SCIArcMagazineNo 3

ISSUE
003
ISSUE
003
SCI--
ARC
1 BROTHER CAN YOU SPARE A
[PROVISIONAL] [PARA]DIGM
Eric Owen Moss
3 PUBLIC PROGRAMS
5 3 DAYS IN SEPTEMBER:
GRADUATION & THESIS WEEKEND
6 THESIS PREP SYMPOSIUM
7 THE POWER OF PHILANTHROPY
Bill Kramer
8 LEADERSHIP NEWS
9 CAMPUS NEWS
11 FACULTY PROFILE: TOM WISCOMBE
Hernan Diaz Alonso
13 ALUMNI NEWS & EVENTS
14 ALUMNI COUNCIL
Nerin Kadribegovic
15 FROM DOGTOWN TO DOWNTOWN:
IAN ROBERTSON AT SCI-ARC
Joe Day
16 CLASS NOTES
18 SCI-ARC DONORS
DON QUIXOTE:
Architects Don Quixote and Sancho ride out
on their picaresque journey, perusing the
Spanish countryside.
Thirty or forty windmills appear on the
horizon.
The windmills are giants, says the Don.
The windmills are windmills, says Sancho.
For the Don the windmills are giants because
the Don says so.
For Sancho the windmills are windmills
because everyone says so.
Don Quixote is a radical architect.
HENRY MOORE:
Henry Moore sculpted the Helmet.
Unlike the Odysseus version, whose form was
congruent with the head it was designed to
protect.
Moores helmet doesnt conform to any head.
An exterior enclosure protects an interior
object. We can partly see the protected shape.
We know what it isnt [a head], but its un-
clear what it is.
FIT AND MISFITTHE HELMET
EXEGESIS:
The Outside of the Outside, the external
surface of the Helmet, faces the world.
The Inside of the Outside, the interior surface
of the Helmet, looks in on the Glue.
The Outside of the Outside and the Inside of
the Outside differ in prohle.
The Glue is the void between the Inside of the
Outside and the Outside of the Inside.
The interior shape, the Outside of the Inside,
looks out on the Glue.
The Inside of the Inside, inside the Outside of
the Inside, faces itself.
The Helmet is radical architecture.
BACK TO SCHOOL:
The English teacher announces:
This is a sentence. Capitol letter, noun, verb,
period.
Cummings, Faulkner, and Joyce play hooky.
The music instructor announces:
Music is an 8 tone scale.
Bartok, Cage, and Hendrix play hooky.
Radical architecture is self-taught.
THE MODERN ARCHITECTURE
ADVENTURE:
De Stijl, Futurism, Constructivism and the
Bauhaus ruminate during the 1920s.
The discourse is formative, fragile, and often
contradictory. There are tentative hypotheses.
But there is no single solution. Just an endur-
ing tension between conceptual possibilities.
Manifestos are plural.
The competing hypotheses share a common
enemy.
Heres how House Beautiful characterized
that enemy in 1953:
House Beautiful has decided to speak out
and appeal to your common sense because it
is common sense that is mostly under attack.
Two ways of life stretch before us. One leads
to the richness of variety, to comfort and
beauty. The other, the one we want fully to
expose to you, retreats to poverty and unliv-
ability. Worst of all it contains the threat of
cultural dictatorship.
1953: Modernism, according to the House
Beautiful characterization, is not simply a
catalogue of formal options from which to
select. Modernism is insidious. America
[according to the editor] lives in apprehension
of the coming poverty, unlivability, and
cultural dictatorship of Modernism. The
apprehension is genuine and profound. A way
of life is threatened. A radical proposition in
architecture is an attack on the traditional
measure of value in human affairs, an attack
on a cultural ethos.
Early Modernism delivers a disconcerting
message to the status quo. Thats the radical
task.
Sixty years later Modernism, no longer the
enemy, now merely one of a number of cata-
logue design options, regularly inhabits the
cover of Dwell Magazine, the inheritor of
House Beautifuls role as content matre d
for American architecture.
Radical architecture needs an enemy.
1928: Wanna be a radical architect, kid?
Have a look at the appendix of The Interna-
tional Style. Hitchcock and Johnson present
the NY MoMA approved recipe for contempo-
rary architecture. Learn the rules, kid.
BROTHER, CAN YOU SPARE A
[PROVISIONAL] [PARA]DIGM?

Eric Owen Moss
1
Here`s a wall, a column, a oor, a roof, a
window. Thats how you do it.
1988: Again Phillip and NY MoMAs sanc-
tion. Wanna be a radical architect, kid?
~The diagonal line`s the recipe for Decon-
struction, Phillip announces. Learn the
rules.
THE DEATH OF NEW ARCHITECTURE:
Twice, 60 years apart, Phillip et al homog-
enize an unsettled discourse, and substitute
a codihed methodology.
Thats how radical new architecture is inevi-
tably stultihed, labeled by an authoritative
agency that offers a learnable/teachable pro
forma in place of a uid design discourse.
TOOLS AND RULES:
The form language of Modern Architecture
mandates the parallel rule, triangle, scale,
and pencil. The tools enable the form lan-
guage. The form language conhrms the tools.
The generative process for imagining new
architecture must be accompanied by sub-
stantial research that explores new drawing
and building means.
Bilbao was built. Walking City wasnt.
Bilbao provided the tools.
2010: Wanna be a radical architect, kid?
Heres the latest. The nomenclature this time,
Patrik Schumacher tells us, is Parametricism,
a Spengler-like effort to matricize and stratify
an unruly contemporary discourse.
Patrik`s obligatory form language warranty`s
avant-guard status for the practitioner.
New architecture carries no warranty.
TOOL AND RE-TOOL:
New tools are conceived to implement the
architectural surprise we cant yet draw or
construct. The advent of new tools allows us
to do what heretofore we could only imagine.
The tools in turn become obligatory means to
produce a predictable result. And surprise is
no longer a surprise.
The repertoire of CNC, BIM, the Rhino menu
et al supplant the repertoire of the parallel
rule and the triangle.
Self-congratulations are in order on our
mastery of a new technical pro forma. We`re
hugely satished with ourselves. International
symposia reign. Check the Rhino Menu: 800
or so options to stretch, twist, pull, bend,
crease, fold, and so on.
But dissatisfaction is the impetus to new
architecture.
FREUD, NEWTON, AND DARWIN:
We understand the instinct for method. We
understand the need to impose a learnable/
teachable order.
The enduring prospect for radical architec-
ture is contingent on whether we locate
human affairs within a system of logic
Freud`s, Newton`s, Darwin`s, de Man`s,
Johnson`s. If human affairs are not amenable
to a discoverable logic, either extant or
arriving, then the radicals conceptual design
target is only a provisional paradigm.
Friedrichstrasse to Seagram, for instance.
The Provisional Paradigm is the sole credo of
the radical architect. It`s an allegiance to
non-allegiance. It insists that any design
hypothesis is intrinsically fragile. It under-
stands its advocacy, its strengths, and its
limits, so the next time, that previously
insisted on pro forma, is replaced with a
model that interrogates what was previously
prized.
PENELOPE:
Odysseus` wife Penelope, awaiting his return
from Troy, fends off anxious suitors by
promising to weave a funeral shroud. When
the shroud is complete, she`ll marry one of
them. Penelope knits the tapestry during the
day and unravels it at night. Puts it together
and takes it apart simultaneously.
Thats the Provisional Penelope [para]digm for
new architecture.
(To be published in The Architectural Review to coincide
with Eric Owen Moss 2011 Jencks Award lecture)
2
3 PUBLIC PROGRAMS
CURRENT
SCI-Arc Gallery Exhibition
ANISOTROPY
Odile Decq Benot Cornette, Architectes Urbanistes
October 14 December 4
Library Gallery Exhibition
MR. CHIP GOES TO WASHINGTON
Solar Decathlon 2011
October 28 December 16
RECENT
JASON PAYNE
Rawhide
Principal, Hirsuta, Los Angeles
Lecture
WOLF PRIX
Whats the difference #1
Principal, Coop Himmelb(l)au, Vienna & Los Angeles
Lecture
PHILIP BEESLEY
Diffusive Architecture
Professor, University of Waterloo School of Architecture
Toronto, Canada
Lecture
JESSE REISER
Projections and Receptions
Principal, Reiser + Umemoto, RUR Architecture, New York
Lecture
ZVI HECKER
Memory is the Soil of Architecture
Architect, Berlin, Germany & Tel Aviv, Israel
Lecture
LUYANDA MPAHLWA
Director, Luyanda Mpahlwa DesignSpaceAfrica
Cape Town, South Africa
Lecture
ODILE DECQ
Beyond Horizon
Director, Ecole Spciale dArchitecture; Principal, Odile Decq
Benot Cornette, Architectes Urbanistes, Paris, France
Lecture
ANTONIO JIMENEZ TORRECILLAS
Back to the Future
Architect, Granada, Spain
Lecture
JOSE OUBRERIE
Architecture in a Time of Uncertainty
Professor, Knowlton School of Architecture, Columbus, Ohio
UPCOMING
Lecture
MARK FOSTER GAGE
Design Liquidity
Assistant Dean and Associate Professor, Yale University
School of Architecture; Principal, Gage/Clemenceau Architects
November 9, 7pm
Lecture
XU WEIGUO
XWG Works
Professor, School of Architecture of Tsinghua University
Principal, XWG archi-studio, Beijing, China
November 16, 7pm
Lecture
JOHN SOUTHERN
Seeding Production: Explorations and Conjecture in Contempo-
rary Culture
Principal, Urban Operation, Los Angeles (M.Arch 02)
November 30, 7pm
ABOUT PUBLIC PROGRAMS
SCI-Arc Gallery exhibitions and public
programming are funded in part by a
grant from the National Endowment
for the Arts.
Lectures and discussions are webcast
live at sciarc.edu/live.
The SCI-Arc Gallery is open daily
from 10am6pm. The Library Gallery
is open MondayFriday from 10am
7pm and SaturdaySunday from
12pm6pm.
SCI-Arc is located at 960 East 3rd
Street, Los Angeles, CA 90013. The
building entrance and parking lot are
located at 30 Merrick Street, between
4th Street and Traction Avenue.
SCI-Arc Public Programs are subject
to change beyond our control. For the
most current information, please visit
sciarc.edu or call 213.613.2200.
To join SCI-Arcs Public Programs
email list, contact public_programs@
sciarc.edu.
Wolf Prix
Whats the difference #1
Lecture
4
RAMIRO DIAZ-GRANADOS
Go Figure
Principal, Amorphis, Los Angeles; Professor, SCI-Arc (B.Arch 00)
January 13-February 26, 2012
This exhibition is made possible thanks to a Creative Connections
grant from The James Irvine Foundation
Lecture
JUAN HERREROS
Dialogue Architecture
Principal, Herreros Arquitectos, Madrid
February 15, 2012, 7pm
Lecture
PETER TRUMMER
Head of the Institute of Urban Design & Spatial Planning
University of Innsbruck, Austria
February, 22, 2012, 7pm
OUTSIDE SCI-ARC
Exhibition
HSINMING FUNG
AND CRAIG HODGETTS
California Design, 1930-1965: Living in a Modern Way
Los Angeles County Museum of Art (LACMA)
October 1, 2011-March 25, 2012
Hodgetts + Fung is participating in the highly touted Pacifc Stan-
dard Time, Art in LA, 1945-1980, a many-headed exhibition with
more than 40 museums and nonproft galleries across Southern
California hosting shows centered on innovation in design, craft,
and architecture in the creative period of postwar Los Angeles.
Hodgetts + Fung designed the installation for the California
Design exhibition on view at LACMAs Resnick Pavilion. Their
design is inspired by Californias unique style, and the exhibit
includes the Case Study House program, open plan and indoor-
outdoor living, Julius Shulman photographs, and the explosion of
consumption that followed the deprivations of the Great Depres-
sion and World War II.
Exhibition
ANDREW ZAGO
Foreclosed: Rehousing the American Dream
Museum of Modern Art (MoMA), New York
January 31-July 31, 2012
A multi-disciplinary team led by Andrew Zago of Zago Architec-
ture will exhibit in the Foreclosed group exhibition hosted by
MoMA as part of the museums Issues in Contemporary Architec-
ture series. Zagos proposal centers on rethinking housing in Ri-
alto, California, in light of the U.S. foreclosure crisis. At the cen-
ter of the exhibition will be physical models, drawings,
renderings, and animations to be produced by fve teams selected
to participate in the program, each focusing on a different metro-
politan area in the U.S.

Faculty Lectures, Awards & Competitions
COY HOWARD
2011-2012 Rome Prize Fellowship, William A. Bernoudy
Architect in Residence, American Academy in Rome
ERIC OWEN MOSS
Dubai Muncipality, UAE, November 16
Abu Dhabi Urban Planning Council, November 17
Getty Symposium, Getty Center, Los Angeles, The Past and the
Future of LAs Global Image, November 19
2011 Jencks Award, Royal Institute of British Architects (RIBA),
London, Demember 6
Architectural Association, London, December 7

TOM WISCOMBE
Extreme Integration
The Bartlett School of Architecture, October 19
University of California, Los Angeles (UCLA), November 21
Reiser+Umemoto, 0-14 Tower
Projections and Receptions
Lecture
Jason Payne (B.Arch 94)
Rawhide, SCI-Arc Gallery
Hodgetts + Fung
California Design, 1930-1965: Living in a Modern Way
Los Angeles Museum of Modern Art (LACMA)
5 3 DAYS IN SEPTEMBER
Graduation
1/2/12.
Graduation Pavilion designed by
Oyler Wu Collaborative
Thesis Weekend
3.
Student preps thesis exhibit
4.
Matthew Au presents his thesis
to the critics
5.
Best Graduate Thesis: Michael W.
Gross (M.Arch 2), The Cut
Advisor: Elena Manferdini
6.
Best Graduate Thesis: David A. Bantz
(M.Arch 2), Fuzzy Figures: Pictorial
Dissolution of Formal Perception
7.
Selected Graduate Thesis: Donovan
Ballantyne (M.Arch 2), The Cut
8.
Best Graduate Thesis: Ivan Bernal
(M.Arch 2), Familiar Primitives
Advisor: Hernan Diaz Alonso
9.
Best Graduate Thesis: Paul
Mecomber (M.Arch 2), Strange
Symmetry: The Conjoined Twin
Advisor: Andrew Zago
10.
Visitors at Graduate Thesis Weekend
pass by Paul Mecombers thesis
project
11.
Visitors pass by the Graduate Thesis
Weekend sign
Fall term is a dynamic and inspirational time in the life of SCI-
Arc. Students are back and the new academic year brings renewal.
On a broader plane, SCI-Arc is on the threshold of its 40th anni-
versary, when our still young school will strengthen the promise
of its future and renew its commitment to educate architects who
will imagine and shape the future.
In early September, during the frst week of Fall term, SCI-
Arc hosted its Graduate Thesis Weekend. A culmination of up
to three years of study and coursework leading toward the M.Arch
and M.DesR graduate degrees, the public event has students pre-
senting their fnal projects to critics from all over the world. Grad-
uate thesis refects SCI-Arc`s rigorous architectural education that
is responsive to cultural change, promotes architectural experi-
mentation and creative and academic freedom, and supports a
fuid relationship between education and practice. SCI-Arc`s the-
sis weekend is regarded among theoreticians and practicing archi-
tects as a major forum for the discussion of fresh insights and
innovative concepts in architecture. Among guest jurors attending
this years thesis reviews were Sam Jacob, Glen Howard Small,
Brett Steele, Fabrizio Gallanti, Peter Cook, Joe Day, Jeffrey Kip-
nis, Greg Lynn, and Jesse Reiser.
Every year, the guest critics are tasked with selecting the most
exceptional thesis work from more than seventy graduate and
post-graduate projects presented school-wide. Best thesis students
honored this year were:
Francisco Alarcon Ruiz (M.Arch 1): Innerscapes
David A. Bantz (M.Arch 2): Fuzzy Figures: Pictorial
Ivan Bernal (M.Arch 2): Familiar Primitives
Michael W. Gross (M.Arch 2): The Cut
Paul Mecomber (M.Arch 2): Strange Symmetry:
The Conjoined Twin
Curime Batliner (EST
m
), Brandon Kruysman (EST
m
), and
Jonathan Proto (EST
m
): SYN|Synchronous (Object)ives
(a group thesis project developed in the new SCI-Arc
Robot House)
A two-week Selected Thesis Exhibition was on view in the
SCI-Arc Gallery through the end of September. Graduate students
selected to exhibit alongside best thesis winners were Matthew
Au (M.Arch 1), Amanda Diemoz Webber (M.Arch 1), Donovan
Ballantyne (M.Arch 2), and Kim Lagercrantz (M.Arch 2).
Thesis Weekend culminated in the annual Graduation Cer-
emony, where degrees are conferred to graduating students in the
B.Arch, M.Arch, and post-graduate programs. In what has be-
come a tradition, the schools graduation pavilion is designed each
year by faculty members and built with the help of students. This
year, faculty members Dwayne Oyler and Jenny Wu of Oyler
Wu Collaborative, along with their students, and faculty member
Matthew Melnyk of Nous Engineering who did the engineering,
designed a pavilion entitled Netscape that stretches across the
northern end of the SCI-Arc parking lot, providing seating for
900. Consisting of 45,000 linear feet of knitted rope, 6000 linear
feet of tube steel, and 3000 square feet of fabric shade louvers, the
pavilion created a sail-like canopy of rope and fabric that foated
above the audience. With its fabric louvers tilted toward the west-
ern sky, the canopy was designed to provide shade for the specifc
date and time of the graduation ceremony.
This years commencement speaker, Pritzker-prize winner
Thom Mayne and a SCI-Arc founding faculty member, said this
about the graduation pavilion:
How typically SCI-Arc, an institution renowned for its
conceptual thinking but also committed to an engage-
ment with the real. It is right and tting that you would be
in a space created by two of your faculty members for
this graduation ceremony. In keeping with SCI-Arcs es-
sential nature, the space is both temporary and contem-
porary. The temporary implies that it is of this time and
place, an architecture interpretive and specic to this
celebration today. The contemporary implies that the
space itself will be re-thought and re-designed annually
to provide an environment that evolves and changes just
as the curriculum evolves and changes to encompass
new technology, new world realities, and the new modes
of creative thinking that you were charged with develop-
ing over the course of your education here.
For the frst time at SCI-Arc`s graduation ceremony,
a graduating student, Tristan Brasseur (M.Arch 11),
addressed her peers:
The nal story today, the one Id like to end on, is the one
that hasnt yet happened. Its the story that comes after
this one, the one where we all live happily ever after to
the end of our days and where we stay in contact with
one another by way of facetime, online social networking
websites, and sporadic class reunions. This is it, guys.
This is the end of this story. Its the part of the story I
never nish because I never want it to end. This is the
part that actually means the world to us.
We all remember rolling in here for the very rst time,
the very rst day of school. We remember modeling but-
teries in our very rst Maya class. That was 748 days
ago. Tomorrow it will be 749. Its just as my father always
told me: whatever you choose to be in life, be a good
one. Be a great one. Our time here at SCI-Arc has taught
us to be curious and optimistic, but at the same time
critical. Weve learned to do things that are unusual and
weve learned that taking risks is a way of living our lives,
not just in terms of architecture. 748 days ago we came
here as Padawans and today we are leaving with Jedi mas-
ters and Jedi bachelors degrees. Be great and make good
choices.
THESIS PREP SYMPOSIUM
6
April 6, 2011
Moderator: ELENA MANFERDINI
Panelists: SANFORD KWINTER, JEFF KIPNIS,
HERNAN DIAZ ALONSO, WES JONES
ELENA MANFERDINI: Graduate Thesis was reintroduced at SCI-Arc
six years ago. This period represented a playground for a young
graduate program to learn how to play. This occupation (that
one could describe as imagining a world in absence of verifca-
tion) has been geared towards individual creativity based on no
pre-existing principles. As a result, the thesis program at SCI-Arc
has been able to picture architecture in far more elastic terms.
Final thesis projects appear as if they have reached a rare tension
between individual interest and group investigations. Now that
SCI-Arc as an institution has unquestioningly reached a more
mature stage, it is important that the thesis program demonstrate
its ability to own the choices architects need to think about today,
fostering a broader culture of ideas, inquiries and position-taking.
What do designers need to think about today and how does thesis
contribute to a broader position-taking at SCI-Arc?
SANFORD KWINTER: Responding to the world and responding to
our historical period is something we need to do. The thing about
this, of course, is that we are weary of many of the clichd and
routine ways in which this is being done in our feld.
WES JONES: To offer an answer to this question, it would be im-
portant to think about this issue from the projected perspective of
the architect and the architects concern, as opposed to the more
general concern of the designer; and recognize that the thesis
could contribute or could have something to say, at least, within
the context of that possibility.
JEFF KIPNIS: If you look at a school of fsh, it behaves as an intelli-
gent organism, as a collectivity, precisely because each of the fsh
is not trying to behave as that organism. Intelligence comes out of
the interconnectivity. What you want to do is resist the temptation
to turn it into a monoculture. But when architects speak of crisis,
population problems, or sustainability, theres a tremendous urge
to make those mono-cultural, whereas the ecological model dem-
onstrates that the most intelligent thing to do is to proliferate spe-
ciated differences and let the swarm intelligence sort it out.
SANFORD KWINTER: For the games sake, I will continue to play
the role of the generalist today. I think Jeff is trying to dismiss the
scope of questions that architecture should be permitted to ask,
and this is where I would disagree. Population explosion and sus-
tainability problems are two examples of the scope of what archi-
tecture should be encouraged to address, especially in a thesis.
JEFF KIPNIS: When you wipe out a diversity of species in order to
plant one plant for economic reasons because its an urgent plant
to have (like a solution to poverty or sustainability); thats exactly
what you would like to do the feld of architecture.
WES JONES: Thesis, as an exercise, wants to have one hand, so to
speak, in the larger questions like sustainability or poverty. The
consciousness of the individual thesis position in relation to that
actually makes it more interesting, raises the stakes, invests it
with more potential risk as it surfs this line between individuality
in the monoculture, phenotype and genotype.
HERNAN DIAZ ALONSO: When it comes to an architectural thesis
Im interested in the question of relevance more than one of
importance. Im coming to the conclusion that the idea that the
discipline and the practice can come together is gone. So, you can
have a general approach and then you have to work in a much
more specifc and isolated way.
SANFORD KWINTER: Architecture today perhaps more than ever
before, serves as a kind of aggregator of knowledge and of differ-
ent bodies of knowledge. There are lots of questions about how
one will defne the scope of an architectural problem today. I
think thesis is an optimal place to test these new forms of think-
ing. Thats why it should be treated as a place where architects are
protected to assemble hypotheses that may appear to have very
little hope of adoption. Its what they used to call high risk, high
yield hypotheses; high risk of failing and astounding yield should
they succeed. Thesis should be hypothetical. It should be imagi-
native. It should be bold. It should be rigorous, and it should ask
fundamental questions.
WES JONES: I think that risks only mean something within a con-
text of the potential for the failure.
HERNAN DIAZ ALONSO: Is it possible for architecture, or any kind
of hypothesis of thesis to really have risks? I think were getting to
a point that nothing seems to be that risky any more.
SANFORD KWINTER: What occurred to me is that this is a school
that has prided itself on exuberance and on speculative produc-
tion. At the same time, the tasks facing us are different today; the
mood is different. I happen to feel that its a very good wager that
if you go against the tenor of your times, youre standing a much
greater chance of coming up with something important. Warren
Buffet calls these types contrarians.
ELENA MANFERDINI: The current direction of thesis tends to be
either an individual one or an allegiance to a current debate. The
frst one is usually a deep interest, propelled by the impatient
quest for something different, and is characterized by a personal
methodology of work and isolated conclusions. The latter is a
collective manifestation, a pact of loyalty, and a form of organized
aggression to the status quo of the discipline. Historically a col-
lective front has been proven to be highly effective in galvanizing
architects and reaching specifc targets.
What is the role of individual vs. allegiance thesis at SCI-Arc and
how are these two opposite models helping to focus on problems
relevant to the discipline?
JEFF KIPNIS: I think theres something really important about
thinking about this question, and that is how you allow conversa-
tions of passions to emerge without subordinating everybody into
a collectivity. The history of this school is quite interesting as an
ecology. Instead of giving students thesis topics, topics evolve
from the students; students are part of emergent collectivities that
are going to be fuid. I think you have to fnd a way to mobilize
organic groups, allow them to emerge and dissolve depending on
their economics and fow systems, and then you fnd they behave.
SANFORD KWINTER: I always believe that thinking against the
clichs, the routines of ones time, is a fruitful exercise. It never
fails to surprise.
JEFF KIPNIS: For me, a measure of a thesis is if I leave with com-
pletely new ideas. In other words, its absolutely essential that we
re-nourish ourselves with unexpected information from outside the
discipline. I feel like were at a very good balance right now, and
that you can detect the communications. For the frst time ever,
were starting to see a thesis project refer to a thesis project from
last year. In other words, the students are not only referring to other
work, but theyre starting to refer to the work of the school.
From left to right: Elena Manferdini,
Wes Jones, Sanford Kwinter,
Hernan Diaz Alonso, Jeff Kipnis
1
2
Graduation
1/2/12.
Thesis Weekend
3.
4.
to the critics
5.
6.
7.
8.
9.
10.
project
11.
Weekend sign
this year`s thesis reviews were Sam Jacob, Glen Howard Small,
The Conjoined Twin
m
m
), and
Jonathan Proto (EST
m
Robot House)
come a tradition, the school`s graduation pavilion is designed each
This year`s commencement speaker, Pritzker-prize winner
a graduating student, Tristan Brasseur (M.Arch `11),
choices.
3
4
1
2
THESIS PREP SYMPOSIUM 6
April 6, 2011
fails to surprise.
10
11
Graduation
1/2/12.
Thesis Weekend
3.
4.
to the critics
5.
6.
7.
8.
9.
10.
project
11.
Weekend sign
The Conjoined Twin
m
m
), and
Jonathan Proto (EST
m
Robot House)
choices.
1
2
5
April 6, 2011
fails to surprise.
6
Graduation
1/2/12.
Thesis Weekend
3.
4.
to the critics
5.
6.
7.
8.
9.
10.
project
11.
Weekend sign
The Conjoined Twin
m
m
), and
Jonathan Proto (EST
m
Robot House)
choices.
1
2 8
7
April 6, 2011
fails to surprise.
9
Graduation
1/2/12.
Thesis Weekend
3.
4.
to the critics
5.
6.
7.
8.
9.
10.
project
11.
Weekend sign
The Conjoined Twin
m
m
), and
Jonathan Proto (EST
m
Robot House)
choices.
3
12
April 6, 2011
fails to surprise.
Hanwha Solar of China Makes
One of the Biggest Corporate
Gifts to SCI-Arc
In early August, only two months be-
fore the Solar Decathlon 2011 orga-
nized by the U.S. Department of
Energy was set to debut in
Washington D.C., SCI-Arc and
Caltech studentswho had partnered
more than two years ago to form the
rst team from Southern California to
participate in the prestigious competi-
tionreceived a surprise call. The
China-based Hanwha Solar, a leading
global provider of solar products, was
offering the team a $350,000 cash
gift to support their solar house proj-
ect CHIP, (Compact Hyper-Insulated
Prototype). Hanwha Solars gift is one
of the largest cash sponsorships ever
received by a U.S. DOE Solar
Decathlon team and the largest cor-
porate sponsorship ever received by
SCI-Arc. The company also provided
the solar modules needed to power
the home through the entire duration
of the competition on the National
Mall in Washington, D.C.
The Decathlon examines new hous-
ing typologies, alternative energy
sources, and re-imagined technical
and material possibilities, stated SCI-
Arc Director Eric Owen Moss. The
subject matter is international, so its
essential that the global discussion
has global nancial support. SCI-Arc
welcomes the interest, commitment,
and nancial support of Hanwha
Solar, added Moss.
1.
Double-Sided Incremental Forming
Project created in Robot House by
Wilson Chang, Yong Ha Kim, Chris
Martin, Kentaro Naggsawa, Naho
Tsutsui
2/4.
Projects created by high-school stu-
dents during Design Immersion Days
(DID)
3.
High-school students on eld trip to
Walt Disney Hall during Design
Immersion Days (DID)
SCI-Arc relies on philanthropic support from alumni, parents, and
friends to sustain our world-renowned educational programming.
While tuition remains the schools primary source of funding,
SCI-Arc is committed to keeping the cost of attendance as afford-
able as possible for our students. To ensure that tuition remains
low, and to help the school move forward with plans for strategic
growth and expansionincluding increasing scholarships, fund-
ing faculty initiatives, enhancing academic and public program-
ming, and improving facilitiesSCI-Arc strategically expanded
the Ofhce of Development and Alumni Affairs last year.
One of the primary goals of the Offce is to expand the
amount of support the school receives from public and private
sources, including corporations, foundation, government agencies,
and individuals. Over the past 18 months, the team has secured
substantial funding from new donors, and created solid long-term
funding partnerships that will beneft SCI-Arc for years to come.
One of the largest collections of funding partnerships secured
in the last year was tied to the creation of the new SCI-Arc Ro-
botics Lab. Stubli Robotics, The Fletcher Jones Foundation
and The Ralph M. Parsons Foundation contributed transforma-
tive funding for the creation of this important new initiative. Now
fully operational thanks to our funding partners, the Lab is a
groundbreaking research environment that is exploring the inte-
grated future of design, materials, and fabrication.
Another key collection of new donor relationships has been
formed around the creation of the SCI-Arc Digital Lecture Ar-
chive. Major grants from The Getty Foundation and the National
Endowment for the Arts (NEA)the largest grant awarded in the
NEAs Design category in 2011will be used by SCI-Arc to digi-
tize, curate, and present lectures by some of the most important
architects, designers, and theorists who have lectured at the school
during the past four decades. This free archive will be accessible
online, via phone applications, e-readers, and other new media
channels. Designed with a sophisticated search engine that will
allow access to all or specifc parts of each lecture, the SCI-Arc
Digital Lecture Archive will soon have the world discovering
never before seen footage of some of the most infuential leaders
in architecture and design. Many appear more than once, provid-
ing opportunities for analysis of their development over a long
span of their careers. Documentation critical to understanding the
architectural history and legacy of Southern California, and Los
Angeles role as an incubator of innovation, is particularly strong
in this collection. It is one of the most complete architectural archi-
val collections of its kind in the world.
In addition to the archive, SCI-Arc is working with the Getty
Foundation on a multi-year research and exhibition project that
will examine a pivotal moment in the history of Los Angeles ar-
chitecture. This project will explore the crucial early efforts of a
collection of architects to advance an alternative vision for Los
Angeles architecture in the late 1970s.
Another new initiative launched with the help of new private
funding partners is SCI-Arcs Design Immersion Days (DID).
DID is an immersive four-week summer program that introduces
high school students to the academic and professional worlds of
architecture and design. DID introduces these students to the
fundamental ways designers shape the world around us through
hands-on studio learning, feld trips to practicing design studios,
and courses on how to build a competitive design portfolio for
admission to college. Key support from The Ahmanson Founda-
tion allowed SCI-Arc to launch this program in the summer of
2011, and offer more than 20 scholarships to high school students
from low income and underserved Los Angeles communities.
Inspired by this vital institutional support, alumna Stephanie
THE POWER OF PHILANTHROPY
Bill Kramer
Bowling Zeigler made a multi-year commitment to funding
scholarships for deserving DID students.
SCI-Arcs series of exhibitions and lectures has generated
new gifts from a variety of sources: The James Irvine Founda-
tion made its frst gift to SCI-Arc in support of Ramiro Diaz-Gra-
nadoss upcoming SCI-Arc Gallery exhibition; the NEA made a
second grant to SCI-Arc, which is supporting the entire SCI-Arc
Gallery exhibition series; alumnus John Cordic and his company
RJC Builders are underwriting the second annual Raimund Abra-
ham Memorial Lecture; and the Pasadena Art Alliance support-
ed Barbara Bestors Disco Silencio! exhibition.
All of this new support, combined with enhanced annual
giving from SCI-Arc Trustees and alumni has allowed SCI-Arc to
launch new initiatives, increase scholarship support, enhance
alumni services and programming, and expand public program-
ming initiatives. SCI-Arc is extremely grateful for the support of
all of our funding partners, who are helping the school to re-think
design assumptions and to create, explore, and test the limits of
architecture.
A full list of donors from the 2010-2011 academic year is
included in this issue of the SCI-Arc magazine.
Ramiro Diaz-Granados, Go Figure
7
SCI-Arc Magazine
Issue 003
Hsinming Fung
Editor-in-Chief
Contributing Writers
Hernan Diaz Alonso
Georgiana Ceausu
Joe Day
Hsinming Fung
Bill Kramer
Eric Owen Moss
Aimee Richer
Justine Smith
Tom Wiscombe
SCI-Arc Leadership
Eric Owen Moss
Director

Hsinming Fung
Director of Academic Affairs

Hernan Diaz Alonso
Graduate Programs Chair

John Enright
Undergraduate Program Chair

Jamie Bennett
Chief Operating Ofcer
Ofce of Development
and Alumni Affairs
Bill Kramer
Chief Development Ofcer

Dawn Mori
Associate Director of Corporate,
Foundation and Government
Relations

Aimee Richer
Associate Director of Annual
Giving and Alumni Affairs

Rebecca Silva
Development and Alumni
Affairs Associate
SCI-Arc Publications

Justine Smith
Project Manager

Georgiana Ceausu
Online Media & Public Relations

Alicia Patel
Senior Graphic Designer

Kate Merritt
Graphic Designer

2011 SCI-Arc Publications
Photography
Tamea Agle
Karim Attoui
Tom Bonner
Michal Czerwonka
Chung Ming Lam
Scott Mayoral
Patrick McMullan
Priyank Mehta
Darius Siwek
Stefano Paltera
Ulf Wallin
Joshua White
Oyler Wu
TED TANNER AND
RUSSELL GOINGS JOIN
BOARD OF TRUSTEES
Ted Tanner, Executive Vice President, Real Es-
tate Development for AEG Worldwide, and Rus-
sell Goings, a veteran LA-based investment
banker and Senior Vice President at Hutchinson
Shockey Erley & Co., were unanimously elected
to the SCI-Arc Board of Trustees at the quarterly
meeting held in June. The 22-member SCI-Arc
Board is chaired by land-use attorney Jerry Neu-
man, who stated: as our school has grown and is
recognized as a world class institution, it is vital
that our Board refect that prominence, and both
Tanner and Goings bring that level of sophistica-
tion to a growing stellar Board. Added SCI-Arc
Director Eric Owen Moss, Ted is re-imagining
downtown and Russ is re-making the central
city-two perfect fts that confrm SCI-Arc`s
commitment to the future of Los Angeles as the
city of the future.
A noted developer and registered architect,
Ted Tanner oversees AEGs real estate develop-
ment activities worldwide, including major proj-
ects in Los Angeles, London, Berlin, and most
recently in Asia and Brazil. He has more than 30
years of development experience in downtown
Los Angeles, as well as 10 years working as an
architect and a Philadelphia city planner. With
AEG, Tanner was responsible for acquiring,
entitling and master planning the 40 acres
surrounding Staples Center. For the past 3 years,
he has been leading the development of L.A.
Livea 4-million square foot sports, residential
and entertainment development project in down-
town Los Angeles. His team has recently com-
pleted the $1 billion 54-story, 1,001-room hotel
operated by JW Marriott and Ritz-Carlton, as
well as 224 luxury Ritz-Carlton Residences.
Tanner also managed development of AEGs
Home Depot Center at Cal State Dominguez
Hills in Carson and the Nokia Theatre Times
Square in New York City, and formulated plans
for soccer stadiums in Chicago and New Jersey.
Russell L. Goings, III is a veteran of the
securities industry, with more than 25 years spent
in California public fnance. His investment
banking clients have included: the State of Cali-
fornia; the cities of Los Angeles, Stockton, Fres-
no, Compton, Oakland, Richmond, Long Beach,
Inglewood and Carson; the counties of Sacra-
mento, San Diego, Contra Costa and Los Ange-
les; and political subdivisions such as the San
Diego Unifed Port District, Los Angeles County
Metropolitan Transportation Authority and
World Port of Los Angeles. Goings served on the
Mayors World Port of Los Angeles Futures
Commercial Task Force, was Chairman of the
Public Finance Subcommittee for Rebuild L.A,
and the Board President of the Watts-Willow-
brook Boys and Girls Club. He presently serves
as a Board Member for the Inner City Education
Foundation, which operates several charter
schools in the City of Los Angeles.
LEADERSHIP NEWS
RIBAS 2011 JENCKS AWARD
GOES TO MOSS
The Royal Institute of British Architects (RIBA) recently
awarded their international 2011 Jencks Award to SCI-Arc Di-
rector Eric Owen Moss, principal of Los Angeles-based Eric
Owen Moss Architects. The prestigious award is given annually to
an individual that has made a signifcant contribution to the theo-
ry and practice of architecture internationally.
Moss has, over 30 years, evolved a unique local grammar of
architecture in Culver City, Los Angeles. Here he has created a
modern vernacular that is at once creative, critical and evoca-
tiveshowing a commitment to place and character that is rare if
not unique. He started Eric Owen Moss Architects in 1973 in Los
Angeles and has since become involved in lectures, exhibitions
and teaching around the world. Recent projects include two offce
towers and a multi-theatre performance center in Los Angeles,
a hotel and offce complex in West Hollywood, a mixed-use proj-
ect in Kazakhstan, and a master plan for an ecologically integrat-
ed city in La Paz, Bolivia.
Previous recipients of the Jencks Award include Zaha Hadid,
Foreign Offce Architects, Peter Eisenman, Cecil Balmond, UN-
Studio, Wolf D. Prix & Coop Himmelb(l)au, Charles Correa, and
Steven Holl.
The award will be presented by the RIBA in London on
December 6, 2011, followed by a public lecture by Moss, chaired
by Charles Jencks.
Ted Tanner (top)
Russell Goings (bottom)
8
Eric Owen Moss Architects, Samitaur
Hanwha Solar of China Makes
One of the Biggest Corporate
Gifts to SCI-Arc
In early August, only two months be-
fore the Solar Decathlon 2011 orga-
nized by the U.S. Department of
Energy was set to debut in
Washington D.C., SCI-Arc and
Caltech studentswho had partnered
more than two years ago to form the
rst team from Southern California to
participate in the prestigious competi-
tionreceived a surprise call. The
China-based Hanwha Solar, a leading
global provider of solar products, was
offering the team a $350,000 cash
gift to support their solar house proj-
ect CHIP, (Compact Hyper-Insulated
Prototype). Hanwha Solars gift is one
of the largest cash sponsorships ever
received by a U.S. DOE Solar
Decathlon team and the largest cor-
porate sponsorship ever received by
SCI-Arc. The company also provided
the solar modules needed to power
the home through the entire duration
of the competition on the National
Mall in Washington, D.C.
The Decathlon examines new hous-
ing typologies, alternative energy
sources, and re-imagined technical
and material possibilities, stated SCI-
Arc Director Eric Owen Moss. The
subject matter is international, so its
essential that the global discussion
has global nancial support. SCI-Arc
welcomes the interest, commitment,
and nancial support of Hanwha
Solar, added Moss.
1.
Double-Sided Incremental Forming
Project created in Robot House by
Wilson Chang, Yong Ha Kim, Chris
Martin, Kentaro Naggsawa, Naho
Tsutsui
2/4.
Projects created by high-school stu-
dents during Design Immersion Days
(DID)
3.
High-school students on eld trip to
Walt Disney Hall during Design
Immersion Days (DID)
SCI-Arc relies on philanthropic support from alumni, parents, and
friends to sustain our world-renowned educational programming.
While tuition remains the schools primary source of funding,
SCI-Arc is committed to keeping the cost of attendance as afford-
able as possible for our students. To ensure that tuition remains
low, and to help the school move forward with plans for strategic
growth and expansionincluding increasing scholarships, fund-
ing faculty initiatives, enhancing academic and public program-
ming, and improving facilitiesSCI-Arc strategically expanded
the Ofhce of Development and Alumni Affairs last year.
One of the primary goals of the Offce is to expand the
amount of support the school receives from public and private
sources, including corporations, foundation, government agencies,
and individuals. Over the past 18 months, the team has secured
substantial funding from new donors, and created solid long-term
funding partnerships that will beneft SCI-Arc for years to come.
One of the largest collections of funding partnerships secured
in the last year was tied to the creation of the new SCI-Arc Ro-
botics Lab. Stubli Robotics, The Fletcher Jones Foundation
and The Ralph M. Parsons Foundation contributed transforma-
tive funding for the creation of this important new initiative. Now
fully operational thanks to our funding partners, the Lab is a
groundbreaking research environment that is exploring the inte-
grated future of design, materials, and fabrication.
Another key collection of new donor relationships has been
formed around the creation of the SCI-Arc Digital Lecture Ar-
chive. Major grants from The Getty Foundation and the National
Endowment for the Arts (NEA)the largest grant awarded in the
NEAs Design category in 2011will be used by SCI-Arc to digi-
tize, curate, and present lectures by some of the most important
architects, designers, and theorists who have lectured at the school
during the past four decades. This free archive will be accessible
online, via phone applications, e-readers, and other new media
channels. Designed with a sophisticated search engine that will
allow access to all or specifc parts of each lecture, the SCI-Arc
Digital Lecture Archive will soon have the world discovering
never before seen footage of some of the most infuential leaders
in architecture and design. Many appear more than once, provid-
ing opportunities for analysis of their development over a long
span of their careers. Documentation critical to understanding the
architectural history and legacy of Southern California, and Los
Angeles role as an incubator of innovation, is particularly strong
in this collection. It is one of the most complete architectural archi-
val collections of its kind in the world.
In addition to the archive, SCI-Arc is working with the Getty
Foundation on a multi-year research and exhibition project that
will examine a pivotal moment in the history of Los Angeles ar-
chitecture. This project will explore the crucial early efforts of a
collection of architects to advance an alternative vision for Los
Angeles architecture in the late 1970s.
Another new initiative launched with the help of new private
funding partners is SCI-Arcs Design Immersion Days (DID).
DID is an immersive four-week summer program that introduces
high school students to the academic and professional worlds of
architecture and design. DID introduces these students to the
fundamental ways designers shape the world around us through
hands-on studio learning, feld trips to practicing design studios,
and courses on how to build a competitive design portfolio for
admission to college. Key support from The Ahmanson Founda-
tion allowed SCI-Arc to launch this program in the summer of
2011, and offer more than 20 scholarships to high school students
from low income and underserved Los Angeles communities.
Inspired by this vital institutional support, alumna Stephanie
THE POWER OF PHILANTHROPY
Bill Kramer
Bowling Zeigler made a multi-year commitment to funding
scholarships for deserving DID students.
SCI-Arcs series of exhibitions and lectures has generated
new gifts from a variety of sources: The James Irvine Founda-
tion made its frst gift to SCI-Arc in support of Ramiro Diaz-Gra-
nadoss upcoming SCI-Arc Gallery exhibition; the NEA made a
second grant to SCI-Arc, which is supporting the entire SCI-Arc
Gallery exhibition series; alumnus John Cordic and his company
RJC Builders are underwriting the second annual Raimund Abra-
ham Memorial Lecture; and the Pasadena Art Alliance support-
ed Barbara Bestor`s Disco Silencio! exhibition.
All of this new support, combined with enhanced annual
giving from SCI-Arc Trustees and alumni has allowed SCI-Arc to
launch new initiatives, increase scholarship support, enhance
alumni services and programming, and expand public program-
ming initiatives. SCI-Arc is extremely grateful for the support of
all of our funding partners, who are helping the school to re-think
design assumptions and to create, explore, and test the limits of
architecture.
A full list of donors from the 2010-2011 academic year is
included in this issue of the SCI-Arc magazine.
Ramiro Diaz-Granados, Go Figure
7
3
4
2
SCI-Arc Magazine
Issue 003
Hsinming Fung
Editor-in-Chief
Contributing Writers
Hernan Diaz Alonso
Georgiana Ceausu
Joe Day
Hsinming Fung
Bill Kramer
Eric Owen Moss
Aimee Richer
Justine Smith
Tom Wiscombe
SCI-Arc Leadership
Eric Owen Moss
Director

Hsinming Fung
Director of Academic Affairs

Hernan Diaz Alonso
Graduate Programs Chair

John Enright
Undergraduate Program Chair

Jamie Bennett
Chief Operating Ofcer
Ofce of Development
and Alumni Affairs
Bill Kramer
Chief Development Ofcer

Dawn Mori
Associate Director of Corporate,
Foundation and Government
Relations

Aimee Richer
Associate Director of Annual
Giving and Alumni Affairs

Rebecca Silva
Development and Alumni
Affairs Associate
SCI-Arc Publications

Justine Smith
Project Manager

Georgiana Ceausu
Online Media & Public Relations

Alicia Patel
Senior Graphic Designer

Kate Merritt
Graphic Designer

2011 SCI-Arc Publications
Photography
Tamea Agle
Karim Attoui
Tom Bonner
Michal Czerwonka
Chung Ming Lam
Scott Mayoral
Patrick McMullan
Priyank Mehta
Darius Siwek
Stefano Paltera
Ulf Wallin
Joshua White
Oyler Wu
TED TANNER AND
RUSSELL GOINGS JOIN
BOARD OF TRUSTEES
Ted Tanner, Executive Vice President, Real Es-
tate Development for AEG Worldwide, and Rus-
sell Goings, a veteran LA-based investment
banker and Senior Vice President at Hutchinson
Shockey Erley & Co., were unanimously elected
to the SCI-Arc Board of Trustees at the quarterly
meeting held in June. The 22-member SCI-Arc
Board is chaired by land-use attorney Jerry Neu-
man, who stated: as our school has grown and is
recognized as a world class institution, it is vital
that our Board refect that prominence, and both
Tanner and Goings bring that level of sophistica-
tion to a growing stellar Board. Added SCI-Arc
Director Eric Owen Moss, Ted is re-imagining
downtown and Russ is re-making the central
city-two perfect fts that confrm SCI-Arc`s
commitment to the future of Los Angeles as the
city of the future.
A noted developer and registered architect,
Ted Tanner oversees AEG`s real estate develop-
ment activities worldwide, including major proj-
ects in Los Angeles, London, Berlin, and most
recently in Asia and Brazil. He has more than 30
years of development experience in downtown
Los Angeles, as well as 10 years working as an
architect and a Philadelphia city planner. With
AEG, Tanner was responsible for acquiring,
entitling and master planning the 40 acres
surrounding Staples Center. For the past 3 years,
he has been leading the development of L.A.
Livea 4-million square foot sports, residential
and entertainment development project in down-
town Los Angeles. His team has recently com-
pleted the $1 billion 54-story, 1,001-room hotel
operated by JW Marriott and Ritz-Carlton, as
well as 224 luxury Ritz-Carlton Residences.
Tanner also managed development of AEG`s
Home Depot Center at Cal State Dominguez
Hills in Carson and the Nokia Theatre Times
Square in New York City, and formulated plans
for soccer stadiums in Chicago and New Jersey.
Russell L. Goings, III is a veteran of the
securities industry, with more than 25 years spent
in California public fnance. His investment
banking clients have included: the State of Cali-
fornia; the cities of Los Angeles, Stockton, Fres-
no, Compton, Oakland, Richmond, Long Beach,
Inglewood and Carson; the counties of Sacra-
mento, San Diego, Contra Costa and Los Ange-
les; and political subdivisions such as the San
Diego Unifed Port District, Los Angeles County
Metropolitan Transportation Authority and
World Port of Los Angeles. Goings served on the
Mayor`s World Port of Los Angeles Futures
Commercial Task Force, was Chairman of the
Public Finance Subcommittee for Rebuild L.A,
and the Board President of the Watts-Willow-
brook Boys and Girls Club. He presently serves
as a Board Member for the Inner City Education
Foundation, which operates several charter
schools in the City of Los Angeles.
LEADERSHIP NEWS
RIBAS 2011 JENCKS AWARD
GOES TO MOSS
The Royal Institute of British Architects (RIBA) recently
awarded their international 2011 Jencks Award to SCI-Arc Di-
rector Eric Owen Moss, principal of Los Angeles-based Eric
Owen Moss Architects. The prestigious award is given annually to
an individual that has made a signifcant contribution to the theo-
ry and practice of architecture internationally.
Moss has, over 30 years, evolved a unique local grammar of
architecture in Culver City, Los Angeles. Here he has created a
modern vernacular that is at once creative, critical and evoca-
tiveshowing a commitment to place and character that is rare if
not unique. He started Eric Owen Moss Architects in 1973 in Los
Angeles and has since become involved in lectures, exhibitions
and teaching around the world. Recent projects include two offce
towers and a multi-theatre performance center in Los Angeles,
a hotel and offce complex in West Hollywood, a mixed-use proj-
ect in Kazakhstan, and a master plan for an ecologically integrat-
ed city in La Paz, Bolivia.
Previous recipients of the Jencks Award include Zaha Hadid,
Foreign Offce Architects, Peter Eisenman, Cecil Balmond, UN-
Studio, Wolf D. Prix & Coop Himmelb(l)au, Charles Correa, and
Steven Holl.
The award will be presented by the RIBA in London on
December 6, 2011, followed by a public lecture by Moss, chaired
by Charles Jencks.
Ted Tanner (top)
Russell Goings (bottom)
8
Eric Owen Moss Architects, Samitaur
1
YOUNG ALUM WINS 2011
JULIUS SHULMAN EMERGING
TALENT AWARD
Recent graduate Phillip Ramirez (B.Arch 11) received the 2011
Julius Shulman Emerging Talent Award and a scholarship on
behalf of SNR Denton and the Los Angeles Business Council
(LABC). Ramirez was granted the award at the 41st Annual Los
Angeles Architectural Awards ceremony hosted June 30 at the
Los Angeles Marriott at LA Live. Congrats to Phillip another
generation comet said Director Eric Owen Moss in a school-wide
announcement. SCI-Arc is extremely proud of him.
Ramirez submitted his undergraduate thesis project, Interval
Spacewhich also won him Best Undergraduate Thesis this
yearto the annual competition organized by the LABC. His
advisor was faculty member Herwig Baumgartner of B+U.
CAMPUS NEWS
Phillip Ramirez, Interval Space
Advisor: Herwig Baumgartner
Alberto Ataide, Diego Cano-Lasso, Macus Hoh, Lindsay Merget, Tread Lightly
Advisors: Ilaria Mazzoleni, Jeffrey Landreth
Open Season 2011
Open Season facilitates introductions
between current students and SCI-
Arc alumni in the professional design
world, encouraging alumni and profes-
sional partners to observe, and poten-
tially recruit, students presenting their
studio and thesis work. The Fall Open
Season career event took place as a
graduate thesis preview show.
Conrmed guests and attendees in-
cluded the following alumni and rm
representatives:
Frank Webb Architects
Ben Feldmann
Senior Associate, Mia Lehrer +
Associates
Beth Holden (B.Arch 98)
Principal, New Theme
Brian Howe
Dax Miller
Principal, DAX Miller Design
Gary OConnor
Roland Genik
Chief Architect, Rail & Transit
Systems, Parsons
Joe Day (M.Arch 94)
Principal, Deegan-Day Design
Laura Amiri
Associate Principal, GKK Works
Ben Levin (B.Arch 80)
Principal, DLR Group WWCOT
Martyn Mervel (M.Arch 81)
Principal, Studio/Slab Architects
Kevin Conway
Senior Associate, AECOM
John Martin
Senior Associate, AECOM
Merry Norris
SCI-Arc Trustee, Merry Norris
Contemporary Art
Pavel Getov (M.Arch 93)
Peter Grueneisen (M.Arch 90)
Principal, NonZero Architects
Larissa Plagge
Senior Project Manager
CB Richard Ellis
Polly Osborne (M.Arch 87)
Quirino De La Cuesta (B.Arch 93)
Rick Morris
Creative Director, Rock Honey Studio
Santino Medina (M.Arch 06)
Gehry Technologies
Nick Seierup (B.Arch 79)
Principal, Design Director
Perkins + Will
Steve Wagner (M.Arch 84)
KMD Architects
Zach Hoevet (M+M 02)
Tim Keating
President, LARABA Board
Luv Khot (M.Arch 06)
Avani Sheth (M.Arch 09)
Hien Quan Ngo (B.Arch 94)
NQH Architects
Gregory Fischer
Project Director, Yazdani Studio
of Cannon Design
9
ALUMNI RUNNING THE
SCI-ARC ROBOT HOUSE
Recently profled in the October 2011 issue of Architectural Re-
cord, SCI-Arcs Robot House is creating a multi-faceted design
platform that pushes beyond the current production-based robotics
labs in place at other architecture schools. Now in its second year
of operation, SCI-Arc has three alumni to help the Robot House
create an unprecedented emulation, simulation and animation
environment in which computational geometry, material agency
and fabrication logistics merge.
Alumnus Nazareth Ekmekjian (B.Arch 08) was hired as the
Robotics Technical Instructor/Robot House Manager to oversee
the day-to-day operations of the Robot House and to provide tech-
nical guidance to faculty and students. Nazareth has a deep back-
ground in robotics, having worked at Machineous in Los Angeles
where he played a leading role in developing and executing sev-
eral projects utilizing complex robotic arms as a means of produc-
tion. He also served as project manager to the Kentucky-based
design and fabrication practice PR&vD, working on projects for
James Corner Field Operations and artist Ryan McGinness. With
a strong interest in fabrication technology, material applications,
technique and craft, Nazareth constantly seeks to explore new
methods of contemporary architectural production.
In addition to Nazareths position, SCI-Arc has created a new
research and teaching fellowship program for the Robot House.
Two 2011 M.Arch graduates, Brandon Kruysman and Jonathan
Proto, have been appointed as the frst two fellows. As SCI-Arc
students, Brandon and Jonathan focused on the creation of an
interface between the VAL-3 programming language that controls
the robots and the architectural modeling software Maya. As part
of their fnal project, they used these software platforms to create
a choreographed production with three moving robots, attempting
to synchronize movement, sound, and other variables. The stu-
dents created an algorithm-based program that determined the
distance between robots to modulate the tone and frequency of an
ambient sound track. Their direct Robot House and programming
experience will help SCI-Arc create a research environment in
which real-time data generated from digital design and materials
fabrication is analyzed and processed simultaneously.
M.ARCH 2 STUDENTS TAKE 2ND
PLACE IN DESIGN COMPETITION
SCI-Arc graduate students Alberto Ataide, Diego Cano-Lasso,
Macus Hoh and Lindsay Merget placed second in the 5th annual
Emerging Talent Design Competition organized by the U.S.
Green Building Council, Los Angeles (USGBC). Using shipping
containers as building materials and inspiration, teams were en-
couraged to create aesthetically pleasing, sustainable core and
shell designs for a multipurpose structure in Long Beach. The
four M.Arch 2 students teamed up to work on their competition
entry as part of the Advanced Building Systems seminar led by
Ilaria Mazzoleni and Jeffrey Landreth this past spring at SCI-Arc.
The teams design, Tread Lightly, takes a quality of life ap-
proach to the synthesis of a mixed-use, ecologically sensitive de-
sign, with generous outdoor communal space and a design strategy
to implement passive strategies frst, and then augment those strate-
gies with active systems. Ultimately, the proposal serves as a bea-
con of healthy spaces for healthy living in an urban context.
10
FORECLOSED: REHOUSING
THE AMERICAN DREAM
You cant drive very far in most American cities before you see
the effects of the foreclosure crisis. Recent statistics refect a land-
scape of individual stories of crisis. Collectively, these narratives
have infuence that extends far beyond those most affected. In an
effort to begin a conversation on the foreclosure crisis, architec-
ture, and suburbanism, the Museum of Modern Art (MoMA) and
MoMA PS1 have launched Foreclosed: Rehousing the American
Dream, a workshop and exhibition in the series Issues in Contem-
porary Architecture.
SCI-Arc faculty member Andrew Zago of Zago Architecture
was nominated to lead one of fve interdisciplinary teams that
participated in a 4-month workshop, centered on rethinking hous-
ing in the US in light of the foreclosure crisis. Each team was
tasked with focusing on a megaregion, a metropolitan area that
lies within a corridor between two major cities. Zagos team
worked on a proposal for Rialto, California, with the goal to cre-
ate new and innovative ways of thinking about the relationship
between land, housing, infrastructure and urban form.
Zago assembled an interdisciplinary group of professionals
from various felds, such as urban economic planning, ecology
and landscape architecture, and engineering and urban infrastruc-
ture. His core team included David Bergman, Principal of MR+E
and co-coordinator of SCI-Arcs Future Initiatives (SCIFI) post-
graduate program; Alex Felson, Director of the Urban and Eco-
logical Design Lab at the Yale School of Forestry and Environ-
mental Studies; and Bruce Danziger, Associate Principal of
LA-based ARUP. SCI-Arc students were also involved at various
stages of the program.
Foreclosed tackles a new approach to the public housing
problem, raising the argument that housing in the American sub-
urbs is a matter of public concern as opposed to the belief that a
home in foreclosure is the problem of the individual owner. The
exhibition of completed proposals appears at MoMA from Janu-
ary 31-July 31, 2012.
ALUMNI WELCOME NEW
STUDENTS DURING STUDENT
ORIENTATION WEEK
The frst week in September signifes the onset of the new aca-
demic year. This year, 168 incoming students were welcomed by
staff, faculty, and alumni during student orientation week.
Former Alumni Council Chairman Santino Medina (M.Arch
06) greeted students on the second day of orientation, encourag-
ing them to begin making connections with alumni as soon as
possible. He noted the importance of taking advantage of alumni
studio tours as a frst step in career networking.
Sixteen studios hosted tours on the fnal day of orientation,
ranging from small, independent studios to multi-offce interna-
tional design frms. Alumni presentations included tours, question-
answer forums, and in some cases, project site visits. Alumni stu-
dio tours are a valuable way of giving new students frsthand
insight into the professional architecture and design world.
According to incoming B.Arch student, Anthony Morey,
seeing all these amazing ideas, concepts, and drawings in practice
proved to me that all the things that make SCI-Arc special stays
with students and faculty long after they step out the front door.
Its a really motivating way to start the year.
Later that evening, parents were welcomed by alumni and
school program directors. Alumnus Peter Welch (B.Arch 11) was
on hand to greet parents and top up drinks, while alumnae Alejan-
dra Zamora Schraeder (B.Arch 03) provided the catering.
Immediately following the Parents Reception was a school-
wide welcome celebration to celebrate the launch of the 2011-2012
year. New Alumni Representative to the Board of Trustees, Nerin
Kadribegovic (M.Arch 03) welcomed all.
MASTER PLANNER TO
MASTER CHEF
Alumna Alejandra Zamora Schrader (B.Arch 03) recently put
her creative skills to the test when she was selected from over
20,000 nationwide auditions to be a contestant in Season 2 of
Foxs reality TV Show MasterChef.
Co-hosted and produced by celebrity chef Gordon Ramsey,
MasterChef is unlike other reality TV cooking shows because it
seeks amateur cooks, rather than professional chefs as contestants.
In response to the struggling economy and weak real-estate mar-
ket, Alejandra, a practicing architect and urban planner, seized
the opportunity to develop one of her much-loved pastimes and
pursue her talent of cooking under the scrutiny of judges Gordon
Ramsay, Graham Elliot, and Joe Bastianich, as well as millions of
television viewers. After several grueling weeks, Alejandra fn-
ished the competition in the top ten.
Alejandra credits her ability to work under pressure to the
rigorous academic review process she participated in while at
SCI-Arc and the University of Michigan, and says that the design-
er in her is always evident in her cooking from the hand-drawn
plan of her menu items, to the fnish product when she plates her
food for presentation. In August, Alejandra joined forces with
co-contestant Tracy Kontos to create a private chef and catering
service in Los Angeles called Cucina Cocina.
SCI-Arc was delighted to be one of Alejandra`s frst clients
for the September 2nd Parents Welcome Reception. Alejandra can
be reached at alejandraschrader.com/cucinacocina.
Alumni Studio Tours
Alumni and faculty opened their stu-
dios during student orientation week to
give incoming students rsthand
insight into the professional architec-
ture and design world. This years
participants included:
Michael Folonis (B.Arch 78)
Folonis Architects
Ben Levin (B.Arch 80), DLR Group
Terence Young, Gensler
Elissa Scrafano (M.Arch 90)
Scrafano Architects
Rick Gooding (B.Arch 84)
CHU+GOODING
Annie Chu (B.Arch 83)
CHU+GOODING
Edmund Einy (B.Arch 84), gkkworks
Laura Cowen (M.Arch 02), Jerde
Eric McNevin (M.Arch 01)
Eric Owen Moss Architects
KMD Architects
Carlos Madrid III (M.Arch 95)
AECOM
Tom Farrage (B.Arch 87)
Tom Farrage & Company
Tima Bell (M.Arch 99), Tima Winter
Grifn Enright Architects
Hodgetts+Fung (HplusF)
Alejandra Zamora Schrader (B.Arch 03)
SCI-Arc Leadership:
Eric Owen Moss
Hsinming Fung
Jamie Bennett
Bill Kramer
Christopher Banks
SCI-Arc Faculty
Advisors:
Anne Epstein
Wes Jones
Dwayne Oyler
Caltech Leadership:
Jean-Lou Chameau
Harry Atwater
Neil Fromer
Carol Carmichael
Valerie Otten
Caltech Faculty
Advisors:
Doug Caldwell
Melany Hunt
Phil Lee
Richard Murray
SCI-Arc Team
Members:
Geoffrey April
Rachel Bitan
Catherine Caldwell
Paul Cambon
Robert Cardenas
Wilson Chang
Scott Davis
Adam Dunn
Reed Finlay,
Project Mgr.
Valentin Florescu
Andres Fuentes
Robert Gilson
Hyungbin Im
Chuy Le
Jacques Lesec
Nathan Meyers
Elisabeth Neigert,
Project Mgr.
Michael Nesbit
Joel Ochs
Giovanna Orozco
Rinaldo Perez
Michael Piscitello
Lanna Semel
Harris Silver
Jane Suthigoseeya
Brian Zentmyer
Caltech Team
Members:
Sara Ahmed
Andrew Gong
Hima Gudipati
Cole Hershkowitz
Benjamin Kurtz
Zeke Millikan
Judy Mou
Sam Jones
Ka Suen
Richard Wang
Fei Yang, Project Mgr.
Solar Decathlon 2011
Wed like to acknowledge all of the extraordinary work that went into the completion
of the SCI-Arc/Caltech Solar Decathlon Project. With over 100 students involved,
this was truly a collaborative effort. The SCI-Arc and Caltech students displayed
immense dedication to their craft through a long and challenging design/build
process that extended over a two year time period. They, and everyone else in-
volved, should be applauded for their remarkable work on this project and for their
unique contribution to the future of affordable, green housing.
11
LEARNING TO FLY
In the permanent state of arrival and departure that defnes SCI-
Arc, the role of faculty is of course critical, but SCI-Arc does not
seek individuals who ft within a certain dogma. Instead it`s about
identifying some very specifc and hopefully important part of the
larger architectural conversation that is, right now, at a critical in-
fection point, as well as the people who are pushing and defning it.
If we are to be successful in challenging the individual, the individ-
ual will challenge us, and will make everybody who is already part
of that conversation stop and change what s/he are thinking.
Tom Wiscombe is one of those individuals. From his days as
Senior Designer at Coop Himmelb(l)au, to Principal at his frm
EMERGENT, his work is always at the convoluted center of ex-
perimentation and feasibility. Toms work seems to keep acceler-
ating - though not always succeeding conceptually or aesthetically
- instead of fnding ways to compromise. That is unusual, and
unusual works for SCI-Arc.
His Cantilever marks the frst project of the Material Lab, which
is founded in the notion of the indeterminate relation of architec-
ture to material processes: pedagogically, conceptually, instru-
mentally, the boundaries of inquiries and research are never fxed.
Design, production, assembly, teachers, students, fnal or not so
fnal, all of these are in a permanent state of questioning and the
result is just a partial answer. The Cantilever is just the frst of
these partial answers - many others will follow.
HERNAN: First the obvious: where did Cantilever come from, and
when it started, what was the whole idea?
TOM: The idea of Cantilever was secondary to the idea of having a
Materials Lab at SCI-Arc. The intention of the Materials Lab was
to create some friction with a lot of the formal experimentation
going on at the school, and force the students to deal with the
limits and messiness of actual materials. We decided that it should
be a two-semester program, so that something could be designed
with a group of students in the Fall and then built in the Spring,
for the next fve years. The idea isn`t to do a cantilever every year,
but rather that every year a new instructor will explore a new ma-
terial in relation to a new agenda. Composite materials drove can-
tilever; this year John Enright is doing steel.
HERNAN: One impression I had when I saw Cantileverand, of
course, because of the research that was done with the students,
its not completely your own work, even though they had certain
guidance from your partwas that in relation to your own prac-
tice and your own ambition as an architect, it felt to me that the
formal aesthetic of the piece belonged to an older phase of your
work. In most of your work from the last ten years, from the pure
form or notion, there was a desire of combination with what I will
call degree three with degree one: formal geometrics. But your
work from the last two years has taken a different departure. Is
Cantilever, not a conclusion per se, but the end result of a body of
work in combination with the students and Material Lab input?
TOM: I think thats a great way to characterize Cantilever. For me
it was an opportunity to rethink Dragony from four years ago.
That`s when I was much more interested in the specifc formal
qualities that could be coaxed out of engineering loops. Ive al-
ways felt that Dragony didnt deal enough with the material so-
phistication of wing structures in nature. The skeleton of an
insect wing is really just zones of extreme thickness of structural
cuticle, its not like a human mineral skeleton with skin attached
to it. So we were using an industrial paradigm to explore a biolog-
ical paradigm. The three thousand bolts we had to use for that
project always stuck in my head as evidence of that mismatch.
Intuitively I wanted to glue it all together. So I guess Cantilever is
a reduxits all glue!
To answer your question about the development of the work
over the last two years, yes I have defnitely moved away from
expression of structure and more towards nuanced relations of
structure, skin, and volume. But I was actually never interested in
structural expressionism. I am interested in formal articulation
and ways of achieving articulation from within the discipline of
architecture. I would say that the best way to understand the shift
in the work is as moving from surface-to-strand geometry which
might appear more skeletal, to surface-to-volume geometry,
which appears more manifold and massive.
HERNAN: There was a whole lineage of work that dealt with different
iterations and different mutations and so on, but I think there was a
very coherent, almost obsessive monomania about certain logics.
I think Cantilever is a good transition to what the work is now.
Historically for architects, the thirties have been about estab-
lishing a sensibility and establishing a logical work, and the for-
ties are when you fgure out how to put it out. I don`t think that`s
the model anymore, its much more acceleratedmedia and publi-
cations makes all the work exposed way earlier, even though the
architect may not be mature enough to be that out in the open.
This kind of contemporary condition means that you dont get to
fgure things out building small projects, or small renovations-
it seems like museums, installations, exhibitions, pavilions, and
competitions have become an alternate venue. My question would
be if you can resume the evolution of this for eight years, which I
will say is incredibly coherent in terms of the formal, architectur-
al protection of the offce, but at the same time incredibly hetero-
geneous in the ambitions in relation to reality.
TOM: I think that is true that younger offces like mine now have
the capacity to be published all over the world before the work is
TOM WISCOMBE
FACULTY PROFILE
Hernan Diaz Alonso
1.
Cantilever, located at SCI-Arc
2.
Civic Sports Center and 2013
National Games Arena, Shenyang
Design concept currently in planning
3.
Busan Opera House, South Korea
Design proposal
4.
The Semi-Rigid Car; Design concept
TOM WISCOMBE
Tom Wiscombe is the founder and
principal of EMERGENT, an interna-
tionally recognized design ofce.
EMERGENTs work stands out in
terms of its synthesis of form, pattern,
color, and technology. In 2009, ICON
Magazine named Wiscombe one of
the top 20 architects in the world
who are making the future and trans-
forming the way we work. Wiscombe
is a senior faculty member at SCI-Arc,
teaching in the M.Arch II and
Emerging Systems and Technologies
| Media programs, both focused on
experimental digital design. He is cur-
rently Applied Studies Coordinator,
in charge of curriculum building and
faculty recruitment. Previously, he
worked for Coop Himmelb(l)au,
where he was the right hand of
Principal Wolf Prix for more than 10
years. Notably, he was Project Partner
and Chief Ofce Designer for BMW
Welt (Munich), known as one of the
most important works of architecture
of the 21st century.
HERNAN DIAZ ALONSO
Hernan Diaz Alonso is founder and
principal of Xerotarch, a Los
Angeles-based design practice.
Considered one of the most inuential
voices of his generation, Diaz Alonso
assumed the role of Graduate
Programs Chair at SCI-Arc, after hav-
ing coordinated the schools graduate
thesis process for several years. He
was honored by Yale University with
the Louis I. Kahn Visiting Assistant
Professorship of Architectural Design
for fall 2010. He has been a Design
Studio Professor at the GSAPP at
Columbia University and The
University of Applied Arts in Vienna.
Diaz Alonso has lectured extensively
at major institutions around the world.
His architecture designs have re-
ceived numerous awards and have
been displayed in both architecture
and art museum exhibitions, and pub-
lished in magazines, books, and peri-
odicals worldwide.
Dragony, SCI-Arc Gallery, 2007
12
Cantilever, Materials Lab I
SCI-Arc, 2011
Type: Year-long Composites
Research Lab and Installation
Instructor: Tom Wiscombe, Applied
Studies Coordinator
Design Team: Dave Bantz, Michael
Gross, Paul Mecomber, Vince Pocsik
Construction Coordination:
Tom Benard, Henry Dominguez
Engineering: Buro Happold
Consulting Engineers, LA
Composites Fabrication:
Machineous, LA
This project is an investigation into the
advantages and limits of composite
materials. Via an asymmetrical struc-
tural typethe cantileverthe goal was
to create massive differences in stress
patterns within an object and respond
to those patterns in a way that would
both index the structural diagram but
also exceed it.
Composites are more than a class of
materials; they imply a paradigm shift
in architecture in terms of allowing real
progress on the contemporary desire
to blend formal, structural, and orna-
mental systems. They also engender a
new way of thinking about assembly
and engineering, where and structure
cannot be broken down into discreet
vectors. Continuous difference and
variability in structural capacity, trans-
parency, pattern, and color becomes
the design space, as in nature.
The piece was evolved through a feed-
back loop between morphological de-
velopments and structural analysis in
ANSYS, where features such as con-
nective armatures and surface pleat-
ing were introduced over time. It was
also informed by manufacturing logic,
in terms of limitations of mold size, re-
quirements for structural joining of
components, and grading ber density
and orientation. Based on a con-
sciously under-dimensioned overall
thickness of 1/8 ber-composite la-
yup, a pattern of 2 berglass tape
was created in order to locally re-
spond to high stress conditions.
The tape operates as a gure embed-
ded in the form: it is a translucent
structural tattoo, which follows its own
aesthetic logic as well as performance
demands. Critical for the piece is the
depth effect that is produced by being
able to see the back side of the tattoo
as a ghostly silhouette through layers
of translucent material.
Cantilever is ultimately neither a sim-
ple expression of a structural type nor
a readable response to forces. As in
biology, it is a mutation which per-
forms but does so in a non-optimal
way. Its features are irreducible; they
cannot be associated 1:1 with behav-
iors. Excess and obfuscation dene
the project as much as structural and
material intelligence.
Special thanks to Buro Happold
Consulting Engineers, Machineous,
and ZCorp for their generous contri-
butions to the project.
fully cooked. It is for sure different for us than for the previous
generation. We are out there exposed and have to feed the beast.
I would like to think that you could still develop a few tricks in
your thirties and then refne them in your forties and ffties, but I`m
not so sure you can do that when you are chasing butterfies. I also
think that for the work to have gravitas that it needs to interface
with the world in some signifcant way, in a way that toughens it
up. Although I think that all the press, conferences, lectures,
shows, installations are great for a while, it sometimes seems ex-
tra-disciplinary to me. If you are not careful you can get lost in it.
I think we all transform over time. I remember when I was an
undergrad we thought Zaha was the greatest. But she was a differ-
ent Zaha compared to now. The work was sharp like knives! My
point is that I am not interested in locking in to something yet
even though I know I have a very clear sensibility. I want to trans-
form over time. I hope I am that resilient.
HERNAN: How much was a strategy, and how much was the nature
of the project, the research and the work that takes you there? In a
twisted way, you`re going in reverse - your early work seems way
more buildable and way more logical in the traditional sense than
your current work, and I`m intrigued by that, because I would say
most people go the opposite. Most people start more radical and
over time become more rationalized and more fgured out.
TOM: My career is a bit more like a horseshoe than a steady slope.
Most of my career was spent doing big buildings for Wolf Prix,
and beginning again from the ground up. I have been doing my
own work for 5 years and it`s a work in progress. Even though my
work might seem to be getting more complex, I am constantly
trying to produce an effect of effortlessness, where a project is so
clear formally, organizationally, and materially that it seems like
it had to be exactly that way.
HERNAN: I would say that, conceptually (as opposed to formally)
your work is rooted in Le Corbusier principles. My take in look-
ing at the historic opposition, defned by many architects and
critics over the last 60 years, between Le Corbusier vs. Mies Van
Der Rohe, is that it can be found in their approach to details.
Le Corbusier exposed the fragility of materiality while Van Der
Rohe disguised details with materials. But when those Corbuse-
rian principles became style, a new discussion arose. One thing
I would criticize of your work is that is does potentially suffer the
problem of becoming a style, or the baggage of stylistic features
that you know to deploy. In this framework ,do you think style is
a bad thing or a good thing?
TOM: I have no problem with style, but like I was saying earlier,
I think style needs to transform over time. If it`s fxed then it`s man-
nerism, which is different. In my experience, you can get pretty far
by combining and recombining a bag of tricks, but eventually, the
work will no longer be innovative. For it to be innovative I think it
sometimes has to jump outside issues of language into other ways
of thinking about problems. Still, I think that it is very important to
be obsessive enough about particular formal lineages that you can
make discoveries. Right now I am really interested in the middle
ground between surface and volume, where something razor-sharp
and thin transforms into something thick and massive. It allows you
to create really open forms with implied enclosure. They feel civic
to me. I don`t know-is that a style?
HERNAN: I know in the last two years, you`ve put a huge amount of
physical, fnancial, emotional effort trying to get a series of big
commissions in China going. I think this relates to what I was
asking earlier about the changing nature of the game, and the
nature of research or experimental work. In your work, the testing
of materiality etc. occurred mostly through installations and pa-
vilions and stuff like that, and then suddenly you`re jumping into
3,000-room hotels, 25,000-people arenas, and so on. We know
there is this level of insanity in China when doing these kinds of
things. The opportunities are there. Is that something that you feel
the nature of your work relies on-a certain scale to really fulfll
it`s promise? How much of the nature of the current cultural frame
defne the decisions of the architect?
TOM: The foray into China last year was a strategic move. It has to
do with my realization that I just love to do very big buildings.
China is the place to do that. I have tried to re-organize my offce
to support that, including dealing with the issue of marketing,
brokers, travelling a lot to build a network, and getting out of my
comfort zone in terms of meeting people outside my architectural
circles. I love to do large buildings because they force you to in-
terface with the world and a diversity of interests. They also allow
you to develop a community in your offce, which I enjoy.
But frankly it has been a very tough year. We won two compe-
titions in Shenyang, which I naively thought would go down like in
my previous experiences in Europe. They didn`t. I was asked to
make endless changes, switch sites, change the program, dial it
down, and the worst was: change the 'style. At some point it just
didn`t make sense any more to continue on those. The good news is
a developer in Beijing who saw our projects asked us to design a
hotel in Beijing right after that. That project is currently in zoning
approval. We`ll see if it goes through. No matter what, at least I feel
comfortable in China now and have developed a network. And
maybe the best thing was that I was forced to develop a prt--por-
ter line of projects for China, which are a dialed-down version of
my work. It is a very hard thing to do, but a good exercise.
HERNAN: Why Los Angeles, and why SCI-Arc as the place to
develop your practice?
TOM: Well, LA is my home and when I came back from Europe,
it was the only place to go for me. SCI-Arc has made a huge dif-
ference in my life. Frankly, my offce couldn`t have existed these
last years without it, on many levels. So I see SCI-Arc for its dual
role of being and school primarily, but also a support structure for
young practices. I`m very thankful to be part of it.
1
2
11
LEARNING TO FLY
In the permanent state of arrival and departure that defnes SCI-
Arc, the role of faculty is of course critical, but SCI-Arc does not
seek individuals who ft within a certain dogma. Instead it`s about
identifying some very specifc and hopefully important part of the
larger architectural conversation that is, right now, at a critical in-
fection point, as well as the people who are pushing and defning it.
If we are to be successful in challenging the individual, the individ-
ual will challenge us, and will make everybody who is already part
of that conversation stop and change what s/he are thinking.
Tom Wiscombe is one of those individuals. From his days as
Senior Designer at Coop Himmelb(l)au, to Principal at his frm
EMERGENT, his work is always at the convoluted center of ex-
perimentation and feasibility. Tom`s work seems to keep acceler-
ating - though not always succeeding conceptually or aesthetically
- instead of fnding ways to compromise. That is unusual, and
unusual works for SCI-Arc.
His Cantilever marks the frst project of the Material Lab, which
is founded in the notion of the indeterminate relation of architec-
ture to material processes: pedagogically, conceptually, instru-
mentally, the boundaries of inquiries and research are never fxed.
Design, production, assembly, teachers, students, fnal or not so
fnal, all of these are in a permanent state of questioning and the
result is just a partial answer. The Cantilever is just the frst of
these partial answers - many others will follow.
HERNAN: First the obvious: where did Cantilever come from, and
when it started, what was the whole idea?
TOM: The idea of Cantilever was secondary to the idea of having a
Materials Lab at SCI-Arc. The intention of the Materials Lab was
to create some friction with a lot of the formal experimentation
going on at the school, and force the students to deal with the
limits and messiness of actual materials. We decided that it should
be a two-semester program, so that something could be designed
with a group of students in the Fall and then built in the Spring,
for the next fve years. The idea isn`t to do a cantilever every year,
but rather that every year a new instructor will explore a new ma-
terial in relation to a new agenda. Composite materials drove can-
tilever; this year John Enright is doing steel.
HERNAN: One impression I had when I saw Cantileverand, of
course, because of the research that was done with the students,
it`s not completely your own work, even though they had certain
guidance from your part-was that in relation to your own prac-
tice and your own ambition as an architect, it felt to me that the
formal aesthetic of the piece belonged to an older phase of your
work. In most of your work from the last ten years, from the pure
form or notion, there was a desire of combination with what I will
call degree three with degree one: formal geometrics. But your
work from the last two years has taken a different departure. Is
Cantilever, not a conclusion per se, but the end result of a body of
work in combination with the students` and Material Lab input?
TOM: I think that`s a great way to characterize Cantilever. For me
it was an opportunity to rethink 'UDJRQ\ from four years ago.
That`s when I was much more interested in the specifc formal
qualities that could be coaxed out of engineering loops. I`ve al-
ways felt that 'UDJRQ\ didn`t deal enough with the material so-
phistication of wing structures in nature. The skeleton` of an
insect wing is really just zones of extreme thickness of structural
cuticle, it`s not like a human mineral skeleton with skin attached
to it. So we were using an industrial paradigm to explore a biolog-
ical paradigm. The three thousand bolts we had to use for that
project always stuck in my head as evidence of that mismatch.
Intuitively I wanted to glue it all together. So I guess Cantilever is
a redux-it`s all glue!
To answer your question about the development of the work
over the last two years, yes I have defnitely moved away from
expression of structure and more towards nuanced relations of
structure, skin, and volume. But I was actually never interested in
structural expressionism. I am interested in formal articulation
and ways of achieving articulation from within the discipline of
architecture. I would say that the best way to understand the shift
in the work is as moving from surface-to-strand geometry which
might appear more skeletal, to surface-to-volume geometry,
which appears more manifold and massive.
HERNAN: There was a whole lineage of work that dealt with different
iterations and different mutations and so on, but I think there was a
very coherent, almost obsessive monomania about certain logics.
I think Cantilever is a good transition to what the work is now.
Historically for architects, the thirties have been about estab-
lishing a sensibility and establishing a logical work, and the for-
ties are when you fgure out how to put it out. I don`t think that`s
the model anymore, it`s much more accelerated-media and publi-
cations makes all the work exposed way earlier, even though the
architect may not be mature enough to be that out in the open.
This kind of contemporary condition means that you don`t get to
fgure things out building small projects, or small renovations-
it seems like museums, installations, exhibitions, pavilions, and
competitions have become an alternate venue. My question would
be if you can resume the evolution of this for eight years, which I
will say is incredibly coherent in terms of the formal, architectur-
al protection of the offce, but at the same time incredibly hetero-
geneous in the ambitions in relation to reality.
TOM: I think that is true that younger offces like mine now have
TOM WISCOMBE
FACULTY PROFILE
Hernan Diaz Alonso
1.
Cantilever, located at SCI-Arc
2.
Civic Sports Center and 2013
National Games Arena, Shenyang
Design concept currently in planning
3.
Busan Opera House, South Korea
Design proposal
4.
The Semi-Rigid Car; Design concept
TOM WISCOMBE
Tom Wiscombe is the founder and
principal of EMERGENT, an interna-
tionally recognized design ofce.
EMERGENTs work stands out in
terms of its synthesis of form, pattern,
color, and technology. In 2009, ICON
Magazine named Wiscombe one of
the top 20 architects in the world
who are making the future and trans-
forming the way we work. Wiscombe
is a senior faculty member at SCI-Arc,
teaching in the M.Arch II and
Emerging Systems and Technologies
| Media programs, both focused on
experimental digital design. He is cur-
rently Applied Studies Coordinator,
in charge of curriculum building and
faculty recruitment. Previously, he
worked for Coop Himmelb(l)au,
where he was the right hand of
Principal Wolf Prix for more than 10
years. Notably, he was Project Partner
and Chief Ofce Designer for BMW
Welt (Munich), known as one of the
most important works of architecture
of the 21st century.
HERNAN DIAZ ALONSO
Hernan Diaz Alonso is founder and
principal of Xerotarch, a Los
Angeles-based design practice.
Considered one of the most inuential
voices of his generation, Diaz Alonso
assumed the role of Graduate
Programs Chair at SCI-Arc, after hav-
ing coordinated the schools graduate
thesis process for several years. He
was honored by Yale University with
the Louis I. Kahn Visiting Assistant
Professorship of Architectural Design
for fall 2010. He has been a Design
Studio Professor at the GSAPP at
Columbia University and The
University of Applied Arts in Vienna.
Diaz Alonso has lectured extensively
at major institutions around the world.
His architecture designs have re-
ceived numerous awards and have
been displayed in both architecture
and art museum exhibitions, and pub-
lished in magazines, books, and peri-
odicals worldwide.
Dragony, SCI-Arc Gallery, 2007
4
3
12
Cantilever, Materials Lab I
SCI-Arc, 2011
Type: Year-long Composites
Research Lab and Installation
Instructor: Tom Wiscombe, Applied
Studies Coordinator
Design Team: Dave Bantz, Michael
Gross, Paul Mecomber, Vince Pocsik
Construction Coordination:
Tom Benard, Henry Dominguez
Engineering: Buro Happold
Consulting Engineers, LA
Composites Fabrication:
Machineous, LA
This project is an investigation into the
advantages and limits of composite
materials. Via an asymmetrical struc-
tural typethe cantileverthe goal was
to create massive differences in stress
patterns within an object and respond
to those patterns in a way that would
both index the structural diagram but
also exceed it.
Composites are more than a class of
materials; they imply a paradigm shift
in architecture in terms of allowing real
progress on the contemporary desire
to blend formal, structural, and orna-
mental systems. They also engender a
new way of thinking about assembly
and engineering, where and structure
cannot be broken down into discreet
vectors. Continuous difference and
variability in structural capacity, trans-
parency, pattern, and color becomes
the design space, as in nature.
The piece was evolved through a feed-
back loop between morphological de-
velopments and structural analysis in
ANSYS, where features such as con-
nective armatures and surface pleat-
ing were introduced over time. It was
also informed by manufacturing logic,
in terms of limitations of mold size, re-
quirements for structural joining of
components, and grading ber density
and orientation. Based on a con-
sciously under-dimensioned overall
thickness of 1/8 ber-composite la-
yup, a pattern of 2 berglass tape
was created in order to locally re-
spond to high stress conditions.
The tape operates as a gure embed-
ded in the form: it is a translucent
structural tattoo, which follows its own
aesthetic logic as well as performance
demands. Critical for the piece is the
depth effect that is produced by being
able to see the back side of the tattoo
as a ghostly silhouette through layers
of translucent material.
Cantilever is ultimately neither a sim-
ple expression of a structural type nor
a readable response to forces. As in
biology, it is a mutation which per-
forms but does so in a non-optimal
way. Its features are irreducible; they
cannot be associated 1:1 with behav-
iors. Excess and obfuscation dene
the project as much as structural and
material intelligence.
Special thanks to Buro Happold
Consulting Engineers, Machineous,
and ZCorp for their generous contri-
butions to the project.
fully cooked. It is for sure different for us than for the previous
generation. We are out there exposed and have to feed the beast.
I would like to think that you could still develop a few tricks in
your thirties and then refne them in your forties and ffties, but I`m
not so sure you can do that when you are chasing butterfies. I also
think that for the work to have gravitas that it needs to interface
with the world in some signifcant way, in a way that toughens it
up. Although I think that all the press, conferences, lectures,
shows, installations are great for a while, it sometimes seems ex-
tra-disciplinary to me. If you are not careful you can get lost in it.
I think we all transform over time. I remember when I was an
undergrad we thought Zaha was the greatest. But she was a differ-
ent Zaha compared to now. The work was sharp like knives! My
point is that I am not interested in locking in to something yet
even though I know I have a very clear sensibility. I want to trans-
form over time. I hope I am that resilient.
HERNAN: How much was a strategy, and how much was the nature
of the project, the research and the work that takes you there? In a
twisted way, youre going in reverse your early work seems way
more buildable and way more logical in the traditional sense than
your current work, and Im intrigued by that, because I would say
most people go the opposite. Most people start more radical and
over time become more rationalized and more fgured out.
TOM: My career is a bit more like a horseshoe than a steady slope.
Most of my career was spent doing big buildings for Wolf Prix,
and beginning again from the ground up. I have been doing my
own work for 5 years and its a work in progress. Even though my
work might seem to be getting more complex, I am constantly
trying to produce an effect of effortlessness, where a project is so
clear formally, organizationally, and materially that it seems like
it had to be exactly that way.
HERNAN: I would say that, conceptually (as opposed to formally)
your work is rooted in Le Corbusier principles. My take in look-
ing at the historic opposition, defned by many architects and
critics over the last 60 years, between Le Corbusier vs. Mies Van
Der Rohe, is that it can be found in their approach to details.
Le Corbusier exposed the fragility of materiality while Van Der
Rohe disguised details with materials. But when those Corbuse-
rian principles became style, a new discussion arose. One thing
I would criticize of your work is that is does potentially suffer the
problem of becoming a style, or the baggage of stylistic features
that you know to deploy. In this framework ,do you think style is
a bad thing or a good thing?
TOM: I have no problem with style, but like I was saying earlier,
I think style needs to transform over time. If it`s fxed then it`s man-
nerism, which is different. In my experience, you can get pretty far
by combining and recombining a bag of tricks, but eventually, the
work will no longer be innovative. For it to be innovative I think it
sometimes has to jump outside issues of language into other ways
of thinking about problems. Still, I think that it is very important to
be obsessive enough about particular formal lineages that you can
make discoveries. Right now I am really interested in the middle
ground between surface and volume, where something razor-sharp
and thin transforms into something thick and massive. It allows you
to create really open forms with implied enclosure. They feel civic
to me. I dont knowis that a style?
HERNAN: I know in the last two years, youve put a huge amount of
physical, fnancial, emotional effort trying to get a series of big
commissions in China going. I think this relates to what I was
asking earlier about the changing nature of the game, and the
nature of research or experimental work. In your work, the testing
of materiality etc. occurred mostly through installations and pa-
vilions and stuff like that, and then suddenly youre jumping into
3,000-room hotels, 25,000-people arenas, and so on. We know
there is this level of insanity in China when doing these kinds of
things. The opportunities are there. Is that something that you feel
the nature of your work relies on-a certain scale to really fulfll
its promise? How much of the nature of the current cultural frame
defne the decisions of the architect?
TOM: The foray into China last year was a strategic move. It has to
do with my realization that I just love to do very big buildings.
China is the place to do that. I have tried to re-organize my offce
to support that, including dealing with the issue of marketing,
brokers, travelling a lot to build a network, and getting out of my
comfort zone in terms of meeting people outside my architectural
circles. I love to do large buildings because they force you to in-
terface with the world and a diversity of interests. They also allow
you to develop a community in your offce, which I enjoy.
But frankly it has been a very tough year. We won two compe-
titions in Shenyang, which I naively thought would go down like in
my previous experiences in Europe. They didnt. I was asked to
make endless changes, switch sites, change the program, dial it
down, and the worst was: change the style. At some point it just
didnt make sense any more to continue on those. The good news is
a developer in Beijing who saw our projects asked us to design a
hotel in Beijing right after that. That project is currently in zoning
approval. Well see if it goes through. No matter what, at least I feel
comfortable in China now and have developed a network. And
maybe the best thing was that I was forced to develop a prt--por-
ter line of projects for China, which are a dialed-down version of
my work. It is a very hard thing to do, but a good exercise.
HERNAN: Why Los Angeles, and why SCI-Arc as the place to
develop your practice?
TOM: Well, LA is my home and when I came back from Europe,
it was the only place to go for me. SCI-Arc has made a huge dif-
ference in my life. Frankly, my offce couldn`t have existed these
last years without it, on many levels. So I see SCI-Arc for its dual
role of being and school primarily, but also a support structure for
young practices. Im very thankful to be part of it.
CHIP interior, Solar Decathlon 2011
Solar Decathlon, Washington D.C.
1.
Guests at the SCI-Arc launch celebra-
tion held at the Hirshhorn Museum and
Sculpture Garden
2.
Michael Cook (M.Arch 95) and Su-
sanne Garvey
3.
SCI-Arc Director of Development Bill
Kramer and Karol Williams (M.Arch
83)
4.
SCI-Arc/Caltech team member Wilson
Chang and SCI-Arc Director of Aca-
demic Affairs Hsingming Fung
5.
Gabriel Lopez Vazquez (M.Arch 95),
Leila Schey, Jeremy Whitener (M.Arch
04), Rebecca Whitener
6.
Aerial view of the Solar Decathlon
Competition on the Mall. CHIP is at far
right
7.
SCI-Arc/Caltech 2011 Solar Decath-
lon Team
8.
Jane Suthigoseeya, Wilson Chang,
guest, Paul Cambon listen to Eric
Owen Moss speak at SCI-Arc Solar
Decathlon launch event
9.
Eric Owen Moss speaks at SCI-Arc
Solar Decathlon launch event
10.
Hyungbin Im, Solar Decathlon team
faculty advisor Wes Jones and Robert
Cardenas (B.Arch 11)
ALUMNI EVENTS & NEWS
ALUMNI SUPPORT SCI-ARC FOR
SOLAR DECATHLON
D.C.-area alumni, friends and supporters gathered on the evening
of Thursday, September 22 to commemorate the launch of the
Department of Energys biannual Solar Decathlon Competition
and celebrate the SCI-Arc/Caltech 2011 Solar Decathlon team and
their many project partners.
The event, sponsored by the Vinyl Institute, was hosted by
the Hirshhorn Museum and Sculpture Garden in Washington
D.C., and was attended by more than 150 guests including SCI-
Arc Director Eric Owen Moss, Caltech Resnick Institute Director
Harry Atwater, and trustees, alumni and friends from both
institutions.
Eric Owen Moss addressed the group, expressing his pride that
the SCI-Arc/Caltech designed CHIP house was both innovative and
unique, and thanking the many people and partners who made it
possible. CHIP fnished 6th out of 19 entrants in the Solar Decath-
lon 2011 competition. Of the 24 participants in the Solar Decathlon
team over the two-year competition, 12 are part of the 2011 gradu-
ating class. Congratulations to our newest alumni on their outstand-
ing success!
IT IS WHAT IT DOES
There are a couple of reasons why the Solar Decathlon CompetitionWashington
DC, 2011is the perfect challenge for a SCI-Arc design and engineering team.
The debate regarding the efcacy of solar, wind, geothermal, and other alternative
energy options, is in the ofng:

Its a developers debate.
Its a bankers debate.
Its a politicians debate.
Its an engineers debate.
Its an architects debate.

Americas future energy priorities will certainly be re-imagined and re-arranged.
And the conclusions are unlikely to replicate the current dependence on fossil
fuels. But what that future will look like, and in what time frame, is not yet clear.
SCI-Arcs CHIP [Compact Hyper-Insulated Prototype] proposal anticipates what
might be next.
That whats next for housing and energy discourse, along with concomitant
considerations of construction strategies (sizes, shapes, materials) and a broad
range of sociological and organizational optionsall these as yet indeterminate
prospects allow SCI-Arc students and faculty to engage, comment, and propose
solutions. SCI-Arc is less interested in engaging topics in design, engineering,
fabrication, and construction that have been solved and resolved.
So the CHIP proposition at the Solar Decathlon venue allows SCI-Arc students
and faculty to deliberate, and propose a new vision of Americas housing future.
Take a walk around the Solar Decathlon site at the Tidal Basin next to the Mall in
Washington.
Examine the efforts at re-imagining Americas housing prospects. Architecture and
engineering students and faculty from Shanghai, from Brussels, from New Zealand,
Canada, and all around the US have designed and constructed their propositions
for housings future.
And there is an interesting quandary here in those proposals that is worth examin-
ing. Housing in America has a typical form language. That is to say, there are one or
two recognizable building types that are conventionally constructed by developer
traditionalists, intended to appeal to a presumed consumer constituency in Ameri-
ca, and what that constituency is typically willing to purchase. The fundamental
design and economic issue, underlying the competition, is whether an alternative
image, an alternate visual and organizational proposition, will be palatable to that
American consumer, or whether design for future needs must acknowledge the
predictable images of shed roof or modern box that most frequently constitute the
traditional American home. Looking at that as yet indeterminate future, SCI-Arc is
convinced that the alternative design option is a plausible consumer choice.
The SCI-Arc proposal is unique because, conceptually, it is what it is because it
does what it does. The designers have rejected any obligations to the box and shed
precedents. Thats SCI-Arcs tactical approach. Rather than subscribe to the
standard imagery, SCI-Arc designed and engineered the CHIP prototype premised
on the notion that if we re-organized the social order of the house, if we re-imagined
the role of energy, insulation, and material choices, and if we re-invented the stan-
dard electrical, mechanical, and structural engineering priorities we would disrupt
the traditional image of the American house, and produce a very different object.
Indeed, in the end SCI-Arc has really taken on the question of livability in American
housing and offered a new sensibility for both its content and its character.
The CHIP is a welcome address to an alternative housing future.
ERIC OWEN MOSS
WASHINGTON D.C.
SEPTEMBER 23, 2011
13
FROM ARCHITECTURE TO
VIDEO GAME ARTIST
Seattle-based alumnus Sherif Habashi
(B.Arch 94) is an exemplar for the var-
ied career trajectory that begins with a
SCI-Arc degree. Upon receiving his
B.Arch at SCI-Arc, Habashi returned to
his home country of Egypt, where he
won an international design competition
for the American University in Cairo.
Habashi ran the family construction
management business for six years before rekindling his passion for
design by returning to Los Angeles to pursue a Master of Science in
Industrial Design at Art Center.
After completing his M.Sc in 2002, he became Creative Di-
rector for a production company, leading on set design for televi-
sion and flm networks, including ABC, CBS, MTV, and Warner
Bros. Over the next few years, Habashis design focus translated
from the physical to the virtual world, which led him to a career
in Video Games Art.
As Senior Concept Artist for Microsoft Game Studios, Ha-
bashi develops art concepts and designs virtual environments for
the Xbox game series. He has become recognized by Microsoft as
the in-house expert for environment and architectural design
within the video games animation world, which he credits to his
SCI-Arc education. Many schools can teach the technical skills
necessary for execution of a product, but everything I learned
about design was because of my time at SCI-Arc.
At Microsoft, Habashi is currently in collaboration with Lu-
cas Arts in the development of a Star Wars Xbox game due for
release in early 2012.
14
PACIFIC NORTHWEST ALUMNI EVENT
HOSTED BY ERIC CHEONG
The host for October`s Pacifc Northwest Alumni event, Eric Cheong (M.Arch `05), has recently
returned to the West Coast after spending more than fve years as a senior architectural and interior
designer in New York. During his time there, Eric was Vice President at building and interiors frm
Roman and Williams then spent a year as a principal of his own frm before he was approached to be
Director for Atelier Ace, the cutting edge creative services studio responsible for the Ace hotels and
related brand based in Portland, Oregon.
Cheong`s design career has travelled well beyond the United States coasts, however. While work-
ing on his Bachelor of Architecture degree at Georgia Institute of Technology between 1996 and
2000, Cheong spent a year working alongside SCI-Arc Alumnus Brendan MacFarlane (B. Arch
`84) at Jakob + MacFarlane Sarl dÀrchitecture in Paris, after completing his year abroad studying at
UP6 Ecole dÀrchitecture de Paris La Villete.
Upon receiving his B.Arch in 2000, Cheong worked as an architect and project manager in New
York before he came to SCI-Arc and completed his M.Arch in 2005.
Cheong credits his professional success not only to the design skills he learned at SCI-Arc, but
also to the wide network of alumni and faculty that he has remained close to over the years.
When presented the opportunity to host a Pacifc Northwest Alumni Event, he was gracious in
accepting the challenge. 'I love SCI-Arc. It was only a matter of time before I got back to being more
involved with the school.
The Pacifc Northwest Alumni Event was held at the Atelier Ace offces in Portland on October
21, 2011. Photos from the event will be featured in the next issue of the magazine.
Eric Cheong (M. Arch 05)
REPORT FROM THE ALUMNI COUNCIL
I am thrilled to report the founding of the 2011-2012 SCI-Arc Alumni Council, SCI-Arc`s primary
alumni volunteer group. With Dean Nota (B.Arch `74) chairing, the Council includes members repre-
senting a wide variety of ages, degrees, professions, and regions throughout the country and the world.
The mission of the SCI-Arc Alumni Council is to foster alumni collaboration and communication be-
tween each other, the school, and the students. Council members work to provide a collective voice for
alumni and a strong link between SCI-Arc and the professional world beyond the school.
Segmented into focused committees and working closely with the SCI-Arc Offce of Development
and Alumni Affairs, the Council achieves its mission by:
Q
Helping facilitate intra-alumni communications and communications with SCI-Arc
Q
Aiding SCI-Arc students and alumni with their professional growth through net working and
recruitment programs
Q
Acting as ambassadors for SCI-Arc in promoting a positive identity for the school and promoting
standing of SCI-Arc in professional and academic circles
Q
Providing counsel to SCI-Arc leadership on alumni needs
Q
Helping recruit students for admission to SCI-Arc
Q
Encouraging alumni participation in SCI-Arc collaborations, exhibits, community outreach
Q
Ensuring the fnancial strength of SCI-Arc
Q
Hosting alumni networking and social events around the world
For more information on the Alumni Council, its committees or on how to get involved, please con-
tact Aimee Richer, Associate Director of Annual Giving and Alumni Affairs, at 213.356.5388 or
aimee_richer@sciarc.edu.
Looking forward to your participation, I am.
NERIN KADRIBEGOVIC, AIA (M.ARCH 03)
2011-2012 ALUMNI COUNCIL
ALUMNI REPRESENTATIVE TO THE SCI-ARC BOARD OF TRUSTEES
SCI-Arc Alumni Council 2011-12
Dean Nota (B.Arch 74), Chair
Nerin Kadribegovic (M.Arch 03)
Alumni Representative to the Board
Nominations Committee
Dean Nota (B.Arch 74)
Los Angeles Events Committee/
Main Event 10 Committee
Christian Schulz (M.Arch 01)
Adam Goldstein (M.Arch 01)
Regional Committee
Boston Beth Gibb (M.Arch 89)
Miami Steven Morales Suarez
(B.Arch 04)
Mid-Atlantic States Michael Cook
(M.Arch 95)
Midwest Michael Poris (M.Arch 90)
New York Abby Scheuer (M.Arch 93)
Pacic Northwest Cherry Snelling
(M.Arch 97)
Rocky Mountain States Julee Herdt
(M.Arch 88)
San Francisco Alex Pettas
(M.Arch 06)
Japan Mirai Morita (M.Arch 06)
Europe Pia Schneider (M.Arch 86)
Asia Elita Seow (B.Arch 03)
Mexico Joe Tarr (M.Arch 08)
Open Season/Career
Services Committee
Johnny Ramirios (B.Arch 05)
Fundraising Committee
Research Committee
Sepa Sama (B.Arch 08)
Student Recruiting Committee
Beth Gibb (M.Arch 89)
Julee Herdt (M.Arch 88)
Steven Morales Suarez (B.Arch 04)
Joshua Coggeshall (M.Arch 97)
Alex Pettas (M.Arch 06)
Lilliana Castro (B.Arch 08)
Continuing Education Committee
Paras Nanavati (B.Arch 04)
Alumni Exhibits and
Media Committee
Steven Purvis (M.Arch 06)
1
1
3 4
2
5
1.
Sculpture Garden
2.
sanne Garvey
3.
83)
4.
5.
6.
right
7.
lon Team
8.
9.
10.
SOLAR DECATHLON
institutions.
ing success!
IT IS WHAT IT DOES


might be next.
Washington.
ERIC OWEN MOSS
WASHINGTON D.C.
SEPTEMBER 23, 2011
13
VIDEO GAME ARTIST
Seattle-based alumnus Sherif Habashi (B.Arch `94) is an exemplar
for the varied career trajectory that begins with a SCI-Arc degree.
Upon receiving his B.Arch at SCI-Arc, Habashi returned to his
home country of Egypt, where he won an international design com-
petition for the American University in Cairo. Habashi ran the fam-
ily construction management business for six years before rekin-
dling his passion for design by returning to Los Angeles to pursue a
Master of Science in Industrial Design at Art Center.
in Video Games Art.
6
7
14
The host for October`s Pacifc Northwest Alumni event, Eric Cheong (M.Arch `05), has recently
Cheongs design career has travelled well beyond the United States coasts, however. While work-
`84) at Jakob + MacFarlane Sarl dÀrchitecture in Paris, after completing his year abroad studying at
UP6 Ecole dÀrchitecture de Paris La Villete.
accepting the challenge. I love SCI-Arc. It was only a matter of time before I got back to being more
I am thrilled to report the founding of the 2011-2012 SCI-Arc Alumni Council, SCI-Arcs primary
alumni volunteer group. With Dean Nota (B.Arch `74) chairing, the Council includes members repre-
Q
Q
Q
Q
Q
Q
Q
Q
Regional Committee
(B.Arch 04)
(M.Arch 95)
(M.Arch 97)
(M.Arch 88)
(M.Arch 06)
Open Season/Career
Services Committee
Research Committee
Alumni Exhibits and
Media Committee
1.
Sculpture Garden
2.
sanne Garvey
3.
83)
4.
5.
6.
right
7.
lon Team
8.
9.
10.
SOLAR DECATHLON
institutions.
ing success!
IT IS WHAT IT DOES


might be next.
Washington.
ERIC OWEN MOSS
WASHINGTON D.C.
SEPTEMBER 23, 2011
13
VIDEO GAME ARTIST
Seattle-based alumnus Sherif Habashi
(B.Arch `94) is an exemplar for the var-
ied career trajectory that begins with a
SCI-Arc degree. Upon receiving his
B.Arch at SCI-Arc, Habashi returned to
his home country of Egypt, where he
won an international design competition
for the American University in Cairo.
Habashi ran the family construction
management business for six years before rekindling his passion for
design by returning to Los Angeles to pursue a Master of Science in
Industrial Design at Art Center.
in Video Games Art.
8
9
10
14
The host for October`s Pacifc Northwest Alumni event, Eric Cheong (M.Arch 05), has recently
Cheongs design career has travelled well beyond the United States coasts, however. While work-
84) at Jakob + MacFarlane Sarl dArchitecture in Paris, after completing his year abroad studying at
UP6 Ecole dArchitecture de Paris La Villete.
accepting the challenge. I love SCI-Arc. It was only a matter of time before I got back to being more
I am thrilled to report the founding of the 2011-2012 SCI-Arc Alumni Council, SCI-Arcs primary
alumni volunteer group. With Dean Nota (B.Arch 74) chairing, the Council includes members repre-
Q
Q
Q
Q
Q
Q
Q
Q
Regional Committee
(B.Arch 04)
(M.Arch 95)
(M.Arch 97)
(M.Arch 88)
(M.Arch 06)
Open Season/Career
Services Committee
Research Committee
Alumni Exhibits and
Media Committee
L.A. IS A CITY, OR A NON-CITY,
OR WHO KNOWS WHAT IT IS...
No one outside the feld of architecture has contributed as much,
as selfessly, to SCI-Arc as Ian Robertson. In his now twenty
year involvement with the school, Robertson has witnessed every
iteration of SCI-Arc at Berkeley, Beethoven, and Santa Fe, from
tent through purchase and served on the Board of Trustees
through every directorship save Ray Kappe`s frst. One wonders
what could have kept a (usually) laid-back developer from Hawaii
so committed, for so long, to building a school of architecture.
His involvement began in 1992 at the request of David La-
faille, who invited Robertson onto the Board as he assumed the
chairmanship. This was the year of SCI-Arc`s frst major reloca-
tion, from Santa Monica to Mar Vista. Leaving a warren of studio
spaces, SCI-Arcs faculty and students quickly adjusted to its
more spacious (and, as some noted with reservation, far more
orderly) home just north of the old Hughes tract.
Robertson saw that SCI-Arc was maturing in ways that few
others acknowledged. In 1994, he founded the SCI-Arc Founda-
tion with fellow Board member Merry Norris and a number of
recent graduates, including Hadley Arnold, Molly Reid, and Har-
rison Higgins. The Foundation hosted the frst SCI-Arc exhibition
and auction of drawings by architects, followed soon after by a
show of alumni work. These events brought together SCI-Arc
graduates in new ways, and laid the groundwork for alumni out-
reach and fundraising at the school.
Robertson saw the expansion of the Board from a group of
four people only one of who was not faculty to a representative
body of almost thirty. Robertson was Chairman of the Board for
nine years in total, during two periods of intense change for the
school.
Serving from 1996-98, bridging Michael Rotondis and Neil
Denaris tenures as Director, Robertson was instrumental in locat-
ing and securing the schools present location downtown. As Rob-
ertson tells it, a cousin of his at the real estate conglomerate Cata-
lus was the frst to point out the Freight building to the school,
and, though there were other options including an army base,
the downtown move soon seized the collective imagination of a
school still very much the product of LAs westside. Almost all of
SCI-Arcs founders were Santa Monica School architects and
denizens of then-gritty Venice. However, Robertson saw that for
many of SCI-Arcs founding generation, downtown on the eve of
its revitalization in the 1990s was closer to their notion of LA than
their fast-gentrifying Dogtown.
From 2002-07, in his second stint as Chairman, Robertson
came to terms with the scale of the challenge the school had taken
on in the move. The challenges of a phased move, with a year in a
tent in the parking lot, strained the patience of students and fac-
ulty, but Robertson helped steer the renovation of the building to
completion, and fought to secure the schools right to purchase the
building as soon as possible. Though that struggle was initially
unsuccessful, it led to a variety of management reforms at the
school including Robertsons requirement that the school budget
for a 3% annual surplus that left us a far stronger institution
when the opportunity to buy our home reemerged last year.
Ian was also the leading advocate for bringing alumni on the
Board, which included only one graduate of the school, Michael
Rotondi, on his arrival. The Board added an Alumni Representa-
tive in 1996, and Robertson asked Nick Seirup, Harrison Higgins,
Michael Poris, Scott Hughes, and myself to join the Board as reg-
ular members soon after.
Robertsons perspective, from outside the discipline of archi-
tecture but now steeped in its convolutions, is nicely attuned to both
SCI-Arcs internal debates and an everymans skepticism about
architecture for its own sake. He notes that the school has seen at
least three fundamental shifts in sensibility, from Kappes humane
modernism, through a rebellion of the tectonic architects (he
names Eric Moss, Thom Mayne, Robert Mangurian, Craig
Hodgetts and Ming Fung) looking for new solutions, to a contempo-
rary condition in which, its no longer all about the hand.
Similarly, he is quick to underscore the diverse strengths of
each Director he has worked with. He credits Ray Kappe with the
fortitude to drive the school into existence. He admires Michael
Rotondi as a strong advocate for student involvement in the gov-
ernance of the school. Neil Denari piloted SCI-Arc astutely into
the digital age, and Eric Owen Moss makes good decisions, hires
great people.
If theres an aspect of architectural education that Robertson
hopes SCI-Arc will engage more deeply, its ecological awareness.
In Robertsons view, an understanding the geophysics of the
world the cycles of wind, tide, sun, for example is really cru-
cial, and its not taught well in most schools. Ian McHargs 1967
primer on environmental concerns, Design with Nature, left a
lasting, profound impression on Robertson that he hopes might
fnd new adherents among faculty and students.
Reached at his home in Hawaii recently, Robertson said that
the most satisfying aspect of his work at SCI-Arc was, seeing a
bunch of architects actually running a school
FROM DOGTOWN TO DOWNTOWN:
IAN ROBERTSON AT SCI-ARC
Joe Day
15
JOE DAY
Joe Day (M.Arch 94) is a designer
and architectural theorist in Los
Angeles, where he leads Deegan-Day
Design whose work explores the
merger of new design methods and
advanced projection technologies.
Day also serves on the design and
history/theory faculty at SCI-Arc. His
teaching and writing has focused on
the themes of exhibition, incarcera-
tion, urban studies, and the nexus of
contemporary art and architecture.
Day served from 1995-2000 on the
Board of Directors of the Los Angeles
Forum for Architecture and Urban
Design, and as its President in 2000.
He is currently a member of the SCI-
Arc Board of Trustees, and a Director
at the W.M. Keck Foundation.
16 CLASS NOTES
Class
Reunions
Sara MacDonald (M.Arch 92) is
planning the M.Arch Class of 1992
20th Anniversary Reunion. Those
interested can contact her at rockbar-
ra@earthlink.net.
1970s
Dean Nota, FAIA (B.Arch 74) of
Dean Nota Architect is featured in
Entra Magazines summer 2011 edi-
tion for his design of the Robb Resi-
dence in Manhattan Beach. Nota is
also proled in the German md Maga-
zine, in a feature duly titled Der
Notable Mr. Nota.
Richard Levy (B.Arch 78) is nomi-
nated to become a Fellow of the AIA.
His architectural photography work
has been exhibited and published
throughout the U.S. and Europe, and
he recently received an Honorable
Mention, Professional Category from
the Advertising Photographers of
America (APA). Levy is part of a select
group of professionals listed by the
National Park Service and the Getty
Conservation Institute as capable of
performing true archival photography.
Most recently, he was brought in to
document the restoration of a number
of well-known historic and cultural
monuments, including the Downtown
Los Angeles City Hall Seismic Reha-
bilitation, the Los Angeles County Hall
of Justice, the Entenza Residence
Case Study House, and the Glendale
Railroad Station.
Ralph Mursinna (B.Arch 78) of
RMA is currently at work on a residen-
tial addition/remodel project for artist
Light Bob (Bob & Bob) in Mar Vista,
California. Completion is scheduled
early 2012.
Michael Folonis (B.Arch 79) and
his rm Michael W. Folonis Architects
has won a 2011 National Healthcare
Design Honor Award from the AIA and
the Academy of Architecture for
Health, in the Unbuilt category, for the
design of the 50,000-square-foot
UCLA Outpatient Surgery and Oncol-
ogy Center in Santa Monica, Califor-
nia.
Steven Lombardi (B.Arch 79) is
working on the design for the Housing
Retreat on the Osa Peninsula in Costa
Rica, where construction is scheduled
to begin January 2012. Most recently,
Lombardi opened a storefront ofce in
Ocean Beach that promotes archi-
tecture to go, a balance between for
prot and nonprot work/practice. In
addition to designing private homes,
Lombardi continues to design lighting
xtures out of recycled materials for
commissioned works and for nonprof-
its like Make a Wish Foundation in
San Diego.
1980s
Michael Blatt (M.Arch 85) and
partner Alice Fung are the recipients
of a 2011 Honor Award from the AIA
Pasadena Foothill chapter for their
work on the Sequoyah School in
Pasadena, California.
Anne Troutman (M.Arch 85) is
hosting a solo show of her current
photo-relief work Condition of the
Waters from November 5December
7, 2011 at Harris & Ruble Art in Holly-
wood.
Liza Gunaratna Chandra (M.Arch
86) completed a two-year remodeling
project of an Italian-inspired villa in
Mulholland Park, where she now
resides with her husband and two
children. The house was recently
featured in Indonesian Tatler and
Tatler Homes. She also runs an ofce
in South Jakarta, Indonesia.
Ron Kappe (M.Arch 86) of
Kappe+Du Architects in the San
Francisco Bay Area completed the
rst phase of construction of the Town
of Truckee Service Center Administra-
tion and Maintenance Buildings in
October. His rm also started con-
struction of the Napa City Bus Transit
Administration Building and the Lake
County Middletown Library and Se-
nior Center.
B.G. Shanklin (M.Arch 86) is princi-
pal of ThreePoint Design Associates
in Little Compton, Rhode Island. He is
involved in residential, commercial,
and institutional design and has been
an adjunct faculty at the School of
Architecture, Art, and Historic Preser-
vation at the Roger Williams University
in Bristol, R.I. since 1998.
Debra Carol Haddock (B.Arch 88)
completed the reconstruction of her
stone casale in Poggio di Guardea,
Italy and has launched the estate as a
rental property for vacations, reunions,
weddings and events. Haddock hopes
for the opportunity to host SCI-Arc
alumni as guests.
1990s
Matthew Fineout (M.Arch 90) and
Douglas Hanson co-founded Smart
Architecture in 2010, after working at
Frank O. Gehry & Associates for
several years. Specializing in the
application of digital technologies to
advance the art of construction, Smart
Architecture recently designed La
Machine, an interactive installation in
Grand Central Terminal, NYC, de-
signed for the global launch of the
Lacoste L1212 clothing collection.
The rm also consulted for Fernando
Romero on the Soumaya Museum in
Mexico City, with Fineout acting as
architect-in-charge of the building
envelope, and is currently engaged in
a master planning project in the fash-
ion district of downtown Los Angeles.
Elissa Scrafano (M.Arch 90) and
her rm Scrafano Architects received
an AIA design award for the Mendel
Residence from the San Fernando
Valley chapter in 2011. The design
team was led by Thomas Stallman
(M.Arch 91). Other SCI-Arc gradu-
ates that work with Scrafano Archi-
tects include Debbie Mackler
(M.Arch 94), Carol Lowry Barrett
(M.Arch 93), and Carolyn Tullis
(B.Arch 03).
Stephen Barrett (M.Arch 90-91),
who attended SCI-Arc as a Fulbright
scholar, is an associate with London-
based Rogers Stirk Harbour + Parn-
ers, having worked for Richard Rogers
for almost 19 years. He has been
project architect on a number of
notable buildings including the Bor-
deaux Law Courts in France, a new
terminal at Madrid Airport, and a new
control tower at Heathrow Airport.
Currently, Barrett is leading a team on
Grand Paris, a strategic metropoli-
tan planning study sponsored by the
French state.
Angela Brooks (M.Arch 91) and
partner Lawrence Scarpa of
Brooks+Scarpa Architects received
the AIA California Chapter 2011 Merit
Award for Architecture for their Chero-
kee Studios, a 32,000-square-foot
mixed-use housing project in Los
Angeles. The rm also received 2011
COTE awards for both the Cherokee
Studios and Step Up on Fifth, a
31,600-square-foot mixed-use build-
ing that includes 46 apartments for
mentally disabled residents. Brooks
also received the University of Florida
Alumni of the Year award.
Christopher Merciers (M.Arch 91)
Inglewood-based (fer)studio has been
voted one of California Home & De-
sign magazines Top 10 Firms to
Watch by a panel of judges including
Neil Denari, Hsinming Fung, John
Peterson, Tom Buresh, Luke Ogrydzi-
ak, Barbara Bestor, Steven Ehrlich,
Margaret Grifn, Carrie Byles and
David Meckel. The feature was pub-
lished in the magazines September/
October issue.
Thomas Stallman (M.Arch 91) is an
instructor at the Art Institute of Califor-
nia, Hollywood Campus, where he
teaches Design Basics-3D, Sketch
Techniques, and Institutional Design.
PJ Berjis (B.Arch 92) leads a design
rm specializing in landscape and
water feature design. He is currently
working on high end homes and
commercial projects.
Barbara Bestor (M.Arch 92) of
Barbara Bestor Architecture received
an AIA|LA Restaurant Design Award
and a nomination from the 2011 James
Beard Foundation Award for its de-
sign of Pitre Pizza in Los Angeles,
which transformed a dark Shakeys
pizza parlor into a light-lled contem-
porary artisanal pizza restaurant.
Lars Langberg (M.Arch 92) current-
ly leads his own practice in Sebasto-
pol, California. A recent project in-
cludes working with a group of local
residents/professionals to craft an
ideas competition for their town.
Dubbed The Core Project, the compe-
tition is open to architects, artists,
planners, landscape architects,
schools, and others, who are invited to
enter their submissions at the-core-
project.org.
Sara MacDonald (M.Arch 92) AIA,
LEED AP is principal of Rockbarra
Studio. She currently resides in New
Jersey with her husband, Rob Barnett,
and their 4-year-old twins and 18-year-
old step-daughter.
Jason Shirriff (B.Arch 92) complet-
ed construction on the St. Isidore
Elementary School Library Remodel in
Danville, California, for which he
served as project architect with HKIT
Architects. Most recently, he spoke at
the East Bay AIA and San Francisco
AIA Revit user groups about his use of
Revit on the design and development
of the Aragon High School Theater,
under construction in San Mateo. He
also received awards for his Anschel
ink drawings Neon Boulevard and
Polis at Artslant. Shirriff was over-
joyed to reconnect with fellow alumni
Tod Stockwell (B.Arch 92) and
Kevin Conley (B.Arch 92) through
LinkedIn.
M. Charles Bernstein (92-94), AIA
LEED AP recently bought a
1,200-square-foot 1971 modular
house in Topanga, California. With a
very limited budget, Bernstein and his
wife completely rebuilt the interior,
two thirds of the exterior envelope and
plan to add an additional 100 square
feet. The two lived in the house during
the last 4 months of construction and
are now settling in.
Jeremy Levine (M.Arch 93) joined
the Board of Directors for Side Street
Projects, a non-prot art organization
in Pasadena. His rm, Jeremy Levine
Design recently completed a solar
garden shed for Occidental College,
and two of his residential projects,
Red Box and Three Trees, will be
published in the new book, Passive
Architecture, from Braun Publishing.
Benjamin Ball (B.Arch 94) and
Gaston Nogues (B.Arch 93) of Ball
Nogues Studio recently completedg
Yucca Crater, an interactive installa-
tion for the High Desert Test Sites
initiative located near Joshua Tree
National Park, California. Idealized as
an oasis for travelers of the vast and
arid Mojave Desert, the project merg-
es the theory of earthwork art with a
man made structure, presenting a
unique opportunity for Ball Nogues to
intervene upon the landscape with
ecologically-minded and imaginative
architecture.
Robert Adams (M.Arch 94) exhibi-
tion, The Asclepius Machine: Genetic
Diversity and Extreme Urban Eupho-
ria, is on view at UC Berkeley through
December 2. Named for the Greek
god of healing and medicine, the show
explores the relationship of genetic
diversity and architecture as a means
to re-think contemporary design
methodologies and the rich vitality of
disability culture. Adams is an assis-
tant professor of architecture at the
University of Michigans Taubman
College of Architecture and Urban
Planning.
Todd A. Erlandson (M.Arch 94) and
his team at (M)Arch Branded Archi-
tectures collaborated with Deborah
Sussman and typographer Andrew
Byrom on the design of the exhibition
Eames Designs: The Guest Host
Relationship, which opened in Octo-
ber at the A+D Museum. The exhibit is
part of Pacic Standard Time: Art in
LA 1945-1980, a collaboration of
more than sixty cultural institutions
across Southern California, spon-
sored by a grant from the Getty Foun-
dation.
Jennifer Siegal (M.Arch 94) hosted
the symposium Motopia: A New Age
for Modular Construction at the Uni-
versity of Southern California (USC).
Siegal is principal of Los Angeles-
based Ofce of Mobile Design and a
visiting associate professor at USC.
She and her husband welcomed their
rst child, Sydney Joan Siegal McNa-
mara, in June.
Jeffrey Allsbrook (M.Arch 95) and
his rm Standard designed the Local
Park installation for deLabs space in
front of Local restaurant on Sunset
Blvd. Taking cues from PARK(ing)
Days theme, the iconic Hollywood
sign, Local Park features four large
topiary letters that spell the word
P-A-R-K. In combination with the
existing storefront behind, the sign
reads Local Park. The installation
grabs the attention of the driving and
bus-riding public and leaves the
enigmatic impression of a green park
at the side of the boulevard. The
installation was also featured at ULI at
the LA Convention Center in an exhi-
bition curated by Frances Anderton.
Greg Roth (M.Arch 95) and partner
Daniel Shapiro launched Modern Bite,
a bakery that creates cakes, cup-
cakes, and cookies topped with mod-
ern designs, for sale online. The
company relies on Shapiros baking
experience and expertise and Roths
eye for aesthetics. Roth practiced with
Frank Gehry Associates, Kerry Joyce
Associates and Audrey Alberts De-
sign before launching Gregory Roth
Design in 2001, which focuses on
interiors and graphic design.
David Montalba, AIA (B.Arch 96) of
Santa Monica-based Montalba Archi-
tects, received the 2011 AIA Institute
Design Honor Award in Interior Archi-
tecture for his design of a
1,900-square-foot sustainable dental
ofce in San Francisco. Since its
completion, the project has also
received the 2011 Green Good De-
sign Award, and Merit Awards in
Interior Architecture from AIA Califor-
nia Council and AIA San Francisco.
Montalba Architects is currently at
work on a private residence in Jackson
Hole, Wyoming, the design of a new
caf on Walt Disney Imagineerings
Glendale campus, and the renovation
of a ski lodge in Mammoth, California.
Rick Miller (M.Arch 97) is currently
conducting research on the construc-
tion and inhabitation of the ger dis-
tricts in Ulaanbaatar, Mongolia, with
funding help from Fulbright.
Beth Holden (B.Arch 98) is at work
on a new restaurant project for the
Knitting Factory, located in an old
warehouse building in the San Fernan-
do Valley. She recently completed a
Hollywood Hills residence project for
photographer Jill Greenberg, featured
in a cover story in the LA Times, and in
AIA|LA home tours. Launched in
October, Holdens studio includes a
gallery showing local artists and a
storefront that features her furniture
and design objects.
Michael Pinto (M.Arch 98) of Os-
born Architects had two projects
featured at the Center for Architecture
in Philadelphia as part of a Community
Design Collaborative Showcase:
Mudtown Farms, the result of a SCI-
Arc class research project to create a
series of speculative propositions for
a 2.5-acre agriculture site in a city
center; and the Miraloma Park Master
Plan, selected as one of 62 State of
California Proposition 84 Grant appli-
cants to receive funding. Osborn
Architects recently completed the
LAX Cultural Master Planning Study.
Pinto was also selected as a juror for
the 2011 AIA Pasadena-Foothill
Design Awards.
Jeff Goldberger (M.Arch 99) start-
ed a mock-architecture blog called
Barkitecture at barkitecturemag.com,
with the intention of bringing humor to
the world of architecture. Everyday
discussions range from intellectual, to
scal, to fantastical, to technological.
The project is still in its development
phase, and Goldberger hopes to make
the site a fun and disarming read for
architecture acionados. Forthcoming
segments include an opinion page
and sections on competitions, educa-
tion, and travel, as well as a forum.
David Valdes (M.Arch 99) works as
a part-time project designer and
coordinates business development at
RoTo Architects. Recent projects
include a school in Suzhou, China and
master planning projects in Dubai,
with RoTo Architects; the LKSC
Center for Learning and Knowledge at
Stanfords School of Medicine, with
nbbj; and the campus center complex
at Foothill College, with Perkins+Will.
Valdes is also involved in a small
start-up for medical innovations, and
next year, he plans to enter an MBA
program with a focus on strategic
planning and nancing.
2000s
Tima Bell (M.Arch 00), principal of
Tima Winter, recently completed three
projects which include Salvage, a new
bar in downtown Los Angeles, GRA-
TiAE Cosmetics on Fremont Street in
Las Vegas, and Hormeta, the agship
cosmetic store in Las Vegas Harrahs
Casino, which he co-designed with
Scott Sullivan (M.Arch 00).
Laura Burkhalter (B.Arch 00)
recently completed a project for the
food truck-turned restaurant, The
Flying Pig Caf, located near SCI-Arc
at 2nd and Central in downtown LA.
The restaurant opened for business in
June.
Nicolas O. S. Marques (M.Arch 00)
has been at work growing his archi-
tectural photography business. Most
recently, he has photographed proj-
ects in the U.S. and in Portugal, and
his work has been printed in local and
international publications. He was
invited to exhibit at the Aaroe Group in
Old Town Pasadena and is in negotia-
tions with several magazines for
additional new projects.
Pooja Bhagat (M.Arch 01) and her
rm Moore Ruble Yudell Architects
won a Citation Award from the LABC
for the Village Master Plan and Hous-
ing in Santa Monica, for which she
was project manager and design
associate-in-charge. She also re-
ceived awards for the Pico Affordable
Housing Project and Village Housing
for Innovation in Design from the
Westside Urban Forum and AIA
awards for the Santa Monica Civic
Centre Parking Structure and the
Chongqing Master Plan and Housing
in China. Bhagat is a licensed archi-
tect and is LEED BD+C accredited.
She has been with MRY for more than
8 years.
Britton Glynn (M.Arch 01) and
Aaron Glynn received the 2011 Inter-
national Architecture Award from The
Chicago Athenaeum, Museum of
Architecture and Design, for the
Manhattan Beach project Surfhouse,
designed for XTEN Architecture. The
two opened their rm, Glynn Design-
build, in 2005, working primarily on
high-end residential remodeling proj-
ects and new construction in the Los
Angeles area.
Aidin Khoeis (MR+D 02) project
Year 2030, a skyscraper in Belgium
that uses air ow created by the
exchange between hot and cool air
and windmills to allow natural support
for growing vegetation on the building,
was featured by Archi-World. Khoei
practices architecture and design in
Los Angeles.
Grit Leipert (MR+D 02) and Frank
Pasker (MR+D 02) recently complet-
ed construction on the Nob Hill
House, their own certied green home
in Mt. Washington. In June, the home
was featured by the LA Times and
received recognition from the city of
Los Angeles for outstanding creativ-
ity in architectural and sustainable
design. It features the rst permitted
gray water system in Los Angeles and
creates all of its electricity on site.
Leipert is an associate senior design-
er with AC Martin and Pasker is a
licensed architect and project manag-
er with DDB Architects in Los Ange-
les; both are LEED APs.
Lorenz Quinley (M.Arch 02), after
several years at GKK Works, recently
moved to Shenzhen, China to take on
a Senior Design Manager position
with Joseph Wong Design Associ-
ates. JWDA is headquartered in San
Diego, with ofces in Shanghai and
Shenzhen.
Jeremy J. Quinn (M.Arch 03) and
partner Michele Jaquis, co-founders of
the collaborative arts organization
Rise Industries, were invited to partici-
pate in a residency at the Institute of
Cultural Inquiry (ICI ) in Los Angeles,
which culminated in an exhibition this
summer. Acting as curators, creators
and collaborators, Quinn and Jaquis
brought their organizations full mem-
bership into the residency, making it
the rst exhibition to feature all current
Rise Industries collaborators.
Brian OLaughlin (M.Arch 03) has
been with Gehry Partners since 2003,
and practicing as a California Li-
censed Architect since 2007. Recent
projects include the Barclays Center
in Brooklyn, NY which includes a
19,000 seat multi-format arena, and
Atlantis Sentosa in Singapore with a
themed aquarium, botanical museum,
and resort project in collaboration
with Greg Lynn and Peter Arnell.
OLaughlin is currently working on the
Guggenheim Abu Dhabi Museum
located in the United Arab Emirates.
Elita Seow (B.Arch 03) is a senior
architectural designer for AEDAS in
Hong Kong, where she oversees
projects ranging from hospitality, to
residential and educational, covering
all phases of design, from master
planning to construction. She is cur-
rently at work on a luxury beach resort
in Vietnam and a master plan for the
city of Baoyunpian, China. Seow also
heads the SCI-Arc Alumni Council
regional committee for Asia.
Casey Hughes (B.Arch 04) of
Casey Hughes Architects recently
completed the Coldwater Studio, a
West Hollywood writers two-story
home which features a recessed
balcony carving a rectangular hole in
its faade. The house has been fea-
tured widely in publications including
The New York Times, Dwell, Domus,
and Dezeen.
Sang Dae Lee (M.Arch 04), princi-
pal of UnitedLAB, received an Honor
Award at the ASLA 2011 Professional
Awards for her Regeneration/Yongsan
Park project in Seoul, Korea.
Tony Trinh (M.Arch 05), Yohannes
Baynes (B.Arch 07) and Sam Ira-
vani (B.Arch 07) have recently
launched a new cross-culture website,
The Superslice. The online platform
covers topics including art & design,
music, technology, and pop culture,
and functions as part aggregator, and
part online magazine featuring original
content. The team is also nurturing
The Superslice into a lifestyle brand
and will have limited edition merchan-
dise available in the near future.
Fumio Hirakawa (M.Arch 05) and
Marina Topunova (M.Arch 06) of
24 Studio received an Honorable
Mention, Interior Lighting for their
Hope Tree project at the Premios
Lamp Lighting Award 2011 in Barce-
lona. Originally shown at Tokyo De-
signers Week 2010, and one of the
winners of the Environmental Contain-
er Competition, Hope Tree evokes
nature in a space for display. A sec-
ond installation, Crater Lake, which
won the Shitsurai Art International
Competition organized by the city of
Kobe, Japan, will be on view at the
Kobe Biennale 2011.
Jody Beck, AIA (M.Arch 06), princi-
pal of Traction Architecture in Tampa,
Florida, was recently appointed by the
Mayor to the Architectural Review
Commission of the City of Tampa,
where she will serve a three-year term.
Beck also teaches courses in Archi-
tectural History and Theory at the
University of South Florida and St.
Petersburg College.
Steve Fuchs (M.Arch 06) relocated
from Los Angeles, where he was
working for Frank Gehrys digital
research lab, Gehry Technologies,
and is currently residing in Illinois,
where he is helping lead a young grad-
uate program at Harrington College of
Design in downtown Chicago. His
full-time responsibilities include a mix
of theory, methods, and studio class-
es, curriculum review, college gover-
nance, and a wide range of thesis
duties, including chairing multiple
committees. Part of the reason Fuchs
credits as being hired was a wonder-
ful conversation about our pedagogy
of making and meaning one afternoon
at SCI-Arc during an informal inter-
view with his current director. Fuchs is
still surng both in and out of class
leading the advanced digital and
computational design specialization
using Rhino + Grasshopper, and has
found overhead waves year-round on
Lake Michigan.
Benjamin Luddy (M.Arch 06) and
Makoto Mizutani (M.Arch 05),
co-founders of Scout Regalia, partici-
pated in Octobers High Desert Test
Sites (HDTS) 2011 event. Their proj-
ect, Trail Registry, will be a long-term
installation in Pioneertown just out-
side of Joshua Tree, and is inspired by
the registries found at trailheads. It
encourages people to leave and/or
take a memento tied to the enameled
aluminum rods, similar to the way
people leave rocks in a pile at the top
of a mountain or leave artifacts near
trailheads.
Emily White (M.Arch 06) and Lisa
Little (M.Arch 06) of Layer LA
launched a series of projects and
installations, including the 3-Horned
Beast pavilion at The New Childrens
Museum in San Diego, which will
remain on view for the next two years.
A second project produced for the
Women Hold Up Half the Sky exhibi-
tion at the Skirball Cultural Center
features a transparent canopy hover-
ing over the exhibit. In addition, sever-
al drawings by Little and White are on
view in the Unruly group exhibition at
the Arena 1 Gallery in Santa Monica,
alongside work by alumna Laurel
Broughton (M.Arch 06) and SCI-
Arc faculty Andrew Atwood and
Chandler McWilliams.
Michael Arellanes II (B.Arch 08) of
MA2 Architectural Design, has two
design proposals featured in the Au-
gust/September issue of MARK Maga-
zine (No.33)an Urban Stadium for
Seoul, Korea and a Stage for Miamis
downtown Marine development.
Nina Marie Barbuto (M.Arch 08)
opened Assemble, a community
space for arts and technology in
Pittsburgh, whose mission is to acti-
vate the community with the contribu-
tions and presence of the audience
and makers. Programs include gallery
crawls, workshops, lectures and
community activities. Those interested
in showcasing their work at Assemble
can contact Nina at assemblepgh@
gmail.com. Assemble is a not-for-prot
organization with an active, contribut-
ing board.
Joe Tarr (M.Arch 08) has been work-
ing in Mexico City for the past three
years. After a brief stint with TEN
Arquitectos, he settled in at his current
location with Rojkind Arquitectos.
2010s
Adam Grove (M.Arch 10) has as-
sumed the position of Level Coordina-
tor for the rst year graduate program
in architecture at New School of
Architecture and Design in San Diego,
where he has been teaching since
January.
Jorge E. Mutis (B.Arch 11) design
proposal, farm{air}, which relocates
agricultural infrastructure into airborne
bubbles and uses helium to keep them
aoat above their grounded Docs,
received an honorable mention in the
suckerPUNCH Center for Urban
Farming Competition.
17
2010-11 Academic Year
SCI-Arc acknowledges with deep appre-
ciation and gratitude the following organi-
zations and individuals whose extraordi-
nary support allows us to continue to
educate the architects and designers who
will imagine and shape our future.
$300,000 and Above
Staubli Robotics
Getty Foundation
$200,000-$299,999
Robert A.Day
The Fletcher Jones Foundation
$50,000-$99,999
The Ahmanson Foundation
W.M. Keck Foundation
National Endowment for the Arts
$10,000-$49,999
Anonymous
Bowling Family Foundation
City of Los Angeles, Department of
Cultural Affairs
Albie J. Colotto
Joe Day (M.Arch 94) and Nina Hachigian
Marina Forstmann Day
Tim and Neda Disney
William Fain
ForestCity
The James Irvine Foundation
Jewish Communal Fund
Johnson Fain
Thom Mayne
Kevin Ratner
Saudi Arabian Cultural Mission
Abigail Scheuer (M.Arch 93)
The Vinyl Institute
Caroline and William Wietsma (B.Arch 77)
Stephanie Bowling Zeigler (M.Arch 95)
Eric Zimmerman
$5,000-$9,999
Richard Baptie
Jamie and Carolyn Bennett
College First Foundation
Conde Nast
Cook Composites and Polymers
John Cordic/RJC Builders (B.Arch 86)
Dolphin Promotions, Inc.
David Gelbaum
Tom Gilmore
Graham Foundation for Advanced
Studies in the Fine Arts
Hathaway Dinwiddie Construction Co.
David Hertz (B.Arch 83)
Robert LaPorta (M.Arch 07)
Network of Executive Women
in Hospitality
Row Four Productions
Patrick Tighe
Wells Fargo Foundation
$1,000-$4,999
3Form
ACE Mentoring Program of DFW
AIA Legacy, Inc.
Allen Matkins Leck Gamble Mallory &
Natsis LLP
Anthony R. Anderson (M.Arch 04)
Teijin Aramid USA Incorporated
BDO USA, LLP
California Community Foundation
Carolyn Campbell
Composites One
E-Grow 3D Solutions
Steven Feig
Anthony Ferguson
Fidelity Charitable Gift Fund
General Plating Co. & Brite Plating, Inc.
John R Geresi
Scott Hughes (M.Arch 97)
Rahinah Ibrahim (M.Arch 90)
Jewish Vocational Service
Shelly and Ray Kappe
Khristophe Keen
Christopher Kennedy (M.Arch 99)
Alec Kobayashi (M.Arch 90)
David Koch (M.Arch 97)
Emily Kovner and Eric Owen Moss
Bill Kramer
Kreysler & Associates
Landau, Gottfried & Berger
Martin Sosin-Stratton-Petit Foundation
McIntosh Poris, Inc.
Kelly Chapman Meyer
Brett Mosher
National Housing Endowment
Jerry Neuman
Merry Norris
Northside Sportshing Club
OLIN
P.E.O. International
Pasadena Art Alliance
Pasadena Community Foundation
Bart-Jan Polman
Michael Charles Poris (M.Arch 90)
Stephen Sacks
Nick Seierup (B.Arch 79)
Abby Sher
Joey Shimoda
Simpson Gumphertz & Heger, Inc.
Cherry Lietz Snelling (M.Arch 97)
SoftMirage
Solid Concepts
Swinerton Builders
Marion Ternstrom
Virgin Island Chapter AIA
Walters & Wolf
William A. Witte
$500-$999
Omrana Ahmed
Marianne Angelo
Barbara Bestor (M.Arch 92)
Karen Bragg (B.Arch 87)
Annie Chu (B.Arch 83) and
Rick Gooding (B.Arch 84)
William Crigger
Steven Ehrlich
Pavel Pan Getov (M.Arch 93)
Grifn Enright Architects
Hawaii Community Foundation
Japan Foundation
Steven Lombardi (B.Arch 79)
Michael Palladino
Richard Meier
Craig Savage
Scholarship America
Daniel Swartz
Blair C. Tanner
Up to $500
20th Obsession
3D Rapid Prototyping, Inc.
A+D Museum
Alejandro Abarca
Calvin Abe
Tony Abeyta
Tina Aghassian
Kim Alexandriuk
Bandar Sulaiman Alkahlan (M.Arch 08)
Patrick Allen (M.Arch 00)
Roman Alonso
Atta H. Alsaleh (M.Arch 88)
Taroub Ali Alsaleh
Gary Alzona (B.Arch 87)
John Anastas
Keith Andersen (M.Arch 87)
Anonymous
Architecture Tours L.A.
Lindsay C. Aydelott
Mark Baez (B.Arch 91)
Bernard Bahr
James A Balogh
Christopher Banks
Jacky Barret
Verr Lynn Bateman-Soltes (M.Arch 95)
Herwig Baumgartner
Behnisch Architects Inc
Francisco Behr
Clyde Berkus
Donald and Ileene Berkus
Carol Bernstein
Aaron Betsky
Beziner
Adam Blackman
Michael Rosner Blatt (M.Arch 85)
Catherine Bloom
Barbara Bohl
Lorraine Bonanni
Chris Bonura (B.Arch 88)
Timothy Hall Braseth
Kenneth Breisch
Pearl M. Brickman (M.Arch 79)
Angie Brooks (M.Arch 91) and
Larry Scarpa
Tim Brophy
Sandra Brown
Melissa Burgess
Laura Burkhalter (B.Arch 00)
Howard Byer
Paul and Susan Cambon
Dana Cantelmo (M.Arch 89)
Sue Capelli
Andra Carasso
Aviva B. Carmy (M.Arch 80)
Chris Casady
Barbara Casey
Victor Manuel Castillo (M.Arch 01)
Georgiana Ceausu
Edward Cella Art+Architecture
Edwin Chan
Liza Gunaratna Chandra
Adele Chateld-Taylor
Patrick Cheh
Margaret Chen
Guillermina Chiu (B.Arch 08)
Christopher Anthony Ltd.
Ayndrea Wilson Chrystie
Linda Cohn
Geofrey Collins (M.Arch 92)
Keith Collins (M.Arch 99)
Deborah Colman
John Colter (M.Arch 97)
Anthony Coscia
Charles Credaroli
Cecilia Dan
Wim de Wit
Maria DeFranco (B.Arch 77)
Diamond and Estate Trust
Frances Diemoz
Dimster Architecture
Elizabeth Dinkel
Tim Do
Martin Doscher (M.Arch 96)
Double Vision
Mary P Dougherty
Patrick Dragonette
Kevin Drake (M.Arch 04)
Doron Dreksler (B.Arch 94)
Jonathan Drezner (M.Arch 90)
Heidi Duckler
Kristopher Dukes, LLC
Peter Dunham Design
ECIFFO Magazine
Merrill Elam
Lori Erenberg
Todd Erlandson (M.Arch 94)
Juan Carlos Esquivel
Jeffrey Eyster (M.Arch 98)
Reed Aspen Finlay (M.Arch 10)
Barbara Flood
Edward Forcum
ForYourArt
Stephen Rathie Gabor (M.Arch 00)
Mr. Stephen Garrett
Michele Gathrid
Martin Gelber
Peter Gelles
General Benets Insurance Services,
Corp.
Elizabeth Anne Gibb (M.Arch 89)
Lisa Gimmy
Dr. Yvonne Goff
Juliana Goitein
Robert J. Good (B.Arch 81)
Pascha Goodwin
Lizs Antique Hardware
David Lawrence Gray
Maxine Greenspan
Gruen Associates
William Gruen
Gustavo Gubel (B.Arch 88)
Antonio Guzman
Trip Haenisch & Associates
Shannon Eve Han (M.Arch 06)
Charles Hanlon
Mr. Carl Harberger (B.Arch 91)
Matthew Harmon (M.Arch 10)
Rita Haudenschild (M.Arch 04)
Barbara Helton (M.Arch 84)
Benjamin Arturo Francisco Hidalgo
(B.Arch 00)
HNTB Architecture
Hodgetts + Fung Design Associates
Horton Lees Brogden Lighting Design
Kathryn and Con Howe
C. W. Howe Partners, Inc.
George Yumin Huang (M.Arch 97)
Dana Hutt
David Jacobs
Catherine Jacobson
Jewish Community Foundation
Lee William Johnson, III (B.Arch 00)
Sandra Elizabeth Johnson (M.Arch 09)
Sherry Johnson
Louis DeLong Joyner (M.Arch 85)
Ryotaro Kaburagi (M.Arch 97)
Jacqueline Kahn-Trauberman (M.Arch 80)
Steven Kam (B.Arch 83)
Stephen A. Kanter, M.D
Karen Klawans
Judith Keller
Kelly Architects
Elizabeth Marie Keslacy (M.Arch 04)
W. Brooke Kettner
Mahtash Khatib-Rahbar (B.Arch 83)
Pam Kinzie (M.Arch 90)
Gordon Kipping (M.Arch 95)
Kurtis Kishi
Hunter Alexander Knight (M.Arch 06)
Enid Kofer
Bettina Korek
Ken Koslow
Anna Kovner
Lindsey Kovner
Noah Kovner
Stephan P. Kowal (M.Arch 00)
Denis La Roche (B.Arch 80)
David Lafaille
Jason Langkammerer (M.Arch 99)
Miriam Ginsberg Larson (M.Arch 02)
Michelle Lavee
Oren Lavee (B.Arch 79)
Ellen LeComte
Mia Lehrer
Yoram LePair (M.Arch 04)
Geoffrey Lewis (B.Arch 89)
Raleigh Lieban (M.Arch 86)
Rosella Lieberman
David Limburger
Lisa K Little (M.Arch 06)
Jen-Chin Lo (M.Arch 07)
Stacie B. London
Benjamin E. Luddy (M.Arch 06)
Ben Lunsky
Luong Ly
Valerie E Lyons
Andrea Lenardin Madden (M.Arch 98)
Stuart Magruder (M.Arch 97)
Victor Malerba (B.Arch 07)
Wayne Marmostain
Nicolas Oliver Steddin Marques
(M.Arch 00)
James Marrin
Kelly Sutherlin McLeod Architecture
Markus Meister
Edward Scott Melnick
Martin Roy Mervel (M.Arch 81)
Pamela and Kurt Meyer
Midwest Estate Brokers
Albert Mikaelian (B.Arch 81)
Vram Minassian
Makoto Mizutani (M.Arch 04)
Jonathan Sebastian Moore (M.Arch 00)
Stephen Edward Mora (M.Arch 09)
Timothy Morrison
Janine Moss (M.Arch 90)
Marsha Moutrie
Douglas Myhr (M.Arch 87)
Ladan Naraghi (B.Arch 83)
Elisabeth Jean Neigert (M.Arch 10)
David J. Neuman
Judith Newmark (M.Arch 81)
Robert Noble
Jun Okushi (M.Arch 85)
Ronald Onkin
Lawrence OToole (M.Arch 93)
Greg Otto
Dwayne Oyler
Catherine Pack (M.Arch 02)
Martin Pack
Martin Paull (B.Arch 87)
Malcolm Peck
Barry Peele
Janet Perkins
Paul A. Petrunia
Kirk Allen Phillips (M.Arch 00)
Royce Pinkwater
Priscilla Poppensiek
Porter and Plunk
Lloyd Queen
Merritt Evan Raff (M.Arch 93)
Mark Raskin
Andrea Rawlings (B.Arch 82)
Stephanie Reich (M.Arch 93)
Suezette Rice
Aimee Noelle Richer
Dennis A. Roach
Alexis Rochas
Jeff Rogers
Roscoe & Swanson Accountancy
Corporation
Gregory M Roth (M.Arch 95)
Marcella Ruble
Alexandra Rudenau (M.Arch 87)
Jesper Ryberg (B.Arch 03)
Mark H. Savel (B.Arch 78)
Donald Schireson
Pia Schneider (M.Arch 86)
Beverly Schnur
Christian Schnyder (M.Arch 95)
Greg Schoer (M.Arch 07)
Jeffrey Schuerholz
Tamara Scott and Company
Stephan Shair (M.Arch 83)
Will Sharp (M.Arch 87)
Sheila Sherman
Takashi Shida
Shook Kelly, Inc.
Steve Shortridge
David Shoucair (B.Arch 79)
Alan Sieroty
Rebecca Buck Silva
William Simonian
David Simons
Amy Sims (M.Arch 93)
Mark Slagter (B.Arch 87)
Jack Smith Collections
Laura Smith
Derek Soltes (M.Arch 94)
John Souza (B.Arch 74)
Randy Spiwak (B.Arch 79)
The Standard Hotel
Ashley Staneld
Brian D. Staton (B.Arch 92)
Jason Stein
Zenia Stept
Joan Stevens
Kris Stewart
William Stewart
Roger Stoker
Tim Street-Porter
Scott Strumwasser (B.Arch 83)
Bonnie Stylides
Michael James Sulis (M.Arch 00)
Mariem Superfon
Leonard Swatt
Michael Swischuk (M.Arch 92)
Mr. Gianluigi Tacchi
David Alexander Takacs (B.Arch 98)
Donald Tallarico
Atsuko Tanaka (M.Arch 89)
Takaharu Tanaka
Kathy Taslitz Studio
Mark Teale (B.Arch 88)
Kan Wee Wagen Teh (M.Arch 05)
Carol Banasky Templeton (M.Arch 83)
and Phillip Templeton
Dirk D. Thelen (B.Arch 90)
Bobbye Tigerman
Kelly Towers
Trina M Turk
Elinor Turner
William H. Tyler
Erin Cohen Uettwiller
Silvia Van Wingerden
Tania Verruno
Rachel Vert
James Wagner
Richard J. Wagner (B.Arch 05)
Stephen Wagner (M.Arch 84)
Christopher A. Waight (B.Arch 97)
Kristin Wakino
Toni and Lexi Wald
Jim Ward
Jonathan Ward
West Coast Group Benets
Douglas White
Pae White
Kristen Charles Whittle (M.Arch 94)
Portia Wijatno
May Ellen Williges
Allyne Winderman
Sian Winship
John Sharp Winston (M.Arch 04)
Gregory Wooten
Mark Worthington
Jenny Wu
Michael James Wysochanski (M.Arch 09)
Shaunt Hagop Yemenjian (M.Arch 06)
Esa Yla-Soininmaki
Carole A. Yu
Haily Zaki
Howard Zellman
Brian Miles Zentmyer (M.Arch 11)
Elaine Zimmerman
Jed Zimmerman (B.Arch 87)
(Gifts and commitments from
9/1/2010-8/31/2011)
SCI-ARC DONORS 18
SOLAR DECATHLON 2011
Cover photography by Darius Siwek
SOUTHERN CALIFORNIA
INSTITUTE OF ARCHITECTURE
960 EAST 3RD ST.
LOS ANGELES, CA 90013

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