an eye on New York Architecture
a publication of the
American Institute of Architects
New York Chapter
1735 N»w York Avt., vol. 57, no. 5, January 1995 WBihInBton, D.C. 20006 JAN 1 3 1995
©Arnold Newman
The only surviving architects in Arnold Newman's classic photograph of the architects of Lincoln Center—Philip Johnson and Max Abramovitz — were featured speakers in the Architectural League's ''Masters of Architecture" lecture series (see Profiles, page 6). Johnson designed the New York
State Theater on the left; Abramovitz designed Philharmonic Hall on the right (his late partner, Wallace Harrison, was responsible for the
Metropolitan Opera House in the middle). From left to right: (standing) Edward Matthews, Philip Johnson, Jo Meilziner, Wallace Harrison, Pietro
Belluschi, (sunken) John D. Rockefeller 3rd, Eero Saarinen, Gordon Bunshaft, Max Abramovitz
Inside: STREETSCAPE GALLERIES TOURIST PULSE
Custom House Rem Koolhaas Aaron Betsky Madeline
Indian Museum OMA at MoMA on Rotterdam Schwartzman 4 11 13 14 • OCULUS A OPEN OCULUS
Volume 57, Number 5, Jonuary 1995 The American Institute of A Letter from informed about the architecture Editor: Jayne Mcrkcl Architects New York Chapter being designed, displayed, dis• Managing Editor: Gregory Wcssncr cussed, and published in New Copy Editor: Noel Millca is grateful to the following for the Editor: News Editor: Matthew Barhydt York, bur to interest the rest of the their sponsorship of Oculus: I remenilici, Pulse Editor: Kaiherine K. Chia world in what we all care about so Contributing Editor: Wendy Moonan when I first passionately. Production Editing/Art Direction: Turner Construction Company became McRoberts Mitchell Visual Communicati<»n.s SiaH" Photographer: Dorothy Alexander Jaros Boum & Bolles interested in Of///wj will coiuinue to iiwite art history, architects whose works are being Notional Reprographics, Inc. going into a severely criticized to write American Institute of Architects Tishmon Realty & Construction Co., Inc. New York Chapter gallery ai tiic Rebuttals. We will ask members of 200 Lexington Avenue Boston the New York architectural com• New York, New York 10016 BENEFACTOR Jdyne Mcrkcl 212-683-0023 Museum of munity to provide Off the Cuff Corporate Interiors Contracting, Inc. Fine Arts comments on projects and issues and finding my flivorite painting that people are talking about. And, Board of Directors 1995 Cosentini Associates missing. Others had been Marilyn Taylor, AIA. Presidrtii D. Waldner Co., Inc. of coiu-se, the magazine will keep Jerry A. Davis. l AlA, rearranged. I was so annoyed that I readLM s abreast of what is happen• Empire Office Equipment, Inc. Prrsident-Electll'int Vice President liardly looked at the ones put in ing Around the Chapter without Michael F. Doyle, AIA. Vice President Jan Kcane. AIA, Vice President F. J. Sciame Construction their places. It had simply never interference of the editorial staff. Edward Mills. AIA. Vice President Furniture Consultants, Inc. occurred to me that the works in a Linda Yowcll, AIA, Secretary I feel extraordinarily lucky to have Robert Buford, Jr., AIA, Treasurer Gordon H. Smith Corporation museum would change. inhetited a publication that CiCofTrcy Doban, AIA, Director Lehr Construction Drew Greenwald, AIA. Director Later, I came to realize that I and Suzanne Stephens and Peter Slatin Jcrtrey Murphy. AIA, Director Notional Reprographics e\'erybody else have the same reac• made lively, independent, interest• Raymond Plumey, AIA, Director Ysrael Selnuk, P.C. tion to the streets we walk down, ing, and informed. With die staff John Tarantino. AIA. Director the stores where we shop, the and writers the)' assembled and James D'Agostino. Public Director Patricia Forero, Associate AIA, PATRON restaurants where we eat, and the new people who will be appearing Associate Director Ceromi Associates magazines we read. So as you see all the time, I hope to bring you a changes in Oru/m 'm the upcoming magazine you will rush to read. Carol C'lark, lixecutitr Director Chorrette Corporation (ext. 13) months, you will probably feel out But we will need your help. Our Marcy Stanley. Assistant Director C. P. Construction of sorts from time to time — staff is small and lean. Plciuse let us (ext. 15) DVL Consulting Engineers though only temporarily, I hope. know in uniting— one page at Hanscomb One of the things I want to do is most, a paragraph is ideal — about Oculus Committee develop a slightly more consistent commissions you receive, awards Carol Clark John A. Van Deusen Associates Jan Keane. AL\ format with rouglily the same fea• you win, projects you complete, Thornton Tomosetti Engineers Lester Korzilius, AIA tures in the same locations every articles we have written, and build• Barbara Nadel, AIA Susanne O'Keefe, AIA mondi, so that you can go directly ings and places you have seen that SPONSOR Harley Swedler, AIA lo what you like most. But it will you find interesting or appalling. Marilyn Taylor, AIA AFD Contract Furniture take a while to find just the right We would especially love to have AKF mix. During that time the maga• napkin sketches of projects just Chapter Staff and Services Gogick & Seiden zine will be redesigned, so even getting under way for On the William Gray - Membership (ext. 18) continuing features will look dif• Drawing Boards. Include a tele• Judith Rowe - ("onmiittce Programs Goldstein Brescia Goldin, Inc. (ext. 17) ferent. There will be Profiles of phone number so we can get back .Stephen .Suggs - Bookkeeper (ext. 19) Norton Lees Lighting architects in every issue, discus• to you for more information. Send Advertising (ext. 14) Peter Paige sions of buildings, urban designs, us black-and-white glossy pho• RSVP for Chapter Programs (ext. 16) and odicr changes In the tographs if you like, but only if ©1995 The American Institute of Archiiei is New York Chapter. All rights reserved. Streetscape, as well as projects that you can spare them. We may need Repr«)duction in whole or in part without Printing courtesy of: are On the Drawing Boards. to keep them on file aud lack the written permission is strictly prohibited. resources for returns. Remember, There will be articles about what is Oculus, publisheil icn times .i year. Septeml)er all deadlines for copy are die fif through Jtme. is a benefit of AIA New York Marsden Reproductions going on In the Galleries, At the ( h.i[5ier mcmlHrshi[). Publii membership is tcenth of the month, six weeks Podium, At the Bookstores, and $60. A year's subscription to Oculus is S40. before an issue appears (Jaruiary 15 30 East 33rd Street In the Schools. We shall continue For more information on professional ami for March), but the sooner we hear to tell you who desei-ves Kudos publii memberships, please call the Chapter New York, NY 10016 from you, the better. at 683-0023. ajid take the Pulse of emerging Advertise in Oculus! Rates arc riMsonable and 212-627-7336 architects. One new feature, readership is extensive. Contact the ('hapter Write soon. for more information. Architectural Tourist, has been appropriated from a similar one, The nation's Sincerely, "Architectural Traveler," that Any The views expressed in Oculus are not editor Cynthia Davidson initiated necessarily those of the Board of Directors most comprehensive at InlwulArchitect viXvin she was or staff of the AIA New York Chapter. With communications editor there. Our intention is not the exception of the moteriol oppearing under only to keep AIA members the title "Around the Chapter," this publication organization is produced by the Oculus editorial team.
2 AIA HEW YORK (HAPTEI OPEN OCULUS: NEWS NOTES
Express, a Disney-esque fantasyland of Around Town: canned and boxed food notable for its CANstruction II pla)'fiilness.
by Matthew Barhydt Had diere been an award for best irony, it would have gone to In a spirii of mock seriousness, awards 1 hornton- I'omasetti Engineers. At were presented on Novenilx^r 10 at almost eight feet tall, the replica of the the sea)nd annual CANstruction gigaiuic, twin Petromis l owers project competition to benefit Food for in Malaysia would have been more Survival, before an enthusiastic crowd impressive if one of the U)wers hadn't at the Decoration and Design been tilting towards the other. At least Building. Jurors included Kun it was only soup cans and cracker Andersen, editor-in-chief of Nno York Ixixes. magazine; Ix)iiis Oliver C]n)pp, etliror- in-chiel of Hoitse Beautijiil; Rosanne Haggerty, executive director of the Common (iround Community; Mel Around the Country: Hammock, president, Mel Hammock John Lautner & Company; Joseph B. Rose, chair• C^AN can CA]^, jurors'favorite, The Leaning Tower of Pizza. first honorable mention. Fox & Fotule man of the City Planning Polshek & Partners by Lester P. Korzilius, AIA Architects Commission; Edwin Schlossberg, of If architcxture were strictly the creation Edwin Sdilossberg, Inc.; and architea of spaces that uplift the human spirit, Roben A. M. Stern. From a field of John Lautner, FAIA, the California 24, die jurors gave avwds for "Best architect who died on Oaober 24 at Meal," "Stmcmral Ingenuity," "Best the age of 83, woiUd have had few Use of Labels," and the most coveted peers. In a career that spaimed 60 prize, "Jurors' Favorite." 'I"he nJes years, Lautner created a series of hoas- were simple: I-acli entrant was given a es with btith tremendous dynamism ten-by-ten-by-eight-foot space donat• and deep repose, in diis respea sur• ed by a showroom in the D&D passing even his mentor, Frank Lloyd Building; constmctions had to be Wright, for whom he worked from stnictumlly self-sup[X)rting; filled cans 1933 to 1939. He is perhaps best of any sizes with labels intact were to known for the Aran^ Residence in ' be the primary' building material, but Acapuico, Mexico, a project that accessory props were permitted; and embodies recurrent themes in his no adliesives other than Velcro or dou• work. A soaring concrete roof, which ble-faced tape could be used. frames a panoramic view of Acapuico The 'Oreo' Express, second honorable mention, Butler Rogers Baskelt Bay, provides a feeling of shelter at the All panicipiints were architeas, design• Architects, P.C. same time that it opens to an infinite ers, or engineers, except for one place• horizontal vista. Surrounding the main ment office and one reprographic all of society's members are transpon- Liberty. The hesx. label award went to outdcxjr living space is a serpentine fimi. As die evening's program ed to better times." The only entry Haines Lundberg & Waehler's scven- [X)ol with an overflowing edge that promised, there were "whimsical, diat actually suggested a method of fbot-higli, double-sided flag called visually merges with die bay, making it wacky stnioures," but many of this building with cans was Diane Lewis's American Distress/American Hope. appear part of the living space. year's constmctions were more social prototype wall constmction, The Cm Illustrating the American flag on one side and the Red Ooss flag on the commentary than architcaure. Two Hotise. Her drawings and direc- Other well known Lautner buildings other, this sinuous, S-shaped assembly firms, Buttrick, >Xliite & Burtis ;uid dimcnsional models fi)r different types are die Elrod Residence in Palm was one of the few that was made only Gillis Associates Architects, P.C., sub• of stacked-can infill surrounded by a Springs, die Segal Hoase in Malibu, of cans. mitted metaphors for ^obal himger stmctural framework were challenging, and Silvenop in Los Angeles. Every modeled on the United Nations com• althougli imtested. Deservedly, Polshek & Partners won projea was conceived aroimd a central plex, aimplete with Secretariat and idea from which its stmctural forms, In the nonsensical spirit of the prize the top prize for its entry, CAN can Genei^ Assembly buildings. F^'s tree• spatial arrangements, siting, and detail• names themselves, the jury gave the CaN, a refi-eshing play of rhythm, like Qin-cie-Libras represented "a ing emanated. I'o Laumer, the imder- best meal award to Kohn Pedersen scale, and mass. This constmction was newly-merged architecmre and design lying concept of the building was the Fox Associates' Prinm Cena (First no more than it claimed to l>e — an firm" and "diose feelings of warmth most important aspect of architecture. Supper), a mixed-media installation aesthetically pleasing and witty over• and siirisfaaion...associated with a Widiout an understanding of each that feanired slides of I^nardo's Last size version of a can. At dieir discre• good meal," according to the pmjcxt building's central idea, it is impt)ssible 5«/>/>d7-flashing over an altar of cans. tion, the jury awarded two honorable statement. Tlje Injbnmtioti Ht^m>ay to appreciate the depth of genius in Qjiisuiting engineers Weiskopf & mentions, die first to Fox & Fowie — // Can Pass Us By!, Consulting for Lautner's best work. He built what Pickworth won the stmctural ingenu• Architects for its clc\'er and appropri• Architeas' "building-block play set," few architects are capable of imagin• ity award for a plethora of internation• ately-named Uaning Tower of Pizza was intended to remind the observer ing. A poor draftsman, he developed a al canned foods tighdy bound in a and the second to Buder Rogers that "we netxl to pause and make sure strong intuitive sense of architcaural small-scale version of die Statue of Baskett Architects for The 'Oreo'
OCULUS JANUARY 1995 3 OPEN OCULUS: NEWS NOTES
space. Altliougli it is space thar is not I lunter and Amory Ixwins AS one of capnired by photographs, his houses the most environmentally sound and received miincroiis design awards, (.fliticni homes ever built. Paul were widely published, and have been MacOeady talks about his revolution- featured in numerous exhibitions in ;uy flying machine, the Cjossamer New York, most recently at Columbia Albatross, and his st)lar-[X)wered cai, University. A monogi-aph on joiui the Sunracer Biosphere II appears, I-uitner's architecture openness, described as controversial. 1 he land- restflilness, humanism, and joy was scaj>e architects of Andropogon, \cs\cy just published by Artemis Press. Sauer and Girol Franklin, explain their methcxlology for remaking industrial corridors outside of On the Drawing Philadelphia. In the Brazilian city of Curitiba, the mayor, Jaime Lemer, Boards (Someday): sums up his radical improvement in Ecological Design the quality of life: "Use your car less and separate out your garbage." llien by Matthew Barhydt the film comes hill circle to Fuller with bicKhemist John Todd in one of his It wasn't one of those pretemauiral geodesic living machines, whidi con• Restored U.S. Custom Home, renovation by Denis Kuhn of Ehrenkrnntz & Eckstut action movies, but one important new tains a nawral ecosystem tliat continu• film that recenti)' premiered in New ously provides for the heating and ed here, because a New York banker, York was all the more dismrbing for its cooling needs of the inhabitants. Gcx>rge GiLstav He)'e, assembled a col• grounding in realitv'. On November lection of Indian artifacts long lx.'fore 18, the QKjper-l lewiti Museum Wliile Danir/, and Tzelovanikov, who their value was widely appreciatcxl. kicked off a two-day seminar, "Design b^n working widi the Cooper- Now die collection has bcx'n institu• on the Ecologiail Frontier," at Coojjer Hewitt this mondi to develop an edu• tionalized, and Nauve Americans such Union with a showing oi EcologiatI cational program based on their film, as the museum's direaor, W. Richard Des/gfi: Inventing the Future. By are to be commended lor an approach West, Jr., a Southern Che)'enne, are in New Yorkers Brian Daniiz and that is not antiurban, antigrowth, or charge of the presentation of the arti• Tzelovanikov, the film presents a con• facts. iuintechnology, a more critical anitude Denis Kuhn in galleries of the National textual t)verview of seminal work on would have demonstrated the enor• Museum of the American Indian practical solutions to severe ecological The contradiction bet^vtxM^ Gilbert's mous difficulties that proponents of problems that increasingly afiect the brash self-assurance and today's more this design approach face in gaining buili environment. rericent animde created a minefield wide acceptance. over Carrere & Hastings, Trowbridge that the architect of the renovation & Livingston, Shepley, Rutan & Eco/ogicii/ DesigJi findsit s inspiration in and new museum spaces, Denis Cx)olidge, and other prominent iirdii- R. Buckmitister Puller s belief that an Kuhn, FAIA, of Khrenkranrz & tects, many of whom also submitted ingenious u.se of science and industr\- In the Streetscape: Fxksrut, had to negotiate carefiilly. But schemes in a rather B-rnxjue versioti of could lead to cn\ironmentiilly-sound the U.S. Custom House the building's location on a pn)inini'ni die French Beaux Ans style in favor at trans[X)rt;uion, habitats, ;md cities. It site between New York Harbor and the time. features appearances by author Srewan and National Museum of Wall Street made it coiwenient for Brand, describing his book, I'he Whole tourists visiting the nc-adiy Suitue of "(lilbert was not a mere imitator," Eaith Qitalogiie, as an encyclopaedia of the American Indian Liberty and I 'llis Island. We are Kuhn s.iys. I le delights in the swee[v tools to constmct buller's world, anti by Jayne Merkel entranced by the gloriotis landmarks ing oblong stairaises at lx)th ends of Ian McHarg, landsca}K' architect and of Ciirlier [xritKLs lxx:ause our time the enormous foyer and the elalx)raie autln)r ol Design with Nature, dis• Both the rc-stored Alexiuider Hamilton placL-s so little em[)hasis on celebrating decorative scheme in carved relief , cussing I'uller's impaci on his own United States Custom House in the public re.tlm. When .i building like paintcxi panels, and pressed, stenciled, ideas. Anthro[x>logisi M. Catherine Ix)wer Manhattan and a branch of the the Custom House comes along, we and gildcxl ainv;is wall-covering. But Bateson s;iys solutions to ecological Smithsonian's new National Mitseum do whatever it takes (and spend wh.u- the spaces Kuhn designed, both lor problems eannot be mcKleled on the of the American Indian on its k)wer ever it costs) to restore and itse it. the courts and the museum, are infi• low technology of indigenous cultures. floors .ire signs of our time. And the nitely more modest, ciuiei, and subtle Paolo Soleri argues that Western signs show that we are more sensitive Kului anil his colleagues studied the man's demcKTaiic traditions led to tcxlay than we were when the magnifi• s|xctacular old edifice and engaged Uie simplificxl |X)stm(Klern cotin- urban sprawl and suburlwn form. cent Beaux Arts Custom Flouse W;LS resc"iirchers, consultants, and artisans. r(X)ms on the upper fl(xirs are much James Wines contends. "The twenti• built between 1900 and P)07. That They spent $(•>() millioti renovating the more attractive than the plain old eth cciuury luis done nothing but vir- flamlxjyant edifice by Qiss Gilbert 52,0()0-sqiuire-foot stnicture ami cre• oflices that were diere Ixfore. Gilbert mally take out" the eanh's resouices. epitomized the values of the dominant ating new qtiarters for the Unitcxl lavished his abundant detail only on He predicts an ecological revolution in ailture at the turn of the centiu^-. States Biuikmptey Courts and the the iiLiin rooms the public enteral architecnire rivaling die upheaval of Hcye Center galleries. The project w;is and the exterior, where a gigantic modern architecture. Today, in a humbler mcxKl, other cul• fimded by the federal General Services threc-stor)'-high colontiade of etig.iged tures are being recognized, as the exis• Administration. In the process, Kuhn pilastcR on top of a sturdy, rusticatc"d Danir/. and Tzelovanikov shovvaise tence of the legislatively-mandatLxl bcxiime an admirer of GillTert. who base makes the simcmre seem bigger museimi proves. This branch is kxjat- the RcK-'ky Mountain Institute by won the commission in a comjxtition than it acuially is. Massive ;illegorical
4 AIA HtW YORK CHAPTER OPEN OCULUS: NEWS NOTES
sculptures of the four continents by Europeans encountered when diey lead into die ^eries, but diey ;ire not The clerks who once waited on cus• Daniel Chester French and an ehbo- arrived, but the explorers themselves as rail as the original openings, so a tomers there must have looked like the rate barrel-vaulted entrance staircase who caused the Nauve Americans to light-colored, decorative wood grid miniature figuresi n a Piranesi land• make the C'ustoni House seem impor• lose their lands — Columbus, Gomez, hangs over each doorway. A similar scape. As a whole, however, the tant. And, as Roliert A. M. Stern Cabot, Comireal, Vespucius, Hudson, three-dimensional grid filled with light Custom House complex provides wel• pointed out in Neiv York 1900, die Block, and Verrazano. penetrates the middle of the deep, come evidence diat different cultures scheme signifies New York's "role as coved ceiling in the middle of the can live togedier in harmony (and That is the old order. ITie new order is the leading American nietro|X)lis, rep• main galleries, demarcating the space -style). resentative of America's rolei n the more deferential, but not bland and and easing the transition from the very world." neutral. Kuhn accomplished the tran• higli-ceilinged spaces in the historic sition by gradually reducing the scale entry sequence to the generous but Contributors The America glorified was wealthy, of the elegant but empty oval and more humanly-scaled ones in the white, and like the architeaure, came introducing softer materials. The old ^leries, which airve down toward Matthew Barhydt, a praaiciiig from Western Europe. Ironically, the marble floors give way to new unpol• the long fabric-covered walls and architea in New York City, recently painted relief "sculptures" on the walls ished limestone, which soon changes embrace visitors a litde received a master of arts in architec• of the great domed oval vestibule lead• to liglu natural wood and then to ture and design criticism from Parsons School of Design. ing to the Indian museum galleries plain tan carpeting. Glass doors in At the top of those long walls, where represent not the peoples the handsome, solid stainless steel frames the vaults iKgin to rise, Kuhn luis cre• Koben fienson, l*fi.D., is arcfiitecnire ated a clever device, a ftinc-uonal mod• critic of The Cinchvmti Hmjuirer and chair of the depanment of ern adaptation of a classical molding, architeaure, Miami Universit)', which contains vents and tracks for the Oxford, Ohio. wall ligliiing. These srainlcss steel moldings subtly reflect the colors of Aiiron Ik'tsky, curator of architecmre the walls, llic moldings and vaults ancf design at the San I Vancisco Museum of An, grew up in the give the galleries architectural character Netherlands where his American and link spaces filled with a variet)' of parents taught at Dutch Universities. cases, displays, and interactive video screens. Snuill cubic galleries alternate Peter Blake, an architect and critic, was editor of Tfje Architectural Fonon with long ones. Attractive wooden M\d Architecture Plus. upholstered benches, reminiscent of early Frank Lloyd Wright and de StijI Bnice Fowle is a partner in Fox & ftirnimre, give visitors places to rest. Fowie Ardiitects. Like Kulin's signage system and other Lester Koralius, an ardiitea in private fixmres, they identify the miLseimi's practice in New York, worked for spaces within the Custom House as a John laumer during the 1970s. whole. Jayne Merkel is editor of Oadus 3s\d direaor of the graduate program in As in all renovations, diere is no per- architeaure and design criticism at fea fit. The great oval rotunda, for ;ill Parsons School of Design. its majesty, stands empty, encircled by Wendy Moonan, a New York-based a marble balustrade installed in die writer and critic, ref)orts on design 1930s, which inliibits circulation. tor The Netv York Times as\d other Entry hall of U.S. Custom House "Tliere really isn't anydiing you can publications. do with diat space," Kuhn explained.
Spiral staircase, restored U.S. Custom House Oval rotunda in restored U.S. Custom House
OCUIUS JANUARY 1995 5 OPEN OCULUS: PROFILES M A S T E O F
Paul Rudolph,
Max Abramovitz, .1' Philip Johnson Paul Rudolph Max Abramovitz Philip Johnson
"lifelong stmggle to resist imitation" of Rudolph concentrated mainly on the Rudolph calls "die new scale that by Jayne Merkel his mentor, but diey incorporate ideas campus of Southeastern Massachusetts descended u[X)n us after World War Hie thirst for new faces, styles, and fi-oni other historic sources, too — University, which he has hcew work• II." Rudolph maintains, "It's so over• ideas — simply for news — leads the including Chcnonceaux. Jones's ing on for 30 years, and four enor• whelming, we still haven't figured it media, museums, and lecture circuit to famous Fhomcrown Chapel in mous projects in the Far East — the out." Like Koolhaiis, he believes archi• emerging talents more than old mas• Flurekii Springs, Arkansas, was inspircxl Cok)nnade Condominiimis in tects can't do much about it: "People ters. But instead of focusing on 40 by Ste. Chappelle in Paris, but liecause Singapore, the Bond Centre in Hong think architc-cts determine what is under 40, diis fall's lecmre series at the of the minimal budget — $130,000 Kong, the Dhamiala Building in going to be done. Societ)' detenu ines Architccmral League, "Masters of in 1980 — he had to muislatc hand• Jakarta, and the Concourse Building what is going to be done." But luilike Architecmre," focused on five archi• crafted stone architecmre into com• in Singapore. the younger Dutchman, he believes in tects from 66 to 88: Paul Rudolph, mon two-by-fours, two-by-eights, and imposing a systematized order. Joseph Esherick, Max Abramovitz, E. two-by-rwelvcs. Not surjirisingly, that ^X^lth a startling consistency, he has Fay Jones, and Philip Johnson. exquisite litde nondenominational maintaincxi the same principles Aldiough he is horrified by the direc• chapel in an Oziirk park IcxI to a scries throughout his career, considering tions most of his old smdcnts t(X)k — Joseph Esherick, a prominent San of religious commissions, including "site, architecTural space, scale, stmc- "I wish I'd never heard of Yale Francisco architect and Berkeley pro• one fiir a much larger chapx'l in the mre, spirit, and hmc-tion" in projcxt Univeniity" — he still talks like a fessor who had never lectured in New same park to accommtxlate the alter projtxt. ITie Concourse, "the last teacher. HLs recent towers rise on tall York before, opened a Icjt of eyes when crowds that llcxk to Fhomcrown. ot (he hue ,iiul still untiiiishal." cw u piloti Ixxause "the llO-hxit height is he surveyed his career. Not only did he Icxiks like the Boston Covernment very inifxmant. It's commensurate do the enonnously popular renovation These iirchitects' special sensitivity to Service Center of 1962-71. But it is witli what we see with our eyc"s from of die Cannery in San Francisco, landscape showed how profoundly infinitely more complex, despite the which helped launch the adaptive location affects an architect's work. Siime [X)lygon;il gcx)nietry, solids bal- reuse movement in die 1970s, he also Fhe New Yorkers evinccxi more inter- anccxl against voids, ;uid h()ri/x)ntally dc-signcd die influential Sea R;inch, the c-st in the city; their work scxMiied Ixith banded low-rise mass wrapping pioneering Monterey Aquarium, and a more tinie-lx)und and timely Kxlay. around a pla/a with a tower at one number of libraries at Santa Cmz, end. But at the Coticourse, the (xrago- Mills, and other California colleger. Paul Rudolph, who grew up in small n;i] tower has sides of different lengths His slides showed that he had Ixren Southern towns, wiis educateil at the and a stack of threc-stor)' atria diat designing tall, thin, natural wo(xl- Alabama Polytechnic Institute and serve as centers for clusters of office sided, skylighted, shcxl-nxifed town Flarvard Ciraduate Sch
6 AIA NEW YORK CHAPTER • OPEN OCULUS: PROFILES ARC I T E C T U R E
the streets — the angle of vision," he Max Abramovitz, who is retiring, trig• The works he did for manufacmrcrs of explained. Iiach tower is different, gered memories as he surveyed a career building materials, however, best rep• "because the materials are different, that epitomized an era. Born in resent the aspirariofis their time. ITie the sites iire different." Unlike some Chicago, he studied architecture at the Alcoa Building in Pittsburgh of 1952 confimied modernists, he t)elieves "the University of Illinois and Cuilumbia, was the first, but he apologized for vernacular has a lot to teach us." where he raughtan d won a fellowship including it: "I've avoided anything to the Ecole des Beaux Arts. "I always here that is Harrison & Abramovitz, The Qilonnade C^)nd()miiiiunis sug• lold the students to make contaas in so 1 don't get accused of taking iill the gest ways "to make houses in the sky other departments like law and busi• credit by Wally's ghost" (who also radier than cubicles in a big box." The ness and get to know people who may appeared at Philip Johnson's lecnire). 26-story reaangular tower is a well- be your clients some day," he said. He Hie aluminum-cIad Alcoa Building ordered version of his famous 1967 must have taken his own advice, for he established the idea of demonstrating proposal to build a creeping pyramidal was invited back to the Illinois campus the [^lotential of that material for arclii- megastmcturo with mass-producetl to design the enormous Assembly Hall tecture. HSdA's Qirning Glass Center parts over the West Side Highway. of 1963 and the popular Krannert An in Coming, New York, of 1959 and I'hoiigli conveniioiiiilly consmicted Center of 1977. Owens-Illinois World Headquarters on a concrete frame, the recent in Folcxlo, Ohio, of 1984 showed de Srijl-inspircxl composirion, widi "I was lucky. 1 came back from France what glass could do. But the most fas• solid walled, one-story private spaces and got an ofkr to work with Wally cinating was Abramovitz's U.S. Steel balanced against glass-walled, two- Harrison, and we got involved in the Building in Pittsbui^ of 1968-71. U.S. Steel Building, Pittsburgh, PA, story main living areas, looks modular. World's Fair [of 1939]," he said. Then Max Abramovitz they got involved in the United 'It talks about how it was built," the As his own marble-and-stainless steel Cmtches of Architecmre," at Harvard Narions and Lincoln Center, where architea explained. "The verticals are work spaces and living quarters on the in 1954. "My interest is the art of Aliramovitz designed Philhamionic steel columns. There are no vertical top floorso f an old Beekman Place architecmre, not the technics or the Hall, and Flarrison, the Metropolitan sup[X)rts inside the building. I got die town house show, Rudolph excels at sociology, not whether we do anything Opera House. "Wally got the work, best engineer I could get, and we came this kind of composition, joining good, but whether we do anything but if you're an architea, eventually to the conclusion that we had to take planes with cubes and enlivening space Eieautifiil," he said. "If you don't want you have to be your own man," advantage of the triangular site. Italy widi balconies, stairways, and bridges. to be a great ;irchitea, drive a trolley Abramovitz said. So he emphasized his was exf^erimenting with columns, and He creates subde transirions between car or a taxi, but don't stick around own projects such as the stmcmrally- we learned that if you put the columns the inriniiic)' of a qiuiint, human- and draft up bathrooms. It isn't digni• expressive, concrete-domed Assembly f.ir enough away from the wall, it scaled street and the massive sweep of fied. You won't make any money Hall at Illinois and the handsome, would be fireproof iTie columns are the FDR Drive, over which his perch drafting out bathrooms anyliow, and a boat-shaf)ed Phoenix Mutual Life three feet out from the building, built hovers dauntingly, tiiking in the whole computer can do it quicker. But if you Insurance Building in Hartford of in three 35-story units. But we ran East River and the lands Lieyond, while have the calling, it's a religious calling, 1964, of which he noted, "I think I into problems with the building remaining firmly andiored to old New a pmfession like ours." can blame myself for being one of the department, so somebody, not me, Yoric first to break the box." came up with the brilliant idea, 'Wliy Johnson was disarmingly honest in don't we put water (later antifreeze) assessing his own careen "I'm not a inside die hollow columns?' " ITiey great architect. I'm a public figure. I'm did, and it worked. on television. I get prizes, silly things. The great architea is Frank Gehry." Philip Johnson, who grew up in Cleveland, went to Harvard and later, He didn't pull any pimches in describ• after a career as a critic and curator in ing how architecture works today: New York, smdied at Harvard's "That row of tall buildings I'm doing i Gradtiate School of Design (at the on the West Side for Donald Trump, . same time as Paul Rudolph). His lec• four whole bltKks, quite a thing to ture ftKiised on the fiimre rather th;ui build....I've been working with forms the past, except when he noted, "I that were laid out by a tenderer at the started out as a Mies man, in case request of SOM to show what die ytiu've forgotten, but I wasn't a good West Side committee wanted Trump pupil. I didn't work hard enough. I to do with his land — make it look didn't suck to his principles." like Central Park West....They went and made a brochure of how high the He calls himself a chameleon, but his cornices are, where the setbacks go, message came awfully close to what he how high the towers are, what materi• Bond Centre, Hong Kong, Paul Rudolph said in his famous speech,"Tlie Seven als — brick and stone on the base to
OCUIUS JANUARY 1995 7 OPEN OCULUS: PROFILES
so we had to reclad, redecorate the In the Bookstores building.... That's one of oiu jobs, isn't it, to decorate? That isn't archi• by Jayne Merkel tecture either. You sit and do the Philip Johnson, Life and Work detailing. And what do you think? I 1,111/ Schulze's Philip Johnson. I ifc It's gold. So we're building a gold and Work (New York: Knopf, 496 building because, in aise you didn't pages, 125 black-and-white pho• know it, Mr. Tmmp is vcvy fond of tographs, 22 pages of notes, and a gold." scholady bibliography, 6 1/4x9 1/4, Johnson noted diat the restrictions he $.30.00 paper) follows the model of rankles inider are not just a New the author's fine biography of Mies York phenomenon or an Ameriam van der Robe. But though Mies was a one. "The worst one is a building I'm man of few words and Johnson is a doing in Berlin that looks exacdy like man of many, Schulze told the story a building of Berlin in 1910." of Mies's life in the architea's own words more than he did here. The Unlike most architects, however, reader learns more about Johnson's Johnson has one perfect client — [lersonal life than is reilly pertinent himself So he was able to close his because, for most of his career, he presentation widi a project in his new kept his romantic life quite separate "sculptural" mode, for a visitor center from die scKial whirl that fed his at his house in Connecticiu. practice. Yet the relevant story of his Whenever he changed styles, he did breakup with John Burgee is told another building on the 40-acre from Johnson's poim of view. The propert)' that he has now given to the book fails to explain how he manages Nationd Trust — a veritable muse• to be both an iconoclast and the sym• um of Philip Johnson's architecture bol of the Establishment, or how he and a lot of people's ideas. can define the mainstream while moving bq'ond it. And it skins the "This buililing was a model that issue of appropriation embodied b)' Frank Stella, the great painter, was Johnson, which is crucial because it working on that I adopted, so I say. questions modernism's most cher• I'm always adopting people. This ished value, originality, and that ques• rime it was a Frank Stella thing that tioning did not stop when postmod• he thought was architecture, but it ernism went out of style. Franz looked for all the world like a piece of Schulze, a widely-published professor scul[nure. So 1 said, 'Well, l i.uik, it of an at Lake Forest College, is a con• we build it big, what would it look scientious scholar, knowledgeable his• like?' He was out the other day and torian, and clear and engaging writer, said, 'Oh, it's wonderful.'...I get wild but his insight is buried in the details about the way it's built. 1 just get up of Johnson's long, frenetic, and glam• and walk around and aromul it. orous life. riien 1 had to put in a window because I had to know how the light feels. 'To be able to build a building Philip Johnson, The Architect in and build it the way architects did in His Own Words the Middle Ages! In our day, you Two graduate student lecmrers at make a drawing and send it out to Harvard, Hilar)' IxAvis and John somebody else, and then it's built and O'Connor, characterize the architect you say, 'Oh, yaaa.' Bin when you get by letting him s|Xfak for himself The Visitor cetiier at Philip Johnson estate. a chance to get yoiu hands on a imer\ iews in Philip Johnson, I hc buikling .nul change it while it's Architect in His Own Words (Hc\w under your hands...." He drifted off York: Riz^^li, 208 pages, 30 color make it look .is if" they had white city, and it's not very pretty," he con• for a minute, dreaming about how photographs, 30 duotones, 10 3/4 x boots on....And then they made the tinued, introducing another oddity of wonderful it is. 12 1/4, $50 cloth) are confined to city pass a law. It makes a straight our time. " The idea of prettification professional matters and focused on jacket that 1 struggle against every of an existing building in the biggest, specific works. Since the interviews day. But in the interstices, you can most important city in the wodd is never touch on Johnson's [personal learn anything. tlaunting, because what can you do? life, the reader does not learn here ITie module is there. The steel is either how it affected the evolution of "After that 1 h.id the delightful pro there. The height permits will never his architecture — or if it did. ject of redesigning the Gulf & be repeated, so we can't touch the size Western Building, which we all know of the building or the square footage, Tl s reveal the architect's is the most protnineiu building in the le nuerviews
8 AIA NEW YORK CHAPTER OPEN OCULUS: BOOKS greatest strength (and a reason for his Ronchamp, he was the most origi• Luckily, Peter decided not to take die Gordon Bunshalt, L. L. Rado, constant change) — his ability to crit• nal." The value of originality is not, it advice of the people at Colmnbia's Edward Durrell Stone, and engineers icize his own work. Of the AT&T seems, gone for good. new department of oral history where Mario Salvadori and Paid Building lobby he says, "I used cush• they erased and reused all the tapes Weidlinger). A lot of the predictions, The Oral History of Modern ioned capitals...a device of the year after transcribing them, because especially on technology and mass- Architecture 1100, and there are very fine exam• "historians don't like to sit around produaion, seem quaindy off the ples of it all over France. So what is it In the 1950s, when John Peter came and listen to a lot of tapes." Sixteen mark today. Some criticisms were doing in that skyscraper? It is the up with the idea of doing the series of of the 59 interviews are enclosed on a later reaified, like Eero Saarinen's details, you see, and I can't work interviews that became The Oral compaa disc — those with Wright, 1956 concern about context: "We've them out in spite of knowing my History of Modem Architecture (New Le Corbusier, Gropius, Mies, only been architects of single build• Brunelleschi. You wouldn't take any York: Abrams, 320 pages, 200 black- Johnson, Alvar Aalto, Marcel Breuer, ings, with very litde regard for what of his entrances and stretch them out and-white illustrations, 9x11 1/4, Louis Kahn, Pier Luigj Nervi, goes on left or right or in front.... that way with a great big arch and the $75.00 cloth), oral history was in its Richard Neutra, Oscar Niemeyer, Pardy because we've been in such a lesser colonnade. Because the infancy, and tape-recorded interviews J.J. P. Oud. I. M. Pei. Eero Saarinen, tremendous growth that whatever entrance to the AT&T Building is were rare. "I thought about doing a Jose Luis Sert, and Kenzo Tange. The was to the left or right of our building Brunelleschi's Pazzi Chapel. Only it series on painters, but Cezanne was book includes comments by various woiJd be changed in a few years." ain't....I was trying to apply things dead. Then I thought about doing architects on technology, society, and Other observations, like one of Paid diat didn't fit." sculptors, but Rodin was dead," he an, biographies, bibliographies, Rudolph's, transcend rime: "A build• said. "But because architecmre lags assessments, and comments on the ing should be meaningful form from His comments do, however, elucidate behind the other arts, since it takes "revolution" itself "Modern architec• no matter what distance you lcx)k at the work. He describes the MoMA people and money, etcetera," he real• ture is one of the great transforma• it, if you are quickly flying over it or Garden, for example, as "a room, not ized that in the discipline he covered tions," Peter said. "At the mm of the riding by it in a vehicle. It should a garden. It's an urban room with as a reporter for Z^^and Life. NBC cenmry, when the Oral History have a certain diagrammatic quality definite doorways and processionals. and CBS, many seminal figiu-es were begins, there was no modem archi• which can be read....If you approach And yet it's easy enough to penetrate. still alive — Frank Lloyd Wright, tecture. Sixty-one years later, w4ien it it by foot, it has to have additional If you're not forced to move that way Le Corbusier, Walter Gropius, and closes, nothing was built throughout layers of meaning. You have to see and this way, you won't see anything. Mies van der Rohe. So off he went the civilized world but modern archi- things you haven't seen before." So you always see a lot of sculpmre." with his huge and heavy "portable" He was able to do what he wanted tape recorder that used big reels of tape and filled a small suitcase. And there. Because the garden was built in Because the interviews were complet• none too soon. The book has just die backyard of old Mrs. Rockefeller's ed so long ago, the book is both a been published, though the inter• house, her son Nelson was the client. period piece and a record for the ages. views all took place before 1966, Johnson did not have to work with a Many of the architects now seem the year Robert Venmri's Complexity committee. "I talked with Alfred inconsequential. There are fewer and Contradiction in Architecture [Barr, the museum's foimder] about New Yorkers than there would have published. everything because he was my best been later (only Johnson, Pei, Breuer, friend, and with Ren^ [D'Hamoncourt, the direaor]. Nelson I seldom saw, but he trusted Ren^ and me." Permzoil Place in Houston succeeded for the opposite reason, because the client, Hugh SUBSCRIBE TO Liedtke, got involved. "He wanted a top on the building. He wanted a building with charaaer that woidd stand out from the undecorated glass boxes around town. So we did...the parrot's beak twist at the top, which OcdIds intrigues passersby so much." When the developer, Johnson's firiend and Read about New York's orchitecture and urban design community: patron Gerry Hines, wanted to take what they are thinking, saying, and doing, the top ofl^ for budgetary reasons, and how it affects you and your environment. Leidtke saved the day — and one of Johnson's best works. $40.00 a year for ten issues To enter a subscription, just fill out this form, insert it into an envelope, and mail it to: Another revelation is his continuing AL\ New York Chapter, 200 Lexington Avenue, New York, NY 10016 Tel: 212-683-0023. respea for the modern masters. Asked which twentieth-cenmry archi- Name tea he woiJd choose to design a Address house for himself, he says, "I think Corbu. Because he was the most City State Zip amenable to beautiful shapes that are Check made payable to ALA New York Chapter enclosed new. When he used his head, like at
OCULUS JANUAIY 1»95 9 OCULUS BEST-SELLER LIST
URBAN CENTER BOOKS' TOP 10 RIZZOLI BOOKSTORES' TOP 10
As of Novemba-25. 1994 As of November25, 1994
1. DelirioiLS New York, Rem . Flesh and Slone: The Bodv and the 1. Jerusalem Architecture, 1) i\ iil 7. Great American Houses and Their K(K)lhaiLs (Monacelli Press, paper. Cit)' in Western Civilization. Richard Kroyanker (Vendonie, clodi, $65.00). Architectural Styles, Virginia iuid Lee $35.00). Seimett (Nomin, dorfi, $27.50). McAlester (Abbeville, cloth, $60.00). 2. Mexico Houses of die Pacific, 2. A Workshop for Peace: Designing S. I lisioric.il Adas of Nc-w York Cit>'. Marie Colle (Alti, clodi, $65.00). 8. Small Luxury Hotels of Europe, die United Nations Headquarters, Eric Flomliergcr (Flenr)' 1 lolt. cloth, Wendy Black (PBC, dodi, $42.50). Ceorge A. Dudle)' (Architectural $45.00). 3. Philip Johnson: The Architea in His Own Words, Hilary Lewis and 9. Adobe, Odando Romero and Hisuir)' Foimdation/MTT Press, cloth, 9. Construction Intention Detail: John O'Connor (Ri/zoli, cloth, David Ixirkin (Houghton Mifilin. $65.00). Five Projects from Five Swiss $50.00). clodi, $50.00) 3. John I^imier Architect, eil. Trank Ardiiiects, cxi. Mark CiillK*rt (Ancmis, Escher (Artemis, clodi, $95.00). paper, $19.95). 4. Great Houses of England ;uid 10. G wadimey Siegel 1982-1992, Wales, Tlugh Montgomery- intrcxlucrion by Peter Eisenman 4. Transparent Cities, Brian Mtilrath 10. Invisible Gardens: Hie Search for Miissingbred (Rizzxili, cloth, $55.00). (Rizzoli, paper, $35.00). (Sires Books, boxed, $29.00). Modernism in the American I^d.scape, Peter Walker and Melanie 5. Moqihosis Volume II, introduc• 5. Philip Johnson: Life;md Work. tion by Richard Weinstein (Rizzoli, Simo (MTT Press, clodi, $50.00). Franz Schulze (Knopf cloth. $30.00). paper, $40.00).
6. The Architecture of Good 6. New York Great Metropolis, Intention: Towards a Possible Wolfe Gerard (McGraw, pafier, Retrospea, Colin Rowe (Academy, $19.95). paper, $35.00).
mARSDlN © REPRODUCTIONSJNC • REPROGRAPHICS PROPOSALS • Blueprints Printing • Mylars Desktop Publishing • OptiCopy® TOTAL Presentation Boards • Giant Copies Giant Color Output • Plotting Graphics Design • Xerography r GRAPHIC Slides • Laser Copies U Audio Visual • Color Prints ^ Binders • Photography Slipcases • VIdeography Folders
THE NATION'S MOST COMPREHENSIVE COMMUNICATIONS ORGANIZATION NEW YORK CITY • LONG ISLAND CITY 212-MARSDEN • 212-627-7336
• MARSDEN IS A CERTIFIED MBE AND PRINTS OCULUS AS A SERVICE TO THE AIA PICKUPS AND DELIVERIES BY OUR OWN MESSENGERS AND FLEET OF TRUCKS
1 0 AIA NEW YORK CHAPTER Cadd Management Consulting LAW OFFICES C. JAYE BERGER
WE OFFER CADD RELATED Real Estate Law SERVICES FOR NEW AS WELL AS EXPERIENCED USERS. Building Construction Law
ALrnDc:AD RELEASE 12 * Environmental Law SEMINARS & TRAINING COURSES ARE AVAU-ABLE Contracts TO GROUPS OF INDIVIDUALS OR TO TEAMS FROM Litigation in State. Federal, and Bankruptcy Courts A SINGLE OFFICE.
WE POSSESS TWE EXPERTISE AND EXPERIENCE TO TEACH ANYONE FROM 110 East 59th Street BEGINNER TO EXPERT. 29th Floor As AN ALTERNATIVE TO STANDARD CADD TRAINING. New York, New York 10022 (212) 752-2080 COURSES ARE CUSTOMIZED TO MEET THE NEEDS OF YOUR GROUP.
CALL FOR A LIST OF UPCOMING SEMINARS AND COURSES & FOR A BROCHURE OUTLINING OUR CONSULTING SERVICES.
1 1 8 WEST 22ND STREET Nrw YORK NY lOGll TEL: 212 929 2935 • ROKERAOE ASSOCIATIS, iNC
JOHN JOHNSON
Architects' and Engineers' Professional Liability Insurance A Full Service Agency
25 West 45fh Street • Suite 1305 • New York, N.Y. 10036 Tel 212 382 3717 • Fax 212 382 3866
THE INTEGRA GROUP 432 Sixth Avenue Brooklyn, NY 11215 718-499-7457 Complete solutions for Softwore, Systems and Training. Contrott and Creative Services. Looking For Local Resources? .. .Use your copy of ARCHITECTURAL SOURCE GUIDE* "The Local Design Resource Direclory" INSTITUTE OF DESIGN AND CONSTRUaiON Can't Find the resource you need? . .. Call us - well find il for you! 141 Wilkughby StrMt Brooklyn, NY 11201 FREE ASSISTANCE HOT LINE Telephone: 718-855-3661 Ardiitecturol License Prepcration— SOURCE-PHONE 1-800-639-8111 The famous "Boltista Courses and Dry Rons"
FU^TIRON DISTRICT SUBLEASE GRAPHIC DETAILS llrii Floor Sunny, cheerful offices, four spaces, ±1000 s.f. gross area. 180 Vorifk Street New York, NY Separate lockabie doors off main reception area. Nonsmoking. 212-255-3000 $2000/mo. includes electricity, security service, heat and A/C. STATE Of THE ART REPROGRAPHICS BlUIPRINTING, PHOTO, PlOniNG AHD COPING • Contact: Alfredo Granaiola (212) 727-2240 • in in 1 a>
e btt
is
o -g != O CO O uj a. Pi 3 'J ^
^2 §
1 2 CM § g fit a> m «2 ^
^ I i CO 5 « *S o cs
pi 1?' 2 g.^ -p O iT- ^ fc. 11
Z 0 c J 2 23 1-6 o
E 1
•5 =^
c Co O >< W UJ
— O •a D X 5
1 i P3 w
1 s 1 ^
g s i i a 2 ° X CM 5 S: s U H Q u .i2 -a ^ 1 Si lllll O X .2 "-III >< a - i.5 i Z
I i
f'f4> TO It! E -6 1 - 11 Urn 1^ M C ill 5« -T^ lis o I 8 *: Panel Discusses Rose cailad for a remm to the kind of grams arc significandy less than those Maic Weiss described HUD pro• policies that produced projects such as of housing people in shelters, but grams that focus on srtengthening Affordable Housing Mitchell-Lama housing, constmctcxi NIMBY attitudes and a lack of public communities to encourage mixed- when the city was able to build 60,00 and private finandng create impedi• rather than segregated-income hous• byBethGreenberg^AlA to 70,000 units of affordable housing ments. ing. Such programs provide counsel• There were no grand answers offered per year. Major im|Ktliments to cur• ing and training for residents to learn Speaking both as an architect con• at a panel held on September 13 cnti- rent productivity include the increas• die skills required for home owner- cerned with the profession's sodal and ded "How Can We Build New ingly litigious namre of our society, the sliip. They also provide vouchers for dvic responsibilities and as a represen• Affordable Housing?" However, die burden of new governmental regida- home ownership, create f)ennanent tative of the RTC, Blake Chambliss event — organized by the AIA New tions (disability regulations, environ• low-income housing credits, and aa in discussed his organization's efforts to York Chapter Hoiising Comminec mental laws, landmarks preservation, cona-rt with local ^vemmcnt and increase affordable housing stock. and cosponsored by the Municipal Art rent control and srabilization), rigid neigliborhood oi^iizarions. The cur• Through a combination of "ignorance, Society, the Cirizens Housing and and outdated zoning, and labor union rent administration has quadmpled greed, and bad luck in die 1980s," Planning Council, the New York recjuirements. Rose's plea was "Get flinding dedicated to housing the Chambliss noted, there are currently Metro Chapter of the American out of my way and let me build." hoindessness and has increased the over 24,000 homes and 60,000 multi- Planning Association, and Kreisler budget for HUD; however, overall family luiits in foreclosure. The RTC is Borg Florman/Hannibal — generated Through the Doc Foundation, funding remains extremely tiglit. luming these into privately-owned and lively disaission. George McDonald has developed a program called "Ready, Wdling, and rental properties, converting half inro A common diread that panelists Panelists included Frederick Rose, Able," whidi provides people in emer• affordable housing. remmed to throughout the evening chaimian of Rose Associates; George gency shelters with housing, support was the idea that a right housing mar• Chambliss pointed out that home- McDonald, president of die Doe services, and job training. Participants ket drives up costs, making housing cmnership tax subsidies rotal five times Foundation; Blake Chambliss, FAIA, are trained to rejjair and dean dty- unafFordable for lai^e segments of the amount spent on subsidized hous• direct sales coordinator of the afford• owned buildings (the temis "rehab" sodety, and that increasing both assist• ing, and that publicly-assisted housing able housing dcparmient of the and "constmction" can't be used, as ed and for-profit housing production makes up only three percent of the Resolution Trust Corporation (RTQ; diey would invoke union wages and would ease market conditions. The country's housing stock. He empha• and Marc Weiss, Sf>ecial Assistant to controls). The concept of repair refers discussion also focused on the fea diat sized diat affordable housing must die Secretary of Housing and Urban both to teaching participants self- New York City laws prohibit for-prof become part of a lar^r sodetal com• Development (HUD). The panel was respea and sdf-reliance, and to repair• it SRO operation (thereby reducing mitment to build vital communities, moderated by Housing Committee ing the damaged fabric of communi• the availability of a housing type that which requires a f>armersliip of private, chair, Elizabeth Muskat. ties that do not adequately house their has traditionally provided low-cost public, and nonprofit entities. dtizens. The direa costs of such pro• housing for singles and eldedy people), while other cities have successfully reintroduced for-profit SRO housing. TTie Housing Committee will direa its efforts over the next year to smdy- ing this type of housing and finding ways to suppon its revival here.
YOU ARE CORDIALLY INVITED to attend the sixth annual ACCENT ON ARCHITECTURE AWARDS GALA
Celebrating the winner of the 1995 AIA Gold Medal and Twenty-Five Year Award and exploring the importance of gocxi design in government architecture.
Tuesday evening, January 33, 3995 • The National Building Museum • Washington, D.C. • AIA member price, $125.00; general public. $225.00
For more information or to reserve tickets, contact Melissa Uougfiton at (202) 626-7514. if Accent on Architecture is a year-long, national public education program of The American Architectural Foundation and The American Institute of ArchiltKts. The program is made possible by generous contributions from the Construction Information Group of McGraw-Hill, Inc., and other sponsors. OPEN OCULUS: GALLERIES
In the Galleries: In the Bookstores: Rem Koolhaas More Rem Koolhaas
by Jayne Merkel The Rem Koolhaas show fills only two g;illeries (and some walls on the adja• It's OMA at tlie MoMA this winter. cent block), but the media blitz and Actually the exhibition oFRem assorted publications that accompany Koolhaas's Office of Metropolitan it are voluminous enough to stretch Architecture reaches beyond tlie along the peripatetic architea's path as Museum of Modem Art's doors into a he commutes between Rotterdam, nearby store window, on to a tele• Lille and Karlsruhe, London, Harvard, phone kiosk and a constmaion fence, Paris, New York, and occasionally and into the subway across the street at Japan. Besides the MoMA tabloid 666 Fifth Avenue. Tiic brash modern with line drawings and the texts of the ima^ry fits in just fine, and the out• labels on the walls, there are three new reach extension makes sense for a show bcxiks and an issue of ANY largely called "Rein Koolhaas and the Place of dedicated to his work. That's a lot of Public Ardiitecture." paper. Even inside, this is one of tlie most Delirious New York: A Retrooctive accessible exhibidons at tlie MoMA in Manifesto for Manhattan years. The drawings are legible. Ilie models are easy to read. Big color pho• Only someone from a dense and tographs and computer projections — decent, but uncrowded and unexcit• in New York bus-stop liglit boxes — ing, place like the Netherlands could show facades and interiors clearly. And see the virmes of New York's crazy wonder of wonders, e\'en the architea's "culmre of congestion," which texts explain what he is trying to do in Koolhaas celebrates in Delirious Neiv plain English. (It took a Dutchman to York (New York: Monacelli Press, 320 do that!) pages, 180 illustrations, 30 in color, 71/4x9 3/8, $35 paper), published What is he doing? Buildings reach out in 1978 and long out of print until into the city (as the show tries to do), now. This hilarious, novelistic archi- bridging boulevards (the Rotterdam tecmral, social, and culmral history of Rem Koolhaas, OMA, axonometric draiving of Trh Grande Bibliotheque, Kuiistlial), projecting messages onto New York focuses on the creation of competition entry their walls (die Karlsruhe Zentmni fiir die grid plan, dieme parks at Coney Kunst und Medientechnologie), or lur• Island, Rockefeller Center, and the ing pedestrians inside with window skyscraper phenomenon. The author walls that work both ways for a change combines weird facts he uncovered — peririon. This ultimate library was to anyone could. He makes it all look so (the Lille Cxingrexpo). If Eunilille, the such as the story of how the designers have been a gigantic box — packed easy. If only it were. just-finished Centre d'Affaires in Lille of Radio City Music Hall adminis• solidly with books — out of which at the station connecting die Chunnel tered laughing gas to the audience — e^ and mbes and cubes were carved Koolhaas's work excites because he can trains with the rest of the TGV net• with equally strange iniiiginings and for people. Some compensation will not only invent forms, he also imag• work, resembles what Sibyl Moholy- images to create this bizarre thriller- come from the exciting libraries for ines wonderful scenarios for his build• Nagy once called "Wallace Harrison's [X)leniic and give the story of a city die University of Paris, I>ux ing?. For die Lille Congrexpo, an Via Triumphalis in Albany," OMA that destroys and recreates itself an Bibliothkjues de Jussieu, designed enormous, curved conference center can carve up space in the most amazing appropriately apocalyptic ending. (oi .mother competition in 1992, with three big auditoriums and a ways. All diose Surrealist blobs and and under way now. They may be less 20,000-sqiiare-meter exhibition hall, amoeboid volumes that showed up in Rem Koolliaas/OMA radically venmresome, and it is not he picmres "an event planned for Noguchi a)ffee tables and Aalto vases A more sober and straightforward but quite clear fium the images in the show 1996: All the Mazda dealers in Europe in the 1950s have grown to giant size no less colorfril and critical smdy, how the big open-walled box v^adi are in Zenidi; die doors are closed. and invaded interiors so people can Jacques Lucan's Rem KooUjaas/OMA great, oft:en sloping, expanses of floor The new model is driven through actually walk aroimd in bubbles or pass (Princeton Architecmral Press, 175 and thrilling voids would meet die Exjx); the doors open, and it comes through them. They become art in pages, 300 illustrations, 50 in color, streets of Paris on die old Left Bank into the auditorium. The doors close; Koolhaas's hands. He does the most 8 5/8x9 1/2, $42.50 paper) traces die near the Seine. You cannot play the the dealers descend to die arena and astoimding things with escalators, stair• firm's work from the publication of same game there that you can next to throng around the car. In the mean• ways, and ramps. Who needs roller Deliriotds through the 1980s. Most of the wide Maas in Rotterdam, on die time, the entire space of Expo is filled coasters? the projects in die MoMA show are wrong side of the railroad tracks in with 5,000 new Mazdas, flie doors included along with many earlier ones, Karlsruhe, or in a whole new city cen• open; the dealers are guided to their some of the architea's writing, a vari• The only sad note in a delightfiilly ter in Lille. But this wild man, who has own new Mazdas and drive out of the ety of essays and analyses of the firm's upbeat show is die faa diat OMA's a cool head, a good eye, common building. Iliat event will take place in work like the National Dance Theater Tr^ Grande Bibliotheque lost out in sense, and as this show proves, a great 30 minutes." Zoom! in die Hague, die winning but unbuilt the 1989 French Grands Projets com- deal of discipline, could pull it off if
OCUIUS JANUARY 1995 1 1 OPEN OCULUS: BOOKSTORES
and in this lxx)k ;is a retltx;tion "on the "The show was, fin- me, a little schizo- "He'sobi'iously a rncuter fontuilist who problem of the l;u-gc....Bigne^ does not phmiic in reLition to what UUL< written can weaie colors arul architectur al ele• seem to deserve a manite'sto; discredit• atul the architecture that u uis slmim. ments in an extraordirumly facile way. ed iLs an intelkvmal problem, it is If I had just read the text, I uHmkl haic Hoivever, I think this idea of celebrating apparently on its way to e-xtinction... been dmppointedin the usirk. Tlje writ• chaos is an architectural conceit that in through clumsiness, slowness, intlexi- ing ii'iis architectese — the architect's the end is kind of a fratui, because the biliiy. difficulty. But in fact, only version ofUgalese He talks about hoiu building is obviously static arul very BigiK-ss instigates the regime of complex• architecture devebps in chaos, yet there is deliberately pLtnried. Worse is this mod• ity mobilizes the tull intelligence of a lot of order in th imrk, a lot of preci• em terulency to invert luilues to rrutkea arcliitexTure and its relatexl fields."Ove r sion. He t4ilks about Bigness, architecture virtite out ofiuhat we would norwally Rem Koolhaas and MoMA architecture lime iLxhnoK)gic;il breakthroughs lal flrr the nuisses, an overwhelming saise of see as negative, and then to use that tis curator Terence Riley at OMA opening to Bigness. The ele-vator, which eon- scale, yet I fouiul a lot ofpkces for the the kirul offomial biuis for your iwrk. I tribiite-d to Bigness, has the "potential individiuil The architecture itself teas thought the purpose of architecture uuu to e-stablish nitxh.inical rather than very poiverfld and poetic The theories to try to rectify the conditioru of chaos (beauLse die job was privatized, architextunil ainnections" and "render icere caricatures of the idem in tl)e imrk. arul randomness, not to raise it up to an Wcliard Meier got the job anyway) null .11 id void die classical refx-noire of IacttuiUy fburulthe ucirk to be very aestlyetic goal The abstraction, the unre• coni|xiitioii scheme tor the ITigue architecture." Organized in ;ui inten• siddime " lenting, mechanistic qiuility is another City Hall, the entry to the Pare de la tionally chaotic, layered way witli text problem. There is absolutely no sense of a Villette com|>ention, and the plans for and iniiiges interspersed with a diaio- Hade)' Swedler, AIA, architect hurruin being represented in the build• the Universal Exposition ol 1989 in nar\' of words relevant to iirchitecmral "7here are three people wlx) interest me ing. I hat s wiry there's a kirul of populist Paris. Akhough it luis a buildings-and- aiul udxui disuiurse, the btx)k ipproxi- in architecture tocLiy. One is liem reaction to this kind of architecture. Also, projects fomiat, it focuses on a selec• niate-s the modem cit)', espcciiiUy this KooUhUis (the otf)ers are Danny all these buildings are object building, tion of works that showcisc OMA's one. ITie events celebrating its publie~a- Libeskind andJohn Hejduk). Rem is which is a atrious kind of anti-ur banist iconographic elements and "establish tion here in November (though copies miking aboiu the city again, arul the position. It's so personalized and idiosyn• coimections...that are constant across will not he av;iilable until March) with ivhole question of scale, arul a question cratic. It becomes a problem when you different progmms and sites." hundreds of beautiful people in black leave a codified syntax such its classical — mosdy architects — speaking at oja neiv kirul of section fl)r architecture, architecture, except for the feiv geniuses ANY magazine #9 leust a dozen different langiuiges in a sense an imfoldingsection.... I ivould wlx) can create great buildings, the What Lucan tnes to ckuify is compli• showed what a big. busding. global city presetU Ran and nryseljas tiw pcrles of a Seagram building. But for the rest of us cated again in die latest, iiiidatLxl. sucli ;is New York is like at the end of kirul of discourse today. I think Rem s mortals, it's very diffiadt Do you ivake redesigned, ;uid reinvented issue of the twentieth cenmry — and what ivork deals more loith the idea of event up in the momingand invent an archi- ANY, allied "Udjanism vs. Rem Koolhiias is talking aknit. and striu ture, arul my ivork deab more tecntral system'f" Architecmre: The Bigness of Rem iinth fi)r-m. Rem is not interested in the fitrrrutl resorutnces and consequaices, K(K)llia;is," in essays by Jonathan Donald Rattner, architea with Crary, Sanlord Kwinter, R. F. Somol, Off the Cuff: but I think that his fioorkj is extremely interesting." Fei^^n, Murray & Shaniamian other schohirs, Charles Jencks, and die On Rem Koolhaas and director of the Institute for the architect himself* {ANY'\s edited by Peter Eisenman, FAIA, Eisenman Smdy of Classical Architecture Cynthia Davidson, published six times " The KooUiocu show is a long ovadue Arcliittxts, in a recent interview a year by tlie Anyone (]or}X)ration out look at this urban work. I think he's of the offices of Eisenman Architects, probably one of the few architects ivho is 40 West 25tli Street, New York, NY looking more bwadly at urban issues in a 10010, ;md available in b "What I pariicularly like about Rem As thick its the Paris telephone lxM)k Koollhuis 's work is his way of decomtruct- and, at eiglit [X)unds, c"veii heavier. ing inteiior space As you mtice, he ramps Rem KOOIIKLLS and Bnice Man's floors so you can start out on the sixth S.M.UXL (edited by Jennifer Sigler. floor and end up on the sa'cnth. You New York: Monacelli Pre-ss, 1,376 pages, 1,250 illustrations, 480 in cok)r, really don't know whatfloor you re on. 7x9 1/8, $65 cloth) epitocuizcs diis His ability to deconstnurt space is depen• year's big ide;i. Bigness. Like die e;irlier, dent on his ability to destroy the horizon- more specific notion of the ailmre of //// ffid He doesn't keep the columns in a congestion. Bigness describes not only reguLir sequetwe, so he can moiv you and New York, but an entire tendency in spaces arotifui." twentieth-cenmry life diat merely Bevedy Willis, FAL\, Beveriy Willis began and btx-anie most visible here. Arcliitects Kcx)lhaiis descrilxs it at tlie exhibition Rem Koolhaits, OMA, Euralille Intenuilional Center 1 2 AIA NEW YORK CHAPTER OPEN OCULUS: ARCHITECTURAL TOURIST "Reni Koolljoas detnomtrates the liberat• Quist made corporate Miesianism into hybrid), offers the best food in the area. and Richard Meier's massive new town ing power that a creative reading of con• the official style in the 1970s, it was hall, Ixith in the Hague, 20 minutes Don't forget the first museum on the text can have on urban design atid archi• the passage last year of die "Sumulation away. The American's building, block, the Boymans-van Beuningen, tecture. His context is the mtdtiple layers I^w," an omnibus law on architectural though pediaps ttx) familiar to our eyes which displays an amazing range of arcs of order that underlie urban life and city policy, that formalized years of state to seem pmgressively modern, easily and crafts in a masteqiiece of die kind form, ivhich he deftly reinterprets to subsidies and commissions. stands out among a labyrinth of bland of brick modernism that only die stnuture surprising and engaging public Bureaucrats explain the $20 million office buildings. There are tnany new Dutch and a few Scandinavians seem space, such as the ever-changing volttmes a year in subsidies, grants, and support u-eats spread fiirdier out among die able to do. It was designed by Adriantis oftl)e Deux Bibliothecjues de Jussieu. to young ardiitects trying to open their cows. My favorite is the arcliitecmral van der Steur in 1932. Across the own offices as part of Holland's efforts fiiee-for-all Kattenwijk neigliborhood street, a de StijI-inspired house by The projects on exhibit at MoMA to compete in a worid market while in centrally located Amersfoort. Tlie Bijvoet and Duiker (of Van Nelle reminded me of public places in Neiv creaung livable surroundings. Less real pilgrimage destinations, though, Faaory fame), one of a small collection York where designers tackledpivblerns of cliaritable souls point out diat this are at opposite ends of the coimtry. In by modem masters, has been mrnal urban architecture. Th hall that stitches arcliitecmral gravy train has given the far soudi, Aldo Rossi hits just built into a crani[>ed litde museiun for the together MoMA's incretnental expan- many jobs to social democratic the new Bonnefatius Museimi hard by artist Chabot. siom. Tiffany Plaza in the Bronx, even apparatchiks. an an school diat marks Wiel Aarets's the complex of ramps ami escalators at pretension to the modernist crown. In You can sray in modernist style within the Times Sqiuire subway station came The centerpiece of these efforts, die far north, Alessandro Mendini this museum precina at the Parkliotel, to miruL PLices like tljese, where the con• whether willful or wily, is the National orchestrated the "amdy l>ar in the a snazzy collage of metal and smcco flicts are real ar\d the solutions nei>er Architecture Institute, opencxi last fall canal," a hcxlgepcxlge art museum originally designed by the Delfi firm pure, speak of the processes of negotiation in the hean of Rotterdam's musetim plunked down squarely in die middle Mecanoo, though they disclaim the and compromise— which may be a distria and designed by Jo Qiennen of die waterway that separates the sta• final building. A nearby apartment truer barometer of urbanism than the (not part of the Rotterdam or tion of Groningen fi-om its downtown. block, still under constmaion, reflects order KoolijOdU unearths." Amsterdam elite, iuid dius universally This Memphis-mess is colorful, but their more rigorous current beliefs. Todd Bressi, executive director of disliked by most top architecTs). inside is a sensuous labyrinth where Tliose who are ;ilready moving beyond the design journal, Plaices, and facuJty Rotterdam fought hard with Pliilipj>e Starck sedtices you with minimalism, however, may prefer the member of urban design and Amsterdam for this building and provinci;il dress and fiimimre, always Hotel New York, a renovated harbor planning at Pratt Institute and gave it a home in an evolving fladand confronting you with a circidar wall of building that has given the ponderous Himter College Pardienon just a five-minute walk crockery. At the opposite end. Coop forms of die 1940s and '50s a from die central train station. Himmelblau used ship technology to Starckian lease on life, though it is ITie building employs Sridingesque create its first truly public building: a somewhat inaccessible fi-om the main complexit)' in circulation and hybrid singular, fiactured, exploding space Architectural Tourist: sights. stmcmral systems to create a didactic that finally realizes the firm's frustrated Rotterdam, Modernist composition about architeaure. Tlie Viennese dreams of modemLst expres• J. J. P. Oud's De Unie cafe, two blocks NAl houses an extensive archive of sion. Step onto the glass floor as steel f Mecca up the canal fi-om the museimis, was Dutcli ardiitecmre, a museum, and beams threaten to slice ofl^your head, lx"auiifijlly reconstmcted several years a magazine, and sponsors symposia, and you will finidly know what open by Aaron Betsky ago, and now offers a chance to [>eople- publications, and travel abroad. space means. watch in style. Oud's famous housing If the triumph of a globalized neo- Unformnately, inept leadership and projea, De Kiefhoek of 1930, was also modemism — seen in the metier of squabbles over funding have made recendy spmced up, but it is difficult to It is back in Rotterdam, though, that post-Eisenmanian and SOM-ian styles recent events there distincdy unmemo- find among tlic ranks of second-rate you will find the heart of die modeniisi into a generic slickness you zoom by rable. But as a monument to architec• housing blocks south of die Rhine vision. Ihere, after the Second World along the way to the airport (or on the ture itself the building is a triumph. river. Right next to the train station, War, Viui Broek and Bakema rebuilt train to OMA's Enrolille) — has a where a bad Picasso sculpmre vies for die devasrated downtown shopping capital, it must be Ronerdam. The The NAI is linked to Koolhaas's first attention with KooUiaas's bus station area into the Ujnbaan. Neither detail• lai^cst port in the world, die home of built mastetpiece, the Kunsthal, by a — one of his earlier attempts to make ing nor materials, neither a)m[X)sition the current king of Common Market suitably minimalist sequence of gravel, his drawings real — and a landlocked nor sequence, marks this as great archi- architecmre. Rem Koolhaas, and the grass, and water that recalls his designs seaion of tugboat, die rallest building tectiue, but the sensitive arrangement heir to one of modernism's purest for die Pare de la Villette. The in the country rises up in prismatic of blocks in small piirks, pedestrian traditions, Rotterdam has become the Kimsthal itself outshines the NAI as an insoticiance. Quist's home for the shopping streets connected by broad site of monuments, office buildings, architecmral achievement, though its country's largest insurance company overhang?, small public buildings, and apanments, and hotels diat celebrate very success makes it diffiailt to tise for (Nationale Nederlanden, which is also living quaners over the stores, all all aspects of the idea that pared-down, exhibitions. Moreover, the steep ramps underwriting Gehry's new building in woven togedier in brick and wood, abstracted, and artificial reality is prefer• that elide and accenmate the sectional Prague) is scaleless and absiu-d, but so makes diis the only truly successful able to the confusion of history and tra• complexity of die two-faced stmcmrc much so that it sums up and otitclasses modem city ever built. Lcxik at the ditional theory. Rotterdam is a big and were evidendy not designed for a a host of competitors that togedier prices of the gtxxls and the modish not very pretty city, but if you love leisurely promenade. Yet die sheer exu• create the soulless business center of shoppers picking them up, and you architecmre, it tells you about the berance of stmcmral inventiveness and the city. will see the real economic logic of fumre. extreme dissection of the site diat the Rotterdam. A nnxiern pon city, it building accomplishes make it wordi a If you board the train at the station, floats on a sea of imported wealth to Tliis is no mere hapfK'nstance. Ehough few smmbles. Its cafe, hunkered down you can visit either all the old monu• create an artifice not of romantic the• K(X)lhaas and colleagues have been toil• behind the sloping concrete auditori- ments or some new ones, including atricality or old-world charm, but of ing in the tulip fields for years, and um-auii-en trance (a truly mtxleniist stardingly srark beuity. thougli erstwliile State Architea Wim K(K)lhaas's Nedierlands Dance Ilieatre OCUIUS JANUARY 1995 13 OPEN OCULUS: EMERGING ARCHITECTS dously creative," Siiid a tonner employ• PULSE er, James Simon of Essex, C^onnectiait. The Siuiie quality characterizes her Madeline Schwartzman teaching. "She has a [pedagogical imag• ination. She's a person who can design exerci-ses that are both original and interesting. Her method is vet}' loaded — in the sense that there are many layers to the problem — and very rig- orotis," said Susana Torre, the chair at Parsons, who hired her after seeing her in action at Gilimibia, where she coordinates the undergraduate draw• ing suidios in the graduate school of architecuire. Models made of key chain, wood, Actor Anthony Jones at St. John the Divine in The Begat, a fihn by cardboard, pushpins, and mbber, Madeline Schwartzman along with life-size drawings and a Madeline Schwartzman in front of one nomadic shelter big enough to house a of her computer-generated drawings hall, and locked storeroom ftill of out• two pieces of film together, you have man, were strewn around her Parsons dated scientific equipment. "When I two worlds. In second you can make a studio where she asked sophomore saw these two worids separated by a juxtaposition of spaces that would take smdents to design a Pandora's box. third, suddenly I saw Orpheus," ages in architecmre." by Wendy Moonan "My main thing is to help smdents Schwartzman explained. In die film, find out who diey are, because I One day last February, Madeline Orpheus's descent into Hades, return lacked that in my own education," Schwartzman, an architea who is a with Eurydice, and dismemberment Schwartzman explained. " The projects filmmaker, artist, and professor, in that take place in the labs, classroom, and I assign make smdents rely on them• order, was at home listening to the observatory. An old family friend, selves." radio. Suddenly, a Bdkan brass band Ann Hampton Calloway, sings the came on with tmmpets, horns, and Orpheus part; a beautifiil young man Like her Yale chissmates, sculptor tuba at fiill tilt. Schwartzman found plays Eurydice. Maya Lin, who designed die Vietniuii the music so infeaious that she called Veterans McmoriaJ in Wasliington, Schwanzman's 77;fi5^/z^ was inspired the starion for the group's name, only D.C., and fresco artist Julie Shurtz, by a class outing to study St. John the to l^e told she had just won tickets to Schwartzman is exploring altemative Divine, which has the longest nave in their Valentine's Day concen. She ways to pracdce architecture. Her the wodd. 'l"he cathedral's peacock Actress Sarah Takesh playing Lilith in went to the Zlatne Usta ("Golden elegant, computer-generated drawings garden and the roof of the dome 'The licgat with band on Low Librajy Lips") performance and, within days, steps were exhibited last yeiir at Parsons, became the setting for this contempo- had convinced them to play in her at the 0)mputer Maseimi in Boston, rar)' look at die Adam and Eve story next film — gratis. and in a one-woman show at John Jay in which Adam's first wife, Lilitli, is Q)llegein 1993. " There are moments when research supplanted by Eve and becomes an and resources come together," said evil spirit, while the raucous Balkan In the back of her mind, she is always Schwartzman, 32, who fin;mces her band plays at a lever pitch. thinking about her next film; she tries films by chargin<; thousands of dollars to make one every siunmer. Her first With help from her ki^-friend, Jeff to her credit cards. Like other anist- rvvo slion films were shown at the Miles, an architect with Girringron architects, she manages by working 1992 New School Invitational Film Macrae-Gibson, she jihms her films for out of a fourth-floor walk-up above a Fesuval and the 1994 Millennium months and then sh(K)ts in a couple of hardware store on Third Avenue and Film Workshop in New York, as well days, doing most of the writing, cast• subsisting on fellowships, grams, .iiid as on public television. Hie films, rem• ing, directing, filming, and editing Sarah Takesh in 'Vhc Begat teaching. iniscent of Federico Fellini, are surreal herself "Tin Ixith prtxiucer and seam• fantasies widi a comic feminist twist After earning an imdcrgraduate degree stress," laughed this native New in architecture from B;u-nard and a — the polar op[X)site of gritty, violent Yorker whose father worked on niaster's of iirchitecture at Yale, she movic-s like Pulp Fiction diat are so Seventh Avenue. "I even make the went to work for Page and Jackson in popular today. "1 tend to be influ• Ciuilford, Connecticut. "She's a rein- enced by music, film, myth, and "What 1 like alx)ut film is diat you are ventor of die wheel," said her employ• space," Schwarrzm;m said. "But first inhabiting spaces, making a fantasy er, Peter Jackson. "She's always com• comes die space." out of what tjikes place in them. You ing up with a new way to see iind do Her first film was inspired by her design how people move through things." faculty office at Columbia in the old space. Wlien you are edidng, you put Physics Building next to a domed bits of film together like you would "'There is an essential spark alx)ut her Singer Ann Hampton Calloway as which is irrepressible. She's tremen• observatory, steeply step()ed lecmre two bricks," she s;iid. "When you put Orpheus in Soma Sema (fdm still) 1 4 AIA NEW YORK CHAPTER • OPEN OCULUS; IN THE SCHOOLS In the Schools: Jose Vergara, James Casebere, Allan Wexler, Mel Zi^er and Kate Ericson "House Rules" on housing themes as well as an inter- acuve laser disc on anempts to reform by Robert Benson the American home, Call It Home, by How do people of difiercnt sociologi• Keller Easteding and Richard cal groups inhabit tlie suburban traa Prelinger. house? Mark Robbins, architecmre Benjamin Gianni and Scott Wier of auator for the Wexner Center for the Ottawa considered the notion of Arts at die Oliio State University, designing a house for a gay teenager. Coliunbus, Ohio, conceived and oipi- Wisely, they viewed this solution — nized "House Rules" to investigate the Queers in (Single-Family) Space— as suburban house and its social con• merely the accommodation of one struction. He asked ten teams of social solution in a larger set of possibilities. critics and architects to consider iiow Their presentarion revealed that suhde Sight Specific, Joel Sanders and Jonathan Crary, "House Rules," Wexner Center fitr the life is lived in the typical builder home radicr than radical shifts in design may Arts. 1994 and then to redesign it critically. Each offer adequate suppon to some of the of the resulting installations, on view groups considered in the exhibit. between September 10 and Decemljer 11, included an architecmral model Several of the designs had philosophi• and a wall display. Photographic stud• cal and aestheric interest without ies of traa housing along with a laser addressing niiirginalization directly. disc video about suburbia completed John Riindolph and Bmce Lomb, the exhibit. both of San Francisco, and Henry Urbach of New York explored the Such impressive social theorists as house as a closet for the unwanted and Margaret Crawford, bell hooks, the shamefi.ll in in medias res, while Michael Moon, Eve Kosofsky Joel Sanders and Jonathan Crary of Sedgwick, Heidi Nast, and Ellen New York examined boundaries and Lupton gave the exhibit an unexpect• visual domain in suburban houses, ed intellecmal twist. They presented Queers in (Single-Family) Space, Benjamin Gianni and Scott Wier. "House Rides. interpreted in an exquisite basswood Wexner Center for the Arts. 1994 the voices of latinos, blacks, gays, model, Si^t Specific. Both designs lesbians, feminists, and other groups were introspecdve reactions to existing its own to define a typical tract house an urban building, offered any irony. ^ whose needs ostensibly remain sup• or perceived conditions, but dieir and its problems, the ten collabora• pressed in die traa house. Their views "House Rules" was an interesting but explorations bordered on voyeurism. tions had a weak common thread. The inadequate attempt to question the were aniculated in provocative essays exhibit also ignored die obvious: If architecmre of detached dwellings. in the exhibition catalogue, produced The premise of "House Rules" — diat tract houses are repetitive and unre• Most of the theoretical insights lacked as an issue of Assemblage, the architec• traa houses are cookie-cutter versions sponsive to differences of lifestyle, connection with the realities of the ture and design journal of the MIT of tiiarketable fiinaion and imager)' what about apartments and condo• traa house — real estate praaices, Press. The architecis paired with them — was a misguided indiament of the miniums? New Yorkers and odier bank financing, and builder-controlled were seleaed at least pardy for their housing indusrr)'. Ir treated the traa urban dwellers must find such a dis• development. Many of the collabora• interest in marginalized groups. house as an identifiable and universal cussion ironic, yet litde irony found its tive viewpoints represented could be type invented at Levittown. rather way into die exhibit. Only Midiael Invited design teams were bell hooks the theme of an entire exhibit, one than one rooted in nineteenth-cenmry Sorkin of New York, who sought to with Koning Eizenberg Architecmre; with more cohesion and food for sources. Because each team was left on draw suburban spatial fluidity out of Silvia Kolbowski with Smith-Miller + thought. Hawkinson Architects; Eve Kosofsky Sedgwick and Michael Moon with Benjamin Gianni and Scott Wier; Maigaret Crawford with Ignacio OPTION 1 Fernandez and Gustavo Lederc of Temporaiy placement - CPA's total billing rate averages $15 to $35 per hour for ADOBE LA; Allucqueie Rosanne enny to senior level staff This price combines a fair market value for die temp's service Stone with Siizan Sel^uk and Steven (architects compensation) and fair market value for our service (CPA fixed fee) Our Fong Ellen Lupton with Jane service includes recruiting, candidate interviewing, reference checking, and credit (cash flow Murphy; Jonathan Crary with Joel financing) on weekly payroll. Also, our accounting depanment administers project time Sanders; Henty Urback widi John records, invoicing, accounts payable and collection. This allows for risk-free, flexible, Randolph and Bruce Tomb of the project-based staffing on an as-needed basis only. Interim Office of Architecmre; Joan Copjec with Michael Sorkin; and Consulting for Architects, Inc. Placement Services Heidi Nast widi Mabel Wilson. 12 East 33rd Street 9tli Floor NYC 10016 (212) 532-4360 Fax 696-9128 TTie show also included works by New "The leader in architectural recruiting and staffing" York artists on Dan Graham, Gunilo OCULUS JANUARY 1995 15 Nat Hoyt, Susan Davis, Steve Davis, Shirley Dugdale • Marilyn Jordan Taylor Kitty Croxton, Randy Croxton, Carol Chapin, Bill Chapin Ellen Polshek, Joseph Eleis 1••her, Caroline Fleischer, James' Stewart Polshek . _.<^aF^v*'. i * • lerry Davis. Honey Kurtz, Norman Kurtz of Flack & Kurtz AM 1 • Heritage Ed Barnes, Marcy Stanley, Carol Clark, Bruce Fowle, Mary Barnes • Bart Voorsanger, Gail Raab, Martin Raah 1 1 Ed Mills and Mary Jean Eastman Shaioline Chang. Kate Hennenberg, Mary Barnes, Toshiko Mori, Ed Bart Voorsanger and Ed Barnes Carol Clark and Roberta Wtu Barnes. Henry Myerling 1 6 AIA NEW YORK CHAPTER AROUND THE CHAPTER Notes from the scrawled: "You must lie out of your remarkable years of practice, Fd has No recognirion of Ed would be com• minds!" No doubt that sentiment been known as a real innovator, an plete widiout a tribute to his sup• Executive Director was shared by odier Chapter mem• imbendi ng modernist- mini malist, portive and talented wife, Mar>', who bers, but the resounding success of an owner of one of the most envied has long been die stalwart of die by Carol Clari( the event demonstrates the diversity practices in the business, and one of oflice, die glue that held it together The pictures sjxuk for clienisclvcs. A in the Chapter and pmvts that, for the Ix-st of an endangered .sjiecies—a and the quiet voice whisjiering in g(KHl time was liad by all at die many, the Herit;ige B;dl is one of the gendemanly and honorable architect. lid's ear. They are a terrific team. Chapter's annual Heritage Ball on higlilights of die year. To his former empkiyees. lu.1 is Qui keynote speaker, Peter Blake, November 17 in the Tiquitabic someone who ran a spirited, exciting, is the man who really knows Building atrium. This year's hall, ami lively office with wonderful Ed Barnes. He is currently writing a chaired by president-elect Marilyn The AIA New York (^Ihapur joinal projects ;md clients, a sense of the book on ExT's work. As rrumy of you Taylor, AIA, was a tremendous suc• the New York Building Congress, cutting edge, and a totiil commit• will remember, Peter Blake .sraned cess: 300 tickets were sold for diimer, Inc, in hosting Fran Reiter, New ment to design. Ilie real u-st in his his career as curator of architecture .md iuiodier 150 for dessert and York Cit\' Deput)' Major for office was wliedier you aiuld take an and industrial design at MoMA, dancing. During diimer, Planning and Cximmunity Relauons, \A Barnes weekend scribble (iLsually Ix-came an cxlitor, arcliitcxrt, cxlucator, Bartholomew Voorsanger. I 'AIA, at a Pi-esidents Council luntlieon on on yellow trace or a napkin) and and audior of many articles and November 10. L>pui)' Mayor Reiter translate it into plan, section, and ele• conferred the lxx)ks, the most recent of which is disaissed the Giuliani administra• vation. If you matched what was in New York his memoir. No Place Like Home. C^hapter tion's plan for the ftimre of lx)wer his head, you coidd mn the whole Bruce Fowle is a pnnnei- in Fox & Fowle President's Manhattan, its efforts to launch a job. You then liad to spentl the next Anhitects in Neiv York. Award on comprehensive retail strati^, and its five years making joints line up — Edward commitment to eliminating clutter and ainvincing him not to change his mind. Larrabee along New York City's sircetscapes. Edward Larrabee Banies, FAIA, Reiter also described the administra• To his clients, Ed continued to be a and Peter tion's quality of life initiative, which Ed Ban man of great dignity, charm, int^- Barnes Receives Blake, the .seeks to restria so-called "triple x," ty, talent, and leaky roofs. Ah, but the adult entertainment uses to certain First New York acclaimed form was alwa^-s right. Who needcxi distrias of die city and open up architectural gravel stops, flashing, and all that Chapter Award manufacturijig zones to conimiinit>' writer and stuff? Tlie)' were just not prett)' (and by Peter Blake criric, remi• facilities. besides, the joints wouldn't line up). nisced about Early in 1951 — Barnes and How many of you am guess who the long before any of praised his first architea was to break die sacred Excerpts from Remarks you, except Exl and many accom• rule and take a notch — an acnial myself, were born — Bmce Fowle plishments. on "My Mentor" notch — out of a flat-top, higli-rise I was a very junior Bmce Fowle, building? Ed Barnes, of course, in the by Bruce Fowle writer for a magatine FAIA, served as master of ceremonies New England Merchants Bank in t called The for die e\'ening. Boston of die late 1960s. It is our pleasure toniglit to honor Architectural Fomm. One day, die one of the world's great architects — How many can guess who die first magazine's editor asked me to put The success of this year's ball was due Edward larrabee Barnes. architea was to take a notch out of togedier a special issue entirely devot• to the generosity of many companies the bottom of a higli-rise building — T o me. Fx! Ls a former boss (for over ed to the work of a new generation of and fimis. Stmcnire Tone was die and then have the nerve to slice it eight years), a mentor, an occisional voung American architecis wlio.se major sponsor. Patrons included diagoiuilly in halt? You got it — [the conifietitor (when I'm lucky enough work had never been published and Davis Brody & Associates, Park architcxtof] New York's own IBM to be on the same list), ami a gcxxl who were vimially unknown at the Tower Realty, Sevemd Associates, Building, (let's hope Sony doesn't friend. To the profession, througli 45 time. and Skidmore, Qwings & Merrill. get that one, too). Sponsors were Boston Projienies, the Durst Foundarioti, Inc., Fox & Fowle, Architects, Ix)uis Fre>' Co., Inc., Haines Lundberg Waehler. OPTION 2 Jaros Baimi & Bolles, L^hrer Temp to Perm placement - To convert a CFA hourly employee to McGovern Bovis, Inc, McGraw- your payroll, CFA charges a fixed fee of $2,000 any time between Hill Constmcdon Infomiarion CJroup, Robert A, M. Stem three and six months, OR no fee after six months. Many CFA Architects, Syski & Hennessy, Inc., clients exercise this option after a successfiil trial period, or when project and Tishman Realt)'& Q)nstruction loads increase. Co., Inc./Tishman Interiors Cx>r|x)ration. Consulting for Architects, Inc. Placement Services Shordy after invitadons to the ball 12 East 33rd Street 9di Floor NYC 10016 (212) 532-4360 Fax 696-9128 were mailed last fall, one Chapter member renmied a guest aud "The leader in architectural recruiting and staffing" OCULUS JANUARY 1995 17 AROUND THE CHAPTER These young people, most of them, alxjui them. Iiach was elegjuit in its was kind enough to sublet some cliallenges of achieving and main• had emerged after the end of World composition, detailing, use of mate• space to me on the floor he cKcupied taining a high qiKility of life in Nev/ War II. The editor-in-chief, Douglas rials, and spatial arrangements, even in the East 6()s. I would see him and York City. With this in mind, I pro- Haskell, said I should pick die ones I the way it related to its neighbors the many people bus)' working in his |M)Sc thrcx s[x:cific initiatives in su[> thought were likely to diange the and the street at large. studio quite often dien. It was not a fxirt of this year's dieme. world over the next 50 years or so. I vet)' good time for architects, but his Today, as more and more buildings Membership Outreach swallowed hard and said, "Yes, sir!" office was an island of civilized and are shaped by considerations of mar• ITie New York Chapter should l)e (1 had been in the Army, too.) 1 went cheerful discourse. inclusive rather than exclusive. out to die fiearest bar with a couple keting, as we see more signanire In recent yc^ars we have failed to of my asstKiates, and we sat down buildings by name architects, the 1 g;ither the American Institute of reach out to new members, such as iuid drew up a list. qualities that chai-acterize Ed Barnes's Arcliitexts, at this moment, is fight• work seem extraordinarily precious. I ing die tradition of apprenticeship, students, young architeas, architeas in academia, and ardiitects in non- ITie resulting special issue came out think his work has stood the test of trying to pn-N'ent applicmLs for pro• traditional praaices. We also need in June 1951, and die people whose time more successftilly than most, fessional registration from getting to strengthen our relationship with work I included were, among othei-s, and 1 predict he will be rediscovered credit for appretiticeship rather than affiliated mcmliers, such as those in Paul Rudolph, Paolo Soleri, John every 50 or 100 years. academic double-talk. I don't know engineering disciplines. By working Johansen, Eliot Noyes, Ralph why. But until that happens, let us But I diink you are all quite familiar together, we can do much more than I^ison, Jack Waniecke, Vincent celebrate Fxl Barnes and the great widi it, so I want to talk about some• we are doing now. Scully, Hariy Weese — and Edward creative studio that he has mn all thing at least as imponant, the great diese years. He has set an extraordi- Larrabee Barnes. 1 confess I included Public Outreach tradition of apprenticeship. Tlie very nan' example for all of us. one or two others, or three or four, Over the course of the past year, best architects used to come out of who vanished without a trace. we have begim to make progress in apprenticeships: Frank Lloyd (Philip Johnson and I. M. Pei didn't increasing our commimication widi Wright, who worked for Louis qiuilify because the)' liad already the public. Several panel presenta• Sullivan, and Mies, vvlio was appren• Design and the been published.) But by and large I tions have been very successftii in ticed to his father atid then to Peter don't think I was too far off in my Public Realm attraaing public notice and atten• Behrens where he met Le G)rbusier. selection. These people were strug• dance, and a lecture series with broad Apprenticeship — not academic by Marilyn Jordan Taylor, AIA gling young professionals, some of ap|ieal would continue to attraa double-talk by professors who have diem ojierating out of a single room, 1 have selectcxl "Design and the the public to the Chapter regularly. never built anything at all — has some working out of their homes. Public Rt^alm" as the Chapter's We should also explore the idea of been the tradition of architecmral Mast of dieir clients were young theme for 1995 because I believe that reinvigoraring the categor)' of public education for cenmries and contin• couples daring enough to go to an e-ach of us has a responsibility to con• memlx-rs who would participate in ues to be in coimtries like Japan. architect — a modem arcliitect — to tribute to the public space of the city Chapter events atid committees. have their first litde house designed. in which we live and work. As ardii- But in this cotmtry, you will find tects, we do that in many wa)'s — Public Voice only two significant architects in the We were a very small group, very througli our attention to die way our We arc beginning to speak out as a last 50 years who produced a num• idealistic, absolutely sure of oiu^ves buildings address and support public Chapter on issues that affea our dt)' ber of brilliant young disciples. The and absolutely sure tliat die world space, thmugh our leadership in and our praaice, [x)sitioning our• first of diese, of course, was Eero needed changing — socially, [xjliri- large-scale planning and urban selves as an imponant professional Saarinen, whose relatively small cally, aesthetically — and that we design projcxts, and through our community in New York. Our office trained Kevin Roche, Gunnar knew how to do it. 1 had the feeling involvement in civic and pro bono choice of Carol Clarke as executive Birkerts, Cesar Pelli, and many from die stait diat lid Barnes was a aaivities. We also ftdfill this lespon- director reinforces this intention, and more. The other would be Ed very sjiecial member of this crew. His sibility through cxlucation, by teach- voicing our opinion will continue to Barnes, whose office was the basic work was as good as anything lieing itig oihcR alx)ut how essential civic be an important pan of our aaivities training ground for so many people done in diose days, atid better than and public spaces are to the city, and during the coming year. Among the that when I asked Ed for a list, he anything done since. We tend to for• alx)ut the n)les architects can and do projc-cLs and issues in which we came up widi dose to 500. I'd like to get how difficult it was to do a lovely play in constnicting diosc sjiaces. should lieainie involved are the mention just a few, in absolutely no village like Haystack, constmcted of Ihe (heme for 1995 builds on hist West Side waterfront, the Plan for order Charies Gwadimey, Roben local material and placed on plat• year's theme, "Design in the Public lA)mr Maid)attan, aiqxirt access, the Siegel, Jaquelin Robertson, Alex forms imd dong walkways designed Sector," by extending its focus to potential Enterprise Zone for CxKiper, Ivan Chemiayeff, Myles to (ratne views; or to design a niuse- architects' activities that contribiue to Harlem and the South Bronx, and Weintraub, Bmce Fowle and his imi like the Walket Art Center die public realm of the city. die use of ISTEA monies for trans- partner and successors John I^, where the works of art and the peo• [xination and relattxJ projects across Percy Keck, Alisrair Bevington, ple who came to see them were con• I should admit diat I believe in com• the dty. Daniel Casey, Gajinder Singli, sidered more importiuit than the mittees. 1 have found diat involve• Steven Jay Fisher, and, of course, An im[X)rtant corollarv'of outreach, names of die donor or aichitea. ment in aimmitteeaaivity, whedier Mary Bai nes. They stayed for an at the load or national level, is per• however, is infomiation. I hope to awfiilly long time, many of them, haps die most rewarding aspcxt of see the Chapter move more decisive• I diink I sensed from die start diat and when the)' left, Ed would steer a AIA memlKrship. It is an opponuni- ly into die infomiation age and offer I'xl Barnes was detennined to make job or two their way. ty to Like a broader view of wliat it our members more chances to use architecmre "as if people mattered." means to lie an architea. It offers us technological advance in their prac• Every one of his buildings could be Around 1970, when I was looking a diance to Icani, to interact with tices and in their service to the com• read-AS you walked througli it. TTiere for a space for my own practice, Ed each other, and to help meet die munity. was never an>thing condescending 1 8 AIA NEW YORK CHAPTER AROUND THE CHAPTER Details travel proposal. One must be from a Diversity and Design to diank the sponsors, C. F. nieml)er of the New York C^hapter. Rudierford &: Associates, G. F. Office by Marcy Stanley by Terrence O'Neal AIA Furnimre, and Ridiport Application materials must be Chair, Minority Resources Committee Development Constmction New York (City's submitted to the AIA New York Corporation. Depannicnt of Chapter, ScJiolarship Cx)mmiuee, Ilie Minotity Resources Cximmitiee's General Services 200 Ix-xingit)n Avenue, New York, lecnure series on "Diverse Perspeaives" (DGS) recendy NY 10016, by Tnday. February 10. ended with two events diat addressed created the Selections will Ix' announced by the efJea diversity and identity have Correction Division of Wednesday, March I. For further on design. Ilie .second in a .series of Tlie article printed in Decemibel r on Design and information, aill Marcy Stanky at diree presentations, each of which die "Diverse Perspectives Lecture" Cx)nstniction 683-(K)23,exi. 15. was written by Terrence O'Neal, AIA, Deputy paired an architect-designer with a Commisioner Services, a new critic, feanired Carlos Zapata, who Patricia J. agency tliat will disciLSsal the unconventional foims Lancaster, ALA coordinate Claiming Places in the Gty. in his work with architeciural critic accountability for In keeping widi the Chapter's 1995 Joseph Giovannini. Ilie discussion You Need It! schedule, quality, and cost of DGS theme, "Design in the Public Realm," ranged from the imp)oiTance oi ges• projec-ts. An AIA New York Chapter the Women in Architecture ture anil liglit in Zapara's projeas to We Have It! task fi)rce has bt^n working witli Cbmminee will present a panel dis• the way he pulls apart normally dosed DGS on issues that affect iirchiteos cussion entided "Claiming Places in forms. Giovimiiini questioned him working on city facilities, such as Charrette: the City," on January 23 at 6:00 pm alx)ut his design process, in which he increasing the participation of private- The Choice of at the New York Chapter. Panelists uses drawings, computer imaging, seaor architectural consultants diuing are Jan Frankina. director of design and models. NY's Architects the constmction phase. DGS is also and planning for the Pennsylvania • Authorized AIA docu• planning to reduce in-house iirchitec- Avenue Development Corp. in Tlie third evening of the series fea- ments distributor. uiral work and review milestones for Washington. D.C.; Jeamie Giordano, mred Toshiko Mori. AIA. who • Most complete selec• consultant work. This newly-formed direaor, Grand Ontral Terminal described the connections between tion in the industry — division is headed by New York De\'elopment Oflice; and Janet Marie her work and her Japanese heritagp, in stock! Chapter member Deputy Smith, until recendy vice president of and die importance of detail and the Commissioner Patricia J. Lancaster, • NEW! CAD and planning and development Rir the expression of the human spirit Mori plotter equipment AIA. Baltimore Orioles and now vice presi• was later joined by Diane Lewis, with and supplies. dent of sports facilities tor TBS whom she discussed dieir 25->'ear jx'r- soiial and prt)fessional friendship and • NEW! Everyday Properties, a division of Turner discount prices — the way the pmfession marginalizes New York Chapter Travel Grants. A Broadcasting in Atlanta. Tlie panelists up to 70% off! architects by dividing them into cate• call for entries has Ixx-n announced will di.scuss elements diat contribute gories such as design architects, pro• • NEW! 1994-1995 for AIA New York Chapter travel to vital urban spaces. For frmher duction architects, and constmaion Discount Supplies grants. Up to five $3,000 travel grants information, call Judy Rowe at 683- Catalog. Call for administrators. will be awarded this year, flmded by 0023. ext. 17. your copy. the consolidated Stcwardson, Keefe, File Minorit)' Resources Committee Call: 212-683-8822 and LeBrun bequests. ITiese grants wishes to thank the following com• Fax: 212-683-9890 will pn^vide stipends for travel, cither mittee members for their time and in North America or overseas, to fur• effort in oi^iizing this lecture series: ther the architeaunil eciucarion and lawrence Adjali, Francis Assaf, Eric professional development of grant charrette Daniels, Thomas Doremus, and SOLUTIONS FOR DESIGN PHOFtSSIONALS recipients. Nelida Quintero. We would also like 215 Lexinglon Avenue New Yo'K City New Yofh To qiulifV', applicants must be young architectural professionals, registered or non-registered, with a travel pro• gram for the 1995 calendar year. OPTION 3 Applicants must also prepare a brief Permanent placement - No matter what experience or salary, CFA report for the Chapter upon comple• charges a fixed fee of $3,650 if you hire our candidate. CFA docs tion of the travel assignment. not charge based on a percentage of the candidate's annual salary. Applicants must submit a resume When we do the same amount of work, why should a candidate's salary with a brief, wrineii description of level result in higher fees to you? professional experience; a statement of purpose with a brief description of where travel will take place and why it Consulting for Architects, Inc. Placement Services is imjxjrtant to die applicant's profes• 12 East33rd Street 9th Floor NYC I00I6 (212) 532-4360 Fax 696-9128 sional dc\'elopment; ;ind three letters of recommendation in suppon of die "The leader in architectural recruiting and staffing" OCUIUS JANUARY 1995 19 " Last Friday the job market got more competitive. Twelve of your friends learned CADD at The CFA/CADD TRAINING CENTER. Now it's your turn to catch up." Why Consulting for Architects, Inc. for CADD? AIA/CES Pilot Provider: Our program meets AIA/CES Quality Level 3 criteria. Participants earn 60 LU's (learning units) for each 20-hour course. 3D Studio AutoLISP Multiple Softwares Taught: state licensed courses AME in Autodesk's AutoCAD®, Intergraph MicroStation PC® Auto Architect and many others. DOS AutoCAD for Windows Flexible Schedule: Morning, afternoon and evening ASG sessions at our classroom facility or at your office by the hour. Minimized Down Time: Every week, intensive 20-hour, 1-week courses; Construction documentation and design; 2D & 3D. (basic, intermediate and advanced.) Small Class Size: Taught by state licensed A/E/C instructors for design professionals; lirrt:it-6 students per class in high-quality learning environment. Three Months Free: Each class includes practice time in our computer lab; Prepare a project for your portfolio. Custom Training: We teach your staff our curriculum, Curriculum developed widi: or train them, by the hour, on your projects. The Boston Society of Architects Other Services: Job Placement; Service Bureau; CADD hardware and software consultation and rental. m' VISA, MasterCard & Discover accepted. Payment plan available. Discount for unemployed professionals. Call The CFA/CADD TRAINING CENTER at 212-532-2708 to reserve your classes. We are a private school licensed by The New York State Education Department Bulk Rote AIA New York Chapter US Postage Paid The Founding Chapter of New York, NY Permit No. 7131 The American Institute of Architects 200 Lexington Avenue New York, NY 10016 2363 Terrence McDerraotl The American InsUUjte of Architects 1735 New York Avenue, N.W. Washington, DC 20006