SCIArc Magazine No.3 (Fall 2011)

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

3 PUBLIC PROGRAMS

5 3 DAYS IN SEPTEMBER: GRADUATION & THESIS WEEKEND

6 THESIS PREP SYMPOSIUM

7 THE POWER OF PHILANTHROPY Bill Kramer

8 LEADERSHIP NEWS

9 CAMPUS NEWS

11 FACULTY PROFILE: TOM WISCOMBE Hernan Diaz Alonso

13 ALUMNI NEWS & EVENTS

14 ALUMNI COUNCIL Nerin Kadribegovic

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

16 CLASS NOTES

18 SCI-ARC DONORS

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 un-clear 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

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 endur-ing 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 unliv-ability. 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 cata-logue 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 Interna-tional Style.” Hitchcock and Johnson present the NY MoMA approved recipe for contempo-rary architecture. Learn the rules, kid.

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

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window. That’s how you do it.

1988: Again Phillip and NY MoMA’s sanc-tion. Wanna be a radical architect, kid?

-struction,” Phillip announces. Learn the rules.

THE DEATH OF NEW ARCHITECTURE:

Twice, 60 years apart, Phillip et al homog-enize an unsettled discourse, and substitute

That’s how radical new architecture is inevi-

TOOLS AND RULES:

mandates the parallel rule, triangle, scale, -

architecture must be accompanied by sub-stantial research that explores new drawing and building means.

Bilbao was built. Walking City wasn’t. Bilbao provided the tools.

2010: Wanna be a radical architect, kid? Here’s the latest. The nomenclature this time, Patrik Schumacher tells us, is Parametricism,

an unruly contemporary discourse.

New architecture carries no warranty.

TOOL AND RE-TOOL:

New tools are conceived to implement the architectural surprise we can’t yet draw or

The tools in turn become obligatory means to produce a predictable result. And surprise is no longer a surprise.

rule and the triangle.

or so options to stretch, twist, pull, bend,

But dissatisfaction is the impetus to new architecture.

FREUD, NEWTON, AND DARWIN:

teachable order.

-ture is contingent on whether we locate

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to a discoverable logic, either extant or arriving, then the radical’s conceptual design target is only a provisional paradigm.

The Provisional Paradigm

-stands its advocacy, its strengths, and its limits, so the next time, that previously

model that interrogates what was previously prized.

PENELOPE:

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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3 PUBLIC PROGRAMS

CURRENT

SCI-Arc Gallery ExhibitionANISOTROPYOdile Decq Benoît Cornette, Architectes UrbanistesOctober 14 – December 4

Library Gallery ExhibitionMR. CHIP GOES TO WASHINGTONSolar Decathlon 2011October 28 – December 16

RECENT

SCI-Arc Gallery ExhibitionJASON PAYNERawhidePrincipal, Hirsuta, Los Angeles

LectureWOLF PRIXWhat’s the difference #1Principal, Coop Himmelb(l)au, Vienna & Los Angeles

LecturePHILIP BEESLEYDiffusive ArchitectureProfessor, University of Waterloo School of Architecture Toronto, Canada

LectureJESSE REISERProjections and Receptions Principal, Reiser + Umemoto, RUR Architecture, New York

LectureZVI HECKERMemory is the Soil of ArchitectureArchitect, Berlin, Germany & Tel Aviv, Israel

LectureLUYANDA MPAHLWADirector, Luyanda Mpahlwa DesignSpaceAfricaCape Town, South Africa

LectureODILE DECQBeyond HorizonDirector, Ecole Spéciale d’Architecture; Principal, Odile Decq Benoît Cornette, Architectes Urbanistes, Paris, France

LectureANTONIO JIMENEZ TORRECILLASBack to the FutureArchitect, Granada, Spain

LectureJOSE OUBRERIE Architecture in a Time of UncertaintyProfessor, Knowlton School of Architecture, Columbus, Ohio

UPCOMING

LectureMARK FOSTER GAGE Design Liquidity Assistant Dean and Associate Professor, Yale University School of Architecture; Principal, Gage/Clemenceau ArchitectsNovember 9, 7pm

LectureXU WEIGUOXWG WorksProfessor, School of Architecture of Tsinghua University Principal, XWG archi-studio, Beijing, China November 16, 7pm

LectureJOHN SOUTHERNSeeding Production: Explorations and Conjecture in Contempo-rary CulturePrincipal, Urban Operation, Los Angeles (M.Arch ’02)November 30, 7pm

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

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

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 [email protected].

What’s the difference #1 Lecture

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SCI-Arc Gallery ExhibitionRAMIRO DIAZ-GRANADOSGo FigurePrincipal, Amorphis, Los Angeles; Professor, SCI-Arc (B.Arch ’00)January 13-February 26, 2012This exhibition is made possible thanks to a Creative Connections grant from The James Irvine Foundation

LectureJUAN HERREROS Dialogue ArchitecturePrincipal, Herreros Arquitectos, MadridFebruary 15, 2012, 7pm

LecturePETER TRUMMERHead of the Institute of Urban Design & Spatial PlanningUniversity of Innsbruck, AustriaFebruary, 22, 2012, 7pm

OUTSIDE SCI-ARC

ExhibitionHSINMING FUNG AND CRAIG HODGETTSCalifornia Design, 1930-1965: “Living in a Modern Way”Los Angeles County Museum of Art (LACMA)October 1, 2011-March 25, 2012Hodgetts + Fung is participating in the highly touted -dard Time, Art in LA, 1945-1980, a many-headed exhibition with

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 indoor- outdoor living, Julius Shulman photographs, and the explosion of consumption that followed the deprivations of the Great Depres-sion and World War II.

Exhibition ANDREW ZAGOForeclosed: Rehousing the American DreamMuseum of Modern Art (MoMA), New York January 31-July 31, 2012A multi-disciplinary team led by Andrew Zago of Zago Architec-ture will exhibit in the Foreclosed group exhibition hosted by MoMA as part of the museum’s Issues in Contemporary Architec-ture series. Zago’s proposal centers on rethinking housing in Ri-alto, California, in light of the U.S. foreclosure crisis. At the cen-ter of the exhibition will be physical models, drawings,

to participate in the program, each focusing on a different metro-politan area in the U.S.

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 16Abu Dhabi Urban Planning Council, November 17Getty Symposium, Getty Center, Los Angeles, The Past and the Future of LA’s Global Image, November 192011 Jencks Award, Royal Institute of British Architects (RIBA), London, Demember 6Architectural Association, London, December 7 TOM WISCOMBE

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

0-14 TowerProjections and Receptions Lecture

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

California Design, 1930-1965: “Living in a Modern Way” Los Angeles Museum of Modern Art (LACMA)

5 3 DAYS IN SEPTEMBER

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 CutAdvisor: Elena Manferdini

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

7.Selected Graduate Thesis: Donovan Ballantyne (M.Arch 2), The CutAdvisor: Elena Manferdini

8.Best Graduate Thesis: Ivan Bernal (M.Arch 2), Familiar PrimitivesAdvisor: Hernan Diaz Alonso

9.Best Graduate Thesis: Paul Mecomber (M.Arch 2), Strange Symmetry: The Conjoined TwinAdvisor: Andrew Zago

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

11.Visitors pass by the Graduate Thesis Weekend sign

Fall term is a dynamic and inspirational time in the life of SCI-Arc. Students are back and the new academic year brings renewal. On a broader plane, SCI-Arc is on the threshold of its 40th anni-versary, 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.

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 pre-

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is responsive to cultural change, promotes architectural experi-mentation and creative and academic freedom, and supports a

-sis weekend is regarded among theoreticians and practicing archi-tects 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 Kip-nis, 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:

(M.Arch 1): Innerscapes (M.Arch 2): Fuzzy Figures: Pictorial

Dissolution of Formal Perception (M.Arch 2): Familiar Primitives

Michael W. Gross (M.Arch 2): The CutPaul Mecomber (M.Arch 2): Strange Symmetry:

The Conjoined TwinCurime 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), (M.Arch 1), Ballantyne (M.Arch 2), and Kim Lagercrantz (M.Arch 2).

Thesis Weekend culminated in the annual Graduation Cer-emony, where degrees are conferred to graduating students in the B.Arch, M.Arch, and post-graduate programs. In what has be-come 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 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

above the audience. With its fabric louvers tilted toward the west-

date and time of the graduation ceremony.

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 engage-ment 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 es-sential nature, the space is both temporary and contem-porary. 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 develop-ing over the course of your education here.”

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 but-terflies 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 mas-ters and Jedi bachelors degrees. Be great and make good choices.”

THESIS PREP SYMPOSIUM6

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.” This occupation (that

-tion) 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 clichéd and

WES JONES: To offer an answer to this question, it would be im-portant 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: -

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 dem-onstrates that the most intelligent thing to do is to proliferate spe-ciated 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 sus-tainability problems are two examples of the scope of what archi-tecture 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

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 “relevance” more than one of “importance.” 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

SANFORD KWINTER: Architecture today perhaps more than ever before, serves as a kind of aggregator of knowledge and of differ-ent bodies of knowledge. There are lots of questions about how

think thesis is an optimal place to test these new forms of think-ing. 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 imagi-native. 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 con-text 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 produc-tion. 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

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 col-lective front has been proven to be highly effective in galvanizing

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 conversa-tions of passions to emerge without subordinating everybody into a collectivity. The history of this school is quite interesting as an “ecology.” Instead of giving students thesis topics, topics evolve from the students; students are part of emergent collectivities that

organic groups, allow them to emerge and dissolve depending on

SANFORD KWINTER: I always believe that thinking against the clichés, 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 com-pletely 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

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

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Graduation


Thesis Weekend












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-sis weekend is regarded among theoreticians and practicing archi-

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Every year, the guest critics are tasked with selecting the most exceptional thesis work from more than seventy graduate and

honored this year were:Francisco Alarcon Ruiz (M.Arch 1): InnerscapesDavid A. Bantz (M.Arch 2): Fuzzy Figures: Pictorial

Dissolution of Formal PerceptionIvan Bernal (M.Arch 2): Familiar PrimitivesMichael W. Gross (M.Arch 2): The CutPaul Mecomber (M.Arch 2): Strange Symmetry:


A two-week Selected Thesis Exhibition was on view in the

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 Cer-emony, where degrees are conferred to graduating students in the B.Arch, M.Arch, and post-graduate programs. In what has be-

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



Thom Mayne and a SCI-Arc founding faculty member, said this about the graduation pavilion:


a graduating student, Tristan Brasseur addressed her peers:



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Hanwha Solar of China Makes One of the Biggest Corporate Gifts to SCI-ArcIn early August, only two months be-fore the Solar Decathlon 2011 orga-nized 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 competi-tion—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 proj-ect 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 cor-porate 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 hous-ing typologies, alternative energy sources, and re-imagined technical and material possibilities,” stated SCI-Arc 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 FormingProject created in Robot House by Wilson Chang, Yong Ha Kim, Chris Martin, Kentaro Naggsawa, Naho Tsutsui

2/4.Projects created by high-school stu-dents 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 afford-able 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, fund-ing faculty initiatives, enhancing academic and public program-ming, and improving facilities—SCI-Arc strategically expanded the last year.

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

One of the largest collections of funding partnerships secured in the last year was tied to the creation of the new -botics Lab. , The Fletcher Jones Foundation and contributed transforma-tive 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 inte-grated future of design, materials, and fabrication.

Another key collection of new donor relationships has been formed around the creation of the -chive. Major grants from The Getty Foundation and the National

—the largest grant awarded in the NEA’s Design category in 2011—will be used by SCI-Arc to digi-tize, 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

Digital Lecture Archive will soon have the world discovering

in architecture and design. Many appear more than once, provid-ing 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 archi-val 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 ar-chitecture. 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 (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

and courses on how to build a competitive design portfolio for admission to college. Key support from The Ahmanson Founda-tion 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

THE POWER OF PHILANTHROPY

Bill Kramer

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: -tion -nados’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 Abra-ham Memorial Lecture; and the Pasadena Art Alliance support-ed 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 program-ming 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.

Ramiro Diaz-Granados, Go Figure

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SCI-Arc MagazineIssue 003

Hsinming Fung Editor-in-Chief

Contributing WritersHernan Diaz Alonso Georgiana CeausuJoe DayHsinming FungBill KramerEric Owen MossAimee RicherJustine SmithTom Wiscombe

SCI-Arc Leadership

Eric Owen MossDirector Hsinming FungDirector of Academic Affairs Hernan Diaz AlonsoGraduate Programs Chair John EnrightUndergraduate Program Chair Jamie BennettChief Operating Officer

Office of Development and Alumni Affairs

Bill KramerChief Development Officer Dawn MoriAssociate Director of Corporate,Foundation and Government Relations Aimee RicherAssociate Director of Annual Giving and Alumni Affairs Rebecca SilvaDevelopment and Alumni Affairs Associate

SCI-Arc Publications Justine SmithProject Manager Georgiana CeausuOnline Media & Public Relations Alicia PatelSenior Graphic Designer Kate MerrittGraphic Designer

© 2011 SCI-Arc Publications

PhotographyTamea AgleKarim AttouiTom BonnerMichal CzerwonkaChung Ming LamScott Mayoral

Patrick McMullanPriyank MehtaDarius SiwekStefano Paltera Ulf WallinJoshua WhiteOyler Wu

TED TANNER AND RUSSELL GOINGS JOIN BOARD OF TRUSTEES

Ted Tanner, Executive Vice President, Real Es-tate Development for AEG Worldwide, and Rus-sell 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 Neu-man, who stated: “as our school has grown and is recognized as a world class institution, it is vital

Tanner and Goings bring that level of sophistica-tion to a growing stellar Board.” Added SCI-Arc Director Eric Owen Moss, “Ted is re-imagining downtown and Russ is re-making the central

commitment to the future of Los Angeles as the city of the future.”

A noted developer and registered architect, Ted Tanner oversees AEG’s real estate develop-ment activities worldwide, including major proj-ects 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

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 down-town Los Angeles. His team has recently com-pleted 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.

is a veteran of the securities industry, with more than 25 years spent

banking clients have included: the State of Cali-fornia; the cities of Los Angeles, Stockton, Fres-no, Compton, Oakland, Richmond, Long Beach, Inglewood and Carson; the counties of Sacra-mento, San Diego, Contra Costa and Los Ange-les; and political subdivisions such as the San

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-Willow-brook 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.

LEADERSHIP NEWS

RIBA’S 2011 JENCKS AWARD GOES TO MOSS

The recently awarded their international 2011 Jencks Award to SCI-Arc Di-rector Eric Owen Moss, principal of Los Angeles-based Eric Owen Moss Architects. The prestigious award is given annually to

-ry 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 evoca-tive—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

towers and a multi-theatre performance center in Los Angeles, -

ect in Kazakhstan, and a master plan for an ecologically integrat-ed city in La Paz, Bolivia.

Previous recipients of the Jencks Award include Zaha Hadid, -

Studio, 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.

Ted Tanner (top) Russell Goings (bottom)

8

Eric Owen Moss Architects, Samitaur

Hanwha Solar of China Makes One of the Biggest Corporate Gifts to SCI-ArcIn early August, only two months be-fore the Solar Decathlon 2011 orga-nized 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 competi-tion—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 proj-ect 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 cor-porate 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 hous-ing typologies, alternative energy sources, and re-imagined technical and material possibilities,” stated SCI-Arc 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 FormingProject created in Robot House by Wilson Chang, Yong Ha Kim, Chris Martin, Kentaro Naggsawa, Naho Tsutsui

2/4.Projects created by high-school stu-dents 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 afford-able 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, fund-ing faculty initiatives, enhancing academic and public program-ming, and improving facilities—SCI-Arc strategically expanded the last year.

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

One of the largest collections of funding partnerships secured in the last year was tied to the creation of the new -

. , and contributed transforma-tive 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 inte-grated future of design, materials, and fabrication.

Another key collection of new donor relationships has been formed around the creation of the -

. Major grants from and the —the largest grant awarded in the

NEA’s Design category in 2011—will be used by SCI-Arc to digi-tize, 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

Digital Lecture Archive will soon have the world discovering

in architecture and design. Many appear more than once, provid-ing 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 archi-val 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 ar-chitecture. 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 (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

and courses on how to build a competitive design portfolio for admission to college. Key support from -

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

THE POWER OF PHILANTHROPY

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

SCI-Arc’s series of and has generated new gifts from a variety of sources: -

-nados’s upcoming SCI-Arc Gallery exhibition; the made a second grant to SCI-Arc, which is supporting the entire SCI-Arc Gallery exhibition series; alumnus and his company

-ham Memorial Lecture; and the support-

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 program-ming 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.

Ramiro Diaz-Granados, Go Figure

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3

4

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SCI-Arc MagazineIssue 003

Hsinming Fung Editor-in-Chief

Contributing WritersHernan Diaz Alonso Georgiana CeausuJoe DayHsinming FungBill KramerEric Owen MossAimee RicherJustine SmithTom Wiscombe

SCI-Arc Leadership

Eric Owen MossDirector Hsinming FungDirector of Academic Affairs Hernan Diaz AlonsoGraduate Programs Chair John EnrightUndergraduate Program Chair Jamie BennettChief Operating Officer

Office of Development and Alumni Affairs

Bill KramerChief Development Officer Dawn MoriAssociate Director of Corporate,Foundation and Government Relations Aimee RicherAssociate Director of Annual Giving and Alumni Affairs Rebecca SilvaDevelopment and Alumni Affairs Associate

SCI-Arc Publications Justine SmithProject Manager Georgiana CeausuOnline Media & Public Relations Alicia PatelSenior Graphic Designer Kate MerrittGraphic Designer

© 2011 SCI-Arc Publications

PhotographyTamea AgleKarim AttouiTom BonnerMichal CzerwonkaChung Ming LamScott Mayoral

Patrick McMullanPriyank MehtaDarius SiwekStefano Paltera Ulf WallinJoshua WhiteOyler Wu

TED TANNER AND RUSSELL GOINGS JOIN BOARD OF TRUSTEES

Ted Tanner, Executive Vice President, Real Es-tate Development for AEG Worldwide, and Rus-sell 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 Neu-man, who stated: “as our school has grown and is recognized as a world class institution, it is vital

Tanner and Goings bring that level of sophistica-tion to a growing stellar Board.” Added SCI-Arc Director Eric Owen Moss, “Ted is re-imagining downtown and Russ is re-making the central

commitment to the future of Los Angeles as the city of the future.”

A noted developer and registered architect, Ted Tanner -ment activities worldwide, including major proj-ects 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

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 down-town Los Angeles. His team has recently com-pleted the $1 billion 54-story, 1,001-room hotel operated by JW Marriott and Ritz-Carlton, as well as 224 luxury Ritz-Carlton Residences.

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

banking clients have included: the State of Cali-fornia; the cities of Los Angeles, Stockton, Fres-no, Compton, Oakland, Richmond, Long Beach, Inglewood and Carson; the counties of Sacra-mento, San Diego, Contra Costa and Los Ange-les; and political subdivisions such as the San

Metropolitan Transportation Authority and World Port of Los Angeles. Goings served on the

Commercial Task Force, was Chairman of the Public Finance Subcommittee for Rebuild L.A, and the Board President of the Watts-Willow-brook 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.

LEADERSHIP NEWS

RIBA’S 2011 JENCKS AWARD GOES TO MOSS

The Royal Institute of British Architects (RIBA) recently awarded their international 2011 Jencks Award to SCI-Arc Di-rector Eric Owen Moss, principal of Los Angeles-based Eric Owen Moss Architects. The prestigious award is given annually to

-ry 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 evoca-tive—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

towers and a multi-theatre performance center in Los Angeles, -

ect in Kazakhstan, and a master plan for an ecologically integrat-ed city in La Paz, Bolivia.

Previous recipients of the Jencks Award include Zaha Hadid, -

Studio, 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.

Ted Tanner (top) Russell Goings (bottom)

8

Eric Owen Moss Architects, Samitaur

1

YOUNG ALUM WINS 2011 JULIUS SHULMAN EMERGING TALENT AWARD

Recent graduate (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 comet” said Director Eric Owen Moss in a school-wide announcement. “SCI-Arc is extremely proud of him.” 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.

CAMPUS NEWS

Phillip Ramirez, Interval Space Advisor: Herwig Baumgartner

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

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

Confirmed guests and attendees in-cluded the following alumni and firm representatives:

Frank Webb Architects Ben FeldmannSenior Associate, Mia Lehrer + AssociatesBeth Holden (B.Arch ’98)Principal, New Theme Brian Howe Dax Miller Principal, DAX Miller DesignGary O’Connor Roland GenikChief Architect, Rail & Transit Systems, Parsons Joe Day (M.Arch ’94)Principal, Deegan-Day DesignLaura AmiriAssociate Principal, GKK Works Ben Levin (B.Arch ’80)Principal, DLR Group WWCOTMartyn Mervel (M.Arch ’81)Principal, Studio/Slab ArchitectsKevin ConwaySenior Associate, AECOM John MartinSenior Associate, AECOM Merry NorrisSCI-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 StudioSantino Medina (M.Arch ’06) Gehry TechnologiesNick 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 ArchitectsGregory FischerProject Director, Yazdani Studio of Cannon Design

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ALUMNI RUNNING THE SCI-ARC ROBOT HOUSE

Architectural Re-cord, SCI-Arc’s 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 tech-nical guidance to faculty and students. Nazareth has a deep back-ground in robotics, having worked at Machineous in Los Angeles where he played a leading role in developing and executing sev-eral projects utilizing complex robotic arms as a means of produc-tion. 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 Protostudents, 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

a choreographed production with three moving robots, attempting to synchronize movement, sound, and other variables. The stu-dents 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.

M.ARCH 2 STUDENTS TAKE 2ND PLACE IN DESIGN COMPETITION

SCI-Arc graduate students Alberto Ataide, , Macus Hoh and Lindsay Merget placed second in the 5th annual

organized by the U.S. Green Building Council, Los Angeles (USGBC). Using shipping containers as building materials and inspiration, teams were en-couraged 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 ap-proach to the synthesis of a mixed-use, ecologically sensitive de-sign, with generous outdoor communal space and a design strategy

-gies with active systems. Ultimately, the proposal serves as a bea-con of healthy spaces for healthy living in an urban context.

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FORECLOSED: REHOUSING THE AMERICAN DREAM

You can’t drive very far in most American cities before you see -

scape of individual stories of crisis. Collectively, these narratives

effort to begin a conversation on the foreclosure crisis, architec-ture, 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 Contem-porary Architecture.

SCI-Arc faculty member Andrew Zago of Zago Architecture

participated in a 4-month workshop, centered on rethinking hous-ing in the US in light of the foreclosure crisis. Each team was tasked with focusing on a “megaregion,” 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 cre-ate new and innovative ways of thinking about the relationship between land, housing, infrastructure and urban form.

Zago assembled an interdisciplinary group of professionals

and landscape architecture, and engineering and urban infrastruc-ture. His core team included , Principal of MR+E and co-coordinator of SCI-Arc’s Future Initiatives (SCIFI) post-graduate program; Alex Felson, Director of the Urban and Eco-logical Design Lab at the Yale School of Forestry and Environ-mental Studies; and , 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 sub-urbs 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 Janu-ary 31-July 31, 2012.

ALUMNI WELCOME NEW STUDENTS DURING STUDENT ORIENTATION WEEK

-demic 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, encourag-ing them to begin making connections with alumni as soon as possible. He noted the importance of taking advantage of alumni

-

answer forums, and in some cases, project site visits. Alumni stu-

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 Alejan-dra Zamora Schraeder (B.Arch ’03) provided the catering.

Immediately following the Parents Reception was a school-wide 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 mar-ket, 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

-ished 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 design-er in her is always evident in her cooking – from the hand-drawn

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.

for the September 2nd Parents Welcome Reception. Alejandra can be reached at alejandraschrader.com/cucinacocina.

Alumni Studio Tours

Alumni and faculty opened their stu-dios during student orientation week to give incoming students firsthand insight into the professional architec-ture and design world. This year’s participants included:

Michael Folonis (B.Arch ’78)Folonis Architects Ben Levin (B.Arch ’80), DLR GroupTerence Young, Gensler Elissa Scrafano (M.Arch ’90)Scrafano ArchitectsRick Gooding (B.Arch ’84) CHU+GOODINGAnnie Chu (B.Arch ’83)CHU+GOODINGEdmund Einy (B.Arch ’84), gkkworksLaura Cowen (M.Arch ’02), JerdeEric McNevin (M.Arch ’01)Eric Owen Moss ArchitectsSteve Wagner (M.Arch ’84)KMD ArchitectsCarlos Madrid III (M.Arch ’95)AECOMTom Farrage (B.Arch ’87)Tom Farrage & CompanyTima Bell (M.Arch ’99), Tima WinterGriffin Enright ArchitectsHodgetts+Fung (HplusF)

Alejandra Zamora Schrader (B.Arch ’03)

SCI-Arc Leadership:Eric Owen Moss Hsinming Fung Jamie Bennett Bill Kramer Christopher BanksSCI-Arc Faculty Advisors:Anne EpsteinWes JonesDwayne OylerCaltech Leadership:Jean-Lou Chameau Harry AtwaterNeil FromerCarol CarmichaelValerie OttenCaltech Faculty Advisors:Doug CaldwellMelany HuntPhil Lee

Richard MurraySCI-Arc Team Members:Geoffrey AprilRachel BitanCatherine CaldwellPaul CambonRobert CardenasWilson ChangScott DavisAdam DunnReed Finlay, Project Mgr.Valentin FlorescuAndres FuentesRobert GilsonHyungbin ImChuy LeJacques LesecNathan MeyersElisabeth Neigert, Project Mgr.

Michael NesbitJoel OchsGiovanna OrozcoRinaldo PerezMichael PiscitelloLanna SemelHarris SilverJane SuthigoseeyaBrian ZentmyerCaltech Team Members:Sara AhmedAndrew GongHima GudipatiCole HershkowitzBenjamin KurtzZeke MillikanJudy MouSam JonesKa SuenRichard WangFei Yang, Project Mgr.

Solar Decathlon 2011We’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 in-volved, should be applauded for their remarkable work on this project and for their unique contribution to the future of affordable, green housing.

11

LEARNING TO FLY

Arc, the role of faculty is of course critical, but SCI-Arc does not

larger architectural conversation that is, right now, at a critical in-

If we are to be successful in challenging the individual, the individ-ual will challenge us, and will make everybody who is already part of that conversation stop and change what s/he are thinking.

Tom Wiscombe is one of those individuals. From his days as

EMERGENT, his work is always at the convoluted center of ex-perimentation and feasibility. Tom’s work seems to keep acceler-ating - though not always succeeding conceptually or aesthetically

unusual works for SCI-Arc.

His Cantileveris founded in the notion of the indeterminate relation of architec-ture to material processes: pedagogically, conceptually, instru-

result is just a partial answer. The Cantileverthese 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,

but rather that every year a new instructor will explore a new ma-terial in relation to a new agenda. Composite materials drove can-tilever; 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 prac-tice 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 from four years ago.

qualities that could be coaxed out of engineering loops. I’ve al-ways felt that didn’t deal enough with the material so-phistication of wing structures in nature. The ‘skeleton’ of an insect wing is really just zones of extreme thickness of structural

cuticle, it’s not like a human mineral skeleton with skin attached to it. So we were using an industrial paradigm to explore a biolog-ical 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

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 estab-lishing a sensibility and establishing a logical work, and the for-

the model anymore, it’s much more accelerated—media and publi-cations 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

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, architectur-

-geneous in the ambitions in relation to reality.

TOM:

the capacity to be published all over the world before the work is

TOM WISCOMBEFACULTY PROFILE

1.Cantilever, located at SCI-Arc

2.Civic Sports Center and 2013 National Games Arena, ShenyangDesign concept currently in planning

3.Busan Opera House, South Korea Design proposal

4.The Semi-Rigid Car; Design concept

TOM WISCOMBETom Wiscombe is the founder and principal of EMERGENT, an interna-tionally 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 trans-forming 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 cur-rently 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 ALONSOHernan 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 hav-ing 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 re-ceived numerous awards and have been displayed in both architecture and art museum exhibitions, and pub-lished in magazines, books, and peri-odicals worldwide.

Dragonfly, SCI-Arc Gallery, 2007

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Cantilever, Materials Lab I SCI-Arc, 2011Type: Year-long Composites Research Lab and InstallationInstructor: Tom Wiscombe, Applied Studies CoordinatorDesign Team: Dave Bantz, Michael Gross, Paul Mecomber, Vince PocsikConstruction Coordination: Tom Benard, Henry DominguezEngineering: 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 struc-tural 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 orna-mental 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, trans-parency, pattern, and color becomes the design space, as in nature. The piece was evolved through a feed-back loop between morphological de-velopments and structural analysis in ANSYS, where features such as con-nective armatures and surface pleat-ing were introduced over time. It was also informed by manufacturing logic, in terms of limitations of mold size, re-quirements for structural joining of components, and grading fiber density and orientation. Based on a con-sciously under-dimensioned overall thickness of 1/8” fiber-composite la-yup, a pattern of 2” fiberglass tape was created in order to locally re-spond to high stress conditions. The tape operates as a figure embed-ded 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 sim-ple expression of a structural type nor a readable response to forces. As in biology, it is a mutation which per-forms but does so in a non-optimal way. Its features are irreducible; they cannot be associated 1:1 with behav-iors. 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 contri-butions to the project.

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

think that for the work to have gravitas that it needs to interface

-

undergrad we thought Zaha was the greatest. But she was a differ-

even though I know I have a very clear sensibility. I want to trans-

HERNAN:

TOM:

it had to be exactly that way.

HERNAN:

-

-

TOM:

-

work will no longer be innovative. For it to be innovative I think it

HERNAN:

-

there is this level of insanity in China when doing these kinds of

TOM:

circles. I love to do large buildings because they force you to in-

-

a developer in Beijing who saw our projects asked us to design a

-

HERNAN:

TOM:

-

1

2

11

LEARNING TO FLY

EMERGENT, his work is always at the convoluted center of ex

Cantileveris founded in the notion of the indeterminate relation of architec

Cantilever

HERNAN: Cantilever come from, and when it started, what was the whole idea?

TOM: The idea of Cantilever

to create some friction with a lot of the formal experimentation

but rather that every year a new instructor will explore a new ma

HERNAN: One impression I had when I saw Cantilever—and, of course, because of the research that was done with the students,

tice and your own ambition as an architect, it felt to me that the

form or notion, there was a desire of combination with what I will

TOM: Cantileverit was an opportunity to rethink

ways felt that

To answer your question about the development of the work

expression of structure and more towards nuanced relations of

HERNAN:

iterations and different mutations and so on, but I think there was a

it seems like museums, installations, exhibitions, pavilions, and

will say is incredibly coherent in terms of the formal, architectur

TOM:

TOM WISCOMBEFACULTY PROFILE

Hernan Diaz Alonso

1.Cantilever, located at SCI-Arc

2.Civic Sports Center and 2013 National Games Arena, ShenyangDesign concept currently in planning

3.Busan Opera House, South Korea Design proposal

4.The Semi-Rigid Car; Design concept

TOM WISCOMBETom Wiscombe is the founder and principal of EMERGENT, an interna-tionally 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 trans-forming 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 cur-rently 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 ALONSOHernan 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 hav-ing 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 re-ceived numerous awards and have been displayed in both architecture and art museum exhibitions, and pub-lished in magazines, books, and peri-odicals worldwide.

Dragonfly, SCI-Arc Gallery, 2007

4

3

12

Cantilever, Materials Lab I SCI-Arc, 2011Type: Year-long Composites Research Lab and InstallationInstructor: Tom Wiscombe, Applied Studies CoordinatorDesign Team: Dave Bantz, Michael Gross, Paul Mecomber, Vince PocsikConstruction Coordination: Tom Benard, Henry DominguezEngineering: 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 struc-tural 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 orna-mental 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, trans-parency, pattern, and color becomes the design space, as in nature. The piece was evolved through a feed-back loop between morphological de-velopments and structural analysis in ANSYS, where features such as con-nective armatures and surface pleat-ing were introduced over time. It was also informed by manufacturing logic, in terms of limitations of mold size, re-quirements for structural joining of components, and grading fiber density and orientation. Based on a con-sciously under-dimensioned overall thickness of 1/8” fiber-composite la-yup, a pattern of 2” fiberglass tape was created in order to locally re-spond to high stress conditions. The tape operates as a figure embed-ded 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 sim-ple expression of a structural type nor a readable response to forces. As in biology, it is a mutation which per-forms but does so in a non-optimal way. Its features are irreducible; they cannot be associated 1:1 with behav-iors. 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 contri-butions to the project.

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

think that for the work to have gravitas that it needs to interface

up. Although I think that all the press, conferences, lectures, shows, installations are great for a while, it sometimes seems ex-tra-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 differ-ent 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 trans-form over time. I hope I am that resilient.

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

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.

HERNAN: I would say that, conceptually (as opposed to formally) your work is rooted in Le Corbusier principles. My take in look-

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 Corbuse-rian 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, -

nerism, 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

commissions in China going. I think this relates to what I was

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 pa-vilions 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

it’s promise? How much of the nature of the current cultural frame

TOM: 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.

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 in-terface with the world and a diversity of interests. They also allow

But frankly it has been a very tough year. We won two compe-titions 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.” 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 prêt-à-por-ter 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: 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 dif-

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.

CHIP interior, Solar Decathlon 2011

Solar Decathlon, Washington D.C.

1.Guests at the SCI-Arc launch celebra-tion held at the Hirshhorn Museum and Sculpture Garden

2.Michael Cook (M.Arch ’95) and Su-sanne 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 Aca-demic 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 Decath-lon 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)

ALUMNI EVENTS & NEWS

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 , was hosted by the Hirshhorn Museum and Sculpture Garden in Washington D.C., and was attended by more than 150 guests including SCI-Arc 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

-lon 2011 competition. Of the 24 participants in the Solar Decathlon team over the two-year competition, 12 are part of the 2011 gradu-ating class. Congratulations to our newest alumni on their outstand-ing success!

IT IS WHAT IT DOES

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.

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 examin-ing. 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 Ameri-ca, 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 stan-dard 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 MOSSWASHINGTON D.C. SEPTEMBER 23, 2011

13

FROM ARCHITECTURE TO VIDEO GAME ARTIST

Seattle-based alumnus Sherif Habashi (B.Arch ’94) is an exemplar for the var-ied 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 Di-rector for a production company, leading on set design for televi-

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, Ha-bashi 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.”

At Microsoft, Habashi is currently in collaboration with Lu-cas 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

Eric Cheong

-

Brendan MacFarlane

Eric Cheong (M. Arch ’05)

REPORT FROM THE ALUMNI COUNCIL

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-

-

NERIN KADRIBEGOVIC, AIA (M.ARCH ’03)2011-2012 ALUMNI COUNCIL ALUMNI REPRESENTATIVE TO THE SCI-ARC BOARD OF TRUSTEES

SCI-Arc Alumni Council 2011-12Dean Nota (B.Arch ’74), Chair Nerin Kadribegovic (M.Arch ’03)Alumni Representative to the Board

Nominations Committee Dean Nota (B.Arch ’74) Steve Wagner (M.Arch ’84) Elissa Scrafano (M.Arch ’90)Nerin Kadribegovic (M.Arch ’03)

Los Angeles Events Committee/ Main Event 10 CommitteeElissa Scrafano (M.Arch ’90)Christian Schulz (M.Arch ’01)Adam Goldstein (M.Arch ’01) Steve Wagner (M.Arch ’84)

Regional CommitteeBoston Beth Gibb (M.Arch ’89)Miami Steven Morales Suarez (B.Arch ’04)Mid-Atlantic States Michael Cook (M.Arch ’95)Midwest Michael Poris (M.Arch ’90)New York Abby Scheuer (M.Arch ’93)Pacific Northwest Cherry Snelling (M.Arch ’97) Rocky Mountain States Julee Herdt (M.Arch ’88) San Francisco Alex Pettas (M.Arch ’06)Japan Mirai Morita (M.Arch ’06) Europe Pia Schneider (M.Arch ’86) Asia Elita Seow (B.Arch ’03)Mexico Joe Tarr (M.Arch ’08)

Open Season/Career Services CommitteeJohnny Ramirios (B.Arch ’05)Santino Medina (M.Arch ’06)

Fundraising Committee Elissa Scrafano (M.Arch ’90) Nerin Kadribegovic (M.Arch ’03) Dean Nota (B.Arch ’76)

Research CommitteeSepa Sama (B.Arch ’08)

Student Recruiting CommitteeBeth Gibb (M.Arch ’89)Julee Herdt (M.Arch ’88)Steven Morales Suarez (B.Arch ’04)Joshua Coggeshall (M.Arch ’97)Alex Pettas (M.Arch ’06)Lilliana Castro (B.Arch ’08)

Continuing Education CommitteeParas Nanavati (B.Arch ’04)

Alumni Exhibits and Media CommitteeSantino Medina (M.Arch ’06)Lilliana Castro (B.Arch ’08)Nerin Kadribegovic (M.Arch ’03) Steven Purvis (M.Arch ’06)Alex Pettas (M.Arch ’06)

11

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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 SCI-Arc Director Eric Owen Moss, Caltech Resnick Institute Director Harry Atwater, and trustees, alumni and friends from both institutions.



IT IS WHAT IT DOES














13


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 com-petition for the American University in Cairo. Habashi ran the fam-ily construction management business for six years before rekin-dling his passion for design by returning to Los Angeles to pursue a Master of Science in Industrial Design at Art Center.


Bros. Over the next few years, Habashi’s design focus translated from the physical to the virtual world, which led him to a career

-bashi 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.”


6

7

14


Eric Cheong

Director for Atelier Ace, the cutting edge creative services studio responsible for the Ace hotels and related brand based in Portland, Oregon.

Cheong’s design career has travelled well beyond the United States coasts, however. While work-

2000, Cheong spent a year working alongside SCI-Arc Alumnus Brendan MacFarlane (B. Arch

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.

accepting the challenge. “I love SCI-Arc. It was only a matter of time before I got back to being more involved with the school.”

21, 2011. Photos from the event will be featured in the next issue of the magazine.


REPORT FROM THE ALUMNI COUNCILI am thrilled to report the founding of the 2011-2012 SCI-Arc Alumni Council, SCI-Arc’s primary

-senting 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 be-tween 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.

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 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 Providing counsel to SCI-Arc leadership on alumni needs Helping recruit students for admission to SCI-Arc Encouraging alumni participation in SCI-Arc collaborations, exhibits, community outreach

Hosting alumni networking and social events around the world

-

[email protected].

Looking forward to your participation, I am.



























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 SCI-Arc Director Eric Owen Moss, Caltech Resnick Institute Director Harry Atwater, and trustees, alumni and friends from both institutions.



IT IS WHAT IT DOES














13


Seattle-based alumnus Sherif Habashi -

ied 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.


Bros. Over the next few years, Habashi’s design focus translated from the physical to the virtual world, which led him to a career

-bashi 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.”


8

9

10

14


Eric Cheong (M.Arch ’05), has recently

Director for Atelier Ace, the cutting edge creative services studio responsible for the Ace hotels and related brand based in Portland, Oregon.

Cheong’s design career has travelled well beyond the United States coasts, however. While work-ing 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 ’84) at Jakob + MacFarlane Sarl d’Architecture in Paris, after completing his year abroad studying at UP6 Ecole d’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.

accepting the challenge. “I love SCI-Arc. It was only a matter of time before I got back to being more involved with the school.”

21, 2011. Photos from the event will be featured in the next issue of the magazine.


REPORT FROM THE ALUMNI COUNCILI am thrilled to report the founding of the 2011-2012 SCI-Arc Alumni Council, SCI-Arc’s primary alumni volunteer group. With Dean Nota (B.Arch ’74) chairing, the Council includes members repre-senting 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 be-tween 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.

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 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 Providing counsel to SCI-Arc leadership on alumni needs Helping recruit students for admission to SCI-Arc Encouraging alumni participation in SCI-Arc collaborations, exhibits, community outreach

Hosting alumni networking and social events around the world

For more information on the Alumni Council, its committees or on how to get involved, please con-tact Aimee Richer, Associate Director of Annual Giving and Alumni Affairs, at 213.356.5388 or [email protected].

Looking forward to your participation, I am.












“L.A. IS A CITY, OR A NON-CITY, OR WHO KNOWS WHAT IT IS...”

. In his now twenty year involvement with the school, Robertson has witnessed every iteration of SCI-Arc – at Berkeley, Beethoven, and Santa Fe, from tent through purchase – and served on the Board of Trustees

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 -, who invited Robertson onto the Board as he assumed the

-tion, from Santa Monica to Mar Vista. Leaving a warren of studio spaces, SCI-Arc’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 Founda-tion with fellow Board member Merry Norris and a number of recent graduates, including Hadley Arnold, Molly Reid, and Har-

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 out-reach and fundraising at the school.

Robertson saw the expansion of the Board from a group of four people – only one of who was not faculty – 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 Rotondi’s and Neil Denari’s tenures as Director, Robertson was instrumental in locat-ing and securing the school’s present location downtown. As Rob-ertson tells it, a cousin of his at the real estate conglomerate Cata-

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 LA’s westside. Almost all of

SCI-Arc’s founders were ‘Santa Monica School’ architects and denizens of then-gritty Venice. However, Robertson saw that for many of SCI-Arc’s founding generation, downtown on the eve of its revitalization in the 1990s was closer to their notion of LA than their fast-gentrifying ‘Dogtown.’

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 fac-ulty, but Robertson helped steer the renovation of the building to completion, and fought to secure the school’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 – including Robertson’s requirement that the school budget for a 3% annual surplus – 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 Representa-tive in 1996, and Robertson asked Nick Seirup, Harrison Higgins, Michael Poris, Scott Hughes, and myself to join the Board as reg-ular members soon after.

Robertson’s perspective, from outside the discipline of archi-tecture but now steeped in its convolutions, is nicely attuned to both SCI-Arc’s internal debates and an everyman’s skepticism about architecture for its own sake. He notes that the school has seen at least three fundamental shifts in sensibility, from Kappe’s ‘humane’ modernism, through “a rebellion of the tectonic architects” (he names Eric Moss, Thom Mayne, Robert Mangurian, Craig Hodgetts and Ming Fung) looking for new solutions, to a contempo-rary condition in which, “it’s no longer all about the hand.”

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 “a strong advocate for student involvement in the gov-ernance of the school.” Neil Denari piloted SCI-Arc astutely into the digital age, and Eric Owen Moss “makes good decisions, hires great people.”

If there’s an aspect of architectural education that Robertson hopes SCI-Arc will engage more deeply, it’s ecological awareness. In Robertson’s view, “an understanding the geophysics of the world – the cycles of wind, tide, sun, for example – is really cru-cial, and it’s not taught well in most schools.” Ian McHarg’s 1967 primer on environmental concerns, Design with Nature, left a lasting, profound impression on Robertson that he hopes might

Reached at his home in Hawaii recently, Robertson said that the most satisfying aspect of his work at SCI-Arc was, “seeing a bunch of architects actually running a school…”

FROM DOGTOWN TO DOWNTOWN: IAN ROBERTSON AT SCI-ARC

15

JOE DAYJoe Day (M.Arch ’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, incarcera-tion, 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 SCI-Arc Board of Trustees, and a Director at the W.M. Keck Foundation.

16CLASS NOTES

Class ReunionsSara MacDonald (M.Arch ’92) is planning the M.Arch Class of 1992 20th Anniversary Reunion. Those interested can contact her at [email protected].

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

Richard Levy (B.Arch ’78) is nomi-nated 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 Reha-bilitation, 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 residen-tial 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 Oncol-ogy Center in Santa Monica, Califor-nia.

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 “archi-tecture 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 nonprof-its like “Make a Wish Foundation” in San Diego.

1980sMichael 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 Holly-wood.

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 Administra-tion and Maintenance Buildings in October. His firm also started con-struction of the Napa City Bus Transit Administration Building and the Lake County Middletown Library and Se-nior Center.

B.G. Shanklin (M.Arch ’86) is princi-pal 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 Preser-vation 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.

1990sMatthew 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, de-signed 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 fash-ion 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 gradu-ates that work with Scrafano Archi-tects 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 London-based Rogers Stirk Harbour + Parn-ers, having worked for Richard Rogers

for almost 19 years. He has been project architect on a number of notable buildings including the Bor-deaux 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 metropoli-tan planning study sponsored by the French state.

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 Chero-kee 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 build-ing that includes 46 apartments for mentally disabled residents. Brooks also received the University of Florida Alumni of the Year award.

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

Thomas Stallman (M.Arch ’91) is an instructor at the Art Institute of Califor-nia, 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 de-sign of Pitfire Pizza in Los Angeles, which transformed a dark Shakey’s pizza parlor into a light-filled contem-porary artisanal pizza restaurant.

Lars Langberg (M.Arch ’92) current-ly leads his own practice in Sebasto-pol, California. A recent project in-cludes working with a group of local residents/professionals to craft an ideas competition for their town. Dubbed The Core Project, the compe-tition is open to architects, artists, planners, landscape architects, schools, and others, who are invited to enter their submissions at the-core-project.org.

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-year-old step-daughter.

Jason Shirriff (B.Arch ’92) complet-ed 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

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 over-joyed to reconnect with fellow alumni Tod Stockwell (B.Arch ’92) and Kevin Conley (B.Arch ’92) through LinkedIn.

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.

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 installa-tion 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 merg-es 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) exhibi-tion, The Asclepius Machine: Genetic Diversity and Extreme Urban Eupho-ria, 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 assis-tant professor of architecture at the University of Michigan’s Taubman College of Architecture and Urban Planning.

Todd A. Erlandson (M.Arch ’94) and his team at (M)Arch Branded Archi-tectures collaborated with Deborah Sussman and typographer Andrew Byrom on the design of the exhibition Eames Designs: The Guest Host Relationship, which opened in Octo-ber 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, spon-sored by a grant from the Getty Foun-dation.

Jennifer Siegal (M.Arch ’94) hosted the symposium Motopia: A New Age for Modular Construction at the Uni-versity of Southern California (USC). Siegal is principal of Los Angeles-based Office of Mobile Design and a visiting associate professor at USC. She and her husband welcomed their

first child, Sydney Joan Siegal McNa-mara, 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 exhi-bition curated by Frances Anderton.

Greg Roth (M.Arch ’95) and partner Daniel Shapiro launched Modern Bite, a bakery that creates cakes, cup-cakes, and cookies topped with mod-ern 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 De-sign 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 Archi-tects, received the 2011 AIA Institute Design Honor Award in Interior Archi-tecture 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 De-sign Award, and Merit Awards in Interior Architecture from AIA Califor-nia 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 construc-tion and inhabitation of the ger dis-tricts 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 Fernan-do 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 Os-born 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 SCI-Arc 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 appli-cants 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) start-ed 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, educa-tion, 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.

2000sTima Bell (M.Arch ’00), principal of Tima Winter, recently completed three projects which include Salvage, a new bar in downtown Los Angeles, GRA-TiAE 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 archi-tectural photography business. Most recently, he has photographed proj-ects 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 negotia-tions 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 Hous-ing in Santa Monica, for which she was project manager and design associate-in-charge. She also re-ceived 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 archi-tect 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 Inter-national 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 Design-build, in 2005, working primarily on high-end residential remodeling proj-ects 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 complet-ed 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 creativ-ity 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 design-er with AC Martin and Pasker is a licensed architect and project manag-er with DDB Architects in Los Ange-les; 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 Associ-ates. 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 partici-pate 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 mem-bership 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 Li-censed 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 cur-rently 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 fea-tured widely in publications including The New York Times, Dwell, Domus, and Dezeen.

Sang Dae Lee (M.Arch ’04), princi-pal 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 Ira-vani (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 merchan-dise 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 Barce-lona. Originally shown at Tokyo De-signers Week 2010, and one of the winners of the Environmental Contain-er Competition, Hope Tree evokes nature in a space for display. A sec-ond 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), princi-pal 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 Archi-tectural 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 grad-uate program at Harrington College of Design in downtown Chicago. His full-time responsibilities include a mix of theory, methods, and studio class-es, curriculum review, college gover-nance, and a wide range of thesis duties, including chairing multiple committees. Part of the reason Fuchs credits as being hired was “a wonder-ful conversation about our pedagogy of making and meaning” one afternoon at SCI-Arc during an informal inter-view 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, partici-pated in October’s High Desert Test Sites (HDTS) 2011 event. Their proj-ect, Trail Registry, will be a long-term installation in Pioneertown just out-side 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 exhibi-tion at the Skirball Cultural Center features a transparent canopy hover-ing over the exhibit. In addition, sever-al 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 SCI-Arc faculty Andrew Atwood and Chandler McWilliams.

Michael Arellanes II (B.Arch ’08) of MA2 Architectural Design, has two design proposals featured in the Au-gust/September issue of MARK Maga-zine (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 acti-vate the community with the contribu-tions 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 [email protected]. Assemble is a not-for-profit organization with an active, contribut-ing board.

Joe Tarr (M.Arch ’08) has been work-ing 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.

2010sAdam Grove (M.Arch ’10) has as-sumed the position of Level Coordina-tor 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.

17

2010-11 Academic YearSCI-Arc acknowledges with deep appre-ciation and gratitude the following organi-zations and individuals whose extraordi-nary 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 HachigianMarina 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 MossBill 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 ScarpaTim Brophy Sandra Brown Melissa Burgess Laura Burkhalter (B.Arch ’00)Howard Byer Paul and Susan Cambon

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)

SCI-ARC DONORS 18

SOLAR DECATHLON 2011 Cover photography by Darius Siwek

SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE960 EAST 3RD ST.LOS ANGELES, CA 90013

Documents

SCIArc Magazine No.3 (Fall 2011)