DOCSLIB.ORG

Architectural Record

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Architectural Record THE NATIONAL AQUARIUM IN BALTIMORE: CAMBRIDGE SEVEN ASSOCIATES FROM BEIJING TO KASH!: OBSERVING THE CHINESE RURAL HABITAT TWO INTERPRETIVE CENTERS BLEND INTO NATIONAL PARK SITES A HOUSE BY RICHARD TREMAGLIO BUILDING TYPES STUDY: LOW-RISE OFFICE BUILDINGS FULL CONTENTS ON PAGES 10 AND 11 ARCHITECTURAL RECORD MAY 1982 5 A McGRAW-HILL PUBLICATION SIX DOLLARS PER COPY Your most prestigious execu­ tive offices, conference rooms, and lobbies deserve the highest compliment you can give the : the high-tech and high style of Soft Look Trimlok ceiling system. This nevv system combines the beauty of fabric-covered Soft Look Ceilings with the crisp, clean lines of fhe Trlmlok brushed-aluminum grid. A black recess accentuates the grid, adding depth and dimension to the concept of up-scale ceiling design. The uniquely gracious effect created by Soft Look Trimlok goes beyond appearance. This ceiling absorbs up to 65% of the sound striking its surface. And creates an atmosphere of quiet, studied elegance. Trimlok grid is lightweight and allows for easy installation of the 2'x2' Soft Look panels. There are 13 fabric colors to choose from, each designed to coordinate stylishly with the contemporary Trimlok grid. Soft Look panels are also avail­ able with a tegular-edge detail for installation in a conventional grid. To learn more, write Armstrong, Dept. 25NAR, P.O. Box 3001, Lancaster, PA 17604. We'll show you how Soft Look Trimlok can help make any room you design as stunning as can be. Now that's a compliment. <Al FROM THE INOOORWORLD®OF @mstrong Circle 1 on inquiry card ~~~on intehiational collection p.a. box 7288, 919/434-4151 high point, n.c. 27264 boston (617) 423-0040 chicago (312) 822-0711 dallas (214) 747-7130 denver (303) 825-5093 houston (713) 523-4900 las angeles (213) 652-5450 minneapolis (612) 872-0510 new york (212) 371-6131 st. louis (314) 241-8431 san trancisco (415) 652-5646 toronto (416) 368- 3051 logos design waiter k. collection Circle 18 on inquiry card ARCHITECTURAL RECORD May 7982 3 LETTERS/CALENDAR Letters to the editor I wish Mr_ Perkins would have Calendar ARCHITECTURAL RECORD (Combined with AMER elaborated this facet of the article_ As CAN ARCHITECT, ARCHITECTURE and WESTER ARCHITECT AND ENGINEER) Sometime I would like to talk to Brad­ MAY it is written, it raises many interesting (ISSN0003·8S8X) May, 1982, Vol. 170, No. 6. Titl ford Perkins about various points he questions and should produce, I 12-13 Seminar, "Air Systems Design reg. in U. S. Patent Office, copyright() 1982 raised in his very thoughtful review hope, a lively discussion_ and Retrofit for Energy Cost Effec­ McGraw-Hill, Inc. All rights reserved. Indexed Reader's Guide to Periodical Literature, Art lnde [ ARC HITECTURAL RECORD, February 1982, Elsa Pena, Architect tiveness," first seminar in the Energy Applied Science and Technology Index, Engineeri pages 86-89]. Georgia State University Professional Development Series of Index, and The Architectural Index . E.g., the idea that the rising costs Atlanta the American Society of Heating, Every possible effort will be made to return materi of building had something to do with Refrigerating and Air-Conditioning En­ submitted for possible publication (if accompani by stamped, addressed envelope), but the edito the triumph of the International Style_ George Nelson's review of Knoll gineers; at the New York Statler and the corporation will not be responsible for lo I insis t it had nothing whatsoever to Design is thoughtful, very generous Hotel. Contact: ASHRAE, 1791 Tullie or damage. do with it. and witty [RECORD, mid-February Circle, N.E., Atlanta, Ga. 30329. EXECUTIVE, EDITORIAL, CIRCULATION AND A VERTISING OFFICES: 1221 Avenue of the America Tom Wolfe 1982, page 49]- 17 Professional Development Seminar New York, N.Y. 10020. New York City He continues to be one of the 1, sponsored by the Society for Mar­ OFFICERS OF M cGRAW-HILL PUBLICATIONS CO most articulate writers in the architec­ keting Professional Services; held in PANY: president: Paul F. McPherson; executive vi The article by Bradford Perkins about tural profession. Seattle, Wash. Contact: Society for presidents: Daniel A. McMillan, Ill, Gene W . Si pson; senior vice president-editorial : Ralph R. Schul Tom Wolfe's book in your February Florence Knoll Bassett Marketing Professional Services, 1437 vice presidents: Kemp Anderson, business syste edition and his comments about Coconut Grove, Florida Powhatan St., Alexandria, Va. 22314. development; Robert B. Doll, circulation; James media influence on the development 20 through July 5 The American pre­ Hackett, controll er; Eric B. Herr, planning and dev opment; H. Joh l) Sweger, marketing. and maintenance of an architectural I am reminded of Mark Twain's com­ miere of the First International Exhibi­ CORPORA TIO 'i, OFFICERS : Harold W . M cGra practice are ever so right. ment that " reports of my death have tion of Architecture from the Venice chairman of the board and chief executive offic I suppose everybody knows, or been greatly exaggerated" by your Biennale, " The Presence of the Past," Joseph L Dionne, president and chief operati officer; Robert N. Landes, senior vice president a should know, that media coverage at Pier 2, Fort Mason, San Francisco. recent article on Ten Stamford Forum secretary; Ralph ). Webb, treasurer. and especially media connections can [RECORD, December 1981, pages 86- Contact: Friends of the Biennale, ASSOCIATED SERVICES/ M cGraw-Hill lnformati make a successful architect. How­ 91), which cites my building by Aldo 415 / 433-5149. Systems Co.: Sweet's Catalog Files (General Buildi ever, it is discouraging to think of Giurgola as " in spirit akin to a Beaux 27 through Oct. 3 Exhibition, "Grand Engineering, Industrial Construction and Renovati Light Residential Construction, Interiors), Dod innumerable small practitioners who Arts cenotaph across the street." Central Terminal : Th e City Within the Building Cost Services, Dodge Reports and Bulleti consistently have good designs and Webster's Third New Interna­ City, " exploring the development Dodge/ SCAN Microfilm Systems, Dodge Mana never get recognized beca use they tional Dictionary defines cenotaph as and influence of Grand Central Ter­ ment Control Service, Dodge Construction Statisti Dodge regional construction newspapers (Chica practice in the wrong location and " a tomb or a monument erected in minal. Organized by the Municipal Denver, Los Angeles, San Francisco) . lack the right connections, media­ honor of a person whose body is Art Society of New York, sponsored SUBSCRIPTIONS: Position, firm connection, and ty wise _ Opposite to that, we have the elsewhere-" I' m not elsewhere­ by Philip Morris Incorporated and the of firm must be indicated on subscription orde Please allow 4-12 weeks for shipment. Subscripti Graveses, Venturis and Rudolphs, National Endowment for the Humani­ yet-and my name appears on that rates for personnel of Architectural, Engineeri whose latest designs might get monument. ties, and designed by Hardy Holzman Interior Design, Design and other directly relat acclaimed because of the name The monument incorrectly desig­ Pfeiffer Associates . At the New York firms and students thereof, are as follows: U.S . a behind the design rather than the nated as a cenotaph was once pri­ Historical Society, 170 Central Park U.S. Possessions $28.00; Canada $30.00; all at countries $S7 .00. For all other personnel; U.S. a merits of the design _ marily a monument to the living_ It is West, New York City. u_s_ Possessions $39.00; Canada $SO.OO; all at In his article, Mr. Perkins com­ St. John 's Park Monument, dedicated Through May 28 The Office for Met­ countries $65.00. Publisher reserves right to det ments that architecture has become in 1920 to those citizens of Stamford ropolitan Architecture's " Toward a mine subscription rates which apply. Single co price for Domestic and Canadian: $6.00; for F too close to fashion_ Could it be that whose names are inscribed thereon modern (re)construction of the Eu­ eign: $7 .00. the pressures associated with trying and who had served our country ropean city: four housing projects," CHANGE OF ADDRESS: Forward changes of addr to get coverage make architects drift from the French and Indian War an exhibition of recent projects by or service letters to Fulfillment Manager, ARCHIT TURAL RECORD, P.O . Box 430, Hightstown, toward the latest published ideas and Rem Koolhass and Elia Zenghelis; at through World War I. Although our 08520. Provide both old and new address; inclu styles, no matter how artificial or numbers have diminished considera­ The Institute for Architecture and zip code; if possible attach issue addre ss label. unsuited to their particular design? bly since the occasion, I recollect that Urban Studies, 8 W. 40th St., New GUARANTEE: Publisher agrees to refund that part How many times have we not seen at the time of the dedication -Armis­ York City. subscription price applying to unfilled part of s scription if service is unsatisfactory. buildings, portions of which seem tice Day, 1920-there were many of COPYRIGHT AND REPRINTING: Title® reg. in U vaguely familiar, and come to realize us young World War I veterans pre­ JUNE Patent Office. Copyright a:> 1982 by McGraw· that they have been strongly influ­ sent, along with some old codgers 6-9 Annual national convention of the Inc. All rights reserved. Where necessary, per sion is granted by the copyright owner for libra enced by published designs? from as far back as the Civil War, and American Institute of Architects, "A and others registered with the Copyright Cleara In a simplistic way, architecture we were all pretty proud to see our Quest in Time"; Honolulu. Contact: Center (CCC) to photocopy any article herein has always been an art with a trend names insc ribed on the bronze AIA, 1735 New York Ave.
Load more

Recommended publications
  • NEO-Orientalisms UGLY WOMEN and the PARISIAN
    NEO-ORIENTALISMs UGLY WOMEN AND THE PARISIAN AVANT-GARDE, 1905 - 1908 By ELIZABETH GAIL KIRK B.F.A., University of Manitoba, 1982 B.A., University of Manitoba, 1983 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE FACULTY OF GRADUATE STUDIES (Department of Fine Arts) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA . October 1988 <£> Elizabeth Gail Kirk, 1988 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Fine Arts The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date October, 1988 DE-6(3/81) ABSTRACT The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined and categorized humanity, must be considered in their historical context.
    [Show full text]
  • Reaching for Success: Picasso's Rise in the Market (The First Two Decades)
    Article Reaching for Success: Picasso’s Rise in the Market (The First Two Decades) Enrique Mallen College of Humanities and Social Sciences, Sam Houston State University, 1901 Avenue I, Huntsville, TX 77340, USA; [email protected]; Tel.: +1-979-739-8187 Academic Editor: Annetta Alexandridis Received: 30 October 2016; Accepted: 22 March 2017; Published: 6 April 2017 Abstract: This article explores the exhibitions of Picasso’s works in the first two decades of his artistic career, as well as the dealers and collectors who came into contact with them. It describes the relationship between Picasso and his first dealers, Pere Manyach, Berthe Weill, Clovis Sagot, Père Soulier, Ambroise Vollard, Daniel-Henry Kahnweiler, Georg Caspari, L. W. Guthier, Hans Goltz, Heinrich Thannhauser, Otto Feldmann, Alfred Flechtheim, Emil Richter, Gottfried Tanner, Michael Brenner, R. J. Coady, Léonce Rosenberg, Paul Rosenberg, etc.; as well as his first collectors, Leo and Gertrude Stein, Olivier Sainsère, Joachim Gasquet, Wilhelm Uhde, Herman Rupf, Vincenc Kramář, Frank Stoop, Hugo Perls, Edwin Suermondt, Dr. Paul Ferdinand Schmidt, Princess Mechtilde Lichnowsky, Henry Simms, Ludwig and Rosy Fischer, Professor Wilhelm Kreis, Adolf Erblösch, Justin K. Thannhauser, Sergei Ivanovich Shchukin, Ivan A. Morosov, etc. It also identifies all important Picasso expositions in this time period and how those dealers and collectors were involved in their arrangement. The information provided here has been excerpted from an exhaustive study of the critical literature on Pablo Picasso, as well as from published exhibition catalogues. Keywords: Picasso; dealers; collectors; exhibitions; market 1. Introduction Picasso’s first known public showing took place in August 1893, when he was included in a group exhibition at the Escuela de Bellas Artes1 in A Coruña featuring the works by selected students in the 1892–1893 class, among whom was Picasso, who had completed his first year of ‘Figure and Ornament Drawing’ at the school ([1], p.
    [Show full text]
  • Georges Braque Gertrude Stein
    ART HUMANITIES: PRIMARY SOURCE READER Section 10: Picasso Art Humanities Primary Source Reading 44 Georges Braque PERSONAL STATEMENT, 1910 I couldn't portray a woman in all her natural loveliness . I haven't the skill. No one has. I must, therefore, create a new sort of beauty, the beauty that appears to me in terms of volume, of line, of mass, of weight, and through that beauty interpret my subjective impression. Nature is a mere pretext for a decorative composition, plus sentiment. It suggests emotion, and I translate that emotion into art. I want to expose the Absolute, and not merely the factitious woman. The Architectural Record, New York, May 1910 Georges Braque's personal statement is reprinted from the May 1910 issue of the Architectural Record. Art Humanities Primary Source Reading 45 Gertrude Stein Perhaps best described by Picasso’s portrait of her, Gertrude Stein was an imposing figure and a powerful influence on modern literature and art. Stein is the author of numerous books, plays, poems, and essays on literature. While her place in the history of literature is still somewhat contested, there are those who would place her with Joyce, Pound, and Eliot as one of the great literary innovators of the 20th century. Gertrude Stein was born in 1874 in Pennsylvania, grew up in Vienna, Paris and Oakland California. She studied psychology at Radcliffe and Johns Hopkins before moving to Paris with her brother Leo in 1902. The house that the two Stein siblings shared in Paris became a meeting place for artists and writers, and both Steins were supportive patrons of the most advanced art being made in Paris at the time.
    [Show full text]
  • Architectural Record 1942-1967 | Phoebus Ilias Panigyrakis
    Architectural Record 1942-1967 Record Architectural Architectural | Phoebus Ilias Panigyrakis Record 1942-1967 Chapters from the history of an architectural magazine Phoebus Ilias Panigyrakis Architectural Record 1942-1967 Chapters from the history of an architectural magazine Phoebus Ilias Panigyrakis TOC A+BE | Architecture and the Built Environment | TU Delft BK 20#11 Design | Sirene Ontwerpers, Rotterdam Layout editing | Phoebus Panigyrakis Cover photo | Detail of original photo of the John Knox Shear Collection, Carnegie Mellon University Architecture Archives, Pittsburgh, PA. Keywords | Architetural Record; F. W. Dodge Co.; midcentury modernism; history of architectural journalism ISBN 978-94-6366-301-4 ISSN 2212-3202 © 2020 Phoebus Panigyrakis Digital version freely available at abe.tudelft.nl All rights reserved. No part of the material protected by this copyright notice may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without written permission from the author. Unless otherwise specified, all the photographs in this thesis were taken by the author. For the use of illustrations effort has been made to ask permission for the legal owners as far as possible. We apologize for those cases in which we did not succeed. These legal owners are kindly requested to contact the publisher. TOC Architectural Record 1942-1967 Chapters from the history of an architectural magazine Dissertation for the purpose of obtaining the degree of doctor at Delft University of Technology by the authority of the Rector Magnificus, prof.dr.ir. T.H.J.J. van der Hagen chair of the Board for Doctorates to be defended publicly on Monday, 24 August 2020 at 15:00 o’clock by Phoebus Ilias PANIGYRAKIS, Architect Dipl.-Ing, University of Patras, Greece born in Poissy, France TOC This dissertation has been approved by the promotors.
    [Show full text]
  • Picasso's Rise in the Market
    arts Article Reaching for Success: Picasso’s Rise in the Market (The First Two Decades) Enrique Mallen College of Humanities and Social Sciences, Sam Houston State University, 1901 Avenue I, Huntsville, TX 77340, USA; [email protected]; Tel.: +1-979-739-8187 Academic Editor: Annetta Alexandridis Received: 30 October 2016; Accepted: 22 March 2017; Published: 6 April 2017 Abstract: This article explores the exhibitions of Picasso’s works in the first two decades of his artistic career, as well as the dealers and collectors who came into contact with them. It describes the relationship between Picasso and his first dealers, Pere Manyach, Berthe Weill, Clovis Sagot, Père Soulier, Ambroise Vollard, Daniel-Henry Kahnweiler, Georg Caspari, L. W. Guthier, Hans Goltz, Heinrich Thannhauser, Otto Feldmann, Alfred Flechtheim, Emil Richter, Gottfried Tanner, Michael Brenner, R. J. Coady, Léonce Rosenberg, Paul Rosenberg, etc.; as well as his first collectors, Leo and Gertrude Stein, Olivier Sainsère, Joachim Gasquet, Wilhelm Uhde, Herman Rupf, Vincenc Kramáˇr,Frank Stoop, Hugo Perls, Edwin Suermondt, Dr. Paul Ferdinand Schmidt, Princess Mechtilde Lichnowsky, Henry Simms, Ludwig and Rosy Fischer, Professor Wilhelm Kreis, Adolf Erblösch, Justin K. Thannhauser, Sergei Ivanovich Shchukin, Ivan A. Morosov, etc. It also identifies all important Picasso expositions in this time period and how those dealers and collectors were involved in their arrangement. The information provided here has been excerpted from an exhaustive study of the critical literature on Pablo Picasso, as well as from published exhibition catalogues. Keywords: Picasso; dealers; collectors; exhibitions; market 1. Introduction Picasso’s first known public showing took place in August 1893, when he was included in a group exhibition at the Escuela de Bellas Artes1 in A Coruña featuring the works by selected students in the 1892–1893 class, among whom was Picasso, who had completed his first year of ‘Figure and Ornament Drawing’ at the school ([1], p.
    [Show full text]
  • Flammarion , '"I1ll1~()J)()L\1~ 1\IJJ~1\NJ~L/S L Jl!JS J?JJ Jll!JS J)'.1-L 17/(;J,R()J'r 1\NJ) 11 1(~1\SS()'S "SIJ1'f ()}R ])]~S'"I1l\IJ(~'"Rlt)NS"
    M USEE NATIONAL PICASSO, PARIS SE PTE MBER 19, 2007- JANUARY 7, 2008 Flammarion , '"I1ll1~()J)()l\1~ 1\IJJ~1\NJ~l/S l_Jl!JS J?JJ_JLl!JS J)'.1-l 17/(;J,r()J'r 1\NJ) 11 1(~1\SS()'S "SIJ1'f ()}r ])]~S'"I1l\IJ(~'"rlt)NS" I RVING LAVIN nyone who has looked even cursorily at the material concerning Picasso's Les Demoiselles d'Avignon will be aware of three facts that (fig. 1) stand out almost immediately. Firstly, no work of art of the twenti- eth century, and perhaps none before, has generated such a vast, complicated, and often polemical bibliography. 1 This veritable embarrassment of riches makes it very difficult for anyone, especially a nonspecialist such as myself, to say anything new about the picture, or even to determine whether what one has to say is really new or not. I have been contem­ plating and collecting material on the topic I am addressing today for a good number of years but, apart from wondering if the suggestion I am offering has real merit, I am not even very sure that it is new, although I am surprised not to have found it in the literature so far. The second salient fact about the Demoiselles material concerns Picasso's own work in creating the picture: I cannot think of another painting in the whole his­ tory of art that engendered so much anguished and desperately searching labor by the artist, all the more disconcerting since this veritable paroxysm of creative An earlier version of this essay was energy exploded like a great fireworks display over a few months in the first half published in German, "Les filles of 1907.
    [Show full text]
  • Cubism and Color: an Untold History
    76 / The Japanese Society for Aesthetics Aesthetics No.15 (2011) Cubism and Color: An Untold History KATO Yukiko Duke University, Durham, North Carolina, U.S.A. Jamais Elle est seule au chaud de sa chambre. Je ne pourrai grandir mon unité vivante Ses yeux voudraient bien être aimés. Jusqu’à ce que l’énorme dehors entre en elle Les notes glissent par les mailles Des rideaux, passent la croisée, On joue du piano, là-bas, Rencontrent des rayons de gaz; De l’autre côté de la rue. Le son me vient sur la clarté, Je devine à tâtons que c’est Et j’écoute onduler vers moi Une jeune fille vêtue Une musique à flamme jaune. D’un corsage blanc, d’une jupe Bleue, et d’un ruban à la taille. Jules Romains, La Vie Unanime (1908) Color: Something Repulsive How color functioned in the formation of Cubism? –– Jules Romains (1885-1972) was a young poet just over the age of twenty when he published his poetry La vie unanime at the artist colony Abbaye de Créteil, south-east of Paris, in spring 1908.[1] His aesthetics, generally called Unanimisme, praised the “intersubjective” experience as an actual reality of modern world –– an experience in which multiple subjects merge into one by overcoming the linear subject-object relationship –– to cite the contemporary phenomenologist Edmund Husserl (1859-1938). Just as Husserl proposed looking introspectively into one’s self in order to return “to the object itself/zu den Sachen selbst,” Romains, in his work, sharpened his internal senses so exquisitely that he could capture the intersubjective reality –– color, sound, touch, femininity, immaturity, encounters, intersections, and decentralized structure.
    [Show full text]