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Neil Denari

TOWER COMPLEX403 Research Studio

Katy Barkan, Erin Besler,

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SECTION/ELEVATION401 Tech Core

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Jimenez Lai

TOWARDS A COMPACT MEGALOPOLIS123 Studio III

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Mark Mack

THE REVOLUTION WILL NOT BE TELEVISED403 Research Studio

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Jason Payne

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Andrew Kovacs

FIRE STATION

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GRIDS, CHUTES AND LADDERS414 Major Building

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Greg Lynn with Julia Koerner

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Mohamed Sharif

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W E S T E N T R A N C E

2 / P E R L O F F H A L L

W E L C O M E T O R U M B L E

This RUMBLE caps a very important year, in which UCLA Architecture and Urban Design (A.UD) celebrated its 50th anniversary. It is also a year in which many significant milestones were reached, with major achievements and new goals set for both our continued vitality and a vibrant future.

In late fall 2015, we oversaw the completion of a feasibility study for a new A.UD building to unite all of our facilities under one roof at the heart of our campus. Generously supported by Alumni contributions, this study tested our year-long programming effort for a new facility on two pivotal campus sites. As the process further develops we are now certain that either of the studied sites is suited to our future vision. This is a future in which a new A.UD building will serve as a model for the rest of the campus, demonstrating ways a department with the highest academic standards, a strong international reputa-tion, and a clear social mission can critically engage students, faculty, staff, and collaborators from both inside and outside UCLA in this new era. The boundary between academic scholarship, professional practice, public mission and private interests will be redrawn.

A new A.UD building will continue our half century legacy of being at the forefront of architectural innovation and discourse inside and outside the academy – an influential, institution whose impact is felt across campus, throughout our city and around the world. Indeed, over the past 50 years our preeminent faculty and visionary leaders have helped to define contemporary architectural discourse and new directions in the industry: our reputation for innovative teaching in the areas of history, theory, criticism, technology, and design is un-paralleled. Today we count some of the world’s most celebrated and influential scholars and practitioners among our faculty. On any given day—inside our studios, workshops and seminar rooms—you will find our students and faculty working side by side on some of the most compelling and critical issues of our time.

Soon after our 50th anniversary, celebrated in a Gala attended by 300 hundred notables and luminaries at our satellite campus in late winter 2016, we successfully completed our M. Arch. I NAAB accredi-tation process. This achievement ushered in the spring quarter with renewed vigor for the entire A.UD community. We take immense pride in having pioneered the application of new technologies in the design process and trail blazed integration with other disciplines, industry partners, government and non-profit groups bringing the most ad-vanced creativity and expertise into our studios where design research takes place.

In parallel we have just relocated our IDEAS satellite campus, home to our SUPRASTUDIO program from Playa Vista to Culver City. This move ensures more space for students and faculty as well as con-nectivity with Los Angeles’ expanding public transportation network. Today, our IDEAS campus continues to build on the legacy estab-lished by our successful SUPRASTUDIO program and IDEAS platform expanding the potential and impact of design through technology, cul-ture, and practice. The IDEAS campus has pioneered the application of new technologies in the design process and created integration with other disciplines, industry partners, government, and non-profit groups bringing the most advanced creativity and expertise into our studios where design research takes place.

At this year’s RUMBLE guests and critics experience the high degree to which A.UD continues to take seriously the disciplinary task of an-ticipating change at all scales of design through rigorous intellection, scholarship and vigorous trans-disciplinary collaborations. Visitors to RUMLBE will observe the learning experience at A.UD in a unique way: speculation augmented with plausibility and conjectures stimu-late new audiences. From the invention of 3D computer programs; to the integration of sustainability in a design curriculum; to the incorpo-ration of large scale fabrication and robotics; A.UD critically defines the topics, curriculum and knowledge necessary to keep its graduates relevant in a changing world.

On a personal note, this year’s RUMBLE is my last one as Chair. I am proud to have served the Department in this exciting time and sharing the annual celebration of our work with students, faculty and critics from across the globe. Looking ahead I am certain that UCLA A.UD will continue to build on its remarkable 50 year legacy, expanding the po-tential and impact of design through technology, culture and practice. There will be much more to celebrate. In the meantime, please join us in this year’s event at both locations. Welcome to RUMBLE 2016.

M O N D AY, J U N E 6R E V I E W S | 9 am – 11 am – Jimenez Lai | SUPERGROUP STUDIO

SEMINAR | Faculty Lounge

R E V I E W S | 10 am – 12 pm – Erin Besler | BY THE NUMBERS |

Main Hallway and Basement Hallway

R E V I E W S | 12 pm – 2 pm – Gabriel Fries-Briggs |

IDEAL PRAGMATICS | Room B309

T U E S D AY, J U N E 7R E V I E W S | 9 am – 1 pm – Wil Carson | TOWARDS A COMPACT

MEGALOPOLIS | Room B222

– Gabriel Fries-Briggs | ABOVE FINISHED

FLOOR | Room B320

– Katy Barkan, Erin Besler, Kevin Daly,

Narineh Mirzaeian | SECTION AND

ELEVATION | Room 1302 (DECAFE)

– Jason Payne | STATION TO STATION |

Room 1224

– Mohamed Sharif | FOCUS AND FLIGHT

| Room 1243 BC

– Roger Sherman | BATTERY POWER |

Room 1220

– Mark Mack | THIS REVOLUTION WILL

NOT BE TELEVISED | Room 1118

T U E S D AY, J U N E 9R E V I E W S | 2 – 6 pm – Jimenez Lai | TOWARDS A COMPACT

MEGALOPOLIS | Room B222

– Katy Barkan, Erin Besler, Kevin Daly,

Narineh Mirzaeian | SECTION AND

ELEVATION | Room 1302 (DECAFE)

– Greg Lynn with Julia Koerner |

BOEING A COLLABORATIVE RESEARCH

AND DEVELOPMENT NETWORK |

Room B227 Double Height Space

– Neil Denari | TOWER COMPLEX |

Perloff Gallery

– Georgina Huljich | STRANGE CONTEXT:

CONFORMITY AND INCONGRUITY |

Room 1243AB

– Andrew Kovacs | FIRE STATION |

Room 1224

– Heather Roberge | GRIDS, CHUTES

AND LADDERS | Room 1209B

S C H E D U L E

P E R L O F F

H A L L

M O N D AY, J U N E 6 , 2 0 1 6

F A C U LT Y L O U N G E9 – 11 amJ I M E N E Z L A I | S U P E R G R O U P

R O O M M A I N H A L LW AY /B A S E M E N T H A L LW AY 10 am – 12 pmE R I N B E S L E R | B Y T H E N U M B E R S

R O O M B 3 0 9 12 – 2 pmG A B R I E L F R I E S - B R I G S | I D E A L P R A G M AT I C S

R O O M 1 1 0 2 | 4 pm – 6 pm

S Y M P O S I U M C T R L C : O N T H E U S E S , A B U S E S , A N D S I G N I F I C A N C E O F T H E C O P Y

P E R L O F F H A L L | 6 pm – 9 pm

O P E N I N G

T U E S D AY, J U N E 7 , 2 0 1 6

9 am – 1 pm M O R N I N G S E S S I O N

R E V I E W S 2 pm – 6 pm A F T E R N O O N S E S S I O N

R E V I E W S

S A L U T E T O H I T O S H I

The 2016 RUMBLE marks the ninth anniversary of our critical/celebra-tory year-end event created by our Chair, Hitoshi Abe. It is just one of the ways in which Hitoshi has elevated the Department’s status and energy during his remarkable ten years as Chair of the Department of Architecture and Urban Design at UCLA. Hitoshi’s collaborative spirit and cross cultural initiatives have created new connections, found new intersections, and filled many gaps in the world of archi-tecture and knowledge production vies-á-vies the A.UD. Between the many positive changes to the programs at Perloff and the inception of SUPRASTUDIO in 2008, Hitoshi has guided the Department over the last decade into areas of research that have opened up a vast range of both questions and possibilities for the future of design. As Hitoshi ends his tenure with this year’s RUMBLE, on behalf of the entire A.UD community, I would like to salute him for his incredible level of com-mitment and service to the Department and for his visionary stance on the fusion of practice, technology, and culture.

NEIL DENARI, Professor

SPECIAL THANKS TO:

Hitoshi Abe, Ali Abdul, Harrison Bains, Brian Balan,

Caroline Blackburn, Garth Britzman, Jonathan

Crisman, Isabel Deakin, Samora Deng, Neil Denari,

Giovani Garci, David Gray, Guy Gustis, Ryan

Hernandez, Samantha Hoch, Linda Holmes, David

Johnson, Verlena Johnson, Alicia Jones, Sohun

Kang, Jim Kies, MacKenzie Keith, Yuna Kim, Mai

Lee, Valerie Leblond, Ruby Liu, Marcelo Marcos,

Jena Meeks, Morgan Montelius, Jacquelin Montes,

Jeannette Mundy, Meaghan Murray, Mahyar

Naghshvar, Jade Narrido, Corina Ocanto, Dami

Olufowoshe, Manju Paithankar, Peter Pak, Nawid

Piracha, Guvenc Ozel, Heather Roberge, Carlos

Rocha, Interim Dean David Roussève, Lisa Rubin,

Jeisler Salunga, Mohamed Sharif, Simi Shenoy,

Philip Soderlind, Peter Vikar, Eric Wall, Rizzie

Walker, Tessa Watson, Erin Wright, Ruolin Xu, Yafei

Zhang

© 2016

The Regents of the University

of California, Los Angeles

INFORMATION:

UCLA Architecture & Urban Design

1317 Perloff Hall, Box 951467

Los Angeles, CA 90095

310.267.4704

www.aud.ucla.edu

PERLOFF HALL is located

on the UCLA Campus.

Perloff Hall, Mon.–Sat., 9 am – 5 pm

Parking is available in Lot 3 for $12

Check the website for confirmation of all programs

at www.aud.ucla.edu

The campus map is available at

http://maps.ucla.edu/campus/

Alternative parking is available at

Self-Service Parking Pay Stations

http://www.transportation.ucla.edu/portal/pdf/

paystationmap.pdf

printing: The Avery Group at Shapco Printing,

Minneapolis

design: Willem Henri Lucas

SYMPOSIUM C T R L C : On the Uses, Abuses, and Significance of the CopyOrganized by Hearther Roberge, UCLA A.UD Assocciate Professor and Associate Vice Chair

An image search for the Farnsworth house on Google reveals a proliferation of copies. This weekend house commissioned by Dr. Edith Farnsworth and designed by Mies Van der Rohe is sited on a flood plain in Plano, IL. Designed in 1945, exhibited at MoMA in 1947, constructed in 1951, restored in 1972, 1996, and 2008, the project is, in fact, a series of material and digital reproductions. Among these copies are tagged snapshots (the products of architectural tourism,) commissioned photographs (copyright held by the National Trust,) screenshots of SketchUp models, orthographic and detail drawings, texts and other reproductions including models sold by Lego. And we must not overlook other forms of copy-like those collected in the 372 search results on Amazon. The Farnsworth house epitomizes the uncontainable dissemination of the copy. Ctrl C is at our fingertips allowing techniques of sampling, appropriation, collage, and reference to shape our thoughts and work. In architectural production, the copy alters the conditions of dis/order, the construction of images, and challenges our faculties of discrimination. A collective fascination with the copy signals a contemporary lack of concern with originality, authenticity, ideology, and autonomy. Disciplinary self-reference is replaced by quotation, curation, and assemblage. Ctrl C panelists will present and discuss the role of the copy in their work. Panelists include Noa P. Kaplan, Erin Besler, Andrew Kovacs, Clark Thenhaus, John May, and Heather Roberge.

P E R L O F F H A L L / 5

H A P P E N I N G S A T A . U D

2 0 1 5 – 1 6

A.UD Gala Celebrates 50 Years at March 19 eventOn Saturday, March 19, more than 300 notables from the architecture, de-sign, real estate development, construction, and entertainment industries gathered at UCLA A.UD’s satellite IDEAS campus in Playa Vista to celebrate UCLA Architecture and Urban Design’s role in shaping the future of archi-tecture since its inception a half-century ago. The sold-out gala honored architect Denise Scott Brown, designer Yves Béhar, and a group of advocates who have helped preserve Palm Springs’ legacy of mid-century modern ar-chitecture.

The evening’s program also featured the premiere of Opening New Futures, a short film celebrating the role and potential of architecture in the 21st century, and launched the UCLA A.UD Global Index, which provides faculty and alumni with an interactive platform for sharing their work and networking with colleagues, connecting work from around the world and mapping UCLA A.UD’s global impact.

Proceeds from the Gala support A.UD’s student scholarships and innovative programs. A.UD @ 50 was made possible through the generous support of presenting sponsor Taslimi Construction.

A.UD Lecture Series celebrates 50 YearsThe 2015-16 A.UD Lecture series focused on 50 Years of Advancing Design, Technology, and Culture. During its 50-year history, UCLA Architecture and Urban Design has been an innovator in identifying what architects are taught. From the invention of 3D computer programs; to the integration of sustainability in a design curriculum; to the incorporation of the largest scale CNC robotics in a school of architecture in the world; the Department has critically defined the topics, curriculum, and knowledge necessary to keep its graduates relevant in a changing world. During 2015-16 we celebrate our 50th year by honoring the Department’s faculty and their many innovations and accomplishments with a series of presentations and conversations.

Presenters include: Junya Ishigami, Principal, Junya Ishigami Architects, Tokyo; Thom Mayne, Distinguished Professor, UCLA Architecture and Urban Design; Director, Now Institute; Design Director, Morphosis, Los Angeles and New York in conversation with Kevin Dailey; Craig Hodgetts, Professor, UCLA Architecture and Urban Design; Principal, Hodgetts+Fung, Los Angeles in conversation with Dana Cuff; Led by Roger Sherman Wonne Ickx, Lecturer, UCLA Architecture and Urban Design; Andrew Kovacs, Visiting Assistant Professor, UCLA Architecture and Urban Design; Jimenez Lai, Lecturer, UCLA Architecture and Urban Design; Mohamed Sharif, Lecturer, UCLA Architecture and Urban Design engaged in a conversation; Michael Osman, Assistant Professor, UCLA Architecture and Urban Design in con-versation with Erin Besler; Greg Lynn, Professor, UCLA Architecture and Urban Design; Principal, Greg Lynn Form, Los Angeles in conversation with Thom Mayne; led by Mark Mack Stephen Christensen, Lecturer, UCLA Architecture and Urban Design; Julia Koerner, SUPRASTUDIO Lecturer, UCLA Architecture and Urban Design; Guvenc Ozel, SUPRASTUDIO Lecturer, UCLA Architecture and Urban Design; and Erin Besler, Lecturer, UCLA Architecture and Urban Design engaged in a conversation; Heather Roberge. Associate Professor and Associate Vice Chair, UCLA Architecture and Urban Design; Principal, Murmur, Los Angeles in conversation with Georgina Huljich; Michael Meredith, Principal, MOS Architects, New York; Sylvia Lavin, Professor, UCLA Architecture and Urban Design; Director Critical Studies and M.A./Ph.D. programs, UCLA Architecture and Urban Design in conversation with Neil Denari. IAES Singapore 2015Established in 2009 by UCLA A.UD, Los Angeles, the International Architectural Education Summit is a biennial conference dedicated to fos-tering a constructive dialogue between leading academics, practitioners, policy makers and industry representatives with ideas to make architectur-al education more relevant against a backdrop of globalization, changing technology and pressing societal issues. The inaugural Summit held in Tokyo in 2009 and the second and third editions taking place in 2011 and 2013 in Madrid and Berlin. The fourth iteration of the summit took place in Singapore in September 2015 addressing the topic of “Emerging Networks in Architectural Education.”

Visiting Professor Go Hagawa investigates “proto-type-ology” in his studioGo Hasegawa was a visiting professor for the fall quarter. His studio fo-cused on the idea of “proto-type-ology” through the design of a house in Los Angeles. The studio proto-type-ology: A House in Los Angeles: beyond the dilemma of modernity vs. the vernacular examined “proto-type-ology” — Between Case Study Houses and the Dingbat. When we think of a quint-essential Los Angeles house, the first images that quickly come to mind are those of the famous Case Study Houses of the mid 20th century, which

were designed as ideal prototypes for a new society. And even though we remain totally fascinated by those ambitions we also know that those beauti-ful houses did not broadly succeed in generating an enduring Los Angeles house typology.

A contrasting example is the ‘Dingbat’, a ubiquitous vernacular multi-family housing type comprising a simple, 2 or 3 level, plastered wood frame box raised on pilotis allowing “tuck-under” street-front parking. The modest ty-pology is also a versatile one, with myriad examples of specific variations to the universal idea depending on the situation. And yet despite its prevalence it is difficult to say who, or what started the ‘Dingbat’ and what its prototype might be.

With this in mind, the studio will begin with “proto-type-ology” as its hy-pothesis. The aim is to challenge us to think in a continuous feedback loop between the architectural prototype and typology, beyond the dilemma that squares modernity against the vernacular.

Visiting Professor Edwin Chan examines the Contemporary Art Museum Edwin Chan was a winter quarter visiting professor. Chan’s studio re-consid-ered the typology of the Contemporary Art Museum from the perspective of today’s cultural and artistic context. Since the opening of the Guggenheim Museum in Bilbao more than 18 years ago, there has been a boom in the construction of museums all over the world. Many attribute this phenom-enon as the fallout of the so-called “Bilbao Effect.” The majority of these museums tend to be designed by “starchitects”, and they all try to com-plete with each other with their “iconic” presence, which is supposed to attract visitors and tourists from all over the world. While on the one hand, this surge of global interest in museum architecture is positive for the pro-fession, the time has come to re-examine this exuberant trend of museum design, especially given the current global economy. In addition, with more and more artists from the younger generation working in multiple media, there seems to be increasing urgency for the museum to re-invent itself. Instead of being a static place for the display of a “Collection”, the contem-porary museum is becoming more and more a dynamic space conceived to promote “Creation”. In this context, the studio will explore these paradigm shifts in the architecture of museum as a hub for the convergence of differ-ent media and spatial configurations.

Sustainable LA Grand Challenge Powell Policy Fellow Heidi Alexander UCLA Grand Challenge named current M.Arch.I third year student Heidi Alexander as a Sustainable LA Grand Challenge Powell Policy Fellow for her project “Mapping Historic Energy Zoning and Sustainable Physical Futures in Los Angeles”. The Fellows’ research and scholarly projects will directly contribute to advancing the goals of the Sustainable LA Grand Challenge: 100-percent renewable energy, 100-percent locally sourced water, and en-hanced ecosystem health and human health and well being by 2050 in Los Angeles County. This fellowship is made possible through a generous gift from Norman J. Powell.

A.UD students launch POOLPOOL is the student journal of the Department of Architecture & Urban Design at the University of California, Los Angeles. POOL is driven by an interest in an expanding definition of architectural work that, in a culture of high volume content exchange, considers curation as a primary form of cul-tural production. Following this, we contend that the syllabus, the archive, and the aggregator are all valid forms of architectural work that we wel-come and encourage in our publication. POOL is a site of this type of work, experimenting with interface between its three primary platforms: event, digital, and print. Events and ongoing digital publication act not only as productive indicators of relevant themes, but also feed into an annual print edition. POOL aspires to reach new audiences, seeing the separation of fields into hermeneutic discourses as unproductive, and strives instead for the inclusion of new and unexpected audiences through the incorporation of media unconventional to architectural discourse. Students involved include: Managing Editors: Heidi Alexander, Jesse Hammer; Content Editors: Ingrid Lao, Brian Yarish; Graphic Editor: Victoria McKenna, Digital Editor: Nawid Piracha; Production Editor: Mackenzie Keith; Event Editor: Sai Rojanapirom; Finance Editor: Alyssa Koehn. www.pool-la.com

Distinguished Alumni 2015–16 Tom WiscombeThe department was pleased to honor Tom Wiscombe, Principal, Tom Wiscombe Architecture, Los Angeles and Sci-Arc under graduate program chair as the 2015–16 Distinguished Alumni. Mr. Wiscombe gave a public presentation on his work as part of the A.UD Lecture Series on February 29. The Distinguished Alumni Lecture Series features renowned graduates whose innovation and accomplishments have significantly impacted the field of architecture and urban design.

Current student Dokyung Kim wins second prize in Central Park Summer Pavilion CompetitionCentral Park Summer Pavilion Competition was open to international undergraduate and graduate students and recent graduate of architecture.

The CPSP was envisioned as a meeting point for different cultural and lei-sure circuits, with the goal of using the same space for a broad range of daytime and nocturnal activities in a sustainable fashion that respects its surroundings. The idea was for it to become an obligatory stop for visitors to Central Park.

M.Arch. I second year student Dokyung Kim and Chang Kyu Lee New York based architectural designer won the second prize on this competition with a project challenges definition of linear gesture. The ‘plaYform’ proposes a “space of experiences” — simply pushed-down a plaTform connects human and nature as a ‘plaYform’ at the same time a simple linear gesture defines a whole proposal that shows as an object.

Chroma-topia PublishedThe research findings of Professor Neil Denari’s 2014–15 Research Studio Chroma-topia: Generally Different Towers for Shanghai is released in the Fall.

What is left to be said, in 2015, about the state of the high rise, especially concerning Shanghai, a city that has more than 1400 buildings over 100 meters tall? Neil Denari and his students investigate this question in a year-long study of high rise towers and vertical density in the city of Shanghai. The result is a collection of speculative designs (fictional and financial) and accompanying scenarios presented against a backdrop of topics including the global city, political conformity, social mobility, migrant labor, and invis-ible currencies — all in the form of 24 high rise towers.

The studio work culminated in a three-month long exhibition in Shanghai in the 2015 biennale Shanghai Urban Space Art Season (Sept. 30–Dec. 15, 2015) and the publication of Chroma_topia, a 200-page exhibition catalogue featuring the work of the studio. The publication also includes essays by Neil Denari and Jia Gu, photographs by Neil Denari and Tim Franco, along with a tower atlas of over 30 tower case studies.

Students from 2014–15 include: Andrew Akins, Ciro Dimson, Max Irish, Xiaorui Lin, Steven Matti, Corliss Ng, Mark Simpson, and Zhuoran Xu.

Winter Workshops: THOMAS KELLEY: SUPERFICIAL / FLORIAN IDENBURG: FORMS OF SEDUCTIONThe student initiated A.UD winter workshops, jointly titled Practice Makes Perfect, invites two prominent figures to the department to work with stu-dents on issues related to the confrontation between disciplinary concepts and architectural practice including (but not limited to) details, models, documents, specifications. In the winter of 2016 the side-by-side workshops were led by Thomas Kelley (Norman Kelley) and Florian Idenburg (SO-IL) in collaboration with Ana Prvacki and took place from January 29 – February 1. Workshop work took place in the DeCafe in a scene not unlike the morn-ing tuna auctions at Tsukiji Market in Tokyo. The Superficial Workshop led by Thomas Kelley, which produced sixteen 36 ∞ 72 inch gray scale drawings that lined the gallery walls, prompted students to consider the proposition: “The drawings we make tend to die alone or surrender to three-dimensions. To stave off a while longer, we will discover the economies of being super-ficial. Together, we will make big and/or small 1:1 drawings that collect a variety of attention spans. Like a Peruzzi fresco or a Palermo wall paint-ing, our drawings will transcend projection and consume found picture planes—graphite and ink replaces plaster, paint, and glass.” The Forms of Seduction Workshop led by Florian Idenburg with Ana Prvacki worked through an atlas of terms that compared concepts and tactile qualities to-ward the production of sixteen 24 ∞ 24 inch microenvironments as models. Composed of a collection of found, sampled and purchased objects the models were displayed on pedestals and arranged in a 4x4 grid in the center of the gallery. The workshops culminated in a review, exhibition and discus-sion in the AUD Gallery with guests including Laurel Broughton, Andrew Kovacs, Gabriel Fries-Briggs, Brendan Shea, Kimberli Meyer, Heather Roberge and Sylvia Lavin.

Michael Meredith Workshop: ABOVE GROUND POOLNew York based Michael Meredith with A.UD Lecturer Jimenez Lai led a spring workshop focusing on (a): Architectural Indifference, an Aboveground Swimming Pool, Lounge Chair, Pool Toys and David Foster-Wallace. No. 1 The project is to design an “architectural” aboveground swimming pool for a small community to use seasonally. No. 2 The aboveground pool’s site is indeterminate. No. 3 The aboveground pool is temporary and economical. No. 4 The aboveground pool is an object to be repeated. No. 5 The aboveg-round pool is for a diverse group to enjoy. No. 6 The aboveground pool should engage an “aesthetics of indifference.”

April Pop-Up LecturesApril Pop up lectures include Urtzi Grau, Director of the Master of Architectural Research at University of Technology Sydney and co-founder of Fake Industries Architectural Agonism, New York on April 18 and on April 20 with Coachella Latvian Pavillion artists Katr īna Neiburga and Andris Eglītis spoke on their large-scale installation ARMPIT. ARMPIT is a sculpted system of building constructions by Andris Egl ītis interwoven with video-stories by

Katr īna Neiburga about a peculiar local phenomenon, “garage elves”, who tend to spend their leisure time tinkering with various mechanisms in work-shops set up for this hobby.

Fiona Connor: Process Inter-rupted Part 2A.UD Installation with Fiona Connor: Process Inter-rupted Part 2 happened from April 14–17. Fiona began this project in 2014 with a visit to Pacific Clay to research the origins of the bricks on UCLA’s campus and presented it in the format of Supper Studio at A.UD. This installation is a follow-up and will present bulletin boards from around the shared work spaces, offices and labs of Pacific Clay. Excerpts from the original Supper Studio presentation and the closing discussion will be published by POOL. The weekend closed with a discussion in collaboration with POOL editors. Gabriel Fries-Briggs 10 Casts exhibitionThe Teaching Fellow Exhibition installed in April at the 2426 gallery by Gabriel Fries Briggs entitled 10 CASTS examined plumbing standards and tilt casting converge in 10 Casts. The exhibition presents the back-side of the wall as a site of coordinated labor, loose material formation, and the internet of concrete. It displays work in conjunction with the UCLA Architecture and Urban Design Teaching Fellowship program.

BI(h)OME Selected as a Finalist for Two Architizer A+ AwardsThe BIHOME that Kevin Daly, cityLAB, and A.UD grad students designed and built received the Westside Urban Forum “Design Merit Award” in the category of Plans/Public Policy. The BIHOME project, continues with two further versions. The original BIHOME is being repurposed as an elemen-tary school outdoor classroom and a new, fully-habitable version will be built in the City of Los Angeles as a backyard home demonstration project.

SUPPER STUDIO is a student-led speaker series happening in Perloff Hall Each evening features practitioners working in and around the discipline of architecture. It’s a loose dinner discussion where students, faculty and speaker come together over a shared meal.

SUPPER STUDIO hosted two events during the 2015–16 school year. Supper Studio 17 is interested in curation as a method of architectural production. From architectural yard sales of used goods to collections of user-generated content, architectural work today has expanded beyond the production of an original “primary object.” What is the nature of this new architectural work? What are the conditions surrounding its emergence? And what does it mean to curate today, when the term is used for everything from Pinterest boards to selections of artisanal cheese? These are some of the issues Supper Studio 17 seeks to address.

SS18 continued a discussion that arose out of the 2nd year MArch I class on Programming. Taught by Dana Cuff, who joined us at dinner, the feedback for this class has been that it is one of few opportunities AUD students have to talk about humans in architecture school. This panel hoped to investigate the roots of this feedback- why don’t we talk about humans in architec-ture school? What does it mean to truly think about the human impacts of our design work? How ought we talk about humans in design education? Are we setting up our students to engage in design problem solving and have positive impacts in the communities they serve? These are some of the questions our panelists and small table discussions sought the answers to.

Beaux Arts BallFollowing a rich tradition of architectural festivities UCLA’s Second Annual A.UD Beaux Arts Ball took place on Friday May 20th including dinner, drinks, dancing, and occasional debauchery. DJ Orange was in the house. This years’ costume ball theme was “Art Deco Disco,” a celebration of the 1920s, where “the parties were bigger, the pace was faster, the shows were broader, and the buildings were higher,” to quote F. Scott Fitzgerald. Guests dressed up or dress down in their 20s best or as their favorite Art Deco building.

Pool PartyPOOL’s inaugural launch party in late May was co-hosted by CLOG celebrat-ing print media. POOL totes, a limited supply of CLOG back issues, tamales, and cocktails were available for sale in conjunction with a casual discussion of the future of print, tables, guns, paper tables, printed guns, paper archi-tecture, and more.

4 / P E R L O F F H A L L

Alan Locke Alex McDowell Amelia Taylor Andrew Atwood Andrew Kovacs Andrew ZagoAndy Ku Anna Neimark Barbara Bestor Bart Tucker Behnaz Farahi Ben Freyinger Ben Refeurzo Ben West Benjaim Braton Bob Hale Brigid Boyle Brian Pene Brooke Hodge Cam BilselChava Danielson Clare Olsen Clark Thenhaus Claudia Carol Claus Benjamin Freyinger Craig Hodgetts Dana Cuff David Bergman David Freeland David Ruy David S. Lazzara Devyn WeiserDiane Favro Dora Epstein Jones Duygon Inal Edwin Chan Elena ManferniniEmily Rosen Emmet Zeifman Eric Casdyn Eric Owen Moss Erin Besler Eui-Sung Yi Ewan Branda Fred Fisher Gabriel-Fries Briggs Geoff Wardle Geoffrey Von Oyen Georgina Huljich Glen Irani Greg Lynn Guvenc Ozel Heather Peterson Heather Roberge Hernan Diaz-AlonsoHerwig Baumgartner Hitoshi AbeJake MatatyaonJason Kerwin Jason Payne Jason Kelly Johnson Jeffrey Inaba Joan Ling John Enright John Ruble Johnathan Olivares Jon Christensen Jon Kaliski Jonathan CrismanJimenez Lai Julia Koerner Justin Diles Justin Rice Kagan Taylor Katy Barkan Kevin Daly Kimberli Myer Laurel Broughton Legg HomanLi Wen Liam Young Liz Falletta Lou Lenzi Marcelo SpinaMargaret Griffin Margo Handwerker Mark Mack

Mark Lee Marta Novak Martin PaullMaxi Spina Michael Osman Ming Fung Mira Henry Mohamed Sharif Narineh Mirzaeian Nataly Gattegno Neil Denari Nour El-Zoghby Page Beerman Pamela Burton Patrick Tierney Patrick TighePavel Getov Peter Testa Peter Trummer Peter Zellner Phil Bernstein Phillip Ong Refik Anadol Reid Johnson Richard Kim Richard Koshalek Richard Weinstein Roger Sherman Ron Frankel Ross Wimer Russell Thomsen Sarah LorenzenShannon Starkey Sherida Paulsen Stephanie ReichStephen PhillipsSteven Christensen Sylvia LavinTakashi Yanai Ted Smith Teddy Cruz Thom Mayne Tim DurfeeTodd Gannon Todd Lynch Tom Hines Valerie Leblond Wil Carson Wonee Ickx Yeung Ho Man

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6 / P E R L O F F H A L L P E R L O F F H A L L / 7

R O O M : 1224C O U R S E : 414 Major Building Design Studio

4 1 4 T H E F I R E S TAT I O N : S TAT I O N T O S TAT I O N Jason Payne, Associate Professor, UCLA Architecture and Urban Design

Our project involves creating an image and language for the fire station in Los Angeles. We are interested in the ubiquity of this build-ing type and its relative shyness as compared to other civic building types. Each project en-visions something between a prototype and a one-off for new fire stations - something that could be repeated but not so easily. We think the formal languages we’ve developed are new in some ways and old in others, each one going after form and feature that is extra-ordinary in its own way, shy but interesting, hard to define but wanting definition.

S T U D E N T S : Peter Boldt, Kaiyun Cheng, Julia Curtis, Bezalel Ho, David Johnson, Eun Ko, Devin Koba, Yan Liang, Xiaowan Qin, Achariyar Rojanapirom, May Wang, Tessa Watson, Jianning Zhong

R O O M : 1220C O U R S E : 403 Research Studio

B AT T E R Y P O W E R : R E C H A R G I N G A R C H I T E C T U R E ’ S U R B A N E F F E C T S Roger Sherman, Adjunct Associate Professor, UCLA Architecture and Urban Design

This studio has three interwoven lines of in-quiry. All are prompted by a counterintuitive, counter-modernist proposition: that infrastruc-ture is actually what ails the city, not (as most landscape architects and urbanists would ar-gue) the best means to shape it. The studio ex-plores the implications of changing the existing urban model—in which infrastructure is a pri-ori, connective and extensive—to one in which it is circumstantial, decentralized and intensive (battery-powered).

For architecture, this alternative view represents an unlikely and surprising key to recharging its urban agency. Instead of being relegated to a secondary position, attached to the a priori and discrete model of infrastructure that has existed since the turn of the 20th century, architecture will in our approach play host to a constellation of independent public service hubs piggybacked upon or otherwise built into buildings of other private and institutional use. It is hypothesized that this role reversal will fundamentally alter architecture’s urban posture away from the false choice between autonomous object and mere infill building, toward the idea of a com-posite ensemble fully engaged and intertwined with the open space adjacent to it.

A second formal/compositional interest of the studio emerges from the same paradigm shift: as infrastructure’s pervasiveness and autonomy is minimized, architecture is consequently sur-charged with the role of providing the urban connectivity that the former has typically pro-vided.

The third line of inquiry, prompted by the inflex-ibility of the systems model of infrastructure, explores the formal possibilities opened up by exploring a building’s capacity to embrace change. Constant flux—both environmental and economic—is endemic to Amazonian cul-ture and climate, and has been at the root of South America’s long and notorious history of boom and bust development. The context of change that we will be exploring includes a site where the river periodically overflows its banks, inundating the site of the future town; and an economy which oscillates between agronomy, in manufacturing and in tourism.

Students create design proposals for a series of pilot projects in Puerto Providencia, a new riverport town being planned in the Ecuadorian Amazon. The town will be a key hub in the Manaos-to-Manta (Amazon-to-Pacific) ‘trans-port axis’—one of several transcontinental transportation and communications networks being established in South America to expedite the movement of resources extracted there to the Asian market. The pilot projects include a micro-enterprise cluster (small factory, store and childcare center); an open-air market build-ing; a K-12 school; small eco-hostel;and “shophouse” dwelling prototype.

S T U D E N T S : Heidi Alexander, Kyra Bauman, Garth Britzman, Isabel Deakin, Daniel Lee, Victoria McKenna, David Saldin, John Whitcomb, Xiaolin Zhang

R O O M : 1224 and 1243ABCC O U R S E : 414 Major Building Design Studio

4 1 4 T H E F I R E S TAT I O N Andrew Kovacs, Lecturer, UCLA Architecture and Urban Design, Jason Payne, Associate Professor, UCLA Architecture and Urban Design, Heather Roberge, Associate Professor, UCLA Architecture and Urban Design, Mohamed Sharif, Lecturer, UCLA Architecture and Urban Design

414 is the culminating studio of the core cur-riculum at UCLA A.UD. From Robert Venturi and Denise Scott Brown’s Fire Station #4 to Zaha Hadid’s Vitra Fire Station, the Fire Station has long been a public building where architectural issues are expressed and realized at a modest size. The studio is structured around four cen-tral issues that build over the course of the quar-ter. These issues have their own mini-reviews throughout the quarter to foster cross studio discussions. As such, the reviews act as a forum of shared issues to foreground joint discussions. To ensure discussions remain focused students are selected from each section to represent the discussion of each review. In addition, these is-sues are meant to be seen as being continuous and ultimately a capstone of the core curriculum at A.UD. While these issues have a defined place throughout the quarter they should be seen as a progression throughout the quarter. 1. PRECEDENT / ANALYSIS / TYPOLOGYThe fire station has a very defined set of con-straints while having a unique mix of program. It must accommodate everything from revolving living paces to the storage and maintenance of large equipment.

2. PLAN / ORGANIZATIONThe fire station has a very clear organization that is best expressed in the plan dimension. The most banal set of activities, the storage and maintenance of equipment along with their adja-cencies and separation are all important consid-erations. Small innovations, for example the use of Murphy Beds in the residential quarters can have consequences in the overall layout.

3. MASSING / ICONOGRAPHYThe fire station is a small architectural icon in the community. As such, the fire station is a public building. Yet, to the everyday citizen its image might be more accessible than its interior.

4. PRESENTATION / REPRESENTATION / ARGUMENT The fire station is an iconic shed. It is an ordi-nary yet highly functional building that has a visual presence in the community. As such, the verbal and visual arguments are as important as the design considerations of each project.

R O O M : 1224C O U R S E : 414 Major Building Design Studio

4 1 4 T H E F I R E S TAT I O N Andrew Kovacs, Lecturer, UCLA Architecture and Urban Design

The Fire Station has a conceptual division of 50/50 — there is the apparatus bay dedicated to the storage and maintenance of equipment and then there is the remaining half dedicated to activities of everyday life. As such, the fire station is typologically determined. Through the creation and implementation of a typologi-cal primer this studio will focus on the minute aspects of the fire stations organization and we will push for a perverse functionalism. In addi-tion, we will focus on the fire station as a social palace — one that has an iconic presence in the community that is the result of a conglomera-tion of various functional elements.

STUDENTS: Mojgan Aghamir, Jon Bruni, Aaron Gutierrez, Liuxi He, Ryan Hernandez, Yao Huang, Dokyung Kim, Andrew Ko, Jaennette Mundy, Haoyuan Tan, Tuan Tran, Taoran Zhao, Can Zhou

R O O M : 1209BC O U R S E : 414 Major Building Design Studio

4 1 4 T H E F I R E S TAT I O N : G R I D S , C H U T E S A N D L A D D E R S Heather Roberge, Associate Professor, UCLA Architecture and Urban Design

Our studio began with the diagram of the game, Chutes and Ladders. Its game board consists of a grid populated with ladders and chutes that make unexpected connections between spaces on the board altering the course of the game. To organize the fire station with its requirements for numerous spatial compartments, rapid and direct movement between spaces, and frequent distribution of building systems due to toxic air, water, and materials, our studio generated figure/ground fields to sort these demands and articulate our spatial ambitions. The resulting projects propagate highly variegated interiors that organize the typological complexities of the fire station while speculating on the spatial effects of figure vs. ground and dense environ-ments of chutes and ladders.

S T U D E N T S : Eliza Boghossian, Clarissa Brunt, Boyan Chen, Lori Choi, Micaela Danko, Brian Daugherty, Setareh Hajisaleh, Boyu Hu, Aarynn Jones, Mackenzie Keith, Haiyi Lai, Chang Lee, Jade Narrido

R O O M : 1243BCC O U R S E : 414 Major Building Design Studio

4 1 4 T H E F I R E S TAT I O N : F O C U S A N D F L I G H T Mohamed Sharif, Lecturer, UCLA Architecture and Urban Design

Our section concentrated on the theme of ‘Focus and Flight’, in the form of 12 top heavy shed-like buildings whose sparse footprints were derived from notations on the ground plane that focus and distribute vehicular lines of flight while tethering them to their neces-sary service and related programmatic compo-nents. This nod and wink to functionalism is an excuse for freeing the ground plane of as much accommodation as possible in order to directly engage the building and its culture with the city - think ‘less figure more ground’ and ‘more fig-ure above the ground.’ The 12 projects evoke large urban buildings tasked with handling the ebbs and flows of hu-manity and its materials: aircraft hangars, and/or factories, and/or market halls, and/or railway stations. In other words the 12 buildings are networked objects: robust and tough hubs that coolly handle the heated hustle bustle of essen-tial services and emergencies. Spryly tethered to

the ground of the city, they carry the bulk of their logistical functions within inhabited roof-scapes whose primary sectional charge is urban; that is to facilitate ground continuities for its citizenry. The shift of the bulk of the accommodation to the upper floor(s) underlines the theme of the manifold, or inhabited, roof. Lines of flight between foci within the roofs - exaggerated at-tics - and on the ground are geometrically gov-erned and punctuated with criss-cross shortcuts and meanders. Purposeful trajectories of many scales and many speeds occur in circulatory components, and elements, that are straight up and down: ladders, lifts and poles; inclined: escalators, ramps, slides, stairs, and stramps. The connective network linking aisles, gather-ing places, islands and rooms is lively, animat-ing both the ground and the underbellies of what looms above. The merger of circulation and structure facilitates open and directed ter-ritories at ground level and subdues the pres-ence of vertical supports to prioritize the sense of hefty inhabited roofs seemingly suspended above the city.

S T U D E N T S : Bezaleel Balan, Sami Boukai, Jonathan Chiang, Gilbert Cruz, Samora Deng, Felipe Hernandez, Alyssa Koehn, Benjamin Kolder, Qiyue Li, Jeisler Salunga, Victoria Shingleton, and Noah Zaccaglini

R O O M : 1302 DecafeC O U R S E : 401Tech Core

4 0 1 S E C T I O N A N D E L E VAT I O N Katy Barkan, Lecturer, UCLA Architecture and Urban Design, Erin Besler, Lecturer, UCLA Architecture and Urban Design, Kevin Daly, Lecturer, UCLA Architecture and Urban Design, Narineh Mirzaeian, Lecturer, UCLA Architecture and Urban Design

My house never pleased my eye so much after it was plastered, though I was obliged to confess it was more comfortable. – Henry David Thoreau, Walden

“Architecture has gone through a decade and a half of valorizing the horizontal, in large part motivated by an idea that the horizontal is bound up with connectivity and the lack of barriers and boundaries. I am suspicious of the politics of pure connectivity and this utopian idea that if we erase all the boundaries every-thing will come together. We know this is not happening. If we look at the specific capacities of architecture as a discipline, architecture is in fact a discipline of limits and boundaries. The rediscovery of the vertical plane and the agency of limit and separation, the estab-lishment of boundaries, and the interest of someone like Alejandro Zaera-Polo in the envelope, all lead me back to rethinking the verticality of architecture or architecture as a vertical figure in the landscape. Architecture differentiated from landscape as opposed to a continuation of landscape.

In the broadest possible terms, one of the things that we inherited from postmodern-ism was the valorization of the vertical plane, which was the signifying plane. Even at a very cliché level, the paradigmatic postmodern draw-ing was the rendered facade, on yellow tracing paper with colored pencil. That is what my gen-eration rejected. To a certain degree something was lost in forgetting about that vertical surface, and a lot of architects are returning to think-ing about the elevation and iconic presence of the building in the landscape. Not necessar-ily the elevation’s signifying capacity, but as an interface, a membrane on which informa-tion is being transmitted in both directions. If you go back to the late ‘80s or early ‘90s, the paradigmatic elevation is the revealed section. For example, Koolhaas’s Jussieu library has no elevation; the elevations are the sections. The notion that between the section and the

In architectural history, the problem of context brings with it the specific aspect of references and their particular traces. It is in fact the re-cent resurgence of referenciality that mobilizes the studio to look for alternatives to abstraction and direct reference on the other. The studio will situate an inherent tension between two kinds of pressures: context and image on one side, and mass and envelope on the other, at the same time misusing and muting sources from a pres-ent, past or fictitious context.

Possibilities of migrating information from context to image, from image to geometry and from geometry to tectonics will be mobilizing mechanisms to activate a speculative realism in the projects. Rather than simply replicating or re sampling the known, the studio will push for deeper, stranger and fresh relations between ideas of context [program could be understood as context] and the resulting architectural image emerging as a response.

THE IMAGE The studio challenges fixed aesthetic notions of beauty and legibility in architectural representa-tion and visualization, using abstraction and defamiliarization to speculate on the genera-tion of withdrawn, irritant and engaging images [through both, photo realism and drawing]. We will experiment with its limits and possibilities, its technologically aided capturing [via sophis-ticated drones] and hyper enhanced realism, to reveal both the hidden inconsistencies as well as newfound potentials of this medium to define new speculative realities for architecture and its extended milieu.

The studio operates between abstraction and realism, simulation and representation, perspec-tive and projection, object and field, drawing and image.

Technically, we will leverage the underlying biases and discrepancies in contemporary methods of computer visualization and distributed surveying to generate a novel understanding of both con-text and field in architecture. By purposefully mis-appropriating and retooling common algorithms utilized to create coherent representations of urban environments from distributed sources, we will expose the seams, voids and flaws con-cealed by the hidden agencies that continuously manipulate our perception of the world.

DESIGN PROPOSALThe design project will consist of the Governmental Historic and Cultural Complex on the grounds of the former Order Castle Königsberg in Kaliningrad (“Post-castle”). The site location is of key importance for the his-tory of the former Königsberg, the former East Prussia and contemporary Kaliningrad, in the im-mediate vicinity of the House of Soviets.

The site itself provides a remarkable canvas for investigation: the memory of the medieval castle; the physical and historical presence of the House of Soviets and the contemporary context of the new center of the City of Kaliningrad will allow us to pursue ideas of context beyond the known specificities of site, by understanding it as a larg-er cultural and a social framework from where projects can cultivate and construct new physical images. In fact the idea of the image as a source of collection of information, pertaining to issues of character as well as outline, will be of vital im-portance in our research.

The studio will work on an urban complex con-sisting of five buildings and a large public / in-stitutional plaza to explore the construction of architecture not just as a formal whole, but as a figural matrix of disparate yet conformed vol-umes, using abstraction and de-familiarization as a method of proposing new architectural para-digms based on utilizing context and references as the foundation of their transformation.

STUDENTS: Harrison Bains, Di Chang, Bingqian Dong, Jamie Kleine, Mark Lagola, Ingrid Lao, Meaghan Murray, Damilola Olufowoshe, Richard Ruiz, Rui Xiong, Brian Yarish, Sarah Yoshida

R O O M : 1243 ABC O U R S E : 403 Research Studio

S T R A N G E C O N T E X T: C O N F O R M I T Y A N D I N C O N G R U I T Y : T H E C A S E O F T H E U R B A N C O M P L E X A N D I T S G A D G E T S Georgina Huljich, Adjunct Associate Professor, UCLA Architecture and Urban Design

CONTEXT; REFERENCE AND CONFORMITY The problem of context has been at the center of architectural discussion and debate since the advent of postmodernism. In fact, since notions of context moved to the center of architectural discourse, ideas of contextualism, historicist postmodernism, critical regionalism and its var-ious permutations, tried to address the neglect of local conditions which modernism came to cherish and abuse.

Central to the issue of context is the idea of con-formity: norms the act of matching attitudes, beliefs, and behaviors to group. In fact, it is this tendency to conform that is both necessary and problematic when it comes to a contempo-rary attitude towards context. By concentrating on an “urban complex” as a project, that is, a group of buildings rather than a single one, the studio will look at distinct and strange notions of conformity, both internal and external to the project.

R O O M : 1308, Perloff GalleryC O U R S E : 403 Research Studio

T O W E R C O M P L E X Neil Denari, Professor, UCLA Architecture and Urban Design

COMPLEX, PART IFor the urban developer, towers remain the most prominent tool in their typological kit. For cities like New York, Shanghai, Vancouver, and even Los Angeles, they are machines of profit, agents of sustainability (high density, small footprint, and skyline makers all in one. For the architect, they are chances to express something within a building format that at its core is monumental, even epic. Designing a tower from the inside out to reach an honest conclusion is often not pos-sible as most are simply empty vessels, a series of repetitive floor plates wating to be occupied, thus leaving the architect and his or her id/ego to worry about what to do, what to say. Indeed, designing a tower is an activity that can gener-ate a serious complex. Anxiety though, can be limited in a number of ways. One is to reduce the burden of total authorship of a tower to a team that works cooperatively yet strategically.

COMPLEX, PART IIWhen buildings are arranged on a site with programmatic similarities or relationships, we often describe them as a ‘complex’. Usually de-ployed horizontally in a campus like fashion, the architectural complex is a plan dominated proj-ect where solids and voids are orchestrated for circulation, service, and leisure. If the project involves towers, then often they are arranged with designated distances between them and with a specific relationship to the ground (e.g. on a base/podium). Most large urban projects, like in Asia, involve the arrangement of multiple towers in a limited field.

URBANIZATION AND THE SINGLE TOWERIf the complex is defined by multiples and an ensemble of parts, then by definition the singu-lar tower can never be described as such, as a complex arrangement or an arrangement that is a complex. And since this is the case, the au-tonomous tower is never designed by more than own architect (office). Until now.

This studio aims to make an organized game out of collaboration by setting up, like any good project, a series of constraints that cuts anxiety (tower complex) down into manageable scales (complex tower). We will design the world’s first multi-architect tower, not as a democratic collaboration, but rather like architects work-ing independently within a masterplan. In this case, a 75-story urban tower (322 meters) is the ‘volumetric masterplan’ in which each of the students will work.

S T U D E N T S : James William Barron, Katie Chuh, Adrien Forney, Shen Gao, Samantha Hoch, Ziqi Liu, Nawid Piracha, Thomas Pompeani, Amanda Shin, Di Song, Jonathan Talley, Erin Wright

The historic ideal, patrons supporting archi-tects’ visions, has been replaced by greedy de-velopers exploiting them. Massive bureaucratic overlays and an inflexible construction culture have only exacerbated the situation. The loss of civic and governmental projects and the ob-scure system of project distribution drive archi-tectural decisions away from a socially culturally responsible craft. The loss of a meaningful com-petition culture has left the chain of decision-making to a shrinking Capitalist elite and their volatile market-based rationales.

At this time, established architects and their corporate facsimiles together with their pro-fessional enabling institutions glorify high job expectations and architectural role-playing. This is based on the correlation of trending archi-tectural images with the patron/developer and client relationship, resulting in a climate of pre-vailing culture preferring luxury development over need based housing. Further the need for corporate identity leaves the aspiring architect in constant search for an ever unique and ar-tistic way to articulate an architectural solution, what once were essential and rudimentary user needs are replaced by branding and high finan-cial returns for the developers/client. In addi-tion, the absence of a critical social and cultural assessment by academic and popular critics has left the profession in a narrow track of self-ag-grandizement and cultural isolation. This leaves architectural and planning decisions to outsid-ers and worse relegates architects to the status of make-up artists for monetization and enrich-ment of capital portfolios.

This research studio explores the different roles that might be available for designers and ar-chitects to assume if the delivery system and capitalization of the process of producing and delivering architecture—is changed.

The students are encouraged to work deeply and independently, draw from their own cul-tural backgrounds to come up with examples describing new and exploratory methods of self-programmed and self-administrated archi-tectural projects of different scales, as well as self-financing. This could lead to projects of a permanent or temporary nature, community need-based projects and civic interventions on a neighborhood scale.

S T U D E N T S : Adam Croce, Chad Diep, David Gray, Corina Ocanto, Robert Skelton, Hsiao Yang, Michael Ying, Kenneth Young, Joanna Zdziarska

R O O M : 1118 C O U R S E : 403.1 Research Studio

T H I S R E V O L U T I O N W I L L N O T B E T E L E V I S E D … Re-Tooling The Delivery of Architecure Mark Mack, Professor, UCLA Architecture and Urban Design

The education of an architect today is based on established hierarchies of financial and social delivery systems, it also assumes a typical client and architect relationship. Aspiring architects have already internalized this paradigm and gearing their career toward a goal of diminished expectations. Architectural decision making fa-vors those who already are inside working the system; encouraged by professional interest groups and the structure found in most prac-tices; other alternatives can be imagined but hardly realized. The way architecture is prac-ticed today presents limited career choices and confines the young architect to an already an-ticipated career path.

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R O O M : B222, Double Height SpaceC O U R S E : SUPRASTUDIO Lynn

B O E I N G — C O L L A B O R AT I V E R E S E A R C H & D E V E L O P M E N T N E T W O R K A N D P AV T E R M I N A L Greg Lynn, Professor with Julia Koerner, Lecturer

Today, there is a transformation in the way we collaborate:

– we collaborate together – we collaborate while spatially separated

through machines – we collaborate directly with machines

COLLABORATION OVER DISTANCE The office complex, the lab, the studio, the skunk works, the shop, the garage, the hangar and the research park are all spaces predicated on collaboration in the same space together; of-ten around a shared physical object or a screen. We are learning to collaborate without a static point of reference at many locations simultane-ously. Design for collaboration with spaces that acknowledge and facilitate these new ways of working together.

SHARING TECHNOLOGIESThe distance between concept, engineer-ing and manufacturing is rapidly collapsing. Engineering and development does not remain on the screen. – 3D printing allows for geographically distrib-

uted collaboration around identical physical objects

– Augmented Reality allows objects and data to be brought into space and locked to spatial and physical objects without the need for caves and immersive virtual environments

Design today requires spaces that integrate technologies of presentation, communication and fabrication into the architecture so they are not just applied equipment.

RESEARCH CENTER(S)The students designed two facilities simul-taneously and in relation to one another. Understanding that people do not work on one project at a time but with multiple teams on multiple projects, they were asked to question the cubicle and offices and think instead about how to work with teams in both Large and Small Project Centers within their building as well as with colleagues at other locations. For example, an employee might work one full day a week on an incubator project team, mornings with a large project team and afternoons with two small project teams. In each case they might be working with colleagues both local and remote.

PERSONAL AIR VEHICLE TERMINALThe students were given the task to propose ways in which Personal Aerial Vehicles would impact urban transportation hubs as well as urban buildings. As a case study the Federal Building at the intersection of Wilshire Blvd. and Rt. 405 was given as a site. Students con-sidered the site at the building scale, how PAV drone transportation could service the building; and some considered the site at a regional sta-tion scale, how a major PAV terminal could in-tegrate with other modes of transportation near the site. Concerns of navigation, aerodynamics, safety, vertical transportation and regional plan-ning were responded to in each project.

S T U D E N T S : Anna Kudashkina, Lyo Heng Liu, Yuchen Liu, Marcelo Marcos Rodriguez, Luis Ochoa, Pegah Roshan, Jorel Emmanuel Sanchez, Chunxiao Wany, Yifan Wu, Ruolin Xu, Ting Xu, Yuekan Yu

P E R L O F F H A L L / 9

U N D E R G R A D S – J U N I O R S

B R O N T E A R A G H I C O L E T T E A R O M I R I A M B E N I T O L O P E Z C A R O LY N F R A N C I S

J A C O B G A R S O N A S H L E Y G O M E Z R YA N H U G H E S R AYA N I TA N I

A L I C I A J O N E S J E F F R E Y K U O E U N I C E L E E L A R K R U E S C H

W E S L E Y S O N G D E S I A N A Y U A N AW A NK Y L I E W I L L I A M S

8 / P E R L O F F H A L L

I R A C A R O

D Y L A N H A R M O N

Y U N A K I M

A I L E Y S I M P S O N

U N D E R G R A D S – S E N I O R S

R A S A M A M I N Z A D E H Q I H U I B A O M E G A N B E R O O K H I M L U C A S S A M U E L B U D G E T TJ U D E A L B A R O U D I

P E I T O N G C H E N S K Y L A R E L I S R E N ATA H E R R E R A

be said to have thickness. Methods of mea-surement and orthographic projection become conflated in digital environments like Revit where Above Finished Floor is a view setting.

Above Finished Floor, as both term common to construction documents and as course title, de-scribes a condition in which the selection and application of materials, their representation, and protocols of measuring digital and physi-cal artifacts are necessarily bound up in design.

OBJECTIVESThis course builds on the Technology Sequence of the undergraduate program in three acts. Each act is intended to develop proficiency in the interaction between digital design environ-ments and material specificity. Material will be taken to be a synthetic substrate that will be developed in two and three dimensions, in digi-tal and physical models. Densities, orientation, scales and other shifts in grain, texture and pat-tern will be related to the geometric qualities of models. Attention will be paid to verbal descrip-tions and vocabulary to further discourse of our operations and objects.

Over the duration of the course, students constructed surfaces three ways: by filling an object, framing or framing around an object, and by finishing a surface. In each part, the Above Finished Floor will present limits and contingent conditions of material thickness, interiority, dimensioning, and representing ma-terially specific models. Each of the three acts in the course will be performed with the ambi-tion to develop fabrication, construction, and descriptive techniques that can be unleashed on studio projects.

* “What do Architects’ Acronyms Mean?” Board & Vellum Architecture and Design. h t tp ://www.boardandve l lum.com/blog/what-do-architects-acronyms-mean.

S T U D E N T S : Bronte Araghi, Colette Aro, Miriam Lopez, Ira Caro, Carolyn Francis, Jacob Garson, Ashley Gomez, Dylan Harmon, Ryan Hughes, Rayan Ahmad Itani, Alicia Irene Jones, Yuna Kim, Jeffrey Kuo, Eunice Lee, Miriam Benito Lopez, Lark Ruesch, Ailey Simpson, Zhenhui Song, Kylie Williams, Desiana Yuanawan

R O O M : B320C O U R S E : 143 Technology III

A B O V E F I N I S H E D F L O O R Gabriel Fries-Briggs, Lecturer, UCLA Architecture and Urban Design

AFF is an acronym signifying Above Finished Floor. Sometimes referred to as FFL (Finished Floor Level) or AFFL (Above Finished Floor Level), AFF is unsurprisingly described as the datum for measuring height from the topmost surface of a floor, or as one definition puts it “(whatever you walk on) in that room.” *

From this typically mundane term, a few basic conclusions can be drawn. AFF presents an in-herently contingent method of materialization and dimensioning. Translations of construction drawings must pass through processes of mea-suring physical objects. Architectural finishes, whether paint, vinyl, polyurethane or carpet have notable dimensions, i.e. surfaces could

R O O M : B309C O U R S E : 289.5

I D E A L P R A G M AT I C S Gabriel Fries-Briggs, Lecturer, UCLA Architecture and Urban Design

Utopian ideals don’t die, but they might be said to crop up in stranger and stranger places. This course puts forth a research and design tra-jectory that seeks to resurface and expand on histories of utopian ideals within pragmatic sce-narios and basic utility. The exigencies of bud-gets, sites, hardware, tools, and labor cannot be removed from social and formal prototypes that accompany manifesto architecture.

This class uses Robert Venturi’s Vanna Venturi House as a point of departure. A highly charged and discursive object, the Vanna Venturi house, like many ideal prototypes, is in need of up-grades and updates. Despite the impact of recent digital work to decay postmodern sym-bolic signification, architectural representation cannot escape symbolic imagery. Rather than replace a known set of referents with novel ones, the students will work through and on particularly loaded content. Ideal Pragmatics elaborates on the referential qualities of proto-typically-standard building materials. Operating in and against domestic ideality, students will design, repair, and amend components of the house. These upgrades can perform in a variety of ways; strategic applications of off-the-shelf parts that oscillate between pragmatic solutions and formal deviation.

The students utilize robotics as a platform to estrange and advance knowledge of material applications—plaster, gypsum, flashing, adhe-sives, foam and stucco to name a few. By op-erating on building materials with an insidious

application of technical means and tools, we will seek new and resurfaced methods of con-structing the ideal from assembly instructions and mix ratios.

The course has two parts, the first utilizes ro-botic toolpaths to produce physical artifacts and gain knowledge of building components as tools. The second half of the quarter was devoted to a consideration of how prevalent modes of imaging such as sensing and scan-ning effect the format of architectural produc-tion. Projects are reformatted with attention to communication within architecture, between ar-chitecture and existing constituencies, and the construction of new audiences. While this work may include video, web platforms, and printed material, the students ultimately move beyond construction and production to risk asking again how architectural formats perform social and cultural activities.

S T U D E N T S : Jude Albaroudi, Rasam Aminzadeh, Harrison Bains, Garth Britzman, Di Chang, Skylar Elis, Casey Jones, Sohun Kang, Thomas Pompeani, Naomi Steinhagen, Evellyn Tan, Rui Xiong

R O O M : Main and Basement CorridorsC O U R S E : 289.8

B Y T H E N U M B E R S Erin Besler, Lecturer, UCLA Architecture and Urban Design

This course is generously supported through an in-kind donation from BEHR Process Corporation.

OR, LET’S UPDATE THE CORRIDORS... Before the internet, and before the telecomm cables and currents that run under the oceans, and before it made its way into buildings, a cor-ridor was at one time a term that referred not to an interior space commonly found in school buildings and homes but rather to a particu-lar person, primarily used by the 16th century Spanish government that would run messages and pass information back and forth across Europe. In Italy the origins of the term referred not to a person but rather to a sheltered space, what some might even consider to be a piece of infrastructure, a passageway for communica-tion*. If the corridor in Perloff Hall has a history of being a place to record and communicate a particular kind of conversation then how might we begin to rethink the registration of informa-tion in that space when the conversation and means of communication shifts?

* The origins of the term corridor here were described by Mark Jarzombek in his es-say “From Corridor (Spanish) to Corridor (English); or, What’s in Your Corridor?” in Thresholds 32.

OBJECTIVES AND ORGANIZATION The focus of the course is on the ways in which information is registered through different methods of documentation and forms of in-struction. Ultimately the information will be recorded on the surfaces of the interior, spe-cifically through the repainting of the corridors on the first floor and basement of Perloff Hall. The course will have to negotiate between the documentation of the corridor as a physical space with its own set of constraints, the ways in which different forms of information are registered on the surfaces of the interior, how this information is transmitted through a set of instructions which are closely tied up in the methods of documentation, and how the cor-ridor might operate both as not only an inward facing space but outward facing as well.

SOFTWARE AND HARDWAREThe course uses Rhino 5 (sr6 or later), Adobe AfterEffects, Photoshop and MeshLab. While some time will be devoted to addressing cer-tain fundamentals, the primary focus of the course is on the things that you are produc-ing not the technicalities of the software and

hardware. Each student must have a personal laptop with software installed and working. The output during the first part of the quarter up until midterm will be measured architec-tural drawings, digital images, and physical models. During the second half of the course the outputs will be registered through paint in the corridors on the first floor and basement of Perloff Hall.

STUDENTS: Mojgan Aghamir, Bronte Araghi, Miriam Lopez, Ira Kristel Gascon Caro, Miaomiao Chu, Chad Diep, Adrien Forney, Carolyn Mae Francis, Jacob Garson, Benjamin Gourley, Jesse Hammer, Dylan Harmon, Samantha Hoch, Rayan Itani, Alicia Jones, Yessenia Juarez, Mark Kamish, Yuna Kim, Jeffrey Kuo, Eunice Lee, Xiaodi Li, Yuanzhi Li, Yuchen Liu, Victoria Mckenna, Marrisa Meeks, Corina Ocanto, Damilola Olufowoshe, Rupal Rathi, Kyle Reckling, Lark Ruesch, Ailey Simpson, Zhenhui Song, Naomi Steinhagen, Wei Tang, Eric Wall, Yeqi Wang, John Whitcomb, Erin Wright, Yao Xiao, Ruolin Xu, Brian Yarish, Shui Yu, Yuekan Yu, Desiana Yuanawan, Meng Zhang, Qiyue Zhang, Yafei Zhang, Yuchuan Zhang, Mengning Zhao

R O O M : Perloff Courtyard or Faculty LoungeC O U R S E : 289.9

S U P E R G R O U P Jimenez Lai, Lecturer, UCLA Architecture and Urban Design

There is a place in the history of architecture where one could find short-lived spurts of high energy projects done in collaborative efforts in people’s early careers. Whether one-hit-wonders or high-volume outputs, these groups are often so brief in their existence they could do noth-ing but condense all of their efforts into the few things they had time for together. Often, the in-fluence of these practices last far longer than the ephemeral nature of their careers. The projects could be built, published, or completely fictional. Nevertheless, it is possible to say that many of these groups contributed to the field of architec-ture in a very lasting and impactful way.

What Constitutes a “Supergroup”?

1. The group has to be relatively early in their ca-reers.

2. The existence of the group has to be relatively short.

3. The project or output is not exactly service-oriented, and impose some type of cultural inquiries.

4. Architecture is the material that the group used to communicate their messages with.

5. This seminar is both about character-building, and character-breaking. It is a class that ap-plies our recent and extended knowledge of history to help generate new practices as the class of 2016 exit the UCLA confines. It is also a way for students to foresee the types of futures they can have. It is a class that helps people identify their ambitions, and manage it.

S T U D E N T S : James Barron, Adam Croce, Jamie Kleine, Ingrid Lao, Marcel Marcos Rodriquez, Meaghan Murray, Luis Ochoa, Dami Olufowoshe, Marcelo Rodriguez, David Saldin, Amanda Shin, Niketa Sondhi, Halina Veloso E. Zarate, Rizzie Walker, Kenneth Young

R O O M : B222C O U R S E : 123 Architecture 123

T O W A R D S A C O M P A C T M E G A L O P O L I S : A C I T Y I N S I D E A N A R C H I T E C T U R E F O R M O D E R N M E N A N D W O M E N Wil Carson, Lecturer, UCLA Architecture and Urban Design, Jimenez Lai, Lecturer, UCLA Architecture and Urban Design

The studio, the culmination of the undergradu-ate design sequence, begins with a question: what, exactly, is a “Compact Megapolis”? In the context of the studio, it is, or might be:

1. A relatively large population inside of a rela-tively small domain.

2. A world with many self-contained activities, amenities, and programs, in addition to plac-es of residence.

3. A place in which the character of the architec-ture has a relationship with the local culture, whether responsive or generative.

4. A space where the politics of the architecture is closer to a city than a building.

This studio is the first studio in the undergradu-ate design sequence to introduce the question of context. We define context in the broadest possible sense, including geography, history, technology, politics, ecology, and economics alike. The quarter began with analysis of histori-cal and contemporary precedents for large-scale housing that engages issues of urbanism and infrastructure, ranging from Safdie’s Habitat 67 and Rossi’s Gallaterese II to Scheeren’s Interlace and Maltzan’s One Santa Fe, ana-lyzing each project’s architectural diagram, context, cause and effect, and the technological, cultural, and architectural advancements each precedent poses.

The studio’s site is located on the southeast periphery of downtown Los Angeles, nearby significant infrastructural arteries including the I-10 and immediately adjacent to the Los Angeles River, currently occupied by the Sears, Roebuck, & Company’s Mail Order Building as well as low-rise industrial warehouses, 50% of which were to be retained. The program is “housing plus,” incorporating 400 units with parking, as well as industrial and retail spaces and a pocket park, creating a mixed-use result.

Drawing on a series of compulsory readings and films that engage the city and how it is imaged, students have utilized drawings, very large models, and more atmospheric represen-tation to posit new models for engaging context through an architecture that is more akin to a city than a building.

S T U D E N T S : Anna Kudashkina, Lyo Heng Liu, Yuchen Liu, Marcelo Marcos Rodriguez, Luis Ochoa, Pegah Roshan, Jorel Emmanuel Sanchez, Chunxiao Wang, Yifan Wu, Ruolin Xu, Ting Xu, Yuekan Yu

reading of the building from the outside there is this membrane condition, the envelope, co-incided with a lot of work from the early 2000s where architects rediscovered patterned facades and multiple layers of transparency.

How buildings are skinned is also a technical problem today. We ask skins to do so much more today than we did 30 or 40 years ago. The pure tectonics of a Louis Kahn elevation, or that of the Unite -- where everything you see is re-vealed structure -- is simply impossible, even illegal today. In a certain sense, architects today have said, If this is the nature of the elevation, this complex, many layered assemblage, you have to make that thematic to your practice.”

– Stan Allen, excerpt from interview with Luca Farinelli in Log 23

INTRODUCTION The 401 (Techcore) Design studio unites the focused material fabrication model of the technology seminar with the de-sign project of the traditional core studio. As the culmination of the first year studio progression from form (411) to plan (412) and now to sec-tion/elevation, this studio works with the same tripartite project structure as those before: prec-edent, problem, project. It is different, however, in its introduction of a collaborative working model meant to introduce students to the reali-ties of the professional working environment in which projects are pursued in groups toward a common goal.

S T U D E N T S : Alexander Abugov, Tania Agacanian, Aubrey Bauer, Joshua Blonsky, Israel Ceja, Zhoufan Chen, Seung Choi, Miaomiao Chu, Rachel Connor, Yining Deng, Kristen Fong, Benjamin Gourley, Guannan Guo, Jesse Hammer, Sin Ip, Chihiro Isono, Yessenia Juarez, Mark Kamish, Tianyu Kan, Brian Lee, Xinhao Li, Tong Liu, Yin Liu, Marrisa Meeks, Dylan Murphy, Joshua Nelson, Ayberk Okur, Kyle Reckling, Gayle Schumacher, Willem Swart, Shelby Tupac, Eric Wall, Wen Wang, Yeqi Wang, Kyle Wulf, Xiangru Xu, Raoyang Yang, Hengzhi Ye, Lu Yin, Xiaofan Yin, Kristen Young, Shundi Zhan, Ted Zhang

C A S E Y J O N E S S O H U N K A N G

M A I L E E M A H YA R N A G H S H VA R D E R R I C K N E L S O N N AT H A N N G U Y E N E M E L I E P E T E R S O N

D AV I D P I S O R S H E C T O R R I VA S J O S H S E U N G U E O NO S C A R R O M E R O C L A R A S H I M

S A R A S I M O N E V E L LY N TA N N I C K O L I S T R AY V I V I A N A V I V E R O C H I A - Y U N YA N G

J O S H U A B L O N S K Y I S R A E L C E J A

Z H O U F A N C H E N S E U N G C H O I M I A O M I A O C H U R A C H E L C O N N O R Y I N I N G D E N G

K R I S T E N F O N G B E N J A M I N G O U R L E Y G U A N N A N G U O J E S S E H A M M E R J O Y C E I P

C H I H I R O I S O N O Y E S S E N I A J U A R E Z M A R K K A M I S H T I A N Y U K A N B R I A N L E E

X I N H A O L I R U B Y L I U Y I N L I U J E N A M E E K S D Y L A N M U R P H Y

J O S H N E L S O N AY B E R K O K U R K Y L E R E C K L I N G G AY L E S C H U M A C H E R W I L L E M S W A R T

S H E L B Y T U P A C E R I C W A L L W E N W A N G Y E Q I W A N G K Y L E W U L F

M . A R C H . I – F I R S T Y E A R

A L E X A N D E R A B U G O V TA N I A A G A C A N I A N A U B R E Y B A U E R

P E R L O F F H A L L / 1 1

M . A R C H . I – S E C O N D Y E A R

X I A N G R U X U R A O YA N G YA N G H E N G Z H I Y E L U Y I N X I A O F A N Y I N

K R I S T E N Y O U N G S H U N D I Z H A N M I A O J I E Z H A N G

A G H A M I R M O J G A N

A A R O N G U T I E R R E Z S E TA R E H H A J I S A L E H L I U X I H E F E L I P E H E R N A N D E Z

R YA N H E R N A N D E Z B E Z A L E L H O B O Y U H U YA O H U A N G

D AV I D J O H N S O N A A R Y N N J O N E S M A C K E N Z I E K E I T H D O K Y U N G K I M

E U N G R A C E K O D E V I N K O B A A LY S S A K O E H N

B E N J A M I N K O L D E R H A I Y I L A I C R I M S O N L E E Q I Y U E L I

YA N L I A N G J E A N N E T T E M U N D Y J A D E N A R R I D O X I A O W A N Q I N

A C H A R I YA

R O J A N A P I R O M

J E I S L E R S A L U N G A H A O Y U A N TA NV I C O T R I A

S H I N G L E T O N

A N D R E W K O

B E Z A L E E L B A L A N E L I Z A B O G H O S S I A N P E T E R B O L D T

S A M I B O U K A I J O N B R U N I C L A R I S S A B R U N T B O YA N C H E N

K A I Y U N C H E N G J O N AT H A N C H I A N G L O R I C H O I G I L B E R T O C R U Z

J U L I A C U R T I S M I C A E L A D A N K O B R I A N D A U G H E R T Y S A M O R A D E N G

1 0 / P E R L O F F H A L L

C O R I N A O C A N T O L O U I S O C H O A D A M I O L U F O W O S H E N AW I D P I R A C H A

M E A G H A N M U R R AY

R I C H A R D R U I Z

J O H N W H I T C O M B

M I K E Y I N G

D AV I D S A L D I N

E R I N W R I G H T

K E N N E T H Y O U N G

R O B E R T S K E LT O N

R U I X I O N G

J O A N N A Z D Z I A R S K A

D I S O N G

H S I A O C H U N YA N G

X I A O L I N Z H A N G

T H O M A S P O M P E A N I

A M A N D A S H I N

J O N AT H A N TA L L E Y

B R I A N YA R I S H

M . A R C H I – T H I R D Y E A R

H E I D I A L E X A N D E R

G A R T H B R I T Z M A N

A D A M C R O C E

A D R I E N F O R N E Y

D A N I E L L E E

H A R R I S O N B A I N S I I I

D I C H A N G

I S A B E L D E A K I N

S H E N G A O

M A R K L A G O L A

LY O H E N G L I U

J A M E S B A R R O N

T Z U J U N G C H A N G

C H A D D I E P

D AV I D G R AY

K Y R A B A U M A N

K AT I E C H U H

B I N G Q I A N D O N G

S A M A N T H A H O C H

I N G R I D L A O

V I C T O R I A M C K E N N A

J A M I E K L E I N E

Z I Q I L I U