as open elevated public parks, temporary disaster relief zones, and urban farming in the post-quake scenario. As the tower progresses upward, the floor plates get smaller and take on a narrower shape to accommodate and harness greater wind flow.

Site Location and Makeup

Neighborhood Breakdown

Double height disaster relief zones expand to meet the city’s needs as survivors seek shelter in the tower.

The strengthened safe zones/green spaces could serve as open gardens for urban farming.



Core Typical Plan

High Rise @ Transfer

Typical Mid-Rise Plan

Mid-Rise @ Transfer

Low-Rise Plan

Low-Rise @ Transfer

Transfer Floors

Water System

green Zones

Wind Pockets

Improved Vortex Shedding Behavior

Typical Vortex Shedding Structure

Dominant wind pattern in SF



AC S A/A IS C STEEL COMP ETITIO N RYAN AHMADI, CHRISTOPHER NIKKEL Doe r f l er, Fow ler, Cabr i nha , D ong, Four t h yea r

The main ferry terminal supporting Seattle and Puget Sound is located at Coleman Docks in Seattle, WA. Strategically located between downtown, numerous new highrises, and entertainment venues, Coleman Docks is at the center of activity. This new mixed-use development is an extension of the Seattle’s waterfront rejuvenation plan, and attempts to engage the flow of movement around the busy site. The proposed design places a commercial center along the street front to activate the main circulation corridor. Weaving between the commercial masses is a central circulation space that creates a transition between the city and ferry transportation. The housing complex is designed to provide ample privacy despite its busy location. This proposed design creates a stronger connection for the ferry docks and the city grid thus allowing for smooth movement throughout the site.









Despina can be reached in two ways: by ship or by camel. The city displays one face to the traveler arriving overland and a different one to him who arrives by sea...Each city receives its form from the desert it opposes; and so the camel driver and the sailor see Despina, a border city between two deserts. Invisible Cities Italo Calvino, 1978


H o l c i m Aw ard s 2008, Fo u r t h year



Softcoast is a system to propel cities into future development of the sea while maintaining an interpretive tie to what currently exists. The project is a response to the rising coastlines in two locations: Dhaka, Bangladesh and Los Angeles, California. Instead of erasing the city, Softcoast embellishes its characteristics forming a new coastal region/city/landscape. Dhaka is one of the only places in the world dealing with climate refugees who live nomadically based on the yearly flood conditions of their crops. While Bangladesh will lose farmland and dense housing, Los Angeles will lose recreational facilities and suburban homes. Layering multifunctional programs into the ebb and flow of water conditions can make an enjoyable environment, propagating life into these areas of loss.



L.A. WEB KATSUNORI SHIGEMI Di S a nt o, Fifth year

Disney Concert Hall The future building will not stand alone but stand together. It will connect a large amount of people and communicate with infrastructure and information. As cities become denser and deeper, people are forced to live in a more compact, 3-Dimensional world. My thesis, “Symbiotic Urbanism”, explores how architecture can mediate a city not only to connect people but also to provide an adequate space (not too close nor too far) between who lives there, while cooperating with existing surroundings.

Bank of America Plaza Underground Mall LA Central Library

Metro Station

Main Circular Network: connects existing underground systems and serves as new infrastructure

Macy’s Plaza

The population of Downtown Los Angeles is expected to grow from 36,000 to 250,000 by 2020. To accommodate this large influx of people, many residential towers are being constructed around the perimeter of the financial district and Bunker Hill. However, these individual towers are disconnected and inefficient in terms of mobility. The projects are divided by the steep Bunker Hill and lack evening attractions in the Financial District. My project, L.A. WEB will fill the gap between the two proposed projects with housing, which will increase pedestrian activity through out all times of day.

Shopping Mall

Commercial grid Network: generated enerated following the existing activities, parks, and landmarks

Project Figure Map new multi-use projects new residential projects

node 01

Distributing different uses and layers of circulation patterns creates a diverse living experience and fine grain of civic environment. Programs are placed through the site based on three series of networks that trace existing activities. Each program type owns a distinct physical form to match the uses and to enhance the mobility from node to node. The overall architecture is formed by the interwoven programs; in addition, it is also trimmed with a 45 degree boundary surface to minimize solar impact to surrounding buildings.

Financial District

Bank of America Plaza yMCA


Disney Concert Hall and grand Avenue


node_01 // plan_09 node_01 // plan_07

node_01 // plan_05


node_01 // plan_06

Node 01_Level 8

node_01 // plan_ 08

Node 01_Level 6 node_01 // plan_06

Node 01_Level 5

node_01 // plan_05

Node 01_Level 4

node_01 // plan_ 04

Hallway / Lobby Commercial Area Common Area Residences Other

node_01 // plan_07 node_01 // plan_05

node_01 // plan_ 04

node_01 // plan_06 node_01 // plan_ 04

node_01 // plan_02

node_01 // plan_05

node_01 // plan_02

node_01 // plan_ 01

Sun Path Diagram

Aperture Pattern Diagram



PA RA S IT E ANDREA DART K . La nge, Fifth year

This project evolves to inspire change, movement and growth in an environment otherwise stagnant with inactivity. The parasite will attach to existing infrastructure in an urban landscape in order to repair the integrity of our true ecology, making a landfill, a highway, an underpass, or a parking lot a place where we coexist with nature, make a profound change, and are moved to act. The project will be a new organism in our ecology, adapting to existing structure, feeding off of the chaos and pollution of current society, transforming spaces, dematerializing the existing, rewiring the human mind set. Parasite attempts to make a building alive. It can grow and react to its surroundings, neutralizing chaotic spaces and creating successful commingling of green and concrete spaces. The parasite will promote a social and cultural movement so that each individual realizes that “it� does not have to be that way forever.

Interstate Parasite: (v) to discover the opportunities that exist in between,


support the places dead and forgotten, to inspire changes in minds, in people, communities and spaces, to connect, to be



C H AN GE : MOVE ALEX KITH S ta nna rd, Fifth year

The perceived benefits of a personal vehicle independence, convenience, reliability - have come at a cost to the environment, society, and public health. Personal vehicles have become a major contributor to air pollution in most industrialized nations. Nearly half of all Americans are breathing unhealthy air, and air quality in dozens of metropolitan areas has worsened over the last decade. The Los Angeles-Long Beach metro area had 255 days of unhealthy air quality from 2000-2002. Compared with private vehicles, public transportation produces, on average, per passenger mile, 95 percent less carbon monoxide, 92 percent fewer volatile organic compounds, 45 percent less carbon dioxide and 48 percent less nitrogen oxide. This thesis examines the possibility of a mass transit oriented in Los Angeles County. Following in the footsteps of San Francisco’s planned Transbay Transit Center, acres of urban land surrounding historic Union Station will change into a thriving transitoriented development. This new transit hub will not only connect buses, light rail, heavy rail systems and the new California High Speed Rail in one location but will also include offices, commercial space, retail, cultural, and housing in an area rich in history and marked with the need to change the way people move.




The massive scale of infrastructure in Los Angeles divides communities and isolates neighborhoods. The monolithic surface of the LA River is purely functional and is not meant for human interaction. This project breaks down the scale of the LA River to accommodate a series of structures that create a new urban condition in what today is a very desolate zone. This project is an analog/digital hybrid investigation of pattern based surface manipulations, which generate a series of plate and skeletal structures. Through various scales of surface manipulation, adaptable spaces and structures are created. The river bed is unfolded and transformed into the larger structures beside it to create an adaptable system which would have water treatment functions, housing units, as well as a variety of public spaces. The intention is to create spatial possibilities which could be programmed to serve the city as an urban network along the LA River.

Exterior Surfaces

Structural System

Interior Surfaces




The progress of technology and innovation of design has blurred the perception of the natural and the artificial and humans have began to imitate nature in a way that allows for the creation of architecture and infrastructure that accommodate uncertainty, respond to change, and sustain a dynamic equilibrium in future growth. This thesis attempts to recover an obsolete industrial landscape on pier 30/32 in San Francisco’s South of Market Area and activate a new synthetic landscape that cultivates growth through experimentation of ecology as well as growth in cultural programmatic elements that promote strong social interaction within the city’s inhabitants.

Entry perspective from the Embarcadero Section Cut A

Through the creation of a farmer’s market and fresh fish market, the project manufactures a landscape and cultural focal point that is informed by a study a cellular deformation and attempts to bridge water and cityscape with an organism that responds to natural forces on the site and connects humans with their natural surroundings.

Section Cut B

Network of green arteries



farmers market fresh fish market restaurant_cafe lobby circulation service areas offices

Biomimicry and the idea of manufacturing nature is grounded here in understanding how the performance of natural cell structure is able to create a framework that is responsive to the constant flux and flow of natural forces on the site. The structural system for the building is intended to be conceived as an extension of the city grid that goes through a process of deformation as it bridges land and water and is exposed to the water and wind currents of the site. The process of design was highly informed by experiments into the deformation of the water molecule.

Program Distribution

Investigating water currents and molecule structure as an organism of response

Investigating the deformation of the water molecule cell structure

Urbanistically, the project serves as a point of activation for a network of infrastructural frameworks that network through the city’s landscape. A phasing strategy is advocated that allows for the growth of the project to take place over time and continue to adapt to the unpredictability of nature and the uncertainty of contemporary urban social structure. natural ecologies and networks of growth

Frameworks for growth in ecology

artificial networks of growth, movement, and public interaction

Frameworks for growth in cultural activities


5.09 5.10

Phillip Weller, graphic Design Office, Frederiksen, Fourth year


Tyler Bornstein, “Premonitions”, Foster Care Center, Di Santo, Fifth year

Lawrence Mahadoo, “Systems”, K.Lange, Fifth year

5.12 5.13

Natalie May, Ideo Corporate Building, Doerfler, Third year


Blake Freitas, Center for a Design Consultancy, Doerfler, Third year

Matthew goodwin, “Interactive Mediascape”, K.Lange, Fifth year




TF: I’ve been here 14 years and the quality of the work has really improved—there’s better attention to skin and sustainability and how the building is sited. But I’d like to see more process thumbnails. It’s hard to see where students are without seeing how they understand their process. Students don’t seem to value diagramming, and the faculty doesn’t agree about its importance. The projects lack 2-D drawings to the point where we’re almost shocked when we see it. We need to focus on 2-D representation, even though it’s not sexy, because the section is how you deal with sustainability, and without a plan, you don’t have a sense of navigation. KM: I agree. They’re all visually stunning but I find them difficult to understand in their full complexity. Maybe this says something about the limited number of images, but without plans and sections you can’t determine if it works as a piece of architecture. For example, Eugene’s embassy perspective is very convincing, and the diagrams illustrate the

Don Choi, Ph.D. is an Assistant Professor and teaches architecture history and design.

Thomas Fowler IV, is a Professor and Assistant Department Head and teaches third year design.

concepts, but the drawings are flat and don’t describe anything. That may be evidence of a lack of conviction by faculty that drawings can be beautiful, helpful artifacts. DC: The absence of plans makes the projects difficult to read because the plan tells you about interrelationships between different spaces. With 3D models, certain pieces and snapshots get emphasized at the expense of the whole building. At the risk of sounding old and grumpy, there is a trend in contemporary architecture education that what people have found historically interesting–structure, material and light–is not served by today’s common representation modes. When I talk to students in seminar, they’re interested in architects like Tadao Ando and Louis Kahn, who deal with tactility and light, but they don’t address these issues in their own projects. If we look at student work every decade there are always fashions, but how can do a better job of inculcating a concern for light and structure that will transcend fashion?

Kent Macdonald is a Lecturer and teaches second year design and professional practice.

Barry Williams is a Lecturer and teaches fifth year design and practice.

KM: My biggest concern is that we’re looking at 3rd, 4th, and 5th year projects and all of them have the same level of development. We expect 5th year projects to have wall sections and details, but we’re seeing Tom Fowler’s third year studio writ large across the whole curriculum. TF: That’s very insightful—3rd, 4th, and 5th year projects ought to show different levels of development. We’ve only got ten weeks per quarter, but I would argue that a fifteen week semester doesn’t give you that much more development. I’ve come to realize that students don’t need more time to get to wall sections. They just don’t value them, even though they’re a very important part of their projects. DC: Maybe the limited medium prevents us from seeing the depth and detail that some projects do achieve.

TF: Space restrictions are no excuse. A lot of firms review 8x11 portfolios as a way of giving you a job. We need to teach students to look at projects as thumbnails on a few pages. I like how Cooper Union portrays their work. you understood the whole connection between study and end result even though there were few images, because the narrative gave you a sense about how students developed form and vocabulary and how well connected it was. Third year works towards this by asking students to provide evidence about where their vocabulary comes from. BW: If the department does indeed have a set of criteria that we’re trying to reach, that should be the means by which we evaluate these projects—do we recognize that these criteria have been achieved? Hopefully, progression through the program would be evident, even if the project size and scale fluctuate across a single year. TF: Students need to learn how to mesh the building program with their evolving architectural vocabulary. very few projects articulate the ground plane to respond to the building object. Students never get to the field because it’s not important to them. Why not ghost and root the architectural vocabulary in the landscape and the context? KM: Michael’s embassy feels like it landed from outer space. Long, tenuous shapes may be a predilection in architecture in general. We tend not to see projects constrained within a square block.

DC: Changing the topic...the relationships between space and function aren’t very interesting. The spaces are very interesting but the idea that they are related to some use is absent. I see attempts to shoehorn conventional space and function into a project that’s not about that function. KM: Maybe it’s because the shape is always externally derived. Program is stuffed into it like a salami. DC: Formally these projects are radically different from 20th century architecture. The surface manipulation is very interesting but the skin’s inventiveness doesn’t trickle down into the plan. The plans are unworkable and unattractive. In terms of the basic stuff of architecture these projects are uninteresting. KM: Kara and Michael’s projects have a human scale and level of habitation. Maybe it’s the contextual photo or the fact that the building elements are room-scaled. The others with porous skins have a sameness that’s driven by computer graphics. BW: The projects that are grounded into their context are more understandable. We’re still grappling with how computer-driven forms can become inhabitable, but just laying the project into the context gives it a better sense of reality.

DC: The Seattle and San Diego housing projects show that addressing the urban context really does help students. Fifthyear students often choose sites for nonarchitectural reasons and tend to flounder because the site doesn’t give them enough constraints to make decisions. Frank Lloyd Wright said that an artist’s limitations are his best friends. Fifth-year projects are less strict than second-year projects because students are more comfortable with design, but some constraints are very real and productive, and they make the architecture more human in terms of scale and interrelationships. DC: One important architecture department idea is the relationship between writing and graphics. A lot of writing is not related to the project. Many students are very good writers but their writing comes at the last second in the middle of the night, and it doesn’t do their projects justice. KM: I found the writing inflated. The students try to make their work sound more important than it is. They should write simply, writing about their intentions and means for achieving those intentions forthrightly. Writing in that way is an art unto itself. BW: In closing, the eye wash is really stunning but I would have liked to see more annotation.



S T UDE N T UNI ON DAN ALAMEDA S t a n n a r d , F i f t h ye a r

In the last few years, there has been interest in developing a satellite student union and recreation center on the Cal Poly campus. At Cal Poly, it is hard to find a single building or structure that clearly represents the teachings of the university as a whole. Although the current student union building has served its purpose well, like many other buildings at Cal Poly, it will not be able to support the needs of the students in the near future. Cal Poly is considered to be one of the top design and engineering schools in the nation. The school needs to demonstrate that they are a leader in design and technology by creating a structure that services both the needs of the students while simultaneously respecting the environment.


N e v e u , T h i r d ye a r



The Polymath School of Architecture is located within the old architecture building on the Cal Poly campus. The lecture hall, workshop, and studios are all separate buildings and together they frame a courtyard. Entrances to each of the buildings are from the courtyard. The exterior facade is a movable louver system, which can be manipulated by each studio, creating different patterns on the facade. There are five studios on each floor, surrounding a central atrium. Lounge and critique spaces are staggered between floors in the central atrium of the building.

36:37 1:2


U R BAN HOUSI NG KARA MOORE P h i l l i p s , T h i r d ye a r

The city is a process of becoming. Each epoch produces its own understanding of space and experiences it accordingly. We only sense the process. We cannot see architecture happening—for no singular point in space or time reveals it. Instead, we see the results—the buildings and the holes. Each new creation of space contains traces of its predecessor and seeds for the opportunity of the next. Too often architecture is designed as an isolated incident, dictating people and social relations as passive. Architecture should, instead, be viewed as inseparable from the urban fabric and should be capable of withstanding human interpretation. The structure of this housing project attempts to challenge the conventional paradigm that treats architecture as an isolated event. The perpendicular footprint orientation acts as a filter by accepting both public and private activity through parallel veins. Architecture exists not as an object, but rather as a framing device. Instead of producing a series of objects, the architecture attempts to exist as a fluxing framing device for space. Structure becomes the generative entity morphing with a force greater than the built form can contain.

First Floor

Second Floor

Third Floor

1/2 38:39 1:2


U.S . E M BASSY MICHAEL CHARTERS N u l m a n , T h i r d ye a r

After sixty years of failing well-intentioned gestures, it is apparent that the United States Embassy must establish its identity through ideology and action rather than empty symbolism and diplomatic intentions. The proposed complex intertwines the embassy function with a museum which is open to the public. Investigations into the landscape, outdoor public space, the entry atrium and its relation to surrounding program areas, as well as the exterior faรงade as a means of spatial division were performed on a micro scale with the possibility and intent of application throughout the project. In contrast with most current U.S. embassies, the building will foster a sense of ownership and belonging within the community, resulting in heightened security and positive diplomatic relations. The faรงade is comprised of a system of double layered, fritted glazing where the outer layer acts as a weather barrier while the inner layer protrudes into the building and defines various spaces. The vertical frits on both layers of glazing vary in density depending on the level of privacy required within each space. Depending on the alignment or print of the frits, the direction of views from specific points can be harnessed towards certain directions. The faรงade is supported by an inner steel structure (a series of columns) as well as structural glass at the actual faรงade membrane. The tiered heights of each level (shown in section) allow ambient daylight in all program areas.


grosvenor Square

Layered Facade

Main gallery Space



U.S . E M BASSY KEITH ROWE N u l m a n , T h i r d ye a r

In the modern era, American embassies are disconnected and fortified, unable to resolve the issue of security without sacrificing a connection to their urban context. This project in grovesnor Square seeks to reverse that trend holistically through a strategy of interlocking; by strategically interlocking opposing programmatic elements, opportunities arise for creating identity, security, and diplomacy without neglect to the urban fabric itself. This is the concept of intertegrity. For instance, the tension of private and public space is utilized to enhance the security of both entities. The embassy offices are elevated above the ground by massive trusses, overlooking a public walkway and an enclosed gallery/public square. The visual + physical relationship of these spaces creates a mutual, integrated protection while offering a large, versatile space for the public. Since the offices and other embassy rooms are lifted off the ground, more glass can be used to create a less alienating appearance. A large north-facing public reception and lobby area carries the glass motif down to the pedestrian level. The slanted face of this facade allows sunlight to fill an open public courtyard while simultaneously providing extra buffer space for the conference rooms from the nearby streets. Again, the use of intertegrity relationships prevents compromise.

Overhead Offices + Walkway







Office / Walkway / gallery

Conference / Lobby / Multipurpose



T R AN S IE N T TRACEY COFFIN C a b r i n h a , T h i r d ye a r

We exist in a transient culture. We are in a continuous state of transience, rushing from need to consumption, fashion to fashion, channel to channel. The site is located at a threshold in Seattle, between a pedestrian and transit grid. It is a median between the natural and artificial landscape. This dichotomy not only identifies with the relationship between permanence and temporality, but also addresses the prominence of transience around the site. Boundaries between public and private become more invisible because of the building’s circulation. Public and private spaces co-exist. The site can be modified by its user. On a small scale, the screen becomes a physical property of the building and each unit can manipulate the building’s elevations. There are also three surfaces that can be occupied by lightweight structures for temporary functions.


N u l m a n , T h i r d ye a r



Current courtroom architecture is highly supervised and restricted. This belittles the public and creates an imbalance of power that is detrimental for the proper functioning of the justice system. Society must better understand the justice system to reduce its fear of it. A more transparent but non-intrusive glimpse into its inner workings would ease the public’s fear and make the courtroom a comfortable space rather than a judgment ground. My project suggests such interaction through innovative circulation. Boundaries are maintained but tweaked to allow levels of interaction. Wall opening and screens along the way to the courtroom engage people from both parties and suggest interaction. Initial visual interaction is enhanced by auditory interaction as staff members and the public walk side by side toward the courtroom. The materials are double-glazed glass panels with a copper mesh sandwiched in between. OKATECH Insulating glass with Metal Interlayer can integrate many different designs of wire mesh, expanded metal or perforated metal sheet as a design element with variable functions.





BONNIE MILLER, COLLIN SPRENKLE, ANDREA GADIOMA F o w l e r, D o e r f l e r, C a b r i n h a , D o n g , F o u r t h ye a r

The concept for this project is a coalescence of a dense urban population manifested into a hub of transport and dwelling. This particular site is pivotal to Seattle’s population. It is where human chaos meets the tranquility of the ocean front, a nexus for people coming and going. The design problem includes creating a mixed use residential and commercial project on the site of the existing dock and redesigning the ferry terminal. The design attempts to make sense of the seemingly discordant elements, all the while emphasizing modern sustainable principles and prefabricated elements. By synthesizing temporal aspects and tectonic forms with the confluent streams of traffic on the site, this project becomes an architectural aggregate of Seattle. Four finger-like structures, recalling the wharves of the old industrial waterfront, reach out over the water, floating on tripod piers. These piers penetrate the commercial space below, creating light wells and green space. On the roof of the commercial spaces are the alleys, providing pedestrian circulation between commercial, residential, and ferry uses. Aligned with the city streets, these arteries also provide a strong visual connection to the city.

Perforated Metal

Pedestrian access

Structural I-Beam Vierendeel Truss Structural Chevron Seamless Exterior Skin Purlin Pre-fab Unit Frame

Vehicular access

Finish Floor Concrete Sub-floor Steel Decking Commercial

Dwelling Unit Section





The prefabricated units take advantage of the vierendeel truss design by their checkerboard placement. Any doubling of walls, floors or ceilings is avoided, and it allows for an adjoining outdoor space for each unit and adequate cross-ventilation throughout the residential units. There are three possible layouts for these prefab units, each differing in length, and distributed in a random pattern throughout the structure. This technique creates visual interest along the north side conveying a push/ pull effect. The units are all utilizing a singleloaded corridor to maximize passive heating and cooling potential and maintain views for each resident.

The continuous bracing between the residential bays have been altered to give the illusion of continuity, yet are welded to beams at each story; this allows the braces to laterally support the structure in one of the principle axes. The chevron bracing is located at every other bay in the north and south faรงade of the buildings. This arrangement creates a triangulated shape throughout the frame. By triangulating the frames it stiffens and reduces deflections in the structure and transforms shear and bending forces into axial forces. The frame now behaves like a truss. The chevrons also serve as the lateral force resisting elements for the principle axis. The tripodlike columns at each building provide lateral support for the base of the building while also carrying the gravity forces from the structure above, down to the ground. A space truss located under the building provides additional stiffness to the building but is a secondary structure in necessity. The pre-fab units, once connected to the frame, act as a diaphragm to support the finger structure as a whole.



LOW IN C OME STEEL HO US IN G RICARDO JNANI R o e s l i n g , F o u r t h ye a r

Low income housing in an urban environment. The intent of this project is to provide lowincome housing that generates interaction among its inhabitants, economic productivity, and urban security, while accommodating the common and unique necessities of each individual. Examination of the surrounding context influenced the design of the building and favored the pursuit of urban security. The mixed-use part of the program (day care center, a restaurant, a nightclub, and public cultural meeting space for presentations, performances, and gatherings) incorporates functions with peak occupancy during different times of the day, allowing for sizable numbers to use the place throughout the entire day and most of the night.




The Center for the Creation of ASIMO was established to educate the public about new personal assistance robots. Situated on a site just below the Bay Bridge in San Francisco, CA, The Center for the Creation of ASIMO responds to the context by shifting with the movement of the bridge. Combining exhibit space for public education and the production facility into a singular unit, The Center utilizes a processional path circulating through the facility. Along the path, people can interact with the exhibits and the ASIMOs, which act as the staff for the building, and also with the building itself. The cladding of the structure is interactive to a similar extent that ASIMO interacts with people. Based on motion, light and sound sensors, movable panels within the curtain wall construction shift to control the amount of light entering the space, thus creating an interactive experience with the architecture.

Interactive Cladding Panel Exterior mounted photo-voltaic panels Exterior curtain wall structure Interior panel substructure + track

Interior curtain wall structure Interior panels w/ sound sensitive LED lights

T.C.C.A Axonometric

Longitudinal Section

Perforated Screen

Vertical Section


Translucent Kalwall

Exterior Panel System


Primary Structure Circulation Cladding Structure

Exploded Skin



4.11 4.12

Sean Lopes, “Sense Connection� Multifamily Housing, Roesling, Fourth year


Brian vargo, Kucheck Residence, Dettmer, Third year

Kathleen gilfoy, Dwelling: Rethinking Harbor + Home, Jensen, Fourth year

4.14 4.15

Brian Siu yang, “velo City”, Di Santo, Fifth year


David Pearson, Aquatic Center, Roesling, Fourth year

Isshin Morimoto, Topologically Diverse Pier, golden, Second year




ADD: What are the strengths or weaknesses about working on projects of this size? GD: One strength is the possibility of moving an understanding of the environment away from the obsession with single objecthood. Buildings operate with less individual autonomy and more recognition of the surrounding neighborhood, even if they make their own neighborhood. An awful lot are engaging place even it they don’t understand site yet. The Burma Memorial can’t help but make references to the Salk Institute. Some are still object based, but Yimon’s, for instance, has intentions of being campus-like. ML: It shows that there is so much intrinsic to the problems we take on as architects that we don’t need to add extraneous things. MM: This book is interesting as an artifact to see how students use tools and how tools shape architecture, although I don’t see a lot of content that relates to sustainability.

Gary Dwyer is a Professor Emeritus of Landscape Architecture and teaches fourth year design.

Michael Lucas is a Professor and teaches fifth year design and Native American architecture.

ADD: Hopefully by looking through these, we might say, ‘Students deal with certain issues well at this scale.’ Maybe addressing sustainability is better done on a small scale. MM: It’s a problem with the length of the quarter system and the realities of teaching. For students to address systems integration, you need a problem that is already pretty well defined, and you have to choose to focus on a segment the design process. Thankfully, Cal Poly has a diverse design climate and students get exposed to different methods that allow for exploration at various scales and levels of detail. GD: ADD_9 should bring the public along to understand how architectural vocabularies have changed in the last 20 years. The thermal bath’s form language is extremely difficult to build, and lay people don’t think in terms of that form. They appreciate when it works well, but they don’t understand it.

Margot McDonald is a Professor and teaches fourth year design and environmental control systems courses.

Howard Weisenthal is a Professor and teaches second year design and practice.

ADD: Do you think students themselves know where these geometries come from? GD: No, I think it scares the hell out of them. They’re finding out what was in the magazines last month and parroting it. HW: I don’t have a problem with modern form giving in our society, but I think students have a responsibility to label the spaces and to follow constraints. Hochung’s pipe organ pavilion bothers me. There’s no understanding of spaces. Those ghost people don’t inhabit the space, and the pipe organ is nowhere to be found. Where’s the discipline? GD: What your’re talking about—pragmatics— and theory and trends are two separate issues. It’s important for students to understand that there’s a dialogue going on between the causes of contemporary architectural form language and the pragmatism of getting something done that’s reasonable and rational.

ML: There’s always a cycle of projection, confirmation, affirmation, and new projection in which the profession participates. I think we’re into a period of speculation where form leads the exploration. Materiality is catching up to form-making capabilities with the nature of fabrication. GD: Nicely said. HW: But why can’t you explore and be pragmatic at the same time? I think students are in love with the drawing, not the building. ML: In Hochung’s defense, not every project has to be a paradigm of integration and comprehension. You can’t expect resolution when you ask for exploration. The pipe organ program is a cue to start thinking—the project is beautiful in terms of its structural and spatial possibilities, especially that beefy structural section. HW: It’s a wonderful little piece, but it doesn’t turn the corner, it doesn’t connect with anything. What happens when a student graduates and goes to work? ML: I think the servitude model is gone. We cannot educate students to just get a job. Student after student in New York and London and Los Angeles is hired precisely for these skills. The greatest skill we can give students is to question the conventions of the time, and know that conventions will change in five years.

GD: Look at the Shaolin monastery. I want to point out that the reader brings his or her own baggage to the book. There’s a dialogue that goes on in the reader’s mind between what’s on the page and what they’re expecting to see. Sometimes we’re searching for things that have been intentionally omitted, and sometimes we find things that validate our own preconceptions. I happen to know a lot about the Shoalin monks. San Francisco’s WYCA-turned Zen Center has spaces that are extraordinarily reflective, so I’m looking for the meditation spaces and the cells. Visually I find this project attractive because although it doesn’t point out pragmatics, it seduces me to read into it with greater depth. It’s a superficial presentation by nature, but this might be the only thing that can happen at this depth of presentation.

have never seen Paul Goldberger of the New Yorker write a more positive review than he did for Lincoln Center, and I trust his opinion. Somehow these people who have been so enmeshed in the ethereal theoretical world have been able to address how buildings work with pragmatism and grace. The last one is the stupefying and yet inaddressable need for architects to have courses in landscape architecture. There is no understanding of site, and there is no capacity to utilize the site as a progenitor of form. No one is paying attention to the dirt! These are still beautiful objects arbitrarily placed and I’m sorry to say that there’s no difference between these projects and a KFC! The lack of cross-over is a failure of the college and the department.

GD: I have three axes to grind as an outsider, from the least obvious to most obvious: Least obvious the tendency for professions to intentionally obfuscate language to have their own presence in the world. It is profoundly irritating to other professionals and the general public. It becomes private and inaccessible interior slang that insiders get and outsiders don’t. The second is the dichotomy between pragmatism and formal expression. It’s evidenced in a positive way by Diller+Scofidio+Renfro’s recent renovation of Lincoln Center. I used to think Diller+Scofidio were blowing smoke— literally—but they got huge commissions. I




Industrial technology has left footprints of machine parts on society. Mass production made the lives of people fast paced but has also introduced new ideas of perceiving light and space. The program focuses on the worship space where people come in and out to pray, and meditate. A void, the worship space is left open so no interruption of the light energy that creates the space occurs, enhancing the power and spirituality of the space. The crossing of the education and fellowship spaces creates the void of the worship space.

diagonal steel cable



U R BAN M ONASTERY FOR TH E S H AO LIN MO N K S PETER TRETTL P i e dm on t-Palladin o, Fo ur t h yea r

The Shaolin Monks, noted for their mastery of Chinese martial arts, require a sanctuary that not only fulfills their desires for reflection and ritual, but expresses the unique way that they interact with space. In this way, the “urban monastery” becomes the ideal setting for creating this theatre of movement. Located between two major avenues and a park-like gully, the compact site offers little room for privacy or performance. In response, the monastery’s massive truss frame dances out over the site on a series of angled columns, creating a performance courtyard beneath while raising the residential and worship spaces above street level. A tower provides the primary circulation core and acts as an acoustic speaker for the ritual sounding of the gong, located near the top. The inner functions of the monastery reinforce the monks’ rituals and encourage users to physically engage the building; in a sense, all movement within the monastery is interconnected and expressed. Mechanical pulley systems activate doors and control the opening/closing of the terra-cotta louver system, while hidden private spaces are pulled open beneath the floors.




Some people think that massacre only happens in the movies. It is happening right now at this moment in a country called Burma. It is a country in which the central system is already infected and the damage is done. This chaotic community is suffering, dying and suffocating. Their call for help cannot be heard because it is covered up by its dictators. No outsider is there to help, and they have to start helping themselves now. Memory Recall: One’s memory of the same image can be very different from another person. In order to grasp the full complexity of a particular memory, the understanding of one engagement of the mind in culture and history is mandatory. Experimenting with different materials as a medium to convey the idea of adapting space through its intended rooms and lighting, the visitor can understand one’s idea of living in a particular environment, in this case, a country with unfair justice under military juntas.

MEMORIAL WALKWAY STUDY OF LIGHT: Buildings play the main role in human memories throughout one’s life. We tend to relate or compare the space we are in to a particular space we have in mind. The memorials have a different sensual quality from that of a park or a mall. Memorials represent either past or present which have made a great impact on a great number of people.




By grafting a sumo wrestling facility onto an existing parking structure on Rodeo Drive in Beverly Hills, the dĂŠtournement manifests itself as an aesthetic, structural, cultural, and social juxtaposition. It feeds on the human desires to appear and to dominate, yielding a fiercely visceral experience for the wrestler and a refreshingly exciting spectacle for the viewer.




The urban sanctuary, sited over an existing canal, is a raised structure presenting cantilevering steel elements that are ambitious, referencing the concept of levitation and appearing to defy gravity. The individual is able to experience the feeling of weightlessness on a more personal level through the procession into the sanctuary. Here, the visitor not only becomes aware of the floating structure above, but that they too are suspended over the water. The structure is composed of a primary frame of wide-flange steel beams that support the main volumes as well as the secondary steel frames, which supports the glazing and skin. Full exposure of the steel structure as well as cladding and building volume elements allows the individual to see the interplay of layering within the building.


Facility Support

Atrium Classrooms Fellowship Hall Staff Service



The redesigned canal allowed both integration of the building with the site and created a gathering space at the ground level. The raised volumes allow for light to accumulate beneath the structure. This light is refracted, keeping the visitor visually aware of their connection to the water. The result is an atmosphere that enhances meditative practices.


Cladding Support

Primary Structure

Redesigned Canal



C E N T E R F O R C U L I NA RY A RT S PETER TRETTL C abr i nh a, Th ird year

The recent shift of contemporary food culture towards ideals of organic and locally produced foods demands an architecture that embodies these principles and serves to educate the community on the importance of food. The San Luis Obispo Center for the Culinary Arts acts as a regional nexus for gastronomic culture. The garden lies at the center of this environment, governing the main activities of the program, from enjoying a fine meal to developing hands-on skills in food preparation. For users and visitors, the garden serves as a center for production as well as providing delightful spaces to inhabit and explore. [The garden] growing walls provide a perceptual shift for the concept of “garden� as well as allowing for significant on-site culturing of produce. They express time and seasonality, with different crops thriving throughout the various climate changes. Hydroponic planters within the southern wall take advantage of year-round solar exposure, while gardens at the roof and plaza level create delightful spaces to inhabit. SLOCCA

68:69 68:69


AQUAT IC CENTER JOHN VIERRA Doe r f l er, Third year

Taking the dynamic qualities from the interaction of light and water, the aquatic center is intended to represent that in skin and program. Using images of light reflected off water, studies were used to figure out the scale of the slits and how they enhanced the experience of the space. A decision was made to make the openings respond to circulation so that the rays of light entering in the building guide visitors through the space. Roof openings directly relate to the circulation of the space below. During the day, swimmers from inside would experience rays of light, making them cognizant of the space they are in. In the evening, the opposite occurs where the dense, urban and artistic downtown Santa Monica experiences the expression of water when interior lights light up and transfer out of the openings and out into the streets. The program, consisting of both ‘wet’ and ‘dry’ activities was carefully planned out. Separated by an atrium walkway, the olympic lap and leisure pools occupy the first level. visitors wishing to bypass the pools proceed through the atrium up to the second floor for basketball and racquetball courts. The envelope consist of two layers, the interior is glazed followed by a cavity and panels. The exterior panels are irregular to create an abrupt change from solid to total transparency giving a contrast of light and dark.

Second Floor

Ground Floor



T H E RM AL BATH CLAYTON TAYLOR Ja ns e n, Fou r th year

project morpology

The bath is located on an artificial lake, at the edge of the city center. Lakes in Copenhagen are serene and provide an escape from the city, A thermal bath extends these qualities. Placed in the center of Sankt Jørgens Lake, the bath is only accessible by boat. Users can detach from the city by paddling to the bathing facilities for a refreshing experience of hot and cold pools. The structure is not fully enclosed and is reliant on radiant heat to provide comfort. Forms are made of concrete and filled with thermal coolant. The overall architecture becomes a spatial/structural/ sculptural radiator.


city boat path



4. waiting bath

6. 7.


4. 1.

5. 6.




Section: 1. 2. 3. 4. 5. 6. 7. 8.

entry platform lockers lounge sauna glass bridge waiting bath 36 째C motion bath 28 째C hot bath




In deciphering the power of the subconscious mind, we might gain a truer understanding of ourselves and our capabilities. By learning to live more vividly in our sleeping lives, a new typology of creativity emerges: creating art forms that begin to find a deeper understanding of each person’s inner being. Because of this, the program evolved an interaction of not only the conscious and the subconscious (spaces of sleeping closely correlated with spaces for creating) but also spaces of exhibition. The art then created has some real sense of the creator and can be deciphered through various vehicles of creation and then reinterpreted through the art of critique and experience by the public. Artists are invited to explore new ways of making by using entities of their dreams as inspirational devices. Dreams become a way of exploring things that, otherwise, would be uninhabitable by the conscious mind. Certain entities and actions are inhibited during REM sleep, not only causing our mind to create farstretched fantasy, but also blocking a lot of those thoughts from our conscious memory. The mind is more powerful than what we currently use it for, and by dreaming and learning to live in our sleeping lives, we can tap into unexplored resources of power.

Sectional Perspective Detail



S A N C T UA RY F O R P I P E O R G A N S DANNY CAO Fowl e r, Th ird year

The constant interaction of light created in space generated my project vocabulary. All spaces interconnect into one another and leave room for light to filter and reflect through. The pipe organ is integrated with the structure as a structural system, which does support the glazing materials. The pipe organs are placed in one of the sanctuaries, which contains an acoustical system to deliver the sound as a mediation space. The building is elevated to provide space for community interactions at street level. grand entrance at this level is connected directly to the main lobby. A fellowship hall includes an outdoor area to create a public zone for both outdoor and indoor activities at this level. Educational area is at underground level encompassing a playground for children. The building, set near the existing canal, provides an attractive pathway to invite pedestrians into the building. All interior spaces are interconnected with one another creating the intricacy of the project. The sanctuaries are located on upper levels to limit public accessibility. This level is a transition from public to more private areas of the building. The administration is located on top of building to maintain privacy from the rest of the building and provides an overall view of the facility.

light box study

design iterations

June 21 _ 10 pm June 21 _ 2 pm June 21 _ 6 pm Dec. 21 _ 10 am Dec. 21 _ 4 pm

sun shade diagram

sanctuary atrium fellowship educational administrative facility support circulation program

circulation occupied space circulation



KU NS T HAL JEFF HAMMERQUIST Fre de r i ksen , Fou r th yea r

Copenhagen, DK - The Kunsthal is an art playground hosting changing exhibitions in two major galleries: a sky gallery with ample indirect light, and an underground gallery with carefully controlled lighting conditions. An underground connection with the glyptotek provides a continuous art viewing experience. Circulation and building skin frame the city as viewed from the Kunsthal, and the interior scenes of the Kunsthal as viewed from the city.




The Mission District in San Francisco is an irresolute laboratory of cultural fusion evident in the physical environment. The neighborhood is ethnically and economically diverse, with a population that is fifty percent Latino, thirty percent Caucasian, and eleven percent Asian. The Latinos are an integral component - not only in number - but in cultural prominence and political voice. A large majority are undocumented immigrants, many of which have been in this country for decades but have been victims to the irrational U.S. system of immigration. Recent deportations, infiltrations, threats, and federal cutoffs of social services have attempted to exterminate the population of hard laborers that have always been an integral component of the American land (even before the country existed). Latino immigrants are an integral force in the American economy. This project attempts to debunk this frivolous mentality and provide a solid habitation anchor for them in the Mission District. The site of architectural intervention lies to the east of the Mission, a mellow residential area that contains a large percentage of immigrants. Lying on the ghostly remnants of the Pacific Railroad line, the architecture conjures site memory and subverts existing warehouse and residential structures. The creative and resourceful immigrant works side by side with the architect to design a community that is truly a product of the user, preserving all the informal quirks associated with ad-hoc construction but reinforced with a well-conceived foundational infrastructure.


3.12 3.13

Zhong Ren Huang, Kayak Club, Werdelin, Fourth year


David Pak, “Architectural Spaghetti Sauce,” di Santo, Fifth year

Evan Jaeger, Hayes valley Housing, Phillips, Third year

3.15 3.16

Layton Petersen, Kayak Club, Frederiksen, Fourth year


Bryan Tranbarger, Kayak Club, Andersen, Fourth year

common room fitness cafe




enter enter

Stephen Silva, Kayak Club, Andersen, Fourth year




SS: When discussing these projects, we need to consider that these projects are self selected—people have stepped up to put in work, so this group may not be representative of the school as a whole. MN: I agree. It’s impossible to review the pedagogy of the studio or of the school in general based on these projects, but there’s still an interesting discussion to be had. SS: It depends on how we put it forward. ADD ought to frame these discussions as reflections on a subset of projects. JL: I think it’s possible. Cal Poly projects reflect a different perception of space and lifestyle than urban projects. We come from a tract home mentality. Projects in SLO tend to be detached objects in open space with courtyards. In contrast, New York City buildings recede into the background and aren’t as sculptural.

John Lange is a Professor and teaches third year design and practice.

Another trend is technology and the appearance of the truss. Cal Poly buildings are technological assemblages—these Tom Wiscombe-like projects have changed the appearance of the truss, but it remains the basic building element. MN: I agree. I see a lot of object buildings at Cal Poly that are sited in open space and don’t have to mediate anything else. Most of the Copenhagen projects are infill, with the exception of Clay’s thermal bath, which is sited in the middle of the lake. The infill projects seem to me to be more interesting because they are not simply objects. But another common theme is a lack of materiality. Many projects have a weird surfacing where grass equals green and white equals roof, but those materials actually work quite differently. In contrast, Sarah’s kayak club shows sensitivity to materials. Walls and ground read as different elements composed of different materials with different

Marc J. Neveu is an Assistant Professor and teaches third year design and architecture theory and history.

Sandy Stannard is an Associate Professor and teaches fifth year design and environmental control courses.

thicknesses, and she treats the ground as a material rather than just a surface. I like to see that. Other projects treat the wall, roof, and ceiling as a homogenous surface, and this has a lot to do with the means of representation. Unfortunately this means of representation lacks a relation to fabrication, tectonics, or material qualities. If the projects are about surface, let’s see it. JL: What I perceive as a layering of materials in New York: terra cotta, brick, and glass, is an approach based upon the grid of New York, because you don’t see three dimensional space, only one point perspective. Materials become important in areas of limited viewing, such as areas of one point perspective or at close range. As objects in space, form becomes the predominant force. Only Mies van der Rohe and Frank Lloyd Wright treat buildings as objects. Materials become important when you’re in a pictorial urban context like Copenhagen.

MN: There’s also only one physical model in the group. This goes back to my comment about materiality. The computer allows students to analyze, diagram, and describe a building in ways that a physical model cannot. It is difficult to say what these students are gaining from using the computer, but Keith, for example starts to diagram the building volumetrically.

JL: The site has a lot to do with the architecture. Infill versus object, different contexts suggest different approaches toward daylight.

SS: I don’t advocate using one tool over the other, because I believe the whole toolbox is essential. However, I’ve noticed that the appropriate use of computer modeling has increased student’s ability to think about interior space.

MN: Getting a sense of interior space depends on materials. We don’t really know what materials Rachel’s building uses because her section represents walls, columns, and floors with the same thickness. Some of the Denmark projects that deal with daylight have a lot more interesting, active sections.

On a separate topic—and sometimes I feel like this is my assignment in the department—as we progress into this age of ecology, we can draw sun angles, but how much do our buildings actually respond to the sun? I don’t get a sense that we’re designing good ecological buildings. We need to embed scientific ideas so deeply in design that it comes naturally. The first thing you should do when you look at a site is think about the context, where the sun is, and the ecological issues. Patrick’s house shows day/night scenes but you don’t get a sense about its ecological response. MN: I think that Patrick’s and Kevin’s projects are interested in daylight, show the affect of daylight at different moments, and use the section to show how light comes into the room, but past that…

SS: My point is that it needs to go deeper. Daylight is only one component of ecological design. One major concern is how buildings heat and cool themselves.

Also, many of these projects fail to relate to any context. While I don’t want to go back to the Copenhagen projects again, they have a very clear relationship to their site. It’s important to know how buildings talk to their neighbors.

SS: I find the something joyful in Tyler’s project. It’s so obviously different, and shows the range of projects that I hope exists at Cal Poly. A well-rounded architect explores both hemispheres of the brain and I hope this publication shows that range. MN: In closing, one difficulty of critiquing these projects is that I’m not sure what they were intended to teach. I wonder, what are the issues that each studio intended to deal with? It is not clear to me what the issues are for the work presented. For example, how do you critique a private residence, other than to say ‘I like it, or I don’t’? I’m not sure what these projects are trying to say. If you told me that the Piazzalle Brunelleschi was about historical renovation, I’d have a fit, but if it’s about 3-D modeling and representation, then it’s a very different conversation. It seems like the Copenhagen projects had a more clear agenda about urban insertion, materials and daylight. I’m less clear about the others. None are proposing a very clear thesis or critical position.

JL: Does the creative impulse come from interaction with others or does it come from within? I would argue that Tyler’s Venice Beach project (5.10) is almost womb-like—it allows people to find themselves. I can’t find myself in New York—I just see a bunch of people sitting in the subway staring at each other, unable to interact, paranoid. MN: There’s an old quote that goes, “We’re all alone, but we’re all alone together, and that’s a wonderful thing”.



W AT E R T REATMENT CEN TER RACHEL ATMADJA R i d l e y , T h i r d ye a r

Conceived as an ecological solution to the city of Los Osos’ lack of sewage infrastructure, this facility utilizes living-machine systems to break down human waste into food nutrients for plants. In addition, the facility contains a research and training laboratory and indoor tidal wetland gardens that are open to the public. The indoor tidal wetlands are sited at opposite ends of the site, effectively forming “bookends,” which house the training, testing, and public components within. Built masses are burrowed into the earth, creating the opportunity to geothermally heat the building and to utilize soil for sound-proofing.

Approaching the Lecture Hall

4.01 Testing and Training Laboratories ll

1. Indoor tidal wetland 2. Subsurface wetland 3. Lobby and public exhibition spaces 4. Testing lab 5. Training Lab 6. Lecture hall 7. Guest house

1:2 86:87


ROW HOU SI NG BLAKE HUSSEY N i l l s o n , F o u r t h ye a r

This affordable multi-family housing along a small harbor in Copenhagen endeavors to provide views and access to natural daylight while maintaining the existing social network of the local fisherman. The unit creates gradations of social interaction, from private patios at the back, to semi-public harbor-side walkways, and from the private upper balcony to more public ground floor living room.

Longitudinal Sections



P E EK-A-BOO PATRICK DELOREY C h r i s t i a n s e n , F o u r t h ye a r

The Peek-a-Boo House is a small row house designed for an existing development in Copenhagen. The home amplifies constantly changing qualities of light that mark the passing seasons and express life’s ebb & flow. The loft and second-level sleeping spaces face the rising sun with frosted glass, which glows with golden light and gently wakes the sleeping inhabitants. The ground-floor dining space receives similar light, celebrating the common morning ritual of breakfast. Similar patterns are repeated with sunset: the family common area, the work spaces, and the cleansing spaces receive dynamic evening light before it fades, urging the inhabitants to sleep and begin the cycle anew. Operable wooden screens further modulate light and privacy according to inhabitants’ desire.

5:6 90:91


DA : : C A PO NI GHTCLUB JASON IMMARAJU P a l l a d i n o , B e l l e r, F o u r t h ye a r

“Architecture is music in space, as it were an unfrozen music...� - Friedrich Wilhelm Joseph von Schelling

This mixed use project is situated in the rapidly-changing 14th street area in downtown Washington DC. The area is brimming with nightlife and rich with music history. Inside the lower level, there are two zones separated by an acoustic buffer space. The upper level of the building contains a green stage with a retractable floor allowing patrons on the roof to view the performance below. Skyboxes containing loft style apartments are suspended over the lower levels with ample space for acoustic isolation. The exterior metal skin simultaneously provides a barrier against the elements and a cinematic reflective screen for projections. Catwalks, platforms and stairs weave into the interior walls creating a musical composition of patron activity. The Skybox apartments are constructed out of an Aerogel double-skin assembly with LED lighting inside. The LED configuration has the ability to change into an infinite number of color combinations and will create an ever-changing addition to the urban fabric.


F r e d e r i k s e n , F o u r t h ye a r



In this rowhouse, the relationship between the public space of the street and the private life of a residence is reevalutated, blurring the boundary between them. Built elements are stripped away leaving behind only those elements related to programmatic function. They are then suspended in a transparent glass matrix. Silk screened structural glass panels hang from a peripheral opaque shell, supporting and framing the program of the residence. varying patterns modulate opacity, providing privacy while making interior activity manifest to the public.

sleep cleanse


7:8 92:93


T H E POTATO ROWS KEITH HOUCHIN W e r d e l i n , F o u r t h ye a r

Danish row housing’s social dynamic is undergoing a transformation from communal cohesion toward individualism. This modern addition to Copenhagen’s Kartoffelrakkerne row houses attempts to re-stimulate neighbor interaction by opening the unit’s public spaces directly onto the exterior and creating visual links between public and private spaces. A transitional wall marks a natural axis between large open space to the west and dense urban fabric to the east. This wall separates public and private realms, and shifts in response to program requirements. Futhermore, exterior cladding distinguishes between public and private. Public spaces are enclosed by transparent glass, while private spaces are screened by Kal wall panels and louvered lattices.

Cross Section A

Cross Section B Second Floor

Open vs. Dense

First Floor

Respond to Context

Longitudinal Site Section

Ground Floor

Public vs. Private

Program Public

Cladding Detail

Private Utility

Glass Curtain Wall


Cal Wall Panels

Corten Louvers


South Axon

Casement Windows



FU RN IT U R E SHOWROOM KEVIN BUSSETT L a r s e n , F o u r t h ye a r

A furniture showroom for Scandinavian design on an infill site on Nansensgade, a funky, off-beat street north of Copenhagen’s city center. Nansensgade is a confluence of four contrasting urban personalities: the high culture of the National galler y, low culture of Tivoli amusement park, Copenhagen’s historic core, and street-smart Nørrebro. The design is inspired by Danish Art and Design, specifically vilhelm Hammershøi’s serious, introspective Realist paintings from the 1890s, and Kristian vedel’s play ful, spontaneous Bird toy from 1959. The building negotiates between High/Low, New/Old, Play ful/Serious by introducing variation and surprise into an ordered grid.


Customers encounter furniture in a series of small rooms. Subtle variations in room dimension, light quality, and finish material give each room its own personality. Rooms on each floor are clad in different species of wood to add an element of surprise and texture. The showroom reduces furniture display to its foundations: Contour, Texture, Weight.

Furniture Display Inspiration


Office Floor Plan 4


3 DISPLAy Interiors Showing Daylighting Display Floor Plan 3



Building Section

ground Floor Plan



KAYA K C LUB PAUL CATTANEO W e r d e l i n , F o u r t h ye a r

The kayak club is located in the southern por tion of Copenhagen harbor on a canal on the island of Amager. The site is currently home to a warehouse. The project focuses on for mal theor y and experiential investigation and achieved several goals: the isolation of an affect space, the layering of production forces in for m, and the analysis and utilization of natural forces. The process be g an by s c u l p t i n g t h e k a y a k c l u b ’s c e n t r a l f e a t u re : t h e l a u n c h b a s i n . Th e b a s i n responds to tidal forces and patterns of canal use and light levels in Copenhagen. Simple cutting moves and lifting procedures elevated the land for mation and layering of ear then infor mation in the sky to create a new sculptural object. S e ve r a l q u e s t i o n s a b o u t t h i s p r o c e s s arise, including whether place can hold onto the infor mation layered within despite the act of reconstitution.



KAYA K C LUB SARAH DAPPER W e r d e l i n , F o u r t h ye a r

South Perspective

A new kayak club, sited at the intersection of two canals in Copenhagen, Denmark, will serve as a teaching facility with an adjoining cafe for the general public. With a south-facing corner that gets direct sun even in the winter, the site has optimum conditions for outdoor life. This approach focuses on the development of a successful urban design response that takes advantage of these conditions and promotes interaction between users.




Kayakers follow a simple, but specific circulation that draws the visitor from the entry through support spaces to an exterior courtyard. By establishing the courtyard as a visual and physical assembly space for all activities, the kayak club promotes a successful social environment.

5 4

First Floor Plan

1. 2. 3. 4. 5.

Entry Locker Rooms Classroom Cafe Courtyard

East-West Section

North-South Section

South Elevation

1. 2. 3. 4.

Public courtyard Views to canal Circulation from metro Favorable southern solar access

West Elevation

15:16 East Perspective

Basswood Model



M US E U M OF MEDI CAL ANO MA L IES TUCKER HUEY E m m o n s , A k i n c i , F o u r t h ye a r

The Museum of Medical History and Anomalies features a unique experience and in-depth examination of the human form. With this thought the museum is designed: a place for close investigation and expanding of selfperception. The southern display spaces focus on history, and the northern portion on anomalies and anatomy. These different concentrations are represented physically, as they appear two feet apart in elevation. Within these areas protrusions and intrusions break up the space. The bumps serve as a resting place for visitors. One may enter these exterior spaces to temporarily escape from the graphic displays inside. Once outside the visitor becomes subject: displays of anatomy to the public on the street below. In turn they also study the public anatomy below and their movement through the city. The code-required vertical circulation of the two fire stairs and an elevator is supplemented with the truss stair. The stair developed from the earlier site section where the initiative Hercules figure represents the building. Within a city of little height variance and a premium of floor space, the truss itself is an anomaly of sorts in the business district of D.C. It exposes the interior of the building

Section through truss stair

various floor plans



FU TU RE { T ENSE} EDWARD BECKER H a r g r a v e , T h i r d ye a r

Future{Tense}, or the Storefront For The Reinvention of Life, was conceived as a critique and exemplification of theoretical issues but also, as a functioning spacial and circulatory system that contains defined areas for selfexpression {drama, art, social}. Temporal residential units, modular private units, and large public spaces for the display of art all supplement the dominant spaces for expression. Through a process of weekly projects, the final program and social constraints were simply a continuation of what was studied previously. Studies: 1> the edge condition 2> situational porosity 3> a(vs)b(vs)c 4> transient interactions 5> other

_urban boundaries _lines of sight _rail/walk/vehicle _interstate vs interact

[ final model ]

[ week 1 ]

[ week 2 ]

[ week 3 ]


2.12 2.13

Ulysses Carmona, Sanctuary for Pipe Organs, Fowler, Third Year


Tracey Coffin, “Quilting + Material Patterns”, Fowler, Third Year

Ernesto Garcia, Urban Buddhist Monastery, Susan, Fourth Year





Brent Lucy, Piazzale Brunelleschi, Pettena/Giaconia/Brizzi, Fourth Year


Matthew Covall, Row House, Jansen, Fourth Year

Jai Kumaran, “City Cuts,” Row Housing, Andersen, Fourth Year




DJ: I’d like to start by saying that writing is a good tool to clarify your thinking and is important in later years to develop a position that is larger than a specific response to the site. A thesis, for example, ought to be a demonstration of a larger issue or position that a student carries with them from project to project that forms the initial trajectory of his or her career. My only global comment is that the writing I see in each project isn’t evidence of an instrumental thinking that is bigger than the work itself. On the other hand, I understand that smaller projects might feel more like installations and not venues for bigger thinking. The Eco2 Scale house is great to see, but I don’t know if Dustin addressed issues that are bigger than the actual project. MC: Eco2 Scale tackles the great challenge of “Learn by Doing,” but my guess is that Dustin has framed houses before, so the project wasn’t about learning that skill. It makes us

Robert Arens is an Associate Professor and teaches second year design and practice.

wonder about the larger projections of this project, but maybe the project’s value lies in its ability to catapult a student’s career. But is the thesis the text or the project? DJ: The thesis is never the project, but the project embodies the thesis—and the text could also embody it. Writing is another way to convey thinking, but the writing I’m seeing here seems to be mostly written after the fact, rather than evidence of conceptual thinking that helped to develop the work. The “Learn by Doing” mantra, combined with Cal Poly’s legacy as a polytechnic, gives me a sense that its curriculum is about craft, construction, and materiality, but maybe a better way to think about it is to say, ‘You learn by doing those things that architects do.’ This includes positioning your work and trying to make a connection between architecture and culture. Writing is a big part of that. RA: The weakness of the text accompanying these projects is somewhat symptomatic of the approach taken by our program as a

Mark Cabrinha is an Assistant Professor and teaches third year design and digital fabrication.

Doug Jackson is an Assistant Professor and teaches fifth year design.

whole. We tend to emphasize images over text and narrative; we don’t have a lot of formal reviews; and we don’t emphasize writing until fifth-year. Many of our students haven’t been in a situation where they’re expected to write—or even talk—in a telling way about their work. MC: I believe that materiality and detail can begin to project beyond the detail and material itself, but a big problem occurs when the material and detail are just production. For example, the canopy projects trouble me. Projects at such a small scale need to be tested out in many ways. The lack of accompanying physical models tells me that they attempt to be about detail but are really about representation. The physical model isn’t just another form of representation—it tests the material’s tensile capabilities and perceptual characteristics. That level of depth begins to project larger ideas about how detail affects perception and that, to me, is more interesting than text.

DJ: I’m not arguing that the text should supplant or reflect on a project—I’d just like to see student formulate a design agenda instead of responding only to the particulars of each project. RA: This is an interesting group in that we’re looking at students at different levels working on comparable building types. Can we see any kind of trajectory in terms of architectural thinking? For instance, I see students willing to take on the structure and make it a part of the space. On the other hand, it all feels off the shelf, that students aren’t considering the structure as a form architectural expression. The canopies were really all about structure, but the off-the-shelf trusses used in an illogical way demonstrates students’ hesitance to face structural issues head on as a form of architectural expression. RA: Changing topics, I’d like to discuss the widespread misconception that first and second year are about training and not about synthetic thinking and doing. We in second year are trying to work against that tendency. It would be great to have that discussion. MC: I agree. The characterization that you learn skills in first year and then apply them is false. The challenge is how skill learning can begin to suggest and motivate. DJ: Ultimately, architecture is a cultural enterprise and it’s the architect’s job to produce work that has cultural value. I don’t expect young students to be on top of those issues. 2nd year projects are highly

constrained and the techniques they are asked to employ—like mapping lines of poetry—are artificial. They’re designed to help students think unconventionally and get them to a place they wouldn’t have been able to get themselves. Fourth year is different because you no longer have to airlift students up to that plateau. RA: It’s true that many second-year project are highly constrained and this shows in the work. For the record, I find that it helps students frame their projects in a meaningful way and encourages them take ownership in their work. I don’t know when it shifts in our program, whether third or fourth year, but I believe there aren’t enough constraints in many of our studios. I mean, the number of constraints affecting the built environment increases every day. I think it’s a valuable thing to stress in second-year and beyond. The presence of constraints in a project, whether introduced by the student or professor, can trigger imaginative yet strategic solutions. What constrained projects don’t do is give the student a larger idea; they still have to craft this aspect of the project for themselves. MC: Looking at Ed’s housing and its ideas about screening, it’s clear that Ed has been acculturated into architecture culture and the contemporary fascination with screens. But is the interest with screens larger than an image? Does he recognize that the screen acts as an interface between interior and exterior?

DJ: I don’t think it’s profound. The screen is just decorative, an image of some kind of plant cell structure meant to convey the trajectory of agriculture. But maybe that’s OK for 2nd year. MC: It’s great that Ed has placed himself within architecture culture by the end of second year—he’s current. But has he gone beyond architectural culture to speak to larger cultural issues? DJ: Obviously it’s unfair to criticize this in the context of a second year project, but I’d just like to mention that a lot of the new fabrication technologies have allowed us to do interesting things with material, but have only manifested themselves as surfaces applied to more conventional structures. It’s disappointing to me to see interesting screens with more banal things behind them. It tends to fetishize current modeling and tooling capabilities, rather than demonstrating a way to make those new tools and techniques instrumental to a larger architectural proposition. MC: In closing, it seems like our common concern is whether these detailed projects embody an idea that’s larger than the project itself, and how the text, material, and detail come into play as vehicles to project this idea.




In its current state, the terrace on the fourth floor of the architecture building is underutilized. Unprotected from the elements, it is occupied for short periods of time…the occasional cigarette break or a quick mobile phone conversation. With its sweeping views of the campus to the east and Bishop’s peak to the west, this space has the capacity to become a dynamic social extension or a serene lounge area for the nearby studios. During the initial site visit, a prominent feature of the space was the light breeze passing through. We wanted to highlight the wind as a distinct feature of this spot through the use of a shade structure resembling the graceful yet strong sails of a yacht. Wind is an essential part of sailing, creating the driving force behind the enjoyable pastime. The metal detail connections mimic sailboat rigging. The system is operable by use of a winch that allows a user to retract the sails. Cable lines are connected to a central “mast.” The lightness created by this shade structure is juxtaposed with the heaviness of the concrete is rests upon. The geometric simplicity and connection’s delicacy is pure in form yet extremely functional and efficient. The placement of the sail shades correlates with sun patterns, allowing the winter sun to penetrate but blocking out harsh summer light. The top of the hard concrete pop out of the media room below is enclosed with a foam cover, allowing students to relax between classes or take a break from their design projects.



E CO2_S C A L E 1:1 DUSTIN PIRES di Sa nt o, Fifth year

The eco2 project merges two critical issues in today’s society which in recent days are more relevant than ever, the environment and the economy. While going green is an idealistic opportunity embraced by the majority of the design community, it faces many obstacles mostly in the form of simple economics. Combined with the lack of education with the rest of the building community most green features are cut before design development enters its final stages. With a minimal budget, the eco2 project attempts to prove that with proper planning and execution in both design and building phases that a modestly green result can be achieved. green features: compact floor plan [335 s.f.] grey water system reused materials and appliances tankless water heater energy efficient lighting steel storage container serving as bedroom/office recycled cotton insulation engineered lumber orientation for optimal lighting, heating and cooling retrofit option for solar panels



PA LM V M EDI A PAVI LI ON BLAKE FREITAS Doe r f l er, Third year

The Palm redesign from earlier Palm III and Palm Pilot to the Palm v featured a large touch screen, numerous curves, and a sparkling-silver finish. The device is not only sleek in hand, but integrates easily with other technologies, easily synchronizing with computers to keep information consistent and current. Highlighting the capabilities of the Palm v, the pavilion maximizes interaction. Four silolike towers hold the equipment linked to the lighting and a series of touch screen panels interacting with images on the opposite wall.

JASON PIGNOLET B e l l e r + yg lesias, Fo u r t h year



Set on Potomac River, an inactive pier is converted into a place for high school students to learn a trade while constructing boats for their racing team. The wood framed structure wrapped in a protective fabric skin, mimics the boat building techniques learned by students. The layout is simple, allowing for the most flexibility. The 1st floor consists of a large workshop, design labs and storage while the 2nd floor contains the classrooms, facility offices and study areas for the students.



P O E T ’ S R E T R E AT DION DEKKER A re ns, Secon d year

The retreat is merely the beginning of the line - the start of the generative process. Dynamic openings augment and define compelling spaces. The skin of the main volume recedes from the structure, paralleling the ocupant’s detachment from the outside world. The work, is ever-evolving, and the evolution follows a multiplicity of systems. Separation and connection, fragmentation, and the introduction of walls and voids on the site. Underlying systems form the backbone of the architecture, but there is not one single system that makes the work. The relationships of the systems and the dynamics between them encourage the transformation and invention of a new architecture; a retreat that could otherwise not exist.



DE ORO MONASTERY BUCK MCBROOM K i l l i ng, Second year

Designing a spiritual proxy experience through dynamic narrative A dedicated depository of religious knowledge, an archive for the edification of posterity, requires an architecture that embodies, not merely symbolically represents, the unadulterated pursuit of truth. Without the inception of religious symbols or practices, spiritual meaning is brought to a secular realm. In order for a “secular” architecture to convey the collection of religious knowledge, a proxy experience whereby one object, article, or entity stands in place of another--religious for secular--must be established. Parishioners of differing faiths can work and study towards a common knowledge, themselves becoming the representation of their religions. By following a dynamic architectural narrative-progressing from an individual state of belief, into synaptic religious spatial neutrality, and ultimately into a common/collective of understanding/acceptance--a refining of each individual’s connection and relationship with divinity will be afforded. Dynamic narrative is defined as a period of establishment which is then disrupted and finally reestablished-the more powerful the narrative, the more powerful and meaningful the learning. Rather than focus on differences, unified diversity will reveal the reality of one’s own spirituality. Thus even without traditional symbolism, still “god is in the details”--the individual believer becoming the symbolism of faith.



G EN E RAT IO N X EDWARD BECKER S tew a r t , Secon d year

The design process began through an analysis of habitation developement patterns in the Santa Barbara region. Positive relatinships that characterize the region were applied to the building organization and siting. The program dictated a compliance between living and stable areas in regard to the interior and a pasture to public plaza on the exterior. Agricultural setting: The relationship established compares current agricultural technology, cell genetics, with agricultural technology that existed during the construction of the adjacent barn: horse and plow. The prominent shading device, a mesh derived from the shape of plant cells, links the the barn/residence with the past/ future. The “plaza extension” opening also relates to the large barn door entry sequence. Due to the opening of the “plaza extension,” a link is created that allows the plaza access to western breezes, views, and evening light.



1919 2008


1. primary winds come from the west

2. operable windows on west facade allow air in

3. east/west floor plan allows breezes to flow through building

4. operable windows on east facade allow air flow to exit the building 5. lastly, the porous shading mesh allows air to permeate through and complete the air flow process

m1 development diagram




Copenhagen’s South Harbor; once an industrial center with polluted grey water has been experiencing an ongoing face-lift since the late eighties, transforming it into a chic housing borough. Unfortunately, the new residential area has yet to take on the bustling atmosphere anticipated by community planners due to its lack of communal resources as well as intermixed business blocks. With its waters finally safe to swim in, a communal harbor bath is finally a possibility. The harbor bath provides lounging decks, a connection between green park space and the water, children’s pools, and a sauna component.













lev el

sun deck



A 122:123



This workshop was part of a Rhinoceros class at the val-de-Seine school of architecture in Paris. The form was modeled using the program and then the class travelled to a small town outside of Lyon to cut raw cardboard and construct. There are five different pieces: four types of hexagons and one pentagon.

k. L an ge, F if t h year



In the fall Studio 400 was asked to install a gallery exhibition to showcase student design work of the past year highlighting the different curricular years. Because of the timing the students chose to play on the theme of Halloween using plastic sheeting for its body bag suggestiveness and producing many short films that interspersed design projects with horror films and videos, such as Hitchcock’s The Birds and Michael Jackson’s Thriller. The films cast shadows about the sinuous walkway that ended in a lounge where students could lay on giant plastic pillows - filled individually with stuffed animals, popcorn, shredded paper, and the like – and watch more of the short films that were synched to fill the room with flying birds every ten minutes. Theater and architectural display. The studio installation project tested their creativity and ability to work together.



PA RA S IT E Fre eby, First year

Connection between architecture and its site is a relationship of critical importance. historically, this condition has been generically referred to as context. The paraSITES attach to the building through the design of an anthropometric composition responding to site specific analysis. They are foreign, feed off their location, and then disappear as quickly and quietly as they appeared. Teams design and build one paraSITE each that embody a relationship to the site that is unique.

Top Left: Kaylyn Berry, Emily Morillo, Josiah Pak. Top Right: giulia Johnson, Kurt Muenzer, Kelsy Westendorf. Right: Anna Nagasugi, Dane Philpot, Taylor Mercer. Opposite Page Left: Chris Maulino, Donna Mena, Lacey Bridges. Top Right: Allen McKinley, Jeanette Neethling, Olivia Austin. Far Right: Katie Murphy, Justin Paradise.





BookShow is an annual collaborative installation of Studio 400 showcasing first drafts of their thesis books. This year the studio took particular interest in the modulation of inflatable plastic packaging inspiring the generative form of the suspended structure. The shape shifting plastic cloud served as both bookshelf and reading room – enclosing books within lit openings and providing a laguna for seating below.


Nu lman , Fo u r t h year



This installation explores the redifinition of space through the use of a continual surface. A plywood and cloth shell divides the room into two studio critique areas and a private space defined by the surface manipulation. The structure of the form is connected to the supporting beams by metal hooks, allowing minimum impact on the existing walls. The orientation creates soft lighting, illuminating the whole room without harsh shadows. At night, the red and blue light creates intricate shadows on the structure that epmphasize the inherent complexity of organic shapes and define the two crritique areas.


1.14 1.15

Michelle Holst, Thermal Bath at Sankt Jørgens Sø, Jansen, Fourth year


EL +44'-0"


EL +44'-0"

EL +32'-0"


EL +32'-0"



Ian Slover, Piazzale Brunelleschi, Pettena/giaconia/Brizzi, Fourth year


EL +16'-0"


EL +16'-0"

EL +0'-0"

EL +0'-0"



EL +44'-0"


EL +44'-0"

EL +44'-0"



EL +32'-0"


EL +32'-0"

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EL +16'-0"


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Rachel Atmadja, Neda Nekoui, Ashly Sigle, venter Institute, Zimmer gunsul Frasca, Fourth year A3.02B

1/8" = 1'-0"


1/8" = 1'-0"


1/8" = 1'-0"

1.17 1.18

Kimiko Kohno, Kayak Club, Werdelin, Fourth Year

Ryan Ouimette, Danielle Tabachnick, Architecture Building Canopies, Reich, Fourth Year

ARCHITECTURE DEPARTMENT FACULTY Amanzio, Joseph Emeritus Professor Arens, Robert, Associate Professor Bagnall, James, Emeritus Professor Beller, Richard, Lecturer Benedict, William, Emeritus Associate Professor Cabrinha, Mark, Assistant Professor Chapman, Arthur, Professor Choi, Don, Assistant Professor Combrink, Woody, Lecturer Cooper, Allan, Emeritus Professor Crotser, Charles, Lecturer de Hahn, Henri, Professor, Department Head Dettmer, Randy, Lecturer di Santo, Thomas, Assistant Professor Doerfler, James, Associate Professor Duerk, Donna, Emeritus Professor Fowler, Thomas, Professor, Assistant Department Head Freeby, Brent, Lecturer Giberti, Bruno, Professor, Associate Department Head Golden, Elizabeth, Lecturer Grover, L. JoAnn, Lecturer Hargrave, Terry, Emeritus Professor Harms, Martin, Emeritus Professor Hilliard, Michael, Lecturer Illingworth, Curtis, Lecturer Jackson, Doug, Assistant Professor Jaggia, Chandrika V., Lecturer Joines-Novotny, Laura, Professor Jones, Hulett, Lecturer Kasperovich, Josef, Lecturer Kesner, Brian, Emeritus Professor

Killing, Ansgar M., Lecturer Lange, John, Professor Lange, Karen, Professor Loh, Larry, Emeritus Professor Lucas, Michael, Professor Macdonald, Kent, Lecturer McDonald, Margot, Professor Miller, Sandy, Emeritus Professor Mueller, Alice, Lecturer Neveu, Marc J., Assistant Professor Nulman, Eric T., Lecturer Panetta, Daniel, Professor Pease, Andrea, Lecturer Peters, Troy N., Assistant Professor Phillips, Stephen, Assistant Professor Pohl, Jens, Professor Reich, Jonathan, Professor Ridley, Bryan, Lecturer Roesling, Ralph, Lecturer Schmidt, Richard, Lecturer Stannard, Sandy, Associate Professor Stewart, George, Emeritus Lecturer Swearingen, Don, Emeritus Professor Weisenthal, Howard, Professor White, Mary, Lecturer Wiley, Keith, Lecturer Williams, Barry, Lecturer Wynn, Greg, Lecturer Yin, Margarida, Lecturer Yip, Christopher, Professor

California Polytechnic State University, San Luis Obispo 2009








Cal Poly, SLO Architecture Department publication of student work, 2009.