She was the Director of AUD Summer Programs at UCLA AUD from 2012 to 2016. She has been on the Executive Board at the Center for the Arts of Performance at UCLA since 2015.
She has served on national juries including the AIA Awards and the American Academy in Rome.
Among others, she has been a visiting professor at the University of Pennsylvania, Syracuse University, Tokyo Institute of Technology, Berkeley, and Di Tella.
At the Yale University of Architecture, she was the Louis I. Kahn Visiting Assistant Professor in 2013.
Huljich co-authored PATTERNS Embedded (ACDCU, 2010) and Mute Icons and other Dichotomies of the Real in Architecture (Actar, 2020). With Marcelo Spina, she was the co-curator of the group show Matters of Sensation at Artist Space in New York (2008).
2003: First Prize, 21st Century Park Competition / Graham Foundation, Chicago. Graduation with Distinctions, UCLA.
2005: Maybeck Fellow, Department of Architecture, UC Berkeley
2006: First Prize, Vertical Garden Invited Competition, MAK Center at the Schindler House, Los Angeles, CA.
2007: Honorific Mention, International Competition, Skopje Concert Hall, Skopje, Macedonia
2008: Graham Foundation Grant, ìMatters of Sensationî Artists Space, New York, NY
2011: Emerging Voices, Architectural League of New York, NY. Arch is Award, Young Emerging Architects Program, AIA, Los Angeles Chapter.
2012: Honorable Mention, Jujuy Redux, AIA Annual Design Review. AIA LA Honor Award, Collective Void Dormitory, Puerto Rico. AIA LA Merit Award, Jujuy Redux, Rosario, Argentina. First Prize, SCI-Arc Graduation Pavilion Competition, Los Angeles, CA. First Prize, MOCA Pavilion Invited Competition, Los Angeles, US.
2013: United States Artists Grigor Fellow, Los Angeles
2014: American Architecture Award, The Chicago Athenaeum
2015: ACSA Faculty Award
2016: AIA LA Merit Award
2017: AIA LA Merit Award
2019: AIA LA Merit Award
Designs by Huljich have been displayed at locations such as The Art Institute of Chicago, The MAK Museum, The Chicago Biennial, MOCA in Los Angeles, and the Venice Biennale.
Battle of Chosin Reservoir
The Battle of Chosin Reservoir (17 November – 13 December 1950) was an important battle in the Korean War.
United Nations Command, led by the United States, occupied North Korea, after their attack on South Korea.
China entered the war after issuing several warnings to the United Nations.
China attacked United Nations Command, forcing their retreat.
The result was a stalemate, with an Armistice, dividing Korea at the 38th parallel.
North Korea invaded South Korea across the 38th parallel and occupied most of South Korea. The South Korean Army retreated to Busan.
The United Nations army intervened and landed at Incheon, capturing Seoul, The United Nations occupy North Korea, approaching the border with China, the Yalu river.
Chinese forces infiltrated into North Korea, hiding. Mao Zedong decided to attack United Nations forces in the Second Phase Offensive.
The Korean peninsula has a mountain range, the Taebaek Mountains, in the middle dividing the east from the west. The Chosin reservoir, was a man-made lake, in hilly terrain, in the north-east. A road connects the reservoir to the south-east to the port city of Hungnam.
Notes
Elbow bump
Elbow bumping is a type of greeting where two people lightly touch their elbows together. It is believed that it is less likely to spread germs between two people than a handshake is.
Ladislao De Gauss
Ladislao De Gauss (6 July 1901 – 2 February 1970) was a Croatian painter and illustrator. His work was in the avant-garde style.
De Gauss was born in Budapest. He came from a noble family in Rijeka, a city in what is now in Croatia. After studying classics in Rijeka, he went to the Academy of Fine Arts in Budapest. He graduated from the academy with an official qualification as a drawing teacher. He then returned to Rijeka to live and work. In 1928 he was one of the founders of a group of avant-garde painters in the city. In 1945 he moved to the Italian city of Trieste. He died there at the age of 69.
There are works by De Gauss in the Revoltella Museum in Trieste and the National Gallery of Art in Rijeka. There is also a mosaic and a small religious painting in a church at the town of Kozala in Croatia.
Hagar in the Desert (Pittoni)
Hagar in the Desert (also known as Agar confortata da un angelo nel deserto or Agar comforted by an angel in the desert) is a 18th-century painted in oil by Giambattista Pittoni, made around 1720-1725, during the Rococo in Venice, Italy, exhibited at the sacristy of Santa Maria Gloriosa dei Frari in Venice.
Hagar, Sarah's Egyptian maiden, was the mother of Ishmael, the first son of Abraham. When Isaac, Sarah's son, made fun of his younger brother Ishmael, Sarah asked Abraham to ban him, along with his mother. Before sending them away, Abraham gave him bread and a bottle of water and sent them to the desert of Beersheba.
When the water ran out, Hagar placed Ishmael under a bush to die and then sat a little far away, crying. But an angel appeared, traditionally the archangel Michael, who revealed to him a nearby water well, so that both were saved. Two scenes, the exile and the appearance of the angel are common in Italian and Dutch 17th century painting.
Susanna and the Elders (Pittoni)
Susanna and the Elders (also known as Susanna e i Vecchioni) is a 18th-century portrait painted in oil by Giambattista Pittoni, made around 1720, during the Rococo in Venice, Italy, exhibited at the Metropolitan Museum of Art.
It is a compositional drawing in black chalk that depicts the history of Old Testament of Susanna, here portrayed on the right in nudity, surprised during the bath by two elderly people, whose figures are summarily portrayed.
Pittoni initially sketched the general composition quickly and lightly, then elaborated the contours of the male figures with much greater hand pressure to give the tonal emphasis.
It is a work with the typical Rococo sensitivity of Pittoni, in which the composition seems to have been made for a painting, and seems to be closely related to the work of a sketch present in the Correr Civic Museum of Venice (inv. 4338) and in the Foundation Cini of Venice (inv. 30,252). The back of the work contains some accidental scribbles in black and red chalk (an upward motif seems to represent architectural forms), which do not seem to be the artist's. The annotation of the back in black plaster "79" is of an 18th century hand, while the annotation of the graphite verso "14 [?]. 39.8 / 1" is of a modern hand. (Carmen C. Bambach, 2005).
Hans-Dietrich Ernst
Hans-Dietrich Ernst (born November 3, 1908 Opole - March 1991 ) was a German lawyer, SS squad leader and Sicherheitsdienst (SD) lawyer.
He was a commander of the security police and SD (KdS) in German-occupied France during the World War II. He was responsible for the deportation of Jews.
He studied law.
After the National Socialists seized power , he joined the party.
After completing his studies, he worked in Hamburg and Berlin.
After Austria's annexation in 1939, he worked in the office of the "Reich Commissioner for the Reunification of Austria with the German Empire".
He was appointed government councilor in 1940, in Hamburg.
He became deputy of the district administrator in Tegel in the Karlovy Vary region.
He was promoted to Senior Government.
He worked in German-occupied France as a war administration officer in Dux.
In 1941 in Bordeaux, he was a consultant for police matters.
In early June 1942, he was commander of the security police and SD (KdS) in Angers.
Under his command, a transport of Jews from Angers to Auschwitz-Birkenau, began on 20 July 1942 .
He left Angers in August 1944, as the Allies advanced. From September to November 1944, he was in the Vosges department.
After the war, Ernst was interned by United States forces, but he escaped.
He went into hiding in Leipzig, but was arrested by the Soviet occupying forces.