DOCSLIB.ORG

Architecture Program Report Woodbury

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Architecture Program Report Woodbury ARCHITECTURE PROGRAM REPORT WOODBURY UNIVERSITY SCHOOL OF ARCHITECTURE 1 WOODBURY UNIVERSITY SCHOOL OF ARCHITECTURE Architecture Program Report for 2015 Visit for Continuing Accreditation Master of Architecture (MArch) Pre-professional degree plus minimum 63 graduate credits Non-pre-professional degree plus minimum 93 graduate credits Bachelor of Architecture (BArch) Minimum 160 undergraduate credits Previous visit: 2012 (MArch) and 2008 (BArch) Current term of accreditation: 2008-2015 (BArch), 2012-2015 (MArch) “The executive committee approved the following: 1. The term of continuing accreditation for the B.Arch. is extended by one year to 2015. 2. The request to schedule a concurrent review of both the B.Arch. and the M.Arch. is approved. 3. This action will align the visit schedule for both programs, as proposed by Woodbury in its February 28 request,” (March 22, 2013). “As a result, the professional architecture program Master of Architecture was formally granted a three- year term of initial accreditation, (March 20, 2013). “After reviewing the Focused Evaluation Program Report submitted by Woodbury University School of Architecture as part of the focused evaluation of its Bachelor of Architecture program, in conjunction with the Focused Evaluation Team Report, the National Architectural Accrediting Board (NAAB) has found that the changes made or planned by the program to remove the identified deficiencies are satisfactory,” (November 4, 2011). “As a result, the professional architecture program Bachelor of Architecture was formally granted a six- year term of accreditation with the stipulation that a focused evaluation be scheduled in three years to look only at Human Resources and Financial Resources and the progress that has been made in those areas,” (July 22, 2008). Submitted to the National Architectural Accrediting Board (NAAB) September 7, 2014 2 SCHOOL OF ARCHITECTURE Norman Millar, AIA, Dean [email protected] 818.252.5130 Ingalill Wahlroos-Ritter, AIA, Associate Dean [email protected] 818.252.5185 Marc Neveu, PhD, Chair of Architecture, Los Angeles [email protected] 818.252.5180 Catherine Herbst, AIA, Chair of Architecture, San Diego [email protected] 619.235.2900 x.412 LOS ANGELES 7500 Glenoaks Boulevard, Burbank/LA, CA 91510 818.252.5121 SAN DIEGO 2212 Main Street, San Diego, CA 92113 619.235.2900 WOODBURY UNIVERSITY Luís Ma. Calingo, PhD, President [email protected] 818.252.5101 David Dauwalder, PhD, Executive Vice President and Provost [email protected] 818.252.5116 Submitting the report and person to whom questions should be addressed: Associate Dean Ingalill Wahlroos-Ritter 3 ACKNOWLEDGEMENTS The Woodbury University School of Architecture thanks the many members of the university community who contributed to this report. In particular we acknowledge the contributions of Nedra Peterson, University Librarian, Tamara Blok, Registrar’s Office, Kenneth Jones, Vice President of Finance and Administration, Celeastia (Cleo) Williams, Director of Enrollment Services Group, Mauro Diaz, Interim Vice President of Enrollment Management, Shari Gibbons, Chief Marketing Officer, and Phyllis Cremer, Vice President of Student Development. We also thank the many staff members who work in these offices. We gratefully acknowledge the moral and intellectual support of David Dauwalder, Executive Vice President and Provost. Many members of our faculty contributed directly to this report; we thank you for your time and thoughtful assessments. We extend our gratitude to Galina Kraus, Nare Gabrielyan and the School of Architecture work-study assistants for assembling, organizing and formatting data for the report. We are grateful for the precise and speedy expertise of Institutional Researcher Bruce Feinstein. Special thanks go to Vic Liptak, who offered much needed help with the final assembly of information. This is our first architecture program report that includes both undergraduate and graduate professional programs at both locations. We acknowledge the dedication and continued support of Dean Emeritus Louis M. Naidorf, FAIA, who took us to our very first NAAB accreditation and well beyond. We speak for the faculty, students, alumni and staff in recognizing the immense contribution to the Woodbury School of Architecture made by our colleague, Professor Nick Roberts, AIA. We dedicate this report to his memory and to the future he helped make possible. Norman Millar, AIA Dean, Woodbury School of Architecture Ingalill Wahlroos-Ritter, AIA Associate Dean, Woodbury School of Architecture Marc Neveu, PhD Chair of Architecture LA Catherine Herbst, AIA Chair of Architecture SD 4 Part One. Institutional Support and Commitment to Continuous Improvement 7 1 Identity and Self-Assessment 7 1. History and Mission 7 2. Learning Culture and Social Equity 12 3. Response to the Five Perspectives 17 4. Long-Range Planning 30 5. Self-Assessment Procedures 39 2 Resources 42 1. Human Resources and Human Resource Development 42 2. Administrative Structure and Governance 53 3. Physical Resources 56 4. Financial Resources 60 5. Information Resources 67 3 Institutional Characteristics 77 1. Statistical Reports 77 2. Annual Reports 81 3. Faculty Credentials 82 4 Policy Review 82 Part Two. Educational Outcomes and Curriculum 83 1 Student Performance Criteria 83 1. Overview of Curricular Goals 83 2. Matrix 85 2 Curricular Framework 87 1. Regional Accreditation 87 2. Professional Degrees & Curriculum 87 3. Curriculum Review & Development 92 3 Evaluation of Preparatory/Pre-professional Education 93 4 Public Information 95 1. Statement on NAAB-Accredited Degrees 95 2. Access to NAAB Conditions and Procedures 96 3. Access to Career Development Information 96 4. Public Access to APRs & VTRs 96 5. ARE Pass Rates 96 Part Three. Progress Since the Last Site Visit 98 1 Summary of Responses to the Team Finding 98 1. Responses to Conditions Not Met 98 2. Responses to Causes of Concern 100 2 Summary of Responses to Changes in the NAAB Conditions 102 5 Part Four. Supplemental Information 1 Course Descriptions and Supporting Curricular Information 103 2 Faculty Matrix and Resumes 115 3 Visiting Team Reports of 2008 and 2012 200 4 Catalog, Student Handbook, and Faculty Handbook URLs 276 5 Response to Offsite Program Questionnaire 277 6 Appendices 1. Manifesto for Studio Culture 279 2. School of Architecture facilities 282 3. Architecture faculty and student development 289 4. Lectures, exhibits and visiting critics 294 5. WASC reaffirmation letter (regional accreditation) 299 6 Part One (I): Institutional Support and Commitment to Continual Improvement I.1 Identity and Self-Assessment I.1.1 History and Mission: Woodbury School of Architecture With facilities located in Burbank/Los Angeles and San Diego, the Woodbury School of Architecture offers a five-year, NAAB-accredited, professional Bachelor of Architecture (BArch), a two- and three-year NAAB-accredited professional Master of Architecture (MArch), a one-year post-professional Master of Science in Architecture (MSArch) specializing in Real Estate Development, Landscape and Urbanism, Drylands Design or Urban Policy, a CIDA- and NASAD-accredited Bachelor of Fine Arts in Interior Architecture (BFAIA), and a two- and three-year Master of Interior Architecture (MIA). Woodbury University’s School of Architecture (SoA) is committed to investigating and extending the social, urban, economic, environmental, technological, and formal dimensions of architecture. The school emphasizes, analyzes, and debates the role of the architect/citizen as cultural communicator and builder responsive to societal and environmental challenges. We integrate into the curriculum recent innovations in computer-aided design, multimedia, and sustainable technologies. Our students reflect the region’s vitality and diversity, and are our greatest asset. We provide them with a strong skill base, rich interdisciplinary dialog, and generous support resources. We are an intensely urban school that at the same time recognizes and explores its deep embeddedness in the surrounding landscapes. We focus acutely on the distinct problems and opportunities of socially, culturally, and environmentally sustainable space making in Los Angeles, San Diego, Tijuana, Southern California and the American West. At the same time, we offer extensive opportunities for international study in Latin America, Asia, and Europe. We maintain a critical, inventive, resourceful, and exceptionally dedicated faculty representing diverse interests and strengths. We train our students, who are ethnically, economically, and academically diverse, as articulate critical thinkers and highly capable practitioners, confident in local as well as global discourse. Issues of sustainability, responsible advocacy, and appropriate and innovative use of materials and manufacturing processes are raised throughout our programs, and an entrepreneurial spirit of agility and risk-taking is a hallmark of our faculty’s approach. Woodbury School of Architecture delivers a strong and effective education that has garnered regional attention and national prominence. Woodbury students distinguish themselves in local, regional and national design competitions and scholarship awards; our BArch alumni often go on to elite graduate schools. All of our graduates enter the workforce with a reputation for having strong professional skills. Enrollment in the school has more than doubled since 2000. I.1.1.A Dean’s Vision The School of Architecture
Load more

Recommended publications
  • A Theme Study of Lesbian, Gay, Bisexual, Transgender, and Queer History Is a Publication of the National Park Foundation and the National Park Service
    Published online 2016 www.nps.gov/subjects/tellingallamericansstories/lgbtqthemestudy.htm LGBTQ America: A Theme Study of Lesbian, Gay, Bisexual, Transgender, and Queer History is a publication of the National Park Foundation and the National Park Service. We are very grateful for the generous support of the Gill Foundation, which has made this publication possible. The views and conclusions contained in the essays are those of the authors and should not be interpreted as representing the opinions or policies of the U.S. Government. Mention of trade names or commercial products does not constitute their endorsement by the U.S. Government. © 2016 National Park Foundation Washington, DC All rights reserved. No part of this publication may be reprinted or reproduced without permission from the publishers. Links (URLs) to websites referenced in this document were accurate at the time of publication. PRESERVING LGBTQ HISTORY The chapters in this section provide a history of archival and architectural preservation of LGBTQ history in the United States. An archeological context for LGBTQ sites looks forward, providing a new avenue for preservation and interpretation. This LGBTQ history may remain hidden just under the ground surface, even when buildings and structures have been demolished. THE PRESERVATION05 OF LGBTQ HERITAGE Gail Dubrow Introduction The LGBTQ Theme Study released by the National Park Service in October 2016 is the fruit of three decades of effort by activists and their allies to make historic preservation a more equitable and inclusive sphere of activity. The LGBTQ movement for civil rights has given rise to related activity in the cultural sphere aimed at recovering the long history of same- sex relationships, understanding the social construction of gender and sexual norms, and documenting the rise of movements for LGBTQ rights in American history.
    [Show full text]
  • Design Forward, Reverse Engineer
    A+R+P+A Journal > Issue 01, Test Subjects> Projects > Design Forward, Reverse Engineer 0 DESIGN FORWARD, REVERSE 0 ENGINEER An interview with Cory Brugger How Morphosis manages to take risks. Published June 23, 2014 Morphosis office In Culver City. Photo: lwan Baan. Thorn Mayne's firm Morphosis has famously roused the ambitions of clients typically reluctant to take risks-even with government agencies such as the General Services Administration (GSA). ARPA .Journal spoke with Cory Brugger at Morphosis to see how the office uses practice as a site for experimentation. As Director of Design Technology, Cory tests ways to leverage technology for the practice, from parametrics to materials prototyping. Editor Janette Kim asked him how ideas about research have emerged within the methods, techniques, and processes of production at Morphosis. Janette Kim: What is the role of research at Morphosis? Cory Brugger: As a small practice (we still run like a ma-and-pa shop), we have been able to stay process-oriented, with small agile teams and Thorn involved throughout the entire project. In the evolution of the practice, design intent has always driven our projects. We start with a concept that evolves relative to the context (social, pragmatic, tectonic, etc.) of the project. R&D isn't something we're setting aside budgets for, but rather something that's always inherent and central to our design process. We find opportunities to explore technology, materials, construction, fabrication techniques, or whatever may be needed to realize the unique goals of each project. JK: This is exactly why I thought of Morphosis for this issue of ARPA .Journal.
    [Show full text]
  • Bloomberg Center Design Fact Sheet
    SEPTEMBER 13, 2017 Bloomberg Center Design Fact Sheet 02 PRESS RELEASE 05 ABOUT MORPHOSIS 06 BIOGRAPHY OF THOM MAYNE 07 ABOUT CORNELL TECH 08 PROJECT INFORMATION 09 PROJECT CREDITS 11 PROJECT PHOTOS 13 CONTACT 1 Bloomberg Center Press Release// The Bloomberg Center at Cornell Tech Designed by Morphosis Celebrates Formal Opening Innovative Building is Academic Hub of New Applied Science Campus with Aspiration to Be First Net Zero University Building in New York City NEW YORK, September 13, 2017 – Morphosis Architects today marked the official opening of The Emma and Georgina Bloomberg Center, the academic hub of the new Cornell Tech campus on Roosevelt Island. With the goal of becoming a net zero building, The Bloomberg Center, designed by the global architecture and design firm, forms the heart of the campus, bridging academia and industry while pioneering new standards in environmental sustainability through state-of- the-art design. Spearheaded by Morphosis’ Pritzker Prize-winning founder Thom Mayne and principal Ung-Joo Scott Lee, The Bloomberg Center is the intellectual nerve center of the campus, reflecting the school’s joint goals of creativity and excellence by providing academic spaces that foster collective enterprise and collaboration. “The aim of Cornell Tech to create an urban center for interdisciplinary research and innovation is very much in line with our vision at Morphosis, where we are constantly developing new ways to achieve ever-more-sustainable buildings and to spark greater connections among the people who use our buildings. With the Bloomberg Center, we’ve pushed the boundaries of current energy efficiency practices and set a new standard for building development in New York City,” said Morphosis founder and design director Thom Mayne.
    [Show full text]
  • The Archive of Renowned Architectural Photographer
    DATE: August 18, 2005 FOR IMMEDIATE RELEASE THE GETTY ACQUIRES ARCHIVE OF JULIUS SHULMAN, WHOSE ICONIC PHOTOGRAPHS HELPED TO DEFINE MODERN ARCHITECTURE Acquisition makes the Getty one of the foremost centers for the study of 20th-century architecture through photography LOS ANGELES—The Getty has acquired the archive of internationally renowned architectural photographer Julius Shulman, whose iconic images have helped to define the modern architecture movement in Southern California. The vast archive, which was held by Shulman, has been transferred to the special collections of the Research Library at the Getty Research Institute making the Getty one of the most important centers for the study of 20th-century architecture through the medium of photography. The Julius Shulman archive contains over 260,000 color and black-and-white negatives, prints, and transparencies that date back to the mid-1930s when Shulman began his distinguished career that spanned more than six decades. It includes photographs of celebrated monuments by modern architecture’s top practitioners, such as Richard Neutra, Frank Lloyd Wright, Raphael Soriano, Rudolph Schindler, Charles and Ray Eames, Gregory Ain, John Lautner, A. Quincy Jones, Mies van der Rohe, and Oscar Niemeyer, as well as images of gas stations, shopping malls, storefronts, and apartment buildings. Shulman’s body of work provides a seminal document of the architectural and urban history of Southern California, as well as modernism throughout the United States and internationally. The Getty is planning an exhibition of Shulman’s work to coincide with the photographer’s 95th birthday, which he will celebrate on October 10, 2005. The Shulman photography archive will greatly enhance the Getty Research Institute’s holdings of architecture-related works in its Research Library, which -more- Page 2 contains one of the world’s largest collections devoted to art and architecture.
    [Show full text]
  • Los Angeles Event Center
    OV,\l'l.\l&Hf YI' t ITV ,iAN'YINot: C ITY OF LOS ANGELES ~1, .. '-• ...~ '-~~•111... u, ' "'""'" • 1: ) .w..111 :A,:tM:l<:t.c:A 11'1.1~ CAu-'<>MMA :O •Jto\"' .....:a n • '-l4JV•" "'Mli",O\ ... JJ> t••~••'~'' ,V,.. ►flt..AC• """"\M~,'- ' ,.,, Cff\l!'l'OUC:"~ t c;r;y " ,.. ..... N( ,"!0... Wli~ 1J•f.Jltt, : ,, Wl,,l~Yi(,11t!lt,V_. ... 1,t.... M \\I r :/11 11,-'( ,' __ I-':"... ~ 1«Jl't,. "'- l lltt• 111(..,_,.,,. vo1, , .......... IVN ;; ,, ,.. t ... n.~ v.. ~t"r. 01.:::oc,icao ):f-hL~ 1,1UC J 1ifN,,r.J.,MH­ u,,;.,.-..•~!J '., \(N ~~ ,:.......~hi ... ·~, 1fl,,\f\- 1.#ttl!H~ WJ~lltl l,Wtl .,.,. ::•"'"'"'"' 1.-.i... _ .-j,ui._ , -.....,. ~., ...,, ........,~ .. f\,11:t:,.•~ oJ • )it:11,.1.)« H~ Antooo R Volara,g0$,i! Mayor Ci1y ot l.os ~oles City Han, Room 300 Los Angele~. CA 90012 Attcnti<>n: Ms. Gaye Willams c.. ar M;rJ<)( Vllar'"9Q'x!' MAYOR'S EXECUTIVE DIRECTIVE NO. 22 DOWNTOWN EVENT carre:R PLANNING Th-e Executive Oirective V'3S issued dJe :O 3le- ~ifalnce of tt.~ Cofl\-ention and Event Center Project Jo, Los An9e.'es. The goal ls to n-.a,omiza the con,.-t>Jtion ol lh9 Fannor's F,eld pn,j~ lo U-.e economic ~rowth. CMC ife and tvabiliy ol Downtown Los Angel9s- The Execurvo Dtrw.-ve ~ up the coordrnle<I actions ol Uie Depar.menl$ of City f'lanning, Tr~ooo. f'\Jbic Works, Conventior. Cen,e, arid CulllJ'at Affo>h. The Cty Oepar.me.'l1S -ed together 10 M!Ue that thoughtful design, axh~eclure, :iro ptaruw,g aro efll)loyed in Ole review ol tile project.
    [Show full text]
  • Individual Artist Fellowships C.O.L.A
    INDIVIDUAL ARTIST FELLOWSHIPS C.O.L.A. 2013 C.O.L.A. 2013 INDIVIDUAL ARTIST FELLOWSHIPS Department of Cultural Affairs City of Los Angeles This catalog accompanies an exhibition and performance series sponsored by the City of Los CITY OF Angeles Department of Cultural Affairs featuring LOS ANGELES its C.O.L.A. 2013 Individual Artist Fellowship recipients in the visual and performing arts. 2013 INDIVIDUAL Exhibition: May 19 to July 7, 2013 ARTIST Los Angeles Municipal Art Gallery FELLOWSHIPS Barnsdall Park Opening Reception: May 19, 2013, 2 to 5 p.m. Performances: June 28, 2013 Grand Performances 2 Antonio R. Villaraigosa LOS ANGELES CITY COUNCIL CULTURAL AFFAIRS COMMISSION Department of Cultural Affairs DEPARTMENT OF CULTURAL AffaiRS Mayor City of Los Angeles City of Los Angeles City of Los Angeles Ed P. Reyes, District 1 York Chang Paul Krekorian, District 2 President Olga Garay-English Aileen Adams Dennis P. Zine, District 3 The Department of Cultural Affairs (DCA) generates and supports high-quality Executive Director Deputy Mayor Tom LaBonge, District 4 Josephine Ramirez arts and cultural experiences for Los Angeles’s 4 million residents and 40 million Strategic Partnerships Paul Koretz, District 5 Vice President Senior Staff Tony Cardenas, District 6 annual overnight and day visitors. DCA advances the social and economic impact of the arts and ensures access to diverse and enriching cultural activities through Richard Alarcon, District 7 Maria Bell Matthew Rudnick Bernard C. Parks, District 8 Annie Chu grant making, marketing, public art, community arts programming, arts education, Assistant General Manager Jan Perry, District 9 Charmaine Jefferson and building partnerships with artists and arts and cultural organizations in Herb J.
    [Show full text]
  • NEH Coversheet: GRANT00129740
    NATIONAL ENDOWMENT FOR THE HUMANITIES SAMPLE APPLICATION NARRATIVE _________________________________________________________ Grants to Preserve and Create Access to Humanities Collections In stitution: University of California – Santa Barbara THE MODERN HOUSE AND GARDEN IN CALIFORNIA AND ACROSS THE UNITED STATES: PRESERVING AND PROVIDING ACCESS TO THE MAYNARD L. PARKER PHOTOGRAPHIC ARCHIVE PROJECT DESCRIPTION The Huntington Library seeks funding to arrange, preserve and describe the architectural and garden archive of Maynard L. Parker (1900-1976). For more than three decades beginning in 1935, Parker photographed notable residences, buildings, and gardens in California and across the United States for a client roster that included the leading publishers, architects, and designers of the era. The Parker Collection is comprised of nearly 90 linear feet of material, and includes approximately 80,000 film negatives and color transparencies, 17 document boxes of ledger books, invoices, correspondence, and loose photographs, and 35 project presentation albums. The Parker Collection is the intact archive of an important American photographer who documented tastes and trends in building and interiors in the modern era of design. Once arranged and made accessible, the collection’s vast holdings –representing both iconic and little-known architectural and landscape sites—will offer humanities scholars, designers, local historians, students, and the interested public an unparalleled opportunity to study the aesthetics of an important period in United States history. Consistent inquiries regarding the archive’s use drive this proposal. The collection is haphazardly arranged, improperly housed, and poorly identified, making access extremely difficult. Despite these limitations (and with virtually no publicity), the Parker Collection has garnered significant research interest and has been consulted for numerous book, exhibition, and restoration projects.
    [Show full text]
  • April Studied at Kansas City Art Institute As a Graphic Design Major
    April Greiman April studied at Kansas City Art Institute as a graphic design major. At the Art Institute, April began to learn about and explore Modernism. Some of her professors at the Kansas City Art Institute had studied at the Basel School of Design in Switzerland. Enthused by her professors, April decided to attend the Basel School of Design to complete her graduate work. Postmodernism is a term that is open to inter- pretation. Some feel that postmodernism is a tweak on modernist ideals. Others feel that postmodernism is a rebellion or reaction to previous political ideas that were deemed to be corrupt. Post modernism related to graphic design is more open to view points. There is not one specific standard that applies to all postmodern art. The notion about this movement is that it is what you make it. As a graphic designer, April reacted to the changes around her, used the ideas from modernism while embracing new outlooks and new changes. Tak- ing advantage of both old and new tools, April created postmodern and transmedia works. Post Modernism occurred after the “New Wave”. It was This piece was not created by April Greiman, but was instead created to reflect Greiman’s popular in the late 1980’s, 1990’s and it even extends to work. It really has a double meaning, April being the month as well as her name. The work was created in 1998 for a lecture April was giving. This piece was sponsored by the Philadel- current art practices. phia chapter of the American Institute of Graphic Arts.
    [Show full text]
  • Revisiting the So-Called “Legibility Wars” of the '80S and '
    58 PRINT 70.3 FALL 2016 PRINTMAG.COM 59 HAT DID YOU DO during the Legibility Wars?” asked one of my more inquisitive design history students. “Well, it wasn’t actually a war,” I said, recalling the period during the mid-’80s through the mid- to late-’90s when there were stark divisions “Wbetween new and old design generations—the young anti- Modernists, and the established followers of Modernism. “It was rather a skirmish between a bunch of young designers, like your age now, who were called New Wave, Postmodern, Swiss Punk, whatever, and believed it necessary to reject the status quo for something freer and more contemporary. Doing that meant criticizing old-guard designers, who believed design should be simple—clean on tight grids and Helveticized.” “Do you mean bland?” he quizzed further. “Maybe some of it was bland!” I conceded. “But it was more like a new generation was feeling its oats and it was inevitable.” New technology was making unprecedented options possible. Aesthetic standards were changing because young designers wanted to try everything, while the older, especially the devout Modern ones, believed everything had already been tried. “I read that Massimo Vignelli called a lot of the new digital and retro stuff ‘garbage,’” he said. “What did you say or do about it back then?” “I was more or less on the Modernist side and wrote about it in a 1993 Eye magazine essay called ‘Cult of the Ugly.’” I wasn’t against illegibility per se, just the stuff that seemed to be done badly. I justified biased distinctions not between beauty and ugly, but between good ugly and bad ugly, or what was done with an experimental rationale and with merely style and fashion as the motive.
    [Show full text]
  • Woodbury University 2014-2015 Graduate Catalog
    Graduate Bulletin Graduate Bulletin Woodbury University 2014-2015 Woodbury University’s U.S. Code. Veterans and dependents are required Graduate Bulletin to comply with Veterans Administration regula- Woodbury University’s Graduate Bulletin serves as tions under sections 21.4135, 21.4235 and 21.4277 a supplement to the Woodbury University Course regarding to required class attendance and accept- Catalog. Institution-wide policies and procedures able academic progress. may be found in that publication and policies cover- ing student conduct may be found in the current Nondiscrimination Policy Woodbury University Student Handbook. Woodbury University is committed to providing an environment which is free of any form of discrimi- Accreditation nation and harassment based upon an individual’s Woodbury University is accredited by the Senior race, color, religion, sex, gender identity, pregnancy, Commission of the Western Association of Schools national origin, ancestry, citizenship status, age, and Colleges (WASC: 985 Atlantic Avenue, Suite 100; marital status, physical disability, mental disability, Alameda, CA 94501; 510-748-9001) and is approved medical condition, sexual orientation, military or by the Postsecondary Commission, California De- veteran status, genetic information, or any other partment of Education. WASC granted Woodbury characteristic protected by applicable state or fed- its original regional accreditation in 1961. In 1994 eral law, so that all members of the community are the National Architectural Accrediting Board (NAAB) treated at all times with dignity and respect. It is the accredited the Bachelor of Architecture program. university’s policy, therefore, to prohibit all forms of The Master of Architecture program received its such discrimination or harassment among university NAAB accreditation in the spring of 2012.
    [Show full text]
  • AIA LA Advocacy Platform
    DESIGN- THINKING & REGIONAL AWARENESS The AIA LA advocacy platform AIA LA Our Challenges, Our Strengths Southern s a region, we have the best weather, the Awonderful and varied natural terrain and California some of the most creative and diverse people on the planet. It’s important to celebrate LA’s is an idyllic beauty and grace as often, as loudly and as clearly as we can. However, we’re also the place. hotbed for almost every physical, natural and human-made challenge the world has to offer including climate change, severe drought, an aging infrastructure, unaffordable housing, a concrete and treeless environment and, much of the time, unforgiving traffic as well as being in a region prone to earthquakes. Let’s face it. We don’t really have the money, the time and seldom do we seem to have a system in place that has the social and political capital necessary to engage and solve these issues and yet we know we can take on these challenges. A prime example of this is measure R that is making major inroads into our transportation network, so we know we can do it. However continuing to do business as usual - attempting to solve these vast and substantial problems in isolation from each other – will only yield marginal results, at best. By learning to ask better questions, and focusing our efforts on the future we’d like to see how we, as a region, could work together to identify more effective and aspirational solutions. As Architects we are accustomed to integrating complex criteria from multiple disciplines to elicit elegant solutions that satisfy fiscal, social and functional issues.
    [Show full text]
  • A Biography of the American Snow Globe: from Memory to Mass Production, from Souvenir to Sign
    A BIOGRAPHY OF THE AMERICAN SNOW GLOBE: FROM MEMORY TO MASS PRODUCTION, FROM SOUVENIR TO SIGN Anne Hilker Prof. Marilyn Cohen, Thesis Advisor Submitted In Partial Fulfillment of the Requirements for the Degree Master of Arts in the History of the Decorative Arts and Design MA Program in the History of the Decorative Arts and Design Cooper Hewitt, National Design Museum, Smithsonian Institution; and Parsons The New School for Design 2014 © 2014 Anne K. Hilker All Rights Reserved TABLE OF CONTENTS INTRODUCTION…………………………………………………………………………1 CHAPTER I. A MATERIAL HISTORY OF THE SNOW GLOBE…………………....6 CHAPTER II. THE SNOW GLOBE AS OBJECT OF MEMORY…………………….27 CHAPTER III. THE COMMODIFICATION OF THE SNOW GLOBE: COMMODIFYING, COLLECTING, SUBVERTING……………..…57 CONCLUSION…………………………………………………………………………..79 LIST OF ILLUSTRATIONS……………………………………………………………..ii BIBLIOGRAPHY…………………………………………………….…………..……..92 ILLUSTRATIONS…………………………………………………………….……….111 i LIST OF ILLUSTRATIONS 1. Eiffel Tower snow globe, 1889. Image from blog, My Favorite Things!, entry dated Dec. 15, 2011, crediting the Bergstrom-Mahler Museum, http://myfavoritethings- conniemotz.blogspot.com/2011/12/1889-paris-exhibition-snow-globe.html, last visited April 19, 2014. 2. Bernard Koziol’s view out the back of his Volkswagen “Beetle,” circa 1950. “The Story of the Dream Globes,” posting on Company Koziol website, undated, http://www.snow-globe.com/history_snow_globe.htm, last accessed October 3, 2013. 3. Florida day/date snow globe, entry on Flickr.com, June 29, 2009, https://www.flickr.com/photos/thriftedsisters/3673223886/, last accessed April 19, 2014, picturing globe of structure similar to that appearing in Moore and Rinker, Snow Globes, 48. 4A, B. Baccarat Silhouette Squirrel Cane Paperweight, side and top views, iGavel auctions, posted June 14, 2012, http://www.igavelauctions.com/category/sale- highlights/page/2/, last accessed April 19, 2014.
    [Show full text]