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Each character has a unique vision on what the discipline is, needs, lacks or should be. All points of view are expansive and euphoric; actually we like to think that the discipline is at a critical inflection point, and therefore it needs fixing, a call to duty. I believe this to be the delusional mindset of all architects, as there is notsuch thing as a critical moment to the discipline—every generation thinks it is in one of those unique moments, so we’ve had plenty of them. Therefore the alternative to paranoid delusion, the fact of reality is that the discipline of architecture is a less serious endeavor; one that does not necessitate the strength of the manifesto, nor the challenge of a revolution, but actually creative and ingenious ways to find multiple directions. The ‘conversation’ style discourse that happens between Verticals at SCI-Arc is similar to Robert Altman’s narrative technique of ‘overlapping dialogues,’ where the script is just a blueprint, and the actors become more significant as they improvise the dialogues, making them more relevant than intricate plots. There is no intricate plot at SCI-Arc; there are just a lot of short stories. Architecture should not be (believe it or not) about inventing something completely from scratch (even though this is preached as something highly desired), or something that has never been seen before (we actually have seen it all). Architecture is a very old discipline, one that has actually had a great life, with moments of extreme sobriety (such as Villa Savoye by Le Corbusier) and moments highly inebriated (such as well, too many names); neither state of consciousness describes a very stable personality (by switching the levels of alcohol, Le Corbusier’s Ronchamp almost reaches the level of a DUI, but Gropius’ Pan Am building is definitely a designated driver in the big party of modern architecture). Architecture goes back and forth—it is sometimes acute to the context of its zeitgeist, other times is simply bored with it—and therefore looking backward or forward. Looking back did not do much good in the 80’s, and looking forward did maybe just too much in the 90’s. So today is maybe the tomorrow that did not happen, since today we still build houses with pretty pitched roofs, and towers that look as new as they did in the 50’s. My point is (returning to the issue of verticals), at SCI-Arc we are not designing for tomorrow, we are not designing something totally new, we are designing today, and we are playing the stories anew. So the Vertical Studios are trading on an emergency of the now, in which some of them clearly focus on the technique/technology apparatus but always as architecture design problem; some of them trade in the reconfiguration of the disciplinary rigor; some in the relation between program, policy, and form; and some others are in a category of their own. But at the end of the day, the common ground is how each of the studios challenge the convention of what is right or wrong in architecture, defining a plateau in which the work can aspire to rattle and radicalize—we can hope— the limits of Architecture. SCI-Arc’s Vertical Studios are not just pushing the limits, but are actually redefining the limits; using disciplinary knowledge as the solid platform where SCI-Arc is now continuing to grow, and moving forward instead of relaxing with a proven formula. It is clear that the main mission of these studios is not to think outside the box, or inside or both, but to define and redefine the box every time. So the question posed to the Vertical Studios at SCI-Arc is how can this seemingly chaotic ensemble produce harmony? What are the stories told anew that could extrapolate projects that are relevant to the discipline? The answers might be found in contemporary culture, were we have an abundance of information— information that comes in the manner of text, images and media. We read, see and gather as much as we can collect or as little as we can process. So, if things are in constant movement, being constantly updated, then we do need to move faster, to keep a 1
steady pace so we can always be ahead of the curve, or at least within range of the curve. In most cases, as architects, we have some misplaced sense of self-righteousness and morals, which is totally paralyzing in today’s culture. SCI-Arc’s Vertical Studios should defy this, and try to move us outside of that moral comfort zone, to test new territories and promote new dialogues.
As the Joker in The Dark Knight stated: “See, I’m not a monster. I’m just ahead of the curve.” SCI-Arc’s elective Vertical Studios pair small groups of upper-level students with elite faculty and international architects. As part of these studios, students develop projects that explore particular interests and focus. They have the opportunity to work with architects visiting the school, and gain insight into a broad range of issues concerning approaches to building, the environment, technology, theoretical stances, and personal interests. Approximately ten vertical studios are offered each term and students are usually selected following a vertical studio lottery in which portfolios are reviewed.
Roto/Jones Michael Rotondi & Wes Jones
The Fall 2011 Vertical Studios included:
This two-semester studio sequence explores architectural paradigms at the convergence of generative computing, advanced materials, and collaborative robotics. The studio and affiliated Synchronous Robotics seminar operate for the first time in SCI-Arc’s Robot House using purpose built software toolset for the Maya platform.
Who Goes & Who Stays Ben Nicholson The concept of Heaven On Earth is a constant theme in architecture, for a house or an ideal city. The studio is structured to work on a range of independent but interconnected designs addressing an imagined aftermath of ‘The Rapture’. Studio researches into notions of heaven, rapture, eschatology, military arms & architecture and energy & food production will open up the project. Digital Diagram for Form‐Finding Xu Weiguo (Tsinghua University) Diagram as a tool has been widely used in architectural design. Digital Diagram, the combination of diagram and computer technology, can greatly expand the potential of the diagram. This studio explores the design process of Digital Diagram.
Students will address some contemporary issues that they are confronted with through the medium of a specific project. The project will be in the city on two sites, one a large interior space that will give the students more experience with interior architecture and the other a large new building complex across the street on vacant land that will give the student more experience with urban design and architecture. ‘Real-Time’ (ESTm ) Peter Testa
Thick Skins and Deep Cavities (ESTm ) Tom Wiscombe Building on previous research on surface-to-strand morphologies, this studio focuses on surface-to-volume morphologies. The intent will be to explore extreme fluctuations between two-dimensionality and three-dimensionality, producing the effect of appearance and disappearance of volume and depth across architectural surfaces.
Painted Canvas (ESTm ) Elena Manferdini This studio will take the specific issue of the relationship between geometry and color as its mission statement and will try to advance the discourse through a highly directed technical approach that begins with the problem
of creating an impressionistic architectural envelope through the use of scalloped geometry and chromatic applications. Urban Strategies for the Future of SCI-Arc Eric Moss, Hsinming Fung, & John Enright This studio posits a series of questions that will be investigated, including: What future needs of SCI-Arc are to be analyzed, prioritized and considered in looking towards the future of the institution; How do these needs differ, or align, with how the future of the Arts District and the greater downtown Los Angeles area can be conceived; and is there a new model for urban development that has thus far not been investigated that can shed new light on the future possibilities for SCI-Arc? Re-Envisioning Downtown Los Angeles (SCIFI) Peter Zellner This studio allows students to pursue collective and semi-independent investigations within a highly structured and supported semester program focused on the development and documentation of 2-3 comprehensive transit oriented planning projects located in Downtown Los Angeles. Rituals of Forms (ESTm ) Hernan Diaz Alonso The studio proposes to re-examine the possibilities of form generation as an autonomous entity through the understanding of Rituals. The studio will focus in the generation and production of mutant rituals of architecture mutilations of micro-behaviors, which will accumulate to create species from systems.