Constructs Yale Architecture Fall 2008

Constructs Fall 2008 Table of Contents

02 and Robert A.M. Stern discuss Hall 04 Chuck Atwood and David Schwarz 06 Francisco Mangado 07 ’s Unbuilt Projects 08 Spring Event Reviews: Sustainable Architecture: Today and Tomorrow by Susan Yelavich and Daniel Barber 10 Modernism Events by Peggy Deamer and Joan Ockman 10 Building the Future by Jayne Merkel 12 Kroon Hall lectures Mobile Anxieties, the MED Symposium 13 In the Field: A New Urbanism by Tim Love Australia Symposium by Brigitte Shim New Zealand Symposium by Peggy Deamer 16 Book Reviews: Tim Culvahouse’s TVA ’s Ten Canonical Buildings Hawaiian Modern Perspecta 40 Monster 18 Fall Events: Model City: Buildings and Projects by Paul Rudolph Hawaiian Modern Yale in Jordan YSoA Books 20 Spring 2008 Lectures 22 Spring 2008 Advanced Studios 24 Faculty News Herman Spiegel: An Appreciation 26 Alumni News Eugene Nalle: A Tribute 02 CONSTRUCTS YALE ARCHITECTURE FALL 2008 INTERVIEW: CHARLES GWATHMEY & ROBERT A.M. STERN Charles Gwathmey & Robert A.M. Stern

A discussion ), which between Dean will be rededicated Robert A.M. Stern on November 8, (’65) and Charles 2008, and the Gwathmey (’62) took opening of the new place this summer art building, for Constructs on the Jeffrey Loria the occasion of the Center for the History renovation of the of Art. A&A Building (Paul

Robert Stern When I became the plan was the Art Gallery’s need to expand dean in 1998, I set out to define our goals into the Swartwout Building and Street Hall. going forward, which included financial To make this ensemble, the History of Art aid and endowments for various special Department had to move out of Street. Part activities. But on top of the list was the Art of the plan also involved the Arts Library, & Architecture Building’s future. The School which was overflowing its available space Paul of Art was already scheduled to move out in the A&A. Given that both art history and Rudolph of the Rudolph building in spring 2000. The architecture had to be with this library, it was Architect, A&A was not a loved building, and frankly, inevitable these two departments would A&A Build- ing, Yale in my opinion, it would have been torn down come together, as they had been historically. University. if that weren’t so expensive. Many in the The university owned two marginal buildings Photograph university had no memory of it in its good between the office and the by Ezra Stoller, Esto days, no appreciation of its qualities. It was a A&A Building and was prepared to take them © 1963. lost child. At a public meeting at the school, down, creating the site that Rudolph always I got president Rick Levin to say the goal knew could be used to expand his building. was to “renovate and restore the building,” Rudolph thought of the A&A Building like a and that was the key thing. Not to patch it, residential college with a courtyard, which is but to really bring it back. Sid R. Bass (Yale what Charles has basically achieved. College ’65) then pledged a significant gift, CG In terms of program, each user and we began work with on group—architecture, art history, and the the new Loria building and with David Childs library—had its wishes. The library, to be the ( ’63, M.Arch ’67), of Skidmore, Robert B. Haas Family Arts Library, wanted Owings & Merrill, on the renovation of the to double its space, be contiguous, and have A&A, as well as on the production drawings a street entry and presence. The History of and project management for the entire Art Department was concerned about being project. For various reasons that strategy did perceived as “an addition” and wanted also not work out, and when the project was ready to be distinguished through an architectonic to move forward again, it was thought that resolution. They requested varied offices, perhaps a single architect would be more without double-loaded corridors. For the appropriate. Rick Levin, the facilities depart- School of Architecture, one of the critical ment, and I agreed that Charles Gwathmey things was to maintain the transparency was the right architect. To his great favor was and the views from the north-side studios, a wealth of experience on some of the most even with the addition, which generated the nightmarish projects that you could imagine form of the two towers on the east and west, involving the renovation of and additions to leaving the void in the middle, with the library historic modernist buildings—additions to as the bridge between departments, both the Fogg Art Museum and the Guggenheim. literally and physically. These were clues for His love for Yale and his tremendous respect us as to how to solve the problem. for Paul Rudolph made it perfectly clear I think the disposition was very that his selection was a no-brainer. Sid was clear once we understood the library had to very pleased with the choice. When Charles be on the ground and basement levels and presented the first scheme to the president that it was the connecting space. Then we and the other officers, one and all were took Rudolph’s ceremonial stair as the idea bowled over. By the time he was finished we of entering the exhibition floor, with the entry were saying, “Let’s go ahead and move it to to the new lecture hall and the History of Art working drawings.” Department reception, which established Charles Gwathmey To me, the the vertical disposition. The offices for the first priority was to clarify the true essence History of Art Department in Loria start on of Rudolph’s intention. In a way that meant the fourth floor and go up to the seventh, and pulling everything out that was vestigial, then all the connecting links to the A&A from added, and compromised and making the the new core were self-clarifying. Architectur- building the pure diagram. With the new ally, you see Rudolph’s building in so many Original parti diagrams of Paul Rudolph Hall and Loria Center for Art History, Gwathmey Siegel & Associates addition we could take the circulation and different ways, through glimpses and transi- Architects, 2007. the elevators out and add a new service tions between the two buildings, and you’re core with the bathrooms to make his build- always looking back and forth at architecture, ing absolutely pure. Rudolph actually had which reinforces the A&A Building and proposed an addition off the core to the creates a dialogue. What was important to north. me also was the elevation of the fifth façade RS Remember too that Jim Polshek as the green roof over the lecture hall and (’55)—as the master-planner for the Arts the fourth-floor terrace interconnecting the Area, of which this is a part—had done a two buildings, instead of looking down onto massing study for the new building and had generic roofs. The great hall skylit roof of made design concepts for the restoration. the library is also an elevation with content CG Which I never looked at. As a and memory. designer I didn’t want to be influenced by RS When the dean’s design adviso- them. The only plans I really looked at were ry committee—made up of the president, Richard Meier’s, and I used them to initiate the officers, myself, and former deans Cesar our first meeting with the library and the Pelli and Tom Beeby—had a meeting in History of Art Department. I told them, “He’s which Charles presented his design, Cesar a friend, this is a little awkward, but tell me, said, “I think you should consider limestone Section what didn’t work?” And they were very clear. for the building.” Everyone looked like deer of Paul RS The Arts Area committee, caught in headlights: “Limestone, that Rudolph consisting of the deans from the various sounds very expensive!” But Cesar was very Hall and Loria Center schools—art, architecture, music, drama, quiet and firm. The limestone is jaw-drop- for Art and the directors of the British Art Center ping; it’s fantastic. History, and the Yale Art Gallery—was established to CG When I presented the building to Gwathmey develop a workable plan that would improve faculty and students in September 2006, I left Siegel & Associates all of the arts facilities according to a realistic heartsick because Vincent Scully said, “You Architects, timetable. When I became dean, the commit- should make it all glass.” M.J. Long said, 2007. tee had already approved Deborah Berke’s “The elevation is not resolved.” Everybody renovation of the former Jewish Community said the plan and sections were amazing, Center as a home for the art school. Key to but the façade didn’t do it. I drove back to 03 CONSTRUCTS YALE ARCHITECTURE FALL 2008 INTERVIEW: CHARLES GWATHMEY & ROBERT A.M. STERN

Sketch concept of Paul Rudolph Hall and Loria Center for the History of Art, Yale Univer- sity, Charles Gwathmey, 2007.

hung ceilings with asbestos that was ripped out in the 1970s. To create the effect of the original ceiling plans we adopted a European radiant ceiling panel, which both heats and cools and reduces the ductwork by 60 percent. We added two zinc-clad mechanical towers behind the Rudolph towers on the west side, that are almost like shadows— you would never know they were there. Our lighting consultant, Robert Leiter, reinvented Rudolph’s lightbulb into a fixture, which is incredibly efficient. The mechanical interven- tion was very inventive for Yale; they resisted it for a long time. The project is LEED Silver, which is amazing if you think in terms of Rudolph’s original building. Interior rendering of New York sick; I couldn’t even eat dinner, RS In Rudolph’s day students the Robert I was so upset. I came back to the office plugged in an electric pencil sharpener, a Haas Family and said, “I’m relooking at the elevations.” lamp, and a radio and were in business. Arts Library, Peter Eisenman called and said, “Bring the Today the most advanced electronics have Gwathmey Siegel & limestone to the ground.” I knew that was a to be threaded throughout the building. The Associates, mistake because Peter got interested. So I A&A was environmentally challenged— 2007. raised the limestone and changed the entire uninsulated glass and exposed concrete image of the building; Bob was in Russia, so made it difficult to regulate interior tempera- I sent him the drawing because the drawings tures. Students used to wear mittens in had already been approved, and they were the winter and bathing suits in the summer going ahead. They went crazy. That was my when thermometers would register 110 student-teacher instinct; if it doesn’t read, degrees; there was no way for the heat to be you can’t explain it away. And I felt it wasn’t dissipated. The concrete was also a problem, reading, despite all the different takes. So with spawing, revealing rebars placed too lifting the limestone and making it the same close to the surface. New windows installed size as the Rudolph glazing was major. Bob in 1994 were accompanied by pre-cast caps was incredibly supportive. were used to cover over the worst condi- RS I’ve never been on a job as tions, like in dentistry when teeth are capped much as Charles has been on this job. When after grinding them down. But the caps I couldn’t see him in New Haven, he called had proven to be the wrong waterproofing me up in New York to say, “I have to send solution, and it was much better to go back this over to you.” And then two minutes to the true concrete. later, “What do you think?” Charles has had I can think of no more difficult task great people on the project who should be than the design of an architecture school. acknowledged: Tom Levering, Elizabeth In this case, when you consider the number Skowronek, and Steven Foreman. And of people who teach here, went to school associate dean John Jacobson (’70), who here, who are also leading designers and are coordinated the project on our end, is as heavily invested in this building, it’s like being passionate as Charles is about the building. out in the blazing spotlight on center stage: He wanted to protect every square inch for Charles has been a strong performer. the school because, when I was a new dean, CG It was very complimentary for we had to sign what I’ve come to see as a me to have been asked to do this because I pact with the devil stating that we could have loved Paul and because of my time here. Paul Paul Rudolph Hall and the Loria Center for the History of Art, Gwathmey Siegel & Associates, 2008. 57,000 square feet of space for the school used to recruit Der Scutt (’61) and me to ink and not a square inch more. Yet any school perspective drawings of the building at night. that is healthy is growing all the time. Another As he designed, he struggled about being issue is that of the construction schedule. A across the street from Louis Kahn. For me to Building Dedications Mellon Professor of History of Art, as well as thing I was committed to as dean was that be able to come back and restore the build- two graduate students Shira Brisman and no student was going to receive a degree ing and also do an addition is a great way to On Friday and Saturday, November 7 and 8, Courtney Martin. from this school who hadn’t spent at least express my gratitude. 2008, panel discussions, tours, and exhibi- There will be two School of Archi- one year in the A&A Building. That is why I RS I watched the A&A being built, tions will formally inaugurate the renovated tecture panels of alumni from the Rudolph insisted that when we were in the Sculpture was in the first class that moved in, and used and restored A&A Building, renamed Paul era beginning at 10:30 a.m. with Stanley Building—which has been a perfectly good to take people on tours, including Ada Louise Rudolph Hall and the new home to the Art Tigerman (’60), Allan Greenberg (’65), and summer rental—we had to go back home in Huxtable. When the building opened it was History Department as the Loria Center with Alexander Tzonis (’63). At 1:30 p.m. a second a year. The A&A is a fundamental part of the the Guggenheim Bilbao of its day and was the Haas Family Arts Library. panel will be held on Rudolph’s legacy and culture of the school. as much the subject of mass-media scrutiny. The program will begin on Novem- will include Sir Norman Foster (’62), Lord CG The other commitment of the Later it became so obscured by renovations ber 7 at 6:30 p.m. with a welcome by Dean Richard Rogers (’62), and architect J. Carl university was to make the building sustaina- that nobody remembered that there were Robert A.M. Stern in Hastings Hall, followed Abbott, Jr. (’62). Both panels will be moder- ble. We had to air-condition it while maintain- ceilings that had been ripped out because of by a lecture, “The Enigmatic Architecture ated by Paul Goldberger. ing the integrity of the original ceiling planes, the asbestos. Let’s not forget that part of the of Paul Rudolph” given by architectural Student-led tours of the build- where we hid all the new mechanicals. In story. And a lot of people are going to come historian Timothy M. Rohan who has also ings will be held on Saturday morning. the end we decided to replace the windows, back to see whether we blew it or not. As far curated the exhibition, Model City: Buildings And Timothy Rohan will lead two tours of which wasn’t part of the original project. We as I’m concerned, what Charles has accom- and Projects by Paul Rudolph for New Haven the exhibition, Model Cities. The Haas Family didn’t even know if we could get the glass. plished is fantastic, amazing, a thrill. Seeing and Yale. The lecture will be followed by a Arts Library will feature the exhibition, RS In 1994 the original windows had this building come back is one of the greatest reception in the Architecture Gallery. An Introduction to Arts Library Special been replaced, and indeed Rudolph made a things I’ve experienced. Concurrent panel discussions Collections. sketch of how the windows should be done. sponsored by the Art History Department The Dedication Ceremony and Fred Bland (’72), of Beyer Blinder Belle, and the School of Architecture will begin at Ribbon Cutting will take place at 3 p.m. which was the firm responsible at the time, 10:30 a.m. on Saturday, November 8. The Welcome and remarks will be made by Dean has that drawing in his office. Sadly, Rudolph Art History panel, “Art History in the era Stern and architect Charles Gwathmey and Fred were constrained by what was then of Globalization,” focusing on methods of (’63) will speak on his design concepts for available. Charles is able to benefit from the understanding trans-cultural exchange will the building. Sid R. Bass (Yale College ’65), incredible leap in glass technology today. be moderated by David Joselit, Professor Jeffrey Loria (Yale College ’62), and Robert CG Atelier Ten environmental and Chair, Department of History of Art Haas (Yale College ’69) will make remarks, consultants gave us good directions and and will include Yale History of Art profes- and President Richard C. Levin will dedicate evaluated the solutions. The building had sors, Mary Miller and Tim Barringer, Paul the buildings. 04 CONSTRUCTS YALE ARCHITECTURE FALL 2008 INTERVIEW: CHARLES ATWOOD & DAVID SCHWARZ

Charles Atwood, vice Schwarz (’74), an development and chairman of Harrah’s architect based in urban-design issues Charles Atwood Entertainment, Inc. Washington, D.C., for Constructs. and the fifth Bass will be teaching a Charles Atwood will Visiting Fellow, and studio together on give a lecture on Davenport Visiting a site in Las Vegas. August 28, at Yale. & David Schwarz Professor David They discussed

Nina Rappaport As a financial direc- NR Chuck, how do you engage tor and vice chairman, how did you become architects and urban designers in this involved in real estate development, and process? Do you initiate proposals? Do what is your role in Las Vegas with Harrah’s in you have your own vision, or do you look to new mixed-use development? architects and designers for advice? Chuck Atwood I was first involved CA I have a performance strategy with large, mixed-use developments in New and a specific idea of how the land should Orleans, where I went to school and worked be used. The vision is to have people move for ten years. I have worked for Harrah’s on from place to place within our neighbor- a number of real estate developments for hood and make The Strip, specifically the nearly thirty years. As vice chairman, I am in corner of the Las Vegas Strip and Flamingo charge of our new development and design Road, the center of activity for the city. The and construction. buildings—taken together—constitute an What we are doing in Las Vegas is iconic place. If you saw a picture of it you unusual in our industry. Historically, build- would know immediately it was Las Vegas. ings in Las Vegas were fortresses; once We have engaged a wide variety of people guests were inside, they were not intended from around the world to create just such to go out. This contradicts demonstrated an environment. That environment is “the consumer behavior—people want to have place” in Las Vegas. It is the equivalent of the a fun entertainment experience, including Spanish Steps in Rome, Piccadilly Circus in visiting an average of 5.5 resorts each day. London, and Red Square in Moscow. We’ve We now have acquired enough facilities looked at a wide array of alternatives and are and land to make it not only possible but narrowing that array to a plan that is iconic, desirable for customers to move from place guest-friendly, environmentally appropriate, to place. This new vision requires a more and, importantly, affordable. expansive approach to Las Vegas as to how NR Who did you bring in to assist real estate is organized. The 350 acres of the process? Rendering of interior of lounge in Las Vegas Arena, Harrah’s, Las Vegas, 2008. contiguous land Harrah’s owns is prime real CA In addition to David Schwarz, estate located at the heart of Las Vegas’ James Cameron helped with some very world-famous Strip. With nine resorts and interesting things, putting technology and more than 20,000 hotel rooms already in entertainment together with architecture. We place, the objective of the development is to also consulted with Civic Arts/Eric Kuhne add new attractions while at the same time (London) on the overall plan; Hettema Design ensuring the contiguous resort’s interstitial (Pasadena) focused on developing a relevant space seamlessly connects the properties. “place” for Gen X; Priestman Goode (London) NR Has the attitude changed now is working on a renovation of Imperial Palace; that commercial and entertainment industries 360 Design (Kansas City), HOK Sports in Las Vegas have become more involved in (Kansas City), and Make Architects (London) urban-planning issues? How do you fit the are working on an arena. We work with many Harrah’s complex into the urban design of people and firms including a number of local Las Vegas and incorporate your concepts architects and consultants. into creating a city? NR David, how did you come to CA I would say Las Vegas is growing know Chuck, and how has your firm worked up. It is now being developed around modes with developers over your almost thirty years of transportation other than just the automo- as an architect based in Washington, D.C. bile. Historically, the major highway, the Las and Forth Worth, Texas, with many clients in Vegas Strip, was for automobiles and not the western U.S.? very friendly to pedestrians. Over time that DS I met Chuck through my work roadway system became insufficient to carry on the Smith Center for the Arts, in Las all the traffic. Now there is another “roadway” Vegas. It comprises four buildings in one to move people from place to place, the Las city block and demonstrates a new vision Vegas monorail. It is interesting because for the city. It is far more urban than most of we can have architecture on both sides of what has been built so far in Las Vegas and the highway and both sides of the monorail. is located in a vacant sixty-one-acre tract Now that we have a mass transit system, it is of land that the city has master-planned for possible for people to abandon the automo- new, urban development. I was extremely bile. Further, the pedestrian experience can impressed with him as we went through the Rendering of Las Vegas Arena, Harrah’s, Las Vegas, 2008. be much more vibrant as buildings are linked development process. Chuck was versed together in a number of places—all this is in what the performing arts can do for the urbanization in my view. city and what the physical implications of NR I see this as similar to the that are. He is very interested in urban and tendency to cluster various venues related art issues in the context of the facility. Since to the same commercial urban condition, the the ownership of Harrah’s changed hands way gallery districts develop in cities such as recently, the company wanted to take a new New York. look, and Chuck was interested in a fresh CA For us, it is all about guest take. I was lucky enough to be chosen to experience; what makes our development help. We’ve done a great deal of planning all unusual is that we want to encourage people over the States. In Texas, for example, we’ve to enjoy a wide variety of experiences. been studying the issue of pedestrianism for One place might have a set of experiences twenty-five years. Our job is to help Harrah’s designed around a particular demographic develop an overarching vision of its land and group, but those same people might also be the guardian of a neighborhood, not just enjoy experiences with other demographic a project. There is a mixed-use pedestrian groups. That would never have happened spine that will connect the Harrah’s proper- ten years ago; guests would not have been ties on the Strip to Koval Street and make encouraged to mingle and move about. far more of their land accessible from the Today the city is more enlightened about how Strip. We have done quite a bit of work for people use entertainment spaces, so we now Disney that had a series of similar problems. make it easy to move around. I think what is interesting is that Las Vegas is NR David, how do you see Las beginning to look at how to be greener, how Vegas from an architect’s perspective? to impact the environment minimally, how to Do you also feel it is in a new phase that be more responsible as well as more sustain- recalibrates what is there and revises former able. These are all very good things given our mistakes? changing times and will create a much more Aerial David Schwarz One of the interest- enlightened Las Vegas. photograph ing things about Las Vegas is that there is a NR What have your relationships of Las desire among very diverse communities to with developers and clients been like? When Vegas, showing have a “real city.” The impetus is a broad- does it work best, and what is a successful Harrah’s based desire for Las Vegas residents to look project from your perspective? develop- outside their borders and to understand DS We’ve always said the best ment site. urbanism. How do you create a neighbor- client is the best student. There is never a Courtesy of Harrah’s, hood? Across all sectors of Las Vegas there clear solution to a problem at the outset, so 2008. is a desire to grow up. Harrah’s is choosing our role is to spend time with our clients to to capitalize on this desire to become an both teach them as well as learn together. authentic place. They have a great deal to teach us about their 05 CONSTRUCTS YALE ARCHITECTURE FALL 2008 INTERVIEW: CHARLES ATWOOD & DAVID SCHWARZ

facilities and how they want them to perform. CA My talent is on the money side, We learn how to deal with our clients’ needs. so virtually every project has unexpected We were attracted to Harrah’s because we aspects—some good, some not so good. consider our firm to be a populist firm and are I am always surprised but pleased to see less concerned with the architectural critical a project built within the budget. We work press than creating places people love. The very hard to be sure we design projects client is an essential part of the team. that are viable economically. But we must The arena in Dallas was a complex keep the excitement of the building. One endeavor, particularly for the client. How do way to accomplish that is to be very clear you create an important civic structure that about project objectives, including target has the necessary returns? The arena has customers, program, and budget, right at the the highest dollar value of indoor advertising beginning of the project. We have found that of any arena built to date. How to measure talented people can collaborate to create revenue for architecture is a really important very special places if they understand the issue for people who are in the business. problem constraints right from the beginning. A concert hall is complex: the client wants Then it simply becomes all about iterating world recognition and perfect acoustics. How through the process of issue identification do you give the client something that suits and resolution—all while keeping a clear their personality? We learn together. idea of what makes the place special for David M. Schwarz NR Chuck, how do you see the the guest. Architects, collaborative process with architects? Do DS Chuck undersells himself. What Maddox– you give them a specific assignment and he is best with is numbers. But the fact Muse Center, then leave them alone, or do you work that he is teaching the studio at Yale with Fort Worth, together? And how do you avoid the cookie- me shows his level of curiosity about other Texas, cutter development approach in casino things. On the Smith Center project, he is out 1997. design? of his comfort zone, but that does not mean CA The process must be collabora- he doesn’t have a great deal to contribute. tive. While we can express how we want it to I’ve been most impressed with his insights operate, we need assistance in helping our and how quickly he grasps spatial concepts space come to life as a physical entity. We and can talk articulately about them. One of seek to avoid the cookie-cutter approach by the great things about this studio is that he is understanding how different people want to going to teach but will also learn a great deal. use different spaces. Las Vegas has a very CA I intend to learn more than I strong, already-built context. The physical teach. I have taught classes around strategy constraints are strong, and we don’t want to and finance but nothing so far outside of my repeat the same thing over again, so creative comfort level as architecture. David assures reuse is critical. me that I will do well. Having a willingness NR How do you make a building to listen and accept many different points of significant in a city full of iconic buildings? view is interesting to me and has made our Do you want an iconic building, and does the projects more interesting to guests. I trust architectural form matter to you? that trait will make for an interesting studio. CA That is a very interesting NR: What is your interest in Las question, and it is not just a problem for Las Vegas as the studio site and subject, and Vegas. The number of developers who want why now? iconic buildings is seemingly endless. There DS It is the fortieth anniversary is a very similar feeling to the buildings in Las of Denise Scott Brown and Robert Venturi’s Vegas. The Las Vegas Strip is what unites “Learning from Las Vegas” studio at Yale. It these places today. A drive down the Strip seems appropriate to visit the subject now will quickly give you a sense of that feeling. as we have had a great deal of experience We will do something different, which is reuse from the world at large and are interested in existing buildings and tie them together with learning how the lessons we’ve learned in new entertainment spaces. In earlier times other places are applicable to Las Vegas. The a developer would tear down a building to world has changed significantly, and enter- build another designed to be over-the-top. tainment is a part of everything. I first became We are determined to take existing buildings involved in Las Vegas when Oscar Goodman David M. Schwarz Architects, model photograph of Smith Center for the Performing Arts, Las Vegas, Nevada, 2007. and make them as over-the-top as new ones, became mayor and just looked at downtown; by connecting them with interesting spaces. he was always interested in urban issues. To do that, we’ve assembled a team that is Las Vegas is a city in a very nascent phase of sympathetic, yet has different visions of the defining itself internally rather than externally. place. What is critically important is to find There is a desire to make Las Vegas a real people with a common vision of the outcome place since the permanent population is but still have sufficiently different ways to much larger than it was ten years ago. How execute that work so they can produce a to make the Strip a more pleasant pedestrian place with variety and excitement. We believe experience is a fascinating question. It is to create what feels like an authentic neigh- interesting to look at human behavior and borhood requires a diverse set of views. The see how you take some of that indigenous Las Vegas Strip has been built over time by excitement and instill it in placemaking. different people, and we need to authenticate This is really an opportunity for that. The trick to making it accessible is the students. We will expose them to the people art of collapsing time; we need to create involved in place-making in Las Vegas at the something that feels like it has evolved over moment—businessmen, entertainers, archi- time. Our site is 350 acres, and half of it is tects, and planners—to give them real-life as built out today; how to make it feel like one well as design experience. piece is part of the trick. You have to make NR How do you see students people feel like they are in a place that is real contributing to Las Vegas? Are you interested and can understand the function of time in in having the project results be provocative or the creation of place. pragmatic schemes? NR How do you build in a desert DS We are interested in having environment, where there is such a short the students do serious work, not a crazy supply of water? How do you create a building for the sake of a crazy building. We comfortable, high-quality building in a harsh want intellectual justification for building in climate? a certain location. The kinds of master plan DS In Texas, which is like Las Vegas, students make will dictate the need for wild we tend to focus on the heat but should architecture; and as long as the justifica- focus on humidity. In Las Vegas it is quite tion for iconic architecture is real, I will be comfortable in the shade. It isn’t whether it is happy. There are lots of places on-site for hot or cold; it is the time of day. The question fabric buildings and iconic buildings, so the then becomes, how do you design so the students will have the opportunity to do both. user follows the flows of climate? Being able We do not have a prejudice to either. to capitalize on the times when weather is a benefit is quite important. David M. Schwarz Architects, Frisco Square Master Plan, Frisco, Texas, 2001. NR Have you ever worked on a project where something unexpected happened? Have you allowed an element of surprise to come into a project? 06 CONSTRUCTS YALE ARCHITECTURE FALL 2008 INTERVIEW: FRANCISCO MANGADO Francisco Mangado

Francisco Mangado, lecture, “Left-Hand- based in Pamplona, ed Architecture” on Spain, will be the Thursday, September Saarinen Visiting 11. For Constructs he Professor this fall discussed his recent offering an advanced work and issues Francisco studio. He will give a in practice. Mangado Architects, Spanish Pavilion, Zaragosa, Spain, 2008. Photograph by Pedro

Pegenaute. Auditorium under construction, Spain, 2007. Avila Francisco Mangado Architects,

Nina Rappaport The notion of the more angular projects are in the Mediter- nationality for an architect has dissolved, ranean, where the issue of light is critical and for the most part, with the phenomenon should influence every architectural proposal. of globalization over the past fifty years NR How do you integrate the old and more recently within Europe with the and the new on a historically charged site? expansion of the EU. Has your work been One fascinating aspect of architecture influenced by this change, either formally or in Spain is the layering of centuries and in terms of types of commissions? Or do you cultures, including the Moorish, Christian, work to maintain a regional materiality and and Jewish traditions, along with contempo- design identity? rary aesthetics. How has this inspired your Francisco Mangado In conceptual work, and how do the various aspects of terms my architecture is nurtured by its each style manifest themselves today? context, its place. The specific is very impor- FM The conceptual and formal tant to the genesis of the project. Having complexity involved in working in different said this, it is true that in the past few years places with preexisting is fantastic. Spanish architecture has been influenced by It should never be understood as a limitation a global way of making architecture. This has or a problem. It is better to face these preex- not always been fruitful and positive and has Francisco Mangado Architects, model of Avila Auditorium, Spain, 2007. isting conditions with an open mind, without resulted in certain superficial and calligraphic preconceived notions, and to be conscious approaches to the solution of architectural of the time in which one lives to allow for the problems. However, on some occasions it best results. Buildings such as Pamplona’s has enriched a way of working. For these Convention Center and Avila’s auditorium reasons I think it is intelligent to maintain can be understood only from this perspec- a specific contextual approach without tive. For example, the building in Pamplona undervaluing global influences. physically incorporated its interiors as part NR How has the new European of the Renaissance city’s walls, generating competition system played a role in your a spatial and formal richness. That has to projects in terms of expanding your practice be done from a certain distance, with the outside of Spain? Do you think the more capacity of temporal abstraction, otherwise open competition system is working? one could be guilty of simplistic readings. FM We are participating in more NR Why are you interested in and more European competitions. This Francisco teaching at Yale, and where have you taught summer we are preparing a proposal for the Mangado previously? What will the focus of your studio International Criminal Courts at the Hague, Architects, topic be? and we have projects in France and Portugal. Palencia FM I taught for four years at the Stadium, We are also designing the highest tower in Spain, Harvard Graduate School of Design, and Buenos Aires. I firmly support the competi- 2007. I have a tenured position at the Pamplona tion system in Europe, and particularly in Photograph Architecture School, in Spain. I have good by Roland Spain, through which all public commissions Halbe. friends at Yale who I admire and value. They and many private ones are decided. It is the have convinced me the school is full of only system that permits one to maintain a life and challenges, and I am hopeful I can level of investigation and architectural quality the notion of “green architecture”—I see it mentioned come from very different architec- transform this fantastic opportunity into a in any country, as well as allowing many great as a marketing scheme. I believe the most tural realities. With the Palencia Stadium, the great experience. The students will confront young architects to produce architecture. I critical factor in architecture is common site is already defined by an urban context a studio in which investigation substitutes think the general quality of Spanish archi- sense. If you take into consideration siting that helps to transform the stadium into a speculation, intelligence replaces imagina- tecture has a lot to do with the competition and contextual issues, such as orienta- civic building whose vocation is urban use as tion, and sensibility supplants calligraphy. I system. tion and local climate conditions, you can opposed to infrastructure. In the case of the will try to teach them that what an architect NR How are you involved in the design a building that can be sold as “green” Avila Auditorium, the city walls give the site needs is the intelligence to detect problems direction of a new project? I understand architecture; but as an architect it is your an historical memory; the building sinks into and the sensitivity to resolve them. The that in competitions the client doesn’t meet responsibility to consider and resolve the the topography so it does not compete with effects of mass tourism pose a significant with the architect until after the architect is real environmental problems that exist on the the walls for attention. Thus the topography architectural challenge to a large extent of the selected. At what point do you have input site through architecture. I understand the allows us to design a respectful solution in Mediterranean coast. The sudden increase in into the program? terms green, bioclimatic, and sustainable as response to the history of the site and its population density has facilitated economic FM I believe part of the responsibil- catchphrases that may or may not represent magnificent landscape, as well as a structure growth, resulting in a disorderly, and visually ity of the architect is to advise the client on real solutions. Recently I have seen cases that is intelligent both constructively and chaotic urban, environment and a shortage of the program and work together in a dynamic of poorly oriented buildings that claim to be financially. civic services especially in the area between way. The architect is there not only to answer “sustainable” because they have a couple of NR There are modes in which your the beach avenues and inland development. technical questions but to offer conceptual solar panels. This is disappointing to me. In projects change forms from cubic rectilinear In the past few years, Spanish Mediterra- guidance. European architecture is a holistic short, rather than “green” architecture, I am to those surfaces that fold or bend to a nean authorities have initiated a large-scale enterprise—it’s not limited to a specialized interested in intelligent architecture. more angular abstraction, such as the Leioa restructuring process that questions the service. Architects are involved in every NR How do you approach a project project. How is this a result of your relation- degree to which architects can influence aspect of the building, from design through in terms of the site and physical context? ship to the site? urban transformations with individual build- construction and often even after the client How would you compare the Palencia FM I do not worry much about ings, address more of the environmental has moved in. There is a back-and-forth that Stadium and the Avila Auditorium, where the the geometrical component with which I and infrastructural context. In other words, is continuous throughout the process rather natural contours of the site merge both the express myself in each project. It is not the does the necessity of circumstance merit a than segmented into different professions. rectilinear and orthogonal? How does that most important part, given that I am not very re-envisioning of the architect as generalist? NR Your latest project in Spain is relate to sustainable issues, if at all? interested in the calligraphic aspects of archi- The studio will develop an urban design the pavilion for the Zaragosa Expo 2008, and FM A good contextual analysis tecture. I believe projects should be focused project (a public park and network of pedes- the theme is sustainability. Where would you where the place is critical, is seen in a around questions of site, space, materializa- trian streets) and then a specific architectural place the interest in sustainability in Spain relationship with the project that is always tion, program, and even the ethical questions intervention (a mixed-use hotel) in Gandia, a in the context of traditional building types open and suggestive. Each project is distinct, that present themselves at the time of making city of the Spanish Levant, Valencia. such as courtyards and fountains, as well as even if it belongs to the same conceptual architecture—issues that allow for a serious window shading? What is your own interest whole. Before I draw a single line I like to and not simply a stylistic solution. The obses- in incorporating sustainable systems for see the site and experience it in an intimate sion to search for calligraphies that can be green architecture? fashion. Sometimes, in an almost intuitive discerned as similar, project after project, is FM The Spanish Pavilion was fashion, I discover an element I immediately not an issue that interests me. In this context inspired by the metaphor of a bamboo grove, realize will be fundamental to the project. the rectangular or angular forms you refer to but it is in fact ceramic-clad steel. The build- My work has a lot to do with appreciating are based on the ideology of the project and ing functions as a system. I do not advocate the physical site. The two projects you its contents. For example, the majority of 07 CONSTRUCTS YALE ARCHITECTURE FALL 2008 FRANK O. GEHRY

Eero Saarinen Visit- of Architecture, ing Professor Frank called “Work,” on O. Gehry gave a April 10, 2008 which Frank lecture at Yale School is published here. O. Gehry

Next to food and sex, Frank O. Yale is my favorite thing. Gehry Architects I don’t know why food with David Childs, got first billing. Last time I Skidmore, gave a talk here I showed Owings & Merrill, New Frank O. everything I did since my York Times Gehry Building Architects, bar mitzvah, so tonight I competi- One Times tion entry Square thought I would show the model, New concept, buildings that never got York, 2000. 1997. Francisco Mangado Architects, Avila Auditorium under construction, Spain, 2007. Avila Francisco Mangado Architects, built. I am going to leave it

up to you students to go York. They wanted to brand the building, back and find the same and they had to leave the advertising. I called a zoning lawyer and asked him, “What ideas in the buildings that can you do?” He said, “Anything that is did get built, but I wasn’t temporary you can do.” I thought we could use the mesh and pull it tight against the consciously doing that. It building, and then take the twenty-six figures was a process. of Time Warner—Bugs Bunny, Superman, Batman—and make a big cuckoo clock; at noon Superman would push out and then at night Batman would go out, and it could light up. All night the figures would be snoring; you Frank O. could hear the building snore. I went wild with Gehry it. We had smoke puffing out for Bugs Bunny Architects, so Elmer Fudd could shoot him. Time Warner Peter B. came and took pictures of the model and told Lewis House, me, “Frank Gehry, you are a genius; this is so model great.” They got in their cars and left, and I 1985-1995. never saw them again. The Corcoran Museum, in Washing- ton, D.C., has a space between two build- Frank O. Gehry lecturing April 10, 2008. Photograph by Tom Bosschaert (’08). ings, and I wanted to knit them together. We won the competition, but of course when we found out the real program I started playing I started playing with chain-link with different kinds of ideas. You would enter fencing because so much of it is produced in on one side and cross over the arts school our culture, and everybody hates it. I became in the basement so you could see the art fascinated with denial mechanics, which students. I was very sorry about this one. is what happens in our built environment. For competi- People hate the cities we’re in, hate what tion that I did with David Childs, we didn’t they look like; they don’t like the buildings, lose and we didn’t win because we pulled out and they are always complaining. Then when before they selected anybody. I thought we Frank O. somebody does something different, they Gehry were being selected, but I went to a meeting get pissed off. This denial thing is sort of the Architects, with the contractors and they told me I had to same as the chain link. Corcoran be in New York every Tuesday at ten o’clock, I did a beach house in Malibu, and Art Gallery and I said, “I live in L.A., so I can’t.” They model, the people used it only on weekends. They Washing- said, “That is the only way you can do the wanted to be able to lock it up when they ton, D.C., job,” so I said, “Well, I guess I’m not going weren’t there, so I decided to make a chain- 1999. to do the job.” I called The New York Times link fence around the house and use it as the and withdrew. I suppose I was petulant at the architecture. It scared them, so they didn’t moment; I could have stayed in and strug- build it. really need housing. The nicest thing I found from the developer about doing this kind gled with them, but I didn’t. I was interested in the slapdash there were tiny wood houses, so I decided of curvy stuff was horrific because it was I collaborated with Greg Lynn construction in , the tract houses, that the downtown could have an amphi- very expensive. on a competition for Sentosa Island, off and the energy it created. I started playing theater of little stair-stepped wood houses Peter Lewis’s house in Cleveland the coast of Singapore, with an aquarium, with that idea. This scared people. that would look over a pond. turned out to be a four-year study. I never hotels, a children’s park, and, buried in there Everybody was talking about solar Then I started this fish fetish as my expected him to build it, but it was fun to somewhere, a casino. We did a garden with energy, so for an auditorium project in a San anger with post-modernism rose. I said fish work with him on it. I started modeling things interactive robots. We worked with Peter Fernando Valley arts park, I decided to make are three hundred million times older than with red felt, and then I would spray it with Arnell, who has done a bunch of these crazy the solar energy the decoration and play with man, so if you are going to go anthropo- wax and fix it, and then put it in the computer. things. He invented these weird figures. The that idea. I put a pineapple on top because morphic, why not go to fish and start at the I was fascinated with this kind of planning, guy who did Free Willy was going to build I had just been to Sant’Ivo and saw Borro- beginning. I started building those fish, with this figure that the plan became. A figures as robots, and they would be in the mini’s pineapples, so it was an homage to the and they took on a life of their own. And it figure appeared that looked like some sort aquarium and you could call them—a kid architect. The people of the San Fernando wasn’t because of my grandmother’s fish of prehistoric horse’s head, which I was then could call his figure, and it would come to Valley thought I was making fun of them, in the bathtub. able to use again. did the him. Originally these were going to be for so they fired me—because of the bloody One of my favorite things was a guesthouse, which was a riff on Hermann show, so they could do acrobatics and have pineapple! Leo Castelli event that Barbara Jacobson Finsterlin. Cirque du Soleil. We actually got into a very I was fascinated with the idea in organized. Everyone was to build a folly. Mine Telluride is very conservative, real collaboration so I don’t know where Greg California that you could have a series of was for a rich guy in Beverly Hills who had and they don’t allow very much. In fact, ends and I start, and where I start and he rooms that are individual buildings. I think everything. He would have a prison for when the guy on the next lot in the middle of the stops. won the competition. it was my early urbanism: How do you put he caught a burglar, and then the fish was a 100-acre parcel, when he heard I was going Along time ago in Hannover I did a buildings together? I heard Philip Johnson nice room where he could talk to the burglar to do a house for Jay Chiat, sold his lot. tower with a little twist in it, and the reason for give a lecture once about one-room buildings until the cops arrived. I then decided to do something a little more the twist was to read it from the plaza. Then I being the best architecture, and I took that They tore down my building at the adventuresome: I wanted to do it in black put three of them together, one on top of the to heart. I thought, if I can do five one-room University of California Irvine last year. The copper. I thought since he goes there only other, as a twisting tower. I did a vodka bottle buildings that would be great! word in the press was that they were tempo- in the winter the black-copper figure against with my son, who is an artist, and whenever In 1959, when I was very influenced rary buildings, but I was never told that. They the snow would be beautiful. But we didn’t anyone asks me to work with him it’s hard to by Harwell Hamilton Harris and Frank Lloyd wanted me to protest it, but I think you live build it. refuse. I did a bunch of building studies using Wright, I did a house. Some new people and let live. I don’t go protesting things like In Mexico City with David Childs twists. I did hundreds of them, and none of bought it, and they wanted to add rooms. I that. Progress is progress. and Riccardo Legorreta, David asked for the them are going to be built. was still on the Philip kick of each building In Turtle Creek, Dallas, I made tallest tower because he is bigger. Riccardo’s The final thing that isn’t going being a one-room building but touching condos and office buildings. I always liked was the most important because it was to be built is my house. I bought a lot in one another. My clients went to the Bel Air this one. Some of the ideas of this are things Mexico City, his home, so I took the smallest Venice to build a house, and I got all excited Association and asked them to not approve that I have taken into the project. one. I am showing it in relation to the skyline about these big pieces of lumber and doing the building because they were afraid to build Madison Square Garden had a thing in Brooklyn. So these ideas were something interlocking, like the great Roman it, and they didn’t want to tell me. competition, and I was on a team with David percolating. bridge or Leonardo da Vinci’s interlocking Bob Stern, Stanley Tigerman, and I Childs of SOM and we played off of each The Time Warner people came to wood. I must have done fifty schemes. I can’t did an AIA thing in Kalamazoo, Michigan. The other. I purposely set my building back so me in L.A., and they wanted to put a store build it, and I don’t know why. I need another downtown was pretty sparse, and they didn’t that it silhouetted against his. The outcry at the bottom of One Times Square, in New architect to help me. 08 CONSTRUCTS YALE ARCHITECTURE FALL 2008 SUSTAINABLE ARCHITECTURE, TODAY AND TOMORROW

The sympo- Fund for Advanced Addington. The two sium “Sustainable Sustainability in perspectives here Sustainable Architecture: Today Architectural Design shed light on many and Tomorrow” was at Yale on April diverse approaches convened to mark 4–5, 2008, and to the current issues the inauguration of was organized by and the potential for Architecture: the Hines Endowed professor Michelle future research. Today and Tomorrow

Gro Harlem Brundtland, photograph by Tom Bosschaert, (‘08).

Politics was the second opportu- means of illumination: portable light screens While advocacy efforts need to The Glass Half Full nity to be stressed. As Brundtland noted, powered by flexible photovoltaic lamps. The recognize different urban value systems, the influence of the is still same “soft” technology powers the curtains climate change is undeniably a shared “The glass half full” may seem a perversely so powerful that just the absence of anti- of her prototypical Soft House, working to phenomenon. To respond to the double optimistic view of a world close to running on environmental rhetoric from President Bush both pragmatic and aesthetic advantage. challenge of culture in the twenty-first empty, but it captures the guardedly hopeful means that America can no longer be the Both presentations suggested a century, we need to move beyond the tenor of “Sustainable Architecture: Today and “world’s excuse” to ignore carbon emissions. larger role for postindustrial designers, in that discredited universalism and paralyzing Tomorrow.” It might have gone differently. Yale Hillhouse professor of Environmental buildings aren’t “green” but the behaviors pluralism that characterized late-twentieth- In addressing the environmental impact of Law & Policy Daniel Esty echoed Brundt- within them, and the networks and objects century thinking. Here, Princeton Laurence buildings, the Yale School of Architecture land’s call for political leadership, not just attached to them, can be. However, as archi- S. Rockefeller Professor of Philosophy didn’t open a window, but pulled down walls. at the national level, where regulation is tect and urbanist Daniel Pearl, of Montreal’s Kwame Anthony Appiah’s approach to What could have been an unnerving deluge sorely needed (and increasingly demanded Pearl, Poddubiuk Architectes, made clear, a cosmopolitanism may be useful: he calls for of statistical graphs, thermal imagery, maps, by corporations), but also at the level of networked understanding of buildings must a partial cosmopolitanism—one that honors and cautionary rhetoric instead coalesced the various states. Citing California gover- also extend to the natural urban environment, local practices within a culture of mutual into a substratum of ideas and information. nor Schwarzenegger’s efforts to reduce whether in the use of plantings, the realign- respect for human life. Even though Appiah’s The speakers constructed a platform, not emissions, Esty pointed out that local ment of roads and train stops, or the deploy- book Cosmopolitanism is largely a response for new kinds of building—that would be governments often have more agency than ment of green roofing systems. to culture wars fought over artifacts, its premature—but for new ways of thinking the federal bureaucracies. Buildings may well be the sum of relevance to issues of sustainability is indis- about the building as an artifact. That said, it’s worth recalling the their “products,” but when understood as putable. For today nature is artifice—shaped In her seminal essay “No Building effectiveness of the national antilittering integral to their surroundings they create by the consequences of human actions. Is an Island,” (Harvard Design Magazine 26, campaign during the Johnson administration changes in social ecologies and our aware- The condition of artifice has no Spring / Summer 2007), symposium organ- in the 1960s and the energy-conservation ness of the parameters of community. With laws, only behaviors. We make the world izer Michelle Addington set the conceptual measures of the Carter administration an illustration of the airborne transmission of and it makes us. We are now responsible parameters wide, effectively dispelling any in the 1970s. American presidents can SARS via ventilation flows among the towers for unmaking our dangerous liaisons with lingering illusions that buildings might be be enormously persuasive. The problem of a Hong Kong housing complex, John harmful products, practices, and, yes, entities unto themselves. Her conviction comes when they leave office. Carter may Spengler, the Akira Yamaguchi Professor of buildings. Paraphrasing Addington, we need was mirrored in the breadth and scope of have persuaded Americans to lower their Environmental Health and Human Habita- to dismantle the building as microcosm the other participants’ expertise. Framed by thermostats, but they shot right up again tion at , implicitly made and reconstruct it in the macrocosm of United Nations emissary and former Danish under Reagan in the 1980s. Political cycles the case for the role of graphic designers in interdisciplinary research, to which this writer prime minister Dr. Gro Harlem Brundtland’s can actually undermine concerted efforts to communicating those changes. It used to be would add only one caveat: Don’t discount eloquent keynote address, the conference create long-lasting behavioral change. a commonplace that when the U.S. economy the power of poetics in the interdisciplinary themes telescoped from molecule to mass. However, Esty’s call “to narrow sneezed, the world caught a cold; today a equation. Otherwise we will fail to capture the Neuroscience, cybernetics, and chemistry the zone of uncertainty” about what we can sneeze in Bangkok might actually infect a public imagination and the dormant agency provided the granular foundation for the and should do in the face of global climate citizen in Buffalo. We need designers to map that lies within it. macro-perspectives of environmental change was not confined to legal proscrip- the flow of those germs, their sources in the science, law, and landscape ecology. tions. He also advised designers to recast the built environment, and the social networks —Susan Yelavich Likewise, the particular nature of architec- problem of sustainability by rethinking the they create. Yelavich is an assistant professor in the Art tural practice was balanced by expansive nature of objects and places. Esty reminded The fourth opportunity is culture, and Design Studies Department at Parsons conversations about the nature of the the audience that designers need to meet the both of design and of places. The symposium the New School for Design, in New York. She architect’s education and scope of engage- demand for hot showers, automobility, and speakers’ frequent referrals to sustainable has written numerous essays on design. ment. Viewed as a hive mind, the conference even cold beer—not the presumed demand design in socially minded countries such could also be read as four opportunities, four for thermostats, cars, or refrigerators. If as Sweden and Canada implicitly pointed convergent pathways, for engagement with they do not question existing parameters to the role of culture. However, the habit of the issues of sustainability. and typologies or—as architect Ken Yeang citing these models as “best practices” risks The first opportunity is globaliza- pointed out—the systems that govern not only a lack of knowledge about what tion. Often understood in pejorative terms, architectural education, designers simply Kristina Hill, associate professor and director Brundtland took the position that globaliza- reinforce the status quo. The challenge to of Landscape Architecture at the University tion, in the form of closer communication, architects and designers is to “narrow the of Virginia, called the different “eco-metab- was in fact cause for hope. Since she first zone of uncertainty” without narrowing the olisms of cities,” but, just as importantly, a published Our Common Future, in 1987, scope of research or practice. disregard for cultural memory and history. the basis for the Kyoto Protocol, Brundtland The third opportunity was in the Fred Koetter, former dean and has orchestrated powerful pathbreaking area of restructuring practice, and this currently professor at Yale’s School of collaborations among disparate and often is the real goal of the Hines Fund. Offer- Architecture, made the case for “the cultural contentious voices with conflicting religious, ing a future-forward perspective on the imperative” in his work by citing the old political, economic, and social worldviews. possibilities for ubiquitous computing, section of the city of Seoul. For example, She has been instrumental in framing Joseph Paradiso, head of MIT Media Lab’s the design of his mixed-use complex in issues of social justice, public health, and Responsive Environments Group, showed Chunchon incorporated nonlinear foot-traffic the environment, not only as interlinked but how a building’s virtual architecture can patterns established centuries ago. Further- also as phenomena that can no longer be supply the temporal information needed to more, Koetter posed the question, how do addressed in terms of territorial interests. offset the inherently consumptive nature of we live differently in relation to nature? In Like noted anthropologist Arjun Appadurai, buildings. By adding sensor technologies to Korea the presence of water and birdsong Brundtland implicitly argued for the need shoes, wristwatches, and clothing, patterns were seen to be important aspects of daily to “think beyond the nation.” Instead of of activity and energy consumption can be life, whereas elsewhere other natural forces countries with borders, forming a sixth scape revealed to provide incentive for changing and cultural factors will define the natural to his litany: the climatescape. habits so ingrained that they’ve become all urban context and affect architects’ ability As Lisa Curran, professor of Tropical but invisible. to intervene. As a case in point, Esty made Resources at the Yale School of Forestry and Where Paradiso focused on it clear that U.S. cities’ attention to the Environmental Studies, observed, climate enhancing the communicative properties environment is framed in terms of money change is spatiotemporal. It’s beyond juris- of objects and places in digitally savvy and competition. His argument makes it dictional boundaries and certainly beyond communities, Boston-based architect Sheila tempting to suggest that countries with small the perimeters of any one building. Yet the Kennedy looked at the other side of the landmass (i.e., the Netherlands or Korea) reality is that we are far from the negation digital divide. Working with anthropologists place a greater premium on the environment of nations. More promising is the shift in the in rural regions, which are dependent on than those that have a surfeit of land (i.e., the discourse among nations by virtue of our inefficient (and toxic) batteries to gener- United States or China) and generally put Behnisch Architekten, Scheme for Marco Polo Tower, newfound proximity. ate electricity, she created an alternative first. HafenCity, Hamburg, 2007-08. 09 CONSTRUCTS YALE ARCHITECTURE FALL 2008 SUSTAINABLE ARCHITECTURE, TODAY AND TOMORROW

From left: Stefan Behnisch, William Odell (’74), Patrick Bellew, Ken Yeang. Photograph by Tom Bosschaert, (’08).

Plug Studies of eye movement in portraits, courtesy of Margaret Livingstone Callouts, Joseph Paradiso, 2008.

that have been a crucial (if at times invisible) popular. In the past few years the environ- architects can innovate as environmentalists. Sustainability in support system for the work of architectural mental movement has been coming to terms Even more forceful in this regard Perspective designers. It is through this scientific capac- with the painful reality that the period of its is the basic principle of international- ity, however, that architecture has partici- greatest intensity has also witnessed a broad ism, which was the driving force of the As we come to terms with the enormity and pated in the larger discussion of sustainable shift to the right in economic and political Modern project from its beginning—less complexity of the environmental issues we development, most emphatically in the AIA/ conditions. In a provocative 2005 report on in the International Style perhaps than in are facing, symposia such as “Sustainable UIA “rider” to the Agenda 21 proposal of the state of the movement titled “The Death the Congrès International d’Architecture Architecture: Today and Tomorrow” will sustainable principles that emerged from of Environmentalism,” Michael Shellenberg Moderne (CIAM). As Giorgio Ciucci pointed become increasingly important. One of the the Rio Earth Summit in 1992, as well as and Ted Nordhaus argue this crisis of inertia out in the 1980s, before it resolved to solve problems faced by architects—indeed by all in the proposed contribution of architects is due to a dated assumption that the the world’s urban problems the CIAM was professions—in trying to negotiate a sustain- and builders to the “stabilization wedges” environment exists as an isolated object. As formed to lobby the League of Nations so able future is determining the scope of their approach to reducing carbon emissions, the environmental movement was defin- they would reconsider Le Corbusier’s plan potential contribution. The presentations as formulated by Pacala and Socolow of ing itself and broadening its appeal in the for the organization’s headquarters. If we provided an opportunity to understand how Princeton and popularized in Al Gore’s An 1970s, they explain, it made sense to employ can ignore—or embrace?—the opportunism research relative to a sustainable imperative Inconvenient Truth. Benchmark systems scientific analyses to define a problem as and authoritarianism of the Four Functions is carried out in other fields. such as LEED, which were hotly debated in “environmental” (such as climate change) of the Charter, we can see that the In discussing networked sensor the panel, are premised on the possibility of and then propose “technological” solutions insistence on the global interconnection of technology, MIT Media Lab’s Joseph measurable standards, which were generally (hybrid cars, cap-and-trade systems, carbon our social problems makes the CIAM one Paradiso portrayed attempts on the part of appreciated for their catalytic role in creating sequestration) to sell to governing bodies of the first international non-governmental interactive information science to apply its clear goals. responsible for forming environmental policy. organizations (NGOs), a predecessor to what knowledge and methods to energy efficiency Thus Ken Yeang’s insistence—in his The authors write: “Why is a human-made is seen by many as the only possible mecha- and behavioral monitoring. In detailing comments preceding the panel—on a clear phenomenon like global warming—which nism for environmental change. The success the geopolitics of palm-oil harvesting in separation between the “art of architecture” may kill hundreds of millions of human of this movement is embodied today in the Borneo, Lisa Curran, director of the Tropi- and the “science of building” can be seen beings over the next century—considered tens of thousands of environmental NGOs cal Resources Institute at the Yale School as one of the central conflicts in attempts ‘environmental’? Why are poverty and war lobbying the UN, multinational corporations, of Forestry, demonstrated the difficulty of to transform the architectural profession. not considered environmental problems?” and national governments. Reflecting Dr. applying objective scientific standards to a Indeed, those architectural proposals that All so-called environmental problems, in Brundtland’s provocative affirmation of condition of rapid development overwhelmed intentionally resist the techno-determinist other words, are human problems, social the global condition of our environmental by various political, cultural, and economic model, such as Sim Van der Ryn and Stuart problems, political problems, and cultural struggles in her keynote talk, architects are patterns—more evidence of the effort Cowan’s 1995 “Five Principles of Ecologi- problems. If we are buying time, it is not perhaps compelled to consider the following: required to harness the intellectual power cal Design” or William McDonough’s (’76) because we lack technical solutions; archi- Do we need better avenues to impact local of the scientific field toward the end of “Hanover Principles,” of 2000, do so in the tectural science has provided us with many. and global environmental policy? How can a increasing sustainable practices. Daniel name of a moralistic insistence on designing We are waiting for more people to realize we building or a practice serve as an argument Esty, one of the most prominent voices in the “in harmony with nature.” Seemingly ignorant have a problem to solve and to enter collec- aimed at the public and policy makers for the environmental-policy community and profes- of the work of biologists and ecologists that tively into a shift of priorities: buying time sustainability of everyday life? sor of law at Yale, acknowledged the “zone have reconceptualized the natural world as until amorphous and immeasurable cultural In The End of Nature, Bill McKibben of uncertainty” that necessarily emerges a place of chaos and indeterminacy, such dispositions catch up with technological outlined—in 1989!—the problems associated in attempts to legislate best environmental moralistic calls are out of step with the possibilities. with carbon emissions and the changing practices. Kristina Hill, landscape architect environmentalist community at large. One avenue to explore is the climate. Beyond the human and economic at the University of Virginia; Daniel Pearl, of In recent years analyses and dissolution of the separation between art costs of the predicted catastrophes of the University of Montreal; and Yale’s Fred experiments from the building sciences have and architecture and the science of build- climate change, he argued, by affecting the Koetter demonstrated the difficulties faced coalesced around a central conundrum that ing. Innovation in design practice, we could weather we have left behind the category of by the landscape and urban-design fields as uses architecture to identify the problem propose, is precisely on the terms of the nature as separate from humanity—all of our they attempt to address the social, ecologi- of transforming the culture at large: how to cultural expression of technical innovation. open vistas are effectively filled with subur- cal, infrastructural, and political challenges of provide thermal comfort without destabiliz- There are many examples in the history of ban tracts; all of the birdsongs in our environ- altering the cityscape toward a more sustain- ing the climate system. As William Odell, architecture in which such techno-cultural ments are in danger of being drowned out able condition. Each case represented the principal of HOK and co-author of the innovations are also environmental or at by chainsaws. For McKibben, as for many slow and difficult transition involving creative landmark HOK Guidebook to Sustainable least have engaged with problems related to others, the instrumentalization of nature is an interpretation of data, divergent values, Design, has pointed out, our current attempts that thin line between thermal comfort and indication of the moral poverty of civilization; and—as was evident in most discussions— at managing climate conditions through resource exploitation. One thinks immedi- indeed, environmentalism as a concept—in a certain amount of conflict. efficient buildings are really just about buying ately of Costa and Niemeyer’s use, under the architecture and elsewhere—has been As the emphasis on architec- time—until there is better technology; until influence of Le Corbusier, of the brise-soleil defined by its insistence on the moral value of tural design emerged toward the end of the clients are better educated about environ- at the Ministry of Health Building in Rio de protecting or preserving nature. If the nonhu- proceedings—especially in the roundtable mental impacts, until our “comfort needs” Janeiro (1936–1943)—a climate-control man world is now fully integrated into the finale with Ken Yeang, Patrick Bellew, reflect those of future generations, and until device developed to address the thermal machine of industrial society, as McKibben Stephen Behnisch, and William Odell (’74)— we are all, in effect, “environmentalists.” difficulties of the glass-skin office tower laments, it is in a wildly multifaceted fashion: it became clear the transformation of the However, recent trends are not encouraging. that was also central to explorations in the a global assemblage of human, animal, design professions is no exception to these As Michelle Addington pointed out in setting “plastic” potential of the reinforced-concrete and technological elements that processes complications and conflicts. Changes in the stage for the day’s discussions, we are building. Mies van der Rohe—perhaps the cultural, eco-systemic, economic, and architectural practice have relied on the effectively wasting time in that, despite all the most passive “passive solar architect”—de- political data in the production of consumer principle of interdisciplinary collaboration. technological and organizational advance- veloped in the Villa Tugendhat, of 1930, that “goods” and environmental “bads.” Indeed, the discourse on sustainable archi- ments of the past forty years, the average allowed the fully glazed south-facing wall to Architecture is both a part of this tecture has been concerned largely with the energy load of a building has increased. Our slide noiselessly into a cavity in the retaining network of material movement and a cultural refinement of relationships between archi- real crisis and the challenge presented to wall. This dissolution of interior and exterior reflection upon it. Perhaps by exploring tects and their various collaborators, from the architects today is not in recognizing that space later became a central reference points of conflict within architectural culture functional engagement with environmental things are getting worse—that buildings are point for the California Modern house. Other between the “art of architecture” and the consultants to more abstract management not performing adequately—but in facing the examples abound, from the site-specific “science of building” we can find creative of data from economists, social scientists, fact that things aren’t getting better. We lack imperatives of ’s Usonian opportunities to explode the “comfort/ ecologists, policy makers, and many others. the cultural and political will to effect signifi- Houses to the virtual infrastructures of Cedric climate” nexus. Sustainable architecture was cant change. Price: the history of architectural innovation formed out of the various inexact archi- This is not a problem exclusive to in the twentieth century is in part one of the —Daniel Barber tectural science and environmental design architecture. Another major source of carbon cultural expression of technological innova- Barber (MED ’05) is a Ph.D. candidate at methodologies that have emerged since emissions, the automobile, has a similarly tion relative to the confrontation of personal the 1950s—the same types of analysis and abysmal record since the least efficient cars comfort and the global climate. It is a run-on technological refinement of building systems have been until quite recently also the most sentence like the concept itself: how 10 CONSTRUCTS YALE ARCHITECTURE FALL 2008 SPRING EVENTS Spring Events

new book gives an opportunity to think Liberal: Illiberal Thoughts deeply about the construction of the idea of Modernism without dismissing its ongoing The panel discussion “Liberal: Illiberal attraction. Thoughts,” held on January 28 at the Yale School of Architecture, was organized by —Peggy Deamer Chris Wood, professor in the History of Deamer is professor at Yale. Art Department at Yale, and included Tony Vidler, dean of the Irwin S. Chanin School of Architecture at the ; Spyros Papapetros, assistant professor at Princeton Painting toward University School of Architecture; Profes- Architecture, sor Karsten Harries, of the Yale philosophy department; and Joan Ockman, director of Architecture toward the Buell Center for American Architecture Painting at Columbia. While there was no indication on the program, it was generally known that A roundtable discussion, “Painting toward the occasion for this discussion was the Architecture, Architecture toward Painting,” publication by MIT Press in June 2008 of was held on February 11, 2008, at the Yale Vidler’s Ph.D. dissertation, Histories of the School of Architecture as a conversation in Robert Slutzky, Venice, 1978-1979, Art Gallery, Gift of family, colleagues, and friends, in memory of Robert Slutzky. Immediate Present: Inventing Architectural honor of Robert Slutzky, 1929–2005 (B.F.A. Modernism. The book, covering the different 1952, M.F.A. 1954) and on the occasion of narratives of four historians of architectural the opening of the exhibition, Painting the Modernism—Emil Kaufmann, Colin Rowe, Glass House at the School of Architecture. before Slutzky and were purged phism that plays with architectural-meta- Reyner Banham, and Manfredo Tafuri—had Participants included Joan Ockman of the from the school for their supposedly subver- phoric ideas of centrality, scale, isometric clearly been read by the three other panelists, Buell Center for American Architecture at sive teachings and Colin Rowe quit in solidar- projection, oculus, landscape, and urban but the fact that the audience had not, and Columbia University; Anthony Vidler, dean ity with them, that Rowe and Slutzky drafted memory even as it remains loyal to the was offered no summary of its contents, of the Cooper Union School of Architecture; the two installments of their “Transparency” language of hard-edged abstraction. Indeed, meant that its claims could only be gleaned Robert Storr, dean of the , essay (and notes for a third one). In these if we compare Hejduk’s late drawings with indirectly. Nevertheless, the varying positions and artist Peter Halley, as well as the exhibi- seminal essays they countered the Hegelian Slutzky’s architectonic paintings and his later around the notion of a historiography of tion curators, Mónica Ramírez-Monagut, space-time thesis of Sigfried Giedion with the cHUbE/cHrOME project—a conceptual work Modernism became clear. of the Guggenheim Museum and Jessica idea of a Cubist-inspired modern architecture relating color and architecture undertaken Harries, who was a reader of Vidler’s Hough of Mills College. An excerpt from based on the “most undeviating regard for in Switzerland with two former architecture dissertation at his defense, was clear about Joan Ockman’s talk on Robert Slutzky and formal structure…most remorseless and students—the architect often seems a two things. First, despite Vidler’s claim to architecture follows here. sophisticated visual logic.” These essays painter manqué; the painter, an architect. historical distance, he couldn’t mask his In 1951, upon completing a certifi- were subsequently published in Yale’s journal inherent Modernist bias, which was revealed, cate of graduation at Cooper Union School of Perspecta, nos. 8 and 13/14. —Joan Ockman according to Harries, by the fact that he Art in the heyday of Abstract Expressionism, Meanwhile, in closest proximity, Ockman was most recently the director of hadn’t given up on the Modernist project when the regulars at the Cedar Tavern were John Hejduk undertook his Texas Houses, a the Temple Hoyne Buell Center for American despite the clear evidence (because of the holding forth a few blocks away on University series of didactic Miesian-Palladian designs Architecture at Columbia University. four different accounts) of its constructed Place, Robert Slutzky arrived as a scholar- based on a nine-square-grid composi- nature. Second, this bias—linked with the ship student at Yale to study under Josef tion; and at the same time, he and Slutzky Kantian notion of progress and shared Albers. This was a year after Albers himself devised a pedagogical exercise for begin- Building the Future: rationalism—was anathema to Harries’s arrived from Black Mountain College to chair ning architecture students using the same own anti-enlightenment, antirationalist, and the Department of Design. Slutzky quickly nine-square grid and a kit of elemental parts The University as antitechnological worldview. Ockman, who relinquished what Albers called Schmierkun- that each student fabricated out of balsa Architectural Patron shared with Harries a certain frustration that stlerei and became initiated into the rigors of wood. This teaching tool would be further Vidler’s tracking of four different historiog- geometric abstraction and color interaction. refined in the 1960s in the studios of Cooper The seminal role Yale buildings have played raphies left one wanting to know which one He also studied with Stuart Davis, José de Union, where Hejduk became head of the in the history of American collegiate archi- was “real,” nevertheless was sympathetic Rivera, Burgoyne Diller, Abraham Rattner, architecture department in 1965 and Slutzky tecture was apparent at the symposium to Vidler’s implicit “care” for the Modernist and Ad Reinhardt in the art school, with Paul returned to teach on the architecture faculty “Building the Future: The University as Archi- project, indicating that the differences in Weiss in philosophy, and wrote two theses, three years later. The results would be shown tectural Patron,” where a dozen architectural the four stories of Modernism were not an one on “actual surface” in painting, the other in an exhibition at the historians, architects, and administrators indication of its incoherence but rather the on art, education, and gestalt psychology. in 1971 titled The Education of an Architect, discussed their experiences at several particular historical circumstances of the Equally important in relation to the present accompanied by a large-format square dozen universities, on January 25 and 26 at authors. Papapetros, the youngest and context, though, were the contacts he had catalog, with Hejduk and Slutzky’s distinct the Yale Art Gallery’s McNeil Lecture Hall. least embroiled of the four speakers, was with Buckminster Fuller, Louis Kahn, and approaches to the problem—Hejduk’s Almost everyone showed buildings as they the most skeptical about the whole issue. In Frederick Kiesler, all of whom were teach- object-oriented, Slutzky’s field-oriented— discussed their own work and the history of wondering why a historiography of Modern- ing in the architecture school in the early printed respectively on white-and-black the genre. While pictures of Thomas Jeffer- ism—requiring an assumption of its having 1950s. Consonant with Bauhaus philosophy, pages. Hejduk and Slutzky’s close personal son’s University of Virginia and an image or passed—was such a rare thing, he implicitly Albers was a fervent believer in breaking and intellectual friendship at this time two from Harvard appeared again and again, questioned why we (Vidler, the panel, the down boundaries between disciplines, and also led to a jointly designed exhibition at no school’s campus was as ubiquitous as audience, and potential readers) were still so he fostered exchanges between the art and the Architectural League, in New York, in Yale’s. The symposium grew out of discus- obsessed with Modernism at all. architecture schools throughout his tenure. 1967 titled “The Diamond in Painting and sions art history professors David Joselit, What became clear was the Students regularly engaged in joint studio Architecture.” The installation included Robert Nelson, and Sandy Isenstadt had enormous ambiguity that still surrounds projects like the collaborative exercise titled diamond-shaped paintings by Slutzky and with President Richard Levin about Yale, architectural Modernism in this post- “The Cardboard House” that Fuller ran in schemes for houses, as well as a museum and Levin’s suggestion that they could postmodern era. As Vidler made clear, 1952 for thirty-two architecture students and based on diamond-shaped plans by Hejduk, collaborate with the School of Architecture in debates regarding Modernism—his thirty painting students. Slutzky developed a and reflected the fruits of their intensive cosponsoring an event. project—need to be distinguished from strong interest in architecture and in architec- cross-fertilization. Hejduk would move on University of Pennsylvania profes- debates about modernity, which he felt was tural history during his Yale education. soon afterward to his Wall House projects, sor David Brownlee’s keynote address dealt implicitly and negatively Harries’s project. It is perhaps not so surprising, then, and under new influences like Aldo Rossi and with the complexities of “building education” The conversation among the panelists that his first job out of Yale in 1954 should the incipient climate of his both from the perspectives of an architectural wavered between an argument about one have been a job teaching color, drawing, path and Slutzky’s would begin to diverge historian and that of a client. A scholar of or the other. Likewise, the fascination with a and design in the School of Architecture in as he left behind his abstract architectonic nineteenth-century architecture, cocurator historiography of Modern architecture is only Austin, Texas—even if he had to confess research of the previous two decades for with David De Long of the 1991 Louis I. Kahn as great as our assumption of its noncon- when he arrived that he did not know how more narrative and autobiographical archi- traveling exhibition and chairman of the art structed, enduring, and dominant nature. to read architectural drawings. The job tectural poetics. history department, Brownlee has helped This was the underlying weirdness about the materialized after the recently appointed Yet it is worth observing that oversee $200 million of construction at Penn conversation: no one outlined why any of dean, Harwell Hamilton Harris, asked Albers Hejduk’s Venice projects of the second half since 2000 as a member of the Campus this discussion of Modernism should matter to recommend a couple of Yale art graduates of the 1980s date from the same period as Design Review Committee. (beyond Vidler’s stature as a historian), yet for his program. (Harris knew and admired Slutzky’s painting of Venice hanging in the He began by tracing American we all worked on the assumption that it did. Albers’s pedagogy, having briefly taught in Yale University Art Gallery. Nor is it difficult to collegiate architecture from its “domestic and Indeed, even as we intellectually understand Yale’s School of Architecture before coming read in Slutzky’s painting, despite its origins clerical” roots at Harvard and Yale through this ambiguity and our own complicity in it, to Texas.) I do not have space to elaborate on in the austerity of Albers’s “Homage to the the early Federal period at the universities we architects, more than any other cultural the episode of the “Texas Rangers”—which Square” and its syntactic game of paired, of Pennsylvania and Virginia, the Civil War, or professional operators, can’t quite shake has been traced in loving detail by former pinwheeling complementaries—yes, it is Progressive era, Garden City Movement, the idea that the Modern project, whatever student Alex Caragonne—but suffice it to a systemic painting, but you have to look Beaux-Arts, and the interwar “Great Gatsby that is, is still unfinished. It seems that Vidler’s say that it was in 1954–56, in the two years hard—a strange and lyrical anthropomor- world” of the Harvard Houses and Yale 11 CONSTRUCTS YALE ARCHITECTURE FALL 2008 SPRING EVENTS

William McDonough and Partners, Adam Joseph Lewis Center for Environmental Studies at Oberlin. Photograph by © Barney Taxel. Tod Williams Billie Tsien Architects, Skirkanich Hall, University of Pennsyl- vania, Phila- delphia. Photograph by Michael Moran, 2008.

Colleges. Things “changed frighteningly in the criteria of function and maintenance,” Kliment the 1940s and 1950s,” he said, showing Mies he said, showing not his own work but a Halsband van der Rohe’s IIT Chapel and Walter Gropius romantic wooded amphitheater at Swarth- Architects, Peter Green and TAC’s Graduate Center at Harvard. By more College where trees can block views of House the late 1960s “the United States took the a performance. He believes that architecture being lead in moving away from the International today “is about celebrating the interdiscipli- moved Style,” exemplified by Paul Rudolph’s A&A nary condition. … It’s not just about creat- at Brown University, Building and Louis I. Kahn’s Richards Labs ing classrooms,” he said, referring to Will summer at Penn. “Unfortunately this period of fruitful Alsop’s laboratories at Queen Mary School 2007. thinking about architecture came to an end of Medicine and Dentistry at the University in the late 1970s,” he said, embarking on a of London, where a two-story orange blob cautionary period when “Harvard and Yale containing a learning center is suspended both expanded their libraries by building over scientists’ workbenches. Slaughtering A former dean of University of How these interdisciplinary connec- underground.” But “there is one exception— another sacred cow, Scogin said, “Flexibility Cincinnati’s College of Design, Art, Archi- tions will continue when Yale expands onto Kahn’s British Art Center.” Also at this time is the death knell of creativity.” tecture, and Planning, Jay Chatterjee talked the new 136-acre West Campus seven miles historic buildings began to be preserved, Agreeing with Brownlee that about the ambitious building program during away—not linked to public transportation— “inspired by the feeling perhaps that archi- functions change over time, Halsband said, his nearly twenty-year tenure, which coincid- did not come up. With wetlands, seventeen tects could not be trusted.” That feeling led “Program matters for the first fifty years.” ed with that of university president Joseph buildings, and 550,000 square feet of labora- to the post-modern movement and a new era She foresees conflicts as campuses expand Steger. He explained how he had convinced tory, office, and temperature-controlled of ambition, illustrated by Robert A.M. Stern’s to new urban areas—as Columbia, Harvard, the president to make architecture a priority warehouse space, the former Bayer site Spangler Building at the Harvard Business and Penn are doing—because “campus when $1.5 billion of public money became presents a tremendous opportunity—and an School, Robert Venturi’s Gordon Wu Hall at spaces do not include cars. You have to available because the municipal school had even bigger challenge. Princeton, Frank Gehry’s Stata Center at MIT, know you won’t get run over.” Yet, “that become a state university. The university David Joselit began the summary and Tod Williams Billie Tsien’s new Skirkanich will be a problem in cities because we have then commissioned work from Peter Eisen- session by noting, “We have not talked Hall at Penn, all in one enormous slide. learned that taking cars out is bad.” man, David Childs, Michael Graves, Henry explicitly about the criteria for a great build- Brownlee ended with a series of S. Cobb, Leers Weinzapfel, Frank Gehry, ing.” He then asked for the pros and cons of “axioms,” which included: “We must take The University as Architectural Patron Gwathmey Siegel, Moore Ruble Yudell, and open competitions, which he felt would be care of the great architecture we have. Build “Yale is in the middle of the biggest building Bernard Tschumi (all collaborating with local interesting in terms of both aesthetics and for change. Improvise and adapt within program since the 1930s, with more than firms) and instituted a new “major campus education. walls made to serve a different purpose. fifty renovations and sixteen new build- design plan” by Hargreaves Associates. Yale’s university planner, Laura We can learn from mistakes. The banal can ings, as well as buying the 136-acre Bayer They did not hesitate to remove existing Cruickshank, responded, “My experience be acceptable. Laboratories and libraries HealthCare complex in West Haven for buildings, the oldest dating from 1899, and is that whatever comes out of a competition should never be built on landlocked sites. $109 million,” Sandy Isenstadt noted in the asked, “Who wants pseudo-Georgian and has been done in a vacuum,” adding that she Landscape defines the notion of campus. introduction to the afternoon session. The pseudo-Gothic buildings like those at Miami worries about how to compensate architects Never count on Phase Two; I don’t believe university is spending more than $3 billion University, (Cincinnati’s nearby rival), and too. David Brownlee offered that a charrette I’ve ever seen one built.” —an average of $300 million a year— Duke?” Dean Stern who has a Business could accomplish some of the same objec- three times the expenditures of the city of School building under way at Miami raised tives more quickly and cheaply. Cruickshank Architecture Versus the Campus Plan New Haven. his hand. maintained that Yale’s trustees and its The next day’s panel, “Do Good Buildings Karen Van Lengen, dean of the William J. Mitchell (MED ’70), former president are committed to great architecture Make Good Education?” turned into a debate University of Virginia School of Architecture, dean of the MIT School of Architecture, and want to see all buildings in the context of about the primacy of a plan. As architect talked about the downside of a potent explained how new buildings there—Steven campus and town. adviser Brown University’s board of trustees, architectural legacy. Jefferson’s Rotunda Holl’s Simmons Hall, Frank Gehry’s Stata Frances Halsband said she believes that has become “a branding device—our logo.” Center, and Charles Correa’s Brain and —Jayne Merkel “the campus plan is more important than Although several speakers had criticized Cognitive Sciences Complex—relate to the Merkel is an architectural writer and the individual buildings.” Although as a partner in Charles McKim for terminating the lawn’s institute’s programs. MIT scientists gave the author of Eero Saarinen (Phaidon, 2005). R. M. Kliment & Frances Halsband Architects open vista, she said he had opposed the Stata Center “a huge amount of construction she has designed college buildings, at Brown idea. University administrators chose the innovation. Their 3-D computer modeling “the planning effort was to create the spaces library site to screen the campus from a provided the capacity to do a very large and then do buildings around them. The troubled African-American neighborhood. building in a nonrepetitive way for roughly the campus is defined by greensward.” That fact has been obscured in UVA’s mythol- cost of a standard building.” He emphasized In contrast, Chris McVoy, a partner ogy, which is still alive and well. When it came that a university shouldn’t allow architecture at Steven Holl Architects, argued that a build- time to expand the School of Architecture at less than the highest level of cultural ing could invigorate a plan. His firm placed and Landscape Architecture, one board ambition any more than it would accept Seattle University’s St. Ignatius Chapel member told Van Lengen, “You will build a second-rate history or science. slightly off the axis of the main quadrangle, Jefferson building, or you will not build at Dean Stern recounted more Yale where it was intended to go, so that it could all.” But building she is—expanding and history, arguing that it does not have a also activate several other quads. The firm renovating Campbell Hall, a 1970s structure “campus” like Princeton’s (where the term also located the new University of Iowa’s by Pietro Belluschi that “everyone on the was first used) because Yale’s quadrangles School of Art and Archaeology on a different Board of Visitors hates,” though “it is actually are integrated into the city. He said John site from the one proposed, cantilevering it quite workable, with double-height studios Russell Pope was commissioned to develop over a lagoon across the river from the main with big glass windows.” And she has hired a plan to link the humanities and sciences. campus. faculty architects—Warren Byrd, W. G. Clark, “The genius of Science Hill is that it looks like Mack Scogin, of Mack Scogin William Sherman, Tim Stenson, and Peter the rest of Yale. At Yale scientists don’t wear Merrill Elam Architects, also promoted an Waldman—as well as the firm of Dean Wolfe colored stars.” Delano & Aldrich’s Gothic individualistic approach. “At times, to make of New York and Yale’s Joel Sanders, who is Sterling Chemistry Laboratory of 1922 “has a great architecture, you have to suspend designing the central lounge. very modern space plan.” 12 CONSTRUCTS YALE ARCHITECTURE FALL 2008 SPRING EVENTS

The Challenges and From left: Andrei Opportunities of Going Harwell (’06), Nicola Green: The Case of Pezolet, Brit Eversole Kroon Hall (M.Arch ’04 and MED Designed by Hopkins and Partners, London, ’07), and the new home of the School of Forestry and Enrique Ramirez Environmental Studies at Yale will have the (MED ’07). smallest carbon footprint of any building on campus—indeed one of the smallest of any Design (IID), a series of summer programs in in the United States—and is expected to be Mobile Anxieties 1970–1972. Sunwoo examined how Boyar- certified LEED Platinum. Just as important sky and his collaborators created a radical to the School of Forestry and Environmental The symposium “Mobile Anxieties,” organ- new architectural pedagogy that had no Studies (FES) is the opportunity the sustain- ized by the senior students in the MED student body, no permanent faculty, and no able building and landscaping present for program, was held at Yale on April 11–12, permanent physical home. The IID was little educating the community about green 2008. The symposium was predicated more than an extensive network of mobile design, engaging beneficial biophilic features by the long and often frustrated romance people and ideas, and a seminal preface and exploring the many complexities and between architecture and mobility. Notions to Boyarsky’s influential, 19-year tenure as opportunities in actualizing an ambitious Hopkins Architects of London design architect with of movement are frequently at odds with chairman of the AA. sustainable design agenda. Centerbrook Architects and Planners executive architects, architecture’s perpetual longing for founda- Referring to roughly the same time To this end, FES hosted a Thursday- Kroon Hall model section, School of Forestry & Environ- tions, permanence, and fixity; however, period, M. Ellen Haller, of MIT, presented mental Studies, 2007 night lecture series this spring that employed architecture has often embraced mobility a paper on a set of radical publications Kroon Hall as a case study illuminating a as a reflection of the anxieties that mark dedicated to the culture and building of holistic process of designing and implement- their construction, Richards reviewed wars, natural disasters, sociocultural domes: Domebook 1and 2 and Shelter I and ing a green project within an institutional the mechanical, electrical, and plumb- changes, technological leaps, and II. Haller began exploring the intersection framework. This innovative and precedent- ing systems that contribute to the overall economic variations. of technology and counterculturals. She setting undertaking at Yale has brought to sustainable design, while Temple discussed We encouraged participants to attempted to explain the generic failure of the the fore a multitude of issues that a large and the challenges and achievements in deliver- consider, for example, the relationship of dome as a revolutionary typology and traced well-known university confronts as it moves ing the building’s design specifications on Archigram’s Instant Cities to the turbulence its evolving ideological status within the toward more sustainable campus operations time and within budget. of the 1960s, and how new national identities subculture of dome builders and theorists. and management. In addition to subjects On March 6 Patrick Bellew (found- and the International Style were forged in Nicola Pezolet, also of MIT, looked typically associated with sustainable ing director of London’s Atelier Ten, and the wake of World War I. We were intrigued at another subculture’s fascination with projects—such as how to design and achieve lecturer in the School of Architecture) the by the way Hurricane Katrina heightened mobility, albeit on a different continent at a energy efficiency, climate neutrality, and project’s sustainability consultant, presented fears about climate change and disaster different time. Pezolet’s paper “Zingari and associated points of LEED certification—the “Engineering for Sustainability at Kroon and response while highlighting architectural Bohemians: New Babylon, Nomadism and series featured often infrequently addressed Elsewhere,” which emphasized the building’s issues of prefabrication, temporary housing, Postwar Architectural Culture,” looked at issues, like weighing the cost/benefit of sustainability vision and the incremental and urban rebuilding. And we were inspired the influence of the gypsy lifestyle on the sustainable design, shifts in organizational pathway to achieving net-positive carbon by the mass migrations during the industrial work of Constant Nieuwenhuys, both directly culture, administrative standards and operat- buildings through the use of active and revolution that upset city plans, significantly and indirectly in the form of Guy Debord’s ing procedures, fund-raising, and aligning passive strategies and occupant participa- changing the way people and goods flow “psychogeography.” rhetoric with reality, among others. Speakers tion. A highlight of the series was Bellew’s through urban space. The psychology of mobility was in the series ranged from architects and detailed analysis of passive and active Generally, the symposium aimed to also explored in a paper that examined engineers to academics and construction temperature-control strategies used by take a critical look at how ideas of mobility— the development of Britain’s Royal Aircraft and facility managers to university develop- termites as they construct structures to both literal and metaphoric—can subvert Establishment (RAE) during the first half of ment officers. house different sectors of their population. the authority of boundaries that define the the twentieth century. Presented by Enrique In addressing the organizational and For the April 3 session “Reconciling ways we think about foundational concepts Ramirez (MED ’07), now a Ph.D. candidate political side of building green, on February Green Design with the University’s Opera- like space, time, and identity. We invited at Princeton’s School of Architecture, the 7 the dean of FES, Gus Speth, kicked off the tions and Facilities,” a panel—Jerry Warren, participants to think about precedents for paper attempted to draw a parallel between series with his talk “Designing an Environ- associate VP of Yale University Office of mobility in architecture and how they relate airplane culture and architectural culture. mental Agenda through the Built Environ- Facilities–Construction and Renovation, to a sense of general unease in architecture Ramirez discussed the early buildings and ment.” Speth, who was appointed dean in and John Bollier, associate VP of the Yale and beyond; or the way cultural, techno- technologies of the RAE and their intersec- 1998, recounted the history of the struggles University Office of Facilities–Operations, logical, economic, and sociopolitical tion with the popular, political, and military and triumphs over the ten-year building as well as Yale School of Medicine’s mechanisms stimulate or limit designs for perceptions of air travel and air combat. project, emphasizing the importance of the capital projects; and David Spalding, senior mobility while exacerbating or mitigating Architecture, airplanes, mobility, and anxiety school’s diplomatic role in encouraging the mechanical engineer of the Yale University their attendant anxieties. were all brought together in Ramirez’s expansion of administrative and operational Office of Facilities—discussed the challenges As architects and theorists struggle illustrative story of the first forensic investiga- standards, that ultimately allowed for the and innovations brought by Kroon Hall for to engage the increasing mobility of capital, tions into the crash of an early passenger jet approval and construction of the new Kroon operations and maintenance at Yale, result- labor, information, and culture—and as in 1954. building and surrounding landscape. ing in an aggressive campus-wide carbon- anxieties of every type seem to be on the The spirit of the symposium was With green buildings in danger of reduction strategy. rise—we felt a forum for the critical examina- perhaps best captured in the symposium’s becoming a checklist of construction issues, The next lecture, on April 10, tion of architecture’s mobile anxieties final paper, presented by Britt Eversole professor Stephen Kellert, FES, spoke on featured Alan Brewster, deputy dean of the was timely. (M.Arch ’04 and MED ’07) who studied a set the broader environmental concerns in School of Forestry & Environmental Studies, The symposium consisted of papers of four ideal houses designed by the Italian his February 14 talk, “The Transformative with Pamela Delphenich, director of campus presented almost exclusively by advanced studio BBPR (Banfi, Belgioioso, Peres- Potential of Going Green.” He highlighted planning and design at Massachusetts graduate students in architecture and allied sutti & Rogers) during World War II. Master- the importance of looking beyond energy Institute of Technology and former university fields, with responses by Yale faculty. The fully describing the political, technological, consumption to other valuable aspects of planner at Yale. They discussed “Making keynote address was the annual Roth- aesthetic, psychological, and social context, sustainable architecture, such as increased Green Design an Administrative Reality,” Symonds lecture, which brings scholars from Eversole discussed the ideal homes—all of user productivity and well-being as created addressing issues of institutional needs, the social sciences to speak about the built which wrestle intimately with the issue of through restorative environmental design definition of scope, architect selection, environment. The lecture, “Mobility, Security mobility—as “vehicles of escape and hope” principles, which link humans and the and funding. and Creativity: The Politics and Economics that critique the Fascist wartime city even as environment through the use of biophilic On April 21 David Orr, professor of Global Creative Cities,” was delivered by they suggest fleeing from it. forms and experiential phenomena. and chairman of the environmental studies Adrian Favell, associate professor of sociol- While each of the papers was On February 21 a panel including program at Oberlin College, concluded the ogy at UCLA. engaging and stimulating in its own right, Mike Taylor, a director at Hopkins Architects; series with his talk, “The Challenges of Going Favell’s talk opened the symposium the questions, responses, and brief panels Mark Simon (’72), a partner of Centerbrook Green: Other University Experiences,” which and raised questions about the socio- that punctuated the day made it clear that Architects; Laurie D. Olin, founding partner, described the creation of Oberlin College’s economic mobility of architects themselves “mobility,” “anxiety,” and “architecture” could and Cricket Brien, associate, of Olin Partner- Adam Joseph Lewis Center for Environ- as part of an increasingly global economy. have been more narrowly defined. While it ships, detailed the project’s landscape mental Studies, the first sustainable project Some of the themes of his talk connected became difficult to forge explicit connec- design in “Designing Green: The Building in on an American campus within the context readily with two of the six papers presented tions among the papers and to draw clear, Relation to Its Landscape.” The discussion of global warming and other environmental the following day. The first, titled “Otto overarching conclusions from the confer- began with the master-planning in the late issues at the building scale. His reference Koenigsberger and the Discursive Mobility ence proceedings, the symposium revealed 1990s of Science Hill (which informed the to sustainable built projects as existing in a of Tropical Architecture,” was presented by productive common ground in the influence landscape and circulation through Sachem’s dialogue with natural and human systems, Vandana Baweja, a Ph.D. candidate at the of wartime technology and psychology Wood around Kroon Hall), highlighted the rather than as an exclusive monologue with University of Michigan. Koenigsberger was a on mobile architecture; global/colonial building’s overall architectural strategy and their own design, was representative of a key mobile architectural professional who played dynamics at the postwar AA; countercultural sustainable features, and finally recounted paradigm shift in the way Yale University has a key role in the movement of ideas between nomadism and the avant-garde. As with the challenges of local sustainable- evolved through the experience of creating India and Great Britain, most specifically many symposia—especially those geared material sourcing and the positive impact the Kroon Hall. through his founding of the Department of toward presenting student work—the event construction of Kroon Hall has inspired in the Tropical Architecture at the Architectural provoked new ideas by way of disjunction local building industry. —Haley Gilbert and Meredith Sattler Association (AA). Baweja’s thesis was framed and collage, setting the stage for future The issues of “Designing Green: Gilbert is a 2009 candidate for a master’s by a much larger prehistory of sustainable discussions. Engineering and Construction Challenges” degree in environmental management; design, with a nod toward past and present were addressed on February 28 by David Sattler is a candidate in the joint SOA/FES environmental anxieties. —Zachery White Richards, associate director of Arup, and program and expects to receive master’s Favell’s focus on mobile architects White (MED ’09), was one of the organizers of Lynn Temple, project manager at Turner degrees in architecture and environmental also resonated with a paper presented by the event. Construction. Through an examination management in 2009. Princeton’s Irene Sunwoo, who discussed of the details of building systems and Alvin Boyarsky’s International Institute of 13 CONSTRUCTS YALE ARCHITECTURE FALL 2008 IN THE FIELD In the Field

with the kinds of empirical urban research Ideology vs. Pragmatism done by William Whyte in the 1960s and by in New Urbanism Fred Kent currently at the Project for Public Spaces. Equipped with the tools of the dispassion- In the same vein, Dan Solomon gave ate cultural anthropologist—coupled with a a crisply argued accounting of the typological curiosity born of years of listening to trash history of the perimeter and slab blocks of talk fuelled by the debate in 1999 at the the twentieth century. He made a convincing GSD between Andrés Duany (’74) and Rem argument that environmental design criteria, Koolhaas—I traveled to Austin, Texas, with carried to the logical extreme, include built-in Denton Corker Marshall, Webb Bridge Melbourne, 2006. Denton Corker Marshall, Webb 08. Courtesy Critical Visions two colleagues to attend the 16th Congress contradictions. The multidirectional perimeter for New Urbanism (CNU) in April. What we block—the basis for CNU’s urban agenda, for discovered was a loosely affiliated group example—would be eroded by the directional “Critical Visions 08,” New Zealand’s of people who share a strong belief that bias of solar orientation. William Dunster’s Sydney “Concept and Detail” suburban sprawl is the biggest problem BedZED project in England was offered up as facing American culture, trailed by a group of an example. Solomon commented that while The Royal Australian Institute of Architects From May 22 to 24, the New Zealand Institute people who want to sell them things. Unlike the sustainable design and social agenda (RAIA) organized a three-day “critical forum” of Architects organized its annual confer- other industry associations, such as the AIA had good intentions, the urbanism that on April 10–12, 2008, to collectively explore ence, “Stand and Deliver: Concept and or the American Institute of City Planners, resulted from running the building extrusions and debate alternative responses to some Detail,” around the theme of new technology CNU brings a wider variety of professionals in a single direction was an urban “disaster” of the most pressing issues that confront and practices. Four international speakers under a single tent to push a surprisingly because front doors did not face each other contemporary architecture. Held in Sydney, were featured: Gregg Pasquarelli, of SHoP broad range of agendas within the strongly across streets and the public spaces were the event was sparked by questions posed and Yale’s 2005 Kahn Visiting Assistant principled but flexible framework of the poorly designed. by Richard Francis-Jones, creative direc- Professor; Brett Steele, director of the AA; organization. Solomon ended his talk by present- tor of the RAIA National Conference, and Chris Bosse, of Laboratory for Visionary The culture is both deeply pragmat- ing a new project for a residential complex included topics such as, how can architec- Architecture (LAVA), in Sydney; and myself. ic in its approach and almost evangelical in in China that attempts to reconcile the ture respond to the critical environmental and The issues discussed by the principal its convictions. What’s remarkable is that perimeter-block form with a consistent solar social challenges of this moment, which also speakers touched in various ways on the a potent intellectual agenda has emerged orientation in the living spaces. It achieves seem to hold unprecedented opportunities topics of collaboration and the passing precisely at the moment that CNU morphed this by serrating the edges of the block and inventive promise? What future visions of the traditional master architect. Steele from a polemical think tank into an industry that face east and west to provide a south- and alternatives are we offering? How is the spoke of education in the digital, global, and trade show. There is something profoundly facing window into every unit. In Solomon’s architectural project to respond to this time of hyper-urban era; Pasquarelli talked about practical about discussing detailed urban- example, a perfect balance was achieved simultaneous global crisis and indulgence? the specifics of how a contemporary building design strategies with traffic engineers, between establishing a design principle—the Architects from around the world is delivered; Bosse discussed the organic building-supply salespeople, and develop- social and urbanistic virtues of maintaining presented their visions in diverse formats, formal paradigms that lead to innovative ers, as participants. In this way CNU has the perimeter block—with a willingness to from keynote presentations and panel structural solutions, and I presented how been able to develop a planning methodol- innovate architecturally to solve the relevant discussions to debates. They discussed contemporary modes of practice reignite and ogy and a market simultaneously. Put contemporary social and technical criteria. projects at vastly different scales and forms reorient issues of craft and labor. another way, at this point in the evolution of The range of design thinking of the of practice and research, each carefully Following the talks, both formal and the organization, there is resistance to overly New Urbanists is impressive. For example, defining a possible critical vision for architec- informal, there was a mix of curiosity and speculative blue-sky thinking, but not so Peter Calthorpe (’79) is focused on the ture. Speakers such as Kenneth Frampton, skepticism on the part of the New Zealand much that any individual or company cannot regional scale, while Stephanos Polyzoides who presented his talk in a larger-than-life practitioners, who were anxious to know benefit from the pixie-dust power of the and his partner, Elizabeth Moule, drill down video, and architects such as Brigitte Shim what is happening in the “other part” of the CNU brand. to the obsessively considered details of (Davenport Visiting Professor), Chris Wilkin- world. It was impressive to see a room full of In addition to curiosity (every intel- vernacular Mediterranean villages. For son, Christoph Ingehoven, Michael Hensel, 2,000 practitioners sit still for two and a half lectually committed urban designer should them and many New Urbanists, urbanism Francine Houben, Billie Tsien (Fall ’08, Bishop days paying (it seemed) attention to every attend CNU at least once), we attended the is a Gesamtkunstwerk that involves the full Visiting Professor), Qingyun Ma, and Thomas word. The skepticism was unexpected and conference to learn more about form-based range of scales, with every architectural Herzog were featured along with Australian curious, although perhaps it shouldn’t have zoning since our office had recently been move requiring a preexisting precedent. architects and students. been. From an architecture culture that is awarded a planning commission for Boston’s Polyzoides’s desire to work within preestab- An overarching theme that contin- deeply individualistic and do-it-yourself, New Back Bay. Based on a review of best practic- lished architectural languages, whether high ued creeping back into discussions was Zealand architects pride themselves in not es, it was clear that attendance at CNU was classical or vernacular, seems to be common the dialectic of the culture of a place with being interested in “detail,” since it implies the most efficient way to get up to speed. The among the majority of New Urbanists—but the expanding globalization of architectural fussiness rather than directness. The idea of chance to stock up on pesky AIA Learning not all, as Solomon’s presentation made production and the ubiquity of place. For collaboration doesn’t make particular sense Units was also a draw. clear. Perhaps it is the scale of architectural Australian architects, built projects are to them (less because they aren’t against it The urban design agenda seems to innovation within CNU’s urban approach that consciously responding to the challenge than they don’t want it shoved down their be controlled by Andrés Duany, Stephanos is the most contentious. There have been of globalization. Wendy Lewin (partner of throats), and more significantly, they feel that Polyzoides, and Dan Solomon. The three Modernist fellow travellers in the past, such Glenn Murcutt, Davenport Visiting Professor) digital technology gives too much control to are superb communicators who can turn up as New York architect Walter F. Chatham, presented the firm’s work as locally based the machine. The latter, a clear extension of the polemic to rouse the crowd. Despite the who designed contemporary-style houses, but showed a broadening of Australian their pride as can-do makers, is augmented rhetoric, they are thoughtful urbanists who in Seaside, Florida. Duany also made practice in terms of variety and setting. by the fact that all the New Zealand architects base their recommendations on the close remarks during his aforementioned talk that Lawrence Nield discussed how globalization I have come to know (and who showed work) observation and analysis of existing physical while baby boomers may embrace neotra- has affected architectural practice making are spectacular sketchers who measure forms and social patterns. As such, their ditional architecture, his twenty-something huge offices, false heroes and heroines, and their design skills by their freehand-drawing methodologies are mostly pragmatic and niece preferred to live in a lifestyle environ- technical exports. John Denton, of Denton abilities. Hence, the work of the AA students empirical, despite the polemic antics ment that is closer to Dwell and Ikea. Duany Corker Marshall, showed how the firm shown by Steele—much of it full-scale and of Duany, Polyzoides, and others in the suggests that New Urbanism needs to has used architecture as a form of cultural robotic, as responsive artifacts—was viewed organization. accommodate more contemporary-looking commentary. Other themes included genera- by many as architecturally and aesthetically In fact, it was the disconnect architectural expressions to keep abreast of tive form and digital fabrication, sustainabil- undisciplined. Pasquarelli’s talks were well between the expected trenchant rhetoric changing tastes. ity, climate change and inequity, suburbani- received since they focused on the concrete of the organization and the thoughtful While seemingly superficial, this zation, and humanitarian architecture. The issue of how to get things done, which goes pragmatism on display that was the most shift may lead to profound changes in CNU’s idea of architecture as a cultural export—as directly to the Kiwi heart. Even so, there was striking. As Duany pointed out during an priorities when it comes to control of archi- exploitation—was debated, but with a future a sense that this model of practice is not excellent lecture about CNU’s stance on tectural expression. With a liberalization of vision that it could be a commodity for intel- applicable to New Zealand because it takes green initiatives, its antisprawl polemic has acceptable architectural styles, the organiza- lectual exchange. great capital, a huge office, and a nonexist- no value at the point-of-sale in American tion can coalesce around its urban-design The hopeful examples of built work ent industrial infrastructure to make it work. consumer culture. He instead suggested agenda and leave the implicit ideology from around the world provided architectural (Despite the number of large firms in New that the marketplace, in the guise of a better of neotraditionalism behind. At the same responses that stimulated debate, conversa- Zealand, with four of the biggest represented lifestyle choice rather than policy, was the time, CNU’s acceptance of a wider range of tion, and reflection among the participants by the principal organizers of the confer- best way to change American settlement contemporary architectural languages may and audience alike. The quality of Australian ence, the dominant professional paradigm patterns. Given the marketing savvy of Duany cause more architects to embrace its worth- architecture for an ecologically sophisticated is a small office, with two to ten employees.) and his colleagues, it became clear that the while urban-design agenda. Framed this and sensitive society reflected back to the Likewise, it was my second talk on the mostly ironic vitriol and the occasional pep way, the debate between neotraditional and conference as it was demonstrated that there Auckland architect and educator Dick Toy, an rallies were meant to hold together a coali- contemporary architecture is not an ideologi- is a vital and committed architectural culture advocate for a strict New Zealand regional- tion that, if represented as a Venn diagram, cal issue but rather one of pragmatism. By Down Under. “Critical Visions ‘08” offered a ism, that warmed the most hearts. Neverthe- would only overlap in their shared interest to embracing this position, CNU is on the cusp brief space to pause and reflect on the recent less, it became clear to me that New Zealand promote dense, walkable communities. The of dropping its ideological underpinnings past and future imperatives to ensure the is in the midst of a cultural revolution; that overall impression was a school of thought once and for all. work of Australian architects remains relevant the younger generation of practitioners, who that is nuanced, sophisticated, and flexible to the communities they serve. have worked in other parts of the world and as a methodology but crude and occasionally —Tim Love returned, are impatient for things to change adversarial as an ideological movement. Love is an associate professor at North- —Brigitte Shim with the power of new technology. It was they A presentation on urban boulevards eastern University and a principal of Utile, a Shim was the spring 2008 Davenport Visiting who saw that this year’s conference could be by Allan Jacobs and Elizabeth MacDonald Boston-based architecture and planning firm. Professor and is a principal of the firm Shim- more than professional credits and could put exemplified the best of the New Urbanist He will be the coordinator of the urbanism Sutcliffe, in Toronto. real issues regarding the future of architec- approaches to design thinking. Their careful studio at Yale in spring 2009. ture, there and elsewhere, on the table. For analysis of existing boulevards around the this they should be congratulated. world, described with dimensioned plans and sections, photographs, and sketches, —Peggy Deamer made a convincing case that a methodology Deamer is professor at Yale. that includes an analysis of best practices is important. Their approach is closely aligned 14 CONSTRUCTS YALE ARCHITECTURE FALL 2008 CENTERFOLD

Paul Rudolph on his Temple Street Parking Garage, New Haven, photograph by Elliot Erwitt, 1963. Courtesy of Magnum. 15 CONSTRUCTS YALE ARCHITECTURE FALL 2008 CENTERFOLD 16 CONSTRUCTS YALE ARCHITECTURE FALL 2008 BOOK REVIEWS Book Reviews

at Dalhousie University, links the project to more contemporary sense of place than the The Tennessee Valley the broader architectural profession and older black-and-white images. Her pictures Authority: Design and its contemporary discourse. She places Le not only convey how Ossipoff’s buildings Corbusier there in 1946, touring the project look today but also provide glimpses of their Persuasion with TVA director David Lilienthal and picking surroundings. The impacts of urbanization Edited by Tim Culvahouse (MED ’86) up an interest in its board-formed concrete, as well as the encroachment of massive, Princeton Architectural Press, 2007, a technique used in the Unité d’Habitation, less sensitive design into Hawaii’s urban 144 pp. which he designed upon his return. landscape are all too apparent. The account, however, fails to Born in Vladivostok, Russia, raised As the world watches the transformations capture the underlying ideologies fueling in Japan, and schooled in Berkeley, Califor- and ecological devastations under way Modernist architecture. Whereas its most nia, where he received an architecture degree along Chinese rivers, it might be useful to famous adherents perceived it as a way to from the University of California, Ossipoff recall there is, in the Tennessee River Valley, imagine new utopian worlds, the TVA, or practiced for nearly seven decades in Hawaii, a certain historical precedent to planning at least the version put forth in this book, designing hundreds of homes, as well as efforts done on a monumental scale. presents an altogether more pragmatic churches, office buildings, banks, hotels, Whereas the Tennessee dams represented outlook. While she does mention the TVA’s schools, an animal hospital, libraries, and the twentieth-century progress in an ascendant architects had “progressive ideals” and Honolulu International Airport. America, the Three Gorges Dam, in China, that they would discuss “broader visionary Part of the appeal of Hawaii to all not only radically amplify the scale of inter- issues,” Macy explains its “design played a kinds of adventurers may have to do with vention but also signal twenty-first-century central role in the public’s perception of its tensions that percolated there between possibilities (or hazards) in a now ascendant success,” and that it was, in fact, “more of East and West, modernity and tradition, China. Each demanded their own approach an architecture of public relations than an mainland and local, insiders and outsiders, to persuade residents to accept the plan: in agency able to deliver any concrete benefits” and between the natural and built environ- China, totalitarianism, and, in Tennessee, (p. 26, 34). ments, as well as the real and imagined design. To treat Modernist architecture places shaped by architects and builders—a By the beginning of the twenti- as an aesthetic sensibility—or worse, as a dichotomy which is expressed by the title, eth century, poor farming and timbering means of persuading residents to embrace Hawaiian Modern. While Ossipoff was keen practices had ravaged the Tennessee River a government program—is to belie its about the ideas and tactics of Modernism, Valley, stripping the land of its rich soils intrinsically ideological ethos and its strongly he also grappled with local environmental and economic vigor. So, in 1933, as part of utopian inclinations which were propelling conditions, making use of the trade winds in Franklin D. Roosevelt’s New Deal, Congress the discipline forward at that time. Remaining his designs and incorporating local building passed the Tennessee Valley Authority (TVA) on the surface of things, the book fails to materials and plantings, which offered both Act, which created the agency responsible uncover the underlying logic of the design shade and a tropical sense of place. He also for providing the region with flood control, program. Because the TVA used visual cues incorporated Asian and Pacific Island motifs reforestation, agricultural development, drawn from traditional American imagery in his designs, using what Frampton refers and jobs. However, the massive regional (Daniel Boone, for example), Todd Smith to as “sweeping oriental eaves” as well as plan came with its share of conflicts since concludes it was only “almost fully modern” a “certain Eastern inflection through the it imposed an enormous infrastructure on because it “knew when there was such a furnishings: witness the choice of the classic an agrarian landscape and demanded the thing as too much modern” (p. 119). This Hans Wegner chair à la Chinoise that is used displacement of long-standing landowners approach to criticism is problematic, treating in the dining room of the Liljestrand House.” caught in the path of proposed roads, power Modernism as a stylistic appliqué, without Don Hibbard’s essay places plants, and reservoirs. The Tennessee Valley acknowledging its occupation to transform. Ossipoff within the broader context of Authority: Design and Persuasion, edited by With its discussions of regionalism, Hawaii’s architectural evolution. Heavily Tim Culvahouse (MED ’86), explores the role however, it does convincingly capture an influenced by Charles Dickey (1871–1942), of design in shaping this strategy. ideological operation. Benton MacKaye, who who, according to Hibbard, initially “pursued Talbot Hamlin, in a review of the championed the concept of regionalism, was a course within the prevailing forms of TVA, written in 1939 for Pencil Points, finds hired in 1934 to write the comprehensive plan the period—colonial revival, four square, it striking “that no such false efficiency for the TVA, a plan that was to bypass politi- Italianate and early Spanish-mission as that of a dictatorship is necessary to cal boundaries and straddle seven states, revival—providing commodious lanais and produce great national works” (p. 47). While from Virginia to Kentucky. Its successful opening interior public into large spaces,” his Monster not explicitly drawing the comparison with implementation as a regional strategy seems earlier work was also influenced by Bertram Perspecta 40 China, the book argues that in the Tennessee particularly prescient today as a growing Goodhue, who designed the much-revered River Valley, in the absence of imposition by network of global cities increasingly upstages Honolulu Academy of Arts, as well other dictatorial force, the design itself became the political boundaries, even while borders stir notable architects in Hawaii including Hart agent of persuasion. While the book is osten- up deep resentments and deadly conflicts Wood and Claude Stiehl. Ossipoff, however, sibly an advocacy for design, its approach around the world. The regional approach to as Hibbard notes, “used forms, materials, leaves the designer in a tawdry position: as a design in the Tennessee River Valley forged and space rather than applied ornamenta- broker for government programs (or worse, an unusual brand of Modernist architecture, tion to convey a sense of his tropical island as a surrogate for dictatorship). combining an avant-garde urge to erase and environment.” The book presents a glimpse of start anew with a thoughtful attention to the Marc Treib shows how climate and design history interwoven with Culvahouse’s spirit of the place. And it is this message— topography influenced Ossipoff’s work, own perspective. As a descendant of a relevant and valuable—to contemporary as well as making important connections longtime Tennessee River Valley landowning readers that the book most deftly discusses. between the architecture of Japan, northern family, he recounts his childhood explora- California, and Ossipoff’s style that was tions of the area with his grandfather. Culva- —John Gendall to emerge in Hawaii. Indeed, Ossipoff’s house, a –based architectural Gendall is an architectural critic based in collaboration with other architects in Hawaii writer and consultant, assembled an impres- New York. such as Allen Johnson, Phillip Fisk, and sive team of contributors, including Christine Thomas Perkins (who had been classmates Macy, Jane Wolff, Barry M. Katz, Steven of Ossipoff at Berkeley), as well as Alfred Heller, Todd Smith, and Jennifer Baker, along Hawaiian Modern: Preis helped connect Hawaii to the architec- with the photographer Richard Barnes, ture of other places. As Spencer Leineweber whose separate photo essay documents The Architecture of demonstrates in her essay, the collabora- the Tennessee River Valley’s contemporary Vladimir Ossipoff tion served the architects in competing for condition. The TVA was guided by a singular Honolulu Academy of Arts with Yale government contracts but more importantly plan, and each writer addresses a compo- University Press, 2007, 287 pp. helped to refine Ossipoff’s approach to nent of it, from the regional strategy down to design. “The emphasis would not be on the typeface. Dean Sakamoto (MED ’94), architect and overcoming nature’s heat and cold by The years under discussion, director of exhibitions at the Yale School enormous mechanical means, but in rolling between 1933 and 1945, are well trod of Architecture, along with Karla Britton, with its punches by absorbing or repelling in architectural history. This is when the lecturer, and Diana Murphy—have co-edited them with design.” Upon closer inspection of masters—Corb, Mies, and Gropius—were the book Hawaiian Modern: The Architecture the photographs, site plans, and drawings, it at work on what were to become landmarks of Vladimir Ossipoff, which accompanies is evident, as Britton observes, “Ossipoff was in the architectural canon. The Museum of the exhibition that was inaugurated at the able to create an architecture that escaped Modern Art had just staged its groundbreak- Honolulu Academy of Arts and is now at the more typical superficial appropriation of ing International Style show in 1932, and Yale. The book, which includes a foreword by the various cultural influences of Hawaii, all the discipline was grappling with the role of Kenneth Frampton and essays by Sakamoto, the while shaping the lifestyle of his client into industry in architecture. Meanwhile, along the Britton, Marc Treib, Spencer Leineweber, a pattern that is in harmony with the land and Tennessee River, a team of designers, familiar and Don J. Hibbard, provides a significant climate.” with the ongoing architectural discourse, contribution to our understanding of regional Like Modernist architects in other was at work reimagining an entire region. Modernism as well as deeper insight into tropical climates, Ossipoff understood The book places the TVA—geographically the work of Ossipoff (1907–1998), examples ventilation, site design, landscaping, and removed from the centers of architectural of which are documented in a portfolio of how to build in those locales without air-con- thought—squarely in the history of design. photographs by Robert Wenkam, Julius ditioning. But he also knew how to bring the In her chapter “The Architects of the TVA,” Shulman, and Vicky Sambunaris (MFA ’99). “outside in,” captured best through the use of Christine Macy, a professor of architecture The Sambunaris color photographs evoke a large “living lanais,” which provide protection 17 CONSTRUCTS YALE ARCHITECTURE FALL 2008 BOOK REVIEWS

from the elements and a multipurpose living It’s an elegant object, this black- the homeland of Jean Tinguely and the Basel in application, an apprentice work on the space. Indeed, some of his most beloved and-gray Perspecta with its marquee title School of Design). And “teratology rather possibilities of a method. This recent publica- designs in Honolulu are the open-air places, glowing green in the dark—the Monster than typology” infects Greg Lynn’s thinking in tion operates with the same method in a such as the Outrigger Canoe Club and the comes alive at night! Between the covers “Beautiful Monster.” If the new “doesn’t look different context; while the former was amid International Terminal of the airport. Sakamo- we find a satisfying mix of text and image, strange,” Lynn writes, “there is a problem.” the ascendancy of the possibility for formal to devotes a chapter to these spaces, which architects and nonarchitects, and topics So is architectural practice slouch- close reading, in the latter we see the waning “Ossipoff and his fellow architects identified both intrinsic and peripheral to received ing toward extinction or regrouping to of that possibility. The texts remain insightful as the primary spatial and cultural element definitions of architecture (engineer Guy attack? Interviews with the top people at throughout, but the analytical methodology that distinguished Hawaiian architecture.” Nordenson warning of cold war politics from Gensler and with Christopher Sharples, of is often insufficient to the projects—Rossi, The book is strong on architectural the 1970s). Here is our world as a constantly SHoP, challenge in different ways architects’ Koolhaas, Libeskind, and Gehry (basically design but does not delve enough into the mutating organism where ideas, moods, inbred David vs. Goliath mentality. Although the second half of the book) all present intricacies of Hawaii’s complicated social and conditions can leapfrog from the nearly Mark Jarzombek warns us that “architec- difficulties because the terms change to such and political history. While the book hints at forgotten past into an impending future. Just ture’s messy disciplinarity is being cleaned a degree that the possibility of the method is the tensions between mainland transplants when we think some body of work is passé, up, sanitized, and simplified,” Weinstock strained to its limits. And as notions of “type” and local elites, between Caucasian and kaput, interred, up it pops to surprise us with offers the prospect of “hopeful monsters.” and “icon” become factors, the close reading non-white communities as well as the renewed significance. Such a beast “must be well suited to a becomes less applicable. The sense of limit political transformations that accompanied The monstrous progeny of 1980s previously unexploited environment…be to the method is an acknowledged admission Hawaii’s shift from a Republican Party– PoMo largely escape dissection; instead fully functional, and…have the means and as the “dilemma of close reading today,” controlled territory to a state that has largely there is a focus, as in John McMorrough’s opportunity of reproducing and propagating lending an almost elegiac tone to the book; been a Democratic stronghold, these “Ru(m)ination,” on the 1970s. Leon Krier itself.” Architecture, therefore, but not exactly the project that promised the possibility of a cleavages, which form the context in which contributes an all too short reminiscence we as know it. transhistorical understanding of architectural Ossipoff worked, are neither discussed nor of the great Jim Stirling, that monstre sacré intentionality (see C. Rowe, et al.) now seems analyzed. The dramatic postwar transforma- of Gloucester Place: “I applied for a job —Raymond Ryan in fact to have been a particular fad for the tion of Hawaii’s economy based on plantation because Leicester and Sheffield were for Ryan (’87) is the Heinz Curator of Architecture “reading” of architecture. agriculture to one emphasizing mass tourism, me creations of genius.” Following on from at the Carnegie Museum of Art, in Pittsburgh. This most recent book joins a series must have affected both Ossipoff’s work and anatomical diagrams of Gamera, Kanegon, of publications seeking to document Eisen- the urban landscape. Bullton, and fantastical Japanese monsters, man’s work and thought. The list includes The IBM Building (1962) is one of Emmanuel Petit delivers a timely reappraisal no less than three collected works, two Ossipoff’s most intriguing buildings, with of Arata Isozaki, from early Metabolistic Ten Canonical Buildings volumes of collective writings, a long awaited a geometrically patterned screen made of structures straddling giant classical ruins to 1950–2000 comprehensive study of the work of Italian 1,360 precast concrete pieces that were an his sunken re-presentation, in 1979, of the By Peter Eisenman Rationalist architect Giuseppe Terragni, and “interpretation of both Polynesian decorative Campidoglio at Tsukuba, north of Tokyo. Foreword by Stan Allen, the facsimile publication of Eisenman’s 1963 patterns and computer keypunch cards.” Petit points out that Stirling also edited by Ariane Lourie doctoral dissertation—all just in the last five It is at once both an evocative statement envisaged a sunken plaza “as a sort of Rizzoli, 2008, 304 pp. years! Of all the recent books that attempt of Modernism as well as of a more subtle, negative reference” in his 1975 proposal for to come to grips with Eisenman’s legacy, wistful connection to Hawaii’s lost culture. Cologne’s Wallraf-Richartz Museum and that Erudition of the Architect: this is in some ways the most successful Another is the Davies Memorial Chapel Hollein produced a Frankensteinian collage, Eisenman’s Canon Ball in delineating the conceptual legacy out of (1966), on the campus of the Hawaii Prepara- Isozaki’s Body, for the 1976 Cooper-Hewitt Since Alberti the disciplinary status of which his work is designed and the thought tory Academy, on the Big Island. Treib points exhibition MAN Transforms. Isozaki, Stirling, architecture has rested not merely on the in which its position is formulated. The book out that “the disposition of the architecture and Hollein appear now as brilliant brico- technical and metrical but on the historical represents the erudition of a career and is and the quality of light recall, at reduced leurs, finessing monsters from an eclectic and discursive: the ability of the architect an exemplary instance of the possibility of scale, Erik Bryggman’s Resurrection Chapel kit of parts. For high Modernists, such work to notice differences large and small in the “close reading” analysis and a précis of the in Turku, Finland.” In 1964, when Ossipoff could be considered “per fabricam alienam appearance of buildings and the develop- major theorization of architectural legibility in was elected president of the Hawaii chapter (outside the species),” one of three catego- ments of their arguments. In his recent book Post-Modernism—with the idea of “canon” of the AIA, he launched a “war on ugliness,” ries proposed by the Comte de Buffon and Peter Eisenman offers a volume of just such as the hinge between the hermetism of the urging the people of Hawaii to “make this quoted here by Terry Kirk. Buffon’s alternate discernments, with material drawn from the close reading and the historicity of criticality. a more beautiful place to live and work.” categories were “monstrum per defectum span of his career and honed over a series It is perhaps as both celebration and Although he may have won some battles, he (malfunction)” and “monstrum per excessum of seminars given at at indictment that this book is best understood. seems to have lost the war. One big question (something too large or with too many).” the turn of the century. The book approaches The questions it asks of subsequent genera- that remains unanswered is that while he is And then there is Kevin Roche. His the issues in two fashions. In one manner tions of architects (and/or critics) include: known for designing many beautiful individ- and John Dinkeloo’s New Haven Coliseum, it is a series of essays on projects, and in 1) Are they up to the challenge to nominate ual buildings and homes for wealthy clients, built in 1972 and demolished in 2007, is establishing their status as “canonic,” uses not only new buildings worthy of canonic why didn’t Ossipoff have a more significant allotted ten pages of illustrations plus the text highlights of post-1968 theory to explicate status but to also figure out the method of impact environmentally and urbanistically? “Subtext,” by Eeva-Liisa Pelkonen (MED ’94), the issues of architectural legibility. The interpretation by which such identifications While people have rediscovered his ideas and a photographic essay, or elegy, by Colin presentation of these projects is more secret are possible? 2) Do they even understand it and approaches to design, why have so Montgomery (MFA ’06). In an interview from history than linear narrative and includes as a challenge? many ugly, monstrous, and ecologically 1970 Roche describes the rationale to erect the expected, the Vanna Venturi House unfriendly buildings been built in Hawaii? a sleek 34-story tower on four 165-foot-tall (1959–64), by Robert Venturi; the surprising —John McMorrough Architects today would do well to “legs” in Lower (the monster Palais des Congrès-Strasbourg (1962–64), McMorrough is an assistant professor and examine and adapt some of Ossipoff’s ideas rampant?). Here in conversation with the by Le Corbusier; and the curious, Peter B. chair of graduate programs in architecture at and approaches to place-sensitive archi- Perspecta editorial team he modestly, or Lewis Building (1997–2002), by Frank O. the Ohio State University. tecture. Many of us have struggled to define clinically, discusses the Coliseum’s sad Gehry, among others. There is also a series of and articulate what is meant by “regional demise and revisits the “highway scale” analytical drawings showing the projects as Modernism,” which this book certainly helps of the 1960s. “Monumental architecture… objects (delineated in axonometric). The two to do, but its real value may lie more in terms makes us stop,” Roche suggests; a building approaches have a tangential relation each of understanding and presenting universal “only exists when people see it.” another, as one privileges the discursive and principles of good design. Kirk’s essay interweaves the Vittorio the other the interpretive. Emanuele Monument (glimpses of an ancient This tension is an ever present —Karl Kim, Ph.D. Coliseum behind); Georges Canguilhem, condition within canon formations, which Kim is professor of urban and regional who “analyzed monsters as products of exude intractability but are in fact wrought planning at the University of Hawaii, at the social organization of knowledge”; and in preference. In the case of Eisenman’s Manoa. teratology, which sets out “the boundaries canon it is brought into high contrast, for his of biological norms through experimental predilections are not only personal but have interventions in embryo development.” This in fact served to institute an understanding of Monster: Perspecta 40, wonderful word and its even fancier cousin, architectural thought over the last thirty years. ectoplasmic teratoge, reappear in Arindam In his reading Eisenman sees a building as The Yale Architectural Dutta’s provocative account of the Ford “canonic” not in its exemplarity (at least Journal Foundation in Calcutta (curious how Ford’s not necessarily) nor in its worth (though it Edited by Marc Guberman (’08), Jacob 1966 community organizational chart may at usually is worthwhile), but for the fact that in Reidel(’08), and Frida Rosenberg first glance recall architectural compositions its specific kind of formative displacement (MED ’07), MIT Press, 2008, 210 pp. by Louis I. Kahn). within the discourse of the discipline it is a “Monstrosity, in the teratological work that is involved in commentary on its Monster is the marquee-savvy and, via sense” kicks off Marcelyn Gow and Ulrika predecessor while subsequently changing invigorating forays and forensic montage, Karlsson’s tale as it evolves from Archi- the status of the inheritance. By writing about rather beguiling theme of Perspecta 40. gram, Marshall McLuhan, and a 1965 others Eisenman gives us the best indication Monster both in the sense of large—the L and Time magazine cover—“The Computer of himself and his motivations. XL of King Kong Koolhaas, his onward march in Society”—to Spoorg, by architectural In his doctoral dissertation, “The tagged here in REX’s Museum Plaza proposal firm Servo, an interactive cellular network Formal Basis of Architecture” (1963), for an unsuspecting Louisville—and of attached to glass facades that “functions Eisenman’s ambition lay in the application deviant or mutant. Monster both physical and as a shading and speaker system, filtering of arguments originated by the likes of Colin biological, dead and alive. The focus is on sunlight and creating an ambient sonic Rowe and Reyner Banham: namely that the not only things but the organic, on reproduc- environment.” We are now of course ideological assertions of early Modernism tion and, in the words of Michael Weinstock, dealing with issues of application. Jürg actually obscure its formalism (if you support ‘“nature as a series of interrelated dynamic Lehni introduces us to his marvelous writing the assertion, like Rowe) or its stylistics (if processes.” devices, Hektor and Rita (not by chance from you lament it, à la Banham). It was a project 18 CONSTRUCTS YALE ARCHITECTURE FALL 2008 FALL EVENTS Fall Events

Paul Rudolph, Oriental Vladimir, Masonic Valerie, Gardens, Lyn, and New Haven, Alexandra Connecti- Ossipoff at cut, their home 1968-1971. (designed Courtesy by of the Ossipoff), Library of in Honolulu, Congress. Hopeloa Place, early 1950s.

Paul Rudolph, Oriental Masonic Gardens Vladimir under Ossipoff construc- Architect, tion, Outrigger 1968-1971. Canoe New Haven, Club, beach Connecti- side view, cut. 1963. Courtesy Photograph of the by Walton Library of Tregakis. Congress.

at 31 High Street was a model for adaptive Rudolph Model Cities reuse that incorporated an 1855 Italianate Hawaiian Modern Hawaiian Modernism: An Exhibition house. Exhibition at Yale Introductory Colloquium Rudolph designed several build- In his 1958 inaugural speech, Paul Rudolph ings for the university—including the Art Hawaiian Modern: The Architecture of To mark the opening of the exhibition Hawai- (1918–1997) proclaimed that urbanism & Architecture Building (1958–63) and Vladimir Ossipoff, a comprehensive exhibi- ian Modern: The Architecture of Vladimir would top his agenda as chairman of the Married Student Housing (1960–61)—which tion of the Modernist architect, will be exhib- Ossipoff, at the Yale Architecture Gallery, a Yale architecture department: “We must find displayed a complexity that suggested new ited at the Yale School of Architecture Gallery panel discussion will take place on Septem- ways of rendering our cities fit for humans urban patterns for the twentieth century. His from August 28 through October 24, 2008, ber 15, 2008, from 6:30 p.m. to 8:00 p.m., in and develop the aesthetics of change. This Oriental Masonic Gardens (1968–71), built and is curated by Dean Sakamoto (MED ’98), Hastings Hall, the Rudolph Building. will be our first concern at Yale.” New Haven from mobile-home trailers and demolished in the school’s exhibition director. The Yale School of Architecture will and Yale offered Rudolph many opportuni- 1981, is now being reevaluated as a forerun- Hawaiian Modern is the first hold a colloquium focusing on twentieth- ties to experiment with urbanism. Known as ner to today’s experiments in prefabrication. show to present a critical view of Ossipoff century architecture in Hawaii and Ossipoff’s the “Model City” for its leadership in urban Models constructed for the Yale show are (1907–1998), who, at a time of swift political legacy. Organized by Dean Sakamoto and renewal, New Haven was used by Rudolph also included in the Museum of Modern Art’s and social change in Hawaii, contributed Karla Britton, the event will include speakers for more than two decades as a large-scale exhibition Home Delivery: Fabricating the to an aesthetic which combines local and Kenneth Frampton (Columbia University), architectural model to develop ideas about Modern Dwelling (July 20–October 20, 2008). global influences, fusing Western Modernism Marc Treib (University of California, Berkeley), the primary themes of post–World War II The final section of the exhibition with elements of the Japanese and island and Steven Little (Honolulu Academy of Arts). Modern architecture. showcases Rudolph’s projects in New vernaculars. His career merged with Hawaii’s Speakers will place Ossipoff Thirteen projects by Rudolph will Haven after his tenure as chairman at Yale, evolution as America’s “final frontier” and within a tradition of mainland architects and be the focus of the exhibition Model City: including a more than decade-long unbuilt its unique confluence in the late 1950s and theorists who contributed to the culture of Buildings and Projects for Yale and New project for the New Haven Government 1960s of modern architecture, statehood, the Hawaiian islands (including Bertram Haven by Paul Rudolph, which will open with Center (1968–81), where he surrounded Polynesian culture, and the new age of jet Goodhue, Charles Dickey, Ralph Adams the rededication of the Art & Architecture Henry Austin’s Ruskinian Gothic City Hall travel. Cram, Julia Morgan, Lewis Mumford, David Building on November 7–8, 2008. Curated by of 1861 with new structures. The project’s The son of a Russian diplomat, Adler, Alfred Preis, I.M. Pei, John Carl Timothy Rohan, the show will include original vicissitudes form an index to the political Ossipoff was born in Vladivostok, Russia Warnecke, and ). The collo- drawings, photographs, and ephemera and economic upheavals of the time. The and grew up in Japan, where he survived the quium will address Hawaii’s Modern architec- from the Paul Rudolph Archive at the Library dismantling of the urban-renewal programs Kanto earthquake in 1923. He completed his tural tradition in relation to aspects of other of Congress, the Yale Manuscripts and that funded Rudolph’s New Haven projects architectural education at the University of Modern “regionalist” practices in midcentury Archives, and private sources. Since the shift resulted in the cancellation of the Govern- California, Berkeley, in 1931 and then moved America, among them the notable work of in cultural values of the late 1960s caused ment Center proposal in 1981. to Honolulu to begin a career that spanned Paul Rudolph and the Sarasota School in his reputation to decline, Rudolph has often The complexity of the projects on six decades. He designed residences for Florida, Frank Lloyd Wright’s desert work at been dismissed as a formalist whose build- view will contribute to a better understanding Clare Booth Luce and Linus Pauling Jr., built Taliesin West, and the architectural tradition ings were singular but impractical tours de of the relationship between Rudolph’s archi- award-winning religious structures for the of the Bay Area. force with little relation to the real world. This tecture and postwar Modernism and urban Punahou School and Hawaii Preparatory exhibition seeks to change that notion by renewal in America. The projects also emerge Academy, and was the chief design architect placing these structures in the context that as case studies in how to create boldly of the Honolulu International Airport. Upon Jordan River Competition shaped them. modern structures and spaces for both the his death Ossipoff was deemed “the dean of Known as the Model City because it campus and the city that are sympathetic yet Hawaiian architecture.” On Monday morning, May 12, Yale faculty received the most federal funds for redevel- not sentimental about the traditional fabric. The exhibition, designed by members Alan Plattus, Diana Balmori, Jim opment per capita by the early 1960s, New The show will also feature new Sakamoto, includes a documentary by KDN Axley, Hilary Sample, myself, and students Haven became a place for urban-design architectural models by Yale students and a Films and features thirty Ossipoff buildings Lasha Brown (’08), Gabrielle Ho (’08), and experiments. Soon after Rudolph became documentary video focusing on Rudolph’s organized in five design themes portrayed Ben (’08) boarded a Jordan-bound chairman of Yale’s architecture department, relationship to urban renewal in New Haven, in historic black-and-white photographs bus in Tel Aviv. Assembled by the Yale Urban Mayor Richard Lee and his administrator produced by Elihu Rubin, Daniel Rose ’51 by noted Hawaiian photographer Robert Design Workshop with the support of the for urban renewal, Edward Logue, tapped Visiting Assistant Professor of Urbanism, with Wenkam, as well as Julius Shulman and provost’s office of Yale University and the the architect to usher New Haven into the his film group, American Beat. A symposium, others; original drawings by the Ossipoff School of Architecture, the team chosen for automobile age with the Temple Street “Reassessing Rudolph: Architecture and office; newly commissioned color photog- their expertise in landscape architecture, Parking Garage (1959–63). Intended to help Reputation,” will be held at the School of raphy by Victoria Sambunaris (MFA ’99); ecology, and design traveled to participate revitalize downtown, the garage was part of Architecture on January 23–24, 2009. fifteen analytical scale models made for the in collaboration with Jordanian, Palestin- Rudolph’s larger unexecuted scheme for the exhibition by Dean Sakamoto Architects ian, and Israeli architects, engineers, and Church Street Redevelopment (1959–60), —Timothy M. Rohan, Ph.D. LLC, and many international publications students in a four-day international design which will be shown for the first time in this Rohan is an assistant professor of architec- in which Ossipoff’s work was featured in workshop to create a vision for a peace park exhibition. These works demonstrate what tural history at the University of Massachu- during the postwar years. The show includes on the Jordan-Israel border. The Jordan River distinguished Rudolph from his contempo- setts, Amherst. His dissertation for Harvard a comprehensive catalog (see review page Peace Park will be the first of its kind in the raries: with these large-scale, structurally (2001) focused on Rudolph’s academic 16). Feature stories on the show made the region, straddling the border and the Jordan expressive projects, Rudolph challenged the buildings. cover of Metropolis (May 2008) and Modern- River, and will be part of a much-needed monotonous curtain walls and open spaces ism (winter 2007), and it was reviewed in economic and environmental development of the International Style, which he said numerous publications including the Archi- strategy for communities on both sides. A were destroying the architectural diversity tects Newspaper and Wallpaper.com. The project of Friends of the Earth Middle East of traditional cities. Long before considera- book received an honorable mention from (FoEME)—the trinational Jordanian, Palestin- tion of the existing urban context became the Hawaii Book Publishers Association. ian, and Israeli NGO that invited our partici- standard practice, Rudolph emphasized The exhibition will travel to the Deutsche pation—the park concept has the support of forging relationships between old and new Architekturmuseum, in Frankfurt, from March authorities from both countries. structures. His own residence and office to June 2009. 19 CONSTRUCTS YALE ARCHITECTURE FALL 2008 ARCHITECTURE SCHOOL BOOKS YSoA

YALE SCHOOL OF ARCHITECTURE

EDWARD P. BASS DISTINGUISHED VISITING ARCHITECTURE FELLOWSHIP THE HUMAN CITY: Books KINGS CROSS 03:

ROGER MADELIN / DEMETRI PORPHYRIOS

Jordan River border. Photograph by Andrei Harwell (’06), 2008. Near the site, the concrete wall between Israel and the West Bank yields to the Israel-Jordan border along the Jordan River. Although it is only four miles from the sea of Galilee, its historical source, the river here is sickly brown and slow-moving because it no longer flows from the sea and is composed of runoff and raw sewage. According to Gidon Bromberg, Israeli director of FoEME and a 2007 Yale World Fellow, the Peace Park is the first step in FoEME’s mission to clean up the river through a series of cross-border initiatives following a cutting- edge strategy in sustainability and diplomacy called “environmental peacemaking.” We arrived midmorning in Naharay- im (“two rivers” in Hebrew), the northern entry to the site, where the Yarmouk River Jordan River border. Photograph by Andrei Harwell (’06), 2008. flows into the Jordan from its source in the Syrian Golan Heights. Some biblical scholars argue that Naharayim was the gateway to the On Wednesday, the teams worked Layered Urbanisms, published in the spring, American Academy of Rome. The book Garden of Eden, but the area today is yellow through specific tasks and prepared features the work of the first three Louis I. includes an essay by Kurt W. Forster, archi- and scrubby, smattered with drab agricultural documents for the presentations in Amman Kahn Visiting Assistant Professors, which tectural historian and Vincent Scully Visiting fields. Just across the border in Jordan is and Jerusalem. My team prepared the master was endowed in 2004 to bring young innova- Professor at Yale, situating George Nelson Peace Island, a special area onto which plan, Diana Balmori and Jim Axley prepared tors in architectural design to the school. The in an architectural and cultural context. Israelis can pass without a passport or visa. ecological and environmental concepts, book includes the projects of the advanced The book—which was featured in The New It was created in the 1930s by the Palestine Hilary Sample focused on architectural studios of Gregg Pasquarelli in “Versioning York Times Book Review on September 16, Electric Corporation (PEC) engineering design, and Alan Plattus pulled the pieces 6.0,” Galia Solomonoff in “Brooklyn Civic 2007, and reviewed in the Library Journal in works, along with canals, a dam, a lake, and together, finding a structure for the presenta- Space,” and Mario Gooden in “Global November 2007, Architects Newspaper in a hydroelectric plant. An early example of tion and taking on the role of moderator and Typologies.” It was edited by Nina Rappaport March 5, 2008, and in Choice Magazine in cross-border cooperation in the region, the taskmaster. Ideas moved fluidly among the with Julia Stanat (’05), designed by Mgmt. February 2008—was published thanks to the PEC was built with the approval of the Emir groups, and everyone’s voice was heard. By design, and distributed by W. W. Norton. generosity of Herman Miller Inc. and Vitra AG. of Transjordan by a Palestinian company, Thursday morning the pieces were complete, but the 1948 Arab-Israeli War interrupted its and we focused on consolidating diagrams, The Human City: King’s Cross documents The Yale Building Project: The First 40 Years, operations when the land became contested plans, and illustrations into a compelling the participation of Roger Madelin—the by Richard W. Hayes (’86) with contributions territory. The 1994 peace treaty gave the site argument for what the park could be like, one third Edward Bass Visiting Fellow—in an from Ted Whitten (’02) and other Yale alumni, “special regime” status, allowing for Israeli that could be used by FoEME as it moved advanced studio. Madelin, the director of was published by the Yale School of Archi- ownership of Jordanian land. As part of the forward to generate political and financial Argent LPC, based in London, cotaught tecture in 2007, distributed by Yale University Peace Park, the island—along with Naharay- support for the project. with Davenport Visiting Professor Demetri Press, and designed by MGMT.design. im and Old Gesher, where an Ottoman British At noon on Thursday we headed Prophyrios and George Knight (’95), assist- The book received the AIGA book design Mandate bridge and a 2,000-year-old Roman for Wild Jordan in Amman, home of the ant teacher. The studio site was King’s award in “50 Books/50 Covers” and will be bridge cross the Jordan River—will become Royal Society for the Conservation of Cross, in London, and addresses issues of exhibited at the AIGA headquarters on Fifth a bird refuge and eco-resort accessible from Nature, where we presented the project to creating an organic city designed by many Avenue, in New York, in the fall; it will become both sides of the border. an audience of Jordanians; embassy staff hands, master-planning on a large scale, part of its permanent collection. Hayes has For three days following the site from Japan, England, the United States, and making the city human. Edited by Nina been lecturing widely on the book in England visit, the international team occupied a and France, and the Royal Minister of the Rappaport and Aaron Taylor (’08), the book and the USA. Jordanian youth camp in nearby north Environment. Our reception was friendly but will be published in October 2008 by the Yale Shunah, where we took most of our meals restrained, and the audience’s questions School of Architecture and distributed by W. Future-Proofing, published in fall 2007, the and worked around the clock. A Tuesday- were not without tension. The following week W. Norton. second book in a series documenting the morning visit to tour the PEC power plant we presented the plan to a large audience Edward P. Bass Distinguished Visiting Fellow- cemented our desire to find a design strategy of journalists, architects, environmentalists, Paul Rudolph, Writings on Architecture will ship in Architecture, features developer that would preserve the sublime quality of the and other interested parties in Jerusalem. We be published in November on the occasion Sir Stuart Lipton of London; architect and site’s ruins. Rusting steel machines seemed accomplished a great deal with our Israeli, of the rededication of the A&A Building, Davenport Visiting Professors Lord Richard to have been carefully positioned in the Jordanian, and Palestinian counterparts in a now Paul Rudolph Hall—Rudolph was Rogers (’62) and Chris Wise, of Expedition landscape, set off by fields of golden wheat compressed period of time, and we hope that chairman of the department of architecture Engineering, and Malcolm Smith (’97) of and thistle dappled by red poppies, while our work will have a positive impact on the (1958–1965)—and will be illustrated with Arup. The book, edited by Nina Rappaport the plant itself conjured Turner’s painting future of this complex region. many previously unpublished images. with Andrew Steffen (’08) and designed by of Tintern Abbey, its vast scale dwarfing Designed by Pentagram, it will be published MGMT.design, was reviewed in the Archi- everything. — Andrei Harwell by the Yale School of Architecture and tects Journal in January 2008, and Urban In the afternoon Alan Plattus Andrei Harwell (’06) is a critic at Yale and is distributed by . Design in spring 2008. facilitated introductions and a first round of project manager of the Yale Urban Design discussions. Divided into four multinational Workshop, the organizer of the charrette. Building (in) the Future: Recasting Labor in Eero Saarinen: Shaping the Future, edited by groups, each coordinated by a Yale faculty Architecture, edited by Peggy Deamer and Eeva-Liisa Pelkonen (MED ’94) and Donald member, we produced and presented our Phil Bernstein (Yale College ’79, M.Arch Albrecht, received the Philip Johnson Book master schemes based on our experiences ’83), will be published in spring 2009 by the Award of the Society for Architectural Histo- of the site. Each proposal represented a Yale School of Architecture and Princeton rians in April 2008. As reported previously, different understanding of the project and Architectural Press. The book, based on the book also received the Banister Fletcher offered a set of conceptual layers—one a symposium held at the school in 2007, Award of Author’s Club in Mayfair, London in focused on revealing the ecologies of the examines the fundamental human relation- 2007. Published by Yale University Press in site, another on finding a formal structural ships that characterize contemporary design 2007, the book also received an award from logic, the third on zoning and uses, and the and construction. Contributors including AIGA’s “50 Books/50 Covers.” The exhibi- final one on entry, sequence, and circulation. numerous designers, engineers, fabrica- tion of the same name was at the National Amid our discussions, visits from tors, contractors, construction managers, Building Museum this summer and will travel the region’s mayor, twenty schoolteachers, planners, and scholars examine how to the Minneapolis Institute of Art and Walker and local residents confirmed the commu- contemporary practices of production are Arts Center from September 14–January 4, nity’s support for the project. News that reshaping the design/construction process. in 2009. an article on the charrette had appeared Designed by Jeff Ramsey, the book is on the front page of Ha’aretz, Israel’s most produced with the support of Autodesk Inc. widely read newspaper, brought rounds of applause. We had more discussions over Building A New Europe: Portraits of Modern dinner and strong, sweet Arabic coffee with Architects features articles from Pencil Points cardamom, and by the end of the day we had in 1935 and 1936 by architect, designer, reached a consensus and produced a menu and architectural critic George Nelson of concepts that everyone agreed upon. (1908–1986), a graduate of the Yale School of Architecture in 1932 and a fellow of the 20 CONSTRUCTS YALE ARCHITECTURE FALL 2008 SPRING 2008 LECTURES Spring 2008 Lectures

The following are excerpts from the spring design principles, the bridge designers were numerical, which were emerging technolo- Richard Meier 2008 lecture series. following a model that was clearly defec- gies in the 1980s when he penned the tive. This reminds of us one very close to book. Today, screens, once confined to the Richard Meier home here in , the Mianus River darkened movie house to be gazed upon by a Davenport Visiting Professor Bridge, which is also a cookie-cutter design. stationary audience, proliferate on the mobile “Hans Arp and Others” Hundreds and hundreds were made like technologies of laptops, telephones, iPods, January 10, 2008 this, and finally one of them collapsed about iPhones, and SUVs. LCDs of all sizes form For my first house on Fire Island, I was asked, twenty years ago. Then they found that lots kinetic walls of images and sounds lining “Can you build us a house for $9,000?” Even of others were defective. It was just copying the bustling corridors of airports, elevators, in 1963, $9,000 was not a lot of money, but a standard and not a very elegant design— gyms, and even market checkout counters. I said yes because I didn’t know anything. I just copying one after the other—and then Deleuze recognized that the screen, once was working in the office of Marcel Breuer, something happens and they find there are upright and referencing the human posture, and I thought this would be an opportunity defects throughout. What do they find? In had become like a tablet of information upon for me to do a project on my own at night. It this case, 34 percent of these designs were which data was inscribed. Electronic images is Breuresque in many respects. I happened structurally deficient. This is the thing to “will have to be based on still another will David Billington to be reading The New York Times, and in the avoid, no matter how small the bridge, no to art,” as he thinks through their possibili- back of the magazine section there was an matter how seemingly unimportant. But ties, “or on as yet unknown aspects of the advertisement from a company in Northern no one is responsible for these bridges; time-image.” For example, Hertzian space, Michigan that made pre-cut log cabins. I you’ve never heard any names mentioned. through which we connect with many of thought if they can pre-cut the log cabins It is a bureaucratic kind of thing that bridge these new screens and electronic images, they can pre-cut the lumber for a house like design has fallen into in this country. … Felix forms out of the variable signals of cellular this. All of the material was cut in Michigan Candela had such a marvelous command of networks, such as GSM, which have been and sent by a boat to Fire Island and built in structures. One of the things he emphasized overlaid over the ever-expanding city, nine days. When my parents saw that I could is that you have to be a builder—or have a suburb, and town. We tap into these dynamic do a house for $9,000, they came to me builder’s mentality—to do these things right. spheres, whose intensities fluctuate depend- and said, “We’ve been living in a three-story If you just sit in an office and design, make ing upon parameters of position and signal house, and we really want to live in a ranch drawings and calculations, you’ll never get to strength. We enter these spheres when we house on one level, where we don’t have to the heart of structural engineering. dial our cell phones in our home, send text go up and down stairs.” They purchased messages as we walk along busy streets, Paul Andreu a lot in Essex Fells, N.J., and asked me to Paul Andreu or transmit videos while in transit on a bus. design a house for them. As I was strug- Paul Rudolph Lecture Certainly the space of the city has evolved to gling with the design, I had the opportunity “Flux Movement Form” accommodate the new networks and uses, to spend a weekend as the guest of Edgar February 18, 2008 and architecture is beginning to respond to Kaufmann, Jr., at Fallingwater, which as you To accept doubt is the proper moment it in kind. And so has the domestic sphere, know is a masterpiece. I thought, having for theory. It is not when you are sure of where sensing technologies can now be read everything that Wright had written, that yourself—although you have to be sure calibrated to respond to changes in habits there should be a kind of openness, a way because you are building—that you are in a and routines. Both notions of public and of moving from inside to outside—walls that position to understand or practice theory. It private (which is really the deprivation of penetrated from the interior to the exterior. is when you look around at what the others public life) have been irreparably reconfig- What I learned is that the inside is different think and try to reassemble your principles ured by these new temporal technologies. from the outside, and no matter what Wright that you can try at least to be there. I always It is also important to recognize said about free movement of space, at least thought theory was the fruit of action and the that these new temporal technologies have in the Northeast that is not possible. preparation for another action. In fact theory already been incorporated into architec- I got a little more work and moved comes from a Greek word file, which means tural production. Digital fabrication, which Mabel Wilson to an office on 53rd Street where we all sat “order.” It is just putting ideas in order so you engages direct production and new topolo- around one table and worked with north light, can process and go and proceed. gies, allows for temporal shifts (key framing) but we had sunlight that reflected off Lever I left the organizations of airports in the making of form. But these changes House and made it a wonderful space. We and said no more. I didn’t want to die as an have also transformed what it means to work; didn’t get a lot of work done, but we had a airport specialist. In the art field, specializa- thus the term job now also characterizes a file good time. Fortunately I was able to move to tion is always very considered; in medicine it sent instantaneously to the milling machine a larger space on 57th Street and did some is okay to be a great specialist. Take music, rather than an occupation a person holds for projects for the New York State government. for example: if you are a specialist of military months or years. The flip side of space/time I then received a commission from music you are not considered the same as compression, a phenomenon that geogra- people who saw my parent’s house, who a musician. I wanted to just be an architect. phers have noted in our globally networked asked me to do a house in Darien, Connecti- There were a lot of questions that I had, world, is the acceleration of change and the cut. It is open to the water and closed to the there were a lot of things I wanted to do that 24–7 movement of information, technologies, entry side. I took Jim Stirling to see the house airports could not answer. I had the question culture, goods, and peoples across what shortly after it was completed, and he walked of nature, of course. I had light (good), and were resolute boundaries of nation-states. It Yoshiharu Tsukamoto around and said, “It’s not concrete?!” And I I had construction (good); but I tried to wasn’t the Modern style of architecture that said, “No, it’s not concrete, it’s wood, built introduce trees into my design, and there became international but rather the intel- in the New England tradition of clapboard was always a lot of resistance from everyone lectual capital of the global architect as he or siding.” Having seen the photographs of it, around that I should not spoil the airports she jets from Dubai to Beijing to New York to somehow he thought it was built in concrete. with my trees. It was also a kind of island cut Rotterdam. The world architecture structure in the middle of nowhere inside the runways. is messy, complex, and always in flux. David Billington I wanted something else: I wanted nature; I “The Art of New Structural Engineering: wanted town if possible; I wanted to experi- Yoshiharu Tsukamoto Swiss Legacy and Mexican Marvels” ment in those places. Atelier Bow-Wow January 14, 2008 The Grand National Theatre Beijing Myriam Bellazoug Memorial Lecture The combination of technical accomplish- was a long, difficult competition, and then “Future Local” ments and artistic elegance is the theme of there were discussions, which are good—be- March 24, 2008 this lecture. The failure of the Minneapolis cause if you don’t discuss a cultural building, Architecture behaviorology is the concept I-35W Bridge in 2007 revealed that we need what will you discuss? But the discussions we are now trying to figure out through our to stress both to sustain society. I think were very harsh sometimes or at least practice. It consists of three different levels; “commercial” and “residential.” “Sommer- elegance is crucially important. The federal difficult to bear. It was a building that brought the first is human behavior. The second cial” activity invades the residential area in government estimates that there are 2,500 me to the limit of despair, but that also behavior is that of architectural physics, like a kind of homogenized commesidence. The new bridges built every year in this country. brought me to the possibility of expressing light and wind and heat. The third behavior third one is “urbanvillage,” which is a kind What a wonderful opportunity to see how we myself as no other. It was a building on which is that of buildings in the city or in the of quasi-fortification for fireproofing urban can rebuild with these ideas. I could work with my hands; making the landscape. Our architecture always synthe- planning to enclose and to subdivide old All of the great bridges I have wax model for certain pieces myself was an sizes those three behaviors, around or in the low-rise wooden residential areas to avoid studied were designed by one person, not by unbelievable pleasure for an architect or for building. We are always trying to make this the expansion of big fires in the case of a big a team. There are, of course, a lot of people anyone. … Never before have I found myself kind of work. earthquake. The fourth one is “urbanrigat,” needed to bring a bridge into being, but so concerned and responsible for a building. Subdiburban is a word invented by which is void space in the block of the the conceptual design—and by that I mean But I try never to be afraid. I think being afraid me, and it means “subdivided suburban.” residential area. Behind this typomorpho- designing the form, figuring out how it will is something ugly—you have to be responsi- The suburban area of Tokyo is swallowed logical analysis we have the concept of a be built economically, and what it is going to ble, but you don’t have to be afraid. This is a by the expansion of the city, so we have void-metabolism, which is comparable to look like—comes from one person. Those position I have often defended. already three generations of suburbia 1960s core-metabolism. three things—the efficiency, the economy, connected to each other, and it becomes In the 1960s architects could and the elegance—are what make a great Mabel Wilson one big city. Osawa is the first generation believe that urban creation could be driven bridge. And the most important thing for “Time/Space Pressure: The Electronic of suburbia, which was built in 1923 in the with centralized power and capital. What academics is the education of engineers, Image of Architecture” same year of the Great Kanto earthquake. is really happening is very different. They architects, and the general public in the February 25, 2008 We are in the typomorphology of Tokyo; we visualized and spatialized their concepts highest level of design. Near the end of the book Cinema 2, Gilles discovered four different forms in Tokyo, with that kind of form, which is a core with a Now we get to our friend, the bridge Deleuze briefly considers the possible evolu- which were not planned and emerged time capsule, and in that form the core is a stable, that failed in Minneapolis. It is important tion of the cinema image toward that of the after time after WWII. There is subdiburban unchangable element and the capsule is a that by slavishly adhering to standard electronic image. The television, video, and and also “commesidence,” which mixes replaceable element. So they thought the 21 CONSTRUCTS YALE ARCHITECTURE FALL 2008 SPRING 2008 LECTURES

Thomas Heatherwick yourself in your little workspace trying to attitude of craft to me is all about giving a Mario Carpo be brilliant and thinking, “I’m here. This is a damn about how you do something. A lot of “Digital Turns, Historical Thoughts brilliant place, and therefore I must be brilliant people who build things do not give a damn from Abroad” and be brilliant.” The thing I’ve found that about how they do it, as long as somebody April 14, 2008 really made things start working is when tells them what to do. What we are finding is Technology keeps changing, and today new you start working with people and use them that when you sit down and ask the subcon- techno-social developments invite new uses to wrestle with ideas. So I’ve built up a little tractors, for example, how they typically and challenge new users. The CAD/CAM of team in London, and we sort of interact to do something, they are not used to having the 1990s was mostly based on controlled try and turn things into things, and that’s a someone ask them those kinds of questions. proprietary networked environments, and combination of wrestling with things that We are not supposed to be talking to them the emphasis was on the vertical integration we think we are sure of and then throw- in the first place—means and methods of all different phases of design and produc- ing doubts at those things to turn them all are something we shouldn’t mess around tion and the potentiality that this seamless around. with—but the fact is we have to manage risk continuity offered for the design of singular The Rolling Bridge, in the whether we like it or not. Obviously, in terms complex objects and the production of serial Chris Sharples Docklands, began from a completely differ- of how we manage risk with the virtual model, variations. But in recent years the networked ent premise than it appears. We started by things are going to get better; but I really environment has evolved from earlier, mostly wondering whether a bridge could be like an believe that this social network between the monodirectional information technologies to animatronic. It was funny going down a route, architect and the builder is going to improve a fully symmetrical bidirectional informational thinking then that it could be made from over time, and I think the building industry is framework. This technical development is rubber. Then we had this moment where we going to embrace that. It is about socializa- being exploited for a variety of purposes, suddenly realized that the problem with the tion; it is about how you take an idea and some purely technological (such as P2P and rubber bridge was when it was in its down bring it to fruition, and many hands make distributed processing networks) and some position—it is too interesting—you didn’t light work. with vast social implications. Indeed, some of need it to do anything else. It needed to this software is appropriately called “collabo- conform to your normal idea of what a Adrian Favell, Roth-Symonds Lecture rative” or even “social” software. bridge might be, and so we get some quite “Mobility, Security and Creativity: “Interactivity” and “participation” funny reactions. The Politics and Economics of Global are in fact the catchwords of the day, and the There are fashions for things. A Creative Cities” architectural discourse on these matters is as fashion will come through for bridges, or a April 11, 2008 intense as the discourse on hypersurfaces, Adrian Favell fashion will come through for chairs. A way I am thinking about mobility as both a spatial nonstandard, and topological geometries to get caught in your time is if you just do and social mobility phenomenon—that people was ten years ago. Interactive connective- what people ask you to do. When you think of migrate both to move out (of the frustrating, ness may include human participants as something that you think is important to do, local, provincial places they come from) and well as machines of all sorts, and technical try and work the other way around—find a to move up (to build a career, be successful, interaction between networked (or smart) client to do it. climb the social and economic ladder). In machines (a development that some have Could you make a bridge just out of the free moving, global economy that we called the “Internet of things”) has recently glass? Glass is made from sand on beaches, inhabit, it is fairly universally presumed that spawned more interest and excitement so it is readily available. Romans made rock such mobility dynamics are a prerequisite than digitally enhanced social collaboration bridges, and glass essentially is rock. Could and necessary component of a dynamic between humans. There are some reasons you make a bridge like that in thin, minimal economy: the more people move and the for this. For one, responsive technical sheets? So a line of research began. We have more flexible they are, the more dynamic environments may include exciting new been working with the engineers who did the economy will be. In economists’ terms, architectural features and gadgets, whereas Waterloo Station, in London. The idea is in freeing up persons as one of the factors of teamwork in architecture is hardly a new Mario Carpo terms of architectural lighting. Normally you production—making them more mobile and topic. To the contrary, digitally enhanced or have to figure out where your lights are going more flexible—is but one of the ways in which not, architectural design has always been to point at your building or at your structure. you can make an economy more efficient. a delicate act of negotiation and balance But the idea here is that the light is inside as But there is in fact much to be between many participants, personalities, its own light fixture. gained sociologically from the study of and committees, the individual and the this putative global creative transnational collective. Chris Sharples capitalist class, these idealized folks who The notion of music as an authorial, Kahn Visiting Assistant Professor represent perhaps our most “evolved” global authorized, identical reproduction of sound is “In Practice” social forms. And we especially learn a lot a recent historical acquisition; for centuries, April 7, 2008 from understanding where and how friction, even when it was formally written, music We have always been inspired by a performa- road bumps, and diversity come back into itself was an endlessly variable medium— tive approach to design. If you come into the superflat picture. If this is how the global endlessly drifting and morphing, interpreted, our office the first thing you will see is the economy is supposed to work, then it is edited, reworked, and transmogrified by airplane wall. We have always looked to the instructive to learn when these mechanisms countless performers, composers, and capsule could be replaced anytime with aerospace and automotive industries for go wrong for even the brightest and the best. amateurs. any purpose, but in fact it is very difficult to inspiration, in terms of understanding how Demand for security has transformed many But it is at the dawn of modernity do that. Nakagin Capsul Tower is going to performance has a big role in developing of the conditions of mobility and creativity that Alberti—with a little help from some be destroyed in one or two years. Besides design criteria. You see it in nature, you see that we were beginning to take for granted friends—forcefully shaped that pervasive this core-metabolism, what is happening it in aerospace, and also in terms of how until that day in September. This is, if you and essential tenet of Western humanism, in reality is an urban texture. Shirogane is we manage form with materials and what like, what I think of first when I hear the asserting that works of the intellect, including the most popular residential area in Tokyo, techniques we use to do that. Another thing phrase “mobile anxieties”: that the mobility architectural works, have one author and and it is occupied by detached houses that that has become a big preoccupation for of the global 1990s, and the creativity and one archetype, which executors (scribes, create gap space between the building and us is how we communicate information; economic dynamism is it is supposed to draftspeople, or builders) are required to a small garden. In Japan we don’t share visualization is critical to how we work with have engendered, has had its wings clipped reproduce identically and are prohibited from walls with buildings next door, so our urban other consultants within the profession but by an anxiety—bordering frequently on state altering. This is the paradigm that recent pattern is made of buildings and houses and also how we communicate information to the sponsored paranoia—that has sought to developments in digital technologies may gap space. Our generation is working on people who will actually execute the work. re-securitize and control the very forces that now be phasing out. the regeneration of those small grains, an This is something that is becoming ever more made the US-led vision of the global 1990s urban tissue, an urban fabric. We are doing apparent as we start to deal with environ- so successful. —Lecture excerpts were compiled by Marc detached single-family houses. So if you mental systems and complex forms. So it is this three-way relationship Guberman (’08), Zachery Heineman (’09), and zoom back, what we are doing is metabolism The East River Waterfront Project is between mobility, creativity, and security that Brandt Knapp (’09). of this kind of urban fabric. The difference is a large-scale project for Manhattan. Histori- I would propose as the way to think of the that our metabolism is happening around cally, a lot of plans have been proposed but conference’s concept of “mobile anxieties” the void, not around the core. There is as clip-ons—things that actually got attached as a key to the understanding the global nothing stable—the void is always there, to the edge without extending into the city. world we live in today. All three may well be but it is always redefined by the replace- If there is one thing that is important about necessary in some way to the successful ment of each grain of houses. This is a really getting a project through, it is addressing functioning of a global economy and society, interesting relational space between build- the issues of the people who are going to but all three can easily spill over into excess. ings, and it affects the planning of the design use it, those immediately around it. Besides The dynamics of mobility and of each house. Community Boards 1 and 3, we are dealing creativity, in other words, might be resilient with City Planning, EDC, state and local and attractive enough to curb and reverse the Thomas Heatherwick DOT, and the Office of the Mayor, and we are reflexes of security that threaten to poison Eero Saarinen Lecture understanding how to negotiate relationships them. A lot will depend on whether that open “Belief and Doubt” with many different constituencies. One of vision of the country can appeal to the young, March 31, 2008 the things we are excited about is how we dynamic and hopeful, winning out over the I’m going to grapple with the title I’ve given can make the connections among these old, backward looking and fearful. America my lecture this evening because I don’t different neighborhoods and draw the city at its best is, or should be, no country for old really subscribe to the logic, which is very out to the edge. men. Europe—which is inevitably hobbled seductive, that there is a creative individual Craft is the socialization of the by its longer, older traditions, offers different who just knows the way and just has the process between the people who build and elements to the equation. plan and just sort of makes one straight line design the buildings and how they work to a solution. As a student, you sit there by together to achieve that end goal. The 22 CONSTRUCTS YALE ARCHITECTURE FALL 2008 ADVANCED STUDIOS SPRING 2008 Advanced Studios Spring 2008

A snapshot of the spring 2008 advanced studios at Yale.

Maryjane Starks (’08), Stefan Behnisch Advanced Studio, spring 2008. Marc Guberman (’08), Richard Meier Advanced Studio, spring 2008.

Yichen Lu (’08), Frank Gehry Avanced Studio, spring 2008.

Frank Gehry Richard Meier on the site, the studio addressed similar Concert Hall for Lincoln Center Contemporary Art Museum issues of environmental design for multi-use Frank Gehry, Eero Saarinen Visiting Profes- Richard Meier, Davenport Visiting Profes- spaces following the area’s master plan. The sor, and Trattie Davies (Yale College ’94, sor, taught a studio with his colleague Judi program for the 30,000-square-foot project M.Arch ’04) challenged their students to Shade for the design of a contemporary art included a theater workshop on the ground design a new concert hall to replace Avery museum adjacent to his 1985 Museum for floor, along with retail space, a restaurant, Fisher Hall at Lincoln Center. They were the Decorative Arts in Frankfurt. Students mixed-use offices, live-work spaces, and asked to address issues of the urban context were challenged by the relationship between condominiums above. Jeffrey Geldart (’08), Demetri Porphyrios Advanced and the role of classical music in contempo- their new museum design and the historic After a trip to Hamburg the students Studio, spring 2008. rary society. three-story Villa Metzler as well as the need conducted a program analysis, addressing Studio participants met with numer- for a 10,000-square-meter building on a issues of configuration on the peninsula and First, the students drew Corfu’s ous experts in the fields of music, acoustics, threshold site between the urban scale of the interpreting the program so it was integrated vernacular architecture, grafted it onto the and management and visited concert halls north side of the Mann River (across from the with the site and incorporated ecological historic Venetian city plan, and then devel- around the world. They attended a concert at site) and the smaller residential scale along issues. At the final review they presented oped a variety of typological solutions for Avery Fisher and met with Zarin Mehta, direc- the southern bank. their proposals to the jury: Vincent Bandy, multistory residential buildings. Resolving tor of the New York Philharmonic, and visited The semester began with the Jorge de la Cal, Andrea Kahn, Demetri issues such as daylight, privacy, views, and Gehry’s Bard Center for Performing Arts, “18-inch CUBE” assignment, a project to Porphyrios, James Russell, Stephen efficient layouts, they assembled their proto- where they met with Leon Botstein. They also define contemporary art and how to design Stimson, Marion Weiss (’84), and Claire types into urban blocks and investigated the met with the Yale Symphony Orchestra and a space to hold two objects that would Weisz (’89). consequent design implications for the street listened to the ringing of the Harkness Tower question their relationship to the space. The Landscape dominated many of the façades, function, and site topography. Carillon. On their studio trip to Amsterdam students had to design a flexible and specific project forms and siting. Claudia Melniciuc On their trip to Corfu the students and Berlin, the students attended concerts space that would accommodate diverse art designed a courtyard building with a tower saw the distinctive “finger blocks” and the at the Concertgebouw and Scharoun’s Berlin forms for a museum without a permanent and a public loop through the building that piazzas dating from the Venetian occupation Philharmonie, which became a source of collection. How can a museum work in continued around the ground floor as if it of the island, as well as the morphology of inspiration. Back at Yale, designers from dialogue with the art it houses if its contents peeled the ground up to the second level. the town and its public space, and met with Gehry’s office met with the students each change continuously? The environmental envelop defines a the head of the antiquities department and week to discuss their progress. On their field trip to southern partially controlled interstitial space, which the developers. At midterm review the students Germany the students visited Baroque becomes a charged venue for interaction Upon returning from Corfu, the evaluated how the experience of music is churches and Meier’s Weishaupt Forum, in between the multiple constituents of the students developed individual master affected by place, the flow of space, the Schwendi, and his Ulm Stadthaus. building. Zachary Stevens’s vertical garden plans. Some embraced the waterfront and drama of the procession, spatial hierarchies, Returning to work on the siting of wrapped screens that clad the building and the promenade leading to the old town, and the connections between orchestra and the project, most of the students separated merged with the landscape. Pierce Reynold- where they sited public programs. Propos- audience, all of which they transformed into their project from Meier’s but used its son designed finger blocks of residential als addressed issues such as vehicular a personal interpretation in materials, form, 17-meter height as their building’s maximum. units to allow the public into the space, along movement; major ingress and perimeter and composition. They embraced new inter- Artists such as Frank Stella and David Salle, with sustainable systems for cooling and routes; distribution of retail, office, and pretations of the classical concert hall and and architect Peter Eisenman provided ventilation. Others made dramatic insertions public programs, and the integration of the the radiating presence a cultural institution interim crits in addition to their participation of towers. new buildings into the existing fabric, as can have on its environment. A trip at spring in the final review with the additional jurors— A few projects incorporated the well as the hierarchical urban organization. break included visits to Gehry’s office and the Barry Bergdoll, Mario Campo, Peter De water as an active ingredient in the design. During the second half of the term, students Disney Concert Hall, in Los Angeles, where Bretteville (’68), Liza Fior, Kurt Forster, Steven Maryjane Starks harnessed the fluctuation designed a selection of specific buildings. Ernest Fleischman discussed his experience Harris, Ariane Lourie, Thom Mayne, Cesar in river levels and developed a series of tidal At the final review the jurors—Tom with Gehry. Pelli, Emmanuel Petit, Chris Sharples, and generators housed within the structural Beeby (’65), Stefan Behnisch, Victor Deupi At the final review jurors Kent Tod Williams. anchor of commercial/residential hybrid (’89), Vassilis Kertsikoff, Alan Plattus, David Bloomer, Ara Guzellmian, Mia Hagg, Greg In the one tower scheme, Michael buildings docked along the marina. Seasonal Schwarz (’74), and Richard Sammons— Lynn, Zarin Meta, Victoria Newhouse, Jean Krop proposed a vertical response to rotation on a mechanical pivot would allow recognized the ways in which the architec- Nouvel, Alex Ross, Peter Sellars, and Stanley Frankfurt’s iconic downtown towers on the the buildings to capitalize on solar heating. tural aspirations of individual buildings were Tigerman (’60) feasted on enormous model footprint of the Villa Metzler. Other students Some projects, such as Sami Saifullah’s, subservient to the urban experience of the productions around which they discussed created a building as landscape: Marc brought the river inside the city to deal with streets and squares. Some students used performance, form, and the audience for Cucco designed a continuous extension of issues of urban-versus-landscape edge. the finger block as the driving form, includ- classical music. The students’ intentions open-air courtyard spaces around which the Claire Axley and Whitney Kraus ing Jeff Geldart, who placed the buildings were analyzed, challenged, and appreciated gallery’s roof is tiered to direct pedestrians proposed an intense mix of people and along the shoreline promenade to engage in projects such as Chris Corbett’s concert across an urban landscape of framed views activities. Unlike the rest of Hafencity, their the green space; removing one bay of the hall, embedded as a glowing jewel within a and partial enclosures; Sara Murado-Arias’s design took advantage of its adjacency to the former industrial building’s wall allowed garden that combined the back and the front proposed placing most of the gallery space water and position between the old city and pedestrians to move through and access a of the house. Amit Pilo’s performance spaces belowground, making room for a green roof the port, with the majority of the site becom- spa in the renovated structure. Daniel Yoder wrapped a double-helix ramp around the with open views into the galleries from above. ing a new tidal park that gradually meets the used the finger blocks to organize a plan of audience and concert hall. Different forms Other students were concerned with the water. Marsh beds were proposed to improve residential buildings with office space on the inspired projects such as Aaron Taylor’s exterior form and architectural language: the ecology and soften the edge. The upper ground floor and parking below grade. Gene undulating organ-pipe façades and Jessica issues of circulation, servant and served park is the threshold to the site, where the Cartwright’s university complex, set within Lupo’s glass-covered spaces, fabricated in spaces, interior enclosed spaces, and cantilevered cabaret opens for outdoor the street system comprising typical residen- hexagonal-patterned panels that mimicked connecting to the city were priorities. performances. The live-work buildings relate tial fabric, juxtaposed forms and scales water crystallizing into ice cubes. Jieun Cha’s The placement of the art within the to the dominant fabric of the development, to generate a dynamic urban proposal. A honeycomb of architectural coral enticed galleries focused other students’ work, from and the tower to the signature buildings. The two-story colonnade wrapping the residential concertgoers to “feed” from the building places that are highly specific for particular tower’s energy concept, with a communal wings of a cloister created a light and airy based on their needs. Niches responded to objects to more flexible spaces, allowing for strategy and a winter garden, creates a living, public walkway and provided a secondary the open spaces as stage and seating areas curatorial freedom. Marc Guberman asked, working building. egress for an entryway accessed by vertically and open-view foyers reached out to the city. how can a museum be specific if it has no stacked suites. Amy Chang’s finger blocks Visceral cues led projects including permanent collection? In closing, the jurors Demetri Porphyrios allowed various open spaces to be carved that of Yichen Lu, who froze the movement of discussed how architects make the work of The City of Corfu out of the urban fabric. The primary pedes- hands playing a piano and then deconstruct- architecture challenge the art rather than be Demetri Porphyrios, Davenport Visiting trian access opens up to a public space, and ed the form into a building. Santiago del subservient. David Salle noted the reciprocity Professor, and George Knight (’95) asked the piazza is occupied with community and Hierro actually played music in his presenta- between space and practice: art will adapt to their students to create a new neighborhood tourist activities. tion to demonstrate how space would adjust spaces in a dialogue between the two. on a site with the scattered remains of the to music in different ways, echoing the nineteenth-century Desylas rope-works Greg Lynn complexity of exchange so that the musical Stefan Behnisch company, in Corfu, . The project High Performance Boatyard and visual worlds are in sync. Hafencity incorporated urban and architectural design Greg Lynn, Davenport Visiting Professor, with Peter Sellars, a constant provoca- Stefan Behnisch, Louis I. Kahn Visiting for high-density, low-rise residential, retail, assistant professor Mark Gage (’01) asked teur, asked the students, “How would you Professor, and John Eberhart (’98) led a and commercial spaces, public streets, their students to design a building complex like to hear music? In tall grass in your bare studio situated in Hafencity, Hamburg, and plazas. Because of the small-scale for the manufacture, design, testing, and sale feet? Think about the humanity. What would Germany, one of the biggest redevelop- development parcel, the studio dismissed of high-performance sailboats using state- it mean to be utopic and get things back ment sites in Europe. With eight large-scale mega-scale designs in favor of human- of-the-art surface-modeling software. The on balance?” cultural and commercial projects under way scale solutions. merger between design, materials research, 23 CONSTRUCTS YALE ARCHITECTURE FALL 2008 ADVANCED STUDIOS SPRING 2008

Chiew-Hong Tan (’08), Greg Lynn Advanced Studio, spring 2008. Dylan Sauer (’08) Sunil Bald Advanced Studio, spring 2008.

Leo Stevens (’08) and Erica Schroeder (’08), Chris Sharples Advanced Studio, spring 2008. Sunil Bald Shimo-kitazawa-eki Bo Crockett Sunil Bald’s studio focused on the urban (’08), Brigitte grain of Shimo-kitazawa, a Tokyo neighbor- Shim hood with a black market and youth culture, Advanced Studio, that began to take form during the American spring 2008. occupation of Japan following World War II, when the neighborhood supported a military testing, and funding has made racing boats Brigitte Shim Chris Sharples base. The students were asked to design the apex of high-performance design. Sacred Space Urban Airport a 3,000-square-meter interchange station The students visited a carbon-fiber Brigitte Shim, Davenport Visiting Profes- Chris Sharples, Kahn Visiting Assistant for two suburban rail stations, the street- fabrication facility in Seattle and the North sor, with assistant professor Hilary Sample Professor, led a studio in the design of a level Odakyu and the elevated Inokashira. Sails 3DL plant, in Reno, Nevada, sailed in challenged their students to engage the issue large-scale multi-use airport outside of New The city of Tokyo has proposed to relocate San Diego on a former America’s Cup yacht, of sacred space in the twenty-first century. Delhi, India, with Stephen Van Dyck (’04) the Odakyu Station underground in a met with boat designer Alan Andrews, and Students were asked to design a chapel, and Steve Sanderson, members of his firm, government redevelopment plan that has attended the Los Angeles boat show. Using reflecting pool, courtyard, and social space SHoP. Investigating the advances in airplane roused public opposition. In an architectural the expertise of software specialists, the for a progressive or nondenominational technologies in contrast to the airport’s approach to an urban problem, students studio produced models using boat-building religious order on one of Toronto’s verdant organization, they developed new typologies provided armatures for many uses to both technologies and forms, testing how surfaces ravine edges. for the terminal and its relationship to the city. recircuit the dense neighborhood fabric and are created with surface-modeling software. After the studio site visit, students The studio trip to New Delhi brought speculate on the relationship of architecture, With the participation of Autodesk, they also investigated the phenomenology of light, to light the program, site, and culture. In infrastructure, and urbanity. were able to used advanced tools and fund shadow, reflectivity, and refraction, as well devising a matrix to describe aviation over After a trip to Tokyo to experience a film of their experiences, all of which will be as the materiality of water and the effects time, the students grasped the immense the neighborhood and meet with local repre- edited into a studio book. of seasonal and environmental shifts on a scale along with airport planning issues, sentatives, the students returned to design At the final review the students space. They developed ways to synthesize including flight equipment, runways, termi- their projects, focusing on the issues of presented their projects to a jury of Robert site, landscape, and structure in a sectional nals, infrastructure, noise control, branding, scale and urban heterogeneity. Conventional Aish, Paola Antonelli, Chris Bangle, Phil relationship through models and drawings security issues, luggage handling, interior assumptions about the boundaries between Bernstein (’83), Mario Campo, Lise Anne at many scales. A few of them added to the retail, and the relationship to the city. Using public and private space, landscape and Couture (’86), Greg Foley, Frank Gehry, given program and incorporated homeless computational methods, they could simulta- urban fabric, and architecture and infrastruc- Ari Markopolous, Chris Rufstein, Marcello shelters and community services. neously cross-reference environmental data ture were challenged. Spina, and Stanley Tigerman (’61). The key In the final review jurors Jim Axley, sets at multiple scales. Students presented a broad range challenges were how to create huge, open Sunil Bald, Merrill Elam, Kenneth Frampton, The studio produced five very of concepts to the jurors—Keller Easter- free-spans for the construction of boats, Keith Krumweide, Inès Lamunière, Amy different projects in teams of two, with three ling, Kurt Forster, Jeffrey Inaba, Masami organize structural parameters, and site the Lelyveld (’89), Kate Orff, Ben Pell, and narratives. One helped to manage time; in Kobayashi, Keith Krumwiede, Guiseppe project on the water’s edge. The roof was the Joel Sanders evaluated the projects. The another the airport became a concentrated Lignano, Joel Sanders, Brigitte Shim, and prominent designed object, often an undulat- exploration of light and water as materials economic center; and a third operated as a Marc Tsurumaki—at the final review. Some ing surface supported on columns or from was often combined to create an atmos- complete city, all of which they presented at projects focused on the materialization of material folds. pheric effect. For example, Andrew Steffen’s the final review to the jury of Vishaan Chakra- affect, while others explored how profiles Ashima Chitre’s golden mushroom- slatted wooden façades played with light barti, Anna Dyson (’96), Alastair Gordon, of the institutional and corporate players shaped piers, with a surface that was and shadow; others incorporated innova- Gregg Pasquarelli, Eeva-Liisa Pelkonen could formulate proposals. Because they decorative for a boatyard, reminded Gehry tive explorations of space and structure, (MED ’94), Liza Fior, and Bill Sharples. were required to connect at multiple levels, of the Cordoba Cathedral. Chiew-Hong developing the details using large-scale Leo Stevens and Erica Schroeder the architectural section became a place Tan’s folded surfaces in an origami-like models. Minna Colakis extruded a lozenge- sought to integrate the airport into the city of invention. roofscape developed into a string of facets shape chapel with a series of thresholds by wrapping urban space around it, with a The idea of a folded roofscape that crumpled along a path and completely over the hillside, incorporating a meshlike dramatic scale shift between the tarmac and orchestrated many projects. For example, disintegrated upon reaching the center of skin. By opening it to the sky, she made a the terminal. With a huge sectional model Nick McDermott’s zigzag complex with a the building. Offices and meeting rooms physical relationship between the spiritual of the local streets and airport they incorpo- faceted, sloped roof exposed the relationship for customers were located along this and the natural. Tom Bosschaert’s rose- rated parks at the end of the runway and a between infrastructure and retail, combining path, which is scaled to people rather than shaped window became the chapel volume, circuit through the building so the terminal amenities as a catalyst for urban activity. machines. Guang Quong’s roof/wall surface which in its circular form has no hierarchy. could serve both as an economic generator Todd Fenton’s folded vertical landscape was a fluid undulating form, as a metaphor Frampton likened it to Dutch neoclassicism and a community destination. David Riedel centralized the commercial program. Sherri for sailing, with a sharkskin-like surface made and questioned how a building could be a and Hoijin Nam’s sectional project focused Meshkinpour’s urban landscape formed a of tile modules to exemplify the product in mediator between the sacred and profane. on the infrastructure, with highway and rail continuum, crimping the architecture to allow the architecture. Bo Crockett’s scheme developed this theme creating runways that crossed underneath the program to nest in a folded structure that Natural forms inspired projects in a journey that required walking single file each other to reduce taxi time. They used knitted together the context. such as Lorenzo Marasso’s, which resolved into the sacred. Programming was the focus a gravity chute to drop down luggage, Other projects, such as Garret the sculptural form of skin and bones in the for Mark Hoffman, who provided educational and nine runways came out of matrices of Gantner’s, merged walls with a canopy to formal development of a morphogenetic activities in the transitional spaces between aircraft sizes. extend the urban fabric and revitalize the growth of a single primitive cell rather than the two realms. Kathryn Stutts and Jeongyeon Ryoo market by expanding it along the platform. layering distinct building components. The The prominence of the chapel dispersed terminal functions throughout the Integration of infrastructure was a focus for building structure/envelope is all at once on the site was a challenge for students city, and the airport provided infrastructure others: Jennifer Dubon picked up on the plan/section/elevation and then is subdivided who wanted to dissolve the building into for the transfer of flow between land and line of the track by wrapping the station to into parts that are all different from one the landscape. Alex Butler’s bar scheme air. The runways were scaled to the range create a central public space. She eliminated another. Steven Nielson’s insectlike building, asserted each structural element as it of aircraft and dotted with platforms linking distinctions between city and station, inside separated from the ground with convex and unfolded. Alexandra Burr’s negotiated terrain runway and rail. The result was a rare and outside, private and public. On the concave forms, acted as a diaphram for allowed the chapel to flow in a progression combination of maximum performance and other hand, Thomas DiNatale focused on the sail loft with a middle band that informed from community to sacred space as it sat efficiency, with the intimate human experi- the station as a catalyst to restitch the urban the project. precariously on the downhill side as though ence of the open pastoral airfield. fabric, rather than it existing as an autono- Gabrielle Ho and Jon Cielo experi- both emerging from and resting within a Nathan Rich and Marc Newman mous object. Dylan Sauer’s project was mented with materials and the use of carbon zone of negotiation. In creating a minimalist designed the airport as the centerpiece for an ambient urban condition with a stealth fiber. The program was key to other projects, icon from both sides of the ravine, Nobuki a Special Economic Zone, collapsing the station hovering over the ground plane. New such as Brent Martin’s, which incorporated Ogasahara mitigated nature through the typically disparate processes of manage- programs were introduced in projects such a reverse-sawtooth roof to bring light into architectural form so that the semi-enclosed ment, manufacturing, shipping, and purchas- as Benjamin Smoot’s, who incorporated a the functional spaces and dynamic eleva- cloister framed the ravine, merging inacces- ing in a single site, which was compared to traditional Japanese sento and a boutique tions that faced three surrounding building sible nature into a threshold of prayer and a early concepts of the train station integrated hotel into the station, arranged in and around façades, with views to the ocean, park, varied sectional experience. With a unified with city offices. Gemma Kim and Christina the train platforms and ticketing areas. and street. The vast form of the boat facil- frame/skin structure, the chapel filtered the Wu incorporated health care at the airport ity allowed students to explore design and sunlight in the space for contemplation. so that patients could arrive and be treated material methods from computer driven tools in one place. As the students constructed and design methods incorporated from boat their arguments, presentation tools and and automotive technologies. techniques were developed with models, digital simulation scenarios, and animation. 24 CONSTRUCTS YALE ARCHITECTURE FALL 2008 FACULTY NEWS Faculty News

Sunil Bald, critic in architecture, with his for excellence in architectural lighting by as part of the show After the Flood. She was Kent State University, and the Architectural office Studio SUMO, New York, won a 2008 the New York Section of the Illuminating also selected as part of a team with William League, as part of its “New York Designs” AIA New York Chapter Merit Award for the Engineering Society. The firm is currently Menking, Aaron Levy, and Teddy Cruz to lecture series. Current projects include a Josai School of Management, in Japan, in working on an art gallery, in Chelsea, and a curate the American Pavilion at the Venice campus public-space project in Buffalo, a the inaugural building types competition for number of residential projects, in New York Biennale, opening in September, with the villa in China, and a health center in New education buildings realized over the last and Connecticut. exhibit Into the Open: Positioning Practice. York, as part of the city’s Design Excellence five years. SUMO’s animation of its MiniMax Keller Easterling, associate profes- Gans lectured at IIT and at the Drawing Program. project was chosen for display in MoMA’s sor, was granted a Society for the Humanities Center, in New York, in conjunction with the Andrea Kahn, critic in architecture, Home Delivery, an exhibition of historic Fellowship at Cornell for fall 2009. In June exhibition Frederick Kiesler: Co-Realities. conducted a full-day workshop in May on and contemporary examples of manufac- she taught a master class and delivered After completing a master plan for the presentation and communication for design tured housing on display through October a public lecture at the Berlage Institute, Graham School, she has been retained for a professionals at the AIA Triangle, in Raleigh, 2008. In February, the Korean magazine in Rotterdam. Easterling was invited to new cafeteria/campus center. North Carolina. The same month she gave bob published a forty-page cover profile of participate in Ai Wei Wei’s Ordos 100 project, the lecture “Constellations: Constructing the office. which has gathered 100 architects from Design Practices” at Ohio State University. around the world to design a residential/art Kahn served as an editor/adviser on the late neighborhood in Inner Mongolia. In the spring Jacqueline Tatom’s Making Metropolitan she lectured at the ETH, SCI-ARC, the New Landscapes (Routledge, 2009) and was School, the Jan van Eyck Academie, and the invited to serve as an adviser to the “Urban University of Pennsylvania. Her article “Only Design after the Age of Oil” conference, the Many” was published in Log (Winter which will be held at the University of 2008), and an interview, “Without Claims to Pennsylvania in November. Purity” was published in aX (vol. 1+2, Winter Ariane Lourie, critic in architecture, 2008). Easterling’s piece “Crystal Island” received her Ph.D. from the Institute of Fine appeared in Artforum (Summer 2008), and Arts, at NYU. Her dissertation, advised an article about megaprojects appeared in by Jean-Louis Cohen, was titled Mass- the Polish architecture journal Architektura- Produced Aura: Thonet and the Market murator. Easterling also wrote a review for Modern Design. She was editor of Ten of Felicity D. Scott’s book Architecture or Canonical Buildings, by Peter Eisenman Techno-utopia: Politics After Modernism for (Rizzoli, 2008). Lourie participated in the the Harvard Design Magazine, Summer 2008. exhibition Something about Rooms and Makram el Kadi, critic in archi- Walls, at Superfront, in Brooklyn, in March. tecture, with his firm, L.E.FT, is designing She is currently working on a landscape and a printing-press factory in Kuwait City and building master plan for a five-acre property Alex Garvin, before and after images of 24th Street, a residence for the Saudi ambassador to Omaha, Nebraska. within the Fire Island National Seashore, in the UN. He is the design consultant for a coordination with the National Seashore’s 1.2-million-square-foot mall in Dubai. Alex Garvin (Yale College ’63 and general management plan. Kurt W. Forster, Scully Visiting M.Arch ’67), adjunct associate professor, Ed Mitchell, assistant professor, is Deborah Berke & Partners, Marianne Boesky Gallery, West Chelsea, . Professor, received the Meret Oppenheim with his firm, Alex Garvin & Associates, working on planning studies in Bridgeport Prize from Switzerland’s Federal Office of conducted various master-planning and and Meriden, Connecticut, and a new town Deborah Berke, adjunct associate Cultural Affairs, which is named for the Swiss public-design workshops. One project, in Pennsylvania, and is assisting Koetter Kim professor, with her firm, Deborah Berke & Surrealist whose fur-covered cup and saucer covering 700 acres in DeKalb County, in an invited competition for the United Arab Partners, completed a luxury condominium are in the collection of MoMA and is awarded Georgia, over six months, looked at a large Emirates. He is completing construction building at 48 Bond Street, in New York. She annually to artists and intellectuals who have proposed redevelopment and made recom- phase of residences in western Connecti- also designed the new Marianne Boesky made outstanding cultural contributions. He mendations for public-realm improvements cut and starting a project in Brooklyn. His Gallery, along the High Line in west Chelsea. gave the inaugural lecture at the University involving consultation with county officials research work was exhibited at the AIA Karla Britton, lecturer, published of Bologna School of Architecture (Cesena), and community leaders and monthly public convention in Boston this past spring. the article “Sacred Modern Architecture and exploring the metamorphosis of Palladio’s meetings. In an economically depressed area the Abbey of Le Thoronet” (A+U 2008:04, fame and his Palazzo Thiene, in Vicenza. At of north Omaha, Nebraska, Garvin investi- no. 45), related to the topic of the fall 2007 a symposium on Aldo Rossi, Forster gave a gated strategic investments, both public and symposium “Constructing the Ineffable: talk titled “Tempi e memorie nei luoghi di Aldo private, that could help to revitalize its streets Contemporary Sacred Architecture,” which Rossi,” and he also wrote about the years and embrace its rich cultural history. His firm she organized with Jaime Lara of Yale’s Rossi taught in Zurich (1972–77) before he is also working on the legacy master plan for Institute of Sacred Music. She also recently came to Yale as a visiting professor in 1980. the 2012 Olympic Games, in London, with lectured on the topic to New York’s Guild In Log 12, Forster critiques the New Museum, the management consulting and accounting of Scholars. With Dean Sakamoto, Britton in New York, by SANAA. He advised firm Grant Thornton LLP. coedited Hawaiian Modern: The Architecture the director of the Museum in Muenster Dolores Hayden, professor, was of Vladimir Ossipoff (Yale University Press, (Westphalia) on its exhibition designs and is commissioned to write “Time Is Looking 2007) and spoke at the opening of the epony- collaborating with Sauerbruch and Hutton on into Space,” the 2008 Phi Beta Kappa poem mous exhibition at the Honolulu Academy of their competition entry for the addition to the for Yale. Her interview “Building Suburbia: Arts in October 2007. Kunst Museum in Zurich. Dolores Hayden Talks with Jeff Stein” Turner Brooks (Yale College ’65 and appeared in the April issue of Architecture Joeb Moore, renovation and restoration of the Glenn M.Arch ’70), adjunct associate professor, Boston. She also wrote an essay for the book Residence , Stamford, Connecticut, by Richard Neutra. with the assistance of employees Sonya Hals New Urbanism and Beyond: Designing Cities (’00 ) and Aaron Amosson (’03), completed for the Future (Rizzoli, 2008). She spoke at Joeb Moore (MED ’91), critic in an extension to the campus of the Center the New York Public Library and the New architecture, received various design and for Discovery, in Harris, New York, designed Haven Historical Society on suburbs and the honor awards from the New York, Connecti- for children with autism. Brooks is designing landscape; gave a reading at the Willoughby cut, and New England chapters of the AIA. a renovation of the Cold Spring School, in Wallace Memorial Library, in Stony Creek, He was also featured as a Rising Star in a Fair Haven, and will soon restart work on an Connecticut; and took part in the “Women, cover article in Residential Architect. Moore archive/museum for the Cushing Collection, Religion, and Globalization” project on the gave lectures at the Institute of part of the Yale School of Medicine. Yale campus. Technology, Renesslaer Polytechnic Institute, and the Aldrich Museum of Contemporary Art, in Hartford. After fifteen years together, Gage/Clemenceau installation at the Urban Center, New York. his firm, Kaehler-Moore Architects, has formally reorganized into two separate Mark Foster Gage (‘01), assistant practices; his studio will now be called Joeb professor, with his firm, Gage/Clemenceau Moore + Partners, Architects. Architects, New York, was selected as a Dietrich Neumann, Scully Visiting winner of the Architecture League of New Professor, was elected president of the York’s Young Architects Forum and had work Society of Architectural Historians at the displayed in the related group exhibition annual meeting this past spring. Resonance at the Urban Center. Work from nArchitects, “Endless Table” at The Drawing Center for the firm was also included in the exhibition “Frederick Kiesler: Co-Realities.” Figuration, at the Art Institute of Chicago, as well as at the Deutches Architektur Zentrum Mimi Hoang, critic in architecture, Gallery, in Berlin. The firm’s projects were and her office, nArchitects, with partner Eric Bade Stageberg Cox, Independence Care System, published in The New York Times Magazine, Bung, received grants from the New York Brooklyn, 2008. Metropolis, Viewpoint, Future, Wonderland Foundation for the Arts and the New York Martin Cox, critic in architecture, (U.K.), Marie Claire (Italy), Vogue (Italy), POL State Council on the Arts this past year. The with his firm, Bade Stageberg Cox, New York, Oxygen (Australia), and in Steven Heller and firm designed the Drawing Center exhibition recently completed a 15,000-square-foot Mirko Ilic’s book, Genius Moves: Icons of Frederick Kiesler: Co-Realities, on display community center in Brooklyn for Independ- Design (North Light Books, 2008). in the spring. Its undulating 144-foot-long ence Care System, which provides services Deborah Gans, critic in architecture, Endless Table wrapped around the gallery, to wheelchair users. The firm’s Art Cave had the work of her New York–based firm displaying the architect’s drawings. Hoang Herbert S. Newman, Amistad Street Medical Clinic and space was awarded a 2008 Lumen Award exhibited in the A+D Museum in Los Angeles has lectured at the University of Michigan, Parking Garage at Yale University Medical School, New Haven, Connecticut. Photograph by Robert Benson. 25 CONSTRUCTS YALE ARCHITECTURE FALL 2008 FACULTY NEWS

Herbert S. Newman (’59), critic in Emmanuel Petit, assistant profes- Museum Foundation, the Bronx Community architecture, has changed the name of his sor, published “Abject Architecture” in College, and the Kaufman Center, in New firm to Newman Architects. It completed Hernan Diaz-Alonso’s monograph Exces- York. Robert A.M. Stern Architects complet- the renovation and expansion of the First sive Xefirotarch (HUST Press: A ADCU ed the 57-story, 975-foot-tall Comcast Presbyterian Church, on , in New Monograph, 2008). He wrote “Incubation Center, in Philadelphia; the International Quilt York City; the Ridgefield, Connecticut, public and Decay: Arata Isozaki and Metabolism’s Study Center and Museum, at the University Herman Spiegel with students at Yale. library; renovations of Calhoun and Jonathan Dialogical Other,” for Yale’s Perspecta 40: of Nebraska, in Lincoln; the Park Center Edwards Colleges at Yale University; Park Monster, and film reviews of Philip Johnson: for Business and Sustainable Enterprise, Square West, a mixed-use residential and Diary of an Eccentric Architect (Barbara Wolf, at Ithaca College; the Flinn and Edelman commercial development in Stamford; and a 1996) and Philip Johnson: Self-Portrait (John Residence Halls, at the Hotchkiss School, new performing-arts center for Lynn Univer- Musili, 1985) in the Journal of the Society of in Lakeville, Connecticut; the Lakewood sity, in Boca Raton, Florida. Recent commis- Architectural Historians (June 2008). With (Ohio) Public Library; the Barnett Residential sions include new residence halls at Oberlin Christine McLear, executive director of the Life Center, on the campus that Frank Lloyd College and the University of Oklahoma, and Glass House, Petit was a guest of WNPR’s Wright planned for Florida Southern College, the Union Station Transit-Oriented Develop- radio show “Where We Live,” talking about in Lakeland, Florida; and the Mansion on ment Study, in New Haven, Connecticut. the importance of Philip Johnson. Petit Peachtree, a hotel and condominium tower, The firm was recently presented an lectured at Sci-Arc in Los Angeles on “New in Atlanta. Stern was also a panelist at the honor award by the AIA New York and Architectural Grotesque Since 1990: Transi- symposium “Preserving New York: Then Connecticut chapters, for the Caird and de tioning from Form to Organism.” In spring and Now,” at the Museum of the City of New Cordova Residence Halls, at Hobart and 2008, he received both a grant from the York, and lectured for Architectural Digest at Herman D.J. Spiegel: William Smith colleges, in Geneva, New European Studies Council at Yale’s MacMil- Westweek, in Los Angeles. An Appreciation York; a New Jersey Golden Trowel Award lan Center for International and Area Studies for Best of Municipal/Community projects, and also from Yale a Griswold Faculty Grant When Herman Spiegel died on April 13 the by the International Masonry Institute of for research on school lost an inspiring teacher and able New Jersey, for the West Side Presbyterian at the German Architecture Museum, in dean (1971-1976), but above all a friend Church of Ridgewood, New Jersey; and an Frankfurt. He received “first mention” for whose love of life and passion for architec- ASID CT Design Award of Excellence, for a collaborative competition design with ture lit up this place in a very special way. Vanderbilt Hall Restoration, at Yale Univer- Ralitza Petit and JP Architectes of a national Herman was a great teacher of sity. The firm also recently received an honor pavilion for the 2010 World Expo in Shanghai, structural engineering. He always listened— award from AIA Connecticut and first place which was published in Wettbewerbe Aktuell and looked you straight in the eye. I met in the New Construction category in the 2008 (October 2007, 37–39). Petit and his partner him in fall 1958, when I arrived at the school Connecticut Building Congress Project Team exhibited their design work last December, in as a graduate student in architecture after Awards Competition, for their work on the Sofia, Bulgaria, and were awarded the 2007 majoring in English literature. Numbers had Science Hill Parking Garage, at Yale Univer- Prize of the Bulgarian Union of Architects. Barry Svigals ,Yale-New Haven Hospital, with Behnisch never come easily for me, and my first course Architects. sity. Herbert Newman has been elected to the Hilary Sample, assistant professor, in structural engineering terrified me. But Institute for Urban Design and was honored with her firm MOS, will be participating in the Barry Svigals (Yale College ’71, Herman’s enthusiasm—together with his with the C. Newton Schenck III Award by the upcoming Venice Biennale. She is a finalist M.Arch ’76), lecturer, with his firm, Svigals humor and his “war stories”—made it seem, Arts Council of Greater New Haven. in the Flip-a-Strip competition, which will be + Partners, has teamed with Behnisch if not exactly enjoyable, quite entertaining. Eeva-Liisa Pelkonen (MED ’94), featured in the Scottsdale Museum in the fall Architects on the design of Yale–New Haven But his greatest gift was to clarify—to make assistant professor, served as juror for the and is participating in the Ordos 100 project Hospital’s 160,000-square-foot clinical the problem understandable without glossing Association of New York Architect’s Biennial in Mongolia. MOS was named one of this laboratory at 55 Park Street, which broke over the complexity—an ability shared only Competition “South Street: Re-Envisioning year’s Emerging Voices by the Architectural ground in May. His firm’s Columbus Family by those who have a thorough understanding the Urban Edge” in February. In April she League of New York, and the firm’s work Academy, in New Haven, is scheduled of their subject. gave a paper at the annual meeting of the was published in Wallpaper, The Architects to open in August. The school’s façades For Herman issues of structure Society of Architectural Historians, “Architec- Newspaper, The New York Times, Azure, and feature more than 500 square feet of custom were inseparable from architectural design, ture and Information Flow: Kevin Roche and Mark magazine. Her essay “BioMed City” figurative sculpture of his design, sculpted and one was constantly reminded that his John Dinkeloo’s IBM Pavilion for the 1964/65 was published in the spring in Verb Crisis in collaboration with Randall Hoyt and Bob first degree was from RISD—in architecture. New York World’s Fair.” At the meeting, Eero (Actar, 2008). Shure. Again and again, when puzzling over some Saarinen: Shaping the Future (Yale, 2006), Nina Rappaport, publications Carter Wiseman (Yale College ’68) design mess of my own making, I would go which she co-edited with Donald Albrecht, director, gave talks relating to her book spoke at the AIA national convention in May to see Herman. Within moments he would received the Philip Johnson Award, given Support and Resist: Structural Engineers on his biography Louis I. Kahn: Beyond Time get to the crux of the problem, pointing out annually for the best exhibition catalog. The and Design Innovation (The Monacelli Press, and Style and has contributed the introduc- the confusion in my thinking and guiding catalog was heralded by Martin Fuller, writing 2007) at the Architectural Association in tory essay to I. M. Pei: Complete Works me toward a solution. Those sessions were in The New York Review of Books (June 2008) London, Syracuse School of Architecture, (Rizzoli, 2008). as illuminating as any I experienced as a as “exemplary of scrupulous scholarship and and NJIT. The book was reviewed in The student, and among the best talks I heard at handsome presentation.” Architects Newspaper (March 18, 2008), school were Herman’s discussions of struc- and Archinect. Her essay “The Automatic ture in the work of Le Corbusier and, above Nature of Structure” appeared in the exhibi- Betsky Directs 11th all, in that of Gaudì. It is not that he reduced tion catalog of artist Stephen Talasnik at the Venice Biennale the stature of these giants, but rather he Marlborough Chelsea Gallery (March-April shone a light through the mystical haze of 2008). Her paper, “Sustainability is a Modern Aaron Betsky (Yale College ’79, admiration to make their thinking accessible. Movement will be published and presented M.Arch ’83) was selected to direct the 11th When I returned to teach in 1976, at “The Challenge of Change: Dealing with Venice Architecture Biennale, on Septem- I came to recognize how skillful Herman the Legacy of the Modern Movement,” the ber 14–November 23, entitled Out There: was as an administrator. He was dean 2008 International Docomomo Confer- Architecture Beyond Building. According to at that time, and there were some who ence in Rotterdam, in September. She also Betsky the challenge of this biennale is to thought an engineer should not be head of participated in a panel discussion, “Greening “collect and encourage experimentation in an architecture school. But there are times the Glass Box,” at the Skyscraper Museum architecture. Such experimentation can take when an engineer is exactly what you need, in March. As chair of Docomomo-New York/ the form of momentary constructions, visions and this was one of them. His good humor, Tristate, she participated in the organization of other worlds, or the building blocks of a his genuine desire to include the faculty in of an ideas charrette for the preservation better world. This biennale does not want to decisions about the school, and his rapport and reuse of Eero Saarinen’s Bell Labs in present buildings that are already in exist- with Yale’s president Kingman Brewster, Holmdel, New Jersey, which was published ence and can be enjoyed in real life. It does who appreciated Herman’s directness, all in August. not want to pose abstract solutions to social guided the school safely through some Elihu Rubin (Yale College ’01), the problems but wants to see if architecture, choppy waters. He must have been politically Daniel Rose ’51 Visiting Assistant Professor, by experimenting in and on the real world, adroit to navigate those currents, but he was delivered two papers based on his disserta- can offer some concrete forms or seductive so skillful that it never showed. For all his tion research: “Architecture Is a Business: images.” affability, Herman was tough when it came Charles Luckman and the Incorporation The Venice Biennale will feature to the welfare of the school, and he was of Postwar Architecture,” at the Society such participants as M-A-D (Yansong fiercely proud of its students. When alumni PellOverton, Resonance at the Architectural League of Architectural Historians conference, in Ma, ’02), Zaha Hadid (Saarinen Professor complained that recent graduates were not ofNew York. Cincinnati, and “Insuring the City: Pruden- Spring ’07), Greg Lynn (Davenport Profes- the easiest to control in their offices, Herman tial’s Urban Policy for the Postwar American sor Spring ’08), and Asymptote (Lise Anne would simply say, “We’re not training your Ben Pell, critic in architecture, with City,” at the International Planning History Couture ’86). Betsky’s international curatorial employees; we’re training your competitors.” his New York practice, PellOverton, was Society in July. With his film group, American team includes Francesco Delogu, Emiliano Herman was much beloved as a selected as a recipient of the 2008 Young Beat, he has produced the video Rudolph Gandolfi, Casey Jones, Reed Kroloff, and teacher and as a colleague. His criticism was Architects Award by the Architectural League and Renewal to accompany the exhibit, Saskia van Stein. The firm Thonik is working always welcome since he practiced the fine of New York, which included participation “Model City: Paul Rudolph’s Buildings and with Betsky, currently director of the Cincin- art of common sense. He told a good story; in the group exhibition Resonance and the Projects for New Haven and Yale” at Yale this nati Art Museum, to develop the identity of and he and his wife, Sally, gave great parties. lecture “Graphic Behavior.” PellOverton fall. the biennale. Herman lent a special luster to the school. has recently been commissioned to design Robert A.M. Stern (’65), dean, We miss him. apartment renovations in Paris and on Park will receive the tenth annual Vincent Scully Avenue, in New York. The office is also Prize at a ceremony at the National Building —Alexander Purves currently designing houses in Catskill, New Museum in November. He was also recog- Purves (Yale College ’58, M.Arch ’65) is York, and in Asheville, North Carolina. nized with honors by the Sir John Soane’s professor of architecture emeritus. 26 CONSTRUCTS YALE ARCHITECTURE FALL 2008 ALUMNI NEWS

Alumni News reports Constructs, Yale School of Architecture on recent projects P. O. Box 208242 by graduates of the New Haven, Connecticut school. Please send 06520-8242 Alumni News your current news to:

1950s for Starting Out, Starting Over, Scaling Back Street, in New York, integrates a variety of Hugh Patterson (’95) and his firm, Hugh N. Jacobsen (’55), of Hugh (Workman, October 2008), an item-by-item student uses including a black-box theater, Austin Patterson Disston, had their Darien Jacobsen Associates, in Washington, D.C., guide to living “clutter-free.” In the book, a 500-seat performance/multi-use space, Cottage featured in the April 2008 issue of was awarded the 2008 Vision Award by the she field-tests each product, talks with the a café, dining room, library, classrooms, Connecticut Cottages & Gardens. Committee of 100 on the Federal City. people who made it, advertised it, sold it, and exhibition galleries. Social and cultural Ching-Hua Ho (’96) was promoted Der Scutt (’55) is having his work used it, and takes into account its costs and activities are linked vertically by a series of to associate principal at Boston-based firm “Cityscapes” exhibited at the Freyberger environmental and social factors, as well as ascending stairs and around atria. Luminous Payette Associates. A designer with exper- Gallery, on the Berks campus of Penn State weighing its aesthetic appeal. She also wrote terra-cotta glass panels on the façade tise in high-tech diagnostic-and-treatment University, in Reading, Pennsylvania, from The Houseboat Book (Universe, 2004) and provide views. ambulatory clinic spaces and emergency November 6 to December 18, 2008. designed her own small high-tech house in Patricia MacDougal (’84) is an departments, she joined the firm in 1996. Harold Roth (’57),and William Bethlehem, Pennsylvania. architect with AYESA, an A&E firm based in She has designed projects at Albert Einstein Moore (’66), of New Haven are designing the Seville, Spain, which is the local architect College of Medicine, Hershey Medical new Marcus Hillel Center, on the campus of 1980s for Cesar Pelli’s new multi-use tower and Center, Massachusetts General Hospital, Emory University, in Atlanta. Construction development on the city’s outskirts. Children’s Hospital Boston, Wing Memorial has also begun, after a several-year delay, Roberto Espejo (’85) has started his Medical Center, and Holyoke Hospital. on the Worthington Hooker School, in own firm, Roberto Architects, in New Haven, Alexander Levi (’96) was selected, New Haven. after twenty-three years as a senior associate along with Amanda Schachter, as a resident at Pelli Clarke Pelli. He has returned to the fellow at the Van Alen Institute 2008 to pursue 1960s School of Architecture as co-coordinator of the project “Bronx River Crossing.” Alexander Cooper (’62) and Jaquelin the first-year digital-media survey course. He Erik Vogt (MED ’00), with his partner Robertson’s (’66) of New York-based Cooper also curated the exhibition Architects Taking Marieanne Khoury-Vogt, received a Palladio Robertson & Partners, 2004 Master Plan Pictures, which depicts the world through the Award for the Fonville Press Building, at for the new town of Val d’Europe has just architect’s lens, including 24 practitioners, Alys Beach, Florida, and it was published in received two awards: a ULI 2008 Award for among them Cesar Pelli and Barry Svigals Traditional Building in June 2008. Excellence (Europe Competition) and the Prix (’76). Proceeds from sales of the photo- Rotthier pour la Reconstruction de La Ville graphs were donated to a suicide-prevention 2008, naming Val d’Europe “Best New City.” charity. Cooper, Robertson’s monograph covering Peter MacKeith (’85), associate forty-seven architecture and urban design dean of the Sam Fox School of Design and projects from the fi rm’s 28-year history, is Visual Arts and associate professor of archi- now out from Images Publishing Group. tecture at Washington University, both in St. Louis, received one of three national Creative Achievement Awards from the Association of Robin Karson (’81) published A Collegiate Schools of Architecture in March. Genius for Place: American Landscapes of The honor recognizes “special achievement the Country Place Era (University of Massa- in teaching, design, scholarship, research, or chusetts Press, 2008), which Dean Robert service that advances architectural educa- A.M. Stern called “a miracle of insight.” tion” and was given for MacKeith’s work teaching the spring 2007 studio “Lighthous- es: Adventures on the Mississippi.” He has taught a succession of lighthouse studios over the past ten years. Raymund Ryan (’87), curator at the Heinz Architectural Center, in Pittsburgh, gave the lectures “Space Explorer: James Johnson Sweeney in the Architecture of Modernism,” at Stony Brook Manhattan, in April, and “White Cube, Green Maze: New Art Weslyan University platform for the Helen Carlson Wildlife Centerbrook Architects, Esther Eastman Music Center, Landscapes,” at Lismore Castle, in Ireland, Sanctuary, in Portland, Connecticut. at the Hotchkiss School, in Connecticut. in July. He is currently working with Mexican 1970s architect Fernando Romero on an exhibition Elijah Huge (’02) led Wesleyan Jefferson Riley (’72) and his firm, to be displayed at the Heinz Architectural University’s first undergraduate design-build Centerbrook Architects, won a 2007 design Center in spring 2009. studio this spring to create a landscape House by Michael Burch Architects, Southern California. award from the Metal Construction Associa- Photograph by Paul Hester. project commissioned by the Audubon tion in the “Smooth Wall” category for 1990s Society for the Helen Carlson Wildlife their Esther Eastman Music Center, at the Michael Burch (’82), principal of David Leven (’91) was appointed Sanctuary, in Portland, Connecticut. The Hotchkiss School, in Connecticut. A glass- Michael Burch Architects, and Diane Wilk director of the program focus of the project is a bird-viewing platform walled 715-seat music pavilion embraces the (’81) had their work featured in actress Diane at Parsons The New School for Design. He consisting of two integral components—a panoramic views. It received a LEED-certified Keaton’s book California Romantica, featur- replaces Henry-Smith Miller (’66), who was floating observation deck and an elevated rating from the U. S. Green Building Council. ing the golden age of Southern California’s interim director for a year. Leven has had a viewing station—connected via a hinged Spanish colonial and Mediterranean revival partnership with Stella Betts in New York– staircase. It is situated at the end of a long architecture. Burch’s houses, in the tradition based firm Leven Betts Architects since weir, a remnant of the site’s former use as a of the great 1920s period-revival architects, 1997. The firm’s work has been recognized commercial cranberry bog. A public opening are the only new projects fully described. both nationally and internationally through is planned for October 18, 2008. Charles Dilworth (’83) is manag- awards, exhibitions, and publications. Chris Cayten (Yale College ’98, ing partner at Studios Architecture, in San Recent honors include Architectural Record’s M.Arch ’04) is project manager of the Francisco, and is currently working on a Design Vanguard (2007), the Architype Moynihan Station Project for the Related 21,000-square-foot branch library in San Review Award (2007), the IES Lumen Award Companies. Jose and a 240,000-square-foot neuro- (2006), and an AIA NYC 2008 award. Its Derek Hoeferlin (’04) finished his science laboratory building at the University projects have been published most recently third year teaching studios at Washington of California, San Francisco. in Architectural Record (December 2007) and University, in St. Louis. His most recent Blair Kamin (MED ’84) received in Young Americans (DOM Publishing, 2007). undergraduate design studio focused on an Engineering Journalism Award from the The firm’s design for the Magok Waterfront post-Katrina New Orleans and worked AAES with The Chicago Tribune for its series International Competition, in Seoul, Korea, directly with two nonprofit clients, one for “How To Build Today’s Supertalls,” devoting won third prize this summer. a design-build project and the other for extraordinary resources, space, and promi- Marc Turkel (’92) and Morgan Hare a design and fundraising proposal for an nence to the new generation of skyscrapers (’92) have expanded their partnership with adaptive reuse project for the nonprofit’s in Chicago. The series drew attention to the the addition of Shawn Watts (’97) to their Franz Building. Hoeferlin’s studio entered critical role engineers play in the design of New York–based firm, Leroy Street Studio. a JP Morgan Chase Business Develop- skyscrapers and provided the public with an The firm employs seven Yale graduates— ment Competition in collaboration with MIT easy-to-understand history of the structural Pauline Shu (’98), Lesli Stinger (’00), Julie economics students—in which they placed developments behind the rise of supertall Fisher (’01) , Meaghan Smialowski (’06), first—and the $25,000 purse was granted to buildings. Tim Campbell (’06), Greg Heasely (’07), and the nonprofit to help realize the project. Dan Scully, Porter House, New Hampshire. Alexandra Burr (’08)—and has recently had Kayin Tse (’02) recently moved from projects featured in Architectural Record’s the New York firm of Robert A.M. Stern to Dan Scully (’70) received a 2008 “House of the Month” and the Architects Shanghai, where he has opened Architecture Excellence in Architectural Design Merit Newspaper’s “Studio Visit.” It has received Farm, an architecture and interior practice. award, from the New Hampshire AIA, for the the AIA National Housing Award, New York Ernesto L. Martinez (’07) is a project Porter House. Katie Cassidy (’99) was the State and Westchester AIA awards, and a designer at Page Southerland Page, in project manager. RIBA award. The firm is currently working on Austin, Texas, where Talmadge Smith (’07) Elizabeth Plater-Zyberk (’74) was a new Economic Justice/Community Center, also works. Martinez helped to organize appointed by President George W. Bush to in Sunset Park, Brooklyn, and on two libraries a competition with AIA Austin and the Art serve a four-year term on the Commission of for the Robin Hood Foundation. Alliance Austin for temporary outdoor instal- Fine Arts. Benedict O’Looney (’92), of Morris lations for galleries. Goil Armonvivat (’00) and Louise Braverman (’77) had her Weiss/Manfredi, Barnard College Nexus project, + O’Looney architects, in London, was Louise Harpman (’93) served as jurors. work featured in the book View from the New York. featured on the History Channel’s “Lost Quang Truong (’08) was a top Top, edited by Janelle McCulloch (Images Marion Weiss (’84) and her firm, World” series investigating the architecture ten finalist for the Skidmore, Owings & Publishing Group, Victoria, Australia, 2008). Weiss/Manfredi, won a P/A award for the of Edinburgh and its inspirations for Robert Merrill prize. Barbara Flanagan (’77) published Barnard College Nexus project. The 110,000- Louis Stevenson’s novels, particularly Dr. Flanagan’s Smart Home: The 101 Essentials square-foot building, on and 116th Jekyll and Mr. Hyde. 27 CONSTRUCTS YALE ARCHITECTURE FALL 2008 ALUMNI NEWS

preparing us to understand the authenticity Architecture Schools 2008, Center Eugene Nalle 1916–2008: of architecture. for Architecture, New York, October 18– David Reinfurt at A Tribute The empiricism and rigidity of the December 19, 2008, will feature Feldman Whitney Biennale exercises—including identical sheet size, Prize nominee projects by Dylan Sauer (’08), After three uninspiring years as a pre-med compositional rules, lettering style, title Gemma Kim, and Alan Knox. David Reinfurt (MFA ’99), graphic designer student and one year in a Beaux-Arts studio blocks—did not go down well with all my The undergraduate junior studio with his firm ORG, designed Constructs at Case Western Reserve University, in classmates. A few were older and on the GI “Methods & Forms II,” led by Sophia Gruzdys from 2000–2007, has passed the design of Cleveland, I was hardly prepared for Eugene Bill; some were neophyte intellectuals, and a and Dean Sakamoto (MED ’98), was on Constructs to designer Jeff Ramsey. Reinfurt Nalle’s vigorous, stimulating, and often number just out of college. It was this latter display in the exhibition Materials in Equilib- continues as graphic designer of the school’s befuddling first-year studio at Yale. It was group, encouraged by a few art historians, rium: Reconsidering the Architectural Joint exhibition catalogs. He has joined Stuart 1951, and the teaching of Modern architec- who thought of architecture as an art form. and the Body, in a storefront at 978 Chapel Bailey to form Dexter Sinister, a design ture was centered principally at Yale and Interestingly, Neil Levine, in the introduc- Street, from February 18 to April 18. collective whose many projects range from Harvard. The latter’s model claimed the work tion to Modern Architecture and other book design to installation-based publica- of Walter Gropius and Bauhaus. Yale, on the Essays, states, “One could ascribe Scully’s tions to running a sometimes bookstore in other hand, had no comparable compass. sensitivity to the concern for materiality and Manhattan’s Lower East Side. Dexter Sinister George Howe, an aristocratic Philadelphia structure to his contact with Eugene Nalle.” was featured in the 2008 Whitney Biennial architect, chaired the architecture program. The professor had little patience for those with their project “True Mirror,” which created In his later years he developed a profound interested in personal expression, and he misleading press releases for the Biennial, interest in Modernism as a result of his often evoked one of his favorite deroga- on-site in the Commander’s Room of the partnership with William Lescaze, who had tory phrases—“determined originality”—to Arsenale. The name, Sinister Dexter, echoes graduated from the ETH, in Zurich, and describe a particular piece of work. Nalle also the reflection also seen in unobtrusively introduced Howe to the European avant- employed “memory overlay” to warn of the placed mirrors that show the viewer not their garde. Howe’s attraction to maverick figures dangers of current architecture magazines reflection but the “true” way one is seen by such as Louis Kahn, Buckminster Fuller, and or monographs affecting work in the studio. others. Their operation was tailored to the of course Eugene Nalle was evidence of his As he saw it, exposure to fashion or style Commander’s Room, which fit with the site- growing interest in progressive ideas. was to be avoided. These kinds of dicta were specific and process-oriented methodology. Nalle was born in Atlanta in 1916. particularly galling to the art historians. There They have also had their work exhibited at Shortly after his birth the family moved to was a monastic atmosphere in the studio for the AA, Leeds, Amsterdam, and Los Angeles. Texas. There, at Highland Park High School, those who were “true believers” (or at least in Dallas, his principal often remarked, “All those who suspended belief, as I did). of life is enigma and contradiction.” This This early part of my education became Nalle’s lifelong mantra. proved to inform my entire life. To encounter He graduated from Yale College one great teacher in a lifetime is a gift. Nalle Top, Todd Fenton, and bottom, Dana Getman, Chairs from in 1949. The following year Howe became opened up minds as only great teachers can. Massimo Scolari Studio, fall 2007. chairman of the department of architecture. His methodologies were memorable. One One of his earliest decisions was to have was his “portable” collection of postcards of Nalle create a radically new first-year curricu- various paintings. These were his exemplars. lum and later expand it to the second year. He would flip through to a Juan Gris or a YSoA at the ICFF After Howe retired in 1954, Paul Schweikher Katsushika Hokusai to emphasize a point became the new chairman. Political pressure about composition, color, light, or quality of Full-scale chair prototypes designed and from some historians and students forced line work. His personal arsenal also included built by Yale School of Architecture students Nalle to resign. In an oral history Schweikher dozens of Prismacolor pencils. Our mandat- in the advanced studio of Massimo Scolari, states, “The reason I wanted him to do it ed drawing style involved constructed the Davenport Visiting Professor fall 2007, [continue directing the second year] was perspectives rendered with pencil pochè were featured this spring at the International so that we could use his knowledge, which and/or Prismacolor. Nalle’s preferred Contemporary Furniture Fair (ICFF), in May was really unique in studying basic structure approach was the overlaying of multiple at the Jacob K. Javits Convention Center, in as part and parcel of the design process.” colors and the use of an eraser to selectively Manhattan. One hundred schools, usually (Chicago Architecture Oral History Project, expose previously applied layers. in industrial design programs, are invited revised edition, Art Institute of Chicago, At night Nalle would return to to apply for the opportunity to showcase 2000.) the subterranean studio and work on our student work. This year the Yale School of The introductory year comprised drawings, occasionally making notes and Architecture was selected, along with three assignments that began with simple drawing always improving them. Frank Lloyd Wright’s other programs. Constructs To form by putting together parts; build; frame; devise. A complex image or idea resulting from synthesis exercises and explorations of the nature of renderings were his precedents, as were Dana Getman (’08), a member of the by the mind. wood as a building material, then progressed Japanese prints. Drawing was the true Scolari studio, organized submission to the to simple generic design problems: garden language of this very quiet and reserved ICFF jury, which consisted of twelve chairs Volume 11, Number 1 ISBN: 978-0-9820509-1-0 pavilion, farmer’s market, archive building. man. In his nineties, as his body deteriorated, designed and built with studio assistance by Fall 2008 This was long before the word conservation his eyes and hands remained remarkably Timothy Newton (’07) and fabrication director Cost $5.00 was in common use. Nevertheless, we were sensitive to form and color, and he continued Joshua Rowley. Scolari himself is not only an instructed to use only wood, canvas, and to draw. architect but also a furniture designer who © Copyright 2008, Yale School of Architecture PO Box 208242, New Haven, Connecticut 06520 iron connectors—no glass or other modern Who was Nalle really? Other than produces a line for Georgetti. materials. This caused us to devise inven- the few quotes in this tribute, historians who The studio project centered on the Telephone 203-432-2296 tive methods to control wind, sun, and rain. knew him and students who studied with him funerary complex of King Djoser, in Saqqara, Web site www. architecture.yale.edu Such projects were basically archetypal have written almost nothing. Nevertheless, Egypt. Built around 2750 BC, it is most well primitive huts intended to make us aware of Nalle’s personal qualities remain indelible. known as the site of the first pyramid. Follow- Constructs is published twice a year by the the most fundamental aspects of building. He was modest but magnetic, never played ing a trip to Saqqara and Cairo, students Dean’s Offi ce of the Yale School of Architecture. Nalle and his two assistants, Lees Brown and favorites, was kind but demanding, and had conducted organizational and proportional We would like to acknowledge the support of the Bob Russell, worked all summer before the many strong opinions but was diplomatic analyses of the ancient site. The second Rutherford Trowbridge Memorial Publication Fund; the opening of school to refine and test these in expressing them. In the end he was a phase of the project entailed the design of a Paul Rudolph Publication Fund, established by Claire exercises. The academic models for the pragmatist who never forgot life’s contradic- library and scholar center to be located in the and Maurits Edersheim; the Robert A.M. Stern Fund, established by Judy and Walter Hunt; and the Nitkin course of study were IIT (under Mies), the tions and enigmas. vicinity of Djoser’s pyramid. The final phase Family Dean’s Discretionary Fund in Architecture. ETH, Taliesin, pre-Meiji Japanese architec- involved the students translating their design ture, and to a lesser extent, the Bauhaus, —James Stewart Polshek concepts from the previous stages into a 1:1 Dean Robert A.M.Stern primarily for its collaborative spirit. Nalle’s Polshek (’55) is the founder of the New York- detail of a chair prototype for the center. Associate Dean John Jacobson Assistant Dean Keith Krumweide “catechism” for all buildings in these early based firm, Polshek Partnership. For Scolari, designing a chair for a years was a simple one: earth slab, support, specific space or building strengthens the Editor Nina Rappaport span, envelope, and details. In his Philip My wife, Ellyn, and I felt it important to make design intention. He believes it is important Graphic design Jeff Ramsey Copy editors Cathryn Drake and David Delp Johnson: Life and Work, Franz Schulze notes a gift that would allow the Drawing Studio for students to learn how to translate design Student assistants Zachery Heinman (’09) and Marc that “one of the teachers that [George Howe] in the newly renovated A&A Building to be ideas across the varying scales of urbanism, Guberman (’08) most prized was Eugene Nalle, who was named after this remarkable but unsung architecture, and furniture. By building a no moderate at all but rather a passionate, professor of architecture. It is our hope that full-scale chair, the students learned valuable Event photographs John Jacobson, Tom Bosschaert (’08) and Brandt Knapp (’09). inarticulate man whose admiration for FLW the memory of both Eugene Nalle’s idealism lessons about the body, comfort, construc- was matched by an obsession for the small- and conviction will animate the future teach- tion, cost, and materiality. Each produced est details of pure constructive technique.” ing of architecture at Yale. a unique chair relating to his or her overall The atmosphere of the below-grade design objective. studio in Street Hall was remarkable for its The highly finished quality of the unorthodox approach. The emphasis on Student Work On Exhibit chairs caused many visitors to confuse the drawing was intense and permeated every original hand-built prototypes with the work aspect of the curriculum—with one excep- Archiprix International 2009, in Uruguay, will of a major design house. The booth was tion: the informal, often incomprehensible include Dylan Sauer’s (’08) Feldman Prize– constantly filled with designers testing out philosophical musings of our studio master. winning project for Sunil Bald’s Shimokita the chairs and discussing the designs with In these talks Nalle would casually invoke Station advanced studio. For more info on the students. (One visitor even asked if a Ortega y Gasset’s Revolt of the Masses the exhibit, see www.archiprix.org. particular chair came in white.) Since there or Spengler’s Decline of the West. Like The Architecture Biennial Beijing was extensive trade interest in manufacturing Kahn and Fuller, he often invented his own 2008, “(Im)material Processes: New Digital and selling many of the prototypes, look out language. The contrast between the mystical Techniques for Architecture,” will include for the Saqqara chairs in stores in the future. nature of these talks and the actual work the work of Elijah Porter (’09), Ryan Welch could not have been greater. What rational- (’09), and Dana Getman (’08). The show, —Dana Getman (’08) ized both the “sacred” (words) and the curated by Neil Leach and Xu Wei-Guo, will “profane” (drawing) was the belief that this be held at the 798 Space on October 24– Cover image: Paul Rudolph Hall Yale University, photo- unique studio critic was totally committed to November 2, 2008. graph by Ezra Stoller, ESTO, © 1963. Non Profit Org. US Postage PAID Constructs New Haven, CT Yale University Permit No. 526 School of Architecture PO Box 208242 New Haven, CT 06520–8242

Lectures and Colloquia Walter Hood The School of Architec- This exhibition, its accom- Lectures begin at 6:30 p.m. Timothy Egan Lenahan ture fall lecture series is panying publication, and in Hastings Hall (basement Memorial Lecture supported in part by Elise programs are made possi- floor) of Paul Rudolph Hall, Thursday, September 18 Jaffe + Jeffrey Brown, the ble with generous support 180 York Street, unless “Urban Landscapes and Myriam Bellazoug Memori- from the Harold K. L. Castle otherwise noted. Doors Provocations” al Fund, the Brendan Gill Foundation; Mrs. Marshall open to the general public Robert Campbell Lectureship Fund, and the Goodsill; the Atherton at 6:15 p.m. Brendan Gill Lecture Timothy Egan Lenahan Family Foundation; Cooke Thursday, October 2, Memorial Fund. Foundation; Limited, First Charles Atwood “Why Architects Need Insurance Company of Edward P. Bass Distin- Critics” Exhibitions Hawaii Charitable Founda- guished Visiting Archi- Roisin Heneghan Exhibitions are held in the tion; Group 70 Internation- tecture Fellow, Thursday, Shih-Fu Peng, Monday, Architecture Gallery on al; Armstrong Companies; August 28, “Follow the October 20, “Transpar- the second floor of Paul Hawaii Council for the Money: Sex, Greed, and ency” Rudolph Hall. Hours are Humanities; Donald and Architecture in Las Vegas” Carlos Jimenez Monday through Friday, Laura Goo; State Founda- Francisco Mangado Thursday, October 30 9:00 a.m. to 5:00 p.m., tion on Culture and the Eero Saarinen Visiting “Reflections and Recent Saturday,10:00 a.m. to Arts; Graham Foundation Professor, Thursday, Works” 5:00 p.m. for Advanced Studies in September 11, “Left- Peter Eisenman Hawaiian Modern: the Fine Arts; McInerny Handed Architecture” Louis I. Kahn Visiting The Architecture of Foundation; Ameron Professor, Thursday, Vladimir Ossipoff Hawaii; Jean Rolles, and Colloquium November 6, “Rudolph August 26–October 24, Thurston and Sharon “Hawaiian Modernism: Then and Now” 2008 Twigg-Smith. An Introductory Timothy Rohan Model City: Buildings Publications are Colloquium” Friday, November 7 and Projects by Paul supported in part by the Kenneth Frampton, “The Enigmatic Architec- Rudolph For New Haven Wilder Green Fund, the Stephen Little, and Marc ture of Paul Rudolph” and Yale Kibel Foundation Fund, the Treib, Monday, September Matthew Coolidge November 3, 2008– Nitkin Family Fund, the 15, 6:30 p.m. Myriam Bellazoug Memori- February 6, 2009 Dean’s Discretionary Fund This colloquium is al Lecture, Thursday, Hawaiian Modern: The in Architecture, the Paul organized in conjunction November 20, “Under- Architecture of Vladimir Rudolph Publication Fund, with the exhibition, Hawai- standing Anthropogeomor- Ossipoff was organized the Robert A.M. Stern ian Modern: The Architec- phology: Programs and by the Honolulu Academy Fund, and the Rutherford ture of Vladimir Ossipoff. Projects of the Center for of Arts with guest curator Trowbridge Memorial Land-Use Interpretation” Dean Sakamoto. Publication Fund.