SCIArc Magazine No.3 (Fall 2011)

SCI-ISSUE 003

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BROTHER CAN YOU SPARE A [PROVISIONAL] [PARA]DIGM Eric Owen Moss

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PUBLIC PROGRAMS

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3 DAYS IN SEPTEMBER: GRADUATION & THESIS WEEKEND

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THESIS PREP SYMPOSIUM

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THE POWER OF PHILANTHROPY Bill Kramer

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LEADERSHIP NEWS

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CAMPUS NEWS

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FACULTY PROFILE: TOM WISCOMBE Hernan Diaz Alonso

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ALUMNI NEWS & EVENTS

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ALUMNI COUNCIL Nerin Kadribegovic

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FROM DOGTOWN TO DOWNTOWN: IAN ROBERTSON AT SCI-ARC Joe Day

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CLASS NOTES

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SCI-ARC DONORS

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BROTHER, CAN YOU SPARE A [PROVISIONAL] [PARA]DIGM? Eric Owen Moss

DON QUIXOTE:

Architects Don Quixote and Sancho ride out on their picaresque journey, perusing the Spanish countryside.

Thirty or forty windmills appear on the horizon.

The windmills are giants, says the Don. The windmills are windmills, says Sancho.

For the Don the windmills are giants because the Don says so.

For Sancho the windmills are windmills because everyone says so.

Don Quixote is a radical architect.

HENRY MOORE:

Henry Moore sculpted the Helmet.

Unlike the Odysseus version, whose form was congruent with the head it was designed to protect.

Moore’s helmet doesn’t conform to any head.

An exterior enclosure protects an interior object. We can partly see the protected shape.

We know what it isn’t [a head], but it’s unclear what it is.

FIT AND MISFIT—THE HELMET EXEGESIS:

The Outside of the Outside, the external surface of the Helmet, faces the world.

The Inside of the Outside, the interior surface of the Helmet, looks in on the Glue.

The Outside of the Outside and the Inside of WKH 2XWVLGH GLIIHU LQ SURÀOH The Glue is the void between the Inside of the Outside and the Outside of the Inside.

The interior shape, the Outside of the Inside, looks out on the Glue.

The Inside of the Inside, inside the Outside of the Inside, faces itself.

The Helmet is radical architecture.

BACK TO SCHOOL:

The English teacher announces: “This is a sentence. Capitol letter, noun, verb, period.”

Cummings, Faulkner, and Joyce play hooky.

The music instructor announces: “Music is an 8 tone scale.”

Bartok, Cage, and Hendrix play hooky.

Radical architecture is self-taught.

THE MODERN ARCHITECTURE ADVENTURE:

De Stijl, Futurism, Constructivism and the Bauhaus ruminate during the 1920’s.

The discourse is formative, fragile, and often contradictory. There are tentative hypotheses.

But there is no single solution. Just an enduring tension between conceptual possibilities.

Manifestos are plural.

The competing hypotheses share a common enemy.

Here’s how House Beautiful characterized that enemy in 1953: “House Beautiful has decided to speak out and appeal to your common sense because it is common sense that is mostly under attack.

Two ways of life stretch before us. One leads to the richness of variety, to comfort and beauty. The other, the one we want fully to expose to you, retreats to poverty and unlivability. Worst of all it contains the threat of cultural dictatorship.”

1953: Modernism, according to the House Beautiful characterization, is not simply a catalogue of formal options from which to select. Modernism is insidious. America [according to the editor] lives in apprehension of the coming “poverty, unlivability, and cultural dictatorship” of Modernism. The apprehension is genuine and profound. A way of life is threatened. A radical proposition in architecture is an attack on the traditional measure of value in human affairs, an attack on a cultural ethos.

Early Modernism delivers a disconcerting message to the status quo. That’s the radical task.

Sixty years later Modernism, no longer the enemy, now merely one of a number of catalogue design options, regularly inhabits the cover of Dwell Magazine, the inheritor of House Beautiful’s role as content maître d’ for American architecture.

Radical architecture needs an enemy.

1928: Wanna be a radical architect, kid?

Have a look at the appendix of “The International Style.” Hitchcock and Johnson present the NY MoMA approved recipe for contemporary architecture. Learn the rules, kid.

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+HUH¡V D ZDOO D FROXPQ D à RRU D URRI D window. That’s how you do it.

1988: Again Phillip and NY MoMA’s sanction. Wanna be a radical architect, kid? ´7KH GLDJRQDO OLQH¡V WKH UHFLSH IRU 'HFRQstruction,� Phillip announces. Learn the rules.

THE DEATH OF NEW ARCHITECTURE:

Twice, 60 years apart, Phillip et al homogenize an unsettled discourse, and substitute D FRGLÀHG PHWKRGRORJ\ That’s how radical new architecture is ineviWDEO\ VWXOWLÀHG ODEHOHG E\ DQ DXWKRULWDWLYH DJHQF\ WKDW RIIHUV D OHDUQDEOH WHDFKDEOH SUR IRUPD LQ SODFH RI D à XLG GHVLJQ GLVFRXUVH TOOLS AND RULES:

7KH IRUP ODQJXDJH RI 0RGHUQ $UFKLWHFWXUH mandates the parallel rule, triangle, scale, DQG SHQFLO 7KH WRROV HQDEOH WKH IRUP ODQJXDJH 7KH IRUP ODQJXDJH FRQĂ€UPV WKH WRROV 7KH JHQHUDWLYH SURFHVV IRU LPDJLQLQJ QHZ architecture must be accompanied by substantial research that explores new drawing and building means.

7KH UHSHUWRLUH RI &1& %,0 WKH 5KLQR PHQX HW DO VXSSODQW WKH UHSHUWRLUH RI WKH SDUDOOHO rule and the triangle.

6HOI FRQJUDWXODWLRQV DUH LQ RUGHU RQ RXU PDVWHU\ RI D QHZ WHFKQLFDO SUR IRUPD :H¡UH KXJHO\ VDWLVÀHG ZLWK RXUVHOYHV ,QWHUQDWLRQDO V\PSRVLD UHLJQ &KHFN WKH 5KLQR 0HQX or so options to stretch, twist, pull, bend, FUHDVH IROG DQG VR RQ But dissatisfaction is the impetus to new architecture.

FREUD, NEWTON, AND DARWIN:

:H XQGHUVWDQG WKH LQVWLQFW IRU PHWKRG :H XQGHUVWDQG WKH QHHG WR LPSRVH D OHDUQDEOH teachable order.

7KH HQGXULQJ SURVSHFW IRU UDGLFDO DUFKLWHFture is contingent on whether we locate KXPDQ DIIDLUV ZLWKLQ D V\VWHP RI ORJLF— )UHXG¡V 1HZWRQ¡V 'DUZLQ¡V GH 0DQ¡V -RKQVRQ¡V ,I KXPDQ DIIDLUV DUH QRW DPHQDEOH to a discoverable logic, either extant or arriving, then the radical’s conceptual design target is only a provisional paradigm. )ULHGULFKVWUDVVH WR 6HDJUDP IRU LQVWDQFH

The Provisional Paradigm LV WKH VROH FUHGR RI WKH UDGLFDO DUFKLWHFW ,W¡V DQ DOOHJLDQFH WR QRQ DOOHJLDQFH ,W LQVLVWV WKDW DQ\ GHVLJQ K\SRWKHVLV LV LQWULQVLFDOO\ IUDJLOH ,W XQGHU2010: Wanna be a radical architect, kid? stands its advocacy, its strengths, and its Here’s the latest. The nomenclature this time, limits, so the next time, that previously Patrik Schumacher tells us, is Parametricism, LQVLVWHG RQ SUR IRUPD LV UHSODFHG ZLWK D D 6SHQJOHU OLNH HIIRUW WR PDWULFL]H DQG VWUDWLI\ model that interrogates what was previously an unruly contemporary discourse. prized.

Bilbao was built. Walking City wasn’t.

Bilbao provided the tools.

3DWULN¡V REOLJDWRU\ IRUP ODQJXDJH ZDUUDQW\¡V DYDQW JXDUG VWDWXV IRU WKH SUDFWLWLRQHU New architecture carries no warranty.

TOOL AND RE-TOOL:

New tools are conceived to implement the architectural surprise we can’t yet draw or FRQVWUXFW 7KH DGYHQW RI QHZ WRROV DOORZV XV WR GR ZKDW KHUHWRIRUH ZH FRXOG RQO\ LPDJLQH The tools in turn become obligatory means to produce a predictable result. And surprise is no longer a surprise.

PENELOPE:

2G\VVHXV¡ ZLIH 3HQHORSH DZDLWLQJ KLV UHWXUQ IURP 7UR\ IHQGV RII DQ[LRXV VXLWRUV E\ SURPLVLQJ WR ZHDYH D IXQHUDO VKURXG :KHQ WKH VKURXG LV FRPSOHWH VKH¡OO PDUU\ RQH RI them. Penelope knits the tapestry during the day and unravels it at night. Puts it together and takes it apart simultaneously.

That’s the Provisional Penelope [para]digm for new architecture.

(To be published in The Architectural Review to coincide with Eric Owen Moss’ 2011 Jencks Award lecture)

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PUBLIC PROGRAMS

ABOUT PUBLIC PROGRAMS SCI-Arc Gallery exhibitions and public programming are funded in part by a grant from the National Endowment for the Arts.

CURRENT

Lecture

SCI-Arc Gallery Exhibition

Lectures and discussions are webcast live at sciarc.edu/live.

Odile Decq Benoît Cornette, Architectes Urbanistes October 14 – December 4

Diffusive Architecture Professor, University of Waterloo School of Architecture Toronto, Canada

The SCI-Arc Gallery is open daily from 10am–6pm. The Library Gallery is open Monday–Friday from 10am– 7pm and Saturday–Sunday from 12pm–6pm.

SCI-Arc is located at 960 East 3rd Street, Los Angeles, CA 90013. The building entrance and parking lot are located at 30 Merrick Street, between 4th Street and Traction Avenue.

SCI-Arc Public Programs are subject to change beyond our control. For the most current information, please visit sciarc.edu or call 213.613.2200.

To join SCI-Arc’s Public Programs email list, contact public_programs@ sciarc.edu.

ANISOTROPY

Library Gallery Exhibition

MR. CHIP GOES TO WASHINGTON Solar Decathlon 2011 October 28 – December 16

RECENT SCI-Arc Gallery Exhibition

JASON PAYNE Rawhide Principal, Hirsuta, Los Angeles Lecture

WOLF PRIX What’s the difference #1 Principal, Coop Himmelb(l)au, Vienna & Los Angeles

PHILIP BEESLEY

Lecture

JESSE REISER Projections and Receptions Principal, Reiser + Umemoto, RUR Architecture, New York Lecture

ZVI HECKER Memory is the Soil of Architecture Architect, Berlin, Germany & Tel Aviv, Israel Lecture

LUYANDA MPAHLWA Director, Luyanda Mpahlwa DesignSpaceAfrica Cape Town, South Africa Lecture

ODILE DECQ Beyond Horizon Director, Ecole Spéciale d’Architecture; Principal, Odile Decq Benoît Cornette, Architectes Urbanistes, Paris, France Lecture

ANTONIO JIMENEZ TORRECILLAS Back to the Future Architect, Granada, Spain Lecture

JOSE OUBRERIE Architecture in a Time of Uncertainty Professor, Knowlton School of Architecture, Columbus, Ohio

UPCOMING Lecture

MARK FOSTER GAGE Design Liquidity Assistant Dean and Associate Professor, Yale University School of Architecture; Principal, Gage/Clemenceau Architects November 9, 7pm Lecture

XU WEIGUO :ROI 3UL[ What’s the difference #1 Lecture

XWG Works Professor, School of Architecture of Tsinghua University Principal, XWG archi-studio, Beijing, China November 16, 7pm Lecture

JOHN SOUTHERN Seeding Production: Explorations and Conjecture in Contemporary Culture Principal, Urban Operation, Los Angeles (M.Arch ’02) November 30, 7pm

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SCI-Arc Gallery Exhibition

RAMIRO DIAZ-GRANADOS Go Figure Principal, Amorphis, Los Angeles; Professor, SCI-Arc (B.Arch ’00) January 13-February 26, 2012 This exhibition is made possible thanks to a Creative Connections grant from The James Irvine Foundation Lecture

JUAN HERREROS Dialogue Architecture Principal, Herreros Arquitectos, Madrid February 15, 2012, 7pm Lecture

PETER TRUMMER Head of the Institute of Urban Design & Spatial Planning University of Innsbruck, Austria February, 22, 2012, 7pm

OUTSIDE SCI-ARC Exhibition

HSINMING FUNG AND CRAIG HODGETTS California Design, 1930-1965: “Living in a Modern Way�

Los Angeles County Museum of Art (LACMA) October 1, 2011-March 25, 2012 Hodgetts + Fung is participating in the highly touted 3DFLĂ€F 6WDQdard Time, Art in LA, 1945-1980, a many-headed exhibition with PRUH WKDQ PXVHXPV DQG QRQSURĂ€W JDOOHULHV DFURVV 6RXWKHUQ California hosting shows centered on innovation in design, craft, and architecture in the creative period of postwar Los Angeles.

Hodgetts + Fung designed the installation for the California Design exhibition on view at LACMA’s Resnick Pavilion. Their design is inspired by California’s unique style, and the exhibit includes the Case Study House program, open plan and indooroutdoor living, Julius Shulman photographs, and the explosion of consumption that followed the deprivations of the Great Depression and World War II.

+RGJHWWV )XQJ California Design, 1930-1965: “Living in a Modern Way�

Los Angeles Museum of Modern Art (LACMA)

Faculty Lectures, Awards & Competitions COY HOWARD

2011-2012 Rome Prize Fellowship, William A. Bernoudy Architect in Residence, American Academy in Rome ERIC OWEN MOSS

Dubai Muncipality, UAE, November 16 Abu Dhabi Urban Planning Council, November 17 Getty Symposium, Getty Center, Los Angeles, The Past and the Future of LA’s Global Image, November 19 2011 Jencks Award, Royal Institute of British Architects (RIBA), London, Demember 6 Architectural Association, London, December 7

Jason Payne (B.Arch ’94) Rawhide, SCI-Arc Gallery

TOM WISCOMBE

Exhibition

ANDREW ZAGO Foreclosed: Rehousing the American Dream Museum of Modern Art (MoMA), New York January 31-July 31, 2012 A multi-disciplinary team led by Andrew Zago of Zago Architecture will exhibit in the Foreclosed group exhibition hosted by MoMA as part of the museum’s Issues in Contemporary Architecture series. Zago’s proposal centers on rethinking housing in Rialto, California, in light of the U.S. foreclosure crisis. At the center of the exhibition will be physical models, drawings, UHQGHULQJV DQG DQLPDWLRQV WR EH SURGXFHG E\ ÀYH WHDPV VHOHFWHG to participate in the program, each focusing on a different metropolitan area in the U.S.

Extreme Integration The Bartlett School of Architecture, October 19 University of California, Los Angeles (UCLA), November 21

5HLVHU 8PHPRWR 0-14 Tower Projections and Receptions Lecture

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3 DAYS IN SEPTEMBER

Graduation

Fall term is a dynamic and inspirational time in the life of SCIArc. Students are back and the new academic year brings renewal.

On a broader plane, SCI-Arc is on the threshold of its 40th anniversary, when our still young school will strengthen the promise of its future and renew its commitment to educate architects who will imagine and shape the future. ,Q HDUO\ 6HSWHPEHU GXULQJ WKH ÀUVW ZHHN RI )DOO WHUP 6&, Arc hosted its Graduate Thesis Weekend. A culmination of up to three years of study and coursework leading toward the M.Arch and M.DesR graduate degrees, the public event has students preVHQWLQJ WKHLU ÀQDO SURMHFWV WR FULWLFV IURP DOO RYHU WKH ZRUOG *UDGXDWH WKHVLV UHà HFWV 6&, $UF¡V ULJRURXV DUFKLWHFWXUDO HGXFDWLRQ WKDW is responsive to cultural change, promotes architectural experimentation and creative and academic freedom, and supports a à XLG UHODWLRQVKLS EHWZHHQ HGXFDWLRQ DQG SUDFWLFH 6&, $UF¡V WKHsis weekend is regarded among theoreticians and practicing architects as a major forum for the discussion of fresh insights and innovative concepts in architecture. Among guest jurors attending this year’s thesis reviews were Sam Jacob, Glen Howard Small, Brett Steele, Fabrizio Gallanti, Peter Cook, Joe Day, Jeffrey Kipnis, Greg Lynn, and Jesse Reiser.

Every year, the guest critics are tasked with selecting the most exceptional thesis work from more than seventy graduate and post-graduate projects presented school-wide. Best thesis students honored this year were: )UDQFLVFR $ODUFRQ 5XL] (M.Arch 1): Innerscapes 'DYLG $ %DQW] (M.Arch 2): Fuzzy Figures: Pictorial Dissolution of Formal Perception ,YDQ %HUQDO (M.Arch 2): Familiar Primitives Michael W. Gross (M.Arch 2): The Cut Paul Mecomber (M.Arch 2): Strange Symmetry: The Conjoined Twin Curime Batliner (ESTm), Brandon Kruysman (ESTm), and Jonathan Proto (ESTm): SYN|Synchronous (Object)ives (a group thesis project developed in the new SCI-Arc Robot House) A two-week Selected Thesis Exhibition was on view in the SCI-Arc Gallery through the end of September. Graduate students selected to exhibit alongside best thesis winners were Matthew Au (M.Arch 1), $PDQGD 'LHPR] :HEEHU (M.Arch 1), 'RQRYDQ Ballantyne (M.Arch 2), and Kim Lagercrantz (M.Arch 2).

Thesis Weekend culminated in the annual Graduation Ceremony, where degrees are conferred to graduating students in the B.Arch, M.Arch, and post-graduate programs. In what has become a tradition, the school’s graduation pavilion is designed each year by faculty members and built with the help of students. This year, faculty members 'ZD\QH 2\OHU and Jenny Wu of Oyler Wu Collaborative, along with their students, and faculty member Matthew Melnyk of Nous Engineering who did the engineering, designed a pavilion entitled Netscape that stretches across the northern end of the SCI-Arc parking lot, providing seating for 900. Consisting of 45,000 linear feet of knitted rope, 6000 linear feet of tube steel, and 3000 square feet of fabric shade louvers, the SDYLOLRQ FUHDWHG D VDLO OLNH FDQRS\ RI URSH DQG IDEULF WKDW à RDWHG above the audience. With its fabric louvers tilted toward the westHUQ VN\ WKH FDQRS\ ZDV GHVLJQHG WR SURYLGH VKDGH IRU WKH VSHFLÀF date and time of the graduation ceremony.

1/2/12.

Graduation Pavilion designed by Oyler Wu Collaborative Thesis Weekend 3.

Student preps thesis exhibit 4.

Matthew Au presents his thesis to the critics 5.

Best Graduate Thesis: Michael W. Gross (M.Arch 2), The Cut Advisor: Elena Manferdini 6.

Best Graduate Thesis: David A. Bantz (M.Arch 2), Fuzzy Figures: Pictorial Dissolution of Formal Perception Advisor: Elena Manferdini 7.

Selected Graduate Thesis: Donovan Ballantyne (M.Arch 2), The Cut Advisor: Elena Manferdini 8.

Best Graduate Thesis: Ivan Bernal (M.Arch 2), Familiar Primitives Advisor: Hernan Diaz Alonso 9.

Best Graduate Thesis: Paul Mecomber (M.Arch 2), Strange Symmetry: The Conjoined Twin Advisor: Andrew Zago 10.

Visitors at Graduate Thesis Weekend pass by Paul Mecomber’s thesis project 11.

Visitors pass by the Graduate Thesis Weekend sign

This year’s commencement speaker, Pritzker-prize winner Thom Mayne and a SCI-Arc founding faculty member, said this about the graduation pavilion: “How typically SCI-Arc, an institution renowned for its conceptual thinking but also committed to an engagement with the real. It is right and fitting that you would be in a space created by two of your faculty members for this graduation ceremony. In keeping with SCI-Arc’s essential nature, the space is both temporary and contemporary. The temporary implies that it is of this time and place, an architecture interpretive and specific to this celebration today. The contemporary implies that the space itself will be re-thought and re-designed annually to provide an environment that evolves and changes just as the curriculum evolves and changes to encompass new technology, new world realities, and the new modes of creative thinking that you were charged with developing over the course of your education here.�

)RU WKH Ă€UVW WLPH DW 6&, $UF¡V JUDGXDWLRQ FHUHPRQ\ a graduating student, Tristan Brasseur (M.Arch ’11), addressed her peers: “The final story today, the one I’d like to end on, is the one that hasn’t yet happened. It’s the story that comes after this one, the one where we all live happily ever after to the end of our days and where we stay in contact with one another by way of facetime, online social networking websites, and sporadic class reunions. This is it, guys.

This is the end of this story. It’s the part of the story I never finish because I never want it to end. This is the part that actually means the world to us.

We all remember rolling in here for the very first time, the very first day of school. We remember modeling butterflies in our very first Maya class. That was 748 days ago. Tomorrow it will be 749. It’s just as my father always told me: whatever you choose to be in life, be a good one. Be a great one. Our time here at SCI-Arc has taught us to be curious and optimistic, but at the same time critical. We’ve learned to do things that are unusual and we’ve learned that taking risks is a way of living our lives, not just in terms of architecture. 748 days ago we came here as Padawans and today we are leaving with Jedi masters and Jedi bachelors degrees. Be great and make good choices.�

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THESIS PREP SYMPOSIUM

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April 6, 2011 Moderator: ELENA MANFERDINI Panelists: SANFORD KWINTER, JEFF KIPNIS, HERNAN DIAZ ALONSO, WES JONES

ELENA MANFERDINI:

Graduate Thesis was reintroduced at SCI-Arc six years ago. This period represented a playground for a young graduate program to learn “how to play.â€? This occupation (that RQH FRXOG GHVFULEH DV LPDJLQLQJ D ZRUOG LQ DEVHQFH RI YHULĂ€FDtion) has been geared towards individual creativity based on no pre-existing principles. As a result, the thesis program at SCI-Arc has been able to picture architecture in far more elastic terms.

Final thesis projects appear as if they have reached a rare tension between individual interest and group investigations. Now that SCI-Arc as an institution has unquestioningly reached a more mature stage, it is important that the thesis program demonstrate its ability to own the choices architects need to think about today, fostering a broader culture of ideas, inquiries and position-taking.

What do designers need to think about today and how does thesis contribute to a broader position-taking at SCI-Arc? SANFORD KWINTER: Responding to the world and responding to our historical period is something we need to do. The thing about this, of course, is that we are weary of many of the clichÊd and URXWLQH ZD\V LQ ZKLFK WKLV LV EHLQJ GRQH LQ RXU ÀHOG WES JONES: To offer an answer to this question, it would be important to think about this issue from the projected perspective of the architect and the architect’s concern, as opposed to the more general concern of the designer; and recognize that the thesis could contribute or could have something to say, at least, within the context of that possibility.

JEFF KIPNIS: ,I \RX ORRN DW D VFKRRO RI ÀVK LW EHKDYHV DV DQ LQWHOOLJHQW RUJDQLVP DV D FROOHFWLYLW\ SUHFLVHO\ EHFDXVH HDFK RI WKH ÀVK is not trying to behave as that organism. Intelligence comes out of the interconnectivity. What you want to do is resist the temptation to turn it into a monoculture. But when architects speak of crisis, population problems, or sustainability, there’s a tremendous urge to make those mono-cultural, whereas the ecological model demonstrates that the most intelligent thing to do is to proliferate speciated differences and let the swarm intelligence sort it out.

SANFORD KWINTER: For the game’s sake, I will continue to play the role of the generalist today. I think Jeff is trying to dismiss the scope of questions that architecture should be permitted to ask, and this is where I would disagree. Population explosion and sustainability problems are two examples of the scope of what architecture should be encouraged to address, especially in a thesis.

JEFF KIPNIS: When you wipe out a diversity of species in order to plant one plant for economic reasons because it’s an urgent plant to have (like a solution to poverty or sustainability); that’s exactly ZKDW \RX ZRXOG OLNH WR GR WKH ÀHOG RI DUFKLWHFWXUH WES JONES: Thesis, as an exercise, wants to have one hand, so to speak, in the larger questions like sustainability or poverty. The consciousness of the individual thesis position in relation to that actually makes it more interesting, raises the stakes, invests it with more potential risk as it surfs this line between individuality in the monoculture, phenotype and genotype.

HERNAN DIAZ ALONSO: When it comes to an architectural thesis I’m interested in the question of “relevanceâ€? more than one of “importance.â€? I’m coming to the conclusion that the idea that the discipline and the practice can come together is gone. So, you can have a general approach and then you have to work in a much PRUH VSHFLĂ€F DQG LVRODWHG ZD\

SANFORD KWINTER:

Architecture today perhaps more than ever before, serves as a kind of aggregator of knowledge and of different bodies of knowledge. There are lots of questions about how RQH ZLOO GHÀQH WKH VFRSH RI DQ DUFKLWHFWXUDO SUREOHP WRGD\ , think thesis is an optimal place to test these new forms of thinking. That’s why it should be treated as a place where architects are protected to assemble hypotheses that may appear to have very little hope of adoption. It’s what they used to call high risk, high yield hypotheses; high risk of failing and astounding yield should they succeed. Thesis should be hypothetical. It should be imaginative. It should be bold. It should be rigorous, and it should ask fundamental questions.

WES JONES: I think that risks only mean something within a context of the potential for the failure.

HERNAN DIAZ ALONSO: Is it possible for architecture, or any kind of hypothesis of thesis to really have risks? I think we’re getting to a point that nothing seems to be that risky any more.

SANFORD KWINTER: What occurred to me is that this is a school that has prided itself on exuberance and on speculative production. At the same time, the tasks facing us are different today; the mood is different. I happen to feel that it’s a very good wager that if you go against the tenor of your times, you’re standing a much greater chance of coming up with something important. Warren Buffet calls these types contrarians.

ELENA MANFERDINI: The current direction of thesis tends to be either an individual one or an allegiance to a current debate. The ÀUVW RQH LV XVXDOO\ D GHHS LQWHUHVW SURSHOOHG E\ WKH LPSDWLHQW quest for something different, and is characterized by a personal methodology of work and isolated conclusions. The latter is a collective manifestation, a pact of loyalty, and a form of organized aggression to the status quo of the discipline. Historically a collective front has been proven to be highly effective in galvanizing DUFKLWHFWV DQG UHDFKLQJ VSHFLÀF WDUJHWV What is the role of individual vs. allegiance thesis at SCI-Arc and how are these two opposite models helping to focus on problems relevant to the discipline?

JEFF KIPNIS: I think there’s something really important about thinking about this question, and that is how you allow conversations of passions to emerge without subordinating everybody into a collectivity. The history of this school is quite interesting as an “ecology.â€? Instead of giving students thesis topics, topics evolve from the students; students are part of emergent collectivities that DUH JRLQJ WR EH Ă XLG , WKLQN \RX KDYH WR Ă€QG D ZD\ WR PRELOL]H organic groups, allow them to emerge and dissolve depending on WKHLU HFRQRPLFV DQG Ă RZ V\VWHPV DQG WKHQ \RX Ă€QG WKH\ EHKDYH SANFORD KWINTER: I always believe that thinking against the clichĂŠs, the routines of one’s time, is a fruitful exercise. It never fails to surprise.

JEFF KIPNIS: For me, a measure of a thesis is if I leave with completely new ideas. In other words, it’s absolutely essential that we re-nourish ourselves with unexpected information from outside the discipline. I feel like we’re at a very good balance right now, and WKDW \RX FDQ GHWHFW WKH FRPPXQLFDWLRQV )RU WKH ÀUVW WLPH HYHU we’re starting to see a thesis project refer to a thesis project from last year. In other words, the students are not only referring to other work, but they’re starting to refer to the work of the school.

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From left to right: Elena Manferdini, Wes Jones, Sanford Kwinter, Hernan Diaz Alonso, Jeff Kipnis

5

1

Graduation 1/2/12.

Graduation Pavilion designed by Oyler Wu Collaborative Thesis Weekend 3.

Student preps thesis exhibit 4.

Matthew Au presents his thesis to the critics 5.

Best Graduate Thesis: Michael W. Gross (M.Arch 2), The Cut Advisor: Elena Manferdini 6.

Best Graduate Thesis: David A. Bantz (M.Arch 2), Fuzzy Figures: Pictorial Dissolution of Formal Perception Advisor: Elena Manferdini 7.

Selected Graduate Thesis: Donovan Ballantyne (M.Arch 2), The Cut Advisor: Elena Manferdini 8.

Best Graduate Thesis: Ivan Bernal (M.Arch 2), Familiar Primitives Advisor: Hernan Diaz Alonso 9.

Best Graduate Thesis: Paul Mecomber (M.Arch 2), Strange Symmetry: The Conjoined Twin Advisor: Andrew Zago 10.

Visitors at Graduate Thesis Weekend pass by Paul Mecomber’s thesis project 11.

Visitors pass by the Graduate Thesis Weekend sign

2

3 DAYS IN SEPTEMBER

Fall term is a dynamic and inspirational time in the life of SCIArc. Students are back and the new academic year brings renewal.

On a broader plane, SCI-Arc is on the threshold of its 40th anniversary, when our still young school will strengthen the promise of its future and renew its commitment to educate architects who will imagine and shape the future. ,Q HDUO\ 6HSWHPEHU GXULQJ WKH ÀUVW ZHHN RI )DOO WHUP 6&, Arc hosted its Graduate Thesis Weekend. A culmination of up to three years of study and coursework leading toward the M.Arch and M.DesR graduate degrees, the public event has students preVHQWLQJ WKHLU ÀQDO SURMHFWV WR FULWLFV IURP DOO RYHU WKH ZRUOG *UDGXDWH WKHVLV UHà HFWV 6&, $UF¡V ULJRURXV DUFKLWHFWXUDO HGXFDWLRQ WKDW is responsive to cultural change, promotes architectural experimentation and creative and academic freedom, and supports a à XLG UHODWLRQVKLS EHWZHHQ HGXFDWLRQ DQG SUDFWLFH 6&, $UF¡V WKHsis weekend is regarded among theoreticians and practicing archiWHFWV DV D PDMRU IRUXP IRU WKH GLVFXVVLRQ RI IUHVK LQVLJKWV DQG LQQRYDWLYH FRQFHSWV LQ DUFKLWHFWXUH $PRQJ JXHVW MXURUV DWWHQGLQJ WKLV \HDU¡V WKHVLV UHYLHZV ZHUH 6DP -DFRE *OHQ +RZDUG 6PDOO %UHWW 6WHHOH )DEUL]LR *DOODQWL 3HWHU &RRN -RH 'D\ -HIIUH\ .LSQLV *UHJ /\QQ DQG -HVVH 5HLVHU Every year, the guest critics are tasked with selecting the most exceptional thesis work from more than seventy graduate and SRVW JUDGXDWH SURMHFWV SUHVHQWHG VFKRRO ZLGH %HVW WKHVLV VWXGHQWV honored this year were: 3 Francisco Alarcon Ruiz (M.Arch 1): Innerscapes David A. Bantz (M.Arch 2): Fuzzy Figures: Pictorial Dissolution of Formal Perception Ivan Bernal (M.Arch 2): Familiar Primitives Michael W. Gross (M.Arch 2): The Cut Paul Mecomber (M.Arch 2): Strange Symmetry: The Conjoined Twin Curime Batliner (ESTm), Brandon Kruysman (ESTm), and Jonathan Proto (ESTm): SYN|Synchronous (Object)ives D JURXS WKHVLV SURMHFW GHYHORSHG LQ WKH QHZ 6&, $UF 5RERW +RXVH

A two-week Selected Thesis Exhibition was on view in the 6&, $UF *DOOHU\ WKURXJK WKH HQG RI 6HSWHPEHU *UDGXDWH VWXGHQWV selected to exhibit alongside best thesis winners were Matthew Au (M.Arch 1), Amanda Diemoz Webber (M.Arch 1), Donovan Ballantyne (M.Arch 2), and Kim Lagercrantz (M.Arch 2).

Thesis Weekend culminated in the annual Graduation Ceremony, where degrees are conferred to graduating students in the B.Arch, M.Arch, and post-graduate programs. In what has beFRPH D WUDGLWLRQ WKH VFKRRO¡V JUDGXDWLRQ SDYLOLRQ LV GHVLJQHG HDFK year by faculty members and built with the help of students. This year, faculty members Dwayne Oyler and Jenny Wu of Oyler Wu Collaborative, along with their students, and faculty member Matthew Melnyk of Nous Engineering who did the engineering, designed a pavilion entitled Netscape that stretches across the northern end of the SCI-Arc parking lot, providing seating for 900. Consisting of 45,000 linear feet of knitted rope, 6000 linear feet of tube steel, and 3000 square feet of fabric shade louvers, the SDYLOLRQ FUHDWHG D VDLO OLNH FDQRS\ RI URSH DQG IDEULF WKDW à RDWHG above the audience. With its fabric louvers tilted toward the westHUQ VN\ WKH FDQRS\ ZDV GHVLJQHG WR SURYLGH VKDGH IRU WKH VSHFLÀF date and time of the graduation ceremony.

4

7KLV \HDU¡V FRPPHQFHPHQW VSHDNHU 3ULW]NHU SUL]H ZLQQHU Thom Mayne and a SCI-Arc founding faculty member, said this about the graduation pavilion: “How typically SCI-Arc, an institution renowned for its conceptual thinking but also committed to an engagement with the real. It is right and fitting that you would be in a space created by two of your faculty members for this graduation ceremony. In keeping with SCI-Arc’s essential nature, the space is both temporary and contemporary. The temporary implies that it is of this time and place, an architecture interpretive and specific to this celebration today. The contemporary implies that the space itself will be re-thought and re-designed annually to provide an environment that evolves and changes just as the curriculum evolves and changes to encompass new technology, new world realities, and the new modes of creative thinking that you were charged with developing over the course of your education here.â€?

)RU WKH ÀUVW WLPH DW 6&, $UF¡V JUDGXDWLRQ FHUHPRQ\ a graduating student, Tristan Brasseur 0 $UFK ¡

addressed her peers: “The final story today, the one I’d like to end on, is the one that hasn’t yet happened. It’s the story that comes after this one, the one where we all live happily ever after to the end of our days and where we stay in contact with one another by way of facetime, online social networking websites, and sporadic class reunions. This is it, guys.

This is the end of this story. It’s the part of the story I never finish because I never want it to end. This is the part that actually means the world to us.

We all remember rolling in here for the very first time, the very first day of school. We remember modeling butterflies in our very first Maya class. That was 748 days ago. Tomorrow it will be 749. It’s just as my father always told me: whatever you choose to be in life, be a good one. Be a great one. Our time here at SCI-Arc has taught us to be curious and optimistic, but at the same time critical. We’ve learned to do things that are unusual and we’ve learned that taking risks is a way of living our lives, not just in terms of architecture. 748 days ago we came here as Padawans and today we are leaving with Jedi masters and Jedi bachelors degrees. Be great and make good choices.�

THESIS PREP SYMPOSIUM

April 6, 2011 Moderator: ELENA MANFERDINI Panelists: SANFORD KWINTER, JEFF KIPNIS, HERNAN DIAZ ALONSO, WES JONES

ELENA MANFERDINI:

Graduate Thesis was reintroduced at SCI-Arc six years ago. This period represented a playground for a young graduate program to learn “how to play.â€? This occupation (that RQH FRXOG GHVFULEH DV LPDJLQLQJ D ZRUOG LQ DEVHQFH RI YHULĂ€FDtion) has been geared towards individual creativity based on no pre-existing principles. As a result, the thesis program at SCI-Arc has been able to picture architecture in far more elastic terms.

Final thesis projects appear as if they have reached a rare tension between individual interest and group investigations. Now that SCI-Arc as an institution has unquestioningly reached a more mature stage, it is important that the thesis program demonstrate its ability to own the choices architects need to think about today, fostering a broader culture of ideas, inquiries and position-taking.

What do designers need to think about today and how does thesis contribute to a broader position-taking at SCI-Arc? SANFORD KWINTER: Responding to the world and responding to our historical period is something we need to do. The thing about this, of course, is that we are weary of many of the clichÊd and URXWLQH ZD\V LQ ZKLFK WKLV LV EHLQJ GRQH LQ RXU ÀHOG WES JONES: To offer an answer to this question, it would be important to think about this issue from the projected perspective of the architect and the architect’s concern, as opposed to the more general concern of the designer; and recognize that the thesis could contribute or could have something to say, at least, within the context of that possibility.

JEFF KIPNIS: ,I \RX ORRN DW D VFKRRO RI ÀVK LW EHKDYHV DV DQ LQWHOOLJHQW RUJDQLVP DV D FROOHFWLYLW\ SUHFLVHO\ EHFDXVH HDFK RI WKH ÀVK is not trying to behave as that organism. Intelligence comes out of the interconnectivity. What you want to do is resist the temptation to turn it into a monoculture. But when architects speak of crisis, population problems, or sustainability, there’s a tremendous urge to make those mono-cultural, whereas the ecological model demonstrates that the most intelligent thing to do is to proliferate speciated differences and let the swarm intelligence sort it out.

SANFORD KWINTER: For the game’s sake, I will continue to play the role of the generalist today. I think Jeff is trying to dismiss the scope of questions that architecture should be permitted to ask, and this is where I would disagree. Population explosion and sustainability problems are two examples of the scope of what architecture should be encouraged to address, especially in a thesis.

JEFF KIPNIS: When you wipe out a diversity of species in order to plant one plant for economic reasons because it’s an urgent plant to have (like a solution to poverty or sustainability); that’s exactly ZKDW \RX ZRXOG OLNH WR GR WKH ÀHOG RI DUFKLWHFWXUH WES JONES: Thesis, as an exercise, wants to have one hand, so to speak, in the larger questions like sustainability or poverty. The consciousness of the individual thesis position in relation to that actually makes it more interesting, raises the stakes, invests it with more potential risk as it surfs this line between individuality in the monoculture, phenotype and genotype.

HERNAN DIAZ ALONSO: When it comes to an architectural thesis I’m interested in the question of “relevanceâ€? more than one of “importance.â€? I’m coming to the conclusion that the idea that the discipline and the practice can come together is gone. So, you can have a general approach and then you have to work in a much PRUH VSHFLĂ€F DQG LVRODWHG ZD\

6

SANFORD KWINTER:

Architecture today perhaps more than ever before, serves as a kind of aggregator of knowledge and of different bodies of knowledge. There are lots of questions about how RQH ZLOO GHÀQH WKH VFRSH RI DQ DUFKLWHFWXUDO SUREOHP WRGD\ , think thesis is an optimal place to test these new forms of thinking. That’s why it should be treated as a place where architects are protected to assemble hypotheses that may appear to have very little hope of adoption. It’s what they used to call high risk, high yield hypotheses; high risk of failing and astounding yield should they succeed. Thesis should be hypothetical. It should be imaginative. It should be bold. It should be rigorous, and it should ask fundamental questions.

WES JONES: I think that risks only mean something within a context of the potential for the failure.

HERNAN DIAZ ALONSO: Is it possible for architecture, or any kind of hypothesis of thesis to really have risks? I think we’re getting to a point that nothing seems to be that risky any more.

SANFORD KWINTER: What occurred to me is that this is a school that has prided itself on exuberance and on speculative production. At the same time, the tasks facing us are different today; the mood is different. I happen to feel that it’s a very good wager that if you go against the tenor of your times, you’re standing a much greater chance of coming up with something important. Warren Buffet calls these types contrarians.

ELENA MANFERDINI: The current direction of thesis tends to be 10 either an individual one or an allegiance to a current debate. The ÀUVW RQH LV XVXDOO\ D GHHS LQWHUHVW SURSHOOHG E\ WKH LPSDWLHQW quest for something different, and is characterized by a personal methodology of work and isolated conclusions. The latter is a collective manifestation, a pact of loyalty, and a form of organized aggression to the status quo of the discipline. Historically a collective front has been proven to be highly effective in galvanizing DUFKLWHFWV DQG UHDFKLQJ VSHFLÀF WDUJHWV What is the role of individual vs. allegiance thesis at SCI-Arc and how are these two opposite models helping to focus on problems relevant to the discipline?

JEFF KIPNIS: I think there’s something really important about thinking about this question, and that is how you allow conversations of passions to emerge without subordinating everybody into a collectivity. The history of this school is quite interesting as an “ecology.â€? Instead of giving students thesis topics, topics evolve from the students; students are part of emergent collectivities that DUH JRLQJ WR EH Ă XLG , WKLQN \RX KDYH WR Ă€QG D ZD\ WR PRELOL]H organic groups, allow them to emerge and dissolve depending on WKHLU HFRQRPLFV DQG Ă RZ V\VWHPV DQG WKHQ \RX Ă€QG WKH\ EHKDYH SANFORD KWINTER: I always believe that thinking against the clichĂŠs, the routines of one’s time, is a fruitful exercise. It never fails to surprise.

JEFF KIPNIS: For me, a measure of a thesis is if I leave with completely new ideas. In other words, it’s absolutely essential that we re-nourish ourselves with unexpected information from outside the discipline. I feel like we’re at a very good balance right now, and WKDW \RX FDQ GHWHFW WKH FRPPXQLFDWLRQV )RU WKH ÀUVW WLPH HYHU we’re starting to see a thesis project refer to a thesis project from last year. In other words, the students are not only referring to other work, but they’re starting to refer to the work of the school.

11

From left to right: Elena Manferdini, Wes Jones, Sanford Kwinter, Hernan Diaz Alonso, Jeff Kipnis

5

1

Graduation 1/2/12.

Graduation Pavilion designed by Oyler Wu Collaborative Thesis Weekend 3.

Student preps thesis exhibit 4.

Matthew Au presents his thesis to the critics 5.

Best Graduate Thesis: Michael W. Gross (M.Arch 2), The Cut Advisor: Elena Manferdini 6.

Best Graduate Thesis: David A. Bantz (M.Arch 2), Fuzzy Figures: Pictorial Dissolution of Formal Perception Advisor: Elena Manferdini 7.

Selected Graduate Thesis: Donovan Ballantyne (M.Arch 2), The Cut Advisor: Elena Manferdini 8.

Best Graduate Thesis: Ivan Bernal (M.Arch 2), Familiar Primitives Advisor: Hernan Diaz Alonso 9.

Best Graduate Thesis: Paul Mecomber (M.Arch 2), Strange Symmetry: The Conjoined Twin Advisor: Andrew Zago 10.

Visitors at Graduate Thesis Weekend pass by Paul Mecomber’s thesis project 11.

Visitors pass by the Graduate Thesis Weekend sign

2

3 DAYS IN SEPTEMBER

Fall term is a dynamic and inspirational time in the life of SCIArc. Students are back and the new academic year brings renewal.

On a broader plane, SCI-Arc is on the threshold of its 40th anniversary, when our still young school will strengthen the promise of its future and renew its commitment to educate architects who will imagine and shape the future. ,Q HDUO\ 6HSWHPEHU GXULQJ WKH ÀUVW ZHHN RI )DOO WHUP 6&, Arc hosted its Graduate Thesis Weekend. A culmination of up to three years of study and coursework leading toward the M.Arch and M.DesR graduate degrees, the public event has students preVHQWLQJ WKHLU ÀQDO SURMHFWV WR FULWLFV IURP DOO RYHU WKH ZRUOG *UDGXDWH WKHVLV UHà HFWV 6&, $UF¡V ULJRURXV DUFKLWHFWXUDO HGXFDWLRQ WKDW is responsive to cultural change, promotes architectural experimentation and creative and academic freedom, and supports a à XLG UHODWLRQVKLS EHWZHHQ HGXFDWLRQ DQG SUDFWLFH 6&, $UF¡V WKHsis weekend is regarded among theoreticians and practicing archiWHFWV DV D PDMRU IRUXP IRU WKH GLVFXVVLRQ RI IUHVK LQVLJKWV DQG LQQRYDWLYH FRQFHSWV LQ DUFKLWHFWXUH $PRQJ JXHVW MXURUV DWWHQGLQJ WKLV \HDU¡V WKHVLV UHYLHZV ZHUH 6DP -DFRE *OHQ +RZDUG 6PDOO %UHWW 6WHHOH )DEUL]LR *DOODQWL 3HWHU &RRN -RH 'D\ -HIIUH\ .LSQLV *UHJ /\QQ DQG -HVVH 5HLVHU Every year, the guest critics are tasked with selecting the most exceptional thesis work from more than seventy graduate and SRVW JUDGXDWH SURMHFWV SUHVHQWHG VFKRRO ZLGH %HVW WKHVLV VWXGHQWV honored this year were: Francisco Alarcon Ruiz (M.Arch 1): Innerscapes David A. Bantz (M.Arch 2): Fuzzy Figures: Pictorial Dissolution of Formal Perception Ivan Bernal (M.Arch 2): Familiar Primitives Michael W. Gross (M.Arch 2): The Cut Paul Mecomber (M.Arch 2): Strange Symmetry: The Conjoined Twin Curime Batliner (ESTm), Brandon Kruysman (ESTm), and Jonathan Proto (ESTm): SYN|Synchronous (Object)ives D JURXS WKHVLV SURMHFW GHYHORSHG LQ WKH QHZ 6&, $UF 5RERW +RXVH

A two-week Selected Thesis Exhibition was on view in the 6&, $UF *DOOHU\ WKURXJK WKH HQG RI 6HSWHPEHU *UDGXDWH VWXGHQWV selected to exhibit alongside best thesis winners were Matthew Au (M.Arch 1), Amanda Diemoz Webber (M.Arch 1), Donovan Ballantyne (M.Arch 2), and Kim Lagercrantz (M.Arch 2).

Thesis Weekend culminated in the annual Graduation Ceremony, where degrees are conferred to graduating students in the B.Arch, M.Arch, and post-graduate programs. In what has beFRPH D WUDGLWLRQ WKH VFKRRO¡V JUDGXDWLRQ SDYLOLRQ LV GHVLJQHG HDFK year by faculty members and built with the help of students. This year, faculty members Dwayne Oyler and Jenny Wu of Oyler Wu Collaborative, along with their students, and faculty member Matthew Melnyk of Nous Engineering who did the engineering, designed a pavilion entitled Netscape that stretches across the northern end of the SCI-Arc parking lot, providing seating for 900. Consisting of 45,000 linear feet of knitted rope, 6000 linear feet of tube steel, and 3000 square feet of fabric shade louvers, the SDYLOLRQ FUHDWHG D VDLO OLNH FDQRS\ RI URSH DQG IDEULF WKDW à RDWHG above the audience. With its fabric louvers tilted toward the westHUQ VN\ WKH FDQRS\ ZDV GHVLJQHG WR SURYLGH VKDGH IRU WKH VSHFLÀF date and time of the graduation ceremony.

5

7KLV \HDU¡V FRPPHQFHPHQW VSHDNHU 3ULW]NHU SUL]H ZLQQHU Thom Mayne and a SCI-Arc founding faculty member, said this about the graduation pavilion: “How typically SCI-Arc, an institution renowned for its conceptual thinking but also committed to an engagement with the real. It is right and fitting that you would be in a space created by two of your faculty members for this graduation ceremony. In keeping with SCI-Arc’s essential nature, the space is both temporary and contemporary. The temporary implies that it is of this time and place, an architecture interpretive and specific to this celebration today. The contemporary implies that the space itself will be re-thought and re-designed annually to provide an environment that evolves and changes just as the curriculum evolves and changes to encompass new technology, new world realities, and the new modes of creative thinking that you were charged with developing over the course of your education here.â€?

)RU WKH ÀUVW WLPH DW 6&, $UF¡V JUDGXDWLRQ FHUHPRQ\ a graduating student, Tristan Brasseur 0 $UFK ¡

addressed her peers: “The final story today, the one I’d like to end on, is the one that hasn’t yet happened. It’s the story that comes after this one, the one where we all live happily ever after to the end of our days and where we stay in contact with one another by way of facetime, online social networking websites, and sporadic class reunions. This is it, guys.

This is the end of this story. It’s the part of the story I never finish because I never want it to end. This is the part that actually means the world to us.

We all remember rolling in here for the very first time, the very first day of school. We remember modeling butterflies in our very first Maya class. That was 748 days ago. Tomorrow it will be 749. It’s just as my father always told me: whatever you choose to be in life, be a good one. Be a great one. Our time here at SCI-Arc has taught us to be curious and optimistic, but at the same time critical. We’ve learned to do things that are unusual and we’ve learned that taking risks is a way of living our lives, not just in terms of architecture. 748 days ago we came here as Padawans and today we are leaving with Jedi masters and Jedi bachelors degrees. Be great and make good choices.�

THESIS PREP SYMPOSIUM

April 6, 2011 Moderator: ELENA MANFERDINI Panelists: SANFORD KWINTER, JEFF KIPNIS, HERNAN DIAZ ALONSO, WES JONES

ELENA MANFERDINI:

Graduate Thesis was reintroduced at SCI-Arc six years ago. This period represented a playground for a young graduate program to learn “how to play.â€? This occupation (that RQH FRXOG GHVFULEH DV LPDJLQLQJ D ZRUOG LQ DEVHQFH RI YHULĂ€FDtion) has been geared towards individual creativity based on no pre-existing principles. As a result, the thesis program at SCI-Arc has been able to picture architecture in far more elastic terms.

Final thesis projects appear as if they have reached a rare tension between individual interest and group investigations. Now that SCI-Arc as an institution has unquestioningly reached a more mature stage, it is important that the thesis program demonstrate its ability to own the choices architects need to think about today, fostering a broader culture of ideas, inquiries and position-taking.

What do designers need to think about today and how does thesis contribute to a broader position-taking at SCI-Arc? SANFORD KWINTER: Responding to the world and responding to our historical period is something we need to do. The thing about this, of course, is that we are weary of many of the clichÊd and URXWLQH ZD\V LQ ZKLFK WKLV LV EHLQJ GRQH LQ RXU ÀHOG WES JONES: To offer an answer to this question, it would be important to think about this issue from the projected perspective of the architect and the architect’s concern, as opposed to the more general concern of the designer; and recognize that the thesis could contribute or could have something to say, at least, within the context of that possibility.

JEFF KIPNIS: ,I \RX ORRN DW D VFKRRO RI ÀVK LW EHKDYHV DV DQ LQWHOOLJHQW RUJDQLVP DV D FROOHFWLYLW\ SUHFLVHO\ EHFDXVH HDFK RI WKH ÀVK is not trying to behave as that organism. Intelligence comes out of the interconnectivity. What you want to do is resist the temptation to turn it into a monoculture. But when architects speak of crisis, population problems, or sustainability, there’s a tremendous urge to make those mono-cultural, whereas the ecological model demonstrates that the most intelligent thing to do is to proliferate speciated differences and let the swarm intelligence sort it out.

SANFORD KWINTER: For the game’s sake, I will continue to play the role of the generalist today. I think Jeff is trying to dismiss the scope of questions that architecture should be permitted to ask, and this is where I would disagree. Population explosion and sustainability problems are two examples of the scope of what architecture should be encouraged to address, especially in a thesis.

JEFF KIPNIS: When you wipe out a diversity of species in order to plant one plant for economic reasons because it’s an urgent plant to have (like a solution to poverty or sustainability); that’s exactly ZKDW \RX ZRXOG OLNH WR GR WKH ÀHOG RI DUFKLWHFWXUH WES JONES: Thesis, as an exercise, wants to have one hand, so to speak, in the larger questions like sustainability or poverty. The consciousness of the individual thesis position in relation to that actually makes it more interesting, raises the stakes, invests it with more potential risk as it surfs this line between individuality in the monoculture, phenotype and genotype.

HERNAN DIAZ ALONSO: When it comes to an architectural thesis I’m interested in the question of “relevanceâ€? more than one of “importance.â€? I’m coming to the conclusion that the idea that the discipline and the practice can come together is gone. So, you can have a general approach and then you have to work in a much PRUH VSHFLĂ€F DQG LVRODWHG ZD\

6

6

SANFORD KWINTER:

Architecture today perhaps more than ever before, serves as a kind of aggregator of knowledge and of different bodies of knowledge. There are lots of questions about how RQH ZLOO GHÀQH WKH VFRSH RI DQ DUFKLWHFWXUDO SUREOHP WRGD\ , think thesis is an optimal place to test these new forms of thinking. That’s why it should be treated as a place where architects are protected to assemble hypotheses that may appear to have very little hope of adoption. It’s what they used to call high risk, high yield hypotheses; high risk of failing and astounding yield should they succeed. Thesis should be hypothetical. It should be imaginative. It should be bold. It should be rigorous, and it should ask fundamental questions.

WES JONES: I think that risks only mean something within a context of the potential for the failure.

HERNAN DIAZ ALONSO: Is it possible for architecture, or any kind of hypothesis of thesis to really have risks? I think we’re getting to a point that nothing seems to be that risky any more.

SANFORD KWINTER: What occurred to me is that this is a school that has prided itself on exuberance and on speculative production. At the same time, the tasks facing us are different today; the mood is different. I happen to feel that it’s a very good wager that if you go against the tenor of your times, you’re standing a much greater chance of coming up with something important. Warren Buffet calls these types contrarians.

ELENA MANFERDINI: The current direction of thesis tends to be either an individual one or an allegiance to a current debate. The ÀUVW RQH LV XVXDOO\ D GHHS LQWHUHVW SURSHOOHG E\ WKH LPSDWLHQW quest for something different, and is characterized by a personal methodology of work and isolated conclusions. The latter is a collective manifestation, a pact of loyalty, and a form of organized aggression to the status quo of the discipline. Historically a collective front has been proven to be highly effective in galvanizing DUFKLWHFWV DQG UHDFKLQJ VSHFLÀF WDUJHWV What is the role of individual vs. allegiance thesis at SCI-Arc and how are these two opposite models helping to focus on problems relevant to the discipline?

JEFF KIPNIS: I think there’s something really important about thinking about this question, and that is how you allow conversations of passions to emerge without subordinating everybody into a collectivity. The history of this school is quite interesting as an “ecology.â€? Instead of giving students thesis topics, topics evolve from the students; students are part of emergent collectivities that DUH JRLQJ WR EH Ă XLG , WKLQN \RX KDYH WR Ă€QG D ZD\ WR PRELOL]H organic groups, allow them to emerge and dissolve depending on WKHLU HFRQRPLFV DQG Ă RZ V\VWHPV DQG WKHQ \RX Ă€QG WKH\ EHKDYH SANFORD KWINTER: I always believe that thinking against the clichĂŠs, the routines of one’s time, is a fruitful exercise. It never fails to surprise.

JEFF KIPNIS: For me, a measure of a thesis is if I leave with completely new ideas. In other words, it’s absolutely essential that we re-nourish ourselves with unexpected information from outside the discipline. I feel like we’re at a very good balance right now, and WKDW \RX FDQ GHWHFW WKH FRPPXQLFDWLRQV )RU WKH ÀUVW WLPH HYHU we’re starting to see a thesis project refer to a thesis project from last year. In other words, the students are not only referring to other work, but they’re starting to refer to the work of the school.

From left to right: Elena Manferdini, Wes Jones, Sanford Kwinter, Hernan Diaz Alonso, Jeff Kipnis

5

1

Graduation 1/2/12.

Graduation Pavilion designed by Oyler Wu Collaborative Thesis Weekend 3.

Student preps thesis exhibit 4.

Matthew Au presents his thesis to the critics 5.

Best Graduate Thesis: Michael W. Gross (M.Arch 2), The Cut Advisor: Elena Manferdini 6.

Best Graduate Thesis: David A. Bantz (M.Arch 2), Fuzzy Figures: Pictorial Dissolution of Formal Perception Advisor: Elena Manferdini 7.

Selected Graduate Thesis: Donovan Ballantyne (M.Arch 2), The Cut Advisor: Elena Manferdini 8.

Best Graduate Thesis: Ivan Bernal (M.Arch 2), Familiar Primitives Advisor: Hernan Diaz Alonso 9.

Best Graduate Thesis: Paul Mecomber (M.Arch 2), Strange Symmetry: The Conjoined Twin Advisor: Andrew Zago 10.

Visitors at Graduate Thesis Weekend pass by Paul Mecomber’s thesis project 11.

Visitors pass by the Graduate Thesis Weekend sign

2

3 DAYS IN SEPTEMBER

Fall term is a dynamic and inspirational time in the life of SCIArc. Students are back and the new academic year brings renewal.

On a broader plane, SCI-Arc is on the threshold of its 40th anniversary, when our still young school will strengthen the promise of its future and renew its commitment to educate architects who will imagine and shape the future. ,Q HDUO\ 6HSWHPEHU GXULQJ WKH ÀUVW ZHHN RI )DOO WHUP 6&, Arc hosted its Graduate Thesis Weekend. A culmination of up to three years of study and coursework leading toward the M.Arch and M.DesR graduate degrees, the public event has students preVHQWLQJ WKHLU ÀQDO SURMHFWV WR FULWLFV IURP DOO RYHU WKH ZRUOG *UDGXDWH WKHVLV UHà HFWV 6&, $UF¡V ULJRURXV DUFKLWHFWXUDO HGXFDWLRQ WKDW is responsive to cultural change, promotes architectural experimentation and creative and academic freedom, and supports a à XLG UHODWLRQVKLS EHWZHHQ HGXFDWLRQ DQG SUDFWLFH 6&, $UF¡V WKHsis weekend is regarded among theoreticians and practicing archiWHFWV DV D PDMRU IRUXP IRU WKH GLVFXVVLRQ RI IUHVK LQVLJKWV DQG LQQRYDWLYH FRQFHSWV LQ DUFKLWHFWXUH $PRQJ JXHVW MXURUV DWWHQGLQJ WKLV \HDU¡V WKHVLV UHYLHZV ZHUH 6DP -DFRE *OHQ +RZDUG 6PDOO %UHWW 6WHHOH )DEUL]LR *DOODQWL 3HWHU &RRN -RH 'D\ -HIIUH\ .LSQLV *UHJ /\QQ DQG -HVVH 5HLVHU Every year, the guest critics are tasked with selecting the most exceptional thesis work from more than seventy graduate and SRVW JUDGXDWH SURMHFWV SUHVHQWHG VFKRRO ZLGH %HVW WKHVLV VWXGHQWV 7 honored this year were: Francisco Alarcon Ruiz (M.Arch 1): Innerscapes David A. Bantz (M.Arch 2): Fuzzy Figures: Pictorial Dissolution of Formal Perception Ivan Bernal (M.Arch 2): Familiar Primitives Michael W. Gross (M.Arch 2): The Cut Paul Mecomber (M.Arch 2): Strange Symmetry: The Conjoined Twin Curime Batliner (ESTm), Brandon Kruysman (ESTm), and Jonathan Proto (ESTm): SYN|Synchronous (Object)ives D JURXS WKHVLV SURMHFW GHYHORSHG LQ WKH QHZ 6&, $UF 5RERW +RXVH

A two-week Selected Thesis Exhibition was on view in the 6&, $UF *DOOHU\ WKURXJK WKH HQG RI 6HSWHPEHU *UDGXDWH VWXGHQWV selected to exhibit alongside best thesis winners were Matthew Au (M.Arch 1), Amanda Diemoz Webber (M.Arch 1), Donovan Ballantyne (M.Arch 2), and Kim Lagercrantz (M.Arch 2).

Thesis Weekend culminated in the annual Graduation Ceremony, where degrees are conferred to graduating students in the B.Arch, M.Arch, and post-graduate programs. In what has beFRPH D WUDGLWLRQ WKH VFKRRO¡V JUDGXDWLRQ SDYLOLRQ LV GHVLJQHG HDFK year by faculty members and built with the help of students. This year, faculty members Dwayne Oyler and Jenny Wu of Oyler Wu Collaborative, along with their students, and faculty member Matthew Melnyk of Nous Engineering who did the engineering, designed a pavilion entitled Netscape that stretches across the northern end of the SCI-Arc parking lot, providing seating for 900. Consisting of 45,000 linear feet of knitted rope, 6000 linear feet of tube steel, and 3000 square feet of fabric shade louvers, the SDYLOLRQ FUHDWHG D VDLO OLNH FDQRS\ RI URSH DQG IDEULF WKDW à RDWHG above the audience. With its fabric louvers tilted toward the westHUQ VN\ WKH FDQRS\ ZDV GHVLJQHG WR SURYLGH VKDGH IRU WKH VSHFLÀF date and time of the graduation ceremony.

8

7KLV \HDU¡V FRPPHQFHPHQW VSHDNHU 3ULW]NHU SUL]H ZLQQHU Thom Mayne and a SCI-Arc founding faculty member, said this about the graduation pavilion: “How typically SCI-Arc, an institution renowned for its conceptual thinking but also committed to an engagement with the real. It is right and fitting that you would be in a space created by two of your faculty members for this graduation ceremony. In keeping with SCI-Arc’s essential nature, the space is both temporary and contemporary. The temporary implies that it is of this time and place, an architecture interpretive and specific to this celebration today. The contemporary implies that the space itself will be re-thought and re-designed annually to provide an environment that evolves and changes just as the curriculum evolves and changes to encompass new technology, new world realities, and the new modes of creative thinking that you were charged with developing over the course of your education here.â€?

)RU WKH ÀUVW WLPH DW 6&, $UF¡V JUDGXDWLRQ FHUHPRQ\ a graduating student, Tristan Brasseur 0 $UFK ¡

addressed her peers: “The final story today, the one I’d like to end on, is the one that hasn’t yet happened. It’s the story that comes after this one, the one where we all live happily ever after to the end of our days and where we stay in contact with one another by way of facetime, online social networking websites, and sporadic class reunions. This is it, guys.

This is the end of this story. It’s the part of the story I never finish because I never want it to end. This is the part that actually means the world to us.

We all remember rolling in here for the very first time, the very first day of school. We remember modeling butterflies in our very first Maya class. That was 748 days ago. Tomorrow it will be 749. It’s just as my father always told me: whatever you choose to be in life, be a good one. Be a great one. Our time here at SCI-Arc has taught us to be curious and optimistic, but at the same time critical. We’ve learned to do things that are unusual and we’ve learned that taking risks is a way of living our lives, not just in terms of architecture. 748 days ago we came here as Padawans and today we are leaving with Jedi masters and Jedi bachelors degrees. Be great and make good choices.�

THESIS PREP SYMPOSIUM

April 6, 2011 Moderator: ELENA MANFERDINI Panelists: SANFORD KWINTER, JEFF KIPNIS, HERNAN DIAZ ALONSO, WES JONES

ELENA MANFERDINI:

Graduate Thesis was reintroduced at SCI-Arc six years ago. This period represented a playground for a young graduate program to learn “how to play.â€? This occupation (that RQH FRXOG GHVFULEH DV LPDJLQLQJ D ZRUOG LQ DEVHQFH RI YHULĂ€FDtion) has been geared towards individual creativity based on no pre-existing principles. As a result, the thesis program at SCI-Arc has been able to picture architecture in far more elastic terms.

Final thesis projects appear as if they have reached a rare tension between individual interest and group investigations. Now that SCI-Arc as an institution has unquestioningly reached a more mature stage, it is important that the thesis program demonstrate its ability to own the choices architects need to think about today, fostering a broader culture of ideas, inquiries and position-taking.

What do designers need to think about today and how does thesis contribute to a broader position-taking at SCI-Arc? SANFORD KWINTER: Responding to the world and responding to our historical period is something we need to do. The thing about this, of course, is that we are weary of many of the clichÊd and URXWLQH ZD\V LQ ZKLFK WKLV LV EHLQJ GRQH LQ RXU ÀHOG WES JONES: To offer an answer to this question, it would be important to think about this issue from the projected perspective of the architect and the architect’s concern, as opposed to the more general concern of the designer; and recognize that the thesis could contribute or could have something to say, at least, within the context of that possibility.

JEFF KIPNIS: ,I \RX ORRN DW D VFKRRO RI ÀVK LW EHKDYHV DV DQ LQWHOOLJHQW RUJDQLVP DV D FROOHFWLYLW\ SUHFLVHO\ EHFDXVH HDFK RI WKH ÀVK is not trying to behave as that organism. Intelligence comes out of the interconnectivity. What you want to do is resist the temptation to turn it into a monoculture. But when architects speak of crisis, population problems, or sustainability, there’s a tremendous urge to make those mono-cultural, whereas the ecological model demonstrates that the most intelligent thing to do is to proliferate speciated differences and let the swarm intelligence sort it out.

SANFORD KWINTER: For the game’s sake, I will continue to play the role of the generalist today. I think Jeff is trying to dismiss the scope of questions that architecture should be permitted to ask, and this is where I would disagree. Population explosion and sustainability problems are two examples of the scope of what architecture should be encouraged to address, especially in a thesis.

JEFF KIPNIS: When you wipe out a diversity of species in order to plant one plant for economic reasons because it’s an urgent plant to have (like a solution to poverty or sustainability); that’s exactly ZKDW \RX ZRXOG OLNH WR GR WKH ÀHOG RI DUFKLWHFWXUH WES JONES: Thesis, as an exercise, wants to have one hand, so to speak, in the larger questions like sustainability or poverty. The consciousness of the individual thesis position in relation to that actually makes it more interesting, raises the stakes, invests it with more potential risk as it surfs this line between individuality in the monoculture, phenotype and genotype.

HERNAN DIAZ ALONSO: When it comes to an architectural thesis I’m interested in the question of “relevanceâ€? more than one of “importance.â€? I’m coming to the conclusion that the idea that the discipline and the practice can come together is gone. So, you can have a general approach and then you have to work in a much PRUH VSHFLĂ€F DQG LVRODWHG ZD\ 9

6

SANFORD KWINTER:

Architecture today perhaps more than ever before, serves as a kind of aggregator of knowledge and of different bodies of knowledge. There are lots of questions about how RQH ZLOO GHÀQH WKH VFRSH RI DQ DUFKLWHFWXUDO SUREOHP WRGD\ , think thesis is an optimal place to test these new forms of thinking. That’s why it should be treated as a place where architects are protected to assemble hypotheses that may appear to have very little hope of adoption. It’s what they used to call high risk, high yield hypotheses; high risk of failing and astounding yield should they succeed. Thesis should be hypothetical. It should be imaginative. It should be bold. It should be rigorous, and it should ask fundamental questions.

WES JONES: I think that risks only mean something within a context of the potential for the failure.

HERNAN DIAZ ALONSO: Is it possible for architecture, or any kind of hypothesis of thesis to really have risks? I think we’re getting to a point that nothing seems to be that risky any more.

SANFORD KWINTER: What occurred to me is that this is a school that has prided itself on exuberance and on speculative production. At the same time, the tasks facing us are different today; the mood is different. I happen to feel that it’s a very good wager that if you go against the tenor of your times, you’re standing a much greater chance of coming up with something important. Warren Buffet calls these types contrarians.

ELENA MANFERDINI: The current direction of thesis tends to be either an individual one or an allegiance to a current debate. The ÀUVW RQH LV XVXDOO\ D GHHS LQWHUHVW SURSHOOHG E\ WKH LPSDWLHQW quest for something different, and is characterized by a personal methodology of work and isolated conclusions. The latter is a collective manifestation, a pact of loyalty, and a form of organized aggression to the status quo of the discipline. Historically a collective front has been proven to be highly effective in galvanizing DUFKLWHFWV DQG UHDFKLQJ VSHFLÀF WDUJHWV What is the role of individual vs. allegiance thesis at SCI-Arc and how are these two opposite models helping to focus on problems relevant to the discipline?

JEFF KIPNIS: I think there’s something really important about thinking about this question, and that is how you allow conversations of passions to emerge without subordinating everybody into a collectivity. The history of this school is quite interesting as an “ecology.â€? Instead of giving students thesis topics, topics evolve from the students; students are part of emergent collectivities that DUH JRLQJ WR EH Ă XLG , WKLQN \RX KDYH WR Ă€QG D ZD\ WR PRELOL]H organic groups, allow them to emerge and dissolve depending on WKHLU HFRQRPLFV DQG Ă RZ V\VWHPV DQG WKHQ \RX Ă€QG WKH\ EHKDYH SANFORD KWINTER: I always believe that thinking against the clichĂŠs, the routines of one’s time, is a fruitful exercise. It never fails to surprise.

JEFF KIPNIS: For me, a measure of a thesis is if I leave with completely new ideas. In other words, it’s absolutely essential that we re-nourish ourselves with unexpected information from outside the discipline. I feel like we’re at a very good balance right now, and WKDW \RX FDQ GHWHFW WKH FRPPXQLFDWLRQV )RU WKH ÀUVW WLPH HYHU we’re starting to see a thesis project refer to a thesis project from last year. In other words, the students are not only referring to other work, but they’re starting to refer to the work of the school.

From left to right: Elena Manferdini, Wes Jones, Sanford Kwinter, Hernan Diaz Alonso, Jeff Kipnis

5

3 DAYS IN SEPTEMBER

Graduation

Fall term is a dynamic and inspirational time in the life of SCIArc. Students are back and the new academic year brings renewal.

On a broader plane, SCI-Arc is on the threshold of its 40th anniversary, when our still young school will strengthen the promise of its future and renew its commitment to educate architects who will imagine and shape the future. ,Q HDUO\ 6HSWHPEHU GXULQJ WKH ÀUVW ZHHN RI )DOO WHUP 6&, Arc hosted its Graduate Thesis Weekend. A culmination of up to three years of study and coursework leading toward the M.Arch and M.DesR graduate degrees, the public event has students preVHQWLQJ WKHLU ÀQDO SURMHFWV WR FULWLFV IURP DOO RYHU WKH ZRUOG *UDGXDWH WKHVLV UHà HFWV 6&, $UF¡V ULJRURXV DUFKLWHFWXUDO HGXFDWLRQ WKDW is responsive to cultural change, promotes architectural experimentation and creative and academic freedom, and supports a à XLG UHODWLRQVKLS EHWZHHQ HGXFDWLRQ DQG SUDFWLFH 6&, $UF¡V WKHsis weekend is regarded among theoreticians and practicing archiWHFWV DV D PDMRU IRUXP IRU WKH GLVFXVVLRQ RI IUHVK LQVLJKWV DQG LQQRYDWLYH FRQFHSWV LQ DUFKLWHFWXUH $PRQJ JXHVW MXURUV DWWHQGLQJ WKLV \HDU¡V WKHVLV UHYLHZV ZHUH 6DP -DFRE *OHQ +RZDUG 6PDOO %UHWW 6WHHOH )DEUL]LR *DOODQWL 3HWHU &RRN -RH 'D\ -HIIUH\ .LSQLV *UHJ /\QQ DQG -HVVH 5HLVHU Every year, the guest critics are tasked with selecting the most exceptional thesis work from more than seventy graduate and SRVW JUDGXDWH SURMHFWV SUHVHQWHG VFKRRO ZLGH %HVW WKHVLV VWXGHQWV honored this year were: 3 Francisco Alarcon Ruiz (M.Arch 1): Innerscapes David A. Bantz (M.Arch 2): Fuzzy Figures: Pictorial Dissolution of Formal Perception Ivan Bernal (M.Arch 2): Familiar Primitives Michael W. Gross (M.Arch 2): The Cut Paul Mecomber (M.Arch 2): Strange Symmetry: The Conjoined Twin Curime Batliner (ESTm), Brandon Kruysman (ESTm), and Jonathan Proto (ESTm): SYN|Synchronous (Object)ives D JURXS WKHVLV SURMHFW GHYHORSHG LQ WKH QHZ 6&, $UF 5RERW +RXVH

A two-week Selected Thesis Exhibition was on view in the 6&, $UF *DOOHU\ WKURXJK WKH HQG RI 6HSWHPEHU *UDGXDWH VWXGHQWV selected to exhibit alongside best thesis winners were Matthew Au (M.Arch 1), Amanda Diemoz Webber (M.Arch 1), Donovan Ballantyne (M.Arch 2), and Kim Lagercrantz (M.Arch 2).

Thesis Weekend culminated in the annual Graduation Ceremony, where degrees are conferred to graduating students in the B.Arch, M.Arch, and post-graduate programs. In what has beFRPH D WUDGLWLRQ WKH VFKRRO¡V JUDGXDWLRQ SDYLOLRQ LV GHVLJQHG HDFK year by faculty members and built with the help of students. This year, faculty members Dwayne Oyler and Jenny Wu of Oyler Wu Collaborative, along with their students, and faculty member Matthew Melnyk of Nous Engineering who did the engineering, designed a pavilion entitled Netscape that stretches across the northern end of the SCI-Arc parking lot, providing seating for 900. Consisting of 45,000 linear feet of knitted rope, 6000 linear feet of tube steel, and 3000 square feet of fabric shade louvers, the SDYLOLRQ FUHDWHG D VDLO OLNH FDQRS\ RI URSH DQG IDEULF WKDW à RDWHG above the audience. With its fabric louvers tilted toward the westHUQ VN\ WKH FDQRS\ ZDV GHVLJQHG WR SURYLGH VKDGH IRU WKH VSHFLÀF date and time of the graduation ceremony.

1/2/12.

Graduation Pavilion designed by Oyler Wu Collaborative Thesis Weekend 3.

Student preps thesis exhibit 4.

Matthew Au presents his thesis to the critics 5.

Best Graduate Thesis: Michael W. Gross (M.Arch 2), The Cut Advisor: Elena Manferdini 6.

Best Graduate Thesis: David A. Bantz (M.Arch 2), Fuzzy Figures: Pictorial Dissolution of Formal Perception Advisor: Elena Manferdini 7.

Selected Graduate Thesis: Donovan Ballantyne (M.Arch 2), The Cut Advisor: Elena Manferdini 8.

Best Graduate Thesis: Ivan Bernal (M.Arch 2), Familiar Primitives Advisor: Hernan Diaz Alonso 9.

Best Graduate Thesis: Paul Mecomber (M.Arch 2), Strange Symmetry: The Conjoined Twin Advisor: Andrew Zago 10.

Visitors at Graduate Thesis Weekend pass by Paul Mecomber’s thesis project 11.

Visitors pass by the Graduate Thesis Weekend sign

12

7KLV \HDU¡V FRPPHQFHPHQW VSHDNHU 3ULW]NHU SUL]H ZLQQHU Thom Mayne and a SCI-Arc founding faculty member, said this about the graduation pavilion: “How typically SCI-Arc, an institution renowned for its conceptual thinking but also committed to an engagement with the real. It is right and fitting that you would be in a space created by two of your faculty members for this graduation ceremony. In keeping with SCI-Arc’s essential nature, the space is both temporary and contemporary. The temporary implies that it is of this time and place, an architecture interpretive and specific to this celebration today. The contemporary implies that the space itself will be re-thought and re-designed annually to provide an environment that evolves and changes just as the curriculum evolves and changes to encompass new technology, new world realities, and the new modes of creative thinking that you were charged with developing over the course of your education here.â€?

)RU WKH ÀUVW WLPH DW 6&, $UF¡V JUDGXDWLRQ FHUHPRQ\ a graduating student, Tristan Brasseur 0 $UFK ¡

addressed her peers: “The final story today, the one I’d like to end on, is the one that hasn’t yet happened. It’s the story that comes after this one, the one where we all live happily ever after to the end of our days and where we stay in contact with one another by way of facetime, online social networking websites, and sporadic class reunions. This is it, guys.

This is the end of this story. It’s the part of the story I never finish because I never want it to end. This is the part that actually means the world to us.

We all remember rolling in here for the very first time, the very first day of school. We remember modeling butterflies in our very first Maya class. That was 748 days ago. Tomorrow it will be 749. It’s just as my father always told me: whatever you choose to be in life, be a good one. Be a great one. Our time here at SCI-Arc has taught us to be curious and optimistic, but at the same time critical. We’ve learned to do things that are unusual and we’ve learned that taking risks is a way of living our lives, not just in terms of architecture. 748 days ago we came here as Padawans and today we are leaving with Jedi masters and Jedi bachelors degrees. Be great and make good choices.�

THESIS PREP SYMPOSIUM

6

April 6, 2011 Moderator: ELENA MANFERDINI Panelists: SANFORD KWINTER, JEFF KIPNIS, HERNAN DIAZ ALONSO, WES JONES

ELENA MANFERDINI:

Graduate Thesis was reintroduced at SCI-Arc six years ago. This period represented a playground for a young graduate program to learn “how to play.â€? This occupation (that RQH FRXOG GHVFULEH DV LPDJLQLQJ D ZRUOG LQ DEVHQFH RI YHULĂ€FDtion) has been geared towards individual creativity based on no pre-existing principles. As a result, the thesis program at SCI-Arc has been able to picture architecture in far more elastic terms.

Final thesis projects appear as if they have reached a rare tension between individual interest and group investigations. Now that SCI-Arc as an institution has unquestioningly reached a more mature stage, it is important that the thesis program demonstrate its ability to own the choices architects need to think about today, fostering a broader culture of ideas, inquiries and position-taking.

What do designers need to think about today and how does thesis contribute to a broader position-taking at SCI-Arc? SANFORD KWINTER: Responding to the world and responding to our historical period is something we need to do. The thing about this, of course, is that we are weary of many of the clichÊd and URXWLQH ZD\V LQ ZKLFK WKLV LV EHLQJ GRQH LQ RXU ÀHOG WES JONES: To offer an answer to this question, it would be important to think about this issue from the projected perspective of the architect and the architect’s concern, as opposed to the more general concern of the designer; and recognize that the thesis could contribute or could have something to say, at least, within the context of that possibility.

JEFF KIPNIS: ,I \RX ORRN DW D VFKRRO RI ÀVK LW EHKDYHV DV DQ LQWHOOLJHQW RUJDQLVP DV D FROOHFWLYLW\ SUHFLVHO\ EHFDXVH HDFK RI WKH ÀVK is not trying to behave as that organism. Intelligence comes out of the interconnectivity. What you want to do is resist the temptation to turn it into a monoculture. But when architects speak of crisis, population problems, or sustainability, there’s a tremendous urge to make those mono-cultural, whereas the ecological model demonstrates that the most intelligent thing to do is to proliferate speciated differences and let the swarm intelligence sort it out.

SANFORD KWINTER: For the game’s sake, I will continue to play the role of the generalist today. I think Jeff is trying to dismiss the scope of questions that architecture should be permitted to ask, and this is where I would disagree. Population explosion and sustainability problems are two examples of the scope of what architecture should be encouraged to address, especially in a thesis.

JEFF KIPNIS: When you wipe out a diversity of species in order to plant one plant for economic reasons because it’s an urgent plant to have (like a solution to poverty or sustainability); that’s exactly ZKDW \RX ZRXOG OLNH WR GR WKH ÀHOG RI DUFKLWHFWXUH WES JONES: Thesis, as an exercise, wants to have one hand, so to speak, in the larger questions like sustainability or poverty. The consciousness of the individual thesis position in relation to that actually makes it more interesting, raises the stakes, invests it with more potential risk as it surfs this line between individuality in the monoculture, phenotype and genotype.

HERNAN DIAZ ALONSO: When it comes to an architectural thesis I’m interested in the question of “relevanceâ€? more than one of “importance.â€? I’m coming to the conclusion that the idea that the discipline and the practice can come together is gone. So, you can have a general approach and then you have to work in a much PRUH VSHFLĂ€F DQG LVRODWHG ZD\

SANFORD KWINTER:

Architecture today perhaps more than ever before, serves as a kind of aggregator of knowledge and of different bodies of knowledge. There are lots of questions about how RQH ZLOO GHÀQH WKH VFRSH RI DQ DUFKLWHFWXUDO SUREOHP WRGD\ , think thesis is an optimal place to test these new forms of thinking. That’s why it should be treated as a place where architects are protected to assemble hypotheses that may appear to have very little hope of adoption. It’s what they used to call high risk, high yield hypotheses; high risk of failing and astounding yield should they succeed. Thesis should be hypothetical. It should be imaginative. It should be bold. It should be rigorous, and it should ask fundamental questions.

WES JONES: I think that risks only mean something within a context of the potential for the failure.

HERNAN DIAZ ALONSO: Is it possible for architecture, or any kind of hypothesis of thesis to really have risks? I think we’re getting to a point that nothing seems to be that risky any more.

SANFORD KWINTER: What occurred to me is that this is a school that has prided itself on exuberance and on speculative production. At the same time, the tasks facing us are different today; the mood is different. I happen to feel that it’s a very good wager that if you go against the tenor of your times, you’re standing a much greater chance of coming up with something important. Warren Buffet calls these types contrarians.

ELENA MANFERDINI: The current direction of thesis tends to be either an individual one or an allegiance to a current debate. The ÀUVW RQH LV XVXDOO\ D GHHS LQWHUHVW SURSHOOHG E\ WKH LPSDWLHQW quest for something different, and is characterized by a personal methodology of work and isolated conclusions. The latter is a collective manifestation, a pact of loyalty, and a form of organized aggression to the status quo of the discipline. Historically a collective front has been proven to be highly effective in galvanizing DUFKLWHFWV DQG UHDFKLQJ VSHFLÀF WDUJHWV What is the role of individual vs. allegiance thesis at SCI-Arc and how are these two opposite models helping to focus on problems relevant to the discipline?

JEFF KIPNIS: I think there’s something really important about thinking about this question, and that is how you allow conversations of passions to emerge without subordinating everybody into a collectivity. The history of this school is quite interesting as an “ecology.â€? Instead of giving students thesis topics, topics evolve from the students; students are part of emergent collectivities that DUH JRLQJ WR EH Ă XLG , WKLQN \RX KDYH WR Ă€QG D ZD\ WR PRELOL]H organic groups, allow them to emerge and dissolve depending on WKHLU HFRQRPLFV DQG Ă RZ V\VWHPV DQG WKHQ \RX Ă€QG WKH\ EHKDYH SANFORD KWINTER: I always believe that thinking against the clichĂŠs, the routines of one’s time, is a fruitful exercise. It never fails to surprise.

JEFF KIPNIS: For me, a measure of a thesis is if I leave with completely new ideas. In other words, it’s absolutely essential that we re-nourish ourselves with unexpected information from outside the discipline. I feel like we’re at a very good balance right now, and WKDW \RX FDQ GHWHFW WKH FRPPXQLFDWLRQV )RU WKH ÀUVW WLPH HYHU we’re starting to see a thesis project refer to a thesis project from last year. In other words, the students are not only referring to other work, but they’re starting to refer to the work of the school.

From left to right: Elena Manferdini, Wes Jones, Sanford Kwinter, Hernan Diaz Alonso, Jeff Kipnis

7

THE POWER OF PHILANTHROPY Bill Kramer

Hanwha Solar of China Makes One of the Biggest Corporate Gifts to SCI-Arc In early August, only two months before the Solar Decathlon 2011 organized by the U.S. Department of Energy was set to debut in Washington D.C., SCI-Arc and Caltech students—who had partnered more than two years ago to form the first team from Southern California to participate in the prestigious competition—received a surprise call. The China-based Hanwha Solar, a leading global provider of solar products, was offering the team a $350,000 cash gift to support their solar house project CHIP, (Compact Hyper-Insulated Prototype). Hanwha Solar’s gift is one of the largest cash sponsorships ever received by a U.S. DOE Solar Decathlon team and the largest corporate sponsorship ever received by SCI-Arc. The company also provided the solar modules needed to power the home through the entire duration of the competition on the National Mall in Washington, D.C. “The Decathlon examines new housing typologies, alternative energy sources, and re-imagined technical and material possibilities,� stated SCIArc Director Eric Owen Moss. “The subject matter is international, so it’s essential that the global discussion has global financial support. SCI-Arc welcomes the interest, commitment, and financial support of Hanwha Solar,� added Moss.

1.

Double-Sided Incremental Forming Project created in Robot House by Wilson Chang, Yong Ha Kim, Chris Martin, Kentaro Naggsawa, Naho Tsutsui 2/4.

Projects created by high-school students during Design Immersion Days (DID) 3.

High-school students on field trip to Walt Disney Hall during Design Immersion Days (DID)

SCI-Arc relies on philanthropic support from alumni, parents, and friends to sustain our world-renowned educational programming.

While tuition remains the school’s primary source of funding, SCI-Arc is committed to keeping the cost of attendance as affordable as possible for our students. To ensure that tuition remains low, and to help the school move forward with plans for strategic growth and expansion—including increasing scholarships, funding faculty initiatives, enhancing academic and public programming, and improving facilities—SCI-Arc strategically expanded the 2IÀFH RI 'HYHORSPHQW DQG $OXPQL $IIDLUV last year.

2QH RI WKH SULPDU\ JRDOV RI WKH 2IĂ€FH LV WR H[SDQG WKH amount of support the school receives from public and private sources, including corporations, foundation, government agencies, and individuals. Over the past 18 months, the team has secured substantial funding from new donors, and created solid long-term IXQGLQJ SDUWQHUVKLSV WKDW ZLOO EHQHĂ€W 6&, $UF IRU \HDUV WR FRPH One of the largest collections of funding partnerships secured in the last year was tied to the creation of the new 6&, $UF 5Rbotics Lab. 6WlXEOL 5RERWLFV, The Fletcher Jones Foundation and 7KH 5DOSK 0 3DUVRQV )RXQGDWLRQ contributed transformative funding for the creation of this important new initiative. Now fully operational thanks to our funding partners, the Lab is a groundbreaking research environment that is exploring the integrated future of design, materials, and fabrication.

Another key collection of new donor relationships has been formed around the creation of the 6&, $UF 'LJLWDO /HFWXUH $Uchive. Major grants from The Getty Foundation and the National (QGRZPHQW IRU WKH $UWV 1($ —the largest grant awarded in the NEA’s Design category in 2011—will be used by SCI-Arc to digitize, curate, and present lectures by some of the most important architects, designers, and theorists who have lectured at the school during the past four decades. This free archive will be accessible online, via phone applications, e-readers, and other new media channels. Designed with a sophisticated search engine that will DOORZ DFFHVV WR DOO RU VSHFLÀF SDUWV RI HDFK OHFWXUH WKH 6&, $UF Digital Lecture Archive will soon have the world discovering QHYHU EHIRUH VHHQ IRRWDJH RI VRPH RI WKH PRVW LQà XHQWLDO OHDGHUV in architecture and design. Many appear more than once, providing opportunities for analysis of their development over a long span of their careers. Documentation critical to understanding the architectural history and legacy of Southern California, and Los Angeles’ role as an incubator of innovation, is particularly strong in this collection. It is one of the most complete architectural archival collections of its kind in the world.

In addition to the archive, SCI-Arc is working with the Getty Foundation on a multi-year research and exhibition project that will examine a pivotal moment in the history of Los Angeles architecture. This project will explore the crucial early efforts of a collection of architects to advance an alternative vision for Los Angeles architecture in the late 1970s.

Another new initiative launched with the help of new private funding partners is SCI-Arc’s 'HVLJQ ,PPHUVLRQ 'D\V (DID).

DID is an immersive four-week summer program that introduces high school students to the academic and professional worlds of architecture and design. DID introduces these students to the fundamental ways designers shape the world around us through KDQGV RQ VWXGLR OHDUQLQJ ÀHOG WULSV WR SUDFWLFLQJ GHVLJQ VWXGLRV and courses on how to build a competitive design portfolio for admission to college. Key support from The Ahmanson Foundation allowed SCI-Arc to launch this program in the summer of 2011, and offer more than 20 scholarships to high school students from low income and underserved Los Angeles communities.

Inspired by this vital institutional support, alumna Stephanie

Ramiro Diaz-Granados, Go Figure

Bowling Zeigler made a multi-year commitment to funding scholarships for deserving DID students.

SCI-Arc’s series of exhibitions and lectures has generated new gifts from a variety of sources: 7KH -DPHV ,UYLQH )RXQGDtion PDGH LWV ÀUVW JLIW WR 6&, $UF LQ VXSSRUW RI 5DPLUR 'LD] *UDnados’s upcoming SCI-Arc Gallery exhibition; the NEA made a second grant to SCI-Arc, which is supporting the entire SCI-Arc Gallery exhibition series; alumnus John Cordic and his company RJC Builders are underwriting the second annual Raimund Abraham Memorial Lecture; and the Pasadena Art Alliance supported Barbara Bestor’s Disco Silencio! exhibition.

All of this new support, combined with enhanced annual giving from SCI-Arc Trustees and alumni has allowed SCI-Arc to launch new initiatives, increase scholarship support, enhance alumni services and programming, and expand public programming initiatives. SCI-Arc is extremely grateful for the support of all of our funding partners, who are helping the school to re-think design assumptions and to create, explore, and test the limits of architecture.

A full list of donors from the 2010-2011 academic year is included in this issue of the SCI-Arc magazine.

LEADERSHIP NEWS

8

RIBA’S 2011 JENCKS AWARD GOES TO MOSS

Eric Owen Moss Architects, Samitaur

TED TANNER AND RUSSELL GOINGS JOIN BOARD OF TRUSTEES Ted Tanner, Executive Vice President, Real Estate Development for AEG Worldwide, and Russell Goings, a veteran LA-based investment banker and Senior Vice President at Hutchinson Shockey Erley & Co., were unanimously elected to the SCI-Arc Board of Trustees at the quarterly meeting held in June. The 22-member SCI-Arc Board is chaired by land-use attorney Jerry Neuman, who stated: “as our school has grown and is recognized as a world class institution, it is vital WKDW RXU %RDUG UHĂ HFW WKDW SURPLQHQFH DQG ERWK Tanner and Goings bring that level of sophistication to a growing stellar Board.â€? Added SCI-Arc Director Eric Owen Moss, “Ted is re-imagining downtown and Russ is re-making the central FLW\ÂłWZR SHUIHFW Ă€WV WKDW FRQĂ€UP 6&, $UF¡V commitment to the future of Los Angeles as the city of the future.â€?

A noted developer and registered architect, Ted Tanner oversees AEG’s real estate development activities worldwide, including major projects in Los Angeles, London, Berlin, and most recently in Asia and Brazil. He has more than 30 years of development experience in downtown Los Angeles, as well as 10 years working as an architect and a Philadelphia city planner. With AEG, Tanner was responsible for acquiring, entitling and master planning the 40 acres

The 5R\DO ,QVWLWXWH RI %ULWLVK $UFKLWHFWV 5,%$ recently awarded their international 2011 Jencks Award to SCI-Arc Director Eric Owen Moss, principal of Los Angeles-based Eric Owen Moss Architects. The prestigious award is given annually to DQ LQGLYLGXDO WKDW KDV PDGH D VLJQLĂ€FDQW FRQWULEXWLRQ WR WKH WKHRry and practice of architecture internationally.

Moss has, over 30 years, evolved a unique local grammar of architecture in Culver City, Los Angeles. Here he has created a modern vernacular that is at once creative, critical and evocative—showing a commitment to place and character that is rare if not unique. He started Eric Owen Moss Architects in 1973 in Los Angeles and has since become involved in lectures, exhibitions DQG WHDFKLQJ DURXQG WKH ZRUOG 5HFHQW SURMHFWV LQFOXGH WZR RIÀFH towers and a multi-theatre performance center in Los Angeles, D KRWHO DQG RIÀFH FRPSOH[ LQ :HVW +ROO\ZRRG D PL[HG XVH SURMect in Kazakhstan, and a master plan for an ecologically integrated city in La Paz, Bolivia.

Previous recipients of the Jencks Award include Zaha Hadid, )RUHLJQ 2IĂ€FH $UFKLWHFWV 3HWHU (LVHQPDQ &HFLO %DOPRQG 81Studio, Wolf D. Prix & Coop Himmelb(l)au, Charles Correa, and Steven Holl.

The award will be presented by the RIBA in London on December 6, 2011, followed by a public lecture by Moss, chaired

by Charles Jencks.

surrounding Staples Center. For the past 3 years, he has been leading the development of L.A. Live—a 4-million square foot sports, residential and entertainment development project in downtown Los Angeles. His team has recently completed the $1 billion 54-story, 1,001-room hotel operated by JW Marriott and Ritz-Carlton, as well as 224 luxury Ritz-Carlton Residences.

Tanner also managed development of AEG’s Home Depot Center at Cal State Dominguez Hills in Carson and the Nokia Theatre Times Square in New York City, and formulated plans for soccer stadiums in Chicago and New Jersey.

5XVVHOO / *RLQJV ,,, is a veteran of the securities industry, with more than 25 years spent LQ &DOLIRUQLD SXEOLF ÀQDQFH +LV LQYHVWPHQW banking clients have included: the State of California; the cities of Los Angeles, Stockton, Fresno, Compton, Oakland, Richmond, Long Beach, Inglewood and Carson; the counties of Sacramento, San Diego, Contra Costa and Los Angeles; and political subdivisions such as the San 'LHJR 8QLÀHG 3RUW 'LVWULFW /RV $QJHOHV &RXQW\ Metropolitan Transportation Authority and World Port of Los Angeles. Goings served on the Mayor’s World Port of Los Angeles Futures Commercial Task Force, was Chairman of the Public Finance Subcommittee for Rebuild L.A, and the Board President of the Watts-Willowbrook Boys and Girls Club. He presently serves as a Board Member for the Inner City Education Foundation, which operates several charter schools in the City of Los Angeles.

SCI-Arc Magazine Issue 003 Hsinming Fung Editor-in-Chief Contributing Writers Hernan Diaz Alonso Georgiana Ceausu Joe Day Hsinming Fung Bill Kramer Eric Owen Moss Aimee Richer Justine Smith Tom Wiscombe SCI-Arc Leadership Eric Owen Moss Director Hsinming Fung Director of Academic Affairs Hernan Diaz Alonso Graduate Programs Chair John Enright Undergraduate Program Chair Jamie Bennett Chief Operating Officer Office of Development and Alumni Affairs Bill Kramer Chief Development Officer Dawn Mori Associate Director of Corporate, Foundation and Government Relations Aimee Richer Associate Director of Annual Giving and Alumni Affairs Rebecca Silva Development and Alumni Affairs Associate SCI-Arc Publications Justine Smith Project Manager Georgiana Ceausu Online Media & Public Relations Alicia Patel Senior Graphic Designer

Ted Tanner (top) Russell Goings (bottom)

Kate Merritt Graphic Designer Photography Tamea Agle Karim Attoui Tom Bonner Michal Czerwonka Chung Ming Lam Scott Mayoral

Patrick McMullan Priyank Mehta Darius Siwek Stefano Paltera Ulf Wallin Joshua White Oyler Wu

Š 2011 SCI-Arc Publications

7

THE POWER OF PHILANTHROPY %LOO .UDPHU

Hanwha Solar of China Makes One of the Biggest Corporate Gifts to SCI-Arc In early August, only two months before the Solar Decathlon 2011 organized by the U.S. Department of Energy was set to debut in Washington D.C., SCI-Arc and Caltech students—who had partnered more than two years ago to form the first team from Southern California to participate in the prestigious competition—received a surprise call. The China-based Hanwha Solar, a leading global provider of solar products, was offering the team a $350,000 cash gift to support their solar house project CHIP, (Compact Hyper-Insulated Prototype). Hanwha Solar’s gift is one of the largest cash sponsorships ever received by a U.S. DOE Solar Decathlon team and the largest corporate sponsorship ever received by SCI-Arc. The company also provided the solar modules needed to power the home through the entire duration of the competition on the National Mall in Washington, D.C. “The Decathlon examines new housing typologies, alternative energy sources, and re-imagined technical and material possibilities,� stated SCIArc Director Eric Owen Moss. “The subject matter is international, so it’s essential that the global discussion has global financial support. SCI-Arc welcomes the interest, commitment, and financial support of Hanwha Solar,� added Moss.

1.

Double-Sided Incremental Forming Project created in Robot House by Wilson Chang, Yong Ha Kim, Chris Martin, Kentaro Naggsawa, Naho Tsutsui 2/4.

Projects created by high-school students during Design Immersion Days (DID) 3.

High-school students on field trip to Walt Disney Hall during Design Immersion Days (DID)

2

SCI-Arc relies on philanthropic support from alumni, parents, and friends to sustain our world-renowned educational programming.

While tuition remains the school’s primary source of funding, SCI-Arc is committed to keeping the cost of attendance as affordable as possible for our students. To ensure that tuition remains low, and to help the school move forward with plans for strategic growth and expansion—including increasing scholarships, funding faculty initiatives, enhancing academic and public programming, and improving facilities—SCI-Arc strategically expanded the 2IÀFH RI 'HYHORSPHQW DQG $OXPQL $IIDLUV last year.

2QH RI WKH SULPDU\ JRDOV RI WKH 2IĂ€FH LV WR H[SDQG WKH amount of support the school receives from public and private sources, including corporations, foundation, government agencies, and individuals. Over the past 18 months, the team has secured substantial funding from new donors, and created solid long-term IXQGLQJ SDUWQHUVKLSV WKDW ZLOO EHQHĂ€W 6&, $UF IRU \HDUV WR FRPH One of the largest collections of funding partnerships secured in the last year was tied to the creation of the new 6&, $UF 5RERWLFV /DE. 6WlXEOL 5RERWLFV, 7KH )OHWFKHU -RQHV )RXQGDWLRQ and 7KH 5DOSK 0 3DUVRQV )RXQGDWLRQ contributed transformative funding for the creation of this important new initiative. Now fully operational thanks to our funding partners, the Lab is a groundbreaking research environment that is exploring the integrated future of design, materials, and fabrication.

Another key collection of new donor relationships has been formed around the creation of the 6&, $UF 'LJLWDO /HFWXUH $UFKLYH. Major grants from 7KH *HWW\ )RXQGDWLRQ and the 1DWLRQDO (QGRZPHQW IRU WKH $UWV 1($ —the largest grant awarded in the NEA’s Design category in 2011—will be used by SCI-Arc to digitize, curate, and present lectures by some of the most important architects, designers, and theorists who have lectured at the school during the past four decades. This free archive will be accessible online, via phone applications, e-readers, and other new media channels. Designed with a sophisticated search engine that will DOORZ DFFHVV WR DOO RU VSHFLÀF SDUWV RI HDFK OHFWXUH WKH 6&, $UF Digital Lecture Archive will soon have the world discovering QHYHU EHIRUH VHHQ IRRWDJH RI VRPH RI WKH PRVW LQà XHQWLDO OHDGHUV in architecture and design. Many appear more than once, providing opportunities for analysis of their development over a long span of their careers. Documentation critical to understanding the architectural history and legacy of Southern California, and Los Angeles’ role as an incubator of innovation, is particularly strong in this collection. It is one of the most complete architectural archival collections of its kind in the world.

In addition to the archive, SCI-Arc is working with the Getty Foundation on a multi-year research and exhibition project that will examine a pivotal moment in the history of Los Angeles architecture. This project will explore the crucial early efforts of a collection of architects to advance an alternative vision for Los Angeles architecture in the late 1970s.

Another new initiative launched with the help of new private 3 funding partners is SCI-Arc’s 'HVLJQ ,PPHUVLRQ 'D\V (DID).

DID is an immersive four-week summer program that introduces high school students to the academic and professional worlds of architecture and design. DID introduces these students to the fundamental ways designers shape the world around us through KDQGV RQ VWXGLR OHDUQLQJ ÀHOG WULSV WR SUDFWLFLQJ GHVLJQ VWXGLRV and courses on how to build a competitive design portfolio for admission to college. Key support from 7KH $KPDQVRQ )RXQGDWLRQ allowed SCI-Arc to launch this program in the summer of 2011, and offer more than 20 scholarships to high school students from low income and underserved Los Angeles communities.

Inspired by this vital institutional support, alumna 6WHSKDQLH 4

Ramiro Diaz-Granados, Go Figure

%RZOLQJ =HLJOHU made a multi-year commitment to funding scholarships for deserving DID students.

SCI-Arc’s series of H[KLELWLRQV and OHFWXUHV has generated new gifts from a variety of sources: 7KH -DPHV ,UYLQH )RXQGDWLRQ PDGH LWV ÀUVW JLIW WR 6&, $UF LQ VXSSRUW RI 5DPLUR 'LD] *UDnados’s upcoming SCI-Arc Gallery exhibition; the 1($ made a second grant to SCI-Arc, which is supporting the entire SCI-Arc Gallery exhibition series; alumnus -RKQ &RUGLF and his company 5-& %XLOGHUV DUH XQGHUZULWLQJ WKH VHFRQG DQQXDO 5DLPXQG $EUDham Memorial Lecture; and the 3DVDGHQD $UW $OOLDQFH supportHG %DUEDUD %HVWRU¡V Disco Silencio! exhibition.

All of this new support, combined with enhanced annual giving from SCI-Arc Trustees and alumni has allowed SCI-Arc to launch new initiatives, increase scholarship support, enhance alumni services and programming, and expand public programming initiatives. SCI-Arc is extremely grateful for the support of all of our funding partners, who are helping the school to re-think design assumptions and to create, explore, and test the limits of architecture.

A full list of donors from the 2010-2011 academic year is included in this issue of the SCI-Arc magazine.

LEADERSHIP NEWS

8

RIBA’S 2011 JENCKS AWARD GOES TO MOSS

Eric Owen Moss Architects, Samitaur

TED TANNER AND RUSSELL GOINGS JOIN BOARD OF TRUSTEES Ted Tanner, Executive Vice President, Real Estate Development for AEG Worldwide, and Russell Goings, a veteran LA-based investment banker and Senior Vice President at Hutchinson Shockey Erley & Co., were unanimously elected to the SCI-Arc Board of Trustees at the quarterly meeting held in June. The 22-member SCI-Arc Board is chaired by land-use attorney Jerry Neuman, who stated: “as our school has grown and is recognized as a world class institution, it is vital WKDW RXU %RDUG UHĂ HFW WKDW SURPLQHQFH DQG ERWK Tanner and Goings bring that level of sophistication to a growing stellar Board.â€? Added SCI-Arc Director Eric Owen Moss, “Ted is re-imagining downtown and Russ is re-making the central FLW\ÂłWZR SHUIHFW Ă€WV WKDW FRQĂ€UP 6&, $UF¡V commitment to the future of Los Angeles as the city of the future.â€?

A noted developer and registered architect, Ted Tanner RYHUVHHV $(*¡V UHDO HVWDWH GHYHORSment activities worldwide, including major projects in Los Angeles, London, Berlin, and most recently in Asia and Brazil. He has more than 30 years of development experience in downtown Los Angeles, as well as 10 years working as an architect and a Philadelphia city planner. With AEG, Tanner was responsible for acquiring, entitling and master planning the 40 acres

SCI-Arc Magazine Issue 003

The Royal Institute of British Architects (RIBA) recently awarded their international 2011 Jencks Award to SCI-Arc Director Eric Owen Moss, principal of Los Angeles-based Eric Owen Moss Architects. The prestigious award is given annually to DQ LQGLYLGXDO WKDW KDV PDGH D VLJQLĂ€FDQW FRQWULEXWLRQ WR WKH WKHRry and practice of architecture internationally.

Moss has, over 30 years, evolved a unique local grammar of architecture in Culver City, Los Angeles. Here he has created a modern vernacular that is at once creative, critical and evocative—showing a commitment to place and character that is rare if not unique. He started Eric Owen Moss Architects in 1973 in Los Angeles and has since become involved in lectures, exhibitions DQG WHDFKLQJ DURXQG WKH ZRUOG 5HFHQW SURMHFWV LQFOXGH WZR RIÀFH towers and a multi-theatre performance center in Los Angeles, D KRWHO DQG RIÀFH FRPSOH[ LQ :HVW +ROO\ZRRG D PL[HG XVH SURMect in Kazakhstan, and a master plan for an ecologically integrated city in La Paz, Bolivia.

Previous recipients of the Jencks Award include Zaha Hadid, )RUHLJQ 2IĂ€FH $UFKLWHFWV 3HWHU (LVHQPDQ &HFLO %DOPRQG 81Studio, Wolf D. Prix & Coop Himmelb(l)au, Charles Correa, and Steven Holl.

The award will be presented by the RIBA in London on December 6, 2011, followed by a public lecture by Moss, chaired

by Charles Jencks.

surrounding Staples Center. For the past 3 years, he has been leading the development of L.A. Live—a 4-million square foot sports, residential and entertainment development project in downtown Los Angeles. His team has recently completed the $1 billion 54-story, 1,001-room hotel operated by JW Marriott and Ritz-Carlton, as well as 224 luxury Ritz-Carlton Residences.

7DQQHU DOVR PDQDJHG GHYHORSPHQW RI $(*¡V Home Depot Center at Cal State Dominguez Hills in Carson and the Nokia Theatre Times Square in New York City, and formulated plans for soccer stadiums in Chicago and New Jersey.

Russell L. Goings, III is a veteran of the securities industry, with more than 25 years spent LQ &DOLIRUQLD SXEOLF ÀQDQFH +LV LQYHVWPHQW banking clients have included: the State of California; the cities of Los Angeles, Stockton, Fresno, Compton, Oakland, Richmond, Long Beach, Inglewood and Carson; the counties of Sacramento, San Diego, Contra Costa and Los Angeles; and political subdivisions such as the San 'LHJR 8QLÀHG 3RUW 'LVWULFW /RV $QJHOHV &RXQW\ Metropolitan Transportation Authority and World Port of Los Angeles. Goings served on the 0D\RU¡V :RUOG 3RUW RI /RV $QJHOHV )XWXUHV Commercial Task Force, was Chairman of the Public Finance Subcommittee for Rebuild L.A, and the Board President of the Watts-Willowbrook Boys and Girls Club. He presently serves as a Board Member for the Inner City Education Foundation, which operates several charter schools in the City of Los Angeles.

Hsinming Fung Editor-in-Chief Contributing Writers Hernan Diaz Alonso Georgiana Ceausu Joe Day Hsinming Fung Bill Kramer Eric Owen Moss Aimee Richer Justine Smith Tom Wiscombe SCI-Arc Leadership Eric Owen Moss Director Hsinming Fung Director of Academic Affairs Hernan Diaz Alonso Graduate Programs Chair John Enright Undergraduate Program Chair Jamie Bennett Chief Operating Officer Office of Development and Alumni Affairs Bill Kramer Chief Development Officer Dawn Mori Associate Director of Corporate, Foundation and Government Relations Aimee Richer Associate Director of Annual Giving and Alumni Affairs Rebecca Silva Development and Alumni Affairs Associate SCI-Arc Publications Justine Smith Project Manager Georgiana Ceausu Online Media & Public Relations Alicia Patel Senior Graphic Designer Kate Merritt Graphic Designer

Ted Tanner (top) Russell Goings (bottom)

Photography Tamea Agle Karim Attoui Tom Bonner Michal Czerwonka Chung Ming Lam Scott Mayoral

Patrick McMullan Priyank Mehta Darius Siwek Stefano Paltera Ulf Wallin Joshua White Oyler Wu

Š 2011 SCI-Arc Publications

1

9

CAMPUS NEWS

YOUNG ALUM WINS 2011 JULIUS SHULMAN EMERGING TALENT AWARD

Open Season 2011 Open Season facilitates introductions between current students and SCIArc alumni in the professional design world, encouraging alumni and professional partners to observe, and potentially recruit, students presenting their studio and thesis work. The Fall Open Season career event took place as a graduate thesis preview show.

Recent graduate 3KLOOLS 5DPLUH] (B.Arch ’11) received the 2011 Julius Shulman Emerging Talent Award and a scholarship on behalf of SNR Denton and the Los Angeles Business Council (LABC). Ramirez was granted the award at the 41st Annual Los Angeles Architectural Awards ceremony hosted June 30 at the Los Angeles Marriott at LA Live. “Congrats to Phillip‌ another generation cometâ€? said Director Eric Owen Moss in a school-wide announcement. “SCI-Arc is extremely proud of him.â€?

Ramirez submitted his undergraduate thesis project, Interval Space—which also won him Best Undergraduate Thesis this year—to the annual competition organized by the LABC. His advisor was faculty member Herwig Baumgartner of B+U.

Confirmed guests and attendees included the following alumni and firm representatives: Frank Webb Architects Ben Feldmann Senior Associate, Mia Lehrer + Associates Beth Holden (B.Arch ’98) Principal, New Theme Brian Howe Dax Miller Principal, DAX Miller Design Gary O’Connor Roland Genik Chief Architect, Rail & Transit Systems, Parsons Joe Day (M.Arch ’94) Principal, Deegan-Day Design Laura Amiri Associate Principal, GKK Works Ben Levin (B.Arch ’80) Principal, DLR Group WWCOT Martyn Mervel (M.Arch ’81) Principal, Studio/Slab Architects Kevin Conway Senior Associate, AECOM John Martin Senior Associate, AECOM Merry Norris SCI-Arc Trustee, Merry Norris Contemporary Art Pavel Getov (M.Arch ’93) Peter Grueneisen (M.Arch ’90) Principal, NonZero Architects Larissa Plagge Senior Project Manager CB Richard Ellis Polly Osborne (M.Arch ’87) Quirino De La Cuesta (B.Arch ’93) Rick Morris Creative Director, Rock Honey Studio Santino Medina (M.Arch ’06) Gehry Technologies Nick Seierup (B.Arch ’79) Principal, Design Director Perkins + Will Steve Wagner (M.Arch ’84) KMD Architects Zach Hoevet (M+M ’02) Tim Keating President, LARABA Board Luv Khot (M.Arch ’06) Avani Sheth (M.Arch ’09) Hien Quan Ngo (B.Arch ’94) NQH Architects Gregory Fischer Project Director, Yazdani Studio of Cannon Design

ALUMNI RUNNING THE SCI-ARC ROBOT HOUSE

Phillip Ramirez, Interval Space Advisor: Herwig Baumgartner

Alberto Ataide, Diego Cano-Lasso, Macus Hoh, Lindsay Merget, Tread Lightly Advisors: Ilaria Mazzoleni, Jeffrey Landreth

M.ARCH 2 STUDENTS TAKE 2ND PLACE IN DESIGN COMPETITION SCI-Arc graduate students Alberto Ataide, 'LHJR &DQR /DVVR, Macus Hoh and Lindsay Merget placed second in the 5th annual (PHUJLQJ 7DOHQW 'HVLJQ &RPSHWLWLRQ organized by the U.S. Green Building Council, Los Angeles (USGBC). Using shipping containers as building materials and inspiration, teams were encouraged to create aesthetically pleasing, sustainable core and shell designs for a multipurpose structure in Long Beach. The four M.Arch 2 students teamed up to work on their competition entry as part of the Advanced Building Systems seminar led by Ilaria Mazzoleni and Jeffrey Landreth this past spring at SCI-Arc. The team’s design, Tread Lightly, takes a quality of life approach to the synthesis of a mixed-use, ecologically sensitive design, with generous outdoor communal space and a design strategy WR LPSOHPHQW SDVVLYH VWUDWHJLHV ÀUVW DQG WKHQ DXJPHQW WKRVH VWUDWHgies with active systems. Ultimately, the proposal serves as a beacon of healthy spaces for healthy living in an urban context.

5HFHQWO\ SURÀOHG LQ WKH 2FWREHU LVVXH RI Architectural Record, SCI-Arc’s 5RERW +RXVH is creating a multi-faceted design platform that pushes beyond the current production-based robotics labs in place at other architecture schools. Now in its second year of operation, SCI-Arc has three alumni to help the Robot House create an unprecedented emulation, simulation and animation environment in which computational geometry, material agency and fabrication logistics merge.

Alumnus Nazareth Ekmekjian (B.Arch ’08) was hired as the Robotics Technical Instructor/Robot House Manager to oversee the day-to-day operations of the Robot House and to provide technical guidance to faculty and students. Nazareth has a deep background in robotics, having worked at Machineous in Los Angeles where he played a leading role in developing and executing several projects utilizing complex robotic arms as a means of production. He also served as project manager to the Kentucky-based design and fabrication practice PR&vD, working on projects for James Corner Field Operations and artist Ryan McGinness. With a strong interest in fabrication technology, material applications, technique and craft, Nazareth constantly seeks to explore new methods of contemporary architectural production.

In addition to Nazareth’s position, SCI-Arc has created a new research and teaching fellowship program for the Robot House.

Two 2011 M.Arch graduates, Brandon Kruysman and Jonathan Proto KDYH EHHQ DSSRLQWHG DV WKH ÀUVW WZR IHOORZV $V 6&, $UF students, Brandon and Jonathan focused on the creation of an interface between the VAL-3 programming language that controls the robots and the architectural modeling software Maya. As part RI WKHLU ÀQDO SURMHFW WKH\ XVHG WKHVH VRIWZDUH SODWIRUPV WR FUHDWH a choreographed production with three moving robots, attempting to synchronize movement, sound, and other variables. The students created an algorithm-based program that determined the distance between robots to modulate the tone and frequency of an ambient sound track. Their direct Robot House and programming experience will help SCI-Arc create a research environment in which real-time data generated from digital design and materials fabrication is analyzed and processed simultaneously.

10

FORECLOSED: REHOUSING THE AMERICAN DREAM You can’t drive very far in most American cities before you see WKH HIIHFWV RI WKH IRUHFORVXUH FULVLV 5HFHQW VWDWLVWLFV UHà HFW D ODQGscape of individual stories of crisis. Collectively, these narratives KDYH LQà XHQFH WKDW H[WHQGV IDU EH\RQG WKRVH PRVW DIIHFWHG ,Q DQ effort to begin a conversation on the foreclosure crisis, architecture, and suburbanism, the Museum of Modern Art (MoMA) and MoMA PS1 have launched Foreclosed: Rehousing the American Dream, a workshop and exhibition in the series Issues in Contemporary Architecture.

SCI-Arc faculty member Andrew Zago of Zago Architecture ZDV QRPLQDWHG WR OHDG RQH RI Ă€YH LQWHUGLVFLSOLQDU\ WHDPV WKDW participated in a 4-month workshop, centered on rethinking housing in the US in light of the foreclosure crisis. Each team was tasked with focusing on a “megaregion,â€? a metropolitan area that lies within a corridor between two major cities. Zago’s team worked on a proposal for Rialto, California, with the goal to create new and innovative ways of thinking about the relationship between land, housing, infrastructure and urban form.

Zago assembled an interdisciplinary group of professionals IURP YDULRXV ÀHOGV VXFK DV XUEDQ HFRQRPLF SODQQLQJ HFRORJ\ and landscape architecture, and engineering and urban infrastructure. His core team included 'DYLG %HUJPDQ, Principal of MR+E and co-coordinator of SCI-Arc’s Future Initiatives (SCIFI) postgraduate program; Alex Felson, Director of the Urban and Ecological Design Lab at the Yale School of Forestry and Environmental Studies; and %UXFH 'DQ]LJHU, Associate Principal of LA-based ARUP. SCI-Arc students were also involved at various stages of the program.

Foreclosed tackles a new approach to the public housing problem, raising the argument that housing in the American suburbs is a matter of public concern as opposed to the belief that a home in foreclosure is the problem of the individual owner. The exhibition of completed proposals appears at MoMA from January 31-July 31, 2012.

Solar Decathlon 2011 We’d like to acknowledge all of the extraordinary work that went into the completion of the SCI-Arc/Caltech Solar Decathlon Project. With over 100 students involved, this was truly a collaborative effort. The SCI-Arc and Caltech students displayed immense dedication to their craft through a long and challenging design/build process that extended over a two year time period. They, and everyone else involved, should be applauded for their remarkable work on this project and for their unique contribution to the future of affordable, green housing.

SCI-Arc Leadership: Eric Owen Moss Hsinming Fung Jamie Bennett Bill Kramer Christopher Banks SCI-Arc Faculty Advisors: Anne Epstein Wes Jones Dwayne Oyler Caltech Leadership: Jean-Lou Chameau Harry Atwater Neil Fromer Carol Carmichael Valerie Otten Caltech Faculty Advisors: Doug Caldwell Melany Hunt Phil Lee

Richard Murray SCI-Arc Team Members: Geoffrey April Rachel Bitan Catherine Caldwell Paul Cambon Robert Cardenas Wilson Chang Scott Davis Adam Dunn Reed Finlay, Project Mgr. Valentin Florescu Andres Fuentes Robert Gilson Hyungbin Im Chuy Le Jacques Lesec Nathan Meyers Elisabeth Neigert, Project Mgr.

Michael Nesbit Joel Ochs Giovanna Orozco Rinaldo Perez Michael Piscitello Lanna Semel Harris Silver Jane Suthigoseeya Brian Zentmyer Caltech Team Members: Sara Ahmed Andrew Gong Hima Gudipati Cole Hershkowitz Benjamin Kurtz Zeke Millikan Judy Mou Sam Jones Ka Suen Richard Wang Fei Yang, Project Mgr.

ALUMNI WELCOME NEW STUDENTS DURING STUDENT ORIENTATION WEEK 7KH ÀUVW ZHHN LQ 6HSWHPEHU VLJQLÀHV WKH RQVHW RI WKH QHZ DFDdemic year. This year, 168 incoming students were welcomed by staff, faculty, and alumni during student orientation week.

Former Alumni Council Chairman Santino Medina (M.Arch ’06) greeted students on the second day of orientation, encouraging them to begin making connections with alumni as soon as possible. He noted the importance of taking advantage of alumni VWXGLR WRXUV DV D ÀUVW VWHS LQ FDUHHU QHWZRUNLQJ 6L[WHHQ VWXGLRV KRVWHG WRXUV RQ WKH ÀQDO GD\ RI RULHQWDWLRQ UDQJLQJ IURP VPDOO LQGHSHQGHQW VWXGLRV WR PXOWL RIÀFH LQWHUQDWLRQDO GHVLJQ ÀUPV $OXPQL SUHVHQWDWLRQV LQFOXGHG WRXUV TXHVWLRQ answer forums, and in some cases, project site visits. Alumni stuGLR WRXUV DUH D YDOXDEOH ZD\ RI JLYLQJ QHZ VWXGHQWV ÀUVWKDQG insight into the professional architecture and design world.

According to incoming B.Arch student, Anthony Morey, “seeing all these amazing ideas, concepts, and drawings in practice proved to me that all the things that make SCI-Arc special stays with students and faculty long after they step out the front door.

It’s a really motivating way to start the year.�

Later that evening, parents were welcomed by alumni and school program directors. Alumnus Peter Welch (B.Arch ’11) was on hand to greet parents and top up drinks, while alumnae Alejandra Zamora Schraeder (B.Arch ’03) provided the catering.

Immediately following the Parents Reception was a schoolwide welcome celebration to celebrate the launch of the 2011-2012 year. New Alumni Representative to the Board of Trustees, Nerin Kadribegovic (M.Arch ’03) welcomed all.

MASTER PLANNER TO MASTER CHEF Alumna Alejandra Zamora Schrader (B.Arch ’03) recently put her creative skills to the test when she was selected from over 20,000 nationwide auditions to be a contestant in Season 2 of Fox’s reality TV Show MasterChef.

Co-hosted and produced by celebrity chef Gordon Ramsey, MasterChef is unlike other reality TV cooking shows because it seeks amateur cooks, rather than professional chefs as contestants.

In response to the struggling economy and weak real-estate market, Alejandra, a practicing architect and urban planner, seized the opportunity to develop one of her much-loved pastimes and pursue her talent of cooking under the scrutiny of judges Gordon Ramsay, Graham Elliot, and Joe Bastianich, as well as millions of WHOHYLVLRQ YLHZHUV $IWHU VHYHUDO JUXHOLQJ ZHHNV $OHMDQGUD ÀQished the competition in the top ten.

Alejandra credits her ability to work under pressure to the rigorous academic review process she participated in while at SCI-Arc and the University of Michigan, and says that the designer in her is always evident in her cooking – from the hand-drawn SODQ RI KHU PHQX LWHPV WR WKH ÀQLVK SURGXFW ZKHQ VKH SODWHV KHU food for presentation. In August, Alejandra joined forces with co-contestant Tracy Kontos to create a private chef and catering service in Los Angeles called Cucina Cocina.

6&, $UF ZDV GHOLJKWHG WR EH RQH RI $OHMDQGUD¡V ÀUVW FOLHQWV for the September 2nd Parents Welcome Reception. Alejandra can be reached at alejandraschrader.com/cucinacocina.

Alejandra Zamora Schrader (B.Arch ’03)

Alumni Studio Tours Alumni and faculty opened their studios during student orientation week to give incoming students firsthand insight into the professional architecture and design world. This year’s participants included: Michael Folonis (B.Arch ’78) Folonis Architects Ben Levin (B.Arch ’80), DLR Group Terence Young, Gensler Elissa Scrafano (M.Arch ’90) Scrafano Architects Rick Gooding (B.Arch ’84) CHU+GOODING Annie Chu (B.Arch ’83) CHU+GOODING Edmund Einy (B.Arch ’84), gkkworks Laura Cowen (M.Arch ’02), Jerde Eric McNevin (M.Arch ’01) Eric Owen Moss Architects Steve Wagner (M.Arch ’84) KMD Architects Carlos Madrid III (M.Arch ’95) AECOM Tom Farrage (B.Arch ’87) Tom Farrage & Company Tima Bell (M.Arch ’99), Tima Winter Griffin Enright Architects Hodgetts+Fung (HplusF)

11

TOM WISCOMBE FACULTY PROFILE +HUQDQ 'LD] $ORQVR

1.

Cantilever, located at SCI-Arc

LEARNING TO FLY

2.

Civic Sports Center and 2013 National Games Arena, Shenyang Design concept currently in planning

,Q WKH SHUPDQHQW VWDWH RI DUULYDO DQG GHSDUWXUH WKDW GHÀQHV 6&, Arc, the role of faculty is of course critical, but SCI-Arc does not VHHN LQGLYLGXDOV ZKR ÀW ZLWKLQ D FHUWDLQ GRJPD ,QVWHDG LW¡V DERXW LGHQWLI\LQJ VRPH YHU\ VSHFLÀF DQG KRSHIXOO\ LPSRUWDQW SDUW RI WKH larger architectural conversation that is, right now, at a critical inà HFWLRQ SRLQW DV ZHOO DV WKH SHRSOH ZKR DUH SXVKLQJ DQG GHÀQLQJ LW If we are to be successful in challenging the individual, the individual will challenge us, and will make everybody who is already part of that conversation stop and change what s/he are thinking.

3.

Busan Opera House, South Korea Design proposal 4.

The Semi-Rigid Car; Design concept

TOM WISCOMBE Tom Wiscombe is the founder and principal of EMERGENT, an internationally recognized design office.

EMERGENT’s work stands out in terms of its synthesis of form, pattern, color, and technology. In 2009, ICON Magazine named Wiscombe one of the “top 20 architects in the world who are making the future and transforming the way we work.� Wiscombe is a senior faculty member at SCI-Arc, teaching in the M.Arch II and Emerging Systems and Technologies | Media programs, both focused on experimental digital design. He is currently Applied Studies Coordinator, in charge of curriculum building and faculty recruitment. Previously, he worked for Coop Himmelb(l)au, where he was the right hand of Principal Wolf Prix for more than 10 years. Notably, he was Project Partner and Chief Office Designer for BMW Welt (Munich), known as one of the most important works of architecture of the 21st century.

HERNAN DIAZ ALONSO Hernan Diaz Alonso is founder and principal of Xefirotarch, a Los Angeles-based design practice.

Considered one of the most influential voices of his generation, Diaz Alonso assumed the role of Graduate Programs Chair at SCI-Arc, after having coordinated the school’s graduate thesis process for several years. He was honored by Yale University with the Louis I. Kahn Visiting Assistant Professorship of Architectural Design for fall 2010. He has been a Design Studio Professor at the GSAPP at Columbia University and The University of Applied Arts in Vienna.

Diaz Alonso has lectured extensively at major institutions around the world.

His architecture designs have received numerous awards and have been displayed in both architecture and art museum exhibitions, and published in magazines, books, and periodicals worldwide.

Tom Wiscombe is one of those individuals. From his days as 6HQLRU 'HVLJQHU DW &RRS +LPPHOE O DX WR 3ULQFLSDO DW KLV ÀUP EMERGENT, his work is always at the convoluted center of experimentation and feasibility. Tom’s work seems to keep accelerating - though not always succeeding conceptually or aesthetically LQVWHDG RI ÀQGLQJ ZD\V WR FRPSURPLVH 7KDW LV XQXVXDO DQG unusual works for SCI-Arc. His Cantilever PDUNV WKH ÀUVW SURMHFW RI WKH 0DWHULDO /DE ZKLFK is founded in the notion of the indeterminate relation of architecture to material processes: pedagogically, conceptually, instruPHQWDOO\ WKH ERXQGDULHV RI LQTXLULHV DQG UHVHDUFK DUH QHYHU À[HG 'HVLJQ SURGXFWLRQ DVVHPEO\ WHDFKHUV VWXGHQWV ÀQDO RU QRW VR ÀQDO DOO RI WKHVH DUH LQ D SHUPDQHQW VWDWH RI TXHVWLRQLQJ DQG WKH result is just a partial answer. The Cantilever LV MXVW WKH ÀUVW RI these partial answers - many others will follow.

HERNAN:

First the obvious: where did Cantilever come from, and when it started, what was the whole idea?

TOM: The

idea of Cantilever was secondary to the idea of having a Materials Lab at SCI-Arc. The intention of the Materials Lab was to create some friction with a lot of the formal experimentation going on at the school, and force the students to deal with the limits and messiness of actual materials. We decided that it should be a two-semester program, so that something could be designed with a group of students in the Fall and then built in the Spring, IRU WKH QH[W ÀYH \HDUV 7KH LGHD LVQ¡W WR GR D FDQWLOHYHU HYHU\ \HDU but rather that every year a new instructor will explore a new material in relation to a new agenda. Composite materials drove cantilever; this year John Enright is doing steel.

HERNAN:

One impression I had when I saw Cantilever—and, of course, because of the research that was done with the students, it’s not completely your own work, even though they had certain guidance from your part—was that in relation to your own practice and your own ambition as an architect, it felt to me that the formal aesthetic of the piece belonged to an older phase of your work. In most of your work from the last ten years, from the pure form or notion, there was a desire of combination with what I will call degree three with degree one: formal geometrics. But your work from the last two years has taken a different departure. Is Cantilever, not a conclusion per se, but the end result of a body of work in combination with the students’ and Material Lab input?

TOM: I think that’s a great way to characterize Cantilever. For me it was an opportunity to rethink 'UDJRQà \ from four years ago.

7KDW¡V ZKHQ , ZDV PXFK PRUH LQWHUHVWHG LQ WKH VSHFLĂ€F IRUPDO qualities that could be coaxed out of engineering loops. I’ve always felt that 'UDJRQĂ \ didn’t deal enough with the material sophistication of wing structures in nature. The ‘skeleton’ of an insect wing is really just zones of extreme thickness of structural

Dragonfly, SCI-Arc Gallery, 2007

cuticle, it’s not like a human mineral skeleton with skin attached to it. So we were using an industrial paradigm to explore a biological paradigm. The three thousand bolts we had to use for that project always stuck in my head as evidence of that mismatch.

Intuitively I wanted to glue it all together. So I guess Cantilever is a redux—it’s all glue!

To answer your question about the development of the work RYHU WKH ODVW WZR \HDUV \HV , KDYH GHĂ€QLWHO\ PRYHG DZD\ IURP expression of structure and more towards nuanced relations of structure, skin, and volume. But I was actually never interested in structural expressionism. I am interested in formal articulation and ways of achieving articulation from within the discipline of architecture. I would say that the best way to understand the shift in the work is as moving from surface-to-strand geometry which might appear more skeletal, to surface-to-volume geometry, which appears more manifold and massive.

HERNAN: There was a whole lineage of work that dealt with different

iterations and different mutations and so on, but I think there was a very coherent, almost obsessive monomania about certain logics.

I think Cantilever is a good transition to what the work is now.

Historically for architects, the thirties have been about establishing a sensibility and establishing a logical work, and the forWLHV DUH ZKHQ \RX ÀJXUH RXW KRZ WR SXW LW RXW , GRQ¡W WKLQN WKDW¡V the model anymore, it’s much more accelerated—media and publications makes all the work exposed way earlier, even though the architect may not be mature enough to be that out in the open.

This kind of contemporary condition means that you don’t get to ÀJXUH WKLQJV RXW EXLOGLQJ VPDOO SURMHFWV RU VPDOO UHQRYDWLRQV³ it seems like museums, installations, exhibitions, pavilions, and competitions have become an alternate venue. My question would be if you can resume the evolution of this for eight years, which I will say is incredibly coherent in terms of the formal, architecturDO SURWHFWLRQ RI WKH RIÀFH EXW DW WKH VDPH WLPH LQFUHGLEO\ KHWHURgeneous in the ambitions in relation to reality.

TOM: , WKLQN WKDW LV WUXH WKDW \RXQJHU RIĂ€FHV OLNH PLQH QRZ KDYH the capacity to be published all over the world before the work is

12

fully cooked. It is for sure different for us than for the previous generation. We are out there exposed and have to feed the beast.

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Cantilever, Materials Lab I SCI-Arc, 2011 Type: Year-long Composites Research Lab and Installation Instructor: Tom Wiscombe, Applied Studies Coordinator Design Team: Dave Bantz, Michael Gross, Paul Mecomber, Vince Pocsik Construction Coordination: Tom Benard, Henry Dominguez Engineering: Buro Happold Consulting Engineers, LA Composites Fabrication: Machineous, LA This project is an investigation into the advantages and limits of composite materials. Via an asymmetrical structural type—the cantilever—the goal was to create massive differences in stress patterns within an object and respond to those patterns in a way that would both index the structural diagram but also exceed it.

Composites are more than a class of materials; they imply a paradigm shift in architecture in terms of allowing real progress on the contemporary desire to blend formal, structural, and ornamental systems. They also engender a new way of thinking about assembly and engineering, where and structure cannot be broken down into discreet vectors. Continuous difference and variability in structural capacity, transparency, pattern, and color becomes the design space, as in nature.

The piece was evolved through a feedback loop between morphological developments and structural analysis in ANSYS, where features such as connective armatures and surface pleating were introduced over time. It was also informed by manufacturing logic, in terms of limitations of mold size, requirements for structural joining of components, and grading fiber density and orientation. Based on a consciously under-dimensioned overall thickness of 1/8� fiber-composite layup, a pattern of 2� fiberglass tape was created in order to locally respond to high stress conditions.

The tape operates as a figure embedded in the form: it is a translucent structural tattoo, which follows its own aesthetic logic as well as performance demands. Critical for the piece is the depth effect that is produced by being able to see the back side of the tattoo as a ghostly silhouette through layers of translucent material.

Cantilever is ultimately neither a simple expression of a structural type nor a readable response to forces. As in biology, it is a mutation which performs but does so in a non-optimal way. Its features are irreducible; they cannot be associated 1:1 with behaviors. Excess and obfuscation define the project as much as structural and material intelligence.

Special thanks to Buro Happold Consulting Engineers, Machineous, and ZCorp for their generous contributions to the project.

2

11

TOM WISCOMBE FACULTY PROFILE Hernan Diaz Alonso

1.

Cantilever, located at SCI-Arc

LEARNING TO FLY

2.

Civic Sports Center and 2013 National Games Arena, Shenyang Design concept currently in planning

,Q WKH SHUPDQHQW VWDWH RI DUULYDO DQG GHSDUWXUH WKDW GHÀQHV 6&, $UF WKH UROH RI IDFXOW\ LV RI FRXUVH FULWLFDO EXW 6&, $UF GRHV QRW VHHN LQGLYLGXDOV ZKR ÀW ZLWKLQ D FHUWDLQ GRJPD ,QVWHDG LW¡V DERXW LGHQWLI\LQJ VRPH YHU\ VSHFLÀF DQG KRSHIXOO\ LPSRUWDQW SDUW RI WKH ODUJHU DUFKLWHFWXUDO FRQYHUVDWLRQ WKDW LV ULJKW QRZ DW D FULWLFDO LQ à HFWLRQ SRLQW DV ZHOO DV WKH SHRSOH ZKR DUH SXVKLQJ DQG GHÀQLQJ LW ,I ZH DUH WR EH VXFFHVVIXO LQ FKDOOHQJLQJ WKH LQGLYLGXDO WKH LQGLYLG XDO ZLOO FKDOOHQJH XV DQG ZLOO PDNH HYHU\ERG\ ZKR LV DOUHDG\ SDUW RI WKDW FRQYHUVDWLRQ VWRS DQG FKDQJH ZKDW V KH DUH WKLQNLQJ

3.

Busan Opera House, South Korea Design proposal 4.

The Semi-Rigid Car; Design concept

TOM WISCOMBE Tom Wiscombe is the founder and principal of EMERGENT, an internationally recognized design office.

EMERGENT’s work stands out in terms of its synthesis of form, pattern, color, and technology. In 2009, ICON Magazine named Wiscombe one of the “top 20 architects in the world who are making the future and transforming the way we work.� Wiscombe is a senior faculty member at SCI-Arc, teaching in the M.Arch II and Emerging Systems and Technologies | Media programs, both focused on experimental digital design. He is currently Applied Studies Coordinator, in charge of curriculum building and faculty recruitment. Previously, he worked for Coop Himmelb(l)au, where he was the right hand of Principal Wolf Prix for more than 10 years. Notably, he was Project Partner and Chief Office Designer for BMW Welt (Munich), known as one of the most important works of architecture of the 21st century.

HERNAN DIAZ ALONSO Hernan Diaz Alonso is founder and principal of Xefirotarch, a Los Angeles-based design practice.

Considered one of the most influential voices of his generation, Diaz Alonso assumed the role of Graduate Programs Chair at SCI-Arc, after having coordinated the school’s graduate thesis process for several years. He was honored by Yale University with the Louis I. Kahn Visiting Assistant Professorship of Architectural Design for fall 2010. He has been a Design Studio Professor at the GSAPP at Columbia University and The University of Applied Arts in Vienna.

Diaz Alonso has lectured extensively at major institutions around the world.

His architecture designs have received numerous awards and have been displayed in both architecture and art museum exhibitions, and published in magazines, books, and periodicals worldwide.

7RP :LVFRPEH LV RQH RI WKRVH LQGLYLGXDOV )URP KLV GD\V DV 6HQLRU 'HVLJQHU DW &RRS +LPPHOE O DX WR 3ULQFLSDO DW KLV ÀUP EMERGENT, his work is always at the convoluted center of ex SHULPHQWDWLRQ DQG IHDVLELOLW\ 7RP¡V ZRUN VHHPV WR NHHS DFFHOHU DWLQJ WKRXJK QRW DOZD\V VXFFHHGLQJ FRQFHSWXDOO\ RU DHVWKHWLFDOO\ LQVWHDG RI ÀQGLQJ ZD\V WR FRPSURPLVH 7KDW LV XQXVXDO DQG XQXVXDO ZRUNV IRU 6&, $UF +LV Cantilever PDUNV WKH ÀUVW SURMHFW RI WKH 0DWHULDO /DE ZKLFK is founded in the notion of the indeterminate relation of architec WXUH WR PDWHULDO SURFHVVHV SHGDJRJLFDOO\ FRQFHSWXDOO\ LQVWUX PHQWDOO\ WKH ERXQGDULHV RI LQTXLULHV DQG UHVHDUFK DUH QHYHU À[HG 'HVLJQ SURGXFWLRQ DVVHPEO\ WHDFKHUV VWXGHQWV ÀQDO RU QRW VR ÀQDO DOO RI WKHVH DUH LQ D SHUPDQHQW VWDWH RI TXHVWLRQLQJ DQG WKH UHVXOW LV MXVW D SDUWLDO DQVZHU 7KH Cantilever LV MXVW WKH ÀUVW RI WKHVH SDUWLDO DQVZHUV PDQ\ RWKHUV ZLOO IROORZ HERNAN: )LUVW WKH REYLRXV ZKHUH GLG Cantilever

come from, and

when it started, what was the whole idea?

3

TOM: The

idea of Cantilever ZDV VHFRQGDU\ WR WKH LGHD RI KDYLQJ D 0DWHULDOV /DE DW 6&, $UF 7KH LQWHQWLRQ RI WKH 0DWHULDOV /DE ZDV to create some friction with a lot of the formal experimentation JRLQJ RQ DW WKH VFKRRO DQG IRUFH WKH VWXGHQWV WR GHDO ZLWK WKH OLPLWV DQG PHVVLQHVV RI DFWXDO PDWHULDOV :H GHFLGHG WKDW LW VKRXOG EH D WZR VHPHVWHU SURJUDP VR WKDW VRPHWKLQJ FRXOG EH GHVLJQHG ZLWK D JURXS RI VWXGHQWV LQ WKH )DOO DQG WKHQ EXLOW LQ WKH 6SULQJ IRU WKH QH[W ÀYH \HDUV 7KH LGHD LVQ¡W WR GR D FDQWLOHYHU HYHU\ \HDU but rather that every year a new instructor will explore a new ma WHULDO LQ UHODWLRQ WR D QHZ DJHQGD &RPSRVLWH PDWHULDOV GURYH FDQ WLOHYHU WKLV \HDU -RKQ (QULJKW LV GRLQJ VWHHO

HERNAN:

One impression I had when I saw Cantilever—and, of course, because of the research that was done with the students, LW¡V QRW FRPSOHWHO\ \RXU RZQ ZRUN HYHQ WKRXJK WKH\ KDG FHUWDLQ JXLGDQFH IURP \RXU SDUW³ZDV WKDW LQ UHODWLRQ WR \RXU RZQ SUDF tice and your own ambition as an architect, it felt to me that the IRUPDO DHVWKHWLF RI WKH SLHFH EHORQJHG WR DQ ROGHU SKDVH RI \RXU ZRUN ,Q PRVW RI \RXU ZRUN IURP WKH ODVW WHQ \HDUV IURP WKH SXUH form or notion, there was a desire of combination with what I will FDOO GHJUHH WKUHH ZLWK GHJUHH RQH IRUPDO JHRPHWULFV %XW \RXU ZRUN IURP WKH ODVW WZR \HDUV KDV WDNHQ D GLIIHUHQW GHSDUWXUH ,V &DQWLOHYHU QRW D FRQFOXVLRQ SHU VH EXW WKH HQG UHVXOW RI D ERG\ RI ZRUN LQ FRPELQDWLRQ ZLWK WKH VWXGHQWV¡ DQG 0DWHULDO /DE LQSXW"

TOM: , WKLQN WKDW¡V D JUHDW ZD\ WR FKDUDFWHUL]H Cantilever )RU PH it was an opportunity to rethink 'UDJRQà \ IURP IRXU \HDUV DJR 7KDW¡V ZKHQ , ZDV PXFK PRUH LQWHUHVWHG LQ WKH VSHFLÀF IRUPDO TXDOLWLHV WKDW FRXOG EH FRD[HG RXW RI HQJLQHHULQJ ORRSV ,¡YH DO ways felt that 'UDJRQà \ GLGQ¡W GHDO HQRXJK ZLWK WKH PDWHULDO VR SKLVWLFDWLRQ RI ZLQJ VWUXFWXUHV LQ QDWXUH 7KH œVNHOHWRQ¡ RI DQ

4

Dragonfly, SCI-Arc Gallery, 2007

LQVHFW ZLQJ LV UHDOO\ MXVW ]RQHV RI H[WUHPH WKLFNQHVV RI VWUXFWXUDO FXWLFOH LW¡V QRW OLNH D KXPDQ PLQHUDO VNHOHWRQ ZLWK VNLQ DWWDFKHG WR LW 6R ZH ZHUH XVLQJ DQ LQGXVWULDO SDUDGLJP WR H[SORUH D ELRORJ LFDO SDUDGLJP 7KH WKUHH WKRXVDQG EROWV ZH KDG WR XVH IRU WKDW SURMHFW DOZD\V VWXFN LQ P\ KHDG DV HYLGHQFH RI WKDW PLVPDWFK ,QWXLWLYHO\ , ZDQWHG WR JOXH LW DOO WRJHWKHU 6R , JXHVV &DQWLOHYHU LV D UHGX[³LW¡V DOO JOXH To answer your question about the development of the work RYHU WKH ODVW WZR \HDUV \HV , KDYH GHÀQLWHO\ PRYHG DZD\ IURP expression of structure and more towards nuanced relations of VWUXFWXUH VNLQ DQG YROXPH %XW , ZDV DFWXDOO\ QHYHU LQWHUHVWHG LQ VWUXFWXUDO H[SUHVVLRQLVP , DP LQWHUHVWHG LQ IRUPDO DUWLFXODWLRQ DQG ZD\V RI DFKLHYLQJ DUWLFXODWLRQ IURP ZLWKLQ WKH GLVFLSOLQH RI DUFKLWHFWXUH , ZRXOG VD\ WKDW WKH EHVW ZD\ WR XQGHUVWDQG WKH VKLIW LQ WKH ZRUN LV DV PRYLQJ IURP VXUIDFH WR VWUDQG JHRPHWU\ ZKLFK PLJKW DSSHDU PRUH VNHOHWDO WR VXUIDFH WR YROXPH JHRPHWU\ ZKLFK DSSHDUV PRUH PDQLIROG DQG PDVVLYH HERNAN: 7KHUH ZDV D ZKROH OLQHDJH RI ZRUN WKDW GHDOW ZLWK GLIIHUHQW

iterations and different mutations and so on, but I think there was a YHU\ FRKHUHQW DOPRVW REVHVVLYH PRQRPDQLD DERXW FHUWDLQ ORJLFV , WKLQN &DQWLOHYHU LV D JRRG WUDQVLWLRQ WR ZKDW WKH ZRUN LV QRZ +LVWRULFDOO\ IRU DUFKLWHFWV WKH WKLUWLHV KDYH EHHQ DERXW HVWDE OLVKLQJ D VHQVLELOLW\ DQG HVWDEOLVKLQJ D ORJLFDO ZRUN DQG WKH IRU WLHV DUH ZKHQ \RX ÀJXUH RXW KRZ WR SXW LW RXW , GRQ¡W WKLQN WKDW¡V WKH PRGHO DQ\PRUH LW¡V PXFK PRUH DFFHOHUDWHG³PHGLD DQG SXEOL FDWLRQV PDNHV DOO WKH ZRUN H[SRVHG ZD\ HDUOLHU HYHQ WKRXJK WKH DUFKLWHFW PD\ QRW EH PDWXUH HQRXJK WR EH WKDW RXW LQ WKH RSHQ 7KLV NLQG RI FRQWHPSRUDU\ FRQGLWLRQ PHDQV WKDW \RX GRQ¡W JHW WR ÀJXUH WKLQJV RXW EXLOGLQJ VPDOO SURMHFWV RU VPDOO UHQRYDWLRQV³ it seems like museums, installations, exhibitions, pavilions, and FRPSHWLWLRQV KDYH EHFRPH DQ DOWHUQDWH YHQXH 0\ TXHVWLRQ ZRXOG EH LI \RX FDQ UHVXPH WKH HYROXWLRQ RI WKLV IRU HLJKW \HDUV ZKLFK , will say is incredibly coherent in terms of the formal, architectur DO SURWHFWLRQ RI WKH RIÀFH EXW DW WKH VDPH WLPH LQFUHGLEO\ KHWHUR JHQHRXV LQ WKH DPELWLRQV LQ UHODWLRQ WR UHDOLW\ TOM: , WKLQN WKDW LV WUXH WKDW \RXQJHU RIÀFHV OLNH PLQH QRZ KDYH

12

fully cooked. It is for sure different for us than for the previous generation. We are out there exposed and have to feed the beast.

I would like to think that you could still develop a few tricks in \RXU WKLUWLHV DQG WKHQ UHÀQH WKHP LQ \RXU IRUWLHV DQG ÀIWLHV EXW ,¡P QRW VR VXUH \RX FDQ GR WKDW ZKHQ \RX DUH FKDVLQJ EXWWHUà LHV , DOVR think that for the work to have gravitas that it needs to interface ZLWK WKH ZRUOG LQ VRPH VLJQLÀFDQW ZD\ LQ D ZD\ WKDW WRXJKHQV LW up. Although I think that all the press, conferences, lectures, shows, installations are great for a while, it sometimes seems extra-disciplinary to me. If you are not careful you can get lost in it.

I think we all transform over time. I remember when I was an undergrad we thought Zaha was the greatest. But she was a different Zaha compared to now. The work was sharp like knives! My point is that I am not interested in locking in to something yet even though I know I have a very clear sensibility. I want to transform over time. I hope I am that resilient.

asking earlier about the changing nature of the game, and the nature of research or experimental work. In your work, the testing of materiality etc. occurred mostly through installations and pavilions and stuff like that, and then suddenly you’re jumping into 3,000-room hotels, 25,000-people arenas, and so on. We know there is this level of insanity in China when doing these kinds of things. The opportunities are there. Is that something that you feel WKH QDWXUH RI \RXU ZRUN UHOLHV RQ³D FHUWDLQ VFDOH WR UHDOO\ IXOÀOO it’s promise? How much of the nature of the current cultural frame GHÀQH WKH GHFLVLRQV RI WKH DUFKLWHFW" TOM:

My career is a bit more like a horseshoe than a steady slope.

Most of my career was spent doing big buildings for Wolf Prix, and beginning again from the ground up. I have been doing my own work for 5 years and it’s a work in progress. Even though my work might seem to be getting more complex, I am constantly trying to produce an effect of effortlessness, where a project is so clear formally, organizationally, and materially that it seems like it had to be exactly that way.

The foray into China last year was a strategic move. It has to do with my realization that I just love to do very big buildings. &KLQD LV WKH SODFH WR GR WKDW , KDYH WULHG WR UH RUJDQL]H P\ RIĂ€FH to support that, including dealing with the issue of marketing, brokers, travelling a lot to build a network, and getting out of my comfort zone in terms of meeting people outside my architectural circles. I love to do large buildings because they force you to interface with the world and a diversity of interests. They also allow \RX WR GHYHORS D FRPPXQLW\ LQ \RXU RIĂ€FH ZKLFK , HQMR\ But frankly it has been a very tough year. We won two competitions in Shenyang, which I naively thought would go down like in my previous experiences in Europe. They didn’t. I was asked to make endless changes, switch sites, change the program, dial it down, and the worst was: change the “style.â€? At some point it just didn’t make sense any more to continue on those. The good news is a developer in Beijing who saw our projects asked us to design a hotel in Beijing right after that. That project is currently in zoning approval. We’ll see if it goes through. No matter what, at least I feel comfortable in China now and have developed a network. And maybe the best thing was that I was forced to develop a prĂŞt-Ă -porter line of projects for China, which are a dialed-down version of my work. It is a very hard thing to do, but a good exercise.

HERNAN:

HERNAN:

HERNAN: How

much was a strategy, and how much was the nature of the project, the research and the work that takes you there? In a twisted way, you’re going in reverse – your early work seems way more buildable and way more logical in the traditional sense than your current work, and I’m intrigued by that, because I would say most people go the opposite. Most people start more radical and RYHU WLPH EHFRPH PRUH UDWLRQDOL]HG DQG PRUH ÀJXUHG RXW

TOM:

I would say that, conceptually (as opposed to formally) your work is rooted in Le Corbusier principles. My take in lookLQJ DW WKH KLVWRULF RSSRVLWLRQ GHĂ€QHG E\ PDQ\ DUFKLWHFWV DQG critics over the last 60 years, between Le Corbusier vs. Mies Van Der Rohe, is that it can be found in their approach to details.

Le Corbusier exposed the fragility of materiality while Van Der Rohe disguised details with materials. But when those Corbuserian principles became style, a new discussion arose. One thing I would criticize of your work is that is does potentially suffer the problem of becoming a style, or the baggage of stylistic features that you know to deploy. In this framework ,do you think style is a bad thing or a good thing?

TOM:

I have no problem with style, but like I was saying earlier, , WKLQN VW\OH QHHGV WR WUDQVIRUP RYHU WLPH ,I LW¡V À[HG WKHQ LW¡V PDQnerism, which is different. In my experience, you can get pretty far by combining and recombining a bag of tricks, but eventually, the work will no longer be innovative. For it to be innovative I think it sometimes has to jump outside issues of language into other ways of thinking about problems. Still, I think that it is very important to be obsessive enough about particular formal lineages that you can make discoveries. Right now I am really interested in the middle ground between surface and volume, where something razor-sharp and thin transforms into something thick and massive. It allows you to create really open forms with implied enclosure. They feel civic to me. I don’t know—is that a style?

HERNAN: I

know in the last two years, you’ve put a huge amount of SK\VLFDO ÀQDQFLDO HPRWLRQDO HIIRUW WU\LQJ WR JHW D VHULHV RI ELJ commissions in China going. I think this relates to what I was

Why Los Angeles, and why SCI-Arc as the place to develop your practice?

TOM:

Well, LA is my home and when I came back from Europe, it was the only place to go for me. SCI-Arc has made a huge difIHUHQFH LQ P\ OLIH )UDQNO\ P\ RIÀFH FRXOGQ¡W KDYH H[LVWHG WKHVH last years without it, on many levels. So I see SCI-Arc for its dual role of being and school primarily, but also a support structure for young practices. I’m very thankful to be part of it.

Cantilever, Materials Lab I SCI-Arc, 2011 Type: Year-long Composites Research Lab and Installation Instructor: Tom Wiscombe, Applied Studies Coordinator Design Team: Dave Bantz, Michael Gross, Paul Mecomber, Vince Pocsik Construction Coordination: Tom Benard, Henry Dominguez Engineering: Buro Happold Consulting Engineers, LA Composites Fabrication: Machineous, LA This project is an investigation into the advantages and limits of composite materials. Via an asymmetrical structural type—the cantilever—the goal was to create massive differences in stress patterns within an object and respond to those patterns in a way that would both index the structural diagram but also exceed it.

Composites are more than a class of materials; they imply a paradigm shift in architecture in terms of allowing real progress on the contemporary desire to blend formal, structural, and ornamental systems. They also engender a new way of thinking about assembly and engineering, where and structure cannot be broken down into discreet vectors. Continuous difference and variability in structural capacity, transparency, pattern, and color becomes the design space, as in nature.

The piece was evolved through a feedback loop between morphological developments and structural analysis in ANSYS, where features such as connective armatures and surface pleating were introduced over time. It was also informed by manufacturing logic, in terms of limitations of mold size, requirements for structural joining of components, and grading fiber density and orientation. Based on a consciously under-dimensioned overall thickness of 1/8� fiber-composite layup, a pattern of 2� fiberglass tape was created in order to locally respond to high stress conditions.

The tape operates as a figure embedded in the form: it is a translucent structural tattoo, which follows its own aesthetic logic as well as performance demands. Critical for the piece is the depth effect that is produced by being able to see the back side of the tattoo as a ghostly silhouette through layers of translucent material.

Cantilever is ultimately neither a simple expression of a structural type nor a readable response to forces. As in biology, it is a mutation which performs but does so in a non-optimal way. Its features are irreducible; they cannot be associated 1:1 with behaviors. Excess and obfuscation define the project as much as structural and material intelligence.

Special thanks to Buro Happold Consulting Engineers, Machineous, and ZCorp for their generous contributions to the project.

13

ALUMNI EVENTS & NEWS

Solar Decathlon, Washington D.C.

IT IS WHAT IT DOES

1.

Guests at the SCI-Arc launch celebration held at the Hirshhorn Museum and Sculpture Garden

There are a couple of reasons why the Solar Decathlon Competition—Washington DC, 2011—is the perfect challenge for a SCI-Arc design and engineering team.

2.

Michael Cook (M.Arch ’95) and Susanne Garvey 3.

SCI-Arc Director of Development Bill Kramer and Karol Williams (M.Arch ’83) 4.

SCI-Arc/Caltech team member Wilson Chang and SCI-Arc Director of Academic Affairs Hsingming Fung 5.

Gabriel Lopez Vazquez (M.Arch ’95), Leila Schey, Jeremy Whitener (M.Arch ’04), Rebecca Whitener 6.

Aerial view of the Solar Decathlon Competition on the Mall. CHIP is at far right 7.

SCI-Arc/Caltech 2011 Solar Decathlon Team 8.

Jane Suthigoseeya, Wilson Chang, guest, Paul Cambon listen to Eric Owen Moss speak at SCI-Arc Solar Decathlon launch event 9.

Eric Owen Moss speaks at SCI-Arc Solar Decathlon launch event 10.

Hyungbin Im, Solar Decathlon team faculty advisor Wes Jones and Robert Cardenas (B.Arch ’11)

The debate regarding the efficacy of solar, wind, geothermal, and other alternative energy options, is in the offing: It’s a developers’ debate.

It’s a bankers’ debate.

It’s a politicians’ debate.

It’s an engineers’ debate.

It’s an architects’ debate.

America’s future energy priorities will certainly be re-imagined and re-arranged.

And the conclusions are unlikely to replicate the current dependence on fossil fuels. But what that future will look like, and in what time frame, is not yet clear.

SCI-Arc’s CHIP [Compact Hyper-Insulated Prototype] proposal anticipates what might be next.

That “what’s next for housing and energy� discourse, along with concomitant considerations of construction strategies (sizes, shapes, materials) and a broad range of sociological and organizational options—all these as yet indeterminate prospects allow SCI-Arc students and faculty to engage, comment, and propose solutions. SCI-Arc is less interested in engaging topics in design, engineering, fabrication, and construction that have been solved and resolved.

So the CHIP proposition at the Solar Decathlon venue allows SCI-Arc students and faculty to deliberate, and propose a new vision of America’s housing future.

Take a walk around the Solar Decathlon site at the Tidal Basin next to the Mall in Washington.

Examine the efforts at re-imagining America’s housing prospects. Architecture and engineering students and faculty from Shanghai, from Brussels, from New Zealand, Canada, and all around the US have designed and constructed their propositions for housings’ future.

And there is an interesting quandary here in those proposals that is worth examining. Housing in America has a typical form language. That is to say, there are one or two recognizable building types that are conventionally constructed by developer traditionalists, intended to appeal to a presumed consumer constituency in America, and what that constituency is typically willing to purchase. The fundamental design and economic issue, underlying the competition, is whether an alternative image, an alternate visual and organizational proposition, will be palatable to that American consumer, or whether design for future needs must acknowledge the predictable images of shed roof or modern box that most frequently constitute the traditional American home. Looking at that as yet indeterminate future, SCI-Arc is convinced that the alternative design option is a plausible consumer choice.

The SCI-Arc proposal is unique because, conceptually, it is what it is because it does what it does. The designers have rejected any obligations to the box and shed precedents. That’s SCI-Arc’s tactical approach. Rather than subscribe to the standard imagery, SCI-Arc designed and engineered the CHIP prototype premised on the notion that if we re-organized the social order of the house, if we re-imagined the role of energy, insulation, and material choices, and if we re-invented the standard electrical, mechanical, and structural engineering priorities we would disrupt the traditional image of the American house, and produce a very different object.

Indeed, in the end SCI-Arc has really taken on the question of livability in American housing and offered a new sensibility for both its content and its character.

The CHIP is a welcome address to an alternative housing future.

ERIC OWEN MOSS WASHINGTON D.C. SEPTEMBER 23, 2011

CHIP interior, Solar Decathlon 2011

ALUMNI SUPPORT SCI-ARC FOR SOLAR DECATHLON D.C.-area alumni, friends and supporters gathered on the evening of Thursday, September 22 to commemorate the launch of the Department of Energy’s biannual Solar Decathlon Competition and celebrate the SCI-Arc/Caltech 2011 Solar Decathlon team and their many project partners.

The event, sponsored by the 9LQ\O ,QVWLWXWH, was hosted by the Hirshhorn Museum and Sculpture Garden in Washington D.C., and was attended by more than 150 guests including SCIArc Director Eric Owen Moss, Caltech Resnick Institute Director Harry Atwater, and trustees, alumni and friends from both institutions.

Eric Owen Moss addressed the group, expressing his pride that the SCI-Arc/Caltech designed CHIP house was both innovative and unique, and thanking the many people and partners who made it SRVVLEOH &+,3 ÀQLVKHG WK RXW RI HQWUDQWV LQ WKH 6RODU 'HFDWKlon 2011 competition. Of the 24 participants in the Solar Decathlon team over the two-year competition, 12 are part of the 2011 graduating class. Congratulations to our newest alumni on their outstanding success!

FROM ARCHITECTURE TO VIDEO GAME ARTIST Seattle-based alumnus Sherif Habashi (B.Arch ’94) is an exemplar for the varied career trajectory that begins with a SCI-Arc degree. Upon receiving his B.Arch at SCI-Arc, Habashi returned to his home country of Egypt, where he won an international design competition for the American University in Cairo.

Habashi ran the family construction management business for six years before rekindling his passion for design by returning to Los Angeles to pursue a Master of Science in Industrial Design at Art Center.

After completing his M.Sc in 2002, he became Creative Director for a production company, leading on set design for televiVLRQ DQG Ă€OP QHWZRUNV LQFOXGLQJ $%& &%6 079 DQG :DUQHU Bros. Over the next few years, Habashi’s design focus translated from the physical to the virtual world, which led him to a career in Video Games Art. As Senior Concept Artist for Microsoft Game Studios, Habashi develops art concepts and designs virtual environments for the Xbox game series. He has become recognized by Microsoft as the in-house expert for environment and architectural design within the video games animation world, which he credits to his SCI-Arc education. “Many schools can teach the technical skills necessary for execution of a product, but everything I learned about design was because of my time at SCI-Arc.â€?

At Microsoft, Habashi is currently in collaboration with Lucas Arts in the development of a Star Wars Xbox game due for release in early 2012.

14

PACIFIC NORTHWEST ALUMNI EVENT HOSTED BY ERIC CHEONG 7KH KRVW IRU 2FWREHU·V 3DFLÃ&#x20AC;F 1RUWKZHVW $OXPQL HYHQW Eric Cheong 0 $UFK · KDV UHFHQWO\ UHWXUQHG WR WKH :HVW &RDVW DIWHU VSHQGLQJ PRUH WKDQ Ã&#x20AC;YH \HDUV DV D VHQLRU DUFKLWHFWXUDO DQG LQWHULRU GHVLJQHU LQ 1HZ <RUN 'XULQJ KLV WLPH WKHUH (ULF ZDV 9LFH 3UHVLGHQW DW EXLOGLQJ DQG LQWHULRUV Ã&#x20AC;UP 5RPDQ DQG :LOOLDPV WKHQ VSHQW D \HDU DV D SULQFLSDO RI KLV RZQ Ã&#x20AC;UP EHIRUH KH ZDV DSSURDFKHG WR EH 'LUHFWRU IRU $WHOLHU $FH WKH FXWWLQJ HGJH FUHDWLYH VHUYLFHV VWXGLR UHVSRQVLEOH IRU WKH $FH KRWHOV DQG UHODWHG EUDQG EDVHG LQ 3RUWODQG 2UHJRQ &KHRQJ·V GHVLJQ FDUHHU KDV WUDYHOOHG ZHOO EH\RQG WKH 8QLWHG 6WDWHV FRDVWV KRZHYHU :KLOH ZRUNLQJ RQ KLV %DFKHORU RI $UFKLWHFWXUH GHJUHH DW *HRUJLD ,QVWLWXWH RI 7HFKQRORJ\ EHWZHHQ DQG 1 &KHRQJ VSHQW D \HDU ZRUNLQJ DORQJVLGH 6&, $UF $OXPQXV Brendan MacFarlane % $UFK 1 · DW -DNRE 0DF)DUODQH 6DUO G·$UFKLWHFWXUH LQ 3DULV DIWHU FRPSOHWLQJ KLV \HDU DEURDG VWXG\LQJ DW 83 (FROH G·$UFKLWHFWXUH GH 3DULV /D 9LOOHWH 8SRQ UHFHLYLQJ KLV % $UFK LQ &KHRQJ ZRUNHG DV DQ DUFKLWHFW DQG SURMHFW PDQDJHU LQ 1HZ <RUN EHIRUH KH FDPH WR 6&, $UF DQG FRPSOHWHG KLV 0 $UFK LQ &KHRQJ FUHGLWV KLV SURIHVVLRQDO VXFFHVV QRW RQO\ WR WKH GHVLJQ VNLOOV KH OHDUQHG DW 6&, $UF EXW DOVR WR WKH ZLGH QHWZRUN RI DOXPQL DQG IDFXOW\ WKDW KH KDV UHPDLQHG FORVH WR RYHU WKH \HDUV :KHQ SUHVHQWHG WKH RSSRUWXQLW\ WR KRVW D 3DFLÃ&#x20AC;F 1RUWKZHVW $OXPQL (YHQW KH ZDV JUDFLRXV LQ DFFHSWLQJ WKH FKDOOHQJH ´, ORYH 6&, $UF ,W ZDV RQO\ D PDWWHU RI WLPH EHIRUH , JRW EDFN WR EHLQJ PRUH LQYROYHG ZLWK WKH VFKRRO µ 7KH 3DFLÃ&#x20AC;F 1RUWKZHVW $OXPQL (YHQW ZDV KHOG DW WKH $WHOLHU $FH RIÃ&#x20AC;FHV LQ 3RUWODQG RQ 2FWREHU 3KRWRV IURP WKH HYHQW ZLOO EH IHDWXUHG LQ WKH QH[W LVVXH RI WKH PDJD]LQH

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2

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Ã&#x20AC;QDQFLDO VWUHQJWK RI 6&, $UF Q +RVWLQJ DOXPQL QHWZRUNLQJ DQG VRFLDO HYHQWV DURXQG WKH ZRUOG Q Q

)RU PRUH LQIRUPDWLRQ RQ WKH $OXPQL &RXQFLO LWV FRPPLWWHHV RU RQ KRZ WR JHW LQYROYHG SOHDVH FRQWDFW $LPHH 5LFKHU $VVRFLDWH 'LUHFWRU RI $QQXDO *LYLQJ DQG $OXPQL $IIDLUV DW RU DLPHHBULFKHU#VFLDUF HGX /RRNLQJ IRUZDUG WR \RXU SDUWLFLSDWLRQ , DP NERIN KADRIBEGOVIC, AIA (M.ARCH â&#x20AC;&#x2122;03) 2011-2012 ALUMNI COUNCIL ALUMNI REPRESENTATIVE TO THE SCI-ARC BOARD OF TRUSTEES

5

SCI-Arc Alumni Council 2011-12 Dean Nota (B.Arch â&#x20AC;&#x2122;74), Chair Nerin Kadribegovic (M.Arch â&#x20AC;&#x2122;03) Alumni Representative to the Board

Open Season/Career Services Committee Johnny Ramirios (B.Arch â&#x20AC;&#x2122;05) Santino Medina (M.Arch â&#x20AC;&#x2122;06)

Nominations Committee Dean Nota (B.Arch â&#x20AC;&#x2122;74) Steve Wagner (M.Arch â&#x20AC;&#x2122;84) Elissa Scrafano (M.Arch â&#x20AC;&#x2122;90) Nerin Kadribegovic (M.Arch â&#x20AC;&#x2122;03)

Fundraising Committee Elissa Scrafano (M.Arch â&#x20AC;&#x2122;90) Nerin Kadribegovic (M.Arch â&#x20AC;&#x2122;03) Dean Nota (B.Arch â&#x20AC;&#x2122;76)

Los Angeles Events Committee/ Main Event 10 Committee Elissa Scrafano (M.Arch â&#x20AC;&#x2122;90) Christian Schulz (M.Arch â&#x20AC;&#x2122;01) Adam Goldstein (M.Arch â&#x20AC;&#x2122;01) Steve Wagner (M.Arch â&#x20AC;&#x2122;84) Regional Committee Boston Beth Gibb (M.Arch â&#x20AC;&#x2122;89) Miami Steven Morales Suarez (B.Arch â&#x20AC;&#x2122;04) Mid-Atlantic States Michael Cook (M.Arch â&#x20AC;&#x2122;95) Midwest Michael Poris (M.Arch â&#x20AC;&#x2122;90) New York Abby Scheuer (M.Arch â&#x20AC;&#x2122;93) Pacific Northwest Cherry Snelling (M.Arch â&#x20AC;&#x2122;97) Rocky Mountain States Julee Herdt (M.Arch â&#x20AC;&#x2122;88) San Francisco Alex Pettas (M.Arch â&#x20AC;&#x2122;06) Japan Mirai Morita (M.Arch â&#x20AC;&#x2122;06) Europe Pia Schneider (M.Arch â&#x20AC;&#x2122;86) Asia Elita Seow (B.Arch â&#x20AC;&#x2122;03) Mexico Joe Tarr (M.Arch â&#x20AC;&#x2122;08)

Research Committee Sepa Sama (B.Arch â&#x20AC;&#x2122;08) Student Recruiting Committee Beth Gibb (M.Arch â&#x20AC;&#x2122;89) Julee Herdt (M.Arch â&#x20AC;&#x2122;88) Steven Morales Suarez (B.Arch â&#x20AC;&#x2122;04) Joshua Coggeshall (M.Arch â&#x20AC;&#x2122;97) Alex Pettas (M.Arch â&#x20AC;&#x2122;06) Lilliana Castro (B.Arch â&#x20AC;&#x2122;08) Continuing Education Committee Paras Nanavati (B.Arch â&#x20AC;&#x2122;04) Alumni Exhibits and Media Committee Santino Medina (M.Arch â&#x20AC;&#x2122;06) Lilliana Castro (B.Arch â&#x20AC;&#x2122;08) Nerin Kadribegovic (M.Arch â&#x20AC;&#x2122;03) Steven Purvis (M.Arch â&#x20AC;&#x2122;06) Alex Pettas (M.Arch â&#x20AC;&#x2122;06)

13

ALUMNI EVENTS & NEWS

Solar Decathlon, Washington D.C.

IT IS WHAT IT DOES

1.

Guests at the SCI-Arc launch celebration held at the Hirshhorn Museum and Sculpture Garden

There are a couple of reasons why the Solar Decathlon Competitionâ&#x20AC;&#x201D;Washington DC, 2011â&#x20AC;&#x201D;is the perfect challenge for a SCI-Arc design and engineering team.

2.

Michael Cook (M.Arch â&#x20AC;&#x2122;95) and Susanne Garvey 3.

SCI-Arc Director of Development Bill Kramer and Karol Williams (M.Arch â&#x20AC;&#x2122;83) 4.

SCI-Arc/Caltech team member Wilson Chang and SCI-Arc Director of Academic Affairs Hsingming Fung 5.

Gabriel Lopez Vazquez (M.Arch â&#x20AC;&#x2122;95), Leila Schey, Jeremy Whitener (M.Arch â&#x20AC;&#x2122;04), Rebecca Whitener 6.

Aerial view of the Solar Decathlon Competition on the Mall. CHIP is at far right 7.

SCI-Arc/Caltech 2011 Solar Decathlon Team 8.

Jane Suthigoseeya, Wilson Chang, guest, Paul Cambon listen to Eric Owen Moss speak at SCI-Arc Solar Decathlon launch event 9.

Eric Owen Moss speaks at SCI-Arc Solar Decathlon launch event 10.

Hyungbin Im, Solar Decathlon team faculty advisor Wes Jones and Robert Cardenas (B.Arch â&#x20AC;&#x2122;11)

The debate regarding the efficacy of solar, wind, geothermal, and other alternative energy options, is in the offing: Itâ&#x20AC;&#x2122;s a developersâ&#x20AC;&#x2122; debate.

Itâ&#x20AC;&#x2122;s a bankersâ&#x20AC;&#x2122; debate.

Itâ&#x20AC;&#x2122;s a politiciansâ&#x20AC;&#x2122; debate.

Itâ&#x20AC;&#x2122;s an engineersâ&#x20AC;&#x2122; debate.

Itâ&#x20AC;&#x2122;s an architectsâ&#x20AC;&#x2122; debate.

Americaâ&#x20AC;&#x2122;s future energy priorities will certainly be re-imagined and re-arranged.

6 And the conclusions are unlikely to replicate the current dependence on fossil fuels. But what that future will look like, and in what time frame, is not yet clear.

SCI-Arcâ&#x20AC;&#x2122;s CHIP [Compact Hyper-Insulated Prototype] proposal anticipates what might be next.

That â&#x20AC;&#x153;whatâ&#x20AC;&#x2122;s next for housing and energyâ&#x20AC;? discourse, along with concomitant considerations of construction strategies (sizes, shapes, materials) and a broad range of sociological and organizational optionsâ&#x20AC;&#x201D;all these as yet indeterminate prospects allow SCI-Arc students and faculty to engage, comment, and propose solutions. SCI-Arc is less interested in engaging topics in design, engineering, fabrication, and construction that have been solved and resolved.

So the CHIP proposition at the Solar Decathlon venue allows SCI-Arc students and faculty to deliberate, and propose a new vision of Americaâ&#x20AC;&#x2122;s housing future.

Take a walk around the Solar Decathlon site at the Tidal Basin next to the Mall in Washington.

Examine the efforts at re-imagining Americaâ&#x20AC;&#x2122;s housing prospects. Architecture and engineering students and faculty from Shanghai, from Brussels, from New Zealand, Canada, and all around the US have designed and constructed their propositions for housingsâ&#x20AC;&#x2122; future.

And there is an interesting quandary here in those proposals that is worth examining. Housing in America has a typical form language. That is to say, there are one or two recognizable building types that are conventionally constructed by developer traditionalists, intended to appeal to a presumed consumer constituency in America, and what that constituency is typically willing to purchase. The fundamental design and economic issue, underlying the competition, is whether an alternative image, an alternate visual and organizational proposition, will be palatable to that American consumer, or whether design for future needs must acknowledge the predictable images of shed roof or modern box that most frequently constitute the traditional American home. Looking at that as yet indeterminate future, SCI-Arc is convinced that the alternative design option is a plausible consumer choice.

The SCI-Arc proposal is unique because, conceptually, it is what it is because it does what it does. The designers have rejected any obligations to the box and shed precedents. Thatâ&#x20AC;&#x2122;s SCI-Arcâ&#x20AC;&#x2122;s tactical approach. Rather than subscribe to the standard imagery, SCI-Arc designed and engineered the CHIP prototype premised on the notion that if we re-organized the social order of the house, if we re-imagined the role of energy, insulation, and material choices, and if we re-invented the standard electrical, mechanical, and structural engineering priorities we would disrupt the traditional image of the American house, and produce a very different object.

Indeed, in the end SCI-Arc has really taken on the question of livability in American housing and offered a new sensibility for both its content and its character.

The CHIP is a welcome address to an alternative housing future.

ERIC OWEN MOSS WASHINGTON D.C. SEPTEMBER 23, 2011

CHIP interior, Solar Decathlon 2011

7

ALUMNI SUPPORT SCI-ARC FOR SOLAR DECATHLON D.C.-area alumni, friends and supporters gathered on the evening of Thursday, September 22 to commemorate the launch of the Department of Energyâ&#x20AC;&#x2122;s biannual Solar Decathlon Competition and celebrate the SCI-Arc/Caltech 2011 Solar Decathlon team and their many project partners.

The event, sponsored by the Vinyl Institute, was hosted by the Hirshhorn Museum and Sculpture Garden in Washington D.C., and was attended by more than 150 guests including SCIArc Director Eric Owen Moss, Caltech Resnick Institute Director Harry Atwater, and trustees, alumni and friends from both institutions.

Eric Owen Moss addressed the group, expressing his pride that the SCI-Arc/Caltech designed CHIP house was both innovative and unique, and thanking the many people and partners who made it SRVVLEOH &+,3 Ă&#x20AC;QLVKHG WK RXW RI HQWUDQWV LQ WKH 6RODU 'HFDWKlon 2011 competition. Of the 24 participants in the Solar Decathlon team over the two-year competition, 12 are part of the 2011 graduating class. Congratulations to our newest alumni on their outstanding success!

FROM ARCHITECTURE TO VIDEO GAME ARTIST 6HDWWOH EDVHG DOXPQXV 6KHULI +DEDVKL % $UFK ¡ LV DQ H[HPSODU for the varied career trajectory that begins with a SCI-Arc degree.

Upon receiving his B.Arch at SCI-Arc, Habashi returned to his home country of Egypt, where he won an international design competition for the American University in Cairo. Habashi ran the family construction management business for six years before rekindling his passion for design by returning to Los Angeles to pursue a Master of Science in Industrial Design at Art Center.

After completing his M.Sc in 2002, he became Creative Director for a production company, leading on set design for televiVLRQ DQG Ă&#x20AC;OP QHWZRUNV LQFOXGLQJ $%& &%6 079 DQG :DUQHU Bros. Over the next few years, Habashiâ&#x20AC;&#x2122;s design focus translated from the physical to the virtual world, which led him to a career LQ 9LGHR *DPHV $UW $V 6HQLRU &RQFHSW $UWLVW IRU 0LFURVRIW *DPH 6WXGLRV +Dbashi develops art concepts and designs virtual environments for the Xbox game series. He has become recognized by Microsoft as the in-house expert for environment and architectural design within the video games animation world, which he credits to his SCI-Arc education. â&#x20AC;&#x153;Many schools can teach the technical skills necessary for execution of a product, but everything I learned about design was because of my time at SCI-Arc.â&#x20AC;?

At Microsoft, Habashi is currently in collaboration with Lucas Arts in the development of a Star Wars Xbox game due for release in early 2012.

14

PACIFIC NORTHWEST ALUMNI EVENT HOSTED BY ERIC CHEONG 7KH KRVW IRU 2FWREHU¡V 3DFLĂ&#x20AC;F 1RUWKZHVW $OXPQL HYHQW Eric Cheong 0 $UFK ¡ KDV UHFHQWO\ UHWXUQHG WR WKH :HVW &RDVW DIWHU VSHQGLQJ PRUH WKDQ Ă&#x20AC;YH \HDUV DV D VHQLRU DUFKLWHFWXUDO DQG LQWHULRU GHVLJQHU LQ 1HZ <RUN 'XULQJ KLV WLPH WKHUH (ULF ZDV 9LFH 3UHVLGHQW DW EXLOGLQJ DQG LQWHULRUV Ă&#x20AC;UP 5RPDQ DQG :LOOLDPV WKHQ VSHQW D \HDU DV D SULQFLSDO RI KLV RZQ Ă&#x20AC;UP EHIRUH KH ZDV DSSURDFKHG WR EH Director for Atelier Ace, the cutting edge creative services studio responsible for the Ace hotels and related brand based in Portland, Oregon.

Cheongâ&#x20AC;&#x2122;s design career has travelled well beyond the United States coasts, however. While workLQJ RQ KLV %DFKHORU RI $UFKLWHFWXUH GHJUHH DW *HRUJLD ,QVWLWXWH RI 7HFKQRORJ\ EHWZHHQ DQG 2000, Cheong spent a year working alongside SCI-Arc Alumnus Brendan MacFarlane (B. Arch ¡ DW -DNRE 0DF)DUODQH 6DUO G¡$UFKLWHFWXUH LQ 3DULV DIWHU FRPSOHWLQJ KLV \HDU DEURDG VWXG\LQJ DW 83 (FROH G¡$UFKLWHFWXUH GH 3DULV /D 9LOOHWH 8SRQ UHFHLYLQJ KLV % $UFK LQ &KHRQJ ZRUNHG DV DQ DUFKLWHFW DQG SURMHFW PDQDJHU LQ 1HZ <RUN EHIRUH KH FDPH WR 6&, $UF DQG FRPSOHWHG KLV 0 $UFK LQ Cheong credits his professional success not only to the design skills he learned at SCI-Arc, but also to the wide network of alumni and faculty that he has remained close to over the years. :KHQ SUHVHQWHG WKH RSSRUWXQLW\ WR KRVW D 3DFLĂ&#x20AC;F 1RUWKZHVW $OXPQL (YHQW KH ZDV JUDFLRXV LQ accepting the challenge. â&#x20AC;&#x153;I love SCI-Arc. It was only a matter of time before I got back to being more involved with the school.â&#x20AC;?

7KH 3DFLĂ&#x20AC;F 1RUWKZHVW $OXPQL (YHQW ZDV KHOG DW WKH $WHOLHU $FH RIĂ&#x20AC;FHV LQ 3RUWODQG RQ 2FWREHU 21, 2011. Photos from the event will be featured in the next issue of the magazine.

Eric Cheong (M. Arch â&#x20AC;&#x2122;05)

REPORT FROM THE ALUMNI COUNCIL I am thrilled to report the founding of the 2011-2012 SCI-Arc Alumni Council, SCI-Arcâ&#x20AC;&#x2122;s primary DOXPQL YROXQWHHU JURXS :LWK 'HDQ 1RWD % $UFK ¡ FKDLULQJ WKH &RXQFLO LQFOXGHV PHPEHUV UHSUHsenting a wide variety of ages, degrees, professions, and regions throughout the country and the world.

The mission of the SCI-Arc Alumni Council is to foster alumni collaboration and communication between each other, the school, and the students. Council members work to provide a collective voice for alumni and a strong link between SCI-Arc and the professional world beyond the school.

6HJPHQWHG LQWR IRFXVHG FRPPLWWHHV DQG ZRUNLQJ FORVHO\ ZLWK WKH 6&, $UF 2IĂ&#x20AC;FH RI 'HYHORSPHQW and Alumni Affairs, the Council achieves its mission by: Helping facilitate intra-alumni communications and communications with SCI-Arc Aiding SCI-Arc students and alumni with their professional growth through net working and recruitment programs Q Acting as ambassadors for SCI-Arc in promoting a positive identity for the school and promoting standing of SCI-Arc in professional and academic circles Q Providing counsel to SCI-Arc leadership on alumni needs Q Helping recruit students for admission to SCI-Arc Q Encouraging alumni participation in SCI-Arc collaborations, exhibits, community outreach Q (QVXULQJ WKH Ă&#x20AC;QDQFLDO VWUHQJWK RI 6&, $UF Q Hosting alumni networking and social events around the world Q Q

)RU PRUH LQIRUPDWLRQ RQ WKH $OXPQL &RXQFLO LWV FRPPLWWHHV RU RQ KRZ WR JHW LQYROYHG SOHDVH FRQWDFW $LPHH 5LFKHU $VVRFLDWH 'LUHFWRU RI $QQXDO *LYLQJ DQG $OXPQL $IIDLUV DW RU aimee_richer@sciarc.edu.

Looking forward to your participation, I am.

NERIN KADRIBEGOVIC, AIA (M.ARCH â&#x20AC;&#x2122;03) 2011-2012 ALUMNI COUNCIL ALUMNI REPRESENTATIVE TO THE SCI-ARC BOARD OF TRUSTEES

SCI-Arc Alumni Council 2011-12 Dean Nota (B.Arch â&#x20AC;&#x2122;74), Chair Nerin Kadribegovic (M.Arch â&#x20AC;&#x2122;03) Alumni Representative to the Board

Open Season/Career Services Committee Johnny Ramirios (B.Arch â&#x20AC;&#x2122;05) Santino Medina (M.Arch â&#x20AC;&#x2122;06)

Nominations Committee Dean Nota (B.Arch â&#x20AC;&#x2122;74) Steve Wagner (M.Arch â&#x20AC;&#x2122;84) Elissa Scrafano (M.Arch â&#x20AC;&#x2122;90) Nerin Kadribegovic (M.Arch â&#x20AC;&#x2122;03)

Fundraising Committee Elissa Scrafano (M.Arch â&#x20AC;&#x2122;90) Nerin Kadribegovic (M.Arch â&#x20AC;&#x2122;03) Dean Nota (B.Arch â&#x20AC;&#x2122;76)

Los Angeles Events Committee/ Main Event 10 Committee Elissa Scrafano (M.Arch â&#x20AC;&#x2122;90) Christian Schulz (M.Arch â&#x20AC;&#x2122;01) Adam Goldstein (M.Arch â&#x20AC;&#x2122;01) Steve Wagner (M.Arch â&#x20AC;&#x2122;84) Regional Committee Boston Beth Gibb (M.Arch â&#x20AC;&#x2122;89) Miami Steven Morales Suarez (B.Arch â&#x20AC;&#x2122;04) Mid-Atlantic States Michael Cook (M.Arch â&#x20AC;&#x2122;95) Midwest Michael Poris (M.Arch â&#x20AC;&#x2122;90) New York Abby Scheuer (M.Arch â&#x20AC;&#x2122;93) Pacific Northwest Cherry Snelling (M.Arch â&#x20AC;&#x2122;97) Rocky Mountain States Julee Herdt (M.Arch â&#x20AC;&#x2122;88) San Francisco Alex Pettas (M.Arch â&#x20AC;&#x2122;06) Japan Mirai Morita (M.Arch â&#x20AC;&#x2122;06) Europe Pia Schneider (M.Arch â&#x20AC;&#x2122;86) Asia Elita Seow (B.Arch â&#x20AC;&#x2122;03) Mexico Joe Tarr (M.Arch â&#x20AC;&#x2122;08)

Research Committee Sepa Sama (B.Arch â&#x20AC;&#x2122;08) Student Recruiting Committee Beth Gibb (M.Arch â&#x20AC;&#x2122;89) Julee Herdt (M.Arch â&#x20AC;&#x2122;88) Steven Morales Suarez (B.Arch â&#x20AC;&#x2122;04) Joshua Coggeshall (M.Arch â&#x20AC;&#x2122;97) Alex Pettas (M.Arch â&#x20AC;&#x2122;06) Lilliana Castro (B.Arch â&#x20AC;&#x2122;08) Continuing Education Committee Paras Nanavati (B.Arch â&#x20AC;&#x2122;04) Alumni Exhibits and Media Committee Santino Medina (M.Arch â&#x20AC;&#x2122;06) Lilliana Castro (B.Arch â&#x20AC;&#x2122;08) Nerin Kadribegovic (M.Arch â&#x20AC;&#x2122;03) Steven Purvis (M.Arch â&#x20AC;&#x2122;06) Alex Pettas (M.Arch â&#x20AC;&#x2122;06)

13

ALUMNI EVENTS & NEWS

Solar Decathlon, Washington D.C.

IT IS WHAT IT DOES

1.

Guests at the SCI-Arc launch celebration held at the Hirshhorn Museum and Sculpture Garden

There are a couple of reasons why the Solar Decathlon Competitionâ&#x20AC;&#x201D;Washington DC, 2011â&#x20AC;&#x201D;is the perfect challenge for a SCI-Arc design and engineering team.

2.

Michael Cook (M.Arch â&#x20AC;&#x2122;95) and Susanne Garvey 3.

SCI-Arc Director of Development Bill Kramer and Karol Williams (M.Arch â&#x20AC;&#x2122;83) 4.

SCI-Arc/Caltech team member Wilson Chang and SCI-Arc Director of Academic Affairs Hsingming Fung 5.

Gabriel Lopez Vazquez (M.Arch â&#x20AC;&#x2122;95), Leila Schey, Jeremy Whitener (M.Arch â&#x20AC;&#x2122;04), Rebecca Whitener 6.

Aerial view of the Solar Decathlon Competition on the Mall. CHIP is at far right 7.

SCI-Arc/Caltech 2011 Solar Decathlon Team 8.

Jane Suthigoseeya, Wilson Chang, guest, Paul Cambon listen to Eric Owen Moss speak at SCI-Arc Solar Decathlon launch event 9.

Eric Owen Moss speaks at SCI-Arc Solar Decathlon launch event 10.

Hyungbin Im, Solar Decathlon team faculty advisor Wes Jones and Robert Cardenas (B.Arch â&#x20AC;&#x2122;11)

The debate regarding the efficacy of solar, wind, geothermal, and other alternative energy options, is in the offing: Itâ&#x20AC;&#x2122;s a developersâ&#x20AC;&#x2122; debate.

Itâ&#x20AC;&#x2122;s a bankersâ&#x20AC;&#x2122; debate.

Itâ&#x20AC;&#x2122;s a politiciansâ&#x20AC;&#x2122; debate.

Itâ&#x20AC;&#x2122;s an engineersâ&#x20AC;&#x2122; debate.

Itâ&#x20AC;&#x2122;s an architectsâ&#x20AC;&#x2122; debate.

Americaâ&#x20AC;&#x2122;s future energy priorities will certainly be re-imagined and re-arranged.

8 And the conclusions are unlikely to replicate the current dependence on fossil fuels. But what that future will look like, and in what time frame, is not yet clear.

SCI-Arcâ&#x20AC;&#x2122;s CHIP [Compact Hyper-Insulated Prototype] proposal anticipates what might be next.

That â&#x20AC;&#x153;whatâ&#x20AC;&#x2122;s next for housing and energyâ&#x20AC;? discourse, along with concomitant considerations of construction strategies (sizes, shapes, materials) and a broad range of sociological and organizational optionsâ&#x20AC;&#x201D;all these as yet indeterminate prospects allow SCI-Arc students and faculty to engage, comment, and propose solutions. SCI-Arc is less interested in engaging topics in design, engineering, fabrication, and construction that have been solved and resolved.

So the CHIP proposition at the Solar Decathlon venue allows SCI-Arc students and faculty to deliberate, and propose a new vision of Americaâ&#x20AC;&#x2122;s housing future.

Take a walk around the Solar Decathlon site at the Tidal Basin next to the Mall in Washington.

Examine the efforts at re-imagining Americaâ&#x20AC;&#x2122;s housing prospects. Architecture and engineering students and faculty from Shanghai, from Brussels, from New Zealand, Canada, and all around the US have designed and constructed their propositions for housingsâ&#x20AC;&#x2122; future.

And there is an interesting quandary here in those proposals that is worth examining. Housing in America has a typical form language. That is to say, there are one or two recognizable building types that are conventionally constructed by developer traditionalists, intended to appeal to a presumed consumer constituency in America, and what that constituency is typically willing to purchase. The fundamental design and economic issue, underlying the competition, is whether an alternative image, an alternate visual and organizational proposition, will be palatable to that American consumer, or whether design for future needs must acknowledge the predictable images of shed roof or modern box that most frequently constitute the traditional American home. Looking at that as yet indeterminate future, SCI-Arc is convinced that the alternative design option is a plausible consumer choice.

The SCI-Arc proposal is unique because, conceptually, it is what it is because it does what it does. The designers have rejected any obligations to the box and shed precedents.

9 Thatâ&#x20AC;&#x2122;s SCI-Arcâ&#x20AC;&#x2122;s tactical approach. Rather than subscribe to the standard imagery, SCI-Arc designed and engineered the CHIP prototype premised on the notion that if we re-organized the social order of the house, if we re-imagined the role of energy, insulation, and material choices, and if we re-invented the standard electrical, mechanical, and structural engineering priorities we would disrupt the traditional image of the American house, and produce a very different object.

Indeed, in the end SCI-Arc has really taken on the question of livability in American housing and offered a new sensibility for both its content and its character.

The CHIP is a welcome address to an alternative housing future.

ERIC OWEN MOSS WASHINGTON D.C. SEPTEMBER 23, 2011

CHIP interior, Solar Decathlon 2011

10

ALUMNI SUPPORT SCI-ARC FOR SOLAR DECATHLON D.C.-area alumni, friends and supporters gathered on the evening of Thursday, September 22 to commemorate the launch of the Department of Energyâ&#x20AC;&#x2122;s biannual Solar Decathlon Competition and celebrate the SCI-Arc/Caltech 2011 Solar Decathlon team and their many project partners.

The event, sponsored by the Vinyl Institute, was hosted by the Hirshhorn Museum and Sculpture Garden in Washington D.C., and was attended by more than 150 guests including SCIArc Director Eric Owen Moss, Caltech Resnick Institute Director Harry Atwater, and trustees, alumni and friends from both institutions.

Eric Owen Moss addressed the group, expressing his pride that the SCI-Arc/Caltech designed CHIP house was both innovative and unique, and thanking the many people and partners who made it SRVVLEOH &+,3 Ă&#x20AC;QLVKHG WK RXW RI HQWUDQWV LQ WKH 6RODU 'HFDWKlon 2011 competition. Of the 24 participants in the Solar Decathlon team over the two-year competition, 12 are part of the 2011 graduating class. Congratulations to our newest alumni on their outstanding success!

FROM ARCHITECTURE TO VIDEO GAME ARTIST Seattle-based alumnus Sherif Habashi % $UFK ¡ LV DQ H[HPSODU IRU WKH YDUied career trajectory that begins with a SCI-Arc degree. Upon receiving his B.Arch at SCI-Arc, Habashi returned to his home country of Egypt, where he won an international design competition for the American University in Cairo.

Habashi ran the family construction management business for six years before rekindling his passion for design by returning to Los Angeles to pursue a Master of Science in Industrial Design at Art Center.

After completing his M.Sc in 2002, he became Creative Director for a production company, leading on set design for televiVLRQ DQG Ă&#x20AC;OP QHWZRUNV LQFOXGLQJ $%& &%6 079 DQG :DUQHU Bros. Over the next few years, Habashiâ&#x20AC;&#x2122;s design focus translated from the physical to the virtual world, which led him to a career LQ 9LGHR *DPHV $UW $V 6HQLRU &RQFHSW $UWLVW IRU 0LFURVRIW *DPH 6WXGLRV +Dbashi develops art concepts and designs virtual environments for the Xbox game series. He has become recognized by Microsoft as the in-house expert for environment and architectural design within the video games animation world, which he credits to his SCI-Arc education. â&#x20AC;&#x153;Many schools can teach the technical skills necessary for execution of a product, but everything I learned about design was because of my time at SCI-Arc.â&#x20AC;?

At Microsoft, Habashi is currently in collaboration with Lucas Arts in the development of a Star Wars Xbox game due for release in early 2012.

14

PACIFIC NORTHWEST ALUMNI EVENT HOSTED BY ERIC CHEONG 7KH KRVW IRU 2FWREHU¡V 3DFLĂ&#x20AC;F 1RUWKZHVW $OXPQL HYHQW Eric Cheong (M.Arch â&#x20AC;&#x2122;05), has recently UHWXUQHG WR WKH :HVW &RDVW DIWHU VSHQGLQJ PRUH WKDQ Ă&#x20AC;YH \HDUV DV D VHQLRU DUFKLWHFWXUDO DQG LQWHULRU GHVLJQHU LQ 1HZ <RUN 'XULQJ KLV WLPH WKHUH (ULF ZDV 9LFH 3UHVLGHQW DW EXLOGLQJ DQG LQWHULRUV Ă&#x20AC;UP 5RPDQ DQG :LOOLDPV WKHQ VSHQW D \HDU DV D SULQFLSDO RI KLV RZQ Ă&#x20AC;UP EHIRUH KH ZDV DSSURDFKHG WR EH Director for Atelier Ace, the cutting edge creative services studio responsible for the Ace hotels and related brand based in Portland, Oregon.

Cheongâ&#x20AC;&#x2122;s design career has travelled well beyond the United States coasts, however. While working on his Bachelor of Architecture degree at Georgia Institute of Technology between 1996 and 2000, Cheong spent a year working alongside SCI-Arc Alumnus Brendan MacFarlane (B. Arch â&#x20AC;&#x2122;84) at Jakob + MacFarlane Sarl dâ&#x20AC;&#x2122;Architecture in Paris, after completing his year abroad studying at UP6 Ecole dâ&#x20AC;&#x2122;Architecture de Paris La Villete.

Upon receiving his B.Arch in 2000, Cheong worked as an architect and project manager in New York before he came to SCI-Arc and completed his M.Arch in 2005.

Cheong credits his professional success not only to the design skills he learned at SCI-Arc, but also to the wide network of alumni and faculty that he has remained close to over the years. :KHQ SUHVHQWHG WKH RSSRUWXQLW\ WR KRVW D 3DFLĂ&#x20AC;F 1RUWKZHVW $OXPQL (YHQW KH ZDV JUDFLRXV LQ accepting the challenge. â&#x20AC;&#x153;I love SCI-Arc. It was only a matter of time before I got back to being more involved with the school.â&#x20AC;?

7KH 3DFLĂ&#x20AC;F 1RUWKZHVW $OXPQL (YHQW ZDV KHOG DW WKH $WHOLHU $FH RIĂ&#x20AC;FHV LQ 3RUWODQG RQ 2FWREHU 21, 2011. Photos from the event will be featured in the next issue of the magazine.

Eric Cheong (M. Arch â&#x20AC;&#x2122;05)

REPORT FROM THE ALUMNI COUNCIL I am thrilled to report the founding of the 2011-2012 SCI-Arc Alumni Council, SCI-Arcâ&#x20AC;&#x2122;s primary alumni volunteer group. With Dean Nota (B.Arch â&#x20AC;&#x2122;74) chairing, the Council includes members representing a wide variety of ages, degrees, professions, and regions throughout the country and the world.

The mission of the SCI-Arc Alumni Council is to foster alumni collaboration and communication between each other, the school, and the students. Council members work to provide a collective voice for alumni and a strong link between SCI-Arc and the professional world beyond the school.

6HJPHQWHG LQWR IRFXVHG FRPPLWWHHV DQG ZRUNLQJ FORVHO\ ZLWK WKH 6&, $UF 2IĂ&#x20AC;FH RI 'HYHORSPHQW and Alumni Affairs, the Council achieves its mission by: Helping facilitate intra-alumni communications and communications with SCI-Arc Aiding SCI-Arc students and alumni with their professional growth through net working and recruitment programs Q Acting as ambassadors for SCI-Arc in promoting a positive identity for the school and promoting standing of SCI-Arc in professional and academic circles Q Providing counsel to SCI-Arc leadership on alumni needs Q Helping recruit students for admission to SCI-Arc Q Encouraging alumni participation in SCI-Arc collaborations, exhibits, community outreach Q (QVXULQJ WKH Ă&#x20AC;QDQFLDO VWUHQJWK RI 6&, $UF Q Hosting alumni networking and social events around the world Q Q

For more information on the Alumni Council, its committees or on how to get involved, please contact Aimee Richer, Associate Director of Annual Giving and Alumni Affairs, at 213.356.5388 or aimee_richer@sciarc.edu.

Looking forward to your participation, I am.

NERIN KADRIBEGOVIC, AIA (M.ARCH â&#x20AC;&#x2122;03) 2011-2012 ALUMNI COUNCIL ALUMNI REPRESENTATIVE TO THE SCI-ARC BOARD OF TRUSTEES

SCI-Arc Alumni Council 2011-12 Dean Nota (B.Arch â&#x20AC;&#x2122;74), Chair Nerin Kadribegovic (M.Arch â&#x20AC;&#x2122;03) Alumni Representative to the Board

Open Season/Career Services Committee Johnny Ramirios (B.Arch â&#x20AC;&#x2122;05) Santino Medina (M.Arch â&#x20AC;&#x2122;06)

Nominations Committee Dean Nota (B.Arch â&#x20AC;&#x2122;74) Steve Wagner (M.Arch â&#x20AC;&#x2122;84) Elissa Scrafano (M.Arch â&#x20AC;&#x2122;90) Nerin Kadribegovic (M.Arch â&#x20AC;&#x2122;03)

Fundraising Committee Elissa Scrafano (M.Arch â&#x20AC;&#x2122;90) Nerin Kadribegovic (M.Arch â&#x20AC;&#x2122;03) Dean Nota (B.Arch â&#x20AC;&#x2122;76)

Los Angeles Events Committee/ Main Event 10 Committee Elissa Scrafano (M.Arch â&#x20AC;&#x2122;90) Christian Schulz (M.Arch â&#x20AC;&#x2122;01) Adam Goldstein (M.Arch â&#x20AC;&#x2122;01) Steve Wagner (M.Arch â&#x20AC;&#x2122;84) Regional Committee Boston Beth Gibb (M.Arch â&#x20AC;&#x2122;89) Miami Steven Morales Suarez (B.Arch â&#x20AC;&#x2122;04) Mid-Atlantic States Michael Cook (M.Arch â&#x20AC;&#x2122;95) Midwest Michael Poris (M.Arch â&#x20AC;&#x2122;90) New York Abby Scheuer (M.Arch â&#x20AC;&#x2122;93) Pacific Northwest Cherry Snelling (M.Arch â&#x20AC;&#x2122;97) Rocky Mountain States Julee Herdt (M.Arch â&#x20AC;&#x2122;88) San Francisco Alex Pettas (M.Arch â&#x20AC;&#x2122;06) Japan Mirai Morita (M.Arch â&#x20AC;&#x2122;06) Europe Pia Schneider (M.Arch â&#x20AC;&#x2122;86) Asia Elita Seow (B.Arch â&#x20AC;&#x2122;03) Mexico Joe Tarr (M.Arch â&#x20AC;&#x2122;08)

Research Committee Sepa Sama (B.Arch â&#x20AC;&#x2122;08) Student Recruiting Committee Beth Gibb (M.Arch â&#x20AC;&#x2122;89) Julee Herdt (M.Arch â&#x20AC;&#x2122;88) Steven Morales Suarez (B.Arch â&#x20AC;&#x2122;04) Joshua Coggeshall (M.Arch â&#x20AC;&#x2122;97) Alex Pettas (M.Arch â&#x20AC;&#x2122;06) Lilliana Castro (B.Arch â&#x20AC;&#x2122;08) Continuing Education Committee Paras Nanavati (B.Arch â&#x20AC;&#x2122;04) Alumni Exhibits and Media Committee Santino Medina (M.Arch â&#x20AC;&#x2122;06) Lilliana Castro (B.Arch â&#x20AC;&#x2122;08) Nerin Kadribegovic (M.Arch â&#x20AC;&#x2122;03) Steven Purvis (M.Arch â&#x20AC;&#x2122;06) Alex Pettas (M.Arch â&#x20AC;&#x2122;06)

15

FROM DOGTOWN TO DOWNTOWN: IAN ROBERTSON AT SCI-ARC -RH 'D\

â&#x20AC;&#x153;L.A. IS A CITY, OR A NON-CITY, OR WHO KNOWS WHAT IT IS...â&#x20AC;?

JOE DAY Joe Day (M.Arch â&#x20AC;&#x2122;94) is a designer and architectural theorist in Los Angeles, where he leads Deegan-Day Design whose work explores the merger of new design methods and advanced projection technologies.

Day also serves on the design and history/theory faculty at SCI-Arc. His teaching and writing has focused on the themes of exhibition, incarceration, urban studies, and the nexus of contemporary art and architecture.

Day served from 1995-2000 on the Board of Directors of the Los Angeles Forum for Architecture and Urban Design, and as its President in 2000.

He is currently a member of the SCIArc Board of Trustees, and a Director at the W.M. Keck Foundation.

1R RQH RXWVLGH WKH Ă&#x20AC;HOG RI DUFKLWHFWXUH KDV FRQWULEXWHG DV PXFK DV VHOĂ HVVO\ WR 6&, $UF DV ,DQ 5REHUWVRQ. In his now twenty year involvement with the school, Robertson has witnessed every iteration of SCI-Arc â&#x20AC;&#x201C; at Berkeley, Beethoven, and Santa Fe, from tent through purchase â&#x20AC;&#x201C; and served on the Board of Trustees WKURXJK HYHU\ GLUHFWRUVKLS VDYH 5D\ .DSSH¡V Ă&#x20AC;UVW 2QH ZRQGHUV what could have kept a (usually) laid-back developer from Hawaii so committed, for so long, to building a school of architecture.

His involvement began in 1992 at the request of 'DYLG /DIDLOOH, who invited Robertson onto the Board as he assumed the FKDLUPDQVKLS 7KLV ZDV WKH \HDU RI 6&, $UF¡V Ă&#x20AC;UVW PDMRU UHORFDtion, from Santa Monica to Mar Vista. Leaving a warren of studio spaces, SCI-Arcâ&#x20AC;&#x2122;s faculty and students quickly adjusted to its more spacious (and, as some noted with reservation, far more orderly) home just north of the old Hughes tract.

Robertson saw that SCI-Arc was maturing in ways that few others acknowledged. In 1994, he founded the SCI-Arc Foundation with fellow Board member Merry Norris and a number of recent graduates, including Hadley Arnold, Molly Reid, and HarULVRQ +LJJLQV 7KH )RXQGDWLRQ KRVWHG WKH Ă&#x20AC;UVW 6&, $UF H[KLELWLRQ and auction of drawings by architects, followed soon after by a show of alumni work. These events brought together SCI-Arc graduates in new ways, and laid the groundwork for alumni outreach and fundraising at the school.

Robertson saw the expansion of the Board from a group of four people â&#x20AC;&#x201C; only one of who was not faculty â&#x20AC;&#x201C; to a representative body of almost thirty. Robertson was Chairman of the Board for nine years in total, during two periods of intense change for the school.

Serving from 1996-98, bridging Michael Rotondiâ&#x20AC;&#x2122;s and Neil Denariâ&#x20AC;&#x2122;s tenures as Director, Robertson was instrumental in locating and securing the schoolâ&#x20AC;&#x2122;s present location downtown. As Robertson tells it, a cousin of his at the real estate conglomerate CataOXV ZDV WKH Ă&#x20AC;UVW WR SRLQW RXW WKH )UHLJKW EXLOGLQJ WR WKH VFKRRO and, though there were other options including an army base, the downtown move soon seized the collective imagination of a school still very much the product of LAâ&#x20AC;&#x2122;s westside. Almost all of

SCI-Arcâ&#x20AC;&#x2122;s founders were â&#x20AC;&#x2DC;Santa Monica Schoolâ&#x20AC;&#x2122; architects and denizens of then-gritty Venice. However, Robertson saw that for many of SCI-Arcâ&#x20AC;&#x2122;s founding generation, downtown on the eve of its revitalization in the 1990s was closer to their notion of LA than their fast-gentrifying â&#x20AC;&#x2DC;Dogtown.â&#x20AC;&#x2122; From 2002-07, in his second stint as Chairman, Robertson came to terms with the scale of the challenge the school had taken on in the move. The challenges of a phased move, with a year in a tent in the parking lot, strained the patience of students and faculty, but Robertson helped steer the renovation of the building to completion, and fought to secure the schoolâ&#x20AC;&#x2122;s right to purchase the building as soon as possible. Though that struggle was initially unsuccessful, it led to a variety of management reforms at the school â&#x20AC;&#x201C; including Robertsonâ&#x20AC;&#x2122;s requirement that the school budget for a 3% annual surplus â&#x20AC;&#x201C; that left us a far stronger institution when the opportunity to buy our home reemerged last year.

Ian was also the leading advocate for bringing alumni on the Board, which included only one graduate of the school, Michael Rotondi, on his arrival. The Board added an Alumni Representative in 1996, and Robertson asked Nick Seirup, Harrison Higgins, Michael Poris, Scott Hughes, and myself to join the Board as regular members soon after.

Robertsonâ&#x20AC;&#x2122;s perspective, from outside the discipline of architecture but now steeped in its convolutions, is nicely attuned to both SCI-Arcâ&#x20AC;&#x2122;s internal debates and an everymanâ&#x20AC;&#x2122;s skepticism about architecture for its own sake. He notes that the school has seen at least three fundamental shifts in sensibility, from Kappeâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;humaneâ&#x20AC;&#x2122; modernism, through â&#x20AC;&#x153;a rebellion of the tectonic architectsâ&#x20AC;? (he names Eric Moss, Thom Mayne, Robert Mangurian, Craig Hodgetts and Ming Fung) looking for new solutions, to a contemporary condition in which, â&#x20AC;&#x153;itâ&#x20AC;&#x2122;s no longer all about the hand.â&#x20AC;?

Similarly, he is quick to underscore the diverse strengths of each Director he has worked with. He credits Ray Kappe with the fortitude to drive the school into existence. He admires Michael Rotondi as â&#x20AC;&#x153;a strong advocate for student involvement in the governance of the school.â&#x20AC;? Neil Denari piloted SCI-Arc astutely into the digital age, and Eric Owen Moss â&#x20AC;&#x153;makes good decisions, hires great people.â&#x20AC;?

If thereâ&#x20AC;&#x2122;s an aspect of architectural education that Robertson hopes SCI-Arc will engage more deeply, itâ&#x20AC;&#x2122;s ecological awareness.

In Robertsonâ&#x20AC;&#x2122;s view, â&#x20AC;&#x153;an understanding the geophysics of the world â&#x20AC;&#x201C; the cycles of wind, tide, sun, for example â&#x20AC;&#x201C; is really crucial, and itâ&#x20AC;&#x2122;s not taught well in most schools.â&#x20AC;? Ian McHargâ&#x20AC;&#x2122;s 1967 primer on environmental concerns, Design with Nature, left a lasting, profound impression on Robertson that he hopes might Ă&#x20AC;QG QHZ DGKHUHQWV DPRQJ IDFXOW\ DQG VWXGHQWV Reached at his home in Hawaii recently, Robertson said that the most satisfying aspect of his work at SCI-Arc was, â&#x20AC;&#x153;seeing a bunch of architects actually running a schoolâ&#x20AC;Śâ&#x20AC;?

CLASS NOTES Class Reunions Sara MacDonald (M.Arch ’92) is planning the M.Arch Class of 1992 20th Anniversary Reunion. Those interested can contact her at rockbarra@earthlink.net.

1970s Dean Nota, FAIA (B.Arch ’74) of Dean Nota Architect is featured in Entra Magazine’s summer 2011 edition for his design of the Robb Residence in Manhattan Beach. Nota is also profiled in the German md Magazine, in a feature duly titled “Der Notable Mr. Nota.”

Richard Levy (B.Arch ’78) is nominated to become a Fellow of the AIA. His architectural photography work has been exhibited and published throughout the U.S. and Europe, and he recently received an Honorable Mention, Professional Category from the Advertising Photographers of America (APA). Levy is part of a select group of professionals listed by the National Park Service and the Getty Conservation Institute as capable of performing true archival photography.

Most recently, he was brought in to document the restoration of a number of well-known historic and cultural monuments, including the Downtown Los Angeles City Hall Seismic Rehabilitation, the Los Angeles County Hall of Justice, the Entenza Residence Case Study House, and the Glendale Railroad Station.

Ralph Mursinna (B.Arch ’78) of RMA is currently at work on a residential addition/remodel project for artist Light Bob (Bob & Bob) in Mar Vista, California. Completion is scheduled early 2012.

Michael Folonis (B.Arch ’79) and his firm Michael W. Folonis Architects has won a 2011 National Healthcare Design Honor Award from the AIA and the Academy of Architecture for Health, in the Unbuilt category, for the design of the 50,000-square-foot UCLA Outpatient Surgery and Oncology Center in Santa Monica, California.

Steven Lombardi (B.Arch ‘79) is working on the design for the Housing Retreat on the Osa Peninsula in Costa Rica, where construction is scheduled to begin January 2012. Most recently, Lombardi opened a storefront office in Ocean Beach that promotes “architecture to go,” a balance between for profit and nonprofit work/practice. In addition to designing private homes, Lombardi continues to design lighting fixtures out of recycled materials for commissioned works and for nonprofits like “Make a Wish Foundation” in San Diego.

1980s Michael Blatt (M.Arch ’85) and partner Alice Fung are the recipients of a 2011 Honor Award from the AIA Pasadena Foothill chapter for their work on the Sequoyah School in Pasadena, California.

Anne Troutman (M.Arch ’85) is hosting a solo show of her current photo-relief work Condition of the Waters from November 5–December 7, 2011 at Harris & Ruble Art in Hollywood.

Liza Gunaratna Chandra (M.Arch ’86) completed a two-year remodeling project of an Italian-inspired villa in Mulholland Park, where she now resides with her husband and two children. The house was recently featured in Indonesian Tatler and Tatler Homes. She also runs an office in South Jakarta, Indonesia.

Ron Kappe (M.Arch ’86) of Kappe+Du Architects in the San Francisco Bay Area completed the first phase of construction of the Town of Truckee Service Center Administration and Maintenance Buildings in October. His firm also started construction of the Napa City Bus Transit Administration Building and the Lake County Middletown Library and Senior Center.

B.G. Shanklin (M.Arch ’86) is principal of ThreePoint Design Associates in Little Compton, Rhode Island. He is involved in residential, commercial, and institutional design and has been an adjunct faculty at the School of Architecture, Art, and Historic Preservation at the Roger Williams University in Bristol, R.I. since 1998.

Debra Carol Haddock (B.Arch ’88) completed the reconstruction of her stone casale in Poggio di Guardea, Italy and has launched the estate as a rental property for vacations, reunions, weddings and events. Haddock hopes for the opportunity to host SCI-Arc alumni as guests.

1990s Matthew Fineout (M.Arch ’90) and Douglas Hanson co-founded Smart Architecture in 2010, after working at Frank O. Gehry & Associates for several years. Specializing in the application of digital technologies to advance the art of construction, Smart Architecture recently designed La Machine, an interactive installation in Grand Central Terminal, NYC, designed for the global launch of the Lacoste L1212 clothing collection.

The firm also consulted for Fernando Romero on the Soumaya Museum in Mexico City, with Fineout acting as architect-in-charge of the building envelope, and is currently engaged in a master planning project in the fashion district of downtown Los Angeles.

Elissa Scrafano (M.Arch ’90) and her firm Scrafano Architects received an AIA design award for the Mendel Residence from the San Fernando Valley chapter in 2011. The design team was led by Thomas Stallman (M.Arch ’91). Other SCI-Arc graduates that work with Scrafano Architects include Debbie Mackler (M.Arch ’94), Carol Lowry Barrett (M.Arch ’93), and Carolyn Tullis (B.Arch ’03).

Stephen Barrett (M.Arch ’90-’91), who attended SCI-Arc as a Fulbright scholar, is an associate with Londonbased Rogers Stirk Harbour + Parners, having worked for Richard Rogers

16 for almost 19 years. He has been project architect on a number of notable buildings including the Bordeaux Law Courts in France, a new terminal at Madrid Airport, and a new control tower at Heathrow Airport.

Currently, Barrett is leading a team on “Grand Paris,” a strategic metropolitan planning study sponsored by the French state.

Revit on the design and development of the Aragon High School Theater, under construction in San Mateo. He also received awards for his Anschel ink drawings Neon Boulevard and Polis at Artslant. Shirriff was overjoyed to reconnect with fellow alumni Tod Stockwell (B.Arch ’92) and Kevin Conley (B.Arch ’92) through LinkedIn.

Angela Brooks (M.Arch ’91) and partner Lawrence Scarpa of Brooks+Scarpa Architects received the AIA California Chapter 2011 Merit Award for Architecture for their Cherokee Studios, a 32,000-square-foot mixed-use housing project in Los Angeles. The firm also received 2011 COTE awards for both the Cherokee Studios and Step Up on Fifth, a 31,600-square-foot mixed-use building that includes 46 apartments for mentally disabled residents. Brooks also received the University of Florida Alumni of the Year award.

M. Charles Bernstein (’92-’94), AIA LEED AP recently bought a 1,200-square-foot 1971 modular house in Topanga, California. With a very limited budget, Bernstein and his wife completely rebuilt the interior, two thirds of the exterior envelope and plan to add an additional 100 square feet. The two lived in the house during the last 4 months of construction and are now settling in.

Christopher Mercier’s (M.Arch ’91) Inglewood-based (fer)studio has been voted one of California Home & Design magazine’s “Top 10 Firms to Watch” by a panel of judges including Neil Denari, Hsinming Fung, John Peterson, Tom Buresh, Luke Ogrydziak, Barbara Bestor, Steven Ehrlich, Margaret Griffin, Carrie Byles and David Meckel. The feature was published in the magazine’s September/ October issue.

Thomas Stallman (M.Arch ’91) is an instructor at the Art Institute of California, Hollywood Campus, where he teaches Design Basics-3D, Sketch Techniques, and Institutional Design.

PJ Berjis (B.Arch ’92) leads a design firm specializing in landscape and water feature design. He is currently working on high end homes and commercial projects.

Barbara Bestor (M.Arch ’92) of Barbara Bestor Architecture received an AIA|LA Restaurant Design Award and a nomination from the 2011 James Beard Foundation Award for its design of Pitfire Pizza in Los Angeles, which transformed a dark Shakey’s pizza parlor into a light-filled contemporary artisanal pizza restaurant.

Lars Langberg (M.Arch ’92) currently leads his own practice in Sebastopol, California. A recent project includes working with a group of local residents/professionals to craft an ideas competition for their town.

Dubbed The Core Project, the competition is open to architects, artists, planners, landscape architects, schools, and others, who are invited to enter their submissions at the-coreproject.org.

Jeremy Levine (M.Arch ’93) joined the Board of Directors for “Side Street Projects,” a non-profit art organization in Pasadena. His firm, Jeremy Levine Design recently completed a solar garden shed for Occidental College, and two of his residential projects, Red Box and Three Trees, will be published in the new book, Passive Architecture, from Braun Publishing.

Benjamin Ball (B.Arch ’94) and Gaston Nogues (B.Arch ’93) of Ball Nogues Studio recently completedg Yucca Crater, an interactive installation for the High Desert Test Sites initiative located near Joshua Tree National Park, California. Idealized as an oasis for travelers of the vast and arid Mojave Desert, the project merges the theory of earthwork art with a man made structure, presenting a unique opportunity for Ball Nogues to intervene upon the landscape with ecologically-minded and imaginative architecture.

Robert Adams’ (M.Arch ’94) exhibition, The Asclepius Machine: Genetic Diversity and Extreme Urban Euphoria, is on view at UC Berkeley through December 2. Named for the Greek god of healing and medicine, the show explores the relationship of genetic diversity and architecture as a means to re-think contemporary design methodologies and the rich vitality of disability culture. Adams is an assistant professor of architecture at the University of Michigan’s Taubman College of Architecture and Urban Planning.

Sara MacDonald (M.Arch ’92) AIA, LEED AP is principal of Rockbarra Studio. She currently resides in New Jersey with her husband, Rob Barnett, and their 4-year-old twins and 18-yearold step-daughter.

Todd A. Erlandson (M.Arch ’94) and his team at (M)Arch Branded Architectures collaborated with Deborah Sussman and typographer Andrew Byrom on the design of the exhibition Eames Designs: The Guest Host Relationship, which opened in October at the A+D Museum. The exhibit is part of Pacific Standard Time: Art in LA 1945-1980, a collaboration of more than sixty cultural institutions across Southern California, sponsored by a grant from the Getty Foundation.

Jason Shirriff (B.Arch ’92) completed construction on the St. Isidore Elementary School Library Remodel in Danville, California, for which he served as project architect with HKIT Architects. Most recently, he spoke at the East Bay AIA and San Francisco AIA Revit user groups about his use of

Jennifer Siegal (M.Arch ’94) hosted the symposium Motopia: A New Age for Modular Construction at the University of Southern California (USC).

Siegal is principal of Los Angelesbased Office of Mobile Design and a visiting associate professor at USC. She and her husband welcomed their

17 first child, Sydney Joan Siegal McNamara, in June.

Jeffrey Allsbrook (M.Arch ’95) and his firm Standard designed the Local Park installation for deLab’s space in front of Local restaurant on Sunset Blvd. Taking cues from PARK(ing) Day’s theme, the iconic Hollywood sign, Local Park features four large “topiary” letters that spell the word P-A-R-K. In combination with the existing storefront behind, the sign reads “Local Park.” The installation grabs the attention of the driving and bus-riding public and leaves the enigmatic impression of a green park at the side of the boulevard. The installation was also featured at ULI at the LA Convention Center in an exhibition curated by Frances Anderton.

Greg Roth (M.Arch ’95) and partner Daniel Shapiro launched Modern Bite, a bakery that creates cakes, cupcakes, and cookies topped with modern designs, for sale online. The company relies on Shapiro’s baking experience and expertise and Roth’s eye for aesthetics. Roth practiced with Frank Gehry Associates, Kerry Joyce Associates and Audrey Alberts Design before launching Gregory Roth Design in 2001, which focuses on interiors and graphic design.

David Montalba, AIA (B.Arch ’96) of Santa Monica-based Montalba Architects, received the 2011 AIA Institute Design Honor Award in Interior Architecture for his design of a 1,900-square-foot sustainable dental office in San Francisco. Since its completion, the project has also received the 2011 Green Good Design Award, and Merit Awards in Interior Architecture from AIA California Council and AIA San Francisco.

Montalba Architects is currently at work on a private residence in Jackson Hole, Wyoming, the design of a new café on Walt Disney Imagineering’s Glendale campus, and the renovation of a ski lodge in Mammoth, California.

Rick Miller (M.Arch ’97) is currently conducting research on the construction and inhabitation of the ger districts in Ulaanbaatar, Mongolia, with funding help from Fulbright.

Beth Holden (B.Arch ’98) is at work on a new restaurant project for the Knitting Factory, located in an old warehouse building in the San Fernando Valley. She recently completed a Hollywood Hills residence project for photographer Jill Greenberg, featured in a cover story in the LA Times, and in AIA|LA home tours. Launched in October, Holden’s studio includes a gallery showing local artists and a storefront that features her furniture and design objects.

Michael Pinto (M.Arch ’98) of Osborn Architects had two projects featured at the Center for Architecture in Philadelphia as part of a Community Design Collaborative Showcase: Mudtown Farms, the result of a SCIArc class research project to create a series of speculative propositions for a 2.5-acre agriculture site in a city center; and the Miraloma Park Master Plan, selected as one of 62 State of California Proposition 84 Grant applicants to receive funding. Osborn Architects recently completed the

LAX Cultural Master Planning Study.

Pinto was also selected as a juror for the 2011 AIA Pasadena-Foothill Design Awards.

Jeff Goldberger (M.Arch ’99) started a mock-architecture blog called Barkitecture at barkitecturemag.com, with the intention of bringing humor to the world of architecture. Everyday discussions range from intellectual, to fiscal, to fantastical, to technological.

The project is still in its development phase, and Goldberger hopes to make the site a fun and disarming read for architecture aficionados. Forthcoming segments include an opinion page and sections on competitions, education, and travel, as well as a forum.

David Valdes (M.Arch ’99) works as a part-time project designer and coordinates business development at RoTo Architects. Recent projects include a school in Suzhou, China and master planning projects in Dubai, with RoTo Architects; the LKSC Center for Learning and Knowledge at Stanford’s School of Medicine, with nbbj; and the campus center complex at Foothill College, with Perkins+Will.

Valdes is also involved in a small start-up for medical innovations, and next year, he plans to enter an MBA program with a focus on strategic planning and financing.

2000s Tima Bell (M.Arch ’00), principal of Tima Winter, recently completed three projects which include Salvage, a new bar in downtown Los Angeles, GRATiAE Cosmetics on Fremont Street in Las Vegas, and Hormeta, the flagship cosmetic store in Las Vegas’ Harrah’s Casino, which he co-designed with Scott Sullivan (M.Arch ’00).

Laura Burkhalter (B.Arch ’00) recently completed a project for the food truck-turned restaurant, The Flying Pig Café, located near SCI-Arc at 2nd and Central in downtown LA. The restaurant opened for business in June.

Nicolas O. S. Marques (M.Arch ’00) has been at work growing his architectural photography business. Most recently, he has photographed projects in the U.S. and in Portugal, and his work has been printed in local and international publications. He was invited to exhibit at the Aaroe Group in Old Town Pasadena and is in negotiations with several magazines for additional new projects.

Pooja Bhagat (M.Arch ’01) and her firm Moore Ruble Yudell Architects won a Citation Award from the LABC for the Village Master Plan and Housing in Santa Monica, for which she was project manager and design associate-in-charge. She also received awards for the Pico Affordable Housing Project and Village Housing for Innovation in Design from the Westside Urban Forum and AIA awards for the Santa Monica Civic Centre Parking Structure and the Chongqing Master Plan and Housing in China. Bhagat is a licensed architect and is LEED BD+C accredited.

She has been with MRY for more than 8 years.

Britton Glynn (M.Arch ’01) and Aaron Glynn received the 2011 International Architecture Award from The Chicago Athenaeum, Museum of Architecture and Design, for the Manhattan Beach project Surfhouse, designed for XTEN Architecture. The two opened their firm, Glynn Designbuild, in 2005, working primarily on high-end residential remodeling projects and new construction in the Los Angeles area.

Aidin Khoei’s (MR+D ’02) project Year 2030, a skyscraper in Belgium that uses air flow created by the exchange between hot and cool air and windmills to allow natural support for growing vegetation on the building, was featured by Archi-World. Khoei practices architecture and design in Los Angeles.

Grit Leipert (MR+D ’02) and Frank Pasker (MR+D ‘02) recently completed construction on the Nob Hill House, their own certified green home in Mt. Washington. In June, the home was featured by the LA Times and received recognition from the city of Los Angeles for “outstanding creativity in architectural and sustainable design.” It features the first permitted gray water system in Los Angeles and creates all of its electricity on site.

Leipert is an associate senior designer with AC Martin and Pasker is a licensed architect and project manager with DDB Architects in Los Angeles; both are LEED APs. Lorenz Quinley (M.Arch ’02), after several years at GKK Works, recently moved to Shenzhen, China to take on a Senior Design Manager position with Joseph Wong Design Associates. JWDA is headquartered in San Diego, with offices in Shanghai and Shenzhen.

Jeremy J. Quinn (M.Arch ’03) and partner Michele Jaquis, co-founders of the collaborative arts organization Rise Industries, were invited to participate in a residency at the Institute of Cultural Inquiry (ICI) in Los Angeles, which culminated in an exhibition this summer. Acting as curators, creators and collaborators, Quinn and Jaquis brought their organization’s full membership into the residency, making it the first exhibition to feature all current Rise Industries collaborators.

Brian O’Laughlin (M.Arch ’03) has been with Gehry Partners since 2003, and practicing as a California Licensed Architect since 2007. Recent projects include the Barclays Center in Brooklyn, NY which includes a 19,000 seat multi-format arena, and Atlantis Sentosa in Singapore with a themed aquarium, botanical museum, and resort project in collaboration with Greg Lynn and Peter Arnell.

O’Laughlin is currently working on the Guggenheim Abu Dhabi Museum located in the United Arab Emirates.

Elita Seow (B.Arch ’03) is a senior architectural designer for AEDAS in Hong Kong, where she oversees projects ranging from hospitality, to residential and educational, covering all phases of design, from master planning to construction. She is currently at work on a luxury beach resort in Vietnam and a master plan for the city of Baoyunpian, China. Seow also

heads the SCI-Arc Alumni Council regional committee for Asia.

Casey Hughes (B.Arch ’04) of Casey Hughes Architects recently completed the Coldwater Studio, a West Hollywood writer’s two-story home which features a recessed balcony carving a rectangular hole in its façade. The house has been featured widely in publications including The New York Times, Dwell, Domus, and Dezeen.

Sang Dae Lee (M.Arch ’04), principal of UnitedLAB, received an Honor Award at the ASLA 2011 Professional Awards for her Regeneration/Yongsan Park project in Seoul, Korea.

Tony Trinh (M.Arch ’05), Yohannes Baynes (B.Arch ’07) and Sam Iravani (B.Arch ’07) have recently launched a new cross-culture website, The Superslice. The online platform covers topics including art & design, music, technology, and pop culture, and functions as part aggregator, and part online magazine featuring original content. The team is also nurturing “The Superslice” into a lifestyle brand and will have limited edition merchandise available in the near future.

Fumio Hirakawa (M.Arch ’05) and Marina Topunova (M.Arch ’06) of 24° Studio received an Honorable Mention, Interior Lighting for their Hope Tree project at the Premios Lamp Lighting Award 2011 in Barcelona. Originally shown at Tokyo Designers Week 2010, and one of the winners of the Environmental Container Competition, Hope Tree evokes nature in a space for display. A second installation, Crater Lake, which won the Shitsurai Art International Competition organized by the city of Kobe, Japan, will be on view at the Kobe Biennale 2011.

Jody Beck, AIA (M.Arch ’06), principal of Traction Architecture in Tampa, Florida, was recently appointed by the Mayor to the Architectural Review Commission of the City of Tampa, where she will serve a three-year term.

Beck also teaches courses in Architectural History and Theory at the University of South Florida and St. Petersburg College.

Steve Fuchs (M.Arch ’06) relocated from Los Angeles, where he was working for Frank Gehry’s digital research lab, Gehry Technologies, and is currently residing in Illinois, where he is helping lead a young graduate program at Harrington College of Design in downtown Chicago. His full-time responsibilities include a mix of theory, methods, and studio classes, curriculum review, college governance, and a wide range of thesis duties, including chairing multiple committees. Part of the reason Fuchs credits as being hired was “a wonderful conversation about our pedagogy of making and meaning” one afternoon at SCI-Arc during an informal interview with his current director. Fuchs is still surfing both in and out of class— leading the advanced digital and computational design specialization using Rhino + Grasshopper, and has found overhead waves year-round on Lake Michigan.

Benjamin Luddy (M.Arch ’06) and Makoto Mizutani (M.Arch ’05), co-founders of Scout Regalia, participated in October’s High Desert Test Sites (HDTS) 2011 event. Their project, Trail Registry, will be a long-term installation in Pioneertown just outside of Joshua Tree, and is inspired by the registries found at trailheads. It encourages people to leave and/or take a memento tied to the enameled aluminum rods, similar to the way people leave rocks in a pile at the top of a mountain or leave artifacts near trailheads.

Emily White (M.Arch ’06) and Lisa Little (M.Arch ’06) of Layer LA launched a series of projects and installations, including the 3-Horned Beast pavilion at The New Children’s Museum in San Diego, which will remain on view for the next two years.

A second project produced for the Women Hold Up Half the Sky exhibition at the Skirball Cultural Center features a transparent canopy hovering over the exhibit. In addition, several drawings by Little and White are on view in the Unruly group exhibition at the Arena 1 Gallery in Santa Monica, alongside work by alumna Laurel Broughton (M.Arch ’06) and SCIArc faculty Andrew Atwood and Chandler McWilliams.

Michael Arellanes II (B.Arch ’08) of MA2 Architectural Design, has two design proposals featured in the August/September issue of MARK Magazine (No.33)—an Urban Stadium for Seoul, Korea and a Stage for Miami’s downtown Marine development.

Nina Marie Barbuto (M.Arch ’08) opened Assemble, a community space for arts and technology in Pittsburgh, whose mission is to activate the community with the contributions and presence of the audience and makers. Programs include gallery crawls, workshops, lectures and community activities. Those interested in showcasing their work at Assemble can contact Nina at assemblepgh@ gmail.com. Assemble is a not-for-profit organization with an active, contributing board.

Joe Tarr (M.Arch ’08) has been working in Mexico City for the past three years. After a brief stint with TEN Arquitectos, he settled in at his current location with Rojkind Arquitectos.

2010s Adam Grove (M.Arch ’10) has assumed the position of Level Coordinator for the first year graduate program in architecture at New School of Architecture and Design in San Diego, where he has been teaching since January.

Jorge E. Mutis’ (B.Arch ’11) design proposal, farm{air}, which relocates agricultural infrastructure into airborne bubbles and uses helium to keep them afloat above their grounded “Docs,” received an honorable mention in the suckerPUNCH Center for Urban Farming Competition.

SCI-ARC DONORS 2010-11 Academic Year SCI-Arc acknowledges with deep appreciation and gratitude the following organizations and individuals whose extraordinary support allows us to continue to educate the architects and designers who will imagine and shape our future. $300,000 and Above Staubli Robotics Getty Foundation $200,000-$299,999 Robert A.Day The Fletcher Jones Foundation $50,000-$99,999 The Ahmanson Foundation W.M. Keck Foundation National Endowment for the Arts $10,000-$49,999 Anonymous Bowling Family Foundation City of Los Angeles, Department of Cultural Affairs Albie J. Colotto Joe Day (M.Arch ’94) and Nina Hachigian Marina Forstmann Day Tim and Neda Disney William Fain ForestCity The James Irvine Foundation Jewish Communal Fund Johnson Fain Thom Mayne Kevin Ratner Saudi Arabian Cultural Mission Abigail Scheuer (M.Arch ‘93) The Vinyl Institute Caroline and William Wietsma (B.Arch ’77) Stephanie Bowling Zeigler (M.Arch ’95) Eric Zimmerman $5,000-$9,999 Richard Baptie Jamie and Carolyn Bennett College First Foundation Conde Nast Cook Composites and Polymers John Cordic/RJC Builders (B.Arch ’86) Dolphin Promotions, Inc. David Gelbaum Tom Gilmore Graham Foundation for Advanced Studies in the Fine Arts Hathaway Dinwiddie Construction Co. David Hertz (B.Arch ’83) Robert LaPorta (M.Arch ’07) Network of Executive Women in Hospitality Row Four Productions Patrick Tighe Wells Fargo Foundation $1,000-$4,999 3Form ACE Mentoring Program of DFW AIA Legacy, Inc. Allen Matkins Leck Gamble Mallory & Natsis LLP Anthony R. Anderson (M.Arch ’04) Teijin Aramid USA Incorporated BDO USA, LLP California Community Foundation Carolyn Campbell Composites One E-Grow 3D Solutions Steven Feig Anthony Ferguson Fidelity Charitable Gift Fund General Plating Co. & Brite Plating, Inc. John R Geresi Scott Hughes (M.Arch ’97) Rahinah Ibrahim (M.Arch ’90) Jewish Vocational Service Shelly and Ray Kappe Khristophe Keen Christopher Kennedy (M.Arch ’99) Alec Kobayashi (M.Arch ‘90) David Koch (M.Arch ’97) Emily Kovner and Eric Owen Moss Bill Kramer Kreysler & Associates Landau, Gottfried & Berger Martin Sosin-Stratton-Petit Foundation McIntosh Poris, Inc. Kelly Chapman Meyer Brett Mosher

National Housing Endowment Jerry Neuman Merry Norris Northside Sportfishing Club OLIN P.E.O. International Pasadena Art Alliance Pasadena Community Foundation Bart-Jan Polman Michael Charles Poris (M.Arch ’90) Stephen Sacks Nick Seierup (B.Arch ’79) Abby Sher Joey Shimoda Simpson Gumphertz & Heger, Inc. Cherry Lietz Snelling (M.Arch ’97) SoftMirage Solid Concepts Swinerton Builders Marion Ternstrom Virgin Island Chapter AIA Walters & Wolf William A. Witte $500-$999 Omrana Ahmed Marianne Angelo Barbara Bestor (M.Arch ’92) Karen Bragg (B.Arch ’87) Annie Chu (B.Arch ’83) and Rick Gooding (B.Arch ’84) William Crigger Steven Ehrlich Pavel Pan Getov (M.Arch ’93) Griffin Enright Architects Hawaii Community Foundation Japan Foundation Steven Lombardi (B.Arch ’79) Paras Nanavati (B.Arch ’04) Michael Palladino Richard Meier Craig Savage Scholarship America Daniel Swartz Blair C. Tanner Up to $500 20th Obsession 3D Rapid Prototyping, Inc. A+D Museum Alejandro Abarca Calvin Abe Tony Abeyta Tina Aghassian Kim Alexandriuk Bandar Sulaiman Alkahlan (M.Arch ’08) Patrick Allen (M.Arch ’00) Roman Alonso Atta H. Alsaleh (M.Arch ’88) Taroub Ali Alsaleh Gary Alzona (B.Arch ’87) John Anastas Keith Andersen (M.Arch ’87) Anonymous Architecture Tours L.A. Lindsay C. Aydelott Mark Baez (B.Arch ’91) Bernard Bahr James A Balogh Christopher Banks Jacky Barret Verr Lynn Bateman-Soltes (M.Arch ’95) Herwig Baumgartner Behnisch Architects Inc Francisco Behr Clyde Berkus Donald and Ileene Berkus Carol Bernstein Aaron Betsky Beziner Adam Blackman Michael Rosner Blatt (M.Arch ’85) Catherine Bloom Barbara Bohl Lorraine Bonanni Chris Bonura (B.Arch ‘88) Timothy Hall Braseth Kenneth Breisch Pearl M. Brickman (M.Arch ’79) Angie Brooks (M.Arch ’91) and Larry Scarpa Tim Brophy Sandra Brown Melissa Burgess Laura Burkhalter (B.Arch ’00) Howard Byer Paul and Susan Cambon

18 Dana Cantelmo (M.Arch ’89) Sue Capelli Andra Carasso Aviva B. Carmy (M.Arch ’80) Chris Casady Barbara Casey Victor Manuel Castillo (M.Arch ’01) Georgiana Ceausu Edward Cella Art+Architecture Edwin Chan Liza Gunaratna Chandra Adele Chatfield-Taylor Patrick Cheh Margaret Chen Guillermina Chiu (B.Arch ’08) Christopher Anthony Ltd. Ayndrea Wilson Chrystie Linda Cohn Geofrey Collins (M.Arch ’92) Keith Collins (M.Arch ’99) Deborah Colman John Colter (M.Arch ’97) Anthony Coscia Charles Credaroli Cecilia Dan Wim de Wit Maria DeFranco (B.Arch ’77) Diamond and Estate Trust Frances Diemoz Dimster Architecture Elizabeth Dinkel Tim Do Martin Doscher (M.Arch ’96) Double Vision Mary P Dougherty Patrick Dragonette Kevin Drake (M.Arch ’04) Doron Dreksler (B.Arch ’94) Jonathan Drezner (M.Arch ’90) Heidi Duckler Kristopher Dukes, LLC Peter Dunham Design ECIFFO Magazine Merrill Elam Lori Erenberg Todd Erlandson (M.Arch ’94) Juan Carlos Esquivel Jeffrey Eyster (M.Arch ’98) Reed Aspen Finlay (M.Arch ’10) Barbara Flood Edward Forcum ForYourArt Stephen Rathie Gabor (M.Arch ’00) Mr. Stephen Garrett Michele Gathrid Martin Gelber Peter Gelles General Benefits Insurance Services, Corp.

Elizabeth Anne Gibb (M.Arch ’89) Lisa Gimmy Dr. Yvonne Goff Juliana Goitein Robert J. Good (B.Arch ’81) Pascha Goodwin Liz’s Antique Hardware David Lawrence Gray Maxine Greenspan Gruen Associates William Gruen Gustavo Gubel (B.Arch ’88) Antonio Guzman Trip Haenisch & Associates Shannon Eve Han (M.Arch ’06) Charles Hanlon Mr. Carl Harberger (B.Arch ’91) Matthew Harmon (M.Arch ’10) Rita Haudenschild (M.Arch ’04) Barbara Helton (M.Arch ’84) Benjamin Arturo Francisco Hidalgo (B.Arch ’00) HNTB Architecture Hodgetts + Fung Design Associates Horton Lees Brogden Lighting Design Kathryn and Con Howe C. W. Howe Partners, Inc. George Yumin Huang (M.Arch ’97) Dana Hutt David Jacobs Catherine Jacobson Jewish Community Foundation Lee William Johnson, III (B.Arch ’00) Sandra Elizabeth Johnson (M.Arch ’09) Sherry Johnson Louis DeLong Joyner (M.Arch ’85) Ryotaro Kaburagi (M.Arch ’97) Jacqueline Kahn-Trauberman (M.Arch ’80) Steven Kam (B.Arch ’83)

Stephen A. Kanter, M.D Karen Klawans Judith Keller Kelly Architects Elizabeth Marie Keslacy (M.Arch ’04) W. Brooke Kettner Mahtash Khatib-Rahbar (B.Arch ’83) Pam Kinzie (M.Arch ’90) Gordon Kipping (M.Arch ’95) Kurtis Kishi Hunter Alexander Knight (M.Arch ’06) Enid Koffler Bettina Korek Ken Koslow Anna Kovner Lindsey Kovner Noah Kovner Stephan P. Kowal (M.Arch ’00) Denis La Roche (B.Arch ’80) David Lafaille Jason Langkammerer (M.Arch ’99) Miriam Ginsberg Larson (M.Arch ’02) Michelle Lavee Oren Lavee (B.Arch ’79) Ellen LeComte Mia Lehrer Yoram LePair (M.Arch ’04) Geoffrey Lewis (B.Arch ’89) Raleigh Lieban (M.Arch ’86) Rosella Lieberman David Limburger Lisa K Little (M.Arch ’06) Jen-Chin Lo (M.Arch ’07) Stacie B. London Benjamin E. Luddy (M.Arch ’06) Ben Lunsky Luong Ly Valerie E Lyons Andrea Lenardin Madden (M.Arch ’98) Stuart Magruder (M.Arch ’97) Victor Malerba (B.Arch ’07) Wayne Marmostain Nicolas Oliver Steddin Marques (M.Arch ’00) James Marrin Kelly Sutherlin McLeod Architecture Markus Meister Edward Scott Melnick Martin Roy Mervel (M.Arch ’81) Pamela and Kurt Meyer Midwest Estate Brokers Albert Mikaelian (B.Arch ’81) Vram Minassian Makoto Mizutani (M.Arch ’04) Jonathan Sebastian Moore (M.Arch ’00) Stephen Edward Mora (M.Arch ’09) Timothy Morrison Janine Moss (M.Arch ’90) Marsha Moutrie Douglas Myhr (M.Arch ’87) Ladan Naraghi (B.Arch ’83) Elisabeth Jean Neigert (M.Arch ’10) David J. Neuman Judith Newmark (M.Arch ’81) Robert Noble Dean Nota (B.Arch ’76) Jun Okushi (M.Arch ’85) Ronald Onkin Lawrence O’Toole (M.Arch ’93) Greg Otto Dwayne Oyler Catherine Pack (M.Arch ’02) Martin Pack Martin Paull (B.Arch ’87) Malcolm Peck Barry Peele Janet Perkins Paul A. Petrunia Kirk Allen Phillips (M.Arch ’00) Royce Pinkwater Priscilla Poppensiek Porter and Plunk Lloyd Queen Merritt Evan Raff (M.Arch ’93) Johnny Ramirios (B.Arch ’05) Mark Raskin Andrea Rawlings (B.Arch ’82) Stephanie Reich (M.Arch ’93) Suezette Rice Aimee Noelle Richer Dennis A. Roach Alexis Rochas Jeff Rogers Roscoe & Swanson Accountancy Corporation Gregory M Roth (M.Arch ’95) Marcella Ruble Alexandra Rudenau (M.Arch ’87)

Jesper Ryberg (B.Arch ’03) Sepa Sama (B.Arch ’08) Mark H. Savel (B.Arch ’78) Donald Schireson Pia Schneider (M.Arch ’86) Beverly Schnur Christian Schnyder (M.Arch ’95) Greg Schoer (M.Arch ’07) Jeffrey Schuerholz Tamara Scott and Company Elissa Scrafano (M.Arch ’90) Stephan Shair (M.Arch ’83) Will Sharp (M.Arch ’87) Sheila Sherman Takashi Shida Shook Kelly, Inc. Steve Shortridge David Shoucair (B.Arch ’79) Alan Sieroty Rebecca “Buck” Silva William Simonian David Simons Amy Sims (M.Arch ’93) Mark Slagter (B.Arch ’87) Jack Smith Collections Laura Smith Derek Soltes (M.Arch ’94) John Souza (B.Arch ’74) Randy Spiwak (B.Arch ’79) The Standard Hotel Ashley Stanfield Brian D. Staton (B.Arch ’92) Jason Stein Zenia Stept Joan Stevens Kris Stewart William Stewart Roger Stoker Tim Street-Porter Scott Strumwasser (B.Arch ’83) Bonnie Stylides Michael James Sulis (M.Arch ’00) Mariem Superfon Leonard Swatt Michael Swischuk (M.Arch ’92) Mr. Gianluigi Tacchi David Alexander Takacs (B.Arch ’98) Donald Tallarico Atsuko Tanaka (M.Arch ’89) Takaharu Tanaka Kathy Taslitz Studio Mark Teale (B.Arch ’88) Kan Wee Wagen Teh (M.Arch ’05) Carol Banasky Templeton (M.Arch ’83) and Phillip Templeton Dirk D. Thelen (B.Arch ’90) Bobbye Tigerman Kelly Towers Trina M Turk Elinor Turner William H. Tyler Erin Cohen Uettwiller Silvia Van Wingerden Tania Verruno Rachel Vert James Wagner Richard J. Wagner (B.Arch ’05) Stephen Wagner (M.Arch ’84) Christopher A. Waight (B.Arch ’97) Kristin Wakino Toni and Lexi Wald Jim Ward Jonathan Ward West Coast Group Benefits Douglas White Pae White Kristen Charles Whittle (M.Arch ’94) Portia Wijatno May Ellen Williges Allyne Winderman Sian Winship John Sharp Winston (M.Arch ’04) Gregory Wooten Mark Worthington Jenny Wu Michael James Wysochanski (M.Arch ’09) Shaunt Hagop Yemenjian (M.Arch ’06) Esa Yla-Soininmaki Carole A. Yu Haily Zaki Howard Zellman Brian Miles Zentmyer (M.Arch ’11) Elaine Zimmerman Jed Zimmerman (B.Arch ’87) (Gifts and commitments from 9/1/2010-8/31/2011)

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SOLAR DECATHLON 2011 Cover photography by Darius Siwek