Yale Architecture 1) The architect designs something with attention to detail, imagining the process of it coming together— “Craft and Design”; 2) she figures out how to enhance and share these design decisions with others— “Information Sharing”; 3) she structures the office ot process, synthesize, and manage this information inside the office—“The Organization of Labor: Architecture”; 4) she guides her firm into contractual relationships with other organizations outside the office—contractors, construction managers, subcontractors, fabricators, lawyers—to turn this information into a building—“The Organization of Labor: Construction”; 5) she wonders whether she can’t market all this intelligence so it isn’t wasted on a single product— “The Market”, and 6) then (maybe) she wonders what it all meant— “The Big Picture”.

Spring 2007

Constructs

To form by putting together parts; build; frame; devise. A complex image or idea resulting from synthesis by the mind. 2 A Conversation with Roger Madelin Roger 4 A Conversation with Ali Rahim

5 Eero Saarinen: Shaping the Future, exhibition review by Aino Niskanen; book review by Eric Mumford

6 “Building (in) the Future: Recasting Labor in Architecture,” a review by Ted Whitten and J. Brantley Hightower

8 Team 10: A Utopia of the Present, exhibition Madelin review by Christian Rattemeyer; “Team 10 Today,” symposium review by Claire Weisz

10 Some Assembly Required exhibition review by Michael Tower

11 Decoration, a discussion at the Architectural League of

12 Art Gallery, Restoring Kahn by Carter Wiseman; Raw Geometry by Hilary Sample

13 Histories of British Architecture by Claire Zimmerman; Architecture of Democracy, a Conversation by Melissa Delvecchio Roger Madelin, of , is the third a robust piece of the city where the risk and 16 Book Reviews: Sandy Isenstadt’s The Modern Edward P. Bass Distinguished Visiting rewards are shared once the project moved American House: Spaciousness and Middle-Class Fellow in Architecture. Madelin, who through the economic cycles? And would Identity; Patricia Patkau’s, Patkau Architects; developed Central Square Brindleyplace they have that team create a great scheme ’s The Formal Basis of Modern in 1994, in Birmingham, joins Davenport so that the best value would be created? Architecture; Robert A. M. Stern’s New York 2000. Visiting Professor And they said, “That is exactly how we are to teach an advanced studio at Yale going to choose a development partner.” 18 Spring Events: UN Studio: Evolution of Space; in spring 2007. Nina Rappaport inter- I didn’t believe it for one minute, but when “Seduction: Form, Sensation, and the Production of viewed him for Constructs about the they then asked for expressions of interest, Architectural Desire”; “The Market of Effects”; site for the studio, Kings Cross Central, we submitted one and went straight from Yale Book Notes. which his firm, the Argent Group PLC, one of twenty-seven to one of three. has under development. He gave a lec- At that phase we decided to stick to our 19 Green Futures a discussion with James Axley, ture, “Building a New Piece of City,” on guns, and we said that if you want a devel- Thomas Auer, Patrick Bellew, Michelle Addington January 11. opment partner to deliver a large piece of our city, the long term is essential. You 20 Fall Lectures Nina Rappaport: How did you become can’t do the master-planning without the involved in development projects and facts. First, you need to get and understand 22 Fall Advanced Studios start working at Argent twenty years ago? the facts—the legal aspects, infrastructure, How does Argent’s corporate philosophy, social, economic, transport, scale, etc.—so 24 Faculty News expressed in your “internal attitudes” docu- all you can do at this early stage is to pro- Urban Design Workshop, Building Project 2006 ment, allow you to pursue schemes that pose a structure for a financial deal and “can improve on the built environment; to set out a process as to how you will go 26 Alumni News have the potential to become part of a real about master-planning the project. But the Greening New York, Architecture for Humanity place; follow sustainability principles all other two bidding teams started drawing with a trust and integrity”? master plans and produced glossy images, A Note on the Type: Helvetica Neue R Roger Madelin: I first worked for a building but we stuck to words and figures, and we The intention of this project is to render a type family contractor, having graduated in building were selected. We then spent nine months by using the language and functions of software. engineering, and became intrigued and assembling all of those facts and set up the Instead of bold, medium, italic, etc., it should now frustrated about what happened before constraints to develop the brief. Our team be possible to involve other dimensions (time) or construction started and why no one included Demetri Porphyrios and Allies and qualities (the ability to move, grow, hide, read) in the pulled the whole process together from the Morrison architects. We involved them in production and use of digital typography. Variations conception of a building project. When I our “Principles for a Human City,” which we on a typeface emphasize different modes of production became chief executive of Argent in 1997, published with input from the heritage and for the headlines of Constructs. This issue introduces I thought that I would put down on paper planning groups. Helvetica Neue R Bacon by Derek Barnett, with what our attitude to any question would be NR: “Principles for a Human City” includes programming by Steven Brekelmans. The typeface about development: how we set our busi- goals such as creating a lasting new place implements Francis Bacon’s biliteral cipher to encode ness objectives, the way we think about the with a vibrant mix of uses; finding ways to a message through all of the display typography in environment, communications, and overall harness the value of heritage; creating a Constructs. A key is included on the back cover, with goals. Our projects have to fit these goals, robust framework; committing to long-term which the careful reader may decipher its secret writing. and we only do things that we actually feel success; securing delivery; communicating http://cipher.fof.ca are rewarding and fulfilling, that make a clearly and openly—all of which reflects the difference, since we are a private company firm’s “humanist” approach. These condi- Front Cover: Excerpt from Peggy Deamer’s introduction and have a choice. Obviously, we have to tions to improve and enhance urban life are to the symposium “Building (in) the Future: Recasting make money, and we should only do things similar to the internal business principles Labor in Architecture,” October 27–29, 2006. where we have a competitive advantage, that you developed for your staff, but in the Back Cover: Francis Bacon’s biliteral cipher key from as well. “Principles” these goals are transferred to page 79 of Rules for Explaining and Decyphering All NR: How did you become the prime devel- the physical development project. Manner of Secret Writing by John Falconer, 1692. oper for the Kings Cross Central develop- RM: Yes, I would say that is right. I have ment, a 67-acre site in the heart of London? never articulated it that way. We set out Volume 9, Number 2 When St. Pancras Station is expanded our own internal philosophy before we set ISBN: 978-0-9790733-1-1 by architect Norman Foster (’62) it will out the business plan in exactly the same © Copyright 2007 become an international station for the new way as the principles for the Kings Cross Yale University School of Architecture high-speed train line, extending from the development. 180 York Street, New Haven, Connecticut 06520 Channel Tunnel Rail Link (CTRL). While the NR: So how are the “Principles for a Telephone: 203-432-2296 area is already a major local transportation Human City” different from a regular urban Web site: www.architecture.yale.edu hub, how will this terminus serve as a cata- development scheme, and do you want to Spring 2007 / Cost: $5.00 lyst for economic growth in a long-ignored make an organic city? How do you create a section of London? new place so that there is a vital mix and a Constructs is published twice a year by the RM: I had been at Argent for two or three sense of place? Dean’s Office of the Yale School of Architecture. years, and we had been excluded from a RM: The most relevant experience is the development opportunity where we learned one that we have from Brindleyplace in We would like to acknowledge the support of the that if you have a project idea, you need to Birmingham—financially or physically, you Rutherford Trowbridge Memorial Publication Fund; make sure that you control the land. I had can’t do it all in one go. We had to make the Paul Rudolph Publication Fund, established by a conversation with the founder of Argent, sure that each phase washed its face. We Claire and Maurits Edersheim; the Robert A. M. and we talked about what we would like to invest X, and we get X plus a little bit and Stern Fund, established by Judy and Walter Hunt; do before we die, and we agreed that we then move on to the next phase. You have and the Nitkin Family Dean’s Discretionary Fund in would like to create a real piece of the city to maintain flexibility and be open to future Architecture. of London where people would go and say, potentials. What we found at Brindleyplace “This is a good place.” We got a big piece is that as you move forward, it leads to Dean: Robert A. M. Stern of Birmingham five years later, but then we other possibilities. So even though the Associate Dean: John Jacobson didn’t feel that we were financially or intel- time frame is faster than an organic city, Assistant Dean: Peggy Deamer lectually strong enough to go for any of the which takes decades to build, you are still Assistant Dean: Keith Krumwiede big projects in London until the mid-1990s. experiencing that process of new ideas and At that time, we were aware that the land responding to the market. Editor: Nina Rappaport parcels around Kings Cross were going NR: Is this what you mean by the “robust Graphic design: David Reinfurt, O-R-G inc. to come up for proposals again. In the urban framework,” in which places can Copy editors: Cathryn Drake and David Delp later part of 1999, I talked with the agent adapt over time to new needs and urban Student assistants: Marc Guberman (’08), Alek Bierig involved and asked how they planned to conditions? and David Sadighian (Yale College ’08) organize the project. For example, would RM: The robust urban framework allows Event photographs by John Jacobson, Tom Bosschoert they choose a partner in the proper way, for new ideas and building types to come (’08) and Adrienne Swiatocha (’07) one with a pragmatic, deliverable vision for in that you didn’t envisage, and maybe the 2.

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framework didn’t allow you to do every- were formulating our plan, so we reached by us. The converse side of that is that we as numbers. But now that has changed. thing. The framework has accommodated the same point together in terms of local are providing twenty new streets, public I think that buildings can make a difference change, and they responded. We have the energy generation utilizing combined spaces, electricity supplies, and drains at by integrating the conception, design, and confidence that the first phase of Kings power systems within the medium term, our expense. One of our partners will be the environment. It is much bigger than I Cross will be an exciting mix of uses. Even with sustainable fuel such as bio-gas. The a major electrical distribution company. even imagined. though we might have ideas for the second wind turbines and photo cells will do a little Whilst we could have a private police force, NR: How do you educate your whole team phase, people will approach us with ideas but will primarily signal the intent. We hope it will be better if we work with and add to about design, because I didn’t notice the that we didn’t think of, such as a music that it becomes a model project but not a the local police force. word design in your principles. cluster or food cluster or a concert hall. wacky prototype, because it has to be eco- NR: Who will live here and how do you RM: In the Kings Cross project we have 50 NR: How has the public/private organiza- nomically sustainable, too. make it mixed enough so that it follows Ken new buildings and one million square feet tion of the Kings Cross development played NR: Does this mean that you are generating Livingstone’s desire for 50 percent afford- of heritage buildings. Most of the buildings out? Is there still controversy in terms of the your own electricity and building a power able housing for new developments? should be good, well-designed, “ordinary” Camden community, where some people plant? RM: We will have 44 percent affordable buildings. We do need gems, whether they thought there was too much commercial RM: Yes, we are generating the full base housing, and there are lots of regulations become iconic buildings on an international use and not enough historic preservation? load of our electricity on the site with a for this. For us, what we call “social hous- stage or not. I would be disappointed if RM: Just recently the legal agreement that number of combined heat-and-power ing” is for the lower incomes and will be we didn’t have gems, but it wouldn’t be a we signed with the Camden Council was engines that will also provide hot water allocated by the local authorities with a cer- disaster of a place if there were not a story. approved by the politicians, 12–2. There and distribute water in a district heating tain number of families and unit sizes with a There are of course many fine original are less than twenty individuals who try and cooling system. This will be part of the Sustainable Renting Plan, where they agree buildings and if the uses are correct and to make as much noise as they can and first phase, which includes two residential that they won’t put just one kind of tenant the public spaces good, it will be a great make themselves representative of larger buildings, a new University for the Arts cen- in a building. They have agreed that there place to be. If we have a place for people, numbers—and they are not—and they have ter in the granary building, public space, will be an element of mixing within their the gems will be a bonus. We are now just used all the weapons in their arsenal, and and infrastructure that will connect to the own allocation. There will be moderate- working at a sketch level with about twenty the Camden Council reviewed the process surrounding streets to the canal. South of income housing and public-sector housing architects, and another twenty have con- and politicians had a chance to hear the the canal around the stations and up to the for teachers, doctors, and so on, and over tributed in a design charrette. grievances again. new canal bridge, we will be refurbishing half is market rate. NR: Have you taught before? What is your NR: What is sustainability to you? Is there a the German Gymnasium Building, the Great NR: What impact did you want to achieve interest in teaching? chance that Kings Cross could be a model Northern Hotel, and we will be building or have on the built environment rather than RM: I have taught gliding for twenty years. sustainable urban project with possibilities three new office buildings with retail and just as a developer of standardized build- People came back for that, so they must for experimentation with zero-carbon-emis- restaurants on the ground floor and con- ings? Do you have an interest in innovative have liked it or me as a teacher. I think it sions, wind and solar energy sources? nections to the north. The first phase will be design, for example, and do you want to will be interesting for the students, as we RM: Sustainability for us is social, econom- mixed and have its own public realm and achieve that in the marketplace? are straight-talking developers who have a ic, and environmental absolutely together. civic space and will be connected to exist- RM: At the beginning, I didn’t know the passion and knowledge about architecture In our view, you can’t separate one from ing parts of London. answer to that question. I knew that it was and public space. We are pragmatic and the other and if you do, it goes against NR: Does that mean that you are building inefficient in many ways for a building to be call a spade, a spade. Also, I like to learn our definition of it. There is no point doing your own streets and sewage systems? built without the builder understanding or from everyone. something if it is not economically sustain- What does the city contribute to the being involved in the process of concep- able, because it can’t last. People have project? tion. But I soon started to work with archi- to finance it and people have to have the RM: In the U.K. we have an extraordinary tects such as Edward Cullinan, and in see- means to enjoy it—physically, financially, amount of freedom. Of course, we have ing his projects such as schools and resi- 1. Porphyrios Associates, Three and socially. The project will fundamentally planning guidance from a regional and dential accommodations for special-needs Brindleyplace, Birmingham, England, incorporate better-insulated buildings with national level, but within that, how we kids, I started to realize that buildings and (c) Porphyrios Associates. energy conservation systems that utilize phase it and what we include is up to us. the environment around them have an influ- 2. Kings Cross Central today. Courtesy the natural environment, with daylight We have brought the public authorities ence on us. I had always seen it from the Argent Group PLC. and cooling, etc. The city’s policies for the along with our ideas and if they didn’t very technical point of view—can you get 3. Kings Cross Central, London, proposed environment were in formation as we like it, they would stop us, but it is driven the goods in and out, retail square feet— massing plan. Courtesy Argent Group PLC. 3 Ali Rahim

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Ali Rahim is the spring 2007 Louis I. the Eameses—versus being influential at exhausted newer techniques for the con- form-finding you allude to is an interesting Kahn Visiting Assistant Professor the larger architectural scale? struction of projects, we—and I obviously point: that’s why there is an important shift and will teach an advanced studio AR: We are much more interested in build- mean a collective of all the practices inter- away from scientifically reliant processes and offer a seminar, Elegance in ing, although ideas can be tested at all ested in digital technology for innovative for the generation of architectural form. Architecture. He also gave the scales of work. We have been develop- architectural practice—will hopefully pres- The architects that we included in the lecture “Catalytic Formations” on ing technologies using robotics to negate sure the technologies to develop further, book are all practicing and are in the pro- January 18 at Yale. He was interviewed the process of going from a negative to a requiring development of new techniques cess of building. Since the designs are now for Constructs by Mark Gage (’01), positive, as in CNC milling, and are moving for these technologies. And so goes the “out there” after fifteen years of experi- assistant professor at Yale. toward a process where we can go straight feedback loop. mentation, we can discuss buildings as a to a complexly curved, positive surface. We MG: In “Elegance,” yet another issue of AD result of these complex ideas. Elegance Mark Gage: Your office is named are working with a company in Guangdong, that you co-edited with Hina Jamelle, you is bridging experimentation with practice Contemporary Architecture Practice, and China, on this research and are able to deal more with the ambition to produce while making it accessible outside of the the two issues of AD that you edited, produce the same molded surface for a elegance. I am also interested in this topic, academy. “Contemporary Processes in Architecture” tenth the price that we would in the United but wonder how you see the notion of feed- MG: Your books are heavily illustrated, and (2000) and “Contemporary Techniques in States. The technology we are develop- back related to this new direction toward you’re becoming known for these highly Architecture” (2002), also share the com- ing is starting to operate at larger scales, elegance? realistic renderings. Is that imagery part of mon term contemporary. How do you situ- which will alleviate some of the pressure of AR: In the introductory article, “Elegance making this idea accessible to the public? ate your work and publications relative to producing our work at the scale of interior in the Age of Digital Technique,” we posi- AR: All of the digital models we’re building a distinction between what might be called design. The architect now is involved in the tion the maturation of digital practices in are constructed to reflect what the projects the merely new and the truly contemporary? design process as well as the manufac- projects being built, which feeds back new will be. It is an important tool in articulat- Ali Rahim: I do not believe in the “new.” turing of buildings; this is the only way to knowledge and methods to other digital ing the precision that is needed to produce I’m not one who thinks that everything we make something that is not familiar to the practices, in addition to unleashing an aes- architecture that is not immediately rec- do is new. It’s not. I believe in a lineage construction industry cost-effective. The thetic sensibility that we term “elegance.” ognizable. The renderings demonstrate of thought where architectural practices rippling back of construction logics into the The second article describes our design for what we are trying to achieve, and they are adapt with new technologies, techniques, designs is what I refer to as “feedback” in Migrating Coastlines, a residential tower useful in convincing clients about our ideas. and tools. In the book Catalytic Formations, Catalytic Formations. in Dubai whose complex architecture is It is very difficult to pick up nuances in the I name practices that are able to adapt MG: How does this idea of feedback actu- imbued with an elegant sensibility. Through form of our work, particularly in the digital themselves to the current modes of ally operate in your projects? What type of use of the digital algorithm we developed realm, but we are trying to make this evi- production as technological practices. feedback and from where, and how does it interrelated models that allow for the col- dent. If you can pick this up in the image, Contemporary practices, in the shift from re-inform the design? laboration of different industries and deliver then our rendering technique has been the mechanical to the electronic age, start AR: We use dynamic systems, thinking to the design within a construction budget. It successful. to operate with these new conditions, and produce trajectories for the development is a design strategy that has assisted in the MG: What you are teaching in your Yale these conditions in turn influence the way one of our projects. As it moves through the development and implementation of inno- studio in the upcoming semester? thinks about architecture. “Contemporary” design process, feedback is incorporated vative marketing techniques for the sale AR: I am teaching a studio to design a is such that the practice can shift and adapt at the scale of the generative algorithm. of individual apartments—another scale high-rise in Dubai. I’m fascinated with itself as it moves through time, continually Clients, fabrication, and assembly are all of feedback. skyscrapers and the potential they bring renewing its techniques. incorporated into the development of the MG: Latent in the way you describe forward in their design. We will apply MG: What lineage do you see your practice trajectory of the final design. If you look at elegance is an architectural ambition that specific digital techniques, the mastery being part of? Are there specific practitio- any one of our projects in the early versus seems to precede the project—that is to of which will unleash a new sensibility for ners that were contemporary in their own the latter phases, they’re very different. The say, you have an interest in producing each student. There are some real issues in time in the same way that you are aspiring formal capacities are flexible enough to something specific as opposed to “finding” Dubai. New laws dealing with land owner- to be contemporary? integrate all that is required in architecture: a project in the outcome of a computer- ship and foreign investment have caused AR: The Eameses were incredibly contem- seams, joints, and materials that are related generated script, which is increasingly high-rises to proliferate. To keep up with porary. They took their research into wood to how it is built, including the cost of mate- popular as a mode of design. It’s a pivotal development, the zoning regulations keep splints for the Navy and applied it to their rials and labor. moment in our profession, where there are changing as well. Buildings that started wood furniture designs. Obviously that had MG: Architects have always had to deal these two camps, among others. It also construction in 2003 were altered during a different trajectory, from woods into plas- with projects in terms of how they’re built, seems that some visually based—dare I construction as zoning regulations changed tics, but their office became instrumental in labor costs, materials, and client influ- say “aesthetic”—idea is providing some in 2005. The elongation of a particular part how to redefine production and the use of ences. How is this feedback different of these ambitions, from your work on of the original design reaches the new zon- components. They also redefined how peo- from what architects have engaged in his- elegance to Hernan Diaz-Alonso’s investi- ing heights. We will develop a project on ple behaved since, until then, people were torically? Is the contemporary part of that gation into the horrific. Although our gen- Sheikh Zayed Road, which connects Dubai afraid to sit on very thin surfaces. When the feedback in the digital machining of formal eration does seem to have a problem with to Abu Dhabi, the two largest emirates in chaise came out, people didn’t believe it components? the reemerging topic of aesthetics, some the U.A.E. The local municipality in Dubai is could hold their weight. AR: In Catalytic Formations, I write about people do not like the idea that architecture currently developing large-scale projects, MG: It’s ironic that most of the Eameses’ how these projects have the potential to is predicated on an idea with historical from an underwater hotel to a ski slope in innovations were done at more of an indus- feed forward by affecting the way other baggage, such as elegance. How does one the middle of the desert. In addition, there trial design scale than an architectural one. projects are built, and that feeds back into respond to this? are shopping malls in which IKEA is only a It is similar today in that it’s easy to pro- the development of new techniques—once AR: It’s difficult to provide an easy answer small component, in essence a boutique duce digitally enabled forms—only at this again, exactly the same diagram as dynam- to your question. We selected the term store—imagine that! The city is developing smaller scale, with CNC milling, laser cut- ical systems. So the technologies we use elegance because there is no architectural rapidly, and for architects it is a very inter- ting, or 3-D printing. Full-scale architectural do need to be digital, as that is the milieu baggage attached to it, unlike ”beauty.” esting moment, indeed. production of digitally enabled forms is still, of our time, and as we develop techniques Elegance, for us, comes from a mastery of with few exceptions, elusive. Where do you to make the technologies more useful, we digital technique and architectural design situate your work, between wanting to be need to be innovative. We use laser cutting, with all its inherent complexities. Only with influential at the smaller, more limited scale milling, and molding techniques to achieve a mastery of the discipline and technique 1. Ali Rahim, rendering of commercial office 4 of techniques, materials, and details—like our goals. Once we have developed and can one raise an aesthetic discourse. The tower high-rise project, Dubai, 2008. Eero Saarinen

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Eero Saarinen: Shaping the Future his studies from the 1940s and 1950s for projects. The “perfect catenary” of the the skeptics, and is touched upon by one premiered in Helsinki from October 7 to industrially produced small houses, such Gateway Arch spans Saarinen’s entire of the co-editors, Eeva-Liisa Pelkonen, who December 6, 2006. A major book of the as the Demountable Space Project, hung career, from the competition victory in 1948 has clearly expended immense energy in same name edited by Donald Albrecht from a mast with steel cables; the metal- to the breathtaking moment in 1965 when making this project a reality. The next three and Eeva-Liisa Pelkonen was published lic Unfolding House, designed in the spirit the last piece of the arch fell into place. essays move on to situate him within the by Yale University Press in November of Jean Prouvé, and the two Case Study Charles Guggenheim’s film capturing its various contexts in which his work took 2006. The following two articles review Houses designed with the Eameses. A construction was shown in the exhibition. place. Cranbrook archivist Mark Coir offers the exhibition and then the book. series of private houses demonstrated In a film about the opening of the TWA a succinct account of the complex familial Saarinen’s spatial investigations as seen terminal, one can see how the arches, and cultural world of Eliel Saarinen’s once in the flowing spaces of the Miller House, bridges, and levels of the lobby kinetically well-known pre-war practice and teaching shown in a film animation by Timothy display the flow of passengers. at the Cranbrook Academy of Art, founded Architect of the Newton, which follows the movement of Shaping the Future, a Gesamtkunstwerk in 1927, where his son Eero taught in the sunlight across the space. itself, continues to provoke questions. Did late 1930s. The younger Saarinen is then Media Age Saarinen’s community and campus Saarinen create a style, or did he escape presented by Donald Albrecht in his more projects are seen in the next section of the the concept of style? Was his career cut familiar guise as a postwar celebrity archi- During his lifetime Eero Saarinen exhibition with a display of sports build- short in the middle only to be continued tect whose works shaped the architectural (1910−1961) was of great interest to fellow ings, chapels, and theaters such as Yale’s by the architects of the computer era? form of corporate America at its peak. Finns. His career was closely followed with Ingalls Hockey Rink (1958) and the contro- Ultimately, the question of Saarinen’s Will Miller offers a precise account of the both admiration and disapproval: “Grown- versial Morse & Stiles Colleges (1958–62). nationality is obvious: Saarinen was an intertwined family and professional connec- up children playing with tensions that they The project details are understood in the American architect who inherited his tions between Saarinen and J. Irwin Miller, can’t control,” criticized Alvar Aalto in 1958, display of a mock-up of its famous “stone Finnish father’s vision of the building as a the visionary entrepreneur who made referring to Saarinen’s expressive forms wall without masons”—the brick-clad Gesamtkunstwerk. Columbus, Indiana, a model of corporate for the TWA Terminal at JFK airport. The concrete Kresge Chapel at MIT (1949–50). and civic architectural patronage where architect’s projects were a conundrum for Showing the full range of Saarinen’s work —Aino Niskanen major Saarinen works (such as his First his compatriots. While father, Eliel, had cre- from smallest to largest scale, the exhibit Niskanen is professor of architectural Christian Church) are still extraordinarily ated a series of ruggedly romantic buildings includes his furniture design, which dis- history at Helsinki University of Technology. well maintained, appreciated, and used. in that were seen as national sym- play a trajectory from the Arts and Crafts Other essayists offer more theo- bols, Eero’s projects felt “American.” How style of Cranbrook in his father’s spirit, retical considerations of Saarinen’s work. had Eliel’s Arts and Crafts spirit been trans- to Modernist steel tube chairs as well as Reinhold Martin discusses the disarmingly formed into Eero’s interpretations of the era those experimentations with new materi- Shaping the Future simple question “What Is a Material?” of mass production and jet planes? als of glass fiber and foam with Charles in relation to Saarinen’s major projects. The galleries of the Nordic neoclassi- Eames. His Knoll-produced furniture, Shaping the Future, a carefully researched, Pelkonen’s and Sandy Isenstadt’s erudite cal Helsinki Kunsthalle offered a fantastic including the Womb Chair and the Pedestal exceptionally well-illustrated and wide- essays examine the unavoidable issue of framework for proceeding through the Furniture Series, have become icons of ranging book on one of America’s best form and its uses in Saarinen’s prodigious intense chronology of Saarinen’s short mid-century Modernism. The exhibition modern architects, is a welcome contribu- career. These are followed by in-depth life/work. The total project was funded by theme, “Designing for Business,” highlights tion to the rapidly growing literature on this considerations of four projects: the St. the Getty Foundation, the Finnish Cultural Saarinen’s projects for major American previously understudied subject. Based Louis Arch, by Helene Lipstadt; the GM Institute, the Museum of Finish Architecture, corporations—whom he referred to as “co- on material in the newly acquired Saarinen Technical Center; the Miller House, in and Assa Abloy, among others, and will creators,” inspiring them to realize impres- office archives by Yale, it contains the first Columbus; and the Ingalls Rink at Yale, one come to the Yale Art Gallery in 2010. sive, large-scale schemes. Saarinen’s comprehensive catalog of the architect’s of the architect’s most iconic and admired Saarinen’s work, often characterized clients were a veritable “who’s who” of prodigious and extraordinary design works buildings. Seven other short texts look at as theatrical and of uneven quality, has postwar American influence. from 1925 until his death in 1961. But various categories of Saarinen’s massive previously eluded thorough investigation. Saarinen’s interest in materials and the essays and other material included design output, including furniture, houses, Its popularity with the general public has process resulted in his extensive use of full- here provide us with much of the social churches, corporate headquarters, embas- clashed with the aloof attitude of the critics, scale mock-ups. For example, the external and technical context of Saarinen’s many sies, airports, and campus plans. Alan who have accused Saarinen of creating a envelop of IBM Manufacturing and Training thought-provoking projects and allow for Plattus’ essay on this last topic is exem- new style for every commission. As dis- Center (1956–58), in Rochester, Minnesota, a fuller appreciation of his achievements, plary in its presentation of new archival played in Helsinki, the drama and tension was “the world’s thinnest exterior wall all created well before digital technologies material, which includes some rarely dis- of the exhibition designed by Roy Mänttäri panel”; part of the wall was reconstructed made such form-making far easier to detail cussed works such as the campus at Drake thus suits its subject, with large individual in full-scale in the exhibition: the color of and build. University, in Des Moines, Iowa, designed pictures placed alongside smaller ones and the porcelain-enameled aluminum panels Although some of the major works with Eliel, as well as his more familiar, others arranged in a series of strong colors was a syncopated combination of two presented here are now canonical monu- mature planning projects for the University contrasting vertical and horizontal. Also shades of blue. His concern for worker ments of Modernism, this status does of , the University of , included are impressive architectural mod- satisfaction was evident in projects such not ensure that they will be valued in the Brandeis, and Yale. Appreciations written els, some such as one of the St. Louis Arch as the IBM Research Center, in Yorktown future. Saarinen’s Bell Labs, in Holmdel, by former Saarinen associates Cesar Pelli, centered along the main axis of the space Heights, New York (1957−61), for which New Jersey, one of the key centers of Kevin Roche, Harold Roth, and Robert are original. Architectural drawings and digi- workers were interviewed about their spa- postwar American technical innovation, Venturi follow. tal screens show documentary and promo- tial needs. The corporate workplace is jux- may well soon disappear, as his Women’s Interpreting Saarinen in the present tional films as well as Yale students’ analyti- taposed with a presentation of Saarinen’s Dormitory at the University of Chicago remains difficult. Few can fail to recognize cal digital animations of selected buildings, own office, in Bloomfield Hills, Michigan, already has. (The precarious existence of his incredible formal and material virtuosity, all of which enhance the understanding of which a Finnish colleague described as many Modernist masterworks perhaps but certainly the American midcentury cor- the complexity of Saarinen’s work. showing the “whole mess” of preparing explains the use of the past tense in the porate and institutional contexts in which The exhibition begins with a section designs, including many iterations of large catalog’s descriptions of the buildings.) he thrived more often raise suspicion rather on Saarinen’s life and persona, presented working models. While the situation may seem different from than admiration. As a result, there is the through ephemera such as newspaper The exploration of a material’s limits within the world of architectural education, question of whether simply celebrating his clippings, photographs, paintings, and was emphasized in the architect’s desire to masterworks such as these are now often work, as some other recent publications drawings that tell the story of his family’s create a strong image that often surpassed the object of hopeless historic preserva- have done, is enough. This project’s effort immigration to the United States and the the requirements of structural logic. The tion campaigns rather than being revered to situate Saarinen’s work historically from inspiring atmosphere of Cranbrook based St. Louis Arch construction drawings show landmarks. Perhaps it will at least place multiple viewpoints without diminishing its on the mythical work of the artist’s atelier how the elegant stainless-steel structure is Saarinen properly on par with other great importance is admirable and will make it at Hvitträsk. Video interviews with key co- actually supported by concrete. Or, in the American architects. known to a much wider audience. It might workers Kevin Roche and Florence Knoll TWA Terminal, the thin concrete shell was In the 1950s, Saarinen was distrusted even keep a few more of his buildings from show his important but sometimes difficult an illusion: the supporting pentagon was by the East Coast architectural establish- being torn down. relationships with friends and professional hidden in the center of the structure. Thus, ment as an overly slick and commercial colleagues. Saarinen distanced himself from the strict figure and was viewed less positively than —Eric Mumford The largest part of the exhibition demands of Modernism concerning the or , Mumford is associate professor and focused on Saarinen’s designs for postwar primariness of structure (he has been called who were understood at the time to be director of the Urban Design Program at America during the optimistic atmosphere the first Post-Modernist architect). more in tune with higher cultural values. Washington University, in St. Louis. and new wealth of the United States and The exhibition culminates with the This question of his dubious critical recep- its elevated status in world politics. A section “Shaping an American Identity,” tion is addressed right at the start of the 1. Shaping the Future, in Helsinki, 2006. display of residential projects showed highlighting the now iconic and symbolic book by Vincent Scully, himself once one of Photograph by Roy Mänttäri. 5 Recasting Labor in Architecture

1. 2.

The symposium, “Building (in) the 5) she wonders whether she can’t mar- “a process in which the quality of the result the potential to make them even less so. Future: Recasting Labor in Architecture” ket all this intelligence so it isn’t wasted is in the hands of the person making it.” Building on this, Cristiano Ceccato, direc- was held from October 27 to 29, 2006, on a single product—“The Market”, and This implies a risk for the designer, who, as tor of research and consulting at Gehry to discuss all aspects of new tech- 6) then (maybe) she wonders what it all has always been the case, cedes control Technologies, responded that to embrace nologies and the relationship to labor in meant— “The Big Picture”. to the workers who assemble the product. these new forms of information sharing, it architecture today. Supported in part by For Marble, this is a productive risk, a form is increasingly necessary to establish and Autodesk Inc., it opened with a keynote Kenneth Frampton’s keynote address, of collaboration that enriches the work by encourage these nonstandard relationships. talk from Kenneth Frampton. “Intention, Craft, and Rationality,” was including the human hand in the digital pro- The next session, “The Organization of prophetic in its characterization of the cess. Kolarevic noted that using parametric Labor: Architecture,” brought a series of In October, Peggy Deamer and Phillip ideological conflicts that would arise in technologies, which embed the design young professionals to the lectern, each Bernstein (’83) organized “Building (in) the the Saturday and Sunday sessions, both within software scripts written by the archi- of whom is critically engaged in defining Future: Recasting Labor in Architecture,” in terms of a “techno-euphoria,” which tect, also introduces an element of risk, the building industry’s changing structure. a weekend symposium that examined defined much of the discussion, and in because they make outcomes unpredict- Joshua Prince-Ramus, who established the ways in which new technologies are potential tactics for mitigating its influence. able. James Carpenter—an artist and fab- the office REX after having worked for reconfiguring professional relationships in Frampton, who has focused his attention ricator who specializes in glass, with which Rem Koolhaas’s Office for Metropolitan architecture and how, as a consequence, on the history and theory of making build- he has created large, site-specific installa- Architecture (OMA), provided a compelling the structure of projects and the roles of ings amid ’s fascination tions—was a bit puzzled by this connection portrait of a practice that is leveraging new the various participants, from designer to with paperless studios, opened by review- of craft and risk. To him, the highly skilled technologies and emerging professional builder to laborer, is changing. Deamer and ing the symposium’s program and noting, craftsperson’s sophisticated understand- structures to reclaim authority for archi- Bernstein’s collaboration was a provoca- as is the case with much discourse in this ing of a material is, rather, the best way to tects. Drawing on his experience running tive one—she a longtime design critic and age of technological change, a heavy focus avoid risk. He argued that knowing a mate- OMA’s Seattle Public Library project, he professor of contemporary theory; he an on process. While Frampton conceded rial and how to work with it, even digitally, described the current state of the profes- executive at Autodesk, a former associate that new technologies are transforming expresses a working knowledge lost long sion as one in which designers consciously principal at Cesar Pelli & Associates, and the building industry so that an interest by ago by desk-bound architects. avoid liability and thus contribute to an for 18 years Yale’s lecturer in professional critics and designers on process is under- On Saturday the symposium trained its ever-widening schism between design and practice. Speakers came from a broad standable, he asserted that this “is only sights on larger-scale practices and proj- execution. Over the past twenty-five years, array of backgrounds, including architec- apposite if we bear in mind, from beginning ects, and speakers repeatedly argued that the role of project manager has grown tural historians and theorists like Kenneth to end, the relationship between means the standard process by which architecture more important, nearly becoming the cen- Frampton, Barry Bergdoll, and Reinhold and ends and so avoid the aporia in which is built today suffers from, as Bernstein tral player in the architect/owner/contrac- Martin; Princeton’s sociologist of archi- means determines ends.” In other words, characterized it, “a lingering dysfunctional- tor relationship. Prince-Ramus called for tectural culture, Robert Gutman; young while process is important, the results of ity.” Fundamental changes in how build- the architectural profession to take this practitioners like Joshua Prince-Ramus, of a process—its products—must not be ings are designed, how the developing role back from the contractor in exchange REX, and Coren Sharples, of SHoP, and an ignored. Simply because new technologies design is communicated, and how the for increased liability, managing the risk impressive lineup of contractors, fabrica- make any form possible, not every form finished design is executed are increasingly acquired with the specialized knowledge tors, attorneys, and developers. or space is culturally justifiable. An obses- required to realize innovative and eco- base that comes from new collaborative As Deamer mentioned in her opening sion with the representational capacity of nomically viable designs. The first session, relationships, often the result of new tech- remarks, her partnership with Bernstein digital technologies and the forms they can “Information Sharing,” began with William nologies. He noted that OMA integrates the is timely given recent discussions about yield short-circuits the critical process, in Zahner, CEO of Zahner Architectural roles of “design architect” and “executive “postcriticality,” an interest among some effect severing the product from the place it Metals, who spoke about how his company architect,” so that the executive architect theorists in removing barriers between inhabits—just “one more freestanding aes- has fully embraced BIM technology to has a role throughout the initial design theory and building by reformulating the thetic object,” indifferent to its surround- achieve the high level of precision required stages of a project, just as the design idea of “critical practice,” with all its related ings, both topographical and cultural. by its clients, most famously architect remains involved through the notions of resistance and negation. In part Frampton went on to discuss Hannah and Herzog & de Meuron. Autodesk’s construction phase of a project. The result following the rise of the sorts of technol- Arendt’s philosophical distinction between program Revit allows each member of its hoped for is the creation of what was once ogy discussed in the symposium—like labor and work, as well as the collaborative design and construction team to work on a standard: a single integrated architectural building information modeling (BIM), which process of teamwork, promoting craft as shared 3-D model, with each party’s design team developing a project from beginning potentially redefines the boundary between a potential check on this sort of uncriti- information embedded in it, from plans and to end. architect and builder—these theorists have cal form-making. He cited the work of the sections to building systems to cost and According to Prince-Ramus, the Seattle found a new interest in the world of archi- Renzo Piano Building Workshop as an revenue information. Zahner works directly Public Library was a demonstration of this tectural production, linking the products example of a modern practice that—what- on his clients’ BIM models to create mill- concept, its realization possible only after and motives of the practitioner and the crit- ever tools it uses, be they computational ing patterns, resulting in a precision that the design team had a clear understanding ic in new ways. That’s the optimistic read- or otherwise—in Piano’s words, “does dramatically exceeds that of other trades, of the regulatory, professional, and budget- ing at least; skeptics fear something more not separate the work of the mind from such as the relatively large margins of error ary contexts of the project, then finding like “noncriticality,” a sort of easy retreat the work of the hand.” Earlier in the after- allowed within the structural steel industry. opportunities for design within them. The into anti-intellectualism. The symposium noon the symposium’s first session, “Craft Zahner even has taken over the erection of project’s iconic diamond-grid skin system was an example of these shifting sands, and Design,” discussed just this, bring- structural steel simply to ensure the perfor- resulted not from an aesthetic desire but with the discussion swinging between ing together several designers who use mance of their core product: custom metal as the only viable response to a complex excitement over the possibilities of digital sophisticated awareness of fabrication cladding. set of performance and economic require- technology and a desire to gain a historical technologies to exert more control over the If Zahner offered a report from the ments. One of OMA’s collaborators on theoretical perspective. products of their designs, locating the idea trenches of current production realities, the “diagrid” was the next speaker, Marc Deamer provided a useful summary of craft in new places like software scripts Yale’s Hilary Sample supplied a projective Simmons, who worked on the project as of the symposium in her introduction, as and high-tech milling machines. view of how communication between col- part of Dewhurst MacFarlane and subse- follows: Klaus Bollinger, structural engineer laborators, clients, and the general public quently started the consulting firm Front and partner in the Frankfurt-based firm might be increased by allowing for a freer Inc. Although his company is ostensibly a 1) The architect designs something Bollinger + Grohmann, in discussing his exchange of information through the use of façade consultant, Front employs a range with attention to detail, imagining the collaborations with architectural firms such intra- and extranets on the Web. Paralleling of professionals, from engineers and man- process of it coming together—“Craft as Coop Himmelb(l)au and Dominique Sample, Kent Larson, of MIT’s Open agers to specialists in digital media, as a and Design”; 2) she figures out how Perrault, emphasized the point that instead Source Building Alliance, proposed look- new type of “chameleonlike” consultant/ to enhance and share these design of making craft obsolete, new construc- ing to the Web to increase the architect’s collaborator who can fully embrace the decisions with others—“Information tion technologies tended to increase the involvement in residential projects in the mind-set and agenda of the lead designer, Sharing”; 3) she structures the office demand for highly skilled workers because United States by providing what he termed morphing his broad skill set to fit changing to process, synthesize, and manage the unusual forms are one-offs, requiring “design engines” to allow consumers to circumstances and “inhabit the entire pro- this information inside the office—“The them to learn and even invent new meth- assemble their own designs in a manner cess” through inventive use of technology. Organization of Labor: Architecture”; ods of assembly. The next two speakers, similar to the way consumers can assemble With the rising sophistication of digital 4) she guides her firm into contractual Branko Kolarevic, a technologist from Ball their own computers through Dell’s Web fabrication, architects are taking increased relationships with other organizations State University, and Scott Marble, of New site. Attorney Chris Noble provided a cau- control of the means and methods of outside the office—contractors, con- York–based architects Marble Fairbanks tionary end to this session, pointing out construction, which has typically been struction managers, subcontractors, and Columbia University, embraced their that the profession’s standard contracts the realm of the contractor. Few firms fabricators, lawyers—to turn this work’s reliance on the skills and intelligence are inadequate, based as they are on have explored this territory more than information into a building—“The of workers in the field. They both cited risk-avoidance rather than good design, the New York firm SHoP, represented 6 Organization of Labor: Construction”; the writer David Pye, who defined craft as and that emerging new relationships have at the symposium by one of its founding 3.

partners, Coren Sharples, who described orities of builders and architects can remain on the low end of the market, producing a generated forms made from software how in-house research becomes essential stubbornly at odds. In closing remarks to limited set of house types with a modest written by students and fabricated from at a practice like SHoP, which actively col- the symposium and elsewhere, Gutman number of customer options. Costs are programs that can automatically translate onizes parts of the building process not tra- expressed a similar skepticism, wondering kept low by prefabricating about 80 per- the complex forms into machinable ele- ditionally reserved for architects and thus aloud whether the new technologies are cent of each unit, as well as working with ments. Goulthorpe exuded a matter-of-fact increases its exposure to risk in order to just a new way for architects to arrive at the standardized manufacturing and shipping. faith in the triumph of digitally derived form, gain more creative control to create places same old culturally and economically deter- The lack of customizability is offset by large and he spoke about his parametrically gen- of meaning and sensitive design—some- mined dilemmas. quantities of market research and customer erated twists as if their cultural relevance thing which Frampton implied firms like Barry Bergdoll, art history professor satisfaction surveys so that the limited was obvious and uncontroversial. This was hers ignore. Often small projects are used at Columbia University and soon to be designs hit their targets effectively. BoKlok in contrast to the dry PowerPoint presenta- to test new design and fabrication strate- director of the Architecture and Design is gaining momentum, but Magnusson said tion of Véronique Blau, an earnest French gies that get refined for use on large proj- Department at the Museum of Modern Art, profitability is impeded by an entrenched academic who studies the organization ects. One such project—“small in scale but reviewed the history of labor in architecture building industry and regulatory context. of labor in the building industry of the large in scope”—is the Camera Obscura beginning with Viollet-le-Duc and ending That said, the modest modern homes are European Union. It’s architecture’s unique at Mitchell Park, in Greenport, New York, with the well-known prefabricated housing attractive and inexpensive, and it’s hard to glory that personalities like these can which tested the feasibility of executing a experiments of Breuer and Gropius. Sheila imagine that the company won’t be as suc- inhabit the same discussion, but it seems project entirely from a computer model. Kennedy, of Kennedy Violich Architecture, cessful as its parents. like dysfunctionality will be a given and The model was translated directly into shop in Boston, talked about the development Next up was Rob Kelle, chief informa- even a productive one. drawings and instructions for assembly on of MatX, a new interdisciplinary arm of tion officer for Standard Pacific Homes, Enter John Nastasi, founder of the the site. The only traditional architectural her firm dedicated to research in material America’s eleventh-largest custom house Product Architecture Lab at the Stevens drawings produced were those required by technology. While most speakers Saturday builder. His title is indicative of the changes Institute of Technology, in Hoboken, New the city for review. focused on new technologies in building taking place in the building industry since Jersey. Started in 2004, the program The final speaker of the session was construction, Kennedy was an example of as a specialist in information technology brings together architects, engineers, and attorney Howard Ashcroft, a litigator who a practitioner who is using similar tools and (and an education in urban studies), he has information technologists to study and specializes in construction industry law. strategies to expand an architecture prac- been tasked with applying new technolo- develop new forms of digital collaboration Echoing Noble, he acknowledged that tice into allied fields such as industrial and gies to achieve a competitive advantage and fabrication. Like Prince-Ramus and the the current legal structures regulating textile design. in a cooling market. Kelle’s interest is the founders of SHoP Architects, a sense of architecture and construction are woefully Saturday evening’s featured speaker high-end American market, where custom- mission emanates from Nastasi, the sense inadequate and that the growing presence was Italian historian Paolo Tombesi, whose izability and a highly mutable construction that he’s onto something big. The program of digital technology is making the problem lecture “On the Cultural Separation of technology in place (stick framing), his at Stevens is growing rapidly, and a two- worse. The best hope, in lieu of new prece- Design Labor” analyzed the history of the industry has been able to satisfy demand. way stream of professionals and students dents or statutes, is the creation of mutually division of labor within architecture firms, But with the market forecast to be slow, are learning and working together on real beneficial risk-management strategies and especially with regard to the collabora- Kelle’s company is experimenting with projects, injecting the logics of parametric profit sharing among the stakeholders of tive demands of building production and mass production and prefabrication as design, digital collaboration, and rapid a project, from which more formal, univer- how the structure of the office will need ways to lower costs, even in the “custom prototyping into building projects around sally applicable relationships might arise. to be altered to take advantage of emerg- home” market. the world. As moderator, Phil Bernstein summed up ing technologies that are breaking down The last presenter was Charlie Lazor Despite the excited talk of progress, it the session by characterizing the speak- traditional hierarchies. The top-down (’93) of Lazor Office, whose prefab FlatPak would be wrong not to acknowledge some- ers—young and cutting-edge—as surpris- Fordist production model is reinforced House (on exhibit in the gallery) is an thing suspect, as Frampton did, about all ingly pragmatic because they have adopted in architecture by standard contractual attempt to do at the scale of architecture this techno-euphoria, something soft at the emerging technologies and embraced new relationships that emphasize individual what his company Blu Dot has done so core. After all, we’ve been told every day forms of practice not for their novelty but authorship over decentralized collaborative successfully with furniture: inexpensive, for the last eighty years or so that technol- because they are the best tools for realizing structures. Developing themes introduced well-designed, mass-distributed, assem- ogy will deliver us to the promised land, their work. by Frampton, Tombesi described how the ble-it-yourself modern products. Relative whether it be with the help of dishwash- The third and final session of the day, disproportionate emphasis placed on the to the first two speakers, Lazor works at a ers, wireless phones, or precision-guided “The Organization of Labor: Construction,” “designer” of a project undermines the true small scale and has produced only a few missiles, and it’s clear that the reality has sought to discuss the same topics as the collaborative nature of architecture, inevita- houses to date, although he has recently been mixed. As the final speaker, Reinhold previous one but from the perspective bly leading to a culture in which architects partnered with the company Empyrean, Martin, of Columbia, concluded, “Perhaps of construction as opposed to design. focus on celebrity and style at the expense which markets house designs nationally. the most relevant question here—in However, the speakers were an odd of substantive teamwork. Again the challenge has been to perfect response to which histories have yet to be bunch—a historian, a practitioner, an Sunday morning brought the fifth ses- the mix of standardization and customiza- written—has to do with the assumptions academic, and a contractor—and the ses- sion, “The Market,” moderated by James tion and to find a profitable price point. In about historical progress and historical sion ended up lacking coherence (it turned Timberlake, of Philadelphia-based Kieran ordering a FlatPak House, customers can change that are made by the techno-deter- out that this was the result of last-minute Timberlake Architects, with a series of adjust a series of parameters to customize ministic, if not techno-triumphalist, version schedule changes). Contractor Rodd firsthand reports by professionals try- their house, resulting in multiple outcomes of history. ... In other words, what specifi- Merchant, of J. E. Dunn Construction, ing to take advantage of communication and locating the authorship of the house cally is the historicity of our supposedly in Colorado, an executive in charge of and fabrication technology to find new in a collaborative zone between designer ‘new’ machines, ‘new’ materials, and ‘new’ integrating BIM technology into his firm’s opportunities in the building industry. Each and client. forms of organization? Where have they business, described how BIM can be used presenter addressed the tension between It is trite to say that the more things come from and, more importantly, where by contractors to lower costs and increase standardization and customization in trying change, the more they stay the same, but are they going? On these and so many profits. Fleshing this out quantitatively to mass-produce homes, and each arrived as the final session of the weekend, “The other questions, there is work to be done.” was John Taylor, a civil engineer from the at different solutions to the problem. (These Big Picture,” arrived, there was a growing University of Texas at Austin, who pre- examples could be seen on display concur- sense that despite a true recasting of labor —Ted Whitten (’00) and J. Brantley sented research on the penetration of BIM rently at the Architecture Gallery exhibition in architecture, the profession’s various Hightower. technology into the construction industry Some Assembly Required.) The first was cliques and subcultures remain intact—still Whitten works at Gray Organschi in New and evidence of its capacity to increase Ewa Magnusson, a retailer at BoKlok, a jockeying for territory or simply ignoring Haven and Hightower works at Lake/Flato productivity. Merchant’s talk, along with joint venture in manufactured housing by one another—and that perhaps the “linger- Architects in San Antonio, Texas. comments he made later betraying his the retailer IKEA and the construction com- ing dysfunctionality” that Bernstein referred belief that architecture is largely irrelevant pany Skanska. The company has produced to might not be erased simply by making 1, 2. Conference organizers, Peggy Deamer to the success of his business, provided a about 3,000 units of housing in northern changes to the AIA documents. MIT’s Mark and Phillip Bernstein. stark illustration that despite the collabora- Europe since 1997, both as apartments and Goulthorpe opened the session, showing 3. Kiernen Timberlake project for Loblolly tive promise of new technologies, the pri- detached houses. Its strategy is to focus images and animations of parametrically House, using Autodesk’s Revit software. 7 Team 10: Exhibition

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Team 10: A Utopia of the Present— vestige of utopian architectural Modernism to city, where each relates to the next on guided the Byker housing estate in on display at the Yale School of of the twentieth century, and as such the a “scale of association” and by a gradual Newcastle-upon-Tyne, by Ralph Erskine Architecture Gallery from September 5 charter is the founding text of archi- expansion of intimate relations. Directed (1968–81), the latest example of architec- to October 20, 2006—was organized by tectural Modernism. against concepts about sections of the city ture included in the exhibition. The Netherlands Architecture Institute Indeed, the origins of Team 10, while separated by function, urban re-identifica- Team 10: A Utopia of the Present effec- and the faculty of architecture, Delft seemingly radical, are squarely within the tion aims at a mixing of functions, social tively presented the different phases and University of Architecture, and was old structures of CIAM, the International spheres, classes, and building types. At concerns of Team 10, bringing together a curated by Suzanne Mulder. Congress of Architects that Le Corbusier the same time the urban-planning map wide range of support material, from plans founded in 1928 with Helène de Mandrot, shifts from the isolated units surrounded and drawings to photographs, typescripts, Team 10: A Utopia of the Present brings in La Sarraz, ; they met regu- by green (Le Corbusier’s model of the and publications, while suggesting that together for the first time documents, larly until 1959. Before World War II CIAM Unités d’Habitation, for example) to one the issues under negotiation and discus- plans, photographs, and ephemera from served as the most important sounding where a meandering, fractal, or rhizomatic sion at various times, from the habitat to 1953 into the late 1970s of the work of board and incubator for architectural structure is encouraged, which at least in resident participation, developed not along Team 10, a group of international architects innovation and thought; however, its role theory allows for a seemingly more organic a stringent chronology but in a complex formed at the end of the CIAM congresses and function waned after the war, as its or process-based growth. In “Aesthetics of nonlinear way that constantly intertwines in the 1950s. The exhibition’s thematic founding members reached an age of Number,” aspects of this process-oriented concepts with their realizations. (To trace sections sketch Team 10’s increasingly architectural establishment and their work design concept are discussed in formal and understand the full complexity of Team complex developmental engagement changed from revolutionary to normative. terms, as the principles of self-similarity of 10’s development and process, one must with urbanism and city planning: “A Team 10 grew out of disenchantment with modular elements are applied to a “con- turn to the comprehensive book Team 10, New Approach,” “The Great Number,” the old CIAM by some younger members figurative” design method in, for instance, 1953–1981: In Search of a Utopia of the “Aesthetics of Number,” “Mobility, Growth, and initially began as the organizing com- ’s Municipal Orphanage Present, edited by Max Risselda and Dirk and Change,” “Flexible Structures,” mittee for the tenth (hence the name) CIAM in Amsterdam (1955–60). A number of van den Heuvel, which charts all phases “Participation,” and “Collectivity/Identity.” congress in Dubrovnik, in 1956. Its core plans show the first implementations of of Team 10’s life cycle in great detail.) Eschewing a strict chronology of projects, members included Jaap Bakema and Aldo these concepts into large-scale schemes Happily, the exhibition brings to the fore the these thematic sections make clear that van Eyck from The Netherlands, Alison and for specific urban areas (the Smithsons’ degree to which Team 10 continued a dis- most of Team 10’s intellectual innovations Peter Smithson from England, Giancarlo competition for the Berlin capitol, 1957–58; cussion about the purpose of architecture, were developed in the early years, the late de Carlo from , and George Candilis Bakema’s Kennemerland regional plan, city planning, and the architect’s role in it 1950s and early 1960s, while the possibili- and from . After 1959, and his design for the Tel Aviv city that originated in the utopian ideals of pre- ties for testing these ideas in built forms, in the dissolution of CIAM in 1959 and until center, 1962; Candilis-Josic-Woods’ war avant-gardes. Unlike American post- the 1960s and 1970s, triggered revisions the death of Jaap Bakema in 1981, Team design for the Frankfurt city center, 1963, war Modernism, which centered on con- and reformulations. 10 continued CIAM’s model of meetings and De Carlo’s master plan for , struction technologies and the individual Though the later written output of and maintained a steady correspondence, 1964), which still reflect their belief in the dwelling (and the subdivision that became Team 10 members illustrates the different review process, and peer exchange, which possibility of massive urban development. its grave), questions of technique and form ways in which they outran its long reach, might be considered the truest, or most But as members of Team 10 began were never at the center of Team 10 dis- the “Charter of Athens,” the outline of the lasting, impact of the group, albeit the most to implement their concepts in a num- cussions. Rather, through insisting on the functional city authored by Le Corbusier difficult to quantify in regard to its effect on ber of large-scale buildings, such as the importance of architecture in the shaping and others during the 1933 CIAM congress, the built environment. The mimeographs, Smithsons’ Robin Hood Gardens housing of cities, the group kept alive a discussion (which took place on a cruise ship en route books, and letters, often from Alison estate (1966–72), Candilis-Josic-Woods’ of how to achieve the common good and to ), was the putative founding Smithson’s hands, tell the story more than Berlin Free University buildings (1963–73, extended the life cycle of architecture’s (at document of Team 10. The the models, plans, and drawings. And were my alma mater), and their Toulouse-Le least self-imagined) importance for society. was a product of an entire generation of it not for the fact that the members actually Mirail urban extension (1961–71), typolo- And unlike the Post-Modernists who fol- architects: Le Corbusier chief among them, built quite a bit, Team 10 might be consid- gies began to move away from monu- lowed suit, Team 10 never surrendered the but also Gropius, Sert, Giedion, and others, ered the most important school of thought mental scale and planning procedures purity of their beliefs, even when they tried providing a way of thinking about architec- on architecture and urban planning in the and started to incorporate an engagement to take historical, even historicist, condi- ture, urban planning, and the architect’s postwar period. with future residents. All based on ideas tions into account. Ultimately, Team 10 role in it. Much more precise and fully The exhibition begins with a selection conceived in the 1950s, developed in the may have done its most important job in defined than any early Team 10 document, of CIAM grids from the 1953 CIAM con- 1960s, and finally realized by the end of keeping a discussion about the possibilities the Athens charter was considered to be of gress in Aix-en-Provence, where future that decade and the early 1970s, these of architecture and urban planning alive, such historical significance that it served members of Team 10 addressed issues buildings put to the test a concept of plan- even if for some time its members were the as a model for the young group’s goals of mass housing and city planning under ning and building that had already grown only ones who engaged in it. In the history even as they eschewed breaking into the the term habitat, meant to convey a shift in uneasy for some of the Team 10 members, of architectural discourse, the products previous generation’s way of thinking or its focus from the functional city of the Athens as they began to criticize the welfare states of Team 10 are the legitimate heirs to the belief in obsolescence. And although the Charter to an understanding of urbanism that served as the projects’ clients. The Athens charter. beginning of Team 10 had no precise start- that adequately expresses “vital human Toulouse–Le Mirail project had proven a ing date or initial manifesto to lay out its associations” (Alison Smithson). The disappointment, and only a small part of —Christian Rattemeyer ambitions, goals, and philosophy, it might “Habitation du plus grand nombre grid” it—which was intended to grow denser Christian Rattemeyer, an art historian, be the most important (and possibly the (1953), by a group of Moroccan Modern and more labyrinthine over time—had been worked as a curator at Artists Space from last) effort to create an international group- architects (GAMMA), including Candilis and finished. As a result, complexes like the 2003 to 2007. He is now associate cura- ing of architects united behind a common Woods, presented in images traditional t’Hool housing estate in Eindhoven, The tor in the Department of Drawings at the agenda. Just as the Athens charter was Moroccan dwellings and the bidonville, Netherlands, by Bakema (1962–72), and De Museum of Modern Art in New York. a document primarily intended to outline an informal quarter of squatters and other Carlo’s Villaggio Mateotti housing estate urban organization, so Team 10 was mainly recently moved settlers at the outskirts of in Terni, Italy (1969–74), formally tended concerned with questions of urbanism: the metropolis (not unlike today’s favelas toward a tighter clustering of lower three- infrastructure, housing, traffic, and a more and shantytowns). In their “Urban Re- to four-story buildings and were designed complex organization of living together, Identification Grid” (1953), the Smithsons after consultations with the residents 1. Team 10: A Utopia of the Present, not questions of style, form, or material. presented a staggering roster of elements before planning began. A similar principle exhibition at the Yale School of Architecture 8 As a theoretical organ Team 10 is the last based on intimacy and density, from house of resident input and responsibility also Gallery, September 5 to October 20, 2006. Team 10: Symposium

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A symposium, “Team 10 Today,” was still possible to envisage a more or less in time, as perhaps the most urgent task System that provided the fodder for much held on September 21, 2006, in con- consciously planned pattern of sustainable seems to be again the definition of the Team 10 discussion in the 1960s about junction with the exhibition Team 10: land settlement and urbanization before the role of architects in today’s world, whether how to translate program into urban fabric. Utopia of the Present. Organized by Pandora’s box of late consumerist capital- this means that we are looking to articulate Plattus reminded the audience of others, associate professor Keith Krumwiede, ism, driven by the universal ownership of utopia again: as a projection, as a fantasy, such as James Stirling, Kevin Lynch, and it brought together Yale faculty Peter de the automobile, finally sealed the environ- as a sense of hopefulness about architec- Gordon Cullen, who informed the urban Bretteville and Alan Plattus and histori- mental fate of the species.” ture’s capacity to intervene or as a relent- design debate as it matured into a more ans Ana Miljacki of Columbia University Thursday evening’s symposium, mod- less struggle to do any or all of the above elaborate, layered approach to urban situ- and Thomas Avermaete of the Delft erated by Peter de Bretteville, included against overwhelming odds.” Hansen, ations. But the participants in Team 10, University to discuss the influence discussions by Thomas Avermaete, asso- who was isolated in the Eastern bloc, can all from different countries, had diverse of Team 10 in today’s contemporary ciate professor at the Delft University of be related to the current climate of design opportunities to achieve their social goals. architecture culture. Technology; Ana Miljacki, adjunct assistant globalization and ideas of “open architec- Another part of Team 10’s legacy is both professor at Columbia University; and Alan ture as an architecture that could accept the consciousness of an emerging environ- The Biennale is the nearest contem- Plattus and Keith Krumwiede, of Yale, link- change without obsolescence.” mental agenda and the continuity of issues porary architects come to convening as an ing architecture and the dynamic postwar Panelists also discussed projects such as the means of production of both international group, presenting new work period—which ultimately settled into the such as Ralph Erskine’s Byker Wall, the building and urban form. Krumwiede, in his and discussing the crosscurrents buffeting “–isms” of the late 1970s to the 1990s. The Economist Building by the Smithsons, and talk, “Thoughts on a Shiny New Brutalism,” the field of architectural thought and pro- speakers argued that most of what we see the Wheels of Heaven Church by Van Eyck, presented the Smithsons’ Burrows Lea duction. Each curated event in the Arsenale today in both formal and programmatic each of which has a distinct image and Farm, alluding to the flexibility in formal is freestanding and open to the public. In terms was first explored provocatively by ethos about scale and the social diagram. interpretation and even an emerging envi- contrast, the series of closed meetings the network of Team 10. Collectively, the Projects such as the Berlin Free University ronmental layer, allowing the architects to conducted around Europe by Team 10— five presentations made the case that Team have been restored and expanded, yet clearly diverge from Modernist orthodoxy. from 1959 to the death of Jaap Bakema in 10 took on indeterminate and complex ethi- they have not become part of architectural Krumwiede in showing the Smithsons’ 1981 and the last real meeting in Bonnieux, cal concerns at their various meetings and pilgrimage itineraries. In the case of Urbino, diagrammatic sketch sections, perspectival Italy, in 1977—come closer to a research struggled with transitioning from postwar Avermaete made the argument that the photo collages, and photographs by art- guild. Team 10’s history reads more as a recovery to consumerism in each of their work played a role in the reemergence of ist Nigel Henderson, (of the Golden Lane school of schools, a group of like-minded respective countries. Many participants history as an active force in design. When competition), clarified the influence of Team architects getting together to critique one argued for two readings, one of Team 10’s De Carlo dared to use arches, oval win- 10 on contemporary design. This graphic another. The exhibition on display at Yale legacy, as disseminated in AD, Forum, and dows, and sloping roofs, it paved the way and conceptual break from CIAM’s dogma- and organized by the Netherlands Institute Spacio e Società, and the other as built for a more complex formal vocabulary. tism seems to herald the individualism that of Architecture, Team 10: A Utopia of the work, reflecting the various personalities The Team 10 struggle—to describe living became part of the new generation’s work Present covered the group’s legacy, while of each of the architects and their respec- a contemporary life while making links to and a connection to more conceptual think- the symposium at Yale, “Team 10 Today,” tive countries. The social reality of the the past—was the first break into Post- ing. The schism also inspired an exchange addressed the legacy of the key individuals commissions have had a deep, geographi- Modernity. between disciplines, as when Candilis and and their respective contributions through cally dispersed influence that is increas- Certainly the early work of George Woods analyzed slums in Moroccan cit- the presentation of five talks on the subject. ingly felt as the global economy matures. Candilis and Shadrach Woods, as well as ies, and makes sense of the adventure that As young architects, friends, partners, Unfortunately, there wasn’t time to hear that of the Smithsons, shows the radical was the Rem Koolhaas book Delirious New and educators, the group fluctuated well the presenters debate the reasons why this nature of their architecture. One can see a York, as well as AMO’s research in Lagos. beyond the handful of core members. work is less referenced than it should be in formal and ideological debt in the work of The idea that the vernacular was in fact a Minor participants, such as James Stirling, current discourse, the scholarship limited, contemporary architects such as Calatrava basis for architecture was something Le Kisho Kurakawa, Doshi, and Hans Hollein, and the remaining buildings less sought out and Foster. The soaring structural clarity Corbusier had commented on and used, are better known today among students by architectural tourists. of the Coventry Cathedral project in par- but not as the foundation of practice and of than the official Team 10 architects such Krumwiede, de Bretteville, and ticular demonstrates that it was not just the professional direction as Team 10 did. as Aldo Van Eyck, , and Avermaete presented the work of the Smithsons’ provocative clothes and media The symposium did not suggest that perhaps even Alison and Peter Smithson. Smithsons, De Carlo, Aldo Van Eyck, and savvy that generated interest in their work, architecture students are gravitating to But, as suggested at the symposium Candilis-Josic-Woods, who are each con- but their talent for creating original form understand this break with Modernist by Peter de Bretteville of Yale, who had sidered the most representative and con- and their interpretation of the urban fab- orthodoxy that has presaged the work worked for De Carlo in the 1970s and nected to the Team 10 legacy. As a group ric. Avermaete also underscored how De of OMA, Aldo Rossi, , chaired the first session of the symposium, of educators, many taught in the United Carlo’s social form of architecture, such as and Norman Foster. But the scholarship what exerted a sustained influence on a States, for example, at Cornell in 1971 Terni Housing, resulted in a richer function- emphasized an enduring legacy of theory younger generation of American architects through O. M. Ungers, or James Stirling, alism, beloved by its residents and admired based upon building and a sustained multi- was exposure to the members as teach- and Shadrach Woods and De Carlo at at the time by his colleagues. In parallel, national search for an individual’s place in ers and employers, rather than their built Yale in the 1960s and 1970s, as well as in Frampton noted his interest in Team 10’s global and economic hierarchies. Much of works. The waning of awareness of this Europe at ILAUD, De Carlo’s -based architecture despite the impossibility to Team 10’s built work was constructed in group has perhaps been abetted by the think tank. Or, in atelier work settings such recreate the social conditions to which it the vanguard of postwar reconstruction, lack of a public presence so that even as the Candilis-Josic-Woods office, where was responding. He noted the Conventry and now it has been altered or eroded. today, the knowledge of this work reverber- many architects including and Cathedral project, The Economist build- It was hard to miss the implication through ates mostly through architects with aca- Charles Gwathmey gravitated. Yet for many ing, and how their “Fold and Cluster this concentrated look at the production of demic ties. younger faculty now teaching in architec- houses were pre-consumerist by definition, Team 10 that many of the current critics and Kenneth Frampton’s talk “Structure, ture programs, who were children in the along with the poetic, existential vision of architects, considering global practice and Identity and Existence in the Work of Team socially turbulent 1960s and graduate stu- Nigel Henderson. All of this was “before sustainable design, are part of its legacy. 10,” on September 18, set up a framework dents in the 1980s, there are still a series of Guy Debord’s narcissistic Society of the for Thursday evening’s event. Frampton’s resonant ideas and buildings that give life Spectacle finally took hold.” —Claire Weisz personal familiarity with almost all of the to the current debate about the social pro- It is in housing that Team 10’s legacy Weisz (’89) is a critic in architecture and key architects involved, as well his book, gram of architecture. is most debated. Yale’s Alan Plattus pre- partner in the New York firm Weisz + Yoes. : A Critical History, Historian Ana Miljacki presented in sented a rebuke to those who extolled has put him in a position to take on a regu- her talk, “Practicing Utopia”, the relatively the architectural virtues of projects by the 1. Team 10 announcing the “death” of lar reassessment of Team 10’s relevance. unknown Team 10 member and Polish Smithsons such as Robin Hood Housing CIAM at Otterlo in 1959 with Jan Bakema, He emphasized, “Team 10 was one of architect Oskar Hansen and contended and Bagnol sur Ceze—urban extensions Alison and Peter Smithson, Aldo Van Eyck, those last moments in Europe when it was that a reassessment of his legacy is “just and ideas about the Stem and the Open and Van Ginkel. Courtesy NAi. 9 Some Assembly Required

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The exhibition Some Assembly Required: that the exhibition’s first set of projects are definition of prefab. The house is a distinct in the growing digital-fabrication facilities Contemporary Prefabricated Houses the well-publicized houses by Resolution 4 geometry best described as a compact at Yale’s architecture studios that allow not was held at the School of Architecture architects, championed by Dwell magazine truncated torso with a smear of metal only for rapid prototyping of scale mod- Gallery from October 27, 2006, through in an effort to define the contemporary panels over it. Large photographs of the els but also for full-scale material study. February 2, 2007. Originally organized vision of prefabricated houses and to building emphasize the errors in the making These new tools have already changed by the Walker Art Center in Minneapolis, prove that it could be relatively affordable of the metal panels and their on-site instal- the way architects address practice, and the show was curated and designed by and commercially appealing. The houses lation. There is nothing about the house it seems that prefabricated housing is an Andrew Blauvelt. almost single-handedly established the that can be easily argued as prefab, unless excellent proving ground for those experi- official return of prefab in 2002 and, here, one assumes the position that just about ments, implementing the Modernist ethos Some Assembly Required offers an impor- form a baseline for judging the rest of the any form of assembly using CNC-milling described above. tant perspective on the growing popular projects in the exhibition. After all, the technology or computers ought to be con- A point can certainly be made that the interest in prefabricated housing as archi- Resolution 4 houses are what most people sidered as such. And that’s when the entire American proclivity for single-family rather tects further define prefab. The exhibition would consider prefab: a simple and effi- definition of prefab starts to fall apart. The than multiple-dwelling housing to some attempts to define the most current state cient boxlike geometry preassembled in Turbulence House certainly isn’t the only extent undoes the ethos of prefab, but per- of prefab, primarily as it exists in the United a factory—a “single-wide” preassembled contributor to the conundrum of this exhi- haps it is simply a matter of time until the States, where taste-making efforts by HG container delivered and stacked on site. A bition, but it causes one to wonder about prefab definition will be flexible enough to Television’s DIY network and Dwell maga- few of these house types are in the exhibi- why it was included at all. Could it be that entertain these techniques at larger scales. zine are leading the charge. Focusing on tion, such as the Sunset Breeze House it’s the only structure here that provokes an Coincidentally, the architecture sym- how eight architects incorporate industrial by Michelle Kaufman Designs and the interest in formal expression? posium “Building in the Future/Recasting production into the way they work, the WeeHouse(s) by Alchemy Architects. After all, nothing in the exhibition is Labor,” which occurred concurrently with exhibit offers a sampling of assembly The FlatPak House by Lazor is one formally provocative, per se. Perhaps the the exhibition, addressed several of these systems and material choices. Not only of the most successful developments of curator picked the Steven Holl house to issues as they related to contemporary are more of them developing prototypes prefab in the last four years. Although it remind the viewers of the radical possibili- practices of labor and production in archi- independently, they are also working with utilizes standard, preassembled panels, it ties originally proposed by Buckminster tecture. The presenters discussed the manufacturers and producing media pack- offers flexibility of construction and mate- Fuller’s 4-D House (1929), built as the growing array of technologies that enable ages to promote their houses. rial combinations that appear less dictated Dymaxion House(s), which are referenced architects, builders, and engineers alike to The exhibition includes not only photo- by the system or the architect and thus in the catalog but never mentioned in the carefully control and innovate the produc- graphs, models, renderings, and texts but empowers the consumer. The houses by exhibition. Even though the Turbulence tion of architecture. Traditional boundaries also video interviews with architects, cli- Rocio Romero and by Marmol Radziner House is of no real comparison either in its between professions have become less ents, and assemblers that illustrate prefab’s + Associates are far more complicated construction or otherwise, it does offer at distinct. In many cases the presenters new position with the consumer/homeown- modular models: although they may look the very least a pause to question the boxy were skeptical of the ability of architects to er. This point was proven by the steady like prefabricated houses, they are simple structures that dominate the prefab hous- weather the growing breadth of specialized stream of visitors to what has been one of geometric shapes made from sometimes ing market. technical approaches, implying that they the School of Architecture’s best-attended panelized but primarily complex on-site It is clear that architects and critics are are losing their influence. exhibitions. The architectural projects are framing operations. In fact, in the videos still struggling to define what prefab is and Certainly the architects practicing in presented on the perimeter of the gallery of the Rocio Romero houses, the builders, what it looks like. It was much clearer a small and medium firms were the most with the central space set aside for a series traditionally trained carpenters, are seen few years ago when people were looking excited about new possibilities, like para- of full-size prefabricated wall panels from assembling the house with no less effort for efficient, simple, and hopefully greener metric modeling, building information Lazor Office FlatPak House (Charlie Lazor or greater economy than a standard frame single-family homes; at the same time, management (BIM), and rapid production ’93), with home furnishings on loan from house. Thus one can ask, is prefab really architects were also experimenting with techniques, all of which until recently were Cassina and carpet tiles by Flor forming a more efficient than regular construction? In modularity as ways to make buildings. associated with projects with exceedingly library setting for visitors to study various all of the exhibition’s video interviews the Those sorts of priorities still exist, but now large budgets. Builders and fabricators may publications on hand dealing with the sub- clients seem very happy not only to be a the market has embraced the more easily also better compete with architects over ject of prefabrication. part of the prefab movement but also with realizable simple geometries. There is room the control of those techniques, but these Unlike the industry’s first attempts their modest Modern houses. for experimentation. firms have seized an important moment to establish itself during and in the wake This show presents a critical mass The ideals surrounding prefab are a in practice, championing a new model for of World War II, contemporary prefab is of work, assessing prefab with a histori- convenient answer to many an architect’s producing architecture. And that’s why defined as a taste as much as an altruism cal perspective. In the exhibition catalog, aspiration: the ideals of efficiency of prefab—largely because of its immediate of affordable and rapidly deployed hous- Andrew Blauvelt categorizes prefab as structure, formal efficacy, and economy scale—offers a chance for architects to ing solutions. An interesting critical ques- three things: the kit home, the panelized of assembly. If that’s the case, then aren’t reconnect with production in a way that has tion arises in the attempt to categorize the house, and the volumetric model. There we simply describing the practice of long been distant from their practice. We’ve projects in this exhibition: What is prefab are obviously many overlaps, since some Modernism? Certainly the term Modernism only begun to see the effects. today, and what is prefab anyway? The vid- of the projects in the exhibition are boxed, is broad enough to accommodate all eos scattered throughout shipped, and stacked on-site; others are the practices found in the exhibition. In —Michael Tower the gallery offer valuable panelized and tilted up on-site, and still fact, the collection of projects works as Tower (’00), is partner in the architectural insight into the dialogue others are extremely complex modular a cross section of practicing architects practice Tractor, in New York. between architects and cli- systems that resemble “overbuilt” frame recontextualizing their practices in the ents along with occasional construction. Modernist ethic. 1. Lazor office FlatPak House in transit, commentary from the One project, the Turbulence House With the rise of technological advances 2006, from Some Assembly Required: builders. by Steven Holl Architects, is a “one-off” in production, architects have been able to Contemporary Prefabricated Houses. 10 It seems appropriate building form that completely confuses the get closer to the craft of building, as seen Photograph courtesy of Lazor Office. Decoration

A discussion on the occasion of the suddenly giving off by-products in terms tion, even when we talk about the produc- whereas I think contemporary interests in book launch Decoration—published by of other kinds of performance: it could buf- tion processes that have traditionally been decoration and ornament are looking to 306090, edited by Emily Abruzzo, teach- fer wind in a very interesting way, it could used to make things such tile patterns and establish projective, generative models— ing assistant at Yale, and Jonathan create a kind of chimney effect separate wallpaper. Digital fabrication can thereby ways in which we can question the role of D. Solomon, assistant professor at from structure-ornament dialectics, and it act as an agent of renewal in pursuits of decoration, its relationship to structure, and University of Hong Kong, and designed became a kind of “order for free” model. decoration and ornament. its ability to produce things like effects and by David Reinfurt (Yale School of Art ’99 Of course you have to intentionally amplify JR: In terms of the intervention of the hand atmosphere. and graphic designer of Constructs)— it, but it seems to be a very robust way in these processes of the digital realm, Emily Abruzzo: Today, decoration is defin- was held at the Architectural League of working: You set up a system that has there is a lingering doubt about the mecha- ing itself both against Post-Modernism and of New York on November 3, 2006. The some potential, and then you deliberately nisms that somehow make the project against the “hands-off” methodologies of panel included contributing authors: amplify, edit, and refine. less intelligent. It’s almost like the story of either the diagram or the algorithm. We are Kent Bloomer, sculptor and professor JS: How does that fit into this discussion of Michelangelo’s hierarchy of the arts, where seeing, for instance, architects using laser- at Yale; Ben Pell, architect and critic in intentionality, both from a rhetorical view- he put weavers at the lowest level because cutters and then adding to the work with architecture at Yale; Nina Rappaport, point—that the architect or the engineer they were involved in the most completely their own hands. I think that’s very similar architectural critic and publications doesn’t believe that their building is decora- repetitive mechanical work. We now have to the intentional pull and push between the director at Yale; Jesse Reiser, architect tive, whereas others might see it that way— this amplified mechanism. People talk architect and the engineer and what’s so and professor at Princeton, and Adam and also that of effects? What can we say about the issue of randomness, but there is defining about this moment—that degree of Yarinsky, architect, ARO, New York. The about unintentional effects, either decorative a level of frustration as well as infatuation. engagement. It is definitely not “Look Ma, following are brief excerpts from the ones coming out of structure or structural AY: In one of our projects for the Motown no hands,” and also definitely not taking discussion. ones coming out of ornamentation? Museum, the outer-layer building, which things from the past to reuse in new ways. Adam Yarinsky: Effect can be defined we called “the dress,” is twisted bands of Kent Bloomer: To summarize, I want to Jonathan D. Solomon: Contemporary in different ways, and I guess by the way metal distinct from the interior envelope point out the distinctions between orna- manifestations of decoration are differ- it’s used in the question it has to do with wall behind it, but the intention was to ment and decoration pointed out in my entiating themselves from a century of issues of perception. Decoration, along allow you to read the building as a very essay in Decoration. It is still important to arguments either for or against its practice with form and structure, is often used as large object so that in the context of sur- distinguish between the two terms so we in architecture. Two terms for describ- a strategy for creating effects. What is “an rounding buildings, such as a baseball have the ability to be critical. Ornament ing these new forms of decoration came architecture stadium and the traditionally has been found in details out of 306090’s tenth volume: one, Nina of effects,” superhighway constructed out of motifs that were gener- Rappaport’s article, “Deep Decoration,” and what role and open space, ated in the pattern, with the motif being at describes an overlap between structure does decora- you would rec- the heart. It’s the nucleus of the activity. It and affect. The second, Jesse Reiser’s tion play in it? ognize it from a descended from notions of the cosmos and “ornament/structure complex,” suggests There might distance. But it nature as the culture was treating those that the two can exist in a hybrid form in be a differ- has the elements terms. Figures of ornament generally had which structure is understood as a subset ence between of perception of an object; there was ornament and the of the ornamental, rather than the other that of classi- scales because object of ornament. Ornament was par- way around. Beginning with “deep decora- cal or Modern then, when you ticipating in a dialogue by bringing natural tion,” how do these concepts differentiate architecture come closer to references into the artificial man-made themselves from ideas of the integration of in the sense the structure, world, between ornament and its object. decoration with structure, or the lack there that what you experience a Decoration, first made distinct by William of, that came before them? might have different under- Jordy, was discussed as an arrangement Nina Rappaport: The topic continues the been a shared standing of what rather than a detail. Decoration includes debate between the resolution of surface, language that these bands are the ordering of all elements of composition skin and structure in architecture. In my could carry doing. Similarly, as decorative elements and with elements investigation of new structural form and meaning is when you’re of ornament; decoration orchestrates design engineering, the arrays and patterns reconstituted inside, they all of those as an umbrella concept. For of new structures evolve with the archi- as a percep- would be selec- that reason, decoration, unlike ornament, tectural design and are sometimes uncon- tual experi- tively angled to inclines toward synthesis. The meaningful sciously determined. The structures evolve ence, which allow different content of decoration is predicated upon from geometric solutions to a set of prob- embeds an parts of the inte- societal values as it is descended from lems without the goal of decoration but to understand- rior experience words like decorum, décor, and decoration create a new emphasis—the structural form ing of ideas. to have views to in the Latin; in French, décor of the court, is integrated with design and performance. To me, effect specific areas. courtliness. It seems that “ornament” more Design is synthesized with structure, pro- is superficial, It becomes the than “decoration” can stay in a dialogue ducing a deeper structural meaning that but maybe multiplicity of relationship. Decoration can in fact be is different from the Modernist’s interest that’s just a experiences that competitive; and ornament functions best in structural expression and is integrated pejorative use of the word. It’s not effect for is exciting about this kind of decoration. when it goes somewhat against synthesis. beyond “form follows function”. effect’s sake, but either for functional results JS: It seems that the revelation here is that One can go so far as to say that ornament Ben Pell: One of the distinctions one might or the layering of functional parameters. aesthetics can become as much of a player resists synthesis. make between an early twentieth-century NR: The idea of decoration as an all- in the systematic process that generates JR: These are polemical arguments. In model of decoration and ornament and a encompassing field, as a nonlinear or non- design and consequently, that process no practice it is about a dialectic we are set- more contemporary model would be that hierarchical space, is fascinating as a way longer becomes reliable as a reason for ting up, but we have been fascinated by the Modernist polemic that we’re all familiar to start to create a new kind of space. why the building looks the way it does. how this issue of the diagram, which seems with established an oppositional relation- JR: It’s the strangeness of this material to BP: I’d like to respond to one of Jonathan’s to point to another way of operating, gets ship between structure and ornament. A lot our eyes. I would suspect that most of us, questions, which summed up is, Why now? you out of assuming that you’re going to of recent work exhibits a desire to conflate in our weaker moments, assume that space Why are we interested in decoration now? be dealing either in the Cartesian world or the roles of structure and ornament as is a coordinate field filled with grids. That’s I think one of the reasons is because of a in a completely uniform universe. There are being relational rather than oppositional, the normative perception of what space is. widespread dissatisfaction with the project ways of working with the two that don’t suggesting that you might be able to build But to think of space as a jungle or as this of Modernism. Contemporary discussions predicate themselves purely on a dialecti- in certain aspirations toward excess within incredibly variegated field still requires a of ornament, decoration, performance, and cal opposition. structure, and vice versa. leap of faith from most people. effects are all rooted in a desire to become KB: I’m suggesting that decoration can Jesse Reiser: That would assume that JS: In the collaboration between architects more culturally engaged as architects and take care of the change; ornament is more even though things hadn’t been so focused and engineers or within the architect’s designers. Here, I would again differentiate toward unchange. The way to resolve that ten years ago, ornament was a more com- practice, how does new technology and between a Post-Modern attitude toward is through maintaining the dialogue. plete description and structure was a sort fabrication processes impact decoration? decoration and a more contemporary of subset of that, rather than seeing them BP: I think current interest in digital fabrica- attitude. The former arguably embraced a as dialectal or symbolic. The unconscious tion might help us renew the conversation historicist model which reestablished time- dimension could also be seen as working about decoration because these technolo- less motifs and reconstructed the linearity in a milieu where there’s a surplus of infor- gies, in the most mundane sense, rely on of periodic style that was so integral to mation and potential. It was astonishing strategies of repetition and difference the Romantic era and which Modernism 1. Decoration, 306090, Volume 10. to realize that the ornamental elements of through variation. Repetition and difference brought abruptly to a halt. There’s some- Jonathan D. Solomon and the tower we are working on in Dubai were are the lifeblood of ornament and decora- thing retrograde about that attitude, Emily Abruzzo, Editors. 11 In The Field

1. 2.

On the occasion of the restoration The new window wall is again a pre- reinstated through a rigorous training pro- penetrate from above and below to main- of Louis I. Kahn’s Yale University fabricated insulating unit. Constructed as gram. The attention to this detail reinforces tain the sense of a single, continuous Art Gallery by Polshek Partnership, a unitized system, the original was stick- how architecture is a process. Maintenance space. Kahn made powerful use of materi- Constructs features two analyses frame, structurally reinforced aluminum is not thought of as a form of architec- als, limiting his palette to glass, brick, steel, of the work, one from a technical mullions and glass arriving at the site as ture, but it is integral to its performance, a and concrete. (He commissioned smaller- and the other from a programmatic, one integrated unit. Once attached to the proposition supported by the 50-year life than-normal concrete blocks to create a historical point of view. building, each unit remains physically sepa- of this particular building. Kahn’s original more intimate scale for the interior walls.) rated from the others, minimizing move- design integrated Modernism’s formal But in the late 1950s a new gallery ment. The updated window-wall detailing aspirations, which Anne Tyng has called director, Andrew C. Ritchie, working with changes on the interior, becoming struc- “raw geometry,” with the most progressive Paul Rudolph, chairman of the architecture Raw Geometry turally stable as the profile grows deeper technologies of the 1950s. The renova- department, made extensive changes to to further eliminate movement. Advanced tion improves on the original design by the gallery. They enclosed the stair tower Louis I. Kahn’s Yale University Art Gallery structure works with new environmental adhering to Kahn’s vision by focusing on and covered many of the walls, painting (1953), his first major work and Yale’s first requirements to complete the glass wall. the technology and performance, which them white as in the Museum of Modern Modernist building, celebrates not only The new pristine façade has been is a long process requiring adjustments Art, where Ritchie had worked. (The chang- formalism but also performance. In “The detailed to meet current energy codes and improvements as building technology es infuriated Kahn, who would look neither Architect Speaks” an interview by Henry and ups the ante of its performance with improves. This project sets an important right nor left when he subsequently had S. Cooper for the Yale Daily News dedi- thermally broken connections that con- precedent for the preservation of a major to attend meetings in his building.) Later, cated to the opening of the Art Gallery and serve energy and eliminate condensation. Modernist work, and its performance will new codes required the addition of sen- Design Center (November 6, 1953), Kahn In addition, the prefabricated glass unit serve as much as a model to study in the sors, emergency lights, and other homely refers to the tetrahedral ceiling’s embedded is composed of low-e coatings that work years to come as the collections it displays. hardware that was difficult to conceal. air ducts and electrical raceways woven to keep heat out at the exterior and in at Worse, the window walls designed by Kahn throughout: “It is beautiful, and it serves the interior, with a double layer of glass —Hilary Sample began to fail as the steel frames rusted and as an electrical plug [trolley ducts permit held together by a pvb interlayer. The new Sample is an assistant professor at Yale temperature changes broke the seals of the attachment of electrical fixtures anywhere system was configured through computer School of Architecture. double-glazing. on the surface] and as a lung. It breathes. modeling of the entire building, simulat- Polshek and his team, led by Duncan Air is forced in through these vent pipes ing its climatic events using computa- Hazard (Yale College ’71), have addressed and through the corrugations in the ceiling. tional fluid-dynamic studies to examine the all of the accumulated problems. They You see, we can only think of form after transfer of heat and air through the glass; Restoring Kahn uncovered the stair tower, making it again the requirements have been fulfilled.” One achieving a stable museum environment the first thing visitors see upon entering. of Kahn’s famous concepts is the idea of required more than an engineered surface When Louis I. Kahn was given the com- (Like the rest of the concrete, the tower has “served spaces” and “servant spaces,” alone. The resulting data proved accurate mission to expand the Yale University Art been cleaned, except for a patch on the top which describes the hierarchy of relation- when subjected to live tests performed on Gallery in 1951, he faced an amorphous floor where there was once a pay telephone ships between the parts and functions a full-scale mock-up, which included mod- assignment. Earlier schemes by architect for the architecture students, who wrote of a building and between what is seen eling a portion of the interior mechanical Philip Goodwin (1907) had been cast names and assorted phone numbers on and what is hidden. At its heart, this idea system so as to reduce the risk of conden- aside in frustration, and money was short. the cylinder. Reynolds felt this bit of history ties the artful work of designing beautiful sation buildup in the final building. According to Charles Sawyer, then dean should be preserved.) spaces with the technical work of applying The interior spaces are conditioned of the School of the Fine Arts and head of Most of the former offices have been functioning mechanical systems. by the mechanical units located in the the building committee, the addition was to relocated to other buildings. New pogo In terms of its performance, today’s service core (portions were distributed accommodate not just added gallery space panels have been installed, and the base- interior environment has been carefully cali- to the roof and basement for the renova- but also offices and studios for students ment court along York Street, which had brated to maintain a constant 68 degrees tion) and pump thermally regulated air in both the art and architecture programs. been decked over for offices and gal- and 50 percent relative humidity, effectively through the “breathing ceiling.” Because However, Sawyer expected that the artists leries, has been reopened, providing a controlling the museum’s biggest problem: of the thick beams along the perimeter and architects would eventually move out, new home for the massive Richard Serra moisture. The life of the Yale University Art at the ceiling, existing duct work could leaving their space to the gallery, but the sculpture that had dominated the main Gallery shows that the battle against the not be extended to the window wall, so a timing was uncertain. Accordingly, he told room of the original 1928 gallery, designed climate requires ongoing work and refine- doubling up of perimeter heating pipes at Kahn that what Yale needed was “maxi- by Egerton Swartwout. The schedule for ment. Kahn optimized the mechanical sys- the base of the window wall was required. mum flexibility.” all this had to be coordinated with efforts tems of the building by incorporating them Gordon H. Smith, PE, the exterior wall The artists and architects left the build- to link the gallery’s exhibition spaces to into the formal moves of the design, mak- consultant, describes the performance at ing in 1963, but it was not until the late the Swartwout Building and beyond to ing the ambient air an integral part of one’s the perimeter of the building as operat- 1990s that Yale made plans to renovate the Street Hall, on High Street, while plans experience of the building. ing in “defrost mode,” which washes the gallery as the centerpiece of its arts district. went forward for an addition to the Art and The major goal of the renovation was for surface of the glass with heat, evaporating Gallery director Jock Reynolds told the Architecture Building to house the art his- the exterior to appear “identical” to Kahn’s any condensation on its surface (think: car designers, Polshek Partnership Architects, tory department. “It was the term paper original design, particularly the glass-win- defroster). This internal microclimate con- that his main concern was to provide as from hell,” Reynolds says, “and there were dow walls. It was “the greatest challenge stantly protects the interior environment much display space as possible for Yale’s no extensions.” Beyond the time pressure, of the project,” says Hazard, a partner against external influences, improved by extraordinarily diverse collections, most the architects had to contend with contrac- and lead architect of the renovation from the new window wall and doubled heating of which had been confined to storage. tors who were not always sensitive to the Polshek Partnership. The window walls pipes, and works in tandem with the white He also wanted to facilitate the rapid turn- gallery’s importance. “It took a while to have been entirely redone. Shortly after the fabric scrims to mediate direct sunlight around of exhibitions. “We’re a teaching educate them that this is a historic build- building was completed in 1953, conden- and harmful UV rays. During the day, the museum,” Reynolds says. “Our goal is ing,” Hazard says. “This is the new world of sation formed on the steel, resulting in the window wall is seen as a changing pat- maximum accessibility.” preservation.” installation of metal collector pans along tern of white scrims and black windows. Now that the renovations are com- A major achievement of the renovation the base of the window wall, a decision At night, an automated shade, which acts plete, it is clear that Polshek Partnership’s is that the tetrahedonal concrete ceiling made by Kahn, noted Hazard. In addition, as a thermal blanket insulating the building founder, James Stewart Polshek (’58), who slabs have been allowed to reassert them- the thermal stress of repeated expan- from temperature fluctuation, is lowered, studied under Kahn, has understood both selves as the unifying element in the Kahn sion and contraction of the steel mullions veiling the north and west elevations in total the building’s history and its present needs. design. Originally conceived with the help caused the seals of the Plate whiteness. In the morning, the shades rise Today’s gallery is a model of both flexibility of his associate Anne Tyng to be self-sup- Glass Twindow, a prefabricated double- to reveal its interior. and accessibility. More important, it has porting “space-frame” members, they were paned insulating glass product developed Kahn’s art gallery is a body exposing its fulfilled the hope that Kahn surely had for stiffened after engineers raised doubts in 1945, to fail. This produced wet-staining, inner workings of air ducts, wiring, light- it: a dedicated space for art, and a work of about their strength. Kahn discovered to a process where condensation forms on ing tracks, surveillance system, breathing art in itself. his delight that utility lines could still be the interior surface of the glass and results slots, and changing skin. It is an organically The journey to this happy condition was threaded through the voids left in the slabs, in white cloudy patches functioning construction held in place by not always smooth. Among Kahn’s deci- which were no longer as structurally innova- that impair vision. Elise its building materials of brick-and-block sions at the outset was to create loftlike tive as he had originally envisioned, and they Kenney, the art gallery’s walls and concrete-framed ceiling; and like spaces that could be reconfigured at will were expensive. He kept them nonetheless, archivist, recalls that each a body, it cannot exist without assistance. using “pogo panels”: thin partitions with apparently because he liked their looks. ailing panel was painted Maintenance regimens, which were estab- spring-loaded pipes at the top and bottom “I know it’s not pure, but I’ll buy it,” he told white to hide its blemishes, lished at the beginning of the building’s that allowed curators to move them about a colleague. Kahn’s retention of the slabs making the building less of life but whose abandonment led to the the gallery according to the demands despite the compromise of their original 12 a spectacle. degradation of the building, have been of an exhibition. The panels also let light design would become a characteristic sleight of hand, emphasizing an architec- constitute this nation. It’s not a nation con- general audience. Similarly, Barry Bergdoll, A second theme concerned the tural feature that sent a message—in this stituted by time; it’s one constituted by the a longtime American friend of British archi- changing parameters of the discipline. case, “structure”—even though it was in hope of a better life, by dreams of improve- tecture, closed the two-day conference In a well-focused session on “Hierarchies fact essentially ornamental. ment and of a democratic government. with a broad summation and provocative and Boundaries,” Marc Crinson of the With the accumulated clutter of the This is who we are. We speak in another observations on the future of the field. He University of Manchester, Alice Friedman intervening years now gone, the slabs nation’s language, and we bring cultures noted the wide array of approaches docu- of Wellesley College , and Mark Guillery again appear to hover protectively over from all over the place—and somehow mented at the conference and surprising discussed colonialism, feminism, and ver- the reinstalled collection, creating an ines- they melt into something richer that we phenomena such as Britain’s quasi-public nacular studies in relation to architectural capable signature for the building without have here. There are very few nations in the “amenity societies,” which structure and history. They emphasized an expanding overwhelming the art below. Reynolds, world that are self-constituted or as young differentiate architecture’s relationships field by noting that the purpose of new himself an accomplished artist, is under- as we are. with its public in the . methodologies is not to exist as mar- standably pleased with the renovations for WR: You say something in the book that In between, a series of sessions went ginal discourses but rather to reconfigure his own reasons. But he feels the project really struck me because I’d never thought deep into the very robust and well-articu- the entire field to which they add a new has also paid tribute to the gallery’s author. of it that way. Most architects, I think, are lated field of British architectural history. aspect. Provocative ideas for expand- “God rest his soul,” Reynolds says. “I think very literal. They see a pediment as a pedi- Several themes of importance emerged. ing the borders of architecture might be Kahn would be happy to see his building ment; they know its origins and meaning. First and most pressing for an architecture further elaborated to include questions of brought back.” But you say that finding an architecture that school audience, a clear ideological divi- how architecture is used over time, how expresses something new isn’t necessarily sion between architectural historians and architecture intersects with its public and —Carter Wiseman creating a totally new architecture: you can practicing architects arose. From the initial clients, how it engages with contemporary Wiseman is lecturer at the School of find old symbols...rather than inventing a conference session, “British Architectural media, how it is both served and restricted Architecture; his book Louis I. Kahn: language. It’s sort of like the way we use History in the Academy,” to the Friday night by its own technologies, and the sociol- Beyond Time and Style will be published English, which isn’t our language, but we session, “British Architects as Readers of ogy of its own internal politics, academic by W. W. Norton in spring 2007. say different things than the British say. Architectural History,” chaired by Dean and cultural. Dean Stern contributed an AG: If you give up the language that you Robert Stern, the relationship of history important addendum: among the most have—the most developed and articulate to architecture emerged as contentious interesting forms of “British colonialism,” language that you have—you become terrain. From the historians’ side, as pre- the current predominance of British archi- and inextricably involved in creating something sented in the morning, the lack of relevance tects on the international scene, particularly new, and “new” has relevance only if you of history to professional school audiences in the Far East, should be considered. The Witold Rybczinski can measure it against something that has been exacerbated by recent renewed tremendous success of British architects happened yesterday. So tradition and new- interest in the (very historical) subjects of on the global stage is as unprecedented as on Architecture of ness are the opposite sides of the same empathy, affect, and phenomenology (simi- it is remarkable, calling for deeper historical coin. If you are rejecting that currency, you lar to “postcriticality” in the United States). analysis. Democracy become involved in a world of novelty; it Historians of architecture in Britain are In addition to the well-knit sessions becomes novel, and therefore interesting, being gradually rerouted from the architec- described above, others shed light on On November 20, 2006, the Institute and therefore new and different. I don’t tural school to departments of art history the state of British landscape studies, on of and know what range of meaning a “new” archi- or the “heritage sector” (historic preserva- the intersection of academic culture with Classical America in New York hosted tecture can produce. tion and related subfields). Instead, history the organizations that provide interfaces a conversation between writer WR: You talk about scale in the book. in the professional school is gradually with a general public interested in build- Witold Rybczinski and architect Allan When I read it I felt that you were saying being taken over as the precinct of design ings, and on the importance of the histori- Greenberg (’65) concerning the latter’s that there might be a scale that is inhuman. faculty and practicing architects—those cal study of building technology. Daniel new book, Architecture of Democracy Was I misreading it? Can a good architect who make history more accessible to stu- Abramson’s provocative talk on “economic (Rizzoli 2006). deal with any size of building? dents of architecture. Sam Jacob, of the evidence” opened with the scene from AG: I think a very good architect can London-based firm Fashion Architecture the filmAll the President’s Men, where, in Having arrived in this country as an emi- deal with just about any of size building. I and Technology, or FAT, offered some evi- a parking garage, Robert Redford meets grant from South Africa, Allan Greenberg believe I made a pretty good case for that dence that history may be a source chiefly Hal Holbrooke (“Deep Throat”), who says, developed an extraordinary personal in citing the Empire State Building. There, for visual footnotes within current archi- hoarsely, “Follow the money!” Abramson interest in our Founding Fathers and the you have a skyscraper, the tower of which tectural practice. Instead, contemporary exhorted architectural historians to do the creation of our government, giving him an is pushed back from Fifth Avenue so that image culture, which includes pictures of same: to explore political and social rela- uncommon vantage point from which to the base of the building is only five stories old things such as half-timbered buildings, tionships conditioned and constructed by survey American architectural and politi- high—about the height of the older nine- offers adequate sources of figuration for architecture. cal traditions. The book Architecture of teenth-century buildings around it—and the production of new buildings. Jacob Part of a series of scholarly conferences Democracy lays out an argument for how the successive setbacks relate to the suc- thus provided much food for thought: if his- organized since 2002 by the Yale Center our architectural tradition and our demo- cessive stages of growth in , tory currently occupies a marginal status in for British Art (YCBA) to survey the state of cratic ideals are deeply connected and which was always measured by height. the architectural school in Britain, what are British art history, design history, and archi- how early American citizens transformed So this building was beautifully integrated the causes of this situation, and what con- tectural history, the conference was con- and reappropriated the symbols of classi- into its surroundings. ... On the other vincing counterproposals might be made to ceived by Amy Meyers, director of the Yale cal architecture once associated with the hand, Albert Speer’s great domed Nazi make the history of architecture relevant to British Art Center, former Mellon Centre divine and, later, royal authority, using them Party Building was almost as high as the its current production? assistant director Frank Salmon (now at on their houses as proud expressions of Empire State Building. It had a scale that Both in Dean Stern’s opening remarks Cambridge University), and YCBA head their individual roles in our newly consti- was purposely made inhuman because the and in each of the speakers’ presentations of research Michael Hatt and coordinated tuted self-government. These residences doctrine demanded that the Führer and the in the session, references to James Stirling by Serena Guerrette. Meyers closed the became the models for civic buildings, rein- party dominate the ordinary people. and his work were made. Discussing how conference by noting that the disciplinary forcing their political importance as “hous- context influences design, Ed Jones, separation embraced by the organization of es of the people.” As the book unfolds, —Melissa Delvecchio partner in Dixon Jones Architects in the first three conferences would now allow a wider discussion emerges that includes Delvecchio (’98) is an architect at Robert London, showed his firm’s extension to for future conferences to cross-cut themes a thought-provoking series of diagrams A.M. Stern Architects. the Royal Opera House at Covent Garden. between the three fields and will surely laying out an argument for how dramatic Committed to the history of Modernism, unfold others. shifts in scale can drastically change Jones nevertheless approaches historic the reading and perceived meaning of contexts with a high degree of sensitivity. —Claire Zimmerman classical symbols. Histories of British The resulting buildings, stitched together Zimmerman is a lecturer at Yale School Both the book and the discussion at from discontinuous elements that respond of Architecture. ICA revealed some unexpected biographi- Architecture to different scales, programs, and sur- cal details about this well-known classical rounding contexts, recall Stirling’s own 1. Yale University Art Gallery, Louis Kahn architect, including the nature of his archi- The working conference “Histories of montage architecture. Architect Robert building, west window-wall. (c) 2006 Yale tectural training in South Africa, his early British Architecture: Where Next?” at Maxwell, former dean of Princeton School University Art Gallery. Photograph by determination to work for Le Corbusier, the Yale Center for British Art (YCBA), of Architecture and an old friend and Elizabeth Felicella. and his work on Jørn Utzon’s Sydney November 2 to 4, 2006, gathered histori- compatriot of the former Yale Davenport 2. Yale University Art Gallery, Louis Kahn Opera House, all of which contribute to ans and architects to discuss the future Professor, also summoned up Stirling building, interior of third floor. (c) 2006 Greenberg’s fluid discourse in both the of history and design in a series of simi- in his presentation, as well as a body Yale University Art Gallery. Photograph by Modernist and classical traditions. While lar events at the museum. of references for an image-based architec- Elizabeth Felicella. none of this will surprise those who are ture organized around shared cultural 3. FAT Architects, New Islington, England, familiar with his work, there was, however, “Histories of British Architecture: Where communication. 2006. Photograph by Len Grant. one real surprise to end the evening: When Next?” offered an informative portrait of Greenberg was asked, “If you could live an extremely varied field. More than high- in any house in America, which would you lighting any overwhelming direction for the choose?” He responded, “’s future of historians in Britain, it provided Glass House. It is the most magical house I a set of problems and opportunities in have ever seen.” Excerpts of the discussion the field, clearly portraying the diversity follow here: of architectural culture and the range of fields to which it is closely tied. Regrettably, Witold Rybczinski: You start the book some of the most interesting develop- characteristically laying out your arguments ments presented at the conference are not immediately. The first one is that great housed in schools of architecture in Britain. architecture “makes great ideas visible.” This sobering thought underscored the Certainly all architects would agree with dangers of the anti-intellectualism currently that intuitively. But the second statement sweeping professional architecture culture is that American architecture embodies the on both sides of the Atlantic. ideals of democracy. I think that’s quite The conference was bookended by a provocative statement because you’re American scholars outside the immediate not just saying that statehouses embody field of British architecture. Nancy Stieber, democracy, you’re saying something much a historian of Dutch Modernism, opened bigger than that, aren’t you? the conference by invoking a generation Allan Greenberg: Well, if you are born in of postwar British historians as models for or Romania or China, you are part of contemporary historical investigations of a landscape, a geography, a culture, and architecture. Encouraging British architec- a language that go back millennia. Most tural historians to break out of the bound- Americans either chose to be Americans aries that encircle their highly specialized or some ancestor...left someplace to come field, Stieber noted that current interest here. People immigrated to these shores in space, geography, culture, and politics in search of a better life. While the early makes architecture a subject of particular Colonists saw themselves as Englishmen, social relevance. Raymond Williams eventually that wasn’t enough. They and Eric Hobsbawm, she claimed, can created a nation, and the Constitution reconnect architecture to wider social 3. says very clearly that “we, the people,” discourses and help to enlist a larger 13 14 UN Studio, VilLA NM, model, 2006. Photographs courtesy of UN Studio. 15 Books

On this side of the Atlantic, the small practice, but it staked the territory of the of tectonic forces from roof to foundation is and proudly autonomous single-family small house forever as a “site for percep- astutely explored. The Patkaus draw from house became a vehicle for blurring rather tion” and a stage for so very much more sources operatively without leaving stylistic than asserting class distinction. Here a than a sum of its parts. traces. Frampton cites several touchstones growing middle class and a host of cir- from his pantheon: Aalto, Scarpa, Kahn, cumstances that made small houses both —Amy Lelyveld and Le Corbusier. Stirling should join the desirable and achievable aligned this type Lelyveld (’89) is a critic in architecture at roll call as a beacon for finely joined figural of home with the interests of an empow- Yale School of Architecture. rooms and for a shared affinity for layered ered majority. Ownership of a small house, space. indeed of any house, was a badge of inclu- If Frampton emphasizes Patkau sion in the grand democratic schema: the Architects’ contributions to his vision of a mythos of a new, vast landscape open to grounded and humanistic building culture, the horizon without class or physical limit. he does not dwell on it. As he charts its But the small house was physically career, he settles into an insightful read- small. The real limits of its envelope con- ing of the practice’s full range of tropes stricted the expansiveness of the dream- and tendencies. He discerns the Patkau’s ing that went on inside. Mechanisms persistent interest in stepped and nested needed to be found to elide the differences forms. He identifies the formidable opposi- between the “haves” and “have-lesses” in tions of “served” versus “servant” spaces an America of such clear abundance and and type versus variant. Of particular infinite promise, rounding the edges of a interest is Frampton’s elucidation of the The Modern reality that wasn’t fitting. And Isenstadt synthetic dynamic between what he calls argues that it’s here, at this juncture, that “earthwork/roofwork,” a simultaneous American House: the concept of spaciousness starts to gain cultivation of grounding and sheltering traction as a mechanism for making it all that resolves itself in architectural space. Spaciousness and Middle-Class Identity work. By creating a sense of space in the Further, he notices that this is articulated by Sandy Isenstadt, Cambridge home, particularly a space that existed through a peripheral play between structure University Press, 2006, pp. 342. more in the mind’s eye than anywhere and cladding, which later becomes a cen- else, a connection could be made to that tral theme. Using the introduction as a leg- “Borrow the view.” “Bring the outdoors larger, earnestly imagined American space: Patkau Architects end to the extensively photographed body in.” Anyone who has designed by these “Spaciousness could represent a kind of of work, we are invited to trace themes and dictums is a prime candidate for Sandy democracy attained.” by Patricia Patkau aptitudes emerging and receding. Isenstadt’s analyst’s couch. In his new From the last part of the nineteenth cen- Introduction by Kenneth Frampton, The Nursing and Biomedical Sciences book, The Modern American House: tury, in an era that saw the rise of “shelter” The Monacelli Press, 2006, pp. 240. Project (1996) is worth noting as a crucial Spaciousness and Middle-Class Identity, publications and the design professions, change in emphasis. The structure/clad- the architectural assumptions you were the production of spaciousness became a A fully realized architectural practice ding duality emerges as the central concern reared on, the intellectual habits you kind of Zen riddle, a puzzle that could feed is more than a collection of buildings it but transfers to the façade. The tall bar assumed were universal and may even article upon article and allow a claim to a builds; rather, it is driven by the projects building is wrapped in a panelized screen have thought of as instinctual, are carefully very particular expertise. Isenstadt tracks but develops in parallel an overarching that modulates light and ventilation and is teased away from their secure perches its myriad solutions—the interpenetration set of concerns and working principles. then eroded to accommodate entrance, among the unquestioned. And the com- of rooms, the overlap of program, the pref- Patkau Architects, the -based circulation, and views. Sensitivity to place plex roots of this kind of thinking—in a erence for broad effects, the use of mirrors; firm founded by John and Patricia Patkau manifests itself in a broader ambition transplanted Modernism, a kind of cheer- and once central heating became more (’78), is clearly such a practice—one that toward sustainable performance. Though ful American hucksterism, and our heroic typical, the freedom to separate the orien- Kenneth Frampton, in his introduction it was never built, a series of commissions national mythology of man on the land— tation of the home from its thermal com- to their new monograph, specifies as a followed for larger institutional projects in are exposed. fort—and how they worked to create the “reflective practice.” urban settings, including libraries, a univer- Isenstadt, assistant professor of art illusion of distance. He then describes the In part, Frampton is defining the two sity arts facility, and a dormitory. Each is a history at Yale, follows the trail of “spa- cumulative effect they had of shifting the decades of work collected here as the deliberation on the performative envelope, ciousness”—a habit of mind and desire of home’s focus from inward on the hearth out product of an active self-consciousness. As and we are presented with a repertoire: the eye so ubiquitous, “so good-natured to its edges, of orienting the home toward a matter of course, Patkau Architects builds inflecting urban spaces, syncopating pri- and self-evident,” that we assume it just real, borrowed, or illusory vistas. analytical models of many of its completed vate and shared spaces, veiling and reveal- as we assume the air it hovers in—as it Even the language of Modernism projects after they are finished, distilling the ing, and drawing inside to create layered winds its way through the small American imported from Europe bent to expand its formal principles at work while teasing out processions. house from its roots as a type in England in palette of tropes to include an emphasis issues to be carried over to later projects. A midcareer monograph can never be the eighteenth century through its apogee on view. The connection to and command One of the pleasures of the monograph is comprehensive and is usually best present- in the California suburbs of the 1950s. In of view became critical to the effect of its depiction of how this process engenders ed through a compilation of well-curated so doing, he performs a kind of historical spaciousness as the concept reached its an evolution in formal strategies. These key works. Toward the end of the book dream analysis on the type and its owners. maturity in the modern American home. ruminations also demonstrate an ability to there is a shift away from this format to “Spaciousness,” a concept surrounding More and more, it was the window, par- step outside a given problem and frame it include ongoing projects. The inclusion of perceived rather than measurable space, ticularly the picture window, that framed within a broader set of concerns that can these projects is effective, despite the inev- can be read as a rich vein of strategies for and fixed this view. The window, Isenstadt resolve apparently conflicting goals. itably uneven level of resolution, because it bridging the gap between the actual size writes, created an “imagined unmediated The built work displays a persistent makes clear that Patkau Architects’ reflec- of the house and its much larger cultural relation between self and the world.” And consciousness of place and responsive- tive practice is an open-ended project. We ambitions. This book tracks this stream of it connected the small house, through an ness to particular programmatic concerns. are invited to peer over their shoulders as careful accommodations as they develop engineered view, to the mythos of distance. The Strawberry Vale School (1992–95) elements of previous projects are tested over time, as well as how—as in a dream But its touch domesticated what it looked demonstrates this well, with the plan nego- against new problems and new interests latent needs or conflicts are defanged, con- out on by framing it. For all the connection tiating a rocky topography while simultane- emerge. A private house begun in 2004 trolled, and represented—“they came to be and command it desired, the emphasis on ously breaking down the classrooms into takes some cues from the institutional unexceptional.” point of view and its capture couldn’t help manageable groupings. The faceted roof projects and uses a floating screen wall to The small-house type was born as an but bring about alienation. modulates light, bringing it deep into the corral its shards of spaces. Revisiting the object of architectural discussion in eigh- In the end, despite all the psychic classrooms. earthwork/roofwork paradigm and apply- teenth-century England. There, it was an energy spent proving otherwise and all the The introduction’s celebration of “place- ing the lessons of La Petite Maison du important set piece in the picturesque land- gleam of its owner’s aspirations, the limits oriented” responses might sound familiar Weekend (1998), the Prototype Cottage scape and, in the form of of the small house still confined. Isenstadt coming from Frampton. Although he never (2004) can be responsive to a range of workers’ housing, a focus argues that while an active quest for spa- mentions Critical Regionalism, it’s not hard possible occupants and landscapes. In for the paternal attentions ciousness may have ceased and our views to argue that much of the Patkaus’ earlier possibly their most unprecedented design, of the upper class. In its may have shifted (to the new picture-win- work directly reflects the points advocated a large outdoor plaza at the University next generation and with dow plasma screen or computer monitor), in his writing. There is the careful codifi- of British Columbia is ordered with a the “new” soil of America the search for spaciousness still resonates. cation of materials to function that fore- regimented array of lines. Whether this will as context, its meaning Not only was it so assimilated by the pro- grounds tactility and experience as the pri- serve as another transition in their body 16 shifted. fession that it remains unquestioned in mary carriers of meaning. The articulation of work is not yet clear, but the vitality of these unfinished moments brings the prac- generic forms. The majority of the book is hinder legibility, it looks great on the page; Since the sheer scale and apparent tice itself to the fore, showing its unfolding devoted to the explanation of the system and that, one suspects, was as compelling comprehensiveness of this undertaking approach to design. governing these distortions and detailed a justification for Eisenman as any logical preempts the usual critical game of “What analyses, through this system, of works demonstration. obscure, but crucial, example or episode —Andrew Benner by Le Corbusier, Frank Lloyd Wright, Alvar that I just happen to know about was Benner (’03) works at the office of Aalto, and Giuseppe Terragni. Like a true —Sean Keller unaccountably and inexcusably omitted?” Gray Organschi in New Haven and was rationalist, Eisenman must confront here Keller is a visiting lecturer of art history the reviewer is thrown back on structural the assistant to Massimo Scolari’s studio the difficulty of reconciling the world-as- at Yale. quibbles. Indeed, the question of how to in fall 2006. it-is with the world-as-it-must-be, and the organize such a mass of material so that it argument is rife with the contradictions is not just accessible but coherent, is not and leaps of faith that this requires (one without challenge. Chronological structure, is reminded of the contorted geometric which is already the overarching framework proofs of Spinoza’s Ethics). of the entire series, breaks down within the While such difficulties certainly weaken more compact periodization of individual a dissertation committed to logic, they volumes. The earlier volumes have gener- are the most prominent signs of its own ally been organized typologically, with a place in the history of postwar architecture loose thematic overlay. This was true of the (demonstrating that the modern historicist first two volumes:New York 1900 (1983) worldview can encompass even attempts and New York 1930 (1987), although they to refute it). Looking backward, it is impor- already contain a separate chapter on tant to note that Eisenman was advised “New Neighborhoods.” By the time we by Sir Leslie Martin, a powerful figure in get to New York 1960 (in 1995), typology British architecture, head of the Cambridge seems to have broken down as a com- department, and the university’s first prehensive organizing framework (in the professor of architecture. Before the war discourse and profession of architecture Martin had been part of a British variant as well), and the authors adopt the place- of constructivism, and his belief in the based structure of neighborhoods and objectivity of form, combined with the bet- New York 2000 areas that is employed in the current vol- The Formal ter-known influence of Colin Rowe, shaped ume. Interestingly, when in 1999 they circle Eisenman’s thinking. Under Martin’s direc- Architecture and Urbanism between back to New York 1880, they also return Basis of Modern tion, the entire Cambridge program took the Bicentennial and the Millennium to the typological framework, raising the a strong turn toward the sciences and Robert A. M. Stern, David Fishman, potentially provocative question of whether Architecture mathematics, including the establishment and Jacob Tilove, The Monacelli Press, something more profound than the table of a research center devoted to numerical 2006, pp. 1300. of contents is changing in the midcentury, Peter Eisenman, Ph.D. dissertation, modeling and quantitative design meth- during and after World War II. University of Cambridge, 1963, Lars odologies. The Formal Basis of Modern There is nothing quite like this book and its But despite its scope, this is not world Müller, 2006, pp. 528. Architecture should therefore be seen companion volumes in the recent literature history—or Geistesgeschichte—with some historically as an especially idealist and of cities, certainly not in an American con- sort of overarching Hegelian master nar- In the beginning, Peter Eisenman, icon formalist attempt to unite architecture and text. The even more massive “Survey of rative or ax to grind. That, I suppose, is of the architectural neo avant-garde and logic in a context that was thick with such London” series, reaching something like 45 both the achievement of and possibly the onetime collaborator with Jacques Derrida, efforts. Looking forward, the great devotion volumes under a general editor but with a ultimate reservation about the volume: the was a rationalist. The introduction of his of the book to process and the sugges- veritable army of authors, reads more like former, no doubt, for those who prefer their recently published dissertation, written at tion that process could, and should, be archaeology than modern history. Robert history with a plot, if not a hero and/or a Cambridge in 1963, explains that the work presented as a rational trajectory has had a A. M. Stern (’65) and his much smaller band villain. They will look, in vain here for any- is a reaction to the entire modern world- lasting impact not just on Eisenman’s own of collaborators have produced something thing like the sort of Marxist narrative that view, in which empirical explanations have work but on the entire field of intellectu- distinctive and lively, encyclopedic in ambi- scholars like David Harvey or Neil Smith replaced the idealism of reason, logic, and ally serious architecture as it is taught and tion and heft, to be sure, but with aspects might bring to such an overview, although theory. For Eisenman, the Modernist move- practiced. Confronted today by a growing of a guidebook and a tone that is journalis- the movements and machinations of capital ment, with its reliance on the ever-changing number of algorithmic strategies for design tic in its engagement with the material (not are very much a part of the drama. Nor will needs of the present, is the architectural that literally encode rules for developing surprising, in that much of their primary they find a manifesto, both retroactive and manifestation of this shift. The Formal forms, it seems a perfect time to return source material comes from contemporary selective, such as Koolhaas produces in Basis of Modern Architecture attempts to to this nearly mythical source that for so journals and newspapers). It has certain Delirious New York. There is in the current escape Modernism’s permanent revolution long existed, officially at least, only in the similarities with the great individual labors volume a decline and fall of the public man by establishing a rational and systematic archives of Cambridge. of antiquarian urban research, like Henri saga, a la Richard Sennett, which helps to basis for architecture, which like logic or As an object the book is simply beauti- Sauval’s eighteenth-century Histoire et set the stage for the more detailed treat- mathematics would be transhistorical and ful, and its publisher, Lars Müller, deserves recherches des antiquites de la ville de ment of projects and places (although the simply permanent. credit for bringing it to light in such an or Theodor Hoffbauer’s nineteenth- apparent revival of public life in the city Eisenman, Louis I. Kahn Visiting elegant presentation. Anticipating his century Paris a travers les ages. The New is still only a subplot). The index—which Professor, argues that architecture is later publishing experiments, Eisenman York volumes are, of course, illustrated is, after all, the only way to really navigate ultimately determined by form, and that submitted the original document, which with wonderful photos, not prints and such a tome—is full of capitalized names a logic of form can be grounded on the is reproduced here, in an unprecedented drawings. The current volume introduces and places, not concepts. This is, insistent- supposedly universal and inherent quali- square format, with notes running on the the innovation of contemporary color pho- ly, a story of architects and architecture, in ties of generic forms such as the cube, the righthand side of the page (typed by then- tographs of buildings and projects, includ- which critics and criticism play a significant sphere, and the rectangular solid. Specific student Anthony Vidler) and dozens of ing the very generous treatment of small but, at best, a supporting role. architectural forms are—or should be—the precise, hand-drawn illustrations. While the and unbuilt projects by younger architects And yet the treatment of themes like result of systematic distortions of these unusual use of all capitals for the text may and newer firms. public space may serve to remind us that for all the apparent objectivity and calm of its surface, other currents and stories may run just beneath that surface. In New York 2000, for example, the opening chapter is quite overt about the narrative of New York’s late twentieth-century crisis and apparent revival, as well as the political fig- ures and economic forces that provide the backdrop for the central drama of design and construction. Again, this will not satisfy those who would look for New York to be subsumed within an all-consuming (and all-explaining) narrative of, say, economic globalization. New York will, for these authors, remain the central and irreducible figure, comparable perhaps to London and Shanghai, but never a mere example of some larger set of forces flowing through urban history. But here may be the real crux, at least for the principal author of the series, Dean Stern. Just as his first book, an outstanding monograph on the architect and chairman of the Yale department of architecture, George Howe, might seem, in retrospect, to have scripted Stern’s own career, could it be that the real plot and genre of this massive undertaking is some- how autobiographical? The stage that is set here in this epic saga of the modern city is the stage which the author would occu- py; and the endlessly, meticulously detailed text in which the city is scrupulously, almost religiously, described, anatomized, and chronicled, is a new kind of love song in which the city is courted, embraced, and finally—if the ending is a happy one— possessed.

—Alan Plattus Plattus is a professor at the Yale School of Architecture.

1. Drawing from The Formal Basis of Modern Architecture, by Peter Eisenman, Lars Müller 1. Publishers, 2006. 17 Spring 2007 Events

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architecture to question its historic pre- the Middle East discusses a wide range of in the book are twelve essays written by the UN Studio: sumption as an embodiment of meaningful topics, from the development of Jerusalem young, aspiring architect on the following content, regardless of its specific posturing at the turn of the twentieth century to that architects: Marcello Piacentini, Helweg- Evolution of Space as icon, sign, or index. This symposium will of Libya under Italian colonial rule in the Moeller, the Luckhardt Brothers, Gio Ponti, explore how architecture is shedding its 1930s, along with contributions on post- Le Corbusier, Ivar Tengbom, Mies Van The exhibition Evolution of Space, burden of communication in favor of new war Turkey and Iraq. The sites are drawn der Rohe, Giuseppe Vaccaro, Eugene organized by the Deutsche Architektur formal ambitions, including the customiza- together by the single historical tension Beaudouin, Raymond McGrath, and Walter Museum, in Frankfurt, on the occasion of tion of moods, the influences of sensation, between international Modernism and local Gropius. the 2006 completion of the Mercedes-Benz and the emergence of a new species of traditional cultures. The collected essays The book includes a provocative essay Museum in Stuttgart, will be on view at the irrefutably contemporary aesthetics. make evident the many intersections by architectural historian and Vincent Scully Yale School of Architecture Gallery from The themes and speakers on Friday between architecture, economy, and politi- Visiting Professor at Yale, Kurt W. Forster, February 12 to May 4, 2007. The show include “Making Appearances,” with cal culture in a region that saw venerable about George Nelson, situating him in both highlights the efforts of eighteen years of Herbert Muschamp, Peggy Phelan, customs swept up in the whirlwind trans- an architectural and a cultural context. The UN Studio, founded by Ben van Berkel and Gregory Crewdson, and Jeffrey Kipnis, as formations of modernity. publication is a significant contribution to Caroline Bos. It is arranged not according well as a keynote by Sylvia Lavin. Saturday the scholarship of Modern architecture, not to typology or chronology but along a more continues with “Practicing Seduction,” with The School of Architecture’s office only presenting three well-known archi- personal line of development, focused on the participation of Henry Urbach, Hernan of publications has produced a series tects—Le Corbusier, Mies Van der Rohe, design standards, including construction, Diaz-Alonso, Kivi Sotamaa, Mark Foster of new books, which will be available and Walter Gropius—but also the work sensory experience, and organization. Gage, David Erdman, and Peter Eisenman. this year. of many lesser-known practitioners from The gallery space will be converted into a “Forms of Sensation” will feature Roemer the turbulent interwar years when many three-dimensional graphic charting their Van Toorn, Greg Lynn, Chrissie Iles, and The Yale Building Project: The First Forty careers were cut short by the depression work and highlighting projects such as the Mark Linder. Years is the first comprehensive history of and the ensuing totalitarianism. It brings Moebius House and the Erasmus Bridge one of the most important educational ini- to light the period from the perspective of as well as the recently opened Mercedes- The Market of Effects tiatives of the Yale School of Architecture. an outsider who worked to bring modern Benz Museum. The wavy perpendicular Every year since 1967, first-year graduate European architecture to an American audi- lines dividing the gallery space contain the The symposium “The Market of Effects,” students have designed and constructed a ence while influencing the editorial direc- various applications of these standards in a organized by second-year Master of building for a community-based client. This tion of Pencil Points. The book includes range of programs. Environmental Design (MED) students, will hands-on experience has been a unique photographs originally published by the To UN Studio, the design model repre- be held from March 29 to 30, 2007. The achievement in American architectural journal, researched by Hannah Purdy (’05), sents the most promising contemporary event will follow this year’s Roth-Symonds education. Begun under the leadership of the book is designed by Pentagram and will potential of architecture: it is generic and Lecture by professor Mark Gottdiener Charles W. Moore (1925–1993), the pro- be released in the spring. specific, abstract yet solid, simple yet infi- of SUNY-Buffalo. Under the guidance of gram originated in the context of intense nite. Most interesting and challenging, it Dean Robert A. M. Stern and MED program social activism during the 1960s. The Yale Future Proofing is the second in a offers a potential route toward standardiz- director Eeva-Liisa Pelkonen, the event Building Project has been a mirror for series that studies the collaborative ing the nonstandard, thus offering a means organizers will create a forum to explore changes in American society over the past process between architects and devel- to promote ambitious, visionary expres- how architecture practices have embraced forty years. Initially, Yale students traveled opers made possible by the Edward P. sions of architecture beyond the purely the “Experience Economy,” an “economic to rural and impoverished Appalachia, Bass Distinguished Visiting Architecture incidental or highly personal. As van Berkel model...characterized by a progression where they built two community centers: Fellowship. The book features developer, and Bos emphasize, “We have learned to away from subsistence commodities to a a health clinic for a community afflicted Stuart Lipton of Stanhope; architect and see projects as public constructions and service-based economy, resulting in the with black lung disease and a recre- Davenport Visiting Professor, Richard have organized ourselves as a flexible plat- trade of service experiences appealing to ation center on a lake in the coal-mining Rogers of Richard Rogers Partnership in form organization, in which a ‘public sci- consumers’ emotions and feelings.” region of Kentucky. During the 1970s and London; engineer Chris Wise of Expedition entist,’ an architect as the cocoordinating, The symposium features a diverse 1980s, students built pavilions and recre- Engineering, in London, and architect networking expert of the public realm, has group of students and researchers from ational structures throughout Connecticut. Malcolm Smith of Arup in a collaborative replaced the former Baumeister.” graduate programs across the country Recently, the project has returned to its design studio. The Yale students designed Today, they note that the “architectural who will present papers on airport informa- socially conscious roots, and students projects that would transform Stratford project has become abstracted, concen- tion systems, sound-mapping techniques, have designed and built affordable housing City in East London, the site of the 2012 trated, and expanded, has become diverse, Philip Johnson’s Crystal Cathedral, and in New Haven in conjunction with Habitat Olympics, as a new community around a and has grown ever-more scale-less.” All the early work of Minoru Yamasaki, among for Humanity and Neighborhood Housing new transit hub. The students were encour- of this has happened through practice; to other topics. These presentations will Services. The book represents a major aged to develop solutions for a future- UN Studio, architectural inspiration and address the contemporary and historical archival effort to record these projects and proofing strategy of a minimum of 100 innovation are closely linked to concepts dimension of spatial, surface, and material to interview hundreds of alumni of the Yale years, showing a robust thought process and work. effects designed to appeal to individual School of Architecture. Documenting each for sustainability and vital urban design. taste and identity to construct a personal- of the forty building projects with drawings Edited by Nina Rappaport and Andrew ized point of sale via the built environment. and photographs, the book also includes Steffan (’08) the book is designed by Mgmt. Participants will include Winnie Wong (MIT), essays that situate the program within its Design, distributed by W. W. Norton & Symposia Bryan Boyer (Harvard), and Erica Robles historical and educational context. The Company and will be released in the spring. (Stanford), among others. book was written by Richard W. Hayes (’86) Seduction: Form, Sensation, and the and with contributions from Paul Brouard Poetry, Property, and Place, 01: Stefan Production of Architectural Desire (’61) and Ted Whitten (’01), among other Behnisch / Gerald Hines, was the first in alumni. It was edited by Nina Rappaport the Edward P. Bass Distinguished Visiting The symposium “Seduction: Form, Book Notes with photographic and archival organiza- Architecture Fellowship series. It features Sensation, and the Production of tion by Marc Guberman (’08) and is pub- Bass Distinguished Visiting Fellow Gerald Architectural Desire” will be held from Modernism and the Middle East: Politics lished by Yale School of Architecture, and D. Hines; Saarinen Visiting Professor Friday, January 19, through Saturday, of the Built Environment a book edited distributed by Yale University Press. Stefan Behnisch; as well as those who January 20, 2007, at Yale School of by Sandy Isenstadt and Kishwar Rizvi participated in the studio research pro- Architecture’s Hastings Hall. of Yale’s art history department, based Building a New Europe Portraits of cess. Students designed projects that on the papers delivered at the School of Modern Architects is being published by would transform Garibaldi Repubblica, a A decade of explosive development in Architecture’s 2003 symposium “Local Yale University Press and the School of neglected site in central Milan, into a vital communication and information-retrieval Sites of Global Practice: Modernism and Architecture with the support of Herman urban place. Edited by Nina Rappaport, technologies, from Bluetooth and GPS the Middle East”—will be published by Miller Inc. and Vitra AG to present the Markus Dochantschi, and Jonah Gamblin to Blackberries and iPods, has produced the University of Washington Press in the early writings of the architect, designer, the book was designed by Mgmt, and was a global datascape where the ability to summer of 2007. The essays in the book and architectural critic George Nelson released in September 2006. It is distrib- access information any- address one of the most pressing issues (1908–1986), who was a graduate of Yale uted by W. W. Norton & Company. where at anytime is nearly facing architecture today, especially in College (’28) and the School of Fine Arts ubiquitous. The alliance of the Middle East: the split between the (’31). In 1934, when Nelson was a fellow at this data-saturated sce- increasingly global nature of economic and the American Academy of Rome, he wrote 1. UN Studio, Mercedes-Benz Museum, nario with similar advances cultural relations on the one hand, and the a series of articles published in Pencil Stuttgart, Germany, 2006. Photograph in computational, material, sharpened sense of local identity on the Points in 1935 and 1936 about European by Christian Richters. and fabrication technolo- other. This first book-length treatment of architects and their work during the politi- 2. New publications from The School 18 gies requires the field of the development of modern architecture in cally and artistically crucial years. Included of Architecture available this year. Green Futures

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With emerging materials and technolo- to the boundaries of private property and a 1.6 MW photovoltaic system that will the computational fluid dynamics of an gies for increasingly green agendas then neatly account for all of the energy provide 30 percent of Google’s electrical urban environment, especially those of a in mind, professor James Axley led a consumption and generation within the energy consumption. We are working on building, you become very interested in discussion at the school with associ- parcel. But this is the antithesis of how the new headquarters for Manitoba Hydro, the smallest detail. The molecular dimen- ate professor Michelle Addington, and these systems and networks behave and in , . Manitoba Hydro set sion and nanoscale can even have a big lecturers Thomas Auer (Transsolar ignores their interconnectedness at scales up the goal that the building would be the impact on sustainable design. One area ClimateEngineering) and Patrick Bellew both much larger and much smaller than most energy-efficient office building of that that has been improving is computational (Atelier Ten) for Constructs. our “parcel.” What we have to think about size in North America. fluid dynamics. Low-e coatings on shading is how we can begin to mediate between Patrick Bellew: Corporate social respon- devices are common practice in the work James Axley: There is now a visible state- these multiple scales by considering that sibility has become a very big deal. LEED of Transsolar but are underinvestigated in of-the-art in sustainable design that is pret- our design choices should be actions that offers the opportunity to set up a degree the U.S. The elements that affect details— ty well understood in and even beyond the strategically intervene in these networks, of competition between companies. It invisible details—become a real challenge architecture community. What people don’t rather than attempt to control them. started out a few years ago that having to present to students in courses. What know about are the leading edges, the James Axley: There is a romantic belief a Silver building was quite a challenge, other smart materials are sitting out there, things that are constantly changing, such that Fredrick Law Olmsted could envision within a year Gold was the new minimum ready to have some impact on sustainable as the emerging trends that go beyond the the work on one small-scale project as standard to be seen to be very green; now design? building scale and conventional wisdom. both a small- and a regional-scale move. you have to be Platinum to be really green. Michelle Addington: The use of smart Patrick Bellew: The interesting thing is still Of course, he was working as the City This is symptomatic of the rapid change in materials really foregrounds issues of the different influences that drive the sus- Beautiful movement was emerging, so attitudes and values. It shows the power scale, boundary, and domain. A new mate- tainability agenda. There are still relatively there was a larger cultural attitude about of having a consistent yardstick to mea- rial such as electrochromic glazing, which few projects in which the client sets up an taking responsibility for the community. sure everything against. Exemplarity is not has programmable light transmission, absolute sustainability regime, although the Hopefully, we can begin to believe that as something that can be tested or analyzed tends to be directly inserted into traditional number is increasing. It’s normally up to we change cultural attitudes, designers properly. There are loads of buildings that applications such as curtain walls, as if it the design team to come forward with the will see that they have an ability to affect claim to be green but are not—a phenom- were simply a replacement rather than a ideas. However, increasingly, it is legisla- the larger-scale community, urban, and enon known as “green wash”! sophisticated and highly specialized sys- tion and benchmarking that’s driving the regional environments, and this territoriality James Axley: I want to try and draw a tem. I think our intention of trying to adopt majority of people toward larger-scale ini- might resolve itself. distinction between policy that’s building- these into our standard lexicon isn’t going tiatives in sustainable design. We are even Patrick Bellew: London has made enor- scale stuff—codes and standards, LEED to take the concepts very far. The idea asked to look at large-scale community mous changes to its construction legisla- assessment—and policy that impacts every that it comes into our normative material energy projects and transportation issues tion in just two years. The mayor, Ken building but has a larger agenda. Rick palette is about to reach its limit. It’s going and it is remarkable how similar they start Livingstone, has required that all buildings Levin, president of Yale, set the objective to force us to rethink the size of things to become to Ebenezer Howard’s Garden meet 10 percent of their projected energy to lower greenhouse gas emissions on the that we design and return to this issue of Cities, with clusters of communities where demand from renewable energy sources Yale campus by 10 percent below 1990 what’s invisible: how do you start to design everyone can go by foot or on bicycle! on-site. This has led to the recognition levels by 2020—a target set below the phenomena that are not visible when the James Axley: Analytical tools for power by developers of the benefits of reduc- nominal Kyoto Protocol targets. That’s a things that we make—walls and floors—are distribution and transportation are well ing demand. Next year’s adjustment will policy not directed to any building, power, inherently static artifacts at radically differ- established and allow you to look at quan- increase this target requirement to 20 or transportation system, although it has ent scales? titative measures of success and actually percent, with combined heat-and-power serious infrastructural implications. Yet it Thomas Auer: It doesn’t change the archi- predict whether or not you have an efficient systems being mandatory and partner with has led indirectly to the use of shallow geo- tecture, but it gives the design of a building power-distribution or transportation sys- neighboring development schemes. The thermal sources, virtually a free power plant a much greater flexibility. When somebody tem. But how do we know how to analyze mayor is trying to drive a completely differ- underneath Yale’s campus. So campus has a great idea and comes to you with a large-scale environmental issues? In terms ent attitude through the private sector with- planners are now looking much more seri- serious problem and asks, “Can you solve of my interest in shaping environmental out spending any government money. It’s ously at tapping that resource. this?”—that’s the moment when you think services, I’m thinking of projects where a slow beginning toward an organic energy Michelle Addington: This is an important about smart materials. This happened, for people are consciously modifying micro- structure. Unfortunately, many people have distinction. The practice of architecture is instance, when we worked with Helmut climatic variation, providing better outdoor caught on to the fact that the most inex- heavily governed by prescriptive policy. Jahn at the new Bangkok Airport, where we air quality and the like. No one has a clue pensive way of delivering renewable energy Being code-driven is really tying our hands, used for the first time a low-e coating on a how to think about shaping ecosystem ser- is through biofuel. But the idea that every preventing us from aggressively reducing fabric structure. vices—e.g., services such as microclimatic new building is an autonomous unit run- energy by presuming that the best practic- James Axley: How do you bring students modification, water and air purification, soil ning on wood-chip-based biofuel is quite es are known and generalizable. So many close to the leading edge of emerging creation and stabilization. a dangerous prospect in a metropolis like of the policies are concerned with the new trends, when those leading edges are Thomas Auer: Wind is another element London, which has enough transport issues model energy codes, which are extremely changing constantly? that also has to be widely considered in without adding fuel distribution by truck to prescriptive. What we need to move toward Thomas Auer: The physics will always sustainable design in order to improve all buildings. I heard one developer recently is a policy framework that is more about be the same; their primary responsibility microclimate conditions and air quality. threaten to have biofuel delivered by horse objectives. should be to learn those principles. Transsolar does more and more wind stud- and cart just to make the point that it is a James Axley: Building codes and stan- Patrick Bellew: Perhaps we should avoid ies in urban developments using computer rather retrograde step in a city like London. dards often include the caveat that design- trying to teach architects to be engineers. models, because the moment you put a James Axley: There seem to be two ers may use a performance approach to The most important thing is a commonal- project into a wind tunnel, it’s too late—it’s emerging trends: one is driven by policy, design. This presumes that there are tools ity of language. The question is, how much all shape and design. In Berlin in the 1990s, policy that affects sustainable designs to evaluate performance in some reliable more engineering-speak do you need to all the buildings were modeled in a wind beyond the building scale, that is, at the way and, furthermore, that the profes- teach an architect to start that conversation? tunnel, but the urban design had already community, urban, and even regional sion is adept at using these tools. Within James Axley: There’s a certain irony in been defined. scale —the scale that is the main concern the School of Forestry and Environmental the so-called systems integration course Michelle Addington: One of the difficul- of the environmental community. On the Studies, if you ask about policy, social commonly required in architecture schools. ties inherent in the practice of architecture other hand, architecture has long relied equity is a major issue with regard to sus- Currently, in North America, designing is the way that we typically define the on exemplary projects to move to solve tainable development. That social orienta- a completely air-conditioned building extents of a project. We tend to look at new problems—exemplary urban-scale, tion doesn’t exist in the architecture com- represents an architectural challenge. In the boundaries of the project—whether sustainable projects are just now emerging munity. If the architecture field begins to addressing this challenge, students grapple it’s a single-family house or a large-scale from practice. see sustainable design as having a social- with the problem of integrating lots of duct urban plan—as things that can be parceled Thomas Auer: Policy takes away creativ- responsibility dimension, then these ques- work into a building. But at the same time, off, because those are the things that we ity. People just think about how to get tions about territory will begin to disappear. I think all of you are trying to convince stu- have domain over. But as projects and around it. I think the USGBC forced policy Michelle Addington: In 1999, the National dents to eliminate the ducts altogether! systems become more complex we have and categories like LEED with a very holis- Research Council published Our Common Thomas Auer: Basically, we shouldn’t to recognize that we are not masters of tic approach, but it is not a design tool, Future, concluding that “even when the consider sustainable design as these parcels anymore. Whether a house, it’s a veritable checklist. LEED did create political will necessary for sustainable something exotic. It should be as a district, a town, or a region, we have tra- momentum. The big universities and also development has been present, the knowl- common as structures. ditionally demarcated a definitive boundary many firms say that we have to show lead- edge and know-how to make some head- between what we have control over versus ership with regard to sustainable design, way often have not.” 1. Helmut Jahn, Bangkok what we don’t. The concept of the “zero- and I think that has more worth than all James Axley: Turning our attention to Airport with Transsolar energy building” is one that presumes we of those policies. Google, for instance, “below the building scale,” even to that ClimateEngineering. Photograph can truncate energy systems according announced that they are going to install of the invisible, when you begin to look at courtesy of Transsolar. 19 Fall Lectures

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The following are excerpts from the a more authentic principle of truth might are, in my collection, sixty of these proj- sumerist by definition along with the poetic, fall 2006 lecture series at Yale. be established by opposing all that chaos, ects. And so the real issue is, what are they existential vision of Nigel Henderson. All of and whether the most fitting answer to the after? Why all of a sudden does a ribbon this was before Guy Debord’s narcissistic Charles Gwathmey question of utility might be in the expres- surface, which is neither tectonic nor semi- Society of the Spectacle finally took hold. “Renovation of Paul Rudolph’s Yale sion of beauty? otic, capture the imagination of a hundred School of Architecture Building and What can we say to a student who, in architects all over the world, for almost a Tom Wiscombe the New History of Art Addition” asking, “What do you want me to do?” is decade now, without a single significant Myriam Bellazoug Memorial Lecture Wednesday, September 6 giving up on himself; or who, faced with the building being built and not one piece of “Parts and Wholes” evidence of an error, argues, “I understand significant criticism about it? Monday, October 23 It is a journey for me to come back to Yale I am wrong, but I like it”? All this makes me I, of course, am interested in architects and hopefully realize a project that is dear wonder what the cost of freedom may be to and what they say about the work, and An uncoordinated set of building systems to my soul. I graduated in 1962, when truth and how much truth is being denied in that’s an important part of my thinking, but drives me to want to do new kinds of archi- the Art & Architecture Building was under the name of individual liberty. For how long I’m not obligated to it. I’m obligated to think tecture. This is something that we see in construction. I actually worked for Paul can one forgo the truth? What is the mean- of the critical and fertile possibilities of the 99 percent of buildings, something that Rudolph at night and on weekends, render- ing of those tendencies that use the classi- work that comes out. we’re all familiar with. I just love the image ing perspectives of this building that he cal orders, and for which historical distance By removing itself from the ground so because it’s so ludicrous, the way we get worked on so intensely both because he do they have an absolute value? Or again, much, the Villa Savoye opens the door away with this as architects and builders. wanted to make it his greatest building and what kind of progress is expressed by a to a conceptual formalism. I believe Le It’s a kind of bearing-wall cinder-block also, I think, a little bit because he wanted language that implodes self-referentially, Corbusier was interested in a political structure, which clearly was engineered, to be acknowledged as an architect as excluding all possibility of comprehension project, and I believe this diagram is best and then there’s a kind of ductwork that important as Louis Kahn. Those were inter- and normal description? understood as an ambition to produce an has no coordination or integration of the esting times, watching Paul go through all The link between memory and the equal potential space, to neutralize the structural system whatsoever. In fact, you of the mini schemes he did of this building. architectural project cannot be severed in ground as a datum, hence the rooftop gar- could even argue that it is detrimental to With respect to the new History of Art the name of a modernity that deliberately den—all of which would be an attack on the structural system. ... It leads us to think Building, the faculty was insistent that, wants to forget. This would be foolish and the futile legacy of ground as land, so you about building systems, it leads us to think even though this was an addition to the Art would offend the ability of our brain, which can have the ground as a datum and equal- about tectonics, and it pushes us toward & Architecture Building, their department is incapable of inflicting amnesia upon ize all the data and install something like a integration and composite forms, rather would be acknowledged architecturally, itself. In a collective language, the relation- democratic thinking. than layered or collaged systems. which is a hard thing to make—an addi- ship between architectural form and the Freedom is the process of disestablish- The principle of emergence is at once tion and an image: to actually reconcile memory of its meaning cannot be substi- ment; freedom is removing the weight of a kind of magical concept and also a very the dynamics of this building, which we tuted with subjective moods. unwanted authority. It’s actually a con- hard scientific concept. It’s the process all know; to make a connection and also a Theory has often labored to understand federacy of sensations; freedom doesn’t of generation of unexpected but coherent piece of architecture that acknowledged the origins of architecture, an art that, belong to political thought. There’s freedom structures, patterns, and properties from a the faculty as a critical part of the university unlike painting and sculpture, was not a of expression in music, there’s freedom group of interacting and often very simple as well as an integral part of the School of direct imitation of nature, even if many peo- of speech, there’s the feeling of freedom parts. In an emergent system, it is impos- Architecture. There’s a mutual respect and ple saw trees as the source of inspiration driving on a road and wearing jeans on a sible to predict the behavior of the whole by synergy, which is important, also when I for columns, the human face for capitals Friday. There are no theories of freedom; examining the behavior of the parts. was a student. Historians Bill McDonald and moldings. Nowadays architecture, too, there are no varieties of freedom. The idea The interest here is in a kind of feed- and Vince Scully were a great part of the seems to have become an art of imitation, that architecture can take up the problem back loop, which has meant that we can’t architecture school, and it’s wonderful to as painting and sculpture was in the past. of a social project again is not by installing just make something and it’s finished; have the department back as an integral But it is a curious kind of imitation because democratic diagrams but by relieving the we have to make it iteratively and feed it part of the whole project. it reproduces only the sufferings and con- way it exercises unwanted authority. information during the design process. This There are some green architecture vulsions of nature, its telluric cracks and brings me back to the idea of computa- components that are very important to alluvial disarray. The examples held up as Kenneth Frampton tion ... what part computation has in the the complex. And the three things that are paragons in architectural magazines are “Structure, Identity, and Existence in the design process. What I’ve realized is that critical programmatically were that the like so many shiny tumescences of matter Work of Team 10” computation, using algorithms, is extremely double-height library space be restored to that recall nothing so much as photograph- Monday, September 18 useful at the front end and then at areas Rudolph’s original piece; that the monitors, ic enlargements of mysterious diseases. during the design process where there’s which have been covered on the Chapel The new poetics of collapse and disintegra- In retrospect, it seems to me that Team 10 something missing or we need other infor- Street side yard, be reconstituted to bring tion offers us an overturning of all aesthetic was one of those last moments in Europe mation. But there’s a constant feedback natural light down to the basement and norms, because everything that architec- when it was still possible to envisage a between things that are auto-generated or sub-basement, and that the penthouse ture has always feared and shunned is now more or less consciously planned pat- algorithm-based and stuff that’s hands-on be restored to its original setup and have sold to us as desirable and modern. And tern of sustainable land settlement and and analog. its fantastic views maintained over the in the end, the only thing that links the loss urbanization before the Pandora’s box of campus. The fourth thing, and, for us, the of the original form with the fragments in late consumerist capitalism, driven by the Marc Tsurumaki most critical in determining the diagram, which its meaning is dispersed is an over- universal ownership of the automobile, Louis I. Kahn Visiting Assistant was that the north-facing studio windows whelming sense of desolation. finally sealed the environmental fate of the Professor be retained and have their views across the species. Figures like Shadrach Woods and “Architectural Opportunism” Yale campus. Jeffrey Kipnis Giancarlo de Carlo were particularly aware Thursday, October 26 Brendan Gill Lecture of this apocalyptic threshold, hence the Massimo Scolari “A Basis for Discrimination for Current enduring pertinence of De Carlo’s Terni Our firm’s work from recent years is a Davenport Visiting Professor Speculative Architecture” Housing, Woods’ project for Hamburg way to structure a thematic font regarding “Crossing Architecture” Thursday, September 14 Stielshoop and Karlsruhe, and also, I would issues of limit and restraint to begin to trace Thursday, September 7 say, Frankfurt Romerberg rather than the a methodological consistency through a Where I think I lost my temper is the realized Free University. Bakema’s Tel Aviv series of projects that are extremely diverse So what sense is there today in asking Eyebeam competition, because all I heard and his Pampus Plan for Amsterdam were in terms of scale, typology, and context. whether this or that architect, this or that from my colleagues—and forget newspa- surely both brilliant neo-Corbusian propos- The methodological approach I’m referring architecture, is more progressive and pers or students—is how Diller + Scofidio als, but such undertakings presuppose to here can probably be best described as in the name of what scientific criteria of and Thomas Leeser ripped each other socialism and command economies that an opportunistic engagement with limits. advancement? With what off, that these two projects were so much not even the Chinese are able to muster The idea that the restrictions of the proj- kind of innovative daring alike that it was just jumping on the single- today. The Smithsons were extremely ect—those elements of the parameters of does modernity expect surface bandwagon to the point where it talented architects and their Coventry the work that are often understood as the the chaos of the actual became an embarrassment. Of course, Cathedral must now be seen as one of greatest impediment to the design—can in world to be translated into that’s complete nonsense. Not only are the lost masterpieces of the mid-twentieth fact be recast as the generative potential, architecture? Would it not these not the most important single-surface century. Their one great work is obviously the very catalyst for architectural invention. be better to start asking buildings, but they engage in a very inter- The Economist building. The Smithsons’ What this means is taking seriously the 20 ourselves whether in fact esting debate. You have to know that there Fold and Cluster houses were pre-con- prosaic and often banal constraints, the 3. 4. 5. 6.

7. 8. 9. 10.

complex network of economic, technologi- zone, the curator can change the entrance don’t take an inherently inefficient vehicle If you can start to build that flexibility cal, political, and programmatic parameters of the museum. We try to make an open and attempt to make it environmental by into the way you think about it from day that invariably circumscribe any architec- museum and make the buffer-zone height putting a hybrid engine in it. We really need one, you have a much greater chance of tural project. Maneuvering tactically within as low as possible to give some continuity to look in more revolutionary directions. ... getting your vision put forward. By embrac- these limits, architectural production is to the daily landscape; at the same time, This is a world and a part of our responsi- ing that aspect early in the process as you then recast as restricted play, a pleasur- the museum is a very special program and bility, the ER part of that quality equation, move forward, you are much more likely to able manipulation of rules and boundaries. function within the city, so we try to add which we need to begin to make any head- get the buildings that you want built. In this way, the inherent logics and rational another scale. way, and part of that is through off-site trajectories are pushed to the point at For the New Museum, we must respect fabrication. Elizabeth Diller which they render a potentially irrational but the Manhattan height regulation; but we “I.O.U.” productive excess of precipitated paradoxi- also want to keep some independence, so Gregg Pasquarelli Thursday, November 16 cal effects and possibilities. we try to bring in some movement, which Eero Saarinen Visiting Professor Whereas mixed use itself is certainly not also makes it possible to break the boxlike “Versioning 3.0” I want to remind you that I promised you a a radical concept, what we want to do— feel. Basically the museum needs a closed Monday, November 13 lecture on Lincoln Center last year; when and have been exploring in a series of itera- box and the property is not so big, so we I came I was totally unprepared, so I told tions of the project in a mixed-use high-rise must stack the whole galleries and other SHoP is not a typical architecture firm, not you that I owed it to you. Thus, here is the in Miami Beach, rather than the conven- functions. But instead of it becoming a very because we are special or anything but “I.O.U.” lecture. tional approach of simply stacking the big, closed box, we would like to open it to because we really wanted to try to question We are accountable to the city because programmatic components on top of each the city. In this museum we really want the what it meant to have an architectural prac- we are using city funds. So we regularly other—is to look at the ways in which spa- visitor to enjoy the different heights of the tice. More than design for us, it was about have to speak to the departments of City tial overlaps and vertical interpenetrations Manhattan rooftops. inventing a new kind of practice. Planning, DOT, Cultural Affairs, Parks, could begin to induce communications and We tried to think about this idea of using Landmarks, and a special task force under slippages between the different layers of Stephen Kieran difference and the impact between the Deputy Mayor Harris. We’re also account- program: between public and private and “Kieran Timberlake Works: Our House, relationship of slight changes in a design able to community boards and local busi- between commercial and residential. Your House” object and understanding where those ness groups. This is the Upper West Side, The Lewis brothers and I come from Monday, November 6 lead. What it came down to was that it was and it’s very carefully regulated in terms of the transitional generation of architects never about the form; it was always about anything that happens. We’re also account- who were initially using hand-drafting My partner and I have struggled over the how it was made and what it did that mat- able to preservation groups like SHPO, techniques but also had to grapple with the years with what we see as a decline in the tered the most. DOCOMOMO, and Landmarks West, as radical translation into different technolo- ability of our profession to move directly It became about questioning the notion well as to professional groups. And we’re gies. There’s a desire to draw on both of from intentions and ideas to form and of plan, section, and elevation as the morally accountable to the academic those techniques as much as possible and substance. We don’t think there is a blue proper way to draw. These were the best community. The publicness of this project to produce things that are not so easily river running between form/substance and methods that architecture could use to deal requires many targeted presentations, and recognizable as coming from one or the ideas but rather a very wide, murky brown with the issue of a very complicated, three- I’ve shuffled a couple of them together. other. ... I think what we’ve begun to study Mississippi between our vision of the world dimensional idea. As architects, we convert To the preservationists: We’re on the lately—in dealing with the scale of the proj- that we want to create and our ability to it into a two-dimensional abstract drawing same side. We believe 1960s architecture ects and the fact that we’re unable to inter- actually make that world. system and hand it to somebody else to is vulnerable to the poor judgment of devel- vene in the construction in many ways—is One reason underlying that deep-mark- recreate, not only into a three-dimensional opers and uninformed clients. But we’re how we can achieve some of the effects we ing river is the profession itself, and this is but a four-dimensional process of assem- caught in the equation “survival = change.” were generating through really hands-on one that we can lay squarely at our feet. It bly over time. We hope someone watches over our work methods of construction and basic ways of is a sense of what I call the “otherness of The natural next step for us was to start fifty years from now the way you have over putting things together into more digitally designing and making,” as opposed to a to think about how we could move into the Lincoln Center. manipulated conditions. fifteenth-century architect like Brunelleschi client realm, because if we wanted to use To the professionals: After already sus- who admittedly didn’t have any systems this performance-based design, were there taining painful rounds of value engineering Kazuyo Sejima in his buildings, but he himself was every- other models we could consider for how we after each phase, we have to see what’s Paul Rudolph Lecture thing. He built the building as the builder, could practice as architects? We were giv- left after the bids come back. “Recent Work: Kazuyo Sejima + Ryue he designed the building as the architect. ing all of this energy, we were figuring out To the academics: The ghosts are hov- Nishizawa/SANAA” He was a product engineer who designed the technology, we were trying to help with ering, yet the testosterone level is clearly Thursday, November 2 lifting devices to make the building, and the design, we were making these things lowered. The challenge for dissidents like he was a material scientist extraordinaire work and making them money—what could us is to negotiate this complex network Both the steel and the glass in the Toledo in terms of masonry and iron. Instead of we do to become a part of that? So the first of forces that it takes to make significant Glass Museum Pavilion are very thin. somebody who was hands-on and did all time that we were able to do that was with changes in New York. We’ve learned to Normally, in the wall, we cannot see, but of those things, we have the specter of a building called the Porter House in the speak in many tongues. here we decided to use the transparent hands-off art in the twentieth century: Man Meatpacking District of New York City. glass so that every between-space in the Ray phoning in directions to a remote loca- The second most important thing we —The lecture excerpts are compiled wall can be seen, and this makes clear and tion to make a work of art; the genesis of have started in the office is the ability for with the assistance of Marc Guberman stronger each independent program. In reinstituting the craft of architecture to con- anyone who works at SHoP to also own (’08), Alek Bierig and David Sadighian the glass box there are different spaces, trol the relationship between intention and these buildings. ... We are not talking about (both Yale College ’07). different programs in the building, and actual fabrication/making lies in this device. huge amounts of money, but it is really a everywhere people can see the relations There is a formula that my first boss, change in attitude and in practice, and we between different programs and spaces. John Rauch, Bob Venturi’s partner back in think it is something that is important. It is Our idea for the O Museum is to make those days, noted: if you want more quality about fighting the cycle of mediocrity. an open museum. To realize this, we are and more scope, you have to spend more So the whole reason we have tried to maintaining a distance between the galler- money and more time—and those things get involved in development is to try and ies. Museumgoers should pay to enter, but are proportional. And somehow to change change this relationship at the top. But it is the public zone is a free space, so we must one, you have to change the other. We not easy, and I will tell you why: architects make some soft barrier between two func- increasingly go before clients, including are very averse to taking risk. tions. We decided to use a perimeter for the the Yale Corporation, who live in a differ- Any time there is a huge technological 1. Charles Gwathmey public zone and also try to make an open ent world than we do. They don’t live in a shift it means that there is opportunity. So 2. Massimo Scolari museum. Keeping the distance means world of declining productivity; they live what do we do as a profession with that 3. Jeffrey Kipnis that at every perimeter you can always see in a world of increasing productivity. And opportunity? Do we just continue to work 4. Kenneth Frampton something going on in the museum through they are telling us that we have to increase for the hour, do we continue just to produce 5. Tom Wiscombe the between-spaces, and also from the quantity and scope out of all proportion to images, or do we really partake in the mak- 6. Marc Tsurumaki museum zone people can always see the cost and time, and that we need to do that ing of culture and in making cities better 7. Kazuyo Sejima public zone and the city. This also makes it in environmentally responsible ways as we places to live and getting people excited? It 8. Stephen Kieran possible to change the size of the museum. move forward. is time to go out there and make architec- 9. Gregg Pasquarelli Because all of the galleries face the public We need to look at ways in which we ture more relevant than it ever has been. 10. Elizabeth Diller 21 Advanced Studios

Massimo Scolari capable of being singular but also forming a passive framework around the city whose with parameters to find the form. The flex- benches or assembly seating for the airport welts and scratched surfaces counter the ibility allowed for invasions of program that Davenport Visiting Professor Massimo lounge. The implementation of numerous decisive archaeological cuts that delineate would work off the tubular systems in linear Scolari, with Andrew Benner (’03), sited the techniques, from hand drawing to com- the ancient city. While projects explored bands. To Schwitter, the extrusion needed studio on the northern tip of Venice’s Lido puter rendering and fabrication, liberated the figural and partial figure, Wigley empha- simplification and rationality. Others at San Nicolo, with sixteenth-century fortifi- the students to explore design strategies in sized, “To be a conceptual and theoretical invented programs, such as the vertical golf cations, an abandoned military compound, a multilayered approach. architect, you have to detail.” course of Karl Mascarena and Katherine and what was until the jet age Venice’s air- Corsico supported in a mesh scaffolding port. Students were challenged to develop Peter Eisenman Gregg Pasquarelli with layered platforms, which Chakrabarti a set of design principles abstract enough thought was “fantastical,” but noted to translate between three scales—a plan Peter Eisenman, Louis I. Kahn Visiting Gregg Pasquarelli, Eero Saarinen Visiting that, “actually, these kinds of projects are for the area, a flight clubhouse for ama- Professor, with Ariane Lourie, investigated Professor, with John Eberhart (’98) as well happening.” teur flyers, and a piece of furniture for the Gilles Deleuze’s notion of the figural as an as Steve Sanderson and Fredrico Negro of club—the students’ approach was tested alternative to the current focus on iconic SHoP Architects, organized a studio on the Marc Tsurumaki by forcing them to think about the design in architectural production. The studio brief technique of “versioning” that uses digital a continuum. was to design two railway stations in procedures in nonstandard practices in a Marc Tsurumaki, the Louis I. Kahn Visiting After researching the history of the Pompeii, whose ancient city walls could be system that vertically integrates the pro- Assistant Professor, chose a resort lodge region, studio participants visited the site characterized by a distinct ovid shape. If cess. The students were asked to design a at Everglades National Park in Florida as before completing an urban analysis. At the dominant oval of the city center could sports stadium using parametric modeling, a vehicle to explore the role of ecological midterm they presented their urban plans be considered a strong figure then a strat- which builds explicit relationships between and programmatic constraints in catalyzing with siting and massing analyses, varying egy to disrupt its iconic stature involves the things from abstract values, programs, architectural invention. The juxtaposition of from a fly-in resort, housing for the elderly, articulation of partial figures. geometry, or combinations therein to the program with the issue of how to inhab- year-round residences, and dense develop- Deleuze’s notion of the figural provides design a system from which to build. it a protected ecosystem is an age-old ment with grand avenues to a movie-pro- an alternate diagram whose resultant figure The studio integrated structure, design, contradiction in the national park system. duction facility. cannot be read back to an original diagram and program developing models that had The students negotiated the complex net- At the final review they presented but rather erupts from a combination of to respond parametrically to two variables: work of technology, environment, site, and their urban plans with the addition of the forces latent in the work itself. The studio the sport being viewed and the context of economic formulas to generate new spatial clubhouse design and the chair, which tested the hypothesis that partial figures, the stadium itself. Each student organized and material possibilities while embracing they designed and fabricated in three could begin to disrupt an iconic reading their stadium in spatially diverse ways the paradoxes of the site. weeks, to jurors Karla Britton, Peter de of the city. The projects each framed the pushing the limits of stadium performance The conflict between man and nature, Bretteville (’68), Peter Eisenman, Kurt ancient city in a new series of partial fig- criteria with additional programs. The con- experienced firsthand by the students Forster, Leon Krier, Alan Organschi (’88), ures, which countered the possibility of a text and site was absorbed into the model on their trip (where they used all modes Stanley Tigerman (’59), Claire Weisz (’88), close reading. that combined program, structure, and skin of transport), provided them with new and Guido Zuliani. Some students chose The students worked in pairs, present- into an occupiable thickened space. ways to design environmentally sensitive to integrate the control tower and hangars ing their projects to the final review jury After a trip to England where they met architecture in a liquid terrain of shifting into the club building while others wove the of Harry Cobb, Jeffrey Kipnis, Leon Krier, engineers at Buro Happold and Arup Sport landscapes. After visiting with park employ- club into the urban fabric. Some designed Emmanuel Petit, Alan Plattus, Ingeborg and visited new stadiums, such as Arsenal ees and researching the history of the more singular structures hovering between Rocker, Massimo Scolari, Stanley Tigerman and New Wembley, and after studying ecosystem and the park service’s history in the developed areas and the airfield. The (’59), Anthony Vidler, Mark Wigley, and other prototypical stadia and participating the Everglades, each student selected their stylized 1930s design of the original airport Guido Zuliani. Their work began with an in workshops on various software such as site, some on that of the former Flamingo structure was often absorbed into projects, examination of the varied urban fabric Revit, Rhino, Catia, and GC—the students Lodge, which was damaged by a hurricane. combined in a resolution of historical and of ancient and contemporary Pompeii, in teams of two developed schemes for With 100 rooms, a visitor’s center, and contemporary forms. locating the form of the conflicted Greek, a sport and site of their own choosing. public spaces, the lodge was a static ele- In a lyrical composition, Tim Newton Roman, and Etruscan grids, the misaligned In one model they developed four rapid ment within the natural flux. The students grouped the club, tower, and hangars and doubled decumani, and the location of prototyped sectional models of the various were challenged to address these tensions together on the edge of a new canal, form- its city walls within a field of forces, produc- stadia permutations to critique the arrange- with spatial, material, and programmatic ing a gateway to the airfield. While to some ing diagrams of alternative urban matrices. ment of the design’s components and their possibilities in a flexible framework. They jurors the design seemed nostalgic, it The projects explored concepts of interdependencies. Students presented presented the results to a jury of Sunil Bald, evolved from what Scolari encouraged as weaving, threading, diagramming, and their final projects to a jury comprising Andrew Benner (’03), Peggy Deamer, Karen a method for the students to find their per- enhancing trajectories of motion, making Vishaan Chakrabarti, Anna Dyson, Douglas Fairbanks, Keith Krumwiede, Joeb Moore sonal passions and poetics. Greg Heasley voids, cuts, and passages through the city Gauthier, Keith Krumwiede, Marcus (MED ’91), and Joel Sanders. reconstructed a berm that was part of a as an archaeological site, and articulating Lee, Ed Mitchell, Federico Negro, Philip The diverse sites, in their topology and historical fortification on the site with the figures and partial figures. Ayat Fadaifard Nobel, Lindy Roy, Steve Sanderson, Craig adjacencies, influenced the students’ com- building and tower situated above, the and Sallie Hambright proposed an alternate Schwitter, and William Sharples. plex designs. Several of them reorganized hangars within, all bordering on a prom- urban fabric woven from Pompeii’s mul- Issues of the role of the stadium in the the network of facilities such as lodges, enade. Eisenman thought the building was tiple city grids; partial figures evolved from city, hybrid programs, and scheduling were campgrounds, and the visitor’s center the cleanest, coolest project. Gregorio this fabric, binding the old and new cities. the focus of Young-Jin Lee and Vincent according to new principles of habitation, Santamaria used color to differentiate the Wigley thought that weaving, as a force Wan’s project for a single-surface soccer density, overlapping functions, and hybrid- functions in a minimalist expression, while field, was not a way to integrate the build- and baseball field, including a university izing the building and landscape. A number Sam Roche created a proportional axial ing, and the site as “the vertical is dispa- dorm. Hotels and leisure spaces were of students, including Anya Grant, engaged plan in a classical revival scheme. rate from the horizontal. If the layers were inserted into Jeff Richards and Seung the northern edge of the park along the Joe Smith developed an internal logic thicker, then the weave could be worked in Namgoong’s box-shaped structure around highway, making the boundary permeable in one structure, with the hanger, club, the grain so that you could slide inside the a carved-out interior space for the stadium to the park. These projects invoked the and control tower raised on a podium. geology.” supported by a structural diagrid. productive friction between infrastructure For Eisenman, the singular volume was Others found ways to exploit the topol- Other projects focused on how para- and tourism. Others sited their projects at rigorous, and the elements fit together ogy, such as Jason de Boer and Jeremiah metrics can direct form: Khai Fung and the interior of the park and wove vehicular into a holistic form that Smith likened to a Joseph, who reconceptualized the ancient Ayumi Sugiyama’s tennis stadium used the tourism together with the lodge. souvenir snow-globe version of the site, city walls as generative voids that wrap, parametric model to incorporate parts into Some projects were elevated, such as enhancing its identity. A fabric skin could fold, and reframe the ancient city, making the whole using an aesthetic principle that that of Heather Loeffler, whose series of be used for film projections, linking Smith’s a transition of void to figure and moving resulted in a seductive, synthetic donut raised courtyards above the flat landscape concept to his Cinecittà-type master plan from indexical to architectural form. Serra shape. For Nobel, “The beauty of the proj- integrated the environmental tectonics concept. Kiziltan and Neil Sondgeroth deployed ect took over. You need to look at the crite- of ventilation shafts, skylights, and open At the smallest scale, the chair designs the unstable decumani’s rotating force to ria more.” Gauthier thought that they could corridors. Moore was fascinated with the explored materiality, stitch together the old and new cities, with have taken another position: “Our genetic concepts of artifice and publicness in con- ranging from Heasley’s crossing lines forming a methodology using model has such power to create beauty, trast to the desired privacy of hotel rooms. tensioned fabric to wood rotation and oscillation in a system of map- you could give us any parametric and we Brook Denison built his hotel above the in a winglike design by ping architecture and archaeological layers. will give you beauty.” tree line with a processional loop from Newton and a wood-and- The project would create an atmosphere Jean Suh and Weston Walker devised the ground up to the hotel rooms on a steel frame chair by Clinton for the public in which the relationship of a scheme for a soccer and aquatic center single loaded corridor. Dean Robert Stern Prior. Other chairs were part to whole would produced anxiety. with structural tubes within a framework thought it had the potential to be like 22 conceived as multiples— Soo-hyun Kim and James Tate envisioned winding around the open field, beginning a Lapidus hotel, “where the guest’s 1.

2. 3.

experience was orchestrated.” into an integrated whole in a multiplication Gauthier, Marcus Lee, Alan Organschi (’89), same functions: sleeping, eating, and con- Others worked to merge the project of a kasbah-like network. Gregg Pasquarelli, Patricia Patkau (’78), templation for six individuals for one night. with the landscape: Geoff Lawson com- Steve Lee, Rose Evans, and Elisa Lui and Claire Zimmerman. Dana Cook’s plan The structure had to address the unique bined a public camping experience with the designed a mixed-use project that dramati- was a radical adaptation of the Roman city nature of the site as well as the conditions lodge as a private experience, a building cally increased the density of the area with model into a “franchise” of buildings made of the building’s fabrication. that stepped down in a set of terraces and a new residential high-rise development up of courtyard housing stacked on big- After visiting the site and staying in the a sustainable water filtration system. Moore along Suzhou Creek and commercial devel- box retail and a new high-density Western- log cabin, the students designed projects thought that Jeff McBride’s hotel fabrica- opment along the Bund. Stitching together style street front. Double-loaded corridors at two scales: full-scale mock-ups that tion system with modular triangular panels, the new developments, they incorporated provide access to larger courtyards shel- explored fabrication, craft, and material; had the aspiration to be multisensory. the various existing scales from alleyways tered from the wind. The dynamic interplay and overall representations that investigat- Some integrated water throughout the pro- to major thoroughfares. The third team, between ideas of enclosure where land- ed the desert site. The building had to be gram, such as Gabrielle Brainard, whose Dryden Razook, Carol Ruiz, and Chris scape becomes structure was intriguing to fabricated off-site and delivered for installa- series of piers and pools with platform Lee, created a dramatic new urban park Zimmerman. tion, negotiating a tension between generic elements were situated adjacent to each combined with a transit hub surrounded by Michael Powers used computational enclosure and sensitivity to the specific site room, rather than seeing the water only new hotels and commercial development analysis of the program to develop a grid- and environment. in the distant view. Allen Slamic’s water- in this highly visible and central location. work of large shed buildings that inventively The projects, which brought to the fore channeling system created infrastructural They viewed the city as episodic: a place reinterpreted the industrial character of the issues of the objectness of the art instal- arteries, with the hotel extended across the that is never experienced in totality, but in area. The roof over the existing buildings lation in contrast to the cabin and the site, trail. As a whole, the jury was struck by how a series. Inspired by Greenbelt Cities, they resembled a computer punch-card pattern; were presented to a jury of Emily Abruzzo, the projects constructed new perceptions designed complex horizontal spaces with parking was located below. Pasquarelli Sandy Isenstadt, Frank Lupo (’83), Scott of the wilderness with new programs, land- a number of city centers, increasing pub- noted that the system allowed building in Marble, Joeb Moore (MED ’91), Patricia scapes, bodies, and buildings. lic space by submerging the parking and different and flexible possibilities in recur- Patkau (’78), Joel Sanders, and Marc reconciling the geographic situation of the sive programs. Some jurors wondered Tsurumaki. Rather than making a simple Alan Plattus street wall at the intersection of the river. whether the blocks were actually conven- generic kit-of-parts, the students designed All of the teams were challenged by the tional, with the new elements inserted. projects that maintained nuances of beau- This fall’s China studio, led by Alan Plattus, existing vehicle circulation patterns on the Many explored formal concepts with lin- ty, form, and materiality in spite of their pre- was the seventh three-way collaboration site, as well as by the opportunity to “turn ear master plans including Ashima Chitre’s fabricated nature. For example, Xing Chang between architecture students and fac- the corner” from Suzhou Creek to the Bund “logjam” of linear buildings calibrated for translated the fabrication methods into the ulty at Hong Kong University and Tongji frontage along the Huangpu River while quick-delivery modular construction. Amrit design of the building and its components. University, in Shanghai. It focused on the incorporating the existing historic fabric. Pilo’s linear project used the idea of the While some students made individualis- rapidly changing urban fabric along the The final review revealed vividly con- roof as a holistic element, with the building tic buildings, others engaged the landscape mouth of the Suzhou Creek, where the his- trasting approaches to the design and as infrastructure creating a sense of place. and scattered the project throughout the toric Bund District along the Huangpu River presentation of the project, from fairly Lasha Brown organized the public spaces site. Mustapha Jundi designed a gridded begins. Deteriorated but stylish traditional limited urban interventions in the immedi- around parking lots and urban-scaled “liv- multiplication of the art installation and apartments and commercial buildings, as ate area of the British Consulate by the ing machines,” coupled with elegant wharf abstracted the building elements across well as the large enclosed former British Tongji teams; to the much more extensive buildings linked to the waterfront. Navabi the landscape rather than housing every- Consulate, have now been designated Hong Kong team projects, which were still thought that the hard urban edge toward thing under one roof. Clint Burrus designed for preservation. The students from all relatively small scale, with new parks and the city and the soft one toward the water, a thick structural honeycomb next to a three schools confronted the complex, recreation areas as well as reconfigurations with green at the southern tip and cars transparent enclosure, with a layered urgent issues associated with the status of the site; to the three completely different removed to the periphery, provided a sense underground space establishing a dialectic of Shanghai’s fascinating colonial and approaches of the Yale groups, which take of arrival. Gauthier deemed Brown’s “proj- between the enclosure of the space and Communist history in collision with its cur- a stab at future characterization. ect about the view, with long linear blocks openness of the field, thereby enhancing rent global capitalist but ultimately state- developed to see beyond.” the opposition of figures and field, earth controlled development. Fred Koetter and Ed Mitchell Using the grid with buildings in close and sky, subject and object. Harris Ford’s On a ten-day trip to China the students proximity as the dominant form, Kyong building operated as a viewing device or visited Hong Kong and then, with the The post-pro studio, centering on ideas of Sook Kim (Gemma) created a comfort- controlling mechanism, through which the University of Hong Kong students, went “Temporal Urbanism”—which acknowl- able scale with wind machines and a tidal Lightning Field could be observed, coun- on to Shanghai, where students from all edges the complexity of forecasting urban estuary developing a new urban center. tering the objectness of his building and three schools worked in mixed teams to situations that allow for change—inves- Santiago del Hierro’s urban proposal becoming more about the moiré effect it study the site and the city. After returning tigated a developer’s site in Squamish, incorporated islandlike settlements in created. to New Haven, the Yale students worked north of Vancouver, Canada, the location local valleys linked by water-based transit A number of students proposed individ- in three teams to develop comprehensive of the 2010 Winter Olympics. The 77-acre and technical explorations that captured ualistic buildings. Audrey Voung designed site plans. The final review this year was a site, a former lumberyard on a peninsula natural forces such as wind and influenced a self-contained sculptural object. Janet special event because it included for the that suits a dense neighborhood for com- new models for community and design. Hoh focused on how you inhabit the build- first time students and faculty from Tongji muters to Vancouver and a proximity to However, Patkau noted that water, too, ing itself as a simpler object and analyzed University, in China, along with Yale and nature, challenged the students to propose has a force and is not just a pretty element, the 24-hour cycle of the day, often focused Hong Kong students. The jury also included a viable urbanism in a natural setting with asking, “How do you imagine water on the porch. Shauna Londergan used a Bu Bing (’00), an architect and urban public mixed use, residential and com- culturally?” regional rammed earth for chambers and designer from Shanghai, Anthony Atkin; mercial uses, as well as parks, greenways, roofs that collected water as a minimalist Wang Bowe, professor and former dean of and roads. The site has spectacular natural Peggy Deamer form of energy-efficiency. Clarisse Labro, Tongji University; Songzhou Dai, of Tongji features, where extreme design concepts Lightning Field who designed a tilt-up wall with felt on the University; Jamie von Klemperer; Deborah could explore formal ways to design for interior, focused on the cabin as a func- Gans; Fred Koetter; Amy Lelyveld (’89); sustainability. Peggy Deamer’s studio designed a tional space rather than having it compete Robert Levitt; Leslie Lu (’77), of Hong Kong The students began with analysis of replacement for the original log-cabin with the work of art. University; Jon Pickard (’79), and Elihu urban organization strategies, including guesthouse at the Dia Foundation’s Rubin (Yale College ’99). linear, enclave, neighborhood, and satellite Lightning Field installation, by Walter De Students from China flew over to Yale models. They also familiarized themselves Maria, in New Mexico. In deferring to the 1. Gabrielle Brainard, Project for Marc with their models packed in suitcases with West Coast planning strategies and exquisite precision and “high art” of the Tsurumaki Advanced Studio, fall 2006 and reassembled them to present to the new developments, which they visited installation, the existing guesthouse— 2. Michael Powers, Project joint jury. The Yale students’ approaches when they met in Vancouver with the devel- which comes equipped with instructions for Fred Koetter and Edward included Julia Suh and Mohammed Balila’s oper Roger Navabi. At the final review, on how to behave correctly on the site— Mitchell Advanced Studio, relatively low-density infill project that pro- which included the master-plan design of strives to be low culture, concealing the fall 2006. moted street-oriented commercial develop- the mixed-use residential site, they pre- facts of its own creation. The students were 3. Khai M. Fung and Ayumi ment, especially in the IT sector. Overlaying sented their schemes to jurors including asked to reverse the model by designing a Sugiyama, Project for Gregg the new system, but not totally obliterating developer Roger Navabi, Keller Easterling, new guesthouse located in approximately Pasquarelli Advanced existing buildings, the scheme resolved Martin Finio, Mark Gage (’01), Douglas the same place and accommodating the Studio, fall 2006. 23 Sophia Gruzdys, critic in architecture, collection and reader, while solving the recently completed a private residence problems of information location, access, in Begur, Spain. The house was featured and management in larger libraries. The on the cover of the Spanish magazine firm’s Hallingby Residence, on Harbor Interiores in November 2006. Island in the Bahamas, comprising laminat- ed wood beams and column frames pre- Stephen Harby (’80), lecturer, led archi- fabricated in Florida, was erected on-site Faculty tectural tours and conducted water- in two weeks with in-fill by local carpenters color workshops in Libya, southern India, and masons. California, and New York City for organiza- tions including the Society of Architectural Tim Macfarlane and Patrick Bellew, Historians, the American Academy in lecturers, have essays in the book Rick Rome, the National Committee for the Mather Architects, by Robert Maxwell History of Art, and the Institute of Classical (Black Dog Publishing, August 2006). Architecture & Classical America. He was a contributing author to the American Institute of Architects’ Architectural Graphic News Standards, eleventh edition, in the section on classicism. Harby’s watercolors were exhibited in Northern California and in Santa Monica. Peggy Deamer, associate dean and Deborah Gans, critic in architecture, with associate professor, has accepted her firm Gansstudio, completed the design Dolores Hayden, professor, is spend- a position as head of architecture and of the restaurant Varietal, in Manhattan. ing the year as a Fellow at the Center for planning at the University of Auckland, in The firm’s projects on emergency hous- Advanced Study in the Behavioral Sciences New Zealand, starting in February 2007. ing were published in Design Like You at Stanford University. In September, she 5. Her New York-based firm, Deamer Studio, Give a Damn, edited by Architecture for spoke at the annual conference on hous- has been working on projects in New York Humanity (Metropolis Press, June 2006). ing for Dwell magazine and in November Alan Organschi (’88), critic in architecture, City and Auckland. An essay Gans wrote on the HUD-funded delivered a Dean’s Lecture at the Radcliffe with his partner, Elizabeth Gray (’87) of work in was published in Institute, in Cambridge, Massachusetts. Gray Organschi Architecture, received a Peter de Bretteville (’68) is design- Bauwelt. She was a finalist in the interna- Her book, A Field Guide to Sprawl (W. W. 2006 AIA Connecticut Honor Award in the ing houses in Austin, Texas; Litchfield, tional competition sponsored by IFG Ulm, Norton, 2004), was listed as one of the “Unbuilt Projects” category for a proposal Connecticut; Portland, Oregon, and “The Design of Politics: The Politics of top twenty books in science, as well as a to adapt and redevelop the structure of Chicago. Design.” Gans has given lectures about her top title in urban studies; her research on the New Haven Coliseum, an alternative work at the Pratt Institute, IFG Ulm, Sarah sprawl will be featured in three upcom- to the city’s demolition plan now under Keller Easterling, associate professor, Lawrence, and the Temple Hoyne Buell ing documentary films. Hayden received way. The firm also received 2006 New received a grant from New York State Center of Columbia University. the 2006 Margarita McCoy Award from England and Connecticut AIA Awards for Council for the Arts to mount an exhibi- the Association of Collegiate Schools of the design of New Haven’s Firehouse 12 tion at Storefront for Art and Architecture Alex Garvin (’67), adjunct professor, with Planning for innovative research on gender Music Production and Recording Studio in the summer. The exhibition will draw his firm Alex Garvin & Associates, is work- and urban space. on Crown Street, a project praised for its from her advanced studio on high-speed ing in Memphis, Tennessee, in coordination technical and acoustical innovation as rail and a seminar on global infrastruc- with Shelby County and private foundations Brian Healy (’81), critic in architecture, well as its preservation and reuse of an ture, at Yale. The Berlage Institute has to transform the 4,500-acre Shelby Farms won a competition sponsored by the abandoned city fire station. The firm is asked Easterling to collaborate on the site into a park integrated with neighbor- National Endowment for the Arts for the designing the Jesuit Apostolic Center and 2007 Rotterdam Biennale, titled “Power: hoods and connected to a countywide Mill Center for the Arts in Hendersonville, Residence at Fairfield University; a new Producing the Contemporary City.” She open-space system. In Nebraska, the North Carolina. The commission calls for day-care center and nursery school for the is one of five researchers whose work is firm created a planning tool kit for citizens an 85,000-square-foot cultural center that Guilford Center for Children, in Guilford, being used to set the terms of investiga- along the I-80 corridor between Omaha covers an entire city block and includes Connecticut; an environmental upgrade of tion for five types of cities under consider- and Lincoln, offering a context in which a 1,200-seat symphony hall, a 300-seat the building envelope of the Yale Medical ation. Easterling delivered lectures last fall to understand the long-term impact of blackbox theater, art galleries and studios, School’s College Plaza building on College at Goldsmiths in London, Harvard, Ohio planning decisions and how citizens can as well as a children’s museum. Street; a 300-foot-long bridge and wetland State University, Woodbridge University influence them. In addition, the firm was crossing over the Macedonia Brook and in Pasadena, and the National Arts Club, hired by GB Development and Toll Brothers its floodplain, in Sharon, Connecticut; and in New York. Her article, “Too Smart to Be to design a new park in Maryland, near a zero-energy building material storage Right: the Stunning Political Success of Washington’s Capitol Beltway. In New and maintenance facility, in Washington, Stupidity,” was published in Did Someone York, the firm is studying sites for a new Connecticut, as well as several new houses Say Participate (MIT, Fall, 2006). She was high school, waterfront planning, and in Connecticut. interviewed in Bidoun and on www. strategic capital investments for the city of archinect.com/features. New York. Garvin lectured at the “Growing Eeva-Liisa Pelkonen (MED ’94), assistant Greener Cities” conference in Philadelphia professor, concluded work on the multiyear in October 2006. He also participated in an 3. Eero Saarinen research project with the October 3 panel discussion at the Urban opening of the exhibition Eero Saarinen: Center cosponsored by the Storefront for Shaping the Future in Helsinki on October Art and Architecture, in New York, that Mimi Hoang, critic in architecture, with her 6, 2006. The book bearing the same name explored the potential benefits of urban office nArchitects, recently won an AR+D that she co-edited with Donald Albrecht sprawl, as outlined in Robert Bruegmann’s Mention for “Windshape,” a responsive was published by Yale University Press in book, Sprawl: A Compact History environment that registered the wind in November 2006. In addition to lecturing (University of Chicago Press, 2005). Lacoste, France. The firm was commis- about Saarinen’s architecture to various sioned by Lexus to design an installation audiences, including to a group of British that would slowly transform over a week. scholars and archivists attending a sym- Its project “Unpacking” was exhibited at posium at the British Art Center, Pelkonen the World Financial Center, in New York, is designing an employee lounge for the 1. in October as part of Lexus’s new car Thomas J. Watson Research Center, in launch event. The firm’s Switch Building Yorktown Heights, New York, originally Martin Finio, critic in architecture, of was included as one of Open House New designed by Saarinen. Christoff:Finio, will begin the design for York’s public tours and architects’ talks. an extensive renovation of the New York In fall 2006 Hoang and her partner, Eric Supreme Court Building in . Bunge, lectured at Columbia University, Christoff:Finio will present a lecture about , and the first New its work in in February 2007. Finio York event of Pecha Kucha. Their firm’s will also be part of this year’s selection work was published in the following books committee for the Architectural League of 2. last year: Materials for Design (Princeton New York’s “Emerging Voices.” The firm Architectural Press), Activity Diagrams was selected in an invited competition to (Damdi Press), Natural Architecture (22 design the education-floor interior spaces Kimo Griggs (’84), lecturer, designed and Publishing), and New Urban Spaces (Links of SANAA’s New Museum. manufactured details for the Winvian Farms Books). Recent magazine publications 6. “Industry” cottage, a resort in Litchfield, include Architectural Record, Architectural Mark Foster Gage (’01), assistant pro- Connecticut. He oversaw the rehabilitation Review, Domus, Icon, and Mark. Ben Pell, critic in architecture, has recently fessor, with his firm Gage/Clemenceau of the North Bennet Street School, includ- completed a 2,000-square-foot retail Architects, was an AIA New Practice as ing a new executive officer’s suite, work- M. J. Long (’64), critic in architecture, project, Valley, on New York’s Lower East part of “The Future of the Architecture shops, and a headquarters for the only full- with her firm Long & Kentish and Colin St. Side. Featured in the New York Times Profession in New York,” which included time bookbinding department in the coun- John Wilson, was featured in Architecture “Style” section (October 2006), it includes participation in an exhibition at the AIA as try. In addition, his design for a new build- Review, October 2006, for the design of an two CNC-fabricated installations produced well as the Häfele Showroom. The firm’s ing for the Granite Academy, in Braintree, art gallery in Chichester, England. at Yale over summer 2006 with assistants work was also part of the exhibit “Physical Massachusetts, is nearing completion, as Todd Fenton (’08) and Marc Newman (’08). Tools in a Digital Age” at the Fordham are benches in Union Square, Somerville, Pell participated in the panel discussion University Gallery. The firm was chosen as Massachusetts, a winning entry in a recent “Decoration” at the Architectural League a finalists for this years MOMA/PS1 Young public seating competition. Griggs received of New York in November 2006, with the Architects Program competition. a Boston Society of Architects Small launch of the book Decoration (306090), The firm’s design work includes a Firms/Small Projects award for additions which includes recent research by his television production studio, residential to the historic Wellesley House, and his Brooklyn-based practice, Pell Overton. The projects, and programmable pods for table series, Fetch, was displayed at the firm’s work was included in the exhibition an office cubicle system. Gage’s essay International Contemporary Furniture Fair. Blockparty, featuring the work of Brooklyn- “Deus Ex Machina: From Semiology to the Griggs co-authored the book Digital Design 4. based architects and designers as part Elegance of Aesthetics” will be published and Manufacturing: CAD/CAM Applications of the 2006 International Contemporary in the AD issue “Architectural Elegance,” in Architecture and Design (Wiley, 2006) Herbert S. Newman (’59), critic in architec- Furniture Fair in New York, on view edited by Ali Rahim and and contributed to the CAD/CAM section ture, is designing Crown Mews, a complex May–October 2006 at 14Townhouses, a Hina Jamelle (March 2007). of the upcoming Architectural Graphic of twenty-two town-house units and sev- new residential development in Downtown His review “Disappearing Standards. In addition to his teaching in enty-four belowground parking spaces in Brooklyn. Architecture: From Real to materials and component prototyping downtown New Haven. The firm designed Virtual to Quantum” was at Yale, Griggs instructs digital design the Guadalajara and Jalisco, Mexico, Alec Purves (’65), professor, displayed his published in the Journal and manufacturing workshops at the regional library as a place of connection watercolors at the Blue Mountain Gallery, of Architectural Education Universidad Iberoamericana, in between the past, present, and future to in New York, from November 28 through 24 (February 2006). Mexico City. create an intimate relationship between December 30, 2006. Nina Rappaport, publications director, Victoria Sambunaris. Faculty members house incorporates solar panels on the are asked to develop individual proposals received a New York State Council on the who have been recent MacDowell Fellows roof, natural ventilation through operable for consideration in group discussions, but Arts grant toward research for her book, include Kent Bloomer, Keller Easterling, windows in each room, reclaimed blue- beyond that we operate more like a profes- Support and Resist: Structural Engineers Hilary Sample, and Joel Sanders. stone curbs as landscaping material, and sional firm in terms of relationships with our and Design Innovation, to be published a large variety of native trees and plants clients.” by The Monacelli Press (Spring 2007). Claire Zimmerman, lecturer, published the to replace invasive species throughout the As the UDW works within the vocabu- She took part in a November 2006 panel book Ludwig Mies van der Rohe (Taschen), property. Whether it is the larger vision lary of urban planning on projects discussion at the New York Architectural which went on sale in Europe and North of the design or the precision of its finely involving land use, zoning and design League in conjunction with the publica- America in fall 2006. wrought details, there is an enthusiasm evi- regulations, and transportation, Plattus tion of the Decoration (306090), which dent in this house that we hope will endure. is careful to define it as an urban design includes her essay, “Deep Decoration.” She studio. Currently, the UDW is also col- was architectural critic in residence at the —Benjamin Smoot (’08) laborating with the New York–based office University of Albany SUNY in November Building Project Perkins+Will to design a new campus when she gave a talk of the same name. in downtown New Haven for Gateway Her project City, Connecting 2006 Community College. Encompassing nearly the Arts, (Episode Books, 2006) co- Urban Design 400,000 square feet of space, it is one of authored with David Reinfurt and Colin Detail is what you notice as you walk the largest urban-development projects in Cathcart, is reviewed in A+ (February 2007). through the 2006 Building Project; detail Workshop New Haven. The Vertical Urban Factory, the work of the expresses an idea, unifies rooms, or “As the urban design consultant on the advanced studio cotaught with Michael resolves a material intersection: detail that Founded in 1992, the Yale Urban Design Gateway project,” Andrei Harwell explains, Towers (’00), at Parsons School of Design covers our mistakes, highlights our suc- Workshop (UDW) has occupied a unique “we have wide latitude and are collaborat- will be exhibited in New York. cesses, and bears the brunt of our experi- niche in the New Haven cityscape, working ing on a variety of aspects of the project, ments. They show where we have learned on regional urban planning charrettes in from the building massing, circulation, and Dean Sakamoto (MED ’98), exhibition how to build and how we have spent our which professors and students can col- material selection to paving patterns and director and lecturer, of Dean Sakamoto late-night hours; they reveal the traces of laborate on real-world projects. lighting standards. We key into any issue Architects, completed the New Haven an experience that we will lean on when As Alan Plattus, professor of architec- which might impact the urban or public Veterans Memorial Hall and monument in we build again. But for all of the meticulous ture and the program’s founder, explains, realm, meaning how the city functions both New Haven City Hall, which was dedicated effort expressed in the house’s details, the this notion of town-gown symbiosis is aesthetically and programmatically, and on Veterans Day. The firm designed and design retains its original driving concepts, hardly novel: “There are a lot of community help determine how the building fits into installed the exhibition French Modern the most important of which was to strike design centers out there. They’re really a that system.” Yet despite the scale of the Sources, a show of iconic furniture from a balance between interior and exterior product of the 1960s, when architects and project, it isn’t driven primarily by aesthet- the Centre Pompidou’s Collection of spaces. other design professionals were looking ics but strives for seamless integration into Architecture and Design curated by its The house occupies a distinctive lot for other means to practice to connect New Haven’s urban fabric. “We are looking director, Frederic Migayrou, at the Collins among multifamily houses and apartment with communities outside of immediate at what the building will do to the neighbor- Gallery at Art Basel Miami in December. buildings on Henry Street in New Haven’s professional relationships.” This need has hood and to the street and are trying to Dixwell neighborhood. Nearly double the materialized in the UDW, which is a non- understand how it should best fit into that Joel Sanders, associate professor, served width of the neighboring houses, with a profit urban consulting service providing system or how it can modify that system for on a jury for the Pan-American Biennale, in 5-foot drop in grade and a 60-foot-tall assistance on local development and revi- the benefit of the city,” said Harwell. Quito, Ecuador, in September 2006. His maple tree at its heart, the site talization projects. This investigation evolves as part of interior lobby entrance to the Kahn Yale Art offered challenges and opportunities The UDW serves towns and community a charrette process, on a weekend-long Gallery was completed in December 2006. that guided the students in their design. groups, as well as chambers of commerce session of brainstorming among faculty, Landscaping and exterior construction and private developers. To procure the students, architects, and members of the Robert A. M. Stern, dean, and his firm, extended the design of the 1,500-square- firm’s services, clients often approach community. This is one of the UDW’s most Robert A. M. Stern Architects, completed foot program across the entire property. To the UDW and pay a minimal fee to cover distinctive features, in that it synthesizes the Joan and Sanford Weill Hall, home balance indoor and outdoor volumes, each student time and overhead. And as Plattus both a work environment and the highly of the Gerald R. Ford School of Public room on the ground floor was designed to said, “We have never needed to advertise. participatory nature of an academic studio Policy at the , in Ann connect with an exterior counterpart, sug- The word has spread throughout the state for a synergistic exchange of ideas for the Arbor, in fall 2006. Dean Stern was keynote gesting to the inhabitants the possibility of through various networks and, by now, development of a project. speaker for the Ed Bacon Foundation’s using different areas of the yard. The mass- government agencies who are concerned awards dinner in Philadelphia and present- ing of the house encloses a large outdoor with issues of planning, growth manage- —David Sadighian (Yale College ’07) ed the Baltimore Architecture Foundation’s room and frames the canopy of the tree, ment, environmental design, etc., know us.” inaugural Robert E. Lewis Lecture at the giving the shaded area both prominence The UDW is highly participatory, involv- Walters Art Museum in Baltimore. He is and shelter. ing an open dialogue with community 1. Martin Finio, Christoff: Finio Hechksher working with his firm on several new resi- The interior of the house reflects its groups as well as professional planning Foundation, New York, 2006. dential blocks in Almaty, Kazakhstan. New site. A solid wall to the west, near the prop- and landscaping firms. With a small 2. Kimo Griggs, Wellesley House addition, York 2000, the fifth volume in the series of erty line, is designed as a shell that seems workforce that includes full-time project Boston, Massachusetts, 2006. books on the architecture and urbanism to protect the interior volumes from the manager Andrei Harwell (’06), Plattus, 3. Mimi Hoang, nArchitects, Windshape in of New York City that Dean Stern has co- neighboring house. A double-height interior faculty members Edward Mitchell and Lacoste, France, 2006. authored, was published by the Monacelli void creates a vertical core from which all Keith Krumwiede, and five part-time stu- 4. Herbert Newman, Rendering of Crown Press in November 2006. other living areas spin off. As these spaces dent workers including second-year Nick Mews, New Haven, 2006. open to the east and north—revealing McDermott, the workshop is busy. As 5. Alan Organschi, Gray Organschi, Barry Svigals (’76), lecturer, with his firm both the Norway maple and the exterior McDermott said, “The jobs vary in scale, Rendering of concept for the New Haven Svigals + Partners, is designing the Eastern “rooms”—the floor level steps down with from small speculative studies to individual Coliseum, 2006. Connecticut State University Student each change in function, accentuating the buildings to downtown master plans.” 6. Ben Pell, Pell Overton, Valley, New York, Center and the Beecher School. His firm existing grade and mediating between While interested students usually apply, 2006. received a commission to design the urban street front and private backyard. Plattus said that the UDW also recruits. 7. 2006 Building Project, New Haven. Discovery School, a 70,000-square-foot Details articulate these design ideas, Some are drawn from Plattus’ gradu- 8. Urban Design Workshop scheme for interdistrict magnet school in Bridgeport, and the use of materials unifies disparate ate studio. He said, “Just as studios are proposed mixed-use district, New Britain, Connecticut. Its work for the depart- elements. Slatted horizontal cedar fencing exploratory in character, often students Connecticut, 2006. ment of neurobiology laboratories at the around an outdoor patio became siding for Yale School of Medicine, which achieved solid benches on the back deck. Aluminum a LEED-Gold certification and became channels used at the joints of the exterior the first LEED-CI-certified project in cladding were also used in fence posts and Connecticut, was featured in the Hartford toe-kicks at an exterior bench. Ship-lapped Courant, November 2006. Svigals also cedar siding highlights the exposed shell published an article in School Planning and of the west perimeter walls and roof soffits Management magazine (May 2006) about and reappears at the front porch, which is his firm’s Martinez School project. Svigals carved into the mass of the building. A cus- is designing the Columbus School in New tom-designed steel-and-cedar handrail at Haven, some private residences in New the interior staircase connects the spaces York and Connecticut, various laboratory on the second floor to the lower levels and buildings, and is also completing program- the exterior porches through the use of like ming studies for three new elementary materials and detailing. schools in Waterbury, Connecticut. Details also represent figurative ideas and accentuate fine-grained design ele- Claire Weisz (’89), critic, with her firm ments. An ornamental screen at the Weisz + Yoes Architects, and Mark perimeter of the double-height space, for Yoes (’90), received two awards for the example, is assembled from milled cedar Battery Bosque—a top award from the boards with a solid-and-void pattern based Waterfront Center and an Honor Award on the maple tree. The screen underlines from the N.Y. Chapter of the American the importance of the tree and its interior Society of Landscape Architects. The counterpart, the vertical volume, adding a firm was also a finalist for the New York contemporary take on ornament to a neigh- 7. Aquarium Competition, and its Surf Avenue borhood rife with traditional architectural Pedestrian Bridge, in Coney Island, was flourishes. Elsewhere, beech countertops featured in the New York AIA exhibition, form a continuous datum throughout the Going Public, in November 2006. In fall first floor, physically connecting each room 2006, George Layng Pew III (’89) became a while forming a visual separation from the partner in the firm. kitchen. Routed wood vents, cabinets with reveals, and slotted siding all particularize Carter Wiseman, lecturer, has written different spaces and elements in the house. the first biography ofLouis I. Kahn, Louis Some details respond to pragmatic I. Kahn: Beyond Time and Style (W. W. functions. Built-in cabinetry, which stu- Norton, March 2007). He spoke at the dents fabricated in the wood workshop at Phillips Exeter Academy on November the School of Architecture, provides stor- 16, 2006, to share in the celebration of age throughout the house. The planning the 35th anniversary of the installation of of the kitchen and its cabinetry maximizes the school’s book collection in the library the usefulness of the space, intended to designed by Kahn. Wiseman edited the accommodate several family members. book A Place for the Arts (December 2006) The double-height slot offers an auditory to mark the centennial of the MacDowell connection between the two floors and Colony, the nation’s oldest retreat between the utility entrance and the rest of 8. for creative artists. The book includes the house. Finally, continuing the efforts to photographs by Yale faculty member be environmentally responsible, the 2006 25 and Classical America’s first Arthur Ross 2000s Director of Education. Deupi gave a talk with partner Pier Carol Nontempi about their Goil Amornvivat (’00) is a contestant in architectural practice in February 2006. the TV reality design show, Top Design, on Bravo from January 31 through March 1990s 2007. Alumni Ken Anderson (’90) and Pamela Freund Michael Chung (’01) and Kara Bartelt (’90), of Environmental Design Group (’99), of Lettuce Office & Lettuce Interiors, Enterprise, EDGE Architects in Taos, New were featured in LA Architect magazine’s Mexico, has an adobe straw-bale home November/December issue. The article featured in the book Building with Earth: showcased the top ten firms to watch Design and Technology of a Sustainable in and discussed Lettuce’s Architecture by Gernot Minke, published in range of work, from multi-unit housing 2006. The house also won an Excellence to projects for Landon Cole Furnishings. in Design honorable mention from Chung and Bartelt currently teach at the Environmental Design and Construction University of Southern California. News magazine in 2005. The firm’s work was also published in Sources+Design magazine Bimal Mendis (’02), Joyce Hsiang (’03), (July/August 2006). and Jonah Gamblin (’05) have joined OMA, in Rotterdam. Alumni News reports on recent projects University, Middletown, Connecticut. Robin Elmslie Osler’s (’90) work for by graduates of the school. Please send Modernist glass façades allow vistas into Anthropology was discussed in a letter Rosamond Fletcher (’05) helped plan the your current news to: Constructs, Yale the new Patricelli 1992 Theater, the Zelnick from the store’s president in the July 26, September 2006 Dean’s Roundtable and School of Architecture, 180 York Street, Pavilion, and the Memorial Chapel. 2006, issue of The Architect’s Newspaper. Arch Schools-Public View(ing) exhibition at New Haven, CT 06511. the AIA’s Center for Architecture, in New 1980s Jason Alread (’91) and Tim Hickman (’00), York, where she is working as a curator. 1950s of the Des Moines–based firm Substance, were selected by the International Interior Julia Stanat and Sal Wilson (’05) are Hugh Newell Jacobsen’s (’55) addi- Design Association as Best of Competition working at Gwathmey Siegel Architects in tion and renovation of the University of in the 33rd Annual Interior Design New York. Oklahoma’s Fred Jones Jr. Museum of Art Competition for their work on their own was featured in the September 2006 issue studio space. Jennifer Duhamel (’05) works for of Architectural Digest, along with Gavin Skidmore, Owings & Merrill in Roger Macrae-Gibson ’s (’79) Canadian Summer Duffy’s Education Lab, New York. Cottage. Graduates from the class of 2006 are 1960s working at the following architectural firms: 1. Stanley Tigerman (’60) was featured in Ashton Allen, Pickard Chilton, New the New York Times on November 5, 2006, Turan Duda (’80), with his firm, Duda/Paine Haven, Connecticut; Eeron Ashley, for his work on the Pacific Garden Mission Architects, received a 2006 Merit Award Hart Howerton, New York; Christopher project in Chicago. His design for the for Design from the American Institute of Beardsley, Cooper Robertson & Partners, faith-based nonprofit will consolidate the Architects Triangle Design Awards, for the 3. New York; Benay Betts, Arquitectonica, mission’s activities in a 156,000-square- North Carolina School of the Arts Welcome New York; Matt Byers, James Dayton foot structure and includes a greenhouse Center. The Winston-Salem project was Celia Imrey (’93), of Imrey Culbert, in New Design, Minneapolis; Mario Cruzate, complex as part of its sustainable-design an outgrowth of the campus master plan York, is working in a joint venture with Melanie Domino, Sarah Rubenstein, and features. designed by Duda/Paine Architects and SANAA of Japan on a 300,000-square-feet Tim Kirkby, Robert A.M. Stern Architects, was completed in 2005. Phase one of the branch of the Louvre Museum on a former New York; Namil Byun and Michael Phyllis Lambert (’61) delivered the sec- firm’s Time Warner Cable Headquarters mining site in Lens, France, integrating the Grogan, Koetter Kim and Associates, ond annual Eleanore Pettersen Lecture, was also completed in Charlotte, North museography, lighting, display concepts, Boston; Timothy Campbell, Leroy Street “The Social, Ethical, Aesthetic, Cultural, Carolina. and the visitor’s experience with the build- Studio, New York; Paolo Campos, and Financial Significance of ‘Wasted’ ing design. Other projects include the firm’s Centerbrook Architects, Connecticut; Eren Space: The Building, 1954–58,” Alexander Gorlin (’80) assessed Leon gut rehabilitation of the Kuwait National Ciraci, , London; Sung Ik Cho, on November 9, 2006, at Cooper Union’s Krier’s Jorge M. Perez Architectural Center Museum, which was bombed in 1991 and SOM, New York; Daniel Chung, MGA great hall. at the University of Miami, Coral Gables, will begin construction in June 2007. The Partners, Philadelphia; Abigail Coover Florida, in an article in Architectural Record firm has also completed the exhibition dis- and Nathan Hume, Gage/Clemenceau Charles Gwathmey (’62) was featured (October 2006). play designs at the Morgan Library, in New Architects, New York; Naomi Darling, with Ralph Lauren in Wallpaper magazine York (Renzo Piano Architect); the Toledo Kengo Kuma, ; Andrei Harwell, Yale in October 2006. The issue paired several Museum of Art Glass Pavilion, in Ohio Urban Design Workshop, New Haven; fashioner designers with the architects (SANAA Architect), and the Smithsonian Drake Hawthorne, Transsolar Climate who inspire them, and Lauren selected American Art Museum at the Renwick Engineering, Stuttgart; Laura Killam, Gwathmey for his clarity and focus. Gallery, in Washington, D.C. Gehry Partners, Los Angeles; Heather Kilmer, Studio Gang, Chicago; Theoharis David (’64) gave the pre- Chris Kitterman, Joel Sanders/Diana sentation “Defining Sustainability” at an Balmori; Nicole Lambrou and Abigail international symposium on sustainability Ransmeier, Behnisch Architekten, in Nicosia, Cyprus, sponsored by the Stuttgart, Germany; Andrew Lyon, Kohn Harvard School of Public Health and the 2. Pedersen Fox, New York; Julia McCarthy, Environment in October 2006. Sage and Coombe Architects, New York; Ted Porter (’84), with his firm, Ryall Porter Mayur Mehta, Hillier Architects, Princeton, Craig Hodgetts (’66) with his firm, Architects, received an honorable men- New Jersey; Fred Scharmen, Greg Lynn Hodgetts + Fung Design, was given a Civic tion in the 2005 NYC Green Building 4. FORM, Venice, California; Meaghan Award for the design of Hyde Park Miriam Competition sponsored by EPA and Smialowski, Flank, New York. Matthews Branch Library by the LABC at NYCDEP. The firm’s proposal for Median- Johannes M. P. Knoops (’95) exhibited his the 36th Annual Los Angeles Architectural Income Housing on Park Avenue was winning design for the Tsunami Memorial at Maya Lin’s Vietnam Memorial has been Awards. exhibited at the Center for Architecture in Teatergata/Munchs Gate, in Oslo, Norway. given the AIA’s 25th Year Award. June 2006. The project, “Precious Memories Floating 1970s on a Mystic Horizon,” commemorates the Architectural Record December 2006 Bruce Lindsey (’86) was appointed dean Tsunami victims of Norwegian origin and featured Yale women faculty Zaha Hadid, Sara Caples (’74) and Everardo Jefferson of the Washington University in St. Louis was sponsored by the National Foundation Deborah Berke, Peggy Deamer, and (’73), with their firm Caples Jefferson School of Architecture. for Art in Public Buildings of Norway. Its Sophia Gruzdys as well as Yale alumnae Architects, received a 2006 Project Award location on the western shoreline of the including Andrey Matlock (’79) and Robin Citation from the New York AIA Chapter for David Leary (’87) lectured at the opening of Bygdoy peninsula in Oslo will be visible Elmslie Osler (’90). their work on Intergen, a ten-unit residential the exhibition At the Threshold of Eternity from both land and sea. project in Chicago. The housing, designed at the University of Kentucky College of The AD100 list for January 2007 includes for grandparents to raise their grand- Architecture in fall 2006. The show featured Jim Cronenberg (’98), of Washington, the following from Yale: Norman Foster, children, was also a 2003 finalist in the a series of finely crafted basswood mod- D.C.–based GRUPO7, completed several Peter L. Gluck, Alexander Gorlin, National Endowment for the Arts Intergen els, including Hejduk’s Cathedral and Le projects in 2005, including the Ceviche Thomas Kligerman, Hugh Newell Competition. Caples and Jefferson’s Corbusier’s La Tourette, executed by Leary Restaurant, Eyebar Lounge, House in Jacobsen, Jaquelin T. Robertson, design for the Weeksville Heritage Center, and several generations of his students Capitol Hill, K Street Lounge, Loft in Robert A.M. Stern, and Stanley in Brooklyn, New York, was a featured case at the College of DuPage, in Glen Ellyn, Adams-Morgan, Mate Restaurant, Play Tigerman. study in the 2006 City of Culture exhibit at Illinois. His Chicago-based firm, Alcacova & Lounge, RRG Worldwide HQ, Savory Café, New York’s Center for Architecture. The O’Leary Collaborative, was awarded a Jury all in Washington, D.C., and a Seaside LEED Gold–rated building, with a façade Selection citation for its entry, “A Pathway House, in Chile. decorated in patterns derived from African of Hope in a Troubled World,” in the High- art, also received a 2005 Design Award Line Design Competition, in New York City, from the Art Commission of the City of in 2005. The firm has recently completed New York. the Naper/Davis and Owen/Leary residenc- es, located on Chicago’s north side. 1. Turan Duda, Duda/Paine Architects, Peter Calthorpe (MED ’79) received the North Carolina School of the Arts Welcome 2006 Urban Land Institute J. C. Nichols Eric Watson (’88) was featured in the Center, 2005. Prize for Visionaries in Urban Development, September 2006 issue of Clem Labine’s 2. Ted Porter, Ryall Porter Architects, which honors those who inspire great Period Homes. The article “Simple Forms” concept for Median-Income Housing, Park places. He is the first architect and urban discussed Watson’s evolution as an archi- Avenue, New York, 2006. designer to win the prize. Vincent Scully tect and mentions the profound impact 3. Celia Imrey, Imrey Culbert with SANAA, and Gerald Hines have also Elizabeth M. Plater-Zyberk (’74), Andreas 5. rendering of the Louvre Museum, Lens, received the honor. Duany (’74), and (’84) had France. on his career. Today, Watson specializes Maureen Zell (’98) and Marc Roehrle 4. Johannes M. P. Knoops, rendering of Robert Olson (’79), of in Southern vernacular and Caribbean- (’98) formed a design and research firm the Tsunami Memorial Teatergata/Munchs Robert Olson + Associates, inspired homes in the New Urbanist devel- in Boston, Massachusetts. Its first com- Gate, Oslo, Norway, 2006. in Boston, recently com- opments of the Florida panhandle. pleted work, the Northeastern University 5. Maureen Zell and Marc Roehrle, pleted a series of cul- Victor Deupi (’89) is currently serving Veterans Memorial, was dedicated on Northeastern University Veterans Memorial, 26 tural pavilions at Wesleyan as the Institute of Classical Architecture November 11, 2006. Boston, Massachusetts, 2006. Aaron Betsky Two Yale Grads Moves to Cincinnati Green New York

After five years as director of The Hillary Brown (’74), who with her office, Netherlands Architecture Institute, Aaron New Civic Works, provides sustainable- Betsky (’83) has become the new director design consulting on individual building of the Cincinnati Art Museum, the oldest in projects and helps government agen- the United States west of the Alleghenies. cies and universities green their building The museum is ready to build on its intrin- programs. Published in 2006, her High- sic role in the community (admission is free) Performance Infrastructure Guidelines: through a major rethinking of its exhibitions Best Practices for the Public Right-of-Way and collections. According to Betsky, the (City of New York with the Design Trust for museum “is an institution with a particular Public Space) applies ecological design history, one that was started by the good principles to urban infrastructure and land- ladies of Cincinnati with what was then scape as well as urban environmental sys- the South Kensington Museum and now tems in a holistic and integrated ecology. the Victoria & Albert in London as its model. Brown also authored a green-design man- It therefore has a strong tradition of ual for the public schools in New Haven, 2. thinking of art as part of everyday life and where she has helped to implement a an active participant in the development dozen projects. For the State University of of a society.” New York, she co-authored a high-perfor- mance building manual to inform its capital construction program. More recently, for the New York Audubon Society, Brown’s “Bird-Safe Building Guidelines” addresses the escalating problem of bird collisions with built structures, recommending exist- ing and emerging design and operational practices for building owners. Currently, she is assisting the New York State Power Authority in a program to green its building and infrastructure assets. Brown teaches sustainable design at Princeton and Columbia University schools of architecture. Bruce Redman Becker (YSoA and SOM ’85), architect and developer, with his firm, Becker + Becker, completed the Octagon, the first large-scale preservation project in the U.S. to meet LEED Silver standards. A 500-unit rental building in 1. the Octagon Tower on Roosevelt Island, designed by Alexander Jackson Davis in 1839, the complex includes numerous Inui a Record family-oriented amenities and a 30,000- square-foot public space designed by Design Vanguard David Rockwell. First built as the entry and adminis- 3. Kumiko Inui (’96), principal of the tration spaces for the New York Pauper Office of Kumiko Inui, was featured in Lunatic Asylum, the building became the Architectural Record’s 2006 Design Metropolitan Hospital, but after being Vanguard (December 2006). Upon gradu- vacated and then suffering two fires in the ating from Yale in 1996 and receiving 1990s, only the eight walls of the Octagon the prestigious William Wirt Winchester Tower remained. The tower has been Traveling Fellowship, Inui returned to restored to its original appearance, with a Japan to work for the Office of Jun Aoki reinvention of the seven-story monumental and Associates. After four years working spiral stair. Flanking the tower are two new in the office, Aoki’s maximum allowance of residential wings where the old hospital employment, Inui opened her own office wings once stood. The building uses 35 in Tokyo. Her career began with interior percent less energy than comparable designs for high-end retailers such as new buildings, 50 percent less than older MeLeZe Gotemba (Shizuoka 2003) and residential buildings, and is built with 40 Jurgen Lehl Marunouchi (Tokyo 2003), percent recycled materials. Water and air 4. in which she drew on art and the idea of heat-recovery units, occupancy sensors to retail installations, using paint to create control hallway and stair lighting, and state- abstract shadows. Inui’s main focus to of-the-art insulated windows save energy date has been designing façades for luxury and reduce utility costs. The building is also 5. boutiques such as Louis Vuitton in Taipei, free of materials containing formaldehyde Taiwan (2006) and Christian Dior in Ginza, and volatile organic compounds. Locally water, and sanitation. a Damn, as well. AFHny’s work is shown Tokyo (2003), exploring industry through produced materials were used to minimize Since its founding in 1999, AFH has in depth in the exhibit Architecture for high-tech façades hiding craftsmanship. energy expended in transport, and most promoted innovative design solutions to Humanity New York’s NetWorks, on display Her current projects include an apartment of the construction waste was recycled. humanitarian crises through competitions, at the Municipal Art Society from January building in Tokyo. The building also has 250 solar panels on workshops, educational forums, and part- 17 to March 7, 2007. During the opening, its roof, the largest array on any building nerships with aid organizations and others. AFH and AFHny announced a new compe- in Manhattan or any residential build- The book is a new vehicle for this aim, and tition conducted through New York City’s ing in New York, which produce enough while three of AFH’s competitions are rep- Office of Emergency Management. The Top Design Prize power to supply all of the common areas, resented, most of the examples in the book crisis scenario of the competition is New the corridors, and the tower. The building have no formal link to AFH or to each other. York City in the aftermath of a category- to Student has almost an acre of “green roof” over Each of the projects presented follows an four hurricane. The information in the brief its underground parking facility, helping identical template that includes project is derived from both city and federal dam- Yichen Lu (’08) a first-year student in the reduce the “heat island” effect common costs and funding sources in order to give age mapping assessments. The challenge master’s program, has won first prize in to urban buildings. It has also met the designers and relief workers a realistic idea of the competition is to provide housing the 2006 Shinkenchiku Residential Design rigorous requirements of New York State’s of what was necessary to make each proj- that will be not only economically viable Competition, sponsored by Shinkenchiku green-building tax credit program and ect happen. What the projects in Design but contribute to vibrant neighborhoods in (“New Architecture”), a highly respected received the Green Apple Award from Like You Give a Damn have in common is the long term, the aim that AFH hopes to Japanese magazine. The objective of the DEP and EPA. an innovative approach to economic sus- encourage for designers everywhere. the annual international competition is to tainability. The research emphasizes that employ new media or definition, to describe the success of these design projects is due —Cynthia Barton the new urban lifestyle. Lu responded to to partnerships with local leaders and orga- Barton (’02) was a contributing editor for the theme by designing a portable device Architecture for nizations such as community development Design Like You Give a Damn. She is cur- titled “The Meaning of Life,” which will centers, as well as nonprofits that provide rently a Director of AFHny, the New York participate in and drive the development of Humanity social services. City affiliate of Architecture for Humanity. urban lifestyle: observing, reading, resting, The idea that design can help solve and wandering the streets of Manhattan, The not-for-profit Architecture for social problems is an old one, but the inno- transforming people’s activities from “pro- Humanity’s (AFH) book, Design Like You vation of AFH is that it acts as a conduit of 1. Kumiko Inui, Office Kumiko Inui, Dior, gram” into poetic narrative. The winners Give a Damn: Architectural Responses to information and opportunity for people car- Ginza, Tokyo. Photograph by Marc were announced in the December issues Humanitarian Crises (Metropolis Books, rying out design work in all corners of the Guberman (’08), 2006. of Shinkenchiku and JA “Japan Architect” 2006), shows that beyond the high-pro- world. AFH’s upcoming Open Architecture 2. Becker + Becker, Octagon Tower magazines. file rebuilding work which has followed Network will make these connections stair, Roosevelt Island, New York, 2006. Hurricane Katrina and 9/11, architects and easier than ever before. The OAN will be an Photograph by Paul Warchol Photography. designers are engaging with humanitarian Internet database with design and building 3. Gwathmey Siegel & Associates, crises all over the world. For the purposes information, connecting people to experi- rendering of new Art History Department Campus Fence of AFH’s work, crisis is defined as a situ- enced designers throughout the world, pro- building, Yale University, ation that exists whenever the economics viding information on tested designs and New Haven, 2006. In September 2006, Alexander Newman- of a community are affected by a sud- materials for many types of projects, and 4. Architecture for Humanity, Wise (Yale College, ’08) designed and built den disaster or a long-standing systemic offering the opportunity to link up formally ABC No Rio Charrette, New a construction fence at the CCL renovation issue. The book is a compilation of nearly with AFH by starting a local chapter. AFH York, 2006. Photograph site sponsored by the President’s Office one hundred projects—most of them not is now represented through projects in at courtesy of AFHny. and Calhoun College. The project was a reported in mainstream media—that least six countries. 5. Construction Fence Project, reconception of construction fencing pre- address problems related to emergency The work of AFH’s first affiliate organi- Yale University, designed by cipitated by the prevalence of construction housing, community space, public policy, zation, Architecture for Humanity New York Alexander Newman-Wise, sites on campus. as well as technology related to energy, (AFHny), appears in Design Like You Give 2006. 27 Constructs Yale University Non Profit Org. US Postage School of Architecture PAID New Haven, CT 180 York Street Permit No. 526 New Haven CT

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