i. institutional support and commitment to continuous improvement

Department of Architecture, 

Interior Architecture, and 

Designed Objects 

SPRING 2011 

ARCHITECTURE 

PROGRAM 

REPORT 

Application for Initial Accreditation

ARCHITECTURE 

PROGRAM 

REPORT 

Application for Initial Accreditation 

SUBMITTED TO: 

National Architecture Accrediting Board 

1735 New York Avenue NW 

Washington, DC 20006 

CONTACT: 

Office of Deans and Division Chairs 

37 Souh Wabash Avenue 

Chicago, IL 60603 

Phone: 312.899.7472 

Fax: 312.899.1461 

Email: slinn@saic.edu 

Updated: April 3, 2011

TABLE OF 

CONTENTS 

I. Institutional Support and Commitment to Continuous Improvement 

I.1. Identity and Self Assessment 6 

I.2. Resources 43 

I.3. Institutional and Program Characteristics 116 

I.4. Policy Review 129 

II. Educational Outcomes and Curricula 

II.1. Student Performance Criteria 132 

II.2. Curricular Framework 136 

II.3. Evaluation of Preparatory/Pre-Professional Education 146 

II.4. Public Information 146 

III. Progress Since the Last Site Visit 

III.1. Summary of Responses to the Team Findings 150 

III.2. Summary of Responses to Changes in the NAAB Conditions 157 

IV. Supplemental Information 

IV.1. Course Descriptions 160 

IV.2. Faculty Résumés 187 

IV.3. Visiting Team Report Team Room 

IV.4. Catalog Team Room

I Institutional Support 

and Commitment to 

Continuous Improvement

School of the Art Institute of Chicago 

Department of Architecture, Interior Architecture, and Designed Objects 

Master of Architecture 

Master of Architecture with emphasis in Interior Architecture 

I. INSTITUTIONAL SUPPORT AND COMMITMENT TO 

CONTINUOUS IMPROVEMENT 

I.1. IDENTITY AND SELF ASSESSMENT 

I.1.1. History and Mission 

The School of the Art Institute of Chicago (SAIC), which predates the lauded museum, the Art Institute 

of Chicago (AIC), is an artist-centric institution, founded, run, and transformed by the many visual 

artists, designers, performers, scholars, and architects who have shaped the School. Since 1866, the 

vision and growth of SAIC has been a reflection of the vanguard and myriad trajectories art has 

undertaken. This has lead to a flexible curriculum, strongly steeped in the sound scholarship of liberal 

arts curricula, that reflects contemporary practice in art and design and its interface with the world. 

A reflection of that ongoing innovation is the department of Architecture, Interior Architecture, and 

Designed Objects (AIADO)—the result of institutional efforts to strengthen, expand, and integrate 

its established design programs. Within AIADO’s academic unit (which also provides administrative 

support for the department of Historic Preservation), the Master of Architecture program offers a 

structured degree, while still reflecting the engaged, collaborative nature of SAIC, drawing on the 

institution’s history and other programs to explore new systems and opportunities for engagement 

with architecture in the world. 

A) Mission of the institution 

Both the mission and objectives have served as historical documents for an institution established 

nearly 150 years ago. The Art Institute of Chicago’s corporate charter (Articles of Incorporation) was 

originally obtained from the State of Illinois in 1879, and the original mission and objectives were 

found in that charter. The mission was amended in 1925, 1982, and, most recently, 2004 when both the 

mission and objectives were revised to more specifically reflect the current nature of the School. 

Mission Statement, as revised in 2004 

To provide excellence in the delivery of a global education in visual, design, media and related 

arts, with attendant studies in the history and theory of those disciplines set within a broad-based 

humanistic curriculum in the liberal arts and sciences. To provide instruction for this education in a 

range of formats: written, spoken, media and exhibition-based. 

Statement of Objectives, as revised in 2004 

To assemble a diverse body of intelligent and creative students and faculty in an innovative, 

transdisciplinary environment designed to facilitate and encourage the creation and discovery of 

significant ideas, objects and images; to provide for the development of individual excellence in the 

visual, design, media and related arts and in relevant professional and academic disciplines. 

B) History of the institution 

SAIC is one of the largest and oldest visual art and design schools in the nation, and one of only three 

to retain their original affiliation with a partner museum. SAIC has evolved from a professional fine art 

“museum school” to a college of art that, in addition to the time-honored study of painting, sculpture, 

and printmaking, also embraces media and time arts; design; and, transdisciplinary fields such as visual 

and critical studies. Studio graduate programs are complemented by degrees offered in art history, 

theory, and criticism; writing; arts administration; visual and critical studies; historic preservation; new 

arts journalism; art therapy; and art education. A full detailing of the Institution’s corporate structure, 

programs, and degrees can be found in section 3.11 of the APR. 

The School of the Art Institute of Chicago, founded by a small group of Chicago artists in 1866, was 

designed after a drawing-based, European academy model that emphasized traditional artmaking 

Architecture Program Report | 6


skills. In its nearly 150-year history since, the School has become, through multiple transformations, 

a leader in contemporary art instruction, marked by daring exploration, rigorous scholarship, and 

innovative historical perspective. 

After early reorganization due to financial failure and the loss of its first major building in the Chicago 

Fire of 1871, the School and its museum—a collection started with a gift of plaster casts from the 

French government—were incorporated as the Chicago Academy of Fine Arts in 1879 and, three years 

later, as the Art Institute of Chicago. Shortly thereafter, SAIC and the museum moved into facilities 

originally erected for the Columbian Exposition of 1893. This facility still houses the museum—with 

several additions, including the Renzo Piano-designed Modern Wing, which opened in 2009 and the 

Columbus building of the School designed by Walter Netsch of Skidmore, Owings, and Merrill, which 

was completed in 1974. SAIC also occupies the nearby MacLean and Sharp buildings; several floors in 

the Sullivan Center; and two dormitory residential buildings, one of which houses The Gene Siskel Film 

Center on State Street. 

In 1903, the then recently established Normal Department of SAIC began granting diplomas for 

completing teacher-training coursework. In response to post-World War I needs for practitioners 

schooled in the applied arts, a department of industrial arts was added in 1918. By the 1930s, SAIC 

was one of the first art schools to require entrance exams and award diplomas for its now four-year 

programs of study. Bachelor of Fine Arts (BFA) degrees were first awarded when an arrangement with 

the University of Chicago allowed SAIC students to take academic courses at an extension site. 

The School was the first art school to be accredited by a regional accrediting association (specifically, 

the North Central Association of Colleges and Schools or NCA) in 1936 and, in 1944, became one of 

twenty-three charter members of what is now known as the National Association of Schools of Art 

and Design (NASAD). NCA and NASAD remain the regional and national accrediting agencies for the 

School today. 

In the half-century after World War II, the School was dramatically influenced by the rapid changes 

in contemporary art, which caused a profound departure from the European approach to pedagogy. 

Studio instructors encouraged students to search within themselves for elemental impulses to inspire 

their art and placed new emphasis on artistic traditions outside of Western culture. Major curricular 

changes during this mid-century, postwar period include: the elimination of declaring a major; the 

emphasis on detailed, frequent, in-person critiques; and the establishment of a credit/no credit system 

in lieu of letter grades. The first in-house literature and composition courses were offered, which 

rapidly led to all bachelor’s requirements being taught at SAIC. A required, entry-level curriculum for 

undergraduate freshmen was introduced, and is still in place; master-level programs were begun in 

art therapy and art history; and, by 1984 a five-year Bachelor of Interior Architecture (BIA) program 

was introduced. SAIC exited the 20th century at the vanguard of thinking on how to educate artists 

to be public intellectuals who are responsible agents in the world. The School had evolved from a 

professional fine art museum school to a college of art that embraced the media and time arts (art 

and technology, film and video, sound and performance) and design (interior architecture, visual 

communication, and fashion design). One of the most significant outgrowths of that expanded thinking 

was the Design Initiative. This curricular initiative, which began in 2000, led directly to the MArch 

program, whose history is described below. For SAIC, the conferring of NAAB initial accreditation for 

the MArch program would mark a major achievement in the School’s ongoing history of preparing 

artists and designers to creatively, intellectually, and responsibly engage the world. 

C) Mission of the program 

The revised Program Mission statement, completed and adopted in a full AIADO department faculty 

meeting on September 13th, 2006, is as follows: 

7 | Spring 2011 

SECTION I Institutional Support and Commitment to Continuous Improvement





To deliver an education that embodies creativity, social responsibility, historical perspectives, 

technical competence, environmental consciousness, ethical imagination, and an understanding 

of current global economic and social changes. To educate students to become innovative 

transdisciplinary design leaders, in the disciplines of architecture, interior architecture, and 

designed objects. 

The faculty of AIADO feel strongly that many different interpretations of design are entering public 

discourse and are evolving and converging in a fast changing world where designers need to be 

comfortable with uncertainty and complexity—often having to locate their creative imagination in 

paradoxical opportunities outside the traditional boundaries of design. Art, design, science, and 

entrepreneurial business are teaming to create new protocols and information flows. With the social 

shaping of technology, out-dated bureaucratic mechanisms are breaking down around alternative 

environmental, social, and political sensibilities. Design is at the core of these changes in translating 

thought into the more tangible. The academy responds with significant alternatives in education and, 

through collaborative partnerships, a network of informed personalities contribute to the design of 

our changing world—making it dense, fluid, and dynamic. How designers explore this complexity is by 

definition a highly creative act of design. 

At the School of the Art Institute of Chicago and through the programs in AIADO, the faculty 

encourage and practice a vibrant engagement with design. They believe that future designers need 

to be thinking designers—willing to explore unknown territory and engage problems not yet defined, 

taking risks while confident enough to find opportunity in failure. Deep explorations in the studio 

context are required where the art of thinking and making translate into the ineffable: at the very 

intersection of art, design, and architecture. Explorations that are useful beyond the realm of design 

add significant meaning to environments across all scales. These explorations challenge the fluid 

borderline that defines the spatial, the world of objects, and the many opportunities in cognitive 

and non-cognitive environments yet to be explored. Play and risk are taken seriously. The faculty 

values freedom but expects accountability. With the rigor of thinking flowing from this philosophical 

approach, the School is encouraging a new kind of relevance for future designers and architects. 

The AIADO department launches future individual voices that are willing to lead in the fast mutating 

cultural landscapes—changing the field from the inside out while connecting past traditions with future 

possibilities. 

D) History of the Program 

The MArch program may only be four years old, but its innovative relationship to design and space 

has a long history. In 1941 Marya Lilien began teaching the first evening classes in interior architecture 

at SAIC. Her students—taught on the principles Lilien had acquired while studying with Frank Lloyd 

Wright at Taliesin—learned to build from the inside out, creating spaces that were functional, beautiful, 

and well integrated. By 1945, a new Department of Interior Architecture was established. Its curriculum 

involved a year of general foundation studies, followed by three years of four design sessions and two 

technical sessions per week. The latter sessions included descriptive geometry, vital for delineating 

objects in space, and the course became a magnet for sculpture students as well as design students. 

Drafting, Perspective, Anatomy of Interiors, and the History of Furniture were all taught by Lilien, who 

was a one-woman department for most of her tenure at the School. With its fundamentally sound 

principles, the curriculum remained fairly constant over the next two decades. 

With Marya Lilien’s retirement in 1968, the existing department was renamed Environmental Design, 

with some changes in curriculum as befit the times. New faculty, most significantly John Kurtich, 

in Interior Architecture as well as faculty in Design and Performance areas adopted the goal of 



exploring “idea-making, idea-communicating, and the relationship of anything and everything to 

the environment.” This expanded vision asked students to create and then solve their own design 

problems, meeting faculty weekly on a tutorial basis. Twice a week the entire department’s faculty 

and students met in an interdisciplinary plenary studio session. These classes included film screenings, 

sculpture installations, and experimentation with new media such as the mixture of projected slides, 

performance, and music. By the end of the decade John Kurtich, an architect, archaeologist, and 

musician, became head of a department re-defining itself to remina cutting edge. 

In 1973 the Environmental Design and Visual Communication departments merged under the rubric 

of Design and Communication, which also incorporated performance art. A sequential studio system 

was reinstated, called Space Design, described as “a series of three-dimensional problem solving 

experiences.” By the mid-seventies the department, responding to student demands, added classes 

that supplied a vital working vocabulary: structural and mechanical systems, material studies, and 

technical drawing. Intent on retaining the integrity of the department’s generalist approach, Kurtich 

insisted that philosophy underscore the pragmatic at every opportunity; complicated interior spaces 

were discussed as a metaphor for the spiritual as well as a collection of functional solutions. Slowly but 

surely, Environmental Design was becoming Interior Architecture again, with a name change making it 

official in 1976. Performance and Visual Communication were spun off as separate departments while 

maintaining solid working relationships between the three areas. 

Preparing for his sabbatical in 1983, Kurtich invited architect Linda Keane to become head of the 

department. Keane established as her primary goal the achieving of parity with the Chicago’s other 

significant architectural programs. Full day comprehensive design studio sessions met twice a week, 

architectural theory and history classes were strengthened, and historic preservation classes were 

introduced. By the end of the decade, the number of full- and part-time faculty grew from 12 to 

19; funding quadrupled; materials library and computer labs were added; a student AIAS chapter 

was founded; the department became an affiliate of the ACSA and began sponsoring the Chicago- 

centered National High School Career Day; and the first five-year Bachelor of Interior Architecture 

graduates completed the program. 

In 1994, the department re-designed the BIA program into a four-year track to better coincide with the 

BFA program. In 2002 the School conducted a study of the established architecture programs in major 

cities throughout United States and abroad, realizing that while New York, Los Angeles and Tokyo each 

maintained many competitive architecture programs, Chicago, a city known for its groundbreaking 

architecture, had only two major architecture programs. As the School sought to expand its design 

program, and with the majority of the faculty in Interior Architecture already licensed architects, the 

administration determined that the School was in a key position to establish a professional program 

in architecture that would raise the level of critical inquiry at the School and take advantage of the 

enormous existent resources germane to the field through the combined corporation of the School 

and museum. Finally, the successful establishment of the Master of Science in Historic Preservation 

in 1993 furthered this sense of preparedness. The idea that a Master of Science could be successfully 

offered by a premiere fine arts school was a major factor in the success of subsequent planning for 

professional architectural degrees at SAIC. 

The desire to strengthen the teaching of design by introducing programs in architecture and product 

design corresponded with a similar strategy in which sculptural practices were taken out of the gallery 

and into the larger cultural landscape. The School’s Design Initiative recruited a full-time faculty/ 

administrator in Design, established a collective think tank of key faculty and administrators, and began 

to explore the expansion of design, recognizing that to be a significant art school in the twentieth- 

first century meant the integration of exceptional design programs. The School laid the foundation 

for its current programs in architecture and designed objects while reconsidering the role of the MFA 

9 | Spring 2011 






program as it applied to Interior Architecture. Undergraduate classes in architecture and designed 

objects were instituted in the first phase of the Design Initiative and coincided with the department’s 

name change to the Department of Architecture, Interior Architecture, and Designed Objects (AIADO) 

to better reflect the range of disciplines embraced and their interactive orientation. Planning for new 

degree-specific courses of study began in earnest in 2003–04, and with its first summer boot camp in 

2006, the School welcomed the first incoming class of students in its new design programs, including 

the Master of Architecture, with its four tracks: professional and pre-professional, each with an optional 

emphasis in Interior Architecture, and the Master of Design in Designed Objects. The MArch program 

pursued National Architectural Accrediting Board certification, and in 2007, candidacy was awarded 

after an initial report and site visit. 

In the initial Architectural Program Report (APR) of September 2006, AIADO reported planning for 

new facilities, new faculty and a re-structured and expanded administrative support. Nearly all of 

these plans have been completed, and computer and fabrication technologies have been updated. 

Successful searches in academic years 2006–07 and 2007–08 brought the number of full-time 

faculty in the department to 14. A full-time administrative assistant has been added to the staff of 

the administrative unit, and a re-structuring of faculty’s administrative duties has created a position, 

the Program Director for MArch, to oversee the professional architecture program. New offices 

accommodating all full-time faculty were completed. In 2010, AIADO projects not-yet-completed but 

underway include the construction of a Material Resource Center, scheduled to open in Spring 2011. 

Curricular changes have been made in response to the last site visit’s Visiting Team Report (VTR), 

faculty assessment, and student feedback. The introductory summer “boot camp” continues to shift 

its focus to technical skills, specifically computer application-based visualization and fabrication in 

response to students’ interest in a greater foundational competence before their first architecture 

courses in the fall. 




I.1.2. Learning Culture and Social Equity 

A) Learning culture 

The AIADO faculty take pride in their statement of studio culture ideals, adopted on July 10, 2006, that 

encapsulates the ambitious and nurturing atmosphere they endeavor to foster in the classroom: 

It is the policy of the Department of Architecture, Interior Architecture, and Designed Objects 

to encourage the fundamental value of innovation, respect for the particular approaches and 

skills of others, and the open sharing of information, between and among the members of its 

faculty, student body, administration and staff. This policy reflects the intersdisciplinary reality and 

strength of the School of the Art Institute of Chicago. 

This ethos is the basis of the AIADO studio culture described below. 

1) Overview 

The School has an established reputation for studio classes based on individualized attention, technical 

demonstrations, and individual and group critiques. This approach has been applauded for decades 

by its high ranking in graduate programs among art schools in the US News and World Report. SAIC’s 



non-grading policy encourages each student to pursue ideas and work to his/her potential rather 

than a grading system and the potentially negative impact it could exert on the development of 

creative new approaches to art and design. Assessment and evaluation of student work in the MArch 

program is tracked according to NAAB Student Performance Criteria as they apply to each class. 

These assessments are especially valuable for the faculty, who must evaluate the effectiveness of their 

coursework and ultimately choose student work to share with the NAAB Visiting Team. 

AIADO fosters open discourse and practice across the many diverse and unique disciplines that 

participate in defining the studio culture. Fostering a collaborative mode of exchange, the department 

recognizes the importance of interdisciplinary expertise and collaboration between our longstanding 

institutional counterparts, the collective student and faculty body, administrative departments, and the 

disciplines housed within AIADO. 

From the inception of the Architecture, Interior Architecture and Design Objects department the goal 

of an interdisciplinary practice of design has been its foremost commitment. Intellectual freedom and 

open exchange, growth of a productive and vibrant studio environment, and an encouragement of 

open respectful dialogue and discourse have been its tenets. 

The balanced relationship between the studio and the entire curriculum figures prominently into 

the department’s studio culture policy as it specifically maintains the importance of a well-balanced 

education that is necessary of any design professional. The delivery, integration and synthesis of 

design criteria along with course work and electives—such as structures, preservation, social theory, 

sustainability, philosophy, art and technology, to name but a few—remains one of the important roles 

that the studio serves. It is the program’s goal and obligation to establish a forum that imparts the 

necessity to understand and have competency in all areas of research that engage in the practice of 

architecture. Understanding and competency of the disciplinary specific activities framed within the 

arena of architecture serve as the foundation for studio work. The department foremost believes and 

encourages that intellectual inquiry form the basis of any design activity and response. 

Over the intervening years, studio lectures and case studies have taken their place alongside the 

individual desk critiques of the studio, regular art history lectures, and the Socratic questioning 

methods of the seminars in liberal arts and other departments. All of these new class types are 

designed to reduce any impediments to individual discovery and learning in an open creative 

environment. 

AIADO works with the AIAS studio culture guidelines and holds regular meetings between student 

officials and faculty—IDP Coordinator Assistant Professor Tristan Sterk and MArch Program Director, 

Associate Professor Douglas Pancoast—on the issue of studio culture. AIAS-elected student officials 

gather issues for the agenda of meetings held twice per term. The recommendations of the Studio 

Culture Committee are brought into the goals of the department, program, and school. 

2) Studio work 

One of the legacies of SAIC’s long history as an art school is an extraordinarily engaging studio culture. 

In many ways the School’s success as an arts institution has been built on its studio culture, and it has 

become one of the architecture school’s most important academic assets. Many of the architecture 

program’s policies and procedures are meant to translate the intense, adaptable and speculative 

culture of the art studio into the context of a professional architecture program. At SAIC, the 

architecture studio becomes a community that depends upon a culture of experiment sustained by a 

careful reciprocity between professional rigor and a humane and optimistic engagement with student 

life and experience. 

11 | Spring 2011 






The department has developed an open-studio space that houses all disciplines of the graduate 

AIADO student body to develop a more cohesive and dynamically responsive studio culture. This 

interactivity between all ranges of students in various moments in their course progression promotes 

the exchange of knowledge between studios and disciplines. The studio challenges every student 

relative to their strengths and weakness to develop rounded skill sets and encourage success in both 

academic and professional environments. It is important that the studio be regarded as a serious 

environment where there is respect for differing points of view and conduct is of a professional nature. 

All students are required to attend class during studio hours and work in the presence of instructors 

and classmates. This is yet another means that procedural, technical, and disciplinary knowledge 

may be acquired. Experimentation with materials, technology and ideas are essential in the studio 

environment. 

The architecture studios have benefited from adapting many of SAIC art studio practices. For example 

the weekly schedule is a 4.5 credit course with nine contact hours—one seven-hour day (six hours in 

class) and a three-hour morning, allowing more flexibility for instruction than is possible in the typical 

three-afternoons-a-week format of other schools. Classes are small, with up to 14 students, which 

allows a more flexible, student-centered approach to executing curriculum requirements. Instructional 

style attends to process and a range of expression, rather than narrow, genre-specific exercises, and 

measures its success through the student’s ability to interrogate and elaborate the task at hand, 

executing the work in a mature professional manner, rather than following directions. The architecture 

program has worked to emphasize discipline within the open-ended character of arts instruction, and 

bring the virtues of teamwork and consensus into instruction through a team-teaching approach that 

locates instructors with different practices across the weekly schedule, such that students routinely 

benefit from interaction with more than one faculty member in studio every single week. 

Another practice borrowed from the fine arts studio is the replacement of grades with periodic and 

thorough evaluations, allowing students to focus on the work that will advance their performance and 

respond directly to the faculty evaluators. Chief among these evaluations is the Graduate Critique 

Week that occurs each semester, which is discussed further in section I.1.3 Response to the Five 

Perspectives. 

While the other evaluation processes are specific to each course, permitting faculty to adapt 

evaluations to the structure and content of the course, final evaluations are required for all courses 

in the MArch programs. Other evaluation and feedback procedures include: written daily evaluations 

of student work in introductory design studios; detailed evaluations and private meetings between 

students and faculty at midterm and finals; periodic written assessments of the course by students 

while the course is in progress to supplement school-wide teaching evaluations at the end of the 

semester; and an extremely responsive appeal procedure that allows students to appeal evaluations 

during a semester, rather than at the end of a course. 

The least obvious but most profound element of the School’s studio culture is the range of formal and 

informal social events that privilege each student’s role in a contemporary collective of architectural 

practitioners. These events, which range from informal social gatherings to dinners after lectures, 

demonstrate the value and respect faculty and administration hold for students as actual, rather than 

“future,” architectural practitioners. While faculty are extremely careful to avoid representing student 

work as equivalent to professional practice, everyone takes both the quality and content of student 

work as a serious matter and expects it to directly engage both contemporary issues and disciplinary 

precedent. Faculty and the School’s administration routinely create opportunities for students to take 

their work beyond the comfortable context of school, by working on service projects, developing 

exhibition opportunities, and collaborating with professionals and corporations. 



This commitment to the idea of students creating the future of the profession means that empathetic 

relationships between students, faculty and staff are at the core of the program. Students 

facing difficulty—academic, social or personal—can expect quick responses by the entire school 

administration to their requests for help, extensive and appropriate counseling at the first indication of 

a problem, and a flexible, fair approach to scheduling reviews and completing required work. As a new 

program, however, there is always much to be learned, and the faculty organize a number of events 

on Fridays to make informal communication a matter of routine. In 2007–08 a group of students 

and faculty met on five Friday evenings off-campus to talk about life at the school. About half of 

the architecture graduate students participated along with a significant number of designed objects 

graduate students. A number of initiatives arose as a result of the conversations, and include: 

o Support for job search and internship opportunities via seminars in interviewing and resume 

preparation offered Cindy Coleman and Neil Frankel. 

o Development of an international internship program; Thomas Kong, as part of a summer course 

on design in Japan, arranged two internships with Japanese architectural firms. 

o Work/networking opportunities offered through conference organization and operation volun- 

teer roles for ACADIA 09 reForm() a conference hosted by SAIC/AIADO in October 2009 

that explored how architects, engineers, artists and designers are using new hardware, 

software and middleware technologies to transform the ways in which buildings and 

spaces perform, act and operate. 

These initiatives will continue in 2010-11, expanding to include: 

o Additional job search and internship support efforts 

o A portfolio event with local architecture and design firms 

o Informal lunches and dinners with faculty. 

Though much of the above information is available in SAIC Student and Faculty Handbooks—whose 

relevant content is summarized below and in section I.2.1 Human Resources and Human Resource 

Development—it is also summarized and made available to faculty and students as an AIADO 

departmental manual, which is updated annually to address students’ periodic assessment. The most 

recent AIADO departmental manual was issued in Fall 2010. 

B) Social equity 

SAIC is home to an incredibly diverse community of faculty, staff, and students from all 50 states 

and over 40 countries, and is committed to fostering a pluralistic community of artists, students, 

faculty, staff, and alumni. In October 2001, SAIC embarked upon an institution-wide diversity initiative, 

designed to strengthen SAIC’s commitment to a pluralistic community and incorporate diversity as a 

core value of SAIC through its programs, policies, practices, and pedagogy. The initiative was the result 

of years of effort by students, faculty, and staff, and gained momentum with the completion of SAIC’s 

first-ever self-study report on diversity. 

Since August 2002, various committees have been formed to address a number of priorities related 

to multiculturalism including improving the student experience; increasing retention; diversifying 

the student, faculty, and staff population; restructuring the First Year Program (now know as 

Contemporary Practices); and developing the global comparative curriculum. In particular, the Office 

of Multicultural Affairs (OMA); the Diversity Committee which includes faculty and staff; the Office 

of Student Affairs, and AIC’s Human Resources play an integral role in carrying out this mission. A 

further discussion of OMA and employee-related policies and procedures administered through Human 

Resources are included in section I.2.1 Human Resources and Human Resource Development. The 

13 | Spring 2011 






Student Handbook, which is published by the Office of Student Life, summarizes policies of academic 

integrity and grievances related to harassment and discrimination, outlining the role for students, 

faculty, and staff in such issues involving students. 

1) Academic misconduct 

The current plagiarism policy was established in a 2004 document demonstratively entitled 

Plagiarism: What is it, How to Avoid It. The document was produced by the Student Life 

Subcommittee, comprised of students and faculty. The document provides a discussion of 

plagiarism, its intentional and unintentional forms, cultural differences in the concepts of identity 

and intellectual property that effect notions of plagiarism for students from diverse cultures, and a 

rundown on proper citation and ways to avoid allegations of plagiarism. Subsequently, the Flaxman 

Library made a “Quick Guide” called Avoid Plagiarism. Both the guide and the quick guide are 

available to students on campus, will be available in the Team Room, and are downloadable on the 

SAIC website. 

This most recent summation of this policy can be found in SAIC Student Handbook 2010–11, 

which states that academic misconduct is “both plagiarism and cheating, and may consist of: the 

submission of the work of another as one’s own; unauthorized assistance on a test or assignment; 

submission of the same work for more than one class without the knowledge and consent of 

all instructors; or the failure to properly cite texts or ideas from other sources.” It outlines the 

procedures that a faculty member will take in reporting matters of academic misconduct, how and 

when the student will be informed of any findings, how a student may formally object to accusations 

of academic misconduct, and the consequences for repeated offenses. 

2) Discrimination, harassment, and retaliation 

The Student Handbook addresses discrimination, harassment, and retaliation policies, stating that 

the “School has a policy of nondiscrimination toward its students and will not tolerate unlawful 

acts or harassment based on race, color, religion, national origin, ancestry, age, sex, marital status, 

disability, military status, sexual orientation, including gender-related identity, or unfavorable 

discharge from military service or any other status protected by local, state, or federal laws.” 

The concepts of discrimination and harassment are defined, and the notion of retaliation is 

roundly prohibited. How, whom, and when to notify School officials—typically beginning with a 

representative from OMA—is described. The process by which the paperwork is filed, adjudicated, 

and resolved is covered, and the limitations of confidentiality and legal options are explained. 

3) Additional student rights and responsibilities 

In addition to the plagiarism, discrimination and harassment polices and procedures, other guidelines— 

such as freedom of expression, rules of conduct, alcohol policy, and parental notification policy among 

others—are described in the Student Handbook, which is printed and distributed to incoming students 

and faculty annually. Copies are available year-round in the Flaxman Library and the Office of Student 

Affairs. The contents of the handbook are also available as downloadable PDFs on the School’s 

website, such as the overview of policy information—Student Rights And Responsibilities. 






I.1.3. Response To The Five Perspectives 

The demands of highly competent training for professional architectural practice are reflected in 

the construction, mission and identity of SAIC. Long one of the nation’s leading art schools, SAIC 

intends to encourage highly creative, innovative architects; moreover, with a history of commitment to 

social interaction and intellectual citizenship in its recent decades, SAIC will nurture builders who are 

responsible and engaged. 

NAAB procedures couple Architectural Education with a series of aspects to be found among quality 

programs of higher education. In compliance with NAAB conditions, this document discusses each in turn: 

A) Architectural Education and the Academic Community 

B) Architectural Education and Students 

C) Architectural Education and Registration 

D) Architectural Education and the Profession 

E) Architectural Education and Society 

A) Architectural Education and the Academic Community 

SAIC is dedicated to the idea of art affecting change in society as well as the arts. The deans, faculty 

and student governance all commit to the notion that SAIC curriculum must critically reflect and 

engage global issues and the wonder of the well-made aesthetic object. The School looks at the world 

for inspiration and to art and design practices for nourishment. An architecture program at the School 

of the Art Institute of Chicago assists in this endeavor by positioning one of the most public of the arts 

at the center of a practice devoted to radical thinking about creativity in society. 

SAIC’s Architecture program fosters a discourse around art and design by sharing courses, students, 

and faculty. SAIC’s porous boundaries between departments, the interdisciplinary practice of many 

of the faculty and the shared resources including exhibition opportunities, visiting artists programs, 

advanced interdisciplinary seminars and a governance system whose administrators look to the whole 

of graduate education lends to a symbiotic relationship between art and architecture. 

1) AIADO’s interaction with and contributions to the institution 

Introducing architecture into the School’s flourishing graduate division has further invigorated the 

interdisciplinary mission of the School. Architecture completes a program inventory that includes 15 

fine arts studio departments, art history, arts journalism, arts administration, historic preservation, art 

education, art therapy and visual and critical studies. It is a key discipline for an art school that seeks 

to critically examine the phenomenon of the built world. Architecture students infuse the campus 

with a legacy of historical and theoretical examples and ideas and bring a new set of contemporary 

practices and methodologies to SAIC. AIADO’S courses resonate through the larger curriculum 

adding further dialogue around making and critical social practice. In turn, each semester of the 

architecture curriculum includes an elective that can be satisfied by the breadth of courses in art 

and design insuring an interesting mix of academic pursuits. Students are advised and encouraged 

to move into other areas of SAIC to enrich their practice and concomitantly impact other areas. 

Nearly all of the students who chose to study architecture at SAIC identify this possibility as a prime 

motivation for their choice of school. 

2) AIADO/Institution interaction 

The transdisciplinary nature of SAIC is evident in undergraduate and graduate study: a description of 

15 | Spring 2011 






SAIC’s cross-listed and multi-level classes and AIADO’s graduate programs; a list of transdisciplinary 

courses taught by AIADO faculty; and examples of institutional projects in which AIADO contributed. 

a) Undergraduate level study 

Students in the Bachelor of Fine Arts program do not declare majors, but design an individual 

course trajectory reflecting their interests. BFA students generally fall into one of three cat- 

egories: those that work in a department that recommends/requires the successful comple- 

tion of a course sequence for students to enroll in advanced level courses and gain access 

to select equipment, faculty or resources such as the sequenced course of study in Fashion 

Design or the department of Film, Video, New Media and Animation; those that locate their 

studies primarily within a department and function as a discipline-based major such as an 

undergraduate painting “major;” and those who work in a transdisciplinary manner and locate 

their studies within or across several departments. 

Students in specific degree tracks, such as Bachelor of Interior Architecture (BIA), follow 

a specific, sequential course curricula, and have fewer electives; however, they are free to 

choose those electives throughout SAIC’s diverse course offerings. Conversely, as many as 

20% of the students in any BIA class are non-majors—students from other disciplines and 

paths that seek exposure and some level of study within the AIADO department. 

A collection of sequential undergraduate non-professional courses in architecture is be- 

ing considered as a defined recommended pathway of specific courses, including building 

science, structures, architectural history and design studios, in the hope of producing an 

undergraduate transcript that could lead to Option II consideration or advanced standing at 

other schools. 

b) Graduate level study 

MFA graduate students work independently, and the majority (39 of 60) of their credits are 

stuidio credits earned through tutorial, one-on-one advising (MFA 6009 Graduate Projects) 

supplemented with electives and art history requirements. MFA students are at liberty to 

select advisors from any department in the School, so may seek advisement with the School’s 

architecture faculty. 

In Fall 2010 AIADO has five Graduate Projects advisors on the course schedule—three 

Architecture/Interior Architecture faculty and two Designed Objects faculty—allowing for a 

total of 34 students to enroll. In Fall 2009 34 students worked with five AIADO advisors. In 

Fall 2008, 20 students worked independently with three AIADO faculty. 

MArch students enroll in collaborative design studio courses in the third semester, or first 

semester of the Option II, bringing them into contact with other disciplines taught in the 

program. 

c) Graduate certificate in historic preservation 

Since 1993, SAIC has offered one of the nation’s leading programs conferring the Master of 

Science in Historic Preservation degree, with 30 or more graduate students in the program. 

MArch students have the option to enroll in a set of five classes from the Historic Preservation 

program which meet the minimum standards and guidelines promulgated by the National 

Council for Preservation Education. The Certificate courses provide architects with a working 

knowledge of historic preservation research, documentation, material conservation and 

practice, and allow the student to earn a Certificate in Historic Preservation in addition to 

the graduate MArch degree. Students bring their design training abilities to the service of 



preservation through studio projects that focus on the adaptive re-use, the rehabilitation, or 

preservation of historic structures. This is consistent with current standards for architectural 

education being reviewed nationwide by the American Institute of Architects’ Historic 

Resources Committee. 

Students also complete an internship in preservation either in an architectural office or 

other agency; or they may participate in a SAIC study trip. Alternatively, students can enroll 

in an additional term(s) to complete the certificate. Currently, five students are on track to 

complete the certificate program. 

d) Cross-Listed and multi-level courses; transdisciplinary faculty 

Cross-listed courses on both the undergraduate and graduate level permeate departmental 

borders and allow students to direct their study in various areas of the institution, locating 

themselves in other communities and working with a range of faculty and students. Some of 

these courses are also multi-level, allowing interaction among students at varying points in 

the post-secondary education. 

Faculty in many departments regularly teach in other departments, and indeed most of the 

full-time faculty at SAIC came here because of this strong transdisciplinary possibility. This 

reality constitutes the underlying ethos of the school, and it has an important emphasis on 

the professional masters degree programs. 

In 2010-11, 25 AIADO courses are cross-listed with other departments. While the majority 

of the cross-listing is between Architecture and Interior Architecture courses, there are a 

number of transdisciplinary offerings including Fall’s Visual and Critical Studies (AIADO 3933 

Design Denied) and Art Education (AIADO 4903 Landscape/Territory/Field), and spring’s 

Fashion (AIADO 4900 Fashion and Architecture: Fluid Interfaces) and New Arts Journalism 

(AIADO 4932 Unwrapping Design & Architecture). SAIC tracks enrollment through the 

various departments under which a course is listed on the course schedule to provide 

historical overview of enrollment patterns, and the percentage of students from various areas 

that enroll in the cross-listed or transdisciplinary courses. 

In Fall 2009 courses in addition to ARCH/INARC cross-listed courses such as Informing 

Design: Thinking Strategies, cross-discipline-based courses such as the graduate-level 

courses ARCH/INARC 6112 Nodes, Networks and Interactivity; or Artists Games, Activated 

Objects, and Ceramics for Designed Objects co-taught with Art and Technology or Ceramics 

faculty were offered. 

In Fall 2008, AIADO faculty taught in 25 courses that were cross-listed, in two to four areas 

of study, among architecture, interior architecture and/or designed objects with art and 

technology, fashion design, visual and critical studies and/or ceramics. In total, there were 365 

unique enrollments among these courses. 

e) SAIC critique week 

Critique Week, in which courses are suspended for a week each semester and faculty 

review recent graduate work, is a key long-standing mechanism for ensuring the interaction 

of students and faculty from across the entire institution. In this school-wide week of 

evaluation, SAIC professors are assigned to panels that provide each graduate student with 

a unique review and discussion of their work. Fall Graduate Critiques are disciplinary, and 

spring Graduate Critiques are transdisciplinary, providing students with feedback from a 

wider visually astute audience that is not necessarily familiar with the field of architectural 

17 | Spring 2011 






production. In 2009–10 it was amended that architecture students would not participate in 

Critique Week during their first year, but rather present their work within classroom settings 

as more appropriate to the work produced in the first year. 

f) Collaborative projects 

While the case has been made for collaborations and transdisciplinary courses being 

encouraged at the School, the new design programs have made way for a host of even more 

ambitious collaborative projects involving multiple departments at the School as well as the 

community beyond the School. These are described more fully in the next section of the APR, 

on page 21. 

g) Intellectual resources 

From SAIC’s nationally recognized Visiting Artists Program and exhibition record to the 

depth of the AIC’s libraries, collections, and architecture-specific programming, AIADO has 

incorporated existing resources into its curriculum. 

h) Lectures 

Below find brief descriptions of the Institution’s many lecture programs. 

o Visiting Artist Program (VAP) 

Formalized in 1951 with an endowed fund from Flora Mayer Witkowsky and partially 

funded by the Illinois Arts Council, the VAP hosts public presentations by artists to 

foster a greater understanding and appreciation of contemporary art through discourse 

through semester-long, multi-event lecture series as well as multiple individual 

presentations by artists and designers during fall and spring semesters. 

o AIADO lecture series 

The Grayce Slovet and William H. Bronson Mitchell Lecture Fund in Interior Architecture 

brings two to three prominent practitioners to the School each year for its endowed 

lecture series. 

o AIC’s Architecture and Design Society 

The Art Institute of Chicago’s Architecture and Design Society supports the many and 

varied activities of the Department of Architecture and Design. Of particular interest, it 

has become highly visible for its superlative record in organizing architectural exhibitions 

and publications. 

i) Exhibitions 

Below find brief descriptions of the Institution’s many exhibitions spaces: 

o AIADO exhibition spaces 

Display spaces in the AIADO department in the Sullivan Center, 36 S. Wabash Avenue. 

o Sullivan Galleries 

The Sullivan Galleries—a 55,000 square foot space housed in the same building as 

AIADO—feature exhibitions, performances, lectures, and screenings by SAIC students, 

faculty and other international artists. 

o Betty Rymer Gallery—280 South Columbus Drive. 

The Rymer Gallery offers 2,700 square feet and features exhibitions by SAIC students, 

faculty, and other international artists. 

o Student Union Galleries 

In the two Student Union Galleries—LG Space and Gallery X—SAIC students participate 

substantially in all facets of gallery operations and drive programming decisions in con- 

sultation with a faculty advisor. 



o AIC’s Department of Architecture and Design 

The historic collection comprises more than 150,000 architectural sketches, drawings, 

and plans focusing on architects and buildings from Chicago and the Midwest, from the 

1870s to the present day. 

j) Libraries 

Below find brief descriptions of the institution’s many libraries, archives and collections. In 

addition to the School’s holdings, inter-library loan and 70 web-accessible, licensed digital 

databases are available to members of the SAIC community. 

o John M. Flaxman Library 

The primary library for the school, the Flaxman library maintains over 100,000 books, 

picture files, 400 periodicals, and 2,000 audiovisual items including films, videos, audio- 

tapes, records, and CDs. 

o Special Collections of SAIC 

The six Special Collections provide researchers with intimate access to original archival 

materials, works of art and supporting documentation. They include: the Fashion Resource 

Center; Film Study Collection; Joan Flasch Artists’ Book Collection; Randolph Street 

Gallery Archives; Roger Brown Study Collection; and the Video Data Bank. 

o MacLean Visual Resource Center 

The MacLean Resource Center maintains the Madison Digital Image Database (MDID), a 

growing in-house database of over 90,000 images. These collections, which are closed 

to the general public, support the educational programs and curricula of the school. 

o AIC’s Ryerson and Burnham Libraries 

The Ryerson & Burnham Libraries constitute a major art and architecture research 

collection that acquires approximately 10,000 volumes annually. 

o The Ryerson and Burnham Archives 

The Ryerson and Burnham Archives’ collections are notably strong in late 19th- and 20th- 

century American architecture, with particular depth in Midwest architecture. 

o The Chicago Architects Oral History Project 

The CAOHP was begun in 1983 under the auspices of the Art Institute’s Department 

of Architecture to record the life experiences of architects who shaped the physical 

environment in Chicago and surrounding communities. 

o The Ernest R. Graham Study Center for Architectural Drawings 

Administrated by AIC’s Department of Architecture and Design, the collected works of 

the study center concentrate on designs by Chicago architects and for Chicago buildings 

from the 1870s to the present day. 

B) Architecture Education and Students 

SAIC students participate in the structure of their education most notably through student evaluations; 

moreover, MArch students influence curricular direction and departmental concerns in both formal and 

informal ways. Those include impressions shared during the full-time faculty hiring process and self- 

evaluation as well as a governing board of student-elected representatives. 

1) Students participation in departmental faculty hiring 

Students have a particular role to play in the search for new full-time faculty. The search process 

includes on-campus presentations by finalist candidates selected by the committee of full-time 

faculty. Students attend these public presentations, evaluate candidates in class critique sessions, and 

report to the Search Committee on their opinions. This feedback has been instrumental in the Search 

Committee’s deliberations. 

19 | Spring 2011 






2) Response to student concerns 

Program responses to student concerns can be discussed by looking at student evaluations, 

students representations and governance, and the role of students in departmental self-assessments. 

Student representations and governance 

In their first semester, students in the MArch program elect two representatives for 

each of the two Option II tracks. Those elected representatives remain in place for 

the rest of the degree program. With the full implementation of all three years of the 

MArch curriculum in Fall 2008, this produced a group of twelve (12) elected student 

representatives. These elected representatives from each curricular level are encouraged 

to bring their class’s concerns to the Administrative Director and the Program Director. 

They do so regularly because they know this direct, purposeful contact is legitimated, 

expected, and common at SAIC. This is a quick, effective, and primary way for the 

institution to listen to student concerns and make appropriate responses. It is the most 

common procedure at the School, and is used at all administrative levels. Recent examples 

of concerns resolved in this way include: 

o A concern that some first semester MArch students were at risk of falling seriously 

behind the rest of their classmates was reported to the program director and taken 

directly to the Dean’s Cabinet. A decision was made to provide a limited number of 

specially selected personal tutors for students. This service was offered to students 

who privately and individually identified themselves as being at risk and in need of the 

tutoring. This tutoring is provided free by the Deans’ Office to each student during the 

first semester for up to 30 hours per student. The program has also added a pre-requisite 

of algebra and physics to the MArch programs. 

o A concern that students studying structures in the ARCH/INARC 5113 Construction 

Systems and Structures 1 and ARCH/INARC 5123 Matter and Structures 2 classes were 

spread too widely along the learning curve, because some were not adequately prepared 

in the use of algebra at the time of admission, and some were not learning structural 

concepts as quickly as the rest of the members of the class. This was reported to the 

Program Director who consulted with the structural engineers in those classes. A second, 

shorter class session was offered on Friday afternoon, increasing contact time to enable 

more advice and personal guidance to any student who needed it. 

As of the 2009–10 academic year many student governance and communication procedures have 

fallen under the purview of the newly re-formed and recognized AIAS chapter. With help from the 

AIADO administrative office, the chapter organizes two meetings per term with the AIADO program 

directors, the AIAS officers, and student representatives from the MArch program. Of the two 

meetings, one is reserved for a discussion and feedback on curricula; the other for a discussion and 

feedback on the AIADO learning environment. Other department supported AIAS events for the 

2010–2011 academic year include: 

Scheduled events 

o The Second Beaux Arts Ball to be held this spring in SAIC Ballroom. The Beaux Arts 

Ball is a time-honored celebration, originating at the École Nationale Supérieure des 

Beaux Arts in Paris. 

o Professional Dinners: A series of dinners, to be held over the course of the year, 

with members of the Chicago architecture community. Topics of discussion may include 

portfolio reviews, technology and environmental impacts. 

o Design Competitions: Pulling from national and local competitions, the chapter 

announced and proposes competitions, such as: Delta Faucet Designers of Tomorrow 



(students propose designs using Delta non-kitchen or bath home environment) and SAIC 

Student Center Designed Surfaces (students propose logos for in-development student 

center). 

Proposed SAIC AIAS initiatives 

o SAIC AIADO Open Studios: This in-development project would feature twice yearly, 

“open studio” events so all students in the AIADO department can mingle and ask 

questions about each others work. 

o Professional Outreach and Networking: The chapter is developing a set of 

initiatives, such as the professional dinners, to create a relationship with the Chicago AIA 

community. 

o Studio Culture: Our goal is to create a space for students to learn from one another 

and exchange ideas, while serving as collective voice for the department. 

o SAIC Community: Much like with the AIADO studio culture, the chapter will help to 

foster exchange and collaboration with other departments within the school. 

3) The role of students in the department’s self assessment 

Since the MArch program was established in Fall 2006, it has altered its curriculum twice: first in 

response to student concerns; and second in response to advice received during the first NAAB 

candidacy visit. Student concerns expressed in course evaluations were used to modify the delivery 

of topics during the initial summer intensive boot camp after Summer 2006, and again after 

Summer 2007. Student concerns have also been used to change the pattern and timing of class 

contact hours for the delivery of structural engineering topics after Fall 2008. 

The MArch program is young, and its initially approved curriculum needs to be given time to gel while 

remaining responsive to concerns raised by students and the accreditation process. In a timely way 

students will begin to assume a more complicated role in the program’s self evaluation of its effectiveness. 

The MArch program’s Assessment and Archiving System has been operational for four years, since 

December 2006. It has collected assessments of student performance on the subsets of the thirty- 

two NAAB performance criteria for every required class in the MArch program. The performance 

criteria are only a minimum standard of understanding and ability, but they are also a foundation 

stone for the professional goals of the MArch program. The significant identity and progressive 

direction of the MArch program at SAIC are unique and evident in the work of the students, and in 

the tenor of daily life in the Sullivan Center’s studios and halls. 

Faculty assessments of student performance on NAAB SPCs are contained in metadata that has 

been collected with the PDFs of student work that were evaluated by faculty teams and uploaded 

to the system’s server. Starting in Fall 2009, the metadata has been sorted according to SPC with 

high pass and low pass numbers for each SPC. This allows the MArch program to assess where each 

student performance criterion can best be delivered. A review of this sort was just completed in 

Spring 2010. 

4) Additional Projects 

The School’s AIADO department has successfully undertaken a number of unique projects that best 

illustrate how students are supported and encouraged to assume leadership roles, set individual and 

collective learning agendas, and are encouraged to cooperate with and respect fellow students while 

being exposed to a national and international context of practice. 

From 2005 to 2007, SAIC supported three projects that exemplify these experiences. They were: Red 

Bull at the Art Chicago art fair—where students designed an ice sculpture for the corporate client; the 

21 | Spring 2011 






17th Annual International Contemporary Furniture Fair—where the students won the Editor’s Award 

for their environmental installation; and being the sole North American school invited to exhibit at the 

furniture fair SaloneSatellite in Milan, Italy. Since that time, the students of AIADO have undertaken 

several additional GFRY funded projects—which are projects funded by a gift from the Motorola Fund 

and discussed in greater detail in section I.1.5 Self-Assessment Procedures—including: 

o 18% Grey 

In 2007-08, 13 AIADO students explored light as a tangible and formable substance. 

The project was ultimately displayed in Milan, Italy. Light is filtered through artifacts and 

discrete constructions to produce zones of edited brightness and shadow. In 18% Grey, 

illumination is used to transform and reveal the inherent beauty of everyday materials. A 

number of designs were made in the two-semester project. Four—entitled “Impromptu,” 

“Flex,” “Fizz” and “Line”—were selected for presentation at Fabbrica del Vapore 

for Salone del Mobile by the Milanese design fabrication and distribution company 

“Industreale”—a firm known for exploring the material qualities of ceramic, wood, glass 

and metal. 

o Zero Energy Urban Design and 200 Watt Living 

These two projects galvanized 2008-09 GFRY Studio with 13 students—six Architecture 

students and seven Designed Objects students. “Zero Energy Urban Design” examines 

how to maximize the gathering of solar energy in a dense urban environment, through 

the invention of a completely re-configured zoning envelope. “2000 Watt Living” 

proposed to build working prototypes of appliances and building components that can 

help reduce the average personal energy consumption in the developed world (12000 

watts average) down to the average of the developing world (2000 watts average). 

o Studio (Re) 

In 2009, students worked in the GFRY Studio with architecture faculty from the 

University of Tokyo and the community of Beppu, Japan. The studio studied the 

phenomenon of shrinking cities and developed ways to reactivate unused urban space. 

The work led to installations and workshops in Detroit, Chicago and Beppu 

C) Architectural Education and Registration 

The MArch degree program at SAIC, with its four tracks, is designed to prepare its graduates to serve 

in the intern development program, and become licensed, practicing and professional architects. In 

each track, the comprehensive architectural design classes deliver projects of increasing complexity 

that are intended to result in student performance of increasing creativity and proficiency. A wide 

skill set and an extremely creative approach to design have been the hallmark of SAIC’s graduates in 

interior architecture for decades. The same hallmarks of creativity and skill are expected of its MArch 

and MArch/IA graduates. 

1) Professional Contact 

One of the natural boons of an architecture program in Chicago—a cradle of ambitious and forward 

thinking architecture for more than a century—is the diverse, active architecture and interior 

architecture practices AIADO can draw on for guest critiques, lectures, professional counseling, 

site visits and other types of student enrichment. A collegial atmosphere permeates the city’s 

design professionals; therefore, interaction among students and local professionals is often done 

on a pro bono, reciprocal basis. Additionally, AIADO keeps a line item in its budget for honoraria to 

compensate short-term faculty assignments and special guests. The economic realities of licensed 

practice, and the ethical responsibilities of a licensed architect, are never absent from the discussion 



with this group of urban professionals. AIADO faculty regularly have visitors trace their professional 

history beginning with school and moving through internship, licensure and mature practice; 

moreover, these regular opportunities to form personal relationships often lead to IDP apprenticeships 

for students following graduation. For example, the School placed two current graduate students with 

the Argonne National Laboratory this past summer for internships, and currently an MArch Option II 

student is interning with Gensler. 

2) Course Work 

While there are differences between the four MArch tracks, NAAB performance topics are covered in 

each curricula, including architectural education and registration concerns. Each track prepares the 

student to function in an Intern Development Program (IDP) and to take the Architect Registration 

Examination (ARE). Chiefly, professional practice is the lynchpin of the course ARCH/INARC 6222 

Sustaining Practice Economies, which was first offered in Spring 2009. 

D) Architectural Education and the Profession 

The relationship between architectural education and the profession is forged through both the 

classroom and co-curricular ways. 

1) Education for progress through the intern development program to the 

Architect Registration Examination and state licensure 

Detailed aspects of the professional pathway toward architectural registration and licensure are first 

addressed comprehensively in the fourth semester of the MArch program. This is because many 

students think seriously about working in their second summer—after the fourth semester when they 

have developed skills to use on the job. It is rare for a student to work for an architectural firm in 

the first summer, because the MArch program has an advised off-campus study program early that 

summer. It is also rare for a student to work during the academic year due to the short and intense 

nature of the MArch program. 

The fourth semester Integrated Technical Practice class ARCH/INARC 6123 Codes, Specs, Joints, and 

Seams is taken by all tracks in the MArch program, and it includes a lecture introducing the topics 

of state registration and licensure, the National Council of Architecture Registration Board’s role and 

resources, the details of an IDP, and the student’s responsibility for starting and managing his or 

her NCARB IDP record. NCARB booklets and the website are provided for general studio reference. 

Typically, some students sign up for an IDP record after their introduction. Full-time faculty members 

with current state architectural licenses (or progress toward the same) are asked by the AIADO 

department to act as IDP mentors—professors Keane and Nereim have acted in this role in the past, 

Professor Sterk is currently acting IDP coordinator. Generally, part-time faculty with current state 

architectural licenses are not officially asked by the AIADO department to volunteer as IDP mentors, 

but they may. As more full-time faculty members become registered architects, this IDP mentorship 

role, as a professional responsibility, can be spread more widely across the full-time faculty. 

Recent or upcoming activity organized by the current IDP coordinator include: 

o Fall 2009: A lunchtime lecture where Professor Sterk introduced the IDP program to 30 

students (mainly first-year and third-year students). Sterk discussed the primary ways in which 

students would pursue internships and develop their own connections to the profession. 

o Fall 2009: An evening workshop on employment searches, including a discussion of 

approaches and methods to job hunting, portfolio preparation, and early job experiences. 

23 | Spring 2011 






o Spring 2010: Frank Hertzman, the IDP coordinator for Illinois, was a guest speaker in ARCH/ 

INARC 6123 Codes, Specs, Joints, and Seams to discuss internships with the second-year 

Architecture and Interior Architecture students and first-year Interior Architecture students. 

o Spring 2010: Ten SAIC students (primarily first and third year) attended a special IDP evening 

event for students and interns at the AIA Chicago, led by NCARB staff and Frank Hertzman. 

o Summer 2010: SAIC representatives (students and IDP coordinator faculty) attended two 

IDP events that took place beyond SAIC. 

o Summer 2010: Professor Sterk attended the IDP coordinators conference in Chicago and 

gained access to AIA IDP coordinator resources. 

o Fall 2010: Presentation by NCARB Illinois on professional licensure to MArch students. 

2) Education for the practice of architecture 

The sixth semester ARCH/INARC 6222 Sustaining Practice Economies is taken by all tracks in the MArch 

program. It covers a wider range of material than the IDP and architectural registration, but it clearly repeats 

and reinforces the information first delivered in the course ARCH/INARC 6123 Codes, Specs, Joints, and 

Seams. Other topics in ARCH/INARC 6222 Sustaining Practice Economies include: 

o A survey of the history of practices 

o conventional/alternative practices (with field trips to a local cross-section of office sizes and 

types) 

o IDP, ARE, registration, licensure, reciprocity, and continuing education, as well as the roles 

and resources of the AIA and NCARB 

o business, contracts, termination, errors and omissions, insurance, binding arbitration, waivers, 

and certificates 

o relationships with consultants 

o job research and search. 

3) Education by professional architects 

The central location of the AIADO program in Chicago’s Loop facilitates professional architects contributions 

to the education of MArch students. Some practicing architects serve as long-time adjunct faculty members 

teaching particular classes for years. Despite busy schedules, other practicing architects teach single classes 

in collaboration with AIADO faculty members. In Fall 2010 Brian Vitale from Gensler is co-teaching with 

Professor Linda Keane in the first semester architecture design studio. Practicing architects also join regular 

academic critiques at the mid- and endpoint of each academic term. 

4) Education by consulting professional engineers and experts 

The Integrated Technical Practice thread of five sequential classes gives professional engineers and experts 

substantial time in class to overlap and collaborate with architectural faculty members while teaching. 

This class structure presents a genuine reflection of the way generalist architects, experts, and engineers 

collaborate in professional offices. Examples include professional structural engineers, professional BIM 

experts, electronic systems and programming experts, and HVAC experts—all of whom regularly teach in 

required courses in the MArch program side by side with architects. A long-term teaching relationship has 

been developed between AIADO department and Thornton Thomasetti structural engineering, and the 

department plans to expand its regular teaching relationships to include other firms such as Skidmore, 

Owings & Merrill LLP; Gensler & Associates; and O’Donnell, Wicklund, Pigozzi & Peterson Architects, Inc. The 

goal in this integrated teaching structure is to present basic engineering ideas and methods in a context 

where they are heard, understood, and incorporated into the course assignments by the architectural faculty 

who remain present throughout the class, thereby legitimating the engineering knowledge for the students. 



5) The historic relationship of the school and the professions 

A creative, entrepreneurial approach to the business of practice has always been the hallmark of 

graduates of the School. More recently, professional seminars for graduating undergraduate BFA 

as well as MFA students have been emphasized in curricular development at SAIC. The art market 

is a demanding and mercurial environment for all artists, including those graduating from SAIC. In 

this constantly changing environment, SAIC’s graduates have had several major triumphs of re- 

definition such as the Chicago Imagist school of painting, the non-woven surfaces and structures of 

today’s Fiber and Material Studies graduates, the artful style of comics epitomized by alumnus Chris 

Ware, and MFA alumna Andrea Blum’s architectural works on exhibition in Venice in 2008, which 

coincided with the eleventh Venice Architecture Biennale that featured work from MArch faculty Ben 

Nicholson. Because AIADO’s particular professional architectural program is situated at the School, 

this creative professional approach is natural. Knowledgeable employers in Chicago have long 

expected this particular approach when they hire SAIC graduates. 

6) Education and professional design collaboration. 

The third semester of the MArch program is based on the idea of interactivity and collaborative roles 

between different design disciplines. Through the interrelationship of three courses—ARCH 6110 

Architectural Studio 3: Systems; INARC 6110 Interior Architecture Studio 3: Interactive Spaces; and 

DES OB 6110 Designed Objects Studio 3: Exchange Objects—students set aside strict disciplinary 

coursework and are organized into collaborative teams to pursue research on problems that 

can only be solved effectively with a variety of approaches. This research leads to the principled 

critique and detailed revision of an architectural space and function program, and of the furniture 

and specialized equipment and designed objects that will be needed. Once this transdisciplinary 

research is done, the individual members of the research teams determine how to solve the 

problems they have set for themselves, using both cross-disciplinary partnerships and straight 

disciplinary work. Recent examples of this approach have included a “rich-environment school” 

a “creative arts business center” and a “children’s museum.” Students having researched the full 

complexity of the issues are asked to decide as a team of designers and architects how and when to 

cross the traditional disciplinary boundaries. 

E) Architectural Education and Society 

Former Dean of Faculty Carol Becker’s long tenure at SAIC was characterized by an investigation of 

the relationship of the artist to society, and this has proven to be fertile ground for the examination of 

design disciplines within the context of the subversive imagination that characterizes the School as a 

whole. Under her leadership, the Design Initiative and the degree programs that flowed from it were 

charged with re-imagining the design and architecture disciplines as they impacted the world. This 

stewardship has continued under the Dean of Faculty Lisa Wainwright—who contributed to the Design 

Initiative’s period of inquiry and curriculum-building in her former role as Dean of Graduate Studies; 

furthermore, AIADO looks forward to new, knowledgeable leadership from new President Walter E. 

Massey and Provost Elissa Tenny. 

As a result of SAIC’s success marrying design and society, AIADO students have been invited to 

participate in several civic projects. In one such example, the Mayor of Chicago asked the school 

to imagine ways in which the City’s reputation as a center of Green Design could be given a wider 

foundation in the lives of its ordinary citizens. The School’s architectural faculty members have lead the 

way with this effort. Professor Linda Keane initiated several internships, paid by the City of Chicago, 

for the design of a website devoted to the examination of green roofs all over the city, the architectural 

issues involved in making them and measuring their effectiveness. The City of Chicago Green Roof 

website can be accessed at http://www.artic.edu/webspaces/greeninitiatives/greenroofs/. 

25 | Spring 2011 






Another outcome of SAIC’s interest in connecting design and society is the suitability of its students to 

participate in research collaboratives with institutions outside of SAIC whose research agenda might 

not be specifically architectural, but have real ramifications for the design of the built world when 

addressed through an architectural perspective. Through contacts made via SAIC/AIADO hosting of 

the ACADIA 2009 conference, professors Tristan Sterk and Douglas Pancoast initiated an institutional 

collaboration between SAIC and Argonne National Laboratories—specifically with Argonne’s Theory 

and Computational Sciences Lab, presided over by Charlie Catlett. The interchange has recently 

yielded a successful grant application where funds from the Department of Energy will be used to 

support research into embedded sensing systems in architectural space and their potential to create 

responsive systems capable of creating a much more energy efficient built world. The three-year grant 

will support the cost of release time for 2.5 AIADO faculty and five paid student assistants working 30 

hours per week. 

Over 45 SAIC students, including undergraduate, graduate, MFA and Art Education students working 

interdisciplinarily, contributed to NEXT.cc, a leading program in architecture education directed by SAIC 

Professor Linda Keane, via Eco Design and service learning: www.NEXT.cc, Inc. Eco Web Greening . 

On September 10, 2010 the Association of the Collegiate Schools of Architecture announced the 

appointment of SAIC Associate Professor Ellen Dineen Grimes as the twentieth executive editor of the 

Journal of Architectural Education (JAE). Professor Grimes will transition during the 2010-11 academic 

year with Executive Editor George Dodds, as JAE enters its 64th year of publication as the premier 

blind peer-reviewed journal in architecture. SAIC has provided a reduced teaching load for three years 

while receiving full salary and benefits to Grimes to allow her to pursue this professional opportunity. 

As stated in the press announcement: 

Ellen Grimes is an architectural designer, scholar, and educator in Chicago. She is an associate 

professor at the School of the Art Institute of Chicago, where she teaches architectural design, 

technology and theory. Previously she has taught at the University of Illinois at Chicago and the 

Illinois Institute of Technology. 

An experienced author, Grimes’s work has appeared in a variety of books and journals, including 

aX, Log, the Journal of Architectural Education, and Contents (ed. R. Koolhaas). She was awarded 

the Van Alen Institute’s New York Prize for 2008 for Public Ecologies, a project at the Midewin 

National Tallgrass Prairie. 

She holds an M.Arch from the University of Illinois at Chicago, and an MBA and BA from the 

University of Chicago. Her design practice, Available, provides planning services for a large 

Midwestern healthcare organization and works on nonprofit brownfield redevelopment in Chicago. 

In addition, she has worked with Bruce Mau Design, Garofalo Architects, and Greg Lynn Form on 

projects in Chicago, New York, Thailand, China, and Canada. 

For Spring 2011, SAIC Associate Professor Michael J. Golec has been identified as the 2010-11 Anschutz 

Distinguished Fellow in American Studies at Princeton University. While pursuing the research and 

writing of his third book on design, Golec will teach one multidisciplinary seminar course for upper- 

division undergraduates. In addition to giving the course, each fellow delivers one public lecture to 

an audience drawn generally from faculty, graduate students, and interested members of the larger 

Princeton community. SAIC has arranged a modified contract for Golec to allow him to pursue this 

opportunity while retaining full-time status at the School during the year. 






I.1.4. LONG-RANGE PLANNING 

The departments of the School engage regularly in both departmental and school-wide strategic 

self-assessment and planning exercises. The MArch program’s department, AIADO, performs periodic 

self-reviews that consider faculty experience, student feedback and observations of the field of art and 

design in an ongoing effort to keep the curriculum responsive to educational goals and savvy within an 

innovative profession. Also, the School continually evaluates its effectiveness, undertaking major, multi- 

year plans such as the current Strategic Planning process. 

A) Departmental Planning 

To plan, secure approval of the Faculty Senate, and implement new programs in their department, the 

faculty of the Department of Architecture, Interior Architecture, and Designed Objects have already 

made significant collective investments of time, energy, commitment, and focus. The full-time and 

adjunct members of the department have participated in eight intensive curricular retreats to date 

since 2001, during which the programmatic vision and structure has been articulated, core curriculum 

has been determined, and course descriptions have been discussed and drafted. In 2007 the AIADO 

department held a series of faculty meetings to determine how to increase the degree of technical 

architectural and building science competence in student work, in response to the exhibition mounted 

for the NAAB candidacy team’s visit. These plenary meetings have continued on a regular basis to 

further refine the programs as they are implemented. 

In September 2009 the department held an all-day retreat at the Dean of Faculty’s home to review 

current administrative structures and review curriculum. At that time the faculty asked to delay a 

search for a chief director while advocating for a transitional model that appointed three discrete 

directors—Douglas Pancoast as Director of Graduate Programs, Thomas Kong as Director of 

Undergraduate Programs, and Helen Maria Nugent as Director of Designed Objects. 

The curricular and financial impact of the new professional Masters degree programs has already been 

studied in depth through the due diligence exercises followed by the School as a whole in conjunction 

with its Board of Governors, its Design Advisory Committee, and the Faculty Senate, Curriculum 

Committee, Design Initiative Committee, and the AIADO Department. While the programs have been 

met with enthusiasm in their public debut, and the School is pleased with both the caliber and the 

quantity of applicants to each of the programs, it has been necessary to continue the refinement 

process as the program has been implemented, long-range plans for staffing have been executed, 

new full-time faculty members have been hired, new and remodeled facilities have been designed 

and delivered, and data on student satisfaction and outcomes are gathered from both NAAB and the 

student body. 

Formal student input is crucial as well. The Studio Culture Committee (now folded into a recognized 

AIAS chapter) met regularly and attempted to encompass undergraduate BFA and BIA students as well 

as MArch students, as they share many facilities. In 2007, undergraduate and graduate students from 

the department were asked to meet with and evaluate finalist candidates for Fall 2007 faculty hires in 

Architecture and Designed Objects, and their responses were critical in the final selection process. 

1) Recent Planning Initiatives 

Departmental planning and assessment are intrinsically linked. Planning serves not only the 

development of procedures for the regular administration of the department, but also is the 

27 | Spring 2011 






projective apparatus for identifying and providing opportunities for students and faculty in the 

department, linking the “day to day” to the “year to year.” It is the practice of the AIADO to allow 

for a carefully monitored but flexible application of the departmental mission; consequently, 

departmental procedures balance the requirement to deliver vital objective educational content with 

an openness to new idea trends, teaching methods, material investigation, and project deliverables. 

An extremely useful tool in the planning and assessment process for curricular, faculty placement, 

and learning culture issues is SAIC course evaluation process. 

Since March 2007 in particular, changes in the content of the required Architectural History classes 

for the MArch program were proposed in the student evaluations, and quickly brought to the 

department’s and Dean’s attention. This resulted in the revision of the titles and content of courses, 

and the augmentation of the 2007 full-time search for new Design and Architectural History faculty 

members, which yielded two design historians hires. In 2007, architectural design historian Kai Wood 

Mah was hired, and in 2008 SAIC made two additional appointments in support of the Architecture 

programs: design historians Michael Golec and Christine Atha. 

In Spring 2007, student evaluations recommended a more effective integration of SAIC’s 

professional structural engineering teaching partners. SAIC is committed at the highest 

administrative level to forming effective partnerships with Chicago’s engineering community. The 

Master of Science in Historic Preservation degree program relies on this kind of expert partnership. 

In the MArch program, professional structural engineers who are not full-time faculty are teaching 

basic statistics and structural design. To better integrate and clarify this instruction, as well as to 

address the March 2007 Visiting Team’s report, a new form of class was designed: the “integrated 

technical practice” class. This kind of class now brings together generalist “integrating” architects 

and experts with engineering expertise into the same class to guarantee the understanding and 

integration of the technical material. 

In 2009, course evaluations and student interviews revealed a desire in the first year cohort to 

receive more training in the development of representational skill, digital tool use, contemporary 

software, and CN controlled fabrication—particularly as this skill accrual can be applied to current 

studio projects. This led to the creation of a greater number of technical electives including AIADO 

2915 Spatial Computer Imaging: Vectorwork (Rhino/Grasshopper) in Spring 2010 and AIADO 2915 

Spatial Computer Imaging: Revit and AIADO 2915 Spatial Computer Imaging: AutoCAD in Fall 

2010. Greater emphasis in these topic areas has appeared in the required pre-program summer 

intensive classes and the integrated technical practice classes as well. Also, two graduate Teaching 

Assistantships for six hours per week were added, providing tech-savvy, one-on-one peer tutoring 

for students in 2009–10 and 2010–11. 

2) Additional planning procedures/initiatives 

A useful tool in the planning and assessment process for both curricular and learning culture issues is a 

reliable schedule of meetings and information collection and dissemination procedures, including: 

o The three program directors (Undergraduate Architecture/Interior Architecture; 

Graduate Architecture/Interior Architecture; and Undergraduate and Graduate Designed 

Objects) attend SAIC Department Heads meetings, organized by the Deans Office and 

attended by over 50 faculty and key staff. This meeting is the opportunity for the AIADO 

department to receive and deliver information relevant to departmental planning within 

the larger institution. Reports on issues germane to the AIADO department are delivered 

to faculty in departmental meetings. 

o Three regular faculty meetings per term, where all AIADO faculty, full- and part-time, 

meet to discuss AIADO planning issues that affect general departmental administration. 

o One to three special session faculty meetings per term, where full-time faculty 



meet to discuss AIADO planning issues that affect specific, emergent departmental 

administration. Presided over by AIADO program directors. A separate event of similar 

frequency focuses on concerns of part-time faculty. 

o Two NAAB-related faculty meetings per term, where full- and part-time faculty 

teaching in the curricula meet to discuss accreditation issues, presided over by MArch 

program director. 

o Two meetings per term with the MArch program director, AIADO AIAS chapter and 

student representatives from the MArch program. Of the two meetings, one is reserved 

for a discussion and feedback on curricula; the other for a discussion and feedback on 

the AIADO learning environment. 

o In 2008, AIADO established a printed and emailed departmental newsletter. 

Information on faculty and student achievements, departmental events, and professional 

opportunities are collected and published once per term. This collection process is also 

used to supply other media channels, like the ACSA News and the F Newsmagazine 

(SAIC student news periodical) with current AIADO information. Efforts to keep an 

interested public informed with current AIADO news greatly enhances the department’s 

ability to develop strategies for the continued delivery of high quality design education. 

3) NAAB Accreditation Departmental Planning 

The curricular goals of the AIADO department and the School have been centered around the 

importance of a fully-fledged architectural approach of the AIA, ACSA, AIAS, NAAB, and NCARB, 

which is unlike schools that have adapted the interior design approach lobbied for over the last 

thirty years by ASID and FIDER (now CIDA). Thus, discussions and consideration of NAAB criteria 

for accreditation for the graduate architecture programs began during the first phase of curricular 

development for the new programs. NAAB conditions for accreditation were reviewed by the AIADO 

Chair, key faculty, Dean of Faculty, and President. Early in the process, faculty discussions centered 

on the curriculum and the need to fulfill NAAB Student Performance Criteria and self-assessment 

standards. The faculty have applied the criteria to the four tracks of the Master of Architecture 

program, and have requested National Architectural Accrediting Board assessment. 

Planning regarding resource requirements, including faculty hires, facilities, equipment and 

technology support, library resources, and intellectual resources began in 2000. These resulted in 

establishing an on-going task force of faculty, staff, and administrators, including the Senior Vice 

Presidents and Vice Presidents who worked together on resource and budgetary planning. 

For the two years preceding implementation, the School’s faculty and administration regularly 

assembled an Advisory Design Council to advise it on the new curricula, and solidify support and 

opportunities for students in the city’s professional community. This committee brought together 

Chicago luminaries in professional design, manufacturing, and retailing, such as Adrian Smith, Holly 

Hunt, John Winzler, Larry Durst, and others. This committee, managed through the school’s Office of 

Development, continues to advise and support the department on its new programs. 

Since achieving candidacy and the program’s second review, stakeholders in the School’s MArch 

program have been tapped for continued evaluation and refinement of the program, guided by 

NAAB feedback. Systemic changes implemented in the curriculum are reported in this APR. Also, 

additional resources have been marshaled this academic year in preparation for Spring 2011 NAAB 

site visit, specifically, rental of dedicated space to build the team room on a floor adjacent to the 

MArch program offices and classrooms and a temporary hire of a MArch graduate to assist in team 

room and other NAAB preparation. 

29 | Spring 2011 






B) Institutional planning 

During the 2008–09 academic year, the suggestion for adding a new, high-level administrative officer 

who could synthesize the needs of the institution and its resources was suggested by the Office of 

the President. Over the next three semesters, this idea was vetted by and among decision-makers 

including the Board of Governors, the Office of the President, the Office of the Deans and Division 

Chairs, the Office of Student Affairs, Fiscal Affairs, Human Resources, and the Faculty Senate. Slowly, a 

plan emerged to pursue such a new position by first creating a temporary position, the Interim Senior 

Vice President of Academic Administration, and staffing it with an external, retired former college 

president who would have a depth of experience, a generosity of knowledge, and an unattached, 

short-term investment with which to help SAIC shape this new chief administrative position in a frank 

fashion. After a search process, Robert Miller was retained in this position, and through his one-year 

appointment during the 2009-10 academic year, Miller marshaled the efforts of administration and 

faculty governance towards two major initiatives: a) create and fill the position of Provost and Senior 

Vice President of Academic Affairs; and b) initiate a major Strategic Planning initiative, resulting in a 

five-year plan. 

1) Provost 

By the time Miller was appointed, administration and faculty governance at SAIC had come to an 

agreement that a Provost would be needed for the School, which had grown exponentially in size 

and scope in the past two decades. Through a series of conversations facilitated by Miller, agreement 

was reached for a Provost position, reporting directly to the President of the School. An international 

search was conducted by a search committee, which, notably, was comprised of an unprecedented 

diversity of faculty; staff from academic, student, and management areas; and Governors. The 

committee selected a search firm to augment SAIC’s regular recruitment methods, and, ultimately, 

Dr. Elissa Tenny—formerly Provost and Dean at Bennington College and, prior to that, Vice Dean at 

the New School for Social Research—was hired as SAIC’s Provost beginning in Fall 2010. 

2) Strategic planning 

Provost Tenny will assume management of the Strategic Planning Committee, comprised of 13 members: 

five full-time faculty members, including current MArch Program Head Douglas Pancoast; one part-time 

faculty member; the Dean of Faculty and the Undergraduate Division Chair, who are both tenured faculty 

currently serving in administrative roles; the Dean of Student Affairs; one representative from Student 

Association, SAIC’s student leadership body; the Chief Operating Officer; one representative from the 

Board of Governors; and one staff secretary. Beginning with a professionally facilitated retreat at the 

beginning of Spring 2010, the committee drafted a list of Core Values and Strategic Initiatives that were 

then shared with a wide breadth of stakeholders in the institution, including: the President’s Cabinet, 

Academic Cabinet, the Office of Student Affairs, an ad hoc committee of institutional executives, 

academic Department Heads, academic Administrative Directors, Student Association, and the Faculty 

Senate. There was also an All-School meeting open to all members of the School community, a website 

where individual students, faculty, and staff’s comments and criticisms were compiled and, finally, a 

drop-box where responses were anonymously collected. 

After each exchange, the Strategic Planning Committee vetted and re-drafted the values and 

initiatives, internalizing the feedback they had received. From the beginning responses to the 

committee’s work were positive, citing that they had described some essential characteristics and 

clarified keen challenges for SAIC. In May 2010, the committee presented the values and initiatives to 

the Board of Governors, who applauded them as the most succinct description of the School they 

had ever been presented. The Core Values and Strategic Initiatives are summarized below. 



a) Core values 

The Core Values were intended to both encapsulate the quintessence of SAIC as well as be 

an aspirational creed with which to guide the strategic planning process. To meet both goals, 

it was decided that the Core Values would have to possess both pith, as to be easily learned 

and intoned throughout the School, and depth, as to properly represent the various SAIC 

communities that pride themselves on diversity and debate. Consequently, the values were 

expressed as brief phrases or, in one instance, a single word, augmented with explanatory 

passages. The Core Values are: 

o We are explorers. 

At SAIC, we exceed boundaries. Our commitment to an open structure is embodied in 

a curriculum of self-directed study within and across a multiplicity of disciplines and 

approaches that promote critical thinking, rigorous investigation, and playful creativity. 

Through interdisciplinary practices and in deeply focused mediums, faculty and students 

conceive and accomplish exchanges in cultural study, production, and research with 

artists and scholars around the world. We are a community that challenges the notion 

that any field is ever beyond rediscovery. 

o Meaning and making are inseparable. 

At SAIC, we believe that meaning and making are inseparable, existing as a perpetual and 

productive cycle driven by experience, research, and critique. Our commitment to a wide 

range of media and processes supports our assertion that the artist, designer, scholar, 

and writer are uniquely qualified as makers to provide leadership, creative perspective, 

and hands-on skill for shaping today’s world, as well as contributing to its opportunities. 

Critique, as a fundamental component of the creative process, provides assessment 

as well as new ideas, possibilities, and directions that enable our community to sustain 

argument, rigor, experimentation, playfulness, invention, subversion, and mutual respect. 

o We are artists and scholars. 

The students, faculty, and staff of SAIC are engaged and innovative creators of art, 

design, scholarship, and writing. The faculty drives our curriculum, and each member 

brings the diverse experiences of his or her practice directly into the classroom and 

studio. Our students are viewed as emerging peers and full participants in the learning 

that occurs in collaboration with faculty and each other. Through their diverse practices, 

the staff participate to support the learning process, promote the overall well-being, 

growth, and development of students, and enhance student success and the realization 

of students’ full artistic potential. 

o Chicago. 

Our symbiotic relationship with the city radiates outward as students, faculty, and staff 

connect themselves to the diverse communities of Chicago and the entire world. Forming a 

city within a city, a campus, close and yet not contiguous, we are urban. The city’s richness, 

complexity, and contradictions are the perfect environment for our own diverse community. 

o We make history. 

Our major encyclopedic art museum, libraries, special collections, and public programs 

create an unparalleled environment for maintaining a thoughtful and tangible relationship 

to history and the ways in which it is continually revisited and represented, fueling 

our innovation and experimentation and keeping our historical and critical discourse 

completely active. Students, faculty, and alumni of SAIC have made significant and 

groundbreaking contributions to the art, design, and scholarship of the 20th century, and 

continue to do so in the 21st. 

31 | Spring 2011 






b) Strategic initiatives 

If the Core Values are the principles with which the planning process is to be guided, the Stra- 

tegic Initiatives are the tactical instructions for how to reach the School’s five-year goals. These 

marching orders are intended to be carried out by one of several Action Groups that will be 

formed in Fall 2010 semester. The Action Groups may be newly formed committees of faculty, 

staff, and, where appropriate, students, or they may focus the efforts of existing committees. 

Drafted and vetted simultaneously with the values, the initiatives describe a challenge the 

Strategic Planning Committee has identified as both pressing and actionable. Then they out- 

line expected outcomes, which would arise from the ameliorative activity of the Action Groups. 

Finally, each initiative charges an action group with an ultimate goal, suggesting benchmarks 

and assessment tools that may be helpful in adjudicating each goal. By their nature, each of 

the strategic initiatives is less succinct than the values; therefore, the Strategic Initiatives, with 

summaries of their contents are: 

o Develop Funding Beyond Current Tuition Sources 

This initiative refers both to the situation in which the School gains the majority of its 

revenue from tuition and that the number of newly college-age students over the next 

several years in the United States is expected to decline. Finding avenues to diversifying 

income and bolster development efforts is the goal of this initiative. 

o Focus on Organizational Effectiveness 

This initiative highlights that SAIC, known for its innovativeness in vanguard art 

instruction, is more experienced growing the organization through new programs and 

degree tracks than efficiently maintaining its day-to-day operations. Establishment of 

increasingly transparent, predictable, and fair administrative processes is the goal of this 

initiative. 

o Develop a Campus Master Plan 

This initiative focuses on how to better, more quickly, and more predictably address the 

always-advancing technology needs of art and design-making equipment, particularly 

in an urban, vertical campus, which minimizes the collective, community-building spaces 

associated with the university quad. Making a flexible, responsive plan for the physical 

plant of the School is the goal of this initiative. 

o Build Diversity 

This initiative continues the centrality of desire for a diverse SAIC, free from systemic 

impediments in faculty, students, and staff recruitment. It also charges the Action Group 

to consider the diversity of opinions and practices embodied in the School as well as the 

community’s national, racial, class, and gender identity profile. Setting new, distinctive 

benchmarks for assessing and methods for improving our diversity is the goal of this initiative. 

o Find the SAIC Student 

This initiative recognizes that the open, flexible curriculum of SAIC is not easily navigated 

by all students. Nuanced recruitment procedures to better identify ideal students as well 

as the establishment of a more robust transfer-student orientation processes are the goals 

of this initiative. 

o Provide Structure and Support for Students 

Even when recruiting the ideal SAIC student, the open curriculum can be daunting for 

new students, particularly young undergraduates. Monitoring and evaluating a new series 



of courses that provide structure to the undergraduate curriculum and making advising 

processes more pervasive is expected to alleviate these concerns. Greater student 

satisfaction and higher retention rates are some of the goals of this initiative. 

o Strengthen Research and Collaboration 

Many areas of the School—especially in the professional programs like MArch—have 

established, collaborative projects with other art institutions and other industries. Still, 

the School wants to increase the number of student and faculty research projects as well 

as cultivate a better School-wide awareness of those projects better. Improving alumni 

participation in current School activity is seen as part of this effort. An appreciable 

increase in the kind, frequency, and value of such partnerships over a five-year period is 

the goal of this initiative. 

In Fall 2010, the Strategic Planning Committee will begin its final function as a steering committee, 

working with SAIC administration and faculty governance to identify or establish Action Groups, 

who undertake addressing the Strategic Initiative, using the Core Values as a guide to adjudicate 

their actions. The Strategic Planning Committee will oversee these activities, and help coordinate 

collaborations among the Action Groups, which may be working on similar goals from different angles. 

Finally, the Strategic Planning Committee will continue to help each Action Group evaluate its progress 

over the five-year period. 




I.1.5. Self-Assessment Procedures 

As in planning initiatives, assessment procedures happen at both departmental and institutional levels. 

A) Departmental self-assessment 

Historical and recent assessment activities of the AIADO department are discussed below. A final 

section gives an overview of regular departmental assessment procedures. 

1) Self studies in 1991 and 2001: strengths and challenges 

As an institution that is both regionally and nationally accredited—as a charter member of the 

National Association of Schools of Art and Design since 1944, and continuously accredited since 

1936 by the North Central Association of Colleges and Schools—the School is subject to self-review 

in preparation for re-accreditation every ten years. Each department is required to both quantify and 

qualify its programs, faculty and student population through three lenses—by defining the present, 

then projecting ten years in the future, and reflecting ten years in the past, and comparing that view 

to what was projected ten years prior for the previous review as the department imagined its future. 

Reports written by and about the Department of Interior Architecture in both 1991 and 2001 provide 

compelling overviews of the department and its evolution in the past twenty-five years. Over 

time these reports are a privileged piece of history, and serve as a springboard from which the 

department can continue to assess its progress as it meets programmatic, curricular, and facility 

upgrade and expansion. In 2001 the department identified seven full-time faculty associated with 

33 | Spring 2011 






the department with several teaching significantly outside the department, three adjunct faculty, and 22 

part-time faculty. There were 71 BIA students and 22 MFA students. 

Now nine years later, in 2010 the department has doubled its full-time faculty to 14, in addition to eight 

adjunct faculty, and 32 part-time faculty along with four full-time faculty from outside the department 

who teach some classes in the MArch program. Comparing student numbers, the BIA program suggests 

a nearly 40% increase, with a 50% decrease in MFA students to a more selective 11 students, and an 

overall increase of the graduate population with over 100 graduate students in the department and a 

total of 64 Master of Architecture students. 

Strengths cited in 2001 included: 

o Thriving, rigorous program that would be enhanced with the presence of architecture 

o Strong community of faculty, students, and alumni 

o Positive impact of history and theory that would continue with new critical studies from 

a proposed new design core 

o Strong curricular presence of historic preservation, theory, and digital imaging, areas 

considered declared weaknesses in competitor programs 

Challenges cited in 2001 included curriculum and facilities: 

2001 Programmatic and Curricular Concerns 

o Recognition of SAIC as an art and design school 

o Plan for a three-year architecture program to diversify department offerings, and clarify 

between MFA-tutorial based education and professional structured path 

o Need for accomplished faculty in designed objects, material research, and interior 

architecture with achievement in their fields. 

o Integration of newer, recent faculty with established, tenured faculty as well as 

curricular integration of traditional with digital instruction 

o Curricular move from a stylistic, historical approach emphasizing creativity toward a 

more critical, research-oriented program. 

2001 Facilities and Technology Concerns 

o Spatial constraints of classrooms in Sharp building’s 12th floor, already at maximum use 

potential, preclude growth and cultivation of studio culture; not equipped for wireless 

o Urgent need for NT lab, Auto CAD classes, and Rapid prototyping CNC shop 

o Lack of material processes available for studio work 

o Lack of raw demonstration and assembly space 

o Inadequate task lighting for offices and studios 

In 2001 the dream of a three-year graduate degree or additional space and resources seemed speculative. 

En route to establishing the MArch program, SAIC has met most every challenge of fully and profoundly. 

Brief descriptions of how challenges were met are included below: 

a) Raising the Profile of SAIC as a School of Art and Design 

The School of the Art Institute of Chicago, celebrated for its #1 ranking in the fine arts, has 

strived to reposition itself as a school of art and design. In addition to undergraduate and 

graduate-level program development, several strategies have been developed to effect this 

change—the formation of an Advisory Design Council comprised of leading design and 

engineering professionals in Chicago; student and faculty participation in major national and 

international design expositions; and faculty-curated exhibitions and lecture series for the public. 



o GFRY 

In 2005, Motorola established the GFRY Design Studio at SAIC in memory of Chief 

Marketing Officer Geoffrey Frost to provide students with educational opportunities 

through innovative and collaborative projects in design and technology. Abbreviating 

Geoffrey’s name to four-letters reflects the strategy devised by Frost for Motorola’s 

iconic devices such as the RAZR. 

GFRY is a collaborative, transdisciplinary design and fabrication studio that actively 

cooperates with industry to explore how new technologies, social forms and materials 

can be integrated to produce innovative objects, media, environments and experiences 

for the challenges of an increasingly complex world. The studio produces work for 

targeted public opportunities such as art, design and technology expositions, design 

competitions and topical research publications. Participating in this prestigious atelier 

offers students a highly visible venue for the exhibition of work and the chance to 

be involved in the development of public work from concept through fabrication, 

installation, promotion, and review. Students are admitted via an application reviewed by 

the faculty. 

o Com(m)a 

In spring and summer of 2011, students in the AIADO and other SAIC departments will 

work in the GFRY Studio with architecture faculty Adjunct Associate Professor Odile 

Compagnon and Instructor/architect Paul Tebben to produce research, design and 

dedicated action toward the development of new templates and scenarios for rapidly 

deployable communities. Of particular focus is the recent chain of debilitating disasters 

in Chile. Students and faculty will travel to Chile on two occasions—once to conduct 

research on site and cultural context, and a second trip to deploy and analyze design/ 

build projects aimed at addressing the complex conditions of post disaster living. 

o Studio (Re) 

In 2009-10, students in designed objects, architecture, and interior architecture worked 

in the GFRY Studio with architecture faculty from the University of Tokyo and the 

community of Beppu, Japan. The studio studied the phenomenon of shrinking cities 

and developed ways to reactivate unused urban space. The work led to installations 

and workshops in Detroit, Chicago and Beppu. Beppu Tane (Whang Ye-Eun, BFA 2010 

and Yang Wonbin, MFA InArc candidate), one of the projects from GFRY studio, was an 

award winner in the 2010 “Let’s Not Talk about Architecture” international competition 

organized by the Modern Asian Architecture Network in Singapore. The community- 

based project was a multi-national collaborative effort, with contributions from the 

citizens of Korea, Japan and Indonesia. Ye-Eun and Wonbin conceived Beppu Tane 

as a site-based, multi-media project that embeds designers within the community to 

solicit ideas for the city’s rejuvenation while creating a space for the local residents to 

interact and socialize. City officials and the organizer of the art/design event in Beppu, 

Junko Abe from the Cultural Affairs Department and a member of Beppu Project was so 

delighted with this work that she extended an invitation to AIADO for future community- 

based, collaborative projects in the spirit of Beppu Tane to be hosted in the city. More 

information can be seen online. 

o reForm() 

In 2009 the AIADO and SAIC hosted reForm(), the annual conference for the Association 

for Computer Aided Design In Architecture, organized by Graduate Director Douglas 

35 | Spring 2011 






Pancoast and Assistant Professor Tristan Sterk. ACADIA is a long-standing North 

American, member-based group dedicated to the continuance of the discourse of digital 

technology and computation in architectural thought, description and production. This 

discourse has become a vibrant hub for fostering transdisciplinary and provocative works 

in the architectural enterprise. The conference, set in Chicago for the first time, provided 

a unique forum for the examination of emerging research and design in today’s building 

and design professions as well as showcasing the school and new MArch programs to 

the ACADIA constituency. 

o WaterShed 

The AIADO department competed nationally with other design schools, such as Parsons 

and RISD, at the International Contemporary Furniture Fair (ICFF) in New York City in 

2005 where our student/faculty team won the Editor’s Award for Best Design School. 

This recognition led to a rare invitation to participate as the only U.S. design school in 

Salon Satellite at the 2006 Milan Design Fairs. “WaterShed,” SAIC submission for Salone 

Satellite, received international media attention and highlighted the School’s profile as 

a design school on an international stage. The project’s success also cultivated a re- 

installation of the piece at the Museum of Contemporary Art in Chicago. ID Magazine 

featured “WaterShed” as an example of how the School was not only becoming 

recognized as a design school, but as fostering a different kind of design education, one 

that encourages designers to be responsible global citizens who “investigate both the 

local and global impact of design”: 

More than an exercise in student ingenuity, WaterShed represents a new initiative starting 

to play out on a grand scale at SAIC. The project tested students’ abilities to plan a 

massive undertaking, work resourcefully as a team, marshal technologies, and exploit 

their own specialties...Chicago may be known for its tempestuous climate, but at SAIC 

the winds of change are blowing steadily in the right direction (Juanita Dugdale, ID 

Magazine, September/October 2006). 

The installation enfolded visitors into a quiet environment of leaf-like, translucent 

modular units illuminated with dynamically controlled clusters of LED lights. The project 

was facilitated by the generous collaboration of Apple, Sonare Technologies, a Herman 

Miller company, and Winzeler Gear, a member of the Advisory Design Council. The 

AIADO department’s relationship with the Advisory Design Council was crucial to the 

success of WaterShed, the ICFF project, and the formulation of new design curriculum 

over the past three years, as well as in the development of the School’s world-class 

design facilities in the Louis Sullivan Building. 

o The Green Zone 

Design students and faculty worked with the City of Chicago’s Departments of Planning 

and Development, Transportation and the Environment. The community projects that 

students created for these agencies addressed real-world problems such as sustainability 

and public communication and were built into a specialized curriculum called “The Green 

Zone.” In these classes, the City frames problems, students design solutions, and SAIC 

faculty and City staff critique the results. In one instance, Professor Linda Keane worked 

with graduate students to create the animated Green Roofs Website for the City that 

included documentation of the 20,000 square-foot green roof atop City Hall. 



b) Refining the program, differentiating MArch from MFA 

The AIADO department’s professional degree programs, the Master of Architecture with 

its four tracks, including the unique Master of Architecture with an Emphasis in Interior 

Architecture, and the Master of Design in Designed Objects are essentially first professional 

degree programs. They are course-based programs with a required, sequential course 

curriculum unlike the MFA programs in place at SAIC for decades. 

MFA students with their high degree of previous academic accomplishment in the 

field, including many with first professional degrees, are not eligible to register for the 

comprehensive design studios in SAIC’s new first professional degrees, though they 

may register for certain other seminars and art history courses as space permits. Now 

capped at 12 students in total, the AIADO MFA program is a more exclusive one suited to 

the independent research and tutorials that are the defining characteristics of the MFA 

program throughout the rest of the School. 

The AIADO department added significant critical research components in the curricula 

that were introduced since 2001. The Designed Objects emphasis in the undergraduate 

BFA curriculum, introduced in 2001, avoids basing any student exercises on the design of 

typical commercially available object types, and instead emphasizes research that leads 

to investigative, instigative, rhetorical, entrepreneurial student work. This work is designed 

to provoke, not only through stylistic innovation, but also through its critical content and 

placement. Faculty members who developed this curriculum for Designed Objects have 

brought these ideas into the development of the MArch program. 

As the MArch program begins its fifth full year, the departmental faculty will begin an 

evaluation of its undergraduate BFA pathway in architecture, interior architecture (BIA 

program), and designed objects along with their particular challenges. Recommendations 

are to follow the seven-point format of the School’s established self-study process, and to 

use the analysis to refine the programs in the future through the critical participation and 

cooperation of faculty, students, alumni, and administration at the School. 

c) Building the faculty 

To build the expertise in the AIADO graduate programs, the School has prioritized hiring 

in the AIADO department with 11 full-time appointments in the department, and a number 

of promotions in both the full-and part-time faculty. In 2004/05, three of the School’s 

eight searches for 2005 appointments resulted in five hires in the AIADO department— 

Interior Architecture (Kong, Coleman, Reynders), Design History (Dalvesco), and Designed 

Objects (Tharp). In 2005/06, three of the nine searches for 2006 appointments were in 

the department—Architecture (Nicholson, author of Thinking the Unthinkable House and 

The World Who Wants It), Design History, and Designed Objects (both unsuccessful), and 

in 2006/07 two of the nine searches were in the department and resulted in hires—Design 

History (Mah) and Designed Objects (TerMeer). In 2007/08, two of the eight searches for 

2008 appointments were in the department, and resulted in 3 hires—Architecture (Sterk with 

expertise in responsive architecture, technology, and sustainability), and Design History (Atha, 

Golec). In 2009/10 one of the five searches resutled in two hires for the Designed Objects 

program (Parsons and Aye). 

Coleman has spearheaded the drive for acquisition of a materials library, and part-time 

faculty member Slaughter now receives a contract equivalent to .5 course each semester 

to maintain the AIADO Material Resource Collection. 

37 | Spring 2011 






The AIADO department’s team-teaching mode has been used to address the integration 

of newer faculty co-teaching with more established faculty, as well as those with 

expertise in traditional media teaching alongside faculty with digital competency and 

orientation. Requiring faculty to teach across their disciplinary expertise in this way is 

a unique strength of the AIADO department, and if this requirement stays in place, it 

will ensure the creative cross-pollination of disciplines. The School of the Art Institute of 

Chicago has formed aggregate departments like AIADO, such as FVNMA, the amalgam 

of Film, Video, New Media and Animation into one department for several reasons—the 

increased administrative efficiency this can bring, and the benefit of challenge and new 

accommodation between one otherwise existing but separate critical apparatus. 

d) Expanding into a new space 

In Fall 2006, the AIADO department relocated its classrooms and administrative offices 

from the 12th floor of the Sharp Building (less than 10,000 nsf) to the newly rehabbed and 

redesigned 12th floor of the Sullivan Building (16,000 nsf), and in doing so doubled the 

number of available classrooms for their programs. 

In 2010–11, $10,000 has been committed to develop and install storage and acoustic 

separation solutions for the MArch program studio spaces. The project will be studied 

by a faculty and student committee, with the intention of opening up the design and 

fabrication of new architectural objects and treatments to student competition. In 

collaboration with the school’s Instructional Resources and Media Services Department, 

solutions will be finished and installed by Spring 2011. 

e) New facilities 

In 2006 Rapid Prototyping in ABS plastic and a Laser cutter were installed in the AIADO 

Advanced Output Center, followed in 2008 by another more powerful Laser cutter. In 2004, a 

CNC router was installed then moved during summer 2006 to the Sullivan Fabrication Center 

(AIADO shop). In 2010 an additional CNC machine dedicated to plastics and non-ferrous 

metals will be installed in the Fabrication Center. 

The department has prepared Shop/Studio Process Integration documents for the CNC 

router, the ABS plastic rapid prototyper, and the Laser cutter. These documents are aimed 

at helping any faculty member in the School incorporate these new technologies into 

their classroom practices or their own work. Essentially these documents wrap a series of 

thoughtful and useful pedagogic processes around the more technical shop authorization 

and safety procedures. These include preparation of appropriate 3D digital files, the 

selection of the appropriate computer-driven machine for a given task, and appropriate 

and cost effective materials for a series of imagined student exercises on these machines. 

f) A laptop culture 

The School was the first art school in the U.S. to implement a student laptop ownership 

program, along with labs of peripherals to broaden the scope of work being done with a 

computer workflow. The AIADO department was the first to extend this laptop ownership 

program to graduate students, in particular students in the four MArch tracks and the MDes 

in Designed Objects. In 2010, MArch students purchase a prescribed Macintosh laptop, are 

provided up-to-date, on-demand templates of Macintosh and Windows 7 operating systems, 

and access to a broad range of School-owned software titles, including normal template 

titles such as Photoshop, Illustrator, InDesign, and Acrobat, and “ProApps” such as AutoCAD 

with Revit and EcoTect, Rhino 3D, and RhinoCAM. Digital Project is also available to students 



and faculty on a per project basis. Additional tutoring sessions in applications are available 

to students outside of studios and technical practice classes through a recently implemented 

reserved TA instructional hours. 

Instruction that depends on the use of particular software is supported on the students’ 

own laptops. Faculty use laptops and LCD projectors installed in each classroom. Full-time 

faculty are issued laptops, and part-time faculty who do not own laptops rely on three 

dedicated AIADO faculty laptops (two with daily checkout, the third for loan for up to two 

weeks) templated with departmental software from the Media Centers. 

Building Information Modeling (BIM) software is introduced in elective classes and not 

currently supported in the core studio classes, though Revit is now a part of the standard 

software template for MArch students and will be a bigger part of departmental skill 

instruction moving forward. Parametric modeling via Grasshopper is currently supported 

in two required MArch classes. Via the department’s recent hosting of the 2009 ACADIA 

conference, there is an appetite for parametric, performative and generative methods of 

architectural idea and form development. Coupled with other on-campus technical and auto 

fabrication resources in the departments of Sculpture, Fiber and Material Studies, and Art 

and Technology Studies, the AIADO is well positioned to enhance and apply those interests 

in the MArch program. 

In general SAIC will remain a Macintosh computing environment. Windows 7 is provided 

and supported only on the Mac laptops of graduate AIADO students. Discussions are 

underway to extend the use of a Windows partition of programs to the large population of 

undergraduate students in AIADO. This is a decision that will be made by IT, CRIT, and the 

AIADO department. Currently, though, this is being evaluated by allowing undergraduate 

students in the department that are taking any AIADO 3D modeling class (Rhino) to receive 

the dual boot formatted and application supported Mac laptop. This trial run has greatly 

enhanced model based fabrication skills in the undergraduate population. 

2) Recent NAAB-related departmental self-assessment 

The MArch program’s Assessment and Archiving System has been operational for four years, since 

December 2006. It has collected assessments of student performance on the subsets of the thirty- 

two NAAB performance criteria for every required class in the MArch program. Faculty assessments 

of student performance on NAAB SPCs are contained in metadata that has been collected with the 

PDFs of student work. Starting in Fall 2009, the metadata has been pulled out of the server and sorted 

according to SPC with high pass and low pass numbers for each SPC. This allows the MArch program 

to assess where each student performance criterion has been delivered poorly and where it can best 

be delivered. 

Though committed to the idea of storing documentation of course work as digital media in a 

centralized system, currently the AIADO is investigating the option of disconnecting the archiving 

of student work from its assessment, meaning no assessment data would be collected and stored 

with the archived work at the time of uploading. With the current system, student work is assessed 

by the faculty assigned to a class then uploaded. A new scheme would involve storing work using a 

commercial web based image archiving and viewing application, then reviewing and assessing work 

relative to SPC evidence and “high-pass” vs “low-pass” via a faculty committee once per term. This 

information could then be added to instances of work as metadata and used to sort and retrieve 

work for NAAB purposes or for the myriad of occasions where images of student work is useful for 

departmental promotion. 

A recent example of this is a curriculum review instituted by the department and carried out via 

39 | Spring 2011 






a 0.5 faculty contract issued to Associate Professor Ellen Grimes. Professor Grimes collected 

syllabus information from all MArch program classes and reviewed course output to confirm course 

descriptions and goals with outcomes. This important work became the basis for the complete 

categorical reworking and formatting of all course descriptions and the updating of the AIADO 

MArch SPC matrices. 

A committee structure with roles and responsibilities was developed to permanently instantiate a 

regular MArch (and undergraduate) curriculum review: 

Committee abstract 

o A standing curriculum review of the entire MArch and undergraduate courses in 

Architecture and Interior Architecture starting in 2010–11 

o Committee membership elected by the AIADO faculty 

o Content of the committee charter defined by faculty consensus with program 

director oversight. 

Committee responsibilities 

o Solicit, initiate and review proposals for new course work 

o Recommend course revisions and deletions to director 

o Provide for curriculum coordination and support 

Committee organization 

o Membership to be elected by the voting membership of the AIADO faculty for a two 

(2) year term with a committee chair serving in a 3 year renewable term. 

o The committee will be comprised of members from the MArch, MArch w/Emphasis 

in Interior Architecture, and undergraduate Architecture and Interior Architecture areas. 

In Spring 2010 SAIC hired a consultant to assist AIADO in its accreditation planning and evidence 

delivery. Former executive director of NAAB Sharon Matthews was contracted and has visited the 

school in Spring 2010 and Fall 2010. Ms. Matthews conducted a review of the program’s learning 

culture and course output from 17 of the 22 MArch classes. The review was followed by a report 

that itemized clear instances of SPC evidence versus course content and documentation in need of 

improvement. This important work also contributed greatly to the updating of all course descriptions 

and matrices. 

3) Common SAIC self-assessment procedures in AIADO 

Student evaluations have became a significant contributor of students’ voice in the self-assessment 

meetings AIADO faculty held after the last site visit. Armed with NAAB and student feedback, 

AIADO faculty fine-tuned their curriculum in a number of ways including re-tooling the initial 

summer session to be more skills-based; slightly revising design history requirements in consultation 

with the Department of Art History, Theory and Criticism; and undertaking a two-year graduated 

adjustment in advisors for students’ Thesis work in the sixth, final semester. These curricular 

changes, in accordance with SAIC governance, were vetted by the curriculum committee and are 

now in place. 

An outgrowth of these self-assessment procedures of particular interest is the issue of course 

fragmentation. In section 3.2 of SAIC’s 2006 APR, one self-cited weakness was a situation in which 

one-and-a-half-credit classes courses had proliferated in AIADO. Because of these, faculty would 

have to teach four or five partial classes rather than three-credit classes as is typical at SAIC. 

Implementing an overlapping teaching structure, wherein more than one faculty member contributes 

to “Integrated Technical Practice” courses, solved this. 



B) Institutional assessment 

There are a number of institution-wide assessments that are regularly practiced in the course of the 

academic year, which include: course evaluations; Curriculum Committee and Academic Steering 

Committee evaluation of proposed new or altered courses and programs; annual budget review; 

institutional part-time promotion review; part-time faculty evaluations; Full Professor Review 

Committee; contract and tenure reviews; departmental self-studies; adjunct stabilization review; recent 

Strategic Planning Initiatives; and two-year formal self-study processes undertaken each decade in 

preparation for regional accreditation. The process of the Curriculum Committee is discussed in detail 

in section II.2.3 Curriculum Review and Development of the APR. The Strategic Planning process is 

described in section I.1.4 Long-Range Planning. The remaining examples are described briefly below: 

1) Course evaluations 

Near the end of every semester, each course at SAIC is evaluated by the students via an anonymous 

evaluation form. Students evaluate the faculty, the facilities and their own performance. Short 

written answers are most common; therefore, these forms are essentially qualitative rather than 

quantitative. Faculty members leave the classroom after distributing the evaluations, and a student 

in the class collects and delivers the completed forms to the Office of Student Affairs. The most 

recent two semesters of evaluations, organized by class, semester and instructor, are available for 

students and faculty to examine. Evaluations from earlier semesters are stored and, under certain 

restrictions, shared electronically. Evaluations are routinely used in assessing faculty members in 

their departments and by committees when considering promotions. 

2) Budget review 

Periodic budget review and capital asset requests are also opportunities for departments to assess 

and prioritize their operational needs. 

The Deans Office—specifically the Associate Dean and the Assistant Director of Academic 

Administration—meet periodically with Department Chairs and Administrative Directors to evaluate 

their departmental budgets, which include both discretionary (e.g. travel and research support 

money) and operational (equipment, departmental purchases, office expenses, etc.) funds. Annually, 

toward the end of the third quarter of each fiscal year, departments may petition the Deans Office to 

redistribute monies among different line items. Final budgets are approved by the Fiscal Office. 

Departments may petition Institutional Resources and Facilities Management (IRFM) for one-time 

capital assets expenses. The Director of Facilities Management and Budget Planning compiles such 

requests, which are filled through committee negotiation including staff from IRFM, the Deans 

Office, Fiscal Affairs, and the Fiscal Affairs Committee, which is one of the governance committees 

of the Faculty Senate. Recent recessionary tendencies in the global marketplace have made this 

regular practice an even more incisive opportunity for assessment, as fiscal planning has been more 

conservative over the past two years, which is discussed more fully below. 

3) Adjunct stabilization 

An aspirational goal of SAIC Faculty Handbook is to “strive to maintain a ratio as high as possible 

of full-time to part-time faculty.” The current goal is to institutionally move toward a model in which 

half of all classes within a department are taught by full-time faculty, with the remaining classes 

taught by part-time faculty, half of whom are adjunct faculty. Within the adjunct population, the 

School strives for a balanced, stable distribution in which the greatest number of adjuncts are 

Adjunct Assistant Professors, with fewer Adjunct Associate Professors, and the smallest number of 

Adjunct Professors. 

41 | Spring 2011 






In most departments at SAIC, the greater percentage of courses are currently taught by part-time 

faculty. In response, the adjunct stabilization reviews were designed to assess the faculty and curricular 

needs of each department. This process, overseen by the Division Chairs and the Dean of Faculty, 

presents each department chair with the ratio of part-time to full-time faculty in their department, 

considered in context with the number of courses, enrollments, graduate students, programs and 

special facilities. This analysis has proven valuable in helping departments articulate their needs. For 

example, some departments need more full-time faculty, while professional degrees such as the MArch 

require a balance of full-time faculty and part-time professionals. The adjunct stabilization process has 

proven valuable for the Deans Office when planning for future full-time searches. 

4) Institutional accreditation self-study 

Every ten years, SAIC undergoes a joint accreditation by the School’s two institution-wide accrediting 

bodies: the Higher Learning Commission of the North Central Association of Colleges and Schools, the 

regional accrediting body; and, the National Association of Schools of Art and Design, the specialized, 

discipline-based accrediting body. SAIC’s next accreditation visit will take place in 2012–13 academic 

year with the two-year institutional self-study process beginning during the 2010-11 academic year. 

During Fall 2010, the administration will establish the parameters, workplan, and calendar in agreement 

with its accrediting organizations. This will inaugurate a two-year period of self-assessment in all areas 

of the School, resulting in a major reporting document. Central to this assessment will be the strategic 

initiatives drafted by the Strategic Planning Committee’s and the formation of the committee’s action 

groups, which will also be determined this fall. 

5) Systemic challenges and assessment 

The minimum per-course-rate (PCR) for beginning part-time faculty was increased by $200 to 

$3800 for Fall 2010. Faculty with the rank of Adjunct Assistant Professors receive a minimum PCR 

of $4000 plus benefits, and the small number of Adjunct Assistant Professors with ten or more 

years of service who were earning a less competitive wage were moved to $4200 PCR. The Part- 

Time Concerns Committee, composed of elected faculty working with the Office of the Deans and 

Division Chairs, continue to discuss issues of rank and compensation, and are considering a model 

that considers numbers of courses taught rather than years of service. To do so presents a unique 

software challenge, and staff and programmers are currently pursuing this model in PeopleSoft, the 

institution’s common data storage system. 

In 2008-09 the faculty in the AIADO department appointed three program directors: one for 

graduate programs in Architecture and Interior Architecture, one for undergraduate programs (BIA 

and BFA with an architecture pathway), and one for Designed Objects. Academic year 2009–10 

had five searches, which resulted in eight hires and two Full-time Visiting Artist appointments, two 

of whom were appointed in the AIADO Department. In, 2010–11, the School is conducting eleven 

searches. This increase among full-time searches was due, in part, to the thorough data collected 

during the adjunct stabilization process, described above. 

The financial course sailed by SAIC has remained steady because enrollment numbers have met 

projections. For a tuition-driven school such as SAIC—which receives a significant portion of its 

annual budget from tuition revenue—this has been advantageous; however, it is not a tenable long- 

range plan. As discussed more fully in section I.1.4 Long-Range Planning, one of the major strategic 

initiatives going forward is to move SAIC to a less tuition-driven financial model. 



II. INSTITUTIONAL SUPPORT AND COMMITMENT TO 


I.2. RESOURCES 

I.2.1. Human Resources And Human Resource Development 

SAIC is a dynamic and diverse intersection of communities that maintains a productive and 

enriching environment by observing best practices in regards to resources and offering a plethora of 

development opportunities for all students, faculty, and staff at the School. The curriculum is delivered 

to over three thousand students by approximately on hundred fifty full-time faculty and five hundred 

part-time faculty. The institution also employs approximately three hundred staff who support the 

School’s mission through their roles in its resources. facilities, programs, and departments. Below 

policies regarding recruitment, intake, and development of students, faculty, and staff are discussed in 

turn. Then, an overview of the many lectures and public programs, i.e. development opportunities that 

are available to all SAIC stakeholders, is provided. 

A) STUDENTS 

The School of the Art Institute of Chicago is home to an incredibly diverse community of students 

from all fifty states and over forty countries. Students enter SAIC with a wide variety of artistic and 

personal backgrounds and increase the diversity of their skills and portfolios through their curricular 

and co-curricular experiences at SAIC. SAIC provides a variety of student services geared toward 

making a student’s entire experience at the School—from Admissions through Alumni Affairs—one that 

is positive, productive, and intensive. 

1) Admissions 

The Admissions process to the MArch program—in all four tracks—includes: 

o Completing the online application 

o A five- to seven-hundred word statement of purpose in which the applicants 

describes his or her interests and experiences in design, personal and professional 

motivations and goals, and reasons for pursuing graduate study at SAIC 

o An interview, scheduled prior to the application deadline in January prior to the 

academic year 

o Two letters of reference 

o Submission of an ePortfolio of a minimum of five different projects, documented 

in up to twenty images, or up to ten minutes of time-based work, or a combination of 

the two. Applicants with no previous experience in design can submit a critical writing 

sample or a visual “essay,” a thousand-word critical writing sample, which may include 

images, addressing some aspect of design that is of specific interest or concern. 

o One official college transcript(s) from each college attended 

o A non-refundable application fee of $80 for domestic applications and $100 for 

international applicants 

o The GRE is recommended but not required 

o International students who do not speak English as a first language or have not 

graduated from an accredited U.S. university must meet minimum TOEFL (paper/ 

computer/internet: 600/250/100) or IELTS (7.0) score 

o Current résumé 

a) Pre-requisites 

Applicants to either of the two three-year programs must have conferred four-year 

baccalaureate degree or its equivalent to be admitted. Work experience in architecture, 

interior design, or a related field is recommended but not required. At least one course in 

43 | Spring 2011 






college-level algebra and one course in college-level physics is also required. 

Applicants to either of the two-year, Option II track of the MArch program must 

additionally have earned an undergraduate pre-professional degree in architectural 

studies, architectural technology, or interior design. Upon application, applicants express 

their interest in one of the Option II tracks. If admitted and space permits, Option II 

candidates are adjudicated in the AIADO department through a process described in 

section II.2.3 Curriculum Review and Development of this APR. 

b) Non-discrimination policy 

The School’s non-discrimination policy, which can be found at online and in Admissions 

literature, states the following: 

It is the policy of the School not to discriminate on the basis of age, disability, color, creed, 

national origin, religion, race, sex, or sexual orientation in student recruitment and admissions, 

in financial aid programs, in student and employee services, in educational programs and 

activities, or in employment practices. 

c) Statistics 

The following three charts show the applicant, admit, and matriculate numbers for the 

four tracks of the MArch program. Applicants to the Option II tracks—noted in grey on the 

charts—are considered after applying to the MArch program at large, as described in section 

II.3 Evaluation of Preparatory/Pre-Professional Education; therefore, overall numbers are 

totals for 102-credit applicants only. The Option II students are included in this total. One 

chart showing total numbers of MArch students in recent years follow. 

FALL 2008 - # OF STUDENTS APPLIED / ADMITTED 

PROGRAM APPLY ADMIT ADMIT % MATRICULATE MAT % 

MArch (102 credit) 54 34 63% 4 12% 

MArch ( 60 credit) OPTION 2 - - - 6 18% 

MArch/ IA (102 credit) 60 29 48% 10 34% 

MArch / IA ( 60 credit) OPTION 2 - - - 5 15% 

OVERALL 114 63 55% 25 40% 



MArch (102 credit) 75 41 54.7% 13 31.7% 

MArch ( 60 credit) OPTION 2 7 2 28.6% 2 100% 

MArch/ IA (102 credit) 78 40 51.3% 15 37.5% 

MArch / IA ( 60 credit) OPTION 2 4 2 50% 2 100% 

OVERALL 153 85 55.6% 32 37.%6 



MArch (102 credit) 94 34 36.2% 8 23.5% 

MArch ( 60 credit) OPTION 2 9 2 22.2% 2 100% 

MArch/ IA (102 credit) 85 28 32.9% 13 46.4% 

MArch / IA ( 60 credit) OPTION 2 5 2 40% 2 100% 

OVERALL 179 62 34.7% 25 40.3% 


# of Students in MArch 

Program Fall 2008 Fall 2009 Fall 2010 

MArch 32 34 27 

MArch/IA 34 35 36 

Overall 66 69 63 


2) Student support services 

The Office of Student Affairs (OSA), organized under the Dean of Students, is an umbrella area that 

encompasses the various support services provided for academic success and quality of life for SAIC 

students. The various offices organized within OSA are provided below along with short descriptions 

of their functions and constituencies. For legibility, these services are divided under professional 

(academic advising, career services, etc.); student well-being (health, counseling); and community 

building (student government, student groups; etc.) subheadings in the nformation below: 

a) Professional services 

o Academic Advising 

Academic Advising and Student Success serves the SAIC community by enhancing 

student learning, development and retention. In support of SAIC’s mission, Academic 

Advising and Student Success connects students to an Academic Adviser to help create 

the best possible educational experience for each individual student. 

Academic Advisers assist students with course selection, educational planning, course 

concerns, personal concerns, and questions about School policies and procedures. They 

work with students holistically and can connect students to other services and resources 

for additional support. Academic Advisers are available both by appointment and on a 

walk-in basis. Students are strongly encouraged to meet with an Academic Adviser at 

least once a year to review their progress toward degree requirements (degree audit). 

Meeting with an Academic Adviser is especially important if students are verifying trans- 

fer credits, considering changing programs, going through an academic or refund review 

appeal process, or nearing graduation. Advising is required prior to registering for all new 

first year students who are completing their first year experience courses (Contemporary 

Practice studio classes, English and Art History first year requirements); English for In- 

ternational Students (EIS) and Academic Access Program (AAP) students; students who 

have academic holds (e.g. probation and suspension); and students who are either taking 

a leave of absence or who are returning from leave of absence or suspension. 

o Career Developemnt 

It is the mission of Career Development to empower students and alumni to pursue 

their professional ambitions on their own terms. Career services works with students 

and alumni as they develop their particular career paths. Counseling by practicing art 

professionals, job search and informational resources, programming, connections to a 

professional network and collaborating with academic, studio and student services areas 

on professional practice initiatives all support a key goal: to give students and alumni 

confidence to assert themselves, their work and their roles as cultural participants. 

At career services, students and alumni use the jobs database, and many employers 

have graduated from SAIC. The database includes job listings in the Chicago area and 

beyond listing full-time, part time, and freelance positions in arts administration, 2D, 3D, 

multimedia, design, fashion, writing, etc. 

45 | Spring 2011 






o Cooperative Education Program 

SAIC has the most successful arts-related Co-op program in the country. Co-op is an internship 

program where students earn course credit and refine their career objectives while establishing a 

strong employment history and references for future work experiences. Since 1978, SAIC’s Co-op 

Program has helped students gain professional work experience while continuing their formal 

education. The Co-op Program also embraces an experiential learning component that provides 

students opportunities with community service organizations. 

Co-op is a class open to SAIC students who are enrolled in a degree-seeking program. Students 

receive studio credit and tuition is charged for a Co-op/Internship experience. The Cooperative 

Education Program encompasses a variety of disciplines unique to artists’ interests. Reflecting 

the philosophy of SAIC, the Co-op Program presents students with a wide range of choices from 

employers working with traditional art forms to those utilizing cutting-edge technology. Over 400 

Co-op positions are available every semester. Over 6000 students have been placed with over 

1600 employers in Chicago since 1978. Over 180 students participate each semester, and over 35% 

of these students secure employment from their Co-op positions. Of the 400 Co-op positions 

available, 200 are offered from alumni of SAIC. 

o Office of Off-Campus Study 

The Office of Off-Campus Study is designed to enrich the degree program by offering the 

opportunity for one to two semesters of study abroad and the opportunity to participate in 

foreign and domestic student exchanges. SAIC maintains agreements with more than 25 art 

schools in North America and more than 30 art schools throughout the world. Additionally, the 

Office of Off-Campus Study administrates several scholarship awards to students: Skowhegan; 

Fulbright; Odyssey Travel Grants; and the World Less Traveled Grant. The latter two of these are 

in-house, SAIC grants funded by individual donors, giving $300 to $1500 expressly for education- 

related travel. Of the two, the former is distributed by lottery, and the latter by application. 

o Faculty-Led Study Trips 

Study trips are led by SAIC faculty members and usually are two to three weeks or five to six 

weeks in length during the winter and summer interims. Destinations have included Cambodia, 

the Czech Republic, Cuba, Egypt, England, France, Germany, Indonesia, Ireland, Italy, Japan, 

Mexico, South Africa, Thailand, Vietnam, and the American Southwest. 

b) Student well-being 

o Attention to diversity 

The School’s efforts to diversify its student population are formalized through two main offices 

within Student Services: the Office of Multicultural Affairs (OMA) and International Affairs: 

- Office of Multicultural Affairs 

The mission of OMA is to promote diversity as a core value at SAIC through programs, services 

and institutional initiatives. The office provides support, advocacy and mediation for students, 

particularly as it relates to issues of inclusivity, representation and empowerment. OMA also 

assists the SAIC community in connecting with the rich culture of Chicago. 

- Office of International Affairs 

OIA serves and addresses the needs of SAIC’s international population, to thereby create a 

school climate which welcomes and respects cultural diversity and prepares our students for 

effective participation in global citizenship. It follows the regulations set forth by the United 



States Citizenship and Immigration Services and the Department of State. Different study 

and employment restrictions apply to different visa types. OIA facilitates international 

students in all these matters. 

o Counseling Services 

The mission of Counseling Services at SAIC is to assist students in meeting their 

emotional, psychological and mental health needs and to contribute to a campus 

environment that facilitates the healthy growth and development of students. The service 

carries out its mission through three essential roles and functions including counseling 

& psychotherapy, consultation and outreach programming. Four full-time, doctoral-level, 

licensed psychotherapists staff the service, and services are free to students. 

o Health Services 

Health Services at SAIC supports the journey to artistic and intellectual growth and the 

desire, willingness and stamina it requires to work and achieve goals. They encourage 

students not to overlook their physical and emotional well-being. A healthy, balanced 

lifestyle will enhance students’ ability to explore and develop their creative talents 

successfully. Art students have unique health concerns related to art hazards. Developing 

safe work methods, including an awareness of hazards posed by toxic materials, is an 

essential part of evolution as an artist. Health Services’ goal is to reduce potential health 

hazards and help protect students by promoting safe art making practices through 

arts health and safety counseling, programming and referrals. They believe an informed 

student is empowered to create art in a safe and responsible manner that protects their 

health and the environment now and for a lifetime. 

o Disability Learning Resource Center 

The Disability and Learning Resource Center (DLRC) is a free service available to all 

currently enrolled degree-seeking students. Specialists provide any degree-seeking 

student with individual assistance for academic assignments and support with basic 

study skills. Individual Sessions are generally sixty minutes in length. Most requests are 

for assistance in one or more of the following areas: writing organization, process and 

revision; reading comprehension; conversational/oral presentation skills; organizational 

or study strategies; and time management strategies. Students are eligible to receive 

academic support through DLRC if they have documentation of a disability, suspect 

they may have a disability, are currently enrolled in the Academic Access Program, are 

currently on academic warning or probation, are in need of individual strategy or study 

skill training, or have been specifically referred by another source at SAIC. 

Specialists at DLRC are available to assist students with disabilities. In accordance with 

the Americans with Disabilities Act and Section 504 of the Rehabilitation Act, DLRC 

works to provide equal access to all SAIC programs, services and facilities for students 

with disabilities. DLRC conducts outreach and programming on practical and artistic 

disability topics, serves as a resource for faculty and staff, and provides individual 

accommodations for students. These accommodations may include priority registration, 

extended time on exams, distraction-free testing area, note-taking assistance, use of a 

tape recorder, assistive listening devices, furniture modifications, housing modifications, 

interpreters, reduced course load, preferential seating and accessible parking. Unlike in 

high school, students must take the first step towards receiving accommodations by 

providing appropriate documentation of a disability to DLRC. DLRC staff will then work 

with the student to determine, implement, and monitor reasonable accommodations. 

47 | Spring 2011 






o Resident Life 

Chicago offers a wide variety of housing choices to serve the diverse needs of students 

at SAIC. Many students often spend their first few years at the school living in one of its 

two residence facilities, The Chicago Building and the 162 North State Street Residences. 

As a resident, students can truly immerse themselves in a community of fellow artists, 

live in the heart of Chicago’s loop, and enjoy conveniences not found in most student 

apartments. Both halls of residence are just minutes away from classes, have controlled 

access into the buildings and have twenty-four hour security staff in each facility. 

Students often find it most helpful to live on-campus as they make the transition to SAIC. 

Staff in each of the facilities include student RA’s and full-time live-in professional staff. 

who are available to help students become more familiar with SAIC and the city, assist 

with personal and academic issues, and build a strong artist community. The Residence 

Life staff plans many activities and programs to foster a sense of community and to sup- 

port the individual and artistic development of SAIC students. Some of these programs 

include: faculty/student dinners; trips throughout the city on the CTA transportation sys- 

tem; all-school BBQ; Thanksgiving Dinner; Halloween Ball; the Annual Holiday Art Sale; 

Spring Art Sale and many more. 

Many students choose to live off-campus in one of Chicago’s interesting and diverse 

neighborhoods. The city provides students with a variety of housing opportunities, 

including traditional apartments, shared houses and loft spaces. Interested students can 

request a copy of the Community Area Booklet (a guide to living options within the city), 

or meet with a staff member. 

c) Community building 

o Student Government 

The Student Government represents all students enrolled at the School, providing 

students with a strong voice in School decisions. Elections for four officers are held in 

the spring of every year. Student Government provides funds for many student groups 

on campus. All students are encouraged to attend open meetings, which are held every 

week. 

o Student Groups 

As the list below shows, student groups at SAIC reflect the many interests of its 

diverse population. Most student groups apply each semester for a grant from Student 

Government to help with programming and operating expenses and digital networking 

support is available for free. In 2010–11 registered student groups include: 


1) Active Minds 

2) American Institute of Architecture Students 

[AIAS] 

3) Animation Club! 

4) Art History Programming Committee 

5) Art Therapy Association (ATA), SAIC Chapter 

6) Atelier Farda 

7) Avant Gardening 

8) Base Space Committee 

9) Belly Dance Group 

10) Bicycle Resource Group 

11) Black at SAIC (BASAIC) 

12) Canon 

13) Chinese Student Association (CSA) 

14) Coalition for Museum Relations (CMR) 

15) Committee For Awesome (C4A) 

16) Creative Writing Guild (CWG) 

17) Curatorial Community 

18) Designatural 

19) e-merge: Journal of Arts Administration & Policy 

20) Experimental Film Society (EFS) 

21) Eye & Ear Clinic 

22) Friends of the South Side Community Art Center 

23) Global Architecture Brigade (GAB) 

24) Good ‘Ol Futbol 

25) Hillel 

26) International Arts Administration Association 

27) InterVarsity 

28) Korean Graduate Student Community (KGSC) 

29) Korean Student Association (KSA) 

30) Latin American Student Organization (LASO) 

31) Le Phare 

32) Lite Metals 

33) Molten Metal Group 

34) Mouse & Toggle 


35) National Art Education Association (NAEA), 

SAIC Student Chapter 

36) Oxfam SAIC 

37) Parlor Room (Photographic Graduate Committee 

on Visiting Artists) 

38) Performance Group 

39) Platypus 

40) Queers and Allies (Q&A) 

41) Residence Hall Exhibitions (RHE) 

42) SAIC American Institute of Graphic Arts (AIGA) 

43) SAIC Anime Club 

44) SAIC Capoeira 

45) SAIC Cycling Club 

46) SAIC Food Lovers Club 

47) SAIC Free Culture 

48) SAIC Improv 

49) SAIC Movement Group 

50) SAIC Student Activists 

51) SAIC Zen Sangha 

52) Spring BFA Show Design Inclusive 

53) Student Organization for the Advancement of 

Philosophy (SOAP) 

54) Taiwanese Student Association (TSA) 

55) Tight Dance Crew 

56) Veterans Group 

57) Xerox Candy Bar 

58) Yoga Group 

49 | Spring 2011 






o Ex TV 

Ex TV is a student-run, experimental TV station broadcasting via closed circuit throughout 

SAIC. It provides a public forum for the SAIC community by airing student artwork, 

independent and alternative media, special events, movies and general information. 

o F Newsmagazine 

Each month 12,000 copies of F Newsmagazine are distributed free at colleges, cafés, 

bookstores, record stores, galleries, art supply stores at over 250 locations throughout 

Chicago. F has won many prestigious awards, and editorial decisions are made by the 

students on the staff, who invite all students, faculty and staff to contribute articles. Ink, 

the literary supplement of F Newsmagazine, is published twice a year. 

o SAIC Free Radio 

Free Radio SAIC is a student-run Internet radio station. It uses an open programming 

format to encourage DJs to experiment with the medium of radio. 

o Student Union Galleries (SUGs) 

SUGs was founded to present work made by current students to the SAIC/AIC community. 

SUGs’s two, on-campus exhibiton spaces are operated by and controlled by a paid student 

body staff and a volunteer committee with the guidance of a faculty advisor. 

3) Departmental student support 

a) Advising 

Personal and academic advising in the AIADO for students in all graduate programs is 

facilitated through the Administrative Office and is delivered through two sources: 

o Issues involving departmental facilities, day to day curriculum 

support and AIADO/SAIC student procedures: 

The AIADO administrative office—available to students from 8:30–4:30, Monday through 

Friday—is overseen by a senior administrative director, two full-time administrative 

assistants and two to four student workers. This office reports to and works with 

three program directors that manage disciplinary and program-level sections of the 

department’s educational offering. Currently the three directors are: 

- Helen Maria Nugent, Program Director of Designed Objects undergraduate and 

graduate programs 

- Thomas Kong, Undergraduate Program Director of Architecture and Interior 

Architecture 

- Douglas Pancoast, Graduate Program Director of Architecture and Interior 

Architecture 

Administrative staff receive students’ inquiries and direct requests for assistance to 

the appropriate entity within the office, via consultation with Senior Administrative 

Director Melanie Feerst. Ms. Feerst has nearly two decades of experience at SAIC and 

advises students on all matters concerning departmental facilities, day to day curriculum 

support, and AIADO/SAIC procedure. All other issues concerning curricula, course 

advising, personal and professional advising are referred to the program directors. 

o Issues involving AIADO curricula, course advising, personal 

advising and career advising: 



AIADO program directors, as active teaching faculty, maintain a close connection and 

working knowledge of the curriculum. Administrative release time equivalent to a 1.5 

course each semester is awarded to the program directors to facilitate departmental 

oversight. Directors reserve weekly open office time for student contact. Directors 

oversee all issues concerning student development and curriculum experience including: 

elective selection advising, professional advising, and portfolio review and assessment. 

Issues involving student-to-student or student-to-faculty conflict or dispute initiate with 

the directors but are documented and handled jointly with SAIC. See policy outlines in 

section I.1.2 Learning Culture and Social Equity of this APR. 

b) Off-campus experiences 

An important part of the SAIC ethos and the MArch pedagogy is helping students develop 

creative practices with relevance, social agency and that are of and in the world. Regular 

exposure to contexts and conditions in the City of Chicago, points abroad, and outside of 

the academy plays an important role in realizing this ethos. In addition to core design studios 

which routinely require students to visit and document urban sites in Chicago, two instances 

of extra-departmental contact in the MArch program can be found in the required course 

sequence: the Off-Campus Study Trip and ARCH/INARC 6222 Sustaining Practice Economies. 

The encouraged summer study trip, after the completion of first year courses, contains both a 

studio and art history component. The class is open to students from other SAIC departments 

but slots are reserved for MArch students, and it has a decided architecture and design focus. 

Thus far the class has traveled to Italy and Japan in alternating summers. Trips include an 

examination of both historical and contemporary sites and involve discussions, projects and 

papers that connect current design practice with its complex, developmental origins. 

Summer 2011 Rome, Milan, Venice Biennale 

Anders Nereim, Helen Maria Nugent, Lisa Wainwright, James Yood 

Summer 2010 Bunka Oudon: JAPAN 2010 

Thomas Kong, Douglas Pancoast, Stanley Murashige 

MArch & MArch/IA, 15 of 32 students 

Summer 2009 Rome/Milan/Venice Biennale: 

Abbondanza d’Arte e Disegno 

Anders Nereim, Helen Maria Nugent, Lisa Wainwright, James Yood 


Summer 2008 AIADO: Japan 

Stanley Murashige, Thomas Kong, Douglas Pancoast 


Summer 2007 Art & Design in Rome, Milan & Venice: Bernini, 

the Biennale & Bucellati 

Lisa Wainwright, Anders Nerieim, Helen Maria Nugent 


MArch and MArch/IA students also participated in other study trips as follows: 

Winter 2010 Prague & Vienna 2 


Summer 2009 China-Yunnan 

2009 (HPRES) 3 

51 | Spring 2011 







Summer 2007 Prague 1 

ARCH/INARC 6222 Sustaining Practice Economies delivers the bulk of the MArch 

program’s professional practice content. Students are expected to not only learn about 

conventional models of practice but also speculate about the limits and potential of 

practical organizations. Regular trips to a variety of Chicago area offices helps students 

imagine the role of professional organization can play in the instantiation of their career 

goals. This exposure also helps lay the foundation for future employment opportunities. 

c) American Institute of Architecture Students, SAIC chapter 

As of the 2009–10 academic year, many student governance and communication procedures 

have fallen under the purview of the newly formed and recognized AIAS chapter. The chapter is 

an important opportunity to participate in student government and professional societies. AIADO 

department supported AIAS events for the 2010–11 have been detailed under the Architecture 

Education and the Students heading in section I.1.3 Response to the Five Perspectives. 

d) Professional experiences 

A very exciting new opportunity for students in the MArch program comes through a recent 

collaboration between the AIADO and Argonne National Laboratories. This opportunity has 

been detailed under the Architectural Education and Society heading in section I.1.3 Response 

to the Five Perspectives. 

e) Schiff Fellowship 

The Schiff Fellowship was founded in 1988 with a generous endowment from Harold Schiff 

to support young architects. The fellowship, first granted in 1989 and administered by the 

Department of Architecture of AIC, is given annually to one student from either the University 

of Illinois at Chicago, Illinois Institute of Technology, or SAIC. The winning student’s portfolio 

becomes part of the permanent collection of architectural drawings housed within the Ernest 

R. Graham Study Center for Architectural Drawings. 

The four-person, independent jury changes every year. Jury members evaluate the 

submissions—the portfolios of the students’ regular school work—select the winner and 

determine the amount of the award. The yearly cash award has ranged from $5,000 to 

$25,000. Some students have used the money to travel, pay for college expenses, prepare 

for state licensing exams or purchase equipment for practicing the profession. In the 20 years 

since the award was established, seven students from the SAIC have been recognized: 

o Sungsuk Yoo, $25,000 award in 2008 

o Insun Cho, $25,000 in 2006 

o Tristan D’Estree Sterk, $25,000 in 2003 

o Rusty Smith, $13,689 in 2000 

o Dong Huy Kim, $10,000 in 1993 

o Tracy Bender, Honorable Mention of $2,000 in 1991 

o Hyeon-Mi Cho, $4000 second prize in 1990. 

Starting in 2007, the Schiff endowment was increased to support a new category of 

award for Architectural Writing and Criticism. The initial award in 2007 was for $10,000, 

which went to SAIC MArch student Taylor Lowe. 



4) Long-term planning involving students 

Notably, many of the Strategic Initiatives being undertaken in the 2010–11 academic year are focused 

on student support. In particular, initiatives to “find the SAIC student” and “provide structure 

and support to students” will address students directly. Also, “build diversity” and “strengthen 

research and collaboration” will benefit the student population by creating more opportunities for 

support and exchange at SAIC. Importantly, a student representative sits on the Strategic Planning 

Committee that drafted these initiatives. More information can be found in section I.1.4 Long-Range 

Planning of this APR. 

B) Faculty 

In 2010–11 SAIC employs nearly 700 faculty; within this number, 147 are full-time faculty. Of the full-time 

faculty, 104, or 70%, are tenured. Full-time faculty are identified by the following ranks: 

o 34 Assistant Professors (tenure-track appointments) 

o 51 Associate Professors (48 tenured, 6 tenure-track) 

o 58 Professors 

o 4 Full-time Visiting Artists (one-year, non-tenure-track appointments) 

SAIC a total of 425 part-time faculty who are classified as either Instructors or ranked, Adjunct faculty, 

including: Adjunct Assistant Professor; Adjunct Associate Professor; and Adjunct Professor. Nearly 25% 

are working professionals and teach one course a year, and the maximum that any part-time faculty 

can teach is five courses each academic year. 

The rank of Instructor is the initial rank given to new part-time hires. Instructors, the largest population 

at the School, receive tuition remission and institutional discounts, but are not benefits-eligible; they 

may teach a maximum of 5 courses in an academic year and are issued contracts on a semester-basis. 

The Adjunct rank has been awarded to 174 faculty, which is 30% of all part-time faculty or 25% of all 

faculty. Adjunct faculty typically teach at least three courses each year and must teach a minimum 

of six credit (typically two courses) to take advantage of their benefit option. Adjunct faculty are 

reviewed by their departments, an institution-wide committee, and, finally, the Dean; the Governors 

confer promotion. Adjunct faculty receive 12-month contracts that reflect minimum per course rates 

associated with each rank, and they are eligible for benefits. Additionally, Adjunct Associate and 

Adjunct Professors are eligible for paid leaves and the Tuition Exchange Scholarship program. School- 

wide part-time faculty totals are: 

o 70 Adjunct Assistant Professors (3 year minimum teaching) 

o 69 Adjunct Associate Professors (5 years minimum teaching) 

o 35 Adjunct Professors (reserved for master teachers who are accomplished 

professionals) 

o 250 Instructors 

In 2010–11, the AIADO Department has 59 faculty with the following ranks: 

o 3 Assistant Professors (includes 1 Art Historian) 

o 8 Associate Professors (includes 2 Art Historians) 


o 1 Full-time Visiting Artist 

o 4 Adjunct Assistant Professors 

o 4 Adjunct Associate Professors 

o 1 Adjunct Professor 


o 59 total AIADO Faculty 

53 | Spring 2011 






Within the AIADO Department, the MArch program has 28 faculty who teach the 17 degree-required 

architecture courses and 3 required art history courses with the following ranks: 

o 4 Assistant Professors 

o 8 Associate Professors 


o 3 Adjunct Associate Professors 

o 1 Adjunct Professor 


o 28 total MArch Faculty 

The following pages feature matrices of the faculty members who have taught in the MArch program 

for the past two academic years, enumerating their credentials and courses taught. 


SAIC Master of Architecture - 

FACULTY MEMBER 

alphabetical, Ahleman - Hawfield 

THOMAS AHLEMAN 

APR resume education, Illinois Licensed Architect, 

LEED certified, Fulbright Award, professional practice 

as sole partitioner 

CHRISTINE ATHA 

APR resume education, publishes on the politics of 

taste and the role of museums, Curator at the Design 

Museum, London, Co-editor of Design Renaissance 

GERRY CHRISTENSEN 

Industrial Designer with experience in embedded 

microprocessors and physical interface design, 

freehand drawing 

CINDY COLEMAN 

APR resume education, numerous Interior Design 

publications and awards, critical writing and editing, 

National Design Futures Council member 

ODILE COMPAGNON 

APR resume education, Licensed Architect in European 

Union, Illinois Licensed Architect, professional practice 

in Paris, and as a sole practitioner in Illinois 

PAUL DEAN 

APR resume education, NCARB certificate Licensed 

Architect, architectural practice in partnership 

ELLIOTT DUDNIK 

APR resume education including Ph.D. in building 

science, NCARB certificate Licensed Architect, 

professional practice as sole practitioner 

GORDON GILL 

APR resume education, professional practice in 

partnership with Adrain Smith, numerous AIA awards 

and publication of international work 

MICHAEL GOLEC 

APR resume education, publishes on science and 

visual culture, editor of Design Issues and Design and 

Culture, Anschutz Distinguished Fellow at Princeton 

ELLEN GRIMES 

APR resume education, NCARB IDP finished, Van 

Allen Institute Award, critical writing for LOG, 

executive editor of JAE 

MAY HAWFIELD 

APR resume education, professional practice as an 

interior designer 


Matrix for Faculty Credentials 

2009 COURSES 

2009 Spring Semester 

ARCH 5120 Architecture Studio 2: Skins 

INARC 5120 Int Architecture Studio 2: Activity Spaces 

ARCH INARC 5123 Matter and Structures 2 

ARTHI 5122 Spaces in Architectural History 

ARTHI 6118 Theory and Technology in Cont. Art & Design 

ARCH 6120 Architecture Studio 4: Families 

INARC 6120 Interior Architecture Studio 4: Event Spaces 

ARCH INARC 6123 Codes, Specs, Joints and Seams 

ARCH 6220 Architecture Studio 6: Thesis 

INARC 6220 Interior Architectre Stduio 6: Thesis 

ARCH INARC 6221 Structures 3: Complex Organizations 

ARCH INARC 6222 Sustaining Practice Economies 

INARC 5121 Structural Lab 2* 

55 | Spring 2011 

2009 Summer Term 

AIADO 5003 Graduate Design Communications 

AIADO 5004 Graduate Design Visualization 

AIADO 5006 Graduate Freehand Design Drawing 

AIADO 4050 Off-Campus Study Trip - Drawing 

AIADO 4050 Off-Campus Study - Design History 

2009 Fall Semester 

ARCH 5110 Architecture Studio 1: Sites 

INARC 5110 Interior Architecture Studio 1: Emotive Spaces 

ARCH INARC 5113 Const. Syst. & Structures 1: Simple Spans 

ARTHI 5120 Survey of Mod/Postmod Architecture & Design 

ARCH 6110 Architecture Studio 3: Systems 

INARC 6110 Interior Architecture Studio 3: Interactive Spaces 

ARCH INARC 6112 Nodes, Networks, and Interactivity 

ARTHI 6118 Theory and Tech in Cont. Art & Design 

ARCH 6210 Architecture Studio 5: Integrations 

INARC 6210 Interior Architecture Studio 5: Fluid Spaces 

ARCH INARC 6212 Choreographed & Ambient Systems 

ARCH INARC 6214 Cycle Ecologies 

ARCH INARC 5090 Construction Systems 






SAIC Master of Architecture - Matrix for Faculty Credentials 


alphabetical, Jurisson - Maschke 

JAAK JURISSON 

expertise in freehand drawing, design and technical 

practice with Murphy Jahn Architects 

KEELAN KAISER 

APR resume education, NCARB certificate licensed 

Architect, professional practice as a sole practitioner, 

NAAB Board member 

RICHARD KASEMSARN 

APR resume education, Illinois licensed Architect, 

expertise in freehand drawing, professional 

experience as a sole practitioner 

LINDA KEANE 


Architect, professional practice in partnership as 

architect and site planner, K-12 education consultant 

MARK KOENIGS 

APR resume education, Professional Engineer and 

Structural Engineer in Illinois, LEED certified, 

experience with Thornton Thomasetti Engineers 

THOMAS KONG 

APR resume education, Singapore Licensed Architect, 

Netherlands Architecture Institute Jaap Bakema Prize, 

Toyota Foundation Asian Network Grant 

TANNYS LANGDON 


professional practice as principal with Hammond Beeby 

Babka, national AIA awards 

PATRICK LEGEIN 

APR resume education, professional experience as 

project architect and nautical architectural detailer in 

European Union and United States 

KAI MAH 

APR resume education, publishes on race, diverse 

cultures, education, visual culture, and architecture 

JOHN MANNING 

APR resume education, professional practice 

experience creating media for the Crown Fountain 

in Millennium Park 

KEN MASCHKE 

APR resume education, professional practice with 

Thornton Thomasetti Engineers 

2009 COURSES 











INARC 6220 Interior Architectre Studio 6: Thesis 


ARCH INARC 62 22 Sustaining Practice Economies 

Architecture Program Report | 56 





















ARCH INARC 5090 Construction Systems



alphabetical, Miller - Siegle 

CARL RAY MILLER 

APR resume education, European Union design 

awards, BIM expertise with Gehry Technologies 

Digital Project 

JIYOUNG MOON 


Thornton Thomasetti Engineers and sole practitioner 

ANDERS NEREIM 

Illinois Licensed Architect, professional practice in 

partnership and as sole practitioner, American Wood 

Council and AIA Awards, Chicago Chapter AIA Director 

MICHAEL NEWMAN 


professional practice as a sole practitioner 

BEN NICHOLSON 

APR resume education, international exhibition record, 

geometric drawing expertise, design-build experience, 

SOM Foundation Fellow 

DOUGLAS PANCOAST 

APR resume education, Architecture League of New 

York Young Architects Forum Award, expertise in 

automated fabrication, technology, and programming 

YASMIN REHMANJEE 



HENNIE REYNDERS 

APR resume education, experience as Licensed 

Architect in South Africa, Board member of IFI, 

research on the impact of culture on urban form 

MARK SCHENDEL 


Architect, professional practice in partnership with 

Jeanne Gang, numerous AIA awards 

JOSEPH SHIELDS 



STEPHEN SIEGLE 

Architect, professional practice as principal with 

VOA 


2009 COURSES 











INARC 6220 Interior Architectre Stduio 6: Thesis 




57 | Spring 2011 


























SAIC Master of Architecture - 


alphabetical, Sterk - Yood 

TRISTAN STERK 

APR resume education, Licensed Architect in 

European Union, focus on energy performance in 

practice with SOM and Busby Perkins, AIA Awards 

PAUL TEBBEN 


professional practice as project architect with Krueck 

and Sexton and owns practice: STUDIO IDE 

DAN TORNHEIM 

APR resume education, NCARB IDP finished, 

professional experience as project architect for high 

end firms 

LISA WAINWRIGHT 

APR Education, SAIC Dean of Faculty 

JAMES YOOD 

APR resume education, Correspondant for Art 

Forum 

Matrix for Faculty Credentials 

2009 COURSES 











INARC 6220 Interior Architectre Studio 6: Thesis 


ARCH INARC 62 22 Sustaining Practice Economies 

















ARTHI 6118 Theory and Tech in Cont.vv Art & Design 








alphabetical, Ahleman - Hawfield 

THOMAS AHLEMAN 


LEED certified, Fulbright Award, professional practice 

as sole partitioner 

CHRISTINE ATHA 

APR resume education, publishes on the politics of 

taste and the role of museums, Curator at the Design 

Museum, London, Co-editor of Design Renaissance 

GERRY CHRISTENSEN 

Industrial Designer with experience in embedded 

microprocessors and physical interface design, 

freehand drawing 

CINDY COLEMAN 

APR resume education, numerous Interior Design 

publications and awards, critical writing and editing, 

National Design Futures Council member 

ODILE COMPAGNON 

APR resume education, Licensed Architect in European 

Union, Illinois Licensed Architect, professional practice 

in Paris, and as a sole practitioner in Illinois 

PAUL DEAN 


Architect, architectural practice in partnership 

PETER EXLEY 


Architect, professional practice as sole practitioner, 

National AIA awards 

GORDON GILL 

APR resume education, professional practice in 

partnership with Adrain Smith, numerous AIA awards 

and publication of international work 

MICHAEL GOLEC 

APR resume education, publishes on science and 

visual culture, editor of Design Issues and Design and 

Culture, Anschutz Distinguished Fellow at Princeton 

ELLEN GRIMES 

APR resume education, NCARB IDP finished, Van 

Allen Institute Award, critical writing for LOG, 

executive editor of JAE 

MAY HAWFIELD 

APR resume education, professional practice as an 



2010 COURSES 



INARC 5120 Interior Architecture Studio 2: Activity Spaces 

ARCH INARC 5123 Matter & Structures 2 








INARC 6220 Interior Architecture Studio 6: Thesis 




59 | Spring 2011 









INARC 5110 Int Arch Studio 1: Emotive Spaces 

ARCH INARC 5113 Construction Sytems & Structures 1 




ARCH INARC 6112 Nodes, Networks, Interactivity 

ARTHI 6118 Semper & Beyond: A Hist. of Arch & Tech 


INARC 6210 Interior Archiecture Studio 5: Fluid Spaces 











alphabetical, Jurisson - Murashige 

JAAK JURISSON 


expertise in freehand drawing, design and technical 

practice with Murphy Jahn Architects 

RICHARD KASEMSARN 


expertise in freehand drawing, professional 

experience as a sole practitioner 

LINDA KEANE 


Architect, professional practice in partnership as 

architect and site planner, K-12 education consultant 

MARK KOENIGS 

APR resume education, Professional Engineer and 

Structural Engineer in Illinois, LEED certified, 

experience with Thornton Thomasetti Engineers 

THOMAS KONG 

APR resume education, Singapore Licensed Architect, 

Netherlands Architecture Institute Jaap Bakema Prize, 

Toyota Foundation Asian Network Grant 

KAI MAH 

APR resume education, publishes on race, diverse 


JOHN MANNING 

APR resume education, professional practice 

experience creating media for the Crown Fountain 

in Millennium Park 

KEN MASCHKE 



CARL RAY MILLER 

APR resume education, European Union design 

awards, BIM expertise with Gehry Technologies 

Digital Project 

JIYOUNG MOON 


Thornton Thomasetti Engineers and sole practitioner 

STANLEY MURASHIGE 

APR resume education, Expert on Asian art and 

architecture 

2010 COURSES 












INARC 6220 Interior Architecture Stduio 6: Thesis 



























alphabetical, Nereim - Vitale 

ANDERS NEREIM 

Illinois Licensed Architect, professional practice in 

partnership and as sole practitioner, American Wood 

Council and AIA Awards, Chicago Chapter AIA Director 

MICHAEL NEWMAN 


professional practice as a sole practitioner 

BEN NICHOLSON 

APR resume education, international exhibition record, 

geometric drawing expertise, design-build experience, 

SOM Foundation Fellow 

DOUGLAS PANCOAST 

APR resume education, Architecture League of New 

York Young Architects Forum Award, expertise in 

automated fabrication, technology, and programming 

JEANETTE PFEIFFER 



YASMIN REHMANJEE 



HENNIE REYNDERS 

APR resume education, experience as Licensed 

Architect in South Africa, Board member of IFI, 

research on the impact of culture on urban form 

JOSEPH SHIELDS 



TRISTAN STERK 

APR resume education, Licensed Architect in 

European Union, focus on energy performance in 

practice with SOM and Busby Perkins, AIA Awards 

PAUL TEBBEN 


professional practice as project architect with Krueck 

and Sexton and owns practice - STUDIO IDE 

DAN TORNHEIM 

APR resume education, NCARB IDP finished, 

professional experience as project architect for high 

end firms 

BRIAN VITALE 

Architect, professional experience as Design Director 

of Gensler, AIA Awards 


2010 COURSES 












INARC 6220 Interior Architecture Stduio 6: Thesis 




61 | Spring 2011 


























1) Recruitment 

To maintain and increase the number of full-time faculty, the School conducts up to ten searches 

each year. All full-time faculty appointments are made by the Dean of Faculty in consultation with 

the Chair and faculty members of the Search Committee who make their recommendation for hire 

to the Dean. Part-time faculty appointments are typically made through a department by the Chair 

or Program Directors. Full-time faculty searches are conducted on an international scale through 

postings and advertisements, open calls, and letters of announcement or solicitation. All postings 

include the SAIC’s EOE statement: 

The School of the Art Institute of Chicago is committed to creating a diverse community of faculty 

and students, and is an Equal Opportunity Employer. Applicants are considered on the basis of their 

qualifications for the position without discrimination on the basis of race, color, gender, religion, na- 

tional origin, disability, age, sexual orientation, gender-related identity, marital status, parental status, 

military or formal military status, and any other basis prohibited by applicable federal, state, or local 

law. 

For searches to be conducted in 2010-11, the Dean of Faculty has appointed Associate Professor 

Kym Pinder with duties in a newly created role as Diversity Coordinator. Pinder is an art historian 

and recent Chair of the Department of Art History, Theory, and Criticism whose pedagogy, scholarly 

research, administrative experience, and collegiality make her an ideal candidate to enhance SAIC’s 

efforts to increase the diversity of its faculty. In 2010–11 the School will conduct eleven searches 

in ten departments, anticipating up to 13 full-time appointments. Searches are administered and 

coordinated by the Deans Office, but are conducted by search committees composed of full-time 

tenured faculty from the respective department, complemented by faculty members from outside 

the department, and the official role of one of the two elected Division Chairs whose duties, in 

particular, are to insure faculty participation in the governance and administration of the School, and 

relate primarily to the composition of faculty in searches, contract reviews, tenure appointments, and 

promotions. 

a) Non-discrimination policy 

In addition to the EOE statement that is included in all searches, the Faculty Handbook—which, 

along with it Supplement and Legal Supplement, is the legal governing document for faculty at 

SAIC—compels the faculty and their leadership by including the following statement: 

SAIC Faculty Handbook, Section 1 Employment, page 2 

B. Equal Employment Opportunity Commitment 

It shall be the policy of the School of the Art Institute of Chicago to ensure that we act in all aspects 

of employment without discrimination on the basis of race, color, gender, religion, national origin, 

disability, age, sexual orientation, marital status, parental status, military or former military status, and 

any other basis prohibited by applicable federal, state, or local law. Equal employment opportunity 

is foremost in our relationship with all of our faculty, and it is the responsibility of all faculty under 

the leadership of Department Chairs and the Dean of Faculty to ensure that these principles are 

followed. As indication of our commitment, the School of the Art Institute’s policy of non-discrimina- 

tion is prevalent throughout every aspect of our relationship with faculty, including job advertising, 

recruitment, selection, compensation, promotion, tenure, enrichment, and termination. 

As an employer, the Art Institute of Chicago must establish policies to meet various federal, state 

and local legal requirements in areas such as privacy, non-discrimination and safety. These legal 

policies are to be found in the SAIC Faculty Handbook Legal Supplement. 



b) Promotion 

The process of appointing, reviewing, and promoting full-time faculty at SAIC is distinguished 

by the faculty’s active role in the process. Searches are conducted by departmental Search 

Committees of composed of seven full-time faculty, and are typically chaired by the Depart- 

ment Chair. Tenure-track faculty are reviewed in turn by seven full-time faculty assembled as 

a Departmental Review Committee, then by the elected Division Chairs, and finally members 

of the Faculty Contract and Tenure Review Board, a board of eleven elected, tenured faculty 

who represent institutional concerns beyond the scope of departmental need. The various 

bodies’ recommendations are critical to the Dean of Faculty in making hires, contract pro- 

gressions, and tenure appointments. The guidelines are accurately and well documented in 

the SAIC Faculty Handbook, and are provided here: 

SAIC Faculty Handbook, Section 2 – Full-time Faculty 

D. Searches and Appointments 

All regular teaching appointments shall be made by the Dean of Faculty with approval of the Presi- 

dent of the School following an international search, upon the recommendations of the appropri- 

ate departmental or program and divisional chairs who shall have sought advice and counsel from 

the departmental faculty. All appointments shall be subject to review by the Board of Governors of 

the Board of Trustees. The ranks of Assistant Professor, Associate Professor, and Professor shall be 

used. The rank and salary shall be determined by the Dean of Faculty on recommendation of the 

appropriate departmental and divisional chairs at the time of initial appointment. Initial rank and 

salary will reflect the individual’s education, experience, or professional achievement. In making 

full-time appointments, proper consideration shall be given to qualified and interested part-time 

faculty members. 

E. Review and Promotion 

The review and promotion of regular full-time faculty members shall be as follows: 

The review procedure shall be initiated with a departmental review which will include the Review 

Committee, the Undergraduate Division Chair and when appropriate, the Graduate Division Chair, 

and the invitation of all full-and part-time faculty from within the department. 

The Department Chair will write a letter of recommendation which will reflect both the discussion 

of the review and a vote taken at the review. This letter will be presented to the Faculty Contract 

and Tenure Review Board and to the Dean of Faculty. 

The Division Chairs will each write letters of recommendation as appropriate, copies of which will 

be forwarded to the Faculty Contract and Tenure Review Board, the Dean of Faculty, and the fac- 

ulty member under consideration. 

The Faculty Contract and Tenure Review Board will review the letters from the departmental and 

divisional chairs and grant the candidate an interview and opportunity to present his or her work 

to the Faculty Contract and Tenure Review Board. The Board will make a written recommendation 

to the Dean of Faculty which reflects this interaction. 

After reviewing all of the materials pertaining to the review and promotion of the faculty member, 

the Dean of Faculty will make a recommendation to the President of the School. 

The President of the School will present the recommendations to the Board of Governors. The fol- 

lowing factors shall be carefully considered by the Department, the Department Chair, the Division 

Chairs, the Faculty Contract and Tenure Review Board, the Dean of Faculty, and the President of 

63 | Spring 2011 






the School in reviewing faculty for continuation of service, promotion in rank, progression of con- 

tract category, and for tenure: 

o teaching effectiveness; 

o professional involvement; 

o appropriateness of content of teaching in relation to curriculum, departmental need, 

and the School philosophy; 

o service to the School; 

o evidence of outside recognition, especially for tenure review. 

Although final recommendation for a decision will be made to the Board of Governors by the 

President of the School, he or she should not act without obtaining recommendations from the 

Dean of Faculty and the Faculty Contract and Tenure Review Board. The final decision rests with 

the Board of Governors. 

F. Tenure 

With the establishment of an official tenure policy for the School of the Art Institute of Chicago ef- 

fective with the academic year 1968-69, full-time SAIC faculty are eligible for tenure consideration 

according to the Faculty Handbook Supplement, Section 4. Tenure insures academic freedom and 

economic security through the guarantee of continuous full-time service until retirement, subject 

to termination only for adequate cause or under extraordinary circumstances because of institu- 

tional financial exigencies, all as defined in the 1940 Statement of Principles, Academic Freedom 

and Tenure, American Association of University Professors. 

The recommending bodies for Tenure are as follows: the Department; the Department Chair; the 

appropriate Division Chair(s); the Faculty Contract and Tenure Review Board; and the Dean of 

Faculty and/or the President of School. Tenure may be granted prior to seven years of service at 

the School of the Art Institute of Chicago in consideration of previous full-time college-level teach- 

ing experience with regular rank or in consideration of attainment of tenure at another institution 

of higher education. Faculty officially tenured at another college-level institution who leave that 

institution to join the SAIC faculty shall be granted tenure at SAIC with the SAIC appointment, thus 

assuring continuous tenure status. No person may serve as chair of a department or division dur- 

ing the year he or she is being reviewed for tenure. 

Part-time Faculty 

B. Rank 

New part-time faculty will be appointed with the rank of Instructor or be designated as Visiting 

Lecturer, Visiting Artist, or Visiting Designer. New part-time faculty with significant college-level 

teaching experience and reputation in their field may be appointed with the rank of Adjunct Assis- 

tant Professor or Adjunct Associate Professor at the discretion of the Dean of Faculty in consulta- 

tion with the appropriate Department or Program Chair(s). 

Continuing part-time faculty may be promoted to the rank of Adjunct Assistant Professor, Adjunct 

Associate Professor or Adjunct Professor. The following time schedule is recommended for eligibil- 

ity for promotion: 

Adjunct Assistant Professor – three years or equivalent experience 

Adjunct Associate Professor – five years or equivalent experience 

Adjunct Professor – by nomination of Department of Program Chair 


C. Review and Promotion 


The continuing part-time faculty member will initiate application for promotion in rank to Ad- 

junct Assistant or Adjunct Associate Professor with his or her Department or Program Head. The 

Department or Program Head, in consultation with the department’s full-time and adjunct faculty 

and, as appropriate, other regular and adjunct faculty familiar with the candidate’s qualifications, 

will evaluate the candidate for promotion. Evaluation for promotion to Adjunct Assistant Profes- 

sor will be based on teaching effectiveness and professional involvement, with an emphasis on the 

former. Evaluation for promotion to Adjunct Associate Professor will be based on teaching effec- 

tiveness, professional involvement, curricular flexibility and the academic needs of the department. 

Following a departmental review, the Department or Program Head will either recommend or not 

recommend a promotion to the Dean of Faculty. The Dean of Faculty, after consultation with the 

Adjunct Review Committee and other appropriate members of the faculty and academic adminis- 

tration will make the final decision of the candidate’s promotion in rank. Evaluation for promotion 

to Adjunct Professor will be based on, in addition the criteria for Adjunct Associate Professor, the 

demonstration of a significant professional record and excellence in teaching. Nomination for Ad- 

junct Professor status must be made by a Department or Program Chair, and will be reviewed by 

the Full Professor Committee of the Faculty Contract and Tenure Review Board. 

2) Development 

The School supports its faculty in the acquisition of new skills and knowledge through its award of 

travel and research grants, conference fees, teach-teaching awards, residencies, and project-specific 

support, as in the many GFRY projects developed in the AIADO department. In Fall 2010 Associate 

Professor Ellen Grimes has been named the Editor of publications for the ASCA. To support her con- 

tinued role in this position, the School has arranged a reduced course load for the next three aca- 

demic years. This arrangement is unique but typical of the efforts that SAIC administration makes to 

support the growth and potential of its faculty. Other examples include the course release for Sterk 

and Pancoast in support of the Argonne program. 

SAIC annually distributes grants and monies totaling in excess of $350,000 to support the research, 

scholarship, and creative endeavors of its faculty. Faculty Enrichment Grants awarded on an insti- 

tution-wide level through the Deans Office total $75,000 for 2010–11. Travel and Research monies 

awarded by the Dean of Faculty on an individual basis to faculty total $100,000 for the 2010–11 year. 

The School awards up to ten Professor Research Days each year equivalent to $100,000; 25 two- 

week New Buffalo residencies equal to $3500 each, and the Krems residency recipient is provided 

with $1500 travel money in addition to housing in Austria as well as Faculty Enrichment funds. Indi- 

vidual departments have some funds to support their faculty though these budget allocations are 

determined on a departmental basis, and vary from department to department. The AIADO depart- 

ment, for example, has an annual fund of $20,000 or more to support its faculty, see details below. 

Below, descriptions of the complement of faculty development opportunities are enumerated, 

including: sabbaticals, paid leaves, professor research days, enrichment grants, travel and research 

monies, and residences. Attention is given to highlight the ways in which AIADO faculty have availed 

themselves of these opportunities. 

a) Sabbatical 

Full-time, tenured faculty are eligible for their first sabbatical in the eighth year of service, 

and then accrue eligibility for subsequent sabbaticals every seventh year of full-time teach- 

ing. During a sabbatical, faculty are relieved of their teaching and administrative duties for a 

dedicated period of work and/or study to help sustain the excellence and professionalism of 

their teaching. 

65 | Spring 2011 






Sabbaticals are structured in one of three ways: 

o A term-sabbatical of one semester (Fall 2010 or Spring 2011) at 100% (full) salary; 

o An academic-year sabbatical of two consecutive semesters (either Fall 2010-Spring 

2011 or Spring 2011-Fall 2011) at 67% (two-thirds) salary; or 

o A split-term sabbatical of two non-consecutive semesters (such as Fall 2010 and Fall 

2011) at 83% salary in each academic year contract. 

During the 2010-11 academic year, 17 full-time faculty are on sabbatical leave—nine have 

been awarded a full-year leave, two (Grimes, Kalec) from the AIADO department who 

teach in the graduate program; four faculty have been awarded one-semester leaves 

at full salary; and four have been awarded split-term sabbaticals across two academic 

years. 

In 2009-10, of 17 full-time faculty on sabbatical, three faculty from AIADO who taught in 

the graduate program were awarded one-semester leaves (Keane, Nereim, Reynders). 

Keane proposed to develop TIDES, a new long-distance learning format; Nereim made a 

study of the design of key European cities; and, Kalec traveled to Italy to document the 

egress of ancient Roman, Renaissance, and Baroque buildings. 

Faculty participate in on-campus exhibitions and/or lectures upon returning from a sab- 

batical leave to share their research and ideas, such that the entire community benefits 

from a faculty’s research, projects and investigations. 

b) Paid leave 

A limited number of paid leaves of one semester’s duration are available to part-time faculty 

with the rank of Adjunct Associate and Adjunct (Full) Professors who have completed seven 

years of teaching in the School’s degree programs. Since beginning this practice in 2002, a 

total of 43 faculty have been awarded paid leaves equal to 75 courses, with an average of 

four faculty awarded one-semester paid leaves each year. A faculty member is eligible to ap- 

ply for a paid leave every seven years. 

The salary awarded for a paid leave is equal to the average number of courses taught per 

semester during the previous six years, and compensated at the current per course rate. 

Typically the leave is equal to two to three courses. With the minimum per course rate 

for Adjunct Associate Professors $6000, and for Adjunct Professors $7000, typical paid 

leaves are equal to $12,000 to $20,000. Paid Leaves payments since 2002 total $490,750. 

With about forty part-time faculty teaching in AIADO, there are comparatively small num- 

bers of adjunct faculty. Consideration for adjunct promotion requires a minimum of three 

years teaching three or more courses each year, so the relatively recent expansion in the 

department that began in 2006 has yet to establish eligibility for the greater number of 

part-time faculty. SAIC has awarded one paid leave to an AIADO faculty member: Adjunct 

Professor Garret Eakin in Fall 2006. 

c) Professor Research Days 

In recognition of the professional activities of its full-time, senior faculty with the rank of 

Professor, the School awards up to ten Professor Research Day awards each year, which 

provides Professors each with one release day during the academic year to pursue profes- 

sional projects while receiving full compensation. Begun in 2008, a total of 25 Professors have 

received one or more research days, including one of three full-time faculty with that rank in 

the AIADO department: Keane, who is the only of the three to apply for the award. 



d) Faculty enrichment grant 

Faculty Enrichment Grants are awarded to full- and part-time faculty to support profes- 

sional activities, conferences, residencies, travel, and project development. Selections are 

determined from proposals reviewed by members of the Academic Steering Committee that 

include elected faculty and deans. Priority consideration is given to faculty on sabbatical or 

paid leave and faculty who have not received grants within the prior two-year period. The 

committee especially supports requests for projects that have a commitment for an exhibi- 

tion or other end result. 

For 2010-11, forty faculty members were awarded grants ranging from $500 to $5,000 to 

support exhibitions, publications, research, study, travel, and exchange programs. Awards 

related to AIADO included funding of a book project with the working title “Sites of Learning: 

Architecture and the Educational Experience 1847-1917” by an architectural design historian 

(Mah). Nereim received funds in support of sabbatical research on European cities. Other 

department-specific requests were referred to the department for their discrete travel and 

research budget. 

e) Travel and research funding 

Faculty travel, research, and projects are also supported by discretionay funds of the Dean as 

well as those within the Department. In the past five years (since 2006–07), 13 AIADO faculty 

have received a total of $103,800 to directly support travel, research, equipment purchases, 

and relocation expenses. Through departmental funds, seventeen AIADO faculty were award- 

ed a total of $27,000 toward travel and fees to attend conferences including: Design History 

Society Conference (Atha); Leadership Summit on Sustainable Design (Coleman); ACSA - 

New Orleans (Grimes); Common Ground Publishing Conference (Keane); Architecture for Hu- 

manity Conference, Singapore (Kong); Vernacular Architectural Forum in Washington (Mah); 

ACADIA (Nereim); Labyrinth Society Conference, Portland OR (Nicholson); ACSA Adminis- 

trators Conference (Pancoast); Urban Age Conference in Istanbul, Turkey (Reynders); Design 

Principles at UIC (Nugent); Lightfair International (Nugent); IDSA conference (Nugent); and 

Designers Accord Conference, San Francisco, CA (Tharp). Additional monies were awarded 

for research, travel associated with sabbaticals and study trips. One student’s attendance at 

the IDSA conference was supported as well. 

f) Residencies 

Since 2000, over 250 faculty and staff have completed residencies in New Buffalo, Michi- 

gan; Krems, Austria; and the former program in Catskill, New York. SAIC’s artist-in-residency 

programs support and encourage the creative renewal and professional development of its 

full- and part-time faculty as well as its full-time staff who are artists, designers, writers, and 

scholars. 

Priority consideration is given to applicants who have actively contributed to the School 

community, and who propose to complete a specific project or produce new works that have 

relevance to the region or site. Summer residencies in Austria are open to all faculty and full- 

time staff. New Buffalo summer residencies are awarded to full-time faculty, while sabbatical 

faculty, part-time faculty, faculty with flexible schedules, and full-time staff are scheduled 

during fall, winter and spring. 

o New Buffalo Residency Program 

Artist, alumnus and benefactor Roger Brown’s partner, architect George Veronda de- 

signed the modernist glass and steel structure and its furnishings in 1979 as a showcase 

67 | Spring 2011 






for Brown’s extensive art collection. Located 75 miles from Chicago, the home is maintained 

by the School for residencies. One artist is selected for each two-week period, with exclusive 

use of the fully furnished, secluded house, guesthouse, and studio overlooking the Galien 

River on the east and across the street from Lake Michigan on the west. 

Nearly 150 faculty and staff have completed residencies in New Buffalo since Brown gifted 

the furnished home to SAIC shortly before his death in 1998. Of the 150 residencies, two have 

been completed by AIADO faculty—Carol Yetken, a landscape architect who pursued a study 

of the historic landscape and with graduate students has produced the five-year plan the 

School has adopted to restore the landscape to its original design; and Anne Sullivan, chair of 

Historic Preservation and architect who teaches in the MArch program as well. Additionally, 

AIADO Senior Administrative Director Melanie Feerst has also had a New Buffalo Residency. 

o Artist-in-Residence Exchange with Krems, Austria 

A former carpet factory along the Danube River has been converted to an arts building by the 

government of Lower Austria.Through an exchange program, artists are provided a furnished 

apartment and a shared studio space. In exchange, artists from Austria are awarded residen- 

cies in Chicago, and are hosted by the School. SAIC provides a $1500 stipend per month to 

assist with travel expenses. 

The summer 2010 artist in residence was AIADO faculty member Anders Nereim whose proj- 

ect researched European city designs as models for creating downtowns that produce their 

own energy using new zoning envelopes. From the AIR Krems website, Nereim posted: 

When I arrived in Vienna and saw the buildings in the ringstrasse, I suddenly recalled the writ- 

ings of a very important nineteenth century Austrian urban designer, Camillo Sitte, whom I 

had last studied in 1975. 

Of the 18 artists sent to Krems since the exchange began in 2001, three have been associated 

with the Architecture and Historic Preservation program (Nereim, Achilles, Michael), while two 

of the nine Austrian artists who have spent the summers in Chicago have been architects. 

C. STAFF 

SAIC employees approximately 300 staff members who serve in a variety of capacities, ranging from ad- 

ministrative support, facilities management and maintenance, as well as technical staff. 

1) Recruitment 

Staff are hired by applying to open positions listed on the website and, in some cases, other classified ad- 

vertisements and solicitations. The Office of Human Resources—which services both the museum and the 

School staff—coordinates those searches. Similar to the policies and opportunities that undergird student 

and faculty handbooks, staff have a governing document know as the Employee Guidelines, which is no 

longer widely published as it is available to most employees on the School’s intranet. Human Resources 

is the central administrative department that summarizes makes these policies available at a mandatory 

orientation and adjudicates harassment disputes. 

a) Non-discrimination policy 

One of the chief staff policies deals with a similar commitment to diversity, equal opportunity, and 

non-discrimination that is also found among students and faculty. For example, the EOE policy is 

posted online with all employment listings: 

The Art Institute of Chicago is an Equal Opportunity Employer. To maintain excellence in all its ef- 



forts, the Art Institute is committed to a policy of jobs and advancement that actively seeks 

the most qualified people from a wide-range of candidates. Applicants are considered on the 

basis of their qualifications for the position without regard to race, religion, national origin, 

sex, age, disability, marital status, sexual orientation, or veteran status. If you have any ques- 

tions concerning our Equal Opportunity policy or its application, please contact the Human 

Resources Department at (312) 629-9420. 

Furthermore, the following diversity statement is introduced to all staff: 

The Museum’s mission is to enrich people’s lives through the experience of art. To best 

serve our visitors and to strengthen our sense of community and pride in our work, our 

employees, and our individual abilities and differences must be valued and fully utilized. 

We must ensure that everyone is treated fairly, that each person’s concerns are heard, 

and that each of us is committed to assuring the environment of cooperation and mutual 

respect that is essential for personal and institutional success. 

Policies regarding harassment for staff are very similar to those that govern the students; 

additionally, the Employee Guidelines also outline polices for conflicts of interest, compen- 

sation, financial misconduct, ethical behavior, employment, and separation. 

2) Development 

Benefits-eligible staff may partake of medical, dental, and vision coverage; pre-tax flex-spending ac- 

counts; life and accident insurance; and retirement investment plans for which AIC matches a small 

percentage of employee contributions. Frequent employee development sessions are offered by 

Human Resources covering topics such as saving and investment, time management, and conflict 

resolution. Other privileges available to staff at AIC include access to most local museums and zoos; 

use of the many libraries and special collections; Chairman’s, Safety, and other awards; tuition remis- 

sion; museum store and restaurants discounts; and, pre-tax transit benefits among others. 

D. LECTURES, EXHIBITIONS, AND OTHER DEVELOPMENT OPPORTUNITIES 

In addition the development opportunities specific to the AIADO department and the MArch program, 

the following programming is made available by SAIC and its sister institution, AIC, to all students, 

faculty, and staff; many of these events are also open to the public. 

1) The Architecture & Design Society of the Art Institute of Chicago 

The Architecture & Design Society was created in 1981 as the support group for the Department of 

Architecture and Design at the Art Institute of Chicago. The society’s general mission is to enhance 

the understanding and appreciation of architecture and design by making them accessible to a 

wider audience through a dynamic program of lectures, upper-level-member architectural tours and 

special events, and receptions and viewings of Department of Architecture and Design exhibitions. A 

diverse roster of speakers represents emerging practitioners at the forefront of the fields of architec- 

ture and design, individuals at the peak of their career, and the critics, curators, and scholars whose 

words and ideas shape these fields. 

The Architecture and Design Society has hosted—or will host—the following lectures in 2009 and 

2010 : Jurgen Bey (Studio Makkink & Bey); Matali Crasset; Jeanne Gang Lecture; Dominique Jakob 

(Jakob+MacFarlane); MOS Lecture: Michael Meredith and Hilary Sample; Eric Owen Moss; Zoë Ryan in 

Conversation with Alice Rawsthorn; Francois Roche (R&Sie (n)); Dialogue: Joseph Rosa in Conversa- 

tion with Paul Goldberger; Lindy Roy Lecture 

69 | Spring 2011 






2) Visiting Artists Program (VAP) 

Founded in 1868, the Visiting Artists Program (VAP) is one of the oldest public programs of the 

School of the Art Institute of Chicago. VAP hosts public presentations by artists, designers, and 

scholars each year in lectures, symposia, performances, and screenings. The primary mission of the 

Visiting Artists Program is to educate and foster a greater understanding and appreciation of con- 

temporary art through discourse. For the past several years, most lectures have been audio recorded 

and are available for download through the SAIC website. 

VAP has hosted—or will host—the following lectures during the 2009–10 and 2010–11 academic 

years. Doug Aitken; Lynda Barry; Amy Franceschini; Matt Keegan; Maria Martinez-Cañas; Harry 

Pearce; Doris Salcedo ; Richard Sennett; Ryan Trecartin; Camille Utterback; Martha Wilson; Saya 

Woolfalk. 

Of particular interest to MArch students and faculty, the Fall 2009 series of lectures were presented 

in conjunction with the Learning Modern exhibition, which is discussed more fully below. Lectures 

that were part of this series that were sponsored through VAP included: Andrea Deplazes; Kathleen 

James-Chakraborty; Narelle Jubelin ; Jun Nguyen-Hatsushiba; Jorge Pardo; Lisa Roberts; Christian 

Veddeler. 

3) Mitchell Lectures 

The Grayce Slovet and William H. Bronson Mitchell Lecture Fund in Interior Architecture brings 

prominent practitioners to the School each year for its endowed lecture series, which is adminis- 

trated by AIADO. In some instances, the Architecture & Design Society of AIC, the School’s VAP, or 

other local institutions—such as the Andrea Deplazes lecture, which was sponsored by AIADO, VAP, 

the Consulate General of Switzerland, Think Swiss, and the Goethe-Institut, Chicago—will partner 

with AIADO to co-sponsor a particular lecture. In addition to some of the events described above, 

Mitchell Fund has held the following events since the last site visit: 

o Chris Luebkeman—Drivers of Change 

The future is fiction. In fact, the future is a story that each of us participates in writing 

every day. It is only when tomorrow transitions to yesterday that will we have the clarity 

of hindsight; only then, can we know what the future really was. While we cannot predict 

the future, it is absolutely vital that each of us consider the years to come, so that we are 

more prepared to prevent, anticipate and cope with that which may occur. 

o Edward Barber and Jay Osgerby—Work in Process 

Edward Barber and Jay Osgerby met as architecture students at The Royal College 

of Art in London and founded their British-based design firm BarberOsgerby in 1996. 

Launched to critical acclaim with the design of the Loop Table, produced by Isokon in 

1997, the firm has since become known for their diverse output in which they experiment 

with new materials and technological processes to create elegant work that is pared 

down to its essential elements. Their portfolio of work includes lighting for Flos, furniture 

for Established & Sons, and glassware for Venini. In 2006 BarberOsgerby was jointly 

proclaimed, along with Established & Sons, “Designers of the Future” at Design Miami/ 

Basel. BarberOsgerby’s work is held in the permanent collections of museums around the 

world including V&A, London; Metropolitan Museum of Art, New York; Design Museum, 

London; and the Art Institute of Chicago. This event was co-sponsored by the Architec- 

ture & Design Society of the Art Institute of Chicago 



o Robert Somol—Whatever Happened to -ism? 

Equally at home in Las Vegas or the Ivy League, Robert Somol has a long standing inter- 

est in combining the speculative discipline of modernism with the material excesses of 

mass culture. With a Phd from U Chicago and a JD from Harvard Law School, Somol has 

become the quintessential essayist whose writings have appeared in scores of journals 

including Any, Log, Wired, Assemblage. His writings have been collected in his forthcom- 

ing book Nothing to Declare, MIT Press (2010). After a nomadic teaching career at Princ- 

eton, Columbia, UCLA, Rice, and Ohio State he is currently the Director of the School of 

Architecture at University of Illinois, Chicago. 

o James Buchanan— Drawing Down the Sky 

Jim Buchanan has twenty years experience in both public and private, temporary and 

permanent site-specific art projects and commissions. Each work is born of a balance 

between the site’s genus loci, the construction materials and audience interaction. Actual 

or symbolic water is often considered for inclusion, for example a thin film of water acts 

as a mirror for reflecting light. These gentle movements of air, light and water, can create 

a sense of Nature’s rhythm, and the labyrinth provides a rigid construct over which and 

through these effects and people move. Although based in Scotland, Jim will describe 

how recent visits to the USA are providing research material and inspiration for new 

works. Jim Buchanan is author of Labyrinths for the Spirit published by Gaia in 2007. 

o Emily Pilloton—Design Revolution Roadshow 

Design Revolution Road Show is the brainchild of SAIC alumna Emily Pilloton (MFA 

2005) who is in a growing movement of design activists, championing products that 

feature humanitarian design for the people who need it most: i.e. safer baby bottles and 

sugarcane charcoal. Her group, Project H Design, have created projects for water trans- 

port and filtration systems in South Africa and India and an educational math playground 

built for elementary schools in Uganda and North Carolina. Traveling in a 1972 Airstream 

trailer, her Design Revolution Road Show stopped at 30 colleges and high schools. The 

SAIC stop featured a lecture and discussion of her book Design Revolution, and an exhi- 

bition in Millennium Park. 

Other Mitchell Lectures featured: John Grunsfeld; Jonathan Hill; and, Taryn Mead. 

4) Midday Musings 

In addition to the Mitchell Lectures, AIADO sponsors other lecture events by its faculty and their 

professional peers, which are know as Midday Musings. Since the last site visit, the Midday Musing 

series has sponsored 19 separate events and tours conducted by professional architects and interior 

architects, as well as faculty. For example, recent Midday Musing have included: 

o Miki Astori 

Miki Astori studied as an architect in Milan, and mainly operates in the fields of furniture 

design, interior design, and architecture. Astori discussed his work with Italian design/ 

manufacturing companies including Driade, Flos, and Kartel. 

o Zoë Ryan—Curating Konstantin 

The Neville Bryan Curator of Design at AIC gave a private tour of her latest endeavor: 

Konstantin Grcic, Decisive Design, Grcic’s first major exhibition in the US. 

71 | Spring 2011 






o Visionary Event Spaces: Celebrating Prairie Avenue 

Invited by the Prairie Avenue Neighborhood Alliance, six projects from the Event Spaces 

studio were exhibited at the Prairie Avenue Art Gallery in September 2009. In an attempt 

to establish the social, cultural and political impact of the Prairie Avenue Historic District 

of Chicago, in contemporary Chicago, these projects offer a diverse series of solutions 

using the Glessner house and adjacent sites as a theater for ephemeral practices. The 

panel included architects, historians and members of the Glessner House museum board, 

including AIADO faculty member Odile Compagnon. 

o Joan Kaufman—American Society of Interior Designers 

Joan is the Interior Design Director with Interior Planning & Design, Inc., and is a Profes- 

sional member of ASID, IIDA, and FSII, and has passed the NCIDQ exam. Her work experi- 

ence as an interior designer includes positions and several Chicago architectural firms 

and an office furniture dealership before founding her own interior design firm in 1990. 

She has been an active member of ASID since 1988 and will be talking about the benefits 

of ASID Student Membership, including scholarships and awards, leadership training 

events, graduation events, and the ASID job bank. 

o Richard Ferrer—Notes of Assimilation and Consciousness 

Undergraduate student Ferrer shared a travelogue based on his notes on random re- 

ceipts, tickets, books, pieces of paper, or whatever was around during specific events, 

many of which have not been read until this presentation. These notes encompass his 

time in the Marine Corps, living in Japan, traveling to other countries and cities like Thai- 

land, Singapore, Hong Kong, South Korea, East Timor, Australia, Morocco, Rome, Paris, 

Barcelona, and Cuba, leading up to joining the BIA program in 2008. 

o Alissia Melka—Teichroew & Jan Habraken 

Alissia (byAMT Design Studio, Brooklyn) and Jan (Studio Jan Habraken, Brooklyn) will 

gave a Midday Musing during their visit to Jess Giffin’s course on Independent Design 

Practices. Together their work ranges from licensed tabletop pieces and accessories to 

furniture, exhibit design and curatorial projects. 

o Max Underwood 

Max Underwood is a President’s Professor at Arizona State University and a licensed 

architect. The focus of his scholarship intertwines the art of teaching with the realities of 

innovative design practice. Beginning with his experience working for the famed design- 

ers Charles and Ray Eames, and graduate work at Princeton University, he has visited, 

researched and placed his former students in many of the leading business, design, film 

and architectural practices around the world. 

o Chris Reilly and Taylor Hokanson—The DIYLILCNC Project: CNC & 

Open-Source Hardware Research 

The DIYLILCNC project is a set of open-source plans for an inexpensive, fully functional 

3-axis CNC mill that can be built by an individual with basic shop skills and tool access. 

Chris Reilly and Taylor Hokanson developed the project to show what you can accomplish 

with the tools AIADO has to offer. In addition to the slide presentation, there was a func- 

tioning DIYLILCNC on hand for students to examine and operate. 

Other Midday Musings featured, including AIADO faculty: Florian Graf; May Hawfield and Garret Eakin; 

Simon Herron and Susanne Isa; Sung Jang; Richard Kasemsarn; Chris Palmer; Duke Reiter; Helene Re- 

nard; Jan Tichy; and Zoka Zola. 



5) HISTORIC PRESERVATION LECTURES 

Additionally, AIADO sponsors lectures specifically tailored to the Historic Preservation program. Many 

of these presentations involve architects and interior architects. Examples since the last site visit in- 

clude: 

o Steve Semes— The Future of the Past 

The Future of the Past: A Conservation Ethic for Architecture, Urbanism, and Historic Pres- 

ervation explores the ways in which historic places are under assault by “The Architecture of 

Our Time.” The debate between traditionalists and modernists has focused on the style that 

should be used for new buildings; it has paid less attention to how new buildings or addi- 

tions should be designed in historic settings. New traditional architecture holds the promise 

of continuity in the historic built environment and calls for rethinking preservation standards 

and policies to end the counterproductive promotion of stylistically dissonant interventions 

in historic places. 

o Ned Kaufman— Place, Race, and Story: Essays in the Past and 

Future of Historic Preservation 

Kaufman’s book, recently published by Routledge, addresses the impact of race and diver- 

sity on historic preservation; the ways in which people relate to places (in particular the role 

of stories, memories, and traditions); and the role of intangible heritage in our work. Some 

chapters are historical, ranging from discussions of the origins of architectural collecting 

in the 18th century to the campaign to save New York’s African Burial Ground in the 1990s. 

Others are explicitly contemporary and indeed future-oriented, in that they speculate on 

what preservation could or should be doing. A few chapters focus specifically on New York; 

others have national relevance; and some attempt to place the issues in an international 

perspective, commenting for example on the global convergence between environmen- 

tal justice and heritage conservation. The book draws both on library research in primary 

sources and on his own professional experiences, both as an advocate for preservation in 

New York City and as an independent consultant. 

o Thomas Morton, Individuality within Regularity: Urbanism in Ro 

man North Africa 

Due to its excellent state of preservation, the architecture of Roman North Africa often fig- 

ures prominently in discussions of ancient Roman architecture and urbanism. In fact, some 

cities, such as Timgad, are often labeled as ‘textbook examples of Roman urbanism.’ While 

one can note a similar architectural language throughout the Empire, considerable variation 

occurred on the local and regional levels. In this talk, Dr. Morton analyzes the urban form of 

several cities in North Africa and argues for a specificity in design that led to an individuality 

within regularity. 

o Chris Payne, ASYLUM: Inside the Closed World of State 

Mental Hospitals 

Photographer Chris Payne gave a guided tour through these institutions, as he shows imag- 

es from the six-year project that resulted in his latest book, Asylum: Inside the Closed World 

of State Mental Hospitals (MIT Press). Through his lens we see splendid, palatial exteriors 

and crumbling interiors—chairs stacked against walls with peeling paint in a grand hallway; 

brightly colored toothbrushes still hanging on a rack; stacks of suitcases, never packed for 

the trip home. We also see how the hospitals functioned as self-contained communities, 

where almost everything of necessity—including food, water, power, and even clothing and 

shoes—was produced on site. Since many of these places no longer exist, his photographs 

serve as their final, “official” record. 

73 | Spring 2011 






Other historic Preservation lectures featured Karen Fix and Ralph Stern (SAH). 

6) Exhibitions 

SAIC provides a range of exceptional exhibition opportunities for its students—as exhibiting partici- 

pants, as curators of exhibitions they have conceived and proposed, and as audience to a broad range 

of exhibitions and programs at the School and the Museum. The major SAIC exhibition spaces are: 

o Sullivan Galleries—33 S. State Street, Seventh Floor. 

The Sullivan Galleries offer 32,000 square feet of exhibition space—the only singlecon- 

temporary exhibition site of its size in the Chicago Loop. Located in the Sullivan Center, 

the historic site of Louis Sullivan’s masterpiece Carson Pirie Scott & Co. Building, the 

galleries feature exhibitions, performances, lectures, and screenings by SAIC students, 


o Betty Rymer Gallery—280 South Columbus Drive. 

The Rymer Gallery offers 2,700 square feet and features exhibitions by SAIC students, 


o Student Union Galleries—LG Space, 37 S. Wabash; Gallery X, 280 

S. Columbus Drive. 

Student Union Galleries (LG Space and Gallery X) provide SAIC students with a high level 

of professional exhibition experience and opportunities. Students participate substan- 

tially in all facets of gallery operations and drive programming decisions in consultation 

with a faculty advisor. 

Smaller, discrete exhibition spaces exist within departments as well, and the exhibition hall in the 

AIADO department is a strong example of such an exhibition area. Nearly all of these exhibitions fea- 

ture public programming events in addition to the gallery showcase. Of particular note are the lecture 

events associated with the Sullivan Galleries exhibition Learning Modern, which featured many AIADO 

faculty. Those discussion are described after the following list of exhibitions that have taken place at 

SAIC since NAAB’s last site visit or will take place later this academic year: 

o Spill—August 28–October 23, 2010 

Betty Rymer Gallery 

SPILL examines the expanding definition of “abstraction” in painting through the works 

of current SAIC students. This exhibition focuses on the materiality of paint and its many 

methods of delivery as well as relating abstraction to history, concepts, metaphor, repre- 

sentation, and new forms of non-objective painting. 

o Materials of the City—August 28–October 16, 2010 

Sullivan Galleries 

Materials of the City brings together SAIC students and recent alumni whose work con- 

tends with cynicism and idealism in the post-Corbusier modern urban landscape. Taken 

together, the artists within the exhibition map a vision for the urban landscape that is 

playful as well as poignant. 

o The Joke is Irresistible—August 28–October 16, 2010 




The Joke is Irresistible challenges various tropes of masculinity and the gendered gaze. 

Some featured artists parody stereotypes of masculinity while others literalize them. All are 

serious considerations of what it means to engender masculinity in a way that broadens 

how we understand gendered associations in the world around us. 

o A Fickle Existence—August 28–October 16, 2010 


This exhibition engages the dichotomy of the natural and the artificial—where the two 

diverge, where they overlap, and how one is manifest in the other. Through a diverse and 

ambitious approach to material and installation, the exhibition brings together current 

SAIC students and recent alumni to explore the artificially natural, the naturally artificial, 

and everything in-between. 

o Process in Product: Work from Summer Studio 

—August 28–October 2, 2010 


This exhibition features new work created by artists in Summer Studio—a residency pro- 

gram that turned the Sullivan Galleries into a site of making, and brought together artists 

from Chicago and beyond into a temporary creative community. 

o Summer Studio—July 12 - August 22, 2010 


Transforming the gallery into artists’ working space, a place of public presentation into 

one of process, Summer Studio was a rare chance for artists to share in the company-and 

energy-of others, while sharing the resources of this institution . Artists-in-residence come 

from Chicago and beyond to use the galleries to explore diverse and ambitious projects 

that engage discussions and practices that are particular to the studio. 

o Breathing is Free: New Work by Jun Nguyen-Hatsushiba 

—January 30-March 26, 2010 


The work for this show is part of his ongoing project Breathing is Free, for which the 

artist is running the distance equivalent to the diameter of the earth (12,756.3 km) as a 

memorial to refugees who travel the world seeking a new home. With this run, Chicago 

becomes the first U.S. city among global locations in this contemporary story of cultural 

displacement. 

o Picturing the Studio—December 12-February 13, 2010 


This exhibition explored the richly complex politically- and psychologicaly-charged no- 

tion of the artist’s studio today. With works by over 30 artists spanning the past two 

decades, this exhibition also included several specially designed installations undertaken 

by artists on site. 

o Hypothetical Plants—October 13-November 20, 2009 


Current students in performance and fiber and material studies transformed the gallery 

75 | Spring 2011 






into a working laboratory for experimentation, collaboration, and the traces they leave 

behind. Through performance, architectural intervention, and material accumulation the 

classes engage in an ongoing dialogue over the course of the exhibition. 

o Learning Modern Exhibition— 

September 26, 2009 - January 9, 2010 


With the world on the brink of economic and political disaster, László Moholy-Nagy and 

Ludwig Mies van der Rohe carried Bauhaus principles from Germany to Chicago in the 

late 1930s. This exhibition featured projects by artists and architects, ranging in age from 

their 20s to 80s, who today continue a legacy of interdisciplinary innovation for better 

living, while exploring the central role of experiential education in the modern vision. 

o Faculty Projects—August 18 – September 25, 2009 


This exhibition featured select projects by faculty at the School who are returning from 

their sabbatical leaves. 

o 2700—June 18-July 31, 2009 


The twenty-seven-hundred-square-foot space of the Rymer Gallery becomes the sites 

for the latest work of the School’s new artists, selected by the Faculty Exhibitions Com- 

mittee. Artists included Sarah Belknap, Joseph Belknap, Tif Bullard, Yu-Hang Huang, 

Merideth Lacina, Alison Rhoades, and Isabelle Schiltz. 

o The Art of Connection—May 16-29, 2009 


Artwork by graduate Art Therapy students and the people they work with at their intern- 

ships. Artwork in the show reflected the varied settings, populations, and practices of art 

therapy. 

o Invasive—March 3-31, 2009 


The woodcut prints of Nicola Lopez and Sandow Birk employ centuries-old techniques 

to contemporary subjects and take a careful, personal look at our world. From land- 

scapes that thrust from the ground as if in a struggle against themselves, to images ref- 

erencing peoples’ capacity for inhumanity during wartime, Invasive suggested complex 

conditions that affect each of us in our relationship to nature and to each other. 

o Ship in a Bottle—January 24-February 21, 2009 


Poised between the possible and the impossible, and with an emphasis on visual plea- 

sure, the work in this exhibition was concerned with the elevation of experience through 

process, material, and subject matter. 

o New Work—January 24 - February 21, 2009 


New work in installation, painting, performance, photography, sculpture, and video were 

presented by current and recent SAIC students. 



o Faculty Projects—January 23-February 13, 2009 


This exhibition featured select projects by faculty at the School. 

In addition to those exhibitions listed above, a series of exhibits, readings, performances, screenings, 

and lectures that happen each Spring (and to a lesser extent Fall) semester known as the “final state- 

ment” are capstone events, typically marking the completion of an SAIC degree. These ultimate show- 

cases include the BFA and MFA thesis exhibitions, MFA in Writing reading events, MA symposia, and 

perfomances among others. For MArch students, the Design Graduate Thesis Exhibitions, which also 

feature the work of design objects and fashion graduates, are the capstone event. Since the last NAAB 

site visit, the MArch graduates have participated in: 

o AIADO and Fashion Graduate Thesis Exhibition: Gravity 

—June 12-July 24, 2010 


Showcasing design from the Departments of Architecture, Interior Architecture, and De- 

signed Objects (AIADO); and Fashion Design, this exhibition brought together work by 

graduate students that explored responses to gravity exemplifying fiction and advocacy 

through innovation and design. Curated by AIADO faculty Odile Compagnon and Felicia 

Ferrone, the exhibition featured work from the following programs at SAIC: Master of 

Architecture / Master of Architecture with an Emphasis in Interior Architecture / Master 

of Fine Arts in Interior Architecture / Master of Fine Arts in Design for Emerging Tech- 

nologies / Master of Design in Designed Objects / Master of Design in Fashion, Body, and 

Garment / Post-Baccalaureate Certificate in Fashion, Body, and Garment. 

o Making Modern—June 13 - July 25, 2009 


Showcasing design from the department of Architecture, Interior Architecture and De- 

signed Objects, Making Modern brought together thesis work by recent AIADO graduate 

students with special projects, including three featured in Milan’s Salone Internazioneale 

del Mobile this spring. This exhibition is part of the “Living Modern Chicago” program, a 

yearlong celebration of modernism’s continuing ideals of experimental, interdisciplinary 

work intended to make a better world. 

7) Publications 

In April 2010, the capstone efforts described above and the work of the graduate AIADO students 

were documented in the inaugural publication of an AIADO thesis book. v 0.0 is an annual, student- 

produced journal that seeks to contribute to the critical discourse of design and design education by 

documenting the work of the graduate students in their thesis semester. The inaugural issue (2009) 

marked the graduation of the first classes from the Master of Architecture and Master of Architec- 

ture with Emphasis in Interior Architecture, and the second graduating class from the Master of 

Design in Designed Objects programs. 

Four interdisciplinary studio classes—2000 Watt Living, Objects that Entertain Us, Objects for the 

Age of Obama, and The Expanding Classroom—were also included in the exhibition, Making Modern, 

and are also featured in the journal. 

The 2009 issue was edited by April Chen (MArch), John Kinstler (MDDO), Tara Mullaney (MDDO), 

R. Blair Schmidt (MArch) and Matthew Stewart (MArch/IA) with a foreward by Ben Nicholson. The 

77 | Spring 2011 






exhibition was curated by faculty member Odile Compagnon and Hannah Swart, a visiting faculty 

member from South Africa. It includes essays “Design and Problem Solving” by Wellington Reiter 

and “Objects and Space” by Helen Maria Nugent. ISBN: 978-0-557-13754-1. 

The newest journal from Gravity, the 2010 Thesis Exhibition is in production, and is designed by 

graduates: Maureen Myers (MArch), Becky Midden (MArch/IA) and Lynn Lim (MDDO) with as- 

sistance from Bethany Armstrong from the Visual Communication Design department. Essays by 

AIADO faculty include Douglas Pancoast, Helen Maria Nugent, Ben Nicholson, Hennie Reynders and 

Jim TerMeer. The exhibition was curated by Odile Compagnon and Felicia Ferrone 

8) Modern Mondays 

The exhibition Learning Modern, which is discussed above, was the centerpiece of the two-year 

long citywide program Living Modern Chicago, a series of courses, lectures, tours, and installations 

exploring the legacy of the Bauhaus, organized by the School of the Art Institute of Chicago in col- 

laboration with the Mies van der Rohe Society at Illinois Institute of Technology. Among the Learning 

Modern lectures were the VAP lectures described above and a semester-long suite of weekly archi- 

tecture and design lectures, which are archived online , called Modern Mondays. This series of gallery 

talks and round-table conversations featuring artists, architects, designers, curators, and scholars 

discussing the artworks and salient themes echoed throughout the “Learning Modern” exhibition: 

perception, experience, and the place of pedagogy. Many guests artists and scholars and many of 

the AIADO faculty participated in these lectures. They were: 

o “Catherine Yass’s Suspensions”—September 14, 2009 

Michael Newman, SAIC Associate Professor, Department of Art History, Theory, and Criticism 

Newman considered the dramatic slowing of time as a way of revealing space and con- 

text in the film, video, and photography of British artist Catherine Yass. 

o “Modern Muse: Claire McCardell, American fashion designer” 

—September 21, 2009 

Sandra Michel Adams, SAIC Instructor, Art History, Theory, and Criticism 

Gillion Carrara, SAIC Adjunct Professor, Art History, Theory, and Criticism and Director, 

Fashion Resource Center 

Claire McCardell (1905–1958), ingenious in her efficient use of materials, ushered in a new era 

of functional garments to match the lifestyle of the new modern woman. This conversation 

examined her foundational concepts that run parallel to modernist art and architecture. 

o “Modernity Retired”—September 28, 2009 

Staffan Schmidt, artist 

Anders Nereim, SAIC Professor, Architecture 

Swedish artist Staffan Schmidt asked five octogenarians—Chicago architects Alfonso 

Cararra, Natalie de Blois, Ken Isaacs, Gertrude Kerbis, and Peter Roesch—”What was mo- 

dernity like when it was new?” This conversation considered their stories in the context of 

Chicago, a quintessential modern city. 

o “Moholy and Mies as Inspiration”—October 5, 2009 

Carole Frances Lung, a.k.a. Frau Fiber, artist 

Carla Duarte, artist 

Using tactility to experience history, textiles are the primary medium for recalling and 

re-imagining the work of László Moholy-Nagy, Mies van der Rohe, and Lilly Reich in the 

installations Manufacturing Moholy in Weimar and Key Notes. 

o “In Light of Moholy-Nagy”—October 12, 2009 



Helen Maria Nugent, SAIC Professor and Director, Designed Objects 

Jan Tichy, artist Carol Ehlers, Adjunct Professor, Columbia College Chicago 

Sharing reflections on the experimental light work of László Moholy-Nagy, Nugent and 

Tichy discussed their collaborative installation, Delineations. They were joined by Ehlers, 

guest curator for “Moholy: An Education of the Senses.” 

o “View-Master and the Art of Industrial Design”—October 19, 2009 

Charles Harrison, designer and SAIC Senior Lecturer, Designed Objects 

Martin Thaler, designer and Associate Professor, Institute of Design, IIT 

Both speakers redesigned the View-Master: Harrison transforming earlier versions into 

the object we recognize today; Thaler reimagining it on its 50th anniversary. While shar- 

ing their experiences within the history of this iconic toy, they also provided insight into 

the design process under the governance of industry. 

o “Always After (The Glass House)”—October 26, 2009 

Iñigo Manglano-Ovalle, artist Lisa Dorin Assistant Curator of Contemporary Art, AIC 

Manglano-Ovalle’s film, Always After (The Glass House), abstractly chronicled a recent 

jarring moment in Mies van der Rohe’s architecture. Dorin and the artist discussed the 

foundations of this work and its recent acquisition by the Art Institute. 

o “Mind-Mapping Modernity”—November 2, 2009 

Mika Hannula, Professor in Artistic Research, University of Göteborg, Sweden 

This presentation—as much performance as academic lecture—traced connections be- 

tween theories of modernity and their evolution over time in a mind-mapping exercise. 

o “Bio-line”—November 9, 2009 

Walter Hood, Professor, Landscape Architecture and Environmental Planning, UC Berkeley 

Christy Matson, SAIC Assistant Professor, Fiber and Material Studies 

Andrew Yang, SAIC Assistant Professor, Liberal Arts and Visual and Critical Studies 

A landscape architect, a specialist in textile patterning, and a research biologist deployed 

their collective expertise to analyze the issues of fabrication, aesthetics, and symbiosis that 

are integral to the design and function of Bio-Line, an interior-systems prototype. 

o “Knowledge Box Re-created”—November 16, 2009 

Ken Isaacs, architect and designer 

Victor Margolin, Professor Emeritus, Design History, University of Illinois, Chicago 

Susan Snodgrass, project curator, SAIC Department of Sculpture and New Arts Journalism 

This panel considered the history of Isaacs’s work and its current presentation: Knowl- 

edge Box, an immersive learning environment originally constructed in 1962; and 

populist-oriented design for “Living Structures,” reinterpreted here by a student team 

from SAIC. 

o “Modern Technologies”—November 23, 2009 

Mark Anderson, artist; John Manning, SAIC Associate Professor, Art and Technology 

Douglas Pancoast, SAIC Associate Professor and Graduate Program Director, AIADO 

New technologies that are revolutionizing the capabilities and intersections of architec- 

tural and artistic practice—hallmarks of the modern world—were discussed in relationship 

to Infinite Sprawl, an installation allowing visitors to manipulate an ever-changing digital 

cityscape. 

o “EUREKA! What Was Going On In Mohol-Nagy’s Brain When He 

Changed Strategies and Designed the Bauhaus Curriculum?” 

—November 30, 2009 

Ronald Jones, Professor of Interdisciplinary Studies, Konstfack, University College of Art, Stockholm 

Creative decision making nearly always produces an interdisciplinary mapping of ideas in the brain as 

you come to a “breakthrough and creative” decision. This talk looked at Moholy-Nagy’s pedagogical 

79 | Spring 2011 






diagram as Jones considered how artists think creatively. 

o “The Modern Art Institute”—December 7, 2010 

James Cuno, President and Eloise W. Martin Director, The Art Institute of Chicago 

What does it mean to be modern now? With the recent opening of the Renzo Piano 

Modern Wing at the Art Institute of Chicago, President and Director Cuno shared his 

views of modernism and the museum’s latest transformations. 

o “Non-Miesian Modernity and Messy Modern”—December 14, 2010 

Ben Nicholson, SAIC Associate Professor, Architecture 

Jacquelynn Baas, independent scholar and Director Emeritus, Berkeley Art Museum 

This conversation departed from the established canon to consider alternate “non-Miesian” 

and “messy” narratives of modernism, suggesting how shifts of historical perspective change 

our perception of key historic works and those on view in 

“Learning Modern.” 




I.2.2 Administrative Structure and Governance 

AIC is a private, non-profit corporation whose unique characteristics are reflected in its administrative 

organization. Four officers comprise the corporate structure of the institution , including the Presi- 

dent of SAIC who acts as a Co-Chief Executive Officer with the President of AIC. Decisions regarding 

academic programs of SAIC flow up from various faculty committees; through the dean, provost, and 

president; and, if appropriate, to the Board of Governors. Decisions regarding facilities and campus 

expansion ultimately result in decisions from the Board of Trustees following recommendation from 

the Buildings and Grounds Committee. SAIC, and AIADO within it, is administered through a series of 

administrative roles, which begin, from the top of the hierarchy, with the trustees and governors, who 

approve hiring of executive office heads, including the president and provost of SAIC. Authority pro- 

gresses through the executive level to the deans, division heads, and academic units to the departmen- 

tal administration. 

Faculty contribute greatly to the management and governance of the School. All full-time faculty serve 

the School through elected positions or contractual committee service. Part-time faculty participate, 

too, by electing representatives in faculty governance. Through these means of service, faculty at SAIC 

have vocal, influential, and decision-making participation in faculty compensation, hiring, and promo- 

tion; campus planning; executive searches; policy-setting, development initiatives; and, many other 

other governance decisions in addition to curricular development and teaching. 

Overviews of both the administrative and academic structure and governance of the School follow: 

A. ADMINISTRATIVE STRUCTURE 

An overview of the School’s administrative structure is described through a descending description of 

the major roles in the School’s administrative structure, ending with a detailed account of the adminis- 

trative structure of AIADO: 

1) Board of Trustees 



The board is responsible for establishing policy for and oversight of the operations of AIC in ac- 

cordance with the purposes of AIC as set forth in its charter. This responsibility includes the periodic 

review of the purposes and objectives of SAIC. 

2) Board of Governors 

The Board of Governors, comprised of a maximum of 36 volunteer members, is responsible for the 

overall governance of the School within the general and fiscal policies set by the Board of Trustees of 

the institution . In addition to its governance function, the Board of Governors assumes a major finan- 

cial support role to the School. Through appropriate committees, the board provides leadership in sup- 

port of the School’s programs and activities that interface with the community, including the Design 

Council, which is dedicated to design initiatives at the School, including those in the MArch program. 

3) President 

The president of SAIC is the chief administrative officer and the chief spokesperson of the School. 

The president is responsible for framing the budget and presenting it to the governors and trustees 

for facilities and general administration. The president consults with the Dean, Department Heads, 

faculty, educational leaders, and students on matters of educational programs and planning. 

4) Provost and Senior Vice President of Academic Affairs 

Reporting to the President, the newly created Provost and Senior Vice President for Academic Affairs 

is the chief academic officer of the School and provides leadership and vision for the academic pro- 

gram to support SAIC’s continued growth and evolution as an international leader in the arts and de- 

sign. The Provost promotes the integration of the academic programs, student affairs, and enrollment. 

5) Dean of Faculty and Vice President of Academic Affairs 

Dean of Faculty and Vice President for Academic Affairs, a tenured faculty position, has responsibil- 

ity and authority for the curriculum and overall administration of the academic programs, including 

overseeing staff the organize accreditation reports such as the APR. 

6) Senior Vice President of Operation and Chief Operating Officer 

Senior Vice President and Chief Operating Officer has oversight of financial and planning initiatives, 

including financial planning and budgeting; institutional and enrollment marketing; information 

systems and technology; and campus security and maintenance. 

7) Vice President of Administration and Finance 

The Vice President for Administration and Finance has primary responsibility for all aspects of SAIC 

financial affairs, including reporting; financial analysis, forecasts and budgets, and building and sup- 

porting a strong and open communication process with those at the corporate level. 

8) Vice President of Enrollment Management 

The Vice President of Marketing and Enrollment has primary responsibility for all aspects of SAIC’s 

enrollment marketing, image and brand management; student recruitment; admissions; enrollment; 

and registration. 

9) Dean of Students and Vice President of Student and Alumni Affairs 

The Dean of Students is responsible for supervising the areas of academic advising, student life, 

international student services, multicultural affairs, health services, counseling services, career devel- 

opment, cooperative education and off-campus programs. 

10) Vice President of Development and Alumni Affairs 

81 | Spring 2011 






The Executive Director of Development and Public Affairs directs the planning, implementation, and ad- 

ministration of all development, alumni, and public affairs. 

11) Associate Dean of Technology 

The Associate Dean provides comprehensive oversight of integrated technology and its budget for the 

entire School, including the student laptop program, faculty computing needs, and high-end technical de- 

mands of specific programs, facilities and classrooms; as well as software licensing agreements, long-range 

planning, and as a representative in technology conferences and partnerships. 

12) Associate Dean of Academic Administration 

The primary role of the Associate Dean is to oversee the implementation of curriculum and programs 

including new degree and summer programs, on a semester-by-semester basis working closely with the 

Deans, Registrar, the Associate Dean of Technology, and Vice President of Instructional Resources and 

Facilities Management. 

13) Divisional Deans 

In addition to the Dean of Faculty, the Dean of Graduate Studies and the Dean of Undergraduate Studies 

are tenured full-time faculty with broad responsibilities for the assessment, development, and coordina- 

tion of graduate curricula, working closely with program and department Chairs, the Faculty Senate’s 

Curriculum Committee, and the Division Chairs. The Gradate Dean coordinates with faculty who provide 

administration of the graduate programs, including the MArch program. 

14) Division Chairs 

The primary responsibilities of the two elected division chairs—Chair of the Graduate Division and the 

Chair of the Undergraduate Division—include contract and tenure review, adjunct promotion, and super- 

vision of all full-time searches. They serve as omsbudspersons for all faculty in relation to student and 

faculty concerns and grievances. 

15) Department chairs and program directors 

Most curricular departments or program are headed by a Chair. Chairs are normally nominated by their 

departmental faculty, and the typical term of office for a Chair is three to five years. Chairs have responsibil- 

ity for: recommending faculty appointments; developing course schedules; hiring part-time faculty; calling 

departmental meetings; and, managing the on-going administrative work and staff of the department. 

Chairs have minimal teaching assignments in exchange for administrative release time. Rather than one de- 

partmental chair, AIADO has elected a transitional model of three program directors, including one devoted 

to graduate programs in architecture and interior architecture studies. 

16) Administrative units, directors, and assistants 

Departments are supported by combined administrative units, sharing staff, office space, and resources. 

These cooperative, interdepartmental structures are most often based on location and proximity as well 

as disciplines and the number of support personnel required to maintain facilities, resources, and equip- 

ment. The MArch program is housed within the department of Architecture, Interior Architecture, and 

Designed Objects (AIADO). The Department of Historic Preservation (HPRES) is also administrated by 

the same administrative unit. 

The administrative staff oversee the daily operations of the department, supervise the administrative and 

student assistants, and provide organizational, clerical, and curricular support. An Administrative Director 

heads each unit, and works closely with the chairs and program directors to provide administrative sup- 

port. The director works with the department and the academic administration to set goals and prioritize 

workflow, delegating responsibilities to administrative assistants and student workers as appropriate. The 

unit staff for AIADO/HPRES is lead by a Senior Administrative Director, an Assistant Director, an Ad- 

ministrative Assistant, and student workers. Staff also serve as the primary liaison between current and 

prospective students and faculty. 



Situated in the AIADO/HPRES Academic Unit, the department offers four graduate degree pro- 

grams and one undergraduate degree program. In addition to the MArch with its four tracks, AIADO 

also administrates the MDes/DesOb and the MFA, which has tracks in Interior Architecture, Designed 

Objects, and Design with Emerging Technologies. Of the 110 current graduate students in AIADO, 

93 are in the professional degree programs (MArch and MDes) and 63 students, or approximately 

70%, are enrolled in the MArch program. There are 17 additional departmental graduate students: 11 

in MFA in Interior Architecture, 2 in MFA in Design for Emerging Technologies, and 4 in MFA in De- 

signed Objects program. The BIA degree program is AIADO’s undergraduate degree offering, in ad- 

dition to AIADO’s informal pathways in architecture and designed objects. The Academic Unit also 

provides administrative support to one additional degree program, the Master of Science in Historic 

Preservation with up to 32 degree-seeking graduate students. 

17) Organizational Charts 

The chart on the following page describes the administration in the AIADO/HPRES unit. Following 

that, the next page describes how the unit relates to the upper administration at the School: 

83 | Spring 2011 






Faculty Chair, Art 

Administration 

Nicolas Lowe 

The School of the Art Institute of Chicago 

DEANS AND FACULTY DIVISION CHAIRS 

Faculty Chair, Print 

Media 

Peter Power 

Academic Unit Arts 

Administration, Art 

Education and Art 

Therapy 


Education 

John Ploof 

Academic Unit Print 

Media, Photography 

Academic Unit 

Painting and Drawing 

Faculty Chair, Painting 

and Drawing 

Michelle Grabner 

Academic Unit 

Oxbow 

Oxbow Program 

Director 

EW Ross 

Academic Unit 

Technology 

Associate Dean for 

Technology 

Alan Labb 

Faculty Chair, 

Photography 

Barbara DeGenevieve 


Therapy 

Catherine Moon 


Undergrad 

Architecture/Interior 

Architecture 

Thomas Kong 


Sculpture 

Laurie Palmer 

Graduate 

Architecture/Interior 

Architecture 

Douglas Pancoast 

Faculty Chair, First 

Year Program 

Andrew Hall 

Divisional Head 

Graduate Division 

Peter Gena 

Academic Unit 

Architecture, Interior 

Architecture, Designed 

Objects and Historic 

Preservation 

Academic Unit 

Sculpture, Performance 

and Ceramics 


Performance 

Faith Wilding 

Academic Unit 

First Year Program 

Academic Unit 

Graduate Studies 

Interim Graduate 

Dean 

Katherine Ross 

Academic Unit 


Design Objects 

Helen Maria Nugent 

Faculty Chair, First 

Year Program 

Amy Vogel 


Undergrad Division 

Elizabeth Wright 

Faculty Chair, Ceramics 

Francisco Javier Toubes 

Vilarino 

The School of the Art Institute 

DEANS AND FACULTY DI 

Faculty Chair, Historic 

Preservation 

Anne Sullivan 

Dean of Faculty 

Lisa Wainwright 

Facult 

H 

Kymb

cts 

gent 

lty Chair, Ceramics 

cisco Javier Toubes 

Vilarino 

First 

m 

l 

ad 

ision 

ht 


DEANS AND FACULTY DIVISION CHAIRS 

Faculty Chair, Historic 

Preservation 

Anne Sullivan 

Dean of Faculty 



History 

Kymberly Pinder 

Academic Unit 

Fashion 

Faculty Chair, Fashion 

Nick Cave 

Academic Unit Art 

History, Visual & 

Critical Studies and 

Liberal Arts 

Faculty Chair, Visual 

and Critical Studies 

Maud Levin 

Academic Unit 

Writing Program 

Faculty Chair, Writing 

Program 

Sara Levine 

Academic Unit 

Post-Baccalaureate 

Program 

Faculty Chair, Post 

Baccalaureate 

Program 

Susan Kraut 


Faculty Chair, Liberal 

Arts 

Raja Halwani 

Faculty Chair, Art and 

Technology 

Benjamin Chang 

85 | Spring 2011 

Academic Unit 

Fiber and Material Studies, 

Viscom 

Faculty Chair, Fiber 

and Material Studies 

Anne Wilson 

Academic Unit Art 

and Technology, Film, 

Video, New Media 

and Sound 

Faculty Chair, Film, 

Video, New Media 

Gregg Bordowitz 

Academic Unit 

New Arts Journalism 

Interim Director 

James Yood 

Academic Unit 

Undergraduate 

Studies 

Interim Director 

Undergraduate 

Studies 

Joan Livingstone 

Faculty Chair, Viscom 

John Bowers 

Faculty Chair, Sound 

Nicolas Collins 







Architecture, Interior Architecture, and Designed Objects 

Program Director Undergraduate 

Architecture and 

Interior Architecture 

Thomas Kong, 

Associate Professor 

Mitchell Lecture Series 

Midday Musings Lectures 

NAAB Coordinator 

Maureen Myers 

Ben Nicholson 


NAAB Assistant 


Maya Janczykowska 


Architecture, Interior Architecture and Designed 

Program Director Undergraduate 

& Graduate 

Designed Objects 

Helen Maria Nugent, 

Professor 

Senior Administrative 


Melanie Feerst 

Assistant Director 

Administrative Assistant 

Program Direct 

Architecture a 

Architec 

Douglas Pa 

Associate P


hitecture, Objects Interior Architecture and Designed Objects 

or m Graduate Director Under- 

nd uate Interior & Graduate 

signed ture Objects 

n ncoast, Maria Nugent, 

rofessor Professor 

Program Program Director Director and Chair Graduate 

Historic Architecture Preservation and Interior 

Architecture 

Senior Administrative 


Melanie Feerst 

Assistant Director 

Administrative Assistant 

Anne Sullivan, Douglas Pancoast, 

Associate Associate Professor Professor 

Student Workers 


87 | Spring 2011 

Program Director and Chair 

Historic Preservation 

Anne Sullivan, 


Student Workers 






18) Other departments 

In addition to academic departments, SAIC has a number of non-academic areas that service many 

or all academic departments. Technical staff, though they work closely with a particular academic 

department, may report to a non-academic area supervisor. In AIADO the Assistant Director of the 

Sullivan Fabrication Studio reports to supervisors in IRFM although the facility is within AIADO: 

a) Instructional Resources and Facilities Management (IRFM) 

IRFM oversees the planning, outfitting, and upkeep of all instructional spaces and equipment 

for the entire school. 

b) Computer Resources and Instructional Technology (CRIT) 

CRIT is responsible for the planning, implementation, supply and maintenance of all 

computers, hardware and software for the entire school. 

c) Admissions 

Admissions promotes, recruits, reviews, and administratively coordinates the admission of 

students directly into the various academic programs of SAIC. The AIADO Department 

chairperson consults with the Admissions Department on all transfer credit issues. 

d) Student Affairs 

The Office of Student Affairs offers academic and other forms of counseling to students. 

e) Registration and Records 

SAIC’s Office of the Registrar manages and maintains records all credits, courses, and credit- 

related activities of students, evaluates and awards transfer credits, determines graduation, 

and issues transcripts. 

f) Office of Multi-Cultural Affairs 

OMA develops school-wide programming related to diversity in students, faculty and staff. 

More information can be found in section 3.4 of the APR. 

B. GOVERNANCE 

In addition to instructional responsibilities, faculty at the School serve in a variety of curricular and 

oversight committees. Also, there are several administrative roles for faculty within each academic 

department of the School. The various roles in which faculty from the AIADO department—and more 

specifically the MArch program—have served are detailed below. 

1) Crit Week 

As part of their contractual duties, faculty, including those who teach in the MArch program, partici- 

pate in Critique Week, aka “Crit Week.” Near the end of each semester, the majority of undergradu- 

ate classes are suspended, and faculty are organized into over eighty disciplinary and interdisciplin- 

ary panels to conduct critiques of approximately three hundred MFA students in all studio areas. 

In the fall, panels are disciplinary, so graduate students have critiques in the department in which 

they entered the MFA program. In the spring, panels are interdisciplinary, so critiques coincide with 

the MFA Thesis exhibition and often take place at the exhibition site. MArch students participate in 

critique week during their second and third years in the program, and since the 2008–09 academic 

year, the MArch students have participated in a Master-level, final statement exhibition highlighting 

the design area of the graduate curriculum. 



2) Faculty Business Senate and its committees 

The Faculty Senate is the faculty governance board of the School. This body, which is comprised of 

seven elected full-time faculty members and two elected part-time faculty members, is responsible 

for fostering high academic standards and participating in decisions and concerns involving the 

quality of education at the School and the morale and well being of its staff, students, and faculty. In 

part, the Faculty Senate achieves its mission by organizing a number of standing and, when needed, 

ad hoc committees. Each committee is charged with overseeing a certain aspect of academic life 

and includes at least one Senator as a liaison. The other committee members are made of full-time 

tenured and tenure-track faculty, including those who teach in the MArch program. Faculty are ex- 

pected to serve on committees as part of their faculty role; only chairs of Faculty Senate and Faculty 

Contract and Tenure Review Board are additionally compensated. 

For example, the Remunerations and Benefits Committee helps administrate, improve, and oversee 

how faculty are compensated as well as act as an advocate for faculty in the fiscal planning of the 

School. During the 2010–11 academic year, AIADO faculty members Hennie Reynders and Anders 

Nereim serve on this committee. Nereim is also a member of the Faculty Business Senate this year. 

Other MArch faculty currently serving on committees include: Douglas Pancoast, as program direc- 

tor overseeing MArch, attends Department Heads; Tristan d’Estree Sterk and Jim TerMeer serve on 

the Exhibitions and Events committee; Helen Maria Nugent serves on the Curriculum Planning and 

Development committee; Cindy Coleman and Kai Mah serve on the Library committee; and, Ben 

Nicholson sat on the Visiting Artists Program committee in 2008–09. 

3) Faculty Search Committees 

Nearly all full-time faculty have sat, or will sit, on faculty search committees by invitation from the 

Search Committee Chair and/or a Division Chair. These ad hoc committees are formed when a 

search for a new, full-time faculty member is underway. In brief, the search process involves a group 

of at least seven full-time faculty members—five from the department conducting the search (if 

available), one from another department, and another from faculty administration (typically one of 

the faculty-elected Division Chairs)—who review applications, interview semi-finalists, select finalists 

for on-campus presentations and further vetting, and ultimately, make a recommendation to the 

Dean of Faculty regarding their candidates of choice. 

4) Promotion 

Tenure-track faculty are typically ranked as Assistant Professors who are promoted to Associate 

Professors when tenured. After a certain period of service and when they have attained status as 

both a master teacher and an accomplished practitioner within their field, they may apply for a 

promotion in rank—from Associate Professor to Professor. Part-time faculty have a similar progres- 

sion—from the initial rank of Instructor to Adjunct Assistant Professor to Adjunct Associate Profes- 

sor to Adjunct Professor. Attaining each level involves assessment by a Review Committee, which 

represents another occasion wherein faculty are involved outside of the classroom. The Faculty Sen- 

ate organizes the institution-wide Professor Review Committee to review applications and make rec- 

ommendations to the Dean of Faculty regarding promotions of Professors and Adjunct Professors, 

while the Undergraduate Division Chair spearheads the Adjunct Review Committee that assesses 

and makes recommendations to the Dean of Faculty regarding promotions to Adjunct Assistant and 

Adjunct Associate Professor. 

5) Faculty Contract and Tenure Review Board 

The Faculty Contract and Tenure Review Board (FCTRB) is the elected body that provides in- 

stitutional oversight of tenure-track faculty as they are reviewed in their contract progressions 

toward tenure. Most faculty are reviewed in years two, four, and six, and when successful, tenure 

appointments are made in the seventh year. The Board is comprised of eleven tenured faculty—nine 

89 | Spring 2011 






members and two alternates—elected from among those tenured faculty with at least three years 

of service to the School. Board members serve for three-year terms, and one board member who is 

the elected chair of the board receives release time equivalent to 2.5 courses in an academic year. 

During the tenure process, the Board holds public presentations, reviews extensive documentation 

of work, interviews faculty and engages in rigorous debate to determine the next stage in the tenure 

process. The Board considers the the candidate’s departmental vote, the department chair’s letter, 

and the letters from the Division Chairs. For tenure, the Board also reviews external reference letters, 

solicited by the Dean of Faculty from professionals with prominent appointments in the candidate’s 

field of study. Ultimately, the Board makes a recommendation, via letter, to the Dean of Faculty 

who, in turn, makes a recommendation to the President and the Board of Governors, who officially 

approve tenure. Lisa Norton, a Professor who teaches in AIADO, is currently the chair of FCTRB. 

Carl Ray Miller, another faculty member of AIADO, also currently sits on the Board. Kalec, Nereim, 

Nugent, and Michaels have all served one or more three-year terms on FCTRB in the past six years. 

6) Admissions Duties 

The Office of Admissions, as the department that oversees the application process, is usually the 

first contact point future students have with the School. The faculty of each department, however, 

review and select graduate students for the following fall. For MArch, a panel of no less than eight 

faculty members review the applications. Interviews are required of all applicants to confirm their 

preparation for the graduate study of architecture. Additionally, MArch faculty have assisted through 

recruitment efforts by participating in portfolio reviews in Chicago and on the road, speaking at 

Graduate Open Houses, meeting with prospective students, and highlighting the program through 

dedicated admissions trips as well as while navigating their professional practice. 

7) Accreditation Duties 

Many duties specific to NAAB accreditation fall to the program director, but most MArch faculty 

are called upon for reflection, preparation, and focus during the assessment phases of accreditation 

such as the site visit. One duty of particular importance to prepare for the visiting team is the de- 

sign, curation, and installation of the Team Room, which exhibits the work of MArch students for the 

NAAB Visiting Team to evaluate. Previously, MArch faculty Cindy Coleman, Keelan Kaiser, Thomas 

Kong, and Tristan Sterk have been in charge of the Team Room. The planning stages of design for 

the upcoming team room are underway, with faculty input being gathered. A location on an adjacent 

floor to the AIADO classrooms has been secured, yielding the largest SAIC team room to date. 






I.2.3 Physical Resources 

Chicago itself is a vital part of the School, and with significant buildings by Daniel Burnham, Louis 

Sullivan, Ludwig Mies van der Rohe, Frank Lloyd Wright, Helmut Jahn, Frank Gehry, and Renzo Piano, 

among others, Chicago is an ideal seat of architectural education. In addition to the significant archi- 

tecture, other universities—including Loyola, Northwestern, DePaul, the University of Chicago, and the 

University of Illinois at Chicago among others—their resources, and the culturally diverse neighbor- 

hoods and citizenry of the city make Chicago an open-air museum for students. The School-museum 

complex—located in Grant Park, adjacent to Millennium Park, and overlooking Michigan Avenue—has 

been the central inspiring presence that houses the museum’s collection, auditoria, restaurants, admin- 

istrative offices, libraries, and a portion of the School. Several nearby building house the School’s class- 

rooms, students services and housing, administrative offices, more libraries and special collections, and 

exhibitions spaces. 

Of particular note is the building which houses the MArch program: the Sullivan Center. Along with 

several administrative office, the School relocated AIADO and all its facilities—including its classrooms, 

instructional facilities, shops, faculty and administrative offices—to the twelfth floor of the Sullivan Cen- 

ter in the landmark Sullivan building originally designed as the Carson Pirie Scott Building, at 36 South 

Wabash Avenue, in 2006. The move was made to accommodate the expansion of the department as 

it established new graduate programs in design. This building also houses the Fashion Design depart- 

ment (BFA, Post-Baccalaureate, and MDes) and the Sullivan Galleries run by Exhibition and Events. 

The facilities for AIADO include: dedicated, technologically “smart” studio, lecture and seminar spaces; 

a full range of traditional and cutting-edge object-making and digital output facilities; an eighty-foot 

display area and endowed project space for exhibitions; faculty offices; and a nearly universal wireless 

access and among its signature features. Below, AIADO’s instructional, exhibition, and administrative 

spaces are discussed at length. 

A) Instructional physical resources 

Teaching studios on the twelfth floor of the Sullivan building are configured in two groups of 5 or 6 

each, one for undergraduates, which has “hot” desks that are reassigned for different classes, and one 

for graduates, which has assigned desks. Each group of studios is made of a range of open twenty-one 

foot square columnar bays that run along the famous Louis Sullivan strip window on State Street. This 

long open space allows an important and useful wide-angle view of 120 years of buildings in Chicago’s 

Loop, and encourages faculty and students to observe what other studios are doing in an informal, 

community-building way. 

The next bay toward the inside of the building is divided, however, into two columnar bay pin-up and 

lecture-discussion-critique areas. A movable sound-attenuating curtain divides each of these two bay 

pin-up areas. Normally a full class discussion can take place in a circle of rolling chairs in this discus- 

sion area, and still be quiet enough for several of these to occur simultaneously in the larger group of 

studios. When a double class is held, and a number of integrated technical practice classes are double 

the normal enrollment by design, the curtain is pulled back to allow a larger discussion space. 

Each graduate student in the professional programs is assigned an individual desk area immediately 

adjacent to a teaching area that includes a pin up and discussion space, and ceiling mounted data 

projectors with VHS and DVD players. All desks are equipped with hardware Ethernet connecting to 

shared 2D and 3D printing facility, and wireless is available throughout the floor for general Internet ac- 

91 | Spring 2011 






cess. These “smart studios” were designed after several years of full-scale prototyping and actual user 

research conducted in the department’s previous location. 

All students are required to own a powerful laptop computer for use in the studio instructional space 

and elsewhere. SAIC provides key-served software licenses for use on these student-owned laptop 

computers. Labs of School-owned computers are becoming less critical as the laptop initiative be- 

comes more established, and newer labs accommodate student laptops accessing high-end peripher- 

als. Within a few steps on the same floor as these desks and critique areas, the students have access to 

a broad variety of auxiliary instruction and fabrication spaces. 

1) Undergraduate classrooms/studios #1227–29, 1255, and 1256 

Each Undergraduate classroom/studio is fully equipped with tables and storage lockers to accom- 

modate up to 16 students. The tables are wired to include power and data connections and have a 

durable butcher-block surface. Storage islands also have butcher-block surface, expanding student 

workspace. Every classroom is also equipped with an A/V system. Each room has a teaching station 

where the instructor can control the projector, screen, and audio system. Faculty are able to connect 

a laptop, video camera, or other AV equipment through these projectors. Workstations for students 

afford a place for everyone to plug in their power supplies, use a wired network connection and con- 

nect their laptop to the projector for critiques to share their work with the class. Rooms #1227, 1255, 

and 1256 also double as presentation rooms and contain an HD ready system. Large 16:9 format 

screen, high-end NEC projector, and universal playback deck for DVD, MiniDV, and VHS tapes allow 

guests from all over the world to present their materials. 

Specifically, NEC Projectors, Extron control systems, Da-Lite electric screens, and professional qual- 

ity Denon DVD players are installed in the space. Many rooms utilize Soundtube speakers, which 

hang from the ceiling to minimize acoustic bleed between spaces. Many of the systems are housed 

within Extron cabinets with a unique shelf system that drops down when in use and, then, folds up 

to save space, making for an efficient, graceful integrated system for multi-use spaces. 

2) Undergraduate classroom/studio #1242 

This undergraduate classroom/studio is a facility that is used in conjunction with classes that pri- 

marily use the Sullivan Fabrication Studio. Faculty and students use this area as a workspace for 

constructing projects. The room is equipped with butcher-block tables and can accommodate up to 

16 students. 

3) Graduate classrooms/studios #1230, 1231, and 1233–38 

Each graduate classroom/studio is fully equipped with tables, storage lockers, and AV presentation 

systems to accommodate up to 14 students. The tables are wired to include power and data con- 

nections and have a durable butcher-block surface. Storage islands also have butcher-block surface 

expanding student workspace. Every classroom is also equipped with an A/V system, which has the 

same components and functionality as the Undergraduate classrooms described above 

4) Seminar classrooms #1240 and 1241 

These classrooms are private teaching spaces that can accommodate up to 16 students. Every class- 

room is also equipped with an A/V system, which have similar functionalities to the studio class- 

rooms described above. 

5) Presentation room #1226 

This room is a presentation room, containing presentation capabilities similar to the studio and semi- 

nar spaces described above. In contrast to the abundant natural light in most spaces in the Sullivan 

Center, the lighting in this room can be adjusted with an advanced Lutron lighting system. Complete 



darkness can be achieved for the optimal presentation of AV materials, including: Lumens PS 660 

Visual Presenter, Panasonic Blue Ray player, and Smart Technologies UF 55 Smart Board. Midday 

Musings are held in this room. 

6) The Sullivan Center Fabrication Studio #1243 

SCFS is a fully equipped facility for the development of models, furniture, designed objects and 

other constructed media, and includes a full complement of Woodworking, CNC Routing, Vacuum 

Forming, and Mold-Making equipment. The shop space combines both traditional machine tools and 

very advanced CNC machine tools. Stationary power tools include: 

• Band Saw, two: 16”; 18” • Jointer 

• Bench Top Injection Molder • Hydraulic Press 

• 2 Large vacuum veneering bag • Laser Cutter 

(50x50/100x50”) for veneer lamination • Bending Radius Stretcher 

• Bending Radius Shrinker • Metal Cutting Horizontal Band Saw 

• Cabinet/Joinery Work Benches, three • Metal Cutting Vertical Band Saw 

• Miter Saw • Panel Saw 

• Clamps, one hundred • Onstrud TM3 2’x2’x8” CNC Router 

• CNC Router – Technoisel 4’x8’x4’ • Planer / Molder with Shelix cutting head, 15” 

• Combination Press Brake/Sheer/Roller • Scroll Saw 

for Sheet Metal • Down Draft Table 

• Right Angle Cordless Drill • Spindle Sander 

• Commercial Grade Portable Sewing • Variable Speed Drill Press 

Machines, 4 • Stationary Edge Sander, 36” 

• Scale for the weighing of casting and • Hand Held Edge Bander 

mold making materials • Strip Heater for Bending Acrylic, 48” 

• Disc Sander • Hand Sheet Metal Punch 

• Heat Lamp for Forming Acrylic, 36” • Vacuum Chamber for de-airing molds and casts 

• Independent Stationary Router/Shaper • Table Saw x2 

table • Wire and Rebar Bender 

• Industrial Sewing Machine • Wood Lathe 

7) Tool checkout and resale #1243B 

Tool checkout and re-sale are available to all students, faculty and staff currently registered to use 

the Sullivan Fabrication Studio. Below find a list of tools available for use in the Fabrication Studio 

and a list of materials available for purchase in the Resale Center. 

Tools available for checkout: 

• Bow Saws • Glue guns • Putty Knives/Scrapers 

• Calipers • Hack Saws • Rafter Squares 

• Carpenter’s Squares • Hammers - Various types • Rasps, Files 

• Chalk Line Reels • Hand Planes, Various Types • Routers 

• Chisel Sets - Various types • Hand Punches • Rulers 

• Circulars Saws • Hex Wrench Sets • Safety Goggles 

• Clamps and Vice Grips • Jig Saw • Screwdrivers 

• Combination Saw • Keyhole/Compass Saw • Sheet Metal Sheers 

• Contour Gauge • Levels • Spoke Shaves 

• Coping/Scroll Saw • Mallets - Various types • Surform Tools 

93 | Spring 2011 






• Cordless Drills • Miter Box/back Saw • Tape Measures 

• Cordless Hammer Drills • Palm and Belt Sanders • Tin Snips 

• Cutting Guide • Pneumatic Sander • T-squares, 

• Draw Knives • Pneumatic Fasteners • Pliers/Wire Cutters 

• Wire Strippers (staples, nailer, pin nailer) • Dremmel Tools 

• Wrenches • Finishing Saws • Protractors 

Materials available for purchase in resale: 

• Abrasives • Ear Plugs • Plaster 

• ABS Plastic • Gloves • Plywood Sheets 

• Acrylic Sheets • High Density Urethane • Masonite 

• Polystyrene Foam Foam • Medex 

• Buckets • High Impact Styrene • Safety Glasses 

• Respirators • Composite Sheets • Router Bits 

• Drill Bits • Dust Masks • Pine and Poplar Lumber 

• Wax • Maple Lumber • Cherry Lumber 

• Oak Lumber 

8) Mold making studio #1248 

The Mold Making Studio is a facility for mold making, casting and finishing projects. It has a plastic 

vacuum forming machine, a spray booth, wax melting fume hood and dust collection for plaster and 

other nuisance dusts. All processes involving painting, mold making, application of spray adhesives 

or spray paints are performed in the Mold Making Studio. A list of approved materials is posted in 

the Studio. Material information safety sheets (MSDS) for these materials are available in the Manag- 

ers office. An introduction to this room is presented by the Studio Staff. 

9) Advanced Output Center #1232 (Office) and 1232a 

The Advanced Output Center is a facility for 2D printing, laser cutting and rapid prototyping. The 

AOC is outfitted with: wide format CAD printers for both black and white and color printing; a wide- 

format scanner; a 60 WATT and 120 WATT laser cutter for cutting or engraving a variety of materials 

(available in the Resale Center); and a Dimension 3D Rapid Prototyper for the printing of 3-dimen- 

sional models. All services are available for a nominal fee. Up to date self-instruction handouts for 

each tool and most processes are available in a self-service distribution center on the inner door of 

the AOC. 

Special tools include 3D scanning with self-healing mesh software and 2D scanning in medium and 

large format and 5 PCs for 3D file optimization in the CNC router and Rapid Prototyping workflow. 

The AOC’s 3D output zone includes a 3D rapid prototyping and a CO2 laser cutter. For more pedes- 

trian duplications, students and faculty can photocopy 8.5” x 11” material on a copier outside the 1257 

offices. This same machine can scan in black-and-white and email the scan. It can also print over the 

hardware Ethernet network. 

B) Exhibition physical resources 

AIADO has two spaces dedicated to the preparation and display of student projects as well as addi- 

tional room for ad hoc exhibitions after critiques. 

1) Display Space 

The primary exhibition gallery in the new AIADO department space is an 80 foot long, 6 foot tall 

exhibit space running the full length of the elevator lobby. 



2) The GFRY Studio 

The GFRY Studio—aka “Motorola Gallery”—for advanced projects is a multi-function gallery and 

construction assembly space. The Motorola Corporation bequeathed this space and its supporting 

endowment in memory of their late designer Geoffrey Frost, who designed their successful RAZR 

phone. Each semester, a single course, typically with multidisciplinary support, is given the GFRY 

Studio as an extra space for the staging of complicated full-scale assembly over a period of weeks. 

The endowment can cover materials and travel expenses. Having the construction activity in full 

view, in a central location, is even more inspiring than an exhibit of completed work. 

3) Additional Exhibition Spaces 

Juries, or scheduled group critiques of class work, can take place in an open pin up and critique 

zone inside each studio space, or on the wall in the adjacent wide public corridor. These occasional 

corridor critiques provide a chance for students in different disciplines and at different levels to see 

and benefit from the work of their fellow students. Additionally, students, faculty and professional 

partners use the west wall of the main north-south corridor for scheduled department-wide exhibi- 

tions of work. 

C) Administrative physical resources 

In addition to the office space for staff and the program heads for AIADO (accessible through room 

#1257) offices for the Fabrication Studio (#1232a) and AOC (accessible through #1243), and individual 

full-time faculty offices, AIADO also gained a Meeting/Library room on the adjacent floor. The easy 

access of this communal space preserves the constant discussion that faculty enjoyed while designing 

the AIADO curriculum in their pre-existing shared office space. Part-time faculty maintain their shared 

office space (#1257), and AIADO academic unit-mates HPRES maintain their faculty office space in 

the Sharp building across the street (37 S. Wabash St.)\. All of these spaces have access to networked 

computers and/or wireless capabilities to complement SAIC-issued laptops. 

D) Ongoing challenges in physical resources 

Budget appropriations of $10,000 have been identified to develop and install storage and acoustic 

separation solutions for the MArch program studio spaces. The project will be studied by a faculty and 

student committee, with the intention of opening up the design and fabrication of new architectural 

objects and treatments to student competition or alumni commission. In either instance, students 

and/or alumni would design systems and manage their fabrication and installation. Working with the 

School’s instructional resources and media services departments (IRFM and CRIT), solutions will be 

finished and installed by the Spring 2011 semester. 

E) Floor plan of department 

On the following page find a floor plan for the AIADO facilities. After that, find a floor plan for the 

faculty offices. 

95 | Spring 2011 






Graduate Lounge 

room # 1239 

430 sq.ft. 

Graduate Studio 1 

room # 1238 

850 sq.ft. 

14 students 

60 sq.ft. / student 


room # 1237 

850 sq.ft. 

14 students 



room # 1236 

850 sq.ft. 

14 students 



room # 1235 

850 sq.ft. 

14 students 



room # 1234 

850 sq.ft. 

14 students 



room # 1233 

850 sq.ft. 

14 students 


Advanced Output Center 

room # 1232 

470 sq.ft. 

7 students 


A.O.C. Staff Office 

digital output devices 

room # 1232a 

850 sq.ft. 


room # 1231 

850 sq.ft. 

16 students 



room # 1230 

850 sq.ft. 

16 students 


Undergraduate Studio 

room # 1229 

850 sq.ft. 

16 students 



room # 1228 

910 sq.ft. 

16 students 



room # 1227 

1050 sq.ft. 

16 students 


100 2 

data 

ft 


2640 2 

ft 

100 2 

data / 

mech 

ft 

G.F.R.Y. conf. rm. 

100 2 

storage 

ft 

320 2 

ft 

D.O. lead 

2 

110 ft 

I.A. lead 

2 

110 ft 

Arch. lead 

150 2 

ft 

M 

130 2 

ft 

390 2 

mold making 

ft 

185 2 

doc. archive 

ft 

admin 

2 

115 ft 

620 2 

GFRY Adv. Proj. Studio, room # 1258 

ft , 12 students - 50 sq. ft. / student 

Grad / U.G. Smart Space 

room # 1226 

670 sq.ft. 

16 students 


Undergraduate Seminar Space 

room # 1240 

635 sq.ft. 

16 students 



room # 1241 

800 sq.ft. 

16 students 



room # 1242 

940 sq.ft. 

16 students 


A.I.A.D.O 

Fabrication Studio 

room # 1243 

3195 total sq.ft. 

440 2 

ft 

2 

115 ft 

W 

580 2 

ft 

part-time 

faculty office 

room # 1257 

380 2 

ft 

M 

Gallery 

room # 12C-15 

895 sq.ft. 

security 

A.I.A.D.O. Department Space 

Sullivan Center, 12th floor 

36 South Wabash Avenue 


School of the Art Inst. of Chicago 

N 

245 2 

ft 

1 

2 

mech 

125 2 

ft 

mech 

295 2 

ft 

5 

10 

20 

Sept 4, 2008 

Undergraduate Studios 

room # 1256 

650 sq. ft. 

16 students 


room # 1255 

780 sq. ft. 

16 students 

49 sq.ft. / student

Faculty Office 9 

room # 1405 

115 sq.ft. 


room # 1414 

80 sq.ft. 


room # 1413 

90 sq.ft. 


room # 1412 

85 sq.ft. 

Meeting / Library 

room # 1411 

275 sq.ft. 


room # 1410 

100 sq.ft. 


room # 1409 

90 sq.ft. 


room # 1408 

90 sq.ft. 


room # 1407 

90 sq.ft. 


room # 1406 

135 sq.ft. 


Storage 

room # 1417 

105 sq.ft. 

Equipment 

room # 1418 

25 sq.ft. 


room # 1419 

95 sq.ft. 

Copy Room 

room # 1420 

60 sq.ft. 

97 | Spring 2011 

Shared Faculty Office 11/12 

room # 1421 

175 sq.ft. 

Shared Faculty Office 13/14 

room # 1422 

175 sq.ft. 


room # 1404 

90 sq.ft. 

A.I.A.D.O. Faculty Office Space 

Sullivan Center, 14th floor 

36 South Wabash Avenue 


School of the Art Inst. of Chicago 

N 

1 

2 

5 

10 

Sept 4, 2008 






F) Technology physical resources 

The School values the accessibility of technology to students in all academic disciplines. Through 

classes and authorizations, students can gain access to specialized labs and high-end peripherals. This 

access is facilitated by: a required laptop program; Student Computing Help Desks (for laptop sup- 

port and training); wired and wireless networking; access computer labs; specialized and department- 

specific labs; and access to a high-quality digital output facility. A detailed list of materials, sub-divided 

by facility, follows: 

1) AIADO-Specific labs and equipment 

These resources are found in the Sullivan Center: 

• G4 PowerBook laptops, sixteen • PC towers, five 

• iMacs: dual core Intel, eight • PC attached to CNC Router 

2) General access labs 

These resources are found in the MacLean building (112 S Michigan Ave) of SAIC and are open to the 

entire SAIC community: 

a) MacLean 908 

• CRT monitors, thirteen • G4 eMacs, six 

• Epson 1200U scanners, seven • G4 towers, thirteen 

• Epson 4990 scanners, two • laptop workstation, seven 

b) MacLean 901 

• Cinema display LCD monitor • G5 towers, thirteen 

• CRT monitors, thirteen • Imacon drum scanner 

• Epson 3200 scanners, two • LaCie monitors, three 

• Epson 4990 scanners, five • laptop workstations, two 

• Film Recorders, two • mini DV decks and NTSC monitors 

• Flatbed scanner: 11 x 17 • multi-slide scanner 

• G4 towers, three 

3) Software 

While in attendance, students are granted access to SAIC’s extensive library of software via the 

School’s centralized license management KeyServer. Because students are not required to purchase 

such professional software applications on their own, they are able to use the newest versions of 

software as soon as they are available to SAIC, which allows them access to comprehensive training 

in their uses and creative potential. Students have a basic software template on their laptops and 

“Pro-Applications” are available on request and for curricular use. The software is available in general 

access labs and in specialized labs in various departments across campus. 

MArch and MDes/DesOb students are given access to a Windows XP SP2 partition on their laptops 

with access to Rhino 3D 4.0 and RhinoCAM, and MDes/DesOb students are given access to Maxwell 

Renderer 1.7. Currently AIADO faculty are evaluating copies of Real Flow 4.0, Digital Project, REVIT, 

and AutoCAD for compatibility with the key server systems and utility in the curriculum. 

CRIT has recently secured licensing with Lynda.com, a web-accessible site that provides training in 

a wide range of software programs and applications. All members of the SAIC community have free 

access to this site to gain facility with any number of programs. 



Software provided by SAIC to all undergraduate and graduate students includes, but is not limited to: 

• Adobe Acrobat Pro • Cycling ‘74 Max MSP 

• Adobe AfterEffects • Macromedia Director 

• Adobe Illustrator CS3 • Macromedia Dreamweaver 

• Adobe InDesign CS3 • Macromedia Fireworks 

• Adobe Photoshop CS3 • Macromedia Flash 

• Apple FinalCut Pro • Macromedia Freehand 

• Ashlar-Vellum Cobalt/Graphite • Microsoft Office 

• Autodesk Maya 2008 • Sketch-up 

• Barebones BBEdit • Vector Works 

• Corel Painter 

4) Networks 

Students can connect to the School’s robust wired and wireless networks throughout campus. Currently, 

network access is available in: all residence hall rooms (via Ethernet connections in the room); most class- 

rooms (wireless); the Flaxman library (wireless); student lounges in academic buildings (wireless); general 

access computer labs (Ethernet and wireless). 




I.2.4. Financial Resources 

Overall, SAIC Financial Overview and Financial Performance for FY09 and FY10: 

• The School’s financial performance in FY09 exceeded both the previous year and the FY09 

approved budget. Enrollment increased by 1.7%, reaching FTE student enrollment of 2,786. 

• The School’s net operating income for FY09 of $3.9 million is included in the audited financial 

statements of The Art Institute of Chicago for FY08 and FY09 that are submitted with this report. 

• Positive financial results continued into FY10. The FY10 preliminary net operating income before 

unrestricted bequests will approximate $4.2 million, again exceeding budget. Cash flow was also 

positive and favorable to budget. 

To provide an accurate budget comparison of the Master of Architecture program with other professional 

units on campus, the School has compared the MArch program with two other graduate-level programs 

with curricular similarities—the Master of Arts in Art History (MAAH) and the Master of Science in Historic 

Preservation (MSHP), see chart on next page. In contrast to the School’s larger MFA program that is tutorial 

in nature (based on 1:1 meetings of faculty and student) and not course-based per se, the MAAH and MSHP 

are both course-driven programs. While the specific space needs vary in that the MAAH uses only class- 

room spaces, the MSHP is similar to MArch in its more space-consumptive combination use of lab, studio, 

and lecture spaces to deliver its curriculum. 

99 | Spring 2011 






The program comparisons reflect one semester of the required courses for each degree track. The 

institutional cost for those courses in the final fall semester for each program is quantified through 

three factors—faculty salaries, staff and department-specific administrative resources, and space (cost 

per net square foot). Instructional salaries are the per course rate (PCR) for the full- and part-time 

faculty who deliver the required courses. Staff and administrative support is tallied as a portion of the 

departmental budget. Space and its related costs is tallied as the total square footage in which the re- 

quired courses are taught, with an associated cost per square foot in each of our three main buildings. 

MASTER OF ARCHITECTURE, FALL 2010 SEMESTER SUMMARY 

A 15-credit/semester program, 102-credit program (3 years) 

Final Fall Semester: 9 cr. Architecture, 3 cr. Art History, 3 cr. elective 

48 total enrollments in 5 courses 


TOTALS 

Instructional Salaries (3 FT, 4 PT Faculty w/ shared loads) $41,911 

Portion (30%) of one semester’s Departmental Budget ($89,058) $29,686 

Space: 600 to 900 nsf/course at $41.81/sq ft, Total of 3050 nsf $150,516 

TOTAL $222,113 

Total Credit Hours (48 students x 15 credits each) 720 credits 

SAIC COST PER STUDENT, PER CREDIT $309 

MA IN ART HISTORY, FALL 2010 SEMESTER SUMMARY 

A 9-credit/semester, 36-credit program (2 years) 

Final Fall semester: 9 credits Art History including Thesis I 


TOTALS 

Instructional Salaries (2 FT, 1 PT Faculty) $34,050 

Portion (30%) of one semester’s Departmental Budget ($58,168) $17,450 

Space: 500 nsf/course at $33.50/sq ft, Total of 1500 nsf $50,250 

TOTAL $101,750 

Total Credit Hours (40 students x 9 credits each) 360 credits 

SAIC COST PER STUDENT, PER CREDIT $283 

MS IN HISTORIC PRESERVATION, FALL 2010 SEM. SUMMARY 

A 15-credit/semester, 60-credit program (2 years) 

Final Fall semester: 9 cr. HPRES including Thesis I, 3 cr. Art History, and 3 cr. Elective 


TOTALS 

Instructional Salaries (3 FT, 2 PT Faculty) $53,641 

Departmental Budget (100%) for one semester $25,674 

Space: 500-900 nsf/course at $34.73/sq ft, Total of 3800 nsf $131,974 

TOTAL $211,289 

Total Credit Hours (69 students x 15 credits each) 1,035 credits 

SAIC COST PER STUDENT, PER CREDIT $204


A) Annual expenditures per student 

Data on annual expenditures and total capital investment per student by other graduate professional 

degree programs in the institution is not maintained. This is due to the structure of the academic 

program that is organized to facilitate interdisciplinary teaching and learning, and thus is supported 

by shared resources, including Libraries and Special Collections, Computer Resources and Information 

Technology, Instructional Resources, Media Services, and a centralized salary budget for all faculty, 

maintained by the Dean of Faculty. The Master of Fine Arts in Studio is not discipline- or course-spe- 

cific and the expenses required to support this program cannot be separated from those required to 

support the Bachelor of Fine Arts in Studio program. 

To provide a total institutional comparison, the table below lists the total instructional expenditure, 

including centralized and decentralized instructional expenditures, per FTE for FY06, prior to the 

introduction of the AIADO program, through the current year. The overall institutional investment in 

academic related costs has increased in three of the past four years both in total dollars and per FTE. 

The academic expenditures per FTE represent the average for all programs. 

• Excludes building facility operating costs and capital depreciation 

Institutional Total - Financial Resources 

Expenditures: 

FY06 FY07 FY08 FY09 FY10 

Actual Actual Actual Actual Preliminary 

Instructional $ 22,228,807 $ 25,001,908 $ 28,534,888 $ 30,400,406 $ 31,047,367 

Academic Support $ 7,053,996 $ 8,217,249 $ 9,558,574 $ 11,207,801 $ 11,096,345 

Total academic exp. $ 29,282,803 $ 33,219,157 $ 38,093,462 $ 41,608,207 $ 42,143,712 

Fall FTE 2,412 2,628 2,739 2,786 2,873 

Expenditures per 

FTE $ 12,140 $ 12,640 $ 13,900 $ 14,935 $ 14,669 

101 | Spring 2011 






The comparative costs to support the new AIADO graduate programs are listed below along with 

incremental academic investment to support the program through full enrollment in FY10. In compari- 

son, the expenditures per FTE in the new AIADO program will exceed the institutional average by 11%. 

Comparative AIADO academic budgets for each year since the last accreditation are included below. 

The detailed incremental AIADO budgeted expenses required to support the new graduate program 

includes new full-time faculty and staff and other incremental instructional resource requirements such 

as library acquisitions, software, instructional supplies, and materials. 

• Excludes building facility operating costs and capital depreciation 

AIADO - Financial Resources 

Expenditures: 


FY07 FY08 FY09 FY10 

Actual Actual Actual Preliminary 

Total academic exp. $ 675,700 $ 847,700 $ 794,900 $ 1,079,800 

Fall FTE 31 53 83 87 

Expenditures per 

AIADO FTE $ 21,797 $ 15,994 $ 9,577 $ 12,411 

Incremental average investment in AIADO over 4 year period 11%


B) Capital expenditures per FTE 

The School’s financial investment in the new AIADO graduate professional programs in architecture and 

designed objects represents the largest one-time capital expenditure in support of new degree programs 

in recent history. The one-time capital investment of $2.4 million was spent on construction, renovation and 

leasehold improvements for the department’s new facility on the 12th floor of the Sullivan Center. 

To provide a comparison of the capital investment in the AIADO program, the below chart is provided. The 

AIADO program FTE capital investment to date far exceeds the average FTE capital investment for the 

entire institution. 

Capital Expenditures: FY07 FY08 FY09 FY10 

Institutional Average: 

Actual Actual Actual Budget 

Total Capital Investment $ 6,578,000 $ 4,821,000 $ 9,125,000 $ 9,065,174 

Fall FTE 2,628 2,739 2,786 2,873 

Total Capital Investment/FTE $ 2,503 $ 1,760 $ 3,275 $ 3,155 

AIADO Capital: 

Cumulative Capital $ 2,345,000 $ 2,395,000 $ 2,420,000 $ 2,470,000 

Cumulative FTE 254 

Capital Investment per FTE $ 9,724 

103 | Spring 2011 






C) Program budgets 

The MArch program represents approximately 37% of the total AIADO program or 62 FTE in FY10. 

The table below provides the Program budget for the most current fiscal year and forecasts for the 

two years beyond the most recent fiscal year. The net contribution represents incremental funds avail- 

able to contribute to fixed overhead and administrative expenses. 

MArch Pro-Forma: 

Revenues: 

Expenses: 


FY09 FY10 FY11 FY12 

MArch FTE 64 62 70 72 

Rate 35,400 36,600 37,740 39,030 

Financial Aid Discount 35% 35% 35% 35% 

Gross Tuition $ 2,265,600 $ 2,269,200 $ 2,641,800 $ 2,810,160 

Financial Aid (792,960) (794,220) (924,630) (983,556) 

Net Tuition $ 1,472,640 $ 1,474,980 $ 1,717,170 $ 1,826,604 

Faculty Salaries & Benefits $ 615,627 $ 616,605 $ 853,851 $ 899,599 

Departmental Expenses $ 77,033 $ 80,115 $ 83,319 $ 86,652 

Administration & Enrollment $ 305,486 $ 231,588 $ 238,536 $ 245,692 

Direct Facilities Costs $ 283,244 $ 294,574 $ 306,357 $ 318,611 

Net Contribution $ 191,250 $ 252,098 $ 235,107 $ 276,050 

Net Contribution % 8% 11% 9% 10% 

Incremental sources of revenues include an annual $100,000 contribution from Motorola. This fund 

has been earmarked to fund architectural and design initiatives in the GFRY Studios.


D) Institutional financial issues 

The School’s preliminary plans project positive operating and cash flow results over the next 4 years 

supported by flat to marginal enrollment increases. Operational adjustments and cost containment 

initiatives were implemented in FY10 in anticipation of an enrollment decline due to the national 

economic conditions. However, this anticipated enrollment drop did not materialize and many of the 

containment initiatives were re-instated. 

Overall, the school is in a strong, stable financial condition. It has had operating income and cash sur- 

plus the last 7 years, along with declining debt and a recovering endowment that had declined some 

23% in 2008 due to the unfavorable economic climate. Fortunately, endowment income only accounts 

for approximately 7% of total revenues. 

Last year marked the completion of Stage One of the Strategic Planning Process in which the School 

identified core values and major strategic initiatives. In conjunction with the next phase, action groups 

will be established for each strategic initiative. These groups will assist in identifying priorities and 

alternative funding models to be considered. 




I.2.5 Information Services 

Students in the MArch program have access to a world-class museum, two excellent libraries, a visual 

resources center, and a number of extraordinary special collections on the AIC/SAIC campus. The 

AIC’s Ryerson and Burnham Libraries comprise the second largest art museum library in the country, 

presenting non-circulating, scholarly collections on the art and architecture of all regions and time pe- 

riods. SAIC’s John M. Flaxman Library is the primary library for the college: a circulating library that is 

open seven days per week during fall and spring semesters, with collections tailored specifically to the 

curriculum of the School. Many of these information resource centers have collections with specializa- 

tions in Architecture and Interior Design. For example, there are 48,760 titles in architecture cataloged 

(Library of Congress NA or Dewey 720-729) between the Flaxman and Ryerson libraries, as of the Fall 

2010 semester. Further details are provided below. 

A) Administrative structure and assessment of information resources 

The essential value of the libraries and special collections to the educational goals of SAIC is well 

recognized within the institution. Among the many collections held at the Art Institute, The John M. 

Flaxman Library and the MacLean Visual Resources Center serve the School most directly. The Flax- 

man and MacLean staff is fully integrated into the work of SAIC, showing a keen appreciation of the 

interdisciplinary nature of the curriculum, which guides all collection development decisions. Collec- 

tions not only support the curriculum on a daily basis, they also reflect the aesthetic, theoretical, and 

critical investigations of the campus community members over time. In this sense, they document the 

progressive history of teaching and curriculum development at SAIC and facilitate the absorption and 

use of that history by each new generation of artists, architects, designers, and writers. 

The libraries’ collecting profile and vendor contacts are well established. The acquisitions staff has 

been enormously successful at locating requested essential materials anywhere in the world and in 

105 | Spring 2011 






any media. Twenty-four percent of the titles held by Flaxman Library are entirely unique within the 

statewide academic library consortium’s cumulative holdings of over seven million items. Librarians 

regularly consult with faculty, read the review literature (print and online), attend professional society 

conferences, and participate in appropriate online subject-interest groups (committees, listserves, wi- 

kis, etc.). Suggestions for new titles are solicited from faculty, students and colleagues. The library has 

many well-established relationships with long-time vendors who are familiar with the School’s collect- 

ing interests. Standing orders are maintained for serial publications. 

An ongoing line of communication with architecture faculty has been established, resulting in the 

evolving acquisition of books, media and digital resources requested by faculty and graduate students. 

The library has added licensed digital products such as MADCAD and Building Green to support the 

curriculum, and is currently working with faculty and technical staff to evaluate additional specification 

packages to support the evolving MArch curriculum. 

Flaxman Library reference librarians provide sixty-minute sessions teaching research skills to each co- 

hort of architecture, interior architecture and designed objects students during the department’s July 

“boot camp” for incoming graduate students. Students also receive an hour of orientation and instruc- 

tion at the museum’s Ryerson and Burnham Libraries. Additionally, students who enroll in ARTHI5120 

Survey of Modern/Postmodern Architecture and Design are given a sixty-minute training session in 

research using specific library resources. Flaxman Library staff have prepared web-based guides to re- 

search for AIADO, which can be found online , and a password protected web-based guide to specific 

codes and specifications resource for the ARCH6123 Codes, Specs, Joints, and Seams class. 

Much of the library’s future success will depend on being able to provide a spacious, welcoming, 

functional environment for students and faculty to work in while continuing to expand the collections 

to meet their needs. Flaxman Library completed a temporary expansion in the summer of 2006 onto 

approximately 4,000 square feet on an adjacent floor. This is providing relief from the existing over- 

crowding until the proposed new library complex can be built. 

In the prior APR, plans to construct a new library facility had been discussed. This new space was to 

house the Flaxman library as well as the Kurtich Library of Architecture and Design. This latter library, 

named after former faculty John Kurtich, was to be built with funds and books on art, architecture, 

and design from his estate. Plans were halted, however, when former SAIC President Wellington Reiter 

requested that more investigation into the location and design of a new library be undertaken. This 

research is ongoing and will be integrated with the School’s strategic planning initiative for 2015. 

In lieu of an immediate new facility, SAIC has undertaken several initiatives to dispense the gift’s mon- 

etary and intellectual wealth to its students. Kurtich books are being added to the main collection of 

the Flaxman Library, and to a small departmental John Kurtich library adjacent to the AIADO offices. 

Additionally, a number of artifacts, which were also part of the Kurtich gift, are in use as instructional 

resources for AIADO and the Department of Historic Preservation. The gift also included many slides 

from John Kurtich’s teaching and travels, will be evaluated for digital archiving potential in the Ma- 

cLean Visual Resources Center. Finally, monies from the gift have been used to establish the John W. 

Kurtich Foundation for Study and Research. This foundation will award scholarships for travel and 

research. These “John Kurtich Scholars” will be graduate students or undergraduates that are at least 

at the sophomore level; priority consideration is being given to students studying in AIADO. 

1) John M. Flaxman Library 

The John M. Flaxman Library is a center for study and student activity. The 120,000 printed and 

audio-visual items support the entire SAIC curriculum in the arts, liberal arts, and sciences. Students, 

faculty and staff utilize the Flaxman’s own web-accessible catalog, as well as the I-Share catalog, 

which connects students to the resources of 75 other libraries belonging to CARLI, the Consortium 

of Academic and Research Libraries in Illinois. The I-Share catalog contains over seven million items. 



Additional interlibrary loan partners include the Center for Research Libraries and OCLC. Digital 

content sources continue to grow, with approximately 97 licensed databases aggregating selected 

material from 1,704 ebook titles and 19,402 ejournal titles. As of Fall 2010, the Flaxman Library has 

acquired 18,000 ebooks from Springer, an international publisher of technical and scientific titles, 

and is in the process of loading individual records for these ebooks into the library catalog. The 

SpringerLink package includes numerous titles that will support research in architecture, engineer- 

ing, and material science. Following is a sample list of 100 book titles recently acquired by the Flax- 

man Library specifically for the AIADO program. 

a) Sample list of one hundred recent flaxman acquisitions for AIADO 

Alderman, Ellen Hartwell. Phenomenal Translucency in Toyo Ito’s T House, 2009. 

Allora, Jennifer, and Museum Haus Esters. Allora & Calzadilla / Calzadilla, Guillermo,; 1971-Nürnberg: 

Verlag für moderne Kunst, 2009. 

Atorie Wan. Behaviorology. New York: Rizzoli, 2010. 

Augustin, Sally. Place Advantage: Applied Psychology for Interior Architecture. Hoboken, N.J.: 

John Wiley & Sons, Inc., 2009. 

Bast, Gerald. Undisciplined: The Phenomenon of Space in Art, Architecture and Design = Un- 

diszipliniert: Das Phänomen Raum in Kunst, Architektur Und Design. Edition Angewandte; 

Variation: Edition Angewandte. Wien ; New York: Springer, 2009. 

Beaurecueil, Anne Save de, Architectural Association (Great Britain), and School of Architecture. 

Articulated Grounds: Mediating Environment and Culture / Lee, Franklin. AA agendas; no. 

7. London: Architectural Association, 2009. 

Behrens, Roy R. Camoupedia: A Compendium of Research on Art, Architecture and Camouflage. 

Dysart, Iowa: Bobolink Books, 2009. 

Berghaus, Günter. Futurism and the Technological Imagination. Avant-garde critical studies; 24. 

Amsterdam ; New York, N.Y.: Rodopi, 2009. 

Bessa, Antonio Sergio. Intersections: The Grand Concourse at 100. New York: Fordham University 

Press ; Bronx Museum of the Arts, 2009. 

Bill, Max. Form, Function, Beauty = Gestalt / Johnston, Pamela. Architecture words ; v.5. London: 

Architectural Association, 2010. 

Binder, Georges, and Vizzion Architects. Vizzion Architects. Master architect series; Variation: Mas- 

ter architect series. Mulgrave, Vic.: Images Pub., 2009. 

Bonnemaison, Sarah. Installations by Architects: Experiments in Building and Design / Eisenbach, 

Ronit,; 1962-. New York: Princeton Architectural Press, 2009. 

Brooker, Graeme. What Is Interior Design? / Stone, Sally. Essential design handbooks;. Mies, Swit- 

zerland: RotoVision, 2010. 

Cahan, Richard. Miller. Edgar Miller and the Handmade Home: Chicago’s Forgotten Renaissance 

Man / Williams, Michael ; (Michael F.). Chicago: CityFiles Press, 2009. 

Cappelli, Lucas, Institut d’Arquitectura Avançada de Catalunya, and Actar. Self-Fab House: 2nd 

Advanced Architecture Contest / Guallart, Vicente. Barcelona: Institute for Advanced 

Architecture of Catalonia ; Distribution, Actar D, 2009. 

Clark, Robin. Automatic Cities: The Architectural Imaginary in Contemporary Art / Bruno, Giuliana. 

La Jolla, Calif.: Museum of Contemporary Art San Diego, 2009. 

Copeland, Mathieu, Centre Georges Pompidou, and Kunsthalle Bern. Voids: A Retrospective. Zurich 

: JRP/Ringier ; Geneva : In collaboration with Ecart ; Paris : In co-edition with Éditions du 

Centre Pompidou and Centre Pompidou-Metz, 2009. 

Cramer, James P. Almanac of Architecture & Design 2009 / Yankopolus, Jennifer Evans. Atlanta: 

Greenway Communications, 2009. 

Curcic, Slobodan. McVey. Architecture as Icon: Perception and Representation of Architecture in 

Byzantine Art / Chatzetryphonos, Euangelia. Princeton, N.J. : Princeton University Art 

Museum ; New Haven : Distributed by Yale University, 2010. 

107 | Spring 2011 






De Guilio, Mick. Kitchen Centric. New York : Princeton Architectural ; Enfield : Publishers Group UK 

[distributor], 2010. 

Delbeke, Maarten. Strauven. Robbrecht En Daem: Pacing Through Architecture / Devoldere, Ste- 

fan. Brussel : Bozar Books ; Köln : König, 2009. 

Dolkart, Andrew. The Row House Reborn: Architecture and Neighborhoods in New York City, 1908- 

1929. Baltimore: Johns Hopkins University Press, 2009. 

Doran, David. Pratley. Refurbishment and Repair in Construction / Douglas, James ; (James E. H.). 

Dunbeath: Whittles, 2009. 

Douglis, Evan. Autogenic Structures. New York: Taylor & Francis, 2009. 

Dunham-Jones, Ellen. Retrofitting Suburbia: Urban Design Solutions for Redesigning Suburbs / 

Williamson, June. Hoboken, N.J.: John Wiley & Sons, 2009. 

Ebersberger, Eva. Arrhenius, and Thyssen-Bornemisza Art Contemporary (Foundation). Jorge 

Otero-Pailos: The Ethics of Dust / Zyman, Daniela. Köln : Verlag der Buchhandlung Wal- 

ther König ; New York, NY : dist. by Art Publishers, 2009. 

Eggert, Paul. Securing the Past: Conservation in Art, Architecture and Literature. Cambridge, U.K. ; 

New York: Cambridge University Press, 2009. 

Eisenman, Peter, and Architectural Association (Great Britain). Supercritical / Koolhaas, Rem. Ar- 

chitecture words; 1. London: AA Publications, 2010. 

Fairs, Marcus. Green Design: Creative Sustainable Designs for the Twenty-First Century. Berkeley, 

Calif.: North Atlantic Books, 2009. 

Fajardo, Julio. Hi-Tec Architecture. Cologne ; New York: Daab, 2009. 

Fazio, Michael W. Moffett. Buildings Across Time: An Introduction to World Architecture. Boston, 

Mass.: McGraw-Hill Higher Education, 2009. 

Fell, Derek. The Gardens of Frank Lloyd Wright. London: Frances Lincoln, 2009. 

Folie, Sabine. Die Moderne Als Ruine: Eine Archäologie Der Gegenwart = Modernism as a Ruin: An 

Archaeology of the Present. Nürnberg : Verlag für Moderne Kunst ; Wien : Generali Foun- 

dation, 2009. 

Gerbino, Anthony. Compass and Rule: Architecture as Mathematical Practice in England, 1500-1750 

/ Johnston, Stephen,; 1961-. New Haven [Conn.] ; London : Yale University Press ; Oxford, 

2009. 

Goldberger, Paul. Why Architecture Matters. New Haven: Yale University Press, 2009. 

______. John Portman: Art and Architecture / Craig, Robert M.; 1944- ; (Robert Michael), Atlanta : 

High Museum of Art ; [Athens] : University of Georgia Press, 2009. 

Goodell, Jeff. How to Cool the Planet: Geoengineering and the Audacious Quest to Fix Earth’s 

Climate. Boston: Houghton Mifflin Harcourt, 2010. 

Hargreaves, George, and Hargreaves Associates. Landscape Alchemy: The Work of Hargreaves As- 

sociates. Pt. Reyes Station, CA: ORO Editions, 2009. 

Heartney, Eleanor. Kenneth Snelson: Forces Made Visible / Snelson, Kenneth,; 1927-. Lenox, MA : 

Hard Press Editions ; Manchester, VT : In association with Hudson Hills Press ; [Lanham, 

MD] : Distributed in the United States by National Book Network, 2009. 

Heath, Kingston Wm. Vernacular Architecture and Regional Design: Cultural Process and Environ- 

mental Response. Amsterdam ; Boston ; London: Architectural Press, 2009. 

Heuer, Christopher P. The City Rehearsed: Object, Architecture, and Print in the Worlds of Hans 

Vredeman De Vries. Classical tradition in architecture;. London ; New York: Routledge, 

2009. 

Hirsch, Nikolaus. Institution Building: Artists, Curators, Architects in the Struggle for Institutional 

Space. Berlin ; New York, N.Y.: Sternberg Press, 2009. 

Hoagland, Alison K. Mine Towns: Buildings for Workers in Michigan’s Copper Country. Minneapolis: 

University of Minnesota Press, 2010. 

Hochberg, Anette. Raab. Open/Close: Windows, Doors, Loggias, Filters / Hafke, Jan-Hendrik. 

Scale; Variation: Scale. Basel ; Boston : Birkhäuser ; London : Springer [distributor], 2010. 



Hough, Jessica. Revisiting the Glass House: Contemporary Art and Modern Architecture / Ramírez- 

Montagut, Mónica. Ridgefield, Conn. : Aldrich Contemporary Art Museum ; Oakland, Calif. : 

Mills College Museum of Art ; New Haven : Yale University Press, 2009. 

Ingels, Bjarke, BIG Bjarke Ingels Group, and Dansk arkitekturcenter. Yes Is More: An Archicomic on 

Architectural Evolution. Köln: Evergreen, 2010. 

Jiménez, Carlos. Crowley / Riera Ojeda, Oscar. Single house series. San Rafael, Calif.: Oro Editions, 

2009. 

Jodidio, Philip. Green Architecture Now = Grüne Architektur Heute! = L’architecture Verte 

D’aujourd’hui! Köln ; Los Angeles: Taschen, 2009. 

______. I.M. Pei: La Pyramide Du Louvre = the Louvre Pyramid / Pei, I. M.,; 1917-. Munich ; New York 

: Prestel ; [Paris] : Musée du Louvre Editions, 2009. 

Klanten, Robert. Beyond Architecture: Imaginative Buildings and Fictional Cities / Feireiss, Lukas. 

Berlin: Gestalten, 2009. 

Kristal, Marc. Re:crafted: Interpretations of Craft in Contemporary Architecture and Interiors. New 

York: Monacelli Press, 2010. 

Lin, Zhongjie. Kenzo Tange and the Metabolist Movement: Urban Utopias of Modern Japan. New 

York: Routledge, 2010. 

Lupton, Ellen. Why Design Now?: National Design Triennial. New York: Cooper-Hewitt, National 

Design Museum, Smithsonian Institution , 2010. 

Lutz, Brian. Knoll: A Modernist Universe. New York ; London: Rizzoli, 2010. 

Main, Bill. Site Furnishings: A Complete Guide to the Planning, Selection and Use of Landscape 

Furniture and Amenities / Hannah, Gail Greet. Hoboken, N.J.: John Wiley & Sons, 2010. 

Manacorda, Francesco. Radical Nature: Art and Architecture for a Changing Planet, 1969-2009 / 

Yedgar, Ariella. London : Koenig Books : Co-edition with Barbican Art Gallery, 2009. 

Mander, Charles Nicholas. The Cotswold House: Stone Houses and Interiors from the English Coun- 

tryside. New York: Rizzoli, 2009. 

Marjanovic, Igor. Marina City: Bertrand Goldberg’s Urban Vision / Rüedi, Katerina. New York: Princ- 

eton Architectural Press, 2010. 

Martin, Reinhold. Utopia’s Ghost: Architecture and Postmodernism, Again. Minneapolis: University 

of Minnesota Press, 2010. 

Martin-Gropius-Bau. Bauhaus: A Conceptual Model. Art to hear. Ostfildern, Germany: Hatje Cantz, 

2009. 

Materials Matter IV. New York : Material ConneXion ; Bologna : Compositori, 2010. 

McBride, Rita. Rita McBride, Koenraad Dedobbeleer: Tight, Repeating Boredom, Hall, Privaat. 

Dedobbeleer, Koenraad,; 1975-. Dijon, FR : Fonds régional d’art contemporain (FRAC) de 

Bourgogne ; Gent, BE : MER Paper Kunsthalle, 2009. 

Merwood-Salisbury, Joanna. Chicago 1890: The Skyscraper and the Modern City. Chicago architec- 

ture and urbanism. Chicago: University of Chicago Press, 2009. 

Mostafavi, Mohsen, Harvard University, and Graduate School of Design. Ecological Urbanism / 

Doherty, Gareth. Baden, Switzerland: Lars Müller, 2010. 

Nakamori, Yasufumi. Katsura: Picturing Modernism in Japanese Architecture / Ishimoto, Yasuhiro,; 

1921-. Houston : Museum of Fine Arts, Houston ; New Haven : Distributed by Yale Univer- 

sity Press, 2010. 

Nordenson, Guy. On the Water: Palisade Bay / Seavitt, Catherine. Ostifidern : Hatje Cantz : New 

York : Museum of Modern Art distributed in the USA and Canada by DAP, 2010. 

Otero-Pailos, Jorge. Architecture’s Historical Turn: Phenomenology and the Rise of the Postmod- 

ern. Minneapolis: University of Minnesota Press, 2010. 

Owen, David. Green Metropolis: Why Living Smaller, Living Closer, and Driving Less Are Keys to 

Sustainability. New York: Riverhead Books, 2009. 

Payne, Christopher. Asylum: Inside the Closed World of State Mental Hospitals / Sacks, Oliver W. 

Cambridge, MA: MIT Press, 2009. 

109 | Spring 2011 






Radovic, Darko. Eco-Urbanity: Towards Well-Mannered Built Environments. London ; New York: 

Routledge, 2009. 

Riera Ojeda, Oscar. Sasaki: Intersection and Convergence. San Rafael, Calif. ; New York ; Singapore: 

Oro Editions, 2009. 

Robson, David G. Bawa: The Sri Lanka Gardens / Sansoni, Dominic,; 1956-. New York: Thames & 

Hudson, 2009. 

Rush, Fred Leland. On Architecture. Thinking in action; Variation: Thinking in action. New York: 

Routledge, 2009. 

Schmidt, Petra. Un/Folded: Paper in Design, Art, Architecture and Industry / Stattmann, Nicola. 

Basel ; Boston: Birkhäuser, 2009. 

Schnapp, Jeffrey T, Centre canadien d’architecture, and Wolfsonian-Florida International University. 

Speed Limits / Alborn, Timothy L.,; 1964-. Milan, Italy : Skira ; Miami Beach, Fla. : Wolfso- 

nian-Florida International University ; Montréal, Québec, Canada : Canadian Centre for 

Architecture, 2009. 

Schöning, Pascal. Azevedo, and Architectural Association (Great Britain). Cinematic Architecture / 

Löffler, Julian. London: Architectural Association, 2009. 

Scott Brown, Denise. Having Words. AA words; 4; London: Architectural Association, 2009. 

Semes, Steven W, and Institute of Classical Architecture and Classical America. The Future of the 

Past: A Conservation Ethic for Architecture, Urbanism, and Historic Preservation. New 

York: W.W. Norton & Co., 2009. 

Shulman, Julius. Julius Shulman: Chicago Mid-Century Modernism / Gand, Gary. New York : Rizzoli 

; New York : Distributed to the U.S. trade by Random House, 2010. 

Slavid, Ruth. Extreme Architecture. London: Laurence King, 2009. 

———. Micro: Very Small Architecture. London: Laurence King, 2009. 

So, Sang-u. Han’guk Myujiom Konch’uk 100-Yon = 100 Years of Museum Architecture in Korea / Yi, 

Song-Hun,; 1962-. Macs RND inst. myujiom konch’uk siriju ;; 06;. Soul-si: Kimundang, 2009. 

Solomon R. Guggenheim Museum. The Guggenheim: Frank Lloyd Wright and the Making of the 

Modern Museum. New York ; London: Guggenheim Museum, 2009. 

Steele, Brett, and Architectural Association (Great Britain). First Works: Emerging Architectural 

Experimentation of the 1960s & 1970s / González De Canales, Francisco. London: Archi- 

tectural Association, 2009. 

Strom, Steven. Woland. Site Engineering for Landscape Architects / Nathan, Kurt. Hoboken, N.J.: 

John Wiley & Sons, 2009. 

Stubbs, John H, and N. Y.) World Monuments Fund (New York. Time Honored : Hoboken, N.J.: John 

Wiley & Sons, 2009. 

Sypropoulos, Stephen. Enabling: The Work of Minimaforms / Sypropoulos, Theodore. London: 


Taschen, Laszlo. Modern Architecture A-Z. Koln: Taschen, 2010. 

Torraca, Giorgio, and Getty Conservation Institute. Lectures on Materials Science for Architectural 

Conservation. Los Angeles: Getty Conservation Institute, 2009. 

Turnovský, Jan. The Poetics of a Wall Projection. AA words ; 3; Variation: AA words ;; 3. London: 


Vernon, Siobhan. Tennant. Landscape Architect’s Pocket Book / Garmory, Nicola. Amsterdam ; 

Boston ; London: Elsevier/Architectural Press, 2009. 

Villanueva Brandt, Carlos. London +10: Direct Urbanism. Architectural Association London AA 

Agendas; No. 10, 2010. 

Vinegar, Aron. Relearning from Las Vegas / Golec, Michael J. Minneapolis: University of Minnesota 

Press, 2009. 

Vittori, Arturo. Antonelli, and Ill. ) Italian Cultural Institute (Chicago. Architecture and Vision: From 

Pyramids to Spacecraft / Vogler, Andreas. [S.l.: s.n.], 2009. 

Walker, Stephen. Gordon Matta-Clark: Art, Architecture and the Attack on Modernism. London: I.B. 

Tauris, 2009. 



Williams, Keith. Keith Williams: Architecture of the Specific. The master architect series; Variation: 

Master architect series. Mulgrave, Vic.: Images Pub. Group, 2009. 

Williams, Sean, and British Council. My Father’s House: The Architecture of Cultural Heritage. Boot, 

Katie. London: British Council, 2009. 

Wodiczko, Krzysztof. Widrich. City of Refuge: A 9/11 Memorial / Jarzombek, Mark. London: Black 

Dog, 2009. 

Wolf, Eric Michael. American Art Museum Architecture: Documents and Design. New York: W.W. 

Norton and Co., 2010. 

Zimmermann, Astrid. Constructing Landscape: Materials, Techniques, Structural Components. 

Basel ; Boston: Birkhäuser, 2009. 

2) The Maclean Visual Resource Center 

As of July 1, 2009, the MacLean Visual Resources Center has been incorporated in the Flaxman 

Library. The historic collection of 35mm slides has been surveyed, with much of the collection 

digitized, and is being prepared for storage. Going forward, the MacLean collections and services 

are digital only, employing and supporting a local installation of MDID (the Madison Digital Image 

Database, an open source product widely used in the academic community for image-based presen- 

tations). Currently 130,000 digital images are available for study and lecturing in the School’s MDID 

site, including 19,000 new images on architectural history purchased from ArchiVision in FY2010. 

The MDID collection is password-protected, and is available only to faculty and students for edu- 

cational use. MacLean, Flaxman, and Ryerson staff also partner in building and maintaining the 

publicly-accessible SAIC Digital Libraries online. 

111 | Spring 2011 






B) Financials and statistics 

On the following page, please find a chart with financial and statistical information for the John M. 

Flaxman Library, its special collections, and the MacLean Visual Resources Center. 

IPEDS / ALS statistical categories 

SAIC Flaxman Library FY 07/08 FY 08/09 FY 09/10 FY 10/11* 

Estimated 

* FY11 allocations and estimates as of Fall 2010. 

LIBRARY STAFF 


Actual Actual Actual Actual 

Number of Librarians and other professional staff (FTE) 7.8 7.8 8.8 8.8 

Number of other paid staff (FTE) 5.3 5.3 7.29 6.29 

Number of student assistants (FTE) 5.9 5.9 5.82 5.4 

Total FTE staffing 19.0 19.0 21.91 20.49 

LIBRARY EXPENDITURES 

Salaries and wages $ 623,000 $ 628,225 $ 742,157 $ 756,800 

One-time purchases, print $ 150,323 $ 135,837 $ 165,477 $ 170,000 

One-time purchases, audio-visual $ 36,290 $ 32,775 $ 49,351 $ 55,000 

Current subscriptions (paper and electronic) $ 116,610 $ 109,124 $ 100,198 $ 105,000 

Other information resources $ 67,836 $ 26,668 $ 33,909 $ 35,000 

Operating expenditures $ 70,981 $ 87,042 $ 131,137 $ 130,000 

Total expenditures $ 1,061,613 $ 1,019,670 $ 1,222,229 $ 1,251,800 

LIBRARY COLLECTIONS 

Print volumes held at end of fiscal year 102,511 103,845 100,913 

Audiovisual materials held at end of fiscal year 10,320 11,796 13,181 

Total collection units 112,831 115,791 114,094 

Current serial subscriptions 409 401 372 

Electronic resource subscriptions & aggregator services 78 85 97 

Total subscriptions 487 486 469 

LIBRARY SERVICES 

Interlibrary loans provided to other libraries 4,440 3,289 4,671 

Interlibrary loans received from other libraries 7,699 8,842 10,946 

Total interlibrary loan transactions 12,139 12,131 15,617 

Circulation, general 82,262 90,972 88,418 

Circulation, reserves (including e-reserves) 73,671 74,424 77,864 

Total circulation transactions 155,933 165,396 166,282


C) Other resources 

Special collections are maintained by both libraries and by several other departments at the Museum 

and the School. 

1) Special Collections at the School 

Special Collections are among the School’s most unusual and engaging assets. They provide re- 

searchers with intimate access to original archival materials, works of art and supporting documen- 

tation. Our collections include traditional library and archival collections along with non-traditional, 

interdisciplinary, multi-media and site-specific resources. They are managed by librarians, curators 

and faculty from a number of School departments who act as partners in stewardship for these 

invaluable research materials. Collection contents may include personal and professional papers, 

publications, ephemera, film and video works, digital and photographic media, sound recordings, 

sketchbooks, and works of art in any medium. Due to the rarity and fragility of these materials, there 

are restrictions on their use; however, all members of the School community are encouraged to ex- 

plore and enjoy our collections. 

a) Fashion Resource Center 

The Fashion Resource Center collection includes a hands-on study collection which includes: 

designer garments, accessories, and footwear; historical and current runway videotapes; 

designer biographies; new materials and vintage fabrics; magazines and style and technical 

publications. 

b) Film Study Collection (16mm Film) 

The 16 mm Film Study Collection encompasses the history of film as art in Europe and Amer- 

ica, a large sampling of early cinema, historic documentaries, animation as well as a selection 

of works by our own students, faculty, and alumni. Housed in the John M. Flaxman Library, the 

collection now contains 719 film titles on 914 reels. 

c) Joan Flasch Artists’ Book Collection 

The Joan Flasch Artists’ Book Collection of the Flaxman Library, though international in 

scope, is strongest in works by American and European artists with work dating from the 

early 1960s to the very present. In addition to approximately 5,000 artists’ books, periodicals, 

and multiples, the collection also houses reference materials to support the study of artists’ 

books, various archives related to the field, and an extensive array of artists’ book exhibition 

catalogs, pamphlets, and other ephemera. 

d) Randolph Street Gallery Archives 

From 1979 until its closing in 1998, Randolph Street Gallery was a vital force in the develop- 

ment of contemporary art in Chicago, serving as a laboratory for new art forms and creative 

ways to bring art to the world. The gallery’s ongoing programs and special projects included 

exhibitions, performances, video and film screenings, public art, education programs, and 

grants to artists and arts advocacy. The gallery was also the original publisher of P-form: 

Performance Art Magazine. SAIC’s Flaxman Library is the repository for the Randolph Street 

Gallery Archives. 

e) Roger Brown Study Collection 

Through a series of gifts and bequests, SAIC has become the primary repository of the per- 

sonal, intellectual and artistic effects of alumnus Roger Brown (1941-1997), an internationally 

significant artist of distinctive, original vision, produced in many mediums. The study collec- 

tion is located in Brown’s former residence, a historic 1888 storefront building. 

113 | Spring 2011 






f) Video Data Bank 

The Video Data Bank is the leading resource in the United States for videos by and about con- 

temporary artists. The collections include seminal works that, seen as a whole, describe the de- 

velopment of video as an art form originating in the late 1960’s and continuing to the present. 

2) Special collections at AIC’s Ryerson and Burnham Libraries 

The Ryerson and Burnham Libraries constitute a renowned major art and architecture research collec- 

tion serving the Institution as well as scholars in the fields of art and architectural history. Staffs of the 

Ryerson and Burnham Libraries collaborate with the Flaxman to provide coordinated instruction in the 

use of all Institution ’s information resources and to directly support student and faculty research. 

The Ryerson Library (built 1901) and the Burnham Library of Architecture (founded in 1912) form 

a research collection of continued national—AIC’s library is the second largest museum library in 

the country—and international significance. Total collections include well over half a million items, 

including monographs on art and architecture, exhibition catalogs, art and architecture journals, auc- 

tion sales catalogs, microfilm and microfiche, pamphlet files, and archival materials. Approximately 

10,000 book volumes are added annually, in addition to ongoing growth of acquisitions in periodical, 

archival, and digital collections. All periods, media, and aspects of art, design and architecture are 

covered, but special emphasis is placed on architecture of the 18th through 21st centuries. Special 

collections on architecture include the Percier and Fontaine Collection of 17th-19th century architec- 

tural books, the George R. Collins Archive of Catalan Art and Architecture, and numerous archival 

collections. The historic Burnham index to architecture literature has been incorporated into the 

essential and widely used Avery Index to Architectural Periodicals online database. The catalog and 

digital holdings of the museum libraries are frequently cited in resource guides developed by college 

libraries throughout the United States. 

a) The Ryerson and Burnham Archives 

The Ryerson & Burnham Archives’ collections are extraordinarily strong in late 19th- through 

21st-century American architecture, with particular depth in Midwest architecture. Architects 

such as Edward Bennett, Daniel Burnham, Bruce Goff, Bertrand Goldberg, Ludwig Hilber- 

seimer, Mies van der Rohe, Louis Sullivan, and Frank Lloyd Wright are represented in a broad 

range of papers. A growing number of archival documents are now available online as an 

increasing effort is made to share these unique primary resources. In addition to the archives 

of individual architects, extensive subject collections are also maintained. For example, the 

World’s Columbian Exposition of 1893 in Chicago is documented through photographs by C. 

D. Arnold and through a small collection of ephemera. The Century of Progress International 

Exposition of 1933-1934 in Chicago and the World’s Fair of 1939 in New York are also each 

represented in an individual archive. The Historic Architecture and Landscape Image Collec- 

tion (HALIC), a large collection of mounted photographic prints and lantern slides, provides 

valuable historic records of American architecture, landscape design, and urban planning. 

3) AIC’S DEPARTMENT OF ARCHITECTURE AND DESIGN 

The historic collection comprises more than 150,000 architectural sketches, drawings, and plans fo- 

cusing on architects and buildings from Chicago and the Midwest, from the 1870s to the present day. 

There are significant holdings of works by David Adler, Daniel Burnham and John Wellborn Root, 

Bruce Goff, Bertrand Goldberg, Marion Mahony Griffin, Louis Sullivan, Ludwig Mies van der Rohe, 

and Frank Lloyd Wright. Examples of landscape architecture, structural engineering, and industrial 

design are also represented, as are architectural models and fragments. Since 2003, the Museum’s 

Department of Architecture has systematically studied the evolving parameters for collection, 



archiving, and uses of digital design data. As architects move from pencil and paper to electronic 

design, the Department of Architecture is in the process of building a working digital repository that 

will allow the department to add 21st-century media to its collection. As part of its holdings, AIC’s 

Department of Architecture and Design maintains the Chicago Architects Oral History Project and 

the Ernest R. Graham Study Center for Architectural Drawings: 

a) Chicago Architects Oral History Project 

The Chicago Architects Oral History Project was begun in 1983 under the auspices of the Art 

Institute’s Department of Architecture to record the life experiences of architects who shaped 

the physical environment in Chicago and surrounding communities. It contains comprehen- 

sive life-review documents as well as shorter, more focused ones. These narratives explore the 

development of Chicago’s architecture and planning from the early 1900s to the present day. 

Included in the collection are Skidmore, Owings & Merrill partners and associates, students 

and colleagues of Ludwig Mies van der Rohe, members of the Chicago Seven, as well as 

principals of second- and third-generation architectural and engineering firms, and archi- 

tects who defy classification. The work described in these interviews ranges from suburban 

homes to urban skyscrapers to institutional and public buildings and beyond. The collection 

is accompanied by a Master Index of Names and Buildings. Web pages of varying depth and 

complexity have been created for approximately eighty of the architects, with links to PDF 

transcripts of their full interviews. 

b) The Ernest R. Graham Study Center For Architectural Drawings 

The collected works of ERGSC concentrate on designs by Chicago architects and for Chicago 

buildings from the 1870s to the present day. Of particular note are significant holdings of 

works by David Adler, Daniel Burnham and John Wellborn Root, Bruce Goff, Marion Mahony 

Griffin and Walter Burley Griffin, Ludwig Hilberseimer, Louis Sullivan, Ludwig Mies van der 

Rohe, Stanley Tigerman, Peter B. Wight, and Frank Lloyd Wright. Architectural drawings may 

be consulted by appointment through the Department of Architecture. 

115 | Spring 2011 








I.3. INSTITUTIONAL AND PROGRAM CHARACTERISTICS 

I.3.1 Statistical Reports 

1) Demographics of students 

The following four charts represent the race/ethnicity and gender demographics of the MArch pro- 

gram and SAIC for the year of the previous visit as well as the year prior to the visit, as specified in 

section I.3.1 of the 2009 Conditions for Accreditation. 

2008–09 Race/Ethnicity MArch School 

American Indian/Alaska Native 0.00% 1.00% 

Asian/Pacific Islander 6.00% 10.00% 

Black/African American 3.00% 3.00% 

Hispanic/Latino 3.00% 7.00% 

White 89.00% 59.00% 

Other 0.00% 18.00% 

Race/Ethnicity unkown 0.00% 2.00% 

2009–10 Race/Ethnicity MArch School 

American Indian/Alaska Native 0.00% 1.00% 

Asian/Pacific Islander 9.00% 11.00% 

Black/African American 7.00% 4.00% 

Hispanic/Latino 9.00% 8.00% 

White 68.00% 58.00% 

Nonresident alien 4.00% 17.00% 

Race/Ethnicity unkown 3.00% 1.00% 

2008–09 Gender MArch School 

Male 41.00% 34.00% 

Female 59.00% 66.00% 

2009–10 Gender MArch School 

Male 26.00% 33.00% 

Female 74.00% 67.00% 



2) Qualifications of students 

The following charts numerically represent the qualifications of students admitted to the MArch pro- 

gram over the past three years. The first gives percentages of the degree types of admitted students, 

and the second expresses the same number of applicants as percentages from university types. 

DEGREE TYPE 

Qualifications Fall 2008 Fall 2009 Fall 2010 

Bachelor of Arts 62.00% 46.88% 37.50% 

art, studio or fine art 29.00% 9.38% 0.00% 

history or art history 25.00% 9.38% 0.00% 

english / literature 12.00% 0.00% 0.00% 

economics 8.00% 3.13% 0.00% 

tourism / hotel management 8.00% 0.00% 0.00% 

Arch, Polysci, Journalism, Foreign Language, Humanities, Earth Sciences, Community Studies, 

Computer, Philosophy 18.00% 25.00% 37.50% 

Bachelor of Fine Arts 28.00% 9.38% 16.70% 

Bachelor of Interior Arch or 

Bachelor of Science 5.00% 37.50% 41.67% 

Other degrees/Masters 8.00% 6.25% 4.17% 

UNIVERSITY TYPE 

Qualifications Fall 2008 Fall 2009 Fall 2010 

UG degree from 

state-run university 45.00% 38.70% 54.20% 

UG degree from Art / 

Design schools (not SAIC) 8.00% 9.70% 4.20% 

UG degree from SAIC 10.00% 3.23% 4.20% 

UG degree from Ivy League School 8.00% 3.23% 0.00% 

UG degree from private institution 29.00% 45.20% 37.50% 

117 | Spring 2011 






3) Time to graduation 

Students in the MArch program (normally a three and a half year program) have a maximum of six 

years to complete the degree, including time off for leaves-of-absence. Option II students (normally 

a two year program) have a maximum of four years to complete the degree, including time off for 

leaves-of-absence. There have been two graduating classes of the program since its inception in 

2006—the classes of 2009 and 2010. While two tracks of the MArch program (102 credit-tracks) span 

three and a half years, the Option II students can graduate in two years. This means that only some, 

but not all students that began in academic year 2008-09 might have completed the program. 

2006-2007 

TRACKS # of potential # graduated % graduated # graduated with % graduated in 


graduates on time on time additional year an additional yr 

MArch 14 9 64% 2 14% 

MArch/IA 7 2 29% 0 - 

MArch, Option II 0 - - - - 

MArch/IA, Option II 0 - - - - 

ALL TRACKS 21 11 52% 2 10% 

2007–08 


graduates on time on time additional year additional yr 

MArch 10 7 70% n/a n/a 

MArch/IA 8 4 50% n/a n/a 

MArch, Option II 2 2 100% - - 

MArch/IA, Option II 1 1 100% - - 

ALL TRACKS 21 14 67% - - 

2008–09 


graduates on time on time additional year an additional yr 

MArch 8 n/a n/a n/a n/a 

MArch/IA 11 n/a n/a n/a n/a 

MArch, Option II 2 2 100% - - 

MArch/IA, Option II 4 2 50% n/a n/a 

ALL TRACKS 25 4 16% - -


4) Demographics of SAIC full-time faculty as compared to last visit 

In Fall 2010 there are 552 total faculty at SAIC: 147 Full-time and 405 Part-time Faculty. 

In Fall 2008 there were 640 total faculty: 149 Full-time and 491 Part-time Faculty. 

2010-11 Demographics for 147 Full-time Faculty at SAIC 

Total: 147 FT Faculty (101 tenured, 42 tenure-track, 4 Full-time Visiting Artists) 

Rank: 57 Professors, 51 Associate Professors, 35 Assistant Professors, 4 FTVA 

Race/ethnicity: 120 white, 10 Hispanic, 9 black, 8 Asian 

(82% white, 7% Hispanic, 6% black, 5% Asian) 

Gender: 82 male, 65 female (56% male, 44% female) 

5) Demographics of full-time faculty in AIADO as compared to last visit 

2010-11 Demographics for 15 AIADO Full-time Faculty 

Total: 15 FT faculty (10 tenured, 4 tenure-track, and 1 Full-time Visiting Artist) 

Rank: 4 Professors, 8 Associate Professors, 3 tenure-track Assistant Professors, 1 FTVA 

Race/ethnicity: 14 white, 2 Asian 

(87% white, 13% Asian) 

Of the 16, 7 (44%) are international 


Compared to 2009-10 Demographics for 14 AIADO Full-time Faculty 

Total: 14 FT Faculty (10 tenured, 4 tenure-track) 

Rank: 3 Professors, 7 Associate Professors, 4 tenure-track Assistant Professors 





Compared to 2008-09 Demographics for 15 AIADO Full-time Faculty 

Total: 15 T Faculty (8 tenured, 5 tenure-track, 2 FTVA) 

Rank: 3 Professors, 5 Associate Professors, 5 tenure-track Assistant Professors, 2 FTVA 





FACULTY TOTALS AIADO % of Total SAIC 

Part-Time Faculty 

Instructors 34 15.00% 232 

Adjunct Assistant 4 5.70% 69 

Adjunct Associate 4 5.70% 69 

Adjunct Professor 1 2.80% 35 

PT TOTAL 43 10.60% 405 

Full-Time Faculty 

Visiting Artist (FTVA) 1 25.00% 4 

Assistant Professor 3 8.50% 35 

Assoicate Professor 8 15.60 51 

Professor 4 7.00% 57 

FT TOTAL 16 10.80% 147 

FT/PT TOTAL 59 10.60% 552 

119 | Spring 2011 






6) Number of faculty promoted, receiving tenure since last visit 

FACULTY PROMOTIONS 

AIADO SAIC 

Part-Time Faculty 2008 2009 2010 2008 2009 2010 

Adjunct Assistant 0 0 0 9 10 9 

Adjunct Associate 0 0 0 4 3 3 

Adjunct Professor 0 0 0 2 1 1 

PT TOTAL 0 0 0 15 14 13 

Full-Time Faculty 

New Hires 2 0 2 11 4 11 

Tenure 0 2 1 4 2 2 

Professor Promotion 1 0 1 4 2 3 

FT TOTAL 2 2 2 8 4 5 

7) Number of faculty retaining licenses since last visit, and where 

Number of faculty maintaining US licenses each year since last visit, and where 

2010-11. 15 Licensed Architects (4 Full-time and 11 Part-time Faculty; 2 NCARB) 

2008-09. 17 Licensed Architects (4 Full-time, 13 Part-time Faculty; 3 NCARB) 

2010-11 PT Faculty 

Ahleman, IL 

Compagnon, IL 

Eakin, IL 

Exley, IL, PA, TX, IN, MI, OH, KY, SC, FL, KS; NCARB 

Jurisson, IL, WI 

Kasemsarn, IL 

Langdon, IL 

Martinez, IL 

Newman, IL 

Tebben, IL 

Shojaie, IL 

Vitale, IL 

2010-11 FT Faculty 

Kalec, IL 

Keane, IL, WI; NCARB 

Kong, Singapore 

Nereim, IL 

2008-09 PT Faculty 

Ahleman, IL Exley, IL, PA, TX, IN, MI, OH, KE, SC, FL, KS; NCARB 

Jurisson, IL, WI 

Kasemsarn, IL 

Langdon, IL 

Martinez, IL 

Newman, IL 

Sachs, IL 

Shojaie, IL 

Siegle, IL 

2008-09 FT Faculty 

Kalec, IL 

Keane, IL, WI; NCARB 

Kong, Singapore 

Nereim, IL 






I.3.1 Annual Reports 

Since the conferring of candidacy for Accreditation for the MArch program at the School of the Art In- 

stitute of Chicago, the School of the Art Institute of Chicago has participated in two annual reports with 

statistical data: Annual Report 2008, covering data from the 2007–08 academic year, and Annual Report 

2009, covering 2008–09. According to the 2009 Conditions for Accreditation, the APR only needs to 

include Annual Reports prior to 2008. As SAIC has no reports prior to this date, none are included here. 

Below, however, the official who prepared and submitted the statistical data for SAIC—the Assistant 

Director of Academic Administration—verifies the accuracy of the proceeding Annual Reports. 

To the best of my knowledge, the statistical data in the two prior NAAB Annual Reports were 

accurate and correct at the time they were submitted and no evidence of erroneous or untrue 

information has been detected. 

The two reports submitted prior are: 

o NAAB Annual Report 2007–08, submitted Fall 2008 

o NAAB Annual Report 2008–09, submitted Fall 2009 

These two reports comprise all the Annual Reports SAIC has had to produce from first seeking 

accreditation, to the date of this APR, in anticipation of initial accreditation 

My signature below verifies this information. 

Jeff M. Ward 

Assistant Director of Academic Administration 

121 | Spring 2011 









I.3.3. Faculty Credentials 

In section I.2.1, the credentials are expressed in a matrix, as outlined in the 2009 Conditions for Ac- 

creditation. Below, please find credential information for the faculty expressed, course-by-course for 

each semester since the last site visit thorough Fall 2010, in prose. 

A) Spring 2009: (on sabbatical: Pancoast) 

o ARCH 5120 Architecture Design Studio 2: Skins (4.5 cr) 

- Ben Nicholson (1.0 day) APR resume education, international exhibition record, geo- 

metric drawing expertise, design-build experience, SOM Foundation Fellow. 

- Ellen Grimes (0.5 day) APR resume education, Van Allen Institute Award, critical 

writing for LOG, executive editor of JAE. 

o INARC 5120 Interior Architecture Design Studio 2: Activity Spaces (4.5 cr) 

- Cindy Coleman (1.5 day) APR resume education, numerous Interior Design publica- 

tions and awards, critical writing and editing, National Design Futures Council member. 

o ARTHI 5122 Spaces in Architectural History (3 cr) 

- Kai Mah (two 1.0 day sections) APR resume education, publishes on race, diverse 

cultures, education, visual culture, and architecture. 

o ARCH/INARC 5123 Matter and Structures 2: Integrated Technical Practice Class 

(4.5 cr) 

- Thomas Kong (1.0 day) APR resume education, Singapore Licensed Architect, Neth- 

erlands Architecture Institute Jaap Bakema Prize, Toyota Foundation Asian Neighbors 

Network Grant, both for crisis intervention design. 

- Paul Dean (1.0 day) APR resume education, NCARB certificate Licensed Architect, 

architectural practice in partnership. 

- Ji Young Moon (0.5 day) APR APR resume education, professional practice with 

Thornton Thomasetti Engineers and sole practitioner. 

- Yasmin Rehmanjee (0,5 day) APR resume education, professional practice with 


o ARTHI 6118 Theory and Technology of Contemporary Art and Design (3 cr) 

- Michael Golec (1.0 day) APR resume education, publishes on science, technology, 

and visual culture, editor of Design Issues and Design and Culture, Anschutz Distin- 

guished Fellow at Princeton 

o ARCH 6120 Architecture Design Studio 4: Families (4.5 cr) 

- Linda Keane (1.0 day) APR resume education, NCARB certificate licensed Architect, 

professional practice in partnership as architect and site planner, K-12 education consultant 

- Gordon Gill (0.5 day) APR resume education, professional practice in partnership 

with Adrain Smith, numerous AIA awards and publication of international work. 

o INARC 6120 Interior Architecture Design Studio 4: Event Spaces (4.5 cr) 

- Odile Compagnon (1.0 day) APR resume education, Licensed Architect in the Euro- 

pean Union, Illinois Licensed Architect, professional practice in partnership in Paris, and 

as a sole practitioner in the Illinois. 

- Steve Siegle (0.5 day) APR resume education, NCARB certificate licensed Architect, 

professional practice as principal with VOA. 

o ARCH/INARC 6123 Codes, Specs, Joints, and Seams: Integrated Technical 

Practice Class (4.5 cr) 



- Tristan Sterk (1.0 day) APR resume education, Licensed Architect in European Union, 

focus on energy performance in practice with SOM and Busby Perkins, AIA Awards 

- Jaak Jurisson (1.0 day) APR resume education, Illinois Licensed Architect, expertise 

in freehand drawing, design and technical practice with Murphy Jahn Architects 

- Patrick Legein (0.5 day) APR resume education, professional experience as project 

architect and nautical architectural detailer in European Union and United States 

- Rick Kasemsarn (0.5 day) APR resume education, Illinois licensed Architect, exper- 

tise in freehand drawing, professional experience as a sole practitioner. 

o ARCH 6220 Architecture Design Studio 6: Thesis: (4.5 cr) 

- Ben Nicholson (1.0 day) APR resume education, international exhibition record, geo- 

metric drawing expertise, design-build experience, SOM Foundation Fellow. 

- Tristan Sterk (0.5 day) APR resume education, Licensed Architect in European 

Union, focus on energy performance in professional practice with SOM and Busby Per- 

kins, AIA Awards 

B) Summer 2009: 

o INARC 6220 Interior Architecture Design Studio 6: Thesis (4.5 cr) 




- Hannah Swart (0.5 day) APR resume education, South African Licensed Architect, 

professional practice in partnership in South Africa, numerous awards and international 

publication of work. 

o ARCH/INARC 6221 Complex Organizations: Structures 3 (1.5 cr) 

- Joe Shields (0.5 day) APR resume education, professional practice with Thornton 

Thomasetti Engineers 

- Mark Koenigs (0.5 day) APR resume education, professional practice with Thornton 


o ARCH/INARC 6222 Sustaining Practice Economies (3 cr) 

- Keelan Kaiser (1.0 day) APR resume education, NCARB certificate licensed Architect, 

professional practice as a sole practitioner, NAAB Board member 

- Mike Newman (1.0 day) APR resume education, Illinois licensed Architect, profes- 

sional practice as a sole practitioner. 

o Temporary Make up class for first MArch I/A cohort: 

INARC 5121 Structural Lab 2: Columns and Walls (1.5 cr) 

- Ken Maschke (0.5 day) APR resume education, professional practice with Thornton 


o AIADO 5003 Graduate Design Communication: Boot Camp (1.5 cr) 

- Douglas Pancoast (0.5 day) APR resume education, New York Architectural League 

40 under 40 award, expertise in automated fabrication technology, information technol- 

ogy, programming, and electronics. 

- Nell Westerlund (0.5 day) APR resume education, expertise in Photoshop, Illustrator, 

InDesign 

o AIADO 5004 Graduate Design Visualization: Boot Camp (3 cr) 



- Rick Kasemsarn (1.0 day) APR resume education, Illinois licensed Architect, expertise 

in freehand drawing, professional experience as a sole practitioner. 

o AIADO 5006 Graduate Freehand Design Drawing: Boot Camp (1.5 cr) 


123 | Spring 2011 







- Patrick Legein (0.5 day) APR resume education, professional experience as project 

architect and nautical architectural detailer in European Union and United States 

Fall 2009: (on sabbatical: Reynders) 

o ARCH 5110 Architecture Design Studio 1: Sites (4.5 cr) 

- Ellen Grimes (1.0 day) APR resume education, Van Allen Institute Award, critical writ- 

ing for LOG, executive editor of JAE. 


professional practice in partnership as architect and site planner, K-12 education consul- 

tant 

o INARC 5110 Interior Architecture Design Studio 1: Emotive Spaces (4.5 cr) 

- Carl Ray Miller (1.5 day) APR resume education, European Union design awards, BIM 

expertise with Gehry Technologies Digital Project. 

o ARCH/INARC 5113 Construction Systems and Structures 1: 

Integrated Technical Practice (4.5 cr) 



- Anders Nereim (1.0 day) APR resume education, Illinois Licensed Architect, profes- 

sional practice in partnership and as sole practitioner, American Wood Council and AIA 

Awards, previously on Board of Directors of Chicago Chapter AIA. 

- Ji Young Moon (1.0 day) APR resume education, professional practice with Thornton 


o ARTHI 5120 Survey of Modern and Postmodern Architecture and Design (3 cr) 

- Kai Mah (1.0 day separate section) APR resume education, publishes on race, diverse 


- Christine Atha (1.0 day separate section) APR resume education, publishes on the 

politics of taste and the role of museums, Curator at the Design Museum, London, Co- 

editor of Design Renaissance 

o ARCH 6110 Architecture Design Studio 3: Systems (4.5 cr) 



o INARC 6110 Interior Architecture Design Studio 3: Interactive Spaces (4.5 cr) 




- Mark Schendel (0.5 day) APR resume education, NCARB certificate Licensed Archi- 

tect, professional practice in partnership with Jeanne Gang, numerous AIA awards. 

o ARCH/INARC 6112 Nodes, Networks, Interactivity in Practice: 





- John Manning (1.0 day) APR resume education, professional practice experience 

creating media for the Crown Fountain n Millennium Park 


Union, focus on energy performance in practice with SOM and Busby Perkins, AIA 

Awards 

o ARTHI 6118 Theory and Technology in Contemporary Art and Design (3 cr) 



- Kai Mah (1.0 day section) APR resume education, publishes on race, diverse cultures, 

education, visual culture, and architecture 

- Michael Golec (1.0 day section) APR resume education, publishes on science, tech- 

nology, and visual culture, editor of Design Issues and Design and Culture, Anschutz 

Distinguished Fellow at Princeton 

o ARCH 6210 Architecture Design Studio 5: Integrations (4.5 cr) 

- Thomas Ahleman (1.0 day) APR resume education, Illinois Licensed Architect, Ful- 

bright Award, professional practice as sole partitioner. 

- Dan Tornheim (0.5 day) APR resume education, NCARB IDP progress, professional 

experience as project architect for high end firms. 

o INARC 6210 Interior Architecture Design Studio 5: Fluid Spaces (4.5 cr) 

- Anders Nereim (1.0 day): APR resume education, Illinois Licensed Architect, profes- 



- May Hawfield (0.5 day): APR resume education, professional practice as an interior 

designer 

o ARCH/INARC 6212 Choreographed and Ambient Systems: 


- Paul Tebbin (1.0 day) APR resume education, Illinois licensed Architect, professional 

practice as project architect with Krueck and Sexton and in partnership. 



- Tannys Langdon (0.5 day) APR resume education, Illinois Licensed Architect, profes- 

sional practice as principal with Hammond Beeby Babka and as sole practitioner, national 

AIA awards 

o Temporary make up class for second M ARCH and M ARCH I/A cohort, f 

inal necessary run: 

ARCH/ INARC 5090 Construction Systems (3 cr) 

- Elliott Dudnik: APR resume education including Ph.D. in building science, NCARB 

certificate Licensed Architect, professional practice as sole practitioner. 

Spring 2010: (on sabbatical: Nereim, Keane) 

o ARCH 5120 Architecture Design Studio 2: Skins: (4.5 cr) 



o INARC 5120 Interior Architecture Design Studio 2: Activity Spaces (4.5 cr) 







o ARTHI 5122 Spaces in Architectural History (3 cr) 

- Kai Mah (two 1.0 day sections) APR resume education, publishes on race, diverse 

cultures, education, visual culture, and architecture. 

o ARCH/INARC 5123 Matter and Structures 2: Integrated Technical Practice (4.5 cr) 





125 | Spring 2011 






- Mark Koenigs (0.5 day) APR resume education, professional practice with Thornton 


- Yasmin Rehmanjee (0.5 day) APR resume education, professional practice with 


o ARTHI 6118 Theory and Technology of Contemporary Art and Design (3 cr) 




o ARCH 6120 Architecture Design Studio 4: Families (4.5 cr) 



o INARC 6120 Interior Architecture Design Studio 4: Event Spaces (4.5 cr) 






o ARCH/INARC 6123 Codes, Specs, Joints, and Seams: Integrated Technical Practice 

(4.5 cr) 







o ARCH 6220 Architecture Design Studio 6: Thesis (4.5 cr) 

- Ben Nicholson (1.0) APR resume education, international exhibition record, geomet- 

ric drawing expertise, design-build experience, SOM Foundation Fellow. 

- Douglas Pancoast (0.5) APR resume education, New York Architectural League 40 

under 40 award, expertise in automated fabrication technology, information technology, 

programming, and electronics. 

o INARC 6220 Interior Architecture Design Studio 6: Thesis (4.5 cr) 

- Hennie Reynders (1.0 day) APR resume education, professional experience as 

Licensed Architect in partnership in South Africa, Board member of IFI, research on the 

impact of culture on urban form. 

- Thomas Kong (0.5 day) APR resume education, Singapore Licensed Architect, Neth- 

erlands Architecture Institute Jaap Bakema Prize, Toyota Foundation Asian Neighbors 

Network Grant, both for crisis intervention design. 

o ARCH/INARC 6221 Structures 3: Complex Organizations (1.5 cr) 

- Joe Shields (0.5 day) APR resume education, professional practice with Thornton 


- Ji Young Moon (0.5 day) APR resume education, professional practice with Thornton 


o ARCH/INARC 6222 Sustaining Practice Economies (3 cr) 






Summer 2010: 


o AIADO 5005 Graduate Design Visualization: Boot Camp (1.5 cr) 



- Gerry Christiansen (0.5 day) Industrial Designer with experience in embedded mi- 

croprocessors and physical interface design, freehand drawing 

o AIADO 5004 Graduate Design Visualization: Boot Camp (3 cr) 






o AIADO 5006 Graduate Freehand Design Drawing: Boot Camp (1.5 cr) 



Fall 2010: (on sabbatical: Grimes) 

o ARCH 5110 Architecture Design Studio 1: Sites: (4.5 cr) 


professional practice in partnership as architect and site planner, K-12 education consultant 

- Brian Vitale (0.5 day) APR resume education, NCARB certificate Licensed Architect, 

professional experience as Design Director of Gensler, AIA Awards 

o ARCH/INARC 5110 Interior Architecture Design Studio 1: Emotive Spaces (4.5 cr) 





o ARCH/INARC 5113 Construction Systems and Structures 1 (4.5 cr) 



- Anders Nereim (1.0 day) APR resume education, Illinois Licensed Architect, profes- 



- Ken Maschke (0.5 day) APR resume education, professional practice with Thornton 


- Jeanette Pfeiffer (0.5 day) APR resume education, professional practice with Thorn- 

ton Thomasetti Engineers 



education, visual culture, and architecture. 

- Christine Atha (1.0 day section) APR resume education, publishes on the politics 

of taste and the role of museums, Curator at the Design Museum, London, Co-editor of 

Design Renaissance 

o ARCH 6110 Architecture Design Studio 3: Systems (4.5 cr) 





127 | Spring 2011 






o INARC 6110 Interior Architecture Design Studio 3: Interactive Spaces (4.5 cr) 

- Odile Compagnon (1.0 day ) APR resume education, Licensed Architect in the Euro- 



- Hennie Reynders (0.5 day) APR resume education, professional experience as 

Licensed Architect in partnership in South Africa, Board member of IFI, research on the 

impact of culture on urban form. 

o ARCH/INARC 6112 Nodes, Networks, Interactivity: Integrated Technical Practice 

(4.5 cr) 




- John Manning (1.0 day) APR resume education, professional practice experience 

creating media for the Crown Fountain in Millennium Park 


Union, focus on energy performance in practice with SOM and Busby Perkins, AIA 

Awards 

o ARTHI 6118 Semper and Beyond: A Historiography of Architecture and Technology 

(3 cr) 


education, visual culture, and architecture. 




o ARCH 6210 Architecture Design Studio 5: Integrations (4.5 cr) 



- Peter Exley FAIA (0.5 day) APR resume education, NCARB certificate Licensed 

Architect, professional practice as sole practitioner, National AIA awards. 

o INARC 6210 Interior Architecture Design Studio 5: Fluid Spaces (4.5 cr) 

- Anders Nereim (1.0 day): APR resume education, Illinois Licensed Architect, profes- 



- May Hawfield (0.5 day): APR resume education, professional practice as an 


o ARCH/INARC 6212 Choreographed and Ambient Systems: 






- Michael Newman (1.0 day) APR resume education, Illinois licensed Architect, profes- 


o ARCH / INARC 6214 Cycle Ecologies (3 cr) 


bright Award, professional practice as sole practitioner. 







I.4. Policy Review 

The items pertaining to the policy review, as spelled out in Appendix 3 of the 2009 Condition for Ac- 

creditation, will be available in the team room during the site visit. 

129 | Spring 2011 


II 

Educational Outcomes 

and Curricula





SAIC Master of Architecture & Master of Architecture w/ Emphasis in Interior Architecture 

SAIC Master of Architecture 

Placement of NAAB Student Performance Criteria into courses 4.03.2011 

SAIC Master of Architecture with Emphasis on Interior Architecture 

placement of NAAB Student Performance Criteria into courses 

Complete SPC placement list 

M-ARCH & M-ARCH I.A. CURRICULA 

FIRST SUMMER INTENSIVE 


AIADO 5005 Graduate Design Communication 


FIRST YEAR FALL 



ARCH / INARC 5113 Const. Systems & Structures 1: Simple Spans 

ARTHI 5120 Survey of Modern and Postmodern Arch. & Des. 

FIRST YEAR SPRING 

ARCH 

5120 Architecture Studio 2: Skins 


ARCH / INARC 5123 Matter and Structures 2: Columns and Walls 


SECOND SUMMER STUDY TRIP 

AIADO 

ARTHI 

4050 Off-Campus Study Trip - Drawing 

4050 Off-Campus Study Trip - Design History 

SECOND YEAR FALL 

ARCH / INARC 6110 Arch. / In. Arc. Studio 3: Systems / Interactive Spaces 

ARCH / INARC 6112 Nodes, Networks, Interactivity in Practice 

ARTHI 6118 Semper & Beyond: Historiography of Art & Tech. 

SECOND YEAR SPRING 



ARCH / INARC 6123 Codes, Specs, Joints, & Seams 

THIRD YEAR FALL 



ARCH / INARC 6212 Choreographed & Ambient Systems 

ARCH / INARC 6214 Cycle Ecologies 

THIRD YEAR SPRING 

ARCH / INARC 6220 Arch. / In. Arc. Studio 6: Thesis Studio 

ARCH / INARC 6221 Structures 3: Complex Organizations 

ARCH / INARC 6222 Sustaining Practice Economies 

KEY 

Course covers: Understanding 

Course covers: Ability 

Coursework best exemplifies the criteria 

Evidence Expectation 

NAAB STUDENT PERFORMANCE CRITERIA 

A1 - Speaking & Writing 

A2 - Design Thinking 

A3 - Vis. Comm. Skills 

A4 - Technical Docs 

A5 - Investigative Skills 

A6 - Fund. Design Skills 

A7 - Use of Precedent 

A8 - Ordering Systems 

A9 - Historical & Global 

A10 - Cultural Diversity 

A11 - Applied Research 


B1 - Pre Design Prep 

B2 - Accessibility 

B3 - Sustainable Design 

B4 - Site Design 

B5 - Life Safety 

B6 - Comprehensive Des. 

B7 - Financial Issues 

B8 - Environmental Sys. 

B9 - Structural Systems 

B10 - Building Envelope 

B11 - Building Services 

B12 - Building Mat. & Ass. 

C1 - Collaboration 

C2 - Human Behavior 

C3 - Client Role 

C4 - Project Management 

C5 - Practice Management 

C6 - Leadership 

C7 - Legal Responsibility 

C8 - Ethics and Judgment 

C9 - Social Responsibility

SAIC Master of Architecture 

SAIC Master of Architecture & Master of Architecture w/ Emphasis in Interior Architecture 

M-ARCH & M-ARCH I.A. CURRICULA 

FIRST SUMMER INTENSIVE 


AIADO 5005 Graduate Design Communication 


FIRST YEAR FALL 



ARCH / INARC 5113 Const. Systems & Structures 1: Simple Spans 

ARTHI 5120 Survey of Modern and Postmodern Arch. & Des. 

FIRST YEAR SPRING 



ARCH / INARC 5123 Matter and Structures 2: Columns and Walls 


SECOND SUMMER STUDY TRIP 

AIADO 

ARTHI 

4050 Off-Campus Study Trip - Drawing 

4050 Off-Campus Study Trip - Design History 

SECOND YEAR FALL 

ARCH / INARC 6110 Arch. / In. Arc. Studio 3: Systems / Interactive Spaces 

ARCH / INARC 6112 Nodes, Networks, Interactivity in Practice 

ARTHI 6118 Semper & Beyond: Historiography of Art & Tech. 

SECOND YEAR SPRING 



ARCH / INARC 6123 Codes, Specs, Joints, & Seams 

THIRD YEAR FALL 



ARCH / INARC 6212 Choreographed & Ambient Systems 

ARCH / INARC 6214 Cycle Ecologies 

THIRD YEAR SPRING 

ARCH / INARC 6220 Arch. / In. Arc. Studio 6: Thesis Studio 

ARCH / INARC 6221 Structures 3: Complex Organizations 

ARCH / INARC 6222 Sustaining Practice Economies 

KEY 

Course covers: Understanding 

Course covers: Ability 

Coursework best exemplifies the criteria 

Evidence Expectation 

NAAB STUDENT PERFORMANCE CRITERIA 

A1 - Speaking & Writing 

A2 - Design Thinking 

A3 - Vis. Comm. Skills 

A4 - Technical Docs 

A5 - Investigative Skills 

A6 - Fund. Design Skills 

A7 - Use of Precedent 

A8 - Ordering Systems 

A9 - Historical & Global 

A10 - Cultural Diversity 

A11 - Applied Research 

133 | Spring 2011 


Placement of NAAB Student Performance Criteria into courses 4.03.2011 

SAIC Master of Architecture with Emphasis on Interior Architecture 

placement of NAAB Student Performance Criteria into courses 

Best exemplified SPC 

placement list only 

B1 - Pre Design Prep 

B2 - Accessibility 

B3 - Sustainable Design 

B4 - Site Design 

B5 - Life Safety 

B6 - Comprehensive Des. 

B7 - Financial Issues 

B8 - Environmental Sys. 

B9 - Structural Systems 

B10 - Building Envelope 

B11 - Building Services 

B12 - Building Mat. & Ass. 

C1 - Collaboration 

C2 - Human Behavior 

C3 - Client Role 

C4 - Project Management 

C5 - Practice Management 

C6 - Leadership 

C7 - Legal Responsibility 

C8 - Ethics and Judgment 

C9 - Social Responsibility 

Educational Outcomes and Curricula 

SECTION II





II. EDUCATIONAL OUTCOMES AND CURRICULUM 

II.1. STUDENT PERFORMANCE CRITERIA 

1. Student Performance 

In response to feedback from earlier site visits regarding how the SPCs were delivered, the AIADO 

faculty adjusted their curriculum. Those adjustments can be seen in the matrixes on the two preceding 

pages. Regional accreditation verification, which is described below, can be found in Section IV. 


2. Curricular Framework 

II.2.1. Regional Accreditation 

Approximately every ten years, SAIC undergoes a joint accreditation meeting from the School’s two 

institution-wide accrediting bodies: the Higher Learning Commission of the North Central Association 

of Colleges and Schools, the regional accrediting body; and, the National Association of Schools of Art 

and Design, the subject-area accrediting body. SAIC’s next accreditation visit will take place in 2012–13 

academic year. Copies of the letters conferring continued accredited status on SAIC follow the SPC 

matrixes, which are described above. 


II.2. CURRICULAR FRAMEWORK 

II.2.2. Professional Degrees and Curriculum 

Begun in 2006-07, the MArch degree program housed within the AIADO department of SAIC was 

granted candidacy by NAAB, effective as of January 1, 2007. The MArch degree program has four 

tracks in which qualified students may enroll to achieve the degree: the Master of Architecture track 

and Master of Architecture with Emphasis in Interior Architecture track—that each span 3½ years and 

requires 102 credits—and the “Option II” variants on the two tracks, both of which usually take two 

years to complete. The Option II tracks both require 60 credit hours and take into account particular 

work done at a previous pre-professional degree program. This previous work must substantially take 

the place of work that would normally be required in the first full academic year of the 3½-year tracks. 

Each track is described below: 

1) Master of Architecture 

The Master of Architecture program begins with a foundation of required skills and grounding in the 

histories and theories specific to architecture. In toto, it is 102 credits earned from 30 courses (18 

Architecture studios, 5 art history courses, and 7 electives) and typically takes three-and-one-half 

years. The program begins with an introductory summer “boot camp” followed by three years of 

full-time study (15 credits) during the Fall and Spring semesters, and one summer study trip taken 

after the first year. The MArch’s thematic cluster of courses is integrated around a common intellec- 

tual theme, while each component class approaches the theme from a particular vantage point that 

reinforces the development of comprehensive understanding. The track begins with a foundation 

of required skills. Collaborative studios in the second year offer a chance to develop the transdis- 

ciplinary approach demanded by so many of today’s situations. The third year studies culminate in 

the year-end Design Thesis Exhibition. To deepen the thesis research and experience, students are 

encouraged to enroll in elective courses from throughout the institution, including one that is “in the 

service of the thesis,” to advance and inform the thesis project. 

Each semester includes a conceptual cluster of classes with a 4.5-credit design studio— 







ARCH 5110 Architecture Studio 6: Thesis Studio 

A 4.5-credit integrated technical practice studio— 

ARCH/INARC 5113 Construction Systems and Structures 1: Simple Spans 

ARCH/INARC 5123 Matter and Structures 2: Columns and Walls 

ARCH/INARC 6112 Nodes, Networks, and Interactivity in Practice 

ARCH/INARC 6123 Codes, Specs, Joints, Seams 

ARCH/INARC 6212 Choreographed and Ambient Systems 

ARCH/INARC 6221 Structures 3: Complex Organizations 

and 3-credit seminars covering design and architectural history— 

ARTHI 5120 Survey of Modern and Post-modern Architecture and Design 


ARTHI 6118 Semper and Beyond: Historiography of Architecture and Technology 

and other key contemporary topics— 

ARCH/INARC 6214 Cycle Ecologies 

ARCH/INARC 6222 Sustaining Practice Economies 

The curriculum, by semester, is detailed on the following page. 

Curriculum for the Master of Architecture (TOTAL CREDITS 102) 

First Summer Intensive Second Year Fall 

BOOT CAMP (6) INTERACTIVITY CLUSTER (15) 

AIADO 5004 Graduate Design Visualization (3) ARCH 6110 Architecture Studio 3: Systems (4.5) 

AIADO 5005 Graduate Design Communications (1.5) ARCH 6112 Nodes, Networks and Interactivity in 

AIADO 5006 Graduate Freehand Design Drawing (1.5) Practice (4.5) 

ARTHI 6118 Semper & Beyond: Hist. of Arch. & 

Technology (3) 

Elective (3) 

First Year Fall Second Year Spring 

SECURITY CLUSTER (15) SOCIETY CLUSTER (15) 

ARCH 5110 Architecture Studio 1: Sites (4.5) ARCH 6120 Architecture Studio 4: Families (4.5) 

ARCH 5113 Construction Systems & Structures 1 (4.5) ARCH 6123 Codes, Specs, Joints and Seams (4.5) 

ARTHI 5120 Survey of Modern/Postmodern ARTHI Art History Elective (3) 

Arch. & Design (3) Elective (3) 

Elective (3) 

First Year Spring Third Year Fall 

RISK CLUSTER (15) CONVERGENCE CLUSTER (15) 

ARCH 5120 Architecture Studio 2: Skins (4.5) ARCH 6210 Architecture Studio 5: 

ARCH 5123 Matter and Structures 2: Integrations (4.5) 

Columns and Walls (4.5) ARCH 6212 Choreographed and 

ARTHI 5122 Spaces in Architectural History (3) Ambient Systems (4.5) 

Elective (3) ARCH 6214 Cycle Ecologies (3) 

Elective (3) 

135 | Spring 2011 



SECTION II





Second Summer Third Year Spring 

OFF CAMPUS (6) PROPOSITIONS CLUSTER (15) 

ARCH 6004 Off-Campus Study Trip - Drawing (3) ARCH 6220 Architecture Studio 6: 

ARCH 6005 Off-Campus Study Trip- Design History (3) Thesis Studio (4.5) 


ARCH 6221 Structures 3: 

Complex Organizations (1.5) 

ARCH 6222 Sustaining Practice Economies (3) 

Elective in service of the Thesis topic (3) 

Elective (3) 

2) Master of Architecture—Option II 

Students with undergraduate non-professional bachelors degrees in architecture or architectural 

technology may request admission to the Master of Architecture, Option II degree program. Stu- 

dents who are accepted into the accelerated degree program will still need to fulfill 45 credits of 

non-architectural college-level coursework that are required for graduation from an NAAB-accredit- 

ed Master of Architecture degree program. Students admitted into the Option II program may also 

be missing one or two specific topical architectural classes, and if so will be required to take those 

classes at SAIC. They may use their elective courses to fulfill this coursework before graduation. 

Students who have been admitted into the Master of Architecture track and who have requested 

consideration for Option II status, may be placed into the regular Master of Architecture track if their 

undergraduate transcripts and syllabi do not cover all the topics and SPCs in the first full academic 

year of the Master of Architecture 3½ year track. Each semester includes a conceptual cluster 

of classes with a 4.5-credit design studio, a 4.5-credit integrated technical practice studio, and a 

3-credit seminar. The curriculum is detailed below. 

Curriculum for the Master of Architecture –Option II (TOTAL CREDITS 60) 

First Year Fall Second Year Fall 

INTERACTIVITY CLUSTER (15) CONVERGENCE CLUSTER (15) 

ARCH 6110 Architecture Studio 3: Systems (4.5) ARCH 6210 Architecture Studio 5: 

ARCH 6112 Nodes, Networks & Interactivity Integrations (4.5) 

in Practice (4.5) ARCH 6212 Choreographed and Ambient 

ARTHI 6118 Semper & Beyond: Systems (4.5) 

Hist. of Arch. & Tech (3) ARCH 6214 Cycle Ecologies (3) 

Elective (3) Elective (3) 

First Year Spring Second Year Spring 

SOCIETY CLUSTER (15) PROPOSITIONS CLUSTER (15) 

ARCH 6120 Architecture Studio 4: Families (4.5) ARCH 6220 Architecture Studio 6: 

ARCH 6123 Codes, Specs, Joints and Seams (4.5) Thesis Studio (4.5) 

ARTHI Art History Elective (3) ARCH 6221 Structures 3: 

Elective (3) Complex Organizations (1.5) 

ARCH 6222 Sustaining Practice Economies (3) 


Elective (3) 

3) Master of Architecture with an Emphasis in Interior Architecture 

The three-and-a half year 102-credit track is a carefully choreographed studio sequence, offering 

students the insights and sensibilities required of the contemporary interior architect, while

grounding them in the histories, theories and skills that are specific to the discipline of professional 

architecture. A student earns a total of 102 credits from 30 courses (18 Interior Architecture studios, 

5 art history courses, and 7 electives) and typically takes three-and-one-half years to complete 

coursework. The program begins with an introductory summer “boot camp” followed by three years 

of full-time study (15 credits) during the Fall and Spring semesters, and one summer study trip taken 

after the first year. Each semester’s thematic cluster of courses is integrated around a common 

intellectual theme, while each component class approaches the theme from a particular vantage 

point that reinforces the development of comprehensive understanding. 

The track begins with a foundation of required skills. Collaborative studios in the second year offer a 

chance to develop the transdisciplinary approach demanded by so many of today’s situations. The 

third year studies culminate in Thesis work and the year-end Design Thesis Exhibition. To deepen the 

thesis research and experience, students are encouraged to enroll in elective courses from through- 

out the institution, including one that is “in the service of the thesis,” to advance and inform the 

thesis project. 

Each semester includes a conceptual cluster of classes with a 4.5-credit design studio— 






INARC 6220 Interior Architecture Studio 6: Thesis Studio 

A 4.5-credit integrated technical practice studio— 

ARCH/INARC 5113 Construction Systems and Structures 1: Simple Spans 

ARCH/INARC 5123 Matter and Structures 2: Columns and Walls 

ARCH/INARC 6112 Nodes, Networks, and Interactivity in Practice 

ARCH/INARC 6123 Codes, Specs, Joints, Seams 

ARCH/INARC 6212 Choreographed and Ambient Systems 

ARCH/INARC 6221 Structures 3: Complex Organizations 

and 3-credit seminars covering design and architectural history— 

ARTHI 5120 Survey of Modern and Post-modern Architecture and Design 


ARTHI 6118 Semper and Beyond: Historiography of Architecture and Technology 

and other key contemporary topics— 

ARCH/INARC 6214 Cycle Ecologies 

ARCH/INARC 6222 Sustaining Practice Economies 

The curriculum, by semester, is detailed on the following page. 

Curriculum for Master of Architecture with Emphasis in Interior Architecture 

(102 TOTAL CREDITS) 

First Summer Intensive Second Year Fall 

BOOT CAMP (6) INTERACTIONS CLUSTER (15) 

AIADO 5004 Graduate Design Visualization (3) INARC 6110 Interior Arch. Studio 3: 

AIADO 5005 Graduate Design Communications (1.5) Interactive Spaces (4.5) 

AIADO 5006 Graduate Freehand Design Drawing (1.5) INARC 6112 Nodes, Networks & 

Interactivity in Practice (4.5) 

ARTHI 6118 Semper & Beyond: Hist. of Arch. 

& Technology (3) 

Elective (3) 

137 | Spring 2011 



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First Year Fall Second Year Spring 

SENSATE CLUSTER (15) PERFORMANCE CLUSTER (15) 

INARC 5110 Interior Arch. Studio I: INARC 6120 Interior Arch. Studio 4: Event 

Emotive Spaces (4.5) Spaces (4.5) 

INARC 5113 Construction Systems & INARC 6123 Codes, Specs, Joints 

Structures 1 (4.5) and Seams (4.5) 

ARTHI 5120 Survey of Modern/Postmodern ARTHI Art History Elective (3) 

Arch & Design (3) Elective (3) 

Elective (3) 

First Year Spring Third Year Fall 

VARIANCE CLUSTER (15) DENSITIES CLUSTER (15) 

INARC 5120 Interior Arch. Studio 2: INARC 6210 Interior Arch. Studio 5: 

Activity Spaces (4.5) Fluid Spaces (4.5) 

NARC 5123 Matter and Structures 2: INARC 6212 Choreographed and 

Columns and Walls (4.5) Ambient Systems (4.5) 

ARTHI 5122 Spaces in Architectural History (3) INARC 6214 Cycle Ecologies (3) 

Elective (3) Elective (3) 

Second Summer Third Year Spring 

OFF CAMPUS(6) PROPOSITIONS CLUSTER (15) 

INARC 4050 Off Campus Study Trip - Drawing (3) INARC 6220 Interior Arch. Studio 6: 

ARTHI 4050 Off Campus Study Trip Thesis Studio (4.5) 

- Design History (3) 


INARC 6222 Sustaining Practice Economies (3) 

INARC 6221 Structures 3: Complex Organizations 

(1.5) 


Elective (3) 

4) Master of Architecture with an Emphasis in Interior Architecture—Option II 

Students with undergraduate non-professional bachelors degrees in architecture, interior archi- 

tecture, or architectural technology may request admission to the Master of Architecture with an 

Emphasis in Interior Architecture, Option II degree program. Students who are accepted into the 

accelerated degree program will still need to fulfill 45 credits of non-architectural, college-level 

coursework that are required for graduation from an NAAB-accredited Master of Architecture de- 

gree program. Students admitted into the Option II program may also be missing one or two specific 

topical architectural classes, and if so will be required to take those classes at SAIC. They may use 

their elective courses to fulfill this coursework before graduation. Students who have been admitted 

into the Master of Architecture with Emphasis in Interior Architecture track and who have requested 

consideration for Option II status, may be placed into the regular Master of Architecture with Em- 

phasis in Interior Architecture track if their undergraduate transcripts and syllabi do not cover all of 

the topics and SPCs in the first year of the Master of Architecture track. Each semester includes a 

conceptual cluster of classes with a 4.5-credit design studio, a 4.5-credit credit integrated technical 

practice studio, and 3-credit seminars. The curriculum is detailed below.

Curriculum for Master of Architecture with Emphasis in Interior Architecture – 

Option II (60 TOTAL CREDITS) 

First Year Fall Second Year Fall 

INTERACTIONS CLUSTER (15) DENSITIES CLUSTER (15) 

INARC 6110 Interior Arch. Studio 3: INARC 6210 Interior Arch. Studio 5: Fluid 

Interactive Spaces (4.5) Spaces (4.5) 

INARC 6112 Nodes, Networks and Interactivity INARC 6212 Choreographed and Ambient 

in Practice (4.5) Systems (4.5) 

ARTHI 6118 Semper & Beyond: Hist. of Arch. INARC 6214 Cycle Ecologies (3) 

& Tech. (3) Elective (3) 

Elective (3) 

First Year Spring Second Year Spring 

PERFORMANCE CLUSTER (15) PROPOSITIONS CLUSTER (15) 

INARC 6120 Interior Arch. Studio 4: INARC 6220 Interior Arch. Studio 6: 

Event Spaces (4.5) Thesis Studio (4.5) 

INARC 6123 Codes, Specs, Joints and Seams (4.5) INARC 6221 Structures 3: 

ARTHI Art History Elective (3) Complex Organizations (1.5) 

Elective (3) INARC 6222 Sustaining Practice Economies (3) 


Elective (3) 

B) List of Acceptable Non-Architectural Courses 

The 45 non-architectural credits referred to in the curricular descriptions may include coursework 

including, but are not limited to: 

Accounting English Management 

Advertising Environmental Studies Marketing 

African-American Studies Ethics Non-profits & Philanthropy 

Anthropology Fashion Design/Illustration Performance 

Archeological Studies Fiber Philosophy 

Arts Administration Filmmaking Photography 

Art Education Finance Physics 

Art History Film/Video/New media Printmaking 

Art Therapy Foreign Language Political Science 

Asian Studies General Psychology 

Astronomy Geology Painting/Drawing 

Art and Technology History Religion 

Biology Convention/Show Mgmt Natural Science 

Botany Historic Preservation Sculpture 

Business Hospitality Industry Social Science 

Ceramics Humanities Sound 

Chemistry Interdisciplinary Statistics 

Communication Japanese Studio 

Computer Science Jewish Studies Time Arts 

Environmental Cons. Journalism Video 

Designed Objects Liberal Arts Visual Communication 

Drama Literature Writing 

Economics Mathematics 

139 | Spring 2011 



SECTION II






II.2. CURRICULAR FRAMEWORK 

II.2.3 Curriculum Review and Development 

Below, departmental curricular procedures are described. After that, the process for School-wide cur- 

ricular approval is briefly discussed. 

A. Departmental review and development 

The significant identity and progressive direction of the MArch program at SAIC are unique and appar- 

ent in the work of the students and in the tenor of daily life in the Sullivan Center’s studios and halls. 

The performance criteria are only a minimum standard of understanding and ability, but they are also a 

foundation stone for the professional goals of the MArch program. 

The MArch program’s Assessment and Archiving System has been operational for four (4) years, i.e. 

December 2006. It has collected assessments of student performance on the subsets of the 32 NAAB 

Student Performance Criteria for every required class in the MArch program. Faculty assessments of stu- 

dent performance on NAAB SPCs are contained in metadata that has been collected with the PDFs of 

student work. Starting in Fall 2009, the metadata has been pulled from the server and sorted according 

to high pass and low pass numbers for each SPC. This allows the MArch program to assess where each 

student performance criterion has been delivered poorly and where it can best be delivered. 

Though committed to the idea of storing documentation of course work as digital media in a central- 

ized system, currently the AIADO is investigating the option of disconnecting the archiving of student 

work from its assessment, meaning no assessment data would be collected and stored with the ar- 

chived work at the time of uploading. With the current system, student work is assessed by the faculty 

assigned to a class, then uploaded. A new scheme would involve storing work using a commercial 

web-based image archiving and viewing application, then reviewing and assessing work relative to SPC 

evidence and “high-pass” vs. “low-pass” via a faculty committee once per term. This information could 

then be added to instances of work as metadata and used to sort and retrieve work for NAAB purpos- 

es or for the myriad of occasions were images of student work is useful for departmental promotion. 

A recent example of this is a curriculum review instituted by the department and carried out via a 0.5 

faculty contract issued to Associate Professor Ellen Grimes. Professor Grimes collected syllabus infor- 

mation from all MArch program classes and reviewed course output to confirm course descriptions, 

and goals with outcomes. This important work became the basis for the complete categorical rework- 

ing and formatting of all course descriptions and the updating of the MArch SPC matrices. 

Also, as a part of this work a committee structure with roles and responsibilities was developed to per- 

manently instantiate a regular MArch (and BFA undergraduate pathways in Architecture and Interior 

Architecture) curriculum review: 

Committee abstract 

o A standing curriculum review of the entire MArch and undergraduate courses in 

Architecture and Interior Architecture starting in 2010–11 

o Committee membership elected by the AIADO faculty 

o Content of the committee charter defined by faculty consensus with program direc- 

tor oversight. 

Committee responsibilities 

o Solicit, initiate and review proposals for new course work 

o Recommend course revisions and deletions to director 

o Provide for curriculum coordination and support 


141 | Spring 2011 


Committee organization 

o Membership to be elected by the voting membership of the AIADO faculty for a two 

(2) year term with a committee chair serving in a 3 year renewable term. 

o The committee will be comprised of members from the MArch, MArch w/Emphasis 

in Interior Architecture, BFA Architecture and Interior Architecture teaching areas. 

In Spring 2010 SAIC authorized hiring a consultant to assist AIADO in accreditation planning and evi- 

dence delivery. Former executive director of NAAB Sharon Matthews was contracted and has visited 

the school in Spring 2010 and Fall 2010. Ms. Matthews conducted a review of the learning culture and 

course output from 17 of the School’s 22 MArch classes. The review was followed by a report that item- 

ized clear instances of SPC evidence versus course content and documentation in need of improve- 

ment. This important work also contributed greatly to the updating of course descriptions and MArch 

SPC matrices. 

All of the above measures generate points of data, information and ideas for understanding the effec- 

tiveness of the MArch curriculum and possibilities for its improvement. Full-time faculty meet twice per 

year, in the spring term, to review the collected information, discuss possible new content for courses, 

new faculty in courses and vet ideas for course changes and new courses. Program directors preside 

over the meetings and track and implement course changes as necessary. 

1) Description of the Student Performance Criteria Assessment System and 

Student Project Archive System 

This system collects and maintains information related to the assessment of student work against 

relevant NAAB Student Performance Criteria, and the archiving, retrieval and printing of student 

projects for NAAB accreditation visits. It has these two basic functionalities: 

o The Student Performance Assessment System provides a way for faculty to review 

and rate individual student works, using subsets of the 32 NAAB Student Performance 

Criteria, as appropriate to their individual courses, on a high pass, low pass, or no credit 

basis. This system maintains references to the assessed student work, both digital and 

physical, and provides a way to produce reports related to those assessments and NAAB 

performance criteria. These assessments become part of the Metadata. 

o The Student Project Archive System collects and stores PDF documents of indi- 

vidual student projects, and provides references to filed discs, physical models, and 

archived drawings and papers. The digital documents in this system can be referenced 

and searched using Metadata words and/or other criteria by faculty, administrators, and 

those working directly with the NAAB accreditation board. Projects can be retrieved, 

viewed and/or printed as required for internal usage or accreditation visits. Other units 

of the School such as admissions, publications, public relations, and the website will have 

the ability to search and retrieve items for their particular appropriate use. 

Clerical work for faculty is minimal, and faculty and staff are able to access this system on comput- 

ers in the faculty office, and from home with standard LDAP secure authentication. 

a) System goals 

- To provide a standard system of student performance assessment without grades 

- To allow quicker and more precise preparation for visits by accreditation teams 

- To allow the retrieval of student work covering particular topics 

- To reduce the long term storage of paper documents, with attendant damage 


SECTION II





- To allow the timely, less expensive printing of paper documents as needed 

- To create an archive of student work and curriculum initiatives as evidenced in student production. 

b) Technical Description Overview 

AIADO currently uses an internally developed system for archiving and reviewing student 

documents. This is built on a standard Linux / Apache / MySQL / PHP (LAMP) platform and 

uses LDAP authentication and secure HTTP to limit access to its data and documents. 

c) Software 

This system contains two main components: 

o The “Drop Box”, an authenticated web system which allows faculty to upload and 

assess documents from anywhere on the internet, rather than having to be on-campus 

or on the SAIC network. It cross-references SAIC data regarding faculty, AIADO courses, 

and rosters, with current NAAB assessment criteria, and allows faculty to easily review 

and assess only those documents relevant to their courses. Uploads to this system are 

automatically packaged, indexed and transferred to the Archive described below. 

o The Archive, which exists on a separate, limited-access server, provides long-term 

storage of the uploaded documents. Access to this system is restricted to selected 

groups via LDAP, and is only available to teams working on accreditation or similar proj- 

ects, as-needed. This system also provides a complex searching and reporting interface, 

including searches of text within each document, in order to identify and view docu- 

ments pertaining to specific semesters, courses and/or accordance with specific NAAB 

criteria. 

d) Hardware 

Two separate servers exist for this system, and both reside in restricted segments of the Art 

Institute’s data center. Each system is backed up and maintained by a team of system admin- 

istrators, according to enterprise maintenance standards. 

e) Data input procedure overview 

o Students receive precise instructions on documenting their work in course syllabi. 

Work that addresses appropriate and agreed upon NAAB Student Performance Criteria, 

and schematic work leading up to finished work, should be part of the final compilation 

each student prepares and turns in at the end of each semester. 

o Students produce work using InDesign in PDF format, normally 24” x 36” for consis- 

tency, with a specific file-naming protocol, and submits disc to faculty. 

o Faculty examine the PDF work from each student, storing it on their faculty com- 

puter hard drives, and correcting the naming protocol as necessary. 

o Faculty access the data entry interface of the system (each new course must get its 

course data through software hooks from the registrar’s PeopleSoft system). 

o Faculty select student names, performance criteria, and assessment terms from pull 

down lists with minimal keypunched data entry. This becomes the meta-data file. 

o At the end of data entry Faculty upload PDFs of each individual student into the 

archive system. 

o Faculty review digital course documents, then print to paper and save to DVD the 

NAAB course book, including syllabus, assignments, hand-outs, and readings. 

o For newer versions of previously uploaded projects, as happens with incompletes, 

these are marked as subsequent to old versions. Old versions do not get upgraded or 


overwritten; they remain static per the original upload. 

f) Security 

State of the art approaches to web security are followed to ensure privacy of student work 

and information: 

o Little or no FERPA-relevant information is stored on this server. 

o The system software and hardware is accessible to appropriate faculty and staff 

from the local artic.edu Instructional network, and from home, in each case through 

SAIC’s standard LDAP secure authentication. 

o Non-IS users are only granted web application access to system. 

o Teaching faculty are only granted access to their data relevant to their own courses. 

o Supervising faculty in charge of report generation and preparation for accreditation 

tasks are granted global access to the archived data through the search protocol. 

g) Backup 

Digital Documents are incrementally backed up at least once per month. Database are 

backed up at least once per week. 

h) Storage 

The software and hardware of these two systems stores and retrieves an archive of student 

documents in the Master of Architecture, Master of Architecture with Emphasis in Interior Ar- 

chitecture, and in the near future the Master of Design in Designed Objects degree programs, 

initially estimated at 100MB per student, per course. When fully enrolled these three pro- 

grams comprise 55 separate courses needing unique data entry templates, with enrollment 

varying per course from a low of 10 to a high of 28. 

Documents are accessible by an original unique filename, though may be referenced by auto- 

generated name in file system. Documents must be stored for a specific number of years, typ- 

ically through an entire multi-year accreditation cycle. File storage system are flexible enough 

to store future data types, file formats, creation platforms, and media types. Executable files 

are not stored on the server. 

2) Assessing Coursework 

In the MArch program, AIADO is dedicated to evaluating and tracking students’ undergraduate 

coursework as part of the professional masters degree programs. SAIC has specifically designed a new 

data-entry functionality that integrates with its comprehensive database in PeopleSoft to track the 

academic records of its students, including the 45 credit non-architecture NNAB course requirements. 

a) Credit trace system 

This functionality collects and maintains information related to NAAB course requirements 

for all four Master of Architecture program tracks. This information is integrated with other 

student data and backed up, maintained, archived and kept secure on PeopleSoft. 

b) Technical requirements 

The non-architecture/interior architecture based coursework requirement is tracked in the 

PeopleSoft Student Administration database. A data entry page is created for collection of 

pertinent course information and system tables are created to store the data. This data is 

then integrated in reports tracking and certifying completion of the requirements. 

143 | Spring 2011 



SECTION II





c) Staffing 

System Administrator: IS and/or CRIT staff perform system administration, backup, upgrades 

of server and operating system, and repair of any hardware issues. AIADO Administrative 

Director provides ongoing training, user administration and maintenance of information. 

d) Procedure 

1. The Administrative Director reviews each student’s transcript (UG and previous 

graduate work, if applicable) after all students have been matriculated. 

2. The student’s record is selected by ID# and each course satisfying the 45-credit require- 

ment is entered in PeopleSoft, based on the Administrative Director’s paper worksheet. 

3. Pathway: Home/Manage Student Records/Process Transfer Credit/Use/ 

4. The school’s name is chosen by pull down list using the four digit Admissions code. 

5. The individual courses are entered by course number, course subject, external career 

(UG/GRAD), acad level (Fr/So/Jr/Sr), term type (quarter/semester), course name, and 

official grade. 

6. Course subject has a pull down list with the ability to add new subjects. 

7. Course Number field allows free text entry. 

8. Credits are automatically converted to SAIC semester credit equivalents (same as 

procedure used for processing transfer credit). 

9. As courses are added, the total number of credits is displayed in a summary line. 

10. If any course is questionable, a brief course description from the school attended is 

entered in the course comment section (125 character maximum). 

11. Once 45 credits have been entered, the requirement complete box is checked and 

the process is complete for that student. 

12. If the student still requires non-architecture/interior architecture credits, the amount 

of credits will be indicated in the summary line. 

13. A form letter is generated and mailed to the student. The letter explains the NAAB 

requirement, how many credits they still need to complete this requirement, and instruc- 

tion to see their department advisor for assistance in choosing their electives. Elective 

courses that would fit this requirement are suggested—liberal arts, art history (non-archi- 

tecture), studio art. Hard copy is kept in Department and Registrar files. 

14. At the end of the data entry session, the Administrative Director runs a report that 

lists which students have not completed this requirement, and how many credits they 

will need to fulfill the requirement. A copy of this report is sent to the registrar. 

15. The registrar adjusts each student’s electives to the appropriate number of non- 

architecture electives and the appropriate number of electives. 

16. Students are able to self-advise when requesting a credit advisement report from 

the registrar or the portal. 

17. As students complete their non-architecture electives, PeopleSoft adjusts their cred- 

its needed and, when all 45 credits are completed, checks the requirement complete box 

automatically. 

e) Security 

Standard approaches to web security are followed to ensure privacy of student work and 

information. Server is only accessible from local network. 


B. Institutional procedures for curricular review 

As an innovator in art curriculum, SAIC encourages faculty to design new courses and programs. The 

process to propose new curriculum is relatively open, and the Team Teaching Award is an enrichment 

program that prioritizes new courses. 

Most new curriculum is created at the departmental level by the faculty of a given department (as the 

MArch curriculum is developed by AIADO faculty members) or among multiple departments. Every 

course designed by an individual faculty member acquired sponsorship by a department chair for 

advancement. New course descriptions are reviewed, and if needed edited or returned with questions 

and recommended revisions, and ultimately approved by the Course Description Committee, orga- 

nized by the Registrar and including the Division Chairs, Graduate and Undergraduate Deans, Director 

of Library Services, Chairs of Art History and Liberal Arts, and representative Deans staff. Changes 

to curriculum are proposed to the Curriculum Committee—a Faculty Senate committee composed 

of many faculty members and both the part-time and full-time Faculty Representative-at-Large; the 

Graduate and Undergraduate Deans; the Associate Deans of Student Life, Academic Administration, 

and Technology; the Assistant Dean of Advising; the Registrar; and, other staff members—considers 

and approves new curriculum. The committee strives to be enthusiastic of new, innovative courses and 

assists departments navigate the resources of the School in overcoming challenges in new curriculum. 

Each year the School offers two thousand courses, nearly 10% of which are team taught. This reflects the 

avid interests of the faculty in working across disciplines, in teams, and in unconventional settings. The 

Team Teaching Award, one of the enrichment opportunities for faculty, provides full course compensa- 

tion to two or more faculty members who share the teaching responsibilities for a single course. All regu- 

lar full-time faculty, full-time visiting artists, and part-time faculty who are currently on contract in the 

degree program are eligible to apply for team teaching awards. Priority consideration is given to courses 

that provide for expanded curricular offerings, transdisciplinary courses, or courses co-taught by faculty 

from different departments.Team teaching takes place at the School in a variety of ways, including: 

o Two faculty co-teach a course, each receiving compensation for a half of a course 

load; 

o A course with a raised enrollment cap so that each faculty receives their full per- 

course-rate (PCR); 

o Six-credit courses where each faculty receives a PCR equal to three credits; 

o Study trips with two or more faculty and each faculty receives their full PCR; 

o Simultaneous multiple sections of a course within a department; 

o Simultaneous multiple sections of a course between departments; 

o Progressive two-day-a-week discipline specific studios; 

o Progressive two-semester continuations of subject specific studios; 

o Where faculty of two disciplines work together to cover the scope of the course, e.g. 

a filmmaker and video artist teach together with a larger cap of students 

145 | Spring 2011 



SECTION II






II.3. EVALUATION OF PREPARATORY/PRE-PROFESSIONAL EDUCATION 

As described in section II.2.2 Professional Degrees and Curriculum, the two Option II tracks—the 60 

credit hour tracks—are intended for students who have finished undergraduate pre-professional bach- 

elors degrees in architectural studies, interior design, or architectural technology may request admis- 

sion to either the Master of Architecture or Master of Architecture with Emphasis in Interior Architec- 

ture Option II degree program. Students who are accepted into the accelerated degree programs will 

still need to fulfill 45 credits of non-architectural college-level coursework that are required for gradua- 

tion from a NAAB accredited Master of Architecture degree program. 

Students must request consideration for Option II status in a letter with their application. This consid- 

eration is made after admission to SAIC’s Master of Architecture program, is dependent on available 

space in the program, and upon review of a binder and college transcript showing completion of the 

following classes: 6 semester credit hours in building science, 3 semester credit hours in structural 

engineering, 6 semester credit hours in architectural history, and 6 semester credit hours in design 

studios. Per NAAB requirements, students requesting Option II status should mail or deliver a binder of 

the syllabi and work produced in the above courses to the Program Director by April 1. 

The Program Director reviews the binders for the presentation of information that best exemplifies 

SPC in the courses offered the first year of the three-year program, and marks the binders with notes 

indicating the SPCs demonstrated. 

Students admitted into the Option II program may also be missing one or two specific topical archi- 

tectural classes, and if so will be required to take those classes at SAIC. They may use their elective 

courses to fulfill this coursework before graduation. 

Students who have been admitted into SAIC’s Master of Architecture tracks and who request consid- 

eration for Option II status may be placed into the regular Master of Architecture degree programs if 

their undergraduate transcripts and syllabi from their undergraduate program do not cover all of the 

topics in the first year of the Master of Architecture or MArch with an Emphasis in Interior Architecture 

degree program. 


II.4. Public Information 

II.4.1. Statement on NAAB-Accredited Degrees 

Required language from the promotional materials can be found on SAICs website and in the catalog, 

which will be available in the team room. 



II.4.2. Access to NAAB Conditions and Procedures 

II.4.3. Access to Career Development Information 

II.4.4. Public Access to APRs and VTRs 


The documents that section II.4.2–4 of the 2009 Conditions for Accreditation require to be available 

on-campus are housed in the AIADO administrative offices and are made accessible to current and 

prospective students, faculty, and staff. 

Additionally, copies of both prior Annual Reports are part of the reference collection in the library, and 

all accreditation documents (APRs, VTRs, Annual Reports, and accreditation decision letters) have 

duplicate copies in the Office of the Deans and Division Chairs. 



II.4.5 ARE Pass Rates 

The SAIC MArch program has its first graduates after the Spring 2009 semester. By the time of the 

writing of this APR, no alumni of the School’s MArch program have yet sat for the Architectural Re- 

cords Exam; therefore, there are no pass rates to report. 

147 | Spring 2011 



SECTION II

III 

Progress Since the 

Last Site Visit





III. PROGRESS SINCE THE LAST SITE VISIT 

III.1. SUMMARY OF RESPONSE TO TEAM FINDINGS 

This section presents the changes it has implemented in response to the review received during SAIC’s 

site visit in 2009. Deficient conditions are excerpted from the VTR and addressed broadly. 

A) Responses to Conditions Not Met 

This section responds to the to the specific assessments of the 2009 Visiting Team Report for Student 

Performance Criteria not yet met and explains where those topics are now taught, given the reorgani- 

zation of some topics into newly defined SPCs. 

1) Criterion A.3 Visual Communication Skills 

2009 Visiting Team Assessment: Not yet met. 

The team felt that the lack of variety, creativity, and quality of graphic work prevented students from 

fully expressing the depth of idea and thought that their work was intended to illustrate. Hand drawing 

and use of various media was extremely limited, undeveloped, and generally did not express itself in 

subsequent studio work. Physical models were limited and lacked the quality expected. The opportu- 

nity to improve the graphic presentation of architectural thought is readily available for this program, 

which is situated within a fine art school with both the facilities for and the commitment to making. 

2010 AIADO Response to Criterion A.3, not yet met in 2009 Visiting Team Assessment 

This is taught in the boot camp class ARCH and INARC 5005 Graduate Design Communications; 

and in all subsequent required design studios in both tracks. Case study presentation examples are 

examined in class, and techniques are taught that are required for use in the final presentation of 

these design studios. In addition, a new first year elective course, AIADO 5020 Graduate Spatial 

Computer Imaging is aimed at giving beginning students significant time to learn to integrate the 

theory, design, technology, graphic diagramming and presentation techniques that are taught in the 

first year. If this experimental elective is successful, it will be integrated firmly into the curriculum. 

2) Criterion A.4 Technical Documentation 


The level of ability to produce technically precise drawings and write outline specifications for a 

proposed design is not yet met in the evidence provided within the team room. 

2010 AIADO Response to Criterion A.4, not met in 2009 Visiting Team Assessment 

This is being taught in ARCH and INARC 6212 Choreographed and Ambient Systems, with an as- 

signment that emphasizes a small set of technical documents. AutoCAD 2010 licenses have been 

purchased by SAIC for use by students in classes starting in July 2009. 

3) Criterion A.10 Cultural Diversity 


Students are asked to explore these issues in a variety of courses including ARTHI 5120 Modern/ 

Postmodern Architecture and Design and in the 4th semester studios Families, and Event Spaces. 

However, the evidence presented was limited to unique examples; it was not consistently present in 

all work available to the team. Therefore, the team cannot determine that all graduates are achieving 

at the level of ability for this criterion. It should be noted that in the previous VTR (2007), this crite- 

rion was met through student work presented in AIADO 5003, ARCH/INARC 5118, ARCH 5110, ARCH 


5114, and INARC 5112. All four of these courses were affected by the reorganization of the curriculum 

that took place after the 2007 visit for initial candidacy. As a result, certain content or learning out- 

comes may have been lost or subsumed by other priorities for each course. 

2010 AIADO Response to Criterion A.10, not yet met in 2009 Visiting Team Assessment 

This is being taught in ARTHI 5120 Survey of Modern/Postmodern Architecture and Design; ARTHI 

5122 Spaces in Architectural History; and ARTHI 6112 Semper and Beyond: Historiography of Archi- 

tecture and Technology. 

4) Criterion B.2 Accessibility 


Although there seems to be a general understanding of some accessibility issues, it is not consistent 

across both tracks and does not rise to the level of ability. Some accessibility items are listed on 

some projects, but even in those projects the listed items are not necessarily completely executed 

within the project. Accessibility issues specific to individual project typologies are also lacking. 

2010 AIADO Response to Criterion B.2, not yet met in 2009 Visiting Team Assessment 

This is being taught in ARCH 6110 Systems; and INARC 6110 Interactive Spaces, with the goal of con- 

tinuing to expand the ability to make accessible designs in all subsequent design studios. 

5) Criterion B.4 Site Design 


Evidence available to the team indicated some understanding of site considerations, including view, 

context and solar exposure. But the level of analysis was not consistent from project to project and 

track to track. Topography was not evident on projects reviewed, and additional site considerations 

were not addressed. Student achievement does not rise to the level of ability for this criterion. 

2010 AIADO Response to Criterion B.4, not yet met in 2009 Visiting Team Assessmet 

The landscaping and drainage topics of this criterion are being taught in ARCH 6210 Integrations; 

and INARC 6210 Fluid Spaces as well as ARCH 5110 Graduate Architecture Studio I: Sites and INARC 

5110 Graduate Interior Architecture Studio I: Emotive Spaces. 

6) Criterion B.6 Comprehensive Design 


All components of this criterion are not evident in the projects presented for both the architecture and 

the interior architecture emphasis. For instance, in ARCH 6210 Graduate Architectural Studio 5: Integra- 

tions no single project presents sufficient information that would demonstrate an understanding of all 

the components of a building project–site design, structure, environmental systems, sustainability, etc. In 

every project presented for review there are aspects of this criterion provided. However, the aspects dif- 

fer from project to project, and no project is inclusive of all the items that define comprehensive design. 


These topics are being taught in ARCH 6210 Graduate Architectural Studio 5: Integrations and INARC 

6210 Graduate Interior Architectural Studio 5: Fluid Spaces, the fifth semester design studio courses. 

Assignments for these courses have been modified to include discrete exercises for each topic, with 

the student evidence of work on those topics being bound in a project manual that accompanies the 

presentation drawings. 

151 | Spring 2011 


Progress Since the Last Site Visit 

SECTION III





7) Criterion B.7 Financial Considerations 


INARC 6210 Graduate Interior Architectural Studio 5: Fluid Spaces provides evidence of this crite- 

rion, though not uniform for all projects presented for team review. There is no evidence found for 

students in the Architecture track, ARCH 6210 Graduate Architectural Studio 5: Integrations 


The life cycle topic is being taught in ARCH and INARC 5113 Construction Systems and Structures: 

Simple Spans, and the other topics in the criterion are being taught in ARCH 6210 Graduate Archi- 

tectural Studio 5: Integrations and INARC 6210 Graduate Interior Architectural Studio 5: Fluid Spaces 

with evidence from specific assignments gathered into project manuals by each student. 

8) Criterion B.8 Environmental Systems 


The vast amount of information covered in this class severely limits the ability to demonstrate un- 

derstanding of the material, and prohibits the introduction of several systems and required subjects, 

including acoustics. Although revisiting a past project in light of new knowledge is an interesting 

exercise, the very uniqueness of each project makes it very difficult for students to demonstrate un- 

derstanding of such wide-ranging subject matter. The introduction of expert professionals from the 

community might enhance the knowledge base of this all-encompassing syllabus. 


The embodied energy, solar orientation, day-lighting, passive heating and cooling topics, and the 

use of appropriate performance assessment tools are taught in ARCH and INARC 5113 Construction 

Systems and Structures: Simple Spans. The acoustic topic (reverberation) is taught in ARCH 6210 

Graduate Architectural Studio 5: Integrations and INARC 6210 Graduate Interior Architectural Studio 

5: Fluid Spaces; and the acoustic topic (STC’s), artificial illumination, and indoor air quality is taught 

in ARCH and INARC 6212 Choreographed and Ambient Systems. 

9) Criterion B.10 Building Envelope Systems 


There is evidence of understanding of integrated building systems in ARCH/INARC 6212 Choreo- 

graphed and Ambient Systems. However, there is no evidence of the ability level of achievement 

that is required of this criterion. The team believes ARCH and INARC 6212 could provide a model for 

the required evidence for this criterion if applied to student projects. In ARCH/INARC 6212 Cho- 

reographed and Ambient Systems the team found the use of case studies with three-dimensional 

diagrams to be both promising and useful in demonstrating the student‘s ability to conceptualize 

building system integration. The team also notes that work in INARC 6210 Graduate Interior Archi- 

tectural Studio 5: Fluid Spaces lacks a consistent display of an understanding of structural systems. 


Topics supporting the new criterion are being taught in ARCH and INARC 5113 Construction Systems 

and Structures: Simple Spans; ARCH and INARC 6123 Codes, Specs, Joints and Seams; and ARCH 

and INARC 6212 Choreographed and Ambient Systems. 


10) Criterion B.11 Building Service Systems 


The theory underlying building systems is not found in the documentation provided to the team. It 

is suggested that the understanding of thermal properties, fire protection systems, building services 

systems, etc. be tested through specific assignments in course work and the student responses be 

provided from those assignments for assessment. 


This is being taught using specific assignments in ARCH 6210 Graduate Architectural Studio 5: 

Integrations and INARC 6210 Graduate Interior Architectural Studio 5: Fluid Spaces; and ARCH and 

INARC 6212 Choreographed and Ambient Systems. Thermal properties are not part of this criterion, 

and are taught in ARCH and INARC 5113 Construction Systems and Structure: Simple Spans. 

11) Criterion C.3 Client Role in Architecture 


ARCH/INARC 6222 Sustaining Practice Economies, the course in which this material is addressed is 

being offered for the first time in Spring 2009. 

2010 AIADO Response to Criterion C.3, not yet met in 2009 Visiting Team Assessmet 

This is being taught in the sixth semester required class ARCH/INARC 6222 Sustaining Practice 

Economies, first delivered in Spring 2009. 

12) Criterion C.4 Project Management / Architect’s Administrative Roles 



being offered for the first time in Spring 2009. 


This is being taught in the 6th semester required class ARCH/INARC 6222 Sustaining Practice 


13) Criterion C.5 Practice Management 


The course in which this material is to be covered is being offered for the first time in 2009. There- 

fore, there is no student work, yet available for evaluation by the visiting team. This criterion remains 

Not Yet Met. 

2010 AIADO Response to Criterion C.5, not yet met in 2009 Visiting Team Assessmet 5 



153 | Spring 2011 



SECTION III





14) Criterion C.6 Leadership 



being offered for the first time in Spring 2009; no student work is yet available for review at this time. 


This is being taught in the 6th semester required class Arch and INARC 6222 Sustaining Practice 


15) Criterion C.7 Legal Responsibilities 


Student work presented for ARCH/INARC 6123 Codes, Specs, Joints & Seams demonstrates a clear 

understanding of the role of codes in building and construction, however, evidence was not presented 

to demonstrate similar levels of learning for professional service contracts, subdivision ordinances, 

environmental regulation, or historic preservation. 


The Building Code and Accessibility topics are being taught in Arch 6110 Graduate Architecture Studio 

3: Systems and INARC 6110 Graduate Interior Architecture Studio 3: Interactive Spaces, and ARCH/ 

INARC 6123 Codes Specs, Joints, and Seams; and the other topics in the criterion are taught in ARCH/ 

INARC 6222 Sustaining Practice Economies, first delivered in Spring 2009. 

16) Criterion C.8 Ethics and Professional Judgment 







17) Criterion C.6 Leadership 





This is being taught in the 6th semester required class Arch and INARC 6222 Sustaining Practice 


18) Criterion C.7 Legal Responsibilities 


Student work presented for ARCH/INARC 6123 Codes, Specs, Joints & Seams demonstrates a clear 

understanding of the role of codes in building and construction, however, evidence was not presented 

to demonstrate similar levels of learning for professional service contracts, subdivision ordinances, 

environmental regulation, or historic preservation. 


The Building Code and Accessibility topics are being taught in Arch 6110 Graduate Architecture Studio 


3: Systems and INARC 6110 Graduate Interior Architecture Studio 3: Interactive Spaces, and ARCH/ 

INARC 6123 Codes Specs, Joints, and Seams; and the other topics in the criterion are taught in ARCH/ 

INARC 6222 Sustaining Practice Economies, first delivered in Spring 2009. 

19) Criterion C.8 Ethics and Professional Judgment 







B) Responses to Causes of Concern 

In total, there were four causes for concern. One of which was carried over from the 2007 VTR; an- 

other was subdivided into two subsections. Each concern and the School’s response is detailed below 

1) Storage Space 

2007 Visiting Team Assessment 

Storage provisions are inadequate. This situation will worsen over time as enrollment and archival 

needs increase. 


This continues to be a challenge for the program. The lack of storage is obvious and all constituen- 

cies made comment about the problem. The team found the lack of individual storage and pin-up 

space for studio students to inhibit student workflow and adversely impact fire egress routes. 

2010 AIADO Response to causes for concern, regarding storage space, in 2007 and 2009 

Visiting Team Assessment: 

This is being resolved on a trail basis with the SAIC Administration‘s temporary lease and/or use of 

un-finished space in the Sullivan Center building, which remains less than fully occupied. Long term 

solutions have yet to be determined. However, in the fiscal year of 2010 – 2011 budget appropriations 

of $10,000 have been made to develop and install storage and acoustic separation solutions for the 

MArch program studio spaces. The project will be studied by a faculty, alumni, and student com- 

mittee, with the intention of opening up the design and fabrication of new architectural objects and 

treatments to student competition. With the school’s Instructional Resources and Media Services 

Department, solutions will be finished and installed by the Spring of 2011. 

2) Administrative Load 


The team is concerned about the administrative load that the chair and director are being asked 

to carry given the recent reduction in administrative time. The leadership required to manage a 

program from candidacy to accreditation is substantial and more intensive than the time it takes to 

manage and lead an established program. The department requires leadership with administrative 

skills and strategic thinking who can develop a plan for the next two years so it can achieve its goal. 

The school should carefully assess the situation so it protects the investment it is making in the new 

MArch program. 

155 | Spring 2011 



SECTION III





2010 AIADO Response to causes for concern, regarding administrative load, in the 2009 

Visiting Team Assessment 

The AIADO Department’s 2008-09 administrative faculty contract time totaled 9 days per year, or 

4.5 days per week per semester, divided between a Department Chair (Reynders), an MArch Pro- 

gram Director (Nereim), and a Designed Objects Program Director (Nugent). 

With reorganization, the AIADO Department’s 2009-10 administrative faculty contract time totals 11 

days per year, or 5.5 days per week per semester, divided as follows: Undergraduate Program Direc- 

tor 1.5 days per week per semester (Kong), Designed Objects Program Director 1.5 days per week 

per semester (Nugent), and MArch Program Director (Pancoast) 2.5 days per week per semester 

(1.5 for normal program direction duties, and 1.0 for NAAB accreditation duties above and beyond 

normal program direction). This represents a 22% increase in contracted administrative support for 

faculty administrators in one year. It places the AIADO department above the average for the school. 

In 2009–10, a one-year, special projects Administrative Assistant was hired. This person position 

expires in February 2011; however, AIADO plans to add a second Administrative Director position. 

The SAIC has also hired Sharon Matthews, former CEO of the NAAB, as a consultant to help in the 

ongoing preparations for the 2011 NAAB team visit. 

3) Curricular Structure 


The curricular structure has yet to integrate the program‘s vision. The team finds two concerns: 

a) The opportunities available to a design program married to an art school have yet to be fully ar- 

ticulated or realized in the curriculum. This conclusion was reached after student comments, faculty 

statements, and hearing administrator observations. 

b) There appears to be an over reliance on Student Performance Criteria to provide the curricular 

structure rather than to use the history and sensibilities of the department as a source for defining a 

coherent structure for learning. 

2010 AIADO Response to causes for concern, regarding curricular structure, in the 2009 


a) The Dean’s office hosted a retreat in August 2009 for the AIADO department, with representa- 

tives from the entire school’s faculty, to discuss different resolutions to this issue. These fall into 

several areas of approach: 

o A deeper ongoing investigation of the various manifestations of the art-design theo- 

retical divide as it can currently be seen at SAIC and comparable institutions, under the 

appointed leadership of a design history faculty member. 

o Investigation of a wider range of electives team-taught by artists and designers, with 

the Dean’s office supporting the extra expense of team teaching. 

o Investigation of art-design transdisciplinary centers at SAIC to bring outside aca- 

demic civic and cultural institutions to SAIC for special projects, that would naturally 

involve art and design faculty members, center fellows, and students working together. 


) The AIADO department has chartered committees charged with working on the MArch curricu- 

lum, in particular by identifying learning objectives that resonate with the ethos of SAIC in general 

and that arch over the more evidence-based SPCs, and by promulgating typical assignments that 

can be used to bring forth proper evidence of ability and understanding on some of the more dif- 

ficult SPCs. 

The committees will also review and maintain the course offering’s ability to deliver on the advantages 

of “design at an art school”—the constant critique and refreshing of architecture practice through the 

examination and application of practical fine art delivery—a core value of the AIADO. This value holds 

that school-wide there exists a deep commitment to the research and delivery of various modes of 

creative practice; modes that correlate ideas, human work structures, media and mission. 

4) Curricular Change 


The curriculum available for review by the team has been substantially altered since the 2007 visit. In 

at least one case, this change has led to a criterion no longer being met that was previously found to 

be acceptable. 

2010 AIADO Response to causes for concern, regarding curricular change, in the 2009 


The student performance criterion that was previously met in 2007, and then not met in 2009, is 

now called A.10 Cultural Diversity. This topic had been introduced in an initial required summer 

bootcamp class that was removed to make way for a required freehand drawing class. This decision 

was made because drawing skills need to be present almost immediately, while an understanding of 

Cultural Diversity can be integrated throughout the program in later courses. 

Cultural Diversity is being taught in ARTHI 5120 Survey of Modern/Postmodern Arch and Design; 

ARTHI 5122 Spaces in Architectural History; and ARTHI 6112 Semper and Beyond: Historiography of 

Architecture and Technology Design Seminar. 

III. PROGRESS SINCE THE LAST SITE VISIT 

III.2. Summary of Responses to Changes in the NAAB Conditions 

Having begun in 2006 and immediately seeking accreditation, the MArch program has been in a fruit- 

ful and rigorous dialogue with NAAB in the refinement and implementation of their program. Conse- 

quently, the changes to accreditation guidelines reflected in the 2009 Conditions for Accreditation 

are not as impactful as they may be in programs with a longer history of accreditation. Rather, the 

responses to changes in the Conditions made since the last site are woven throughout the responses 

to unmet conditions and causes for concern detailed above. 

157 | Spring 2011 



SECTION III

IV 

Supplemental Information





IV. SUPPLEMENTAL 

INFORMATION 

IV.1. COURSE DESCRIPTIONS 

The following pages contain: first, course descriptions for all the courses in the MArch program; and 

second, résumés for the faculty teaching in the MArch program. 

The course descriptions are arranged in the following order: 

ARCH & INARC 5004 Design Visualization 

ARCH & INARC 5005 Design Communications 

ARCH & INARC 5006 Freehand Design Drawing 


INARC 5110 Interior Architecture Studio 1: Emotive Space 

ARCH & INARC 5113 Construction Systems & Structures 

ARTHI 5120 Survey Modern and Post-Modern Design 



ARCH & INARC 5123 Matter and Structures 


ARCH & INARC 6110 Arch / Inarc Studio 3: Systems / Interactive Spaces 

ARCH & INARC 6112 Nodes/Networks/Interactivity in Practice 

ARTHI6118 Semper & Beyond: History of Architecture and Tech 

ARCH6120 Architecture Studio 4: Families 


ARCH & INARCH 6123 Codes, Specs, Joints & Seams 


INARCH 6210 Interior Architecture Studio 5: Fluid Spaces 

ARCH 6221 & INARC 6212 Choreographed/Ambient Systems 

ARCH & INARC 6214 Cycle Ecologies 


INARC 6220 Interior Architecture Studio 6: Thesis 

ARCH & INARC 6221 Structures 3: Complex Organizations 

ARCH & INARC 6222 Sustaining Practice Economies 

The résumés are arranged in alphabetical order 


Course Number & Title: 

ARCH & INARC 5004 Design Visualization (3) 

Course Description: 

This first graduate studio course introduces incom- 

ing graduate students to basic 3D representation 

and fabrication for architecture and interior archi- 

tecture. 

Course Goals & Objectives: 

1) Design culture: introduction to design as a 

practice grounded in cultural and material in- 

novation. 

2) Design practice: introduction to graduate 

design studio as an inquiry-based pedagogy 

which depends upon rigorous experimentation 

with 3D representation and production. 

3) Design techniques: introduction to 3D com- 

puter drawing, modeling, and rendering, and 

manufacturing techniques. 

Student Performance Criterion: 

1) Criteria 

a)A.6. Fundamental Design Skills 

Topical Outline: 

1) Students are introduced to design studio 

and descriptive media production through a 

computer application demos culminating in 

technical exercises and small, abstract design 

projects, no larger than 20’ x 20’ x 20’ in actual 

scale; desk crits and reviews associated with 

this work represent 50% of the course. 

2) Students are introduced to 3D digital model- 

ing and fabrication, including dimensional data 

entry, 2D to 3D modeling tools, parametric 

modeling tools, material indications, lighting 

techniques, rendering, plotting and 3D fabrica- 

tion using laser cutting and CNC techniques; 

assignments require that students develop 

their design project through these modeling 

techniques, producing a rendered digital model 

and digitally fabricated physical model of their 

design; 25% of the course. 

3) Students develop the ability to move across 

various production platforms, and complete 

assignments for their design project that 

include exporting and importing files from 

one program to another, developing manual 

prototypes for digitally fabricated models, and 

manipulating digitally fabricated models with 

manual techniques; 25% of the course. 

Prerequisites: 

Admission to the MArch program. 

Textbooks/Learning Resources: 

Various text and online sources including: 

• http://www.rhino3d.com/ 

• http://www.grasshopper3d.com/ 

• Grasshopper Primer – 2nd Edition, by 

Andrew Payne 

• Generative Algorithms with Grasshopper 

by Zubin Khabazi 

Offered (semester and year): 

• Semester: SUMMER 

• Year: ONE 

Faculty assigned: 

• 2009-2010 academic year: 

Sterk, Tristan (F/T), Kasemsarn, Richard 

(P/T) 


Pancoast, Douglas (F/T), Sterk, Tristan 

(F/T) 

161 | Spring 2011 


Supplemental Information 

SECTION IV






ARCH & INARC 5005 Design Communications 

(1.5) 


This workshop introduces basic 2D composition and 

graphic design skills that designers and architects 

use to communicate their ideas in presentations. 


1) Design culture and practice: introduce 

graduate students to contemporary design 

presentation and communications. 

2) Design techniques: introduce students to 

image production techniques using digital 

media. 

3) Design techniques: introduce students to 

2D compositional skills, emphasizing clarity, 

appearance, and the persuasive power of 2D 

multi-page presentations, while addressing 

color and the relationship between image and 

text. 


1) Criteria 

a) A.3. Visual Communication 


1) Students are introduced to design presenta- 

tion through a series of lectures and demon- 

strations, developing their understanding of 

effective design presentation in a short assign- 

ment for the design of a 24”x36” composition 

board; 15% of the course. 

2) Students are introduced to a series of 

software programs that produce, alter, and 

compose 2D analog and digital images, includ- 

ing CAD, Photoshop, Illustrator, Acrobat and 

InDesign, and demonstrate their skills through 

the design poster project, and images for their 

concurrent design studio project; 60% of the 

course. 

3) Students are introduced to 2D composi- 

tional skills and design presentation production 

through instruction in the printing, plotting, 

exhibition and presentation of two projects, the 

design exhibition poster, and the design studio 

project; boards for the design studio project 

will incorporate the digital and physical models 

produced in studio, scaled plans, sections and 


elevations produced in the freehand drawing 

workshop, and digital images produced in this 

workshop, 25% of the course. 




In class demos, reviews and desk critiques 



• Year: ONE 



Jang, Sung (P/T), Christensen, Gerry 

(P/T) 


Christensen, Gerry (P/T), Kasemsarn, 

Richard (P/T)


ARCH & INARC 5006 Freehand Design Drawing 

(1.5) 


This workshop introduces basic free-hand design 

drawing skills and addresses the role of drawing 

in design practice. 


1) Design culture: introduction to the history 

and role of design drawing as a form of inquiry 

and invention. 

2) Design practice: introduction to drawing as 

an experimental practice which generates and 

documents design ideas. 

3) Design techniques: introduce the various 

forms of design drawing, including orthograph- 

ic, axonometric, oblique and perspectival pro- 

jections, emphasizing the production of plans, 

sections, and elevation and an understanding 

of line types and weights. 


1) Criteria 

a) A.3. Visual Communication 


1) After a series of tours and timed sketch as- 

signments related to the museum collections, 

students will develop a sketchbook document- 

ing their progress in the summer semester, that 

includes documentation of their summer ses- 

sion design projects; 15% of the course. 

2) Working from a variety of sources, students 

will sketch design ideas for their studio project 

in perspective and 3D paraline projections; 

25% of the course. 

3) Using analog and digital models produced 

in studio, students will complete a series of 

accurate and rigorous scaled plans, sections, 

elevations of their project; these drawings will 

show appropriate line weights and basic nota- 

tion; students will be expected to use these 

drawings to advance their design ideas; 60% 

of the course. 




In class demos, reviews and desk critiques 



• Year: ONE 



Jurisson, Jaak (adjunct P/T), Ahleman, 

Thomas (P/T) 


Christensen, Gerry (P/T), Jurisson, Jaak 

(adjunct P/T) 

163 | Spring 2011 



SECTION IV






ARCH 5110 Architecture Studio 1: Sites (4.5) 


This introductory studio addresses site as a generator 

of architectural ideas and examines how architecture 

constructs, and responds to, site conditions. 

Architectural “transitions” including approach, entry, 

occupation and egress are studied in order to posit 

the building as a sustainable system and the thresh- 

old between interior and exterior space. 


1) Design culture: introduction to the role of 

site and material context in contemporary 

architectural design. 

2) Design practice: introduction to basic 

design methods, emphasizing conceptual 

experimentation and rigor, material innovation, 

and cultural invention through the conceptual 

design of a small building with an extensive site 

infrastructure. 

3) Design techniques and skills: develop an 

intermediate level of architectural representa- 

tion, with an emphasis on visual explanation 

and analysis, plans, sections and elevations, and 

basic manual model construction. 


1) Best exemplifies the following criteria: 

a) A.6. Fundamental design skills (ability) 

b) B.4. Site Design (ability) 

2) Additional criteria 

a) A.2. Design thinking (ability) 

b) A.5. Investigative Skills (ability) 

c) A.8. Ordering Systems Skills (understanding) 

d) A.10. Cultural Diversity (ability) 


1) Design culture: students will investigate ap- 

proaches to site as developed in contemporary 

art and architecture, completing case studies 

that relate the use of site in contemporary art 

practice to contemporary architectural design; 


2) Design culture: through a series of readings 

of contemporary theory related to site, students 

will develop a written statement describing the 

relationship of their project to contemporary 

architectural design practice; 10% of the course. 

3) Design practice: through a series of lectures 

and demonstrations, students will be intro- 

duced to site documentation and analysis 

techniques; students will prepare a series of 


diagrams and explanatory graphics describing 

both the qualitative and quantitative charac- 

teristics of the existing site and proposed site 


4) Design practice: working from ideas gener- 

ated through the case studies and site analysis, 

students will develop a design for a building 

and site that integrates site considerations with 

architectural ideas; students will work through 

an iterative process that integrates analog and 

digital techniques, and will make formal presen- 

tations at 50%, 75% and 100% completion, at 

an introductory level of accomplishment; 25% 


5) Design techniques: students will document 

their conceptual design through a complete 

and coordinated set of site plans and sec- 

tions, and building plans, sections, elevations, 

showing context, scale figures and materials, 

using CAD, and showing appropriate line types, 

weights and notations at a professional level; 



their conceptual design through physical site 

and building models emphasizing material ef- 

fects and formal ideas, at a professional level; 


7) Design techniques: students will complete 

approximately 10’x10’ total of presentation 

boards, showing all plans, sections and eleva- 

tion context, scale figures and materials, along 

with supporting analysis and information, that 

may include vignettes and models, at a profes- 

sional level; 10% of the course. 


5004, 5005, 5006 


Various sources including: 

• Taking Measures Across the American 

Landscape by James Corner, Dennis Cosgrove 

and Alex McClean 

• How to Use Your Eyes by James Elkins 


• Semester: FALL 

• Year: ONE 



Keane, Linda Lee (F/T), Grimes, Ellen 

(F/T) 


Keane, Linda Lee (F/T), Vitale, Brian 

(P/T)


INARC 5110 Interior Architecture Studio 1: 

Emotive Space (4.5) 


This introductory studio addresses site as a generator 

of architectural ideas and examines how architecture 

constructs, and responds to, site conditions. It pays close 

attention to issues of site that affect the development of 

interior space. Additionally, students examine inherent 

material effects, and more ephemeral sensory effects, 

and their manipulation to communicate an architectural 

intention in a single space. Architectural “transitions” in- 

cluding approach, entry, occupation and egress are stud- 

ied in order to posit the building as a sustainable system 

and the threshold between interior and exterior space. 


1) Design culture: introduction to the role of site 

and material context in contemporary architectural 

design. 

2) Design practice: introduction to basic design 

methods, emphasizing conceptual experimentation 

and rigor, material innovation, and cultural invention 

through the conceptual design of a small building 

with an extensive site infrastructure. 

3) Design techniques and skills: develop an inter- 

mediate level of architectural representation, with 

an emphasis on visual explanation and analysis, 

plans, sections and elevations, and basic manual 

model construction. 




b) B.4. Site Design (ability) 


a) A.2. Design thinking (ability) 

b) A.5. Investigative Skills (ability) 

c) A.8. Ordering Systems Skills (understanding) 

d) A.10. Cultural Diversity (ability) 


1) Design culture: students will investigate the rela- 

tionship of site to interior space to site as developed 

in contemporary art and architecture, completing 

case studies that relate the use of site in contem- 

porary art practice to contemporary architectural 


2) Design culture: through a series of readings of 

contemporary theory related to site, students will 

develop a written statement describing the relation- 

ship of their project to contemporary architectural 

design practice; 10% of the course. 

165 | Spring 2011 


3) Design practice: through a series of lectures and 

demonstrations, students will be introduced to site 

documentation and analysis techniques; students 

will prepare a series of diagrams and explana- 

tory graphics describing both the qualitative and 

quantitative characteristics of the existing site and 

proposed site design; 10% of the course. 

4) Design practice: working from ideas generated 

through the case studies and site analysis, students 

will develop a design for a building and site that in- 

tegrates site considerations with architectural ideas; 

students will work through an iterative process that 

integrates analog and digital techniques, and will 

make formal presentations at 50%, 75% and 100% 

completion, at an introductory level of accomplish- 

ment; 25% of the course. 

5) Design techniques: students will document their 

conceptual design through a complete and coordi- 

nated set of site plans and sections, and building plans, 

sections, elevations, showing context, scale figures and 

materials, using CAD, and showing appropriate line 

types, weights and notations at a professional level; 



conceptual design through physical site and build- 

ing models, emphasizing material effects and formal 

ideas, at a professional level; 15% of the course. 

7) Design techniques: students will complete ap- 

proximately 10’x10’ total of presentation boards, 

showing all plans, sections and elevation context, 

scale figures and materials, along with supporting 

analysis and information, that may include vignettes 

and models, at a professional level; 10% of the 

course. 


5004, 5005, 5006 



• Interior Atmoshperes Bridging the Thresh- 

olds of Interior and Landscapes, An interview with 

Petra Blaisse 



• Year: ONE 



Miller, Carl Ray (F/T) 


Miller, Carl Ray (F/T), Kasemsarn, Richard 

(P/T) 


SECTION IV






ARCH & INARC 5113 Construction Systems 

& Structures 1 (4.5) 


This integrated technical practice course introduces 

simple construction systems and delivers a basic under- 

standing of structures, with a focus on statics. The course 

further examines and qualifies these systems in terms of 

building energy performance. 


1) Design practice: Course develops knowledge in basic 

building assembly systems. An understanding of the role 

that the environment plays in design decisions developed 

through energy analysis studies of historic and contem- 

porary buildings. 

2) Design practice: Building science skills: develop the 

ability to communicate basic material performance in 

freehand analytical drawings and drawings produced 

by simulation tools, and wall sections. 

3) Building science skills: Focuses on developing inves- 

tigative skills allowing students to effectively choose 

and incorporate structural / assembly systems during 

pre-design. 

4) Building science knowledge: Basic material speci- 

fication and performance properties. An introduction 

to the performance of building materials in a narrow 

sense, including thermal performance, moisture perfor- 

mance, acoustic performance and embodied energy. 

5) Structures skills: Basic structural concepts including 

component specification, sizing and analysis. 

6) Structures knowledge: Delivers useful concepts 

of load distribution, component spacing and system 

performance allowing students to integrate structural 

concepts in subsequent studio projects. 



a) A.5. Investigative Skills (ability) 


a) B.1. Pre-Design Preparation (ability) 

b) B.3. Sustainability (ability) 

c) B.8. Environmental Systems (understanding) 

d) B.9. Structural Systems (understanding) 

e) B.12. Building Materials & Assemblies 

(understanding) 


1) Design practice: Covers the history and current state of 

building structural systems, and concentrates on assembly 

and capability; 15% of the course. 

2) Building science skills: Develops knowledge neces- 


sary to choose a system during preliminary design, and 

understand the limits and possibilities of basic con- 

struction systems; 15% of the course. 

3) Design practice: After a series of brief investigations 

in two retrofit case studies focusing on daylight analy- 

sis and thermal analysis, acoustic analysis, students 

articulate their understanding of building physics as 

pertains to daylight and assembly design (concerning 

the placement and design thickness of insulation only) 

through drawings and simulation data (graphic and 

numeric); 40% of course. 

4) Building science skills: Knowledge necessary to 

understand the impact of building elements such as 

windows, walls, and roofs in order choose good orien- 

tations and assembly layer ordering and thicknesses 

(with membranes, separations and foils) for building 

systems. (50% assignments, 50% lectures) 

5) Building science knowledge: Masonry, light wood 

framing, sub-grade concrete. 

6) Structures knowledge: Delivers an understanding of 

structural concepts such as free body diagrams, mo- 

ment diagrams, statics, the strength of materials, and 

simple formulas for bending and deflection. Covers the 

ability to distribute loads through a simple structure, 

design a uniformly loaded joists, beams, and girders, 

and determine a safe continuous foundation size for a 

bearing wall; 30% of course. 


All required summer courses. 



• Energy-Efficiency Upgrades: Principles, Details, Ex- 

amples (Detail Practice) by Schulz and Zeitler 

• Energy Manual: Sustainable Architecture, Detail, by 

Hegger, Fuchs, Stark, Zeumer 



• Year: ONE 



Sterk, Tristan (F/T), Nereim, Anders (F/T), 

Moon, Jiyoung (P/T) 


Sterk, Tristan (F/T), Nereim, Anders (F/T), Maschke, 

Ken (P/T)


ARTHI5120 Survey Modern and Post- 

Modern Design (3) 


This lecture course surveys design history, from 1750 to 

the present day, introducing the ideas that have driven 

design in the modern era. 


1) Design culture and practice: Course seeks to es- 

tablish the foundation for students to create the in- 

vestigative and critical apparatus that is paramount 

to contemporary architecture and design practices. 


1) Criteria: 

a) A.1. Speaking and Writing (ability) 

b) A.2. Design Thinking (ability) 

c) A.9. Historical and Global (understanding) 

d) C.9. Social Responsibility (understanding) 


1) Design culture: Critical and interdisciplinary inves- 

tigations of artifacts, built environments, and texts 

throughout the course seek to establish essential 

links between designers, objects, and users in the 

history and culture of design and architecture. 

2) Design practice: The course emphasizes creative 

ways of probing material sources for writing and cri- 

tiquing design history and current design practices. 

Representative texts of cultural theory supplement 

lectures for engaged forms of material analysis. Stu- 

dents participate in reading review, discussions and 

a collection of text based analysis projects leading 

up to the production of an academic paper. 


All required summer courses. 



• Twentieth Century Design by Jonothan M. 

Woodham, Oxford and New York: Oxford University 

Press, 1997. 



• Year: ONE 



167 | Spring 2011 


Atha, Christine O (F/T), Mah, Kai Wood (F/T) 


Atha, Christine O (F/T), Mah, Kai Wood (F/T) 


SECTION IV






ARCH 5120 Architecture Studio 2: Skins (4.5) 


This introductory design studio examines the role of the 

building envelope in architectural design, focusing on its rela- 

tion to program, site, form and materials. 


1) Design culture: explore the role of building enve- 

lopes in design, integrating ideas about envelopes 

with scale, site, structure, program and form, experi- 

menting with skin effects and affects as a generator of 

a design, adapting an existing building, and address- 

ing the existing building envelope. 

2) Design practice : investigate the design of building 

skins in the broadest sense, including design, techni- 

cal, structural, environmental, and social performance 

(ranging from cultural questions to accessibility) 

through the conceptual design of a small public build- 

ing of approximately 50,000 sq.ft. 

3) Design skills: develop design and graphic skills by 

completing the conceptual design of a small public 

building with a complex program, producing architec- 

tural drawings and models at an accomplished level, 

demonstrating a command of drawing and model- 

ing conventions and an ability to manipulate those 

conventions to convey ideas relevant to a particular 

design idea. 

4) Technical knowledge: demonstrate awareness of 

the role of accessibility and sustainability in the design 

process. 


1) Best exemplifies the following criteria 

a) B10. Building envelopes (understanding) 



b) A.8. Ordering Systems (understanding) 

c) B.2. Accessibility (ability) 

d) B.9. Structural systems (understanding) 

e) B.12. Building materials (understanding) 


1) Design culture: after completing a series of read- 

ings of contemporary theory related to building skins, 

students will develop a written statement describ- 

ing the relationship of their project to contemporary 

architectural design practice; 5% of the course. 

2) Design culture & practice: students demonstrate 

their investigative skills by completing a research proj- 

ect that includes comparisons of building envelope 


performance for 4 contemporary buildings, includ- 

ing formal, technical, structural, environmental, social 

effects. The research will include primary, secondary 

and tertiary sources. All of the work must meet a pro- 

fessional level of accomplishment; 20% of the course. 

3) Design skills: By the midterm, students will be 

demonstrate their ability to create a strong concep- 

tual framework for a design project by proposing 

range of initial ideas in model, refining those ideas 

through 2 concept models, developing an approach 

to programming which complements those concepts, 

completing a site analysis, developing a 1/4 work- 

ing model as the primary exploration of design ideas, 

extending those ideas in 1/8 building drawings. 25% 


4) Design skills: By the final, students will demon- 

strate their ability to complete a complex conceptual 

building design, addressing the building envelope as a 

generative material idea, showing a carefully consid- 

ered and documented design process, integrating 

ideas and information from their research project, fully 

documented in presentation quality drawings (includ- 

ing site plans, building plans, elevations, sections and 

wall sections), building model and site model and all 

explanatory and conceptual diagrams and other infor- 

mation and analysis 

5) Technical knowledge: students will demonstrate 

their understanding of accessibility by completing a 

brief analysis of their final building plans; 5% of the 

course. 

6) Technical knowledge: students will demonstrate 

their understanding of sustainability by addressing the 

brief of the project, and completing a site analysis; 5% 

of the course . 


All required first semester coursework. 



• Moussavi & Kubo’s The Function of Ornament. 


• Semester: SPRING 

• Year: ONE 



Grimes, Ellen (F/T) 


Exley, Peter (P/T), Nereim, Anders (F/T)



Activity Spaces (4.5) 


This introductory design studio introduces a broad range of 

investigative techniques and applies the results to the design 

of a multiple level interior environment. 


1) Design culture: this studio will focus on the im- 

pact architecture can have on its user, the linkage 

between architecture and the goal of the activity, 

and challenging preconceived notions of user needs 

and establish precedents. 

2) Design practice: students will broaden their 

understanding of the role of architects in the design 

process with a multi-disciplined client by develop- 

ing strategies to enhance architectural leadership in 

design/construction/client goal setting. 

3) Design skills: students will develop fundamental 

programming, design and graphic skills by completing 

a conceptual design strategy of a small public build- 

ing of approximately 10,000 sq.ft. Student investiga- 

tions will emphasize how a building’s structure and 

skin influences the function and performance of the 

interior environment and how the interior informs the 

skin. 

4) Technical knowledge: students will address the 

role of accessibility, materiality, building envelopes, 

sustainability and life safety in the development of 

their design. 



a) B.10. Building envelopes (understanding) 



b) A.8. Ordering Systems (understanding) 


d) B.9. Structural systems (understanding) 

e) B.12. Building materials (understanding) 


1) Design culture and practice: working in teams, 

students develop their investigative skills through 

the completion of a thorough context research that 

includes investigations of the site and building from 

a cultural, technological, social and behavioral frame 

of reference. Research methods employed: primary, 

(ethnographic: looking at users and behaviors), along 

with secondary and tertiary sources. A complete site 

material reference will be collected and archived to 

169 | Spring 2011 


inform interior strategy. From this research students 

will prepare a written and graphic statement of their 

analysis to be used as the content that informs the 

project’s programming strategy. The work must meet 

a professional level of completion and thoroughness; 

30% of the course 

2) Design practice: starting with user research, 

students will develop a qualitative and quantita- 

tive program for the intended use and performance 

goals of the interior environment. During the design 

process, working with program and performance 

goals, emphasis is placed on circulation, adjacencies 

and spatial sequencing and the influence of these 

issues on design decision-making. Students will 

explore different iterations through multiple modes 

of visualization including sketching, modeling and 

simulation. Students will apply a human performance 

framework as a basis for their design decisions and 

graphically and verbally communicate these strate- 

gies to a diverse professional audience; 50% of the 

course. 

3) Design skills: By the final, students will demon- 

strate their ability to complete a complex interior 

environment that achieves the performance goals 

of the initial program intent and is informed by the 

building envelope, skin and structure demonstrating 

an application of research synthesis as seen through 

plan, section, detail and 3-D modeling. 

4) Technical knowledge: students will address ac- 

cessibility, materiality, building envelopes, sustain- 

ability and life safety through a series of short analy- 

ses of their design proposals; 20% of the course. 


All required first semester coursework. 



• A Practical Guide to Behavioral Research 

Tools and Techniques by Robert Sommer and 

Barbara Sommer, 

• The Measure of Man & Woman: Human Fac- 

tors in Design by Henry Dreyfus & Associates 

• Problem Seeking: An Architectural Program- 

ming Primer by William Pena & Steven Parshall 



• Year: ONE 



Coleman, Cynthia (F/T) 


Coleman, Cynthia (F/T) 


SECTION IV






ARCH & INARC 5123 Matter and Structures 2 (4.5) 


This seminar introduces building materials and their 

applications. The structures component of the 

course addresses topics related to the strength of 

materials. 


1) Design practice: an understanding of the role 

that materials play in design decisions developed 

through a series of case studies of historic and 

contemporary buildings. 

2) Building science skills: develop the ability to 

communicate basic material performance in 

technical drawings, through plans, sections, wall 

sections and details. 

3) Building science knowledge: an introduction 

to the performance of building materials in the 

broadest sense, including design performance, 

technical performance, embodied energy and life- 

cycle performance. 

4) Structures knowledge: Delivers an understand- 

ing of structural concepts such as the distribution 

of concentrated and uniform loads, vertical loads 

and the resistance of lateral loads. 



a) B.12. Building Materials and Assemblies 


2) Additional Criteria 

a) A.4. Technical documentation (ability) 

b) A.7. Use of Precedent (ability) 

c) B.9. Structural systems (understanding) 

d) B.10. Building materials (understanding) 

e) C.1. Collaboration (ability) 


1) Design practice: After a series of brief investiga- 

tions and two case studies, students articulate the 

rationale for material choices for a series of historic 

and contemporary buildings in short, written 

analysis and descriptions, achieving a professional 

level of accomplishment; 10% of the course. 

2) Building science skills: Through documentation 

and case studies of historic and contemporary 

buildings, students learn to read and produce 

basic technical drawings, including plans, sections 

and details; 25% of the course. 


3) Building science knowledge: through readings 

and lectures, students develop an understanding 

of the range and application of building materials, 

and demonstrate their understanding through a 

series of quizzes and an exam, achieving a grade 

of at least 80%; 30% of the course. 

4) Structures skills: Delivers an ability to identify 

the distribution of loads though a structure of 

columns, beams, and shear walls, to determine the 

safe member sizes for columns and retaining walls, 

including eccentric loads and overturning mo- 

ments. Topics include including lateral loads due to 

wind and earthquakes, moment connections, shear 

walls, and appropriate systems design with good 

practice rules of thumb for a variety of related 

loading situations. 35% of the course. 


All required first semester courses. 



• Materials for Design, by Victoria Bell 

• The Idea of Lasting, by Rafael Moneo from 

A Conversation with Rafael Moneo in 

Perspecta 

• Thermal Bath at Vals, by Peter Zumthor 



• Year: ONE 



Grimes, Ellen (F/T), Dean, Paul (P/T), 

Koenigs, Mark (P/T), Rehmanjee, Yasmin 

(P/T) 


Sullivan, Anne (F/T), Sosin, Nate (P/T), 

Dean, Paul (P/T), Rehmanjee, Yasmin (P/T)


ARTHI 5122 Spaces in Architectural History (3) 


This advanced graduate seminar examines the 

meanings of space in architectural history from dif- 

ferent historical, social, philosophical, and regional 

perspectives. 


1) Design culture and practice: Course seeks to 

refine and advance students’ ability to create the 

investigative and critical apparatus that is para- 

mount to contemporary architecture and design 

practices. 



a) A.9. Historical and Global (understanding) 



b) A.10. Cultural Diversity (understanding) 


1) Design culture: a comparative standpoint with 

a global reach, the buildings, interiors, and city 

plans covered in this course include both major 

and minor works of western and non-western 

architecture, from antiquity to the present. The 

focus of the readings is on primary texts by archi- 

tects and theorists of key historical moments and 

schools of thought. Special attention is placed on 

how architecture has been studied in the histo- 

riography of architectural history. It continues 

the ideas explored in the Survey of Modern and 

Postmodern Architecture and Design, towards 

an advanced understanding of writing about and 

studying human built environments. 

2) Design practice: The course emphasizes 

creative ways of probing material sources for 

writing and critiquing design history and current 

design practices. Representative texts of cultural 

theory supplement lectures for engaged forms of 

material analysis. Students participate in reading 

review, discussions and a collection of text based 

analysis projects leading up to the production of 

an academic paper. 


All required first semester courses. 


T.B.D. 



• Year: ONE 



Mah, Kai Wood (F/T) 


Mah, Kai Wood (F/T) 

171 | Spring 2011 



SECTION IV






ARCH & INARC 6110 

Arch / Inarc Studio 3: Systems / Interactive Spaces 

(4.5) 


This interdisciplinary AIADO Architecture, Interior 

Architecture, and Designed Objects studio focuses 

on program scenarios that demand engagement 

at multiple scales and require combinations of 

various disciplinary techniques of inquiry, analysis 

and description. Students will complete preliminary 

research that supports design activities. Subsequent 

studio activities will build on and re-consider col- 

lective research findings with the goal of producing 

propositional designs. 


1) Design culture / cultural diversity: introduction to 

cross-disciplinary practice; with distinctions among 

designed objects, architecture and interiors used to 

inform new modes of practice. 

2)Design practice: developing collaboration strate- 

gies; use of research material, precedent and the 

integration of multiple sources of design information 

and intent. 

3) Design skills: pre-design, visual communication, 

systems and object integration in the design of 

environments and client organizations 

4) Technical knowledge and skills: accessibility, life 

safety, concept / program diagramming 



a) A.3. Visual Communication Skills (ability) 

b) A.8. Ordering Systems Skills (understand) 

c) B.1. Pre-Design (ability) 

d) C.1. Collaboration (ability) 

e) C.3. Client Role in Architecture (understand- 

ing) 


a) A.10. Cultural Diversity (understanding) 

b) A.11. Applied research (understanding) 


d) B.4. Site Design (ability) 

e) B.5. Life Safety (ability) 

f) B.8. Environmental Systems (understanding) 

g) B.9. Structural Systems (understanding) 


1) Design culture / cultural diversity: ‘disciplin- 


ary literacy’— student will examine and critique 

contemporary practice relevant to studio topic; 


2) Design practice: students will be introduced 

to collaboration and research methodologies; 

students will prepare a series of statements, 

diagrams and explanatory graphics describing 

proposed programmatic conditions in existing 

contexts; 25% of the course. 

3) Analysis: students will be required to display 

analysis abilities for ordering systems, site (site 

description legal and contextual to support site 

selection), client and stakeholder, role, defini- 

tion and program or brief requirements; 25% of 

the course. 


design (equivalent to schematic design phase) 

through a complete and coordinated set of 

traditional media (site plans / sections, and 

building plans / sections / elevations / models 

/ perspectives) showing context, scale figures 

and materials. 25% of the course. 


All required second semester coursework. 



• Chicago Metropolitan Code (Inclusive 

of Zoning); Chicago 2040 Comprehensive 

Regional Plan, and; Precedents in Architecture: 

Analytic Diagrams, Formative Ideas, and Partis 

by Roger H. Clark, Micheal Pause. 



• Year: TWO 



Sterk, Tristan (F/T), Compagnon, Odile 

(P/T), Schendel, Mark (P/T) 


Sterk, Tristan (F/T), Reynders, Hennie 

(F/T) Compagnon, Odile (P/T), Dean, 

Paul (P/T)


ARCH & INARC 6112 Nodes/Networks/ 

Interactivity in Practice (4.5) 


This technical practice course introduces students 

to models and topologies of connectivity, networks 

of objects and environments, and their impacts on 

architecture. In addition to readings and discussions, it 

examines networks through parametric modeling and 

prototyping sense and actuation, embedded control 

systems and network typologies for responsive build- 

ings. Of particular interest is the automated and inter- 

active control of light and light systems in buildings. 


1) Design practice: Course develops knowledge in 

intra and extra building connectivity and embed- 

ded control. 

2) Building science skills: Focuses on developing in- 

vestigative, prototyping, analysis and representation 

skills allowing students to effectively choose and 

incorporate control strategies and systems during 

pre-design. Specific skills include 3d modeling and 

data collection through the parametric applications 

and microcontroller systems 

3) Building science knowledge: Basic knowledge 

in electronics, electricity, light and lighting systems 

and embedded control. 



a) A.11. Applied Research (understanding) 


a) A.5. Investigative Skills (ability) 

b) A.7. Use of Precedent (understanding) 

c) B.8. Environmental Systems (understanding) 

d) B.11. Building Services (understanding) 

e) C.2. Human Behavior (understanding) 

f) C.6. Leadership (understanding) 


1) Design practice: Investigates the socio-technical 

consequences of the shift from centralized hierar- 

chies to distributed networks in global and local 

populations. Covers the impact of sub-cultures, 

and the proliferation of specialized markets. 

Students learn techniques in system diagramming 

and data visualization; 30% of class 

2) Building science skills: Students experiment 

with elementary sensing and acting objects/ 

systems which can be used to propose, design, 

develop and prototype more complex behaviors, 

relationships, actions or instructions. Students 

develop an intermediate facility with Arduino 

microcontroller programming, electronic compo- 

nents and circuit building, sensor components, 

actuation components, modeling and data collec- 

tion through the parametric modeling applications 

- resolved as workbook scale exercises leading up 

to a single project: a proposal for an interactive 

lighting system in a responsive building; 35% of 

class 

3) Building science knowledge: Topics include ba- 

sic electronics / physics, electricity, properties of 

light including illuminance analysis, color tempera- 

ture, reflection, refraction, absorption. Lighting 

mechanical systems topics include fixture specifi- 

cation, power consumption and control. Students 

also learn drawing specifications for electronics, 

building electrical systems and lighting systems - 

resolved as workbook scale exercises leading up 

to a single project: a proposal for an interactive 

lighting system in a responsive building; 35% of 

class. 


All required second semester courses. 



• Network Practices by A. Burke (editor), T. 

Tierney (editor) 

• Designing a Quality Lighting Environment 

by Susan Winchip 



• Year: TWO 



173 | Spring 2011 


(F/T), Manning, John (F/T) 



(F/T), Manning, John (F/T) 



SECTION IV






ARTHI6118 Semper & Beyond: History of 

Architecture and Tech (3) 


This graduate seminar explores the historical inter- 

actions of technology and architecture from the 

middle of the nineteenth century to the close of the 

20th century. 


1) Design culture and practice: Course seeks to 

advance and finalize students’ ability to create 

the investigative and critical apparatus that is 

paramount to contemporary architecture and 

design practices. 





a) A.9. Historical and Global (understanding) 

b) C.8. Ethics and Judgment (understanding) 


1) Design culture: Through the study of the 

practical and allegorical interaction of archi- 

tecture and technology, students will gain not 

only a more robust understanding of modern 

architecture and its historical formations but also 

a greater appreciation for the technological in 

contemporary architectural practice. An exami- 

nation of the historiography of architecture and 

technology moves us closer to understanding the 

history of architectural practice as both integra- 

tion and index of complex assemblages. Topics 

include Architecture and Technology, Cultural 

Preparations, Historical Transmissions, Machine 

Discourses, Technological Utopias, Object Ecolo- 

gies, Media Convergence. 

2) Design practice: The course emphasizes 

creative ways of probing material sources for 

writing and critiquing design history and current 

design practices. Representative texts of cultural 

theory supplement lectures for engaged forms of 

material analysis. Students participate in reading 

review, discussions and a collection of text based 

analysis projects leading up to the production of 

an academic paper. 



All required second semester courses. 



• Theory and Design in the First Machine 

Age by Reyner Banham 

• Towards a New Architecture by Le Cor- 

busier 

• Space, Time, and Architecture by Sigfried 

Giedion 

• Architecture and Utopia: Design and Capi- 

talist Development by Manfredo Tafuri 

• Learning from Las Vegas by Robert Ventu- 

ri and Denise Scott Brown 



• Year: TWO 



Golec, Michael (F/T) 


Golec, Michael (F/T)


ARCH6120 Architecture Studio 4: Families (4.5) 


This intermediate design studio emphasizes program- 

ming, typology, cultural diversity, urbanism and plan- 

ning through the design of a residential development 

with a variety of densities. 


1) Design culture: Develop an understanding of the role 

of typology and precedent in architectural form and 

program through the design of an large urban housing 

space accommodating multiple occupants, sited in a 

culturally diverse and historically complex condition. 

2) Design practice: Develop an understanding of the 

ethics & social responsibilities of the architect. 

3) Design skills: Develop an ability to use precedent, 

and demonstrate an understanding of human behavior 

in a context governed by diversity and change. 

4) Technical knowledge: Develop the ability to design 

a contextually sensitive building, while addressing ac- 

cessibility, site design, building services, and life safety. 



a) A.7. Use of Precedent (ability) 


c) C.2. Human Behavior (understanding) 


2) Additional criteria: 

a) A.2. Design Thinking (ability) 

b) A.3. Visual Communication (ability) 




f) B.11. Building Services (understanding) 

g) C.8. Ethics and Judgment (understanding) 


1) Design culture: Program types vs. organiza- 

tion - Types develop and fall out of use over 

time. Types can be defined structurally, and 

they can be identified with certain cultures that 

used them. Type and precedent studies re- 

solved as modeling studies. 10% of the course. 

2) Design culture: Density high vs. low - Based 

on not only on the index of units per acre 

-- but also qualitative issues such as location, 

position, hierarchy, and grouping. Domestic- 

ity and urbanity, at both low and high area 

occupation ratios, will be examined relative to 

contemporary ‘families’ located throughout 

urban and proto-suburban areas. Families of 

several scales - parental units, multi-genera- 

tional collections, self-supporting aging com- 

munes, neighborhoods, sub-cultural tribes, and 

self-defined communities will be examined for 

how their needs fit into particular patterns of 

inhabitation. Ethno-geographic data resolved 

as diagrammatic studies. 10% of the course. 

3) Design culture and practice: Develop an 

understanding of the role of cultural diversity, 

social responsibility, and human behavior in 

architectural design; demonstrated by an indi- 

vidual research project and written responses 

to readings, 20% of the course. 

4) Design skills: Working from ideas generated 

through their research, students will develop 

a design for a building and site that demon- 

strates an ability to use precedent, and com- 

plex programming. Students will work through 


digital techniques, and will make a series of 

presentations, including a programming analy- 

sis, a schematic design proposal, design devel- 

opment proposal, and a formal presentation of 

the completed project, at an intermediary level 

of accomplishment; 40% of the course. 

5) Technical knowledge: Through desk critiques 

as design projects are developed. The final 

presentation drawings will demonstrate that 

students have the ability to complete a contex- 

tually sensitive design, and consider accessibil- 

ity, building services, and life safety; 20% of 

the course. 


All required third semester coursework. 



• Site Planning, by Kevin Lynch and Gary 

Hack 



• Year: TWO 



Miller, Carl Ray (F/T) 


Miller, Carl Ray (F/T), Keane, Linda Lee 

(F/T) 

175 | Spring 2011 



SECTION IV







Event Spaces (4.5) 


This intermediate studio addresses the architecture of 

event; emphasizing the capacity of buildings and interior 

space to engage and make tangible the opportunities 

inherent to diversity, change and speed over time. 


1) Design culture: Develop an understanding of 

the role of time in architectural form and program 

through the design of an event space of approximate- 

ly 10000 square feet, accommodating 100 occupants, 

sited in a culturally diverse and historically complex 

condition. 

2) Design practice: develop an understanding of the 

ethics & social responsibilities of the architect. 

3) Design skills: Develop an ability to use precedent, 

and demonstrate an understanding of human behav- 

ior in a context governed by diversity and change. 

4) Technical knowledge: Develop design ability, while 

addressing accessibility, site design, building services, 

and life safety. 



a) A.7. Use of Precedent (ability) 


c) C.2. Human Behavior (understanding) 


2) Additional criteria: 


b) A.3. Visual Communication (ability) 




f) B.11. Building Services (understanding) 

g) C.8. Ethics and Judgment (understanding) 


1) Design culture and practice: develop an under- 

standing of the role of cultural diversity, social respon- 

sibility, and human behavior in architectural design; 

demonstrated by an individual research project, writ- 

ten responses to readings, design charrettes with real 

stakeholders and the mapping of the relationships 

between users. 20% of the course. 

2) Design Culture: Interior versus exterior. Through 

a precise analysis of the site’s boundaries and its intended 

use by the various stakeholders, owners, community 

organizations and visitors, the students elaborate 

a program that takes into account the evolution 


of the building through time as well as its adaptability 

to the varying occupancy (seasonal as well as punctual: 

event) As the architecture takes form, its impact 

on the urban environment (immediate neighborhood 

as well as city wide infrastructure) is assessed and 

incorporated into the design. Students are asked to 

reflect upon the meaning of an “urban interiority” 

whose envelope, more than a mere façade, is the 

place of exchange (social, environmental) between 

the inside and the outside. 20% of the course. 

3) Design skills: working from ideas generated 

through their research, students develop a design for 

a building and site that demonstrates an ability to 

use precedent, and complex time-based projection of 

the building’s growth and evolution; students work 

through an iterative process that integrates analog 

and digital techniques, and make a series of presentations, 

including a programming analysis, a schematic 

design proposal, design development proposal, and 

a formal presentation of the completed project, at an 

intermediary level of accomplishment; 30% of the 

course. 

4) Technical skills; to enhance the comprehensive 

design approach,the students choose a construction 

connection detail that best represents their vision 

of the program, site and time-based evolution; they 

analyze its use and implementation in various precedents 

and incorporate its components in their own 

design.10% of the course 

5) Technical knowledge: through desk critiques as 

design projects are developed, sustainable design 

issues will be addressed; the final presentation drawings 

will demonstrate that students have the ability to 

complete a sustainable design, understand the varios 

components of a building system and their respective 

life cycles and consider accessibility, building services, 

and life safety; 20% of the course. 


All required third semester coursework. 


Various source including: 

• Architecture Between Spectacle and Use, by Anthony 

Vidler 

• Ephemera, Temporary Urbanism, and Imaging by Mark 

J.Schuster 

• Open 11: Hybrid Space 

• What Time is this Place? By Kevin Lynch 



• Year: TWO 



Compagnon, Odile (adjuct P/T), Tebben, Paul (P/T) 


Compagnon, Odile (adjuct P/T), Tebben, Paul (P/T)


ARCH & INARCH 6123 Codes, Specs, Joints & Seams 

(4.5) 


This seminar develops fundamental comprehension of 

building codes and specifications as applied to design. 


1) Design practice: develop an understanding of the 

implications of the regulatory frameworks governing 

architectural practice. 

2) Building science skills: create an ability to 

produce technical documentation that describes a 

building, accurately depicting assemblies as well as 

zoning and code compliance (emphasis upon life 

safety). 

3) Building science knowledge: develop an under- 

standing of the regulatory frameworks that govern 

architectural practice. 



a) B.2. Accessibility (ability) 

b) B.5. Life Safety (ability) 


a) A.4. Technical Documents (ability) 

b) B.10. Building Envelope (understanding) 

c) B.12. Building Materials & Assemblies (under- 

standing) 

d) C.4. Project Management (understanding) 

e) C.5. Practice Management (understanding) 

f) C.7. Legal Responsibility (understanding) 


1) Design practice: codes are examined as expres- 

sions of social values, reflecting cultural boundaries 

between the built environment and human behavior, 

in a series of lectures; students demonstrate their 

understanding of these ethical, cultural and social 

issues. Approximately ten lectures; 20% class time. 

2) Building science skills: an ability to use codes and 

specifications in the development of a building de- 

sign and documentation developed through a series 

of lectures, demonstrations, and projects; students 

demonstrate their ability to work with specifications 

and codes by completing a schematic design, site 

selection (zoning emphasis) and project manage- 

ment report (professional responsibilities emphasis); 

representing 40% of a students grade. 

3) Building science knowledge: basic proficiency in 

specification writing and the surrounding profes- 

sional and legal processes, including code 

compliance (emphasis upon life safety), is con- 

177 | Spring 2011 


veyed through a series of lectures and demonstra- 

tions; students substantiate their understanding by 

completing a design development set suitable for 

permitting as well as identify project delivery meth- 

ods and team responsibilities; represents 60% of a 

students grade. 


All required third semester courses. 



• The Architect’s Handbook of Professional 

Practice, 14th Ed (AIA) 

• Municipal Code of Chicago 



• Year: TWO 



Sterk, Tristan (F/T), Tornheim, Daniel (P/T) 


Sterk, Tristan (F/T), Tornheim, Daniel (P/T) 


SECTION IV






ARCH 6210 Architecture Studio 5: Integrations (4.5) 


This comprehensive design studio examines how 

creative program analysis drives creative, complex 

design solutions. This studio uses innovative program- 

ming techniques to design large-scale buildings and 

complexes. The final projects integrate design ideas 

with structures and systems. The course uses a vari- 

ety of discrete analytical, diagrammatic and visualiza- 

tion exercises to register obscure existing conditions 

and cultural changes into clear terms so the designer, 

client and the public can understand them and the 

new solutions that arise out of them. 


1) Design culture: methods of integration and 

information synthesis in contemporary architectural 

design. 

2) Design practice: advanced design methods, em- 

phasizing feasibility, and comprehension through 

the design of a large building with an extensive 

systems integration challenge. 

3) Design techniques and skills: develop an ad- 

vanced level of architectural representation, with an 

emphasis on analysis, plans, sections and eleva- 

tions, and model construction. 



a) B.6. Comprehensive Design (ability) 

b) B.7. Financial Considerations (understanding) 

2) Additional criteria associated with SPC B.6 


b) A.4 Technical Documentation (ability) 

c) A.5. Investigative Skills (ability) 

d) A.8. Ordering Systems Skills (understanding) 

e) A.9 Historical Traditions & Global Culture 


f) B.2. Accessibility (ability) 

g) B.3. Sustainability (ability) 

h) B.4. Site Design (ability) 

i) B.5. Life Safety (ability) 

j) B.8. Environmental Systems (understanding) 

k) B.9. Structural Systems (understanding) 

l) B.11. Building Service Systems (understanding) 


1) Design culture: ‘disciplinary literacy’— student 

will examine and critique contemporary practice 


relevant to studio topic; 10% of the course. 


exercises, students will be introduced to informa- 

tion collection and research methodologies; stu- 

dents will prepare a series of explanatory graphics 

describing proposed programmatic conditions in 

existing behavioral contexts, system integrations 

and comprehensive planning; 15% of the course. 


through the case studies, site analysis and systems 

research, students will develop a design for a large 

urban building that integrates site considerations 

with architectural ideas; students will work through 


digital techniques, and will make formal presenta- 

tions at 50%, 75% and 100% completion, 15% of the 

course. 


design through a complete and coordinated set of 

design research diagrams, tables and reports, site 

plans and sections, building plans, sections, eleva- 

tions, showing context, and materials, using CAD, 

and showing appropriate symbology and notations 

at a professional level; 25% of the course. 


their conceptual design through physical site and 

building models, emphasizing material effects and 

formal ideas, at a professional level; 25% of the 

course. 

6) Design techniques: students will complete ap- 

proximately 10’x10’ total of presentation boards, 

showing all plans, sections and elevation context, 

and materials, along with supporting analysis and 

information, that may include vignettes and mod- 

els, at a professional level; 25% of the course. 


All required fourth semester coursework. 


Various sources including: S,M,L,XL by Rem Kool- 

haas and Bruce Mau 



• Year: THREE 



Ahleman, Thomas (P/T), Tornheim, Dan (P/T) 


Ahleman, Thomas (P/T), Exley, Peter (P/T)


INARCH 6210 Interior Architecture Studio 5: 

Fluid Spaces (4.5) 


This comprehensive design studio requires a techni- 

cally complete building design, typically a large addi- 

tion attached to and within a larger existing building 

with sitework and facades. The course uses a variety 

of discrete analytical, diagrammatic and visualization 

exercises to register obscure existing conditions and 

cultural changes into clear terms so the designer, client 

and the public can understand them and the new solu- 

tions that arise out of them. 


1) Design culture: methods of integration and in- 

formation synthesis in contemporary architectural 

design. 

2) Design practice: advanced design methods, em- 

phasizing feasibility, and comprehension through the 

design of a large building with an extensive systems 

integration challenge. 

3) Design practice: Work sensitively with the con- 

text of an existing building that is obsolete or incom- 

plete for the proposed usage. 

4) Design techniques and skills: Develop an ad- 

vanced level of architectural representation, with an 

emphasis on analysis, plans, sections and elevations, 

and model construction. 

5) Design techniques and skills: Analyze and revise a 

typical program document to suit your ideas for the 

project. Analyze the building code and zoning require- 

ments and write yourself a guide that contains all 

relevant and necessary rules. 

6) Design techniques and skills: Learn and ap- 

ply competent rules of thumb for cost estimating, 

acoustic design, HVAC systems, building services, 

vegetation, and exterior drainage. 



a) B.6. Comprehensive Design (ability) 

b) B.7. Financial Considerations (understanding) 

2) Additional criteria associated with SPC B.6 


b) A.4 Technical Documentation (ability) 

c) A.5. Investigative Skills (ability) 

d) A.8. Ordering Systems Skills (understanding) 

e) A.9 Historical Traditions & Global Culture 


f) B.2. Accessibility (ability) 

g) B.3. Sustainability (ability) 

h) B.4. Site Design (ability) 

i) B.5. Life Safety (ability) 

j) B.8. Environmental Systems (understanding) 

k) B.9. Structural Systems (understanding) 

l) B.11. Building Service Systems (understanding) 


179 | Spring 2011 


1) Design culture: ‘disciplinary literacy’— student will 

examine and critique contemporary practice relevant 

to studio topic; 10% of the course. 


exercises, students will be introduced to information 

collection and research methodologies; students will 

prepare a series of explanatory graphics describing 

proposed programmatic conditions in existing be- 

havioral contexts, system integrations and compre- 

hensive planning; 15% of the course. 


through the case studies, site analysis and systems 

research, students will develop a design for a large 

urban building, focusing on interior space, that inte- 

grates site considerations with architectural ideas; 

students will work through an iterative process that 

integrates analog and digital techniques, and will 

make formal presentations at 50%, 75% and 100% 

completion, 15% of the course. 


design through a complete and coordinated set of 

design research diagrams, tables and reports, site 

plans and sections, building plans, sections, eleva- 

tions, showing context, and materials, using CAD, 

and showing appropriate symbology and notations 

at a professional level; 25% of the course. 


conceptual design through physical site and building 

models, emphasizing material effects and formal 

ideas, at a professional level; 25% of the course. 


All required fourth semester coursework. 


Various sources including: S,M,L,XL by Rem Koolhaas 

and Bruce Mau 






Nereim, Anders (F/T), Hawfield, May (P/T) 


Nereim, Anders (F/T), Hawfield, May (P/T) 


SECTION IV






ARCH 6221 & INARC 6212 Choreographed/ 

Ambient Systems (3) 


The intention of this course is for students to develop 

“comprehension of” and “ability in” the selection and 

location of building systems and their integration into 

design considerations. 


1) Design practice: Course develops knowledge in 

basic building mechanical systems. An understand- 

ing of the role that the building systems play in 

design decisions developed through an analysis of 

historic and contemporary buildings. 

2) Design practice: Building science skills: develop 

the ability to communicate system performance 

information and component specification in analyti- 

cal drawings, diagrams and conventional plans and 

sections. 

3) Building science skills: Developing investigative 

skills allowing students to effectively choose and 

incorporate mechanical systems during pre-design. 

Basic environmental systems concepts including com- 

ponent specification and sizing 



a) A.4. Technical Documents (ability) 

b) B.8. Environmental Systems (understanding) 

c) B.11. Building Services (understanding) 


a) A.11. Applied Research (understanding) 

b) B.3. Sustainable Design (ability) 

c) B.5. Life Safety (ability) 

d) C.2. Human Behavior (understanding) 

e) C.4. Client Role (understanding) 


1) Design practice: This class is a forum for discuss- 

ing & emphasizing the relationship between concep- 

tual ideas and tangible systems in order to develop 

synthesized design methodologies. It challenges 

students to not only create beautiful & intriguing 

building forms, but also structures that answer to 

the fundamental issues and opportunities of human 

comfort, needs and behavior patterns. 20% of the 

course. 

2) Building science knowledge: The course will focus 

on systemic aspects of buildings & environments, 


such as heating & cooling, plumbing, electrical, 

lighting, vertical transportation, fire protection, and 

security and how those systems are coordinated 

(and choreographed) with other design elements & 

systems such as structure, materiality, sustainability, 

and egress. 40% of the course. 

3) Building science skills: Complimentary to the 

goal of delivering these concepts, the course applies 

focus on the distillation of complex information and 

the graphic communication of that information to a 

range of audiences across the design & construction 

industries. Students are tasked with understanding 

typical modes of representation of systems & techni- 

cal information (drawings, specifications, models, dia- 

grams, etc.) Provides insight into means & methods of 

graphic communication via the creation of in-depth, 

coordinated architectural & MEP construction docu- 

ments. 40% of the course. 


All required fourth semester courses. 



• Mechanical and Electrical Equipment for 

Buildings, Stein, Reynolds, Grodzick, Kwok, Wiley 

Publications 

• The Architects Studio Companion, Latest Edi- 

tion, Allan & Iano, Wiley Publications 

• Materials, Structures, Standards, McMorrough 

Rockport Publishers 

• Fundamentals of Lighting, Winchip, Fairchild 

Publications 

• Building Construction Illustrated, Ching, Wiley 

Publications 


• Semester: Fall 




Newman, Michael (P/T), Tebben, Paul (P/T), 

Tannys Langdon (F/T) 


Newman, Michael (P/T), Tebben, Paul (P/T), 

Dan Tornheim (F/T)


ARCH & INARC 6214 Cycle Ecologies (3) 


This technical practice course introduces the concep- 

tual and practical basis for sustainable approaches to 

design at all scales. 


1) Design practice: The course serves as a founda- 

tion class in the cultural and practical knowledge 

of sustainability necessary to develop one’s own 

approach to a sustainable architecture practice. The 

course will introduce students to issues relevant to 

LEED certification and will include a critical ex- 

amination of the LEED approach of the US Green 

Building Council. 

2) Building science skills: Focuses on developing 

investigative skills allowing students to effectively 

choose and incorporate sustainable approaches 

and systems during pre and schematic design. 

3) Building science knowledge: The class examines 

various active, passive and material assembly strat- 

egies for the creation of ecologically stable build- 

ings that are energy, water and resource efficient. 



a) B.3. Sustainable Design (ability) 


a) B.7. Financial Issues (understanding) 

b) B.8. Environmental Systems (understanding) 

c) B.12. Building Materials & Systems (understanding) 

d) C.2. Human Behavior (understanding) 


1) Design practice: The course focuses exten- 

sively on methods of professional practice that 

reorder traditional interaction of the architectural 

collaborators in order to incorporate ecological ap- 

proaches thoroughly into the design and delivery 

processes. Subjects include integrated project 

delivery, life cycle costing methods, establishment 

of performance criteria and methods for meeting 

criteria. 30% of class. 

2) Building science skills: Historical examples and 

contemporary case studies placing the building 

as an expression of performance over form, are 

reviewed. The class is paced by workbook scale 

exercises examining and recording building system 

performance. Exercises include investigations of 

energy production and conservation methods, 

building envelope, heating and cooling systems 

and lighting systems; 35% of class. 

181 | Spring 2011 


3) Building science knowledge: Theories of biologi- 

cal ecologies, material production ecologies, and 

population dynamics, emphasizing the impact of 

human culture and patterns of consumption on 

underlying environmental quality. Practical systems 

studied include natural ventilation, evaporative 

cooling, photovoltaic’s, heat exchangers, wind tur- 

bines and fuel cells. 35% of class. 


All required fourth semester courses. 



• U.S. Green Building Council LEED Resources 

and Tools. 






Coleman, Cynthia (F/T), Ahleman, Thomas 

(P/T), 


SECTION IV






ARCH 6220 Architecture Studio 6: Thesis (4.5) 


The thesis studio asks students to construct an 

original problem, investigate pertinent issues, and 

design an innovative response to some aspect of 

architectural production. 


1) Design culture and practice: This class gives 

individual students the opportunity to define and 

research an aspect of architectural production in 

depth, developing a personal approach to an im- 

portant issue of contemporary significance to the 

field of architecture, and to the early professional 

career of the student. Emphasis is on originality, 

clarity, and high production values at the end of 

one’s architectural education. 






b) A.3. Visual Communication Skills (ability) 

c) A.11. Applied Research (understanding) 


Design culture and practice: Thesis studio is 

the opportunity for students in the MArch and 

MArch IA programs to construct a self-directed 

architectural research project. All conditions of 

topic relevance, value, developmental precision, 

material investigation, comprehensive address of 

project topics and final presentation scheme are 

critiqued relative to stated intentions for student 

work. During the thesis semester the develop- 

ment of that work is assessed according to the 

following criteria: 

Site Investigations 

Precedent Analysis 

Presentation of Design Questions 

Theoretical Grounding / Use of Sources and 

References 

Explorations of Spatial Questions / Depth of 

Investigation / Clarity and Inventiveness of 

Visual Material 

Consistent and Progressive Development of 

Project. 

Strategic / Exhibition Intentions. 


Course progress is assessed at ½ term, ½ term, 

½ term and final term – descriptions of projects 

strengths and weaknesses are delivered at 

those times from course faculty via studio cri- 

tique and written statement. Review events at 

½ term and final term involve outside critics as- 

sembled to deliver specific comment on partic- 

ular project content identified as student work 

develops. Students are responsible for installing 

completed presentation media or prototypi- 

cal work in the AIADO Design Show exhibited 

in the SAIC Sullivan Gallery in mid June. This 

material must include a written statement and 

graphic / material based descriptive media. 


All required fifth semester coursework. 


T.B.D. 






Pancoast, Douglas (F/T), Nicholson, Ben 

(F/T) 


Pancoast, Douglas (F/T), Nicholson, Ben 

(F/T)



Thesis (4.5) 


The thesis studio asks students to construct an origi- 

nal problem, investigate pertinent issues, and design 

an innovative response to some aspect of interior 

architectural production. 


1) Design culture and practice: This class gives 

individual students the opportunity to define and 

research an aspect of architectural production in 

depth, developing a personal approach to an im- 

portant issue of contemporary significance to the 

field of architecture, and to the early professional 

career of the student. Emphasis is on originality, 

clarity, and high production values at the end of 

one’s architectural education. 






b) A.3. Visual Communication Skills (ability) 

c) A.11. Applied Research (understanding) 


Design culture and practice: Thesis studio is the op- 

portunity for students in the MArch and MArch IA 

programs to construct a self-directed architectural 

research project. All conditions of topic relevance, 

value, developmental precision, material investiga- 

tion, comprehensive address of project topics and 

final presentation scheme are critiqued relative to 

stated intentions for student work. During the thesis 

semester the development of that work is assessed 

according to the following criteria: 

Site Investigations 

Precedent Analysis 

Presentation of Design Questions 

Theoretical Grounding / Use of Sources and Refer- 

ences 

Explorations of Spatial Questions / Depth of 

Investigation / Clarity and Inventiveness of Visual 

Material 

Consistent and Progressive Development of Proj- 

ect. 

Strategic / Exhibition Intentions. 

Course progress is assessed at ½ term, ½ term, 

½ term and final term – descriptions of projects 

strengths and weaknesses are delivered at those 

times from course faculty via studio critique and 

written statement. Review events at ½ term and 

final term involve outside critics assembled to 

deliver specific comment on particular project 

content identified as student work develops. 

Students are responsible for installing completed 

presentation media or prototypical work in the 

AIADO Design Show exhibited in the SAIC Sullivan 

Gallery in mid June. This material must include a 

written statement and graphic / material based 

descriptive media. 


All required fifth semester coursework. 


T.B.D. 






183 | Spring 2011 

Reynders, Hennie (F/T), Kong, Thomas 

(F/T), 


Reynders, Hennie (F/T), Kong, Thomas 

(F/T), 



SECTION IV






ARCH & INARC 6221 Structures 3: Complex Organi- 

zations (1.5) 


This integrated technical practice course advances 

understanding of integrated construction systems, 

with a focus on structural forms and their design. 

Topics for study include: gravity and lateral loading, 

load path, material properties, section properties, 

truss analysis, long span structures, lateral systems, 

steel and concrete member design, connections and 

structural drawings. The course consists of multiple 

design projects. The instructors lead a series of 

lectures or design charrettes related to each project. 

Classes are comprised of lecture, discussion and 

guided project design time. 


1) Design practice: develops knowledge in struc- 

tural systems and an understanding of the role 

that structural considerations play in design deci- 

sions. 

2) Building science skills: develops the ability to 

guide a team through the design process, to com- 

municate critical design information to structural 

consultants and integrate structural drawings and 

specifications into project documentation. 

3) Building science skills: focuses on developing 

investigative skills empowering students to evalu- 

ate the pros and cons of structural systems and 

materials during pre-design. 

4) Structures skills: reinforces understanding of 

physical principles in statics and the mechanics of 

materials. 

5) Structures skills: delivers useful concepts of 

load distribution, component spacing and system 

performance allowing students to integrate struc- 

tural concepts in studio projects. 

6) Structures skills: explores the code prescribed 

design methods applied by the professional com- 

munity. 

7) Structures knowledge: introduces best prac- 

tices for structural system layouts for multiple 

typographies with a focus on performance based 

design. 

8) Structures knowledge: introduces the reference 

materials and organizations responsible for sharing 

information about the latest structural technolo- 

gies and tools for their implementation. 

9) Structures knowledge: provides the under- 

standing of structural principles required to study 

for the ARE exam 





a) B.9. Structural Systems (understanding) 

1) Structures skills: reviews knowledge of physical 

principles, including static, mechanics, load distri- 

bution, and basic material design practices. 

2) Structures knowledge: Project 1 reviews internal 

forces, section properties and material properties; 

introduces concepts on wind forces, wind phenom- 

ena, mixed-materials connections and detailing, 

welding and bolting details; 20% of the course. 

3) Structures knowledge: Project 2 introduces 

detailed truss analysis and associated numeric 

methods, design for tension and compression 

members, member optimization, unbalanced 

forces, foundations; 20% of the course. 

4) Structures knowledge: Project 3 reviews load 

path concepts; introduces integrated concrete 

slab, beam and column design, and load transfer 

at discontinuous columns; 20% of the course. 

5) Structures knowledge: Final Project introduces 

lateral load resisting systems, seismic loading crite- 

ria and basic design considerations, high rise build- 

ing typographies, floor vibration, building move- 

ment and dynamic response; 40% of the course. 


All required fifth semester courses 



• Onouye, Barry & Kane, Kevin. Statics and 

Strength of Materials for Architecture and Build- 

ing Construction 

• Ching,Francis D.K., Onouye, Barry S., Zuber- 

buhler, Douglas. Building Structures Illustrated 






Joseph Shields (P/T), JiYoung Moon (P/T) 


JiYoung Moon (P/T), Jeannette Pfeiffer 

(P/T)


ARCH & INARC 6222 Sustaining Practice Economies 

(3) 


The course provides critical, in-depth insight into the 

Profession of Architecture by addressing, head-on, 

the legal and ethical ramifications of professional 

practice. Each major phase of design and construc- 

tion is tackled through the lens of the Architect’s 

role and his/her responsibility to the Client, the 

Community and the health & safety of the Public. 


1) Design practice: The class is a forum for the ex- 

amination of contemporary models of architecture 

practice. Generally, the course prepares students 

to anticipate and navigate the complexity of es- 

tablishing a nimble and purposeful 

design practice. 

2) Design practice: The logistics of practice are 

broken down, unveiling the strategies and pro- 

cesses of operating a business, pursuing com- 

missions, negotiating contracts and managing a 

project during design & construction. In support 

of this, the class visits a wide array of Architecture 

Offices ranging in scale, professional structure and 

design approach. 



a) C.4. Project management (understanding) 

b) C.5. Practice management (understanding) 

c) C.6. Leadership (understanding) 

d) C.7. Legal responsibility (understanding) 

e) C.8. Ethics (understanding) 


a) B.7. Financial issues (understanding) 

b) C.3. Client role 


1) Design practice: Provides insight into the legal 

and ethical ramifications of agreements and con- 

tracts with clients for 

professional architectural services, and responsi- 

bilities and liabilities during construction observa- 

tion; 40% of class. 

2) Provides insight into the financial manage- 

ment of offices that offer professional design and 

architecture services, and other kinds of design 

businesses; 40% of class. 

3) Provides information on the fundamental skills 

required to pursue a career in the Architecture 

and Design Professions. These include workshops 

on resumes, CV’s, portfolios, interviewing tech- 

niques as well as Accreditation processes such as 

the Intern Development Program (IDP), The Ar- 

chitect Registration Examination (ARE) and LEED 

Certification; 20% of class. 


All required fifth semester courses. 


Various articles and essays including: 

• AIA, “2007 Code of Ethics and Professional 

Conduct” 

• AIA, “Document A201-1997: General Condi- 

tions of the Contract for Construction.” 

• Cobb, Henry, “Ethics and Architecture” in 

Harvard Architecture Review 8 

• NCARB, “Architectural Organizations and 

the Practice of Architecture in the United States” 

• Sapers, Carl, “Ethical Boundaries” (1996) 

• Thomsen, Charles, “Project Delivery Strat- 

egy” 






185 | Spring 2011 

Newman, Michael (P/T), Tebben, Paul (P/T 


Newman, Michael (P/T), Tebben, Paul (P/T) 



SECTION IV





Architecture Program Report 

| 186

IV. SUPPLEMENTAL INFORMATION 

IV.2. FACULTY RESUMES 

187 | Spring 2011 



SECTION IV





Thomas Ahleman 

Courses Taught (Two Academic Years Prior to Visit): 

F 09 ARCH 6210 Architecture Studio 5: Integrations 


F 10 ARCH INARC 6214 Cycle Ecologies 

Educational Credentials: 

B. A. Architecture, Washington University in St. Louis 

1993 (summa cum laude) 

Master of Architecture, Harvard University, 1999 

(degree with distinction) 

Teaching Experience: 

School of the Art Institute of Chicago 2004-present 

(part time) 

Boston Architectural Center 1997-1999 (part time) 

Professional Experience: 

Studio Talo Architecture, owner 2004-present 

Wilkinson Blender Architecture, project architect 

2002-2004 

Dirk Denison Architects, project designer 

2000-2002 

Studio Gang/O’Donnell (now Studio Gang), designer 

1990-2000 

Kennedy + Violich Architecture, intern 1999 

Stubbins Associates (now Kling Stubbins) intern 1997- 

1999 

Perkins & Will, intern 1996-7 

Licenses / Registration: 

Illinois 

Selected Publications and Recent Research: 

Awards: 

AIA Chicago Chapter Young Architects Emerging 

Visions competition 2003, finalist 

Chicago Architectural Club Stop/Go competition (for 

Wilkinson Blender Architecture) 2003, finalist 

American Institute of Architects Certificate of Merit, 

Harvard University, 1999 

American-Scandinavian Foundation Grant, 1999. 

Alvar Aalto Archive. 

“Technique and Modernity in Aalto’s Viipuri Library” 

Cathy Simon Scholarship for Academic Achievement, 

Harvard University, 1998 

Fulbright Grant to Finland, 1994-1995. Helsinki 

University of Technology 


“Public Space in a Private Culture: Urbanity in the 

work of Alvar Aalto” 

Service: 

Massachusetts Institute of Technology, Interpreting 

Aalto conference panelist, 1999 

Lectures: 

Illinois Institute of Technology, “Getting Funkis”, 

lecture 2002 

Harvard University Graduate School of Design, 

“Aalto’s Performative Modernism,” lecture 1999 

Professional Memberships: 

ACE Mentorship program for local high school 

students, volunteer and charrette leader, 2010 

US Green Building Council, member since 2006 

Fulbright Association Chicago Chapter, President 

2000-2004, Board of Directors 2002-2006 

International Visitors Center of Chicago, Board of 

Directors 2002-2005 

American Institute of Architects, member since 2002

Christine Atha 


F 09 ARTHI 5120 Survey of Modern/Postmodern 

Design and Architecture 

F 10 ARTHI 5120 Survey of Modern/Postmodern 



2006 Post Graduate Certificate in Learning and 

Teaching in Higher Education 

2003 SEDA Certificate in Supervising Research 

Degrees for Professionals in Art and Design 

1990 - 93 MA Humanities, Royal College of Art, 

London 

1992 – 93 Awarded the Henry Moore Scholarship, 

Royal College of Art, London 

1973 -76 BA (Hons) Fine Art (2.1) Commendation 

in Art History, Hull Institute of Higher Education 

1971-73 Foundation Studies, Leeds College of Art 


Royal College of Art, London, 2007 – 2008 

Visiting Tutor in Department of Critical and 

Historical Studies 

Central Saint Martins College of Art and Design, 

London, 1999 – 2008 

Senior Lecturer/Course Leader for Cultural 

Studies and Course Coordinator 


Background is in both university and museum 

education, and curatorial practice. 

Museum education at Tate Britain 

Curator of the Review Gallery at the Design 

Museum and Head of Education at The Institute 

of Contemporary Arts, London; Curatorial 

projects include: “Hermès and Matali Crasset: 

Cheval Surprise/Equine Reflections” Hanbury 

Gallery, London; “Future Map”, London Institute 

Gallery, London; “The Shape of Things to 

Come”, Institute of Contemporary Arts, London; 

“Designing Tomorrow: British Design Education”, 

British Council, London; Review Gallery, Design 

Museum, London 


Publications: 

“Victorian Values: the Roles of Reception Theory 

in the Construction of Taste in the context of 

Regeneration Practice” 

“The Thing is: between the Designer Poet and 

the Artist Bricoleur”; “Value and Integrity in the 

Creative Process” 

“Language: Developing Communication between 

different Cultures”. Co-editor (with Jeremy 

Myerson) of Design Renaissance 

Exhibitions: 

“Roger Brown Calif. U.S.A”., exhibition at the Hyde 

Park Arts Center, Chicago 

USA,” 2010 

Catalogue essay for “Roger Brown Calif. 

‘The People’s Gallery of Everyday Objects’ Hyde 

Park Art Center, Chicago 

The Exhibition asks for audiences visiting 

the exhibition and working at the Hyde Park Arts 

Center to actively participate in the creation of 

a catalogue or document of their experiences 

of Everyday Objects by contributing objects to 

construct a People’s Gallery, 2010 


Fellow of the Royal Society of Arts (FRSA) 

Association of Art Historians 

Design History Society 

189 | Spring 2011 



SECTION IV





Gerry Christensen 


SU 09 AIADO 5006 Graduate Freehand 

Design Drawing 

SU 09 AIADO 5005 Graduate Design 

Communications 

SU 10 AIADO 5006 Graduate Freehand Design 

Drawing 

SU 10 AIADO 5005 Graduate Design Communications 


MFA, University of Illinois Chicago 2001, Industrial 

Design 

BFA, Oregon College of Art & Craft 1997, Furniture 

Design 


The School of the Art Institute of Chicago, 2006, - 

Present, Visiting Designer 

University of Illinois Chicago, 2008 – Present, 

Adjunct Assistant Professor 

Harrington College of Design, Chicago, 2004–2007, 

Full-time Faculty 

DePaul University, Chicago, 2002-2004, Adjunct 

Assistant Professor 

Columbia College, Chicago, 2001-2003, Full-time 

Faculty 


by, Chicago, IL. Designer, Sole Proprietor, 

2001-Present. 

I’ll Cut You, Chicago, IL., Freelance Graphic Designer, 

Branding Project, 2008 – 2010 Anke Loh, Chicago, 

IL., Freelance Graphic Designer, Interactive Design 

Consultant / Manufacturer 2008 – 2009 

The Silver Room, Chicago, IL., Freelance Graphic 

Designer, 2008 - 2009 

SAIC, Chicago, IL., Freelance Interactive Design 

Consultant / Manufacturer, 2008 

Koehler Design Build. Chicago, IL., Freelance 

Designer, and Fabricator, 2008 

Streng Design, Chicago, IL, Freelance Designer, 2002 

- 2003 

B9 Furniture, Chicago IL. Freelance Designer, 

2002 - 2004 

Studio Concepts, Portland, OR. Metal Fabricator / 

Prop Welder, 1997 - 1998 Gary Rogowski Furniture 

Design, Portland, OR Furniture Design Intern, 1995 - 

1996. 


Selected Publications and Recent Research 

Publications: 

“The Fix is in” Local design pros solve five common 

Chicago apartment problems. Article featured “W 

+ F = CH’” Chair, Timeout Chicago, Publication, Oct. 

29th 2005 Issue 

Awards: 

Crabtree Farm Foundation, Lake Bluff, IL. Artist in 

Residence, 2004-2006 

Modern + Design + Function Competition, 

Participant, Design Within Reach, 2006, & 2007 

Exhibitions: 

Chicago, “Guerillas on Fulton” Group show, Morlin 

Sinaway Gallery, Chicago, IL. 2005, 06, 07 

“Faketure” , Group Show, Macalester College of Art, 

Saint Paul, MN, 2005

Cindy Coleman 


SP 09 INARC 5120 Interior Architecture Studio 2: 

Activity Spaces 



F 10 ARCH INARC 6214 Cycle Ecologies 




MDM, Master of Design Methods, Institute of 

Design, IIT, Anticipated, December 2010 

BIA, Bachelor of Interior Architecture, School of the 

Art Institute of Chicago, 1979 


School of the Art Institute of Chicago, 

2006-present, Assistant Professor 

School of the Art Institute of Chicago, 2002-2006, 

Visiting Designer 

Politecnico di Milano Faculty of Design, Masters 

Workshop 2004-present 

University of Wisconsin-Milwaukee, School of 

Architecture and Urban Planning, 2001 - 2005, 

Visiting Faculty 


Chicago Architect Magazine, Contributing Editor, 

2007-present 

The Marcus Prize For Architecture: Professional 

Advisor, 2005-present 

Interior Design Magazine, Contributing Editor, 

2002-present 

Perspective Magazine, Executive Editor, 1995-2001 

Align Incorporated, President, 1990-1995 

The Coleman Design Group, Principal, 1987-1991 

Senior Designer, ISD Incorporated 1981-1987 

Designer, Skidmore, Owings & Merrill 1979-1981 


Publications: 

Co-Author, Design + Research, Wiley, Anticipated 

Publishing Date, June 2011 

Editor, Interior Design Practice, published by, 

Allworth Press, March 2010 

Editor, Interior Design Handbook of Professional 

Practice, published by, McGraw-Hill, 2001 

Co-Authored the white paper, Future Vision 

for Interior Design Education, published by 

Council for Interior Design Accreditation 

(CIDA) 

Authored the white paper: Design Ecology, 

published by the International Interior Design 

Association (IIDA) and Collins & Aikman 

Research: 

Haworth, Incorporated, consulting project to 

support workplace research, ongoing 

Awards: 

Senior Fellow, The Design Futures Council 

191 | Spring 2011 


2008 Paul L. Cejas Eminent Scholars Endowed 

Chairs, FIU School of Architecture & Interior 

Design 

Architecture & Society Design Competition 

Award 

International Interior Design Association (IIDA) 

Design Competition Award 

American Institute of Architects (AIA) Interior 

Architecture Award 

Service: 

2008-09 SAIC AIADO NAAB Exhibit 

coordnator 

2009-10 SAIC Library Committee 

2008 and 2009 Sustainable Design 

Leadership Summit Steering Committee and 

Delegate 


SECTION IV





Odile Compagnon 



Event Spaces 


Thesis 

F 09 INARC 6110 Interior Architecture Studio 3: 

Interactive Spaces 


Event Spaces 




Event Spaces 


Istituto Universitario Di Venezia, Venice, Italy, 1986 

University Of Illinois At Chicago, Chicago, Illinois, 

1980-1981 

Versailles School Of Architecture Unité 

Pédagogique D’architecture N°3, 1977-1982 


The School Of The Art Institute Of Chicago, Adjunct 

Associate Professor, 1998- Present 

Ecole D’architecture La Villette, Paris, France, 

Visiting Critic, 2009 

Chicago Public Schools, Chicago, Illinois, 1998-2008, 

« Budding Architects » For 6th, 7th And 8th Graders 

University Of Illinois Chicago, Iillinois, Design Studio 

Adjunct Professor, 1997-1998 

Parsons School Of Design, Paris, France, 

Environmental Design Studio Professor, 1987-1989 


Odile Compagnon Architects, Chicago, Illinois, 

Principal, 2000- Present 

Studio Gang/O’donnell, Chicago, Illinois, Associate, 

1997-2000 

Dmc Architects, Paris, France, Principal, 1998-2000 

Holabird & Root, Chicago, Illinois, 1991-1992 

Chemetov & Huidobro, Paris, France, 1985-1986 

Capa, Chicago Associates, Chicago, Illinois, 1982-1984 


Illinois 

France 


Publications: 

Le Moniteur – AMC Dec 1994, Le Moniteur – AMC 

Dec 1995 


CD « Architecture en France » 1985-1995 

D’Architecture Nov 1996 

Material Evidence Catalog, MCA Chicago, Jan. 

2000 

In!luence across “ elds, The Chicago Architectural 

Journal 10 – 2002 

Speculative Chicago, UIC Gallery 400 exhibition 

catalog, 2003 

Architectural Record – 10/2003p.138-140, Bengt 

Sjostrom Starlight Theatre, 2003 

ARCHIGUIDE 2000/2005 international architecture 

guide, 2000-2005 

ARCHITOPIK worldwide database of built 

architecture, 2010 

Exhibitions: 

Palladio’s Sister, AIA convention, Boston, 2008 

Negotiated Localities – Betty Rymer Gallery, SAIC 

Chicago, 2006 

Parachute Pavilion Exhibition – New York - Van 

Alen Institute, 2005 

Diversecity Riba-USA - Chicago, Illinois, 2004 

Speculative Chicago, UIC Gallery 400 exhibition, 

Chicago, Illinois, 2003 


American Institute Of Architects

Paul Dean 


SP 09 ARCH INARC 5123 Matter and Structures 2 


F 10 ARCH 6110 Architecture Studio 3: Systems 

SP 11 INARC 5123 Matter and Structures 2 


Master of Architecture, University of Illinois at 

Chicago, 1997 

Diploma Units, Landscape Design, Social Housing 

and Social Institutions, Technical University of The 

Netherlands, 1996 

B.F.A. Visual Communication Design, University of 

Dayton, 1993 


The School of the Art Institute of Chicago, 1996 - 

Present (part time) 

University of Cincinnati, 1995, (part time) 

Miami University of Ohio, Adjunct professor 2002 - 

2006 


WDW Design, Design Architect 1997-98 

Catherine Quinn Architects, Design Architect, 1998 

John Ronan Architect, Project Architect 1998-2001 

Scheer and Scheer, Project Architect/Manager 2001- 

2002, 

Beck Architecture, Project Architect 2003-2004 

Paul Dean Architecture, Principle 2004- 2006 

John Joyce Architects, Partner 2006-2009 

Hydrant Architectural Studio, Partner 2010 


Kentucky 


Publications: 

Curriculum for Technology Education, Illinois State 

Board of Education 

“Engineering, Architectural and Industrial 

Technology, Green Construction, Manufacturing and 

Production,” 2008 – Present. 

Awards: 

Chicago Chapter AIA Award: Design Excellence 

Award 

Exhibitions: 

Green Architecture Exhibition, Lubeznik Center for 

the Arts, Michigan City, Michigan, 2008 

Lectures: 

Archeworks, Chicago, “Strategic Architectural 

Infrastructure Design,” invited lecture given April 

2010. 

National Conference on the Beginning Design 

Student, “Reconfigured Matters: Form Follows 

193 | Spring 2011 


Matter and Affective Details,” refereed conference 

paper delivered at The University of North Carolina 

April 2010. 

International Conference on Fine and Performing 

Arts, “The Materiality and Art of Creating for Human 

Interaction,” referred conference paper accepted 

at the Athens Institute for Education and Research, 

Greece, June 2010. 


SECTION IV





Elliott E. Dudnik 


F 09 ARCH INARC 5090 Construction Systems 


PhD (Urban Planning), Northwestern University, 1983 

MS (Structural Engineering), Illinois Institute of Technology, 1965 

B. Arch., Illinois Institute of Technology, 1965 


Senior Lecturer, Dept of Architecture, Interior 

Architecture and Designed Objects, SAIC, 2008- 

2009 

Professor of Architecture, School of Architecture, 

University of Illinois at Chicago, 1967-2006 

Visiting Professor, School of Architecture, 

Universities of Newcastle, 1976 

Visiting Associate Professor, Department of 

Architectural Science, University of Sydney, 1976 

Lecturer, Institute of Industrial Relations, Loyola University, 1975 

Lecturer, Department of Architecture, Illinois 

Institute of Technology, 1966-67 


Architect-Owner, Elliott Dudnik + Associates, 

Evanston, 1969- Present 

Structural Engineer and Architect-Designer, 

Skidmore, Owings and Merrill, Chicago, 1966-69 

Architect, Chicago Civic Center Architects (C.F. 

Murphy and Associ½ates), Chicago, 1964-66 


Illinois, Wisconsin; NCARB; LEED AP 


Publications: 

“An Analysis of Housing Submarket Behavior and 

of Variations in Values and Preferences for Housing 

At½tributes”, 1983 

‘’A Dynamic Programming Approach”, 1978 

‘’Uncertainty and Optimization in the Design of Build 

ing Sub½systems - A Linear Programming Approach’’, 

1977 

“Dynamic Model for the Allocation of Urban Land and 

Ser½vices Under Conditions of Uncertain Demand”, 

1977 

“The Evaluation of Space Planning Methodologies”, 1973 

“SYMAP - User’s Manual for Synagraphic Com½puter 

Map½ping.” 1971 

Awards: 

Evanston Preservation Award - Margery B. Perkins 

Special Award, Evanston Preservation Commission, 2010 

Teaching Recognition Program Award, UIC Council 

for Excellence in Teaching and Learning, 2001 

Evanston Preservation Award , Evanston Preservation 

Commission, 1988, 1997, 2006(3) 


Faculty Sponsor Merit Award, ACSA/ STI Design and 

Engineering Challenge Competition, 2001 

Illinois Cooperative Work Study Grant Program (5), 

State of Illinois Board of Higher Education, 1997-2001 

Foundation for Improvement of Post-Secondary 

Education, 1998, 1999 

American Institute of Ar½chitects Research 

Corporation - National Science Foundation, 1978, 1997 

Curriculum and Instructional Grant, UIC Council for 

Excellence in Teaching and Learning, 1996-97 

Instructional Development Grant, UIC Council for 

Effective Teaching and Learning, 1994 

International Illumination Design Awards (2) 

Illuminating Engineering Society of North America, 1989 

Design Award, Design Evanston, 1985 

American Insti½tute of Architects Research 

Corporation - U.S. De½partment of En½ergy, 1978, 1982 

National Endowment for the Arts, Design and 

Research Program Grant, 1979 

AISC-AISI “Hands on Steel” Program Grant, 1978 

Univer½sity of Illinois Research Board Grant, 1972, 1977 

Australian Re½search Grant Committee, 1976 

Senior Fulbright-Hays Lecturer (International 

Exchange of Schol½ars), University of Sydney, 

Australia, 1976 

Outstanding Undergraduate Instruc½tional Award, 

University of Illinois-Chicago, 1972 

University of Illinois Faculty Summer Fel½lowship 

Grant, 1971, 1972 


American Institute of Architects (AIA) 

Construction Specifications Institute 

American Solar Energy Society, International Solar 

Energy Society, International Code Council 

NAAB Visiting Team (ACSA representative), 

2001,2002, 2006, 2009 

Appointed City of Chicago Building Code Initiative 

Task Group (Existing Buildings, Residential, 

Porches), 2009-2010 City of Chicago Dept of 

Buildings Advisory Committee, 2009- Present 

Vice-Chairman, Continuing Education Committee, 

AIA-Chicago, 1974; Chair, Professional Programs 

Committee, , Chicago, 1975; Member, Technology 

and Continuing Education Committees, AIA- 

Chicago, 1977 

Coordinator and Director, Architect’s Licensing 

Exami½nation Re½fresher Course, University 

of Illinois Office of Continuing Ed½ucation - 

Extension Division, 1986-97 and 2003-04.

Garret Eakin 





Master of Architecture, University of Illinois, 1973 

Bachelor of Architecture, Oklahoma State University, 

1971 


The School of the Art Institute, Graduate through 

beginning studio, 1980 to present 

University of Pretoria, South Africa, Visiting Lecturer, 2002 

Harrington Institute of Interior Design, Junior De- 

sign Studio, 1978 

University of Illinois, Architectural Design 1, Con- 

struction Documents, 1972 


Shoreline Residential Architecture, 2002 – Present, 

Design & development of luxury residential proper- 

ties on the North Shore 

Garret Michael Eakin, Architect, 1997 to 2002, 

Independent practice concentrating on developing 

luxury residential properties on the North 

Shore of Chicago. 

Banks/Eakin, Architects, 1980 to 1997, Design part- 

ner with architectural/interiors firm concentrating 

in residential, hotel, restaurant, museum, 

restoration and renovation work. 

Perkins & Will Architects, Design architect with ex- 

perience in city planning, educational, commercial, 

library and health care facilities, 1975 to 1980 

Skidmore, Owings & Merrill, Designer for large scale 

commercial developments, 1973 to 1974 


Publications: 

Clopton, Linda E. “Shaped by hand.” Chicago Home 

& Garden, Lake Forest, IL. Summer 2003, pp. 98- 

105. 

Steele, David A. The Chicago Architectural Journal, 

Vol 10. Chicago: Chicago Architecture Club, 2002. 

pp.40-41. 

Berger, Philip. “Architects.” Chicago Home, Spring 

Summer 2002, p. 29. 

Maguire, Mary. “Chateau a la mode.” North Shore. 

March 2002. pp. 36-40. 

Beazley, Cathy. “Featured Architects.” Licensed 

Architect. Vol. 6, No.1. 2002. pp.18-19. 

Beazley, Cathy. “2001 Design Award Winners.” 

Licensed Architect. Vol. 5, No.4. 2001. p. 22. 

Weese, Dan and Ranieri, Drew. The Chicago Archi- 

tectural Journal, Vol. 9. Chicago:Chicago Architec- 

tural Club, 2000. pp.28-29. 

Jankowski, Wanda. “3rd Prize Bath.” Kitchen and 

Bath Business, December 1999. p.38. 

Adler, Jane. “Lessons.” Chicago Tribune – Real Es- 

tate, June 2, 1996. p.1 

195 | Spring 2011 


Markoutsas, Elane. “Wooden it be nice?” Window & 

Wall, Winter 1995, pp.44-45. 

American Institute of Architects: Chicago Chapter, 

Architecture Chicago: Contemporary Architecture 

& Design, Vol. 13, “Interior Architecture 

Award-Historic Preservation” 1995, pp.67, 118-119. 

Awards: 

Preservation Award for New Construction–Historic 

Preservation 2004 

219 Lincoln Street – Glencoe, IL 

Preservation Award for Rehabilitation – Glencoe 

Historic Preservation 2004 

684 Greenleaf Avenue – Glencoe, IL 

ALA Gold Design Award – Association of Licensed 

Architects 2001 

Amato Residence – Lake Forest Preservation 

Award for New Construction Glencoe Historic Pres- 

ervation 2001 

Slaven Residence 261 Walden Glencoe 

National Design Award – Kitchen & Bath Design 1999 

Amato residence – Master bath Lake Forest 

Richard Driehaus Preservation Award – Landmarks 

Preservation Council 1997 

I12 South Michigan Avenue Ballroom restoration 

National Outstanding Achievement Award – IIDA & 

Interior Design, 1996 

112 South Michigan Ballroom Avenue restoration 

Design Excellence Award for Interiors – ASID, IIDA 

& The Art Institute, 1995 

112 South Michigan Avenue Ballroom restoration 

AIA Citation of Merit – American Institute of Archi- 

tects, Chicago 1995 

112 South Michigan Avenue Ballroom restoration 

AIA Citation of Merit – American Institute of Archi- 

tects, Chicago 1991 

The Chicago Children’s Museum, North Pier 


SECTION IV





Peter Exeley 




B. A. Architectural Studies (First Class Honours), 

University of Newcastle upon Tyne 1985 

Master of Architecture, University of Pennsylvania 

1990 


School of the Art Institute of Chicago 1993 - Present 

(Adjunct Associate Professor) 


ArchitectureIsFun, Inc, Principal (Chicago) 1994-pres- 

ent 

Destefano Goettsch, Associate Partner (Chicago) 

1991-1992 

The Architects Collaborative, Architect (Cambridge 

MA) 1987-1988 

Skidmore Owings & Merrill, Architect (Chicago & 

London) 1985-1987 

Venturi Scott Brown & Associates, Architect (Phila- 

delphia, PA) 


NCARB, Florida, Illinois, Indiana, Kansas, Kentucky, 

Michigan, Ohio, Pennsylvania 


Publications: 

[with Sharon Exley] Design For Kids, (Images Pub- 

lishing, Mulgrave), 2007 

Awards: 

Multiple AIA Chicago and AIA Illinois Awards: Distin- 

guished Building, Interior Architecture, Young Archi- 

tect, Mies van der Rohe Award, Presidential Citation. 

Elected to the College of Fellows of the AIA in 2004. 

American Library Association/IIDA National Interior 

Design Award 2008 

AIA Illinois Excellence in Education Award 2003 

Illinois Art Education Association - Distinguished 

Service Award 2002 



American Institute of Architects (FAIA) 

Chicago Architecture Foundation Education Advisory 

Board 

AIA Chicago Editorial Advisory Board 

PechaKucha Foundation Board of Directors

Gordon Gill 


SP 09 ARCH 6120 Architecture Studio 4: Families 


Harvard University, Masters of Architecture, 1993 

University of Texas Arlington, Masters of Architec- 

ture, 1990 

Ryerson University, Bachelor of Science in Architec- 

ture, 1987 


The School of the Art Institute of Chicago 2007- 

2009 


Founding Partner, Adrian Smith + Gordon Gill LLP, 

2006 

Associate Partner, SOM 

Director of Design, VOA Associates 


Illinois 


Publications: 

2010 

Architect Magazine, August, “2010 R+D Award for 

Sustainability: Chicago Central Area Decarbonization 

Plan” 

Ecolibrium, July, “Desert Star,” p. 7, 2010 

B1 Magazine, June, “Sustainable Excellence: Masdar,” 

pp. 36-41, 2010 

Metropolis, June, “Skyline: Willis Tower,” p. 83, 2010 

The National, “Masdar showcased at a Smithsonian 

Institution’s museum,” May 26, 2010 

Perspectives, April, “Building for change,” pp. 84-87, 

2010 

RICS Business, March, “Power tower,” p. 7, 2010 

Crain’s, March 1, “In going green average isn’t good 

enough for Willis Tower,” 2010 

Eco-Structure Magazine, February 25, “Adrian Smith 

+ Gordon Gill Architecture offers a low-carb plan for 

Chicago” 

inhabitat.com, February 22, “Adrian Smith + Gordon 

Gill hatch massive plan to decarbonize Chicago” 

World Architecture News, February 18, “AS+GG com- 

pletes first phase of Chicago DeCarbonization Plan” 

The Architects Newspaper, February 11, “Unveiled: 

Federation of Korean Industries.” 

197 | Spring 2011 


Architect, January, “What if an entire city could be 

housed under one roof?” pp. 60-63 

Awards: 

R+D Award for Sustainability, Chicago DeCarboniza- 

tion Plan, Architect Magazine, 2010 

International Architecture Award, Vancouver Resi- 

dential Complex, Chicago Athenaeum: Museum of 

Architecture and Design and the Dublin- 

based European Centre for Architecture, Art, Design 

and Urban Studies, 2010 

P/A Award, Architect Magazine, Matrix Gateway 

Complex, 2010 

The Chicago Athenaeum/Europe, American Archi- 

tecture Award 2009, Matrix Gateway Complex, 2009 

The Chicago Athenaeum/Europe, International Archi- 

tecture Award 2009, Matrix Gateway Complex, 2009 

National AIA, Honor Award for Regional+Urban 

Design, Southworks Master Plan (while Associate 

Partner at SOM), 2009 

Lectures: 

“Trends in Global Architecture” University of Chi- 

cago, Graduate School of Business, Chicago, Illinois, 

November 2008 

“The Works of AS+GG” Arizona State University, 

School of Architecture and Landscape Architecture, 

Tempe, Arizona, October 2008 

New York Architectural Innovation Conference, New 

York, New York, October 2008 

“Climate Change, Urgent” MIT Department of Archi- 

tecture, Cambridge, Massachusetts, September 2008 



Society for College and University Planning (SCUP) 

IIT International Center for Sustainable New Cities, 

Board of Advisors 

School of the Art Institute Chicago, Adjunct Profes- 

sor, 2007-2009 

CTBUH Awards Jury 


SECTION IV





Michael Golec 


SP 09 ARTHI 6118 Theory and Technology in 

Contemporary Art and Design 

F 09 ARTHI 6118 Theory and Technology in 

Contemporary Art and Design 

SP 10 ARTHI 5120 Survey of Modern/Postmodern 


F 10 ARTHI 6118 Semper and Beyond: A 

Historiography of Architecture and Technology 


PhD Art History, Theory, and Criticism 2003 

MA History of Design, University of Illinois, Chicago 

1997 

BFA, Graphic Design, University of Illinois, Chicago 

1991 


Visiting Associate Professor and Anschutz 

Distinguished Fellow Princeton University 2010-2011 

Iowa State University 2003-2008 (full time) 

School of the Art Institute of Chicago 2008- Present 

(full time) 


Publications: 

“Modern Mind and Typographic Modernity in 

Gyorgy Kepes’ Language of Vision,” in Modern 

Mind, eds. Mary Jane Jacobs and Jacquelynn Baas 

(Forthcoming 2011). 

“‘From the Far Corners:’ Telephones, Globalization, 

and the Production of Locality in the 1920s” in 

Global Design History, eds. Glenn Adamson, Giorgio 

Riello, and Sarah Teasley (Forthcoming 2010). 

“Discontinuity, Constancy, and Wonder in Powers 

of Ten” in The Educated Eye: Visual Culture and 

Pedagogy in the Life Sciences, eds. Nancy Anderson 

and Michael R. Dietrich (Forthcoming 2010). 

Review Essay: “Purloined Letters and Prehistories 

of Graphic Design,” American Quarterly 62, no. 

(2010). “‘Motionmindedness:’ The Transposition 

of Movement from Factory to Home in Chaplin’s 

Modern Times,” Home Cultures 7, no. 3 (2010). 

“Logo/Local Intensities: Lacan, the Discourse of the 

Other, and the Solicitation to ‘Enjoy,’” Design and 

Culture 2, no. 2 (2010). 

“’The Thinking Man’s Filter:’ J.L. Austin’s Ordinary 


Language Philosophy as Cultural Criticism, Cultural 

Critique 72 (Spring 2009). 

“Science’s ‘New Garb:’ Aesthetic and Cultural 

Implications of Redesign in a Cold War Context,” 

Design Issues 25, no. 2 (Spring 2009). Architecture 

Moves, Cooper Union, New York, NY. 

Paper: “Minimum and Maximum Mobility: Tony 

Smith’s Typographic Modernity” 2009. Design on 

Film, Cooper-Hewitt National Design Museum, 

New York, NY. 

Paper: “Fixing Powers of Ten” 2009. Benjamin’s 

Objects, Design Studies Forum, College Art 

Association, Los Angeles, CA. 

Paper: “The Presence of the Human Thing in Walter 

Benjamin’s ‘On the Mimetic Faculty’” 2009. Toward 

a History of Design in a Global Economy, 

Northwestern University, Evanston, IL. 

Paper: “’From the Far Corners:’ Telephones, 

Globalization, and the Production of Locality in the 

1920s” 2009. “Riding the Rift: Tony Smith’s 

New Jersey Turnpike and the End of Art,” Princeton 

University, School of Architecture. 2009. 

Coeditor and contributor, Relearning from Las 

Vegas (University of Minnesota Press 2009). 

Brillo Box Archive: Aesthetics, Design, and Art 

(Dartmouth College Press 2008). 


Review Editor, Design Issues 2003-2009 

Editorial Board Member Design and Culture 

Advisory Board Member Visible Language 

College Art Association 

Design Studies Forum

Ellen Grimes 


SP 09 ARCH 5120 Architecture Studio 2: Skins 

F 09 ARCH 5110 Architecture Studio 1: Sites 


SP 10 INARC 5123 Matter and Structures 2 


University of Illinois-Chicago. Master of Architecture, 

1993. 

University of Chicago. Master of Business 

Administration, 1989. Concentration in finance and 

statistics. 

University of Chicago. Bachelor of Arts, Honors, 

Economics, 1981. 


School of the Art Institute of Chicago. assistant 

professor. 2007-08, associate professor. 

2008-present. 

School of Architecture, University of Illinois at 

Chicago. assistant professor. 2002-07. 

College of Architecture, Illinois Institute of 

Technology. Director, First Professional Masters 

Degree Program. [three year program] 1998-2002. 

Adjunct Assistant Professor. 1997-98. Instructor. 

1998-2002. 

School of the Art Institute of Chicago. Visiting 

Designer, Interior Architecture. 1996-98. 


Journal of Architectural Education (Association of 

Collegiate Schools of Architecture). executive editor 

elect, 2010-11; executive editor, 2011-1015. 

AVAILABLE. principal; design/development/ 

construction; 1996 to present. 

Garofalo Architects. project manager and 

architectural designer; 1994-1997. 

DLK Architects. architectural designer. 1996-98. 

APM, Inc. N.Y., management consultant, 1988-90. 

The University of Chicago Hospitals. director, 

operations analysis, 1986-88; financial planner/ 

accountant. 1982-86. 

The State of Illinois, Office of the Governor. analyst, 

Illinois Health Finance Authority, 1982-83; analyst, 

Bureau of the Budget, 1981-82. 


Intern Development Program requirements complete; 

examinations in process; Eligible for licensure in the 

State of Illinois. 

Selected Publications and Recent Research 

Publications: 

Grimes, E. Ecological matters: a primer for 

199 | Spring 2011 


architects. Routledge. Book in progress; proposal 

accepted 2010 

Little Village park and field house; Superfund site 

redevelopment; community design and research 

with the Little Village Environmental Justice 

Organization. 2007-Present 

Grimes, E. Economy=Ecology: A Scenario for 

Chicago’s Lake Calumet. The Green Braid. R. 

Longoria, editor. Oxford: Routledge Press. (2007) 

Grimes, E., Rubio, E. Chicago Scenarios, Reframed 

and Unframed. Journal of Architectural Education. V. 

59. I. 4. (2006) 

Grimes, E. Risky Business: How the New Economy 

Can Create a New Ecology for Design Practice. ACSA 

International Meeting Proceedings, 2005. Mexico 

City (June 2005) 

Grimes, E. Fakes. Log 5. (Fall 2005) 

Grimes, E. Black Metropolis. Contents. (ed., R. 

Koolhaas, B. McGetrick/OMA) Koln: Taaschen. 

(2004) 

Research: 

Public Ecologies: an experimental infrastructure for 

the Midewin National Prairie. Design and research 

for the Center for Research in Urban Ecology, 

2005-2009 

Awards: 

Recipient of the Van Allen Fellowship Prize, 2008 


Archeworks Design Lab. facilitator. 2005-06 

LEED certified design professional. 2005-present 


SECTION IV





May Hawfield 


F 09 INARC 6210 Interior Architecture Studio 5: Fluid 

Spaces 

F 10 INARC 6210 Interior Architecture Studio 5: Fluid Spaces 


Master of Fine Arts, The School of the Art Institute Of 

Chicago, 1986 

Bachelor of Arts, Stratford College, 1971 


The School of the Art Institute of Chicago 1987 - Present, 

Adjunct Associate Professor 


Consultant for Massey Hoffman Architects 2006 - Present 

The Landahl Group, Inc.1986-1988, May Hawfield Design 

1987-Present 

Booth Hansen And Associates 2000-2001 

Consultant for Booth Hansen and Associates 2002, 2003 

Consultant for Gensler Chicago 2002 

Consultant for Torvik and Associates 2003 


Publications: 

Collaboration on the book: Interior Architecture, by John 

Kurtich and Garret Eakin 

Awards: 

The Art Institute of Chicago Distinguished Service Award – 

2007 

Distinguished Alumni: Department of Interior Architecture, 

SAIC 2000 

Service: 

The John Kurtich Library Committee, SAIC 2006 – 2009 

The School of the Art Institute of Chicago – Auxiliary Board, 

Faculty liaison, 1994 – 2007 

William Bronson Mitchell and Grayce Slovet Mitchell 

Endowed Lecture Series, Chair, 1995 – 2002 

Diffa Board, Chicago Chapter – Chicago, IL 2003 

Lectures: 

John Kurtich Lecture, SAIC, Director, Fall 2007 


Jaak Jurrisson 


SP 09 ARCH INARC 6123 Codes, Specs, Joints, and 

Seams 


Drawing 


Drawing 


Master of Architecture, Illinois Institute of 

Technology 2008 (thesis w/Myron Goldsmith 

& George Schipporeit first recipient of Myron 

Goldsmith Memorial Scholarship Award IIT 2004 

Co-led design team for Project Aerotecture, Institute 

of Design, 

Bronze Prize Japan Design Foundation International 

Design Competition 1993 

Master of Fine Arts, School of the Art Institute of 

Chicago 1977 

Bachelor of Fine Arts Degree, University of 

Wisconsin Milwaukee 1974 

Bachelor of Science Architecture, University of 

Wisconsin Milwaukee 1972 


Adjunct Associate Professor, School of the Art 

Institute of Chicago, 2005 - Present 

Instructor, School of the Art Institute of Chicago, 

2001 – 2004 


Jaak Jürisson & Associates Architects, Principal 

2009 - Present 

World Image Ltd. Architects , Principal 2001 - 

Present 

Murphy/Jahn, Project Architect 1993-2001 

Skidmore Owings & Merrill Chicago, Senior Design 

Architect 1990 

J½risson Associates, Milwaukee, Wisconsin, Principal 

& Design Architect 1980-89 


Illinois, Wisconsin 


Lectures: 

Invited speaker & panelist at RMIT University 

201 | Spring 2011 


Gallery in conjunction with DrawingOut Conference 

Melbourne, Australia April 2010 


NCARB Certification process underway 


SECTION IV





Keelan Kaiser 


SP 09 ARCH INARC 6222 

Sustaining Practice Economies 


University of Nebraska-Lincoln, Lincoln, NE; Master of 

Architecture, 1993 

University of Nebraska-Lincoln, Lincoln, NE; Bachelor 

of Science in Architectural Studies, 1991 


School of the Art Institute of Chicago, Chicago, IL, 

2008 – 2009, Visiting Professor of Architecture 

Judson University, Elgin, IL, Professor, Tenured 

(2005), 1998-Present 


Serena Sturm Architects, Chicago, IL, 2008 - Present 

Kaiser Architects, Principal, Elgin, IL, 1998-2008 

Served as Campus Architect, Judson University, 1998-2008 

Pickrel Architecture and Design, Project Designer, 

Project Architect, York, NE, 1996-1998 

The Architectural Partnership, P.C., Project Designer, 

Lincoln, NE, 1993-1996 

Hanna:Keelan Associates, P.C., Project Assistant, 

Lincoln, NE, 1991-1993 

Eisenman Architects, Intern Architect, New York, NY, 

Summer 1992 


Illinois 

LEED AP 


Publications: 

Quickened Sense of Place, Ed. K. Kaiser and C. Miller, 

Judson Press (2005) 

Publication of Drawings and Watercolor from 

European Travel with Judson University Faculty and 

Students 

Annual Form Z Joint Study Report (1998 – 2004) 

Principal Investigator. Publication includes numerous 

yearly digital design projects prepared by students 

under my direction. 

Digital Architecture, M. Uddin, McGraw Hill Publishing 

(1999) 

Publication includes two student digital media 

projects from courses taught at the University of 


Nebraska-Lincoln. 

Hybrid Drawings by Contemporary Architects and 

Designers, M. Uddin, McGraw Hill Publishing (1999) 

Publication includes images from Masters Thesis 

(UNL ’93) and one project from private practice. 

Composite Drawings, M. Uddin, McGraw Hill 

Publishing (1996) 

Publication includes images from Masters Thesis 

(UNL ’93). 

Progressive Architecture (Jan 1993), GA Document 

(June 1993), A & D (July 1993), 

M Emory Games, P. Eisenman, Rizzoli, (1995). 

Project Assistant in the design of the Emory 

University Center for the Arts, Emory University, GA.

Richard Kasemsarn 


SP 09 ARCH INARC 6123 Codes, Specs, Joints, 

and Seams 

SU 09 AIADO 5004 Graduate Design Visualization 

SU 10 AIADO 5005 Graduate Design Communications 


Emotive Spaces 


Bachelor of Science in Architecture, University of 

Michigan, 1992 

Master of Architecture, Yale University, 

1997 


Choate Rosemary Hall Summer 1997 

Columbia College Chicago 2002 to 2005, (part 

time) 

Northwestern University, Center for Talent 

Development 2010 - Present, (part time) 

School of the Art Institute of Chicago 2008 - 

Present (part time) 


Hammond Beeby Rupert Ainge 1997-2005 

Z Design-Build Group, Associate 2005-2006 

South Beach Hotel Investors Development, Project 

Manager 2006 

Fitzgerald Associates, Project Architect 2007- 

2008 

Richard Kasemsarn Architect, owner 2008 - present 


Illinois 


Publications: 

Yale Daily News, comic strip “Going Astray” was 

published weekly 1996-97 

Awards: 

Burnham Prize Finalist in competition hosted by 

Chicago Architecture Club 2000 

Speculative Architecture Chicago, project selected 

to be published by University of Illinois Chicago, 

2007 

Lectures: 

Pecha Kucha Chicago, Lecture, “Importance of 

Drawing in the Digital Age, 2010 

203 | Spring 2011 



SECTION IV





Linda Keane 

Courses Taught (Two Academic Years Prior to 

Visit): 


F 09 ARCH 5120 Architecture Studio 2: Skins 

F 10 ARCH 5120 Architecture Studio 2: Skins 




Chicago, 1985 

B.Arch., B.S. Environmental Design, Ball State 

University, 1978 

Fulbright to Turkey, 1979 


School of the Art Institute of Chicago, Chair (1985- 

90; 1997-2002) 1985-present 

University of WI-MKE European Study Abroad 

2010, 2007, 2004, 2001, 1998, 1993 

University of Illinois at Chicago, Adjunct Professor, 

1987 

Ball State University, Asst. Professor, Assist. Dean, 

FYP Coordinator, 1980- 85 


STUDIO 1032 ARCHITECTURE and Environmental 

Planning, 1990 - Present 

NEXT.CC Inc. Director, Educational Non Profit, 

2002 – Present 

www.GreeningShorewood.org, Green School + 

Community, 2006 - Present 


NCARB; Wisconsin, Indiana 


Publications: 

NEXT.cc ECO WEB (USGBC Award, AAF Award, 

NEA Award, Graham Foundation Award) 

Eco Literacy: Greening Public Imagination, Intrnl. 

Design Principles + Practices Journal 2010 

NEXT.cc: what design is, what design does, why 

design is important NEA Award; 2009 

Aesthetics of Sustainability: The Ethical 

Imagination; ACSA Assuming Responsibility 2007 

Milwaukee NE Side Plan with SCB Chicago; 2008 

City of Chicago Green Rood Website, 2006 

PARIS: Design Education, University of Wisconsin 

at Milwaukee Press; 2002 

Prairie Crossing Design Guidelines with SOM 


Chicago; 2000 

WRIGHTScape: The Geometry of Wright, 

University of Wisconsin-Milwaukee Press 1999 

ARCHITECTURE: An Interactive Introduction, text 

& CD-ROM, The McGraw- Hill, NEA Award; 1998 

Awards: 

USGBC Excellence in Green Building Education, 

2009 

SAIC Presidential Urban Engagement Grant, 2009 

NEA Awards: Access to Artistic Excellence, Design 

Education, 2008, 1996 

Graham Foundation Awards for Architecture, 

NEXT.cc, 2004, 1996 

PBS Emmy for Animated Architecture, 1999 

AIA/ACSA Design Education Honor Award, 1992 


American Institute of Architects 

Association of Collegiate Schools of Architecture 

Fulbright International, Slow Food International, 

Teachers Without Borders 

Metropolitan Planning Council 

Milwaukee River Work Group 

National Arts Education Association 

National Geographic Society 

National Parks Conservancy 

US Green Charter Schools 

WI Charter Schools 

WI Environmental Education Association

Mark Koenigs 


Visit): 

SP 09 ARCH INARC 6221 Structures 3: Complex 

Organizations 



Master of Engineering, Structures, University of 

Texas at Austin, Austin, TX, 2003 

B.S.C.E., Northwestern University, Evanston, IL, 

2001 


The School of the Art Institute of Chicago, 2008 - 

Present 


Thornton Tomasetti, 2003 to Present, current 

position Senior Project Engineer 


Illinois: Licensed Professional Engineer, 

Structural Engineer 

LEED Accredited Professional 


Publications: 

“Ford Calumet Environmental Center,” Mark 

Koenigs and Faz Ehsan, presented at the SEI 2009 

Structures Congress, May 2009 

“Engineers Teaching Structural Principles to 

Architectural Students,” by Ken Maschke and Mark 

Koenigs, presented at the SEI 2008 Structures 

Congress, April 2008 

“Fatigue Strength of Signal Mast Arm 

Connections,” Co-author, Research Report 4178- 

2 for the Texas Department of Transportation, 

August 2003 


Structural Engineers Association of Illinois 

(SEAOI): 2003 to 2010 

ACE Mentoring: 2003 to 2010 

205 | Spring 2011 



SECTION IV





Thomas Kong 




Thesis 

SU 10 AIADO 4050 Off-Campus Study Trip – Drawing 

SP 11 INARC 6220 Interior Architecture Studio 6: Thesis 


Master of Architecture, Cranbrook, 1998 

Bachelor of Architecture, with Honors, National 

University of Singapore, 1992 

Bachelor of Arts in Architectural Studies, National 

University of Singapore, 1989 


The School of the Art Institute of Chicago, Associate 

Professor and Director, Undergraduate Architecture 

and Interior Architecture, Current 

School of Interior Design, Ryerson University, 

Assistant Professor, Canada 

Senior Lecturer and Director of Studies, Interior 

Design Program, Singapore 

National University of Singapore, Part-time Design 

Studio Instructor, Department of Architecture 


SKA, Partner, Singapore/Chicago 

Peter Tow Studios, Architectural Designer, New York 

Akitek Tengara, Project Architect, Singapore 


Singapore 


Publications: 

Unbuilding. A10 New Europoean Architecture. No. 35. 

Sept/Oct Issue. 2010 

Crisis Dialogue and Imagination: The Crisis Design 

Network. Hacknet, Fiona, Glynne, Jonathan and 

Minton, Viv. (Eds.) Networks of Design. Proceedings 

of the 2008 Annual International Conference of 

the Design History Society (UK) University College 

Falmouth. Boca Raton, Universal Publishers, Inc. 2009 

Uncovering the Infraordinary. The Designer. No 12: 

Education Issue. Singapore. 2007 


Research: 

ZERO, Jaap Bakema Fellowship Prize. Netherlands 

Architecture Institute, Primary researcher 

Euro $10,000, 2009-2010 

RE: Motorola Foundation Grant, Co-researcher 

US $100,000, 2009-2010 

Crisis Design Network 

Toyota Foundation Asian Neighbors Network Grant 

Co-researcher, US$ 35,000, 2007-2009 


Associate Member, AIA, Associate Member, IIDA

Tannys Langdon 


F 09 INARC 6212 Choreographed and Ambient 

Systems 


Bachelor of Interior Design, University of Manitoba, 

1975 


Urbana-Champaign, 1978 


School of the Art Institute of Chicago: 1993, 1994-5, 

2002-Present 

Andrews University: Visiting Professor, Division of 

Architecture, 1997, 1999-2000 

University of Illinois at Chicago: Adjunct Assistant 

Professor, Fall 1987, 1988, 1989-1990, Adjunct 

Assistant Professor Visiting Professor of Architecture, 

Graduate Thesis Advisor, 1986-87 

University of Wisconsin Milwaukee, Visiting Critic, 

Spring 1984 

University of Illinois at Urbana-Champaign: Visiting 

Assistant Professor of Architecture, Graduate 

Studies, Fall 1982 

University of Illinois Circle Campus: Fall 1981 

University of Illinois at Urbana-Champaign: Teaching 

Assistant (interior design studios) 1977-78 


Hammond Beeby and Babka, 1978-1987 (Associate, 

1982; Principal, 1985) 

Langdon& Woodhouse, Partner, 1987-1990 

Perkins & Will, Senior Designer, 1996 

Esherick Homsey Dodge and Davis, Senior Designer, 

1997-98 

Langdon Associates, P.C., Architects, President, 1990 

- 2003 

Langdon Associates, LLC, Architects, Manager 


Illinois 


Awards: 

Three AIA National Honor Awards as designer with 

HBB 

Burnham Prize, 1984 

Chicago Chapter AIA awards: Young Architect, 1991 

Interiors Award, 1989 

Service: 

Board member: Walter Burley Griffin Society of 

America, 2003-Present 

207 | Spring 2011 


Historic Chicago Bungalow Association, 2002-2008 

Pro bono design services for Albany Park Sculpture 

Garden, a grass-roots project with the concept of 

“healing”, for a diverse under-served community of 

45 nationalities, 2008-Present 


SECTION IV





Patrick Legein 



Seams 


Willem de Koning Academy Rotterdam, Bachelor 

Architectural Design, 1982 

Willem de Koning Academy Rotterdam, Bachelor 

Engineering, 1974 


School of the Art Institute, Visiting Artist Adv. Interior 

Architecture, Present 

School of the Art Institute, Visiting Artist, 1997-2001 

School of the Art Institute, Visiting Artist, 1993-1994 


Perihelion Architects, Senior Designer, 2004- Present 

Rob v.d.Hil Architects, Senior Designer, 2002-2004 

Richar Interiors, Senior Designer, 1998-2002 

Janet Mc Cann Interiors, Senior Designer, 1997-1998 

Royal Shipyards Schelde, Designer, 1994-1997 

Dale Carol Anderson Int., Senior Designer, 1990-1994 

Greg Stratman Enterprises, Senior Designer, 1984- 

1990 


Awards: 

Dutch Design Award 1st place for best product de- 

sign, 1982 

Emerson Electric Publication Award for Ceiling fan 

design, 1987 

Publication Award Procyon int. for 65’oceangoing 

sailing yacht, 1990 

Ill.Hist.Preserv.Award Renov. Elgin Elks Club building, 

2005 


Kai Mah 


SP 09 ARTHI 5122 Spaces in Architectural History 

F 09 ARTHI 5120 Survey of Modern/Postmodern Design and 

Architecture 

F 09 ARTHI 6118 Theory and Technology in Contemporary Art 

and Design 


F 10 ARTHI 5120 Survey of Modern/Postmodern Design and 

Architecture 

F 10 ARTHI 6118 Semper and Beyond: A Historiography of 

Architecture and Technology 



Ph.D. Architectural History, McGill University 2009 

M.A., McGill University 2003 

B.Arch, McGill University 1995, Bsc. McGill University 1993 


Dalhousie University, 2007 (fulltime) 

School of the Art Institute, 2007 - Present (fulltime) 


Publications: 

“Young Gardeners: On Gardens as Spaces of Experiential 

Education,” Public 41 (May 2010); Sites of Learning: The Architecture 

of Educational Experience, 1847-1917 (book-manuscript; in-progress) 

“Theorizing Canadian Blackness: Moments, Place and Cultural 

Production of the Black Diaspora,” Ebony Roots & Northern Soil 

(forthcoming) 

“Negotiating Difference: Housing Post-Apartheid South Africa,” co- 

author Patrick Rivers (submitted for review) 

“Children and School Interiors,” Depicting Canada’s Children, edited 

by Loren Lerner (Waterloo: Wilfred Laurier University Press, 2009) 

“Classified Landscapes of Education: The Ontario Educational 

Exhibit of 1876,” Visual Studies, Vol. 22, No.1 (Francis & Taylor, April 

2007) 

“Reconstructing Blackness: Fanny Jackson Coppin and the Institute 

for Colored Youth,” Transitions: Race, Culture, and the Dynamics of 

Change, edited by Hanna Wallinger (Vienna: Lit Verlag, 2006) 

209 | Spring 2011 



SECTION IV





John Manning 


F 09 INARC 6112 Nodes, Networks and Interactivity 

in Practice 

F 10 INARC 6112 Nodes, Networks and Interactivity 

in Practice 


M.F.A. Video/Sound, School of the Art Institute of 

Chicago, 1981 

B.A. New Collegiate Division, University of Chicago, 

1974 


Associate Professor, School of the Art Institute of 

Chicago, 1982 - Present 

Sookmyung Women’s University, Seoul, Korea, 

Summer 2006 

Visiting Professor, Interdisciplinary Arts Dept. 

Columbia College Chicago, 2004-2009 

Minneapolis College of Art and Design, Media Arts 

Division, one year appointment 1986 

Carleton College, Minnesota, Dayton-Hudson 

Distinguished Visiting Instructor, Spring, 1985 


Link City: Chicago with Paul D. Miller aka D.J. 

Spooky, Media Architect, 2008 

WaterShed, an interactive group installation, 

Museum of Contemporary Art, 2006 

Corps of Discovery with Marc Paschke and John 

Banks, installation, Lewis and Clark Community 

College, St. Louis, 2005 

Millennium Fountain with Jaume Plensa, Media 

Architect, 2004, AIA Award for media design 

‘The Technological Imagination: Machines in 

the Garden of Art’ (co-organizer w/ Neil Sieling) 

sponsored by the National Endowment for the 

Humanities, held at the Minneapolis College of Art & 

Design, 1989 

‘Simulations/Dissimulations’ (co-organizer w/ Jana 

Wright) A symposium focusing on the interchange 

between artistic and technological modes of 

thinking and methods of production, held at the 

School of the Art Institute of Chicago, 1987 

Industrial Systems Integrators, Inc., Analyst, 1991- 1999 

Programming Technologies, Inc, Engineering Dept., 

Computer Systems Engineer, 1976-78 



Research: 

The complex intersection of technology, art, and 

society has been at the core of John Manning’s 

artistic practice since the mid-1970s, in installations 

and video works that engage microcomputer- 

based audio and video systems for fine arts 

applications. Manning’s current research focuses 

on applying advances in artificial intelligence 

and networked communications from the field of 

robotics to the design of everyday objects and 

environments.

Ken Maschke 


SP 09 ARCH INARC 6221 Structures 3: 

Complex Organizations 

F 10 ARCH INARC 5113 Construction Systems and 

Structures 1: Simple Span 


University of Michigan 

M.S.E. Structural Engineering and Materials, 2003 

B.S.E. Civil & Environmental Engineering, 2002 


School of the Art Institute of Chicago, 

2006-Present 

Davenport University, 2010 


Thornton Tomasetti, Senior Project Engineer, 

2005-Present 

Leif Hansen A/S (Denmark), International 

Exchange Engineer, 2007 

Cagley & Associates, Engineer, 2004 


Illinois: Licensed Professional Engineer, 

Structural Engineer 



Publications: 

“Ethically Understanding the Role of Computer 

Software in Engineering Calculation.” Civil 

Engineering Magazine. February, 2006. 

“Bolt Failure at Gable Roof of 42-Story 

Building.” Proceedings of the 4th ASCE Forensic 

Engineering Conference. 2006. 

“Remediation of a Timber Barrel Arch Field 

House Due to Water Infiltration and Deterioration.” 

Proceedings of the 2007 Structures Congress. 

“Design of a Residential Tower on Top of an 

Existing Parking Garage.” Proceedings of the 2008 

Structures Congress. 

“Engineers Teaching Structural Principles to 

Architecture Students.” Proceedings of the 2008 


“Trading Places: An International Exchange 

Program for Engineers from the United States and 

Denmark.” Proceedings of the 2009 


“Data Flow and Communication in the Design of 

Complex Architectural Forms.” Proceedings of 

the Association for Computer Aided Design in 

Architecture 2009 Congress, ACADIA: reform() 


American Society of Civil Engineers 

National Council of Structural Engineering 

Associations 

211 | Spring 2011 



SECTION IV





Carl Ray Miller 









Master of Science in Architectural Studies in History, 

Theory and Criticism of Architecture, Massachusetts 

Institute of Technology, 1999 

B. Arch, The Cooper Union for the Advancement of 

Science and Art, 1992 


The School of the Art Institute of Chicago, Associate 

Professor, 2000 – Present 

Massachusetts Institute of Technology, Teaching 

Assistant ,1998-1999 

The Graduate School of Architecture, Planning, and 

Preservation, Columbia University, Adjunct Assistant 

Professor, New York, NY, 1996 


OCCO – owner 2000 – present 

UndEnd – Collaborator 2000 

Diane Lewis Architect – Designer 1992 – 1995 


In Process 


Research: 

Tuned wall system – parametric solar controlled panel 

system; SuperMat – sprawling city edge intervention; 

Experimental structural towers – exoskeleton towers; 


American Institute of Architects, (AIA), Associate Member 


Jiyoung Moon 





SP 10 ARCH INARC 6221 Structures 3: Complex Organi- 

zations 

SP 11 ARCH INARC 6221 Structures 3: Complex Organi- 

zations 


MS, Structural Engineering, University of California, 

Berkeley, California, 2000 

BS, Civil Engineering, Northwestern University, Evan- 

ston, Illinois, 1999 


Department of Architecture, University of Illinois at 

Chicago, Adjunct Professor, Spring 2003 

Department of Civil and Environmental Engineering, 

Northwestern University, Adjunct Professor, Spring 

2004 


Project Engineer, Thornton Thomasetti 


Illinois: Licensed Professional Engineer, Structural Engi- 

neer 


Member, American Society of Civil Engineers (ASCE) 

Member, Structural Engineers Association of Illinois 

(SEAOI) 

Member, Concrete Reinforcing Steel Institute 

213 | Spring 2011 



SECTION IV





Stanley Murashige 


SU 10 ARTHI 4050 Off-Campus Study Trip – Design 

History 


Ph.D., the University of Chicago, June 1991; dissertation: 

“Early Spring and the Linquan Gaozhi: Painting as a 

Ritual Performance” 

M.A. in Chinese Art, University of Chicago, 1981 

B.A. in Art History, Stanford University, 1976 


School of the Art Institute of Chicago Dept. of Art 

History, Theory and Criticism 1993-present 


History, Theory and Criticism, Interim Chair 2006-2007 


History, Theory and Criticism, Chair 1998-2002 

Michigan State University Dept. of Art, Assistant 

Professor of Art History 1991-1993 


Publications: 

Reading the Work of Art: Looking at Guo Xi’s Early 

Spring. In Looking at Asian Art (forthcoming volume of 

essays) 

Review of Craig Clunas’ Elegant Debts: The Social Art 

of Wen Zhengming, The Journal of Asian Studies, vol. 

64, no.3, 

August 2005 

Philosophy and the Arts in China, in the Encyclopedia 

of Chinese Philosophy, edited by Anotonio S. Cua, 

Routledge, 

2003 

Taoism and the Arts f China: Journey to Perfect 

Harmony: along with Sujatha Meegama, coauthored 

this resource text for 

teachers, for the Art Institute of Chicago’s Dept. of 

Museum Education, in connection with the exhibition, 

Taoism and the Arts of China, Art Institute of Chicago, 

November 4,200 to January 7, 2001 

Rhythm, Order, Change and Nature in Guo Xi’s Early 

Spring. Monumenta Serica, vol. 43, 1995 

Research: 

Chinese painting aesthetic practice based upon a 

study of early writings on painting and on paintings, 

in particular, I have been working on Xie He’s Liufa, or 


Six Methods for Painting, an early 6th century critical 

compendium on Chinese painting. 

Awards: 

Faculty Enrichment Grant, School of the Art Institute of 

Chicago, 2010-2011 

Hong Kong 2009 Venice Biennale Selection 

Committee. Was invited to serve as a member of the 

Hong Kong Selection 

Committee, a committee which will select artists and 

artists groups to represent Hong Kong in the 2008 

Venice Biennale. 

Faculty Enrichment Grant, School of the Art Institute of 

Chicago, 2007-2008 

Outstanding Faculty of the Year Award for Excellence 

in Teaching, School of the Art Institute of Chicago, 

2005-2006 

American Oriental Society Fellowship for Chinese 

Painting, 1987-88 

Departmental nomination for University of Chicago 

Harper Fellow Award Competition, 1982 

Service: 

Departmental Chair, 1998-2002, 2006-2007 

Departmental Curriculum Committee, Spring 

2010-present 

Faculty Senate, 1998-2001 

Faculty Senate Committees: Library Committee, 

Instructional Resources Committee 

New Library Task Force, appointed to select an 

architect for proposed new library plans, chaired by 

Bruce Jenkins, Spring 

2008 

Media Studies Program Consultation Committee, 

chaired by Bruce Jenkins, Spring 2008 

Regular Departmental representative at Student 

Orientation activities 

Faculty Advisor for the Korean Graduate Student 

Community, 2009-2010, 2007-2008, 2006-2007 

Faculty Advisor for the Korean Student Undergraduate 

Group, 2006-2007 

Faculty Adivsor for Taiwan Students Association, 

2006-2007, 2007-2008

Anders Nereim 


SU 09 AIADO 4050 Off-Campus Study Trip – Drawing 


Fluid Spaces 


Fluid Spaces 


SP 11 ARCH INARC 6123 Codes, Specs, Joints, and Seams 


B. Architecture, University of Illinois at Chicago 1976 

B. A. Psychology, University of Chicago 1971, 


School of the Art Institute of Chicago, 1989 - Present 

(full time) 

University of Wisconsin at Milwaukee 1982, 1987 and 1990 

University of Illinois at Chicago, 1978 - 1989 (full time) 

University of Pennsylvania, Visiting Professor, 1984 

University of Illinois at Urbana Champaign, Visiting 

Professor, 1981 


Anders Nereim Architects, owner 1988 - present 

Stuart Cohen and Anders Nereim, partner 1980-87 

Sisco Lubotsky and Associates, Project Architect 

1979-80 

SOM Chicago, Senior Designer 1976-78 


Illinois 


Awards: 

Three Chicago Chapter AIA Awards: Distinguished 

Building, Interior Architecture, Young Architect 

Two American Wood Council Awards 

National AIA / Cedar Shake and Shingle Bureau 

Award 

Lectures: 

Bauhaus Universität, Weimar, Germany, “Industrial 

Partnerships and Design Education,” invited lecture 

given October 18, 2009, publication forthcoming 

ACSA Teachers Conference, “Emergent Behavor in 

Networked Architecture,” refereed conference paper 

delivered at the Cranbrook Academy of Art, June 20, 

2008 

National AIA Convention (my work was presented 

by James Timberlake in his talk “Deep Matters: 

215 | Spring 2011 


Architectural Research in Practice,” San Francisco, 

California, May 1, 2009 (slides published on the 

conference website) 

Auburn University, Alabama, “Emergent Behavior 

in Networked Architecture,” invited lecture given 

January 21, 2009 


International Federation of Interior Designers, 2005-08 

AIA National Small Projects Task Force, 1990-91 

Chicago Chapter AIA Board of Directors, 1987-90 

AIA National Committee on Design, 1985-90 


SECTION IV





Michael Newman 


SP 09 ARCH INARC 6222 Sustaining Practice 

Economies 

F 09 ARCH INARC 6212 Choreographed and 

Ambient Systems 


Economies 

F 10 ARCH INARC 6212 Choreographed and Ambient 

Systems 


Economies 



Chicago, 1992 

B.A, Design of the Environment, University of 

Pennsylvania, 1985 


Archeworks (alternative design non-accredited 

program), Chicago, 1994 – 2001 

Andrews University, Berrien Springs, Michigan, 

1998 – 2000 

University of Illinois at Chicago, Chicago, Illinois, 

2001 – 2008 

Illinois Institute of Technology, Chicago, Illinois, 

2008 – 2009 

School of the Art Institute, Chicago, Illinois, 

2008 – 2010 

AIA Chicago, Non-accredited course, ARE Review 

Courses for local architectural interns, 2010 Fall 


SHED Studio, 2006 – present (Principal) 

Chicago Associates Planners & Architects, 

1993 – 2006 

Nicholas Architects, 1991 – 1993 

Meyer & Meyer 1987 - 89 

Ty Porter Architects 1986- 87 


Illinois 

Licensed “Energy Professional” 2004 –present (City 

of Chicago designation) 


Service: 


Organizer of Structures for Inclusion 11, a national 

conference on “public architecture” (usually non- 

profit and aid based work) for March 2011 

Partner in the art group “Museum of Contemporary 

Phenomena” which has had 3 shows in recent years 

including one in September 2010 called “Fenced In, 

Fenced Out” regarding housing policy 

Organizing and teaching a course out of the AIA 

Chicago office for architectural interns for those 

wishing to take the Architectural Registration Exam 

Lectures: 

Presenter at GreenBuild 2010 on urban 

agriculture projects 

Formed “Converge:Exchange” a successful platform 

that brings designers and community organizations 

together in the form of Lectures, Seminars, Design 

Charrettes, and other means

Ben Nicholson 


SP 09 ARCH 6220 Architecture Studio 6: Thesis 




M. Arch, Cranbrook Academy (1982); Cooper Union 

School of Arch. (1977-78) exchange student; RIBA 

Part 1, Architectural Association, London (1974) 


SAIC/AIADO, Chicago, 2006-present 

Max Fischer Professor, University of Michigan, 2010 

Visiting Professor, University of Houston, 2007 

Simpson Professor, University of Edinburgh, 2007 

IIT, College of Architecture, 1990-2006 

Bannister Fletcher Professor, Bartlett School, UCL, 

London, 2003 

University of Houston, 1983-87 


Design of a geometric pavement for the Werner 

Oeschlin Library, Einseldein, Switzerland, 2005 

Consultancy on carpet tile system, Interface FLOR, 

2004 

Develop a pedagogical block system, Naef Speile, 

Switzerland, 2004 

Consultant to Woollen Molzan Architects, Indiana, 

geometric pavement, St. Meinrad’s Archabbey, 1995-6 


Publications: 

Forms of Spirituality: Modern Architecture in New 

Harmony (forthcoming 2012); The World: Who 

Wants It? (2004); Ben Nicholson:Thinking the 

Unthinkable House (1997); The Appliance House 

(1990). 

Awards: 

Graham Foundation (1988 & 2004), Chicago; SOM 

Foundation (1988); Illinois Artists Fellowship (1989). 

Exhibitions: 

217 | Spring 2011 


Barcelona Center of Contemporary Culture, Through 

Labyrinths (2010); Venice Biennale of Architecture, 

three occasions (2008); (2002); (1985); 

Museum of Science and Industry, Chicago, Modern 

Leonardo’s in Leonardo: Man, Work, Genius (2006); 

Whitney Museum at Altria, New York Architecture by 

Numbers (2004); Canadian Center of Architecture, 

Montreal Uncovering Geometry: B.N… (1996). 

Lectures: 

U Michigan, U Tennessee, U Illinois & Cooper Union, 

2009-10 

U Cincinnati, 2006 

ETH, Zurich, 2004 

Bartlett School, UCL London, 2003 

U Auburn, 2002 

Aarhus, Denmark, 2001 

Stuttgart, Germany, 1998 


SECTION IV





Douglas Pancoast 


Visit): 

F 09 ARCH INARC 6112 Nodes, Networks, 

Interactivity in Practice 

SP 10 ARCH 6220 Architecture Studio: Thesis 

SU 10 AIADO 4050 Off-Campus Study Trip – 

Design Drawing 

F 10 ARCH INARC 6112 Nodes, Networks, 


SP 11 ARCH 6220 Architecture Studio: Thesis 


Master of Architecture, Cranbrook Academy of Art, 

1995 

Bachelor of Architecture, University of Kansas 

School of Architecture and Urban Design, 1991 


School of the Art Institute of Chicago, Spring 2002 

- Present 

Parsons School of Design, Architecture 

Deptartment Fall 2000 

University of Michigan – Fall 1994 


Agency.com, Information Architect , August 2000 - 

September 2001 

1100 Architect, Project Manager / Job Captain, 

February 2000 - July 2000 

Richard Meier and Partners, Drawing Set Production 

and Management, 1998 – 2000 

Cranbrook Architecture Office, , Project Designer, 

Fabricator and Construction Manager, 1995 – 1998 

Cranbrook Ed. Community / Architecture Studio, 

Fabrication and construction documents, summer 1993, 

1994 

State of Kansas Historical Society, Supervisor, delineator 

and technician, summer 1991 

U.S. Dept. of the Interior, Natl. Park Service: HABS / 

HAER, Delineator and technician, summer 1989, 1990 


Intern Development Program requirements 

complete; examinations in process; Eligible for 

licensure in the State of Illinois 



Publications: 

ACADIA 2009 reForm() proceedings, October 2009 

Architectural Record_page 48, April – 2003 

Young Architects: Scale_Princeton Architectural 

Press – 2000 

Oculus_ NY Chapter, Volume 62, Number 2, 

October issue – 1999 

Architecture_ Images of “Connections Theater”, 

February – 1999 

Awards: 

AIAS Excellence in Architectural Education Award, 

AIAS / AIA Illinois, 2010 - 2011 

Exhibitions: 

Domystique: Space, Technology & Craft, Chicago, 

Design compendium with other exhibitors – March 

/ April 2003 

Speculative Chicago, Chicago, Architectural 

compendium, installation of work with other 

exhibitors – February / March 2003 

Lectures: 

Louisiana Tech. University - Dept. of Architecture, 

spring 2009 

The Maryland Institute College of Art, spring 2006, 

spring 2008 

Emily Carr Institute of Art and Design, Delivered 

lecture on the topic of trans-disciplinary education 

in art. With HM Nugent, summer 2005

Jeannette Pfeiffer 





Organizations 


M.S. Structural Engineering, Milwaukee School Of 

Engineering Milwaukee, WI, 8/2005 - 11/2009 

B.S. Architectural Engineering With Emphasis In 

Building Structural Systems, Milwaukee School Of 

Engineering Milwaukee, WI, 8/1997 - 5/2001 


The School of the Art Institute of Chicago, 2010 – 

2011 


Senior Project Engineer, Thornton Thomasetti 

Structural Designer / Project Manager, Paul 

Koehler Consulting Structural Engineering 

Structural Engineering Intern, OWP/P Structures 


Illinois: Licensed Professional Engineer, Structural 

Engineer 



Structural Engineers Association of Illinois, 

American 

Society of Civil Engineers-IL, American 

Institute of Steel Construction 

219 | Spring 2011 



SECTION IV





Yasmin Rehmanjee 


Visit): 





Master of Engineering, Civil and Environmental 

Engineering w/ Emphasis on High Performance 

Structures, Massachusetts Institute of Technology, 

Cambridge, MA 2001 

Bachelor of Science, Civil Engineering, MIT, 

Cambridge, MA, 2000 


The School of the Art Institute of Chicago, 2007 – 

Present 


Senior Engineer, Thornton Thomasetti, 2006 – 

Present 

Structural Engineer, Design Consortium Inc, 2005 

– 2006 

Senior Engineer, The Thornton Thomasetti Group, 

Inc 2003 – 2004 

Engineer, The Thornton Thomasetti Group, Inc 2001 

- 2003 


Professional Engineer in Civil Engineering in the 

State of California 


Member, American Society of Civil Engineers 

Member, American Institute of Steel Construction 

Member, Society of Structural Engineers, Sri Lanka 


Hennie Reynders 


Visit): 







PhD Research Scholarship, University of Edinburgh, 

UK *(Submitted July 2010), 2010 

Master of Architecture, University of Illinois, 

Chicago, 2002 

Bachelor of Architecture, University of Pretoria, 

South Africa, 1981 


School of the Art Institute of Chicago: 

Associate Professor, 2006 – Present 

Department Head, 2007 – 2009 

Full Time Tenured Associate Professor / 

Graduate Coordinator, 2006 

Adjunct Associate Professor, 2001 – 2005 

Visiting Professor, Musachino Art University, Tokyo, 

2010 

University of Pretoria, Extraordinary Professor 

(Program in Interior Architecture), since 2007 

University of Pretoria, South Africa: Senior Lecturer 

/ Head of Program, 1995 – 2005 


IFI / IDA International Think Tank on the profession, 

2010 – Present 

Principal; Studio Alabaster Blue LLC *(Chicago / 

Pretoria / Cape Town), 2004 - Present 

Principal; Hennie Reynders Architects, 1995 – 

Present 

RVG (Pty)Ltd, 1992 – 1995 

Reynders Cronje Bolt Architects, 1986 – 1992 


South African Council for the Architectural 

Profession (SACAB) 1984 


Publications: 

Passing the Batton, Archeworks, Chicago (2008); 

EAD (Edinburgh Architecture Research), Article, 

Vol. 30 (2007); 

European Academy of Design, Conference 

Proceedings, 5th EAD Int. (2004) 

Research: 

Locating Contradictory Architectural Imperatives 

– appropriation and subversion in the urban field, 

PhD Research, University Edinburgh, UK 

Exhibitions: 

GFRY [Re] Exhibition & Symposium, Tokyo 

(2010); Elocigo (SAIC/Brand.It) Thinking and 

Making in a Changing World (2008); Exploring 

Design, Exhibition, (SAIC), Prague (2004); Fluid 

Interfaces, Exhibition, Gallery 2, SAIC, Chicago 

(2002); MapMythMemory, Exhibition & Lecture, 

Museum Africa, Johannesburg (2001); Kosovo, 

Installation, Villa Museum, UP, Pretoria (1997); 

Church Square Activist Exhibition, Pretoria (1979) 

Lectures: 

Drifting / Fracture, Musachino Art University, Tokyo 

(2010); Making Spatial Concerns Visible, Musachino Art 

University, Tokyo (2010); Invited Panel Member, 

Passing the Baton, Archeworks, Chicago (2008); 

School Talk, AIADO, School of the Art Institute of 

Chicago (2008); Density Inside-Out Conference 

Paper, Edinburgh, UK (June 2007); IFI Education 

221 | Spring 2011 


Forums in Beijing, London and Melbourne (2006/07); 

Public Lecture, Dept. of Architecture, University of 

Pretoria (2006); School Talk, Dept. of Architecture, 

University of Pretoria (2005); Prokalo Seminar 

Series, University of Edinburgh (2005); 5th EAD 

International Conference Paper, Barcelona (April 

2004);DEFSA Conference Contributions (1997, 1999, 

2001);Future Trends Research Initiative Presentation, 

University of Pretoria (1996/7) 


SECTION IV





Mark Schendel 


Visit): 




Harvard University Graduate School Of Design, 

Cambridge, Ma 

Master Of Architecture Ii, 1989 

The Skidmore, Owings And Merrill Foundation 

Fellow, 1987 

The Ohio State University School Of Architecture, 

Columbus 

Master Of Architecture With Honors, 1987 AIA Medal 

Florida State University Department Of 

Mathematics, Tallahassee 

Bachelor Of Science In Pure Mathematics, 1983 

Florida A & M University School Of Architecture, 

Tallahassee 

Bachelor Of Science In Architecture, With Honors, 1982 


Illinois Institute of Technology, Chicago, Visiting 

Assistant Professor, 1996-present 

Syracuse University, New York, Visiting Faculty, Fall 

2006 


Studio Gang Architects, Chicago, 1998-Present, 

Principal 

OMA / Rem Koolhaas, Rotterdam, The Netherlands, 

1989-95 

Senior Project Manager And Lead Designer 


Illinois, New Jersey, LEED AP 


Publications: 

AIA Design Committee, Chicago, “Construction 

Administration for the Illinois Institute of Technology 

McCormick-Tribune Campus Center,” Feb 2004 

Chicago Architectural Club Journal, Introduction 

And Essays, 2000, 2001 

Awards: 

American Institute Of Architects, 1998-Present 

Design Vanguard, Architectural Record, 2001 


Emerging Visions, First Place, AIA 2000 

AIA Scholarship, 1988 

The Skidmore, Owings And Merrill Foundation 

Fellowship, 1987 

AIA Medal, The Ohio State University, 1987 

AIA Graduate Scholarship, The Ohio State 

University, 1986-87 

The Ohio State University, Dept. Of Architecture 

Faculty Prize, 1986-87 

Exhibitions: 

10 Visions Exhibition: Chicago Architecture (Art 

Institute of Chicago) 

Masonry Variations: Marble Curtain (National 

Building Museum, Washington D.C.) 

NASA Aerospace Design Exhibition (Art Institute of 

Chicago) 

Transcending Type: Stadium (Venice Biennale 

American Pavilion) 

Lectures: 

Technologico de Monterrey, Mexico City, Mexico, 

lecture, 2006 

Illinois Institute Of Technology, Interdisciplinary 

Collaboration Conference, 2000 

Graham Foundation, Chicago, “Rainshadow Park,” 

Lecture and Exhibit, February 1997 

University of Gent, Belgium, “Congrexpo / The Lille 

Grand Palais,” Lecture, 1994 


American Institute of Architects, 1998 - Present

Joseph Shields 



Organizations 


Organizations 


M.S., Civil Engineering, University of Illinois at 

Urbana Champaign, 2005 

B.S. cum laude, Civil Engineering, Northwestern 

University, 2004 


Teaching Assistant, University of Illinois at Urbana 

Champaign, 2004-2005 

Part Time Faculty, School of the Art Institute of 

Chicago, AIADO, 2006-present 


Project Engineer, Thornton Tomasetti, Inc., Chicago, 

Illinois, 2005-present 


Illinois: Professional Engineer 

LEED AP BD+C 


The American Institute of Architects 

American Institute of Steel Construction 

223 | Spring 2011 



SECTION IV





Stephen Siegle 


SP 09 INARC 6120 Interior Architecture Studio 4: Event 

Spaces 


Master Of Architecture Degree, University Of Illinois At 

Urbana-Champaign, 1986 

University Fellowship; Undergraduate Teaching Assis- 

tant; Honorable Mention,72nd Paris Prize. 

Bachelor Of Science In Architectural Studies Degree, 

University Of Illinois At Urbana-Champaign, 1984 

Study Abroad Program At Versailles, France; Graduated 

With High Honors. 


Segment II Design Studio Faculty, Boston Architectural 

Center, Boston, Massachusetts, 1997 

University Of Illinois At Urbana-Champaign, Study 

Abroad Program At Versailles, France, 1994-96 


2001 – Present Senior Vice President - VOA Associates 

Incorporated 

1998 – 2001 Architect, Kallmann, McKinnell + Wood, 

Boston, MA 

1997 – 1998 Architect, Ann Beha Associates, 

Boston, MA 

1986 – 1994 Associate Architect, Booth Hansen + 

Associates 


Illinois 




Nathan Sosin 




M.S.E. Civil Engineering – Completed April 2007 

B.S.E. Civil Engineering – Completed April 2006 

Dean’s List, University Honors, James B. Angell Scholar 




Thornton Tomasetti, Inc. (Chicago, Il): 

Senior Engineer For International Structural Engineering 

Consultant. May 2008 – Present 

Intern Engineer Between Undergraduate And Graduate 

Studies. April – August 2006 

Kpff Consulting Engineers (New York, Ny) 

Design Engineer In Newest Office Of West Coast Structural 

Design Firm. May 2007 – April 2008 

U-M Department Of Civil & Environmental Engineering (Ann 

Arbor, Mi) 

Research Assistant In The University Of Michigan Cementitious 

Composites And Structures Labs. January – April 2007 

Robert Darvas Associates (Ann Arbor, Mi) 

Intern Engineer For Structural Engineering Consultant. January 

– April 2006 & August – December 2006 

C.A. Hull, Inc. (Walled Lake, Mi) 

Intern Project Engineer For Specialty Bridge Contractor. April – 

December 2005 

Diclemente Siegel Design, Inc. (Southfield, Mi) 

Draftsman In Mechanical & Electrical Engineering Departments. 

January – August 2002 & April – August 2004 


LEED AP 


American Concrete Institute 

Green Office Artistic Challenge 

Ace Mentor 

U-M Concrete Canoe Team 

U-M Steel Bridge Team 

225 | Spring 2011 



SECTION IV





Tristan Sterk 


Visit): 



Seams 




F 09 ARCH INARC 6112 Nodes, Networks and 



SP 10 ARCH 6123 Codes, Specs, Joints, and Seams 


F 10 ARCH INARC 6112 Nodes, Networks and 



F 10 ARCH 5113 Construction Systems and 


SP 11 ARCH 6123 Codes, Specs, Joints, and Seams 


B. Architectural Studies (University of Adelaide, 

Australia 1995) – NAAB Equivalence 2008 

B. Architecture (University of Adelaide, Australia 

1999) – NAAB Equivalence 2008 

Master of Fine Art (School of the Art Institute of 

Chicago 2004) 

Non-Degree Studies: Master Class – Gregy Lynn / 

Ben Van Berkel (Geelong Australia 1997) 

Non-Degree Studies: PhD – Simon Fraser 

University 2006 


Assistant Professor, School of the Art Institute of 

Chicago, 2008 

National Yunlin University of Science & Technology; 

Master Class in Responsive Arch, 2007 

Associate Lecturer, The University of Adelaide, 

2000 


Busby Perkins & Will (Vancouver Canada) 

December 2006 – August 2008 

Skidmore Owings & Merrill (Chicago USA) June 

2004 – November 2005 

Charles Mador / Trevor Horn Architects (London 

UK) September 2000 – October 2002 

Wood & Zapata Architects (Boston USA) July 200 

– September 2000 

Charles Mador Architects (London UK) December 

1998 – May 1999 



Netherlands (E.U. Reciprocity) 

Intern Development Program requirements 

complete; examinations in process; Eligible for 

licensure in the State of Illinois 


Publications: 

Ayres P., (Chapter Contribution) Persistent 

Modeling, Routledge Press (Forthcoming 2012) 

Schumacher M, (Research Project Contribution) 

“MOVE: Architecture In Motion – Dynamic 

Components and Elements”, Birkhauser Press May 

2010 

Sterk T, Loveridge R, Pancoast D, (Book) Building a 

Better Tomorrow, Proceedings of the 29th Annual 

Conference of the Association for Computer Aided 

Design in Architecture (300 pages) 2009 

Sterk, (Blind Peer Review Paper Contribution) 

Shape Control in Responsive Architectural 

Structures - Current Reasons & Challenges, 

Proceedings of the 4th World Conference on 

Structural Control and Monitoring, 2006 

Diversifying Digital Architecture (Design Project 

Contribution) Birkhauser Press; pp.102-106 2004 


USGBC 

Will join AIA upon receipt of local license

Anne Sullivan 


Visit): 

SP 11 ARCH 5123 Matter and Structures 2 


M.S Columbia University, New York 

B.S in Architecture, University of Illinois, Urbana 

B.A in Art History, University of Illinois, Urbana 


School of the Art Institute of Chicago Instructor 

M.S. Historic Preservation Program 1993 - present 


Johnson Lasky Architects, Chicago, senior 

associate 1992 - present 

Illinois Historic Sites Advisory Council, council 

member, 2002 - 2005 

Tribune Properties, Chicago 1991 - 1992 

Wank Adams Slavin Associates, New York 1990 - 

1991 

English Heritage, London, England 1990 

Holabird and Root, Chicago 1988 

Skidmore, Owings & Merrill, Chicago 1986 - 1988 


Illinois 


Publications: 

“Fabyan Villa Roof Overhang and Eave Restoration 

Project” Traditional Building Magazine, July / 

August 1998. 

ˇThe History and Conservation of Shotcrete,” 

Twentieth Century Building Materials,. National 

Park Service with Mcgraw 

Hill, 1995 

“Guide to Landmark Designation For You Oak 

Park Home,” Oak Park Historic Preservation 

Commission, Illinois 1994 

Awards: 

Francis J. Plym Fellow, University of Illinois School 

of Architecture 

Francis J. Plym Travellng Fellowship, University of 

Illinois, 1997 

Alpho Rho Chi Medal, School of Architecture, 

University of Illinois 

SAH Student Chapter Award, University of Illinois 

Lectures: 

“Preserving the Recent Past” in graduate level 

Historic Preservation course, University of Illinois, 

Chicago, 2001 

“Early European Concrete Reinforcing Systems” 

Columbia University, New York, NY 1998 and 

American Concrete 

Institute Chicago Chapter Fall, 1998 

‘Masonry Restoration and Conservation” City of 

Woodstock Planning Department, Woodstock, 

Illinois 1998 

“Building Interests on the Chicago River: 1865- 

1920.” Chicago Architecture Foundation, 1996 

227 | Spring 2011 


“Brick Restoration Techniques” Materials and Media 

Session, RESTORATION/ Chicago Conference, 1996 



Association for Preservation Technology 

International 

Illinois Historic Sites Adivisory Council 

Pleasant Home Restoration Advisory Committee 


SECTION IV





Paul Tebben 


Visit): 

F 09 ARCH 6212 Choreographed and Ambient Systems 

SP 10 ARCH 6222 Sustaining Practice Economies 


Event Spaces 

F 10 ARCH 6212 Choreographed and Ambient Systems 

SP 11 ARCH 6222 Sustaining Practice Economies 


Master of Architecture, Harvard University, 

Graduate School of Design, 2005 

Bachelor of Science in Architecture, University of 

Michigan, Taubman College of Architecture and 

Urban Planning, 1999 


The School of the Art Institute of Chicago, 2008-2009 

Harvard University, Graduate School of Design, 

Cambridge, Massachusetts, 2005, Architecture 

Studio Guest Juror: Career Discovery Program 


STUDIO IDE, Chicago, Illinois, 2008 

ELLIPSIS, Chicago, Illinois, 2008 

Krueck + Sexton Architects, Chicago, Illinois, 

2005-2008 

Office dA, Boston, Massachusetts, 2004 

WW Architects, Boston, Massachusetts, 2004 

Bowers + Rein Associates, Ann Arbor, Michigan, 

2000-2001 

Arch. Design, Prague, Czech Republic, 1999 


Illinois 


Publications: 

Chicago Architect Magazine: A Lesson In Less, 

July/August Issue, p. 25, 2010 

Chicago Architect Magazine: Standing Firm, 

September/October Issue, p. 51, 2009 

Growing Urban Habitats: Seeking a New Housing 

Development Model, 2009 

Architectural Record, May 2008 Issue, p. 194, 

2008 

The New Spertus Institute: A Study in Light, 2008 

StudioWorks 2004 

Architectural Record, October 2002 Issue, p. 69, 2002 



AIAS: American Institute of Architecture Students, 

Faculty Advisor, 2009 

NCARB: National Council of Architectural 

Registration Boards, 2006

Dan Tornheim 




Seams 

F 10 ARCH INARC 6212 Choreographed and 

Ambient Systems 

SP 11 ARCH INARC 6123 Codes, Specs, Joints, and Seams 


Bachelors of Architecture w/ Minors: City and 

Regional Planning, Visual Training 

Illinois Institute of Technology, Chicago, Illinois, 1996 


Dan Tornheim Architect Chicago, Illinois 

Architect 2010 

Huron Design Group/ sparc Architecture+Design 

Chicago, Illinois 

Intern Architect 2007 – 2009 

Grunsfeld Shafer Architects LLC Evanston, Illinois 

Intern Architect 2005 - 2007 

R. Scott Javore & Associates, Ltd. Glencoe, Illinois 

Intern Architect 1999-2005 

Chicago Design Network Chicago, Illinois 

Intern Architect 1995-1999 


Illinois 


Publications: 

Arts and Architecture Blog, April 2010 “The value of 

a residential Architect” 

Today’s Buyer’s Rep, June 2006 “Universal Design” 


The American Institute of Architects 

IDP – NCARB 

Delta Tau Delta Fraternity 

229 | Spring 2011 



SECTION IV





Brian Vitale 


Visit): 

F 10 ARCH 5110 Architecture Studio 1: Sites 


Bachelor of Science in Architectural Studies 

University of Illinois Urbana Champaign 

1989-1993 

Masters of Architecture, with Honors + AIA Scho- 

lastic Gold Medal 

Washington University in St. Louis 

1993-1995 


University of Illinois at Chicago, School of Architec- 

ture, Adjunct Professor 1999-2006 

University of Illinois Urbana Champaign, School of 

Architecture, Adjunct Professor 2006 

School of the Art Institute of Chicago, School of 

Architecture, Adjunct Professor 2010 


Booth | Hansen Associates, Project Designer, 

1996-1999 

Von Weise Associates, Senior Designer, 1999-2003 

4240 Architecture, Design Director, 2003-2006 

Gensler (Chicago), Design Director, 2006-Present 


Illinois 






SU 09 SU 10 ARTHI 4050 Off-Campus Study Trip – 

Design History 


Ph.D., University of Illinois, history of 19th and 20th- 

century art, 1993. 

M.A., University of Illinois, history of 19th and 20th- 

century art, December 1986. 

Goethe-Institute, Blaubeuren, West Germany, Summer 

1982. 

B.A. cum laude, Vanderbilt University, art history, June 

1982. 

Martin Spalding High School, (National Honor Soci- 

ety) June 1978. 


Vice President of Academic Affairs, Dean of Faculty, 

School of the Art Institute, Summer 2010 – present. 

Interim Dean of Faculty, School of the Art Institute of 

Chicago, Fall 2007 – Spring 2010. 

Dean of Graduate Studies, School of the Art Institute 

of Chicago, 2004 to Fall 2008. 

Professor, Art History, Theory and Criticism Depart- 

ment, School of the Art Institute of Chicago, Spring 

2003 to present. 

Interim Dean of Graduate Studies, School of the Art 

Institute of Chicago, 2002 - 2004. 

Undergraduate Division Chair, School of the Art Insti- 

tute of Chicago, 1996 to 2001 

Director, Graduate Program, Art History, Theory, and 

Criticism Department, School of the Art Institute of 

Chicago, Fall 1991 to Summer 1995 

Associate Professor, Art History, Theory, and Criticism 

Department, School of the Art Institute of Chicago, 

Fall 1995 to present 

Assistant Professor, Art History, Theory, and Criticism 

Department, School of the Art Institute of Chicago, 

Fall 1991 

Instructor, Art History, Theory, and Criticism Depart- 

ment, School of the Art Institute of Chicago, Fall 1989 

to Spring 1991 

Assistant Curator, Gallery Nine, University of Illinois, 

Summer 1988 to July 1989 

Instructor, Art Appreciation, University of Illinois, 

Spring Semester 1988. 

Teaching Assistant from September 1983 to May 1987 

for Art History Courses: Survey of Art History, Art Ap- 

preciation, Recent American Painting, and European 

Art from Post-Impressionism to World War I 


Publications: 

The Readymade Century (forthcoming) 

“Painting Paintings,” catalogue essay for David 

231 | Spring 2011 


Klamen exhibition, Richard Gray Gallery, New York, 

2009 

“Post-Modern-Vice,” catalogue essay for Sarah Krepp 

exhibition, Roy Boyd Gallery Chicago, 2009 

“Rabid Methods,” catalogue essay for Barbara Ken- 

drick exhibition, I space Gallery University of Illinois, 

2009 

“Practicing Rauschenberg,” Experience Into Art, essay, 

University of California Press 2009 

“Susanna Coffey’s War Pictures,” Susanna Coffey 

Since 2001, exhibition catalogue essay, New York 

Studio School of Drawing, Painting & Sculpture, 2008. 

Awards: 

Faculty Enrichment Grant, School of the Art Institute 

of Chicago, awarded Spring 2001 







Published List of “Teachers Rated Excellent by their 

Students”, University of Illinois, Art Appreciation, 

Spring 1988 

Graduate College Travel Grant, awarded Spring 1988 

Outstanding Teaching Assistant Award, School of 

Art and Design, University of Illinois, awarded Spring 

1988. 

Lectures: 

“Decadent Ornament,” speaker, College Art Associa- 

tion Annual Meeting, Los Angeles, 2009 

Lisa Wainwright on Robert Rauschenberg, ba- 

datsports.com, Contemporary Art Talk, Episode #144, 

2008 

Panel Discussant, “New Insights Exhibition,” Artropo- 

lis, Chicago, 2008 

“Rauschenberg and After,” session chair, College Art 

Association Annual Meeting, Dallas, 2008 

“Multiple Networking: World Forum for Higher Profes- 

sional Art Education,” Taipei National University of 

the Arts, Leadership Conference, Taiwan, 2007 

“Pink Decay: The Femme Fatale in Contemporary 

Art,” Converse College, South Carolina, 2007 

“On Decadence in Contemporary Art,” The Otis Col- 

lege of Art and Design, Los Angeles 


SECTION IV





James Yood 


SU 09 SU 10 ARTHI 4050 Off-Campus Study Trip – 

Design History 


Ph.D Candidate, University of Chicago 

M.A. in Art History, University of Chicago, 1976 

B.A. University of Wisconsin, Madison, 1974 


The School of the Art Institute of Chicago, Full Time 

Adjunct Professor, Director of New Arts Journalism 

Program 


Chicago Correspondent to Artforum 

Contributor for GLASS Magazine + Aperture 


Publications: 

Spirited Visions: Portraits of Chicago Artists 

Gladys Nilsson 

Second Sight: Printmaking in Chicago 1935-95 

William Morris: Animal Artifact 

William Morris: Man Adorned 

Mary Koga: Photographs 

William Morris: Mazorca - Objects of Common Cer- 

emony 

Feasting: A Celebration of Food in Art 

Hollis Sigler: The Breast Cancer Journal 

Jon Kuhn: The Story of a Glass Sculpture 

The Prints of Jeanette Pasin Sloan: A Catalogue 

Raisonne 

12151791: Celebrating Freedom 

Stephen Rolfe Powell: Glassmaker 


IV. SUPPLEMENTAL 

INFORMATION 

IV.3. VISITING TEAM REPORT 

IV.4. CATALOG 

The VTR and School catalogs will be included in the Team Room during the Spring 2011 site visit 

233 | Spring 2011 



SECTION IV






| 234

235 | Spring 2011 



SECTION IV






| 236

237 | Spring 2011 



SECTION IV

36 South Wabash Avenue, suite 1257 


312.629.6650 

www.saic.edu

i. institutional support and commitment to continuous improvement

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