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Student initiated discussion series to spark conversations between students and guest speakers.

October 16, 2015 //


February 27, 2015 //

The Color Of Architecture

coaDialogues: The Color Of Architecture


November 21, 2014 //

Synthetic Realities

coaDialogues: Synthetic Realities

Join the coaDialogues, faculty members, and fellow students to discuss a topic about the correlation between virtual realities in mediums such as video games, social media, and cinema in relation to architecture.

September 19, 2014 //


coaDialogues: First Dialogue of Fall Semester

Join the coaDialogues, faculty members, and fellow students to initiate the Fall semester with a dialogue about dwellings.

April, 2014 //


coaDialogues: Diagram

Join the coaDialogues, faculty members, and fellow students to discuss the diagram.

February 28, 2014 //

Public Space: the Marketing Place of America

coaDialogues: Public Space: the Marketing Place of America

Chris Taylor, Mari Michael Glassell, Victoria McReynolds

Join the coaDialogues, faculty members, and fellow students to discuss public space in America.

November 1, 2013 //

Research in Architecture

coaDialogues: Research in Architecture

Join the coaDialogues, faculty members, and fellow students to discuss architectural research and it's position within academics and the profession.


Genesis of Form

Bennett Neiman, Mari Michael Glassell, Glenn Hill, and Javier Gomez

How is an architectural form is realized? “Form” meaning the process or processes by which discernible patterns disassociate themselves from a less finely ordered field, identifying a pattern from a field of raw information. We'll frame the conversation within the realm of computation and it's application to the design field. With software platforms providing more and more opportunities to explore geometries that would otherwise never be determined, the question that arises comes from the nature of how we develop the architectural form: do we design a form or is it the process we design to achieve the form?

Are these figures simply the geometric equivalent of noise?

Do they have purpose other than their invention?

When do these processes become deterministic towards architectural typologies?



The Machine

Bennett Neiman, Upe Flueckiger, and Hendrika Buelinckx, PhD

In terms of past or present, disciplines interrelate to the evaluation of cultural histories differently: architecture builds new by reference of historical models, archeology through discerning the artifact, and art history by interpretation of expression; each, however, identifying a particular position and sequence of time. Rather than adhering to the speculative differences between disciplines, this session focuses on an evaluation of cultural knowledge through two modes of inquiry artifact and artifice. (Artifact, meaning the materialistic reference of culture and the comprehension of the built environment. Artifice meaning misinterpretation and false cultural narratives.)



Paper Architecture

Dustin White, Chris Taylor, and Jeff Nesbit

Paper architecture exists around drawn, planned, written, and modeled architectural works that are essentially not built and are not conceived. Competitions, proposals, as well as design charettes are all common mediums for producing paper architecture. An example would be Bruno Taut’s Die Gläserne Kette, or Crystal Chain where at the end of WWI a group of German architects formed an association in the form of a series of chain letters. The letters contained drawings and concepts geared towards describing a future they would like to see, a utopia. These works were not buildable works but rather schemes that were meant to articulate emerging and not yet fully developed ideas through drawing and writing.

The Crystal Chain demonstrates one side of the discussion where there is an innate yearning for the spread of ideas and concepts without focusing on the practicality of a project. Much like the works of Lebbeus Woods, who expressed, through drawings, ideas that required technologies and structural systems not typical to the design of buildings. Works that under circumstances like budgets or building codes may have been radically altered.

The other side to this topic involves questioning where the value of these works or spreading of ideas lies. If it’s not built, if it’s so outlandish or farfetched, then is it worth the time and energy to work on it? Built work is tangible, it can be directly critiqued and talked about and directly answers the question about a buildings use and its value to the built environment. If a building or work of architecture is out of sight, is it out of mind? And does a conversation on unbuilt works hold the same significance relative to our buildings that exist in our environment?



Architecture as an Icon

Saif Haq, Maria Perbellini, and Glenn Hill

By borrowing ideas from Charles Jencks and in particular from his criticism on “The Iconic Building”, the conversation will begin by a clarification of the primary issues driving what we mean by ‘Icon-ism’. Icon-ism can be defined as "the formation of a figure, representation, or semblance; a delineation or description". Tonight , we aim to center the conversation around the characteristics that determine an icon, the impact of social principles in its creation, and its relationship to metaphor.

Jencks' states:

"In the last ten years a new type of architecture has emerged. Driven by social forces, the demand for instant fame and economic growth, the expressive landmark has challenged the previous tradition of the architectural monument. In the past, important public buildings, such as a cathedral and the city hall, expressed shared meaning and conveyed it through well-known conventions" Jencks believes that the iconic building shares certain aspects both with an iconic object, and the philosophical meaning of an icon. He explains that an iconic building must provide a "new and condensed image", it must be highly figural and stand out from the city. Not only must its visual presence be powerful, but it must also be symbolic of a bigger idea or a metaphor.



Context vs. Concept

Daniel Pruske, Lahib Jaddo, and David Driskill

Every project starts with an idea. The idea is then used to justify major moves throughout the design of a project. Tonight, we will begin discussing two common design generators against one another. Concept versus context. Taking for example,

Context City of Culture by Peter Eisenman: Eisenman Architects' unique approach to design projects is to consider the layers of physical and cultural archaeologies at each site, not just the obvious contexts and programs of a building. Rather than pursuing a particular building type, Eisenman Architects specializes in a particular problem type: projects with difficult siting, programmatic and/or budgetary constraints, and of strategic importance to their environment.

Concept Wyly Theater by OMA/REX:

Dallas Theater Center (DTC) is recognized as one of the country’s few innovative theater companies located outside the triumvirate of New York, Chicago, and Seattle. Ironically, the company’s artistic success can be attributed largely to its provisional accommodations in a dilapidated, galvanized metal shed. Free of the need to respect its architectural surroundings, the group regularly challenged its art’s physical conventions. The company’s makeshift residence also allowed it to be multi-form: throughout its season, DTC routinely reconfigured its stage. (Manipulation of internal components, which can be transformed according to event criteria; variation under one shed)

//concept //context


The Destruction of Architecture by Style

Clifton Ellis, PhD, Javier Gomez, and Peter Raab

Architecture history claims that buildings are a direct response to socio-economic and cultural exigencies of time. As each culture preceded the next, it left a trademark or said "style" to which the next generation would learn from. It can be argued that Greek temples or Gothic cathedrals had 'expressed their times' and to assume that modern buildings should do the same. Revivals could be regarded as failures to establish a true expression. The future therefore required the creation of an authentic 'style of the times', different from the past ones but just as inevitable.

"For Swiss born architect Le Corbusier, architecture constituted a noble art, an exalted calling in which the architect combined plastic invention, intellectual speculation, and higher mathematics to go beyond mere utilitarian needs, beyond 'style'".




Joseph Aranha, Robert Perl, and Upe Flueckiger

Sustainability is becoming more and more of a prevalent topic as well as a way of designing with concern for how a building effects its given environmental, societal, and cultural environment. The green movement going on now has been primarily assembled under the LEED system, implemented by the USGBC; a system which is used to certify buildings as "green." A Green Building is built under the practice of increasing the efficiency with which buildings use resources: energy, water and materials, while reducing its impact on human health and the environment during the buildings lifecycle, through better site placement, design, construction, operation, maintenance and removal. LEED uses a checklist to certify the degree of "greenness" of a building. This is a current trend in many practicing firms of architecture.

With building green the main concern is energy use and how much energy the building consumes. Instead of just finding ways to reduce the amount of energy the building consumes, are there ways by which we can design the building itself to be more sustainable? An example being if we reverted back to more traditional, vernacular building styles and responded more to climate and environment.




John Clegg, Victoria McReynolds & Chris Taylor

the coaDIALOGUES group will host a discussion concerning suburbia. Join faculty members and fellow students with panel members Professors John Clegg, Victoria McReynolds & Chris Taylor for a discussion on suburbia.



// cinema

Javier Gomez, Josh Nason, & Kuhn Park

the coaDIALOGUES group is happy to present a discussion concerning cinema. Join faculty members and fellow students with panel members Professors Javier Gomez, Josh Nason, and Kuhn Park for a discussion on cinema.


| Metropolis | | Trailer
| Brazil | | Clip
| Blade Runner
| 2001: A Space Odyssey
| A Clockwork Orange
| Play Time
| Eternal Sunshine of the Spotless Mind
| The Science of Sleep


// space in architecture

Andrew Vernooy, Hendrika Buelinckx, PhD, & Chris Taylor

the coaDIALOGUES group presents a discussion about space in architecture. Join faculty members and fellow students with panel members Professors Hendrika Buelinckx, Chris Taylor, and Dean Andrew Vernooy for a discussion on space in architecture.

Miss the event? View past events on the TTUArch youtube page | HERE.



// technology and architecture

Kuhn Park, Christian Pongratz, & Dustin White

the coaDIALOGUES group presents a discussion about technology and architecture. Join faculty members and fellow students with panel members Professors Kuhn Park, Christian Pongratz, and Dustin White for a discussion on technology and architecture.


// discussion brief:

Vittorio Gregotti mentions in his book, Means and Ends that the sole value of art and architecture has been stripped by the upcoming technology of the twentieth century. It has become an end to itself of the traditional equilibrium among the different elements of design. We wanted to direct this discussion in a way that addresses the profound changes in technology over the course of the twentieth century as the new framework for architectural production and as new points of reference for the standardization and regulation in architectural design.


// postmodernism

Dr. Clifton Ellis, Javier Gomez, & Jeffrey S Nesbit

the coaDIALOGUES group presents a discussion about postmodernism. join faculty members and fellow students and panel members Associate Dean Clifton Ellis, Professor Javier Gómez, and Professor Jeffrey S. Nesbit for a discussion on postmodernism.


// discussion brief:

Pluralism is a hot topic amongst discussions about post-modernism because of how post-modernism has affected thinking in a metaphysical and philosophical way. Post-modernism challenges our idea of identity both culturally and individually. Post-modernism communicates through double-coding and simultaneous meanings leaving room for interpretation.