Erin Torchia_ADE 511 Fall 2015 Studio Logbook

Studio Logbook | Erin Torchia | ADE 511 | Fall 2015

Ordinary | Extraordinary Dialogue | Day 1 | August 21, 2015 We were asked to bring in one example each of an ordinary place, an extraordinary place, ordinary architecture, and extraor-dinary architecture. Each person stood in front of their examples and gave a brief explanation of their personal definitions of the terms “ordinary” and “extraordinary”, then de-tailed why they chose those particular spots/buildings. Professor Underwood then informed us that our first assignment was to create a PowerPoint that detailed our collective definitions of the terms “ordinary” and “extraordinary”, complete with vi-sual examples, due Monday. The class immediately began discussing words that we could all agree on for each category, and we made a list of questions so that some-one could use them as a sort of litmus test to determine if something was ordinary or extraordinary. We agreed to meet at 2 pm on Sunday to continue the discus-sion and finish the Powerpoint to our collective satisfaction.

Question Yes (extraordinary)

No(ordinary)

Is it uncommon to its surroundings?

Does it have multiple layers of meaning?

Is it distinctive?

Is it identifiable?

Is it a focal point?

Top: Ordinary Place- A small park in Avondale, with grass and a basketball court; it is ordinary because it is made with common materials and is a very common form of park (versus a highly designed park. Bottom: Extraordinary Place- A view from along one of the trails in the Boyce Thompson Arboretum; it is extraordi-nary because it is unusual and very beautiful.

Top: Ordinary Architecture- A flex-building in Phoenix, near Glendale Ave. and 19th Ave.; it is ordinary because it is utilitarian and made of widely used materials (stucco), and is unremarkable in design. Bottom: Extraordinary Architecture- Tempe Town Hall; it is extraordinary because of its shape, which shows a clear design intent. It does not look like the surrounding buildings, but there are others like it in Phoenix.

Class notes regarding the definition of Ordinary: • Something organized to give a sense of place• simple, but not really “special”• everyday, commonplace, nothing w/multiple layers, plain, boring, and single-use (vs. something multifunctional)• things that go unnoticed, commonly bypassed• naturally formed, without intent• simple, won’t invite a second glance• somthing that wouldn’t encourage a second thought, something cheap and quickly constructed, something eco-

nomical, minimal, mass-produced, and overlooked• no momentary value (won’t make an impression- so NOT Disneyland), common, functional-only• typical, usual, stamped, cloned, molded, standardized, repeated, accessible; a “type” to be repeated• affordable, most Americans can achieve it• universally obtainable• can be mistaken for other places, one of many; indistinguishable• commonly found everywhere, identical to many others • something common, but can be subjective (ordinary to those who see it daily, unique to non-locals)

Class notes regarding the definition of Extraordinary: • Something that’s MORE organized (gives a better sense of place, gives a sense of importance, can be seen from

a distance, possibly gives a sense of grandeur• beautiful, full of complex meaning, rare, uncommon, multiple layers of meaning• desire to be there- pulls people in, something you would go out of your way to see• takes your breath away, hard to miss• something that lasts the test of time, has historical and modern value, some tourism value, possibly large size

(IMPRESSIVE), thought and care put into it• something that will make an impression• inaccessible, location is unusual, possibly used for recreation (something not done everyday)• something out of reach, shows strenght of a nation or individual, makes you want to remember the name of the

designer, some element of the forbidden• has something to do with wealth, is sought-after and unique; limited enjoyment (only a few can see it)• iconic, instantly recognizable, fits with its location• unique, individual, possibly hard to find, incorporates new ideas• something organic in natur, special because unskilled builders can create something highly functional (as in the

case of the favelas in Brazil, which have basketball courts to reduce crime)

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Ordinary | Extraordinary Dialogue | Day 2 | August 22, 2015

Slides with Notes- Ideas of how to represent ordinary vs. extraordi-nary in the final presentation; will be peer reviewed tomorrow

Far Left, Top and Bottom: The view from the top of Tem-pe Butte (an extraordinary view because not many peo-ple climb up there and it is a unique vantage point), but the view is of ordinary buildngs and streets.Left, Top and Bottom: The top picture is of an ordinary seating area with mass-produced benches on concrete, complete with spare traffic cones- beside the entrance to Gammage Auditorium. The bottom view is of the top of the building, which is more recognizable. The whole building has multiple levels of meaning, as a unique and iconic place built by Frank Lloyd Wright, but it still contains elements of the mundane, and it is built with common materials (such as cement).

The discussions yesterday seemed to focus on two main ways of examining the ordinary and extraordinary. The first way proposed that both terms were definitive- one could define “ordinary” and the definition of “extraordinary would spring forth as its opposite. This was a good start, but we ran into a snag as we tested our theories. For in-stance, if we said something was extraordinary because it was in a unique location, had cultural significance, and people wanted to visit it, we found that we had to define exactly what “cultural significance” meant, as that was not a universal term. The second method of examination proposed that both terms were entirely subjective and couldn’t be defined. Thus, someone who was exposed to a place or type of architecture (or anything else) would consider it “ordinary”, even if the thing or place in ques-tion was unique only to a very small region or locale.

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It was decided that only the term “extraordinary” deserved a concrete definition, and that every-thing outside the scope of the extraordinary would automatically be “ordinary”. Thus, we came up with 4 agreed-upon elements that were common to extraordinary things. An item, location, etc., could be described as “extraordinary” if it was UNIQUE (of unusual quality), RARE (one of a kind or one of a relatively small number of its kind), DISTINCTIVE (from its surroundings), and/or if it HAD MULTIPLE LAYERS OF MEANING. It was noted, however, that something could have any one of the qualities without being necessarily extraordinary; thus, we decided that things must have more than one of the aformentioned qualities, or posess a significant level of a single quality. Yesterday’s slide options (for displaying examples) were vetoed in favor of the pictures below; each location received 2 pictures. The photo to the left shows one of my options for the cover slide- it will be peer reviewed before class tomorrow. I liked the idea of using color to con-trast the ordinary with the extraordinary, though the picture turned out darker than I expected.

Ordinary | Extraordinary Dialogue | Day 3 | August 23, 2015 3

Today we finished our examination of the terms “ordinary” and “extraordinary”- the presentation went well, and the discussion that followed was quite productive. Professor Underwood recommended that we use each slide to illustrate a story, rather than describing each slide, and as a group we agreed that we could have added vernacular architec-ture to the presentation (rather than only discussing “high” architecture from well-known designers. We also received our new assignment, which was to create a Pecha Kucha-style presentation about a contemporary Arizona architect (chosen via slips of paper in a box) and one of their projects. I got to learn about Marwan Al-Sayed and Stone Court Villa, a house in Paradise Valley, Arizona. It wasn’t a widely publicized project, but the handfull of sites that mentioned it had stunning pictures of it. The house sits on a large lot near Mummy Mountain, and the position of the house allows the occupants to feel almost as though they are surrounded by open desert. There was only one floorplan available, and no sections. However, I may try to digitally trace the floorplan and layer it over the Google satellite image and call out which room is which. Then, I can use the photos of the interior to illustrate the design philosophies, if I find any. I am quite surprised at the small number of photos of the architect himself.

Case Study | Stone Court Villa/Marwan Al Sayed | Day 4 | August 24, 2015 4

180 degrees | Philosophy (Source: www.180degreesinc.com)“To seamlessley transform the architectural vision and philosophy of the project intent into meaningful spatial dimension. Accomplished simply by restraint, rigor, craftsmanship, and patience. Offering integration of art, archi-tecture and experience and the journey by which decisions are made and lines are drawn. Demanding excellence from the craftsman that executes the role of creating the sum of parts that make the whole. Field choices based on natural conditions that relate to site, energy, and integration into the context in which the project is being constructed. A company orchestrated by architects for the lasting experience of our clients.

The description of the project given by the design-build firm veers toward the poetic as it references the rythm experienced as the visitor traverses the house, moving between areas of light and shade, and passing through spaces with varying degrees of enclosure. However, there is one quote that is a bit odd: “the walls exclude what is weak and undesired so that what is vibrant and alive can flourish in peace”. The other interesting quote I dis-covered came from an article in Architectural Digest; Mr. Al-Sayed mentioned that the owners, Paul and Joann Delaney, “wanted the house to last a thousand years”.

Case Study | Stone Court Villa/Marwan Al Sayed | Day 5 | August 25, 2015I found the firm’s design philosophy! I also found the philosophy of the design-build firm that built the house, (180 degrees) along with their blog about the process. There are videos, a few sketches of some of the construction details, and plenty of photos of the construction site. I don’t know how helpful they will be when I attempt to create a section, but they can’t hurt! Additionally, I discovered an Instagram account linked to Masa Studios, (the architect’s firm), and found a handful of photos that captured the elegance of some of the details. For instance, there is a photo depicting the pool steps, after the water was added; the photo perfectly captures the clean lines and serene ambience the architect was aiming for.

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Case Study | Stone Court Villa/Marwan Al Sayed | Day 6 | August 26, 2015

Above: construction detail sketches of a fence be-tween the parallel walls; assembled, it creates ex-cellent shadows. Today, we printed and pinned up photos of the buildings and architects we had chosen, then spent most of the class presenting them. We also learned that we would have to create floorplans and sections of our own, rather than copying them from existing sources. Tracing is (thankfully) allowed, and we were instructed to do our best with creating sections if our building didn’t have any published. The pictures below are of the construction and assembly of a concrete lintel with stone veneer.

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Case Study | Stone Court Villa/Marwan Al Sayed | Day 7 | August 27, 2015The assignment description sheet includes a list of things that should be presented in the final Powerpoint; however, it is a little confusing. For instance, how will I find out what the architect’s design process is if I can’t contact him? Would that be hinted at in one of his published articles? It would be very helpful if it was, but the list of his published articles is several pages long. Similarly, are the “key elements of the ar-chitect’s language of architecture” the items listed below that line (movement, order, spatial ideas, systems of enclosure, etc.)? Info about Marwan (from his website): He went to high school in Morocco and Colorado, and then went to Vassar College, then Cambridge (New York). He is well-traveled (though it doesn’t list a set of plac-es, his Curriculum Vitae lists projects in countries across the world), and his travels seem to influence his designs. I’m not really sure if I should look up all the places he’s traveled and try to draw parallels to this project, but I suppose if nothing else turns up I could try.

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A relentless pursuit of beauty and magic suited to our times

Practical and innovative uses of new mate-rials and technologies based on thorough research

An ability to merge new concepts of beauty and form with a deep respect and appreci-ation of archaic and ancient spaces (long since forgotten in modern life)

A constant interest and exploration of the potential of natural light to infuse spaces

The creation of a sensual modern architec-ture that aspires to surround the client in an atmosphere of art and serenity through the formulation of new concepts of space, form, and light

This is the floorplan trace superimposed on an aerial photo from Google; frustratingly, it doesn’t match. It’s as if the house was built with slightly different proportions than the plan, but not so much that anyone would notice if they werent looking.

Google Aerial Views: These depict the rough shape of the building combined with the sun at various times. The top one is the shadows created at 3:30 pm on July 21, while the bottom one shows shadows that occur at 3:30 pm on January 1st. It’s a winter house, so perhaps during the summer they just don’t care if it doesn’t get as much shade... Photos at right and below: These came from Marwan’s website, un-der the section for places he’s travelled. Unfortunately, there was no context or location given for any of them, so I’m not really sure where they are. (I tried reverse image searching screenshots of them, but to no avail.

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Case Study | Stone Court Villa/Marwan Al Sayed| Day 10 | August 30 2015

Inside Vs. Outside- The areas in orange are outside and completely unshaded (I included the area of the courtyard with trees in it, though I’m conflicted about this because they do provide shade). The teal areas are outside, but enclosed by shading devices or roofs, and the blue areas are inside.

Public Vs. Private- The bedrooms and the billiard room beside the boys’ rooms (because it seems iso-lated from the other spaces) were deemed private, and the living and eating spaces public; the brown areas include the garage, a hallway, and the me-chanical support area (not gathering spaces).

Structural Walls- These walls seem to be solid, but I had a lot of trouble determining where they were, as the floorplan was very small originally. Additionally, not all the rooms were photographed, so some of these are just guesses. The interior spaces are 13’ high, and the stones came from Durango, Mexico.

Movement- The movement was driven by framed views and the human desire to move toward light. Almost all of the views included distant mountains (an element of shakkei, the borrowed view), and in most cases, the light comes from glass doors. In some cases, however, I suspect the liight is used as a lure- for instance, I don’t think the reflecting pool with its skylight is directly accessible from the gallery where it can be seen. Nonetheless, it is an effective and beautiful way of directing people through the spaces.

Above- There were 2 natural washes on the site, and Marwan, instead of siting the house in the center of the lot and bridging them, simply rotated the house to give the owners a lovely view across the wash. Below- The main idea of the space is simple shapes and garden spaces; the goal was to provide the experience of living on the edges of gardens. Each space has a view of, or direct access to, a garden or outdoor space, which allows a lot of natural light into the interior spaces.

Additionally, I also discovered a huge sliding glass door- in the photo above, the frame around the glass is far too thick for a normal window; and in the photo below, you can see the edges of doors in the room beyond the living room (which is beside the gallery).

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Case Study | Stone Court Villa/Marwan Al Sayed | Day 11 | August 31, 2015 11

Tucson Barrio Coalescence | Day 12 | September 1, 2015

Building upon our two proceeding projects, you are now asked to design the new TucsonBarrio Coalescence. The proposed facility is a business start-up incubator, which exposes newbusiness leaders to hands on entrepreneurship, technology and artisan activities.The goals of This projecT are• Provide an innovative, 21st century dynamic start-up incubator space designed to inspire collabo-ration and creativity.• Provide a facility that respects, protects and extends Tucson’s rich cultural history and the uniqueness of its youth, the community, traditions, craftsmanship and place.• Provide a facility that promotes urban regeneration through adaptive reuse, and encouraging social integration within their community.• Provide new business leaders hands on access to entrepreneurship, technology and artisan activities.• Provide opportunities for new business leaders to participate in individual and collaborative hands on activities related to leadership development, decision-making, citizenship, and community service.• Provide physical and digital resources that connect these new business leaders, to both local and global resources, mentors, and institutions to solve today’s challenging problems.• Provide incentives for recognition and achievement for these future leaders and their clients.

Historic photos of Lucky’s Market

Top: Part of the transit map for Tucson; our site falls just south of this shot’s lower edge. Top Right: Sanborn map from 1919; our site is marked as residential, which indicates that it it was not yet “Lucky’s Market”.

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Tucson Barrio Coalescence | Day 13 | September 2, 2015 13

Tucson Barrio Coalescence | Day 14 | September 3, 2015Transit scores were obtained from Walkscore.com - as were the maps on the previous page, which depicted how far one could get by walking, biking, driving, and taking a bus for various amounts of time. But what does this amount to? How will this influence my design?

Ideally, since no client was specified, the client will be the local community. Thus, I will strive to provide a ser-vice that is missing within the context of the communi-ty, or a service that connects to an existing business/trend/service. I will use the demographics and other context research to determine what services and busi-nesses exist in the area, and from there I will determine which approach to take. Since this is a co-work space with a vaguely defined program, I will have to take into account the fact that most or all of the occupants will be commuting in. Nonetheless, I will choose a study boundary that is about 15-20 minutes away via bicycle or by foot; this should give me a space that is large enough to study but small enough to study thoroughly without being overwhelmed. The demographics will be used to determine if the space should provide child care, social services, a space for after-school activities, or cater to a more wealthy clientele.

After digging through the zoning code, I think I have discovered the proper zon-ing for this property: HC-3. The H is for ‘historical’, and the C-3 is the type of com-mercial property it is zoned as.

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(Purple bars- 85701 zip code)2010 or later 82200-2009 4441990-1999 2271980-1989 1511970-1979 1831960-1969 2611950-1959 1791940-1949 931939 or earlier 1,320

The space to the west of the site is (according to Google Maps) an empty lot; we are not allowed to touch it, however. It will provide no shade, which is unfortunate, but at least there will be less of a chance of conflict with neigh-bors. The building itself seems rather run-down. The buildings around it don’t seem to be much better, but I suspect the require-ment that restorations meet historical aesthetics may have something to do with this. Per-haps historically accurate res-toration is costly or otherwise impractical; either way, putting a new, “clean-looking” building here (or facade, since the build-ing can’t be torn down) would look out of place.


Existing Materials Palette(according to Google Maps): BrickStuccoCorrugated MetalChain Link

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Co-Work Space Ideas- From reading through the case studies from the project description• ability to bring pets to work• free wifi• food, especially free snacks• month-to-month membership fee (vs. long term contracts)• lunch & learn workshops• membership levels- cheaper fee for less access, higher fee for increased or unlimited

access• interns provided, to help out with business, answering phones, receptionist, etc. • mail area- ability to have business mail sent here• gallery to display the members’ work• discounts at local businesses• consultants available for law questions, marketing, etc.• space sells products made by members

COWORKING EXPLAINED[from CO+HOOTS website]

Coworking involves businesses and individuals working in a shared en-vironment. The collective share the same values and interests in the col-laboration and serendipity that will happen from working with talented people in the same space. These companies work independently but oftentimes collaboratively.

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Tucson Barrio Coalescence | Day 17 | September 6, 2015Bars1. Congress St. Clubs (125 E Congress Street)2. Vaudeville Cabaret (110 E Congress Street)3. Barrio Brewing Company (800 E 16th Street)4. Latin American Social Club (437 E 26th Street)Groceries5. Maynards Market and Kitchen (400 N Toole Avenue)6. Tucson Food Service (810 E 17th Street)7. 17th Street Farmers Market (840 E 17th Street)8. Holiday Mart (560 W 22nd Street)Coffee Shops9. Stella Coffee and Tea (100 S Avenida del Convento)10. Big League Café (400 W Congress Street)11. Chris’ Courtly Café (405 W Congress Street)12. La Cocina (201 N Court Avenue)13. Christy’s Corner Café (110 S Church Avenue #4194)14. Caffe Milano (46 W Congress Street)15. Roasted Tea & Coffee Shop (33 N Stone Avenue)16. Holy Grounds Café (59 E Pennington Street)17. Café 54 (54 E Pennington Street)18. Shot in the Dark Café (121 E Broadway Boulevard)19. Sparkroot (245 E Congress Street)20. Cartel Coffee Lab (210 E Broadway Boulevard)21. Café Desta (758 S Stone Avenue)Parks22. Garden of Gethsemane Park (630 W Congress Street)23. Sunset Park (2-98 N Granada Avenue)24. El Presidio Park (220 W Pennington Street)25. Echo Park (101-149 W Congress Street) 26. Tucson Convention Center (265 N Granada Avenue)27. San Augustine Plaza (1-99 W Ochoa Street)28. Military Plaza Park29. Iron Horse Park30. “A” Mountain (Sentinel Peak Park)31. Santa Cruz Park (945 W Mission Lane)32. Verdugo Park (849 S Verdugo Avenue)33. Ormsby Park (899 E 25th Street)34. Santa Rosa Park (1085 S 10th Avenue)35. Jardin de Caesar Chavez (735 S 6th Avenue)36. Santa Rita Park (401 E 22nd Street)

The aerial photo to the right shows Cafe Desta; the triangular piece of prop-erty to the north of the cafe is the Jardin de Caesar Chavez. It is a small rock garden-like park with a handful of trees and a beautiful mural (seen in the picture to the far right) on the side of the Cafe Desta building. This spot is well within the 15 minute walking radius of the site, and is likely within the 10 minite walking radius as well.

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Bars1. Congress St. Clubs (125 E Congress Street)2. Vaudeville Cabaret (110 E Congress Street)3. Barrio Brewing Company (800 E 16th Street)4. Latin American Social Club (437 E 26th Street)Groceries5. Maynards Market and Kitchen (400 N Toole Avenue)6. Tucson Food Service (810 E 17th Street)7. 17th Street Farmers Market (840 E 17th Street)8. Holiday Mart (560 W 22nd Street)Coffee Shops9. Stella Coffee and Tea (100 S Avenida del Convento)10. Big League Café (400 W Congress Street)

11. Chris’ Courtly Café (405 W Congress Street)12. La Cocina (201 N Court Avenue)13. Christy’s Corner Café (110 S Church Avenue #4194)14. Caffe Milano (46 W Congress Street)15. Roasted Tea & Coffee Shop (33 N Stone Avenue)16. Holy Grounds Café (59 E Pennington Street)17. Café 54 (54 E Pennington Street)18. Shot in the Dark Café (121 E Broadway Boulevard)19. Sparkroot (245 E Congress Street)20. Cartel Coffee Lab (210 E Broadway Boulevard)21. Café Desta (758 S Stone Avenue)Parks22. Garden of Gethsemane Park (630 W Congress

Street)23. Sunset Park (2-98 N Granada Avenue)24. El Presidio Park (220 W Pennington Street)25. Echo Park (101-149 W Congress Street) 26. Tucson Convention Center (265 N Granada Avenue)27. San Augustine Plaza (1-99 W Ochoa Street)28. Military Plaza Park29. Iron Horse Park30. “A” Mountain (Sentinel Peak Park)31. Santa Cruz Park (945 W Mission Lane)32. Verdugo Park (849 S Verdugo Avenue)33. Ormsby Park (899 E 25th Street)34. Santa Rosa Park (1085 S 10th Avenue)

35. Jardin de Caesar Chavez (735 S 6th Avenue)36. Santa Rita Park (401 E 22nd Street)Schools37. City High School (48 E Pennington Street)38. Pima Vocational High School (97 E Congress Street, Suite 30)39. Downtown Alternative High School (39 N 6th Avenue)40. Downtown Arts Academy (55 N 6th Avenue)41. Calli Ollin Acadamy (200 N Stone Avenue)42. Safford Junior High School (200 E 13th Street)43. Carillo Intermediate Magnet School (440 S Main Avenue)44. Tusd- Distance Learning Program (700 S Park Avenue)45. Joyce Drake Alternative Middle School (445 S Park Ave-nue)46. Drachman Primary Magnet School (1085 S 10th Avenue)47. Santa Cruz Catholic School (29 W 22nd Street)48. Ochoa Elementary School (101 W 25th Street)49. Borton Primary Magnet School (700 E 22nd Street)Libraries50. Pima County Public Library (101 N Stone Avenue)51. Pima County Law Library (110 W Congress Street, Suite #256)52. Santa Rosa Library (1075 S 10th Avenue)53. Sam Lena-South Tucson Library (1607 S 6th Avenue)Entertainment54. Tucson Museum of Art and Historic Block (140 N Main Avenue)55. Tucson Museum of Art (140 N Main Avenue)56. Tucson Philharmonia (166 W Alameda Street)57. Presidio San Augustin del Tucson (133 W Washington Street)58. Fox Tucson Theatre (17 W Congress Street)59. The Screening Room (127 E Congress Street)60. Southern Arizona Transportation Museum (414 N Toole Avenue)61. Old Pueblo Trolley Inc (360 E 8th Street)62. Arizona Historical Society (151 S Granada Avenue)63. Museum of contemporary Art (256 S Church Avenue)64. Children’s Museum Tucson (200 S 6th Avenue)65. Jewish History Museum (564 S Stone Avenue)Banks66. Wells Fargo Bank (150 N Stone Avenue)67. National Bank of Arizona (136 N Stone Avenue)68. Bank of America (33 N Stone Avenue)69. U.S. Bank (1 E Congress Street)70. Chase Bank- CLOSED (2 E Congress Street)Medical Services71. El Rio Community Health Center- clinic; Sandra Leal, PharmD, CDE- Pharmacy (839 W Congress street)72. Pima County Health Department- clinic (332 S Freeway)73. World Care- medical supplies (100 N Stone Avenue)74. Medicine Shoppe- drugstore (305 S Euclid Avenue)

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We asked some fifth year architecture students (who had done this project in their third year) if they would lend us their base map files, and they did! They sent us a sketchup model, an autocad drawing, and the high resolution aerial (above). Left: These are from Pie Snob, a pie boutique in Phoenix that offers kitchen space for rent. They have a great website, but I think a few more pictures of the kitchen space would be nice.Right: This is a picture from Green Spaces, a co-work space with branches in Denver, Colorado, and New York City, New York. The space is meant for values-based start-ups, and they offer weekly networking events, along with a program to bring mentors in to talk to the entrepre-neurs. They also refer people to companies that provide other services, like accounting and marketing. I like the casual atmosphere of the sitting space, which I think would go well in the community area and the lounge spaces for the artisan chefs.



Much to my chagrin, I have discovered that the drawing of the site (with dimen-sions) was incorrect. It was slightly off in the sens that the dimensions didn’t quite line up with one another when I began to draw the site in AutoCAD. None-theless, I entered as many of the dimensions as I could and then I was forced to scale the drawing up as close to the proper dimensions as possible, then simply trace the interior walls. I am aware that this isn’t as accurate as possible, but I’m not sure how to fix that.

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Restaurants75. Street Taco and Beer Co. (58 W Congress Street) Rice House (54 W Congress Street) Subway (29 W Congress Street) Bruegger’s (1 W Congress Street)76. Quesadilla’s Grill (110 S Church Avenue)77. Penca (50 E Broadway Boulevard)78. Downtown Kitchen + Cocktails (135 S 6th Avenue)79. Terrace Café & Bar (350 S Freeway)80. El Minuto Café (354 S Main Avenue)81. Cushing Street Bar & Restaurant (198 W Cushing Street)82. Casa Vicente (375 S Stone Avenue)83. Five Points Market & Restaurant (756 S Stone Avenue)84. Lalo’s Raspados (804 S 6th Avenue)


Top: First attempt at a word cloud, to help visualize goals and priorities in the spaceBelow: Artisan, Community, Kitchen, and Restaurant are the primary themes, and the less im-portant themes are arranged around them (first attempt was much less orderly)

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Tucson Barrio Coalescence | Day 22 | September 11, 2015VERSION 1• existing building is maker space + entry +

restaurant• communal kitchen is separate from shared

kitchen (for artisan foods), and is public (thoughhas some staff probably)

• bathrooms are scattered around to where they are needed

VERSION 2• restaurant in front of old building• artisan spaces in old building• offices along northern edge• community space is half outdoors and sits

along the western wall• desk and maker space are combined into the

shorter older buildingVERSION 3• no restaurant space? restaurant space is the

L-shape between old functions + new func-tions; small indoor portion, outdoor portion is like cafe space (2-seat tables)

• entry space is in the new building area con-tains courtyard with the tree

VERSION 4• restaurant space is in front of old building,

dubbed community space• service/receiving area is at west end, behind

storage• conference rooms beside north wall• storage and lockers are beside the maker

space for easy access from the roadVERSION 5• tree serves as private garden (with gate, so it

can be opened to street if desired)• desk spaces next to morth wall- better light-

ing; conference room separates the maker space from the desk/drop-in space

• lounges 1 and 3 are combined- become courtyard

VERSION 6• desk space and maker space are combined,

and positioned along the north side for bet-ter lighting

• entry space is half outdoors, situated be-tween the old and new buildings

• communal kitchen is connected to commu-nity space; this space is casual and public

• conference rooms mostly have views of out-door spaces, and the lounges act as a buf-fer between the mechanical/electrical space and the conference rooms

• office functions are put in the smaller part of the old building

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The Maker/Drop-In space will fea-ture multiple kitchen spaces; some witll feature double ovens, others will have only prep spaces (table space).

How Rentable Kitchen Space Works:(according to Chef’s Shared Kitchen)1. Become a client-company: sign up with the company2. Schedule kitchen time: use your login ID to check space availability and sign up3. Rent cold or dry storage space if necessary4. Bring all food, smallware, and specialty equipment (cutlery, cutting boards, utensils, etc.)5. Pay for Services (pay on the first of each month, and usage is de-ducted from the fee)6. Access Facility- use your pin to access the facility; access is re-stricted to scheduled time and deliveries7. Utilize Workspace & Equipment8. Clean Kitchen Space- do not leave your space dirty9. Check out

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Lucky’s Market was one of many Chinese Markets in the barrios; however, demographic shifts reduced the demand for such markets, and they slowly vanished. This site sits on the southwest corner of Kennedy Street and Meyer Avenue, and is currently a type 3 commercial property with a historic overlay. The project began with a study of what destinations lay within a 10-15 minute walking radius, followed by an analysis of site conditions and the development of a vision. There were plenty of cafes in the general area, but very few within a 5 minute walking distance. Thus, the site will become a space centered around community interaction, food, and innovation. The goal is to create a space for small start-up businesses that require access to a commercial kitchen, where interaction can spark creativity, and the community can gather to cook their own meals and purchase some of the artisan creations. This space is welcoming, fun, relaxing, and inspiring.

Notes, Comments, and Questions

Design Goals: This floorplan was selected because it allowed space for both the community (via a semi-public kitchen and large cafe/seating area) and the start-up businesses to operate without clashing. The existing trees were saved and became part of open-air courtyards that the members could use as re-laxation spaces, while the existing structure was preserved to house the community space and the offices, printing/scanning area, and a conference room.



Ruonan•Community involvement!•Research the needs of the community- how many stages/studios do they need?•Proposed program elements: art gallery, small stage, kitchen, studio, storage•Open up the space to the street- consider having a courtyard, be-cause you can’t have large openings (doors) visible from the street (it goes against the historic zoning)•You can make the existing building into a courtyard by leaving the walls intact and taking out the roof (and putting in a system that lets light into the space)•Your non-cellular program allows spaces to flow freely; don’t focus so heavily on defining rooms yet, just clarify the program and the “why” of your design•Regenerating the community through art- a space that unites the community with the performing arts

•Arts center/community theater•People in the barrio tend to work multiple jobs and have multiple family members working, just to make ends meet- what is going to draw them to this space after a long day of work?•Maybe it’s run by locals; perhaps the grandparents in the area do the cooking for the café and can take the kids there after school and watch them as they practice/learn the performing arts•Current design is too cellular and broken up; make it more open and start with the big ideas as spaces, then slowly move to the more detailed spaces, like the restrooms•Bring multiple elements of the community together; ie: not just teens hanging out here, but more than one age group (multigenerational)•Could have space to hold Quinceañera (a Latina girl’s 15th birthday party- marks the transition from being a child to a young woman)Hao•Considering doing a 2-story hydroponic space•Multiple viewing spaces, retain market for community to trade things

with each other•3 layers of glass around the hydroponic area to block out natural light- as long as it isn’t on the outer wall, because that would conflict with zoning•Storyboard your idea out so you can see the specifics of the project•Become an expert on your topic- I personally want to know more about the fish! Perhaps there’s a mini aquar-ium for kids to look at and care for? Perhaps you’re creating a sort of ecosystem?•Get or draw an accurate diagram of the process- we want dimensions on the pipes (particularly how long they are), how the room is set up, how the process works, how humans work in it•How many people are needed to staff this operation?•Idea of putting offices/classrooms in the growing area- office space in the jungle•Is this like a museum, or do the kids help/interact with the process (whereas at a museum, you see it once and they don’t go there again for a few years)•Let people see all parts of the process•What’s the connection to the community? How does the community interact and participate in the space? This is an essential question•Make sure it connects to the area around it- the site and the city nearby•Increase the scale and put the program elements in with exact dimensionsSami•Tourist/Historical center- Barrio Heritage Center•Tourism is the main idea... but the historic Barrio house (museum) closed because there wasn’t enough traffic (in terms of visitors) to support it•The most important thing that happens in this space is the intergenerational storytelling•How to get natural light to the basement- Cut a hole in the 1st floor, Float 1st floor from the walls- let the light seep down into the basement from the edges of the walls•Why do people want to go here? You can see most of the historic data online, so what makes people want to physically go there?•What about a job center?Noah•Music in the Barrio!•What do young musicians want? Space to practice and an affordable way to get your music out there (profes-sional recordings are seriously expensive)•Recording studio- run by volunteers? How do you make it affordable?•Instruments, turntables, amplifiers- rentable, bring your own•Digital technology available•Lesson rooms, individual practice rooms•Scheduled space; space program changes according to time•Vinyl store, Café & lounge- hangout space, perfor-mance-centric, Apps- garage band, bailios (spelling?)•Teaching about musical history•MIM (musical instrument museum)- case study, perhaps•Money is an issue•How do kids fit in? what age groups hang out here?•Take music teachers from schools, let them work part time here•Linda Ronsat (sp?)- research her•Consider acoustic shape of spaces

•Go to the music school & talk to them/look at their spaces•Perhaps this is a music incubator, and fledgling bands go out and perform at existing venues•Open mic night- blues night, jazz night, folk night•Love the basement! Maybe it’s the hip performance area•Draw the sound and the music- visualize where the music is the most intense •View building as an instrument to be played, rather than a container for music •Create a musical score w/light and soundChris•Continuing with textiles•Steering away from native (Hopi, etc.) stuff because that’s already there•Textiles related to regeneration•Building as quilt•Demographic groups in area- represent the ethnic groups & their particular types of textiles•Use demographic percentages as a starting point to represent the grups spatially •How to weave a textile into a building? Weave it spatial-ly, Hang the actual clothes on the walls..., Use different cultural patterns, Frame samples on the wall•Don’t just paint the plaster any color... pretty much stick with what’s there•Might not be as cellular as you are imagining it•Look at Navajo rugs for inspiration; look at other cultur-al carpetsCory•Vast, open space with bright colors•Bring conference space into the center•Technology space for the neighborhood•Work at home space- provide networking opportunities•Free space for the residents, charge for people who come from farther out •Perhaps the top space is casual, and bottom is a war room- dark, intense, glowing•Look at software development and special effects labs for case studies•Look at what the magnet schools do•App/game design•“non-spatial” program... currently too broad•It needs an idea- it’s currently a parking garage for computer people •Need private space for meetings•Needs a café and kitchen- give them a space to social-ize and take a break•Maybe your major moves are the pit, the lounge/café, the calm technological area (for people who need quiet work space)•Identify key moments of social interaction•Consider recreation space- ping pong, message spe-cialists, etc.•Learn the lifestyle and figure out what they need•Definitely put in some natural light•Big brother/big sister program- emphasize this more in your presentation•Maybe make community gaming space

Note: The presentation was on the 14th, but the next 2 days were spent analyzing and transcribing the other presenters’ notes.

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Traditional passive homes in hot dry climates used high mass construction with small recessed shaded openings, operable for night ventilation to cool the mass


35. Good natural ventilation can reduce or elimi-nate air conditioning in warm weather, if windows are well shaded and oriented to prevailing breezes.

35. Window overhangs (designed for this latitude) or operable sunshades (awnings that extend in summer) can reduce or eliminate air conditioning.

Good natural ventilation can reduce or eliminate air conditioning in warm weather, if windows are well shaded and oriented to prevailing breezes

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Window overhangs (designed for this latitude) or operable sunshades (awnings that extend in summer) can reduce or eliminate air conditioning

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January February March April May June July August September October November December

16. Heating, Add Humidification if Needed

15. Cooling, Add Dehumidification if Needed

14. Dehumidification Only

13. Humidification Only

12. Wind Protection of Outdoor Spaces

11. Solar Direct Gain High Mass

10. Passive Solar Direct Gain Low Mass

9. Internal Heat Gain

8. Fan Forced Ventilation cooling

7.Natural Ventilation Cooling

6. Two Stage Evap Cooling

5. Direct Evap Cooling

4. High Thermal Mass Night Flushed

3. High Thermal Mass

2. Sun Shading of Windows

We had to use Cli-mate Consultant to make a chart of the best way to make a space comfortable in 2 different climates. This is the data and the accompanying illustrated sugges-tions associated with Tucson.

3. Lower the indoor comfort temp at night 55 de-grees F to reduce heating energy consumption, and 80 degrees F when at home in the daytime.

47. Use open plan interiors to promote natural cross ventilation, or use louvered doors, or jump ducts instead, if privacy is needed.

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For passive solar heating face most of the glass area south to maximize winter sun exposure, but design overhangs to fully shade in summerFor passive solar heating face most of the glass area south to maximize winter sun

exposure, but design overhangs to fully shade in summer

For passive solar heating face most of the glass area south to maximize winter sun exposure, but design overhangs to fully shade in summer

19. For passive solar heating, face most of the glass areas south to maximize winter sun exposure, but design overhangs to fully shade in summer. Orient broad building surfaces away from the hot western sun. Only northern and southern exposures are easily shaded.

For passive solar heating face most of the glass area south to maximize winter sun exposure, but design overhangs to fully shade in summer

Provide double pane high performance glazing (Low-E) on west, north, and east, but clear on south for maximum passive solar gain

Provide double pane high performance glazing (Low-E) on west, north, and east, but clear on south for maximum passive solar gain

20. Provide double pane high performance glazing (Low-E) on west, north, and east, but clear on south for maximum passive solar gain.

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Flat roofs work well in hot dry climates (especially if light colored)

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45. Flat roofs work well in hot dry climates (especially if light colored).

Heat gain from lights, people, and equipment greatly reduces heating needs so keep home tight, well insulated (to lower Balance Point temperature)

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11. Heat gain from lights, people, and equipment greatly re-duces heating needs so keep home tight and well insulated.

33. A long, narrow floor plan can help maximize ventilation in temperate and hot-humid climates.

On hot days ceiling fans or indoor air motion can make it seem cooler by 5 degrees F (2.8C) or more, thus less air conditioning is needed

42. On hot days, cieling fans or indoor air motion can make it seem up to 5 degrees F cooler (less air conditioning needed).

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Lower the indoor comfort temperature at night to reduce heating energy consumption (lower thermostat heating setback) (see comfort low criteria)

Lower the indoor comfort temperature at night to reduce heating energy consumption (lower thermostat heating setback) (see comfort low criteria)

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Use open plan interiors to promote natural cross ventilation, or use louvered doors, or instead use jump ducts if privacy is required

Use open plan interiors to promote natural cross ventilation, or use louvered doors, or instead use jump ducts if privacy is required

Organize floorplan so winter sun penetrates into daytime use spaces with specific functions that coincide with solar orientation

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Minimize or eliminate west facing glazing to reduce summer and fall afternoon heat gain

32. Minimize or eliminate west facing glaz-ing to reduce summer and fall afternoon heat gain.

32Organize floorplan so winter sun penetrates into daytime use spaces with specific functions that coincide with solar orientation

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31. Organize floorplan so winter sun pene-trates into daytime use spaces with specific functions that coincide with solar orienta-tion.

This is one of the more comfortable climates, so shade to prevent overheating, open to breezes in summer, and use passive solar gain in winter

58. This is one of the more comfortable climates, so shade to prevent overheating and open to breezes in the summer.

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61. Traditional passive homes in hot dry climates used high mass construction with small recessed shaded openings, operable for night ventilation to cool the mass.

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An Evaporative Cooler can provide enough cooling capacity (if water is available and humidity is low) thus reducing or even eliminating air conditioning)

Screened porches and patios can provide passive comfort cooling by ventilation in warm weather and can prevent insect problems


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50. An evaporative cooler can provide enough cooling capacity (if water is available and humidity is low), thus reducing or even eliminating air conditioning.

To produce stack ventilation, even when wind speeds are low, maximize vertical height between air inlet and outlet (open stairwells, two story spaces, roof monitors)

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To produce stack ventilation, even when wind speeds are low, maximize vertical height between air inlet and outlet (open stairwells, two story spaces, roof monitors)

50. An evaporative cooler can provide enough cooling capacity (if water is available and humidity is low), thus reducing or even eliminating air conditioning.

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56. Screened porches and patios can provide passive comfort cooling by ventilation in warm weather and can prevent insect problems.

Sunny wind-protected outdoor spaces can extend living areas in cool weather (seasonal sun rooms, enclosed patios, courtyards, or verandahs)

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8. Sunny, wind-protected outdoor psaces can extend living areas in cool weather (seasonal sun rooms, enclosed patios, court-yards, or verandahs).

Use light colored building materials and cool roofs (with high emissivity) to minimize conducted heat gain

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43. Use light colored building materials and cool roofs (with high emissivity) to minimize conducted heat gain.

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January February March April May June July August September October November December

16. Heating, Add Humidification if Needed

15. Cooling, Add Dehumidification if Needed

14. Dehumidification Only

13. Humidification Only

12. Wind Protection of Outdoor Spaces

11. Solar Direct Gain High Mass

10. Passive Solar Direct Gain Low Mass

9. Internal Heat Gain

8. Fan Forced Ventilation cooling

7.Natural Ventilation Cooling

6. Two Stage Evap Cooling

5. Direct Evap Cooling

4. High Thermal Mass Night Flushed

3. High Thermal Mass

Based on the Design Strategies suggested for Tucson, the ideal house would have thick walls with small openings (thermal mass could ab-sorb heat during the day and radiate it into the space to heat the night) and flat, light-colored roofs. The interior would have an open floor plan (to help ventilation), and no windows woud face west (ideally, trees would be planted on the west side to mitigate the effects of the intense afternoon sun). The house might have a long, narrow shape, and possibly screened porches or even a courtyard. Evaporative cool-ing will be effective here, and windows should have appropriately sized overhangs (to let in low-angle winter sunlight and block high-angle summer sunlight). Insulation is very important here - windows should be double paned, and walls should be properly insulated to keep the warm air out; additionally, surfaces exposed to the sun should have a high albedo (basically, they should be light colored to reflect more sunlight).

Below: This is a 100% stacked area chart, while the multicolored one is a column chart of the same variety (previous page). Both were helpful in visualizing the information, but I think the stacked column chart may be a little more legible for the purpose. Both would ideally have data labels, but I found that adding the labels proved more difficult than it should have been.

Below:The texture and color of a rammed earth wall; it just seems comfortably warm, which is what I want for the exterior walls. They should be welcoming and have a character of their own. Ide-ally, I would want adobe walls to match those of surround-ing houses and buildngs.

This version assumes that the laounge spaces can be combined with the commu-nity dining area and/or out-door space. I like the idea of having less building and more open space, but I still don’t know if I can build right to the property line on the back edge (southern proper-ty line). This plan also allows both existing trees to remain in place and even become focal points in the courtyard and dining spaces (which will need shade). I definitely want the maker space to be as open as possible, because it requires ample circulation.

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Today, we took a 12 hour field trip (3 hours total of travel time, the rest spent walking and visit-ing firms) to Tucson. We visited our site, drove around the Barrio, and visited several firms who were either doing architectural work or inhabited buildings built by architects we studied. The pho-tos on this page and the next few pages are only a handful of the 577 photos I took during the trip; some are a little blurry, as they were taken from a moving car. These photos are intended to show the context of the area, including the downtown, and the great diversity of house appearances. I absolutely loved that every house looked dif-ferent, even though they tended to share a style (adobe, thick walls with small windows set back into the wall plane, etc.) in the Barrio area.


Our site visit was immensely helpful in terms of understanding how pedestrians experience our site. For instance, the scale we have been working at has put the front of the building (16 feet tall) at only 1” in our model; we couldn’t get a sense of how it felt to stand beside it on the sidewalk, which turned out to be verry narrow and rather broken-down. Indeed, there were chunks of concrete actually missing from it, and the remaining slabs were uneven horizontally and vertically. We couldn’t enter the building or the backyard, so the wall thicknesses will remain approximate for the purposes of this project, but they seemed to be rather thick, judging by the inset of a boarded-up and painted-over door on the north side. It looked like someone had tried to cover it and hadn’t done a great job, then painted the whole wall (though only to a height of 10 feet, which was odd. The backyard had some construction debris in it, but was in relatively good shape.


Today we had desk critiques, and Professor Underwood suggested I explore the possibili-ties of allowing people to circulate through the northern portion of the site, like a long, food-based porch or corridor; the eastern portions would be indoors and the western portion would remain a courtyard. I had previously been thinking of allowing people to walk by the community kitchen via a small hallway along the north interior edge of the building, (with a glass enclosure to keep them separate from the actual cooking space, to reduce the introduction of bacteria), but Max said that was too complex and didn’t really serve a purpose. I then simplified the layout so that the kitchen was directly against the north wall and the corridor passes between the indoor area south of the kitchen; this space currently has a bathroom and a small dining area. I also want to create an atrium space in the basement, to let in natural light and offer a nice space for people to sit; the light would probably make it glow in comparison to the rest of the basement.


The basement most likely needs a lot of windows along the front, since the ramp at the back end (that lets in light at the top and has a glass wall to allow people to look into the Artisan Kitchen space) might not provide enough natural light to the north side of the basement. However, there might be a ramp on the front end of the building, to deal with the fact that the Artisan Kitchen is 2 feet above the grade of the courtyard. This ramp would probably block at least half of the windows - unless it were moved a few feet northward, which would then cut into the courtyard space for the tables. Additionally, will the combined presence of the restrooms and the atrium cut too much space from the conference area? And how should I proceed with the additonal exit from the basement space (Max said 2 exits were necessary, in case there was a fire). The need for a second exit poses another challenge: if it surfaces beside the building, people will be walking straight into the circulation path of guests traveling from the store and community kitchen towards the courtyard. If the basement is 6 feet below grade, then the ramp must be 72 feet long, with landings at least every 30 feet. Additionally, I found out that the patio at Postino’s in Tempe is the same depth as my courtyard.


Tucson Barrio Coalescence | Day 35 | September 24, 2015 Professor Underwood suggested that I put people in my plan, so that the activities that take place in each room are more clear to the viewer. The other pictures on this page are character images; I want really warm, rich colors and textures in the community kitchen (deally, the community would come together to decorate the space), and waterproof brick floors.

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I tried tracing some people sitting at tables, so I could add them to my render-ings (when I get the right per-spectives from my SketchUp model), but it just takes a little too long. I don’t think I’m going to end up adding the people I traced, because I can’t draw faces anyway, and I’m not sure they’re going to match the style of the renderings, especially if I try doing it photorealistically.



Photos- These are from the Phoenix Public Market, which is apparently both an open air farmers market (on some days of the week), and a cafe. I discovered that Insta-gram is an excellent resource for photos- they are free and can be found for almost any topic. Update on the proposed Atrium in the Basement- I calculated the amount of space it would require, and I decided that it would probably be best to simply use the ramp space as the light well and leave the atrium entirely out. This is slightly disap-pointing, but I suppose it can’t be helped.

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There is quite a bit of variety in terms of stairways in Tucson; some are very steep, and others are slightly more shallow, but each building seems to have its own style. The house with the metal panels on the openings (they are rusted metal and look amazing) has gravel stairs- they are simply enclosed with small steel panels and filled with gravel, which has a very unusual effect. The stairs of the pink building with red trim (above right) has stairs that come to a corner and support a pillar that holds up the corner of the building. I think this is an interesting approach, and probably gives visitors a much better view of the room when they enter it, but the pillar seems oddly placed to me. Additionally, I noticed that not all steps are even with each other, even on the same building. I like the stairs that are painted a different color than the building they serve; it seems like it would help people discern where the stairs are (some people have visual impairments that make it hard to see the change in grade when everything is painted the same color). However, I noticed that none of the stairs are really large enough to serve as social space, and porches seem uncommon. Is this because the porch was not a cultural feature at the time, or because they had some other place to socialize? I suppose putting “social space steps” in my project might be out of character for the neighborhood, so I will make simple stairs and possibly leave room for windows to my basement.

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Today was a pin-up day; we were handed a blank sheet of paper and told to spend 30 minutes studying and critiquing another person’s project, and when we were done we were to present that project. Needless to say, we all learned the value of labeling our floorplans... Cory presented mine, and I realized that my drawings were not clear enough for him to distinguish where the basement was versus where the ground floor was - he seemed to be under the impression that the basement was open to the upper floor, and that part of it extended under the old building. He also seemed to think there was no courtyard, and was rather confused about what I was doing with the food (apparently it wasn’t clear if I was cooking, selling, or possibly bringing food in). I think part of the problem was that I left the courtyard and the walls of the old building in the drawing of the basement, and I left the aerial layer on underneath the CAD drawing (which I should have faded back a bit more to improve legibility).

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I think the light well over the ramp space can be like a ceil-ing that doesn’t quite touch the back wall, like the studio spaces at the Rick Joy Studios in Tucson. Rick Joy left a gap approximately 6-8 inches wide, so that the light that was let in (mediated by some sort of clear plastic) was gentle and not so intense that it uduly heated up the space. I like the idea, but I think the narrow gap will not provide enough light as the ramp goes deeper into the base-ment. Thus, I would ideally have the light well start out narrow (6 inches or so) on the western edge of the ramp, and progressively get wider (up to about 2-3 feet) as the ramp progresses eastward. This will hopefully allow light to penetrate more effectively into the deeper area of the ramp and sub-sequent basement, and possibly cut down on artificial lighting.

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Tucson Barrio Coalescence | Days 41-42 | September 30 - October 1, 2015

I found some silhouettes of chefs, so I can use them in my renderings and possibly cut them out to put into my model, though some of the details (like the fork) might not really come out well at 1/8” scale.

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Tucson Barrio Coalescence | Day 43 | October 2, 2015

Today I experimented with different layouts for the kitchen; previous iterations had seemed a bit disjointed, so I wanted to make sure the space would flow properly. I decided to place the bathrooms in the artisan kitchen would be placed where the ramp for the base-ment ends. Thus, the rest of the space on the eastern edge of the kitchen can be used for storage, and the remainder of the floor will be fairly open. This will allow multiple work-stations and space for a work table where multiple artisans can sit and talk while assem-bling their wares for sale. There are 2 fridges, 2 freezers, and 2 stoves.

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I struggled with putting the final plan into SketchUp- I ordered SketchUp Pro today, but the order won’t be processed until Monday. Thus, I made a pdf of the plan and attempted to import it into the program and trace it; unfortunately, SketchUp will only import image files (so I made a jpeg), which makes it much more difficult to get the exact dimensions. Nonetheless, the model is fairly accurate. The basement was a bit difficult to draw, as the program was extremely unwilling to create surfaces where and when I wanted them. I managed to make the job easier by making the floor surface glass instead of deleting it each time so I could trace the image underneath. People were rather difficult to add as well - they seemed to want to land above or below the floors, rather than squarely on them (for instance, I accidentally put one of the people in the kitchen halfway through the floor without noticing).

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The trees in the courtyard will be mesquites, and the plants along the sidewalk beside the building and the court-yard walls will be a mix of Pedalanthus, Aloe, and Santa Rita Prickly Pear. These plants have a sculptural quality and a set of colors that will contrast nicely with the plaster and brick of the old building and the rammed earth of the new courtyard walls. The empty lot to the north can be used by food trucks.

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Important points for presentation:

• Space is all about food• There are 6 main spaces; store, com-

munal kitchen, indoor dining, court-yard, artisan kitchen, and conference space

• Store: this space is for the commu-nity to sell food they have grown (in a community garden, for instance) or artisan food produced in the kitch-en - it can also be used as overflow dining space when the food trucks are present

• Community Kitchen: anyone can use this; there is a $5 per month fee (to cover wear and tear on the applianc-es), but anyone can bring food in and cook it there. The space can also be used to host cooking classes, either by members of the community or by the artisans themselves.

• Indoor Dining: this space is usually used for people who are using the community kitchen; it is also ideal as a meeting space (it can be enclosed with a pocket wall) or a large family gathering (such as a birthday party)

• Courtyard: paved in unmortared brick, this space is open to all as a dining and social space. Visitors can pur-chase food from the store or the ar-tisan kitchen, but they can also bring their own, or simply sit and chat. This is meant to be a democratic space for the community; it is also perfect as a shady outdoor dinging space when food trucks are present (presumably parked in the empty lot to the north of the site)

• Artisan Kitchen: This space is a pro-fessional space for people, particular-ly small businesses who can’t afford to keep a kitchen of their own. Monthly fees vary from $25-$50, depending on the access needed. For instance, a higher fee would buy access 24 hours a day, versus only the normal oper-ating hours. They can sell their wares in the store space, or directly to the people in the dining spaces. They can also sell their food online, to restau-rants and boutiques downtown (or a boutique of their own, if they have one), or even at the farmers market. They can also serve as the supply kitchen for the food trucks.

• Conference Space- Located in the basement, this space is typically used for private meetings (such as those that would occur when a start-up business was discussing plans with investors) or private events like birth-day parties, quinceneras, or family reunions.

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This space was once a Chinese market; it fell into disrepair and sat idly at the corner of Meyer Ave and Kennedy, facing an empty lot and two other unkempt buildings. This project proposes a lively hub for the community to cook, enjoy, and share food with one another. The old storefront will be fixed up and opened as a community food market, with a community kitchen and dining space directly behind it. The northern edge will become a deep, shady public courtyard for dining and socialization, where food trucks can sell their wares. A welcoming, modern kitchen will be available for artisans to rent space and prepare their products for sale in the cafe, store space, online, or in their own boutiques downtown.

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Lucky’s Market Cafe & Artisan Kitchen

Artisan Kitchen (above) is modern and a bit minimalist, while the Community Kitchen (below) is colorful, warm, and reflects the rich personality and culture within the community; membership is affordable.

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Today is a pin-up day; the boards were due yesterday, so I stayed late and got them printed. The model is finished; I didn’t make windows in any of the walls, but I showed them in the (unfinished and less than gorgeous) renderings of the perspec-tives and the sections. Note about the model: the larger set of stairs (12 steps, made of paper) took 45 minutes to create/fold. This may be too long for future models. I think perhaps slabs of wood or whatever material I’m working with will work better, and the stairs will be more solid. Additionally, the walls should be a uniform thickness throughout (I had interior walls as 6” and exterior walls as 8”) so they are easier to model.

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCTLucky's Market | 486 -490 South Meyer Ave (SW corner of Kennedy + Meyer), within Barrio Libre

What’s Nearby?• 15 minute walk to Downtown• Very close to Carillo K-5 Magnet School

• close to 2 bus routes

Barrio Libre• 3rd Oldest Historic District • Predominant Architectural Styles: Sonoran, transformed Sonoran, and Transitional styles, with building fronts flush with the street

• Offers a sense of life in the 1870’s

• Northern portion demolished by urban renewal in the 1960’s

Tucson Barrio Coalescence | Day 48 | October 7, 2015 49

Tucson Barrio Coalescence | Day 49 | October 8, 2015Comments for me:

• main idea is food• community and couty

network/commuters• emphasis on warmth

and color• show the food trucks

in your renderings and possibly in at least one plan view

• you need to DIRECTLY EXPERIENCE the food- go to these places:

• De Soto Market• Phoenix Public Market• The Yard, in Phoenix

(I don’t know if they might have meant the one in Tempe or not)

• Cartel (in Scottsdale)- I later googled this and it turned out to be a coffe place? I don’t really know if there might be more to the story here

• draw the building, fur-niture, courtyard wall, and clearly define the edge- show how it works

• experience the market spaces multiple times, at differnet times of day and night- to get the feel for how the space actually works in different conditions

• define the specific furniture (it looks like a bunch of generic placeholders now, so people can’t envision what the space looks like

• consider using local trades to build the project- for instance, maybe a local cabi-net maker can make the cabinets for the kitchen, and a local mason can help build the walls

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Tucson Barrio Coalescence | Day 50 | October 9, 2015Comments for Ruonan:

• main idea is performance art• use their own cultures to stitch the community together• performance art space where each culture brings their

own celebration• where’s the front door?• make the courtyard spaces more apparent on plan• likes the overall idea, and the idea of entering into the

courtyard as an entry space• make the spaces flow more, and think about how the roof

can overlap the courtyard• soften the edges between the buildings and the court-

yard• offer a courtyard connection to the apartment back-

yards- the reviewer suggested this, but I don’t think he realized we weren’t supposed to have any connections to the other side of the property line

• you can use a curtain to be the background of the per-formance space

• mixing spaces rather tha hard edges• think about transitions and implementing cultural ex-

change throughout space• suggesting materiality and light conditions, enough to

start conversation• add people and shadows to your sections and render-

ings• emphasize the everyday and the spectacular; daytime

for the everyday and nighttime for the spectacular events• showcase cultural differences and make the people less

genericGeneral comments from our reviewer, Victor”

• “realize you’re not going to get it all done”• how do we use this in terms of our list? - complete the

items on the list, even if they aren’t fully rendered; partial drawings can start a conversation, which is essential

• this is the closest we are going to get to being in an actual design studio (referring to our school setting)

• what is the sotry? the clients will love it, and they will make it their own

• architecture expands to fill all available time• consider what you’re getting out of meeting each dead-

line- what are you learning? make sure you aren’t being redundant, and the goal is to learn something each time (how to think, how to render, etc.)

• Marwan- young architects fall into the trap of doing renderings instead of design thinking; beware of over rendering and use an economy of lines; say the most with the fewest lines

• your views (perspectives) can be tremendously impact-ful, so think about how to frame them so that they touch the soul

• understand your audience and create your presentation accordingly; for instance, politicians need to understand how your story will affect their neighborhood

• Victor’s comic book (Flying Somnia)- he grew up in Puerto Rico, and all the comic books were in English (which he didn’t speak as a child), so the comics helped him learn English through pictures. Imagination and technology are major themes in the comic he created

• studio is important- it encourages the mixing of ideas that can lead to new ideas

• get outside, travel, experince; take photos, but don’t view the world through a screen INSTEAD of really looking at it

• what challenges did you face when you started working in an office? - learn to listhen, let go of your pride, be open to learning, find a mentor as soon as possible, time management, you will learn the tools (software, etc.) as you go

• master time management, positive attitude, and design thinking in school, and learn the digital tools later on, as you’re working in an office (you are always learning new software anyway, since it changes)

• if you’re really good at a particular piece of sofware, you might end up getting pigeon-holed

• for your porfolio, express your process, your passion, your experinces, possibly your mission statement (they are, after all, hiring you, not your porfolio)

• apply to firms that line up with your passions, go to lots of networking events, and enter competitions if you can

• go into each job with the idea that you are learning everything you can to prepare for your foray into architecture, starting your own business

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Tucson Barrio Coalescence | Days 52-55 | October 11-15, 2015

Merging Old and New- different approachesAbove: these photos are from our visit to Tucson; the approach here seems to be to add the new directly onto the old, retaining the general style but adding new touches.Below: these photos are from the internet; the first shows an addition that completely disregards its context, the second celebrates the difference between old and new, and the third attempts to match the new structure to the existing one

What have we learned? (class discussion)• importance of diagrams to clarify the point; for in-stance, diagrams provide viewers with a clearer understanding of ideas such as circulation, structure, etc., which help people connect to the plan and the idea• David’s research helped emphasize that research cre-ates design (rather than being something that is done as a side note and never used in the design)• look at things on the cutting edge, utilize diagrams to bridge abstract ideas to the building; create a set of rules that determine the form of the building and stick to them-- and make them clear in your presentation• project has a voice of its own, and speaks in harmony with the formative ideas• bring natural light to the building, balance it with the type of light in your project• pay attention to thresholds and transition spaces in your project• walk through your building, but also consider it per-formance art; the building should be building up to some climactic view or payoff• establish a functional transition between the old and the new; take a stance; make the new separate or make it look new, etc., just take a stance on it• make and celebrate the transition• work through the possible dialogues of the buildings; riff off of what’s existing• consider the dialogues between generations and view it as an opportunity• work is best left up as you go; keeping it up on the wall lets you examine and immerse yourself in the current projects- it also shows process• show the process to discover new avenues, which lead to new ideas; it also helps clarify the ideas so others can see how they evolved• learn how to imbue projects with anticipation and a sense of wonder, both in the building and in your process• know the differences between preservation (keeping it as it is), restoration (when you restore it to a particular moment in time), adaption (take what you have and use it for something else, or innovation (adding to create something new)• you can mix these within a project, but be clear about each and use them hierarchically• build from your personal experience and intuition, but unpack them and analyze how to put them in your design (take a stance, don’t waffle about it)• put in your perspectives even if they aren’t done; it starts a conversation• learn to translate key ideas into the architectural lan-guage• don’t over-render to begin with- ie: no expressing the rendering instead of the idea (like the ceiling tiles rendered in Revit that clashed with the project and made it too ‘corporate’)• be able to give a good level of detail, neither too much nor too little• give the appropriate level of context- walk the neigh-borhood to become familiar with the site (it’s important and clients love it), and it can help set the tone of the presen-

tations- you can mention small details like a house with a barking dog or a particularly nice front garden• don’t forget to deal with the entryway/façade – con-sider the senses used when people walk by (sights, smells, sounds, etc.)• context – consider creating a video walkthrough with sounds of the neighborhood; work with other people on this, as it’s their project too• handouts are important; finish it early and practice it multiple times to make the presentation better ( and staff will love you because you’re not pushing them to a crisis deadline)• how do you balance your idea and its expression with the code requirements?• try to interpret/push the boundaries to accommodate your idea• find the loopholes to get your ideas through; work with the spirit of the code and use it as an opportunity• for Funmi: incorporate temporary displays, awnings, the sound of sewing machines, or have people walk around the neighborhood wearing the clothes• mention the specifics of the code (zoning/historical preservation code) in the context presentation so that review-ers will spend less time asking why you don’t have very many windows• how do we tailor our projects to our audience? Listen to the comments on the people that go before you• immerse yourself in the existing examples of what you’re designing (directly experience it) early • make your project personal if you can• have a life... go visit things and let your ideas perco-late... talk to people, see the sun• learn from other people’s projects and routines, strengths and weaknesses• decide where you stand on an existing building early – it will influence how you proceed• take acritical stance on the codes/overlays as well- challenge or passively comply• make sure you provide key details in your project• work either from the small to the large or the large down to the small (find a happy medium that works for you)• attention to detail can be expensive... Koolhas says there’s a gradient of detail; where people are touching the building or gathering, there’s lots of detail, but there is less detail where people are just moving through and won’t appre-ciate it• don’t argue with the reviewers – don’t try to convince; reviewers will tell you what ideas are coming through• project has its own core values, it isn’t solely your project, just clarify the values and compromise with the client- this is why the client should have plenty of input early on; also, make sure that each element serves a lot of purposes at once (it will be less likely to be cut out due to budget constraints)• if client is having issues with an element, ask what they would do (foments exploration and working together instead of hostility)• you have to be willing to walk away if a client becomes unreasonable; either give up your values or pick a different cli-ent; possibly refer them to another architect with more evenly matched priorities

Salsas Made in Arizona

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Tucson Barrio Coalescence | Day 56-57 | October 16-17, 2015

Studio was cancelled on Friday, October 16th so that we could pack and prepare for the trip to Los Angeles. We were given an itinerary; we were to visit The Broad Museum first, then the Frank Gehry exhibit at the Los Angeles County Museum of Art, and finally, the Schindler exhibit at the MAK Center. The photos on this page are from the Broad and the MAK center, and the photos on the next page are from the Gehry exhibit (which I accidentally spent several hours photographing when I forgot to rejoin my classmates after the first hour). I found Gehry’s models fascinating- the level of detail and the sheer creativity of materials is wonderful. I think my favorite models were the conceptual ones with lava rocks and the fully fin-ished one of a museum in Philadelphia.

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The pictures in the top row are of the grounds of the LACMA, and the pictures in this row are from around LA, including Hollywood (which we visited on Sunday). I particularly liked the details on some of the buildings, and the street art was magnificent. We also saw the Walt Disney Concert Hall, which sits across the street from The Broad (seen on Saturday). The exterior was beautiful- the graceful forms were coated in titanium sheets that gently reflected the sun while leading they eye across the building. The interior was warm and welcoming; visitors would crane their necks to find the sources of natural light creeping in from towering skylights, and the roof held a beautiful garden. A couple was having their wedding photos taken as we passed through the amazing space.

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CLASS DISCUSSION• we are now in part 2 of the design- design development! (we were in sche-

matic design)• we developed a main idea and basic structures, systems, etc.• now we shall translate it into the language of construction• today we are writing out what was good, what opportunities were missed, etc.

for our design• where does the plumbing go, where is the electrical panel, etc.• make diagrams!• schematic design is the recipe, design development is baking the cake• increase the scale so we can take a closer look at structures• don’t lose your generative idea!• 7 weeks until review• last 2 weeks are production- 1 week for model, 1 week for drawings• for Wednesday- make a set of diagrams that expresses your idea• look for structural rules of thumb• plan visits to public markets and rentable/co-op kitchens• look at Detail Magazine (about design development- website will be in Ger-

man, issues are done by building type)

• select your details so that they reflect your core ideas

• Case Study- due Friday, pring some stuff out for it; visit and photograph it, include key lessons from each

• Pin-Up on Monday: print a few 11x17’s, pin up will include mate-rials from midterm, go up a scale on the model

• probably not a good idea to have transparent ducts- fire issues and condensation concerns

• you may develop a favorit materi-al/system palette

Working Well:• front courtyard- plenty of social and dining space• artisan kitchen- open and spacious, hopefully

plenty of daylight• waterproof brick throughout the interior• thick, Mexican-style furniture- lots of character

and very sturdy

Missed Opportunities:• mural on the dining room wall- would add character to the space and

painting it would be a community-building exercise• more natural light would be good• conference space- basement isn’t deep enough; floor of artisan kitch-

en must be at least 1 foot thick - should the basement have a 7 foot cieling or an 8 foot ceiling? Is there enough light? do we really need a basement for the conference space? how important is it?

• ramp is breaking up circulation in courtyard and making accessing the front door of the artisan space harder

• whay to open up the whole front edge of the courtyard to the street

Comments on my project:• what do you see from the outside? (exterior perspective needed)• have a clear attitude about how you deal with the connection of old and new• artisan kitchen should be more open• too many bathrooms- how many people will be in this space at once?• partitions could be temporary (wall of donations)• design with blockwork• don’t be afraid to knock out the shear walls• don’t worry about the mural



The YardPhoenix Location: 5632 N. 7th Street, Phoenix, AZ 85014; phone #602-680-4040Tempe Location: 149 S. Farmer, Tempe AZ 85281; phone #480-240-1601Scottsdale Location: 7135 E. Camelback Rd., Suite 125, Scottsdale, AZ, 85251; phone #480-970-1700Food Truck FridayLocation: 721 N. Central Avenue11 am – 1:30 pmThe website has a list of vendors; perhaps I can contact a few to ask where they prepare their foods!I can also contact the public market itself – but what do I want to know? Dimensions? Plans? Approximate length of setup and breakdown times What are common problems encountered by vendors, administrators, etc.? how can I address these with architecture?

Phoenix Public Market & CaféLocation: 14 E. Pierce St. Phoenix, AZ 85004Contact: 602-253-2700, [email protected]é Hours: 7 am – 10 pm, 7 days per weekMarket Hours: 9 am – noon on Saturdays (May-September)8 am – 1 pm on Saturdays (October-April)

Photos at left are of The Yard’s Phoenix loca-tion, taken from the internet. The photo to the right is of food trucks parked along Roosevelt Row, also taken from the internet.

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WORKSHOP REFUND AND CANCELLATION POLICY

A refund or a class credit may be provided only if you call to cancel at least 24 hours in advance of the start of the workshop. If you arrive after the start time, you will not be permitted to participate and your workshop fees will not be refunded. If you fail to show up, your workshop fees will not be refunded. There are no refunds, transfers, make-ups or deferments for missed workshops. Please note, CREATE reserves the right to cancel workshops for any reason. Students enrolled in a workshop which is canceled will be notified by phone or email if a valid phone or email address has been provided. Students enrolled in a canceled workshop will be offered a class credit or refund.

CREATE Case Study- at the Arizona Science Center

We chose case studies to research, to help us gain in-depth knowledge of how co-work spaces really function. I chose the CREATE space, partly because I could ac-tually visit it (some of the other spaces were in other states) and partly because one of the architects who helped develop it (Dan Clevenger) was one of our reviewers for the midterm.

This page shows the information found on the website. I contacted Mr. Clev-enger about discussing the space and getting plans/diagrams, etc. from him, and he requested that I visit the space and form some opinions of my own before meeting with me. I have decided to go tomorrow morning before class, and contact him within 2 weeks. The case study is due tomorrow, but I will still incorporate whatever insights he has to offer into my final presentation and/or boards.

Tucson Barrio Coalescence | Day 62 | October 22, 2015BECOME A RESOURCE CENTER PASS HOLDER!

For a monthly or annual fee guests can join the com-munity at CREATE through our CREATE Pass Holder program. As a CREATE Pass Holder you can schedule time on specific equipment and use our tools to work on your own projects. Pass Holders are responsible for providing their own materi-als. Introductory workshops are mandatory.Monthly Fee: $35 per personAnnual Fee: $395 per personThe Annual Pass includes one (1) free Introductory Workshop. CREATE Resource Center Pass Holders are able to schedule time in the Resource Centers daily from 10 a.m. – 5 p.m.

WORKSHOPS

CREATE will offer Introductory Workshops. These workshops are basic and focus on use of equipment, safety and protocol, and are required to become a Pass Holder or take intermediate and advanced workshops. Those between the ages of 13 – 17 must be accompanied by an Adult. Children under 13 years of age are restricted to age-appro-priate workshops, special events and staff-supervised tours. Workshops will provide in-depth instruction for more complex projects as well as the proper procedures for using the tools, technology and software in the space. All guests are required to take an introductory/safety class and sign a Waiver and Release of Liability prior to taking an intermediate or ad-vanced class.

WORKSHOP POLICIES & PROCEDURES

Always arrive at least 15 minutes before workshops begin. Workshops start promptly at the designated start time. Out of respect for instructors and other students, late arrivals are not permitted to participate and workshop fees will not be refunded. Bring photo ID. A photo ID is required to enter the workshop. All guests must sign a Waiver and Release of Liability. Be ready to participate. Cell phones must be turned off during workshops. Improper use of the equipment or stu-dents who are disruptive or distracted will be asked to leave the workshop, and there will be no refunds.

DRESS CODE

CREATE wants to ensure safety at all costs. For this reason, we have designated a dress code and require that safety equipment be worn in certain areas of the workshops. Please read the following and dress appropriately for your class: Closed toe shoes must be worn at all times, in all areas. When using most power tools, especially drills, saws, mills and lathes, you must wear short-sleeved shirts, pull back long hair securely and remove any hanging jewelry. Check your work-shop listing for mandatory and advisable safety equipment. Equipment or clothing listed as mandatory must be worn or used while working with that equipment or taking that work-shop. CREATE will supply safety glasses, earplugs, and safety gloves, but we advise you bring your own if you have them to ensure everyone is accommodated. For your own safety, you will not be allowed to attend a workshop if your attire is deemed inappropriate. If you have any questions about your class or what to wear, please contact [email protected]. Additional information about required and recommend-ed safety equipment and clothing is listed in the workshops description.

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Tucson Barrio Coalescence | Day 63 | October 23, 2015 The CREATE space was great! There was only a handful of people there, but that may have been because the space has only been open for three weeks. The three ‘zones’ where the chal-lenges are held all sit in a single (very large) room that feels extremely spacious (due, in part, to the 15+ foot tall ceilings). The first zone had “Makey Makeys” when I visited; apparently it allowed you to make anything into a keyboard, with the help of a usb device that used alligator clamps to complete the circuit. They had a short promotional video, and you really can use anything conductive - from ba-nanas to graphite on paper to play-doh.

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WHAT WORKED WELL• spacious area for challenges- foments collaboration• wide variety of equipment- soldering, laser cutting, 3d printing, etc.• helpful, cheerful staff- it was clear they loved working there, and

they were free to work on their own projects in between helping/directing other users

• willingness to try new things- they were willing to use the machinery to experiment (ie: lasercut pumpkins) rather than stick with only a handful of tried-and-trusted materials/techniques

• color- this seems like an odd thing to include, but wall color can really express that a space is meant to be used rather than merely observed; this space appeals to kids and adults alike

MISSED OPPORTUNITIES• lighting- it may have been the time of day, but the space was a

little difficult to photograph (may also have been a camera issue)

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Switching the indoor dining area and the community kitchen was a bit more challenging than expected- the dimensions of the two areas are not the same. Thus, the kitchen layout will have to be revised to fit into the proposed space- specifically, the island will have to change and that will affect the arrangement of all the appliances around the edges of the kitchen. I also have to factor in the pass-through space (seen in the model photos to the left). This little space will be fitted with a sink, so that the people in the store can wash their newly-purchased vegetables and/or their hands, and set ingredients beside each other if they plan to cook them in the kitchen.

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Mourissa:• Put mentorship as your main point, give clear argument for why it is important/relevant- why do they want this in their community?• Have a handout, what are the 3 main ideas, and how did they affect your approach to the design• Neighborhood scale, building scale, and room scale• Brought café out to bring people into the space and introductory space; argument for forced mingling• Larger lounge can be open-air; possibly canvas-cov-ered• Hierarchy of rooms (active versus more passive), cor-responds with hierarchy of mentorship• Good idea to think of physical space and virtual space simultaneously• Who are the mentors? Business, tech, environmental justice? Look at the demographics and find out what mentors are needed (specify to help make your design more specific)• Celebrate the new parts of the design (don’t mimic what’s already there)• What kind of feeling do you want?- what kind of floor (polished, brick, tile... each gives a different feeling), what kind of walls (stone, plaster, etc.)David:• Big idea- 5 gaming theme ideas to generate building• Game design and coding center; 3 main ideas- access, game development, play• Represent your 3 main ideas in your diagram- explo-ration, development, circulation shown, but they overlap too much- they make it hard to read• The explain your 4 key principles of game design (ex-ploration, economy of gesture, variation, adaption- consider using these to color code your diagram, and make a diagram for each and put them on separate pieces of paper)• Write an outline for your presentation• Variation diagram- make multiple diagrams to show the change, Stick the colors in your model!!!• Focus more- don’t go off in a million directionsDrew:• New focus: meetings over a meal• Food trucks- no food make here??

• What is in your maker space?• Café and food trucks- if it’s about food, really make it about food• How many people are going to be here? Maybe not enough to support food trucks• Insert mentors or some other strong pulling point• Possibly a specialty kitchen, have a way to allow people to cook it• Maybe people go here to learn from seasoned chefs- cultural food, grandmas, etc.• Look into edible schoolyard• This idea is kind of neutral- make it more specific• Art as therapy- for stress relief (ie: divorcees, autism, anger management_Mike: • Preservation, transformation, community• A space for each-space/architecture reflects program-matic theme• Like the idea of the corner fireplaces with seating• Have a color-coded diagram that shows all spaces• Levels of access/use – free space vs. rented space vs. community space• Who are the mentors? – people in the community• Goal is to foment community interaction (which is a great goal, and I think your way of achieving it is going to work well)• You can meet/get to know plumbers, carpenters, cab-inet makers, etc. instead of relying on Yahoo or Yelp- even better than getting a recommendation from a friend• Artisan sheds – like little shops where artisans can have their tools and products on display/in useFunmi:• Start your presentation with your main idea, list your three sub-ideas, then proceed to address how each one affect-ed the design of your building- at the end, give a list of 5 things (maximum) that people should remember about your project- it keeps people focused and keeping track of your presentation; they feel like they have to pay attention in order to catch all the relevant points• Your idea of changing the ceiling and using it as a space to express your main idea is really great- especially love

the idea of weaving, different layers, and varied transparency (maybe some skylights have colored material on the ceiling under them, giving color to the room they light• Exhibition space in the outer edges and market space in the center (a simple diagram of this would be great- like a footprint of the building with the edges lined with one color and a basic shape of the center in another color)• Main idea is a space that is an up-cycling fashion com-munity• 3 sub-ideas: fashion, regeneration, exhibition• Great idea with the multi-volume skylight!! It can be a focal point, a community art piece, whatever! Love this• Make sure to go through a visitor’s progress- focus on learning to sew instead of emphasizing the fashion show so much; don’t downplay it, just make sure you mention the other aspects of the program with just as much emphasis• Why did you choose each element? Why hang things on the front (specifically, why did you choose that particular thing to hang there, instead of using another type of material)?• Develop core rules/principles that guide your design and the way you go about choosing the details (details should fit with your overall theme)Chris:• 3 key points- 1. Keep it open and connected (to pro-mote collaboration), 2. Sense of weaving (to celebrate diversity in the community), and 3. Provide a flexible work space (the question of “why” was left unanswered here). Also, what is your one main idea that you want people to remember?• Glass courtyard to bring community into building- love this, new idea of bringing community partially in instead of bringing building program partially out)• Sewing circle- elaborate on this, maybe with a diagram; what goes on here? Why is it an important enough element in your design to merit being mentioned in the presentation?• Rental clothing, so you can walk in and rent a suit or dress, for an occasion? Elaborate on this, and have a system prepared in case reviewers ask (ie: how much it costs, what incentive do people have to bring the clothes back, like maybe a rebate on the rental fee?)• Mobile closets- a form of community outreach program (love this)• Mobile closet- is it for advertising the space or selling the clothes that are made there? Your answer: primary goal is advertising- people can rent clothes for dates, prom, job inter-views, etc.- I like how you gave examples of situations where the mobile closet could be deployed• Perhaps include a tailor in the mobile closet van, to provide speed fittings- you didn’t want to do this, and I agree with you; it seems like that would detract from the convenience of renting the clothes if you had to stand and wait for someone to tailor the clothing to you. I think your idea of sending out closets with certain types of clothes and certain size ranges is a great idea.• Possible pop-up floor for runwayNoah:• Main idea is music, this space is supposed to be trans-formative & the biggest gesture is the courtyard• Movable speaker walls – I don’t think I caught the de-tails on this... maybe a diagram of them so we can see some of the details (like how big they are in comparison to people) and where they are in your plan• Simplicity- simple space allows greater flexibility• Emotional connection (so the 3 sub-ideas are transfor-mation, simplicity, and emotional connection?)• Connect Lalo’s music (and the musician) to your key ideas; also research Linda Ronstad (not sure if I’m spelling that

correctly)• What is common to music from the barrio? What ele-ments come together to create the essence that ties the music to the barrio?• What is the courtyard when not being used as a venue?• Like the garage doors on the side (my opinion)• How is this a co-work space• Could be the Lalo Music Center• Can be a market space for everyday use• Consider having a covered performance area in your courtyard; a stadium-type roof might be nice, but a) what would happen to the trees, and b) would it be cost-prohibitive?• Can have music lessons here, can be an intergenera-tional space• Research Lalo- what was his commentary (listen to his songs and what he’s saying), where did he grow up, how did he learn to create music, etc. – this will give your project roots in the communityCory:• Main idea is technology• Ask yourself “why” 3 times, and hopefully the answers will help you develop your project more (Max’s suggestion)• What happens there? Hacking, 3d printing, web design, etc.• Cube idea- the cubes are meant to be adaptable, reus-able, mobile• Make it more open- take out the wall between the old structure and the new structure• Space for beta testers?• Mini critiquing/testing space- instant feedback on your projects • Be more specific about your space• Make the Movement of people through the space more evident- show with diagrams, people in the sections and per-spectives, etc.• At what point does a group of people grow big enough to move from one space to the next?• Look at the steps of app development and maybe in-tegrate these (or better yet, adapt them to your space)- think of David’s rules of game development, and try modeling your project off app development stages; you don’t have to use it if you don’t like it, but see where it goes• At the moment the space feels generic (not enough connection between core themes and proposed architecture)Sami:• Investment center• How do you bring people into the building? Possibly use café as enticement• Multigenerational• Maybe it’s a financial planning center- offer basic courses/workshops that teach people to save money and make a budget, maybe they give out micro loans, or the space is run by the community- maybe cash checks?• Learning to manage money can open other doors of opportunity, in other fields• Community financial empowerment centerRuonan:• Main purpose is to exhibit things that have been made there?• Perhaps making the gallery a more important element- otherwise it’s a closet• Large space at top of stairs- make sure it reads as a courtyard in plan• How do you bring people in? possibly a sign to tell people what performances are occurring in the space (like a marquee movie sign?)

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Tucson Barrio Coalescence | Day 67 | October 27, 2015Lucky’s Market Café & Kitchens | Erin Torchia | 200 word summary of project, due Oct 28, 2015

This space is about food and community; it provides two types of kitchens, a small store, and plenty of dining space. The community is welcome to bring and cook food, or buy products made on-site by the artisans using the rentable kitchen. The market space is open daily and doubles as a space for the sale or trade of produce from community gardens; the public kitchen gives members access to high quality appliances and food storage and prep space, in return for a small monthly fee. Indoor dining space can be partitioned off to serve as private event space while the courtyard provides a shady oasis for the public during the day and a well-lit social space at night. The courtyard’s north edge is bordered by a short wall with leaves that fold up to create additional table space, particularly on days when food trucks park along the adjacent street.

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Tucson Barrio Coalescence | Day 68 | October 28, 2015Key points for 200 word summary: • Main idea is food + community• 3 sub ideas = cooking, dining, socializing• Main spaces- store, indoor dining, community kitchen, courtyard, artisan kitchen• The store space is important, but I think the social aspect of it may be more important than the shopping• Store: artisans can sell their wares, community can bring in produce from community gardens• Indoor Dining: artisans + community can relax and eat their own food, purchased food, or food made in the communal kitchen; can be partitioned off for private events (conferences, birthday parties, etc.)• Community Kitchen: artisans + community can host/attend cooking classes, bring and prepare, (and even store food if they want) in return for a small monthly fee• Courtyard: Public space! People walking by should feel free to come in- bring their own food or buy from the store, or just socialize. North wall is table- height and can fold out for more space. Perfect for days when food trucks come, can be

rented out as event space• Artisan Kitchen: rentable space, industrial-sized, industrial grade equipment; food prep, cooking and storage; tables so artisans can socialize as they work- foment new ideas + networkHao

Pin Up on Monday, November 9th• Matte Salinger and Phil Horton are coming• Begin drawing the various systems and joints• Mechanical systems should fit your intentions, rather than merely being practical• Look at Detail Magazine and check to see the appropriate level of detail• Don’t put dimensions, but put in window mullions, and cushions on the furniture• 24” x 72” boards, as many as necessary

The pictures to the left represent the beginning of a study in ceiling tiles. Max has told me to find out what the ceiling looks like (it can add a great deal of character to the rooms, and wasn’t shown in any of my renderings). I think I want exposed wooden beams, because that seems to reflect the warmth I’m trying to convey to each space, in addition to the fact that there’s a good chance that’s what the existing ceiling has. In any case, Max suggested that I consider adding ceiling tiles, because the other option is to paint between the beams and he wasn’t overly fond of the idea. Cheaper solutions simply have the ductwork exposed and everything is painted black or dark grey so visitors don’t really spend time looking at the ceiling. However, I want to hide the ductwork because exposing it does not fit with the character of the Barrio. Thus, I am looking into ceiling tiles. I can’t quite decide if the lighter or the warmer colors will look better within the spaces...

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Character of Each Space (Furniture)1. Store- the furniture here is sturdy and either a) fold-ing tables or b) very nice Mexican-style tables2. Indoor Dining- these tables are dinner tables, and they should be Mexican-style; they should be thick, chunky, and sturdy. They may be a little funky, with tiled tops, but in a very homely way.3. Community Kitchen- This is Grandma’s Kitchen, with new appliances. There may be tile on the walls, or decorative plates; the furniture here is thick and sturdy, and the walls, counters, and cabinets should have lots of character (and some color!)4. Artisan Kitchen- this space is more professional, but in a warm way- has wooden countertops5. Courtyard- this space has mismatched, funky tables and chairs that can be donated by community mem-bers; it is a very informal space

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Lucky’s Market Café & Kitchens | Erin TorchiaLucky’s Market has a long history as a spot to gather, buy groceries, and grab lunch; the new place is a hub that continues the tradition of nourishing and connecting the community with food. It provides two kitchens, a small store, and a variety of dining spaces. The Barrio community is welcome to bring, prepare, and cook food, or buy products created on-site by the artisans using the rentable kitchen. The market is open daily and doubles as a place for the sale or trade of produce from local community gardens; the public kitchen gives members access to restaurant-grade appliances and kitchen space, in return for a small monthly fee. Indoor dining space can be partitioned off to serve the needs of the community for private events from birthday parties to conferences. The courtyard provides a shady oasis in which the public can lounge on lazy summer days, and a well-lit social space at night. A gathering wall along the north edge of the courtyard provides an ideal spot to lean or set drinks on, particularly on days when food trucks line the adjacent sidewalk.

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I’ve begun to simplify the island in the communal kitchen, which may reduce the amount of counter space but should make the space feel less crowded to the users. I am also toying with the idea of putting a bar of sorts in the artisan kitchen so that when the users are taking a break or waiting for something to cook/bake, they can sit at the raised counter and view the people in the courtyard. Additionally, I’ve found a really great chart on how high seats should be relative to counters- who knew there was a difference between a bar and a spectator bar? The pictures below and around that are some samples of textures for when I make the SketchUp model of the project. The dark wood is mainly for the furniture, and the light wood is for the countertops; the rainbow wood and the reddish-blue wood are for the outside tables, as they are meant to be funky.


Tucson Barrio Coalescence | Day 72-73 | November 1-2, 2015

I’m still trying to work out the details of the north wall of the courtyard; I have decided that I definitely want it to be broken up in segments that jut into the site to varying degrees. However, I still don’t know which layout will produce the best results- food trucks will park along that sidewalk, so I want the walls to serve as a pleasant space to wait, but I don’t want huge numbers of people crowding the sidewalks. That sidewalk lis nearly nonexistent at the moment (literally- it’s just dirt), but if it were to become a gathering place, I want it to be passable for those in wheelchairs as well (rather than having a tiny sidewalk where those in wheelchairs would be forced into gravel areas to pass on food truck day). Max recommended that the lengths of the walls correspond to the dimensions of the food trucks and where along each truck people would receive their food. There are quite a few sizes of food trucks however, and Max told me to make sure they were represented on my plan at the proper scale (my sketch seems a bit off).

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Tucson Barrio Coalescence | Day 74 | November 3, 2015 71

Tucson Barrio Coalescence | Day 76 | November 5, 2015

Food Truck Thursday! at the corner of 6th Street and College Avenue in Tempe Max recommended I visit this event, which occurs every Thursday from 10:30 am to 1:30 pm. Below are some notes.• music + raffle (sale on ASU clothes, I think; I didn’t win)• folding tables + folding chairs- nothing too formal• great weather; this won’t be so pleasant in the winter, and it’s a bit hot in the summer• lots of groups, very few people on their phones• crowd mostly dissapated after 1:30, though people were sitting and eating after the event technically ended• the movement of the people and the chairs was a bit like performance art; the flows of motion were quite beautiful• how does it apply to my project? My project would have the food trucks lined up at a sidewalk, so I think I need to factor in

a bit more space for people to wait in line, and definitely include plenty of shade; deciduous trees would work well, as they would lose their leaves and let more sunlight in as the weather got colder

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Tucson Barrio Coalescence | Day 77 | November 6, 20151. People ordering food at one of the food trucks on Roosevelt Row2. An impromptu art gallery inside a shipping container (brochure

to the right); it was one of several, sandwiched between small art vendors and food trucks

3. The front entry of The Lost Leaf, where ID’s were checked4. The menu, written on a chalkboard above the (rather small) bar

area5. View into the storage/prep space behind the wall with the menu

on it; the right side of the picture shows a glimpse of the empty space that might be used for additional seating or gallery displays

6. One of the musicians on the stage in the backyard; the band used a combination of saxaphone, fiddle, and keyboard to produce a very dramatic set of tunes (which were quite nice)

7. One of the murals on the walls of the outdoor space; this partic-ular one was painted on the back of the structure at the end of the lot, opposite the main house

8. One of the vendors I visited; this person made amazing portraits of dinosaurs in various dresses (this is my new favorite artist)

9. This was one of the most interesting galleries- viewers walked through a small room with sculptures on pedestals before climb-ing a small stepladder to enter a temporary structure made of cardboard, and then proceeded to a miniscule room at the back that held 3 shelves with found objects on them. Each object had only a sentence describing how the person who found it felt when they first discovered it.

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Tucson Barrio Coalescence | Day 78 | November 7, 2015 Today was dedicated to making an accurate SketchUp model with as much detail in it as possible; thankfully, I subscribed to SketchUp Pro so I could import my autoCAD plan straight into the modeling software. I know that the pin up on Monday will have guest reviewers, but it isn’t as formal as a midterm pin up, so I’m using my time to generate correct perspectives instead of rendering each one for the purpose of making stunning images. I also made an executive decision about the wall on the north side: given the time left before pin up, I would just use one version instead of making 2 versions of the wall.

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Lucky’s Market Café & Kitchens | Erin TorchiaLucky’s Market has a long history as a spot to gather, buy groceries, and grab lunch; the new place is a hub that continues the tradition of nourishing and connecting the community with food. It provides two kitchens, a small store, and a variety of dining spaces. The Barrio community is welcome to bring, prepare, and cook food, or buy products created on-site by the artisans using the rentable kitchen. The market is open daily and doubles as a place for the sale or trade of produce from local community gardens; the public kitchen gives members access to restaurant-grade appliances and kitchen space, in return for a small monthly fee. Indoor dining space can be partitioned off to serve the needs of the community for private events from birthday parties to conferences. The courtyard provides a shady oasis in which the public can lounge on lazy summer days, and a well-lit social space at night. A gathering wall along the north edge of the courtyard provides an ideal spot to lean or set drinks on, particularly on days when food trucks line the adjacent sidewalk.

Artisan Kitchen (1)- clean, bright, professionalCommunal Kitchen (2)- colorful, warm; cozy

Courtyard (3)- funky, casual, publicIndoor Dining (4)- warm, cozy, semi-public

Dining/Social (3-4)- share food & ideasStore (5)- share produce from local gardens

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FOOD + COMMUNITY

This place combines food preparation, dining space, and social space to help NOURISH the community through food.

Lucky’s Market Cafe & Co-Op Kitchens

Erin TorchiaADE 511Fall 2015

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Advice from Matt Salinger:• be specific, write out your 5 “why”s, narrow your program• think about light and the quality of light you want in your building (and for

each task in your program)• don’t try to take on everything yet- we don’t have the skill

Advice from Phil Horton: • you need to be able to tell a story, not just walk people through your

building• you have to have an attitude about how your building interacts with the

community• think about the role of representation, particularly graphics and oral

presentations• don’t let your education get in the way of your education• lecture from last Wednesday (Design School Lecture Series)- Photoshop

is the most important tool in architecture (not SketchUp or AutoCAD) be-cause it lets you experience the space in a more realistic way (perspective)

• try starting out with an image of what you want the visitors to see and then make the plan from that

• presentation suggestion: start with what you did and end with why; you will get fewer critiques about your door swings and on your big idea

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Max’s Comments on my project

Tucson Barrio Coalescence | Day 81 | November 10, 2015 (continued)

My Critique: • be more specific with my kitchens (figure out a specific

layout for a specific function)• why will people come here? • add a program to the community kitchen to draw people

in; research Peter Sellar’s work (performance artist who deals with immigration and other controversial issues)

• artisan kitchen needs more counter space; find out how much space you need to make 10 gallons of salsa

my questions, regarding the critique:• reviewers wanted the artisan kitchen to be stainless steel,

but that does not fit with the ambiance Max has been rec-ommending all semester

• “more specific layout”- I worry that this will render my kitchen usable to a narrower set of people (which I don’t want); could I add fold-up, pull-out, or mobile counters to increase space without crowding those using it?

• could I add “cooking classes” as a program for the com-munity kitchen to draw people in, or is that not enough?

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Hello! My name is Erin Torchia, and I'm a graduate student in the Masters of Architecture program at Arizona State University.My current studio project involves creating a kitchen space for artisans who make small batches of specialty goods can prepare their food. I am researching industrial kitchens in the hopes of creating a functional and beautiful design that fits my project.Would you happen to have any floor plans or advice about how to proceed? Any advice regarding layout, potential prob-lems, and chef preferences would be greatly appreciated!Thank you for your time!Sincerely, Erin Torchia

To Whom It May Concern-My name is Erin Torchia, and I'm a graduate student in the Masters of Architecture program at Arizona State University.My current studio project involves creating a kitchen space for artisans who make small batches of specialty goods can prepare their food. I am researching industrial kitchens and commissaries in the hopes of creating a functional and beautiful design that fits my project. Ideally, I would like to learn enough about the operations to anticipate the perfect layout to accommodate the needs of various artisans making diverse types of food.Would you happen to have any floor plans or advice about how to proceed? Any advice regarding layout, potential problems, and chef preferences would be greatly appreciated!Thank you for your time!Sincerely, Erin Torchia

Stir Cooking School, DenverI began looking into cooking schools and their layouts in hopes of finding the ideal plan for my community kitchen space.

After my critique, I decided to reach out to some commercial kitchens in hopes of digging up some plans, sections, diagrams, dimensions, etc. so I could create a better kitchen in my space. The photos I found of the rentable kitchens were rather cold - lots of stainless steel and industrial concrete/tile floors. There was very little personality in these spaces, and that isn’t what I’m looking for in my space. I want my space to welcome the artisans in and inspire them! Similarly, in the community kitchen, I want people to come in and feel at home, rather than feeling like they have walked into a sterile space with no character.

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I have been considering options that will fix my lack of counter space; so far, I have come up with 2 alternatives: 1. Fold-up or Fold-down countertops- these are built in and fold flat (or nearly so) against a wall or an end cabinet. They would allow the space to feel very open when they were folded up, but give people a lot more space when they were opened. They seem to come in just about every type of surface, so getting them to match my kitchen wouldn’t be a problem. The only downside is that they aren’t terribly mobile.

2. Mobile cabinets- These sets of cabinets on wheels are like mobile islands; they provide both storage and extremely flexible counter space. I don’t know if the brick floors would stand up to having potentially heavy items continually wheeled around, nor do I know if each one of these would serve one person (like a rentable system) or just float around to be pulled into service as necessary. I think the mobile countertops might fit better with the intent of my project, which is to create flexible, inspiring space. I also like the idea of wheeling them up to the windows where the tables (the long ones in the courtyard that look into the building) are, so that food can be more easily passed out the window if necessary (though this would not be the typical function of these windows).

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Rough Draft of talking points for Calling Robert MoricHi, my name is Erin Torchia and I’m one of Max Underwood’s architecture graduate students. my current project in-volves creating an industrial kitchen, and I was referred to you for advice. Is there a time next week when I could visit your kitchen and talk to you about ideal layouts for my project?

The photos on this page are from Bulthaup’s website, and there are some screenshots from Ratatouille, which I can’t seem to find on Netflix streaming (hence the internet images). This movie was recommended because the kitchen in it was based on a Kitchen in California called The French Laundry.

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These photos are from the internet; I searched “commercial kitchens” and chose ones that weren’t entirely stainless steel (they are, in many cases, probably not commercial kitchens). Nonetheless, this page is dedicated to doc-umenting what it is about each picture that I like -thus, when I choose surfaces for the artisan kitchen, I can make informed decisions.

1. I like the wood floors and the intense character of the wooden drawers, but I’m not keen on how dark the ceiling tiles make the room feel.2. I like the character of the ceiling, but I think the wood of the cabinets may be too dark for my space.3. I love the Mexican-style tiles on the walls, and the rolling rack that fits under the counter. I like the mix of wooden cabinetry and stainless steel appliances, but I’m not sure Max will approve. 4. I love the ceiling beams and the clean, stark character of the counters, but I don’t like the stainless steel cabinets or the dark backsplash.5. I like the chunky wooden table as an island, and the white paint between the ceiling beams helps lighten the room, but I don’t like the white cabinets with the black stove or the fact that the island is only prep space.6. I love the ceiling beams and the chunky character of the island! The blue wood is a plus, but may end up in the community kitchen rather than the artisan one.7. This picture deals with brick walls in the kitchen, and I really like the combi-nation of shiny granite (I think) countertops and whitewashed brick. I particularly love the cutouts in the brick for the small appliances, but I don’t think I’m going to add brick to the new building.8. The ceiling is very nice in this one, and I like the wooden countertops and the overhead lights, but I don’t like the whitewashed cabinetry with glass fronts- that won’t fit with the aesthetic I want for either kitchen. 9. I like the ceiling and the wooden cabinets with stainless steel tops; I also like the fact that the island can roll where it’s needed.10. This kitchen is wonderfully warm, and is quite close to the aesthetic I want. I love that the windows line up with the tables, and the only thing wrong with the image at all is the fact that the historic code would make my windows narrower. The quality of light is perfect- bright yet warm and welcoming. 11. This kitchen is edging toward the more industrial kitchens, but I like the large appliances. I don’t think I could include wine fridges in mine, and I would also put the fridge in a different spot so someone who’s cooking wouldn’t have to walk around the island to grab ingredients. 12. This is already a characther image, but I really like the cieling and the char-acter of the wooden cabinets. However, I think the textures on the cabinets, floor, and ceiling all compete for attention. The light is nice though - bright, but a little cooler than what I imagine my space will have. I don’t like the stainless steel island; it makes the room feel a bit too cold.

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These photos are from the internet; I searched “commercial kitchens” and chose ones that leaned a bit more toward industrial layouts and stainless steel surfaces. I want the functionality of professional kitchens with surfaces borrowed from other sources to make the artisan kitchen feel very welcoming (rather than cold).

1. This kitchen looks like at least 8 people could cook in it at once; the inclusion of multiple stations is helpful and I like the fact that the prep tables have storage space in them. I don’t like the stainless steel hoods- they drain the light out of the room and make the ceiling feel cluttered. 2. This space feels too open and the light isn’t very good. I don’t like the pipes on the ceiling, and the lack of a central island reduces the efficency of the space. 3. I love the light- it is very bright but not too cold. Additionally, the appliances are all on wheels (how does that work with a stove?) so they could be reorganized at will. I don’t like the stainless steel wall, and I don’t think having a microwave on the lower level of a prep table would be very functional. 4. IThe floor adds warmth to the space, but the backsplash fights to darken the room... I like that the units are on wheels, so that they can be moved at will to maximize efficiency depending on what task is being performed. 5. This space has great lighting, but the huge hood on the ceiling is just too big and makes the room look darker and more crowded. The appliances are very large as well - I’m not sure they need to be quite that big for the artisans.6. The ceiling and the uncluttered counters are working very well, but the back-splash (which has great character) could be a bit lighter. It also looks like there isn’t much space between counters, which wouldn’t work for my space. 7. This kitchen looks huge, and the edges are a bit too dark. The aisles are too narrow for my space (which will accommodate people in wheelchairs), and I really don’t like the stainless steel countertops. I do like the hanging shelves, which would be great for making sure the utensils were within easy reach. 8. These prep tables are clean and functional, but they don’t have any appliances or very much storage; I don’t think they’re on wheels either. The light is great, but the wall needs a bit more character (as do the floor and probably the ceiling).9. This space has great light and I love the inclusion of wood countertops above the stainless steel cabinetry. The ceiling is also nice, but I wouldn’t include stainless steel cabinets at eye level (the wooden ones in the picture are nicer).10. This is my favorite one, despite the stainless steel countertops; it has stations and plenty of shelving. The copper pots make the space warmer, as does the orange-ish tile on the floor. I would really like my kitchen to look like this, but with wooden countertops. 11. This is a panorama from the kitchens of Alinea (an extremely expensive restaurant), and I think the lighting could be a bit brighter. It helps immensely to see people in the kitchen though, so I can get a sense of how it feels to be in it.

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A Study in PlantersThese are some of the planters I was looking at for the north courtyard; there is plenty of space on the west wall and around the bases of the other walls. I could have the community bring in mismatched pots for an eclectic feel, or I could have them help build wooden planters to hang on the walls (will wood survive the weather? Max thinks not). I could also strive to make the plant-ers out of recycled materials, like bottles. The plants themselves will all be edible, like rosemary, thyme, and anything else that will grow in small quantities in pots.

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Visit to Bulthaup - 4175 N. Goldwater Boulevard, Scottsdale, AZI I met with Robert Moric today, and he helped me immensely with my kitchen layout. I began the visit by showing him my project, so he had an idea of what I was striving to create. He had me tour the kitchen setups in his office building and form my own conclusions. I noticed that when the sinks and stoves were not beside each other, they were directly across from one another; as I moved about, I found it very easy to navigate. The surfaces were all smooth and very easy to clean, and everything was rather minimalist. Once I had explored the kitchens on my own, he took me through them again and explained the layout he thought would fit my project best.

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I am working on different configurations for the kitchens; the dimensions don’t quite divide evenly within the space, so I will make modifications as necessary. I am leaning toward putting rolling prep tables between the two stove stations in the community kitchen; this way, they can be pulled out whenever there are cooking classes or families preparing large meals. Regarding the SketchUp model, I found it easiest to create the kitchens separately and then put them, as a single component, into the rest of the model.

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Comments Regarding the Context Board: • mention local demographics and the history of Lucky’s Market• go into detail about the proposed program (co-work space)• make 2 boards so you can show more context• mark the cross streets and Barrio Border on the context map• shadow the building on the plan (everything else has shadows)• add pictures with people in them (it’s not a ghost town)• historic photos via google Earth• describe how Tucson was founded (founded at the base of the moun-

tain where the stream was low enough to cross)• consider doing a handout• put the building front above the panorama (less confusing to viewers)• merge my context map with Ruonan’s• make a section of the old building’s walls

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Comments on My Project• watch the font- the T in ‘kitchens’ looks like a cross• lighten the bricks on the floor• use Photoshop to make the renderings better• don’t say funky, say eclectic• practice my presenation

Tips from Rachael

• don’t abandon your undergrad experience- use it as a strength• when you only have 2 weeks left, design through your perspectives-

you’ve chosen views, so stick with them• 2 different woods for old and new in your model• know your thesis statement and read it right up front, it’s the soul of

the project and be concise!• your board is your tool to tell your story

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Rendering Time!• top left image: this was the original perspective; I was told to lower the viewpoint

and make it more photorealistic and less “cartoonish”• middle left image: I have lowered the perspective and discovered that this is a really

odd angle for the food trucks - I’m not sure there are any photos of food trucks from this angle

• bottom left image: I have begun to remove some of the people so I can see the geometry of the space; some have been left in place so I can scale the new people properly when I add them

• 3 texture images: the bricks will be used for the floor, the rammed earth for the low walls, and the lightly textured stucco will be for the wall of the artisan kitchen; I may alter the color and use it again for the facade of the dining room

• top right image: I have taken nearly all of the people out, but left the trees so I can scale the new ones properly

• middle right image: I have taken everything but the structures and the tables out• bottom right image: one of the character images for the courtyard; so far I have

cut out the couple beside the waiter. The people in the foreground may be at the wrong angle to use in my planned views.



I began by taking a screenshot of the model without any of the walls or furniture, so I could make sure the outside scene (which would be visible through the windows) would be scaled correctly. Then, I put in a floor tex-ture (wide-board flooring like the kind in the Bulthaup kitchens, as per Max’s request) and used Photoshop to skew it correctly. Then, I used the screenshot of the model with furniture in it to add tables, counters, a stove, and a sink. The sink was extremely difficult to skew properly, and I’m not sure it turned out correctly. Nonetheless, I continued and added people (which I had cut out from pictures found on the internet) and food. I’m not sure my Photoshop skills are quite good enough to make the food look realistic in terms of shadows, but I attempted them and they look a little bit better.

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Tucson Barrio Coalescence | Day 102 | December 1, 2015 99

This is the last rendering! I packed it with people, most of which were cut from pictures of people at farmer’s markets. The brick is kind of visually heavy, but it does look nice. The particular view I chose doesn’t lend itself to showing the actual tables, so I focused on making the space look busy. I also added teal doors, because I couldn’t find a good picture of the existing ones; I think they would be re-placed anyway, as they are currently a bit run-down.


Tucson Barrio Coalescence | Day 106 | December 5, 2015

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Tucson Barrio Coalescence | Day 108 | December 7, 2015

These are some of the character images I found while looking for images to add to my final board, as well as those I found while looking for people to put into my renderings. I tried to find images with people interacting with each other and food, and I think I’m going to add some food pictures to the final board as well. Not all of these images are large enough to be printed at the final printing scale, so I’ll have to look for pictures at least 1200 x 1200 pixels. The man holding the baby at the farmer’s market was going to be part of the rendering of the store space, but unfortunately he was too small to put in the foreground.

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Our site is located in Barrio Viejo (also called Barrio Libre), in Tucson, Arizona. Our site is the upper red box, and the stars scattered about the context map represent local destinations (like coffee shops, restaurants, and shopping opportunities). We were not allowed inside our site, so the floorplan is only our best guess at its internal layout; the walls are made of adobe sandwiched between interior and exterior layers of brick. The building was constructed sometime in the early 1900’s, and by 1919, it was already commercially zoned. These are the views from and toward Lucky’s Market, which is located on the corner of Meyer Avenue and Kennedy Avenue. It was one of 25 Chinese markets in the Barrios, and was the last one to close; the owner’s son (or grandson?) now uses it for office space. As you can see from the photos, it would benefit greatly from some restoration, though it has excellent character. The site is located within a Historic District Overlay, which comes with a set of zoning regulations and design guidelines that dicatate the appearance of the facades that face the street. This was a rather important consideration in the course of our design work, so most of our facades will have vertical doors and windows and wall textures that mimic or are similar to those of the existing buildings around our site. Overall, there are three main things you need to remember about the Barrio: firstly, it has a rich and diverse culture with deep historical roots. Secondly, the historcal code and the presence of the surrounding context is very important to address in our sites and our design process. Lastly, this is a place where new traditions are being formed and there are always opportunities to work within the spirit of the context without simply re-creating it.


Tucson Barrio Coalescence | Day 110 | December 9, 2015LUCKY’S KITCHENS

Erin Torchia

Lucky’s Market has a long his-tory as a spot to gather, buy groceries, and grab lunch; the new place is a hub that continues the tradition of nour-ishing and connecting the community with food. It provides two kitchens, a small store, and a variety of dining spaces. The Barrio community is wel-come to bring, prepare, and cook food, or buy products created on-site by the artisans using the rentable kitchen. The market is open daily and doubles as a place for the sale or trade of pro-duce from local community gardens; the public kitchen gives members ac-cess to restaurant-grade appliances and kitchen space, in return for a small monthly fee. Indoor dining space can be partitioned off to serve the needs of the community for private events from birthday parties to conferences. The courtyard provides a shady oa-sis in which the public can lounge on lazy summer days, and a well-lit so-cial space at night. A gathering wall along the north edge of the courtyard provides an ideal spot to lean or set drinks on, particularly on days when food trucks line the adjacent sidewalk.NOTES:

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Tucson Barrio Coalescence | Day 111 | December 10, 2015Notes for David:

• nice board layout, don’t be nervous- we want you to succeed!!

• intro is too long - state that the gaming in-dustry is growing and that you began by re-searching games, then dive into your program

• know where your character images come from, ESPECIALLY if it is a place you should know about our have visited (ie: ASU vr room)

• mention your 3 design approaches BEFORE walking us thru the building so we can look for them in your work

• “simple interventions leave space in the bud-get for more equipment” - take a stance!

• your persepctives make your architecture seem like an attempt at midcentury modern (1954) versus the futuristic ideals we would expect from a program that focuses on new technology and new ways to experience real-ity; but great use of Tucson vegetation!!

• playing games- much more equipment-inten-sive than game development

• there are 2 types of games: sitting and stand-ing (and design accordingly)

• 30’ x 30’ for a virtual reality room• it seems like the architecture doesn’t matter...

one critic thinks it could be much cooler• another critic likes that you are using the

building (specifically, he thinks your attention to solar angles is great)

• you mentioned a maze and a courtyard, but neither really shows up in plan or renderings; either you aren’t understanding the terms or you are using them too loosely

• make your plan the size of Holly’s and darken the furniture or lighten the gray floor surface

• how can you engage the public in your proj-ect? Big screen on the north side = public gaming opportunity

• write a story using words (heavy, gravity, vir-tual reality, and their opposites), put avatars to it, and put it in your space

• I like your renderings- make the diagrams at the top smaller and put them lower; put your character images up there instead

Notes for Mourissa: • floorplan: make it bigger, possibly add furniture. Site plan: fade google aerial further and lighten the interior of the spac or show

the roof. Bottom right perspective: looks ‘miserable’ and tight- scale is way off• renderings aren’t closure, they are a springboard for new discoveries• shade structure is only about 50% coverage; AZ needs 80-90% coverage. Love the idea of the shaded outdoor space, but the

beams in the render are not realistic- they span way too far. Interior surface of adobe is typically covered with light colored latext that reflect light beautifully. Why are spaces 1 and 4 so massive?

• perspectives are too big- crop some of the beams out and put more white space between everything. Don’t take out so many walls; surgically cut the walls where necessary. Show your furniture- it’s necessary for scaling

• talk to builders- get excited about the tectonics like you are for the gangplank space

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Tucson Barrio Coalescence | Day 113 | December 12, 2015What We Learned (Discussion with Reviewers after Presentations): • use photos of people doing the things we want (space-specific); develop a library of textures & people• triangulate your project between the project’s context, architecture, and the environment• what are you contributing to the projession of architecture?• we have evidenced that we are committed to the notion that what goes on in our building will make the world a better place• architects alter the material world in which we go about our business• look at the edges of things- roofs, windows in walls, curbs, sidewalks, etc.; how you detail these things speaks to how you

treat the people who use the space• points of interface and transition (called joints) are places of possibility!• architecture should teach you to take in the details of places• variety of scales/power of ten; we need to investigate things at different scales, and you should switch scales frequently

and examine the results at each level• after one hour of staring at a screen, stare at something else for 30 seconds• our class had high quality models• explore your world and develop your own architectural language built from things you see• be inspired by the world around you and learn ot look at things• you are constantly doing research- if you see something amazing, ask yourself how it became amazing and what exactly

about it you find amazing• you need to know the software, but don’t stop drawing• interrogate your surroundings and think critically about them.

Things I Learned:

• Taking notes helps me pay attention during reviews and learn from what reviewers say about my classmates’ proj-ects; it also helps me figure out what reviewers are focus-ing on for a given day

• Keeping a logbook helped a lot - I knew I had to make enough progress on the project to fill at least one page per day, so I worked on my projects constantly

• When making models, folding paper into a tiny set of stairs is extremely difficult and time consuming... next time I should find a better way

• I would really like to learn how to use V-Ray, which is a piece of software that allows you to render from a Sketch-Up model; I think this would have saved me a lot of angst

• I would also like to learn to use Revit, but I am less excited about that - those renderings are okay, but I think getting good results is a lot harder

• Keeping a sketchbook was also helpful, though it would have been more helpful if it was slightly smaller (it was kind of hard to draw with the binding getting in the way)

• I need to learn to use the laser cutter!! Making models with lots of detail is impossible without it - I spent an hour cutting out 8 windows in one wall for the final model

• “Don’t let your education get in the way of your educa-tion”- I need to make sure I see the sun and actually try to visit places during the semester. Specifically, I would like to visit the food truck days and public markets, because I find them fascinating and I would love to know more about them.

Overall Thoughts About the Class:

• This was a great class overall!

• I think time management is a huge component of success in studio classes, and I think the timing was fine for this class; I also made sure I started the projects as early as I could, which helped

• Knowing your personal limitations is important. For in-stance, I am not very good at producing renderings; thus, I decided to render as much as I could in SketchUp and then just use screenshots of that so I could put them on my boards and print on time.

• I think it might be helpful to have a day where we have class down in the laser cutting lab, where we are required to just spend the day building some version of our model; this would have helped us a lot.

Above: A photo of me presenting the context board and model on final review dayModel Photos- These are progress shots of the final model being built; I glued the pieces to each other on top of a floor-plan, and then transferred them over to the wooden base and added the tiny tables.

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Erin Torchia_ADE 511 Fall 2015 Studio Logbook

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