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FALL 2010 3 by LYNETTE LOBBAN FALL 2010 3 By LYNETTE LOBBAN early 30 years after the death of their cre­ ator, buildings that once existed only as blueprints are thriving in a virtual reality at the University of Oklahoma's Fred Jones Jr. Museum of Art. The exhibit, "Bruce Goff: A Creative Mind," showcases the genius of the former director of the au School of Architecture and the creative spark he still ignites in others. That spark leapt barriers of time, space and disciplines when Ghislain d'Humieres, director of the au art museum, began circulating his idea for a Goffexhibit. His plan was to showcase projects that had never been built or that had been built but later destroyed. Blueprints, site plans, even fabric samples had been preserved in archives and in the memories of former Goff assistants. Like a general contractor, d'Humieres set out to build a team that would take the architect's designs to finished product. But instead ofcarpenters and electricians, he would need virtual de­ signers and 3-D engineers to pull it off. By opening night, the project had the unprecedented collaboration ofthe au College of Architecture, the College of Engineering, Oklahoma City's Skyline Ink Animation Studios, the Art Institute of Chicago and the Price Tower Arts Center in Bartlesville. "Our plan was not to create, but to use all the original render­ ings by Bruce Goff. They were so detailed, we knew we could re- l3 '0 create with 90 to 95 percent absolute accuracy," says d'Humieres. ~ For the other five percent, the team began contacting former i5 ~ students and proteges who had worked with Goff. Questions .~ like, "What color was the glass?" and "What flooring material ~ .E was used in the chapel?" helped fill in the blanks. The common .~ thread that united all those involved was an admiration for the ~ (J) self-taught architect who changed the American landscape. At one time the only thing d'Humieres knew ofOklahoma Designed three years after the Ledbetter house (right) was that Bruce Goff had lived and worked there. While an art the Bavinger house in east Norman is another example of history student at the Sorbonne, d'Humieres had developed Bruce Goff's signature blend of natural elements, such as an appreciation for mid-century design. His knowledge of the native stone, with the fanciful. that period led to work at the famed Christie's and Sotheby's auction houses before he accepted the assistant directorship at century technology that he found at Skyline Ink, an animation the De Young Museum in San Francisco. The opportunity to company founded by au alumnus Brian Eyerman. lease a Goff house from the University might not have been "Ghislain came to us and mentioned the Goff project and did the deciding factor for the move to Norman, but it certainly we have any thoughts on this?" says Eyerman. ''And we said, 'Oh, did not hurt. yeah, we've got plenty of thoughts on this. Let us help you.' " The Ledbetter House at 701 West Brooks, with its "flying sau­ Eyerman had been a huge fan of Goff as an au architec­ cer" portico and interior waterfall, was featured on the cover of ture student in the 1990s. "I constantly referenced Goff in my Life Magazine in 1948. Thousands toured the house the first week­ student work," he says. "His work was so driven by intuition­ end the Ledbetter family opened their home to a curious public. there's no overt explanation for any ofthe particular details [as in As both curator and resident of the historic home, d'Humieres the dime store ashtrays used as decorative prisms], but you can wanted to show a new audience that Goff was still as relevant see how they work, how they lend themselves to this amazing, today as he was in the 1950s. To do that he needed the 21st- free-flow approach." 4 SOONER MAGAZINE Ghislain d'Humieres sits in the living room of the Goff house he leases from the University. A longtime collector of mid-20th century furniture, the Fred Jones Jr. Museum of Art director says he feels like he lives in "a work of art." Eyerman became the project's point mation and "print" pieces of the build­ man at the Art Institute of Chicago, "His work ings. The pieces were then assembled into where the Goff archives are housed. For a scale models by students in the College of frantic day and a half, Eyerman and wife was so driven Architecture under the direction of Nick Lu sorted through thousands ofGoffdoc­ Safley. uments looking for clues that would pro­ by intuition­ The resulr of this collaboration was vide the missing pieces needed to replicate a fusion of past and future-a presenta­ Goff's vision in the 21st century. there's no overt tion of Goff's timeless designs through a "It was like private detective work," technology he never lived to see. Plasma says Eyerman. "Notes in the margin of explanation screens featured animated videos of 1. 2 one sketch would say 'terrazzo' and on Goff designs with eye-popping detail. another sketch from the same project you Five of the projects were also shown on a could tell that the material was white. So, for any ofthe ISO-degree, tri-screen theater nicknamed okay, we knew he intended to use white "The Pod," which gives viewers a virtual terrazzo." particular details, "walk-through" ofeach building. From handwritten notes, sketch­ The Pod, which can be disassembled, es, photographs and models, Eyerman but you can see moved and stored, was a major contri­ gleaned enough information to put the bution from the College ofArchitecture, architect's finishing touches on 12 blue­ how they work, under the direction of Dean Charles prints. The crew at Skyline Ink even­ Graham. Designed and built by Safley tually would donate more than 4,000 how they lend and Thomas Cline, the three-sided por­ hours reproducing Goff's designs in ani­ table theater presented plenty ofopportu­ mation. themselves to this nity for creative thinking that would have Meanwhile, d'Humieres had recruit­ made Goff proud. ed the help of Dr. Kuang-Hua Chang in Students packed the lower gallery on the School of Aerospace and Mechanical amazing, free-How opening night, embracing architecture in Engineering. Chang's school had access a medium that was as familiar to them as to a 3-D printer that could process infor- approach." Facebook. "This is amazing," said a Tulsa FALL 2010 5 ~BOVE: Syline Ink's animation of the Garvey Residence. The stu- . dio researched the Goff archives at the Art Institute of Chicago to ensure detailed accuracy. LEFT: Rendering of the John Garvey House Number 1 (project, interior perspective), Urbana, Illinois, 1952; Gift of Shin'enKan Inc., 1990.860.3; Photograph by Robert Lifson Reproduction ©The Art Institute of Chicago. became the nucleus of Museum, 1978, resembles the winter Shin'enKan, Price's home palace ofsome mythical creature. Serene and studio in Bartlesville, and majestic with elements of tradition­ which was built in 1956 al Japanese architecture, Shin'enKan but destroyed by fire in looks as though it was lifted gracefully 1996. from the earth rather than built on top Eyerman added drama of it. and built tension in each The Crystal Chapel, designed in film by creating short narra­ 1949 for the 0 U campus, features a tives scored with music from soaring ceiling of pink glass and a spa­ freshman, touring the Rodin residence Goff's personal record collection. Think ciousness that welcomes humans and of Libertyville, Illinois, for the third Fantasia with architecture. deity alike. Goff's organic touch is time. "I could watch this for hours." The animation for the First National again apparent in the Perez residence Joe Price of Bartlesville, whose pa­ Bank ofIndependence, Missouri, opens he designed in 1953. With its gentle tronage helped secure Goff's place in his­ with a tight shot of eight pink parasols curves and palette of soothing blues tory, was particularly moved by the 3-D or perhaps lilypads moving to George and greens, the Venezuelan beach house rendering of the first studio the archi­ Gershwin's "American in Paris." In a combines elements of surf and sky so tect designed for him. The original plan series of quick cuts, the eight become skillfully, one wonders where the ocean was deemed so eccentric by Frank Lloyd a hundred, then thousands shown ends and home begins."Just as remark­ Wright-not exactly conservative in his at breath-taking angles and dizzying able is the Garvey House. Designed for own designs-that he strongly discour­ heights. For the finale, the camera pulls an Urbana, Illinois, family in 1952, the aged Price from going ahead with it. back to reveal the bank in its entirety, house is its own solar sysrem of silver "If this technology had existed 50 sparkling like a diamond in the night, spheres and yellow suns orbiting an in­ years ago, I would have told Wright as one by one office lights illuminate terior fountain. to go to hell, and I would have built the building from the inside. The most famous Goff house to the it," says Price. Goff's third set of plans Shrouded in snow, the Shin'enKan OU family might well be the one the ar- 6 SOONER MAGAZINE ABOVE: Rendering of the Crystal Chapel by Bruce Alonzo Goff; Herb Greene, delineator; Crystal Chapel (project for the University of Oklahoma), 1949 Gift of Shin'enKan, Inc., 1990.854.1-9; The Art Institute of Chicago, Reproduction ©The Art Institute of Chicago.
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