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Architext
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Newsletter created by Lawrence Technological University students in the College of Architecture and Design (CoAD), from 1982-1989.
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Lawrence Technological University
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Lawrence Technological University
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American Institute of Architects, Student Chapter newsletter
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Architecture—Periodicals
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Spring, 1989, vol. 7, no. 1 edition of newsletter created by Lawrence Technological University students in the College of Architecture and Design. Editor: Mariitta Helineva, assistant editor: Sean O'Brien, editorial board: Robert Prentis, Richard Rounds, staff: Ken Faulkner, Donald Martin, Douglas Woodward, faculty adviser: Jean LaMarche.
Table Of Contents
A list of subunits of the resource.
Some observations in architecture, "terror and beauty" / Jean LaMarche -- Pontiac 1, Pontiac 2, Pontiac 3 / Steve Rost -- Adaptive reuse in the urban neighborhood / Heather Perry -- Architecture design engaged in as a process of meaning / Robert Lynch -- Corners / Duane Fuseline -- Scorpion / Harold Linton -- The great Mid-West agriculture / Harvey Ferrero -- Earth Study Institute / Gretchen Maricack -- On media and architecture / Bilge Bengisu -- Motown metamorphosis / Kirk & Koskela Architects -- (Re)centering a search for (re)form and the (non)building / Ed Orlowski -- Anthony Chaudhuri residence / Ian Fredrick Tabener -- Welcome / Vincent Law, Douglas Woodward -- The Max Klein building: an analysis / Sean O'Brien -- Diomede competition / Frank Painci -- Diomede competition / Pietro Ferrari -- Untitled / Christopher Mercier / Reflections on facades / Rochelle Martin -- Antigone's cave / Andrea Eis -- History: a defense / Dane Johnson -- Detroit's tall buildings / Robert Arens -- Architectonics / Svein Toensager, Jean LaMarche.
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Lawrence Technological University
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Spring, 1989
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May 30, 2018
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8 p.: Manuscripts 8.5 x 11 or smaller
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LTU-AT1989
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Lawrence Technological University
AIA
architecture periodicals
newsletters
student organizations
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ARCHITEXT
A
c
ARCHITECTURE
Dane A.
AND
FILM
Johnson
F o r m and substance are the
obsessions
of
the
architect:
space and light his passions.
To
explore t h e m and c o m e t o grips
w i t h t h e m , he burrows away in
w e l l - l i t w a r r e n s w h e r e he o f t e n
generates
a type
of
tunnel
v i s i o n . H i s s c o p e is n a r r o w e d
and he m a y lose sight of t h e
fact
that
architecture
is
successful
only
when
it
is
responding
to
a variety
of
artists and social sensibilities.
T h i s is w h y t h e a r c h i t e c t m u s t
observe
and
understand
the
wealth of artistic forms that
surround
him.
Painting,
literature, music and dance may
all c l a r i f y our obsessions
and
passions.
The film
medium,
however, draws on all of these
and in a particularly i m m e d i a t e
and contemporary manner may
illuminate our concerns
better
than any other m e d i u m .
Form
in cinema may
be
physical or l i t e r a r y . In t h e w o r k
of F e l l i n i and B e r g m a n w e see
e m o t i o n a l or i n t e l l e c t u a l ideas
expressed in purely f o r m a l ways
the
riderless
horse
or
deformed child
in "La Strada"
- and in r e a l i t y t h e f o r m shapes
our reactions. The same effect,
albeit in a different
context,
occurs in the A m e r i c a n musical
film.
"Singin' in the R a i n " or
" T o p H a t " use t h e f o r m s of
dance and song t o c o m m u n i c a t e
ideas.
These films are not
substantive: the emotions they
explore are simple.
Yet they
are
expressed
in
physical
manifestations
that transform
their
realm
into
a
pure
realization of feeling.
S u b s t a n c e i n f i l m is a n i s s u e
that may not find its beginnings
in the camera, but on paper.
T h e s u b s t a n c e i n a f i l m is f o u n d
in the w r i t i n g , t h e concept, t h e
generator
of
ideas.
Its
e x p r e s s i o n o n f i l m is t h e w o r k
of the director and actors; and
they
must
respond
to
its
guidelines.
The
screwball
comedies of the '30's and '40's,
s u c h as " B r i n g i n g U p B a b y " o r
"The
Awful
Truth",
depend
largely
on situations of
the
characters' anxiety. These
are
c r e a t e d by t h e w r i t e r .
Alfred
Hitchcock took this same type
of
situational structure
and
worked the camera to heighten
the effect.
He was able t o
fuse t h e ideas of f o r m
and
substance
into powerful
and
e x c i t i n g w o r k s . T h i s t o o is t h e
goal of the architect, to t a k e
his i n t e l l e c t u a l or
conceptual
n o t i o n s and use his tools t o
shape t h e m i n t o physical f o r m s
w h i c h embody the ideas.
The
artistic
handling
of
space and light are w h a t really
m a k e f i l m c o m e a l i v e , w h i c h is
also t r u e of architecture.
The
filmmaker
can
create
space
w i t h light and turn' light into
f o r m . The interaction of these
is w h a t g i v e s f i l m i t s p a r t i c u l a r
urgency. Recent European films
s u c h as " M e p h i s t o "
(Hungary),
"das
Boot"
(Germany),
and
"Diva"
(France)
contain
customarily powerful images of
space.
T h e spaces are c r i t i c a l
to the story and are expressive
vehicles,
- such
as
the
claustrophobic
U-boat in "das
Boot".
The filmmaker must
negotiate
and modulate
these
spaces in a manner w h i c h should
be of c o n c e r n
to architects.
T h e r e is a r e a l u n d e r s t a n d i n g o f
space
and
its
particular
capabilities
in
these
films.
Compare
the apartments
and
lighthouse in " D i v a " and it will
be u n d e r s t o o d h o w a c u t e
the
filmmaker's
understanding
of
space is.
T h e s a m e is t r u e o f
the contrast of shallowness and
depth, and grandeur and squalor
in "Mephisto".
T h e r e is m u c h
study
of
expansion
and
contraction of space here, of
light and dark, of the finite and
infinite.
W i t h o u t l i g h t t h e r e is n o
film.
T h e r e is a n
absolute
dependence here f r o m
which"
architects
may
profit.
Directors
such
as
Fosse
("Caberet"),
David
Lean
("Doctor Zhivago"), and Steven
Spielberg
("Close
Encounters")
p a i n t t h e s c r e e n w i t h l i g h t . Is i t
irrational
to
compare
the
modulation of space in light
that Le Corbusier achieved at
N o t r e D a m e du Haut, w i t h the
animated,
almost
spiritual,
quality of "Close Encounters"?
It
is
a
profitable
and
necessary
exercise
for
the
architect to look beyond
his
own discipline and draw f r o m
others.
The study of
film
draws upon the
technological
and
artistic
juxtaposition
present in a relatively new art
form.
P e r h a p s i t is t i m e t o
more fully embrace such new
f o r m s as a r e a s o f s t u d y f o r
architects.
There
was a t i m e
when
we
built
temples
for
movie- viewing.
N o w m a y be
the
time
to
make
the
pilgrimage
and
really
understand why.
We can only
benefit. •
EDITORIAL
R o b e r t J,
Farley
Architecture
is
expression
and statement.
The
simple
physical
activity
of
building
does
not
demand
that
the
builder
have
a
philosophical
attitude from which built f o r m
is d i s t i l l e d .
The evidence of
this freedom to build surrounds
us i n s t r u c t u r e s t h a t speak o n l y
of
their immediate
material
existence and their lack of any
guiding conception.
Architects
predictably scorn such building
b e c a u s e as designers w e k n o w
t h a t f o r m possesses qualities
that
transcend
physical
dimensions
and
mechanical
composition.
F o r m and space
are
expressive
of
humane
intentions.
It r e m a i n s t r u e t h a t , l i k e
a n y o t h e r a c t i v i t y p r a c t i c e d by
people,
architecture
is
characterized
by
diversity.
Architectural
expression
can
base its philosophical foundation
on anything that the architect
holds
as
meaningful.
Appropriateness
becomes
a
matter
of
temperament,
instinct
and
judgement.
Possibility obscures the clarity
of right and wrong.
A
�Universal harmony in such a
condition
of
subjectivity
is
impossible. This does not m e a n
t h a t c o n f u s i o n is t h e o n l y a l t e r native. The diversity of choice
a v a i l a b l e t o t h e a r c h i t e c t as a n
artist enriches the art f o r m .
As architects our desire should
be
to
communicate
and
exchange varieties of opinion
and belief, not to e l i m i n a t e
contradictory
influences
from
our e x p e r i e n c e . T h e purpose of
A R C H I T E X T i s to encourage this
type of dialogue.
Often,
the
greatest
enlightenments in architectural
education occur outside of the
classrooms
and
studios.
Architecture
is a v i t a l a n d
evolving entity that
demands
participation. The f o r m a t i o n of
informed,
philosophical
attitudes
is e s s e n t i a l t o
an
architect.
Architectural
journalism allows this t o hapf)en
by
presenting
ideas
and
expanding the opportunity for
contact w i t h these ideas.
Allow this editorial to stand
as a n i n v i t a t i o n t o t h e t a l e n t
and intellect represented by t h e
School
of
Architecture
to
submit work to A R C H I T E X T .
The editorial staff and writers
welcome
opinions,
criticism,
articles, ideas and questions.
•
THE IMPACT OF
ARCHITECTURAL
JOURNALS
ON
AMERICAN
ARCHITECTURAL
A T T I T U D E S 1900-1917
M a r k 3. W i l s o n
For Americans at the turn
of t h e c e n t u r y , t h e huge i n f l u x
of i m m i g r a n t s f r o m E u r o p e t o
America
between
1900
and
W o r l d W a r 1 s e r v e d as
the
latest reminder of the European
traditions originally established
and constantly reemphasized in
America.
Architecture
was
among
the
most
obvious
examples
of
America's
wholehearted
embrace
of
European tastes and lifestyles.
America
during
the
nineteenth century had
little
choice
but
to
learn
from
European architectural thoughts
s i n c e n o n e p e r se e x i s t e d i n
A m e r i c a . A m e r i c a did not even
have a full-fledged architecture
school
until
Massachusetts
Institute of Technology
began
its p r o g r a m in 1863. M I T and
other A m e r i c a n schools taught
architecture under the auspices
of t h e B e a u x - A r t s t r a d i t i o n .
Through the early twentieth
century,
Americans
accepted
guidance
from
the
French
school.
During
this
same
period,
however,
general
acceptance
of
Classical
architecture
began
to
be
questioned.
American
architectural
journals
of
the period
shed
some
light
on
this
transformation of attitude. The two
most
responsive
and
comprehensive
journals
were
The Architectural Record and
the
Journal of the
American
Institute of
Architects,
first
published
in
1913.
Both
f e a t u r e d E u r o p e a n as w e l l as
American
work and
included
c r i t i c a l essays o n t h e issues and
ideas of the day.
Common
practice during the period in
the
periodicals
included
the
encouragement
of
reader
participation.
Dialogue
between architects from month
to m o n t h was frequent.
The fact that there was
reader
participation
and
professional discussion in the
m a g a z i n e s m a y be e n o u g h
to
assume
that they
were
an
accurate
measure
of
the
thinking
of
the
day,
and
undoubtedly influential in the
creation and definition of an
architectural consciousness.
Weighing
the contents
of
the journals suggests t h a t the
body of A m e r i c a n architecture
ignored any radical turn away
from
Beaux-Arts
education.
Before W W I only a handful of
articles investigated
a
break
from
the Classical tradition.
Infrequency
does
not
imply
i n s i g n i f i c a n c e , as m u c h as i t
does
the
debatable,
radical
n a t u r e of t h e issues.
The
June, 1907 issue of
Architectural
Record featured
an a r t i c l e by G e o r g e M a h e r , a n
Illinois architect, entitled, "A
Plea
for
an
Indigenous
Architecture". His architecture
was characteristic of the Prairie
School, and not surprisingly he
n o t e d t h a t , " I t is l o g i c a l
to
expect
in nature a
product
indigenous
to
its
soil
and
climate".
Contrary
to
the
prevailing notion that edifices
like the Boston Public Library
and
Pennsylvania
Railroad
Station
were
"strongly
A m e r i c a n in style; he argued
that these buildings "do not in
the least represent an A m e r i c a n
art and civilization."
Architectural Record in the
following
issue
challenged
Maher's call for an indigenous
architecture;
an
American
vernacular. They expressed the
overwhelmingly
popular,
conservative
viewpoint
that
America
already
had
a
vernacular
architecture which
painstakingly
evolved
from
American
conditions
and
European traditions.
E v e n as l a t e as 1 9 1 3 , E .
R a y m o n d Bossage in the Journal
of
the American Institute of
Architects
maintained
that
A m e r i c a n schools w e r e still in
their infancy; "the period of
borrowing and assimilation not
complete".
His
argument
centered around the fact that,
originally, A m e r i c a n schools had
no one w h o could teach design.
Their only alternative was to
import
Frenchmen
from
the
E c o l e des B e a u x - A r t s .
In a n a r t i c l e e n t i t l e d " A r c h i tectural Responsibility", Albert
Skeel addressed the problems of
American
education convincingly.
Describing
the
average young man's desire for
architecture,
he
commented:
"He deludes himself with clever
drawings of the architectural
f o r m s of the past, rather t h a n
to
present the vital modern
problems of today".
The
importance
of
this
s t a t e m e n t is t w o f o l d . F i r s t , i t
mentions
the
delusion
of
architectural
renderings
from
the
Beaux-Arts
tradition. In
1913,
J.
Stewart
Barney
c r i t i c i z e d the B e a u x - A r t s design
process for its neglect of the
inherent problems of a given
program, emphasizing instead a
well-proportioned plan. Second,
Skeel
refers
to
the
"vital
modern problems of today".
If
the
majority
of
American
architects were still not willing
to
abandon
the
stylistic
trappings of classicism,
they
were willing to deal w i t h social
issues
like
public
housing.
Referring often to the suburban
housing
projects
in
Great
Britain,
the
Journal of
the
American
Institute
of
Architects included
in
almost
e v e r y issue a n a r t i c l e dealing
with
contemporary
urban
problems.
Skeel added: "The
a r c h i t e c t m u s t be w i l l i n g t o
socialize himself."
With remarkable foresight
Skeel suggested, "We have come
to
a
time
when
applied
a r c h i t e c t u r e or decoration does
not suffice.
I believe we have
arrived
at
a
period
approximating
the
early
Romanesque.
We are feeling
around and blundering along on
a new path."
The
conditions
resulting
from the World War
showed
clearly
in
the
minds
of
Americans
the need for
an
architecture
responsive
to
social needs of the t i m e beyond
mere artistic statements.
Two
articles in the Journal of the
�American
Institute
of
Architects illustrate the mood.
In
the
3uly,
1916
issue
Frederick
L.
Ackerman
emphasized in "The Relation of
Art to Education: Part III", the
social
and
spiritual
in
a r c h i t e c t u r e as o p p o s e d t o t h e
traditional rules of composition
taught
at
the
Ecole
des
Beaux-Arts.
And
in
"The
Architect and His Education",
January, 1917, F . H . B o s w o r t h
asked if there was an A m e r i c a n
architecture that embodied the
American
people
and
their
lifestyle.
He speculated
that
the student should analyze
a
p r o b l e m by s t u d y i n g t h e f u t u r e ,
by a p p r o a c h i n g t h e social needs
of architecture. "The history of
architecture becomes no longer
the study of examples, m o r e or
less i n t e r e s t i n g a n d m o r e
or
less
beautiful,
but
an
all-absorbing study of social and
economic
causes
with
their
resultant architectural effects."
While periodicals
excluded
modern European
architecture
(as w e d e f i n e i t t o d a y ) f r o m
their pages, except for the A r t
Nouveau movement, the above
s t a t e m e n t s possess t h e u n i q u e
flavor
of
contemporaneous,
modernist manifestoes.
I have purposely selected a
direction that suggested there
was at the t i m e a movement,
be
i t e v e r so s m a l l , w h i c h
coincided
w i t h the ideals
of
European modernism.
It seems
these
ideals
only
exposed
American
architects
to
the
future
rather
than
actually
influencing their attitudes. For
t h e m o s t p a r t , as s i m p l e p e r u s a l
would
indicate,
American
journals
concentrated
on
classicism.
Not for
several
more
years
would
American
architecture deny its colonial
heritage.
•
WHO DUNNIT
Kathleen
?!?
Yatooma
Many students living at the
student
apartments
are
screaming "foul play" because
their
only
public
meet
and
greet area (the lobby) has been
taken away
from them
and
replaced
with
an
apartment
manager's office.
This lack of
public
meeting
space
is
h e i g h t e n e d by t h e f a c t t h a t t h e
student activities
building
is
located
completely
across
campus.
Upon entering the
apartments,
instead
of
seeing
a
half-brick wall to your right
beyond which was located an
open
lobby
area
with
four
c h a i r s , t h e r e is a f u l l w a l l w i t h
double glass doors.
The doors
lead
to
a
combination
reception/waiting
room
area
and behind the
receptionist's
desk is t h e m a n a g e r ' s
office.
T h e area has been
furnished
nicely, and Heidi Wenner, the
manager
of
the
apartments,
said t h a t t h e w a i t i n g r o o m can
be used as a lobby
by
the
t e n a n t s w h e n t h e o f f i c e is o p e n .
This doesn't seem very likely,
however,
since
t h e s p a c e is
enclosed
and
looks
very
business-like.
There
are those here
on
c a m p u s w h o w o u l d say t h a t t h i s
type of move on the part of the
a d m i n i s t r a t i o n is j u s t i n d i c a t i v e
of a prevalent
attitude they
hold
towards
the
students.
Otherwise, the students would
be
consulted
before
any
decisions affecting t h e m
were
made or at least consideration
w o u l d be g i v e n in l e t t i n g t h e m
participate and give input to
the final decision.
The battle between students
and
administration
is
an
on-going
and healthy
struggle
comparable to the battle of the
sexes (let it never end).
But
w h e n it appears t h a t certain
rights are infringed upon
by
either party, the violating party
m u s t be called t o t a s k .
President
Marburger
wants
the
students
to
know
that
administration
is
most
sympathetic
to their
feelings
a n d is m o r e t h a n w i l l i n g t o
w o r k w i t h us.
He
specifically
cited
the
instance
where
students
from
SC/AIA
were
instrumental
in
getting
the
school
to install the
traffic
l i g h t o n 10 M i l e R o a d . H e said
wherever
i t is p r a c t i c a l
and
t i m e permits, he will w o r k w i t h
t h e s t u d e n t s so a d m i n i s t r a t i o n
and students alike can benefit
f r o m the experience.
In the case of the renovation at the student apartmenits,
the conversion of the lobby to a
manager's office was initiated
t w o years ago. T h e fact t h a t
t h e r e is a w a i t i n g l i s t o f p e o p l e
wanting
to
reside
in
the
building, coupled w i t h the fact
t h a t the lobby was not used, led
to the decision to convert the
space.
The
old
manager's
office,
apartment
//107,
has
already
been leased.
It is a
one-bedroom
apartment
and,
according to Heidi Wenner, the
most popular apartment style.
There was also vandalism in
the lobby.
This vandalism only
served
to defeat
the
whole
purpose o f t h e b u i l d i n g w h i c h is
t o provide inexpensive
housing
to
LIT
students.
Jack
A r m s t r o n g , Director of Campus
Facilities, pointed out that the
vandalism may not have
been
done
by
the
residents
but
perhaps by guests w h o
were
w a i t i n g in the lobby area.
So
the f u n c t i o n of the space was
questioned and the decision to
alter it was confirmed.
The next question,
obvious
to
any architecture
student,
w o u l d be w h y t h e School
of
Architecture
was
not
called
upon
to
participate
in
the
a l t e r a t i o n s . So I called
upon
Jack A r m s t r o n g and asked h i m .
He said t h a t w h e n this was first
considered, t h e y did go t o t h e
School
of
Architecture
and
Harold
L i n t o n was asked
to
submit drawings on
enclosing
the space.
The drawings were
d o n e b y a s t u d e n t , w h o is n o w a
senior.
The original drawing,
however,
had
the
space
enclosed
in
glass
and
the
student was not told the space
he w a s designing w a s t o be a
manager's office.
In fact, he
believed
he was designing
an
e n c l o s e d space t o be used by
t h e residents. So t h e passing of
time
and
a
break
in
communications brought
about
the resulting manager's
office
t h a t y o u n o w see.
A n i n t e r e s t i n g post script t o
t h i s a r t i c l e is t h a t
President
Marburger
has
invited
the
Architecture
and
Interior
Architecture students to submit
design
solutions
for
the
apartment building that would
discourage
any
further
vandalism in the public
areas
that are left. He suggested the
use of colors, signage, acoustics
or any other innovative
ideas
t h a t w o u l d be h e l p f u l i n k e e p i n g
the costs of maintenance and
repairs down. If you would like
to pursue this type of project,
contact Jack Armstrong in the
Campus Facilities Office.
And,
keep this Who Dunnit story in
m i n d w h e n you t a c k l e the job. •
FRANK LLOYD WRIGHT:
POET OR
POLITICIAN?
Dane A.
Johnson
Frank Lloyd Wright, like the
chameleon,
had m a n y
colors.
W r i g h t c a n be v i e w e d as a poet
or a political activist; and his
buildings
speak
to
both
of
these.
Were
these
aspects
intrinsic?
Or
were
they
created during a career
filled
with journalistic exposure?
We
know of the c o m m i t m e n t
of
Wright
to
an
organic
�architecture,
and
of
the
anr>azing f o r m s w h i c h g r e w f r o m
this c o m m i t m e n t .
What
we
m a y h a v e m i s r e a d , h o w e v e r , is
the politican motivation of this
architecture.
The
work
of
F r a n k L l o y d W r i g h t stands as a
true American architecture; but
t h i s is n o t a n e x c l u s i v e l y r e t r o spective attitude. The goal of
Wright
was
to
create
an
American,
democratic
a r c h i t e c t u r e as a r e s p o n s e
to
the dehumanizing
architecture
he saw e m a n a t i n g f r o m E u r o p e .
Ironically,
the
ideologies
he
fought
most strongly
against
are fundamentally linked to his
own.
W r i g h t as t h e p o e t is t h e
concept most strongly rooted in
our minds.
W e p>erceive h i s
architecture
as
addressing
" m a n ' s s p i r i t as w e l l as h i s
body, speaking like poetry
to
the soul, awakening it to the
intangible, yearned-for
beauty
that all m e n seek."
There can
be
no
question
that
these
qualities exist in the buildings
t h a t W r i g h t built in his organic
architecture. The fact remains,
however,
that
amidst
the
spirituality,
there
is
an
agressive
quality
to
the
buildings.
In line and m a t e r i a l
they blend w i t h the
landscap>e;
yet their f o r m s are bold and
assertive,
by
no
means
secondary t o their surroundings.
T h e poet m u s t be
blended
with the practitioner.
Wright
does n o t s t a n d as a g i a n t due
only to the spiritual nature of
his w o r k .
T h e key t o his
stature was
in
the way
he
s y n t h e s i z e d t h e v a r i o u s asp>ects
of
architecture.
Wright's
structural innovations are
so
great, i n fact, t h a t t h e y m a y be
overlooked
when
confronted
with
the
architecture
they
support.
The
forms
of
the
buildings,
their
grace
and
inherent
tensions,
seem
so
natural in place that we rarely
question how they were created.
How Wright combined
the
practical and poetic aspects of
h i s d e s i g n s is a m o n u m e n t t o
h i s g e n i u s as a d e s i g n e r a n d a
politician.
As
a
thinking
person, he was wise enough t o
understand the trends of his
t i m e . H e k n e w he had t o grasp
the new industrial technologies
and t r i u m p h over t h e m . W r i g h t
was shrewd enough to realize
the possibilities of
technology
n o t as debasing t e c h n i q u e , b u t
as
uplifting
theory.
His
i n t e g r i t y as a n a r t i s t a l l o w e d
h i m t o use m a c h i n e r y as a t o o l .
His w o r k s speak clearly t o t h e
fact t h a t he was able t o adapt
to new attitudes; but there was
an urgency to this adaptation.
Wright had gone through lean
years m the 1920's. T h e 1930's
held for
h i m a chance
for
greater
advancement
of
his
theories.
C o m i n g out of
a
period w h e n his ideas had been
considered
antiquated,
Wright
seized t h e ideas of m a c h i n e r y
as a c h a n c e t o p u s h his w o r k
into a new and different realm.
The
Poet
becomes
the
Politician.
As
a writer, Wright
had
always
been equipped
with a
skill and passion w h i c h m a d e his
words seem like gospel.
After
his r e - e m e r g e n c e in t h e 1930's,
there
were
added
tones
of
d e m o c r a t i c fervor in his words.
Wright
s a w his goal as
not
merely
to create
an
organic
architecture,
but an A m e r i c a n
architecture,
both
spiritually
and politically.
Many of Wright's writings
c o n t a i n n o t so m u c h a r c h i t e c tural
theory
as
political
doctrine.
Ideas expressed
by
the architecture of Wright such
as f r e e d o m , s h e l t e r , s p a c e a n d
i n t i m a c y are no longer
merely
organic
but
democratic
and
A m e r i c a n . H e is r e s p o n d i n g t o
political
and
architectural
t r e n d s , as w e l l as p r i d e w i t h i n
himself
and
exploiting
the
characteristics he discovers.
Wright's interpretation of
the role of the machine
is
interesting.
H e is o b v i o u s l y
responding to trends in Europe
and
more
importantly
Le
Corbusier
in Towards a
New
Architecture.
Y e t , despite his
assertions
to
the
contrary,
Wright shares m a n y
attitudes
with Le Corbusier.
Foremost
a m o n g t h e s e is a c o n c e r n f o r
the quality of human life, a
c o n c e r n t h o u g h t by m a n y t o be
lacking
in the w o r k of
Le
Corbusier.
The perspectives of the t w o
men differ greatly, with Wright
assuming the long-lived
stance
of American freedom.
T h i s is
really what
Le Corbusier
is
a i m i n g for; but he realistically
sees t h a t is c a n n o t be a c h i e v e d
in E u r o p e in t h e s a m e w a y as i n
America.
The relationships are
fascinating and contradictory.
W r i g h t uses f o r m , m a t e r i a l s ,
site and ornament to
create
u n i t y - a key goal i n his w o r k .
Is t h i s c o n t r a d i c t o r y
to
Le
Corbusier?
L e C o r b u s i e r says
" t h e r e m u s t be a u n i t y of a i m
in the w o r k of a r t " ; and w e can
see t h a t i t is r e a l l y a m a t t e r o f
technique which separates
the
two
men
and
their
work.
W h e n W r i g h t uses t h e m a c h i n e
to mold natural materials into
a n o r g a n i c f o r m , is h e b e i n g
more honest than Le Corbusier
using the machine to create a
building
that
recalls
said
machine?
Are the pure white
walls of
Le Corbusier
more
dehumanizing than the all-wood
o r b r i c k w a l l s o f W r i g h t , o r is
it m e r e l y a m a t t e r of t a s t e ?
B o t h m e n deal in abstraction of f o r m to fulfill a theory
of w h a t and who architecture
s h o u l d s e r v e . T h e a n s w e r is t h a t
m e n m u s t live in their houses;
a n d t h e i r m i n d s m u s t be f r e e
and
uncluttered
the
r e p r e s e n t a t i o n is n o t t h e k e y t o
the idea.
In his search to f o r m
a particularly American, democratic architecture, Wright may
have s h o w n t h a t in r e a l i t y ideas
of freedom and space ^ r e not
inherently American.
In his
search for h u m a n i t y , he had
confused
humanity
with
p o l i t i c a l systems; and t i m e has
s h o w n us t h a t rarely m a y these
t w o be j o i n e d . T h e w o r k s o f L e
Corbusier, and m o v e m e n t s such
as t h e B a u h a u s for t h a t m a t t e r ,
were
n o t so m u c h a
representation of a political attitude
as t h e y w e r e a response t o or
refusal
to
accept
such
attitudes.
Perhaps
Wright
p r o v e d his t h e o r i e s by s h o w i n g
the universal quality of
the
human spirit while trying to
glorify the American political
system.
Frank
Lloyd
Wright
was
decidedly an enigmatic figure in
society; and he reveled in the
mystery surrounding him.
He
strikes
us
as
arrogant,
intelligent,
poetic,
driven.
Primarily, however,
he was a
creative genius w h o was able,
in his w o r k , t o bring together
these contradictory
characteristics i n t o a u n i t y of purpuse
expressed in unity of f o r m .
•
RICHARD
Jean
SERRA
AT THE
DIA
LaMarche
Richard Serra, important
contemporary
s c u l p t o r w h o is
currently
teaching
at
Yale
University, spoke recently about
his w o r k t o a large audience a t
the Detroit Institute of Arts.
His totally oral
presentation
combined
the
reading
of
a
recent article he w r o t e for a
Yale puWication with
asides
and
explications
as
they
occurred
to him.
This was
f o l l o w e d by a n e x t e n s i v e p e r i o d
of audience questions.
Serra's
discussion
of
his
work centers around three main
issues:
the
balance
through
gravity
of
extremely
heavy
planes of m e t a l ; the experience
of movement in relationship to
�the
piece; and the
specific
context
of
the site.
The
context of the site informs
people w h a t they should look
at. Serra claims that sculpture
in public or c o r p o r a t e
sites,
h o w e v e r , is u n d e r m i n e d b y t h e
'morality' of the building or
company.
T h i s is t h e m a i n
reason t h a t he a t t e m p t s t o f i n d
'neutral'
sites for his w o r k
a l t h o u g h he is q u i t e a w a r e o f
the fact
that there are
no
purely neutral locations.
W h e n he finds a n a c c e p t a b l e
location
for
w h i c h he
will
generate a piece, he a t t e m p t s
to 'redefine the boundaries of
the site.' This makes his w o r k
site specific, and, in a sense,
contextual. What makes public
or
corporate
commissions
u n a c c e p t a b l e , a p p a r e n t l y , is t h e
very context which they create.
T h e values expressed by such
architecture
and such urban
spaces tend t o deny individual
freedom, a context, apparently,
in opposition t o Serra's idea of
the role of the sculptor.
Part of the problem
may
stem from the involvement of
the N E A (National Endowment
for the Arts).
One
wonders
w h e t h e r t h e r e is a n y w a y t h a t
such a large bureaucracy can
support any art except t h a t
which
is
essentially
conservative,
established,
and
'acceptable'.
In f a c t , t h a t is
the essence of the problem t h a t
has f a c e d c i v i l c o n t r o l o f a r t s
at all times.
Art
produced
through this kind of patronage
today
raises
very
serious
questions concerning the role of
a r t i n o u r c u l t u r e . Is a r t , l i k e
sculpture, merely to 'prettify'
an
empty,
alienating, urban
s p a c e ? O r is i t supposed
to
provoke thought?
Can anyone
seriously argue t h a t it can do
both?
Serra's
adamance
about
remaining
'at
large'
as
a
maverick
sculptor
clearly
defines his idea of t h e role t h e
sculptor must assume in the
modern world - that of the
avant garde.
One
wonders,
however, taking Robert Hughes'
point in Shock of the
New,
w h e t h e r or not an avant garde
is e v e n p o s s i b l e . I f n o t , t h e n
S e r r a is p a r t o f t h e i n e r t i a o f
Modernism.
Regardless,
Yale
U n i v e r s i t y has bought i t .
No
one can deny the refreshing
qualities of individualism t h a t
his
behavior
and
opinions
demonstrate.
I t is t h e d r e a m
of
individual
freedom
that
e l u d e s us i n o u r e v e r y d a y w o r l d ,
perhaps,
t h a t causes
us
to
identify
with
and
support
displays of individual behavior,
even violent behavior.
Perhaps
w h a t w e seek i n a r t is n o t
Beauty but the expression of
rebellion.
Richard
Serra's
presentat i o n , nevertheless, has revived
the problems
concerning
the
role of art and the artist in culture, especially the relationship
between art and architecture.
These
problems
have
been
resolved
more
effectively
during some periods in the past.
The romantic attempts of the
early
modernists
to
address
a r c h i t e c t u r e as t h e m o t h e r o f
all the arts, however, did not
incorporate the other arts, but
rejected them.
It has been
left
to
us t o
decide
this
delicate and difficult issue.
fl
CITYSCAPE
Matt
DETROIT
Hubbard
Cityscape
Detroit
is
a
non-profit,
volunteer
organization
of
people
who
share
a
concern
for
the
development of Detroit's built
environment through lectures,
tours and other activities.
Cityscape
Detroit
was
founded in 1980 and it evolved
from the People for D o w n t o w n
Hudson's. This original group of
20-25 i n t e r e s t e d individuals has
grown to a present membership
of around 100 paying m e m b e r s .
Most of the members have a
design
background
and
an
interest in Architecture. Mike
K i r k is e m p l o y e d
at William
K e s s l e r a n d A s s o c i a t e s , a n d is
the
President
of
Cityscape.
Students f r o m LIT, U of D, and
Wayne State are also members.
Cityscape
is t h e o n l y
open
forum
which
holds
regular
discussions
pertaining
to Arc h i t e c t u r a l and u r b a n issues and
the Image of Detroit.
Some
of
t h e issues
and
activities Cityscape
has been
involved
in
include
Environmental
Impact comments
offered
constructively
concerning the C e n t r a l Business
District and Riverfront
West
(the new housing area
being
constructed
near
3oe
Louis
Arena).
Most recently,
the
group provided very interesting
comments
concerning
the
American
Natural
Resources
and Stroh's riverfront projects.
C i t y s c a p e has a t t r a c t e d i n t e r e s t
from Detroit Renaissance and
New
D e t r o i t as w e l l as t h e
Central
Business
District
Association
(CBDA).
Unfortunately the
Detroit
Planning Commissions are very
secretive about their plans and
are not interested in Cityscape
comments
or
suggestions.
S E M T A became interested in
the
group
when
Cityscape
commented on the D o w n t o w n
People
Mover
and
has
had
occasional
contact
with
the
organization.
In O c t o b e r , 1982, C i t y s c a p e
assisted
the
CBDA-sponsored
80th Anniversary of the Wayne
County
Courthouse,
by
conducting tours and serving
refreshments to the visitors.
Brian Hurtienne, LIT 5th year
student, SC/AIA Tour Director
and Cityscape m e m b e r assisted
in t h e research of t h e building
as w e l l as c o n d u c t i n g t o u r s .
When Brian was asked about
his opinion of t h e o r g a n i z a t i o n ,
he replied t h a t it was a great
o r g a n i z a t i o n a n d i t is o p e n t o
any
form
of
Art
and
A r c h i t e c t u r e discussion.
He
also stated that at the t i m e it
is n o t i n f l u e n t i a l e n o u g h
to
a c h i e v e s o m e o f i t s goals b u t as
the public becomes more aware
of its existence he's sure these
goals w i l l be achievable. W h e n
questioned about the role of
students in Cityscape, Brian's
response was t h a t they can help
in
many
ways
including
research, tours and any type of
donation.
H e also stated t h a t
the organization was a great
opportunity
to
establish
contacts with professionals.
The membership
secretary,
M a r i l y n Florek, spoke w i t h great
enthusiasm when asked about
the
role
of
Architecture
students in the organization.
She
believes
that
student
i n v o l v e m e n t w i l l do m u c h t o
increase the public
awareness
of the group and D e t r o i t . She
mentions
a
possible
Design
C o m p e t i t i o n open t o students
a n d a possible spring t o u r t o be
conducted from the observation
deck of the Penobscot Building.
A n o t h e r p r o j e c t o f i n t e r e s t is a
proposed
mural in the newly
completed
W D I V building on
Lafayette Street with Detroit
A r c h i t e c t u r e as t h e s u b j e c t .
Patience Young, Curator of
E d u c a t i o n at t h e D I A , and past
president of Cityscape, states
t h a t a n y d o n a t i o n o f t i m e by a
student
would
be
very
beneficial
and
appreciated.
Some areas that students could
h e l p With i n c l u d e t o u r s o f l o c a l
buildings
for
other
special
interest groups, and research of
Detroit's
history
and
its
Architecture.
Both Patience
and M a r i l y n suggested that any
n e w ideas concerning m o n t h l y
lectures,
projects
and
other
activities are very helpful.
Cityscape
D e t r o i t holds
its
�6
meetings on the first Monday of
each m o n t h at 7:00 p m , on t h e
2nd floor of t h e D a v i d S t o t t
Building, at State and Griswold
on Capitol Park. For meeting
agendas and other i n f o r m a t i o n ,
see
the
Cityscape
Detroit
buL'Ttin board across f r o m the
SC/AIA Commons.
0
ITALIAN
Piero
RATIONALISM
Gabucci
Perhaps
more
than
any
other
movement
in
modern
architecture,
Italian
Rationalism
has
been
overlooked, possibly because of its
relationship with the Fascist
government
it
generally
received its commissions f r o m ,
or I t s short life f r o m t h e 1920's
to the early 19^0's.
It could
possibly have been
overlooked
because
of
Italy's
rich
architectural past. The Italians
had difficulties approaching the
new art for the essential reason
of "the weight of t r a d i t i o n " .
Italian Rationalist architecture
has been labeled boring, m o d e s t
a n d less t h a n i n n o v a t i v e .
The
Rationalists
never
took
full
advantage of the new materials
(prefabricated steel, brick, etc.)
provided in the 20th century.
Whatever
ihe reason for its
early demise, we cannot ignore
its existence or c o n t r i b u t i o n .
Italian
Rationalism
pays
homage to the modern masters,
Gropius, Mies, Behrens, and was
heavily influenced by Vers U n e
A r c h i t e c t u r e by L e C o r b u s i e r ,
published in 1923.
This came
three years before the birth of
Italian R a t i o n a l i s m , begun by
Gruppo Sette in M i l a n , led by
Giuseppe Terragni.
They
found
themselves
trying to establish a "middle
ground" between the theories of
t h e F u t u r i s t s led by A n t o n i o
Sant'Elia, and Filippo T o m m a s o
Marinetti
(who
rejected
all
forms of clasical revivalism),
and the Milanese Novecento led
by
Marceilo
Piacentini
(who
supported
Revivalism
and
monumentalism).
What
the
Rationalists stood for
was a
new architectural theme; the
search for clarity, order and
honesty in
materials and the
rejection of Revivalism, thus
acknowledging
the
ideas
of
Frank Lloyd Wright in America
as
an
inspiration.
They
attempted
to synthesize
the
Italian nationalistic values of
its
classical
past,
and
the
structural
logic
of
modern
times.
The principle concerns of a
Rationalist
architecture
as
a r t i c u l a t e d by L e C o r b u s i e r and
Gropius were; housing problems,
the urgency of urban planning,
rigorous
rationality
of
architectural
forms,
technological
standardization,
production
in
series,
and
industrialized
production
influencing social progress and
the democratic education of the
community.
For a group that
was
supposedly
socially
conscious, however, it designed
very little in low-cost housing.
Thus
begins
the
criticism
against
the
Rationalist
m o v e m e n t . They designed more
monuments,
upper-income
housing, stadiums, and industrial
buildings.
The
Rationalists
realized
there
was
little
prestige
in
designing
low-income
housing.
Government
commissions
for
monuments
and
private
commissions
for
elegant
bourgeois
homes
provided
greater
attention for
future
clients.
However, the lack of
such
projects
forced
the
Rationalists in the 1930's t o
revaluate their position, and
therefore, producing plans such
as, Pagnano's
1938 plan for
Milano Verde, and
Terragni's
Quatiere Rebbio at Como.
T h e group also designed few
urban
projects,
except
Terragni's C o m o plan. One of
the achievements
realized
by
t h e group w a s t h e use of n e w
methods and materials provided
by industry, thus t h e possibility
of
social
change
through
technological solutions.
Rationalism
faced
much
greater criticism than for its
idealistic failures. It has long
been strongly associated
with
the
Fascist
Regime
of
the
1930's. Historians have ignored
or avoided this issue dismissing
any Fascist celebration in the
movement,
and
studied
R a t i o n a l i s t buildings as a s t y l e .
Early
arguments
by
Italian
s c h o l a r s a g a i n s t R a t i o n a l i s m as
a
celebration
of
Fascism
included
the
idea
that
the
architects
played
Fascist
in
need of commissions.
However,
there were those who renounced
F a s c i s m i n 19^2 as did m i l l i o n s
of other Italians; the
1930's
grouped all Fascism
together
linking
Italian Fascism
with
German
Nazism.
Another
argument against Rationalism
as F a s c i s t is i n h o w o n e n e e d s
to study a building and for what
purpose;
a
building can
be
studied
apart
from
its
"functional"
(location,
use,
patronage) aspects. Accused of
celebrating
Fascist
political
idealogies was the movement's
most
renounced
building
by
Terragni, Casa del Fascio in
C o m o , 1932-1936, for it served
as a v e h i c l e f o r t h e F a s c i s t s t o
promote their philosophy.
The
building
allowed
for
great
numbers to meet in a common
place,
the
interior
court.
However,
t h i s is m e r e l y
an
intelligent
architectural
response to program, and not a
political statement.
As previously mentioned, Le
Corbusier and his book
Vers
Une
Architecture,
especially
the last chapter " A r c h i t e c t u r e
or
Revolution",
had
a
tremendous influence on
the
Rationalists. In it he points out
that
if
the
masses
needed
decent housing and were not
satisfied they would revolt. Le
Corbusier's ideas of h i e r a r c h y ,
creating right states of mind,
and order imposed f r o m above
for the benefit of all found
their w a y in the 1920's and
1930's,
into
Mussolini's
a d m i n i s t r a t i o n . T h i s is n o t t o
say t h a t L e C o r b u s i e r was a
Fascist of course.
However,
fundamental concepts were true
to both.
T h e Rationalists were also
accused of installing an alien,
modern,
international
architecture
in
Italy.
The
Rationalists argued that there
existed in their architecture the
presence of mediterraneita, an
Italian traditional architecture
f o u n d along its sea.
They
claimed
mediterraneita,
the
coastal architecture, was the
true
origin
of
the
modern
m o v e m e n t with qualities such
as w h i t e w a l l s , r e c t a n g u l a r o r
squared. It was the architecture
of space, r h y t h m s derived f r o m
t h e use of n u m b e r s , t h e golden
mean and Pythagorean r h y t h m s .
Their a r g u m e n t suggests t h a t
Le Corbusier, Gropius, and Mies
adopted
mediterraneita.
This c l a i m has never been t a k e n
seriously or even acknowledged;
however,
it has bever
been
disproved either.
The Rationalists tried
to
establish
an
authentic
architectural language in Italy.
They
related
to
the
methodological principles of the
modern
movement;
searching
for
a
clearly
identifiable
modern architectural style.
What was the downfall of
Rationalism m Italy? What was
the
use,
then, of
buildings
pleasing
to
modern
taste?
Casabella,
a
leading
promotioanl magazine of
the
m o v e m e n t , was forced in 19^3
t o stop p u b l i c a t i o n by o r d e r o f
the government.
T e r r a g n i dies
p r e m a t u r i l y a t t h e age of 39,
�7
while others were arrested and
deported
to
Germany
where
they
died
in
concentration
camps. V i t t o r i o Gregotti, in his
book New Directions in Italian
A r c h i t e c t u r e , 1968, s u m m a r i z e d
it best.
What had been
a
"problem of style", became a
"problem of death and freedom."
THE
ACCOMMODATION
CHOICE
OF
R o b e r t 3. F a r l e y
C h o i c e is n o t a c o n c e p t t h a t
many architects find easy to
deal
with.
Typical
architectural
designs
are
p r e s e n t e d as i d e a l s o l u t i o n s t h a t
m a y have been generated f r o m
a synthesis of alternatives, but
the
solution
itself
seldom
permits choice.
Charles Moore
asserts t h a t our
environments
must carry "evidence of choice"
implying
that
choice
must
c o n t i n u e as a n a c t i v e i n g r e d i e n t
in experiencing t h e building, n o t
simply in designing i t .
3ean-Paul
Sartre
believes
t h a t c h o i c e is t h e f u n d a m e n t a l
indicator of value.
As human
beings capable of f r e e - w i l l , w e
express our values and m o r a l i t y
through the choices we make.
By
choosing
one
course
of
action
or
one
object
over
another, we express a greater
valuing of that choice than of
any possible a l t e r n a t i v e .
Robert V e n t u r i suggests t h a t
l i f e is a m b i g u o u s , c o m p l e x a n d
anxious.
H e is r e a l l y s a y i n g
that conflicts of values exist in
everyone's
life
that
provide
color
and v i t a l i t y to living,
e v e n as t h e y c o m p l i c a t e
and
threaten it.
Moore seems to
accept this point of view but
aspires
toward
a
different
expression than V e n t u r i .
If
choice
represents
our
faith, belief and assumed truths
(as i n d i v i d u a l s a n d as a c u l t u r e ) ,
and if these basic values are
conflicting
and
impermanent,
then
an
architecture
that
eliminates the opportunity for
c h o i c e w i l l n e v e r be u n i v e r s a l l y
satisfying.
Frank Lloyd Wright
and Le Corbusier are pertinent
examples.
The
environments
created
by b o t h a r c h i t e c t s are selective
and
exclusionary.
The
e x p r e s s i o n is r i g i d , c o n t r o l l e d ,
and directed
toward a
very
particular
conceptual
philosophy.
T h i s can be q u i t e
s a t i s f y i n g as t h e m i n d d e l i g h t s
in
the
localized
perfection
inherent
in
this
kind
of
expression.
Completeness
and
purity
are
ideals
that
are
shared.
They are not always
ultimate
goals however,
and
t h e i r r i g i d i t y c a n be f r u s t r a t i n g .
P u r i t y is r e l u c t a n t t o
admit
c h a n g e a n d c h a n g e is s y m p t o m a t i c of h u m a n life and choice.
D r e a m s (aspirations and future
visions).
To assimilate
these
influences requires an approach
more
lyrical than functional
problem-solving. It involves the
creation
of
experience
and
diversity of choice.
Venturi
would
solve
this
d i l e m m a by g e n t l y
condemning
purity
and
exclusionary
"Modernist"
architecture
in
f a v o r o f a n a r c h i t e c t u r e t h a t is
as
tense
and
transient
as
experience.
Such a conception
is p e r h a p s a s t e p i n t h e r i g h t
direction;
toward
accommodating
the
inconsistencies
of
experience.
T h i s is n o t r e a l l y a
choice
a l t h o u g h i t appears t o be so.
Instead,
it
is
an
opposite.
V e n t u r i ' s buildings a r e as r i g i d
as W r i g h t ' s or L e
Corbusier's;
but instead of refusing to upset
their
perfect
balance,
they
refuse
to resolve
themselves.
Whereas
a Wright house
can
never
be
contradictory
or
ambiguous, a V e n t u r i house can
n e v e r be p u r e . T o be a V e n t u r i
house
means
t o be
forever
tense and threatened.
Despite
his a t t e m p t s t o be e a r t h y a n d
b a n a l , V e n t u r i r e m a i n s as e l i t e
as
W r i g h t or Le
Corbusier.
Choice
is
eliminated
in
experience of the architecture,
unless one simply refuses
to
live in it.
Unlike Venturi, the authors
of T h e P l a c e of Houses do not
believe that ambiguity in life
demands
transient
and
uncomfortable
architecture.
S u c h is a r c h i t e c t u r e t h a t o n l y
considers
the
immediate
m o m e n t . Instead, Moore, Allen
and
Lyndon
demand
that
architecture
be
"physically
r o o t e d t o a p l a c e " . T h i s is v i t a l
t o h u m a n desire as i t i m p l i e s
familiarity
and
a
sense
of
definitive
world
for
the
individual.
In
The
Place of
Houses
(Moore, Allen, and Lyndon), a
p l e a is m a d e f o r g e n e r o s i t y a n d
accommodation.
The
authors
s e e m t o r e c o g n i z e t h a t l i f e is
more than just an expression of
tensions, confusion and anxiety,
and
less
than
an
Utopian
paradise of order. In p r o m o t i n g
an a r c h i t e c t u r e m a d e "...by and
for
people...bent
to clear
h u m a n purpose",
t h e r e is a n
i m p l i c a t i o n t h a t a r c h i t e c t u r e is
in
part
an
instinctual
and
tradition-bound art.
Humanity
is n o t
limited to a
single
moment
in time.
Our lives
h a v e as m u c h t o do w i t h o u r
accumulated
symbols
and
experiences of the past, and our
v i s i o n s o f t h e f u t u r e , as t h e y do
with
the
realities
of
the
moment.
This multiplicity of
influences complicates
choice,
but it also humanizes i t .
An
architecture
that
is
receptive
to
this
complete
h u m a n s c e n a r i o is a d i f f i c u l t
architecture
to
create.
In
describing t o us w h a t t h e p l a c e
of
a
house
should be,
the
authors allude to this.
They
discuss t h e T h r e e Orders:
The
Order of Rooms (traditions and
expectations
found
in
past
symbols of home), The Order of
Machines (the demands of the
moment),
and The Order
of
Furthermore, this environment
should
be
capable
of
accepting
the
whims
of
individuals.
To
do
this
effectively
while
remaining
distinct, the architecture must
have an enduring quality based
in t r a d i t i o n and
expectation.
This
acts
as
a
foil
or
framework
for
the
passing
interests
of
inhabitants.
Architecture
must
provide
energy
to transient
demands,
thereby accommodating
choice.
It also m u s t be r e s o n a n t w i t h
the
physical
place
and
the
relatively
stable
requirements
of tradition. Houses can accept
the
willfulness
of
their
inhabitants w i t h o u t being willful
themselves.
Architecture that
e n c o u r a g e s c h o i c e a n d c h a n g e is
promoted
over
one
that
provides
determined
image
because choice and change are
more
permanently valid than
image.
Therefore, The Place of Houses
attempts
to
inspire
an
architecture
that
is
more
completely
human.
It
synthesizes the approaches
of
Wright and Le Corbusier
with
the attitudes of Venturi.
The immediate and incomplete
color
the
permanent
and
perfect
while being
supported
by t h e m .
This synthesis could
create
a
more
comfortable
house
as i t is d e s i g n
more
closely in sympathy w i t h how
h u m a n lives are really lived.
•
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TO
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Architecture and film--Editorial--The impact of architectural journals on American architectural attitudes, 1900-1917--Who dunnit--Frank Lloyd Wright: Poet or politician--Richard Serra at the DIA--Cityscape Detroit--Italian rationalism--The accommodation of choice.
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�Archltext I s a publication o ft h e
Lawrence
Institute o f Technology
Chapter o f t h e American
Institute
of A r c h i t e c t u r e
Students.
EDITOR:
Ed O r l o w s k l
GRAPHICS
Geoff
COORDINATOR:
Makstutls
PHOTOGRAPHY:
Tim Van Dusen
Geoff
Makstutls
ASSISTANTS:
Brad
Butcher
Ken
Crutcher
Mark
Demsky
Relnhardt
Grafton
Chris
Mercier
John Miliacca
Kathleen
Phillips
Jack
Runkle
Jeff
Sherman
Dawnzella
Stanley
Kerry
Sutton
Tim Van Dusen
AIAS LIAISON:
David
Hoel
FACULTY ADVISOR:
Jean La Marche
�I
N T R O D U C T I O N
Ed O r l o w s k j
THE
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Jeff Sherman
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G. M a k s t u t l s & C. Mercier
I L L A
B A R R
Mark Demsky
L BESKIND THROUGH
M C R O M E G A S T a m m e r o n Francis
O B S E R V A T
L a w Library A d d i t i o n ,
University o f Michigan
S
W a r r e n Jackson
o
U
I O N
B O O K
A r c h i t e c t u r e in Michigan
R E V I E W
by W a y n e A n d r e w s
G. M a k s t u t i s
�I N T R O D U C T
Welcome. I n t h i s i s s u e , ARCHITEXT takes
architectural community o f southeastern
y o u "Under t h e Thumb." That i s t o s a y , t h e f e a t u r e s h e r e i n deal
Michigan:
t h e r e g i o n t h a t i s , g e o g r a p h i c a l l y , under t h e thumb.
The
city
o f D e t r o i t and i t s suburbs,
li
contradiction,
architecturally as w e l l as soc
Savings and Loan A s s o c i a t i o n Headquarters
nest
Guardian B u i l d i n g , a c o e x i s t i n g c o n t r a s t t h a t
At
t h e
receive
attempt
is
a
p
society.
hea
a
t o
rovo
In
addition
systems
i n
rationality
complexity."
Gunnar B l r k e
l O
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with t h e
k e most large m e t r o p o l i t a n areas,
i s an area
o f duality
and
ially. F o r example, t h e simple glass volume o f t h eD e t r o i t Federal
l e s a g a i n s t t h e base o f t h e e x q u i s i t e l y d e t a i l e d b r i c k mass o ft h e
may symbolize t h e c o l l i s i o n o f " t r a d i t i o n " and "progress".
rt
o f any contrast i s t h e struggle between two basic e n t i t i e s : order and chaos.
These
two forces
special
focus
i n t h i s i s s u e . Included i s a study o f t h e Woodward plan f o r D e t r o i t ,
which
was an
b r i n g o r d e r t o t h e c h a o s o f a c i t y w h i c h l a yp a r t i a l l y i n r u i n s i n t h e e a r l y 1 8 0 0 s . C o n t r a s t i n g t h i s
cative
photo
essay addressing contemporary
ruins and their possible
impact
on a r c h i t e c t u r e and
,
a v i s i t i s p a i d t o t h e home o f N o r t h v i l l e a r t i s t David B a r r t o e x p l o r e a n d e x a m i n e
t h e order
this remarkable a d d i t i o n t o t h ea r c h i t e c t u r e o f southeastern Michigan.
I n contrast t o t h e rigor
o f t h eV i l l a Barr, t h ew r i t i n g s and works o f Daniel Libeskind a r e examined t o uncover h i s "poe
Rounding o u t t h e issue a r e a p o e t i c c r i t i q u e o f t h e U n i v e r s i t y o f Michigan Law L i b r a r y A d d i t i o n
r t s a n d a r e v i e w o f Wayne Andrews' book. A r c h i t e c t u r e i n Michigan.
The
p r o p o s i t i o n here i s t h a t order and disorder a r e opposite perspectives t h a t coexist and determine urban
architectural
form.
Perhaps,
i fwe u n d e r s t a n d more about t h i s s i l e n t a n d e t e r n a l s t r u g g l e , we
can view
nature o f design i na new l i g h t . The a t t e m p t , a t l e a s t , c a n be e d u c a t i o n a l .
E D W A R D M. O R L O W S K I
E d i t o r , ARCHITEXT Magazine
ing
ous
tic
by
and
t h e
�w o O D W A R D
P L A N
F O R
D
E
JEFF S H E R M A N
T
R
O
I
T
�The Woodward P l a n f o r t h e c i t y o f
Detroit,
which is also
referred
to
a s t h e Judge's and
Governor's
Plan,
i s one o f t h e c i t y ' s m a j o r
f o r m g i v e r s . The Beaux A r t s s p a c e s
and
organization
i nt h e
plan
p r o v i d e some o f D e t r o i t ' s r i c h e s t
environments.
The g e n e r a t i o n o f
this
plan,
n e c e s s i t a t e d by
the
fire
which almost destroyed
the
city
i n 1805,
i so f i n t e r e s t
because of the manner i n which i t
synthesizes
and r e i n f o r c e s
many
of
the
strong
organizational
aspects
w h i c h had e x i s t e d
prior
to the f i r e .
Judge
Woodward's plan f o r an e w
Detroit
was d e s i g n e d i n 1806
and
has
strong ties w i t h the
design
of t h e new C a p i t o l i n W a s h i n g t o n ,
D.C.
b y Major
Pierre
L'Enfant
done
i n1791. The
similarities
between these two urban s o l u t i o n s
may h a v e r e s u l t e d f r o m W o o d w a r d ' s
a f f i l i a t i o n w i t h Thomas J e f f e r s o n
who was i n v o l v e d w i t h L ' E n f a n t
i n
the
planning of the Capitol.
The
difference
i n the plans
revolve
around
t h e problems
which
Woodward faced i n d e a l i n g w i t h an
existing urban f a b r i c .
The
roots
o f Detroit's
urban
pattern
were formed long
before
white
s e t t l e r s came t o t h e
area.
Indian
trails
( f i g . l ) ,
formed
over
generations
o f movement
through
the
area,
evolved i n
relation
t o the
area's
land
formations,
which offered
higher
g r o u n d f o r d r y f o o t p a t h s , and
the
patterns of Indian settlements i n
the
area.
With
the
establishment
of
Fort
Pontchartrain
b y the French i n
1701,
a new s e r i e s o f p a t h s w a s
superimposed
over the old. These
paths,
formed
like
the
Indian
t r a i l s to give access to the f o r t
for
trade
with
the
Indians,
formed a r a d i a l pattern which
was
focused on t h e
fort.
Another
pattern developed
along
the
D e t r o i t R i v e r and
consisted
of
the property l i n e s formed b y
the
method w i t h which the French
chose
t odivide
their
farms
(fig.2).
This
method, known a s
long
lots,
was u s e d t o
provide
each farmer w i t h a large piece
of
land
which also afforded
access
to
the
river,
their
means o f
transportation
and
only t i e t o
the
outside
world.
Over
time,
these
lots
grew i n
length a n d
roads
were
established
o n the
property
lines
f o r movement o f
produce from Inland
areas.
INDIAN TRAILS
(fig.l)
In
t h e O r d i n a n c e o f 1784,
Thomas
Jefferson
e s t a b l i s h e d a means of
land
d i v i s i o n
f o r
westward
expansion.
Called the
Townships
and R a n g e s M e t h o d ( f i g . 3 ) , i t was
adopted
i n 1796 and was u s e d t o
divide
the
new g r o w t h a r e a s o f
the
United States which
included
the state of
Michigan.
These
three
patterns, at
f i r s t
Inspection,
seem
contradictory
and
incapable
of overlaying
into
one
coherent
system.
However,
Woodward,
almost
a si f h e h a d
been
trained
i nBeaux
Arts
design,
w a s able to work out
a
plan
with
strong
a x i a l a n d
geometric
forms
which
would
accommodate
the three
patterns,
a l l
o f which
responded
t oa
hexagonal matrix.
In
the f i g u r e 4, Woodward's Plan
has
been
superimposed over
the
pattern
o f the
Indian
trails
which
e n t e r t h e c i t y a t t h e same
angles
a s those constructed b y
t h e v e r t i c e s and b i s e c t o r s o f t h e
hexagon
and t h u s f o r m t h e r a d i a l
I
FRENCH LONG LOTS
(fig.2)
2
�Woodward's
plan.
His use of
a
north-south
main
street,
Washington
Avenue,
and
the
east-west
Michigan
Avenue,
as
well
as the c o n t i n u a t i o n o f t h i s
pattern,
allows
f o r
the
integration
of the Townships
and
Ranges
grid into his plan.
His
meshing of this unsympathetic
and
unforgiving
grid
with
the
e x i s t i n g human p a t t e r n s i s one
of
the
plan's
strongest
aspects.
The
fact that the Townships
and
Ranges
s y s t e m was n o t
introduced
into
the area u n t i l about
1818,
attests
t o Woodward's
foresight
and
knowledge i n the planning of
the c i t y .
It
i s
apparent
that
Judge
Woodward's
P l a n was s t r o n g
both
i n i t s f o r m and i n i t s c o n t e x t u a l
response
to
existing
human
patterns.
H i s p l a n was
accepted
as
the master plan f o r the
city
and
was
implemented
on
the
properties
d e s t r o y e d by t h e f i r e
(fig.7).
Due t o t h e i n a b i l i t y o f
the
c i t y
to obtain land
beyond
the
area destroyed, the plan
was
dropped
i n 1818 i n f a v o r o f
the
more f a m i l i a r and l e s s " f a n c i f u l "
grid
system.
Nevertheless,
the
s m a l l p o r t i o n w h i c h was
completed
still
s t a n d s as one o f
Detroit's
greatest
spatial
and
visual
experiences.
substructure
of
the
plan.
In
making
various
s h i f t s
of
the
geometry,
Woodward
s e t up
some
very
e x c i t i n g new a x e s ,
streets,
and
a
greater
number
of
intersections
f o r
the
radial
forms. These radials were t o form
wide
boulevards
whose
intersections
would
become
circuses,
parks
or markets
f o r
public
use.
Triangular
parks,
like
Grand
Circus
Park,
Washington
and
Madison
Boulevards,
and C a d i l l a c S q u a r e
make
Detroit
unique
among
American
c i t i e s
and g i v e
i t a
European
f l a v o r . His use o f
the
river
as t h e t e r m i n a t i o n o f
the
main
street,
the
north-south
Washington
Avenue, i s an
element
that
would have t o t a l l y
changed
the face of Detroit.
Figure
5 i l l u s t r a t e s the
streets
generated
along the edges of the
French
long
l o t s
which
ran
perpendicular
to
the
river.
Woodward
Avenue
represents
the
lot
line
between two
of
these
farms.
Although not a
perfect
match with the e a r l i e r l o t l i n e s ,
this
part of the plan's
geometry
provided
the
means whereby
the
plan's
streets
could
meet
the
existing farm lines that were the
strongest
elements
of the city's
structure after the fire.
The t h i r d s u p e r i m p o s i t i o n i s t h
of
Jefferson's
grid
of
nort
s o u t h , e a s t , and w e s t
coordinat
(fig.6')
which
i s worked
in
a
h
e
t
t
,
s
o
Detroit
River
�L-lUl
I
I
/ I
II
1D[
'/ins.
ij
JL-JI
II
Ji
IL
3[=1[
•[=•1=11:
a n n n
II
ID
ID
i r ^ B
D e t r o i t
R i v e r
@
(fig.7)
�' vf*
•
Sj
. X>^\^^
o<V ^. ^ > .
^ • r^-C^ C ^ ^ V-CV^
-^
o^"
l i ^ ' ' ' o'
CC- ,
�;st decay a r c h a i c
l o n e l y
relic
d i s s o l u t i o n
urban
war
past
d i s i n t e g r a t e
r a f i t t i
ignored
ancient
i tn f l e d 'Orwell's
19 84
h <i n o , t h e d e c a y ,
and
th^ V
introduce
a
long
w h 1c h
t. b a s e
hav e
choJ y
exhumed
lapsed
c oass '
vermin
b a t t e r e d
tela nd
D e t r o it
p r o f o u n d
DELIO:
T h i s
i d
broken
i n
.na t
^ 1 r Ie n t a 1 r o o t
a c \e
ientirig
r e x o l u t i o i
v\/a s
:ic o v e r g r o w n
urban
cav(
r
Halloween
ecstasy
dream
ling
Grevj f r o m t h e r u i n s o f a n cine r e n t A b b e y : A n d t o y o n d s i d e
o'
i v e r l i e s a wall. ( P i e c e o f a c l o i s t e r ) w h i c h i n my
o p i n i o n
Gives
t h e
sest echo t h a t y o u e v e r heard; S o h o l l o w a n d s o d i s m a l , a n d w i t h a l S o
p l a i n
i n t h ed i s t i n c t i o n o f o u r words T h a t many have supposed i ti s a s p i r i t
That
ANTONIO:
I d o l o v e t h e s e a n c i e n t r u m s : Vve n e v e r t r e a d u p o n t h e m ,
we w e t O u r f o o t upon, some r e v e r e n d h i s t o r y . ..
...But
a l lt h i n g s
have
t h e i r end: Churches a n d C i t i e s
(which have diseases
l i k e t o men)
Must
have
l i k e death t h a t we have.
E C H O : L i k e d e a t h t h a t w e have« D E L I O : N o w t h e e c h o
g r o a n ' d (me t h o u g h t ) a n d
h a t h c a u g h t you,
ANTONIO:
ave
A
very
deadly
itty o n e :
accent?
ECHO: D e a d l y a c c e n t
DELIO: I t o l d y o u
: w a s a u:
con
may
of
s o r r o w ECHO: A
make i t A huntsman, o r a f a l c o n e r , a
musician, ur a thi]
oaras1 t i c V i olence
t h i n g o f sorrow^. ANTONIO: A v e s u r e , t h a t s u i t s
1 S
s u p e r s t i t i o n
m a g n i ^ i c t - ^ Ct. . i
IS
t - l f c I D •u a.
i L , -L.^b
T w i l i g h t Zone "Whate tr 1i i d ^ ^
Sit
1 1 "^[IOl
present t o i t s former
.t-^ , a
t i l ] It
. " IT
"
cobwebs t o u g h o b l i t e i i ^ ^ e^
+"
1
1
> i !dJ
i_Sb L I t
'^1
tl*
w o r l d d r u g s s i c k s a d iif-^
b. i i I e i ^ b
^
s ^
t -^l 1 O^ 1 O ^ t
s
b I o •
>
yesterday n e g l e c t E a s t e r I^l ti
11
I j \^ 1" ^ * e-* ^1 b
of t h e l o n e l y discarded
b ^ . c e t \i
ii i s h i C x 1
c1
I
" R u i n s w e i t i -- t o i ' - ^
"^
Li
ii 1 c
u h e bcoi
young l a d i e s produce
L
^Ob
t 1
1T
u
ruinous landscapes
r e I i u i N, M 1 V. t
r
i. b .
f a l l ? c o l d f o r s.a.le w i . . . t i i i i C c i " ^ i ^
S
perishing
m u t i l a t o v
r i t
^i i ^ c i
p r o v o k i n g d r u n k s l e a \^
r £1 c e i s , a n d h a s a 1 w
found beauty
i n t h e a <.
w h i c h r u i n i s o n e s- > v ' .
c i t y g l e a m ' d W it h p r
i
Veindal, dreaded nam
,
d o m e s , t h e i r v i 1 1 a s , a -^w
g i l d e d baths, A n d ro"^ o i
strength, o f human s v i i ,
e a s e , a n d 1 u x u r y ! O 1 u .x u
p r e s et r v a 1 1 n n o o 1 o t i n s 1 .'i 1:
\Oi
^
V i "-^i I
er^
1
r
6
�r u i n time f o r g o t t e n worn S.I.T.E. a r c h i t e c t u r e
l o n e l y w a s t e R o m e f a l l e n o l d s o -ea 1 ^ s t i c d e a d
urban, renewal
nighmiares
w i l a
a l i e n
sex
cor
d i s i n t e g r a t e a n t i q u i t y s o c i a l upiie^aval darK f r a ^ ^
ignored a n c i e n t
demolished
chanac
a r t d.idai s t
p u t r i f i e d O r w e l l ' s 1984 Greece " A t t h e s i q h t o f a
the change, t h e decay, and t h e uesol *r.on be^oie
us
and they i n t r o d u c e a long succession o f o t h e r s ,
~
melancholy which these have i n s p i r e d "
gr
r o o t re-^t^c passe* exhumed
lapsed
MOV
r e v o ' % • •% n d e v a s t a t e d
i o
v c i m m
b a t t n i r
OM
\n ^ O ' V e s w a s t e l a n d
Detr<
t a s y b i t mi w o r l d
broken
s o f an a n c i e n t Abbey
of a c l o i s t e r )
which
^d; So h o l l o w and
our words
That
fblO:
I do
lovi
^ur f o o t u p o l
.Churches ani
t h a t
we
eught
y
t ?
ECHO
ke
t o i r s : G.
cobwebs tou_
old world
d m
weeds yesterda^
t e r r o r home
o f
deceased E l o i s e r o
scenery, l i k e t r e e s
broken w ^ l l s and
i v i e
pokers."
t o r n
unknown
Young Boys, I n c . s l i p p e d
s e n i l i t y junk abused
haun,
a
dismissed downtown u n e o n t r o i l e d
been, r u i n minded. The
l i t e r a t u
dark and v i o l e n t f o r c e s , physicaJ
symbol. The s y m b o l s change; t h e -^i
:ecious s p o i l s :
Rush
fcOames
down t h
is
And r o ]
decay
archaic
l i e
d i s s o l u t i o n
nick
war
past
% rmal
q r a f i t t i
^ociy
memories
l e c t i o n s
on
occur;
.^a w i t h
t h a t
ornamental
lamenting
e r o t i c
row.
ANTOl
>/iolence
supf
\r s h e l l s
Twili<
n a t u r a l l y c o n t r a s t i t s
dnate
on.
t h e
conparik
ght corpus
d i l e c t i
d i s s i p a t e
Jits houses b a t t l e
scavengers
:S m y s t e r i o u s j u n k i e s
stones
s k e l e t a l j,<
were
.adies p r j
lane
�r u m
time f o r g o t t e n
w
c h i t e c t u r e a t r e s t
decay
a r c h a i c
l o n e l y waste Rome f ;
S t i c d e a d m.odern r e l i c
d i s s o l u t i o n
urban -renewal
na
sex
c o r r i d o r b r i c k
w a r past
disintegrate
antb
ark
f r a y e d
informal
g r a f i t t i
ignored ancient
dadaist
archaelogy
memories
p u t r i f i e d O r w
^...t.
of a r u i n , r e f l e c t i o n s
o n
change,^
,iy, and t h
•e u s ,
n a t u r a l l y
occur;
they 3
„uce a l o n g
succe
t i n c t u r e d w i t h
t h a t
melancho^
,..'hich t h e s e h a v e
insp_L
ornamental
root p r
passe'
exhumed
lapsec
lamenting
e r o t i c
devastated
vermin
b a t t e r ^
eubuilding
urban caves wasteland
D e t r
t i o n . Or.i
A ecstasy dream w o r l d
broken
r
a r u i n s o fa n a n c i e n t Abbey: A
( P i e c e o fa c l o i s t e r ) w h i c h i n
heard; S o h o i l o w and s o
of o u r
That m a n
I d o l o v e
f o o t
't w e w e t Our
ieir end Church
i l i k e
d e a t h t]
L i k e d e
echo h a t h
I t
groan
•ry d e a d l y a c
accent
D
'a(
..y o n e : Y o u
^^^^^
ntsmar
'u
EJCHd^^Bpimg o f s o r
musj.
•u i t s
s it i c v i t
sure
? h i s p g ^ ^ c r i s em.pty s
' t.atte;
n a t u r a l l y c o
to i t s torn,
ruminate
o n
cobwebs tougi,
an b l i g h t
corpus
old w o r l d drug.,
monuments house
weeds v f s t e r d a y
greaves
myster
.of
d
s k e l e t a l
were
accept
ies
produce
ceru
ndscapes w
for
se
phing mu'
oking
'man r a
ages h a
/j^iitual
dark anol
es n o t . "
symbol. Ti^
c i t y
/1 . . . sudf
With preel01^
a nd
Vandal,
waters,
dreaded
names^
a l l T h e i r
domes,
I, D o w n f a
t h e i r
v i l l a s ;
i r
P a r i a n
porches,
c o r mi i n c 1
of d u s t . V a i n end o f
human s t r e n g t h , o f
ph,
a n d domain a n d
^quest and
pomp. And easg, a n d
eary change, what
r u i n
^y. . . . W h a
em.pty b o t t l e s b e e r
cans
is n o t t h i n e ?
preserve
f a l s e
b i c e l e s s
r e g r e t s
f a i l u r e
garbage Coleman
Young
^deserted
r u s t i c danger remains
adve^
Lrman
Gi¥dens
d i s r u p t i o n
p e r d i t i o n
p o s t e r i t y d e c a d a n c e new^ w i
mht r a v a g e d d i s r e p u t e d o o m s d a y
8
�rui„yx»e f o r g o t t e n worn
l o n e l y w a s t e Ron^^
renewal
^^
"^
disintegrate a n t i q
Ignored
ancient
Petrified O r w e l l '
t h e change,
^
and t h e y i n t r o d u c
melancholy
which
root Poetic pas
r e v o l t tioTQ
d
overgrown
urba
Halloween
ecsij
from t h er v ;
a w a l l (
t h a t y
m.us
sure,
magnif
"Whatev
t o 11 s
cobwebs t o i
old wor
is y e s t e r d
t e r r o r home
deceased E l o i s e
scenery,
l i k e t r e .
walls and '
:ers." t o r
Young Boys, I n
senility
junk
dismissed
do
been, r u i n mi
dark andv i c ^
symbol. Th
With precis
dreaded
n^i
t h e i r v^"^
gilded
human s t
pomp
i s n o t t
garbage)
rustic
posteri
9
c X rr.
S^-^-E-
;^rrhii~or-fnre
- y / ^ J t ^ - t u ^ ^
en
1
a t
r e s t
decay
arch^^^-^
^ e l i c d i s s o l u t i o n
sex
c o r r i d o r
b r i c k
war past
dark
f r a y e d
i n f o r m a l
gratx^ i
dadaist
archaelogy
meniories
a rui^n, r e f l e c t i o n s
�TUir tirne . f r > j . Q Q t t e n
lonel\r
waste '
urban
renewa,
disintegrate
ignored
anci*
... ^ 0 p ^•
worn
—
h i
S,I.T-b.
- -
OS
r e s t
dcicay
arch.itect:urf|
dern r e l i c
diss
t
idoi-_ br-lck
wa
sex
^ lycd
_
informal
d
irk
i s t
archaelogy
m
v..f a r u i n , r e f l e c t i
. . o r e us.
naturally
r s , a 1J t in ct u r e d w i
Q
romantic
orn
andeur l.^i
i^o r 1 1 f 1 c f f i H B " .
s
t h a t youV-.*^'"'
thf. d i s t i i i c t i o * . M
That answer^i.
.a-i^Vi
u p o n t h e m , b u t wt' w e ^
thinas have
t h e u
men) ^ ^ u s th a v e 1:kc d e a t h
DEI 1 0 : N o w t h e e o h o h a t
and a a v e A v e r y
deucilv
* t w a s a p r e t t v one^: Y o u
musician. Or a t n i n q
I
g
r
p
s n o rarbage Co
u s t i c d a n g o i iv""^\
oster!t y do;adance
^ s
©'"^er
' '.
bases i
that
(me
t
I
t-o
a
i'alco
h^TONiO
s-up^ers
r r ^ s emotv " ^ U p l s Twiiigi^iri^tur-ii'^'contrast
i t s
r u ? - n ^ nP^-*-^^~PAl
' 1 2r ^ c ' : a ^
ii l a c t i
ais
. t s mC'^u.'-cnti t
t r - a t t h-- i^c^r^^
slana atrv.-^
ys-.^n^^^ 0^k:_s E
c:i
Ke
ta 1
• •«-' ^ * '^ ^ ^
' a s par
^ c u a c Kosas
i i m i i e a1
wit
waiting
de
lied
raped
ranks
leaky
e
IS, and has
round beauty i
o t w n i c h r u mi
f 1 na i h e c i t y
en t h e G o t h a n d
aelmma a l l Their
t h e i r
Parian
p
ouds o f dust. Vain
trivimph,
a n d doroa
t d r e a r y change, wha
Q^is e m p t y b o t t l e s b e
voiceless
regrets
,^iardens
disruption
pe
Vravaged disrepute
dooms
10
�w o r n S.I.T.E. a r c h i t e c t u r e
at
r e s t
decay
archaic
f ^ a l l e n
old s u r r e a l i s t i c dead modern r e l i c
d i s s o l u t i o n
i^^'^hmares
w i l d
a l i e n
sex
corridor
brick
war
past
"
"Uty
social upheaval dark
frayed
informal
g r a f i t t i
fmolished
change
a r t
d a d a i s t
archaelogy
memories
.984
Greece "At the s i g h t of a r u i n , r e f l e c t i o n s
on
the desolation
b e f o r e us,
n a t u r a l l y
occur r
that
;ion of j t h e r s , a l l t i n c t u r e d w i t h
"
g r o t t o
romantic
ornamental
grandeur
lamenting
f ^ r o t b i c
\
That answers.
ANTONIO:
1
u p o n t h e m , b u t we w e t Our
fool
t h i n g s h a v e t h e i r end:
Churches^
men)
Must have 1 ike death
t h a t
D E L I O : Now
the echo hath
caught
and g a v e A v e r y d e a d l y
accent?
'twas a p r e t t y one:
You
may,. ra<
m u s i c i a n , Or a t h i n g
of
sure,
t h a t
s u i t s
i t >
magnificence shattered
r
" W h a t e v e r b u i l d i n g we
s<
to i t s former s t a t e ,
an'
cobwebs tough o b l i t e r a t #
old world drugs sick
s.
g
weeds
yester_^j'|gj|glec
terroii.
p(
: We
never
tread
tory..« . . . B u t a l l
t o
[e d i s e a s e s l i k e
a t h t h a t we
have.
d
(me
thought)
"
t o l d
you
: u i n s
:no\
fll
hLlitl
!l
III
�st
r u i n time forgotte:
lonely waste
^
urban
renew
d
decay
archaic
e l i c d i s s o l u t i o n
b r i c k
t u
Wc
\ . ;
„
musician,
sure,
t
'
t h i i
r i t s
h . i t
i t
best«"
b u i i d - f t 5 ^"^^ ' i ' ' t .
tts s r o r m ee rr - o n g w e s i
form
"-119
m -e c v ^
ro I
c o b w e b s tou'-^ s t a t e , a i a
dt i i u h t
w o r l d g n o b l i t e r ^ . r e : I Uir-r
ve d r u a s s
„-sterd'"V n e e l t o t ^ , s t e r I s l e i
u
he
1 e^^tl y d i s c a
r o 1 1 ^• n a t
^^
^ t r e e s a^^
d e c e a s e d L,
. .
scenery, l i k ^ .
1 w 1 1 s a n d J.
Twilic^'^^'
c
.
I t s ' " ' "
P r e
• S o r
- t i e
J ^ 5 ^ ^ - e r - ^ ^ f 9 e r s
Younq row.
sen.ilt^'
dismi;^
b e e n ^'
d a r k d.^-*
symbol. T l
With
preci
^ na
t h e i r
v i l l
hum a
pon
is ^
1^g a r b P . $ 1 ^ ^ .an
Y
r u s t i v
wt f 1Q e r r Q KX a 1
p o s t e r i t y
decadance
. o t
war
V'f^
g r a f i t t i
memories
ins
on
r J
'hat
t a l
t i n g
o t i c
. . T ^ x d m g
^ric.n.
Grew
iver
l i e s
j^est
echo
gr-,
p l a i n
is
a
s p i r i t
never
t r e a d
. .But a l l
; : s e s U k e t o
t h a t we h a v e ,
(me
thoughr)
t o l d
y o u
f a l c o n e r ,
a
z^NTOtllO:
Aye
' superstiti^-
I
�r u i n t i m e f o r g o t t e n w o r n S .I.T.E.
a r c h i t - js c t u r e j a t r e s t
decay
archaic
l o n e l y waste Rome f a l l e n o l d s u r r e a l i s t i c : dead modern r e l i c
d i s s o l u t i o n
urban
renewal
nighmeires
w i l d
a l i e n
t ;ex
c o r r i d o r
b r i c k
w a r past
d i s i n t e g r a t e a n t i q u i t y s o c i a l u p h e a v a l d a rk
f r a y e d
i n f o r m a l
g r a f i t t i
ignored ancient
demolished
change
a r t
dadaist
archaelogy
memories
p u t r i f i e d O r w e l l ' s 1 9 8 4 G r e e c e " A t t h e s i c iht
o fa r u i n , r e f l e c t i o n s
o n
the
change, t h e decay, and t h e d e s o l a t i o n
before us,
n a t u r a l l y
occur?
and t h e y i n t r o d u c e a l o n g s u c c e s s i o n o f j t ers,
1 1 t i n c t u r e d wn..th t h a t
melancholy which t h e s e have
inspire.?d« . . '
r o m a n t i c
ornamental
g r o t t o
root poetic passe'
exhume>d
lapsed
e
grandeur
lamenting
c
oncrete
revolution
d e v a s t a t e d
v e r m i n
b a t t e r e d
i r e a l i t yy
fragments
e r o t i c
o v e r g r o w n u r b a n c a v e s w a s t e l a n d D e t r o i t p r o ^f o u n d
h e r m i t s
r e u b u i l d i n g
Halloween ecstasy dream w o r l d broken
"DELIC
f o r t i f i c a t i o n .
Grew
T h i s
f r o m t h e r u i n s o f a n a n c i e n t A b b e y : A~
o' t h e r i v e r
l i e s
)nd
s i
a w a l l (Piece o fa c l o i s t e r )
which
t
echo
lion Gives t t
t h a t you e v e r h e a r d ; S o h o l l o w and
ain i n
and
w i t h a l
the
d i s t i n c t i o n o fo u r w o r d s
Tha
s p i r i t
i t
That answers.
ANTONIO:
I d o 1
tread
t r u i n s : W€
mt w e wet Our
f o o t
end
h i s t o r y ,
t h i n g s have t h e i r end:
Churc'^ich
have diseases l i k e t o
men)
M u s t h a v e l i k e d e a t h t\
L i k e d e a t h t h a t w e have,
DELIO: Nowt h e echo h a t h c
t groan'd
(me thought)
and gave A v e r y d e a d l y a
ent
DELIO: I
t o l d y o u
'twas a p r e t t y one: Y
an,
o r a
f a l c o n e r , a
musician. O r a t h i n g
sorrow.
ANTONIO: A y e
sure,
that
s u i t s
v i o l e n c e
s u p e r s t i t i ^
magnificence
shat
y s h e l l s Twiliah^"
^
"Whatever b u i l d ?
^ ^ ^ ^ ^ s t
•
^^^^^
to i t s former
i t s
presen| cobw^ebs tou'-'
A
^ n e comparison."
;
-Id
worl"
P'
o d i l e c t i
d i s s i p a t e
'- v e
^..ouses b a t t l e
scavengers
m y s t e r i o u s j u n k i e s
stones
o
%
oKeletal
ramshackle
c r i p p l e d
weeds
,,ere
accepted a s p a r t o f
a l l
t e r r o r b
ladies produced
pseudo
Rosas,
d e c e a s e d b,.
landscapes were limned
with
d e c r e p i t
scenery,
likt
a l l ? c o l d f o r
s a l e
w a i t i n g
erased
b r o k e n w a l l s a:
u t i l a t e d r a
mise p e r i s n x
e x t i n c t
pokers."
drunks
l e a k y
, aged
p r o v o k i _
Young Boys, I n c . slip|-.v.
and h a s always
-d e n d T h e h u m a n r a c e i s ,
in t h e
s e n i l i t y junk abused
h a u ^ ,
- .-e o f a l l a a e s h a s f o u n d
beauty
i s so noen e
dismissed downtown
u n c o n t r o l l e .
and s p i r i t u a l , o fw h i c h r u i n
i
been, r u i n minded. The
l i t e r a t u r
^ does not."^^ f i n a l The c i t y gleam d
d a r k a n d v i o l e n t f o r c e s , p h y s i c a l ..
.
v
Vandal,
sudden t h e Goth and
symbol. The symbols change? t h e neea
iters, whelming
a l l T h e i r domes
•W i t h p r e c i o u s s p o i l s : a l a s ,
prosperit_,
^wn f a l l t h e i r
P a r i a n
d r e a d e d n a m e s , R u s h a s t h e b r e a c h o f yfi
n c l o u d s o f du-''
t h e i r v i l l a s ; down t h e f e s t i v e p i l e s . Do
md
t r i u m
a
porches,
g i l d e d b a t h s . A n dr o l l b e f o r e t h e s t o r m i
'hat
drea
r
V a i n end o f
h u m a n s t r e n g t h , o fh u m a n s k i l l , C o n q u e s t i
gods
.
.
pomp. And easg, and l u x u r y ! O l u x u r y . . . . W
and - domain a n d
r u i n
is n o t t h i n e ?
p r e s e r v a t i o n p o l o t i c s
f a l s e
ry
change, what
. e m . t - b o t t l r e e st s b e e r
p y
cans
garbage Coleman
Young
consumed
deserted
.
^ ^
f a i l u r e
r u s t i c danger remains a d v e r s i t y Herman
v o i c e l e s s
r e g r ^ - p e r d i t i o n
p o s t e r i t y d e c a d a n c e n e ww i l d e r n e s s d o n \ - ; a r d e n s
^^^^^^^"t^^oomsday
.Dt r a v a g e d d i s r e p u t e
�VILLA
M A R K
BARR
DEMSKY
In a l e t t e r t o Conte G u l l l o Capra
concerning
a
critique
o f t h e
Redentore,
Andrea P a l l a d i o wrote
that
" t h e scale a t t h efoot
o f
the
elevation
replaces a l l
explanations."(1)
Such r e t i c e n c e
certainly
diminishes
t h e
opportunity
t o comprehend t h e
intentions
o f an architect
like
Palladio,
instead demanding that
the
"intelligent
observer
draw
his
own conclusions
about t h e
meaning
o f h i s
measures."(2)
Therefore,
visitors
t o
a
Palladian
s t r u c t u r e may sense a n
application
o f an overall
order
without
ever
exactly
realizing
the ordering system that has been
employed.
Rudolf
Wlttkower,
i nhis
book.
Architectural
Principles i n t h e
Age
o f Humanism, e x p l a i n s
that
Palladio
imbues h i s a r c h i t e c t u r e
"with
t h e 'certain
truth'
o f
mathematics
which
i sfinal
and
unchangeable.
This
geometrical
keynote i s , subconsciously rather
than
consciously, perceptible t o
everyone
who v i s i t s
Palladio's
v i l l a s
and i t i s this that gives
his
buildings their
convincing
quality."(3)
Inherent
architectural
lessons,
therefore,
may remain
serenely
dormant
and somewhat useless
t o
a l l
b u t those
who choose t o
dissect architectural drawings i n
pursuit o f their genesis.
Such a
method
o f visual
and
verbal
dissection
can be a
valuable
c r i t i c a l
tool,
demonstrated
i n
the
following
evaluation o f a
recent
a r c h i t e c t u r a l work byt h e
Chicago
firm
o f
Booth/Hansen
Associates.
At
f i r s t
appears
glance, t h eVilla
Barr
innocently
peculiar.
Located on a four acre rural
site
in
Northville,
Michigan,
t h e
two-story
house
intrigues
passersby
w i t h i t s creamy y e l l o w
and
r e d
coloration
and i t s
u n u s u a l r o o f , which seems t o have
been
forcefully
twisted on t h e
walltops
noticeably
o u t o f
alignment.
I n t h eminds o f many,
the
building
i s
probably
dismissed
as an
architectural
oddity,
o r merely as an addition
to
t h e
ranks
o f
skin-deep
Post-modern
architecture.
I ti s
somewhat odd a n d i t i s d e f i n i t e l y
Post-modem,
b u t i t i sf a r
from
being
superficial.
Robert
A.M.
Stern
declares that
"traditional
Post-modernism—(is)
dependent
on
forms
and strategies
drawn
from
t h e
modernist
and
premodernist
work that
preceded
i t . . . " ( 4 )
In
h i s
book.
Design
i n
14
�ICONIC
An i c o n i s d e f i n e d as an i m a g e
or
representation, a f i g u r e or a
likeness.
A r c h i t e c t u r a l l y
d e f i n e d , we m i g h t s a y t h a t i c o n i c
design
i s
very closely related
to,
i f not
identical
to,
the
field
of semiotics, which i s the
study
of
signs
and
their
meanings.
Forms t h a t i d e n t i f y a
building type, e i t h e r consciously
or subconsciously, are
considered
semiotic.
I n the 1800s,
large
columns
and
a
Greek
temple
pediment
became synonymous
with
banking
institutions
i n
the
United
States, while a
vertical
element, usually i n the form of a
bell
tower,
has
been
the
internationally recognized
symbol
for
houses
of
worship
f o r
centuries.
Architecture.
Geoffrey Broadbent
informs
us
that
"architects
generally
have used f o u r ways of
generating
three
dimensional
form...pragmatic,
iconic,
analogic
and
canonic"
approaches.(5)
Throughout
history creative a r c h i t e c t s , most
notably
the founding fathers
of
modern
a r c h i t e c t u r e , have
used
these
design approaches i n
many
varying combinations.
Villa
Barr
is
one
such
example,
and
is
particularly
successful,
I
believe,
because i t employs a l l
four.
Instrumental
from
the
outset.
Because
o w n e r D a v i d B a r r was
the
general
contractor
and
laborer
for a l l trades, extensive
thought
had
to
be
given
to
the
availability
of
materials,
the
possibility
of t r a n s p o r t i n g them
from
elsewhere,
their
basic
properties,
constructability
and
costs,
their
s u i t a b i l i t y
f o r
working
i n shop o r on s i t e ,
and
the
specific
skills
of
the
one-man
labor
force.
Pragmatically,
or
practically
speaking,
the
h o u s e had
to
be
designed
to
be b u i l t
by
David
Barr alone.
PRAGMATIC
Pragmatic
design
was
based,
i n i t i a l l y , on u s i n g m a t e r i a l s , by
trial-and-error
to
establish
building
form.(6)
In
other
words, designs t h a t are
pragmatic
are
typically
generated
by
empirical
methods.
For example,
height
of
construction i n
the
Gothic
p e r i o d was d e t e r m i n e d
by
observation
of
existent
structures.
This
practice
generated t a l l e r and t a l l e r n a v e s
and t o w e r s , u n t i l t h e c o l l a p s e o f
Beauvais
i n
1284, w h i c h
marked
the
end
of the vast
scale
and
structural
innovations
of
the
High Gothic cathedrals.
There
i s l e s s t r i a l and e r r o r i n
today's
pragmatism,
because
we
now
better
understand
the
properties
of materials.
Modem
pragmatism
deals
more
with
achieving greater economy, b e t t e r
performance
or other
advantages
over
traditional use.(7)
At the
Villa
Barr,
pragmatism
was
15
fig-
To
explain
f u l l y
the
iconic
strategies
used
at
the
Villa
Barr,
I must f i r s t o f f e r a b r i e f
biography
of David Barr himself.
Barr
i s
f i r s t and
foremost
an
a r t i s t ,
using
s c u l p t u r e as
his
primary
form
of
expression.
B a r r ' s p r o l i f i c o u t p u t has
always
demanded
that
he w o r k o u t o f
a
studio,
a
space
where
he
can
pursue
the creation of h i s works
of
welded
steel
and
of
often
i n t r i c a t e l y fashioned wood.
This
space
o f t e n took the form of
an
out-building,
an
entity
unmistakenly
separated from
his
domestic
l i f e ,
w h i c h he
shares
w i t h h i s w i f e , E l i z a b e t h , and h i s
two
c h i l d r e n , Heather, 22,
and
Gillian,
18.
�array
o f new v i s u a l forms
"that
frequently
arise
by
analogous
processes."(10)
These two f a c t i o n s o f Barr's
l i f e
are
what designer Laurence
Booth
incorporated
into
t h e
final
house,
a
representation o f the
artist/husband/father's
lifestyle.
To accomplish
this
task.
Booth r e l i e s f i r s t on two
main semiotic forms: a f l a t roof,
symbolic
o f work place which
he
installs
over t h e studio p o r t i o n
of
t h e house, and a pitched roof
that covers t h e l i v i n g f u n c t i o n s .
To
further stress this
duality.
Booth
shifts
t h e axis
o f t h e
pitched roof t o form a noticeable
angle
with the l o n g i t u d i n a l and
lateral
axes o f t h e house's plan
(fig.
a ) .
These
forms
a l l
combine
t o create
one
potent
symbol—
a representation o f t h e
house's
owner.
Closely
related
to
this idea o f iconic design i s
the t h i r d way o f g e n e r a t i n g
form,
analogic
design.
ANALOGIC
The d i c t i o n a r y d e f i n e s a n a n a l o g y
as
"an agreement
o r
likeness
between two d i f f e r e n t t h i n g s when
placed
i n a
c e r t a i n s e t
o f
circumstances." A r c h i t e c t u r a l l y ,
analogies
a r e often
considered
"the
most
potent
source
o f
creative
ideas."(8)
I n
t h e
Johnson
Wax
Company's
administration
building
(1936)
and
tower
(1951)
Frank
Lloyd
Wright
uses
water
l i l i e s
o r
mushrooms
as analogies, and f o r
the
U n i t a r i a n meeting House
a t
Madison, Wisconsin (1951) he uses
his
own hands i n p r a y e r .
Andrea
Palladio,
i n t h e construction o f
his country v i l l a s , always
placed
a
pedimented p o r t i c o around
t h e
front entrance.
This
arrangement
is
analogous
t o c l a s s i c a l temple
fronts,
which
i n turn
Palladio
believes
are analogies f o r t h e
entrances
t o ancient houses.
By
"application
o f t h e temple
front
to
t h e house P a l l a d i o
believed
that
he
had recreated
them
(ancient
houses)
i n form
and
spirit."(9)
These
examples
merely call t o attention t h e vast
Villa
Barr i s no exception.
I n
plan
and e l e v a t i o n , as w e l l
as
name,
t h e house makes d e l i b e r a t e
references
t o t h e v i l l a s
o f
Palladio.
This i s most
obvious
on t h e e x t e r i o r , where pedimented
porticos
( f i g .b ) o v e r t h e f r o n t
and
rear
entrances
echo
the
master's belief i n t h e analogy t o
ancient
houses.
Also
d i f f i c u l t
to
ignore
i s t h e color
o f t h e
structure,
taken
directly
from
the
hues o f such P a l l a d i a n works
as
t h e V i l l a
Emo
a t
Fanzolo
(Treviso)
c.1564,
which
boasts
cream
yellow
stucco and a red
t i l e
roof.
Other references
t o
Palladian
v i l l a s occur i n plan,
and
a r e
therefore
n o t
as
noticeable
t o
t h e
observer
without t h e use o f diagrams.
The
structural
grid
o f t h e house
divides
t h e space
into
nine
12'xl8'(2:3)
rectangles
laid
three
wide and three deep.
This
arrangement
corresponds
t o t h e
Palladian
standard ordonnance o f
"a
c e n t r a l hall which could
be
round,
square,
rectangular
o r
cross-shaped;
o f f
i t
were
customarily f o u r rooms f i t t i n g i n
four
corners
o f a
rectangular
frame
( 1 1 ) , ( f i g . c ) .
Other
references
t o P a l l a d i o a r e made
in
t h e p r o p o r t i o n a l systems used
to
organize t h e whole as w e l l as
the
i n d i v i d u a l parts.
Criticism
of
this
s t r a t e g y i s covered
i n
the
f o u r t h method o f
generating
form, canonic
systems.
fig.c
fig.d
CANONIC
Canonic
systems
a r e methods
o f
promoting
order,
examples
o f
which
a r e
two
or
three
dimensional
grids
ensuring
modular
o r
dimensional
coordination
i n
design
and
construction.
Canonic
devices
have
been
i n use since
t h e
beginning
o f recorded
history.
There I s evidence
t h a t around
600
B.C.
Egyptian
archaeologists
penetrated
deep i n t o t h e tomb o f
Djoser, designed
by t h e legendary
Imhotep,
and
found
there
a
proportional
system i n t h e w a l l
reliefs
that
later
came
into
general
use.(12)
Other
systems
were
advanced
by
Greek
mathematicians
and philosophers,
men l i k e P l a t o , who reasoned
that
a l l
o f c r e a t i o n was
structured
from
regular
geometric
solids
derived
from
equilateral
or
isosceles triangles.(13)
At
t h e
Villa
Barr,
two
mathematical
systems
were
employed
i n
i t s
complex
geometrical
layout.
Laurence
Booth
i s very i n t e r e s t e d here i n
the
proportional
systems
o f
Palladio,
specifically t h e ratio
2:3.
Barr
also
has a great
a f f i n i t y
for mathematics,
particularly f o r
the numerical s e r i e s developed i n
the
middle
ages
by
Leonardo
Fibonacci,
a
progression
which
closely
approximates
t h e Golden
Section: 1,1,2,3,5,8,13...n.
The
16
�fig.
e
fig.
f
Golden
Section
is
at
once
additive
and
geometrical.
In
geometric
terms,
the
Golden
Section
c a n be d e f i n e d a s a l i n e
that
i s
divided such
that
the
lesser
portion i s to the greater
as
the greater i s to the
whole.
I t c a n be e x p r e s s e d a l g e b r a i c a l l y
by
the
e q u a t i o n of two
r a t i o s :
a/b
=
b/a+b.(lA)
Both
systems
are
instrumental
i n
the
development
of
this
building,
from
overall
space
layout
to
placement
of
d e t a i l
i n
the
second,
as
dimension.
fig.
fig.
h
^igwell
as
the
third,
In
concept, the building i s
two
halves,
one
half
devoted
to
house,
and one t o s t u d i o , w i t h a
layer
of
t r a n s i t i o n a l
space
between
( f i g . d).
To
lay
the
parameters
of
the
building,
a
36'x54'
(2:3) rectangle i s
used
(fig.
e ) .
Diagonals
'a' and
'b'
are
scribed
from
opposite
corners.
Perpendicular
regulating
lines
'c'
and
'd'
i
g
originate
from opposing
corners
and
intersect
the
building
boundary t o form two 6 ' x l 8 '
(1:3)
rectangles
of
t r a n s i t i o n a l
f u n c t i o n s ( f i g .f ) . A h o r i z o n t a l
bisector,
'g',
i s drawn
across
the intersection of the
diagonals
'a'
and
'b', and t h e
diagonals
' e ' and ' f o f t h e t w o new
shapes
are
drawn.
Column placement
i s
thereby
determined
by
the
vertical
and
horizontal
components
of
a l l
diagonals,
forming
the
structural grid
of
�fig-
i
nine
12'xl8'
(2:3)
rectangular
bays
( f i g . g).
On
the
f i r s t
floor,
the
t o i l e t rooms
widths
and
lengths
are
governed
by
d i a g o n a l s ' a ' and 'b', w i t h
their
length
determining
the axis
of
the spiral stair (fig. h ) .
The
angle of the roof/clerestory
in
plan
i s f i x e d by t h e
normal
line
'h'
connected between
the
upper
r i g h t - h a n d c o r n e r and
the
intersection
of
perpendiculars
'a' and 'd' ( f i g . i ) .
The
office
balcony,
colinear with line
'c'
has
an a n g l e o f 2:3, once
again
reiterating
Booth's
homage
to
Palladian proportions (fig. j ) .
All
of
these a n a l y s e s show
how
this
house
corresponds
to
Broadbent's
ideas of
pragmatic,
iconic,
analogic
and
canonic
approaches,
which,
i n
turn,
relate
to
a l l
methods
of
architectural
design.
The
main
attribute
of Post-modern
design
is i t s supposed a b i l i t y t o r e l a t e
to a l l types o f people on v a r i o u s
levels,
from
s t r i c t l y
visual
analyses
t o complex i n t e l l e c t u a l
arguments,
as seen i n t h e
V i l l a
Barr.
Ideally,
by d e s i g n i n g
buildings
as
well
as
analyzing
and
e v a l u a t i n g them w i t h t h e s e i s s u e s
in
mind, a r c h i t e c t s and
critics
will
undoubtedly further
enrich
our
architectural fabric,
which
a p p e a r s t o be w e a k e n i n g w i t h e a c h
new
addition
of
socially
irresponsible buildings.
ENDNOTES
BIBLIOGRAPHY
(1)
Rudolf
Wlttkower,
Architectural
Principles i n
the
Age o f H u m a n i s m ( 2 n d e d . ;
London:
Alec T i r a n t i , L t d . , 1952), p.112,
f o o t n o t e 2.
Broadbent,
Geoffrey.
Design
Architecture.
Chichester:
W i l e y & Sons,
1973.
(2)
2.
Wlttkower,
p.
(3)
W l t t k o w e r , p.
112,
footnote
66.
(4)
R o b e r t A . M.
Stern,
"The
Doubles
of
Post-Modern",
i n
Architectural
Design,
Academy
E d i t i o n s , 1 9 8 1 , p.
67.
(5)
Geoffrey Broadbent,
Design
in A r c h i t e c t u r e (Chichester: John
W i l e y & S o n s , 1 9 7 3 ) , p.
25.
(6)
Broadbent,
p.
412.
(7)
Broadbent,
p.
412.
(8)
Broadbent,
p.
W l t t k o w e r , p.
Broadbent,
30.
Farber,
Joseph
C,
and
Reed,
Henry
Hope.
Palladio's
Architecture
and i t s I n f l u e n c e s ,
a
P h o t o g r a p h i c G u i d e . New
York:
Dover P u b l i c a t i o n s , 1980.
S t e r n , R o b e r t A . M..
"The
Doubles
of
Post-Modem".
Architectural
Design, Academy E d i t i o n s ,
1981.
Wlttkower,
Rud
Principles
i
Humanism.
2nd
Tisanti, Ltd.,
olf. Architectural
n
the
Age
of
ed. London:
Alec
1952.
67.
(10)
Ching,
Francis
D.K..
Architecture:
Form,
Space
&
Order.
New
York:
Van
Nostrand
R e i n h o l d Company,
1979.
38.
(9)
i n
John
(11)
Hope
Archit
a
Pho
Dover
p.
J o s e p h C. F a r b e r a n d
Henry
Reed,
Palladio's
ecture
and i t s I n f l u e n c e s ,
t o g r a p h i c G u i d e (New
York:
Publications, 1980),
n.p.
(12)
Broadbent,
p.
35.
(13)
Broadbent,
p.
36.
(14)
Francis
D.
K.
Ching,
A r c h i t e c t u r e ; Form, Space &
Order
(New
York: Van Nostrand R e i n h o l d
Company, 1 9 7 9 ) , p.
300.
AUTHOR'S
NOTE:
Both
David
Barr
and
Laurence
Booth
were
sent
preliminary
copies
of
this
article
f o r
c r i t i c a l
comment,
and
minor
recommendations
made by t h e
two
men w e r e g e n e r a l l y c o m p l i e d
with.
H o w e v e r , Mr. B o o t h ' s o b j e c t i o n t o
his
project
being
labeled
'Post-Modern'
was
benevolently
ignored
due
to
my
personal
observations
t o t h e c o n t r a r y , as
well
as
the
opportunity
f o r
enlightening
debate that such
a
l a b e l almost n e c e s s a r i l y demands.
18
�L I BESKIND
M l
C
TH ROUGH
R O M E G A
S
73
O
>
o
CO
19
��architecture
i n the Renaissance,
the
seeds o f e x i s t e n t i a l i s m
and
rationalism i n the Enlightenment,
and
their
manifestation
i n
contemporary
architecture.
This
paper,
therefore, w i l l
describe
Libeskind's
connection t o the
above
i d e a s . We b e g i n
with
an
historical
background.
The R e n a i s s a n c e a r c h i t e c t was t h e
f i r s t t o approach a r c h i t e c t u r e as
an autonomous a r t o b j e c t . Whereas
the
Gothic
architect
pursued
architecture
as a complement
t o
the
"Garden
of
God",
the
Renaissance a r c h i t e c t became l e s s
theocentric
and l e s s burdened by
the
tight
guild systems o f t h e
Gothic. Furthermore, architecture
became
an
"aristocratic
profession",
a
desk a r t where,
for
the f i r s t time, architecture
could
be t r e a t e d as p a i n t i n g and
the
theory of architecture could
be a p u r s u i t u n t o i t s e l f .
Concurrent
with
this
birth
of
autonomous
architecture,
the
Renaissance
saw t h e b i r t h o f
an
interest
i n the plasticity
of
Daniel
L i b e s k i n d has been a t t h e
Cranbrook
Academy
of A r t since
1978 as head o f t h e d e p a r t m e n t o f
architecture.
He l e f t
Cranbrook
in
May o f 1 9 8 5 . D u r i n g h i s s t a y ,
Libeskind
has
had most
of h i s
exposure
i n Michigan
through
exhibitions o f h i s students' work
within
Cranbrook, an
exhibition
of h i s work i n t h e D e t r o i t
Artist
Market,
and
periodic
lectures
outside o f Cranbrook. Most o f h i s
important
exhibitions,
however,
have
opened i n London e i t h e r
a t
the
Architectural Association or
at
t h e A r t N e t . T h e A.A. s a w t h e
openings
o f : Micromegas
(1979),
Chamberworks (1984), and Theatrum
Mundi
(1985).
As a
result, i t
be n o n s e n s e t o c a t e g o r i z e
would
as
a
Michigan
Libeskind
or o n e who h a d made a
architect,
direct regional
contribution.
The p u r p o s e o f t h i s e s s a y i sn o t ,
therefore,
t o
assess
h i s
contribution
t o
Michigan.
Instead,
t h i s paper w i l l a t t e m p t
to
illustrate
and t o p u t
into
context
some
of the
principal
concerns
o f D a n i e l L i b e s k i n d by
using
h i s
graphic
series,
Micromegas
( s e e f i g u r e 1 as
one
example
from the series which i s
published
i n Between
Zero
and
Infinity),
as
a
point
of
departure.
The Micromegas
series
is
a
deliberate
and
eloquent
expression o f Libeskind's notions
regarding t h e past and present o f
architecture,
these
notions
being:
the objectification
o f
21
arch
form
in
prop
with
f i r s
birt
arch
this
"the
the
itecture
—
a reverence
o f
f o r form's sake
manifested
an
enthusiasm
f o r
complex
ortional
systems.
Here,
in
the Renaissance, lies the
t ,
vital
expression o f the
h
o f
the
object
and
itectural fashion. Concerning
Renaissance-born notion
of
object,"
Libeskind
writes
following:
The ways o f s y s t e m a t i c a l ly objectifying architectural values, a conversion of objects into
objects, i s an effort t o
project experience as a
process devoid o f depth
and concealment. ( 1 )
Furthermore,
i n
"Versus
the
Old-established
"Language
of
Architecture"", Libeskind writes:
I t has become
albeit well i
rhetorical de
obscures t h e
architecture
of f o r m and a
demand f o r a
ing m a r k e t . (
a f a l s e —
n f o r m e d —
vice which
"case" o f
by i t s c u l t
frenzied
form-demand2)
Whereas
t h e R e n a i s s a n c e was
an
anthropocentric
era —
an e r a
where
perspective
was
i t s
greatest
expression
—
t h e
E n l i g h t e n m e n t was an e r a i n w h i c h
science
grew
exponentially. I t
was
also
an
era
i n
which
secularization
and
alternatives
to C h r i s t i a n i t y were beginning t o
surface:
Unitarianism
and
Freemasonry being two significant
examples. The E n l i g h t e n m e n t was a
kind
o f G o t t e r d a m e r u n g : God, h i s
kingdom,
and t h o s e who posed
i n
his place t o p p l e d w i t h t h e u r g i n g
�of
Rousseau and V o l t a i r e .
Though
not
Godless,
this
was
an e r a
where t h e c l a r i t y o f h i s f e a t u r e s
became d i m , h i s f i g u r e waned. T h e
common
man was now t h e
purveyor
of
law and t h e delineator o f t h e
future.
The
Enlightenment
saw
t h e
explosive
rise
o f t h e
middle
class;
with i t t h e entire
social
condition
had
changed.
The
profession
o f
architecture
changed w i t h t h i s new paradigm
—
clients
changed,
materials and
objects
o f expression
changed.
Effects
o f
this
change
a r e
evident
i n t h e work
o f
t h e
architect,
Giovanni
Battista
Piranesi.
Using two examples
o f
Piranesi's
drawings —
t h e Campo
Marzio
and
t h e
Carceri
Manfredo
Tafuri
describes
Piranesi's
graphic
work
as
an
expression
o f t h e Enlightenment.
In
Piranesi's
Carceri,
f o r
example,
T a f u r i argues that " t h e
experience
o f anguish makes i t s
f i r s t
appearance
i n
modern
form."(3)
In
Architecture
and
Utopia,
Tafuri
discusses
Laugier's
influence
on
Piranesi.
Significantly, Laugier's
extended
metaphor
o f t h e "city as forest"
is
symptomatic
o f t h e eclipse o f
perspective
as
t h e method
o f
divination.
The city, t h e r e f o r e ,
had
t h e romantic attributes
o f
the
forest —
a landscape
where
everywhere
one
turned
a
new
object
or vista
greeted
t h e
visitor.
This expression o f t h e
post-perspective world i s a world
in which, instead o f a r i s t o c r a t i c
axes
connecting
monuments,
squares,
and cities, t h e city i s
connected
by
an
i n f i n i t e l y
extending
grid.
This
" i n f i n i t e
extension"
c a n be seen
i n t h e
Campo M a r z i o , w h i c h , a c c o r d i n g t o
Tafuri,
i s
an
"obsessive
r e i t e r a t i o n o f inventions /which/
reduces
t h e whole organism t o a
sort
o f
gigantic
'useless
machine'".
(A) The Carceri, l i k e
the
Campo
Marzio
i s
perspectiveless,
orderless, and
centerless. T a f u r i views these as
e x p r e s s i o n s o f a "new e x i s t e n t i a l
condition
o f human c o l l e c t i v i t y ,
liberated
and condemned a t t h e
same
time."(5)
This
prophetic
existentialism
i s important f o r
the
t r a d i t i o n o fa r c h i t e c t u r e .
The
Enlightenment
application
o f this
world
i n a
new
architectural educat
with
t h e founding
Polytechnique, Jean
a l s o saw t h e
view o f t h e
approach
t o
ion. I n 1794,
o f t h e
Ecole
Nicolas Louis
Durand
began
t o
teach
a
systematic
architectural
typology.
The most
significant
aspect
o f Durand's approach
t o
architecture
was
i t s
very
r a t i o n a l , systematic nature. Here
the
study o f a r c h i t e c t u r e became
a
taxonomy
o f i t s p a r t s . He i s
most
famous
f o r h i s books
teaching aids that described " t h e
most
significant
monuments
o f
architecture"
where
each
structure
was superimposed
on
a
constant
g r i d . Whereas order
i n
the
Renaissance
begins
with
Brunelleschi's
vanishing
point,
order i n t h e Enlightenment
begins
with Descartes'
grid.
The
above o u t l i n e o f " h i s t o r i c a l
steps"
introduces
some
o f t h e
attitudes that Libeskind
suggests
in h i sgraphic series Micromegas.
A
comment on t h e o b j e c t i f i c a t i o n
of a r c h i t e c t u r e o c c u r s w i t h i n t h e
context
o f t h e e n t i r e Micromegas
series, which has no beginning o r
end.
Rather
than
reifying
a
particular
experience,
event,
place,
o r time, these
facadeless
drawings
imply
a
circular
relationship between observer and
CARCERI
print. This object-less condition
has
something
t o do
with
the
existential
spirit
f i r s t
expressed
by P i r a n e s i . An object
is
always meaningful though i t s
m e a n i n g may be t r i v i a l . An o b j e c t
is
also
a
center o r locus
o f
meaning;
i ti s a s t o p p i n g
point
or
a connection. The drawings o f
Piranesi
present
us with a
new
meaning
o f t h e object
—
t h e
existence
o f a
f u t i l e
object
submerged
by
i t s own
autonomy.
Libeskind
has
gone
beyond
Piranesi.
These drawings
bypass
the
"object."
The drawings
a r e
like
aspects
o f a dream
o r an
unearthly, t w i l i g h t m e d i t a t i o n on
architecture.
He e x h i b i t s a
new
universe
—
alienating,
disconserting,
unworldly.
One
o f t h e most
fascinating
aspects
o f Libeskind's
graphic
work
since
and
including
Micromegas
i s their
power
t o
suggest
a
great
and
lengthy
tradition
o f ideas. But they a r e
not
mere
representations
o f
ideas,
but c r i t i c a l
comments
t h a t , i n t h e i r sense o f t r a d i t i o n
and
thoughtfulness,
a r e
�simultaneously
timeless.
timely
and
Libeskind's e a r l y works, from t h e
Cooper Union a r e simple. They a r e
meditations recalling events
from
the
e a r l y modern e r a . Influences
can
be s e e n f r o m J u a n G r i s ,
the
patterns
of
de
Stijl,
and
Corbusier. Such r e c o l l e c t i o n s a r e
undoubtedly
fostered
by one
of
his teachers a t t h e Cooper
Union,
John H e j d u k , who r e c a l l s G r i s and
C o r b u s i e r i n h i s own work.
There
are
three
p r i n c i p a l
exercises
a t
t h e Cooper
Union:
the Nine Square Problem,
t h e Cube
Problem,
and
the Juan
Gris
Problem.
Of
the
Juan
Gris
Problem, Raphael Moneo w r i t e s :
The s t u d e n t o f a r c h i t e c ture learns t o value the
logic of a language
which
presents i t s e l f as an
alternative t o that
e s t a b l i s h e d by t h e
Renaissance,
which
made
the depth o f space and
i t s r e p r e s e n t a t i o n by
means o f p e r s p e c t i v e i t s
most s a l i e n t
characteri s t i c . The f a s c i n a t i o n o f
this alternative
vision
lies i n the fact that
reality i s not betrayed,
in as f a r as no f i x e d
viewpoint i s chosen from
which t o look."
Essentially
is a method
according t
Juan G r i s . "
Hieroglyphs
o f space i n t h e form
of
a c r y s t a l and S t r u c t u r e , a r e
direct
antecedents
o f Juan Gris'
collage
paintings
circa
1913.
Comparisons
c a n be made i n t h a t
both
Gris'
painting
and
Libeskind's
collages e x h i b i t an
interest
i n
the
vertical
divisions
o f
the surface
and
render
each
vertical
surface
transparent.
I n
the
macrostructure
of the
collages,
the
v e r t i c a l planes a r e rendered
transparent
by
"reflecting"
various
aspects
o f the
subject
under study.
The
significance o f
Libeskind's
use o f t h e ideas o f Juan G r i s and
the cubist philosophy l i e s
within
the
growth of h i s i n v e s t i g a t i o n
into
t h e
meaning
and
representation
o f
spatial
perception.
Like
many
a r t i s t s ,
his
oeuvre
has
a
kind
of
congruity
with
t h e ideas
that
interested
him
and
the
progression of the history o fa r t
and
ideas.
Libeskind's
early
works.
Reappearance,
Clearing,
and Model ( 1 . 9 ) . f o r e x a m p l e , a r e
very
simple. They l i e w i t h i n t h e
reductivist
realm of minimalism.
As h i s w o r k c o n t i n u e s , i t becomes
increasingly
complex and
dense.
There
i s a
point
beyond
the
Gris-inspired
collages that the
influence
o f P i r a n e s i comes i n t o
focus.
H i s s p i r i t makes
itself
most
evident
i n
Libeskind's
projects
beginning
with
Micromegas
and C o l l a g e Rebus
i n
three
main respects: the
simple
tradition
of
an
architect
and
deriving
expressing
through fine a r t , the
sustenance
geist
o f the
work,
existential
and,
corresponding
t o
this
e x i s t e n t i a l g e i s t , t h e absence o f
perspective
and
t h e
rhetorical
use o f f r a g m e n t s .
The
significance of
Libeskind's
interest
i n
post-cubist
representation
l i e s i n t h e whole
link
t o Piranesi. But
i t goes
further
t h a n t h i s . An
explosion
occurs,
l i t e r a l l y
and
figuratively.
To c a l l Micromegas
"scrambled
plans",
however,
as
did one w r i t e r i n The A r c h i t e c t s '
J o u r n a l ( 9 ) , would be m i s s i n g t h e
point.
To r e f e r t o t h e
drawings
as
such i s t o suggest t h a t
they
have
their
origin
as
whole
"plans".
These
drawings had
no
such origin.
Gris
was i l l u s t r a t i n g a
subject
that
may be i n t e r p r e t e d as being
"scrambled"
i n
order
t o
investigate
or i l l u s t r a t e facets
that
could
n o t be
expressed
through a frontal or perspectival
representation.
Gris deals
with
concept
through
t h e program
o f
the
v i o l i n .
The
syntactic
layering
occurs through,
f i r s t ,
the
surface
geometry
(vertical
mirroring
overlapping
and
the Juan Gris
problem
t o "create a building
o the understanding of
(6)
N
Moneo
continues:
<
The r e p r e s e n t a t i o n o f
a r c h i t e c t u r e , as had
happened i n t h e cubist
pictures, i s 'already'
architecture,
reality,
since one i s n o t d e a l i n g
with t h e reduction o f an
object but rather with a
new, b u t genuine,
appearance o f a phenomenon: t h e
constructed architecture
and t h e a r c h i t e c t u r a l
drawing a r e two equally
real appearances. (7)
Surely,
the teaching of
Hejduk
has
been
influential
i n
Libeskind's
work. Evidence
o f an
interest
i n Juan Gris i s l a t e n t ,
for
example,
i n a
series
of
Libeskind's
collages
performed
with
photocopies
of
Corbusier
p l a n s , some m i x e d w i t h n e w s p a p e r s
and
the
patterns
of
stock
reports.
These
collages.
23
O
Q.
<
O
�discontinuous
chunks). Then
the
subject,
here
the v i o l i n ,
sets
the
tenor of the program of
the
picture.
Geometry
and
subject,
therefore,
are given, while
the
program Is l e f t to i n t e r p r e t a t i o n
by t h e
observer.
Libeskind,
on
the
other
hand,
does
not illustrate a subject i n
the
same
way,
or
does
he
illustrate
the
same
kind
of
figured
subject,
as
Gris.
The
Micromegas
drawings
have
a
different kind of layering: f i r s t
geometry
and
then
program.
He
skips s u b j e c t . L i b e s k i n d makes an
apparently
studied
attempt
to
extinguish the figured subject i n
his
drawings.
Even
though
countless
r e f e r e n c e s a r e made t o
architectural
elements,
the
usefulness
as
subjects i n
this
series
is
o b l i t e r a t e d by
the
homelessness
of the fragments
—
there
a p p e a r s t o be no
beginning
or
end f o r t h e e l e m e n t s .
Indeed,
as
described
above, the
e n t i r e
series
has no b e g i n n i n g o r
end.
Even
the
t r i v i a l
device
of
increasing
the drawings'
density
h a s l i t t l e e f f e c t i n s e t t i n g up a
sense of progression or s e r i e s .
He
has
described
a
future
of
architecture
by
presenting
an
exquisitely
d e l i n e a t e d shadow of
the
present
drawn
on
the
parchment
of
the
past.
The
virtual
nihilism
of
Libeskind
described
i n his angry essays
and
drawings
are
no
more
than
v i r t u a l .
His
hope,
as
was
Socrates',
i s to describe to
us
t h e t r u e o r i g i n s o f our shadow on
the cave w a l l .
ENDNOTES
The
genius of these drawings
is
in
their lack of g e s t a l t ,
their
total
lack
of
f i g u r e .
The
drawings
e x p l o i t , to
a
great
extent,
what P i r a n e s i hinted a t :
the
lonely anonymity
o f man,
the
obliteration
of
p l a c e , and
the
uselessness
of
autonomous
objects.
On
another
level,
perhaps
that
level
close
to
"geometry",
t h e y c a n be s e e n
i n
the light of Libeskind's
interest
in
the n o n - f i g u r a t i v e .
Further,
these
d r a w i n g s c a n be v i e w e d
as
an
expression
of
"the
radical
elucidation
of
the
original
precomprehensions
of
form",
an
ambition
Libeskind
states
i s
"implicit
i n a l l architecture".
In
this
respect,
there
i s
a
quality, i n Micromegas,
t h a t one
might
imagine
i n capturing
the
moment
between
dreaming
and
wakefulness;
or
p e r h a p s he
has
captured
the real stuff of the 3
priori.
(1)
Libeskind, Daniel.
Between
Zero
and
I n f i n i t y , "Symbol
and
Interpretation",
(New
York:
R i z z o l i , 1981),
p.29.
(2)
Libeskind, Daniel.
"Versus
the
Old-established "Language of
Architecture"",
Daidalos
1
(15
September, 1981),
p.97.
(3)
Tafuri,
Manfredo.
Architecture
and U t o p i a ;
Design
and
C a p i t a l i s t
Development.
(Cambridge:
MIT
Press,
1976),
p.19.
(A)
Tafuri,
p.15.
(5)
Tafuri,
p.18.
(6)
Honeo, R a p h a e l . "The w o r k
John
Hejduk
or the
passion
teach",
Lotus
I n t e r n a t i o n a l
(11/1980),
p.71.
(7)
We l i v e i n a t i m e w h e n t h e a r t o f
architecture
has
a l l but
died.
Libeskind
reflects
on
our
condition,
r e a c t s , and
describes
a
possible f u t u r e . Here lies
the
u t i l i t y
of
his
work:
as
o b s e r v a t i o n and r e a c t i o n t o "2000
years of f o l l i e s " (10). Libeskind
comments
on our l a c k o f
respect
for
the tradition of the
v i s u a l
discipline
of
architecture
implicit
i n our current
m i l i e u .
Moneo,
of
to
27
p.71.
(8)
Osliean,
Werner.
"From
Piranesi
to
Libeskind
Explaining
by D r a w i n g " ,
Daidalos
1 (15 September, 1981),
p.18.
(9)
The
Architects'
Journal
(February 20, 1980),
p.362.
(10)
paraphrased
discussion w i t h Daniel
2/85.
from
a
Libeskind,
�OB
S E
R
Illustrations
courtesy of
B l r k e r t s and
Associates
25
V
Gunnar
�A
O N
T
L A W
L I B R A R Y
U N I V E R S I T Y
OF
S
A D D I T I O N
M I C H I G A N
BY G U N N A R BIRKERTS
WARREN JACKSON
An
architecture which i s
buried
three
stories below t h e face
o f
the
earth finds itself with
few
examples
o f design
t o follow.
Niillenia o f t h i s b u i l d i n g type do
not e x i s t t o be o f a n y assistance
to t h e a r c h i t e c t t o draw upon f o r
reference.
Previously, t h e only
inhabitants
o f
subterranean
cities
have
been
t h e
long-silenced
o f t h e Necropolis.
In
addition,
t h e discontinuity
between
modern
architecture
before
and a f t e r t h e Bauhaus has
caused
this
century
t h e most
difficult
problems
i n
urban
planning
history.
Similar problems were involved i n
a
proposal t o add 60,000
square
feet
t o t h e existing,
gothicized
Law
Library a t t h eUniversity o f
Michigan.
When i twas s e e n
that
the
o r i g i n a l proposal by
Gunnar
Blrkerts
was
t o envelop
t h e
existing
building
with a
steel
and
glass structure,
objections
by
alumni
forced t h e expansion
underground,
creating
a s e t o f
circumstances
d i f f i c u l t
t o
overcome.
Restraints,
including
these,
created
a
framework
leading
t o a tight
composition
that
was absent i n t h e
i n i t i a l ,
rejected
proposal.
Because
there
i s no
direct
entrance
above ground, t h e only
indication that there i s anything
there i s t h eguardrail a t t h e t o p
of
t h e facade and t h e curtain
wall
"moat"
which provokes t h e
fantasy
o f a castle
i n surround.
Typical
concerns have
with
aesthetics
than
fear o f falling i n .
l e s s t o do
with t h e
The
soul o f t h e building i s t h e
addition
i t s e l f .
Metaphorically,
the
neo-gothic
structure
represents
t h e vestibule
within
which
t h e v i s i t o r i s forced
t o
await
admission into t h e private
domain o f t h eaddition. The f i r s t
glimpse
o f what i s buried
comes
as
t h e
observer
enters
a
transition
space which
descends
through
a
series o f
stairways.
Each subsequent descent reveals a
different
feel
i n
detailing,
a n t i c i p a t i n g what i s t o come. T h e
sense
o f f o r m a l i t y breaks up
as
the
approach disintegrates
into
an
asymmetrical composition.
The
mysterious
light
o f t h e main
level
slowly
evolves
into
an
enchanted,
playful
light,
c o m p l e t i n g t h e s h i f t . As t h e m a i n
space
comes i n t o v i e w upon f i n a l
descent,
t h e f e e l i n g i s dynamic.
The
symmetry
o f t h e plan
i s
obscured
by
t h eoffset
o fi t s
axis
45 degrees t o t h e axis
o f
the
Law Quadrangle complex.
The
curtain
wall, which a t f i r s t
i s
the
only clue t o what i s below,
now
becomes
t h e medium t o what
lies
above t h e surface.
Vertical
mirrors, s e tperpendicular
t ot h e
glazing, pick up broken images o f
the
complex
above,
t h e effect
bringing
t h e
Gothic
into
concordance
with t h e geometry o f
the underground space.
Throughout
t h e addition,
light
and
space
become
merchants
engaged
i na mutually
profitable
exchange.
The
two
a r e
inseparable—the
parts
being
meaningless
without
union as
a
whole.
As
though by magic, t h e
main
stairway
i s suspended i n
space
next
t o a wall that
runs
the
f u l l
3
stories
from
t h e
lowest level, f i n a l l y meeting t h e
"moat"
and
then
seemingly
extending
t o
t h e
Gothic
structure.
The light
entering
from
above
strikes t h e mirrors
and c a s c a d e s down t h e f a c e o f t h e
wall,
setting
up
diamonds
o f
light that reinforce t h e geometry
of
t h e space. The
associations
with
underground experiences a r e
notably
absent.
The
organization
o f space i s
easily
comprehended
due t o t h e
simplicity
o f t h e plan
and i n
spite
o f t h e angularity
and
hidden
vistas.
This
i s
i n
contrast
t o t h e dynamism o f t h e
vertical
spaces.
The
building
plan
i s a
modified
"L"
with
circulation
following
t h e
perimeter,
o r inflected
toward
the
main building. Reference i s
always
available through
t h etwo
troughs
o f natural
light.
I n
spite
o f
t h e simplicity
o f
organization
on t h e horizontal
level,
however, t h e space
never
becomes
dull
due t o t h e use o f
subtleties
and t h eplanning
o f
the central
core.
26
�PERSPECTIVE SECTION*
The
high quality of d e t a i l i n g i n
this
project
i s—
o n a n
aesthetic
level
—
seldom
encountered
i n other
modern
structures.
The s e n s i t i v e use
of
wood
i sof the caliber of
that
used
b y Louis
Kahn
i n
t h e
Institute
for
B r i t i s h Art a n d
Studies
at Yale University. T h e
most e x q u i s i t e use i s t h a t i n t h e
reading
carrels overlooking
the
reading
spaces.
In contrast t o
the ornamentation of the o r i g i n a l
Gothic
cabinetry
o n the
main
level,
the wood used i n the n e w
wing
i s d r i v e n by a c o n c e r n
for
joinery,
each
a
wonderful
complement
t o the
other. T h e
construction
of the c u r t a i n w a l l
is
especially
well
executed.
27
Limestone
and s t e e l c o e x i s t ,
but
never
d i r e c t l y engage. This adds
to
t h e o r i g i n a l
limestone
structure
seen
j u s t behind i t .
The
meeting of materials i s seen
as a j o y r a t h e r t h a n a n e c e s s i t y .
Color
i s also used to
challenge
the
notion that the building i s
underground.
The g r e e n
carpeting
and
warm,
orange
glow
o f the
woodwork
evoke
Impressions o f
nature
instead
o f b u r i a l .T h e
color
reaches i t s highest
level
in
the
s t u d y r o o m on t h e
lower
floor.
This
three-story
room,
with
light
streaming
i n from
above,
is furnished with
seating
of
spectrum i n t e n s i t y green a n d
violet
brought
into
the
light
against the glow of the wood.
Throughout
the
addition, t h e
original
e d i f i c e i s paid
homage.
The
use o f c i r c u l a t i o n , p a r a l l e l
to
the
axis,
brings
about
a
strong
i n f l e c t i o n . A l l
planes
have
a s their
termination
the
main
s t r u c t u r e . The c a r e f u l u s e
of m i r r o r i n g to take advantage of
the
building
for
i t s
views,
rather
than
blatant
mocking
through t o t a l r e f l e c t i o n , shows a
great
deal
o f s e n s i t i v i t y a n d
sublety.
F i n a l l y , the
complete
submission
of the addition below
grade
i s the most d i r e c t act o f
subordination
possible.
Due
t o t h e s e n s i t i v i t y o f
placement
a n dorientation,
the
Law Q u a d r a n g l e m a i n t a i n s
i t s feel
as a m a g i c a l s p a c e , s o m e t h i n g
our
time finds extremely
d i f f i c u l t to
reproduce
o r support.
Yet
the
most important
r o l e played b y the
facade
o f the
addition
i s
i n
defining
the
missing corner o f
the
complex.
T h eaddition, i n
turn,
h a sa sense of
identity,
something
d i f f i c u l t to obtain i n
the
heavily
iconiclzed
world
above.
Through
retrospection,
Blrkerts'
a d d i t i o n now
seems the
most
natural response to a l l the
factors
Involved,
possibly
the
greatest
compliment
a
designer
can
receive.
�BOOK
REVIEW
A R C H I T E C T U R E IN M I C H I G A N
BY
WAYNE
ANDREWS
only
a
few examples
Wright
could do w i t h
landscape.
In
t h e written portion o f
this
section, Andrews traces t h e ideas
of
Wright and h i sreputation and
relationship
with
h i s clients.
Unfortunately,
as Andrews points
out
b u t does n o t h i n g t o r e c t i f y ,
what
i s Included i n this section
is
barely
one third
o f
what
Wright
produced
i n our
state.
But
Wright
was n o t t h e o n l y
Prairie
School a r c h i t e c t a c t i v e
in
Michigan.
Also included i n
this
s e c t i o n a r e t h e works
o f
Alden
Dow
and
several
illustrations
"neo-Wrightian"
G.
MAKSTUTIS
How
many Michigan r e s i d e n t s a r e
aware
o f t h e vast
amount
o f
notable
architecture that exists
in
t h e state?
That
t h e small
town
o f Marshall Michigan
holds
some
o f t h e most
Interesting
homes
i n t h e country?
That
Albert
Kahn
designed more
than
just Ford plants?
That there a r e
homes
by Frank
Lloyd
Wright
scattered
throughout t h e state?
In
s h o r t , how many o f Michigan's
population
realize
that
t h e
Renaissance
Center
i s n o t t h e
epitome o f Michigan a r c h i t e c t u r e .
Andrews'
book, a revised v e r s i o n
of
a
1967 e d i t i o n ,
chronicles
some
o f t h e best
examples
o f
Michigan a r c h i t e c t u r e o f t h e past
150
years.
Andrews gives us n o t
only a visual and written
account
of
many
o f
Michigan's
architectural
contributions, but
also
some
idea
o f t h e little
struggles that shaped t h e way o u r
a r c h i t e c t u r e has become unique.
Starting
with
"Romantic
Michigan",
we s e e w h a t t h e c i t y
of
Marshall has t o offer.
This
small
s o u t h w e s t e r n c i t y may have
more
unique homes t h a t a n y o t h e r
city
i n t h e state. With examples
like
t h e P r a t t House (1842), t h e
Fitch
House ( 1 8 4 0 ) , and t h e Hays
House
(1838),
we
see
that
neo-classicism
was as s t r o n g
a
force
i n Michigan, as throughout
the
nation. This section
alone
gives t h e reader a beautiful
idea
of w h a t M i c h i g a n ' s p a s t h o l d s f o r
architectural reference.
As
t h e book progresses,
Andrews
traces
t h e way i n which
Michigan
struggled
t o keep pace w i t h t h e
changing
architectural
trends
that swept across t h e country. I n
"Richardsonian
Michigan"
and
"Discreet
Michigan"
we s e e t h e
beginnings o f t h e modern movement
in t h e s t a t e . The works o f Wilson
Eyre, J r . , S.J. Osgood and P a t t o n
&
Fisher
a r e prime examples
o f
Michigan's
glory a t t h e turn
o f
the
century.
"Albert
Kahn's
Michigan"
i s
Andrew's
glorification
o f t h e
industrial,
f i l l e d w i t h scads o f
photographs
o f Ford P l a n t s .
We
see
some
o f t h e beauty o f
what
Kahn
could do w i t h t h e f a c t o r y .
Andrews h a s a l s o i n c l u d e d some o f
the
l e s s e r known works o f
Kahn:
the
homes,
auditoriums
and
libraries
d e s i g n e d w i t h t h e same
v i t a l i t y
that i s present i n h i s
industrial
works. And, while t h e
Rouge
P l a n t may seem more o f a n
engineering than an architectural
marvel,
t h e
Fisher
Building
compensates amply.
The
section devoted
t o
Frank
Lloyd Wright i s probably t h e best
example
o f what Michigan
offers
to
a n a r c h i t e c t who i s able
t o
unify
t h ebuilt environment
with
the
existing.
The Meyer
May
House o f Grand Rapids e x e m p l i f i e s
the
Michigan
Prairie
House
movement.
I t s clean lines
and
ornamentation
a r e quite
Wright.
Wright
d i dn o t neglect
Michigan
in
h i s Usonian
period
either.
The G o e t s c h W i n k l e r House,
Harper
House
and t h e A f f l e c k House a r e
o f
what
Michigan's
by
architects.
other
The
last
p o r t i o n o f t h e book,
"The
Michigan
o f Other
Modern
Architects"
i s sadly thin.
With
a f e w good examples o f t h e modern
movement
i n Michigan (Mies
van
der
Rohe,
Marcel
Breuer,
and
others)
i t a t t e m p t s t o do
more
than
i t delivers.
At times this
section
looks
more
like
a
pictorial
guide t o t h e works
of
William
Kessler
and
Minoru
Yamasakl.
In t h e e n d , Andrews' book i s good
but
shallow.
He h a s
neglected
some
o f Michigan's
best
works,
while
s t r e s s i n g some a r c h i t e c t s
more
t h a t seems necessary.
The
s e c t i o n on t h e Saarinens has more
d e v o t e d t o t h e GM T e c h C e n t e r a n d
Ellel's
work
i n Finland,
than
some
o f t h e i r more
interesting
works
i n t h e state.
Where t h e
Saarinens have been glossed
over,
the
works
o f W i r t Rowland
have
been
dismissed
(except f o r one
photo
o f t h e Guardian
Building
w i t h c r e d i t g i v e n t o S,H&G).
While
Andrews
i s noble
i n h i s
attempts
t o t r a c e some
o f t h e
background o f t h e buildings which
he
has included, a t times t h e
information
he includes i s t r i t e
and somewhat p e t t y i n t h e f a c e o f
good
design.
And a t times t h e
chapters
begin
t o read
like
a
guide t o t h e b i g houses o f Grosse
Pointe Farms.
Nevertheless
t h e book
succeeds
due
t o i t s vast array
o f
well
chosen
photographs,
which
alone
give
t h e reader
a
tracing o f
architecture
i n Michigan.
These
photos,
coupled with t h e w r i t t e n
material
( i ftaken with a
grain
of
s a l t ) , provide a good,
though
somewhat shallow t e x t u a l ,
account
of t h e v i s u a l h e r i t a g e a n d beauty
offered i n t h e state.
28
�The s
to
Indiv
their
taff o f A r c h l t e x t would
like
acknowledge
t h e
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iduals and organizationsf o r
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support:
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Stroh Brewery
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J.
Neussendorfer
Ed O r l o w s k l
John Sheoris
S h e i l a & G r e g o r y P. S m i t h
Greg
Varano
Robert Wakely, AIA
STUDENT SPONSORS:
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Else
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Fall 1985, volume 4, number 1 edition of newsletter created by Lawrence Institute of Technology (now Lawrence Technological University) students in the College of Architecture and Design. Editor: Ed Orlowski, graphics coordinator: Geoff Makstutis, photography: Tim Van Dusen, Geoff Makstutis, assistants: Brad Butcher, Ken Crutcher, Mark Demsky, Reinhardt Grafton, Chris Mercier, John Miliacca, Kathleen Phillips, Jack Runkle, Jeff Sherman, Dawnzella Stanley, Kerry Sutton, Mark Demsky, AIAS liaison: David Hoel, faculty adviser: Jean Le Marche.
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Introduction--The Woodward plan--Ruin--Villa Barr--Lebeskind through micromegas--Observations: Law library addition, University of Michigan--Book review: Architecture in Michigan by Wayne Andrews.
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Text
ARCH I T E X T
W I R T
R O W L A N D
0§i
�Architext
i s a publication o ft h e
Student
Chapter
o f t h e American
Institute
o f
Architects
a t
Lawrence
Institute o f Technology.
All
photographs
by Brad
Butcher
unless otherwise noted.
ARCHITEXT
STAFF:
EDITORS:
Hark Demsky
Tammis Donaldson
GRAPHICS:
Sheila Smith
B i l l
ToUefson
PHOTOGRAPHY
Brad Butcher
Tim Van Dusen
ASSISTANTS:
Geoff Makstutis
Ed O r l o w s k i
FACULTY
Jean
ADVISOR:
La Marche
E D I T O R I A L BOARD:
Robert Benson
Brad Butcher
Mark Demsky
Tammis Donaldson
Dane Johnson
Jean La Marche
i
�C
O
Brad
E N
INTRODUCTION
H u b b a r d
Dane
T
B u t c h e r
M a t t
N
J o h n s o n
R o b e r t
J .
WIRT
THE
GUARDIAN
BUILDING:
THE
F a r l e y
C.
GREATER
ROWLAND:
DETROIT'S
PENOBSCOT
M i l i a c c a
L I F E
JAZZ
BABY
BUILDING
INTERVIEW
Tammis
Donaldson,
M a t t H u b b a r d and
B r i a n
H u r t i e n n e
J o h n
H I S
THE
GREATER
PENOBSCOT
TRUST
BUILDING
BUILDINGS:
AND
A
THE
NEW
CORPORATE
UNION
IMAGE
BIBLIOGRAPHY
��wiRTc
ROWLAND
H
I
S
L I F E
W i r
C l i
m i l
Dec
k n o
c h i
g i f
and
t r a
y o u
G r a
of
j u s
t h a
t i e
M e l
C l i
at
He
D e t
of
n i n
t
n
e
e
w
l
t
C. R o w l a n d w a s b o r n i n
o n ,
M i c h i g a n
(about
55
w e s t
o f D e t r o i t )
o n
ber 1 , 1 8 7 8 . L i t t l e i s
o f
h i s
e a r l y
h o o d ,
a l t h o u g h h e was a
d
m u s i c i a n
a n d
s i n g e r
m u s t h a v e r e c e i v e d
h i s
i n i n g
w h i l e h e was q u i t e
n g .
H i s o n l y
s i b l i n g ,
c e
G a i l , d i e d a t t h e a g e
e i g h t e e n
when W i r t
was
t
e i g h t y e a r s o l d .
From
t
t i m e o n h e was c l o s e l y
d
t o
h i s mother,
R u t h
i s s a .
He g r a d u a t e d
f r o m
n t o n U n i o n
S c h o o l
i n 1 8 9 6
t h e a g e o f
s e v e n t e e n . ( 1 )
a p p a r e n t l y
a r r i v e d
i n
r o i t
i n t h e e a r l y w i n t e r
1 8 9 7 , a t
t h e age
o f
e t e e n .
R o w l a n d
began
h i s
p r o f e s s i o n a l
c a r e e r
i n t h e
f i r m o f R o g e r s a n d
McFarland
and
s t u d i e d a t n i g h t i n h i s
r e n t e d
room a t t h e home
o f
C.
F.
R i t c h i e .
He
l e f t
R o g e r s a n d McFarland
i n 1 8 9 9
to
w o r k
f o rt h e "Dean
o f
M i c h i g a n
A r c h i t e c t s " , G e o r g e
D.
M a s o n . ( 2 )
In
1 9 0 1 ,R o w l a n d began t w o
y e a r s
o f
g r a d u a t e
w o r k
a t
H a r v a r d
U n i v e r s i t y . ( 3 )
A l t h o u g h
h e h a d r e c e i v e d
n o
p r e v i o u s
f o r m a l e d u c a t i o n i n
a r c h i t e c t u r e ,
h e
w a s
a d m i t t e d
a s
a
s p e c i a l
s t u d e n t , n o d o u b t d u e t oh i s
use
o f
t h e
f i n e
a r c h i t e c t u r a l l i b r a r y o f t h e
f i r m
a n d
t h e
p a t e r n a l
g u i d a n c e
o f
Mason
h i m s e l f . ( 4 )
U n d o u b t e d l y i t
was
t h i s
l i b r a r y w h i c h
f i r s t
s t i m u l a t e d
R o w l a n d ' s
l i f e - l o n g
i n t e r e s t
i n t h e
G o t h i c .
F u r t h e r s t u d y
a n d
u n d e r s t a n d i n g
was
t
s
m
n
d
e
2
�f a
b e
to
nu
t r
c i l i t a t e d a t H a r v a r d ,
and,
f o r e
h i s e v e n t u a l
r e t u r n
D e t r o i t i n 1 9 1 1 , he
made
merous t r i p s t o Europe
f o r
a v e l and
s t u d y .
I t i s u n k n o w n w h e t h e r
he
was
i n
t h e S t a t e s i n
1907
when
h i s
f a t h e r
C h a r l e s
C l i n t o n
Rowland
d i e d a t t h e
age
o f
75.
However,
t h i s
was
c e r t a i n l y
a f a c t o r
i n
his
e s t a b l i s h i n g
permanent
r e s i d e n c e
i n D e t r o i t .
H i s
mother
r e m a i n e d
i n
C l i n t o n
at
t h e
f a m i l y
home
w i t h
Mrs.
S a x t o n ,
h e r
housekeeper.
In
1909,
Rowland
became
a
d e s i g n e r
f o r t h e o f f i c e
o f
A l b e r t Kahn.(5)
I n 1911,
he
was
a d e s i g n e r and
a s s o c i a t e
w i t h
M a l c o m s o n
and
Higgenbotham.
I t was
h e r e
t h a t
he f i r s t b e g a n t o
show
his
a t t e n t i o n f o r d e t a i l
and
his
s e n s i t i v e use o f
c o l o r
and
m a t e r i a l .
T h i s
was
a p p a r e n t
i n
D e t r o i t ' s
E a s t e r n
and
N o r t h e r n
H i g h
S c h o o l s ,
" t h e
f i r m ' s
m o s t
d i s t i n g u i s h e d
work."
I n
1914,
Kahn
a g a i n
o f f e r e d
Rowland
a
p o s i t i o n i n
h i s
d e s i g n
d e p a r t m e n t .
W o r k i n g
i n
Kahn's
o f f i c e
a l l o w e d
Rowland,
who
was
now
3 6
y e a r s
o l d , t h e
o p p o r t u n i t y
3
to
d e s i g n a t a much
l a r g e r
s c a l e .
D e t r o i t b u i l d i n g s by
Kahn
d u r i n g
t h i s
t i m e
i n c l u d e d
t h e
D e t r o i t
A t h l e t i c
C l u b
( 1 9 1 5 ) ,
D e t r o i t
News
B u i l d i n g
( 1 9 1 6 ) ,
t h e
U n i v e r s i t y
o f
M i c h i g a n
G e n e r a l
L i b r a r y
( 1 9 1 9 ) ,
t h e
N a t i o n a l
Bank
( 1 9 2 2 ) ,
and G e n e r a l
M o t o r s
B u i l d i n g
( 1 9 2 2 ) .
R o w l a n d ' s
c o n t r i b u t i o n t o t h e s e
w o r k s ,
e s p e c i a l l y
t h e l a s t
t h r e e ,
is
u n m i s t a k a b l e .
D e s p i t e
t h i s
o p p o r t u n i t y f o r l a r g e s c a l e
v;ork
and
Kahn's
p r o l i f i c o u t p u t , Rowland
had
to
a d j u s t
h i s
i m a g i n a t i v e
and o r i g i n a l d e s i g n s t o
s u i t
the
p e r s o n a l t a s t e o f
Kahn
who
e m b r a c e d t h e C l a s s i c
and
the
R e n a i s s a n c e . ( 6 )
When t h e f i r m o f
S m i t h ,
H i n c h m a n
and G r y l l s
o f f e r e d
Rowland
a p o s i t i o n i n
t h e i r
d e s i g n d e p a r t m e n t
i n J u l y
o f
1922,
he
i m m e d i a t e l y
a c c e p t e d . ( 7 )
S m i t h ,
H i n c h m a n
and G r y l l s
(SH&G)
a l l o w e d
Rowland
t o
d e s i g n
w i t h
v i r t u a l c a r t e
b l a n c h e .
W i r t
had
f i n a l l y f o u n d
an
o u t l e t
f o r h i s m o d e r n
i d e a s
w i t h o u t
h a v i n g
t o g i v e
up
his
e n t h u s i a s m
f o r
t h e
G o t h i c .
W h i l e employed
by
SH&G,
he
d r a m a t i c a l l y
c h a n g e d
t h e
s k y l i n e
o f
a
r a p i d l y
g r o w i n g
D e t r o i t .
The
B u h l
( 1 9 2 5 ) ,
Penobscot
(1928)
and
U n i o n
T r u s t ( G u a r d i a n )
(19 29)
B u i l d i n g s
r e m a i n
t o d a y
as
perhaps
t h e
m o s t
v i t a l
s t r u c t u r e s
i n
D e t r o i t ' s
b e l e a g u r e d
C e n t r a l B u s i n e s s
D i s t r i c t .
R o w l a n d ' s e a r l y work
f o r
the
f i r m
i n c l u d e d
t h e
D e t r o i t
E d i s o n
S e r v i c e
B u i l d i n g
(1924)
and
t h e
f i r s t
r e p l a c e m e n t
u n i t
o f
the
J.L.
Hudson
Company
( 1 9 2 4 ) .
The b u i l d i n g
f o r
D e t r o i t
E d i s o n o c c u p i e s
an
e n t i r e
b l o c k
and
i s
a r t i c u l a t e d
w i t h
G o t h i c
d e t a i l s .
The
J.L.
H u d s o n
b u i l d i n g
was
t h e f i r s t
u n i t
i n
a
c o n g l o m e r a t i o n
o f
a n o t h e r e n t i r e
b l o c k .
L a t e r b u i l d i n g s
i n c l u d e
the
Town
and C o u n t r y
C l u b
(1926) and t h e P o n t c h a r t r a i n
C l u b
( 1 9 2 8 ) .
The Town
and
C o u n t r y
C l u b ,
w h i c h
n e v e r
l e f t
t h e
s k e t c h phase,
i s
i l l u s t r a t e d i n a Thomas
K i n g
r e n d e r i n g . ( 8 )
I t
i s
a
s o a r i n g
s k y s c r a p e r
w i t h
u n l i m i t e d
G o t h i c
d e t a i l s .
I t s
p i n n a c l e s ,
a r c h e s ,
s t e p p e d
b u t t r e s s e s ,
and
o v e r a l l
p u n c t u r e d
and
�p e n e t r a b l e
e f f e c t
i s
a
product
o f
W i r t
R o w l a n d ' s
l o v e
a n d
u n d e r s t a n d i n g
o f
t h e
G o t h i c .
T h e
P o n t c h a r t r a i n
C l u b , o n t h e
o t h e r
hand,
e x h i b i t s
R o w l a n d ' s
i m a g i n a t i v e
a n d
o r i g i n a l u s e o f m o d e r n
forms
and
m a t e r i a l s .
T h e b u i l d i n g
was
c o n v e r t e d
t o t h e
Town
A p a r t m e n t s
i n
t h e
s i x t i e s . ( 9 )
D u r i n g
t h i s
c o n v e r s i o n ,
m o s t
o f
R o w l a n d ' s
d e t a i l s
w e r e
d e s t r o y e d .
T h e
o r i g i n a l
s t e p p e d
a r c h
o p e n i n g s ,
s i m i l a r
t o
t h e
G u a r d i a n
B u i l d i n g ' s ,
w e r e f i l l e d
i n .
The
t h i r d
s t o r y ,
w h i c h
a p p e a r s
t o have
been
t h e
l o c a t i o n
o f e x e r c i s e
r o o m s ,
was
a t w o - s t o r y space,
w i t h
l a r g e , s t e p p e d a r c h
w i n d o w s .
T h i s
area
h a s
b e e n
d r a s t i c a l l y
a l t e r e d .
T h e
s t r i n g
c o u r s e s
o f
a n g l e d
b r i c k
i n l i g h t
a n d
dark
n a t u r a l
c o l o r s arranged
i n
a l t e r n a t i n g p a t t e r n s
remain,
as
does
t h e
crowning,
t o w e r - l i k e
m o t i f .
T h e s e t w o b u i l d i n g s
m a r k
t h e d e c l i n e o f D e t r o i t ' s a n d
R o w l a n d ' s
g l o r y
d a y s — t h e
G o l d e n
T w e n t i e s .
T h e
s t o c k
m a r k e t
c r a s h
a n d
i t s
c o n s e q u e n c e s i n D e t r o i t w e r e
s e v e r e .
A c c o r d i n g
H o l l e m a n
a n d
G a l l a g h e r
t h e i r SH&G
m a n u s c r i p t :
t o
i n
Wirt
Rowland
was
struck
p a r t i c u l a r l y hard by t h e depressed
times.
A l i f e l o n g bachelor
who
lived
i n a modest
rented
room,
Rowland
had spent h i s
impressive
salary on fine living, large
cars,
European
travel, and
expensively
tailored
clothes.(10)
A f t e r h i s r e l e a s e
f r o m
SH&G i n 1 9 3 0 , R o w l a n d
f o r m e d
a
p a r t n e r s h i p w i t h
A u g u s t u s
O ' D e l l .
H i s w o r k
d u r i n g
t h i s
t i m e
i n c l u d e d
t h e
r e c o n s t r u c t i o n o f S t . J o h n ' s
E p i s c o p a l
C h u r c h
a n d t h e
Mark
T w a i n
b r a n c h
o f t h e
D e t r o i t
P u b l i c
L i b r a r y .
A f t e r p a r t i n g w i t h O ' D e l l i n
1938,
R o w l a n d
w o r k e d
f o r
t h r e e y e a r s
w i t h G i f f e l s a n d
V a l l e t
I n c . , L.
R o s s e t t i ,
A s s o c i a t e d
E n g i n e e r s
a n d
A r c h i t e c t s ,
d u r i n g
m o s t
o f
w h i c h
t i m e
h e w a s
a t t h e
N a v a l
O r d i n a n c e
Base
i n
N o r f o l k , V i r g i n i a . ( 1 1 )
Due
t o
t h e
l a c k
o f
c o m m i s s i o n s
a f t e r
l e a v i n g
SH&G, R o w l a n d a g a i n
began t o
d e v o t e
t i m e t o s t u d y i n g t h e
G o t h i c .
H i s n u m e r o u s
t r i p s
t o
E u r o p e a n d h i s s c h o l a r l y
a p p r o a c h
t o t h e t h e o r i e s o f
t h e
G o t h i c
i s
f i n a l l y
c u l m i n a t e d
i n h i sdesign f o r
t h e
K i r k
i n t h e
H i l l s
P r e s b y t e r i a n
C h u r c h
i n
B l o o m f i e l d
H i l l s .
( I n 1 9 2 5
he
h a d
d e s i g n e d
J e f f e r s o n
A v e n u e
P r e s b y t e r i a n
C h u r c h .
H o w e v e r ,
i t s s c a l e
a n d
l o c a t i o n
d i c t a t e d
much
o f
i t s
d e s i g n ,
w h i c h
i s
r e s t r a i n e d a n d s i m p l i f i e d a t
b e s t . )
T h i s
n e o - G o t h i c
s t r u c t u r e ,
b u i l t
i n
c o o p e r a t i o n
w i t h C o l .
E d w i n
S.
G e o r g e ,
e x e m p l i f i e s
R o w l a n d ' s
b e l i e f
i n
t h i s
s t y l e ,
a n d , a c c o r d i n g
t o W.
H a w k i n s
F e r r y ,
i s
a
" d i s t i l l a t i o n
o f
R o w l a n d ' s
G o t h i c
p r e d i l e c t i o n s . "
A l t h o u g h
h e
a d m i r e d
t h e
c o l d ,
b r i l l i a n t ,
s t r u c t u r a l
l o g i c o f t h e m e d i e v a l
F r e n c h
c a t h e d r a l s ,
h e
w a s
more
a t t r a c t e d
b y E n g l i s h
G o t h i c
b e c a u s e
o f
t h e
g r e a t e r
w a r m t h
a n d i n d i v i d u a l i t y o f
i t s
s m a l l
c h a r a c t e r i s t i c
d e t a i l s .
He a l s o
p r e f e r r e d
t h e E n g l i s h f a c a d e s ,
b e c a u s e
t h e y
w e r e
g e n e r a l l y
u n c o m p l i c a t e d
b y t o w e r s
a n d
h e n c e
w e r e
more
e f f e c t i v e
w h e n
t r e a t e d a s a
s e p a r a t e
4
�u n i t .
He
r e c o g n i z e d
t h
i m p o r t a n c e
o f s t a i n e d
g l a s
i n
t h e t o t a l G o t h i c
concep
and m a r v e l e d
a t t h e m y s t i c a
l u m i n o s i t y . . . ( 1 2 ) .
I t
common
k n o w l e d g e
t h a t
R o w l a n d
f o u n d
i n s p i r a t i o n
f o r t h e K i r k i n
t h e
r u i n s
o f
S c o t l a n d ' s
M e l r o s e
Abbey,
e s t a b l i s h e d
i n
1136
by K i n g D a v i d
I
as
S c o t l a n d ' s
f i r s t C i s t e r c i a n
monastery,
l o c a t e d
i n
R o x b u r g h s h i r e . ( 1 3 )
C o n s e q u e n t l y ,
a
c h a p e l
i n
t h e
west
t r a n s e p t
o f
t h e
K i r k
i s
d e d i c a t e d
i n
t h e
same name.
R o w l a n d ' s
d e s i g n
was
s u b m i t t e d t o C o l .
G e o r g e
i n
1945,
b u t W i r t d i e d
i n
1946
two
y e a r s
b e f o r e
c o n s t r u c t i o n a c t u a l l y
began.
The
f i r m o f G e o r g e D.
Mason
t o o k
o v e r ,
w i t h Eugene
T.
C l e l a n d
c o m p l e t i n g
t h e
w o r k i n g d r a w i n g s . ( 1 4 )
I t i s
n o t
known
t o
w h a t
e x t e n t
R o w l a n d ' s
o r i g i n a l
d e s i g n
was
f o l l o w e d ;
h o w e v e r ,
a
c l o s e
f r i e n d ,
and
f e l l o w
C l i n t o n
r e s i d e n t ,
E r i c
R.
H a l l i d a y
d e s c r i b e d
R o w l a n d
as
"The
R e i g n i n g
L o r d — f r e e
o f
a l l e n t a n g l e m e n t s
w i t h
SH&G and
o t h e r s . " ( 1 5 )
C o l . G e o r g e and
R o w l a n d
c o m p l e m e n t e d
e a c h
o t h e r
5
i s
e
s
t
l
g r e a t l y .
a f f i l i a t e d
w i
Symphony
as a
R o w l a n d ,
as
m u s i c i a n ,
w r
a r t i c l e s
f o r
p u b l i c a t i o n .
( 1 9 1 9 - 1 9 2 0 ) .
p r o v i d e d
a
g
i n s i g h t
i n t
p e r s o n a l
b e l
a r c h i t e c t
t o p i c s
t h r e e
pa
f r o m
p u
e d u c a t i o n
c l u b
a r c h i t e c t
t h e
a
r e s i d e n t i
T h e r e f o r e
seemed
p e r f e c t
r e l a t i o n s
d e s c r i b e d
e n t i t l e d
B u i l d e r o
G e o r
t h t h
d i r e
a
o t e
t h e
A l l
T h e s e
r e a t
o
i e f s
g e
e
D e t r
c t o r ,
n
a
n u m e r
Symph
The
A
a r t i c
d e a l
R o w l a n
as
was
o i t
and
v i d
o u s
ony
r t s
l e s
o f
d ' s
an
and
as a man.
Th
f o r
t h e s e
two
t
ge a r t i c l e s
range
b l i c
a r c h i t e c t u r a
t o
p r o f e s s i o n a
a c t i v i t i e s ;
f r o
u r e
and
m u s i c
t
r c h i t e c t
as
a l
b u i l d e r
R o w l a n d and
G e o r g
t o
e x e m p l i f y
t h
c l i e n t - a r c h i t e c
h i p
w h i c h
R o w l a n
i n
an
a r t i c l
"The
A r c h i t e c t as
f
Homes":
e
o
d
l
l
m
o
a
.
e
e
t
d
e
a
It
i s from the generalities of
a
client's
requirements
that
the
architect
should
proceed,
and,
with
h i s
knowledge
of
the
principles
of h i s a r t ,
expresses
that
which
i s
outside
the
abilities
of h i s client, but with
which
t h e c l i e n t w i l l be c o n t e n t ,
provided
he
i s convinced of
the
architect's
sincerity
and
sympathy.
Thus the result
lies
equally
with
t h e c l i e n t and
the
a r c h i t e c t , and so i t s h o u l d . ( 1 6 )
i
J
d
G
p
R
G
p
n
u
e
o
e
o
o
r
l
s
t
r
w
t
o
T w
a
y
c r
h i
f e
l a
h i
f e
e n t y - f o u r
y e a r s
l a t e
l e t t e r t o R o w l a n d
d a t
28,
1944,
C o l .
G e o r
i b e s
h i s w i s h e s
f o r h
c
c h u r c h .
T h i s
l e t t
c t l y d e s c r i b e s
n o t
o n
n d ' s
a t t i t u d e f o r
t
c ,
b u t
a l s o
h
s s i o n a l
p h i l o s o p h y :
r
e
g
i
e
l
h
i
,
d
e
s
r
y
e
s
It
i s my f i r m c o n v i c t i o n t h a t
a
church
should
never
be
an
imitation
of
something;
on
the
contrary,
i t
should
be
an
expression
of truth.
Therefore,
in
A l l Souls Church (believed
to
be
the
originally intended
name
for
the
church)
stone
must
be
stone;
w o o d m u s t be w o o d ;
bronze
or
i r o n m u s t be t r u e t o n a m e ; and
c o n c r e t e o r p l a s t e r m u s t n o t be
an
imitation of something
else.(17)
C o l . G e o r g e i s
n o t
t h e
o n l y
p e r s o n
who
n o t i c e d
R o w l a n d ' s
m a t e r i a l
i n t e g r i t y .
M.
C y r e n e
Carson
e x p r e s s e s
t h i s q u a l i t y i n a
c r i t i q u e
o f
t h e
completed
New
U n i o n T r u s t
(Guardian)
B u i l d i n g :
�Its
honesty
or sincerity i s a
matter
which
implies
some
knowledge
o f t h e materials
which
have
gone
i n t o i t s making.
For
here
i s
nothing
tacked
on
extraneously by way o f ornament o r
decoration,
nothing
that
w i l l
fade, crumble o r wash o f f i n time.
Instead,
t h e
beauty
of
t h e
ornament
i s here an i n t e g r a l part
of
the building, inherent i n the
materials
themselves.(18)
R o w l a n d was a n i n s p i r a t i o n
i n t h e f o u n d i n g
o f D e t r o i t ' s
own
p r o f e s s i o n a l
o r g a n i z a t i o n ,
t h e Thumb
T a c k
C l u b ,
w h i c h
named h i m i t s
p r e s i d e n t
i n
1 9 1 8 .
T h i s
club
was
l o o s e l y
m o d e l l e d
a f t e r
P h i l a d e l p h i a ' s
T - S q u a r e
C l u b a n d
B o s t o n ' s
A r c h i t e c t u r a l
C l u b .
I t s
i n t e n t i o n
was t o p r o v i d e
a n
o u t l e t
f o r e d u c a t i o n a l
a n d
s o c i a l
a c t i v i t y . ( 1 9 )
R o w l a n d
was a member o f t h e
D e t r o i t
c h a p t e r o f t h e A I A ,
and
he was i t s p r e s i d e n t
i n
1934-35.
I n 1938 he was
o n
D e t r o i t ' s
C i v i c
C e n t e r
C o m m i t t e e .
And
i n
September,
1946
was
r e c o g n i z e d
as
a
Member
E m e r i t u s
o f
t h e
A m e r i c a n
I n s t i t u t e
o f A r c h i t e c t s
a n d
i t s
D e t r o i t
C h a p t e r .
T h e
h o n o r
was
i n f l u e n c e
END
f o r " h i s p r o f o u n d
o n
t h e
a
e
f
p
a
r c h i t e c t u r e o f D e t r o i t , t h e
x c e l l e n c e
o f h i s d e s i g n
a n d
o r
h i s c o n t r i b u t i o n s t o t h e
r o f e s s i o n
o f
r c h i t e c t u r e . " ( 2 0 )
W i r t
R o w l a n d
d i e d
o n
N o v e m b e r
3 0 , 1 9 4 6 , o n e
d a y
b e f o r e
h i s
6 8 t h
b i r t h d a y .
His
d e a t h a t t h e home o f h i s
c o u s i n ,
F r a n k B u r r o u g h s
o f
G r a n d
R a p i d s ,
f o l l o w e d
a
l e n g t h y
i l l n e s s
t h a t
h a d
c o n f i n e d
h i m t o h i s home i n
D e t r o i t ,
w h e r e h e h a d l i v e d
f o r
35
y e a r s . ( 2 1 )
In
a l l a c c o u n t s
o f
h i s
d e a t h
a n d
i n t h e
E m e r i t u s
m e m b e r s h i p
a n n o u n c e m e n t ,
W i r t
R o w l a n d was
d e s c r i b e d
as
a s c h o l a r
a n d a
m u s i c i a n .
His
a f f i l i a t i o n
w i t h
t h e
Thumb
T a c k C l u b g a i n e d
h i m
r e s p e c t
as a f r i e n d o f
t h e
y o u n g e r
men
i n
t h e
p r o f e s s i o n . ( 2 2 )
I n d e e d ,
a s
his
E m e r i t u s
m e m b e r s h i p
s t a t e s :
...always
eager
t o help
t h e .
younger
men
coming
up
i n t h e
profession,
he was responsible i n
large
part f o rt h e development o f
much
o f t h e architectural
talent
that
i s
Detroit's
heritage
today...(23)
(1)
(2)
(3)
(4)
(5)
(6)
(7)
(8)
(9)
(10)
(11)
(12)
(13)
(14)
(15)
(16)
(17)
(18)
(19)
(20)
(21)
(22)
(23)
NOTES
Records
of
Clinton
Union
School,
Clinton
H i s t o r i c a l
Society,
Clinton
Public
Library
p. 9 8 < I >
<C>
P. 9 8 < I >
p. 6 <M>
p. 9 8 < I >
p. 1 0 8 <K>
p. 1 1 4 ( I l l u s t r a t i o n ) < I >
p. 1 1 5 < I >
p. 1 3 1 < I >
p. 6 <M>
p. 2 7 6 <E>
p p . 1 1 & 3 4 <N>
p. 5 8 <B>
Halladay
Interview
pp. 9 - 1 0 <R>
p. 5 8 <B>
<A>
pp. 1 1 5 , 1 1 7 <T>
p. 4 <P>
<C>,
<M>
<C>,
<M>
p. 4 <M>
�TH E
GUAR
DIAN
B u i l d i n g
D E T R O I T'S
JAZZ
BABY
Was J o h n K e n n e d y a
g r e a t
p r e s i d e n t ,
o r
w e r e h e
a n d
J a c k i e
s o charming
t h a t
t h e y
f o o l e d
u s ?
I s
K a t h e r i n e
H e p b u r n
r e a l l y
a
g r e a t
a c t r e s s
o r
i s s h e
such
a
d y n a m i c
p e r s o n a l i t y t h a t we
a c c e p t
a n y t h i n g
f r o m h e r ,
e v e n
a c t i n g ?
T h e s e a r e t h e
s o r t s
o f
p a r a l l e l s
t h a t
a r i s e
when
f a c e d
w i t h
c o m m e n t i n g c r i t i c a l l y o n t h e
G u a r d i a n
B u i l d i n g .
D e t r o i t e r s
a r e e n a m o r e d
o f
t h i s
o r a n g e s l a b , b u t
w h e n
a s k e d
w h y , t h e i r
responses
a r e
u s u a l l y
i n t u i t i v e ,
r o m a n t i c —
n o t a n a l y t i c a l o r
o b j e c t i v e .
The
G u a r d i a n
B u i l d i n g a n d - ,
i t s
A r tD e c o b r e t h r e n
s t a n d
i n
o p p o s i t i o n t o t h e
t r e n d
t h a t
A d a
L o u i s e
H u x t a b l e
summed
u p
a s
" i d o l - s m a s h i n g . "
D i s m i s s e d
y e a r s
a g o a s r e p r e s e n t a t i v e
of
a s i l l y a n d s h a l l o w e r a .
A r t
Deco
i s now
b e i n g
e m b r a c e d a s a n e x u b e r a n t
a n d
p o p u l i s t
s t y l e t h a t may
g o
f u r t h e r
i n r e p r e s e n t i n g t h e
A m e r i c a n
s p i r i t
t h a n
a n y
o t h e r .
D e t r o i t i s f o r t u n a t e
i n
h a v i n g
some
m a j o r
b u i l d i n g s
w h i c h
d i s p l a y t h e
g r a d a t i o n s
w i t h i n A r t Deco
and
t h e many moods o f t h e
1920s:
t h e r o m a n t i c
M a s o n i c
T e m p l e
(1928) ;
t h e
s p e c
( 1 9 2
B u i l
w i t h
a r e
of
W
a f f i
H i n c
I n
F i s h
m o s t
t h e n
D e t r
C a r m
a r c h
t a c u l a r
F i s h e r B u i l d i n g
8 ) ;
a n d
t h e
P e n o b s c o t
d i n g
(1928)
w h i c h ,
a l o n g
t h eG u a r d i a n
B u i l d i n g ,
t w o g r e a t
achievements
i r t R o w l a n d w h i l e h e w a s
l i a t e d
w i t h
S m i t h ,
h m a n a n d G r y l l s .
m o s t people's
mind, t h e
e r B u i l d i n g i sD e t r o i t ' s
e l e g a n t
Lady. I f s o ,
t h e
G u a r d i a n
i s
o i t ' s
j a z z
baby:
t h e
e n
M i r a n d a
o f
l o c a l
i t e c t u r e ,
t h e b u i l d i n g
8
�w i t h
t h e
bananas
on
i t s
head.
I t i s a b u i l d i n g t h a t
can
o n l y
keep
i t s e l f
i n
check
b r i e f l y ,
b e f o r e
i t
unleashes
e x p l o s i o n s
o f
c o l o r ,
t e x t u r e , w a r m t h ,
and
a
m o n u m e n t a l
s c a l e
t h a t
c o m p e n s a t e s
f o r
o c c a s i o n a l
excesses.
The
b u i l d i n g i s s i m p l e
i n
f o r m ,
comprised
o f a
t a l l ,
narrow
s l a b o f b r i c k ,
t e r r a
c o t t a
and
t i l e w i t h
m i n i m a l
m o d u l a t i o n
a t t h e base
and
s t r o n g e r g e o m e t r i c
t r e a t m e n t
at
t h e
t o p w h e r e t h e
mass
breaks
down
i n t o
two,
r o u g h l y o c t a g o n a l
t o w e r s .
The
p l a n
r e v e a l s
a
p r o c e s s i o n a l
q u a l i t y
r e m i n i s c e n t
o f
c a t h e d r a l
d e s i g n ,
an analogy
w h i c h
may
be
extended
t o
t h e
t h i r d
d i m e n s i o n
o f t h e b u i l d i n g
as
w e l l .
The
s o a r i n g ,
b a r r e l - v a u l t e d
spaces
w i t h
t h e i r
l o o m i n g
q u a l i t y
and
huge,
arched
w i n d o w s
r e c a l l
the
mood o f g r e a t
r e l i g i o u s
a r c h i t e c t u r e .
One
i s d r a w n
t h r o u g h
t h e
b u i l d i n g
p a s t
the
dim,
arched
c r a n n i e s
o f
the
lobby,
p a s t
t h e
gothic-Deco
M o n e l
m e t a l
g r i l l e
towards
t h e
a l l e g o r i c a l
r e p r e s e n t a t i o n
9
of
M i c h i g a n - - l a n d
o f
hope,
home
and
f a m i l y — t h e
i d e a l
imagery
f o r
t h e
o r i g i n a l
o w n e r s ,
t h e
U n i o n
T r u s t
Company.
Indeed,
as one
e x p e r i e n c e s
t h i s
i n t e r n a l s e q u e n c e ,
i t
becomes
c l e a r t h a t t h e
f o r m
of
t h e
b u i l d i n g ,
t h e
r e l a t i v e
g r a c e o f i t s
s l a b
o r
d e l i b e r a t e ,
c a t h e d r a l
r e f e r e n c e s
become
s e c o n d a r y
to
t h e
e x p e r i e n c e
o f
t h e
s p a c e s
and
d e t a i l s .
The
c o l o r s
a r e
v i v i d
and
t h e
e x o t i c
m a t e r i a l s - m a r b l e s ,
m e t a l s ,
c e r a m i c s ,
g l a s s - - a r e
d e t a i l e d
and
r e n d e r e d
w i t h
c u r r e n t l y u n a t t a i n a b l e
c a r e .
M i n o r
i n d i g n i t i e s
i n f l i c t e d
u p o n t h e b u i l d i n g
t h r o u g h
t h e y e a r s
a r e
b e i n g
c o r r e c t e d
by
t h e
c u r r e n t
o w n e r s ,
M i c h i g a n
C o n s o l i d a t e d
Gas
Company
(MichCon).
T h e y
p l a n
t o
r e m o v e
t h e
i n s u l t i n g
s u s p e n d e d
c e i l i n g s
i n
t h e
e l e v a t o r l o b b i e s , w h i c h
w i l l
r e v e a l
m o r e
o f
R o w l a n d ' s
R o o k w o o d
t i l e
d e s i g n s .
M i c h C o n has
a l s o completed
a
f i n e r e s t o r a t i o n o f t h e
m a i n
board
r o o m
on
t h e
s i x t h
f l o o r .
The
board
room
and
i t s
a n t e r o o m s c o n s i s t o f
a
s e r i e s o f spaces o f
s h i f t i n g
s c a l e
and
f o c u s .
L a r g e
s p a c e s
a r e l i n k e d by
s m a l l ,
o c t a g o n a l
a l c o v e s
w i t h
r i c h
g o l d
c e i l i n g s
and
moody
l i g h t i n g
e f f e c t s .
D e s p i t e
the
c h a n g e i n s c a l e f r o m
t h e
l o b b y ,
t h e
b u i l d i n g
c o n t i n u e s
t o
s u r p r i s e
t h e
o c c u p a n t .
T h e s e spaces
show
R o w l a n d
w o r k i n g
a t
more
i n t i m a t e s c a l e , and
h i s
w o r k
shows
l u s t e r and
a
t a c t i l e
s e n s e
t h a t
i s
r e m a r k a b l e .
The
t o n e s — t h o s e
o f oak
and
mahogany,
g r e e n
and
cream
m a r b l e - - a r e
n a t u r a l l y
r i c h ,
and
h a v e been a u g m e n t e d
by
r u s t
and
l i g h t
m a r o o n
f a b r i c s
and
c a r p e t s .
The
o r i g i n a l
brushed
b r a s s
h a r d w a r e
c a r r i e s
t h e
o c t a g o n a l
m o t i f (based
on
a
n o t c h e d
arch)
r e p e a t e d
t h r o u g h o u t
t h e b u i l d i n g ,
and
h e l p s
c r e a t e s t r o n g t i e s
t o
the
a r t s
and
c r a f t s
t r a d i t i o n .
Indeed,
when
one
comes i n c o n t a c t w i t h such
a
p r o f u s i o n
o f r i c h e s i n
one
p l a c e ,
s o m e t h i n g
a k i n
t o
r e v e r a n c e
t a k e s
o v e r .
I n
h i s
book.
The
B u i l d i n g s
o f
D e t r o i t ,
W.
H a w k i n s F e r r y s u m m a r i z e s
t h e
�Tower
32nd,
Plan
Guardian
Building thusly:
In
the
final
analysis,
the
building
as
a
whole
lacks
cohesion,
and
consequently
i t
cannot
be r e g a r d e d as
expressive
of i t s period i n the best
sense.
I t can
be a g r e e d t h a t
the
former
point
is true.
The
building
bounces
from
one
set-piece
to
another--from
light
t o dark, dazzling
to
somber,
glowing to
brassy.
But
by
doing
this,
the
Guardian
Building
does
express
i t s time
in
the
truest
sense.
The
1920s
manifested
a lack of
focus
through
a
body-and-soul
pursuit
o f f u n . I t was
not
an
introspective time
of
worry,
as w e r e t h e
decades
that
p r e c e d e d and f o l l o w e d .
I n t h i s sense, the 1920s can
be
r e l a t e d t o the 1970s,
a
decade
i n w h i c h we
kicked
back, r e l a x e d and behaved as
decadently
as
possible.
Architecture
i n the
1970s
responded
with a return to
t h e use o f c o l o r and p l a y f u l
forms,
of polished surfaces
and
twinkling
lights.
Post-modernism,
i n i t s best
i n c a r n a t i o n s , had i t s tongue
Dining
Room
Floor
Plan
Main
Banking
Floor
Plan
planted f i r m l y i n i t s cheek.
Its
frothy,
lively
forms
began
t o c o l l a p s e when they
could
no l o n g e r s u p p o r t t h e
weight
of
requisite
philosophical
baggage.
Post-modernism
turned
from
cheery
t o v a p i d , and
quit
when
the
game w a s n ' t
fun
anymore.
The
same
thing
happened
t o A r t Deco.
The
joy
became
h o l l o w and
the
people
were
not
laughing
anymore:
t h e y had t h e i r
own
problems.
So t h e G u a r d i a n
Building
stands
i n i t s
prominent
position
downtown,
a
fond
remembrance
of things past.
Despite i t s sense of fun, i t
is
s u r p r i s i n g l y modest
i n
the
face i t presents t o the
street.
Is
i t a
great
building?
Probably not, i n
the t r a d i t i o n a l , "let's talk
in
serious
tones
about
a r c h i t e c t u r e " sense.
But i t
is
a
glorious
building,
representative
of
a
time
w h e n b e a u t y was s o m e t h i n g
to
be
savored, not glanced a t .
The
Guardian Building
says
that
i t ' s okay
for
a
building
t o be d a z z l i n g , t o
wallow
i n i t s own
excesses.
And who c a n a r g u e w i t h t h a t ?
10
�PENOBSCOT
B U I
L
D
I
N
G
The
G r e a t e r
P e n o b s c o t
B u i l d i n g
i s
a
w o r k
t h a t
a f f o r d s
us t h e
o p p o r t u n i t y
t o
e x a m i n e
a
s u c c e s s f u l
m a r r i a g e
o f
t h e
humane
a s p e c t s
o f c l a s s i c a l
d e s i g n
and
t h e
l a r g e - s c a l e ,
f u n c t i o n a l demands o f
modern
a r c h i t e c t u r e . No t h o u g h t was
g i v e n
i n t h e d e s i g n o f
t h e
b u i l d i n g
t o t h e
t h e o r e t i c a l ,
v a l u e
o f
r e v i v i n g
a
c l a s s i c a l
s t y l e
f o r
i t s
s y m b o l i c
v a l u e
as
i s
t h e
c o n t e m p o r a r y
v i e w
o f
some
p o s t - m o d e r n i s t
d e s i g n e r s .
P e r h a p s
t h i s
makes
t h e
G r e a t e r
P e n o b s c o t
B u i l d i n g
t h a t
much m o r e
a p p r o p r i a t e
as
an
o b j e c t i v e l e s s o n
i n
p o s s i b l e
s o l u t i o n s
t o
t h e
r e c o n c i l i a t i o n
o f
h i s t o r i c i s m and
m o d e r n i s m .
The
c l i e n t
f o r
t h e
b u i l d i n g
was
Mr.
Simon
J .
M u r p h y ,
a
b u s i n e s s m a n
i n v o l v e d
i n
t h e
l u m b e r
i n d u s t r y .
M u r p h y grew up i n
Maine
n e a r
t h e
P e n o b s c o t
R i v e r
w h i c h
t o o k i t s
name
f r o m
t h e
I n d i a n s
i n
t h e
a r e a .
He m o v e d t o
M i c h i g a n
w h e n
h i s l o g g i n g
i n t e r e s t s
i n
t h e
t i m b e r l a n d
o f
M i c h i g a n became
s i g n i f i c a n t .
S h o r t l y
a f t e r h i s d e a t h
i n
1902
t h e
f i r s t
Penobscot"
B u i l d i n g ,
a
t h i r t e e n - s t o r y
s t r u c t u r e
on
F o r t
S t r e e t ,
was
c o m p l e t e d .
The
second
P e n o b s c o t
B u i l d i n g ,
a
t w e n t y - f o u r - s t o r y annex,
was
c o m p l e t e d
i n
1916
on
t h e
a d j o i n i n g
p r o p e r t y on
W e s t
C o n g r e s s .
The
G r e a t e r
P e n o b s c o t
B u i l d i n g
i s t h e l a r g e s t
o f
t h e
t h r e e P e n o b s c o t t o w e r s .
The
t w o
s m a l l e r and
o l d e r
P e n o b s c o t
t o w e r s
a r e
o
f
P
c
v
o
e
o
e
r
n
m
r
t
o
p
s
y
b
l
h a d o w e d
by
t h e
- s e v e n - s t o r y
G r e a t e r
s c o t B u i l d i n g w h i c h
was
e t e d
i n
1928.
The
�40th-43rd
Floor
35th-39th
Plan
d e s i g n
f o r
t h e
b u i l d i n g
which
s t a n d s
a t
t h e
i n t e r s e c t i o n o f G r i s w o l d
and
F o r t
S t r e e t s was
c r e a t e d
by
t h e
f i r m o f S m i t h ,
H i n c h m a n
and
G r y l l s
u n d e r
t h e
s p e c i f i c
d i r e c t i o n o f
W i r t
C.
R o w l a n d . The
t o w e r
i s
a
massive,
s t o n e - c l a d ,
s t e e l
s t r u c t u r e
e s s e n t i a l l y
"H"-shaped
i n
p l a n ,
and
r i s e s
t o
a h e i g h t
o f
565
f e e t .
B e g i n n i n g
a t
t h e
t h i r t y - f i r s t
f l o o r ,
t h e
e x t r u d e d
"H"
p l a n
o f
t h e
tower
i s
r e d u c e d
by
a
r o b u s t , i r r e g u l a r p a t t e r n o f
s e t - b a c k s .
T h i s
c r o w n i n g
c o m p o s i t i o n
i s c u b i s t i c
i n
c h a r a c t e r
and
m o d e r n i n i t s
dependence
on
t h e
i n t e r a c
d e f i n e d
D e s p i t e
t h e
f
s t o r i e s
p r o p o r t
t h e
g e
one
o f
volume
t i o
by
t
o r m
re
i o n
n e r
s c u
and
n
o f
v o l u
l i g h t and
shad
h i s
f r a g m e n t a t i
o f
t h e s e
u p
mains
massive.
s a r e g e n e r o u s
a l
i m p r e s s i o n
l p t e d s o l i d i t y ,
n o t
s u r f a c e .
W i r t C.
R o w l a n d ,
p r i n c i p a l
d e s i g n e r
o f
G r e a t e r
P e n o b s c o t B u i l d i
was
a
H a r v a r d - t r a i
m e s
ow.
o n ,
p e r
The
and
i s
o f
t
t
n
n
h
h
g
e
e
e
,
d
Floor
Plan
a r c h i t e c t
p r o f o u n d l y
i n f l u e n c e d
by a r c h i t e c t u r a l
h i s t o r y ,
p a r t i c u l a r l y
t h e
G o t h i c
S t y l e .
He
b e l i e v e d ,
h o w e v e r ,
t h a t
s t y l i s t i c
c o n s i d e r a t i o n s
s h o u l d
be
t e m p e r e d
by and
respond
t o
new
b u i l d i n g
p u r p o s e s
and
m o d e r n t i m e s . A t t h e t i m e
o f
h i s
d e s i g n s
f o r t h e
G r e a t e r
P e n o b s c o t
B u i l d i n g
he
had
b e g u n
t o
q u e s t i o n
t h e
r e l e v a n c y
o f t h e
u n i l a t e r a l
a p p l i c a t i o n o f t h e G o t h i c
t o
s k y s c r a p e r s
m e r e l y
by
v i r t u e
o f
a s s o c i a t i o n s w i t h
G o t h i c
v e r t i c a l i t y .
R o w l a n d
b e g a n
t u r n i n g
away
f r o m
d e l i b e r a t e
r e f e r e n c e
t o
h i s t o r i c a l
a r c h i t e c t u r e .
T h i s
was
p a r t
o f
a
b u r g e o n i n g ,
i n i t i a l
t r e n d
t o w a r d s
m o d e r n i s m t h a t
w o u l d
p r o d u c e s u c h e a r l y monuments
as
t h e P h i l a d e l p h i a
S a v i n g s
Fund
S o c i e t y
B u i l d i n g
o f
1931-2
by Howe and
L e s c a z e .
R o w l a n d ' s
d e s i g n
r e p r e s e n t s
t h e
l a r g e s t ,
i f
n o t
t h e
e a r l i e s t ,
e f f o r t
i n
t h e
D e t r o i t
a r e a
away
f r o m
h i s t o r i c a l
a l l u s i o n
and
towards
t h e
A m e r i c a n
h e r
The
B u i
r e p
e x p
a e s
s k y
o f
b u i
o r g
r e s
o f
h
h
a
c
r
a
s
c
i t a g e
o f
i n v e n t i v e n e s s .
G r e a t e r
P e n o b s c o t
l d i n g ,
t h e r e f o r e ,
r e s e n t s
R o w l a n d ' s
e r i m e n t
w i t h
new
t h e t i c
p o s s i b i l i t i e s
i n
s c r a p e r
d e s i g n .
I n s t e a d
G o t h i c i z e d monument,
t h e
l d i n g
e x h i b i t s an
a l m o s t
a n i c
v e r t i c a l i t y
t h a t
u l t s
f r o m t h e
n e c e s s i t y
p i l i n g up
f l o o r
space.
T h i s i s n o t
t o
i m p l y ,
o w e v e r ,
t h a t a l l t r a c e s
o f
i s t o r i c a l
i n f l u e n c e
a r e
b s e n t .
The
p u r e l y a e s t h e t i c
o n c e r n
f o r s t o n e
c l a d d i n g
e c a l l s
c l a s s i c a l
r c h i t e c t u r e
w h i l e
y m b o l i c a l l y
r e f e r r i n g
t o
o m f o r t a b l e
a s s o c i a t i o n s
o f
32nd-34th
Floor
Plan
p e r m a n e n c e
and
s t a b i l i t y .
The
u p p e r m o s t w i n d o w i n each
v e r t i c a l
c o l u m n
o f
f e n e s t r a t i o n
i s
an
arched
o p e n i n g
w h i c h
caps
t h e
m o v e m e n t u p w a r d , r e d i r e c t i n g
i t
around
t h e a r c h and
back
down.
S i m i l a r l y ,
t h e
major
e n t r a n c e
i s
s e t
i n
a
f o u r - s t o r y
a r c h
r e s p l e n d e n t
i n
c a r v e d
mouldings
and
o r n a m e n t .
I n a d d i t i o n ,
t h e
i m p l i c i t
d i v i s i o n
o f
t h e
t o w e r
i n t o
a
base
capped
w i t h
a
s t r i n g
c o u r s e ,
a
s h a f t ,
and
a
" c a p i t a l "
composed
o f
t h e
i n t r i c a t e
s e t - b a c k
p a t t e r n o f
m a s s i n g
i s
a l s o
r e m i n i s c e n t
o f
h i s t o r i c a l
f o r m . W h i l e
n o t
d i r e c t l y
n e o - c l a s s i c a l , t h e
b u i l d i n g
i s
d e c i d e d l y
n o s t a l g i c .
The
s o l i d i t y
o f
t h e
G r e a t e r
P e n o b s c o t
B u i l d i n g
i s
g r a c i o u s l y p u n c t u r e d
a t
t h e
s t r e e t
l e v e l
by
t h e
grand
e n t r a n c e
a r c h
t h a t
a c c o m m o d a t e s
and
e n c o u r a g e s
p e d e s t r i a n
a c t i v i t y .
The
o r n a m e n t , w h i c h
d e r i v e s
f r o m
A m e r i c a n
I n d i a n m o t i f s ,
i s
r e d u c e d
t o a
c o m p l e m e n t a r y ,
g e o m e t r i c
p a t t e r n .
I t
c o n s i s t s
o f
a b s t r a c t e d ,
s c u l p t u r a l
i m a g e s o f
I n d i a n
c h i e f s ,
w a r r i o r s and
o t h e r
symbols,
and
c o m p l e m e n t s
t h e
g e o m e t r i c
mass and
l i n e
o f
t h e
a r c h i t e c t u r a lforms
by
w h o l l y
s u b o r d i n a t i n g
i t s e l f
t o
t h e s u r f a c e . I n f o r m
and
c o l o r ,
t h e
o r n a m e n t
i s
a
d i g n i f i e d
and
q u i e t
accent
w h i c h
i s c a r r i e d i n s i d e
t h e
b u i l d i n g
t o
g r a c e
t h e
i n t e r s e c t i o n
o f c o l u m n
and
beam, t h e t i l e d
l o b b y
f l o o r ,
e l e v a t o r
d o o r s ,
and
m a i l b o x e s .
The
f i r s t f i v e f l o o r s
o f
t h e b u i l d i n g o r i g i n a l l y
w e r e
d e v o t e d
t o b a n k i n g ,
e n t r a n c e
l o b b y ,
and
a s m a l l a m o u n t
o f
12
�6th-31st
Floor
Plan
r e t a i l
space.
A
s i m i l a r
s p a t i a l
a n d
v o l u m e t r i c
a r r a n g e m e n t
was a c h i e v e d i n
R o w l a n d ' s
l a t e r
w o r k .
T h e
G u a r d i a n
B u i l d i n g .
A b o v e
t h i s ,
t h e
f l o o r s
w e r e
d e v o t e d
t o o f f i c e u s e a g e o f
v a r i o u s
t y p e s a n d s i z e s .
T h e
i n t e r i o r s
w e r e
a
n a t u r a l
p r o d u c t
o f
t h e
u n d e r l y i n g
d e s i g n c o n c e p t a n d , as
s u c h ,
w e r e
i n
s y m p a t h y w i t h
t h e
g e n e r a l
t o n e
o f
c l a s s i c a l
e l e g a n c e
a n d
r e f i n e m e n t .
S u b s e q u e n t
a l t e r a t i o n s
t o
t h e l o b b i e s
a n d m a i n
b a n k i n g
space
o n
t h e s e c o n d
f l o o r
has
l e f t u s o n l y a
h a u n t i n g
r e s i d u e
a n d
a
m e l a n c h o l y
r e m i n d e r
o f
a
s t r o n g
a n d
i n t e r e s t i n g
p u b l i c
a r c h i t e c t u r e
o f
w h i c h
D e t r o i t
h a s
such a
g r e a t ,
and
u n f o r t u n a t e l y
p a u c i t y .
i n c r e a s i n g
An i m p o r t a n t
p a r t
o f
curre-^*p o s t - m o d e r n
t h e o r y
i s
a r e c o n c i l i a t i o n o f
t h e
a n t h r o p o m o r p h i c
c o n c e s s i o n s
o f
c l a s s i c a l
a r c h i t e c t u r e
w i t h m o d e r n d e s i g n , b a s e d
o n
the
b e l i e f
t h a t
m o d e r n
13
( I n t e r n a t i o n a l
S t y l e - i n f l u e n c e d )
a r c h i t e c t u r e
h a s
become
o p p r e s s i v e l y
s t e r i l e ,
i s o l a t e d
a n d i n s e n s i t i v e t o
human
needs.
Much
p u b l i c ,
p o s t - m o d e r n
a r c h i t e c t u r e ,
h o w e v e r ,
d e s p i t e
e m p l o y i n g
h i s t o r i c a l
f o r m ,
i s
c h a r a c t e r i z e d
by a
f l a t n e s s
and
l i t e r a r y
a b s t r a c t n e s s
t h a t
c o m p e t e s
w i t h
i t s
h u m a n i s t i c
a s p i r a t i o n s .
T h e
q u a l i t y
o f
space i n
t h e s e
b u i l d i n g s
i s
o f t e n
s a c r i f i c e d
f o r
r e f e r e n t i a l
s u r f a c e .
T h e s e
d e s i g n s
s u g g e s t w h a t i s p o s s i b l e
b u t
are u l t i m a t e l y
d i s a p p o i n t i n g
b e c a u s e t h e y
f a i l
t o d e l i v e r
a r c h i t e c t u r a l
s u b s t a n c e .
The
G r e a t e r
P e n o b s c o t
B u i l d i n g ,
h o w e v e r , r e m a i n s
a
v i a b l e ,
e n c h a n t i n g w o r k
o f
u r b a n
d e s i g n
b e c a u s e
i t
r e s p e c t s b o t h t h e demands o f
t h e
c i t y a n d t h e demands o f
t h e i n d i v i d u a l . T a k e n
w i t h i n
t h e
c o n t e x t
o f
D e t r o i t ' s
u r b a n h e a r t ,
t h e t o w e r i s a n
e s s e n t i a l
e l e m e n t
i n
s u s t a i n i n g
t h e p h y s i c a l
mass
t h a t
a
c i t y
r e q u i r e s .
T i g h t l y - p a c k e d ,
c a n y o n - l i k e
s t r e e t s h a v e b e e n
c r i t i c i z e d
f o r
t h e i r c o l d ,
h a r d ,
d a r k
p e r s o n a l i t i e s ;
b u t
t h e s e
same
s t r e e t s
b r i n g
a
a
t
o
i
r
r
t
s
e
u
i
t
d
p
h
r c h i t e c t u r e
i n t o
i m m e d i a t e
nd
i n t i m a t e
c o n t a c t
w i t h
h e
p e o p l e o f t h e c i t y .
T h e
r n a m e n t p l a y s
n o s m a l l
p a r t
n
c r e a t i n g
t h i s
e l a t i o n s h i p .
A l t h o u g h
e s t r a i n e d
a n d
a b s t r a c t e d ,
h e
p r e s e n c e
o f
s c u l p t e d
t o n e ,
p a t t e r n e d
f l o o r ,
n g r a v e d
d o o r ,
a n d
t h e
n a d o r n e d
a r c h
i n f o r m
u s ,
m p l i c i t l y a n d
e m p h a t i c a l l y ,
h a t
t h e
b u i l d i n g
was
e s i g n e d
a s
a
p l a c e
f o r
e o p l e
a n d b u i l t w i t h
human
a n d s .
T h i s
i s t h e m a t e r i a l o u t
o f
w h i c h
c i t i e s a r e
t r u l y
made.
T h e e n v i r o n m e n t s
t h a t
a r c h i t e c t s
c r e a t e
m u s t
p r o v i d e
s o m e t h i n g more
than
s h e l t e r e d
space. T h i s
must
i n v o l v e
a n
a r t i s t i c
e x p r e s s i o n
o f
c u l t u r e
and
t h e e x p e r i e n c e o f l i v i n g . I t
m u s t
r e s p e c t
t h e
m o n u m e n t a l i t y a n d h e r o i s m o f
t h e
c i t y ,
w h i l e
a c c o m m o d a t i n g
t h e f r a g i l i t y
and
e m o t i o n o f t h e s e n t i e n t
i n d i v i d u a l . W i r t R o w l a n d h a s
done
t h i s
i n
t h e
G r e a t e r
P e n o b s c o t
B u i l d i n g .
He
h a s
c r e a t e d
a
s e n s e
o f
human
p l a c e ,
o f
h a b i t a t ,
b y
a
s e n s i t i v e
u n d e r s t a n d i n g
o f
space
a n d
o r n a m e n t
a n d
a
l o g i c a l
c o n t i n u a t i o n
o f
c l a s s i c i s m
a s
a
c u l t u r a l
i n h e r i t a n c e ,
n o t simply
as
s t y l e .
�The
f o l l o w i n g
r e p r e s e n t s
some
o f
t h e
m a t e r i a l
o b t a i n e d d u r i n g an i n t e r v i e w
w i t h
Dr.
E a r l
P e l l e r i n ,
f o r m e r Dean o f t h e S c h o o l
o f
A r c h i t e c t u r e
a t
L a w r e n c e
I n s t i t u t e o f T e c h n o l o g y ,
who
was
a c l o s e f r i e n d o f
W i r t
C.
R o w l a n d . We,
t h e
s t a f f ,
f e l t i t would
be
i n t e r e s t i n g
and
i n f o r m a t i v e t o
i n c l u d e
some
p e r s o n a l
o b s e r v a t i o n s
about
Mr.
R o w l a n d i n
t h i s
i s s u e .
The
i n t e r v i e w e r s — T a m m i s
Donaldson,
M a t t h e w
H u b b a r d ,
and
B r i a n
H u r t t i e n n e — d i r e c t e d
t h e
d i s c u s s i o n
a r o u n d
t o p i c s
r e l a t e d
t o
R o w l a n d ' s
a
i
f
r
c
m
c
a
D
t
d
o
e
h
a
o
r
e
t
e
l
v
a
s
n
c
t
i t
a s
l o
e a
r a
t e
t r
h i
r o
u d
c
w i
l s
c t
r f
i b
t e
i t
e s ,
l i f e s t y l e ,
and
o n c e r n i n g
d e s i g n .
The
n g
c o n v e r s a t i o n
i m p o r t a n t
e r i s t i c s
o f
t h e
u l
a r c h i t e c t
t h a t
u t e d
g r e a t l y t o
t h e
c t u r a l
q u a l i t y
o f
.
We
w o u l d
l i k e t o t h a n k
Dr.
P e l l e r i n
f o r
h i s
h e l p ,
c o o p e r a t i o n , and
i n s i g h t s .
BH:
W h a t
r e l a t i o n s h i p
Rowland?
How
What w e r e t h e
was
y o
w i t h
W i
d i d i t
b e g i
c i r c u m s t a n c e
u
r
n
s
r
t
?
?
EP:
I had
h e a r d
as a
s t u d e n t
of
t h e
U n i v e r s i t y
o f
M i c h i g a n
o f W i r t R o w l a n d .
A t
t h e
t i m e ,
my
f a t h e r was
a
foreman
a t
t h e
C a d i l l a c
P l a n t
and
k n e w o f a man
who
w o r k e d
a t
A l b e r t
Kahn's
o f f i c e ,
and
g o t
me
an
i n t e r v i e w
w i t h A l b e r t Kahn.
The
end
o f my
j u n i o r y e a r
I
j o i n e d
t h e
f i r m . T h a t
was
when
Kahn
was
a
w o r l d
f i g u r e .
My
s t a y
t h e r e
embodied two y e a r s f r o m
1926
t o
1930,
and
R o w l a n d
was
c h i e f
d e s i g n e r
i n t h e
same
b u i l d i n g
o n l y
w o r k i n g
f o r
S m i t h , Hinchman, and
G r y l l s .
Anyone
i n
a r c h i t e c t u r e
a t
t h e
t i m e
knew o f
admired
him.
f r i e n d l y ;
and
t h
g o t
t o know h i m
q
( 1 9 2 6 ) . T h a t was
w
d o i n g
t h r e e
s k y s c r a p e r s :
t
B u i l d i n g ,
t h e
B u i l d i n g ,
and
t h e
B u i l d i n g .
I w o u l d
t h e
w e e k e n d s ,
f
perhaps,
and
m e n t i o n
many o f
t
t h a t w e r e
happenin
hi m
and
was
He
I
a t y e a r
w e l l
u i te
was
hen he
f a m o u s
B u h l
h e
P en o b s c o t
Gu a r d i a n
on
see h i m
l u n c h
o r
w o u l d
he
t h i n g s
h e
g.
TD:
D i d W i r t R o w l a n d h a v e
a
concept
f o r d o w n t o w n
D e t r o i t
t h a t
was
r e f l e c t e d i n
t h e s e
b u i l d i n g s ?
EP:
T h e s e
w e r e
about
one
t e n t h
o f t h e b u i l d i n g s W i r t
R o w l a n d
d e a l t w i t h .
O t h e r s
i n c l u d e
N o r t h e r n
H i g h
S c h o o l ,
M a i n
T e l e p h o n e
B u i l d i n g
i n
d o w n t o w n
D e t r o i t ,
t h e
J e f f e r s o n
A v e n u e
P r e s b y t e r i a n
Church,
t h e
Bankers
T r u s t
Company
BuiLdng,
t h e N a t i o n a l
Bank
B u i l d i n g ,
t h e G e n e r a l
M o t o r s
B u i l d i n g ,
and
t h e U n i v e r s i t y
o f
M i c h i g a n
M a i n L i b r a r y i n
Ann
A r b o r . . . H i s
b u i l d i n g s
w e r e
p r e t t y
w e l l
s p r e a d
a l t h o u g h
t h e t h r e e w e r e
i n
c l o s e w a l k i n g d i s t a n c e s .
I'm
s u r e
t h a t
he
t h o u g h t
o f
c o l o r
i n
e a c h b u i l d i n g
he
was
d o i n g
and
w i t h
e a c h
b u i l d i n g
s u r r o u n d i n g
t h e
s i t e ;
b u t I d o n ' t
b e l i e v e
he
made
any
l a r g e s t u d i e s
t h a t
would
c o v e r
a g r e a t d e a l
o f
t h e
c i t y .
A l t h o u g h
I'm
s u r e
he
had
some i d e a s
f o r
t h e
c i t y
i n
g e n e r a l ,
and
t h e
w a t e r f r o n t e s p e c i a l l y .
BH:
Can
you e x p l a i n any
o f
t h o s e
i d e a s , and
w e r e
t h o s e
r e f l e c t e d
i n t h e t h r e e
m a j o r
b u i l d i n g s ?
EP:
t h a t
d e a l
e v e n
I
t h i n k R o
was
t h i n
o f s k y l i n e
had
r e g a r
w l a n d was
one
k i n g a
g r e a t
. . . ! t h i n k
he
d as t o
w h a t
t h e s e
b u i l d i n g s w o u l d
l i k e
f r o m
B e l l e
I s l e
Canada.
BH:
So
h
w h a t
t h e
i n t e r p r e t a
a r t i c u l a t i
w o u l d
be?
EP:
I
e had
a v
s k y l i n e ,
t i o n
o n
o f t h
t h i n k
l o o k
and
i s i o n
o f
w h a t
h i s
o f
t h e
e s k y l i n e
so.
MH:
Not
i n a
M a s
though?
Not
s o m e t h
w h a t
S a a r i n e n d i d
m a s t e r - p l a n n i n g
i d
t e r
i n g
w i t h
e a s ?
P l a n
l i k e
h i s
EP:
No...Of c o u r s e
we
a l w a y s
h a v e
t o
g i v e
t o
t h e
S a a r i n e n s
an immense
amount
o f
c r e d i t
f o r
t h e i r
r e s e a r c h ,
and
f o r w h a t
t h e y
would
do w i t h a problem.
As
I
say,
R o w l a n d
l o v e d
M i c h i g a n
and
h i s home, and
I
t h i n k
he
was
v e r y
much
a
p a r t o f t h e c i t y ,
s t a t e ,
and
o f
t h e p e o p l e
as f a r as
h i s
j o b
was
concerned.
W h i l e
he
was
d o i n g
a l l k i n d s
o f
t h i n g s
l i k e
s k y s c r a p e r s ,
p r o b a b l y
h i s g r e a t
i n t e r e s t
i n
a r c h i t e c t u r e was
i n
t h e
G o t h i c
and
c h u r c h
work.
TD:
Do
you
know
i f
t h e
w r i t i n g s
o f R u s k i n had
any
e f f e c t
on
R o w l a n d ' s
p h i l o s o p h y ?
EP:
r e a
R u s
m e n
S u l
g r e
I t '
a d v
bee
C r a
and
mov
e v e
w i t
had
t h i
e v e
I'm
s u r e t h a t
R o w l a n d
d
a
good
d e a l
about
k i n ,
b u t he w o u l d
always
t i o n
R i c h a r d s o n ,
l i v a n ,
and W r i g h t as
t h e
a t
A m e r i c a n
a r c h i t e c t s .
s
d i f f i c u l t
t o say
how
a n c e d
R o w l a n d m i g h t
h a v e
n.
We
had
t h e A r t s
and
f t s
Movement i n
D e t r o i t ,
he
was
p a r t
o f
t h a t
ement.
He was
a p a r t
o f
r y g h i n g
t h a t
had
t o
do
h
a r c h i t e c t u r e . . . R o w l a n d
a
v e r y a c t i v e l i f e .
I
n k
seven
d a y s and
seven
n i n g s
he had
a c t i v i t y .
I n
14
�s t
C r
q u
s t
p a
an
u
a
i
u
r
d
n
t
d
t
i
MH:
on
wher
some
s t r u
by?
y
b
e
y
i
n
i n g
r o o k ,
a n
i n g W
c u l a r
t e r e s
t h e d e v e l o p m e n t
w h i c h
he
i n t e r e s t i n ,
r i g h t
and S u l l i
l y ,
I t h i n k he
t i n t h e c r a f t s
Do y o u
h i s f i r
e
he
o f
c t u r e s
know
s t t r
m i g h t
t h e
he wa
when he
w
i p t o E u r
h a v e
s
s e
G o t
s
f a s c i n a
h
a
v
h
.
e
o
e
h
t
o
a
n
a
a
n
p
e
i
e
f
d
d
n
d
t
e
n
c
d
EP:
W h i l e
he was a t
G e o r g e
D.
Mason's
o f f i c e
(1905-1914),
I
b e l i e v e
he
took
t i m e
o f f t o
go
t o
Harvard
U n i v e r s i t y . He
spent
two
y e a r s
i n
t h e
H a r v a r d
G r a d u a t e
School
a n d
was
a c t i v e
i n
a
number
o f
t h i n g s .
I
b e l i e v e
i t
was
P r o f e s s o r
Weir
o f
H a r v a r d
t h a t
h a d a g r e a t
i n f l u e n c e
on
W i r t ' s
p h i l o s o p h y
i n
a r c h i t e c t u r e .
A p p a r e n t l y
P r o f e s s o r Weir
was a h i s t o r y
i n s t r u c t o r
and t h a t k i n d l e d
h i s
i n t e r e s t i n t h e G o t h i c .
A f t e r
h i s
t w o
y e a r s
a t
Harvard
U n i v e r s i t y , he
w e n t
t o E u r o p e f o r a
y e a r .
BH: W h a t m a d e M r . R o w l a n d
go
back t o E u r o p e many t i m e s ?
I
w o u l d
t h i n k a t t h a t t i m e i t
was uncommon
t o go t o E u r o p e
a t
a l l !
EP:
...some
p e o p l e a r e s u c h
t h a t
i f t h e y s e e a w o r k
o f
a r t
once, t h a t ' s i t l B u t
a
w o r k
o f
a r t h a s
s o
many
f a c e t s
t h a t
y o u
c o u l d
a c t u a l l y
v i e w
t h e m
many
t i m e s
and
f e e l
l i k e i t ' s
been
t h e
f i r s t t i m e .
I ' v e
heard
g r e a t
a r c h i t e c t s
l e c t u r e
many
t i m e s ,
e s p e c i a l l y
W r i g h t ,
a n d
some
of
t h e
same
p h i l o s o p h i e s
were
r e p e a t e d
a n d I
always
f i n d
something
new o u t
o f
W r i g h t ' s
l e c t u r e s .
L i k e w i s e
h i s b u i l d i n g s . R o w l a n d
w o u l d
mention
a t t i m e s , w h i l e
he
was
l e c t u r i n g ,
t h a t
h i s
15
p
a
d
y
s
d
h
r
i
e
t
i
i l o
c h i
f f e
a r s
u d i
f f e
s o p h i e s
a b o u t
t e c t u r e
now
m i g h t
be
r e n t
t h a n
i twas
t w o
ago. I t h i n k , as
o n e
e s , t h e y ' r e l o o k i n g f o r
r e n t
t h i n g s .
MH:
So
h i s i d e a was t o
back
t o
t h e b u i l d i n g s
s t u d y
them?
go
and
EP:
W r i
t i m
McK
go
o f t
t h i
I
h a d
g h t
w e n
e s . . . S t a n
im, Mead
t o
e n . . . W e l l
n g t o do
m e n t i o n e d
t h a t
t
t o
J a p a n
17
f o r d
W h i t e
( o f
a n d W h i t e )
w o u l d
E u r o p e
q u i t e
,
i t was
t h e
t h e n .
BH:
f e e
R o w
p a i
I
To
h i s
W h a t
a
l
i n
l a n d ' s
n t i n g ,
s
know he p
w h a t d e g
a r t i s t i c
r t forms
do
y o u
f l u e n c e d
Mr.
w o r k ?
S u c h
as
c u l p t u r e ,
m u s i c ?
l a y e d
t h e
organ.
r e e d i d he
t a k e
t a l e n t ?
EP:
M u s i c ,
s c u l p t u r e ,
a n d
p o e t r y
w e r e
h i s
m a i n
i n t e r e s t s ,
b u t
I
t r u l y
b e l i e v e he was i n t e r e s t e d i n
e v e r y
v i t a l
a r t . . . H e
d i d
p l a y
t h e organ.
He was
a l s o
a
s o l o i s t
o f
t h e
F i r s t
C o n g r e g a t i o n a l
C h u r c h .
He
p r o b a b l y
made
30
p a s t e l
d r a w i n g s
d e p i c t i n g
g r a p h i c a l l y
h i s
f e e l i n g s
a b o u t
p a r t s
o f
h i s
b u i l d i n g s .
U n f o r t u n a t e l y ,
I
t h i n k
m o s t
o f
t h e m
w e r e
d e s t r o y e d .
BH: D i d y o u s e e a n y
r e l a t i o n
as
f a r as
t h e
a r t
f o r m
i n f l u e n c i n g h i s w o r k ?
EP:
w o r
o f
s t u
a f f
v e r
S a a
I t h i n k
o f a r t s
a r t . I t
d y
o f
e c t h i s d e
y
much
r i n e n .
k
h e f e l t t h a t
a
h o u l d
be a
w o r k
h i n k
t h a t
h i s
s c u l p t u r e
d i d
s i g n
a b i l i t i e s ,
l i k e
Eero
TD:
Can
y o u e x p a n d o n
t h e
c o m p a r i s o n w i t h S a a r i n e n ?
I s
t h e r e
a
c o n n e c t i o n
w i t h
R o w l a n d ?
EP:
W e l l , I t h i n k i t
might
h a v e
b e e n
a c o n n e c t i o n
o f
m i n d s
w o r k i n g
i n t h e
same
way.
I know t h e y w o u l d
m e e t
a t
d i n n e r s
a n d
have
d i s c u s s i o n s
a f t e r w a r d s ,
b u t
I
do
n o t know o f
p e r s o n a l
m e e t i n g s . . . !
t h i n k
t h a t
C r a n b r o o k ,
E l i e l
S a a r i n e n ' s
w o r k ,
was a l l t h e r e i n
one
p l a c e
i n
a
m a g n i f i c e n t
s e t t i n g .
I
know
R o w l a n d
t h o r o u g h l y
a d m i r e d w h a t
was
going
o n
a t
C r a n b r o o k ,
p a r t i c u l a r l y
w h i l e
E l i e l
S a a r i n e n
was i n c h a r g e .
BH:
From t h a t c o n t e x t ,
w h a t
k i n d
o f a r t i s t was
R o w l a n d
i n t e r e s t e d
i n o r
a t t r a c t e d
t o ?
EP: I t h i n k he was a t t r a c t e d
v e r y
much by
M i c h e l a n g e l o .
And
I
t h i n k
some
o f
h i s
E u r o p e
s t u d i e s show t h a t .
I
s u p p o s e
y o u
c a n
name
t h e
g r e a t
a r t i s t s
f r o m
M i c h e l a n g e l o
t o D i e g o
R i v e r a
and
w o u l d a d m i r e
them...He
a l s o
a d m i r e d
g r e a t
l a n d s c a p i n g ,
l i k e
t h a t
o f
F r e d e r i c k
Law
O l m s t e a d
o r
C h a r l e s
P i a t t . . . !
r e a l l y
t h i n k
w i t h
t h e
p a i n t e r s ,
s c u l p t o r s , and t h e l a n d s c a p e
people,
and
s o o n , he
was
t h e
m a s t e r
a r c h i t e c t .
I
t h i n k a l o to f t h e d e t a i l
o n
W i r t ' s
b u i l d i n g s
t h a t
y o u
see,
W i r t
h a d
g i v e n
t h e
a r t i s t ,
s u c h
a s
C o r a d o
P a r d u c c i ,
a
s k e t c h
p r e t t y
c l o s e l y
s h o w i n g
w h a t
he
w a n t e d .
On t h e o t h e r
hand,
P a r d u c c i
h a d
w o r k e d
w i t h
R o w l a n d
s o
much, t h e y
had
g o t
t o know e a c h o t h e r
v e r y
w e l l .
TD:
Do
y o u
know
a n y t h i n g
a b o u t
t h e Thumb T a c k
C l u b ?
�Were
y o u a
p a r t
o fi t ?
EP:
I
was C h a i r m a n o f
C o m m i t t e e o n E d u c a t i o n .
TD:
W h a t
c o n n e c t i o n
Tack
C l u b ?
was
w i t h
t h e
R o w l a n d ' s
t h e
Thumb
EP:
T h e
Thumb
T a c k
C l u b
s t a r t e d
a s t h e S k e t c h
C l u b
a r o u n d
t h e
t u r n
o f
t h e
c e n t u r y .
W i r t h a d q u i t e
a n
i n t e r e s t
i n
t h a t
b e c a u s e ,
when
he was s t a r t i n g o u t a s
a
young p e r s o n i n d r a f t i n g ,
he
w o u l d
go t o t h e
S k e t c h
C l u b
a t
n i g h t
a n d
o n
weekends. M i n d y o u , M i c h i g a n
had
no a r c h i t e c t u r e
s c h o o l s
a t
t h e t u r n o f t h e c e n t u r y .
The
Thumb T a c k C l u b was s e t
up
f o r
p e o p l e ,
l i k e
y o u r s e l v e s ,
who
w o r k e d
d u r i n g
t h e week,
a n d
y o u
c o u l d
spend
n i g h t s
a n d
weekends
a t t h e Thumb
T a c k
Club.
T h e r e
w e r e
p e o p l e
a r o u n d l i k e R o w l a n d who
w e r e
a l w a y s
i n t e r e s t e d
i n
w h a t
s t u d e n t s w e r e d o i n g , s o
t h a t
e v e n
i n
1 9 2 7 , p e o p l e
l i k e
Rowland,
Amadeo Leone,
a n d
W i l l i a m
Kapp
o f
Sm.ith,
Hinchman
a n d
G r y l l s
a n d
o t h e r
p e o p l e
f r o m
m a j o r
o f f i c e s
i n D e t r o i t
w e r e
c r i t i c s .
T h e s t u d e n t s
w o u l d
work
f o u r
w e e k s
o n
a
p r o j e c t ,
t h e
l a s t
t w o
p r o b a b l y
s t r a i g h t
t h r o u g h ,
and
t h e n t h e p r o j e c t s
w o u l d
be
s e n t t o New Y o r k t o
t h e
Beaux
A r t s
I n s t i t u t e
o f
D e s i g n .
Many
u n i v e r s i t i e s
w o u l d
send t h i n g s i n , s u c h
as E e r o S a a r i n e n ' s w o r k
f r o m
Y a l e
U n i v e r s i t y ,
a n d
o t h e r
work
f r o m
C a l i f o r n i a
a n d
I l l i n o i s .
A l s o o t h e r
c l u b s
l i k e
t h e T - S q u a r e C l u b
i n
P h i l a d e l p h i a , a n d a n o t h e r i n
C h i c a g o
w o u l d
send
t h e i r
p r o j e c t s .
T h e
a r r a y
o f
c r i t i c s ,
f o r t h e m o s t
p a r t ,
were
b e t t e r
t h a n
t h e
f a c u l t i e s
a t
some
o f
t h e
u n i v e r s i t i e s . T h e d e p r e s s i o n
h u r t
t h e Thumb T a c k C l u b
a
g
c
p
t
r
r
o
e
h
e
e
m
o
i
g
a
i
p
n
i
t
n
l
g
s
d e a l ,
a n d
we
w e
g
t o
a
t i m e
w h e
e
w a n t e d
t o do
o t h
s
a n d
beco
t e r e d .
r
r
e
m
e
e
r
e
MH:
How d i d t h e d e p r e s s i o n
h u r t
t h e
p r o g r a m ,
t h e
f u n d i n g
f o r t h e Thumb
T a c k
C l u b ?
EP:
d e p r e
a r o u n
The
s p e c i
t h e r e
i n c l u
t i m e s
T h e
p
s s i o n
d
f o
Thumb
a l l y
w e r e
d i n g
w e r e
o i n t i s t h a t
t h e
c h a n g e d
t h i n g s
r a l o to f p e o p l e .
T a c k
C l u b
was
d e s i g n e d ,
a n d
o t h e r
a c t i v i t i e s
l e c t u r e s .
B u t t h e
c h a n g i n g .
TD:
How
do
d e p r e s s i o n
Rowland?
y o u
t h i n k
a f f e c t e d
t h e
W i r t
EP:
Y o u
r e a l l y
a s k e d
s o m e t h i n g
t h e r e 1
I n
h i s
e i g h t
y e a r s
a t
S m i t h ,
H i n c h m a n
a n d G r y l l s h e
was
t h e h i g h e s t p a i d d e s i g n e r i n
D e t r o i t .
I ' m
s p e a k i n g
o f
a r c h i t e c t u r a l
o f f i c e s .
He
was
a n a s s o c i a t e i n o n e
o f
h i s o f f i c e s a n d a
t o p - f l i g h t
p e r s o n
i n t h e o t h e r s .
So h e
w e n t
f r o m t h e b u s i e s t
t i m e
i n
h i s
l i f e
i n
t h e 2 0 ' s ,
w h e r e
a l l k i n d s o f
t h i n g s
w e r e
b e i n g
done,
u n t i l
O c t o b e r
o f 1 9 3 0 , a f t e r
h i s
r e t u r n
f r o m
E u r o p e .
T h e y
t o l d
h i m
t h e y
c o u l d
n o
l o n g e r
h a n d l e h i s c o n t r a c t ,
and t h a t was t h e t e r m i n a t i o n
o f h i s h i g h p l a c e i n D e t r o i t
o f f i c e s ,
a l t h o u g h
he
d i d
a s s o c i a t e
w i t h
A u g u s t u s
O ' D e l l
a n d t h e y d i d q u i t e
a
number o f t h i n g s i n c l u d i n g
a
h o u s e
f o r t h e W o r l d ' s
F a i r ,
and
a
number o f
a d d i t i o n s
and r e n o v a t i o n s t o c h u r c h e s .
L a t e r ,
d u r i n g
t h e w a r ,
he
w e n t
down
t o
N o r f o l k ,
V i r g i n i a ,
a n d
w o r k e d
f o r
G i f f e l s
whom h e h a d
w o r k e d
w i t h
a t
K a h n ' s
o f f i c e
e a r l i e r .
MH:
d e v
r e n
bec
of
p e r
a s t
e w
ome
t h
s o n
W i r t
must
e d
w h e n t h
h i s c o n t r a c
i n t r o v e r t
i s ? D i d t h i
a l
e f f e c t ?
ha
e y
t .
e d
s h
ve
bee
c o u l d n '
D i d W i r
becaus
ave
som
n
t
t
e
e
EP:
He was q u i t e w e l l
known,
and
many
o f
t h e
y o u n g e r
p e o p l e u s e d t o go t o h i m f o r
m e e t i n g s
a n d
a d v i c e .
And
t h a t
h e l p e d
a g r e a t
d e a l .
A l s o ,
he
was
a n
h o n o r a r y
member
o f t h e a r c h i t e c t u r a l
f r a t e r n i t y
i n A n n A r b o r , a n d
he w o u l d g e t o u t t h e r e
q u i t e
o f t e n .
T h e y
w o u l d
have
s e s s i o n s t h a t w o u l d h e l p .
We
had t h e C l i f f
D w e l l e r
g r o u p .
Maybe
14 p e o p l e b e l o n g e d t o
i t
a t
L a w r e n c e T e c h .
They
w e r e
a
l i t t l e
b i t
o l d e r ,
b e i n g
e v e n i n g s t u d e n t s ,
a n d
we
w o u l d go t o t h e l a k e
o n
t h e w e e k e n d , p a i n t a n d
draw,
and
t h e n
have
a
S a t u r d a y
n i g h t s e s s i o n u n t i l
2:00
AM,
and
W i r t w o u l d be a
s p e c i a l
g u e s t .
MH:
D i d W i r t R o w l a n d w r i t e
a
g r e a t
d e a l f o r t h e M i c h i g a n
S o c i e t y
o f
A r c h i t e c t s
B u l l e t i n ?
EP:
Y e s . He e v e n a c t e d i n a
p l a y .
A
H u m o r o u s p l a y .
He
w r o t e
a g r e a t d e a l
e a r l i e r ,
t o o .
MH:
I h a v
R o w l a n d
d i d n ' t
d r
h i s f r i e n d
e a l s o h e a r d
h a d
a
c a r ,
i v e .
He w o u l d
s
d r i v e .
t h a t
b u t
l e t
EP:
I
k n o w o f o n e
o r
t w
p e o p l e .
T h e
a s s o c i a t e s
i
t h e
b i g o f f i c e s w o u l d
d r i v
a t
t i m e s .
B u t h e
h a d a l
k i n d s o f
f r i e n d s .
MH:
r e s i d e
m e n t i o
W o r l d '
EP:
o
n
e
l
D i d
R o w l a n d
do
a n y
n t i a l
b u i l d i n g s ?
Y o u
n e d
t h e h o u s e f o rt h e
s
F a i r .
He
d i d
i n
h i s
l a t e r
16
�p e r i o d .
George
hundred
Lake
space
t h a t e n
K i r k - i n
MH:
Do
p a r t
was
Rowland
T h e n h e m e t
C o l o n e l
who h a d a n e s t a t e o f
s
o f
a c r e s o n
Long
Road.
He
was
g i v e n
a t G i f f e l s t o
d e v e l o p
t i r e t h i n g .
I t became
- t h e - H i l l s .
y o u t h i n k t h e
m a m
o f
K i r k - i n - t h e - H i l l s
d e s i g n e d
b y
W i r t
?
EP:
W e l l , he
the
p l a n s
t
show
u s a l l
r i g h t
i n my
would
v i s i t
was p r e p a r i n g
u s e d t o
b r i
o m e e t i n g s
a
t h e s e
d e t a i l
own home. And
h i m up w h e r e
t h e s e .
n g
n d
s ,
I
h e
BH:
D i d
W i r t R o w l a n d
e v e r
express
a n y i n t e r e s t i n t h e
I n t e r n a t i o n a l
S t y l e ?
EP:
I t ' s m e n t i o n e d
i n
t h i s
w o n d e r f u l
a r t i c l e !
As
h e
would
s a y
Soul
and
feeling
a r e t h e sob
sisters
of architecture.
Through
them i ti s d i f f i c u l t t o c o m p r e h e n d
realities.
One o f t h e s e r e a l i t i e s
i s t h e s a t i s f a c t i o n we s h o u l d
find
in a machine which i s economically
proportioned
t o i t s parts
and
those
parts
formed
t o
properly
carry o u t their duty. I f this
then
be
called
beautiful,
t h e
underlying
idea
of
functional
proportioning
i s t h a t which makes
it beautiful, t h e conformance with
nature's
laws
o f motion
and
mechanics,
and n o t t h e f r e e
and
unrestrained
ideas o f form
which
man
may a p p l y o u t o f t h e f i g m e n t s
of
h i s imagination t o create what
he
may
call
a r t , I
cannot
but
believe
t h a t i t must be t h e
same
with
v i t a l
architecture,
that
t h e r e must be some v i s u a l
evidence
in
i t of performing
i t s work,
first
as
a structure - then,
as
having
f u l f i l l e d
a l l o f
t h e
requirements
o f i t s purpose
t o
serve
t h e human being
and
with
great
respect
f o r t h e inherent
q u a l i t i e s o f c r a f t which i s due t o
those
materials with which i t i s
built.
17
�THE
G R E A T E R
PENOBSCOT
B U
AND
I
B
L
I
THE
I
D
N
G
NEW
U N
O N
T R U S T
U
D
t w
D e
s t
i n
m o
' e n
i n
G r
i n
At
t h eb e g i n n i n g o f t h e
e n t i e t h
c e n t u r y
i n
t r o i t ,
M i c h i g a n
t w o
r e e t s
were
i n c o r p o r a t e d
t o
t h e a d d r e s s e s
o f t h e
s t
p o w e r f u l
a n d
i n f l u t i a l f i n a n c i a l a n d l e n d i n g
s t i t u t i o n s i n t h e c o u n t r y .
i s w o l d
a n d F o r t
S t r e e t s ,
t h ec e n t r a l b u s i n e s s d i s -
N
G
J u s t t o
e s t
o n F o r t r o s e
t h e
t
T r u s t
Company
n g
f i f t e e n y e a r s
l a t e r
,
d e s i g n e d
b y
A l b e r t
a
renowned
a r e a
i c i s t o f t h e t i m e .
I n
1 9 2 2 , A l b e r t
Kahn
r e c e i v e d
t h ec o m m i s s i o n f o r
the
t w e n t y - f o u r s t o r y
F i r s t
N a t i o n a l
Bank
B u i l d i n g
o n
W o o d w a r d
A v e n u e a t C a d i l l a c
S q u a r e .
Kahn
p u t
t h e
b a n k i n g
room
o n t h e
second
f l o o r
o f
t h e b u i l d i n g
t o
f r e e
u p
f l o o r a r e a o n t h e
f i r s t
f o r r e v e n u e - p r o d u c i n g
r e t a i l
s p a c e . ( 2 )
Above
t h i s
l e v e l
r o s e
a
more
s i m p l y - d e t a i l e d
s h a f t
o f
o f f i c e
f l o o r s
r e s e m b l i n g
t h o s e
o f h i sG e n e r a l
M o t o r s
B u i l d i n g
o f t h e same
y e a r .
The
F i r s t
N a t i o n a l
Bank
B u i l d i n g
w a s s i g n i f i c a n t i n
t h a t
i
t w a s
t h e
f i r s t
D e t r o i t
s k y s c r a p e r
t o
c o m b i n e a monumental
b a n k i n g
space,
l i k e
t h a t
o f t h e
P e o p l e s '
S t a t e Bank o r t h e
D e t r o i t
T r u s t Company,
w i t h
a r e n t a l o f f i c e
t o w e r .
W i t h t h ec o n s t r u c t i o n o f
the
t w o - s t o r y B a n k e r s '
T r u s t
B u i l d i n g
(1925)
o n
F o r t
S t r e e t b y W i r t C. R o w l a n d
o f
S m i t h ,
H i n c h m a n a n d G r y l l s ,
the
D e t r o
B u i l d
( 1 9 1 5
Kahn,
c l a s s
t r i c t ,
s t i l l
d e l i v e r
the
b a n k e r
a n d
d e p o s i t o r
to
e c l e c t i c
n e o - c l a s s i c a l
f a c a d e s ,
once t h ehomes
o f
b a n k s
a n d
t r u s t
c o m p a n i e s
t h a t
a r e n o w e i t h e r
e x t i n c t
or
have
b e e n
a b s o r b e d
o r
r e o r g a n i z e d .
T h e
f i r s t
o f
t h e s e
i n s t i t u t i o n s w a s t h e
P e o p l e s '
S t a t e Bank
(1900)
on
F o r t
S t r e e t
b y
McKim,
Mead
a n d W h i t e , e x e c u t e d
b y
the
D e t r o i t
f i r m
o f
D o n a l d s o n
a n d
M e i e r .
A
t h r e e - s t o r y b a n k i n g room
w a s
c l a d
i nm a r b l e a n d
t r e a t e d
i n
a n
I t a l i a n
R e n a i s s a n c e
r e v i v a l
s t y l e
t h a t
c o n v i n c i n g l y
e x p r e s s e d
"the
importance
o f
economic
l i f e
i n
t h e
community... a t a time when matters
of
taste
received
much
consideration."(1)
I
w
i
i
)
18
�u n t i l
g r o u n d w a s b r o k e n
i n
e a r l y 1 9 2 7 .
The
M u r p h y Company
c h o s e
S m i t h ,
H i n c h m a n a n d
G r y l l s
as
t h e i r a r c h i t e c t , w i t h t h e
t a s k
o f d e s i g n b e i n g
g i v e n
t o W i r t
R o w l a n d ,
...one
o f t h ef o r e m o s t m o d e r n i s t s
who
remained
committed
t o
traditional forms. H i s versatilityi s e x e m p l i f i e d b y h i sw o r k
through
the
city;
he was i n charge o f
design
f o rfour
o f
Detroit's
leading
firms
during
different
periods
o f t h e city's
building
activity.(4)
the
c l a s s i c i z i n g
b a n k i n g
space
r e t u r n e d
t o t h e
ground.
R o w l a n d b a s e d h i s
d e s i g n o n t h a t o f t h e B o w e r y
S a v i n g s
Bank i nN e w Y o r k b y
Y o r k
a n d S a w y e r . ( 3 )
L a r g e
I t a l i a n
R o m a n e s q u e
a r c h e s
d i s s o l v e
w a l l
a r e a
t o
i n t r o d u c e
l i g h t a n d v i e w s o f
the
s t r e e t s c a p e .
T h e u p p e r
s t o r y
c o n s i s t s
o f
s m a l l e r
a r c h e s
i n
a
c o n t i n u o u s
arcade
w i t h
m i n u t e
Romanesque
d e t a i l ,
r e i n f o r c i n g
t h e
c l o s e
r e l a t i o n s h i p
o f
t h i s
b u i l d i n g
t o human
s c a l e ,
s o m e t h i n g n o tt r u e o f s i s t e r
i n s t i t u t i o n s
l i k e
t h e
P e o p l e s '
S t a t e
Bank a n d t h e
D e t r o i t
T r u s t
Company
B u i l d i n g .
T h a t same y e a r ,
R o w l a n d
c o m p l e t e d
t h e
t w e n t y - s i x
s t o r y
B u h l
B u i l d i n g ,
t h e
p r o j e c t
t h a t
gave
R o w l a n d
h i s
f i r s t
p r a c t i c a l
e x p e r i e n c e
i n d e s i g n i n g
a
h i g h - r i s e
o f f i c e
b u i l d i n g .
The
d e s i g n i sa m i x t u r e
o f
c l a s s i c a l d e t a i l s a p p l i e d t o
an
i n n o v a t i v e ,
p r o g r e s s i v e
form.
C l e a r l y
t h i s
w a s
a
p i v o t a l
b u i l d i n g
f o r W i r t
Rowland
a n d d o u b t l e s s w a s a
p o i n t
o f r e f e r e n c e
f o rh i m
i n
designing
t h eo t h e r
t w o
s k y s c r a p e r s :
t h e
G r e a t e r
P e n o b s c o t
B u i l d i n g ,
a n d t h e
New
U n i o n T r u s t
( G u a r d i a n )
B u i l d i n g .
I t w a s i n t o t h i s a r e a a n d
c l i m a t e
t h a t
t h e G r e a t e r
P e n o b s c o t
B u i l d i n g
a r r i v e d
i n
1 9 2 8 . I tw a s t h e
t h i r d
and
l a t e s t i nt h e s e r i e s o f
P e n o b s c o t s t r u c t u r e s
e r e c t e d
f o r
t h e S i m o n
J .
M u r p h y
Company.
C a r e f u l
p l a n n i n g
f o r t h et o w e r began i n 1 9 2 2 ,
c o n t i n u i n g
f o r f i v e
y e a r
19
R o w l a n d
w a s a n e c l e c t i c n o t
s h a c k l e d b y a
p r e d i s p o s i t i o n
t o
h i s t o r i c a l
a c c u r a c y
a s
was
o n e
o f
h i s
e a r l y
e m p l o y e r s ,
A l b e r t
Kahn.
R o w l a n d
w o r k e d
f o r
K a h n
u n t i l
1 9 2 2 ,c o n t r i b u t i n g t o
t h e
d e s i g n s
o f b a n k s
a n d
o f f i c e
b u i l d i n g s
l i k e t h e
D e t r o i t
T r u s t
Company
(1915),
t h eF i r s t
N a t i o n a l
Bank
B u i l d i n g
(1922),
a n d
t h e
G e n e r a l M o t o r s
B u i l d i n g
(1922) .
W i t h
t h ec o m m i s s i o n f o r
t h e
G r e a t e r
P e n o b s c o t
B u i l d i n g
i n hand,
R o w l a n d
d e s i g n e d a b u i l d i n g
t h a t
...follows
no classic school o f
architecture.
R a t h e r i ti so f t h e
modern
o f f i c e
building
type,
depending
c h i e f l y
upon i t s
set-back
design andbold
massing
of
materials
f o r architectural
effect.(5)
R o w l a n d ' s d e s i g n
p r o v i d e d
t h e
S i m o n J . M u r p h y
Company
w i t h
a
more
s o p h i s t i c a t e d
image
t h a n
i th a d k n o w n
i n
i t s
t o wp r e v i o u s
b u i l d i n g s .
The
p r o m o t i o n a l
b o o k l e t f o r
t h e
t o w e r s u m m a r i z e d i ta l l
v e r y
w e l l :
The G r e a t e r P e n o b s c o t
Building
is
presented t ot h e business
man
(sic)
o f D e t r o i t i nt h ehope t h a t
it
w i l l
meet
with
t h e i r( s i c )
approval,
n o to n l y a s t h e newest,
finest,
largest
and
most
conveniently
situated
o f office
structures b u talso as a b e f i t t i n g
monument
t o
t h e spirit
o f
enterprise
w i t h i n themselves that
has
made
t h i s c i t y great.
Every
factor
o ff i n e materials, and t h e
highest
constructive ability that
unstinted
expenditure
o f capital
may
command,
h a sgone
into t h e
building
i na n e f f o r t t omake i t
the
perfect
expression
o f
an
ideal-a n ideal
o f
dignity,
beauty, and u t i l i t y . ( 6 )
I t
w a s t ob e a s c o n s p i c u o u s
a
b u i l d i n g
a s
t h e F i r s t
N a t i o n a l
Bank
a n d t h e
G
b
a
w
e
e
r
o
n e r a l M o t o r s B u i l d i n g
w e r e
f o r e
i t ,
a n d upon i t s
r i v a l
i
tw a s t h e l a s t
r d , t h es t a t e o f t h e a r t .
As
c o n s t r u c t i o n
p r o g r e s s e d
o n
t h e G r e a t e r
P e n o b s c o t
B u i l d i n g ,
Smith,
H i n c h m a n a n dG r y l l s
r e c e i v e d
a c o m m i s s i o n t od e s i g n a n e w
h e a d q u a r t e r s
f o rt h e U n i o n
T r u s t Company. T h i s
b u i l d i n g
i s
n o w r e f e r r e d t oa s t h e
G u a r d i a n
B u i l d i n g
a n d i s
owned
b y
t h e
M i c h i g a n
C o n s o l i d a t e d
G a s
Company
( M i c h C o n ) .
Founded i n 1 8 9 1 ,
t h e
U n i o n T r u s t Company h a d
o c c u p i e d
a n d o u t g r o w n
t h r e e
p r e v i o u s
b u i l d i n g s .
W i t h i n
t h e
s p a n o f t w od e c a d e s , t h e
U n i o n
T r u s t h a d become t h e
m o s t
p o p u l a r
( a n d
s u b s e q u e n t l y p o w e r f u l )
t r u s t
company
i n M i c h i g a n .
I
t
a c h i e v e d t h i s
p o s i t i o n
...through
the
scope
of
its
activities,
i t s f a i r dealing, i t s
thoroughness,
i t s attention
to
detail,
i t s trustworthiness,
the
s u c c e s s o f i t s t r u s t s e r v i c e s , and
its
steadfast
adherence
to i t s
creed,
"The
Friend
of
the
Family."(7)
I n 1924, t h e d e c i s i o n w a s
made
t o c o n s t r u c t
a
new
b u i l d i n g
t o
h o u s e
t h e
e v e r - i n c r e a s i n g
number
of
e m p l o y e e s a n dd e p a r t m e n t s in
a
c o m p a n y
e x p e r i e n c i n g
u n p r e c e d e n t e d
g r o w t h
and
s u c c e s s .
The
n e w
b u i l d i n g
was
to
i n c l u d e
s i x t e e n
f l o o r s
of o f f i c e s p a c e f o r
the
Union
T r u s t
Company,
w h i l e
s i x t e e n m o r e w o u l d b e
c o n s t r u c t e d
s i m u l t a n e o u s l y
f o r
f u t u r e e x p a n s i o n . U n t i l
that
time,
those
f l o o r s
w o u l d be r e n t e d
to tenants.
With the experience
of
the
Buhl
and
the
Greater
Penobscot
Buildings
behind
�him,
W i r t R o w l a n d was
c a l l e d
u p o n
t o
d e s i g n
t h e
new
skyscraper.
E v e r y a s p e c t
o f
t h e
b u i l d i n g was
c a r e f u l l y
p l a n n e d ,
d e s i g n e d ,
and
d e t a i l e d .
R o w l a n d
f u l f i l l e d
t h e
r o l e o f m a s t e r
b u i l d e r
for
t h i s
" c a t h e d r a l " .
As
Thomas H o l l e m a n
e x p l a i n s :
It
was a n e a r l y e x a m p l e o f
total
design...Smith,
Hinchman & G r y l l s
offered interior design service at
the
time,
and
Rowland
designed
everything,
including chairs with
the
30-60
degree
angle
that
appears
throughout
the
building.
All
incidental
f u r n i t u r e , even
coat racks, wastebaskets, inkwells
and
deskpads,
was
specially
designed
i n the r e p e t i t i v e theme.
T h e r e was a r e s t a u r a n t o n t h e 3 2 n d
floor
and
Rowland
designed
the
furniture,
drapes,
tableware,
centerpieces,
and
even
the
uniforms
of
the waitresses.
The
octagonal
crown
of the
building
emitted
nightly
displays
of
kaleidoscopic
colored
beams
of
light,
adding
the
dimension
of
motion to the D e t r o i t skyline.(8)
The
f o r m o f t h e New
U n i o n
T r u s t
B u i l d i n g was
a r e s u l t
o f t h e b a l a n c i n g
o f
romant:
and
f u n c t i o n a l ideas.
On t l
r o m a n t i c
s i d e ,
" t h e
d i s p o s i t i o n
o f
t h e
p l a n
i m m e d i a t e l y
s u g g e s t e d
t o
R o w l a n d
a
huge
c a t h e d r a l
w i t h
a
h i g h t o w e r
a t
t h e
n o r t h ,
a
nave
and
a i s l e s
e x t e n d i n g
t o t h e s o u t h
and
t e r m i n a t e d
by
an
apse
o r
s m a l l
o c t a g o n a l
tower."(9)
The
idea o f a " C a t h e d r a l
o f
F i n a n c e " s u i t e d t h e image
o f
t h e
U n i o n
T r u s t
Company.
They
w e r e ,
a f t e r a l l ,
t h e
h i g h e s t
f i n a n c i a l a u t h o r i t y
i n t h e
s t a t e .
On
t h e f u n c t i o n a l
s i d e ,
t h e
f o r m o f t h e b u i l d i n g
i s
e s s e n t i a l l y a s l a b ,
a l l o w i n g
a
maximum
o f d a y l i g h t
and
f r e s h a i r t o r e a c h deep
i n t o
t h e
i n t e r i o r
t h r o u g h
o p e r a b l e
w i n d o w s .
The
f a r t h e s t
end
o f each o f f i c e
i s
j u s t
a few
steps
f r o m
l i g h t ,
a i r ,
and
a v i e w
of
t h e
D e t r o i t
R i v e r
t o
t h e
s o u t h .
E l e v a t o r
b a n k s a t
t h e
n o r t h
and
s o u t h
ends o f
t h e
b u i l d i n g
s e r v e d t h e
p u b l i c
and
t e n a n t s ,
o r U n i o n
T r u s t
e m p l o y e e s ,
r e s p e c t i v e l y .
But
c o l o r was
w h a t
made
t h e New
U n i o n T r u s t
B u i l d i n g
so
u n i q u e .
For
no
o t h e r
a s p e c t
o f t h e b u i l d i n g
d i d
t r i b u t e s
p o u r
i n
so
s t r o n g l y .
And
t h e
p s y c h o l o g i c a l
e f f e c t s
o f
c o l o r ,
warm and
r i c h ,
w e r e
w e l l
e x p l o i t e d
t o
p o r t r a y
t h e
U n i o n T r u s t Company
as
t h e f r i e n d o f t h e f a m i l y ,
o f
e v e r y o n e . The
l o b b y and
m a i n
b a n k i n g
room
are
b a r r e l - v a u l t e d ,
m u l t i - c o l o r e d
s p a c e s
l a v i s h l y
d e t a i l e d .
The
d e c i s i o n
t o use
b r i c k
v e n e e r
f o r t h e U n i o n
T r u s t
B u i l d i n g
s u g g e s t e d
t o . . . ( R o w l a n d )
t h a t
t h i s
m a t e r i a l m i g h t be
t h e key
t o
an
e n t i r e l y
new
s y s t e m
o f
d e c o r a t i o n .
C o m b i n e d
w i t h
g l a z e d
t i l e
and
p o l y c h r o m e
t e r r a
c o t t a ,
i t
o f f e r e d
u n l i m i t e d
p o s s i b i l i t i e s
o f
c o l o r ,
t e x t u r e ,
and
form.
C o l o r
was
d e s i r a b l e
b e c a u s e
i t
c o u l d
be
c o m p r e h e n d e d
so
e a s i l y . ( 1 0 )
C o l o r
was
a p p l i e d
t o
t h e
s y s t e m
o f o r n a m e n t a t i o n
on
t h e
b u i l d i n g
w h i c h
was
"scaled
to
be
comprehended
from
a
moving
vehicle."(11)
R o w l a n d
u n d e r s t o o d
t h e
n a t u r e
o f l i f e
i n t h e
c i t y
w i t h
i t s h u s t l e and
b u s t l e ,
a s s e r t i n g
t h a t we
no
l o n g e r
"move
on
streets
from
which
i t
is
possible
t o c o n t e m p l a t e and
enjoy
minute
s c u l p t u r a l d e t a i l . W h a t we
see
we
must
see
quickly
i n
passing,
and t h e i m p r e s s i o n
must
be
immediate,
strong,
and
complete.
Color
has
this
vital
power."(12)
The
b u i l d i n g ,
h o w e v e r ,
has
s u f f e r e d
t h e r a v a g e s
of
so many c h a n g e s i n
o w n e r s h i p
and
use
t h a t i t
has
l o s t
m u c h o f w h a t i t was.
And
we,
t h e r e f o r e ,
s u f f e r t h i s
l o s s
t h r o u g h
t h e
c o n t i n u i n g
i n s e n s i t i v i t y
w i t h
w h i c h
D e t r o i t
t r e a t s
i t s
a r c h i t e c t u r e .
The
a t t e m p t s
by M i c h C o n , t h e new
t e n a n t s ,
to
r e u s e
and
r e n o v a t e
the
b u i l d i n g ,
w h i l e
p r a i s e w o r t h y ,
w i l l
n e v e r
be
a b l e
t o r e c o v e r
t h a t
w h i c h
has
been
r e m o v e d .
As
long
as
the
b u i l d i n g s
s t a n d ,
h o w e v e r , the
G r e a t e r
P e n o b s c o t
and
New
U n i o n
T r u s t
( G u a r d i a n )
B u i l d i n g s
w i l l
be
two
of
the
m o s t
p r o m i n e n t
and
s i g n i f i c a n t
f e a t u r e s
o f
the
face
of
D e t r o i t .
T h e y
c o n t i n u e
t o
r e p r e s e n t
t h e a t t r i b u t e s o f
u n i q u e n e s s ,
power
and
o p u l e n c e
t h a t they
d i d
when
t h e y
e m e r g e d from
t h e
m i n d
o f W i r t C.
R o w l a n d . They
are
i r r e p l a c e a b l e .
As
more
and
more
b u i l d i n g s
of
h i s t o r i c
s i g n i f i c a n c e
are
t h r e a t e n e d
w i t h
d e s t r u c t i o n
and
d e m o l i s h e d , t h e
s i g n i f i c a n c e
o f t h e G r e a t e r
P e n o b s c o t
and
G u a r d i a n
B u i l d i n g s
w i l l
i n c r e a s e
f u r t h e r .
T h e y ,
p e r h a p s more t h a n
any
o t h e r ,
r e p r e s e n t
t h e
S p i r i t
o f
D e t r o i t .
(1)
(2)
(3)
p. 2 1 1
<E>
Armedo Leone
Jim Gallagher
view.
(4)
p. 97
<I>
(5)
<H>
(6)
p. 2 1
<H>
( 7 ) p. 57
<U>
(8)
<A>
(9^
s e c . 7, p. 7
( 1 0 ) p. 3 3 0
<E>
( 1 1 ) p. 1 2 8
<I>
( 1 2 ) s e c . 7, p. 7
interview.
telephone
inter-
<S>
<S>
20
�B
I B L I O G R A P H Y
< A > C a r s o n , M. C y r e n e , " A B u i l d i n g
for Today i s C r i t i c s '
Salute,"
Detroit
News, March 3 1 , 1929,
Union
Trust
Building
supplement.
A
report
of
the
physical
attributes
of
t h e New
Union
Trust Building.
<H> " T h e
Greater
Building,
Fort
Streets, D e t r o i t
pamphlet, D e t r o i
A discussion o f
forces
behind
this building.
<I>
<B>
Corradi,
V a l with
Nathan,
Ernest,
Welcome t o t h e K i r k ;
25th
Anniversary
Guidebook o f
the K i r k - i n - t h e - H i l l s .
<C>"A D e
Stone
1980,
A
di
stone
of
Build
troit Landmark," Building
Magazine,
March/April
pp.21,23.
scussion
o f t h e use of
i n t h e form and ornament
the
Greater
Penobscot
ing.
<J>
<D>Fink,
Josephine
Fox,
"Penobscot
S t i l l
Center
of
City,"
Detroit
Monitor,
O c t o b e r 8, 1 9 8 1 , n . p .
A
tenant
o f the
Greater
Penobscot
Building
speaks
about
the
skyscraper
and
argues f o r i t s r e s t o r a t i o n .
<E> " D e a t h
Calls
Wirt
Rowland,"
The
D e t r o i t News, December 2,
1946,
Obituary
by
Florence
Davies.
<F> F e r r y ,
W.
Hawkins,
The
Buildings
o f
Detroit:
A
History,
D e t r o i t : Wayne S t a t e
University Press, 1968.
A
chapter
i s devoted t o t h e
monumental
skyscrapers
i n
Detroit, including t h e Greater
Penobscot
a n d New U n i o n T r u s t
Buildings.
<G> " F o r t y S t o r i e s f r o m B e d r o c k ; A
Handbook
f o rVisitors t o the
New
Union
Trust
Building,
Detroit,
Michigan,"
n.p.,
n.d. .
A
description
o f
the
building's
major
features,
including
i t s
vertical
organization.
Penobscot
and
Griswold
, "
promotional
t , n.p., 1929.
t h e motivating
the design
of
Holleman,
Thomas
J.
and
Gallagher,
James
P.,
Smith,
Hinchman and G r y l l s ; 125 Years
of
Architecture
and
Engineering,
1853-1978,
Detroit:
Wayne
State
University Press, 1976.
A
bibliography of t h e work of
Smith, Hinchman and G r y l l s ' .
Jordy,
William
H.,
American
Buildings
and
Their
Architects;
The
Impact
of
European
Modernism
i n
the
Mid-Twentieth
Century, Garden
City:
Doubleday
&
Company,
1972;
Anchor Books ed.. Garden
City; Anchor Books, 1976.
Discussions
and
analyses
of
particular
works
of
modern
architecture.
<K> M i c h i g a n
Engineer,
108.
Architect
and
No. 4, J u l y 1 9 2 2 , p.
<L>Michigan
Consolidated
Gas
Company,
"The
Guardian
Building;
As U n i q u e T o d a y
as
it
Was
50
Years
Ago,"
Information pamphlet available
in
t h e lobby o f t h e building,
D e t r o i t : n.p., 1980.
A history of t h e building,i t s
design
features,
and
the
efforts o f MichCon t o preserve
i t .
<M>
<N>
Michigan
Society
of
Architects,
Weekly
Bulletin,
December
10, 1946,
Obituary,
p. 6.
Motor
News ,
Official
Publication of t h e Automotive
Club
o f Michigan, November
1961, pp. 1 1 , 34.
<0> "New
Buildi
Monument
t o
Detroit
Free
1922,
s e c . 2,
ng
i s
Lofty
Faith i n City,"
Press, March 12,
p. 2.
<P> " R o w l a n d
Made
Member
Emeritus,"
Weekly
Bulletin,
Michigan
Society
o f
Architects,
September
10,
1946,
p. 4.
A
biographical sketch on the
occasion
o f h i s
perpetual
membership
i n the
Detroit
Chapter o f t h e AIA.
<Q>
<R>
Rowland,
Wirt
C,
"An
Architect's
Attitude
Towards
Music,"
A l l T h e A r t s , No.
3,
March 1920, pp. 3 1 , 5 1 .
Rowland,
Wirt
C,
"The
Architect
as
a
Builder
of
Homes," A l l The A r t s ; O f f i c i a l
Organ
o f
t h e
Detroit
Orchestral
Association
(formerly
A r t s And
Artists),
No.
3,
September
1 9 2 0 , pp.
9-10.
<S> R o w l a n d ,
Wirt
C., " N e w
Note
Struck,
Strength
and
Beauty
Joined,"
D e t r o i t News,
March
3 1 , 1 9 2 9 , s e c . 7 , p p . 7, 9.
An
essay
by
the principal
architect
concerning
the
design
c r i t e r i a
and
other
considerations
f o r the
New
Union Trust Building.
<T> R o w l a n d ,
Wirt C, "The
Thumb
Tack
C l u b , " A l l T h e A r t s , No.
3,
J a n u a r y 1 9 2 0 , pp. 4 9 , 5 1 .
Originally
printed i n A l l The
Arts,
No.
2, D e c e m b e r
1919,
pp. 1 1 5 , 1 1 7 .
<U> "A
Symphony i n Color;The
New
Union
Trust
Building
i n
Detroit,"
Michigan
Manufacturer
and
Financial
Record, March 30, 1929.
An
account o f t h e design
and
construction
of t h e building,
as
well
as a h i s t o r y o f t h e
U n i o n T r u s t Company.
�Architext
would
like
t o acknowledge
tlie
generous
support
o f t h e following
individuals
and
organizations:
DONOR:
Smith, Hinchman,
J o s e p h F. S a v i n
Detroit Chapter,
CONTRIBUTOR:
Benedetto
&
Grylls
AIA
Tiseo
SPONSORS:
S h e i l a & G r e g o r y P.
Smith
Jean & Bonita La Marche
Jolin
Sheoris
Bradley & Barbara
Butcher
STUDENT SPONSOR:
Tammis L. D o n a l d s o n
K e n n e t h C. b a r r e l l y
Leonard Else
Architext
invites
you t o support
tlie e f f o r t t o produce
architecture.
Donation c a t e g o r i e s a r e as f o l l o w s :
intelligent
criticism
o f
local
Donor: $100 o r more
Contributor: $50 - $100
Sponsor: $25 - $50
Student Sponsor: $10 - $25
All
contributions a r e t a x deductable
t o t h e e x t e n t provided by t h e l a w . Checks
c a n be
made
out
t o L a w r e n c e I n s t i t u t e o f T e c h n o l o g y a n d may be m a i l e d t o t h e L . I . T . D e v e l o p m e n t
Office,
2 1 0 0 0 W. T e n M i l e R o a d , S o u t h f i e l d , M I A 8 0 7 5 .
Thank you f o ryour
support.
The
staff
o f A r c h i t e x t would l i k e t o express
supported
our efforts:
t o John Miliacca as
Makstutis
f o r h e r patience,
Balthazar Korab,
Dale Barber a t P r i n t - P l u s
f o r
reproduction
P a t r i c k Paper Company f o r m a t e r i a l s and Jean La
h a v e made t h i s p u b l i c a t i o n p o s s i b l e .
special gratitude t o several others
who
have
a production
consultant
and
liaison,
Heidi
Ltd.
Photography
f o rphotographic
assistance,
s e r v i c e s , Mark Levine and Dan Hock a t SeamanMarche whose
contributions o f time
and
effort
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Architext
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Newsletter created by Lawrence Technological University students in the College of Architecture and Design (CoAD), from 1982-1989.
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Architext
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Spring, 1985
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American Institute of Architects, Student Chapter newsletter
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Spring, 1985, volume 3, number 2 edition of newsletter created by Lawrence Institute of Technology (now Lawrence Technological University) students in the College of Architecture and Design. Editors: Mark Demsky, Tammis Donaldson, graphics: Sheila Smith, Bill Tollefson, photography: Brad Butcher, Tim Van Dusen, assistants: Geoff Makstutis, Ed Orlowski, faculty adviser: Jean Le Marche, editorial board: Robert Benson, Brad Butcher, Mark Dempsey, Tammis Donaldson, Dane Johnson, Jean Le Marche.
Table Of Contents
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Introduction--Wirt C. Rowland: His life--The Guardian building: Detroit's jazz baby--The greater Penosbscot building--Interview--The greater Penosbscot building and the new Union Trust buildings: a corporate image--Bibliography.
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AIA
architecture periodicals
newsletters
student organizations
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ARCH I TEXT
S
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S T U D E N T ' C H A P T E R ' L A W R E N C E - I N S T I T U T E ' O F
!!
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a
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A B N^ IIU baA
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CHART I R-LAWRENCE-
STUDENT.
Executive
and M a n a g i n g
h STITUTE
1
•
CONTENTS
A
The main t o p i c o f t h i s i s s u e o f
fir<:hitcxt
is
Man And M a c h i n e .
Also,
student
n^orks
c o v e r i n g o t h e r t o p i c s have been
included.
• 0
A QUESTION?
Editor
Gregory J - Varano
By John Savitski
Editorial Staff
Susan Oemeulemeester
Matthew J . Hubbard
S L I M PACK
By Tammis Donaldson
3
TWO VIEWS O F TECHNOLOGY
AND THE H U M A N CONDITION
By Sheila Smith
4
Graphics
S h e i l a Smith
Gregory J . Varano
Typing
S h e i l a Smith
Gregory J . Varano
Text
Format/Layoat
Gregory J . Varano
ALVAR A A L T O
A N D HIS N A T U R A L USE
O F LIGHT
By Ken Grabowski
Past^-Up/Production
Mark Demsky
Tammis D o n a l d s o n
Gregory J - Varano
Cover
Sheila
Faculty
Member
Jean LaMarche
Open
1984-1985
Position
Position
Robert
7
VEBLEH CONSUMERISM,
AND
RETAIL ARCHITECTURE
By Rick Tally
11
Collage
Smith
E d i t o r i a l Board
2
PresidentGreg
Crockett
Vice
President
Brad Butcher
Benson
Post
Graduate
Position
Dane A- J o h n s o n
Architect E d i t o r
Co-Edi t o r s
Tammis D o n a l d s o n
Mark Demsky
SG/AIA Board
Secretary
G r e t c h e n Rudy
Jack Runkle
Position
T reasurer
Hormoz
NEW WAVE BARSA N E V O L V I N G ARCHITECTURE
16
By John E. Dancer
T H E PROCESSION
O F PHILIP J O H N S O N
By Greg CrocJ^ett
23
MAN
A N D MACHINE
By Rick W h i t n e y
27
P L A N N I N G FOR H U M A N
SETTLEMENTS
By Stavroula Psarakis
29
Ziaebrahimi
SC-filfi
Liason
Position
Bradley Butcher
T h i s F a l l I s s u e i s a combined e f f o r t o f t h e
fire h i t e x t
s t a f f and E d i t o r i a l B o a r d s o f
S p r i n g 19S4 and F a l l 1984 t e r m s .
�A QUESTION?
by J. Ski (John Savitski)
Architecture,
i n u n i s o n w i t h a r t and a l l
other
c r e a t i v e endeavors, forms a t a n g i b l e
d o c u m e n t a t i o n o f s o c i e t y and s o c i a l c h a n g e .
Can
a r c h i t e c t u r e be
the instigator
of
social
change or does a r c h i t e c t u r e merely
respond
t o s o c i a l change?
Each
reflects
the
f a c t t h a t a r c h i t e c t u r e and s o c i e t y a r e
changing
a t an a c c e l e r a t e d r a t e .
Future
social
tastes
and
technical
advances
unquestionably
Mill
be
integrated
in
architectural design.
W i l l Me b e among t h e
f i r s t t o t a k e t h e r i s k and c r e a t i v e l y a p p l y
neM
social
attitudes
and
technical
developments
i n our d e s i g n s ?
Will
our
designs
be a n i n t e g r a l
part
of
social
dynamics or M i l l they r e f l e c t t h e s t a t u s
quo?
accomplishments
included furniture,
music
and e v e n a b i r d h o u s e .
A l l these architects
broadened
t h e scope of d e s i g n t o i n c l u d e
anything r e c e p t i v e of t h e i r c r e a t i v e n e s s .
Why
a r e Me s t u d y i n g a r c h i t e c t u r e ? W i l l Me
merely
design
b u i l d i n g s , o r M i l l Me
make
contributions
to the
evolution
of
architecture
and s o c i e t y t h r o u g h
design?
As
students,
noM i s t h e t i m e t o t a k e t h e
risk.
Ignore
ridicule,
ignore
appreciation,
j u s t e x p l o r e and e x p e r i m e n t .
Encourage
i n n o v a t i v e d e s i g n Mhich
solves
the
p r o b l e m s t h a t a r e s e t b e f o r e u s and do
it
Mith
a s p i r i t c o n s i s t a n t Mith
great
design.
The
s t u d y of a r c h i t e ct u r e i s t h e s t u d y
of
change,
o f c o n t r i b u t i on, o f e v o l u t i o n . I s
the
C h a r t r e s C a t h e d r a1 o n l y a c h u r c h ?
Was
t h e C r y s t a l P a l a c e o n l y an e x h i b i t i o n h a l l ?
Is
t h e Guggenheim o n l y a museum?
No, t h e y
are
more, much
more
They
ex emp1i f y
architecture
Mhich
transcends
mere
building.
They a r e
the
results
of
innovative
changes i i
structure,
form,
massing,
m e a n i n g , m a t e r i a l s , e m o t i o n and
attitude.
What s h o u l d Me e x p e c t t o do i n s c h o o l ?
Create great archtitecture?
No.
Graduate a s great d e s i g n e r s ?
No.
Make m i s t a k e s ? Y e s .
Observe and absorb?
Yes,Yes.
Take a r i s k ?
Yes, Yes,Yes.
Ask q u e s t i o n s ?
E m p h a t i c a l l y YES.
Stop.
Look a t y o u r s e l f .
Look a t a r c h i t e c t u r e .
What do y o u r e q u i r e i t t o b e ?
We
learn
o f t h e a r c h i t e c t s Mho
made t h e
c h a n g e s and p u s h e d a r c h i t e c t u r e a h e a d o f
the
s t a t u s quo. T h e s e a r c h i t e c t s . Mho d i d
not
reject
the past,
pushed
into the
future.
They
looked a t design
through
diffe»rent e y e s ,
innovative
eyes,
unrestrained eyes.
They a p p l i e d i n n o v a t i v e
ideas
to their
knoMledge
of
existing
architecture,
Mhich
Mas made p o s s i b l e by
previous
a r c h i t e c t s Mith i n n o v a t i v e i d e a s ;
a
fragment
of a continuum.
Were
they
ridiculed?
Maybe.
Were t h e y a p p r e c i a t e d ?
Maybe.
Did they
contribute
to the
e v o l u t i o n o f a r c h i t e c t u r e and l i f e ? Y e s .
As
designers
of
a r c h i t e c t u r e Mith t h e
complexities
i n t e c h n o l o g y , program, and
aesthetics.
Me
should
be q u a l i f i e d
to
d i r e c t our d e s i g n s k i l l s t o o t h e r f i e l d s i n
design.
Mies gave u s t h e B a r c e l o n a C h a i r .
S a a r i n e n g a v e u s t a b l e s and c h a i r s .
Today,
Robert
Venturi,
Richard
Meier,
Michael
Graves
and A l d o R o s s i h a v e d e s i g n e d s i l v e r
tea
services.
Frank Lloyd
Wright
also
designed
i n a broad
scope.
Some
2
�SLIM PACK
by Tammis
Donaldson
As
I g a t h e r e d mofiientum t o w r i t e a b o u t
"Man
and
the
Machine" f o r t h i s i s s u e ,
my
eye
gazed
over
a new box s i t t i n g on my
desk:
"Koh~I-Noor
/ Rapidograph / S l i m Pack
/
Compact,
Easy
Storage-"
These
are
the
words of
the
day,
slim
and
compact.
Slimness
i s an a t t i t u d e ; i t i s t e c h n o l o g y ;
it
i s design.
The i n t e r e s t i n s l i m n e s s i s
cultural.
Pursuing
slimming
diets,
purchasing
narrow-legged
pants
and
thin
s h i r t t i e s , compact TV s e t s , s t e r e o s , c a r s ,
sliver—wafered
calculators,
and
building
towers a r e a l l examples.
The
s i l i c o n c h i p h a s become t h e
workhorse
of t h i s d e c a d e .
I n t h e f i e l d of e l e c t r o n i c
technologies,
the
silicon
chip
has
triggered
off
great
leaps
in
product
design.
The
personal
calculator
has
evolved
from
a
bulky,
hand
held
box,
sometimes s t o r e d
by
hanging o f f
a
belt
loop,
to
a t h i n w a f e r t h a t c a n be
stored
easily
i n a c h e c k book o r , f o r e a s y r e a c h ,
included
in a
w r i s t watch.
The
office
computer h a s b e e n r e d u c e d f r o m a r o o m — s i z e d
component
to a button-sized brain attached
to
a digital panel.
Technology has
given
today's
designers the
key
to
the
micro-small
and
the supef—slender.
The
effects
can
be
seen everywhere
in
such
cultural
aspects as design
concepts
and
s o c i a l awareness.
The
" s i l i c o n c h i p " o f a r c h i t e c t u r e may
be
t h o u g h t o f a s t h e new b u i l d i n g t y p e , s l i v e r
towers.
T h e s e t o w e r s a r e s p r o u t i n g up
in
dense
urban
areas
and
in
popular
r e s i d e n t i a l n e i g h b o r h o o d s , p r i m a r i l y i n New
York
City.
The o v e r a l l
proportions
are
n o t i c e a b l y s l i m m e r t h a n t h e i r n e i g h b o r s and
are
sometimes r e f e r r e d
to
as
being
anorexigenie.
S l i v e r s have been c r i t i c i z e d
for
adding c o n g e s t i o n i n dense urban a r e a s
and
for exploiting
the
context
of
residential
neighborhoods
to benefit
the
developer's
pocket
book.
A
typical
residential
s l i v e r may h a v e one
apartment
per
floor
and
rise
twenty-six
floors,
shadowing a s i x s t o r y brownstone.
Slim
and compact h a v e become w o r d s o f
the
social
concern
f o r t h e economy o f
energy
due
to
dwindling
natural
resources.
Meeting
t h e c h a l l e n g e of k e e p i n g one
step
above our
l i m i t e d energy s t o c k , the
auto
industry
has
a p p l i e d t h e economy o f
form
and m a t e r i a l s t o a c h i e v e economy o f e n e r g y .
The
modernist
c o n c e p t of economy o f
form
responds
t o many n e e d s o f t o d a y ' s
society
from
energy
to
life
styles.
It is a
concept
practiced
by
industrial
and
electronic
designers, as
well
as
archi tects.
The
criticism
i s
valid,
yet
their
slenderness
i s i n t r i g u i n g i f not sometimes
graceful.
As t h e w r i t e r Henry James
has
noted,
"the
skyscraper
is
a l l about
r e a c h i n g and o v e r r e a c h i n g . " The s l i v e r may
verge
on t h e o v e r r e a c h i n g .
I t s h e i g h t may
not
set startling
records,
but i t s
contextual
response
could
do
so.
The
sliver's
s t r u c t u r e i s not
technologically
difficult;
however, t h e a c c e p t a n c e of s u c h
compactness
in a
c o n g e s t e d a r e a may
be
d i f f i c u l t to accept.
The
e l e c t r o n i c tectinologies have seen
the
economy
of
form
as
a
frontier
to
be
pioneered.
D e g r e e o f s l i m n e s s h a s become a
linear
measurement
of
technological
progress;
t h e slimmer t h e b e t t e r .
It is a
s i g n of advancement f o r mankind.
Slimmess,
a s an a t t i t u d e , a r i s e s f r o m an a w a r e n e s s of
t e c h n o l o g y , b u t i t g o e s beyond t h e p h y s i c a l
aspects
by
becoming
a mind s e t . I f t h e
s l i m - p a c k tower i s a product of t e c h n o l o g y ,
it
i s also
a
product
of
the
social
c o n s c i o u s n e s s geared towards the s l e n d e r .
3
�T W O VIEWS O F TECHNOLOGY
A N D THE H U M A N C O N D I T I O N
by Sheila S m i t h
of
our high
tech
society,
Mumford
disapproves
o f o u r u s e o f p h o t o g r a p h y and
print.
I t s e e m s t h a t when we e s c a p e
into
our
television sets,
we
lose
more o f
o u r s e l v e s than meets t h e e y e .
Throughout
the course
of t h e
twentieth
c e n t u r y , a g r e a t d e a l h a s been w r i t t e n both
positvely
and n e g a t i v e l y a b o u t
machines.
Many h a v e d i s c u s s e d t h e r o l e o f t e c h n o l o g y
in
s o c i e t y and i t ' s e f f e c t on t h e q u a l i t y
of
life
a s well a s the character
of t h e
individual.
The t o p i c was a f o r m i d a b l e o n e
when
i t was f i r s t c o n s i d e r e d .
The p a s s a g e
of
t i m e h a s n o t o n l y made i t more c o m p l e x ,
but
also
more c o m p e l l i n g a s
increasingly
sophisicated
techniques
play
an
i n c r e a s i n g l y profound r o l e i n our l i v e s .
Between
ourselves
and t h e a c t u a l
experience
and
the
actual
environment
the»re now
swells
an
ever—rising
f l o o d of images
which
come
t o u s i n e v e r y s o r t o f medium
- t h e c a m e r a and p r i n t i n g p r e s s , by
motion
p i c t u r e and by t e l e v i s i o n .
A p i c t u r e was o n c e a r a r e s o r t
of
symbol,
rare
enough t o c a l l
for
attentive concentration.
Now i t i s
the actual experience that i s r a r e ,
and
the picture
has
become
ubiquitous.
We
are
rapidly
dividing
t h e world
into
two
classes:
a
minority
who a c t ,
increasingly,
for the benefit
of
the
reproductive
process,
and a
m a j o r i t y whose e n t i r e l i f e i s s p e n t
serving
a s passive appreciators or
willing
victims
of
this
reproductive
process.
Deliberately,
on
every
historic
occasion,
we
piously fade
events
for
t h e b e n e f i t of
photographers
while
t h e a c t u a l event occurs i n a
different
fashion.(2)
In
order t o a c h i e v e a balanced view of t h e
issues
surrounding t h i s subject, i t should
be
useful t o consider t h e opposing
points
of
v i e w o f two i n d i v i d u a l s , L e w i s Mumford,
a
philosopher
and h i s t o r i a n ,
and Samuel
Florman, a p h i l o s o p h i c a l e n g i n e e r .
L e w i s Mumford i s t h e a u t h o r o f t w e n t y - s e v e n
books w r i t t e n b e t w e e n 1922 and 1 9 7 9 .
His
works
include
several
biographies,
histories,
critical
works
on
a r t and
architecture,
and p h i l s o p h i c a l w r i t i n g s on
the
development of c i v i l i z a t i o n .
Mumford
approaches
t h e s u b j e c t o f p r e s e n t d a y and
future
civilization
through a
historical
perspective.
He b e l i e v e s t h a t man h a s a
true
nature rooted i n the simpler l i f e
of
the
e a r l i e r s t a g e s of h i s development. I n
one
of h i s books.
Interpretations a n d
ForcastSr
1922-1972,
Mumford
gives
a
lengthy
and d e t a i l e d d e s c r i p t i o n o f human
beginnings.
He w r i t e s :
According
t o Mumford, we h a v e
lost
even
more t h a n
actual
participation
i n the
activities
of l i f e ;
we
have
lost
our
ability
t o t h i n k f o r o u r s e l v e s and
behave
in
o u r own i n t e r e s t s a s w e l l . T h e c u l p r i t ,
once
again,
i s our
technology.
This
technology
i s working f o r t h e b e n e f i t of a
materialistic
power s e e k i n g m i n o r i t y .
We
are
molded,
according
t o Mumford,
by a
standardized p r e s e n t a t i o n of our world.
Now
that
man
understands
these
primordial
connections,
h e must
acknowledge h i s o l d debt
to h i s
p a r t n e r s throughout t h e whole range
of
organic creation, h i s constant
d e p e n d e n c e upon t h e i r
activities,
and n o t l e a s t h i s l i n k w i t h h i s own
original nature.(1)
So
an e n d l e s s s u c c e s s i o n o f i m a g e s
passes
before t h e eye, offered
by
people
who w i s h t o e x e r c i s e power,
either
b y m a k i n g u s buy
something
for
their
b e n e f i t , o r making
us
agree
t o something
that
would
promote t h e i r economic o r p o l i t i c a l
interests:
images
or
gadgets
manufacturers
want u s t o
acquire;
i m a g e s o f s e d u c t i v e young
ladies
who
a r e s u p p o s e d , by
association,
to
make
us
seek
other
equally
Mumford
does not
believe
that the
primordial
c o n n e c t i o n h a s been
adequately
maintained.
He f i n d s many a r e a s
of our
present
state
out of keeping
with our
earlier,
more a u t h e n t i c s e l v e s and o u t o f
keeping
with r e a l i t y .
Among o t h e r a s p e c t s
4
�in
again l i k e r e a l people?
Mumford
calls
for
a common p h i l o s o p h y w i t h common g o a l s ,
but
he
wants
scientists
and
technical
specialists
to
assume,
a t most,
a
very
minor d e c i s i o n making r o l e .
desireable
goods; images of p e o p l e
and
e v e n t s i n t h e news...;
images
so
constant,
so
unremitting,
so
insistent
t h a t f o r a l l p u r p o s e s of
our
own
we
mi g h t
as
wel 1
be
paralyzed,
so
unwelcome
are
our
inner
promptings
or
our
own
self-directed actions.(3)
To
command t h e f o r c e s now a t man's
disposal
and
direct
them
toward
organic
and human d e v e l o p m e n t , man
must
be
c a p a b l e of d i r e c t i n g
his
actions
towards
ideal
ends,
imaginatively
conceived
and
rationally
criticized.
The
formation
of
t h e s e ends does
not
come w i t h i n
the
province
of
science,
so
long
as
i t remains
faithful
to
its
own
salutary
discipline;
i t is
rather
the
product
of
the
arts
and
the
humanities,
of
religious
visions
and m o r a l a s p i r a t i o n s . ( 6 )
Is
this
t h e e x t e n t t o w h i c h we h a v e
been
robbed
of
o u r own n a t u r e ?
Our
humanity
itself
by our own i n v e n t i o n s ? No,
Mumfod
tells
us
t h a t we h a v e l o s t o u r
spiritual
and a e s t h e t i c c a p a b i l i t i e s a s w e l l .
The
general
effect
of
this
multiplication
of g r a p h i c
symbols
has
been
t o l e s s e n t h e impact
of
art i t s e l f .
In order to s u r v i v e i n
this
image-glutted
world,
i t is
necessary
for us to devaluate
the
symbol
and t o r e j e c t e v e r y
aspect
of
i t but t h e p u r e l y
sensational
one.
For note, the very r e p e t i t i o n
of
the
stimulus
would
make i t
necessary f o r us i n s e l f - d e f e n s e to
empty
i t o f meaning i f t h e p r o c e s s
of
repetition
did
not,
quite
a u t o m a t i c a l l y , produce t h i s r e s u l t .
Then
by
a reciprocal
twist,
the
e m p t i e r a symbol i s of m e a n i n g , t h e
more must i t s u s e r depend upon mere
repetition
and mere s e n s a t i o n l i s m
to
achieve h i s purpose.
This i s a
vicious
circle
i f ever t h e i r
was
oneBecause
of
the
sheer
m u l t i p l i c a t i o n of a e s t h e t i c images,
people
must, t o r e t a i n a n y
degree
of
autonomy
and
self-direction,
achieve
a
certain
opacity,
a
certain
insensitiveness, a certain
t h i c k e n i n g of t h e h i d e i n o r d e r not
to
be o v e r w h e l m e d and c o n f u s e d
by
the
multitude
o f demands made
on
their attention.(4)
It
i s h a r d l y n e c e s s a r y t o p o i n t out
that
scientists
and
engineers are unlikely
to
take
Mumford's v i e w o f t h e i r r o l e i n
our
present
or
future culture sitting
down.
Samuel
Florman
i s one s u c h e n g i n e e r .
He
not
only
disagrees
with
Mumford's
assessment
of
t h e a c c o m p l i s h m e n t s of
his
profession,
but a l s o he c o n t e n d s t h a t
any
a t t e m p t t o mold t h e f u t u r e t h r o u g h a common
i d e a l , manifesto, or c o n s t r u c t e d philosophy
i s doomed t o f a i l u r e .
He h a s w r i t t e n t h r e e
books:
Engineering
and t h e Liberal
firts.
The
Existential
Pleasures
o f
Engineering,
and B l a m i n g T e c h n o l o g y ^
The
Irrational Search f o r Scapegoats,
In each
o f t h e s e b o o k s he d i s c u s s e s t h e r o l e o f t h e
engineering
profession
and t e c h n o l o g y
in
our
c u l t u r e . He r e s p o n d s s p e c i f i c a l l y
to
many o f Mumford's c r i t i c i s m s a s w e l l a s t o
those
of o t h e r w r i t e r s .
Florman
responds
in
this
way
to
Mumford's c h a r g e
that
technology
has
permitted governments
and
a d v e r t i s e r s t o s t a n d a r d i z e human b e h a v i o r :
In
technologically
advanced
s o c i e t i e s t h e r e i s more f r e e d o m f o r
the
a v e r a g e c i t i z e n t h a n t h e r e was
in
e a r l i e r ages.
T h e r e h a s been a
continuing
apprehension
that
new
technological
achievements
might
make i t p o s s i b l e f o r g o v e r n m e n t s t o
tyrannize
the
c i t i z e n r y with
Big
Brother
techniques.
But i n
spite
of
a l l the
newest
electronic
gadgetry,
governments a r e s c a r c e l y
able
to
prevent
the
antisocial
actions
of
c r i m i n a l s , much
less
c o n t r o l e v e r y a c t of e v e r y c i t i z e n .
Hijacking,
technically
ingeneous
robberies,
computet—aided
embezzlements
and
the
like
are
evidence that the outlaw i s able to
turn
technology
to
his
own
a d v a n t a g e , o f t e n more a d r o i t l y t h a n
the
government.
The
r e b e l 1 i ous
i n d i v i d u a l i s more t h a n h o l d i n g h i s
Is
there
no h o p e ?
Y e s , liumford f e e l s
we
h a v e been s p a r e d a b s o l u t e l o s s o f c o n t r o l .
Now
that
we r e a l i z e what we h a v e done
to
ourselves,
we c a n t u r n o f f t h e
television
set,
or
a t l e a s t t u r n i t down.
"We
have
gratuitously
assumed
that
the
mere
existence
of a m e c h a n i s m . . . c a r r i e s
with i t
an
obligation to
use i t to
i t s fullest
capacity.
But
there i s simply
no
such
necessity.
Once you d i s c o v e r t h i s , you a r e
a f r e e man."<5)
So
what
o f o u r f u t u r e ? Now t h a t we
have
recognized
our t e c h n o l o g i c a l m i s t a k e s ,
how
do we p u t t o g e t h e r a w o r l d t h a t we c a n l i v e
5
�ownThe e s t a b l i s h m e n t h a s p o t e n t
propaganda
techniques
at
its
disposal,
but
t h i s i s more
than
offset
by
the
increasingly free
flow
of
information
that
the
establishment cannot c o n t r o l And,
as
in the
case
of c r i m i n a l s ,
anti—establishment
movements
have
been
q u i c k t o t u r n new
techniques
to
t h e i r advantage.
A
generation
ago,
i t was l a b o r u n i o n s More
recent
examples
are
the
civil
rights
movement,
the
students'
anti-war
movement,
and
women's
liberation.
I f members o f
the
establishment
a r e indeed t r y i n g t o
persuade
t h e m a s s e s t o consume
an
oversupply
of shoddy
menchandise,
then
the
c o n s u m e r movement
is a
response
that
c a n be e x p e c t e d
to
grow,
using advertising to
combat
advertisers,
lobbyists to
combat
lobbies.(7)
Mumford
may s e e t e c h n o l o g y a s a t h r e a t
to
the
expression
o f t h e human
spirit,
but
Florman
sees i t as a
medium f o r t h e same.
To
Florman,
the
engineer
i s an
artist
creating
o b j e c t s t h a t have a beauty
equal
to
any
found i n p a i n t i n g ,
sculpture,
or
o t h e r more r e c o g n i z e d c r e a t i v e d i s c i p l i n e s .
He
wants us
to
know n o t
only
his
own
thoughts
i n t h i s v e i n , b u t a l s o t h a t he i s
not a l o n e i n h i s p e r c e p t i o n If
there
is
a
sparseness
of
talented
novelists
exalting
the
beauty
of machinery, t h e r a n k s a r e
more t h a n f i l l e d by s p o k e s m e n f r o m
the
realm
of
the
fine
arts.
Francis
P i c a b i a , famous a l o n g w i t h
M a r c e l Duchamp f o r t h e i n t r o d u c t i o n
of
machines
as
central
subjects
for
painting,
announced
in
1915
that
*'The g e n i u s
of
the
modern
world
i s i n machinery
and
that
through machinery a r t ought t o f i n d
a
most
vivid
expression."
To
a r t i s t s of t h i s s c h o o l , t h e machine
is
not an a l i e n i n t r u d e r i n t o
the
organic
world, but a n a t u r a l
part
of
i t , a p a r t a l s o o f man's
inner
visionary landscape.(8)
t e c h n i c a l t r u t h s a r e s o e l u s i v e , we h a v e no
choice
but
to
rely
on
an
adversary
process."(10)
There
i s no b e t t e r e v i d e n c e o f
humanity's
continuing capacity for healthy differences
of
opinion
t h a n t h e w o r k s o f Mumford
and
Florman.
T h e r e c a n be no b e t t e r
way
to
begin
the
p r o c e s s of t h i n k i n g
for
one's
self
than
through
an i n t e r n a l
adversary
process
built
on
consideration
of
the
c o n f l i c t i n g i d e a s and v a l u e s o f o t h e r s .
After
c o n s i d e r i n g t h e a r g u m e n t s o f Mumford
and
F l o r m a n , I h a v e come t o t h e c o n c l u s i o n
that
both
points
of
view
have
some
validity.
One h a s o n l y t o be c a u g h t i n an
extensive
electrical
blackout
to
become
alarmed
at
how v e r y d e p e n d e n t we
are
on
t h i n g s t h a t our a n c e s t o r s were a b l e t o l i v e
without.
On t h e o t h e r hand, what would be
the
b e n e f i t o f t r a d i n g t h e i n s e c u r i t i e s of
our
p r e s e n t e x i s t e n c e f o r t h e p e r i l s of an
e a r 1 i e r one?
The
i n t e n s i v e s t i m u l a t i o n t h a t we
receive
through
various
media i s s u r e l y a
mixed
blessing.
T e l e v i s i o n c a n be a s u b s t i t u t e
for
better quality experiences.
However,
sensitively
done programming c a n
inspire
people
t o seek out e x p e r i e n c e s which
they
may
never
h a v e dreamed o f h a v i n g
without
it.
Florman
s e e m s more r e a l i s t i c t h a n
Mumford
when
i t comes t o t h e q u e s t i o n of how
the
future
s h o u l d be d i r e c t e d . A " b a l a n c e
of
powers"
approach
i s likely
to
be
more
flexible
and r e s p o n s i v e t o c h a n g e t h a n any
predetermined
s e t of v a l u e s , even i f t h o s e
values
c o u l d be a g r e e d upon a s m o m e n t a r i l y
correct.
I f t h e r e ' s one t h i n g we n e e d most
to
l e a r n t o cope with i n the f u t u r e , i t ' s
t h e pace of change.
ENDNOTES
( D L e n i s
M u m f o r d , I n t e r p r e t a t i o n s And F o r c a s t s
1922-1972,
(NeM
York:
Harcourt,
Brace,
Jovanovich, Inc., 2973), p. 4 2 1 .
<2)Ib2d.,
Even
though
Florman's general outlook
is
very
o p t i m i s t i c , he
recognizes
that
engineers
h a v e made numerous m i s t a k e s .
He
s e e s government r e g u l a t i o n ,
imperfect as
it
i s , a s t h e b e s t method o f d i r e c t i n g t h e
development
of
future
technology
toward
human e n d s .
He s a y s , "The p u b l i c i n t e r e s t
must be p r o t e c t e d m a i n l y by e n g i n e e r s h i r e d
by
the
p u b l i c . (And h e r e I w o u l d
include
the
i n c r e a s i n g number of ' p u b l i c
interest
groups',
as
well
as
government
agencies.)"(9)
p .2 9 8 .
(3)Ibid.
<4)lbid.,
p. 2 9 9 .
<S)Ibid.,
p .2 8 6 .
(6>Ibid.,
p .4 8 3 .
(7>Sa»uel
f l o r m a n . The E x i s t e n t i a l P l e a s u r e s of
Engineering,
(Men Yorkt
S t . Martin's
Press,
1976), p.6 3 .
<8>Ibid.,
p .1 3 4 .
<9)Ibid.,
p. 28.
<10>Ibid.
BIBLIOBRAPHY
Florman does not s u b s c r i b e t o t h e i d e a of a
common p h i l o s o p h y
because
he
does
not
believe
that
one c o u l d be c o n s t r u c t e d
or
remain
intact
o u t s i d e of
a
totalitarian
society.
"Since
m o r a l t r u t h s and
even
Mumford,
Lewis.
Interpretations
and
r-orcasts
1922-1972.
Men York: H a r c o u r t , Brace, Jovanovich
Inc.,
1973.
Florman,
Samuel.
Engineering.
Hww
1976.
6
T h e E x i s t e n t i a l P l e a s u r e s o-f
Yorks
S t . Martin's
Press..
�ALVAR A A L T O
A N D HIS NATURAL USE O F LIGHT
by Ken G r a b o w s k i
A
d e s i g n w h i c h r e l i e s on s u n l i g h t i s o n l y
valuable
when t h e s o u r c e o f t h e l i g h t i s a
point
such
a s t h e s u n o r an
incandescent
lamp.
The p a t h of l i g h t must be d i r e c t t o
the
t a r g e t through c l e a r
glazing.
(See
Figure
P)*
T h i s concept
provides
good
solar
heating
wherever
applicable.
However,
i t i s not
the
case
in
most
commercial
spaces
where d i r e c t
lighting
hitting
a
book
makes r e a d i n g
much
more
difficult.(1)
P e o p l e h a v e a deep need -for t h e p r e s e n c e o f
natural
light.
As
humans we
can
not
function
e f f i c i e n t l y i n dark s p a c e s or
in
spaces
which
r e l y e n t i r e l y on
artificial
light.
Daylighting i s ever
changing
in
intensity,
location,
pattern,
r e f l e c t i v e n e s s and s h a d o w s .
There i s t r u l y
a
unique
excitement
caused
by
natural
light.
Y e t u n f o r t u n a t e l y , i t i s a s s u m e d by
architects
and c l i e n t s t h a t d a y l i g h t i s a
luxury
i n t h e d e s i g n of e n e r g y
conscious
buildings.
Many a r c h i t e c t s t o d a y do
not
understand
t h e sun o r how b u i l d i n g s b e h a v e
under
the sun.
D a y l i g h t i n g i s b o t h an a r t
and
a
scienceThe
foundations
for
daylighting
d e s i g n were f i r s t
established
by
a
prominent F i n n i s h a r c h i t e c t
by
the
name of A l v a r A a l t o
(1896-1976)-
Aalto
was b o r n i n F i n l a n d , a c o u n t r y w h e r e
natural
light
i s very r a r e i n the
winter
months.
As
a
r e s u l t of t h i s ,
Aalto
was
especially
s e n s i t i v e to the
importance of
natural
light
in h i s designs.
To
Aalto,
natural
light
became t h e
driving
force
b e h i n d a l l of h i s d e c i s i o n s r e l a t i n g t o h i s
designs.
He
was a l w a y s
concerned
with
where t h e s u n r o s e and s e t and how h e c o u l d
use
that light to i t s greatest
potential.
By
exploring
the
dynamic
qualities
of
natural
light,
A a l t o was a b l e t o
enhance
t h e s p a c e s he c r e a t e d .
Figure
S k y l i g h t , on t h e o t h e r hand, i s a low l e v e l
light
which
occurs
when
sunlight i s
reflected
and r e f r a c t e d by t h e
atmosphere
and
the surrounding environmentA design
which
relies
totally
on
skylight
will
exclude
all
d i r e c t l i g h t from
a
space.
This
i s a c c o m p l i s h e d by t h e u s e o f
north
glass.
iSee
f i g u r e B).
However, due
to
the
l a r g e amounts of e n e r g y l o s t
through
n o r t h g l a s s , i t becomes v e r y i m p r a c t i c a l t o
u s e t h i s method.
Good
daylighting
does not
simply
imply
large
windows.
In
order
to
design
c o r r e c t l y w i t h n a t u r a l l i g h t , an
architect
must
understand
the
difference
between
sunlight
and s k y l i g h t ,
Sunlight i s a very
strong
direct
light
(6,000
12,000
footcandles)
and
must be
avoided
where
visual
t a s k s a r e done. S u n 1 i g h t
produces
glare
and
must be c o n t r o l l e d t o e n s u r e a
p l e a s a n t and c o m f o r t a b l e e n v i r o n m e n t .
^ i z e
Figure
P.
of
5,
7
�The
i n a d e q u a c y o-f b o t h o f t h e s e s o l u t i o n s
made i t n e c e s s a r y f o r a r c h i t e c t s t o r e s p o n d
i n a n o t h e r f a s h i o n . By e i t h e r r e f l e c t i n g o r
refracting
the
direct
r a y s of
a
point
source,
a
designer
can
gain
increased
i l l u m i n a t i o n i n a space without the e f f e c t s
of
harsh s u n l i g h t . (See F i g u r e C). Using
this
method
the
same
quality
of
illlumination
can
be
obtained,
yet
the
required
amount o f g l a s s a r e a i s 9 0 %
less
than
that
of
north g l a s s . ( 2 )
Direct
sunlight
admitted through r e l a t i v e l y s m a l l
g l a z e d o p e n i n g s c a n be u s e d e f f e c t i v e l y f o r
illumination
i f diffused
by
white
reflective
or t r a n s l u c e n t m a t e r i a l s , w h i l e
at
t h e same t i m e c u t t i n g down on h e a t l o s s
t h r o u g h t h e g l a s s and h e a t g a i n f r o m d i r e c t
summer
sun.
As
a
result,
a
cloudy,
o v e r c a s t sky p e r c e i v e d through a c l e r e s t o r y
window w i l l
p r o v i d e t h e same q u a l i t y
and
quantity
of l i g h t t o t h e r e c e i v e r
a s does
a b r i g h t s k y t h r o u g h t h e same c l e r e s t o r y .
This
last
c o n c e p t i s t h e one w h i c h
Aalto
relied
h e a v i l y upon f o r s u p p l y i n g s u i t a b l e
reading
light.
Aalto
was
especially
sensitive
to the natural l i g h t i n Finland,
which
i n t h e w i n t e r i s a t a v e r y low a n g l e
and r e m a i n s f o r a s h o r t p e r i o d of t i m e .
In
the
summer
the
sun
appears
to
hover
perpendicular
to
the earth's surface for
long
p e r i o d s of t i m e .
I n s t e a d of i g n o r i n g
the
extreme
conditions
of
light
which
e x i s t e d , A a l t o r e s p o n d e d t o t h i s p r o b l e m by
maximizing
the
full
potential
of
this
light.
In order t o maximize t h e sun's f u l l
potential,
Aalto
developed l i g h t
giving
devices,
f o r example roof top
lighting,
clerestories,
screened
windows and
light
scoops
as
major
design
elements-(3)
Aalto
was a l w a y s v e r y c a r e f u l t o
consider
the
human a c t i v i t i e s w h i c h he
wanted
to
illuminate.
H i s p h i l o s o p h y was
to
"put
l i g h t w h e r e you want i t and n e e d i t . " ( 4 )
Figure
C
The
m a j o r i t y of w i n t e r sun
entering
the
space
directly will strike a large
curved
reflective
"sun
scoop"
and
will
be
r e f l e c t e d back toward t h e south w a l l . ( S e e
Figure
£).
T h i s curved
s u r f a c e becomes
very
b r i g h t and w i l l s e r v e a s
the
major
source
of
l i g h t for the stack
of
books.
The s t a c k s a r e p l a c e d p e r p e n d i c u l a r t o t h i s
curved
s u r f a c e , which
allows
an
even
distribution
o f l i g h t upon a l l t h e
books.
This
c u r v e d "sun s c o o p " a l s o p r e v e n t s
low
angle
sun
from
striking
the
reading
surfaces
or
circulation
desk
directly,
A b u i l d i n g d e s i g n e d by A a l t o w h i c h c l e a r l y
represents
this
philosophy
is a
Public
Library
in Seinajoki,
Finland.
In
a
library,
direct
sunlight
is
unwanted
because
i t makes v i s u a l t a s k s
difficult.
Yet,
i n order
to illuminate
the
spaces
effectively,
s o u t h l i g h t must be u s e d .
In
response
t o t h i s problem, A a l t o d e s i g n e d a
large
s o u t h window w i t h c l e a r g l a z i n g
and
horizontal,
diagonal
louvers
on
the
exterior
of
the g l a s s .
The
louvers
are
white
on
b o t h s i d e s and h a v e a 4 5
degree
cut-off
angle.
Summer s u n l i g h t
does
not
enter
the
space d i r e c t l y , but
rather i s
reflected
twice
by t h e p a r a l l e l
louvers.
Whereas, w i n t e r s u n l i g h t w i t h an a n g l e l e s s
than
45
degrees i s allowed to
pennetrate
the
s p a c e d i r e c t l y . i S e e F i g u r e I?). As a
result,
this
l a r g e p i e c e of
south
glass
appears
t o g l o w f r o m t h e i n t e r i o r when t h e
sun i s h i g h i n t h e s k y , t h e r e b y p r o v i d i n g a
high
l e v e l of e v e n l y d i s t r i b u t e d d a y l i g h t .
Figure
8
D,
�where i t would be a d i s t r a c t i o n T h i s "sun
scoop"
h a s t a k e n on t h e same f u n c t i o n a s a
human e y e b r o w
and a c c o m p l i s h e s
i t s task
quite
well.(5)
Because the
m a j o r i t y of
south
light
i s blocked
by
this
large
eyebrow,
Aalto
has placed a
small
north
clerestory
above
t h e c i r c u l a t i o n desk
to
s u p p l e m e n t t h e l i g h t f r o m t h e s o u t h window.
The
r e a d i n g room i n t h i s l i b r a r y i s s u n k e n
below
t h e main l e v e l and i t r e c e i v e s l i g h t
from
both
south
and
north
glass.
By
s i n k i n g t h e r e a d i n g room, t h e l i g h t s o u r c e s
are
far
above t h e r e a d e r ' s f i e l d of
view^
and a s a r e s u l t , g l a r e i s e l i m i n a t e d .
In
regards to s u i t a b l e reading l i g h t Aalto
commented: "The p r o b l e m w i t h r e a d i n g a book
is
more t h a n a p r o b l e m of t h e e y e , a
good
reading
light
permits
the
use
of
many
positions
of
the
human
body
and
every
s u i t a b l e r e l a t i o n s h i p of book t o e y e . " ( 6 )
S i n c e A a l t o was s o c o n c e r n e d w i t h p r o v i d i n g
suitable
reading
light,
he
was
very
innovative
in technological features
for
his
b u i l d i n g s , whereas h i s
contemporaries
simply
specified
standard elements.
The
b i g g e s t of h i s t e c h n i c a l i n n o v a t i o n s i s t h e
u s e of s k y l i g h t s i n h i s b u i 1 d i n g s . ( 7 )
By
using
skylights in
h i s designs,
Aalto
provided
natural
light for
the
interior
space,
and
also created
a
psychological
link
between i n s i d e and o u t s i d e .
This
is
very
important i n F i n l a n d where t h e
harsh
winters
f o r c e people t o spend a g r e a t d e a l
of
time
inside.
Aalto's
technological
innovations,
such
as
the
skylight,
encouraged
t h e u s e of n a t u r a l l i g h t .
This
was
coming a t a t i m e when many
architects
were r e l y i n g
v e r y h e a v i l y on
artificial
lighting.
He was c r i t i c i z e d a t t h e
time
for t r y i n g to control natural l i g h t because
many a r c h i t e c t s
f e l t i t was
unnecessary
because
artificial
light
was
available.
However,
this
c r i t i c i s m and c h a l l e n g e
of
using
n a t u r a l l i g h t i s what d r o v e A a l t o t o
e x p l o r e i t even f u r t h e r .
Figure
£,
A
second
b u i l d i n g where A a l t o used
these
same r o u n d s k y l i g h t s i s t h e L i b r a r y a t t h e
Wolfsburg,
Germany, C u l t u r a l C e n t e r .
Once
a g a i n he h a s made u s e o f t h e s e s k y l i g h t s t o
supply
d i f f u s e d n a t u r a l l i g h t , b u t now
has
gone one
step further.
Suspended
above
these
s k y l i g h t s on
t h e e x t e r i o r of
the
b u i l d i n g a r e a r t i f i c i a l l i g h t s . In t h e long
winter
days,
a r t i f i c i a l light enters
the
interior
space
exactly as
natural
light
would.
Consequently, the a r t i f i c i a l
light
begins
t o t a k e on some of t h e q u a l i t i e s of
natural
light.
I t i s attention to
small
details
like
these
that
make
Aalto's
interiors
very
p l e a s a n t and s u i t a b l e f o r
human a c t i v i t i e s .
One
of t h e f i r s t b u i l d i n g s A a l t o
designed
which
began e x p l o r i n g n a t u r a l l i g h t i s t h e
Viipuri
Municipal L i b r a r y (1935).
He u s e d
clear
round
skylights
with
horizontal
glazing.
Each s k y l i g h t c o n t a i n s a
single
oculus
as
the s o l e l i g h t sorce.
Direct
sunlight
penetration
i s m i n i m i z e d by
the
ceiling
t h i c k n e s s w h i c h f o r m s a deep
well
between
the
glazing
and
the
interior
space.(8)
The w e l l s a r e c o n i c a l i n s h a p e
and
have
a matte w h i t e
plaster surface.
When s u n l i g h t
enters
t h i s well
i t
will
strike
t h e u p p e r m o s t p o r t i o n and t h e n w i l l
be r e f l e c t e d many t i m e s b e f o r e e n t e r i n g t h e
interior
space.
The l o w e r p o r t i o n o f
the
w e l l a p p e a r s e q u a l l y a s b r i g h t due t o t h e s e
interreflections
in
the well.(9)
(See
Figure
F)m I n t h e V i i p u r i L i b r a r y ,
Aalto
had
arranged
t h e s e round s k y l i g h t s i n
a
grid
which covered t h e e n t i r e c e i l i n g .
It
v e r y e f f e c t i v e l y s u p p l i e d an e v e n amount of
l i g h t to the e n t i r e space.
9
�Alvar
Aalto
i s resposible
-for
creating
success-ful
examples
o-f
daylighting
in
architectureH i s works a r e s u c c e s s - f u l not
because
the
lighting i s overly
dramatic,
but r a t h e r b e c a u s e n a t u r a l l i g h t i s u s e d t o
illuminate
a
p a r t i c u l a r -function.
This
- f e a t u r e o-f h i s d e s i g n s makes
experiencing
his
spaces very enjoyable.
Daylighting i s
not s i m p l y added t o h i s d e s i g n s , b u t r a t h e r
every
d e c i s i o n made r e - f l e c t s h i s
interest
in
using the natural l i g h t to the
utmost.
The
u s e o-f t h i s l i g h t c a u s e s h i s i n t e r i o r s
to
possess
a
constantly
changing
atmosphere,
which i s a p s y c h o l o g i c a l a s s e t
to
the
p e o p l e who u s e t h o s e s p a c e s .
By
responding
to
the
most
basic
natural
element,
light,
A l v a r A a l t o was
able
to
c r e a t e e l o q u e n t p i e c e s o-f a r c h i t e c t u r e .
ENDNOTES
( D F u l l e r
Moore,
"Bayl ighting'.
L i b r a r i e s , " AIA J o u r n a l , 7 6 J u n e
<2>2bid.,
S i x Aalto
p. 56.
p. 59.
(3>Richard
A a l t o , " AIA
C. P e t e r s , " M a s t e r s o f L i g h t :
filvar
Journal, 6 8 S e p t e m b e r
2979, p. 54.
<4>Richard
C.
Peters,
L i b r a r y , " AIA J o u r n a l ,
69 September
2980, p . 7 2 .
<5>Moore,
2983,
"Aalto's
Luminous
p. 62.
<6)Richard Horn, "The Humanism o f Alvar
Aalto,"
Residential Interiors, 4 May, J u n e 2 9 7 9 , p . 2 0 0 .
(7)T)avid
Pearson,
"The
Legacy
o f KJiipuri,"
A r c h i t e c t u r a l Design, 4 9 J u n e 2 9 7 9 , p . 2 0 .
BIBLIOSRAPHY
Caudill,
Milliam
Mayne.
A r c h i t e c t u r e and
How
t o E x p e r i e n c e and E n j o y B u i l d i n g s . M e n
Natson-Buptil1 Publications,
2982.
You,
York:
Gutheim,
Frederik.
Alvar Aalto.
Beorge B r a z i l l e r I n c . , 2960.
York'-
NeM
Horn,
Richard.
" T h e H u m a n i s m o f Al i'ar
Residential Interiors, May, J u n e
2979.
Moore
AIA, Fuller.
"Daylighting:
L i b r a r i e s . " AIA J o u r n a l , 7 6 J u n e
2983.
Aalto."
S i x
Pearson,
Bavid.
"The
Legacy
o f
A r c h i t e c t u r a l Design, 4 9 J u n e
2979.
Peters, Richard.
"Aalto's Luminous
Journal, 6 9 S e p t e m b e r
2980.
Peters,
Aalto."
Richard
C.
AIA J o u r n a l ,
Villeco,
Journal,
Marguerite.
6 8 September
(Jilleco,
Besign."
Marguerite.
AIA J o u r n a l ,
"Masters o f
6 8 September
"Natural
2979.
fJiipuri."
Library."
Light:
2979.
Merde,
Stuart.
"An
Archeology
of
Progressive Architecture, 5 8 A p r i l 2 9 7 7 .
AIA
Alvar
Light."
"Strategies
o f
68 September
2 979.
Aalto
AIA
Daylight
Aalto."
�VEBLEN, CONSUMERISM, A N D
RETAIL ARCHITECTURE
by Rick Talley
In
1899, a book t i t l e d T h e T h e o r y O f T h e
Leisure
Class
was w r i t t e n
by
economist
Thorstein
Veblen.
The
importance
of
Veblen's
work
was
that
he
tried
to
understand
economics
in
a
sociological
mode.
Unlike the
economists
who
had
preceded
him,
he
based h i s concepts
on
man's i r r a t i o n a l i t i e s
instead
of
man's
rationalities.
One
of
his
chief
discoveries
was t h a t " s n o b b e r y and
social
pretense
p l a y not a p e r i p h e r a l but c e n t r a l
and
dominant r o l e i n s h a p i n g t h e l i f e of a
socially
democratic
society."(1)
By
examining
historical
social
cultures,
Veblen
had c o n c l u d e d t h a t s o c i e t y
existed
in
two d i f f e r e n t e v o l u t i o n a r y s t a g e s .
The
first
stage
was
that
of
the
peaceable
savage.
T h i s p h a s e was c h a r a c t e r i z e d
by
n o n c o m p e t i t i v e r e l a t i o n s h i p s between people
and
an
unambitious
manner o f l i f e .
In
response
to
t h e i n s t i n c t of
workmanship,
work was done f o r w o r k ' s s a k e more t h a n f o r
survival.
I t was a c l a s s l e s s s o c i e t y .
This
i s modern s o c i e t y ,
and
in
particular,
the
United
States
during
Veblen's time.
A l l of t h e
characteristics
of
the
primitive-barbarian
stage
in
particular,
ferocious
competitiveness
in
pursuit
of
s t a t u s - a r e c a r r i e d over i n t o the
modern-peaceable
stage.
The
difference
i s that competition i n
hunting
and
fishing
has
been
mostly
r e p l a c e d by c o m p e t i t i o n i n
such
fields
as
sports,
money
manipulation,
and p u b l i c
display
of
affluence.
On t h e o t h e r hand,
peaceable
t r a i t s a l s o s u r v i v e and
exist
as
a minority force.
The
outcome
i s a society
marked
by
constant
tension
between
the
conflicting
f o r c e s of
"predatory
barbarism"
and
"peaceable
savagery."(3)
All
o f t h e b a r b a r i a n p e r i o d s a r e marked by
unremitting
emulation
and
antagonism
between
individuals,
and a l s o by a
class
system
i n which
t h e top
class
displays
"clannishness,
massiveness,
ferocity,
unscrupulousness
and
ferocity
of
purpose."(4)
Eventually
society
evolved into
a
stage
dominated
by
the
predatory
barbarian.
D u r i n g t h i s p h a s e , o c c u p a t i o n s and means of
o b t a i n i n g a l i v e l i h o o d had d e v e l o p e d .
This
allowed
f o r t h e c l a s s i f i c a t i o n of
people
b a s e d upon t h e t y p e of work t h e y p e r f o r m e d .
This
s t a g e saw t h e a p p e a r a n c e and r i s e
of
the
leisure
class.
A
class
structure
developed
i n which
those
people
not
d i r e c t l y i n v o l v e d w i t h t h e e v e r y d a y t a s k of
surviving
were
the
superior class.
As
Veblen s t a t e s :
"...manual l a b o r , i n d u s t r y ,
whatever
has
to
do
directly
with
the
everyday
work
of g e t t i n g a l i v e l i h o o d
is
the
exclusive
o c c u p a t i o n of t h e
inferior
class."(2)
The
way
i n w h i c h one
becomes
associated
with
the
leisure
class
i s through
the
display
of
wealth
in
the
form
of
consumption, waste, or l e i s u r e .
Display i s
the
key i n g r e d i e n t . W h a t e v e r i s done must
be
done c o n s p i c u o u s l y i n o r d e r t o r e a c h a s
large
an
audience as possible.
Veblen's
concept
of
" i n d u s t r i a l exemption"
states
that
these
items u s u a l l y
illustrate
the
fact
that
a
person does
not
rely
upon
physical labor for sustenance.
This
latter
phase of p r e d a t o r y
barbarism
was
further categorized into three stages.
First
came t h e p r i m i t i v e - b a r b a r i a n s t a t e
that
expressed i t s e l f as a feudal
society
dominated
by
w a r r i o r s and p r i e s t s .
This
was
followed
by a
quasi-peaceable
stage
d i s t i n g u i s h e d by t h e i n s t i t u t i o n of c h a t t e l
slavery.
V e b l e n i n c l u d e d women a s c h a t t e l
slaves.
The
final
stage
i s the
modern-peaceable b a r b a r i a n . V e b l e n i t e John
B r o o k s g i v e s an u n s u r p a s s a b l e d e f i n i t i o n o f
t h e t e r m when he s t a t e s :
Two
o t h e r c o n c e p t s which a r e important
to
Veblen's
theories are pecuniary
emulation
and
pecuniary
decency.
Veblen
uses
the
t e r m d e c e n c y t o mean " c o n v e n t i o n a l l y p r o p e r
and
seemly."
He i l l u s t r a t e s t h i s w i t h
an
example
of
journeyman
printers
who
act
"decent"
when
g e t t i n g drunk
at regular
intervals
b e c a u s e i t i s a norm among t h e i r
social
class.
I t i s i n t h e f u l f i l l m e n t of
pecuniary
decency
that people
resort
to
conspicuous
consumption
and
conspicuous
waste.
11
�satisfy
their
own
fundamental
needs,
but r a t h e r t o s a t i s f y
the
real
historic
needs
of
capitalistic,
productive
machinery.(7)
Pecuniary
emulation
means
imitating
and
t r y i n g t o s u r p a s s a c o m p e t i t o r ' s d i s p l a y o-f
wealth.
Although
strongest
between
adjacent
c l a s s e s , t h e f o r c e s of
emulation
extend through the e n t i r e s o c i a l s t r a t a .
The
l e i s u r e c l a s s stands at
the
head
of
the s o c i a l s t r u c t u r e
in
point
of
reputabi1ity;
and
its
manner
of l i f e and i t s s t a n d a r d s
of w o r t h t h e r e f o r e a f f o r d t h e norm
of r e p u t a b i l i t y f o r t h e community.
The o b s e r v a n c e of t h e s e
standards,
in
some d e g r e e of
approximation,
becomes i n c u m b e n t upon a l l c l a s s e s
lower
in
the s c a l e .
In
modern
c i v i l i z e d communities t h e l i n e s of
d e m a r c a t i o n between s o c i a l c l a s s e s
h a v e grown
v a g u e and
transient,
and w h e r e v e r t h i s h a p p e n s t h e norm
of
r e p u t a b i l i t y imposed
by
the
upper
c l a s s extends i t s
coercive
influence
w i t h but t h e
slightest
hindrance
down t h r o u g h t h e s o c i a l
structure
to
the lowest
strataThe
r e s u l t i s t h a t t h e members of
each stratum accept as t h e i r i d e a l
of
d e c e n c y t h e scheme of l i f e
in
vogue
i n the next higher stratum,
and bend t h e i r e n e r g i e s t o l i v e up
to
that
ideal.
On
pain
of
forfeiting
their
good
name
and
self-respect
i n c a s e of
failure,
they
must c o n f o r m t o t h e a c c e p t e d
code, a t l e a s t i n a p p e a r a n c e . ( 5 )
Advertisers
looked
for
ways
to
create
f a n c i e d w a n t s , and one of t h e i r a v e n u e s was
the
want
based
on s o c i a l m o b i l i t y .
In
1911,
adman W a l t e r D i l l S c o t t s t a t e d
that
"the
goods
o f f e r e d a s a means of
gaining
social
p r e s t i g e make t h e i r a p p e a l s t o
one
of
the
most
profound
of
human
instincts."(8)
The
a d v e r t i s i n g i n d u s t r y , w h e t h e r a w a r e of
Veblen
or
not,
utilize his
concepts
in
their
merchandising
strategy.
Pecuniary
decency,
pecuniary
emulation,
and
industrial
exemption
are a l l u t i l i z e d
in
o r d e r t o s e l l goods.
One
business
theorist
contended
t h a t f r e e d o m and e q u a l i t y c o u l d be
translated
into
the
ability
of
each
p e r s o n t o emulate or
aspire
t o e m u l a t e t h e t a s t e s of t h e u p p e r
classes,
"and
what
could
be
a
better
method o f d o i n g t h i s
than
by
consumption."
The
"fashion
cycle,"
he
contended,
was
an
expression
of
the
tastes
and
v a l u e s of t h e w e a l t h y , y e t t h r o u g h
the
m a s s p r o d u c t i o n of
low-priced
goods which i m i t a t e d
"high-priced
m e r c h a n d i s e , " u p p e r — c l a s s m i g h t be
i n t e r n a l i z e d w i t h i n t h e c u l t u r e of
the
poor.
"Reproduction
of
high-priced
goods
into
lower—priced
goods
makes
it
possilbe
for
people
of
lower
incomes
to
participate
in
the
fashion cycle."(9)
The
c h i e f t r a i t of t h e p r e d a t o r y b a r b a r i a n
is
his invidiousness.
Veblen d e f i n e s t h i s
as
a
constant
comparing
of
oneself
to
o t h e r s and, i n t h e end, f i n d i n g y o u r s e l f t o
be of a s u p e r i o r s t a t u s .
During
the
i n d u s t r i a l expansion
of
the
1920's,
we
f i n d the concepts
of
leisure
class
enlarged
t o c r e a t e a l e i s u r e mass.
The
advertising
i n d u s t r y of t h i s e r a
was
responding
t o t h e n e e d s p r e d i c a t e d by
the
a d v e n t of mass p r o d u c t i o n .
The c a p t a i n s of
industry
had
achieved the
capability
of
producing
in
mass.
In order
to
sustain
full
p r o d u c t i o n c a p a c i t i e s t h e y now had t o
c o n v i n c e t h e p u b l i c t o consume i n m a s s .
The
above
q u o t e s h o w s how
literally
the
concept
of
pecuniary
emulation
was
accepted.
P e c u n i a r y d e c e n c y , on t h e o t h e r
hand,
became
transformed to f i t the
new
need.
The a d v e r t i s e r s c r e a t e d a
standard
i d e a l c o n s u m e r w h i c h became t h e new m e a s u r e
of
decency
against
which
the
American
p u b l i c c o u l d gauge i t s e l f .
The handy t h i n g
a b o u t t h i s s t a n d a r d i d e a l c o n s u m e r was t h a t
he
c o u l d be u p g r a d e d w h e n e v e r t h e
average
American
got
too
close.
Industrial
exemption
was n o t o n l y a p p l i e d e x a c t l y
as
Veblen
had
stated,
but
also
it
was
something f o r a d v e r t i s e r s t o heed.
Consumerism,
the
mass
p a r t i c i p a t i o n i n t h e v a l u e s of t h e
mass
industrial
market,
thus
emerged
in
the
1920's
as
an
aggressive
device
of
corporate
survival.(6)
Paul
Nystrom,
writing
on
the
economics
of f a s h i o n , s t a t e d t h a t
"
a s w e a l t h or s o c i a l s t a t u s were
the
b a s i c s e l l i n g p o i n t s of
most
garments,
t h e s t y l e s s h o u l d go a s
far
as
p o s s i b l e i n proving
that
The
c r e a t i o n of f a n c i e d w a n t s was
crucial
t o t h e modern a d v e r t i s e r .
The
t r a n s c e n d e n c e of
traditional
consumer m a r k e t s and b u y i n g h a b i t s
required
people
t o buy,
not
to
12
�The
growth
of t h e s u b u r b s i n t h e 1950's
was
quintessentially
a
consumerist
movement.
During
this
time
period,
c o n s u m e r i s m was e v e n p o r t r a y e d a s p a t r i o t i c
as
illustrated
by P r e s i d e n t
Eisenhower's
s l o g a n "You A u t o Buy Now."(12)
the
owner
d o e s n o t h a v e t o work
for
a living."
What
Thorstein
Veblen
has theorized
as
the
conspicuous
consumption h a b i t s of
the
leisure
class
were
now
propagated
a s a democratic
ideal
w i t h i n mass a d v e r t i s i n g - ( 1 0 )
The s t o r e t y p e t h a t o r g i n a t e d a s a r e s p o n s e
to
t h e automobile i s t h e suburban shopping
mall.
T h e s e r e t a i l camps f o l l o w e d o r , i n
some c a s e s , p r e c e d e d t h e p o p u l a t i o n
shift
to
t h e suburbs.
The c e n t e r s
surround
themselves
w i t h oceans of p a r k i n g l o t s t o
accommodate t h e c a r s .
We s e e V e b l e n ' s l e i s u r e c l a s s
transformed
i n t o s o m e t h i n g t h a t c a n b e o b t a i n e d by a l l .
The
combination
of
abundant
wages,
quantities
of consumable
goods,
the
advertiser's
impetus,
and
the
predisposition
toward
leisure
class
emulation
produces a s o c i e t y t h a t
locates
i t s "needs and f r u s t r a t i o n s i n t e r m s of t h e
consumption
o f goods
rather
than t h e
quality
and c o n t e n t o f t h e i r l i f e s - " ( l l )
What
cannot
be
overstated
i s the
predisposition
toward
leisure
class
emulation.
While i t i s easy t o view t h e
advertisers
as evil
manipulators,
their
easy
success,
w h i l e n o t a b s o l v i n g them o f
all
crimes,
i s their
vindicationI t
reveals
much a b o u t t h e g e n e r a l p u b l i c and
i s v i v i d proof of Veblen's t h e o r i e s .
Originally
r e c t i l i n e a r and exposed t o t h e
e l e m e n t s , t h e m a l l s have undergone a s e r i e s
of
transformations
that
were
primarily
aimed
a t i n c r e a s i n g t h e p r o f i t a b i l i t y of
the
merchants, thereby i n c r e a s i n g t h e rent
which
t h e developer
could
charge t h e
tenants.
By t h e m i d - s i x t i e s t h e m a l l s were
being
e n c l o s e d . While p r o t e c t i n g t h e mall
user
from
extremes
i n climate,
i t also
distorted
t h e consumer's time s e n s e , thus
encouraging
him t o remain l o n g e r and t o
consume more.
By t h e m i d - s e v e n t i e s , t h e
malls
changed
from
rectilinear
to
orthogonal.
T h e r e a s o n i n g b e h i n d t h i s was
that
a s t h e c o n s u m e r saw more goods, h e
purchased
more g o o d s .
As o l d e r m a l l s a r e
now becoming u p d a t e d a n d m o d e r n i z e d , we s e e
the
creation
of psuedo-orthogonal
malls.
Original
a x i a l s t r a i g h t - s h o t m a l l s a r e now
being
updated
to
correspond
with the
current
m a r k e t i n g t h o u g h t by r e c o n f i g u r i n g
existing
store
f r o n t f a c a d e s and p l a c i n g
specialty
shops
i n the
middle
of t h e
aisles.
T h e r e s u l t i s t h a t t h e consumer
must
weave a n d dodge a r o u n d t h e o b s t a c l e s
placed
i n h i s path
thereby exposing a
larger
amount
o f c o n s u m a b l e goods t o h i s
view.
With
t h e s t a g e now s e t , we c a n f o l l o w t h e
evolution
of t h e s t o r e t y p e
whose
very
existence
f u l f i l l s the final link
between
m a n u f a c t u r e r and c o n s u m e r .
Our e x a m i n a t i o n
will
start
i n t h e 1940's.
Although t h e
auto
industry
h a d begun i t s e x p a n s i o n i n
the
1920's, i t wasn't u n t i l t h e 1940's t h a t
we c a n s e e a r e t a i l a r c h i t e c t u r a l r e s p o n s e
to
this.
The d e p r e s s i o n of t h e 1930's
slowed
t h i n g s g r e a t l y and i t w a s n ' t
until
the
first
r e l e a s e of b u i l d i n g
materials
from
w a r t i m e c o n t r o l s i n 1944 t h a t
things
started
t o change.
The a u t o m o b i l e had
already
started
to
have
decentralizing
effect
on A m e r i c a n c i t i e s .
T h e s m a l l town
main
s t r e e t had begun t o l o s e b u s i n e s s t o
the l a r g e r c i t i e s .
A
question a r i s e s .
I s t h e consumer r e a l l y
that
simpleminded?
Do p e o p l e buy t h i n g s
just
because
t h e y s e e them?
Are people
coerced
into t h i s or a r e they j u s t waiting
for
t h e o p p o r t u n i t y ? When V e b l e n
defines
p e c u n i a r y decency he s t a t e s :
The
automobile
i s
both
o r i g i n a t o r and
continuing
escalator
of t h e c o n s u m e r i s t
cause.
T h e p r o d u c t i o n l i n e was o r i g i n a l l y
invented
f o r t h e c a r , a n d f o r most
people
automobile ownership brought f u l f i l l m e n t of
the
American
Dream.
The c a r p r o v i d e d
personal
mobility
which s h o r t e n e d
travel
time
o v e r l o n g d i s t a n c e s a n d promoted t h e
urban
exodus.
P r i v a t e home o w n e r s h i p i n
suburbia
was a i d e d
by
the
a u t o and
relentlessly
p o r t r a y e d a s t h e norm b y t h e
advertising
industry.
The s t a n d a r d
ideal
consumer, f e a t u r e d a s t h e main c h a r a c t e r i n
all
of t h e network s i t c o m s ,
was u s u a l l y
just
h i g h enough i n p e c u n i a r y s t r e n g t h t o
be
above t h e a v e r a g e v i e w e r b u t c l o s e
enough
t o be w i t h i n range
of p e c u n i a r y
emulation.
...while
t h e r e g u l a t i n g norm o f
consumption
i s i n the large
part
the
requirement
of conspicuous
waste,
i t must n o t b e u n d e r s t o o d
that
t h e motive
on w h i c h t h e
consumer a c t s i n any g i v e n c a s e i s
this
principle
in
i t s bald,
unsophisticated
form.
Ordinarily
h i s motive i s a wish t o conform t o
the
establishment.(13)
13
�Pecuniary
decency,
m o d i f i e d by p e c u n i a r y
however,
emulation.
becomes
stage.
In allowing themselves to
become
victimized,
they
a g a i n become h e r o e s
in
terms
o f p e c u n i a r y e m u l a t i o n and p e c u n i a r y
decency.
...as
f a s t a s a p e r s o n makes
new
acquisitions
and
becomes
accustomed
to
the r e s u l t i n g
new
standard
of
wealth,
the
new
standard
forthwith
ceases
to
afford
appreciably
greater
satisfaction
than
the
eairlier
standard didThe t e n d e n c y i n any
case
i s constantly to
make
the
present
pecuniary
standard
the
point
of
departure for
a
fresh
increase in wealth-(14)
In
the
Detroit
area
lately,
we
see
a
r e c u r r e n c e of s t r i p commercial development.
Why?
W i t h t h e a b u n d a n c e of t h e
dens
of
conspicuous
consumption
and
conspicuous
l e i s u r e i n t h e f o r m o f m a l l s , why a r e t h e s e
a r e a s now b e c o m i n g p r o m i n e n t ?
--.when... i t becomes n e c e s s a r y t o
reach
a w i d e r human
environment,
consumption
begins
to hold
sway
over
l e i s u r e a s an o r d i n a r y means
of
decency.
The
means
of
communication
and m o b i l i t y o f t h e
population
now
expose
the
individual
t o t h e o b s e r v a t i o n of
many p e r s o n s
who h a v e
no
other
meams o f j u d g i n g h i s r e p u t a b i l i t y
t h a n t h e d i s p l a y of goods.(17)
If
these definitions are applied to
the
riddle
o f p i n b a l l c o n s u m p t i o n , we c a n
see
that
t h e new f o r m g a v e p e o p l e a new e x c u s e
to
buyI t gave t h e consuming
public
a
point
of d e p a r t u r e f o r a f r e s h i n c r e a s e i n
wealth without d i s p l a y i n g t h e i r conspicuous
consumption
i n i t s bald, unsophisticated
formThe
American consumer
becomes
a
willing victim-
Now t h a t t h e m a l l s a r e f r e q u e n t e d by a l m o s t
everyone
from
post-pubescent
New
Wave
punks
to
mobile
inner-city
dwellers to
wealthy
suburbanites, they
lose
their
exclusivity.
T h o s e who c a n , f i n d i t more
effective
to
f l a u n t pure
consumption
as
opposed
to
consumption
diluted
with
leisure.
T h i s l i n e of l o g i c e x p l a i n s
the
popularaity
of
the
commercial
strip
complex.
Remote f r o m a n y f o r m of
public
transportation,
one
must h a v e
a
private
v e h i c l e i n which t o a r r i v e .
Even
i f t h e h e a d of t h e h o u s e h o l d i s t o o
busy a c t u a l l y e a r n i n g a l i v i n g t o be a m a l l
participant,
...decency s t i l l r e q u i r e s t h e w i f e
to
consume
some
goods
conspicuously f o r the r e p u t a b i l i t y
of t h e h o u s e h o l d and i t s h e a d .
So
that,
the
w i f e , who was
at
the
outset
t h e d r u d g e and c h a t t e l
of
the
man,
both
in fact
and
in
theory
( t h e producer* o f g o o d s f o r
him
to
c o n s u m e ) , h a s become
the
c e r e m o n i a l consumer o f g o o d s w h i c h
he p r o d u c e s . ( 1 5 )
The
parking
lot i s
an
arena
for
automobiles,
and
one's c h a r i o t
i s one's
entry
card.
The
e n t r a n t becomes
immediately
a s s o c i a t e d w i t h and j u d g e d
on
the
basis
of
h i s automobile.
And,
by
hitting
a l l t h e s h o p s on t h e s t r i p i t i s
possible
t o f l a u n t w e a l t h much f a s t e r t h a n
through simple l e i s u r e i n a m a l l .
The
multi-level
c e n t r a l c o u r t s of
malls
that
a r e common t o d a y p r o v i d e a v a s t s t a g e
from
w h i c h t o v i e w and t o be v i e w e d .
The
placement
of
fountains in central
areas
denies
the
consumer a n y p l a c e t o s i t and
rest.
The
s t a i r s and
ramps
constantly
encourage
movement up and down. The m a l l s
a r e c o n s t a n t l y f i l l e d w i t h p e o p l e a l w a y s on
the
move, a l w a y s
searching
with
no
particular
place to
go,
and
constantly
moving
with
no
productive r e s u l t .
As
T h o r s t e i n would s a y :
" i t does not d i r e c t l y
serve
t o e n h a n c e human l i f e on t h e w h o l e it
does not f u r t h e r t h e l i f e
process i f
taken i m p e r s o n a l l y . ( 1 6 ) T h i s i s Veblen's
d e f i n i t i o n of c o n s p i c u o u s w a s t e .
The m a l l s
become t h e
epitome
of
conspicuous
consumption,
conspicuous
leisure
and
conspicuous
waste.
Shopping
malls
then
become g i a n t
exhibitionist
parlors
a
chance
to
s e e and be s e e n by
others,
to
become c o n s p i c u o u s h e r o e s Consumers t h u s
set
themselves
in a position
to
become
v i c t i m i z e d by t h e shop o w n e r s t h a t l i n e t h e
Automobiles
f i r s t decentralized the
malls
from
the
c i t y , and now t h e y a r e
actually
breaking
apart the malls themselves.
This
becomes a
f u n c t i o n not o n l y of m o b i l i t y ,
but
also
a
f u n c t i o n of
the
quest
for
status,
i n v i d i o u s n e s s and p u b l i c
display.
As
with
the mall s t o r e f r o n t s , the
strip
shops
a l l s e e k t o be t h e most
conspicuous
by
d i s p l a y i n g a l l manner o f g r o t e s q u e
and
perverse
skyline
bumps
and
surface
mutations.
As c l o t h e s a r e t o p e o p l e ,
so
are
store
fronts
to
buildings.
Thus..."dress
, a s an e x p r e s s i o n o f
the
pecuniary
culture.-.is
the
rule
of
the
c o n s p i c u o u s u s e of
goods..."(18)
14
�The
g r e a t e s t f o r m a t i v e i n f l u e n c e on r e t a i l
architecture
h a s been
man's d e s i r e
for
pecuniary emulation.
I t i s this desire for
pecuniary
e m u l a t i o n and
social
mobility
that
allowed t h e automobile t o have such a
d e c e n t r a l i z i n g e f f e c t upon o u r way of l i f e .
The
automobile ushered
in
t h e age
of
consumerism.
Hand-in-hand-in-hand,
the
autombile,
consumerism,
and
pecuniary
emulation
have brought f o r t h urban
sprawl
and
suburban
sprawl.
They have g i v e n
us
the
suburban
mall
and
the
vehicularly
oriented
s t r i p development.
These f a c t o r s
are
the controlling
forces
i n the
a t t r a c t i o n of r e t a i l a r c h i t e c t u r e .
We must
be
a w a r e o f them and t h e i r i n f l u e n c e i f we
a r e t o c o n t r o l them.
BIBLIOGRAPHY
"Architecture
Architectural
a n d t h e Community
Record, A p r i l 2 9 5 9 ,
B r i t t ,
Steuart Henderson.
the
Behavioural Sciences.
and Sons,
2966.
Brooks,
L i t t l e ,
o f
Retailing."
pp. 229-224.
Consumer B e h a v i o u r and
Ne*i
York'.
John
Miley
John.
Showing Off I n A m e r i c a .
Broun a n d Company,
2979.
Boston^
Enen,
Stuart.
Captains
of
Consciousness:
Advertising
a n d t h e S o c i a l R o o t s of t h e
Consumer
Culture.
NeM Yorkt
McGraM-Hill,
2976.
H e i l b r o n e r , R o b e r t L . The W o r l d l y P h i l o s o p h e r s .
NeM
Yorki
Simon a n dSchuster, 2980, pp. 220-245.
Katona,
George.
The Mass Consumption
NeM
Yorkt
McGraM-Hill,
2964.
Society.
"Modern
Architecture:
Success on t h e
HighMay,"
A r c h i t e c t u r a l Record, O c t o b e r 2 9 5 2 , p . 3 4 6 .
Packard,
Vance.
The
Waste
Bavid Mckay Co., 2960.
EHBHOTES
(DJohn
(Bostoni
Brooks,
L i t t l e ,
Preston,
Madison:
Showing
0-ff
I n America
Broun, s n d Compsny, 1 9 7 9 > , p . 4.
(4}lbid.,
Showing
p.
<5)(/eblen,
67.
Riesman,
David.
Interpretation.
Sons,
2953.
O f f I n America., p . 3 6 .
"Shopping
Centers:
The
Progressive Architecture,
Class, p .
<8>Ibid.,
p .
February
A
Critical
Scribners's
p .
9 4 .
p. 7 9 .
(22)Ibid.,
p .4 7 .
Showing
Off
I n A m e r i c a , p . 9.
T h e o r y Of T h e W o r k i n g
Class,
(24)Jbid.
<2S>Ibid.,
p. 3 8 .
<26>Ibid.,
p .
45.
(27>Ibid.,
p. 7 2 .
(ISyibid.,
p . 2 28.
15
Forum,
Architectural
Veblen,
Thorstein.
The
T h e o r y Of
The
Class. B o s t o n :
Houghton
M i f f l i n Company,
(20)Ibid.,
The
Architectural
"Stores:
B u i l d i n g Types Study."
Record, A p r i l 29 6 6 , p p . 2 4 9 - 2 5 5 .
5 4 .
(9>lbid.,
<23>{/eblen.
p. 8 7 .
Veblen:
Charles
Blow-up.
2975.
NeM
Building
Type."
June 2952, p . 67-209.
"The S t o r e That Cars B u i l t , "
M a y 2 9 5 2 , PP.
232-235.
p . 3 5 .
(22)Brooks,
Thorstein
N e M York':
Record,
York:
2 6 0 .
The Theory of t h e L e i s u r e
( 6 ) E M e n S t u a r t , C a p t i a n s of C o n s c i o u s n e s s ( M e n
Vorkt
McBraM H i l l , 2 9 7 6 ) , p . 4 6 .
(7>Ibid.,
NeM
Ivan
L . The G r e a t
American
University o f Misconsin Press,
"Retail
M a l l s , " Architectural
2979, pp. 228-232.
<2>Thorstein
{Jeblen,
T h e t h e o r y o-f t h e L e i s u r e
Class
(Bostoni
Houghton M i f f l i n Compsny,
2973>,
p. 2 6 .
(3>Brooks,
Makers.
Leisure
2973.
�' I l l iiiiirT^ iinff-ii iiiMmi
wan
nn"Ti'lT"'
NEW WAVE BARS AN EVOLVING ARCHITECTURE
by John E. Dancer
Our
society
moves s o f a s t
that
it
has
become i m p o s s i b l e t o d i s c e r n any t r u t h
to
life.
We
are
addicted
to
sensory
information;
we
grew up w i t h t e l e v i s i o n ;
there
i s a l w a y s s o m e t h i n g on.
The
fast
pace has
l e d t o a l o s s of
individualism.
Numbers a r e
e a s i e r t o keep t r a c k of
than
lettersT h i s , combined w i t h t h e d r i v e f o r
s u c c e s s , t h e d e s i r e f o r upward m o b i l i t y and
the
toll
t a k e n by fame, h a s
blurred
the
distinction
between
heroes
and
victims.
Society
has
begun
to
question
its
own
values.
For
many p e o p l e , b a r s a r e
an
important
part
of
life.
They a r e one of
the
few
places
where t h e
common
man
is
a
participant
r a t h e r than a s p e c t a t o r .
Much
of
the ordinary person's l i f e i s
dictated
to
him: when, where and how t o work;
when
to
eat;
when t o r e s t ; when t o p l a y .
For
relaxation,
he may a t t e n d s p o r t s e v e n t s o r
watch t e l e v i s i o n , but e v e n h e r e he i s n o t a
participant
i n t h e u n f o l d i n g drama.
He
r e m a i n s a l w a y s j u s t an o n l o o k e r . I n a b a r ,
however,
as
soon a s a p e r s o n p u r c h a s e s
a
drink
he becomes an a c t o r , an i n t e g r a l and
i n v o l v e d p a r t of t h e s c e n e .
It
i s h e r e a l s o t h a t p e o p l e who a r e
most
a f f e c t e d by s o c i e t y ' s l o s s of i n d i v i d u a l i s m
and
values
can
be
foundBars
have
attracted
s o c i o l o g i s t s s i n c e t h e 1930's a s
an i n d i c a t o r not o n l y of e x i s t i n g b e h a v i o r ,
but
a l s o of
future behavior.
However,
architects
have f a i l e d t o
recognize
the
importance
of b a r s .
This a r t i c l e looks at
the
a r c h i t e c t u r e of one p a r t i c u l a r t y p e of
bar,
t h e s o - c a l l e d New Wave b a r .
I t looks
at t h e New Wave b a r on t h e
premise that i t
is
primarily
f r e q u e n t e d by t h e young
and
aspiring,
t h o s e who most f e e l t h e g r i p
of
society.
What c o n n e c t i o n i s t h e r e between
the
c h a n g i n g a t t i t u d e s of our c u l t u r e
and
the
architecture
of New Wave b a r s ?
What
can
be
learned,
and
how
can
this
be
incorporated
into
the
architecture
we
create?
IS
n
meaning
and
was
no l o n g e r
fighting
for
anythingIt
had
become
overly
sophisticated
and
expensive.
I t had,
in
fact,
become e v e r y t h i n g t h a t i t s e t o u t t o
defy.
The
Punk movement i n E n g l a n d was
composed
of
t h e young t r a p p e d w o r k i n g c l a s s who
saw
no
means f o r upward m o b i l i t y .
They became
f r u s t r a t e d , a n g r y , b o r e d and m o t i o n l e s s i n a
c h a n g i n g s o c i e t y . The v i c t i m i z e d s o u g h t t h e
attention
of s o c i e t y by d r e s s i n g i n
black
leather,
spikes
and c h a i n s ,
by
piercing
their
noses
and by s h a v i n g
their
heads.
T h i s became t h e i r symbol of h a v i n g s u r v i v e d
punishment
and a b u s e . The e x p r e s s i o n s t h e y
wore were l i f e l e s s , t h e i r f a c e s l i k e masks.
They
became a m o t i v a t e d and
asexual.
The
music
was l o u d , o b n o x i o u s and
threatening,
the performers grotesque.
This a t t i t u d e that the only things that are
worthwhile
i n s o c i e t y are those
artifacts
or
o b j e c t s which symbolize the a b i l i t y
to
w i t h s t a n d p u n i s h m e n t and t o s u r v i v e w i l l be
characterized
and d e f i n e d i n t h i s
article
as the s u r v i v a l
aesthetic.
America's
New
Wave d i d n o t
envoive
the
young,
disadvantaged
working c l a s s as
a
whole,
as
i t had i n E n g l a n d ,
since
the
b l a c k and h i s p a n i c g r o u p s , w h i c h c o m p r i s e a
s i g n i f i c a n t p o r t i o n of t h e w o r k i n g c l a s s i n
the
United
S t a t e s , were not
essentially
involved
in
t h e movement. A m e r i c a ' s
New
Wave became more of a s t y l i s t i c r e v o l u t i o n ,
representing
a
revolt
against
fads
and
fashions
t h a t A m e r i c a l o v e s one m i n u t e and
discards
the
next.
America's
New
Wave
recognized
the
p a s t by a s s i m i l a t i n g
bits
and
p i e c e s of p a s t f a s h i o n i n o r d e r t o
be
obviously
pretentious.
The
1960's
long
hair,
j e a n s and w o r k s h i r t w e r e a r e b e l l i o n
against
the
establishment.
The
establishment
was r e p r e s e n t e d a t t h a t t i m e
by
those
who wore s h o r t h a i r ,
suits
and
The
t e r m neti m a v e was c o i n e d by F r a n c o i s
Giroud
i n L ' E x p r e s s i n 1958 a s
a
"new
youthful
spirit
i n French f i l m . "
Since
then
i t h a s been a p p l i e d t o any
cultural
phenomenon t h a t
we
see
as
new
or
rebellious.
I n 1976, a r e b e l l i o n
against
rock
and r o l l m u s i c s t a r t e d i n London
and
New
York C i t y .
Rock and r o l l had l o s t i t s
Opposite
Page
Lili's:
Subliminal
Overload Brought t o the
16
Sensory
Conscious.
��ties.
However,
the long h a i r ,
Jeans
and
workshirt
became j u s t a s much o f a c o s t u m e
as
a s u i t and t i e . New Wave r e c o g n i z e d t h e
costume,
so
i t became o b v i o u s l y
"dressed
up"
to
the
point
of
pretentiousness.
America's
New
Wave m u s i c
was
simple,
upbeat,
and
r e c a l l e d r h y t h m s of p a s t r o c k
and
r o l l . I t had n o n s e n s i c a l l y r i c s
which
questioned America's v a l u e s .
distinction
between
good f u r n i s h i n g s
and
bad.
The
m e s s a g e was one o f s u r v i v a l ,
in
spite
o f h a v i n g b e e n d i s c a r d e d by s o c i e t y .
B o o k i e s e x i s t e d o n l y t o be r e p l a c e d i n 1984
by t h e P i n k P e l i c a n , a gay b a r .
New
Wave was a b e g i n n i n g , n o t an end,
and
many c h a n g e s h a v e t a k e n p l a c e b e t w e e n 1978
and
1984.
New
Wave
is
now
almost
acceptable.
Large
department s t o r e s
have
New
Wave s e c t i o n s w h i c h t h e y c a l l t h e F a s t
Lane,
or
s o m e t h i n g s i m i l a r . H e r e you
can
buy
your
Punk r i p p e d s w e a t s h i r t
with
a
B a u h a u s emblem
on t h e f r o n t
for
440.00.
I t ' s t h e new " i n " f a s h i o n !
This
overtly pretentious
look
which
celebrates
polyester
and
the
previously
dicarded
second
rate
fads
will
be
characterized
and
defined
here
as
the
pretentious aesthetic.
For obvious r e a s o n s , t h e s u r v i v a l a e s t h e t i c
did
not
stay
i n England,
nor
did
the
pretentious
a e s t h e t i c remain
solely
in
A m e r i c a . What was f e l t by t h e young w o r k i n g
class
i n E n g l a n d was s i m i l a r l y f e l t i n t h e
industrialized
a r e a s of t h e U n i t e d S t a t e s ,
particularly
as
the
unemployment
rate
continued to soar.
Thus, t h e U n i t e d S t a t e s
New
Wave a l s o a d o p t e d t h e u s e o f
leather,
s p i k e s and c h a i n s a s s y m b o l s o f s u r v i v a l .
D e t r o i t ' s R e c e n t New Wave
and t h e
Pretentious Aesthetic
Bars
The
ambiance of Todd's Bar i s f a r from t h e
rule-free
s o c i e t y atmosphere conveyed
by
Bookies.
The
New
Wave d a n c e
has
become
standardized,
as
has t h e look. Both
call
f o r t h e u s e o f t i m e l e s s f a s h i o n s t y l e s . The
architecture
of
Todd's
similarly
fuses
together once n e g l e c t e d a r t i f a c t s t o c r e a t e
a
a g e l e s s p r e s e n t t e n s e . The b a r a t T o d d ' s
is
a l s o a r t deco s t y l e , but i t i s not used
here
to
portray
abuse. I t i s , i n s t e a d ,
recalling
an a r c h i t e c t u r a l s t y l e t h a t
has
been
d i s c a r d e d . The i n t e r i o r
architecture
does
not
s t o p a t 1940. The r e d v i n y l
bar
stools,
b l a c k and w h i t e t a b l e s and
chairs
are
from t h e 1950's, t h e shag c a r p e t
from
the
1 9 6 0 ' s , and t h e d i s c o d a n c e f l o o r f r o m
the
1970's.
New
Wave
architecture
assimilates
and
s y n t h e s i z e s i n t o the
new
all
of
the
second r a t e m a t e r i a l s
which
scMiiety. h a s b e e n t a u g h t t o d e s p i s e o r
has
d i s c a r d e d b e c a u s e of f a s h i o n d i c t a t e s . T h i s
is
a
clear
example
of
the
pretentious
aesthetic.
D e t r o i t ' s E a r l y Punk B a r s
and t h e
Survival Aesthetic
In
1978,
B o o k i e s C l u b 870 was
the
place
where t h e
Punk r o c k e r s hung
out.
Inside
existed
a
s o c i e t y w i t h no r u l e s and
no
pretense
of n i c e t y or n o b i l i t y . T h e r e
was
nothing
an
i n d i v i d u a l could
do
to
be
noticed;
i f he w a n t e d t o d a n c e , he
danced
by
himself.
There
was
no
distinction
between
the
s e x e s , not even between
male
and
female restrooms.
The
architecture
similarly
displayed t h i s a t t i t u d e . Bookies
was
located
in a distressed area
in
the
midst
of
v a c a n t b u i l d i n g s , and
from
the
outside
appeared
t o be a v a c a n t
building
with
no
sign
or
lights.
There
was
no
evidence
o f l i f e i n t h e a r e a , and t h e o n l y
h i n t t h a t a p o t e n t i a l c u s t o m e r had was some
graffiti
on t h e s i d e o f t h e b u i l d i n g w h i c h
read, "Bookies sucks —
go t o N u n z i o ' s . "
Opposite
Pager
Top
Lili's:
Survival/Pretentious Wood B a r / R e d
V i n y l Bar S t o o l s ;
P o o l T a b l e / V i d e o Games;
Exposed J o i s t s / L a y - i n C e i l i n g .
The b a r was c i r c a 1940 u n r
t o r e d a r t deco.
However,
those
who
f re q u e n t e d
the
establishment
took
no
t i i > to
notice,
recognize
or a p p r e c i a t e i t s a r c h i t e c t u r e .
The f l o o r was b l a c k and w h i t i v i n y l w i t h no
differentiation
made f o r t h i d a n c e
f1oor.
The
d a n c e f l o o r was
s i m p l y an a r e a w i t h no
tables.
The few t a b l e s t h a t d i d e x i s t
had
no
c l o t h s , w e r e f o u r l e g g e id and
made
of
deeply
gouged
wood.
The
club
ge&ade
no
Opposite
Page^
Paycheck's:
With
The
T.V-
18
Bottom
"Punks F a l l
On."
Asleep
��The
New
Wave B a r s o f
to
the
conscious level.
It is a
totally
synthesized
environment
and
a
wonderful
example of t h e p r e t e n t i o u s a e s t h e t i c , which
i s a g a i n c o n t r a d i c t e d by t h e c h e r r y w o o d b a r
and
tables.
T h i s bar r e p r e s e n t s a
tight
weave between
the survival aesthetic
and
the
pretentious aesthetic.
It is
not,
however,
the
d i s t i n c t i o n between t h e
two
t h a t i s i m p o r t a n t , b u t r a t h e r how t h e y work
together.
Hamtramck
Hamtramck,
a Polish blue c o l l a r
community
inside
of t h e C i t y o f D e t r o i t , h a s l a r g e l y
been
the
victim
of t h e
auto
industry's
planned
obsolescence. I t i s here that
the
most
interesting
New
Wave b a r s
can
be
found,
bars
which
incorporate
both
the
survival
aesthetic
and
the
pretenious
aesthetic.
What
does
t h e New
archi tecture?
Wave mean i n
L e a r n i n g From t h e New
The b a r known a s P a y c h e c k ' s l o o k s , f r o m t h e
street,
l i k e the t y p i c a l neighborhood bar.
In
f a c t , i t i s , o r was, o r s o m e t i m e s s t i l l
is
a n e i g h b o r h o o d b a r . The c l u b i s b r o k e n
i n t o two d i f f e r e n t and d i s t i n c t s p a c e s . The
first
i s the bar a r e a which
incorporates
the
pretentious aesthetic.
The
bar
and
matching
t a b l e s a r e done i n t h r e e t y p e s o f
p l a s t i c l a m i n a t e , two p r e t e n d i n g t o be wood
and t h e t h i r d p r e t e n d i n g t o be l e a t h e r . Red
vinyl
bar
stools,
vintage
1950,
are
accented
by
tacky
fake
ferns
hanging
overhead.
R a i s e d a t t h e end o f t h e b a r
i s
t h e t e l e v i s i o n s e t - I t i s a l w a y s on.
terms
of
Wave
Holistic
a r c h i t e c t u r e i s c e r t a i n l y nothing
new.
Robert Venturi wrote C o m p l e x i t y
find
Contradiction
i n 1966, p o i n t i n g o u t
that
"both/and"
was
more
interesting
than
"either/or."
Furthermore,
the
survival
a e s t h e t i c i s n o t new.
The V i e n n e s e p a i n t e r
Hundertwasser
h a s s t a t e d t h a t i n 1920
the
pavement
and
w a l l s o f h o u s e s had
to
be
c o n s t r u c t e d smooth, b u t t h a t i n 1957 i t was
an
insanity
he c o u l d not u n d e r s t a n d .
He
felt
that
the
a i r r a i d s o f 1943
were
a
perfect
automatic
lesson
i n form,
that
s t r a i g h t l i n e s and t h e i r v a c u o u s s t r u c t u r e s
ought
t o h a v e b e e n blown t o p i e c e s , and s o
they
were.
He f e l t t h a t f o l l o w i n g
this,
transautomatism
should
normally
have
occurred,
but
s o c i e t y continued to
build
c u b e s , and h e a s k e d t h e q u e s t i o n , "Where i s
our c o n s c i e n c e ? "
The
s t a g e a r e a , the second d i s t i n c t space,
begins behind the t e l e v i s i o n with a chipped
and
c r a c k e d m a s o n r y w a l l . The 2 x 4
lay-in
ceiling
panels
a r e m i s s i n g and
only
the
metal
grid
r e m a i n s . The t a b l e s h e r e
are
basic
wood
i n s t e a d of f o r m i c a ,
and
the
ceiling
i s b i s e c t e d by a b r o k e n
concrete
beam. Two s t e e l c o l u m n s , t h r e e f e e t a p a r t ,
now h o l d up t h e b r o k e n s e c t i o n s . The e n t i r e
stage
area
seems t o imply
that
i t
has
survived
p u n i s h m e n t and i s a d e p i c t i o n
of
urban decay.
In
1980, B a r b a r a G l a d s t o n e s a i d t h a t
Punk
was
just
the
l a t e s t permutation
of
the
twentieth
century r a d i c a l impulse t h a t has
been
manifest i n futurism, constructivism,
dadaism,
s u r r e a l i s m , t h e Bauhaus, a b s t r a c t
e x p r e s s i o n i s m and pop a r t .
Lili's
Bar
i s i n t h e same community
and
appears
to
be j u s t
another
neighborhood
bar.
On weekend n i g h t s t h e f r o n t
entrance
is
c l o s e d t o p r o v i d e an a r e a f o r t h e band,
and
c u s t o m e r s must w a l k down a n a r r o w d a r k
alley
i n o r d e r t o e n t e r . The e n t r a n c e
is
full
of
g r a f f i t i , a c e l e b r a t i o n of
urban
decay
and
an e x p r e s s i o n o f
the
survival
aesthetic.
From
the decayed a l l e y ,
those
entering
are
suddenly
bombarded
by
unbelievably
loud
colors
and
patterns,
orange,
y e l l o w and brown v e r t i c a l s t r i p e s ,
and
paneling
with a red
cornice
running
into
r e d and l i m e g r e e n h o r i z o n t a l
bands.
The
floor
i s vinyl
tile
in
a
chevron
pattern
of
t e r r a c o t t a and b l a c k .
In
the
center
i s a pool t a b l e w i t h i t s g r e e n f e l t
top
b r i g h t l y l i t ; b a l l o o n s hang a b o v e
the
bar. S u b l i m i n a l s e n s o r y o v e r l o a d i s brought
In
1984, a l t h o u g h New Wave s e e m s t o be
on
its
way
o u t , i t may make u s e o f t h e
past
" i s m s " and be s i m i l a r i n n a t u r e t o pop a r t .
However,
i t i s v e r y d i f f e r e n t f r o m pop a r t
in
that
i t has a d e s i r e to represent i t s
time,
not
simply
to
mock o r
act
as
a
counter r e v o l u t i o n .
The
one
a s p e c t t h a t makes t h e
Hamtramck
bars
unique i s t h a t they a r e i n a constant
state
of
flux within a
fixed
framework,
with
the
survival
aesthetic celebrating
urban
decay
and a c t i n g a s t h e
framework.
The
t r u t h p o i n t e d o u t by H u n d e r t w a s s e r
in
1957
remains
t o d a y , f o r W o r l d War I I
was
not
t h e l a s t war, n o r i s t h i s
archtecture
20
�above
Paycheck's:
T r a n s i t i o n Between
B a r S( S u r v i v a l S t a g e A r e a .
Facing
Pretenious
Page
Lili's:
Weekend E n t r y Celebration
of Urban Decay - S u r v i v a l A e s t h e t i c .
limited
t o representing
just
war.
I t
represents
a l s o t h e element of d e s t r u c t i o n
»diich i s p r e s e n t i n a l l o f l i f e .
I ti s a
truth
i n urban
decay,
urban
renewal,
d e s t r u c t i o n f o r p r o g r e s s , and d e t e r i o r a t i o n
over
time.
I n f a c t , i t may b e t h e s i n g l e
constant of a r c h i t e c t u r e .
need
f o r a c o n s t a n t , what h a s h i s t o r i c a l l y
gone b e f o r e
(the s t a b l e , t h e s o l i d , t h e
worn
and w e l 1 u s e d ) , a s w e l 1 a s t h e e v e r
present
n e e d f o r moving on to^ keep up w i t h
s o c i e t y ' s c h a n g i n g v i e w s and a t t i t u d e s .
Whether
New
Wave i s i n o r o u t , t h e s e o l d
and
decrepit
bars w i l l continue t o
exist
under
the survival
aesthetic.
By t h e
application
of t h e pretentious
aesthetic
(the
u s e of cheap m a t e r i a l s such a s v i n y l ,
plastics
and p a i n t , which c a n be d i s c a r d e d
at
will),
they can remain i n a
constant
state
o f c h a n g e a n d make way f o r t h e new.
Thus, a t t h e same t i m e t h e y i n c o r p o r a t e t h e
Douglas Davis,
in
performance, s t a t e d t h a t
we a r e n a t u r e m a t r i x e d ,
the
artifices
of t h e
conditioned,
i n turn,
bequeathed by t h e p a s t .
21
writing
about
t h e p o i n t was t h a t
d e f i n e d a l w a y s by
moment, w h i c h i s
by t h e a r t i f i c e s
When we i n d u l g e i n
�this
fact,
he
said,
we
paradoxically
l i b e r a t e o u r s e l v e s and c u l t i v a t e d e l i g h t i n
those
w h o Match u s - New Wave a r c h i t e c t u r e
is
also
nature
matrixed.
The s u r v i v a l
a e s t h e t i c introduces t h e element of time a s
fashion,
thus
giving
architecture the
freedom
t o move on w h i l e a l l u d i n g t o t h e
past.
after
high
tech
and
post
modernism?
Perhaps
t h e answer l i e s i n an a r c h i t e c t u r e
that
i s h o l i s t i c and n a t u r e m a t r i x e d ,
an
architecture
which c r e a t e s t e n s i o n between
the
s u r v i v a l a e s t h e t i c and t h e p r e t e n t i o u s
aesthetic,
an a r c h i t e c t u r e t h a t i s i n a
state
of constant
change
within
a
framework,
an a r c h i t e c t u r e
which
will
liberate
u s from
t h e "now" i n o r d e r t o
create
something
t o t a l l y i n t e r e s t i n g and
different,
but which
will
be,
p a r a d o x i c a l l y , a l s o a p r o d u c t o f t h e "now."
In
a society that i sconstantly
changing,
where
i t i s impossible t o distinguish
a
single
l a s t i n g truth, the only
question
which r e m a i n s i s where w i l l a r c h i t e c t s t u r n
22
�THE
PROCESSION O F PHILIP J O H N S O N
by Greg C r o c k e t t
Philip
Johnson;
maybe no o t h e r
name i n
architecture
evokes such d i s p a r a t e images.
There's
t h e P h i l i p J o h n s o n who
introduced
the
International
Style
to
the United
States,
and
t h e P h i l i p J o h n s o n who,
some
t h i r t y y e a r s l a t e r , p r o n o u n c e d t h e d e a t h o-f
Modern a r c h i t e c t u r e .
There's the
Philip
Johnson
who
more
than
anyone
helped
establish
t h e a e s t h e t i c and v o c a b u l a r y o-f
Mies
van d e r Rohe, and t h e P h i l i p
Johnson
who
more t h a n a n y o n e , e x c e p t p e r h a p s L o u i s
Kahn,
l e d t h e way away -from
the Miesian
style.
And i n t e r m s of a s s o c i a t e d
works,
there
i s t h e P h i l i p Johnson of
the
New
Canaan
Glass
House ( 1 9 4 9 ) and t h e
Philip
Johnson
of
t h e ATScT B u i l d i n g i n New
York
(1978).
However,
these
seemingly
contradictory
images
are
not
really
contradictory
a t a l l , r a t h e r , when
viewed
in
p e r s p e c t i v e , t h e y a r e t h e r e s u l t of
an
artistic
search,
and
a
logical
and
i n t e l 1 e c t u a l development.
Johnson
graduated
from
Harvard
with
a
Bachelor
o f A r c h i t e c t u r e D e g r e e i n 1943 a t
the
age
of
thirty-seven.
I n 1946,
he
r e t u r n e d a s D i r e c t o r of A r c h i t e c t u r e a t t h e
Museum o f
Modern
Art,
a
post
he
had
p r e v i o u s l y h e l d f r o m 1930 t o 1936.
Philip
Johnson's
c a r e e r began a t H a r v a r d
University,
where he s t u d i e d t h e
classics
from
1923 t o 1930.
During t h i s p e r i o d , he
met A l f r e d B a r r who was t e a c h i n g modern a r t
there.
T h r o u g h B a r r , he met H e n r y - R u s s e l l
Hitchcock
w i t h whom he would l a t e r
travel
to
Europe t o i n v e s t i g a t e t h e I n t e r n a t i o n a l
Style
f o r a show a t t h e Museum o f
Modern
ArtJohnson r e t u r n e d t o Europe i n
1928.
On
that
v i s i t , he met M i e s v a n d e r
Rohe,
Walter
Gropius, Le Corbusier, J.J.P.
Oud,
and
Andre L u r c a t .
His enthusiasm f o r the
new
a r c h i t e c t u r e o f t h e s e men was s o g r e a t
that
he d e c i d e d t o r e t u r n t o H a r v a r d , t h i s
time
t o t h e G r a d u a t e S c h o o l of D e s i g n .
At
the
time Johnson
returned,
Gropius
and
Marcel
B r e u e r had become t h e h e a d s o f
the
School of D e s i g n .
Where
i t i s instinctly logical to
compare
the
G l a s s House w i t h t h e F a r n s w o r t h House,
it
would a p p e a r t h a t upon c l o s e a p p r a i s a l ,
the
totally
glazed walls are a l l the
two
homes h a v e i n common.
I n J o h n s o n ' s house,
there
i s no
central
core
as
i n the
Farnsworth
House, r a t h e r , t h e c h i m n e y
and
bathroom
are contained i n a c i r c u l a r brick
silo
which
was i n d e e d i n s p i r e d by a
farm
silo
according
to the designer.
Where
Mies'
house
i s rational
articulation
of
form,
Johnson's
i s
self
effacing
and
d e p a r t s f r o m M i e s ' . e x p r e s s i o n of s t r u c t u r a l
logic.
I t i s indeed the
less
obvious
s t r u c t u r a l f r a m e and t h e more membrane l i k e
q u a l i t y of t h e w a l l s which p r o v i d e , " . . . t h e
visual
framework
f o r a s e r i e s of
spatial
experiences
of
greater
subtlety
and
complexity."(3)
In addition, the
house
in
New C a n a a n i s merged w i t h i t s s e t t i n g .
The
yard
actually
becomes p a r t
of
the
living
room, a s opposed t o t h e F a r n s w o r t h
House w h i c h
i s p e r c h e d on
i t s columns.
There
also
e x i s t s i n Johnson's
house
an
almost formal P a l l a d i a n c r o s s a x i a l i t y .
It
is
these
two a s p e c t s of t h e G l a s s
House,
the
c i n q u e c e n t o symmetry and t h e W r i g h t i a n
flow
of
inside
and o u t s i d e
space,
that
f i r s t r e v e a l Johnson's s u b t l e h i s t o r i c i s m .
By
1940,
Johnson
had
already
become
critical
of
the s t r i c t
functionalism
of
Gropius.
In fact,
he
was
much
more
i n f l u e n c e d a t H a r v a r d by B r e u e r and a l s o by
the
rational
works
of M i e s .
Johnson's
first
work,
which
he b u i l t
for
himself
while
still
in
school,
reflects
p a r t i c u l a r l y the earth-hugging court-houses
of
Mies' l a s t European domestic d e s i g n s i n
which t h e l i v i n g s p a c e s were o r i e n t e d about
a secluded courtyard.(1)
"'I
t h i n k i t i s one o f t h e most
important
buildings
i n America.'
Thus s a i d
Vincent
Scully,
one
of t h e f o r m o s t
architectural
critics
i n t h e U n i t e d S t a t e s , of J o h n s o n ' s
Glass
House
i n New
Canaan,
Connecticut
(1949)."(2)
W h i l e i t was i n i t i a l l y
the
sketches
of
M i e s ' F a r n s w o r t h House
which
Johnson
had s e e n i n 1945 t h a t most c r i t i c s
compared
h i s G l a s s House t o , t h e r e
were
perhaps
a s many,
if
not
more,
other
influences
attributable
to
the
design.
Johnson
g a v e t h e G l a s s House many s o u r c e s ,
including
Le
Corbusier,
Karl
Friedrich
S c h i n k e l and M i e s .
23
�clear
implications
f o r Johnson.
He
felt
that,
"The d u t y o f t h e a r t i s t i s t o s t r a i n
against
the existing style."(8)
If this
notion
were
known
to
more
uninformed
critics
who
characterize
Johnson
as
a
c h a m e l e o n who i s c h a n g i n g c o l o r s w i t h e v e r y
new
style,
p e r h a p s t h e y would
appreciate
the
fact
t h a t h e h a s u s u a l l y been one
of
t h e f i r s t t o e x p l o r e new e x p r e s s i o n s .
In
the Glass
House,
which
i s usually
r e g a r d e d a s b e i n g o-f J o h n s o n ' s M i e s p e r i o d ,
there
already
are
evident
leanings
in
Johnson's
design
bent.
There
is a
r e j e c t i o n o-f s t r u c t u r a l c l a r i t y i n f a v o r o f
surface
treatment.
There i s a
sensitive
s i t i n g which h e r a l d s Johnson's p r o c e s s i o n a l
e x p e r i e n c e , and t h e r e i s t h e h u m a n i z i n g and
rather
American
r e - i n t e r p r e t a t i o n of
the
cold
r a t i o n a l e of t h e I n t e r n a t i o n a l S t y l e .
In
t h i s s e n s e , t h e h o u s e becomes c r i t i c i s m
(Johnson's
f o r m e r , o c c u p a t i o n ) and somewhat
manneriStic.
This
ambiguity
i s well
d e s c r i b e d by D e n i s e S c o t t Brown:
The
decade
of t h e s i x t i e s
found
Johnson
straining
against the existing style.
In
the
Munson-Williams-Proctor
Institute
Building,
U t i c a , Ne*'. Y o r k ( I 9 6 0 ) , u n d e r
a
Miesian-like
skin
lies
a
traditional,
classicising
design
expressed
i n modern
forms
and d e t a i l s .
This building captures
an
a n c i e n t m o n u m e n t a l i t y •tfhich i s t o t a l l y
a l i e n t o M i e s ' Crown H a l l a t I I T i n C h i c a g o
(1952),
even
though both b u i l d i n g s
share
some o f
t h e same b a s i c
elements,
most
notably
the
large external girders
which
support
the roofs.
Mhere Crown
Hall
continues
i n the
Miesian tradition
of
universal
s p a c e , even between i n s i d e
and
o u t s i d e , J o h n s o n ' s b u i l d i n g becomes m a s s i v e
and
compartmentalized.
Entrance
to
the
P r o c t o r I n s t i t u t e i s gained through a small
p o r t a l , f u r t h e r emphasizing the d i s t i n c t i o n
between
inside
and o u t s i d e .
But
perhaps
the
most
s i g n i f i c a n t a s p e c t of
Johnson's
d e s i g n i s t h e i n t r o d u c t i o n of t h e n o t i o n of
procession,
of a r c h i t e c t u r e e x i s t i n g a s
a
function
of
time,
motion,
and
changing
perceptionT h i s i s a c c o m p l i s h e d by
the
transistion
i n the
entrance,
the
distinction
of
spaces,
and
the
grand,
romantic
staircase
descending
into
the
central
hallT h i s n o t i o n of
procession
was
explored
a t t h e G l a s s House and
was
achieved
by
a
sensitive
siting
of
the
building
which
c o n t r o l l e d t h e way i t was
p e r c e i v e d a s i t was a p p r o a c h e d -
The
black
steel
columns
of
Johnson's
house, l i k e t h e
rounded
and
subtlely
proportioned marble
columns
of a Greek temple, s u g g e s t
the
human body.
An
unusual
oscillation
i n our a s s o c i a t i o n s
between
a
machine
rationality,
which
we l i n k t o s t e e l and
glass,
and
a
warm
humanity,
which
we
relate
to
antique Mediterranean
classicism
—
gives force to
this
a r c h i t e c t u r e , a s i t d o e s t o some o f
the
early
modern
work
of
Le
Corbusier.
I t also suggests that
Johnson forms t h e l i n k between Mies
and
Louis
Kahn
of
the
Richards
Medical L a b s . ( 4 )
It
i s i n t e r e s t i n g t h a t Ms.
Brown s h o u l d
make t h e o b s e r v a t i o n a b o u t Kahn,
because
Johnson
was
profoundly affected
by
the
R i c h a r d s L a b s . He f o u n d i n them:
...new s c u l p t u r a l
architecture,
design
elements that s u r p r i s e d
us
all.
I t was t h e f i r s t
building
t h a t shook my f a i t h i n s t r i c t g l a s s
box
architecture.
Kahn showed
us
the
route
to
freedom
from
the
International Style.(S)
At
t h e Sheldon
Art Gallery
in
Lincoln,
Nebraska, (1963), Johnson produced p r o b a b l y
his
most e l e g a n t b u i l d i n g t o d a t e Again,
he
h a s t a k e n t h e o p p o s i t e r o u t e of M i e s by
combining
formerly
articulated
elements
into
a s c u l p t u r a l whole.
The r e s u l t a g a i n
is
a
c l a s s i c expression
in
contemporary
forms.
T h e r e r e m a i n s a f e e l i n g of column,
c a p i t a l , and e n t a b l a t u r e , y e t t h e y h a v e a l l
been
combined
into
one
supple,
plastic
form.
T h i s i d e a i s a l s o c a r r i e d over i n t o
the
walls,
normally
discrete
elements,
w h i c h f l o w i n t o one a n o t h e r The r e t e n t i o n
of
a
s t y l o b a t e and p o r t i c o and t h e
grand
interior
staircase
demonstrate
Johnson's
on-going
concern f o r
the
processional
element-
The
late
1950's
and
early
1960's
saw
Johnson
effecting
a r e a l break
with
the
International
S t y l e , though he n e v e r would
leave
i t totally
behind.
Being
a
generation
younger
than
the
1920's
designers,
he
had
the
advantage
of
a
h i s t o r i c a l p e r s p e c t i v e on t h e I n t e r n a t i o n a l
Style.
To some, t h i s would b e h i s g r e a t e s t
claim
t o fame a s a l e a d e r .
Eugene J .
Johnson
claimed, "Perhaps
the
greatest
contribution
t h a t P h i l i p Johnson has
made
to
t h e whole p e r i o d i s h i s l e a d e r s h i p
in
the
v a n g u a r d o f t h o s e who l o o k b a c k . " ( 6 )
This
a p p a r e n t dichotomy, t h e proponent
of
the
non-antecedent
International
Style
versus
the
emerging
historicising
monumentalizer, i s not c o n t r a d i c t o r y a t a l l
when v i e w e d
from
the
perspective
of
Johnson's
n o t i o n of a r c h i t e c t u r e .
Johnson
saw a r c h i t e c t u r e a s a r t , a s n o t n e e d i n g a n y
other
validity
or
reference
to
other
disciplines.(7)
B e i n g an a r t i s t had v e r y
The
remainder
of t h e 1 9 6 0 ' s g a v e
Johnson
some o f h i s l a r g e s t c o m m i s s i o n s s u c h a s t h e
New
York
S t a t e T h e a t e r i n New Y o r k
City,
( 1 9 6 4 ) > t h e New Y o r k S t a t e P a v i l l i o n a t t h e
24
�and
s e r v e s not o n l y a s shopping m a l l ,
but
also
a s e n t r a n c e t o t h e complex and
hotel
lobby.
As P a u l G o l d b e r g e r p u t i t :
W o r l d ' s F a i r i n F l u s h i n g , New Y o r k , ( 1 9 6 4 ) ,
and
the
extension
o-f t h e
Boston
Public
Library
(1967).
Once a g a i n , h o w e v e r , i t
was
a
p r o j e c t a t h i s New
Canaan
estate
which
was t o become t h e b a s i s -for
ensuing
projects
i n the next decade.
T h i s seminal
project
was
the
underground
sculpture
gallery.
Here,
a s he o-f t e n d i d
at
New
Canaan,
Johnson s t a r t e d experimenting
with
new
f o r m s and e l e m e n t s .
T h i s time i t
was
with
p r o j e c t i n g diagonal forms, greenhouse
roofs,
and
t h e p l a y of l i g h t and
shadow.
These
experiments,
which
led
to
an
exquisite
space i n the s c u l p t u r e
gallery,
were t o
be
the harbingers
of
three
of
J o h n s o n ' s most
s u c c e s s f u l and
monumental
projects,
the
IDS C e n t e r i n
Minneapolis,
Minnesota,
the Pennzoil Place in
Houston,
Texas,
and t h e C r y s t a l C a t h e d r a l i n O r a n g e
County, C a l i f o r n i a .
The
courtyard
h a s become one
of
downtown
Minneapolis' focal points
since
i t s completion.
It is,
really,
all a
good
urban
space
should
be:
a clear,
processional
entrance
to
the
buildings
s u r r o u n d i n g i t , y e t an i d e n t i f i a b l e
space
i n i t s e l f ; f u l l of l i f e
and
activity,
but
not
too
busy
or
f u s s y ; and l a r g e enough t o c r e a t e a
sense
of
grand c i v i c
scale,
yet
able
to
relate
well
to
the
neighborhood around i t . ( 1 1 )
In
Houston, t h e P e n n z o i l P l a c e , l i k e
IDS,
fills
the s i t e .
However, h e r e t h e
formal
variation
i s two t r a p e z o i d a l t o w e r s f a c i n g
each
other
with a ten foot
slit
between
them.
They a r e j o i n e d o n l y a t s t r e e t l e v e l
where
a
huge a t r i u m c o u r t y a r d c o v e r s
the
rest
of t h e s i t e .
The t o p s of t h e
towers
are
slashed
off
in
steep
diagonals
producing
a
g a r r e t l i k e s p a c e on t h e
top
ten f l o o r s .
The b u i l d i n g p r o v e d s o p o p u l a r
t h a t t h e o w n e r s a s k e d t h e a r c h i t e c t s t o add
two more f l o o r s a s i t was b e i n g c o n s t u c t e d .
Both
the
Pennzoil
B u i l d i n g and
the
IDS
complex
are
s p i r i t u a l d e s c e n d e n t s of
the
Seagram
B u i l d i n g (1959) w i t h which Johnson
collaborated
with Mies.
E s s e n t i a l l y , what
Johnson
did
was
to
take
the
Seagram
building
w i t h i t s e x t e r n a l p l a z a and
turn
i t i n s i d e out.
A proper
preamble
to the
d i s c u s s i o n of
these
b u i l d i n g s would
seem
to
be
the
concepts
which
t h e a r c h i t e c t was
dealing
with
p r i o r t o t h e i r development.
Johnson
felt:
Architecture
i s surely
not
the
design
of s p a c e , c e r t a i n l y n o t t h e
massing
o r o r g a n i z i n g of
volumns.
These
are
ancillary
to
the
mainpoint which i s t h e o r g a n i z a t i o n
of p r o c e s s i o n .
Architecture exists
only
i n t i m e . . . (and
t h e ) . . . beauty
lies
i n how
you
move
into
the
space.
(And
such,
they)...are
positive,
not
negative
virtues
which
are
basic
to
the
entire
d i s c i p l i n e of t h e a r t . ( 9 )
In
regard
states:
to present directions,
When R e v e r a n d
S c h u l l e r sought out
Philip
Johnson
t o b u i l d h i s c h u r c h , he g a v e him a
program,
"...to
create a
structure that
would
be
a l i v i n g f o r m of a r t . A
truely
beautiful
p l a c e s o i t would a t t r a c t p e o p l e
and
i n s p i r e them t o b u i l d b e a u t i f u l
lives
and
beautiful
fami 1 i e s . " ( 1 2 )
He
e s s e n t i a l l y g o t what he w a n t e d . The C r y s t a l
Cathedral,
a s i t h a s come t o be known, h a s
been
referred
to
as
the
embodiment
of
nature
and
light.
The
structure i s
composed
of
carefully
detailed
space
frames,
p a i n t e d w h i t e , and e n t i r e l y g l a z e d
with
over
10,000
lights
of
reflective
glass.
The C r y s t a l C a t h e d r a l a c h i e v e s what
Johnson
set
out t o accomplish,
namely
a
s e n s e o f b o t h g r a n d e u r and i n t i m a c y . " I t ' s
a
room
w i t h l i t t l e c o r n e r s w h e r e you
can
cuddle,
and y e t i t ' r a room a s b i g a s
the
Colosseum
i f you
need
that
kind
of
space."(13)
Johnson a c h i e v e d i n t i m a c y i n
this
c a v e r n o u s s p a c e (400 f t . x 200 f t . x
120
f t . h i g h ) by m a n i p u l a t i n g s c a l e i n
a
pinched
diamond c o n f i g u r a t i o n , and s l o p i n g
balconies
in a
centralized
space
which
would
probably
h a v e made B r a m a n t e
proud.
Robert
Fischer
described the building in
A r c h i t e c t u r a l Record t h u s l y :
Johnson
We
a r e experimenting with shape a s
much
as
anything
else
doing
sculpture,
I admit.
I've
lost
interest
in playing a l l that
much
with
the
surface i t ' s formal
variations
which
interest
me
now.(10)
So,
what
are
these
formal
variations?
Essentially
i t i s an a t t e m p t t o b r e a k
out
of t h e v e r n a c u l a r of t h e box.
At IDS, t h i s
was
accomplished
by
setting
back
the
corners
of
the
fifty-five
story
office
tower
and t h e h o t e l , r e s u l t i n g n o t o n l y i n
a
much more v i s u a l l y i n t e r e s t i n g b u i l d i n g ,
but
also
i n the very p r a c t i c a l e f f e c t
of
having
t h i r t y - t w o c o r n e r o f f i c e s and h o t e l
rooms on e v e r y f l o o r i n s t e a d of t h e
usual
four.
The
zig-zag
c o r r i d o r s become
i n t e r e s t i n g s p a c e s i n t h e i r own r i g h t .
But
the
most
successful
aspect
of
the
IDS
complex
i s the
covered
courtyard,
affectionately
called
the C r y s t a l
Court.
The C o u r t h a s become a s y m b o l i c c i v i c s p a c e
25
�BIBLIOGRAPHY
In
truth,
the
building
is
extraordinary
architecture:
with
its
magic of l i g h t and
structure,
it
i s a b u i l d i n g t h a t r e a c h e s out
t o p e o p l e and t h a t p e o p l e r e a c h o u t
to
a
f a i r litmus t e s t
of
any
serious
piece
of
architecture.(14)
" A r c h i t e c t ' s R e t r e a t . " Architectural
January 1983,pp. 114-117.
"Art
Under Glass."
pp.
118-121.
Vogue, 1 2 6 A u g u s t
Broun, Denise S c o t t .
" H i g h B o y - The
Eclectic."
S a t u r d a y Review, 6 M a r c h
pp.
54-58.
Davis,
Douglas.
Newsweek, 96 O c t o b e r
Fischer,
Robert
E.
Architectural
Record.
77-85.
"The Crystal
1 6 8November
Frampton,
Kenneth.
Critical
History.
Press, 1980.
Goldberger,
Paul.
Architectural
Forum,
37-51.
Modern
NeM York:
P h i l i p Johnson,
<6>N.
Sanderson,
International
Contemporary
Development
in
(Mestport, Conneticut:
Greennood
105.
<7)BroMn,
^'High
Boy...,"
($>"Lessons From
5, 1 9 7 8 p . 5 3 .
Hitchcock,
Art,
4th
1977.
York:
Under
'43.
Time,
Johnson,
NeM
York:
Handbook o-f
Architecture
Press, 1981}, p.
Home."
Time,
NeM
York:
3rd
ed.
by
Monumeiits."
1 9 7 3 ,
pp.
September
Time,
Marl i n ,
Milliam.
Architectural
Forum,
26-36.
"Philip
January
1 3 8
7 6 September
Noble,
Charles.
P h i l i p Johnson.
Simon a n d Schuster, 1 9 7 2 .
Smith,
C. R a y . S u p e r m a n n e r i s m .
Button, 1977.
Cathedril,"
5,
Johnson."
1 9 7 3 ,
pp.
NeM
NeM York:
York:
E.P.
Smith,
Herbert L. "Four Just Completed B u i l d i n g s
by
P h i l i p Johnson."
A r c h i t e c t u r a l Record, 1 4 6
December 1 9 6 9 , pp. 87-96.
(13) Robert
E. F i s c h e r , " T h e C r y s t a l C a t h e d r a l , "
A r c h i t e c t u r a l Record, 1 6 8 N o v e m b e r 1 9 8 0 , p . 7 9 .
(14) lbid.,
"Beyond
1 3 8
January
"Lessons
From The Past."
1969, pp. 52-55.
"The Crystal
6, 1 9 8 0 , p . 9 7 .
a t
Designer."
Philip.
M i e s v a n d e r Rohe,
Museum o f Modern A r t , 1 9 7 8 .
Johnson,
Philip.
Architectural
Forum,
51-53.
p .5 5 .
(12>Douglas
Davis,
Newsweek, 96 O c t o b e r
Philip.
Norton
Johnson,
Philip.
"Me S h a l l N o t B e T h a n k e d
Posterity."
Fortune, 7 4 J u l y 1 , 1 9 6 6 , p . 6 8 .
Goldberger, " P h i l i p Johnson's
Eminent,
Practical
Morld,"
Smithsonian, 5
1 9 7 5 , p .5 4 .
( I D I b i d . ,
"The Duke o f Xanadu
2 6 , 1970,pp. 82-83.
Jacobus,
John
M.
P h i l i p Johnson.
George B r a z i l l e r Inc., 1962.
(9>Paul
Goldberger,
"Form
a n d Procession,"
A r c h i t e c t u r a l Forum, 1 3 8 J a n u a r y 1 9 7 3 , p . 4 8 .
(lO)Paul
Elegant,
February
Johnson's
Eminent,
Smithsonian.
5
T h e P e l i c a n H i s t o r y o-f
Penguin
Books I n c . ,
Hughes, Robert.
"The Maverick
1 1 3 J a n u a r y 8, 1 9 7 9 , p . 5 6 .
making
of
17, 1979,
Monuments,"
1 9 7 3 , p .5 2 .
7 6
Procession."
1 9 7 3 ,
pp.
and
Johnson,
NeM York:
M.M.
Henry-Russell.
ed.
NeM York:
Hughes,
Robert.
T i m e , 96 O c t o b e r
p .5 7 .
t h e Past,"
Architecture
A
Oxford
University
Goldberger,
Paul.
" P h i l i p Johnson
a t 70. Enfant
Terrible
a n d Elder Statesman."
A r t News, 7 5
Summer 1 9 7 6 , p p . 127-129.
p .2 6 .
(5)Philip
Johnson,
"Beyond
A r c h i t e c t u r a l Forum, ^ J ^ J a n u a r y
Cathedral."
1 9 8 0 ,
pp.
"Form
and
1 3 8
January
Hitchcock,
Henry-Russel1
The I n t e r n a t i o n a l S t y l e .
and Co. I n c . , 1 9 6 6 .
< 4 > D e n i s e S c o t t B r o u n , " H i g h B o y - The
a n E c l e c t i c , " S a t u r d a y Review, 6 M a r c h
p. 5 5 .
Cathedral."
Fleming,
John.
The
Penguin
Dictionary
o-f
Architecture.
Baltimore, Maryland:
The
Penguin
Book Co. I n c . , 1 9 6 6 .
ENDNOTES
(3>Jacobus,
Donntomn
January
M a k i n g of a n
17,
1 9 7 9 ,
"The
Crystal
6, 1 9 8 0 . p . 9 7 .
Goldberger,
Paul.
"Philip
Elegant,
Practical
Morld."
February 1975,pp. 48-55.
(2)Calvin
Tompkins,
"Prof iles
Forms
L i g h t , " New Y o r k e r , 5 3 N a y 2 3 , 1 9 7 7 , p .
1, 1 9 5 5 ,
Barnett,
Jonathan.
"Designing
Pittsburgh."
A r c h i t e c t u r a l Record, 1 7 0
1982, pp. 90-107.
Philip
Johnson
may
n o t be
the
creative
juggernaut
that Le Corbusier, Frank
Lloyd
Wright,
or
even
Mies were,
but
he
was
instrumental
i n d i s t i l l i n g t h e works
of
many g r e a t
creators
to
a
monumental,
vernacular
form, w h i c h , i n many c a s e s , h a s
filled
some g a p i n g h o l e s i n t h e s e m i n a l
works
of
t h e m a s t e r s . He h a s
in
effect
often
been a t r a n s l a t o r o f a l a n g u a g e many
people
a r e unable
t o s p e a k , and
he
has
performed
t h i s task with immeasurable
wit
and
consumate
t a s t e . S t y l e s may come
and
styles
may
go, b u t one t h i n g r e m a i n s
the
same:
" A f t e r a l l , w i t h a l l t h e movements,
the
a r c h i t e c t ' s duty r e a l l y h a s n ' t changed
- and t h a t i s t o c r e a t e b e a u t i f u l
buildings
for people t o f e e l better i n . "
( D J o h n M. J a c o b u s ,
P h i l i p J o h n s o n (NeM
George B r a z i l l e r I n c . , 1962), p . 2 5 .
Record, 1 7 1
Sanderson,
M.
International
Handbook o-f
Contemporary
Developments
in
Architecture.
Mestport, Conneticut:
GreenMOod Press, 1 9 8 1 .
p. 7 8 .
"Recent
Morks o f P h i l i p Johnson."
Record, 1 3 2 J u l y 1 9 6 2 , p p . 1 1 3 - 2 8 .
Tompkins,
Calvin.
" P r o f i l e s - Forms
New Y o r k e r , 5 3 M a y 2 3 , 1 9 7 7 , p . 4 3 .
26
Architectural
Under
Light."
�M A N A N D MACHINE
by Rick W h i t n e y
He s l o w l y w a l k e d a r o u n d t h e b a s e o-f t h e new
cathedralI t s s h a p e was o u t l i n e d a g a i n s t
the s e t t i n g sky? i t s massive stonework j u s t
b e g i n n i n g t o r i s e -from t h e g r o u n d , c l i m b i n g
up
the
slender
timber
framingThe
builders
had gone f o r t h e day l e a v i n g
him
alone
to
examine
its
progressHis
experienced
eye ran over t h e stone, n o t i n g
w i t h a p p r o v a l t h e p r e c i s i o n i n w h i c h i t had
been f i t t e d -
He
continued t o walk, s e n s i n g t h e c a r e
so
necessary
to
t h e c r a f t s m a n ' s work;
even
more i m p o r t a n t i n t h a t i t was a h o u s e
for
the
w o r s h i p of t h e L o r d He u n r o l l e d
the
etching
of
t h e main e n t r a n c e p o r t a l
that
had
been t u c k e d u n d e r h i s arm.
He s t o p p e d
to
compare
i t to
the
nearly
finished
sculpture,
i t s shadows c a s t d e e p l y i n
the
fading
glowI t s ornate
facade
radiated
majesticallySoon
a spire
would
rise
above t h e
r o o f t o p s t o r u l e over the
town
and
to
proclaim
its
p l a c e under
the
heavens.
He c o n t i n u e d t o
gaze,
feeling
deep
i n s i d e t h a t i t was r i g h t ; i t a n s w e r e d
to
J e s u s C h r i s t , t h e C h u r c h , and t h e townS u r e l y i t would be t h e p l a c e o f w o r s h i p t h e
town needed; s a c r i f i c e o f t h e i r h a n d s .
Abruptly,
he woke f r o m h i s v i s i o n and made
to
leaveHe r o l l e d up t h e e t c h i n g a s
he
began
t o w a l k down t h e s t r e e t He
turned
to
view
the cathedral again, the
timbers
outlined
a g a i n s t the n e a r l y faded skyHe
realized
w i t h awe t h a t he w o u l d n ' t l i v e t o
see
the
c o m p l e t i o n of t h i s , h i s
mentor's
most i m p o r t a n t work-
He
r o s e from h i s hunched p o s i t i o n o v e r
terminal, s t r e t c h e d h i s s t i f f e n e d limbs
viewed
h i s d r a w i n g , an e l e v a t i o n of a
churchThe
e n t i r e s e a of
draftsmen
hife
and
new
was
Cathedral
27
D r a w i n g By J e f f
Stebar
�swimming
with
a c t i v i t y because
the
firm
would
soon
be
s e n d i n g out t h i s
job
for
bids.
I t a l l h a p p e n s s o f a s t , he t h o u g h t ;
there's
no t i m e t o f u l l y u n d e r s t a n d
every
step
t h e b u i l d i n g had been t h r o u g h Even
being
an
a r c h i t e c t on t h e j o b ,
he
could
o n l y t h i n k of t h e b a s i c s t e p s of t h e d e s i g n
that
had h u r r i e d l y come and gone.
No t i m e
for
details,
push
it
through---1ime
c o n s t r a i n t s - - - phantom
budget.- - He
sighed
and
continued p l o t t i n g
the
lines
t h a t would d e t e r m i n e t h e main e n t r a n c e It
is
a
good
d e s i g n , he t h o u g h t It
was
amazing
how q u i c k l y t h e y had come up
with
the
design solutionOne w o u l d t h i n k t h a t
we
s h o u l d h a v e s p e n t more t i m e on i t t o do
it
j u s t i c e , he t h o u g h t What we h a v e i s
really
good
though,
at
least
on
this
computer image.
He wondered how t h e d e s i g n c o n t i n u e d t o t h e
interior;
maybe c h e c k W i t h t h e d e s i g n e r t o
s e e what he had come up w i t h -
As
the
afternoon turned i n t o evening,
he
added
the
f i n a l d e t a i l s and l e t t e r i n g
to
finish
the
drawingAs he r o s e from
his
work
s t a t i o n , he g l a n c e d o u t t h e window t o
see
t h e s i l h o u e t t e of t h e o l d c a t h e d r a l i n
the
distanceIt
still
claimed i t s
celebrated
r u l e o v e r t h e r o o f s of t h e
old
townAs
always
he
marveled
at i t s
artistic
detail
and
image
and
how
it
established
a
u n i q u e q u a l i t y of p l a c e ;
a
work of i n f i n i t e d e p t h .
He wondered i f i t s
p r o c e s s of c r e a t i o n had been a s c o m p l i c a t e d
as
this project's creationA l a s , he knew
the
answer.
He l o o k e d a t
h i s terminal
againWas i t r e a l l y a good
design?
He
l o o k e d o u t t h e window a g a i n and mused-
�PLANNING FOR H U M A N SETTLEMENTS
by Stavroula Psarakis
He
began
teaching
this
study
of
human
settlements
during
t h e S e c o n d World
War,
and
i t became
the
basis for
Greece's
r e c o v e r y p l a n a f t e r t h e war.
All sectors industry,
agriculture,
transportation,
communications,
housing,
education —
are
seen
as
m a n i f e s t a t i o n s of one t h i n g ,
the
life
of man i n h i s n a t i o n , r a t h e r t h a n
as
seperate parts.
On
a r e c e n t t r i p t o A t h e n s , I was
invited
to
visit
an a r c h i t e c t u r a l o f - f i c e t h a t
is
nestled
in a
hillside
overlooking
that
energetic
cityAs
I approached
the
b u i l d i n g , I n o t i c e d a s i g n which read:
DOXIADIS ASSOCIATES INTERNATIONAL
C o n s u l t a n t s on D e v e l o p m e n t and E k i s t i c s These
words w e r e n o t f a m i l i a r t o me,
and
thus
my
curiousity
was
aroused.
I
proceeded through the e n c l o s e d c o u r t y a r d t o
the
front
doorAs I f o u n d o u t l a t e r ,
I
had
e n t e r e d t h e a t e l i e r of one of t h e most
brilliant
a r c h i t e c t s and c i t y p l a n n e r s
of
this
century.
T h i s i s t h e h e a d q u a r t e r s of
the
late
Constantinos Apostolos
Doxiadis
(1913-1975) and h i s s t a f f .
P h i l i p Deane, f o r m e r D i r e c t o r of t h e U n i t e d
Nations
Information
C e n t e r and a u t h o r
of
Doxiadis'
biography
analyzes
Doxiadis'
clear1y:
The p r e s e n t i s a t i m e of e x p l o s i o n s
—
population,
energy, economic
—
which cause u n c o n t r o l l a b l e changes.
Human
settlements
suffer
from
a
lack
of
understanding
of
these
greatly
complex
explosions.
For
this
reason,
Doxiadis
tried
to
develop e k i s t i c s which i s a s c i e n c e
rooted
in
t h e knowledge from
the
p a s t and of t h e p r e s e n t . ( 2 )
Doxiadis,
a son of a p h y s i c i a n , was g u i d e d
i n h i s work by h i s s e n s i t i v i t y t o t h e human
condition.
H i s f a t h e r s e t a prime example
f o r him t o f o l l o w .
I n D o x i a d i s ' own w o r d s :
I
saw e v e n t u a l l y t h a t (my
father)
had g i v e n a l l h i s l i f e t o t h e c a u s e
of
s a v i n g manT h i s h e l p e d me
to
understand
that
merely
building
walls
i s not i m p o r t a n t u n l e s s
the
building
has
a meaning
for
manThat
i s why
I
have
turned
increasingly
towards planning
for
the
human
settlement rather
than
designing
buildings
or
studying
traffic
patterns
- the
important
word
i s "human", b o t h i n
defining
the
s u b j e c t of
one's
work
and
qualifying
the goal towards
which
we s h o u l d g o . ( 1 )
Doxiadis
spent
t h i r t y - f i v e years
of
his
life
d e v e l o p i n g t h e s t u d y of e k i s t i c s He
defines
w i t h i n i t f i v e e l e m e n t s of a c i t y :
NatareZ
t h e c o n t a i n e r ; Man:
settles
in i t ; S o c i e t y :
formed by man;
Shells:
houses
and
buildings
created
by
man;
NetNorks:
water supply, roads,
powerHe
f u r t h e r d e f i n e s t h r e e t y p e s of
citiesThe f i r s t i s D y s t o p i a w h i c h i s d e r i v e d from
the
Greek
—dys—
meaning
difficulty
or
evil,
and -topos-,
meaning p l a c e Most
modern
cities
are
in this state
at
the
presentThe s e c o n d i s U t o p i a w h i c h means
ideal
and i m a g i n a r y c i t y T h i s s t a t e does
not
physically .existThe
final
one,
Entopia,
means " i n - p l a c e " . D o x i a d i s f e e l s
this
can e x i s t . ( 3 )
I t i s a condition in
w h i c h t h e s o c i e t y i s c a p a b l e of s o l v i n g i t s
own p r o b l e m s .
B a s e d on t h i s p r i n c i p l e , D o x i a d i s d e v e l o p e d
the
s c i e n c e of
ekisticsHe
defines
ekisties
as
the
science
of
human
settlements
that are t e r r i t o r i e s
arranged
by A n t h r o p o s (man) f o r h i s own s a k e .
These
human s e t t l e m e n t s a r e t h e r e s u l t of
human
a c t i o n , and t h e i r g o a l i s human s u r v i v a l .
29
�Another
key p a r t of D o x i a d i s ' p l a n n i n g
is
called
DynapolisThis i s defined as
the
way
e x i s t i n g c i t i e s , a s w e l l a s new
ones,
can
a v o i d t h e v i c i o u s c i r c l e of a d e c a y i n g
heart
i n a c o n s t a n t l y g r o w i n g body.
(See
Figure
2>(9)
D y n a p o l i s s o l v e s the time
dimension
which i s the f o u r t h dimension i n
planningWithin a dynapolis (dynamically
changing
city)
t h e e l e m e n t of
Anthropos'
direct
personal concern should only follow
and obey t h e t r e n d s .
A t h r o p o s must be a b l e
to
d e v e l o p f u r t h e r u n t i l he r e a c h e s a
new
balance
w i t h i n h i s systemThen one
day,
the
d y n a m i c c i t y w i l l become s t a t i c a g a i n ( S e e Figure
3>(10)
Great
cities
o-f t h e p a s t ,
like
Athens,
Rome, o r
Peking
shared
two
important
characteristics.
The - f i r s t i s t h a t
they
did
not
grow
past a certain s i z e .
The
second
i s t h a t they harmonized
with
the
surrounding countrysideT h i s was a s t a t i c
condition.
The modern c i t y , on t h e
other
hand,
i s c o n s t a n t l y e x p a n d i n g and i s
thus
called
dynamicDoxiadis i s s e n s i t i v e to
both
of
these conditionsHe
feels
the
crisis
t h e w o r l d now f a c e s o c c u r e d b e c a u s e
of
a great i n c r e a s e in population, a
high
rate
of
u r b a n i z a t i o n , a huge i n c r e a s e of
per
capita
income,
and
unexpected
technological
progress-(4)
T h i s r a t e of
change
a c c e l e r a t e s from
one day
to
the
next.
It is
the
most
characteristic
phenomenon
of
t h e p r e s e n t e r a and i s
the
f o u r t h d i m e n s i o n of a r c h i t e c t u r e . ( 5 )
Settlements
are
biological
organisms
because
a>
t h e y t a k e i n e n e r g y and
raw
m a t e r i a l s , b) t r a n s f o r m s them i n t o u s e f u l
products,
and
c)
generates
unwanted
by-products
and
waste.(6)
The
city,
therefore,
i s c o n s i d e r e d by D o x i a d i s t o be
a
l i v i n g n e t w o r k of s y s t e m s .
He t h u s
has
c r e a t e d a h i e r a r c h y of c o m m u n i t i e s :
The
Ecumenopolis
Colossopolis
Megalopolis
Metropolis
Polls
Sector
Neighborhood
House
The
Figure
Ecumenopolis,
the
universal
city,
e n c o m p a s s e s a l l of t h e s t r u c t u r e s b e l o w i t .
Because
the
main
t r e n d s of
the
present
technological
and e c o n o m i c p r o c e s s
cannot
be
reversed,
a u n i v e r s a l system
of
life
w i l l be formedThis evolution will create
one
global settlement — ecumenopolis —
as
Doxiadis
calls
i t , or
"World
City"
as
referred
to
by A r n o l d
Toynbee.(7)
It
will
b r i n g w i t h i t a new s t a t e of
balance
between
Anthropos,
n a t u r e , and t h e
human
settlement.
Doxizdis believes that
the
quality
of
l i f e c a n be
greatly
improved
upon
today
and p r o b a b l y c o u l d
be
better
t h a n any p r e v i o u s t i m e i n h i s t o r y .
old
pattern
new
pattern
1.
Doxiadis
draws
the following
a b o u t t h e c i t y of t h e f u t u r e :
conclusions
1)
Ecumenopolis
will
come
inevitably,
but i t w i l l o n l y
come
in
i t s most
d e s i r a b l e form i f
Anthropos guides events2)
We must s e t our g o a l a s harmony
b e t w e e n t h e f i v e e l e m e n t s t h a t make
up
human s e t t l e m e n t s :
Anthtopos,
Nature,
Society,
Shells,
and
Networks3)
We
must u s e a
rational
and
scientific
approach,
making
a
careful
study
of
the
complex
s y s t e m s of l i f e i n w h i c h we l i v e .
The
s t r u c t u r e of t h i s u n i v e r s a l c i t y c a l l s
for
the
m a j o r l i n e s of t r a n s p o r t a t i o n t o
flow
outside
the
primary
settlementsMinor a r t e r i e s b r a n c h o f f of t h i s main l i n e
to
feed
the
settlements.
(See
Figare
l>iB)
To
allow
for
the
fishbone
p a t t e r n , t h e components of t h e c i t y h a v e t o
be d e s i g n e d f o r o n — g o i n g g r o w t h and c h a n g e .
They
must a l s o be d e s i g n e d t o be
rational
and e c o n o m i c a l a t e v e r y s t a t e of g r o w t h .
4)
We must f i n d t h e c o u r a g e t o a c t
at the global s c a l e 5)
Our a c t i o n s must n e v e r be b a s e d
on
our
d e s i r e t o show-off
as
individuals,
groups,
or
corporations
—
but
only
on
the
d e s i r e to s e r v e Anthropos.(11)
30
�THE
EXPANSION
OF
THE
Ekistics
was t h e b a s i s f o r t h e d e v e l o p m e n t
of
many l a r g e - s c a l e p r o j e c t s .
The f i r m of
Doxiadis
Associates
International,
e s t a b l i s h e d i n t h e 1950's, g a i n e d worldwide
acclaim.
P r o j e c t s t h a t were
commissioned
to
Doxiadis
included planning i n
Brazil,
Canada,
E t h i o p i a , L e b a n o n and many o t h e r s .
In
t h e U n i t e d S t a t e s , he worked on h o u s i n g
for
the
cities
of
Louisville
and
Cincinatti,
the
expansion
of
Washington
D.C.,
an U r b a n R e n e w a l P r o g r a m t o e l i m i n a t e
Philedelphia's
city
b l i g h t , and
a
study
with D e t r o i t Edison to determine the c i t y ' s
role
in
a
future
Megalopolis
from
Pittsburgh to Chicago.
CITIES
expansion of
the city
expansion of
the center
the concentric expansion strangles the
center which struggles with other functions
IN THE
FUTURE
The
study
that
was
undertaken
by
the
Detroit
Edison
Company,
Doxiadis
A s s o c i a t e s , and Wayne S t a t e U n i v e r s i t y , was
recorded
in
three
volumes.
The
first
volume
analyzes
Detroit's
existing
conditions
and
establishes
the
Detroit
Urban
System.
The s e c o n d i s an e s s a y
on
future
a l t e r n a t i v e s and
methodology
on
examining
human
settlementsThe
third
makes
specific
proposals
for
future
development
in
the
social,
political,
technological,
physical,
and
cultural
sectors-(12)
T h i s work was
helpful in
defining
t h e p r o b l e m s of t h e c i t y and a l s o
methods f o r
solving
those
problems.
The city
The center
the expansion in one direction allows
center to expand without difficulty
Figure
the
2,
Constantinos
Apostolos
Doxiadis
had
a
great
l o v e f o r h i s f e l l o w man and f o r
the
world
around
him.
He u s e d
his talents,
skills,
and i n s i g h t s t o i m p r o v e t h e
human
condition.
His
philosophies,
and
especially
h i s e n t h u s i a s m f o r l i f e and f o r
his
profession,
serve
as
a
great
inspiration
for
the
student
of
architecture.
The
example t h a t
he
set
poses
a
c h a l l e n g e t o t h o s e who a r e
truly
dedicated
to
t h e i r p r o f e s s i o n and
humbly
serving their society.
I n h i s own w o r d s :
D Y N A P O L I S
We
need t o u n d e r s t a n d t h a t , 1 i k e a
t r e e , our a r c h i t e c t u r e i s not going
to
grow
overnight.
I t will
take
its
t i m e , and we c a n o n l y h e l p
it
growWe
(architects),
on
our
part,
must d e v e l o p t h e a t t i t u d e of
a
gardner
who
cultivates
the
tree
but
d o e s n o t become
anxious
and
expect
fruit
before
its
maturity.
We n e e d t o
understand
our p r o p e r p o s i t i o n i n t i m e and n o t
be
in
a
hurry for r e s u l t s .
We
should
not
think
of
forms,
but
create
space,
build,
and
live.
A r c h i t e c t u r e w i l l come-(13)
>:j:j:|:|:|x-;v>:;:|:':|:;:;:>^
3
wmmmmmm
Center
1 will
Centers
2', 3 . 4 ' w h i c h
and
below
Figure
n o l be sufficieni
Center
must
f o r t h e left
be wider
hand
Ihon Centers
part
and muti
2,3,4 t o serve
«>• p a r t l y
sectors
relieved
developing
by
above
t
3,
31
�ENDNOTES
< 1 ) P h i l i p De-ane,
Constantine Doxiadis,
Builder
For Free
Men
( N e mYorki
P u b l i c a t i o n s , I n c . .J965), p . 3 J .
(2)Constantinos Doxiadis.
(Boulderi Nestvien Press,
Master
Oceana
E c o l o g y and E k i s t i c s
1 9 7 7 > , p . AC-
(3>Constantinos
Doxiadis.
Utopia
(Hartfordi Trinity
p. 8 7 .
B e t w e e n D y s t o p i a And
College Press,
1966},
<4)Constantinos
D o x i a d i s , Ekistics KNen
O x f o r d U n i v e r s i t y P r e s s , 1 9 6 8 } . p . 7.
Yorki
<5)Constantinos
Doxiadis.
Architecture i n
Transistion
( N e nY o r k i
Oxford University
Press,
1963), p . 65.
<6>Constantinos
Doxiadis and John
Papaidannou,
E c u m e n o p o l i s , T h e I n e v i t a b l e C i t y o-f t h e F u t u r e
(Hem
Y o r k i N.N. N o r t o n A C o m p a n y , I n c . , 1 9 7 4 ) . p .
153.
(7)Dox2adis
<e)Deane,
and Papaidannou,
p . 37.
p . 77.
(9)Ibid.
<10)Constantinos
Doxiadis,
•for Human D e v e l o p m e n t
<NeM
C o m p a n y , I n c . , 1 9 7 4 ) , p . 6.
( I D D o x i a d i s
Anthropolis,
City
Yorki
N.N. N o r t o n «
and Papaidannou,
p , 3 9 6 .
<12)Nary
E. O s m a n , " E m e r g e n c e a n d 6 r o n t h
Urban
Region,
The
Developing
Detroit
A.I.A. J o u r n a l , 5 5 J u n e 1 9 7 1 .
<13)Constantinos
Transistion, p .
Doxiadis,
195.
o f an
Area,"
A r c h i t e c t u r e and
BIBLIOGRAPHY
Deane.
Philip.
Constantine
Doxiadis,
Builder
For Free
Men.
NeM
Yorki
Publications, I n c . , 1 9 6 5 .
Master
Oceana
Doxiadis,
Constantinos.
Anthropolis, City For
Human
Development.
Nem Y o r k i
N.N. N o r t o n a n d
Company, I n c . , 1 9 7 4 .
Doxiadis,
Constantinos.
transistion.
NeMYorki
1963.
Oxford
Doxiadis,
Constantinos.
UtopiaHartfordi
Trinty
Doxiadis.
Boulderi
Constantinos.
NestvieM Press.
Doxiadis.
Constantinos.
Oxford University Press,
Architecture
In
University
Press,
Between
D y s t o p i a and
College Press, 1 9 6 6 .
Ecology
1971.
and
Ekistics.
1968.
Ekistics.
NeM
Yorki
Doxiadis.
Constantinos,
a n d Papaidannou,
John.
Ecumenopolis. The I n e v i t a b l e C i t y o f t h e F u t u r e NeM
Yorki
N.N. N o r t o n a n d C o m p a n y , I n c . , 1 9 7 4 .
Osman,
M a r y E.
" E m e r g e n c e a n d G r o M t h of a n U r b a n
region.
The D e v e l o p i n g
Detroit
Area."
A.I.A.
J o u r n a l , 55 J u n e 1 9 7 1 .
Ttm
^rchitext
sincerely
thanks t h e
D e t r o i t C h a p t e r o f t f i e A m e r i c a n I n s t i t u e Of
A r c h i t e c t s f o r t h e funding of t h i ^ i s s u e .
�
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Fall, 1984
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American Institute of Architects, Student Chapter newsletter
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Fall, 1984 edition of newsletter created by Lawrence Institute of Technology (now Lawrence Technological University) students in the College of Architecture and Design. Managing editor: Gregory J. Varano, editorial staff: Susan Demeulemeester, Matthew J. Hubbard, graphics: Sheila Smith, Gregory Varano, typing: Sheila Smith, Gregory Varano, text format/layour: Gregory Varano, paste-up production: Mark Demsky, Tammis Donaldson, Gregory Varano, cover collage: Sheila Smith.
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A question--Slim pack--Two views of technology and the human condition--Alvaar Alto and his natural use of light--Veblen, consumerism and retail architecture--New wave bars: an evolving architecture--The procession of Philip Johnson--Man and machine--Planning for human settlements.
AIA
architecture periodicals
newsletters
student organizations
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ARCHITEXT
/
S T U D E N T *
2 1 0 0 0
W E S T
T E N
C H A P T E R - L A W R E N C E - I N S T I T U T E
M I L E
AVANTI
Cruz
The
2 0 t h c e n t u r y
i s
c h a r a c t e r i z e d
b y g i a n t
s t r i d e s i n
i n d u s t r i a l
a n d t e c h n o l o g i c a l
developments.
I t i s the
c e n t u r y
t h a t
h a ss e e n
m a nd e v e l o p
h i s
t o o l s t o p r o l o n g l i f e a sw e l l a s
t o o l s
t oa n n i h i l a t e h i s
r a c e .
In
s u c h
s o p h i s t i c a t e d
t i m e s ,
q u e s t i o n s
d e a l i n g
w i t h t h e
v a l u e s
a n d v a l i d i t y
o f M o d e r n
a r c h i t e c t u r e
s t i l l
r e m a i n
u n a n s w e r e d a n dp r o v i d e
a
b a s i s
for
debate a n d c r i t i c i s m .
Among the c r i t i c s t h a t have
made
a
p l e a
f o r
a p r e s - M o d e r n i s m
a r c h i t e c t u r a l
e x p r e s s i o n s a r e
B r u n o
Z e v i
a n dR o b e r t
V e n t u r i .
B o t h
c r i t i c s
h a v e
g r e a t l y
i n f l u e n c e d
t o d a y ' s
t h o u g h t s .
The
I t a l i a n c r i t i c , B r u n o
Z e v i ,
is
o n e o f E u r o p e ' s
l e a d i n g
f i g u r e s
i n
a r c h i t e c t u r a l
w r i t i n g .
H e h a sj u s t
completed
his
2 6 t h
y e a r
o f w r i t i n g
a
w e e k l y
c o l u m n
f o r
t h e
R o m a n
j o u r n a l
L'Expresso.
I n A n d r e a
O p p e n h e i m e r Dean's book,
B r u n o
Zevi
o n Modern
A r c h i t e c t u r e
( p u b l i s h e d
i n1 9 8 3 ) ,
h i s
i d e a s
on
w h a t
m o d e r n
a r c h i t e c t u r e
s h o u l d
be, h i s c r i t i c i s m o f t h e
I n t e r n a t i o n a l
S t y l e
a n d h i s
g o v e r n i n g
p a s s i o n
f o r
a
d e m o c r a t i c
a r c h i t e c t u r ea r e
p r e s e n t e d .
I n R o b e r t
V e n t u r i ' s
a c c l a i m e d
b o o k . C o m p l e x i t y a n d
C o n t r a d i c t i o n
i n A r c h i t e c t u r e
( f i r s t p u b l i s h e d
m
1966),
these
issues
are a l s o
e x p l o r e d .
Z e v i
a n dV e n t u r i
b e l o n g
t o
d i f f e r e n t s e t t i n g s , Z e v i i n h i s
e v e r l a s t i n g
f i g h t
a g a i n s t
f a s c i s m
i n I t a l y and V e n t u r ii n
d e m o c r a t i c
U.S.A.,
t h e
l a n d o f
p l e n t y .
But,
t h i s d i f f e r e n c ei s
of
s e t t i n g
o n l y .
B o t h
a r t i s t s
l o b b y
f o r a n a r c h i t e c t u r e t h a t
i n c o r p o r a t e s the p r o b l e m s o f our
t i m e s
i n t o i t s e x p r e s s i o n .
They
b o t h
f i n d
t r a g i c f a u l t s
i n t h e
I n t e r n a t i o n a l
S t y l e ,
a n d t h e y
both p r o m o t e the a r c h i t e c t u r e t o
which
they
subscribe.
B
l
b
C
0
F • T
E C H N O
M I C H I G A N
L O G Y
4 8
0 7 5
1983-84
WINTER
C l a u d i a
*
S O U T H F I E L D
R O A D
r u n o
Z e v i
c l a i m s
t o h a v
e a r n e d
h o w t ot h i n k f r o m
t h
o o k s
o f B e n e d e t t o
C r o c e
roce,
the
l e a d i n g
a n t i - f a s c i s
e
e
.
t
f i g u r e
a m o u n g
I t a l i a n
i n t e l l e c t u a l s ,
e n d o r s e d
a n
a e s t h e t i c
c o n c e p t i o n
t h a t
i m p l i e d
the
independence o f a r t
f r o m
p o l i t i c a l
b i a s .
C r o c e ' s
p h i l o s o p h y
i so f t e n r e f e r r e d t o
as
" t h e p h i l o s o p h y
o f t h e
f o u r
words...'beauty,
t r u t h ,
u t i l i t y
and
g o o d n e s s ' " .
T h i s
d o e s
n o t
mean
t h a t the a r c h i t e c t
i g n o r e s
p o l i t i c a l o rc u r r e n t i s s u e s ,
but
i t
i m p l i e s
t h a t
p o l i t i c a l
s y m p a t h y
o n t h e
a r c h i t e c t ' s
b e h a l f
d o e s
n o t
g u a r a n t e e
a
h o l i s t i c a r c h i t e c t u r a l e x p r e s s i o n .
T h ea r t a n d i n s p i r a t i o n
m u s t
c o m e
f r o m
w i t h i n
a n d n o t
f r o m
w i t h o u t .
Z e v i
b e l i e v e s
t h a t
i t i si ns p a c e
t h a t
l i f e ,
c u l t u r e ,
s p i r i t u a l
i n t e r e s t a n d
s o c i a l
r e s p o n s i b i l i t y
meet
a s a
w h o l e e x p r e s s i o n
a n d e x p e r i e n c e .
R o b e r t
V e n t u r i ,
l i k e
Z e v i ,
e x p l o r e s
o t h e r
i s s u e s .
T h e s e
i s s u e s r a n g e
f r o m p a i n t i n g a n d
p o e t r y
t o p s y c h o l o g y .
T h i s
p l u r a l i s t i c a t t i t u d e a i d s him t o
b e t t e r
u n d e r s t a n d
man's
p a s t ,
p r e s e n t and
f u t u r e .
T h e i s s u e s
and
p r o b l e m s
a d d r e s s e d
b y t h e
o t h e r a r t s can
a l s o f i n d a v a l i d
e x p r e s s i o n
i na r c h i t e c t u r e .
V e n t u r i s e a r c h e s
f o r a u n i t y o f
e x p e r i e n c e ,
o ft i m e .
H e s h a r e s
t h i s
p u r s u i t w i t h T . S. E l i o t
who
b e l i e v e s
t h a t "Time
p r e s e n t
and
t i m e p a s t / A r e
b o t h
p e r h a p s
p r e s e n t
i nt i m e
f u t u r e , / A n d
t i m e
f u t u r e c o n t a i n e d
i n t i m e
p a s t . "
For
Z e v i , a r c h i t e c t u r e can b e a
v e h i c l e
f o r a f r e e r
w o r l d .
H e
p r o m o t e s o r g a n i c a r c h i t e c t u r ea s
an
e x p r e s s i o n
o f the
p r e o c c u p a t i o n o f s o c i e t y a n dt h e r e f o r e a s
a d e m o c r a t i c
s o l u t i o n t o d e s i g n
p r o b l e m s .
H e v i e w s
o r g a n i c
a r c h i t e c t u r e
b o t h
a s a
s o c i o t e c h n i c a l
a n da r t i s t i c
a c t i v i t y
which
c r e a t e s t h e b a c k d r o p f o r a
new
d e m o c r a t i c
c i v i l i z a t i o n .
The
a i m o f t h i s
d e m o c r a t i c
e x p r e s s i o n
i st o b e h u m a n
m o d i f i e d
t othe human s c a l e a n d
c o n t e m p o r a r y
n e e d s o f m a na s a
c o m p o n e n t o fs o c i e t y .
I n
o r d e r
t o
a c h i e v e
t h i s
l e v e l
o f
e x p r e s s i o n
the
a r c h i t e c t
cannot
be
a p o l i t i c a l .
V e n t u r i
i sa l s o
c o n c e r n e d i n
f i n d i n g a r e c o n c i l i a t i o n
b e t w e e n
p o l i t i c s
o r
c o n t e m p o r a r y
p r o b l e m s a n da r c h i t e c t u r e . H e
v i e w s
our t i m e s a sa c h a l l e n g e ,
o n e
w h e r e
p r o b l e m s
h a v e
i n c r e a s e d
i nc o m p l e x i t y a n d
q u a n t i t y .
H e r e c o g n i z e s
t h a t
h i s t o r y
h a sd e m o n s t r a t e d
t h a t
the
b e s t
a r c h i t e c t u r e i s
o n e
t h a t advocates
t h e c o m p l e x i t y o f
i t s
t i m e s .
H e s e a r c h e s
f o r a
new
o r d e r
w h i c h
c a n e . v a l l y
a c c o m m o d a t e
a s w e l l a s i m p o s e
' c o n t r o l
a n d s p o n t a n e i t y ' ,
' c o r r e c t n e s s
a n d e a s e * , o n e
w h i c h
w i l l
a l l o w
i m p r o v i s a t i o n
w i t h i n
t h e
w h o l e .
T h i s
o r d e r
has
a l r e a d y
b e e n
e x p l o i t e d b y
Pop
A r t i s t s .
They have
proposed
a n e w s t a t e o fm i n d i n o r d e r t o
a c c e p t our e n v i r o n m e n t .
T h i s i s
d i r e c t l y
r e l a t e d
t ot h e m a d
t i m e s
w i t h
w h i c h
s o c i e t y i s
c o n f r o n t e d
t o d a y .
A r c h i t e c t u r e
s h o u l d
n o tr e m a i n
p a s s i v e t o
o t h e r
a r t s '
e n d e a v o r s .
I
t
should
bend o rbreak
i t s convent i o n a l
p a r a m e t e r s
b e c a u s e
a n o m a l i e s
and
u n c e r t a i n t i e s w i l l
o n l y
h e l p
g i v e
v a l i d i t y t o
a r c h i t e c t u r e .
The
i d e a s
o f Z e v i
a n d V e n t u r i
c o i n c i d e
i ni s s u e s
o t h e r
t h a n
t h e i r
i n c l u s i o n o f s o c i e t y ' s
c o n f l i c t s
i nd e s i g n .
T h e i r
c r i t i c i s m
o f M o d e r n i s m
a n d o f
the
I n t e r n a t i o n a l S t y l e i s based
on
the same ideas.
Both
a r t i s t s
see M o d e r n i s m a sa m o v e m e n t t h a t
r e d u c e s
t h e
p o s s i b i l i t i e s
f o r
e x p e r i m e n t a t i o n .
T h e i r e r u d i t i o n
o f h i s t o r y
m a k e s
t h e m
r e c o g n i z e
t h e n e u r o t i c
f a l s i t y
of
q u i e t u d e
a n dt h e
s t e r i l i t y
and
t r i v i a l i t y
o f a b s t r a c t e d
f u n c t i o n a l i s m
o f a l l " p s e u d o s c i e n t i f i c , s t a n d a r d i z e d
m o d u l a r
t h e o r i e s o ro t h e r e x p r e s s i o n s o f
modern s p a t i a l
i l l i t e r a c y " .
F o r
Z e v i ,
t h e
I n t e r n a t i o n a l
S t y l e
w a s a n a d u l t e r a t i o no f
M o d e r n i s m .
H e v i e w s
G r o p i u s '
e x c l u s i o n
o f h i s t o r y
i n t h e
B a u h a u s
a s a
t r a g e d y .
H e
opposes the modernist's
tendency
t o
d e s i g n
a c c o r d i n g
t o
preconceived
c o n c e p t s a n d forms,
i t s consonance,
i t s r u l e s ,
order
and
t e n d e n c i e s
t o w a r d s t h e
m o n u m e n t a l .
V e n t u r i
a l s o
b e l i e v e s
t h a t
t h e
m o d e r n i s t ' s
aim o fs i m p l i f i c a t i o n l o s e s
g r i p
w i t h
t h e
c o m p l e x
r e a l i t y o f
l i f e .
H e f e e l s
t h a t
t h e i r
s e l e c t i v e n e s s o fw h a t
p r o b l e m s
�to solve
l e d t o t h e i g n o r i n g
o f
the
c o m p l i c a t i o n s
o f
m o d e r n
functions
a n d p r o g r a m s , o f t h e i r
c o n t e x t a n d r e a l i t y .
EDITORIAL
REVIVALISM
(The
S t o r y
o f a n
A t t i t u d e
Problem)
Greq Varanc
Susan Demeulemeester
M a t t
Z e v i ' s
a n d V e n t u r i ' s
f i n a l
s u g g e s t i o n o f what modern
a r c h i t e c t u r e
s h o u l d
b e
d i f f e r s .
V e n t u r i
p r o m o t e s
c o n t e x t u a l
ism,
the
i n c o r p o r a t i o n
o f h i s t o r y i n
the d e s i g n ,
t h e u s e o f a
v a r i e t y
of e l e m e n t s a s sources.
V e n t u r i
r e a c h e s back t o h i s t o r y
f o ri t s
lessons a n d i t s meaning
i n f o r m .
V e n t u r i
a d v o c a t e s
a r c h i t e c t u r e
as
a n a r tt h a t
h a s t h e f r e e d o m
to
be i m p e r f e c t
b e c a u s e
i t i s
t h e n
t h a t
t h e c o n t r a s t
w i l l
s u p p o r t
t h e m e a n i n g .
He
b e l i e v e s
i n a n
a r c h i t e c t u r e
whose
i n t e r i o r a n d e x t e r i o r
c a n
be
i n c o n t r a s t ,
o n e
w h i c h
j u x t a p o s e s
r e l a t i o n s h i p s
a n d
i n v o l v e s
a l lt h e
d i f f e r e n t
l e v e l s o f meaning and p e r c e p t i o n
w h i c h
c h a r a c t e r i z e
h u m a n
r e a l i t y .
I t i s t h e r o l e of
the
f a n u l / t o be a n u r t u r i n g
unit.
It s e r v e s as t h e
formative
n u c l e u s of r e l a t i o n s h i p s .
The
f a r r i i i y - s s t r u c t u r e , or l a c k of
it.
c a n be c i t e d a s
the
p r o g e n i t o r of t h e
individual's
a b i i i t v t o c o m m u n i c a t e on
levels
a b o v e t h e g r u n t and g r o a n s t a g e .
The r o l e of a
college
c a m p u s I S t o c a r r v on t h e
family
ideal.
This nurturing
role i s
f o s t e r e d through the
environment
w h i c h c a n e i t h e r e n c o u r a g e or
discourage a
constructive
atmosphere.
The
physical
environment should
therefore
produce a svnergv appropriate
f or g u e s t i o n i n g m i n d s .
Zevi
b e l i e v e s
t h a t
a
b u i l d i n g
s h o u l d
f i t t h e e n v i r o n m e n t
o n
i t s
o w n m e r i t
a n d t e r m s .
He
f e a r s
t h a t
c o n t e x t u a l
ism
c a n
lead
t o l a z i n e s s
a n d
f a l s i t y .
He
b e l i e v e s
t h a t h i s t o r y
i s t h e
m e t h o d t o t e a c h d e s i g n b u t t h a t
i t s h o u l d
be i n t e r p r e t e d ,
n o t
d u p l i c a t e d .
He o p p o s e s t h eu s e
of
h y b r i d
e l e m e n t s
i n d e s i g n ,
t h a t
i s , t h e m i x t u r e
o f
a r c h i t e c t u r a l
i d i o m s a t r a n d o m
t h a t
lead
n o t t o M a n n e r i s m b u t
to
p a s t i c h e .
He s u b s c r i b e s t o
an
a r c h i t e c t u r e
t h a t
h a s n o
p r e c o n c e i v e d
f o r m
o r
c o n c e p t ,
one
t h a t
c a n be u n f i n i s h e d
o r
u g l y
b u t t h a t
s p e a k s
o f man's
f e e l i n g s
a n d r e a l i t i e s .
Z e v i
believes
i n a n a r c h i t e c t u r e
t h a t
w i l l b e , i f t r u l y m o d e r n ,
o p e n ,
f l e x i b l e and a n t i - d o g m a t i c .
T h r o u g h Zevi
a n d V e n t u r i
i t c a n
be
o n c e
m o r e
e m p h a s i z e d
t h a t
a r c h i t e c t u r e
i s n o t a n a r t b u t
t h e
t o t a l d e f i n i t i o n o f a r t .
H o w e v e r ,
a r c h i t e c t u r e
w i l l
b e l o n g t oo u r t i m e s o n l y w h e n i t
s t a r t s
s p e a k i n g
a b o u t
o u r
chaning a n d complex times;
when
t h e r e
i s i n c l u s i o n
o f e l e m e n t s
rather
than a r b i t r a r y
e x c l u s i o n ;
w h e n i t s t r u t h w i l l be b a s e d i n
the
u n i f y i n g
e x p e r i e n c e o f t h e
t o t a l - d i f f i c u l t
whole;
a n d when
t h e
o b s e r v e r ' s
p e r c e p t i o n
o f
f o r m a n d space t h r o u g h t i m e
w i l l
be
m o r e
v i v i d
d u e
t o t h e
m u l t i p l i c i t y
o f l e v e l s
o f
m e a n i n g .
I t w i l l
be a t
t h i s
point
t h a t a f r e s h p e r c e p t i o n o f
r e a l i t y
w i l l
be
a c c e p t e d
a n d
a r c h i t e c t u r e ,
l i k e o u r
l i f e ,
w i l l
b e
c o m p l e x
a n d
c o n t r a d i c t o r y .
C o n s e q u e n t l y ,
a
new
l e v e l o f u n d e r s t a n d i n g
o f
our
e r a w i l l
be r e a c h e d
i n t h e
art
o f a r c h i t e c t u r e .
I tw i l l
be
a
l e v e l
w h e r e
T.
S.
E l i o t ' s
p a s s a g e "So t h e d a r k n e s s
s h a l l
be
t h e l i g h t , / a n d t h e s t i l l n e s s
the
d a n c i n g "
w i l l
m a k e
t o t a l
sense.
•ur campus, however, i s
forced
to overcome d i f f i c u l t i e s
t h a t o t h e r s c h o o l s do n o t
have
to face.
T h e e s c a p e r o u t e of
the automobile, inherent
to a
c o m m u t e r c a m p u s , d r a w s a w a v from,
a u n i f i e d core environment.
Thus, the
ARCHITEXl^s
position i s manifold. I t desires
to draw t o g e t h e r the
fleeing
mind.
I t s r o l e i s to f o s t e r a
s e n s e of e n v i r o n m e n t
that
encourages p a r t i c i p a t i o n .
P a r t i c i p a t i o n i s an e s s e n t i a l
ingredient
for
relationships.
Every student has
ideas
t h a t n e e d t o be e x p r e s s e d .
As
a r c h i t e c t s , our d e s i r e s h o u l d
be t o c o m m u n i c a t e and
exchange
a v a r i e t y of o p i n i o n s
and
beliefs.
The ARCHI TEXT p r o v i d e s
t h i s f e r t i l e ground.
Again,
as
l a s t y e a r , we c h a l l e n g e
and
invite students,
faculty,
administration
and g r a d u a t e s t o
submit material
t o ARCHITEXT.
For our S p r i n g i s s u e ,
the
m a j o r t o p i c w i l l b e MAN
AND
THE
MACHINE.
However, any
material
on a n y a r c h i t e c t u r a l t o p i c
will
be a c c e p t e d .
In a d d i t i o n ,
we
s h a l l be a c c e p t i n g s t u d e n t
p r o j e c t s of e x c e p t i o n a l
quality.
T h e s e p r o j e c t s and a r t i c l e s
will
b e r e v i e w e d bv o u r n e w l v--f o r m e d
e d i t o r i a l board for
possible
publication.
Due
date for a l l
s u b m i s s i o n s w i l l be M a r c h
23.
2
Hubbard
W h e n
I b e g a n
t h i s
a r t i c l e ,
I
i n t e n d e d
t o d r a w
some
c o n c l u s i o n s
a b o u t
t h e s i m i l a r i t i e s
b e t w e e n
s o m e
f o r m s
o f
P o s t
M o d e r n
A r c h i t e c t u r e
a n d
Punk
R o c k / N e w
W a v e
m u s i c .
A s
I
struggled
w i t h
t h i s c o m p a r i s o n I
u n c o v e r e d
a
n e w
a n d
m o r e
d i s t u r b i n g
p r o b l e m .
T h a t i s ,
t h e
a t t i t u d e s
a r e
a l m o s t
i m p o s s i b l e
t o d e f i n e .
Y o u c a n
d e s c r i b e
t h e e x a m p l e s ,
b u t t h e n
t h e r e
a r e a l w a y s
some
t y p e o f
e x c e p t i o n s
t h a t
w e a k e n
t h e
a r g u m e n t .
T h e r e f o r e ,
t h e
p r o b l e m
i s i n i d e n t i f y i n g a n d
u n d e r s t a n d i n g
t h e a t t i t u d e s .
However, d e s p i t e t h e o v e r l a p p i n g
and
i n c o m p l e t e a t t i t u d e s
w h i c h
d o n ' t seem
t o e x p l a i n
a n y t h i n g
s p e c i f i c ,
t h e r e
i s o n e
t h a t
does.
This
o n e , s i n g l e
a t t i t u d e
w h i c h d i d n o t b r e a k a p a r t
u n d e r
i n v e s t i g a t i o n
w a s a n a t t i t u d e o f
r e v i v a l ism.
I t
s e e m s
t h a t
t h e r e
i s a
d i s t i n c t s i m i l a r i t y b e t w e e n
many
a r c h i t e c t u r a l
a n d r o c k
m u s i c
e x a m p l e s .
T h a t
s i m i l a r i t y i s
the
d e p e n d e n c e
o n
h i s t o r i c a l
p r e c e d e n t s .
Now, t h i s
s h o u l d n ' t
c o m e
a s
a
b i g s u r p r i s e
t o
anyone.
H i s t o r y
h a s a l w a y s
been
e x a m i n e d
b y a r c h i t e c t s
w h e n
t r y i n g
t o d o
s o m e t h i n g
n e w .
I n d e e d , H e l m u t J a h n s t a t e s ,
"We
l o o k
t o t h e i m m e d i a t e p a s t f o r
t r a d i t i o n a n d t o o u r r e m o t e
past
for
i n s p i r a t i o n . "
W h a t
i s
s u r p r i s i n g
i s t h e a l m o s t
l i t e r a l
way
t h a t h i s t o r i c a l
p r e c e d e n t s
are
b e i n g
e x p r e s s e d .
T h i s
i s
w h e r e
I
b e l i e v e
c o n t e m p o r a r y
rock
music
a n d a r c h i t e c t u r e
a r e
most
s i m i l a r .
I t
i s o b v i o u s
i n t h e w o r k s o f
M i c h a e l Graves a n d R o b e r t
Stern
t h a t
t h e y
h a v e
b e e n
s t u d y i n g
a n t i q u i t y .
T h e i r
u s e
o f
c l a s s i c a l
f o r m s , p r o p o r t i o n s
a n d
d e t a i l s
c o m b i n e d
w i t h
n e w
b u i l d i n g
t y p e s
o f f e r
u s a n e w
d i r e c t i o n .
Even though some m a y
a r g u e
t h e v a l i d i t y a n d c o n t e n t
of
t h e d i r e c t i o n ,
i ti s e x c i t i n g
and
n e w .
I ti s j u s t a s o b v i o u s
t h a t
C h a r l e s
G w a t h m e y
a n d
R i c h a r d M e i e r a r e c o n t i n u i n g
t h e
t r a d i t i o n s
o f C o r b u s i e r .
B u t
are
they?
I tseems more l i k e l y
t h a t
rather
t h a n
c o n t i n u i n g
t h e
C o r b u
t r a d i t i o n s ,
t h e y
h a v e
r e a l l y
r e - e x a m i n e d
a n d r e i n t e r p r e t e d
C o r b u
i n t o
s o m e t h i n g
f a m i l i a r
y e t r e f r e s h i n g l y
n e w .
B o t h
h a v e
t r u l y
t a k e n
t h e i r
f o r m s b e y o n d t h e I n t e r n a t i o n a l
S t y l e .
T h i s
i s m e r e l y
a n
o b s e r v a t i o n
a n d a n y
f u r t h e r
d i s c u s s i o n h e r e w o u l d only
s e r v e
to
b e l a b o r
t h e s u b j e c t
u n d e r
i n v e s t i g a t i o n .
�I
p
P
e
t
P
b e l
eople
r e s e
x t r e m
h i s c
r o g r e
i e v e
t h a t
b y n o w m o
h a v e
n o t i c e d
t h a t t h
r v a t i o n
m o v e m e n t i
e l y
p o p u l a r
t h r o u g h o
o u n t r y .
R e c e n t i s s u e s o
s s i v e
A r c h i t e c t u r e , t h
M£llil££lii£li_^££0£l
s t
e
s
u t
f
e
I t i s i n t h e e x p r e s s i o n
o f t h i s
a t t i t u d e t h a t contemporary
m u s i c
and
a r c h i t e c t u r e are s o s i m i l a r .
The
r e f l e c t i o n s
o f T h e F i f t i e s
a r e a p p a r e n t
i n m a n y o f t o d a y ' s
s o n g s and
videos.
Some are
more
o p e n l y
b l a t a n t a n d l i t e r a l i n
t h e i r
r e v i v a l .
O t h e r
m u s i c a l
g r o u p s use
a m o r e r e s e r v e d
and
s u b t l e a p p r o a c h .
N e v e r t h e l e s s ,
the
r e v i v a l
i st h e r e .
I ti s
h a p p e n i n g .
t h e
AIA J o u r n a l
have
been
d e d i c a t e d
to
t h i s t o p i c .
The r e s t o r a t i o n
of
1 9 t h
c e n t u r y
b u i l d i n g s h a s
become a t h r i v i n g
business. B u t
r e c e n t l y
a s u r p r i s i n g t w i s t h a s
occurred
i n t h i s movement.
That
i s , b u i l d i n g s o ft h e 19 50's
a r e
b e i n g
n o t i c e d
a s
b e i n g
h i s t o r i c a l l y
s i g n i f i c a n t .
I c i t e
l a s t
y e a r ' s
d e s i g n a t i o n
of
N e wY o r k ' s
L e v e r
H o u s e a sa
h i s t o r i c
l a n d m a r k .
T h i s
b u i l d i n g ,
d e s i g n e d
b y G o r d o n
B u n s h a f t
i n 19 52
f o r
S O M ,
i
o n l y 3 2years o l d .
But,
t h i s i s
a c t u a l l y
i t s t h i r d
a w a r d . I
t
r e c e i v e d a nA I A
honor
award
upon
i t s c o m p l e t i o n
and
o n i t s 2 5 t h
a n n i v e r s a r y ,
f o r
" e n d u r i n g
s i g n i f i c a n c e " .
T h i s
i s e v e n
more
s u r p r i s i n g c o n s i d e r i n g
the
widespread
c o n d e m n a t i o n
o f anyt h i n g
t h a t r e m o t e l y
r e s e m b l e s
the
I n t e r n a t i o n a l
S t y l e
g l a s s
box.
I t i s a l s o i n t e r e s t i n g t o
n o t e
t h a t t h e
L e v e r
H o u s e ,
i f
d e m o l i s h e d ,
w a st o b e r e p l a c e d
by
a n A r t - D e c o
r e v i v a l
t o w e r .
T h i s
f u r t h e r
s t r e n g t h e n s t h e
a r g u m e n t f o r t h e s i g n i f i c a n c eo f
r e c e n t h i s t o r y
i n
c o n t e m p o r a r y
arch i t e c t u r e .
W
h
n
e
p
a
h i l e
t h e d e s i g n a t i o n o f L e v
o u s e
i su n d o u b t e d l y
t h e
m o
o t i c e a b l e
a n d s i g n i f i c a
x a m p l e
o f t h i s
i n t e r e s t i
r e s e r v a t i o n o ft h e 50's,
t h e
re numerous o t h e r s .
e r
s t
n t
n
r e
One
p a r t i c u l a r l y
i n t e r e s t i n g
p r o j e c t
i n v o l v e s
a
f a s t - f o o d
r e s t a u r a n t
i nD e s P l a i n e s ,
I l l i n o i s .
N o w , t h i s i s n ' t
j u s t
a n y
f a s t - f o o d
j o i n t , b u t
M c D o n a l d ' s
v e r y
f i r s t .
Y o u
remember the k i n d w i t h a s l o p i n g
s l a b r o o f and g l a s s f a c a d e
w i t h
i l l u m i n a t e d
d o u b l e
G o l d e n
Arches?
T h i s 1950's d r i v e - i n i s
b e i n g r e p l a c e d b yone o f t h e n e w
b r i c k v e r s i o n s j u s t
a c r o s s
t h e
s t r e e t .
N o plans have been
made
for
t h e o l d s t r u c t u r e , b u t
a r e a
r e s i d e n t s
have
become a c t i v e i n
t r y i n g
t osave i t . A McDonald's
R e s t a u r a n t
i s c e r t a i n l y
n o t a s
a r c h i t e c t u r a l l y s i g n i f i c a n t a s
L e v e r
H o u s e ,
b u ta s a n
e x p r e s s i o n o fA m e r i c a n
l i f e s t y l e
i t i s i n v a l u a b l e .
People
o f t h e
80's
seem
t ol o v e
t o r e m e m b e r
the
l a s t r e a l p e r i o d o f A m e r i c a n
o p t i m i s m ,
hope and
p r o s p e r i t y .
( G o l d s t e i n ) - - T h e Good Old
D a y s .
T h i s a l l b e g a n i n t h e l a t e
70's
w i t h
A m e r i c a n
G r a f f i t i ,
Happy
Days,
a n dL a v e r n e
a n d S h i r l e y .
M a n y 50's
s t y l e gas
s t a t i o n s are
b e i n g
s a v e d
t h r o u g h o u t t h e
m i d w e s t .
I n n o r t h e r n
M i c h i g a n
and
C h i c a g o ,
I ' v e
s e e n
t h e s e
u n u s u a l
b u i l d i n g s
t r a n s f o r m e d
i n t o
s u b s h o p s
a n d p i z z a
p a r l o r s .
E v e n m o r e r e c e n
the
A p o l l o
1
p r e s e r v a t i o n .
T r u s t
h a sp e r
d i s a s s e m b l e
s t r u c t u r e
a n
p i e c e s
f o
r e b u i l d i n g .
t and
u n u s u a l
i s
1 l a u n c h
t o w e r
T h e N a t i o n a l
s u a d e d
NASA t o
t h e h i s t o r i c
dt o s t o r e t h e
rs o m e
f u t u r e
s
D i f f e r e n c e s
a l s o
occur
i n h o w
t h i s a t t i t u d e
i s expressed.
Punk
r o c k e r s
o p e n l y
c o n f e s s
t o t h i s
r e v i v a l
i nt h e i r
m a n n e r o f
dress.
S t r a i g h t l e g blue
j e a n s ,
w h i t e
T - s h i r t s
a n d b l a c k
engineer
boots
were
the
u n i f o r m
of
many i n t h e 1950's.
Even
t h e
w i l d h a i r c u t s c o u l d b es e e n a s
an a b s t r a c t e d
" i m p r o v e m e n t "
(?)
on t h e greased
b a c k D u c k t a i l ,o r
p o m p a d o u r .
The
s u b j e c t
m a t t e r
of
m a n y r o c k s o n g s a l s o d i s p l a y
a c e r t a i n amount o f r e v i v a l i s m .
Bob
S e g e r ' s
l a t e s t
a l b u m
i n c l u d e d t h e h i t s i n g l e
"Makin'
T h u n d e r b i r d s " ,
a h a r d
l i t t l e
r o c k e r
about
b u i l d i n g the
f i r s t
T - B i r d s
i nD e t r o i t ' s
a u t o
p l a n t s .
E v e n
t h e
h e a v y
m e t a l
band. Q u i e t
R i o t gets
i n the
act
w i t h
t h e i r
" S l i c k ,
B l a c k
C a d i l l a c " .
A f t e r
a l l , w h a t
i s m o r e
e x p r e s s i v e
o f the c r u i s i n g , h o t r o d d i n g ,
d r a g
r a c i n g
e r a
t h a n
the
c a r s
t h e m s e l v e s ?
Z Z T o p p
and
C u l t u r e
C l u b
b o t h
e m p l o y
c i r c a
1950
a u t o m o b i l e s
i n t h e i r
v i d e o s .
T h eb e a r d e d
b o y s o f
T e x a s s a wf i tt o use
a r e d
h o t r o d c o u p e b o t h
o n t h e i r
l a t e s t
album,
E l i m i n a t o r ,
a n d i n t h e i r
v i d e o .
C u l t u r e C l u b ,
i n
t h e i r
" C h u r c h
o f P o i s o n "
v i d e o
p r o v i d e s
a c o n v e r t i b l e C a d i l l a c
for
B o yG e o r g e a n dt h e
r e s t o f
the
g r o u p t ob o u n c e a r o u n d
i n .
E
c
p
r
t
c
v e n t h o u g h
i t m i g h t
s e e m a b i t
o n t r i v e d
t o a r g u e
t h a t
t h e s e
r e v i o u s e x a m p l e s express
a
50's
e v i v a l i s m ,
t h e r e
i sn o d o u b t
h a t t h e f o l l o w i n g e x a m p l e s
w e r e
onceived
w i t h j u s t t h a t
i n t e n t .
B i l l y
J o e l ' s
l a t e s t
i.ILIl.£££II^_^£Il'
s o l e l y
t oe x p r e s s
a l b u m . T h e
t h i s
d e s i g n e d
a t t i t u d e .
H i s
use
o f e x t e n s i v e
R a n dB
h o r n
s e c t i o n ,
a n d h a r m o n i c
m e l o d i e s ,
c o u p l e d
w i t h
h i s
v e r s a t i l e
piano
a b i l i t y
produce
a r e m a r k a b l e
50's
e f f e c t .
T h i s
i s e s p e c i a l l y t r u e o nt h e
" T e l l
Her
About I t " c u t .
The
v i d e o o f
t h i s c u t
f e a t u r e s a ne r s a t z E d
S u l l i v a n
i n t r o d u c i n g" M r .
W i l l i a m
J o e l " o n a r e p l i c ao f
the
o l d
v a r i e t y
show's
s t a g e .
J o e l
appears
i n a
y e l l o w - b r o w n ,
w i d e
l a p e l l e d
t u x e d o
w i t h
l o a f e r s
a n dw h i t e
socks.
H e
uses a huge, a w k w a r d
m i c r o p h o n e .
F o l l o w i n g
t h e p e r f o r m a n c e ,
t h e
S u l l i v a n e s q u e c h a r a c t e r
r e i n troduces
J o e l and
h i s band
a s
B.J.
a n dthe A f f o r d a b l e s .
N o w ,
a l l
t h i s
n o n s e n s e
i
s
i n t e r p r e t e d a s p u r e
f u n .
M a y b e
t h e r e
i s a h i n t
o fi r o n y a n d
s a t i r e ,
but n o n e t h e l e s s ,
i t i s a
p o w e r f u l l y
e f f e c t i v e
p e r f o r m a n c e .
T h i s
i
s n o t
a n
i s o l a t e d
t r a c k o n J o e l ' s
a l b u m .
A n o t h e r
c u t
e n t i t l e d
"For
t h e
L o n g e s t
T i m e "
i s p e r f o r m e d
t o t a l l y a c a p p e l l a ,
complete
w i t h
3
the
and
50's
c o n v e n t i o n s
o f f a l s e t t o
f i n g e r
snapping.
B i l l y
J o e l
i sn o t
a n i s o l a t e d
p e r f o r m e r
e i t h e r .
T h e S t r a y
Cats
can
b e c h a r a c t e r i z e d a sa
r o c k a b i l l y
r e v i v a l .
T h e i r
i n s p i r a t i o n
comes d i r e c t l y
f r o m
Roy
O r b i s o n
a n dB u d d y
H o l l y ,
b o t h
e a r l y r o c k
p i o n e e r s . T h e
S t r a y
C a t s
a r e
a t h r e e
m e m b e r
g r o u p
f e a t u r i n g B r i a n S e t z e r o n
l e a d
g u i t a r a n dv o c a l s .
T h e i r
i n s t r u m e n t s ,
c o m p a r e d
t o t h e
h i g h - t e c h
g u i t a r s a n d s y n t h e s i z e r s o ftoday,
are not
e x a c t l y
s t a t e o ft h e a r t .
S e t z e r
p l a y s
a
h u g e ,
G i b s o n
h o l l o w - b o d y
g u i t a r
( c i r c a
1 9 5 0 ) .
T h e
drummer. S l i m J i m
Phantom,
does
his
t h i n g o na p e d a l
b a s s
d r u m ,
a
s n a r e
a n do n ec y m b a l . L e e
R o c k e r
r o u n d s
o u t
t h e g r o u p o n
an
u p r i g h t b a s s .
B y e x a m i n i n g
t h e i r
i n s t r u m e n t s ,
t h i s
band
s e e m s
t o b e p r a c t i c i n gt h e
M i e s i a n
t h e o r y
t h a t
" l e s s i s
m o r e " .
A f t e r h e a r i n g
t u n e s o f
t h e i r B u i l t f o r Speed a l b u m
such
as "Rock T h i s T o w n " , " S t r a y
Cat
S t r u t " ,
a n d" R e v
I t U p and G o " ,
i t
i so b v i o u s
t h i s
o l d
adage
s t i l l
a p p l i e s .
A C h i c a g o band c a l l e d Jump'n
The
S a d d l e
e x p r e s s e s
t h e r e v i v a l
a t t i t u d e
b y i n v o l v i n g
anozher
d i s c i p l i n e ,
f i l m .
T h i s
band
p e r f o r m s
the smash h i t song
"The
C u r l e y
S h u f f l e " .
T h e g r o u p
a d d r e s s e s
the p o p u l a r i t y o f T h e
T h r e e
S t o o g e s
b y u s i n g
a
b i g
b a n d ,
s w i n g
s o u n d .
I n
t h e
w a n i n g m o n t h s o f1983,
t h i s
song
was
a tt h e t o p o f t h e c h a r t s
i n
many A m e r i c a n c i t i e s ,
i n c l u d i n g
D e t r o i t .
The
p o p u l a r i t y o f
t h e
S t o o g e s
f i l m
f e s t i v a l s a n d
t e l e v i s i o n
s h o w s
c a n b e b e s t
s u p p o r t e d
b y t h e a t t e n d a n c e a t
l o c a l t h e a t r e s a n dt h e i r
r a t i n g s
on
t e l e v i s i o n .
A t t h e R o y a l O a kM u s i c
T h e a t r e ,
S t o o g e s f e s t i v a l s
t r a d i t i o n a l l y
o u t d r a w
C l i n t
E a s t w o o d
f e s t i v a l s ,
b u t
o n l y
i f a l l t h e
m o v i e s
s t a r
C u r l y l l
I n
s o u t h e a s t
M i c h i g a n ,
S t o o g e s T V
r e r u n s g e n e r a l l y run second
o n l y
b e h i n d
J o h n n y
C a r s o n
o n l a t e
n i g h t
t e l e v i s i o n .
The
S t o o g e s are more popular n o w
in
some
p l a c e s
t h a n
t h e y
w e r e
the
f i r s t
t i m e
around.
T h e y
b e g a n t h e i r c o m e d y a c t s
i n
t h e
1920's and
s t a r t e d m o v i e
s h o r t s
in
1934.
T h e y
made
m o r e
t h a n
200
s h o r t s f r o m
t h e e a r l y
30's
to
t h e
l a t e
40's,
a s w e l l a s
s e v e r a l
m o v i e s
i nt h e l a t e
' 5 0 ' s .
I n a
D e _t ro t_ N e w s
a r t i c l e ,
M i k e
McBride
a d d r e s s e s
t h i s
p a r t i c u l a r r e v i v a l
b y
a s k i n g
a n d a n s w e r i n g
h i s o w n
q u e s t i o n .
Q.
" W h y t h e
r e v i v a l
f o r
t h i s s l a p s t i c k comedy?"
A.
" P e o p l e
k n o w
t h e y ' r e going
t o
T h i s
s e e m s
m o s t
o ft h e
the
s u b j e c t
p r e s e r v e d
a r
' 5 0 - i s h r o c k
S t o o g e s .
B a
w h a t
g e t . "
t ob e t h e a n s w e r t o
r e v i v a l s ,
w h e t h e r
b e n e w a r c h i t e c t u r e ,
c h i t e c t u r e , New-Wave
m u s i c o rThe
T h r e e
r b a r a
G o l d s t e i n , i n
�a
1 9 8 1
PA
a r t i c l e
e n t i t l e d
"Washed
Up
on
The
New
Wave",
e x p l a i n s
t h e
a t t i t u d e
i n
t h i s
m a n n e r .
"New
Wave i s a f o r m
o f
P o s t
M o d e r n i s m
w h i c h ,
r a t h e r
t h a n
u s i n g
t h e
s a f e
r e m o t e
i m a g e s
o f
t h e
d i s t a n t
p a s t ,
r e l i e s
o n
a
m o r e
r e c e n t
n o s t a l g i a . "
T h i s seems t o
apply
d i r e c t l y
t o
t h e
r e v i v a l i s m
a t t i t u d e .
I m u s t
ask
w h e t h e r
t h e r e
i s r e a l l y
any
d i f f e r e n c e
in the post m o d e r n i s t ' s
r e i n t e r p r e t a t i o n o f c l a s s i c a l
forms
and
New
Wave
rocker's
a d a p t a t i o n
o f
e a r l y music
s t y l e s .
Both
a r t i s t i c
e x p r e s s i o n s
a r e
r e t u r n i n g
t o t h e t h e
b e g i n n i n g
of
t h e i r
r e s p e c t i v e d i s c i p l i n e s
and
a t t e m p t i n g
t o
c r e a t e
something
new.
I n a r c h i t e c t u r e ,
a r c h e s ,
c o l u m n s ,
p e d i m e n t s
and
keystones
are
being
a p p l i e d
and
i n t e g r a t e d
i n new
ways.
I n
Rock
m u s i c ,
t h e i n s t r u m e n t s ,
m u s i c ,
v i d e o s ,
and
p e r f o r m e r s
a t t i r e
s e r v e as e l e m e n t s
o f
r e v i v a l .
T h i s
r e v i v a l
p r a c t i
e n j o y a b l e ,
p l e a s i n g ,
and
s t a n d a b l e ;
so
w h a t
i f
been done b e f o r e .
The
t i o n e r s
a r e
i n s t i l l
f r e s h n e s s
and
p r o v i d i
f o u n d a t i o n s f o r a new
d i
c e
i s
underi t
has
p r a c t i i n g
a
n g
t h e
r e c t i o n .
Both
d i s c i p l i n e s e v o l v e d
a n t i q u i t y
and
i n t o
t h e
age .
A
m
s
T
e
r
p
w
a
c
e
o
s
o u t
o f
m o d e r n
t t h e t u r n o f t h e c e n t u r y
b o t h
u s i c
and
a r c h i t e c t u r e
w e r e
t i l l
r o o t e d
i n
t h e
p a s t .
r a d i t i o n
o f f e r e d t h e
a r t i s t
an
s t a b l i s h e d ,
a c c e p t a b l e
e f e r e n c e
p o i n t .
I t
a l s o
r o v i d e d
t h e a r t i s t and
audience
i t h
a s e n s e
o f
u n d e r s t a n d i n g
nd
s e c u r i t y .
C o n s e q u e n t l y ,
l a s s i c a l
c o m p o s i t i o n
s h a p e d
a r l y
a t t i t u d e s
and
the
concept
f
" n e o "
c l a s s i s m
r e i g n e d
upreme.
M u s i c
was
d o m i n a t e d
by
t h e
V i e n n e s e
s c h o o l
c o n s i s t i n g
o f
H a y d n ,
S c h u b e r t ,
M o z a r t ,
and
B e e t h o v e n .
C o m p o s i t i o n
was
s t r i c t l y
g o v e r n e d
by
precedent.
T h e i r
works
were
founded
on
t h e
d i a t o n i c
or
s t a n d a r d
e i g h t
tone
s c a l e
and
w e r e
r u l e d by
t h e
c l a s s i c
t r a i t
o f
s y m m e t r i c
m e l o d y .
I n
a d d i t i o n
t h e y
p r o v i d e d
f o r t h e t r i u m p h o f
t h e
t o n i c ,
t h e
p r i m a r y
t o n e
o f
a
d i a t o n i c
s c a l e .
W h i l e
f o r m a l
c o m p o s i t i o n
d i d
n o t
p r e v e n t
e m o t i o n a 1 i s t i c
w o r k s ,
as
e x e m p l i f i e d
i n
B e e t h o v e n ' s
v o c a n i c
s y m p h o n i e s ,
i t
d i d
r e g u l a t e
f e e l i n g s
t o
a
s u b o r d i n a t e
p o s i t i o n
w i t h i n
t h e
academic
form.
S i m i l a r l y ,
a r c h i t e c t u r e a s s o c i a t e d
i t s e l f
w i t h
c l a s s i c a l
t r a d i t i o n s .
E n g l a n d
was
d o m i n a t e d
by
t h e a r c h i t e c t u r e
and
p l a n n i n g o f J o h n Nash.
H i s
s t y l i s t i c
i n c l i n a t i o n s ,
s h o w n
v i s i b l y
i n
t h e
C u m b e r l a n d
T e r r a c e
( 1 8 2 1 - 2 7 ) ,
r e v e a l
t h e
p r e v a l e n t
c l a s s i c a l
v o c a b u l a r y .
S c u l p t u r e d pediments,
p r o j e c t i n g
c o l u m n a r
b a y s
and
t r i u m p h a l
a r c h e s
r e g u l a t e
t h e
T e r r a c e ' s
c h a r a c t e r .
I n
A m e r i c a ,
t h e
a t t i t u d e
f l u o r i s h e d
i n
t h e
p r e e m i n e n c e o f t h e Greek
R e v i v a l
s t y l e .
The
temple
facades
found
on the Second Bank o f t h e
U n i t e d
S t a t e s ,
t h e
F i r s t
C h u r c h
o f
C h r i s t
i n L a n c a s t e r ,
M a s s a c h u s e t t s
( 1 8 1 6 - 1 7 )
and
on
t h e
L u n a t i c
A s y l u m
o f
U t i c a ,
New
Y o r k
( 1 8 3 7 - 4 3 )
s h o w
t h e
p o p u l a r i t y
and
t r i u m p h
o f
t h e
neo
c l a s s i c theme.
MODULATION
Susan
Deraeulemeester
N i n e t e e n t h c e n t u r y E u r o p e was
an
age
o f e v o l u t i o n .
The
r e v o l u t i o n s
o f
t h e
l a t e
e i g h t e e n t h
c e n t u r y r e s u l t e d i n the death
o f
t h e m o n o c r a t i c
g o v e r n m e n t s
and
p r o d u c e d
t h e
r e b i r t h
o f
d e m o c r a c y .
As a r e s u l t o f
t h i s
r e b i r t h , however, t h e n i n e t e e n t h
c e n t u r y was
t o b e c o m e an e r a
o f
g r o w i n g ,
l e a r n i n g and
e x p l o r a t i o n .
The
i m p l i c a t i o n s o f
t h e
new
s o c i a l s t r u c t u r e needed
t i m e
t o m a t u r e .
T h i s t u r b u l e n c e
i n
E u r o p e ' s s o c i a l
s t r u c t u r e a l s o
r e s u l t e d
i n a t u r b u l e n c e i n h e r
art.
W h i l e a r t i s t s s t r u g g l e d
t o
f r e e t h e m s e l v e s
f r o m t h e
b i n d i n g
t i e s
o f
t r a d i t i o n ,
t h e y
a l s o
s t r u g g l e d
t o
e s t a b l i s h
f o r
t h e m s e l v e s
a
new
d i r e c t i o n .
D u r i n g
t h i s
i d e n t i t y
s e a r c h ,
a r c h i t e c t u r e and
m u s i c
e x p e r i enced
a
p a r a l l e l
d e v e l o p m e n t .
As
t h e
n i n e t e e n t h
c e n t u r y
progressed,
r o m a n t i c i s m
r e p l a c e d
c l a s s i c i s m
as
t h e
d o m i n e e r i n g
a t t i t u d e .
The
f o r m a l i s m o f
new
c l a s s i c i s m had
become
s t i f f l i n g .
The
f r e s h p i c t u r e s q u e c h a r m
o f
t h e
r o m a n t i c
r h e t o r i c
i n
c o n t r a s t
was
w i l d l y
a p p e a l i n g .
P o e t i c
t h o u g h t s
t a i n t e d
t h e
v i s i o n s o f a r t i s t s , and
r o m a n t i cism
became u b i q u i t o u s .
R o m a n t i c i s m
p o w e r f u l l y d i r e c t e d
music.
C o m p o s i t i o n a l
t e c h n i q u e s
y i e l d e d
t o t h e
e x p l o r a t i o n o f
new
p o s s i b i l i t i e s .
S y m m e t r i c
melody
was
r e p l a c e d
by
i n f i n i t e
m e l o d y ,
and
as a r e s u l t ,
a
new
l y r i c i s m
e m e r g e d .
C o m p o s e r s
a l s o
r e l a c e d
t h e r e s o l u t i o n
o f
t h e t o n i c
w i t h
t h e
p r o g r e s s i o n
o f
d i s s o n a n c e
t o
c o n s o n a n c e
(tones c r e a t i n g t e n s i o n
p r o g r e s s i n g
i n t o
t o n e s
r e g a r d e d
as
p l e a s i n g
and
f i n a l
i n
e f f e c t ) .
I n a d d i t i o n , s u b j e c t m a t t e r
a l s o
t u r n e d
a w a y
f r o m
c l a s s i c a l
t r a d i t i o n s .
L e a d i n g
c o m p o s e r s
4
b e s t o w e d
w o n d e r f u l l
t i t l e s .
l e g e n d a r y
a n d
t h e
( 1 8 4 3 ) .
I
w r o t e
t h e
and J u l i e t
u p o n
t h e i r
m u s i c
r o m a n t i c
themes
and
W a g n e r
w r o t e
h i s
o p e r a s
" F a u s t "
(1840)
" F l y i n g
D u t c h m a n "
n R u s s i a ,
T c h a i k o v s k y
m a g n i f i - c e n t
"Romeo
"
( 1 8 6 9 ) .
y
R o m a n t i c i s m ,
h o w e v e r ,
a c h i e v e d
i t s c l i m a x
i n a r c h i t e c t u r e .
The
i d y l l i c ,
e x p r e s s e d
t a n g i b l y i n
t h r e e
d i m e n s i o n a l
f o r m ,
made
r o m a n t i c i s m
v i s i b l e
t o
t h e
masses.
I n England,
r o m a n t i c i s m
was
p r o c l a i m e d
i n S i r
C h a r l e s
B a r r y ' s
H o u s e s
o f
P a r l i m e n t
( 1 8 4 0 - 6 5 ) .
T h e i r
r i c h
G o t h i c
t r a c e r y ,
and
t h e
p i c t u r e s q u e
s i l h o u e t t e
o f
t h e
c l o c k
t o w e r
c o n t r i b u t e
t o t h e
b u i l d i n g ' s
q u i x o t i c
i m p r e s s i o n .
F r a n c e
a l s o
s u c c u m b e d
t o
G o t h i c
e n c h a n t m e n t .
The
i m p e l l i n g
n o v e l s
o f V i c t o r Hugo i n s p i r e d
her
t o
r e p a i r r e v o l u t i o n
t o r n
monuments.
Under
t h e
d i r e c t i o n
o f
V i o l e t - l e - D u c ,
r o m a n t i c
c a t h e d r a l s
s u c h
as
S a i n t e C h a p e l l e
and N o t r e Dame o f P a r i s
were
r e s t o r e d .
W h i l e
t h e
i n f l u e n c e
o
r o m a n t i c i s m
l a r g e l y
p e r m e a t e
t h e
a r t s ,
s e c o n d a r y
m o v e m e n t
i n
m u s i c
a n d
a r c h i t e c t u r
s t r u g g l e d
t o
e m e r g e .
T h
r a p i d l y
d e v e l o p i n g
s o c i e t y
o
the n i n e t e e n t h c e n t u r y
c o n t i n u e
to o f f e r
t h e d a r i n g a r t i s t
broa
and
t e m p t i n g
h o r i z o n s .
f
d
s
e
e
f
d
d
I n
m u s i c
a
d i s t u r b i n g
q u a l i t y
emerged.
M u s i c ceased t o u n f o l d
a r o u n d
f a m i l i a r
b a c k g r o u n d s .
C o m p o s e r s
b e g a n
t o
s t a t e
a
phrase
o n l y once.
By
abandoning
r e p e t i t i o n
and
s y m m e t r y ,
t h e y
a c h i e v e d
a v i b r a n t t a u t
m e l o d y .
U n l i k e
t r a d i t i o n a l
works,
these
new
a b s t r a c t m e l o d i e s
w e r e
n o t
c o n c e i v e d
o f
i n
t e r m s
o f
t h e
h u m a n
v o i c e .
The
t h e m e s
o f
t w e n t i e t h
c e n t u r y
m u s i c
c o n t a i n
w i d e
l e a p s
and
j a g g e d
p h r a s e s .
C o m p o s e r s
such
as
S t r a v i n s k y ,
S c h o e n b e r g ,
a n d
B a r t o k
i n t r o d u c e d
s e v e n
t o n e
" s k y s c r a p e r "
c h o r d s .
T h e s e
c h o r d s
i g n o r e t h e u n i t y
o f
t h e
C l a s s i c a l
t r i a d
( f i r s t ,
t h i r d ,
and
f i f t h
t o n e s )
i n f a v o r o f
a
g r e a t e r
t e n s i o n .
P o l y t o n a l i t y
( s i m u l t a n e i t y
o f
t w o
or
m o r e
t o n a l i t i e s ) ,
m u l t i r h y t h m
and
c h r o m a n t i c i s m
( t w e l v e
t o n e
s c a l e )
a l s o c o n t r i b u t e t o
t h e
sounds o f t h e i r modern
music.
P
a
p
P
t
g
a
l
o
a
r
l
r a l l e l
t o mu
s o b e g a n t o
s s i b i l i t i e s .
l a c e
(1851)
a n s i t i o n .
a s s
and
s t
sic,
a r c h i t e
r e s p o n d
t o
Paxton's
C r
r e p r e s e n t s
P a x t o n ' s
us
e e l
c r e a t e d
c t u r
o t h e
y s t a
t h i
e
o
t h
e
r
l
s
f
e
�p o s s i b i l i t y
o f i n f i n i t e
space.
T h i s i s p a r a l l e l t o t h e
i n f i n i t e
m e l o d i e s o f t h e r o m a n t i c
compos i t i o n .
Y e t ,
P a x t o n ' s
w o r k
c o n t a i n s a n o t h e r m o r e
p r o g r e s s i v e
a t t i t u d e ,
s i m i l a r
t o
music's abandonment o f t h e
human
v o i c e ;
t h e
C r y s t a l
P a l a c e
w i t h d r a w s any r e f e r e n c e t o i t s
h u m a n
i n h a b i t a n t s .
I t t o o
has
ceased
t o u n f o l d around
f a m i l i a r
b a c k g r o u n d s .
I n
a d d i t i o n ,
P a x t o n ' s w o r k p r o v i d e s t h e t o n e
f r o m
w h i c h
s k e l e t a l
s y s t e m s
c o n t i n u e d t o u n f o l d .
I n
Chicago
the
s k y s c r a p e r emerged
l i k e
t h e
s k y s c r a p e r
chords
o f music;
and
b u i l d i n g s
m o v e d
a w a y
f r o m
a
c l a s s i c a l
h o r i z o n t a l
o r i e n t a t i o n as d i d m u s i c a l c o m p o s i t i o n .
Both music
and
a r c h i t e c t u r e
had
by
t h e
c l o s e
o f
t h e
c e n t u r y
p r o g r e s s e d
f a r
f r o m
t h e i r
t r a d i t i o n a l
p r e c e d e n t s .
As
E u r o p e
e v o l v e d
s o c i a l l y ,
h e r
v a l u e s m e t a m o r p h i s e d
t o adapt
t o
the
c h a n g i n g
e n v i r o n m e n t .
V i s u a l l y
and
s p i r i t u a l l y
t h i s
process m a n i f e s t e d i t s e l f
i n her
a r t s .
H o w e v e r ,
m u s i c
a n d
a r c h i t e c t u r e
o n l y
m i r r o r e d
s o c i e t y ' s v a l u e s .
They d i d
n o t
g i v e
i t r e a s o n .
M a n k i n d ,
w i t h
his
d e s i r e t o e x p l o r e , v a u l t e d
i n t o
t h e
t w e n t i e t h
c e n t u r y ,
p o s s e s s e d
by
h i s
i n h e r e n t
c u r i o s i t y .
And as t h e p r e v i o u s
c e n t u r y was,
t w e n t i e t h
c e n t u r y
art
w i l l
a l s o be,
t h e f r u i t
o f
the
c o n d i t i o n s o f
s o c i e t y ' s
h e a r t .
JORN
John
UTZON
Madsen
S i n c e
t h e t u r n o f o u r c e n t u r y ,
many
a r c h i t e c t s
have
t r i e d
t o
c r e a t e
m o d e r n
a r c h i t e c t u r e .
R e p e a t e d l y , t h e y have
sought
t h e
past t o p r o v i d e a f o u n d a t i o n f o r
t h e i r
f o r m s .
V e r y few a t t e m p t s ,
h o w e v e r ,
h a v e
b e e n
a b l e
t o
c a p i t a l i z e
on
h i s t o r y
as
a
l e a r n i n g
t o o l .
Many
a r c h i t e c t s
m e r e l y r e p e a t f o r m s and
symbols
w i t h o u t
p r o v i d i n g t h e m
w i t h
i n h e r e n t
meaning.
I n
c o n t r a s t ,
J o r n U t z o n
i s an a r c h i t e c t
who
d o e s
u n d e r s t a n d
t h e
b u i l d i n g
p r i n c i p l e s
b e h i n d
t h e
a n c i e n t
forms.
His work
i s u n i v e r s a l
i n
i t s
e x p r e s s i o n
a n d
s t a n d s
i n d e p e n d e n t
o f
p r e d o m i n a n t
c u r r e n t s and
s t y l e s .
U
b
h
c
a
t z o n ' s
a r c h i t e c t u r e
i s
g u
y
h i s
b e l i e f
t h a t
o r i z o n t a l
p l a n e
i s
o n s t i t u e n t
e l e m e n t
o f
r c h i t e c t u r a l
e x p r e s s i
i d e d
t h e
a
t h e
o n .
W o r l d w i d e ,
i n t h e
t e m p l e s
o
G r e e c e ,
i n
t h e
z i g g u r a t s o
S u m e r
and
i n t h e
p y r a m i d s
o
E g y p t ,
U t z o n
s a w
t h
r e l a t i o n s h i p
o f t h e b u i l d i n g
t
the
h o r i z o n t a l
p l a n e .
He
f e l
t h a t t h e p l a n e was
t h e
b a c k b o n
of
c o m p o s i t i o n and
sensed
i n i t
h o r i z o n t a l
f o r m
a g r e a t
an
p o w e r f u l s t r e n g t h .
H i s
f e e l i n g
for
t h i s p r i n c i p l e ,
however,
a r
best c l a r i f i e d
by h i s own
words
t
f
f
e
o
t
e
s
d
s
e
:
"The
Y u c a t a n
i s a f l a t
l o w
l a n d
c o v e r e d
w i t h
a n
i n a c c e s s i b l e
j u n g l e ,
w h i c h
g r o w s
t o a c e r t a i n h e i g h t .
No
l a r g e
v i e w s , no
up
and
d o w n
m o v e m e n t .
B y
i n t r o d u c i n g
t h e
p l a t f o r m
w i t h i t s l e v e l a t t h e
same
h e i g h t
as
t h e j u n g l e
t o p ,
t h e s e
p e o p l e
s u d d e n l y
o b t a i n e d a new
d i m e n s i o n
o f
l i f e .
On t h e s e
p l a t f o r m s ,
t h e y
h a v e
b u i l t
t h e i r
t e m p l e s .
F r o m
t h e s e
p l a t f o r m s ,
t h e y
have
t h e
sky,
t h e c l o u d s ,
and
t h e
b r e e z e .
S u d d e n l y
t h e
j u n g l e
r o o f
h a s
b e e n
c o n v e r t e d
i n t o
a
g r e a t
c o v e r e d
p l a i n .
By
t h i s
s i n g l e
a r c h i t e c t u r a l
t r i c k ,
t h e y had c o m p l e t e l y changed
the
landscape
and
s u p p l i e d
t h e i r
v i s u a l
l i f e
w i t h
a
g r e a t n e s s c o r r e s p o n d i n g t o
the
g r e a t n e s s
o f
t h e i r
Gods."
J o r n
U t z o n
c r y s t a l l i z e s
t h i s
idea c l e a r l y and a r t i c u l a t e l y
i n
his
b e s t k n o w n w o r k , t h e
S y d n e y
Opera House.
Y e t i n a d d i t i o n
t o
p r o v i d i n g
a t a n g i b l e
example
o f
his
b e l i e f s ,
t h e
Sydney
O p e r a
House i s an i n t e r e s t i n g
p e r s o n a l
a c h i e v e m e n t .
U t z o n ,
as a
boy,
s p e n t h o u r s
l o o k i n g
o u t o f h i s
b e d r o o m
w i n d o w
a l o n g
t h e
p e n i s u l a o f E l s i n o r e a t
Kromborg
C a s t l e ,
t h e
s e t t i n g
f o r
S h a k e s p e a r e ' s
H a m l e t .
R e s p o n s i v e
t o t h e i n t e r p l a y
o f
l i g h t
and
s h a d o w ,
t h e
c a s t l e
c a m e
t o be
a l i v i n g
e n t i t y
by
the
sea.
There i s l i t t l e
d o u b l t
t h a t
w h e n
U t z o n
e n t e r e d
t h e
c o m p e t i t i o n , t h e c a s t l e s t r u c k
a
c h o r d
o f
m e m o r y .
W h e n
he
a c t u a l l y
saw
B e n n e l o n g
P o i n t ,
the
s i t e
f o r t h e o p e r a
h o u s e ,
for
t h e f i r s t t i m e , U t z o n
became
e c s t a t i c .
U t z o n d e c l a r e d t h a t
t h i s
was
a
p l a c e
w h e r e
i n
a n t i q u i t y
a
t e m p l e
w o u l d
have
b e e n
b u i l t .
He f u r t h e r w e n t o n t o s t a t e
t h a t
the
S y d n e y
O p e r a H o u s e w o u l d
be
a
b u i l d i n g
i n w h i c h
t h e
r o o f
w o u l d
be
o f m a j o r
i m p o r t a n c e .
He
c o n c l u d e d
t h a t
b e c a u s e
i t
s i t s on a p e n i n s u l a , j u t t i n g
o u t
f r o m t h e m i d d l e o f t h e c i t y , i t
w o u l d
be
e x p e r i e n c e d
f r o m a l l
s i d e s .
T h e r e f o r e , U t z o n made a
s c u l p t u r e ,
a s c u l p t u r e c o v e r i n g
the
n e c e s s a r y
f u n c t i o n s o f
t h e
r o o f and a s c u l p t u r e t h a t
r e s t s
g r a c i o u s l y
u p o n
t h e
p e n i n s u l a
base.
A g a i n ,
U t z o n ' s
c r e a t i o n
i s b e s t
his
own
words:
I f
C h u
wha
L o o
one
p u r p o s e
u n d e r s t o o d
y o u
t h i n k
o f
r c h ,
y o u
a r e
t
I have
been
k i n g a t a G o t h
never g e t s t i
5
c
a
i
r
a
G o t h i c
l o s e r t o
i m i n g a t .
c
Church,
e d
o fi t .
i n
i n
When you pass
around
i t , or
see
i t a g a i n s t t h e s k y , i t
is as i f s o m e t h i n g new
g o e s
o n
a l l t h e
t i m e .
T h e
i n t e r p l a y
o f
s u n ,
l i g h t ,
and
t h e
c l o u d s
m a k e s
a
l i v i n g
t h i n g .
I n o r d e r
t o
e x p r e s s
l i v e l i n e s s ,
t h e s e
r o o f s
[Sydney
Opera
House]
are
c o v e r e d
w i t h
g l a z e d
t i l e s .
W h e n
t h e
s u n
s h i n e s ,
i t g i v e s an
e f f e c t
w h i c h
v a r i e s
i n a l l t h e s e
c u r v e d
s u r f a c e s .
One
c a n n o t
make a complex
f o r m
w i t h o u t b e i n g c l e a r on
t h e
g e o m e t r y .
I have
used
t h e
g e o m e t r y
o f
t h e
s p h e r e .
F r o m
t h i s
s p h e r e ,
I
c a n
t a k e
one
s l i c e
and
r e p e a t
i t f o r my
s h e l l s .
You
w i l l
see
t h a t
I have
succeeded
i n
g e t t i n g
t h e s e
g r e a t
c o m p l i c a t e d
f o r m s
u n d e r
c o n t r o l .
The
p o w e r
o f
t h e Sydney
O p e r a
House
l i e s
i n h i s
j u x t a p o s i t i o n
of
t h e
s o l i d
b a s e
a n d
t h e
b e a u t i f u l
h o v e r i n g v a u l t s .
The
m a s s i v e
b a s e
e m p h a s i z e s
t h e
c h a r a c t e r
o f
B e n n e l o n g
P o i n t .
The
base
i s Utzon's p l a t f o r m ,
on
w h i c h t h e a u d i t o r i a a r e
a r r a n g e d
l i k e
G r e e k
t h e a t r e s .
T h e
p l a t f o r m
a l s o
i n s t i l l s
i n
t h e
b u i l d i n g
a
m a g n i f i c a n t
c e r e m o n i a l
a p p r o a c h .
Here
on
the
p l a t f o r m ,
man
has h i s
f e e t
p l a c e d
f i r m l y
on
t h e
e a r t h ,
w h i l e
above
h i m
t h e
g r a c e f u l ,
h o v e r i n g
v a u l t s
c l a r i f y
man's
p l a c e b e t w e e n
e a r t h and
h e a v e n .
J o r n
U t z o n
h a s
s u c c e e d e d
i n
c a p t u r i n g
t h i s v i s i o n a r y
q u a l i t y
in
h i s d e s i g n .
The
d e s i g n
i s
not
f o r e i g n
t o
t h e
s i t e
b u t
r a t h e r
b r i n g s o u t i t s i n h e r e n t
c h a r a c t e r i s t i c s .
H i s
d e s i g n
a d d r e s s e s
t h e o p e n and
d y n a m i c
w o r l d ,
y e t
a t
t h e
s a m e
t i m e
o f f e r s
t h e i n d i v i d u a l a p l a c e i n
i t .
The
i m p o r t a n c e
o f
J o r n
U t z o
r e s i d e s i n h i s a b i l i t y t o
b r i n
b a c k
t h e
d i m e n s i o n
o
a r c h i t e c t u r e as an a r t . A
w o r
of
a r c h i t e c t u r e does n o t
e x p r e s
i t s
c o n t e n t
by
m e a n s
o f
language
o f s i g n s , but
e x p r e s s e
i t s e l f
by
how
i t e x t e n d s
i n t
space.
T h i s i s how
i t d e f i n e
i t s
p l a c e
b e t w e e n
h e a v e n
an
e a r t h
and
becomes a p l a c e
wher
h u m a n
l i f e
c a n
t a k e
p l a c e
U t z o n ' s
a r c h i t e c t u r e
i s n o t
t h e o r e t i c a l
f r a m e w o r k
f o r
l i f e
but
i n s t e a d i s based on t h e sam
p h y s i c a l
l a w s
t h a t
g o v e r n i t
i n h a b i t a n t s ,
n
g
f
k
s
a
s
o
s
d
e
.
a
,
e
s
�GAUDI
Greg
AND
RUSKIN
V a r a n o
S a c r i f i c e .
I t i s n o t
o n l y
a
w o r d ,
but
an
a t t i t u d e as
w e l l .
T h i s word c h a r a c t e r i z e s
the
work
of
the S p a n i s h a r c h i t e c t
A n t o n i o
G a u d i
( 1 8 5 2 - 1 9 2 6 ) .
I t
a l s o
p e r m e a t e s
the charging
words
o f
t h e
B r i t i s h
a r t
c r i t i c
and
t h i n k e r John
Ruskin
(1819-1900).
They are u n i q u e l y
pendant t o
one
a n o t h e r ;
a t one
l e v e l , G a u d i
as
b u i l d e r
and
R u s k i n
as
w r i t e r .
H o w e v e r , t h e i r s i m i l a r i t i e s
do
n o t
end
h e r e .
I t i s
c e r t a i n
t h a t
t h e y
knew
o f
e a c h
o t h e r ,
y e t
t i m e
and
p l a c e
s e p a r a t e
them.
Any
d i r e c t
a f f i l i a t i o n
w o u l d
s e e m i n g l y
p u s h
t h e
c o n n e c t i o n
o n t o
u n s t a b l e
f o r d i n g s .
T h e i r connection
must
r e s t
upon
t h e
s i m i l a r i t i e s
o f
t h e i r
s p i r i t s
a n d
t h e i r
i n t e n t i o n s .
T h e i r
bond
i s
s e t
f o r t h
i n
Ruskin's
a l l e g o r i c a l
'lamp o f
s a c r i f i c e ' .
I t was
a
d i f f i c u l t
road
t h a t
e a c h
man
walked.
The
v e r y
f o u n d a t i o n s
and
i n t e n t i o n s of these
two
men
l i e
w i t h the Creator.
Ruskin
was
an
e v a n g e l i c a l
P r o t e s t a n t
and
G a u d i ,
a d e v o u t C a t h o l i c .
The
d i f f e r e n c e s
i n t h e i r
r e l i g i o n s
had
i n p a s t
c e n t u r i e s
i g n i t e d
d i s p u t e s
t h a t
had
l e d
t o
a
d i v i s i o n
of
the
C h r i s t i a n
f a i t h
i n t e r n a l l y .
H o w e v e r ,
i n
t h e
m i d d l e
t o
l a t e
n i n e t e e n t h
c e n t u r y ,
t h e Age
o f R e a s o n
and
D a r w i n i s m
c u l m i n a t e d
t h e
d e v e l o p m e n t o f t h e
R e n a i s s a n c e
h u m a n i s t
man.
M a n k i n d
had
e c l i p s e d
t h e
s i n o f
E d e n
by
not o n l y disobeying
God,
but
now
e x p l a i n i n g
h i m
a w a y .
The
g r a v e s t
s i n had
b e e n
r e c a p i t u l a t e d :
oh L u c i f e r , t h a t
thou
d e s i r e s t
t o
be
G o d i
T h i s
m e a n t
t h a t
t h e
C h r i s t i a n
r e l i g i o n
c o u l d
no
l o n g e r
be
divided.
S y m b o l i c a l l y
i t had
t o
u n i t e
t o
o p p o s e
t h e
Age
o f
R e a s o n
w h i c h
had
r e p l a c e d
God
w i t h
man.
Both
men
are u n i t e d
s p i r i t u a l l y .
Gaudi
s t a t e d
w i t h much
s o b r i e t y
t h a t
a
man
w i t h o u t
r e l i g i o n
w o u l d
be
a
man
s p i r i t u a l l y
r u i n e d , a m u t i l a t e d man.
I t
has
b e e n
s a i d
o f
R u s k i n
t h a t
a
d e v o u t
s p i r i t
a n i m a t e s
and
i n s p i r e s
a l l h i s
w o r k s .
W i t h
s o l e m n
w o r d s ,
R u s k i n
a c k n o w l edges
w i t h
an
e v e r - r e a 1 i z i n g
s e n s e t h e p r e s e n c e o f God,
t h e
A l m i g h t y
F a t h e r
and
F r i e n d
r e v e a l e d
i n
t h e
l i f e - g i v i n g
G o s p e l o f J e s u s C h r i s t .
T h u s ,
we
see
t h a t C h r i s t i s t h e
l i g h t
of
t h e 'lamp o f s a c r i f i c e ' t h a t
l i t
b o t h
m e n ' s
p a t h s .
R u s k i n
e x p l a i n s
i n
h i s
S e v e n
Lamps o f A r c h i t e c t u r e t h a t
t h e
h i g h e s t
s a c r i f i c e i n
a r c h i t e c t u r e
p e r t a i n s
t o
t h e
s e r v i c e s
and
h o n o r o f God.
He
d o e s
n o t
mean n e c e s s a r i l y
t h a t we
should
o n l y
b u i l d
c h u r c h e s ,
but
t h a t
Godly p r i n c i p l e s should
e x i s t i n
a l l
b u i l d i n g s .
C o n c e r n i n g
S a c r i f i c e
he
w r o t e :
" . . . i t i s
n o t t h e c h u r c h we
w a n t , b u t
t h e
s a c r i f i c e ;
n o t
t h e
e m o t i o n
o f
a d m i r a t i o n ,
b u t
t h e
a c t
o f
a d o r a t i o n ;
not
the g i f t ,
but
the
g i v i n g . "
I t i s n o t
t h e
r e s u l t
of
l a b o r ,
t h e end
product
or
the
f r u i t ,
of w h i c h
i s being
spoken,
but
t h e s a c r i f i c e and
mere
c o s t l i n e s s o f t h e v e r y
s u b s t a n c e
o f
l a b o r
and
t i m e
t h e m s e l v e s .
He
c o n c l u d e s :
" [ S a c r i f i c e ] ... i s
t h e r e f o r e
m o s t u n r e a s o n i n g
and
e n t h u s i a s t i c
and
p e r h a p s
b e s t
n e g a t i v e l y
d e f i n e d
as
t h e
o p p o s i t e
o f
t h e
p r e v a l e n t
f e e l i n g
o f
m o d e r n
t i m e s
w h i c h
d e s i r e s
t o p r o d u c e
t h e
l a r g e s t
r e s u l t s
a t the
l e a s t
cost."
I t was
t o t h i s g o a l o f t h e
l a m p
of
t h e u l t i m a t e s a c r i f i c e t h a t
Gaudi tended.
The
p r o j e c t s
t h a t
were most
i m p o r t a n t
t o him
were
his
r e l i g i o u s works.
One
o f
h i s
f i r s t
w o r k s
i n t h i s
l i g h t
was
t h e
E x p i a t o r y
C h u r c h
o f
t h e
S a g r a d a
F a m i l i a
i n
B a r c e l o n a
(1883-1926).
T h i s
c o m m i s s i o n
c o n t i n u e d
on
t h r o u g h
h i s
l i f e ,
c o n s u m i n g h i s f i n a l
years.
Y e t
G a u d i
had
o t h e r
n o n r e l i g i o u s comm i ss i o n s i n
w h i c h
he u s e d n a t u r a l p r i n c i p a l s .
I n
t h e m we c a n
see
t h a t he
s t u d i e d
n a t u r a l
f o r m s
and
b e h a v i o r
t o
understand
God's s t r u c t u r a l
and
geometr ic
laws.
He
b e l i e v e d ,
as
d i d
R u s k i n ,
t h a t
n a t u r e
was
d i v i n e l y
c r e a t e d ,
and
t o
s e e k
i t s l a w s w o u l d be t o
c o l l a b o r a t e
w i t h the
C r e a t o r .
One
i s u s u a l l y
a w e s t r u c k
w h e n
l o o k i n g
a t
G a u d i ' s
z o o m o r p h i c
and
o r g a n i c
a r c h i t e c t u r e .
The
e x p e r i e n c e
o f
i t e v o k e s
a
r e s p o n s e f r o m
d e e p w i t h i n
man,
m u c h
l i k e
k n o w i n g
o f
man
t o
w o m a n
i n t h e B i b l i c a l c o n t e x t .
H i s
r e s p e c t
f o r
t h e
d i v i n e l y
c r e a t e d
n a t u r e
c a u s e s us
t o
peer
i n t o the d e p t h s of touch,
t a s t e ,
s m e l l
and
i n n e r
v i s i o n ; a l l
t h i n g s
t h a t
a r e
s e n s u a l
and
e m o t i o n a l
b u t
w h i c h
h a v e
r a t i o n a l
s e a t s .
G a u d i
has
t a p p e d
t h e
b e a u t y
o f
q u i e t
f a l l i n g
l e a v e s ,
s t i l l
c o o l
water,
the
s h i m m e r ing moon,
and
the b l a z i n g
sun.
W i t h
the
cross
t h a t
a d o r n s
a l l
o f
h i s
b u i l d i n g s , G a u d i a l l u d e s t o
t h e
g r e a t e r
b e a u t y
t h a t
o n c e
was
Eden.
G a u d i
and
R u s k i n
w e r e
b o t h
p r o p o n e n t s
o f
t h e
A r t s
and
C r a f t s
M o v e m e n t
o f
t h e
l a t e
n i n e t e e n t h
and
e a r l y
t w e n t i e t h
c e n t u r i e s .
For
R u s k i n ,
i t
was
an
i s s u e
o f
m o r a l s .
As
a
r e a c t i o n a r y , he t h r a s h e d
o u t
a t
t h e
i n d u s t r i a l
m a c h i n e
w o r l d ,
and
as an a c t i o n a r y ,
he
b e l i e v e d
t h a t p h y s i c a l w o r k and c r a f t - o f t h e - h a n d s
was
a g i f t
f r o m
God.
The
f r u i t o f the hands i s
r o o t e d
in t h e m o t i v a t i o n o f t h e
h e a r t .
The
g r o w i n g
i n d u s t r i a l i z a t i o n
had
m a d e
l a b o r e r s
s l a v e s
t o
m a c h i n e s .
The
j o y f u l h e a r t
had
been choked a t the r o o t - w i l t e d
f r u i t .
T h e r e f o r e ,
l a c k
o f
p r o d u c t i o n
by
t h e
h a n d i c r a f t
p r o c e s s
w o u l d
s u g g e s t
a
m o r a l
decay i n
s o c i e t y .
For
G a u d i ,
h a n d i c r a f t
was
h i s
f a m i l y ' s
h i s t o r y .
S e v e r a l
g e n e r a t i o n s
on e a c h s i d e o f
h i s
f a m i l y
w e r e
i n v o l v e d
w i t h
t h e
s m i t h t r a d e s .
He b e l i e v e d
t h a t
t h e
m e t a l s m i t h
e m b r a c e d
a l l
t h r e e d i m e n s i o n s i n h i s work
and
t h u s
u n c o n s c i o u s l y
had
a
6
d
e
t
m
h
i
b
o m i n i o n o v e r
s p a c e .
A l s o ,
he
x e c u t e d
h i s c o m m i s s i o n s
i n
the
r u e
s p i r i t
o f
t h e
m e d i e v a l
a s t e r b u i I d e r s
.
He
d i d
n o t
e s i t a t e
t o w o r k a l o n g s i d e
t h e
g n o r a n t
b u t
t a l e n t e d
C a t a l n
r i c k
masons.
G a u d i
and
R u s k i n
p a r a l l e d
and
c o m p l i m e n t e d
each o t h e r ,
one
as
b u i l d e r
and
t h e
o t h e r
as
t h e o r i s t .
T h e r e
i s r e a s o n
t o
b e l i e v e
t h a t
R u s k i n ,
t h e
m o r a l i s t ,
w o u l d
h a v e
a p p r o v e d o f G a u d i .
T h r e e
m a j o r
a r e a s
o f
a g r e e m e n t
e x i s t .
F i r s t ,
t h e i r
f o u n d a t i o n s
are
b u i l t
u p o n
t h e i r
p e r s o n a l
r e l a t i o n s h i p s
w i t h t h e
E t e r n a l
God
and
H i s
K i n g d o m ;
t_h£
sac r i f i c e o f t h e i r l i v e s .
T h e y
e a c h
p o s s e s s e d
an
e x t r e m e
s e n s i t i v i t y
and
a w a r e n e s s of
the
d i v i n e l y
c r e a t e d
n a t u r e
and
b e l i e v e d
t h a t a l l p u r e a r t
was
r o o t e d
i n
i t s p r i n c i p l e s ,
t h e
a c t . _ o f _ _ a d o £ a t. j ^ o n .
F i n a l l y ,
those
n a t u r a l p r i n c i p l e s were
t o
be
e x p r e s s e d
i n
a
s o c i e t y
u t i l i z i n g
t h e c r a f t t r a d e s ,
t h e
g i v i n g
of t i m e
and
energy.
THE
F U N C T I O N OF
FASHION;
TWENTIETH CENTURY
ARCHITECTURE
Tammis
D o n a l d s o n
F a s h i o n ,
i n t h i s age
o f
n a r c i s s i s m ,
p l a y s
a
s t r o n g
r o l e
i n
design,
from
c l o t h i n g ,
i n t e r i o r
design
and
i n d u s t r i a l
design
t o
a r c h i t e c t u r e .
The
p u b l i c
has
come
t o e x p e c t
i t , d e m a n d i t ,
and
t o
s t r i v e
t o
be
t h e
m o s t
f a s h i o n a b l e ,
w h e t h e r as an
i n d i v i d u a l buying
c l o t h e s , or a
car,
or a c o r p o r a t i o n
i t s h e a d q u a r t e r s .
T h i s f a s t p a c e of
d e s i r e
p u s h e s
f o r
i n n o v a t i o n
i n
a l l
p r o d u c t s ,
(even
a r c h i t e c t u r e ) .
The
d i s p l a y
o f
t h e s e
p r o d u c t s
b e c o m e s an
a c t
o f
p a c e s e t t i n g ,
and
t o be f a s h i o n a b l e
b e c o m e s
a
theme f o r
c r e a t i v i t y .
C l o t h i n g ,
b e c a u s e
o f
i t
a b i l i t y
t o
q u i c k l y
s h i f t
f r o
one
t r e n d
t o
a n o t h e r
and
t
d i s r e g a r d
t h e
f a i l u r e s
i n
t h
t r a s h can,
i s a good m e d i u m
f o
f a s h i o n .
But
i s a r c h i t e c t u r e
as
a
m o r e
p e r m a n e n t
a r t
o
t h e
b u i l t
e n v i r o n m e n t ,
a p p r o
p r i a t e t o t h e t r a n s i e n t p a c e
o
s
m
o
e
r
,
f
f
�f a s h i o n ?
O n e d o w n f a l l
f a s h i o n
i na r c h i t e c t u r e i
i t c a nb e e a s i l y d a t e d
a n
o f t e n
t h a n
n o t ,
o u t d a t e d .
a s A d aL o u i s e
H u x t a b l e
n o t
Kicked
A B u i l d i n g
L a t e l y ?
f o r
s t h a t
d m o r e
B u t
e s i n
"The
f a l l a c y
i st h a t y o u
can't
d e l i b e r a t e l y a i m
for
t i m e l e s s n e s s
w i t h o u t
f a l l i n g
o n y o u r
f a c e .
A
b u i l d i n g
g r o w s n a t u r a l l y
o u t o fc o n f l u e n c e
o f cond i t i o n s
i n t r i n s i c
t o a
p a r t i c u l a r
m o v e m e n t i n
t i m e ; t h e y a r e s i g n p o s t s
of
c i v i l i z a t i o n .
T h e y
b e c o m e ' t i m e l e s s ' i n r e
l a t i o n t ot h e i r
g r e a t n e s s
l a t e r . "
The
C h r y s l e r
B u i l d i n g
i n N e w
Y o r k C i t y b yW i l l i a m V a n A l e n i s
a b u i l d i n g
t h a t
i s n o t i c e a b l y
dated.
H o w e v e r ,
b e c a u s e
o f a
r e t u r n e d
i n t e r e s t
i n n o s t a l g i a
and
b e c a u s e
i t i s a
s t r o n g
d e s i g n
r e p r e s e n t a t i v e
o f
t h e
j a z z a g e ,t h e C h r y s l e r
B u i l d i n g
has
b e c o m e
t i m e l e s s .
H e l m u t
Jahn's r e f e r e n c e
t ot h e C h r y s l e r
B u i l d i n g
i nH o u s t o n T e x a s { S / W
Bancshares)
r e p r e s e n t s
a r e t u r n
to
b e i n g
f a s h i o n a b l e ,
b e c a u s e
f a s h i o n
i n i t s u l t i m a t e
f o r m
m e a n s t od i s p l a y . T h e C h r y s l e r
B u i l d i n g
d i s p l a y s
e l e g a n c e ,
c a p i t a l i s m ,
a n d t h e C h r y s l e r
C o r p o r a t i o n .
I t i sa b u i l d i n g
t h a t c e l e b r a t e s
these
q u a l i t i e s
in
f u l l
f o r c e , through
a r t deco
d e c o r a t i o n
a n da n
e x p r e s s i o n i s t i c
s h a f t p o i n t i n g
i n t o t h e
sky.
T h eH o u s t o n t o w e r
i s a l s o
a b u i l d i n g o fc e l e b r a t i o n . I
t
c e l e b r a t e s
t h eg r o w t h
a n d
s u c c e s s
o f H o u s t o n
t h r o u g h
a n n o u n c e m e n t l i g h t s t h a t
t h r o w
off
g r e a t
b e a m s
o f l i g h t
f r o m
its
b u i l d i n g
c o r n e r s .
The H o u s t o n t o w e r
i sd e s i g n e d t o
g i v e t h ed o w n t o w n a f o c a l p o i n t .
In
t h es k y a n da tt h e p e d e s t r i a n
l e v e l ,
i t takes a bold
stance i n
t h e
n e i g h b o r h o o d
t o b e n u m b e r
one.
I ta s k s
t ob e l o o k e d a t ,
as f a s h i o n f r o m V o g u e
M a g a z i n e
a s k s
t ob e l o o k e d
a t .
T h r o u g h
f a s h i o n ,
a n dt h e t e s t o f t i m e ,
t h e
H o u s t o n
t o w e r
m a y a s t h e
C h r y s l e r B u i l d i n g become a l a n d m a r k
b o t h
i n t h es k y a n d i n
design.
Is
t h i s
d r i v e
f o r n o v e l t y
a p p r o p r i a t e
f o ra r c h i t e c t u r e ;
a r e w e l e f t w i t h r a gb a g a r c h i t e c t u r e ? I ti sc e r t a i n l y e v i d e n t
in
m o s t
c i t i e s ,
b u t t h e t u r n
a w a y
f r o m
t h i s
i su n l i k e l y
b e c a u s e
f a s h i o n
i sa l s o b i g
b u s i n e s s .
A r c h i t e c t u r e h a s
become
a s much
o f a
c o n s u m e r
p r o d u c t
a s r e c o r d
a l b u m s a n d
h e n c e ,
t h es o m e t i m e s
t r e n d y
c h a r a c t e r .
B u ta t r e n d ,
l i k e
a n y t h i n g e l s e , c a n p r o d u c e
g o o d
a r c h i t e c t u r e
o r b a d ; i n f a c t
t h e r e
i s t h ep o s s i b i l i t y o f
c r e a t i n g
a p e r m a n e n t
s t y l e
f r o m
a t r e n d .
T h e C h r y s l e r
b u i l d i n g
is
a n example.
F
a
s
f
a
f
f
a s h i o n
m a y s a t i s f y
t h e w h i m s
nd
s h i f t s
o f p o p u l a r i t y o f
o c i e t y ,
b u t t h e r e
c a nb e a
u n c t i o n
t o f a s h i o n .
I n
r c h i t e c t u r e
a n do t h e r
d e s i g n
i e l d s ,
f a s h i o n m a y b e g i n
a s a
o u n t a i n h e a d
o f c r e a t i v i t y .
F r o m
i ta d e s i g n
p h i l o s o p h y
might
b e
NO
m e t h o d
born.
o r
BY
DESIGN - WHY THERE A R E
LOCKS ON T H EBATHROOM DOORS
IN T H EHOTEL, LOUIS X I V
AND
OTHER OBJECT
LESSONS
A u t h o r :
Ralph
Reviewed
B y :
C a p l a n
S h e i l a
S m i t h
" ' H e r e
i sE d w a r d
B e a r ,
c o m i n g
d o w n s t a i r s n o w ,
bump, bump, bump o n t h e
b a c k
o f h i sh e a d
b e h i n d
C h r i s t o p h e r
Robin.
I t i s
as
f a r a s h e k n o w s , t h e
o n l y
w a yo fc o m i n g
downs t a i r s ,
b u ts o m e t i m e s h e
f e e l s t h a t t h e r e i s r e a l ly
a n o t h e r
w a y , i f o n l y
he c o u l d
s t o p bumping
f o r
a
m o m e n t
a n d t h i n k o f
i t . ' "
A.
A. M i l n e
The
t i t l e
o ft h i s b o o k a l o n e i s
e n o u g h
t oa t t r a c t a t t e n t i o n .
C a p l a n
m a n a g e s
t o h o l d t h e
reader's
i n t e r e s t
t h r o u g h h i s
i n t r i g u i n g
chapter
h e a d i n g s a n d
his
i n s i g h t f u l
i n t r o d u c t o r y
quotes.
W h o w o u l d have
t h o u g h t ,
for
e x a m p l e ,
t h a t a
d i s c u s s i o n
o f " T h e P r o f e s s i o n a l
E m e r g e n c e "
m i g h t
b e g i n
w i t h
t h i s
q u o t e
b y t h ea u t h o r o f
W i n n i e
t h eP o o h ?
Y e t ,i t w o u l d
be h a r d
t oc o n c e i v e
o fa b e t t e r
way
t ob e g i n a d i s c u s s i o n o f t h e
need
f o rd e s i g n
w i t h o u t
Milne's
i m a g e
o f l i f e .
T h r o u g h o u t
t h e
b o o k ,
C a p l a n
c o n t i n u a l l y
d r a w s from
a v a r i e t y o f sources.
The
i m p a c t
o f h i s q u o t e s a r e
e n h a n c e d
b y t h e i r o n y o f t h e i r
r e l e v a n c e
t ot h e s u b j e c t
m a t t e r
at
hand.
The
p u r p o s e o fC a p l a n ' s b o o k i s
to
i n c r e a s e
t h er e a d e r ' s
a w a r e ness a n du n d e r s t a n d i n g
o f design
in
t h eb r o a d e s t
s e n s e
o f
t h e
t e r m .
I nh i s w o r d s ,
" t h e
b o o k
is
n o ta h i s t o r y o f d e s i g n ,
a l t h o u g h
t h e r e i ss o m e h i s t o r y
in
i t ; i
t i s n o ta
d e s i g n
c r i t i q u e , a l t h o u g h
i t i s c r i t i cal;
i
ti sn o t a d e f e n s e o f
i n d u s t r i a l d e s i g n ,
a l t h o u g h
i t
is
s y m p a t h e t i c
t od e s i g n
f r u s t r a t i o n s ;
i t i s n o t p o l e m i c ,
a l t h o u g h
i t a c k n o w l e d g e s
w o r k
t h a t
i ss h o d d y
a n d m i n d l e s s . "
The
p o i n t o f t h i s
b o o k
i s t h a t
d e s i g n ,
w h i c h
i s n o w d i r e c t e d
l a r g e l y t os u p e r f i c i a l e n d s , i s
a p p r o p r i a t e
t oo u r m o s t
s i g n i f i c a n t
h u m a n
a c t i v i t i e s a n d
b e l o n g s t o them.
i n f o r m s
t h e r e a d e r
d e s i g n
i sn o t ,
a n dh
c a m e
t o b e
m i s u n
" I r o n i c a l l y ,
a l t h o u g
o p e r a t e s
i nm a n y a r e a s
is
u n e x p e c t e d , "
h e s t
is
p r o c l a i m e d
i nm a
w h e r e
i
th a r d l y
Caplan's view
o n design
c o n t a i n s
m a n y
d i v e r s e
a n di n t e r e s t i n g
v i e w p o i n t s .
I n a
c h a p t e r
e n t i t l e d
" S u i t a b l e
f o r Framing,
Is
D e s i g n A r t ? " , h e d e b a t e s t h e
d i s t i n c t i o n
b e t w e e n t h e d e s i g n
of
a r t f o r a r t ' s
s a k e a n d
a p p l i e d
a r t .
He r e f e r s t o these
r e s p e c t i v e l y
a s " A r t " a n d " a r t " .
C a p l a n o p e n s t h e c h a p t e r
w i t h a
q u o t e
f r o m
M a r t i n
M y e r s o n .
"People
c a ni n s u l a t e
themselves
from
p a i n t i n g , s c u l p t u r e ,
l i t e r a t u r e , m u s i c a n dt h e d a n c e , b u t
t h e y
c a n n o t
a v o i d
e x p o s u r e t o
t h e
d e s i g n
o f b u i l d i n g s a n d
g r e e n
s p a c e s .
S i n c e
u r b a n
d e s i g n ,
a r c h i t e c t u r e a n d l a n d s c a p e d e s i g n
a r e t h eo n l y
a r t s
t h a t
c a n n o t
b e a v o i d e d ,
t h e y
h a v e
a u n i q u e l y
p u b l i c
c h a r a c t e r . "
I nt h i s
c h a p t e r ,
h e
a l s o
c o n s i d e r s
a t l e n g t h t h e
e f f e c t s
t h a t
t a s t e h a sh^id o n
both
a r t a n d A r t .
In
another
chapter
e n t i t l e d " T h e
D e s i g n
o f P o s s i b i l i t i ^
The
S h i f t
From Object
t o S i t u a t i o n " ,
C a p l a n
t a l k s
about
t h e i n c r e a s ing
a m o u n t
o f a t t e n t i
t h a t
d e s i g n e r s
a r ef o c u s i n g
o n -t h e
e f f e c t s
o f t h eo b j e c t s
t n e y
c r e a t e
r a t h e r t h a n
t h e o b j t c t s
t h e m s e l v e s .
H e d e f i n e s
s i t u a t i o n a l d e s i g n
a s t h ec o n c e p t o f
m o v i n g
f r o m t h ed e s i g n
o f t h i n g s
to
t h ed e s i g n
o f t h e c i r c u m s t a n c e s
i n w h i c h
t h e y a r e used,
C a p l a n
a s s e r t s
t h a t " Y o u can't
d e s i g n
o n et y p e o f e n v i r o n m e n t
for
a l l s i t u a t i o n s , which
i s w h y
s i t u a t i o n a l
d e s i g n
h a s t ob e
c a l l e d
i n t o
play".
C a p l a n ' s
e x p l o r a t i o n
o f
t h e
n a t u r e
o fd e s i g n
i s e n j o y a b l e ,
i n s p i r i n g
a n d i n f o r m a t i v e . Y e t
i r o n i c a l l y ,
C a p l a n s t a t e s
t h a t
he
w r o t e
B Y D E S I G N
f o r
p e o p l e
o u t s i d e
o f t h e d e s i g n
f i e l d .
N e v e r t h e l e s s ,
BY DESIGN i s w o r t h
the a t t e n t i o n o fanyone
a f f e c t e d
by d e s i g n ,
which
makes i t w o r t h
the a t t e n t i o n o f everyone.
THE
ARCHITEXT
CO-EDITORS
Susan Demeulemeester
Gregory J . Varano
ASSISTANT
Matt
C a p l a n e x p l o r e s
t h ee f f e c t so f
g o o d
a n d b a d d e s i g n
t h r o u g h
e x a m p l e s
taken
f r o m
t h e d i v e r s e
a s p e c t s
o f l i f e .
I nt h e b o o k ,
he
i n c l u d e s
d i s c u s s i o n s
ranging
f r o m
t h ed e s i g n
o f g o v e r n m e n t ,
a r c h i t e c t u r e a n dp o l i t i c s
t o t h e
d e s i g n
o f h a m b u r g e r s ,
s a f e t y
p i n s
a n dc h i c k e n
eggs.
I n a d d i t i o n , C a p l a n a l s o d e s c r i b e s t h e
p r o b l e m
s o l v i n g
n a t u r e
o f
e f f e c t i v e
design
a n dp o i n t s o u t
popular
m i s c o n c e p t i o n s .
C a p l a n
7
o n
w h a t
o w d e s i g n
d e r s t o o d .
h
d e s i g n
where i t
a t e s , " I t
n y
a r e a s
e x i s t s . "
EDITOR
Hubbard
STAFF
Linda Caverly
S h e i l a Smith
GRAPHICS
Jeff
Judy
Marshall
Rzeppa
�HIS
MICHAEL
E L E M E N T S AND
Bradley
GRAVES
HIS
LANGUAGE
Butcher
To t r u l y a p p r e c i a t e
t h e w o r k
o f
a r c h i t e c t
M i c h a e l
G r a v e s
one
doesn't
h a v e
t o s p e a k
t h e
same
language,
but
i t helps.
For
the
p a s t
c e n t u r y ,
a r c h i t e c t s
h a v e
d i s p l a y e d a g r e a t e n t h u s i a s m
f o r
b o r r o w i n g
l a n g u a g e
f r o m
o t h e r
d i s c i p l i n e s and
M i c h a e l
G r a v e s
is
no
e x c e p t i o n .
He
r e f e r s t o
his
w o r k
as " c o m p o s i t i o n " ,
t h e
f o r m a l elements
as
"vocabulary",
the
s e t
o f
e l e m e n t s
a s
" l a n g u a g e " ,
and
t h e
v i e w e r ' s
p e r c e p t i o n as " r e a d i n g " .
I n
an
a t t e m p t
t o understand
the d i r e c t i o n s o f t h e s e
d e f i n i t i o n s ,
i t
is
n e c e s s a r y
t o s e p a r a t e
e a c h
one
and
d i s c u s s
i t s c o m p o n e n t s
i n d i v i d u a l l y .
In
G r a v e s '
p r o j e c t
f o r
t h e
b r i d g e
a t
t h e
F a r g o - M o r e h e a d
C u l t u r a l
C e n t e r ,
t h e
e l e m e n t s
are
enormous
arches,
k e y s t o n e s ,
c l a s s i c a l p i l a s t e r s , c l a s s i c a l
c a p i t a l s ,
p e d i m e n t s ,
v a l a n c e s ,
m o u l d i n g s ,
d r o p p e d
s o f f i t s ,
and
a s s o r t e d
c l a s s i c a l
o r n a m e n t .
T h e s e
a r e
t h e
v o c a b u l a r y
o f
G r a v e s ;
t h e y
m a k e up h i s l a n g u a g e and go
i n t o
his
c o m p o s i t i o n s .
Some o f
t h e
e l e m e n t s
a r e
o b v i o u s
t o
t h o s e
who
are aware o f t h e i r
h i s t o r i cal
r e f e r e n c e s , but t h e y are a l l
p a r t o f t h e w o r k
t h a t has
made
M i c h a e l
G r a v e s one
o f t h e
m o s t
i n f l u e n t i a l
a r c h i t e c t s o f
t h e
P o s t - M o d e r n
m o v e m e n t .
G r a v e s
s t a t e s ,
"Doors,
w i n d o w s ,
and
r o o m s a r e my
v e r b s ,
i f you
t o o k
t h e m a w a y I ' d l o s e my
language."
G r a v e s '
v o c a b u l a r y
c o m e s
t o g e t h e r
i n h i s most
c e l e b r a t e d
w o r k
t o
d a t e ,
t h e
P o r t l a n d
P u b l i c
S e r v i c e
B u i l d i n g
i n
P o r t l a n d ,
O r e g o n .
B u i l t
i n
1982,
i t t y p i f i e s t h e d i r e c t i o n
Graves
f e e l s t h a t h i s a r c h i t e c t u r e
i s
t a k i n g .
M o s t
m o d e r n
a r c h i t e c t u r e
t o d a y
u s e s
f o r m s
t h a t
a r e
d e r i v e d
f r o m
t h e
m a c h i n e and
according
t o
Graves,
the
h u m a n i s m
i s l e f t
o u t .
H i s
g o a l
i s
t o
r e - e s t a b l i s h
t h e
a s s o c i a t i v e
l a n g u a g e o f a r c h i t e c t u r e
by
d e s i g n i n g
a
b u i l d i n g
w i t h
a h e a d ,
b o d y ,
and
b a s e .
T h i s
concept
r e c a l l s
the
source
for
s u c h w o r k s as t h e
P a r t h e n o n
and
o t h e r G r e e k b u i l d i n g s t h a t
a r e
b a s e d
on
h u m a n
f o r m .
On
t h e b a s i s o f t h e h u m a n
f o r m ,
one
can
see
the t r a n s l a t i o n
i n t o
b u i l d i n g
f o r m
by G r a v e s i n h i s
P o r t l a n d
B u i l d i n g .
Graves
used
the
f i g u r a l
r e f e r e n c e
b o l d l y
i n
his
s k e t c h e s
f o r t h e b u i l d i n g .
In t h e f i n a l d e s i g n
i t has
b e e n
j o i n e d by
t h e mask and
t h i s
i s
w h a t
u l t i m a t e l y
s h a p e d
h i s
b u i l d i n g .
At
f i r s t ,
he
t r i e d
t o w o r k
o u t
the
o v e r a l l
f o r m
i n t e r m s
o f
a
s t a n d i n g
a n t h r o p o m o r p h i c
shape;
h e a d ,
b r o a d
s h o u l d e r s ,
t o e s
g r i p p i n g
t h e ground.
But
i n
the
end,
the p r o p o r t i o n s demanded
by
the
p r o g r a m d i d not seem t o
make
the
s t a n d i n g
f i g u r e work o u t ,
so
he
u s e d
a
c r o u c h i n g
f i g u r e
i n s t e a d .
The
head broadens
back
d o w n i n t o t h e m a s s and
i s maned.
Then the squatness
and
b r o a d n e s s
which
were p a r t o f t h e
o r i g i n a l
c u b a g e
b e c o m e
t h e
mask.
The
c r o u c h
o f
t h e
f i g u r e i s
s t i l l
t h e r e ,
i t s t o e s
s t i l l
d i g g i n g
i n t o
t h e
g r o u n d ,
b u t
t h e
f a c e
has
t a k e n
o v e r
t h e
b o d y ,
and
u n d e r
i t s
n o b l e
k e y s t o n e
f o r e h e a d
i t l o o k s o u t a t us
w i t h
two
round
eyes.
F r o m a d i f f e r e n t p o i n t o f
v i e w ,
the
f l a t t e n i n g s
and
p l a n a r
s i m p l i f i c a t i o n c o m b i n e d w i t h t h e
b u i l d i n g ' s
b l o c k ,
and
s y m m e t r i cal
m a s s , m a k e i t l o o k v e r y
much
l i k e A r t Deco, a s t y l e
which
has
i n t e r e s t e d
G r a v e s
f o r
m a n y
y e a r s .
T h i s c o m b i n a t i o n
o f
A r t
Deco
and
C l a s s i c a l m o t i f s
was
w i d e l y
u s e d
i n 1 9 3 0 ' s
p u b l i c
b u i l d i n g s ,
and
G r a v e s '
own
d i s t i n c t i v e
b l e n d
o f
t h o s e
s t y l e s
t h e r e f o r e seems p a r t i c u l a r l y
a p p r o p r i a t e
f o r
t h i s
b u i l d i n g
type.
In
t h e p r e l i m i n a r y s t u d i e s
f o
the
b u i l d i n g . G r a v e s
p l a c e d
p a v i l i o n , s h a p e d l i k e a c h i l d '
d r a w i n g
o f a h o u s e on t o p o f
t h
k e y s t o n e .
I t
r e c a l l s
p r i m i t i v e
h u t
e m e r g i n g
f r o m
m o u n t a i n .
The
h u t , or
t e m p l e
on
t h e
m o u n t a i n ,
c o m m o n
i
C l a s s i c a l
a n d
B e a u x - A r t
i m a g e r y ,
i s
a
f a v o r i t e
o
G r a v e s .
I t s u m s
up
f o r
h i
the
r e l a t i o n s h i p
b e t w e e
a r c h i t e c t u r e ,
man,
and
n a t u r e
w h i c h
he c o n s i d e r s
e s s e n t i a
to
t h e
d i s c i p l i n e .
E c o n o m i
reasons
f o r c e d Graves
t o
a l t e
the
d e s i g n
o f
t h e
p a v i l i o n
and he r e p l a c e d
i t w i t h
a
f o r
t h a t
d o e s n ' t
q u i t e o f f e r
t h
same
s y m b o l i s m .
I n
f a c t ,
i
is r e f e r r e d t o as "...what
l o o k
l i k e t h e m e t a l
s p o u t
o f a
suga
box."
r
a
s
e
a
a
,
n
s
f
m
n
,
l
c
r
,
m
e
t
s
r
G r a v e s
i n t e n d s e a c h e l e m e n t
o f
the
d e s i g n
and
d e c o r a t i o n
t o
e x p r e s s
t h e b u i l d i n g ' s
m e a n i n g .
The
e l e v a t i o n
s u g g e s t s
a
d e t a i l e d
r e a d i n g .
The
c o l u m n s
s u p p o r t i n g
the keystone
d e s c r i b e
the
i n t e r i o r
p r o g r a m :
c i t y
o f f i c e
b e l o w ,
r e n t a l
s p a c e
a b o v e ,
g o v e r n m e n t
s u p p o r t i n g
c o m m e r c i a l
a c t i v i t y .
Behind
t h e
c o l u m n s ,
a
g i a n t
w i n d o w
o f
r e f l e c t i v e
g l a s s
i d e n t i f i e s
t h e
c e n t e r
( o r body)
o f
t h e b u i l d ing.
T h i s h o u s e s t h e
s e r v i c e s ,
and
a g a i n
suggests
q u a l i t i e s
o f
l i g h t ,
v i s i o n ,
and
t h e
r e f l e c t i o n o f g o v e r n m e n t a c t i v i t y
i n
the
c i t y .
F u r t h e r m o r e ,
t h i s
a p p l i e d
f i g u r e o f
p o r t a l
and
w i n d o w adds r e l i e f
t o t h e
f l a t
f a c a d e .
I t t r a n s f o r m s a
p o t e n t i a l l y
h o m o g e n e o u s ,
s t a t i c
s u r f a c e ,
r e a d
s t r a i g h t
a c r o s s ,
i n t o a k i n e t i c plane
g i v e n
focus
and
t e n s i o n
by
t h e
e m e r g i n g
a r c h - l i k e
form.
When
c o n s i d e r e d
more
i n t e g r a l l y
i n t e r m s
o f i t s
p r o c e s s
o f d e s i g n ,
t h e P o r t l a n d
8
B u i l d i n g
i s e s s e n t i a l l y S u l l i v a n i a n .
I t s g e n e r a l
s i z e
and
p r o p o r t i o n
p u t
i t b a s i c a l l y i n
the
W a i n w r i g h t
c l a s s .
B o t h
S u l l i v a n
and
G r a v e s
w e r e
a t t e m p t i n g t o c l a d a l i g h t
s t e e l
s k e l e t o n
i n o r d e r
t o
t r a n s f o r m
i t i n t o a i n t e g r a l p l a s t i c
body.
S u l l i v a n employed a f l a t ,
sharpl y
c u t
base.
G r a v e s d o e s
t o o .
S u l l i v a n
s e t a b u i l d i n g
s c a l e d
p a n e l
o f v e r t i c a l
p i e r s
w i t h i n
the
c o n t a i n i n g f l a t
forms of
the
b u i l d i n g ' s
c o r n e r s .
The
c a p i t a l s
o f
t h e
p i e r s
s e e m
t o
s u p p o r t
t h e
t o p
f l o o r
as
a
h o r i z o n t a l
s h a p e ,
w h i c h
i s
t r e a t e d
as a g r e a t
e n t a b l a t u r e
f o r
t h e
b u i l d i n g as
a
w h o l e .
G r a v e s
u s e s
t h e
p i e r s o n l y
i
the
c e n t e r
and
causes the
corne
s h e a t h i n g
t o
e x p a n
o v e r
m o s t o f t h e s u r f a c e .
T h i
m a k e s
t h e
b u i l d i n g
seem
m o r
l i k e
a d e c i s i v e l y s o l i d
b l o c k
r a t h e r
t h a n
a
b u i l d i n g
r i c h l
a r t i c u l a t e d
by
s u b s t a n t i a
v e r t i c a l
p i e r s .
T h e r e
i s
i
e f f e c t
no
c o n t i n u o u s
e n t a b l a
t u r e
and
no
g i a n t
c a p i t a l
i
t e r m s
o f S u l l i v a n ' s i m a g e r y
o
the
c l a s s i c a l c o l u m n ,
b u t
t h
spread
o f the keystone
takes
th
a t t e n t i o n away f r o m
t h a t .
n
r
d
s
e
,
y
l
n
n
f
e
e
Much a t t e n t i o n has
b e e n
p l a c e d
h e r e
on
t h e
P o r t l a n d
B u i l d i n g
and
f o r good reason
—
i t i s the
f i r s t
l a r g e
s c a l e
e x a m p l e
o f
G r a v e s '
w o r k .
I t
i s
t h e
c u l m i n a t i o n
o f a l l h i s
e f f o r t s
in h i s p r i v a t e w o r k s and
i n h i s
p a i n t i n g s .
I t i s a
m o n u m e n t a l
w o r k t h a t has
been c l a s s i f i e d
as
the
f i r s t
m o n u m e n t
o f
t h a t
l o o s e l y
d e f i n e d
s t y l e
c a l l e d
P o s t - M o d e r n i s m .
I t has
c a u g h t
the
eye
o f
t h e
n a t i o n and
l e t
M i c h a e l
G r a v e s ,
a t l e a s t f o r a
t i m e ,
b e c o m e a h o u s e h o l d
name.
P e r h a p s
a f t e r
t h e
c o n t r o v e r s y
d i e s
down
the P o r t l a n d B u i l d i n g
c o u l d
w e l l a t t a i n
t h e
k i n d
o f
v i b r a n t ,
q u i r k y c h a r m
t h a t
we
now
a s s o c i a t e
w i t h V i c t o r i a n
b u i l d i n g s .
T h e y
may
l a c k
a
t i m e l e s s s e r e n i t y , but they
possess
u n d e n i a b l e
c h a r a c t e r .
And
w h e t h e r
M i c h a e l
G r a v e s
r e p r e s e n t s
t h e
f u t u r e o f
A m e r i c a n
a r c h i t e c t u r e
or
n o t ,
h i s
i s
a
v o i c e
w h o s e
s i n g l e
m i n d e d
message
—
t h a t a r c h i t e c t u r e i s
an
a r t o f
m e a n i n g
as
w e l l
as
f o r m
-i s s t r o n g ,
c l e a r ,
and
c o m p e l l i n g .
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Architext
Description
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Newsletter created by Lawrence Technological University students in the College of Architecture and Design (CoAD), from 1982-1989.
Creator
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Lawrence Technological University
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Lawrence Technological University
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Lawrence Technological University
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Architext
Date
A point or period of time associated with an event in the lifecycle of the resource
Winter 1983-84
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American Institute of Architects, Student Chapter newsletter
Subject
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Architecture—Periodicals
College student newspapers and periodicals
Description
An account of the resource
Winter 1983-84 edition of newsletter created by Lawrence Institute of Technology (now Lawrence Technological University) students in the College of Architecture and Design. Editors: Susan Demeulemeester, Gregory J. Varano, assistant editor: Matt Hubbard, staff: Linday Caverly, Sheila Smith, graphics: Jeff Marshall, Judy Rzeppa.
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Lawrence Technological University
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Lawrence Technological University
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8 p.: Manuscripts 8.5 x 11 or smaller
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LTU-AT1983c
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AIA
architecture periodicals
newsletters
student organizations
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ARCHITEXT
/
S T U D E N T ' CH A P T E R - L A W R E N C E - I N S T I T U T E ^ O F
2 1 0 0 0
WEST
TEN
M I L E
-T
E C H N O L O G Y
S O U T H F I E L D
ROAD
M I C H I G A N
4 8 0 7 5
1983
MAY
MEMORY,
PRESENT
Robert
FANTASY
AND THE
3 . Farley
A
natural
faculty
o f t h e
h u m a n
psyche
i s
m e m o r y .
M e m o r y
i s t h emeans b y w h i c h
w e
m a k e
sense
o f
novel
phenomenae.
Fossil
fragments
of
experience
allow
t h e
individual
t o understand h i s
perceptions
o f objective
reality.
It
i s
a
shared
illusion
o f
consciousness
a n d m e m o r y
t h a t
w e
perceive o f t i m e a s linear
a n d a s s u m e a no r d e r l y
sequence
of
events
i n
direct
cause-and-effect
relationships.
However,
"reality" i s c o m p o s e d
of the eternal present, o f w h i c h
our memories,
perceptions, a n d
aspirations
a r e
a l l
equally
significant
parts.
T h e
creation o f t h e concept o f t i m e
merely
allows
f o r a n orderly
w a y
o f thinking about
m o t i o n
t h r o u g h s p a c e , b u t h a sn o r e a l
direction o r substance o f itself.
Traveling
i n t i m e ,
distinctly
h u m a n
Therefore,
fantasy.
o u r m e m o r i e s
essentially
fantasy,
been
observed
in
h i s
a n di t
theory
m a n y
are
inventions
o u r
o f
m e m o r i e s
w h a t
w e
happened
have
t o
produce
t h esituations
w e
ourselves.
this
point,
c o m m o n
in
another
3aynes
person
t h ereal
effect,
self-observa-
O u r aspirations
t h e f u t u r e
aspect
however
carefully
k n o w n
o f
a n d
have
a
fantasy,
w e base
t h e m
reality.
plays
architecture
a n dis replaced b y
an insistence upon stability a n d
omnidirectionality.
F u r t h e r
to
these
artist
expression
ideas
Michael
Eno,
i n
garde
Express
Chandler's
w o r k :
impressed
m e about
until
a
sense
i s
given
i n t h ew o r k
Chandler.
a n avant
w r i t i n g
was
a n i m p o r t a n t
power
produced
complexity
I
felt
o f
Brian
musician
says
o f
" W h a t
h i s w o r k
o f a n evolution o f
a n dforgotten
t h e painting
transitions
radiated
a
o f
that
was
this
accepting
of
sense
that,
action
made
trace."
advantage
painting,
will
leave i t s
himself
involved
composition
the
Chandler's
i n
E n o
currently
t h e
o f history
o f
a n dt a k i n g
t h efact
any
b y
i t so w n history.
t h e result
o f
i s
i n
music
technology
t h e
utilizing
o f t h e recording
studio
t o suggest
scapes
a n d t o demonstrate t h e
evolution
piece
o f
specific
t h e
a n d o f
land-
particular
h i s music
i n
general.
E n o
T i m e
a n dpassage also
have
significance
t o
architecture.
W i t h i n
t h e
architectural
composition,
t h e demands
o f
linear
progression
disintegrate.
F o r m
a n d space
m u s t
b e
capable o f speaking directly t o
the
m e m o r i e s
o f t h e observer,
often
w i t h o u t t h e support o f
their o w n i m m e d i a t e context, i f
they
a r e t o b e
meaningful.
Passage
c a n
confuse
t h e
context
o f
f o r m
w h e n t h e
observer
only passes b y w i t h o u t
entering,
never
penetrates t h e
space
f u r t h e r
t h a n
t h e
entrance,
o r continually
avoids
the center
o r t h ecentral
axis.
F r a g m e n t a t i o n
i s
a
n a t u r a l
quality
o f
experience
i n
architectural
compositions.
A r c h i t e c t u r a l
scale,
permanence,
and m o n u m e n t a l i t y
contribute
t o this situation o f
confusion.
Linear
m o t i o n
i s
denied
i n
experiencing
secret
M e m o r y
comprehension
o f
m e a n i n g
a s well.
a f r a m e w o r k
o f
erience,
m e m o r y
facilitates
recognition
o f
intentions
i n n e w experiences;
specifically,
n e w compositions
of f o r m and space.
I n addition,
m e m o r y
also
b e c o m e s
a
foundation
f o r prescience
i n
allowing
u s
t o
predict
b y
virture
o f precedent.
T h e past
as i t exists i n t h em i n d o f t h e
observer
establishes
t h e
m e a n i n g
o f original f o r m s a n d
original meanings
o f traditional
forms.
being
o r
h e
al
ng
exp
place.
involve
similar
on
i n
take
event
this detachment
o f
a s
d i d n o t
"remembered"
tion.
t h e
m e m o r y
oneself
would;
t h eaction
Obviously,
visions
cites
o f
o n e sees
watching
i n w h i c h
T o illustrate
character
w h i c h
t h e
consciousness,
times
m u s t
h a s
3aynes
o n
o f
that
find
a r e
b y Julian
development
believe
then, is a
part
i n t
architectur
By
providi
collected
in
also
t e r m s
pasts,
speaks
a n d
alternative
are
o f
m e m o r y
o f fantasy.
Imagined
conjecture
presents
a s viable
o r
a part
and
for
h i saural
o f
a s appropriate
recorded
o n
futures
m e m o r y ,
inspirations
landscapes,
a s i s
experience.
addition,
E n o
I n
admits
willingness
t o
sound",
o r
n a t u r a l
sounds
o f
animals
a n d t h e element's,
a s
well
a s
works,
utilize
h i s
"found
h i searlier
a s
musical
sources
manipulated
t o
i n
b e
n e w
compositions.
Parallels
d r a w n
this attitude
the
favor
in
between
a r g u m e n t
o f
o f "undesigned
architecture,
f r a g m e n t a r y
classicism
Michael
c a nb e
V e n t u r i
and
i n
elements"
a n d t h e
references
i n t h e buildings
t o
o f
Graves.
This
i
intellectual
existential
lives a r eo r
to intellect
s
n o t merely
a n
problem,
b u ta n
o n e a s well.
O u r
ganized w i t h
respect
ual a n d experiential
concepts o f t i m e .
I n a s m u c h
as
architecture
is
a n
abstraction
a n d concretization
of
existential
concepts,
t h e
importance
o f
m e m o r y
t o
existence
should n o tb e denied.
Our perception
o f t h e present,
of
w h a t
w e s o assuredly
call
"reality",
i s inseparable
f r o m
the influence
o f o u r memories.
A n
architecture
t h a t
takes
advantage
o f
this
fact
is
�2
potentially
m u c h
m o r e
meaningful.
" T h e
it
image
is n o w m o r e
n o longer
contains
ideological
It
is perhaps
w i t h
inevitable
t h e current
affairs,
state
m e m o r y
the
should
subject
t h a t
o f
w o r l d
b e c o m e
o f
artistic
speculation.
Faced
apparent
floundering
technology,
m o d e r n
sense
be
escape
current
musings.
artistic
interest
however,
nostalgic.
N o r
involving
is
is
i t
m o r e
escapist.
a s
h u m a n
t h e
a r t is
o f
m a d e
t h e
entire
condition.
expression
a n
o f
present,
expressive
A n d
o f h u m a n i t y is a
t o w a r d
t h e
survival
i n
n o t
m e m o r y
c o m p o n e n t
continual
m i g h t
step
o f h u m a n i t y .
understanding
Y e t
that
o f m o d e r n
vocabulary
"oppositions"
o r
to
o n e
•
BUT,
IT'S STILL
according
order
o r
t o
m a k e
meanings
M e t a p h o r s
after
are
m o r e
b e c o m e
Graves'
E a c h
n o longer
apparent
d i s m a n t l i n g
piece
b e stripped
notions
LANGUAGE
i n
o f a
d o w n
w h o l e
s o
there
a n y pre-conceived
about
w h a t
t h e
w h o l e
PRIVATE
o f
t h e
s y m m e t r i c a l
a n d
qualities,
w i t h
(which
persisted
o f
volumes),
established
comprehensive
b e t w e e n
classicsal
Graves
also
audience.
was
o f
concepts
o f
beneficial
classical
development.
A l t h o u g h
w a s
Graves'
greatly
Corbusier's
he
L e
as
w o r k
never
w h e r e
o f t h e
intended
L e
Corbusier
a
used
exists.
w o r k
m o d e r n i s m ,
o n
'free
upon
grid
a
House
L e
b u t h e
penetrating
enables
f r o m
destroying
Graves'
plan',
i t b y
t h a t
deviate
h i s
being
h i m t o
i t ,
w i t h o u t
i t . I n t h e S n y d e r m a n
o f 1969,
t h e interruptions
A l t h o u g h
h i s
question h i s
building
Graves
o n
" T h e
m o r e
con-
w h a t
is
speaking
often
f o r m s
t o d r a w
h i s
about
still
recent
classical
t h e observer
architecture
saying,
ambiguous
a
h e
private
is
a n d
language.
Graves
a
concentrated
about
language
w h a t
itself;
equal
to
language
h e
t h a t
i t
architecture
object
could
a s
t o
a n
nature,
t h a t
h a s t h e
o f
revealing
i n
nature.
I t
this
n e w
a t t i t u d e
quality
place
o f
so
m a n y
is
modernist
architects
c o n d e m n
h i s
n e w
basis
design.
O n
this
Peter
for
m i g h t
E i s e n m a n
represent.
c o n n o t a t i o n
and
intent
writes:
t h e n
t h e user
t o
t h e
h a s
o w n . A l a n
w r i t t e n
t h a t
i n h o w
s t r u c t u r e
perceptually
conflicts
o f
i n t h e
these
re-associating
begin
t h a t
municable,
w o r k
because
is indeed
o f
m e t a p h o r s
i n
t h e
h i s
is
abstract
w o r k
subjects
o f
interest:
I n
h e h a d four
"Classical
architecture,
m o d e r n
o n
f o r m s . "
early
painting,
early
increased
reliance
Graves'
a n d
a
a n d i n c o m -
danger
relatively
a
these
a n d
t h e
i n
private
r e m a i n
prevent
w a y
nature
a
cubist
a r c h i t e c t u r e
is also
apparent
Graves
t o
architec-
w o r k
s t r a i g h t - f o r w a r d
forms.
H i s
It
is
that
Profane
t o
derivations
c o m m o n
o f
M i r c e a
place
religious
m a k e s
etc...
knowledge
relates
T h e Sacred
b y
surface
such as:
arbor/ceiling,
architecture.
takes
t o
t h e
architecture
Graves
concepts
t h e
a n dt h e
Eliade
This
n o t
t oh i s
relationship
a s
a
definition,
reference
differences
literal,
b u t
t o
i t
t h e
b e t w e e n
following:
uses
behind
t h e need
original
h e
code
t h e m e a n i n g
expresses
i n
addresses
i n relation
I n h i s early
imply
the
dependence
organization.
tree/column,
m e t a p h o r s
" T h e r e
T h e
M e t a p h o r
ture.
device
t o t h e
pictorial
the
utilized
themes.
f r a g m e n t s
on
is
n e u t r a l approach
collages
e l e m e n t s
t h e m
context,
created.
danger
m a y
t h e product
tensions
isolating
different
are
w o r k s
o f t h e individual."
B y
and
a s
a n d
b e
observer
...is interested
the
b e
painting
as a n ordering
abstract
structure's
o n their
C o l g u h o u n
art
e l e m e n t s
able
b y
past
m u s t
T h e
is
"Graves
t h e
functions
re-established
or
A n y
about
their
eliminated.
abandoned
o n
Graves
complex.
juxtapositions.
Cubist
psyche
a n d i t s principles,
f r o m
by
a n d
A r c h i t e c t u r e . "
o n
m o r e
b e c o m e
a n d
t h e
narrative.
dependence
grid
n u m e r o u s
present
"Post
usage
w o r k
t h e s t r u c t u r a l
t o
e m p l o y i n g
t h e
o f
W h e n
T h e
a n d classicizing
t o
clusions
w o r k ,
scaled
color
Language
subject,
h e m a k e s
a n d
because
f o r
imposes
the
t o
as
esoteric.
n o t openly
that
inter-
emphasis
oppositions
figural
because
b e c o m e
equal
diverse
w o r k ,
continues
man's
a n d f o r m
w i t h
I n
t h e
b e g o n e t o
a
this is
distinction
b e c o m e
A v a n t - G a r d e
humanist
f u n c t i o n a i i s m
o f departure;
Therefore,
Modernist"
say
i t
t h a t h i s w o r k
Building,
moved
u p
o f f .
i t
h i s early
m o n u m e n t a l l y
m o d e r n i s m
pick
left
m o r e
very
allow
L e
1920's,
a t
is
is
t o
Corbusier
h i s point
w o r k
b y
t o c o m m u n i c a t e
w i t h
premises,
early
influenced
in
apparent
forms,
painting
t o h i so w n
h e
Portland
abstract
a n
spatial
w h a t
becomes
Portland
felt
explicit,
C o m p a r i n g
still
m o d e r n .
t h a t
t h e
w o u l d
Corbusier's
"re-establish
expanding
trying
first
H e
a
o f architecture"
m o r e
a n d
realized
e x a m i n a t i o n
b e
a
opposition
u s e o f
Language."
o f
t h e
geometric
I n
"Private
i t
m o d e r n
i n
w o r k
speaking
m a k e
o f
t h e beginning.
w a s
means
r e g i m e n t e d
t h a t
investigation
o f
f r o m
h e
language
o f
consisting
early
because
the
H i s con-
change
t o
t o
i t
r e a l m
t h a t h i s
h a d
necessary
t h e
spaciaiity
function
architecture
was
classical
within
w o v e n
h a s stated
t o
architecture.
trast
w h e r e
T u r m a l a
Graves
vernacu-
conventions,
r e m a i n e d
high
never
t h e
l i m i t e d
scholastic
Graves'
K a t h l e e n
o f
understandable.
m u s t
DIFFERENT
Pairs
a r e s e t
similarities
differences
the
w h e r e
a role.
ideas
another
their
draws
is
play
elements
t h e
secondary
This
of
t h a t
classical;
Graves
of
against
w a s
Graves'
h a s
Being
has
w a s
f r o m
meanings.
lar.
itself."
architecture,
o f function.
his
employed
and
"Dissolution";
m e a n i n g
n a t u r e . "
a r c h i t e c t u r e
total
t h e
metaphors.
P r i m a r y
process.
A
o f
f r a g m e n t a r y
and
literalness
i n
a r c h i t e c t u r e
o n e
concern
o f
o f t h e object
Graves'
always
a n d
^
This
results
dissolution
o f
creeping
i n nostalgic
active
o f
a n d a
o f nihilism,
m e m o r y ,
B y
t h e
t h e frustrations
society,
found
T h e
w i t h
content
m o d e r n i s m .
finally
literal;
a n y o f t h e
t h e
" m a n / n a t u r e ,
private/public,
a n d , i n
b e t w e e n
order/chaos."
G u n w y n
office
general,
Graves'
conversion
o f
�3
1972
articulates
reveal
Peter
observes
Carl
entry
by
portal
t h e
perceived
a s
through
Graves
metaphors
t h a t
"each
mechanisnn
background
i t
ambiguity:
one
this
is t h e
w h i c h
t h e
concept.
h o w
oppositions
shallow.
is
Passing
resolves
t h e
t h e transition
image
t o
corresponds
t o
t h e
a
o f
next
transition
o f
transmit
As
Douglas
"There
His
dissatisfaction
expressive
w i t h
possibilities
o f
caused
h i m
architecture
m a k e
additions
vocabulary.
Building
u s e
o f
classical
b e
t h e
related
buildings.
take
t o
o f
validate
consequently,
t o
t h e
Modernist"
'body',
o f
slight
"They
de-historiced
o n
early
have
a n d
m u s t
these
a
a s
never
'structure.' "
(although
intended
into
the
elements
t o
context;
a different
Building,
that o f
o f
t h e
i t is found
effective.
t o still
Although
a t
as historical;
their
b e c o m e
must
Portland
be
nature,
they
have
as
people
fragmented,
t o
will
remains
w h e t h e r
find
abstracted
their
recognizable.
a n d
"reconstructed".
i t
questionable
and
because
"de-historicized"
Therefore,
not
m a y b e
abstract
a n d scale,
b e
t h e
described
placement
be)
Portland
elements
of
w o r k ,
b e c o m e
this s t a t e m e n t
w a s
o f
reconstructed
a
parts
resemblance
s o
a n y
w i t h
grasp
is
n u m e r o u s
t o
t h a t t h e roof
(later
e l i m i n a t e d
w e r e
o f
t o
t h e
s e t
b e
s m a l l
into
t h e
t h e distance,
parallel
t h a t
is
obvious.
A d a
Louise
s u m m a r i z e s
such
intended
t h e design)
i n
is
problem
t h e
T h e idea
m o u n t a i n s
o r
these
f o r m s
n a t u r e
n o t
this very
a
terribly
H u x t a b l e
directly:
ranging
classes
classes.
standards
o f
n o
guiding
establishing
Board
T h e
( N A A B )
t o
f o r
offer
a
A r c h i t e c t u r e
substitute
there
Master
degree.
a r e
established
approval
review
board,
a n d quantity o f
quality
those
offering
m u s t
schools
a
t h e
eric
h i s
nal,
degree
i f
is
t o
It s e e m s t h a t i f G r a v e s w a s
not
m a k i n g
such
m o n u m e n t a l
controversial
s t a t e m e n t s
a s a t
Portland,
t h e
commissions
w o u l d
b e less
likely.
Consequently,
h e
w o u l d
n o t
have
caught
t h e a t t e n t i o n
o f t h e
n u m e r o u s architectural journals
and
popular
magazines
t h a t
have been eagerly publishing h i s
w o r k .
W i t h o u t access t o these
publications,
very
f e w o f u s
w o u l d
begin
t o understand t h e
"private language"
h e continues
to speak.
a
between
G r e i m e l
academic
o f
role
o f
of
methods
proposal
a
o f
issues
metaphors
professional
degree
currently
offers
a
o f
t h e
such
and/or
o n pragmatics a n d
t h echoice
p r o g r a m
process
o f
o f
Master
degree.
t h e
N A A B
arises
a n d ethics
degrees
w o r k .
f o r
t h e
w a s
program,
t h e students
question
a
T h e
because
w o u l d
t o t h e master's
legalities
course
offer
students
a Bachelor
o n t h e current
entitled
o f
h a sl e d t h e
a
o r
t o
therefore
hold
a c c o m m o -
year
between
exists
proposal
w o u l d
entering
t o possibly
A r c h i t e c t u r e
choice
A
t o
fifth
A r c h i t e c t u r e
based
o f
needs.
t h e degree
current
choice
could
either
T h e student
administration
a
design
complicated
changing
their
either
i n offering
individual
T h e
f o r
o n
Schools
based
o f
Programs
a t
theory
choice
have
a n d
a n da Master
looked
logistics.
would
Bachelor
degree.
acceptability.
the
a
based
research,
any
professional
relationship
A r c h i t e c t u r e
b e
t h e
architectural
between
content
a t
I n
a n d
distinction
date
address
t h e n e w policy
affect
degree
such
t h e status
architecture
r e a l m
practice,
also
o n e
t o better
education
a
design.
Institute.
greater
t w o
T h e
program
is
o f
L a w r e n c e
o f
a n d
changing
program
the
have
In
t h e
architectural
profession
there
exist
m a n y
opportunities
f o r
a d v a n c e m e n t
in t h e academic
world. A t t h e
present
t i m e ,
L a w r e n c e
Institute
offers
a Bachelor
o f
A r c h i t e c t u r e
professional
degree
program
f o r
those
wishing
t o
f u r t h e r
their
education a n d qualify f o r their
architectural
license.
I t h a s
been proposed
b y D e a n
G r e i m e l
that
t h e professional
degree
program
b e c o m e
a
Master
o f
A r c h i t e c t u r e
program.
This
w o u l d
result
i n
a
student
obtaining
a Master's degree i n
five
years
w h i c h
traditionally
has taken s i x o r m o r e years t o
accomplish.
architectural
theory
m e t h o d
a
degree.
is o n e o f evolving a n d
research,
w o u l d
V . H u r t t i e n n e
becoming
ever-changing
This
t h e
professional
p r o g r a m
A r c h i t e c t u r e
Brian
p r o m o t e
t h e
o f A r c h i t e c t u r e
education
of
ARCHITECTURE
respected
advisors
validity
T h e
b e
D e a n
a n d
Master
t h e
Personal
conversations
degree
o f
p r o g r a m
i n
b e
n o w
Master
A r c h i t e c t u r e
o f
t h e
product,
o f student
t o
o f
Since
n o
a n dgiven
national
change
o f
i n
f o r t h e Bachelor
standards,
quality
h a s
L a w r e n c e
degree
A r c h i t e c t u r e
equal
o f
program.
i t s approval
and
f o r
Master
A r c h i t e c t u r a l
Institute
a
there
factors
a
A r c h i t e c t u r e
given
B y a l l
justifiable.
"Michael Graves deals i n
most
intense
a n d
esot
electic
imagery
o f
a l l ;
sources
a r e incredibly
perso
private a n d diverse."
t o
acceptance
are
o f
program
M a n a g e m e n t
Accrediting
Graves
reminiscent
T h e
National
This
structures
i n
-
t o
pavilions
Bachelor
Seminar
-
messages
convey.
general
canon
t h e uninitiated observer
likely
academic
t h e
program.
architectural
o r
extensive
f r o m
t o
proportional
analogies."
top
bears
a
'potential',
b e
consciously
not
Graves'
b u tt h e
"Post
speaking
o f Graves'
states:
that
'head'
'foot',
composition,
MASTER OF
Colquhoun,
elements
is
i n
s u m
Science
f r o m
o f
a n d
self-directed
than
implicit
a h t h r o p h m o r p h i s m
tripartite
m o r e
year
suggests,
a n
bringing
entire
scale.
Alan
Putting
t h e
their
m o v e m e n t
grandiose
it
Here
advantage
opportunity
and
t o
A m e r i c a n
government
validity
h i s
Portland
c a n
use,
t o
t h e
traditional
they
h i s
t o
A t
forms
t h e
t o
meaning.
Brenner
is
a n a t o m i c a l
In B a r b a r a l e e
Diamonstein's
interview
w i t h
Graves,
h e
states:
" Itend t o s e e m y w o r k ,
and architecture i n general, i n
classifications
t h a t
a r e
primarily
t h e m a t i c
a n d
hierarchial-themes that a r e part
of
t h e ritual
passage,
i f y o u
will...! don't t r y t o collage into
an
inclusive
composition.
Instead,
different
attitudes o r
themes
dominate
i n o n e area,
while others dominate
i n other
places."
W h a t Graves
says
here
m a y
easily correspond
w i t h h i s
w o r k
o f t h e past
o r
present.
After
a l l , h e breaks d o w n t h e
conventional
representation
o f
the
classical
f o r m s
b y
abstracting
t h e m ,
a n d
their
arrangment.
Graves' transition
to h i s m o r e recent w o r k is very
subtle
i n
relation
t o
h i s
t h e m a t i c alteration.
overlapping
Portland
t h ebuilding's
familiar
understanding."
uses
a t
b e
degree.
a s
t o t h e
o f
offering
t h e
same
O n e student
could
Master
o f
A r c h i t e c t u r e
�4
degree
a n d another
Bachelor
w h e n
both
classes
T h e
their
t a k e n
throughout
T h e y
groups,
o f
present
centuries,
identical
t h e progrann.
entirely
nnust
themselves
a
degree
t o receive
is placed
students.
for
have
decision
degree
student
o f A r c h i t e c t u r e
either
o n t h e
deternnine
t h e value
o f
education.
for
both
better
artist
o u t m o d e d
Medievalism,
to
w h o
This
o n
t h e
a n d
limitaa n d
t h e m o r e
reflect
honestly
their
o w n
C o m p a r i n g
a five-year
masters
program
i n architecture, tr^e
differences
a n d
similarities
made
apparent
will
hopefully
create
greater
f a m i l i a r i t y w i t h
the
crucial issues
o f
graduate
architectural
education
within
the
academic
world.
This
would
help
facilitate
a
valid
judgment. Still, i t c a n only b e
decided
b y
t h e
potential
candidate
t h e value
o f t h e
program
proposed
a t
L a w r e n c e
Institute.
One
could s a y this
proposal
is a s t e p
never
taken
before,
and
therefore
subject
t o
prolonged
criticism. T h e impact
of t h e proposal
m a y l i e i n t h e
creation
o f
a
standard
o f
education
applicable
t o
other
architecture
schools.
I t is u p
to
u s t o decide
w h e t h e r
this
standard is acceptable i n t e r m s
of our educational goals.
•
t h e
MODERN
CHAIRS
Mitchell
AND
THE
THRONE
E . Miller
T h e early modernists o ft h e
1920's realized that good
design
w a s a n h o n e s t r e f l e c t i o n o ft h e
social, economic
a n d e m o t i o n a l
changes o f i t st i m e .
T h e roots
o f t h i s i d e a r u nd e e p i n t o t h e
industrial
revolution
o f t h e
nineteenth
century.
M o d e r n
designers
t o o k a d v a n t a g e o ft h e
promise o f mass production a n d
the infinite possibilities o f t h e
machine.
A s W i l l i a m
Hennessy
stated:
" M o d e r n
design
is t h e
creation
o f
certain
isolated
turn
nineteenth
stand
s e e m e d
t h ei m m e n s e
the
a g e .
designed
an
entirely
belonging
t o a
structure
a
w e r e
o f
T h e
Rietveld's
w a s designed i n
i n w h i c h
made
g e o m e t r y
group
Stijl.
o f
produced;
w i t h
philosophy
D u t c h
chair
m e t h o d
mass
Rietveld
furniture
D e
i t could
while
b e
t h e angles
i n relation
t o t h e
o f t h eh u m a n
body.
Marcel
Breuer,
t h e master
carpenter
o f
t h e
Bauhaus,
turned
f r o m wood
t o m e t a l i n
the
furniture
workshop.
H e
explained:
" M e t a l furniture is
part o f a m o d e r n r o o m .
I t is
styleless, f o r i t is expected n o t
t o e x p r e s s a n yp a r t i c u l a r s t y l i n g
beyond
i t s purpose
a n d t h e
construction
necessary
therefore."
Breuer's first chair
(the
Wassily
armchair) w a s
constructed o f c h r o m i u m - p l a t e d
tubular steel.
In
France
i n
1928, L e
Corbusier
created
h i s
m o s t
f a m o u s piece o f furniture. T h e
m o d e r n
version
o f t h e "British
Officer's
C h a i r " w a s a tubular
steel
f r a m e d
chair
upholstered
in
black
a n d w h i t e
cowhide.
This
w a s similar
t o
Breuer's
Wassily
chair,
b u t a s
Peter
Blake h a s said, "Breuer's
chair
entirely rational, technically i m peccable and, incidentally,
very
handsome;
Corbu's w a s neither
rational
n o r especially
easy t o
m a n u f a c t u r e ,
b u t
w a s
beautiful."
In
1927,Mies
V a nd e r R o h e
designed
h i s version
o f t h e
cantilever chair, n i c k n a m e d t h e
" M R
Chair." I t w a s m a d e
w i t h
one
continuous
steel
tube i n
w h i c h
t h e front
support w a s
given
a sweeping,
semi-circular
curve,
further
expressing
t h e
inherent
strength
o f t h en e w
material.
T h e
van
T h e
of
Barcelona
d e r Rohe's
Barcelona
t w o
chair
attached
X-shaped
steel
supporting
consisted
t h eback
leather
t o
f r a m e .
a n a r c flows
Mies
design.
rectangular
cushions
profile
is
second
chair
w a s built
pavilion
Spain
during
International
intended
the
d o w n
f o r t h e
Barcelona,
t h e
1 9 2 9
Exposition.
a s a
King
i n
royal
t h e inaugural
never
I t w a s
throne f o r
a n d Queen
they
t h e
legs.
o f
Spain
ceremony,
actually s a t
i n t h e m .
f e w
under-
potentials o f
m o d e r n
n a m e d
B l u e - R e d
t h e
t o
Gerrit
simple
artists
o f
century
individuals
ravishingly
BARCELONA
chair
while t h e
supports
t h e back
G e r m a n
although
A t
legs,
S-curve
a n d f o r m s
during
civilization."
T h e
incoming
fifth
year
class
is i n a similar
position,
although they k n o w a Master o f
A r c h i t e c t u r e
degree
h a s been
proposed,
a n d will
m o r e
than
likely
b e c o m e a reality.
Those
students
entering
o n
t h e
assumption
t h a t
they
will
a t
least
obtain
a
Bachelor
o f
A r c h i t e c t u r e degree, a r e placed
in a position o f having t o determ i n e
t h e difference
between
the
degrees
and/or
programs.
T h e y
m u s t
decide
w h e t h e r o r
not
t o enter
t h e program
i n
September
based
o n
i t s
capabilities a n dcontent. T o t h e
individual,
t h e
value
o f
education
is based o n m o r a l i t y
and
ethical
judgment.
t h e front
resulting
seat
Classicism
o f
f o r m s
between
back
cliches
a n d
strove
c r a f t s m a n ,
their
tions
w h o
co-relation
a n d
turned
t h e past
a n
I n
d o w n w a r d
cushion a n d
T h e
G e r m a n
pavilion
Mies
designed
consisted
o f a
small
hovering
space
which,
because
of a n almost u n l i m i t e d
budget,
utilized a wide range o f elegant
and expensive
materials:
onyx,
green
tinian
marble,
r o m a n
travertine,
gray
a n d
green
transparent
glass,
a n d
chrome-plated
steel.
T h e
richness
o f materials
provided
the
only
decoration
o f t h e
space
o r
o f
i t s furnishings.
A l t h o u g h
i t
w a s
dismantled
after t h eexhibition, i t is today
considered
t h e
epitome
o f
m o d e r n architecture.
L i k e t h e b t • -m g h o u s i n g i t ,
the Barcelona chair w a s stately
and elegant.
I t w a s constructed
of
c h r o m e plated
steel a n d
leather, w h i c h related i t well t o
the expensive
materials o f t h e
pavilion.
Being a large
m a n himself,
Mies
designed
this
chair
i n
ample t e r m s . It's actually
large
enough f o r t w o persons t o s i t i n
i t a t t h es a m e t i m e .
A s Phillip
J o h n s o n h a sw r i t t e n , " T h e
single
curve
o f t h e back crossing t h e
reverse
curve
o f
t h e
seat
expresses
"chair"
better
than
any other contemporary
model."
W h e n
horizontal
compared
a n d
t o t h e
vertical
f r a m e w o r k
o f t h e pavilion
this
chair,
b y t h e tilt
a n d curve,
introduces a contrasting h u m a n
element.
T h e f r a m e w o r k
o f
this
chair
c o n f o r m s t o t h e
user's body a n dadapts itself t o
his
c o m f o r t .
T h r o u g h o u t t h e
natural
flexibility o f steel i n
relation
t o gravity
a n d t h e
w e i g h t o f t h eu s e r ' s b o d y .
W h e n
studied
closely,
Mies
s e e m e d
t o have
inscribed t h e
profile
o f h i s chair
within
a
square a n dbasing i t completely
on
simple
geometric
proportions.
This
is
a n
i m p o r t a n t
principle
o f
m o d e r n
design.
Rudolf
A r n h e i m h a s
determined
t h a t
" t h e upper
right
corner
o f
t h e
square
serves
a s t h e center
f o rt h e
circular
curve
o f t h e principle
steel bar, w h i c h thereby acts as
a curved diagonal. A t i t s middle
the circular curve is touched b y
�5
the
seat
crossing
the
cushion;
o f
square
a n d t h e
t h et w o
barsdivides
a t a ratio o f 2 : 3 .
today,
c o m m e n t s
of
There
between
and
is
finally
t h e hard
t h e
a
soft
Mies
creates
meeting
o f
t w o
functions:
that
that
This
functions
an
clarity,
outstanding
a n d
growing
o n
and
Aldo
Rossi,
of
t h e
most
arcane
confronting
architecture
their
m a y
chair
structural
simplicity, a n d
o f
A l t h o u g h
each
Classic
m o d e r n
chairs
were
designed
b y
architects,
a s
small-scale
experiments
w h i c h
incorporated
m o d e r n
philosophies.
I na chair, just a s
in
a
building,
there
a r e
problems
o f
function,
o f
proportion,
a n d
o f
m a n u facturing.
Y e t ,i n a chair
these
problems
c a n b e studied
m o r e
economically
a n d t h e results
can
b e
reached
m u c h
m o r e
readily than i n a building. F o r
this reason, m a n y architects u s e
these small-scaled
structures t o
develop
a n d exemplify
n e w
concepts
w i t h o u t going
t oa n y
great
expense.
W h e n
a l l t h e
concerns
o f
function,
proportion,
a n d m a n u f a c t u r i n g
are
given
f o r m
a n d style, t h e
ultimate
objective
o f
m o d e r n
architecture will b e reached,
g
t h e
a
architecture
pragmatic
expression
they
tragic
this
one's
modernist
these
Venturi's
m u s t
leads
man's
is
o f
u s
o f
B o t h ,
t o
definition
a n o m i e
i n
t h e current
It
necessity
fact,
crisis
i n
o f reality, t h e
It
is
p r i m a r i l y
mannerist
manifested
attitude
that
Robert
through
express
V e n t u r i
that
o f
Against
Susan
P o p
a r t
Sontag,
is
M a n n e r i s m ,
sense
i t s
w o r k .
conscious
violent
simultaneously.
a n d
A s
about
intentionally
arts,
is
intended
role
shock
u s
achieving
t o
t o
intellectual
references
into
a n d
H e
f r o m
c a n
one's
elitist
emotions
classes
irony,
P o p
shock,
separate
o r
o f people, a n d
w h i c h
destabilizes
" i nt h e fine
a n o m i c
a n d
reactionary
energy
revisionist
manifestly
gestures.
t h e
intellectual
a n d
penchant
proposition,
therefore,
i n h i s w o r k
manifest
tendency
t h e
seeing
n e w meaning
reality.
his
a n d
w h i c h
a l l
f r o m
t o
f r o m
o f a r ti nsociety:
complex
architecture
his
h i s
a n d u s eo f
a r e
a n d
a s a n
t h e understanding
shock-value
expectations,
interpretation
t e n -
experience
values,
discovered:
P o p expressions
aid
i n i t s
distort
V e n t u r i
Venturi's
for
" t r u e "
and
separate
h a sbeen
using
w i t h o u t
mannerist
t o
one
Robert
popular."
Venturi's
dencies
a n d
that
b e ,
lugubrious..."
a n d
a n e wh o r r o r - g i v i n g
source
forms,
inherently
alienating
says
w i t t y , "
c a n w e
being
reject
V e n t u r i
being
else
illogicality,
is
experience.
himself
o f
h i s
w i t h
nihilism o f
i n t h e rending
t o accept
states
i n
says
" u l t i m a t e l y
T h e
is manifest
tendency
is
a n d
Interpretation,
nihilistic."
irony
w h i c h
negative
destructive.
that
expression
irony,
inherently
h i s P o p
a
i n
about
h e lives.
proclivities,
a n d i n h i su s eo f i r o n y ,
alienation
condition,
h i sv i e w
i n w h i c h
A n o t h e r
is
...what
o f t h eindividual.
Venturi's
that m a n
h i s
change
P o p
ideology.
however,
archeological
crisis
good" is
a n d
o f modernist
• improve
i n
is t h e
pragmatic
implies,
cannot
that
rejoice
t o
conclusions
reflect
a
inversion
while
ideology,
t h esense
t o m a k e
primarily
condition
t o t h ew o r k o f
alienation.
w a y
t o
since...this
the
i n t h e w a k e
inevitable
and
collapse
contention
m u s t
propensity
progressive
concerning
should
t o a
learn
w h i c h
views
architects
strongly
w h i c h
structure.
but
posture
dimensions
incongruity
Theories,
a s well
a s their
explanations,
a r e replete
w i t h
implied attitudes towards m a n ,
society, a n d reality.
A l t h o u g h
some have argued that there is
no
'theory'
i n
architecture
today,
speculations
surrounding
r e m a r k s a n dideas o f p r o m i n e n t
figures i n t h ediscipline c a n a i d
in
understanding
some
o f t h e
c r i s e s w h i c h t h ea r c h i t e c t
faces
h i sv a l u e
h i m t o
m o r e
revulsion
both,
condition,
understandable
a
civic
a r e
aprogressive
other
is
f o r
t h en a t u r a l
improve
f o r
o f reality,
is
-
essentially,
reject
a n d Rossi
Venturi's
Rossi's
i n
a n d
causes
t h e m
u l t i m a t e l y ,
"we
purpose
-
juxtapositions,
LaMarche
stoic
build,
of
o r
t o
m a n
values
question
reevaluate
problems
today.
discordance,
ARCHITECTURE
t o
adhere
in
separates
positions
V e n t u r i
imply
and
Today
t h echair is f a r f r o m
the mass-produced
intentions o f
Mies
a n d Breuer
alike.
T h e
original price
o f t h e Barcelona
chair
w a s $550
w h e n
i t first
was
m a n u f a c t u r e d
b y
K n o l l
International i n t h e 1930's.
I n
197^,
i t w a s recorded
w i t h
a
price
t a g o f $1,680,
a n d is
currently
selling
f o r a
m e r e
$3,^65.
This outrageous
price
reflects
t h e ironic
results o f
using
honest
worker-housing
materials:
stainless
steel a n d
leather.
" A
diamond
o r
a
Barcelona
chair is forever,"
a s
Ada
Louise
Huxtable
h a s
written.
i t
personal
ordinariness
expression
3ean
a n d
o f
proportion.
A N O M I E IN
o f
V e n t u r i
today,
facing
awareness
order
body
theorists
while
a
h i s
enigmatic
supports
i n
that
f r o m
therefore, t w o
elucidate
t h e
basic
A
Robert
help
integration
exhibits
honesty,
subtle
concerning
literature
t h e
point
solutions.
separate
provides
resulted
which
a
which
w h i c h
comfort.
f r a m e
v o l u m e t r i c
cushions.
and
contrast
m e t a l
t o
f e w
t h e w o r k
a n d , perhaps
direction
o f
a
to
t o
h i svalues
force
i n
a n
theoretical
Venturi's
alienate
m a n
a n d , sometimes
h i s n a t u r a l
improve
good
is
o r
A s
propensity
h i s condition,
h i m t o
t o
i n
order
discover
t h e
necessity.
contradictory
recognizes
o f
a r t
a n d considers
t h e
a n d
i t
While Rossi's methodology
is
m u c h
t h e same
a s Venturi's,
and
other
similarities
c a n b e
�6
adduced
on
m e t a f o r m a l
an
abstract
level,
or
his
philosophy,
intentions,
and
attitudes
t o w a r d
reality
are
quite
different.
His
basic
p h i l o s o p h y is r a t i o n a l i s m w h i c h ,
according
to
Bruce
Goodwin,
places h i m in "the tradition of
the sublime," a tradition shared
w i t h
Boullee
whose
Treatise Rossi
recently
translated
and
prefaced.
In
fact, he has been credited
with
introducing
philosophy
into
architecture.
The
rejection,
however,
of
the emotions
and
experience
as highly suspect
in
their
capacity
for
truth,
is
fundamental
to
this
school.
Plato,
Pythagoras,
and
Descartes
are
notable in
this
regard.
As
M e r l e a u - P o n t y
has
suggested,
however, it
is
inevitable that one's values
and
attitudes are expressed
in every
action;
and
whether
or
not
intentional,
Rossi's
w o r k
inevitably a t t e m p t s
to
alienate
m a n
f r o m
his
emotions,
and
f r o m
experience.
These
ideations are probably the
basis
of a f o r m a l attitude that
leads
to
such
haunting
images
as
those
of
de
Chirico,
w h i c h
Rossi's
w o r k
often
resembles.
In
fact,
Rafael
Moneo
states
that
one
of Rossi's
characteri s t i c s is " h i s e s t r a n g e m e n t
f r o m
the
real,
understood
as
everyday
occurrence."
ence,
even
disorder
or
and
rejection
progress,
w o r k
with
also,
a
w e
Rossi's
of
In
is
certainly
to
interest
in
w h o
declared
least,
the
fundamental
philosophers,
(an
as
idea
w a k e
search
for
and
a
of
to
power"
he
that
is
also
Rossi's
a t t e m p t
through
position,
the
architecture"
. is
manifestation
represents
w e
in
it
tive
to
just
his
The
of
isolationist
delimitations
are
relativity and
of
of
of
are
in
those
of
not
as
although
prescriptive.
C l e m e n t
Greenberg,
concerning
self-referential
modernism,
pursuit
of
purity
pathological
failing'
t h a t
implies
sense
'moral
in
the
propensity
"...suggests
experience...[and
indicate
T h e
a u t o n o m y ,
similar to
self-reference,
the
a n o m i e
m o d e r n i s m .
implications
however,
t h a t
often
especially
w a k e
the
in
philosophical
m a n
universal
improve
as
t h a t
expression
alienates
f r o m
i m p e r a -
his
condition,
Venturi's
u l t i m a t e l y
Rossi's
view,
us
ourselves
of
one
or
face
in
the
a
our
view
and
rejects
propensity
can
intellectual
of
experi-
a t t a i n
condition,
and
the
m a r k e t
to
had
purchase
relatively
homes
aid
n a t u r a l
one's
inherently
is
tragic
cathartic.
in
his
personal,
pragmatic
response
to
reality,
certainly
shares
a
similar
V e n t u r i ,
tragic
condition
view
of
the
in
t w e n t i e t h
man's
g
century.
it
-
pay
for
i t , "
t a n d e m
of
A.
THE
T h e
developing
suburban
year
was
1951,
was
T h e
program
had
f a m i l y
the
new
to
openly
living
r o o m ,
w i n d o w ,
the
the
all
events,
The
and
reality
age
be
in
between
very
cultures.
blending
as
defined
particularly
elements
decorative
w e r e
perversion
the
consistent
disparate
as
the
away.
into
defied
as
other
The
permeated
a
scheme
of
television
unified
points
to
taste
has
in
a
t h a t
m a n y
ways
and
the
our
w a y
art,
w e
our
been
responsible
viewed
our
To
homes
and
perversion
m a n y
and
a
this i m i t a t i o n
disturbing.
concentration
on
basic
to
the
Hence,
in
to
series
of
living
f r o m
a
camera.
W h a t
the
settings
the
most
for
spaces
linear
kitchen point
the
eye
large
requisite,
the
one
interrelationships.
stage
comedy.
and
allowed
broad
D u e
into
of
effective
domestic
were
in
was
resulted
relationships
a
diagonally
vanishing
behind
the
bedroom,
lead
oblivion
of
of
given
-
and
walls
the
are
r o o m s
r o o m
w h i c h
the
audience.
house
w e
as
of
and
the
the
f a m i l y
-
m a k e
players
readable
Petrie
program
goal
is
of
first
level
T h e
stagecraft
action
this
m u s t
television
most
stagecraft.
T h e
of
one
the
its
plot
for.
understand
consider
effects
was
they
of
L u c y
and
R i c k y
Ricardo
w e r e
a
classic
post-war
A m e r i c a n
couple,
whose
concerns
w e r e
decidedly
upwardly mobile.
In this r e a l m ,
nearly
fifteen
percent
of
the
episodes of " I L o v e L u c y "
w e r e
devoted
to issues of the
h o m e ;
the
purchase
of
f u r n i t u r e and
appliances,
and
the
u l t i m a t e
goal
was
the
m o v e
to
the
suburbs.
T h e
Ricardos
were
i m i t a t e d
across
the nation
for
the next several
years.
T h e r e
inserted
definition
of
A m e r i c a n .
at
w e r e
all
acceptance
ourselves.
T h e
the
r o o m
w h i c h
our
rinsed
A m e r i c a n
and
were
and
consciousness
national
changed
furniture
a
t h e m
lamp,
F r e n c h
breakfast
Scandinavian
Their
w h i c h
Egyptian
Early
m i l i e u
a
fashionable
hearth,
the
painted
to
chair.
of
was
hanging,
specific
lines
it
all
The
facets
impact
that
of
-
were
The
w a l l
of
bow
kitchen
expressed
was
artifacts
sunken
these
h o m e
brick
while
The
shuttered
lifestyle.
the
ideas
ethic
" d r e a m "
of
a
Dick
Petrie
represented
social
satirizing it.
the
alter
of
trend-setting
graphically
suburban
in
carefree
T h e
television
t h a t
shown
a
"The
on
popularity
begun
people.
the
L o v e
p r o g r a m
m e a n t
perception
world,
and
" I
becoming
m o s t - w a t c h e d
air.
A m e r i c a .
program
L u c y "
n e w l y
were
secure
Show."
side
was
the
a
V a n D y k e
R o m a n
setting
grew,
by
b e c a m e
tendencies.
Johnson
to
classic
economics.
w i t h
c o m p e n d i u m
HOME
have
the
program
this
D a n e
don't
was
architecturally
AND
and
"Just
suburbia
lifestyle.
and
w i t h
f u r n i t u r e
you
theory
of
TELEVISION
painless;
stores.
status
improve
F H A
h o m e
furnished
of
As
and
made
were
d e p a r t m e n t
charge
credit
V A
financing
the
standard
financial
boom.
n o w
Those
this
economic
reality,
the
h o m e m a k e r .
to
by
for
provided
the
to
created
A m e r i c a n
c o m f o r t s
of
m a n y
consequent
practice
purge
of
that]
of
emotions,
our
criticizes
to
of
a
mass-media
therefore,
challenges
the
goals
and
Lucy
does.
w h i c h
wa§
w i t h
keeping
standard
the
u n i f o r m i t y
w h i c h
unable
and
employ
the
a
of
another
reactionary,
age
also
attitude,
rationalist
position.
"recover
at
h u m a n
a
n a t u r a l ,
nuclear
" a u t o n o m o u s
in
A m e r i c a n s ,
the
stance
the
As
beginning
to
an
not
a
level
attainable
real.
an
redresses
m a n .
Television
f o r m "
image,
economiic
is
or,
the
aprogressive
fantasy
relevant.
of
W A S P
of
If
it
appears
reality,
sense
takes
the
in
and
the
caused
T h e
appears
palpable
Fascism),
contextually
all
described
"will
very
as
being."
divorce
of
our
television
Nietzsche,
a t e m p o r a l i t y
of
a
collapse
intention,
successful
T h e
regard,
a
effectively
experience
for
implies
will,
Rossi's
his
within
this
the
degeneration
this
the
of
reality
act.
progress
t i m e
imbues
rejection
^-dimensional
which
of
incapacity
w h i c h
T h e
Rossi's
an
experience,
their
for
physical
to
the
�7
one-point
perspective
around
which
the
house
seemed
constructed,
it
would
seem
impossible
to
transfer
the
diagonal
succession
of
space
into
a
physical
reality.
Enterprising
builders
did
not
agree, however;
and the
1960's
saw
a profusion of plans
based
on
rather
arbitrary
geometric
relationships.
In concept,
these
houses
were
similar
to
a
rectangular
ranch
house,
yet
they
were
bent
as
a
stick
over a
man's
knee
and
the
result
was
often
a
loss
of
internal
logic
in
favor
of
a
gratuitous
stylistic
effect.
T a k e n out of context, the
stage
set was not a likely setting for
real l i f e . .
In
addition
to
these
developments,
the creation of a
new
r o o m - the f a m i l y r o o m
b e c a m e
necessary
to
facilitate
the use of the television.
T h e
family
r o o m
was
the
place
where
television
was
w a t c h e d
without
disturbing
the
social
pretensions
attached
to
the
m o r e
f o r m a l living r o o m .
T h e
Petries,
for
example,
m o v e d
their
television
out
of
the
bedroom
w h e n
they
wished
to
view
it its presence
in
the
living r o o m was usually
deemed
an
intrusion.
Space
required
for
the addition of the
f a m i l y
r o o m m e a n t that the house
had
to
spread
out
horizontally.
H o m e s of the 1950's and
1960's
b e c a m e
like
A m e r i c a n
automobiles
longer,
lower,
and
wider.
T h e
f a m i l y
r o o m
also
allowed
for
a
f a m i l i a l
dissociation. It provided
another
space
in
the
house,
so
n o w
nearly
every
m e m b e r
of
the
family could settle in their o w n
space.
While healthy in t e r m s
of
h u m a n
territoriality,
this
development
provided
a
chance
to avoid h u m a n contact in m u c h
the
same
w a y
t h a t
television
was
destroying
the
need
for
conversation.
T h e
r o o m
intended to draw
together
in an i
m a y have, in fac
m a n y
traditi
relationships.
families
closer
n f o r m a l setting
t, broken
d o w n
onal
f a m i l y
w e a l t h
of
reduced
the
that
comprised
scheme
of
see
the
a
the
Petrie
A
image
the
given
to
art.
of
m a y
paintings
f o r m a l l y
wall
c o m m i t m e n t
a
capitalizes
on
immediate.
It
strong
w e
m a y
if
w e
are
message
lies
Hence
in
w e
to
its
ability
presents
us
w h i c h
choose
the
the
also
find
context
in
the
precedence
the
the
house.
overall
Ignoring
lined
lawns,
brass
realities
as
" O z z i e
" T h e
a
whose
of
portrait
a n y t h i n g
T h e
Cleaver
to
All
of
d o w n
this
the
better
Cleaver,
a
of
June
the
p r o g r a m
visual
class.
" L e a v e
it
this
others.
held
w o r e
a
schism
in
in
the
and
its
the
f a m i l i a l
social,
s t r u c t u r e
presented.
T h e
f a m i l y
" L e a v e
it to
imitated,
of
greater
of
than
f a m i l y
correctly.
w e
lives
assume,
Hence,
h o m e o w n e r
the
w h o
of
reasonably
successful
perceive
certain
of
himself
his provisions
smaller,
expensive
as
to
the
to
inadequacies
for
the
his
family.
h o m e o w n e r
ideal
question
of
w e
h o m e
the
saw
higher
the
the
to
our
able
image
Size
had
and
society
is
affected,
smaller,
less
key;
t h a t
father
be
abandoned.
were
greatly
spacious
becoming
so.
Kitchens
the
impact.
altogether.
w i t h
quality
would
d o w n
certain
and
was
often
While
seem
of
t h e m .
driven
den
less
b e c a m e
for
the
sacrificed
size
w e
off
w e
and
i m p o r t a n t .
is
m a n y
of
of
m u s t
the
Cleaver
w o r r y .
based
at
w e
unconsciously,
been
T h e
be
t h a t
asked
answer,
conscious;
w e
not
it
lose
behind
our
mindlessness
television
m a y
not
negative
-
but
entirely
h a r m f u l
suburbs
Petries?
m e a n i n g
by
our
M u s t
T h e
generated
action
the
have
us.
imperative
track
to
or
Is
Cleavers?
the
questions
actions.
be
the
like
however,
it.
Ricardos?
Consciously
by
the
difficulty
in
m o v e
the
these
our
W h e n
have
like
m i r r o r
turn
endlessly
place
decorate
left
for
the
h o m e
of
it
a
in
is
f a m i l y
Should
held
and
reflected.
our
like
found
image
w i t h
television
us
T h e
scale,
to
of
few
carry
has
reflection
and
image
classes
quality
houses
ideals
a
to
housing,
the
buyers
the
and
economic
aspects
In
h o m e .
economic
style
draws
image.
dissecting
television
the
and
Television
as
begins
A m e r i c a n
for
as
newer,
T h e question arises: if the
t i m e and energy
squandered
on
this
meaningless
endeavor
had
been
devoted
to
the
development
of a n e w f o r m
of
housing - an image
specifically
suited to the middle and
lower
classes
instead
of
insincere
imitation,
w h e r e
would
our
domestic
architecture
have
gone?
It seems
unlikely t h a t
w e
w o u l d be surrounded by
so
m u c h
depressed
vernacular
architecture.
W e
m i g h t
have
found
ourselves
challenged
by
our
surroundings
instead
of
lulled into an imagined sense
of
place.
Architects
like
Robert
Stern and Robert
Venturi
have
a t t e m p t e d
to
m a k e
something
out
of
the
f o r m s
of
the
suburban home, yet their
design
sensibilities
and
m a t e r i a l
selections
m a k e
their
schemes
unavilable
to
the
average
h o m e m a k e r .
finding
striving
such
T h e
less
consistent,
T h e
house
previously
thought
in
less
Cleavers'.
television
and
a
1950's
m u c h
the
on
differently
had
average
the
h o m e
c o m m o d i u s
T h e
economic
T h e
f a m i l y
a
of
widely
program
influence.
in
was
the
the
A m e r i c a n
sat
f o r m u l a
Beaver"
but
portrait
a
f a m i l y
mother,
to
and
by
Cleavers'.
w e r e
while
image
m o r a l
permanence
t h e m
rooted
contradictions
suggested
appearance
the
well.
nature,
was
translation
cheap
of
none
the
and
largely
a
and
father,
the
w i t h
translated
T h e
in
Beaver"
m a n y
the
T h e r e
resulted
owners,
a
of
than
Cleaver,
t r u e
scale,
were
their
middle
undefined
pearls.
the
was
results
posing
exemplified
W a r d
broad
pediments
economic
w e r e
surroundings
f a m i l y
ideal
job
life,
to
of
but
Beaver"
books,
"home".
H a r r i e t , "
it
physical
w e r e
w i t h
chairs,
fixtures were
elements
the
security.
broken
programs
B u n c h , "
" L e a v e
painted
of
harsher
of
and
Brady
especially
the
image
television
such
home,
and
wingback
the
visual
the
countless
and
a
the
over
economic
and
visual
for
experience.
taking
the
presented
and
affectations
of
w a r m t h
walls
artistic
b e c o m e s
hollow
m a y
T h e
are
a
sense
disastrous.
W e
of
the
oval
T h e
p r i m a r y
television
understanding
visual,
was
quick.
not
adorn
W i t h o u t
As
content
is
green
intact
visual images
retain if w e
intellectual
are
the
and
the
of
Modigliani
predominantly
m e d i u m
image
the
the
traditional
leather
of
w o r l d
-
and
to
representation
viewer
image
towel,
suited
Lisa
not
of
provided
M o n a
of
the
cultural
were
bath
a
plaques.
beyond
is
they
elements
T h e
b e c o m e
the
art
no
w e
is a
to
with
w i t h
interpretation.
develops
of
house
the
Television
which
be
design
us
c o m m o n
trend
lack
further
understanding
its
potpourri
i n f o r m a t i o n
lowest
denominator.
1960's
cultural
its
w h e r e i n
builders
In
artistic
to
on
mindlessness
all levels.
w o u l d
have
E v e n
cause
is
June
to
•
�8
that;
" f o r m
Sullivan
follows
sure
follows
that
and
a
poetry
supported
facade
m e n t
I
think
facade
By:
Robert
3. Farley
Brian
Robert
presented
entitled
Modernisnn"
o f
February
discussion
L a w r e n c e
Technology
3,
o n
1 9 8 3 .
w i t h
o f h i s w o r k
response
t o
t h e
a s
o f
contemporary
design
Vernacular
expression
classicism,
of
w i t h
typological
ornament,
history
a n d
i t s implications
f o r m ,
order, a n d
issues
architecture.
particular.
Stern
classicism
the
argues
o f
a n d
a
and
classical
h e
renewed
application
the
study
o f t h el e s s o n
tradition
possibility
o f
m o d e r n
with
solid
thoughtful
Moreover,
that
barren
t h a t
t h e architect
importance
composition.
visual
investing
architecture
comfort,
symbolism,
humanity.
T h e
interview
o f
offers
appeal,
meaninfgul
i n
w a s
immediately
a n d
following
conducted
following
h i s
lecture.
B V H :
How
compare
does
with
your
that
post-modern
S T E R N :
There
Graves,
Rossi,
o r
could
o f
We
and
w e
m a y b e
a l l o f
described
i n t h e sense
believe
is
o r
w h a t
thought
that a s a
each
interpretations
our
Gehry,
a n d
b e
o f
V e n t u r i ,
others,
u s
told,
share
group
•
Krier,
nine
architecture
were
a
myself
post-modern
none
is
w h i c h
Tigerman,
w h o m
other
architects?
architects
eight
work
of
a s
once
i tw a s .
disagreements.
taken
part
w i t h
S T E R N :
T h e post-modern
style
is a p r o b l e m .
I would like n o t
to think there is such
a
thing
or
that
i t shouldn't
b e t a k e n
seriously i f i t exists.
There a r e
people
w h o shall b e
nameless
w h o
d o
little
f a t
columns,
clunky
keystone,
a n d pink a n d
gold
t r i m .
It's n o t b a d stuff.
I t ' s either
kind o f cartoon classicism o r a
cute
f o r m
o f
Graves.
S o m e t i m e s
i n m y m o r e
arrogant
m o m e n t s
I think
t h a t I m i g h t
have
influenced
o n e o f
those
but
then I i m m e d i a t e l y
squash
that
arrogance
o u t o f
sheer
horror
that
I
m i g h t
have
influenced
t h e m .
I think
that
either
y o u evolve
your o w n
personal
style
w h i c h
doesn't
seem
t o m e t o b e t h e most
productive
t o architecture a s a
whole,
b u t i t
certainly
is
i m p o r t a n t
t o some
people
like
Graves;
o r t h ereal message o f
post-modernism
is t o r e t u r n t o
an architecture
o f conventions,
rich
broad
conventions
t h a t
society
c a n
accept
m o r e
positively
because
i t
doesn't
have t h eb a d associations
o f a n
exclusive
preoccupation
w i t h
technology,
mechanization, a n d
endless
repetition.
W h a t
is
going
t o kill
u s a l l is
endless
repetition.
Would
you
Sullivan's
follows
care
to
define
statement
I
Johnson
h a d t h e last
think
t h a t
b y
H e
w a s
Philip
w o r d
o n
taken
tradition t o
t o
deal
building.
do
[form
you
think
that
follows
have
any
own
h i s
later
architecture
function]
relevancy
to
work?
S T E R N :
I t doesn't.
I ' m n o t
against
function.
I
think
function helps t o release
f o r m a l
decisions,
b u tI t h i n k
sometimes
I tend
t o w o r k
i n a
different
way.
I can't
s a y that I don't
pay
a t t e n t i o n
t o program.
I
k n o w
w h a t
t h e program
is b y
the t i m e I g e t t o designing. I f
you tell m e "an office
building"
I
start
o u t
w i t h
some
conception
o f
a n
office
building.
T h e n I begin t o think,
" W h y
should i t b e i n a certain
place? W h a t is i t trying t o do?"
A n d
that
interacts
w i t h t h e
function.
T o s a y " f o r m
follows
function"
is
t o
m a k e
a
determinist
s t a t e m e n t
that i f
you w o r k o u tt h efunction then
f o r m will sort o f follow it; will
sort
o f
adhere
t o
t h e
configuration
a n d will
i n fact
be
a n
expression
o f
t h e
functions within.
B V H :
You
gave
an example
of
moldings
oh a classical
building
where
the
function
of
the
molding
was
to
deflect
rain
water
or
some
other
specific
reason...
S T E R N :
Again,
determinist
view
that
o f
n o t t h e only
o r n a m e n t .
is
reason
I t happened
t o
capacity,
a n d t h e
designed
t h e
that
into
o r n a m e n t
happen
t o have
other,
f o r
have
people
shapes
consideration,
h a s
a
o r n a m e n t .
that
o r n a m e n t
S T E R N :
H e w a s n o t
w h o
funtion"?
w a y ,
until
How
would
t h e
o f t h e
radical
t h et a l l
That's
B V H :
Louis
"form
a
o f a general
phrase
your
part
tradition.
a s
t h e
o f
expressive
interpretation.
as
u s e
m u c h
colleagues
B V H :
o u ro w n
o r interests a n d
o w nf r i e n d l y
is
a
that
c o m m o n a l i t y
have
think
there
style
and
movement?
t h a t
w e
classical
w a y o f
buildings,
i n a n
simplify
B V H :
Do
you
a
post-modern
post-modern
I n
feels
teaches
craftsmanship
the
t o
philosophy.
a r e central
Stern's
a
changing
relationship
friendly
H i s
w a s concerned
example
a r e
a
" A f t e r
a t
Institute
the
V . H u r t t i e n n e
Stern
lecture
T h e y
other
buildings,
h i s basic
t h e
very
orna-
f o r t h e
a n d
about
expression,
disagreements.
Idealogically,
on a whole, w e share m o r e
t h a n
w e
don't.
o f
o f classical
thinking
was
w h o tried
leaves
moldings
a
Sullivan w a s
substitute
acanthus
tall
purely
n e w kinds
t o
support
t h e
w a s
architect
develop
but
[SulH e
f o r
expression.
i n
I t
h i s
i n
I t
classical
to
ROBERT STERN
i n
architecture.
building.
INTERVIEW:
w a y .
didn't
livan's]
think
function
simplistic
developed
a
I don't
follows
certainly
" f o r m
I ' mn o t even
that.
f o r m
D i d
s a y ,
function"?
h e said
that
f o r m " .
actually
o f
taken
b u t
purely
�9
visuai...
W h y
embarassed
being
a r e
about
a
visual
buildings
give
same
o f pleasure
kind
real
art?
justifying
A
If
w r o n g
a r e
architecture,
o f
a n
is
continues
another.
laugh
changes
t h e
before
in
i t
S T E R N :
as
the
of the
could
b e
pornographic
function
of
of
there
argued
view
o f
b u t i t is alright
w i t h
me.
except
B o b
little
a
a n d
b e
think w a s
a n d
architecture
a n d
can
pleasure
give
I would
m o r e
s a y that
pure,
M o d e r n i s m
even
there
a
B V H :
I
don't
think
was
function
in
gram
Louis
speaking
of
m o m e n t
o f
strictly
matic
pro-
terms.
a
short
o n i t ,a n dI
little
never
was
F o r m
should
ever
h i s
essay
a n d F u n c t i o n . Y o u
check.
I don't
really
said
think
" f o r m
h e
follows
whatsoever.
function".
I
think
Mies'
think
h a s sort
about
endorse
m i n d
that
o f
your
a
gross
i t that
seems
t o
lowest
level
o f
t h e
perception
o f
post-modernism
like
W r i g h t w a s
crossed
question
I thought
rise
w i t here a n d
Lloyd
quality
S T E R N :
o f
could
F r a n k
it
i t w a s w r i t t e n
w h o
w h a t
means.
Sounds
b y
someone
doesn't
like
post-modernism.
B V H :
be
Do
you
think
that
a modernist
R 3 F :
in
S T E R N :
Y e s .
f r o m
I t also
Horatio
don't
w a n t
t o
fooled
A n yb u i l d i n g I ' v e
played
boring.
a n d a n y building
that
a s
than,
t h e
building
levels.
w a n t
is
use
literal,
that
sense
every
I f y o u
t h e c u l t u r a l
t h ebuildings,
thing.
i t , i t
different
function.
about
o f
another
architect's
that
t o talk
functions
better
that
T h e w a y you *
implies
pragmatic
a
kind
use.
I ' m against
It's
w h a t
day
I t ' s n o t
p r a g m a t i s m .
i n a n office,
very
o f
y o u d o
most
o f t h e
interesting.
b u t i t ' s
n o t
R J F :
A
criticism
elitist
form
humor;
an
architects.
the
is
that
of
inside
place
joke
do
of
on
an
into
that
to
I
humor
is
s a y today
includes
involves
buried
there.
a
point
that
"post-
modern
about
i n
view
archtiectural
w a n t
c a n happen
is
f o r
themselves
past
t o
traditions
but
w i t h
t h a t
connect
w i t h
could
s e t
o f
underlay
great
great
composition
d o that
a n d
I f
they
I
don't
w o u l d
even
then
criticism
o f a n y interest.
think
biggest
s i x
various
that
h u m o r ,
the
m o s t
the
stated
include
a
detailed
I
Late
a
have
m o r e
t h a n
joke.
o f
t h a n
a
That's
T h e
one-line
ever
seen.
a b i g joke
parking
passing
deodorant.
M o d e r n
mirrored-glass
o n a
freeway
m o r e
is
of
should
overall
as
and
opposed
compositional
of
design.
imagery
over
this
com
responsible
criticized
emphasis
position
for
of
be
the
m uch
flat,
character
to
aspects
Might
on
part
you
imitation
building's
the
End
process
imagery
only
the
Era,"
the
and
at
History
at
that
emulation
in
gave
Cincinnati
Modernist
sign-board
many
post-modern
designs?
S T E R N :
Y e s .
R 3 F :
Would
elaborate?
S T E R N :
in
you
I think
t h e
care
o f
L a t e
architects
o f
t h e
building
It
t o
consisted
a s signs
I
buildings
however,
t o
adherence
theory
o r
is
every
buildings
a l l
o f
wouldn't
w a n t
is
a s
t o
b e
S o m e
have
n o
signifcance.
I
t o s e e a city
t o s e e a
buildings
b e
a s t h e
costs.
w a sa billboard.
w a n t
t o
problem.
really
interiors
don't
t o a n y n a r r o w
perception
a t
very
I
i t
I
o f
is a
architect
Slavish
that
b a d .
expression.
b y every
avoided
think
kinds
i t probably
think,
t h a n
don't
certain
appropriate
o f
basically
necessarily
i n
t h e
n a t u r a l
w e r e
else.
that's
t h e
shed.
produce
interesting
taken
that
a n d quite
t h a t
a
Y o u
decorated
w h i c h
anything
a s
sign.
a r g u m e n t
w a s a
tended
t h e
building
o r a
m o m e n t a r y
m o r e
b y V e n t u r i
emphasized
t h e
c o m m u n i c a t o r
got
Modernist
lead
particular,
idea
t h e
unconsidered
s y m b o l i s m
in
that
t o
absolutely
w o r k ,
to
i t ' s true
reaction
R 3 F :
In
I
hall
wouldn't
l o t o f
kinds
o f
billboards.
connection
there
f o r
is
b o x
l o t b y
a
a n y t h i n g
package
a joke.
f o r
It's
a
with
seems
to
two-dimensional
that,
be
a
that
image
is
characteristic
of
post-modernism
seen
as
of
that
producing
contradicting
permanence
o f
collection
typical
sitting
o n
architecture,
whole
g o together.
this
t h e
T h e
o f
think
I
thing
o f t h e styles
architecture.
really
tried
t h a t
read;
o f
t h e
things
k n o w
I
architects
n o t only
and
be
Y o u
f o r
i n t h e sense
principles
t o g e t
i m p o r t a n t
t h e m
architecture
P o s t - m o d e r n i s m
o f
be
being
i n t h es t u d i o
t h e most
N o t h i n g
degrees
to
o n that.
think
buildings
Y o u have
questions
not
that's
a n y m o r e .
I
it
of
think
don't
stand
is
serious?
S T E R N :
by
you
of
solution
I
in
feel
essay
Historiography
that
joke
us
S T E R N :
w h e r e
played
"Architecture,
and
That
among
you
and
necessarily
is
architectural
What
architecture
of
it
entitled
That
wary
this
tradition
common
the
University
view.
is
be
by
to
argued
architects."
h o w
post-modernism
In
the
a joke.
of
should
exposed
about
o r
hundred
m u s t
b ya n y
care
a s ,
typical
I n
building
w e
well
o n a
point
we
are
have
m odernism
about
done,
works
that
that's
rather
we
post-
talk
I
B V H :
reaction
classroom
I
think
functionaiism.
architect
People
the
c o m e s
Greenough.
joke
buildings
may
interpretation?
expensive
society.
w a s ,
there.
Sullivan
i n
m o m e n t
L e Corbusier
a
t h a n
straight-line
occasionally,
to
t o
discover
c h a r m i n g
i n
levity.
w i t ,
surprised,
delightful
the
H o p e
y o u didn't
c a n
once.
T h a t
a
giving
function
avoided
corner
something
R 3 F :
Isn't
pleasure
part
the
building?
stopped
T o have
a
i t
t o b e
pleasantly
turn
pleasure.
y o u
even
That's
routines.
b e
One-liners
a n d y o u forget
a n y t h i n g
to
y o u
one-liner
you've
laughing.
building
f o r i t .
a t
A
i n
H u m o r a n d
a r e o n e thing.
building,
t o give
though
it's bad?
w i t
t h e
nice
a s
o f i t .
h u m o r
are
e n d a n d a n e w
a
that
w i t h
trivial,
h a s t o b e found
i t
imply
t h e point
function?
o n
S o m e t i m e s
purpose
purpose
What's
o n
very
our
o f
give
like
t i m e .
t o
t o
i t ' s n o t o n e point
explain,
I
t h a t
tried
they
u p
t o
A s
That's
function
c o m e s
view.
view.
hung
things
whole
n o t confined
o f
t h e
themselves
building's
over
is
W h y
s o
transitory
but
point
W h y can't
architects
people?
architects
people
architecture
historical
I
prejudiced
b y
point
wouldn't
blame
m y
of
through
sure
think
your
o f p o s t - m o d e r n i s m
n a r r o w
after
intent
reference...
conception
views.
be
sense
stability
S T E R N :
I'm
the
a
or
might
y o u
your
o f
is
teachers'
view.
I
i t o n your
o w n .
have
broader
H o w c a n y o u s a y that
m y endless
o w n w o r k ?
harangue, a n d
I don't
believe
�10
that
' f o r
a
m i n u t e .
I ' m
passionately
interested
i n
architecture
a s t h e m a k i n g o f
space.
Architecture
a s
solids
and voids.
Well-detailed,
w e l l crafted buildings.
A n d y e t I
represent
a point o f view
t h a t
is
post-modernist.
Allan
Greenberg
w h o is a
classicist;
but
also
i n t h e sense
t h a t
I
would
u s e
i t ,
is
a
post-modernist;
is
totally
involved
w i t h
t h e
three-dimensional realization o f
form.
E v e n
Michael
Graves
w h o
might
b e m o r e
acused
o f
playing w i t h surfaces
t h a n I ; I
w o u l d t h i n k o n t h ew h o l e ; i s n o t
a
sign-painter.
H e is n o t a
naturalist.
H e is a n architect.
Contrast
that w i t h t h e typical
mirrored-glass,
blue-flamed,
orangestriped
j o b o n t h e
highway
which h a s nothing.
I t
doesn't
even
have
a
thickness
to i t . Look a t those
humungous
buildings
across
f r o m
t h e
Lawrence
Institute
o f
Technology.
about?
Dare
your questions
Sir!
some
o f t h epictures. B u t they
don't
d o
anything
except
corroborate
m y
general
philosophical
prejudices
o r
beliefs.
I ' malso n o t interested
in
designing
clothes
o r
chocolates.
B V H :
just
dishes,
things
interested
I
don't
think
somebody
made
s a w a
certain
the
1920's
Or
i n
i n t h e
that
o f
looked
like
t h e w a y that
Graves
is
very
I
find
painters.
influences
T h a t
constitute
that
about
as
a
that
history
o f
look
architecture.
I
don't
look
f o r inspiration.
look
Astaire
always
interested
to
t o
i n a
things
m e ,
o f a
used
t h e development
a n d then
e x t r e m e
state
w h e n
people
holes
i n t h e desert.
somewhere
w i t h
that
w e n t
a
a n d d u g
I t left
deep
painting
t o a
m e
sinking
h a d c o m e
m o r e
very f e w
h a d been
i n
A m e r i c a
nothing.
m u c h
there,
O n e h a da
o f that
There
s o
o n e
wonderful
space.
t o g e t i t o u to f m y
a s I
being.
realistic,
representational
mode
painting
S o I
system
could.
I'm
happy
very
not
t h e
a
great
a great
r o o m
problems
architecture
r o o m .
Modern
t h a t
There
I c a n think
i t
Wright
great
w a s
is
o f . Y o u
and
a
never
architecture
s a y t h e Johnson's
is
w i t h
is i t
can
W a x
i s ,
r o o m . B u t
great
card-carrying
a r e very f e w
rooms.
great
n o
There
Modernist.
rooms,
R 3 F :
You
use
the
the
idea
space
I
w a n t
a t least
seem
open
of
in
t o
m a k e
good
ones.
more
space
willing
and
fashion
in
than
a reason
more
for
your
of
Modernist
your
in
to
retain
interpenetration
a
interiors
there
encouraging.
is
o f
M o d e r n
built
horrible
f o r things
like
living
r o o m s
a n ddining rooms.
W h a t
I t r yt o d o is t o combine
static
spaces,
centralized
spaces, i n
such
a w a y that
o n e gets
a
sense o f t h ec o n t i n u u m a n d t h e
m o v e m e n t
between
things a n d
yet keeps their individual static
character.
into
m i n i m a l i s t
i t s e n d f o r t h e t i m e
r e t u r n
o f
i t w e n t
a n
The
l o to f
g o o n . I
such
feeling
begets
I ' m n o t
hell
that
follow
painting
to
that
i n ,b u t i t ' s
architecture.
other
a t
architecture.
Architecture
m o r e
a t
I d o
a t t h esets
dances
Corbusier a n d
were
Certainly
almost
m u c h
o f
kind
T h e
second
explanation
is that
in
t h e Shingle
Style,
w h i c h
I
gravitated
t o w h e n
i t b e c a m e
appropriate
because o f t h e jobs
and opportunities that c a m e m y
way,
there
is a sense o f
open
and
interpenetrating
space
w h i c h is very nice.
Also, Iw a s
trained under Paul Rudolph a n d
he is a master a t t h e interpenetration o f space.
I g o t , a n d I
continue t o g e t ,pleasure o u t o f
that, b u tI also c a m e t o realize
its limitations.
I t is space that
implies that y o u m o v e
through
it a l l t h e t i m e . T h e r e f o r e , i t ' s
is other
is buildings
don't
Fred
L e
that
imagination
as
dreamed
a s a n y student
There
imagined.
had
question
o f those
One
made
undergone
is n o
does,
o f
way.
wasn't
i n
h a s
y o u s a w i n a l lt h e
forth.
it's
b y
I
sometimes
student,
how
change?
There
buildings
w a y
and
i t . I h a da l w a y s
drawings
that
architecture.
paintings
I t
spaces
so
your
space,
undergone
architecture
of
influences
of
vernacular,
a n d
y e t
still
continue
t o have
that
clarity
and
compositional
focus
a n d
wholeness
that o n e finds i n t h e
P a n t h e o n a n dg r e a t
rooms.
apartment
houses.
Is
that?
Michael
t h e thing
t h e
I ' m
decorative
What
change.
that.
influenced
m e t h em o s t
buildings.
a n d
Y e s . I tried t o .
S T E R N :
maybe
plans
t h e
R J F :
Mondrian a n d
kinds
rugs
that.
S T E R N :
way,
s a y that
have
R 3 F :
I
feel
that
one
of
the
strongest
aspects
of
your
work
is
the
creation
of
dynamic
space.
You
spoke
of
your
movement
away
from
the
flowing
open
space
in some
of
your
earlier
designs.
But
even
those
earlier
designs
seemed
to
accom
modate
a distinct
place.
conception
y o u could
some
like
i n
I
candlesticks,
arts.
that
that
closer.
some
some
W h a t
is
that
I a s k .
I
think
a r e o u t o f line.
N o t i n a n yd i r e c t
pots?
That's
done
some
B V H :
Integration
of
other
art
forms,
such
as music,
sculpture,
painting,
etc.,
with
architecture
i s a historical
fact.
Post-modernism
attempts
to
synthesize
contem
porary
culture
with
those
aspects
of
history
which
possess
universal
human
value.
Is
your
work
influenced
by
other
art
forms?
no.
coffee
S T E R N :
has
S T E R N :
Or
directly
b u t h e w a s very
m u c h
i n t h ea i rw h e n I w a sa s t u d e n t .
W e t a l k e d a b o u t h i s w o r k a n dI
still
continue
t o study
i t . I n
those
houses that h e never
built
in
t h e early
1950's,
h e
took
squares w h i c h represented
cubes
of space a n dh e slid t h e m
w i t h
respect
t o each
other s o that
each
space
retained
i t s
integrity,
y e t
t h e
interrelationships
o f t h e groupings
w e r e
dynamic.
I think that is
one
o f t h e things that w ec a n
imagine
n o w i n
architecture
that
y o u couldn't
have
done
before t h e1920's.
Y o u c a n produce
some
fantastically
pleasurable
effects,
a n d some
fantastically
useful
relationships.
I t c a n introduce
into architecture that degree o f
informality
that
seems
appropriate
a n d wonderful
i n
buildings
that y o u find
i nt h e
t o s e e i t a n dI
o f
enjoy
I
w a s n o t a
student
o f
K a h n
S T E R N :
I f y o ua r e reading m y
monograph,
some
o f t h e things
in t h e r e a r e a s o l d a s t h e hills
in t e r m s o f w h e r e I a m . I don't
like t o think I change just f o r
the
sake
o f change.
I
learn
something
f r o m
every
project
and I change.
I n a n a p a r t m e n t
it is like t h e p r o b l e m
that t h e
International
Style
s e t f o r
itself.
Y o u m a k e
a very
rigid
envelope
a n d y o u carve
a n d
m o v e
through
i t . Y o u always
have
that container;
t h e Villa
Savoye
[ f o r example].
I n order
to
extend
t h e
apparent
boundaries
o f space
s o m e t i m e s
interpenetrations
a n d
those
d y n a m i c
relationships
help
t o
m a k e things seem, n o t s o m u c h
bigger, b u t a l o t less
confined.
Ih
a
free-standing
building
w h e r e
o n e c a n place things i n
the
landscape
next
t o
each
other a n d enjoy
light a n d view
on two, maybe
t h r e e sides o f a
r o o m ,
there
i s less
need
f o r
�11
that.
of
Y o ua l w a y s
connection
have
t h e sense
beyond.
good
question.
issue
w i t h
That's
a
B V H :
There
articles
don't
Modernism
i m p o r t a n t
don't
had
a
k n o w
little
being
t h e
means
why...
I suppose
t e r m
T o
"post"
really
I t doesn't
People
m e a n
confuse
post-
modernism
w i t h
anti-modernism.
few
I ' v e made
thousand
remarks,
really
the
the
I ' m
sure,
things
best
work,
forms
litter
o u r
b u t about
a n d
a n d
believed
i n .
m o n u m e n t a l i z a t i o n
t h e major
o f
urban
architectural
opinion.
i n
o f towers a n d
t h e landscape
destructive
Nor
i t
d i d
that
o f t h e
m i s t a k e i n
f u n d a m e n t a l
definitely
cities
t h e
space-displacing
i n favor
objects
housing
type
Their
anti-positve-
Their
type,
w a s a great
buildings
a m
that t h e
truly
passionately
m y
that
I
things
Modernists
major
o r
t h e
stuff
landscape.
certain
century,
about
commercialized,
banal
as
b u t I ' m
n o t
o f M o d e r n i s m
mediocre,
against
a
a n t i - m o d e r n i s m
complaining
best
I
i t s oI ' m
ingenuous.
after.
anti.
contributions.
t o d o w i t h
slightly
use
h a d m a n y ,
t o
produce
were
w a s
cities.
a n y n e w
a n y
good
either.
Basically
Modernists
d i d
wonderful
things
w i t h
t h e
freedom
o f t h e wall f r o m t h e
column,
t h e freshness
o f t h e
abstractions
they
sometimes
achieved,
t h esense o f a k i n d o f
joyous
lightness.
There
a r e
m a n y
things
w h i c h were
good.
There
a r e also some
absolutely
horrible
things.
Post-modernism
is
n o t
wholesale
a n t i - m o d e r n i s m . I t is
not intended
t o kill o f f daddy.
It m a y b e t o p u t h i m i n t h e
closet
b u ty o uk e e p f e e d i n g
h i m
regularly; sending h i m food o n a
tray.
A
some
a n d
things
attention
w r i t t e n
s o
prefer
do you
criticism
i s
feel
on
the
your
m o r e
learned
a
their
buildings.
and
a
again
doing.
I ' v e
I think
they
every
n o w
w h a t
that
t h e level
one
gets
i n t h e journals
the
daily
press
think
t h e daily
that
H e
f r o m
Those
interpreters
Also
about
learns
playwright.
critics
t o
a r e
i n
past.
because
"Oh,
t h e
the
European
charmingly
could
critics
t w e n t y
weird
said,
Isn't h e
They
anything
a s
t h a t
being
looked
A m e r i c a n .
criticism I take.
I think
that's
as
i t should
b e .
I ' m sure
Balanchine
doesn't
read
t h e
Sunday T i m e s t o find o u t about
his
choreography
b u t h e is
intereseted
i n
w h a t
J e r o m e
Robbins h a st o s a y .
Where
is
and
do
your
what
you
work
kind
expect
of
in
the
future?
S T E R N :
I've
O n e
is w i t h
already
shingled
endless
me.
its
continuing
certain
source
effects.
things
started.
architecture
I like
doing
doing
o f
scale.
I
a f e w years
g e t
Island
built
o n e
a g of o r
Housing.
b u t
o f
a
w o n a
I
m y
I t
think
most
projects.
sociologically
a n d urbanistically
and
architecturally
richness
was
a n d a
related
I
h a d
that
housing
N e w
i t
t o find
w a s a n
project
have
been
some
that
Y o r k
a n d I
built.
place
t o
something
lines.
o f
pleasure
t h em a t e r i a l .
I
like
T h e
is
I
t h e kind
a n
t o
like
o f
will
t o w h a t
k n o w
like
i t
conception
i t should
build
done
B o t h
along
those
Nothing
h a s ever
been
o n that
c o m e
back
site
s o maybe
i t
i n t h e
years
I think a l o t o f criticism is s o
badly w r i t t e n . I t ' s such
turgid
m u m b o - j u m b o t h a t I don't
have
the patience
t o read it.
People
like
Scully,
Graves,
T i g e r m a n ,
A l a n Greenberg,
Philip Johnson,
Jack
Robertson
o r
Peter
E i s e n m a n
a r e people
I
have
learned
f r o m .
A t
least
I ' v e
licked a f e w wounds
afterward.
Those
have
been
interesting
experiences.
That's
t h e
R J F :
a r e
i m p o r t a n t
I'd
A m e r i c a n ? "
excuse
last
a s k m e
housing
Roosevelt
think
Partially
h e ' sa n A m e r i c a n .
I
those.
We're
larger
competition
they
n o w than
have
t o d o
W e
n o w .
slightly
m o r e
m y w o r k
a r e
dreamed
somebody
c o n d o m i n i u m
is.
w r i t e
about
I
w a s i n school.
housing.
housing
that's
i n t h e
f o r t h e public.
begin
halls,
those
campus?
i m p o r t a n t
People
rooms.
halls,
I
doesn't
d o a
didn't
t o learn
o f
things.
particular
o f buildings
w h e n
W h y
to
a r t
o f
dining
thought- I w a sgoing
I
probably
w o r k :
i n
city
kinds
playwright
a
another
kinds
best,
t o m e .
critic
T i m e s
plays.
m o r e
o r i n
general
than
reads
I
criticism
t h e
m o r e
Y o r k
o f
is, a t i t s
don't
his
a t
i n t h e magazines.
audiences
m u s e u m s ,
I
I ' m
look
find
Really,
university
kinds
Dormitories,
a
w o r k
spaces,
about
m y
looking
certainly
a t
done.
interested
the
doing
d o m o r e
things:
o f
other
directed
have
rather
I'm
a m o u n t
each
N e w
m y
m u c h
Usually
peek
we're
Public
a n d s e e
W e
w e
those
I ' m always
take
than
m u s e u m s ,
direct.
around.
c o m m e r c i a l
work.*
o f
d o
houses
t h e m
level
m o r e
t h e
t h e architecture
might
another
little
t o
tremendous
colleagues.
O n
Style
changing
would
i t ' s
b u t m o r e
keep
p a y
t h e point.
harsher,
at
learned
o f t h e critics.
find
I could
Shingle
don't
m u c h
I
t o
direction
S T E R N :
Most
o f t h e t i m e
I
don't
g e t a n y criticism
except
f r o m
students
a n d they're
s o
conservative....
i t c a n describe.
thousand
I
I p a y
have
t h e criticism
colleagues.
changes
What
of
I
ones.
that.
b u t I
criticism
headed
B V H :
impact
work?
h i e
a
attention.
always....Strike
attention
I
f e w nasty
p a y t o o m u c h
Y o u
f r o m
I
any
buildings?
and
S T E R N :
R J F :
I
sense
that
you
feel
some
reservation
in
using
the
term
"post-modernism"
and T m
wondering
if
that
is because
it
implies
a
rejection
of
M odernis
m
and
that
you
feel
that
M odernis
m
had
an
important
contribution,
especially
in
terms
of
spatial
concepts.
m a n y
been
your
It's a n i m p o r t a n t
m y work.
S T E R N :
haven't
about
t o life.
One shouldn't predict
t o o m u c h
because then o n e will feel t h e
obligation
t o
a c t o u t
one's
predictions.
O f t h e things
w e
have
o n t h e drawing
boards,
there's
a l o t o f rather
serious
e x a m i n a t i o n o f t h e f o r m a l a n d
compositional
issues
raised, b y
the t e r m classicism.
I w a n t t o
get
t h a t o u t o f m y system.
I
w a n t
t o find
o u t w h a t
that
thing is. T h eforbidden fruit o f
m y y o u t h is going t o b e bitten,
chewed;
I m a y digest i t , Im a y
s p e w i t f o r t h , b u tI a m going t o
try
t o
understand
i t . I a m
incredibly attracted t o classical
buildings
a n d I w a n t
t o
m a k e
one
myself;
m a y b e
a
f e w o f
t h e m .
I
think
I
c a n s a y
something
w i t h
that
language
t h a t I c a n ' t s a y a n yo t h e r
w a y . B
�12
SHARING
D a n e
IN
A .
It
Johnson
is
since
MEDICX:RITY
approaching
t h e
o n e
year
o f
t h e
dedication
W a y n e
H . Buell
center
o f t h e L I T C a m p u s .
building
is
result
t h e
o f
has
been
the
"Sharing
i n
C a m p a i g n ,
i n
goal
T h e
tangible
Capital
began
p r i m a r y
a t t h e
major
t h e
Excellence"
w h i c h
Building
1 9 7 9 .
o f
this
T h e
campaign
t h e i m p r o v e m e n t
College's
through
t h e
i m p r o v e m e n t
o f
e n d o w m e n t
expansion
o f
a n d
consistency
facilities.
a n d
a
spatial
held
ever>tual
Buell
some
positive
C a m p u s
the
things
h a s finally
C a m p u s
Building),
t h e
reveal
aspects
t o
and
m o r e
m a d e
been
t h e
o f
some
i n
changes,
there
reigns
the
a n d
physical
.
b e
materials,
the
C a m p u s .
building
t h e
rest
expressed
dedication
program
centralize
i n
t h e library,
and
bookstore
these
a n d
and
within.
organization
a t
various
result
the
this
northern,
know,
is
o u t - o f - t h e - w a y
could
find
majority
focused
inconsistency
i n t h e
Louis
the
details,
blunt
o f
t h e
o f t h e
t o w e r
m a n y
the
o n e
T h e
t h e
Redstone
Buell
as
a n d
( o f
t o
t h e focus
t o
o f
best.
side
is
viewed
is
buildings.
T h e
Engineering
m a y
w a t e r e d - d o w n
b u t
image
Miesian
they
o f
w h i c h
t h e
swept
public
m u s t
have
expres-
L i k e
honest
corporate
a
expresses
itself
that
m a i n l y
w e a k e n e d
t o
t h e
a
T h e
themselves
t h e
these
brought
a n d
wonder
bully
playground,
m o n u m e n t a l
dated;
o f
w h a t
i n
to.
T h e r e
a r e
o f
series
whole.
surely
gotten
5 0 ' s a n d 6 0 ' s .
buildings
a
t h a t
b u t
C a m p u s
they
of
a
of
is
greatly
consistency.
t h e
inherent
w i t h
o n
agression
f o r m s
collapses
a r e
tensions,
e m o t i o n .
presenta-
w h e n
is a n
challenged;
architectural
glass j a w .
College
of
publications
t h e building
tool."
o f
mechanical
in
waffle
reveals
fallen
t h e
f r o m
after
lack
none
none
t h e
T h e
a
t h e
year.
o f
imply
heavily
f o r
m a n y
is
walls
a n d
building
a
used
years.
walls
o f
L o o k i n g
a t
reveals
plywood
concrete
i n t h e
a n d
indicated
t o show
t h e
used
f o r m w o r k ,
quality
begin
I n
e l e m e n t
t h e
ceiling
poor
a r e
repair
f o r t h e staining a n d
cracking
p a t t e r n
exterior
library
t i m e
surprising,
the
cafeteria
ill-placed
a n d i n poor
only
w a y s
t h e
concrete
a n
t h e
treacherous
i n t h e
reinforcing
o f
w a l l .
t o
chapter.
t h r o u g h
a n d
retaining
included
slab
C h u n k s
parapet
stairs
b e
n o t t o d o "
creeping
have
t h e
I n reality,
should
exposed
rods
is
i n
t h e s t r u c t u r a l a n d
t h e " w h a t
a t r i u m
teaching
education
systems.
systems
T h e
speak
" a
contained
exposure
the
as
T h e
apparently
t h e
here
w h e r e
m a y
t h e
blame
lies.
Press
releases
the
also
o f
ventilation
P a r t
o f
stair
good
certainly
defeats
a n d
A
is almost
w i t h
h o w l i n g
is
rustling
also
m a k e
t h e illusion
space
bright
is
o f
access
replete
whistling.
breeze
t h e
a r e
doors.
needed
t o
complete.
spot
t h e
is enlivened
changing
ceiling.
t h e
t h r o u g h
a i r
u p t h e
definite
crickets
T h e
w a l k
a n d
a
t h e
goal
musical;
O n l y
building
a t
this
t h e
t h r o u g h
doors
system
i n
a n d
operation.
stairs
operation.
d r a w n
towers,
quiet
circulation,
a n d quiet
a i r
t o
system
t h e v e n t i l a t i o n
requires
the
point
mechanical
objectives
T h e
a r e
b y their
T h e r e
t h e
building
bluster.
o f
h i s
despite
T h e r e
they
c o u n t r y
question
t o w e r
fenestration
transitions
t h e
is l i t t l e
stair
m a k e s
i t s
penthouse
a s
a r e
a
undefined
entrance
w e a k l y - s t a t e d
Science
appear
a n d
indicate
a n d
f o r m s
expressionistic
freed
building
is
t h e
t h r u s t i n g
uneasy
t h e
a n d
T h e flat
older
A r c h i t e c t u r e ,
f o r
Offices
quite
t h e
a n d
Buildings
the
rather
o f
i m p o r t a n c e .
and
a s t h e
t h e Admissions
Registrar's
facade,
t h e
entrance
imposing
location
t h e
a n d
t o
expressions
a
approach
demeaning
approach
T h e
relatively
seem
I n plan
public.
n e w ,
t h e
This
egocentric
sions;
as
f o r
a n d
however,
a t
t o
facade.
t o w e r
contrived
t h e
t h e existing
s o u t h e r n
i n line
t h a t
n o r t h e r n
t h e
o f t h e
serve
f r a m e w o r k
structure.
Louis
m a k e
b y allowing
buildings
b y
Associates,
w a s
Building
C a m p u s
in
stated
stair
visible
t h e
n o r t h e r n
Road.
unresolved
t o relate
elevation,
being
place. •
highly
massing
real
T h e
a n d
begins
m o s t
i t s
f o r m .
elements,
regulars
a n d
h a s n o
o r
a r e
levels.
materials
itself
towers
carries
f o r m s a n d
t h e building
o f
a n
concrete.
n e w
u s e o f
a r e
still
Redstone
architects),
shadow
itself
p r i m a r y
goal,
t h e
landscape
t o
i n
t h e building,
o n T e n Mile
A n o t h e r
linear,
a n d
t h e agressive
issues
t h e
traffic
Despite
T h e r e
approach
t o
o f
a n d angular
t h e
building
sense
o n
C a m p u s
this
T h e
partial
A
entrance
A s
p y r a m i d a l
a n d i n
o r " C " l o t ,side
building.
w a l l
w i t h
t h e n e w building.
f o r
is t h e location
p r i m a r y
c u r t a i n
replaced
a n d ends
this
points
direction.
o f
C a m p u s .
rolling
of
held
provided
various
t h e
usurp
begins
compositional
a n d
t h e
o f
separating
_ a t t e m p t e d
separation
access
t o
offices
T h e
topography
qualities;
a d m i n i s t r a t i v e
academic
t e r m s
suddenly
cafeteria
while
t h e
angular
o f
o r
horizontal
t h e
w a s
composition;
bully,
the
o f
characterize
cubist
composition
relationship
o f
a n d
Buell
denial
i n
been
f o r m s
T h e intent o f t h e
as
N o
f o r m ,
concrete;
o n
T h e
opposition
m a r a u d i n g
O u r
inconsistency
found
have
logistic
impacts
strong
suggest
a n d
spaces.
is a n absolute
C a m p u s .
to
undeniable
a n d visual
lively
supreme.
can
centralized
a r e
t h a t
the
consistency
however,
Building
student
t h e
positive
tion,
p e r m a n e n t .
than
t h e
opposites
positive
m o r e
this
Bricks
O t h e r
o f t h e
of
C a m p u s
t h e
potentially
N o w ,
Activities
popular
have
f o r
located
as t h e cafeteria
bookstore
plan
T h e
located
Student
a n d
such
Renderings
m a s t e r
Building , i t
recently
current
areas
f o r
(originally
m o r e
the
done
r e t u r n e d
t h e A r c h i t e c t u r e
was
h a s
a n d t h e students.
library
in
Building
t h a t
promise.
T h e
relationship
o f
t h e.
a t r i u m .
T h e
b y color
a n d
heights
T h e skylights
o f
t h e
express
a
�13
relation
to
t o t h eoutside
a n d a d d
a n interesting relationship o f
patterns -
primarily
grid.
T h e
realized
has
i t s visual
provided
and
based
h a s
impact
some
colorful
o n a
bookstore
does
t h epopular
the
a r t " indicate
slightly
of
below
t e r m
a
"state o f
a
position
m e d i a n
grade
quality?
is w o r t h
jury
h e
n o t
ay,
ing
i n
o r
ing
should
b e greatly
expanded
t o
m o v e activity further into t h e
a t r i u m
a n d away
f r o m
t h e
cafeteria
entrance.
Signage i n
the space - and throughout t h e
building is
a
graphic
nightmare. There
is n o graphic
consistency,
professionalism
o r
concern f o r aesthetics.
I t is
bad enough
i n t e r m s o f design
that w e require a sign t h a t says
" L I B R A R Y
T H I S W A Y "
w i t h o u t
compounding this weakness
w i t h
spray
painted stencils. I f some
of these problems a r e remedied
the p o t e n t i a l o f t h espace m a y
be
realized.
have
a
o f
visit
noting
architects
f r o m
a n d college
life
w h i c h
they
T h e
Workshop,
during
architectural
based
o n
t h e
the
m o t i o n a l
graphic,
evidence
o f
photography,
enhanced
per-
b y glowing
pro-
descriptions.
looking
w e r e
f o r i n t h e photographs?
T h e y
m e n t i o n
massing,
"sculptural
choice
exposed
potential
o f
materials,
d y n a m i c
links
were
A s h b e e
e n v i r o n m e n t
T h e y
c l u m s y
w i n d - t u n n e l
towers,
maze-like
patterns
o r
cannot
seem n o t
about
circulation
classrooms
b e entered
disrupting
stair
late
ongoing
a r ethings
w h i c h
w i t h o u t
instruction.
w h i c h
m a k e
n o
could
w o r k i n g
craft
o f
by
The
Buell
the
a
part
o f t h eCollege
has
goal
o f creating
f o r t h e C a m p u s .
been
created
without
a f r a m e
symbol
misplaced.
o f reference;
i t s
a n
excellence
into
mediocrity.
years
the
i t
heart,
b u t
will
f o r
intrinsically
i t
o u t c r y
against
considered
i t
A .
T h e
lacks
and
a w a r d
t o o u r
participation
should
awards
upon
actually
means.
c o m m e n t s
•
a
the
words
t o
a r e ,
Chartres
were
ahead
and
o n
dismayed
A w a r d ,
photography
n o t o n t h e experience
the
source
building.
and
Consider
learn a lesson.
o f their
o f
Hagia
Cathedral
truly
i f
w o r k i n g
t h e
Building,
VIENNA
Greg
•
WORKSHOP
o r
a l l o f
advanced,
t i m e ?
O r
seeking
t o
s a f i t t i n g
8 2 Vienna
thoughts
t o
a
T o state
h s spent
las
w i t h
m y
Vienna
m e i n
seed.
Inevitable?
Maybe.
I a m
assured
though
t h a t
t h e
resurrection
o f
t h e
Vienna
W o r k s h o p
a n d i t s potential t o
architectural students cannot b e
emphasized
enough!
I t could b e
that i t is just t h e foreshadowing
g l a n c e o f t h ec o m i n g last
great
period
o f architecture
here i n
these last days.
T h e
rebirth o f t h e Vienna
W o r k s h o p
w a s innovated
b y
Professor
H e n r y
M a t t h e w s a n d
the
" A u s t r i a n
W a v e "
.o f
architects
t h a t
swept
t h r o u g h
our
C a m p u s
M a r c h
t h r o u g h
May,
1980.
T h a t
relationship
also
brought
R e n a t e
K o r d o n
f r o m
Vienna a s a visiting artist
last
spring
a n d last
s u m m e r ' s
w o r k s h o p
f o r t w o
L a w r e n c e
T e c h
students
w i t h
AppeltKneissl-Prochazka.
o f
t h e
Varano
U p o n
article
a
the
1 9
n u m e r o u s
clicked
attention.
t w o m o n t
t h e
t h a t
great
t o t h eequivalent
Seagram
w a sb a s e d
t o o
i n
h a s brought
destowed
Taylor
t h i n k i n gw a s
somehow,
W o r k s h o p
beyond
o f
A r e w e indeed
Parthenon,
Sophia,
b e
f o r this
R u s k i n ;
touch
t h a t t h e
t h e a r t "
literally,
next
don't
t h eWalter
n o t
i m p r o v e m e n t .
t h e
T h e published
a t i t sbest;
o f
been
a n d
w a s
w h a t
decision
"represents
state
weight.
design
u s stop
such
structure
taken
t h a tt h e
b y t h ejury
architecture
have
o f
o f
T h e
jury
seems
quite
obviously
t o
have
been
concerned
w i t h
some
sort o f
i m a g e w h i c h t h ebuilding m i g h t
project.
A n di m a g e
m u s t
have
been a n i m p o r t a n t criterion f o r
this building w h i c h w a s m o s t l y
designed before
user input w a s
sought. T h eB u e l l B u i l d i n g does
give L I T a kind o f "high profile"
in
t h e c o m m u n i t y - (and
w i t h
the
emerging
context
o f t h e
Southfield
Civic
Center, w h o
could
argue
t h a t
t h e Buell
Building
d a m a g e s
anything?)
and
profile
seems
m o r e
i m p o r t a n t
t h a n
f u n c t i o n a n d
content.
So
a
users
it.
w h i c h
m a k e
w h a t
a s
about
h a sw o n
consider
even
skill.
unsettling news
Building
which
t h e
qualities
Benson
Buell
the
seems
b e t h e
appealing
i m p o r t a n c e
seed
handicraft
Cheaper
a n
John
regardless
o f
production
b u t a r e
building,
a n d
a n
description
experience
t h e ideal
t h e skill
I t w a s
i n photography
MODERNISM?
Robert
daily
f o r
part o f
ever
w a r m t h , balance
the
o f
does
i t m a y serve
Campus,
PAST
o f
a n example
a s a n active
unlikely
of
h a s
expression
I f t h e building
crumble,
a
m e a n i n g
T h e architect
translated
m a n y
symbpl
pursue
hands.
p r o m o t i o n a l
a
W h a t
is a
w i t h
not
a n d i t s
T h e College h a d
expressed
symbol
rep-
c o m m i t m e n t o n
benefactors.
an
Building
major
a n
their
of
resents
t h e
artists a n d
t h e machine.
T h e
o f
provided
bastardization
easier
until
o ft h e
Handicraft
turn
b y
essentially
the
derivative
w h e r e
appearance
u t m o s t
a n d
of
T h e
lasted
T h e y
artisans
Josef
1 9 0 3 .
t h e
a n d
Wiener
b y
English
o f
century.
k n o w n
t h e
w h i c h
a
a n d
space."
detailing,
These
Werkstattes,
Guilds
this
f o r
I t h a s
t o
i n
o f
f o r
o f
begun
elements
have
period
calls
designers.
definite
1931,
t h e
Vienna
relevance
s t r u c t u r a l
mechanical
to
judges
this
reevaluation
W e r k s t a t t e s
t h e
o r
history
program's
H o f f m a n
W h a t
b et o o
o f
W e r k s t a t t e ,
p r e m i a t i o n w a s
haps
upon
not
e m e r g e n c e
Wiener
Their
p r o m o t i o n a l
affect
would
t h e truth.
judged.
t w o - d i m e n s i o n a l
o f
will
t h a t t h e
d i d n o t actually
t h e 120 entries
f i r m
Prochazka
continued
entire
far
It
administrators
The
chief
problems i n t
atrium
a r e that things a r e
taken f a r enough. T h e stairw
a
potentially
interest
sculptural f o r m , is t o ow e a k
scale t o w o r k either f o r m a l l y
functionally.
T h e
seat
t h e architectural
Appelt-Kneisslm y
a n d
attractive
displays.
w i t h
w r i t e
this
tribute t o
Workshop,
a n d
joys
refreshing
t h a t t h e
t
s u m m e r
M a r y a n n e
C l i n k a n d myself
represented
this school a n d t h e
United
States
i n
a n
o v e r w h e l m i n g l y rich p r o g r a m o f
studio design
sessions,
detailed
tours o f Viennese
architecture,
m u s e u m s
a n d exhibitions, a n d
personal sessions
w i t h some o f
Vienna's greatest
designers a n d
thinkers.
This
program
demonstrates
necessity
t o
clearly
m e
t h e
f o r t h ecelebration
life
a n d a r t i n architecture.
a m
deeply
attitude
concerned
t h a t
e m i t s
o f
I
w i t h t h e
f r o m
t h e
�14
Student
body
o f
architecture.
W e
seem
t o b e caught
i n a n
abyss o f technology and science
that
screams
w i t h a n e x t r e m e
lack
o f consciousness
o f t h e
celebration
o f art,
questioning,
and innovation.
architecture
director's
b e c o m e s
m e d i u m
technological
well
f o r
development
a s t h es o c i a l
structure
a n d
is left
earth
is organized
One
wonders
about
t h e
continuous
proliferation
o f
spec-office-building
mentalities
of
students,
a n d
their
forerunners'
obvious
"success"
that prostitute our landscape. I f
w e
a s
architects
a r e t h e
documenters
o f h o w and w h a t a
culture
i s (built
cities
a r e a
great
record
keeper
o f
their
people)
then
I a m
e x t r e m e l y
disappointed
w i t h
m y
hierarchy.
brethren.
revolution!
cause o f t
life
a s ex
beauty.
o f
convenience,
This
is a
c
A revolution
h e celebration
pressed
a s a
all
i nt
o f
r ta
t o
h e
real
n d
position
Social
Workshop
a r e
manditory,
growth.
t o
designer's
innovative
will
t h e
I pray
that t h e
creative
leadership
continue
programs,
ideas,
a s t h eV i e n n a
THE
o f a n y
o f i t spotential a n d
f o r
school
n a y
w i t h
leadership.
need
such
a
lies
excitement
by
necessary,
T h e success
education
its
a s t h e Vienna
a n d
a t
this
t o b e filled
a n d efforts
Workshop.
ARCHITECTURE
•
OF
DISTOPIA
Rochelle
M a r t i n
Los
Angeles
i n t h e 2 1 s t
century
is a dark,
unfriendly
world
covered
b y thick
clouds
of
radioactivity
spewing
acid
rain a n dilluminated b y r a n d o m
sparks
f r o m
scattered
power
generators.
This
malevolent,
pervasive
technology
is
characteristic
o f
distopia.
D i s t o p i a , l i k e Utopia, i s a v i s i o n
of t h efuture; but i t is a f u t u r e
gone
awry.
This
particular
vision
o f
distopia
is encountered
i nt h e
film
Blade
R u n n e r directed
b y
Ridley Scott. T h efilm
portrays
the
quest
o f R i c k
Deckard,
a
"new
a g e " bounty
hunter, t o
find a n d destroy
five
renegade
robots that a r e h u m a n
replicas.
His
task
is made
difficult b y
t w o
factors:
first,
t h e robots
have
superior
intelligence a n d
do
n o t w a n t t o b e found; a n d
second,
technology
h a s evolved
to a state where
t h e real a n d
the
artificial
a r e
f r o m
appearances
indistinguishable.
As
Deckard
moves
about t h e
city
i n search
o f h i s prey.
economic
i n spatial
b y t h e ruling
entire
lives
t o w e r i n g
h a s been
class
purposes.
a n d
a t
r e m a i n
T h e
t h e
live
t o p
t o
a n
c o m f o r t ,
safety
a n d
dependent
o n
i s
electronic
m o v e
is
"hovercraft"
a n d
glide
t h e polluted
alight
o n
Those
a t t h eb o t t o m o ft h e
hierarchy
live
a t ground
level
w h e r e
crowds,
noise,
decay,
disuse
a n d
decomposition
abound.
T h e dark,
rain-filled
atmosphere
appears
threatening
and unsafe.
Garbage a n d trash
are
piled
along-side
buildings
that
have
been
abandoned
t o
squatters.
C r o w d s
surge
through
n a r r o w
streets
filled
w i t h
disorganized,
erratic
traffic.
T o
navigate
this
hazardous
e n v i r o n m e n t
requires
skill.
Ironically,
t h e site
chosen
for
t h e ground
level
scenes is
the
Bradbury
Building
(1893),
one
o f t h e finest examples
o f
castiron
architecture
o n t h e
West Coast.
I n i t st i m e i t w a s
the
height
o f
elegance a n d
technology.
N o w , i t is
shown
decayed,
virtually
uninhabited,
its paint peeling
while
diffuse,
dusty
light filters through t h e
skylight
a n d m e t a l
tracery
o f
the
interior
court
lending
a
doomed
quality t o t h e building.
Thus,
architecture
i s used
t o
reinforce
t h e director's
vision
of
distopia
a s a cold,
lonely,
i nhospitable
w o r l d
w h e r e
a n
increasing
sense
o f
alienation
exists.
g r i m
s o
present?
live
to
Today,
i n suburban
amenities
urban
poverty.
vision
different
e n v i r o n m e n t
t h e
decay
technology
h a s
t o h u m a n
life.
this
threat
t h e i l le f f e c t s
m a n
t o
is
nuclear
is f r o m t h e
application
o f
a u g m e n t
h u m a n
I n a n alienated
world i n
only
things
h a s
a m o n g
takes
o f
T h eother
machines
w h i c h
a n
threat
f o r m
effort.
Instead
tool,
needs,
a
have
b e c o m e
objects
live
b e c o m e
m o r e
value,
a n
a n d
object
machines
useful
than
T o
escape
this
distopian
world,
i t s
denizens
a r e
subjected
t o
a n
incessant
s t r e a m
o f advertisements
f o r
"off-worlds."
They a r e offered
the allure o f other worlds a s a
refuge
f r o m
the
bleak
e n v i r o n m e n t
o f
earth.
A r e
these
a d s clues
that
life o n
other worlds
m a y b e even
less
appealing
than
t h e
dismal
atmosphere
o f
earth?
This
distopian view is a challenge t o
the
present,
w h e t h e r
i t
will
r e m a i n a fantasy
o r b e c o m e
a
prophecy.
•
ARCHITEXT
ROBERT
Managing
Editor
B R I A N V. H U R T T I E N N E
Assistant Editor
D A N E A.
Assistant
JOHNSON
Editor
3EAN LaMARCHE
F a c u l t y
Advisor
GLENN
NEWPORT
Artist
B. J E F F
Masthead
STEBAR
Design
close
f r o m
a n d
i n f a r
Their
i n
urban
STAFF
3 . FARLEY
t h e
conditions.
older
a
o f m a ni n t h e s e r v i c e
w e a l t h y
encleaves
T h e poor
different
a s
o f t h e
f r o m
a n d isolated
sprawl,
h u m a n i s m
video
is i n
tops.
this
o f
m a n .
b y
through
atmosphere
a n d
t h e issue
denial
h u m a n
b e c o m e
O n e
setting
i n technology.
extension
of
f o r
raises
functioning
have
t h a t
effortlessly
Is
of
walls,
T r a n s p o r t a t a t i o n
future
t h e
lack
areas
i t s
t h ef i l m
inherent
furniture.
doors,
coverings,
building
of
a
amenities
play.
T h r o u g h
t h e m e
housing
o f
safe
unplanned
H a b i t a t i o n
phone.
o f
lack
o r
pollution.
o f
t o
a
f e w
aloof
security.
controls
and
aging
i n disrepair,
services,
f r o m
insure
e n v i r o n m e n t
of
o n e o f
T h e y
a n d
b y
devices
often
technological
r e m o t e
surrounded
t o
powerful
structures.
w i n d o w
programs
a n d
recruited
their
is
stock,
life
rigid
A r c h i t e c t u r e
w e a l t h y
areas
recreation
a s a
position.
C o m m u n i c a t i o n
Such
economic
h u m a n
a r e reflected
serve
a s
o f t h e society.
W h a t
on
t h e
depicting
MAY
1983
�15
w i t h these fine webs o f chrysant h e m u m s ,
because
I ' m
concerned
this
is something
I
can p u to n t h e machine. I w a n t
to
p u t
something
o n t h e
machine
that's poetic.
W h a t I
w a n t t o s e e t h e computer d o is
to g e t involved
i n openended
situations i n w h i c h there
is a n
infinity
g a m e .
C o m p o n e n t s
obviously
a r e finite
b u t t h e
application o f t h e m is infinite.
fork
a s
well
a s
w a s a
There
sens
totality.
f r o m .
t h e
That's
W e
w h a t
d i d
search
INTERVIEW:
WALTER
If
NETSCH
they
could
develop
graduate
computer
w a sopen
M a r k
3. Wilson
L I T
Dane
By:
A .
and
3ohnson
t h a t
others,
interested
Walter
Netsch
is
t h e
Visiting Professor
i n t h e School
of
Architecture
f o r
t h e
1982-1983 school year.
H eh a s
recently
retired f r o m t h e f i r m
of Skidmore, Owings a n dM e r r i l l
in
Chicago,
where
h e w a s a
aesign
partner
since
1 9 3 3 .
While a t S O M , M r .Netsch w a s
involved
w i t h
a
variety
o f
institutional
works,
m o s t
prominently
t h e
A i r
Force
Accidemy
i n Colorado
Springs
and
t h e
campus
o f
t h e
University o f Illinois a t Chicago
Circle. H e is well k n o w n f o r h i s
development
o f Field
Theory,
broadly defined a s a m e t h o d f o r
ordering
designs.
H i s latest
field
resembles
a
c h r y s a n t h e m u m
a n d
geometrically
developed
o u t o f h i s
investigation
o f
t h e
"rotated-square"
used
a t
S
c h r y s a n t h e m u m
Netsch
becau
multidirectional
field
w h i c h h e
O M .
T h e
field
intrigues
se
o f
i t s
nature.
to
drafting
year,
h i svisits
h e
lectures
h a s
a n d
numerous
thesis
delivered
w i t h
design
sections.
lecture:
"Works
t w o
interview
t h e
h i s
i n
courses a n d
This
conducted
following
t w o
participated
juries
architectural
was
t o L I T this
m o r n i n g
most
i n
recent
Do
you
application
the
of
think
the
in
will
less
more
the
computer
future
architecture
that
make
artistic
and
fear.
M y answer
A n d m y
shouldn't.
w h y
I have
i s : That's t h e
answer
That's
o n e
t h es t u d e n t ' s
i s :
I t
reason
playing
i n
H o w
y o i
d o
Force
well
a s
t o
t h e
would
to
b e
field
theory,
guided
you?
I
c a m e
concern
calls
a
w e n t
t o M I T ,
it
Harvard.
-images;
-
w e n t
exposed
t o
t o
wasn't
school
I
geometry!"
I t
gradually
i t
aware
were
articles
Mies,
Aalto.
o f t h e m
student
is
w a s
dangerous.
done.
Y o u
I
c o m e
c a m e
f r o m
a f a m i l y
f r o m
dentalist
and
t h e
mode
w a s
things
these
w h i c h
feel
part
I
o f
feel
artists,
part
that's
w h i c h
I
great
o f
very
hopeful
out
w i t h
social
a t
really
a s
a
Professor
H e
period.
trained
W e e s e
W e
a
I
plaza
albeit
over
a n
project.
g o h o m e
again.
d i d Circle
C a m p u s
i n t h ecenter
b u t i t
theory.
A r c h i t e c t u r e
h a d t h e
wasn't
T h e
field
A r t
Building
I I o f construction,
began
t o b e formalized.
was
t h e
square,
most
rotated
that
complicated
could
a n d i t
T h e n i t
so-called
because
h o wi t
D A 3 :
How
w a st h e
geometry
understand.
really
a n d
c a m e a n d
phase
of
S o
w e
that's
happened.
does
a personal
theory
corporate
firm
the
issue
fit
into
exploration
such
your
like
SO
as
rise
structure
c a m e
W N :
field
in
of
a
the
large
M?
I never
i n
corporate
a belief
i n
rather
life.
w r o n g
w o r r y i n g
well
W h e n
belief
architecture;
w a y o f
gone
y o u
I t w a s a
period.
f o r good,
you've
realization
h a d a
Rudolph,
hope,
nothing
Bauhaus
I
M I T ;
that aesthetics
whole
I
W e a l l c a m e o u t
same
technology
think
technology
Anderson.
myself.
this
feel
I
teacher.
Bunshaft,
most
w a y
M I T .
teacher
L a w r e n c e
don't
don't
t h e
g o t a t
Socratic
cup
true
t h e
approached
a
made y o u
m a i n s t r e a m .
they
affected
a
Ih a d
I really
t h e
that
o f
o f t h em a i n s t r e a m .
it
of
transcen-
faith.
t o society.
n o t have
conservative
geometry,
all
alert
-
w a s
aesthetic
should
O n c e
just don't
m e m b e r
a
built)
w h i c h
the
protestant
building
s a y ,
o f N e w England,
minority
-
there
t h e building
this
might
I
i n S O M w h o d i d
that
absolutely
O n c e
building
I t w a s a n
through
o f
m y past a n d
r e m e m b e r
thought
alternative
w i t h
fusion
crazy
that
happened.
they'd
c a m e
i n Europe.
partners
I t
cataclysmic
o f
t o
w a n t
really
b u t just w h o
a n dw h a t
have
they
something
o n m e .
w a s a
this
school
N o t
aware;
were
about
I
a s a high
aware.
creatively
they
because
high
w a s
just
There
(you
w a s i n
A n d i t
look, i t ' s
c a m e
technology
not
a n d there
brilliant
I
w a s
religious
Renaissance,
the
w a s a t
a n d
geometry.
mold.
w r o t e
Gropius,
Europe
" O h m y , o h
w o r k .
case
thoughts?
Romanesque,
done
Gropius
I
this
Classical
discovered
that
w i t h
i n
nc n - m i l i t a r y
exposure
primarily
W h e n
f o r people t o
themselves
had
technological
h a dn o God.
H o w d o y o u
non-militar'
I
century?
i t f o r a nA i r
space
w h a t o n e
o u t o f
i n m y
religious
2 0 t h
d o
?
this
this
W N :
building
h e
cade
provide
wasn't
influences
concept
W N :
a s
relation
Prior
what
a
technological?
building
thought,
M 3 W :
and
D A 3 :
cris s
Gothic,
i n relation
t h a t
developed
T h e chapel
architecture;
is
something.
Pei,
Progress."
i n
a t
t o
theory
H o w d c y o ud o a
t h a t
i n theory
computer,
m y
life.
field
this?
t h e c ha p e l .
architects
o n e
t h e c o m p u t e r
A n d
During
t o
theory
Field
o f
was
a
t o
b u t w r e required
cf
a h o t
program
have
f o r solutic-ns.
M 3 W :
And
developed
out
out
a s
c a m e
answer
W N :
I think there a r egoing t o b e
new
building
materials
s o t h e
house
isn't
going
t o cost
a s
m u c h
a s
i t
d i d a n d
those
materials a r egoing t o c o m e o u t
of
t h e techniques
o f
robotics
and
t h e computer,
m e e t i n g
together
w i t h
ingenuity; a n d
somebody
doing
some
creative
thinking.
I
n o t
predetermined
problems,
overcoat.
t o f design
about
a n d
a
involved
There's
w i t h
t h e
t h e t e a
a s t h e house,
t h e
it
really
rose
structure
meteoric
i n t h e
b u t h a d a
beginning.
w a s obvious
that
I
Y e t
h a d t o
create
m y
willing
t o d o institutional
and
learn
o w n w o r k .
I w a s
programming.
one
o f
in
academics
t h e early
w o r k
I w a s
p r o g r a m m e r s
a n d
i t
w a s
�16
something
I h a d t o invent.
I
carved
o u t a
separate
world
within
S O M ,
a n d a s long a s I
was,
y o u could p u t i t , notable
or notorious, t h ef i r m
wouldn't
throw m e out.
So, because
o f t h e success
of m y early projects, I b e c a m e
a full partner a n da n i m p o r t a n t
cultural
influence
i n
t h e
partnership;
b u t hardly a
role
model
f o r t h e rest
o f t h e
partners. I m a yhave b e c o m e a
role model f o r a l o to f people
w h o worked f o r m e . I d i d n o t
convert
S O M into m y
concept
of exactly w h a t a good
practice
should b e .
The
other
thing
y o uc a n
understand
is that
S O M is a
pluralistic
system,
s o
there
were
people like N a t
Owings
arguing w h e n I w a s young a s a
partner, that " w eneed this guy,
w e need a different voice.
W e
can afford this different
voice"
because
times were
expanding
and
that w a s true.
Whether
that could happen today i n S O M
I don't know.
M 3 W :
You operated
your
studio
in
a horizontal
communication
network
as
opposed
to
a
hierarchy.
What sort
of
future
do
you
see
for
architectural
firms?
What
can
a
student
moving
into
the
marketplace
expect
from
his
employer
in
these
regards?
W N :
I t ' sv e r y
interesting. M y
horizontal system came
o u to f
some
o f t h e conflicts I h a d i n
m y
background.
M y
maverick
position forced m e t o define f o r
myself
w h a t
I really
believed
was t h e role i n practice.
Most
people
w h o have
a
definitive
position
i n architecture
tend
not t o b e horizontal.
I think
t h a t t h es t u d e n t c o m i n g o u t h a s
to b e very careful t o separate
his
goals
f o r h i s concept
o f
organization
a n d
communication, •
plus
h i s
concepts
o f t h ee x p e r i e n c e
that
he
wants
a t
t h e
t i m e .
Certainly M r .Wright w a s never
a horizontal person, b u ti f y o u
could
learn t o w o r k
w i t h M r .
Wright
o r f o r Wright, n o t
with
Wright - y o u would
have
gained a certain
experience.
It depends
o n your goals a s
an architect.
I think y o u have
to keep your o w n principles; b u t
I t h i n k y o uh a v e t o b e a t least
pluralistic
enough
t o
accept
w h e n
working,
initially,
going
after
t h e opportunities
a n d
experience.
I ' m n o t
talking
about
compromising.
I ' m
talking about just learning h o w
to
think
a n d p u t
buildings
together.
D A 3 :
What
do
you
feel
your
place
has
been
in
Chicago
Architecture;
and
what
has
it
been
like
practicing
as
a
Modernist
in
the
home
of
M odernis
m?
W N :
A s I said, early i n high
school 1 w a saware, exposed t o ,
lived
i n , a n d k n e w
o f Wright
and Sullivan. M y first j o b after
the second World W a rw a s w i t h
L. Morgan Yost.
H e w a sa f a n
of Wright's s o I g o t re-exposed
to
Wright
f r o m
a
m a nw h o
k n e w
o f t h e Greene
brothers
and
t h e
whole
California
School,
a s well a s t h e Wright
School.
S o
I
began
t o
appreciate
h i m f r o m
that
intensity
o f experience
rather
than t h e isolation o f
academia.
He
b e c a m e
sort
o f a
real
person. O f course, I ' d m e t h i m
as
a student - n o t m e t h i m ,
seen h i ma t lectures; didn't g o
near t h e m a n , y o uw e r e
scared
of h i m .
Like
every
young
person
w h o
thinks
h e ' s
a
good
architect,
I h a d that
sort o f
m a n t l e feeling o f responsibility,
of " Im u s t d o a s good a s , I m u s t
continue
t h e
contribution
for..."; b u t a s f o r t h e Chicago
School,
I never
h a d t h e belief
that
i t w a s that f o r m a l .
N o r
did i believe,
f o r example,
that
Mies w a s truly a n extension o f
the
Chicago
School. I n fact,
I
was
a
great
believer
i n t h e
opposite
point o f view; that h e
had
nothing
t o d o w i t h t h e
Chicago
School.
T h a t w a s t h e
kind o f hype that t h e architectural
establishment
i n Chicago
gave.
I sort o f followed
i t a s a
goal
a n d I guess
i t reinforced
m y capacity
t o b e a maverick;
because
W r i g h t w a sa m a v e r i c k .
I didn't feel
s o lonely
i nt h e
Pantheon
o f workers
that y o u
might
feel
i f y o u were
f r o m
N e w Y o r k o r Iowa.
I t wasn't s o
frightening
because
y o u k n e w
there were
others w h oh a d t h e
same s e to f rules.
society
Southwest...
W N :
are
occuring
That's
in
the
correct.
M 3 W :
How
does
education
relate
changes
if leading
schools
are still
in
to
the
architectural
those
architectural
east?
W N :
Where
t h e changes a r e
occuring
is
n o t
necessarily
where
t h e quality is.
Change
does
n o t
necessarily
m e a n
quality.
Change
is where t h e
f e r m e n t i s ,b u t i t isn't
digested.
It still i s a f a c t
that t h e east
coast
a n d some
parts
o f t h e
west
coast
have enough
people
that a r e digesters.
A n di t s t h e
digesters
i n
academia
w h o
provide t h e leadership.
The
east
coast
h a s m o r e
cultural
evidence
than
t h e
midwest.
We're m u c h
younger.
W e
date
f r o m
t h e industrial
revolution, actually, through t h e
success
o f
farming,
steel-making
a n d
automobile
industries, a n d we're
seeing i t
collapse
i n front o i u s .
We're
the
product
o f a society
o f a
non-historical base.
W e a r e t h e
product o f a revolutionary base
and
it
happens
t o
b e
a
technological
base,
which is i n
a
very
limited
t i m e
frame.
Therefore
w e
don't
have
so
m u c h t o build o n unless w e g o
back.
M 3 W :
Now,
as
society
is
changing,
we look
for a
physical
expression
of
that
change.
Do
you
think
that
the best
way
for
us to make
architecture
current
with
cultural
change
i s to
be
involved
in the
way people
live
—
thieir
residential
lives?
Knowing
that
today
architects
design
a small
percentage
of
the
total
number
of houses,
how
do we get
involved?
W N :
I ' m
radically
t h a
thinking
i n
c o m m u n i t y
that's
w h y I
prarie rather t
thinking
n
that.
this
concept
n o t o f hou
talk
mesa
han house.
M 3 W :
rather
Sounds
m o r e
I ' m
o f
se —
a n d
Utopian.
M 3 W :
You
spoke
earlier
of
Eastern
schools
and
suggested
that
you considered
schools
like
Yale,
Harvard,
Princeton
and
Penn
to be at the
cutting
edge
of architectural
education...
W N :
O f course!
I m e a n a n
kind o f original idea comes o u
of
Utopia.
Then
i t gets i t
practical
implications.
Y o
could
call
i t Utopia,
where
would s a yi t s theoretical.
W N :
I still d o , I will a d d some
other
schools
t o t h e list,
like
U C L A ,
b u t i t ' s n o t i n t h e
midwest.
M 3 W :
S o , it's
that
Cranbrook
concept
of — theory
first
and
not
designing
architecture
for a
while
until
you have
your
ideas
developed?
M 3 W :
many
Accepting
the notion
that
of the trends
in
American
W N :
Yes,
b u tI don't
y
t
s
u
I
agree i n
�17
using
the
the
system
of
fit
interpretation
of
structure
Cranbrook
Freudian
the
individual soul
for
the
change
as
in
that's
the
very
the
egocentric
you
someone,
living
think
the
have
to
concept
of
because
Skidmore,
of
really,
affecting
I
w i t h
the
Since
I've
haven't
yet
w h y
I've
teaching.
think
-
to
t r y
to
w o e s
everyday
all m y
wife's
w h i c h
I'm
pervade
going
to
get
in
think
about
these
issues.
don't
N o t
really
club
believe
architecture.
believe
in
I
an
B u t
believe
you're
have
people
c o m m o n
pluralistic
and
base
I
do
Detroit
central
do
chance
to
crew
up
directly
city
but
going
W N :
No,
a
is
he
and
not
so
the
C B D .
be
is
T h e
reinforced
to
100
of
stock
by
is
going
so
I don't
to
the
around
that
the
should
in
or
its
going
30
to
N e w a r k
Tpledo;
m i l l i o n
falling
I
the
chase
city,
issue.
new
really
band
of
cities
role
of
looking
are
are
D A 3 :
a
We're
vocabulary
responsible
architectural
Corporate
does
has
for
been
greatly
creating
identity
America,
a r c h i t e c t u r e as a
but
to
art,
philosophy
you're
-
really
anything,
not
you're
reinforcing
your
combining
you're
art
now
on
mission.
to
your
W N :
I
o w n
politics
don't
one
of
I'm
exposed
to
on
get
it
is
m u c h
is
so
just
redesign
t o
it.
O u r
t o
I
-
of
role
play
in
degree
involved
in
a
so
w e r e
w e r e
a
m o r e
sense,
by
I ' m
t h a t
Republican
about
will
t h a t
M r .
and
m e .
he
I
President
w o r r y
replacement
less
and
responsible.
in a
concerned
in
w h o
that
reappoint
appointed
level
rather
a w a r e
is
is
to
w o u l d
things
not
I
see
it
isn't
w h i c h
W e
glad,
Reagan
will
w e
responsibility
architects
really
t r a u m a .
and
keep
itself.
have
a
responsibility
t r y
great
and
A r t s
stuff
mediocre
our
is
now,
really
philosophically
the
for
Fine
C o m m i s s i o n
not
fit
atrributes.
t h e
T h e r e
is
Arts
this
politics
great
politically
of
does
think
those
serving
that
Fine
thinking?
s u b m i t t i n g
you
the
How
your
w h a t
I ' m
to
was
Carter.
w h o
m y
because
be
I'm
the
values
m a y
shift.
issues?
probably
answer
m y
I
I was
wife
^3
until
played
a n
non-participatory
the
political
m y
I
devoted
was
m y
was
life.
to
example
to
of
an
for
how
discipline
impression
Veterans
But
again,
W e
both
kind
are
kind
of
socially
as
to
m y
law
is
a
people
grails.
individually
don't
Y o u
is
an
represent
t h a t
the
w e
c o m e
c o m e
m o r e
f o r m
w e r e
the
flag
architect
participate
the
you
the
Y o u
w h i c h
Therefore
S o m e
to
do
w e
t h r o w n
out.
I
of
acknowledge
should
h u m a n
beings
interactive
heard.
They
original
people
absolutely
flag
out
B u t
w e
couldn't
couldn't
that,
had
people.
a
and
their
do
W e
have
out
and
haven't
it.
inoffensive
the
the
fifty
w a n t e d
some
emotionally.
think
allowing
within
should
sculpture
-
by
they
B u t
that
believe
this
goals
t h a t
pleas
people
occur
w h e r e
concerns
the
things
weakened
m o n u m e n t .
thought
emotionally
of
for
considered
the
world
probably
in
to
of
have
world.
interactive.
very
this?
didn't
appropriate.
w e
that
veterans
w e
W e
but
isolated.
a
a
base.
world.
f r o m
on
was
really
yards
different
responsible
a
Could
feelings
of
just
it
gave
Vietnam
was
because
t w o
" m e - n o w "
your
It
societal
f r o m
the
Memorial
W N :
holy
I
of
that
lecture
you
development.
explain
W e
different
first
year,
draining,
marriage
separate
the
trying
this
just
had,
hers
O u r
your
Campus
had
i
devoting
I n
D A 3 :
on
interested
m o r e
life
politics.
I
parents
architecture,
devoted
the
because
until
k n o w
as
good
not
t h a t
m a r r i e d
w e r e
" c o m m u n i t y . "
SOM
relate
history,
t h e n
Arts
should
^0.
in
in
the
for
c o m m u n i t y .
a
sort
or
w e r e
for
and
just
looking
for
or
so-called
Those
in
cultural
music,
Force
a w a r e
To
didn't
voted
and
the
I'm
be
absolutely
w i f e
Cleveland
cities"
S t a t e
and
economic
not
I
decay.
or
a
Fine
or
was
Chicago
absolute
apart.
sense
gray
of
where
I
government.
can
Well,
and
or
all
"industrial
areas
t h a t
to
of
one
I was
of
center
D e t r o i t
w h a t
Washington,
they
W N :
best
centers
are
Whether
" w h o
Air
the
government.
I'm
that's the
issue is
of
that
w h a t
because
The
change
Illinois,
in
seem
wonder
the
f r o m
paper
solidify
think
a
different
is
the
on
mission
the
big.
is
T h e
was
a m
wife
architects
that.
shares
m a r k e t .
having
It
historicism
I
With
workings
reinforcing
in
million
like
base
from
one
to
I c o m e
C B D
a
p o s t - m o -
used
done
would
that
is
t h a t .
m u c h
" w h y
Your
Com
these
ideas
very
interested
in
is
work
a
w a y
it
t h a t
Washington
decen-
solving
because
Y o u
a m . "
the
seem
outside
w h i c h
Com
c u l t u r a l
philosophical
political
Chicago
club
t h a t
Nile.
of
w h e n
you've
necessarily
applying
with
was
It's
Senator
with
to
isn't
D A 3 :
and
the
it
kind
for
look
would
approach
problems
it's
Phillip found
the
event.
D A 3 :
only
skills.
belive
really
dernist
m u c h
of
-
dilluting
w o r k .
join
a m "
because
is
it,
f o r m a t i v e
the
dillute
associations
It's
club
to
w h e n
I
the
a w a r e
actually
don't
and
I t
becoming
If
life
dillute
think
should
the
of
w h e t h e r
t h a t
w h y
a
was
accretive
join the
t o
I
there
city
tralization.
you
in
he
politics.
to
I
all
talent,
in
years.
it
expression,
care
That's
as
do
of
f o r m
Y o u
trip
to
club.
have
being
to
problem
w a n t e d
t h a t
y o u
than
environment.
In
serious
of
sense
express
Academy.
your
enough
o w n
c o m m i t t e d
that
believe
M 3 W :
had
m e m b e r s
anybody.
us
so'cial.
a
t h a t
be
I don't
and
models,
in
philosophically
as
created
short
don't
t h a n
in
good
his
I
spend
it
a
good
dillute
m o r e
spend
got
especially
Phillip
agressive,
to
elitist
and
a
in
theoretical
don't
he's
-
their
they
and
I
really.
Utopian
and
any
architecture
-
great
Utopian?
should
base.
any
anything.
he
should
societal
think
P T A
the
too
structure
a
I can
in
think
his
not
should
architects
the
w h o
is
do
I
include
-
an
sense
it,
by
especially
so
other
going
about
household.
away
this
I ' m
-
alone
political
doing
w h y
uncomplicated
our
it.
fall
I
B u t
unity.
-
I
been
next
been
and
formalized
That's
France
I've
research,
really
w h i c h
But
literature,
retired
this
issues
of
individuals.
doing
to
the
outsider
you.
t h a t
W h a t
That's
as
c o m m o n a l i t y ;
of
an
w o u l d
corporate
are
even
to
architecture
3ohnson
changes
that
w a y
architect
having
I'm
say
that
c o m m u n i t y ,
changes
are
in?
contributor
such
w o u l d
therefore
social
c o m m u n a l
corporate
business
not
m i n o r
corporate
f u t u r e .
the
really
Well,
a
or
start
these
are
been
F r e u d
is
to
you
W N :
-
concept
a
that
applicable
a
individual
or
develop
what
efforts
That's
an
3ung
A merica's
and
-
philosophy
as
through
to
architects
source
f u t u r e
difference.
s o m e h o w
will,
the
in
I
right
got
to
m e a n ,
a
to
be
right
�18
to destroy
something,
our
argument.
that w a s
D A 3 :
Washington
would
seem
to be very
much
involved
with
the
"Iwo
Jim a"
attitude
about
history.
The
Veterans
Memorial
is
very
elegant
but
also
very
abstract.
What
sort
of
a
conflict
does it create
when
the
Com mission
shifts
every
four
years?
This
Com mission
will
allow
this
abstraction
to
be
built,
the next
might
not.
W N :
T h i s g i v e s y o ut h e v a r i e t y
of
Washington.
W e m a y g o o n
record a s being t h em o r e
liberal
of t h eCommissions
rather than
the
I w o 3ima
Commission.
I
think t h eI w o 3 i m a
C o m m i s s i o n
sculpture
g o t
through,
n o t
because
anyone
liked
i t ,b u t
because i t wasn't o n t h e Mall.
If
they
h a d t r i e d t o p u tI w o
3ima
o n t h e Mall,
I b e t i t
wouldn't
have
made
i t . T h e
final sacrosanct piece o f turf i n
A m e r i c a
is
t h e Mall.
T h e
Washington
M o n u m e n t ,
t h e
Lincoln
Memorial, t h e Capitol,
White House
a n d t h e 3efferson
M e m o r i a l a n dt h echerry
trees,
and
n o w Constitution
Garden
and
t h e V i e t n a m Memorial.
I
think
t h e reason
a
m e m o r i a l
like t h eV i e t n a m M e m o r i a l w o n
instead
o f o n e like
t h e I w o
3ima
Memorial
is because y o u
couldn't
have
t h e symbol
o f a
justifiable w a r- which is w h a t
Iwo 3 i m a is about - which
some
people claim t h e second
world
war
w a s .
I don't
happen
t o
agree
that
a n y
w a r
is
justifiable.
These
a r e n o t
pleasant
b u t t h e
commission
had
t o respond.
O u r anguish
and
o u r concerns,
which
were
real,
were
never
voiced
i n
public.
W e
didn't
have
a
Freudian o r 3ungian exposure o f
our torment, which
would n o t
have
helped.
M 3 W :
Since
you seem
to
have
an
interest
in
non-architectural
art
forms
and ideas,
we'd
like
you
to
express
such
com mitments.
We
often
run
into
people
who
don't
seem
to
be
interested
in
anything
beyond
the
confines
of
the
classroo
m.
W N :
Well I think that's partly
one's
personal exposure.
I fy o u
don't
have
that
personal
exposure,
t h e question
is h o w
do
y o u achieve
i t ?
I h a d a
grandmother
w h olived a t h o m e
with o u r family; a n dI w a s n o t
the
healthiest
o f children, s o
m y
grandmother
read
t o m e .
So I w a se x p o s e d t o l i t e r a t u r e Last
o f
t h e
Mohicans,
Longfellow
- things f r o m N e w
England
because
m y
family
c a m e f r o m N e w England.
I wanted
t o b e a n artist
M y
personal
predilection
toward art.
Also,
first.
w a s
S o I w a s j u s t e x p o s e d t oi t ,
and
I h a d a
m o t h e r
a n d a
grandmother
w h oe n c o u r a g e d i t .
So
I w a s lucky.
I t r y t o
encourage
i t w i t h other
people
w h o
a r e
n o t a s
fortunate,
because
I honestly
claim
they
w i l l n o tb e s u c c e s s f u l
architects
in
t h e long-run
i f they
don't
have
a
cultural
responsibility
outside their o w n world.
I t will
simply
limit
their
vision.
That's
w h y I
brought
films
along
t o show m y design
class.
The
movies
a r e another a r t
form,
a
perfectly
acceptable
art f o r m .
I f anyone
wants t o
be a good m o v i e buff I a c c e p t
that along w i t h liking paintings,
because
I ' m convinced
that
painting is disappearing.
I don't
really
s e e t h e m necessarily
a s
important fifty years f r o m
now.
They
were
important
t o m y
world,
they
m a y
n o t
b e
important t o yours. I think
film
and
m u c h
m o r e
movement-oriented
important.
systems
we're
going?
W N :
N e w lifestyles
a r e goi,
to eventually
affect
t h e future
just
because y o u a r e affecting
the
future.
Y o u have
such
different lifestyles t h a n w e did.
I don't
m e a n
y o u have
t o live
violently
differently
than
w e
do;
b u t your
attitudes
a n d
acceptances
a n d rejections a r e
so d i f f e r e n t .
What y o u accept
in e n t e r t a i n m e n t , f o r instance.
A n d
It never
dawns
o n y o ut o
wear
a t i e every
morning a n d
to g e t u p a n d p u t o n a
white
shirt
a n d
everything
that
symbolizes.
T o n o t g o t o t h e
movies
o n Sunday
a n d maybe
not
t o have
a n y liquor i nt h e
house
w h e n
your
children a r e
under
1 3 .
Y o u just
can't
conceive o f a world growing u p
that w a y . Certainly things like
the
presence
o f
a
G a y
c o m m u n i t y would b e absolutely
non-existent
w h e n I w a s young.
The acceptance o f a l l sorts o f
sexual
mores
today
compared
with
yesterday
is so different;
and
this
is a change
that is
going
along.
a r e
M 3 W :
I'd
like
to
read
you
a
quote
from
the
Architectural
Design
Profile
feature
on
Viollet-le-Duc
because
I think
it
asks
a basic
question
about
your
own
approach
to
design:
"For
what
do we mean
by a
rational
architecture?
We
may
mean
two
things.
We
may
mean
an
architecture
which
aims
at
fulfilling
absolute
efficiency
and
economy.
Or we may
mean
an
architecture
which
seeks
to
express
its
function
dialectically
— to offer
a
visible
argument
to
the
spectator."
Which
opinion
fits
best
your
philosophy?
W N :
I ' m f o r t h es e c o n d ,
which
doesn't
deny
t h e first.
T h e
simple
thing
about
those t w o
statements - they imply o n e is
a
y e s
a n d o n e
is
a n o .
Obviously t h e Gothic
cathedral,
if
i t hadn't
responded
t o t h e
needs
o f
t h e service,
would
have n o texpressed
itself i n t h e
second
w a y . Y o u can't
ignore
the
first, b u t t h e soul o f t h e
solution is i n t h e second.
F o r
m e it's t h e second one, b u t y o u
can't have t h e soul w i t h o u t t h e
body,
a n d t h e body
is t h e
program.
M 3 W :
We have
spoken
for
quite
a while,
and we've
sensed
your
interpretation
of
the
differences
between
generations
of
people.
Could
you close
for
us
by
summarizing
those
differences
and telling
us
where
The
reason
y o u know i t ' s
going along is because y o u have
this
marvelous,
conservative
reaction
o f
t h e
Reagan
administration.
This is kind o f
the
last
hurrah
o f a l l those
people w h o h a d that other s e t
of values.
Granted, they
were
absolutely
fake;
I m e a n t h e
C o u n t r y
Club
Set's
s e t o f
values
which
they
sprouted.
W h a t
they
actually
d i d behind
the
curtain
is something
else
again.
All o f these, i n a sense a r e
the
things
that
will
re-shape
America.
I f y o ub e g i n t o r e a l l y
affect
opportunity a n d choices
in everyday
living then t h e
architectural
profession
reestablishes itself
a s part
o f
t h e i n t e r p r e t e r o f t h et i m e s , a t
least I believe this.
I k n o w it's
sort o f o d d t o have a g u y w i t h
gray
hair telling young
people
"you've
g o t t h e change i n your
hands.
W h y don't
y o u d o i t ? "
But that's probably t h e w a y i t
happens.
•
�
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©2013 Lawrence Technological University. These images may be used for personal or educational purposes. They are not available for commercial purposes without the explicit permission of LTU.
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Lawrence Technological University
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Title
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Architext
Date
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May, 1983
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American Institute of Architects, Student Chapter newsletter
Subject
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Architecture—Periodicals
College student newspapers and periodicals
Netsch, Walter
Stern, Robert A. M.
Description
An account of the resource
May, 1983 edition of newsletter created by Lawrence Institute of Technology (now Lawrence Technological University) students in the College of Architecture and Design. Editor: Robert J. Farley, Brian V. Hurttienne, Dane Johnson, faculty adviser: Jean LaMarche, artist: Glenn Newport, masthead design: B. Jeff Stebar. Includes interviews with architects Walter Netsch and Robert A.M. Stern.
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Lawrence Technological University
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Lawrence Technological University
Date Created
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May 22, 2018
Rights
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©2013 Lawrence Technological University. These images may be used for personal or educational purposes. They are not available for commercial purposes without the explicit permission of LTU.
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pdf
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English
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LTU-AT1983b
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Lawrence Technological University
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18 p.: Manuscripts 8.5 x 11 or smaller
AIA
architecture periodicals
newsletters
student organizations
-
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Text
�1
T H E PRESERVATION O
by
Leslie
Lynch
Livonia J unliK6
n e i g h b u r i n g tov/ns o f
Famington,
Flyrr.outli,
and N o r t h v i l l e s t a r t e d
o u t as a n u m b e r o f
crossroad ''settlemenls^^
surrounded b yopen farmland v;ith n omain
center • riewburgh. Nankin,
and E l m v/ere s u c h
^•settelments^'•
As Livonia developed from t h e
pre-civil war pioneer
settelment t ot h e urban
i n d u s t r i a l c i t y of t h e
Twentieth century,
these farms slowly d i c apeared.
At t h e Livonia H i s torical Village a t
Greenmead, l o c a t e da t
E i g h t M i l e a n d ITew^burgh
Roads, p r e s e r v a t i o n i s t s
are recreating Newburgh,
one o f Livoni's f a r m
c o m m u n i t i e s a t t h e 'curn
of t h e century. Newburgh was t h e crossr o a d s o f Ann A r b o r
T r a i l a n d Newburgh
Foads.
T h e Ilev/ b u r g h
Methodist C h u r c h
(lo^S),
P a r s o n a g e (192^-), B u n g
a l o w (1915)5 A . J . G e e r
G e n e r a l S t o r e (1915),
and t h e D e t r o i t
urban
R a i l w a y W a i t i n g Fioom
were once locaced a t
Newburgh a n dhave been
moved t o t h e village.
Other buildings
representing a n earlier
period i n Livonia's hist o r y a r e G h o Shav; H o u s o
( 1 <jl\3)
J X i n g d l e y
House
(1C43)5 A l e x a n d e r BlueJ u s t i c e o f Lne Feace
uij--LCfe \ ^ a i i u
uiio
Quaker Meeting Louse
(1 S / t o ) ,
I!any o f t h e
buildings o fthis period
are Greek
Revival.
GreGuiUcad i s t h e
former farm i f Kr. and
rli-s# G h e r w i n A . I l i l l j . a n d
v;as a q u i r e d b y t h e C i t y
o f L i v o n i a i n 1976.
G r e e n m e a d w^as o r i g i n a l l y
knov/n a s r i e a d o w b r o o k a n d
and w a s s e t t l e d b y Joshua Gimmonds o fHew Y o r k
State i n September o f
lS26.
Joshua Simmons
c l e a r e d 120 a c r e s o f t h
160 a c r e s a n d m a n u f a c t ured maple sugar a n d
supplemented h i s income
by d o i n g c a r p e n t r y .
I
is believed that t h e
f i r s t structure wasa
log cabin.
Heb u i l t a
f r a m e b a r n o nh i s f a r m
j_n
tcry o fOakland
County
With Illustrations
18171877, a 1877
i l l u s t r a t i o n o fGreenmead shows
how G r e e n m e a d h a s c h a n g e d
throughout t h e years.
The p r e s e n t b a y window
o n t h e e a s t wa.ll o f t h e
d i n n i n g room w a s n o t p a r t
of t h eresidence.
There
n o w i s a. d o o i * o n b h e e a s t
end o f t h e f r o n t porch
'which, a l s o i s n o t i n
the i l l u s t r a t i o n . T h e
t r i i i i o nt h i s door i s
not consistant with t h e
r e s t o ft h e house,
therefore, i t i sn o t bel i e v e d t ob e p a r t o f
the origional construction.
Theeast wall h a s
been a l t e r e d b yt h e r e e moval o fthetwo o r i g i n a l windows a n dt h e addi t i o n a l o f t h e bay window
a n d r e l o c a t i o n o f a wint dow w h i c h i s now^ i n t h e
b u t l e r ' s area#
T h ei l l u s t r a t i o n a l s o sho'v/s
t h e t 7 ; o o r i g i n a l chimneys .
j U i C ^ •
The H i l l House i s
braced frame construcI n 1841 h e h i r e d
U-L'Jii
,wJ_t^xj.
4o J - c x _ ] ; ; > ' O C A X U.
Architect/Luilder Sergexterior siding.
Winius F ,Lyon o f Farmingdow's o n t h e N o r t h a n d
t o n t ob u i l d t h e Greek
South s i d e s have
archiRevival House.
A t t h e
trave moIdings, which
time, i t wasbuilt, i t
s u r r o u n d t h e upper]
wao r e f e r e d t oa s t h e
o n e t h i r d o f t h e v/indow.
f i n i s t house i n t h e
The f r o n t e n t r a n c e near
country.
J o s h u a GimmiOns
t h e p a r l o r h a sa w o o d e n
f a m i l y owned t h e l a n d
f o r 91 y e a r s .
I nt h e H i s e n t a b l a t u r e s u p p o r t e d
�GREENMEAD
COMING
by i o n i c o r d e r columo
on botli s i d e s o f tlie
door a n d f l a t p i l a s t e r s
at t h e ends.
The capr t a l s o f t h e coluuin
h a V e e c h i n u s o r na/rii e n t a tion o nt h e cusion
side.
Thecolunni s .
f l u t e d a n drests o na
a t t i c s t y l e base.
Five
columns l i k e those a t
the f r o n t door, support
the roof o ft h e porch.
Fluted pilasters flank
t h e s i t t i n g r o o m door
to t h e f r o n t p o r c h *
The i n t e r i o r c o n s i s t s
of pig-bristle pilaster
on s p l i t wood l a t h .
I n 1919 m r . u M r s .
Sherwin A. H i l l were
r e t u r n i n g froxu Meodowbrook Country Club
they noticed t h e deserted h o u s e o n t h e h i l l ,
and sought o u t t h e owners o f t h ehouse a n d
purchased
and t h e
103 r e m a i n i n g a c r e s .
;Vhen t h e K i l l ^ s p u r e
chased t h ehouse, they
hired architect Karcus
R. B u r r o ' w s t o r e m o d e l
it.
Theroof was r e p l a c e d o rc o v e r e d w i t h
new f l o o r s u r f a c e s .
floor was
The f i r ,
covered with a t h i n v e neer t ostimulate a
pegged wood f l o o r .
The second f l o o r w a s
covered w i t h new
y/ly'board,
The f l o o r w a s
:o b e t h e o r i g i n a l ( i S A j - l )
•^"''^or b e c a u s e t h e
boaros were m s t a l k e d
with rosehead c u t nails
and were w e l l
fitted.
In o r d e r t omake more
room, t h eH i l l ' s
removed t h e o r i g i n a l s t a i r case a n dadded a s m a l l er staircase that
opens
'±iiZo
the oj-ttmng rooiii.
The archway between t h e
entrance a n dparlor was
also enlarged a t this
t m m e , a no. I L S n o w s h o w i n g some s i g n s o f c r a c k ing due t o increased
span.
The L i v o n i a ' H i s t o r i c a l Village a t Greenmead i s a r e m n a n t o f t h e
p a s t i n many ways. I t
represents t h e s p i r i t
of a nAmerica n o t known
today, a n da n a r e h i t e c t ture consistant t o that.
It i sa great way o f e x periencing
architecture.
iiichael Graves Lecture
at TheF c t r o i t Inst,
o f A r t s , Wed. Gept.29
o:C0 p . m . , a d m i s s i o n
^1.00 f o r s t u d e n t s
-'
'^
A r c '• g a n G o c i e t y o f
Architects Convention,
i n rl i n t , i.i., Oct..
^982 D e t a i l s
in t h e ^'Gellar^^
SC/AIA COMIING EVENTS
27-30
I'^embership D r i v e
^^^eek
S t o p i n t h e ^'Cellar^^
a t noon o n Monday-"for
free refreshmients and
i n t r o d u c t i o n t o SC/AIA.
S t o p i n o n Tuesday-o;.
or V;ednesday f o r
refreshments f o r a l l
new miombers.
Thursday a tnoon i s
the r a f f e l drawing!!!!!
Sept.
Oct.
ARCHITEXT STAFF
Editor:
Cover
F.F. Barten
A r t : Hare
Phaneuf
Froduction:
Writers:
George
Gtrauch
Joe F i l i p
Dale Jerome
Leslie
Lynch
. George G t r a u c h
EVENTS
7 F i r s t Thursday
sponsored b y
SC/AIA
This
is open t o b o t h
• faculty and
.students t o
•express views,
opinions, and
pose q u e s t i o n s
about DESIGN
T C rrTT-no •
f
? •
•
•
t
:
« •
Held i n the
"Cellar" a t
12 :00-- 1 :00p.m.
�HOW
by
George
TO GET
THE
Gtrauch
As we c o n t i n u e i n t o t h e 1980's, t h e d e pressed economy around
us w i l l be p u t t i n g t h e
p i n c h on many, e s p e c i a l ly the architectural
profession. Although
t h e r e a r e no f o o l - p r o o f
methods toward
finding
a j o b , h e r e a r e some
h i n t s t h a t may be h e l p ful.
Where i s the work?
Even i n the most
depressed areas,
such
as o u r s , t h e r e i s s t i l l
d e s i g n i n g and
bulling
going on. Afew ways o f
finding where the work
is could be..•*
-Keep an eye on t h e
nev/spaper.
(This isn't
new t o m a n y , b u t t h e r e
are
times when firms
l i k e to get a large
cross-section of people
t o be s c r e e n e d f o r a
position.)
-Along w i t h major news
papers, keep an eye
on
l o c a l and suburban
papers . ( T h e s e may be l o o k
ing f o r people from a
particular area.)
-What about papers
from
other areas of the
count r y ? ( I s a move i n y o u r
future? Look i n t o the
papers from a p a r t i c u l a r
a r e a t h a t y o u may
be
i n t e r e s t e d i n . Don't
l e a v e t h i s as a f i n a l
alternative.)
-Keep an eye on j o b
boards almost
anywhere.
(In schools, at city
o f f i c e s , even a t s t o r e s ,
n o t a l l p e o p l e go t o a n
a r c h i t e c t to have work
done.)
-Contact your piers.
(Talk to other students
i n y o u r c l a s s , and a l s o
upperclassmen
who
are
w o r k i n g - t h e y may
knov/
where things are
busy.)
-Contact your advisors
i n s t r u c t o r s , and
even
the dean o f t h e s c h o o l .
(These people are p r o f essionals outside of
s c h o o l , and a r e i n v o l v e d
in the marketplace
along
with school.)
-Contact professionals.
(Architects, Engineers,
Contractors,
Developers,
e t c f i n d out i f they
have the v/ork, and t h e
p o s s i b i l i t y o f an i n t e r view. )
-Contact your l o c a l AIA
or s t a t e s o c i e t y o f a r c h
i t e c t s . (Some
emxployers
give these associations
n o t i c e when they need
help.)
-Check out where the
building i s
happening.
(Look i n t o Dodge r e p o r t ,
Builders exchange,
even
the s i g n s on j o b s i t e s
for the names o f people
respondsible.
W h a t t o do i f y o u
a l e a d f o r v/ork.
find
You've
searched
and found an
opening
t h a t miay f i t y o u r c a p a b i l i t i e s . Here are a
f e w t i p s o n how t o
proceed.
-Contact the firm f o r
an i n t e r v i e w • ( I n b i g
firms, ask f o r the
personnel director; i n
sm.aller f i r m s , the a r c h i t e c t w i l l do t h e h i r i n g
- i f you're not sure, ask
who t o t a l k t o . )
-Have a resume prepared.
( I n c l u d i n g your past experience , schooling,projects you have worked
on
and c a r e e r g o a l s . )
-Have a p o r t f o l i o o f
your work ready t o show.
(Show work t h a t you
think the employer
would l i k e to see,
especially when you have a d i v erse backround.
Otherw i s e , shov/ t h e m a n y t h i n g
that you have done.)
- P r e s e n t y o u r s e l f as
w e l l as p o s s i b l e t o y o u r
future employer•
(Just
remiomber
that you are
selling yourself along
with your
backround;
d o n ' t t r y t o be m o r e
than you a c t u a l are or
i t w i l l just cause t r o u ble
l a t e r . Don't
forget
the l i t t l e t h i n g s - be on
time, dress properly,
answer a l l questions;
t h e s e l i t t l e t h i n g s can
help out a l o t . )
(Conlinued)
�TECTURAL EXPERIENCE
W h a t t o d o i fy o u h a v e
not
found a lead.
-Attempt a mass t e l e phoning o f o f f i c e s
that
y o u w o u l d l i k e t o v/ork
i n . ( T h i s miay y i e l d a
better focus o f offices
to c o n c e n t r a t e y o u r
resumes t o . )
-After this, mail resumes t o t h e more i n t e r ested parties. (Include
i n f o such as p o r t f o l i o
and r e f e r e n c e s o n r e s erve, possibly with a
letterhead o r graphic
design along with the
other inform.ation.)
-Along w i t h t h e resumie,
send a l o n g a ni n t r o d u c t ion
letter.( Tell
these
offices why you would
l i k e t owork t h e r e , your
present situation,
areas
you would l i k e t o work
in, and future
goals.)
After a l l o f this,
don't except a j o b t h e
next day. As a matter o f
fact, you'll
probably
get a l o t o f r e j e c t i o n
letters, but y o u ' l l be
put o n f i l e f o r future
possibilities.
The
and
interview- before
after.
After a l l o f this
work, y o u ' l l h o p e f u l l y
have g o t t e n a ninterview^
s o m e w h e r e . T h ei n t e r v i e w
is a very important expe r i e n c e i nt h e y o u n g
architects l i f e .
You'll
be g o i n g t h r o u g h i t m a n y
times i n your l i f e - t o
f u t u r e em"^loyers a n d t o
future clients also.
A f t e r a ni n t e r v i e w ,
a l l y o uc a nr e a l l y do i s
w a i t . I f y o ua r e c a l l e d
back, t h i s i s a good s i g n
that they are i n t e r e s t e d
i n y o ua n d h a v e
reduced
the
number a p p l i c a n t s .
You'll probably be called
t o show y o u r w o r k t o t h e
person y o u ' l l be working
under. Present y o u r s e l f
as w^ell i fn o t b e t t e r
than the first
time.
Follow^ u p a n i n t e r v i e wo f
any k i n d w i t h a thank y o u
note o r call. B u t t h e
m a i n t h i n g t o remiomber i s
not
t owait on just one
lead. Leave your options
open completely f o r your
choice.
b u i l t , i n s t a l l e d , removed o r renovT-ted w i l l
need t h i s f i e l d .
Areas
such a s engineering,
surveying, planning,
insurance and state
offices, advertising,
graphic arts,
interior
design and preservation
a l l have a great
need f o r draftsmen.
-Gales. (Such a s
architectural
products
and m i a t e r i a l s - v^all
panels, furnishings,
structural items, e t c .
T h i s i s a n a r e a v/here
you could s p e c i a l i z e
early i n your career.)
-Other s p e c i a l i t y
professions .
(Landscape,
interiors,engineering,
graphic design,
advert i s i n g , energy
conscience design,
presentaRelated architectural
tion, preservation,
areas.
r e a l estate development
Today, there i s a
good p o s s i b i l i t y t h a t y o u and s o o n . )
-Teaching.
(Maybe y o u
may n o t g e t d i r e c t l y
into
can teach a r c h i t e c t u r e
an a r c h i t e c t u r a l
office.
There a r e many a r e a s
that better than y o u can
architecture affects, and practice i t . With futher s t u d y , y o u c o u l d
these areas may be good
specialize i n a particalternatives t o turn t o .
ular area- design,
preThese f i e l d s deal v/ith
sentation, graphic a r t ,
the
diverse backround
^ construction
drawings,
that the architectural
etc.
Seea n instructor
student h a sbeen taught.
for more i n f o r m a t i o n . )
They c a ni n c l u d e . . .
-Construction
field.
-Drafting, i ngeneral.
(Maybe a hands o n meth( T h i s i so n e a r e a
that
od o f d o i n g a r c h i t e c t u is used i n almost
every
re i s y o u r f u t u r e . T h i s
profession. Anything that
could include interiors,
needs t obe designed.
(Ccaitinued)
�EDITORIAL
woodworking,
residential
carpentry, finishes, and
even f u r n i t u r e
making.)
-Even i n t h e a r c h i t e c t ural office there a r e
miany a r e a s o f s p e c i a l i z a t i o n t h a t y o uc a n g e t
into. (Estimating, signage? p l a n n i n g , d e t a i l i n g
running prints, site design, lighting, acoustical design, i n t e r i o r s ,
and s o o n c a nb e f o u n d
i n many l a r g e o f f i c e s . )
get into. Use business
cards, mailin^^s, l e t
f r i e n d s know^ a b o u t
your
services along with
r e l atives and neighbors,
a n d p u t y o u r nam^e o n t o
job b o a r d s cind e v e n i n
the
newspaper. With this
we h a v e gone f r o m l o o k i n g
for work t o a d v e r t i s i n g
for
work.
There a r e no guarentees i nanyo f these
areas that you w i l l
fast
Self-employmient
sucess. Personal miotivaOne m a j o r a r e a t h a t t i o n i s t h e b e s t
factor
i s o v e r l o o k e d b y many i s to have o n y o u r s i d e
the m^arket o f s e l f - e m p l - w h e n t r y i n g t o make y o u r
oyment o fdesign s e r v i c - mark o n t h e marketplace.
es. W i t h a l l o p t i o n s a t
U n t i l then, don't l e t
a dead e n d , o r even i f
your s k i l l s
deterioratethey a r e n ' t , t h i s i sa n
improve some o f y o u r l e ideal area f o r individsser areas, t r y something
ual e x p r e s s i o n . Where
new, r e d e s i g n a n o l d p r o e l s e c o u l d y o ug e t t h i s
j e c t , propose a new idea
much freedom f o r d e s i g n
and c a r r y i t t h r o u g h .
and c r e a t i v i t y , a n d g e t By a t t e m p t i n g t o e x p e r paid t o o ! Thescale o f
ience architecture and
what y o uc a nd o w i t h o u t
a l l o fi t s sub-areas,
registration a n d proper
t h i s c a no n l y l e a d t o
s c h o o l i n g i s somiev/hat
more s a t i s f a c t i o n i n o u r
l i m i t i n g , b u tt h e r e a r e
profession.
many a r e a s t h a t c a n b e
experienced. ( A ssmall
as a d o g h o u s e i n y o u r
C O M I N G IN
backyard t oa s l a r g e a s
a house; a l o n g v;ith
DECEMBER
things like
interiors,
renovations, preservations , presentations,
ARCHITEXT II
model b u i l d i n g . )
Advertise your
s e r v i c e s i ft h i s i sa n
area y o u w o u l d l i k e t o
This i s a space
devoted t onews a n d
controversy o f a n
academic o r a r c h i t c ct ur a 1 na t ur e.
Whether i t ' s questions , problems,
issues, announcem e n t s - i i y o u want t o
be h e a r a , s e n d
your
statement t o :
SCAlA a t L I T
21000 W . T e n m i l e
3 0 u t h f i e 1 d, M i c h .
^8075
or,
just stop byt h e
n e w ^ ^ C e l l a r ' ^ We w i l l
publish a l l t h e signed m a t e r i a l ( i n good
t a s t e ) f o r w h i c h v^e
have space.
�SC/AIA
by
I t • E.
Bar t e n
C C / A I A ? I V h o a r e w e ? ' c-ponsored
by t h e SC/AIA,
What do w edo a n d s t ^ n d
t h e r e a r ea l s o s t u d e n t
f o r ? What c a n wed of o r
t r i p s planned each year
y o u ? W h a t c a n y o u 'do
f o r t h eb e n e f i t o f t h e
f o r u s ? I ' ms u r e
these
students Architectural
and o t h e r q u e s t i o n s a r e
education. These a r e
o n y o u r m.ind, V / e l l I
only a few o ft h e beneshall attempt ti: answer
f i t s w e c a no f f e r y o u a s
these questions t o t h e
a member o f t h e SC/AIA
best o fmy a b i l i t y .
here a tL.I.T.
Your
probably
I amno a u t h o r i t y
i n t r e s t e d i n knov.^ing
on t h es u b j e c t o f t h e
who a r eb o a r d m e m b e r s
student chapter o f t h e
are for this year.
American I n s t i t u t e .of
The f o l l o w i n g p e o p l e a r e
Architects,.but I do
our board f o rt h e
feel qualified t o
1982-83 s c h o o l y e a r ;
answ^er t h e s e q u e s t i o n s
Pres.- Dale Jerome
by r e l y i n g o n m y p a s t
V.P.J o e F i l i p
experience a n d i n v o l v e - Tres.- Patt^
Leonard
ment wibh t h e SC/AIA
SecTeresa M u l l i n s
at Lawrence I n s t i t u t e
S(^nior Rep.of
Technology.
Steve Kwoznick
The CC/AIA a t L . I . T .
is a norganization
which was established
to encourage participation: a t t h e s t u d e n t
level i nt h e ilmerican
Institute o f Architects.
This organization also
t r i e s t op r o v i d e some
necessary services t o
the students
which
s u p p o r t i t . Some o f
these services include
printroomx f a c i l i t i e s
with a substancial
d i s c o u n t t oa l l m e m b e r s ,
student and professional
interaction, student and
faculty interaction,
social events which a r e
Junior Rop.Stavroula Peterson
L'ight s c h o o l P e p . R.L.
Barten
The p o s i t i o n so f
S o p h o m o r e R e p . , 5th
Year Rep., a n d
Freshman Rep. a r e
presently
vacant.
We i n c o u r a g e
anyone
intrested i n these
positions t o inquire
within t h e SA/AIA
^^Cellar^^ These elections w i l l be announced
scon, s o watch f o r
this announcement
i n t h e ^»Cellar^\
turns
Now t h e s u b j e c t
t oYOU. Y o u c a n
can h e l p t h e SC/AIA
by becomming a n
a c t i v e member i n t h e
student chapter
this
y e a r . I mmst r e m i n d
you that this organization i s just like
any o t h e r student
sponsored o r g a n i z a t i o n
you only g e to u t o f
it what y o u p u t into
i t . Go, we incourage
you t o p a r t i c i p a t e
i n t h eS C / A I A i n a n y
one o f t h e f o l l o w i n g
ways :
- Gubmxitting a r t i c l e s
f o r t h en e x t i s s u e
of Architoxt
- Submitting a r t work
for publication i n
the next istue o f
Architext
-By a t t e n d i n g t h e S C / A I A
board meetings a n d
participating i n t h e
decision making
process
- B yj o i n i n g t h e GC/AIA
f o r t h e 1982-83 s c h o o l
year
- B yt a l k i n g t o y o u r
class representives o r
any board member a n d
making them aware o f your
thoughts,
suggestions,
and o p i n i o n s o n t h e
SC/AIA "
.
- SD D R O P I K T H E C E L L A R
AND G S T I N V O L V E D ! ! ! ! ! ! ! !
�sc/aia
^1
I
DID/OS
21000 W. Ten Mi»e Road
Southfield, Michigan 48075
S t u d e n t s and F a c u l t y ,
As p r e s i d e n t o f t h e S t u d e n t C h a p t e r o f t h e A i n e r i c a n
I n s t i t u t e o f A r c h i t e c t s o fLav/rence I n s t i t u t e o f T e c h n o l o g y ,
l e t me w e l c o m e y o u a l l b a c k t o a n o t h e r p r o m i s i n g a c a d e m i c
year o f architectural education*
Again, the student chapter
v/ould l i k e t oe n c o u r a g e
s t u d e n t s and f a c u l t y t o c o n s i d e r
m e m b e r s h i p i n t h e S C / A I A d u r i n g t h e 1982-63 s c h o o l y e a r . V;e
have a ne x c i t i n g calendar o fevents which we hope
everyone
w i l l w a n t to b e p a r t o f . S u b s c r i p t i o n t o C r i t m a g a z i n e ,
trips
to MSA c o n v e n t i o n and C h i c a g o , d e s i g n d i s c u s s i o n s , b l u e p r i n t
s e r v i c e s , and o f f i c e t o u r s a r e j u s t some o ft h e a c t i v i t i e s
w h i c h y o u r m e m b e r s h i p c a r d w i l l g a i n y o u a c c e s s t od u r i n g t h e
coming year.
I h o p e t h a t y o u w i l l f e e l f r e e t os t u d y o r
converse i n the relaxed atmosphere
o four n e w^^Cellar^^ a n y t i m e
and I l o o k forv/ard t o s e e i n g you become a p a r t o fcur o r g a n ization this year.
Sincerly,
D a l e C. J e r o m e
P r e s i d e n t , SC/AIA
Greetings,
Welcome t o our f i r s t e d i t i o n o fA i ' c h i t e x t , and welcome t o
a l l the newand r e t u r n i n g a r c h i t e c t u r a l s t u d e n t s !
T h e SC/AIA
is a valuable organization to a l lwho join.
We e x i s t f o r y o u r
b e n e f i t and w i t h o u t y o u r s u p p o r t w e c e a s e t oe x i s t .
Please be
a p a r t o f o u r m e m b e r s h i p d r i v e S e p t e m . b e r 2? - 3 0 .
Thanliing
you,
Joseph
Filip
Vice-President,
SC/AIA
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Architext
Description
An account of the resource
Newsletter created by Lawrence Technological University students in the College of Architecture and Design (CoAD), from 1982-1989.
Creator
An entity primarily responsible for making the resource
Lawrence Technological University
Source
A related resource from which the described resource is derived
Lawrence Technological University
Publisher
An entity responsible for making the resource available
Lawrence Technological University
Rights
Information about rights held in and over the resource
©2013 Lawrence Technological University. These images may be used for personal or educational purposes. They are not available for commercial purposes without the explicit permission of LTU.
Rights Holder
A person or organization owning or managing rights over the resource.
Lawrence Technological University
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Architext
Date
A point or period of time associated with an event in the lifecycle of the resource
Fall term 1982
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
American Institute of Architects, Student Chapter newsletter
Subject
The topic of the resource
College student newspapers and periodicals
Architecture--Periodicals
Description
An account of the resource
First edition of newsletter created by Lawrence Institute of Technology (now Lawrence Technological University) students in the College of Architecture and Design, dated Fall term 1982. Editor: R.E. Barten, cover art: Marc Phaneuf, production: George Strauch, writers: Joe Filip, Dale Jerome, Leslie Lynch, and George Strauch.
Creator
An entity primarily responsible for making the resource
Lawrence Technological University
Publisher
An entity responsible for making the resource available
Lawrence Technological University
Date Created
Date of creation of the resource.
May 22, 2018
Rights
Information about rights held in and over the resource
©2013 Lawrence Technological University. These images may be used for personal or educational purposes. They are not available for commercial purposes without the explicit permission of LTU.
Format
The file format, physical medium, or dimensions of the resource
pdf
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
LTU-AT1982
Rights Holder
A person or organization owning or managing rights over the resource.
Lawrence Technological University
Type
The nature or genre of the resource
8 p.: Manuscripts 8.5 x 11 or smaller
AIA
architecture periodicals
newsletters
student organizations