[Writing portfolio for arch 101-01]California Polytechnic State University, San Luis Obispo (Cal Poly)

Fall 2012

Professor Michael Lucas

Student Prabhjot Sutti

BIO

My name is Prabhjot Sutti. I am from Pittsburg, California, which is a part of the San

Francisco Bay Area. I am in my first year in design. I chose architecture because of my

fascination with buildings and particularly major city skylines. Taking an architectural design

class my senior year in high school furthered my interest. Other than architecture, my interests

include video gaming (racing games preferred), searching random stuff on Wikipedia, and

hanging out with friends and family. I speak two languages: English and Hindi, with English

being my first language. My goal career is to become an architect, with city and regional planner

or an architecture teacher being my back up career.

ESSAY SET ONE

One common question when studying and practicing architecture relates to how to define

architectural theory. There are numerous topics that are involved in theory such as form,

function, and alternative solutions. Though these are not the only three elements of architectural

theory, these three elements present the base of architectural projects.

Form is essential to how an individual or a group will judge a building no matter its

function. As stated on Brittanica Academic Edition’s website, “The architect’s principal

responsibility in the formation of style is to create meaningful form.” In other words, the

architect must design a building that will produce sightseeing pleasure to the general or specific

audience. Though sightseeing pleasure does not always result in meaningful form, since it

produces a positive feeling the building or structure must have some meaning. For example, the

follies in Parc de la Villette in Paris are said to have no form or has a form that breaks traditional

architectural standards and creates conflict. An image is provided below:

A site description by J. Daniel Pugh describes the follies framework as allowing “for multiple

combinations and substitutions within the built space.” The follies have gained criticism for their

unusualness and having no meaning. However, the follies should be viewed as works of art that

provides popularity and positive images for the park as a whole. Since they are colored in red, it

is noticeable and their form is viewed more clearly.

Different forms are a result of different functions. Another important aspect of

architectural theory is the building or structure’s function. As famous architect Louis Sullivan

has said: “Form follows function.” Even if the structure created does not have any personal

interaction with humans or other inhabitants, the structure must have some sort of function.

Architecture’s function has evolved over time. For example, in the book The Ethical Function of

Architecture, it is mentioned that “architecture…has to free itself from the dominant formalist

approach, and get beyond the notion that its purpose is to produce endless variations of the

decorated shed” (Karsten Harries). This modern view of architecture is called deconstruction,

beginning in the 1980’s (library.thinkquest.org). Buildings under construction nowadays not only

have unique forms but they are not only limited to one function. An office building is not only

limited to being a workplace; it may also be a city attraction, symbol, or common meeting place.

A building/ structure may have multiple forms that relate to one variation as well as having

multiple functions that relate to one common function.

The third element of architectural theory is alternative solutions. An alternative solution

that has been widely adopted is constructing buildings/structures that are environmentally

friendly. Solar panels and waterless tanks are examples of environmentally friendly elements

installed in homes, workplaces, and other buildings. In addition environmentally friendly

buildings pay for themselves over time faster than those that are not, according to Yahoo!

Answers. Alternative solutions in general offer a different method and perspective on a

traditional method of construction. For instance, schools in the past have been simply a building

or a set of buildings that would be uniform in size and would only be used for classrooms. In

modern times schools, particularly middle and high schools, have evolved to be composed of

buildings that have composition and creativity. Possible reasons for the transformation of schools

are the deconstruction movement and to make the school more appealing for students and

teachers. Alternative solutions are a natural element of history, which is why there are many

forms and many functions that exist in the world. The evolvement from mud houses to wooden

cabins to skyscrapers was the result of people coming up with alternative solutions to improve

their current environment.

Three essential parts of architectural theory are form, function, and alternative solutions.

Though there is no definite theory on architecture, the various theories that do exist discuss and

apply form, function, and alternative solutions. In modern times there are numerous possibilities

on how to construct a building or structure due to the deconstructive thinking that has evolved in

recent history. As stated before, form, function, and alternative solutions make the base of

architectural projects.

ESSAY SET TWO

ESSAY 1: SANDY STANNARD

Architects are known for dealing with complex elements such as form, materials, and

regulations, but there is another element that is just as or even more complex: light. It is an

integral aspect of an architect’s work to use light as a manner to depict a room in a building the

way it is intended to be. For instance, rooms that holds paintings would need adequate lighting to

not only makes sure the paintings are seen, but to make sure the light gives the paintings justice.

I have been to a few art museums before, and while I did not understand the lighting process, one

thing that caught my attention was the flash on cameras when taking a picture. When taking a

picture of a painting of a tree, for example, without flash, the lighting that the museum provided

was enough to capture the beauty of the painting. However, when I took another picture, this

time with flash, the painting became more bright but at the same time there was too much

lighting than needed, detracting the beauty a little bit. Situations similar to this happen regularly,

which is what the architect must think about when designing a room and helping in designing the

lighting system. The flash from a camera is a type of light the architect cannot control.

One type of light that the architect has some control over is ambient lighting. The goal of

ambient lighting, according to ERCO Light Scout’s website, is to ensure “that architecture and

the objects and people in it are visible.” As stated with my personal example in the previous

example, the lighting the museum provided made the painting visible enough for people to

admire and take pictures without additional lighting. Ambient lighting mostly functions as a light

source for communicating such as a social room or to work comfortably such as an office, again

according to ERCO Light Scout. With these goals in mind, the lighting does not have to give an

artistic expression. The light in my dorm room was not designed intentionally to give artistic

value to the dimensions and materials of the room; it was designed to provide ample lighting to

perform routine tasks such as doing homework. Ambient lighting is commonly employed to

make sure the contents in the room may be seen, but at the same time also portray the artistic

value in the contents when needed.

Lighting is not simply provided by installing light switches and light bulbs to a room.

Lighting must have a purpose, as with all aspects of architecture. Whether that purpose is to

showcase the painting of Mona Lisa or to make sure college students can comfortably study for a

test, there must a specific lighting that must be thought of in the design process of a room.

ESSAY 2: ROBERT ARENS“Architecture is an act of making”, says Cal Poly professor Robert Arens. This is similar

to a quote by Louis Kahn, commenting that “architecture is the thoughtful making of space.” A

design of a building is not made to be put on display on a museum, like other arts. The design of

a building is meant as a foreshadowing to the real construction and completion of a building. The

freehand sketches that are done from time to time are meant to gain a different perspective of an

object. The sketch is then used as a plan to construct a model which shows that different

perspective, reflecting how architecture is an act of making.

Similar to how important a painting is painted with, as in the type of brush, thickness of the

brush, how strong the paint is, etc., a building’s materials are important and involved with the

“act of making.” For example, Tony Smith’s six foot steel cube named “Die” gives the

impression that is a monumental structure

(http://www.flickr.com/photos/nostri-imago/3134832774/). Steel is the main component here;

had it been made of any other material it would not have the “monumental” persona. The design

is simple, but it encompasses space in a way that it is not trying to be complex; it is what it is.

According to Tony Smith, since the cube is equivalent to the height of human, viewers are

encouraged to walk around it and explore the space. From viewing a picture of the cube it would

be interesting to treat it as an abstract piece of architecture though the design is simple. The

reason being is that it is composed of steel, which is normally found on buildings, not on objects

in a museum. This steel cube represents how architecture involves making an object that gives

the impression of being used for more than to be merely viewed at.

ESSAY 3: TOM DISANTOThe 9th annual vellum furniture competition encompasses many aspects of architecture.

The general public might think differently, questioning how furniture relates to buildings.

However the furniture displayed is architecturally relevant because it deals with space, materials,

and form.

The varieties of seating arrangements outside of the gallery are prime examples of

architecture. For instance, I sat on the chair that was made out of car tires, though to me it felt

like the regular leather that is used for comfortable chairs. This is an example of how materials

are used to produce an effect, a key element of architecture. Though the chair was larger than the

average chair, the extra space is needed to create comfort in addition to being composed of non-

traditional material. One technique I noticed was that there was plenty of space surrounding the

chair, giving it the impression that it was one of the more popular chairs in the competition.

Finally the form of the chair was simple, with no arm rests and seemed foldable. The leather

from the car tires were crisscrossed in pattern to clearly show it was made of that material. The

simple form made it more enjoyable, because one does not have to worry about fitting within

arm rests. The chair made of car tires is a prime example of how the vellum furniture

competition is connected to architectural ideals.

ESSAY SET THREE

ESSAY 1: MARK CABRINHA

Everyone’s perception is unique, yielding a diversity of results. When discussing about

architecture, perception is vital to understanding what effect the work of architecture is

attempting to produce. Two methods, as mentioned by Cal Poly professor Mark Cabrinha, of

gaining perception are reaching and sensorimotor contingencies.

Reaching may be viewed as a child’s method of perception. Actually touching and

viewing the work gives a direct perception and a more concrete knowledge of the work. For

instance, when measuring Harford Pier, the physical contact I had with the pier gave more

reasonable measurements than if they were done by assumption or by computer. Though this

method may not apply to all architectural works, it is the most efficient to gain a better

perception.

The second method, sensorimotor contingencies, may be viewed as imagination. The

website http://nivea.psycho.univ-paris5.fr/Synthese/MyinFinal.html discusses about

sensorimotor contingencies, beginning with the example of visioning driving a Porsche. Various

movements, from stepping on the gas to turning the wheel, are imagined. Similarly architectural

structures are imagined and experienced based on prior knowledge of those structures. For

instance, prior to actually visiting New York City in 2009, I had imagined viewing the Empire

State Building based on pictures of the NYC skyline and after reading information about its

measurements. When visiting New York City my imagination was somewhat correct at least

when discussing about the skyline. However upon seeing the Empire State Building from the

Rockefeller Center, it was a different view because I did not take into account the width of the

building, only the height. While my sensorimotor contingencies helped me prepare for the actual

experience, actually viewing the structure (reaching) gave a much better perception.

Architecture is meant to be viewed physically and mentally to an extent. If viewed

physically, a much better perception is attained, and will affect how it will be viewed mentally.

Mental perception is an appropriate method to compile the information learned into an image or

an experience, preparing for the actual experience. Between the method of reaching and the

method of sensorimotor contingencies, reaching appears to be the more valuable method of

perception.

ESSAY 2: TRUDELL AND LUCAS

The purpose of architecture is to utilize space to accommodate a certain population.

Cultural influences and human impact are two elements that are considered when developing a

new site plan.

With regards to human impact, the term sustainability is a popular word that is discussed.

According to Professor Trudell, sustainability is meeting the needs of the present without

compromising the ability of future generations to meet their own needs. Being in the generation

that is expected to significantly move forward the sustainability movement, I agree with that

definition. A comparative example is the current economy, with future generations being

significantly at a disadvantage because of past generations meeting their needs but not

accounting for the future. One method of sustainability, that Trudell mentions, is Super Urban.

Super Urban is moving agriculture to the city, such as the increasing use of roof gardens or

devoting a building to agricultural produce. Homedecorgallery.com shows a picture of an

example of Super Urban.

Since urban centers are growing ever more compressed it is wise to adopt sustainable methods

such as green roofs to reduce the negative effects of human impact.

Cultural influence is another influence when developing a site plan, particularly ethics.

As said by Professor Lucas “who you are is partially based on what you build.” For instance,

when I was constructing my models and drawing my sketches, I thought to myself how I want

these works to be perceived by others in order to give me a more positive image. Architecture is

an art after all, and it requires critique from individuals in order for the artist (architect) to be

aware of his/her strengths and weaknesses. Upon learning those strengths and weaknesses, a

code of ethics is created in order for the next project to be not only better, but it follows a

cultural ideal. Cultural influences differ among each population, so the code of ethics differs as

well, leading to a diversity of architectural works.

Population demographics are a key element in developing architecture. Cultural ideals

and sustainability are becoming ever more vital in the current and more importantly future

generations. By utilizing those two elements, architecture in the future will be more

accommodating to a wide range of demographics.

EXPERIENCING ARCHITECTURE ESSAY

Every person experiences architecture in their own way. Situations include: a cheerful

child maneuvering him/herself through a maze, a potential homeowner looking around the

various rooms of a new house, or an architect drafting a floor plan for a new office building.

Steen Eiler Rasmussen, who was an architecture professor at the Royal Academy of Fine Arts in

Copenhagen, explores these and other situations in his book Experiencing Architecture. Many

elements and ideas of architecture are presented throughout the book, with the elements of

cohesion, aestheticism, and purpose being distinguishable. These three elements were

highlighted in my situation of experiencing architecture: the Harford Pier project that was done

in my first year of studying architecture at Cal Poly.

Rasmussen depicts the ideas of cohesion, aestheticism, and purpose through everyday

situations where experiencing architecture is unconsciously done. For example, one situation

involving purpose includes children playing a sport on the steps of a basilica. Rasmussen

described the sport interacting with the surrounding area “a kind of football but they also utilized

the wall in the game…a curved wall.” Here he begins to discuss about purpose, because a

basilica, normally intended as a tourist attraction or a place of worship, is being employed as a

sports/play area. This shows that a work of architecture has multiple purposes, some intentional

and some unconsciously. Rasmussen further elaborates on the situation, commenting that the

children “unconsciously…experienced certain basic elements of architecture: the horizontal

planes and the vertical walls above the slopes.” The game that was being played incorporated

those planes, walls, and slopes to provide fun and challenge for the children. This example is one

of the most poignant in the book, where the architecture experience is directly stated and then

elaborated upon.

Cohesion, or unity, and aestheticism are more elaborated throughout the book. The

examples and ideas that Rasmussen employs reflect the experience at Harford Pier and the

project that was done afterwards. My group’s site in particular was unique because of the

additional structural elements such as a concrete block underneath the site and a structure

holding a boat. Not only did these elements provide a sense of aestheticism, but it also provided

a challenge in creating unity within the site as well as with the surrounding sites, before and after

expanding the pier.

Harford Pier is meant as an industrial pier, since it is used for docking, fishing, etc. In this

case the pier utilizes the sea lifestyle of architecture. Rasmussen says that unlike other arts,

architecture involves utility. The exact quote, on page 10, is “Even the most abstract piece of

sculpture…does not become architecture. It lacks a decisive factor: utility.” Harford Pier

represents the sea lifestyle of San Luis Obispo County, due to the numerous beaches and other

water activities. Cohesion is well presented here, since it does not feel out of place; its success

attributed to its appropriate placement.

In order to maintain this cohesion for the final project, an activity not relatively known to

be done at a pier was performed: measuring the elements of the pier and recording those

measurements. Architecture students working on the pier is unusual, though it was necessary to

gain a further, more intimate relationship with the pier. Detailed observation was required, and

re-measuring the same section of a site only further advanced my experience with the pier. With

those measurements, I was able to physically understand how this pier functioned and its

foundation, which would not have been attained based on assumptions or if the measurements

were given.

Another method that involved attaining a deeper sense of the pier was sketching. As said

on page 36, “This act of re-creation is common to all observers.” In this quote Rasmussen

describes re-creating as an act itself, whereas sketching is a manner where one may re-create.

Sketching the various parts of the pier required close observation. When it came time to expand

the pier for the final model, the sketches were used to help my mind re-create the pier. In my

group, how we each remembered the pier affected our additions to the pier. The different

sketches from the different views made cohesion a group effort in order for the sense of the pier

to still be there.

The process of recreating and expanding the pier began after the trip. Initial thoughts

included activities that were viewed on the pier, such as fishing, sightseeing, and family time.

Not only did our group’s site have to be cohesive with each other, but to the surrounding sites as

well in order for the final to be smooth and connected. When figuring out how to expand the site,

I thought of how my addition would attract visitors to explore rather than view. Rasmussen

explains this on page 59, saying that “if an architect wants his building to be a real experience he

must employ forms, and combinations of forms, which will not let the spectator off so easily but

force him to active observation.” The addition had to be abstract as the boat structure on our site,

since it was the most distinguishable element.

Since the pier was in contact with a natural setting, expansion of the pier involved

cohesion with nature as well. A goal of an architect, according to Rasmussen on page 77, is “to

bring architecture into harmony with Nature.” One group member, Katie Eberle, made her

addition the most natural. Her addition involved poles that would move up and down coinciding

with the wave patterns underneath the pier. Doing so attracts visitors and encourages them to

experience the pier differently.

A third key element Rasmussen discusses about is aestheticism, an element the group

consistently thought of. When expanding the site, a theme was recurrent: triangles. Stairs and

platforms that were added consisted of triangles, which made our site cohesive. My addition

originally had a minor triangle element, but because it was minor it would detract the

cohesiveness of the site, and was appropriately not included. Though Rasmussen explains that a

“monumental edifice [becomes] even more effective when it [is] placed in a row of ordinary

structures” on page 120. Though Katie’s wave structure contrasted the triangular theme, it wasn’t

detracting since it was mostly underneath the pier, and gave the pier a more extraordinary image

among the “ordinary” triangular structures. The triangular theme was untraditional compared to

the other sites, but it worked well for our group because it required interaction with the pier, such

as having to maneuver in a curve rather than in a straight path. Because of this theme, the site

had more unity and better depicted an expansion of the pier, as well as being more aesthetic.

Three key elements, among many others, that Rasmussen discusses about throughout

Experiencing Architecture are: purpose, cohesion, and aestheticism. His example involving the

children playing in front of the basilica set the plan for how to view and complete the Harford

Pier project. Not only were traditional pier elements viewed, but other elements untraditional to a

pier but that would be appropriate or interesting for a pier were viewed as well. My experience

with the pier brought me to a better understanding of what architecture is, as well as the more

efficient and rewarding manner to experience it.

HEARST LECTURE ESSAY: ARCHITECTURE 2030

One of the most debated topics concerning architecture involves sustainability and

consumption of resources. Building operations take up most of the energy and release nearly half

of the fossil fuels in the United States. A plan has been made to help reverse the current

situation: Architecture 2030. “Architecture 2030, a non-profit, non-partisan and independent

organization, was established in response to the climate change crisis.”

(http://architecture2030.org/about/about_us). Developed by Edward Mazria, the organization

looks to achieve energy reductions through the use of design.

The building sector is equally, or more responsible, than transportation in releasing fossil fuels.

As stated by Mazria, building operations contribute to 43.1% of releasing fossil fuels. In addition

building operations consume 75% of US electricity, and this consumption is projected to

increase. This large percentage should be a shocking piece of evidence that would require the

building sector to do their part in reducing fossil fuels rather than all the blame towards

transportation. The building sector did begin to take steps to reduce fossil fuels, but not

voluntarily: the recession that began in 2008 contributed to a reduction in buildings being

constructed. Thus there has been no significant solution to the problem, which is why

Architecture 2030 is vital to prevent the crisis in climate change from getting worse.

The reason the organization is named Architecture 2030 is because 2030 is the target year to

significantly or completely reduce risk factors that contribute to climate change. Mazria notes

that by the year 2030 the number of people living in cities will increase by 1.6 billion. In

addition, 900 billion square feet of new and rebuilt buildings will be constructed in cities

worldwide. The additional construction will no doubt significantly multiply the amount of fossil

fuels being released in addition the consumption of energy used by the people residing in the

cities. If the reduction of climate change risk factors could be done sooner, it would have a

different target year. But 2030, to me, is an appropriate target year to efficiently accomplish the

organization’s goal.

The 2030 challenge will be a success, not only because of their purpose and their timing, but also

because of adopters. In Mazria’s presentation, it was noted that The American Institute of

Architects strongly supported the organization’s goal. Other adopters included the federal

government, evident by the Energy Independence and Security Act of 2007, which called for

more renewable energy (Wikipedia). In addition several cities have taken on the challenge,

including Seattle, Pittsburgh, Los Angeles, and San Diego, adding the year 2030 after the city

name to show their involvement. With many adopters, Architecture 2030 will achieve its goal.

2030 will be a significant year if and only if Architecture 2030 achieves their goal of redirecting

building design and construction to not produce fossil fuels or at least significantly reduce the

amount of fossil fuels being released. Construction of new buildings and rebuilding old ones are

inevitable due to constant population changes, but climate change is inevitable as well in modern

times. With that fact in mind, it is necessary for the 2030 challenge to be accomplished.

REFLECTION

My first quarter studying architecture at Cal Poly was eye opening. Prior to this quarter

my view on architecture was simply on buildings and computer software such as SketchUp and

AutoDesk Revit. While studio did the majority part of changing my views on architecture, Arch

101 helped as well by touching topics that I was little exposed. One topic was the vellum

furniture competition, which if I had not taken the class, would’ve questioned how it was

considered architecture. But taking the class and attending the competition made me understand

the architecture elements in the furniture. Overall, Arch 101 helped further my interest in

architecture with the typical topics such as sustainability and materials, to less known topics such

as light and space.