Axiom 2016 by TAMU AIAS: AXIOM

Note from the Editors The transversal architect engages the discourse that we as architects are by no means one note. We are trained with a high level of attention to detail, work ethic, and problem solving skills that can be translated into many different subject areas outside of built architecture. We are opinionated, think for ourselves, and can design the world around us. Axiom is a student publication that highlights these characteristics in our very own excellent students at Texas A&M University. We hope that this issue will help the reader broaden their perspective and gain insight in the many possibilities that their architectural training has afforded them.

Content Axiom// Spring 2016

Cover Spotlight

Justin Zummel+ Christian Stiles + Bobby Nolen

What does AIAS Mean to Me?

Ricardo J. Maga-Rojas

A Look into Graduate Schools

Hannah Galbraith

A Clash of Old and New

Jeremy Harrienger

The Machine and the Author

Adam Wells

Is the Pen Mightier than the Mouse?

Fashion in the Realm of Architecture

Chesli Lobue

Sophia Kountakis

Integrated Spotlight Briana Cassino + Lucia Prado

Integrated Spotlight Adam Wells + Braden Scott

about the cover: de-con 4

“De-CON, or Deformative Reconformity is a proposed Hyperloop station that is sited in Burbank, California. In our project we introduced the notion of deformation through different agents: agents that over-time, deform the original object to a point of exhaustion. We began by exploring the ideas presented in Eisenman’s book, “Ten Canonical Buildings”, as part of the chapter covering Daniel Libeskind’s Jewish Museum in Berlin. In this museum, according to Eisenman, the idea present is the deconstruction of the axis. e orthogonal axis that is contested through the zig-zag form that discontinues the linear inaccessible void throughout the whole object. e museum is also an example of indexicality, in which there are a series of indexes that act as signs that later can be understood as an imprint and trace. In our exploration of our object, we began with a single block. From there, we carved out voids that are referential to the surrounding site, such as the highway which created a central line of axial void, along with access points that created voids for traffic. We then introduced the Hyperloop tubes that intersect the building in a variety of ways. We executed the notion of deformation precisely through two parameters: 1: e angle in which the tube intersections the building, and 2: the direction the line of motion via incoming and outgoing pods. With these set parameters, the micro level of deformation happens at various points and pr proximation of contact areas. For example, if a tube were to be at an almost 180-degree angle and intersects the object, the deformation will appear moderate; where-as a tube (agent) that intersects the object in a more direct or perpendicular angle, the deformation will appear more drastic. On a macro-level of deformation, the object starts to conform to the geometry of the tubes on the NE façade that pulls the geometry of the object toward the agents. From there, we introduce the Boolean object. is object is the pure presence of the tubes, in which the form of the object is directly referential to the geometry of the tubes. In the initial iteration of our project, this object was used as a subtractive object by the way it created voids going through the exterior surface of the building. e Boolean object was placed and taken away leaving a trace of what was once present on the massing object. e Boolean object was reinserted into its original position that created a nesting effect on the overall object. erefore, the Boolean becomes a trace that le an imprint (voids) on the massing object wh it was a subtractive form, and is an additive form that created a re-imprint of the object with the trace when (exterior irregular voids). Time can be argued as a horizontal linear motion, until enmeshed with a multiplicity of time frames. e overall object becomes a question of origin, whether the addition of the Boolean became before or aer it was subtracted, and if the time frame was expanded even further. e question of the original form surfaces through the question of: Did the object begin with x variables or did the object begin with no variables at all? Upon implementing a set number of conditions, is when the origin of the object began its autonomy. “ -Justin Zummel, Christian Stiles, & Bobby Nolen

Did the object begin with x variables or did the object begin with no variables

s at all?

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A Clash of Old and New Why You Should pay Attention to Design in China Jeremy Harrienger

The structures that define a place are inherently tied and responsive to the climate they arise to fill. Form follows function. Each landscape, whether a crowded urban sprawl or a remote countryside forest, defines the buildings that populate it. The surrounding environmental influence, social priorities, and political climate all play a role in defining the character of buildings, cities, and atmosphere of a place. So it is everywhere in the world, but nowhere is this impulse to define personality more pronounced than modern-day China. A country steeped in highly pervasive tradition, reeling from years of cultural isolation and revolution against its past, the Chinese nation (particularly in its dense metropolises) is engaged in what will prove either an architectural renaissance or an economic disaster. It is a unique moment and opportunity for design to flourish, and something that we as design students should pay close attention to. The astronomical rate at which China has been erecting cities and monuments could represent a push towards utopia, or a nation-wide slum, or perhaps something else entirely. To understand design in the country today necessitates a look into China’s rich past. From the rammed earth and straw-roofed peasant villages to the elaborately timbered and colorfully adorned palaces of the Han dynasty, it is a country deeply rooted in formal and material tradition. Beautiful simplicity and elegance in wooden joinery moments, delicacy and mystery of rooms bordered by paper walls, as well as a deep spirituality and connection to nature, are all aspects of an architecture that bespeaks an understanding of place and space. These roots, although initially white washed by the “cultural revolution” of the sixties, continue to define the country today, as well as its sense of design personality. However, what makes China’s present situation unique is the effect wrought by the political administration 8

of Mao Zedong and the formation of the People’s Republic of China. Chairman Mao instituted a policy of strict isolationism for the entire country, effectively cutting it off from cultural exchange with the rest of the world, particularly the west, and forcefully attempted to erase all memory of the ancient past. Besides instilling a deep sense of national pride, this regime repressed much of the progressive movements of other nations, including the development of modern architecture. When this policy of isolationism ended in the late 1970s, the country was met with a wealth of western values that seemed far flung from their own relative conservatism. To meld with this rapidly changing world, the nation began to experiment with western ideals. Nowhere was this more pronounced that in their construction of modern architecture. A new movement swept the nation, from the installation of hightech monuments to the replication of entire western cities. The result was a mixture of Chinese heritage and globalist post-modernism, on steroids. This revolution was sparked, in particular, by one event: the 2008 Olympic Games in Beijing. Such an international spectacle landed China’s foremost cities in the spotlight in a way not seen before. The government needed landmarks of design to show off its modernity and superpower status to the rest of the world. And so began a torrent of new construction. Now famous buildings like the National Library, CCTV tower, National Center for the Performing Arts (title picture), as well as numerous elaborate sports stadiums and infrastructure installations were completed just in time for the games. Suddenly architects from all over the world were vying for the prestigious opportunity and distinctive challenge of designing in China. As Rem Koolhaas, chief designer of the CCTV tower (below), stated, “To reinvent institutions, reinvent laws, reinvent a society and trying to find

organs that express and make it work — that is of course unique to this moment here.” This opportunity did not go unnoticed by China’s power elites. The government was so in love with Koolhaas’ design (which broke a large number of building codes with its bold overhanging form), that they brought together a council to rewrite the country’s building regulations just so it could be built. China spent around $1.5 billion on structures for the 2008 games, a monumental sum that shows their commitment to their new “great leap forward” to the cutting edge of world architecture. However, this was not an easily accomplished feat. Although many of the world’s top architects were commissioned to innovate flagship buildings in the country, many have fallen short of the mark. This is partly due to the lack of world-class technology in the Chinese construction industry, an area that has had to radically modernize itself very quickly in order to keep up. As with the construction of Zaha Hadid’s 2010 Guangzhou Opera House, who’s trapezoidal cladding, while an appealing look in theory, was not installed correctly and has degraded severely over time. Another impediment to achieving global leadership in design is the classical heritage of the country. Many who have grown up accustomed to the delicately beautiful, colorful, and serenely demure structures of classical China find the new towering structures obtrusive or disturbing. “I think Beijing should construct buildings that reflect the city’s history and culture, especially for important landmarks such as the CCTV tower,” said local businesswoman Sun Peng. She, like many, was taken aback by the apparent abandonment of the nation’s historical ideals. As the populace of the country has rapidly grown, so too has the construction of housing exploded in recent years. In 2011 one third of all buildings constructed in the world were in China. The result of such aggressive expansion has been whole cities that spring up within months, sometimes with no one to populate them. The hope of the government that commissioned these projects was to draw the rural population into cities (and thus provide a larger market of consumers). These large scale projects are quite often

bland, banal complexes of monotonous blocks full of homogeneous buildings (below), or even exact copies of western cities like Paris, London, or New York. This is yet another symptom of China’s experimentation with western ideals, but one that could potentially turn the country into a series of massive ghost towns as the supply of housing far exceeds the demand. For example, Ordos, or ‘Kangbashi New Area’, has been labeled a “modern ghost town.” Built for one million residents (the population of the Austin metro area), with public buildings costing over $5 billion, the Chinese government so far cannot convince more than 28,000 people to move there. With the country accruing over a trillion dollars of debt from their housing market, only time will tell if this massive investment will lead to the

ideal society or to financial ruin. In such a mixing pot of eastern and western design philosophy, completely unique structures are likely to emerge. Will China successfully remake itself as an urban utopia for an emerging middle class? Perhaps. The identity China is constructing could instead be called a “Heterotopia,” an environment filled, colored and embodied by diversity; a space populated not by one governing ideology, but by many. This is a lesson we can take away from China and its new architecture - a place is not beautiful only because it is one thing, uniform and self-relating. The chaotic, unpremeditated, ultimately unique blend of cultures and ideas that arise from such a collision can shape a space far more beautiful than can be designed. There is no question that China has the largest, most ambitious, and most expensive urban planning efforts on the globe today. Whether people choose to live in these new environments or cling to their old homes will provide lessons we can apply to our own cities. The extent to which residents find happiness in the clean, concrete, uniform metropolises of tomorrow’s drawing boards or in the dilapidated but familiar surroundings of traditional villages and tumble-down towns of their ancestors, will help us identify the values that truly matter to our users. 9 These lessons can lead

Machine and the Author Adam Wells

Fig. 1 Authorship in design is a complex issue, and there are a number of considerations that effect authorship such as collaboration, perception, manufacturing, and what this article will argue, machineâ&#x20AC;&#x2122;s effect on design. At its inception, mass production began to replace traditional ways of crafting products and design. Today, during the age of computation, everything has become digitized and in the future robotics has the potential to drive the creation of products and ideas. As machines take on different roles in the design process in different eras, the question can be asked; can a machine impact the design process enough where it begins to affect the authorship of a design? To think about it differently, do machines not only inform design decisions but force certain aspects of a project thus becoming authors themselves?

a machine is privileged during the design process there is some inherent value lost compared to hand crafted and traditional design. Taking this into consideration, this idea of a devalued design could be argued as a devaluing of the author himself.

Another important idea to discuss is the distinction of whether a machine is viewed as a tool. When viewed as a tool, it is of my opinion a machine is no different than a pencil, ruler, paintbrush, etc. to a designer. Tools cannot claim authorship because they are merely various devices used to create an idea in the physical world. It is the moment when a machine steps out of the realm of a tool that there becomes a question about the authorship of the design. For instance, in regards to the Crystal Palace, the form was governed by the largest dimensions of glass that could be fabricated at the time A good starting point to look at machineâ&#x20AC;&#x2122;s effect on which was 49 in. x 10 in. If Joseph Paxton wanted authorship in design would be the mid-nineteenth the building to be 4 in. wider would he have been able century. The latest technology of the era was on full increase the dimensions at that scale, or because of the display at the London Exhibition of 1851 featuring restrictions imposed by the machine would he only have Joseph Paxtonâ&#x20AC;&#x2122;s Crystal Palace. The building was a been able to increase the dimensions in increments of technological marvel of the time and prompted both 10 in.? Although it could be argued that a few inches praise and criticism. One of those critics being William here or there is negligible to the ideas and the design Morris, who began to fear that society was straying away being presented, I think by making small concessions from tradition and craft to focus on the machine. This in such as these throughout the design process, you are turn would help spawn the Arts and Crafts movement handing over your control as the designer at every as a resistance to the machine and industrialization. concession and eventually, your complete authorship Morris saw that when with it. 10

Up to this point, the effect of machines on authorship in design has been argued in a very negative sense where the control of the designer is compromised and the machine forces its own agenda. In contrast to this, there have been many instances where designers willingly give up some part of the authorship to the machine in an attempt to achieve a desired result such as in the case of controlled randomness. Controlled randomness can be seen in things like Roland Snooks designs based on swarm logic (title) and in Gilles Retsin’s project Mass Formations. (below) This

controlled randomness is innate within each design, as I would contend that Snooks and Retsin could not list specifically where each agent will end up prior to running the script. What I think these projects have in common is that each designer has created a very controlled environment based on specific parameters that will always give very similar results. Therefore, there is a perception of randomness within each design, but it’s controlled to such a high degree that the machine is still merely a tool being used and not the producer of the project. The question still remains; can a machine be the sole author of a design? Is it possible for a human designer to achieve absolute autonomy from their design? This is by no means a new idea, as Peter Eisenman has discussed the idea of removing anthropocentrism and denying authorship from architecture for years. His publication of Moving Arrows, Eros, and Other Errors in 1986 describes an attempt to remove anthropocentrism by creating architecture that rejects its origin through discontinuity, recursivity and selfsimilarity. One project in particular that I think attempts to completely deny the authorship of a human designer and lets the machine become the architect

is Autonomous Tectonics, from SPAN Architects. (below) Matias del Campo, co-principle of SPAN, gave a lecture at Texas A&M University in 2015 where he went into great detail into the parameters and aim of the project. The project attempts to use a robot as the sole creator of space. Campo and his team used only the spatial recognition the robot was endowed with at the factory and attached a 3D printing apparatus as a way for the robot to begin to create the architecture. The robot digitally records and understands the space in which it is in, before moving around in reference to other objects in its vicinity. Although I don’t believe this project achieves absolute autonomy in terms of a human designer, it is a project that could be argued privileges the machine to such an extent that the human has become the tool for the machine’s design. The understanding of authorship in design has been seen differently in various time periods of history and has the potential to drastically change in the future. Since the beginning of the industrial revolution, the machine can be seen in certain instances as a partial author to a design. An important factor in determining this is the clear distinction between whether the machine is used as a tool or a driver of the project. Currently in the age of computation, designers have taken liberties in an effort to integrate the computer as more of a partner in the design process to achieve a certain effect. Looking ahead to the future, there is a deliberate intention to embrace a new role for designers that could potentially remove them as authors and let the machine dictate the ideas of a project. There is something I find incredibly interesting in the pursuit of autonomy as an author, and I think the closing words of Foucault’s essay, What Is an Author, reflect my own thoughts on autonomy in authorship “…behind all these questions, we would hear hardly anything but the stirring of an indifference: What difference does it make who is speaking?”

What the American Institute of Architecture Students (AIAS) Means to me A Letter from the President Ricardo J. Maga-Rojas

The American Institute of Architecture Students (AIAS) is an independent, non-profit, student run organization providing unmatched progressive programs, information, and resources on issues critical to architecture and the experience of education. Over the years, the AIAS has evolved into a powerhouse. In 2008, I joined the AIAS at Tuskegee University and was heavily involved at the chapter level. I never got the opportunity to attend a South Quad, FORUM, or Grassroots Conference. In 2013, I graduated from Tuskegee University with my Bachelor of Architecture (B. Arch) Degree looking for work but to no avail. I spent a lot of time re-building myself mentally, financially, and emotionally. I spent a year in Miami, Florida working odd jobs (Valet Attendant, Sandwich Artist, Front Desk Agent, Overnight Stock Clerk, Tour Guide, Call Center Agent, and Night Auditor) to make ends meet while staying active with the American Institute of Architects – Miami Chapter. One job after the next found me extremely humble and reinvigorated to return to the profession. The experience with the amazing AIAS chapter here at Texas A&M has allowed me to recognize the importance of the architecture profession, the disconnect between studio culture & the profession, and has allowed me to see the AIAS for what it truly is. The AIAS has allowed me to meet emerging professionals in the field of architecture that are excited, motivated, ambitious, and some of the badass student leaders that I have had the pleasure to have met. The AIAS is a truly a collective change agent and I think part of that change has to do with the leadership and the technological advances.

It has changed a lot since I first joined in 2008 and it has changed significantly since the current executive Director, Nick Serfass took office. To loosely quote Nick at this year’s AIAS FORUM Conference in San Francisco, “This isn’t your great-great-grandfather’s AIAS, it’s not your great-grandfather’s AIAS, it’s certainly not your grandfather’s or mother’s AIAS… This is AIAS 2.0” My heartfelt congratulations to the astounding members from all across the nation that I have met and are becoming a part of this dynamic organization. I wish the AIAS many more years of interconnectivity, diversity, and innovation. My advice for anyone wielding indubitable leadership is to unleash it to the world. If you have a passion for something, get involved with that cause and do not sit stagnant; be the change that you want to see in the world and ACT NOW!

Support through Giving - Scholarships, Endowments for special activities (e.g. lecture series), discretionary funds for the department, and endowed chairs and professorships to bolster the Department of Architecture degree programs. Serve as advocates of the Department of Architecture with the College and the University. Act as a liaison between the Department of Architeture and the architectural profession and allied professions. Offer advice, counsel and vision to the Department of Architecture. Promote the Department of Architecture.

Is the Pen Mightier Than the Mouse? The Importance of Sketching and Hand Drawing in Architecture Chesli Lobue

In today’s world, many young architects forgo their sketchbooks and pens for the ever popular mouse and laptop screen. This, of course, should not come as a surprise. The rising generation grew up alongside the development and refinement of computers and computer programs and matured by figuring out the inner workings of their technological counterparts. Whenever a student begins a project, it is not unlikely to see them jump straight into a quick digital model instead of first beginning on paper as done with previous generations. The sketching aspect is somewhat taken for granted by developing students because it is by its nature choppy and rough; however, these rough drafts are the critical foundation for the final project.

it is the closeness and intimacy to one’s design that it brings. When you have a pen in your hand, there is no medium in between your ideas and thoughts and the paper. When you are sketching, mindless doodling can bring you your design concept, a series of lines on top of each other can become the defining grid, and the best thing is nothing in a sketch is permanent. When you have completed a CAD floorplan, or a beautiful digital model, there will always be a hesitancy to tear it down, rip it apart or start over. You become limited in your design, and what were originally just experimental thoughts can become permanent features. Sketching carries none of these stigmas, and allows you to continue your design process with constant change while diving into the CAD software with minimal work behind a concept could One key fear which comes across student’s actually delay the process. Some computer minds is, “Do I have to be good at drawing programs rely more so on inputting details to be a good architect?” This is sometimes concerning dimensions, and, without first a followed by the question, “Didn’t 3D modeling clear concept, these details become more a replace hand sketching?” These questions can hindrance than a help. be answered in tandem. Firstly, the quality of the sketches does not have anything to do Secondly, seeing as the working world heavily with the act sketching itself. The benefit one runs on and is influenced by technology’s gains from sketching is not a beautiful render capabilities, drawing and sketching appears or accurate detail, somewhat lost in the technological medium. 14

This is, however, far from the case. While computers and software developed with advances in software and machinery so did the creation of new drawing mediums as well as techniques and styles. Of course, sketches will never appear as perfect as their rendered counterparts, but they also hold a different job in the process. Sketching allows the designer to quickly convey ideas when in the conceptual phase as well as being able to make small minute changes with ease. In this form, one is able to experiment with color, size, shape, etc. without being hindered by the more rigid input system of CAD software. A conceptual floor plan done in perfect CAD lines delivered to a client can seem intimidating and final, and depending on stage of concept as well as the clientâ&#x20AC;&#x2122;s preference, it highly recommended if not utterly necessary for sketching to be implemented as an integral part to the process. When dealing with ideas, itâ&#x20AC;&#x2122;s easy to sketch possible thoughts into the area as well as add notes and additions to the side in order to ease explanation to the intended audience. Another thing to consider is that sketching

can be done most anywhere while computers are not always readily available. You cannot bring your laptop everywhere, and even if there is a computer available, there is no guarantee the software needed will be given on said computer. In conclusion, sketching must not be left behind in favor of the clean presentation quality of digital computational work. While rendered concepts will help the design team when they are further along in the design process, it is best to start with small, quick sketches. Even if the sketches seem crude and unpolished, they still suffice for pushing you in your design process, presenting the idea, and receiving critiques and suggestions. Even though software nowadays can accomplish a great deal in realizing how the final product will look before it even comes into reality, it is best to save rendering until a more concrete final concept is developed once suggestions and changes are made. This will ultimately save time in the design process as well as produce a better final product. So, is the pen mightier than the mouse? In some aspects yes;

Junfei Chen MArch TAMU 15

Fashion in the Realm of Architecture Fashion for the 2015-2016 Year Sophia Kountakis

The realm of architecture encompasses many fixations and one of them is fashion. Most people don’t think about it, but fashion makes up their everyday life. For example, what a person’s style is and what they will wear the next day is an artful expression. Clothing items themselves can be pieces of architecture for the body. Structural garments, color patterns, and textured fabrics intermix to create a piece of architecture that one can wear. Fashion designers continue to incorporate architecture into their designs, even how the garment is crafted. 3D printing has become popular with creating structural garments and intricate detailing. Iris van Herpen, a fashion designer, uses 3D printing as a medium to bring her creations to life. The garments from the Magnetic Motion show Spring/Summer 2015 are works of art and illustrate architectural innovation while producing wearable architecture. Issey Miyake, a team of designers, construct clothing by baking fabric to create pleats and other textural patterns. The process consists of applying colored, heat-reactive glue to the fabric and baking it in an oven. The brand pushes the level of invention in 18

how clothing is created and designed. Architecture can also be seen in the runway itself, how the models walk, the viewership of the audience is now architecturally designed to accent the designer’s conceptions. Christian Dior is famous for their pop-up runway exhibitions each season with different ways of conveying the creative director, Raf Simons’, designs. The Fall/Winter Haute Couture 2015-2016 runway pavilion was constructed by assembling pre-fabricated panels in a variety of colored dots. The audience is dispersed into groups throughout the pavilion space so the models can walk between them. Architecture and fashion become a experience. Designer brands now hire architects to design beautifully constructed outlet stores to display clothing and accessories in their best light. For example, the Prada Store in Tokyo, Japan, by Herzog & de Meuron, is designed to provide a different experience for shoppers. The porous spatial structure accents Miuccia Prada’s work and innovation in the fashion world. The store space is distinctive,

fundamental and historic in terms of the relationship between fashion and architecture, and of the actual mechanics of shopping. As architects, we are obsessed with the way things are presented and how the fabrication expresses a certain language to a viewer. The process to convey this language is very similar to the design process

architects and artists use to create a built solution for a problem. Despite differences in final product, fashion designers, artists, and architects all have similar process of thinking. The process of design is a beautiful coordination that only stylists can engineer. This form of thought remains our connection as creators, inventors, and originators.

A Look into Graduate Schools Hannah Galbraith

Would you like to accomplish architectural licenseship? Do you find further education a need or desire? Do you aspire to experience a new place, lifestyle, or culture? Answering “yes” to any of these questions might mean graduate school is for you! Due to countless options of graduate degree programs,

sizes, and expenses, one might become overwhelmed by information, collection, and reiteration. Not coincidentally, Texas A&M’s extensive network of graduate students have agreed to enlighten us with their knowledge and current universities attendance.

Universities Highlighted:

Texas A&M University (TAMU) University of Texas (UT) Clemson University (CU) Southern California Institute of Architecture (SCI-Arc) Massachusetts Institute of Technology (MIT) The Technical University of Delft, Netherlands

Texas A&M University (TAMU): COLLEGE STATION, TX ATTENDEES: Carmen A. Torres, Junfei Chen

Why did you choose Texas A&M University over other graduate school universities?

-The quality of the program, scholarships I received, and the opportunity to establish network opportunities. CT -Itâ&#x20AC;&#x2122;s high International ranking, good location, and your ease of finding a job after graduation. JC

What are some unique things about this graduate school/ program?

-They have really good opportunities to study abroad, and the professors are extremely invested with a willingness to help thatâ&#x20AC;&#x2122;s extraordinary. CT -The detailing they put into structures. JC

Is there anything that you would like to share about your graduate school experiences so far?

-It has been in the Masters of Architecture program that I have been able to push my projects to the next level of innovation and maturity on my own. It is an experience that you have to be sure that architecture is the path for you to go through it. Both time and energy invested is double (if not more) from what you experience for your bachelor degree. CT -Self-learning is as equally important as learning from courses. The more advanced knowledge you read, the better design you could produce. Lastly, learn new things in each semester, never be satisfied with what you have. JC 21

Southern California Institute of Architecture (SCI-Arch): LAS ANGELES, CA ATTENDEE: Chris Thackery

Why did you choose SCI-Arch over other graduate school universities?

- Visiting SCI-Arc felt a lot like being a kid in a candy shop. Amongst all the potential distractions Hollywood has to offer, students love being at SCI-Arc. Located in the heart of the LA Arts District, there is an endless aura of inspiration around SCI-Arc that is unique. The bold mission statement best describes why I chose the school:“SCI-Arc is where architects become mad scientists. It is where art, science, and industry converge and new futures unfold. We stare down complex technologies and command them to do our bidding. We are agile and street smart. We are prophets of beauty, broadcasters of ideas, and tellers of stories. We are builders, leaders, and dreamers. Alchemy is our craft—we turn things into gold.” -Hernan Diaz Alonso

What are some unique things about this graduate school/ program?

- SCI-Arc recently added a massive multi-level addition onto their fabrication facilities in 2015. Known as the ‘Magic Box’ by faculty and students, it gives students an unmatched means of producing any project you could imagine. SCI-Arc is at the avant-garde of architectural research, discourse and experimentation. Each week, more often than not, you’ll pass by a Pritzker-winning architect in the hallways on the way to a lecture or review or simply just to visit. It becomes familiar and casual to everyone, and SCI-Arc can guarantee these architects will also show up to your reviews to critique your work. SCI-Arc offers such a platform for young aspiring architects to engage in conversations that are at the edge of discovery and often reach beyond the books we’ve all read. 22

Is there anything that you would like to share about your graduate school experiences so far?

- Grad School is a whole other beast, one thing I wish I would have done during my undergraduate studies was to thoroughly develop a fundamental “artist’s eye” for the qualities that are always present in a great traditional image or rendering. I was a late transfer student during my undergraduate, and so I never had a background in any creative art classes or respect for the pillars of making great art. For example concepts like the play between light and shadow, line weights, gestalt forms, sketching a 3d image with perspective construction lines, silhouette, and traditional matte painting techniques are absolutely essential to working faster in grad school. I saw these things as obsolete in undergrad, but even though we are mainly working digitally these days, behind all the fancy computational jargon of our programs are the exact same principles an artist must use in traditional drawing. I can’t stress how much I overlooked Photoshop as an savior of a lot of my pin-ups in grad school so far, where there’s simply not enough time or lenience to get away with unpolished work. My best advice would be to learn all the “time-hacks” and master the tricks like Photoshop, digital matte-painting, as well as a deep fundamental understanding of the science behind what makes a good image every time, because a render never comes out perfect on its own, so these are the skills that will have a tremendous payoff in graduate work.

Massachusetts Institute of Technology (MIT): CAMBRIGE, MA ATTENDEE: Daniel Garcia

Why did you choose MIT over other graduate school universities?

- I really enjoy the small class size of 18 total students in my year. My faculty are very personable, and make an effort to get to know you. Most have a practice and all have research projects which students can be involved in. Something I really like is that the studio curriculum is catered to the student depending on his or her interests. I wanted a new perspective and learning environment for graduate school, and MIT is located in a city context outside of Texas which was scary but definitely worth pursuing. This was also my best financial offer which made the choice a little easier for me.

What are some unique things about this graduate school/ program?

- IAP (independent activity period) offers various opportunities for the month of january that can be used to take workshops, research, intern, or take time off. The same applies to the summer as well. Option Studios which are taken in 4th â&#x20AC;&#x201C; 6th semesters are researchbased studios that may be traveling or local with a focus on an area of research a professor is currently pursuing. This is why the program is 3-1/2 years long. There are a plethora of fabrication resources in terms of machines, tools, and professors that students can take advantage of.

Is there anything that you would like to share about your graduate school experiences so far?

- I have been challenged to take a more critical stance in my work. To discuss and debate what my designs are doing conceptually that goes beyond the design form and program. My A&M background has benefited me a lot in studio from making design decisions, to producing drawings, and work flow. I tend to work less than other students, but produce as much work or more. This allows me to focus on developing other areas of interest to me. Outside of studio, I have really enjoyed my other classes which incorporated rhino and grasshopper plugins to perform things from energy and lighting simulations, giving real-time feedback during the design process, to material and structural behavior analysis, aiding 24

The Technical Institute of Delft: DELFT, THE NETHERLANDS ATTENDEE: Stephen Renard

Why did you choose TU Delft over other graduate school universities?

- First and foremost, TU Delft is in Europe, and I wanted to attend a Graduate school overseas to gain culture and a new perspective on Architecture and design. Second, it is an established and well thought of University among many professionals in the world. Finally, I really enjoyed the University when I visited it during the study abroad program in Barcelona, and that is what initially made me choose to apply and eventually attend.

What are some unique things about this graduate school/ program?

- TU Delft is comprised of Dutch and international students. The university has a strong international retention program. It takes care of these students and allows them to thrive in their respective subjects. In my class, (MArch) there are over 350 international students. This gives me the unique opportunity to learn about many cultures in one place. This is exactly what a University should be: a diverse exchange of knowledge and ideas in order to better and progress humankind.

Is there anything that you would like to share about your graduate school experiences so far?

- It has been a roller coaster, but a fun and enjoyable experience. Living in another country has changed my perspective on design and life. I have expanded my network tenfold, and now I know someone in almost every country in Europe and most parts of the world. Overall, I have been very pleased with my decision to attend The Technical University of Delft. I would encourage anyone considering working in Europe (or globally) to look into Graduate programs 25 abroad.

ICON ART SUPPLY, COMING BACK SOON...

INTEGRATED STUDIO FALL 2015 28 CENTER FOR HOME MOVIES HOUSTON, TEXAS

29 BREANA CASSINO + lUCIA PRADO FALL 2015-ARCH 405 MARCEL ERMINY + SHELLEY HOLLIDAY + JUAN CARLOS BALTAZAR

34 COW IN THE NODE

35 ADAM WELLS + BRADEN SCOTT FALL 2015-ARCH 405 CRAIG BABE + SHELLEY HOLLIDAY + CHARLES CULP