2013-14 ACSA Architectural Education Awards Book by Association of Collegiate Schools of Architecture

Architectural Education Awards Association of Collegiate Schools of Architecture

The Association of Collegiate Schools of Architecture (ACSA) is a non profit organization founded in 1912 to enhance the quality of architectural education. School membership in ACSA has grown from ten charter schools to over 250 schools in several membership categories. Through these schools, over 5,000 architecture faculty are represented in ACSAâ&#x20AC;&#x2122;s membership. In addition, over 500 supporting members composed of architectural firms, product associations, and individuals add to the breadth of ACSA membership. ACSA, unique in its representative role for professional schools of architecture, provides a major forum for ideas on the leading edge of architectural thought. Issues that will affect the architectural profession in the future are being examined today in ACSA member schools.

Association of Collegiate Schools of Architecture 1735 New York Avenue, NW Washington, DC 20006 Tel: 202.785.2324 Fax: 202.628.0448 www.acsa-arch.org

Copyright ÂŠ 2014 The Association of Collegiate Schools of Architecture ISBN 978-0-935502-88-6 All rights reserved. No part of this publication may be used or reproduced in any manner whatsoever without the written permission of the Association of Collegiate Schools of Architecture.

CONTENTS ACSA/AIA Topaz Medallion

ACSA Distinguished Professor

ACSA/AIAS New Faculty Teaching

ACSA Creative Achievement

ACSA Collaborative Practice

ACSA Faculty Design

ACSA/AIA Housing Design Education

Diversity Achievement

Design-Build

Journal of Architectural Education

Jury

2013-2014 ACSA Awards

Each year the Association of Collegiate Schools of Architecture honors architectural educators for exemplary work in areas such as building design, community collaborations, scholarship, and service. The award-winning professors inspire and challenge students, contribute to the professionâ&#x20AC;&#x2122;s knowledge base, and extend their work beyond the borders of academy into practice and the public sector. 4

The Topaz Medallion is the highest award given to architectural educators. It honors an individual who has made outstanding contributions to architectural education for at least a decade, whose teaching has influenced a broad range of students, and who has helped shape the minds of students who will shape our environment. The award is given through nominations that are reviewed by a jury of accomplished architects, educators, and students, appointed by the Association of Collegiate Schools of Architecture, The American Institute of Architects, and the American Institute of Architecture Students.

TM ACSA/AIA Topaz Medallion Topaz Medallion for Excellence in Architectural Education, a joint award given by the Association of Collegiate Schools of Architecture and The American Institute of Architects.

University of California, Berkeley

Harrison S. Fraker, Jr.

Harrison Fraker is a recognized pioneer in the research of passive solar, daylighting, and sustainable design, whose career bridges innovative architecture and urban design education with award-winning practice. During his 45 years of teaching studio and seminars, he has directly influenced over 3,000 students. Prior to his 12-year tenure as the fifth Dean of the College of Environmental Design at UC Berkeley, Fraker served as Founding Dean of the College of Architecture and Landscape Architecture at the University of Minnesota, for which he was awarded the U of M Distinguished Service Medal. He is currently researching best practices of sustainable neighborhoods globally, working on a whole systems design approach for zero carbon neighborhoods in the Bay Area and China, and teachingdesign studios that integrate pragmatic and theoretical analysis to create new knowledge about critical environmental design challenges facing society and the professions. His publications include seminal articles on the design potential of sustainable systems and urban design principles for transit oriented neighborhoods.

ACSA/AIA Topaz Medallion

In addition to his activities at the College of Environmental Design, Fraker is President of the Places Journal Foundation and Ax:son Johnson Visiting Professor at Lund University in Sweden. In recognition of his leadership and administrative skills, he was appointed Chair of the Energy and Resources Group in 2012, the world renowned interdisciplinary graduate program at UC Berkeley. He is a member of AIAâ&#x20AC;&#x2122;s prestigious College of Fellows, and was educated as an architect and urban designer at Princeton and Cambridge Universities.

DP ACSA Distinguished Professor Awards To recognize sustained creative achievement in the advancement of architecture education through teaching, design, scholarship, research, or service.

Southern Polytechnic State University

William J. Carpenter Jr.

Throughout his career, Dr. William Carpenter joined the faculty of Southern Polytechnic State University in 1993 and he chaired the curriculum committee for the schools first NAAB accreditation visit. Early in his career he was mentored by Mississippi architect, AIA Gold Medalist, Samuel Mockbee and Newyork designer, Norman Jaffe FAIA. Professor Carpenter has taught over 1500 students. He has led many student field trips to AIA National Conventions and AIAS Forums. Dr. Carpenter maintains an exciting architectural practice called LIGHTROOM in Decatur, Georgia. His current research and teaching centers on Design Build Education and Multidisciplinary Practice and expanding architecture beyond designing only buildings. Among his many contributions, Dr. Carpenter has significantly impacted the Young Architect’s Forum through his organizational and collaborative work with the college of Fellows and founding the AIA National Young Architects Award; now in its fifteenth year. He also founded the AIA Georgia High School Design Competition offering full scholarships for a design education. This competition raises awareness of the profession to High School students and it exposes them to architecture. Dr. Carpenter also had a significant role locally (as founder) in the organization of the Breather Design Conference. The conference brings together regional architects, interior designers, landscape architects and new media designers to collaborate.

ACSA Distinguished Professor

Dr. Carpenter has made a sustained effort and creative achievement in both academia and practice that has made an impact locally, regional and nationally. As a leader, educator, scholar and architect he has made lasting impact on academia as an exemplary Professor of Architecture.

Juror Comments: Professor Carpenter’s record of inspired teaching, mindful practice, and writing on the topics of sustainability and design/ build education are worthy of recognition. He has had great success in developing high quality design/build projects and has documented these projects well in a number of publications. His body of work, over the course of ten plus years, provides an inspirational template for others to follow. In agreement with one of his recommenders, “[Carpenter’s] research, lectures and publications on design/build education have made an important contribution to American architectural education. He is truly an outstanding example of the teacher-scholar and will be an inspiration to his peers and younger faculty entering the teaching profession.” 13

Washington University in St. Louis

Bruce Lindsey

ACSA Distinguished Professor

Thanks to the ACSA for this award. In a time where everyone seems to suffer labels, the following might apply to me: I am a modernist trying to recover the social program of modernism’s early foundations. I am an environmentalist who believes that our need to do significant work may well be as important an environmental resource as the rain forest. I am an [old] urbanist who defines urban as that moment when we realize that there are things we can do together that we cannot do alone. For 25 years I have been a teacher, wary of Kierkegaard’s warning that a professor is a teacher without paradox. My wife, Marilee Keys, is an artist and we have believed for a while that the longer we are away from the place where we grew up, the more we feel we are from there. As the E. Desmond Lee Professor for Community Collaboration and Dean of the College and Graduate School of Architecture & Urban Design, a part of the Sam Fox School of Design & Visual Arts (an experiment 8 years in the making) at Washington University in St. Louis, I work closely with Dean’s Carmon Colangelo, Buzz Spector, faculty and students to explore the interdisciplinary future of art, design, architecture, landscape architecture, urban design and the Kemper Museum, the oldest art museum west of the Mississippi. My design practice is the product of amazing collaborators spanning 30 years. Working with Davis + Gannon Architects the Pittsburgh Glass Center was selected as one of 2005’s top 10 green buildings in the US by the AIA’s Committee on the Environment. Early work in digital fabrication for the Niche Project at Carnegie Mellon with architect Paul Rosenblatt was cited by Engineering News Record as one of the ten most significant contributions to the building industry in 1992. My work as an artist and craftsman has been exhibited in the American Crafts Museum in New York City, the Carnegie Museum of Fine Arts and the Society for Contemporary Craft in Pittsburgh, the Kimball Art Center in Park City Utah and the Salt Lake Art Center to name a few. I began teaching in the school of architecture at Virginia Tech with mentors Olivio Ferrari and Gene Egger. I joined the faculty of the School of Architecture at Carnegie Mellon in 1988 and worked as associate head with Vivian Loftness to help instill sustainability as a core value across the curriculum. Inspired by Samuel Mockbee’s charge to educate Citizen Architects I joined the School of Architecture at Auburn University as head in 2001 and also served as the codirector of the Rural Studio and the Paul Rudolph Professor from 2005-06. My friend urban designer David Lewis said; “The award of the Gold Medal to Mockbee in 2004 is one of the most significant things that the AIA has ever done.” Juror Comments: Lindsey’s passion for teaching and talent for leadership have shaped several renowned architecture programs. He is a thoughtful and gifted educator and designer with significant published built work and a diverse array of articles and grants. Lindsey shows innovation at a range of levels: administrative leadership, as Dean and past Co-Director of Rural Studio, teaching, and published works. Upheld in a letter of recommendation,”[Lindsey] continues to be, a true innovator, passionate about education and always looking for new ways to expand and improve the learning environment.” 15

North Carolina State University

Patrick Rand

Through more than three decades of research, teaching, and writing, Patrick Rand has inspired students, interns, fellow teachers, and practicing architects to design the best buildings that materials and technology allow. • •

•

• •

Building technology courses must imbed technology instruction within design exercises. Patrick Rand has earned a national reputation regarding the fusion of building technology and architectural design He has received 14 teaching awards from his college and university, and 4 national teaching awards from the AIA and other professional organizations. Last year Design Intelligence named him one of the nation’s 30 most admired design educators. Through mentorship and continuing education, he has shown students, interns and experienced professionals that good design begins with mastery of construction materials. His former students have excelled in practice and in academia. He has benefitted greatly from exposing his pedagogical approach to scrutiny through more than 70 conference presentations, including ACSA, and has helped other educators around the country to hone their own teaching methods. He was the principal collaborator on the second edition of Edward Allen’s highly regarded Architectural Detailing: Function Constructibility Aesthetics, published in 2007. Rand also co-authored Materials for Design in 2006, and Materials for Design / Volume 2 this year. In both volumes, he wrote critical analyses of 60 international buildings regarding their innovative use of construction materials.

ACSA Distinguished Professor

Patrick Rand’s tireless exploration of the connection between technology and design has spread his influence from the classroom and studio to the office and construction site.

Juror Comments: Professor Rand’s work in the field of building technology education, through his students and his publications, have had a wide influence and impact in both the academy and in practice. He is worldrenowned, a masonry expert, a strong teacher, and the author of many seminal publications, such as Materials for Design and Architectural Detailing. 17

University of Kansas ACSA Distinguished Professor

Dan Rockhill

I started teaching over four decades ago and every year I attempt to make improvements over the year before. Studio 804 takes its name from the final design studio within the graduate architecture program at the University of Kansas. The studio compresses every aspect of the design and construction process into an intensive experience. I do a building every year with my students. We build everything we design and sub-contract next to nothing. In the nearly twenty years since the studio began, it has progressed from small-scale projects of affordable prefabricated housing placed in marginal neighborhoods as seeds for urban change to larger scale public buildings that demonstrate the strengths of sustainable practice through modern design . I receive support for my overhead from the University but the projects themselves are not subsidized. I operate Studio 804 like a business; a not-for-profit corporation where we begin each year with nothing but the bank balance left by the previous graduating class - and end with a completed building, a satisfied client, and an invaluable learning experience. I do this work to make them better architects, not builders. We go from start to finish in nine months including; budgets, finding funding, consultants, contracts, CD’s, all the construction, commissioning and the LEED follow up. When we did the prefabbed houses we produced everything in only one semester. I think universities are about ideas and that as educators of our future architects we should lead the conversation about sustainability and demonstrate how architecture can address the important issues of the times.

Juror Comments: Professor Rockhill’s creation of Studio 804 over a twentyfive year period, providing hands on construction experience for students, and such a consistency over such an extended period of time is impressive to see. His influence and world-class leadership in the design/build arena has extended well beyond the students he works directly with at the University of Kansas. Rockhill’s beautiful projects speak for themselves, although they have also earned an amazing number of awards. He is truly one of today’s most influential architectural educators. 19

University of Virginia

Kim Tanzer

Throughout her career Dean Kim Tanzer, FAIA has been fascinated with the tension between flow—humans motion, the emergent behaviors of communities, the literal fluidity of water—and form—the vessels that constrain flows and the forms that are shaped by flows. As an architect she has spent her career resisting form’s persuasive appeal. As a feminist she has become attuned to the fraught role of the visual, and has sought to counter visual evidence with a visible demonstrations, mindful that things in motion are especially difficult to represent. As a teacher and scholar, Tanzer’s work has been informed by a collection of compelling flows— embodiment, community, water—as sources of inspiration and constraint: Embodiment. Tanzer sees architecture as the vessel that choreographs movement, and movement as the irritant that challenges inadequate architectural form. Community is collective, evolving embodiment. Communities perform their shared values, aspirations, and fears, through their actions, and through their use of, and design of, shared spaces. Tanzer’s particular focus has been African-American community practices, and a specific neighborhood in Gainesville, Florida. In this neighborhood and in her understanding of African American community more generally, she finds rich evidence of fluidity.

ACSA Distinguished Professor

Water is pure fluidity, shaped by adjacent forces. Utterly amorphous, it nonetheless shapes our planet, shapes and sometimes destroys our buildings, and gives our bodies substance. Water serves as a metaphor for flux seeking form, and as a literal inspiration and challenge in the design of architecture.

In leadership roles Tanzer has tried to give form to processes that can be ambiguous, complex, and singular by establishing forums to ritualize flows. The creation of the Florida Community Design Center, the results of her ACSA presidency, and the co-founding of the National Academy of Environmental Design are examples of this decades-long goal. More recently, as Dean of the University of Virginia’s School of Architecture she has worked with faculty to construct interdisciplinary Research Themes and create an interdisciplinary Ph.D. in the Constructed Environment, led an effort to teach and study what she terms the practical imagination--a Jeffersonian version of design thinking--and focused on internationalizing the curriculum. Throughout her career, Tanzer has sought to balance the beautiful and the practical, and to direct her efforts toward the creation of just, sustainable futures.

Juror Comments: Tanzer has been an influential driver within the architectural education community at multiple scales, from the community, University, to national leadership. She is the founder of the National Academy of Environmental Design, and she has served as the president of the ACSA. Tanzer’s portfolio clearly shows a balance in teaching, leadership in association and administrative roles. She is very distinguished though a diversity array of collaborative projects and leadership, published books and grants. 21

NF T ACSA/AIAS New Faculty Teaching Awards Granted jointly by the Association of Collegiate Schools of Architecture (ACSA) and the American Institute of Architecture Students (AIAS) for demonstrated excellence in teaching performance during the formative years of an architectural teaching career.

ACSA/AIAS New Faculty Teaching

University of Arizona

Susannah Dickinson

Susannah Dickinson is a registered architect and Assistant Professor at the University of Arizona. Her work explores the relationship that computational design and fabrication processes can have in the development of more ecologically responsive environments. This stems from a background in digital design and fabrication processes, parametric modeling and Building Information Modeling (BIM), largely gained through years of professional experience in the offices of Gehry Partners and SHoP Architects. This technological background is coupled with a belief that it is our responsibility as architects and educators to be concerned with the entire built and natural environment. Pedagogically, one of her primary goals is to encourage students to become critical, forward- thinking individuals who approach designs holistically and with a collaborative nature, working smarter not harder. Her teaching ranges from required core studios and digital design communication courses to options studios on future cities and sustainable skyscrapers to an elective in biomimetics. For the past four years she was been head of the design communication stream where she instigated a curriculum-wide, digital methodologies matrix. At a national level she has just ended her term on the Board of Directors of the Association for Computer Aided Design in Architecture (ACADIA), where one of her roles was helping to set up new scholarships for students that were initiated at the 2012 Conference. She is particularly proud of all the honors and awards that her students have accumulated while under her direction, having mentored undergraduate students to the level of international peer-review acclaim.

Juror Comments: Susannahâ&#x20AC;&#x2122;s submission demonstrates very strong examples of course design and shows a great breadth of teaching ability across multiple subjects. Susannah plays a clear role in the overall curriculum, particularly as concerns Design Communication and the integration of BIM into coursework. She is investigating how digital technologies will advance the field creatively, while still maintaining tradition and the visualization skills necessary, such as comparing drawing from the past to present. Student samples have a nice variety of mixed media from hand drawing to 3D modeling and 3D printing. 25

University of Southern California

Alvin Huang

Alvin Huang is part of a generation of young designers and educators who is deeply immersed in the exploration of emergent technologies in the production of Architecture. He brings a uniquely balanced skill set of expertise in contemporary digital design tools and techniques, while maintaining a practical relevancy in the applications of these tools in professional practice and simultaneously engaging in the critical discourse which surrounds them. His students respect that he can actually do what he teaches, both at the level of technique (software) and practice (application). He brings an international range of experiences to the classroom as an educator, speaker, and practitioner. He has practiced and led projects in the US, Canada, UK, France, Austria, Italy, China, and Thailand, while teaching in London, Lund, Beijing, Shanghai, Los Angeles, Calgary, and Paris. He has lectured throughout the UK, Germany, Spain, Sweden, Switzerland, Israel, China, US, and Canada. The global reach of his experiences and invitations is evidence of his emergence as a leading figure within the realm of digital design.

ACSA/AIAS New Faculty Teaching

Alvin is both enthusiastic and passionate about design and pushes his students to go beyond their comfort levels to achieve extra-ordinary work that explores the overlaps between architecture, technology, and contemporary culture. By engaging his students with a systemic design process, he challenges his students to both literally and figuratively think outside of the box and explore design as a means of defining their own design voice.

Juror Comments: Alvin’s work is very impressive for someone relatively new to full-time teaching. The submission is well crafted for this award as a clear presentation of his teaching approach and philosophy. Additionally, the submission contains very strong letters of support and student work. Alvin has clear ideas about teaching and the relationship to practice, particularly and successfully, to extend digital craft toward a more inclusive position in the discourse. Alvin shows significant professional work and evidence of its impact in the teaching; digital craft is the expression of core architectural practices, which include collaboration, material constraints, speculation and theory. Alvin’s digital work is outstanding, and although he strongly relates his research interests to coursework, the evidence of individual student explorations broadens the range of what might easily become limited as “tool driven” and prescribed. He affords students the opportunity to participate in competitions, yielding notification of students and recognition. 27

North Carolina State University ACSA/AIAS New Faculty Teaching

Sara Glee Queen

Sara Queen is a tenure-track Assistant Professor at the School of Architecture at North Carolina State University. Since joining the faculty in the College of Design, the majority of her course developments have focused at the two ends of our design education model; cross disciplinary beginning design studios at one end and advanced research seminars and Master’s level final projects on the other. Each course aims at developing an effective critical practice by identifying design problems, formulating questions, understanding contexts, and pursuing research towards expanding the impact of Architecture. Sara’s scholarship beyond teaching has developed around mapping urban systems and infrastructural networks towards speculation on how Architecture can participate in larger urban processes insuring more sustainable futures. Operative research methods which actively investigate the ecological, cultural, economic, and political dimensions of regions are integral to this expansion of Architecture’s responsiveness. Through her courses she has developed design curriculum that engages students in research as design propositions in and of themselves. Additionally in her studios and seminars, students explore how infrastructural systems might be opened up to other, more expansive design agendas in order to catalyze a set of dynamics that engage environmental and social aspects of place to tackle the complex problems facing our cities and urban regions. To continue this work beyond the classroom, Sara has advised numerous student groups towards winning national and international design competitions. In addition to teaching, Sara maintains a practice in western North Carolina. Sara earned her Master of Architecture from the Graduate School of Design at Harvard University and her Bachelor of Environmental Design from North Carolina State University.

Juror Comments: The evidence is clear that Sara’s teaching abilities are very strong in both studio and seminar venues. She connects practice, teaching, and service throughout her work and influence on students. She demonstrates an ability to communicate complex information and to integrate teaching and research through a range of coursework. From first year introductory courses to graduate studios, the teaching is appropriate, challenging, and thorough at each level. It was a pleasure to see such strong student support for Sara’s work. There is no sense that the student work is limited by a personal agenda, rather Sara allows students to explore and develop their own identity a young architects while benefitting from the design and research background the she brings to the classroom and studio. 29

ACSA Creative Achievement Awards

In recognition of a specific achievement or series of achievements in teaching, design, scholarship, research, or service that advances architectural education.

ACSA Creative Achievement

University of Waterloo

Tracey Eve Winton

THINK LIKE AN ARCHITECT! THEATRE AND INVENTION IN THE ARCHITECTURE PROGRAM Architecture students flourish where they feel engaged in authentic inventive momentum. In Cultural History play, the term project for a core course, 75 undergraduates work synergistically to mount a production with ticketed public performances. We work outside of traditional stages to address site-specific issues, from public space down to the level of detail. Theatre’s complexity challenges the class to think organically, by envisioning buildings and knowledge as dynamic ecologies, resilient, performative and productive, rather than inert objects. The students elect co-ordinators, research and script the story, find a venue, strategize a business plan, organize publicity, choreograph and act. Inspired by historical artifacts of all kinds they devise instruments, write and perform original soundtracks, design-build sets, fabricate key props, and craft costumes. Our goal is not entertainment, but a technopoiesis that augments and revitalizes the tools and objectives we bring to architecture. Unmoored from theatrical norms, formal elements borrow synaesthetically from experimental performance and installation art, test research by design, and leverage architectural techniques, professional skills, and resourcefulness from 3D modelling to reusing materials, from video to the workshop. The poetics of thinking like an architect, rather than preconceived form, drives the project. The group recognizes the value of diversity in individual abilities, which allows unique talents and interests to flourish in an atmosphere of collaboration and mutual support, optimizing collective goals, and appreciating how one takes up a creative position with respect to knowledge. Co-creating fosters communication skills, operational networks and peer learning, sharing new viewpoints and skill-sets with others. Producing a public work at full scale, with a real budget and hard deadline motivates the class, and this risky business pays off in personal growth, mastery, pride and self-confidence.

Juror Comments: The more I read, the more I was drawn into this submission. Professor Winton’s work represents an outstanding teaching model and a compelling piece of design scholarship. Winton’s extensive scholarship around how architect’s imagine and make space is unique and original. 2B play expresses the breadth and specificity of her creative approaches towards architecture. 33

Washington University in St. Louis & Aalto University ACSA Creative Achievement

Peter B. MacKeith II & Philip Tidwell

LIGHT HOUSES: ON THE NORDIC COMMON GROUND 2012 Exhibition of the Nordic Pavilion 13th Biennale of Architecture, Venice, Italy Commissioner: The Museum of Finnish Architecture, Helsinki, Finland, in association with: the Swedish Center for Architecture and Design, the National Museum of Norway – Architecture and Design Curator and Designer: Peter MacKeith, Professor of Architecture, Washington University in St. Louis Assistant Curator and Designer: Philip Tidwell, Lecturer in Architecture, Aalto University, Helsinki, Finland

The Nordic Pavilion in Venice, built in 1962, designed by Sverre Fehn, is 50 years old in the summer of 2012. The Nordic Pavilion represents the “idea” or “identity” of Nordic architecture and culture in Venice. The Nordic Pavilion provides to Finland, Sweden and Norway the literal “common ground” for the Biennale: a minimal “house” of light, material, structure, and space. The Nordic Pavilion 2012 will mark its 50 years through a gathering of contemporary voices in Nordic architecture, a selective group of 32 architects, born after 1962, the year when the Pavilion was inaugurated in Venice. The Nordic Pavilion 2012 will present a multi-faceted, diverse “idea” or “identity” of Nordic architecture and culture, through commissioned, site-specific, small-scale constructions: “light houses.” The small-scale constructions will be installed throughout the Pavilion to their maximum advantage. Employing an economy of means to achieve a richness of meaning, each architect/practice is invited to contribute a small, site-specific, highly tactile construction, reflective of the architect’s own design principles and responsive to the qualities of Fehn’s 1962 Pavilion and the city of Venice. Collectively, these commissioned designs will be presented as an exhibition entitled “LIGHT HOUSES: The Nordic Common Ground.” The Nordic Pavilion 2012 will provide a figurative, collective “common ground” of Nordic architectural and cultural representation, an exhibition of “light houses” attuned to contemporary Nordic issues of economic and environmental ethics. The exhibition “LIGHT HOUSES” has its origins in the seminar “Contemporary Nordic Architecture,” taught by Professor MacKeith at the Graduate School of Architecture and Urban Design, Washington University in St. Louis.

Juror Comments: Professor MacKeith’s outstanding curatorial and design contribution of “Light Houses” at the Venice Biennale brings out the common sensibilities that tie this rich and diverse spectrum of work together. This work exemplifies the creative achievement possible through curatorial work. While the pavilion certainly attests to a highly creative contribution to architectural culture, MacKeith also has a long life of creative scholarship. His extensive written, curatorial and built work has received international recognition for decades. 35

ACSA Creative Achievement

University of Southern California

Karen Kensek & Douglas Noble

NOTLY: NOT LICENSED YET Between 1996 and 2006, while the number of graduates from architecture programs increased, the annual number of newly licensed architects in California fell by more than half compared to the previous decade. In an attempt to counter this trend, “NotLY” was formed by Karen Kensek and Douglas Noble in 2007 as a support organization for unlicensed individuals. Recognizing the substantial costs and difficulties in becoming licensed, NotLY programs and events are always free of charge and open to anyone. Many events are hosted in the classrooms at the University of Southern California, but all events are open to anyone, not just USC alumni. In the decade before NotLY was started, California averaged 413 new licensed architects each year. In the seven years since NotLY started, California has averaged 520 new architects each year. In 2013 there were almost 600 new architects. NotLY is aiming for 1000 new California architects in 2014. With just over 1500 members, NotLY features: • • • • • • • • •

the “NotLY number” identification system letters of welcome and encouragement over 300 free classes in the past 7 years more than 10,000 individual registrations (some classes have attracted 200 participants) dozens of small study groups formed evening and weekend on-campus classes evening classes at professional firms weekly email with encouragement and advice formal removal from NotLY and a welcome to the profession

Juror Comments: NotLY proposes a radically new approach to address a primary architectural educational challenge: licensing. Often overlooked and dismissed as relevant in academia, this is a crucial subject matter. Innovation in this subject matter is not only timely but requires a highly creative conceptual and implementation framework. There are so few examples of programs like this in an arena of engagement where young architects and the academy have such strong converging interests. This program offers an example we should all try to emulate. 37

ACSA Collaborative Practice Awards To recognize programs that demonstrate how faculty, students, and community/civic clients work to realize common objectives.

University of Utah

Erin Carraher & Jörg Rügemer

Project: ARCHITECTURE is a partnership between the Girl Scouts of Utah and the University of Utah’s School of Architecture (SoA) to raise awareness of careers in the built environment for women and to provide opportunities for architecture students to engage in service and creative projects. The inaugural project is the design and construction of three cabins for the Girl Scout’s Trefoil Ranch camp. A complimentary year-long series of outreach events were organized to expose Girl Scouts directly to women practitioners, to provide female student mentors in design-related programs, to offer opportunities for students and girls to visit architecture firms and construction sites, and to engage the scouts in the development of the cabins’ design and construction. The Girl Scouts’ involvement in the project has been two-fold: a Leadership Group of middle- and high-school aged girls followed the project through all stages by participating in workshops, site visits, design charrettes, and firm tours; and a broader audience of girls of all ages participated in a daylong event that demonstrated general principles about architecture, urban planning, landscape architecture, and design through hands-on activities. 14% of Utah’s practitioners are female, which is well below the national average. The SoA also has a disproportionately low percentage of female students, so opportunities for this program to have significant impact on the local, regional, and state community is high. The collaboration has proven mutually beneficial to both parties, and the faculty and Girl Scout leadership are looking to future opportunities to build on the project’s success. Students: Marin Hebdon, Rachael Knudson, Rachel Sorenson, Amy Johans, Caitlin Thissen, Catrina Covelli, Jody Zimmer, Harrison Bush, Cameron Bowen, Xiomara Salazar, Ali Beach, Anna Gallagher, Kristine Merkel, Danielle Frohn, Jessica Batty, Sarah Winkler, Emily Black, Matthew Dennis, Aric Farnsworth, Aaron Fennell, Shawn Poor, Alex Stoddard, Ardavan Tookaloo, Steven Walters and Pingting Wei.

ACSA Collaborative Practice

e award submission project: architecture

PROJECT: ARCHITECTURE

Juror Comments: This is a terrific outreach projectt on the community engagement front, as a design-build project, and as an initiative to engage and empower women in the field of architecture. The comprehensive involvement of the college, from dean to design students, in addressing grade school girls is particularly stirring. The selection of this award is unique this year, for the Awards Committee and Jury chose to recognize Project: Architecture for both the Collaborative Practice Award and Diversity Achievement Award. The submission, when judged against the CP criteria and DA criteria rose to the top of both juries’ deliberations and discussions, and provides a valuable example of “best practice” in both award contexts. 41

ACSA Collaborative Practice

Carnegie Mellon University

John Folan & Urban Design Build Studio

PURIFLUME: PLAY FOR POLICY CHANGE The PURIFLUME is a mobile, proof of concept project conceived, designed, and built by the Carnegie Mellon University Urban Design Build Studio (UDBS). Developed as a low-risk method of testing innovative infrastructural technology, the project addresses critical water management issues and demonstrates a developmental passive, closed loop water filtration system that can be employed in municipal spray parks to eliminate non-point source water pollution caused by combined sewer overflow. It represents the culmination of a two-year creative collaboration between 11 Undergraduate Bachelor of Architecture students, 4 Masters of Urban Design (MUD) Students, 3 Masters of Architecture Engineering and Construction Management (AECM), and 2 Masters of Fine Art (MFA) students. Students worked through a variety of vertically integrated studios and support courses oriented towards different aspects of the project delivery. Funded by grants from Ford Motor Company, AutoDesk Corporation, The Allegheny County Economic Development Corporation County Infrastructure and Tourism Fund (CITF), Michael Baker Corporation, and Heinz Endowments, the scope of work influnecing the project’s development spans the territories of Urban Analysis, Urban Design, Rapid Prototyping and Digital Fabrication. Partnering constituent groups impacting the development of the project include residents of the Lawrenceville Neighborhood in Pittsburgh, PA, The Leslie Park Pool Collective, Lawrenceville United 501c3, the Lawrenceville Corporation 501c3, the City of Pittsburgh Mayor’s Office, State Senator James Ferlo’s Office, Pittsburgh CitiParks, the Allegheny County Health Department (ACHD), Pittsburgh Water and Sewer Authority (PWSA), the Environmental Protection Agency (EPA), the Department of Environmental Protection (DEP). Designed as an engaging mechanism to educate the public about relevant environmental opportunities, monitoring data collected from deployment of the PURIFLUME in regional neighborhoods will be utilized to influence decision making and impact water management policy for permanent infrastructure in municipalities struggling with combined sewer problems. Students: Timothy Hild, Hubert Li, Jason Gates, Christopher King Lee, Grace Ding, Angelina Gonzalez, Sara Gotschewski, Inkyoung Kim, Michelle Spitzer, Ming Ming Lin and Alex Greenhut.

Juror Comments: Bravo; this is an excellent submission that optimizes the role of collaboration in arriving at truly compelling solutions not likely from within one’s own discipline. Indeed a “wicked problem”, the project triangulates an unglamorous resource problem in urban water management with policy solutions for new sustainable technologies and urban design that supports recreation and social gathering. The solution is a remarkable example of tactical urbanism that combines education, recreation, and policy reform through an urban folly of sorts. Behind this carnivalesque form is a labyrinth of technological, administrative, and policy bureaucracy that had to be negotiated and organized through collaborative processes. 43

ACSA Collaborative Practice

Carnegie Mellon University

John Folan, Urban Design Build Studio & city LAB

THE SIX PERCENT PLACE What is a SIX PERCENT PLACE? It is a place where six percent of the worker population are creative workers. Why six percent? At that level, neighborhoods and cities reach an economic tipping point. That is what the six percent place is all about – to populate a neighborhood with creative workers, strategically and systematically, to reach the 6% goal. The CEO’s for cities 2007 publication CREATIVE NEIGHBORHOODS documents the characteristics of this small group of people who on average constitute three to four percent of the worker population in the United States. While the report’s findings are general, it illustrates that places like the San Francisco Bay Area, Los Angeles, and Portland reached a tipping point in economic sustained economic development when the populations reached a level of 6% creative workers. Our six percent place is located in Garfield, a neighborhood in Pittsburgh’s East End. While neighborhoods surrounding Garfield have been the focus of enormous investment in the last ten years, Garfield has been left behind. Even with the success of an arts initiative along Penn Avenue, the southern boundary of Garfield, the neighborhood has not benefitted as it should. Topography, road patterns, median income, educational achievement, family makeup and many other demographic statistics have isolated Garfield from the growing wealth around it. According to census data, the number of creative workers who live in the neighborhood today can be counted on one hand. In the fall of 2011, 72 undergraduate students enrolled in a required 9CU Issues of Practice Course at Carnegie Mellon University (UDBS/IoP) collaborated with the residents of Garfield, City Lab 501c3, the Bloomfield Garfield Corporation, and the Heinz Endowments on building the six percent place toolbox – a series of sixteen unique incentive proposals to spur the migration of creative workers to Garfield. Students: Daniel Paul Addis, Keith Sterling Appleby, Chang-Yong Boo, David Michael Bradshaw, Eric Ryan Bruner, Christopher Buehler, Daniel Burdzy, Young Hun Byun, Nien Tsu Chang, Mercedes Alicia Chaparro, Wei-Li Cheng, Naeun Choi, Won Seok Chu, Zach D. Cohen, Amanda Frances Cole, Rebecca Rarus Cole, Jacob Daniel Douenias, Samuel Josiah Faller, Ibrahim Garcia-Bengochea, James Leo Garvey, Jason Daniel Gates, Kendra Suzanne Gaul, Thomas Valentine Groner, Michael Samuel Hadida, Colin Christop Haentjens, Lynn Elizabeth Halling, Sarah Elizabeth Harkins, Janice Veronica Hui, Ji Hee Hwang, Benjamin Forrest Imhoff, Sandra Eve Jadwiszczok and Michael S. Jeffers.

Juror Comments: This is an excellent example of clear and insightful project development featuring a rigorous inquiry process for engaging design students on different planning fronts. The initiative develops a set of heterogeneous neighborhood revitalization strategies and pursues feasibility of each one with cost benefit analysis and input from consulting interests. Innovative ideas are expertly communicated to a lay community audience. 45

American University of Sharjah & KEM Studio ACSA Collaborative Practice

Michael Hughes & Mark Wise

URBAN PREFAB INITIATIVE / UNIVERSITY OF ARKANSAS The Urban PreFab Initiative is a collaborative exploration focused on small, unremarkable, and often forgotten places adjacent to the lives of under-served people. Located in an underprivileged neighborhood in Little Rock Arkansas the completed projects incorporate lessons discovered in the surrounding context. Attention to this context provided the basis for reinterpreting local traditions associated with form, function, and materiality and reexamining the role of cultural traditions sponsored by the front porch as a model for rejuvenation. Through the adaptive re-use and recycling of leftover urban spaces the resulting projects augment the neighborhood with new, modern homes that provide pragmatic function, promote community-based redevelopment, and exhibit a social and environmental conscience. The initiative is acollaboration between the non-profit Downtown Little Rock Community Development Corporation, the Petaway Park Neighborhood Association, local government, the University of Arkansas Facilities Department, members of the Local Construction and Design Professions, and an interdisciplinary team of faculty and students from the Fay Jones School of Architecture at the Univ. of Arkansas. Our non-profit partner has been working to impact this particular neighborhood since the early 1990â&#x20AC;&#x2122;s. They have been acquiring property through the state land bank and creating partnerships with other non-profit and philanthropic organizations to serve the community. To date they have built over 30 new houses and renovated another 5 historic apartment buildings to create viable, dignified housing for over 300 people. Our partnerâ&#x20AC;&#x2122;s focus on the design, production, and implementation of new, modern housing models form the basis for our on-going collaboration. Three new prefab houses, (PORCH_house, CANTILEVER_house, and COURTYARD_house) were built between 2010 and 2013. Young families, all first-time homeowners, now occupy all three houses. Prefab #1: PORCH_house Faculty: Michael Hughes, Craig Peacock Students: Lianne Collier, Jack Doherty, Kevin Hayre, Kelly Jackson, Nick Walker, Brad West, Ryan Wojcicki, Ben Bendall, Elizabeth Beall, Stephanie Foster, James Swann, Addison Bliss, Jerome Tomlin, Josh Matthews, Chase Pitner, Enrique Colcha, Long Dinh, Eric Hobbs, Cesar Larrain, Michael Lyons and William Masino. Prefab #2: CANTILEVER_house Faculty: Craig Peacock, Mark Wise Students: Addison Bliss, Adrienne Presley, Benjamin Bendal, Benjamin Kueck, Ginger Traywick, James Swann, Jerome Tomlin, Michael Lyons, Melissa Zuniga, Matthew Poe, Sam Annable, McConnell Bobo, Augusto Larrain, Carson Nelsen, Erica Blansit, Joesph Gamblin, Tanner Sutton and William Masino. Prefab #3: COURTYARD_house Faculty: Mark Wise, Justin Hershberger Students: Adam Stevinson, Armando Rios, Ben Kueck, William Masino, McConnell Bobo, Brandon Ruhl, Daniel Peurifoy, Elsa Lo, Erica Blansit, Jake Newsum, Jason Clem, Joey Gamblin, Matt Poe, Michael Lyons, Ryan Campbell, Sean Paquin and Tanner Sutton.

Juror Comments: This submission is an amazing collection of design-build projects that clearly show a continuing extensive collaboration with a broad spectrum of community and civic partners. The level of design and quality of execution is impressive. The collaborative aspect of students having access to professional mentorship is key to the to the success of the series of projects. 47

ACSA Faculty Design Awards

To represent theoretical investigations advancing the general understanding of the discipline of architecture. The awards recognize exemplary built and unbuilt work that reflect upon practice and research.

Individual TBM Tile

1 TILE ASSEMBLY

Ruled Surface Lines

TBM Tile Row

Completed Panel 2 PANEL ASSEMBLY

Unfolded Trim Trim Interlock

Quadrant ‘Peak

3 COMPLETED QUADRANT

Quadrant ‘Valley’

University of Southern California ACSA Faculty Design

Doris Kim Sung

BLOOM: AN ENVIRONMENTALLY RESPONSIVE AND ZERO-ENERGY SURFACE SYSTEM A sun-tracking instrument indexing time and temperature, “Bloom” stitches together material experimentation, structural innovation, and computational form/pattern-making into an environmentally responsive installation. The form’s responsive surface is made primarily out of 14,000 smart thermobimetal tiles, where no two pieces are alike. Each individual piece automatically curls a specified amount when the outdoor ambient temperature rises above 70˚F or when the sun penetrates the surface. The result is a highly differentiated skin system that can smartly shade or ventilate specific areas under the canopy without additional power. For demonstrative purposes, peak performance of the surface is designed for Spring Equinox 2012. Challenging the traditional presumption that building skins are static and inanimate, the project examines the replacement of this convention with one that posits the prosthetic layer between man and his environment as a responsive and active skin. In order to heighten the sensitivity of the skin, the overall form is oriented towards the sun’s arc to maximize solar exposure and away from the shade, much like the growth of plants and flowers. Combined with the sun-facing, free-standing geometry, the reliance on powerful software to generate parametric patterns is inevitable and exemplary. With today’s digital technology and driving interest in sustainable design, this simple material can transcend its currently limited role as a mechanical actuating device to a dynamic building surface material, while expanding the discourse of performative architecture on many levels.

Juror Comments: This project for a pavilion as a sun-tracking instrument utilizes smart materials and is a great example of built research. The project is both a stunning piece of design and an innovative investigation of material performance. Formalism with a twist. 51

Tonic Design / North Carolina State University ACSA Faculty Design

Vincent Petrarca

CRABILL MODERN The clients came to us with five-acre property with the intention of building a simple, modern, affordable home in a clearing amidst a lush forest. They wanted the house to disturb the natural environment as little as possible and accommodate the surrounding wildlife. Our clients wanted a unique live/work house that would provide them with interesting spatial overlaps; spaces where they could be creative. We began with the most efficient and economical plan form: a rectangle with plan functions divided into quadrants. We then challenged and reenvisioned the box (or the typical spec plan) based on the patterns of use and lifestyle of the client. These transformations created a plan where the more important spaces grew larger. These moves began to push and pull the building’s protective skin, creating dynamic elevations. The resulting form was a simple box, protected and augmented by an inexpensive but highly articulated shell. This box, wrapped in a skin of solid and perforated cor-ten steel acts as a visual screen, rain screen, canopy, and sunshade. The home, much like an old barn, is a constantly evolving element in the landscape. “As time goes forward, we’re catching up to the past, in a way,” says the homeowner. This house re-presents affordable materials and agricultural stereotypes in a unique architectural composition. To reflect the verdant surroundings, we used simple, inexpensive materials and references to agricultural structures in a modern architecture composition. Recalling old farm sheds, the weathered COR-TEN® steel exterior, both solid and perforated, is a constantly evolving element in the landscape.

Juror Comments: Formally quiet and materially articulate, this house begins with a simple transformative strategy that occasions some interesting moments of spatial invention. This project is a compelling example of commissioned design that is realized in a simple, yet beautiful way. The design strategies employed here to transform a traditional suburban typology into a spatially rich form with a refined “shell.” Overall the project is beautifully done and well presented. 53

ACSA Faculty Design

University of Michigan

Rania Ghosn & El Hadi Jazairy

GEOGRAPHIES OF TRASH “Burn it, Bury it, Recycle it, or Send it on a Caribbean Cruise,” are four things former mayor of New York City said could be done with garbage in the wake of the roaming Mobro4000 episode, when 3000 tons of trash were hauled to Belize and back until finally incinerated in Brooklyn. The Mobro4000 episode speaks of a paradigm of “clean urbanism,” which rests on the city’s capacity to divest itself of undesired costs of urbanization by displacing them to the geographic scale as “matter out of place.” Geographies of Trash spatializes waste systems to re-inscribe urban flows in design practices and public discourse. The research represents the municipal solid waste system in Michigan to project five strategies of trash-formations in the American territorial grid. The design methodology follows a threefold approach, 1) to conceptualize and historicize issues of burial, mass burning, abandonment, recycling, or exile of economic excess; 2) to analyze relations of trash and space at different scales – from the home to the block, township, state and continent; 3) to design alternative strategies that reclaim trash as “matter in place.” The research proposes five situated yet generic architectural strategies of trash-formations. The five projects ¬– Cap, Collect, Contain, Preserve, and Form –propose new imaginaries for landfilling, recycling, burning, re-using, and dumping. Such visions aspire to bring the valuations and liabilities of the urban condition into the domain of public controversies. By making trash visible, spatial, and formal, the project engages thus disciplinary and public debates on the city.

Juror Comments: This submission calls our attention to the landscapes we rarely consider and challenges us to reconsider their place in the realm of designed environments. Given the recent thrust to address issues of spatial design at regional and even geographical scales, this work contributes to the discipline by compellingly locating the agency of design in everything from the formatting of information to the spatial reconfiguration of territories. This well-researched and beautifully designed exhibition piece expands the concept of architecture, expands the discipline, and locates design at the geographical scale. 55

Georgia Institute of Technology & University of Michigan ACSA Faculty Design

Jennifer Bonner & Christian Stayner

OLFACTORY PAST The Role of Scent Smell is a neglected realm in the design disciplines. Olfactory Past considers the role of scent as an unexplored realm for architectural practice. While smell in the urban sphere has been primarily focused upon the management of odors (usually foul) or the subtle manipulations toward consumption by marketing and advertising, our research embarks on a re-reading of landscape and cultural history through its olfaction. In doing so, we seek a non-visual design agenda for civic spaces, one in which scent leads and building follows. In collaboration with a noted perfume designer, Christophe Laudamiel, a scent designed specifically for Istanbul that responds to the historic and future of the city and its olfactory geography was exhibited at the first annual Istanbul Design Biennale in 2012. Olfactory Past was selected for inclusion in an exhibition curated by David Gissen and Irene Cheng at the California College of the Arts in San Francisco titled, â&#x20AC;&#x153;An Olfactory Archive: 1738-1969.â&#x20AC;? Applied Design Research Borden Park is a large urban park in the center of Edmonton Canada. Created over a hundred years ago at the edge of the city, the park has experienced dramatic physical and programmatic transformations that are no longer visible. Olfactory Past presents eleven sculptural machines that dispense scents to reconstruct a historical timeline of this North American park. A catalog of scents include a pre-settlement period (grazing bison and Alberta Prairie icefields), turn of the century events (leather of Prime Minister Sir Robert Borden and fairground rides), mid-century (City Beautiful Movement and ostrich feathers from the zoological garden), and finally mid-century to 1980s (barbeque and suburban athletics). Olfactory Past creates a sensory archaeology of public space that is both conceptual and experiential. For those familiar to the history of Borden Park, the scents evoke long-forgotten memories; for those new to the park or first learning of the Parkâ&#x20AC;&#x2122;s history, each sculpture manufactures an intimate understanding of the park and its past.

Juror Comments: This tactile and responsive project brings the fifth sense into the realm of design research and provides a great illustration of how scent could shape a design strategy for public space. A poignant alternative to contemporary formalisms, this spatial exploration of scent changes the stakes of the architectural exhibition from the manipulation of formal elements to the choreography of tacit environmental conditions. Overall this submission presents a great research effort and a well-crafted presentation. 57

Honorable Mentions

EXISTING PARTITION WALL INNER VERTICAL SPACERS HORIZONTAL Z CHANNELS CNC MILLED BIRCH PLYWOOD PROFILES

HORIZONTAL Z CHANNELS (ANCHOR TO STRUCTURE AS REQ’D)

SWING DOOR STORAGE DRAWERS OUTER HORIZONTAL SPACER W/ GRAPHIC PATTERN

EXISTING PARTITION WALL

SWING PIVOT HINGE DETAIL

PRE-FABRICATED LAMINATED STORAGE CABINET DOOR

PLYWOOD STORAGE SHELF (FIX AS REQ’D)

NOTCHED CUTOUTS FOR HORIZONTAL SPACER W/ GRAPHIC PATTERN (INSERT SPACERS AND GLUE AS REQ’D)

CNC MILLED BIRCH PLYWOOD PROFILES

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SYNTHESIS Design + Architecture. Do not scale, only figured dimensions are to be used. If in doubt ask. All dimensions are in millimetres unless otherwise noted and are to be checked on site.

CHELSEA WORKSPACE

Drawing

111 A 21D 311 basic program arrangement

EXPLODED AXONOMETRIC

Issue Date

10.10.2011

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NTS

CONSTRUCTION DOCUMENTS

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AH/DW/JS

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SYNTHESIS Design + Architecture California 90057 Tel +1 213 438 9967

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program elements blended toRev one another Date and the existing wall Description

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blended curves are lofted to create seamlessRev surface

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surface is sectioned to create 3d form from 2d profiles

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studio@synthesis-dna.com

basic program arrangement

program elements blended to one another and the existing wall

blended curves are lofted to create seamless surface

world map graphic

surface is sectioned to create 3d form from 2d profiles

point sampling of map

points converted to spacer

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world map graphic

point sampling of map

points converted to spacer

spacers projected to geometry

0.2 GRAPHIC MAPPING DIAGRAM

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Drawin

SWING PIVOT STORAGE DETAIL

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SYNTHESIS Design + Architecture California 90057 Tel +1 213 438 9967

spacers projected to geometry

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SYNTHESIS Design + Architecture. Do not scale, only figured dimensions are to be used. If in doubt ask. All dimensions are in millimetres unless otherwise noted and are to be checked on site.

0.2 GRAPHIC MAPPING DIAGRAM

0.1 FORMAL EVOLUTION DIAGRAM

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CHELSEA WORKSPACE

CONSTRUCTION DOCUMENTS

2420 Wilshire Blvd Suite 9E, Los Angeles,

SYNTHESIS Design + Architecture. Do not scale, only figured dimensions are to be used. If in doubt ask. All dimensions are in millimetres unless otherwise noted and are to be checked on site.

CHELSEA WORKSPACE

Drawing

111 A 21D 318

CONCEPT DIAGRAMS

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10.10.2011

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AH/DW/JS

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SYNTHESIS Design + Architecture California 90057 Tel +1 213 438 9967

2420 Wilshire Blvd Suite 9E, Los Angeles, studio@synthesis-dna.com

SYNTHESIS Design + Architecture. Do not scale, only figured dimensions are to be used. If in doubt ask. All dimensions are in millimetres unless otherwise noted and are to be checked on site.

CHELSEA WORKSPACE

Drawing

111 A 21D 318

CONCEPT DIAGRAMS

Issue Date

10.10.2011

Scale

NTS

CONSTRUCTION DOCUMENTS

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AH/DW/JS

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SYNTHESIS Design + Architecture California 90057 Tel +1 213 438 9967

2420 Wilshire Blvd Suite 9E, Los Angeles, studio@synthesis-dna.com

2420 W

studio

University of Southern California ACSA Faculty Design Honorable Mention

Alvin Huang

CHELSEA WORKSPACE This home office responds to the clients brief of a discrete yet sculptural design solution by conceptually draping a dynamic surface over an orthogonal arrangement of home office elements including a work desk, storage, printer, paper shredder etc. Set within a tiny 7sqm room, the design intent was to minimize the imposing presence of the boxy storage requirements by disguising them within a sinuous form that emerges from the walls of the room. As the owner desperately wanted to reduce the visual clutter of “stuff” within his work space, storage and utilities are all concealed within the volume of the construction. The space is organized around the lone window in the room providing the client with a pleasant view and ample natural daylighting. The glow of natural light from the window further serves to articulate the geometry of the installation through the play of light and shadow. The fluid geometric form is articulated as a series of alternating CNC milled birch plywood ribs which are pre-fabricated into modular units.. These units are hung on a series of z-clips bolted to the interior wall, and held in place by self-weight. Horizontal spacers, which stabilize the open ends of the plywood ribs, are arranged in a pixelized graphic pattern representing a world map, where the owner can map out his travels. The project is the result of an intense collaboration between designer and fabricator enabled through the exchange of 3D files not only as design deliverables, but as production and fabrication documents. Materials: 32 sheets of 2400mm x 1220mm x13mm birch plywood Finish: Clear lacquer (spray finish) Fabrication: Computer numeric controlled milling of 308 unique profiles Software: Rhino3D (modelling), Grasshopper (parametric modelling), RhinoNest (nesting)

Juror Comments: This project makes an important contribution to the world of digitally fabricated products - dislodging them from their assumed status as ‘objects,’ and situating them within the operations of spatial design and interior delineation. The digital fabrication is not just singular, and the project is spatially integrated. 61

ACSA Faculty Design Honorable Mention

University of Tennessee-Knoxville & University of North Carolina at Charlotte

Brian Ambroziak, A. Katherine Bambrick Ambroziak & Andrew Mclellan

CONFABULATORES NOCTURNI From these two incontrovertible premises he deduced that the Library is total and that its shelves register all the possible combinations of the twenty-odd orthographical symbols - a number which, though extremely vast, is not infinite. - Excerpt from “The Library of Babel” by Jorge Luis Borges The CABANON exists somewhere between sunset and sunrise. Its translation in the theoretical work entitled Confabulatores Nocturni draws its primary motivation from Diderot and d’Alembert’s Encyclopédie. The visual equivalent to the Library of Borges, the Encyclopédie serves as a visual taxonomy of all human knowledge catalogued under the three primary branches of memory, reason, and imagination – past, present, and future. Is it possible that the volumes of the Encyclopédie possess all of our collective spatial fictions? Through the narrative morphosis of collage, each reinvented CABANON acquires the personality of a scribe. New fictions surface. Arranged in a columbarium-like wall, the communicative structure between these scribes emerges as a contemplation of the enigmatic Knight’s Tour. This ancient and cryptic geometry becomes at times a thanatopsis, at times a colloquy between divines. Confabulatores Nocturni can be understood as stories told by campfire, a setting where image maintains a symbiotic relationship with the written and spoken word. They are intertwined dreams that decipher and translate elements of our own artistic conscience with texture, surface, and shadow serving as letters of the CABANON’s alphabet.

Juror Comments: This project is a seductive conceptual investigation. It is speculative in all of the best senses. It weaves an evocative discourse around a series of exquisite representations, articulating and anticipating future architectures, without burdening the spatial imaginary with descriptive prose. 63

University of Southern California ACSA Faculty Design Honorable Mention

Gail Peter Borden

FUR-LINED Furlined is a commissioned temporary pavilion housing a reading room for an exhibition on emerging architecture in Los Angeles. The legacy of form is derived from the material nature of its tectonics. Fascinated by the fold, artists through the ages have spent time on its form. Michelangelo focused repeatedly on drawings of fabric. They are a way to express feeling in a building through frozen motion without using historic decoration. In this pavilion, we use the signature folds of Gian Lorenzo Berniniâ&#x20AC;&#x2122;s flowing drapery in The Ecstasy of St. Theresa to inspire the form. They allow for the simulated energy of representational figuration to occur in a static form. An abstraction of material and form unite to create an erotic moment. Building on the postmodernist independence of skin from structure as a disengaged relationship that is core to Los Angeles architecture, the pavilion accelerates the condition. Three layers, each with their own material and manufacturing technology, engage and push the Gehry methodology of a differentiated skin and structural system. Independently defined and formed components, tasked with varied experiences, the dialogue between the elements generates a new and dynamic conversation. Synthesizing the intention of the fold with the geometry and materiality of pop art, minimalism and geometric abstraction originating in Southern California in the 1960s, the pavilion emerges from the tectonics of place aligned through the lineage of architectural thought. Refocused on light and space, the form and material become dynamic players in their conversation.

Juror Comments: This exhibition pavilion, with its three layers of tectonic systems, is a microcosm of the contemporary architectural discourse on the building envelope. It is a provocative investigation of form, specifically shell liner. 65

ACSA Faculty Design Honorable Mention

University of Michigan

Geoffrey Thun & Kathy Velikov

INFRA-ECO-LOGI_URBANISM Infra- Eco Logi Urbanism is a multi-year design research project comprised of analytical cartographies, assembled histories, speculative design proposals and a travelling exhibition that forms a manifesto for urban architecture within the post-metropolitan condition. The project examines the role of design as a political agent in the context of emerging polycentric urban agglomerations known as megaregions. In this context, the lens of the common–both the material and the cultural common–becomes productive in thinking megareagions and their possible futures. The design of infrastructure, as both possible realities and projective projects, suggests a potential beyond the delivery of organization and service. How might these systems and their associated architectures radically define and enable a reconceptualization of megaregional publics, political subjectivities and ‘possible urban worlds’. (Harvey 2004) In both form and content, the work posits an approach to contemporary urban design that is not about a singular vision or a grand scheme. Rather, it develops an assemblage of reciprocal relations, analyses and proposals nested at micro and macro scales of both time and space. The project assembles a series of diverse threads and modes of inquiry into a single work: methods for regional analysis; historical research; political urban philosophy; and a speculative design proposal situated within the Great Lakes Megaregion of North America. This work positions the question of the material commons as central to envisioning urban futures conflating energy resources, mobility and related ‘public space’. The aggregate content forms an exhibition organized as a territory: a spatial array that allows visitors to simultaneously apprehend multiple interrelations, scales and connections from diverse routes and viewpoints. In so doing, its physical form explicitly engages the space of the cultural common, intended to render, through the gaps created via non-linear presentation of fragmentary associations, new knowledge, provocations and projections.

Juror Comments: This is very thoughtful, thorough design research on the Great Lakes Megaregion that combines astute discursive positioning of the work with communicative graphics and a savvy exhibition strategy. It is a compelling and provocative submission. 67

HDE

ACSA/AIA Housing Design Education Awards Granted jointly by the Association of Collegiate Schools of Architecture (ACSA) and The American Institute of Architects, Housing & Custom Residential Knowledge Committee (AIA, HCR KC) to recognize the importance of good education in housing design in producing architects ready for practice in a wide range of areas and able to be capable leaders and contributors to their communities.

University of Colorado Boulder

Robert Pyatt

ACSA/AIA Housing Design Education Excellence in Housing Education Course or Activity

DESIGNING FOR PEOPLE & PLACE: SUSTAINABLE & AFFORDABLE HOUSING FOR THE PINE RIDGE INDIAN RESERVATION In response to the critical housing need on the Pine Ridge Indian Reservation, the University of Colorado Boulder through its Native American Sustainable Housing Initiative, has implemented a new academic service learning program called “Designing for People and Place: Sustainable & Affordable Housing for the Pine Ridge Indian Reservation” offered each spring and summer to architecture students in the Program in Environmental Design. Funded through (HUD’s) Office of Policy Development and Research (PD&R), in partnership with the Office of Native American Programs (ONAP) students and faculty from the Program in Environmental Design collaborate each spring with students and faculty from both the Oglala Lakota College and the South Dakota School of Mines and Technology to research, design and build sustainable housing. Through a “project-based” approach to architectural design education, students enrolled in the service-learning program gain valuable experience working in a multi-cultural environment with tribal members and communitydevelopment groups. Students have the opportunity to participate in research, site analysis, housing design, production of working drawings, fundraising and ultimately construction of a culturally appropriate sustainable and affordable house on the Pine Ridge Reservation. A key objective of the program is to develop a comprehensive case study to help inform the future housing choices on Pine Ridge, and to establish an “applied research” laboratory to educate students in the design and construction of sustainable, affordable, culturally inclusive and regionally appropriate housing. Students: Jesus Abbud, Garrett Akol, Nicholas Amirault, Katherine Armbruster, Christopher Ball, Matthew Doeller, Mathew Kaplan, Marco Maycotte, Nicholas McClure, Matthew Niederhauser, Anthony Quattrini, Keegan Raleigh, Ryan Sellinghausen, Charles Tanner, Gillian White, Janna Ferguson, Katherine Stege, Molly Goodman, Ryan Kean, Aaron Travers, Kyle Wong, Jimena Zamora, Travis Roubideaux, Tiana Wilson, Toniya Stinnett, Clay Benoist, Leslie Ghost, Alan Jealous, Duane Morgan, Jarred Shangreaux, Emerson Stone, Jamie Tuttle, John Yellow Boy, Luke Aguilar, Ben Richards, Lawrence Richards, Aaron Exendine, Pedro Red Cloud, Wilson King, Shayne Begay, Clifton Coleman, Jowl Byzewski, Kyle White and Logan Gayton.

Juror Comments: As with many of the best explorations of housing design, this submission combines work with an under-served community and explorations of sustainability to provide the participating students with a great learning experience. The studio is an excellent cultural immersion into the mostly invisible world of tribal housing issues. The instructors have created an entire learning track to gear students toward the studio experience. Tribes are in need of models that work - not only in terms of housing types and materials, but excellent partnerships such as this with a university. The project also comes on the heels of a multi-year comprehensive plan for the tribe - it is heartening to see the comprehensive plan’s implementation, even if it is small in scale to begin with. 71

University of Michigan

& Tony Patterson

ACSA/AIA Housing Design Education Mick Kennedy Excellence in Housing Education Course or Activity

ELEMENTAL ENCOUNTERS: THE ARCHITECTURAL DETAIL AND ELDERLY HOUSING Elemental Encounters focused on the generative power of singular architectural details and their impact on the broader development of spatial organization in plan, section, mass, and volume, in response to the specific design challenges posed by housing for the elderly. Typical housing studios often view the ‘unit’ (and its aggregation) as an irreducible cell. This studio sought to break that unit down further to architectural elements at a nested set of scales from the architectural fragment, to the room, street, and urban block. As a subject for studio learning, housing for the elderly requires the reconfiguration of the dwelling unit to allow a wider range of ages, uses, and abilities. The manner in which various spaces are re-conceptualized to allow a diversity of individual and shared activities is a critical design study. Within the context of a comprehensive design studio, the topic of elderly housing requires students to consider the design of many basic architectural elements: the pace of a stair, the profile of a handrail and its traced path through a space. It also demands re-conceptualizing walls and windows and their hybridization with other elements, offering alternative quotidian rhythms in the life of an architectural work: sitting, reclining, cooking, eating, working. This synthetic pedagogy provided an exceptionally fertile ground for student design learning. Students & Additional Recognitions: Sara Anderson, Caitlin Cashner, Junyin Chang, John Dwyer, Enesh Easlick, Jhana Frederiksen, Efrie Friedlander, Pandush Gaqi, Billy Griffitts, Michael Howard, Rachel Jessup, Andrea Kamilaris, Claire Kang, Brian Koehler, Eric Meyer, Katie Min, Chris Pine, Luke Rondel, Anna Schaefferkoetter, Peter Shaw, Ratima Suwanrumpha, Mengqi Tan, Nathan Walker, Gordon Warwick, and Sam Xu.

Juror Comments: This submission represents a very strong example of a well-crafted housing design studio. The student work is well supported by pre-design research on the topic, which translated into strong design explorations. The reframing of the issue as kit of parts (elemental units) is excellent. The studio was very thoughtfully designed to provide a platform for critical thinking in terms of human scale, movement, beauty, inter-generational living, material and comfort. The high level of student work speaks to the instructors’ ability to clearly articulate the intent and deliverable, as well as the expected level of rigor and analysis. 73

University of Arkansas

ACSA/AIA Housing Design Education Excellence in Housing Education Course or Activity

Cory Amos, Jeffrey Erwin Huber & Stephen Luoni

PETTAWAY NEIGHBORHOOD MAIN STREET REVITALIZATION PLAN As part of a larger redevelopment plan for the Pettaway Neighborhood in downtown Little Rock, the studio objective was to develop a housing framework for the neighborhood’s urban Main Street District. Despite decades of decline, a return-to-the-city movement in Little Rock is resulting in adaptive reuse along the Main Street corridor. The studio challenge was to develop “missing middle” housing proposals compatible with Main Street’s remnant streetcar commercial fabric while mitigating inappropriate autodominated development along Main Street. Missing middle housing is primarily urban housing between the scale of the singlefamily house and mid-rise flats that have not been built since the 1940s (e.g., duplex, triplex, bungalow court, mansion apartment, townhouse, live-work, courtyard apartments, etc.) and can effectively drive revitalization efforts in struggling first ring neighborhoods. The studio effort consisted of three main activities. First, morphological characteristics of several local Main Street environments were mapped and communicated in descriptive analytic drawings. Precedents illustrated how scale, frontage, building groupings, lot/right-ofway characteristics, and transportation modes combined to create signature Main Street environments. Second, in concert with faculty, students explored planning approaches which were ultimately refined into a Main Street District plan. Third, students proposed individual detailed housing proposals with publication-ready renderings to communicate with community stakeholders. Proposals developed infill vocabularies that integrate contemporary innovations in urban housing design (e.g., housing courts, transit-oriented development, low impact development, live-work housing configurations, etc.) with historic building fabrics. Each student’s architectural proposal had the twin goals of advancing the Main Street District plan through a fully developed housing project that demonstrated an urban intelligence and fit with context. Students & Additional Recognitions: Erica Blansit, Jason Clem, Enrique Colcha, Long Dinh, Teodor Hristov, Kareem Jack, Cesar Augusto Larrain Vaca, Carson Nelsen and Ginger Traywick.

Juror Comments: This submission illustrates a compelling study of housing and the relationship of individual structures to the street. In addition, it illustrates how to communicate design principles and intentions to lay audiences in a powerful way. Community engagement, faculty mentorship, analysis of historical typologies, and site analysis have combined beautifully in this studio to demonstrate how housing can be a catalyst for neighborhood revitalization. Not only are typologies creatively re-designed, but each neighborhood is also respected as having its own sense of place and identity. The end result clearly demonstrates that the studio did an excellent job of balancing the deep contextual analysis and neighborhood partnerships with encouragement of individual design talent and strong moves, to project a true vision for this neighborhood. 75

ACSA Diversity Achievement Awards To recognize the work of faculty, administrators, or students in creating effective methods and models to achieve greater diversity in curricula, school personnel, and student bodies, specifically to incorporate the participation and contributions of historically under-represented groups or contexts.

University of Utah

Erin Carraher & Jörg Rügemer

PROJECT: ARCHITECTURE Project: ARCHITECTURE is a partnership between the Girl Scouts of Utah and the University of Utah’s School of Architecture (SoA) to raise awareness of careers in the built environment for women and to provide opportunities for architecture students to engage in service and creative projects. The inaugural project is the design and construction of three cabins for the Girl Scout’s Trefoil Ranch camp. A complimentary year-long series of outreach events were organized to expose Girl Scouts directly to women practitioners, to provide female student mentors in design-related programs, to offer opportunities for students and girls to visit architecture firms and construction sites, and to engage the scouts in the development of the cabins’ design and construction. The Girl Scouts’ involvement in the project has been two-fold: a Leadership Group of middle- and high-school aged girls followed the project through all stages by participating in workshops, site visits, design charrettes, and firm tours; and a broader audience of girls of all ages participated in a daylong event that demonstrated general principles about architecture, urban planning, landscape architecture, and design through hands-on activities. 14% of Utah’s practitioners are female, which is well below the national average. The SoA also has a disproportionately low percentage of female students, so opportunities for this program to have significant impact on the local, regional, and state community is high. The collaboration has proven mutually beneficial to both parties, and the faculty and Girl Scout leadership are looking to future opportunities to build on the project’s success.

ACSA Diversity Acheivement

Students: Marin Hebdon, Rachael Knudson, Rachel Sorenson, Amy Johans, Caitlin Thissen, Catrina Covelli, Jody Zimmer, Harrison Bush, Cameron Bowen, Xiomara Salazar, Ali Beach, Anna Gallagher, Kristine Merkel, Danielle Frohn, Jessica Batty, Sarah Winkler, Emily Black, Matthew Dennis, Aric Farnsworth, Aaron Fennell, Shawn Poor, Alex Stoddard, Ardavan Tookaloo, Steven Walters and Pingting Wei.

Juror Comments: This submission provides an excellent example of a program that empowers young women to assume leadership roles within the profession; and by their own example, inspire others to follow their path. The strategies and methods for promoting design careers within under-represented communities used here are transferable to many different contexts. The selection of this award is unique this year, for the Awards Committee and Jury chose to recognize Project: Architecture for both the Collaborative Practice Award and Diversity Achievement Award. The submission, when judged against the CP criteria and DA criteria rose to the top of both juries’ deliberations and discussions, and provides a valuable example of “best practice” in both award contexts. 79

ACSA Design Build Awards To honor the best practices in school-based design-build projects

University of Cincinnati

Terry Boling

AT FULL SCALE: THE DEVIL IS IN THE DETAILS In a period of architectural production giddy with the euphoria of computer generated form, the messy facts of construction - weight, material, weather, touch, and smell - have been supplanted by clean virtuality. While the rift between draughtsmanship and craftsmanship began during the renaissance, the digital age has made the separation even more pronounced. Gone are the nuances and inflections of the hand and body leaving traces of time, place, technique, or humanity in the work the resistance of real material cannot be experienced in the realm of the digital. In fact, the prevalence of MDF, polyurethane foam, and plastics as the primary prototyping materials in many digital fabrication labs underscores the desire for “virtual” materials that respond predictably to computer-controlled machining. Our goal is to eliminate the hard distinctions between the virtual and the real through the introduction of full-scale material and assembly prototyping as a generative force in design thinking. Unlike service-oriented or practice-based design/build programs, the work produced here is speculative, and operates at the intimate scale of the architectural detail rather than at the scale of the building. The design and construction of these projects were simultaneous, creating a “feedback loop;” a phenomenon of learning through making that is predicated on a critical engagement with the materials and techniques of construction. Our primary interests are in the unexpected behaviors, resistances, tolerances, material limits, and serendipitous discoveries that can only be realized through this kind of direct interface.

ACSA Design Build

Students: Frank D’Andrea, Dylan Fischer, Andrew Fox, John Fricano, Jordan Lewis, Drew Newman, Michael Pasquale, Bryan Sistino, Joeseph Southard, Nate Substanley, David Cole, Alex Dever, Andy Glass, Michael Haddy, Katie Johnson, Trish Kahler, Jim Koberling, Dan Miller, Kurt Miller, Michael Perez, Chris Popa, Ryan Scavnicky, Alex Spencer and Tyler Walter.

Juror Comments: This submission is exemplary for the clarity of its position on design-build education. Design-build, restrained to the scale of the architectural detail, allows students to individually face the entirety of the design process, from conception to realization. Further, this submission substantiates that design-thinking is scalable and that even nanoscale design-build projects can produce large-scale understandings of materiality and assembly. This is a strong example of using designbuild pedagogy to provide students an enriched immersion into materials and the relation of details to the larger work. There are some stunning transformations effected through this emphasis on the detail as generative. 83

University of Colorado Denver

Rick Sommerfeld

NAKAI RESIDENCE The University of Colorado Denver teamed up with the not-for-profit organization DesignBuildBLUFF to design and build the Nakai Residence. In the middle of the desert with three existing structures on site the team sited the building to create an outdoor communal courtyard. The home opens to the south to accept the cool breezes in the summer, while shielding the courtyard from the cold western winds in the winter. In response to the geomorphology of the site, the roof gestures up to the tree on the northeast and the nearby hill to the southwest. The building is clad in recycled spandrel glass. The glass reflects the landscape and nearby historic homes, while lowering the overall cooling load. A fifty-foot long bookcase on the interior of the home showcases the client’s collection of over 3000 books, acts as the kitchen and sleeping nook while creating a threshold for private spaces behind it. The bookcase terminates at the window seat at the north end of the building. This reading nook is cantilevered under the lone tree on the site. The public zone of the floor plan is a large 11’ wide x 50’ long space beside the bookcase. The fireplace, an integral part of the Navajo culture, is the singular element in this space dividing the living room, dinning room and kitchen from the art studio and bedroom.

ACSA Design Build

Students: James Anderson, David Hevesi, Zia Hooker, Courtney Hughes, Cameron Minor, Milen Milev, Michelle Pollock and Josh Young.

Juror Comments: Exquisite architectural quality sets this submission apart and is particularly commendable given the fact that this project was realized in an extremely short timeframe (80 days) and with a very limited budget ($25,000). The description of the design process indicates a rich sensitivity to people and place, demonstrates the depth of the students learning and conveys the team’s commitment to not only realize a functional built work, but to achieve architecture. This project combines clarity of organization and a concise and refined design palette to great effect. While many would have balked at the offer of “reclaimed skyscraper spandrel” glass, this team used it beautifully. 85

ACSA Design Build

Syracuse University

Larry Bowne & Sinéad Mac Namara

PLAY PERCH Jowonio preschool, world-renowned for its work with disabled children, educates both traditional and special-needs students in an inclusive setting. The school prioritizes outdoor play and exposure to the natural environment. Play Perch is an outdoor classroom on the school’s nature trail, designed and built by Syracuse School of Architecture Students affiliated with AIAS Freedom By Design. The design embeds environmental education in an outdoor pavilion, incorporating sun, wind, water management and the like. Mounted on six splayed pairs of V-shaped legs, Play Perch wraps around a mature tree and projects above a sloped hillside. Weather-resistant walls are framed in timber and clad with weathering steel panels, perforated in a feather-pattern. Steel struts on the roof support polycarbonate panels that illuminate the interior and communicate the movement of branches and leaves above. Gutters in the roof overhang considerably so children can see water running off to the splash rock below. The roof forms an oculus around the tree for the children peer up into the branches. The large “beak” window is a polycarbonate sheet that cants outward to maximize the children’s view from the highest point. A custom climbing net stretches across the opening between the floor and the tree. Interior furniture includes etchings of local animal footprints and leaves for the children to discover and embedded magnifying glasses to encourage investigation. The underbelly is a backlit constellation of stars and the birdlike form of Play Perch sits in a landscape of nest-like fences dotted with concrete eggs. Student Designers Fall 2012: Ford Bostwick, John Cardone, Jeffery Cheung, George Guarino, Zachary Harwin, Christina Hoover, Brian Luce, Sean Morgan, Sally Morrow, Doug Moskowitz, Steven O’Hara, Michael Palmer, Michaelle Williams, and Mark Zlotsky Student Designers Spring 2013: Ben Anderson-Nelson, Tom Arleo, Jessica Borri, Gabriel Boyajian, Charles Brock, John Coleman, Mark Hernandez, Tyler Holdren, Dong Min Shin, Winnie Tu, Emily Wutz, Sherina Zheng and Daniel Hopkins. Student Volunteers: Robert Pogue, Lisa Chan, Sarah Parkins, Jennifer Imbro, Daniel Parrish, Sarah Raphael, Stephen Muir, John Hayden, Johnathan Alessi, Taihui Li, Josh Rubbelke, and additional volunteers from Syracuse University School of Architecture.

Juror Comments: A wonderful combination of design-build and community engagement, this submission is held up partly for the quality of its conception and execution, but more importantly for the compelling nature of its outreach purpose. The project, making architecture for children with special needs, is a particularly good example of an appropriate setting for architecture students to be volunteering their knowledge and efforts in a community. The consciousness of purpose elevates the educational experience to one, which yields not only technical understanding but also an appreciation for the beneficial role of architects in our society. This is a good example of sensitive design, balancing children’s perspective with design appealing to all ages. It is great to see a Freedom By Design project achieve this level of outcome. 87

University of Kansas

Chad Kraus

PRAIRIE EARTH Prairie earth exists at the intersection between fundamental research into earthen architecture and utilitarian design projects seeking to concretize natural phenomena in tectonic form. This open-ended project is comprised of two modest works of architecture that rest in the landscape as a testament to this endeavor. In response to the pressing need for a more sustainable built environment, earthen architecture in the contemporary Western world is beginning to experience a fragile resurgence. The Dirt Works Studio at the University of Kansas aims to engage undergraduate architecture students in the advancement of earthen architecture. While the studio can be characterized by its embrace of rammed earth, my essential underlying aspiration is to instill in future architects an embodied ethos sympathetic to the act of making. Working in a highly collaborative environment, students collectively make design decisions, manage budgets, research materials, work out details, test solutions, improvise, lead, follow, compromise, and, ultimately, contribute something meaningful. They are provided an opportunity to fully exercise design thinking. From concept to punch list, students are guided through nearly every stage of a small project. Over the course of one semester, the students work tirelessly to design and erect a unique and remarkable rammed earth structure. Beyond the skills and experiences acquired in the studio, the lab, the field, and the conference room, the most significant benefit to students of the Dirt Works Studio - complimenting the traditional design studio - is the expansion of their professional habitus and the honing of their system of values.

ACSA Design Build

Students: Damon Baltuska, Pat Bayer, Melody Benyamen, Michael Burch, Katie Caufield, Xiaorui Chen, Hanna Dale, Zac Dawson, Ryan Falk, Pamela Gieseke, Justin Gomez, Maria Guerrero, Emily Held, Christina Henning, Benjamin Jensen, Lindsey Jones, Mark Linenberger, Matt Livingston, Jim McLarty, Scott Moran, Ben Peek, Lauren Reinhart, Kevin Staten, Scott Stoops, Tu Tran and David Versteeg.

Juror Comments: This submission presents a great collection of iterative pieces inserted into a larger landscape to bring a sense of place and scale. The work involves a â&#x20AC;&#x153;deep diveâ&#x20AC;? into a specific construction system (rammed earth), but it yields something much more than just a showcase of this material. The project out for its measured approach: providing successive groups of students exposure to and ownership of the entirety of the architectural process. The manner in which the relatively large project is phased creates time and space for the design and execution to fully mature. Particularly noteworthy is that each respective team realized their project from conception to realization, rather than isolating design to one group of students and relegating construction to others. For such a humble technique, this is a compelling result. 89

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JAE

Journal of Architectural Education Best Design as Scholarship Article This award is selected as the JAE Best Scholarly Article from the all those submitted to the journal in the award year. The JAE has for more than 58 years represented the Association of Collegiate Schools of Architecture as the flagship publication of this important architectural organization.

Tulane University

JAE Best Design as Scholarship Article

Kentaro Tsubaki

FOLDOUT DRAWING: A PROJECTIVE DRAWING FOR FABRIC FORMING Foldout Drawing argues for the agency of representation as a form of mediation between materials and design. It explores the generative role of projective representation in a contemporary context. As both a pedagogical program and a design project, Foldout Drawing argues for reactivating the agency of drawing as a primary means of mediation between design and fabrication. Operating between notational and geometrical logics, this work mines projection as an essential tool for conceptualization, visualization, and fabrication, and renews the drawing’s role as a means for realizing and exploiting the complex relation between ideas and things. It revives Evans’s inquiry into the role of drawing as the critical disciplinary practice for architecture, and attempts to amplify its operation by making the drawing a virtual form for the construction. This article describes how the foldout drawing, a particular form of notational drawing, emerged out of my studio teaching and further evolved in my research. It demonstrates the subtle, yet critical role the slow notational drawing plays in stabilizing the dynamic relationship between the ideal (design intent) and the real (fabricated outcome). It contemplates an alternative position to contemporary design-fabrication practices governed by precision and speed.

Read the complete article in the Journal of Architectural Education volume 66:1, December 2012, pages: 98–106.

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JAE

Journal of Architectural Education Best Scholarship of Design Article This award is selected as the JAE Design Best Article from the all those submitted to the journal in the award year. The JAE has for more than 58 years represented the Association of Collegiate Schools of Architecture as the flagship publication of this important architectural organization.

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Fig. 5 Fig. 11

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Massachusetts Institute of Technology

Ana María León

In the early 1970s, a school of architecture and a concentration camp appeared at the Ritoque beach, just north of Valparaíso, chile. Situated three miles apart, they never acknowledged each other’s presence. Nonetheless, their occupants formed communities that used a similar repertoire of games, events, and performances to create real and imaginary spaces. Faculty at the school deployed these activities to form a utopian enclave, freeing students and themselves from the strictures of normative education and practice, while limiting their political agency. In contrast, the prisoners of the camp transformed their enforced isolation into active political resistance.

Read the complete article in the Journal of Architectural Education volume 66:1, December 2012, pages: 84–97. Image Credits Figures 3, 5, 6, 8: courtesy of Archivo Histórico José Vial Armstrong, Escuela de Arquitectura y Diseño, PUCV, www.ead.pucv.cl/mundo/archivo. Figure 4: courtesy of Oscar Castro, personal archive.

JAE Best Scholarship of Design Article

Fig. 3

PRISONERS OF RITOQUE: THE OPEN CITY AND THE RITOQUE CONCENTRATION CAMP

Figure 11: courtesy of Museo de la Memoria y los Derechos Humanos, Fondo Miguel Lawner.

ACSA/AIA Topaz Medallion Gregory A. Kessler, Chair, Washington State University, Westin Conahan, AIAS President, Donlyn Lyndon, University of California Berkeley, Wendy Ornelas, Kansas State University & Sarah Whiting, Rice University

ACSA Distinguished Professor David Hinson, Auburn University, Thomas Fowler, California Polytechnic State University & Frances Bronet, University of Oregon

ACSA/AIAS New Faculty Teaching David Hinson, Auburn University, Jennifer Taylor, AIAS Vice President, Elizabeth Weintraub, New York Institute of Technology & Jim Bassett, Virginia Tech

ACSA Collaborative Practice David Hinson, Auburn University, Mo Zell, University of Wisconsin-Milwaukee & Stephen D. Luoni, University of Arkansas

ACSA Creative Achievement David Hinson, Auburn University, Donna Robertson, Illinois Institute of Technology & Maria-Paz Gutierrez, University of California, Berkeley

ACSA/AIA Housing Design Education David Hinson, Auburn University, Mo Zell, University of Wisconsin-Milwaukee & Jamie Blosser, Atkin Olshin Schade Architects

ACSA Faculty Design David Hinson, Auburn University, John Enright, Southern California Institute of Architecture, Amy Kulper, University of Michigan & Sheila Kennedy, Kennedy & Violich Architecture, Ltd.

Diversity Achievement David Hinson, Auburn University, Jennifer Taylor, AIAS Vice President & Scott Ruff, Tulane University

Design-Build David Hinson, Auburn University, Donna Robertson, Illinois Institute of Technology & Marie Zawistowski, Virginia Tech

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JAE Editorial Board & ACSA Awards Committee

JURY 99

2013-2014

ACSA PRESS WA S H I N G T O N , D C