Winter 2009 - AIA Dallas' Columns

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1COLUMNS | www.aiadallas.org

2 WINTER 2009

A publication ofAIA Dallas | Dallas Center for

Architecture1909 Woodall Rodgers Frwy.

Suite 100Dallas, TX 75201

214.742.3242www.aiadallas.orgwww.dallascfa.comAIA Dallas Columns

Winter, Vol 28, No 4

Editorial TeamBrian McLaren, AIA | Editor

Linda Mastaglio, ABC | Managing EditorKerrie Sparks | Art Director

Publications CommitteeCharla Blake, IDEC, Assoc. AIA

Greg BrownPaula Clements, Hon. TSA

W. D. Collins, II, AIANate Eudaly

Chris Grossnicklaus, Assoc. AIATodd Howard, AIA

Jill MagnusonLinda Mastaglio, ABCBrian McLaren, AIA

Andrew P. Moon, Assoc. AIAKristy MorganJeff Potter, AIA

Robert Rummel-HudsonKatherine Seale

Doug Sealock, Hon. AIAKerrie Sparks

Laurel Stone, AIAJennifer Workman, AIA

AIA Dallas 2009 OfficersTodd C. Howard, AIA | PresidentJoe Buskuhl, FAIA | President-Elect

Bob Bullis, AIA | VP TreasurerDavid Zatopek, AIA | VP Programs

J. Mark Wolf, AIA | Chapter DirectorBetsy del Monte, AIA | Sr. Chapter Director

Jennifer Workman, AIA | TSA Director

AIA Dallas StaffPaula Clements, Hon. TSA |

Executive DirectorGreg Brown | DCFA Program Director

Kerrie Sparks | CommunicationsCoordinator

Ania Deptuch | Program AssistantShani Master | Event Coordinator

Rita Moore | Office Manager/AccountantLorie Hahnl | Visitor Receptionist/

Administrative Assistant

PublisherDenise Dawson

Dawson Publications Inc.11222 York Road

Hunt Valley, Maryland 21030410.316.5600 | 800.322.3448

Fax: 410.316.5601

Art DirectorJames Colgan

Sales ManagerDave Patrick

Sales RepresentativesMorgan Denner, Tom Happel

Columns is a publication of AIA DallasChapter and the Dallas Center forArchitecture. For information onprofessional and public memberships,please call 214-742-3242.

One-year subscription (4 issues): $32(U.S.), $52 (foreign). To advertise pleasecall Dawson Publications at800.322.3448 ext. 125.

For reprint, web posting, or back issueinformation contact: Kerrie Sparks,[email protected].

The opinions expressed hereinor the representations made byadvertisers, including copyrights andwarranties, are not those of theExecutive Board, officers or staff ofthe AIA Dallas Chapter, the Editor ofColumns, or Dawson Publications Inc.,unless expressly stated otherwise.

About ColumnsColumns is a quarterly publicationproduced by the Dallas Chapter of theAmerican Institute of Architects and theDallas Center for Architecture. It isdistributed to members, other AIAchapters, architects, business leaders,public officials, and friends of the DallasCenter for Architecture. The journal of-fers educated and thought-provokingopinions to stimulate new ideas andelevate the profession of architecture.It also provides commentary on the artand architecture within the communitiesin the greater North Texas region.

The MissionThe mission of Columns is to providecontemporary, critical thought leadershipon topics of significance to the architec-tural community and to professionals inrelated industries.

© 2009 The American Institute ofArchitects Dallas Chapter and theDallas Center for Architecture. All rightsreserved. Reproduction in whole or inpart without written permission is strictlyprohibited.

Columns is produced on paper that hasrecycled content and printed with greeninks that do not contain solvents and areVOC free. Alcohol substitutes andacid-free paper are used. Our printerhas eliminated the use of film and filmprocessing and uses waste recoveryprograms and EPA-licensed handlers.

Some sales insertion orders may reflectFall 2009.

Cover: UTA School of Architectureatrium. Photo by Andrew P. Moon,Assoc. AIA.

CONTENTS

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President’s Letter 5To Trust or Anti-trust? That is the question.

In Context 7Identify this Dallas landmark…if you can.

Local Arts 13Dallas Contemporary is emerging in afresh, new location.

DCFA Events 13Take in tours, films, lectures,symposia…and a party or two.

People, Places & Things 14Who’s on the move and what’shappening in local arts and architecture?

Creative on the Side 29Dallas-area design professionals createinspiring art on their own time.

Sense of Place 31See art with an architectural sensibilitythrough the lens of Charles DavisSmith, AIA.

Centered on the Center 43A dollar-a-day takes the bills away.

Profiles 44Ann Abernathy, AIA, and Tom Cox, AIA,share insights.

Web Wise 49Visit intriguing places in cyberspace.

Index to Advertisers 49Support the folks who support Columns.

Field Notes 50Preserving Dallas: great cities thrive witha forward-thinking attitude.

Social Responsibility 51Experience architecture for a cause:Cleaning up Turtle Creek.

Critique 52Architects review Constancy of Changeand The Craftsman.

Practice Matters: AIA Dallas’Emerging Leaders Program 53The Dallas architectural community trainsup a new generation of professionals.

Edit 55Does glitz and sparkle undermineeducation?

The Evolution of ArchitecturalEducation in Texas 8By Andrew P. Moon, Assoc. AIA: Texasprovides a variety of educational pro-grams for the architects of the future andfor those who value life-long learning andcontinuous improvement.

Outside the Paradigm: NewWays to Enhance Education 18By Betsy del Monte, AIA, and DonGatzke, AIA: Two Dallas area universitiesrespond to environmental developmentand resources in ways not previouslycontemplated by either campus.

The Ken Roberts MemorialDelineation Competition: ADallas Tradition 22By Julien Meyrat, AIA: An annual event,unique to AIA Dallas, is one of thelongest-running architectural drawingcompetitions in the world.

Reality Ends Here 25By Ron Armstrong, AIA: Dallas architecttackles retro and futuristic goals for USC’sSchool of Cinematic Arts.

Magnet Attracts Tomorrow’sArchitects 28By Peter Goldstein, AIA: The City of Dallasis an architectural laboratory for the nextgeneration of architects and designers.

The Gallery 32Compiled by Kerrie Sparks: Beauty, in-ventive design, intelligent creation…allunveiled in this print exhibition of com-pelling architecture.

Departments

Features

COLUMNS | www.aiadallas.org

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Photography by Charles Davis Smith, AIA

4 WINTER 2009

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This is my last installment in Columns as president of the Dal-las Chapter of the AIA. I want to thank you all for allowing me toserve in this capacity. In writing this column, I have seen it, for what-ever reason, as a bookmark for profound thinking or philosophicalopinion. I would like to take the opportunity in this last chapter totalk a little about our value as professionals and how we view thisvalue amongst our constituency.

As architects, we are artisans. Ours is a skill for which we aretrained and on which the value placed for our professional services ispurely subjective. No different than any artist. I have been told onmore than one occasion that my rates are too high. I have also beentold that I do not charge enough for my services (although this oc-curred far more infrequently). How often do we go into our doc-tor’s office and tell them that the charges are too much or too little?

When we need an attorney, do we let them know that we do not appreciate their $450-per-hour rate thatis billed in 6-minute increments? Why is it that our value is compromised not only by what we feel our serv-ices are worth, but also by those within our own ranks?

It is not uncommon for a promising young lawyer to graduate from law school and land a starting jobin a law firm for $100,000 per year. It is not uncommon for a promising young “architect” to graduatefrom architecture school and land a starting job in a firm for $35,000 per year (oh yeah, plus benefits). Forthe attorney, the partners in that firm are billing him at $250 per hour and expect him to bill 2,080 hours,or at least a minimum of 2,000 hours. At what rate do we bill our young “architects”?

Dare I forget about the words so often stated on so many AIA meeting agendas: “It is the practice ofThe American Institute of Architects and its members to comply strictly with all laws, including federal andstate antitrust laws that apply to AIA operations and activities. Accordingly, this meeting will be conductedin full compliance with those laws.”

West’s Encyclopedia of American Law defines antitrust law as: “Legislation enacted by the federal andvarious state governments to regulate trade and commerce by preventing unlawful restraints, price-fixing,and monopolies, to promote competition, and to encourage the production of quality goods and servicesat the lowest prices, with the primary goal of safeguarding public welfare by ensuring that consumer de-mands will be met by the manufacture and sale of goods at reasonable prices.”

So what is the value of a professional service that influences the way the public experiences the builtenvironment and protects the health, safety, and welfare of these individuals in facilities where they spend95% of their time? It seems to me like it is worth more than the value that we have established.

There seems to be a certain expectation placed on the value of the legal profession, from one law firmto another, within the American Bar Association. Is there a lesson for us to learn here? I’ll learn it if youlearn it….Send me your thoughts ([email protected]) and let’s keep this conversation flowing. �

President’s Letter | To Trust or Anti-trust? That is the Question.

Todd C. Howard, AIA, LEED AP

Photography by Bud Force, budforce.com

6 WINTER 2009

Spanco Building SystemsArched Standing Seam Roof Panels

www.spanco-building-systems.com • 512.394.1500

NATIONAL MUSEUM of the PACIFICWAR

Fredericksburg,Texas

British PetroleumAmericanHeadquartersMulti-Use Pavilion

In Context | What is it? Where is it?Can you identify this North Texasbuilding and its architect?See page 49 for the answer.

Michael Lyon Photography

8 WINTER 2009

THE EVOLUTIONOF ARCHITECTURAL EDUCATIONIN TEXAS

Significant changes to the architectural curricula inTexas have occurred as the state’s schools of architectureadapt to the ever-changing requirements for academic accred-itation. This transformation is impacted by a number of factorsthat have forced the heads of many colleges and schools to re-think traditional professional education philosophies. In this ar-ticle, the deans from the eight accredited architectural schoolsin Texas weigh in on the policies and pressures that influencetheir schools’ course work offerings. Each was asked to give anhistorical account of their school’s programs, discuss the uniqueaspects of their school, and offer a perspective on how the pro-fessional and academic worlds are evolving.

Texas Architecture Schools: Programs and PrestigeThe histories and programs of the architectural schools in Texasare as diverse as the students themselves. Established in 1905,the College of Architecture at Texas A&M University (TAMU)boasts the privilege of being the first degreed architecture pro-gram in the state. In addition, the architectural program atTAMU is the state’s largest and perhaps one of the most ex-

tensive in the country, offering 15 undergraduate and graduatedegree options in four departments, with five research centers,and six certificate programs. Perhaps, one of the most uniquethings about the TAMU program is that all disciplines of the builtenvironment reside within one college.

This year marks the 100-year anniversary for the School ofArchitecture at the University of Texas at Austin (UT), whichlike the program at The University of Texas at Arlington (UTA),was once part of their school’s College of Engineering. Asidefrom offering its two undergraduate degrees (a five-year Bach-elor of Architecture and a four-year Bachelor of Science in Ar-chitectural Studies), UT also provides one of the state’s mostvaried degree selections with doctoral and masters’ degrees,including concentrations in Community and Regional Planning,Landscape Architecture, Historic Preservation, Sustainable De-sign, Urban Design, and Architectural Studies, as well as a Ph.D.portfolio degree program in Sustainable Development and dualdegrees in Community and Regional Planning with SustainableDesign, Urban Design, Law, Latin-American studies, and PublicPolicies. In 2010, UT will also welcome their first Master of In-

Photos courtesy of Texas A&M University College of Architecture.

terior Design program graduates. Dean Fritz Steiner describesthis program diversity as his school’s effort to establish “interdis-ciplinary education within the school of architecture and beyond.”

Since its first class was admitted in 1912, the Rice School ofArchitecture (RSA) has traditionally maintained one of the moreexclusive programs in the region, with a student body that av-erages only about 200 undergraduate and graduate students.With its unique mandatory Preceptorship program, the RSA re-quires all undergraduate students in pursuit of their Bachelor ofArchitecture degree to undergo a one-year period of practicum.Dean John Casbarian explains, “This program provides studentswith the opportunity of gaining practical experience in offices ofleading practitioners in the United States and abroad.”

The Gerald D. Hines College of Architecture at the Uni-versity of Houston (UH), through its fifty-year history, not onlydeveloped the state’s first program in Industrial Design, it alsoholds the honor, as a nearby neighbor to NASA’s Johnson SpaceCenter, of offering the first and only space-architecture degreeprogram in the country. Like the UT, RSA, and Texas Tech Uni-versity’s (TTU) College of Architecture programs, UH is alsostrongly committed to its five-year professional degree.

Programs to Meet Changing NeedsIn seeking to meet the changing needs of the profession, eachschool has exhibited their unique interests within the field of ar-chitecture by establishing programs, research institutes, and com-munity initiatives aimed at fulfilling those needs within their ownspheres of interests. The Rice Design Alliance (RSA) is a com-munity outreach organization which sponsors public forums, lec-tures, and exhibits student design projects, and publishes thesemi-annual design review, Cite. Additionally, RSA’s publicationprogram, Architecture at Rice, has received international atten-tion in the last ten years for its award-winning architectural books.

Collectively, the schools of architecture in Texas offer per-haps the nation’s most diverse options for certificate programsand alternative lines of study. TTU offers certificate opportuni-ties in Historic Preservation, Digital Design Fabrication, and its

own specialization in Visualization, an interdisciplinary programthat, “focuses on the digital visualization of art, design, engi-neering, and science,” according to its website. Prairie ViewA&M University (PVAMU) offers a different bent. Their Schoolof Architecture offers five graduate certifications within the fieldof architecture, including Real Estate Development, HistoricPreservation, Fundraising, Community Planning, and the uniqueInternational Community Development option, which focuseson addressing development needs of impoverished communi-ties worldwide. The premiere program at TAMU is the Visual-ization Science Laboratory, the state’s first program of its kind,attracting companies like Pixar Animation, Walt Disney Anima-tion Studios, and Lucas Films/Industrial Light and Magic intocompetition for its graduates.

The Research ImperativeResearch centers are integral to a university’s program and im-perative to building credentials among colleagues within the ac-ademic world. UT’s School of Architecture is home to thestate’s Center for Sustainable Development and the Center forAmerican Architecture and Design. One of TAMU’s uniquecenters is the Center for Health Systems and Design, whichseeks to promote research, teaching, and communication in aninterdisciplinary program focusing on healthcare facility planningand design. TAMU is also home to the Center for Housing andUrban Development, the Center for Heritage Conservation,


By Andrew P. Moon, Assoc. AIA

Then and Now

10 WINTER 2009

and the Caudill Rowlett Scott Center for Leadership and Man-agement in the Design and Construction Industry. Also, the Haz-ard Reduction and Recovery Center at TAMU is one of only twosuch centers worldwide, funded by the United Nations to studyhurricane hazard analysis and evacuation planning. PVAMU offerstwo notable research centers within its School of Architecture:the Texas Institute for the Preservation of History and Culture, fo-cusing on the important contributions of African-Americans on thestate’s culture and history, and the Community, Urban, Rural andEnhancement Studies (CURES), an initiative promoting sustain-able design for the community’s built environment. The TTUCollege of Architecture also provides the Community Design Lab-oratory (CDL), established to meet the needs of the regionalcommunities in the areas of design, planning, and development.Since its inception in 1995, the CDL has presented more than 50project proposals to municipalities relating to affordable housing,downtown redevelopment, and community planning.

Evolution of the 4+2 Model: A Break with TraditionIn 1969, TAMU became the first architecture school in the na-tion to break from tradition with the start of its four-year archi-tecture degree program. According to Dean Donald Gatzke,the head of UTA’s School of Architecture, the beginning of thisso-called “4+2 model” was a product of “one of the recom-mendations centered on the structure of the curricula” in a re-port by Princeton University. Published during the late 1960s,this “Princeton Report,” Gatzke says, “was a fairly thorough ex-

amination and analysis of architectural education at that point intime and with recommendations for the future.” He says, “[Thereport] identified a number of issues [including the ideas that]architects needed to be more broadly educated, [and that] thearchitectural curricula were too focused and introverted.” Thearchitecture schools’ programs, in its view, “needed to[broaden] the student’s general background and that meant that

there needed to be more time in the curricula, and [this] led tothe idea of a ‘4-plus-2‘ format... It also had the benefit of mov-ing a good portion of the curriculum into the graduate school,and that, in a way, elevated the expectation of the rigor [of theprogram.] It also recognized the complex nature of architecturalknowledge and education in that to call it an undergraduate de-gree just wasn’t appropriate, or fair. There was also the benefitthat under most state university funding formulae [a school couldreceive] more money for graduate students than undergraduate

TEXAS SCHOOLS OF ARCHITECTURE ACCREDITATION / STATS:

University of TexasSchool of ArchitectureFrederick Steiner, deanB. Arch. (167 undergraduate credit hours)M. Arch. (Pre-professional degree + 66 graduate credit hours)M. Arch. (Undergraduate degree + 111 graduate credit hours)336 Undergraduates; 373 Graduates; 75 Faculty

Texas A & M UniversityCollege of ArchitectureDr. Jorge Vanegas, deanM. Arch. (Pre-professional degree + 52 graduate credit hours)1500 Undergraduates; 400 Graduates; 120 Faculty

The University of Texas at ArlingtonSchool of ArchitectureDonald Gatzke, deanM. Arch. (Pre-professional degree + 2 years)M. Arch. (Undergraduate degree + 3.5 years)808 Undergraduates; 196 Graduates; 52 Faculty

Rice UniversitySchool of ArchitectureJohn Casbarian, deanArch. (5 years)M. Arch. (Pre-professional degree + 2 years)M. Arch. (Undergraduate degree + 3.5 years)Approx. 200 Undergraduates/Graduates; 17 Faculty

University of Texas at San AntonioSchool of ArchitectureJohn D. Murphy, Jr., deanM. Arch. (Pre-professional degree + 2 years)1021 Undergraduates; 96 Graduates; 51 Faculty

Texas Tech UniversityCollege of ArchitectureAndrew Vernooy, deanM. Arch. (5 years)760 Undergraduates; 115 Graduates; 46 Faculty

University of HoustonGerald D Hines School of ArchitectureJoseph Mashburn, deanB. Arch. (160 undergraduate credit hours)M. Arch. (Pre-professional degree + 66 graduate credit hours)M. Arch. (Undergraduate degree + 97 graduate credit hours)710 Undergraduates; 70 Graduates; 75 Faculty

Prairie View A&M UniversitySchool of ArchitectureDr. Ikhlas Sabouni, deanM. Arch. (Pre-professional degree + 36 graduate credit hours)

Figures based on information provided from the NAAB website, and the schools respectively.

11

students... and so it was recognized that there were some fi-nancial benefits.” Gatzke summarizes by saying, “In general, theidea was that there would be this lengthening of the program,so that there would be better educational outcomes.”

There has not been a consensus in adapting this model to allthe degree programs in Texas. The schools of architecture atUTA, TAMU, PVAMU, and UTSA offer the 4+2 model. In addi-tion to offering a masters’ degree for the 4+2 alternative, Rice,UH, and UT provide the more traditional five-year bachelor’sdegree. TTU has maintained their sole commitment to the pro-fessional Bachelor of Architecture degree. Dean Jorge Vanegas ofTAMU explains, “The rationale for maintaining [the 4+2 model]approach has been that the undergraduate degree offers oppor-tunities for students to develop their creative potential in designwithout being confined to only an architecture career path op-tion.” RSA’s Dean John Casbarian believes that his school, “byconsensus of faculty and dean, over its more recent history, hasdeclined to switch to a 4+2 model [believing that] the strengthof the Bachelor of Architecture program with its additional yearof Preceptorship has made it not only unnecessary to switch, butundesirable.” Dean Vanegas defends the 4+2 model by statingthat its goals are “to balance flexibility and breadth at the under-graduate level and rigor and depth at the graduate level.”

Perhaps the driving force behind much of the academic pro-grams’ transitions to the 4+2 model has been the regulationsdefined by the National Architectural Accrediting Board (NAAB)and allied organizations, including the National Council of Ar-chitectural Registration Boards (NCARB), the Association ofCollegiate Schools of Architecture (ACSA), the American Insti-tute of Architects (AIA), and the American Institute of Architec-ture Students (AIAS). While these organizations both directlyand indirectly affect the academic architectural programs at anational scale, they each have significant influence on industry-specific topics such as licensure, minimal educational require-ments for examination, and professional development. NAAB,however, is the sole agency with the authority to accredit pro-fessional degrees at U.S. architecture schools. According totheir website, NAAB’s mission is to provide “leadership in, andthe establishment of, educational quality assurance standards toenhance the value, relevance, and effectiveness of the archi-tectural profession.” These guidelines are meant to not only es-tablish a benchmark for the schools, but also encourage theprograms to go beyond and exceed these baseline require-ments. Additional information found on NAAB’s website givesan overview of accreditation requirements:

The curriculum of a NAAB-accredited program includesgeneral studies, professional studies, and electives, which to-gether comprise a liberal education in architecture. The cur-riculum ensures that graduates will be technically competent,critical thinkers who are capable of defining multiple careerpaths within a changing societal context.

More specifically, the NAAB requires an accredited programto produce graduates who: are competent in a range of intellec-tual, spatial, technical, and interpersonal skills; understand the his-torical, socio-cultural, and environmental context of architecture;are able to solve architectural design problems, including the in-tegration of technical systems and health and safety requirements;and comprehend architects’ roles and responsibilities in society.

Furthermore, Dean Gatzke states, “NAAB accreditation re-quirements have a substantial impact on the schools of architec-ture, as it is the primary regulating body over the professionalcurricula... [and] NCARB less so, as it is only one of the collateralorganizations that govern both the architectural academy and pro-fession.” Concurring, UT’s Dean Steiner says, “NAAB influencesour curricula more directly than NCARB because we adhere toNAAB requirements for the accreditation of our B. Arch. and M.Arch. degrees.” Also in agreement, Joe Mashburn, Dean of UH’sprogram, says, “Like our sister schools of architecture, much ofthe content of our professional curricula is shaped by the NAABrequirements.” Dean Vanegas adds, “These requirements pro-vide a solid foundation of minimum requirements, upon which aprogram can build, choosing to remain at the minimum, or striveto complement, supplement, or exceed through creativity, inno-vation, and entrepreneurship by design and choice.”

Texas schools of architecture provide a wide variety of ed-ucational programming for not only those seeking to becomethe architects of the future, but also for those who value life-long learning and continuous improvement of their own cre-dentials. Each of these quality programs offers its own set ofacademic alternatives that can cater to individual interests. Weare fortunate to have a wide breadth and depth of opportuni-ties of architectural education options. �

Andrew P. Moon, Assoc. AIA, is an intern architect with RaymondHarris & Associates Architects and a graduate student at The Univer-sity of Texas at Arlington.


Andrew P. Moon, Assoc. AIA

12 WINTER 2009

TAMU architecture student, circa 1970s.Texas A&M University.


Local Arts | Lectures, Exhibitions, and Events of Note

By Claire Liedtke and Greg Brown

DCFA Events | Tours, films, lectures & symposia

Dallas Contemporary Moves Up

TheDallas Center for Architecture, inassociation with our partners and allied or-ganizations, kicks off 2010 with a schedulefull of events—tours and films, lectures andsymposia, and a party or two. Visitwww.DallasCFA.com for all the latest details.

Putting It In Context: The Architectureof The Dallas Arts DistrictThrough January 8, 2010With the completion of the AT&T Per-forming Arts Center, the largest urbanarts district in the United States now hasits crowning jewel. But the foundation forthe district began over 25 years ago with therelocation of the Dallas Museum of Art fromFair Park to its newly constructed EdwardLarrabee Barnes-designed building down-town. Today, the arts district is a veritable liv-ing museum of architecture, featuring notonly the work of four Pritzker Prize-winningarchitects—Norman Foster, Rem Koolhaas,I.M. Pei, and Renzo Piano, but also otherbuildings important in the civic history of thecity. This exhibition will examine the district’sevolution and place its buildings into a largercontext within the extraordinary architec-tural richness of the region.

The exhibition will be accompanied bywalking tours of the Dallas Arts District aswell as other special events and programs.

Dallas Architecture Forum EventsThe Dallas Architecture Forum presentstheir annual season of lectures, symposia,and panels. Several events are listedbelow. For more information, visitwww.DallasArchitectureForum.org.

December 10, 7:00 p.m.Horchow Auditorium, Dallas Museumof ArtLecture by Christy MacLear, executivedirector, Philip Johnson Glass HouseJohnson’s “Glass House” is his iconic mas-terpiece and former residence. Hear theHouse’s Executive Director ChristyMacLear discuss the House and Johnson’scareer. www.philipjohnsonglasshouse.org.

January 21, 7:00 p.m.Magnolia Theatre, West VillageLecture by Gordon Gill, Smith GillArchitectsSmith Gill is a cutting-edge, award-win-ning firm designing the world’s first “car-bon zero” city in Abu Dhabi.www.smithgill.com

February 4, 7:00 p.m.Magnolia Theatre, West VillageLecture by Scott Marble, MarbleFairbanks Architects

Scott Marble heads an innovative archi-tecture and design firm that is a nationalleader in digital fabrication.www.marblefairbanks.com

March 25, 7:00 p.m.Horchow Auditorium, DMALecture by Rafael Vinoly, Rafael Vinoly Ar-chitects (See Forum’s website for venue.)Leading architect Rafael Vinoly’s manyprojects include Jazz at Lincoln Center,the Kimmel Symphony Center inPhiladelphia, Samsung Tower in Korea,and the Brooklyn Children’s Museum.www.rvapc.com

April 8, 7:00 p.m.Wyly Theatre, Sixth FloorLecture by Deb Mitchell, JJR LandscapeArchitectsDeb Mitchell is Design Director for JJRLandscape Architects, collaborative de-signer of Sammons Park, the new 10-acrelandscape design/ public park for the Dal-las Center for Performing Arts.www.jjr-us.com. �

Greg Brown is the program director for theDallas Center for Architecture.

Dallas Contemporary is making amove this December. From a Victo-rian-style building within the Dallas His-toric District, Dallas Contemporary isemerging in a fresh, new location on 161Glass Street reposed on the banks of theTrinity River. As an old sheet metal plant,this unique space will provide a contem-porary ambiance supporting artists, bothnew and known. Lofty ceilings and amplespace bestow Dallas Contemporary witha modern atmosphere while allowing ametropolitan vibe. Natural light is a must

for the airy space, lending an importanthand-connecting vibrancy with the pieces.

Glass Street has a forward way ofthinking. The industrial montage within therural area provides a hip and trendy tone.

The Dallas crew is transferring theirlocation in a sleek, inventive manner. Theexposed walls will complement brightabstract pieces and international works.Simple planked benches will stand aloneon the dark burnished floors for visitorsto relax and absorb the art environment.Clean lines establish an undertone of

simplicity and neatness.The Dallas Arts’ structures are con-

quering all when it comes to breathtakingarchitecture and design and the DallasContemporary will be an updated addi-tion to this reputed entourage. A youth-ful air unfolds as the fine art from newtalent brings life to the concrete walls ofthis exciting new art venue. �

Claire Liedtke is communications assistantwith the AT&T Performing Arts Center.

PeopleNestor Infanzon,FAIA, an HOKvice president andprincipal-in-charge,has been ap-pointed director ofclient relations forthe firm’s Dallasoffice.

L. A. Fuess Partners announces 18LEED® Accredited Professionals: JasonBeyer, P.E., Thom Campbell, P.E., Ash-ley Chan, Luc Dewailly, Caleb Duncan,P.E., Shailesh Gokhale, Jon Herrin, P.E.,Erin Janacek, P.E., Lance Munger,P.E., Ann Piazza, P.E., Travis Piesker,P.E., Jennifer Ray, P.E., Will Ryan,P.E., Brian Schnittker, Jeff Truly, P.E.,Daniel Velte, P.E., Laura Wendling,Walter Wilcox, P.E.

BASIC architecture + interiors con-gratulates Mark Holsinger and Cather-ine McCauley, IIDA on earing LEED® APcertification.

Hahnfeld Hoffer Stanford congratulatesBart Shaw, AIA, Ping Cai, AIA and LizaWilliams, Assoc. AIA on achievingLEED® AP certification.

Gresham, Smith and Partners announcesthat Jane Ahrens, AIA, director of sustain-ability, has joined The University of Texas atArlington’s President’s Sustainability Com-mittee and the Building and DevelopmentWork Group subcommittee.

The Dallas office of PSA-Dewberry an-nounces the addition of GeriRademacher as a senior associate and di-rector of business development and thepromotions of Eddie Davis to associate,John Main to associate principal, Don

Wertzberger to principal, and Tim Kraftto principal.

Urban Design Group has announcedKen Rhyne, Allied AIA, AICAE as itsnewest shareholder and principal.

Corgan Associates Inc. congratulatesBrion Sargent, AIA, on being re-ap-pointed to the Architectural Barriers Ad-visory Committee and Authority by theTexas Department of Licensing and Reg-ulation (TDLR).

BASIC architecture + interiors an-nounce that Russell Swindle, AIA, isnow a licensed architect in Texas.

Fred D. Cawyer, AIA, has been namedpresident-elect of the Texas RegisteredAccessibility Specialists Association for2009 and will serve as the association’spresident in 2010.

Congratulations toMyriamCamargo, AIA,of CamargoCopeland who served as apanel speaker on theWhitney Young Forumat the 2009 AIA National Convention, andalso on the awards jury for the 2009 Top-ping Out: Celebrating Outstanding Built En-vironments that Impact the Community ofDallas/Fort Worth Metroplex.

Rees Associates, Inc. welcomes Allan R.Parr, AIA, as the firmwide assistant chiefoperating officer and director of opera-tions for the Dallas office and DwayneRobinett, AIA, as their new director ofsustainability.

Congratulations to the following mem-bers on being elevated to the College ofFellows during the 2009 AIA NationalConvention: Peter Winters, FAIA, ofHOK; Jay Macauley, FAIA, of Dallas CityHall; Ronald Dennis, FAIA, of HKS;Lance Josal, FAIA, of RTKL Associates;

Anita Moran, FAIA, of WHR Architects;and Nancy McCoy, FAIA, of QuimbyMcCoy Preservation Architecture.

HDR Architecture, Inc. welcomes thefollowing staff additions: Robin Hyman,PE, electrical engineer; MichaelThurston, AIA, project manager;MarcusSchmitz,mechanical designer; Jim Gabel,senior low voltage specialist; Craig Jones,AIA, senior project architect; Chad An-derson, AIA, project architect; CandiClaunch, senior accounting assistant;Bruce Hicks, plumbing designer; BobDavis, Assoc. AIA, architectural projectcoordinator; Art Perez, senior electricaldesigner; Adam Panter, architectural proj-ect coordinator; and Avneesh Bajaj, ar-chitectural coordinator. �

PlacesCongratulations to CCI (formerly ChrisConsultants) on being awarded the Club-house Architect of the Year by Board-Room Magazine and the 2008 “GoldenTrowel” award for the Best HospitalityBuilding by The Central Texas MasonryContractors Association for the Universityof Texas Golf Club in Austin, TX.

WYATT & ASSOCIATES INC. an-nounces its new office location in theMeadows Building, 5646 Milton StreetSuite 437 Dallas, TX 75206.

Wallace Roberts & Todd (WRT) re-ceived a 2009 honor award from theAmerican Society of Landscape Archi-tects for their Trinity River Corridor Proj-ect Design Guidelines. The project wonin the Analysis and Planning category.

Abadi Accessibility announces the cre-ation of a new discussion group onLinkedIn where members can post ques-

14 WINTER 2009

People, Places & Things |By Laurel Stone, AIA

15

tions about accessibility, comment on dis-cussions, and post and read interestingarticles about ADA, TABA, and other ac-cessibility issues.

Wilson Associates has launched Blue-plate, a new studio that offers specializedrestaurant consultancy and design solu-tions. The studio provides a full scope offood and beverage-related services andcurrently has over 50 projects underwayin 20 countries.

BASIC architecture + interiors an-nounces the consolidation of their officesin Kennedale, TX with the Dallas DesignStudio at the Landmark Center buildingin the historic West End District in down-town Dallas.

Congratulations to Gresham, Smith andPartners on being ranked No. 34 amongthe Top 100 Green Design Firms byleading industry trade publication, Engi-neering News-Record.

F&S Partners merged with Smith-Group, one of the top 10 architec-ture/engineering firms in the U.S. and anational leader in sustainable design. The40-person office in Dallas now carriesthe joint name of SmithGroup/F&S.

The Visual Science and Technology Divisionof Halff Associates Inc. received a Tellyaward for their animation work on theDFWConnector for the Texas Departmentof Transportation, Fort Worth District.

Corgan Associates Inc. was recentlynamed one of the 200 fastest-growing ar-chitecture, engineering, and environmen-tal consulting firms in the U.S. and Canadaon The Zweig Letter Hot Firm list.

SHWGroup announces the design com-pletion of the new 120,000-square-foot

science and academic building for TarrantCounty College in Arlington; a projectseeking LEED® Gold certification.

Corgan Associates Inc has been se-lected to design the new reading roomfor The Sixth Floor Museum at DealeyPlaza. The design will be a renovation ofthe former administrative offices in theformer Texas School Book Depository.

Congratulations to Womack + Hamp-ton Architects for receiving the 2009NAHB National Green Multifamily RentalProject of the Year and the 2009 McSamGreen Multifamily Project of the Yearawards for La Valencia at Starwood, lo-cated in Frisco, TX. The firm was alsoawarded the 2008 Best New Loft Apart-ment Community Award by Pillars of theIndustry for the Canal Side Lofts locatedin Irving, TX.

Medrano Middle School, designed byGSR Andrade Architects achievedLEED® certified status. The project isDallas ISD’s first school to have geother-mal heating and cooling and is anticipatedto be the first project in the State of Texasto achieve certification under the LEED®

for Schools system.

Merriman Associates/Architects, Inc.(maa) was recognized for a third time fortheir historic revitalization efforts forDowntown Dallas Historic Restorationprojects. They received a 2009 achieve-ment award from Preservation Dallas forthe Mosaic, located in the heart of down-town Dallas. The City of Dallas also hon-ored maa. On becoming a partner in theSustainable Skylines Dallas Initiative,mma entered a three-year partnershipbetween the City of Dallas, the U.S. En-vironmental Protection Agency, and theNorth Central Texas Council of Govern-ments to promote sustainability withinthe city by voluntary programs, whichemphasize air quality improvements.

An International Design team includingRees Associates, Inc., with OMMAHealthcare, LLC and Medical EquipmentSolutions International, has been selectedto design an Iraqi Hospital in Baghdad.The project is planned to be a 1,000-bed, acute-care facility encompassingover 1.4-million square feet.

Congratulations to the following Dallasprojects and firms on being awarded TSAdesign awards in 2009: Elements byBuchanan Architecture House in theGarden by Cunningham Architects In-ternational Terminal D, DFW Airport byCorgan Associates Light & Sie ArtGallery by Laguarda Low ArchitectsUniversity of Texas Center for BrainHealth by HKS, Inc. �


The Dallas Center for Architecturethanks our contributors!

Want see YOUR name added to this list of current donors?It’s easy to do. Go to www.aiadallas.org.

Acme Brick CompanyAlicia Quintans, AIA, Robyn Menter Associates

Anita Moran, FAIA, WHR ArchitectsBetsy del Monte, AIA, The Beck Group

Bob Bullis, AIA, JHP Architecture/Urban DesignDavid R. Braden, FAIA EmeritusCarl Trimble, Trimble Studios

Carole Steadham, Hon. AIA and Amy Rogers, Placement By DesignC. Joe Buskuhl, FAIA, HKS, Inc.

Dan Noble, FAIA, HKS, Inc.Darren James, KAI Texas

David Lind, AIA, Corgan Associates, Inc.David M. Goodson, PE, SECB, RL Goodson Jr Inc

David Zatopek, AIA, Corgan Associates, Inc.Dianne Fletcher, Purdy McGuire

Don G. Weempe, Master Construction & EngineeringFrank Effland, AIA, HKS, Inc.

Fred D Cawyer, AIA, ARS - Accessibility Resource SpecialistsJoanna Hampton, AIA, Omniplan, Inc.

Marc Blackson, Blackson Brick CompanyMarcel Quimby, FAIA, Quimby McCoy Preservation Architecture, LLP

Mark Domiteaux, AIA, Domiteaux & Company ArchitectsMark Wolf, AIA, JHP Architecture/Urban Design

Mike Arbour, AIA, JHP Architecture/Urban DesignNigel Brown, P.E., Structural Studio Consulting Engineers

Paula Davis, AIA, The Beck GroupPhilip C. Henderson, FAIA, Philip Henderson Architect

Robert Ekblad LLCRonald W. Dennis, AIA, HKS, Inc.

Stephanie Moore, Moore Design GroupStephen Lucy, P.E., Jaster-Quintanilla

Suzanne Branch, Lum Architectural LightingTed Kollaja, AIA, Gensler

Todd C. Howard, AIA, t. howard + associatesW. D. Collins II, AIA, GSR Andrade Architects

Zach Rose, LEEDTeacher

16 WINTER 2009

ThingsAt the DMA…A Dream Come True: The Dallas ArtsDistrict - through January 31All the World’s a Stage: CelebratingPerformance in the Visual Arts -through February 28Performance/Art through March 21The Life of Toussaint L’Ouverture byJacob Lawrence - through May 23

At the Meadows Museum…Face and Form: Modern and Contem-porary Sculpture in the Meadows Col-lection - ongoing

At the Nasher…The Art of Architecture: Foster + Part-ners - through January 10

At the Modern…FOCUS: Gardar Eide Einarsson -through February 14Andy Warhol: The Last Decade - Feb-ruary 14 through May 16

At the Kimball…From the Private Collections of Texas:European Art, Ancient to Modern -through March 21

At the Amon Carter…Rufino Tamayo: Tamarind LithographyWorkshop - ongoingMasterworks of American Photography:Moments in Time - through January 3Views and Visions: Prints of the Ameri-can West, 1820–1970 - throughJanuary 10 �

Laurel Stone, AIA is a project leader at5Gstudio_collaborative, llc.Send your People, Places & Things submissionsto her at [email protected]. Be sure to put“Columns PPT” in the email subject line.


GotIdeas?

Columns is the primary arts and architecture magazine in North Texas.

As such, we offer many opportunities for our readers to express

their creativity and share themselves with their peers in new

and interesting ways. Below are features that run in every

issue where we would like to have your involvement.

People, Places & Things

We’d like to hear about happenings in the design disciplines…

send us news of your company / organization, your

achievements, your accomplishments, your personal awards

(community, professional, etc), accolades, promotions…or if

you’ve completed an art or architecture project of which you

are really proud, we’d like to know about it! Never fear…

Le Corbusier was one of the most shameless self-promoters

in the history of architects, so follow his example and share.

If you’re too humble, have a friend send it for you. Send entries

to Laurel Stone, AIA at [email protected]. Be sure to put

“Columns PPT” in the email subject line.

Creative on the Side

We’d also like to provide YOU, the readers, with additional opportunities for

personal, creative expression. If you write poems, paint pictures, take photographs,

draw cartoons, write non-fiction, or are inspired by any other means of artistic, written

or graphic expression, we’d like to see it … and possibly include it … in an upcoming issue.

Again, your contact is Laurel Stone, AIA at [email protected].

Sense of Place

This feature showcases one piece of art per issue. It should be expressive of architectural sensibility

from an artists’ perspective. It might be a photo of an intricate grid of icicles, a simple piece of glass,

or a new perspective of an old building. Watch each issue for the unique items we feature and then send

your best example to Kerrie Sparks, [email protected].

The Gallery

A favorite feature of each Columns is the multi-page gallery of fine architecture. To have you’re project considered

for inclusion, send a photo and a one-sentence statement from one of your principals describing the attributes of the structure. Entries should

again go to Kerrie Sparks, [email protected].

‘Have an Attitude?

Do you have high praise for Columns? Would you like to see any changes to it? Do you wish we’d offer an article on a specific topic? Do you

have a nomination for a person to feature in the Profiles segment? Send your ideas and attitudes to our editor, Brian McLaren, AIA at

[email protected].

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Two universities in the Dallas area are responding toenvironmental development and resources in ways notpreviously contemplated by either campus. In this article you’lldiscover a program in sustainability that is embedded in the en-gineering department at Southern Methodist University and fa-cilitated by AIA Dallas past-president Betsy del Monte, AIA.Next, Don Gatzke, AIA reveals the new Masters in Real EstateDevelopment at The University of Texas at Arlington. It will beoffered through the School of Architecture.

At SMU…The SMU Lyle School of Engineering has developed a mastersdegree in sustainability in an executive format, targeted to thosein a variety of industries with several years in their profession. Theprogram is based on the concept that sustainability is a broad-reaching and difficult-to-define concept. The idea that a society ascomplex as ours can be sustained over time, even as we continueto use the earth’s resources for our benefit and survival, is de-bated and tested. The courses are primarily non-traditional instructure, utilizing expert guest lecturers, group and individualprojects to explore current issues, and insightful field trips.

The degree program is comprised of a series of certificatecourses, which can be taken separately. The certificates provide:• A well-grounded base with a regional focus through the in-troductory Certificate in Sustainability,• A focus on land use and building development through theCertificate in Sustainable Development, and• A world-wide focus considering the impact of resource usein our hyper-connected world through the Certificate in GlobalSustainability.

The target student has at least an undergraduate degree,several years of professional experience and a keen interest inthe concept of sustainability. Because of the benefit of havingmultiple viewpoints represented in discussion groups, applicantsfrom diverse backgrounds are encouraged.

18 WINTER 2009

OUTSIDETHE PARADIGMNEW WAYS TO ENHANCEEDUCATION

The program begins with the premise that our society willcontinue to exist as we know it, even as it adapts to changingconditions over time. We consume resources for our necessi-ties and for our luxuries, to feed and clothe ourselves, and toprovide ornament and entertainment. The needs of human na-ture will adapt only as much as they must. So the course ofstudy examines what those needs are and how are we using re-sources to meet them. The initial analysis leads to a creative as-sessment of possibilities—first for an individual organization,then for an ever-broadening sphere.

The intended outcome of the program is that students willgain an understanding of what natural resources our global so-ciety requires in its present condition. They will have the knowl-edge needed to judge the effectiveness of their use and topredict long-term outcomes. In addition, students will considerpossible alternative paths, along with the difficulties of takingthem, and also examine utilization options relative to our re-sources and prioritized needs. While one cannot be expected tosave the world, one can be expected to better understand it.

Upon completion, graduates will be challenged to take lead-ing roles in sustainable design through an interdisciplinary un-derstanding of sustainable design concepts and practices. Incomprehending the relationship between today’s resource useand future economic, social, and environmental conditions,they will understand how to mitigate–or even eliminate–thenegative impact of human consumption of natural resources,creating communities that preserve the ability of the surround-ing natural environment to support its inhabitants indefinitely.

Prepared by Betsy del Monte, AIA, a principal with Beck Architec-ture LLC and an adjunct associate professor at Southern MethodistUniversity.

At UTA…As architects, we’re convinced that our design skills and prob-lem solving abilities can be applied successfully beyond the lim-its of traditional practice. In fact, much of the expansion ofservices the profession has realized over the past two decadesincludes strategic visioning, organizational planning, and busi-ness development. Nevertheless, the role of the real estate de-veloper and architect have historically remained separate, withthe developer’s expertise in finance and marketing, and the ar-chitect delimited to the physical product. A few schools of ar-chitecture have addressed this divide with innovative programsthat bring the entrepreneurial spirit of business education to-gether with the expansive problem solving abilities of the ar-chitectural design process. Perhaps the most notable examplesare Columbia University and M.I.T.

In the fall of 2010, The University of Texas at Arlington (UTA)will launch a graduate degree program in real estate develop-ment modeled on the success of the two programs cited above.

Prepared by Betsy del Monte, AIAand Donald F. Gatzke, AIA

The Embrey Engineering Building atSMU’s Lyle School of Engineering isGold LEED certified.

COLUMNS | www.aiadallas.org 19

20 WINTER 2009

To distinguish the program from those typically offered byschools or colleges of business, it will likely be referred to as“project development,” but it will cover the essential knowl-edge and entrepreneurial skills to equip the graduate to suc-ceed in the real estate industry. The program will be built uponan architectural perspective in that it assumes that the graduatehas a keen interest in the physical outcome of the process—notjust the financial bottom line. Further, it exploits the multi-modaldesign process architects are so adept at. Furthermore, it will bemuch more aggressive than a traditional real estate program indemonstrating how physical alternatives can affect the financialviability of the project.

The Dallas-Fort Worth region is a splendid location tolaunch such a program as it is an international center of botharchitectural practice and real estate development. A realisticoutlook recognizes that it is the development profession thattruly drives urban form and that the future of this region is re-ally in the hands of the developer. To equip architects to fullyengage in this process, and know the values that drive them, isan opportunity to exert influence and provide leadership tomore desirable outcomes.

UTA was fortunate to recruit Michael P. Buckley, FAIA, tolaunch this program. Buckley is nationally known in the devel-opment community, having directed the Columbia UniversityMaster of Real Estate Development Program for the past eightyears. An architect and developer, he brings the passion for thebuilt environment, the expertise on the financial side of real es-tate, and the willingness to take the risk on this new academicstart-up venture. �

Prepared by Donald F. Gatzke, AIA, dean of the School of Architectureat The University of Texas at Arlington.

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Web Site: HGRICE.COM

“Life is nothing but instability anddisequilibrium... a swelling tumultcontinuously on the verge of explosion.”~ Georges Bataille. A SWELL project,Texas A&M University.

22 WINTER 2009

An annual event, most unique to AIA Dallas, also hap-pens to be one of the longest-running architectural drawing com-petitions in the world. The Ken Roberts Memorial DelineationCompetition (or KRob, as it is commonly referred to) celebratesits 35th year of recognizing excellence in architectural delineationin all of its forms. As more students and professionals participatein the competition, an opportune moment arises to look back at

its origins and how it has been defined by the changes that haveaffected architectural drawing during the last few decades.

Ken Roberts, a Louisiana native and an architect, workedfor the firm Craycroft-Lacy & Partners during the late 1960s inDallas. He then left to join forces with Dick Savage and laterwith Clutts & Parker to form Iconoplex Inc. in 1973. As his for-mer boss Jack Craycroft recalls, Roberts was “a great designer

THE KEN ROBERTS MEMORIALDELINEATION COMPETITION:A DALLAS TRADITION

23

and an even better architect.” In addition, Roberts producednumerous immaculate ink perspective drawings of small resi-dential and commercial projects that testified to his impressiveability to create architectural renderings by hand.

With the departure of his star employee, Craycroft felt acompelling need to show appreciation for skilled delineators.

He thus came up with the idea of creating an annual delineationcompetition and exhibit during his tenure as president of AIADallas in 1973. The following year, AIA Dallas president, JimClutts, handed his colleague, Ken Roberts, the task of organiz-ing the very first delineation event. Not long after the success-ful inaugural event, Roberts’ chronic kidney problems suddenlyended his life at the age of 34. The AIA Dallas Executive Com-mittee promptly renamed the annual delineation event after itsfirst organizer, who was highly esteemed for the wide breadthof his abilities and admired for his enthusiasm and energy in theface of his declining health.

The competition involves contestants sending their originalhand drawings in the hope of winning various prizes, such as Bestin Show and the Wiley award. The three-person jury, including

well-known local designers as well as architects and scholars fromacross the country, deliberate on which works demonstratedtechnical excellence and rich aesthetic expression. Initially the ex-hibited work featured elegant renderings of buildings used to per-suade banks and other lending institutions. Once the competitionwas opened to students in the early 1980s, the delineations be-came more conceptual and abstract, with drawings judged ontheir ability to powerfully express an architectural idea.

This tendency towards abstraction was then complementedby the transformative effects brought about by computers. Bythe late 1990s, a digital/hybrid media prize was created to rec-ognize works that resulted from the technologically-drivenchange in the art of architectural delineation. With the emer-gence of the Internet, the competition began accepting sub-missions online in 2006 and was opened to students andprofessionals outside the U.S., with the addition of an interna-tional prize two years later. The number of entries rose dra-matically (320 entries last year), with winners hailing fromschools like Harvard GSD and places such as Inchon, Korea.

The 35th annual Ken Roberts Memorial Delineation Com-petition continues to reflect the changes taking place in how ar-chitecture is visually depicted. Now that the vast majority ofentries are submitted and evaluated digitally, it has becomeeven more important to consider the inherent qualities uniqueto drawings sent in physical form. A new category has thereforebeen created this year to recognize the best physical submis-sions. Jeanne Gang, FAIA, of Studio Gang in Chicago and AaronPlewke, of Archinect.com, will participate as jurors. Entrieswere received in October and the jury has reviewed them. Amounted exhibit of the thirty finalists will be held in January2010 at the Dallas Center for Architecture.

For more information about the Ken Roberts Memorial Delin-eation Competition, visit www.krobarch.com. �

Julien Meyrat, AIA, is a designer at RTKL Associates Inc.


By Julien Meyrat, AIA

24 WINTER 2009

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By Ron Armstrong, AIA

REALITY ENDS

HEREDALLAS ARCHITECT TACKLES RETRO& FUTURISTIC GOALS FOR USC’SSCHOOL OF CINEMATIC ARTS

26 WINTER 2009

The words “Reality Ends Here” are inscribed above oneentryway at the new School of Cinematic Arts at the Universityof Southern California. More than the official motto for its stu-dents of film, television, and interactive media, the words alsoepitomize the far-reaching architectural concepts required forthe building design.

From the start, our firm, Urban Design Group (UDG) in Dal-las, knew several aspects of the high-profile, multi-million-dollarproject would represent challenges. Earthquake resilience andmovie production programming are not typical considerationsfor a Texas firm, and full-scope building information modeling in-cluding lifecycle maintenance is not (yet) the norm for any firmanywhere. The 100-year lifespan expectancy is rare too.

The university, having outgrown its existing facilities, set ag-gressive goals to be good stewards of the funding and the build-ing opportunity, to meet more stringent code requirements,and to make sure the new home for the school visually lived upto its historic reputation. They wanted it to represent open col-laboration while providing a “sense of place.”

Retro Style/High-Tech FunctionThe first and largest pieces of the complex opened in Januaryand four other buildings of Phase 2 are to be completed in2010. The four-story, 137,000-square-foot structures of cast-in-place concrete exhibit a “California Style” in the Mediter-ranean vein. The retro design by UDG’s design principal JohnNovack, FAIA, is reminiscent of a popular style 80 years ago inSouthern California when the school was founded by movielegend Douglas Fairbanks, Sr. and other pioneers of the Acad-emy of Motion Picture Arts and Sciences. Other buildings onthe diverse campus also belong in that genre.

UDG paid attention to scope and scale, as well as the col-ors, textures, and shapes to provide a visual feast for anyonestepping onto the property. The structures’ top-floor color vari-ation, archways, balconies, an 80-by-60 foot courtyard, and theoff-center tower reinterpret the space to be airy and open.

True to the genre, the massive symmetrical structures havebeige-colored plastered walls, a low-pitched red tile roof, acolonnade, plaster flourishes, iron lattice-like screens, pillaredbalconies, ornate archways, wooden modillions, marble floor-ing, and stonework. During concept design, we studied thework of architect George Washington Smith, whose 1920swork helped popularize the style.

Creating a contemporary version of a retro style meantusing some lookalike materials that provide high durability andsustainability without depleting natural resources. It also meantadopting several “classic” methods done by hand: the trollingand coloring processes for plaster; the matching and cutting ofthe marble flooring; and the carving of the friezes by a craftsmanin a back shop for instance. We also added ground stone intothe plaster so that the structure subtly takes on different shadesin sunlight during the day.

Internally, technology complements all aspects of the learn-ing experience. While the buildings’ screening rooms and pro-duction labs feature state-of-the-art audio and videotechnology, the floor plans also feature “wired” informal meet-ing spaces in hallways, complete with flat screens and wirelessInternet or plug-and-play access to secured servers. To ensureflexibility decades to come, all major hardware is in the sub-level. All cabling and wiring is placed in ceiling-level cable trays.

It is a working production studio with classrooms.

125-Percent Quake-ReadyMeeting desired durability and flexibility for 100 years requiredearthquake resilience. Based in Los Angeles, the school is just milesfrom the San Andreas Fault, a foremost geological cause of quakeactivity in the United States. UDG turned to our frequent designpartner, structural engineer Gregory P. Luth and Associates.

Building code in Southern California requires a minimum stan-dard that, during an earthquake, saves occupants because their“inelastic” buildings bear the brunt of the tremors and are de-stroyed. We aimed for a higher standard, however. We designedthe buildings with replaceable steel “fuses” or connectors that willisolate and redirect a quake’s heavy jolts away from walls, ceilingsand floors so damage occurs in non-foundation areas and isreparable. It is called a “fused-rotating-walls” innovation, and itcalled for concrete substrate for the façade, ductile linked shearwalls, and rocking shear panels. The facility is designed to remainvirtually undamaged up to a 125-percent level of existing codes.

BIM and the 12-Minute SolutionBIM technology was vital for meeting the advanced set of goalssince BIM could augment team collaboration, material fabrica-tion, and long-term facility maintenance. UDG aggressively in-vestigated the most advanced BIM iterations, and then signed ona consultant, View by View of San Francisco, CA, to take the lead.

View by View used Autodesk Navisworks to bring togetherAutodesk Revit Architecture, Autodesk AutoCAD, and othertools used by the team. ArTra software and Navisworks linkedthe 3D model and the USC system, including Famis, Meridian,MasterSpec, and Honeywell software.

BIM saved time and money on Phase 1 of the project andtime will tell on Phase 2. Studies are underway to quantify totalsavings. At one point during design, BIM allowed for a 12-minute change to the tower that typically would have taken twoto three days to redraw and return to the plans.

For Phase 1, BIM was chiefly used for clash detection, sub-contractor coordination, and job site location and dimensionalcontrol. For Phase 2, BIM added estimating, scheduling, andlifecycle building maintenance—the latter benefit fulfilling USC’svision of quality facility maintenance for a 100-year lifespan.Long-term plans are to use the school’s data-rich 3D modelnot only for that building, but also as a framework for enhanc-ing the 2D software for managing other key buildings on cam-pus. BIM is giving the university the capability for “smart”operations and maintenance monitoring—primarily of me-chanical systems, and will aid in energy conservation, facilityplanning, remodeling, and expansion if needed.

The thematic context and high performance capabilities willcarry over to Phase 2’s addition of four more buildings for class-rooms, interactive media labs, studios, and sound stages. Oncebuilt out by 2010, the complex will be a gracious “campuswithin a campus,” tied together by design similarities, walkways,and views from one end of the complex to the other. �

Ron Armstrong, AIA, is a managing principal with Urban Design Group.


Justin Terveen, Urban Fabric Photography

28 WINTER 2009

MAGNETATTRACTSTOMORROW’SARCHITECTS

“Nobody should confuse the Skyline HS program with oneof the old drafting or vocational technology programs of yes-teryear. It truly is an exemplary program that uses architec-ture and visual perception as a pedagogical frame forunderstanding the world—the essence of any high school cur-riculum—and which stretches the students from the arts onone extreme to the hard sciences on the other, with the hu-manities and social sciences somewhere in the middle. In ad-dition, it provides a terrific preparation for continuing indesign at the college level. We actively recruit graduates of theprogram for our summer high school architecture discoveryprogram and for students in the School of Architecture be-cause of their experience at Skyline—and because they typi-cally have excelled in our programs.”

Donald F. Gatzke, AIADean, School of Architecture, The University of Texas at Arlington

By Peter Goldstein, AIA

The Architecture Cluster at Skyline High School is notthe stereotypical high school drafting class. The cluster is a four-year, college-preparatory, Dallas ISD magnet school program.It focuses on creative problem solving and the mastery of coreacademic subjects with admittance into the program by appli-cation only. The Architecture Cluster began in the early 1970sas one of the original career magnet programs at Skyline HS—the first magnet high school in the U.S. From the beginning, thegoal was to embed problem-solving skills through project-basedlearning, and to prepare students for careers in the field of ar-chitecture. Students are introduced to architectural history andthe design process through a series of exercises that integrate ar-chitectural studies and knowledge and skills from core academicsubjects. The cluster sequence culminates with an architecturaldrawing course at El Centro College (Dallas County Commu-nity College) where students earn dual course credit.

Over the years, the Architecture Cluster has made exten-sive use of the City of Dallas as an architectural laboratory. Thispast year, with the assistance of an Innovative Teaching Grantfrom the Junior League of Dallas, Skyline HS students partici-pated in an in-depth study of the work in Dallas by PritzkerPrize-winning architects. The class participated in a series offield trips to the Dallas Arts District where students met with VelHawes, FAIA, at the Nasher Sculpture Center; Peter Stewart,

the founder of ThanksGiving Square; and Pritzker Prize laure-ate Thom Mayne, FAIA, who is designing the new Dallas Mu-seum of Nature & Science and was a member of the 2008 AIADallas design awards jury.

Since its inception approximately 1,600 students have en-rolled in the Architecture Cluster. Currently, the cluster hasover 100 students: 85% are Hispanic, 10% African Americanand 5% Anglo, and 66% are male and 33% are female. Simi-lar high school architecture programs can now be found in citiessuch as Philadelphia, Miami, and New Orleans as the educa-tional benefits of project-based learning becomes better knownand as AIA actively encourages and nurtures diversity within theprofession.

The Dallas Chapter of the AIA has been associated with thecluster since its creation almost forty years ago. The local archi-tectural community has played a vital role in supporting the clus-ter through scholarships, internships, and a variety of educationalprograms. The cluster has received Citations of Honor from theTexas Society of Architects and AIA Dallas, and continues to ex-plore innovative educational approaches for Dallas ISD studentsinterested in pursuing careers in architecture and design.

Peter Goldstein, AIA, is a faculty members at Skyline High School.

First Vardøger Cage, wood, steel & mixed-media sculptureJon Geib, Architect, Quimby McCoy PreservationArchitecture, LLP


Creative On the Side | Things People Create on Their Own Time

Compiled by Laurel Stone, AIA

Capital Steps, Acrylic on WoodBernard Bortnick, FAIA

Desk for Private Residence, Wood/ MetalJon Buell, Buell Inc.

St. Peter’s, Pen & Watercolor on Cotton PaperDan Finnell, brownarchitects

Metal Grate-Chicago, Digital PhotographyDenMark Phan, BASIC architecture + interiors


‘Crandall Clerestory’Crandall ElementarySchool, Architecture byThacker|Davis Architectsof Longview, TX.

Sense of Place | Art with an architecturalsensibility

Photography by Charles Davis Smith, AIA

“Designing the town’s first high school was as muchabout public emotion and civic self-image as aboutcreating a dynamic learning environment.”

KEITH ANDERSON, AIA, PRINCIPAL AND DIRECTOR OF DESIGN

GALLERY

SUNNYVALE HIGH SCHOOLSunnyvale, TexasWRA Architectswww.wraarchitects.comPhotographer: Scott Hales

32 WINTER 2009

GALLERY

“This forward-looking concept acknowledges FortWorth’s proud tradition and context and contributesto the skyline in a meaningful way.”

STEVEN JANEWAY, AIA, PRINCIPAL DESIGNER

OMNI FORT WORTH HOTELAND CONDOMINIUMSFort Worth, TXHOKwww.hok.comPhotographer: Mike Winfrey,Century Photography


34 WINTER 2009

“Healthcare design decisions should have a positiveimpact on patients, their families, and caregivers.Beautiful site design exemplifies this attitude.”

HEIDI HIGGASON, AIA, MANAGING PRINCIPAL

GALLERY

HILLCREST BAPTIST MEDICALCENTERWaco, TXHDR Inc.www.hdrinc.comPhotographer: ©2009 Mark Trew

GALLERY

“When renovating buildings that have withstood thetest of time, it is important to breathe new life intosuch vintage structures.”

MILTON P. ANDERSON, AIA, V.P. DIRECTOR OF DESIGN

HDR DALLAS DESIGN STUDIOMOSAICDallas, TXMerriman Associates/Architects Inc.www.merriman-maa.comPhotographer: Squire HaskinsPhotography, Rick Weatherly


36 WINTER 2009

“In time, plantings will embrace the passage fromstreet to private garden—the ‘antithesis’ to the tradi-tional ‘McCastle / secure entry’ approach.”

GRAHAM GREENE, AIA , PRINCIPAL

GALLERY

NORTH DALLAS HOMEDallas, TXOGLESBY GREENE ARCHITECTSwww.oglesbygreene.comPhotographer: Charles Davis Smith, AIA


GALLERY

“The Ornelas Residence Hall incorporates sustainablefeatures including designing the building to straddle anative creek, thereby preserving the natural ecosystems.”

RANDALL B. SCOTT, AIA, CEO RANDALL SCOTT ARCHITECTS, INC.

ORNELAS HALL/TYLER JUNIOR COLLEGETyler, TXRandall Scott Architects, Inc.www.rsarchitects.com

38 WINTER 2009

GALLERY

“This iconic project provides world-class entertain-ment and retail for a booming urban district, whilecreating an unforgettable visual identity for the newcity of Pangyo.”

PABLO LAGUARDA, AIA, PRINCIPAL

PANGYO DOMESeoul, KoreaLAGUARDA.LOW ARCHITECTS LLCwww.laguardalow.com


GALLERY

“Garland’s first LEED Gold building defines the edge ofdowntown development with a transparent and contem-porary public architecture.”

BARTON DRAKE, AIA, NCARB, PRINCIPA

RICHLAND COLLEGE GARLANDCAMPUSGarland, TXvai architects incorporatedwww.vaiarchitects.comPhotographer: Charles Davis Smith, AIA

40 WINTER 2009

GALLERY

“It is not often one has a chance to work on a projectthat touches so many at so many different levels.”

MYRIAM E. CAMARGO, AIA, PRINCIPAL

THE BRIDGEDallas, TXCamargoCopeland Architects, LLPwww.camargocopeland.comPhotographer: Charles Davis Smith, AIA


GALLERY

“Mockingbird Station was conceived as a transit-ori-ented urban neighborhood that integrates housing,shopping, entertainment, office, and restaurant uses innew and re-used buildings.”

DALE E. SELZER, FAIA

MOCKINGBIRD STATIONDallas, TXSelzer Associates Inc.Contact: John Brownwww.selzerarch.com

Chili’s NOW Studio in collaborationwith Brinker International.The University of Texas at Arlington.


If I had a dollar for every time I…!Yes, we have all completed the sen-

tence in many different contexts. But,today I am asking you to complete thesentence, not with words, but with acommitment to contribute a dollar forevery day we have been in operation tofulfill the vision of the Dallas Center forArchitecture, which is to promote thevalue of quality architecture and commu-nity planning in Dallas and surroundingcommunities. These funds will be appliedto the balance of the construction loansecured to build-out of the center.

Two years ago, we started a capitalcampaign to fund DCFA. Our foundingpartners quickly committed $550,000.In-kind donors readily gave time and ma-terials totaling another $350,000. But,today we have a $150,000 shortfall toclear the debt. A dollar a day for oneyear is just $365. Will you help us?

We recently celebrated our first an-niversary at the Dallas Center for Archi-tecture and have seen firsthand howvalued and appreciated this space has be-come to the greater Metroplex designcommunity.

Here is a quick review of what wehave accomplished in the first year:

More than 3,000 visitors experi-enced an exhibit, a film, a lecture, aworkshop, a community forum, or aspecial reception, or requested a tour ofthe new facility.

We presented information on sus-tainable design, hosted competitions forthe Statler-Hilton façade, the West VillageTrolley Stops, and an Oak Cliff re-devel-opment. We screened My Architect,Fountain Head, Sacred Spaces, and TheBirdcage, to name a few.

We partnered with the City of Dallasto host educational seminars outliningnew energy requirements implementedthrough the city’s Green Building Ordi-nance, effective last October.

We hosted The University of Texas atArlington School of Architecture, providinga venue for academia, architects, and de-velopers to draft a new certificate program(soon to be a graduate program) focusingon turnaround strategies for those whohave been hit by the economic downturn.

Our most recent success…the ex-hibit of models, historical blueprints, andback stories associated with the openingof our new Dallas Arts District—and abona fide walking tour available to localcitizens and visitors.

These are a few of the highlights ofour busy first year at the center…avenue that also supports the staff, com-mittees, leadership, and activities com-

mitted to delivering value directly to themembership of AIA Dallas and ourgreater community.

In addition, I am proud to announcethat our space is programmed for LEED®

Gold certification. As our building is rec-ognized for its sustainable design, thereis no better time to burn the debt andbecome financially sustainable, too!

I hope to see YOUR name added tothe list of current donors on page 16. It’seasy to do. Go to www.aiadallas.org.Click on the $ A Day logo. Sign up! �

Paula Clements is executive director of theDallas Center for Architecture.

Centered on the Center | Dollar A Day for DCFA

By Paula D. Clements, CAE, Hon. TSA

Craig Blackmon, FAIA Blackink Photography

44 WINTER 2009

Profile | Ann Abernathy, AIA

From scholar to author, mother to painter, this Frank LloydWright aficionado is more than just a well-rounded architect.

Known most recently for her work on the soon-to-be-released Master Plan of Frank Lloyd Wright’s famed KalitaHumphreys Theater, Ann Abernathy, AIA, is arguably Dal-las’ foremost expert and proponent of the late architect’slife and work. Since visiting the Imperial Hotel in Tokyo as achild, just a year before it was demolished, Ann moved on

to become a well-versed follower of Wright’s own archi-tectural principles and has been intimately involved withmany of his projects. In 2005, she spearheaded the effortthat led to the theater (1959) becoming a City of Dallas his-toric landmark. She gratefully acknowledges a grant fromthe Dallas Architecture Foundation that supported her re-search. Twenty years earlier, she had been the project ar-chitect for the restoration of Wright’s Oak Park Home

(1889 to 1909). Once a teacher at heralma mater, M.I.T., Ann practices withBooziotis & Company Architects. Herpassion for not only architecture, buteverything Wright, has led her toplaces few architects dare to explore.

The locale for my casual conversa-tion was Ann’s North Dallas residence.After entering the circa 1970s home,Ann graciously gave a tour through themain living areas, showing off her per-sonally designed dining chairs andtable. On her dining room wall hangsan impressive framed piece showingthe dozens of inked drawing iterationsshe completed as a way of discoveryand exploration during the process ofdesigning her chairs. We sat down inher lofty living room and this conver-sation unfolded:

You have said you’d rather be knownas a design architect, than a preserva-tion architect. However, much of yourwork deals with existing buildings.Working on old buildings provides reallyvaluable experiences – to see how thingswere constructed and understand the sen-sibilities of previous generations is instruc-tive and illuminating. Sometimes I amstruck by how much they knew that weseem to have lost.

What influenced you to become anarchitect?I think it was building forts—out of sticks;I still like to build stick models. Growingup, I didn’t go to summer camp. I didn’t

Photo by Steve Clique, www.steveclique.com


get driven all around. My mother just said, “Go outside and play,”so I went out to explore. Man evolved over millions of years,and all that time learned to operate in the natural environment.And we still react to places with those same evolved percep-tions. But we often settle for relatively impoverished environ-ments that we don’t react to in any kind of visceral way.

It seems that Frank Lloyd Wright’s works in Dallas are fromthe period just before his death. Why did it take Wright solong to come to Dallas?Wright finished about one-third of his life’s work in the lastdecade of his life, ages 82 to 92. He developed an apprenticeprogram and it was a kind of diaspora of these apprentices goingout to all these locations. For example, Kelly Oliver, the ap-prentice that supervised the DTC [Dallas Theater Center at theKalita Humphreys] was 29 years old when he supervised theconstruction of this major reinforced-concrete building.

What was right with Wright?This is something I admire about Wright: he had molting peri-ods. He regularly stepped out of his own career, and then cameback into it like a phoenix renewed in some kind of new direc-tion. Because I have moved around a lot and done differentthings, I identify with that ability to step back and process thingsto get some perspective. Wright kept moving forward with thetimes and reinterpreting his design methodology. He was al-ways on the cutting edge of the new technology—for seventyyears. Isn’t it remarkable?

You are a painter, volunteer, teacher, architect, author... youreally do seem to be able to do anything. If you could imag-ine any other career, what would it be?I’m a mother, you forgot that one... [laughs] I can’t imagine anyother career. Architecture is, as Wright said, “The Mother art,”because architecture is the art that combines all the other arts.

When architects think of great American cities, New York,Chicago, and Boston come to mind. How does Dallasbecome a similarly great city?I think that one of the most important things Dallas can addressis the Trinity River Corridor. A river is thematic to having a greatcity. When a population doesn’t have access to nature, it suf-fers. All the other cities where I’ve lived have a water’s edge.

Best place you’ve visited?Afghanistan. We flew from India over the Hindu Kush to Kabul.I think that is the most beautiful place in the world.

What do you consider your biggest mistake?I would not have made as many moves; but, no regrets. Every-thing I have ever done I have put to use. All of that moving gave

me a perspective on the way different people live. Had I notmoved, I would not have worked on one of Wright’s first build-ings, and two of his last.

What do you consider your most profoundprofessional success?I will say the greatest contributions that I have made are thingsthat I did for free. The things I didn’t think were the thrust of mywork ended up, in many ways, being the most interesting.

In your free time, what do you like to do outsideof architecture?I kayak on the Brazos with my friends. I sing in the choir at church.

What was the last album you downloaded?Bartok’s Concerto for Orchestra

What book did you last read?“Harry Potter and the Deathly Hallows”—I read the ending first.My favorite book of all time is The Book of Tea by Kakuko Okakura.

Do you have favorite websites/blogs?You are asking the wrong generation. I go on the Internet as lit-tle as possible. Music is a very important component in my life.I exercise to hip-hop in the morning (Lil Mama) and I go to sleepto Tibetan Bells.

What movie did you last see?“Julie & Julia” I liked “Mostly Martha,” which is another cookingmovie... but “Babette’s Feast” is my favorite movie ever. Ironic,since I don’t cook.

What is one important thought you’d like other architectsto know?I believe in frontloading a project, spending a lot of time un-derstanding the people and place, and filling all the office wallswith stuff pertaining to the project. Then the later phases workthemselves out more smoothly. Architecture is synthesizing, notproblem solving.

Any last thoughts you would like to leave with us?When I think back to the Oak Park years, more than anything Irecall all the people at the Home and Studio. It was a family,really. We calculated that volunteers contributed more than200,000 work hours toward the restoration of the buildings, allcoming together for this common purpose. Ultimately, it revi-talized the community. If you are an architect, your accom-plishments are never just your own. You cannot do anythingbigger than a bread box alone. �

Interview by Andrew P. Moon, Assoc. AIA

46 WINTER 2009

Profile | Tom Cox, AIA

Not every architect has the gift of teaching. Tom Cox provesthat bringing architecture and education together can trulychange young lives.

Tom Cox took the traditional route to becoming an ar-chitect, but realized that his passion would be better servedbehind a different type of desk than a drafting table. In the1970’s, Tom went to the University of Texas at Austin, grad-uated, and moved to Dallas where he worked for a littleover a year in traditional practice. In 1979, Tom saw an ad-vertisement through AIA Dallas for a position as a teacher atSkyline, a public high school with a special curriculum thatincluded architecture instruction for underrepresentedteenagers. It was the first of its kind and it went beyondteaching basic drafting to students.

Over the years, the architectural cluster at Skyline HighSchool has turned into a program where roughly 100 stu-dents—of whom 5% are Anglo, 85% Hispanic, and 10%African-American—study architecture in addition to basichigh school courses. They are exposed to one period of ar-chitectural studies that ranges from residential design, tocommercial investigation, presentation media, and architec-tural history. This year, Tom entered his thirtieth year ofteaching at Skyline and will be teaching eleventh grade, wherethe focus is on freehand drawing, model building, and smallscale projects. In a conversation with Tom, we discussed whatteaching has meant to him and how the City of Dallas hasplayed an important role in his students’ education.

How has living in DFW shaped your perceptionsof the built environment?The city is great because it can be changed. WhenI first moved here, the fabric of the city was not asinteresting and it was less urban. Lately, there havebeen tremendous changes. It has been exciting towatch it become more dense and urbane simply bythe impact of architecture and good planning. It in-spired me to put a class together on the buildingsbeing built in the downtown arts district. Showingstudents why it happened, what was created, andwho created it and also showing them the differ-ence between the old and the new. The Dallas ArtsDistrict is such an incredible lab for these students.

How does Dallas become a great American city?I think it already is a great American city. I conducttours at the Myerson and I am pleasantly surprisedat the number of architects who come to our cityjust to see our architecture. Some other cities havea profound historic precedence that Dallas doesn’thave so we have had to set ourselves apart by cre-ating contemporary thought and design.

What do you find your students need that they don’t get?These students are accomplished and they need support. Wehave students that intern at AIA and are on scholarships pro-vided by the AIA. We need AIA members to serve on juriesand be advisors. It is great when a firm can offer financial sup-port or internships. We also need volunteers for the ACE Men-torship program where we expose the students to architecture,construction, and engineering career options. We need firmsto host these events.

What do you consider your most profound success?Having a student become successful—not just in architecture butin the professional world. Most of my students come from fam-ilies that haven’t gone to college and they don’t have professionalcareers. It is a great reward for me when students stay in touchand come back and show me what they have been doing.

What book are you reading?TheWild Marsh: Four Seasons at Home in Montana by Rick Bass.

How do you take your coffee?I don’t drink coffee; I prefer tea.

What was the last movie you rented?Mrs. Palfrey at the Claremont. �

Interview by Jennifer A. Workman, AIA, an architect with Good Ful-ton & Farrell Architects.

Andrew P. Moon, Assoc. AIA

TAMU architecture student, circa 1950s.Texas A&M University.

48 WINTER 2009

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Thanks to Gail Sachson, vice-chair of the Dallas Cultural AffairsCommission and owner of Ask Me About Art for the idea for thisnew feature.


Index to Advertisers

Web wise |

+ MOODhttp://plusmood.com/+ MOOD is a sleek online resource dedicated to everythingrelating to contemporary design including architecture, interi-ors, and furniture. Check the site daily for selected projectsand design features.

Instructableshttp://www.instructables.com/Have you ever wanted to build a watermelon keg or a card-board chair? This website can show you how. Instructables iscomprised of user uploaded do-it-yourself projects that areeasy to replicate with step-by-step instructions and images.

Yanko Designhttp://www.yankodesign.com/Yanko Design is a web magazine that covers the newest inmodern international design, from industrial design, concepts,technology, interior design, architecture, exhibition, and fashion.

World-Architectshttp://www.world-architects.com/World-Architects contains individual profiles of well-estab-lished architectural firms, exciting projects by young architects,as well as work from landscape designers, engineers, pho-tographers, and light designers.

Contemporisthttp://www.contemporist.com/As the name suggests, this weblog focuses on and presents adaily offering of contemporary design that includes architec-ture, furniture, interior design, and lighting. The entries areeasy to browse with large images and succinct summaries.

Chris Grossnicklaus, Assoc. AIA, is with RTKL Associates Inc.To offer your ideas for websites that others might like to visit, sendhim suggestions at [email protected].

Online spaces that intrigue,engage, and educate

By Chris Grossnicklaus, Assoc. AIA

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Michael Lyon Photography

In Context | Contnued from page 7

50

The health of a city like Dallas is often measured by thequality of its downtown. While new buildings are an importantcomponent of a dynamic and evolving metropolis, new doesnot always equal progress. In the same light, old buildings donot always equate to tired relics. At Preservation Dallas, we ap-preciate that all the great cities of the world thrive when theyhave a forward-thinking attitude and a respect and appreciationfor their past, while looking to the future. To us, these are theelements that give meaning and context to Dallas.

Preservation Dallas is a private, nonprofit organization,founded in1972. We have nearly forty years of successful ad-vocacy, from establishing Dallas’ first historic preservation ordi-nance to surveying and seeking landmark designation for FairPark. We were recently involved in revising and expanding theHistoric Preservation Tax Incentive Program. Our focus on pre-serving and revitalizing Dallas’ historic buildings, neighborhoods,and places involves projects of all types, including efforts to pro-tect even just one building, one neighborhood, or one place.

Preservation Dallas initiates and manages new programssuch as MODCOM (Modern Committee) which sponsors out-

ings, walking tours, and lectures featuring locally significant ar-chitecture, landscape architecture, design, and the decorativearts. Our partners include the Dallas Center for Architecture,the Dallas Architecture Forum, and DOCOMOMO (Docu-mentation and Conservation of the Modern Movement).

Historic preservation is an investment that pays dividendsin any type of economic environment. Financial contributionsmade to our organization allow us to initiate programs that im-prove quality of life, recognize Dallas’ cultural and artistic her-itage, grow our downtown, and educate the community aboutthe value of these resources. Preservation Dallas is supportedby the generosity of our members, corporate sponsors, andthrough special events. We also benefit from the kind supportof the Meadows Foundation. To learn more information or tojoin Preservation Dallas call 214-821-3290, visit us online atpreservationdallas.org, or find us on Facebook. �

Katherine Seale is executive director of Preservation Dallas.

By Katherine Seale

WINTER 2009

Field Notes | Preserving Dallas


The pilot program of AIA Dallas Emerging LeadersProgram 2009 was created to engage young professionals intheir communities. The intent of this program is to enhancethe professionals’ abilities in key areas of leadership. Early thissummer, AIA Dallas’ Emerging Leaders Group volunteered toclean a portion of Turtle Creek Park. We started at the cornerof Gillespie and Cedar Springs Road and went up the bend ofthe stream for a quarter-mile stretch. This part of the park hastall trees, natural ground cover, and a stream flowing throughit. There is a walking trail along one side.

The green belt of Turtle Creek attracts residents and visitorsfor recreation and relaxation. The Turtle Creek Association(TCA) and the Dallas Park Department do a stellar job in main-taining the landscape and bringing the community together topreserve this landmark. Volunteer efforts of time and moneyfrom fellow community members are essential in maintainingthis oasis at the heart of Dallas. The Emerging Leaders Groupselected this clean-up project as part of our social responsibil-ity to the community we live in.

We wore our bright orange t-shirts on a sunny Saturdaymorning as we started under the bridge adjacent to CedarSprings. TCA supported us through the entire process and theywere camped at the starting point with accessories and tools tohelp us with the clean-up. Dallas Park Department personalalso joined us. We were mindful of the impact of the trash col-lection on the landfill, so the recyclable trash was separated atcollection. The City of Dallas’ waste management service alsomade a special trip to collect the trash and recyclables from theclean-up site.

It was engaging to see how many organizations and indi-viduals are interested in working together for a common cause.What it really takes is having a person lead the cause and spreadthe word. We had the opportunity to work with several otherbusinesses and vendors from the Dallas community. Mostgroups that we approached were eager to join in the effort.Two of the prominent contributors were Tree Hugger Boxes(www.treehuggerboxes.com) and Recycle Revolution(www.recyclerevolutiondallas.com).

Architects are uniquely qualified in shaping their communi-ties. Architectural professionals not only achieve this by de-signing buildings and master planning communities, but also bytheir unique ability to bring people together and work out so-lutions with a focus on team success. Our ability to connect tomultiple groups in the community during this clean-up effortexemplifies that notion. The volunteer efforts to support acommunity cause always have the positive effect on buildingteam spirit and teaching responsibility; but this effort enabledus to experience the ability to leverage reputation and fosterpartnerships for a common cause.

Emerging Leaders of 2009 plan to continue relationships withTurtle Creek and join them in their future community efforts. Tofind out more about TCA visit www.turtlecreekassociation.org;and to find out more about AIA Dallas Emerging Leaders pro-gram visit www.aiadallasleadershipprogram.blogspot.com/ . �

Vandana Nayak, AIA, is a project manager at SHW Group and amember of AIA Dallas’ Emerging Leaders Group 2009.

Social Responsibility | Cleaning Up Turtle Creek

By Vandana Nayak, AIA

52 WINTER 2009

With the passing of Philip Johnson, an era came to anend. Professionals in numerous fields now stand to judge whatamounts to a nearly seventy-year career. In Constancy ofChange, 16 witnesses—a veritable Who’s Who of architectureand academia—have been called to give their versions ofevents. What and how much they know varies, but collectivelytheir recollections stand the best chance at explaining theenigma that was Philip Johnson. Individually, the testimoniesseem pedantic, convoluted at best, and little more than “the-ory speak” at worst. At times, they contradict one another andeven themselves. The extolled virtues of one essay becomethe derided short comings of the next. The volume seems al-most schizophrenic. However, when the overarching com-monalities are drawn out and compared an epiphany can bereached. The book is written very much in the manner that itportrays Johnson’s life and work. It brings us the essence ofJohnson and the contradictions he embodied. The book itselfdefies classification; at times it’s a biography, then switching tofiction, then switching to a eulogy only to switch again. Itevokes the same emotions in its reader (admiration, hatred, in-trigue, and revulsion) that Johnson elicited in those around him.When the last page is turned, you may find you’ve enjoyed thefrenetic book about this seemingly esoteric man. �

Reviewed by Connor Burton an intern architect withRaymond Harris & Associates Architects

The Craftsman is a thorough and wide-ranging meditationon the “skill of making things well.” This is a topic of special in-terest to architects, as we consider ourselves craftsmen ofbuildings at our core. In fact, Sennett includes many examplesfamiliar to architects, such as Christopher Wren’s rebuilding ofLondon and Frank Gehry’s cladding of the Guggenheim. Mosttimely is a critique of the impact of CAD on the practice of ar-chitecture, which Sennett presents as an example of how atechnological expediency can promote disconnect between thehead and the hand. Other explorations on the nature of crafttake him from the isolated workshop of a medieval goldsmithto the collective world of Linux programmers, from the leg-endary studio of Antoni Stradivari to the Manhattan project.Throughout his wide-ranging ruminations, Sennett finds aframework of rules that has guided craft and craftsmanshipthroughout history.

However compelling the historical vignettes are, this bookis not a leisurely read. Sennett takes the reader through manytangential philosophical arguments that often confuse the un-derlying narrative. But in the end, Sennett is not so much pre-senting a singular argument about the nature of craftsmanshipas he is exploring every facet of our inherent compulsion tocreate. The most basic insight Sennett shares is that all of usare craftsmen; we all share a “desire to do something well, con-cretely, for its own sake.” �

Reviewed by Louis Sierra, AIA, a project leader with Beck Architec-ture LLC.

Critique | Professionals Share Perceptions of Publications


Over the past several years, the AIA Dallas LeadershipCommittee has worked diligently to implement an internalleadership program to identify, cultivate, and mentor emergingprofessionals in three areas of leadership related to the archi-tectural profession: the firm, the profession, and the commu-nity. In early 2009, this vision culminated in the formation ofthe AIA Dallas Emerging Leaders Program through which lead-ers of local firms were given the opportunity to nominate up-and-coming professionals to participate in a ten-monthcurriculum. Influential speakers and panelists complemented aseries of lectures related to leadership, problem solving, andmanagement of professional relationships. The inaugural class iscomprised of nineteen participants representing seventeen Dal-las-area architectural firms. They dedicate one Friday afternooneach month to come together to learn about an array of lead-

ership topics through example, practice, and theory.The program’s diverse line-up of speakers and panelists in-

clude such notable local and national figures as Hunt Oil Chair-man Walt Humann, Dallas Mayor Tom Leppert, TSA PresidentBill Reeves (Marmon Mok, San Antonio), AIA Vice PresidentGeorge H. Miller (Pei Cobb Freed & Associates, New York),and Texas Comptroller Susan Combs. Todd Howard, presidentof AIA Dallas, takes special interest in this program, visiting oftento ensure its success. This group of contributors has given theprogram’s participants insight into the professional and politicalworkings of a number of prominent companies and organiza-tions, as well as renewed motivation to dedicate individual tal-ents to positively impacting the natural and built environments.In the program’s first session, Mr. Humann challenged thegroup to use its problem solving abilities to embrace new ideasand concepts in a host of disciplines in order to take incremen-tal steps toward bringing communities together and achievingsolutions for a better societal future.

Each session, speakers are followed up by program facilita-tor Pete DeLisle, PhD, professor of leadership at Austin Col-lege. He teaches leadership by breaking down complex anddynamic workplace-related situations into simpler theories ofhuman behavior. Dr. DeLisle brings valued experience andknowledge of different leadership styles through his affiliationswith the military and prominent corporations. His lessons areheavily driven by group participation and discussion of profes-sional trends and behaviors. These activities provide participantswith not only enhanced personal knowledge, but also cama-raderie among peers which will promote values and leadershipamongst a new generation of professionals in the Dallas archi-tectural community. �

Brad Shipman, Assoc. AIA, is with t. howard + associates and servesas vice chair of the AIA Dallas Leadership Committee.

Practice Matters | AIA Dallas’ Emerging Leaders Program

By Brad Shipman, Assoc. AIA

The Emerging Leaders Program is open to participation fromall Dallas area architectural firms through an applicationprocess to the AIA Dallas Leadership Committee. For informa-tion on how to nominate a participant for the upcoming 2010class, inquiries may be sent to Brad Shipman [email protected].

2009 participants include:Aguirre Roden – Pablo Martinez, AIACorgan – Matt McDonald, AIAF&S Partners – Jeff LivingstonFKP Architects – Leticia Canon, Assoc. AIAGensler – Pete Chalfant, Assoc. AIAGood, Fulton & Farrell – Sara Good, Assoc. AIAHKS – Heath MayJHP Architecture/Urban Design – Sheila Kleinpeter, AIAMerriman Associates – Adam JonesOmniplan, Inc. – Brian SaldanaPage Southerland Page – Lindsey Brigati and James TannerPerkins + Will – Ben HowellRaymond Harris & Associates – Mary Foley, Assoc. AIASHW Group – Vandana Nayak, AIAt. howard + associates – Brad Shipman, Assoc. AIAThe Beck Group – Cory Griffin and Jayson KabalaWDG Architecture – Will Duncan

Digital Fabrications I+II installation atThe Dallas Museum of Art, UTA studentsand Faculty, Brad Bell, instructor.


This issue of Columns is dedicated toeducation; not the architecture of educa-tion, but the education of architecture. Thisincludes how we educate the next genera-tion of architects, as well as our existingprofessionals, and should always extend tothe education of the general public as well.

For most of us it’s been a long timesince we were in a studio. I like to thinkof myself as a rather young architect (36years young); but even I am amazed atthe advances in technology and thechanges that communication has causedin the profession. When I think abouthow presentations have evolved fromthe era of Strathmore, 20x30 boards,Chartpak, and stippling, I become bothnostalgic for my old studio desk and over-whelmed by the presentation possibilitiesthat exist today. There’s great concernthat all the glitz and sparkle from an ani-mation fly-through, a Flash presentation,or access to stereo lithography machinesmight mask a lack of good design funda-mentals. On the other hand, the oppor-tunities that these tools open up forarchitects boggles the mind! All of this un-

derscores the importance that educatingthe next generation of professionals hason the future of our built environment.

We also have to remember that edu-cation is a lifelong process. As profession-als, we must meet our continuingeducation requirements; but extending ourpursuit of education beyond CEU’s andcertifications elevates us above the aver-age. The hunger for new ideas and infor-mation and the embracing of new mediaand technology sets us apart and keeps thesoul of a creative person from stagnating.The architect, who doesn’t chase newknowledge or stifles his own curiosity, forthe sake of laziness or routine, is a poorrepresentative for our profession. We havean obligation to educate our clients and so-ciety about the built environment. This ed-ucation extends beyond bricks and mortarand touches on the ideas and concepts thatshape our buildings. Architecture is muchmore about the building of ideas than it isabout buildings. �

Brian McLaren, AIA, is a principal with WareArchitecture and editor of Columns.

By Brian McLaren, AIA

Edit | Educate

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