Ui "'C c: QJ

-;:: u... "'C c: '" ~ QJ

..c E QJ

::E E 2 o

u...

L----=:::~~~!ii!~_J,;;;';;;i';ha5 become characterized by I of our senses with a nearly

tinuDUS stream 01 mediated jmag~ - eaSily lated and lIuidly recombined by ever more p."'!" and. at the same time. more readily available technology.

The study of architecture. with its methodical ,0<' h,lis­tic approach 10 problem solving and its global and

U.S. POSTAGE

PATD

lory-laden consideration of design issues.. can ~"~,atL ________ -l--l-____ J times. iI charming relit - a staid but dignified elder

how the schools all! re· thinking design edu­cation in the face of accelerated cullural

statesman.

The place 01 arthilecturaleducation in a rapidly modernizing world has long been controversial subiect - certainly since 196a when during the uprising in Paris. Ecole des Beaux Artes became a specific focus of student anger and finally II under widespread internal dissention. The extent to which architectural practice tains its distinctiveness and autonomy with regard to other design practices - or extent to which it should attempt to emulate their success - is part of a larger sian of the value of architecturaltradltions in relation to the importance of ''''\it'd",'~ as a relevant and meaningful voice in contemporary culture,

We spoke with the heads of seven local architecture and design programs to I

production. changes I"""".itat"d by new technologies,. and altered societal relations between the design I",mmooit. the producing/ronstructing sector and the lay public.

irh" ~"P"lS" demonstrate a wide variety of concerns and reflect the differences in the and focus at each of the schools. The breadth of this discussion can be seen. by

I';',,",,;,. to rellect the broadening of our definitions of the parameters of design. education, and architecture.

~e wa paper company

'Salubra' ",as repeatedly asked amouS artl.sts to compose

fetor scales for practical use in ~he wallpaper industry. Le ~orbusier designed twO collee

~ ~.ons for Sa\ubra in 193 \ (43 hades) and H)59 (20 colors),

or the 1930/3\ designs, Le Eorbusier did not simply con­

~ rine himself to the 43 color fones on which he relied as an architect and painter. Rather,

~ organized the different light

ones on 12 sample cards in a ay that three to fi ... e colors

culd be isolated or combined \ ~ I Y using a slide band. 1n .... 11957/59, the second collection I ~

J was designed as the mark of ~ ~ Le Corbusier's changing ideas I ]

about architecture and paint- ;;, ling. The colors weft joined on ~

single color card as a \ .. t o""i'",' providing not only a 1

tool. but also a kind of .... ;g, ~

of purist color theory. the first book,

~:~~;:)o;i~~~:. Ruegg (ETH ~ examines the meaning E the Salubra conecnon for C ,~ history of modem ",hit,,,·1 • :&

~

part of the collection j ~ 1:,~~:,:,',,~I:W:;o previously E 1/1 original texts l~

Le Corbusier. The sec- .• .1 ,", ,,,,d and third volumes feature

Corbusier 's Salubra colors

fi 11~~;::1:':'- making them S r 1 to the public for the ~

,S

1 ~

ANDREW lIANG- HAS SERVED ON THE FORUM BOARD OF DIRECTORS

AND HEADS THE FORM ZERO BOOKSTORE AND FORM ZERO

EDmONs.

;~ ~~::::~~~~:~ upon the Pritz.ker

(\997), $verre will finally have a

""" .. ,.d monumental added to

Recognized groundbreaking project. the N~:,dl'o \

I>"I1I'on for the Venice ~1'm'I'lin \962, Fehn

produced an body of work.

f,,"s'ld,red to be one of

\5o" "l ln"I" architects, was part of the school of archi-

~;:s~,:;movement . ~ to his own

yet intemational vision, Fehn 'S archi­

,,,,lure embodies the ~,,;on'" of Nordic tTadi-

",nsl, '" tl" vem acular a modern atehitec­vocabulary.

};

,~ g

I ,S

~~~~;(:~:p~';~XOTh"P,ri' ,n·1 i include an

's greatest

~":hll""~, Frank has pro-

over the

~"st 4.0 years. without con­

I<o"",y" Gehry's is both

~

Museum ~ the srill-lin- ::c

:1.1 .. " "' Disney t ~ f~~~::H~~a'n -..: ,this 'ii

will pro- ~ ,,,,,Id, the public

opportuni ty

to '"

work on

, while the same time

f"""ng Ih, , evolu-

:Smce t e \9 0 s, eter , lZumthor 's buildings have ~xerted a quiet and lautonomous authority within ~the contemporary architec­I urallandscape. The crafts­~~ship of his buildings, ~eir physical presence, sim-

]

'pHcity and sensitive use of materials leave a lasting

\

·mpression.

t') E l of Peter Zumthor 's pro-ects proceed from a patient ""

arch for basic composition. ~

~Structural paintings' provide\ t irst clues about the design t.

:and, at the same time , evoke .J:£ r meditative pictorial atmOS- ~ p'here. The book presents \ three new projects by the ~ a trchitect: conceptual and \ £ ~tTuctura\ sketches and text _ by Zumthor recount the gen- ~ esis of the Thennal Bath at '8. ~al ( l996). of the Art g ruseum in Bregenz (l997) .::!

~ the Memorial and .~ Museum buildi.ng 'topogra- ;

of terror' in Ber\in ~ < ,

publication wHi accom- i: the exhibition of the !

work in the Gallery in

[Lt'' '"'' in the autumn of

j .-oment of life concrete· . y and deliberately CO~·

tTUCted by the coUechve rganizarlon of a unitary

embiance and a game of vents,

-oniat Having to do -th the theory or praett at activity of construct­g situations. One who

'-1 I ngages in the construe­

J ~on of situations. A ...! ember of the Situ-L) alionist 'ntemational.

~rom 1957 to 197'2 the lartistic and political bovement known as the ~

r:ituanonist Tnternational .= orked aggressively to ~

uhvert the conservative ~ deology of Western .;

societal conventions and, ~ - ~eed: playe.d a-:entral

role in the cnses U'I

France in 1C)67-6S.

lThe movement's broad­Iside attack on ' establisl.­

, institutions and left its mark up"n l ,~

libertarian left, the koun,w,ulture, the ~u'io, .. 'y events of

more recent phe-from punk to

this book, author Sadler \nvesti.­

artistic, archilee­and cultural thee-

'particularly as they to later ideas on

of the modem

work, Made famous by their Munster ILtD",), design, the Bolles + Wilson team has

on to secure other large·scale commis. producing high quality designs with

~b'solu'e attention to the smallest of tectonic

jA'''h''lian-,bom Peter Wilson and Gennan. Julia Bolles studied at the Architectural

jAsso<,i.tion in London in the 1970'S, Wilson within the embrace of the AA, to

/><"0'" as ' uni t master ' one of the leading of the school in the 1980's, His fanei.

often mannered work of this period rem."",d quimessential paper archi tecture,

p:, as a masterful graphical stylist he was

J imitated both within the AA and fur­

'""">t""d, through the influence of numer­AA publications dedicated to his work,

work today still embodies a refreshing

~" f o,mn.and of arch itectural fantasy, echoing i

early years al the AA. ~

, ~ . winning of the competition for the ~ s: ~ /M'ue,nst,e, Library by Bolles and Wilson and

• move to Gennany marked a turning in their career. The thinness of previous became under Gennan influence solid

~nout~ to be buill. Now with various build­Gennany to their name, they appear

successfully tTansfonned themselves'

r~~~~;~~O~f.:W~~h:at they cailihe

that end, Peter Wilson state'ss'~:':~'w:e~::~~;~~lsl take up one of the principal ...

~,::~~~,~~'u,,,. to focus, to anchor, to give

to tS ghs e tnon

~ rs ~~slated from ~e p n gmal french edt­

~ tion of the ~ rchirec(Urt Principe ~ublished last year ~ tU)¢) marking the ~ ~Oth anniversary. of

the original mant-

~estos produced by

. Virilio and Parent in 1966. The original

. rine issues ~i11 be republished to book

" I ' 'I 1- fonnat as a facSlml e ~dition accompanied by a tenth and final number, under the ~rovocative title "Disorientation and ~islocarion."

ffhis work provides 'interrogative overvie

" ~f the state of things lat the end of the cen­~ury, Opening its ~ages to leading con­~~mporar~ archit.eets,

~he tenth Issue pm­oims recent theoreti­al evolution in urban

~esign and architec-I ontes, from the topo ogieal "disorienta-. on" developed in the ~

by the advocates 8 fthe theory of blique function, to 1 e post-geometrical _.

~"diSlocation .. of the

xponents of decon­troction in the 90S, e question of the

~ateriality of real

pace in the future cupies a central

osition at a rime hen ubiquitous and

mmaterial virtual pace has arrived,

o respond to these ssues, Paul Virino

and Claude Parent

~ave called on Coop immel(b)lau, D. ~

1 U• ibeskind, J. Nouve ,

. Seigneur, B, ~

schumi and f . ~ igayrou. "

-'

-'

«

f ALL 1997

[J! 110 L

FOlIf'odEd 19119 4 'S UC \rllCbr~

W G ~rud(f'~

An loeal- BAld. 6 MAleI!

istic and vet pragmatic notion lay at he genesis of the

California public university ystem: that of a state poly­echnic university to meet he educational aspirations f a large variety of

Lalifornians interested in dvancing their understand­

ng of the modern environ­ment and more particularly ts technology. The poly­echnic is designed to offer n affordable education

which provides both the readth of a liberal arts rogram and the specificity f a professional program.

t is pertinent in contempo­rary terms to locate the Department of Architecture t Cal Poly Pomona within

this tradition of the public polytechnic as the genetic mprint of this egalitarian tructure continues to mani­est itself today. At Cal Poly

richly diverse student opulation has the oppor-

nvironmental Design is a oray into 'practical art.' In

e traditions of art and esign, design is considered rt contaminated by the eQuirements of necessity nd use. The course for nvironmental Arts at OTIS nderstands that the practical rt is in fact poised to be a ost profound art. The

ented by and given ng. purpose, and inten hrough its interaction with se and the practices of life.

ROSSBREEDS. CROSS­RESSING. ROLE REVER -

'Tc1$* l10ws us an rena to trans­ress the

undaries of singular disci­lines such as Architecture, urniture. Landscape Design,

FOUNded 1912 20~ tIC \" .. oo.~ 21 ~ G \I udom

"""" , """" NOW

'-,=il::-h-;Ii"tt:-Ie-,..----'ard for the

iIIennial fever which migh aptivate g/obal cultures, CI-Arc recognizes the

act that the fictional pro­'ections of life in the year 000 have failed to con­ince' us that this momen­ous turn in the calendar ill coincide with a system f t~hnological operations

ulture is always based on he concept of the crisis.

e future, the idea of rogress. and the inalien­bfe search for knowledge.

ftt:1Ol!: ~o ••• " uture which has indeed

n ~ to paraphrase J.G. allard. annexed into the resellt. We are left with he creation of new reali­ies. which if at times are

en the raduate

Four.dt:d 19114 220 Gsllldum

MARd..MA 6P11D

chool of Architecture and rban Planning of UCLA was

ounded in 1964. the world as awash in the idealism, ptimism and agonies of an ra that saw the birth pf social ctivism and the environmen­I movement, the beginnings f the information explosion, s well as the astonishing ccomplishments of the

rld's first youth culture. The

FOt.WdEd 1919 500 .. UC sn.rd£HJs

BAadl. MA..rdo. -,,;= .--1 M&i1diNG S 6 MCA 1'" ere IS

ow an nmistakable movement oward a new American art nd architecture which will e a vital expression of the ssentials of present-day life nd a necessary conse­uence of the rapid develop-ent of modern technology, ich will retain the rich her-

ile these words appear to a resoonse to contemoo­

ary events. they were writ­Ii1rl1Y 1937. by USC School

rchil~I1""~~ la{on w:a~JIt&dASi

dvanced technology to inves­gate the myriad dynamic sys­ems that interact with archi­ecture and that are best

ears ago, modem technolo­y consisted of such dvances as industrialization nd rural electrification.

he way we live, leam, and en interact. Our faculty

nd students are embracing hese advances, while main-

fouNdEd 19as 242 UC ~11ICb~

"""" ust as architects

meL'.~e,-,-fro-:-cm-y-e~a~'-s ~Of reces­

ion they now confront a harpty altered landscape of ractice. Fragmented and spe­ialized practice areas, interna­ionally dispersed collaborators nd consultants, an increased mphasis on design-build and iminished fees all reQuire ajar changes in our profes­

ional attitudes and approach­s and must also be reflected n our schools.

ssues which are re-shaping th rofession.

ne issue is control. In haucer's Canterbury Tales.

he wife of Bath asks "What do omen want?" The answer is

ust what architects have alw anted, "mastery," Architects

fouHckd 19} I sa uc ~Tuduo~

as ;The ehal­

L,-",--:::...., __ Jlenge for ntenor Design programs oday is to develop a disdpli· ary project in the context a highly competitive and

volatile market. The Department of Interior Design at Woodbury UniverSity thus understands ts mission not simply to elay the information and kilts necessary to successful rofessional practice, but to roject an identity for the iscipline through a syntheti esign-research education

with a broad base in the lib­ral arts and sciences. This

Department

*~~~e~oC~:-emergence of an interior prac­tice with a

focused zone of expertise whose opoortunities will be

iverse. and whose design nterventions will be comple nd fluid . We conceive the

creative discipline of

sion. Students encouraged to learn

, h"ou"h the art and science

~nde,'sta,nd both the poten-

settings

i'v"'~" with history is i the both the design stu­

and the lecture class. examination of this

I is key to the stu-understanding

konst,anl change in how we our environment

' '''IUI,'es creative resolution. this end as the artist

Design, Urban

~;:;:;.~~':,"i:t:ical in these

~~:~~~~::~e~,~periments with lei cross-dressing,

reversals, or ship jump-

"

~~~~.:~::;~~. we might jump a scale larger than that

considered by Urban peSlgn, At the same time,

Albers once said':;oJIY!V( ~AII art is or was IT are already

with - as well ern in its time. daring and new, ing a constant change in seeing and feeling. If revival had been a verpetual virtue, we would still live . and earth pits. In art (as in architecture) tradition is to create, not to revive. "

design studios

theoretical :,~~:~~:,:~j practice and khal yl,, ", ' s the most

campus provides I setting for studYln~

and

F ALL 1997

p",,"ele an education for a of 'double-edged' visu­

oll'50a,tllal designer: a most ~ nl,en"e and focused studio

within the realm of the , thoughtful and special­studio world, while at

desire to enter willingly THE NOW: the most

1. 1 POPULAR­rum3N In this, ~CI-A," , .. II explore the

of popularized knowl-

~;:~~:~~: dismantling idea that the academy

an elite cultural guardian a less informed public

(local govem­and the exigen­

of practice),

~:~~~~::(,~medla the that it

,~;:::~~~~o;~tlher than ~ and cul-

It is recognized it is a far more com-

II method of teaching the con­

of applied rather

i view of the of technology and the

Is unique

*

is transforming the tradi­I arenas of the architec-

I historian and critic. New on the role of rep-

~~~~~::?,particularly as it is through digital ,on the

architectural practice, and

their appreciation of of

, F~:~~~n:so necessary for an ~ architectural

~~:~~~~o:an academic

~f1M~~~~,on-of beauty, proportion,

hannony that have

In

~U"'II"" win manifest them­in designs that are

of the activities, and sensibili-

support of h,,"anlsl ".,-1 of advanced informa-

Architecture students in programs

fnrougn,oulthe world g~in­the skills and self·confi­

necessary to be q an international practice. addition to programs'

and Italy,

~n,se,"b, 'e - creative influential even limited authority. the help of the

b",'e,cts incorporating eco­social and political

and involving planners, I"'d."'o~ architects, other

professionals and

* community and political participants in the design process.

~c,otl,e, Iss,ue is simply angst,

with accelerating change not be daunted by it. A

area of computer lechnolc.-I We have found that hard·

and basic skills are just of the story: innovations '

~tIIlzl"g the technology are altering the entire design

all existing eor.struct,on at any

within which

materials, pro­lighting,

lechn,olo,gl"s: simplY,

and through exist­stn'ct'Jre" Without the

~u,o"n of establishing a r . rou,nd- or the requisite p ">dlJctlon of lone

greater currency can through an advanced

~P'''''''' .be.n on multiple lev­surfaces, and networks.

to engaging contemPO­culture and technology to exploring new Wil'(S

and i ' propositions - a

purse"d through a studio­I nle",;I~ curriculum with a

on design theory, as I as on digital and multi-

~ejectln. the role of finish-

i as a fonn of research argument. The

f,,;ult of this curriculum is production of designers are confident when

with the and who actively

~~~.:;;~~, :altemative design

of dynamic environ­, the Department

its obligation to its own version on

II is

r ALL

'nvironmentat degradatio f a now universal aspect 0 ntemporary growth - th

uburbs. Additionallv. th niversity has developed

rld·renowned Center fO! Studies j

proximity to th :ollege of Environmenta

~esign. This center provide~ rchitecture students with a pportunity to gain insigh' ·om a growing and chang

ing model for a sustainabl, 'nvironment. This brings th,

polytechnic institution OM gain closer to the origina' lotion of educating for th'

p ublic benefit.

.. '" Cl

o '"

0""0 m ~ z ,...;::

,... ,... m

z ",

'997 .... 6

~a id by Coy Howard, with ontinued work by Peter orrego) - a kind of itiner­rv through layered sets of

issues. These issues indude 'xplorations

From object centered work. :0 space centered work. to

~rk centered around both

nown and new relationships etween object and space

From physical and material :0 abstract, conceptual, and phemeral

From the handmade, to the :ool-made, the machine­~ade, and the electronically r ade object/space

From the production of the 'One-Off' through the 'Several -Off' to the 'Many­Pff;' from custom design to fenera' and universal design

From individual concems to cial concerns to worldly

long the way, loopholes are cknowledged - loops are ade which fold back upon

:he paths described above -nd experience is gained

'rom having undertaken the itinerary. Design is experi­nced as an endeavor com-

p rised by a field of many ~ultipricitous modes and 'ealms of operation. and that 'ach developing designer

~hO embarks upon a future ill chart a unique path rough this field.

"' ;:: ~

'" n -< :r

" ~ "

~

z -<z

'ealities will emerge out of

~e study of the legitimate

orces at work in our cul­reo

2.0 DISOPUNEi ~EaSION If the search 'or freedoms has been at he heart of most avant

~arde projects. for 25 years CI-Arc has rehearsed this nthusiasm' with relentless 'Iarity. What is less known

~r remembered in the very truggles for creative open· ess is the strategic rigor eeded to activate the heer anarchic impulse to 'hallenge authority. The

~embers of the SCi-Arc

ommunity will refocus on e idea of discip line and

recision, two conditions 'equired for optimum per­'ormance. This is no ;traight-edge mentality ~r. as integrity and p rofessionalism are not an nherently political agenda,

~or a dress code. merely he conduit for the force of ew ideas.

z m

c_ ,...

";:: m

n o .. m

Oz

"" '"

architecture is enhanced :he Department's strong t ies :0 other academic programs in he School of the Arts and

'chitecture and throughout :he University. Encouraging

d ents to understand archi­:ecture in relation to the other rts - to art history, film, the­Iter, philosophy - contributes :0 increasing the awareness of :he radical importance of rchitecture and urbanism to :ultural life as a whole.

'ne of the most diverse, dis­'ersed, exasperating and !xhilarating urban environ­

ents anywhere in the world, .os Angeles and its rich her-

rovides a model to which we Ispire as well as an object of ,ur study and investigation.

Ie Department of :hitecture and Urban Desig

aintains its commitment ,th to being in the contem­f arv world o f architecture

i th fu lsome pleasure and fas­'ination and to critiquing that

,rid without hesitation.

'" -< ,... <

n

:r~

" ,... " " <

z

to enable all of our ~tudents to spend a semes-

is dedicated to more profes-

graduates have the

gPOrtunity to develop

nowledge in a wide range f areas, to become enaissance men and

men.

'" o CD

m

0'" ....

m

::t:

". z ....

;:: ;:: m

look beyond the boundaries a problem. For our part, the

~niversity is opening an exten­of our architecture school

collaboration with Mesa ~ommunity College in San

accredited archi tectural edu­

to a popu­of several people.

Woodbury has initiated formal

with ElEA.

university intends that its illingness to take risks, seize pportunities and embrace onstructive change is a dear xample to our students. For hem and for the practice of rchitecture the bar is continu-

,... 0 c

'" 0;:: m .

"z z~

0

0

'" ...

:onfrontedbY sponsoring a ~iverse range of activities. elec­:ives, and internships ; by bring­ng nationallY and internationally

ognized architects, designers. rities. and historians to the niversity community; and by

aking available a dynamic fac­Ity and group of visiting crities.

e Department actively recruits and has been fortunate to 'etain) faculty representing both

F tabliShed and emerging voices n design education and practice'i !ach of whom is expected to be ighly motivated and proposi­ional, serving as an inspiration :0 students who will realize the mportance of developing an rticulate position with regard to

~esign in varied imagjnative and ~aterial contexts.

,...

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n ~

:r

" .. -0

""" ,...

" '"

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_.

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--­ANARCHITECTURE Works by Gordon Matta-Clark

OpenIng Reception:

~~~11, 1991 8: 30 · 9:30pm

Exhibition: Nov 19, 1991 . Jan 18, 1998

Wed · Sun, 11 am· 6 pm

11Il"ItfI*I c.lUlIogue ANARCHITECTlJRE ... .w.~ . 11IIe MAl( Cen1er books1Or. SIO (1di1ed by Pel .. NoIviI' /oI1IIe MAK CIr'rW,

.ssav by John VIU, 30 P89U, 13 llull,alions)

... In o.cern.

"Roland Rainer: Confessions· ~ __ 1IhI:l.t:3O·.:30"", "..---­F_.,_",,,, __

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PHOTOGRAPHIC CREDITS 1. PAULA GOUH .. AN

2. PAULA GOLDMAN

3, PAULA GOLDMAN

.. . WOODBURY U .

5 . WOODBURY U .

6 . P AULA' GOLDMAN

7 . WOODBURY U .

8 . JANE C RAWFORD

COMMENT TIlE FORUM welcomes letters comments and suggestions. Please send all correspondence to:

The Los Angeles Forum for Architecture & Urban Design P.O, Box 661327 Los Angeles. CA 90066 - 9327 Ph: 213/ 852-7145

._._0_0_._.- . _. _ . _. _. _. _. - ',-' _. _. _. _. _. _. _. _. -....... _. _. ---","~ __ ..J..-. Iot ichoel Rotondi Abby sher Anthony vidler Rkhord weinstein

NAMl

CONPANY

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10 R I: E R

oOJect • ClesJre Cl prIce

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