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A Rccaarchitecture California the Journal of The architecture california the journal of the american institute of architects california council a r cCA professional practice issue 03.1 ➜ Our Learning Stories ➜ Engaging Coursework ➜ The Architecture of Maynard Lyndon arcCA 0 3 . 1 professional practice issue c o m m o n k n o w l e d g e Co n t e n t Our Learning Stories 12 ❉ [the membership] Mentoring the New 16 Thought Leaders ❉ Philip J. Bona, AIA Ambassadors of the 20 Body of Knowledge ❉ John M. Cary, Jr., Assoc. AIA, & Casius Pealer, Assoc. AIA Some Built Influences 22 The Art of Building: 24 Reintroducing Practice into Education ❉ Kirk Miller, FAIA, CDS Engaging Coursework: 26 California and Beyond ❉ [the schools] s e ) Forming Contemporary 32 B a c k g r o u n d s : The Architecture of Maynard Lyndon, FAIA ❉ Donlyn Lyndon, FAIA Theater Knowledge, 40 House Knowledge, and the Place of Architecture ❉ Patrick Pinnell, AIA Construction Copy: 44 McGraw Hill Reports ❉ Paul Napolitano & Cory Golden The Power of Marketing 48 ❉ Craig Park, FSMPS, Assoc. AIA Under the Radar 52 ❉ Anne Zimmerman, AIA Co m m e n t 03 Co n t r i b u t o r s 07 Cr e d i t s 5 9 Co d a 6 0 1 arcCA 0 3 . 1 Editor Tim Culvahouse, AIA a r c C A is dedicated to providing a forum for the exchange of ideas among mem- bers, other architects and related disciplines on issues affecting California archi- Editorial Board Carol Shen, FAIA, Chair tecture. a r c C A is published quarterly and distributed to AIACC members as part of their membership dues. In addition, single copies and subscriptions are avail- Lisa Findley, AIA able at the following rates: Wendy Kohn Single copies: $6 AIA members; $9 non-members. David Meckel, FAIA Subscriptions (four issues per year): $24 AIA members; Paul Halajian, AIA $15 students; $34 non-members, U.S.; $38 Canada; $42 foreign. Barton Phelps, FAIA Subscriptions: arcCA, c/o AIACC, 1303 J Street, Suite 200, Sacramento, CA 95814, Joseph Rosa, Assoc. AIA www.aiacc.org Anne Zimmerman, AIA Advertising: 877.887.7175. Lee I. Lippert, AIA, Ex-officio Inquiries and submissions: Tim Culvahouse, Editor: [email protected]; c/o AIACC, 1303 J Street, Suite 200, Sacramento, CA 95814; 916.448.9082; Design Bob Aufuldish fax 916.442.5346. Bob Aufuldish, Aufuldish & Warinner: [email protected]. Ragina Johnson Aufuldish & Warinner Copyright and reprinting: © 2003 by AIACC. All rights reserved. Reproduction in whole or in part without permission is prohibited. Permission is granted through the Copyright Clearance Center (CCC), 222 Rosewood Drive, Danvers, MA 01923. Production Trudy J. Ung a r c C A is a trademark of AIACC. Lorraine Sacca a r c C A (ISSN 0738-1132) is published by The McGraw-Hill Companies on behalf of Publisher Susan K. Miller The American Institute of Architects, California Council. McGraw-Hill and AIACC are not responsible for statements or opinions expressed in a r c C A, nor do such state- California Regional Publisher ments or opinions necessarily express the views of AIACC or its committees. Con- McGraw-Hill Construction tributors are responsible for credits and copyright permissions. Third class postage paid at Inglewood. Printed on recycled paper by Rodgers & M c D o n a l d . AIACC Nicki Dennis Stephens Director of Member and Component Resources AIACC 2003 Board of Directors AIA Los Angeles AIA San Francisco The American Institute of Architects, AIA Regional Directors M. Charles Bernstein, AIA Ann Crew, AIA California Council Michael M. Hricak Jr., FAIA John R. Dale, AIA Jeffery Heller, FAIA 1303 J Street, Suite 200 Carl F. Meyer, AIA Mehrdad Farivar, AIA Roseanne McNulty, AIA Sacramento, CA 95814 Bruce Race, FAIA Christopher C. Martin, FAIA Beverly Jo Prior, AIA 916.448.9082 R.K. Stewart, FAIA Douglas Brian Robertson, AIA Mark J. Tortorich, FAIA 916.442.5346 fax Associate Directors Thomas R. Vreeland, FAIA Clark Manus, FAIA www.aiacc.org Joan Ferrin, Assoc. AIA AIA Monterey Bay AIA San Joaquin Corbett Wulfing, Assoc. AIA Michael L. Waxer, AIA Arthur T. Dyson, AIA 2003 Executive Committee Student Director AIA Orange County AIA San Mateo County President Deniece Duscheone, AIAS Jeffrey T. Gill, AIA Robert C. Gooyer, AIA, FHFI Robert L. Newsom, FAIA AIA California Central Coast Kevin Fleming, AIA AIA Santa Barbara First Vice President/President-elect Jeffrey J. Emrick, AIA, P.E. Thomas R. Nusbickel, AIA Paul Poirier, AIA David J. Brotman, FAIA AIA California Desert AIA Pasadena & Foothill AIA Santa Clara Valley Treasurer Lance O’Donnel, AIA Kenneth R. Long, AIA Lee Salin, AIA Michael C. Johnson, AIA AIA Central Valley Ara Zenobians, FAIA Steve Cox, AIA Secretary Nicholas D. Docous, AIA AIA Redwood Empire AIA Sierra Valley Anne Laird-Blanton, AIA John D. Ellis, AIA Michael Palmer, AIA J. Anthony Acevedo, AIA Vice President of Donald R. Sharp, AIA Donald C. Tomasi, AIA AIA Ventura County Regulation and Practice AIA East Bay AIA San Diego Howard E. Leach, AIA John C. Melcher, AIA Clarence D. Mamuyac Jr., AIA Jack Carpenter, FAIA Vice President of Legislative Affairs John S. Nelson, AIA Larry Hoeksema, AIA AIACC Staff Eliezer M. Naor, AIA AIA Golden Empire Michael J. Stepner, FAIA Executive Vice President Vice President of Bruce M. Biggar, AIA AIA San Fernando Valley Paul W. Welch, Jr., Hon. AIA Communications/Public Affairs AIA Inland California John P. Grounds, AIA Director of Member and Lee I. Lippert, AIA Pamela M. Touschner, AIA Component Resources Executive Vice President AIA Long Beach Nicki Dennis Stephens Paul W. Welch, Jr., Hon. AIA John Mason Caldwell, AIA change much and they could be memorized. But Comment architectural form, from the ordinary or vernacular to the monumental or heroic, took on a life of its own in the hands of the sorcerer-historian. He has said: "It is always a mistake to for- sake the art for its makers. It is in their art, not in themselves, that artists are at their most human. In I’ve decided to yield the Comment page to outgoing it they transcend the littleness of humanity and editorial board member, Daniel Gregory, who wrote magnify its grandeur. It is therefore only through the following reflection in response to our request art of one kind or another, and perhaps through for memorable learning experiences (sampled in architecture most of all, that the shape of a larger “Our Learning Stories” in this issue). In these mean humanity can be suggested, imagined, or per- and fearful days, when we mistrust the capacity ceived." He showed us a larger picture and gave us of our hearts and minds to embrace a rich and com- architectural judgment. plex world, it is good to recall voices of generosity. Occasionally, Scully became so intent on Vincent Scully’s is one such voice. Take it, Dan. the process of visual analysis that crazy things hap- — Tim Culvahouse, AIA, editor pened. He favored an incredibly long, but apparent- ly lightweight bamboo staff as a pointer. I think a rug had originally been wrapped around it. One day Prospero's Other Cave: he banged so forcefully on the screen while empha- Vincent Scully's Classroom sizing a point that the rod shattered with a mighty Daniel Gregory c r a c k—Prospero launching his Tempest—t h o r o u g h l y terrifying the back-benchers. "Exultation," wrote Emily Dickinson, "is the going of Another time he lingered a little too long an inland soul to sea; past the houses, past the head- on a particularly suggestive slide comparison, lands, into deep infinity." Exultation is what I and forgetting that some slide projectors—at least the many others felt when we sat down for the first time ancient dreadnoughts that Yale had in those in the Law School Auditorium and the lights dimmed d a y s —can overheat. He was discussing the and the first pair of slides—an Arapahoe camp tepee dynamism of the two designs, punctuating his compared to Buckminster Fuller's Dymaxion remarks with great diagonal arm-thrusts, saying House–leapt onto the gigantic screen, and Vincent "Look at the feeling of movement evident here," Scully began discussing American architecture. when all of a sudden the two slides really did You could say time began there on Tues- move, as first one and then the other blurred and days and Thursdays at 1:00 p.m., which, after a late then burst into a smear of melting and smoking night, a full morning, and a hurried lunch, was a Kodachrome. It was a wonderfully Dada moment; risky time for anything to begin that required a sort of mad overdramatization of exactly what some concentration. But we stayed awake for he had been talking about. these lectures. It wasn't just the announcement You couldn't help but get caught up in the discouraging the taking of notes that captured our exuberance and passion that he showed for his a t t e n t i o n —though refreshing and novel to me, it subject. Indeed, Scully's lectures changed forever seemed merely to puzzle the pre-med students—i t the way his students viewed the world. He opened was the reasoning behind the requirement. our eyes to the life of forms in art and architecture Naturally, the reason was to spend the time and showed us how the simple and complex act studying the buildings and following Scully's analyses of shaping space for human use can articulate our of architectural intent and social effect as closely as sense of value, influence our view of the past, possible.
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