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WSOA In-Flux is a publishing platform for architecture and interior design launched by Woodbury School of Architecture in 2020.








Woodbury School of Architecture is distinguished by its multiple locations at the heart of the Southern California creative industries: Los Angeles, Hollywood and San Diego. Together, these sites form a critical infrastructure for architectural investigations.

Our undergraduate and graduate programs prepare students to effect positive change in the built environment, to tackle theoretical debates, and to take on architecture and interior design as critical practices. We educate our students as entrepreneurs, citizen architects, and cultural builders equally committed to professional practice, theoretical discourse, social equity and to formal and technological inquiry.

Our faculty are architects, designers, academics and policy makers practicing in Los Angeles, San Diego and Tijuana. This internationally recognized and award-winning group works closely with students to teach the skills required to push the limits of practice.




Mission

Good design is a human right. Woodbury School of Architecture produces graduates who affirm the power of design to improve the built environment and the lives of others by addressing the pressing issues of our time. We transform our students into ethical, articulate and innovative design professionals prepared to lead in a world of accelerating technological change.



Vision

The future belongs to Woodbury. Woodbury School of Architecture creates an environment that empowers our students to impact the future of the profession through meaningful built work. We imagine a world in which there are no disciplinary rights or wrongs, where diverse and sometimes contradictory values collide to generate new ideas, design innovation, unexpected practices, and the means to expand the influence of our discipline.



Woodbury School of Architecture offers a welcoming environment for students to develop their own unique design voice.  We approach the design disciplines multi-dimensionally, teaching a range of pedagogies and design methodologies. Our students leave Woodbury with the confidence to engage in local and global discourse.

Through engaged faculty-student interaction, we transform our students into innovative professionals with a commitment to the power of good design. Our students and faculty share a commitment to sustainable practices, community outreach and civic engagement.

Our School of Architecture is among the first 14 accredited architectural programs to be accepted for participation in the National Council of Architectural Registration Boards (NCARB) Integrated Path to Architectural Licensure (IPAL) initiative. Successful students will have the opportunity to have an architectural license upon graduation.

We believe that our school is a role model for the direction in which the profession is heading – improving gender parity and ethnic diversity among its members, and reaffirming the importance of ethical conduct and social responsibility. Ours is a welcoming community for every race and orientation, and we resist acts of intolerance in favor of thoughtfulness, generosity and kindness. The economic, ethnic, and academic backgrounds of our students reflect Southern California itself. We are determined to provide a place for open debate, the respectful airing of differences, and for rich forms of expression and imagination.


Site running on Cargo




Senior Projects ︎ Spring 2020



IDES 483
Spring 2020 ︎

Interior Design


Instructor 
Heather Scott Peterson




Zepur Avanesian Marchland: The Museological Occupation of a Border

Since the invention of the first public art museums, in the late 18th century, architecture has maintained a relatively untested dynamic to the works of art that it hosts, despite the radical proliferation in art disciplines, as well as mediums and scales of production. One stands in front of an intimate Dutch still life painting at the Louvre in much the same way that one experiences Anish Kapoor’s Leviathan in the Grand Palais. As works of art have tested their formal diversity and size, the exhibition spaces within museums have grown larger, but few acknowledge or accommodate the experience of viewing large scale works of art. Part of the reason for this unchanging affiliation between art object and space of exhibition has been the accommodating expectation of architecture in this programmatic relationship, but what if architecture could play a generative role in the production of art objects? This project proposes the creation of an episodic, large-scale museum of buried galleries, sited along 2.5 miles of the border between Armenia, and the newly independent country of Artsakh. The range of scales, geometries, and atmospheres among the galleries will provide artists with opportunities to create site specific works within the contested condition of a political border.





Lianna Bagdzhyan Spatial Papers

Wallpaper could be defined as a two-dimensional, planar surface that delivers a one-sided graphic transformation to a space. This thesis will explore a translation of wallpaper from its two-dimensional nature into its three-dimensional possibilities through the making of graphic and optical experiences. The five wallpapers of a traditional 1940’s single family home will be dissected into layers by color and shape, and manipulated to revisit programmatic and communicable settings throughout a home. Social space, privacy, and the performed actions of domestic functions will be considered throughout the distribution of the wallpaper patterns and spatial capacities.



Sidaq Gill Soft Separation

Rudolf Schindler built a house for him and his wife, as well as another married in couple and their children in 1922, following a camping trip to Yosemite and close on the heels of the 1918 outbreak of Spanish Influenza. The project sought to formalize the experiences that the group had had living in canvas tents apart from clocks and schedules, and to assert a radical declaration of personal space, where each member of the house had their own undifferentiated room to do with as they pleased. Nearly a century later, we are facing a comparable global pandemic, and questions of physical boundary, cohabitation, and domesticity abound. This thesis seeks to revisit the site, both physical and conceptual, of the Schindler House in West Hollywood, and to renegotiate the terrains of boundary, surface, containment, visibility, and community through the material possibilities of textile logics.





Brittney Valadez Continental Harbor

Much of the paper architecture of the 1960’s and 70’s, made use of collage as a method for exploring utopian ideas or to take up critical positions on culture and society. Groups like Archigram and Super Studio employed the techniques of displacement, decontextualization, and juxtaposition in their collagic work to produce visions of consumerist cities, technological regimes, and urban narratives, but few of the visionary proposals from that time addressed issues of interiority. This project will reinvest in the formal techniques and methodologies of collage to create an imagined world arising from questions of pandemic and quarantine as they bear on issues of interiority and community.







Catalog Description

Students develop a comprehensive project to demonstrate a thesis-level design proposition through an integration of site, program, process, materiality, and interior technology.