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Ben Refuerzo, F.O.R.M., 289 Technology Seminar

Roger Sherman

THE FIRE STATION414 Major Building

Design Studio

R O O M 1 2 4 3 A B

Neil Denari

APERIODIC CITY403 Research Studio

Jason Payne

WATER AND POWER403 Research Studio

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Erin Besler

TO BE PRECISE...289.9 Tech Seminar

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B A S E M E N T P E R L O F F H A L L

Jimenez Lai

AS NORMAL ASPOSSIBLE123 Studio III

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Julia Koerner

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Karel Klein

THE FIRE STATION414 Major Building

Design Studio

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Gabriel Fries-Briggs

THE FIRE STATION414 Major Building Design

Studio

R O O M B 2 2 2

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

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

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

The 2016-17 Academic Year for the Department of Architecture and Urban Design has been filled with major cultural and intellectual events that have individually and collectively intensified our identity as one of the world’s foremost institutions for progressive thinking in architecture, design, criticism, history, and theory. After celebrating our 50th year anniversary in the Spring of 2016, Heather Roberge and I stepped in as Interim Vice Chair and Chair of the Department follow-ing Hitoshi Abe’s exceptional nine year tenure. A major focus this year, as a follow-up to last year’s successful NAAB accreditation visit, was the eight year Academic Senate Review of A.UD. With the help of virtu-ally the entire faculty, staff, and student body, we were hosts in January to a team of UCLA peers and selected academic leaders from around the US, who together examined our pedagogy, our academic culture, and our future needs. This two day visit culminated with a positive review and a lively discussion about the important role A.UD has on campus and about the department’s respected voice for design around the world.

While we focused on this visit and on further integrating the depart-ment into the larger agendas and concerns of the University, such as the Sustainable LA Grand Challenge and the Centennial Campaign for 2019, we have also significantly increased our cultural footprint in ways more specific to our own initiatives. Our Pacific Rim engage-ment further expanded with Professor Dana Cuff ’s work on Mexico City for the Urban Humanities Initiative and with an advanced topic studio conducted by Professor Hiroshi Hara from Japan. Prof. Hara’s wonderful quarter-long visit coincided with his 80th birthday celebra-tion, bringing visits by six important Japanese architects who were themselves students of Hara, including Riken Yamamoto and Kiyoshi Sei Takeyama.

Sylvia Lavin and the Hi-C curatorial program mounted The Duck and Document in the SCI_Arc Gallery this spring, an examination of the material effects and bureaucratic processes of building Post-Modern architecture. Co-curated by UCLA PhD Sarah Hearne and designed by our own Erin Besler, the show profoundly reawakened the question of what human labor is in relation to the work buildings do.

POOL, a student initiated and run magazine hit the publication scene this year with its first issue about Tables and instantly carved out a new space for ideas in a world of dwindling print presence. Its forthcoming issue on Rules promises even more provocation. POOL represents the ambitions of our students to lead the conversation on architecture and culture, a worthy challenge indeed.

Two engaging symposia were held in 2017, both of which asked im-portant questions on the nature of humanity in relation to the body in space. Organized by Guvenc Ozel, Machines of Loving Grace was held at the IDEAS campus in Culver City. With over a dozen speakers from the world’s of academic critical theory as well as futurists from Silicon Valley, this event compelled us to think more deeply about the physical and conceptual proximities and effects of technologies on our body and psyche, while The Body’s Politic: Architecture and the Modern Subject opened up new territory originally ploughed by Michel Foucault in his assault on institutional control. Organized by UCLA PhD students Simon Pennec and Maura Lucking, this two day event brought together theorists from around North America in an attempt to uncover new meanings in the construction of the architectural ap-paratus.

Our undergraduate students participated in Design Village in San Luis Obispo alongside architecture students from across Southern California. Under the direction of Andrew Kovacs, students installed work designed and built for this competition with one team winning the award for Most Habitable Structure.

These events, and those listed on the following pages, represent a cross section of agendas that make up our diverse community of designers and thinkers. Indeed, the Department of Architecture and Urban Design is committed to the advancement of knowledge through speculative, and increasingly more collaborative thinking. This, more than anything, is the mission of the school, and 2016-17 has been a year to remember for the ways in which we have positively navigated the murky waters of global politics, on the search for futures undaunted.

NEIL DENARI, Interim Chair and Professor, UCLA Architecture and Urban Design

S U N D AY, J U N E 1 1R E V I E W S | 2 pm – 6 pm – Jimenez Lai | THE VERNON CITY HALL

COMPLEX | Room 1118

M O N D AY, J U N E 1 2R E V I E W S | 9 am – 12 pm – Ben Refuerzo | FORM | Main Hallway

M O N D AY, J U N E 1 2R E V I E W S | 10 am – 1 pm – Erin Besler | TO BE PRECISE... |

Room B222

M O N D AY, J U N E 1 2R E V I E W S | 11 am – 2 pm – Andew Kovacs | THE PLAN |

Main Hallway

T U E S D AY, J U N E 1 3R E V I E W S | 9 am – 1 pm – Neil Denari | APERIODIC CITY |

Room Perloff Gallery

– Jason Payne | WATER & POWER |

Room 1220

– Gabriel Fries-Briggs | THE FIRE

STATION | Room B222

– Roger Sherman | THE FIRE STATION |

Room 1234A

– Erin Besler, Steven Christensen, Kevin

Daly, Narineh Mirzaeian | SECTION

AND ELEVATION | Room 1302

(DECAFE)

T U E S D AY, J U N E 1 3R E V I E W S | 2 pm – 6 pm – Greg Lynn | TYPOLOGIES OF FULFILL-

MENT | Room B227 Double Height

Space

– Neil Denari | TOWER COMPLEX |

Perloff Gallery

– Heather Roberge | AUGMENTED

PERCEPTION | Room 1209B

– Karel Klein | THE FIRE STATION |

Room 1243A

– Julia Koerner | CHUNK | Room 1224

– Erin Besler, Steven Christensen, Kevin

Daly, Narineh Mirzaeian | SECTION

AND ELEVATION | Room 1302

(DECAFE)

S C H E D U L E

P E R L O F F

H A L L

M O N D AY, J U N E 1 2 , 2 0 1 7

R O O M M A I N H A L LW AY9 am – 12 pmB E N R E F U E R Z O | F O R M | M A I N H A L LW AY

R O O M B 2 2 2 10 am – 1 pmE R I N B E S L E R | T O B E P R E C I S E …

R O O M M A I N H A L LW AY11 am – 2 pmA N D R E W K O VA C S | T H E P L A N

R O O M 1 1 0 2 | 4 pm – 6 pm

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

P E R L O F F H A L L | 6 pm – 9 pm

O P E N I N G

T U E S D AY, J U N E 1 3 , 2 0 1 7

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

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

R E V I E W S

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

S Y M P O S I U M

Organized and moderated by Marta Nowak and Gabriel Fries-Briggs

P A R T I C I P A N T SJulia Koerner, Lecturer UCLA A.UDErin Besler, Lecturer UCLA A.UDJason Payne, Associate Professor UCLA A.UDGuvenc Ozel, Lecturer UCLA A.UDGreg Lynn, Professor UCLA A.UDAxel Kilian, Assistant Professor, School of Architecture, Princeton University

Models for integrating technology into architecture school curricula are in a constant state of renovation. In all manner of academic formats—seminars, studios, workshops, labs—the form of technology is subject, means, and speculative object. It is often through the particular use of technology that schools cultivate a stance toward culture at large. The use of certain software is not independent of a practitioner’s position in the field relative to form-making, design, and labor. Emerging tools open up new terrain in formal experimentation, performance, empirical analysis, and material production. Yet keeping track of technology and its effects on the field can easily induce a state of anxiety. Technology has played a role in disciplinary identity crises and exerted immense pressure on practice.

As Michel Foucault put it, technology is social before it is technical. In the contemporary moment, it could be argued that the use of a particular technology or a stance toward it does much to organize and galvanize the field and its constituents. The issue of media is always on hand. It defines the delivery of content and the framing of positions. The particular format of the “Technology Seminar” developed at A.UD is to turn critical attention toward contemporary instruments of production.

Technology seminars examine emerging tools, techniques, and approaches to design: from machines, materials and mechanisms of fabrication (such as the use of robotic arms, composite materials, and 3D printing), to techniques and methods of representation (including projection mapping, and the use of Virtual and Augmented Reality), and finally new modes of interaction through sensing technologies and electronics. The plethora of these new technologies of making, representing or sensing, have both informed and transformed the ways by which we understand architecture. But are new technologies contributing in the production of new meanings or new forms of knowledge in architecture? In that sense, technology seminars attempt to track or survey the ever-changing technological landscape of contemporary architecture in order to build a foundation of knowledge and expertise within the field. Mediating the multiplicity of tools, software, and media, while conforming to academic and at times scientific research models, codes, and laboratory experiments, technology seminars have escaped their conventional structure within architecture schools in favor of a new model of cross-disciplinary research and investigation. The shift in this pedagogical approach has also influenced the very nature of processes and procedures in architecture. Should these new methods and applications be appropriated to conform to the discourse of architecture, or should they be viewed as mechanisms that can potentially remake the architectural discourse itself?

Julia Koerner, 437 Building Construction

Jimenez Lai, ARCHITECTURE & STORYTELLING, 289.4 Technology Seminar

Andrew Kovacs

THE PLAN289 Tech Seminar

Erin Besler, Steven Christensen

Kevin Daly, Narineh Mirzaeian

SECTION AND ELEVATION401 Tech Core

R O O M 1 3 0 2

CURRENTS: Winter 2017

Greg Lynn

TYPOLOGIES OF FULFILLMENT403 Research Studio

R O O M B 2 2 7

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

W H A T H A P P E N E D A T A . U D

2 0 1 6 – 1 7

Brett Steele—the director of the Architectural Association School of Architecture (AA) in London, one of the world’s oldest and most influential schools of architecture—was selected as dean of the UCLA School of Arts and Architecture. Senior undergrads win “Most Habitable Structure” Award at 2017 Design Village. Under the direction of A.UD lecturer Andrew Kovacs A.UD under-grads Ashley Gomez, Desiana Permata Yunawan, Jeffrey Kuo, Jacob Garson, Yuna Kim, Biqin Li created the ready-made project for Kovacs “Instant Shelter” studio.

The readymade structure, was the starting point to design and produce an “instant shelter” for Cal Poly’s Design Village competition. Competition parameters included the banned use of unaltered pre-manufactured struc-tures, so in the style of the artist Kevin Cyr the students sought to use modified elements of readymade store-bought structures into their design. Dismembering the components of two pop-up canopies, one black and one white, they used the legs and pitches to create a larger footprint which could separate into different rooms and exhibit a striped elevation pattern. They outfitted the tents with domestic furniture and detailing, down to silverware and slippers, to make their shelter more comfortable to live in. The black and white striping, which they applied on every object in the shelter, including their clothes, served as a type of blank screen for the user to project their own image of domesticity onto. With these components, the students made a structure that can be erected in 15 min and serve as a comfortable home to anyone in need of instant shelter.

Cal Poly San Luis Obispo has been hosting the Design Village competi-tion since the 60’s as a way to provide undergraduate architecture students a hands-on experience in designing, constructing and employing a habitable

“shelter.” Competitors, which include teams from architecture schools all along the West Coast, design and build shelters that they inhabit throughout the entirety of the weekend. Part of the competition includes a mile-long hike to the competition site, which rests on the side of a hill in Cal Poly Canyon. The shelter and all equipment must be moved by the competitors from the starting gate to the site. This year, 2017, marked the competition’s worst weather yet. Heavy rain on the first night led the organizers to change the rules this year—for the first time—extending the deadline for final setup to 10 am the following morning and waiving the requirement that teams had to sleep in their structures the first night. Despite the pouring rain, heavy wind and muddy conditions, the students managed to assemble their structure and displayed their complete design on the second day of the competition.

The A.UD Lecture series presented a robust series of architects, designers and critical theorists in 2016-17. The season began in October with a special two-day program organized by former chair Hitoshi Abe titled Between East and West with presentations by Hiroshi Ota, architect, Design Neuob, Tokyo and lecturer, University of Tokyo; Takeyama Kiyoshi Sey, founder, AMORPHE Takeyama & Associates, Kyoto, Japan and professor, Kyoto University; Nadim Karam, principal, Nadim Karam & Atelier Hapsitus, Beirut, Lebanon. The second day presenters included Osamu Tsukihashi, Principal, Architects Teehouse, Kobe, and associate professor, Department of Architecture, Kobe University; Kazumi Kudo, representative director Coelacanth K&H Architects Inc., Tokyo, Japan and professor, Toyo University; Hiroshi Horiba, represen-tative director, Coelacanth K&H Architects Inc., Tokyo, Japan and professor, Tokyo City University; and Riken Yamamoto, principal, Riken Yamamoto & Field Shop Co., Yokohama, Japan and professor, Nihon University. In late October A.UD visiting professor Hiroshi Hara, 2016-2017 Terasaki Chair in U.S. - Japan Relations; professor emeritus, University of Tokyo presented. Enric Ruiz-Geli, founder and principal architect, Cloud 9 Studio, Barcelona; Catherine Ingraham, professor of architecture, graduate architecture pro-gram, Pratt Institute, New York City; and Lorcan O’Herlihy, FAIA, founder and principal, Lorcan O’Herlihy Architects, Los Angeles spoke in November. Jennifer Steinkamp, artist and professor, UCLA Design Media Arts gave the Richard Weinstein Lecture 2016-17. Matthew C. Hunter, associate professor, Department of Art History and Communication Studies, McGill University; National Endowment for the Humanities research fellow, Huntington Library, 2016-17 and Dana Cuff, professor, UCLA Architecture & Urban Design; found-ing director, cityLab gave presentations in February. Hitoshi Abe, A.UD professor, former A.UD chair; director, UCLA Terasaki Center and prin-cipal, Atelier Hitoshi Abe, Los Angeles/Sendai spoke in April and Albert Narath, assistant professor, History of Art and Visual Culture, University of California, Santa Cruz closed out the year in May.

Distinguished Japanese architect Hiroshi Hara led a Fall 2016 gradu-ate Advanced Topics Studio, Unreal City with Mid-air Garden. Hara asked students to create a tower that is not for real architectural training but for unreal architectural training. The tower design focused on function,

comfortableness, economical reasonability, technical feasibility and limita-tion in various codes. A key word for Hara for this project was the illusions of “mid-air (hanging) garden”. Each student made a model according to this key word. As a result, the collection of models was called Unreal City.

“Unreal City” is found in T.S. Eliot’s famous poem “The Waste Land” (1922), where the aesthetics of “collage” was established. He quoted these words from Charles Baudelaire’s famous poem “Les Fleurs du mal (The Flowers of Evil)” (1857). The Duck and the Document: True Stories of Postmodern Procedures was on view at the SCI-Arc Gallery from April 14 – May 28, 2017.

Sylvia Lavin, CuratorSarah Hearne, Associate CuratorBesler & Sons, Exhibition DesignNick Rodrigues, Fabrication

Research, curatorial and design assistance provided by the UCLA Curatorial Project Team. UCLA Curatorial Assistants: Maura Lucking, Simon Pennec, Kyle Stover UCLA Curatorial Team: Alexander Abugov, Aubrey Bauer, Rachel Connor, Dongxiao Cheng, Glory Curtis, Erin Day, Jesse Hammer, Yessenia Juarez, Devin Koba, Summer Liu, Jena Meeks, Oscar Peña, Sai Rojanapirom, Jeisler Salunga, Yeqi Wang

The Duck and the Document: True Stories of Postmodern Procedures featured a series of fragments, from handrails to façade panels, salvaged from canonic buildings of the late 20th century. Typically associated with drawing and the circulation of media images, postmodern architecture is generally un-derstood to have been largely a matter of style and surface ornament, freed from the exigencies of political and technical systems by the force of ar-chitectural autonomy. The Duck and the Document challenged this view by embedding the expected imagery of postmodernity within materials that demonstrate the dense tangle of regulations, production specifications and technologies that constrained architectural design rather than liberated it. While these True Stories of Postmodern Procedures described a less heroic and autonomous architect, they also produced a more persuasive account of architectural ingenuity as it sought to survive the bureaucratization not merely of the architectural profession but of the very idea of architecture.

M.Arch II SUPRASTUDIO Summer studio exhibition ROBOTIC CARTOGRAPHY - BIO DYNAMIC ISLAND was on view in the Perloff Gallery from September 23–October 26, 2016. The SUPRASTUDIO Summer Session exhibition featured twelve projects from the incoming 2016-17 M.Arch.II students. The Technology Seminar - ROBOTIC CARTOGRAPHY and the Studio - BIO DYNAMIC ISLAND, led by Julia Koerner, investigated emergent technologies including 3D scanning, robotic video capturing and digital analysis of natural artifacts on micro and macro scales. Both literal and phenomenal investigations into natural systems and structures were part of the linked inductive courses. An exploration into various design media including bio-mimicry research and generative design morphology were included in the exhibition in the form of additive manufactured mor-phologies and CNC-fabricated scaled-up topologies. Animations, videos and VR simulations showcased ideas for architectural and urban applica-tions for a small-scale pavilion to a large-scale urban design of an artif icial Island in China - Hainan Island. Students proposed the possibility of an absolute self-sustainable urbanism that can balance and integrate the aims of culture, nature and business to re-claim the importance of intelligent ecology as the advancement of 21st century urbanism.

UCLA A.UD’s 2016-17 M.Arch.II program, SUPRASTUDIO leaders were Craig Hodgetts, Mark Mack, Thom Mayne, and Guvenc Ozel.

Summer Studio instructors included: Benjamin Ennemoser, Julia Koerner, Steve Lee, Marta Nowak, Peter Vikar, and Eui- Sung Yi.

POOL Issue No.2: RULES organized and edited by A.UD Students arrived in June. Is it a rule if it’s not written down somewhere? Of course, it could be, but rules do require some currency in order to be effective. This question suggests the importance of documentation, distribution, and enforcement to their functionality. Thus, to hazard a definition, “rules” are an apparatus for the systematic evaluation or production of phenomena. In our general climate of instability, contemporary architectural practices have exhibited an interest in systems that reach beyond the individual narrative. Instead, the prescribed methods and rubrics for producing a status quo provide an expanded, even populist ground for analysis and creativity. The new edi-tion featured Laida Aguirre, Heidi Alexander, APRDELESP, Ashley Bigham, Jonah Bokaer, Galo Canizares, Ekaterina Dovjenko, Eva Franch i Gilabert and Carlos Mingues (Storefront for Art and Architecture), Florian Idenburg (SO-IL), Joy Knoblauch, Leonard Koren (Wet Magazine), Andrew Kovacs (Archive of Affinities), MAIO Architects, Max Kuo, Mark Mack, Michael Osman, Maria Osado (Guerxs), Jason Payne, Nicholas Perseo, David Ramis, T+E+A+M, Clark Thenhaus (Endemic), Stacy Tran & Sara Sutter.

POOL is the student journal of the A.UD. POOL is driven by an interest in an expanding definition of architectural work that, in a culture of high volume content exchange, considers curation as a primary form of cultural production. Following this, they contend that the syllabus, the archive, and the aggregator are all valid forms of architectural work that they welcome and encourage in their publication. POOL is a site of this type of work, experimenting with interface between its three primary platforms: event, digital, and print. Events and ongoing digital publication act not only as productive indicators of relevant themes, but also feed into an annual print edition. POOL aspires to reach new audiences, seeing the separation of fields into hermeneutic discourses as unproductive, and strives instead for the inclusion of new and unexpected audiences through the incorporation of media unconventional to architectural discourse. Students involved in-clude: Co-Managing Editors: Jesse Hammer, Mackenzie Keith; Co-Content Editors: Aubrey Bauer, Tessa Watson; Graphic Editor: Marrisa Jena Meeks Digital Editor: Joyce Ip; Production Editor: Ryan Hernandez; Event Editor: Sai Rojanapirom; Finance Editor: Alyssa Koehn; PhD Advisor: Megan Meulemans. www.pool-la.com

cityLAb celebrated ten years with the exhibition Times Ten at the A+D MUSEUM on view from February 3 - April 9, 2017. The exhibition marked ten years of influential research from cityLAB posits innovative solutions for the future of Los Angeles and the 21st century metropolis. For the past ten years, cityLAB - UCLA has been at the center of innovation thought about the architecture of the city, particularly in Los Angeles. The “cityLAb, Times Ten” exhibition showcased the lab’s research on some of the critical chal-lenges facing the 21st century metropolis ranging from housing to density and transportation.

Collaborative, experimental projects served as prototypes of progressive ar-chitecture that hold multiplier effects, with the potential to impact the urban fabric of Southern California and beyond. The work from cityLAB was exhib-ited in three categories: Desk, Neighbor, and Place. Looking to the future, creative projects from six of Los Angeles’ most talented young architects explored the city’s coming decade.

Bringing together some of LA’s outstanding cultural journalists with civic leaders, designers, and innovators from across the city, LAB Talks” offered a vibrant and engaging investigation of the visions and questions posed by the show, as well as an exploration of the strategic partnerships mobilizing new directions for the city.

Concrete Jungle: The Junction of Panama City, a graduate level Advanced Topics studio led by Andrew Kovacs with a travel component funded by the Charles Moore Travel Fund examined the typology of the tower. Students worked in predominantly physical models - producing architectural specu-lations on how the typology of the tower evolved in Panama City. For the first review students produced small physical models that were then pho-tographed, enlarged and placed on backgrounds taken from renderings for proposed towers for Panama City.

In the third week of the winter quarter UCLA A.UD graduate students trav-elled to Panama City for the studio Concrete Jungle: The Junction of Panama City. The trip was an extreme site visit that included visits to new iconic buildings of Panama City, office visits and interviews with prominent archi-tects building in the city, brand new communities that are being constructed from scratch, as well as notable attractions such as the Panama Canal.

The focus of the trip was to gain insight into the rapid new developments occurring in and throughout the city as well as the architectural motiva-tions behind such developments. The filmmaker Phil Donohue joined the trip to document events and the studio was accompanied by local architects Darién Montañez and Johann Wolfschoon.

Visiting professors Ellie Abrons and Adam Fure led a Winter Advanced Topics Studio titled Sticks & Screens updating Gottfried Semper’s historical account of architectural elements: hearth, mound, roof, and enclosure. Instead of tracing modern building to some mythical past the studio reconsidered con-temporary construction through the lens of our dominant material system: that of digital screens and images. Students explored the ways in which the logics and aesthetics of digital imagery and surfaces transform conventional notions of structure and enclosure. Cultivating the transference of material logics, the studio evoked another Semperian notion, the distinction between

“inner structure” and “artistic schema,” disciplinarily known as tectonics. In the end students created a new tectonic language, returning full-circle to Semper and designating architectural elements for a post-digital age.

“The Body’s Politic: Architecture and the Modern Subject” a symposium organized by MA/PhD students was held in April with keynote speakers Lisa Uddin, associate professor, Art History and Visual Culture Studies, Whitman College and Zeynep Çelik Alexander, associate professor, Architecture, Landscape and Design, University of Toronto. Architecture has long been viewed as a civilizing mechanism: museums make publics, boulevards

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

make populations, housing makes citizens. Under modernity, architecture enrolled itself in the pantheon of power’s tools, explicitly deployed to create subjects. But this historical perspective quarantines political readings of ar-chitecture to the conservative, stationary, or merely incidental. How has the apparatus of architectural form, space, and representation worked in ways unseen by its contingent actors, and how has this apparatus biased con-temporary scholarship? Imagining architecture as a Foucauldian dispositif, inscribing itself upon bodies and peripheral to larger spheres of social and political practice, how might focused studies of architecture’s professional, cultural and tectonic configurations provide new ways of considering the modern subject today? Looking through identity formation to the effects of political, legal, and techno-scientific systems, how have architectural objects not only constructed singular subjects but proven intrinsic to var-iegated subjectivities and contemporary politics of the body? How have the kinds and natures of these subjects varied through time, from the individual to the collective, the human to the nonhuman, the embodied to the meta-physical? And, unlike the reformers and statists of past historical tellings, how could architecture itself be considered a primary historical agent in these machinations?

Distinguished Alumni 2016-17 Robert HaleThe department was pleased to honor Robert Hale, (M.Arch.II ’80) FAIA, part-ner, Rios Clementi Hale Studios, Los Angeles as the 2016-17 Distinguished Alumni. Mr. Hale gave a public presentation on his work as part of the A.UD Lecture Series on October 17. The Distinguished Alumni Lecture Series fea-tures renowned graduates whose innovation and accomplishments have significantly impacted the field of architecture and urban design.

Hitoshi AbeEllie AbronsCristobal Amunategui Andrew Atwood Kristy BallietKaty BarkanErin BeslerBarbara Bestor Jackie BloomPamela BurtonMertcan BuyuksandalyaciWil CarsonSteven ChristensenDana CuffKevin DalyNeil DenariHernan Diaz-AlonsoRamiro Diaz-GranadosTim DurfeeBenjamin EnnemoserDiane FavroFred FisherRon FrankelDavid FreelandBen FreyingerGabriel Fries-BriggsAdam FureBob HaleHiroshi HaraJohn EnrightDora EpsteinTodd GannonMarcelyn GoKian GohMira HenryCraig HodgettsAlvin HuangWonne IckxJeffrey InabaAlex KillianJanette KimKarl KleinJulia KoernerFerda KolatanAndrew KovacsJimenez LaiSylvia LavinSteve LeeAlan LockeSarah LorenzenGreg LynnTodd LynchMark Mack

Michael MaltzanElena ManferniniThom MayneJohn McMurrough Narineh MirzaeianAnna NeimarkMarta NowakCaroline O’DonnellMichael OsmanGuvenc OzelMarty Paull Jason PayneHeather PetersonBen RefuerzoHeather Roberge John RubleRhett RussoDavid RuyMohamed SharifRoger ShermanLuke SmithBob SomolRennie TangPatrick TigheGeoffrey Von OyenLi WenRoss WimerTom WiscombeEui-Sung YiPeter Zellner

R U M B L E

J U R O R S :

SPECIAL THANKS TO:

Tania Agacanian, Albert Alquicira, Colette Aro,

Caroline Blackburn, Dana Burkhalter, Israel Ceja,

Lori Choi, Steven Christensen, Erin Day, Neil Denari,

Chae Galis, Geovani Garcia, Ben Gourley, Ryan

Hernandez, Linda Holmes, David Johnson, Yessenia

Juarez, Verlena Johnson, Alicia Jones, Tianyu Kan,

Mackenzie Keith, Jim Kies, Andrew Ko, Grace Ko,

Benjamin Kolder, Valerie Leblond, Eric Lin, Joyce Sin

Ying lp, Jena Meeks, Jacquelin Montes, Christina

Moushoul, Dlyan Murphy, Jeannette Mundy, Jade

Narrido, Josh Nelson, Tom Niu, Peter Pak, Guvenc

Ozel, Heather Roberge, Jeisler Salunga, Victoria

Shingleton, Philip Soderlind, Gayle Schumacher,

Willem Swart, Conner Verteramo, May Wang, Shih-

Yuan Wang, Forrest Whitmore, Hong Bae Yang,

Noah Zaccaglini

© 2017

The Regents of the University of California,

Los Angeles

INFORMATION:

UCLA Architecture & Urban Design

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PERLOFF HALL is located on the UCLA Campus.

Perloff Hall, Mon.–Sat., 9 am – 5 pm

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stationmap.pdf

printing: The Avery Group at Shapco Printing,

Minneapolis

design: Willem Henri Lucas

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well as academia. This proliferation of robots has produced a mounting pressure for critical consideration with respect to their purported status as universal machines and in the perfor-mance of precise tasks.

OBJECTIVES AND ORGANIZATION This is a technology seminar. That being said, this course is as much concerned with a critical discussion surrounding the tools and technolo-gies of production and the things being pro-duced as learning new software and hardware. The focus of the course is on the production of passive utilitarian cast objects made from ter-razzo. The course will look at the collision be-tween this thousand-year-old, somewhat crude, material process with the purported precision of industrial robotics. Students will work in groups to research, document and catalog the history of terrazzo, its various applications, ma-terial processes, colors etc. as well as the his-tory of industrial robotics as it relates to control and precision – focused mainly on the ability to

‘place’ things precisely.

A NOTE ON INSTRUCTIONAL VIDEOS A major interest of this course is in the shifts of labor and the deskilling of trades, the way that certain projects and tasks can shift from the do-main of specialists or experts to the realm of amateurs. For instance, YouTube will be a great resource for us in this course. There is a learn-ing curve to this material but because so many skills and practices are demystified through things like online tutorials (whether for good or for bad) and broad networks of circulation, we can feel less apprehensive about experimenting with means of production that might otherwise seem too esoteric or complicated to take on. We will also make videos in this course, both docu-mentary and instructional.

STUDENTS: Alexander Abugov, Bronte Araghi, Peter Boldt, Wai Ching Cheng, Lori Choi, Hung The Diep, Jesse Hammer, Ryan Hernandez, Rayan Itani, Alicia Jones, Mackenzie Keith, Jeannette Mundy, Sana Nasikwala, Jihun Son, Zhuoneng Wang, Tessa Watson, Baocheng Yang, Yue Yang, Li Yin

but can occasionally also be sectional. The most banal set of activities, the storage and maintenance of equipment along with their ad-jacencies and separation are all important con-siderations. Small innovations, for example the use of Murphy Beds in the residential quarters can have consequences in the overall layout. This part of the term will focus on the explora-tion of how to dispose of the station’s compo-nents in interesting if still functional ways.

3) REPRESENTATION The fire station is an iconic shed. It is an or-dinary yet highly functional building that has a visual presence in the community. As such, the verbal and visual arguments are as important as the design considerations of each project.

G A B R I E L F R I E S - B R I G G S S T U D E N T S : Alexander Abugov, Israel Ceja, Zhoufan Chen, Benjamin Gourley, Jesse Hammer, Yin Liu, Marrisa Meeks, Joshua Nelson, Wen Wang, Raoyang Yang, Xiaofan Yin, Kristen Young, Ted Zhang

K A R E L K L E I N S T U D E N T S : Tania Agacanian, Miaomiao Chu, Rachel Connor, Guannan Guo, Chihiro Isono, Tianyu Kan, Dylan Murphy, Gayle Schumacher, Eric Wall, Yeqi Wang, Kyle Wulf, Xiangru Xu, Lu Yin

R O G E R S H E R M A N S T U D E N T S : Aubrey Bauer, Seung Bin Choi, Yining Deng, Joyce Ip, Yessenia Juarez, Mark Kamish, Brian Lee, Xinhao Li, Tong Liu, Kyle Reckling, Willem Swart, Shelby Tupac, Hengzhi Ye, Shundi Zhan

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

S E C T I O N A N D E L E VAT I O N Erin Besler, Lecturer, UCLA Architecture and Urban Design Steven Christensen, Lecturer, UCLA Architecture and Urban Design Kevin Daly, Lecturer, UCLA Architecture and Urban Design Narineh Mirzaeian, Lecturer, UCLA Architecture and Urban Design

“My house never pleased my eye so much after it was plastered, though I was obliged to confess it was more comfortable.”

- Henry David Thoreau, Walden

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

In the broadest possible terms, one of the things that we inherited from postmodernism was the valorization of the vertical plane, which was the signifying plane. Even at a very cliché level, the paradigmatic postmodern drawing was the ren-dered facade, on yellow tracing paper with colored pencil. That is what my generation rejected. To a certain degree something was lost in forgetting about that vertical surface, and a lot of architects are returning to thinking about the elevation and iconic presence of the building in the landscape. Not necessarily the elevation’s signifying capacity, but as an interface, a membrane on which infor-mation is being transmitted in both directions. If you go back to the late ‘80s or early ‘90s, the para-digmatic elevation is the revealed section. For ex-ample, Koolhaas’s Jussieu library has no elevation; the elevations are the sections. The notion that

R O O M : B309C O U R S E : 289.8 Technology Seminar

T O B E P R E C I S E … Erin Besler, Lecturer, UCLA Architecture and Urban Design

TERRAZZO AND PRECISION People often say that terrazzo reminds them of nougat or other candies, and there’s a nice connection there between “confection” and

“confetti”, both of which derive from the Latin conficere meaning “to put together”. While the installation of terrazzo in commercial ap-plications generally requires highly skilled re-liable tradesman to put things together so to speak, accurate color matching, precise appli-cation and extensive specifications, because of its composition and means of production the most visible qualities of terrazzo, the composi-tion of the aggregate, are actually quite casual and imprecise. This course seeks to bring some precision to the qualities of the surface of the material through the use of industrial robotics.

ROBOTS With the economic decline that began in the early 2000’s along with the impact sustained by multiple industries, several industrial ro-bots moved out of the factory system, mainly from automotive manufacturing and assembly lines, and into architecture schools. A demon-stration of the professed universality of these machines - appropriately suited to industry as

R O O M : Main HallwayC O U R S E : 289.9 Technology Seminar

A R C H I T E C T U R E A N D S T O R Y T E L L I N G S u b t e x t : M a k e A Co l l e c t i v e D r a w i n g , A s L a r g e A s P o s s i b l e , A n i m a t e d Jimenez Lai, Lecturer, UCLA Architecture and Urban Design

This course focused on the redrawing and re-formatting of existing buildings, but through the lens of other architects who did not design the buildings. Our method of examination fol-lowed the various formats contributing to archi-tectural culture in the last 25 years. The artifices of genre and format helped us bracket the end-less potential content and connections of the past two and a half decades, as a substitute for any attempt to enclose such content within pre-conceived and independent discursive domains. More than simply just a list, but less than a group portrait, this seminar resulted in an over-sized collective drawing that simultaneously documents and contemplates the relationship between architects.

Originally designed as a seminar titled “Architecture and Propaganda,” this class eventu-ally took a different path. Propaganda as a prac-tice is not only very cynical, but sends people to dark places they may not return. Additionally, as a graduate level architecture seminar it is not conducive towards talking about architecture. By focusing on the storytelling aspects of propa-ganda, this seminar aims to understand the po-litical agenda of aesthetics. By working mostly in drawings, we will approach storytelling as refined skillsets of a complex mind map.

Through this panorama of contemporary archi-tectural approaches, the studio unpacked the several values contained within this effort. For instance, the database of names and projects will become a powerful method towards knowl-edge building. Also, this seminar provided a platform for a deep familiarity of contemporary practices and projects. This allowed thinkers to produce fast and accurate associations between matters, a methodology that can be applied to other forms of knowledge.

Each week students presented two networks of at least four to five items from the provided for-mat list (online), accompanied with a thesis that need not align with any of the elements’ autho-rial intent. Students proposed additional names to the list. We will open a shared Google docu-ment for everyone to contribute to. (Similarly, any thesis need not affirm but instead critique or otherwise negate the politics, polemics, and other thinking behind these works through a productive enmity or antagonism.) The focus in the formats and their connections will substi-tute building analysis or close readings of texts as isolated arguments, and should help dis-cern the diversity of those threads they unravel. Rather than defining a stable position, our goal will be to describe value systems and discursive paths useful not only to evaluate but also to reconstitute, so that we might simultaneously assess and redirect our contemporary situation.

LARGE COLLECTIVE DRAWING The Exquisite Corpse is an art form practiced by many, including Andre Breton during the height of Dadaism. Similar to the Japanese literary tra-dition of Renga, many authors will work on the same work of art or poetry. The seminar will al-low students to portion out the collective mind map and claim territories to either insist on au-tonomy, or construct diplomacy. We will investi-gate the RUMBLE scenario to see how large this drawing can get. Additional to the printed ver-sion of the drawing itself, this seminar became a short film that splices, zooms, pans, and navi-gates through a world we built together.

STUDENTS: Sami Boukai, Jonathan Chiang, Aaron Gutierrez, Setareh Hajisaleh, Felipe Hernandez, Jr., Andrew Ko, Devin Koba, Jade Narrido, Achariya Rojanapirom, Jeisler Salunga, Victoria Shingleton, Eric Wall, Noah Zaccaglini

R O O M : Main HallwayC O U R S E : 289.9 Technology Seminar

T H E P L A N Andrew Kovacs, Lecturer, UCLA Architecture and Urban Design

GENERALITIES“The Plan is the generator. Without a plan, you have a lack of order, and willfulness. The Plan holds in itself the essence of sensation. The great problems of tomorrow, dictated by collective necessities, put the question of “plan” in a new form. Modern life demands, and is waiting for, a new kind of plan both for the house and for the city.”

-Le Corbusier, Towards A New Architecture, 1931

“If anything is described by an architectural plan, it is the nature of human relationships, since the elements whose trace it records - walls, doors, win-dows, stairs - are employed first to divide and then selectively to re-unite inhabited space.”

-Robin Evans, Figures, Doors and Passages, 1978

Definition of “Plan”: Noun 1. A detailed proposal for doing or achieving some-thing.1.1 with modifier a scheme for the regular payment of contributions towards a pension, savings ac-count, or insurance policy.2. An intention or decision about what one is go-ing to do.3. A detailed map or diagram.3.1 A drawing or diagram made by projection on a horizontal plane, especially one showing the layout

water from afar. For this reason, DWP may very well be the most powerful municipal entity in LA. While there are larger buildings than this one in the city and there are those more flam-boyant, there is likely none more important than DWP Headquarters.

This said, our relationship to water in Los Angeles has changed. A dark history and parched present render DWP’s style and effects painfully naive. The curious reticence of anony-mous substations seems the affect to go with now. The project proceeds through three phas-es, each treated as discrete design problems: exteriority, interiority, and ambivalent synthesis.

STUDENTS: Sami Boukai, Tzu-Jung Chang, Jonathan Chiang, Dokyung Kim, Andrew Ko, Devin Koba, Haiyi Lai, Jeannette Mundy, Jade Narrido, Achariyar Rojanapirom, Tuan Gia Tran, Tessa Watson.

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

W AT E R A N D P O W E R : A M B I VA L E N T O B J E C T I I Jason Payne, Associate Professor, UCLA Architecture and Urban Design

The Los Angeles Department of Water and Power (LADWP, or simply DWP) oversees the largest municipal infrastructure in the United States. The scale of this network of streams and rivers, lakes and reservoirs, dams, aqueducts, culverts, pipes, stations, substations, and power lines is vast, spanning several western states. Physical evidence of this infrastructure is everywhere but goes unnoticed: everywhere yet nowhere at once. Usually its invisibility occurs secondarily, the inevitable side effect of ubiquity. In certain cases, however, the suppression of the system’s physical presence is purposeful, a conscious decision by its architects and engineers to hide certain objects in plain sight. This is especially true of the substations, buildings that fade into the urban background through either textbook contextualism or, more interestingly, through dead iconography. This studio begins with an exploration of these substations for their po-tential to inform a new language for form that occurs at the intersection of infrastructure and architecture.

The development of this language occurs in the design of new substations and of a larger building, the LADWP Headquarters complex in downtown Los Angeles. In terms of iconogra-phy and expression the existing headquarters building runs counter to the more subtle, reclu-sive approach taken for so much of the rest of the system. Instead the building celebrates its authority over water, its power. Indeed the word power may be understood in two ways here: the power created and distributed by DWP, as well as the power DWP has in the larger context of Los Angeles. For as we know, LA is located in a very arid semi-desert and cannot exist without

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

A P E R I O D I C C I T Y : T H E P O L I T I C S O F S P A C E A N D T H E D E S I G N O F N O T H I N G Neil Denari, Interim Chair and Professor, UCLA Architecture and Urban Design

As California approaches fifth place on the list of the world’s largest economies (roughly equivalent to the UK), accelerated by clean en-ergy industries and a vital, accomplished work force across all sectors and cultures, archi-tecture and its corollary condition, density, is once again at the forefront of the conversation on Los Angeles’ next step in its evolutionary morphology. In relation to its perennial prob-lem, overstuffed conventional transportation systems, architecture at any scale faces it with renewed possibilities in urban arrangements and infrastructure. A mandate to limit density known as Measure S was emphatically shot down in a March vote, leaving architects and urban think-ers with a receptive substrate on which to think new thoughts about Los Angeles’ future. And one site above all was a perfect example of both that receptivity and the political tensions (rudi-mentarily seen as progressives vs NIMBYists) that gave rise to Measure S in the first place.

Located one mile away from the Bundy Station on the Expo Line, the Santa Monica Airport is a crucible of social and political interests (turmoil more precisely). After many decades of debate and legal battles between the city and the FAA and airport operators, its future, at least partly, has now been decided. In February 2017, a Los Angeles federal judge approved an agreement between city officials and the Federal Aviation Administration to close the airport before the

EXAMINATION OF OPTICAL DEVICESOur fall quarter research centered on the techni-cal and cultural implications of early and emerg-ing optical devices on our culturally constructed ideas about visuality. This research considered the evolution of field of view, subjectivity, and visual perception as afforded by shifts in tech-nology, culture, and creative production. These devices represent environments, simulate depth, motion, and three dimensionality, and construct subjects using a range of optical, me-chanical, or computational technologies. Each device signals a shift in notions of the scopic.

During winter quarter, we applied these technol-ogies to the representation of a classical Greek vessel, the askos, revealing technology’s impact on description in two and three dimensions. While the original vessel is a stable geometric abstraction, its representation multiplies when mediated by optical technologies. The resulting twelve reconstructed askos are on view in the exhibit.

ARCHITECTURAL APPLICATIONIn the spring, we cultivated emerging fields of view with the design of a theater complex in Minneapolis, MN on the site of Jean Nouvel’s Guthrie Theater. Students transformed the Guthrie’s two theater types using the optical devices under examination. Field of view trans-forms the organization of the theater interior, replacing monocular perspectivalism with other forms of visuality. In groups of two, students propose a theater complex featuring two scopi-cally distinct theaters. The studio’s work consid-ers the theater as object, as constructed field of view, and as vitally important to our shared and evolving visual perception.

S T U D E N T S : Peter Boldt, Boyan Chen, Lori Choi, Julia Curtis, Micaela Danko, Aaron Gutierrez, Setareh Hajisaleh, Ryan Hernandez, Yao Huang, Alyssa Koehn, Jeisler Salunga, May Wang

R O O M : 1209B C O U R S E : 403 Research Studio

A U G M E N T E D P E R C E P T I O N : R E I N V I G O R AT I N G F I E L D O F V I E W Heather Roberge, Associate Professor and Interim Vice Chair, UCLA Architecture and Urban Design

Visual perception is rapidly transforming as a consequence of changes in field of view. What is field of view (FOV) and how does it relate to architecture? Field of view is the extent of the observable world that is seen at a given mo-ment. This term applies to a scene captured by any type of lens: the human eye, a camera lens, a microscope eye piece, etc. The scope of FOV changes with focal length, shrinking as distance shrinks. Shaped by emerging lenses, the con-temporary scopic regime is at once panoramic and immersive while also fragmented and mag-nified. Today the camera-outfitted drone, the Go-Pro camera, Google Cardboard, and Oculus Rift are expanding the limits of human percep-tion. FPS (first person shooter) video games, in-vehicle navigation systems, rear-view and 360 cameras, Google Earth, and Google Street View are other agents of change.

These technologies, when considered together, effectively expand the possibilities of percep-tion by redefining, multiplying, and combining fields of view. While our bodies are all too often bound to grounds, our vision, and with it our physical sensations, are increasingly liberated from them. Has the cultivation of architectural experience transformed in response or has our desire to engage these fields of view been satis-fied by the camera lens, the screen, the airplane window, and the cursor? Since we now common-ly see objects and environments from different vantage points, how might these new vantage points transform how we conceive of architec-tural constructs? This research studio considers these questions, invents forms of description to engage field of view, and in so doing, speculates on architecture’s possible responses to existing and emerging scopic regimes.

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S T U D I O S

R O O M : B222, Double Height SpaceC O U R S E : 403 Research Studio

T Y P O L O G I E S O F F U L F I L L M E N T Greg Lynn, Professor, UCLA Architecture and Urban Design

New forms of mobility are being developed currently for both people and things. From au-tonomous container ships and trucks, to auton-omous buses and cars, to autonomous aerial and land drones, logistics and transportation is being reformulated rapidly.

These new forms of intelligent motion are im-pacting urban, suburban and rural infrastruc-ture. However, little thought is being applied to how buildings are impacted; in particular, the interior circulation and building envelope. It is the premise of this research studio that light-weight intelligent electric mobility should enter architecture and provoke a similar transforma-tion that the elevator and escalator provoked a century ago. We are rethinking the ‘market’ on a site here in Los Angeles adjacent to the his-toric Farmer’s Market on Fairfax. We have famil-iarized ourselves with terrestrial “land drones” used for outdoor and indoor delivery, with ride sharing and autonomy in the automotive realm and with warehouse logistics during our visit to the Amazon Fulfillment Center (OKA4) in Tracy, CA. The students are rethinking the typol-ogy of the market and creating a contemporary civic presence and customer experience of mov-ing people and things within the city and the building.

S T U D E N T S : Mojgan Aghamir, Bezaleel Balan, Gilberto Cruz, Samora Deng, Felipe Hernandez, Bezalel Ho, David Johnson, Aarynn Jones, Mackenzie Keith, Eun Jung Ko, Xiaowan Qin, Noah Zaccaglaini.

start of 2029 and return 227 acres of aviation land to the city for eventual redevelopment as a major park.

In place of the type of building development that overtook the former Hughes airfield at Playa Vista, a park has been proposed by the city and various preservationist groups as the best use of this site, which, depending on your political perspective, is either the design of something, or a code word for doing noth-ing. A park as an anti-building solution sounds promising, but it does not come without its own rather obvious questions, e.g. why simply a park and not social housing? For the purposes of this studio, we have agreed to side with local activ-ists emotionally and politically, but since we are designers, we can’t simply do nothing, so our task has been how to create something out of nothing. This has revolved around the question of what is a park and also, around the control of territory.

Three projects were designed across the year: 1) a highly productive, low impact factory – Fall and Winter Quarters; 2) a master-plan for so-cial housing and parkland based on the merged techniques of camouflage and aperiodic tiling grids – half of Spring Quarter; 3) a temporary pavilion based on inflatable / membrane/skin construction techniques as applied to deviant platonic solids – half of Spring Quarter. Taken together, these projects explore what it means to design to the political will of “no architectu-ree” with the intent to subvert that very negative, largely unprogressive condition.

STUDENTS: Clarissa Brunt, Kaiyun Cheng, Brian Daugherty, Liuxi He, Boyu Hu, Benjamin Kolder, Chang Sup Lee, Yan Liang, Victoria Shingleton, Haoyuan Tan, Taoran Zhao, Jianning Zhong.

R O O M : 1243ABC and B222C O U R S E : 414 Major Building Design Studio

T H E F I R E S TAT I O N Gabriel Fries-Briggs, Lecturer, UCLA Architecture and Urban Design Karel Klein, Lecturer, UCLA Architecture and Urban Design Roger Sherman, Adjunct Associate Professor, UCLA Architecture and Urban Design

INTRODUCTIONThe Major Building Design Studio is the final studio in the core sequence, a capstone of the curriculum at A.UD. While this is a team taught studio and faculty members share a common theme, each faculty member develops both a singular brief and project site to explore and develop that theme providing students with a set of focused option studios in the Spring of their 2nd year. The studio focuses on the inte-gration of programming, site planning, urban design, structural and environmental control systems, and architectural expression as they might be appropriate to building scale and pre-sented in graphic and model form. This studio is organized around a large complex multifunc-tion program with an urban component – this year, a fire station. As an integrative design and research problem, the thrust of the studio is toward the precise architectural translation and materialization of abstract cultural forces and demands (i.e codes, markets, and socio-eco-nomic groupings) and considers issues such as the relationship of new development to existing urban fabric; how contextual and cultural forces inform design; and the complex interfaces be-tween program components, constituents and drivers (i.e. public, private and hybrids).

PROGRAMThe Fire Station is a public building where archi-tectural issues are both expressed and realized in a modest way. Its organization is also typi-cally perfunctory, as befits its function. And yet examples from Venturi and Scott Brown’s Fire Station #4 to Zaha Hadid’s Vitra Fire Station demonstrate that there are opportunities for architectural ambition given a more ambitious client and the ability of the designer to be very canny in the management of what is usually a very constrained budget. Accordingly, the stu-dio is structured around three central themes over the course of the quarter.

1) ORIGINS / RESEARCH / ANALYSIS The fire station has a very defined set of con-straints while having a unique mix of program. It must accommodate everything from revolving living places to the storage and maintenance of large equipment. In addition to graphic stan-dards for required spaces, the primer should also outline and foreshadow each student’s method of exploration—whether in response to function, context, identity, or a combination.

2) ORGANIZATION / PROGRAM DISPOSITIONThe fire station has a very clear organization that is often expressed in the plan dimension,

between the section and the reading of the building from the outside there is this membrane condition, the envelope, coincided with a lot of work from the early 2000s where architects rediscovered pat-terned facades and multiple layers of transparency.

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

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

INTRODUCTIONThe 401 (Tech Core) Design Studio unites the focused material fabrication model of the tech-nology seminar with the design project of the traditional core studio. As the culmination of the first year studio progression from form (411) to plan (412) and now to section/elevation, this studio works with the same tripartite project structure as those before: precedent, problem, project. It is different, however, in its introduc-tion of a collaborative working model meant to introduce students to the realities of the profes-sional working environment in which projects are pursued in groups toward a common goal.

E R I N B E S L E R S T U D E N T S : Edda Chan, Yiran Chen, Erin Day, Jean-Michel Hirsch, Xihan Lyu, Talia Marks-Landes, Michael Pickoff, Daniel Polk, Hong Bae Yang, Siqi Zhang

S T E V E N C H R I S T E N S E N S T U D E N T S : Dongxiao Cheng, Daniel Greteman, Lingxi Gu, Wanying Gu, Seoyoung Lee, Nicholas Miller, Tom Niu, Yunfei Qiu, Caroline Watts, Xinwen Zhang

K E V I N D A LY S T U D E N T S : Haoyu Chen, Xiangkun Hu, Bennet Liang, Eric Lin, Jeremiah Mulloy, Ian Rodgers, Nichole Tortorici, Jiajie Wang, Kenny Wong, Jenny Zhou

N A R I N E H M I R Z A E I A N S T U D E N T S : Sally Chae, Liyao Chen, Christopher Doerr, Maythanya Khaikaew, Yuanjun Liu, Kevin MacDougall, Neta Nakash, Zhiwen Qiu, Connor Verteramo, Jian Xie

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U N D E R G R A D S – J U N I O R S

B R O N T E A R A G H I C O L E T T E A R O M I R I A M B E N I T O

L O P E Z

C A R O LY N F R A N C I S

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

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

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

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

I R A C A R O

D Y L A N H A R M O N

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

U N D E R G R A D S – S E N I O R S

R O O M : Main HallwayC O U R S E : 289 Technology Seminar

I D E A L P R A G M AT I C S Ben Refuerzo, Professor, UCLA Architecture and Urban Design

It is often taken for granted that the design/making of everyday items is manifested in the mundane. The utilitarian is relegated to func-tion, is often not associated with thought, and is therefore considered to be lacking in all as-pects of critical conception / thinking; though nothing could be further from the truth.

All design is, and should be about elevating the “everyday” to incorporate and celebrate its use. Elegance is in the details (joining etc.) and ma-terials must be well thought out and executed to such a degree that it can operate on many levels. the art in materiality and joy of use should be understated but also elevated to art.

In this studio students designed a common ev-eryday object- a chair. On the surface it seems like a quite simple task. We all know what a chair is, we use them every day, so what dis-tinguishes these student designs from a tree trunk cut into sections? Students were asked to remember this is a design/art project... not something banal.

S T U D E N T S : Tania Agacanian, Bezaleel Balan, Zhoufan Chen, Miaomiao Chu, Rachel Connor, Julia Curtis, Micaela Danko, Samora Deng, Liuxi He, Aarynn Jones, Tianyu Kan, Xinhao Li, Todd McQuade, Dylan Murphy, Shelby Tupac, Wen Wang, Xiangru Xu, Raoyang Yang, Shundi Zhan, Ted Zhang

R O O M : 1118C O U R S E : 123 Studio III

VERNON CITY HALL COMPLEX: H O U S E ( S ) F O R T H E M AY O R S u b t e x t : “A s N o r m a l a s P o s s i b l e ” ( A - N a p ) Jimenez Lai, Lecturer, UCLA Architecture and Urban Design

Site: Vernon, CA. is a city with a physical size of 5.157 mi. However, it is a city that only hosts a population of 112 residents as of 2010. Included within this small population are the police department, fire department, city council, the mayor, and the rest of the governing body of Vernon, CA. Despite the fact that over 1800 businesses operate during the day and around 50,000 people commute to work, Vernon is almost entirely zoned industrial and remained this way over the decades. It is also the only incorporated city in the United States without a park. The tagline on the Vernon City website clearly states: Vernon Means Business.

Nearly all of Vernon’s residents live on the cor-ner of Santa Fe and E. Vernon, with one school, one church, and some other single-serving amenities that support this small population. The proposal for this studio is to condense all combined footprint of current government and residential functions into at least one quarter of its current density, and allow a large setback to become a park. The condensed multi-function building will have an FAR of at least 4.0.

The Phalanstère, an idea initially written by Charles Fourier in the 19th Century, was a pro-posal for a fictional city with 500-2000 people living inside of one architecture. Many archi-tects have taken on this idea of “city within building” and produced projects with this in mind, including Unite d’Habitation, Marina City, or the Hancock Building in Chicago. This multi-functional Frankensteined building will house all citizens of Vernon inside one building. Students will work with groups of two or three, and form a total of nine groups.

SUBTEXT: “AS NORMAL AS POSSIBLE” (A-NAP)What does it mean for something to be normal? Conversely, what defines madness? Without standards that allow a measure of normalcy, it is nearly impossible to define something as be-ing out of place. “Normal” is a difficult moving target - something typologically normal in the 1920s would not be normal in 1980. What is normal in 1980 in Los Angeles also may not be so normal in Tokyo 1980. Normalcy is a complex agreement amongst a large number of people, the same way that grammar and cadence are specific to the time and space they live in. A dif-ferent way of considering the topic of normalcy is the idea of context - in some ways, context may not be only physical, but cultural.

STUDENTS: Bronte Araghi, Colette Aro, Miriam Benito Lopez, Ira Caro, Carolyn Francis, Jacob Garson, Ashley Gomez, Dylan Harmon, Rayan Itani, Alicia Jones, Yuna Kim, Jeffrey Kuo, Eunice Lee, Biqin Li, Anton Lundblad, Lark Ruesch, Ailey Simpson, Wesley Song, Kylie Williams, Desiana Yunawan

of a building or one floor of a building.Compare with elevation 3.2 A diagram showing how something will be ar-ranged.3.3 (in the Methodist Church) a document listing the preachers for all the services in a circuit during a given period.

Verb 1. Decide on and make arrangements for in ad-vance.2. Design or make a plan of (something to be made or built)

In order for there to be architecture, there must be a plan. The plan is both a tool that is necessary to construct a work architecture, but it is also a way to understand, designate and design spaces, forms and activities of a work architecture. As an expres-sion of a single cut plane, the plan demonstrates the inner workings of architecture. We will aim to produce a guide book to the plan - one that touches on various and important aspects of plan making.

The objective of the course is to produce an Aberrant Architectural Encyclopedia of Plans. The contents of this document is a collection of plans that are disciplinary but not part of the discipline of architecture. Examples include the plans of Water Slides, Pinball Machines, Equestrian Courses, Dungeons and Dragons Maps, Game Boards, Table Settings, etc. These plans all engage the tactics and themes of plan making from figure / ground, composition, arrangement, organization, and distribution to sequence, time, and activity. The Aberrant Architectural Encyclopedia of Plans will aim to understand these plans through the lens of the discipline of architecture by comparing such plans to the plans, and plan making strategies, of notable architects.

S T U D E N T S : Israel Ceja, Brian Daugherty, Daniel Greteman, Felipe Hernandez, Jr., Yessenia Juarez, Yuanjun Liu, Kevin MacDougall, Marrisa Meeks, Nichole Tortorici, Hong Bae Yang

R O O M : 1224C O U R S E : 143 Technology III

C H U N K Julia Koerner, Lecturer, UCLA Architecture and Urban Design

“Chunk” introduced digital modelling techniques, digital fabrication methodologies and strategies for architectural representation to communicate the relationship between design concepts, mod-eling techniques and the tangibility of physical models. The course elaborated on contemporary methods of digital design and discussed the dif-ferences in techniques of form-making allowing the students to gain an advanced understand-ing of geometry and systematic implementation within an architectural design process. As part of the digital technology series for the undergraduate program at UCLA A.UD, this course provided the knowledge and skill-set for the students to develop proficiency in various modes of architectural communication through the introduction to a variety of digital model-ling techniques and discussion of the different methodologies to create 3D form. The seminar consisted of geometrical analysis and research as well as digital design processes. Discussions took place on the differences between spline and polygon modelling and introduced a rational understanding of geometric constraints. Further, students developed an understanding of the differences between Euclidian, spherical, and hyperbolic geometries. The course involved the utilization of digital fabrication techniques to transform digital models into physical models, with fabrication and material constraints. The material-based techniques were understood as abstract architectural construction and chal-lenged students to think about materials and tolerances in physical space as well as assembly strategies. Techniques of laser cutting, CNC mill-ing and 3D printing were tested and students developed an understanding of the differences between working with sheet material and ad-ditive or subtractive manufacturing processes. Contemporary digital fabrication techniques were introduced in the form of lectures and re-search components. The students worked across various scales and architectural components such as ground, orientation, gravity, structure, mass and envelope as part of their three dimen-sional investigations. Students elaborated on 2D drawing techniques and architectural communi-cation of their developed geometries. The course operated in the form of a research laboratory for digital modelling and fabrication processes. The research started with an inves-tigation into a selection of three dimensional sculptures in the Franklin D. Murphy Sculptural Garden at UCLA. The students choose from a list of sculptures and photographed, 3D scanned and digitally analyzed and documented the three dimensional curvature and particularity in form. Rather then modelling and fabricating a com-plete replica of the art objects students focused on a specific cut out area, “a chunk”, to develop into a high fidelity.

S T U D E N T S : Ian Bankhead, Christopher Bierach, Fong Ying Chan, Aaron Damavandi, Melinda Denn, Ashley Eichenauer, Elizabeth Everhart, Simon Fast, Chase Galis, Nicole Galisatus, Dania Ghuneim, Vincent Guo, Long Ho, Takashi Honzawa, Erina Lay, Charles McCrory, Christina Moushoul, Linh Nguyen, Alina Provost, Anastassiya Saraikina, Amber Shen, Carel Tan

I A N B A N K H E A D C H R I S T O P H E R B I E R A C H E D D I E S O N B U S TA L I N O A A R O N D A M AVA N D I

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

N I C O L E G A L I S AT U S V I N C E N T G U O L O N G H O TA K A S H I H O N Z AW A

C H A R L E S M C C R O R Y A L I N A P R O V O S TC H R I S T I N A

M O U S H O U L

F O N G C H A N

E L I Z A B E T H E V E R H A R T

D A N I A G H U N E I M

E R I N A L AY A N A S TA S S I YA

S A R A I K I N A

C A R E L TA NA M B E R S H E N

I S R A E L C E J A

R A C H E L C O N N O R Y I N I N G D E N G K R I S T E N F O N G

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

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

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

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

E R I C W A L L W E N W A N G Y E Q I W A N G K Y L E W U L F

M . A R C H . I – F I R S T Y E A R

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

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

M . A R C H . I – S E C O N D Y E A R

X I A N G R U X U

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

S H U N D I Z H A N T E D Z H A N G

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

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

B E Z A L E L H O B O Y U H U YA O H U A N G D AV I D J O H N S O N A A R Y N N J O N E S

M A C K E N Z I E K E I T H D O K Y U N G K I M E U N G R A C E K O D E V I N K O B A

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

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

R O J A N A P I R O M

J E I S L E R S A L U N G A

H A O Y U A N TA NV I C T O R I A

S H I N G L E T O N

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B E Z A L E E L B A L A N P E T E R B O L D T S A M I B O U K A I N I C O L A S B R U N I

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

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

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

T U A N T R A N

M . A R C H I – T H I R D Y E A R

Z H O U F A N C H E N

S E U N G C H O I M I A O M I A O C H U

M AY W A N G T E S S A W AT S O N

N O A H Z A C C A G L I N I TA O R A N Z H A O J I A N N I N G Z H O N G

L I YA O C H E NS A L LY C H A E E D D A C H A N H A O Y U C H E N

C H R I S T O P H E R D O E R RY I R A N C H E N D O N G X I A O C H E N G E R I N D AY

J E A N - M I C H E L H I R S C HD A N I E L G R E T E M A N L I N G X I G U W A N G Y I N G G U

Z H A O B I N L I A N GX I A N G K U N

H U

M A Y T H A N Y A

K H A I K A E W

S E O Y O U N G L E E

K E V I N M A C D O U G A L LE R I C L I N S U M M E R L I U X I H A N LY U

N E TA N A K A S HTA L I A M A R K S - L A N D E S N I C H O L A S M I L L E R J E R E M I A H M U L L O Y

Y U N F E I Q I UT O M N I U M I C H A E L P I C K O F F D A N I E L P O L K

C O N N O R V E R T E R A M OZ H I W E N Q I U I A N R O D G E R S N I C H O L E T O R T O R I C I

J I A N X I EJ I A J I E W A N G C A R O L I N E W AT T S K E N N Y W O N G

J E N N Y Z H O UH O N G B A E YA N G S I Q I Z H A N G X I N W E N Z H A N G

Y I X I N W U

X U E Y O U Z H A N G

X I A O L U X I E

W E I S H E N X U K E YA N

E L I Z A B O G H O S S I A N

A L A R A A K I LT O P U

A L I S H A C O E H L O A R TA G H O O R C H I A N

T I A N L O U

Z H U O N E N G W A N G

Y U F E N G

W A I C H I N G C H E N GY I F A N C H E N

T E N G L O N G

N A Z L I TATA R

S H I M I N L I U

C H E N G Y U A N YA N G

L O V E L E E N B R A R

E R I K B R O B E R G

H U N G T H E D I E P Z H E L I A N G

S A N A N A S I K W A L A

J I A N T O N G G A O

X U E YA N S H A O

Y I YA N G

S H I M E N G C H E N

N I C K B R U N I

Q I S E N D O N G

L I U J I A N T Y S O N P H I L L I P S

S V E T L A N A K I Z I L O VA TA I R A T S U K I O K A

Y U H A O YA N G

X I A O Y U YA N G

B A R A K

K A Z E N E L B O G E N

J I H U N S O N

D U N I A A B U S H A N A B

P E G A H K O U L A E I A N

YA K E W A N G

N I L O U F A R

G O L K A R I H A G H

D E B O R A H L I U

R A N I S R A E L I

J O H N S A L C I D O

S A R A J A F A R P O U R

L U YA N S H E N

M . A R C H I I – T H O M M AY N E

S A N G E E T H A R A M A R

A L E X A N D E R D I M E N T O

D O N G U K K I M

J I AY U D U

Z H E H E N G L A I

A I S E E K I C I

M I C H E L L E P A U LY

F O N S E C A

Y U Q U N G A N

J I P E N G J I N G

M . A R C H I I – C R A I G H O D G E T T SR O O M : IDEASC O U R S E : Thom Mayne / Now Institute

SUPRASTUDIO

U R B A N H Y D R O P O N I C S : T H E F A R M I N T H E C I T Y Thom Mayne, Professor, UCLA Architecture and Urban Design Eui-Sung Yi, Lecturer, UCLA Architecture and Urban Design

The Thom Mayne / Now Institute SUPRASTUDIO expands beyond architecture and urban re-search in the academic sphere to respond to complex, real issues and their spatial manifes-tations. The complexity of urban phenomena is studied through an interdisciplinary, integrative approach and hybridizes interactions across diverse disciplines. The social, cultural, histori-cal, economic, and political layers that generate today’s modern condition are analyzed before a problem is stated. Prescriptive solutions are replaced with reasoning and relevant design. This model of research, problem formation, and design is the blueprint that will drive intelligent, informed solutions for any other independent scenario.

Previous research for the UCLA Grand Challenge: Sustainable Los Angeles was pub-lished. As part of the larger UCLA Grand Challenge: Sustainable LA initiative, Thom Mayne / Now Institute SUPRASTUDIO worked with ESRI to map and analyze the energy, wa-ter, and environmental resources of LA County. Wilshire Boulevard: Densify 1% to Preserve 99%. As an extension of the Sustainable LA project, Thom Mayne / Now Institute SUPRASTUDIO continued to develop a densification study of Wilshire Boulevard, intended to preserve the lifestyle of 99% of LA County.

Thom Mayne / Now Institute SUPRASTUDIO developed a series of iterative urban strategies Eco Islands, for a man-made island in the South China Sea. Operating as an ecotourist destina-tion, the project challenged traditional notions of landscape and building typology by investi-gating the overlap of disparate infrastructural systems.

For Urban Hydroponics: The Farm in the City, Thom Mayne / Now Institute SUPRASTUDIO has partnered with Community Health Councils (CHC), working to develop an urban Food HUB and a series of POD designs that utilize hydro-ponics to address issues of food equity in Los Angeles. Students investigated the opportuni-ties created by the LA Promise School Zone and other community groups.

S T U D E N T S : Dunia Abu Shanab, Niloufar Golkarihagh, Ran Israeli, Barak Kazenelbogen, Pegah Koulaeian, Deborah Liu, John Salcido, Luyan Shen, Kevin Sherrod, Jihun Son, Yake Wang, Baocheng Yang

P R I YA M VA D A M A H E S H

M . A R C H I I – M A R K M A C K

M . A R C H I I – G U V E N C O Z E L

R O O M : IDEASC O U R S E : Ozel SUPRASTUDIO Research

M I S S I O N T O M A R S : A 3 D P R I N T E D H A B I TAT F O R I N T E R P L A N E TA R Y C O L O N I Z AT I O N Guvenc Ozel, Lecturer, UCLA Architecture and Urban Design Mertcan Buyuksandalyaci, Lecturer, UCLA Architecture and Urban DesignBenjamin Ennemoser, Lecturer, UCLA Architecture and Urban Design

The Ozel SUPRASTUDIO focused their ar-chitectural research in 2016-17 on artificial intelligence, generative design, technologically enhanced spaces and interactive environments. SUPRASTUDIO was used as a platform to exploit the potential for robotic fabrication, ad-ditive manufacturing, interactive environments and virtual reality for designing spaces suitable for extended human presence in new modes of

mobility on earth and extraterrestrial contexts while working with the contributions of various industry partners and experts from the field such as Autodesk, Microsoft and Oculus. The studio imagined scenarios for intelligent archi-tectures that can move, self-generate, adapt, interact and autonomously fabricate through the employment of novel technologies, media interfaces and high performance materials. In the Fall 2016 quarter, in order to understand the logics that lead to the formulation of artificially intelligent cognitive material systems, the stu-dio conducted research to better understand the generative nature of contemporary design models and their mathematical foundations. The intent of this quarter was to explore the logics and formal outputs of organizational behaviors. Through researching specific termi-nologies and finding exemplary projects in the field of digital and interactive art, architecture and industrial design, the students developed a formal language of interactive motion.

In the Fall Tech Seminar course, the goal was to develop a series of soft robotic end effectors and prostethics for the Agilus KUKA robots that could be controlled in real time, by a user or an artifi-cial intelligence, in a process of interaction with a given distinct object. The course included the use of various sensors and actuators to fabricate complex tools that only work with a specific form. This formal logic—elasticity, plasticity and shape-shifting—focuses on the ability of an object to change shape through material prop-erties. Elastic materials, fluid dynamics, smart materials, tensile structure, inflatables and oth-er systems that rely on the relationship between material science and geometry fall into this category. This project explores this system in the form of soft robotics. A dynamic curvature through graded cellular pneumatics examines shape-shifting as a tool to create and alter dy-namic architectural spaces.

During the Spring quarter the Ozel SUPRASTUDIO explored autonomous trans-portation on earth: autonomous vehicles as an extension of architecture (or “moving rooms”), networks and logistics of autonomous vehicles and their impact on the built environment. Mobility systems emerged as the entry point for many of these new technological develop-ments. On Earth, intelligent transport systems are changing the way we envision and inhabit spaces as the nature, speed and range of trans-port change. Although the speed of transport is increased and made more efficient, the amount of time spent during transport is increasing as the distinctions between work and leisure spaces blur. The notions of architecture and transportation are starting to merge as autono-mous vehicles are exceedingly being considered as extensions of architectural spaces; enhanced with interactive technologies and media inter-faces. These new media interfaced in the form of virtual and augmented reality were used to construct larger interactive digital worlds in confined physical spaces. As a consequence, the autonomous transportation vehicle be-comes an architecture in motion in the digital and the physical worlds.

The studio project explored shape-shifting in the form of responsive transformation. The capacitive touch sensor located in every vertex responded to human interaction with various behaviors, from changing its local proximity to triggering an overall shift in its form.

This proposal focused on offering potential experimental shelter and transportation so-lutions to users and communities intent on occupying areas prone to current and future sea level rise. Fundamental to this research is the concept of autonomous devices which design, through sensor and user data, highly custom-ized and self-sustainable habitats through the utilization of harvesting localized materials for additive manufacturing. In this circumstance, the vehicle will both serve as the manufacturing generator and have the ability to intervene as a functional appendage with its built habitat.

R O O M : IDEASC O U R S E : 289.9 Technology Seminar

N E A R LY B A R E LY F L AT Gabriel Fries-Briggs, Lecturer, UCLA Architecture and Urban Design

“A new kind of flatness or depthlessness, a new kind of superficiality in the most literal sense [is] perhaps the supreme formal feature of all the postmodernisms to which we will have oc-casion to return.”

—Frederic Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism, Durham: Duke University Press, 1991.

“There is a fundamental difference between flat-ness and flatness. There can be a flatness that is meaningless and there can be a flatness that is the highest expression of life—from infinity depth up to the surface: an ultimately restor[ed] two-dimensionality. [Restoring flatness] is what plastic creation means. Otherwise it is decora-tion.”

—Hans Hofmann, Lecture I. Typescript of six unpublished lectures delivered in New York City, winter 1938–39.

INTRODUCTION AND OBJECTIVESThings are getting flat. Again. Maybe it’s a symptom of the post-digital age. The internet will tell you that ‘Flat Architecture’ refers to file management that is not deep. Web designers say to keep your website, file management, or information flat. Information should be reached in one two or three links. The other architecture seems to be flattening too. The reproduction and circulation of content in streams, feeds, and repositories makes everything available and shortcuts cycles of criticism and recep-tion. Architecture’s ontologies, genres, and ideologies have recently been described as flat, flat, and flat respectively. While flatness has of course never really gone away, this resurgence in attitude is worth investigation, prodding, and action.

This course intersects contemporary conversa-tions of flat themes with expanded techniques for flat modelling. The flat model toolkit will be focused on CNC cutting and materials that present challenges to general methods of digi-tal fabrication. While the laser cutter and CNC milling have largely relied on rigid sheet goods, flat models will favor diverse material proper-ties. Some examples of a nearly barely flat material palette include soft materials, flamma-ble materials, toxic materials, organic materials, wet materials, cast materials, uneven materials, cardboard, vinyl, fabric, leather, clay, rubber,

The current quarter’s tech seminar course aims to develop various fabrication techniques through robot human interaction and telepres-ence. The students are producing robotic arms which are to be end-arm tools for the KUKA Agilus robots. Exploring robotic fabrication at the intersection of telepresence, cyber-physical systems and virtual & augmented reality, these tools aim to bridge the gap between humans and robots, and allow them to collaborate. The augmented reality interface helps to control the parameters of the fabrication process. Two main categories of this course are Subtraction & Dissolving and Addition & Aggregation. Students are testing various materials such as wax, foam and UV resin, testing their capabili-ties and reactions to certain operations. At the end of this course, the students will present the final results as well as their end effectors.

S T U D E N T S : Alara Akiltopu, Erik Broberg, Jon Bruni, Yifan Chen, Wai Ching Cheng, Alisha Coehlo, Hung The Diep, Qisen Dong, Arta Ghoorchian, Zhe Liang, Liu Jian, Teng Long, Tian Lou, Sana Nasikwala, Tyson Phillips, Huma Tatar, Zhuoneng Wang, Jinghao Xue, Yue Yang, Xincheng Ye, Zhiyu Zhang, Junzhishan Zhu

stickers, resins, and sponges. The class will ex-plore materials with nearly barely flat properties which might include the droopy, curly, bend-ing, wrinkled, soggy, floppy, stretchy, or uneven. These properties will construct an idea of toler-ances in the nearly barely flat model. Subjected to gravity and tampering, these materials pres-ent an opportunity to fashion architecture out of the nearly inappropriate.

With the product of nearly barely flat models, the class will develop techniques for working through the image of the model rather than on the image of the model. Digital techniques of vi-sion, such as scrolling, scanning, and rendering, provide methods for working with flat images. CNC cutting techniques will be explored on both the 2 ½ axis mill and the robots at IDEAS. Students will work alone and in pairs to create materials, cutting and imaging techniques and to construct large but nearly barely flat models.

S T U D E N T S : Eliza Boghossian, Shimeng Chen, Yu Feng, Setareh Hajisaleh, Jipeng Jing, Manojna Katte, Mackenzie Keith, Shimin Liu, Teng Long, Xueyan Shao, Chengyuan Yang, Hong Bae Yang, Xiaoyu Yang, Zhiyu Zhang, Shi Zheng

C H U N Y U YA U

F A N G N I N G Z H A N G S H I Z H E N G

R U N Z H O U Y E

L I Y I N

M A N O J N A A C H A R YA

B A O C H E N G YA N G

K E V I N S H E R R O D

X I N C H E N G Y EJ I N G H A O X U E Y U E YA N G

Z H I Y U Z H A N G J U N Z H I S H A N Z H U

I D E A S / 3

Focusing on these new design ecosystems that shape our contemporary reality, the presenters explored the particular themes of artificial intelli-gence, interaction design, and virtual/ augmented reality. Some of the main discussion points included: AI and intelligent environments, interac-tive spaces and cyberphysical systems, virtual worlds and architecture of interfaces, and robotics, autonomy, and automation.

By engaging some of the greatest minds from the fields of art, architecture, philosophy, industrial design, literature and engineering, the symposium theorized and situated a new agenda for the intersection of technology and the environments we occupy and socialize in, both digitally and physi-cally. Presenters included: Welcome by Neil Denari, interim chair and pro-fessor, UCLA A.UD; Intro by Guvenc Ozel, faculty, UCLA SUPRASTUDIO; (Session One) AI: Interfaces and Objects: Nora Khan, writer, Rhizome, Eyebeam; Kenric McDowell, senior ux designer, Google Research, Art and Machine Intelligence; Tim Wantland, senior interaction designer, Google Research Machine Intelligence; (Session Two) Form, Data and Intelligence: Jason Kelly Johnson, design principal, Future Cities Lab, associate profes-sor, CCA San Francisco; Casey Reas, professor, UCLA Design Media Arts; Nick Cote, researcher, applied research and innovation, Autodesk; (Session Three) Cyberphysical Systems: The Virtual and the Physical: Benjamin Bratton, professor, University of California, San Diego, program director, Strelka Institute of Media, Architecture and Design in Moscow; Jose Sanchez, assistant professor, University of Southern California School of Architecture, director, Plethora Project llc.; Rebecca Allen, professor, UCLA Design Media Arts.

SPECIAL THANKS TO:

Tania Agacanian, Albert Alquicira, Colette Aro, Caroline Blackburn, Dana Burkhalter, Israel

Ceja, Lori Choi, Steven Christensen, Erin Day, Neil Denari, Chae Galis, Geovani Garcia, Ben

Gourley, Ryan Hernandez, Linda Holmes, David Johnson, Yessenia Juarez, Verlena Johnson,

Alicia Jones, Tianyu Kan, Mackenzie Keith, Jim Kies, Andrew Ko, Grace Ko, Benjamin

Kolder, Valerie Leblond, Eric Lin, Joyce Sin Ying lp, Jena Meeks, Jacquelin Montes, Christina

Moushoul, Dlyan Murphy, Jeannette Mundy, Jade Narrido, Josh Nelson, Tom Niu, Peter

Pak, Guvenc Ozel, Heather Roberge, Jeisler Salunga, Victoria Shingleton, Philip Soderlind,

Gayle Schumacher, Willem Swart, Conner Verteramo, May Wang, Shih-Yuan Wang, Forrest

Whitmore, Hong Bae Yang, Noah Zaccaglini

© 2017

The Regents of the University

of California, Los Angeles

INFORMATION:

UCLA Architecture & Urban Design

1317 Perloff Hall, Box 951467

Los Angeles, CA 90095

310.409.1604

www.aud.ucla.edu

IDEAS Campus

3691 Lenawee Ave.

Los Angeles, CA 90016

printing: The Avery Group at Shapco Printing, Minneapolis

design: Willem Henri Lucas

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

The 2016-17 Academic Year for the Department of Architecture and Urban Design has been filled with major cultural and intellectual events that have individually and collectively intensified our identity as one of the world’s foremost institutions for progressive thinking in architecture, design, criticism, history, and theory. After celebrat-ing our 50th year anniversary in the Spring of 2016, Heather Roberge and I stepped in as Interim Vice Chair and Chair of the Department following Hitoshi Abe’s exceptional nine year tenure. A major focus this year, as a follow-up to last year’s successful NAAB accreditation visit, was the eight year Academic Senate Review of A.UD. With the help of virtually the entire faculty, staff, and student body, we were hosts in January to a team of UCLA peers and selected academic lead-ers from around the US, who together examined our pedagogy, our academic culture, and our future needs. This two day visit culminated with a positive review and a lively discussion about the important role A.UD has on campus and about the department’s respected voice for design around the world.

While we focused on this visit and on further integrating the depart-ment into the larger agendas and concerns of the University, such as the Sustainable LA Grand Challenge and the Centennial Campaign for 2019, we have also significantly increased our cultural footprint in ways more specific to our own initiatives. Our Pacific Rim engage-ment further expanded with Professor Dana Cuff ’s work on Mexico City for the Urban Humanities Initiative and with an advanced topic studio conducted by Professor Hiroshi Hara from Japan. Prof. Hara’s wonderful quarter-long visit coincided with his 80th birthday celebra-tion, bringing visits by six important Japanese architects who were themselves students of Hara, including Riken Yamamoto and Kiyoshi Sei Takeyama.

Sylvia Lavin and the Hi-C curatorial program mounted The Duck and Document in the SCI_Arc Gallery this spring, an examination of the material effects and bureaucratic processes of building Post-Modern architecture. Co-curated by UCLA PhD Sarah Hearne and designed by our own Erin Besler, the show profoundly reawakened the question of what human labor is in relation to the work buildings do.

POOL, a student initiated and run magazine hit the publication scene this year with its first issue about Tables and instantly carved out a new space for ideas in a world of dwindling print presence. Its forthcoming issue on Rules promises even more provocation. POOL represents the ambitions of our students to lead the conversation on architecture and culture, a worthy challenge indeed.

Two engaging symposia were held in 2017, both of which asked im-portant questions on the nature of humanity in relation to the body in space. Organized by Guvenc Ozel, Machines of Loving Grace was held at the IDEAS campus in Culver City. With over a dozen speakers from the world’s of academic critical theory as well as futurists from Silicon Valley, this event compelled us to think more deeply about the physical and conceptual proximities and effects of technologies on our body and psyche, while The Body’s Politic: Architecture and the Modern Subject opened up new territory originally ploughed by Michel Foucault in his assault on institutional control. Organized by UCLA PhD students Simon Pennec and Maura Lucking, this two day event brought together theorists from around North America in an attempt to uncover new meanings in the construction of the architectural apparatus.

Our undergraduate students participated in Design Village in San Luis Obispo alongside architecture students from across Southern California. Under the direction of Andrew Kovacs, students installed work designed and built for this competition with one team winning the award for Most Habitable Structure.

These events, and those listed on teh following pages, represent a cross section of agendas that make up our diverse community of designers and thinkers. Indeed, the Department of Architecture and Urban Design is committed to the advancement of knowledge through speculative, and increasingly more collaborative thinking. This, more than anything, is the mission of the school, and 2016-17 has been a year to remember for the ways in which we have positively navigated the murky waters of global politics, on the search for fu-tures undaunted.

NEIL DENARI, Interim Chair and Professor, UCLA Architecture and Urban Design

W H AT H A P P E N E D AT

A . U D 2 0 1 6 - 1 7

M.Arch II SUPRASTUDIO Summer studio exhibition ROBOTIC CARTOGRAPHY - BIO DYNAMIC ISLAND was on view in the Perloff Gallery from September 23 – October 26, 2016. The SUPRASTUDIO Summer Session exhibition featured twelve projects from the incoming 2016-17 M.Arch.II students. The Technology Seminar - ROBOTIC CARTOGRAPHY and the Studio - BIO DYNAMIC ISLAND, led by Julia Koerner, investigated emergent technologies including 3D scanning, robotic video capturing and digital analysis of natural artifacts on micro and macro scales. Both literal and phenomenal investigations into natural systems and structures were part of the linked inductive courses. Explorations into various design media, including bio-mimicry research and generative design morphology, were included in the exhibition in the form of additive manufactured mor-phologies and CNC-fabricated scaled-up topologies. Animations, videos and VR simulations showcased ideas for architectural and urban applica-tions for a small-scale pavilion and a large-scale urban design of an artifi-cial island in China: Hainan Island. Students proposed the possibility of an absolute self-sustainable urbanism that can balance and integrate the aims of culture, nature and business to re-claim the importance of intel-ligent ecology as the advancement of 21st century urbanism.

“The Architecture of Performance” was a one-day symposium in September exploring the state of the art in performance-related architecture and its inspiration for temporary urban space making and public spectacle. Organized by the Mark Mack SUPRASTUDIO, the symposium included guest speakers, artists, curators and event organizers in the field of perfor-mance including: (Session One) Peter Sellars, distinguished professor, UCLA World Arts and Cultures, festival director; Jun Kaneko, artist, opera stage and costume designer for Magic Flute and Madame Butterfly, San Francisco Opera; Heidi Duckler, artistic director, Heidi Duckler dance the-ater, Los Angeles; Peter Noever, curator, provocateur, former CEO and artis-tic director of MAK Vienna, founder of MAK Center Los Angeles and Vienna, Austria; Refik Anadol, media artist, director of Refik Anadol Studio; lecturer and visiting researcher at UCLA Design Media Arts; (Session Two) Benjamin Ball, principal, Ball-Nogues Studio, Los Angeles; Jimenez Lai, principal, Bureau Spectacular, Los Angeles; UCLA A.UD Lecturer; Joanna Grant, prin-cipal, Bureau Spectacular, Los Angeles; John McGuire, production designer and tour director, Kanye West, Los Angeles; Raffi Lehrer and Alex Dahm, Coachella Art and Music Festival, Goldenvoice, Los Angeles; Gerald V. Casale, founder of Devo, stage performer, songwriter, Santa Monica. Michael Ebstyne, principal program manager for HoloLens, presented an IDEAS Lecture “HoloLens: Building the Technology of the Future” in November. Technology is synonymous with transformation. Not all trans-formations are equal. Microsoft HoloLens takes us beyond traditional technology paradigms. Being the first self-contained, holographic com-puter, HoloLens enables you to engage with your digital content and inter-act with holograms in the world around you. This lecture explored the opportunity HoloLens affords.

Organized by professor Greg Lynn, “Driven: A Symposium About Motivated Smart Objects” took place in February at the IDEAS campus. Objects are becoming both more mobile and more intelligent regarding their position, configuration, movement and interaction with people. Rather than beginning from a technological presupposition this panel be-gins from an assumption of ergonomics, culture, use and in general, the interaction of control technologies and people. Whether on the job, at leisure, or in motion through the city, examples of people and “robotics” were presented and discussed between panelists. Rather than being driv-en by robots, this event focused on the way we are driven together with technology towards new paradigms of collaboration with robotics, from earth movers to furniture and in between. Presenters included: Greg Lynn, chief creative officer, Piaggio Fast Foward, UCLA A.UD professor; Jessica Banks, CEO and founder, RockPaperRobot, Inc; and Doug Brent, vice president, Technology Innovation Trimble.

In March the Ozel SUPRASUDIO organized “Machines of Loving Grace: A Symposium” on AI, Architecture and Virtual Worlds. Popularly labeled as the 4th Industrial Revolution, the proliferation of artificial intelligence, ro-botics, automation and virtual reality is transforming the socioeconomic structure of our society and consequently revolutionizing the way we de-sign and experience spaces. These emerging technological paradigms promise a heightened sense of interaction between humans and their en-vironment. In these new scenarios, the software and hardware ecosys-tems are exceedingly gaining autonomy. Virtual worlds are no longer limited to be interfaces that merely enhance the physical environment but are becoming spaces in their own right; blurring the distinction between the physical and the digital in our constructed reality. The Symposium:

“Machines of Loving Grace” expanded the contemporary discussion on the evolution of human-machine society into the domain of architectural discourse.

S C H E D U L E I D E A SR E V I E W S

M O N D AY, J U N E 1 2 , 2 0 1 7

8:30 am – 11:30 am

T H O M M AY N E W I T H E U I -S U N G Y I | N O W I N S T I T U T E S U P R A S T U D I O

11:30 am – 3:30 pm

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

T U E S D AY, J U N E 1 3 , 2 0 1 79 am – 1 pmM O R N I N G S E S S I O N G U V E N C O Z E L W I T H M E R T C A N B U Y U K S A N D A LYA C I A N D B E N J A M I N E N N E M O S E R |MISSION TO MARS |GUVENC OZEL SUPR A S TUDIO 2 pm – 6 pm A F T E R N O O N S E S S I O N CRAIG HODGETTS WITH MARTA NOWAK | EXTREME ENVIRONMENTS | CRAIG HODGETTS SUPRASTUDIO

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

8:30 am – 11:30 am – Thom Mayne with Eui-Sung Yi

NOW INSTITUTE SUPRASTUDIO

11:30 am – 3:30 pm – Mark Mack with Steve Lee

ARCHITECTURE OF

PERFORMANCE MARK MACK

SUPRASTUDIO

I D E A S C A M P U S

R O O M : IDEASC O U R S E : Craig Hodgetts SUPRASTUDIO with

Marta Nowak E X T R E M E E N V I R O N M E N T S Craig Hodgetts, Professor, UCLA Architecture and Urban Design, Marta Nowak, Lecturer, UCLA Architecture and Urban Design

The work of the Hodgetts SUPRASTUDIO ex-plored contemporary issues in the realms of architecture, settlements, and habitation, from the perspective of future developments in technology, energy, and material science. The carefully chosen projects enabled students to learn from a holistic approach to these issues by combining research, design, and practical applications within the framework of three ten-week residencies at the IDEAS studio/workshop facility, which is fully equipped to enable the use of large-scale fabrication tooling as well as a full complement of presentation equipment and individual student work spaces. Recent proj-ects included an in-depth development of the Hyperloop transportation system, research and development of a prototype community based upon recent technologies, such as autonomous vehicles and internet communications, and the design and construction of a full-size research capsule based upon research into the methods used by indigenous cultures to combat extreme environments.

During the 2017-2018 academic year the Hodgetts SUPRASTUDIO explored the issues of GRIDLOCK through the investigation of new transportation and delivery methods and their impact on the city of Los Angeles. The studio studied network systems and proposed ideas to solve problems ranging from urban interventions to proposals of new modes of mobility such as autonomous vehicles, straddle buses, drones, etc. Examining the design of these new mobility systems, the students built full scale prototypes, used augmented reality to simulate the experience of travel, and used digital fabrication techniques. In the technology seminars students focused on digital fabrica-tion, projection mapping and materials. In the fall seminar, the students experimented with unconventional and recycled materials and con-struction techniques. In the winter quarter the students investigated the issue of the organic body and its relationship to building compo-nents. Students built wearable prosthetics that advanced the body’s functions.

S T U D E N T S : Alexander Dimento, Jiayu Du, Aise Ekici, Yuqun Gan, Jipeng Jing, Dong Uk Kim, Zheheng Lai, Priyamvada Mahesh, Michelle Pauly Fonseca, Sangeetha Ramar, Yixin Wu, Xiaolu Xie, Weishen Xu, Ke Yan, Xiaoyu Yang, Xueyou Zhang

R O O M : IDEASC O U R S E : Mark Mack SUPRASTUDIO

A R C H I T E C T U R E O F P E R F O R M A N C E Mark Mack, Professor, UCLA Architecture and Urban Design Steve Lee, Lecturer, UCLA Architecture and Urban Design

MACK SUPRASTUDIO 2016 / 2017 explored the topic of performance and how it relates to ar-chitecture and urban design. As an open idea of unlimited potential, the course explored differ-ent realities of performance using architectonic and design disciplines. Students examined vari-ous performance-based disciplines including visual art, music, entertainment and digital technologies that transform spatial ideas be-yond their limitations typically connected to real architecture.

STUDIO / COACHELLA DESIGN CHARRETTE MACK SUPRASTUDIO collaboratively worked on a two-week design charrette with Coachella Music Festival organizers and event designers to develop conceptual design proposals for the 2017 festival.

STUDIO / TEMPORARY INSTALLATIONFor the 2016 Fall Design Studio, students teamed up to create temporary installations exploring various sound responsive systems, projection mapping techniques and digital fabrication methods. Projects were built in full scale and displayed at the IDEAS campus.

STUDIO / DJ BOOTH & STAGINGTemporary DJ booths and performance stages were designed based on the students’ favor-ite musicians using an existing downtown Los Angeles performance space named Lot 613. The project was required to be flexible to host various activities and create spectacles for live performances.

TECH SEMINAR / SUPRABANDFor Tech Seminar, students designed visual + musical instruments using acoustic and digital technologies to alter atmospheres interactively and sensibly. Students were grouped together for a visual + musical performance for the finals called Supraband.

MACK LUNCHTIME LECTURE SERIESProfessor Mark Mack hosted a series of lunch time lectures inviting architects working on projects related to temporary architecture and performance. Speakers included D3 technolo-gies, Wil Carson from 64 North, Heidi Lawden and Alexis Rochas from Stereobot.

S T U D E N T S : Eliza Boghossian, Loveleen Brar, Shimeng Chen, Yu Feng, Jiantong Gao, Manojna Katte, Svetlana Kizilova, Shimin Liu, Xueyan Shao, Taira Tsukioka, Chengyuan Yang, Yi Yang, Yuhao Yang, Chun Yu Yau, Runzhou Ye, Li Yin, Fangning Zhang, Shi Zheng

Guvenc Ozel

with Mertcan

Buyuksandalyaci

and Benjamin

Ennemoser

MISSION TO MARS

GUVENC OZEL SUPRASTUDIOThom Mayne with

Eui-Sung Yi

NOW INSTITUTE

SUPRASTUDIO

Craig Hodgetts with

Marta Nowak

CYBERTOPIA SUPRASTUDIO

Mark Mack with Steve Lee

ARCHITECTURE OF

PERFORMANCE |

MARK MACK SUPRASTUDIO

T U E S D AY, J U N E 7

R E V I E W S | 9 am – 1 pm – Guvenc Ozel with Mertcan

Buyuksandalyaci and Benjamin

Ennemoser

MISSION TO MARS

GUVENC OZEL SUPRASTUDIO

R E V I E W S | 2 pm – 6 pm – Craig Hodgetts with Marta Nowak

EXTREME ENVIRONMENTS

CRAIG HODGETTS SUPRASTUDIO

IDEAS CAMPUS Gabriel Fries-Biggs

NEARLY BARELY FLAT

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