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"Design" Guest editor: Nichole Wiedemann

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Page 1: Platform Spring 2006
Page 2: Platform Spring 2006

Design is essential to architec-ture, but the two words are notsynonymous. Architecture goesbeyond the creative conceivingof form and directly engages thephysical making of buildings andplaces. Certainly, construction isalso a creative enterprise, anddesign doesn’t stop at the com-puter screen or drawing board;but architecture encompassesbroader considerations, the com-ing to grips with the realities ofenvironmental, technical, andfinancial constraints.

Other design disciplines faceconstraints as well. In my firstdesign discipline, the limits wereself imposed. A bevy of Swissgraphic designers in Basel laiddown detailed rules for spacingthe distances between black andwhite objects on surfaces. Thismakes sense in Switzerland, withits three principal languageswhere easy-to-understand sym-bols have considerable practicalvalues. Unfortunately, at Basel-faithful Cincinnati, I was notintroduced to more subversivePolish or funky West Coastapproaches to graphic design. Ifound the Swiss limitations tooconstraining.

Nature’s constraints, a primaryconsideration in landscapedesign, offer as many possibilitiesas limitations. While balancingthe opportunities and constraintsestablished by the nature of aplace, landscape architects alsopay considerable attention topeople. When designing a cam-pus, they watch where peoplewalk on their own. These “desirelines” are then incorporated inthe site design.

On the other end of the designprocess, landscape architects con-tinue to create through the con-struction process. Cans of spraypaint can be as useful as CAD inthis regard. One afternoon, Iwatched landscape architectGary Smith draw on the earththe location of paths and walls in

Design: The Artof ConstraintsFrederick R. Steiner,Dean

our backyard. This takes consid-erable courage and confidence.He has no eraser or delete but-ton. A construction crew buildswhat Gary draws a few hourslater. We live with these marksfor years to come.

On a larger scale, ecological con-straints should inform the plan-ning of communities andregions. The rebuilding of theGulf Coast Region after lastyear’s Hurricane Katrina offersan example. When the Frenchsited New Orleans in the earlyeighteenth century, they used thebest information of their day.They understood the ecologicalconstraints of the MississippiDelta and built the city onhigher ground. New Orleansthrived as a result of that wisdom.

Outside forces, often at oddswith natural systems, altered theregional context of the city. Now,we have the challenge to applythe best knowledge of our timeto rebuild the region. We shouldagain begin with understandingnatural constraints. Creativedesigns can emerge from suchbeginnings.

Design involves art and skill, theart to conceive of form andstructure, the skill to representthat concept. Design sets inmotion the organization of ele-ments from words on the printedpage to shrubs in a garden. Acomposition results from thisarrangement, this artful andskillful organization of things.

Which brings us back to designand architecture. Mature archi-tects incorporate all the variousconstraints into their designs.The most accomplished archi-tects understand precedent andappreciate the realities of con-struction, as well as the possibili-ties of aesthetics. The wisearchitect has read Vitruvius andthinks broadly. For a design tolast, an architect needs to respectenvironmental, cultural, and eco-nomic realities. So if design isnot synonymous with architec-ture, it is certainly essential.

Plat form • 2

As the guest editor of Platform: Design (whose design identity is it anyway?),I solicited faculty, alumni, and students of The University of Texas at AustinSchool of Architecture to contribute their work and thoughts. The issue isdedicated to design, as it exists in, around, and beyond the school but,nonetheless, in relation to it. How do we—students, practitioners, andteachers—position ourselves within the world? Where do we go from here?By exploring the past, present, and future of design, we discover a richdiversity that emerges from this place.

The timeline highlights events, people, and buildings that have contributedto the design identity of the school, as well as those associated with theinstitution.

—Nichole Wiedemann

Right: UT-Austin School ofArchitecture Dean Frederick R.Steiner. Photograph by MarshaMiller.

Page 3: Platform Spring 2006

PlatformPublished by the School of ArchitectureThe University of Texas at Austin

Design • Spring 2006

Managing Editor: Pamela PetersGuest Editor: Nichole Wiedeman

Platform • 3

The University of Texas at AustinSchool of Architecture1 University Station B7500Austin, TX 78712-0222

512-471-1922 FAX [email protected]

To our Readers: We welcome any ideas, questions, or comments.Feel free to share your thoughts with Editor Pamela Peters at the abovee-mail address.

Design: The Art of Constraints 2by Frederick R. Steiner

Community Outreach: Dallas Urban Laboratory 4

Friends of Architecture 5

Stand in the Dweller’s Shoes 6by Lou Kimball

Identity, Design Attitudes, and Intentions 8at The University of Texas at Austinby Hal Box

Changing Paradigms: Design Methods for 10Beginning Design Studentsby Smilja Milovanovic-Bertram and Joyce Rosner

out there in the middle 12by J. Brantley Hightower

Materials and Customization 14by Billie Faircloth

Saarinen’s Horse 16by Fred Clarke

DESIGN > BUILD > TEXAS 20by Louise Harpman

Francisco Arumí-Noé Memorial Fellowship 22in Sustainable Design

Friends of Architecture Membership 22

UTSoA SolarD Thanks Sponsors for Their Success 23

UTSoA Spring 2006 Events 24

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COMMUNITY OUTREACH... Dallas Urban Laboratory

The UTSoA Dallas Urban LaboratoryAs part of one of the fastest growing regional metropolises in NorthAmerica, Dallas can expect its population to double over the next fewdecades. The resulting demand on resources will generate significantdevelopmental pressure upon the infrastructure of the city. As Dallasevolves over the next few decades, The University of Texas at AustinSchool of Architecture aspires to play a significant role in addressingthese challenges through the establishment of the the Dallas UrbanLaboratory, a permanent urban design workshop located in Dallas,beginning in spring 2007.

The Dallas Urban Laboratory will bring the UT-Austin School ofArchitecture’s world-class faculty and students to Dallas each springand summer to conduct design explorations and local research intolarge urban issues. Topics for study include affordable housing,expanding mass transit, and downtown revitalization efforts. TheDallas Urban Laboratory will work cooperatively with other localorganiza tions in community activities such as design workshops,demon stration projects, and public information meetings. Through theLaboratory, the School will assist decision makers in considering howgood design can support the revitalization of old communities, thedevelopment of new ones, and the protection of the natural andhistoric resources of the area.

KEY FEATURES OF THE DALLAS URBAN LAB

Urban Lab Studio• The Urban Lab Studio will host town hall meetings and exhibitionswhere Dallas stakeholders will be invited to speak and respond tothe urban design ideas generated in the Urban Lab Studio.

• The Urban Lab Studio will also welcome local student tours thatwill expose the next generation to smart growth principles.

Summer Research Lab• The Summer Research Lab will conduct in-depth studies of issuessuch as transportation and urban density connected to the globalnetworks and regional linkages affecting the greater metropolis.

• In addition, the laboratory will acquire and maintain a digital data-base pertaining to the greater Dallas metropolitan area. The 3Ddatabase will be available as a resource for the community and beused to help visualize potential project proposals.

Urban Lab Co-op Program• The Dallas Urban Laboratory will provide its student participantsthe additional opportunity to co-op half-time with Urban Lab part-ner firms in the areas of architecture, community and regional plan-ning, landscape architecture, historic preservation, or urbandevelopment.

Urban Developers High School Summer Program• Each summer, the Dallas Urban Laboratory will pair local, inner-cityhigh school students with Urban Lab partner professional firms andorganizations for summer internships to learn more about thedesign, planning, and development fields.

Envisioning Dallas: SymposiumTo get the project off the ground, the School is planning to host the“Envisioning Dallas” Symposium in Dallas on May 2, 2006, to bringtogether a diverse group of specialists, community leaders, and stake-holders to help us explore the critical issues underlying the futuregrowth of Dallas. You may register online now for this exciting event,proceeds of which will support the establishment of the Dallas UrbanLaboratory.

For more information about how you can sponsor this importantoutreach project or become an Urban Lab partner firm in theDallas Urban Laboratory’s Co-op Program, please contact AssistantDean Kris Vetter at [email protected] or 512-471-6114.

MARK YOUR CALENDARS!

ENVISIONING DALLAS: From Triangle to Trinity

Dallas ArboretumMay 2, 2006

Register online at:www.utexas.edu/architecture/events/envisioningdallas/

UT-Austin School ofArchitecture established inthe College of Engineering.

Battle Hall, designed in 1911 by CassGilbert, houses the Architectural andPlanning Library, the AlexanderArchitectural Archive, the Center forAmerican Architecture and Design, theCenter for Sustainable Development,and faculty offices. © J. M. KuehneCollection, The Center for AmericanHistory, The University of Texas atAustin.

First B.S. in architecturegranted.

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Additional Benefits(Organization Level and above)• Three additional guest invita-tions to FOA events and tours(Organization, Sup port ing,and Director’s Circle)

• Complimentary copy ofaward-winning publicationCENTER: Architecture andDesign in America (Sup port -ing and Director’s Circle)

• Discounted reservations forFOA tours (Director’s Circle)

• Name printed on FOAletter head (Director’s Circle)

Exclusive ToursOne of the premier benefits ofFriends of Architecture member-ship, FOA’s one-of-a-kind toursoffer a unique environment forrefining your appreciation for artand architecture. Gaining exclu-sive access to fascinating sites,FOA provides richer experiencesand more complete tours thanone would find elsewhere. Inaddition, FOA relies on expertguides with first-hand knowledgeof our destinations.

Traveling to locations near and far,FOA tours provide a well-roundedcultural experience. We allowample leisure time for personalexploration, and we keep ourgroups small so you can shareyour passion for architecture anddesign with an intimate group.

FOA’s behind-the-scenes toursaccess historic sites and modernmarvels. Recent destinationsinclude Marfa, Texas, where wetoured the impressive contempo-rary works of the ChinatiFoundation, Donald Judd, JohnChamberlain, and Dan Flavin.Keeping with the exclusivity ofFOA tours, we were also wel-comed into private residences toexperience the broad spectrum of

FRIENDS OF ARCHITECTURE

Our MissionFriends of Architecture (FOA) isa non-profit, member-supportedorganization devoted to advanc-ing public understanding andappreciation of architecture,planning, and design. FOAachieves its mission by providingenriching educational andinvolvement opportunitiesthrough publications, tours, lec-tures, symposia, and exhibitions.

Our MembersFriends of Architecture membersare patrons, practitioners, and afi-cionados committed to increasingknowledge and awareness of supe-rior architecture, and supportingexcellence at The University ofTexas School of Architecture.Members have the opportunity totour significant regional, national,and international architecture anddesign, including exclusive accessto interiors of notable homes,behind-the-scenes tours of muse-ums and historic buildings, andwalking tours of downtown dis-tricts and university campuses.

Becoming a FriendFOA invites all with a passionfor architecture and design tojoin at one of the followingannual membership levels:Student, $25; Individual, $50;Organization, $150; Supporting,$500; Director’s Circle, $1,000.

Member Benefits• Subscription to Platformmagazine

• Reminders and biographiesregarding the School’s calendarof lectures, symposia, andexhibitions

• Bi-weekly e-mail publication,eNews

• Invitations to join prominentarchitects, designers, andpatrons at FOA receptions andeducational tours

local residential architecture,from remodeled territorial adobeto new minimalist construction.

During his “Gardens and Villas ofRome” tour, Dean Fritz Steinertreated members to the breathtak-ing Vatican Gardens andRaphael’s closed-to-the-publicVilla Madama. Also, our recent“Houston Collection” tour tookus inside five private residences,including a tour by famous inte-rior designer Herbert Wells ofthree of his residential projects.

Modernist FranceJune 21 through July 1, AssociateProfessor Larry Doll will leadFOA on the long-awaited“Modernist’s Tour of France andSwitzerland.” The tour willinclude overnight stays in Paris,Basel, Luzern, and Zurich, withadditional excursions along theway. Founding director of theSchool’s European Study AbroadProgram, Professor Doll will sharehis passion for modern works ofart and architecture while treatingmembers to the ultimate culturalexperience. The tour will includevisits to works by Le Corbusierand Jean Nouvel, and a day atPeter Zumthor’s baths at Vals.

Upcoming ToursFeb. 4 — Hill Country RanchesMarch 25 — San AntonioJune 21-July 1 — Modernist’sTour of France and Switzerland

TBA — Michoacán, MexicoTBA — Palm SpringsTBA — SeattleTBA — Dallas

FOA always welcomes new mem-bers and new ideas. For details onmembership or tours, contactStephanie Palmer at 512-471-0617 or [email protected].

1. FOA “Garden and Villas ofRome” tour members enjoy a relax -ing lunch with a view of PirroLigorio’s Villa d’Este. Photographprovided by Kris Muñoz Vetter.2. Notre Dame du Haut Chapel atRonchamp, France, designed byLe Corbusier in the mid-1950s.Photograph by Larry Doll.3. UNESCO world heritage site,Villa d’Este in Tivoli, near Rome.Photograph by Paul Vetter.

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First Bachelor of Architecture granted. Program for “Architect’sWind-up,” 1934. Courtesythe Alexander ArchitecturalArchive, The University ofTexas at Austin.

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My clients are so excited about their new house. So trusting … afterall, their primary reason for hiring an architect is the belief that theresulting design will improve their lives, that it will somehow be tai-lored to them in ways that an existing house could never be. It is thearchitect’s role to enable people to be, to create surroundings in whichpeople see themselves reflected and enriched.

There exists a symmetry of ignorance in our relationship. The dwelleris largely ignorant of the possibilities of form-making, and I am igno-rant of any true understanding of the dweller’s spirit; yet, it is thisspirit that must guide the design process.

I ask them to bring in artifacts—objects that are important to them,things they have cherished over the years (or photos of them). It isimportant to see the objects that people have developed deep emo-tional attachments to. They are used to personalize the space aroundus. They can help to reveal the spirit of the dweller.

I need to understand the patterns of their lives—their rituals, thosefamiliar activities of the dwellers, those often repeated small pleasuresof living that currently are not being enriched by the anonymoushouse. The house should enhance the act of dwelling, for these particu-lar people. It’s their house, not mine. It should be an ego-less, collabo-rative process, with me providing an education about the possibilitiesof form making. As Lars Lerup said, “The designer must relinquishcontrol of the meaning making to the dwellers themselves, and realizethat the built setting is only one of the aspects of the semantics ofspace.” For their home to have meaning to them, it must cease to beanonymous.

At our very first meeting, clients often bring in images clipped frommagazines. Images do not help. In fact, they hurt the process, sincethey are anonymous, not authentic. When we talk about the picturesthey brought, I try to steer the conversation to why they responded tothe image. Was it the way the light came through the window, the waythe breeze rustled the curtains, the coziness of the window seat? Wetalk about making places, not images, about substance, not style. Wetalk about the expressive nature of materials, about how it might feelto touch that railing if it were wood, or, if it were steel. How it mightfeel to sit on that stone bench in the shade looking out at the gardenin the sunlight beyond. I want them to be thinking in those terms, torealize that they can describe spaces in a more intuitive and poetic way,rather than the more normal: “We need a kitchen that is about 14 feetby 16 feet.”

It is too soon to be using words like “kitchen.” Opportunities for newways of looking at things are missed. People often scoff at ChristopherAlexander’s use of terms like “children’s realm,” but the fact is that he isgeneralizing the more specific “room,” and opening up possibilities ofexpanded meaning and purpose. In addition, he is setting a mood, giv-ing implications for the increased importance of the dweller, or theactivity of dwelling, as opposed to the physical consruct (room).

Stand in the Dweller’s Shoes by Lou Kimball

National Architecture AccreditationBoard awards program accreditation.

Department of Architecture movesinto Paul Cret-designed GoldsmithHall.

Lou Kimball is a graduate of the UT-AustinSchool of Architecture [B.Arch. '88] andhas specialized in residential design since1992. He sees design as a collaborativeprocess and is constantly searching formeaningful ways to engage the client toensure that their individuality is expressedin the architecture.

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I give my clients an assignment—a list of questions to encourage themto dream a little, to write about places that they remember, spaces thatappeal to them, the comforting details of their lives. I tell them to tryto think in terms of: “Let’s have a sunny place, but with some shadenearby, with comfortable places to sit.” Here are a few examples writ-ten by the clients for the Canyon View house:

I feel good in light.I love breezes as they flow through a house, rustling curtains, disturbingpapers on my desk.I like to slide across dusty floors in my bare feet.I like to hear the rhythm of the day.I like to feel in control.I like to feel safe.I want to escape the harsh sunlight.I want to feel the warm sun on my skin when it is cold outside.Open windows and outside sounds of birds, breeze.Water as part of the house.

Together, we develop a “motto”—a statement that can be used to guideus in the design process. As an example, one of my clients, whendescribing the way he envisioned a place to read, said “the kind ofplace that would make me wish I smoked a pipe.” The motto for theCanyon View house became: “solid and secure, a dance with light andbreeze.”

I develop my own list of words and phrases as I draw and sketch thatrespond to the client’s desires as expressed in their writing, always try-ing to capture, through the use of materials and their connections, thespirit expressed by the clients. This is not to say that the programmaticrequirements are ignored, but rather that by keeping the conceptualforemost, the choices made to satisfy the program also enrich the pat-terns of the client’s lives.

Drawings and photographs courtesy ofLou Kimball:

1. Preliminary sketch.2. Loggia.3. Living area.4. Pool linking public and privateareas.

Photograph #2 by Patrick Y. Wong,Wong Atelier Photography. Photographs#3 and #4 by Tre Dunham.

Students in costume at theannual “Architect’s Wind-up”ball, ca. 1950. Photographby Stanley DePwe. CourtesyThe Alexander ArchitecturalArchive, The University ofTexas at Austin.

Karl Kamrath [B.Arch. ‘34] firstmet Frank Lloyd Wright in 1946at Taliesin, following Kamrath’sdischarge from the Army Corpsof Engineers. This photographwas taken three years laterwhen Wright came to Houstonto accept the AIA Gold Medal.(Kamrath’s son Tom is also analumnus of the School and sonKarl Jr. has a B.S. in Arch.Eng.)Photograph provided by theKamrath family.

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The School’s design lineagebegan in 1909 with the École deBeaux-Arts as its model. It was atime when many different his-toric styles were studied andapplied in the design studio;drawings were skillfully renderedin large watercolor compositionsand India ink from a ruling penor crow quill. The School’s loca-tion in the College ofEngineering made it perhapsmore pragmatic than an architec-ture school would have been in aCollege of Fine Arts. The twocomplementary disciplines, artsand engineering, with a facultyeducated in the beaux-arts tradi-tion was the background thatguided the first generation ofarchitects to graduate in Texas.

By 1935, design in the school,and in the profession, sought akind of stripped-down classi-cism. Examples were theMasonic Lodge of Dallas by thefirst graduate of the School,Thomas Broad. On campus, youcan see similarities to the TexasMemorial Museum by JohnStaub and Hogg Auditorium byPaul Cret, master planner of theUT-Austin campus. But, whenconstruction began again afterWorld War II, Modernism wasin command.

When I entered the architectureschool in the mid-1940s, theSchool had just recently laboredthrough a transition to a wholenew world of architecture, thatof Modernism. The École wasgone, and Modernism was in.The 1945 model for an architec-ture school was the Bauhaus—astransplanted in the U.S.

Modernism took total commandof architectural education. It wasexciting for us to think that we

were washing away the past andreplacing it with something wewould invent on our own cleanpiece of paper; that we wouldnot have to learn the classicalorders, proportions, or composi-tions. Modernism was becomingan ideology impenetrable by anyother intellectual or artisticforce—so strong, it was consid-ered a moral imperative ratherthan a style. It was thrilling to bepart of the revolution.

However, there was not a totalacceptance of the dominantInternational Style Modernismin the UT-Austin school.Although most of the faculty hadbeen educated in the manner ofthe beaux-arts, the younger fac-ulty experienced that traditionon the wane. Still active were anumber of styles—Art Modern,Art Deco, Classicism, Eclecticism,and various revivals, as well asRegionalism. The University ofTexas at Austin, a long way fromthe epicenters of Modernism onthe East Coast and Europe, feltfree to look at some of the otherless dominant directions of theModernist movement. We wereaware of the International Style,but we were also enthusiasticabout the work of Frank LloydWright, Alvar Aalto, EllielSaarinen, Oscar Neimeyer, aswell as the regional architecturalexpressions of architects DavidWilliams (1890-1962) andO’Neil Ford (1902-1985), whobecame mentor to many. Theseseveral forces activated the designstudios of the time; it was lesslike different styles than it wasthe different philosophies of theindividual architects on the lead-ing edge. Styles had become “dis-honest” in the new ideology.

With the influence of Regionalism,an acknowledgement ofModernism, and a respect forMr. Wright, the School went insearch of a new dean in 1950.They chose an influentialCalifornia architect, HarwellHamilton Harris (1903-1990),who was extraordinarily sensitiveto all three design directions inhis own highly admired work.Harris represented a fusion ofthe three sets of values and hadpromise of leading the way.

To explore design under theinfluences of the InternationalStyle, Wright, and Regionalism,Harris and the soon-to-be-famous Colin Rowe (1920-1999), gathered an energetic,international, bright, young fac-ulty that would eventually callthemselves “The Texas Rangers.”This new faculty had of courseabandoned the old architecture,but they also questioned thetenets of Modernism, having adeep respect for regional designissues. They were on an excitingquest for regional directions inModernism, but the Modernismof Europe and the East Coast

overwhelmed them. In fact, thatis where they retreated after afew years, to shape other designcurricula at architecture schoolsof importance—Cornell,Syracuse, and Cooper Union. Itwas an exceptional group, butthe opportunity for fusion of thethree design directions was lostto the zeitgeist. It should benoted that historical architecturaltraditions were, by now, com-pletely abandoned. And, in thelarger arena, the ground swell ofInternational Style Modernismcovered up the spectacular earlierwork of other promising move-ments—the Modernismo ofBarcelona, the Secessionist ofVienna, and the Art Nouveau/Art Deco of Paris. The architect’sability to extend and enrich thedesigns of the preceding era, thehistoric lineage of architecture,was lost; the artisans died out.The focus was on Le Corbusierand Mies van der Rohe, andcontinued, unquestioned,through the 1950s and early1960s. I moved to the Miescamp.

Identity, Design Attitudes, and Intentions of The University of Texas at Austinby Hal Box, Dean, 1976-1992

Hal Box, FAIA [B.Arch. ‘50], ties together much of the history ofthe School, having been a student, a graduate, an apprentice tothe School’s first graduate (1910), a partner with anothergraduate (James Pratt) for 25 years, the Dean of the School for16 years, continuing as a professor, and now a ProfessorEmeritus living in Austin and San Miguel de Allende. He receivedThe University of Texas Distinguished Alumnus Award in 2003.

Community and Regional PlanningProgram established.

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briefly…The purists were overwhelmed inthe late sixties by new resolve toaddress social issues—housingand neighborhood planning. Itbecame an almost single-issueemphasis that usurped all finesseof design issues and building sys-tems. It de-emphasized drawingto the point that a semester proj-ect might be pinned-up forreview with a few photographsand some scraps of butter paper.Yet, it emphasized another set ofhuman needs that the architectneeded to handle. The Schooladdressed those social concernsby creating an initiative in EastAustin called “ The Poor Man’sFHA,” where local banks wereconvinced by the School to makeloans on houses and remodelingpreviously unavailable to thepoor. Students designedimprovements and worked ontheir construction. Studiosseemed to examine everythingexcept the architecture of build-ings. Few, if any, thought aboutstyle—from Beaux Arts to Bauhausto plain house in 60 years.

The 1960s later saw the begin-nings of energy conservation andenvironmental concerns, whichby the early 1970s was drivingthe attitudes in the studios. Thisnew regard for the environmentalso caused a special interest incontext, in place, and in relatingto the local culture. About thissame time, a new interest in his-toric preservation createdanother issue with vitality and awide-ranging influence as archi-tects began to look at old build-ings and realize their merit.While the ideal of Modernismhad been to replace all old build-ings with something new, archi-

tects started looking at historicbuildings and saw their attitudetoward Modernism as style, ormoral imperative, modified tofollow the development of Post-Modernism with a new set ofheroes influencing the studios.Again, Texas did not buy intothese influences as much as someothers like Princeton and Yale,but at this time, Texas was notconsidered in their league—wewere known as a competent pro-fessional school serving theregion without much of anational reputation. This wouldchange.

While architects were exploringthe larger environment, suchissues were explored fromanother point of view with theaddition of a new graduate pro-gram in Community andRegional Planning started byHugo Leipziger-Pearce. The pro-gram grew to importance in theregion, providing planning policyscholarship and educated profes-sionals for government and con-sulting practices. The differencein scale and viewpoint would betied together with urban designlater in the 1990s, but for then,it offered reality to the broaden-ing interests of the architect.

The emphasis on social, environ-mental, and energy issuesthroughout the mid-1970sresulted in there being so fewdrawing tables in the School thatwe had to buy 200 new tables.Drawing came back strong in thelate 1970s, as did the emphasison well-conceived and skillfullyexecuted design with a compre-hensive view of the issues ratherthan a single purpose designidea. The various design direc-tions were a reflection of what

was going on in the architecturearound the world. Modernismshaded into Post-Modernism anddeconstructed back. Students inthis period assimilated thesecomplexities and were often suc-cessful in refining these ideas,but I did not perceive a particu-lar identity other than this: ourstudents’ work tended to bethoughtfully conceived, welldeveloped in proportion andcomposition, pragmatic withwell-integrated building systems,not overly stylized, but of out-standing design quality. Ofcourse, much of the work wasderivative of the heroes of thetime—Moore, Graves, Venturi,and more Corbu. Student andfaculty attitudes toward stylewere defined more by individualarchitects’ distinctive designideas and executions than by abroad classification that mightlater be given a name in the liter-ature.

We realized in the early 1980sthat we needed to present archi-tectural education as a disciplinerather than just learn how topractice. We needed to broadenour approach, and we especiallyneeded to build research andscholarship capabilities. We initi-ated this view of architecture as adiscipline with the creation ofthe Center for the Study ofAmerican Architecture andDesign led by Lawrence Speck,and later by Michael Benediktand Kevin Alter. In addition, wefelt the discipline required theinclusion of interior design andlandscape architecture and setthese as goals, which were finallyaccomplished by Dean Speckand Dean Frederick Steiner.

1. Hal Box. Photograph by J. B.Johnson [B.Arch. ‘53].2. Faculty of the UT-Austin School ofArchitecture, 1954-55.3. Michael Graves taught an advanceddesign studio in the mid-70s, where hedesigned (and the students painted)the painting now hanging in the Dean’sOffice in Goldsmith Hall.4. Natalie DeBlois in her Sutton Halloffice with students, c. 1980s.

See “Identity,” continued on page .

Under Director Harwell HamiltonHarris, a group of young individuals,including John Hedjuk, Colin Rowe,Robert Slutsky, Bernhard Hoesli, andothers began to gather for the nextseveral years at The University ofTexas at Austin. These faculty werelater known as the “Texas Rangers”and were credited with transformingarchitectural education.

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Changing Paradigms: Design Methods for Beginning Design Studentsby Smilja Milovanovic-Bertram and Joyce Rosner

When a student begins the first year of architecture school, he/shearrives with preconceptions about what an architect is and how anarchitect designs. It is these initial preconceptions that must be over-come during the first year, opening the student to other, unimaginedpossibilities. This article proposes a methodology for using drawing,collage, and other media as both complement and supplement to thedesign process. One must find a process that allows the student totransition from the initial conception of an architectural idea to finalthree-dimensional form.

Students must learn to look at information in a variety of ways. Andthe organization of those multiple readings of information can aid inthe task of generation and translation of ideas. Through a specificstructuring of the visual communications component of the first-yeardesign studio, the assigned exercises both reinforce the design processand teach new methods of communications and drawing skills. Theexercises provide students with a two-dimensional method for makingdecisions about three-dimensional relationships.

Each drawing is approached as a means to explore ideas rather than afinal product. As the hand draws, it pushes the mind, which providesnew ideas through interpretation of the process of drawing. In thismanner, drawing becomes an instrument of vision. A student’s visionwill become reality after many transformations.

This methodology requires students to proceed through a guidedframework, abstracting analytical and intuitive observations of chang-ing views, points of observation, and graphic technique. In this man-ner, the students are freed from preconceived and conventional ideasand representations.

By examining the issues of site, program, view, path, threshold, andspace through various media, students learn to use the method of representation—whether a drawing, model, or collage—as a way ofdescribing and developing ideas. Con sequently, the drawings and modelsdo not become the final documentation of the project, but necessaryelements of the design process, incorporating intuitive and analyticalelements. Drawing becomes an investigation, not merely a recording.

The sequence of exercises moves from the intuitive to the rational andback to the intuitive. Instead of progressing from general to specificwhile designing, the students are encouraged to investigate specificswithout knowing the whole. At this time, they must deal with onlyone condition or parameter at a time. And by abstracting the exerciseassignments, students are not bound by conventional representation.Ideas flow and emerge in the act of making, not just drawing, and themeaning of the whole emerges in the act of making the parts.

Unlike traditional final presentation work (plans, sections, and eleva-tions) the students’ sequence of drawings have an importance thatdelves beneath the surface. The strength in this process derives fromthe interlocking steps that illustrate how the original medium is trans-formed into architecture, as both experience and form.

Smilja Milovanovic-Bertram is anassistant professor in the UT-AustinSchool of Architecture teaching designand construction. She has received aTexas Excellence Teaching Award fromthe UT Ex-Students Association andtwo School of Architecture TeachingExcellence Awards. ProfessorMilovanovic is also director of Study inItaly, an intradisciplinary program withUT’s College of Liberal Arts, College ofFine Arts, and the School ofArchitecture.

Joyce Rosner is a lecturer in the UT-Austin School of Architecture. Afterteaching at the University of Houstonfor five years, Ms. Rosner joined theUniversity of Texas in 1998, where sheteaches first-year design studios, aswell as visual communications classes.She has also taught numerouswatercolor workshops, and her workhas been included in many exhibitionsand publications. Ms. Rosner iscurrently on leave from the School fortwo years in Dresden, Germany.

Both pages: Student work fromDesign II and Visual CommunicationsII, Spring 2003, taught, respectively,by Smilja Milovanovich-Bertram andJoyce Rosner.

Alan Taniguchi named first dean of theSchool of Architecture.

1969

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The legend goes.....Around 1969 or 1970, School of ArchitectureDean Alan Taniguchi, defending a grove of oak trees to be cutdown, confronted Chairman of the Board of Regents, Frank Erwin.The angered Chairman told Dean Taniguchi that if he didn’t getout of the way, the new architecture building planned near thestadium would not be built. Dean Taniguchi told the Chairmanthat the School needed the space because we had so manystudents. Chairman Erwin told Taniguchi that he would restrictthe School’s enrollment so that they would not need a newbuilding. That watershed 60-second event allowed the School tokeep enrollment low and standards high to this day, and to stayin the Paul Cret building, and to eventually occupy the two CassGilbert Buildings, forming the School’s current campus.

M.S. in Community and RegionalPlanning first recognized by theAmerican Institute of Planners.(Planning Accreditation Boardestablished in 1984, and M.S.C.R.P.accredited ever since.)

Charles Burnette becomes seconddean of the School of Architecture.

1969

1969

1973

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Right:The author (at right) in class atPrinceton. Photograph byJeremy Boon [B.Arch. '00].

In August 2004, I overloaded the back of my Toyota with all myworldly possessions and headed east to attend graduate school atPrinceton in central New Jersey. I am happy to report that my car’s sus-pension survived, and that the road trip across the South was a fascinatingjourney. With that said, I must admit the final destination was somewhatless than spectacular. Where, after all, were all the gardens this state prom-ised to have? And why at the grocery store was there an entire aisle ded-icated to kosher foods, but no tortillas or salsa to be found anywhere?

After spending several days trying to make a burrito with pita bread andspaghetti sauce, I started meeting some of my fellow classmates in theschool of architecture. When I mentioned that I was from Texas andhad done my undergraduate work in Austin, I was often met with asomewhat confused, “Oh.” I was unsure if that was a legitimate “Oh,I’ve never met someone from UT before” or a disapproving “Oh, Ididn’t realize they had electrified that part of the frontier.”

During my five years at UT, my fellow classmates and I never doubtedthat we were receiving a quality architectural education. After we grad-uated and started working with individuals who had attended schoolswith somewhat better name recognition, we still felt the same way. Whatwe have come to realize in the years since we left Austin is that while aUT diploma might not instantly “wow” people in the same way onefrom Harvard or Yale might, the quality of the education we receivedwas just as good. In fact, in some situations, it has proven superior.

Studying architecture in a place far away from the gravitational pull ofNew York or Boston or Los Angeles freed my fellow classmates and Ito look for and find inspiration in less-than-obvious places. If we wereunable to learn about museums by going to cultural bastions like theGuggenheim or MoMA, we were able to visit Judd’s ChinatiFoundation in Marfa. If we were unable to experience skyscrapers byvisiting the Chrysler or Empire State Buildings, we were able to seeWright’s Price Tower in Bartlesville. And when we were finally able tovisit a place like New York, we were better able to understand it incontext with the rest of the country.

One of the first things I learned after moving to New Jersey is that Ishould never say that I am “going to New York.” For some reasonreferring to New York as New York offends the locals, and so I havelearned to instead announce that I am “going to The City.” I have oftenthought about the term “The City” and all that referring to New Yorkin this manner entails. Obviously being physically close to New Yorkmeans that its cultural gravitational pull is going to be strong. Butwhat I have found surprising is the degree to which New York is consid-ered by so many to be the only place of architectural significance. Thisisn’t to say that New York is not an amazing urban landscape thatoffers a variety of lessons and examples for architectural students, but asa city it is something of an oddity. As I have traveled within the U.S., Ihave found that there are a good number of cities that are nothing like“The City” at all. In fact, there are many more places like Phoenix andAtlanta and Denver and Louisville. To refer to New York as “The City”

seems to imply a misunderstanding of what urbanism in this countrytruthfully is. And to see it as the only place of architectural significanceseems to ignore the possibility of learning from or doing good work inplaces outside of the island of Manhattan.

In the years after leaving Austin, I have come to appreciate the uniquenature of the education I received at UT and the unique place inwhich I received it. Studying architecture at UT gave my fellow class-mates and me a set of experiences and perspectives unlike those fromother institutions. More importantly, these experiences and perspec-tives are applicable to situations not only in Austin or even theSouthwest. I have friends from UT who have gone on to study atplaces like Columbia and Harvard and who have gone on to pursuesuccessful architectural careers in New York, Boston, and Los Angeles,as well as London, Paris, and Hong Kong. UT taught us to lookbeyond the horizon, and it prepared us for what we would find there.

With that said, in my current situation, I do have to spend some timeexplaining to my new classmates that we did not ride horses to studioand that “ya’ll” is a perfectly logical contraction of the words “you” and“all.” But when it comes time to discuss architecture or to create it, Ihonestly feel I have something unique to contribute. People interactdifferently with nature where I am from. The environment is seen assomething to be cherished and embraced as opposed to something tobe shut out or ignored. Space is conceived of differently, as well. Thiscan be experienced directly by walking into a grocery store in NewJersey and then one in Texas. In one, you will find tight aisles, crowdedshelves and less-than-friendly employees. In the other you will findgenerously proportioned aisles, open and easily accessible shelving, andemployees who are not fundamentally annoyed by your mere existence.

And what is more, you will find enough varieties of salsa to make agrown man cry.

out there in the middleby J. Brantley Hightower

J. Brantley Hightower [B.Arch. ‘00]graduated from UT in 2000 withdegrees in architecture and liberalarts. He has worked for Perkins andWill in Chicago, Max Levy in Dallas,and Lake/Flato in San Antonio. He iscurrently working feverishly tocomplete his thesis work at Princetonso that he need never step foot in NewJersey again. This spring he will beteaching a sophomore design studio atUT Arlington.

Peter Eisenman“I’m so bored.”

Robert Somol“I’m so tired.”

Brantley Hightower“I’m so confused.”

Michael Graves taught anadvanced design studio inthe mid-70s, where hedesigned (and the studentspainted) the painting nowhanging in the Dean’sOffice in Goldsmith Hall.

1975

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Other professional practices offaculty such as Lawrence Speck,Sinclair Black, Juan Miró, KevinAlter, and others have extendedindividual student education andadded to the School’s particularidentity. Similarly, the writingsof Michael Benedickt, AnthonyAlofsin, Steven Moore, ChrisLong, Richard Cleary, and othershave presented an identity of theSchool to a broad audience.

In 2004-2005, in this rich stewof design thinking, one can see adiversity of design ideals, inten-tions, environmental and histori-cal issues, along with a concernfor form and proportion, clarityof structural ideas, and placemaking. All of this is happeningwith the exciting facility of com-

puter-generated design imagesand augmented by precise bass-wood models. In my view, thedesign attitudes in the studiosreflect the current ideas in theworld of architecture rather thanany particular identity as aschool.

Basic to the School’s identity isits reputation for being a“teacherly” school. That is, we’reknown as careful guides to thestudents’ acquisition of designskills, pragmatics of building,directions in urban planning,and scholarship. Our faculty isdistinguished by award-winningprofessionals and publishedscholars. Distinguished graduatesrepresent our identity in mostparts of the world. We areknown for our comprehensiveinvolvement with the built worldfrom history and theory tobuilding technology, from his-toric preservation to sustainabledesign, and from interior designto community planning. Thesefields are offered to the studentfrom Summer Academy inArchitecture for high school stu-dents to Ph.D. programs.

We have always offered diversedirections in design; that is, wedo not pursue a singular designdirection, but encourage excel-lence and timelessness in severaldirections. Perhaps our broadview has limited the School, andwe might narrow our focus torefine our studies toward a par-ticular design identity. Thatwould be a healthy debate.

Our physical identity, presentedby our campus of three buildingsby important early twentiethcentury architects, provides avaluable asset—first-class facilitiesand resources for digital informa-tion and output, hand craftingshops, material laboratories,preservation laboratories, athefourth largest architecture libraryin the U.S., and access to thefaculty and facilities of a majorresearch university. This educa-tional environment is extendedby traveling fellowships for designstudios abroad in several coun-tries as an integral part of thecurriculum, as well as the resi-dency programs that extend edu-cation into leading professionaloffices. The School is known as a“happening place” with a distin-guished faculty, provocative visit-ing critics and lecturers, an activeexhibition gallery, and award-winning publications.

All of this is to say that we are ahigh performance, comprehen-sive enterprise. Our rankings inthe top ten of architectureschools in the U.S. are due tothe excellence of our students, aswell our teaching, practice, andscholarship—and it seems to getbetter every year.

“Identity,” continued from page .

In the mid-1980s, the Schoolhad an opportunity to add a keyfigure in architecture to our fac-ulty when we filled the School’sfirst endowed chair. We made alist of four leading figures andbegan conversations with them.Charles Moore, one of the lead-ing architects of the late twenti-eth century, joined our rich stewof design ideas at the top of hisinfluential career as architect,author, and educator. He headedour new post-professional degreeprogram. He attracted many stu-dents to the School and to hisprofessional office who havemade their mark on architectureof the region. The Charles W.Moore Center for the Study ofPlace continues to add richnessto the School.

Left:Charles W. Moore (seated) surroundedby his students in the Battle HallReading Room, late 1980s.

Acquisition of Battle Hall as theArchitecture and Planning Library.

1978

Architecture Archive created, initiallyas the Architectural DrawingsCollections, renamed the AlexanderArchitectural Archive in 1997 inhonor of D. Blake Alexander.Photograph by Dana Norman.

1979

Hal Box appointed third dean of theSchool.

1976

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“Materials and Customization,” a studio series conducted in fall 2002,2003, and 2004, provided both graduate and undergraduate architec-ture students a semester-long research of materiality and the crafting ofperformance and effect through hands-on making and testing of mate-rial assemblies.

These studios deployed methodologies that placed materials—includingplaster, resin, concrete, plywood, plastic, foam, and paper—in constantdialogue with customizable practices. Customizable practices weredefined as involving both digital and analog tools, a formulation of amaterial question set regarding the manipulation of the selected mate-rial in relation to potential performance, and a continuous iterativeprocess of input and output. Students were challenged to define a pre-cise problem regarding material form and performance and throughiterative making develop multiple material possibilities.

For instance, regarding the rigorous cutting, folding, and creasing of20-lb. paper, graduate student Catherine Craig asked the following:

“Looking at the randomized cut and crease samples, can I specify the enduse (skin/structure/combination) by very small variations in the pattern?Can the creases act successfully as a structure that holds itself or other forceswhile the weave remains operable and flexible? How flexible is too flexi-ble? Can I achieve rigidity in this way?”

And, regarding the manipulation of a beeswax and vellum composite,graduate student Sarah Hill asked the following:

“By combining two materials, vellum and beeswax, a composite is formedwhereby the best of each material is utilized, and a potential new relation-ship is forged. The vellum is translucent, pliable, and light. It is alsoextremely flimsy and tears easily. The beeswax is easily moldable, has a gra-dient of translucency depending on density, and hardens yet remains soft.Beeswax alone is formless. By strategically combining the two, can I createa material that is pliable, relatively light, transmits a gradient of light, andis structural? What kinds of form can emerge?”

Materials were explored exclusively as invented assemblies, resulting insamples and prototypes. Architecture was explored by involving andevolving these invented assemblies in dialogue with an architecturalproblem. In each studio, students were challenged to mine materialsfor potential and ultimately reinvent a material’s spatial, structural, andenvironmental participation in architecture.

Materials and Customizationby Billie Faircloth

Billie Faircloth is an Assistant Professor at the School ofArchitecture where she began to teach in 2002. She is also aco-principal of Design Subset, an emerging design practiceestablished in 2003. Professor Faircloth teaches graduate andundergraduate design studios, construction and theoryseminars with an emphasis on advanced materialtechnologies, fabrication technologies, and design practices.She is a recipient of the 2004-2005 ACSA/AIAS New FacultyTeaching Award, which recognizes excellence in teaching duringthe formative years of a teaching career. Professor Fairclothreceived her Bachelor of Architecture degree from NorthCarolina State University and her Master of Architecturedegree from Harvard University.

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weak|([ pliable sheet materials andcustomization, fall 2003

weak|([pliable started with the verythin, pliable tacked-on attributes ofsheet materials, which are seeminglywithout structural capacity. Questions ofsheet material systems were exploredwithin the context of manufacturedhousing and the demands of thefactory.

Thomas Lessel and Younglan Tsai, roof-ing insulation.

liquid/solid casting materials andcustomization, fall 2002

liquid/solid worked with resins,rubbers, concrete, or anything thatstarts out in a liquid form. Studentsexplored liquid materials in the contextof community pool for an Austinneighborhood.

Laura Caffrey, plaster and red acrylic(top).Kelly Folk-Rittenhouse, plaster and clearurethane rubber (left).

particle:-:-:-:bond unitized materialsand customization, fall 2004

particle:-:-:-:bond began by asking:What is the performance of the bond?What is the performance of the unit?How can we reinvent the performanceof the unit/bond? The studio sitedunit/bond prototypes in Le Corbusier’sMonastery of Sainte Marie da LaTourette, which was analyzed for itsspatial and prototypical performance.

Karyssa Halstead, 80-lb. cardstock.

Center for American Architecture andDesign established, initially as theSouthwest Center for the Study ofAmerican Architecture.

1982

Charles W. Moore joins the faculty asthe O’Neil Ford Chair.

1985

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Legend has it that, in the interview for a position in his firm, EeroSaarinen required new graduates to draw a horse in front of him.Saarinen was thought to see this difficult assignment, in the traditionof the beaux-arts, as a sure test for exceptional talent and potential.Saarinen drew brilliantly and was able to progress effortlessly fromdrawing to architectural form, so for him, the connection from skill totalent—from drawing to designing—was assumed. It was reasonablefor him to see this test as a direct way to find architects, not just drafts-men, just like himself.

According to the same legend, Saarinen inevitably realized that the bestdesigners were not necessarily those who drew the best horses. In fact,some of the most talented designers drew the least sophisticated horsesand vice versa. So, in some way, the test was flawed. Eero Saarinen waslooking for what he himself knew to be of value—but the talentsbrought to him by other people required different yardsticks. Look atthe group of extraordinary architects who worked for him at one timeor another. Most assuredly, not all were great at drawing horses; how-ever, they had to be convincing enough to enter his office. At the mostobvious level, this is a lesson in skill meeting opportunity—withoutwhich none of us get a chance in architecture.

However, the story is also about how education and training(Saarinen’s and the job applicant’s) affect our value and values. We eachtend to imbue our own educations with mythical status because of itsprofound effect on who and what we are. Consciously or not, we alsoconstantly use education as the base-line measurement of our talentand our success. We never escape our educational background. It ispart of our being.

My time at The University of Texas at Austin School of Architecture—1965 to 1970— was a period as invigorating, creative, and difficult asone might imagine. Texas, the State and the University, shuddered, asdid the entire country, from cultural and political tectonic shifts. TheSchool of Architecture, struggling to emerge nationally, was raucouswith debate and dialogue over the myriad issues of the day.

The fabled Texas Rangers were long gone, but faint remnants of early-modernist design theory, seen primarily in first-year design courses,remained. Much more powerful, though, was the potent, contradictorymix of contemporary influences—brutalism coexisted with regional-ism, Archigram with the Shingle Style, Stirling with Venturi, high cul-ture with low. Revolution was in the air.

Saarinen’s Horse by Fred Clarke

Fred Clarke (FAIA) [B.Arch. ‘70], one of the founding members of Cesar Pelli & Associates, now Pelli Clarke PelliArchitects, is Collaborating Design Principal in the studio. In 1977, he joined Mr. Pelli in establishing the firm inNew Haven, Connecticut. He has served as Collaborating Lead Designer on many of the firm's significantprojects, covering a wide range of programs and locations. A career-long teacher, Mr. Clarke has been on thefaculty of the architecture schools of the University of California at Los Angeles, Rice University in Houston,Texas, and Yale University. He has lectured internationally and has been the keynote speaker and guest lecturerat numerous conferences and exhibitions. Mr. Clarke has chaired design juries and panels for manyprofessional organizations, including the Urban Land Institute and the American Institute of Architects. In 1992,he was elected to the College of Fellows of the American Institute of Architects. In 1997, he became a FirstClass Registered Architect in Japan, a member of the Japan Institute of Architects, and a Fellow of thePhilippine Institute of Architects. He received a Fellowship from the MacDowell Colony in 1998.

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National Museum of Contemporary Art,Osaka, Japan. Drawings andphotographs courtesy of Fred Clarke ofPelli Clarke Pelli Architects.

1. North-South section.2. Overall construction.3. Entry level plan.4. Construction drawing.

In addition, no single, charismatic figure dominated the faculty; nodogma reigned in the studios. Instead, there was a group of exceptionalteachers assembled under the visionary, far-ranging, and indulgenttutelage of our activist dean, Alan Taniguchi. This cadre of worldly andwell-educated architects, artists, and historians, among them RichardDodge, Jim Coote, Richard Oliver, Carl Bergquist, Blake Alexander,Bob Harris, Owen Cappleman, Dan Leary, Gerlinde Leiding, SinclairBlack, and Richard Swallow, had us living in the past, present, andfuture simultaneously. Their ambitious, pluralist pursuit of “generativeideas” (a Dodge term) remains central to the core values of the Schooltoday. They didn’t teach us how to design; they taught us how to think,and this distinction allowed us to see beyond styles and movementsand, as our educations progressed, to embed architecture in our lives.

Pluralism in this high dosage, tantamount to anarchy in someinstances, also put us at risk, as it allowed our educations to be sobroadly defined that, occasionally, architecture itself was called intoquestion. Absorbing this multitude of influences demanded that we askprofound questions that have continuing resonance today. Beyondskill, what is an education in architecture? Is school necessary to be anarchitect? What does a school owe its students and students, theschool? What will last beyond the highly specific bubble of an architec-ture school?

Beyond the basic intention to create a competent practitioner, my edu-cation imparted the knowledge, skills, and values necessary for findingmyself and my place in the world and today, the answers to the pro-found questions are clear. An education in architecture must first pro-vide an immersion in the culture of architecture through a mastery ofour common professional heritage and language as embodied in history,precedent, and typology. Blake Alexander, literally and figuratively ourguide to the “Source of the Nile,” helped us explore this new worldand gain access to its cultural milieu. In addition, we were taught thediscipline and craft of structure and systems with an eye toward theway the science of building supports ideas of design. Dan Leary, byvirtue of his own training at the University of Pennsylvania and knowl-edge of Kahn, taught us to seek the harmony between systems anddesign concepts. Under Professors Taniguchi and Leiding, we wereobligated to develop an understanding of the ethical and moral valuesunderlying an architect’s responsibilities to clients and communitiesand to engage architecture as a collaborative, social act. Particularly,our education provided the raw material and connections that were keyto the formation of us as individuals, which I term the architecturalself, and thus extend our education beyond the profession.

A form of self-confrontation, the most fundamental lessons occurredwhen finding one’s way through the creative process, developing theassurance, as a designer, that if the problem is well understood, a solu-tion can be found. This creative pathway allowed us to identify andseek the farthest edges of the internal dialectic of a problem’s limits andopportunities. Richard Dodge and Sinclair Black showed us that, when

“The sandcastle competitionwas one of the most funevents that I did when I wasat UT—we won the collegecompetition two years in arow (1997 and 1998),including “Most Lifelike” fora portrayal of a late-nightstudio Exacto injury.”(Photograph from 2004competition.)

1997

Larry Speck is appointedfourth dean of theSchool.

1992

Interior Design Programtransferred from the Collegeof Natural Sciences to theSchool of Architecture.

1997

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“Saarinen,” continued on page .

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“Saarinen,” continued from page .

designers confront limits, a particular creativity emerges, one that isinformed, insightful, and inevitable. They also taught us to take risks.This engagement in critical thinking led us to strategic and succinctresponses to problems, centered on teasing apart problems, organizingand prioritizing their components, moving from general to specific,from diagram to detail, and responding architecturally in clear and“traceable” ways.

Another learnable, though more difficult, skill—the capacity for critical seeing—called for us to observe, analyze, and respond in non-verbal, visual ways, to the physical qualities of site, size, scale, material-ity, and character. Professors Berquist and Cappleman in drawing andSwallow and Harris in design, demonstrated that learning to see, andfinding the distinction between visual and verbal ideas, was basic toour progress.

Presenting and defending oneself and one’s ideas in juries was crucial aswell, not simply as an isolated exercise in salesmanship, but more impor-tantly, as it led to finding the voice to express intentions under pressureand in public. In this pursuit, Richard Oliver was particularly impor-tant. Through him, we learned how to enjoy working very hard.

National Museum of Contemporary Art,Osaka, Japan. Drawings andphotographs courtesy of Fred Clarke ofPelli Clarke Pelli Architects.

1. Detail of stair.2. Entry.3. Detail of cluster of columns.

Ultimately, the development of our architectural selves resulted in anastute understanding of our time and place, a sense of the role ourworks, large or small, could play in deepening and advancing the disci-pline and culture of architecture. We learned to distinguish between“architecture” and “design,” not merely for the production of the nextnew thing, but to engage in the limits and opportunities arising beforeus. Absent this distinction, we saw that our work would be relegated toproducing consumable images, thus abrogating our responsibilities topeople and communities.

Our work is slow and demanding, offering sparse rewards spaced overlong periods of time. Passion for what we do is the essential ingredientof a satisfying career, and this began for me at the School ofArchitecture.

The University of Texas helped me find a renewable source of energyin architecture—in the thrill of working through the process, in thejoy of seeing a building come up from the ground, in the love of thedetails. It was an education and an experience that built and buildsupon itself.

Posted at 01:37 Dec 1, 1999

UT students, anyone in the area interested in promoting culture and pullingdown The Man, come out. It'll be fun. Like the 60's. Only different.

To all UT students, faculty and staff: RALLY !!! ...to protest the administrativeprocess behind the Regents' control over the Blanton Art Museum.

Wednesday, December 1st 12:30 PM In front of the current Blanton (FAB - 23rdand San Jacinto). Create a sign! Make a statement! If not us, then who?

SPEAKING: Michael Mogavero, College of Fine Arts, Larry Speck, School ofArchitecture, Christian Wofford, AICA * BE THERE !!!

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the National Museum stipulatedthat, with the exception of thelobby, the project had to be builtunderground. Due to the island’shigh water table, the museum,which has 13,500 square meters ofunderground space, had to bedesigned as a watertight submarineof precious artifacts. Unlike, per-haps, any other museum in theworld, the museum’s exhibit spacesare not only underground, but alsounderwater.

In order to resist extraordinaryhydrostatic pressure resulting fromthe underwater site and for eco-nomic reasons, the building wasconstructed in a top-down fashion:the highest below-grade floor wasbuilt first, followed by the middleand finally the lowest, descending22.5 meters into the subsurface ofmud and water. This processallowed the earth that remained inplace to help resist the pressure ofriver water on the exterior walls asthe museum was constructed. Thesurrounding three-meter-thick wallis comprised of three layers. Outer -most is a thick vault of concrete; inthe middle is another concretelayer with a rubberized water-proofing membrane designed tocontrol temperature and humidityand act as a secondary water stop;and the third and innermost layeris the finished wall of the museum.

The oversized stainless memberswere constructed in factories inTokyo typically dedicated to fabri-cating industrial parts. Entirerooms of the factory were devotedto producing these beautiful curvedstainless steel reeds, exciting inthemselves. The members, measur-ing up to 62 meters each for atotal of 2600 meters in length andweighing 212 tons, were then dis-

assembled and shipped to Osaka inlong sections and mounted andwelded in place. Despite its decep-tively machine-made appearance,much of the structure has beenbuilt by hand, woven as one wouldweave a stainless steel basket. Inorder to allow the metal to shedwater and be self-cleaning, theentire structure was coated with athin film of liquid titanium. Thebeautiful cool luster of the tita-nium coating creates an extraordi-nary visual relationship between itand the blue of the sky.

Project:National Museum of Art, Osaka,Japan

Project Team:Cesar Pelli & Associates

Design Principal:Cesar Pelli, FAIA, JIA

Project Principal and CollaboratingDesigner:Fred W. Clarke, FAIA, JIA

Osaka is considered Japan’s secondcity, after Tokyo. Like Chicago,Osaka plays up its second statusand celebrates the advantages ofnot having top billing. Secondcities are perhaps less precious andless refined than their larger sib-lings but can be more real, moreauthentic. Artistically, they areoften freer to experiment, which iscertainly true of Osaka, Japan’sseventh-century capital and one ofits historic centers of politics andculture. Present-day Osaka, how-ever, has grown primarily becauseof industry, not the arts. Most ofits artistic institutions are locatedon the perimeter of the city,removed from the everyday lives ofmost residents.

Until recently, the site of Osaka’sNational Museum of Contem -porary Art, one of three nationalcontemporary art museums inJapan, was at the far edge of thecity, on the former site of the 1970World’s Fair. The museum hadplanned to move from this distantsuburb to a central urban locationin the middle of NakanoshimaIsland, part of a planned culturalarts district that has great potentialto activate and energize an inte-gral part of the city. However,arrangements between the city and

The excitement and magic of thelight, space, and structure couldalready be felt a year and a halfbefore opening. Construction haslasted five years, the majority ofwhich have been spent belowground. Soon the ambitious andseemingly contradictory dream tocreate a highly visible undergroundlandmark in Osaka will become areality.

Fritz Steiner isappointed fifth deanof the School.

2001

Center for SustainableDevelopment established—a milestone that openedopportunities for facultyand students to pursuefunded research.

3.

Master of LandscapeArchitecture degreeprogram established.

Lecturer Russell Krepart’sface carved into apumpkin and lit up,“Pumpkin CarvingContest,” October 2004.

2002

2003

2004

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The School of Architecture atThe University of Texas atAustin inaugurated a new studiocalled DESIGN > BUILD >TEXAS in the spring of 2004.The intention of this studio wasto create an educational proto-type as well as a proto type forthe design and construction ofan environmentally responsiblehouse.

DESIGN > BUILD > TEXASoffered students a unique educa-tional opportunity to conceiveand test their ideas in real timeand space. Unlike other well-known design/build studiocourses, this studio was designedwith research as its main priority.Sixteen students were selected toparticipate in this studio, and thestudents began the spring semes-ter with a series of integrated anddirected research projects, carriedout in small groups. These proj-ects included studies of history,site, climate, land use, architec-tural precedents, as well asemerging and established build-ing technologies. The in-classresearch seminars provided afocus on issues that woulddirectly affect the design process;at the same time, the seminarsbegan to prepare students for thevery real personnel issues (read:conflicts) that arise so often ingroup projects.

DESIGN > BUILD > TEXASby Louise Harpman

DESIGN > BUILD > TEXAS Images:1. Site plan and building plan.2. Column base detail.3. Column head detail.4. East elevation.5. View of living/dining area.6. View from living/dining pavilion areato bedroom pavilion.7. View along entry porch.8. Dogtrot at dusk.9. Framing crew.Photographs #2-8 by Paul Bardagjy.Photograph #9 by Jenny Tarng.

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Louise Harpman is the Associate Dean forUndergraduate Programs at the School of Architectureand Director of the School’s Professional ResidencyProgram. She also holds the Harwell Hamilton HarrisProfessorship in Architecture. Before joining the UTfaculty, she taught at the Yale School of Architecturefor eight years. Professor Harpman received herBachelor of Arts degree from Harvard University whereshe concentrated in East Asian Studies. She holds aMaster of Philosophy degree in social anthropologyfrom Cambridge University and a Master of Architecturedegree from Yale University. She is a principal of SpechtHarpman, with offices in Austin and New York City.

Russell Krepart[M.Arch. ‘02] is aLecturer at the Schoolof Architecture. Hereceived his Master ofArchitecture degree atThe University of Texasat Austin. He is inprofessional practicewith alterstudio inAustin, Texas.

Ruiz Branch of the AustinPublic Library, designed byStanley Architects—LarsStanley [M.Arch. ‘03],project principal, ElizabethSalaiz [M.Arch. ‘88], projectarchitect. (Both Lars andElizabeth developed theirMaster’s theses under thewatchful eyes of ProfessorsCharles Moore and RobertMugerauer and were inMoore’s travel studio.)

2004

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After the initial research seminars, the class visited the site and easilycame to consensus on a desired building location. Each of the 16 stu-dents then prepared his or her own design proposal for the site and thehouse. Following an initial review, the students formed teams andworked together to create eight unique proposals. Finally, new teamswere formed, and four final proposals emerged. After the last jury session(which the class called “the summit”), one brokered, negotiated, andhighly-leveraged site plan and house plan emerged. All the studentsthen worked together to complete the set of construction documents.

At each jury, students were required to present site plans, building plans,building sections, and full elevations, as well as line-item budgets. Jurorsfor the reviews included design faculty members, local architects, land-scape architects, conservationists, native plant experts, interior designers,engineers, materials specialists, and local contractors. A unique feature ofthis project was its Hill Country context. The severely degraded ranchon which the house project is located is currently undergoing extensiveenvironmental remediation. DESIGN > BUILD > TEXAS provided anopportunity for the students to learn about the ranch’s mission in pro-tecting and conserving natural resources and open space. The studentsintegrated this mission into their site and building design through theirattention to systems, materials, and landscape development.

Construction of the DESIGN > BUILD > TEXAS house began in theTexas Hill Country in May 2004 and continued throughout the summerand fall. Faculty member Russell Krepart participated in design juries dur-ing the spring and led the studio in the summer as the field director andconstruction coordinator. One of the explicit goals of a design/build studiois to allow students to understand that design doesn’t stop once the draw-ings and scale models are “completed.” In fact, this process underscores thefact that drawings and models are a way to think and that this thinkingmay be revised throughout the construction process. As an example, theon-site decision to extend our porch by an additional 8-foot bay oneach of the north and south ends created a series of opportunities (read:problems, delays, but ultimately a better house) that were wholly unantici-pated when we went into the field. The students who figured out how toextend the roof framing and sheathing, determine the locations for theadditional required glulam beams, create the cedar and steel flitch plateassemblies, and site cast new “outrigger” footings learned by thinking,making, and doing in real time and at full scale. One of the studentsupdated the final construction documents after the fact to reflect our as-built conditions and to create a record set of drawings. The final presenta-tion model hasn’t been updated, and I suspect it never will be: the modelrecords a clear set of intentions, but the house has its own unique authority.

The project has received a great deal of support from the local andnational press, including articles in Architectural Record, Texas Architect,the Austin American-Statesman, and the Daily Texan. The project wasaccepted for publication in The 21st Century House (London: LaurenceKing). The project was a featured project in the United States GreenBuilding Council’s annual “GreenBuild” conference in Portland,Oregon, in fall 2004. The project website, designed and maintained bythe students, is www.designbuildtexas.com.

DESIGN > BUILD > TEXAS studio members:Ben Allen, Christi Anders, AdamBoutté, Dale Buehler, RaymondEstrella, Sara Fry, Megan Hannon,David Hincher, Sharon Knippa, TomLessel, Anthony Lore, Ariane Purdy,Amy Siettmann, Laurel Stone, JennyTarng, Bruce Wrightsman.

5.

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8.

7.

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Redbud residence,designed by CottamHargrave—Jay Hargrave[B.Arch. ‘90], JanellCottam Hargrave [B.Arch.'90], Michael Waddell[B.Arch. '02], and BethEngelland. Photo graph byPatrick Y. Wong, AtelierWong Photography.

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David ShifletShiflet Group Architects

Jerry Sutton and Mary McClearyCourtney WalkerCourtney and Company

Supporting MembersMr. and Mrs. Frank M.Aldridge, III

Jan and Robert BenjaminMr. Myron Blalock, IIIMr. H. Mortimer Favrot, Jr.Mr. and Mrs. Rick HawkinsMs. Debra Lehman-SmithMrs. Emily Summers

OrganizationsMr. Randy AckermanMr. Dan Alexander3DI/International, Inc.

Mr. Phillip ArnoldThe University of Auckland

Director’s CircleGabriel Barbier-MuellerMarlene and Jim BeckmanBeckman ConstructionCompany

Diane and Chuck CheathamJoan and Steve ClarkJohn and Bibiana DykemaJay and Ann HaileyWillard HanzlikDiana KellerMrs. Patricia MastMike and Abbe McCallGeorge H. MitchellUniversity Co-OperativeSociety

Judy PesekGensler

Cathy PhillipsDale and Susan RabeGay and Shannon RatliffDeedie and Rusty Rose

Ms. Bobbie J. BarkerBarley & Pfeiffer ArchitectsMr. Ken BentleyMr. Russ ButlerElgin Butler Brick Co.

Canadian Centre for ArchitectureMs. Susie ClarkMaharam

Mr. Robert CoffeeMr. Gary Cunningham, FAIAMr. Tim DebnerMr. Morris HooverMr. Alan LauckMr. Gilbert MathewsMC2 ArchitectsMr. and Mrs. William B.Mitchell

Mr. Charles Naeve and PatBrockie

Mr. John Nyfeler, FAIAMr. Patrick OuseyFAB Architecture

Mr. James M. ParkeyMr. Charles PhillipsMs. Fern SantiniMs. Cyndy SeversonSeverson Studios

Mr. Robert F. SmithMr. and Mrs. Nelson H.Spencer

Mr. Rodney D. SusholtzMs. Sara Vicklund-Braud

Individual MembersMr. Lex M. Acker, AIAMr. D. Blake AlexanderMr. Richard Archer, AIAMr. John Avila, Jr.Mrs. Elizabeth Barlow RogersMr. and Mrs. Kent BarnesMr. David B. Barrow, AIAMr. John BarzizzaMr. Marvin E. Beck, AIAEmeritus

Ms. Bridgette BeineckeMr. David BentleyMs. Susan Benz, AIAMr. Edward BlaineMs. Molly BlockMr. Thomas BondMr. Bill Booziotis, FAIAMr. Joe BullockMr. Bryan CadyMs. Robin CampMr. Henry R. CarrancoMr. Chris CarsonMrs. Ruth Carter StevensonMr. Dick Clark, AIAMr. and Mrs. Robert H. ClarkMr. Sherman ClarkeMs. Judith S. CohenMr. Kent CollinsMr. Larry Connolly, AIAMs. Jeanette CookMr. James CooteMr. Tommy Cowan, FAIA

Friends of Architecture membership

On September 16, 2005, theSchool of Architecture at TheUniversity of Texas at Austin losta treasured colleague and dearfriend. Francisco Arumí-Noé, or“Paco” as he was well-known,passed away unexpectedly sur-rounded by good friends andcolleagues. He is deeply missed.

Professor Arumí joined the Schoolof Architecture in 1971 where hetaught and conducted research inmodeling the energy performanceof buildings. A pioneer in thisvital field, his work resulted in thedevelop ment and use of theDEROB computer system for thesimulation of passive solar heatingand cooling of buildings and theintegration of computer graphicswith energy analysis of buildings,including the development ofthe MUSES software codes.

Paco’s particular interests in day-lighting and solar geometry werewell ahead of their time. Neversatisfied with intuitive “guess-work,” he taught a critical gener-

ation of students (and his facultycolleagues as well) the impor-tance of quantitive measures andtesting to prove or disprove intu-ition about building performance.

In memory of Paco’s commit mentto this important work and themany lives he and his work have

Francisco “Paco” Arumí-Noé Memorial Fellowship in Sustainable Design

I owe so much to Paco. Without him, I wouldn’t be where I am today.

—Peter L. Pfeiffer, F.A.I.A.[M.Arch. ’83]

Chair, Francisco Arumí-Noé FellowshipFundraising Committee

touched, we would like to inviteyou to contribute to the FranciscoArumí-Noé Memorial Fellowshipin Sustainable Design. This per-manent endowment will perpet-uate Paco’s legacy by providingsupport to countless future gen-erations of scholars committedto research and scholarship in the

area of sustainable design. To learnmore about how you can con-tribute, please contact AssistantDean Kris Vetter at [email protected] or 512-471-6114.

All-Class Reunion, March 4We also would like to invite youto attend this spring’s All-ClassReunion on Saturday, March 4,2006, at 5:00 p.m., where wewill publicly honor Paco’s life andwork. In anticipation of this trib-ute, please visit www.utexas.edu/architecture/memorial/paco/ topost your memories of Paco, sowe may incorporate them intoour evening.

The reunion will follow ExploreUT, the University’s annual openhouse. Alumni are encouraged toattend Explore UT, including spe-cial family activities at the Schoolof Architecture, and stay into theevening to reminisce with formerclassmates. For details on thereunion, contact StephaniePalmer at 512-471-0617 [email protected].

Pennsylvania State UniversitySchool of Architecture andLandscape Architecture, designed byOverland Partners—Robert L.Shemwell, AIA [M.Arch. ‘87](principal-in-charge); Jim Shelton[B.Arch. ‘91] (project architect);rendered perspective, courtesyOverland Partners. OverlandPartners includes alumni RickArcher [B.Arch. ‘79], Tim Blonkvist[B.Arch. ‘81], and Madison Smith[B.Arch. ‘80].

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The UTSolarD 2005 team sends out a Texas-sized thank you to all ofthe professional and industry partners, members of the SolarD andUTSoA Advisory Councils, and family and friends whose collaborativespirit and generosity were invaluable in the realization of the 2005Solar Decathlon project. Put to the test in the rain-filled two weeks ofcompetition in Washington, D.C., last October, the UT “SNAPHouse” placed third in the “Dwelling,” “Comfort Zone,” and “EnergyBalance” contests and fourth in the “Architecture” contest, finishingsixth overall out of the eighteen schools that participated.

For contest results and additional information about the 2005 SolarDecathlon, visit www.solardecathlon.org or the UTSoA SNAP House project website at www.ar.utexas.edu/utsolard.

UTSoA SolarD Thanks Sponsors for Their Success

Now back in Austin, theSolarD “SNAP” house hasbeen donated for use asaffordable housing in EastAustin’s BlacklandCommunity. The SNAP housewas one of 18 featuredhouses on the National Mallin Washington, D.C., in theSolar Decathlon studentdesign competition.

Friends of Architecture’s2006 tours include the“Modernist Tour of France,”June 21 - July 2.

Gold Sponsors, $10,000-$24,999Comfort LineUT-Austin Center forSustainable Development

Hostelling InternationalMeridian Energy SystemsVision CorpSMASECOWilkinson Woodworks

Silver Sponsors, $5,000-$9,9993formAM Appliance GroupArrow TruckingAustin Green Building ProgramHäfeleMesquite & Hardwood MillingDesigns

Mitsubishi ElectricNeoporteUT-Austin College of Engineering

Ms. Marty CraddockMr. and Mrs. Juan CreixellMr. and Mrs. John W. DavisMr. Richard DavisMs. Mandy DealeyMs. Claire DewarMr. and Mrs. David L. DowlerMs. Leisa DurrettMr. Darrell Fitzgerald, FAIAMr. Ted FlatoMr. Stephen FoxMr. Robert W. GarrettMr. Rick GeyerMr. David Gill, AIA, MRAICMr. Enrique S. GonzalezMr. and Mrs. Larry GoodMr. Stan GrahamMs. Carolyn GrantMr. Mike GrayMr. Michael GuarinoMr. and Mrs. E.G. HamiltonMr. Darwin Harrison

Mr. Philip HendrenMs. Jane U. HenryMr. Christopher HillMr. Nic HollandMrs. Rhoda HornadayMr. Thomas N. HoweMs. Grace JohnstonMs. Mary Margaret JonesMr. Kevin KeimMrs. Ellen KingMs. Susanne D. KingMrs. Melinda Koester Poss, AIAMr. David Lake, FAIAMr. Charles Lawrence, FAIAMrs. Martha Leipziger-PearceMs. Lori LevyMr. Joseph LoiaconoMs. Katheryn Lott, AIAMr. Graham B. Luhn, FAIAMr. Francois LuxMrs. Alice A. LynchMs. Meg Malone

Mr. Warren MartinMr. John MayfieldMs. Jana McCannMr. Laurin McCracken, AIAMr. and Mrs. Don B.McDonald

Ms. Eleanor H. McKinneyMs. Heather McKinneyMr. Paul C. N. Mellblom, AIAMr. and Mrs. Robert L. MillerMs. Ann Maddox MooreMr. Mark F. MooreMr. and Mrs. Bob MorrisDr. Donald MurpheyMs. Nan NelsonMr. Lynn L. Northrup, Jr.Mr. Chris PellegrinoMr. Boone Powell, FAIAMs. Jane Cheever PowellMs. Leilah PowellMr. Howard RachofskyMs. Joan Reed

Ms. Elizabeth Chu Richter, AIAMr. Zeb RikeMr. Gary RobinsonMr. Alan SadeghpourMs. Nancy Wilson ScanlanMs. Caroline SharplessMr. Will ShepherdMr. Dan Shipley, FAIAMr. Louis H. Skidmore, Jr., AIAMr. Madison SmithMs. Sandra Bearden SmithMs. Amelia Sondgeroth, AICPMr. Lawrence W. Speck, FAIAKeith Spickelmier and SaraDodd

Mr. William SternMs. Jane K. StottMr. James Susman, AIAMr. John Greene TaylorMr. John TeinertMs. Toni ThomassonMs. Helen Thompson

Ms. Laura Toups, PEDr. Grant WagnerMs. Karen WalzMr. David WebberMr. Terrance R. WegnerMr. Anthony J. WeismanMr. Herbert WellsMr. and Mrs. Ted WhatleyDr. Gordon L. WhiteMr. Leon WhitneyMrs. Coke Anne WilcoxMr. and Mrs. Wallace WilsonMr. Jerry L. WrightMr. Christopher Yurkanan

Student MembersMr. Matthew AbrahamsonMs. Claire EddlemanMr. Abdel GutierrezMr. Tom HinsonMs. Michelle ModisettMr. Josh Peterson

Left: On Monday, October 10, 2005,it was announced that UT-Austin'senergy-efficient, solar-powered housetook third place in the “Dwelling”contest (in a tie with the New YorkInstitute of Technology) at the SolarDecathlon on the National Mall inWashington, D.C. In this photo of theTexas house’s exterior, visitors look atthe reclaimed redwood forms and rainscreens used in the construction ofthe house. Photo by StefanoPaltera/Solar Decathlon.

Green Sponsors, $1,000-$4,999Advanced Glazings; AIA Austin; Aprilaire; Archillume Lighting; BakerDrywall; Balcones Electric; Berridge Roofing; BMC BuildingMaterials; Butler; Columbia Forest Products; Connie & George Cone;Crate & Barrel; Diva de Provence; Dynamic Reprographics; FireclayTile; Gensler; Green; Grid/Weston Solutions; Herman Miller; JohnHoffner; Home Automation Inc.; Home Depot; Ikea; LC Projects;LCRA; LGM; Lucifer Lighting Co.; Magic Aire; Moreland Properties,Inc.; National Construction Rental; Olden Lighting; OverlandPartners; Polytronix; Romag; Shelton-Keller Group; SQUARE ONEResearch; Stone Panels; Structures; Sun Spot Solar; Terramai; TexasFifth Wall Roofing, Inc.; Texas Society of Architects; Thermador;TimberTech; TKO; UTSoA; Urban Edge Developers; Vanguard PipingSystems; VM Zinc; Wells Fargo; Weyerhaeuser

Platinum Sponsors, $25,000+Advanced Micro Devices • BP Solar • H.C. Beck • Metals USA

2006

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The University of Texas at AustinSchool of Architecture1 University Station B7500Austin, Tx 78712-0222

Non-Profit Org.U.S. Postage PaidAustin, TexasPermit No. 391

LECTURES2.1James DodsonSnøhettaOslo, Norway

2.10Juan CoteraCotera Kolar Negrete & ReedAustin, TX

2.13David Leven + Stella BettsLeven Betts Studio ArchitectsNew York, NYPatillo Centennial Lecture

2.20George WheelerColumbia University and TheMetropolitan Museum of ArtNew York, NYJahn Lecture Series in HistoricPreservation

3.1Allan WexlerArtist and ArchitectNew York, NYWilson Art LecturerCalhoun Hall 100

3.6Fuensanta Nieto and Enrique SobejanoNieto Sobejano ArchitectsMadrid, Spain

3.8Marta Cervelló and JosepLluís MateoMAP ArchitectsBarcelona, SpainO’Neil Ford Lecture Series

3.23TBABarcelona, SpainO’Neil Ford Lecture SeriesCalhoun Hall 100

3.27Sarah Williams GoldhagenHarvard University GSDCambridge, MA

4.17Mario SchjetnanGrupo de Diseño Urbano Mexico City, MexicoRuth Carter Stevenson Chair

SPECIAL EVENTS3.4All-Class Reunion & Paco Arumí Memorial

4.7Books + Buildings Symposiumalterstudio/Texas Hillel, TheTopfer Center for Jewish Life

EXHIBITS1.17 - 2.1Beyond Texas 2005:Study in Italy, Studio Mexico,Europe Program

2.6 - 2.10Center for Mexican AmericanStudies: 35th Year Anniversary

2.13 - 3.10LINEweights:Leven Betts Studio Architects

4.10 - 4.282x2: Hoidn Wang Partnerand David HeymannArchitect

UTSOA SPRING 2006 EVENTS

All lectures at 5:00 p.m. in Goldsmith Hall 3.120, 22nd & GuadalupeStreets, except where noted. Exhibits in Goldsmith Hall Mebane Gallery,open 8:00-5:00, Monday through Friday. Events subject to change. Forupdates, call 512-471-1922 or visit our website, www.soa.utexas.edu.