In his early writings he focused on making the case for the appropriateness of mechanical form in architecture, but his later essays have also taken on more fundamental disciplinary questions, particularly with respect to the growing hegemony of digital design.Together they had gathered samples of the graffiti for which the College of Environmental Design's Wurster Hall was famous at the time, and Jones read the sometimes scatological collection on this august occasion in a twenty-minute monologue.After producing a thesis that offered a critical homage to Le Corbusier’s Unite d’Habitation, Jones received a Master of Architecture with Distinction in 1984.Important buildings completed by the new firm include the Zimmer Plaza stair, a structural tour de force at the University of Cincinnati, the Confluence Point Bridges and Interpretive Center in San Jose, and the UCLA Chiller Plant and Campus Facilities Offices, as well as a number of residences around Southern California.[1] In 1995 Jones began a study of the use of ISO standard shipping containers in design, with his project for air-delivered mountain cabins for the high Sierras.Important Buildings and projects designed by Jones include the Astronaut's Memorial (1991), UCLA Chiller Plant and Campus Facilities Offices [3] (1994), San Jose Repertory Theater (1996), the NYTimes Capsule competition finalist (1999) and Sub-‘burb 2025 House of the Future, for Time Magazine (2000).[Instrumental Form, 109] In later writings he talks about it more from the standpoint of its inherent respect for the original object, in order to separate it from the critical practices of “deconstructivism,” which depend to some extent on a more violent treatment of their “hosts.” [El Segundo, 307] The “souping up” technique, which Jones also sees as offering a critique of the meaninglessness of the “form finding” operations of “diagram” architecture and the negativity of conventional critical architecture, has been used in many of the buildings that he has designed.
