ACSA Creative Achievement Award

Transcription

1 ACSA Creative Achievement Award Winner: Submission Materials STEPHEN J. PHILLIPS California Polytechnic State University

2 CREATIVE ACHIEVEMENT AWARD: ACSA The Cal Poly Los Angeles Metro Program in Architecture and Urban Design (CPLA_Metro) immerses aspiring architects in a multicultural urban setting -- rich with amazing learning, practicing, and networking opportunities. The program is a two-quarter (twentyweek-long) course module set-up annually for 20 off-campus Cal Poly San Luis Obispo architecture students alongside one faculty member to engage architects, alumni, and the many institutions in Los Angeles to support student education and their future career goals. In addition to our unique curriculum that focuses on Los Angeles -- its architecture, history, urbanity, and culture -- we reach out to the local L.A. community to enhance our program s learning structure through visiting lecturers; digital design workshops; internships; structural, acoustical, and ECS consutanting; and a wide-range of public events. The program was founded and is administered, taught, and directed by Cal Poly Associate Professor Stephen Phillips, AIA, Ph.D. Begining in January 2011, Stephen Phillips organized with the support of former Cal Poly Department Head Henri T. de Hahn, and former CAED Dean Thomas R. Jones an innovative new pilot course module that integrates studio design, history/theory, and practice all within one off-campus research laboratory for a standard sized studio cohort of fourth year undergraduate students (20 students is our standard studio /seminar size). The curriculum consists of an integrated studio MTHF from 10am to 3pm, alongside a one-quarter (ten-week) history/theory seminar on Los Angeles architecture followed by a one-quarter (ten-week) professional practice seminar on Fridays 3pm to 7pm. Additionally, a professional internship is set-up for the students on Tuesdays and Wednesdays 9am to 5pm alongside a public events series with lectures, panel discussions, symposia, guest seminars, digital workshops and design charrettes which takes place on Thursday evenings. For the first three years -- all coursework, events, studios, and projects were formulated, taught, and run by Professor Stephen Phillips including all internship assignments and facility set-up and administration. Pedagogical ambitions were defined by Phillips with approval of the Architecture Department faculty.

3 With sponsorship funding of $5,000 per year from HMC Architects. Phillips and his students created a series of events highlighting Los Angeles Architecture -- both historic and contemporary. The students designed and produced all graphics as part of the course module.

4 By the second year of the program, we began expanding our resources to include support from Morphosis Architects and MAD Architects and began collaboration with the A + D (Architecture and Design) Museum to host larger public events for 200+ people.

5 We design and maintain our own website that features all the field trips, lectures, seminars, symposia, workshops, events and life of our program. Having generated significant discourse locally, we learned how to better promote our efforts in the media.

6 To generate attention, we designed Eblasts and began also collaborating with Hennessey + Ingalls, Storefront for Art and Architecture, Archinect, KCRW, etc. to promote our original research which has proven informative to others in the architecture community.

7 INTERNSHIPS AC MARTIN PARTNERS 2013: Joanne Lin 2012: Donna Mena, Minami Mori 2011: Elizabeth Hernandez, Andrewa Kimura ATELIER HITOSHI ABE 2012: Evan Collins ATELIER MANFERDINI 2013: Estefany Franco B+U ARCHITECTURE 2014: Derek Lee Ramsey, Nicholas Taylor 2013: Sergio Costa, Nick Lafaro 2012: David Bourassa, Nick Funaro 2011: Perla Aguayo, Nema Ashjaee CUNNINGHAM GROUP 2011: Torrie Johnson, Scott Strachan B+U 2014: Derek Lee Ramsey, Nicholas Taylor 2013: Sergio Costa, Nick Lafaro 2012: David Bourassa, Nick Funaro 2011: Perla Aguayo, Nema Ashjaee ERIC OWEN MOSS ARCHITECTS 2014: Nava Haghighi 2013: Emmanuel Osorno 2012: Andrew M Wright 2011: Matt Heid FREELANDBUCK 2014: Nicklaus Schwaller GLOBAL DESIGN GROUP 2011: Simone Bundang, Raquel Hunter GRIFFIN ENRIGHT ARCHITECTS 2014: Elizabeth Hanna, Trevor Larsen 2013: Bao Pham, Zahra Safaverdi 2012: Evan Collins, Kiley Feickert 2011: Brian Harms HMC ARCHITECTS 2011: Chris Paxton MARMOL-RADZINER 2014: Seth Good, Juan Robledo 2013: Mark Mulhair, Posin Wang 2012: Brian Randlett MORPHOSIS ARCHITECTS 2014: Natalie Abbot, Parham Hakimi 2013: Samuel Clovis 2012: Kate Hajash, Brandon Sampson 2011: Hochung Kim MICHAEL FOLONIS ARCHITECTS 2014: Ashley Corcoran, Alexa Dack 2013: Allison Ball 2012: Gabriella Sun 2011: Jose Cuevas, Francisco Mendoza MURMUR 2014: Julian Stockwell 2013: Burcin Nalcini NEIL M DENARI ARCHITECTS 2014: Ben Pennel 2013: Quoc Thanh Nguyen 2012: Cadence M Bayley 2011: Domini Padua PATRICK TIGHE ARCHITECTURE 2014: John Dalit, Sean Oh 2013: Monica Mader, Jose Sanchez 2012: Danny Chan, Christopher Mojo P-A-T-T-E-R-N-S ARCHITECTS 2014: Anne-Elise Chung 2013: Jeremy Futerman 2012: Sean Lahijani, Melissa Peters 2011: Naoko Miyamoto, Reece Satava RTKL 2014: David Wachtel 2013: Shari Fu SHIMODA DESIGN GROUP 2014: Brianna Ruland 2013: Luis Esparza, Angela Varela 2012: Hiiro Tomita, Martin Torres 2011: Elizabeth Cao SPF: A 2012: Mathew Ho WARREN TECHINTIN ARCHITECTURE 2014: Andrew Porter 2013: Nicole Sugihara 2012: Mathew Ho TESTA / WEISER 2013: Zahra Safaverdi TOM WISCOMBE DESIGN 2014: Diana Rodriguez 2013: Brad Williams 2012: Ismael Soto Alongside generating a public presence, we notably interned our students for educational credit in local firms. Despite the Great Recession, our students were working throughout Los Angeles - learning, networking, and being hired-on thereafter for permanent positions.

8 Alongside learning in local offices, our students were being taught needed skills to contribute significantly to architecture design and practice. Former students now employed in LA, return to teach digital workshops -- Rhino, Autocad, Maya, Arduino, Firefly, etc.

9 Within this course module, we also invited internship partners and notable voices into the studio for intimate seminars. These seminars not only educated our students and connected them with the contemporary community, but proved symbiotic. We workshoped new lectures being generated by the speakers as well as intergrated their ideas to support the design intentions of our research laboratory.

10 The events we held publically supported our laboratory research and generated major interest from the prominent LA and NYC architecture community, and others. Moreover, these events were held to create a venue for our Cal Poly alumni and supporters to meet in urban centers and become a part of the discourse and debate surrounding contemporary practice generated for and by our course curriculum.

11 Despite limited resources -- as we receive no state funding for this off-campus course module, and rely almost entirely on Cal Poly s standard in-state tuition fees -- we learned to create events that had something valuable to say. Jeff Kipnis, Sylvia Lavin, Ben van Berkel, and so many other voices, including the entire Design and Construction Team of Coop Himmelb(l)au s H.S. #9 donated their time in support of the discourses we generate surrounding Los Angeles architecture -- it s Schools, History, Industry, and Design Culture.

12 Despite very limited resources, as we receive no state funding for this off-campus course module, and our tuition remains comprable to Cal Poly s standard in-state tuition -- we learned that if you are creating events with something to say -- much can be accomplished. Jeffery Kipnis, Sylvia Lavin, Ben van Berkel, and even the entire Design and Construction Team of Coop Himmelb(l)au s H.S. #9 donated their time for us to engage discourses surrounding Los Angeles -- it s Schools, Deconstructivism, and Contemporary Formalism. Central to our history/theory course on Los Angeles and its architecture -- we teamed-up with the Getty Research Institute and began formatively producing and filming the oral history of Los Angeles Architecture from the 1970s to the 1990s. Initiated from my research on experimental practice while a scholar at the Getty in 2010, the films we produced with our students on the major figures of Los Angeles architecture by the third year of the program proved substantive and we developed them into an international top-selling book.

13 We studied architecture from Postmodernism to Deconstructivism; we interviewed prominent LA figures and filmed them in their offices, wrote papers, and in the case of Franklin Israel, held a symposium in the Getty Research Institute s Special Collections. The interviews we collected proved compelling, informative, and original. They informed other institutions that also held exhibits and similar events.

14 L.A. [TEN]: INTERVIEWS ON LOS ANGELES ARCHITECTURE 1970s 1990s l.a. neil DENARI franklin Israel thom MAYNE INTRODUCTION By Stephen Phillips NEIL DENARI February 09, I Interview with Stephen Phillips and Christopher Alexander thom mayne March 03, Ii Interview with Stephen Phillips, Wim de Wit, and Christopher Alexander FRANKLIN ISRAEL RETROSPECTIVE April 28, iii Barbara Callas, Annie Chu, Joe Day, Mitchell De Jarnett, Steven Shortridge Interview with Stephen Phillips, Wim de Wit, and Christopher Alexander contents 10 6 students, it seemed impossible for us to compete with the UCLA, SCI-Arc, and the University of Southern California (USC) lecture series rosters. Instead we initiated something completely different; we began to assemble with our students the history surrounding the birth of the L.A. architecture scene from the 1970s to the 1990s. Given there was no oral history since Kappe s compiled on L.A. architecture, our school s research gradually entered into the local dialogue. Singh assisted with my training in the complex art of oral history. She introduced me to Barnett, and from there, I began my tutelage, which has proven altogether enormously fulfilling. 1 Thom Mayne, Thom Mayne: March 03, 2011, in L.A. [Ten]: Interviews on Los Angeles Architecture 1970s 1990s, ed. by Stephen Phillips (Zurich: Lars Müller Publishers, 2013). My use of the L.A. Ten is also here referred to as L.A. 10 or L.A. X. 2 Olivier Boissière, Ten California Architects, Domus, no. 604 (1980): Stephen Phillips, Architecture Industry: The L.A. Ten, in Overdrive: L.A. Constructs the Future, 1940s 1990s, ed. by Wim de Wit and Christopher James Alexander (Los Angeles: Getty Publications, 2013): See also Nadia Watson, The Whites versus the Grays: Re-examining the 1970s Avant-Garde in Fabrications 15, no. 1 (July 2005): White and Gray, A + U: Architecture and Urbanism 4, no. 52 (1975): Charles Jencks, L.A. Style/L.A. School, AA Files 5 (1983): 90. Note: In 1976 the L.A. 12 exhibited at the Pacific Design Center surrounding Bernard Zimmerman of Cal Poly Pomona. The work of the L.A. 12 however, was very modern in their approach. Frank Gehry and Robert Coate Jr. proved the only L.A. Ten architects to participate in the L.A. 12 show. Gehry included his 1975 Concord Pavilion, a large modernist amphitheater. See N. Charles Slert; James R. Harter; Pacific Design Center (West Hollywood, CA); California State Polytechnic University, Department of Architecture, 12 Los Angeles Architects (Pomona, CA: Cal Poly Graphics Communication Department, 1978). eric owen Moss ERIC OWEN MOSS May 17, Iv Interview with Stephen Phillips and Christopher Alexander michael Rotondi hsinming Fung frederick Fisher craig Hodgetts wes Jones coy Howard v MICHAEL ROTONDI May 19, 2011 Interview with Stephen Phillips, Wim de Wit, and Christopher Alexander 128 vi CRAIG HODGETTS + HSINMING FUNG March 02, 2012 Interview with Stephen Phillips, Wim de Wit, and Christopher Alexander 162 vii WES JONES March 07, 2012 Interview with Stephen Phillips, Wim de Wit, and Christopher Alexander 186 FREDERICK FISHER January 25, viii Interview with Stephen Phillips COY HOWARD January 31, ix Interview with Stephen Phillips PARTICIPANTS ACKNOWLEDGMENTS Figure 4. Morphosis Architects: Poster for Current L.A.: 10 Viewpoints lecture series at SCI-Arc. Sheet: cm (20 20¼ in.). Courtesy of Morphosis Architects. in reference to the New York and Philadelphia Schools) were not like-minded, since their work varied considerably, such affiliations went a long way. The media acknowledged the Whites as the New York Five or New York School, the Grays as the Philadelphia School, and the Silvers repositioned by Boissière in his Ten California Architects article as the Quick-silvers as the official L.A. School in 1983, as recast by Charles Jencks. 5 Moss, however, will argue carefully and intelligently that there was never much of an L.A. School. For unlike the New York School, the Philadelphia School, or even the Chicago School (the Chicago Seven), the Los Angeles School architects did not often meet together and position themselves as a group. Antithetical to the East Coast Whites and Grays, as Jones explains in his oral history, this group of L.A. architects was far more casual and more full of humor and jest. The group as a whole seemed less important to them than their own individuality. L.A. seemed to support, as Denari articulates, a very different do-it-yourself (DIY) mentality and architectural aesthetic that served more to encourage a place of free expression, that as Jones explains often parodied established professional practices and ideals. Many efforts have been made to claim the members of the L.A. Ten or L.A. School are truly individual, idiosyncratic, if not antiauthoritarian themselves. Whether this Figure 6. L.A. Architects at Venice Beach, Left to right: Robert Mangurian, Eric Owen Moss, Frederick Fisher, Coy Howard, Craig Hodgetts, Thom Mayne, and Frank Gehry. Photo by Ave Pildas. L.A. [TEN]: INTERVIEWS ON LOS ANGELES ARCHITECTURE 1970s 1990s L.A. [TEN]: INTERVIEWS ON LOS ANGELES ARCHITECTURE 1970s 1990s It s not so much I want to say I m from Cambridge far from it. I think I m more comfortable saying I m not really comfortable lining up with these guys because they have palm trees and sunshine. There are a lot of things we could all say probably a consensus at some point on what it is that allowed certain kinds of work to prosper you know? You don t have to make a building in L.A. next to Raphael s Palazzo, so you don't have to get nervous that the owners of Raphael s Palazzo not to say Raphael are getting nervous, you know? You don t have that in L.A. So, I think, in some ways Los Angeles probably works. You know the discussion; is it the people, or is it the environment? This is a kind of standard discussion standard sociological or psychotherapeutic discussion. Is it the area or is it the people? The truth is probably neither one, nor the other, but probably a pinch in between both. There s certain qualities in this environment that are probably available to me and might also be available to you, but you have to take advantage of them. There used to be another Austrian runaway called Carl Jung, who developed a very general category of defining people as extroverts or as introverts. An extrovert is someone who defines her life based on external pressures, issues, concerns, and obligations. An introvert is someone who is internally motivated, and it s harder and harder to do this in the world now for reasons that we could discuss. Internally motivated, therefore, defines the content of his life based on what comes more from inside, and again, everybody is some of both. But I think what makes this city work is that the people who could make it work are introverts in a way, because if the venue is open or more open than many other venues in the world and I think it is then you have to say, or I have to say, Okay, it has to be like this. I m willing to define the content of work in a particular way, not because it has to be this high, or the setback is this, or the number of cars is that, or the budget is this, or the client said the other thing, or any of that. The content of the work belongs to a group of introverted people, and if you re willing to do that, and you re willing to take a position, then Los Angeles is probably a good venue, and I think that s what happened. Whether it continues to happen is another discussion. Eric Owen Moss Architects, oral history interview with the Cal Poly L.A. Metro Program and the Getty Research Institute, Culver City, May 17, Left to right: Eric Owen Moss, Stephen Phillips, Perla Aguayo, Nema Ashjaee, and Torrie Johnson. Photo by James Oh. 166 Hodgetts + Fung, oral history interview with the Cal Poly L.A. Metro Program and the Getty Research Institute, Culver City, March 2, Left to right: Ismael Soto, Evan Collins, Brian Randlett, Martin Torres, Craig Hodgetts, Hsinming Fung, Stephen Phillips, Wim de Wit, Christopher Alexander, Kiley Feickert, and Christopher Mojo. Photo by Brandon Sampson. started getting pushed forward, right? Like, let s say, well, what are some of the first houses or first projects that started gaining attention for you? The Gagosian Studio [Gallery] certainly got well-published and certainly started moving in that direction. Craig Hodgetts: Well, that and then the Viso House that Ming and I did shortly thereafter actually just a few years thereafter. Those both got a great deal of attention in the press, but there were no clients that came beating on our doors. So in a way I think we both would always characterize it as the California situation, when we saw our friends from the East Coast, that there s little or no institutional support. There s little or no agreed-upon posture, and so it s every man or woman for themself, which actually, in a way, is really admirable because you ve got all of these different vectors going. Even now, I think, when one looks at much of the rest of the architecture world, you see that there s a new premise whether it be parametrics or whether it be deconstruction and the architects all funnel and channel themselves into that arena. And I think the dislocation of L.A., in many ways, kind of helped to avoid that phenomena. So there was still a great deal of idiosyncratic work going on. Stephen Phillips: So you would not have argued then that you felt like a group, even though it s positioned in the magazine, so to speak, that there was a group? Craig Hodgetts: I don t know that there was a team leader, like the Smithsons or Corbusier, having a mandate or even Peter Eisenman having his weekly sessions at some club. I don t think there was that or even the Abstract Expressionist deal where they had their Cedar Bar where they all got together. I think we were extremely collegial and extremely aware of one another, and appreciative of what others were doing, but I don t think that we said collectively that there was a shared vision. Ming Fung: But I think geographically there is a group it s all on the Westside. 82 I think in that project, you see walls becoming surfaces and being recomposed in terms of surface. That gets back to my point that I feel like in some projects there s a real shift from walls into screens. Steven Shortridge: Well, that s like in the Divine Pavilion, you re talking about here, with the shape of that, and there s an arc, and he was working with these shapes, often kind of eye shapes. There were several things, where there was a T-shirt that he was doing, that arc and eye shape kept reappearing. In that one, it ended up being in an airport hanger, Barker Hangar, at the Santa Monica Airport. In the middle of it is part of a fundraiser event, and Franklin Israel ( ): Divine Design Pavilion, Santa Monica, it was a fun project because it Photo by Grant Mudford. happened very quickly. It was generated by the arc feeling of the space. It worked perfectly in the space. Then it was skinned over almost airplane-like. There was a sense of lightness and airiness to it that came into play, but if you see that arc happening there, you see it happening in an early Virgin Records thing. You even see it in an earlier project, the Bright and Associates project that sort of conical partial section. That one was skinned in plywood and happened at other parts of that. These things were happening at the same time, and with Annie involved, more other things were happening. So back to the thing of how there were different things happening in the same office at the same time, Frank was comfortable working that way with different people and the energy that they would bring to something, and working from that, then ending up in different places. Annie Chu: On the issue of the arc, there was always the ubiquitous Eames chair. Barbara Callas: The potato chip chair in every single photo or the early projects. Annie Chu: It s been called potato chip chairs, and these were all referred to as the potato chips. He was generous enough and secure enough, and that was an amazing thing about him he would bring people into his office who were coming in with ideas, and you know, certainly Steven offered him ideas. I offered my ideas pretty much fresh out of Columbia, fresh out of Tod Williams and Billie Tsien s office in New York, and coming back and resisting everything that has to do with the planometric situation going on at the time. I was really interested in the kind of situation at that point we call the blurring between architecture and Coming straight back from my trip to Peru, seeing that situation happening, he was generous enough to allow me to continue the questions I had at Columbia. The sectional early stuff at the Woo House and at the Hague House which I think is probably the most tight in terms of a statement and then eventually to Drager house a little bit less resolved, but other questions were asked on that one too. Barbara Callas: Yeah. It s interesting because Annie does take an informal typology of an early period kind of an architect without the architects period that also coincided with Frank. His doodles of conch shells and the football shape that came out of it, or was also reinforced by the footballs that hold and cover the knots in plywood. There were repetitious forms that were recurring and that he felt comfortable with. When somebody felt comfortable with that, he was going in that way. Annie s not somebody to make a curve. [Laughter] Barbara Callas: I don t know if you ever have. Joe Day: That s from Scarpa, too. Barbara Callas: Yeah. Then it probably did come from that. Mitchell De Jarnett: I think along with all that, and Joe, you touched on this earlier, the Walker exhibition was an interesting moment where Frank actually had some time to sit down and assess where he was at, at that moment in his development. We can t discount the importance of what it means to come to Southern California and be committed to building and realizing, except with very, very few exceptions, that you re going to build stick buildings with cementitious skins over paper because the seismic environment that we work in necessitates us to do that to meet the economic criteria that buildings have out here. I think that might be one consistent thing that would go through all the different kind of strands that made up the production in the office. But it s really clear in Divine Design with that idea of pulling those apart pulling that stick skeleton either away or letting it be exposed or skinning it with other materials so that it could have a visual presence rather than just a structural one. As I said earlier, we all felt like we were burdened with one way to build here in Southern California in those days, and Frank gradually took that and made it a real virtue. Working with all of us, in some ways, to come to new understandings about Franklin Israel ( ): Models: left, Hague House, The Netherlands, circa Basswood; right, Woo Fong Pavilion, Silverlake, circa Basswood and chipboard. Photos by Tom Bonner. With Lars Müller s support and interest, we began the intensive task of transcribing, designing, developing, researching, photographing, and formatting a professionally publishable book. We designed everything upfront and presented the final.pdf to Lars to publish.

15 Course Description: California Polytechnic State University Architecture Department Winter /480 Architecture History, Theory and Design Seminar: LA Oral History Project Monday 10:10am-1:00pm Tue./Thurs. 6:00pm to 9:00pm (as occurs see schedule) Instructor: Dr. Stephen Phillips, AIA Class Room: CPLA_Metro Office Hours: by appointment This seminar studies architecture in dialectical relationship to history and theory. Since antiquity architectural theory has shaped the interests and developments of design culture. Conversely, architecture, design and the culture of our time inspires theory and changes the course of history. Through close analysis of seminal historical and theoretical texts we will begin to understand the relevant and defining relationship between history, theory, and practice. Emphasis for our study will be placed on understanding the history and theory of ideas most relevant to contemporary practice and critical debate with an emphasis on biopolitics, ornament theory, Postmodernism and Deconstructivism in modern and contemporary architecture and urban design projects. Student research, writing, and presentations will focus on Los Angeles architecture from the 1970s to the 1990s. Learning Objectives: This course is primarily intended to introduce students to the general field of history and theory as it relates to contemporary architecture education, design culture, and professional practice Reading, writing, speaking, and critical skills are developed through the close reading of texts alongside class discussions, written assignments, group projects, and oral presentations Original research skills will be taught by studying primary source material alongside teaching the means and methods to begin independent research and the production of written materials. Students will begin to learn how architects use history and theory to develop and convey architectural ideas developed and disseminated into varied media forms. Students will begin to discover how art, philosophy, science and culture influence architecture design and its practice. Students will learn by doing by producing a publishable book using original research materials. L.A. [TEN]: INTERVIEWS ON LOS ANGELES ARCHITECTURE 1970s 1990s The second part of the question: I did a series of drawings right around the time that I got the computer and ironically did them by hand. They were just abstract mediations on these conversations that I was having with Kwinter at the time about what was mass and space and time, and how could we theorize architecture differently? It could be theorized differently, but even as a cusp or a moment in time, that was one of the few times where I wasn t drawing a building. I was doing a kind of abstract image or scene for myself to say, well, what are the zeros and ones about? I was looking a lot into the logic of computers and computation, not to become a computer programmer but to understand it in terms of the way in which computers represented logic processes and thinking processes. Which then gets you back to things like philosophy and stating arguments and cause and effect, which is so much a part of Western thinking. So it was trying to take that apart and just radicalize, even through text, and say gravity is this, and geometry that. So this was really a kind of territory. The one thing you have to remember in all of this is there was a lot of writing and a lot of note-taking and books were being read and all of that, but I was just thirty, thirty-three, thirty-four and not smart enough to have it become crystal clear. In that sense, the design production and just the force of design is what carries this work. There wasn t a point where I sat around for six months going, I can t figure out this problem, and I can t design anything unless I figure that out. I just kept drawing because that s our medium at the end of the day. It will be really great for you guys to just hear the stories of all the other architects in the series. I mean I can hear them talking now, Frank and Thom, and they built so much more than I have because building was just such a powerful medium. I mean Frank never cared about drawing. I had to care about them because that s what I could produce. Then Thom was building more but still had the parallel universe of drawings going on. So really it s important for you guys as students to understand and parse that out, architect by architect, and how these things were instrumental and how they set up environments to work in. But that s a good question. L.A. [TEN]: INTERVIEWS ON LOS ANGELES ARCHITECTURE 1970s 1990s L.A. [TEN]: INTERVIEWS ON LOS ANGELES ARCHITECTURE 1970s 1990s The age of mankind is over. A new world has begun! The rule of Robots! --Karl Capek ROBOTECH HOLLYWOOD INDUSTRIES CORPORATE HEADQUARTERS CAL POLY LA METRO PROGRAM Winter/Spring 2014: Architecture Studio 452 and 453 Professor: Stephen Phillips, AIA, PhD M.TH.F. 10:00am to 3:00pm Office Hours: M.Th. 3:00pm to 4:00pm and by Appt. 611 Wilshire Blvd. Suite 601, Los Angeles, CA Are you in the Industry? a question commonly asked in Los Angeles refers to the dominance of movies, television, music, to anything associated with Hollywood production and its media culture. In Los Angeles, the entertainment industry has had an enormous impact on the structure and shape of the city, from the growth of Hollywood, Burbank, to Century City -- much of Los Angeles s urban terrain has evolved in response to film production. Of course, L.A. is a city of many industries: Power, water, shipping, oil, transportation, agriculture, and aerospace to name only a few, and Los Angeles and its architecture cannot be understood outside the formative industries that define and sustain this city s urban infrastructure and cultural ecology. It was architectural critic and historian Reyner Banham who first identified in his critical tale -- Los Angeles: The Architecture of Four Ecologies that the City of Angeles was formatively shaped by industry. Although not the first, Hollywood industry generated extreme wealth alongside an infrastructure that grew to support radio, television, digital effects, computer animation, and most recently, various forms of digital media-tech. Bringing large-scale industrial, commercial, institutional, and residential development to the greater Los Angeles basin, movie studios grew immense by the 1940s only to be decentralized into diverse fields of multiple more readily adaptable service industries by the late 1970s and 1980s. Notably supporting a shift toward greater subdivision of vast warehouse territories that once comprised larger studio lots, the breakdown of Hollywood s studios into more disperse post-fordist economic structures was one of many factors contributing to the changing roles of domestic, corporate, and industrial architecture in Los Angeles during the postmodern period. Hollywood Industry decentralized throughout the Greater Los Angeles Basin, is about to be revitalized with new technologies that will change the way in which movies are written, staged, filmed and viewed. In this design studio we will examine Hollywood, its history, presence, and its infrastructure to imagine and design a new studio corporate headquarters for the movie industry based on the powerful and complete infusion of Robotics. Thus imagining a new world order enlivened by the manufacture, testing, and distribution of robotic machines, our challenge for the winter and spring quarters will be the design of ROBOTECH HOLLYWOOD INDUSTRIES: CORPORATE HEADQUARTERS -- a new iconic HOLLYWOOD SKYSCRAPER in Los Angeles that will explore, feature, and showcase the potential of Robots in the process of making, producing, and viewing feature films, television shows, animations, games, and new digital media alongside the promise of new robotic digital technologies in architecture. Robotech-- The anime series Cal Poly L.A. Metro Program: Analytic drawing by Zahra Safaverdi, Nicole Sugihara, and Emmanuel Osorno, Neil M. Denari Architects: West Coast Gateway competition entry, Los Angeles, Courtesy of Cal Poly L.A. Metro Program. Cal Poly L.A. Metro Program: Axonometric drawing by Luis Esparza, Brad Williams, and Emmanuel Osorno, Franklin Israel: Drager House, Berkeley, Courtesy of Cal Poly L.A. Metro Program. Cal Poly L.A. Metro Program: Axonometric drawing by Sam Clovis and Angela Varela, Hodgetts + Fung: Viso House, Hollywood, Courtesy of Cal Poly L.A. Metro Program. Our laboratory merges history/theory, practice, discourse, and media within one design curriculum. Part of our rethinking on Deconstructivism in our book, for example, was to reimagine analytical thinking within contemporary design. Students contributed analytical diagrams on each of the LA Ten Architects in the book. Our seminar research surrounding LA Industry and Culture also became a prominent theme for the studio -- from aerospace, port manufacturing, to Hollywood Industry alongside more contemporary themes on Robotics.

16 Brian Harms invented a 3d printer/drone for a Robot Factory. Winner of SuckerPunch Competition, he is now at Samsung R&D Think Tank

17 SOUND STAGE MILL/SUPPORT SOUND STAGE SOUND STAGE MILL/SUPPORT SOUND STAGE SOUND STAGE SOUND STAGE RR ADMIN RR RETSUARANT/ CAFE OPEN TO BELOW ENTRY FOYER/ GALLERY INFORMAL THEATER OPEN TO BELOW CINEMA LOBBY OPEN TO BELOW FORMAL THEATER OUTDOOR THEATER RETAIL CORRIDOR LONGITUDINAL SECTION TEMPORARY HOUSING MELISSA PETER CAL POLY, LA METRO PERFORMING ARTS THEATER + MEDIA LAB PLAYA DEL REY Melissa Peter Received the 2012 HMC Design Award for her Robotic Theater & Multi-Media Lab. She is employed at P-A-T-T-E-R-N-S.

18 BRAD WILLIAMS CAL POLY, LA METRO 13 PERFORMING ARTS THEATER + MEDIA LAB HOLLYWOOD Brad Williams received the HMC Design Award in Prior to his employement with Ali Rahim, he worked for Tom Wiscombe Design.

19 TREVOR LARSEN CAL POLY, LA METRO 14 CAMEO CINEMA PLAN TOP OF ROOF SKY TERRACE RESTAURANT CINEMA CONVENTION HALL PARKING CAMEO ROBOTECH HOLLYWOOD Trevor Larsen received the Morphosis Design Award in He interned at Griffin Enright prior to working for SPARCHS.

20 BEN PENNELL CAL POLY, LA METRO 14 Executive Inner Core Space Exposed Egress Base Core Entry Bridge to Everywhere Exterior Screen East Elevation Ben Pennell received the HMC Comprehensive Design Award He interned with Neil Denari prior to employment at Weiss/Manfredi North Elevation

21 Our 20-student two-quarter course module culminates every year in final reviews at ZGF, HMC, and Gensler in Los Angeles; as well, we bring our laboratory research back to Cal Poly for exhibition and review. Our internship partners; event speakers; alumni; structural, acoustical, and ECS consultants (formatively involved through our practice unit) -- all participate. Ours is a vital and highly integrated curriculum transforming the lives of our Cal Poly students. We believe we are creating a top-quality education that for a State Institution is only possible through creative ingenuity and resourcefulness alongside substantive public recoginition that reaffirms our value.