Architects have always abstracted raw materials in order to create a larger conceptual basis for architecture but the relationship between abstraction and reality has not always been concrete. In the recent past, ideals of “truth” and “authenticity” have played a central theoretical role in defining how architects approach building. For example, John Ruskin and Viollet-le-Duc decry various forms of material deceit, in favor of an authentic and truthful architecture. Alternately, architects interested in the communicative agency of architecture have questioned the dogmatic eradication of applied decoration from the architectural lexicon. This thesis views architecture as a total fiction. It aims to explore the representational and communicative qualities of the architectural interface.

There are a number of theories which explore the potential for architecture to communicate. For example, Godfred Semper argued for the dematerialized character of the architectural surface. He viewed this suspension of reality as a necessary step in order to construct meaningful, symbolic form. He believed that surface forms and applied colors symbolize human events. Denise Scott Brown and Robert Venturi were similarly interested in an architecture of communication involving symbolism and mixed media. In a similar vein, Charles Jencks

TOTAL FICTIONThe Artifice and the Armature

applied semiotic studies to architecture in order to develop a theory of architectural communication. More Recently, David Leatherbarrow and Mohsen Mostafavi write about the theoretical and practical isolation of the building surface as the site for architectural effect and meaning.

This thesis does not aim to present a theory for how architecture should be. Viewing the aforementioned theories as conceptual generators, this thesis aims to explore the following questions: What kind of architecture would be created by delaminating the interface of architecture from the tectonic of architecture? Which is more desirable; honesty or deception?

Jean Baudrillard theorized that as we approach a post-modern society, there has been a great increase in the number of signs produced by the mass media causing meaning itself to become destabilized- to the point where we are not quite sure what’s real and what’s not real. Fiction and reality bump into each other, causing slippage between truth and fiction.

Los Angeles is where the relationship between representation and reality gets muddled. This hyper-real city is an architectural genre in its own right- and is the site of this thesis. The design of a film school located at the intersection of 4th St. and Hill St. (Bunker Hill) will explore questions of authenticity, honesty, ersatz and artifice.

Room Name Summary Quantity Program Area Net. Sf

Class Recording Studio  Cross between a classroom and a studio for the purpose of training film students. considerations of sight lines and audience acoustics are important.  All studios require truck loading facilities and egress for delivery and removal of heavy cameras, electronic equipment and  stage set materials. Accommodations for studio lighting  and set construction are of  high importance. A lighting grid from which light fixtures may be hung is necessary. This is serviced by a catwalk system which permits placement and adjustment of the luminaires from above. Entrance for large scenery flats is essential as well as facilities for delivery of heavy items.

6 2500 15000

Control Room Contains electronic equipment for monitoring and controlling the studio output. Recording booth incorporated with control room must be acoustically isolated. Direct visual contact with recording studio necessary. Lighting should be adjustable to permit observation of television monitors.

6 400 2400

A/V Room Dust free, temperature‐controlled environment. Houses ancillary electronic equipment that does not require attendance or adjustment during filming, such as audio and video equipment, switching devices, transmission equipment, etc.

6 100 600

Studio Support Cluster Wardrobe, Dressing and makeup rooms as well as a small crew's lounge. 3 600 1800

Digital Classroom Classroom with accommodation for 30 computer stations and two projector screens.

3 625 1875

Cutting Room Small scale computer clusters with sound isolation and recording equipment.

6 100 600

Classrooms Classroom with accommodation for 30 desks and one projector screen. 6 676 4056

Lecture Hall An optimum viewing area defined by the projection screen in the front of the room is critical for student learning. Stepped or sloped floors required in order to provide optimum viewing conditions. Proper acoustical design, from the out‐set, is necessary for the successful functioning of this type of room. Not only should sound originating within the room be easily heard by all students but the space should be thoroughly acoustically isolated from interfering sounds from the outside. Planning of lighting is an important consideration. Generally, three levels of illumination will be necessary for the display methods used in these spaces; control of ambient light on projection screens is likewise essential.

1 1500 1500

Theater Space provides staggered seating to maximize the view of the stage to the screen. Floor is designed to provide a clear line of sight to the focal point on stage. Seating maintains 5 inches between a viewers line of sight and the top of the person's head sitting in front of the viewer. The importance of acoustics is paramount. Acoustically isolate the auditorium wherever possible. Use sound absorbing materials in all adjoining rooms surrounding the auditorium. Provide a combination of reflective and sound absorptive ceiling finishes based on the results of acoustical testing. 

1 3000 3000

Library Reference library with computer terminals available to all students seven days a week. Space for collection as well as librarian and assistants allow books to be checked in and out. 

1 1800 1800

Viewing Room Small scale viewing room for faculty and students to evaluate work. 4 200 800

Student Lounge 1 450 450Café Public café with seating capacity for 50 people. 1 2000 2000

Kitchen Situated within the Café. Includes storage room for cooking materials. 1 500 500

Director's Suite Including an office for the director and workspace for assistants, this suite supports the administrative business of the institute (finances, planning, personnel, programming, public relations and building maintenance).

1 400 400

Admissions Office 1 350 350Career Services 1 300 300Staff Room Provides a pleasant relaxing area for staff breaks. 1 300 300

Faculty Offices 10 150 1500Faculty Lounge 1 500 500Storage/Receiving Area Main storage area where production materials are stored and distributed. 

Located near directors suite so that equipment and materials may be checked out.

1 1000 1000

Reception 1 300 300Fabrication Shop Space provided for receiving and storing lumber, using fixed‐power 

equipment, building projects both large and small, using hand tools, finishing, hand sanding, storing projects, issuing tools, demonstrations, and controlling the operations of the shop. Must be located near shipping and loading area as well as an industrial elevator for transportation of materials to studio.

1 1000 1000

Shipping and Loading Area 1 900 900Trash Area 1 200 200Bathrooms 8 350 2800Server Room/Office Dust free, temperature‐controlled environment. Sound‐isolated from 

other occupied areas. No windows in server space because of security and sound. Minimum nine foot ceiling. Doors 42 to 48 inches wide, and at least 8 feet tall. Space includes adjacent office for building technology administrator.

1 600 600

Net Program (Not including circulation and mechanical) 46531Gross Building Area 58163.75

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CALIFORNIA PLAZA

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JUNIPEROSERRA STATE

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CLARKHOTEL

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PERSHING SQUARE STATION

Site Dimensions: 168’ x 138’Floor Area Ratio: 6:1Lot Area: 23,184 sqft.Total Buildable Area: 139,104 sqft.

Reqd. Front Yard: NoneReqd. Back Yard: NoneReqd. Rear Yard: NoneMax Height: NoneMin. Front Height: 75’