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02 THE COLLEGE OF ENVIRONMENTAL DESIGN
COLLEGE OF ENVIRONMENTAL DESIGN 3801 West Temple Avenue Pomona, CA 91768 csupomona.edu/~env
The Art Department held the poly-kroma series of events on June 5-15 at the Millard Sheets Gallery in Pomona. Read more about the planning and implementation of the event inside this issue of LINK magazine.
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SPRING 2013 DEAN’S NOTE
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THE GRID
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Highlights of ENV projects on and off campus.
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LETTERS OF REC
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FIRST PERSON
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Jack Dangermond (LA, ‘68)
POLY-KROMA
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Full Spectrum
PRESERVATION
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Back to the Future
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INTERDISCIPLINARY URBAN DESIGN
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Thinking Outside the Zone
26 All photos on the inside back cover from #CPPENV
“THE POTENTIAL TO UNLOCK A BILLION MORE BRAINS TO SOLVE THE WORLD’S BIGGEST PROBLEMS” New technologies such as MOOCs (Massive Open Online Courses) are roiling the world of higher education. In a recent op-ed column for the New York Times, Thomas L. Friedman hailed “the budding revolution in global online education,” declaring:
MANAGING EDITOR James Brasuell ENV Outreach and Data Coordinator ART DIRECTION Studio Fuse, Inc. PHOTOGRAPHER Tom Zasadzinski Cal Poly Pomona University Photographer ENV ADVISORS Senior Director of Development Dean Michael Woo Director of Development Carrie Geurts ENV OUTREACH INTERN Charles Enchill ENV DEPARTMENT CHAIRS Architecture Department Chair Sarah Lorenzen Art Department Chair Sarah Meyer Landscape Architecture Chair Lee-Anne Milburn Urban and Regional Planning Chair Richard W. Willson John T. Lyle Center for Regenerative Studies Director Kyle Brown Facebook: http://www.facebook.com/CalPolyPomona. CollegeofEnvironmentalDesign Twitter: @PolyPomona_ENV Instagram: #CPPENV, #CPPLA, #CPPARC
“Nothing has more potential to lift more people out of poverty—by providing them an affordable education to get a job or improve in the job they have. Nothing has more potential to unlock a billion more brains to solve the world’s biggest problems.” Since the passage of Prop 30 last November, Governor Jerry Brown has become a passionate advocate for increased online courses in the University of California and California State University systems as a way of serving more students at lower cost. But the rising level of interest in online courses in California has generated a backlash. For example, after San Jose State’s president announced a partnership with online pioneers edX and Udacity, San Jose State’s Philosophy Department refused to give credit for an online course taught by Michael J. Sandel, a political philosopher on the Harvard University faculty. How does the debate over new technologies such as MOOCs relate to the future of teaching and research in the College of Environmental Design? In ENV, we have a tradition of applying Cal Poly Pomona’s “learn by doing” creed in the form of close interaction between students and instructors in studio courses and small classes. Although the tight budgets of recent years have increased the number of students in certain courses, ENV still has the lowest overall student/faculty ratio of any college at Cal Poly Pomona. While new technologies may represent a threat to the university’s status quo, they also could have a liberating and empowering effect. I could imagine ENV expanding the audience for design education—and reaching out to potential students on a regional, national, or even global basis—by offering MOOCs on topics
such as environmental sustainability, modernist design, 3-D technologies, or water policy. Or we could shift the teaching of certain technical skills from conventional courses to online tutorials for use by students at any hour of the day. Neither of these directions would substitute for the classic experience of a student defending his or her ideas in front of an instructor and fellow students. The creative and analytical interaction between and among students and faculty is the core of the ENV experience. Our use of new technologies should reinforce (not undermine) the “learn by doing” philosophy in our approach to design education. Perhaps the most powerful argument for thinking seriously about technology in ENV teaching is the fact that, outside of academia, many aspects of professional practice in the environmental design disciplines are being transformed by technology. Pioneered by our alumnus Jack Dangermond (see page 10) and his colleagues at Esri, geographic information systems (GIS) are revolutionizing the use of data in planning and design around the world. The combination of new information systems and new transportation technologies, such as Google’s autonomous cars, could open up new possibilities for urban transportation and the design of cities. Don Huntley, another generous Cal Poly Pomona alumnus, has provided funding to purchase iPads that can be borrowed by students in two new experimental ENV courses teaching mobile app design and website design. Technology is not a panacea for higher education—there is no “one-technology-fits-all” solution. But to the extent that emerging technologies can create a new dimension for the “learn by doing” philosophy in ENV, we should be open to the creative possibilities that new technologies can bring.
Michael Woo Dean, College Of Environmental Design
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THE GRID
A powerful framework essential to each environmental design discipline, The Grid applies in the studio and in the real world—every place ENV is at work.
ENV PARTNERS WITH BAUHAUS UNIVERSITY WEIMAR ON THE RE:STREET CONFERENCE In an unprecedented international partnership, ENV joined with Bauhaus University Weimar this past April to host the Re:Street Conference at L.A. County Metropolitan Transportation Authority (Metro) in Downtown Los Angeles. The event showcased the work of experts from academia, the private sector, and the public sector in both Germany and Southern California, who examined the street as a critical component for the future development of cities. Over the
course of a weeklong workshop for Bauhaus and ENV students and a two-day symposium at Metro, participants organized their work around the idea that by comparing the disparate experiences of urban development in Berlin and Los Angeles over the last 60-plus years, the two sister cities can forge new urban design solutions at the street level. Assistant Professor of Architecture Axel Prichard-Schmitzberger and ENV Dean Michael Woo spearheaded ENV’s portion of the partnership, with help from local sponsors such as Metro, Razor USA, and the Goethe Institut Los Angeles.
A mash up of Berlin and Los Angeles. Image by Associate Professor of Architecture Valentin Hadelich, Bauhaus University Weimar
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ANTICIPATION BUILDS FOR PARKING REFORM MADE EASY Parking Reform Made Easy, by Urban and Regional Planning Department Chair and Professor Richard Willson, is the highest presale book of the Spring 2013 catalog of Island Press (and available for order now on the Island Press website). The book presents an assessment process for assessing how much parking should be required by cities, moving away from the one-size-fits-all prescription frequently found in parking requirements. “The book doesn’t tell cities what their parking ratios should be,” Prof. Willson explains. “Instead it provides a technical and policy process that can lead to locally developed requirements.” Often cities follow the status quo for parking requirements without taking into account the major impact parking regulations can have on planning and development outcomes. Parking Reform Made Easy illustrates the larger implications of parking policy with a concept of the overlapping circles of economic development, sustainability, transportation, and land use. Rational decisions about parking will lead to beneficial outcomes like fewer surface parking lots, fewer vehicle miles traveled, improved air quality, and an easier development environment for affordable housing. “Parking is a means to an end, not an end to itself,” says Prof. Willson.
MORE: islandpress.org/ip/books/book/islandpress/P/ bo8793591.html
LANDSCAPE ARCHITECTURE STUDIO RETHINKS CHAVEZ RAVINE Landscape Architecture 402, a Winter Quarter urban design studio, had the enviable assignment of reimagining the land surrounding Dodger Stadium as a more integrated, sustainable neighborhood in the city of Los Angeles. In a welcome display of civic engagement, newly hired Dodgers Senior Vice President of Planning and Development Janet Marie Smith also granted
SOUTHERN CALIFORNIA ASSOCIATION OF GOVERNMENTS FUNDS URP COURSES The Southern California Association of Governments (SCAG) has agreed to fund a land use scenario planning course for the Urban and Regional Planning Department in the fall and winter quarters of
students extensive access to the stadium property—a location famous for its past as a residential neighborhood and its present as a baseball mecca. The Dodgers’ new ownership recently completed a $100 million renovation project that increased the stadium’s accessibility with bike facilities, a bus-only lane, and expanded plaza areas open to the public even when the Dodgers are out of town. The 402 studio took these initial improvements in integrating the site into the city even further, designing fully imagined neighborhoods and districts complete with
the 2013-2014 academic year. The course will perform “what-if” analyses of the implications of various densities and land uses. To develop the courses, URP Assistant Professor Do Kim has been meeting with SCAG for about a year—Prof. Kim has experience studying the topic from earlier work as a consultant in Florida. SCAG is a government agency that works to improve
green space, residential, retail, and flexible event space. The studio had the guidance of a team of alumni from landscape architecture firm SWA, including the firm’s managing principal Sean O’Malley. The SWA team visited the studio frequently to provide feedback and attended all the studio’s reviews. Rolling out the green turf. Image by fourth year Landscape Architecture students Kevin Finch, George Kutnar, Ryan Martin, and Kenny Sperling
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quality of life through policy initiatives in transportation, growth management, hazardous waste, and air quality. SCAG’s donation of $75,000 will also pay for the hiring of research assistants, travel expenses, and educational enrichment activities.
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IPAD DONATION PAYS BIG DIVIDENDS FOR STUDENT PORTFOLIOS
new generation of architectural leadership,” says ENV Dean Michael Woo. Prof. Lorenzen’s duties as chair of the Architecture Department will include overseeing the budget and curriculum of the department.
LEFT: Architecture Department Chair Sarah Lorenzen
NEW LEADERSHIP AT ENV The 2013 academic year has seen two new hires for the leadership of ENV. Effective January 2013, Associate Professor of Architecture Sarah Lorenzen has been appointed as chair of the Architecture Department. Prof. Lorenzen has been a
RESTORING MAIN STREET: URP AWARDS 2013 DALE PRIZE Earlier this year, the Urban and Regional Planning Department honored the 2013 William R. and June Dale Prize recipients, Mary Means and John R. Mullin, Ph.D., FAICP. The Dale Prize recognizes planning excellence while also creating dialogue between scholars and practitioners and
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RIGHT: Interim Associate Dean Julianna Delgado
member of the architecture faculty since 2005, also serving as resident director of the Neutra VDL Studio and Residences since 2007, raising more than $350,000 for the landmark structure. “Professor Sarah Lorenzen has done a great job managing the restoration and increasing attendance at the VDL House, and she represents a
enriching the education of URP students. This year’s Dale Prize theme was Restoring Main Street: Linking Historic Preservation and Economic Development. Ms. Means received the practitioner prize for work as the pioneering creator of the Main Street Program, a highly successful and widely adopted preservation, planning, and community development program. Dr. Mullin received the scholar prize
ENV has also appointed Associate Professor of Urban and Regional Planning Julianna Delgado as the interim associate dean of the College of Environmental Design. Prof. Delgado has been a member of the URP faculty since 2006, teaching the core land use course required for undergraduate majors as well as the capstone undergraduate and graduate-level studios. Prof. Delgado is also the founder and co-director of the California Center for Land and Water Stewardship (CCLAWS), Cal Poly Pomona’s newest interdisciplinary research center. “I see my role primarily as one of support for students, faculty, and staff—improving ENV operations by facilitating increased efficiency and effectiveness in the dean’s office,” says Prof. Delgado.
as an internationally recognized leader in the field of economic development, with an interest in the economic development and historic nexus. Inaugurated in 2004, the Dale Prize is made possible by an endowment provided by the late June Dale, wife of the late William R. Dale, a former dean of ENV and a founding faculty member of Urban and Regional Planning Department.
LYLE CENTER FOSTERS COMMUNITY REGENERATION IN PARTNERSHIP WITH WESTMONT ELEMENTARY
illuminating pathways to higher education for underrepresented youth. Program fellows spent about ten hours per week at Westmont, working on environmental learning projects as well as hosting field The Lyle Center for Regenerative trips to Cal Poly Pomona. According Studies has expanded its partnership to Lyle Center Director Kyle Brown, prewith Westmont Elementary in the liminary feedback from the program has Pomona Unified School District by revealed that students are engaged with launching the Sustainability Fellowship science activities; parents who do not program, in which Cal Poly Pomona normally participate in school activities students work with the elementary are becoming involved; teachers are school throughout the year, facilitating seeing the value of environmental science classroom, after-school, and weekend as a medium for teaching other core activities. The partnership began last skills; students are asking thoughtful year with a four-week after-school questions about college; and fellows are workshop series at the elementary finding rewarding experiences connecting school. The expansion of the program— with children. The Ernest Prete Jr. Founmade possible by a donation from the dation has already committed to funding Ernest Prete Jr. Foundation—allowed a second year of the program in 2013-14. this year’s fellows to interact with every student at Westmont from first grade ABOVE: A Westmont Elementary student takes the peddle-powered juicer out for a spin through the sixth grade, enhancing at the Lyle Center. environmental science education and
Alumnus Don Huntley recently donated $90,000 for ENV to purchase iPads for the classroom, including $60,000 to support support a mobile app design course run through the Architecture Department. Architecture Department Chair and Associate Professor Sarah Lorenzen led the class, assigning students the task of reformatting their portfolios for the more contemporary medium of the tablet. By the end of the quarter, each of the students produced an iBook version of their portfolio using the iBooks Author development software. “The students figured out how they change the design of a static document from InDesign for interactivity,” says Prof. Lorenzen. In addition to the obvious benefit of improving the marketability of the students who took the course and will soon enter the workforce, the class also produced learning outcomes for students looking to build a clear narrative and package the presentation of their accomplishments and skills. “It wasn’t about adding a lot of gizmos. It’s about how to make it seamless,” says Prof. Lorenzen. Memo to Apple: the iPads were loaned to each of the students for the duration of the Spring Quarter, and many of them liked the product so much they have subsequently bought their own.
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LETTERS OF RECOMMENDATION
ASSISTANT PROFESSOR WEIMIN LI, DEPARTMENT OF LANDSCAPE ARCHITECTURE
ENV faculty share the books, movies, exhibits, and ideas that are inspiring them to higher levels of thinking in environmental design
Portland’s Foodcart revolution
Kelly rodgers and Kelley roy
ASSOCIATE PROFESSOR ALISON PEARLMAN, DEPARTMENT OF ART As an art historian who writes about restaurants (Smart Casual: The Transformation of Gourmet Restaurant Style in America [2013] and The Eye in Dining), I am always thinking about the connection between food culture and environmental design. Recently, I stumbled upon a book that made me want to tell everyone in ENV about it: Cartopia: Portland’s Food Cart Revolution
ASSOCIATE PROFESSOR ANDREW WILCOX, DEPARTMENT OF LANDSCAPE ARCHITECTURE Reading and Riding. A rambunctious Los Angeles is out there— not the corporately sponsored, nor the typically programmed. First read The Rambunctious Garden by Emma Marris. The cracks and crevices of the city are the opportunity for an infrastructural wild that exists seen but
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(2010) by Kelly Rodgers and Kelley Roy. This book illuminates the recent development of a food-cart scene in the city of Portland, Oregon, and examines its implications for urban design. The authors are rare breeds of urban designer and foodie. They consider the so-called “cartitecture” (varied morphology) as well as the urban organization and legal regulation of the food carts in Portland. The book could do more to discuss graphic design’s role in shaping the food-cart landscape, but this omission leaves room for a graphic designer or historian of graphic design to take on this subject! Nevertheless, the book offers plenty for considering the ecological and social effects of urban design in the Portland food-cart mold. The book considers issues as diverse as walkability, entrepreneurialism, and the role of food carts in stimulating social interaction in public spaces.
MORE: theeyeindining.blogspot.com CARTOPIA cover photography by Andrew Burdick; book design by Jen Cogliantry.
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unrecognized between our communities. Second, go ride or walk CicLAvia. This is how we could operate more often and more frequently if we wanted to—we can, and there is no excuse for why we can’t. There is a rambunctious city out there—as wild as has ever been imagined and might be imagined. These two in combination might just change your idea of what the Los Angeles landscape could be, assuming we have the sensitivity to recognize it and the will to make it. OVERDRIVE catalogue cover courtesy of the Getty Foundation.
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ASSOCIATE PROFESSOR LUIS HOYOS, DEPARTMENT OF ARCHITECTURE I’m currently reading the exhibition catalog for OVERDRIVE: L.A. Constructs the Future 1940-1990, published by the Getty and edited by Wim de Wit and Christopher James Alexander (on view now until July 21, 2013). The exhibit covers the emergence of the modern Los Angeles. The catalog is a treasure; it is of course, informative, but it is also provocative and very selective about what aspects of history are to be examined. There are a few expository articles that serve to give context; a certain amount of knowledge on the part of the reader is already assumed. From there, we are treated to articles on open space in Los Angeles; Latin Americans and Los Angeles; the preservation of Modernism; suburbs; freeways (of course!); technology; housing; and key designers of the period. It is a wild ride. Of special interest are articles on the architecture schools and a nifty piece on the “L.A. Ten,” an influential club of young practitioners that now reads like a who’s-who of architectural design. This is a remarkable exhibit; the indispensable catalog should be required reading for all ENV students. The value of the research (check out the bibliographies) is beyond measure. I cannot put it down.
The new generation of environmental design students should equip themselves to address increasingly complex and serious environmental and social issues. Geodesign knowledge, techniques, and skills are critical for designers and planners to successfully address complicated design and planning problems. I recommend Harvard GSD Professor Emeritus Carl Steinitz’s latest book A Framework for Geodesign for understanding the concepts, theories, processes, and practical examples of Geodesign. I also recommend Esri’s newly launched YouTube channel of the Geodesign Summit for vivid, scholarly presentation on a variety of Geodesign topics. For those interested in geospatial data sources, geoprocessing models, and the latest news about Geodesign, you are also welcome to follow me delicious.com/lagis. [See page 10 for more on Geodesign.]
MORE: http://goo.gl/9tsjc delicious.com/lagis
INTERIM ASSOCIATE DEAN AND ASSOCIATE PROFESSOR JULIANNA DELGADO, DEPARTMENT OF URBAN AND REGIONAL PLANNING The Hayden Tract: What happens when an enlightened developer teams up with a cutting-edge designer to turn blight into a successful, mixed-use, arts/industrial neighborhood adjacent to light rail? This getting-better-as-we-speak corner of Culver City is a must see for anyone interested in the transformative power of architecture, landscape architecture, and plain ol’ intelligent, communitybased planning. Since 1986, husbandand-wife developers Frederick and
PROFESSOR GARY MCGAVIN, DEPARTMENT OF ARCHITECTURE I became a licensed architect for one reason—to afford the option of pursuing my passion of racing. I started racing in 1964 with small-bore motorcycles. As an architect, I could afford my expensive passion. I currently base my teaching of architectural structures on the design and performance of racing machines. I have raced throughout the
Laurie Samitaur Smith have worked with architect Eric Owen Moss to re-envision and remake abandoned warehouses into “radically contemporary” experimental structures, called “Conjunctive Points.” These structures house an eclectic group of businesses (Nike, Debbie Allen Dance Studio, and Smashbox Cosmetics, among them) and provide a plus a venue for art events. I visited formally with the venerable Society of Architectural Historians—we were blown away. Get lost there for an afternoon and dream big.
Conjunctive Points: Samitaur, Moss, and Culver City. Photo by Marc Teer.
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Western and Central United States, and even ran Pikes Peak in one of my front engine formula cars during my 50-year racing career. Several years ago, I retired my road racing cars in favor of switching to land speed. For the 2013 land speedracing season, I will be driving for Jack Masson Racing at El Mirage and perhaps Bonneville. LEFT: Prof. McGavin gets buckled in before a Southern California Timing Association race at El Mirage in 2013.
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EARTH BY DESIGN Jack Dangermond (Landscape Architecture, ‘68) is the president and founder of Esri, the leading developer of Geographic Information Systems (GIS) software—an essential tool used by municipalities and companies all over the world for analytic, data-driven decisionmaking. Dangermond and Esri are now busy developing software to support a concept called Geodesign, which adds design practices like sketching and visualization to the GIS toolbox. You’ve talked before about how GIS technology and GIS professionals promise to make a better future. How can that goal be made a reality? First I would like to talk about what GIS is and how it’s used. GIS organizes and automates geospatial information for applications. It is used for simple things like map-making and data management, but at its heart, GIS is used for analysis that helps decision-making. For broad land use and landscape planning, it really helps planners do rapid assessment planning and evaluation of alternatives. There are already thousands of examples of how GIS has improved spatial decisionmaking, efficiency, and communication with maps and 3-D visualization. The issues that challenge our future require that humans begin to see things differently—to interact with the environment and its resources differently. I am unsure how this will happen socially and
institutionally, but if we are to create a sustainable future, the use of GIS will be important. For the last 40 years, I was successful in building commercial technology used in hundreds of thousands of organizations. We built the technology by turning concepts that people talked about into a useful product. The result is a better understanding of our world at many scales. How does GIS become a problem-solving tool for design? GIS can provide valuable information and understanding about complex situations. [Former Dean of ENV] Richard Wurman once said, “Understanding precedes action.” I think he meant “designed action.” This linking of science to design is what we often refer to as Geodesign, and it involves the development of design tools on top of GIS tools.
Geodesign includes tools such as sketching, analysis, and visualization that can assist the designer in formulating and evaluating alternatives using geographic information. One of my professors at Harvard, Carl Steinitz, can be credited with doing the fundamental thinking in this field nearly 50 years ago. Our work today is about creating a practical tool to do this for designers everywhere.
Esri is now invested in developing and advancing Geodesign methods and tools that assist designers. Geodesigners will come from the domain of traditional architects, planners, and landscape architects, as well as from broader communities of corporate real estate,
“THE ISSUES THAT CHALLENGE OUR FUTURE REQUIRE THAT HUMANS BEGIN TO SEE THINGS DIFFERENTLY—TO INTERACT WITH THE ENVIRONMENT AND ITS RESOURCES DIFFERENTLY.” –JACK DANGERMOND
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agriculture, forest management, the energy production industry, the mining industry, etc. They will systematically consider natural and cultural geographic information and analytic modeling to select optimum locations. Geodesign will open many new opportunities for the traditional design communities of landscape architecture and planning. People will realize the power of good design thinking blended with spatial information and analysis. Have there been early adopters of Geodesign and what excites you about these early results? Geodesign is already being applied in urban designs, for example, in the city
of Honolulu and the city of Singapore. A few larger landscape-planning firms are applying it in bigger projects. Government agencies such as the U.S. Department of Interior and the Forest Service are beginning to apply it to broad-scale natural resource planning. These organizations are beginning to embrace the methods because they help both create better solutions as well as provide more automated and efficient methods.
Jack Dangermond graduated from Cal Poly Pomona with a degree in Landscape Architecture, but the GIS tools developed by his company, Esri, are used by the entire spectrum of environmental design practitioners.
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“GEODESIGN WILL OPEN MANY NEW OPPORTUNITIES FOR THE TRADITIONAL DESIGN COMMUNITIES OF LANDSCAPE ARCHITECTURE AND PLANNING. PEOPLE WILL REALIZE THE POWER OF GOOD DESIGN BLENDED WITH SPATIAL INFORMATION AND ANALYSIS.” –JACK DANGERMOND
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in the early years of landscape architecture at Cal Poly Pomona gave me a good foundation and the flexibility to follow my interests. For me, it was plants and horticulture—base sciences like physics, chemistry, and biology, and introduction to computing. The latter was not really taught at the time, but back then there was an experimental data processing center that was available to students. It offered an opportunity to play around, and that is exactly what I did. I was curious and got drawn into the whole world of systematic
A Geodesign prototype image of the city of Philadelphia. Image courtesy of Esri.
Your first degree is in landscape architecture, and you have given talks to organizations such as the American Society of Landscape Architects. In what ways do you believe the profession of landscape architecture should change to best meet the needs of our changing societies? In the future, landscape architecture education will need to emphasize three things: First, a strong basis in geo sciences such as biology, geology, sociology, and ecology, and how they can be integrated into a design process for more sustainable projects. Second, quantitative analysis for understanding and applying this science, for example, statistics, modeling, analytics, and the enabling technology, computing (GIS is a good start in this direction because it integrates the various science disciplines).
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And third, design-based problem-solving methodology, which needs to include all types of spatial decision-making.
to do so, so I have high hopes. I am just concerned that there are not enough students to meet the challenge.
While the word “design” often brings up a kind of artsy connotation, geospatial design is all about geographic problem-solving. Arranging things optimally, integrating human activities with nature, connecting the built environment infrastructure with new expressions of human activity—these are all examples of what a good landscape architect needs to accomplish. I believe that the philosophy and methods that are taught to landscape architecture students are foundational for solving many of the kinds of challenges that our society is facing and will continue to face in the next 100 years. I know of no other science, discipline, or profession that has it in their education and professional practice
What parts of your education at Cal Poly Pomona do you feel were most relevant to your current professional career? It was a great learning experience. I fundamentally learned how to learn while at the same time “learning by doing.” Project-based learning is becoming very popular in education across the university and is one of the things that I especially cherish about the experience at Cal Poly Pomona. We were given the opportunity to experiment and learn things as we went along.
measurement and quantitative analysis as a foundation for what later would become my life’s work in GIS. I appreciated the opportunity my professors gave me to experimentally learn with projects that were at the time far out of the core curriculum of landscape architecture.
their careers. Some of them took radically different paths, but in all cases they felt that a design education provided them a significant foundation that served them well throughout their careers. That was certainly the case for me. A 3D rendering of space utilization on a college campus. Geodesign prototype image courtesy of Esri.
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As I went through life I have met many people who have core disciplinary design training but went in other directions with
The liberal arts-focused curriculum designed by Howard Bolts and others
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FULL SPECTRUM THE ART DEPARTMENT CELEBRATED THE END OF THE 2012-2013 SCHOOL YEAR WITH POLY-KROMA—A WIDE-RANGING SERIES OF EVENTS AND EXHIBITIONS THAT HAS REDEFINED THE AMBITIONS OF THE CAMPUS ART AND GRAPHIC DESIGN COMMUNITY. The students and faculty of the Art Department have worked the entire school year preparing for an art and design extravaganza called poly-kroma, a series of concurrent exhibitions that ran from June 5-15, 2013 at the Millard Sheets Gallery at the Fairplex in Pomona. Of grand scale, poly-kroma aggregated the diverse disciplines represented among the students, faulty, alumni, and industry partners of the Art Department into its biggest-ever event in celebration of art and design. The result provided unprecedented opportunities to promote the Art Department among the Southern California art and graphic design community, while also giving students new opportunities to network with professionals in their fields.
Cesia Santamaria puts the “P” in poly-kroma for the entryway installation at the Millard Sheets Gallery. THIS PAGE: Students and faculty planned all year for the event.
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For many years, the Art Department has showcased the best work of its students and graduating seniors in an annual event. But this year, a change of venue from campus to the Millard Sheets Gallery at the Fairplex in Pomona offered the department the chance to take the exhibition to a whole new level. “The Art Department turned this opportunity into a truly ambitious experiment,” says ENV Dean Michael Woo. “They have showcased the Art Department in completely new ways.”
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In addition to the annual 2D3D and the Senior Show, poly-kroma added Industry Night, the Alumni Show Off, Fast Fwd (Future Students Night), and the ENV Graduation Reception to the schedule of celebrations. Each of these events gathered audiences comprised of fine artists and graphic designers working in every possible medium. Says Associate Professor Ray Kampf, the faculty member who worked most directly with students as they prepare for the event, “We looked at all the disciplines in the art world. We are celebrating them.” The ambitious scope of poly-kroma presented two major challenges in preparation: First, how to properly brand and promote a new series of events with such diverse audiences and mediums in mind; and second, how to implement the show in a new gallery space that offers a multitude of possibilities for presentation.
“THE ART DEPARTMENT HAS TURNED THIS OPPORTUNITY INTO A TRULY AMBITIOUS EXPERIMENT.” - ENV DEAN, MICHAEL WOO
Charles Ochoa creating the “O” for the entryway installation.
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In true Cal Poly Pomona, “learn by doing” style, the department wove its preparation for the big event into the curriculum of the school year’s studio offerings, expanding the skills and experiences of the participating students in the process. The environmental graphic design studio (Art 454) and special studies studios (Art 400) led by Prof. Kampf conceived a vision for the exhibition and gallery space and also fabricated and implemented all of the exhibition’s physical components. Two studios of Art 352, one led by Associate Professor Crystal Lee in Fall 2012 and one led by Prof. Kampf in Winter 2012, developed a comprehensive branding campaign (everything from the logo to collateral materials to the website) that reflects the breadth of the community the Art Department hoped to attract to the event. Others classes involved in bringing poly-kroma to fruition include Web 2.0, led by Assistant Prof. Melissa Flicker (Art 356), along with a host of independent study projects.
Posters representing each of the component events in the poly-kroma series, tailored to the goals and theme of the event.
The branding campaign’s high visibility on campus and online throughout the year provided the first signs of how ambitiously the Art Department approached the new event. Starting from the seminal elements of a eye-catching logo (a stacked arrangement of rectilinear shapes and colors) and a similarly bright QR code, students assigned each of the planned events—such as Industry Night and the Alumni Show-Off—a separate branding identity closely linked to the intended audience of the event. To achieve the specific branding identities for each of the component events, students unpacked each of the component shapes and colors of the poly-kroma logo. “We go from controlled to fun,” says Prof. Kampf, “depending on the intended audience.” So the Fast Fwd branding is playful while the Industry Night branding is professional, but each of the events fits into the context of the greater poly-kroma celebration. Desiree Holloway is a graphic design student whose group work in Art 352 produced the branding elements for the Alumni Show-Off. Holloway points to the concrete reality of the show’s implementation, and its very public audience, as the most valuable aspect of the studio experience. Rather than designing “for a grade or for a teacher, our goal was to make the alumni proud to come back for the event,” says Holloway. “We wanted to design something that made alumni say, ‘Wow that’s cool. That’s my school.’” Holloway also notes that by responding to the need to design well for a discerning public audience, she now feels much more confident and comfortable with the demands of professional graphic design work. And, she adds, “I already have a portfolio piece that was used at a gallery.” The environmental graphic design studio’s challenge, however, was in translating lofty ambitions for the Millard Sheets Gallery into realizable designs for the exhibition. “The space immediately became very interesting,” says Prof Kampf, with students taking a holistic approach to internal and external spaces of the gallery space. The diversity present in the scope of the event was obvious to attendees immediately upon entering the gallery space, where one of the signature pieces of the event, a large multi-media sculpture that spells out the word polykroma, adorned one of the gallery’s largest wall spaces.
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Graduating students marketed their personal brand to professionals on Industry Night.
Art Department student Kathryn Izquierdo-Gallegos, one of the students who took the environmental design studio, worked with a group to design and fabricate the eclectic piece that represents the event as a whole: “In the show we had Fine Art, 2D3D, Senior, Alumni, and Graphic Design—all of that was reflected…a lot of personalities came through it.” Izqueirdo-Gallegos credits the collaborative classroom environment— which is not the typical studio dynamic in the Art Department, another welcome benefit bestowed by planning for poly-kroma—with the big ideas like those embodied by the entry installation. Capturing the diversity of the Art Department was well-suited to the collaborative classroom experience. “It was a new platform for work,” says IzquierdoGallegos. “Usually classes are only collaborative during critiques, but work is very individual in producing final projects.” For this event, however, students came together as designers and work toward the larger project—the greater good of the Art Department community, just like poly-kroma itself. Some of the 2D3D show on display just prior to the show’s opening.
“IT WAS A NEW PLATFORM FOR WORK... USUALLY CLASSES ARE ONLY COLLABORATIVE DURING CRITIQUES, BUT WORK IS VERY INDIVIDUAL IN PRODUCING FINAL PROJECTS.” - KATHRYN IZQUIERDO-GALLEGOS An unidentified Cal Poly Pomona student reviews the design work of Jennifer Wong, produced for the Fall 2012 Art 352 course.
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Like Holloway, Izqueirdo-Gallegos was also excited that the work was implemented, rather than just existing as a theoretical exercise. That doesn’t mean, however, that the students didn’t extend their skills and creativity. “The work is more experimental,” says Izqueirdo-Gallegos, with the collaborative studio process encouraging the groups to take more risks, which, Izquierdo-Gallegos points out, is an important skill for graphic design professionals. With anecdotes and products like these as proof, it’s clear that the event was a resounding success even before the doors of the gallery opened to the public. “The endeavors of the students have exploded…we said we were going to achieve a certain amount of learning outcomes, and we’re meeting them in the classroom.” But when the hard work and heavy lifting of planning for poly-kroma concluded, and the focus turned to maximizing the event’s potential to expand and strengthen the community of the Art Department, it was obvious that the students and faculty pursued and delivered an unprecedented level of ambition. On the day of the event, Prof. Kampf said, “We’ve succeeding in doing something we’ve never done before.”
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BACK TO THE FUTURE ENV STUDENTS AND FACULTY ARE WORKING HARD TO DEVELOP PRESERVATION RESOURCES TO ENSURE THAT SOUTHERN CALIFORNIA’S DESIGN TRADITION WILL LIVE FOR GENERATIONS TO COME.
The built environment of Southern California is coming of age following a precocious youth. Familiar criticisms deride the region for its devotion to the automobile and its “ticky-tacky” seas of suburban tract homes, but more and more, Southern California’s influential history of experimentation and innovation in design and construction is getting its due. All of a sudden, Southern California isn’t so young anymore, and it’s getting better with age. Preserving the best of SoCal’s built environment represents one of the tougher challenges facing future generations of planners, architects, and landscape architects—especially given the need to retrofit the region for sustainability and to respond to the pressures of population growth and shifting demographics. Located at the geographic center of the Southern Californian metropolitan area, and with a tradition of access to the region’s best examples of design innovation, the College of Environmental Design is
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hard at work studying and advocating for the preservation of the region’s unique and historic places, neighborhoods, and infrastructure. To the students and faculty of ENV, preservation is not an exercise in nostalgia— it’s about determining a sustainable future for the built environment. Second year architecture student Allyson Bradford succinctly articulates the importance of preservation to contemporary times as follows: “Some cities are getting overpopulated. Others have been wiped out by the economy. Cities are trying to figure out how to build new and keep the old and get a good balance.” Frank Gehry, architect, Ron Davis Studio/Residence, Zuma Beach, 1970-1972. Image by Marvin Rand, courtesy of The Estate of Marvin Rand and Gehry Partners LLP.
OPPOSITE:
Raphael Soriano, architect, David and Riva Shrage House, Los Angeles, 1952. Facade studies, Raphael Soriano Collection, ENV Archives-Special Collection.
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PRESERVING SOUTHERN CALIFORNIAN MODERNISM One aspect of the Southern California design tradition that has received acclaim from around the world is the work of residential architects working in the mid-to late-20th century. The architects who designed the best examples of modernist homes employed a variety of new materials and technologies to redefine the interaction of homes to their surrounding environments. As real estate market pressures and the ravages of time encroach on the remaining stock of homes designed by the masters of modernism, more study is required in the practice of preservation for their unique set of material and technological circumstances. One of the most important aspects of the methodology of preservation is the use of historic documents, making the ENV Archives Special Collection—which contains historic documents and records of the works of master architects such as Richard Neutra, Raphael Soriano, Craig Ellwood, and Donald Wexler— an invaluable resource. It’s no surprise, then, that the Getty Foundation recently provided $300,000 in grant funding to a team led by Professor of Architecture Lauren Bricker to curate and host the Technology and Environment: The Postwar House in Southern California exhibition as part of the ongoing Pacific Standard Time Presents series, which celebrates Southern California architecture and its unique contributions to the history of design. Technology and Environment marks the first public showing for many of the hand-drawn renderings and construction documents housed in the ENV Archives. Those documents alone represent a treasure trove for practitioners and academics interested in the technical and formal aspects of modern residential architecture, but the exhibition is additionally complemented by direct access to some of the best examples of residential architecture in Southern California.
“SOME CITIES ARE GETTING OVERPOPULATED. OTHERS HAVE BEEN WIPED OUT BY THE ECONOMY. CITIES ARE TRYING TO FIGURE OUT HOW TO BUILD NEW AND KEEP THE OLD AND GET A GOOD BALANCE.” -ALLYSON BRADFORD For instance, ENV owns the Neutra VDL House in Silver Lake, was recently bequeathed the Rafael Soriano-designed Schrage House in Los Feliz by owners Steve and Marian Dodge, and maintains a strong relationship with former faculty member Ray Kappe, who allows ENV students and faculty to study the Kappe Residence in the Pacific Palisades. These prize assets provide ENV researchers unique opportunities to study the art and science of preservation. Contemporary issues, however, inform the exhibition’s explorations. “It’s not just about the history—it’s about how these houses relate to the way people are thinking today. It’s about sustainability. It’s construction. It’s also about how these ideas are communicated to the general public,” says Prof. Bricker. “Those are all very contemporary ideas.”
PRESERVING DIVERSITY In contrast to the accolades afforded to Southern California’s residential architecture, the region’s public and civic places have long been underappreciated or diminished in comparison to that great icon of Southern California, the freeway. The National Park Service (NPS), which manages the National Historic Register and National Historic Landmarks, is working to change that narrative by adjusting the process by which the federal government acknowledges and protects historic structures. “The National Register and National Historic Landmark properties do not reflect the diversity of the country,” explains Associate Professor of Architecture Luis Hoyos, Even the stories of Jim Crow and immigration, according to Prof. Hoyos, are told from a triumphalist, white perspective. Given its vast network of immigrant populations and diverse pockets of culture, Southern California is an ideal place for the NPS to look when identifying new historic narratives tied to places, buildings, and neighborhoods. The American Latino Heritage Initiative and the Search for Historic Sites in California has been creating a roadmap for the future of the National Register process. In support of that effort, Prof. Hoyos used the American Latino Heritage R.M. Schindler, architect, Mischa Kallis House, Los Angeles, 1946. Student-constructed model (scale: 1/2"+1'-0").
BELOW:
The entrance to the Technology & Environment exhibition.
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A student constructed model (scale: 1/2" + 1'-0") of the David and Riva Schrage House.
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Original magazine and newspaper articles celebrating--and selling--the innovations of Southern California modernist homes like those featured in the exhibition.
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studio from the 2010-2011 academic year that examined strategies for revitalizing the historic mining town of Trona, located north of Barstow and Victorville, while preserving the historic building stock and infrastructure of the town. Prof. Delgado also led a Winter 2012 undergrad studio that developed revitalization strategies for Central Avenue in South Los Angeles. The studio’s historic preservation component matched the Survey L.A. process currently ongoing in the city of Los Angeles’s Office of Historic Resources—one of the largest and most ambitious historic preservation planning projects in the country. Initiative as the starting point for his students to participate in their own process of discovering historic sites of significance to Latino populations and developing the documentation necessary for National Registry or National Landmark designation. One student in particular, Allyson Bradford, hit the jackpot, says Prof. Hoyos. Bradford’s interest in boxing led her to the Olympic Auditorium, a former boxing venue that still stands south of the 10 freeway, where it intersects the 110 freeway near Downtown Los Angeles. Commuters will recognize the building in its current form as the Glory Church of Jesus Christ.
“IT WAS THE PLACE TO FIGHT AND BECOME PROMINENT.” - ALLYSON BRADFORD
The Olympic Auditorium was a hub of Latino immigrant culture throughout much of the 20th century. “It was the place to fight and become prominent,” says Bradford (for instance, boxing star Oscar de la Hoya won his first championship bout at the venue). Gilbert Stanley Underwood (the same architect who also designed the United States Post Office – Los Angeles Terminal Annex and the United States Courthouse in Downtown Los Angeles) designed the building in 1925. Built for the 1932 Olympics as the boxing and wrestling venue, the Olympic Auditorium originally had anywhere from 10,000 to 15,300 seats. Bradford uncovered an abundance of research devoted to the building, both as a cultural center for Latino immigrants and as a structure of architectural significance, but the building was not yet designated as historic by the federal government. The Glory Church bought the building in 2005, thus assuaging fears among the preservation community at the time that the building might be torn down. Although the church hasn’t yet allowed Bradford into the building, she was able to find secondary sources online that show the current configuration Exterior of the Olympic Auditorium ca. 1925 shortly after its construction. Los Angeles boasts weekly boxing shows at this successful new venue.
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THIS PAGE (TOP RIGHT): Boxing in Los Angeles makes a comeback at the Olympic Auditorium during the 1990s.
The fabled Olympic Auditorium was for many years a mecca for boxing fans and fighters alike.
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of the interior, and she believes that the building’s integrity is intact. The exterior of the building hasn’t changed much, except that the awning that once held the building’s marquee is gone and some of the capstone medallions have fallen off. The story of the building, and its importance to Latino culture and boxing history catalyzed Bradford’s passion for preservation: “I couldn’t stop researching because I wanted to get to the bottom of the story.” As a result, Bradford has completed a nomination for the building to be registered as a National Historic Landmark, but because the building is private property, the designation will have to wait. When the opportunity does come to grant the building historic designation, the NPS will be armed with the thorough research completed by Bradford. PLANNING FOR PRESERVATION Preservation, however, isn’t just for architects. Earlier this year, the Urban and Regional Planning Department awarded the 2013 Dale Prize (also detailed on page 6) on the theme of Restoring Main Street: Linking Historic Preservation and Economic Development. According to Professor of Urban and Regional Planning and ENV Interim Associate Dean Julianna Delgado, when historic preservation is linked to economic development, “the buildings become part of the strategy.”
In another example of the contemporary relevance of Southern California’s historic residential buildings, Prof. Delgado was also an integral player in the protection of Pasadena’s Bungalow Heaven neighborhood. Prof. Delagado is the author of Pasadena’s Bungalow Heaven, which tells the story of how a grassroots political campaign saved the neighborhood. The book also collects historic photos and records from the Pasadena Museum of History and the California State Library that provide an accurate record of what these houses, built mostly between 1890 and 1930, looked like originally. In Bungalow Heaven’s version of the good life, as with so many in Southern California, the future looks a lot like the past: cars are not allowed to dominate the street; rather, priority is given to the sidewalks and street trees. The problem however, as Delgado admits, is that “there aren’t many places left like that.” More and more, however, planners and architects alike are looking to Southern California’s cities and buildings for examples of how to link the buildings of the past to strategies for a sustainable and vibrant future. Interior of the Olympic Auditorium ca. 1932. Spectators fill the seats in anticipation of a fight.
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Prof. Delgado’s work as a teacher and a scholar provide excellent examples of how careful planning analysis contributes to the process of identifying historic resources in a wide variety of built environments. Prof. Delgado has led numerous studios with a historic preservation focus, including a capstone graduate
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THINKING OUTSIDE THE ZONE ENV STUDENTS ARE AMONG THE FIRST TO EXPLORE THE POSSIBILITIES OF A COMPREHENSIVE UPDATE OF THE CITY OF LOS ANGELES’ ZONING CODE. For a city with a futuristic reputation, Los Angeles’ planning and land use processes are surprisingly reliant on relics of the past. For instance, the city approved its zoning code (i.e., the legal means by which cities regulate building types and land uses) in 1946, making it the oldest zoning code for a large city in the United States. Needless to say, Los Angeles of 1946 was not as complex as it is today, and the city is desperately in need of modern planning and land use strategies. Two Cal Poly Pomona alumni, Erick Lopez (BSURP ’01) and David Olivo (MURP ‘94), are overseeing the code reform project effort currently ramping up in the L.A. Department of City Planning. Already, Lopez and Olivo have sold the case for the necessity of the code overhaul to the City Council and have secured the necessary funding for the project. The city is currently negotiating a contract with Code Studio, an Austin-based consultant that recently completely a similar project for the city of Denver to positive reviews. The current vision for Los Angeles’ code update will follow the Denver model by developing a hybrid code that retains the best of Euclidean and form-based code principles. According to Lopez, the size of Los Angeles and the diversity of its neighborhoods and environments require a less rigid zoning code, one that’s built for flexibility rather than strict prescriptions—a common complaint against both Euclidean and form-based codes. According to Lopez, the new code will “separate the zone into its core components…You build the zone that you need, and as future needs arise, all you have to do is build in one component—like a new use or building type.” In effect, says Lopez, “You build a palette.”
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An axonometric master plan created for the 403 urban design studio by Garrett Busttos, Robert Erbe III, Ken Chan Lee, Dustin Schmitt, and James Voong.
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Yan Aung, Kevin Finch, and Helen Kang scrutinize a model of the South Park neighborhood of Downtown Los Angeles during the 403 urban design studio.
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In 2012, shortly after the L.A. City Council approved $5 million in funding to complete the effort, Lopez and Olivo began working with Assistant Professor of Urban and Regional Planning Ramzi Farhat on a series of studios to make an early study of the possibilities a new zoning code would afford the city of Los Angeles. Prof. Farhat and the Fall/Winter URP undergraduate capstone class took the South Park neighborhood in Downtown Los Angeles as its first site of exploration for the possible benefits of a new code. South Park, one of Los Angeles’ richest case studies for urban planning, is most notably anchored by L.A. Live, the sports and entertainment complex that includes such regional draws as the Staples Center and a host of popular restaurants and music venues.
“THE EXPO AND BLUE LIGHT RAIL LINES CUT THROUGH THE NEIGHBORHOOD, BOTH OF WHICH WILL SOON SEE HUGE INCREASES IN TRANSIT USERS ARRIVING TO THE NEIGHBORHOOD.”
Perhaps a little less glitzy, but of no less significance to the ongoing evolution of Downtown Los Angeles, is the residential neighborhood that has sprung up just to the east of L.A. Live. There, the skyline boasts the city’s first LEED Gold and Silver (i.e., industry standards for green buildings) residential high rises, and at the street level, wide sidewalks, colored crosswalks, large shade trees, and public gathering places make the street a welcoming environment for pedestrians. The Expo and Blue light rail lines cut through the neighborhood, both of which will soon see huge increases in transit users arriving to the neighborhood once Los Angeles County Metropolitan Transportation Authority completes Phase II of the Expo Line to Santa Monica and the Regional Connector project to seamlessly link the Gold and Blue lines.
In Spring 2013, the ENV 403 urban design studio picked up where the URP capstone course left off, continuing the process of environmental design the same way professionals would, “There is a natural progression from the planners developing policy, vision, and direction, to the architects and landscape architects playing within that realm to realize that vision,” says Lopez.
A rendering created for the 403 urban design studio by Landscape Architecture Department students Natasha Harkison and Nabyl Macias and Architecture Department students Kristina Johnson and Mina Seo.
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Following the initial planning study work done by Prof. Farhat’s capstone course, ENV 403—an urban design studio taken by Architecture and Landscape Architecture students—set about designing a future for the neighborhood given the possibilities of new planning and code regulations. The urban design studio assumed a 6:1 floor-area-ratio (FAR) as its primary prescription for its design exercise. The FAR was set at 6:1 to reflect the baseline condition required for the economic development the city hopes to achieve with future development in the neighborhood. Once the city sets about deciding prescriptions such as FAR in its future planning efforts, the work already completed by the urban design studio will provide the Planning Department and its consultants with a fullyimagined and illustrative example of what the neighborhood could look like given the 6:1 FAR condition.
The capstone course produced three visions for how the area could develop with a new zoning code: a “neighborhood” plan, a “district” plan, and a “hybrid” plan. According to Prof. Farhat, all three plans envisioned how a new type of zoning code could contribute to a cohesive and holistic vision for the neighborhood. Prof. Farhat credits the forthcoming reality of the city’s new zoning code with the value that students took from the course: “The idea that the city’s zoning code will be rewritten has encouraged the students to more boldly explore ideas about redistricting, morphology, uses, local amenities, and approaches to coding.”
The URP capstone course’s exploration of the South Park included detailed analysis of the many circulation elements that support the neighborhood.
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THIS PAGE (LEFT): Rendering created for the 403 urban design studio by Landscape Architecture Department students Joshua Leyva and Giovani Aguirre and Architecture Department sutudents Drew Rhee and Rick Sanchez.
Landscape Architecture Department student Dustin Schmitt makes a pitch for his group’s master plan concept for South Park during the 403 urban design studio’s mid-term reviews.
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Similar to the experience of the capstone studio, fourth-year landscape architecture student Joshua Leyva describes the urban design studio experience as one of complete freedom. “We have the freedom to take the narrative where we want,” says Leyva. Leyva’s group developed a narrative, for instance, that builds on the area’s history as a manufacturing center. “We mold the area’s history as a trade district with a model of education and connection, similar to what you might see in the Silicon Valley.” Creative empowerment and real world practice has produced award-winning, envy-inspiring results. The capstone studio received the 2013 Academic Award from the Inland Section of the American Planning Association, and Lopez says, “Other universities have found out what we’re doing and they want in on it now too.” When the urban design studio is complete, Lopez and Olivo will present Code Studio with the final products of the ENV classes as a helpful tool in the reform process. They also hope that future ENV courses will either continue the study of South Park or apply the similar study practices to other neighborhoods in the city. The value of the work by ENV students, says Lopez, is inherent in the Cal Poly Pomona model for learning: “the polytechnic approach develops strong, practical approaches to big problems…If we’re going to get this project done in the timeframe that we set out, we’re going to need practical approaches from the very beginning.”
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EVENTS CALENDAR EXHIBITION SCHEDULE FOR THE W. KEITH & JANET KELLOGG UNIVERSITY ART GALLERY TECHNOLOGY & ENVIRONMENT: THE POSTWAR HOUSE IN SOUTHERN CALIFORNIA
EXHIBITION DATES:
PRESENT – FRI, JULY 12, 2013
EXHIBITION DATES: OPENING RECEPTION:
SAT, SEPT 14 – SAT, OCT 26, 2013 SAT, SEPT. 21, 3:00 PM – 6:00PM
EXHIBITION DATES: OPENING RECEPTION:
THUR, NOV 7 – SAT, DEC 21, 2013 THUR, NOV 7, 5:00 PM – 8:00PM
EVENT DATE: LOCATION: MORE INFO:
MON, JUNE 24 – TUES, JUNE 25, 2013 Kellogg West Conference Center and Hotel bess-sb.org/
EVENT DATE: LOCATION:
SAT, JULY 13, 2013 – SAT, SEPT 7, 2013 Neutra VDL Studio and Residences 2300 Silver Lake Boulevard Los Angeles, CA 90039
FIRST DAY OF CLASSES, 2013-2014 ACADEMIC YEAR
EVENT DATE: LOCATION:
TUES, SEPT 24, 2013 Cal Poly Pomona
CAL POLY POMONA 75TH ANNIVERSARY
EVENT DATE: LOCATIONS:
SEPT 2013 – JUNE 2014 Cal Poly Pomona and Southern California
EVENT DATES: LOCATION:
FRI, SEPT 29, 2013 The IDC at Cal Poly Pomona
EVENT DATES: LOCATION:
SUN, OCT 6 – WED, OCT 9, 2013 Visalia Convention Center
A Pacific Standard Time Presents: Modern Architecture in L.A. event CURATORS: Profs. Lauren Bricker, Judith Sheine, and Phil Pregill.
INK & CLAY 39 A national competition of ceramics, sculpture, printmaking, and drawing. JURORS: Stanton Hunter, Liza Folman, and Michael David. SUPPORT BY: The Office of University President, J. Michael Ortiz, James H. Jones, and Bruce M. Jewett.
CHARLES FREDRICK RETROSPECTIVE 40-year survey of works by the Cal Poly Pomona Art Professor
ENV/CPP EVENTS BUILDING ENCLOSURE SUSTAINABILITY SYMPOSIUM Sustainable Buildings Conference
INVERTING NEUTRA Bryony Roberts Studio installation supported by the Graham Foundation Neutra VDL Studio and Residences
More information about ENV celebrations TBA
FALL QUARTER INTERIM An exhibition of the best work from the Architecture Department
APA CALIFORNIA CONFERENCE URP Alumni reception TBA
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