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Graeme Maxwell Morland, AIA, RIBA

Associate Professor

Dipl. in Architecture, Mackintosh School of Architecture, University of Glasgow


Professor Morland previously taught at the University of Glasgow and the University of Illinois (Chicago Circle Campus). He has served as Chairman of the School of Architecture at USC, and teaches at all levels of the program, with an emphasis on architectural design and urban theory. He is currently the Director of the USC School of Architecture, Anthony A. Marnell, Spring semester program of studies, which is based in Como.Italy. Over the past 25 years, Prof Morland has served as a design consultant to various major Los Angeles offices, including association with Ellerbe Becket, Inc. for the new Helen Topping Library for the Schools of Architecture and Fine Arts at USC. He was also responsible for the design of the School’s workshop a,nd cafe, and the renovation of Harris Courtyard. Furthermore, during this period, in association with H & D. Gibbs. FAIA, Morland was appointed project designer for the new Naval Regional Medical Centre in San Diego, at that time, the largest hospital project of it’s kind in the USA. In conjunction with professional design consultation in Europe and the UK, he has maintained an active private professional practice, focused mainly on residential and neighborhood/community projects in the South Bay region of California, his portfolio now includes approx 45 completed projects to date. His work at USC includes on-going research in visual theory and graphic communication, urban light rail transportation as the new overlay infrastructure to reconnect the city, and the execution and pursuit of contemporary architectural and urban ideas in general. The Metropolitan Transit Authority has recently published a compendium of student design projects for stations on the proposed new MTA, Crenshaw- Prairie transit corridor of Los Angeles, which spans four years of design studio investigation under his direction.


 
 
Currently Teaching
  • 499
    Architectural Drawing & Sketching
    Architectural Drawing & Sketching

    To Sketch is to Think. When an Architect is designing, they draw what they are thinking and the drawings/sketches are part of the creative process. However, when the Artist draws from life, they describe what they see and interpret it in a personal way. The observer perceives the subject through the artist’s eyes and personal interpretation. While the Artist’s work is an end in itself, the Architect’s early sketch is the beginning of an intriguing visual enquiry and perhaps the initiation of a great building. Why is drawing and sketching so vital to the design process for the Architect? At the conceptual level, sketching or graphic “doodling” visually pre-meditates the first inkling of a design strategy, quickly imagined and soon abandoned if not realizing a fruitful idea. What you sketch and draw is what you see “in your mind,” inspired by what you can visualize around you in a physical context or what you foresee as you “Dream,” the stimulation of visual ideas, the “Starting Block of Design.” The creative process in Architecture is complex and hard to define but when “ideas” are stimulated, they are communicated through sketches. To quote Le Corbusier, “I prefer drawing to talking; drawing is faster and less prone to lying.”

     
  • 499
    Informed Form
    Informed Form
    This is a design research seminar that will explore the relevance of architectural form as a product of discovery by exploring the reciprocity between form (geometry), force (performance), matter (organization), and craft (fabrication). It investigates and extends the design research legacies of analogue form-finding in the works of Frei Otto, Antonio Gaudi, Heinz Isler, and Felix Candela by exploring digital and analogue techniques for discovering form through variable material and geometric organizations and force simulations, while simultaneously considering the design opportunities being afforded by advances in computation and fabrication technologies. In this elective course, students will research and analyze the history of funicular form and its applications within architecture, explore the application and manipulation of both physical and digital form-finding experiments, performative analysis and simulation, and digital fabrication protocols to explore the potential for materiality and non-standardization processes to augment performance through variable organizations. The goal of the course is to understand performance as a design catalyst for the exploration of form. Students must have proficiency in Rhino 3D and a minimum proficiency with Grasshopper. All other software will be introduced in the course. Students will need to have the following softwares installed: • Rhino 3D • Grasshopper plug-in for Rhino • Kangaroo plug-in for Grasshopper • Karamba plug-in for Grasshopper
     
 
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