2017 CED Architecture Undergraduate Student Workbook

U. GRAD STUDENT WORKBOOK 2 0 1 7

UNIVERSITY

OF

CALIFORNIA

BERKELEY

1 0 0 D

1 0 0 A

FUNDAMENTALS OF ARCHITECTURE DESIGN I DOUBLE NEGATIVE 6

U N D E R G R A D U A T E OPTION STUDIO II

1 0 0 C U N D E R G R A D U A T E OPTION STUDIO I HELL AND BACK 30 HOUSES OF THE FUTURE, A NOND E N O M I N AT I O N A L CHAPEL, A DANCE STUDIO 34 A N I M A T I O N L A N D S C A P E 38 THE LIFE

NEW WORLD: AFTER WORK

42

A ONE ROOM DWELLING FOR THE 21ST CENTURY 46 ALMOST FRUITVALE

1 0 0 B FUNDAMENTALS ARCHITECTURE FOOD

DESIGN

OF II

BUILDING

18

FLAT 50 ART

LAB 54

OUT THE WINDOW CREATING A RELEVANT MODEL FOR A DENSE AND LEGIBLE CITY 58

AN IMAGE OF AN OBJECT

62

SIGNIFICANT

OTHERS

66

HABITATS

70

DESIGN INNOVATION GO LAB KENYA

74

LAUGHING

MATTER

78

FIFTH

FACADE

82

NESTING

TOM J. BURESH PROFESSOR AND CHAIR OF ARCHITECTURE UNIVERSITY OF CALIFORNIA, BERKELEY

Architecture is both a lens into and a product of mutable cultural forces. Berkeley Architecture asks students to situate their work at the intersection of these forces and imagine human activity, material specificity and spatial potentialities.

UC Berkeley’s first architecture classes were taught in 1903. Later, in 1959, the College of Environmental Design was established initiating, in an academic setting, a necessity for collaboration among architects, landscape architects, and urban planners.

The department today is composed of leading architects, artists, historians, engineers, theorists and sociologists dedicated to the notion that the challenges facing the built environment demand interdisciplinary labor and experimentation rooted in artistic, social, and ecological values.

The college is located in the San Francisco Bay Area where students and faculty are influenced and inspired by the region’s rich history and diverse peoples. Even so, students have ample opportunity to experience and learn from other locations as exemplified by recent excursions to Germany, Mexico, Singapore, and China to name but a few. We believe the juncture of global and local is critical to understanding architecture’s positions in the landscape of current ethical and ecological concerns. Of equal importance, our department attracts students from the US and all over the world who participate in lectures, seminars and work on projects from the intensely fundamental to the provocatively speculative. This pamphlet is but a brief glimpse into the thoughts and workings of Berkeley students and faculty, yet offers the promise of architecture futures imaginatively examined.

FACULTY

A NEZAR MARK ANDREW

ALSAYYAD ANDERSON ATWOOD

B R. GARY BLACK JEAN-PAUL BOURDIER GAIL BRAGER LAUREL BROUGHTON DANA BUNTROCK TOM BURESH

F

C

DARELL HARRISON

LUISA CALDAS CHRIS CALOTT JASON CAMPBELL GREG CASTILLO MARCO CENZATTI ERIC CESAL RAVEEVARN CHOKSOMBATCHAI RENEE CHOW MARY COMERIO GALEN CRANZ MARGARET CRAWFORD RODDY CREEDON C. CRYSLER

G DANELLE MARIA PAZ

SARAH DAVIDS DE MONCHAUX DI NAPOLI DUBOVSKY

E FRIDA

GUTHRIE GUTIERREZ

H

D RENE NICHOLAS WILLIAM ANTHONY

FIELDS FRAKER

I LISA

ESCOBEDO

HIRSCHMAN

IWAMOTO

O

J DAVID

2017

DAVID

ORKAND

JAEHNING

JAMES NEYRAN

P K KEITH

RUDABEH KEITH ELEANOR

U

R L RAYMOND JENNIFER

LIFCHEZ LY

M AJAY MANTHRIPRAGADA W. MIKE MARTIN TOMAS MCKAY

SUSAN

UBBELOHDE

RAEL RAY

W

S CHARLES STET STEFANO SIMON ANDREW METE DAN KYLE

TATE TURAN

PRARKRAVAN PLYMALE PRIES

KRUMWIEDE

RONALD MARY-ANN

T

SARAH SALTER SANBORN SCHIAVON SCHLEICHER SHANKEN SONMEZ SPIEGEL STEINFELD

WILMER

Z MIA

ZINNI

8

9

D O U B L E N E G A T I V E A100A MARIA PAZ GUTIERREZ LISA IWAMOTO DAN SPIEGEL DAVID ORKAND MIA ZINNI JENNIFER LY DAVID JAEHNING TOMAS MCKAY JASON CAMPBELL

FUNDAMENTALS OF ARCHITECTURE DESIGN I

NICOLE MACAM

100A introduces students to architecture through a cohesive set of projects beginning with an abstract exercise and culminating in the design of a small building. A strong conceptual premise is present in all the work, beginning with an investigation that synthesizes positive and negative space, or vice versa. We begin the semester by resisting either approach, and positing another whereby the design of space and form are thought of together as a complementary and subtractive process. The product of this process, the “Double Negative� is a spatial model that serves as the guiding principle for the remainder of the semester. Subsequent design projects extend the solid-void dialogue with site, circulation, and program. The final program, a library, purposefully translates the figure ground relationship of the double negative to a program rich with interpretation into how abstract principles can be made manifest in a building shaped simultaneously by public, social and individual use.

10

BRYCE PALLERA

NICOLE ROMAN

11

LEVAN LI

LIHAO WANG

12

ROSE AGUILAR-MCGHEE

STEPHANIE TANG

13

JOHN DIVEN

WILL DOLEN

14

NANA KOMORIYA

YOHANA ANSARI-THOMAS

15

GRACE AMUNDSON

SHAUN LIEN

16

DANIEL CHANG

NICOLE MACAM

17

DARREN PIRONO

ALEXANDRA CROFT

18

WHUIBIN PARK

19

LORETTA KOCH

20

21

FOOD A100B RODDY CREEDON AJAY MANTHRIPRAGDA LISA IWAMOTO DAN SPIEGEL DAVID ORKAND SARAH WILMER ELEANOR PRIES JAMES TATE KEITH PLYMALE WILLIAM DI NAPOLI

HTET HLAING

BUILDING

FUNDAMENTALS OF ARCHITECTURE DESIGN II Arch 100B is comprised of a semester-long project broken into 3 discrete but related parts, each focussed on different forms of design knowledge. The studio begins with precedent studies and research on carbon and climate, looking for ways that these topics can become powerful design agents. The second part of the studio asks students to activate the learning from the precedents and research into a hypothetical urban section/elevation, known as the Conceptual Cut. The studio concludes by asking the students to move the learning from the first two projects into the design of a mixed-use urban building in San Francisco organized around the common subject urban food, called FOOD BUILDING. The sites are vacant lots in the Hayes Valley and SOMA neighborhoods, local centers for food and technology. The primary elements of the program include a large, flexible ground floor for food/market/hall/urban room, a vertical urban farm, and commissary kitchens for local food entrepreneurs to use in the production of food. Collectively, the programs touch upon all aspects of the food cycle from growth through consumption, and provides students with a rich vehicle for synthesizing the semester’s learning.

22

PARAMA SUTEJA

KAR CHING CHAN

23

JINGYI CHEN

NATYA DHARMOSETIO

24

JACKIE WONG

25

MIGUEL NIETO

26

TIMOTHY DO

HTET HLAING

27

NORI LEE-HONG

28

FARIDA RADWAN

SECTION B1

SANGJIN JOUNG

29

ERNIE THEURER

30

31

32

33

HELL B A

AND C K

A100C ERIC CESAL

UNDERGRADUATE OPTION STUDIO I

MIGUEL NIETO + SANGJIN JOUNG

This studio confronted rising urban emergencies and explored the dimensions through which a designer can both prevent, and respond to, disaster. Moving beyond the simplistic paradigms of past design eras, where disaster was considered unavoidable and humanitarian interventions were considered a niche practice, the studio confronted the fact that increasingly all human habitation is under threat. From fifty-year droughts in California, to the Syrian refugee crisis, to induced earthquakes in Oklahoma, disaster is less and less of a foreign abstraction.

Disaster is increasingly a design consideration as ubiquitous and integral as site, program, envelope, etc.

Conventional disaster architecture has often focused on emergency response and tangible problems, thus creating predictable designs. Too much design focuses on who can design something the cheapest, the simplest, the easiest.

Newer, more thoughtful discourse within humanitarian architecture circles acknowledges that this approach often exacerbates the underlying conditions that gave rise to the disaster in the first place. The challenge, therefore, is how to position design as a tool for development and the betterment of human life.

34

MADISON LYNDSAY

35

MIGUEL NIETO + SANGJIN JOUNG

36

37

A100C JEAN-PAUL BOURDIER

HOUSES OF THE FUTURE, A NONDENOMINATIONAL CHAPEL, A DANCE S T U D I O

UNDERGRADUATE OPTION STUDIO I In the course of working on three projects during the semester, we examined the multi-dimensions of designing from the inside out and from the outside in. We will train ourselves to use both approaches to potentially realize that there are an infinite number of possibilities between these two alternatives. We tested these two approaches against the inhabitants’ experiences and finally we observed how such a concept may guide us in seeing how we design from either or both our own mind and body.

PAOLA GUTIERREZ Project 2

More precisely, in terms of creative process, we designed from the inside out in the first project (starting from plans and sections and discovering the volumes) and then designed from the outside in the subsequent two projects (starting from the vision of a volume and developing it into plans and sections).

38

PROJECT 3

PAOLA GUTIERREZ

39

NATYA DHARMOSETIO

PROJECT 1

STUDIO

BATH

LIVING

PREP

DINING

FLOOR 1

PROTOTYPE 1 X 1

PROJECT 2

40

41

A N I M AT I O N L A N DS CA PE A100C KEITH PLYMALE

UNDERGRADUATE OPTION STUDIO I The premise of the studio was that Ideas come before architecture, analysis before geometry, and events before program. Assignments are organized as a series of ‘situations’ that build to a site intervention [earthwork] and building proposal [architecture].

JESSICA YAMAUCHI

The culminating project of the semester was a 21st Century animation campus. Each student designed a building sited among streets of water, and infrastructural alleys which also serve as a circulation network for animals, machines, and humans. Animation Landscape is a campus organized by architecture, land, water, film, and tectonic ‘event spaces’.

The annual Venice Film Festival is the prime public venue and interface with the city of Venice California.

42

JESSICA YAMAUCHI

43

STEPHANIE VALASEK

44

45

A100C KEITH KRUMWIEDE

THE NEW WORLD: LIFE A F T E R W O R K UNDERGRADUATE OPTION STUDIO I

TIANGE WANG (ISABEL)

In order to credibly imagine new forms of collective dwelling, we must also imagine new social, economic, and political contexts within which we might dwell collectively. When subjected to a new set of parameters—if linked to a transformed conception of the role of work in society—each dwelling could become a cornerstone of a productive and consensual community. Even so, it is necessary to keep in mind that the Dream cannot be transformed overnight and made new out of whole cloth. It is too deeply embedded in our collective consciousness. At its core, the Dream is about security, comfort and familiarity, as much as it is about aspiration, accomplishment and status. Any new form of dwelling, if it is to dislodge us from our long-habituated connection to the single-family detached house, must deliver a compelling new narrative that makes collective life seem both more necessary and more desirable.

The challenge of this studio then is not only to propose other possible forms of dwelling but also to tell good stories about other possible ways of living, and living together, in a world with less work.

46

TIANGE WANG (ISABEL)

47

RALPH EDNALINO

48

49

A100C MARY-ANN RAY ESHERICK VISITING PROFESSOR

A ONE ROOM DWELLING FOR THE 21ST CENTURY

UNDERGRADUATE OPTION STUDIO I

YVONNE NGUYEN

Historically, human dwellings, for the most part, have been accommodated within a single room. The contemporary notion of a dwelling being “a machine for living in” and composed of disparate rooms for disparate functions- living room, dining room, bedroom, which by extension are “rooms as machines for living, eating, sleeping”, etc.- is perhaps an architectural anomaly of luxury and modernity that parcelizes the activities of our daily lives and our social and familial interactions. The ODA1 project - A ONE ROOM DWELLING FOR THE 21st CENTURY proposes that after carefully studying previous examples of single space houses, new models can be invented and designed to coincide with new ways of life at the beginning of this millennium.

50

YVONNE NGUYEN

51

ABOUBACAR KOMARA

FOKHEI Migration

52

53

A F

L M L

O S T A T

A100C NEYRAN TURAN

UNDERGRADUATE OPTION STUDIO I Interior space has swallowed the earth. Some call it the endless interior. Others question the contemporaneity of this condition and claim that it has always been about the interior, and that we simply did not know it. After all, they say, what we call territory is nothing more than a kind of planetary interior. Thinking of the giant air-conditioned interiors of assembly plants, warehouses, self-storage buildings, flower markets, convention centers, distribution centers, and office buildings, there is more to these interiors beyond their immense scale and ubiquity, however.

DORA TAN + MARCO LEUNG

The studio speculated on alternative potentials of these aspects through the design of a building that stores goods or artifacts (self-storage, archival storage facility, distribution center etc.), and contains an additional program of live or work. Rather than associating these interior spaces merely with their organizational or managerial aspect, the studio focused on the aesthetic questions that are raised about the two-dimensional versus the three-dimensional when the scale of intervention is superflat, i.e. the footprint of the architectural intervention is proportionally larger than its overall height. The students tested these ideas at the scale of the interior detail, at the scale of the building, and the scale of the larger territory.

54

DORA TAN + MARCO LEUNG

55

KAR CHING CHARLOTTE CHAN + TERRY HLAING

56

57

F R U I T V A L E ART LAB A100C RENE DAVIDS

UNDERGRADUATE OPTION STUDIO I Contemporary art museums continue to proliferate, many created to host traveling and temporary exhibitions, increasing the homogenization of global culture for a mass audience of passive spectators. Most cultural museums including the Mexican Museum and the Museum of the African Diaspora in San Francisco’s Yerba Buena arts district are located far from neighborhoods with any connections to those communities.

The Fruitvale Art Lab is intended to redefine the museum as a community resource that stimulates and promotes active participation in the creation of art, a hybrid building type which includes a café with a large outdoor terrace, a public plaza with space for sculptures, installations and socializing, workshops, studios, and performance spaces, in addition to galleries and historical archives.

JAY ZHOU

The Oakland neighborhood of Fruitvale is now home to the city’s largest Latino population as well as recent immigrants from many countries and artists living and working in converted industrial buildings. The Fruitvale Art Lab will celebrate the creative expression of local residents and the diversity of cultures they represent.

58

PARAMA SUTEJA

59

JAY ZHOU

60

61

A100C RUDABEH PAKRAVAN

OUT THE WINDOW CREATING A RELEVANT MODEL FOR A DENSE AND LEGIBLE CITY UNDERGRADUATE OPTION STUDIO I This studio investigated the potential of an architectural element – the window – as a catalyst in creating a relevant contemporary model for large-scale housing in Oakland. The hypothesis of the studio is that the city is primarily read and experienced in what Benjamin calls the “space between the building fronts” and that the window as analyzed from both sides can be used as a device to generate new relationships between urban form, boundary, public space, flexibility, density, and legibility.

KANA GOTO

Adam Caruso states that “the whole of the 20th century did not succeed in developing the idea of the city”. While proponents of modernist utopias or New Urbanist landscapes may disagree, the real question he raises is what then is the idea of the city in the 21st century? The studio considered the side in the debate about façade as a primary conveyor of meaning vs simply a divider of space, we then asked how can a relevant model for the contemporary city use the façade as a generator of legibility, meaning, and spatial consequence that is not just decoration and/or performance?

62

KANA GOTO

63

EARL KHO

64

65

AN AN

IMAGE OF OBJECT

A100D RAVEEVARN CHOKSOMBATCHAI

UNDERGRADUATE OPTION STUDIO II The studio was about an ambiguity between image and object, specifically when image is capable of operating not only as a mode of communication but also a mode of thinking. The studio explored and challenged conventional mean, method, and material that produced an architectural image - allowing reciprocity between medium or resisting material or medium specificity.

ASHLEY ROSE HICKMAN

The issues surrounding the studio inquiry is not unlike the challenges that took place in Western Art movement during the early to late 1960’s where medium specificity has ultimately exhausted itself. The term “minimalism” has been over-used and often mis-used from its original intention.

The movement holds its sources and reactions against predecessors as a way in which the group of artists search for a new way to make arts - historically gone hand in hand with the movement in architecture and has been responsible for the architecture avant garde during the period of the early to late 60’s. Its repercussion and diverse form of evolution has persisted and influenced the work up until the present.

66

ASHLEY ROSE HICKMAN

67

SEAN NAKAMURA DOLAN

68

69

SIGNIFICANT O T H E R S A100D KYLE STEINFELD

UNDERGRADUATE OPTION STUDIO II

TIN-WEI CHUNG

This studio grapples with problems related to the integration of physical and digital form-finding techniques into creative architectural design. Embracing the schema of the formal design experiment, we seek to resolve the authoritative voice that is so often bestowed upon the results of form-finding processes with the traditional authorial voice of the designer.

We will do so through a series of formal material experiments that undermine the uncompromising and imperative voice, and replace it with one of a range of potential alternatives: double, foil, doppleganger, collaborator, trickster, confederate, and enemy.

70

TIN-WEI CHUNG

71

PELLY CHEUNG

72

73

N E S T I N G H A B I T A T S A100D MARIA PAZ GUTIERREZ

UNDERGRADUATE OPTION STUDIO II

MAELIOSSA BARSTOW + VICTOR RIVA

The Studio proposed a new center for the Ohlone Humane Society through multiscale strategies to integrate rehabilitation, refuge, and recreation in an industrial and wildlife boundary.

Nesting is defined both as the physical construct that houses animals as the notion of fitting a body into another. Students explored this physical and conceptual framework through a series of hybrid nesting strategies with local material ecologies combining manual, mechanical and fiber-based 3d printing and 3d weaving enclosures. The traditional techniques of thin-wall fabrication are quasi-infinite in diversity as are avian architectures. Stemming from permutations of stretching and tightening methods, looping and netting, colors and textures primitive woven enclosures are testaments of lightweight design ingenuity. Through multiscale nesting strategies, students explored the structural and phenomenal qualities of a large scale hub for bird refuge, rehabilitation, and recreation.

Students embraced the challenges of implementing lightweight architecture made of natural materials in a site with saltwater inundation exploring processes of filtration and retention.

Phased degradability and resilience in a large scale lightweight construction were at the center of this design challenge.

74

MAELIOSSA BARSTOW + VICTOR RIVA

75

DE QIAN HWUANG + ABRAHAM ALDARACA

76

77

A100D RONALD RAEL

D E S I G N I N NOVATION G O L A B KENYA

UNDERGRADUATE OPTION STUDIO II In this studio, we worked with the non-governmentalorganization, Better Place International (BPI), whose goal is to impact community by design and delivery of sustainable healthcare and sustainable health. In response to these goals, we worked in teams toward the design of healthcare facility guest and staff housing on a 25-acre campus 30 miles east of Mombasa, Kenya.

WILLIAM BROWN, ARVIN TANU + ROY DANIEL

Working directly with the leadership of BPI, as well as community members in Kenya, we developed a vision for architecture that is sustainable, culturally sensitive, and employs additive manufacturing processes on site using natural and local materials. Additionally, buildings will utilize passive environmental solutions, with consideration of energy usage, sun, delivery systems, and sunlight, while being a model for consideration in other sites throughout Africa.

78

WILLIAM BROWN, ARVIN TANU + ROY DANIEL

79

BRUCE SHUNGPENG HE + DIANA DELIZ ARNOLD KENYA HOUSING PROJECT FUNDAMENTAL DESIGN STUDIO | ARCH 100D | RON REAL

12

FAMILY HOUSING SINGLE UNIT OCUPPANCY

HOUSING PROPOSAL K A G E N E C K I A O B L O N G A.

CLUSTER SITE ANALYSIS 15

B AN K S I A I N T E G R I F O L I A.

80

81

L A U G H I N G M A T T E R A100D SARAH HIRSCHMAN

UNDERGRADUATE OPTION STUDIO II We often talk about the effects of architecture or of promoting a certain experiential reading of a space, but we rarely pinpoint exactly how. This studio will be oriented toward producing a very particular experience, a very specific effect: laughter. The way that comedy works isn’t extremely well understood, which means there’s plenty of room for us to work: there are a number of compelling but competing theories about the social, emotional, and cultural place of humor. Laughter, though, is an effect, an appreciable if not entirely predictable, measurable effect. It is a response, a reaction, a symptom of something. This studio is interested in that something, in how architecture might begin to play with that something for the purpose of producing laughter.

GULZEB FATIMA

Humor is not considered “serious,” but it produces meaningful social and cultural connections. What if taking jokes seriously and mapping out the ways that linguistic, cultural, and visual cues affect our understanding of a situation revealed another way to experience space, to engage with an urban context, or to develop design strategies?

82

GULZEB FATIMA

modular diagram

renders

ISOMETRIC SCALE: N.T.S.

83

SANDY ZHANG

84

85

FI F TH FACA D E A100D METE SONMEZ

UNDERGRADUATE OPTION STUDIO II

VINCENT FULIA + IRENE LIORA

Some start with the plan and some with the section. Some start with a compositional or pictorial whole and arrive to parts later while others with the aggregation of units. Some mass empty volumes first before filling them with architectural content while others fetishize program to start. Yet, few starts with the roof. The main question of this studio was: what if we consider the roof as the main instigator of a project? By doing that, can we re-conceptualize the roof’s relationship to the building, and think about possibilities beyond?

The studio explored the design of a clearly articulated architectural proposal of artist live-work units, studios and galleries on a project site in North Oakland. In the studio, students demonstrated conceptual thinking and analytical rigor, giving equal importance to both speculative and pragmatic aspects of the project.

86

VINCENT FULIA + IRENE LIORA

87

STEFANI ALICIA JOHAN + PHILBERT WIRADJAJA

TICKET S

WORK IN PROGRESS

88

89

UNDERGRADUATE STUDENT WORK IS A PUBLICATION PRODUCED BY THE UNIVERSITY OF CALIFORNIA COLLEGE OF ENVIRONMENTAL DESIGN DEPARTMENT OF ARCHITECTURE © 2018, THE REGENTS OF THE UNIVERSITY OF CALIFORNIA, BERKELEY © OF THE WORKS, THEIR AUTHORS © OF THE TEXTS, THEIR AUTHORS © OF THE LAYOUT, DESIGN AND PHOTOGRAPHY, KELSEY BESS COHEN ALL RIGHTS RESERVED NO PART OF THIS PUBLICATION MAY BE USED OR REPRODUCED WITHOUT WRITTEN PERMISSION FROM THE UNIVERSITY OF CALIFORNIA BERKELEY COLLEGE OF ENVIRONMENTAL DESIGN, ARCHITECTURE DEPARTMENT. ALTHOUGH EVERY EFFORT WAS MADE TO FIND THE COPYRIGHT HOLDERS FOR THE IMAGES AND ILLUSTRATIONS USED, WE APOLOGIZE THAT IN SOME CASES IT WAS NOT POSSIBLE. THIS PUBLICATION WAS PRINTED AND BOUND BY BRANDES PRINTING COMPANY, BERKELEY, CALIFORNIA, UNITED STATES. FOR MORE INFORMATION PLEASE USE THE ADDRESS OR PHONE NUMBER BELOW. DEPARTMENT OF ARCHITECTURE UNIVERSITY OF CALIFORNIA, BERKELEY 232 WURSTER HALL #1800 BERKELEY, CA 94720-1800 TEL: (510) 642-4942 WWW.CED.BERKELEY.EDU